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SONNET 121. 1-2 "Tis better . . . of being it is better to be truly vile
than to be considered vile unjustly, when one who is not vile receives all
of the reproach due to one who is.
j-4 And the just . . . others’
seeing and that proper pleasure is lost which is considered vile not by
us who experience it but by others who view it from the outside. 5-6
For why . . . sportive blood why should the prurient eyes of others hail
my sexual passion (as akin to their own)? 7 frailties human faults, are
frailer spies are there more faulty observers, 8 in their wills (a) wilfully
(b) according to their own lustful feelings, p am that am what, level
take aim. 10 abuses transgressions. // bevel crooked. 12 rank gross.
reign exercise authority, pass judgment.
sensual.

hA
Vv i U
IriAiulSsUs Wi

1

IV/n

Clci f

if

i’Tts better to be vile than vile esteemed
^V^en not to be receives reproach of being,
the just pleasure losVwhich is so deemed
others^ seeing.^
QI)^hy should otherrTal^ adulterate/eves
aluiption to my sportive blood?
on my^ailties why are ^iler sp^ie^
ich in theirjwilidcount bad whaC^
am that 1 ^rn; and they that
JVt myab2^ej_x^kp)rTtp-th€irctum
(►'I.may^ei ^aight though they themselves
* By their rank thoughts
Ui(les^hi eneral evitfhey maintai
(All men) are bad and in their badness

122
SONNET 122. r tables notebook. 2 character’d inscribed. j idle rank
empty leaves. 4 Beyond all date longer than time itself. 6 Have faculty
. . . to subsist are permitted by nature to exist. 7 raz'd oblivion oblivion ’
which obliterates all things, his its. 8 miss’d lost, y poor retention
IO tallies sticks on
inadequate container (the leaves of the_ “tables”),
ii-ia to give . . . thee more
which totals were “scored” by notching.
I had the temerity to give them (the “tables”) away so that I could rely*
upon my memory ("those tables”) which is capable of more adequately
recording my love for you. i} adjunct aid, such as a notebook. 14 im^
port imply.

Thy gift, thy tables, are within my brain
Full character’d with lasting memory.
Which shall above that idle rank remain
Beyond all date, even to eternity;
Or, at the least, so long as brain and heart
Have faculty by nature to subsist.
Till each to raz’d oblivion yield his part
Of thee, thy record never can be miss’d.
Nor need I tallies thy dear love to score.
\ Therefore to givejhem from me was I bold,
rust thosiCtablesJthat receive thee more,
y keep a.n adjunct to remember thee
ere to import rgetfuliless

122

r’

123

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SONNET 123. 2 pyramids obelisks, memorial cmumns. Various attempts
have been made to identify the specific memorials referred to and thus to
date the sonnet. Some suggestions include those brought to Rome by Pope
Sixtus V around 1585 and those erected to celebrate the entry of King
James I into London on March 15, 1604. 4 dressings . . . sight imitations
of what has been seen before. 5 dates lives, admire wonder at. 6 foist
. . . old pass off on us as new that is really old. 7 make . . . desire regard
them as newly created to our taste, p registers historical records. 1/ thy
records . . . doth lie both the records of the past and what we see in the
present misrepresent reality.
12 Made more . . . continual haste ap­
pearing either disproportionately large or small because of the rapidity
with which you (Time) move, ja true faithful.

And rather make thenjbornJto our desir
t boast that I do changel
Thar\ think that we before have heard then(i told.
"^ith newer might^’&gt;
o me are (
ovehTpothin^ strange
hey are but dressings of a former sight.
Oi^r dates are rien and therefore we_admire'
What thou dost foist upon us that is old^

No, Time, thou shall

Not wonl^ing at the present nor the pjist;
For thy^^rdrand what we^e^ doth 1
Made^orgorQes^by thy continual ha;
This I do vow, aruljhis-slial
be
thee.
I will be true, d^piteyhy ^Cvthela

^NNET 124. J dear love sincere passion (for his friend), jhe child of
sfate controlled by either (a) political circumstances or (b) the’ wealth and
position of the loved one. 2 for . . . unfather’d as merely the bastard
of Fortune be without a real father.
5-4 As subject . . . flowers
gather’d If his love were merely the bastard of Fortune, the poet is saying,
it would be subject to Time’s whims, a weed among weeds when Time
hated it or a flower among flowers when Time loved it.
5 accident
chance occurrence. 6 suffers not does not deteriorate. 7 thralled op­
pressive. 8 Whereto . . . calls to which the temptations of our time ex­
pose us all. p Policy political cunning, expediency. 10 Which works
. . . hours which operates only in terms of short-range considerations
(whereas love is eternal). 11 hugely politic supremely prudent. Love is
the only true "policy.”
12 That it nor since it neither, grows . . .
show’rs i.e. is affected by fair weather or by foul. 27 fools of time time­
servers, subject to the control of time.
14 Which die . . . for crime
Allusion to specific malefactors who died repentant has been suspected in
the line. Various suggestions have included the Earl of Essex and his fol­
lowers, the perpetrators of the Gunpowder Plot, Catholic priests executed
and 1595, and the dramatists Marlowe, Peele and Greene.

state,
y dfear love were\bu^
ight for ^^tune’ astard be unfather’d,
abject to Time’s love orjQ Time’s hate,
ds among weeds, or flowers with flower^sfee
^p, it was builded faj; ffom accident; i
d It suffers not in smiling pomp^orjfaU'
V Under the blow of thralled^d^toiy^t
lion calls.
Whereto th’Tnviting&gt;hne our
- It fears not Policyywatjferem
y Which wofc' rgf^^e^^Tb.ort-nu
'red hours,
ButGll-atoim^tands hugely politic,
-—That it jtofCgrcrtvs withhe;rmor drow s with show’rs.
76 Vfor c

■

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                    <text>:v&lt;

wire’t au^t to me I bore the canopy,
With my ^^ern the outward honouring
dr laid great bases for eternity,
Whichfjirove\more short than wa&lt;te or ruining
hiave l not seen dwellers on topna and jayoyr
Se all, and moterhy paying too much r^,
compount^lweet^going simple savo^ Pitiful thrivers, in their gazing spent?^
No, let me be ob^e^iouUiUhy,
n^Tak^t^vTy obiatig^poor but ffice.
ichiT
with
nds, knows no
mutu^fender,_ ine for ^§6.
^g^Gborn^d informer! Ajrue soul
most ijnpeach’d^^t^dsIeasUh

SONNET 125. z Were’t aught to me would it be of any advantage to me
if. bore the canopy Canopies were held over kings and nobles on cere­
monial occasions. Various specific events at which Shakespeare might
have held up a canopy have been suggested, none very convincingly.
2 With my . . . honouring by my external actions hoilouring external
qualities.
Or laid . . . or ruining or created the bases for eternal
fame (the poems he has written) which proves to be briefer than time
devoted to waste and extravagance, proves q; malone, k: “prove/’
5
dwellers . . . favour those who overvalue mere outward appearance ^ith
a pun on the sense of “tenants”). 6 Lose all .. . much rent lose their
patron’s love by paying excessive tribute to his external features.
7 For
compound . . . savour for the compounded sweets (of high position and
external beauty) give up the simple taste (of experiencing true love).
Pitiful thrivers . . . gazing spent those who thrive poorly because they
give up all for the sake of merely gazing at the one they love —like
courtiers looking upon a king for preferment and receiving nothing. 9
let me . . . thy heart let my true duty be felt in your heart (rather than
displayed in outward show).
zo oblfitton offering, free freely given,
zz mix’d with seconds adulterated with baser matter, knows no art is
without artifice.
12 mutual , . . for thee exchange of my true self for
your true self, z^ suborn’d informer false witness. If there was an actual
informer against the poet, he has not been identified.
14 im/feach'd a&lt;&gt;
cused.
I g “Jltn

I*";. y,\
^elve lines in rhymed coifpl^s provide an*^^^oy
^he sonnets written by the poet to his friend. The remaining sonnets
.jt^
5^
addressed to his mistress.
z-a in thy power . . . sickle, hour Youth
aspects of time in his power; the mirror in which man sees his
\K
beauty fade, the sickle and the hourglass,
Who hast . . . self grow'st
. iV'
(paradoxically) gro^n in beauty with time’s passage and thus by
'
J J contrast revealed the aging of your friends. 5 wrack ruin, decay. 6 still
y always. 8 disgrace render ignominious. 9 fear distrust, minion darling.
forever, zz-za Her audit . . . render thee Nature must eventu­
ally render her account to Time, and she can only make her settlement
by surrendering you.

! V
wa/x

O’

f/o thAu..TOylqve . .&gt;&amp;¥■ who in th
Dost h61d Tiijie’s Mtle glass, his sickle.
Who hast by Waning grown, and therein show s
~
self grow's^y
If Nature (sovereignTmist^sv^ver wrack),&lt; As thou goest onyfardsTstil
1 ftluck thee bac ,
She keeps thee to .this purpos
May time disgracei^ and wr^he^VninuU!
Yet fear her, O thoi\^mjnroB^f he'^leasurel^
She may detain, but^n'ot stiH kee
_
'TKit^^though d^lay:iansweVd_raust_^;
\ And her quietuys to^md^Xhee

Cik vA

127

&gt;&gt; X..

c

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V* /
I

/O 1

b I * t/(i'

b
C&amp;ijMii tAzS-

&gt;

i/^ iitjU-o.

'

SONNET 127. 1 the old age tormei times. In chivalric rt^ances only
blonde women were considered beautiful, and this tradition survived in .
"
the sonnets of Shakespeare's contemporaries, counted fair considered (u/Jifrf
beautiful (with a pun on “fair” in the sense of "blonde”). 5 successive
heir heir by right of succession. 4 And beauty . . . shame and blonde
beauty is declared illegitimate (as supposedly the product of cosmetics).
—5-6 For since . . . borrow’d face because everybody has assumed nature’s
k/
power and is making ugly faces beautiful by painting them. y-S Sweet
beauty ... in disgrace true beauty has lost its identity and dwelling place
and is either profanely imitated or entirely discredited.
p brows'•«/ ' )
STAUNTON; q: “eyes.” io so suited similarly dressed, also black. 11 not^'f'p^
born . . . lack although not born blonde have acquired beauty by arti0’’
means. 12 false ^teem false appearance of beauty. ij becoming
0/adorning, gracing.

—
,

/

Yet so they mourn, beaaming of their woe,
That every tongue says beauty should look so
If
3

Butdit^ is black beauty’s suc^
yJLsxv • And beauty slanjler^with ^~bastar
Ik byveacbT hand^ath put on nature s power,
ai^g the fotrt^r^art’s false
I borrow’d face,
eet beauty hath/^ name, no’holy bower,
'theisold
age bla^
gt counted
faur,
ut
profat^,
iRnwas^
ives
in disgrace,
if it were, it borefnof beautyl^ name;

- }

SONNET 128. 1 thou, my music you, who please me as music does.
2 blessed wood the wooden keys of the virginal or spinet, made blessed
by your touch. j-.f gently sway’st . . . ear confounds gently control the
harmony of strings which amazes my ear with delight. 5 jacks keys.
IO chips keys. rz thy cildon; q: "their.” 13 happy fortunate. z^ thy^
gildon; q: "their “

music,
Vi oft, wh^
on thakbj^ _
th thy
when thou gently swayjs^
The wirVcoiKord that mine ear confounds,

3

To kiss the tender inward of th^hand, j/
‘
3^,4 J 'lo
my poor lips, which should that hartoy^^P’
,*l^t the wood’s boldnes\by thee blushingst^l
\^be'^odckledAthey t^uld change thdrsu^ Cf , X *
zo
„
And'^tuatibh'witTT those, da_ncing chips
' n^rwhcin^thyfingerswal^withgenjle.gait,_,^ p '
M^jm^aead wood^of^ bj^s^^aniliving lip^
^"^ce Saucy pckslso happy are in this, '
Ci VP Them thy fingers, me thy lips to kiss.
. eiL&gt;.
128

1^?

zi'* 0

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                    <text>ch*

• SONNET 129. 2 Th' expense . . . shame the using up of vital spirits in
a shameful act. 2 till action until it is expressed in action. 5 full of
blame (a) harmful (b) guilty. 4 extreme violent, rude brutal, to trust
to be trusted. 20 quest pursuit. 22 in proof when experienced, prov’d,
4. MALONE; q; “proud and.” 2./ the heaven (a) the sensation of bliss (b)
the woman who provides it

eric

Th’texjpense of iritin was^ of shame
TsYti^n hctio'rit and till action,^lust
Is perjuj’d, murd’rous, bloody, full of blame,
t Savage^^^reme, rude, cruel, not to trust;
' Enjoy’d no sooner but despised straight;
Past reason hunted, and no sooner had,
Pa^ reason hated, as a swallowed b^i\
On purpose laid to make tlm_taker mad;
Mad in pursuit, and in pos^^sito so;^
i, having, and in quest to^tav^rryrsme;
liss in proof — and p{%v’ya very woe;^
e, a joy propos’d:
l{isAhe world
shun the -^eaven

4 f

;rt«X

tritt^ft

SONNET 130. While the poet burlesques the elegant hyperboles of
contemporary Petrarchan sonnets, he at the same time affirms his love
for his mistress in spite of her failure to conform to the impossible ideal
of the sonneteers. i nothing not at all. j dun dark. y If hairs be
wires Comparison of a lady’s hair to the fine golden wire used by
Florentine goldsmiths in filigree work was Conventional.
5 damask'd
variegated (mingled red and white). 8 reeks is exhaled. The verb did not
have its present connotation of distaste. ii go walk. 12 treads on the
ground walks on the earth, like any other mortal woman. 25 love mis­
tress. rare beautiful, splendid.
As any . . . compare as any other
woman who is lied about by means of impossible comparisons.
.X

ISO

■ \ My misyess’ eyes are nothing
« Coral is faf'more red than her lips’ red;
? \If snow be white, why then her breasts ar

l^d in some“perfumes is there more ddlijdit
\^an_in the breath that froin inv mistimes- - ’
I love to hear her speak; yetjSsieil I know
^usic tiath a far mp^e pleasing s(
I gran*I never saw a god^esjjgo:
My mis,^^ when shfiwalks, treads on the ^ound.
And ^fThy\heaveri4 think my love as rare\
As any she belied with false compare.
/

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                    <text>Against thfelgormv gusts of^hteT
An/bar^ ~ £&lt;){ deat^eter^
‘ba^pthriit^ipieaiT^^.____
^u had a I'atliei- - kt youyson ^y so. . _
i- -

'
fY‘'''~^

SONNET 13. I O, that . . . yourself O, that your present self could be
your eternal self. The opening sentence deliberately shocks the reader
‘ by its ambiguity, and the rest of the sonnet serves to explain it.. 1-2 you
^are . . . here live you retain your present form only so long as you
remain alive. j Against in anticipation of. 5 in lease for a short time
only. Man can only lease his body; he cannot own it since it must be
taken away from him by death. 6 determination ending (a legal term).
; you were you would be. 7 Yourself malone; q: “You selfe.” 8 issue
offspring. co husbandry (a.) prudent management (b) tillage (c) assuming
the role of husband, in honour in marriage. J2 barren rage of fruitless
ravaging by. 13 unthrifts

O, that you were yourself! but,,....
' Nolon^ yours thanlyau yourseQ
Against this rorning e^i^^ou should prepare
your pweet spHtjH^tice to some other give
hould mFSLbearityJwhich you hold in
ThyPendA/tru^ andi^auty’s doom and date.
Wjhen sj
Who!
WhicH '•

8
-'T .
Ci'jt e-zs
f^tf.
A
",

y

SONNET 14. I pluck derive. 2 have understand, astronomy ability to
future by means of the stars. There was no -distinction in
Shakespeare’s day between astronomy and astrology.
j-y of good . . .
''seasons’ quality "These were the traditional subjects of astrologers. 5 to ‘
brief minutes down to the smallest details, covering the shortest periods of
time. 6 Pointing to each assigning to each minute, his its. 8 oft predict
that often predicting what.
10 read such art gather such knowledge.
2, store fertility, convert turn.
Thy end .■ . . and date
’ill also mark the prescribed end of truth and beauty.

Not from th)e(stai&gt;)do I my judgmenl
'~And yet methinks I have Astronomy;
But not to lell of^ood or evil luck,
jTi»u(‘^of d^Fths, or s^sons qu
can I koftmie to_brief'minut^ telL.’pointing t&lt;j&gt; each hisfthu^e^^airC^nd^ind^ j
Or say witl{ fiinc^if5trSnal^go well]
By oft predict thaiJ. in heaven find;
Co
^ut frgrnjthin^ye^V knowledge 1 derive, ,
suchjart) u
A^nutWSl ifeau^^iall together thrjvp__ .
If from yself to4m^llhou wouldst^ojyerty
■FOT elsOUheslhis I prognosticate:

.

A

J5

U-t V.)

10

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                    <text>TH &gt;

{Thoy/art cfe tyrannous, so as'^hou
AsThose whoSrteauties proudly make then^cruel
FyiusteH^th^know’st to my dear doting hear'^J'
^hoy artTEe fairest and most precious jev^. ; ,
YetTin good fmth, soine^^T^^*^
behold,
Thy face hath not the power to make love'jgropT.'
To sa^they err I dare not be so bolcV
Although ^swear it to myself aJoAe. /
And, to be sure that is not false I swe^,
.
/-’/A thousand.^rQaris,^ut thinkipg/in thy face,\^_
• (pir^n anotfier\pec^ do witness bear^
Thy black isf^Ic^stn^m^Jud^ent’s^place.
In nothing^^hojlblackfeave in thy deeds,
1
And thencetlds. {land^) as I think, proceeds.

SONNET 131. 1 SO as thou art being as you are (without such beauty as
is conventionally praised).
a whose beauties . . . cruel who are made
cruel through pride they feel in their beauties. j dear doting (a) ten­
derly^ loving beyond reason (b) foolishly loving to my own cost. 7 To say
to assert publicly. 10 but thinking on when I merely think of. ii One
. . . neck in quick succession. 12 in my judgment’s place in the position—
which my judgment assigns to it. /a this slander i.e. that of line

10

’

3 --

(S-J'XP SONNET 132. 2 torments walker; q; “torment.”
ruth pity. 6 be­
comes adorns.
8 Doth renders.
9 mourning gildon; q; "morning.”
Probably both meanings are intended. 10 as well also, beseem be fitting
for. II doth thee grace makes you beautiful. 12 And suit . . . every
part and dress your pity (in black mourning) like the rest of you. 14 thcK
i.e. other women. /ouZ ugly.
‘ q

■S M &lt;

132

\rPR

I

(/I '
I love, an'i^ they, as pitying me,''
Knowin^hy heart totments me with disdain.
T iHave put ori bl^k and laying mourners be,''
■* Looking with prettyyuthjujx^n niy pain.
And truly not the mor^ng^n pf
Better becomes the^re^cbe^j of tjyf^ast,
Nor that full^ar thjt usl^ers in t
V
Doth hall
As those two mourning eye^ become thy fac
O, let it then "as well beseem thy heart
\ro mourn for me, since ournin
.nd suit thy pity like infever^arL
"hen^ill)! ^ear bea’uty herself^black;
md all they(f^ljthat thy comp@on lack

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                    <text>SONNET 133. / Beshrew curse (in a mild sense), 4 slave to slavery enslaved to the enslaved condition of his friend, 5 Me from . . . taken
your cruel eye has taken me away from my own true self. 6 J nd my
. . . hast engrossed and my true friend you have even more securely cap­
tured to keep entirely for yourself. 8 crossed thwarted, afflicted. 9 ward
guarded cell. The notion of the lover's heart as imprisoned in the bosom
of his mistress is a conventional one. 10 my friend’s . . . bail let my
heart free my friend's heart by serving as your prisoner in its place.
11 keeps me holds me prisoner, his my friend's, guard protector.
12 Thou canst . . . my fail you cannot then make my imprisonment seem
severe to me. 15 pent locked up. 14 Perforce {sl} by force (b) of neces­
sity. in me in my heart — i.e. my fri^d, whom you thus imprison also by
imorisonine me. . . L
, &gt;•

33
^0"?

SONNET 134. The sonnet plays on the trouble meanings of legal ternw^
relating to the lending of money. i now now that. 2 mortgag’d to thy
will pledged to satisfy your lust (and liable to forfeiture if I do not).
5 so on condition that, that other mine my friend.
restore give back.
still in the future. 5 wilt not will not give him back to me. 6 kind
(a) compliant (b) natural — in his sexual desires.
y-8 He team’d . . .
doth bind he was merely taught to underwrite, as my surety, my bond of
indebtedness to you, which now binds him as securely as it binds me.
9 The statute . . . wilt take you will take the full forfeiture (both my
friend and me) provided for by the bond which is your beauty (and the
enjoyment of it). 10 put’st . . . use who will lay out no part of your
beauty except at interest. jj came who became. 12 my unkind abuse
your cruel deception of me. 14 He pays ... not free although he pays
the entire debt (satisfies your lust completely) I am still not free from my
obligation to vou ' . -a

Beshrew that heart that inaKes myhi t to groan
at deep wound it giyes my frien^ and me!
Is’t tot enough to torture me alone..
B.utBlave to slavery my sweet’St friendpiust iieJ
■ V^Me fimm myself thy cruel eye hatK taken.
eQt self thou harder hast engrossed,
iself.andtheej^m forsake
/■ A torment^rice tjireefold j^us to crossed.;
/ Priran my neartin ^hy steel bosom’s war
But i^en^hy friend^l^
’f poor heart
le
oe’er keeps me,
eart be his guard:
canst not theri use rigour in my jail.
Ayid yet thouiwUt) for I, being pejit in tjiee,
rforce am thine, and all that is ii

now I have coji(gs£^ that he is thi:
d I myself am ort^ag’d to thy will?
forfeit, so that other mifle^
^twe to be my comfort still. \
wlft not, nor he will jiot-be free
For thou art covetous, andbe_U.kind^
e learn'd hut &amp;urd;ty-like 0 wrif^or nib-&gt;,
nder that^rond Ithat him as fa^ dpih bind
statute of thy beauty thou(wilt fake,
usure that put’st forth ^Jo us^

nd^ue^ friend came deHor for my sake:
i hmT ose rough my unkinTa
thou
Him ha
___ hast both him nd me:
e pays the whole, and yet am I not ee

’135

V

W k-c .

t

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[ill will fuilfil the tr^ast^jMlKy^loyg,^
ij, fill it full with wills, and my will^m^
Whoever hath her wish, thou hast th
ill.
things of great receipt with ease yve prove^^
ill to hn^t and WrH-i
An
iiong a numbeij'’'onys
Ct
Morel tna
I th
mee still
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^must be;
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Not once vouchsafe to hide my will in thine?
all will in others seem right gracious
nd in my will no fair acceptance shine?
he sea, all water) yet receives rain stilf'
d in abundance addeth to his store;
OU, being rich in Will, add to thy
1
jpil^will of mine to make thy large Willjmor
t no unldnd no fair f^seecher
ink ail but'dne, and me in that one \jVill
'
(9^

S^ -i*

-7

“”*^ *’‘® f°l’°wing sonnet the poet plays on various
_ Mmeanings of the word ‘'Will” (a) his own name, and possibly the name of
’’K *lady’s husband (b) lust or carnal desire
•
wilfulness, volition (d) the male or female genitals. Where the word is
. O::tp«P“alized in the present text it is both capitalized and italicized in Q.
r U'iiA.Tti ' 1
°°°\
addition. WiZZ in overplus an extra Will. Perhaps the poet
-y means himself, the others being his friend and the lady’s husband.
3 still always. 4 To thy .. . addition thus adding myself to what you
sweetly desire. 6 vouchsafe consent, hide . . . thine i.e. grant me fuly !/ i
filment of my sexual desires. 9 still continually. . i} unkind refusal
/
(on your part), fair beseechers legitimate pleaders.
14 Think all . . .
\
consider all your "Wills” as one corporate lover, and include me
3'*&gt;^.)+-*n that one "Will”-all the meanings of the word apparently being
i-ff
present in this final example of it.
ufijCV

//#

SONNET 136. I check rebuke.
to your sexuality (b) come so close to your beS. 2 blind soul deliber”
ately unsemng soul (which should protect the lady’s chastity).
j will
carnal desire, admitted allowed to enter, there in your bedchamber.
4 fulfil grant. 5—6 Will will . . . will one The lines are coarsely sexual
in their playing on the various meanings of "will.” 7 receipt capacity.
prove know from experience. 8 Among . . . none a single item in a large
quantity is not considered significant. 9 untold uncounted. zo Though
I do increase the total number of your lovers.
hold me regard me as of no consequence, so it please
- thee so long as^it pleases thee to.
my name i.e. will, in the sense of
desire. J4 f^ because.-^

136

}
*)

thy soul^cl^c^hee that I comeiso ne
to thy blind soul that I was thyfWill,
(Ahd will, thy soul knows, is adrnkted there
^^us far for love{my love-suit, swegt/fulfil.

inline

en in the num
et me pa
ough in th______ account I o
^^or nothingAioi&lt;rme?fe
That notningme, a soroething,^sw^Oto thee.
Make biit my name thy love, and love that still, •
And then thou lovest me for my name is Will.
137

fcsstr'J

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                    <text>105

"a unkindness cruelty, infidelity. 3 Wound me . . . thy tongue do not
make me see your infidelity; merely tell me about it. 4 Use power . . .
by art kill me directly with your full force and not by indirect contrived
means. 5-6 but in . . . eye aside but when you are with me restrain
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L■

e to justify the wrong
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Wound me not withjhirm ^e, but with thy torigue;
Use power with^wet, and slay me not by^ll!')
Tell me thou
elsewtfere,-^ but in my sight.
Dear heart, forbear to glance thine eye aside.
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11- -fTT
____ j1 with] cunning when thy
need
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,wound)
Is more than my o’erpress’d defence can bide?''
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Her pretty looks have been mine enemies;
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/"VeiLdo not s^^ut since I am near slain, &gt;
Kill me outright with looks and rid my pain. -*

’

140
SONNET 140. J press oppress.
4 pity-wanting unpitied.
6 so i.e.
that you do love me. 7 testy fretful. 8 know are told. ii ill-wresting
misinterpreting everything in an evil way. j2 mad ears i.e. persons as
ready to believe slander as I in my madness will be to slander you. 23

1^0^.

, „

'

’

Mv^on^e-tiet^ipatience with too much disdain; •
Lest sorrow lend me words, and words express
manner of my pity-wanting pain.
I If II mieht teach thee ^it', better it were,
though not to love, yet, love, to tell me so;
H
{As testy sick men, when their deaths be near,
^o news but health from their piiysicians know.
i^or if I should despair, I should grow mad, \
h
in_my madness might speak ill of thee-. \
this iU-wresting^wprld IS grown sdTjad^ /
Mad slanderers by mad ears believed be.
That I may hot be so, nor thou belied,
Bear thine eyes straight, though thy proud Iwart go
wide.
7
/

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                <text>Margaret Demorest Sonnet Annotations: Sonnets 139 and 140</text>
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                <text>&lt;div class="element-text five columns omega"&gt;&#13;
&lt;p&gt;&lt;a href="https://rightsstatements.org/vocab/NoC-US/1.0/"&gt;http://rightsstatements.org/vocab/NoC-US/1.0/&lt;/a&gt;&lt;/p&gt;&#13;
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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 February of 2024.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 139&lt;/strong&gt;&lt;br /&gt;Essex letters to Queen, 1600, in despair of his condition–she refuses him audience–or letters–after 8 mos impri you “rejected my letters and refused to hear of me, which to traitors you never did.” “What remains is only to beseech you to conclude my punishment, my misery, and my life.”&lt;br /&gt;She had abandoned plan for Star Chamber trial. Now she brings him before special commission. She hopes to reform him.&lt;br /&gt;“It was a most pitiful + lamentable sight to see him that was the minion of Fortune, now unworthy of this last honor.”&lt;br /&gt;Still begging her vision to be wise&lt;br /&gt;Begs her to see + speak–not turn away&lt;br /&gt;Line 11&lt;br /&gt;My foes: she will not give Essex an audience&lt;br /&gt;Line 12&lt;br /&gt;Injuries: Your face the founder of my smart “That pleasant looke formed the offence + wound”&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 140&lt;/strong&gt;&lt;br /&gt;Essex letter now to Q (1600–Aug.) “My uttermost ambition is to be a moste[?] person in that presence where joy + wonder would bar speech”&lt;br /&gt;Essex ill–bells toll&lt;br /&gt;“Ill-wresting”--resting badly&lt;br /&gt;1599–Ess. almost dies&lt;br /&gt;Eyes + ears = E’s sign&lt;br /&gt;Begs her to put on appearance of virtue, the actual is lacking (Pleads for “false show” for sake of world?)&lt;br /&gt;Lines 9-11: Also he loses control and blasts her with words (godson)&lt;/span&gt;</text>
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