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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

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/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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                <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 105&lt;/strong&gt;&lt;br /&gt;E. assumed pose of “earthly idol” near end of her reign&lt;br /&gt;About 1603 Bacon writes Valerius Terminus in which he makes first mention of the 4 classes of idols afterwards descr. in Novium Organdum ’20&lt;br /&gt;Could this be against Essex retort to K[illegible] to rep. of quartering during night of [illegible]?&lt;br /&gt;1604–authorized King James Version Bible&lt;br /&gt;Chains last used against Wyat again strung to resist invasion of Armada–London&lt;br /&gt;Line 1: Interesting bc cf. this with Jonson’s tribute to him [Shakespeare] after his death&lt;br /&gt;Line 14: Trinity[;] maybe: Eng Scotl Irel&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 106&lt;/strong&gt;&lt;br /&gt;Constance–1st child of Donne (1603?)&lt;br /&gt;’06 Bacon marries Alice Birnham&lt;br /&gt;05–what is Bacon–Veralum?&lt;br /&gt;Just before Armada: Merlin? (old marble at Glastonbury)--words warn of destr. when Pendragon’s seed (like Pegronientarus[?] word[?] but earlier)&lt;br /&gt;Time not king now + has “wasted” her&lt;br /&gt;(Strong evidence that two are the same)&lt;br /&gt;Fair + dark becomes “dark, cruel, + unfaithful” in 2nd unit&lt;br /&gt;Line 3:&lt;br /&gt;Making beautiful old rhyme: Bible&lt;br /&gt;Line 7:&lt;br /&gt;Express’d: Essex[;] Young Essex marries Frances Howard&lt;br /&gt;Line 8&lt;br /&gt;You master now: Master of England&lt;br /&gt;Line 10&lt;br /&gt;Prefiguring: mortal&lt;br /&gt;Line 11:&lt;br /&gt;Divining: Bible&lt;br /&gt;Line 14&lt;br /&gt;Eyes: Leicester (in command of kingdom’s defenses at time of Armanda)&lt;/span&gt;</text>
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                    <text>0

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'
• To leave fofliothing^II/hy(sum)ofgo^;
Fopnbthing,xh^s wide universe I
theu.hnyw^^^ thou art my^U^

’4s true^I have gone here and there
And^^^ myself a fno^-eyjto the yiew,
Gor’p mine own thoughts, ^3*7chea
"^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>f JI

-(,0

-t ft -7!

7!5J ■ dir'tJ',

bt•J

U
SONNET 11. 1-2 As fast . .’. thou departesP asfast
you decline (in
old age) .so fast shall you grow, in the form of your child, toward the
^eak (of youthful beauty) from which you are declining. 5 which . . .
« bestow’st which while you are young you put out to gain interest.
f convertest turn away. y Herein by this course of action, 7 the times
the succeeding generations of men.
9 store breeding, replenishment.
TO barrenly without children.
ii Look whom whomever (a common
( , Elizabethan idiom).
Z2 bounteous gift (a) generous gift (b) gift of
bounty, of ability to procreate, in bounty by being prolific.
ij seal
engraved stamp used to make impressions in wax.
iq copy original,
archetype, from which copies are made (as in “printer’s copy”).

7

^7) £

SONNET 12. I count the clock count the hours as they are struck by the
clock, tells (a) reveals (b) counts. 2 brave magnificent, radiant. 5 past
prime faded.
sable black, all malone; q: “or.”
6 erst formerly.
7 summer’s green i.e. the grain, which is conceived of as bom on the
harvest carts in bound-up sheaves like dead men being; carried to their
graves. 8 bristly beard This may suggest barley, p question make con­
sider, speculate about. 10 the wastes of time those things which time
destroys.
ii themselves forsake cease to be what they formerly were,
deteriorate with time. 12 others other “sweets and beauties.” ij Time’s
scythe The conventional symbol of Time w'ith his scythe supports and
echoes the reaping image of lines 7-8. iq breed children, brave defy.

from that which thou depart^
;sh blood whichyyoun^y thou
Thou mayst call thine when thou ^rom outh convertest. ILX
Herein lives wisdom, beauty, and increase;
Without this,^lly, age, and cold decay.,.
&gt;
all were minded so, the times shoult^ease,
direest^ore year would make the world
' YT .Pt those whom Nature hath not made foiystore^
arsh, featureless, and rude^barrenlv^p££|^S^^
00k whom she best endow’d she gave jthe thoreyj Ch
2 Win3rbp«ofSbus gift thoujjKjiildst in bounty ch^iSlsy^
&gt; ■ She dary^thee for bergetil Jand meant thereby.
”
Thou shmHdst|pi^t
let that^^ di^

hen lllo(c6unjtKe clgck that, tells th^im^
’ And see the byave i^tiy^sunk in hid^ou^ighl/
l •
When 1 behold the violet past prime
And sabl&amp; curls all .silver’d o’er with white, " ' ’
'^*^5
When lofty trees I see barren of leaves,
73 f 5f 5,
,
did canoT^ the hero.—.o p,
TTgii-ded iin in sheaves'T~iir»«i)d?^~^*’**^
-

''4;

hen of thy beauty do , estion
__make
That tljQli among the^asterofftiS^must go,
Since pwee^ and beautiesT
&lt;—And pie ^fast as they see
. ,
And notfiing^ainst; ’Time^s scythe can make(^feiy;
‘ Q Save breed, io brave him whenj^t^kes thee hence.
13

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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
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z^ true faithful, mak'th mine eye t.rTrsnhs- q;
“maketh mine vntrue,”

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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.
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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,
'
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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>"y-

i-■5)

_

{Aonnet 117. z-2 that I .. . deserts repay that I have neglecfed to&gt;do all

Accuse me thus: that I have scantedf all
Whereiri 1 should your gre^de^ep^^^Tepay;
..‘■'..s’- Forgot upon/you^dearest love to 11,
T.Whereto allfend^ do tie me da y Aaiy,
• srxK jY^^That I havejrequ
_
w/th unknown .min^f'''**’^ 5
( An^given to tijne-ygur ow
aupchas’d/right;
That I have jioistetf saT^c(^all Jhe^wj
' Whfrh^oujdjxai^ort me ft^thest from your
y.^ogj^tfoth my.wilWiness and errors down,
*"■ .^a Win^s_t prooF.surmse accumulate;
‘ . Bring m^^i^hin the^l€^of your frown,
,Buj^^/,^g at me in your wakened hate;
{^c^my appead^ays I did strive tq^provc'
fon bdhe ^^^stancy\and virtue of(you^ove.

The things which your great merits required of me.
j upon . . . to
call to invoke your most precious love (as in religious worship). '
bonds
(al) obligations (b) ties of friendship.
6 given . . . right wasted my
time which rightfully I should have devoted to you, since you have paid
for it dearly with your friendship. 7-S That I . . . your sight 1 have
given way to every passing distraction which was likely to remove me from
your sight. 9 Book record. 10 on just . . . accumulate pile suspicions
on top of what you can prove as.certain,
level aim. 25 my appeal
my
in my defence. 14 virtue strength.

-

Bo clsif ,&lt;

HA

. V. * A /
a

SONNET 118. z Like as just as. 2 With ea^r . . . urge we stimulate
our appetites with sharp sauces. 5 As just as. prevent forestall, unseen
whose symptoms may not yet be seen. 4 We sicken . . . purge we make
ourselves sick when we take laxatives so as to prevent sickness. Some critics
have been offended by the medical imagery. 6 To bitter . . . feeding
i.e. associated with inferior persons. 7 sick of welfare being overfed with
happiness. 7-5 found a kind . . . true needing found it appropriate to
become sick before it was really necessary. 9 policy trickery, cunning
strategy, anticipate provide against.
10 faults assured actual illnesses.
Z2 rank of too full of (a medical term). 14 so in that manner.

,
118

Like as, to make our appetites rnore^en,
With eager compounds we our^l^e urge;
'•
'As, to prevent our maladies unseen,
[We sicken to shun si^koLgss when we purge:
Even so, being full of your ne’er-cloying sweetness^
To bitter sauces did I frame my feeding;
And7sick of welfare, found a kind of meetness
To be dTseas'd ere that there was true needing.
tus poli^in love, t’.anticipate
e Tils that were na{, grew to faults assured,
d brought to medmine a healthful stated)
lid/rank^of goodness, would by ill be cured
But thence I learn, and find the lesson true.
Drugs poison frjm that so fell sick of you.
119

„

—
5

16 ’

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                    <text>SONNET 119. J Siren tears tears of a temptress. The reference may be
to the “dark lady” or to various women with whom the poet has associated.
2 limbecks alembics, stills. 5 Applying i.e. as medicine is applied. 4
Still losing ... to win always losing what I expected to gain.
6 so
blessed never ever so blessed. y-S How have . . . madding fever how my
eyes have started out of their sockets in the delirium of my maddening
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'improved after they have been brought into contact with evil.
/y to
my content to my true friend, my source of contentment.
14 spent
wasted.
14/5

t

)

0

potions&gt; have-^yrunk
/Pitill^ frons limae^^^oul
i
feats tdhopes and hopes to f/ar_s,
'
til losing when I saw myself to win! /
at wretched errors hath my hear/ committed
Ml
ilst it hath thought itself sopless^r
w havejnine eyes(out of theiF sg^&amp;es
li^ the distraction of this madding feyprf
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, d ruin’d love, when it is
rows fairer than at first/r
So I return rebuk’d to p
hav^ spent.
/ And gain by ills (fhricelni

5

&lt;Zy&gt; /VS

. g le
SONNET 120. 2-5 for that . . . transgression bow because of the sorrow
I felt when you were unkind to me, I am now overwhelmed by my sense of
the wrong I have done to you. 4 nerves sinews. 8 weigh consider, in
your crime because of your offence against me. p rememb’red reminded.
/I tend'red offered.
r^-14 that your trespass . . . ransom me that of­
fence of yours has become the payment wljich I can offer you in expiation
for my own offence against you.
'

of
■

y ^hat you were once u^Qnd befriends me(now,)

J And for that sorrow/which I thep^did feel
Needs must l under my transgression bow,
£
6 Unless my nerves weni^bragslor haannered steel.
• xFor if you were by my unkinxlrtess shaken.
.‘As I by yours^^^ave pass’d a)heUZof time, A-fr
J, -Ij/v^And I. a tyrant, have no leisure taken,
(To weigh how once I suffered in y.p.ur crime. .
0,'y) that our night of wtje might have rememb’red
(My deepest senso^hovyjhard true sorrow hits,^
And soon to you, as you to me then, tend’ret^ 7
Jf* The humble ^al^ wifi ch wounded bosoms fitsl
But that,your tre^ass now becomes a fee;
Mine ransoms yours, and yqurs must ransom me.
, J

121

X

XjiUL

1/3

ftr

g? St

««
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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 119&lt;/strong&gt;&lt;br /&gt;S. lost his perspective in V. + Ad in WHA – reproved – he returns here&lt;br /&gt;Rouen–aid to Henry of Navarre&lt;br /&gt;Appt. as Mast of Ord?&lt;br /&gt;Ills = feigning illness (Leic + Essex de Lun[?] see p. 87)&lt;br /&gt;Sirenical gentlemen&lt;br /&gt;’20 = Mutual forgiveness now necessary–each has wronged the other&lt;br /&gt;Always E. bribed returning Leicester + Essex after [illegible]&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 120&lt;/strong&gt;&lt;br /&gt;Could refer to big storm, earthquake&lt;br /&gt;Oct ’79–sea storm&lt;br /&gt;Could this be friendship bet. Cath + Margaret Countess of Salisbury–whose bro. Warwick was exec (White Rose of Eng.) as Sp. allian, made 01?&lt;br /&gt;Line 4&lt;br /&gt;Brass: E desc. as “brass”&lt;/span&gt;</text>
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