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                    <text>SONNET 141. 2 errors defects.
TF/io which, despite of view in spite
of what can be seen. 6 Nor tender . . . prone nor my delicate sense of
feeling inclined to respond to any ordinary common touch (it requires
something more rarified).
8 alone in particular (and not with other
women as well). p But my but neither my. five wits These were de­
fined by Stephen Hawes, the pastime of pleasure (1509). as common wit,
imagination, fantasy, estimation and memory.
10 serving thee being
jour lover. /i Who which (his "foolish heart”). 11-12 leaves unsway'd
. . . wretch to be leaves the mere outward semblance of a man without a
ruler in order to become your proud heart’s slave and miserable vassal.
The poet’s heart (which should rule his body) has abandoned him to
serve the heart of his mistress. 13 plague affliction, thus far . . . gain
I consider profitable to the following extent. 14 awards me pain inflicts
punishment upon me (in the act of sinning, and thus spares me a full
measure of punishment thereafter).

2 Hate of . . .
SONNET 142. I dear chaYacteristic,
valued.
loving hatred of my love (for you) because it is adulterous. 4 it my state.
6 their scarlet
merits not reproving does not desire to be reproved.
ornaments The lady’s lips are equated with the red waxen seals upon
such bonds as marriage contracts.
7 as mine as my lips have done.
8 liobb’d . . . rents cheated other wives of the marriage rights due to
them. She has had affairs with other married men. p Be it let it be.
IJ what i.e. pity, hide withhold. 14 self-example the example you set.

if?

For they in thee a thousand errors note;
But ’tis my heart that loves what they despise,
Who in despite of view is pleas’d to dote.
Nor are mine £ars wi^thy tongue’s tune delighted;\
Nor tender feeling td^a^jbuches prone,
Nor taste, nor smell, desire to be invited
To any sensp^^east with thee(albne;
But my five wits nor my five senses can
Dissuade ^g-Toolish heart from serving thee.
Who le;K^esunsway’d the likeness of a man,
Thy,^roud heart’s slave and vassal wretch to be.
^f^ly myj)l^u?l thus far I count my gain,
^^nat she that makes me sin awards me pain.

j

IO

Love IS my sin, and thy dear virtue hate,
Ha^of my^in, grounded on sinful loving.
O) bjht with mine compare thou thine own si
Alid thou shalt find it
Op if it do, not from
hat have profan’d their scarlet ornamei
And.^^eal’d false bonds of love as oft as nr
Be it lawful jl love thee' as thou lov’st^hose
’ ine eyes woo as mine impo'rti^ne' thee,
R
.pitjyin thy heart, that, when it_grows,
Chy'pity may deserve tofpined be. u'ffy
If thou dost seek to have what thou dost hide,
y /eH-exampIe^mayst thou be denied!

..w
142

143

5
'

a-

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                    <text>Vs

-

SONNET 143. I careful provident. 5 dispatch haste. 5 holds her in
chase runs after her. 8 Not prizing disregarding.
ii thy hope that
which you hope to catch.
thy Will the man you are pursuing, pre­
sumably the poet’s friend (with a quibble on the sense of “carnal desire”).

’

Lo, as a careful housewife runs to catch
One of her feathered creatures broke away,
Sets down her baJae, and makes all swift dispatch
In pursuit of the thing she would have stay;
But
Whilst
if thou
her catch
neglectedf
thy hope,
^il^turn
holds
back
hertoinme
chase,
Cries to catch her whose busy care is bent
To follow that which fli^s before her fac^,
NoTprizing her poor i nt^ ^jfcontent J
So runn^st thou aft^r^a?which flies from thee»
Whilst I thy bab^ chase thee afar behind;

uni’T '•

SONNET 144. I of comfort and despair one which offers comfort and the
other which offers despair. Comfort (the hope for divine mercy) and
despair are in theological terms the forces which vie for man’s soul and
lead to salvation or damnation. 2 suggest me still continually urge me.
4 colour'd ill (a) of dark complexion (b) of evil nature.
6 side the
PASSIONATE PILGRIM, MALONE; Q: (jsjght.” 8 foul pride display of ugliness.
10 directly clearly, unambiguously.
ii But being . . . each friend but
when they are both absent from me, each being friend to the other.
12 one . . . hell i.e. they are engaged in sexual intercourse. 14 Till my
. . . one out until my evil angel has infected my good one with venereal

u Two loves I have, of comfort and ^es^air,
spirits do suggest me still.
better angel is a man right jait.
The worser spirit a woman colour’d
To wih'ineloon to hell, my female^
Tempteth my better angel from myside,And would corrupt my ^nt to
Agoing his purity with he^ OU ridas—jAi^d whether that mj^^ge
turn’d fien
i^Sjispect I may, yet not directly tell;
But being both from me, both to egch friend,
I guess one angel in another’s hell.'
this shall I ne’er know,'But live in doubt,
(Till my bad angel fire my good one out.

" t;''

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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 143&lt;/strong&gt;&lt;br /&gt;Danger to Sh. from Rich. III&lt;br /&gt;Form of sweet wine sought by Essex in vain&lt;br /&gt;Hubler interprets [this sonnet] as plea for dark lady “to go her way + come back to him later”&lt;br /&gt;Her failure to recognize what she really wants–the ease with which love could be reclaimed&lt;br /&gt;Maybe not chicken but “bird”--like Sh. in “borrowed feather” (another poet)&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;SONNET 144&lt;/strong&gt;&lt;br /&gt;Henslowe (owner) com[?] with Rose theatre&lt;br /&gt;Note heaven-hell images in this unit&lt;br /&gt;Two kinds of duality in these sonnets:&lt;br /&gt;Public-Personal[;] Man-woman: Queen vs. indiv,&lt;br /&gt;Good angel - bad - Fair vs. Black[;] Interwoven nature of all of us–true also of E– (S’s compassionate comprehension of mankind)&lt;br /&gt;Dichotomy: Could this be his view of human nature? - body, soul - both good? both bad[.] E. as repr. of all of us here?&lt;/span&gt;</text>
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                    <text>Those lips that Love’s own hand did make
Breath’d forth the sound that said “I hate” -^4^
.V To me that languish’d for her sake;
‘
But when she saw my woeful state,
,
Straight in her heart did mercy come,
Chiding that tongue that ever sweet
Was us’d in giving gentle doom, "
y
And taught it thus anew to greet;
‘‘I hate” she alter’d with an end
That follow’d it as gentle day
Doth follow fught, who, like a fierid^^
From heaven to hell is flown away.
“I ham” from hate away she threw,
AndAsav’drn^life, Uving “not you.”

145. The poem is not a true sonnet, being written in octo­
syllabic lines. Some critics have considered it to be a non-Shakespearean
intrusion in the sequence. i Love’s Cupid’s. 5 Straight at once.
IVas
us'd . . . doom vias accustomed to pass gentle judgments.
8 greet
address me. Ji like a fiend Night is conventionally referred to as the
child of hell. 13 1 hate ... she threw she removed the words “I hate"
far from hatred, thus altering their meaning.
SONNET

SLxvJ

-

'

ii

&gt;

S •

&lt;a-

h
146. I earth body. The analogy of the human body to the
physical earth is a Renaissance commonplace. 2 Fool’d by malone; q:
“My sinfull earth,” which is obviously repeated from the previous line.
)x*^"Malone’s confe'ctiire makes sense, as do various others which have been
. « - made to supply the two missing syllables. K indicates the hiatus without
venturing a guess, rebel . . . array rebellious flesh that encloses you.
\
4 Painting . . . walls adorning the body. 8 charge object of your ex- penditure, the body. 9 upon . . . loss by giving less to your servant, the
body. IO And let .. . thy store and let the body suffer so as to increase
your resources. That bodily privation increased the health of the soul was
an ancient religious commonplace, ii Buy terms ... of dross earn im­
mortality in heaven by giving up sordid hours on earth. 12 without on
the outside.
ij So shall . . . on men in this way you shall conquer
death, which destroys men.
SONNET

146

'

Poor soul, the centre"of my sinful earth,
fA^ool’d by these rebel pow’rs that thee array,--^
'Why,dostithou(^ine^ithin and suffer ^arth.
Painting thy outward walls so costlVg^L^
Why so large cost, having so short a lease,
'
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this@:ess,H
Eat up thy charge? Is this thy body’I'end?
/
/Then, soul, five thou upon thy servant’s Idss, '

5

IO

Buy terms divine in selling hours of dross;
Within be fed, without be rich ho mpre.
So shaft thou feed on Death, that feeds Anrruen, &gt;
X And Death once dead, there’s no more dying then. / J

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                    <text>-115

SONNET 147. I still always. 2 nurseth nourishes, ke
5 ill
illness. ./ Th' uncertain . . . to please to cater to the fickle, unhealthy
appetite (of the patient). 6 prescriptions orders, instructions, kept fol­
lowed. 7 / desperate I who now am desperate. 7-S approve . . . did
except now realize by experience that desire, which refused the help of
reason’s medicine, is fatal, p Past cure . . . past care I can no longer be
cured, now that reason has left me.
zo evermore constant, eternal.
12 At randon . . . express’d at variance from the truth and senselessly
expressed. “Randon” is an old spelling of "random.”

SONNET 148. 2 Which have . . . true sight which see nothing as true
sight would see it. 4 censures judges, interprets, aright rightly. 5 false
distorting. 7 denote indicate. 8 eye There is a probable pun on “aye.”
IO vex'd afflicted, watching lying awake at night. zz mistake my view
misjudge what I see. ij Love (a) Cupid, the god of love (b) the beloved
lady.
14 foul faults (a) physical ugliness (b) moral defects, find dis­
cover.

148

My love is as a fever, longing still
For that which longer nurseth the disease;
Feeding on that which doth preserve the ill,
Th’ uncertain sickly appetite to please.
My ^ason, the physician to my Love,
Angry that his prescriptions are not kept.
Hath left me, and I deaerate now
\ Desire is death,lwhich ^ysic did e:
Past cure I am, now JJason is past t
And frantic-mad with evermore u
My. thoughts and my discourse as madmen’s are,
At \randon from the truth'va^lZexpress’d;
For I have sworn thee[fairjana thought thee bright,
• Who art as black as hell, as dark as night.-

jO'me, what eyes hath Love put in my head,
A^ich have no correspondence with true sightl
Or, if they have, where is my judgment fled.
That censures falsely what they see aright?
jAhat be fair whereon my .false eyes dote.
What means the world to say it is not so?
If it be not, then love doth well denote
ve’s eye is not so true as all men’s no.
How can it? C)^ow can Love’s'eye be true.
That is so vex’d with watching and with tears? -x__ 10
^No marvel then though I m|stake^my view:
"^“The sun itself sees not till heaven clears.
..
Q-Cunning Lovel with tears thou keep’st me blind,'
u. f\
^es^^ well-seeing thy foul faults should find.

149
A-o -

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                    <text>I ... thy sake when I forget myself, complete tyrant, for P
agree that ‘-tyrant" refers to the lady rather than
to the poet, although the matter has been disputed. 7 low'r'sl on frown
upon, spend mete out.
8 present moan immediate suffering.
9 respect discern, zo so proud . . . despise too proud to serve you. zz de­
fect lack of good qualities.
zs motion prompting, impulse.
z./ Those
Wat . . . am blind Since the lady loves only those who can see her defects
her hatred of the poet constitutes a recognition of his blind passion.

vt
W»&gt;^ ""

iXJ ■

Canst tho^ Ocruell say I love thee not t
When I[ag^stmYseJflvith thee partake?
“
*
'*$?!
think on thee when 1 forgot -.
of myself, all tyrant^ fqrjjty sake?
i
' /who hateth thee that I do^Xll my friend?
I On whom frown’st thou thatj^o^wn upon?
1
!
if thou low’r^stjm-m&lt;^. do ynot spend
-1 Zj^&gt;J&lt;eVen'ge\iponr~myseIf witlw^semlmoan?!
What meri^ioj in myse|f^pec^^
f^j
, That IS so proiX^ s^ice to dgpste&lt;^
When all my be^doih wbfsliip thy defectr^'7~~’7^
r^mmahdedj * he motion of thine eyes?;&gt;
But.Tove^ate
for now I know th^fmmdL^,^^
Those that n seeYhou lov’st,

9

’’h

1

.(Urt^c &gt;&lt; K^k;
SONNET 150. 3 H'jf/i insufficiency \iy virtue cff yotir very shortcomings.
sway rule.
5 give . . . sight deny the truth of what I actually see.
4 that brightness . . . day that it is not brightness that makes the day
beautiful (and thus that it is darkness which docs). 5 this becoming . .
til this power to make evil things seem good.
6 very . . , deeds most
worthless of your actions.
7 strength . . . skill powerful assurance of
excellence.
10 cause of reason for.
If thy .. . of thee if my
passion is so strong that your defects can arouse love in me, I am all the
more worthy of being loved by you.

0

150

• I:

VO^rom what_pow ’r hast thou this pow’rful might
jjyjth insufficient my heart to sway?
,
I Tp make me give the lie to my tru&amp;-sight -“
' Ahd swear that brininess dotlTnot ^ace the
\ Whence hast thou Ais becoming o^ thing! ..
'-That in the yie/y^use bf th^eeds
antissxof skill
, a/’ /There is such 5ireng
vorst all bett
That in my mind;t
wVo make me tove thea^o^
e^juit cause of hate^ ,
ear
an
'he mor?
whafothers do a^i^r,
Tthough I

□th others
ais’Tlove* in me.
If tin ti ort
to
be
be
'More’^’i^ort
U-V.o: l^er^ . 151

rtf

IO

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                    <text>1-jV

^4 e '

SONNET 15. I consider consider feiat.

f

"

2 Holds ensures.

stage the world (which Shakespeare often conceives of in terms of the ^-Pt­
theatre). shows Insubstantial external appearances. 4 Whereon . . . xr-ti
comment The stars are conceived of as influencing the course of human
events in the same way that the audience may comment upon the performance “f players on a stage, but while the audience reacts noisily, the
stars comment in silence, "Influence” is a technical term in astrology for
the power exerted by a star. 6 Cheered encouraged, check’d (a) rebuked
(b) restrained, 7 Vaunt boast, exult and swagger, sap vigour. 8 wear
. . . memory v/ear away their magnificent condition (as a garment is worn
out) until it is forgotten. 9 conceit thought, inconstant stay imperma­
nent condition of life. 11 debateth with contends in rivalry with. 14
ingraft you give you new life (by means of my poetry) as trees are revivified
by grafting. Here the poet introduces a new theme: the power of his
-- boetry to keep his friend’s beauty alive after it has faded.

.1

'Sa

When considgLfii^ry thing that grows*"
Holds iri^^CTfectiolVtrttt-a4ilt1e moment
me
his huge stage presentethpaughfput shows
Where^tho^ai^in secret influence commentr i'en I perceive that men as plants increase, fip ’
ijch^ered and ^li^ck’d even by the selfsame skyrT»T.
Vaunt in their youthfuL^p, at height decreas^ '
wear
this infconltant itSLy-ivif
^ip^in youth before my sigh^
vVnere wastefu hue debateth with Decay_^:,[it^e
day^f youth tol^ilie^night
VTo&amp;anse
nd, all m ^with Time for love of yo.^ .
As he takes from, you, I i

« r,

w

a'*

SONNET 16. / a mightier way mightier than by''the poet’s pen.
y ~
fortify repair.
./ barren rhyme The poem can produce no children, '.whereas the "mightier way” can produce a son. Shakespeare is not simply
depreciating his own verse. 5 on the^. . . hours at the prime of life. V‘6 yet unset still unseeded. S Much liker . . . counterfeit resembling you
yO
more closely than your portrait can. 9 lines of life lineal descendants. V yf
life repair restore life (through children after life in the parent is gone).
IO pencil the painter’s brush, pupil inexperienced, still learning. Some
have taken this as evidence that the sonnet is one of Shakespeare’s earliest.

a mignti
tarit,
fortify yourselfiify^r deca
meani^oreplessed ihan^y
itow stand you on the top oh
nd many maiden garden^ ye|?
ith virtuous wish would(bear

therefore dp hSt

my

Neither in inwa worth
Can make you Idye jl'oui
ui
To give
And you mus(fiivi

5

-«tji

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&lt;J-&lt;5.CO&lt;XXX&gt;0&lt;&gt;O
SONNET 151. Some commentators have been shocked by the crude ob­
scenity of the double meanings in this sonnet. Shakespeare’s contempo­
raries did riot shy away from acceptance of normal bodily functions.
/ Love Cupid, a child, conscience awareness and understanding. In the
following line the word is used to suggest "guilty knowledge.” j cheater
betrayer (of all three men with whom she presumably has been involved),
urge . . . amiss charge me with my sin. 8 stays waits for. /o Proud of
swelling with, /j want of conscience lack of awareness.

:161

Love is too young to know whtft conscience is; &gt;
Yet who knows not conscience is born of love?
y^jy‘’*Then, gentle cheater, urge not my amiss,
X? Lest guilty of my faults thy sweet self prove,
For, thou tbeti^ing me, I do 3*etray_-jjQ;^^
My nobler part to my
Mv soul doth tell mv5odj\thit he may
TrjnmrJj&gt;q love; flesh stays no farther reason,
y name, dodj-point-out-thee.,.
risin
fSftriumpbAnt prize, j^roud of this prid^
is
thy poor SrU^r to^Ser—
T land in thy affairs^lbby thyside.
want of conscience hold it that I ca
er "love” for whose dear love Iris r^faU.

h?

t

\

'

162 f 52. I am forsworn have broken an oath (th^ marriage vow),
iu’earing have broken two oaths since you have sworn love to
me. j-y In act . . . love bearing i.e. you have broken one oath in your
violation of your marriage vow and another oath in your present rejection
of me after having sworn to love me. bearing professing. • 7 misuse thee
(a) misrepresent you, by calling you beautiful (b) use you wrongly, debauch
you. 8 And all . . . is lost and in my dealings with you I have lost all
my integrity.
jr to enlighten . . . blindness to make you seem bright,
pretended to see what I did not see. 12 swear against deny.
eye q;
^WELL, k:
Q spelling leaves ^e intended pun sufficienny"fer.’'

We

hetv

•r^H.

5
- loevii'
152

X

,

Qn loving thee thou know st I am forsworn, 7
'’-^But thou art ty/ice forsworn, to me love
?In act thy bed-vow broke, and new faith-torn
n ' ■' t In vowing new hate after new love^e^ing.
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t\«nty?J am perjur’d most;
xj
t^Tpor all my vows are^a^but to rnisuse thee,
■ Andl^ll'myhonesttfaithfeh ^ee is log^
4'
-rFor I have sworndeep^t^f thy d^ep kindi^^' / ;
Oath^of thy love, thy truth, thy co;
d, to enlighten thee, gave_eyes to blindnf
r niade^fHah^ea/iigainst the thing they
For 1 have sworn thee fair — more perjur
To swear against the truth so foul a liel

A ’

f

153

A

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                    <text>V

•st

t'ffS

ljlin4

163

VsoNNET 153. This and the following sonnet areuStelated to anything
else in the sequence. They are variant free translations of a fifth-century
Greek epigram by Marianus Scholasticus, first printed in Florence in the
Planudean Anthology of 1494. It is unlikely that Shakespeare knew the
y. Greek, however. The conceit was a familiar one that had appeared in
many poems before his time. He may have found the epigram translated
in Giles Fletcher’s licia (1593).
___
1 brand torch, with which Cupid enflames lovers. :2 maid
' ' ' of Dian’s nyraph in the service of Diana, goddess
of chastity, advantage opportunity.
ground in that vicinity.
6 dateless eternal, still forever,
7 seething boiling, yef still, prove
find to be. 10 for trial to test its power. II withal because of this, /a
hied hastened, distemper'd sick. 14 eyes Malone; q: "eye."

;

Cupid -

A
y' '
Cupid laid by
brajid-and fell asleep.
A maid of Di^’s this advantage fount^
And his love-kindlin£^re ^d quickl
In a cold valley-fountain of th« gr&lt;
Which boffow’d from

ew fir
my b
thither hied, a sad dist^hiper’d g^l^st/.,
found no Cure. ThefMthjfor my h^^lies
Where Cupid got new fire — my
I Lx-'"

.

ri.
a\

1.:]^

r

observe, j votary nymplTwho had sworn a vow
of chastity. 7 general leader. i.e. Cupid. 9 by do$e by. /o perpetual
eternal. 12 thrall slave, ly and this .. . prove and I have learned and
can demonstrate the following fact as a result of that cxperi^ce
\f]rM

. US

The little Love-god, lying once asleep,___
^^d by his side his heart-inflaming Krand.
A^ilst^many nymphs that vow’d ehjs^jj
Cai^trippin
liut in her maid hanc
The fairesd votar ook up that fire
Which manl^ion^f true hearts h/d wa^m'
And so thelgfflei^ of hot desire
and oisar
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Cam^^rhere for cure, and this by that 15
Love^r^eatdj water, wa^r cooh not love

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                    <text>- il? 1

■&gt;n

SONNET 17. 2 wefe fiird with fuUy expressed.^ deserts nrerits. 4 parts
qualities, endowments.
6 jresh lively, numbers verses.
S touches
Either (a) attributes, traits or (b) brush strokes. 11 rage wjld inspiration
(and therefore irrational and false). 12 stretched exaggerated, antique
quaint and old.

A rs v\ X

i

r VjO xi ' I

BtnA-..,, ‘-f

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4-

r~r

pel. «•

If it were fill’dAvith your most high deserts?
Though yet, fieaven knows, it is but as a tomb,~^hich hides your life and shows notfralf j'dur pt
could wite the beauty of your^eye^ "s
^n-fresh numbers number^ll your^acps^^
age to come would say, “This poet lie^’
Such heavenly touches ne’er touch’dearljtSo should my papersj^^loyye^withthe^
Bp scorn’d, like ^Idfuiei^yb^^^ruth tha
^d your Jtrue riglTT^ fae4ern?d a poet’sfrag
Andjstretched metre bf an antique song.
/“Burwer/ some child of yours aliveThat time.
You should live twice — in it, andiojny rhyme, i
»
■
■
•

155,!

OS?

(ah'/ei -i- t h

A/.'W'K. F(;,

SONNET 18. 2 temperate even-tempered, mild. 5 May In Shakespeare’s
calendar May would extend into what in our calendar is the middle of,
June. 4 date duration. 5 eye of heaven sun. 6 dimm'd covered with
'' clouds. 7 every fair . . . declines every beautiful object must at some
(&gt;
time cease to be beautiful. 8 untrimm’d stripped of its beautiful orna­
mentation.
10 fair beauty, thou ow’st which you possess.
ii shade
'"L place of oblivion. /2 to . . . grow’st become a part of time, are grafted
to time, as a shoot becomes part of th
e to which it is grafted. 14 this
■
i.e. the poem.
'
A,

.A-Ai'
’ 1^ Pr

Who will^^lieyjg^Y verse in time to come

Shall 1 compare thee to a summer s day?
hou art more lovely and mor^ temper
winds do shake the rlirig buds of
t£hft?^s^ease hath all^o short a dat^ .
ne too hot the eyt of heaven shines, S
ompl^j^n dimm’diy,
And ever am from ^r sometime declined, Jt*
By diaryee; ornging couigg,
Butlthvleternal ^iS^iffer alljiQt fade
Nor lose possession^of thah fair ^ou ow’st,
Nor shall Death brag thou wand’rest in his sha
When in etepfTalUines/to time thou grow’st. I
So long asMiewcan breathe or eyes’caiTsee,
So long lives this, and this gives life.^t^hee.

■^''^rfssarTr:''

-ti

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                    <text>' 1*1 ! '

thou the lion
heiijjytjfi ^weet b
piake
___
__
Plpcl/the keen teeth from the fierce ti;isef*s ii
urn the long-liv’djjhtenb^in hi

devoPr
. brood take bick within herself We beautiful
..things (here primarily the flowers) which have sprung fr^ her.
phcenix a mythical bird which, after having lived for many centuries,
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grotesque.
ii untainted (a) untouched, unsullied (b) uninjured. To
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model of perfect beauty to be admired by succeeding generations.
13^^ '
wron? iniurv."^^

dCH^vlmte’ef ‘Hiouwilt, swift-footed Time,
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lit I forbid thee one mos/hemoAiirmcl
O,! carve not with thyhoursmy love’s fair brow
r~ draw no/lines [therej.with thine antiqu^
m in thy course untainted do o
r beauty’s pattern(toEucceedin^me
...
' worst, olcPTime!
- -Dds it^thy wrtii
My love shall in my versqeverllive

iS

SONNET XU. in tnis sonnet tne poet affirms the’masculinity of his
friend and disclaims any homosexual interest on his own part. i with
Nature’s . . . painted ot natural beauty, not aided by cosmetics.
2
master mistress mistress who is a man (as opposed to the female mistressesj
of other sonnet writers). The point is that his friend’s beauty is causing
the poet to address him as other poets address their mistresses, but he is,
in fact, a man and the poet’s master, passion love. 5 rolling passing
from one object to another. 6 Gilding The metaphor rests upon the
notion that the eye exuded beams upon objects in its sight. Like the sun,
his friend’s eye gives forth beams of gold. 7 A man . . . his controlling
a man whose form (hue) may set the standard by which the forms of other
men may be judged. By “hue” is meant the peculiar combination of
^Shumours within the body which was believed to determine the total
human being, both in physique and personality. 8 Which who. II de­
teated defrauded. 12 to my . . . nothing of no use to me. ij prick'd
/thee out selected you especially (with the obvious quibble),
^employment tor sexual purposes.

Z. .

Oman’s fa^eTr^^ Nature’s oj^ harnH pfiintp.d
Hast thou, t^ei;^^er^mis^ess):i^^y passionj
A woman’s^entle heart, bu^ot acquainted
J" With shif^ng change, as is false women’s fashion;
X
An_£yeAore bright than their s,^e^t^lse
^Idingjhe objectXdjereupon it gazet^;)
A man in f^u^ljjXu^n his controlling,i
WhTdTsteals mei??J^^nd woprenjs souls amazeth.
And for a woman wert thou first created,
Till Nature as she wrou^t thea feM a-dO^gJ* ^5, &lt;
And by addition me of thee'"defeated
By adding one thing to my purposein^thingX '^2 '
But since shejirick’d thee out for wt^nenjs pleasure, (
Mine be thy love,^nd thy love’s'u^heir treasure.

.

Ji.c

&lt;■'2-^ &lt; ZiAi«^‘’’'‘&gt;

■

-ftn
21

»&lt;

) L .

k

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                <text>Margaret Demorest Sonnet Annotations: Sonnets 19 and 20</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 19&lt;/strong&gt;&lt;br /&gt;Overall Notes&lt;br /&gt;Is Essex here compared to base son of Henry?&lt;br /&gt;1519 Emperor dies; Henry is candidate Ch. wins&lt;br /&gt;1559 coronation?&lt;br /&gt;Ascension Day = 19th? (Annual Celebr.)&lt;br /&gt;Elizabeth Blount bears son to Henry&lt;br /&gt;But [Queen] Eliz. could be lion—because [illegible] symbol of Eng.&lt;br /&gt;She is also Phoenix&lt;br /&gt;Phoenix is close to identity poems&lt;br /&gt;Line 8&lt;br /&gt;Heinous: henry? [sic]&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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