I väntan på att experterna en dag avslöjar sanningen om ”the Dark Lady” och ”the Fair Youth” får vi vanliga läsare fortsätta att njuta av sonetternas tidlösa musik. Det blir lättare nu med Eva Ströms hjälp.

Det fenomenala med Shakespeare är hans förmåga att formulera sådana slitna tankar nytt och fräscht. Och Eva Ström hittar genomgående svenska motsvarigheter till hans kombinationer av komplicerad metaforik och raka utsagor.

Any way I can look at it, his achievement seems to me extraordinarily impressive.

On going through the hundred and fifty-four of them, I find forty-nine which seem to me excellent throughout, a good number of the rest have one or two memorable lines, but there are also several which I can only read out of a sense of duty. For the inferior ones we have no right to condemn Shakespeare unless we are prepared to believe, a belief for which there is no evidence, that he prepared or intended them all to be published...

The sonnets addressed to the Dark Lady are concerned with that most humiliating of all erotic experiences, sexual infatuation —Venus toute entiere a sa proie attachee.

Simple lust is impersonal, that is to say the pursuer regards himself as a person but the object of his pursuit as a thing, to whose personal qualities, if she has any, he is indifferent, and, if he succeeds, he expects to be able to make a safe getaway as soon as he becomes bored. Sometimes, however, he gets trapped. Instead of becoming bored, he becomes sexually obsessed, and the girl, instead of conveniently remaining an object, becomes a real person to him, but a person whom he not only does not love, but actively dislikes.

No other poet, not even Catullus, has described the anguish, self-contempt, and rage produced by this unfortunate condition so well as Shakespeare in some of these sonnets, 141, for example, “In faith I do not love thee with my eyes,” or 151, “Love is too young to know what conscience is.”