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Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy:
Why lov'st thou that which thou receiv'st not gladly,
Or else receiv'st with pleasure thine annoy?
If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering;
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing:
Whose speechless song being many, seeming one,
Sings this to thee: 'Thou single wilt prove none.'
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Who will believe my verse in time to come,
If it were filled with your most high deserts?
Though yet heaven knows it is but as a tomb
Which hides your life, and shows not half your parts.
If I could write the beauty of your eyes,
And in fresh numbers number all your graces,
The age to come would say 'This poet lies;
Such heavenly touches ne'er touched earthly faces.'
So should my papers, yellowed with their age,
Be scorned, like old men of less truth than tongue,
And your true rights be termed a poet's rage
And stretched metre of an antique song:
But were some child of yours alive that time,
You should live twice, in it, and in my rhyme.
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Let not my love be called idolatry,
Nor my beloved as an idol show,
Since all alike my songs and praises be
To one, of one, still such, and ever so.
Kind is my love today, tomorrow kind,
Still constant in a wondrous excellence;
Therefore my verse to constancy confined,
One thing expressing, leaves out difference.
Fair, kind, and true, is all my argument,
Fair, kind, and true, varying to other words;
And in this change is my invention spent,
Three themes in one, which wondrous scope affords.
Fair, kind, and true, have often lived alone,
Which three till now, never kept seat in one.
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When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme,
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have expressed
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And for they looked but with divining eyes,
They had not skill enough your worth to sing:
For we, which now behold these present days,
Have eyes to wonder, but lack tongues to praise.
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5. |
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No more be grieved at that which thou hast done:
Roses have thorns, and silver fountains mud:
Clouds and eclipses stain both moon and sun,
And loathsome canker lives in sweetest bud.
All men make faults, and even I in this,
Authorizing thy trespass with compare,
Myself corrupting, salving thy amiss,
Excusing thy sins more than thy sins are;
For to thy sensual fault I bring in sense,
Thy adverse party is thy advocate,
And 'gainst myself a lawful plea commence:
Such civil war is in my love and hate,
That I an accessary needs must be,
To that sweet thief which sourly robs from me.
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Those pretty wrongs that liberty commits,
When I am sometime absent from thy heart,
Thy beauty, and thy years full well befits,
For still temptation follows where thou art.
Gentle thou art, and therefore to be won,
Beauteous thou art, therefore to be assailed;
And when a woman woos, what woman's son
Will sourly leave her till he have prevailed?
Ay me! but yet thou mightst my seat forbear,
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forced to break a twofold truth:
Hers by thy beauty tempting her to thee,
Thine by thy beauty being false to me.
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7. |
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When my love swears that she is made of truth,
I do believe her though I know she lies,
That she might think me some untutored youth,
Unlearned in the world's false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false-speaking tongue:
On both sides thus is simple truth suppressed:
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
O! love's best habit is in seeming trust,
And age in love, loves not to have years told:
Therefore I lie with her, and she with me,
And in our faults by lies we flattered be.
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How careful was I when I took my way,
Each trifle under truest bars to thrust,
That to my use it might unused stay
From hands of falsehood, in sure wards of trust!
But thou, to whom my jewels trifles are,
Most worthy comfort, now my greatest grief,
Thou best of dearest, and mine only care,
Art left the prey of every vulgar thief.
Thee have I not locked up in any chest,
Save where thou art not, though I feel thou art,
Within the gentle closure of my breast,
From whence at pleasure thou mayst come and part;
And even thence thou wilt be stol'n I fear,
For truth proves thievish for a prize so dear.
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9. |
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No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it, for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O! if, I say, you look upon this verse,
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse;
But let your love even with my life decay;
Lest the wise world should look into your moan,
And mock you with me after I am gone.
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10. |
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Farewell! thou art too dear for my possessing,
And like enough thou know'st thy estimate,
The charter of thy worth gives thee releasing;
My bonds in thee are all determinate.
For how do I hold thee but by thy granting?
And for that riches where is my deserving?
The cause of this fair gift in me is wanting,
And so my patent back again is swerving.
Thy self thou gavest, thy own worth then not knowing,
Or me to whom thou gav'st it else mistaking;
So thy great gift, upon misprision growing,
Comes home again, on better judgement making.
Thus have I had thee, as a dream doth flatter,
In sleep a king, but waking no such matter.
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11. |
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What's in the brain that ink may character
Which hath not figured to thee my true spirit?
What's new to speak, what now to register,
That may express my love, or thy dear merit?
Nothing, sweet boy; but yet, like prayers divine,
I must each day say o'er the very same;
Counting no old thing old, thou mine, I thine,
Even as when first I hallowed thy fair name.
So that eternal love in love's fresh case,
Weighs not the dust and injury of age,
Nor gives to necessary wrinkles place,
But makes antiquity for aye his page;
Finding the first conceit of love there bred,
Where time and outward form would show it dead.
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Eleven of William Shakespeare's sonnets set to music, holding fast to the original text and hopefully, the true spirit.
released February 14, 2020
Words written by William Shakespeare
Music written by Grant Withington
Produced, engineered, mixed and mastered by Riley V. Miller
Co-produced by Grant Withington and Ben Withington
Vocals/guitars: Grant Withington
Piano: David Hess
Bass guitar/Trumpet: David Henry
Violin: Elise Ziegenbein
Electric guitar/Slide Guitar/Synths: Riley V. Miller
Synths: Ben Withington
Drums: Joshua Caleb Green (The Age To Come, Eyes To Wonder, How Careful)
Drums: Joshua Barrett (Those Pretty Wrongs, Farewell)
Background harmony vocals: Asher Payne
Cover art by Courtney Withington
