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Sonnet 1
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Sonnet 1
Sonnet 1 in the 1609 Quarto
Q1

Q2

Q3

C
From fairest creatures we desire increase,
That thereby beauty’s rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed’st thy light’s flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.
Thou that art now the world’s fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, mak’st waste in niggarding.
Pity the world, or else this glutton be,
To eat the world’s due, by the grave and thee.

4

8

12

14
—William Shakespeare[1]
Sonnet 1 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a procreation sonnet within the Fair Youth sequence.
Contents
[hide]
1 Introduction
2 Context
2.1 Context for Sonnet 1
3 Form and structure
4 Analysis
4.1 Quatrain 1
4.2 Quatrain 2
4.3 Quatrain 3
4.4 Couplet
5 References
6 Further reading
7 External links
Introduction[edit]
Sonnet 1 is the first in a series of 154 sonnets written by William Shakespeare that were published in 1609 by Thomas Thorpe.[2] Nineteenth-century critics thought Thorpe might have published the poems without Shakespeare's consent; Sidney Lee called him "predatory and irresponsible." Conversely, modern scholars Wells and Taylor assert their verdict that "Thorpe was a reputable publisher, and there is nothing intrinsically irregular about his publication." Either way, this sonnet is considered the first in the sequence.[3][4] Analyzing the sonnets in this order allows for an underlying story of a love triangle to emerge. Sonnet 1 is part of the "Fair Youth" sonnets, in which an unnamed young man (the beloved) is being addressed by the speaker (the lover) and later sonnets also refer to a "dark lady" (thus they are called the "Dark Lady" sonnets).[5] Patrick Cheney comments on this: "Beginning with a putatively male speaker imploring a beautiful young man to reproduce, and concluding with a series of poems – the dark lady poems – that affiliate consummated heterosexual passion with incurable disease, Shakespeare's Sonnets radically and deliberately disrupt the conventional narrative of erotic courtship".[6] Because of this, Sonnet 1 instantly attracts interest as being a kind of introduction (or possibly an index) to the rest of the sonnets.[7] The 1st sonnet is also the first of the "procreation sonnets" (sonnets 1 – 17; including Sonnet 15 which, although it does not directly contain an encouragement to procreate is fully part of the sequence as it forms a diptych with Sonnet 16—note Sonnet 16 starts with the word "But..."—which does), which urge this youth to not waste his beauty by failing to marry or reproduce.[8] Joseph Pequigney notes: "... the opening movement give[s the] expression to one compelling case... The first mode of preservation entertained is procreation, which is urged without letup in the first fourteen poems and twice again".[9]
The identity of the beloved "Fair Youth" has remained a mystery, but most researchers believe there are two potential candidates for whom the dedication of the "Fair Youth" Sonnets was written: "Henry Wriothesley, third earl of Southampton (1573-1624), or William Herbert, third earl of Pembroke (1580-1630)".[10] Both were patrons of Shakespeare but at different times – Wriothesley in the 1590s and Herbert in the 1600s. There is trouble finding out which earl it might have been because sonnets were in fashion in the 1590s but Shakespeare's were not published until 1609.[10]
See: Identity of "Mr. W.H."
In Sonnet 1, we begin to see the "love story" between the fair youth (beloved) and the speaker (lover) unfold, though not the typical "love story" of the Elizabethan era if read this way. However, each of Shakespeare's sonnets can still be read as separate from the other sonnets. In this sonnet, the speaker engages in an argument with the beloved/fair youth about procreation: "An agon, a dramatic struggle, develops between the speaker and the youth".[11] Scholar Helen Vendler sums up Sonnet 1: "The different rhetorical moments of this sonnet (generalizing reflection, reproach, injunction, prophecy) are permeable to one another's metaphors, so that the rose of philosophical reflection yields the bud of direct address, and the famine of address yields the glutton who, in epigram, eats the world's due".[12]
Context[edit]
Shakespeare's sonnets do not exactly adhere to the norms of the sonnet form established by the Italian poet, Petrarch. According to Robert Matz, "Shakespeare transforms the sonnet convention".[13] Shakespeare brings in topics and themes that were unusual at the time. Shakespeare's audience would have interpreted such an aggressive tone as entirely improper encouragement of procreation.[14] In fact, the other sonnets of the time revered chastity. However, Shakespeare "does not engage in stock exaltation of the chastity of the beloved, but instead accuses the young man of gluttonous self-consumption in his refusal to produce a 'tender heir' who would continue his beauty beyond the inexorable decay of aging".[15] Sonnets are often about romantic love between the speaker and the beloved but Shakespeare does not do this. Instead, Shakespeare urges the young man, the beloved, to have sex and procreate with a woman in marriage.[16] Marriage in Shakespeare's time was mainly functional. If in fact Shakespeare’s sonnet was about a beloved that was a man, then this was an entirely new concept.
Context for Sonnet 1[edit]
This sonnet is important because it is the first one that Shakespeare gives us. It sets the tone for the rest of the collection of sonnets. According to Helen Vendler, this sonnet can be “as an index to the rest of the sonnets".[17] The main reason she says that it is important is because it brings "into play such a plethora of conceptual material; it seems a self-conscious groundwork laid for the rest".[18] Scholars like Helen Vendler think that this particular sonnet may have been composed after the others. She says that because of the "sheer abundance of values, images, and concepts important in the sequence which are called into play" and "the number of significant words brought to our attention" in this sonnet, that it "may have been deliberately composed late, as a 'preface' to the others".[19] Philip Martin says that Sonnet 1 is important to the rest because it "states the themes for the sonnets immediately following and also for the sequence at large".[20] To him, the themes are announced in this sonnet and the later ones develop those themes. Joseph Pequigney says that Sonnet 1 does serve an introductory and does it unconventionally; "it might on that very account be seen as a befitting way to begin the least conventional of Renaissance love-sonnet sequences".[21] It provides a "production of metaphorical motifs that will recur in the upcoming sonnets, particularly in the next fourteen or so; it gives the concepts of beauty and time and their interrelationship, as also the emblem of the rose, all of which carry the weight in the other sonnets; and it shows the theme of reproduction, to be taken up in all except one of the sixteen ensuing poems".[22]
Many scholars think that the sonnets were composed as a story, with the first 126 being about a young man known as the "Fair Youth". Donald A. Stauffer says that they "may not be in an order which is absolutely correct but no one can deny that they are related and that they do show some development some 'story' even if incomplete and unsatisfactory".[23]
Form and structure[edit]
Sonnet 1 has the traditional characteristics of a Shakespearean sonnet—three quatrains and a couplet written in iambic pentameter with an ABAB CDCD EFEF GG rhyme scheme. Many of Shakespeare's sonnets also reflect the two-part structure of the Italian Petrarchan Sonnet. In this type of sonnet (though not in Sonnet 1) "the first eight lines are logically or metaphorically set against the last six [and] an octave-generalization will be followed by a particular sestet-application, an octave question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".[24] Shakespeare does employ this type of sonnet but also mixes it with a bit of his own inventiveness. It is through the "character of the speaker, the only voice that Shakespeare allows us to hear" the inventiveness of his story.[25]
In lines one through four of this sonnet, Shakespeare writes about increasing and references memory. Here, Shakespeare chooses to rhyme "increase" and "decease", "die" and "memory" and then proceeds to use "eyes" and "lies", "fuel" and "cruel" as rhymes in the second quatrain (lines five through eight). In lines five through twelve, Shakespeare shifts to famine and waste.[24] Carl Atkins highlights Shakespeare's inventiveness in the second quatrain, where the sonnet takes on a less-regular rhythm: "We note Shakespeare's consummate ability to mimic colloquial speech so that the sonnet sounds personal and conversational, rather than sententious. Rhythm has an important role here. Thus, we have the triple emphasis produced by the final spondee of line 5, so effective after the regular iambic pentameter of all that precedes it. This is then followed by the flowing trochee-iamb that begins the next line, a combination that will be repeated frequently".[26]
In the third quatrain, the key rhyming words given by the speaker are: "ornament" and "content", and "spring" and "niggarding"; additional images are presented in this quatrain, such as "fresh", "herald", "bud", "burial", and the oxymoron "tender churl". Other words and themes the speaker uses are explained by Helen Vendler: "The concepts – because Shakespeare's mind works by contrastive taxonomy – tend to be summoned in pairs: increase and decrease, ripening and dying; beauty and immortality versus memory and inheritance; expansion and contraction; inner spirit (eyes) and outward show (bud); self-consumption and dispersal, famine and abundance".[7] Shakespeare uses these words to make "an aesthetic investment in profusion".[7] The meaning found in these lines and words shows how the young man's refusal to procreate is a refusal of his flesh, a wasting of it.
Lastly, Shakespeare finishes the sonnet (as expected) with a couplet: two consecutive rhyming lines. Each line contains ten syllables, and the second line is composed only of one-syllable words. Some scholars attribute the monosyllable closing line of the poem as a tribute to 16th century poet, George Gascoigne.[27] Gascoigne is quoted as saying, "The more monosyllables that you use, the truer Englishman you shall seemed, and the less you shall smell of the Inkhorn".[27]
It is in this final quatrain and the concluding couplet we see one final change. The couplet of the poem describes the seemingly selfish nature of the beloved (Shakespeare chooses to rhyme "be" and "thee" here). By making the choice to not procreate, Shakespeare describes how the beloved is denying what the world deserves (his bloodline). Instead of ending the sonnet on a positive note or feeling while alternating between dark and bright tones, the tone of the couplet is negative since the sonnet is overshadowed by the themes of blame, self-interest, and famine in both quatrains two and three.[28]
The first line illustrates a regular iambic pentameter, while the seventh illustrates the most frequent variation: an initial reversal.
  ×   /  ×     /  ×     /  × /   ×   /
From fairest creatures we desire increase, (1.1)

 / ×   ×  / ×     /   × /  ×     /
Making a famine where abundance lies, (1.7)

/ = ictus, a metrically strong syllabic position. × = nonictus.
Analysis[edit]
Helen Vendler comments on the overall significance of this sonnet: "When God saw his creatures, he commanded them to increase and multiply. Shakespeare, in this first sonnet of the sequence, suggests we have internalized the paradisal command in an aestheticized form: From fairest creatures we desire increase. The sonnet begins, so to speak, in the desire for an Eden where beauty’s rose will never die; but the fall quickly arrives with decease. Unless the young man pities the world, and consents to his own increase, even a successively self-renewing Eden is unavailable".[29] Kenneth Larsen notes that Shakespeare does not begin his sequence with a customary dedicatory sonnet. Larsen also claims that the sonnet's first line, mentioned above, echoes Genesis, the "locus biblicus of openings". The expectation recalls God’s command, “bring ye forth fruite & multiplie: grow plentifully in the earth, and increase therein” (9.10; GV). [30]
Quatrain 1[edit]
Similar to the Petrarchan sonnet writers, Shakespeare begins Sonnet 1 with the exaltation of the beloved's physical beauty, before changing to a tone of contempt for the beloved's lack of a desire for an heir.[31] However, according to Robert Matz, "Sonnet 1 is so far from the romantic desires we usually associate with sonnets that no woman is even mentioned in it... But while there is no woman in this sonnet it is not the case that there is no desire. On the contrary, Shakespeare continually expresses his desire for the young man whom he calls 'beauty's rose' and who, he warns, must like a rose reproduce himself".[32] The allusion to the rose is a particularly significant because it was uncommon for the rose, a symbol for femininity, to be used to refer to a man.[33] At the end of the first quatrain, Shakespeare's pun on the word "tender" (to mean both the obvious meaning of youth and beauty and the less obvious sense of currency to alleviate a debt) further illustrates the beloved's need to reproduce in order to pay off his debt of chastity.[32]
Quatrain 2[edit]
In the second quatrain, the sonnet shifts from a positive tone of admiration in the first quatrain to a somewhat more critical tone. The speaker says that the young man is not only betrothed to himself, but is also eating away at himself and leaving nothing behind where there could be "abundance", thus making the young man his own enemy. Line five, "But thou, contracted to thine own bright eyes", is not only complimenting the young man, but is also scolding him for "refusing sexual relations".[31] Shakespeare then goes on to give the imagery of a candle eating itself, "Feed'st thy light's flame with self-substantial fuel", which can be tied to gluttony in the thirteenth line.[12] In the last two lines of the second quatrain, "Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel", Shakespeare uses the paradoxes of "famine" and "abundance" and then "sweet self" and "cruel" to describe the selfishness of the young man. To the speaker, it is a crime against man and nature to just simply eat away at "the world's due" without reproduction.
Quatrain 3[edit]
In the third quatrain, the beloved becomes "now the world's fresh ornament". "Fresh" meaning new, young, beautiful, and vital and "now" perhaps meaning that the world did have another ornament before the youth but that those are gone and perhaps soon so will the youth. The next line, "and only herald to the gaudy spring", means that the beloved is promised for life and growth just like each spring is. But "within thine own bud buriest thy content", the youth only keeps his beauty and life to himself, instead of letting the world see in bloom. The word "buriest" suggests the youth digging his own grave and the end to his beauty.[20] According to Philip J.T. Martin, in this line "content" means "'all that he contains', which of course includes the power to beget children, and at the same time it means his 'contentment', now and more especially in the future, and the contentment which he could give to others".[34] In the next line, "and, tender churl, mak'st waste in niggarding", the speaker uses the paradox of the tender churl that makes waste in niggarding as the beginning of the turning point for the sonnet. He is setting up the couplet by saying that the youth is a worthless fellow by sinning and not procreating but that the speaker still loves him for his tenderness. The main theme of this quatrain ends with this line and it is that the youth may be a "bud" but can be the flower to the world and to not bloom is to make waste in that potential through one's own self-indulgence.[35] To some scholars today, such as Helen Vendler, quatrain three is used a "delay in wonder and admiration" of the youth by the speaker.[36] Philip Martin describes the third quatrain as a "tone of self-love, as the poet sees it in the youth" and it is "not praise alone, nor blame alone; not one and then the other; but both at once".[37]
Couplet[edit]
The couplet changes the tone of adoration and idolatry in the previous three quatrains with an extremely assertive proclamation of the beloved's intrinsic need to procreate (or more specifically, the world's intrinsic need of his procreation). Shakespeare contrasts the allusions to a famine in the second quatrain with allusions to gluttony by saying that the beloved is "eat[ing] the world's due" by dying without offspring. The fact that the rhythmic structure of the couplet (particularly "by the grave and thee") is so linear and simple exemplifies to some scholars Shakespeare's "consummate ability to mimic colloquial speech so that the sonnet sounds personal and conversational, rather than sententious", and that upon first reading, one may be granted the ability to absorb more of the author's message as opposed to a close contextual reading.[27] The ominous tone in the couplet serves as a prophetic threat of an empty death without offspring to carry on the beloved's legacy.
References[edit]
Jump up ^ Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201.
Jump up ^ Cheney, Patrick. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge UP, 2007. Print, pg.127.
Jump up ^ Wells, Stanley, and Gary Taylor. William Shakespeare: A Textual Companion. New York, W. W. Norton, 1997, p. 444.
Jump up ^ Cheney, Patrick. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge UP, 2007. Print, pg. 127.
Jump up ^ Cheney, Patrick. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge UP, 2007. Print, pg. 128.
Jump up ^ Cheney, Patrick. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge UP, 2007. Print, pg. 128
^ Jump up to: a b c Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. Print, pg. 47.
Jump up ^ Matz, Robert. The World of Shakespeare's Sonnets: An Introduction. Jefferson, NC: McFarland &, 2008. Print, pg. 6.
Jump up ^ Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago, 1985. Print, pg. 7.
^ Jump up to: a b Crosman, Robert. "Making Love out of Nothing at All: The Issue of Story in Shakespeare's Procreation Sonnets". Shakespeare Quarterly 41.4 (1990): 470-488. Folger Shakespeare Library in association with George Washington University. Web, pg. 477.
Jump up ^ Bennett, Kenneth C. Threading Shakespeare's Sonnets. Lake Forest, IL: Lake Forest College, 2007. Print, pg. 2.
^ Jump up to: a b Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. Print, pg. 46.
Jump up ^ Matz, Robert. The World of Shakespeare's Sonnets: An Introduction. Jefferson, NC: McFarland &, 2008. Print, pg. 77.
Jump up ^ Herman, Peter C. "What's the Use? Or, the Problematic of Economy in Shakespeare's Procreation Sonnets". Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland, 1999. Print, pg. 263-279
Jump up ^ Schoenfeldt, Michael. "The Sonnets". The Cambridge Companion to Shakespeare's Poetry. Ed. Patrick Cheney. Cambridge: Cambridge UP, 2007. Print, pg. 125-143.
Jump up ^ Matz, Robert. The World of Shakespeare's Sonnets: An Introduction. Jefferson, NC: McFarland &, 2008. Print, pg. 78.
Jump up ^ Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Harvard University Press, 1997. Print, pg. 47
Jump up ^ Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Harvard University Press, 1997. Print, pg. 47.
Jump up ^ (Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Harvard University Press, 1997. Print, pg. 47.)
^ Jump up to: a b Martin, Philip J. T. Shakespeare's Sonnets; Self, Love and Art. New York City, NY: Cambridge University Press, 1972. Print, pg. 20.
Jump up ^ Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago, 1985. Print, pg. 9.
Jump up ^ Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago, 1985. Print, pg. 9.
Jump up ^ Crosman, Robert. "Making Love out of Nothing at All: The Issue of Story in Shakespeare's Procreation Sonnets". Shakespeare Quarterly 41.4 (1990): 470-488. Folger Shakespeare Library in association with George Washington University. Web, pg. 470.
^ Jump up to: a b Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. Print, pg. 50.
Jump up ^ Bennett, Kenneth C. Threading Shakespeare's Sonnets. Lake Forest, IL: Lake Forest College, 2007. Print, pg. 1.
Jump up ^ Atkins, Carl D. and William Shakespeare. Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison, NJ: Fairleigh Dickinson UP, 2007. Print, pg. 32.
^ Jump up to: a b c "The Sonnets - 1." Shakespeare's Sonnets: With Three Hundred Years of Commentary. Ed. Carl D. Atkins. Cranbury, NJ: Rosemont and Printing, 2007. Print, pg. 31-32.
Jump up ^ Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. Print, pg. 50.
Jump up ^ Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. Print, pg. 46
Jump up ^ Larsen, Kenneth J. "Sonnet 1", Essays on Shakespeare's Sonnets. http://www.williamshakespeare-sonnets.com/sonnet-1
^ Jump up to: a b Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago, 1985. Print, pg. 8.
^ Jump up to: a b Matz, Robert. The World of Shakespeare's Sonnets: An Introduction. Jefferson, NC: McFarland &, 2008. Print, pg. 79.
Jump up ^ Pequigney, Joseph. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago, 1985. Print, pg. 10.
Jump up ^ Martin, Philip J. T. Shakespeare's Sonnets; Self, Love and Art. New York City, NY:Cambridge University Press, 1972. Print, pg. 20.
Jump up ^ (Bennett, Kenneth C. Threading Shakespeare's Sonnets. Lake Forest, IL: Lake Forest College, 2007. Print, pg. 22.)
Jump up ^ Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge, MA: Harvard University Press, 1997. Print, pg. 51.
Jump up ^ Martin, Philip J. T. Shakespeare's Sonnets; Self, Love and Art. New York City, NY:Cambridge University Press, 1972. Print, pg. 20.)
Further reading[edit]
Baldwin, T. W. On the Literary Genetics of Shakspeare's Sonnets. Urbana: University of Illinois Press, 1950.
Hubler, Edwin. The Sense of Shakespeare's Sonnets. Princeton: Princeton University Press, 1952.
First edition and facsimile
Shakespeare, William (1609). Shake-speares Sonnets: Never Before Imprinted. London: Thomas Thorpe.
Lee, Sidney, ed. (1905). Shakespeares Sonnets: Being a reproduction in facsimile of the first edition. Oxford: Clarendon Press. OCLC 458829162.
Variorum editions
Alden, Raymond Macdonald, ed. (1916). The Sonnets of Shakespeare. Boston: Houghton Mifflin Company. OCLC 234756.
Rollins, Hyder Edward, ed. (1944). A New Variorum Edition of Shakespeare: The Sonnets [2 Volumes]. Philadelphia: J. B. Lippincott & Co. OCLC 6028485.
Modern critical editions
Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499.
Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040.
Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938.
Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951.
Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082.
Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446.
Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469.
Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809.
Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589.
External links[edit]
Works related to Sonnet 1 (Shakespeare) at Wikisource
An analysis and paraphrase of the sonnet
Shakespeare's sonnets.com on Sonnet 1
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Perth Stadium
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Perth Stadium
View eastward in January 2018
Location
Burswood, Western Australia
Coordinates
31°57′4″S 115°53′20.5″E / 31.95111°S 115.889028°E / -31.95111; 115.889028Coordinates: 31°57′4″S 115°53′20.5″E / 31.95111°S 115.889028°E / -31.95111; 115.889028
Owner
Government of Western Australia
Operator
VenuesLive[1][2]
Capacity
60,000[3] (Oval)
~65,000 (Rectangular)
Field size
165 x 130 metres (AFL)[4]
Surface
Synthetic stabilized turf
Construction
Broke ground
December 2014
Opened
11 December 2017 (soft)
21 January 2018 (official)
Architect
Hassell, HKS, Cox
Tenants
West Coast Eagles (AFL) (2018–)
Fremantle Football Club (AFL / AFLW) (2018–)
Perth Scorchers (BBL / WBBL) (2018–)
Cricket
Ground information
Capacity
60,000[3]
International information
Only ODI
28 January 2018:
Australia v England
Team information
Western Australia (Cricket)
(2018–)
Perth Scorchers (BBL)
(2018–)
Perth Scorchers Women (WBBL)
(2018–)
As of 28 January 2018
Source: ESPNcricinfo
Perth Stadium, also known by naming rights sponsorship as Optus Stadium, is a multi-purpose stadium in Perth, Western Australia, located in the suburb of Burswood. It was completed in late 2017 and officially opened on 21 January 2018. The stadium has a capacity of over 60,000 people, making it the third-largest stadium in Australia (after the Melbourne Cricket Ground and Stadium Australia). The stadium can be extended up to 65,000 seats for rectangular sports.
Perth Stadium is primarily used for Australian rules football and cricket. Perth's two Australian Football League (AFL) teams – the Fremantle Football Club and the West Coast Eagles – relocated their home games from Subiaco Oval to Perth Stadium, while the Perth Scorchers play their Big Bash League home games at the venue, having previously played at the WACA Ground.
Perth Stadium was built by a consortium led by Multiplex. The announcement of the Burswood location in June 2011 followed a series of earlier proposals for the stadium, including locations in Subiaco and East Perth.
Contents
1 History
1.1 Early proposals
1.2 Burswood location
1.3 Construction
1.3.1 Cost
1.3.2 Impacts
1.4 Opening
2 Naming rights
3 Facilities
3.1 Architecture and design
3.2 Food and amenities
3.3 Transport
4 Stadium uses
4.1 Australian rules football
4.2 Cricket
4.3 Other sports
4.4 Entertainment
5 Attendances
5.1 Sports
5.2 Other events
6 See also
7 Notes
8 References
9 External links
History[edit]
Early proposals[edit]
The Burswood Park Golf Course was closed and the stadium built on its northern end
In 2003, the Government of Western Australia commissioned a review to examine the future of major sporting venues in Western Australia. To conduct the review, a taskforce was appointed, chaired by John Langoulant, Chief Executive of the Chamber of Commerce and Industry WA, and it released its final report in May 2007.[5] The report recommended the construction of a new 60,000 seat stadium at either Kitchener Park (which adjoins Subiaco Oval) or in East Perth, which would be suitable for Australian rules football, cricket and also rectangular-field sports such as soccer, rugby union and rugby league. The taskforce recommended against the further development of Subiaco Oval, which would be demolished. It also recommended against building the new stadium at the site of Burswood, stating that "The development costs at the Burswood site would be significantly higher due to local site conditions and the need for significant upgrades to transport infrastructure."[6]
In July 2007, the Government of Western Australia announced its preference to build a new 60,000-seat stadium rather than re-develop Subiaco Oval,[7] and in early 2008 it confirmed that Subiaco Oval would be demolished for the new Perth super-stadium to be built next door at Kitchener Park.[8] This site was chosen ahead of the other suggested site at the old East Perth Power Station, which was set aside to house a new $500 million museum.[9]
The new stadium at Subiaco was scheduled to be built between 2011 and 2016, with the majority of the stadium to be completed in 2014. Subiaco Oval was to be demolished between 2014 and 2016 to allow the end of construction on Perth Stadium. The staged construction would have allowed for Australian rules football to be played at the new venue by 2014, when the stadium was two-thirds completed with an initial capacity of 40,000 seats. The final stage would be completed in 2016 and expand the stadium's capacity to 60,000.[8][10]
Stadium plans suggested its playing surface would have been oval in shape to accommodate Australian rules football and cricket games. The stadium was also expected to have retractable seating which would have reconfigured the venue to make it suitable for rectangular-field sports codes, such as soccer, rugby union and rugby league.[11] These retractable seats were to number 22,000, and were to be situated along the touch lines and behind the posts in the rectangular configuration. With an overall planned capacity of 60,000, Perth Stadium would have been Western Australia's largest sports venue, and it was designed to be built such that the capacity could be increased to 70,000 if needed in the future.[10]
The stadium was expected to be primarily used for Australian rules football with the ability to host cricket, rugby union, rugby league and soccer matches. It was planned that it would be the home ground for the West Coast Eagles and Fremantle Dockers, the two Western Australian teams in the Australian Football League. It was also to be the home ground for Perth's Super Rugby rugby union team the Western Force, and possibly host rugby union Test matches, soccer and rock concerts.[10]
The cost for the Kitchener Park stadium was expected to reach $1.1 billion, including $800 million on construction of the stadium itself and $300 million on associated infrastructure, property acquisition, escalation, transport infrastructure and other costs.[8] Construction of the new stadium would have involved moving 27 private residences and moving residents from another 66 state housing properties surrounding Subiaco Oval. These state housing tenants would have been relocated within the Subiaco area.[10] The project was going to be funded by the Government of Western Australia.[9][10]
Following the election of a new State Government under Colin Barnett, the new stadium's plans were scrapped in early February 2009. Barnett stated that a new stadium would not be considered for at least two years.[12] As a result of Australia's failed bid for the 2022 World Cup, $250 million in potential Federal Government funding for a new stadium was also withdrawn in December 2010.[13]
Burswood location[edit]
In June 2011, the State Government announced that the new stadium would be built in Burswood, Western Australia on the northern section of the Burswood Park golf course.[14] The government stated that the Burswood site was preferred because it was unconstrained by surrounding developments and had the additional benefit of being government-owned.[6] It would also allow for a special events six-platform Perth Stadium railway station to be built and could be connected to the central business district via a pedestrian bridge across the Swan River to East Perth.[15] A car park was not built to service the stadium, with visitors expected to either park in the city and walk across the bridge or use public transport.[16]
Wikimedia | © OpenStreetMap
The stadium is located on Burswood Peninsula in Burswood, Western Australia. It is just east of Claisebrook Cove and west of Maylands Peninsula, both across the Swan River. The stadium is approximately 1.3 km (0.8 mi) from the WACA, 900 m (984 yd) from Gloucester Park harness racing course, and 800 m (875 yd) from Belmont Park Racecourse.
The Government stated that planning for the new stadium at Burswood was due to be completed by mid-2012, with construction commencing in 2014 and scheduled for completion in 2018. It announced Multiplex as the contract holders for the construction of the stadium[17] and appointed the firm Populous as the project's architectural consultants.[14]
Construction[edit]
Cost[edit]
Perth Stadium under construction, photographed from Victoria Park Drive in May 2016
Following the Barnett Government's announcement to move the site of the proposed stadium to Burswood, it stated that the stadium would cost around $700 million, with an extra $300 million allocated to public transport works.[14][6] However, in December 2011 Premier Colin Barnett stated that it was too early to say what the final cost would be, explaining that "No one can put a price on it until it's designed, until it goes out to tender".[6]
The previous Government's Major Stadia Taskforce had earlier put the total cost of the Burswood stadium option, including transport needs, at $1.147 billion.[14] This higher cost, comparative to the sites at Subiaco or East Perth, was mainly "due to the need to provide substantial transport infrastructure as well as the additional costs associated with site conditions (i.e. reclaimed flood plain and site previously used as the Perth Municipal Rubbish Dump which included industrial as well as domestic landfill up until 1971)."[18] In June 2011 the West Australian newspaper reported that due to an increase in construction costs since the release of the task force report in 2007, the total cost will be close to $1.5 billion, assuming work begins within two years.[14]
The Australian Football League agreed to help pay for Perth's new stadium at Burswood, although it was not revealed how much money it would contribute.[19] However, the nearby Crown Perth, which is expected to benefit commercially from the presence of the stadium, was not asked by the Barnett Government to help meet the construction costs.[20]
In October 2017 it was reported that the final cost of the completed stadium was $1.6 billion. This equated to an average cost per Western Australian household of $1500, and per person of $600.[21] In February 2018 a State Government inquiry into Western Australia's finances under the former Barnett government found that the full cost of the stadium including transport infrastructure will be $1.8 billion, around $200 million more than previous estimates.[22]
Impacts[edit]
Perth Stadium under construction, photographed from East Perth in July 2016
The site is located on the Burswood Peninsula, previously known as the Swan Portland Cement Site. The Swan Portland Cement Company Ltd operated at the site from 1927 and James Hardie Industries operated at the adjacent site from the 1920s up until 1981. In its report and recommendations, Remediation and Redevelopment of the Swan Portland Cement Site, Burswood, (January 1998) the Environmental Protection Authority, states "The current site is contaminated with asbestos waste from the James Hardie operations and cement kiln dust, kiln bricks and associated contaminated soil and hydrocarbons from the Swan Portland cement operations." In its report it estimates 750,000 cubic metres (26,000,000 cu ft) cement kiln dust on the site, the effects of which should be managed, with regard to its effects upon public health, groundwater and surface water. Three zones of asbestos contamination on the site were identified in the report; zone 1 having 68,000 cubic metres of broken and loose asbestos, zone 2 having 150,000 cubic metres of asbestos contamination up to 15 metres below ground level and zone 3 being 180,000 cubic metres of asbestos contamination within 600,000 cubic metres of cement kiln dust.[23]
The EPA report states that while undisturbed in the soil, the contamination poses no threat to public health but disturbing the site will result in airborne asbestos fibres and contamination from the soil. The EPA recommended a management plan for any disturbance of asbestos contamination to be conducted by the Town of Victoria Park.
In November 2012, Victoria Park residents contacted the Health Department to notify them asbestos and other material had been unearthed by work on the southern parking lot of the Casino complex.[24] Alarmed residents feared asbestos exposure to locals, park users and Casino patrons. Although the Health Department advised that no risk had been identified, stock piles were sprayed with hydromulch, windbreaks were put on fencing, contaminant levels were being monitored and paths and loose soil were sealed. The Premier's office advised that the Department of Building Management and Works were undertaking the project. The Health Department assured residents there was "no risk to the general public".
The construction of the stadium affected Aboriginal communities. Although the State Solicitor's Office advises that native title has been extinguished over the site, it has heritage significance for the local indigenous people, the Whadjuk Noongar, being a burial site. Despite the Department of Indigenous Affairs advising the existence of the registered Aboriginal Heritage site affecting the Burswood Peninsula and East Perth foreshore, the site was deregistered by the Barnett Liberal State Government. Following the Supreme Court decision Robinson v Fielding [2015] WASC 108 to reinstate DAA 22874 (Marapikurrinya Yintha – Port Hedland Harbour) after it had been deregistered by the Barnett government,[25] the Burswood Island Burial site was reassessed in October 2016 but remains "Not a Site" under the Aboriginal Heritage Act (AHA).[26] Previously the site was recognised by the Department of Aboriginal Affairs under the Aboriginal Heritage Act 1972 (AHA) as DAA site 15914: Burswood Island Burial. "Several culturally significant sites around WA have had their protection withdrawn in the past year on the basis they no longer fit the definition of a sacred site. Guidelines issued by the Department of Aboriginal Affairs stated that to be a recognised as sacred site, a place needs to have been devoted to religious use rather than simply mythological stories, songs or beliefs."[27]
Opening[edit]
The first event to be held at the stadium was a Twenty20 cricket arcmatch between the Perth Scorchers and the England Lions on 11 December 2017, followed by a second match between the same teams two days later.[28] It was officially opened to the public on 21 January 2018 with a free open day for the community.[29]
Naming rights[edit]
Perth Stadium logo prior to sale of naming rights.
During construction, then-Premier Colin Barnett had maintained that the government would not be selling the naming rights for the stadium as it would "not be appropriate for such a significant piece of State-owned infrastructure".[30] Instead he suggested a name such as "Swan Stadium" or "River Stadium" – named after the adjacent Swan River – would be more appropriate.[31] Ultimately, the name Perth Stadium was settled on as it was more representative of Western Australia.[32] In the lead up to the state election in March 2017, Labor, then in opposition, announced that it would sell the naming rights for both Perth Stadium and Perth Arena as part of a plan to return the state budget to surplus if it were to win government.[33]
Despite initially suggesting it might retain the Perth Stadium name or at least retain "Perth" in any naming rights arrangement,[34] the new McGowan government announced on 8 November 2017 that the stadium would be officially known as Optus Stadium. Optus, the second-largest telecommunication company in Australia, and the state government agreed to a 10-year naming rights deal that is thought to be worth approximately $50 million in value.[35]
Facilities[edit]
Architecture and design[edit]
Exterior view of the stadium in December 2017; its stylistic brown facade visible.
As with the earlier plans for the new stadium at Kitchener Park, the stadium seats 60,000 spectators, with the ability to seat up to 70,000 in rectangular mode.[36] Initially in the early design stages, it was hoped the venue could have the potential to expand to 80,000 seats in the future by adding a third tier along one wing and another tier on the opposite side of the ground each holding 10,000 seats.[37] Even at 60,000, Perth Stadium still has the third-biggest capacity of any stadium in the country.[19]
The field is 165 m (541 ft) long and 130 m (430 ft) wide, 5 m (16 ft) longer than both the Melbourne Cricket Ground and Docklands Stadium in Melbourne, but 10 m (33 ft) shorter than Subiaco Oval which is 175 by 122 m (574 by 400 ft).[37] It is a multi-purpose facility able to hold not only sporting events such as Australian rules football and major rugby league, rugby union, cricket and soccer games, but major cultural events such as concerts.[9]
Food and amenities[edit]
The stadium is serviced by over 50 food and beverage outlets, with patrons able to follow on-field action on TV screens.[38] The Camfield, a large pub, microbrewery and function centre, is located outside the stadium and open seven days a week.[39]
There are two 340 m2 (3,700 sq ft) screens on either end of the stadium and over 1,000 TV screens located within it. The stadium has 748 male, 781 female and 60 accessible toilets.[40] Security features include an on-site police station, 650 CCTV cameras around the stadium and surrounding precinct, and freestanding metal detectors at the stadium.[41][42]
Fans will never be more than 40 metres away from a bar or food outlet. 75 percent of food supplied is from locally owned and operated businesses.[43]
Transport[edit]
The purpose-built Perth Stadium railway station, serviced by Transperth's Armadale and Thornlie Line services.
Perth Stadium Bus Station, consisting of 22 stands and currently serviced by nine Transperth bus routes.
As the stadium is located on a peninsula with limited road access, the majority of visitors have to travel to and from the stadium primarily by public transport. The Public Transport Authority aims to have 83 percent of visitors use public transport.[44] The six-platform Perth Stadium railway station and 22-stand Perth Stadium Bus Station located nearby are expected to serve an estimated 28,000 and 8,000 passengers respectively on event days.[44][45]
For events, 8,600 people typically walk and cycle across the Swan River via the Windan Bridge, and an additional 14,300 walk across the Matagarup Bridge which connects the stadium precinct with public transport and car parks in East Perth.[46][47] There are 600 bicycle parking spots located around the stadium precinct. The stadium has 1,400 car parking bays, but they are reserved for staff, premium ticket holders and disability parking.[44] A taxi rank is located next to the stadium; it is off-limits to ridesharing companies, including Uber.[48]
A 96-metre (315 ft) jetty is under construction near Matagarup Bridge and expected to be completed in mid-2018. It will accept drop-offs only from private and commercial vessels. A public ferry service is not planned but the jetty would be able to accommodate such a service.[49][50]
Stadium uses[edit]
Australian rules football[edit]
Perth Stadium is used for Australian rules football matches in the Australian Football League (AFL) from March–September. The stadium was constructed to provide a new home ground for the West Coast Eagles and Fremantle Dockers, Perth's two professional AFL clubs. The state government negotiated an agreement with the AFL and the West Australian Football Commission (WAFC) in October 2017, allowing the Eagles and Dockers to play their home matches at the venue from the start of the 2018 season, in exchange for a $10.3 million a year guarantee for the WAFC until 2028.[51] Fremantle's women's team hosted the first Australian rules football match at the venue against Collingwood on 10 February 2018, and the attendance of 41,975 was the highest stand-alone figure in domestic women's sport.[52] The first AFL premiership match to be played at the new stadium was contested between West Coast and Sydney on 25 March 2018.[53]
Cricket[edit]
Cricket matches, such as Tests, One Day Internationals (ODI) and Twenty20s, are held at the stadium in the months of October–February. Since late 2017, the Australia national cricket team play most of their Perth-based Tests, One Day and Twenty20 matches at the venue.[54] The stadium is also the home ground of Big Bash League side Perth Scorchers, who relocated from the WACA Ground in 2018.[54] Perth Stadium has been provisionally selected to be a venue for the ICC World Twenty20 tournament in 2020. The first major event at the stadium was an ODI match between Australia and England on 28 January 2018, which England won by 12 runs.[55]
Perth Stadium became the 19th venue in Australia to host a One Day International cricket game.[56] In April 2018, the Western Australian Cricket Association confirmed that the it would host its first ever Test match.[57]
Other sports[edit]
Other sports will use Perth Stadium for high-profile matches. Game 2 of rugby league's State of Origin series will be played on 23 June 2019[58] and rugby union's Bledisloe Cup will be played at the Stadium on 10 August 2019.[59][60] The stadium hosted a friendly match between Perth Glory and Chelsea FC on 23 July 2018.[61] It is likely Australia's national soccer team (the Socceroos) will play some World Cup Qualifiers and friendlies at the venue in the coming years.[citation needed] The National Rugby League (NRL) played a double-header in round 1 of the 2018 NRL season.[62]
Entertainment[edit]
Perth Stadium is also capable of hosting major concerts and other entertainment events. Ed Sheeran has appeared and Taylor Swift will perform at the venue in 2018.[63][64] Nitro Circus performed at the stadium on 22 April 2018.[65]
Attendances[edit]
Sports[edit]
Source: Austadiums
Top 10 all time sports attendances
№
Attendance
Date
Participants
Event(s)
Series
1
59,608 22 September 2018 West Coast def. Melbourne Australian rules football 2018 AFL finals series
2
59,588 8 September 2018 West Coast def. Collingwood Australian rules football 2018 AFL finals series
3
57,616 20 May 2018 West Coast def. Richmond Australian rules football 2018 AFL season
4
57,375 5 August 2018 West Coast def. Fremantle Australian rules football 2018 AFL season
5
56,521 29 April 2018 Fremantle def. by West Coast Australian rules football 2018 AFL season
6
55,824 19 August 2018 West Coast def. by Melbourne Australian Rules Football 2018 AFL season
7
55,522 23 July 2018 Chelsea FC def. Perth Glory Soccer Exhibition match
8
54,535 8 April 2018 West Coast def. Geelong Australian rules football 2018 AFL season
9
54,188 2 June 2018 West Coast def. St Kilda Australian rules football 2018 AFL season
10
53,781 28 January 2018 Australia def. by England One Day International cricket England tour of Australia 2017–18
Other events[edit]
Top 10 musical acts/events attendances
№
Attendance
Date
Participants
Event
Series
1
114,031 (2 concerts)[63] 2 & 3 March 2018 Ed Sheeran Concert ÷ Tour [63]
2
110,000 (spread throughout the day)[a] 21 January 2018 General public Official opening and open day Nil [29]
3
45,000[68] 19 October 2018 Taylor Swift Concert Taylor Swift's Reputation Stadium Tour [64]
4
22 April 2018 Nitro Circus Stunt show Next Level Tour [69]
5
27 February 2019 Eminem Concert Rapture 2019 stadium tour [70]
See also[edit]
List of Australian Football League grounds
Notes[edit]
Jump up ^ Time limited, hourly segments, no seating allocation[66][67]
References[edit]
Jump up ^ "About Us". Optus Stadium. Retrieved 21 January 2018.
Jump up ^ "VenuesL!ve". Retrieved 21 January 2018.
^ Jump up to: a b "Seating capacity". Optus Stadium. Retrieved 25 July 2018.
Jump up ^ "AFL Fact Sheet". Optus Stadium. Retrieved 25 July 2018.
Jump up ^ "The Stadium & the City". 23 May 2007. Archived from the original on 23 July 2008. Retrieved 10 May 2018.
^ Jump up to: a b c d "No price tag on Burswood sports stadium". ABC News. Australian Broadcasting Corporation. 16 December 2011. Archived from the original on 19 February 2012. Retrieved 2 February 2012.
Jump up ^ "New stadium the right option, Kobelke says". The West Australian. AAP. 4 July 2007. Archived from the original on 21 May 2009.
^ Jump up to: a b c "Perth to get new $1.1 billion stadium". The Age. 8 February 2008. Archived from the original on 16 February 2008. Retrieved 17 January 2018.
^ Jump up to: a b c "Media Release: 'New major sports stadium for Western Australia'". Government of Western Australia. 8 February 2008. Archived from the original on 12 June 2008.
^ Jump up to: a b c d e Mayes, Andrea (8 February 2008). "$1.1b sport stadium for Kitchener Park, Subiaco". PerthNow. Archived from the original on 13 February 2008. Retrieved 17 January 2018.
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External links[edit]
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