by William Shakespeare
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
Analysis and discussion
This particular Shakespearian sonnet shows Shakespeare at his finest. While it's written in iambic pentameter like the others, and the rhyme scheme is the same as other Shakespearian sonnets: ABABCDCDEFEFGG, this one makes quite a lot of use of enjambment, a technique where one is expected not to pause or stop at the end of each line, but only where punctuation exists. Thus, the first part of the poem when recited aloud would read as follows:
Let me not to the marriage of true minds admit impediments.
Love is not love which alters when it alteration finds,
Or bends with the remover to remove.
It is an ever-fixèd mark that looks on tempests and is never shaken;
The entire poem, start to finish, is keen on making the point that love is constant as the North Star (the star by which "wandering barks" or boats guide themselves), and that it withstands time and testing. True to Shakespearian sonnet form, the first eight lines set the situation: love is constant. The turn comes in the ninth line, when Shakespeare starts to discuss the fact that love is not affected by time in particular. And the final couplet turns the poem again, becoming personal: I love you, it says, and will love you always.
Fans of the Emma Thompson movie version of Sense and Sensibility will recognize this as the poem recited by Marianne and Willoughby when he first visits her after rescuing her from a twisted ankle in the rain, and which is later quoted again by Marianne as she looks at Combe Magna in later rain, just before a dishy Alan Rickman as Colonel Brandon carries her soggy self back to the house. The poem is not specifically incorporated in the novel. As screenwriter, Emma Thompson could be making the point that love is not an ever-fixèd mark that can withstand tempests, or she could be making the point that what Marianne and Willoughby had was not true love. I rather favor the former interpretation, jaded though it may be.