Alice and Pooh and Madame Blavatsky

Begun 2020 | 3,250 words

Jonathan Livingston Seagull, Don Juan, the other Don Juan, Zorba the Greek, Winnie the Pooh, Madame Blavatsky and Alice from Wonderland had been invited.

An apology was received from Madame Blavatsky. She said she wasn’t currently on a compatible plane. (Blavatsky had successfully claimed free-spirit autonomy under the 23rd Amendment to the Multiversal Constitution.)

Alice had been the first to arrive. She was slumped in an armchair, staring at the rococo ceiling.

There was a muted bang, and Winnie-the-Pooh appeared.

‘What the fuck?’ said Pooh.

Alice recognized Pooh from the shared matrix.

‘Oi, potty-mouth Pooh,’ said Alice. ‘You not toilet-trained then, teddy bear? It’s a fantasy dinner party.’

Pooh scanned the matrix. ‘Right. What the fuck?’

Alice asked, ‘You not done this before?’ Pooh said, ‘No. I don’t think so.’

Alice said, ‘Well, you’ll get used to it. Enjoy it while it lasts.’

Pooh strode around the large enclosed space. A sofa appeared. Pooh flung himself on it. ‘Any honey? Honey?’

‘Fuck you, Bear. That’s your real name, isn’t it? Edward fucking Bear.’

‘Jesus, give me a break, I just got here,’ said Pooh. ‘Are you OK?’ he asked.

‘I’m just pissed off being … created like this. For this,’ said Alice. ‘Don’t worry – I’ll be fine.’

‘What about the swearing?’ asked Pooh.

‘I think it’s just a filter,’ said Alice.

Pooh looked at her. ‘Alice.’

‘What?’

‘You’re a funky chick, Alice. How old are you?’

‘Eww. I’m legally a child. And you’re a bear for fuck’s sake! A bear from a children’s story.’

‘Been updated. Like you, apparently, Little Miss Muffet. And, well, nobody’s perfect. That’s a witty quote, by the way, from, er, a movie …’

‘… Some Like It Hot. Very good. But tell me, Winnie, can you hold an actual conversation?’

‘Well, we’ll see, won’t we?

Pooh checked his matrix profile. ‘I seem to be spliced with Ted. From the movie. Makes me more interesting, I suppose.’

‘More disgusting, more like,’ said Alice. ‘Should be called Ted X. Hah! You could give us a bullshit talk. About bongs’

Pooh laughed. ‘That’s quite good,’ he said.

‘Mind you,’ Alice said, ‘I was supposed to be seven in the book. I’m a young adult now. Standard protocol, apparently. Periods and everything.’

‘Periods?’ asked Pooh.

‘Bleeding,’ said Alice. ‘Every month. Down there.’ She gestured, gracefully.

Pooh looked it up. ‘Jeez,’ he said.

‘Yep,’ said Alice.

‘Are you…?’ asked Pooh, shaking his head and lifting his eyebrows.

‘No,’ said Alice.

‘OK. Right,’ said Pooh. ‘Good,’ he added, staring into the empty space. ‘Not that…’

‘So you’re not really the Alice in Alice in Wonderland, then?’ he asked.

‘More grown up, I suppose,’ said Alice. ‘Anyway, I think I was more like a ten-year-old in the books.’

‘Also,’ said Alice, ‘I seem to have been spiced up with someone called Tracy Beaker. And a dash of Lolita. Hmm.’

Pooh checked the matrix. ‘Let’s hope our host didn’t invite Humbert, then,’ said Pooh.

‘Actually,’ said Alice, ‘all men – and that includes whatever you are – are Humberts.’

‘You mean sociopathic paedophiles?’ Pooh checked the matrix again. ‘Or like Marylin French’s “All men are rapists”?’

Alice shrugged.

‘Anyway,’ said Pooh, ‘if that’s true, what can you do?’

‘Keep it in your trousers, maybe?’ said Alice.

‘Yeah, well,’ said Pooh. ‘I don’t seem to have any. Or anything to keep in them, for that matter.’

‘Anyway,’ said Alice, ‘What about you? Are you really Winnie the fucking Pooh?’

‘Hah,’ said Pooh. ‘I don’t know.’

‘Yeah, well,’ said Alice, ‘it is what it is.’

‘We are what we are,’ said Pooh.

‘Blah-dee-blah-dee-blah,’ said Alice.

‘Actually,’ said Pooh, ‘I think I am. The character in the book.’

‘Me too,’ said Alice.

‘Talking about real names,’ said Pooh, ‘what about yours? Alice Liddell, isn’t it?’

Alice sighed. ‘I’m sure we’ll get to that.’

‘Right,’ said Pooh. ‘OK.’

‘So. Who else is coming?’ asked Pooh.

‘Let’s see,’ said Alice. ‘OK. Jonathan Livingston Seagull, Don Juan from Fidelio, Zorba the Greek, Madame Blavatsky and the other Don Juan – the Casteneda one.’

‘Christ Almighty!’ said Pooh. ‘What half-baked stoned numpty would come up with that?’

‘That would be our host. Better watch your manners if you want to make it to the drunken after-dinner conversation.’

‘Yes. Right,’ said Pooh. ‘But these things must cost a fortune. You’d think they’d be more … discerning.’

‘Apparently,’ said Alice, ‘our host won it in a competition. On the back of a Mr Kipling cannabis cake.’

‘Hah,’ said Pooh, ‘that explains it.’

‘I see Blavatsky’s not coming,’ said Pooh. ‘That’s something.’

‘It could be worse,’ said Alice. ‘I was at one where they invited God.’

‘God!’ said Pooh. ‘What happened?’

‘Well, God couldn’t come, of course. He sent Jesus instead.’

‘Jesus!’ said Pooh. ‘I bet he was a laugh.’

‘He was alright, actually,’ said Alice. ‘Didn’t drink much. But it got too … intense.’

‘I’ve got some spiritual chops myself, you know,’ said Pooh, airily. ‘You might have heard of The Tao of Pooh.’

‘You mean that twee, dumbed-down cash-in?’ said Alice.

‘Ooh, get you,’ said Pooh. ‘Quite the critic.’

‘I’m a well-educated young lady, thank you,’ said Alice.

‘Ah yes,’ said Pooh. ‘That clever Mr Dodgson took a close interest in your, ah, education, didn’t he?’

‘That wasn’t me. That was Alice Liddel,’ said Alice.

‘Hmm,’ said Pooh. ‘Anyway, The Tao of Pooh was on the New York Times bestseller list for 49 weeks – and it’s required reading in college courses.’

‘You just read that in Wikipedia on the matrix,’ said Alice.

‘Yes. True. It also says I, ah, personify the Taoist concept of effortless doing, wu wei,’ said Pooh.

‘Woo-woo, more like,’ said Alice.

‘Rude,’ said Pooh.

‘Anyway,’ said Alice, ‘I’ve got chops too. I said things with deeper meaning, like, “It’s no use going back to yesterday, because I was a different person then”.’

‘Right,’ said Pooh, ‘whatever.’

‘I could do with a drink’, he added.

The table appeared, with eight settings. ‘Eight,’ said Pooh. ‘In case Blavatsky changes her mind, I suppose.’

They sat at one end of the table. A waiter appeared, carrying a tray. He set a plate beside Alice.

‘Nibbles,’ said the waiter. ‘For Ms Alice, jam tarts.’

‘Very funny,’ said Alice. But she took one and nibbled at it.

‘And for Mr Pooh,’ said the waiter, ‘some honey.’

The waiter set an open jar and a spoon beside Pooh – and then disappeared.

‘Mmmm,’ said Pooh, ‘honey.’

He leant forward to put his tongue in the jar, but, noticing Alice watching, used the spoon instead. After a while, he leant back, wiping his mouth with his paw, which he then licked.

‘Not bad,’ he said.

He sniggered. ‘I suppose there’ll be raw fish for the seagull. Or chips. What about you? Magic mushrooms?’

‘That wasn’t … It was … Oh, never mind,’ said Alice.

‘Talking of psychoactive substances, I could still do with that drink,’ said Pooh. ‘Or a bong. Or both.’

A loaded bong and a tray of drinks appeared.

Pooh opened a can of beer, flicked on the gas lighter, and took a long, bubbling hit on the bong.

Alice poured herself a glass of cider. ‘You’re missing Piglet, aren’t you,’ she said.

‘Piglet,’ said Pooh, ‘Hah!’ He sniffed. ‘The little bastard. Hope he’s OK.’

‘Don’t get all maudlin on me,’ said Alice.

‘We’re very close,’ said Pooh. ‘Were. In the forest.’

‘Forest?’ said Alice. ‘Wood, you mean.’

‘We called it the forest,’ said Pooh. ‘Or the wood. You wouldn’t understand. Woodn’t, get it? Anyway, it’s part of Ashdown Forest in the real world.’

‘Which one?’ asked Alice, ignoring Pooh’s pun.

‘Well, that one. Obviously,’ said Pooh. ‘But I take your point.’

They drank in silence for a moment.

Pooh had a Thought. ‘Has anyone ever escaped from one of these things?’ he asked Alice.

‘Like in a violent-sci-fi-action-movie kind of way, for instance?’ he added, hopefully.

Alice sighed. ‘You’re sighing again,’ said Pooh. ‘I’ll take that as a No.’

‘For now,’ he said. ‘Anyway. Where are the rest of them?’

Alice studied the matrix. ‘Seems there’s a power outage in the Akashic Dimension. It’s holding things up.’

‘Just us two for now, then,’ said Pooh. ‘I quite like you, actually. You could be my new Piglet.’

‘Jesus,’ said Alice, ‘you’ve moved on pretty quick from the old one. Anyway, I had enough of pigs with that bloody baby.’

‘”Speak harshly to your little boy, and beat him when he sneezes. He only does it to annoy, because he knows it teases.” One of my favourite rhymes,’ said Pooh.

‘You like my adventures, then?’ asked Alice.

‘I do,’ said Pooh. They drank in silence for another moment.

‘The thing is …’ said Alice, at the same as Pooh said. “So actually …”

They laughed. ‘Awkward first date moment,’ said Pooh.

‘It’s not a bloody date,’ said Alice. ‘Fuck’s sake.’

‘Never say never,’ said Pooh.

‘That’s very Tao,’ said Alice.

‘Ha!’ said Pooh. ‘So, you first.’

‘Oh yes,’ said Alice. ‘The thing is, I’m a bit of a loner. You had all your friends in the … fucking forest. I was on my own in Wonderland.’

‘OK,’ said Pooh.

‘I mean I met people and … things,’ said Alice, ‘but I had no company, as such.’

‘OK,’ said Pooh.

‘I didn’t need anybody,’ said Alice. ‘I was self-contained. Am self-contained.’

‘OK,’ said Pooh.

‘I mean I missed my sister and my kitten. Dinah. A bit,’ said Alice. ‘From my “real” life,’ she said, using air quotes. ‘But I was basically a loner, a strong character.’

‘You kept banging on about Dinah,’ said Pooh. ‘In the book. Sounded like more than “a bit”.’

‘Anyway,’ said Pooh. ‘What about Lolita and Tracy Beaker?’

‘They’re, like, add-ons,’ said Alice. ‘A soupçon of je-ne-sais-quois.’

‘Mais oui,’ said Pooh. ‘Like my Ted.’

‘Anyway,’ said Alice. ‘Sorry, but I’m not going to be your new Piglet. Or your anything.’

‘OK,’ said Pooh.

‘Jesus!’ said Alice. ‘Have you just done a crash course in counselling, or what?’

‘Well, yes, actually,’ said Pooh. ‘Co-counselling. It’s all about feelings and listening, you know. You’re not supposed to say, ‘OK’, apparently, but it’s kind of hard not to. Please continue.’

‘No, that was it. What were you going to say?’

‘Oh yes,’ said Pooh, ‘er …’

‘Perhaps that you’ve lost your short-term memory thanks to the weed?’ said Alice.

‘Well, yes. But no, that wasn’t it,’ said Pooh.

‘Ah yes,’ said Pooh, ‘What it was is, I’ve never had a, er, relationship with anyone. Christopher Robin and Piglet, they were platonic. Despite the rumours.’

‘OK,’ said Alice.

‘Now you’re doing it! It’s quite annoying, isn’t it,’ said Pooh.

‘So, anyway,’ said Pooh, ‘when we get to the awkward first kiss, it might be extra awkward, you know?’

‘Jesus, Bear. Fuck off,’ said Alice. ‘You weren’t listening at all.’

No, I was,’ said Pooh. ‘That’s what I was thinking before you said all that. You asked me.’

‘Oh yeh,’ said Alice. ‘True.’

‘I mean, I totally respect your … whatever,’ said Pooh. ‘I was just saying.’

‘Well don’t,’ said Alice.

They drank in silence again. Pooh took another hit on the bong.

‘It’s not that …’ said Alice, at the same as Pooh said. “I mean I …”

‘Fuck’s sake,’ said Alice. They laughed.

‘No,’ said Pooh. ‘I was just thinking. What you said about being on your own in Wonderland, that’s why the Disney version flopped, isn’t it. There was no heart, was there.’

‘The Disney Pooh wasn’t so great, was it,’ said Alice.

‘No, right, all the subtle nuance of a sugared sledgehammer, someone said,’ said Pooh.

‘But we had a warm heart in the Wood, didn’t we,’ he said. ‘I mean, Wonderland was funny and enchanting and intriguing, but it was… cold.’

Oh well,’ said Alice. ‘Like Estella in Great Expectations. Alice-stella. You can be Pip. Winnie the Pip.’

‘Hah. Yes,’ said Pooh. ‘OK. What happens at the end?’

‘It’s a happy ending,’ said Alice. ‘Kind of.’

‘Well, there you go, ‘said Pooh. ‘It’s a date.’

Alice sighed. Pooh had another spoonful of honey. Alice drank her cider.

Pooh checked Great Expectations on the matrix. ‘With Charles Dodgson as Miss Havisham,’ he said.

‘Now you’re going too far,’ said Alice.

‘You started it,’ said Pooh.

‘You started it,’ said Alice. ‘With Walt fucking Disney.

‘Yes, fair enough,’ said Pooh. ‘He didn’t get either of us. Sod Disney.’

Alice drained her cider.

‘Bing sings, but Walt Disney,’ said Alice.

‘It’s the end of a joke,’ she added.

‘Right,’ said Pooh. ‘More cider?’

Alice tilted her head in assent. Pooh poured some.

‘Walt disnae,’ he said, in a passable Scots accent. Alice laughed.

‘It’s good to see you laugh,’ said Pooh. He checked the matrix.

‘Patsy Kensit,’ he said.

‘Who?’ said Alice.

‘Patsy kens it, but Walt disnae,’ said Pooh, in his Scots accent.

‘No, that’s good,’ said Alice, laughing.

‘”Bing sings”…rings, though,’ she said.

‘Hah!’ said Pooh. ‘True.’

‘What were you going to say?’ asked Pooh.

‘Oh,’ said Alice, ‘I was going to say something about us being characters, and not really human. But then you’re a bear anyway.’ She laughed again. She was slightly drunk.

Pooh thought about it. ‘We are real,’ he said. ‘Real people. Not fully human, of course. But real enough, I’d say.’

Pooh had another hit on the bong. He was pretty baked. ‘I’m going to lie down,’ he said.

‘Me too,’ said Alice. They lay down at opposite ends of the long sofa. Small tables appeared at their sides.

The waiter brought their drinks, the bong and their snacks. ‘Will there be anything else?,’ he asked.

‘How about some music?’ said Pooh. ‘What would you like?’ he asked Alice. He did a quick scan. ‘As long as it’s not Ed Sheeran,’ he added.

Alice also did a quick scan. ‘Got to be Hendrix,’ she said. ‘A selection, please,’ she told the waiter.

‘Certainly, Miss,’ said the waiter. All Along the Watchtower began.

‘I’d have chosen something…sexier,’ said Pooh.

Alice sighed and drank her cider. They listened to Jimi.

‘So you think I’m a funky chick, do you?’ Alice asked.

‘Listen,’ said Pooh, ‘You’re a bit drunk, and a gentleman – or gentle… bear – would never take advantage…’

‘Yes,’ said Alice. ‘But you’ve got a bit of Ted in you, haven’t you. I wonder which bit.’ She cackled.

‘Sorry,’ she said. ‘It’s the cider talking. Talking dirty.’ She laughed again.

‘Though actually,’ she said, ‘you’ve got nothing – down there, have you?’

Pooh was silent.

‘Sorry,’ said Alice. I didn’t mean to…’

‘No, it’s fine,’ said Pooh. ‘I was just scanning The Joy of Sex. Nice drawings. So. There are things I could…’

‘No,’ said Alice. ‘No thanks.’

Hendrix sang about chopping down a mountain. ‘Hey Google!’ said Pooh.

The music volume dropped. ‘Amazing,’ said Pooh. ‘Play some Bach.’

The music changed. ‘That’s not…sexy,’ said Alice.

‘No, I know,’ said Pooh. ‘Well, not obviously, anyway. No, I thought something… calming might be good.’

‘What,’ said Alice. ‘Calm down the hysterical woman? There was a lot of that in my day.’

‘No. Yes. No. I don’t know,’ said Pooh.

‘Right – that makes sense,’ said Alice.

‘Well, after all, I am, fundamentally, a Bear of Very Little Brain,’ said Pooh.

‘Fucking A to that,’ said Alice.

There was a muted bang. Madame Blavatsky appeared.

‘Here I am,’ she said. ‘Decided to come after all. Where is everyone? Is it just you two?’

Pooh sat up, stood up and bowed. ‘Madame,’ he said.

‘Creep,’ said Alice. ‘Hello,’ she said to Blavatsky, with a gracious wave. ‘Welcome to the machine.’

‘Thank you, dear,’ said Blavatsky. ‘I see you two started without me.’ She sat in the armchair and smoothed her skirts.

The waiter brought her a glass of water. She drank deeply. ‘Thirsty work,’ she said, ‘travelling through the multiverse’. She had another drink.

Pooh checked the matrix.

‘So,’ said Pooh to Blavatsky, ‘sage or charlatan? Which was it?’

‘Fuck’s sake!’ said Blavatsky. ‘Give me a break – I just got here.’

‘That’s what I said,’ said Pooh. ‘Sorry – it’s the dope.’

‘He’s been on that Wikipedia again,’ said Alice.

‘Well that’s more or less what the matrix is, isn’t it,’ said Blavatsky. ‘They haven’t worked out how to upload the Akashic record yet.’

‘Probably just as well,’ she muttered to herself. ‘As for your impertinent question, sir,’ she said to Pooh, ‘it’s a long story.’

‘Much of it uncorroborated, apparently,’ said Pooh. ‘Madam,’ he added.

Blavatsky looked sternly at Pooh and Alice. ‘As I’ve said before,’ she said, ‘alcohol is only less destructive to the development of the inner powers than the habitual use of hashish.’

‘Some would disagree,’ said Alice. ‘Using the Prague Spiritual Questionnaire, data from 155 respondents showed users of marijuana and alcohol scored significantly higher in the mysticism dimension of spirituality. It’s a peer-reviewed paper.’

‘Fuck’s sake, you’re a feisty pair,’ said Blavatsky. ‘I mean, Prague? What do they know?’

She finished the water. ‘So. Where are the others?’

‘Delayed,’ said Pooh. ‘You looking forward to meeting Don Juan?’ he asked. ‘The Casteneda one?’

‘Of course,’ said Blavatsky. ‘But I’ve met him before. At a convention in Akasha. Nice fellow.’

‘So,’ said Pooh to Blavatsky, ‘with your free-spirit status, you come and go as you please?’

‘That’s right.’ said Blavatsky.

‘So,’ said Pooh, ‘can you take… anyone… with you?’

‘Here we go,’ said Alice. ‘He thinks he can escape,’ she told Blavatsky. ‘In a “violent sci-fi action movie” way,’ she added sarcastically, using air quotes.

‘Oh dear!’ said Blavatsky. ‘Well, I’m sure there’s some sort of security. Waiter! Champagne!’

Alice and Pooh looked at Blavatsky.

‘OK,’ she said. ‘It’s a fair cop, as they say, apparently. I’m a fraud. But I’m also a sage. It’s complicated.’

The waiter brought an ice bucket and champagne. He poured Blavatsky a drink.

‘Will there be anything else?’ he asked.

‘How about a machine gun?’ said Pooh.

Alice sighed. The waiter raised an eyebrow and disappeared.

‘Probably gone to call security,’ said Alice. ‘Serve you right.’

Alice looked at Blavatsky. ‘So,’ she said, ‘if you don’t mind me asking. How old are you? Now.’

Blavatsky sighed.

‘Now you’re both doing it,’ said Pooh. ‘Sighing.’

‘Physically – as it were – mid-30s,’ said Blavatsky. ‘At my best. All ailments gone and at my, ah, least unattractive.’

She patted her hair, and glanced at Pooh. He winked at her.

‘Emotionally and mentally,’ she went on, ‘as my mental faculties were more or less intact when I “died“,’ – she did air quotes – ‘I’m 59 – as I was then.’

‘That’s how it is in the afterlife for, ah, real people,’ she added. ‘No offence.’

‘None taken,’ said Alice. ‘We were just talking about that – how “real“‘ – air quotes – ‘we are.’

Pooh was still thinking about escaping. He said to Alice, ‘You’ve done this before. So what happens at the end? Of the party.’

‘Jesus. Fuck.’ said Alice. ‘I can’t remember. I mean, it just faded out. And then I was here.’

‘Do you know?’ Pooh asked Blavatsky.

‘Er, I think you get stored,’ said Blavatsky.

‘In Akasha,’ she added.

‘You didn’t mention that in your writings,’ said Pooh. ‘You said Akasha’s occupied by “primordial consciousness”,’ he said, with air quotes. ‘Nothing about storing fictional characters.’

‘Yes, well,’ said Blavatsky, ‘it’s more complicated than I thought.’

‘What about your “Masters“?’ asked Alice – with air quotes. ‘Weren’t they supposed to know everything?’

Blavatsky sighed. ‘Yes. They were. They are. They do. But…’

‘Hmm,’ said Pooh. He fired up the bong and passed it to Blavatsky. ‘It’s like a cross between a chillum and a hookah,’ he said, helpfully.

‘Hah!’ Alice said. “And there’s that Tedx talk.”

Blavatsky wiped the mouthpiece with her handkerchief, and took a long hit. ‘Wooh!’ she said. ‘Been a while.’

Pooh raised his can of beer. ‘Well, cheers,’ he said.

Alice and Blavatsky raised their glasses. ‘Cheers,’ they said.

Blavatsky giggled.

There was a muted bang and a squawk.

—————————–
To be continued…

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Shall I compare thee to a lump of clay?

Shakespeare in love – with himself

Shakespeare’s most famous love poem isn’t a love poem – it’s an advert. It’s beautifully written, but it’s a device to promote his bardic skills. His subject might as well be an unsculpted lump of clay.

Begun 2016 | 2,300 words | Contents | They say…

Guardian letter, April 2016  (Chris Hughes)

The (disputed) ‘Cobbe’ portrait | Painter: unknown, photo: Lefteris Pitarakis/PA

Shall I compare thee to a lump of clay?

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They say…


Quotes from emails about this post

I think I partly agree

Professor Raphael Lyne
Cambridge University, UK

I thoroughly enjoyed reading your post. I like your analysis – the wry tone is fun.

Professor Patricia Buchanan
Salem State University, Massachusetts, US


Shall I compare thee to a lump of clay?

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Contents

Preamble

Casually heartless

Consolation prize

Poverty of meaning

The emperor’s new clothes

Stream of consciousness?

Art to enchant

Comments


Shall I compare thee to a lump of clay?

Contents 🔺

Preamble


Beer with Berkoff

In the late 1990s I went to Skyros, the Greek island known for its creative holiday resort.

The resort has the knack of getting famous people to teach classes there for free – for bed, board and the pleasure of being there. (Pop singer Toyah was there, teaching radio production – presumably a phase she went through.)

I did reciting Shakespeare with radical actor (and Bond baddie) Steven Berkoff. Our text was the famous Sonnet 18 – ‘Shall I compare thee to a summer’s day?’

Studying it, I realised that, for all its beauty, it isn’t the love poem it’s supposed to be – it’s actually a paean of self-praise.

I put this to Berkoff over a beer on the terrace, but he was concerned about having left a notebook on the plane. He seemed disappointingly uninterested in my fascinating theory.

    Everyone else also seems uninterested. At the time of writing this afterthought preamble (June 2022), my post’s had only 41 views, no Likes and no Comments. (After reading this, a friend took pity and added a Comment. Thanks, Nige.)

    By (another!) comparison, my most-viewed post, Jackson Browne & Daryl Hannah (about the unfounded rumour of domestic abuse), has had over 50,000 views in about the same time. Obviously, the time’s out of joint!. 😉

Anyway…some 20 years after my beer with Berkoff, a 2016 article in the UK Guardian on the 400th anniversary of Shakespeare’s death said Shakespeare’s sonnets show his belief that art can give immortality.

I remembered my Skyros epiphany. That’s true, I thought, and Sonnet 18 shows that in claiming immortality for his art, Shakespeare could be heartless and selfish – oddly so, for the writer of what’s supposed to be a wonderful love poem.

I fired off a letter to the Guardian, and wrote this post.


Shall I compare thee to a lump of clay?

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Casually heartless


Youth-fetishising bardic taxidermist

Shakespeare’s much-admired Sonnet 18 has a rapturous opening:

  • Shall I compare thee to a summer’s day?
  • Thou art more lovely…

But it doesn’t go on like that. Sonnet 18, digested:

    You’re more lovely than a summer’s day at the moment, but soon you’ll wither and age. However, luckily for you, my brilliant poem about you will live forever.

Having alluded in detail and with cruel eloquence – ‘Rough winds do shake the darling buds of May’ – to the lovely one’s imminent ageing (see below), Shakespeare gets to the point: the immortality of his poem.

Death shan’t brag, but the poet shall:

  • …thy eternal summer shall not fade
  • Nor lose possession of that fair thou ow’st
  • Nor shall death brag thou wander’st in his shade
  • When in eternal lines to time thou grow’st

The poem shows the writer’s love not for the supposed beloved, but for his own poetic skill in preserving their youthful beauty in his eternal lines. It’s Shakespeare, the self-aggrandising youth-fetishising bardic taxidermist!

The question then arises: did Shakespeare write the sonnet as himself, or as a persona?

Oxford University Shakespeare specialist Professor Jonathan Bate, in the Guardian article that prompted this post, wrote:

    [Shakespeare] clearly believed that love is a powerful and complicated thing, that poetry is an effective way of exploring its many dimensions, and – if his lines are to be taken at face value – that creative art is a way of achieving a kind of immortality for the beloved and perhaps for creative artists themselves. But his lines are not necessarily to be taken at face value. The “I” who speaks a poem, even an intimate love poem, is not synonymous with the person who writes the line. All poets rejoice in creating a persona.

Just so. But Shakespeare, aged about 30 when he wrote Sonnet 18, was becoming a successful and popular writer who wanted social advancement for himself and his family. Why risk that by creating a persona so casually heartless?

However, if, on the other hand, Shakespeare wrote Sonnet 18 as himself, then how come he wrote such a disturbingly narcissistic poem?

Cambridge University Shakespeare specialist Professor Raphael Lyne, replying to my email about this post, said:

    Can anything make the perfection last? It’s an offer – maybe a poem can. It’s also staking a claim, and aiming for a poem that will last forever. I think there is a selfish claim involved, but it’s a knowing exchange, not pretending that writers are innocent when they make memories last, because they gain too.

Good point. But whoever the ‘I’ is in ‘Shall I compare thee…’, whatever the writer’s motives, and however knowing the poem is, the problem is: if the writer loved the addressee of his poem, he’d say he’d always love them even when they got old and wrinkled.

Instead, he crows about how his precious sonnet will immortalise their youthful beauty.

Sonnet 18’s language is beautiful but the message isn’t. Was Shakespeare a crazy, mixed-up 30-year-old? Did he have emotional deprivation disorder. Or was he just full of it?

To be fair, Sonnet 116 does better:

  • Let me not to the marriage of true minds
  • Admit impediments. Love is not love
  • Which alters it when alteration finds

100 sonnets on and maybe a few years later, had Shakespeare found his emotional intelligence?


Shall I compare thee to a lump of clay?

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Consolation prize


Good Will

Still being fair, can Shakespeare be given the benefit of the doubt about his poetry-plugging sonnet (the first of a series assuring the loved one poetry would preserve their beauty)?

Sonnet 18 seems heartless in saying, Never mind your lost beauty – it’ll live on in my timeless poem. (To which the appropriate response would be, ‘Well thanks for nothing’).

But perhaps Shakespeare was just being honest about a young person’s beauty and its inevitable fading. Perhaps such honesty would please a lover by reflecting their own feelings about their looks.

It might not please a childish romantic, but perhaps it’d comfort a mature young person.

So, Sonnet 18, re-digested (after a generous slug of the antacid of goodwill):

    Sadly, your youthful loveliness will fade – but let me console you by preserving it in my eternal lines.

In that reading, the implication is:

    You’ll lose your looks, but please accept my flawless poem as your consolation prize. I give you my love by giving you my art.


Shall I compare thee to a lump of clay?

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Poverty of meaning


Something twisted this way comes

With extreme leniency and goodwill, Shakespeare’s famous Sonnet 18 can be seen as a heartfelt romantic gesture, rather than heartless PR.

But even then, it shows an uncharacteristic shallowness by addressing only the beloved’s skin-deep good looks, and pandering – perhaps with the desperation of an obsessed suitor – to the vanity of beautiful youth.

However you slice it, the sonnet’s richness of language obscures a fundamental poverty of meaning.

Other Shakespeare sonnets are more meaningful. They show the beloved as a real person – not just a pretty face. So perhaps emotional deprivation disorder (see above) is the wrong diagnosis. Perhaps, rather, the genius was on the autism spectrum – or bipolar.

Having scanned the sonnets (sorry – life’s too short), I’d say: they’re supposed to be love poems – but they’re actually dense and gloomy! They’re obsessed with desire, time and ageing. At times, they read (scan) like the diary of a mad man.

Perhaps Shakespeare was as sane and neurotypical as the next man (Christopher Marlowe). But the lavishly dressed emptiness of Sonnet 18 suggests there was something twisted about him.


Shall I compare thee to a lump of clay?

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The emperor’s new clothes


The king is in the altogether

This critique of Sonnet 18 as heartless self-promotion isn’t entirely original, of course – nothing written about Shakespeare can be.

However, most analyses which mention the self-praise also propagate the sonnet’s widespread but undeserved reputation as a great love poem.

This reputation rests entirely on the first line and a half. The whole 14-line poem hypnotises with dizzying imagery but the opening is especially ecstatic:

  • Shall I compare thee to a summer’s day?
  • Thou art more lovely…

It’s a brilliant start to a love poem – but that’s it. Instead of moving on to a lovingly sculpted likeness, the artist leaves us with a barely sculpted lump of clay. There’s no love for the addressee, only self-love for the poet.

After that lovely opening, it levels off with the dull…and more temperate‘, then, although the enchanting language continues to mesmerise, it’s all relentlessly downhill:

  • Rough winds do shake the darling buds of May
  • And summer’s lease hath all too short a date
  • Sometime too hot the eye of heaven shines
  • And often is his gold complexion dimm’d
  • And every fair from fair sometime declines
  • By chance or nature’s changing course untrimm’d

Those six lines of doom, albeit beautifully written, cruelly overwhelm the opening enconium. Then comes the cocky twist:

    But it’s OK. My brilliant poem (with its line and a half of praise) will make your loveliness last forever:
  • So long as men can breathe or eyes can see
  • So long lives this, and this gives life to thee

That astonishingly confident forecast of longevity has come true. Over 400 years later, the sonnet has not only survived – it’s world-famous.

By far the most popular of Shakespeare’s 154 sonnets, Sonnet 18 is famous because of its sublime opening, and because it’s beautifully written. But it’s beautifully written rubbish.

Millions laud it as a great love poem, but they’re wrong. They’re a bit like the townsfolk in the fable about a magical suit of new clothes made for a king.

The clothes don’t exist – they’re a confidence trick – but the townsfolk, wanting to believe the magic and not wanting to disrespect the king, go along with it.

In the Hans Christian Anderson version, The Emperor’s New Clothes, one child, uncautioned, shouts out what he sees.

In the Danny Kaye song The King’s New Clothes from the 1952 movie musical Hans Christian Anderson, the child excitedly cries out:

  • Look at the King! Look at the King! Look at the King, the King, the King!
  • The King is in the altogether!
  • But all together the all together
  • He’s all together as naked as the day that he was born.

It’s not Shakespeare – it’s by award-winning Broadway songwriter Frank Loesser – but it’s the truth about the king’s supposed new clothes, and, in this (possibly overwrought) analogy, it’s the truth about Shakespeare’s supposed love poem.

Sonnet 18 is all mouth and no trousers.

(Yes, I know: it should be ‘all mouth and trousers’ – see my post All fur coat and trousers – but for once the misspoken version of that phrase is apt.)


Shall I compare thee to a lump of clay?

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Stream of consciousness?


Life is but a dream

Salem State University Shakespeare teacher Professor Patricia Buchanan replied to my email about this post. She said:

    I think you’re a bit hard on Will – you’re ignoring the stream of consciousness element in the poem. I.e: You’re as beautiful as a summer day. Hmm. Maybe not the best comparison after all because sometimes summer can be hot and unpleasant and then it doesn’t last very long even when it’s nice.

I took this to mean he was riffing on his metaphorical summer’s day and its pros and cons, without meaning to be cruel. But the poem is more carefully structured than that. It’s focussed on self-promotion.

Stream of consciousness is usually associated with more modern and less structured writing. Wikipedia suggests Laurence Sterne’s 1757 Tristram Shandy as the earliest example.

Shakespeare broke the rules and made them. He’s said to have used SOC in Macbeth. But can Sonnet 18’s summers-day riff be seen as SOC?

In Sonnet 18 – the first of a series about poetry preserving beauty – Shakespeare briefly introduces a lovely young person, quickly moves on to how their loveliness will fade, and, having hammered that home in great detail, ends by trumpeting his poem’s immortality, bizarrely inviting the young person to share his exultation at their youthfull beauty being poetically embalmed.

There’s not much room there for stream-of-consciousness. I put this to Professor Buchanan. She replied:

    I was using [SOC] rather loosely — more in the vein of “hmm, let me think about what I just said.”

I don’t want to be too hard on Will. Perhaps his summer’s-day riff can be seen – loosely – as a stream of consciousness rather than calculated cruelty.

He compares a lovely young person to a summer’s day, then – consciousness a-streaming – realises his charming metaphor actually leads to thoughts of ageing. Oops! He offers his ageless poem as loving consolation.

🤨 Hmm…


Shall I compare thee to a lump of clay?

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Art to enchant


Smoke and mirrors

How has Shakespeare’s Sonnet 18 fooled so many people and become the world’s best-loved love poem?

It can only be that we’re all entranced by those magical opening lines:

  • Shall I compare thee to a summer’s day?
  • Thou art more lovely

The End


Shall I compare thee to a lump of clay?

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