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Sonnet 23
‘Sonnet 23’ by John Milton depicts the speaker’s vision of his deceased wife and his dreams of
The first octave of ‘Sonnet 23’ contains the speaker’s description of his vision. He saw his wife, in
all her beauty. This did not scare him. Instead, it brought him pleasure and reminded him of
Alcestis from Greek mythology. His wife appeared pure, covered in a veil, yet shining in all her
normal beauty and grace. At the end of the poem, the speaker notes that he plans on seeing
her face, with his full sight, once he joins her in heaven. The poem concludes with the speaker
trying to embrace his wife and waking up from his dream, back into the world of darkness.
these come together in the poem to allow the speaker to see his wife as she is now. She’s
residing in Heaven, purified of any of the sins she might’ve had on earth. This is especially
poignant for the speaker since she died in childbirth. It’s clear throughout ‘Sonnet 23’ that this
woman’s loss has had a powerful impact on the speaker. When she disappears at the end of
the poem, he describes being thrust back into darkness. That is, the speaker alludes, his
primary state of being. It might be that only in dreams, in an altered state of reality, that he’s
ABBAABBACDCDCD. The poem is divided into one set of eight lines, known as an octave, and
one set of six lines, known as a sestet. The first eight lines can also be divided into two sets of
four lines, known as quatrains. Milton also makes use of another feature of Petrarchan
sonnets, iambic pentameter. This refers to the metrical pattern, one that consists of five sets of
two beats per line. The first of these is unstressed, and the second is stressed. This is the most
common metrical pattern used throughout the history of English poetry, especially within
sonnets.
Literary Devices
Milton makes use of several literary devices in ‘Sonnet 23’. These include but are not limited to,
a variety of poems in which the poet uses and reuses the same consonant sounds at the
beginning of multiple words. For example, “great,” “glad,” and “gave” in the third line and “face,”
Enjambment is another common device that appears when the poet cuts off a line before it
comes to its natural stopping point. For example, the transition between lines one and two as
Caesurae is another formal device in ‘Sonnet 23’. It is concerned with the pauses that a poet
puts into lines. These might be with punctuation or with the meter. For instance, “But Oh! as to
embrace me, she inclin’d” and “Her face was veil’d, yet to my fancied sight.”
Analysis of Sonnet 23
Lines 1-4
In the first lines of ‘Sonnet 23,’ the speaker begins with the line for which the poem later became
note. He notes that he thought that he saw his “late espoused saint.” This
slightly archaic language refers to the speaker’s recently deceased wife. This experience is far
from terrifying. In fact, the speaker rejoices over her presence. He shows his pleasure in the
following lines by comparing her to a series of mythological figures. The first of these is
“Alcestis.” He uses a simile to bring in this character, a woman who died for her husband,
Jove/Zeus. She was later brought back from the underworld by Hercules, one of Jove’s sons.
The last line of this quatrain provides the reader with some wonderful imagery that helps one
understand what it was like to see this vision. Alcestis, like his wife, is/was “pale and faint” when
she returned. This is a clever way of described how ghost-like her appearance was.
Lines 5-8
In the second quatrain of ‘Sonnet 23,’ the speaker compares his deceased wife to pregnant
women who, as described in the Hebrew Bible, had to be purified. The reference to “child-bed
taint” is an interesting one. It is usually one of the main reasons why readers and scholars have
associated this poem with Milton’s personal history. His second wife, Katherine Woodcock, died
He tells the reader in the seventh line that he hopes to see his wife in the future, in Heaven. He
uses the phrase “Full sight” in order to describe how he wants to see her. This might reference
the fact that Milton was going blind towards the end of his life, something writes about
Lines 9-14
When Milton sees his wife in Heaven, she’ll be all “vested…in white,” the color of purity. It is as
“pure” as her mind is. Any trace of sin has been removed from the woman he loved.
In the tenth line, he goes back to the vision he saw. He describes how his wife’s face was
covered in a veil. It was “veil’d” (this is an example of syncope). Despite this, he can still see her
and feel her “love, sweetness, goodness.” It shined out of her clearly. This suggests that he
won’t be able to see his wife’s face clearly until he gets to Heaven. There, they will be together
with his sight restored. At this moment, his “fancied” or creative sight is allowing him to see past
the veil.
In the final two lines of the poem, the speaker describes how his wife declined to embrace him.
This forces him to wake up and acknowledge that she’d fled. The dream was over. Despite the
fact that he was dreaming of this vision, with its absence, he’s thrust back into “night.” This is a