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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>Shakespeare, William, -- 1564-1616 -- Sonnets; Sonnets, English -- History and criticism</text>
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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 7&lt;/strong&gt;&lt;br /&gt;Overall Notes:&lt;br /&gt;Cecil called “victrix orientis” [Latin: victrix is the feminine form of the word for champion or victor; orientis means "of the east"]&lt;br /&gt;’07 Anne C.[?] born[.] Her father is Earl of Wiltshire&lt;br /&gt;7 – Number 7 is Virgin, sign of Minerva + Pallas, the moon goddess&lt;br /&gt;&lt;br /&gt;Line 1:&lt;br /&gt;Lo: Marlowe symbol&lt;br /&gt;Line 2&lt;br /&gt;Eye: eyes = Leicester&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Sonnet 8&lt;/strong&gt;&lt;br /&gt;Overall Notes:&lt;br /&gt;’08 Mary Tudor m. (by proxy) to Archduke Charles Sidney – theorist on “music”&lt;br /&gt;8 = Vulean[?] – Symbol of muse of spheres&lt;br /&gt;Will Somers was court fool and confidante of Henry VIII – supposedly had[?] joined court 1525 – James Hil[?] was chief singer&lt;/span&gt;</text>
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