First Quatrain: “Being your slave what should I do but tend”
In Sonnet 57, the speaker addresses his master (mistress), his Muse, declaring that he is, in fact, a “slave” to his music talent. He cannot do anything without permission from the Muse. He has committed himself to waiting “[u]pon the hours, and times of [the Muse’s] desire.”
He declares that he has “no precious time at all to spend.” He is so indebted to his music talent that does not even possess a shred of time. He also has nothing to do, no services to perform, until the Muse bids him act. His dedication is complete.
Second Quatrain: “Nor dare I chide the world without end hour”
Despite his absolute obeisance to his Master Muse, he refuses to complain. He has learned to move comfortably in chains, so to speak. Unlike the ordinary slave who quietly performs his service while plotting revenge and escape, this speaker refuses even to “chide” anyone regarding his slavery.
He does not sulk in bitterness while the Muse is away. He does not dare moan and whine when Master Muse “bid[s her] servant once adieu.” He willingly accepts his servitude.
Third Quatrain: “Nor dare I question with my jealous thought”
The speaker does not question his Muse as a demanding lover might, out of jealousy, question a lover about his whereabouts. He refuses to behave like “a sad slave.” He does not blight his mind and heart with wild imaginings that his Muse is off cavorting with others.
The obverse of what the speaker does not do holds especial sway here. The poet/speaker has examined and portrayed many times in many sonnets the strength of his own talent. The power his possesses and the confidence he displays result from his own self-awareness. He can be content even when his most important possession, his Muse, his poetic talent, takes hiatus, as that creative entity is wont to do from time to time.
The Couplet: “So true a fool is love, that in your will”
Of course, the Muse manifests herself as the spiritual reality of the speaker’s intense love, his strong soul love that informs his art. He realizes that his own worth allows him to “think[ ] no ill” even while his Muse seems to be off frolicking elsewhere. He understands that his love is absolutely not a fool but the best kind of genius that will serve him perpetually.
This speaker often employs the poetic device of hyperbole, as he is doing here freely.
Other Shakespeare articles: Who is Shakespeare?
Sonnet Commentaries: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 73, 96, 116, 126, 130, 138
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