Let not my love be call'd 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 to-day, to-morrow 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.
This curious sonnet treads once again the very thin line between arcane humour and outright blasphemy, which has already been seen in Sonnets 34 (Peter's denial of Christ) and 52 (the Beatitudes) , and it continues in 108, which has an irreverent parody of the 'Our Father'. Here the theme is that of the Holy Trinity and the poet's argument seems to be that his love is not idolatrous because it is a worship of the Holy Trinity, God the Father, God the Son, and God the Holy Ghost, which three he transmutes into fairness, kindness and truthfulness, all seen in his beloved. It is as if the poet is responding to an accusation, and defending himself against the charge of idolatrous worship which has been levelled against him. He uses the refutation that his worship of the beloved youth has the same character as the Christian worship of God in the Holy Trinity, and therefore it cannot be idolatrous. His love is not an idol, but a holy trinity of beauty, goodness and truth.
.........an amazingly beautiful write ★ Let not my love be call'd 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 to-day, to-morrow kind, Still constant in a wondrous excellence; Therefore my verse to constancy confined,
This poem has not been translated into any other language yet.
I would like to translate this poem
Commentators have on the whole found this sonnet dull and repetetive, lacking in any metaphor which might enliven it. In the 16th. century to be on the wrong side of a religious divide could be a matter of life and death. Elizabeth herself was probably fairly tolerant, and could be pacified with a formula of words. But there were many religious fanatics who were ready to insist that 'He who is not with me is against me'. Being a Catholic was obviously dangerous, and being seen as a non-believer risked the threat of denunciation from all sides. Oxquarry Books