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A i t V - tS
1^1

77

'Q-i

SONNET 63. I Against in anticipation of the t
2 injurious
'f. A destructive, insulting and unjust, crush’d and o’erworn crumpled and
•*’ worn out (like old clothes).
} travell’d journeyed laboriously (q:
'■ ‘ “trauaild”). “Travel" and “travail” were used interchangeably in Shake­
V5 speare's day. age’s steepy night the precipitous plunge of old age into the
darkness of death.
ro confounding destroying, knife the proverbial
“
scythe of Father Time. 12 though . . . life although he take the life of
my friend.
’
’ ' ' -”
' '
4
ioreyer.

SON^JET 64. 2 fell cruel, fierce.
5 cost expence (here specifically of
buildings and monuments). 3 sometime formerly, rased razed. 4 brass
eternal everlasting or impregnable brass, slave . . . rage controlled and
subjugated by the fury of death. 6 Advantage inroads. 8 Increasing
. . . with store The abundance (store) of the land grows less as the water
eats it away and the abundance of the sea is thus increased. At the same
time the abundance of the land is increased and that of the sea decreased
as the sea deposits sand upon the shore. 9 state possessions
/o state
worldly grandeur, confounded to decay wasted
y to a condition of
decay. 13 which i.e. the thought. 14 to hav
b ■

)A‘

2,3

jLpAgainst my love shall be,„as-L4to ni
With Time’s injurious hancj^ntsli
When hours have^-dfaLin’'dhis IjIo^ and fill’d hi^row
i''' K
|With^ne^nd wrinl^s; wh^ his; outhful mor^
.-5
t^thftraveh&lt;4 on to age’s(^epj_^h^
^^nd all those^auties y^bereoF^pw^’s Hng\**3f c&gt;
fjj'
vanishiiig, ol^anish/)dB
•V I i^^ling a.sN^'j theyusg^r^
'I’i' /}
'
such a time do rm^y^oj
.
in st confounding^Sgej^rpel knife.--^
'yhe shall never cut^om^mernoTi^
sweet love’s beauty, thojjgfN;py lover’s 1
'is beauty shall in these jblat^^Tncs fee s^e
id they shallflivej and lm in them still
I c(,

'

When I havefsei

^.sometime lofty tower^fceei
irass)eterjial;slave^d(pio.^^;.
1 I hav^seei? the himgry ocean gain Sees-f'
itage on the kingdom of the .dior-e,^
he firm soil win of theV^at’ry main}«
/Idpreasing^t^^with loss, and loss withfsl^
fn I have;seen such interchange of@tte,
O^^^te itself confounded to^ecay;
ath taught me thus to rulninate&gt;
nne^ill)come and take; my loye^
*r»**'^ Thirfhought is as^ deatl^ which-Caiji
,
&lt; But weep to have that which&lt;n fears to lol

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                    <text>5.

J'r

J

neither. 2 sad mortality calamKOUs*^^
destruction, o’ersways their power surpasses them in power. 4 action
vigour. 6 wrackful destructive, batt’ring days The battering ram was a
• principal weapon used against cities under siege. 7 stout sturdy. S dejiLcays causes them to decay. ^10 Where, alack . . . lie hid where shall
V* that jewel which Time most desires he hidden so that it can escape im-

But sa&lt;

e

&gt;

+ i-a:. I G (a

t&lt;XX^

s'o^rT 66. / these the follow
esert the deserving man. ,
. 1
J needy nothing those in need of nothing, trimm’d in jollity dressed in
festive clothing.
4 unhappily forsworn miserably denounced on oath. 5.*^
y gilded honour specious rank and position. 7 right true, genuine.
t,
disgrac’d disparaged, denied proper reputation. 8 limping sway feeble
and ineffective government, disabled prevented from showing its ability,
art all learning as well as the arts, made . . . authority rendered in''
capable of expression by censorship. 10 doctor-like like a pedant.
simplicity stupidity, /a captain (lominant, controlling.

i^pneyifbr earth, nor boundl
lity o’ersways their power,t "X

'Whosej^ctior( is no(^onger than a Sower?
.Q/how shall ‘■lUMier’s honey breath hold
Agaihstythe wr^Hul siege of batt’ring days.
en rocks in^regn)tble are not sc(s^ut,
so(suhng, but Time decays?
earful meditadoxd Where, a]^c^
/
'^;S all Time’s b^j^e^l from Time’s fi'i^ 1
what^strbngjh^d jan hold his swift foot
r who his'spbiY^ beaiity
forbid?
Anbne! uri^^this mirXle have might,
That in blackKnk my love^iiiay(^ll shine bright?^'""
h-A &lt; \ » rs K- ■

St

■‘ii Tljlt

death I exyr
SAfe tlr&gt; hebnldTdesert a beffffan born?

!l‘

^^^TSjidpu(^paith unhappily forsworn,
S-e—
■
jAnd gilded honour slunniefully misplaic’dj
Andfmaiden[virtu/rCT^y(^unipetgd; ' v
And right perfection wr^gfully di^ra!?^
' Andll^ngth by limping sway disabled, S;
, And ^made^ngue(ned by atn^ky,
,,
i
(doctor-7ike)^in^ffi^^Kill, fZ?&gt;4;'ix
*1 And simple truth miscan’d simplicity, "StJAn^ caprive good attending captain ill.&gt;r«m
^^r^d with all these, from these would I be^ojid),^.^^,.^
Save that,- to die, I leave my love(a»ne\^%X^;:2Zr

3

s-y. /
66
■ CLr&lt;L^/

, CCI c

II

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•V*

.V

5

ONNET 67. / with infection in an age of corruption^full of the evils
listed in the previous sonnet). 2 grace adorn, make beautiful. 4 lace
embellish. y false painting the use of cosmetics (common among Eliza­
bethan gallants).
6 dead seeing lifeless appearance. Some editors read
y‘seeming,” a plausible emendation, of from. 7 poor inferior, indirectly
rtificially, by imitation.
S Roses of shadow mere pictures of roses.
IO Why should . . , lively veins why should he continue to live since
1 bankrupt Nature is now so poorly supplied with blood That she cannot
produce blushes by means of living veins (but must resoit to cosmetics)?
-J' 11-12 For she . . . his gains ior Nature has no supply of beauty other than
although she boasts of many beautiful persons, she subsists only
\ /^pon his beauty. The implication of this obscure metaphor is that Nature
y uses his friend’s beauty to adorn tEF otK’e'f~Freatures'T)f whom she is
pt^^^roud; what beauty they have is merely a copy of his. 75 stores pre­
serves. 14 these last so bad these present evil days, j

-Ah,
_
fAnd witH~his p/^nce grace impiety
Thalfsr^by him advantage shoul
Apd^S'ceJitsjlf with Ms societ
^^y should falsQT^intin
ivin
irectlv.

duld he/1iv«
y

ture bSnkr

jr she hath
And, proud ofmanyjli

ut his,
he had fjKv-j’

O, him shef^jbres/to -hhow'wha
In &lt;Ja^,lon ifi€e, before these J

'■ e
SONNET 68.
now i.e. in their natural colours (unaided by cosmetics).
iair illegitimate appearances of beauty, born Q: “borne,” which is mean­
ingful in the sense of “worn.” The modern differentiation in the spelling
of the two words was unknown in Shakespeare’s day. 6 The right of.
sepulchres which should rightfully belong in the grave. Wigs were made r
from hair taken from dead bodies, 9 holy antique hours blessed former
les. II green foliage. 15 store pteseiy/e. 14 Art 'ITiy antithesh
.Art andjNy^e was consientional in Renaissance poetry.

'
’

^•3

I- 68

icheekihe
w’d and’died as flowers
i
Ci
fEr werefborffl
J" " vX
fore these
duii^nhalirt
a^Lwqng brow; y
1 4 .'
\
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The right of si
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o live atsec
eauty sjdea
ue hoars ars seen
.. ornamen Itself a
su
er of nother
inffho old to
IS beau^
/^d him as for dva~[:^dg^O&lt;atun
beauty
69

7

- A

■
\vj- '

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(1
'•/

4

V

1

-^U&lt; -.^ s.---) -I*

y

Off '.

MjdThos
thoue pa'rts
present
a'pure
un^air^d
' view
of’st
thee
that the
world’sprme.
eye doth
*'
Q^u hast pass’d byZhela^^u^ol ^oungbays,
Want nothing that the thought of. liearts'can mend. 9 ,
f
gither
affiail’d,/or
.vjckQ
beinggiye
charg
All not
upnguesVthe
voice
of ^souls)
theed;that due,
Yet Utt
this’rin^'barqirinh,
thypra|s^annoTBe
so as^eycomme
thy praise
even so
nd. ' *'
0.4-6 v'
To tie up Avy\ CTermore
enlarg
’
d.
a. s i’
5 J-nneK
s with outward praise isi crow
IfBu
some(ms|y^^frdngties
ill m^skthat
’'^tSiot~thy
show,
give thee
so 'tl
1
3
^Uen
thou
albne
kingdmn^
of
hearts
shouldst
owe,
In otherfaccqnts ^b this praise confound
't'
' '/'itthan the eye hath shown.
_,By seeing fartlier
.i^^hey look imo the beauty of thy paii^. ( ^‘.4
'
that in guess they measure by thy deeds;
10
Ap- I
Then, churls, their thoughts (Although their eyes were
,
kir^~'
'
J—
-^^To thy fait/floWer add th^rankksmell of weeds;
why thy odour n&gt;atcheth not thy show,
Y .
The 'soil is this — th^t thou dost common grow.

SONNET 69. 1-2 Those parts .'. . can mend your outward features as
they are seen by the world are so perfect that the deepest thoughts of men
.
cannot improve upon them. 5 due capell; q: end.
4 Utt ring . .
^commend expressing no more than the bare truth (in the way that enemies
^5* would praise, giving no more than the absolute due). 5 Thy outwar
your merely external (capell; q: “Their outward"), outward praise
superficial praise by mere outsiders.
6"7hini 6wn what is due you.
7 accents words, expressions, con/ound destroy, contradict.
8 shown
seen. 10 in guess as they interpret (thy deeds).
ii churls misers (in
their praise).
/./ soil (a.} ground from which this springs (b) sully,
blemish, dost common grow i.e. associate with base companions.

/b 7/
/ art benson; q: “are.” defect fault. 2 marft target, was
ever yet has always been. 5 So thou be provided that you are. approve
prove. _^6 Thy Mea.e:. Q: “Their.” being woo'd of time since it (Ay
worth) is tempted by the evil persons of our age. y canker vice vice which
preys on beauty like a canker, a worm which feeds on rosebuds. 8 prime
youth. 9-/0 Thou hast . . . being charg’d That this is inconsistent with
the sonnets which have gone before has bothered critics, but we cannot be
Jsure of the order in which the poems were written, charg’d attacked.
11-12 Yet this . . . enlarg’d yet the reputation you have earned cannot be
so effective as to silence malice (envy) which is always rampant (enlargd).
75 suspect suspicion, mask'd not thy show did not obscure your beautiful
appearance. 14 Then thou . . . shouldst owe then you would be unique,
as a king who has the .lQ)(alty of every one of his subjects, owe own.
possess.
s6nnet 70.

blam’d shall not be thy de
' For^an^j^Tnark^^s ever^et_ym fair;
om^e^ofbeauty i/yus^^
pr { A^ovlthat flies'inhgaygn’iSSwe^^ air.
■So^iou be goodc^^ndCT^otEJuLapprove
Ahe great
ing^gxyl^f time;
^1 )
ir canker vice the'sweet/si buds doth love,

’

de^-:

. ,
X-

ft

X

/ U^thV
, ne-

7Q

&gt;70 'Ci
J

i

.

V.T

5

1 '

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                    <text>At **41 c *. I c

the Ori^t when the gracious light
Cm'c S
' Eitts up his burning head, each underfey^*^
Doth homage to his new-appearing sight,
Serving”with looks his sacred majesty;
And having climb’d the steep-np heavenly hill.
Resembling strong youth in his middle age,
Yet mortal looks adore his beauty still,
*■tending on his goldfen pilgrimage; •
It when from highmost pitch, with weary car,
se speechless song, being many, seeming one
ike feeb
le age
he reeleth
from the day,
gs this to thee:
“Thou
single
wilt^irove'^none
0. “1Tk
n4 eyes yfore duteous) now converted are
[Frlrnnis low tract and look another way^
Fsk thou, thyself outgoing in thv\noorfn
"IU^oo^^’tlond^st uiflesspiouget a s

to the “eye” of heaven, as the sun was conventionally called). 5 steep-up
high and precipitous.
9 highmost pitch greatest height, i.e. noon.
“Pitch” is a term from falconry indicating the greatest height to which
a falcon may soar, car the chariot of the sun god. // fore before (an old

'

'0

! VI

' *- —

SONNET 8. The basic metaphor of the sonnet is drawn from lute play- ,
ing and rests on the fact that the strings of the lute were tuned in pairs,.
except for the highest string, which was single.
1 Music to hear you,
whose voice is music for me to hear, sadly soberly, without joy,
Why
Im/st
, thine annoy why do you either love that (music) to which you
listen without joy, or tolerate at all that (music) which annoys you? If
you listen to music “sadly” one of these possibilities must be true. 6 By
unions married united to one another in polyphonic combinations. 7-S
who confounds . . . shouldst bear who destroy by singing alone the
harmony of the concert (marriage) in which you should be singing only
parts. The musical “parts” are the roles in the family, or “concert” of
„
'husband and father.
10 Strikes . . . ordering To pluck one of the
f ' iX ^'double strings of the lute causes the other string to vibrate as well. This
called “sympathetic vibration.” 14 prove none be rio person.
I

%

*4

^MdsicTo hearuidiy hear’st tlmu music sadly?_^
s^eetsAvitlfsweetj war not,jo_J delights
{^^3ov’st thou that which thou receiv’st not gladly.
Or else receiv’st with pleasure thine annoy? Tk* 7—^
If the true concord of well-tuned sounds,
"Sy untoiRiharxi^^^o offend thine ear,
t
They do bOT^^eetl^iide thee, who confounds
In singleness the parts t
ou shouldst bear.
Marjk^ow one strin sweet hhsband to another,
' Strikes each in each by mutual ordering;
R^embling sire and child and happy mother,
''■JVh^, all in one, one pleasing note do sing;

i e &gt;’ t e
*"

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                    <text>- -I ¥

C^t
'

k (Micl-Xif I //. t k'

make you woe cause sorrow for you.
compounded blended, combined. rr rehearse repeat. zj the wise world

whe
■ T'Jcdpngf^ mourn fo
^ffl^d^hall heat
Give w'^iing to thg*^woidd th^I jm fl^d
Frogt this vile wor with Bii^t,.. orrni'Ro dwell.
Na^if^you?rea^ IS
is line
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SO

^eik^oui^ make you woe,
upon this &lt;vjfef5e^
When( I, perhaps, c pounded am
or
e
Do not so much as
if
Bu
y'pur love eveji
ise world s OU look rfi\o\our
m gG^pe.
&gt;And mocvyou with elake

n
ON NET 72.
task ^ou to recite impose upon you the task of relating.
i ^--&gt;..^^^&lt;&gt;-4 prove demonstrate.
6 mine own desert what I deserve. 8 niggard
' stingy. iz My name be let my name be. 15 that . . . forth my poetry..
Perhaps Shakespeare is discrediting his work for the public theatre, buty
has been ample speculation.

14 shou

' 1.1 ”

-

'Jl.

.world shoula ta^^you to recite
i^lfeerinliv’d ii(jne^hat you should love
AftehmJweatK? de
^Auite.
othing,jw^rth:S^ proveme ta
solhe vir
•XJnless .you ^yypuyt^
mine owi^\leseryon ded^ased:
&gt;ai
n'trueA'^^^t
J^r-X^totyou
'
jVlyYtame befeuri^d ^here Cli ^^y
_ is.
’ ame'no^rl’^^fiyou^
that which.
Fob J_^m yiEm'
d ^o shopld you, to love jhin^imihi

73

'

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                    <text>4 3 &gt;3 y

It. MA

SONNET
^Id in Anticipation of the threatening cold, jjfl
4 Bare ruin’d choirs The limbs of the trees, barren of their leaves, are
compared to the ruined abbeys with which the English countryside was
dotted in Shakespeare’s day (following their dissolution in 1535). and the
birds of summer are compared to the choirboys who have departed. The /.j
choir ’ was the part of the church in which services were sung, ruin'd
BENSON; q: “rn’wd.” late recently.
by-and-by presently. 8 Death’s u'
recond self sleep (conventionally conceived of in Renaissance poetry as a
model or small imitation of death), seals closes. There may be a
reference to the “seeling” or sewing up of the eyes of hawks. The words
were indistinguishable in Shakespeare’s day. ‘72 Consum’d ... by
dying fire, if not raked up. is smothered by the ashes of the very logr
which had fed it when it was new. 14 leave give up (not “depart from”)

hat time of yeir thou mayst in me behold
/hen yellow leaves, or none, or few, do hang
Upon those boughs which^shake_against the cold,^^"“

./iBare ruin’d choirs where late the sweet birds sang,
In me thou see’st the twilight of such day s
T^Afr-after sunset fadeth in the W^t,
wjiich^-and-by bl^kjaight doth takeaway,
{D^th’s second self, that seals up all in (?e^t.
In me thou see’st the glowing of such fire
That on thefadi^of his youth doth lie,
As the deathbed whereon it must^e^ire,
Consum’d with that'^ich it was nourish’d by?^

g..

—
&lt;
10

------- --’st, which makes thy love more

6

ich thou must leave ere long.

SONNET 74. I fell arrest fata
death. ’2 all any. bail
possibility of remission. 5 My life . . . interest some part of my life is
included in this line of verse. 4 still forever, stay remain. 5 reviewest
rereadest.
6 consecrate consecrated.
7 The earth . . . due Cf. ccCLESiASTES, XII,J: “Then shall the dust return to the earth as it was; and
the spirit shall return unto God who gave it.” p dregs poor remainder,
most worthless part.
77 a wretch’s knife the knife with which the
Destiny, Atropos, cuts the thread of life. This is but one possible explana­
tion. Others have seen the “knife” as the scythe wielded by Time. An
allusion to the death of Christopher Marlowe, stabbed in a tavern in 1593,
has sometimes been seen in the line. 72 of thee by thee. 13-14 The
worth . . . thee remains the valuable part of the body is in the spirit
which it contains, and that spirit is in my poetry, and that poetry remains
with you. '
• ’■
■ ■
' -

nted. Whgn that fell ai
irry me awa

My life hatE
A,'' '5‘' Which for m&lt; (horiglQull With thee ffiaif stay,
► When thou (vievle^ this, thou dost review
The very pan w; )£coiyecrate to thee.
The earth cark ..^vewut
IV
earth, which is his due;
My spirit is thipe, th^b|tter part of me.
So then thou n^tiEht lost the dr^gs of life.
The prey ofj^rmj&gt; my body fb^ng dead
The fo^ard(mn^uest of a wretch’s knife,
Tot^aSpf-thee-tCLbjfcgemenibwed,
P-

' ' 'c.
!&gt;Aua

And thit is this, and this with thee remains.

C75

1

c.

c?

I

I
, i,;

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                    <text>SONNET 731. 2 sweet-season’d (al) coming in the sweet season of April (b)
imbued with sweetness. 5 peace of you peace I experience when I am
with you. hold endure. 5 enjoyer possessor. 6 Doubting fearing that.
8 better’d made happier.
j/-r2 Possessing . . . be took possessing no
delight but what is had from you, pursuing no delight but what must be
taken from you.
zj pine starve, surfeit overeat,
luttoning
either overeating, or all away or having nothing to e
S-7t -

!&gt;
Tf

'C^icti^..

S6,are you to my tliougiits as food to life.
Or a$fswe^season’d_sliowers are to tfie'ground;^
And fbr theJpeat^f you^J'hold sueh,^trife-^
As ’tw^ a miser and his wealth is founcH
No
roud as an enjoyer, and anon
.innage will steal hiYc^easureT^
oubt
Now ^ountiji^ besjl to bejyithjyou alo
iat-(Ke world m^y see my pieasjwrej
full with feasting on your sight,
i clean starved for a look; j
prsuing no delight
/
d or must from you be tool^

■ff

Thus do I piiie and surfeij,day by day,
Or gluttoning onfall, oifalbaway.
,

f

fi

-,1
VVh=3 €v»£^
SONNET 76. / pride ornamentation, elaboration. Shakespeare may be /
referring to the rhetoric of the metaphysical poets. 2 varialion -variety,
quick lively, change shifting conceits.
5 with the time following the
current fashion, glance turn, q compounds compound words, neologisms.
5 still all one always in the same manner.
6 keep . . . weed keep on Jit
writing in my well-known poetic style — in the same old dress (weed). 7
tell capell; q: “fel.” 8 where from whom. /o argument subject matter.
ri-ra So all .. . already spent thus the best of which I am capable is the^ 3/ . y
fresh rearrangement of old words, using again the terms I have
used before.
still forever., is told has been told.

is

so barre
v^ation^“'drquic
e, do I not g
nd
wdound

ord dot

their birt

strdnge?'
I

Q®^y^namej SY-'!I~ 3
roceed?
re t

noi
OU

e

V-^-

For a
So IS

and c^ld, f
y

-Lils
y I Ci

S'

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                    <text>f

77
‘T^

V'
f/
;■)

SONNET 77. The sonnet wa^written to_________
accompan________________
y the gift of a note^
I glass mirror, wear are worn f
book, a mirror “and a pocket suiidial.
awav (Q: "werW
sundT^IT j vacant leaves blank pages, thy h;&gt;smU4.
mind’s imprint i.e. the thoughts you will write down.
this learning^ C.
. taste may you come to experience this knowledge (that the mirror
and the sundial tell you). 6 mouthed gaping, ready to devour, give thee
memory remind you.
shady stealth slowly moving shadow. 9 Looft
what whatever (a common Elizabethan idiom). zo waste empty. bZanfts
(pages (THEOBALD; Q: “blacks”). zo-za thou shall . . . thy mind you will
Tee those children of your brain taken care of and protected, so that when
YOU reread them later they will convey new meaning, like children who
have grown up. z^ offices duties (of committing your thoughts to the
pages and later rereadin|

will show the^ how thy beauties wear
yThy dial-howTby precious minutes waste,&gt;2L *
kThe vacant leaves^hy mind’s imprint will bearj
And ofVhJs bo^this learning mayst thou taste.
^»"r’’"*~^^j;y^ The"|wrinhlesl which thy glass will truly show,
(mohtTied|''grave^will give thee memory.z)
Thou by^thy^iafs sl^Jy ^eaftK~nra)^ khow^
0
Time’s thievish progress to eternity.
Look what thy memory cannot comaj
Commit_yj_tiies^6yas^blanksT^h3 thou
Thos^children^urs’d^eliyer’d from thy brain,
1
- "T ake a new acquaintance of thy mind.,, / .
Tiese/^ffic^^o oft as thou wilt look,_
all j^oMthee and much enric:

(liv

' tSii.

-

. T-

.fViL-V

1 vv^C

Ss--5t
78. 2 /ofr"assistonce (^i) favourable inspiration (b) benevolent
t7S 'M'-y'patronage. Either or both meanings may have been intended. 5
■ ^belonging to outsiders, got my use followed my practice (of writing poems
.Qui
a under thee (a) in your service (b) enjoying your patronage.
cri 'oyr
,gi.^g disseminate, publish. ; on high aloud. y the learned s wing
would suggest that the “rival poet” was a learned pian. The metais from falconry. Broken feathers were replaced by a kind of grafting
X
or “imping.” 8 grace excellence, beauty. There may be a pun on_2grace" ,
„
in the sense of a university degree, indicating that the “riyal ^t” was
■' '
man. 10 Infiuence inspiration. The word is an astrolSgical
Z,
' z^V^^ind^catirig specifically the power exerted by a star.
la And arts
nrnr^H he and learnimr bv vour beauty and excclV:iv;e is embellished.

•1&lt;i'
Ki'

fi ‘

Ml

‘7^-. IV^' _&lt;i^

r

And found such,f^ assistance in myv^^gpe
’lisp P» hath got
/And under thee their poesy disperse.^^J^iine
that taught the dumb on higlPt^sing
'Xnd heavy, ignorance aloft to fly,added^E he' Jearned’szWing
efmaje^yr)^
be post prpu
se influence is thitie, ahd borh_
t^blit. mend.
others’ works thou
races race
t thoufarl all
f^rid do^t a
rng-p^ryd^gi

V?s
5 AI

»

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■BONNET 79. / I alone only I (and no other poet or poets). 2 had . .
grace (a) received all of your favour (b) was full of your refined beauty.
J gracious numbers pleasing verses, are decay’d have fallen from favour.
4 give another place yield my place to another poet. 5 thy lovely argument the theme of your loveliness. 6 travail labour. 7 what of thee
whatever qualities of yours, thy poet (a) any poet who writes of you
(b) the “rival poet" in particular. Either meaning is possible, invent com­
pose.
u afford offer. 14 owes thee The poem is
owed by the poet to his patron.

onA did talhu njthy aid
&gt;'1^
______ ad.’all |hy"gentfg
' l’
t nowfmy^graeitrUsminibers are (Je^ay’^
d my^j^ip^^usFdblfrgive anotjmr pla«.

Vpt what of thee thy fiet doth^^v
;hee of, and pays it thee again,

1 thy behavioup Beauty doth he give, (
d found it in thvicheek.\He can afTori^$Qraise to thee'but what in thee dothjive,
hen thank him not for\hat which he doth

"3-7
am discouraged. 2 a better spirit a. more gifted poet.
J spends all his might employs all his powers. 4 speaking when I try to
speak. 6 humble humblest. as as well as. 7 saucy impudent, daring.
8 wilfully recklessly.
9 shallowest most insignificant.
10 soundless
deepest, unfathomed.
ii wrack’d shipwrecked. 12 of tall building of
large and stout construction (a nautical term), goodly pride
14 my decay the cause of my destruction.

ereof spends^lTTgis
ngue-tiecQ speaking of _
:JU
But since yo fwor^^ wide as the ocean is.
The humble as the proudest sail doth, bear,
*
y(^uc^^rk) inferior fartohis,
f! x
On ybuf
adjnain^othiwiltully appear.
. Your sl^l^wfest help will hold me up afloal
Whils/h^u
our soundless tjfeep cfbth
rack
I am a worthless bo^t, ■
luilding and of goodly pride. '■
if he thrive, and I be^ca^ awa

in the prm

„ .
'*

r,s,
kiit:

' ^76:

fA.-

p]

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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 79&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;’79-Death of Gresham (rob-pay-lend-stole-afford-owes-pay)&lt;br /&gt;’79-Seminary “of Martyrs” opened in Rome (Cath.)&lt;br /&gt;’79-Alencon comes for 1st visit—“The Frog”&lt;br /&gt;Gaping Gulf 1579&lt;br /&gt;Maybe there are friends of Sh. in the Tower&lt;br /&gt;Line 9&lt;br /&gt;He stole that word: other poets invent good qualities + thereby steal from her&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 80&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;’80-- Sidney writes Arcadia&lt;br /&gt;’80—Campion tortured, exec. – Burghley takes chg. of propaganda&lt;br /&gt;Main = code that was involved in Raleigh’s trial&lt;br /&gt;Sh’s father summoned to London court&lt;br /&gt;’80 Raleigh in Ireland; partakes in massacre&lt;br /&gt;Line 14&lt;br /&gt;My love was my decay: Telling truth (from love) may ruin S.&lt;/span&gt;</text>
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