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^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:''

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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,
bursts into fire and is reborn out of its own ashes. It was a conventional
symbol of immortality, in her blood alive. 5 fleets dyce; q: “fleet’st.”
Both were common Elizabethan forms. 10 antique (a) ancient (b) antic,
grotesque.
ii untainted (a) untouched, unsullied (b) uninjured. To
"taint” was to “hit” in the sport of tilting.
12 beauty’s . . . men
model of perfect beauty to be admired by succeeding generations.
13^^ '
wron? iniurv."^^

dCH^vlmte’ef ‘Hiouwilt, swift-footed Time,
the wide world and all hfir-feding hweets|_ \
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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                <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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                    <text>21. "In this sonnet th rival poet” makes his first appearance.fl,£,_ i_
Shakespeare compares his own simple style with the ornate and extravagant^^
manner of the poet he is mocking. i Muse poet. 2 Stirr’d inspired.
painted artificial (as opposed to the “natural” beauty of Shakespeare's
inspiration).
every ^air . . . rehearse mentions every beautiful thing C’vf*’
in the world in comparison with the beauty he is praising. 5 couple,
merit combination, compare comparison. 8 in this . . . hems that is&gt;‘5^\r&gt;
enclosed within this sphere of earth (encircled by the dome of the sky).'
12 candles stars.
75 that like . . . uiell who are fond of exaggerated,
econdhand comparisons.
14 purpose not to sell am not a merchant,
lerchants, of course, proverbially overpraise their wares.
Co n V f n't i 0 -I o.^

, 11 Thei^ook?K^^_th my days should/e^iate.
■ t
For all th^t b^a,uty--that doth cover thee^ fP
Is but th&amp;seeij^ r^yment of my heart,'^^^.^^
Whichirtftfy breast
live, as thine in }x(e
Hovy-(^ I then bidder, t
.y So IS It not
^I^hdeforedove, be of thyself so
/
/Stirr’d by a jpaiHted beauty to his v^rse,
a7.i Who heaven itself for ornament dqth use
fair with his^faTr doth rejrearse't
MJ^Jting) a \ouplement of proud compari
itn-sun ^^^___Qoix,-wixh earth and sea’yrh^gems,
Wit V^H^^i^born flotv^s, and all things rare
k«»* That he^v/n's/air/In this huge rondure hems,
let me,\true in love, but truly write.
—
love is asjair
,
IO
°And then
arljy fcioti
4^gh not so bright.(j:
/So
~^As tho^j;ol^^^le^ fix’djn heaven’s^ir.^'i^vji^^' ■
7
them sayfoor^tli^like of hearsay^eliy ■ p
yilljnot^raye that purpose

/VI;
22. The sonnet embodies the Kenaissancgi convention that
lovers have exchanged hearts. i glass mirror, old It was conventional/^',,
since the time of Petrarch for sonneteers to claim old age. 2 So long ...
/
one date so long as you are young. 4 expiate finish, wind up. 6 seemly
raiment beautiful covering.
11 keep so chary guard so carefully
SONNET

Cj-iLt-

assjhall not persuade me I
So lo as youth and thou are of ontTdate;
But wh^Mn die^time’s furrows I behold,

4/i

OU art]

AVv^’^Y
e'^

■
V
'

tendeiAiurse^'her babe from(far)ng ill.
esume not on thy heart when mine is slaim
OU gav’st me thine, not to give back again.

OS

,

O Vi ol

11

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                    <text>SONNET 23. I an unperfect actor an'actor who has not yet learned his
part. 2 with by. besides out of.
Or some . . . own heart or like a
savage beast who finds that his passion by its very intensity makes him
incapable of expressing it. 5 for fear of trust afraid of overconfidence, of
trusting too much in my own ability. 6 perfect . . . rite exact words
appropriate to love’s ritual. 7 decay weaken, falter. 9 looks capfi.l; q:
“books.” 10 dumb presagers His looks are likened to the dumb shows
which often preceded the dialogue in old plays. They were pantomime
enactments of the coming scene. 12 that tongue i.e. of the “rival poet.”
that more . . . more express’d that more fully has expressed more of your
perfections. 14 belongs . . . wit is a characteristic of love’s fine powejgf^.
of perception.

! 6'^'6

SONNET 24. I'^stell’d^xed (capell; q: ‘ ^eld,” which is retained by
some editors as meaning “engraved”). 2 t( ble board on which a picture
■was painted. 4 perspective (3) when seen f •om the proper angle (b) when
seen as through a perspective glass. The w&lt; rd is accented on the first syl­
lable. 7 shop workshop, studio. 8 his ts. glazed covered with glass.
IJ this cunning want lack this skill, grace j^hance.

^^Ayan unperfe^agto^n the stage
, V Who with hij^^^s put besides h
Or some'^erce in^ replete with too muc
Whose stfen Ji’s abundance weakens his own
So I, for
f trust, forget to]say — 1
The perfect ceremon j^of Tove’^iteJ
Ansij itt rnine own love’s strengtf( seeip to
__
' ’ with burd^ of mine own love’s might. .
B^be then the eloquence
jo/***”^
presagers ofi, my speating breast;
ijVho pieaid Vor li^ire, and look for reco ense.’
yfoi^than tn^ tongue t^at linore |iath,^[or
i
ess’d.
m read jVhat silent love hatnwri

ath flay’d tpe painter and hath stell’d
Thy beauty’s form in talBle oFmy l^emix
My body is the ^ame wherein ’tis held, )
t
And perspemve it is best painter’s artr
'
Ipr through the paintet must_you^ee^is ikil
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Which in my bojom’s)shop|s hanging still,
prhat hath his'.windows glazed wiith thin
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^ine(^^^^ve(Hrawh~~&amp;h^ sha^,jand thine for me
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Delights to p^p, to gaze thereih on thee.
-Ve(^y^:^is cunning want tp/grac^their
The'^raM but what the
‘ not the heant
osN

fG bum

25

if"
CS

looeJ '

1/

'o&lt;s4k

IO

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                    <text>'■A &lt;')
) are favoured by their stars
&gt;&lt;vhich were believed to determine human destiny). 5 whom . . .
A probable reference to Shakespeare’s lowly station as a player.
Un- ' i
■■ look’d for unexpectedly, that what. 6 marigold The English marigolc^,
(Calendula officinalis) closed at sunset.
9 painful toiling, famoused f
famous, fight Theobald; q: “worth.” 10 foil’d defeated in battle.
quite erased entirely. 14 I may . . . be removed I may not cease &gt;
r to be loved.

J

Liet(those wht2_^e in favour
itars^
Ot public ^^^o^^:^^rou(
J^ilst I, whorrQoMnie'bf'S.
Unlook’d^E^joy in that
_
J^reat princgsWavouritesJtl/eir ^^ir leavi sprgaS
^arjgold-jat the^jmrr’TgFycy^^^
p^in themsplyes their^^^.li« butied/
or
they in thei)^^ gloryyje.
e painful warrior famous^etnorJ^j^tTj”
-After a thousand vkt^es oncFToil’d. Il Cc^
' is ^om the book oCjonouc^asecI' quite,
And all tj^e res^fot^ot(^^which he toil’d.
Then happy ifthat love and/am beloved ■
Wher^ I may not remove jnorJbe removed. --

*

5 fCiAJ)

1^3
26. This sonnet is'a formal letter in
his friend as a vassal might address his lord. Some suspect that&gt;jt was
written to accompany the gift of the preceding sonnets. 5 embassage
message delivered by an ambassador (q: , “ambassage”).
witness give
evidence of. wit skill. 7 good conceit favourable opinion. 8 In thy
. . . bestow it will receive it to your heart despite its nakedness. 9 mov­
ing existence. 10 Points on sheds beams upon, fair aspect favourable
influence. The “aspect” of a star was an astrological term for the “influ­
ence” it exerted on human affairs. 12 of thy capell; q: "of their.” ' 14
prove test.
t SONNET

LordJJ®

tiy IpVe, to
ya^rajage
^lath
my'S
my
o^ee I send^^
_
- v
Tifjen embass^e,
- Toiwit^ess dut^not to show
lA'"'t
IK r r t«.
v-^dJuty s^^reat, whicrr wi$_soDoor as mine tx
5
• ^Ttfaymake seen^a^Jinf^nfing words to show it,
But that I hope soine^isQ^ conceit of thine
.. i j
'Uf-L^y soul’s thought (alwill bestow it:
|
atsoevef^starAh^tgwdes my moving^^ •"
QiiTne
w^li fair a^pect&lt;^^'
IO
Andpu
{Tpa^o~n iny]t^eYedloving"&gt;ctM
e worthy of thy ^ect^resp^c.L
I boasOit^^I do love thee;
n
i^ljthenl
fmy head t^fagre thou maysi) proy]^

T

S

’SW»'!S3!»5

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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 25&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Thomas Nolsey nearing end of career in ’25&lt;br /&gt;Minister – power next[?] to being but dys.[?] on heir&lt;br /&gt;’25 – Henry Fitzroy = Duke of Richmond (desp. of legit. hr. to thr.)&lt;br /&gt;“marigold is for marriage”=aspiring suitors?&lt;br /&gt;Line 2&lt;br /&gt;Proud titles: Fitzroy – duke of Richmond and Somerset, Henry Courteney[?] = Marquis of Exeter, Boleyn – Viscount Richford[?]&lt;br /&gt;Line 6&lt;br /&gt;Marigold: symbol for me “Lady Mary” (Paul, p. 248)&lt;br /&gt;Lines 8-10: Essex (critics agree)&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 26&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;’26 Mary sent away fr. Cath. to Ludlow Center&lt;br /&gt;1526—Ship named Anne Boleyn (Erickson, p. 190)&lt;br /&gt;Defense agst. Leviticus: Deuteronomy XXV6&lt;br /&gt;Nelson[?] thinks this [sonnet] may have accompanied portfolio given to South. (of Lucrece[?]) – and therefore not related to rest of series.&lt;br /&gt;Line 6&lt;br /&gt;Bare: Bear? (Leic.)&lt;br /&gt;Line 10&lt;br /&gt;Points: Poynings? Poyntz?&lt;/span&gt;</text>
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                    <text>1
-I fc
,
,■
,
,
r'^
SONNETSj2»-28. These sonnfts, expressing the poets sorrow at separa‘n\*-ek.vrtio^ tion from his friend, were probably written while Shakespeare was on a
»
J tour of the provinces with his company.
“

"

ary with toil, I haste me to my bed,
e dear repose for limbs with travel tired; •
t then begins a journey in my head
y
work my mind when body’s work’s^^iredC
then my thoughts, from far where I abide,
z^alQus’i^grimag^to thee,
,^.^.d keepmy drooping eyelids open wid^
i
\^ooking oVi darkness which the blind dc^e^
Save that my soul’s imaginary sightr^
r o
Presents thy (shadow!to my sigM
^jei^ hung in ghastl
sjblacl^mign^eauteous and he 'd face nev^.
,0. lihus.'hv da; y limbs, l^£nlght^y mind,
orTthee, and for
elf, no quiet find.

2 travel (a) labour (b) travel. 4 work my mind keep my
thoughts active.
6 Intend set out upon, pilgrimage The lover as a
pilgrim and his beloved as a saint was a common metaphor of Renaissance
love poetry. j&gt; imaginary existing only in imagination.
10 thy capell;
q: “their.” shadow apparition.
13-14 by day . . . quiet find by day my
use of your

'Sonnet iT.

'*

-1-7 *
'4

.J

■

3 oppre
6 shake
hands ratify their agreement. 7 to complain by causing me to complain.
8 How far I toil no matter how far I travel.
10 dost him grace confer
beauty upon him (the day). 11 flatter beguile, swart-complexion’d composed of blackness.
12 twire peep, twinkle, gild’st the even make the
evening shine like gold. 14 draw draw
th dyce:
q: “length.’Jj^

U;

fde.

■b'

can I then return in happyfpTight
at am deb^r’d the benefit of fest,2k.
;n day’s oppression is not eas’d bljif
_
nid^ft^hjp by _day oppress’d,"
d each, thougH^nemi^sTto cither’s reigr?^
7'
in consent~3iake hands to torture me,
j
le one by"toil, the other to complain^.!
H- '■
f^w far I toil, still farther off from th^?_...
Ltell the day,^to^leasej!^m, tliouiart]bright
d .dost him grace when clouds dtf^bjpt the heax^nt
flatter I the J^warT-compl^
sparkling starrtwirF
lay doth daily dravynfy sorrows dongi
d ^igll^^dotf
y make grief's
seem

.

;.^'J
TO-7-

la

. A,

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                    <text>1

I in disgrace out of favour.
fate referring prob­
ably to his position as a common actor. y bootless futile. 5 more rich
in hope with greater expectations. 6 like him, like him like one man,
like another man. 7 art skill or learning, scope intellectual range. 8
most enjoy possess in the highest degree. He probably means his poetic
talent.
jo Haply by chance, state state of mind. 12 sullen gloomy,
dark.

..

I

W/vj wi^en. in di^ac^ with Fortune and men’/eyes,^
p
i
aljtne beweep my outcas^ stat^
iS Ani trouble deaf heaven with
bootless cries,'
? ■
look upon myself and curs ly fate,
? , , Yet
in these
ughts
myself almost des^sing,
^wishing
met Ij^
to one
’ Featur
(S^piy
I
on
my^^ate^
’d like him, lik thee,
im and
withthen
friends
possess’d,
' ^*^man’/^rt,)and that marks scope,
With what I mo enjo^coi^tented lea\(;

c&gt;

-Ge

Like to e lark at break of day arising
ullen earth, sings hymns at hea
’sgate;
F
hy sv^eet love rememb’ret^
eajth brings i &lt;1^ 'i
hat then I skorn to change m

10
SONNET 30. 1-2 When to . . /things ptUst Thought is concefved of as tt
court of law (sessions) before which past memories are summoned tq
render their account. 5 sigh lament. 4 with old . . . time’s waste in -'
recalling ancient sorrows (or in addition to them) I weep anew for the
wasting of my precious time. 6 dateless without termination. 7 And
weep . . . cancell'd woe and by freshly weeping pay again the debt of
sorrow (for unrequited love) which has long ago been paid in full. 8 t
expense loss. o foregone already past and done with. 10 heavily sadly.

fessions^ ob swegij sileirr
ummon up remembrance of things past,
I I /igh the lack o.Lin
’ .(• J And with old^oes&gt;
dear time’s ^ste
can I drown
or jferecious friend
w
Jong since^ancelljl
[id moan th’ ex
'' any a ya'nish’d siffit.
Then can I levef
.nd heavily' ffbm
lad account o
hjfncw^y ^f not paidlbe
t H the wh^l^I think oh thee, dea
losses are restor’d and sorrows end^

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                    <text>—1

li
SONNET 31. The point
et’s past friends, &lt;2yt
supposedly dead, are enshrined in his living friend.
i endeared withC/i^irX • /
made more precious by.
j parts qualities, attributes.
5 obsequiom.^^^~Z^
shed in mourning.
6 religious faithful.
■] interest a right or claim.
appear are revealed to be. 8 But things remov’d merely absent things.
thee gildon; q: "there.” 10 trophies memorials, such as were hung on
'
tombstones to honour the dead, lovers friends.
11 parts shares. 12 &lt; y Js’
due of many what was formerly due to many. 14 all they who unite all
of them in yourself, all the all the sum total (of all my parts}.
«

Thy bosom is endeared with)
I*\
WhichTbyl^inghave suwoseddead)
[rZr'k ' (
there reigns love, and.^^love’s loving parts,
** '
^ifthose friends which I thought buried,
many aJioly and obsequious tear
^th dear religious love stol n from mine
^'nterest of the dead,(w‘Tiirf^ow ^pp^ar
"k{ • . _ ^s____
’J ’d
«. V that^n
« I ddenli
rZfrl
remov
i^the^,Ai?
rav^Twhere
buried
love doth
i^Rhou a^n&lt;
with th J trophies of my lovers gone,
Djheir jarts of me to the^did^ive:
iu^of m any now is thin£a^ane,
ir imafift s I lov’d I view in thee.

ck"-

Sonnet 32. / my well-contented day the day (of my death) which I will
: pleased to see. 2 churl rude country fellow. Death is envisioned as
gravedigger. 5 by fortune by chance. ./ poor rude lines That Shakepeare should appear to deprecate his own verse is entirely in accord with
Renaissance custom, lover friend. 5 bett’ring of the time improvement
\ ' lyr^^^ug made in the poetry of this age. 7 Reserve preserve, rhyme ex■ cellence as poetry. 8 happier more fortunate (in having greater poetic
gifts).
JO grown . . . age improved as the poetry of this age has im­
proved. 12 in ranks . . . equipage in the company of poets of superior
style. "Equipage” is literally “military equipment.”
jy better prove
turn out to be better. 14 Theirs their poems,
y g-.-t »
•
('i'

’’^~'~^f)tho
dti^hall cover,
3^en that clijid peath my
e oncet
lover
eseitjoor rudeUnr^qf'f
e ti
mpare them with
]^though they. e ou
sewe them(K)r,
5«ded by the height of
I
O^hen vouchsafe ^e but this jo'^
Z* this^owl^ age,^^
earCT^t^tUnthishi^ehaVbrou^ht^
narch in r^^l^of better equipage;
BuVsince ttfdied, and poets bette

,1'^

I

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                    <text>p 36

J

SONNET 33. 2 Flatter . . . eye The sun flatters the mountaintop on
which it shines just as the king flatters the subject upon whom he looks.
The sun-king analogy is traditional, ; basest darkest. 6 rack mass of
drifting clouds. S disgrace blemish, disfigurement, 12 region cloud the
"rack” of clouds of the upper air. i} no whit not at all. 14 stain giw
dim, lose their brightness.

Full manv /gIori/&gt; srhorning have I
Flatter the mountaA tops with soyerei
Kissing with^gol^^^^ face the nieadow^?een,^&gt;^
Gilding palg-slfeams with heave^ al
n permit the basesF
ith iiglyjrack^onVis cej^s^l^ade o^'/---from the fofwa^rl'd hj&gt; visage hide,
uaseen ^We^yi'ith thi^^^s^ace. ]7
so
my
sdn jme earf^^morn did Ain;
Ev
ur on m
ith all triutmiMi nt sole
our
waf bu
ffom me novi.-rr^
The/^on dwd hatl
^Yd^mf^mhh my love noVhi isdaineth;
^^hs of t^e world\mayaain hen heaven’s sun

4

‘

'

staineth.

ih ■ F.,t
ci\‘

SONNET 34.
base dark. 4 brav’ry splendour. roZfeti smoke unwhole­
some fog (commonly believed to carry the plague).
6 the rain i.e. my
tears, 8 disgrace blemish, scar. 9 give physic to cure. 12 cross frus­
trating burden (capell; q: “losse”). 75 sheeds sheds. The Q spelling is
preserved for the sake of rhyme. 14 ransom atone for.
\

d--.

y didit/thou ^romis^pch a
&gt;/
•rrrlt’Jn

ft’

cloak
-t
let ba e clodd^^JSkeJpg' in my way,
ling thy hjir^y jn 'their rotten smoke? ,
^Tis not eM^u^/tharthrough .the cloud thou break
..'/To d^m^am^n my sto^:b^ten face,
-v■

Ar'tbf'!

• e^t. p-

^3^

\v

■/fe

OiiJ X d••dl| ■ii

;^^Lheals th^un^nd^es not the disgrace:
- -Wo 7an thy diame give physic to my grift;
"^3ugh thpu_repent, yet i have stilL^^^^^^
'
Thfoffender's sorrow lends but’^eak reliefZfi. j
*To him tha/bear) the strong off^ce’sJgS^y.!?^/ f
Ah, butSlmse tgais ar j^rl^v^h thylove sheeds, ,
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'

t-elit,

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                <text>Margaret Demorest Sonnet Annotations: Sonnets 33 and 34</text>
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                <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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                <text>1968</text>
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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 33&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Leicester born same day, same hr.&lt;br /&gt;’33 April – Cranmer prom. mr. with Cath + H. illegal&lt;br /&gt;June – Anne crowned Queen&lt;br /&gt;After Cranmer’s court grant[?] [illegible] Pope gives Hen. until Sept. to take C. back – or be excomm[unicated]&lt;br /&gt;’33 – marriage (Jan?) A+H &amp;amp; birth E&lt;br /&gt;About 34—Cromwell intervened to save life of Princess Mary&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 34&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Brief love of Anne [Boleyn; second wife of Henry VIII] + Henry&lt;br /&gt;Bet[ween] ’31-34, 9 or 10 persons burnt for heresy&lt;br /&gt;’34—Parl. passes Act of Succession&lt;br /&gt;Such = Suche is bearer of corresp[ondence] bet[ween] H + A&lt;br /&gt;Eliz. = illeg[itimate]&lt;br /&gt;Pearl = Margaret[;] M. Pole&lt;br /&gt;Line 12&lt;br /&gt;Cross: Paul’s Cross: place of recantation&lt;/span&gt;</text>
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                <text>Demorest, Margaret; Shakespeare, William</text>
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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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                <text>CCA 10.2011.01_Demorest_Sonnets_33_34</text>
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