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The Full Text of “Sonnet 45: The other two, slight air and purging fire”
1The other two, slight air and purging fire,
2Are both with thee, wherever I abide;
3The first my thought, the other my desire,
4These present-absent with swift motion slide.
5For when these quicker elements are gone
6In tender embassy of love to thee,
7My life, being made of four, with two alone
8Sinks down to death, oppressed with melancholy;
9Until life's composition be recured
10By those swift messengers return'd from thee,
11Who even but now come back again, assured
12Of thy fair health, recounting it to me:
13This told, I joy; but then no longer glad,
14I send them back again and straight grow sad.
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“Sonnet 45: The other two, slight air and purging fire” Introduction
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William Shakespeare wrote "Sonnet 45" in the 1590s, and it was first published with his collected sonnets in 1609. Like the surrounding poems in Shakespeare's "Fair Youth" sequence, this sonnet addresses a handsome young nobleman whose exact identity is unknown. In "Sonnet 45," the speaker describes feeling woeful and out of sorts when his beloved is away. Through an extended metaphor portraying his emotional volatility as an elemental imbalance (a health issue), the speaker conveys the deep pain that the beloved's absence has caused.
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“Sonnet 45: The other two, slight air and purging fire” Summary
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The two other elements that make up my body and soul—lightweight air and cleansing fire—are always with you, no matter where I live. The first element, air, represents my thoughts. The second, fire, represents my desires. These two elements move quickly between being present (with me) and absent (with you). My life is made up of four elements, so when these lighter two are away carrying messages of love to you, the heavy elements are left alone; my life seems to sink in despair, to the brink of death, as if weighed down with sadness. I stay in this condition until balance is restored by the fast elements returning with your messages. They come back even to this day, confident that your health is good and relaying this news to me. When I learn that you are well, I am delighted, but the feeling fades away quickly; I send my thoughts and desires back to you once again and immediately become sad.
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“Sonnet 45: The other two, slight air and purging fire” Themes
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Love and Longing
The speaker of Shakespeare's "Sonnet 45" addresses an absent lover, describing the sadness and disorientation that this person's absence has caused. Because the speaker's thoughts and desires are constantly with his faraway beloved, the speaker feels lonely and unsettled. Even the thrill of hearing from this person is short-lived, because it triggers the speaker's painful longing to be with the lover all over again. So long as the speaker is separate from this beloved, the poem suggests, the speaker will never experience inner peace or stability.
The speaker treats his chaotic mood swings as an imbalance in the four "elements" that (according to pre-modern science) shape the speaker physically, mentally, and emotionally: air, fire, earth, and water. The speaker specifically links thought and desire with air and fire, the two "quicker elements." They are sent off to be with the speaker's distant beloved—leaving the speaker, in turn, feeling incomplete. Moreover, the two elements that the speaker is left with, water and earth, are slower and heavier than their counterparts. Because the speaker's thoughts and desires are with the lover, the speaker's "life" consists only of elements that weigh him down emotionally. He therefore feels as if he's "sink[ing] to death" and falls into "melancholy" (intense sadness or depression).
On hearing that the beloved is doing well, the speaker feels joy and inner balance, as thought and desire "return" along with good word from the lover. But the uplifting feeling of this return doesn't last. Hearing from the beloved seems only to rekindle the speaker's longing, and he immediately sends his thoughts and desires "back again and straight grow[s] sad."
Absence, longing, and satisfaction exist here in a kind of endless feedback loop. The indefinite cycle that the speaker describes suggests that, so long as the speaker's beloved is physically out of the picture, any elemental balance will be short-lived. In other words, he will never feel fully self-possessed and healthy while apart from his beloved. For this speaker, separation from a loved one causes suffering that only reunion can heal.
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Line-by-Line Explanation & Analysis of “Sonnet 45: The other two, slight air and purging fire”
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Lines 1-4
The other two, slight air and purging fire,
Are both with thee, wherever I abide;
The first my thought, the other my desire,
These present-absent with swift motion slide.As "Sonnet 45" opens, the speaker states that his thoughts and desires are always with his faraway lover. Their "motion" is so "swift," he suggests, that they can instantly cross the distance that divides the couple. He compares these thoughts and desires to air and fire, respectively, establishing an extended metaphor that will continue throughout the poem.
This metaphor is rooted in the four elements—earth, water, air, and fire—that, according to pre-modern science, make up the natural world. (Remember, Shakespeare wrote this poem around the end of the 16th century.) Earth and water were traditionally described as heavy and slow, air and fire as light and swift. Each of the four elements was thought to have particular qualities, influencing people's health, personality, and behavior:
- Water was associated with steadiness and reflection;
- Earth was associated with seriousness, analysis, and caution;
- Air was associated with knowledge, imagination, hope, and inspiration—a fitting choice for the speaker's "thought";
- And fire, representing the speaker's "desire," was associated with vitality, energy, and passion.
Strange as it may seem today, some system involving these elements was the foundation of much of the world's science and medicine from ancient times until the Victorian era. By referencing a widely known "scientific" principle, Shakespeare's metaphor helps readers understand the speaker's emotional problem from an intellectual perspective.
The speaker also draws out the individual qualities of the elements, so that they almost become characters in their own right: fire is purifying ("purging"), while air is lightweight and sprightly ("slight"). This effect makes the speaker's chaotic mood swings seem more vivid and dramatic.
It's clear that the speaker has already discussed the heavy elements, as he calls air and fire "The other two." In fact, this phrase alludes to the poem that comes right before "Sonnet 45" in Shakespeare's larger sonnet sequence. "Sonnet 44" provides more details and context for the element metaphor:
- This poem describes the speaker's devastation that he isn't made entirely of "thought," which travels so quickly toward his beloved that "injurious distance" wouldn't keep them apart.
- Instead, he's largely made up of "slow" elements (earth and water), which the speaker describes in a negative light—as barriers to overcome ("nimble thought can jump both sea and land") and expressions of pain ("heavy tears").
The reference to the previous sonnet indicates that this poem builds on its themes: the speaker's preference for the lighter elements, the pain of his lover's absence, and the sadness that the heavy elements cause. Therefore, when the audience learns that "the other two" elements are always away from the speaker, this allusion immediately suggests an atmosphere of sorrow and longing.
This passage features both juxtaposition and paradox. First, the speaker's thoughts and desires (represented by air and fire) "are both with thee, wherever I abide." That is, the speaker is in one place and his lover is somewhere far away, yet, in a seeming paradox, elements of the speaker are actually with his lover. Similarly, the speaker describes his thoughts and desires as "present-absent," again juxtaposing their two locations: present (with the speaker) and absent (with the lover). "Present-absent" can also be read as an oxymoron, because it seemingly contradicts itself: the elements are present and absent at the same time. Perhaps they move so quickly that it's hard for the speaker to tell where exactly his thoughts and desires really are. Or perhaps the lack of these elements always looms over the speaker; their absence is ever-present in his mind.
The phrase "present-absent" probably alludes to Sir Philip Sidney's "Sonnet 106" (from his Astrophil and Stella sequence), in which Astrophil, the speaker of Sidney's sonnet, laments the "absent presence" of his beloved, Stella. This allusion reinforces the atmosphere of romance and high drama in Shakespeare's poem.
By the second line of "Sonnet 45," it's clear that the speaker is directly addressing his lover ("thee"), who cannot respond. This kind of address to an absent person is called apostrophe. By allowing the speaker to address the source of his passions, it heightens the poem's tension and emotional impact. Plus, the second-person point of view creates the illusion that the speaker is communicating directly with readers—an effect that encourages reader sympathy.
These opening lines establish the poem's iambic pentameter, meaning that there are five unstressed and five stressed syllables per line in a da-DUM da-DUM pattern. The meter throughout the first several lines is nearly "perfect"; it doesn't deviate from the standard iambic pentameter pattern at all, except that there's an extra emphasis on "slight." All of these lines are also end-stopped, with the regular pauses at the end of each line reinforcing the regularity of the meter. The first three lines even feature a caesura after the fourth syllable, creating yet another regular pause and further establishing the rhythm:
The other two, || slight air and purging fire,
Are both with thee, || wherever I abide;
The first my thought, || the other my desire,The absence of caesurae (pauses) in line 7 helps the meter gain momentum, reflecting the "swift motion" that this line describes. Other sound devices in this line also evoke this speedy motion. In particular, assonant short vowel sounds (/eh/ and /ih/) quicken the pace of the verse, while sibilant /z/ and /s/ sounds create a swift, zipping sound:
These present-absent with swift motion slide.
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Lines 5-8
For when these quicker elements are gone
In tender embassy of love to thee,
My life, being made of four, with two alone
Sinks down to death, oppressed with melancholy;
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Lines 9-12
Until life's composition be recured
By those swift messengers return'd from thee,
Who even but now come back again, assured
Of thy fair health, recounting it to me: -
Lines 13-14
This told, I joy; but then no longer glad,
I send them back again and straight grow sad.
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“Sonnet 45: The other two, slight air and purging fire” Symbols
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The Four Elements (and Humors)
The four elements that appear throughout the poem—earth, water, air, and fire—symbolize aspects of the speaker's well-being (both physical and mental). According to pre-modern science, the whole natural world consists of these four elements, which correspond with four bodily fluids: black bile or melancholy, phlegm, yellow bile, and blood. An imbalance in the elements or humors was thought to produce ill health.
The elements' weights correspond to the speaker's emotional states: heaviness is associated with sadness and strain, while lightness is associated with mirth and vibrancy. Throughout the poem, the two lighter elements—air and fire—represent the speaker's thoughts and desires. They constantly travel to be with the speaker's beloved, so the heavier elements take over the speaker's body. He is left (according to pre-modern medicine) with an excess of black bile or melancholy, a condition that includes deep psychic despair.
The speaker's humors and elements are in constant fluctuation, making it impossible for him to maintain balance for more than a brief moment. With his lover gone, the speaker is so imbalanced and unwell that he feels close to "death"! Therefore, the elements, as symbols of the speaker's health, suggest that missing his lover causes him deep suffering, while also implying that the couple must be reunited in order for him to recover.
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“Sonnet 45: The other two, slight air and purging fire” Poetic Devices & Figurative Language
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Allusion
This poem alludes to two other sonnets: "Sonnet 106" in Sir Philip Sidney's Astrophil and Stella series, and Shakespeare's own "Sonnet 44," which appears directly before this poem in his collected Sonnets.
The opening line of "Sonnet 45" mentions "The other two, slight air and purging fire," without explaining what the original "two" are. (Though audiences familiar with the four classical elements can infer that the speaker means earth and water.) "Other" implies that earth and water have already been discussed, and, in fact, "Sonnet 44" describes the speaker's sorrow at being comprised "so much of" these heavier elements. In particular, the speaker wishes he were made of thought rather than flesh. His thoughts travel to be with his faraway lover at a moment's notice, while his flesh—made up of earth and water—is slow and remains behind. Still, according to "Sonnet 44," the one redeeming quality of these elements is their ability to express the pain of being apart, via "tears" that serve as "badges of [...] woe."
"Sonnet 44" presents the heavy elements as an obstacle to the speaker's communion with his love. Thus, the callback to "Sonnet 44" reinforces a stark contrast between the burdensome earth and water and the swift, vibrant air and fire. "Sonnet 44" is about the pain of "Injurious distance," so the allusion also encourages the audience to bear themes of absence and longing in mind as they continue into "Sonnet 45." Critics consider these two poems companion pieces, meant to be read together (though "Sonnet 44" can stand on its own).
In "Sonnet 45," the speaker's thoughts and desires—represented by the lighter elements, air and fire—travel back and forth between himself and his lover. He describes them as "present-absent," echoing the opening line of Sir Philip Sidney’s "Sonnet 106" in Astrophil and Stella:
O absent presence, Stella is not here;
Sidney's sequence of sonnets and songs is told from the perspective of Astrophil, who is enamored with Stella. Astrophil eventually learns that Stella is happily married, a fact that only heightens his desire. Stella begins to return Astrophil's affections, with the condition that their relationship remain chaste. But when Astrophil betrays Stella's terms—attempting to coerce her into sex and kissing her while she's asleep—their relationship falls apart.
"Sonnet 106" appears at the tail end of this sequence, when Astrophil’s hopes for romance are crushed for the last time. Stella had fallen ill, and Astrophil, reminiscing about her pink cheeks during their tender moments, had mistaken her paleness for a sign that her body was ready for new love. Now, in "Sonnet 106," Astrophil scorns his previous, delusional hope, realizing that Stella won't return to him. Instead, she remains an “absent presence” in his life.
The allusion to Sidney's poem likens the speaker of “Sonnet 45” to a man who's just lost all hope of being with his beloved. In doing so, it heightens the dramatic atmosphere of "Sonnet 45" and helps show how extreme its speaker’s emotions have become. The allusion probably isn't meant to invoke specific plot points of Astrophil and Stella, aside from the lovers' separation—though overlapping themes (e.g., love as illness) are interesting to note! Rather, the allusion evokes a general atmosphere of high passion and doomed romance to dramatize the intensity of the speaker's feelings. The echo of Stella's "absent presence" underlines the pain and longing that constantly loom over the speaker of "Sonnet 45."
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Apostrophe
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Assonance
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Caesura
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Consonance
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Enjambment
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Juxtaposition
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Metaphor
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Parallelism
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“Sonnet 45: The other two, slight air and purging fire” Vocabulary
Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.
- Slight
- Purging
- Abide
- Quicker
- Elements
- Embassy
- Melancholy
- Composition
- Recured
- Fair
- Recounting
- Joy
- Straight
Slight-
Lightweight and delicate.
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Form, Meter, & Rhyme Scheme of “Sonnet 45: The other two, slight air and purging fire”
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Form
"Sonnet 45" is a Shakespearean sonnet, also called an English or Elizabethan sonnet. This variation on the Petrarchan sonnet contains 14 lines of iambic pentameter (meaning that each line contains 10 syllables following an unstressed-stressed pattern). Moreover, Shakespearean sonnets traditionally follow a strict rhyme scheme that divides the poem into three quatrains (four-line stanzas) and a final couplet:
- Quatrain
- Quatrain
- Quatrain
- Couplet
Sonnets traditionally grapple with a problem or internal conflict. In Shakespeare's sonnets, the quatrains typically lay out the problem, while the final couplet, making a shift known as the volta or turn, provides a response. In this poem, the structure helps illustrate the speaker's emotional turmoil by tracing the cyclical movement of his thoughts and desires.
This first quatrain sets up the speaker's dilemma: his thoughts and desires are always traveling to be with his faraway lover. The second quatrain shows the speaker's pain while they're away. The third brings a glimmer of hope when they return with good news. However, the final couplet reveals that the speaker's longing is sparked anew, starting the whole process over again. Rather than providing a resolution, then, this poem's closing couplet implies that the speaker’s suffering will continue as long as the lover is away.
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Meter
A classic English sonnet, this poem is written in iambic pentameter, which means that there are 10 syllables per line, alternating between unstressed and stressed beats. For example, take a look at the meter in the opening line:
The oth- | er two, | slight air | and pur- | ging fire,
The repeated rises and falls of the iambs create a da-DUM da-DUM rhythm that's often compared to a heartbeat—one reason this form is a popular choice for love poems. The speaker's cadence thus subtly reflects his passion.
The faint metrical "heartbeat" also reinforces the poem's health imagery (i.e., descriptions of the four elements and humors). Any metrical disturbances, then, could suggest an irregular heartbeat and weakened vitality. And, in fact, when the heavy elements take over the speaker's body in lines 7-8, the verse's rhythm slows down:
My life, being made of four, with two alone
Sinks down to death, oppressed with melancholy;There's a spondee at the start of line 8, thanks to the two heavy stresses of "Sinks down." The word "being" squeezes two unstressed syllables into a metrical position where there would normally be one (it's pronounced with a single syllable here, like "beeng"). "Melancholy" must be pronounced as MEL-an-CLEE (not MEL-an-COL-lee) in order to fit within the meter and rhyme scheme. But anyway you say it, it's a mouthful! These lines are metrically dense and difficult compared to the "quicker" lines 5-6. The disruptive variations help illustrate the speaker's pain.
This poem contains another interesting metrical quirk in line 11:
Who even but now come back again, assured
For metrical purposes, "even" was generally treated as one syllable in Shakespeare's day, and sometimes written as the contraction "e'en" (pronounced EEN) for that reason. But this packing of two syllables into one still draws attention to itself. Here, it helps emphasize the phrase "even but now," which increases the atmosphere of urgency and anticipation as the light elements return to a speaker who desperately needs them.
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Rhyme Scheme
This poem mostly follows the traditional rhyme scheme of Shakespearean sonnets:
ABABCDCDEFEFGG
However, the speaker repeats the "D" rhyme sound (lines 6 and 8; "thee"/"melancholy") in lines 10 and 12 ("thee"/"me"). So the pattern really looks more like this:
ABABCDCDEDEDFF
The rhyme schemes of sonnets divide them into smaller units, and here, the continuation of "D" rhymes creates the impression of ongoing/extended action. Fittingly, these lines describe the movements of the speaker's thoughts and desires, constantly passing between the speaker and his beloved ("to thee [...] from thee [...] to me"). The reappearance of rhyme sounds drives home the repetitive, cyclical nature of the speaker's emotional turmoil.
Rhymes can also create or emphasize connections between important words. The rhyme between "recured" and "assured" creates an impression of hope and restored balance. The rhyme between "glad" and "sad," on the other hand, highlights the contrast between two emotions that the speaker experiences.
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“Sonnet 45: The other two, slight air and purging fire” Speaker
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The speaker of "Sonnet 45" is, in a word, lovesick. He can't seem to do anything but pine for his faraway lover, constantly sending thoughts and desires his way. As a result, the speaker experiences extreme emotional turmoil and feels like he's on the brink of "death."
Based on the surrounding sonnets in Shakespeare’s sequence, the poem's speaker is generally understood to be male and addressing a male beloved. Aside from his ongoing psychic imbalance, very little information about the speaker can be gleaned from this particular poem. Instead, "Sonnet 45" plunges the audience into the speaker’s emotional state, which seems to consume his daily life and sense of self.
Shakespeare's sonnets are sometimes read as autobiographical and thought to contain clues about his relationships. However, there isn't much concrete evidence to support this theory. So while the sonnets certainly reflect the writer's concerns and interests—perhaps even some of his emotions and struggles—they don't necessarily present a factual account of his life.
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“Sonnet 45: The other two, slight air and purging fire” Setting
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Shakespeare wrote "Sonnet 45" in England at the end of the 16th century, but the poem doesn’t mention a specific location or time period. Rather than focus on his physical environment, the speaker is so wrapped up in his relationship that he even describes his setting with reference to it. The poem takes place between "wherever I abide"—that is, the speaker's home—and "with thee"—wherever his beloved happens to be.
In a way, then, the true "setting" of the poem is the relationship that spans both locales. The speaker describes this relationship as intense, loving, and devastating all at once. Thinking about it, maintaining it, etc. totally consumes the speaker, leaving him with little sense of place or self beyond its ups and downs.
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Literary and Historical Context of “Sonnet 45: The other two, slight air and purging fire”
Literary Context
Celebrated as one of the world's great authors, William Shakespeare was a highly successful playwright and poet in his own time. His popularity grew throughout the 1590s, the period in which he probably wrote "Sonnet 45." His collected Sonnets were first published in 1609, but their intended order and narrative (if any) remain subjects of debate.
The English sonnet began when Thomas Wyatt ("I Find No Peace") translated Petrarch's sonnets, which follow a different formal pattern. The Earl of Surrey quickly constructed a new rhyme scheme for the adapted form, giving us the English sonnet we know and love today. Philip Sidney ("Sonnet 89"), a contemporary of Shakespeare, helped popularize the form, kicking off the trend of the "Elizabethan sonnet cycle" with the publication of Astrophil and Stella in 1591. Traditionally, a sonnet cycle is a series of sonnets that tells the story of a tragic romance—typically from the perspective of an adoring, misguided male speaker who praises an attractive woman. The relationship most often ends with the speaker losing his love and descending into despair.
However, Shakespeare pushed the English sonnet to its formal limits, taking advantage of the opportunities it presents for wordplay, surprise, and emotional expression. He is known for revolutionizing the form, which has become synonymous with his name (the English sonnet is now commonly called the Shakespearean sonnet).
Moreover, Shakespeare's collected Sonnets upends many of the conventions of the sonnet cycle. The initial "Fair Youth" sequence (Sonnets 1-126) doesn't praise the beauty of a young woman; it addresses a striking nobleman who repeatedly betrays the speaker. In the "Dark Lady" sequence (Sonnets 127-154), the speaker turns his attention to a woman whose supposedly unattractive qualities—she has dark features (not conventionally beautiful according to the standards of Shakespeare's time) and a scheming personality—only attract the speaker to her more. Of course, both relationships end in tragedy and the speaker's despair. But the complicated, often torturous love these poems describe was radical for Shakespeare's time.
Shakespeare's collected Sonnets don't seem to have had as much initial success as his poem Venus and Adonis or his most popular plays. Still, they have influenced poetry, literary culture, and popular culture from the time of their publication until today. References to the Sonnets pop up everywhere from movies to song lyrics to everyday conversation, shaping our shared understanding of love.
Historical Context
While "Sonnet 45" doesn't reference any particular historical events, it does refer at length to pre-modern scientific beliefs. Though the details varied over time, a belief in the four elements—earth, water, air, and fire—was the foundation of (Western) science and medicine from antiquity until the 19th century.
These four elements were thought to comprise the entire natural world. Each corresponded with a "humor" or bodily fluid: phlegm, yellow bile, black bile (or melancholy), and blood. These elements and humors were each believed to hold distinct qualities, controlling health, personality, and behavior (among other things).
Illnesses of mind, body, and spirit were all considered humoral imbalances. In fact, by the Elizabethan era, when this poem was written, psychological struggles were seen as medical conditions. In a sort of precursor to our modern understanding of mood disorders, the effect of emotions on the body was increasingly recognized and stressed during this period. For Shakespeare and his contemporaries, the ideal of health encompassed a fit mind, body, and soul, so relating emotional suffering to an elemental imbalance was a perfectly normal—even highly rational—way for people to understand their feelings.
Some scholars believe that Shakespeare wrote many of his sonnets during a quarantine to prevent the spread of bubonic plague. There was an outbreak in London from 1592-93 and another in 1603, with the latter closing down theaters and preventing public gatherings for most of the next decade. The young, prominent playwright may have turned to sonnet-writing at this time (though he kept working on plays, too!).
Scholars have mined Shakespeare's Sonnets for insights into his personality and experience. Although the poems are often assumed to be autobiographical, it's difficult to find any concrete connections between the events of the sonnets and those of Shakespeare's life. Therefore, while the speaker's concerns and interests undoubtedly gesture toward some of Shakespeare’s own, "Sonnet 45" (and the Sonnets in general) shouldn't be interpreted as a literal record of his life.
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More “Sonnet 45: The other two, slight air and purging fire” Resources
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External Resources
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First Edition of Shakespeare's Sonnets — Read "Sonnet 45" (and the rest of the sequence) as it was originally circulated in 1609.
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The Poem Aloud — Listen to a recitation of "Sonnet 45." Note the modern-day English pronunciation, which is slightly different than the poem would have sounded in Shakespeare's day.
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The Poem's "Companion" — Read "Sonnet 44," which appears directly before this poem in Shakespeare's sequence of sonnets and is often considered its companion piece.
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The Elizabethan Sonnet Sequence — Learn more about the sonnet cycle format, including Sir Philip Sidney's sequence, which established the trend and which Shakespeare references in this poem.
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Shakespeare and the Four Humors — A brief explanation of the four humors, with links to related documents and information about their appearance in Shakespeare's plays.
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"The Balance of Passions" — Learn more about humorism through an exhibition on the history of Emotions and Disease.
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LitCharts on Other Poems by William Shakespeare
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