SONNETS 11-13 SONNETS 14-16 + 16' 11 14 As Fast As Thou Shalt Wane, So Fast Thou Grow'st Not from the Stars Do I My Judgement Pluck

Total Page:16

File Type:pdf, Size:1020Kb

SONNETS 11-13 SONNETS 14-16 + 16' 11 14 As Fast As Thou Shalt Wane, So Fast Thou Grow'st Not from the Stars Do I My Judgement Pluck 1672 + SONNETS 11-13 SONNETS 14-16 + 16' 11 14 As fast as thou shalt wane, so fast thou grow'st Not from the stars do I my judgement pluck, . In one of thine from that which thou: departest,l And yet methinks I have astronomy;O Ils'trological knowld And that fresh blood which youngly thou bestow'st But not to tell of good or evil Juck, Thou mayst call thine when thou from youth convertest. 0 turn away Of plagues, of dearths, or seasons' quality. O Herein lives wisdom, beauty, and increase; Nor can I fortune to brief minutes tell, precis! Without this, folly, age, and cold decay. 'Pointing to each his thunder, rain; and wind, If all were minded so, the times should cease, Or say with princes if it shall-go well O And threescore year would make the. world away. By oft predict that I in heaven find; Jnll1terolls sit) Let those whom nature, hath notmade for store," breeding But from thine eyes my knowledge I derive, 10 Harsh,o featureless,o and Tude,o barrenly,perish. ugfy (all three words) 10 And, constant stars, in them I read such art Look whom she best endowed she gave :the more,2 As! truth and beauty shall together thrive Which bounteous gift thou shouldstin bountyO cherish. ,by ushig b01mtifully If from thyself to store thou wouldst convert. 2 She carved thee for her seal,3 and meant thereby Or else of thee this Iprognosticate: Thou shouldst print more, not let that copy die. Thy endis truth's and beauty's doom and date.o filml judgment and 1'1 (C~.' . 12 , 15; ,J 'When I do count the clocko that tells the time, ' lwurs as they strike \\Then I consider eve'tTthihg that grows And see the braveD day sunk in hideous night; fine Holdso in perfection but a little moment, RenJai When I behold the violet past prime, That this huge stage presenteth naught but shows Arid sableo curls ensilvered o'er with white; black Whereon the stars in secret influenceD comment; (asrrologicali When lofty trees I see barren of leaves,' When I perceive that men as plants increase, Which erstO from heat did canopy the herd, once Cheered and checked even by the selfsame sky; O And summer's green all girded up in sheaves Vaunt intheir youthful sap,° at height decrease,­ Gloat I streng 1 Borne on the bier with white and bristly beard: And wear their brave state out of memory: I Then of thy beauty do I question make Then the conceitO of this inconstant stayO illlilginarl0l1 / (on eart, 10 That thou among the wastes of time must go, 10 Sets you most rich in youth .before my sight, Since sweetsO and beauties do themselves forsake, sweet things mere wasteful time debatethO with dec;1y comper And die as fast as they see others grow; To change your day of youth to sullied night; And nothing 'gainst time's scythe can make defence And all in war with time,,-£oi~ love of you, Save breed to brave himO when hetakes thee hence. children to defy time As he takes from you, I e!1graft you new. 2 13 16[' o that you were yourself! 1 But, love, you are But wherefore do not you a mightier way No longer yours than you yourself here live. Make war upon this bloody tyrant, time, AgainstO this coming end you should prepare, F" And fortify yourself in your decay And your sweet semblance to some other give. "With means more blessed than my barren rhyme? So should that beauty which you hold in lease Now stand you on the top of happy hours,° in your pri11 Find no determination;o then you wereO never end /wOldd be And many maiden gardens yet unsetO 1-111plant! Yourself again after your self's decease, With virtuous wish would bear your living flowers, When your sweet issue your sweet form should bear. ' Much liker than your painted counterfeit.° image in art or poet 2 o Who lets so fair a house fall. to decay, So should the lines of life that life repair Testa 3 10 Which husbandry' in honour might nphold 10 mich this time's pencil or my pupil pen Against the stormy gusts of winter's day, Neither in inward worth nor outward fair And barren rage ofdeath's eternal cold? Can make you live yourself" ineye~ of men. as yourse 0, none but unthrifts,° dear my love, you know; spendthrifts To give' away yourself keeps yourself still,O (as childTe1 You had a father; let your son say so. And you must live drawn by your own sweetskill. Sonnet II 3. Literally, a stamp of authority. I. In a child begotten in youth (with ~ugge~tions of Sonnetl2 SQnnet 14 I loveyoli, restore you with my verse. ~exual intercOllr~elind of-death). 1. An ... beard: And sheaves of mature ("bearded") I. such art IAs: such predictions as that. Sonnet 16 2. To whomever nature gave most (made be.st-looking) grain carried away on the harvest cart; old man borne on 2. Ifyou would prOvide for tbe future. 1. This sonnet links \\ith 15. she gave even more (extra reproductive abilities). The a funeral bier. SonnetlI5 2. Lineage; IMng lines (unlike those ofpoet or p<linter near circularity of"best endowed" and "more~' alludes to Sonnet 13 l. \Vear theirsplendid clothing until they are forgotten 3. Neither today's painters ("pencil" means "paintbrush Matthew 25:29, the paradoxical parable of the talents: 1. If only you could remain your (eternal) self. (with a sense of "wearing out"). nor I, who imitate psjnting in my verse. "For unto every man that hath, it shall be given." 2. Stewardship; being a husband. 2. And . ,. new: And I, in competition 'Aith time because 1676 + SONNETS 22-25 SONNETS 25-28 + Presume not on1 thy heart when mine is slain: 10 Mter athousand victories once foiled thine~6t:t. Thou gav'st me give back again. Is from, the book 0f.hon'our ra.zedo quite, ~... And all the rest forgot for which be toiled. Then happy I, that love and am beloved As an unperfect actor ~n:h stage 'Where·f may not remove nor be removed. Who with his fear is put besideso his part, forgets Or some fierce thing replete with too much rage 26 Whose strength's abundance weakens his' own heart, Lord of my love, to whom in vassalageO So I, for fear of trust,O forget to say lacl{ ofconfidence Thy merit hath my duty strongly knit; feudal all The perfect ceremony of love's rite, I To thee I send this written embassageO And in mine own love's strength seem to decay, To witness ,duty, not to show.my wit; O'er~charged with burden of mine own love's,might. Duty so greatwhich wit so poor as mine o let my books be then the eloquence May make seem bare in wantingO words to, show it, 10 And dumb presagers'O of my speaking breast, mllte preseHters But that I hope some good conceitO of thine \Vhoplead for love, and look for recompense , 2 In thy soul's thought, all naked,i will bestow<' it, More than that tongue that more hath more expressed. Till whatsoever star that guides my movingO provide apJ learn to read what silent love hath writ; o 10 Points on· me graciously with fair aspect,° To hear with eyes belQQ~o love's fine wit. And puts apparel on mytattered loving astrological in} f;;4) To show me worthy of thy sweet respect, 2 Then may fdare to boast how I do love thee; Mine eye hath played ~painter,1 and hath steeled Till then, not showmyhead where thou mayst prove" me. Thy beauty's form in tableO of my heart. the painted tablet My body is the frame wherein 'tis held, 27 And perspective3 it is best painter's art; Weary with toil I haste me to my bed, For through the painter must you see his skill The dear repose for limbs With travelO tired; To find where your true image pictured lies, But then begins a journey in my head work;joun \iVhich in my bosom's shope is hanging still, heart's workshop To work-my mind when body's work's expired; T~at hath his windows glazed with thine eyes,4 For then my thoughts, from far where I abide, Now see what good turns eyes for eyes have done: Intend a zealous pilgrimage to thee, 10 Mine eyes have drawn thy shape, and thinefor'me And, keep my drooping eyelidsopen<wide, Are windows to my breast, wherethrough the sun Looking on darkness which tlLe blind do see:' Delights to peep, to gaze therein on thee, Save that my soul's imaginllfy sight lack this talent Yet eyes this cunning wantO to grace their art: 10 Presents thy shadowo ,to. my sightless· view; They draw but what they see, know not the heart, Which like ajewe1 hungin ghastly night pi Makes black night beauteous and her old.face new, 25 Lo, thus by day my limbs, by night my mind" Let those who are in favour with their stars ForO, thee, and formyself, no quiet find. or public honour and proud titles boast, Becat \Vhilst I, whom fortune of such triumph bars, 28' Unlooked~for l joy in that I honour most. How can I then return in happy plight, 0 Great princes' favourites their fair leaves spreado bloom That am debarred the benefit of rest, cond But as the marigold at the sun's eye,2 o When day's oppression is not eased by night, And in themselves their pride lies buried, will lie But day by night and night by,day oppressed, For at a frown they in their glory die.
Recommended publications
  • Poetry-II-Teacher-Sample-3Rd-Ed.Pdf
    Contents Contents How to Use This Study Guide with the Text & Literature Notebook ......5 Notes & Instructions to Teacher ....................................................................7 Taking With Us What Matters .......................................................................9 Four Stages to the Central One Idea ............................................................13 How to Mark a Book ......................................................................................18 THE ENGLISH RENAISSANCE PERIOD Introduction ................................................................................................... 22 Basic Features & Background ....................................................................... 24 Queen Elizabeth On Monsieur’s Departure ............................................................................. 30 Speech to the Troops at Tilbury ..................................................................... 33 Edmund Spenser – from The Faerie Queene, Canto I ..............................................37 Christopher Marlowe – The Passionate Shepherd to His Love ...............................47 Sir Walter Raleigh – The Nymph’s Reply to the Shepherd .......................................50 Sir Philip Sidney – Sonnet 31 ...............................................................................................54 George Peele – A Farewell to Arms .....................................................................................57 Robert Southwell – The Burning Babe .............................................................................60
    [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]
  • Sonnets, Speeches & Sonneteers
    Sonnet Walk Weekend VIII (2018) – Sonnets, Speeches & Sonneteers THE PORTER - Macbeth, Act 2 Sc 3 (Richard Neale) My glass shall not persuade me I am old, Knock, knock, knock! Here's a knocking indeed! If a man were porter of So long as youth and thou are of one date; hell-gate, he should have old turning the key. Who's there, i' the name But when in thee time's furrows I behold, of Beelzebub? Then look I death my days should expiate. Here's a farmer that hanged himself on the expectation of plenty: For all that beauty that doth cover thee come in time; have napkins enow about you; here you'll sweat for't. Is but the seemly raiment of my heart, Knock, knock! Who's there, in the other devil's name? Faith, here's an Which in thy breast doth live, as thine in me: equivocator, that could swear in both the scales against either scale; How can I then be elder than thou art? who committed treason enough for God's sake, yet could not O, therefore, love, be of thyself so wary equivocate to heaven: O, come in, equivocator. As I, not for myself, but for thee will; Knock, knock, knock! Who's there? Faith, here's an English tailor come Bearing thy heart, which I will keep so chary hither, for stealing out of a French hose: come in, tailor; here you may As tender nurse her babe from faring ill. roast your goose. Presume not on thy heart when mine is slain; Knock, knock; never at quiet! What are you? But this place is too cold Thou gavest me thine, not to give back again.
    [Show full text]
  • Shakespeare's Drama in Poetry
    Alessandro Serpieri Shakespeare’s Drama in Poetry Σ Skenè Studies II • 2 Skenè Studies II • 2 Alessandro Serpieri Shakespeare’s Drama in Poetry Σ S K E N È Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editor Serena Marchesi. Copyeditors Francesco Dall’Olio, Marco Duranti. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2015-2018 S K E N È All rights reserved. ISBN 978-88-96419-70-0 First edition May 2015 Re-printed in May 2018 No part of this book may be reproduced in any form or by any means without permission from the publisher S K E N È Theatre and Drama Studies http://www.skenejournal.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. MBE150) – Viale Colonnello Galliano, 51, 37138 Verona (I) Table of contents Foreword 7 1. Shakespeare’s Immortality Sonnets. An Agon Against Time 13 2. Sonnets 33 and 29. Conflict Between Two Cultural Models 139 3. Shakespeare Against Iago 163 Bibliography 187 Glossary 193 Index 199 Foreword I am collecting in this volume various studies that I have written on Shakespeare’s Sonnets over a period of several years.
    [Show full text]
  • The Hermeneutics of Symbolical Imagery in Shakespeare´S Sonnets
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LITERATURAS DE LÍNGUA INGLESA The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Dissertação submetida à Universidade Federal do Rio Grande do Sul para obtenção do grau de Mestre em Letras na Ênfase Literaturas de Língua Inglesa Mestrando: Rafael Carvalho Meireles Orientadora: Profa. Dra. Sandra Sirangelo Maggio Porto Alegre Maio, 2005 FICHA CATALOGRÁFICA MEIRELES, Rafael Carvalho The Hermeneutics of Symbolical Imagery in Shakespeare´s Sonnets Rafael Carvalho Meireles Porto Alegre: UFRGS, Instituto de Letras, 2005. 209 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1. Literatura inglesa. 2. Crítica literária. 3. William Shakespeare. 4. Sonetos. 5. Estudos do Imaginário. Agradecimentos FAMILIARES: À minha mãe e ao meu pai PESSOAS ESPECIAIS: PROFESSORES ESPECIAIS: Às professoras Dras. Sandra S. Maggio e Ana M. L. de Mello MEMBROS DA BANCA: Ana M. L. de Mello, Élvio A. Funck, Rosalia N. Garcia ÓRGÃOS FINANCIADORES PPG-LET Por fim, a todos aqueles que, direta ou indiretamente, auxiliaram a realização deste trabalho. RESUMO A presente dissertação consiste em um estudo das imagens simbólicas dos Sonetos de Shakespeare sob a luz das teorias modernas e contemporâneas do imaginário, mito e símbolo de autores como C.G.Jung, P. Ricoeur e G. Durand. Procura mostrar parte do processo criativo Shakespeareano identificando mitos pessoais, imagens recorrentes, assim como arquétipos e padrões arquetípicos presentes nos sonetos. Divide-se em três capítulos. O primeiro, a Introdução, apresenta Shakespeare como poeta e resume algumas abordagens críticas e os problemas decorrentes que foram debatidos até então.
    [Show full text]
  • Shakespeare's Sonnets in Russian
    Shakespeare’s Sonnets in Russian: The Challenge of Translation Elena Rassokhina Umeå Studies in Language and Literature 37 Department of Language Studies Umeå University 2017 Department of Language Studies Umeå University SE-901 87 Umeå http://www.sprak.umu.se This work is protected by the Swedish Copyright Legislation (Act 1960:729) © 2017 Elena Rassokhina ISBN: 978-91-7601-681-7 Front cover illustration: Elena Rassokhina, Aleksei Zakharov, Anja Rassokhina Electronic version accessible via http://umu.diva-portal.org/ Umeå Studies in Language and Literature 37 Printed by: Print & media, Umeå University Distributed by: eddy.se ab, Visby Umeå, Sweden 2017 To study Shakespeare in translation is just another way to find him. Ton Hoenselaars The translation of verse is impossible. Every time is an exception. Samuil Marshak Table of Contents Table of Contents i Abstract iii List of Articles v Acknowledgements vii A note on transliteration and translation ix Preface 1 1. Introduction 3 1.1. Shakespeare’s sonnets as a Russian literary phenomenon 3 1.2. Objectives of the research and methodology 5 1.3. Disposition of the thesis 6 1.4. Sources and limitations 7 1.5. Critical studies of the sonnets and their translations into Russian 8 1.6. Theoretical background 11 1.6.1. Translation and norms 11 1.6.2. Translation as rewriting 12 1.6.3. Translations and retranslations 13 1.6.4. Translatability and poetic translation 17 2. The context of Shakespeare’s sonnets 25 2.1. The sonnets and translation competence 25 2.2. Date of composition and the author’s intentions 26 2.3.
    [Show full text]
  • Sonnet 33 My Sunne 14 February 1601
    THE PRISON YEARS OXFORD RECALLS HIS SON’S BIRTH DAY SEVEN IN THE TOWER Sonnet 33 My Sunne 14 February 1601 In the midst of the current crisis, with Southampton imprisoned and facing death, Edward de Vere recalls the “birth” of his son described in the previous sonnet. He recalls how, in the summer of 1574, Queen Elizabeth went “stealing to west with this disgrace” (leaving on her progress to Bristol and Bath in the west, with her negative view of her newly born royal son). Writing as a proud father, Oxford recalls how "my Sunne" appeared "with all triumphant splendor on my brow," but that the boy "was but one hour mine" because “the region cloud” (Elizabeth Regina’s imperial frown) quickly covered him. This is the same "boy" Oxford wrote about in the early verses (later to become Sonnets 153-154) following the visit to Bath in August 1574. All along Southampton has privately carried the “stain” of royal bastardy; now he also carries the public stain of treason and dishonor. But by inserting this sonnet as No. 33 (the age of Christ when He died and rose from the dead), Oxford implies he will bring about a resurrection for his royal- sacred son. Sonnet 33 Translation Full many a glorious morning have I seen On many mornings I have seen my son’s full royalty Flatter the mountain tops with sovereign eye, Gracing the world with his sovereign eye, Kissing with golden face the meadows green, Shining his royal light on everything, Gilding pale streams with heavenly alchemy: Gracing all with his blood inherited from Elizabeth.
    [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]
  • "Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected]
    Ouachita Baptist University Scholarly Commons @ Ouachita Articles Faculty Publications Spring 1999 "Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected] Follow this and additional works at: https://scholarlycommons.obu.edu/articles Part of the Literature in English, British Isles Commons Recommended Citation Curlin, Jay, ""Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets" (1999). Articles. 130. https://scholarlycommons.obu.edu/articles/130 This Article is brought to you for free and open access by the Faculty Publications at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Articles by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. "Undivided loves": Coordtnalion and Coherence in Shakespeare's Sonnels Let me confess that we two must be twain, Although our undivided loves are one. (Sonnet 36) The reader of touay is generally accustomed to thinking of the sonnets of William Shakespeare as isolated, independent lyric poems. While anthologies have certainly kept alive something of Shakespeare's memory as a writer of nondramatic verse, doing their part to ensure that, "so long as men can breathe or eyes can see," at least certain of his more famous sonnets will continue to live, they have also tended to strengthen the perception that one should approach Shakespeare's sonnets individually, with little sense of any larger context of which they might be a part. Indeed, it has been suggested that those of Shakespeare's sonnets that have been made popular to a general audience by their regular inclusion in anthologies are precisely those that can be most easily severed from the sequence, and that those that bear clear traces of having been taken from a sequence have no hope of ever achiev­ ing the more permanent renown of an "anthology piece" (Crossman 481).
    [Show full text]
  • "The Conceit of This Inconstant Stay": Shakespeare's Philosophical Conquest of Time Through Personification
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 8-5-2010 "The conceit of this inconstant stay": Shakespeare's Philosophical Conquest of Time Through Personification Triche Roberson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Roberson, Triche, ""The conceit of this inconstant stay": Shakespeare's Philosophical Conquest of Time Through Personification" (2010). University of New Orleans Theses and Dissertations. 1203. https://scholarworks.uno.edu/td/1203 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “The conceit of this inconstant stay”: Shakespeare‟s Philosophical Conquest of Time Through Personification A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Triche Maria Roberson B.A. Loyola University New Orleans, 2003 August 2010 Acknowledgment I would like to thank Mr. John Gery, Dr.
    [Show full text]
  • Sonnet 22 the Thread Is Extended to the Speaker, Who at First Argues That His Own Youth Will Remain As Long As the Young Man Has His
    22 fter his satire on the extravagant language used by A My glass shall not persuade me I am old, previous sonneteers, Shakespeare So long as youth and thou are of one date; shows how it should be done by But when in thee time’s furrows I behold, writing a true love song in Then look I death my days should expiate. conspicuously direct diction. He For all that beauty that doth cover thee also performs a tour de force by Is but the seemly raiment of my heart, blending conventional images with Which in thy breast doth live, as thine in me. some of his own key threads. The How can I then be elder than thou art? “glass” of the opening line picks up the thread of the mirror used in the O therefore, love, be of thy self so wary, opening of Sonnet 3, where the As I not for my self, but for thee will, speaker tells the youth to look into Bearing thy heart, which I will keep so chary his own glass to remind himself that As tender nurse her babe from faring ill. he should marry soon. The speaker Presume not on thy heart when mine is slain, calls the youth his “mother’s glass” Thou gav’st me thine not to give back again. (l. 9), and imagines him in the future looking into the mirror, which, despite his wrinkles, will show the vestiges of his “golden time” (3. 13). Thus, early on, the glass becomes a thread that connects generations and loved ones.
    [Show full text]