Q1
Q2
Q3
C
That thou hast her, it is not all my grief,
And yet it may be said I lov’d her dearly;
That she hath thee, is of my wailing chief,
A loss in love that touches me more nearly.
Loving offenders, thus I will excuse ye:
Thou dost love her, because thou know’st I love her;
And for my sake even so doth she abuse me,
Suffering my friend for my sake to approve her.
If I lose thee, my loss is my love’s gain,
And losing her, my friend hath found that loss;
Both find each other, and I lose both twain.
And both for my sake lay on me this cross:
But here’s the joy: my friend and I are one:
Sweet flattery! then she loves but me alone.
4
8
12
14
Sonnet 42 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a part of the Fair Youth section of the sonnets addressed to an unnamed young man.
It is not my main ground of complaint that you have her, even though I loved her dearly; that she has you is my chief regret, a loss that touches me more closely. Loving offenders, I excuse you both thus: you love her, because you know I love her; similarly, she abuses me for my sake, in allowing my friend to have her. If I lose you, my loss is a gain to my love; and losing her, my friend picks up that loss. Both find each other, I lose both, and both lay this cross on me for my sake. But there is one consolation in this thought: my friend and I are one; therefore she loves me alone.
Sonnet 42 is an English or Shakespearean sonnet. This type of sonnet consists of three quatrains followed by a final rhyming couplet. It follows the form's typical rhyme scheme, abab cdcd efef gg, and is written in a type of poetic metre called iambic pentameter based on five pairs of metrically weak/strong syllabic positions. Line 10 exemplifies a regular iambic pentameter:
The first three lines may be scanned:
In the first and third lines, Shakespeare emphasizes pronouns by putting them in metrically strong positions, encouraging the reader to place contrastive accent on them, thereby emphasizing the antithetical relationships plaguing the Speaker. This technique is common in the Sonnets, and continues through this sonnet. The second line has a final extrametrical syllable or feminine ending (one of six in this sonnet).