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                    <text>' r

y,

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-■ 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.

|
|

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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>3

•7

1^’

■

7-77-.yc-z

0

-

-O'

V
tf fresh repair youthffel condition,
beguile cneat. tin(W«s
SONNET
fail to bless (some woman with motherhood). 5 unear’d untilled. 6 husbandry cultivation of land, farming (with a pun on “husband”.), I fond
foolish, tomb monument. 8 Of his . . . posterity to eliminate the possibility of descendants because of his own self-love. p1 thy
’ mother’s glass
hnrk TPralls
the reflection of your mother’s beauty.
10 Calls back
recalls, prime '
springtime, youth. // windows i.e. children, through whom in your old
age you will be able to see your own youth, 12 Despite in spite, golden
time youth.
75 But if . . . not to be but if you live so as not to be
remembered (by children).

I

f

tell the face
thou’dviewest
Lookan
th ;lass/an
For
where4s)she
so d(fair.-whose
unear
wombh?e- "I
NovUfslheTime that ------face should form anothe
Whosexesh repair if ino^thou not rene
hou doT^begj^e the^orld, unbl^^oiii^^^f^
n

tomb

I VA .*’•

Of KisAel

,Then how, whe^
What accffpti\bl
Thy UL
Which,

Av’"io

e-

iCaflls back t

3-'

5

indows of^hp^ie age shalt(gee,J
h
4^n time." Ncw&lt; 1
yvrinkles,it
ive remem’bred ilot to be,
ies with thee.

jUO

.

c&gt;
SONNET 4. 2 thy beauty's legacy the Beauty which‘you have inherited
and should bequeath. 4 frank generous, are free who are generous.
5 niggard miser. 6 largess generosity. 7 use invest at interest. 8 live
(a) earn a living (b) continue to live in the memories of children. 10 de.
ceive cheat. /a audit account.
lives ... to be would live (in the^vsTt • I
form of a child) to be your executor.
,,
i

loveline

hy\jost . hou spend

If

\l^ c ,
K 5 fA

re-

Nature’s bej^uest
thing, but dotMend,
And, bMng jrankZshe lench to tihose areffreeY~
enTI^^uteo niggarjZjKthy dost thou ab^seje /
The bouniei;;ys;i^
&lt;'Profitiess/u^e^^J
So gfeaTa sum pf sums, yet can
For, having traffic with thyself ^one,
Thou of thyself thy sweet self\dost decgive.
calls th tob^gonfej
It nst thoii 1
ea*uEy7nust be/fomb’djVith
h’ execu
5

, j
'
’

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                    <text>Ttrfunit,

SONNET 5. I frame shape, create,
2 The lovely .
. doth dwell the
lovely sight
upon
which all eyes
_
.
, gaze. 4 And that , . doth excel and
make that unbeautiful which in beauty does excel. 6 confounds destroys.
him i.e. summer. 5 o’ersnow’d covered with snow, 9 summer’s distillahon perfume made from the flowers of summer. IO pent locked.
//
Beauty s . . . bereft we would be deprived of the perfume along with the
flowers from which it was made — i.e. the beauty of your unborn child as
well as your beauty. i^ Leese lose, their show their mere external ap­
pearance of physical form, their substance their true spiritual essence.

ose hours that with gentle work did frame^t)^
e lovely gaze where every eye doth dwell,
o the
Will play thj;.
dotn exfcel
And that"unSai which
5
ime Stacis teummer
or nevCT^re
,_ ____ on; e ’
o hideou.Cwinter’jmd, confounds him there,
check’d
frost.ind lusty leaves quite!
tv o’ersnow’dand bareness everywhere.
n, were notisnimer’s dw^ll^ion left((e
liquid prisoner pent in/wJHs qf .gl^,
auty^s gflect with beajzty we^ bereft^
o reme rance wTOt it w'SiSki
flow^
though~t^ey with
meet,
/'stilljlives&lt; &gt;■
eese biM their Vhow — thei
sweet.

/'’t I
A/

, ,^hen let notjwfiter’s^r^ed Jian deface
5’ln thee thy) summer ere thou be pistil
some placeiC*)
'Make sweet some vial; treasure t
With beauty’s treasure ere it be_^
'That usf is not forbidden usury
Which happies those that pay tjre
T^iat’s for thyself to breed a ther
Or\tenltimes happier, beit/^n forpne. \
mes thyself were ppjer than thou'ar^
of thine ten tiptfes jrefigur’d thee.
what could detfth do if thou shouldst depart,
Living thee livi in posterity?
S'
Be not self Fd, for thou art much
To be death’s conquest and make w

SONNET 6. 1 ragged rough.
2 distill’d The im
sonnet is carried on. To be “distilled” is to be “made into perfume” — to
have one’s true essence carried on in the form of a child. j some vial
the child into whom his essence will be distilled (not the mother), treasure
enrich. 5 That use that kind of investment (of your beauty) at interest. '*
6 happies makes happy. 7 to breed to give birth to. The verb “to breed” '
was often used to apply to the increase of capital by interest. 8 ten for
one Ten percent was the maximum amount of interest permitted by a
statute of 1571, which revived an earlier statute of Henry VIII permitting
the lending of mtmey at interest. 10 refigur’d thee represented thee anew

4^^
|O jt /•

•X

&gt;) "f 1/

'

z

\

» 1

' -Ws i*.

'

5

'

. •*

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                    <text>At **41 c *. I c

the Ori^t when the gracious light
Cm'c S
' Eitts up his burning head, each underfey^*^
Doth homage to his new-appearing sight,
Serving”with looks his sacred majesty;
And having climb’d the steep-np heavenly hill.
Resembling strong youth in his middle age,
Yet mortal looks adore his beauty still,
*■tending on his goldfen pilgrimage; •
It when from highmost pitch, with weary car,
se speechless song, being many, seeming one
ike feeb
le age
he reeleth
from the day,
gs this to thee:
“Thou
single
wilt^irove'^none
0. “1Tk
n4 eyes yfore duteous) now converted are
[Frlrnnis low tract and look another way^
Fsk thou, thyself outgoing in thv\noorfn
"IU^oo^^’tlond^st uiflesspiouget a s

to the “eye” of heaven, as the sun was conventionally called). 5 steep-up
high and precipitous.
9 highmost pitch greatest height, i.e. noon.
“Pitch” is a term from falconry indicating the greatest height to which
a falcon may soar, car the chariot of the sun god. // fore before (an old

'

'0

! VI

' *- —

SONNET 8. The basic metaphor of the sonnet is drawn from lute play- ,
ing and rests on the fact that the strings of the lute were tuned in pairs,.
except for the highest string, which was single.
1 Music to hear you,
whose voice is music for me to hear, sadly soberly, without joy,
Why
Im/st
, thine annoy why do you either love that (music) to which you
listen without joy, or tolerate at all that (music) which annoys you? If
you listen to music “sadly” one of these possibilities must be true. 6 By
unions married united to one another in polyphonic combinations. 7-S
who confounds . . . shouldst bear who destroy by singing alone the
harmony of the concert (marriage) in which you should be singing only
parts. The musical “parts” are the roles in the family, or “concert” of
„
'husband and father.
10 Strikes . . . ordering To pluck one of the
f ' iX ^'double strings of the lute causes the other string to vibrate as well. This
called “sympathetic vibration.” 14 prove none be rio person.
I

%

*4

^MdsicTo hearuidiy hear’st tlmu music sadly?_^
s^eetsAvitlfsweetj war not,jo_J delights
{^^3ov’st thou that which thou receiv’st not gladly.
Or else receiv’st with pleasure thine annoy? Tk* 7—^
If the true concord of well-tuned sounds,
"Sy untoiRiharxi^^^o offend thine ear,
t
They do bOT^^eetl^iide thee, who confounds
In singleness the parts t
ou shouldst bear.
Marjk^ow one strin sweet hhsband to another,
' Strikes each in each by mutual ordering;
R^embling sire and child and happy mother,
''■JVh^, all in one, one pleasing note do sing;

i e &gt;’ t e
*"

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                    <text>f JI

-(,0

-t ft -7!

7!5J ■ dir'tJ',

bt•J

U
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

IO

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                    <text>Against thfelgormv gusts of^hteT
An/bar^ ~ £&lt;){ deat^eter^
‘ba^pthriit^ipieaiT^^.____
^u had a I'atliei- - kt youyson ^y so. . _
i- -

'
fY‘'''~^

SONNET 13. I O, that . . . yourself O, that your present self could be
your eternal self. The opening sentence deliberately shocks the reader
‘ by its ambiguity, and the rest of the sonnet serves to explain it.. 1-2 you
^are . . . here live you retain your present form only so long as you
remain alive. j Against in anticipation of. 5 in lease for a short time
only. Man can only lease his body; he cannot own it since it must be
taken away from him by death. 6 determination ending (a legal term).
; you were you would be. 7 Yourself malone; q: “You selfe.” 8 issue
offspring. co husbandry (a.) prudent management (b) tillage (c) assuming
the role of husband, in honour in marriage. J2 barren rage of fruitless
ravaging by. 13 unthrifts

O, that you were yourself! but,,....
' Nolon^ yours thanlyau yourseQ
Against this rorning e^i^^ou should prepare
your pweet spHtjH^tice to some other give
hould mFSLbearityJwhich you hold in
ThyPendA/tru^ andi^auty’s doom and date.
Wjhen sj
Who!
WhicH '•

8
-'T .
Ci'jt e-zs
f^tf.
A
",

y

SONNET 14. I pluck derive. 2 have understand, astronomy ability to
future by means of the stars. There was no -distinction in
Shakespeare’s day between astronomy and astrology.
j-y of good . . .
''seasons’ quality "These were the traditional subjects of astrologers. 5 to ‘
brief minutes down to the smallest details, covering the shortest periods of
time. 6 Pointing to each assigning to each minute, his its. 8 oft predict
that often predicting what.
10 read such art gather such knowledge.
2, store fertility, convert turn.
Thy end .■ . . and date
’ill also mark the prescribed end of truth and beauty.

Not from th)e(stai&gt;)do I my judgmenl
'~And yet methinks I have Astronomy;
But not to lell of^ood or evil luck,
jTi»u(‘^of d^Fths, or s^sons qu
can I koftmie to_brief'minut^ telL.’pointing t&lt;j&gt; each hisfthu^e^^airC^nd^ind^ j
Or say witl{ fiinc^if5trSnal^go well]
By oft predict thaiJ. in heaven find;
Co
^ut frgrnjthin^ye^V knowledge 1 derive, ,
suchjart) u
A^nutWSl ifeau^^iall together thrjvp__ .
If from yself to4m^llhou wouldst^ojyerty
■FOT elsOUheslhis I prognosticate:

.

A

J5

U-t V.)

10

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                    <text>1-jV

^4 e '

SONNET 15. I consider consider feiat.

f

"

2 Holds ensures.

stage the world (which Shakespeare often conceives of in terms of the ^-Pt­
theatre). shows Insubstantial external appearances. 4 Whereon . . . xr-ti
comment The stars are conceived of as influencing the course of human
events in the same way that the audience may comment upon the performance “f players on a stage, but while the audience reacts noisily, the
stars comment in silence, "Influence” is a technical term in astrology for
the power exerted by a star. 6 Cheered encouraged, check’d (a) rebuked
(b) restrained, 7 Vaunt boast, exult and swagger, sap vigour. 8 wear
. . . memory v/ear away their magnificent condition (as a garment is worn
out) until it is forgotten. 9 conceit thought, inconstant stay imperma­
nent condition of life. 11 debateth with contends in rivalry with. 14
ingraft you give you new life (by means of my poetry) as trees are revivified
by grafting. Here the poet introduces a new theme: the power of his
-- boetry to keep his friend’s beauty alive after it has faded.

.1

'Sa

When considgLfii^ry thing that grows*"
Holds iri^^CTfectiolVtrttt-a4ilt1e moment
me
his huge stage presentethpaughfput shows
Where^tho^ai^in secret influence commentr i'en I perceive that men as plants increase, fip ’
ijch^ered and ^li^ck’d even by the selfsame skyrT»T.
Vaunt in their youthfuL^p, at height decreas^ '
wear
this infconltant itSLy-ivif
^ip^in youth before my sigh^
vVnere wastefu hue debateth with Decay_^:,[it^e
day^f youth tol^ilie^night
VTo&amp;anse
nd, all m ^with Time for love of yo.^ .
As he takes from, you, I i

« r,

w

a'*

SONNET 16. / a mightier way mightier than by''the poet’s pen.
y ~
fortify repair.
./ barren rhyme The poem can produce no children, '.whereas the "mightier way” can produce a son. Shakespeare is not simply
depreciating his own verse. 5 on the^. . . hours at the prime of life. V‘6 yet unset still unseeded. S Much liker . . . counterfeit resembling you
yO
more closely than your portrait can. 9 lines of life lineal descendants. V yf
life repair restore life (through children after life in the parent is gone).
IO pencil the painter’s brush, pupil inexperienced, still learning. Some
have taken this as evidence that the sonnet is one of Shakespeare’s earliest.

a mignti
tarit,
fortify yourselfiify^r deca
meani^oreplessed ihan^y
itow stand you on the top oh
nd many maiden garden^ ye|?
ith virtuous wish would(bear

therefore dp hSt

my

Neither in inwa worth
Can make you Idye jl'oui
ui
To give
And you mus(fiivi

5

-«tji

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                    <text>- il? 1

■&gt;n

SONNET 17. 2 wefe fiird with fuUy expressed.^ deserts nrerits. 4 parts
qualities, endowments.
6 jresh lively, numbers verses.
S touches
Either (a) attributes, traits or (b) brush strokes. 11 rage wjld inspiration
(and therefore irrational and false). 12 stretched exaggerated, antique
quaint and old.

A rs v\ X

i

r VjO xi ' I

BtnA-..,, ‘-f

' r
XS '

O

4-

r~r

pel. «•

If it were fill’dAvith your most high deserts?
Though yet, fieaven knows, it is but as a tomb,~^hich hides your life and shows notfralf j'dur pt
could wite the beauty of your^eye^ "s
^n-fresh numbers number^ll your^acps^^
age to come would say, “This poet lie^’
Such heavenly touches ne’er touch’dearljtSo should my papersj^^loyye^withthe^
Bp scorn’d, like ^Idfuiei^yb^^^ruth tha
^d your Jtrue riglTT^ fae4ern?d a poet’sfrag
Andjstretched metre bf an antique song.
/“Burwer/ some child of yours aliveThat time.
You should live twice — in it, andiojny rhyme, i
»
■
■
•

155,!

OS?

(ah'/ei -i- t h

A/.'W'K. F(;,

SONNET 18. 2 temperate even-tempered, mild. 5 May In Shakespeare’s
calendar May would extend into what in our calendar is the middle of,
June. 4 date duration. 5 eye of heaven sun. 6 dimm'd covered with
'' clouds. 7 every fair . . . declines every beautiful object must at some
(&gt;
time cease to be beautiful. 8 untrimm’d stripped of its beautiful orna­
mentation.
10 fair beauty, thou ow’st which you possess.
ii shade
'"L place of oblivion. /2 to . . . grow’st become a part of time, are grafted
to time, as a shoot becomes part of th
e to which it is grafted. 14 this
■
i.e. the poem.
'
A,

.A-Ai'
’ 1^ Pr

Who will^^lieyjg^Y verse in time to come

Shall 1 compare thee to a summer s day?
hou art more lovely and mor^ temper
winds do shake the rlirig buds of
t£hft?^s^ease hath all^o short a dat^ .
ne too hot the eyt of heaven shines, S
ompl^j^n dimm’diy,
And ever am from ^r sometime declined, Jt*
By diaryee; ornging couigg,
Butlthvleternal ^iS^iffer alljiQt fade
Nor lose possession^of thah fair ^ou ow’st,
Nor shall Death brag thou wand’rest in his sha
When in etepfTalUines/to time thou grow’st. I
So long asMiewcan breathe or eyes’caiTsee,
So long lives this, and this gives life.^t^hee.

■^''^rfssarTr:''

-ti

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                    <text>' 1*1 ! '

thou the lion
heiijjytjfi ^weet b
piake
___
__
Plpcl/the keen teeth from the fierce ti;isef*s ii
urn the long-liv’djjhtenb^in hi

devoPr
. brood take bick within herself We beautiful
..things (here primarily the flowers) which have sprung fr^ her.
phcenix a mythical bird which, after having lived for many centuries,
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Both were common Elizabethan forms. 10 antique (a) ancient (b) antic,
grotesque.
ii untainted (a) untouched, unsullied (b) uninjured. To
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model of perfect beauty to be admired by succeeding generations.
13^^ '
wron? iniurv."^^

dCH^vlmte’ef ‘Hiouwilt, swift-footed Time,
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lit I forbid thee one mos/hemoAiirmcl
O,! carve not with thyhoursmy love’s fair brow
r~ draw no/lines [therej.with thine antiqu^
m in thy course untainted do o
r beauty’s pattern(toEucceedin^me
...
' worst, olcPTime!
- -Dds it^thy wrtii
My love shall in my versqeverllive

iS

SONNET XU. in tnis sonnet tne poet affirms the’masculinity of his
friend and disclaims any homosexual interest on his own part. i with
Nature’s . . . painted ot natural beauty, not aided by cosmetics.
2
master mistress mistress who is a man (as opposed to the female mistressesj
of other sonnet writers). The point is that his friend’s beauty is causing
the poet to address him as other poets address their mistresses, but he is,
in fact, a man and the poet’s master, passion love. 5 rolling passing
from one object to another. 6 Gilding The metaphor rests upon the
notion that the eye exuded beams upon objects in its sight. Like the sun,
his friend’s eye gives forth beams of gold. 7 A man . . . his controlling
a man whose form (hue) may set the standard by which the forms of other
men may be judged. By “hue” is meant the peculiar combination of
^Shumours within the body which was believed to determine the total
human being, both in physique and personality. 8 Which who. II de­
teated defrauded. 12 to my . . . nothing of no use to me. ij prick'd
/thee out selected you especially (with the obvious quibble),
^employment tor sexual purposes.

Z. .

Oman’s fa^eTr^^ Nature’s oj^ harnH pfiintp.d
Hast thou, t^ei;^^er^mis^ess):i^^y passionj
A woman’s^entle heart, bu^ot acquainted
J" With shif^ng change, as is false women’s fashion;
X
An_£yeAore bright than their s,^e^t^lse
^Idingjhe objectXdjereupon it gazet^;)
A man in f^u^ljjXu^n his controlling,i
WhTdTsteals mei??J^^nd woprenjs souls amazeth.
And for a woman wert thou first created,
Till Nature as she wrou^t thea feM a-dO^gJ* ^5, &lt;
And by addition me of thee'"defeated
By adding one thing to my purposein^thingX '^2 '
But since shejirick’d thee out for wt^nenjs pleasure, (
Mine be thy love,^nd thy love’s'u^heir treasure.

.

Ji.c

&lt;■'2-^ &lt; ZiAi«^‘’’'‘&gt;

■

-ftn
21

»&lt;

) L .

k

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            <name>Title</name>
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                <text>Margaret Demorest Sonnet Annotations: Sonnets 19 and 20</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="101477">
                <text>&lt;a href="https://rightsstatements.org/vocab/NoC-US/1.0/"&gt;https://rightsstatements.org/vocab/NoC-US/1.0/&lt;/a&gt;</text>
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          <element elementId="56">
            <name>Date Created</name>
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              <elementText elementTextId="101478">
                <text>1968</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="101479">
                <text>Shakespeare, William, -- 1564-1616 -- Sonnets; Sonnets, English -- History and criticism</text>
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            <description>An account of the resource</description>
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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 19&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Is Essex here compared to base son of Henry?&lt;br /&gt;1519 Emperor dies; Henry is candidate Ch. wins&lt;br /&gt;1559 coronation?&lt;br /&gt;Ascension Day = 19th? (Annual Celebr.)&lt;br /&gt;Elizabeth Blount bears son to Henry&lt;br /&gt;But [Queen] Eliz. could be lion—because [illegible] symbol of Eng.&lt;br /&gt;She is also Phoenix&lt;br /&gt;Phoenix is close to identity poems&lt;br /&gt;Line 8&lt;br /&gt;Heinous: henry? [sic]&lt;/span&gt;</text>
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            <name>Creator</name>
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                <text>Demorest, Margaret; Shakespeare, William</text>
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                <text>ENG, LAT</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Margaret Demorest Papers, CCA 10.2011.01 WyCaC US. Casper College Archives and Special Collections.</text>
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            <name>Identifier</name>
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                <text>CCA 10.2011.01_Demorest_Sonnets_19_20</text>
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            <name>Format</name>
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                <text>PDF</text>
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