With Sonnet 112, William Shakespeare picks up directly from Sonnet 111 in which he asked his younger lover to pity him, and he now goes one step further by telling him that it is his, the young man's, opinion – and his opinion only – that should ever matter to Shakespeare, because not only is the young man, as Sonnets 109 and 110 expressed, his "home of love" and "a god in love" to whom he considers himself "confined" and therefore fully committed, the young man is, so Shakespeare now asserts, his everything, his "all the world," and thus quite simply the only one who matters to him.

Beyond that though, the sonnet also may well be telling us a great deal about the young lover's position towards Shakespeare and therefore about the status and character of their relationship at this advanced point in the proceedings, as we shall see...

With Sonnet 111, William Shakespeare shifts focus from his infidelities in relation to his younger lover, addressed in the previous two sonnets, to a general deficiency in his reputation, which he blames squarely on the fact that his circumstances require him to earn a living in the public sphere.

This, he claims, has led him to acquire the conduct of a person who attracts opprobrium, and while proposing to subject himself to whatever 'medicine' or 'penance' may be required of him, he sees and seeks his remedy first and foremost in the younger man's pity. This, he assures him, will suffice to cure him of any ills he may suffer resulting from any such misdeeds as come with the lifestyle his fortunes have imposed on him.

With his exceptionally candid and forthright Sonnet 110, William Shakespeare at once completes his apotheosis of his young lover, while at the same time confessing to him that yes, he too has had affairs with other people, but also reassuring him that these other lovers were no match for him and that they pale, compared to him, into insignificance, seeing that he is as "a god in love" to whom our poet feels and here declares himself to be inseparably tied.