Sonnet 66 by William Shakespeare

This collection of sonnets has a male speaker, discussing questions of love, death, time, and morality. “Sonnet 66” by William Shakespeare is a poem addressing frustration and feelings of hopelessness revolving around the toxic society and moral decay that’s in the hold of the world, but reveals that love and human connection can conquer all. 

In the first section, the speaker addresses that he is ready and begging for a “restful death”, and begins to list the reasons why (Shakespeare, Line 1). He is able to emphasize just how much he wishes for death, using alliteration in line 2, “behold desert a beggar born,” using the letter B (Shakesphere, Line 2). He is using an instance where people often will desert someone who is in need, or have to witness someone who is going to have a life of pain, helpless to do anything about it. The speaker can be both the beggar and the helpless witness; the one wishing for death and the one helpless to fix the situation he sees. In this case, the Alliteration in the text signifies that the speaker feels that nothing in the world is changing, even though there are so many bad parts of it. This poem is also a sonnet, and uses the rules of a Shakespearean sonnet to create a cohesive and intricate poem; paralleled with the complex feelings that the speaker faces. The beginning of the poem sets us up with the somber tone, and the frustrating feelings towards the current state of society. 

The second section immerses us in a realization that he’s specifically upset with society, stating several things are unfortunate and terrible that are done in the world. Broken promises, two-faced ideology, “maidens virtue” lost, the unequal class system, and ect (Shakespeare, lines 3-12). Shakespeare creates a noticeable anaphora in the middle section of the poem, at the beginning of every line, the speaker uses “and” (Shakespeare, line 5). The anaphora extenuates the debilitating feelings of dread that nothing will ever change, and the cynical structure society has created. This meaning is also further developed with specific words such as “ tongue-tied” which creates alliteration, used to create a stifling tone using the letter T (Shakespeare, line 9). This creates the picture of a world at which things are often censored by authoritative power unjustly. This section further expresses the reasons for the speaker’s intense sense of injustice in the world, illustrating his original want for eternal slumber. 

As the sonnet reaches the end, Shakespeare continues his explanation by stating of the effects of simplemindedness and how good is taken over by “captain ill”; wickedness (Shakespeare, line 11). There are punctuation changes along with an end to the anaphora, signifying an end to his explanation, and continuing with a final couplet. The ending lines of the poem follow an assonance of the letter E, connecting the first two lines with the last two lines. This creates a distinction from the middle part of the sonnet, and creates a more fluid annunciation of an iambic pentameter. The speaker once again highlights his exhaustion with the world’s neverending corruption, and assuming the audience understands his reasoning, is ready to die. But a shift in the poem occurs in the final line of the poem, providing a saving grace, saying that instead of dying, he will only live because of his “love alone”(Shakespeare, line 14). The specific usage of the word “my” in “my love alone” is important, and can be interpreted in two different ways. He is referring to a specific person, but also to love itself. Either way, it shows the power that love has, even in the face of death. The last two lines are also a juxtaposition of each other, where one is talking about the acute need for death, while the other talks about the quest to find a reason to live. Love and connection are provided as a form of hope and redemption. Love gives life its meaning, and is the sole reason for overcoming odds even in the face of the most difficult adversity. 

Existential Goldilocks by Maureen Sherbondy

Existential Goldilocks by Maureen Sherbondy is a unique poem, that caught my eye because of the heavy allusions that shape the poem. 

Starting with the allusion to Gregor from The Metamorphosis, it was actually a coincidence that this is one of the AP literature books we read in class. The Metamorphosis is a short book about a man who wakes up as a bug and struggles to adapt to his new body. It’s an important part of the story and serves not the only character to compare to Goldilocks, even though there seemingly very different from one another. 

The original, popular tale of Goldilocks is also important to understanding the poem. The classic Goldilocks and the Three Bears is a story of a girl who goes into a family of bears’ house, and only seems to like the baby bears things the most. The ending of the story though, is often told in several different ways. The bears sometimes chase her out of the house, welcome her in, or Goldilocks simply leaves the house. 

The poem begins with the main character, Goldilocks, who has had a hard time fitting in. She feels “awkward in her own girly body”. She dresses quite fancy, and her everyday life is deeply boring to her. This first stanza gives a variety of characterizations to Goldilocks. She’s insecure and probably a tween, seeing as that is often an awkward growth stage for a lot of women. Her feelings towards her outfits suggest it’s maybe something she’s forced to wear, and not out of personal choice. 

The next paragraph conveys how she feels ostracised and alienated from her peers. While her peers play various child games with each other, Goldilocks “envy the birds and planes, bright balloons released into the clouds”. On a random day goldilock leaves the “subarbs” and goes into the woods. Goldilocks’s feeling of alienation from her peers leads her to a sense of something more. Previously, Goldilocks stated that she felt bored of the everyday. This is just like Gregor, who was almost hypnotized and dulled by the everyday life that society had put on the middle-class society. Only in having a major change in his life, like becoming a vermin, did it lead him to an epiphany in his life. 

After finding a cottage, she enters, or more so “lets herself in”. To seek validation for what she’s done, she professed that “every open door is an open invitation”. From this, we learn that Goldilocks is quite ignorant and self-entitled. This could stem from her living in the suburbs, and living a relatively nice life guessing from the clothes she wears, or that she is simply young. It was rather shocking to me, given I was taught more on the lines of stranger danger. 

The classic tale of Goldilocks ensues, with her getting her fill of the contents of the three bears’ house. But different from the ending of the original story, she is not caught and starts going into more people’s cottages. She explores other people’s cottages before eventually landing on an insect cottage named Gregor. She surprisingly, is “most at ease” with this insect. They both “wait” to transform into a different physical being. They sit with one another, and both wait for the change. The unlikely friendship between the two characters shows their similarities. And they would both rather wait than do. Additionally, Goldilocks’ seeming comfort with Gregor is ironic, being that she feels more controllable with a human bug than her own girls her age. 

Sherbondy ties in the main theme of Existentialism with the symbolization of the golden bird Goldilocks wishes to ‘metamorphosis’ into. It shows her want for both a physical and mental change, and wants to be more than what she already is.

The Queen Visits the Therapist by Maureen A. Sherbondy

She sneaks away from the castle and finds the therapist’s office.

No crown adorns her head, no gown decorates her body.

She wears only Levi’s and sadness.

The therapist calls her in without curtsying. The Queen reclines in the cozy chaise and grabs a handful of tissues.

Her lips ready to spill.

Outside the window a jewel-toned bird opens its beak and begins to sing the saddest song

she’s ever heard.


“The Queen Visits the Therapist” is a short poem written by Maureen A. Sherbondy from her poem collection book called Beyond Fairy Tales. Sherbondy often writes her titles that directly show what the following poem will be about, so The Queen Visits the Therapist shows exactly what is to be expected. 

To begin, Sherbondy uses the Queen as the main character of the poem. In general, a queen is in a high societal position, with a lot of expected roles, rules, and regulations in which to follow. A queen is a popular figure often with a lot of eyes on them. Sometimes in such a position, it can be hard to figure out how to deal with negative emotions and feeling.  

The opening stanza of the poem describes the queen as she “sneaks away” (Sherbondy, line 1). The mere certitude that she has to seek away shows the meaning that often someone in a position like her would not be able to go to therapy without scorn or judgment. 

Sherbondy uses assonance, saying, “No crown adorns her head, no gown decorates her body” (Sherbondy, line 3).  She stresses the letter ‘o’ in the lines to implore the importance of the fact she comes to therapy in normal clothes. She comes to therapy open to talk, instead of a barrier that having her usual attire might have. Clothing is used to communicate a crucial part when attending therapy: be open. Therapy is often gone to with the goal of being open and honest about an issue, even is challenging. 

Sherbondy uses a double entendre to convey the queen’s current state. Because she does not wear her usual clothes as she goes to the therapist, she is going ‘bare’ or in other words she is ready to talk truthfully and without careful consideration like she would if she were in her queen role. Instead of the usual wardrobe, she wears “Levi’s and sadness”  (Sherbondy, line 5). This reveals her true feelings and why she goes. She is shedding her mask to show her true unhappiness. 

In the next paragraph the therapist “Calls her in without curtsying”, conveying they already are familiar with each other; this isn’t their first time meeting (Sherbondy, line 6). Now the Queen “reclines in the cozy Chaise”, showing her now relaxed and open state. The queen’s relaxed demeanor shows that within the office, the queen feels safe and comfortable  (Sherbondy, line 8). Her “lips” are now “ready to spill”. Whatever is weighing on her, she needs a source to express whatever looms over her. The therapist also appears to have a well built and trustworthy relationship with the queen, as is displayed in this stanza she is able to confidently and comfortably speak openly with her. 

In the final stanza, the “jewel-toned bird” is introduced. The bird is symbolic of the queen’s emotions as it “sing[s] the saddest song”. Whatever she has to say, it is sorrowful. The specific diction of the word “jewel-toned” is supposed to contrast with the song the bird sings. Jewels often represent wealth, power, and authority. Both the bird and the queen’s usual outward appearance don’t align with their feelings and emotions. A theme to this poem is the common saying that ‘money can’t buy happiness’. Consistently throughout the poem generic and cliche themes in the displays of nobility and wealth are mentioned, but is contrasted by feelings of sadness and need to release negative feelings. I also think it’s important to note that both the bird and the queen also use methods of speaking to express emotions. 

The “she” in the last stanza can refer to either the queen or the therapist. If the queen, she relates to the birds song. But it can also refer to the therapist, who listens to the “bird”, who is the queen herself. If that’s the case, it can be interpreted that no matter if the queen changes clothes, she will always be seen and viewed as the queen. Even we the readers never truly learn this characters name. It could change the entire meaning of the poem depending on the interpretation of just one word. 

The concept of therapy itself is often filled with stigmas. Seeking therapy can be seen as weakness, or something that doesn’t work. The queen herself can represent a fear of seeking help in fear of others’ opinions and expectations. Akin to this poem, I hope therapy is a continued form to express complex emotions and to heal one’s self.

Maureen A. Sherbondy

Maureen A. Sherbondy has been published in Calyx, European Judaism, The Oakland Review, Prelude, and other journals. Her poetry books include Eulogy for an Imperfect Man, Beyond Fairy Tales, The Art of Departure, and six chapbooks.

Dancing with Dali was published by FutureCycle Press in 2020. Lines in Opposition was published by Unsolicited Press in 2022. Maureen has also published a short story collection, The Slow Vanishing.

Maureen teaches at Alamance Community College and lives in Durham, North Carolina, with her husband Barry Peters.

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