https://caspercollege.cvlcollections.org/files/original/63cdf6bd4fdf05099b492367d258f851.pdf a2a48ea4aae09d23f2f069e4348e865c PDF Text Text i A CENTURY OF LOVE: rA New Interpretation of Shakespeare’s Sonnets �THE PREMIERE LECTURE in The Margaret Demorest Lectures in the Humanities A CENTURY OF LOVE: A New Interpretation of Shakespeare’s Sonnets by Margaret Demorest Casper College Casper, Wyoming Gertrude Krampert Theatre February 7, 1986 �THE MARGARET DEMOREST LECTURES IN THE HUMANITIES "A Century of Love” is the culminating program in the month-long 1986 Humanities Festival at Casper College; the lecture is the first in an annual lecture series which was created by Casper College in 1985 in honor of retiring instructor Margaret Demorest. It is funded by the Casper College Foundation and private donors. The purpose is to encourage research in the humanities and to provide programs which demonstrate the value that the humanities have in our lives. Each year a lecturer will be chosen on the basis of the originality of the proposal, its value as a contribution to the humanities, and the interest which the topic will hold for the public. Eligible to apply as a lecturer for this program is anyone whose research enhances some area of the humanities: art, music, drama, literature, foreign languages, philosophy, history, anthropology, or law. For more information write to: The Margaret Demorest Lecture Series Casper College 125 College Drive Casper. WY 82601 Funding for the 1986 Humanities Festival has been provided by Casper College Foundation Private Donations Wyoming Council for the Humanities Co-sponsored by Natrona County School District No. I Natrona County Public Library ARTCORE �CONTRIBUTORS Alpha Delta Kappa, Gamma Chapter Carolyn Deuel Norman and Anna Marie Ball Mrs. Beatrice Batten Mrs. Norma Bay Ms. Jane Bovie Mr. and Mrs. Richard Dorsey Mr. and Mrs. Robert Dove O. E. "Swede” Erickson Mr. and Mrs. Whitney A. Bradley William and Marietta Estabrook Mr. William F. Bragg, Jr. Ms. Betty Evenson Mrs. Sharon Brondos Dr. Robert and Madeline Brown Mrs. Rose Forrister Susanne (Sue) Barber Brubaker Fremont Beverages, Inc Ann Gaviotis Georgia Gaviotis Evelyn Brummond and James Herb Ms. Ann Burke Diane M. Ernst Mrs. Joan Fredriksen Mr. and Mrs. Brian Burke Dan and Ellen Burke Ms. Jean Goedicke Mr. and Mrs. Michael Burke Mrs. Johnnie Burton Mr. and Mrs. Paul Hallock Casper Business and Professional Mrs. Mary Hein Mr. and Mrs. James Herzog Women Greg and Karla Greenlee Rick and Verna Harker Ms. Laura A. Butler Mrs. Wilma Hoffman Dr. and Mrs. Robert K. Carlson Mrs. Phoebe Holzinger Robert and Shirley Jacob Marsha Hagen Jenkins Mr. Harold Josendal Bill and Jan Chambers Representative Dick Cheney Dr. Celeste Colgan Diane Collins Kinskey Mini Mart Foundation Mr. Ray Cook Ms. Julie A. Klinker Ms. Katherine Dexter Cottam Mr. John T. Daniels Arlene Larson Miguel and Sandy Leotta Don and Charlene Davis Gary and Karen Lewis Mrs. Kate Davis Ms. Melanie L’Hoste �Ms. Nancy Lichty Dr. and Mrs. Lloyd Loftin Carolyn Logan Ms. Maggi Lo)o Ronald and Lois Sargent Ms. Margaret Schilling Dr. William Seese Jim and Elaine Lowham Senator Alan Simpson Peter and Lynne Simpson Mr. Gus Luers Mr. John Stalick Mary MacDonald Mr. and Mrs. Tom Stroock Ms. Cynthia Matthews Mr. and Mrs. Richard Means Mr. and Mrs. Randall Stutheit Mr. and Mrs. Dan Sullivan Mr. Patrick Meenan Mr. R. W. Miracle Ms. Dyann Morrison William and Nona Muller Mr. and Mrs. Lynn Munns Nick and Maggi Murdock Wilhelm and Heather Ossa Mrs. Mary Thomas Mr. Clarence Thompson Mr. and Mrs. H. A. (Dave) True, Jr. Mr. and Mrs. Diemer True Mr. N. P. Van Maren, Jr. Robert and Patricia Walker Mr. and Mrs. Dave Paden Robert J. and Annetta Walker Mr. Mike Swanton Curtis and Ellen Peacock Robert and Janet Walkinshaw Mrs. George Porter Mr. Herb Waterman Ms. Janet Waterman Mr. L. B. Putnam Mr. Craig Radden Ms. Jackie Watters Dr. Melon Raines Mr. and Mrs. Fred Wenn Mr. Bayard D. Rea Stan and Jean Wheatley Kenneth and Margaret Reed Mrs. Lola Reynolds Cecil and Carolyn Rhodes Mr. and Mrs. Lou Rognstad Mr. Houston G. Williams Mrs. Mary Frances Wilson Mr. and Mrs. Paul Wolz Ms. Kristin L. Rose Justice Robert R. Rose, Jr. Ms. Nadine W. Yocum Dr. Gail Zimmerman Ron and Alice Wicks �COMMITTEE FOR THE 1986 HUMANITIES FESTIVAL Paul Wolz, Chairman Paul Hallock Lloyd Agte Shirley Jacob Karen Lewis Rodney Mahaffey Barbara Crews Charlene Davis Margaret Demorest Ralph Masterson Curtis Peacock Tom Empey COMMITTEE FOR THE MARGARET DEMOREST LECTURES IN THE HUMANITIES Charlene Davis. Chairman Brian Burke Margaret Demorest Tom Empey Shirley Jacob Nona Muller Curtis Peacock Photography; Lighting Technician: Festival Posters: Donna Davis Douglas DeWoody Mark Weaver and Jeff Thompson Music; The Metropolitan Brass Quintet William Bailey Trey Demond Andrew Lund Lee Malody Roger Fenner Ushers: Phi Theta Kappa Stage properties courtesy of Plaim Furniture �PROGRAM "A CENTURY OF LOVE: A NEW INTERPRETATION OF THE SONNETS” The Metropolitan Brass Renaissance Music Quintet Welcome Dr. Lloyd Loftin President, Casper College Introduction Brian Burke Margaret Demorest Lecture (The content of this lecture is extracted from Prologue to Irigedy, copyright 1986 by Margaret Demorest.) A reception in the foyer and the student lounge of the Theatre will follow the lecture. �ABOUT THE SONNETS OF SHAKESPEARE The Sonnets of Shakespeare have been called "our greatest, perhaps our only, true love poems.” The customary interpretation is that they are autobiographical. Though the period of composition is uncertain, they are written in a tradition which became popular in England with the writing of a sonnet sequence by Sir Philip Sidney in 1582. Shakespeare’s Sonnets, with the exception of two sonnets printed in a collection of 1599, were not published until 1609, when Thomas Thorpe, a publisher of questionable reputation, entered them in the Stationer’s Register. By then Elizabeth I had been dead for six years and James was on the throne. The initials "T.T.” follow the dedication to a mysterious "Mr. W.H.” There is no evidence that Shakespeare authorized this publication or even that he arranged the order in which the sonnets appear. The original version carries no titles except arabic numerals. With the exception of one undated notation of purchase, there is no reference to the Sonnets until 1640, when most of them were reprinted by Benson along with other poems, though in altered order. Critics assume that the silence of more than thirty years indicates that the original version must have been suppressed by the authorities; there is no apparent reason. The Sonnets consist of 154 stanzas loosely held together by a vague plot uncharacteristic of Shakespeare’s method. One sonnet alone suggests a specific event—an anniversary. The only clearly unified group is the opening section where seventeen sonnets known as the "Procreation Section" plead with someone to marry and preserve his excellence in children. Approximately three-fourths of the sequence depicts a young man—apparently an aristocrat— who is referred to as the "Fair Friend,” a term which has been attached to the section celebrating this relationship—Sonnets I to 126. The portion which follows is centered around the other major character—a treacherous "Dark Lady.” She seems to be present briefly in the Fair Friend section between Sonnets 39 and 43. The only other character is a Rival Poet who flatters the loved one while the speaker-poet insists on truth. This section extends from #79 through #85 and is illustrated mainly with naval imagery. Though many writers have speculated as to the identity of these characters, no evidence has been conclusive. The absence of a source (some existing work on which Shakespeare based his writing) has added to the difficulty of interpreting the Sonnets. �SONNETS by SHAKESPEARE (1609 Quarto Version) #1 From fairest creatures we desire increase That thereby beauties Rose might never die, But as the riper should by time decease, His tender heire might beare his memory: But thou contracted to thine owne bright eyes, Feed’st thy lights flame with selfe substantial! fewell. Making a famine where aboundance lies. Thy selfe thy foe, to thy sweet selfe too cruell: Thou that art now the worlds fresh ornament. And only herauld to the gaudy spring. Within thine owne bud buriest thy content. And tender chorle makst wast in niggarding: Pitty the world, or else this glutton be. To eate the worlds due, by the grave and thee #3 Looke in thy glasse and tell the face thou vewest, Now is the time that face should forme an other. Whose fresh repaire if now thou not renewest, Thou doo’st beguile the world, unblesse some mother. For where is she so faire whose un-eard wombe Disdaines the tillage of thy husbandry? Or who is he so fond will be the tombe Of his selfe love to stop posterity? Thou art thy mothers glasse and she in thee Calls backe the lovely Aprill of her prime. So thou through windowes of thine age shalt see, Dispight of wrinkles this thy goulden time. But if thou live remembred not to be. Die single and thine Image dies with thee. �#9 Is it for feare to wet a widdowes eye; That thou consum’st thyselfe in single life? Ah; if thou issuelesse shalt hap to die The world will waile thee like a makelesse wife The world wilbe thy widdow and still weepe That thou no forme of thee hast left behind, When every privat widdow well may keepe By childrens eyes, her husbands shape in minde: Looke what an unthrift in the world doth spend Shifts but his place for still the world injoyes it But beauties waste hath in the world an end. And kept unusde the user so destroyes it: No love toward others in that bosome sits That on himselfe such murdrous shame commits. #16 But wherefore do not you a mightier waie Make warre uppon this bloudie tirant time? And fortifie your selfe in your decay With meanes more blessed then my barren rime? Now stand you on the top of happie houres, And many maiden gardens yet unset. With vertuous wish would beare your living flowers. Much liker then your painted counterfeit: So should the lines of life that life repaire Which this (Times pensel or my pupill pen) Neither in inward worth nor outward faire Can make you live your selfe in eies of men. To give away your selfe, keeps your selfe still. And you must live drawne by your owne sweet skill. �#18 Shall I compare thee to a Summers day? Thou art more lovely and more temperate: Rough windes do shake the darling buds of Maie, And Sommers lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d. And every faire from faire some time declines, By chance, or natures changing course untrim’d: But thy eternall Sommer shall not fade. Nor loose possession of that faire thou ow’st. Nor shall death brag thou wandr’st in his shade. When in eternall lines to time thou grow’st. So long as men can breath or eyes can see. So long lives this, and this gives life to thee. #23 As an unperfect actor on the stage. Who with his feare is put besides his part. Or some fierce thing repleat with too much rage Whose strengths abondance weakens his owne heart; So I for feare of trust, forget to say. The perfect ceremony of loves right. And in mine owne loves strength seeme to decay, Ore-charg'd with burthen of mine owne loves might: O let my books be then the eloquence. And domb presagers of my speaking brest. Who pleade for love, and look for recompence. More then that tonge that more hath more exprest. O learne to read what silent love hath writ. To heare wit eies belongs to loves fine wiht. �#26 Lord of my love to whome in vassalage Thy merrit hath my dutie strongly knit: To thee I send this written ambassage To witnesse duty, not to shew my wit. Duty so great, which wit so poore as mine May make seeme bare in wanting words to shew it: But that I hope some good conceipt of thine In thy soules thought (all naked) will bestow it: Til whatsoever star that guides my moving. Points on me gratiously with faire aspect. And puts apparrell on my tottered loving. To show me worthy of their sweet respect. Then may I dare to boast how I doe love thee Til then, not show my head where thou maist prove me #61 Is it thy wil, thy Image should keepe open My heavy eielids to the weary night? Dost thou desire my slumbers should be broken, While shadowes like to thee do mocke my sight? Is it thy spirit that thou send'st from thee So farre from home into my deeds to prye To find out shames and idle houres in me The skope and tenure of thy jelousie? O no, thy love though much, is not so great, It is my love that keepes mine eie awake Mine owne true love that doth my rest defeat. To plaie the watch man ever for thy sake For thee watch I, whilst thou dost wake elsewhere From me farre of, with others all to neere �#55 Not marble nor the guilded monument, Of Princes shall out live this powrefull rime But you shall shine more bright in these contents Then unswept stone besmeer'd with sluttish time When wastefull warre shall Statues over-turne And broiles roote out the worke of masonry, Nor Mars his sword, nor warres quick fire shall burne: The living record of your memory. Gainst death, and all oblivious emnity Shall you pace forth, your praise shall stil finde roome Even in the eyes of all posterity That weare this world out to the ending doome So til the judgement that your selfe arise. You live in this, and dwell in lovers eies. #116 Let me not to the marriage of true mindes Admit impediments, love is not love Which alters when it alteration findes. Or bends with the remover to remove O no, it is an ever fixed marke That lookes on tempests and is never shaken; It is the star to every wandring barke Whose worths unknown, although his higth be taken Lov's not Times foole though rosie lips and cheeks Within his bending sickles compasse come Love alters not with his breefe houres and weekes. But beares it out even to the edge of doome: If this be error and upon me proved, I never writ, nor no man ever loved. �� Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print program pamphlet Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Century of Love: A New Interpretation of Shakespeare's Sonnets Description An account of the resource This is a digitized copy of the program for "A Century of Love: A New Interpretation of Shakespeare's Sonnets." This was the premier lecture of the Margaret Demorest Lectures in the Humanities. Researchers can learn about the history and purpose of the Casper College lecture series in honor of Margaret Demorest and the pursuit of research in the humanities. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Casper College Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. Margaret Demorest Papers, CCA 10.2011.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 10.2011.01_DemorestPapers_1986HumanitiesFestival Format The file format, physical medium, or dimensions of the resource PDF Extent The size or duration of the resource. 14 pages Relation A related resource <a href="https://caspercollege.cvlcollections.org/exhibits/show/arts-and-humanities-ir/arts-and-humanities-faculty-sc">Casper College School of Arts and Humanities Faculty Scholarship, Pursuits and Publications</a>