Suggested Sonnets the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS

Total Page:16

File Type:pdf, Size:1020Kb

Suggested Sonnets the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS Suggested Sonnets The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all. 15 129 Th’ expense of spirit in a waste of shame 42 43 When most I wink, then do mine eyes best see, 16 130 My mistress’ eyes are nothing like the sun; 43 53 What is your substance, whereof are you made, 17 131 Thou art as tyrannous, so as thou art, 44 54 O, how much more doth beauty beauteous seem 18 138 When my love swears she is made of truth 45 55 Not marble nor the gilded [monuments] 19 140 Be wise as thou art cruel; do not press 46 60 Like as the waves make towards the pebbled shore 20 141 In faith, I do not love thee with mine eyes, 47 61 Is it thy will thy image should keep open 21 143 Lo, as a careful housewife runs to catch 48 62 Sin of self-love possesseth all mine eye 22 144 Two loves I have, of comfort and despair, 49 63 Against my love shall be, as I am now, 23 145 Those lips that Love’s own hand did make 50 65 Since brass, nor stone, nor earth, nor boundless sea 24 147 My love is as a fever, longing still 51 66 Tired with all these, for restful death I cry: 25 148 O me, what eyes hath love put in my head, 52 69 Those parts of thee that the world’s eye doth view 26 149 Canst thou, O cruel, say I love thee not 53 71 No longer mourn for me when I am dead 27 154 The little love-god, lying once asleep, 54 The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 2 When forty winters shall beseige thy brow And dig deep trenches in thy beauty's field, Thy youth's proud livery, so gazed on now, Will be a tattered weed of small worth held. Then being asked where all thy beauty lies, Where all the treasure of thy lusty days, To say within thine own deep-sunken eyes Were an all-eating shame and thriftless praise. How much more praise deserved thy beauty's use, If thou couldst answer “This fair child of mine Shall sum my count and make my old excuse,” Proving his beauty by succession thine. This were to be new made when thou art old And see thy blood warm when thou feel'st it cold. The English-Speaking Union Education. Scholarship. Understanding. 1 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 8 Music to hear, why hear'st thou music sadly? Sweets with sweets war not, joy delights in joy. Why lov’st thou that which thou receiv’st not gladly, Or else receiv’st with pleasure thine annoy? If the true concord of well-tuned sounds, By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. Mark how one string, sweet husband to another, Strikes each in each by mutual ordering, Resembling sire and child and happy mother Who all in one, one pleasing note do sing; Whose speechless song, being many, seeming one, Sings this to thee: “Thou single wilt prove none.” The English-Speaking Union Education. Scholarship. Understanding. 2 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 10 For shame deny that thou bear'st love to any, Who for thyself art so unprovident. Grant, if thou wilt, thou art beloved of many, But that thou none lov’st is most evident. For thou art so possessed with murderous hate That ’gainst thyself thou stick’st not to conspire, Seeking that beauteous roof to ruinate Which to repair should be thy chief desire. O, change thy thought, that I may change my mind. Shall hate be fairer lodged than gentle love? Be as thy presence is, gracious and kind, Or to thyself at least kind-hearted prove. Make thee another self for love of me, That beauty still may live in thine or thee. The English-Speaking Union Education. Scholarship. Understanding. 3 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 12 When I do count the clock that tells the time And see the brave day sunk in hideous night, When I behold the violet past prime, And sable curls [all] silver'd o’er with white; When lofty trees I see barren of leaves, Which erst from heat did canopy the herd, And summer's green all girded up in sheaves Borne on the bier with white and bristly beard; Then of thy beauty do I question make That thou among the wastes of time must go, Since sweets and beauties do themselves forsake And die as fast as they see others grow; And nothing ’gainst Time's scythe can make defense Save breed, to brave him when he takes thee hence. The English-Speaking Union Education. Scholarship. Understanding. 4 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 14 Not from the stars do I my judgment pluck, And yet methinks I have astronomy— But not to tell of good or evil luck, Of plagues, of dearths, or seasons’ quality; Nor can I fortune to brief minutes tell, Pointing to each his thunder, rain and wind, Or say with princes if it shall go well By oft predict that I in heaven find. But from thine eyes my knowledge I derive, And, constant stars, in them I read such art As truth and beauty shall together thrive, If from thyself to store thou wouldst convert; Or else of thee this I prognosticate: Thy end is truth's and beauty's doom and date. The English-Speaking Union Education. Scholarship. Understanding. 5 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 15 When I consider everything that grows Holds in perfection but a little moment, That this huge stage presenteth nought but shows Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheered and checked even by the selfsame sky, Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory; Then the conceit of this inconstant stay Sets you most rich in youth before my sight, Where wasteful Time debateth with Decay, To change your day of youth to sullied night; And, all in war with Time for love of you, As he takes from you, I engraft you new. The English-Speaking Union Education. Scholarship. Understanding. 6 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 17 Who will believe my verse in time to come If it were filled with your most high deserts? Though yet, heaven knows, it is but as a tomb Which hides your life and shows not half your parts. If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say “This poet lies; Such heavenly touches ne'er touched earthly faces.” So should my papers yellowed with their age Be scorned like old men of less truth than tongue, And your true rights be termed a poet's rage And stretched meter of an antique song. But were some child of yours alive that time, You should live twice—in it and in my rhyme. The English-Speaking Union Education. Scholarship. Understanding. 7 www.esuus.org The English-Speaking Union National Shakespeare Competition SUGGESTED SONNETS PACKET Sonnet 18 Shall I compare thee to a summer's day? Thou art more lovely and more temperate.
Recommended publications
  • Booklet Shakespeare 3
    SONNET 1 From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed’st thy light’st flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world’s fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world’s due, by the grave and thee. SONNET 18 Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines, By chance or nature’s changing course untrimm’d; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. SONNET 29 When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings.
    [Show full text]
  • Poetry As Correspondence in Early Modern England
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social
    [Show full text]
  • Exploring Shakespeare's Sonnets with SPARSAR
    Linguistics and Literature Studies 4(1): 61-95, 2016 http://www.hrpub.org DOI: 10.13189/lls.2016.040110 Exploring Shakespeare’s Sonnets with SPARSAR Rodolfo Delmonte Department of Language Studies & Department of Computer Science, Ca’ Foscari University, Italy Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Shakespeare’s Sonnets have been studied by rhetorical devices. Most if not all of these facets of a poem literary critics for centuries after their publication. However, are derived from the analysis of SPARSAR, the system for only recently studies made on the basis of computational poetry analysis which has been presented to a number of analyses and quantitative evaluations have started to appear international conferences [1,2,3] - and to Demo sessions in and they are not many. In our exploration of the Sonnets we its TTS “expressive reading” version [4,5,6]1. have used the output of SPARSAR which allows a Most of a poem's content can be captured considering full-fledged linguistic analysis which is structured at three three basic levels or views on the poem itself: one that covers macro levels, a Phonetic Relational Level where phonetic what can be called the overall sound pattern of the poem - and phonological features are highlighted; a Poetic and this is related to the phonetics and the phonology of the Relational Level that accounts for a poetic devices, i.e. words contained in the poem - Phonetic Relational View.
    [Show full text]
  • New Sonnets.Indd
    Contents ____________________________________________ About This Volume . vii THE AUTHOR & HIS WORK Biography of William Shakespeare . 3 Shakespeare the Poet . 7 Introduction to Shakespeare's Sonnets . 14 The Lasting Allure of Shakespeare's Sonnets . 18 HISTORICAL & LITERARY CONTEXTS English Poetry in the Sixteenth Century . 29 Does Shakespeare's Life Matter? . 41 The Sins of the Sonnets . 51 Shakespeare (Not?) Our Contemporary: His Sonnets and More Recent Examples . 65 CLOSE READINGS OF 25 SONNETS Sonnet 1 . 75 Sonnet 18 . 77 Sonnet 19 . 79 Sonnet 20 . 81 Sonnet 29 . 83 Sonnet 30 . 85 Sonnet 31 . 87 Sonnet 53 . 89 Sonnet 54 . 91 Sonnet 57 . 93 Sonnet 73 . 95 Sonnet 90 . 97 Sonnet 94 . 99 Sonnet 97 . 101 Sonnet 98 . 103 Sonnet 102 . 105 Sonnet 104 . 107 Sonnet 106 . 109 Sonnet 109 . 111 Sonnet 116 . 113 Sonnet 129 . 115 Sonnet 130 . 117 Sonnet 141 . 119 v Sonnet 146 . 121 Sonnet 151 . 123 CRITICAL READINGS 1: FORM & TECHNIQUE The Form of Shakespeare's Sonnets . 127 Vocabulary and Chronology: The Case of Shakespeare's Sonnets . 137 Sound and Meaning in Shakespeare's Sonnets . 149 Ambiguous Speaker and Storytelling in Shakespeare's Sonnets . 170 Secrets of the Dedication to Shakespeare's Sonnets . 183 CRITICAL READINGS 2: MAIN THEMES Four Pivotal Sonnets: Sonnets 20, 62, 104, 129 . 195 Shakespeare's Sonnets and the History of Sexuality . 207 Shylock in Love: Economic Metaphors in Shakespeare's Sonnets . 223 Hoarding the Treasure and Squandering the Truth: Giving and Posessing in Shakespeare's Sonnets to the Young Man. .235 Without Remainder: Ruins and Tombs in Shakespeare's Sonnets . 245 Ecosystemic Shakespeare: Vegetable Memorabilia in the Sonnets .
    [Show full text]
  • HOGUE-DISSERTATION-2019.Pdf (1.297Mb)
    LEAF, BARK, THORN, ROOT: ARBOREAL ECOCRITICISM AND SHAKESPEAREAN DRAMA by Jason Charles Hogue DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington May, 2019 Arlington, Texas Supervising Committee: Amy L. Tigner, Supervising Professor Stacy Alaimo Jacqueline Fay ABSTRACT Leaf, Bark, Thorn, Root: Arboreal Ecocriticism and Shakespearean Drama Jason Charles Hogue, Ph.D. The University of Texas at Arlington, 2019 Supervising Professor: Amy L. Tigner Leaf, Bark, Thorn, Root traces the appearance of trees and their constituent parts in five Shakespearean plays: Macbeth, The Tempest, 3 Henry VI, Richard III, and As You Like It. The dissertation shows how these plays reveal arboreal agencies intra-acting with the characters of the play-texts by assessing the mergings of human and arboreal bodies, as well as instances of hacking and hewing inflicted across these bodies. Taking a posthumanist approach informed by ecomaterialism, critical plant studies, and affect theory, I argue that these sites of painful human- arboreal encounter in Shakespeare’s plays initiate potentials for thinking-with and feeling-with, across not only species (in the spirit of Donna Haraway’s Companion Species Manifesto) but also across biological kingdoms. Throughout the dissertation, I complicate philosopher Michael Marder’s theories of plant-thinking via these early modern depictions of and relations to trees, whose complex existences inform the texts in multiple registers. The trees of Shakespeare offer ways into theorizing plant-being that not only reflect early modern preoccupations but also resonate across the centuries, potentially serving as a bridge between historicist and presentist methodological concerns, a useful nexus for facing looming ecological issues like climate change, the effects of which long-lived trees bear bodily witness in their annual growth rings and in the shifting of leaf longevity.
    [Show full text]
  • Reading Shakespeare's Sonnets: John Benson and the 1640 Poems
    This is a repository copy of Reading Shakespeare's sonnets: John Benson and the 1640 poems. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/79005/ Article: Shrank, C. (2009) Reading Shakespeare's sonnets: John Benson and the 1640 poems. Shakespeare, 5 (3). 271 - 291 . ISSN 1745-0918 https://doi.org/10.1080/17450910903138054 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Reading Shakespeare’s Sonnets: John Benson and the 1640 Poems Cathy Shrank (University of Sheffield) [Printed in Shakespeare, 5:3 (2009),271-291; URL: http://dx.doi.org/10.1080/17450910903138054] John Benson’s 1640 edition of Shakespeare’s Poems has found little critical favour in the centuries since its production.1 Benson reorders the sonnets (merging many into longer poems), adds descriptive titles, and publishes them alongside other poems – some of which are not by Shakespeare – from sources such as The Passionate Pilgrime and Englands Helicon.2 The work also includes an appendix of poems ‘By other Gentlemen’, such as Ben Jonson, John Milton, Francis Beaumont and Robert Herrick.
    [Show full text]
  • SUGGESTED SONNETS 2015 / 2016 Season the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS
    SUGGESTED SONNETS 2015 / 2016 Season The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all.
    [Show full text]
  • The Symbolic Meanings of Roses in Shakespeare's Sonnets
    Sino-US English Teaching, August 2020, Vol. 17, No. 8, 239-247 doi:10.17265/1539-8072/2020.08.003 D DAVID PUBLISHING The Symbolic Meanings of Roses in Shakespeare’s Sonnets DONG Yuping University of Shanghai for Science and Technology, Shanghai, China The paper explores the symbolic meanings of roses in Shakespeare’s sonnets. In Shakespeare’s 154 sonnets, the rose imagery is placed in a dominant position among all the other flower imagery. In general, rose is one of the most conventional images in the sonnet. But in addition to the traditional symbol of beauty and love, rose in the sonnet shows more symbolic meanings: a symbol of vitality and reproduction, a symbol of friendship and devotion, and a symbol of fidelity and immortality. The symbolic rose, to a great extent, reflects the Renaissance humanist Shakespeare’s values and ideals of humanism. By successfully employing the rose imagery, Shakespeare extols the virtues of reproduction, displays his faith in the immortality of his verse, and conveys the message of appreciating and cherishing the beauty, goodness, and truth. Keywords: rose, sonnet, beauty, reproduction, immortality William Shakespeare (1564-1616), the greatest writer in the English language and the world’s pre-eminent playwright, has produced 37 plays from 1588 to 1613. Shakespeare has made outstanding achievements in drama and has also distinguished himself as a great poet by writing some non-dramatic poems. Shakespeare has written two long narrative poems, Venus and Adonis (1592-1593) and The Rape of Lucrece (1593-1594), and 154 sonnets (1593-1600). Shakespeare’s 154 sonnets include various kinds of flower imagery, varying from the flowers in general to the specific flowers, such as violet, marigold, lily, rose, etc.
    [Show full text]
  • Shakespeare's Sonnets the Complete Guide
    Shakespeare's Sonnets The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 12 Jan 2011 15:37:45 UTC Contents Articles Shakespeare's sonnets 1 Introduction 9 Petrarch's and Shakespeare's Sonnets 9 Dedication and Characters 15 Henry Wriothesley, 3rd Earl of Southampton 15 Sexuality of William Shakespeare 21 Emilia Lanier 25 Mary Fitton 31 Rival Poet 33 The Sonnets 35 Procreation sonnets 35 Sonnet 1 35 Sonnet 2 37 Sonnet 3 38 Sonnet 4 39 Sonnet 5 41 Sonnet 6 42 Sonnet 7 43 Sonnet 8 47 Sonnet 9 48 Sonnet 10 50 Sonnet 11 51 Sonnet 12 52 Sonnet 13 54 Sonnet 14 55 Sonnet 15 57 Sonnet 16 58 Sonnet 17 60 Sonnet 18 62 Sonnet 19 65 Sonnet 20 67 Sonnet 21 70 Sonnet 22 72 Sonnet 23 74 Sonnet 24 76 Sonnet 25 78 Sonnet 26 80 Sonnet 27 82 Sonnet 28 83 Sonnet 29 84 Sonnet 30 89 Sonnet 31 92 Sonnet 32 93 Sonnet 33 94 Sonnet 34 96 Sonnet 35 98 Sonnet 36 102 Sonnet 37 106 Sonnet 38 107 Sonnet 39 108 Sonnet 40 109 Sonnet 41 111 Sonnet 42 112 Sonnet 43 114 Sonnet 44 116 Sonnet 45 117 Sonnet 46 118 Sonnet 47 121 Sonnet 48 122 Sonnet 49 123 Sonnet 50 124 Sonnet 51 125 Sonnet 52 126 Sonnet 53 127 Sonnet 54 130 Sonnet 55 134 Sonnet 56 136 Sonnet 57 137 Sonnet 58 138 Sonnet 59 140 Sonnet 60 146 Sonnet 61 150 Sonnet 62 151 Sonnet 63 153 Sonnet 64 154 Sonnet 65 159 Sonnet 66 162 Sonnet 67 163 Sonnet 68 164 Sonnet 69 165 Sonnet 70 166 Sonnet 71 167 Sonnet 72 168 Sonnet 73 169 Sonnet 74 173 Sonnet 75 174 Sonnet 76 175 Sonnet 77 176 Sonnet 78 177 Sonnet 79 178 Sonnet 80 179
    [Show full text]
  • I in Shakespeare and Beyond Jonathan
    The big impact of a lile word: I in Shakespeare and beyond Jonathan Culpeper, Lancaster University, UK @ShakespeareLang Point of departure … • I is typically omi5ed from Shakespearean dic8onaries (e.g. Crystal and Crystal 2002; Onions 1986), presumably on the assump8on that: (a) their meanings are obvious (because they are considered more or less the same as those of today), and (b) they do not contribute much to understanding Shakespeare. How was the 1st person singular pronoun said? Shakespeare’s was wri8ng roughly half-way through the Great Vowel Shi. i: > əɪ > aɪ (cf. Crystal 2016) But of course the older pronunciaon was available as well (as today) How was the 1st person singular pronoun wrien? • Always “I” • But the 1st person pronoun did not have a monopoly: it competed with the affirmave “Aye”, e.g. Ros . Did your brother tell you how I counterfeyted to sound, when he shew 'd me your handkercher? Orl . I, and greater wonders then that. (AYL) In the First Folio (1623), there are at least 302 instances of I (= Aye) out of 20,293 instances of I (1st pers. pronoun), i.e. about 1.5% of I. Exploing the ambiguity for light humour [Speed and Protheus in Shakespeare’s Two Gentlemen of Verona, act 1, scene I, First Folio 1623] Pro. But what said she? Sp. I. Pro. Nod-I, why that's noddy. Sp. You mistooke Sir: I say she did nod; And you aske me if she did nod, and I say I. Pro. And that set together is noddy. A further homophone: I and eye To me, fair friend, you never can be old, For as you were when first your eye I eyed, Such seems your beauty s8ll.
    [Show full text]
  • Redalyc.In a Minor Key: Visual Effects in Shake-Speare's Sonnets
    SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Hickman, Alan F. In a Minor Key: Visual Effects in Shake-Speare’s Sonnets SEDERI Yearbook, núm. 21, 2011, pp. 147-161 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333527608008 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative In a Minor Key: Visual Effects in Shake-Speare’s Sonnets Alan F. Hickman American University in Bulgaria ABSTRACT Students of the sonnets are no doubt aware that they abound in wordplay that rewards multiple readings. They may be less aware, especially if they are unfamiliar with the original 1609 Quarto edition, that the poems may have been arranged to have a visual impact as well. The sonnet form itself is emblematic of a number of familiar referents, including an escutcheon, a “glass” (mirror), a leaf, and a seal. One might even see in the poems, as did Lady Mary Worth and John Donne in their “crowns” of sonnets, the links in a chain, or necklace. The sonnet form is roughly the poetic equivalent to the portrait miniature (a fad of the day) in art. I shall be pursuing these analogies in my paper. The most striking visual effect occurs in Sonnet 126, the last of the “fair youth” sonnets, which consists of six rhymed couplets followed by two empty sets of brackets.
    [Show full text]
  • Comme Un Fleuve Sonnet 119 Sheet Music
    Comme Un Fleuve Sonnet 119 Sheet Music Download comme un fleuve sonnet 119 sheet music pdf now available in our library. We give you 4 pages partial preview of comme un fleuve sonnet 119 sheet music that you can try for free. This music notes has been read 2751 times and last read at 2021-09-27 10:21:03. In order to continue read the entire sheet music of comme un fleuve sonnet 119 you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Voice, Choir, Voice Solo Ensemble: 4 Part, Satb Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Reel Du Fleuve La Suite Flche Reel Du Fleuve La Suite Flche sheet music has been read 5677 times. Reel du fleuve la suite flche arrangement is for Advanced level. The music notes has 5 preview and last read at 2021-09-26 08:16:13. [ Read More ] Comme La Surface D Un Lac Comme La Surface D Un Lac sheet music has been read 2388 times. Comme la surface d un lac arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-26 08:55:43. [ Read More ] Comme Raggio Di Sol Comme Raggio Di Sol sheet music has been read 2597 times. Comme raggio di sol arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-27 05:29:43. [ Read More ] Heureux Qui Comme Ulysse Heureux Qui Comme Ulysse sheet music has been read 4192 times.
    [Show full text]