Structure
Shakespeare’s “Sonnet 30” follows the traditional structure of an English or Shakespearean sonnet. This structure consists of 14 lines divided into three quatrains (four-line stanzas), then a final rhymed couplet (two-line stanza). The rhyme scheme is typically ABABCDCDEFEFGG, meaning that each quatrain follows the pattern of alternating rhymes, and the final couplet rhymes with itself. In terms of meter, Shakespeare often used iambic pentameter, which consists of lines with five pairs of unstressed and stressed syllables, though variations are present throughout his sonnets. In “Sonnet 30,” this structure and meter are utilized to convey the speaker’s contemplation on themes such as love, memory, and the passage of time.
Form
“Sonnet 30” is a Shakespearean sonnet that adheres to a specific form characterized by its 14 lines contained within a single stanza. It is composed in iambic pentameter and features a distinct rhyme scheme. While Shakespeare did not invent this form, he notably popularized it, producing over 150 sonnets during his lifetime and establishing himself as a master of the genre. The structure of a Shakespearean sonnet is typically divided into two main sections: the initial twelve lines, which can be further dissected into quatrains, and the final two lines forming a rhyming couplet.
The transition between lines 12 and 13—known as the volta—denotes a significant shift in the poem’s direction. This turning point allows the speaker to pause and reconsider the poem’s argument, often introducing a new idea or perspective. In contrast to the Petrarchan sonnet, where the volta falls between lines 8 and 9, affording the speaker more space to develop a counter-argument or change their stance, the Shakespearean sonnet’s volta provides a very short window of reflection. While there is a proclamation in lines 13–14 about love’s ability to restore losses, some readers may find this conclusion rushed and conventional, especially considering the weight of the speaker’s sorrows throughout the preceding lines.
Meter
Shakespeare’s “Sonnet 30” exemplifies his masterful use of iambic pentameter, a rhythmic pattern consisting of five pairs of unstressed and stressed syllables per line. While Geoffrey Chaucer was an early pioneer of this form, utilizing it in his celebrated work, The Canterbury Tales, Shakespeare made a significant contribution to refining this form further. The meter of an iambic pentameter lends a natural and flowing cadence to the poem while reinforcing its emotional intensity. Consider the opening line:
“When to the sessions of sweet silent thought.”
Here, the iambic pentameter is clearly evident, with ten syllables arranged in five pairs of unstressed and stressed beats. The rhythm mirrors the gentle ebb and flow of the speaker’s contemplation, drawing the reader into the reflective mood of the sonnet. Take line 6 as another example:
“Then can I drown an eye, unused to flow.”
Again, the ten-syllable line adheres to the iambic pattern, with the stressed syllables falling naturally on “drown,” “eye,” and “flow.” This regularity in rhythm reinforces the emotional weight of the speaker’s sorrow, as they express their ability to weep even when not accustomed to tears.
Let’s examine line 9:
“And heavily from woe to woe tell o’er.”
Here, the iambic pentameter persists, with the five pairs of unstressed and stressed syllables maintaining the poem’s rhythmic consistency. This line encapsulates the speaker’s sense of burden and repetition in recounting their woes, with the meter reinforcing the poem’s thematic focus on the relentless passage of time and the weight of memory.
Shakespeare’s skillful manipulation of iambic pentameter in “Sonnet 30” enhances the poem’s emotional resonance, drawing readers into the speaker’s introspective journey through love, loss, and the passage of time.
Rhyme Scheme
“Sonnet 30” follows a distinct rhyming scheme typical of Shakespearean sonnets, which can be understood as ABABCDCDEFEFGG. In other words, the first and third lines rhyme, as do the second and fourth, and so on, until the final rhyming couplet. While contemporary readers might perceive the rhymes between “past” and “waste” in lines 2 and 4, as well as the rhyme between “foregone” and “moan” in lines 9 and 11, as slant rhymes due to shifts in English pronunciation since Shakespeare’s era, they would have been considered perfect rhymes to Shakespeare’s original audience. The evolution of English pronunciation over time has altered the perception of these rhymes, which highlights the changing nature of language and its interpretation across different historical contexts.
