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                    <text>hat she might think me some/untutor^djyouth, f.
Unlearned in the world’s false subtilties.

,p

—
Li 1/ e

child of Venus. 5 li
4 what ... to be take the worst to be the best — i.e. consider my false
mistress to be beautiful.
5 corrupt corrupted.
6 Be anchor’d . . ,
men ride have caused me to be anchored in a common harbour. The bitter
sexual implication is obvious.
7 falsehood deception, forged created.
9 that a several plot that place (woman) a private possession. 10 com­
mon open to all. iz not not the case. tj-14 In things . . . transferred
The suggestion is that because the poet in the past has failed to recognize
true love and beauty as a punishment his eyes and heart have now been
afflicted with the plague 6f deception.

&lt;j,

Thou
bjind
Love, hast
whatthoiWorged
dost thou tohooks.
mine eves
Why of
eyes’fool,
falsehood
That
they
behold,
and
see
not
what
they
see?
Whereto the judgment of my
'
They should
know what
be^ty
is, see
where
it lies.
Why
my heart
think
that
a several
fplotA— *■
Yet w)iatmy
thehe^t
best isknows
take thethe
wt^rst
to be.
Which
wide
world’s common
e
If eyes,(corrupt by over-partial)looks,
5
Be
r’^/n
the^bay where
ml men
Or ancho
mine ev
es-se'eing~This,
say this
is not,ride,?
To put fair truth upon"s^',fpul,^face?
\
In things right ype-ipy feart and~gyes have erred, —•
And to this falsejplXue are they novt transferred.^

,.X

&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt;&lt;&gt; 138

-

S I- F• T

"A

“

ktVt.

/When my love swears that she is made of truth
|1 do believe her, though I know she\lie^

SONNET 138:*~r truth (a) veracity (b) fidelity.
2 believe pretend to
believe, lies (a) prevaricates (b) fornicates. The poet is deliberately
ambiguous. 5 That in order that. 5 vainly in self-deception. 7 Simply
pretending to be simpleminded (b) completely, absolutely, credit be­
lieve. 9 unjust unfaithful. zz habit appearance. 25 lie Again used
with deliberate ambiguity. Z4 And in .. . flattered be and in our re­
spective shortcomings each of us is flattered by the lies of the other.

138

5

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                    <text>' r

y,

j’

-■ I I ic'^l —f

.0

SONNET 1. 2 increase progeny. 2 rore Not only is the rose a conventional symbol of beauty and truth, but it is commonly used in Renaissance
love poetry to stand for evanescent beauty, which is lost forever as the
petals fall. 5 the riper . . . decease the mature “creature” die in due
course of time. 4 tender young, immature.
5 contracted betrothed.
6 self-substantial composed of your own substance.
9 ornament that '
which beautifies. 10 only chief, gaudy gay, festive (not used in any
pejorative sense). 11 thy content (a.) your prospects for joy (b) what you
consist of, all that you are. 12 tender churl dear young miser, maft’st
• • • riiggarding destroy (all that you consist of) by hoarding it (like a
churl or miser).
the world’s due that to which the world is entitled
— propagation of the species.

|
|

i
i
*
|

^^1

I Vktt

'
■?

reaturesyfe sirefincrease
That ther^^beauty’s rosi ight nevej
timd ddBease
But as the ri
-should
iffhtlbe
Hi&lt;te
ory;^‘j
right e^
But! u, fcou/racted to 'me ow
ameJ^7ith’§eI|^ubstaBtialJhi^
Feed’st^hyTTg
e abundance lies.
M in famine
y foe, to
yse
’siresh ornament
u
ne o

And, /eriVer }:hu£
al th^ worl

iest th
ste in niggardiqgj-^
(s^utton be,'
the CTave an&lt;^ thee.

Sretv?.

i

- , .. y wifiters'shall*^siege thyjbrow

P SONNET 2.' /-“a besiege thy . . .'beauty's field The metapRor
practice of warfare. The “trenches” are, of course, the wrinkles of old age.
J proud gorgeous, livery outward appearance, uniform.
./ weed gar­
ment.
6 lusty full of life and spirit. 9 deserv’d . . . use would the
' investment (use) of your beauty have deserved (since it would have ii
yielded you children), ii sum my account pay my debt (to nature). tnaAe
. . . excuse defend me ^gainst accusations^that I h^ve wajted my beauty)
when I am old. ”

trenefes in tny l^auty’s field
roudji'y^y, so Rd on np^
Wilhbe a tatter’d we^of si^al brtKbeld.
;re^^ll thy beauty lies,
Then lb
J)f thy lus_t;^.day
(n deep-su
ie and thriftless)

Ifithqjrvpuldst answer, “
ly coimt-ajg^
P

were to be^tfew^i
ie^hy blood w;l

7

■

Uc 1
1^6 I

3

■t-

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                <text>&lt;span class="value-content"&gt;The following transcription of Demorest's annotations was selected and transcribed by Casper College student and Archives staff member Grace MacPherson in January of 2024.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 1&lt;/strong&gt;&lt;br /&gt;Overall notes&lt;br /&gt;Sid – Arcadia [illegible] has 17 sonnets (9 are Eng. Form)&lt;br /&gt;Henry VII on throne –&lt;br /&gt;Marriage Arthur + Cath. Of Aragon&lt;br /&gt;Tudor symbol A Rose – maybe Raleigh?&lt;br /&gt;1501 – Arthur, Prince of Wales, marries Cath. of Aragon – Nov. (See line 3)&lt;br /&gt;1600 – Bruns burned [illegible] Rome&lt;br /&gt;Henry Tudor was Earl of Richm.&lt;br /&gt;Eyes here can be her attach. to Leic., preventing royal marriage&lt;br /&gt;What if Fair = Fr = Francis?&lt;br /&gt;Spring may mean Spain&lt;br /&gt;Theme of whole: Categories&lt;br /&gt;Is she to be the matron’s “tender” in marriage trade?&lt;br /&gt;Line 1&lt;br /&gt;Increase: Marriage—family but not love “desired”&lt;br /&gt;Line 3&lt;br /&gt;Decease: Cecil?&lt;br /&gt;Line 4&lt;br /&gt;Bear: May be marriage with Leicester&lt;br /&gt;Line 10&lt;br /&gt;Spring: Spain?&lt;br /&gt;Line 11&lt;br /&gt;Buriest: Bear = leicester [sic] symbol&lt;br /&gt;Line 12&lt;br /&gt;Waste in niggarding: denigrate[;] negromantike?[?]&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 2&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Fair is part of title of [illegible] Baron Ferrers&lt;br /&gt;Death of Arthur; Henry becomes successor&lt;br /&gt;Mary Stuart born in 42&lt;br /&gt;Jane suggests council speakers in this group but I’m inclined to think (perhaps) – over period of years – advice urying [sic] (quote Ransom)&lt;br /&gt;Arthur’s death possibly from corruption&lt;br /&gt;’99 – Sir [illegible] probable host to [illegible] – More + he [illegible] – Henry, age 9 – encountered by them, (N born in ’91—&lt;br /&gt;Duke of York = Henry&lt;br /&gt;Mary Tudor m. to James IV of Scotl. He much older than she (she is 15) ([illegible] of James I, Engl)&lt;br /&gt;Maybe “best” is Bess&lt;br /&gt;’02 Catherine’s tutor + confessor sent back home (Alessandra Gualdina[?])&lt;br /&gt;1601 1561 40 winters (from time of Bacon’s birth)&lt;br /&gt;Could I’s be J’s for James = House of St.?&lt;br /&gt;Line 1&lt;br /&gt;Forty winters: prophecy: Scotland – winters&lt;br /&gt;Line 4&lt;br /&gt;Weed: widow’s (Cath)&lt;br /&gt;Line 7&lt;br /&gt;Eyes: Leic?&lt;br /&gt;Line 13&lt;br /&gt;When thou art old: She’d be 65 after 40 years on throne&lt;br /&gt;Art: Stuart? 15 + 25 Catherine Howard will see her blood&lt;/span&gt;</text>
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                    <text>101. 2 truth fidelity, dy’d stamped. y thou the Muse, digntfted you are dignified. 5 haply perhaps.
6 Truth . . . fix'd truth
needs no artificial ornamentation since its colour is natural and perma­
nent.
nent. 7 lay lay on, apply. 8 intermix’d adulterated with alien substance,
rz To make . . . gilded tomb i.e. make him immortal by praising him in
verse. z_j do thy office perform your proper function. 14 shows appears.

/£&gt; A
7k ZC^?

' O truant MusC^hat shall be thy amei&gt;ds ,
For thy neglect of y;uXh in beauty ^’fl? ■
x^^'MBofh ti;uth and beauty on my love defends;
"^i^bsyhou too, and tljerein dignified.
I z: Make'answer, Mnse.lAyU't jhou not ha
^^^^^'^^‘Truth needs tm colouiy^th his coht^jJj
'' 'Beauty no pencil, beauty’s yuth to la^
But l(es^ is b^j^, if never intey^Ix^^
Jfhou qfe dumb? ’
cause he needs no praise,
e noti^enc^o; for’
•in the^
dedhom!
make hmimuc]
W
\ Ahd tb be_prais’d otetgesyeTto be7
C.
' TTpen do th/office^luse. I teach the^Jho:i«C?Tb make ^im seem, long h'fence, as hp sl^o s now,

.

gj'

&gt;

love is strength’ned, though
re weak in seeming;
ve not fe^though fesj (he^oyj^ppear.
at love i^m^chandiz’^ whosj icJf^beemingC''^7e owner’s t^Sn^e doth.^ublish'ryerywhere.
r love was"’hev^affd then but in the spring,
y.
enJjii^wpBt'to^greet St with my lays,
As ^ilom^jr^n summ^s ^ont doth sing
sEOps Ker pipe in gr^th of taper days;
N that the summer is fo^leasant
wheji her (fiournf^%ymns did^ yush the night, 10
t thakwild tnusic burdens
,
:ns every bough,t
bough,
own^ommoryose th^k'dear deligtit.
A

seeming outwsrd appearance.
a appear is evident.
?“■/
love . . . everywhere that love is treated like a merchant’s goods
when he who possesses it publicly proclaims its value. 6 wont accustomed.
7 Philomel the nightingale. Although it is actually only the male nightin­
gale who sings, the classical Philomela was a girl and is always treated by
Shakespeare as feminine, in summer’s front at the beginning of summer.
8 her Hausman; q: “his.” pipe voice, in growth . . . days as late sum­
mer comes. ij But that . . . every bough but because there are song- ■
birds now singing in every tree. There is a quibble on "burden” in the
sense of “refrain” of a song. ij som \me from time to time. 14 dull
cloy.

^5
102

IO

aiise I would not

you with my song.
10

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                    <text>, &gt;03- 6)' /Ve, l&lt;

5 Tk'

_______

’
D
I

A opportunity. 5 argument all bare naked theme - you, without adOTnment.
t
mirror.
7 overgoes . . . quite surpasses my crude poetic crea- £. cL^ '
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i
lifeless, doing me disgrace putting me to shame. 9 mend improve upo
'
(my beautiful subject). // pass purpose.
sit reside.

•-a

erjty my Muse brings forth,
ope(t^how her ^id
iTIiht, having su^
’J'hp argument^l ar^is of tyiprejworth
iShto when it hath m
Q, blame me not if j' no morel can write!
J^ok in youi( glassJgjat3,j^ere appears^ ta
'ThqtjTvergnes m'^lun^nvention quite,' ,
lines'M^^ing me disgrace.
it not sinful then, striying^o^e^c
59 theisubjecq that befoje wa^we
3 other^a^ myiver^es tend
muchanore. thjii in m
rf^s s^wS you ^hen you look in it.
‘(-z

'&lt;^^-

.g-?
/V/’

cftr'jexec . •&gt;

if
SONNET 104.
The sonnet was apparently written three years after /he'*C,t,
poet first met his friend. Most editors regard it as misplaced in its pre^nt
position in the sequence. 4 pride glorious appearance. 6 process the 7 '
progress. 7 burn’d i.e. like incense. 8 green young, beautiful. p dial
clock.
IO his figure the number on the face of the clock.
ii hue
complexion,
appearance.
meJhmfti
seems to
me XlCVCl
never to
- .
XX
------ .. .. .. stand uv.v,xxic
xvr xxiV
L«J be
UC
changing.
"
■ ■—
'
changing, ij thou
age unbred
The Met speaks
directly to the future ages
who will read his poe
''
- &lt;1.- I /
.
i
.
,

/S'

I
'
-

’

nier^ir ^fiehd, you never can
were when ^tjouife)^ I ey’^^ SaJJL,
_^clyseems your beau^j^illJ Tliree-wiirEers cgld—,
' Have from the, foresfs/shook three summersfpride;
yellow a^mn turn^^^tjg^^y,^^
\ f Irt process pf the seasons have I seen,
””
;
perfumes in three hot Junes burn’d,
v«_xa-&lt;
yet doth beauty, like a
hand,
his^figure,
andV noc^ace^ngceiv’d!/
1O_X*5V&lt;X^, XXXXK.
iht^, which methinksl^tlMoth sYand,
^nd.!mine eye may be deceiv’d; \
f whydi^lhear this, thou ag^nbred: ^*■**•9
e

. it&gt;^

10

h T~
.

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                    <text>&gt;

d beauty ^mWng beautiful old fhyme;^J7 .at
f
praise of l^esd^ad^andjoyely k-night&amp;
(ijhen, in the/bl£^n)of(swe^beauty ’s'bcs
hand, of fo^, &lt;^nip,,^o^ye^of bco^^
thei^^iui^ue pen
ch a beauty as
^liyheit-praises
arXbu
Let not
m

■

/O-^
.

,

.

.

idolatry^'fhe poet’s love is nrft idolatrous, he

maintains, because it is directed to one god and is unchanging in its
W//
4
always, forever. 5 Kind natural. 6
SMI constant
the same. 5 leaves out difference avoids variety
!”
and in ringing changes on this theme-aL
my poetic skill ‘^^xpend^ ■
kept seat

-i,
2

songs md p^ses be
Ao-day, to- rrow
a wondr
IMconstan
, to/ton
ereiore my^^
, leay out
&lt;5ne thing
y

dfen this/Change mvtinvention
Tip one, which wondrou
re
d rfuel
mieKiaye-of
aA^often
t liv’dlgl
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^l^h threenil}
til} now|iever|]Skept^ea^in or
'I

"

SONNET 106. 1 wasted time past ages.
2 wi^ts person^' 2 And' '
' J
beautiful persons causing old poems about
beautiful. 5 blazon trumpeting forth, celebration.
7 an- J/i
,'ifque ancient.
8 master possess.
10 you prepguring foreshadowing
,
because, divining eyes eyes which look into the future.
^tll CA.PELL- o: "srill.”
•
.
.
I

.

n in tne t^ronu^ie pi
\
descriptions of the faires^^ights2 A

r:,
'1'^
ronhecies
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%

1*5

I
for they loot’d but witljdivfei
yes,
^5&lt;r^nT2key had not skill enough youif'^rtfe to sing;
For we, which now behold tl^sei pi}^nt days,

*

{^21

Oe,if c?t s

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V'T, ISfibj

i&gt;\j I7e nu.s &lt;vs ■'(»* 1^

«

ncejhis sonnet seems to refer to specific events, it has
perhaps more than any other in attempts to date the sequence.
Just what events it refers to has been much debated. 1-4 Not mine
\ . . confin’d doom not my own apprehensions nor the intuitive fears
of the world at large can envisage an end to my love, supposedly limited
by a fixed period of years (the fact of mortality). 5 The mortal ... en­
dur’d This has been taken as an allusion to (a) the defeat in 1588 of the
Spanish Armada, which sailed in a crescent formation (b) Queen Eliza­
beth’s illness in 1599-1600, since she was commonly referred to as Diana
fir
or the moon (c) the death of the Queen in 1603. There have been many
other suggestions. 6 sad augurs . . . presage gloomy prophets now laugh
at their own past predictions of disaster. Precisely what disasters they had
predicted has also been a subject for much debate.
7 Zncertainties
V*" '■ • •
a period of uncertainties has given way to one of confidence.
-y 8 And peace . . . endless age we may now look forward to a period of
•
. -^ perpetual peace. Some have taken this as an allusion to the accession of
. f
James I and his attempts to end the long hostilities with Spain. 9 drops
metaphor is of healing rainfall.
10 to me subscribes
y i^/\ acknowledges me as its superior.
12 insults o’er haughtily triumphs
r
over. duZZ . . . tribes the common inarticulate multitude.
/” IL have perished.,
'/

etichoul
ot mine c^n fears, nor
the wide world, dreaming on ings to_c&lt;
a\ yetthelease^bf my true love^c^tr
1 as forfeit to ,a ebhfin’d
^tal z^^ognehath Mr eclipse eMur’d,
A^d the'^sad^iugurs mock their own
emselves
Inker tain ties now crow
ives
df endll&amp;s^age-C'j.^
d peace proclaim^
NdwAvith the dropsO£-thtsmos alm^time
'Jove looks_fresh^and|Deathjto me subscribes
’Siiice,l,f^te of him, I’ll live in tKis poor rhyme
V^ile he insults o’er dull and spec
.And thou in this shalt find tliv monument

--A •-

SONNET 10^ ^'character
figurd 1
5 register IrecoTd.
S hallowed made holy. 9 in love's jresh case in the young exterior emj^^'bodiment o£ love. ro Weighs values. ii place consideration. Z2 for
i. aye his pag^ his servant forever. ij conceit conception.
{ " /•^■♦■'CT C
'' '
n
“

'•

^-''

i'

aracter
at’s in the brain/that&gt;rfk ma'
ch hath not^figur’d ^o thee/hy true irit
■vllove br th)(de:
injgJ
sLeach'day sS^ o’erlthe very
rdn^^i€K?ld thm^Id, thou n^e,
1 a^hen lrst ll^llowed/thy lair
So that eternyioveji/iovys fresh
---dust
J
ighs nofthe
and injury

Nor gives to necessary wriijkles
But makes antiquity for_aye hi^pagej^
-Finding the first cdnceit of I
zg^^rejtirtle and outward forh ould show ill

,A

n-

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                    <text>'/o'!

5 rangd
flame to q dtfy to abate my passion.
wandered, been inconstant. 7 Just to . . . exchang’d punctual and unaltered by the time (of separation), 8 bring . . . stain wipe out my guilt .
with tears (water) of repentance. 10 all kinds of blood persons of everjc\j
cjtange fo\.
kind of passion. 11
14 in it in "this wide

z i'”;
r

otley
the view a jester,
,
display. Some
critics have seen in this sonnet evidence o£ Shakespeare’s distaste for his
profession as an actor, j Gor’d wounded. 4 Made old . . . new turned
new friendships into occasions for my old offence of inconstancy. 5 truth
fidelity, constancy.
6 Askance with indifference, strangely as though
I were a stranger to jt.
7 blenches disdainful looks, sidelong glances.
gave . . . youth rejuvenated my love for you.
8 worse essays experi• ences with inferior friendships.
10—11 Mine appetite . . . older friend
I will never sharpen my appetite for love by experimenting with- new
friends so as to prove the value of an older friend. 12 confin’d bound,
doubtful that the expression is one of

i
f' ii

tkafl was falsi of teart,

'

bsence seem’d my flame to qualifyl
As eii&amp;y might I from myself depart
As frpm my soul, which in thy breSsi^i
lie.
Thai is myjd^me of lo^. If Thlve /
ik^ him th^ tr^els I return(again)
st to the tifie,.!^ wth the time(e^
*■
bringi waterlfor m^stai
erUbelievy though in my nature
ailties ^at be^ege ralj\inds of^loo
x^hat it could so prepo^roiislybe stain’d'
• To leave fofliothing^II/hy(sum)ofgo^;
Fopnbthing,xh^s wide universe I
theu.hnyw^^^ thou art my^U^

’4s true^I have gone here and there
And^^^ myself a fno^-eyjto the yiew,
Gor’p mine own thoughts, ^3*7chea
"^year.

no

'inost! '

ue it is that I have look’d onjruth
d^strangely jbut, byj^^

appetite
On Tiewgr~prwf, t rTan older frie
god'in love, to y hbm I am confin’d.
my heay
'1 Then give me£w

Kwrf’

&lt;

it

' V' &gt;

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                    <text>f JI

-(,0

-t ft -7!

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SONNET 11. 1-2 As fast . .’. thou departesP asfast
you decline (in
old age) .so fast shall you grow, in the form of your child, toward the
^eak (of youthful beauty) from which you are declining. 5 which . . .
« bestow’st which while you are young you put out to gain interest.
f convertest turn away. y Herein by this course of action, 7 the times
the succeeding generations of men.
9 store breeding, replenishment.
TO barrenly without children.
ii Look whom whomever (a common
( , Elizabethan idiom).
Z2 bounteous gift (a) generous gift (b) gift of
bounty, of ability to procreate, in bounty by being prolific.
ij seal
engraved stamp used to make impressions in wax.
iq copy original,
archetype, from which copies are made (as in “printer’s copy”).

7

^7) £

SONNET 12. I count the clock count the hours as they are struck by the
clock, tells (a) reveals (b) counts. 2 brave magnificent, radiant. 5 past
prime faded.
sable black, all malone; q: “or.”
6 erst formerly.
7 summer’s green i.e. the grain, which is conceived of as bom on the
harvest carts in bound-up sheaves like dead men being; carried to their
graves. 8 bristly beard This may suggest barley, p question make con­
sider, speculate about. 10 the wastes of time those things which time
destroys.
ii themselves forsake cease to be what they formerly were,
deteriorate with time. 12 others other “sweets and beauties.” ij Time’s
scythe The conventional symbol of Time w'ith his scythe supports and
echoes the reaping image of lines 7-8. iq breed children, brave defy.

from that which thou depart^
;sh blood whichyyoun^y thou
Thou mayst call thine when thou ^rom outh convertest. ILX
Herein lives wisdom, beauty, and increase;
Without this,^lly, age, and cold decay.,.
&gt;
all were minded so, the times shoult^ease,
direest^ore year would make the world
' YT .Pt those whom Nature hath not made foiystore^
arsh, featureless, and rude^barrenlv^p££|^S^^
00k whom she best endow’d she gave jthe thoreyj Ch
2 Win3rbp«ofSbus gift thoujjKjiildst in bounty ch^iSlsy^
&gt; ■ She dary^thee for bergetil Jand meant thereby.
”
Thou shmHdst|pi^t
let that^^ di^

hen lllo(c6unjtKe clgck that, tells th^im^
’ And see the byave i^tiy^sunk in hid^ou^ighl/
l •
When 1 behold the violet past prime
And sabl&amp; curls all .silver’d o’er with white, " ' ’
'^*^5
When lofty trees I see barren of leaves,
73 f 5f 5,
,
did canoT^ the hero.—.o p,
TTgii-ded iin in sheaves'T~iir»«i)d?^~^*’**^
-

''4;

hen of thy beauty do , estion
__make
That tljQli among the^asterofftiS^must go,
Since pwee^ and beautiesT
&lt;—And pie ^fast as they see
. ,
And notfiing^ainst; ’Time^s scythe can make(^feiy;
‘ Q Save breed, io brave him whenj^t^kes thee hence.
13

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                    <text>SONNET 111. I with
q; "wish.” chide quarrel.
2 0/ responsible for. 4 public means thc-B€€csSityTo~appear in public (as an actor).
public manners breeds gives rise to vulgar manners^ 55 brand
brand stigma.
stigma.
6-7 And almost . . . dyer’s hand and because of that my nature, like the
dyer s hand, is almost coloured by the material it must work with. S
renew d cleansed.
10 eysell vinegar (prescribed by some physicians to
prevent the plague).
11-12 No bitterness . . . correct correction 1 will
consider no bitter remedy to be bitter and I will undergo double penance
to cure my ill behaviour.

1

/N

T

'

1 th’ impression fill remove the scar.
2 uu/gar com­
mon. stamp d . . . brow The allusion is to the branding of criminals
upon the forehead. 5 calls . . . ill gives me a good reputation or a bad
one. 4 So you . . . good allow so long as you cover over what is bad in
me and acknowledge what is good. To “o’er-green” is to cover a bare spot
of ground with grass, y-8 None else ... or wrong no other person exists
can change my fixed sense of what is either right or wrong. This is the
general meaning of these obscure lines which have been much debated
and often emended. p profound deep.
10 voices opinions, adder’s
sense deaf ears. The adder was believed to be deaf. 12 Mark how . . .
do dispense see how I excuse my refusal to hear (other people’s opinions).
ly strongly , . . bred firmly centered in all my thoughts and concerns.
methinks are capell; q: “me thinkes y’are.'

P

It I tj
I

111'

^r.

sak^o^
?rUW^£^hide,
JI
guilty
_
harmful deeds,
t did nortittcr
life provide
n public means wliich public mannersTbr^^sV
;nce comes it that/my nan^e receivesjaibran^J.^^
And almost thenfce my nature is subdu’d
To what it works jtrrtf^ theidytef s
^i^ihe
re
liyhilst, /ike a,wilWgpatienpJ^ilQrink
Inions of^seip^^dB^^gyfstrong in^£li^
bitterness that I^ill^.itter th^k, _£xQj
Ndkdouble pen^jtfexS^r^^cort^ctjg^d
, ^TTO^e, then, ^^r fri^nd^nd I assure' ye
XEVm thaf^^u/picy is mough to cure me.

S’^’

Y***

fVouiMove and pity doth th’ impression fill '\vvw;,4Xt*’'=’
'i Whicl^ulgar scandal stampy upon my browj^i
For/v/h^ qare I who calls mefwell^rjll.^
, SoTyoi^i^r^eep^y bad, my gooc^^ll^P'/t'
To know my'&amp;mes and praisps from you^^ngue
(None)else tojne, nor-1 to'noneialive,,
2^hm my'steel’^ sense^or):hanges righT^^onf;
! In^so profound abysm I thrtjw'aikcare
others’ voices that my adder’s^n^
To critic and to flattereY s^Sp^d are..___ _
- j^A'how with my n(\gl,ect 1 dtgdispense:
\^u are so strongly inhny purposeUjrjA
^^al(all the world besides methinks*^re dead.

112

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                    <text>mind. 2-4 And that ... is out and that (my eye) which directs my steps
abandons his duty, and although seeming to see is actually blind. 5 iorm
impression, image. 6 latch catch sight of (malo.ne: o: “lark"\
7 0/ his
... no part the mind does not share in its (the ey?^ fleeting visions.
8 Nor his . . . doth catch nor does the eye retain what is caught within
its view. 9 rud’st most uncouth, gentlest most noble. 10 javour appear­
ance. /2 to your feature so as to resemble your form, zj Incapable of
unable to receive.
z^ true faithful, mak'th mine eye t.rTrsnhs- q;
“maketh mine vntrue,”

A^d that which governs me to go ab
Di)th part his function and is gartl£
^Seems seeing, but effectually is out;
^oj- it n^^OT^ delivers to th^ hear
Of bird, of flow’r, op^hap^-whicElfdoth latch;
iof his quick object^ath.-the mind no^pa^
Wor his own vision holds what it doth catc
creature.
The most', sweet ifavo’
The mountaiq or th^^,
,
Tfhe crow ^r d'ot^lk shapes them to your feature^.
/^capable of more^ replete with you,
' ’A
My most true mind thus mak’th mine eye untrug^-.,^ (y

Air.
SONNET 114. z crown d with you filled with the joy of possessing you.
.f alchemy transformation (of lesser sights into your appearance, as the
alchemist transforms base metals into gold). 5 things indigest shapeless
things. 6 chettibins angelic shapes. 8 As fast . . . assemble It was be­
lieved that the eye gave forth beams; objects became visible t?hen they
were touched by these beams. zo great full, most kingly Flattery was
the vice to which kings were believed most susceptible.
zz what with
• greeing what is most agreeable to the taste of my mind. Z2 to his
. . . cup tastes from the cup as a king’s official taster was required to do.
25-7^ 'tis the . . . first begin the eye’s sin is the less in that he has given
the mind something he himself has tasted and enjoyed.
.-7 x
Av

XXt \__ /''I I nA
■"Or whether doth m/mind^ being crown'd with you,
Drink up the monar^^^a^]^ this flattery?
Or whether shall I say/mineieye^saith tru
And-that your love tajUght it~ffiis ^l^emy,
^4jSuch cherubins as y^uj&lt;sw^self resemble,
'
Creating every bad"/a perfect best
As fast as objects t^ hijJjeams assemble?
is(thefir^'Ti^atf^i^ my seeing,
mv~great (mjnS^Tmo^ kingly drinks it up.
e.tyTVvzh knmvs what with his gust is g^ing,
t^i^afat€.^th prepare the cup.*'
it be'^^on/^his the lesser sin
hat mi^^y^oves it amTHotlTfirst begin.^qi

7

v '*'* .fi

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                <text>&lt;span class="value-content"&gt;The following transcription of Demorest's annotations was selected and transcribed by Casper College student and Archives staff member Grace MacPherson in January of 2024.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 113&lt;/strong&gt;&lt;br /&gt;1613(!)--festivities of marriage of Princess Eliz. included fireworks: some were hunting hounds pursuing a hart–Also a great sea battle was staged–Christians against Turks, with “divers… maymed and hurt” and “one lost both his eyes.” The next stanza 114–includes “Palate” as if referring to the groom[?]--from the Palestine[?]&lt;br /&gt;Line 5&lt;br /&gt;Form: foreign&lt;br /&gt;Heart: Cath. Parr?&lt;br /&gt;Line 10&lt;br /&gt;Deformed’st: Poem by E. on deformed&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 114&lt;/strong&gt;&lt;br /&gt;In 1614 the poisoning of Lord Overbury takes place&lt;br /&gt;Bibl. Echo in “doth prepare the cup[”] (Last Supper?)&lt;br /&gt;Is this period of writing against Jesuit and Catholicism at James’ order?&lt;br /&gt;About ’35–Mary fearful of poison. Her ill-suspicions possibly center of plot–[illegible] marry Pole–[illegible] war. Anne’s alchemy feared–&lt;br /&gt;In 1614 Overbury was poisoned by Lady Essex + Somerset–D. used as lawyer&lt;/span&gt;</text>
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