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                    <text>f-not^ike a winter hath my, absence b
From thee, the pleasure of the'fleetiji
'Wllat freezings have I felt^^whaF Mri
^h^t old Ded€nmer^s bareness everywhere!
Apd yet this time remov’d was&gt;m?imerj
eerrung^tumn. big with^icTi increase,
ar pg'^ewanton burden of the prime, C
widowed wombs after their lords’ d^ea

PNNet?7. 2 pZeosure most pleasing part. y time remov’d period
my separation from you. 6 teeming fertile, prolific, fcig pregnant, in­
crease harvest (conceived of aS the child of autumn).
7 Bearing
^ime giving birth to the frui||Of the spring’s amorousness. 9 abundant
issue rich progeny.
10 hope . . . fruit unborn children and uncreated
fruit. II wait on thee are your,servants to command. 12 cheer cheer­
fulness.
z'

le of^orphans and unfathered fruit;
iiier^d his pleasures[waitpn thee,
3u
the very bi^ are mute; j\
they sing, ’tis withySo dull a cheer z'
That leaves look pale, dreadine- the winter s near.

Ti’H-i

+1

»b. 2 prona-pted splendidly variegated, trim ornamentation
"clothes”). 4 heavy sober, sad. Saturn the planet believed to
cause melancholy in men. 5 Yet nor yet neither. /ay*s songs. 6 difflowers in flowers differing in. 7 summer’s story tell write in a
happy manner. 8 proud showy. 9 wonder at admire. 11 but fleures
mete representations.
As with . . . play I played with these flowers &lt;&lt;&lt;
as I might play with a mere picture of you
•

FrQm Vt^ U.^e I be
Whtb'^^ud^ied i
Hhth puTa^^nir^
everything,
Tiiat heayv\Saturrriaugh’d and leapt with
iir/- i^G^et
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TiNor praise thejieep^ej7n^4on' in the
\ They were buC^eet/but figures of deligh
rawn after you, yot^atterri^of ^|^hosq.
1,

iXulX

'^s4d.th your shado^I with these^j;^

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                    <text>XC, SONNET 99. An unusual fifteen-line kmnet. i forward early, spring-’CC"
rebuke. 5 /inde splendour. y grossly obviously. 6 for
for attempting to imitate the whiteness of your hand. 7 tZjy
"”y “can the perfume rather than the colour of his friend’s
!
The comparison of hair to marjoram buds has occasioned much comment.
/ear/aZZy conscious of their guilt. v One malone; q: “Our ”
■ y ly eat ate
ly sweet ssNoet smell. Some editors would read “scent ”

'11
ri ivp’tZXZ/r

Z^NNET 100. r-a IFhere art... thy might Tho poet addresses his

T j;P°" resuming sonnet writing after a lapse of some time, devoted
probably to writing for the stage. 5 fury poetic inspiration (conceived of
conventionally as a kind of frenzy), worthless ignoble.
4 Dark'ning,
diminishing Zend give, base inferior. y straight at once. 6 gent^
’
verse. idZy (a) foolishly (b) uselessly. 7 lays songs. 8
jjf ^^argument
matter. yp resty xii\^MiCiH.
indolent. iU
10 1.^
If to see whether. jz
y'
, subject
J - ------------------------J-° decay write satires on the ruins of time (a conventional
14 So thou prevent'st in that ■way you will forestall.

/

-

&gt;it T|re forwardj/iolet thus did I chide;
thief, whence didst thou steal thyl
smells,
not num
from my xu
love’as bre
±1 iiUL
un, ath? The purplejtrj
&lt;u \i£
jQVl^h on thy sofApheek.Vor complc^on d
—&lt; j Iff my love’s veins thou hasj too\grossly(^y’(
-C
The lily I condemned for thyjiand;
And buds of marioram had stolhi thy hair,
fearfully on thorns did stand^
za &lt;
One blushing shame, another white despair;
A third, nor&gt;;^ nor whitejhad stol n ofTro^
QJ ,
f^d to his^btfry had h^cHh^Jjreath; i
Avf all
D
Tfi^t, for histKeft, in/^idepf
ali hisiPTOW^'v
his/'grow' /
engeful canker ea uh up to dpath.
oul
ers
ted, yet I jho
colours had(stol n om thee.
But sweet

FTthou,(Muse) that thou forget’st so long

^m’st thou thy(fury
some wort
larP^ing dky^ipwA+odend base subiect&lt;J.ig(it
^Aurn, -forgetfi^ Muse Jand strai
ee
so idlM spent
entle num
jfig to the ear tliaT doth thy lay^estbem
nd gives tjiy^ryboth skill and Sgument.
is^ te^^f Musey my love’s^e^face survey,
ha^e^ any wrinkle^r^^ therg.
If any, be aJ&amp;tipe to decay
'
w-^77
And make Time’s spoils desj)ised everywhere.
Give my love fame faster than Time w^es life;

k•
100

101

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                    <text>101. 2 truth fidelity, dy’d stamped. y thou the Muse, digntfted you are dignified. 5 haply perhaps.
6 Truth . . . fix'd truth
needs no artificial ornamentation since its colour is natural and perma­
nent.
nent. 7 lay lay on, apply. 8 intermix’d adulterated with alien substance,
rz To make . . . gilded tomb i.e. make him immortal by praising him in
verse. z_j do thy office perform your proper function. 14 shows appears.

/£&gt; A
7k ZC^?

' O truant MusC^hat shall be thy amei&gt;ds ,
For thy neglect of y;uXh in beauty ^’fl? ■
x^^'MBofh ti;uth and beauty on my love defends;
"^i^bsyhou too, and tljerein dignified.
I z: Make'answer, Mnse.lAyU't jhou not ha
^^^^^'^^‘Truth needs tm colouiy^th his coht^jJj
'' 'Beauty no pencil, beauty’s yuth to la^
But l(es^ is b^j^, if never intey^Ix^^
Jfhou qfe dumb? ’
cause he needs no praise,
e noti^enc^o; for’
•in the^
dedhom!
make hmimuc]
W
\ Ahd tb be_prais’d otetgesyeTto be7
C.
' TTpen do th/office^luse. I teach the^Jho:i«C?Tb make ^im seem, long h'fence, as hp sl^o s now,

.

gj'

&gt;

love is strength’ned, though
re weak in seeming;
ve not fe^though fesj (he^oyj^ppear.
at love i^m^chandiz’^ whosj icJf^beemingC''^7e owner’s t^Sn^e doth.^ublish'ryerywhere.
r love was"’hev^affd then but in the spring,
y.
enJjii^wpBt'to^greet St with my lays,
As ^ilom^jr^n summ^s ^ont doth sing
sEOps Ker pipe in gr^th of taper days;
N that the summer is fo^leasant
wheji her (fiournf^%ymns did^ yush the night, 10
t thakwild tnusic burdens
,
:ns every bough,t
bough,
own^ommoryose th^k'dear deligtit.
A

seeming outwsrd appearance.
a appear is evident.
?“■/
love . . . everywhere that love is treated like a merchant’s goods
when he who possesses it publicly proclaims its value. 6 wont accustomed.
7 Philomel the nightingale. Although it is actually only the male nightin­
gale who sings, the classical Philomela was a girl and is always treated by
Shakespeare as feminine, in summer’s front at the beginning of summer.
8 her Hausman; q: “his.” pipe voice, in growth . . . days as late sum­
mer comes. ij But that . . . every bough but because there are song- ■
birds now singing in every tree. There is a quibble on "burden” in the
sense of “refrain” of a song. ij som \me from time to time. 14 dull
cloy.

^5
102

IO

aiise I would not

you with my song.
10

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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 101&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;Hugh = color&lt;br /&gt;’91–Hugh O’Donnell escapes from Eng. + begins war (Irish)&lt;br /&gt;Late 1397 (p. 203, Lacey) Vere = Truth, To Eliz, He defended Essex in Azores trouble against Raleigh&lt;br /&gt;War of Theatres begins 1601 (Exec. of Essex connected?)&lt;br /&gt;1601 John Sh[akespeare?] dies&lt;br /&gt;Truth is enough: celebration renewed&lt;br /&gt;Line 2&lt;br /&gt;Dy’d: pan: Exec. of Essex&lt;br /&gt;&lt;br /&gt;Line 13&lt;br /&gt;How: Howard?&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 102&lt;/strong&gt;&lt;br /&gt;D marriage in Dec – possibly memb of Parl. in Oct (dissolved in Dec).&lt;br /&gt;Carr becomes Somerset but I don’t know when (was Cecil, first?)&lt;br /&gt;Summer must be James&lt;br /&gt;I believe Ral. was a nightingale (night?)&lt;/span&gt;</text>
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                    <text>, &gt;03- 6)' /Ve, l&lt;

5 Tk'

_______

’
D
I

A opportunity. 5 argument all bare naked theme - you, without adOTnment.
t
mirror.
7 overgoes . . . quite surpasses my crude poetic crea- £. cL^ '
rr”!^ completely. 8 Dulling my lines making my verses seem trite and
i
lifeless, doing me disgrace putting me to shame. 9 mend improve upo
'
(my beautiful subject). // pass purpose.
sit reside.

•-a

erjty my Muse brings forth,
ope(t^how her ^id
iTIiht, having su^
’J'hp argument^l ar^is of tyiprejworth
iShto when it hath m
Q, blame me not if j' no morel can write!
J^ok in youi( glassJgjat3,j^ere appears^ ta
'ThqtjTvergnes m'^lun^nvention quite,' ,
lines'M^^ing me disgrace.
it not sinful then, striying^o^e^c
59 theisubjecq that befoje wa^we
3 other^a^ myiver^es tend
muchanore. thjii in m
rf^s s^wS you ^hen you look in it.
‘(-z

'&lt;^^-

.g-?
/V/’

cftr'jexec . •&gt;

if
SONNET 104.
The sonnet was apparently written three years after /he'*C,t,
poet first met his friend. Most editors regard it as misplaced in its pre^nt
position in the sequence. 4 pride glorious appearance. 6 process the 7 '
progress. 7 burn’d i.e. like incense. 8 green young, beautiful. p dial
clock.
IO his figure the number on the face of the clock.
ii hue
complexion,
appearance.
meJhmfti
seems to
me XlCVCl
never to
- .
XX
------ .. .. .. stand uv.v,xxic
xvr xxiV
L«J be
UC
changing.
"
■ ■—
'
changing, ij thou
age unbred
The Met speaks
directly to the future ages
who will read his poe
''
- &lt;1.- I /
.
i
.
,

/S'

I
'
-

’

nier^ir ^fiehd, you never can
were when ^tjouife)^ I ey’^^ SaJJL,
_^clyseems your beau^j^illJ Tliree-wiirEers cgld—,
' Have from the, foresfs/shook three summersfpride;
yellow a^mn turn^^^tjg^^y,^^
\ f Irt process pf the seasons have I seen,
””
;
perfumes in three hot Junes burn’d,
v«_xa-&lt;
yet doth beauty, like a
hand,
his^figure,
andV noc^ace^ngceiv’d!/
1O_X*5V&lt;X^, XXXXK.
iht^, which methinksl^tlMoth sYand,
^nd.!mine eye may be deceiv’d; \
f whydi^lhear this, thou ag^nbred: ^*■**•9
e

. it&gt;^

10

h T~
.

/3

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                    <text>&gt;

d beauty ^mWng beautiful old fhyme;^J7 .at
f
praise of l^esd^ad^andjoyely k-night&amp;
(ijhen, in the/bl£^n)of(swe^beauty ’s'bcs
hand, of fo^, &lt;^nip,,^o^ye^of bco^^
thei^^iui^ue pen
ch a beauty as
^liyheit-praises
arXbu
Let not
m

■

/O-^
.

,

.

.

idolatry^'fhe poet’s love is nrft idolatrous, he

maintains, because it is directed to one god and is unchanging in its
W//
4
always, forever. 5 Kind natural. 6
SMI constant
the same. 5 leaves out difference avoids variety
!”
and in ringing changes on this theme-aL
my poetic skill ‘^^xpend^ ■
kept seat

-i,
2

songs md p^ses be
Ao-day, to- rrow
a wondr
IMconstan
, to/ton
ereiore my^^
, leay out
&lt;5ne thing
y

dfen this/Change mvtinvention
Tip one, which wondrou
re
d rfuel
mieKiaye-of
aA^often
t liv’dlgl
Fain kind, and
^l^h threenil}
til} now|iever|]Skept^ea^in or
'I

"

SONNET 106. 1 wasted time past ages.
2 wi^ts person^' 2 And' '
' J
beautiful persons causing old poems about
beautiful. 5 blazon trumpeting forth, celebration.
7 an- J/i
,'ifque ancient.
8 master possess.
10 you prepguring foreshadowing
,
because, divining eyes eyes which look into the future.
^tll CA.PELL- o: "srill.”
•
.
.
I

.

n in tne t^ronu^ie pi
\
descriptions of the faires^^ights2 A

r:,
'1'^
ronhecies
.(tftu

I*" L
%

1*5

I
for they loot’d but witljdivfei
yes,
^5&lt;r^nT2key had not skill enough youif'^rtfe to sing;
For we, which now behold tl^sei pi}^nt days,

*

{^21

Oe,if c?t s

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V'T, ISfibj

i&gt;\j I7e nu.s &lt;vs ■'(»* 1^

«

ncejhis sonnet seems to refer to specific events, it has
perhaps more than any other in attempts to date the sequence.
Just what events it refers to has been much debated. 1-4 Not mine
\ . . confin’d doom not my own apprehensions nor the intuitive fears
of the world at large can envisage an end to my love, supposedly limited
by a fixed period of years (the fact of mortality). 5 The mortal ... en­
dur’d This has been taken as an allusion to (a) the defeat in 1588 of the
Spanish Armada, which sailed in a crescent formation (b) Queen Eliza­
beth’s illness in 1599-1600, since she was commonly referred to as Diana
fir
or the moon (c) the death of the Queen in 1603. There have been many
other suggestions. 6 sad augurs . . . presage gloomy prophets now laugh
at their own past predictions of disaster. Precisely what disasters they had
predicted has also been a subject for much debate.
7 Zncertainties
V*" '■ • •
a period of uncertainties has given way to one of confidence.
-y 8 And peace . . . endless age we may now look forward to a period of
•
. -^ perpetual peace. Some have taken this as an allusion to the accession of
. f
James I and his attempts to end the long hostilities with Spain. 9 drops
metaphor is of healing rainfall.
10 to me subscribes
y i^/\ acknowledges me as its superior.
12 insults o’er haughtily triumphs
r
over. duZZ . . . tribes the common inarticulate multitude.
/” IL have perished.,
'/

etichoul
ot mine c^n fears, nor
the wide world, dreaming on ings to_c&lt;
a\ yetthelease^bf my true love^c^tr
1 as forfeit to ,a ebhfin’d
^tal z^^ognehath Mr eclipse eMur’d,
A^d the'^sad^iugurs mock their own
emselves
Inker tain ties now crow
ives
df endll&amp;s^age-C'j.^
d peace proclaim^
NdwAvith the dropsO£-thtsmos alm^time
'Jove looks_fresh^and|Deathjto me subscribes
’Siiice,l,f^te of him, I’ll live in tKis poor rhyme
V^ile he insults o’er dull and spec
.And thou in this shalt find tliv monument

--A •-

SONNET 10^ ^'character
figurd 1
5 register IrecoTd.
S hallowed made holy. 9 in love's jresh case in the young exterior emj^^'bodiment o£ love. ro Weighs values. ii place consideration. Z2 for
i. aye his pag^ his servant forever. ij conceit conception.
{ " /•^■♦■'CT C
'' '
n
“

'•

^-''

i'

aracter
at’s in the brain/that&gt;rfk ma'
ch hath not^figur’d ^o thee/hy true irit
■vllove br th)(de:
injgJ
sLeach'day sS^ o’erlthe very
rdn^^i€K?ld thm^Id, thou n^e,
1 a^hen lrst ll^llowed/thy lair
So that eternyioveji/iovys fresh
---dust
J
ighs nofthe
and injury

Nor gives to necessary wriijkles
But makes antiquity for_aye hi^pagej^
-Finding the first cdnceit of I
zg^^rejtirtle and outward forh ould show ill

,A

n-

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                    <text>'/o'!

5 rangd
flame to q dtfy to abate my passion.
wandered, been inconstant. 7 Just to . . . exchang’d punctual and unaltered by the time (of separation), 8 bring . . . stain wipe out my guilt .
with tears (water) of repentance. 10 all kinds of blood persons of everjc\j
cjtange fo\.
kind of passion. 11
14 in it in "this wide

z i'”;
r

otley
the view a jester,
,
display. Some
critics have seen in this sonnet evidence o£ Shakespeare’s distaste for his
profession as an actor, j Gor’d wounded. 4 Made old . . . new turned
new friendships into occasions for my old offence of inconstancy. 5 truth
fidelity, constancy.
6 Askance with indifference, strangely as though
I were a stranger to jt.
7 blenches disdainful looks, sidelong glances.
gave . . . youth rejuvenated my love for you.
8 worse essays experi• ences with inferior friendships.
10—11 Mine appetite . . . older friend
I will never sharpen my appetite for love by experimenting with- new
friends so as to prove the value of an older friend. 12 confin’d bound,
doubtful that the expression is one of

i
f' ii

tkafl was falsi of teart,

'

bsence seem’d my flame to qualifyl
As eii&amp;y might I from myself depart
As frpm my soul, which in thy breSsi^i
lie.
Thai is myjd^me of lo^. If Thlve /
ik^ him th^ tr^els I return(again)
st to the tifie,.!^ wth the time(e^
*■
bringi waterlfor m^stai
erUbelievy though in my nature
ailties ^at be^ege ralj\inds of^loo
x^hat it could so prepo^roiislybe stain’d'
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theu.hnyw^^^ thou art my^U^

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"^year.

no

'inost! '

ue it is that I have look’d onjruth
d^strangely jbut, byj^^

appetite
On Tiewgr~prwf, t rTan older frie
god'in love, to y hbm I am confin’d.
my heay
'1 Then give me£w

Kwrf’

&lt;

it

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                    <text>SONNET 111. I with
q; "wish.” chide quarrel.
2 0/ responsible for. 4 public means thc-B€€csSityTo~appear in public (as an actor).
public manners breeds gives rise to vulgar manners^ 55 brand
brand stigma.
stigma.
6-7 And almost . . . dyer’s hand and because of that my nature, like the
dyer s hand, is almost coloured by the material it must work with. S
renew d cleansed.
10 eysell vinegar (prescribed by some physicians to
prevent the plague).
11-12 No bitterness . . . correct correction 1 will
consider no bitter remedy to be bitter and I will undergo double penance
to cure my ill behaviour.

1

/N

T

'

1 th’ impression fill remove the scar.
2 uu/gar com­
mon. stamp d . . . brow The allusion is to the branding of criminals
upon the forehead. 5 calls . . . ill gives me a good reputation or a bad
one. 4 So you . . . good allow so long as you cover over what is bad in
me and acknowledge what is good. To “o’er-green” is to cover a bare spot
of ground with grass, y-8 None else ... or wrong no other person exists
can change my fixed sense of what is either right or wrong. This is the
general meaning of these obscure lines which have been much debated
and often emended. p profound deep.
10 voices opinions, adder’s
sense deaf ears. The adder was believed to be deaf. 12 Mark how . . .
do dispense see how I excuse my refusal to hear (other people’s opinions).
ly strongly , . . bred firmly centered in all my thoughts and concerns.
methinks are capell; q: “me thinkes y’are.'

P

It I tj
I

111'

^r.

sak^o^
?rUW^£^hide,
JI
guilty
_
harmful deeds,
t did nortittcr
life provide
n public means wliich public mannersTbr^^sV
;nce comes it that/my nan^e receivesjaibran^J.^^
And almost thenfce my nature is subdu’d
To what it works jtrrtf^ theidytef s
^i^ihe
re
liyhilst, /ike a,wilWgpatienpJ^ilQrink
Inions of^seip^^dB^^gyfstrong in^£li^
bitterness that I^ill^.itter th^k, _£xQj
Ndkdouble pen^jtfexS^r^^cort^ctjg^d
, ^TTO^e, then, ^^r fri^nd^nd I assure' ye
XEVm thaf^^u/picy is mough to cure me.

S’^’

Y***

fVouiMove and pity doth th’ impression fill '\vvw;,4Xt*’'=’
'i Whicl^ulgar scandal stampy upon my browj^i
For/v/h^ qare I who calls mefwell^rjll.^
, SoTyoi^i^r^eep^y bad, my gooc^^ll^P'/t'
To know my'&amp;mes and praisps from you^^ngue
(None)else tojne, nor-1 to'noneialive,,
2^hm my'steel’^ sense^or):hanges righT^^onf;
! In^so profound abysm I thrtjw'aikcare
others’ voices that my adder’s^n^
To critic and to flattereY s^Sp^d are..___ _
- j^A'how with my n(\gl,ect 1 dtgdispense:
\^u are so strongly inhny purposeUjrjA
^^al(all the world besides methinks*^re dead.

112

4

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                    <text>mind. 2-4 And that ... is out and that (my eye) which directs my steps
abandons his duty, and although seeming to see is actually blind. 5 iorm
impression, image. 6 latch catch sight of (malo.ne: o: “lark"\
7 0/ his
... no part the mind does not share in its (the ey?^ fleeting visions.
8 Nor his . . . doth catch nor does the eye retain what is caught within
its view. 9 rud’st most uncouth, gentlest most noble. 10 javour appear­
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unable to receive.
z^ true faithful, mak'th mine eye t.rTrsnhs- q;
“maketh mine vntrue,”

A^d that which governs me to go ab
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iof his quick object^ath.-the mind no^pa^
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creature.
The most', sweet ifavo’
The mountaiq or th^^,
,
Tfhe crow ^r d'ot^lk shapes them to your feature^.
/^capable of more^ replete with you,
' ’A
My most true mind thus mak’th mine eye untrug^-.,^ (y

Air.
SONNET 114. z crown d with you filled with the joy of possessing you.
.f alchemy transformation (of lesser sights into your appearance, as the
alchemist transforms base metals into gold). 5 things indigest shapeless
things. 6 chettibins angelic shapes. 8 As fast . . . assemble It was be­
lieved that the eye gave forth beams; objects became visible t?hen they
were touched by these beams. zo great full, most kingly Flattery was
the vice to which kings were believed most susceptible.
zz what with
• greeing what is most agreeable to the taste of my mind. Z2 to his
. . . cup tastes from the cup as a king’s official taster was required to do.
25-7^ 'tis the . . . first begin the eye’s sin is the less in that he has given
the mind something he himself has tasted and enjoyed.
.-7 x
Av

XXt \__ /''I I nA
■"Or whether doth m/mind^ being crown'd with you,
Drink up the monar^^^a^]^ this flattery?
Or whether shall I say/mineieye^saith tru
And-that your love tajUght it~ffiis ^l^emy,
^4jSuch cherubins as y^uj&lt;sw^self resemble,
'
Creating every bad"/a perfect best
As fast as objects t^ hijJjeams assemble?
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e.tyTVvzh knmvs what with his gust is g^ing,
t^i^afat€.^th prepare the cup.*'
it be'^^on/^his the lesser sin
hat mi^^y^oves it amTHotlTfirst begin.^qi

7

v '*'* .fi

,

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                    <text>not with his brief hours and weeks,
out£X£n to the\dge of doom.

115''

SONNET 115. 5 But reckoning Time but when I consider Time, whose
million'd accidents whose passing events are numbered by the millions.
6 Creep in 'twixt interfere with. 7 Tan take the freshness of youth from.
blunt turn aside. 8 Divert strong . . . alt’ring things turn determined
minds away from their purposes and cause them to accept things as they
change. II o’er incertainty beyond the possibility of doubt. 12 Crown­
ing glorifying, doubting of the rest doubting whether the future could
ever equal the present. 13-14 Then might . . . doth grow at that time
1 could not say “Now I love you best," for that would have been to treat
as fully mature a love which, like a baby, was continually growing. &gt;

iS'i,

*1

Those lines that I before have writ do lie,
I Evek those that said 1 could not love you deara
Yet then my judgment knew no reason why
.
My most fulHlame should afterwards burn c^i^r.
But retjcoBin
ime, whose million’d accidents
^in
change decrees of kings.
TwixK vows
Tan?sacreab2auty,pl
the sharo
course
Divert strong minds To
Alas, why, fearing of Time’s tyjihnn'y,
"
Might 1 not then say “Now love you
When I was certain o’er incekainty,
f^rowQurg the4u;^nt, oupting of the 1^?
^ .Lov^is a/oabt^Then ght 1 not say sOj_^^
toAhat which stilT^th e

Zf

SONNET 116. I marriage . . . minds the perfect union of faithful minds.
The poet is presenting a definition of perfect friendship. 2 impediments
There is an echo of the marriage service in the Book of Common Prayer:
“If any of you know cause, or just impediment, why these two persons
should not be joined together in holy matrimony, ye are to declare it.”
7 alteration (a) infidelity (b) impairment of beauty by the ravages of
time. 4 bends . . . remove inclines to stop loving when the loved person
is unfaithful. 5 mark sea-mark. 7 wand’ring bark lost ship. 8 Whose
worth’s unknown whose value is so great that it cannot be calculated, his
height be taken its (the star’s) altitude be measured (as with a sextant).
9 Time’s,fool subservient to and controlled by Time.
jo Within . . .
come -eoiae within (and are thus mowed down by) the sweep of Time’s
curved scythe. ii his Time’s. 12 bears it out endures defiantly, doom
doomsday. 13-^4
l^ts . . . ever loved if what I have just said about
love is wrong and my error is demonstrated by my own case, then I have
never written anything and no man’s love has ever been real love.

mit imoedimeutsZ Love is not love
ion finds
remover to remove.
fiQd mark
7'0,’no! it is an e
ks on t
ests and is i^verVhaken;
Itar to'j^very) wand’ring bark,
nop^, although his height be
\ ^^ose 1 /ort
_____________________
\ Love’s nc t Time's fool,^ough rosy lips and cheeks
if^n his bending sickle's compass come.

(LI'--

hr c

116

A’

117

10

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                <text>Margaret Demorest Sonnet Annotations: Sonnets 115 and 116</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 115&lt;/strong&gt;&lt;br /&gt;Perhaps flame here to grow (into 154)--this recollection of former love–a prelude to greater tests to come (orchestral quality–[illegible] this is the middle of the [illegible])&lt;br /&gt;Blount (Chirst) put down rising in Connaught (1599)&lt;br /&gt;James crowned?&lt;br /&gt;G[illegible] Blunt is a favorite I believe&lt;br /&gt;Is this the “marriage”? with Eng&lt;br /&gt;Vows and alter–D took vows for church in 1615&lt;br /&gt;Lines 1-2: Donne poem&lt;br /&gt;Line 3: Phoenix echo&lt;br /&gt;Line 7&lt;br /&gt;Blunt: Blunt took over Irish command&lt;br /&gt;Line 14: again, Donnelike&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 116&lt;/strong&gt;&lt;br /&gt;1616 Last year of life of Anne D.&lt;br /&gt;1566–Birth James&lt;br /&gt;1616–Death of Mel. S.&lt;br /&gt;Loyalty to Eliz. not many&lt;br /&gt;From here to 126 is political unit&lt;br /&gt;Tie to 124–Love’s rise above immediate&lt;br /&gt;Line 1: theme of sonnets&lt;br /&gt;Line 11&lt;br /&gt;Love alters not: Ever motto [Semper Eadem, meaning “always the same,” was the motto of Anne Boleyn, primarily known because it was also used by her daughter Elizabeth. It was at some point adopted by Leicester as well.]&lt;br /&gt;Line 12&lt;br /&gt;Bears: Bear in Armada but also Leicester symbol&lt;/span&gt;</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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