“Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare: A Critical Analysis

Introduction: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

“Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare first appeared in 1609 as part of Shakespeare’s Sonnets, a collection of 154 sonnets that explore themes of love, beauty, time, and mortality. This particular sonnet reflects on the speaker’s past mistakes and the journey toward self-realization. The speaker admits to having wandered and indulged in superficial experiences, yet now acknowledges a return to true affection and sincerity. The sonnet highlights the themes of repentance, the fickleness of human desires, and the value of enduring love. Shakespeare uses his characteristic iambic pentameter and a tightly woven rhyme scheme to convey deep emotional complexity and introspection.

Text: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

Annotations: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

Line	Annotation
“Alas, ’tis true I have gone here and there”	The speaker begins with a tone of regret, confessing to having wandered both physically and emotionally. The word “alas” suggests sorrow, while “here and there” indicates inconsistency and instability. Shakespeare uses a straightforward declarative statement to establish a reflective mood.
“And made myself a motley to the view,”	The speaker compares himself to a “motley,” which refers to a fool or jester’s patchwork outfit, implying that he has acted foolishly for others’ amusement. The phrase underscores the speaker’s self-awareness of his mistakes and reliance on external validation. Metaphor of the “motley” signifies the degradation of personal dignity.
“Gor’d mine own thoughts, sold cheap what is most dear,”	The violent image of “gored” suggests self-inflicted wounds, emphasizing internal conflict. The phrase “sold cheap” symbolizes the speaker’s failure to value his inner thoughts and principles. The metaphor of undervaluing what is precious is a critique of past actions.
“Made old offences of affections new.”	The speaker acknowledges repeating past mistakes in new relationships. The use of “offences” here reflects moral and emotional wrongdoings. This line suggests a cyclical pattern of behavior, indicating an inability to learn from past errors.
“Most true it is that I have look’d on truth”	Shakespeare emphasizes truth, positioning it as an objective standard the speaker failed to recognize or appreciate. The repetition of “Most true it is” reinforces the speaker’s admission of guilt. The phrase signals a shift toward self-awareness and acknowledgment of prior errors.
“Askance and strangely: but, by all above,”	The speaker admits to viewing truth “askance,” meaning suspiciously or with doubt, and “strangely,” indicating unfamiliarity. The contrast introduced by “but” signals a turning point. The phrase “by all above” refers to a higher, divine power, perhaps appealing to moral or spiritual redemption.
“These blenches gave my heart another youth,”	“Blenches” refers to moments of moral weakness or deviations. Despite these flaws, the speaker claims they revitalized him, giving his heart “another youth.” This oxymoronic idea that mistakes lead to renewal suggests that learning from failure has brought personal growth.
“And worse essays prov’d thee my best of love.”	“Worse essays” refers to failed attempts at other forms of love or relationships, which have ultimately proven the current beloved to be the best. The term “essays” means trials or attempts. This line is a reaffirmation of commitment, learned through experience.
“Now all is done, have what shall have no end!”	The speaker declares an end to past errors and expresses a desire for something enduring and eternal. The phrase “have what shall have no end” likely refers to an eternal love or bond. This line reflects a shift from regret to hope.
“Mine appetite, I never more will grind”	The speaker resolves to curb his restless desires (“appetite”). The metaphor of “grinding” suggests a repetitive and unproductive pursuit of fleeting pleasures, which he now intends to abandon.
“On newer proof, to try an older friend,”	The speaker vows not to test new lovers (“newer proof”) but to remain loyal to an “older friend,” which could be interpreted as his beloved or a representation of mature love. This line contrasts youthful infidelity with the wisdom of constancy.
“A god in love, to whom I am confin’d.”	The speaker elevates the beloved to divine status, calling them “a god in love.” The phrase “to whom I am confined” suggests devotion and loyalty, perhaps even surrendering to love’s power. The divine imagery implies that love transcends human flaws.
“Then give me welcome, next my heaven the best,”	The speaker pleads for acceptance and reconciliation, placing his lover just below heaven in terms of importance. The phrase “next my heaven” suggests the beloved holds a sacred place in the speaker’s heart. Hyperbolic language emphasizes the lover’s significance.
“Even to thy pure and most most loving breast.”	The final line reinforces the idea of the beloved’s purity and love. The repetition of “most” amplifies the sincerity and intensity of the speaker’s admiration. The word “breast” here symbolizes emotional closeness and intimacy, suggesting a desire for reunion and reconciliation.

Structural Devices:

• Form: Shakespearean sonnet with 14 lines written in iambic pentameter, following the rhyme scheme ABABCDCDEFEFGG.
• Volta (turn): The poem’s turn occurs in line 9, where the speaker transitions from reflecting on past mistakes to expressing hope for an eternal, renewed love.
• Tone: The tone shifts from regret to self-awareness, concluding with hope and reconciliation.

Poetic Devices:

• Metaphor: “Motley” (foolishness), “gored” (emotional damage), “grinding” (repetitive desires), “god in love” (elevating love to divinity).
• Oxymoron: “Another youth” from “blenches” (moral failings lead to personal rejuvenation).
• Hyperbole: “Next my heaven the best” (exaggeration of the beloved’s importance).

Rhetorical Devices:

• Anaphora: Repetition of “most” in the final line for emphasis.
• Repetition: “Most true it is” to highlight the speaker’s confessional tone.
• Antithesis: “Worse essays” versus “best of love” contrasts failed attempts with ultimate success.

Literary And Poetic Devices: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

Literary/Poetic Device	Example	Explanation
Alliteration	“Most most loving”	The repetition of the “m” sound in “most most loving” adds rhythm and emphasis to the speaker’s description of their beloved.
Anaphora	“Most true it is”	The repetition of “most” in consecutive phrases emphasizes the speaker’s acknowledgment of their past errors, creating a confessional tone.
Antithesis	“Worse essays prov’d thee my best of love”	The contrast between “worse” and “best” in this line highlights how previous failures have revealed the true value of the speaker’s current love.
Apostrophe	“Then give me welcome, next my heaven the best”	The speaker directly addresses their beloved, asking for forgiveness and acceptance, even though the beloved is not literally present in the poem.
Assonance	“Gor’d mine own thoughts”	The repetition of the “o” sound in “gor’d” and “thoughts” creates a smooth, internal harmony within the line, emphasizing the emotional conflict.
Consonance	“Grind / On newer proof”	The repetition of the consonant “n” sound in “grind” and “newer” adds a sense of continuity and connection between the words.
Ellipsis	“Now all is done, have what shall have no end!”	This line uses ellipsis in the sense that the speaker omits the explanation of “what shall have no end,” leaving it open for interpretation, likely implying love.
Epiphora	“A god in love, to whom I am confin’d”	The repetition of “in” in “god in love” and “I am confined” at the end of the phrases emphasizes the speaker’s commitment to and reverence for love.
Hyperbole	“Next my heaven the best”	The speaker exaggerates the importance of the beloved by comparing them to “heaven,” emphasizing their elevated status in the speaker’s life.
Imagery	“Even to thy pure and most most loving breast”	The image of the “loving breast” creates a picture of emotional closeness and intimacy, appealing to the sense of touch and warmth.
Irony	“These blenches gave my heart another youth”	It’s ironic that the speaker’s moral failings (“blenches”) resulted in a revitalized emotional state, contradicting expectations of decline.
Metaphor	“Made myself a motley to the view”	The speaker compares himself to a “motley,” or jester, indicating that he has made a fool of himself in public.
Oxymoron	“Another youth” from “blenches”	The pairing of the youthful renewal (“another youth”) with moments of weakness (“blenches”) contrasts two opposite ideas, showing personal growth from mistakes.
Paradox	“These blenches gave my heart another youth”	The paradox lies in the idea that the speaker’s misdeeds (“blenches”) somehow rejuvenated him, which seems contradictory but suggests that learning from mistakes can lead to growth.
Personification	“Truth askance and strangely”	Truth is personified as something that can be looked upon “askance” and “strangely,” giving it human-like qualities of perception and interpretation.
Repetition	“Most most loving”	The repetition of “most” in this line serves to amplify the intensity and sincerity of the speaker’s admiration for their beloved.
Rhetorical Question	“Now all is done, have what shall have no end!”	Though not framed as a direct question, the line implies a rhetorical question about the speaker’s readiness to embrace eternal love, without expecting a literal answer.
Simile	No direct simile	While Sonnet 110 doesn’t contain a clear simile (a comparison using “like” or “as”), other figurative comparisons are made through metaphor instead.
Tone	Regretful to hopeful	The tone begins with regret (“Alas, ’tis true I have gone here and there”) and shifts to hope and redemption (“Now all is done, have what shall have no end!”).
Volta (Turn)	“Now all is done, have what shall have no end!”	The volta, or turn, in the poem occurs here, shifting the speaker’s focus from regret and past mistakes to a renewed sense of hope for an eternal and true love.

Themes: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

• Regret and Self-Reflection: One of the primary themes of Sonnet 110 is the speaker’s deep sense of regret for his past actions. The opening line, “Alas, ’tis true I have gone here and there,” sets the tone of remorse, as the speaker admits to wandering both physically and emotionally, straying from his true path. He further reflects on how he “made [himself] a motley to the view,” acknowledging that his foolish behavior and pursuit of superficial pleasures made him appear as a jester or fool to others. This sense of self-reflection and regret permeates the sonnet, as the speaker admits to undervaluing what was most dear to him, ultimately leading to a desire for redemption.
• The Fickleness of Desire: Shakespeare also explores the theme of fleeting desires and their consequences. The line “Gor’d mine own thoughts, sold cheap what is most dear” illustrates how the speaker has wounded himself by chasing temporary pleasures, sacrificing something precious for transient gratification. He recognizes that his former pursuit of new, superficial affections led to repeated mistakes, as seen in “Made old offences of affections new.” The speaker’s realization of the futility of indulging in fleeting desires marks his shift toward more enduring values, which he conveys through his desire to stop testing newer affections and remain loyal to the constant love he now values.
• Redemption through Love: Despite the speaker’s past mistakes, Sonnet 110 conveys the idea that love can lead to redemption. The volta in the sonnet marks a turning point, where the speaker moves from regret to a sense of renewal, as expressed in “These blenches gave my heart another youth.” The notion that his past errors provided an opportunity for emotional and spiritual rejuvenation underscores the redemptive power of love. The speaker expresses a desire to abandon his previous follies and devote himself to his beloved, seeing this relationship as a path to a higher, more meaningful love, as evidenced by the line “A god in love, to whom I am confin’d.”
• The Endurance of True Affection: The sonnet culminates with the speaker’s recognition of the enduring nature of true affection. After confessing his past mistakes, he resolves to leave behind his “appetite” for new experiences and instead embrace something that “shall have no end,” signifying a love that transcends time and impermanence. This commitment to lasting affection is symbolized by his desire to be welcomed into his beloved’s “most most loving breast,” suggesting both emotional and spiritual intimacy. The speaker’s final plea highlights the theme of enduring love, where he envisions a relationship that is eternal and unchanging, contrasting with the fleeting desires that once led him astray.

Literary Theories and “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

Literary Theory	Application to Sonnet 110	References from the Poem
Psychoanalytic Theory (Freud)	This theory examines the unconscious mind, internal conflict, and repressed desires. The speaker’s acknowledgment of his past mistakes and indulgences can be seen as a moment of self-reckoning, where repressed guilt surfaces. The speaker confronts his own flawed actions (“Gor’d mine own thoughts, sold cheap what is most dear”) and seeks to align his conscious desires with moral and emotional integrity. His confession of straying and returning to truth reflects a Freudian reconciliation of the id (desires) and superego (moral principles).	“Alas, ’tis true I have gone here and there” (regret and self-awareness of past indulgences); “Made old offences of affections new” (repetition of past mistakes); “These blenches gave my heart another youth” (renewal through confronting inner conflict).
New Historicism	New Historicism places literary works within the context of the time in which they were written, looking at cultural, social, and political influences. Sonnet 110 can be read as a reflection of societal norms in Elizabethan England, where the speaker’s expressions of regret for superficiality and moral lapses may mirror the Renaissance emphasis on virtue, self-discipline, and personal redemption. The sonnet’s focus on repentance and a return to stability and sincerity in love can also be seen as a reflection of the era’s moral values and expectations for individual conduct.	“A god in love, to whom I am confin’d” (cultural reverence for love and loyalty); “Now all is done, have what shall have no end!” (societal ideals of enduring love and repentance); “Made myself a motley to the view” (acknowledgment of public shame in line with societal values).
Reader-Response Theory	Reader-response theory focuses on the reader’s interpretation and how the meaning of the text is constructed by the audience. In Sonnet 110, readers may interpret the speaker’s confessions of past mistakes in diverse ways depending on their personal experiences with regret and redemption. A modern reader might relate to the cyclical nature of personal failings and the universal desire for growth and forgiveness. The idea of fleeting desires versus enduring love offers different meanings to readers based on their own views of relationships and emotional growth.	“Mine appetite, I never more will grind” (the reader may connect this line to their own experiences of leaving behind harmful desires); “These blenches gave my heart another youth” (the reader might view this as a metaphor for personal transformation); “Next my heaven the best” (a reader may interpret the beloved as symbolic of something transcendent in their own life).

Critical Questions about “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

• How does the speaker’s sense of regret shape the tone of the poem?
• The speaker’s regret permeates Sonnet 110, shaping its tone as deeply reflective and confessional. From the opening line, “Alas, ’tis true I have gone here and there,” the speaker admits to having strayed both emotionally and physically, creating an atmosphere of sorrow and remorse. This tone continues as he laments his past actions: “Made old offences of affections new” and “sold cheap what is most dear.” His use of terms like “motley” (a fool) and “blenches” (moral lapses) reflects a strong awareness of his past mistakes, emphasizing his desire for redemption. The confessional tone is sustained until the volta in line 9, where the mood shifts to one of hope and reconciliation, but regret remains the emotional foundation of the sonnet.
• What is the role of truth in the speaker’s self-realization?
• Truth plays a crucial role in the speaker’s journey of self-realization. Early in the sonnet, the speaker admits, “Most true it is that I have look’d on truth / Askance and strangely.” This line reveals that the speaker has avoided confronting reality, suggesting a willful ignorance of his own failings. By admitting to this distortion of truth, the speaker demonstrates that his missteps were not merely errors of judgment but also a result of self-deception. However, the recognition of these past wrongs enables him to grow, as he notes that “These blenches gave my heart another youth.” By confronting the truth of his actions, the speaker achieves a deeper understanding of himself and the nature of love, transforming regret into personal renewal.
• How does Shakespeare explore the theme of enduring love in the sonnet?
• Enduring love is a central theme in Sonnet 110, especially evident in the closing lines of the poem. After reflecting on his past mistakes, the speaker expresses a desire for a lasting, unchangeable love: “Now all is done, have what shall have no end!” This line signals the speaker’s commitment to a love that transcends time and fleeting desires. Additionally, the speaker elevates his beloved, referring to them as “a god in love,” which further underscores the sacred, timeless nature of this affection. His resolution to remain loyal and steadfast—”Mine appetite, I never more will grind / On newer proof, to try an older friend”—suggests that he has learned from his past errors and now seeks a love that is constant and eternal.
• In what way does the sonnet depict personal growth and transformation?
• The sonnet portrays personal growth and transformation through the speaker’s journey from self-deception to self-awareness. In the early lines, the speaker admits to having “made myself a motley to the view” and “sold cheap what is most dear,” signaling a period of moral and emotional error. However, as the sonnet progresses, the speaker acknowledges that these mistakes, or “blenches,” have rejuvenated him, granting him “another youth.” This paradoxical statement illustrates the transformative power of reflection and experience, where the speaker learns from his past behavior and emerges with a renewed sense of purpose. The final resolution—”Then give me welcome, next my heaven the best”—further underscores his personal growth, as he seeks reconciliation and a higher form of love. This transformation is framed as both emotional and spiritual, as the speaker moves beyond superficial desires toward enduring commitment.

Literary Works Similar to “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

1. “When You Are Old” by W.B. Yeats
   Similar in its reflection on past mistakes and the fleeting nature of beauty and desire, this poem explores the themes of regret and enduring love, much like Shakespeare’s Sonnet 110.
2. “A Poison Tree” by William Blake
   Both poems deal with internal conflict and the consequences of repressed emotions. Blake’s poem also explores personal realization, similar to the self-reflection in Sonnet 110.
3. “Remember” by Christina Rossetti
   Rossetti’s contemplation of love and loss shares the introspective tone and themes of lasting love and emotional reconciliation found in Sonnet 110.
4. “The Darkling Thrush” by Thomas Hardy
   Hardy’s poem reflects on personal despair and a turn toward hope and renewal, much like the transition in Shakespeare’s sonnet from regret to a desire for redemption.
5. “Ulysses” by Alfred, Lord Tennyson
   Although written in blank verse, this poem similarly explores themes of self-awareness, past failures, and the yearning for renewal and meaning in life, paralleling the reflective tone of Sonnet 110.

Representative Quotations of “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

Quotation	Context	Theoretical Perspective
“Alas, ’tis true I have gone here and there”	The speaker begins with an admission of regret, confessing his past mistakes and emotional wandering.	Psychoanalytic Theory: Reflects internal conflict and the speaker’s realization of unconscious desires leading to flawed actions.
“Made myself a motley to the view”	The speaker compares himself to a jester, acknowledging how his actions have made him appear foolish in the eyes of others.	New Historicism: The imagery of a “motley” reflects social concerns of the Renaissance period, where public honor and personal integrity were essential.
“Sold cheap what is most dear”	The speaker laments his failure to value what was truly important, indicating a sense of self-betrayal.	Marxist Theory: This line can be interpreted as a critique of commodification, where emotional values are “sold” cheaply for superficial gains.
“Made old offences of affections new”	He confesses to repeating past mistakes in new relationships, highlighting a cycle of failure.	Psychoanalytic Theory: This repetition compulsion reflects unresolved inner conflicts manifesting in repeated mistakes.
“Most true it is that I have look’d on truth / Askance and strangely”	The speaker admits to having ignored or misunderstood the truth, indicating past self-deception.	Reader-Response Theory: This line invites the reader to consider personal experiences of self-deception and delayed recognition of truth.
“These blenches gave my heart another youth”	Despite his past moral lapses, the speaker suggests that they have reinvigorated him, leading to personal growth.	Paradox Theory: The paradox of gaining new youth through mistakes underscores a complex understanding of personal rejuvenation through hardship.
“And worse essays prov’d thee my best of love”	Failed attempts at love have revealed the true value of the speaker’s current relationship.	Romanticism: The theme of learning through suffering aligns with Romantic ideals of personal growth and authentic love.
“Now all is done, have what shall have no end!”	The speaker declares his commitment to an enduring love that transcends time and past mistakes.	Metaphysical Theory: The reference to something eternal suggests a metaphysical perspective on love as transcending the temporal and material world.
“Mine appetite, I never more will grind”	The speaker vows to abandon his past desires and to no longer seek new pleasures at the cost of true love.	Moral Criticism: This line reflects the speaker’s ethical transformation, resolving to reject base desires in favor of a higher moral ground.
“A god in love, to whom I am confin’d”	The speaker elevates his beloved to a divine status, expressing complete devotion and loyalty.	Feminist Theory: This line can be examined through a feminist lens, as it portrays love as an idealized, almost divine force, raising questions about the gendered power dynamics in such devotion.

Suggested Readings: “Sonnet 110: Alas, ’tis true I have gone here and there” by William Shakespeare

1. Cormack, Bradin. “Shakespeare’s Other Sovereignty: On Particularity and Violence in ‘The Winter’s Tale’ and the Sonnets.” Shakespeare Quarterly, vol. 62, no. 4, 2011, pp. 485–513. JSTOR, http://www.jstor.org/stable/41350153. Accessed 24 Oct. 2024.
2. NELLES, WILLIAM. “Sexing Shakespeare’s Sonnets: Reading Beyond Sonnet 20.” English Literary Renaissance, vol. 39, no. 1, 2009, pp. 128–40. JSTOR, http://www.jstor.org/stable/24463748. Accessed 24 Oct. 2024.
3. MATZ, ROBERT. “THE SCANDALS OF SHAKESPEARE’S SONNETS.” ELH, vol. 77, no. 2, 2010, pp. 477–508. JSTOR, http://www.jstor.org/stable/40664640. Accessed 24 Oct. 2024.
4. Crosman, Robert. “Making Love out of Nothing at All: The Issue of Story in Shakespeare’s Procreation Sonnets.” Shakespeare Quarterly, vol. 41, no. 4, 1990, pp. 470–88. JSTOR, https://doi.org/10.2307/2870777. Accessed 24 Oct. 2024.