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                    <text>- 1-

er^. -anr'l

’^ 7

lev’d at that which thou hast done:
) Z^(Rc«es hAve thorii fid silver fountains mud;
ecTTpses stain both moon and sup
'^■'^^‘r.t^Clunds
;r lives in sweetest bud?
,,and even I in this,
ss with compare,
a^n^ thy amiss;
han thy sins are;

It in

p-.5(l
r X. - -^**fP**
3 itain darken. /"cariker a green caterpillar which feeds
^Jii&gt;^*7ipon blossoms. 5 make faults have their faults. 6 Authorizing justify- ,
‘"S'
compare by comparison.
7 salving thy amiss in palliatingoffence. 8 Excusing . . . sins are offering excuses for your sins (so&lt;’ 7'
.
! anxious am I to forgive you) that are greater than your sins would call?'
l^y ■ ■ •
caeell: q: "their . . . their.”
p sense (a.) reason, ra-^~j
t- - A tiooalization (b) feeling, sympathetic understanding. There is a probable"' ’
l/T? y,
"incense.” 10 Thy adverse , , . advocate the one you have in- '
you.
accessary accomplice. 14 sourly bitterly.

’Js.-fG
love and hate
7,
an/aci4^ry needs must be
sweeT^ief which sourly(rolj^ from me. / I'
ii.&lt;A,£ih-

/3b

separated. j blots deteJlsi^fle^^ E'^r^rring
C 91^ to the corruption he has himself suffered because of his friend’s disloyalty, ‘ '
} one respect a single attitude. 6 a separable spite a spiteful (cruel) situation which separates us. 7 love's sole effect the emotions to which only
'
love can give rise. p not evermore no longer, acknowledge thee give
B
^?^^_^igns that I know thee (when we meet).
10 bewailed lamented, guilt
To just what guilt the poet is referring is not clear. It may be the “blots”
3’
perhaps his relations with the "dark lady.” ii public kindE ness public recognition by a nobleman. 12 Unless . . . name unless you . * &gt;
S wish to dishonour yourself by so doing.
mine . . . ireport your good
.i
reputation is in,jny keeping. Shake§pea/e use§ this^^jSame^
le, ccju
CQu
3
W
Sonnet 96: '
"

y Let ftie confess^atl
I Although our^ndivide
Schall thos^lXlj that
/Wh^iout thy help by me be jiorne algp
'3
jJJ?:’ ■?&lt; - i I Ini our (w^oves there is but &lt;6
ite
1, XJjiough infbu?

^0-

'

V/^et doth i^t^al sweet hQt^fromTove’s delight
I may notpye^pre acknowled^ejjiee,
t. y.n j - —shame

JtlV'

lono
Irom t

•Np2^hou witJ^uWic
U^e^hoii tak§J;ha(,

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name.

thou beipg mine, mine IstIw good@port.
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                    <text>dut^i^hat cannot6yrjOii^thee,T'’f^'
ielf dosr'givezirtventli

V I

4
ry
\
t^ •

s^NNEir 37. 5 made lame handicapped. We are not to conclude, as some
have done, that the poet is referring to aspecific physical defect,
dearest
direst, most grievous. ./ worth nobility.
7 Entitled . . . sit sit crowned
among your virtuous qualities (parts),
thy capell; q: “their." 8 en­
grafted to this store fastened to and drawing sustenance from this abun­
dance (of your “parts”), as a shoot is grafted to the trunk of a tree. 10
Whilst that . . . substance give while this idea of mine (that I share in
“your “parts”) enables me to share in their actuality. “Shadow” and “sub­
stance” are often contrasted in Elizabethan philosophy.
ii suffic'd
satisfied, contented. 12 And by . . . live The poet lives by his love for
his friend, and that love is itself a part of the glory which his friend
possesses. 13 Look what whatever
"X
Q' Xk

'So I, made
truth;
e all my com
ilth,
or wit
whether be^jy,
my of thesej^iyo
itled in thy parts (lo.t^cor^ed
' I make my love engrafted to thi;
■V ^o then I am not lame, poor, nor^^is’d
'whilst that thi|^hado'wdoth(^ch^bstai
That I in thy a^^^n"cfe
ffiVd
And by a part ofmyh
ve.-” " J
Look what is t0t - thafttes I wishjiijthee.
This wish I have; thenlmnjtin^ hagp^ me!

S

) "
Q.J t'. „

SONNET 38. z subject to invent subject matter for poetry, Invention” is
"poetic creativity.” ) argument theme.
Eor every . , rehearse for
any common piece of "writing to express. y-6 if aught . . thy sight if
*
anything I have written which is worth the reading meets your eye. ro' &gt;
11 upon for inspiration.
12 numbers verses. date
ij these curious days this highly critical age.
^4
\ P&lt;^in effort, trouble.

1)
’

j
Z38

/Vvn
'(•&lt;

fHdw can niy_Mu^e w^nt &gt;
•sjfintoh(iy verse
"yVhile thou dost brejltKe, that p
et a ument, too/ex lent
Thi
t((rehears
hanks if aught fin me
.
mej-^gainst
thy
mlhj peruj
?oi^ho’s s
jght?
When thou
1
Itimes
toor^
n
Be thou thdten
Than~those
which rhymefs in^^^te;
^d he that fails on thee, let him brin^^f^h
^fit^nalinumber^^ opflive long date.
V*’ '
"
~
use
^Jjlease
these
curious
days,
Ifmyj
line, but thine shall be_thepraise.2
siAj n.

- .....

39

.

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                    <text>k

0 - i-f

Si,

f6", how th^orth with(p^ners4hay 1
When thou artlll the better pailpfmg?
What can mine own praise to mine own self bring?
jidVhat is’t put miy oyn wheri I
;ven for this let . divided live V
n^ur dear love lose name of ^ngle ope
is^^rratiorill may give
\
at b
-4'^
thee which thou deserv'stjalpto.'
O’aB^rice, what a torment wouldst thou
Were it not thy sour leisure gave sy^
1 To entertain the time with thoughts of lo
Which timft^niDthoughts so swFetly doth
dlhat^ou teachest how to makqfone twaif^&gt;^ ..,
A-

SONNET 39. / With manners
iJdesty (Snice^'i^htSrTnOTMt*’'^
to praise oneself). 2 the better part of me my soul. 5 for because of. "t
6 name report (as opposed to the reality). 8 That due that which is
owed.
9 absence separation, prove prove to be.
ii entertain pass '.-f,
pleasantly. /2 doth malone; q; “dost.” deceive beguile.
73 to make
one twain to make one person appear to be two. Absence of his friend
causes the poet to envision him in his imagination and thus add his
friend’s presence to his own. 14 hence away jrom here.

oyi/p

o1

! I

*

’•

.t-J

a;„,
O0CX&gt;€&lt;&gt;&lt;XXXX&gt;

, '10- fJ\
SONNET 40. r
„„
„
/a) my love for you (b) my mistress whom I love. 3-^ No love . . . this^li,omore the love of my mistress cannot be called true love, and all my love
'■ ,„-^for you was already yours before you took my mistress. 5 for my love
(®) because of love for me, since you must love anything that belongs to
rJ
'■' K* me (b) in exchange for my love for you (c) because of my love for her.
'‘^^^thou . . . receivest you take my mistress. 6 for because, usest employ—
,
sexual purposes.
7 thyself maione; q: “this selfe.” deceivest betray, are false to. 8 wilful taste (a) lustful savouring (b) deliberate enjoyment. thyself refusest your better nature would reject.
10 all my
poverty all the little I possess. 12 hate’s known injury that kind of injury
of which we know hatred to be capabje. 73 Lascivious grace beauty and
charm in lustfulness,
spites outr^eous injuries.

Caj

'.J-^

'^(j)

iy loves, my love, ycsi, take tl^

,

,1
(O

|‘+'^No love, my love, that thou may^true Ip
y
(^|ra»iwe..was thine^|ore thou hadst
Jhen, if'lor m^oyFtEpir^^
1 cannot^lame th'ei^r my lov^ho
n’^Hfthou thygelt d^cfe
of whai thyself tjef

^vethy robblrj^^
ny poverty;
er grief
j’sjcnoy^i^njury. •

fjr,,j a ve^

sr; vi nil s^afT)Un

m;meylA^te^et we musLnot(^^s.‘

. ic /\ I

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etty wrongs (3} slight misdeeds (b) misdeeds graciously '5
'■
Lascivious grace" of the previous sonnet, liberty lust.
,
/} 4 still always. S sourly rudely. s/ic-MALone; q: ‘‘he.’’
my seat forbear “
ft forgo the special position that belongs to me — i.e. not take my place withA-v^j^
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‘
\
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friend to the poet.i

Those pretty wrongs tha^ liberty commits
When T am sometime absent froni.Yhy heart/
Thy beauty and thy ye^s full well befits,
Pnr stiff temptation follows wherejthou ail.
4 , GentleIthou art, and therefore to be won;
Beauteous/thou art, therefore to be assailed;^
And when a woman woos, what woman’s son
Will sourly leave her til^sh^ave prevailed?
Ay me! but yet thou mightst my seat for^eiar^ .
And chide thy beauty and thy straying/^out]^

i

k
.tr
I'*

!«mI

Who lead thee m their riot even there
Wljerejlhou^t forc’d to break a twofold truth
(Hers, by thy beauty tempting her_tothee,
\ Tpine, by thy beauty being false tg^e.

I.
T^thouJ^d^heii it is not all my grief,
Ar d yet ittoay be said I loy’djier dearly:
Tl tat shelhatljthee is of my/waiyhg chief,o^n love that touches iiie^orc'nearly.
PLi ving offenders, thus I will ^^use
loujiosfeiove her becau^ thou know's^
itffOT my^salce even ^dot^^he abuse me
5
i&lt;cme
jnv frienchft^ iny sake to approve her.
my love’s gain^ &gt;
I
friendDh^xbyound tKSt^o
3 7-7A^d\osiT)g her,
“jsand IifosepothX^ra^
.^■t^f^oth find eatjic
:e ray orrme thtscrossj
fy,.r/ x^d both for m\BVt here’s the joy — my, friend and(^i^e/one
' ‘‘’1« ry •
flattery 1 then^^l^s^ut m^^

r't-

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/ (b) put her to the test, try her out. 9 my love’s my mistress’s.
10
' losing her if I lose her. rr both twain both
them. 22 cross affliction.
14 Sweet flattery pleasing^lf-deception.

■’’v I
'. Al '

IrVitf t

A.
»»i »»»-l

c

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                    <text>_ hen most Ijyinl&lt;
For all the day they view thingy
y look on thee
B t when I sleep, in dreams
It in dark directed.
[1, flarklv briglilj) a
oth m^e byigh
r «iad
n thou, whose
appyf^mw
t^ayZ^khjtKy
mV^jlearerJight
1
the clear
—___
/O )
.
shines sOT
‘
uns
h

(^)
cheerful, ore bright . , . directed see clearly in the darkness
(being themselves infused with the light of thee). 5 whose shadow . . .
__ _bright whose image (shadow) illuminates the darkness (shadows). 6 thy 1^.
shadow’s form the real form which your image represents, form happy
' OtJv'vUi'k.C show create a glorious display. 8 shade shadow, image. 11 thy capell;
)q: "their.” imperfect without substance. ij to see (a) in appearance (b)
in so f^ as ability to see is concert^ed. 1^
thee me^^veal you to ,,
/Ttxi ■■ f

I

K

k*

ow
y loOKi ’mrffhge in the llyjt
hen in ea

■'

All days are tiigh,

J

1,6 '‘'l—r

ow thee me.

An
NNET 44. This sonnet and the next one rest upon the notion that
uman life is composed of the four elements of earth, water, fire and air.
arth and water are the heavy elements, bound by gravity and dominant
t the human body. Fire and air contain the human spirit and are light
(id free. i dull heavy — i.e. earth and water. 2 Injurious cruel and unijst. 7 limits regions, where to where. 7 thought i.e. air. 9 thought
Us me I am killed by the thought or knowledge.
u so much . . .
rought being so fully created of the heavy elements, earth and water.
2 attend . . . moan wait weepingly until time is ready (to unite us).
naught MALONE; Q: “naughts.”
27 But heavy . . . woe From the
heavy elements the poet can receive only the “weight’.’ and the “water” of .
his tears.
'

44

(

J

t.

If the dull substance of my flesh were thought,
Injurious distance should not stop nyij^way;
For then, despite of space, I would'.^ ough
From limits far remote, where thou dosd^tay.
No matter then although my foot did st^n
Upon the farthest_e^h remov’d from thee
For nimble thought can jump both sea and
soon as think the place where he would b£.'
thought kills me that I am not thought,
^o leap large lengths of miles when thou art gone,
C But that, so much oflearth and^atep}wrou^ht,
I must attend time’s l^ure witlTmymoan,
Receiving naught by de^ments so slow •
,&lt;Bu^ heavy jte^ badges of ei^’s woe. j

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                    <text>JI

t

'p Uc .

0,^1^ d*''
Vf

en/eq

-y

J

h trrt S- et' &lt;^1- •» vv
It (,
X \
'her"
P
y
The other two, slight-air and purging
Are both with thee, wherever I abide; - ...^ '
hiy thought, the ether my desire,?
These presen^bsejati^th swift motion^Hid^-^
,
FOTy*‘fe««,dhe8€’'^icker elements are goi^
I
IrrantJej^^mbassy of love to thger-'^'^
&lt; |v Ur
b
Mylifeffeeing made_pf fe^ with twa'alone
ginks yioi^td death, oppress'd with melanchdly;
Until life’s compo^tiod^^gjgcured
C. s' "
By those swift messengers p^turn’d fro:
,h -^ho even but now come back again,
thy^fairftfStH, re^unting it to me.
toidF^o^ but then no longer glad.

—

ktaUh

SONNET 45. I two i.e. elements, mght insubstantial. 4 jnesent-absent
now here, now there. 5 quicker more lively. •] four four elements. 8
melancholy supposedly caused by an excess of water and earth in the
body, p life’s composition the proper balance of the four elements which
make up life, recured restored to health. 10 swift messengers i.e. letters,
which the poet presumably has received from his friend. // even but
now at this very moment. 12 thy malone; q: “their.”

'

£
f

i. «

Ck
PPe'eiiyeii,

t

£

f
;

5
neaPk

rlir,

iP've-y .
14-i, ■

SONNET 46. The sonnet supposes a ^egal &lt;i)n'feV^-between the poet’s eye
and his heart. The notion is a commonplace of Renaissance love poetry.
I mortal deadly. 2 conquest (a) booty won in battle (b) goods awarded
'result of a lawsuit, thy sight the sight of you — your portrait. 5
Mine eye . . . would bar my eye seeks to deny my heart the sight of your
' picture, thy capell; q: “their.” Also in lines 8, 13 and 14. 4 freedom
2^*^
privilege of exercising.
6 closet secret, locked up place, with by.
f
crystal clear, penetrating. 9 ’cide decide (malone; q: “side,” which has
been defended as meaning “settle” dr "arrange’’), title question of.j&gt;w«eEship. 10 quest inquest, jury. 12 moiety share (not necessaji a half).
'
li-i)
&lt;

t'.'

ci^V
nn

'Ca. wA &lt;

U/K«
j .

!

-I &lt;

V

‘^^■Mine eye and heart are a£a_morta,l]wa2^to^ivide £he coi^qu^t of thy sight;,
Mine eye my hearjt.thy picture’s sight would baiv’-jA
(p )
My heart mine eye the freedom of that right,
&lt; ’
.
heart doth plead that thou in lym ^os^/lig^
5^'*'’'-^^
closet never pierc’d with crystal eye^T"“ Sx'-’.,.,*But the defenSant dothdhat plea^enyJr^^-&gt;&lt;^•
And says in him thy(fair appearance lies.
’“Oi^
"Pp^jjg this-title; is impanneled
,^^^r^jesA of thoughts, all tenants to the heart
Andoy theiy verdict is determined
The clear eye’s moi^y and the dea
As thus —jnine eye’s due is^hy c
And^my heart’iright^thy i

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                    <text>4&gt;'*5

■ '

l^r&gt;'5b. |[&gt;-

1^,

&lt;-^

-X

Aei ‘-f
ecjX

)&gt;«

(i-tGra t+"

i

H*^4nnet 49. z Against in anticipation of and preparation for. 2 defects deficiencies. 5 Whenas when, cast . . . sum reckonfd up his final
y account. 4 advis’d respects deliberate consideration (of all the elements)
in our relationship. 5 strangely pass go by me like a stranger. 7 cont verted transformed. S of settled gravity for a grave and sober attitude
of coldness. p ensconce me fortify myself. , 10 desart desert, merit. The
Q spelling is retained to indicate the rhyme.
11-12 And this . . . thy
part and raise my hand, as a witness in a court of law, to testify against
&gt; myself, in support of your rational argument for leaving me. The point is
that the poet has no legal claim to his friend’s affection, for love does not
spring from rational or legal considerations. 14 to love one should love.
- cause legal argument.

‘

Ag^sfthat tini^f ever that timfconre)"
When I shall
Whenas thy love hath cast his
CaA’d to tl^audit
advis’d respe^
AgiinsT that time when thou shalt j^an^lyjpass
i^nd scarcely greet me with that, sun,^TOiil
When love, convt|rtgd from the thing it v
'Shhll reasons find ofj
Against^that time do

ny hancyagainstljnyselhuprear,
t
ul reasons on thy part.

■ J)

poo

nee wh

.1k. s

can allege no cause

-nfr.

SONNET 50. I heavy sadly. 5 that ease . . . repose the accommodation
and rest (which I seek at the end of my journey). 6 dully MALONfe;
A'.yy
jl'''‘duly.” to bear because he bears, weight sorrow. S being y^tlde from
(!) thee i.e. since that speed i^csurrying me away from thee.

,r
■y &lt;
jP

ow heavy do/I journey o^he ^ayc&lt;
When what l(seek^y i^eary gravel’s end)
C.
Doth teach th^^s^nd that repose to
y___
“Thus far the rmlelare n(eas|ir’d fromfhy hien^t
„-.The bea^ that bears nm, |ired kith toy woe,
PlodT^ly on, to(bej?ihat weight in me, 'll:
AA if by some instinct the wretch did know
I Hk rider lov’d not speed, being made from thee. .

The bloody spur cannot provoke him on
That sometimes ^nger thrusts into his hidek
Which heavily he answers with a groan,
J
}
ljVIor| sharp to me than spurring to his side;
For that same groan doth put this in my mind
My grief lies oiiwjudiand my joy behind.

- ■

Cowj

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r

thedine poitat o^eldo
Therefore are feasfsTo^le
&lt;x$&gt;&lt;xi&gt;O€&gt;€^&gt;00O
) coming, in t^e lo
;s of worth
^i&gt;-‘'^hus
can mythe/thin
J.o^e ly plac
theedslow offence
Of my duUbp^ardr^ien from thee I s^eed:|
P
From where thou art, why should I haste me thence?
Till I return, of posting ish3 q^dj 4- .
O, what ^^use will my poor qSt then find . .
hen swiff^x^emi^can seem but slow?
en shoulalfeuiy though mounted log th^^^nd,
n yvinged speeoijnS motion shall 1) kno'^.
en can^i^h^e^ith my d^ire keep pa
Therefore de^irdj of jerfecfst Iwe. being
Shairjneigh ’^p^djull fleslyinh^^iyface;
love, for lov?, thus shall^^use pay Ut
,Since from ^Ij^ going he went'wilful sic „,
i,
Towards thee^’ll run and give him leave to go.

r slow offence offence of being slow. 4 of posting is no
yyneed there is no need to ride at full speed, 6 swift extremity extreme of
know I- would have no feeling
of speed
swiftness. 8 JIn winged .. .. .. &gt;I -----«
"
even though I were flying (so impatient would I be to reach you). lo-ii
^desire . . . fiery race my desire to be with you, being made of the most
„ Jperfect kind of love, like a horse, will neigh in the excitement of its fiery
to reach you, unlike the dull horse on which I am riding. 12-14 But
love ... to go but 1 will thus excuse my horse who, out of love for me,
1' walked slowly in taking me away from you. I will let him go on slowly,
while I run to reach you before him. This seems to be the general meaning of these obscure and much debated lines, jade a horse of inferior
quality, go walk.

Kfi

^&gt;^4 t.
,rscv. ?rlt.

J,-.

,

i&lt;-

/ So am / as I am exactly like, ftey Pronouncec
with “survey.” 4 For blunting so as not to blunt, seldom pleasure
pleasure seldom experienced.
solemn formal. 7 thinly placed spread
out. 8 captain of superior worth, carcanet jewelled necklace. 12 new
uu/oWing freshly revealing, his imprison’d pride its hidden magnificence.
ri-14 whose worthiness ... to hope whose excellence causes me to trihmph when I see you and to hope for your sight when you are absent
SONNET 52.

hosi
io am I as th6 ri
;an bring higfto his sweet
k The whicli^e will not^y’ry

J

n\and so
yea
carcanet.
, is the t|me tha^yeeps you as my
• as thefwam
I make some,
y newjmfoldi
______
Bl^^d^ar^ou, wlaose worth!
es scope
Being had, to triumph, being lack’d, to hope

^4^
..-. S‘
*'^«k*t

kyj or it's
Cl isf ■

^•***ir*"

orin

IO

Lel-I

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I I*. S ^'»'»r&gt;e’r-6l»^^-H»&gt;»a) * Bfi *-.

')

"sonnet 5?. The sonnet reflects the platonic idea that all beautiful objects merely reflect the more perfect ideal forms of which they are emana­
tions. Here the poet’s friend is made to represent the ideal. 2 strange
shadows images or reflections which are not a part of your own being.
tend attend. 5 shade reflection, such as the single shadow which a man’s
body casts and which “tends” upon him. 4 And you . . . shadow lend
and you, although you are but a single person, can supply an image for
every other thing of beauty. 5 counterfeit description (of Adonis). 8
tires attires (such as Helen of Troy would wear). 9 foison harvest, autumn,
14 none you no one is like you. constant heart That this seems hardly
applicable to the friend whom the poet has been addressing has struck
many commentators. Perhaps this sonnet is addressed to another person.

&lt;d
*

your substance, whereof are yout^ad^
(That millions of^Ttrang^^hado^s on you.l!end? /
ce everyone Imth, Vyer^ne,,on£(^had^,
/
d you, but one, ran\pvpry\^adowlen
scribe . donis, and the e^nterfej)^

4 /-J-

5

Jbeauty set,
On Helen’s^heel^j
in .C'r^cian tite's "a"
inq^new.
And u___
Speal ^the
f the year:
an
ofyour beauty show,
he
f^si
our bounty doth appear,
n .
(^*'he
I i z..
'And ydti in'^v^ .^^djshape we Jtnow. In all(^xpm^'^'^race you have some part.
fon^oi^taal heart. '
But you like none, none you,
’

F

’

~

rH\ t

'S’l

,

SONNET 54.
. truth fidelity. 5 deem judge. ” j canker .-y .
blooms blossoms of the canker-rose or wild dog-rose, which have only a rblfvery faint perfume. 6 tincture colour. 7 u’antonZy playfully. 8 masked‘Ir-r'vei
concealed, discloses opens. p for because, their virtue . . . show their •
excellence consists only in appearance (and not in perfume as well). 10
unrespected unnoticed and neglected. ii Die to themselves die without «')«•"■
leaving any benefit to others (as the damask rose leaves its perfume after
it has died). 12 Of their . . . odours made of their sweet-smelling remains perfumes are made. 14 that i.e. your beauty and youth, vade
•'
disappear, decay, my verse niMJitir.-, Q, K:"by verse.” distills your truth
M
preserves the essence of* your fidelity, as perfume preserves the essence o
the rose.

(■"U

5i

■a.'\is(

Ji

&gt;

&gt;ich

jF

&lt;

a B^y tharsweetitrname.nt which truth doth givel *’
^Thd^rdse loj^ fair, but famer we it'deem ,
/ For that '§^^^^d^oui^which doth in it lijit^
A The canker 'blooms have full as deep^dye^
perfume^jiticture of
Hflng^n sucli(tbojji^an lay.^^wantonj.!
'^^engummer’sjikeath then_____ uds discloses;
,
But, fw^eir virtu^only is their ^w,
'
Theyfliv^unwoo’d an4ur^respecte “3 fade,
'
DXto themselvgs, Sweetnotes do not so: “
V
jdf their (weet^eaths are^eetest odours m^^.
.
f A'
sp'of youTb^uteous and~lovery~^uth,
en that shal^yyley my.verse pist;

55b'&lt;!7jCi5i.^

6.b
*----- ...-f

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                    <text>))-&lt;■

Co re

/SSb
SONNET 55.
.
ravages 01
attirms that
through his verse the beauty of his friend will endure forever. The theme ‘
was a favourite one among Elizabethan sonneteers, having its roots in the
classics, most notably in Horace (odes, III,xxx,i-5) and Ovid (metamor/
PHOSES, xv,87i-9). I monuments mxlone; q: “monument.”
2 r/tytne /
poem.
3 in these contents in what these lines’ contain.
4 unswept
stone neglected monument (which would contain the dead man’s epitaph,
1
to which the poet is comparing his verse), sluttish dirty, untidy. 6 broils
battles, civil uprisings, root out uproot, destroy. 7 quick lively, fierce,
9 'Gainst in spite of. all-oblivious enmity oblivion which is the enemy of V
all mankind, zo pace forth go boldly and proudly on your way. still for—
12
out endure longer than this world, ending
ever.•
/2 wear
wear this
ihts world
wc
day of judgment. 1) judgment . . . arise day of judgment when
you yourself shall
rise 'from the grave. 14 this
this poem, in lovers’ eyes
rj.'V
......................
»in the eyes of those who admire you.

mumei
princes shalLouiJiye jhi^ow’rf^l ^yme;
t y^u shaUfshiaemor^^righ^l n these contMits'
Thaif iinsweprej^ner'besmey’d with sluttis time.
U waste^l^war Shall(^tues ovfiiXu^

$•

5

broilsdoot but the woik^mi*"
Mai/nis sword nor'war’s, uic rd shal bur
ig record of your memory.
'Gaitlsf^ealh and all-o^IivilDus enn
yciutoac^fortWzybur praise s
'Ey^^iTthe^es o_bffll^d^rity~
j^at wear thiszWirldfouLto the en&lt;
Z-jJ-eJr &gt;
thx^udgment that yourself arise,
ari
y You ^i\^n this, and dwell in lovers’^eye^

IO

*

a

&gt;-1^

'^fy.

s^ffNET^sT. J love the spirit of love (not the loved person).'^
keenness, appetite lust. 5 but to-day merely for the present'^oment .4.
(whereas love, unlike “appetite” is eternal). 4
tts. 5 love my friend. t~f
6 wink close in sleep. 8 dulness insensibility. 9 sad int’rim period of^ «
__ estrangement or separation. ro contracted new recently betrothed. //
banks seashore. 13 Return of love the loved one’s return. ij Or call
MALONE; Q: “As call."

A.ve

Sweet lovejrenet^ihyforce: be it not said'

Which but tcfcda^v jading is allay’d,
I
To-morrow(shai^’ned in his former
. So, love, be^thbu?~although to-daythod fil^^
r Thy hungry eyes even till theyfwink)vitniulness,
''p'iSJ^morrow see again, and do not lyil.
The ^piri^f love with a perpetual *
Let ^Is^d jnt’rim like the ocean 1^
^^'^^Which parts the shore where two (contacted new
^Qome daily to thedianlcs, that, when they see
may be the view; '

welcomi

'J'G-

&gt;

3

,

-e'

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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 55&lt;/strong&gt;&lt;br /&gt;General Notes&lt;br /&gt;1st Pros. [Protestant] martyr of new law allowing burn[ing] of heretics under Mary&lt;br /&gt;70 persons that year burnt alive[,] Latimer + Ridley&lt;br /&gt;Latimer—lighting such a candle as should never be put out. = Famous words&lt;br /&gt;Line 1&lt;br /&gt;Marble: Martyrs under Mary&lt;br /&gt;Line 2&lt;br /&gt;Mars: Martyrs under Mary&lt;br /&gt;Line 14&lt;br /&gt;Eyes: Celeb. Of E.?&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 56&lt;/strong&gt;&lt;br /&gt;General Notes&lt;br /&gt;54-55 Mary persuades herself of her own pregnan. – Apr. announcement + bell ringing&lt;br /&gt;’56 Plot abroad to put E + Courtenay on throne but country now protective of E&lt;br /&gt;1556—Phil. (heir to thr.) becomes P. II + King of Spain (father abdicates)[.] Leaves M. in Eng.&lt;br /&gt;Line 1-2: Love dist[inct] from appetite&lt;/span&gt;</text>
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