Shakespeare Sonnets :|: All on One Page :|: with Paraphrases, Glosses and Notes.

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. Sonnet 1 .

(original language, but moderately updated)

01. From fairest creatures we desire increase,

02. That thereby beauty's Rose might never die,

03. But as the riper should by time decease,

04. His tender heir might bear his memory:

05. But thou contracted to thine own bright eyes,

06. Feed'st thy lights flame with self substantial fuel,

07. Making a famine where abundance lies,

08. Thyself thy foe, to thy sweet self too cruel:

09. Thou that art now the world's fresh ornament,

10. And only herald to the gaudy spring,

11. Within thine own bud buriest thy content,

12. And tender churl makest waste in niggarding:

13. Pity the world, or else this glutton be,

14. To eat the world's due, by the grave and thee.

. Sonnet 1 .

(paraphrased)

01. We desire more from the most beautiful people,

02. So that the "rose" of beauty will never die,

03. But as the older beauty must, with time, pass away,

04. His young heir should carry on the reminder of his beauty.

05. But you, like Narcissus, "married" only to what you see,

06. Are feeding the flame of your "light" with the fuel of your own substance,

07. Which will lead to a "famine" of beauty where it's now abundant,
(when your substance is entirely consumed.)
08. You are your own enemy, too cruel to your friendly self.

09. You, who are now a young "decoration" on the world,

10. And the first flower of the showy spring,

11. Are hoarding your beauty entirely within the "bud" of yourself, alone,

12. And, mortal miser, you'll create waste with your stinginess.

13. Take pity on the world's love of beauty, or else be the kind of glutton,

14. Who consumes the beauty the world is owed, when it's lost to the grave,
because of your own behavior.

Sonnet 1 Gloss

L1: fairest = most handsome; most attractive.

L1: we - Lovers of beauty.

L2: Rose = premier symbol.

L5: contracted = married (figuratively speaking.) (Note, to the right.)

L5: bright eyes - What he sees with his eyes.
Reference to his own reflection. Eyes are reflective.

L6: thy lights flame = the "fire" of your own "delightful" beauty.

L7: famine = shortage; dearth.

L8: sweet = friendly.
Implying he should be a better friend, to himself.

L9: ornament = adornment; decoration.

L10: herald = leader. Also 'primary one.' The "first flower" (of spring.)

L11: bud = self. A loose usage for 'blossom.'

L11: buriest = hoards (all to himself.)
Implies his beauty being buried with him, when he dies.

L11: content = what he contains; i.e. his beauty, his quality.

L12: tender churl = young miser. (Note, to the right.)

L12: niggarding = stinginess; being miserly.

L13: this glutton = this kind of glutton.

L14: eat = consume.

Sonnet 1 Notes

L5: contracted = married (figuratively speaking.)
Reference is to the marriage contract. The idea is that the addressee is "married" to his own reflection in the mirror. It's a Narcissus allusion.

L12: tender churl = young miser.
"Tender" primarily means "young," but also implies "mortal." The same usage of "tender" is found in Hamlet, Scene 15 (Act 4 scene 4.)
~=~
Hamlet: Led by a delicate and tender prince.
=~=~=
Hamlet is speaking there of Fortinbrasse being young and mortal, like himself. (The phrase "delicate and tender" is somewhat redundant, but not exactly. It would take a while to draw the distinction between the words that the context in Hamlet indicates.)

In the use of "tender" there is also a subtle suggestion of "kind," in connection with the advice that the addressee should reproduce his own kind, by having an heir.

Overall, the Sonnet can be seen as the Poet cautioning the Addressee that he's only an "annual," not a "perennial" type of flower, so to speak, which means that if there is to be a beautiful flower in the garden next spring, he must "pollinate."

. Sonnet 2 .

(original language, but moderately updated)

01. When forty Winters shall beseige thy brow,

02. And dig deep trenches in thy beauty's field,

03. Thy youth's proud livery so gazed on now,

04. Will be a tatter'd weed of small worth held:

05. Then being asked where all thy beauty lies,

06. Where all the treasure of thy lusty days;

07. To say within thine own deep sunken eyes,

08. Were an all-eating shame, and thriftless praise.

09. How much more praise deserv'd thy beauty's use,

10. If thou couldst answer this fair child of mine

11. Shall sum my count, and make my old excuse

12. Proving his beauty by succession thine.

13. This were to be new made when thou art old,

14. And see thy blood warm when thou feel'st it cold.

. Sonnet 2 .

(paraphrased)

01. After forty years of age have "attacked" your features,

02. And made deep lines in the skin of your handsome face,

03. The proud young beauty in which Nature has clothed you,
so much admired now,
04. Will then be a tattered "costume," of little value.

05. Then, if you are asked where all your beauty has gone, and

06. Where is the valuable treasure buried, that was on display in
your lusty youth,
07. If you say, "it's now buried behind my own deep-sunken eyes,
in my own memory,"
08. That would be an all-consuming shame, and a commendation
without any benefit, since only you can see your memories.
09. The use of your beauty would earn so much more praise,

10. If you could answer, "this fair child I have

11. Restores the 'account balance,' of beauty, and excuses my being
old and unattractive now -
12. Proving by his beauty that he's my successor, in more ways than one."

13. It would be like being newly remade, when you are old,

14. And you'd see your "own flesh and blood" warm, when you're
"feeling the cold" of old age.

Sonnet 2 Gloss

L3: livery = uniform. (Note, to the right.)

L3: so gazed on now - (Note, to the right.)

L4: weed = clothing; costume.
The theatrical term "costume" is probably the best equivalent, since Shakespeare was mainly a playwright.

L6: treasure = value; "treasure" of beauty.

L6: lusty = lively; vigorous; energetic.

L5 to L7 - (Note, to the right.)

L8: all-eating = all consuming; self destructive.

L8: thriftless = lacking benefit.
A figure of speech from finance or economics.

L9: deserved = would deserve; would earn.
The word order of line 9 requires rearrangement for prose.

L11: sum my count = make up for my loss. (Note, to the right.)

L11: old excuse - (Note, to the right.)

L12: succession - Has a double meaning, first, poetically, the succession of beauty, and second, there's reference to succession in fact, an heir.

Sonnet 2 Notes

L3: livery = uniform.
In Shakespeare's time, servants were uniformed in livery by their master, or mistress, to identify them. The idea here is that Mother Nature has given the addressee beautiful livery to wear, as her servant.

L3: so gazed on now
In addition to others looking at the addressee, it implies the addressee enjoying how he looks in the mirror. There's a Narcissus implication. The addressee's mirror image will be the "buried treasure" later, existing only deep in his own eyes.

L5 to L7
There is the idea of "buried treasure" in lines 5 to 7, which it is necessary to make explicit in paraphrase. "Deep sunken eyes" are "buried" eyes, so to speak. What one sees in deep-sunken eyes are buried memories.

L11: sum my count = make up for my loss.
Means "reconcile my account balance," in financial terms. The idea is that as a young heir grows, his beauty would "balance" the addressee's loss of beauty, from aging. So it would all even out, and the total "beauty account" would "balance," so to speak. The heir would provide a gain, to compensate for the addressee's loss, of beauty.

L11: old excuse
The phrase is a poetic inversion. It means "excuse for being old."
Secondarily, it implies that if he keeps "making excuses" for not getting married and raising a family, it will become an "old excuse" as the years go by. So, there's a double meaning to the phrase.

. Sonnet 3 .

(original language, but moderately updated)

01. Look in thy glass and tell the face thou viewest,

02. Now is the time that face should form another,

03. Whose fresh repair if now thou not renewest,

04. Thou dost beguile the world, unbless some mother.

05. For where is she so fair whose uneared womb

06. Disdains the tillage of thy husbandry?

07. Or who is he so fond will be the tomb,

08. Of his self love to stop posterity?

09. Thou art thy mother's glass and she in thee

10. Calls back the lovely April of her prime,

11. So thou through windows of thine age shall see,

12. Despite of wrinkles this thy golden time.

13. But if thou live, remembered not to be,

14. Die single and thine Image dies with thee.

. Sonnet 3 .

(paraphrased)

01. Look into your mirror, and tell yourself, whom you see there, that

02. Now is the time for you to create another face like yours,

03. For - if you don't renew yourself soon - your own youthful return is
something of which
04. You will defraud the world, and of which you'll deprive some
prospective mother.
05. For, where is any woman who is so beautiful, that her maiden womb

06. She would deny, for conception with you, so handsome, as her husband?

07. Or, where is the man who is so foolish, and so fond of himself, alone,
that he'd "dig his own grave"
08. In his self-love, to ensure he has no posterity?

09. You are an image of your mother, and when she looks at you

10. She recalls the lovely springtime of her life,

11. And if you have a child, when you look out the "windows" of your eyes,
when you are old, you'll recall,
12. Despite your wrinkles, your own youth, your treasured time,
(when you see your child.)
13. But if your purpose in life is not to be remembered,

14. Die unwed and childless, and your image, in both senses of the word,
will die with you.

Sonnet 3 Gloss

L3: The word order needs considerable rearrangement for prose.

L3: repair - (Note, to the right.)

L5: uneared - (Note, to the right.)

L7: fond - Both fond and foolish. (Double meaning.)
Excessive self-fondness is foolishness.

L7: tomb - (Note, to the right.)

L9: thy mother's glass = a reflection of your mother.

L10: April - (Note, to the right.)

L12: golden time = most treasured years (first in fact, and then in memory.)

L14: Image - Both yourself, as you're seen now, and then your prospective image in the form of a child.

Sonnet 3 Notes

L3: repair
Has double meaning. It means "make good," and also "return." (The latter comes from Latin 'repatriare' meaning to "return to the native land.") The "native land" for the addressee's beauty is the human world. The idea is that the addressee's beauty should continue to dwell, in beauty's "native land" of the world, after the addressee, himself, is gone to the "foreign land" of the grave. The addressee could keep his beauty dwelling in the world by having an heir.

L5: uneared Has double meaning. The first is a straightforward fertility reference, like planting ears of corn.

The second meaning refers to the womb having no ears to hear. This is more subtle. The Poet is saying that even though the woman's womb has no ears, it would "hear" the addressee's attractiveness as a mate, with whom to have a child.

For the allusion to hearing, the line 6 word "tillage" is read as "tellage." To "tell" is to speak. Shakespeare punned between "till" and "tell."

That is, for lines 6 and 7, the second meaning is:
~=~
'For where is she so fair whose "unhearing" womb
Disdains the "tellage" of thy husbandry?'
=~=~=
The original Shakespeare printings sometimes use a spelling of "tell" for "till." Below are examples from Hamlet. The numbers at the left of the lines below are the line numbers in the "Enfolded Hamlet," a link to which can be found on the Links page on this website.

The spelling in the First Folio printing of Hamlet is shown first, and the Second Quarto spelling is shown second.

1585-6 My good friends, Ile leaue you ( till / tel ) night,

2910 ( Till / Tell ) our scale turne the beame.

3498 ( Till / Tell ) then in patience our proceeding be.

L7: tomb
There's allusion to the concept the Poet used elsewhere, of a person's body being his "earth." See Sonnet 146, line 1, for perhaps the clearest statement of the concept: "Poor soul, the center of my sinful earth." A Narcissistic person "buries himself in his own earth," so to speak.

L10: April
The birthday of William Herbert, the son of Mary Sidney Herbert, Countess of Pembroke, was April 8. It's hardly conclusive evidence, but the mention of "April" is compatible with the so-called "fair youth" of the first seventeen Sonnets possibly being William Herbert. (And if that's the case, the first seventeen Sonnets were probably written to be presented in April of 1597.)

. Sonnet 4 .

(original language, but moderately updated)

01. Unthrifty loveliness why dost thou spend,

02. Upon thyself thy beauty's legacy?

03. Nature's bequest gives nothing but doth lend,

04. And being frank she lends to those are free;

05. Then beauteous niggard why dost thou abuse,

06. The bounteous largess given thee to give?

07. Profitless usurer why dost thou use

08. So great a sum of sums yet canst not live?

09. For having traffic with thyself alone,

10. Thou of thyself thy sweet self dost deceive,

11. Then how when nature calls thee to be gone,

12. What acceptable Audit canst thou leave?

13. Thy unus'd beauty must be tomb'd with thee,

14. Which used lives th' executor to be.

. Sonnet 4 .

(paraphrased)

01. Fair but prodigal loved one, why do you waste

02. All your gift of beauty upon yourself?

03. Nature's bequest of beauty to you was not given forever, but only lent,

04. And Nature, since She is free and generous, She lends to those who are,
themselves, generous, (or expected to be.)
05. So then, beauteous miser of beauty, why do you misuse

06. The bounteous largess that was given you to pass along?

07. Gainless banker, why do you hoard

08. So great a grand total of lovely features, yet you have nobody to leave
your wealth of beauty to?
09. By doing the business of beauty with yourself, alone,

10. Your are only robbing your sweet self, of yourself.

11. Then what's the price, when nature calls you to be gone? --
(All your beauty.)
12. What satisfactory accounting can you leave, if there's no living "plus"
to balance your "minus?"
13. Your unlent beauty would be buried with you,

14. Which, if it were lent to an heir, would live on, to represent
your "estate of beauty" to the world.

Sonnet 4 Gloss

L1: Unthrifty = prodigal. (Note, to the right.)

L1: loveliness = beautiful person; and also 'loved one.' (Double meaning.)

L1: spend = waste. Consume; exhaust.

L4: frank = generous; and also, 'free.' (Double meaning.)

L4: free = generous. (Note, to the right.)

L5: beauteous niggard = beautiful miser of beauty.
The word "beauteous" applies in two different ways.

L7: Profitless usurer = gainless banker. (Note, to the right.)

L8: live = live forever. (Note, to the right.)

L9: traffic = business.
Refers to the addressee keeping his "business" of beauty to himself.

L10: deceive = rob.
Refers to the addressee "stealing" from himself by not having an heir.
Secondarily, means the addressee is fooling himself, by not having an heir.

L11: how = what's the price? (Note, to the right.)

L12: Audit - (Note, to the right.)

L13: unused = unlent (in the terms of the poem.)
The idea being, with no heir, the addressee's beauty will just be buried with him.

L14: used = lent. (Note, to the right.)

Sonnet 4 Notes

L1: Unthrifty = prodigal.
"Prodigal" is probably the best equivalent, because of the "son" idea that runs through this group of seventeen Sonnets. The Biblical "prodigal son" is well known, and Shakespeare's familiarity with the Bible is an established fact.

L4: free = generous.
A "free" person is not compelled, so any giving he does is generosity. This goes along with it being the addressee's own decision whether to have an heir.

L7: Profitless usurer = gainless banker.
The idea is that the addressee is "banking" his beauty within himself, not "lending" it to an heir. If he "lent" his beauty to an heir, it would result in a gain, or "profit" of beauty, by increasing the total amount of beauty.

L8: live = live forever.
First, there is the idea that no amount of beauty can "buy" immortality for a person.

Then, "live" is a Middle English spelling of "leave," which was still in use in the Poet's lifetime. So, there is a secondary meaning of the addressee being asked, why can't he "leave" his beauty to an heir?

L11: how = what's the price?
See, for example, Henry IV Part 2 Act 3 scene 2.
~=~
SHALLOW. ...
How a score of ewes now?
SILENCE. ... a score of good ewes may be worth
ten pounds.
=~=~=~=
When Shallow says "how" he is asking "what's the price," or "what's the cost?"

In the terms of the Sonnet, if the addressee leaves no heir, the price to him will be "all his beauty."

Line 11 by itself is a question. Since line 12 is also a question, a comma was placed after line 11, and the question mark, for both questions, was placed at the end of line 12. This kind of punctuation is fairly common in the original Shakespeare publications, that two questions in a row will be separated by a comma, with one question mark at the end. Modern punctuation requires a question mark at the end of line 11 in this Sonnet.

L12: Audit
The word is capitalized and in italics in the original printing. The reason for that is unclear. "Audit" can be understood as "final accounting," or "final hearing."

The phrase "acceptable audit" means one that shows the "books are balanced," i.e. there's a beauty "plus" for each beauty "minus." If the addressee does not have an heir, when he dies there will be a "minus" with no "plus." But an heir would be a "plus" to balance his "minus."

L14: used = lent.
If the addressee's beauty is "lent" to an heir, the heir will live to respresent his "estate of beauty" on earth.

Overall, in the Sonnet, there is the idea that if the addressee does not have an heir, he will "take it with him" as far as his "wealth of beauty" is concerned.

. Sonnet 5 .

(original language, but moderately updated)

01. Those hours that with gentle work did frame,

02. The lovely gaze where every eye doth dwell

03. Will play the tyrants to the very same,

04. And that unfair which fairly doth excel:

05. For never resting time leads Summer on,

06. To hideous winter and confounds him there,

07. Sap checked with frost and lusty leaves quite gone,

08. Beauty o'er-snowed and bareness everywhere,

09. Then were not summer's distillation left

10. A liquid prisoner pent in walls of glass,

11. Beauty's effect with beauty were bereft,

12. Nor it nor no remembrance what it was.

13. But flowers distill'd though they with winter meet,

14. Leese but their show, their substance still lives sweet.

. Sonnet 5 .

(paraphrased)

01. Time personified, that with kind, noble work did make

02. The lovely face that everyone admires,

03. Will destroy that face,

04. And make ugly, that exceedingly fair appearance.

05. For, Time never rests, and summer

06. Is defeated by ugly, dreadful winter, when

07. The flow of life is frozen, and liveliness is gone,

08. Beauty is hidden, and plainness is everywhere.

09. Then, were not the essence of summer left,

10. Retained, so that it can be seen,

11. The property of beauty, along with beauty, itself, would be lost,

12. Leaving neither beauty, nor any memento of what it was.

13. But flowers preserved, though they die in winter,

14. Give up only their show; their essence still lives sweetly.

Sonnet 5 Gloss

L1: Those hours - A personification of Time. (Note, to the right.)

L1: frame = make; construct.
There's an implication of "display," since a framed picture is displayed.

L2: lovely gaze - A synecdoche for "face."
The gaze of the eyes is part of the face, here, the salient part for poetic purposes.

L3: play the tyrant = kill. Raze, destroy.
Tyrants are murderous and destructive.

Nature giveth, Nature taketh away, is the concept.

L4: fairly doth excel = excels in fairness; also, excels fairly. (Double meaning.)

L6: hideous - Essentially, "ugly" in this usage. Also, dreadful; fearful.

L6: confounds = defeats; overthrows.

L7: checked = stopped.

L7: lusty = lively.
Leaves are "lively" in the summer breeze, they "dance."
"Lusty" can also be understood as 'vigorous.'

L8: o'er-snowed - Refers to white hair on the head.
Further means beauty covered, concealed, no longer visible.

L8: bareness = nakedness (in the poetic sense.)
Refers to plainness, lack of beauty, "the skull beneath the skin."

L9: distillation = essence; extraction; spirit.
"Distillation" contains "still" = always. It basically means a "preserve," something preserved.

L10: liquid = flowing. A contrast to "sap checked with frost."

L10: prisoner = a thing held, retained, that won't escape and be lost.

L10: walls of glass - So that it can be seen, like the addressee's loveliness now.

L11: effect - Basically "property."
A distillation of beauty would be beauty's "property."

L11: bereft = lost.
Implies bereavement, a sad deprivation.

L12: remembrance = keepsake; memento. A tangible reminder.

L14: Leese = lose.
There's wordplay with "lease" - something leased is given up for one's own use.

L14: substance = essential nature. (Note, to the right.)

Sonnet 5 Notes

L1: Those hours - A personification of Time.
In the 1609 publication of the Sonnets, the original spelling of "hours" is "howers." There is a Middle English verb 'howen' which means "to care" or "to mind." From that, a "hower" would be a carer or a minder.

L14: substance = essential nature.
The word "substance" is from Latin 'sub + stare' which means literally "under+stand," but is used to mean "be present" or "hold out." So the use of the word "substance" in the Sonnet implies that the addressee's beauty, if he has an heir, will still be "understood" in the future, where it will still "hold out," and "be present."

. Sonnet 6 .

(original language, but moderately updated)

01. Then let not winter's ragged hand deface

02. In thee thy summer ere thou be distill'd:

03. Make sweet some vial; treasure thou some place

04. With beauty's treasure ere it be self-kill'd:

05. That use is not forbidden usury,

06. Which happies those that pay the willing loan;

07. That's for thyself to breed another thee,

08. Or ten times happier be it ten for one,

09. Ten times thyself were happier than thou art,

10. If ten of thine ten times refigured thee,

11. Then what could death do if thou shouldst depart,

12. Leaving thee living in posterity?

13. Be not self-will'd for thou art much too fair,

14. To be death's conquest and make worms thine heir.

. Sonnet 6 .

(paraphrased)

01. Then, don't let winter's rough hand spoil

02. Your prime, within you, before you are preserved;

03. Enrich some small "container" of your beauty, a child; make some
place valuable
04. With the treasure of beauty, before your beauty ends because of
your own negligence;
05. "Lending" your beauty to your child is not a forbidden kind of lending,

06. As it will make you happy, to make the free "loan," of beauty;

07. The "loan" is really to yourself, to breed another you,

08. Or, to be ten times happier, and luckier, make it ten children, with
one parent, you.
09. Ten times "yourself" would be happier, and luckier, than you are alone, and

10. If ten children of yours each had ten children, reproducing you,

11. Then, death would accomplish nothing, when you die,

12. Because you would "live" in your posterity.

13. Don't be only self-centered, because you're much too fair,

14. To be defeated by death, and leave your beauty only to the worms.

Sonnet 6 Gloss

L1: Then - This Sonnet was written to follow Sonnet 5, so it begins with a word of continuation.

L1: ragged = rough. (Note, to the right.)

L1: deface = spoil; disfigure.
Also literal "de-face" - remove the face (of youth.)

L2: summer = prime of life; time of greatest beauty.
Summer is also the vigorous season.

L2: distilled = preserved. (Note, to the right.)

L3: Make sweet = enrich.

L3: vial = a small container for an essence.
Refers to a child, an heir, who would be a "small container" for the addressee's essence of beauty.

L3: treasure = make treasured.
"Treasure thou some place" = Make some place valued.

L4: self-kill'd - Not a reference to suicide, but rather an end because of negligence.

L5: usury = lending.

L6: pay = pay out. (Not the usual meaning of "pay back.")

L6: willing = freely given. It isn't usury to lend for free.
There's a hint of "will" as in "last will and testament."
Further, "will" can be understood as "desire." So, "willing loan" = desirable loan.

L7: That's for thyself = it's a loan to yourself.

L8: ten - Traditionally, interest charged at ten percent or more was considered usurious, thus, the significance of the number.

L8 & L9: happier - Both more cheerful, and luckier.

L10: refigured = reproduced.
Also implies "duplicated."
There's wordplay on the concept of a recalculation.

L12: living = essentially existing.

L13: self-will'd = self centered.
There's the suggestion of last will and testament, which implies the Poet saying, "don't leave your beauty to yourself in your will."

Sonnet 6 Notes

L1: ragged = rough.
Raises the idea of the face becoming like old, ragged, unattractive clothes.

The word "ragged," in heraldry, is the same as the term "raguly," which refers to a "sawtooth" pattern. A saw is used to cut away things, or more generally speaking, to remove things. The heraldic term deserves consideration since Shakespeare displayed an interest in heraldry in his writings.

L2: distilled = preserved.
There is also the idea of "dropped," like a dead leaf from a tree. A distillation is a "drop," (from the root meaning of "distill,") and also a fall is a "drop." The phrase "ere thou be distill'd," itself, can be read as "before you are dropped" (like a leaf from a tree.)

Further, "distilled" can be understood as "no longer," from the use of "still" to mean "always." For that, "dis-till" can be read, poetically, as "not always." The addressee will be "not always," i.e. there will come a time when he is "no longer" and is gone.

"Distilled" is a fairly ordinary word, but the way Shakespeare used it, it can be viewed in three different ways, and it still makes sense in the Sonnet.

. Sonnet 7 .

(original language, but moderately updated)

01. Lo in the Orient when the gracious light

02. Lifts up his burning head, each under eye

03. Doth homage to his new appearing sight,

04. Serving with looks his sacred majesty,

05. And having climb'd the steep up heavenly hill,

06. Resembling strong youth in his middle age,

07. Yet mortal looks adore his beauty still,

08. Attending on his golden pilgrimage:

09. But when from high-most pitch with weary car,

10. Like feeble age he reeleth from the day,

11. The eyes ('fore duteous) now converted are

12. From his low tract and look another way:

13. So thou, thyself out-going in thy noon,

14. Unlook'd on diest unless thou get a son.

. Sonnet 7 .

(paraphrased)

01. Look there, low in the East; when the blessed sun

02. Raises up its gleaming form, each lesser eye below

03. Honors this fresh, newly-appeared sight,

04. Attendant, with their gazes, upon the sun's worshipful, majestic power;

05. And, after the sun has climbed its arc in the sky,

06. It still looks young at noon, and

07. Human gazes still admire its beauty, and

08. Follow the sun on its 'golden' journey;

09. But when, from the highest point, in its tired chariot,

10. The sun, as if it's old and feeble, winds down at the end of the day,

11. The eyes which followed the sun earlier, now loose interest

12. In his low position, and look some other direction;

13. So it will be with you, with yourself fading, after your prime;

14. You'll die unregarded, unless you have a son,
(like you, to follow you, and "rise" the next "day.")

Sonnet 7 Gloss

L1: Lo = behold. (Note, to the right.)

L1: gracious = blessed.
The idea is of a sun/son being a 'blessed' thing.

L2: burning head = the sphere of the sun.
"Burning" = bright, gleaming. The phrase can be read as "gleaming form."

L2: under eye = human eye below. (Note, to the right.)

L3: Doth homage = worships (loosely speaking.) (Note, to the right.)

L3: new appearing = newly appeared.
Also, the sun looks new every day, even though it's the same old sun.
(Double meaning,)

L4: serving = worshipping; honoring; attending.

L4: sacred majesty = worshipful splendor.
Both a religious and royal figure of speech.

L5: the steep up heavenly hill = the ascending arc of the sun's path.

L6: middle age = noon (for the sun.)

L8: attending = following (with their eyes.)

L8: golden - The classic color of the sun.
It also implies 'treasured.'

L9: high-most pitch = highest point.
The phrase hints of music reaching a crescendo.

L9: weary car = tired chariot.
In classical mythology, the sun was a chariot, or it was drawn in a chariot.

L10: reeleth = winds down; approaches an end.
Can be read "staggers," like a very old man who walks in a staggering way.

L11: ('fore duteous) = dutiful earlier.

L11: converted - There's a religious sense, of no longer "worshipping" the earlier power.

L12: look another way - (Note, to the right.)

L12: low tract - (Note, to the right.)

L13: out-going in = declining from; descending from. (Note, to the right.)

L13: noon = prime.

L14: Unlooked on = unregarded.

Sonnet 7 Notes

L1: Lo = behold.
As exclamation, it means "look." Secondarily, it's read as "low." The sun is literally low, in the morning.

As the Sonnet proceeds, there's the implication of sunrise being like the birth of a son.

L2: under eye = human eye below.
"Under" also implies lesser, inferior. The human eye was taken as being a source of light in those days, but very inferior to the sun.

L3: Doth homage = worships (loosely speaking.)
In addition to the idea of religion, in feudal law an "homage" was a public ceremony that bound a vassal to a lord. Thus, an "homage" is a formal, public statement of fealty. Both religious language, and feudal language, are implied here. The "sun worshippers" doing "homage," so to speak, would be both like religious worshippers, and like vassals publicly honoring their lord.

L12: look another way
The low evening sun becomes unpleasant to look upon, too glaring, so people tend to look away from it. Also, in Shakespeare's day, people had few timepieces. People judged the time, through the day, by looking at the position of the sun. Judging workday time by the sun became no longer necessary, or possible, as evening fell. The poetic idea in the Sonnet is that people no longer "honor" the sun as it "gets old" and sets.

L12: low tract
Literally, the phrase would be "low track."
"Tract" is so spelled to go along with the religious metaphor. A "tract" is a statement of position, therefore, "low tract" = low position.

L13: out-going in = declining from; descending from.
There's nice "going out" / "going in" wordplay. The phrase can be read as "fading after."

. Sonnet 8 .

(original language, but moderately updated)

01. Music to hear, why hear'st thou music sadly,

02. Sweets with sweets war not, joy delights in joy:

03. Why lov'st thou that which thou receivest not gladly,

04. Or else receivest with pleasure thine annoy?

05. If the true concord of well-tuned sounds,

06. By unions married do offend thine ear,

07. They do but sweetly chide thee, who confounds

08. In singleness the parts that thou shouldst bear:

09. Mark how one string sweet husband to another,

10. Strikes each in each by mutual ordering;

11. Resembling sire, and child, and happy mother,

12. Who all in one, one pleasing note do sing:

13. Whose speechless song being many, seeming one,

14. Sings this to thee thou single wilt prove none.

. Sonnet 8 .

(paraphrased)

01. Muse to me, why are you melancholy at these attempts to inspire you?

02. Darlings shouldn't conflict with darlings, joy should take delight in joy;

03. Why do you love the inspiration that you are, but do not gladly
receive inspiration?
04. Or do you perversely take pleasure in something that annoys you?

05. If the true harmony of well-tuned instruments,

06. Combined in an ensemble, offends your ear,

07. It's intended only to sweetly correct you, who are defeating hope,

08. By playing solo, instead of bearing the part you should play in
combination;
09. Notice how, in an ensemble, one instrument becomes a friendly
companion to another,
10. Each affecting the other by mutual arrangement,

11. (Resembling sire and child and happy mother)

12. Who, all together, produce a harmonious unity, and

13. Whose ineffable "song," of several voices, together,

14. Tells you this: "as a soloist you will end up silent."

Sonnet 8 Gloss

L1: Music - (Note, to the right.)

L1: music - There is again reference to "Muse."
Here, the Poet is now attempting to "Muse" - inspire - the addressee.

L1: sadly = in a melancholy way.
The question is asked, why is the addressee melancholy at hearing the Sonnets, the songs, intended to inspire him? The addressee is being teased.

L2: sweets - (Note, to the right.)

L5: true concord = proper harmony.
There's a pun with "chord."

L5: sounds = instruments. (Note, to the right.)

L6: unions = orchestras; ensembles; musical groups.

L6: married = combined.

L7: chide = correct; admonish; adjure.

L7: confounds = defeats hope.

L8: parts = roles.
A role in a family is likened to a part in a musical group.

L9: string = musical instrument.
Use of synecdoche.

L9: sweet = friendly.

L9: husband = companion; accompaniment.

L10: strikes = influences (broadly speaking.) (Note, to the right.)
Not a physical blow.

L10: ordering = arrangement.
Additionally, a reference to things being in proper order, as in a good family.

L12: note = harmony.

L13: speechless = wordless. (Note, to the right.)

L14: prove = end up as.
It's a reference to outcome.

Sonnet 8 Notes

For understanding this Sonnet, it's helpful to keep in mind that a sonnet is, itself, a "song."
The word "sonnet" is from Old French 'sonet': "a song."
-------

L1: Music
Used particularly according to its root meaning of "Muse." The Poet "hears" the addressee as his "Muse," his inspiration to write poetry. It's a high compliment to the addressee, that he's like a supernatural inspiration.

L2: sweets
Refers to pleasantries, in the broad sense. Can be read as "darlings," or more generally as "friends."
"Sweets" can also be read as "flowers."

L5: sounds = instruments.
Use of synecdoche, in relation to musical instruments. Then, "sounds" can be read as "sonnets," also.

The "well-tuned sounds" can be understood as the coordinated Sonnets written to encourage the addressee to marry and have children. This group of Sonnets is being likened to a musical ensemble, playing a "song" to inspire the addressee.

L10: strikes = influences (broadly speaking.)
Not a physical blow.
The word "strikes" is used the same way a form of "strike" is found in words like "thunderstruck" and "moonstruck," and in the phrase, "how does that strike you?" It means "influences" or "affects."

L13: speechless = wordless.
It implies that the imaginary musical ensemble is instrumental, lacking a vocalist. This is a very ironic usage, since the immediate "ensemble" is the group of Sonnets, which are all in words. "Speechless" can also be understood as "ineffable."

The use of "speechless" might be viewed as a subtle hint of these seventeen Sonnets, in the first group of Sonnets as originally printed, being sent to the addressee, instead of being read to him. Unfortunately, there is apparently no way to be sure whether the Sonnets were spoken aloud to the addressee, or not.

. Sonnet 9 .

(original language, but moderately updated)

01. Is it for fear to wet a widow's eye,

02. That thou consumest thyself in single life?

03. Ah; if thou issueless shalt hap to die,

04. The world will wail thee like a makeless wife,

05. The world will be thy widow and still weep,

06. That thou no form of thee hast left behind,

07. When every private widow well may keep,

08. By children's eyes, her husband's shape in mind:

09. Look what an unthrift in the world doth spend

10. Shifts but his place, for still the world enjoys it

11. But beauty's waste hath in the world an end,

12. And kept unused the user so destroys it:

13. No love toward others in that bosom sits

14. That on himself such murderous shame commits.

. Sonnet 9 .

(paraphrased)

01. Is it to avoid any chance of your widow crying,

02. That you use up yourself in single life?

03. Think again; If you die without a child,

04. The world will mourn you like a wife who's lost a husband;

05. The entire world, then, will be your "widow," and will always weep,

06. That you've left no shape of yourself behind,

07. And that, even though any withdrawn, bereaved widow may well keep,

08. (When she looks into her children's eyes,) her husband's shape in mind.

09. Consider what a prodigal will spend in the world,

10. That, in whatever amount, only moves from place to place, and still the
world in general, somewhere, possesses it,
11. But a waste of beauty will lead to beauty's end in the world,

12. And if one keeps his beauty, unused, he thereby destroys it;

13. You must have no pity for others in your heart,

14. To commit such life-ending shame against yourself.

Sonnet 9 Gloss

L1: widow's = that of your own widow (if your wife were to outlive you.)

L2: consumest = use up.

L3: Ah = think again; consider.

L4: wail = lament; mourn.

L4: makeless = childless. (Note, to the right.)

L5: still = always.

L7: private = withdrawn. (Note, to the right.)

L9: Look = consider.

L9: unthrift = profligate; prodigal.
"Prodigal" is probably best, because of the implicit "son" idea.

L9: what = that which.

L10: shifts = moves.

L10: his = its.

L10: still - In the modern sense.

L10: enjoys = possesses.

L12: so = thus; thereby.

L13: love = pity.

L14: murderous = deadly; life-ending.

Sonnet 9 Notes

L4: makeless = childless.
If the addressee doesn't have a child, his hypothetical wife will be childless, also.

The sound of "makeless" suggests "mateless," going along with the idea of the addressee leaving some woman "mateless" if he doesn't marry. The word "make" is related to "match."

Further, the word "make" has an obsolete definition of "compose." By that, a "makeless" wife would be an "uncomposed" wife. That, in turn, suggests two further implicit meanings.

A person who is "uncomposed," would be one who lacks emotional composure, and is wailing, as the Sonnet says.

Further, an "uncomposed" wife can be understood as one who is not "written" - one who does not exist. This goes along with the addressee's wife being nonexistent if he doesn't marry.

So, while "make" is an ordinary English word, as used by Shakespeare here, it is quite profound.

L7: private = withdrawn.
Withdrawn into private life, as opposed to being in public. It was customary at the time for a widow to withdraw from social life for a lengthy mourning period.

The "world," lines 4 and 5, is public.

Also, as used in this Sonnet, "private" is compatible with "bereaved," (which comes from Latin 'privare.') So the equivalent idea for paraphrase is that of a widow who is bereaved, and withdrawn from public life.

. Sonnet 10 .

(original language, but moderately updated)

01. For shame deny that thou bear'st love to any

02. Who for thyself art so unprovident

03. Grant if thou wilt, thou art beloved of many,

04. But that thou none lovest is most evident:

05. For thou art so possess'd with murderous hate,

06. That 'gainst thyself thou stick'st not to conspire,

07. Seeking that beauteous roof to ruinate

08. Which to repair should be thy chief desire:

09. O change thy thought, that I may change my mind,

10. Shall hate be fairer lodged than gentle love?

11. Be as thy presence is gracious and kind,

12. Or to thyself at least kind hearted prove,

13. Make thee another self for love of me,

14. That beauty still may live in thine or thee.

. Sonnet 10 .

(paraphrased)

01. For, a shame it is, you deny that you love anybody, and

02. Are one who, for himself, is so improvident,

03. But grant, if you will, you are the beloved of many;

04. However, it's all too apparent that you love nobody,

05. Since, you must be so consumed with life-ending ill will,

06. That you won't stop even at plotting against yourself,

07. And seeking to destroy that lovely family home,

08. Which it should be your chief desire to maintain;

09. Please change your point of view, so that I can change my mind about you;

10. Is it right that ill will should have a fairer dwelling place than tender love
of one's own kind?
11. Be, in your heart, gracious and kind, the same as your outward presence is,

12. Or at least, show that you're kind hearted to yourself.

13. Have a son out of sympathy for me, (who has lost his own son,)

14. So that beauty may always live, in yourself and your descendants.

Sonnet 10 Gloss

L1: For shame - Used as an attention getter, but not the typical meaning of the phrase.

L1: deny - By your actions.

L2: unprovident = improvident; imprudent; uncaring of the future.

L3: if thou wilt = for the sake of argument. (Note, to the right.)

L4: evident = apparent; obvious. (Note, to the right.)

L5: possess'd = consumed.
Also, it carries a hint as if a diabolical force has possessed him, causing evil thoughts.

L5: murderous = life ending.

L5: hate = ill will.

L6: stick'st = hesitate; scruple; stop.

L6: conspire = scheme, plot.

L7: beauteous = lovely (in both senses.)

L7: roof = manor; a family home.

L7: ruinate = destroy.

L8: repair = maintain.

L10: lodged - In the heart.
Implies, again, a lodging, a family home.

L10: gentle = tender; kind.
The 'kind' implication implies love of one's kind, one's kith and kin.

L11: kind = kindly. Also implies one's own kind: family.

L12: kind hearted = kindly.

L12: prove = show.

L13: love - (Note, to the right.)

L14: still = always.

Sonnet 10 Notes

L3: if thou wilt = for the sake of argument.
The word "wilt" itself implies deterioration, like a leaf on a tree about to fall, hinting of the addressee's eventual death. It's a word usage compatible with the theme in that way. There are many who love the addressee, and don't want to see his beauty just "wilt."

L4: evident = apparent; obvious.
The phrasing hints of a legal indictment - with a suggestion of evidence here in line 4, and then the subsequent implications of murder, line 5, conspiracy, line 6, and the request for proof, line 12. "Grant" in line 3 is on the same line. The Poet is "indicting" the addressee, which accounts for the strength of the language (such as "murderous.") The language may look excessive if one doesn't realize it's facetiously legalistic.

L13: love
In other treatments of the Sonnets, one may encounter the bizarre idea of the Poet expressing romantic love for the addressee, but that's silliness. As used here in line 13, "love" means "sympathy."

This Sonnet was probably written in 1597, and Shakespeare's son, Hamnet, died in 1596.

The apparent incongruity of line 13, which some see, is because the Poet is providing a subtle reminder that he can personally affirm the value of a son, having lost his own. Therefore, the addressee should realize the importance of having a son.

. Sonnet 11 .

(original language, but moderately updated)

01. As fast as thou shalt wane so fast thou growest,

02. In one of thine, from that which thou departest;

03. And that fresh blood which youngly thou bestowest,

04. Thou mayst call thine, when thou from youth convertest,

05. Herein lives wisdom, beauty, and increase,

06. Without this folly, age, and cold decay,

07. If all were minded so, the times should cease,

08. And threescore year would make the world away:

09. Let those whom Nature hath not made for store,

10. Harsh, featureless, and rude, barrenly perish,

11. Look whom she best endowed, she gave the more;

12. Which bounteous gift thou shouldst in bounty cherish,

13. She carved thee for her seal, and meant thereby,

14. Thou shouldst print more, not let that copy die.

. Sonnet 11 .

(paraphrased)

01. As speedily and steadily as you shall decrease, from being the paragon
of beauty, you could increase equally,
02. In a growing child of your own, the beauty from which you depart,

03. And that new blood which you house in a new youth,

04. You may call your own, when you have left youth behind;

05. In this knowledge, you will find wisdom, beauty, and growth,

06. Without such awareness, you will find only folly, old age, and deathly decay,

07. If everyone were so oblivious, the time of people on earth would cease,

08. And threescore years would see the end of the human world;

09. Let those whom Nature has not so generously supplied, with good
qualities, those who are
10. Rough, lacking in distinguishing features, and common, die childless;

11. Take heed, that those whom Nature best furnished, she gave more than
enough, a surplus,
12. Which magnanimous gift, you should honor by being generous in turn;

13. She chose and shaped you to be her seal, and the keeper of her seal,
and Nature meant, thereby,
14. That you should "print" more copies of yourself, not let the only copy
be lost and disappear.

Sonnet 11 Gloss

L1: fast = speedily and steadily. (Double meaning.)

L1: wane = fade (as the image of beauty); decline (from the pinnacle of beauty.)
Can be read 'decrease.'

L1: so = equally.

L1: growest - Can be read literally, or as 'increase.'
A child grows, literally.

L2: that = the very image, or pinnacle, of beauty; the ideal of beauty.

L2: departest = leave behind.

L3: fresh blood = a child; an heir. "Fresh" = new; young.

L3: bestowest = house (your qualities, your beauty.)
"House" in the sense of giving a home to.

L4: thine = your own.

L4: convertest = depart (from youth, i.e. grow old.)

L5: herein = in this aforementioned observation; in this generality stated (about an heir.)

L5: lives = abides, dwells.
The literal is implied. Can be read 'is contained.'

L5: increase = benefit. It's literal for 'growth,' in connection with "growing" a family.

L6: Without this = Heedlessness of this (leads to.)

L6: cold = deathly.

L7: were minded so = thought so. In context, 'were so oblivious.'

L7: the times - Of humanity on earth.

L8: world = the human world.

L9: for store = to keep. Also, 'for supply' (to others.)
The obsolete meaning of "store" = 'restore' is hinted.

L10: Harsh = rough. Generally, 'repellent.'

L10: featureless = having no distinguishing features of beauty and quality.

L10: rude = common; vulgar.

L10: barrenly = childlessly.

L11: Look = take heed (that.)

L11: endowed = favored; furnished.
Hints of a dowry.

L11: the - (Note, at the right.)

L11: the more = a surplus; more more than the person, himself, has to keep.

L12: bounteous = magnanimous; greater than strictly necessary.

L12: bounty = generosity.

L12: cherish = honor; nurture.

L13: carved = molded, shaped. (Note, at the right.)

L13: for = as.

L13: seal = the word 'seal' itelf; then also, in context, 'imprint.'
It implies being Nature's sealer, the one entrusted with Nature's seal to use.

L14: die = be lost; disappear. Literal for the addressee, himself.

Sonnet 11 Notes

L11: the
There's a pun. It means "the" for plain reading, but within the immediate clause it can be read as "thee" with a meaning, "she gave thee more, than others."

L13: carved = molded; shaped.
It also means 'chose.' There's a double meaning.
For the second, see, for example, Hamlet Scene 3 (Act 1 scene 3.)
~=~
Laertes: ...
He may not, as unvalued persons do,
Carve for himself; for on his choice depends
=~=~=

. Sonnet 12 .

(original language, but moderately updated)

01. When I do count the clock that tells the time,

02. And see the brave day sunk in hideous night;

03. When I behold the violet past prime,

04. And sable curls or silvered o'er with white:

05. When lofty trees I see barren of leaves,

06. Which erst from heat did canopy the herd

07. And summer's green all girded up in sheaves

08. Borne on the bier with white and bristly beard:

09. Then of thy beauty do I question make

10. That thou among the wastes of time must go,

11. Since sweets and beauties do them-selves forsake,

12. And die as fast as they see others grow,

13. And nothing 'gainst Time's scythe can make defence

14. Save breed to brave him, when he takes thee hence.

. Sonnet 12 .

(paraphrased)

01. When I give heed to the clock that tells the time, of life,

02. And I see the splendid sun "buried" in hideous night,

03. When I see flowers past their prime,

04. And hair which is brunette otherwise, silvered over with white,

05. When I see lofty trees barren of leaves,

06. That earlier shaded the crowd from the summer heat,

07. And I see the summer crops all gathered up in sheaves,

08. Borne away on a litter, with their bristly white beards,

09. Then I'm inspired to make a topic of your beauty,

10. Realizing that someday you must go into the wasteland of death,

11. Since flowers, and all beautiful things, do give themselves up,

12. And die as steadily, and quickly, as they see others appear,

13. And nothing can defend against the Grim Reaper,

14. Except living offspring, to outface him, when he takes you away.

Sonnet 12 Gloss

L1: do count = give heed to.

L1: count - (Note, to the right.)

L1: time - Time of day, and by analogy, the time of life.
A 24-hour period is likened to a lifetime.

L2: brave = boldly bright, 'splendid.'
Can be read 'sunny' - there's an implicit "son" pun.

L2: sunk = buried (a death allusion.) (Note, to the right.)

L2: hideous = fearful. (Note, to the right.)

L3: violet - Used as an exemplar for 'flower.'

L4: sable = brunette; dark.
"Sable" in this usage suggests black, but doesn't necessarily mean exactly black.

L4: or = otherwise. (Note, to the right.)

L5: lofty = tall.
But suggesting 'noble,' exalted' and complimentary to the addressee.

There is a change in the Sonnet, that now a year is being likened to a lifetime, where at first it was a day. Trees lose their leaves in the course of a year.

L6: erst = formerly; at an earlier time.

L6: canopy = shade. Secondarily, 'ornament.'
It suggests the addressee as an "ornament" high above the common herd.

L6: herd = crowd (in human terms.)

L7: summer's green - Reference to a crop, of the cereal type from a grassy plant.
"Summer's green" has analogy to the prime of a person's life.

L8: Borne on the bier = carried off on a litter. (Note, to the right.)

L8: bristly beard - (Note, to the right.)

L9: question = argument; a theme, a topic.

L10: wastes = unpopulated areas.
Death is a place where there is "nobody living."

L11: sweets = flowers. (Note, to the right.)

L11: beauties = beautiful things in general.

L11: forsake = relinquish; give up.

L12: fast = steadily and speedily. (Double meaning.)

L13: Time's scythe - Of death. (Reference to the Grim Reaper.)

L14: brave (him) = face (him) fearlessly; defy (him.)
"Outface" might be best, because of the "beauty" theme in this Sonnet group, and beauty being most associated with the face.

Sonnet 12 Notes

L1: count
There's reference to a clock that strikes the hours, so one must count the chimes to know what hour it is. Secondarily, "count" can be understood as "reckon," or "attend to," in the sense of "observe." The best equivalent might be "heed." We attend to things that are important, things that "count." There is nice wordplay in the line, since "tell" can also mean "count."

L2: sunk = buried (a death allusion.)
The sun is the characteristic of the day. Therefore, "day sunk" implies "son buried." Hamnet Shakespeare died in 1596. There is a subtle hint of Shakespeare recalling the death of his son. It implies William Herbert as the addressee of the first 17 Sonnets, a date of 1597, and Mary Sidney Herbert, Countess Pembroke, as the patron.

L2: hideous = fearful.
The word appearance suggests "that which hides." The hideous night of death will "hide" the beauty of life. The "hide-" in "hideous" makes it compatible with "sunk."

L4: or = otherwise.
"Or" has generally been presumed a misprint, but it is not.
Any good dictionary will show "otherwise" as a definition of "or." The phrase "or silvered o'er" was written that way for poetic wordplay, repeating the "or" sound, and it means "otherwise, silvered over." For modern punctuation of the original, one merely adds a comma after "or."

If you see a modern reprint of Sonnet 12 that doesn't have the word "or" in line 4, it's wrong.

L8: Borne on the bier = carried off on a litter.
In the case of crops, they're carried away to be eventually consumed.

There's analogy to a funeral.

In reference to harvest, "bier" is read as "barrow." "Bier" and "barrow" are from the same ultimate root. The harvest barrow would not be a wheelbarrow in those days, rather a stretcher or litter type frame, with handles on both ends, carried by two men. (Incidentally, a path through a field is, or once was, called a "bier-balk." In some references you might find the absurd interpretation that a "bier-balk" is a path left open for funeral processions through a field. Actually, it's a path for harvesters to follow so they don't trample the unharvested plants.)

L8: bristly beard
Various crop plants have a structure, an "awn," that can be called a beard. The plants are notably wheat, rye, and barley, but the awn is typical of grasses, in general. There's analogy to the human beard of an old man.

L11: sweets = flowers.
See Hamlet Scene 19 (Act 5 scene 1.)
~=~
Gertrude: Sweets to the sweet, farewell;
...
I thought thy bride-bed to have decked, sweet maid,
And not have strewed thy grave.
=~=~=

. Sonnet 13 .

(original language, but moderately updated)

01. O that you were yourself, but love you are

02. No longer yours, than you yourself here live,

03. Against this coming end you should prepare,

04. And your sweet semblance to some other give.

05. So should that beauty which you hold in lease

06. Find no determination, then you were

07. Yourself again after yourself's decease,

08. When your sweet issue your sweet form should bear.

09. Who lets so fair a house fall to decay,

10. Which husbandry in honour might uphold

11. Against the stormy gusts of winter's day

12. And barren rage of death's eternal cold?

13. O none but unthrifts, dear my love you know

14. You had a father, let your son say so.

. Sonnet 13 .

(paraphrased)

01. Oh, if you were only your own property, forever, but loved one, you are

02. Your own no longer than you, yourself, are alive;

03. Against your approaching death, you should prepare,

04. And lend your sweet likeness to another, a child,

05. So the beauty which you have borrowed, from Mother Nature, would

06. Have no end, no boundary; then you would be

07. Your own again, after your own death,

08. When your own sweet child bears your own sweet form;

09. Who allows so fine a dwelling, in fact and in prospect, to be lost to decay?

10. When management, and becoming a husband, would uphold it in honor,

11. Against the tempestuous rushes of winter season, and the winter of life,

12. And against any childless vexation, because of death's eternal cold;

13. O none but prodigals would do so, my dear loved one, as you know, and

14. You know you had a father, so have a son who can say the same.

Sonnet 13 Gloss

L1: yourself = your own, i.e. your own owner.
One's self is one's "own."
The idea of "not your own" leads to the word "lease" in line 5.

L2: here - Here on earth, in the natural world, the world of the living.

L4: semblance = likeness.

L5: should = would. "Should" is used to convey the imperative.

L5: hold in lease = borrow.

L6: determination = end; termination date. (Note, to the right.)

L6: were = would be.

L8: sweet - Like a lovely flower.
In connection with the "flower" concept, the line is reminiscent of Venus and Adonis. A flower grew where Adonis died.

L8: issue = child.

L9: lets = allows. (Note, to the right.)

L9: fair = handsome; attractive; grand.

L9: house = manor; a family home, a dwelling. (Note, to the right.)

L9: fall = decline, be lost, disappear.

L10: husbandry = management; and obviously suggests becoming a husband.

L10: honour - (Note, to the right.)

L11: stormy = tempestuous.
The word "tempestuous" is probably the best equivalent in relation to the Poet's vocabulary, because of the play The Tempest.

L11: winter's day = old age.
It has a literal implication for the idea of keeping a family home in good repair.

L12: barren = childless; also 'bleak.'

L12: rage = vexation.
The word "vexation" comes from a root meaning "shake." Shakespeare undoubtedly knew that, about the root of "vex," as well as I do. It makes "vexation" a good equivalent.

L13: unthrifts = prodigals.
The "prodigal son" concept applies.

L13: you know - (Note, to the right.)

Sonnet 13 Notes

L6: determination = end; termination date.
The word also suggests "delimitation," "boundary."
In connection with "termination date," the word "Find" at the start of the line can be heard to pun with "fined," in the old legal sense of "ended," "concluded." That is not to suggest that "Find" actually takes a meaning of "fined," rather, the pun makes "Find" a compatible word usage, within the poetry.

L9: lets = allows.
The word usage is compatible with "let" as in 'rent" or "lease." Again, "lets" does not actually take the meaning of "rents," it's another compatible word usage, in the general way.

L9: house = manor; a family home, a dwelling.
The word "house" implies three meanings in this case.

It can be taken to refer to the body, the house of the soul, where the spirit dwells during life. The addressee cannot preserve his own "house," his own body, forever, but he can "rebuild" it by having a son who would resemble him.

Then, "house" can be taken to refer to family lineage. For example, the "house" of the Earl of Pembroke would be the family lineage of that Earl.

Altogether, "house" is a profound word with a triple meaning. First, the Poet is advising the addressee to rebuild his personal "house," of his soul, by having a son who resembles him. Second, the addressee should be a family man, living in a family house, and not let the idea of that family home decay away. Third, the addressee should preserve his family lineage for the future.

L10: honour
"Honour" is a difficult word to translate into modern English, because the concept was more urgent in the Poet's time. Those were days when duels to the death were fought over points of honor. The word is stronger than it may look to a modern reader.

Additionally, in law, an "honor" was a conditional use of property which reverted to the monarch if there were no heir. This relates to the concept. in this group of Sonnets, of an heir being necessary to "retain the addressee's estate of beauty," so to speak. If the addressee has no heir, Nature (the ruler,) will take back all the addressee's "property" of beauty.

L13: you know
The Sonnet is written so that "you know" is a dual-use phrase, which goes with either line 13, or line 14.

That is, the lines can be read either --

Line 13: 'None but prodigals do so, as you know.'
or --

Line 14: '(You know) you had a father...'

The ambiguity of "you know" is intentional. The effect is shown by repeating the phrase, in the paraphrase above.

. Sonnet 14 .

(original language, but moderately updated)

01. Not from the stars do I my judgment pluck,

02. And yet methinks I have Astronomy,

03. But not to tell of good, or evil luck,

04. Of plagues, of dearths, or seasons' quality,

05. Nor can I fortune to brief minutes tell,

06. Pointing to each his thunder, rain and wind,

07. Or say with Princes if it shall go well

08. By oft predict that I in heaven find,

09. But from thine eyes my knowledge I derive,

10. And constant stars in them I read such art

11. As truth and beauty shall together thrive,

12. If from thyself, to store thou wouldst convert:

13. Or else of thee this I prognosticate,

14. Thy end is Truth's and Beauty's doom and date.

. Sonnet 14 .

(paraphrased)

01. I do not draw my conclusion from the planets,

02. And yet, I think I have astrology,

03. But not the kind that foretells good fortune, or bad luck, or

04. About plagues, or scarcities, or the weather of the seasons,

05. Nor can I foretell events precisely,

06. Predicting, minute by minute, thunder, rain, or wind,

07. Or say if events shall go well for royalty,

08. By the highest prophecy that I can find in the heavens,

09. But I derive my insight from your eyes,

10. And from the constant stars; from them I read that the joining

11. Of truth and beauty, male and female, shall thrive together,

12. If you would stop keeping yourself, all to yourself, and become a supplier
of your truth and beauty, to a child,
13. Or else, I predict this for you:

14. The end of you will mean the destruction of your truth and beauty, as well.

Sonnet 14 Gloss

L1: stars = planets (the "inconstant" stars.)
This meaning is dictated by "constant" in line 10.

L1: judgment = conclusion.

L1: pluck = draw; take.

L2: Astronomy = Astrology.

L3: tell = foretell.

L4: dearths = scarcities. (Implying the ability to predict market prices.)

L4: quality = elemental quality, i.e. hot or cold, dry or wet.
This has reference to the theory of four elements: earth, air, fire, water.
Can be read simply as 'weather': hot, cold, dry, wet.

L5: brief minutes - Has reference to precision in time, down to the day or hour when something will happen. (Note, to the right.)

L7: Princes = Royalty, Rulers.

L8: oft = highest. (Note, to the right.)

L8: predict = prophesy/prophecy.
"Predict" gives two syllables for the meter; and the verb 'prophesy' was formerly spelled the same as the noun, 'prophecy.'

L8: that = what.

L8: heaven = the heavens.

L9: knowledge = ability to predict.
Can be read 'insight.'

L10: constant stars = the fixed stars, the ones that appear not to move.

L10: art = combination, joining. (Note, to the right.)

L11: truth = trueness.
There's wordplay with 'troth,' which is a hint about betrothal, marriage.
At root, 'betroth' is be+truth.

L11: truth and beauty - (Note, to the right.)

L12: store = supply (to a child.)

L12: convert = change, turn.
The word has a religious implication. It can be read 'turn away' (from yourself, alone,) stop "worshipping" yourself.

L14: doom = destruction; final judgment.

L14: date - Of termination. 'Appointment', with death.

Sonnet 14 Notes

L5: brief minutes - Has reference to precision in time, down to the day or hour when something will happen.
The phrase can also be read as a reference to minutia, and in that case "brief" could be viewed in the legal sense of a lawyer's brief. It implies 'systematic detail.' So, the phrase "brief minutes" can be interpreted to have a double meaning, both a reference to precision in time, and to the detail of the prediction.

L8: oft = highest.
The meaning is inferred from the root meaning of "oft": 'over,' as in "over and above." That which is "over and above" is 'highest.' It's clear that Shakespeare had an unusually extensive knowledge of words.

L10: art = combination, joining.
"Art" is akin to 'artus', which means "a joint," which is why it can be read as 'joining.'
Line 10 is intentionally written to be ambiguous. The phrase "in them" can be read either to refer back to "eyes," or to go with "stars." It makes the location of the "stars" ambiguous: they can be either stars in the eyes, or stars in the heavens. The "stars in the eyes" reading is the inferior one, however, since the Poet hopes the stars in the addressee's eyes will not be "constant." That is, the Poet hopes the addressee will change his mind about marriage.

L11: truth and beauty
The phrase implies male and female, the male being "truth," and the female "beauty." It's a sun-moon, or yin-yang concept. (The sun (son) is the desired ultimate "truth," as the Poet advocates the addressee having an heir.)

The same concept, of male "truth" and female "beauty" appears in Hamlet.
Compare Hamlet's "logical" argument to Ophelia, in the 'Nunnery Scene' (Scene 8, which is traditionally Act 3 scene 1.)
~=~
Hamlet: Ha, ha, are you honest?
Ophelia: My Lord?
Hamlet: Are you fair?
Ophelia: What means your Lordship?
Hamlet: That if you be honest & fair, you should admit
no discourse to your beauty.
Ophelia: Could beauty, my Lord, have better commerce
Than with honesty?
Hamlet: Aye, truly! For, the power of beauty will sooner transform
honesty...
=~=~=
It would take a while to explain that passage adequately, but essentially, honesty and fairness (truth and beauty) are being both contrasted and combined. Shakespeare takes it that men are "truth" (but with some "beauty,") and women are "beauty" (but with some "truth.") It's a sophisticated concept.

Also in Hamlet, Hamlet quotes the Biblical principle, "man and wife are one flesh." Marriage, then, is a proper combination of "truth" and "beauty." Much more could be said about this concept, or model, of "truth and beauty" as Shakespeare used it in reference to men and women.

In the Sonnet, since the addressee is single, he must be both man and wife, male and female, within himself, alone, his "one flesh." Thus, he himself must be both truth and beauty. However, that is not a proper balance, just within himself. The Poet is advising the addressee to be a "truth" who finds a "beauty," and thereby makes it all right. Philosophically, things get rather abstruse. In any event, the dual nature of persons is referenced, as the addressee is advised to marry.

. Sonnet 15 .

(original language, but moderately updated)

01. When I consider every thing that grows

02. Holds in perfection but a little moment,

03. That this huge stage presenteth nought but shows

04. Whereon the Stars in secret influence comment,

05. When I perceive that men as plants increase,

06. Cheered and checked even by the self-same sky:

07. Vaunt in their youthful sap, at height decrease,

08. And wear their brave state out of memory.

09. Then the conceit of this inconstant stay

10. Sets you most rich in youth before my sight,

11. Where wasteful time debateth with decay,

12. To change your day of youth to sullied night;

13. And all in war with Time for love of you

14. As he takes from you, I engraft you new.

. Sonnet 15 .

(paraphrased)

01. When I consider, everything that lives

02. Reaches its perfection for only a brief time, and

03. That this huge stage, of the human world, presents only shows,

04. With which the planets, using their hidden influence, communicate, and

05. When I perceive that men, like plants, grow and flourish,

06. Encouraged or discouraged, similarly, under the same sky,
of day or night, winter or summer, and that men
07. Glory in their youthful vigor, but from their height they decline,

08. And afterwards put on a brave show, out of remembrance of
what they were,
09. Then, the conception of this temporary residence, of life on earth,

10. Places you, most sweet and splendid in youth, before my eyes, and I see

11. How destroying time degrades, through decay,

12. To turn your "day" of youthfulness to darkened, buried night,

13. And totally devoted to war against Time, for love of you,

14. Since Time will take away qualities and attributes from you, I try to
"engraft" you anew, by encouraging you to grow a new "branch" of your family.

Sonnet 15 Gloss

L1: thing that grows = a living thing.

L2: Holds = stays.
"Holds in" can be understood as 'reaches.' One holds that which one can reach.

L2: little = brief. "Little moment" = brief time.

L3: stage = the world of human beings. (Note, to the right.)

L3: shows = appearances, semblances.
Implies 'productions,' in connection with the advice the addressee should have an heir.

L4: Stars = Planets. An astrology reference.

L4: secret = hidden, in the sense of being imperceptible. 'Unheard.'

L4: comment = communicate. (Note, to the right.)

L5: increase = grow and propagate.

L6: Cheered and checked = encouraged and discouraged.
The "courage" understanding is in anticipation of "vaunt" and "brave."

L6: sky - (Note, to the right.)

L7: Vaunt = glory, triumph. Suggests 'vainglory.'

L7: sap = liquid of life. Blood, for a person.
Youthful blood is youthful 'vigor.'

L8: wear = put on.

L8: brave state = brave show.
"State" can also be read as 'style.'

L8: memory = remembrance (of what they were at height.)

L9: conceit = concept, conception. Visualization in the mind.
In this case, it's a worrisome picture, that the addressee must someday decline and die.

L9: inconstant stay = temporary hold on life and glory.
Links back to the Stars, the 'inconstant' planets.
Can be read 'temporary residence' (of life on earth.)

L10: Sets = places.

L10: rich = highly pleasing in all relevant respects. (Note, to the right.)
'Sweet and splendid.'

L11: wasteful = wasting, destroying.

L11: debateth = deliberates; debases, degrades. (Note, to the right.)

L11: with decay = through decay.

L12: sullied = darkened; no longer bright and shining. (Note, to the right.)

L13: all at = totally devoted to.

L14: as - Can either be read literally, or as 'since.'
For 'since' the verb "takes" is read 'will take.'

L14: takes from - As in causing leaves to fall, and branches to die.
The plant/gardening metaphor applies.
Could also be understood as 'robs' or 'steals.'

L14: "engraft" = bud. (Note, to the right.)

Sonnet 15 Notes

L3: stage = the world of human beings.
The famous quotation is from As You Like It.
~=~
All the world's a stage,
And all the men and women merely players...
=~=~=

L4: comment = communicate.
There's an implication of "interpret" in the sense of the interpreter, or explainer, for a puppet show. One can see human life as a "puppet show," for which astrology attempts to provide an "interpretation."

Compare this from Hamlet Scene 9 (Act 3 scene 2) at the 'Mousetrap Play'.
~=~
Ophelia: You are as good as a Chorus, my Lord.
Hamlet: I could interpret between you and your love
If I could see the puppets dallying.
=~=~=

L6: sky
Refers to the skies of day and night, respectively, following "cheered and checked." The daytime sky "cheers," the nighttime sky "checks." Line 6 has implicit analogy to life and death, day being life, the time of cheer, and night, death, the time of check. The summer sky, versus the winter sky, can also be inferred.

L10: rich = highly pleasing in all relevant respects.
'Sweet and splendid.'
The line 10 phrase, "sets you most rich" is an analogy to dessert being served. The general ideas of life, growth, and decline are the main 'feast,' and the Poet then turns his thoughts to the addressee, as the "rich" dessert. The Poet is 'consuming' ideas with his mind, which is analogous to consuming a feast, of dishes (ideas) set one after another on the table of his imagination.

Compare this usage of "table" in 'Hamlet', Scene 5 (Act 1 scene 5.)
~=~
Yea, from the table of my memory
I'll wipe away all trivial, fond records...
=~=~=
The mind/memory is a "table." The Sonnet offers implicit "table" wordplay in that way.

L11: debateth = deliberates; debases, degrades.
The meaning can also be taken as 'has dialogue with,' or 'conspires.'
"Debates" would ordinarily mean "opposes," but this is a contrary usage. Here, it means time going along with decay.

L12: sullied = darkened; no longer bright and shining.
It suggests the literal, soiled, an implicit allusion to the literal dirt of the grave. From the literal implication, "sullied" can be read 'buried.' It can also be read 'disgraced' literally, i.e. 'dis-'(negation) + 'grace.'

L14: "engraft" = bud.
Grafting is done to try to create new growth from older stock. The Poet is the gardener 'grafting' the addressee, to try to produce a new 'branch,' a child, an heir. A graft may succeed, or fail; at the time the graft is done, the gardener doesn't yet know.

So, the Poet's "grafting" is him trying to encourage the addressee to 'grow' a new 'branch of the family' by getting married and having an heir.

"Graft" obviously suggests 'graph' = writing. The implication of writing goes beyond the Sonnets.

The Poet "wrote people new" by turning them into play characters, who might become immortal through publication. That was Shakespeare's occupation, after all, the composition of plays. The addressee for these Sonnets is probably the basis for a play character, perhaps more than one character. Which character, is the question. That is not easy to say. The character will be young, attractive, and marriage will be a topic in the play. I have no character identification to offer at this time.

. Sonnet 16 .

(original language, but moderately updated)

01. But wherefore do not you a mightier way

02. Make war upon this bloody tyrant time?

03. And fortify yourself in your decay

04. With means more blessed than my barren rhyme?

05. Now stand you on the top of happy hours,

06. And many maiden gardens yet unset,

07. With virtuous wish would bear your living flowers,

08. Much liker than your painted counterfeit:

09. So should the lines of life that life repair

10. Which this (Time's pencil or my pupil pen)

11. Neither in inward worth nor outward fair

12. Can make you live yourself in eyes of men,

13. To give away yourself, keeps yourself still,

14. And you must live, drawn by your own sweet skill.

. Sonnet 16 .

(paraphrased)

01. But why don't you, in a more consequential way,

02. Do battle against the killing tyranny of time?

03. And, why don't you comfort yourself, against your inevitable decline,

04. In a way more flourishing than my "childless" poetry?

05. You now stand at the peak of your happy time of life,

06. And there are many childless maidens, who

07. With praiseworthy desire, would bear your children,

08. Who would be more like you, and better liked, than any artificial
imitation could be.
09. Then, in that way, the lineage of your life would restore your life,

10. While such writing as this, (whether one calls it Time's "pencil," or
my own "pupil" pen,)
11. Neither with respect to your inward quality, nor your outward
show of handsomeness,
12. Can make you, yourself, live forever, to be seen by the eyes of
future men;
13. To give yourself away, as a husband, will preserve yourself in
an enduring way,
14. And you ought to continue, reproduced through your own
sweet skill, as a husband and lover.

Sonnet 16 Gloss

L1: mightier = more consequential.

L2: bloody = killing.

L3: fortify = 'man the fort'. (Note, to the right.)

L3: decay = decline. Old age.

L4: blessed = flourishing.
'Flourishing' is probably the best equivalent, because of the prompt mention of flowers.

L4: barren = childless, sterile - literally.
A poem cannot have children.

L5: on the top = at the peak.

L5: hours = times.

L6: unset = unseeded.

L7: virtuous = praiseworthy.

L7: wish = desire.

L8: liker = more like you, and also better liked.
(Double meaning.)

L8: painted = drawn, in words. (Note, to the right.)

L8: counterfeit = imitation, image. (Note, to the right.)

L9: lines of life = wrinkles, of the skin. Also 'lineage.'
(Double meaning.)

L9: that life = your life.

L9: repair = restore.

L10: Which = while.

L10: Time's pencil - (Note, to the right.)

L10: pupil pen - (Note, to the right)

L11: worth = quality, character. Mettle.

L11: fair = handsomeness. Can be read 'show.'

L12: live - Forever.

L13: give away yourself - (Note, to the right.)

L13: keeps = preserves.

L13: still = always, enduringly.

L14: must = ought to.

L14: live = continue.

L14: drawn = reproduced.

Sonnet 16 Notes

Sonnet 16 begins with "but" because it was written to follow # 15.
-------

L3: "fortify" = 'man the fort'.
Refers to getting more 'troops' for defense. The "troops" would be descendants, to "man the fort" of his lineage. In the general way, it means 'protect,' and can also be read as 'comfort.' The "fort" in the words 'fort-ify' and 'com-fort' are from the same root, referring to strength.

L7: virtuous = praiseworthy.
Having a bastard child by a bawd is most certainly not the point. A legitimate heir is the objective.

L8: painted = drawn, in words.
Hints of stage makeup, for a show, with an implication the Poet has made the addressee a play character. All the world's a stage, as the Poet wrote elsewhere.

L8: counterfeit = imitation, image.
This concept harks back to the notion of a mirror image, which is prominent in the earlier Sonnets in this group. Also, imitation is what actors do.

L10: Time's pencil
The figurative "pencil" of Time only adds lines, to the faces it "draws," it does not remove lines, in a way to keep a person young.

Since a person is a phenomenon of Time, any person's pencil, as it writes, can be thought of as Time's pencil, poetically speaking. Your own pencil, that you use as time goes by, can be thought of as "time's pencil," in that manner of speaking.

The reason for the exact word "pencil," of Time, is that a pencil is used for temporary writing that isn't intended to last. If one thinks of a person as a "drawing," done by Time's pencil, eventually the entire drawing will be erased, when the person dies.

L10: pupil pen
Time, personified, has been the Poet's teacher, so to speak, for how to write. In other words, he learned to write by spending a lot of time at it. In that way, his own pen has been Time's "pupil."

For the Poet, himself, the word "pen" is literal. It's what he used to write the Sonnet.

The overall concept that's being expressed is, Time's pencil did not draw, create, the addressee as an immortal youth, nor can the Poet's own pen do that.

L13: give away yourself
In the traditional wedding ceremony, the bride is "given away" by her father, while the groom "gives away" himself. So, the phrase has allusion to marriage.

The Sonnet makes the paradoxical point that, by "giving himself away," in marriage, the addressee will "keep himself" by keeping his family line going. He should "give" to "keep."

. Sonnet 17 .

(original language, but moderately updated)

01. Who will believe my verse in time to come

02. If it were filled with your most high deserts?

03. Though yet heaven knows it is but as a tomb

04. Which hides your life, and shows not half your parts:

05. If I could write the beauty of your eyes,

06. And in fresh numbers number all your graces,

07. The age to come would say this Poet lies,

08. Such heavenly touches ne'er touched earthly faces.

09. So should my papers (yellowed with their age)

10. Be scorn'd, like old men of less truth than tongue,

11. And your true rights be termed a Poet's rage,

12. And stretched meter of an antique song.

13. But were some child of yours alive that time,

14. You should live twice in it, and in my rhyme.

. Sonnet 17 .

(paraphrased)

01. Who would believe my verse, in time to come,

02. If it were filled with your most highly deserved praise?

03. Although, heaven knows, my verse is only like a monument

04. Which obscures your true life, and shows not half your qualities;

05. If I could write, to paint with words, the beauty of your eyes,

06. And in new, original verses count up all your favors,

07. The ages to come would say, this Poet lies,

08. Such divine touches never appeared on mortal faces.

09. Thus would my writings (when they're yellowed from age)

10. Be scorned, like old men who make up stories,

11. And descriptions that truly do you justice would be called a Poet's madness,

12. And the exaggerated lines of a legend.

13. But if some child of yours were alive at that time,

14. You would live twice: in it, and in my rhyme.

Sonnet 17 Gloss

L1: will = would.

L2: deserts = prerogatives, things to which you're entitled.
"High deserts" can be read 'highly deserved praise.'

L3: Though yet = although.

L3: but = only.

L3: as = like.

L3: tomb = monument.

L4: hides = obscures.

L4: life = true life.

L4: parts - Refers to the idea of being a "man of parts," a person of many qualities.

L5: write = draw or paint with words.

L6: fresh = original, new.

L6: numbers = verses.

L6: number = count, list. 'Count up.'

L6: graces = favors.
The superlative features that God has bestowed upon you. Charming features.

L8: heavenly = divine.

L8: touches = features.

L8: touched = appeared on; were drawn on.

L8: earthly = mortal.

L9: should = would.
"Should" is used to convey the imperative.

L10: tongue = speech.

L11: rights = descriptions that would do you justice.

L11: rage = madness, excess of emotion.

L12: stretched = exaggerated.

L12: meter = poetic lines.

L12: antique song = legend - the kind written in verse.
Legends are understood to be exaggerated and embellished.

L13: that = at that.

Sonnet 17 Notes

. Sonnet 18 .

. Ophelia's Immortality Sonnet .

(original language, but moderately updated)

(O Rose of May!
Dear maid, kind sister, sweet Ophelia.....)

01. Shall I compare thee to a Summer's day?

02. Thou art more lovely and more temperate:

03. Rough winds do shake the darling buds of May,

04. And Summer's lease hath all too short a date:

05. Sometime too hot the eye of heaven shines,

06. And often is his gold complexion dimm'd;

07. And every fair from fair some-time declines,

08. By chance, or nature's changing course untrimm'd:

09. But thy eternal Summer shall not fade,

10. Nor lose possession of that fair thou ow'st,

11. Nor shall death brag thou wander'st in his shade,

12. When in eternal lines to time thou grow'st,

13. So long as men can breathe or eyes can see,

14. So long lives this, and this gives life to thee.

. Sonnet 18 .

. Ophelia's Immortality Sonnet .

(elucidated)

(O Rose of May!
Dear maid, kind sister, sweet Ophelia.....)

01. Shall I compare thee to a Summer's day?

02. Thou art more lovely and more temperate:

03. Rough winds do shake the darling buds of May,
from their slender slivers in weeping willow trees,
04. And Summer's lease hath all too short a date:

05. Sometime too hot the eye of heaven shines,
as when the Son, Hamlet, glares at you in the Nunnery Scene,
06. And often is his gold complexion dimm'd,
by melancholy;
07. And every fair from fair some-time declines,
when it falls from the tree of life,
08. By chance, or nature's changing course untrimm'd:

09. But thy eternal Summer shall not fade,
Ophelia, you shall never age,
10. Nor lose possession of that fair thou ow'st,
to the world,
11. Nor shall death brag thou wander'st in his shade,
(like the Ghost,)
12. When in eternal lines to time thou grow'st,
as Hamlet, now in publication, becomes known by more and more people:
13. So long as men can breathe (to speak the lines of Hamlet on stage,)
or eyes can see, (to read Hamlet in print,)
14. So long lives this, (your story, Ophelia, in Hamlet,) and this gives life to thee.

Sonnet 18 Gloss

L2: temperate = mild. (Note, to the right.)

L4: Summer's = youth's. (Note, to the right.)

L4: lease = allowance, in the sense of the time allowed for something.

L4: too short = too soon.

L4: date = date of expiration.

L5: eye of heaven = the sun. (An implicit pun with "son.")

L6: gold - Refers to both the classic color of the sun, and also implies 'value.'
The sun's warmth is valuable.

L6: complexion = 'mood.'

L7: fair = fair creature.

L7: from fair = from handsomeness; from being handsome.

L7: declines = falls.

L8: changing = change-causing.

L8: untrimm'd = unslowed.
Nautical metaphor, from the practice of trimming sail to slow a ship.

L9: fade = darken. So as to be lost from sight.

L10: ow'st - (Note, to the right.)

L11: shade = darkness. Also, 'ghost.' (Double meaning.)

L12: to time = into the future.

L12: grow'st = flourish.

L13: breathe - To be able to speak.

L14: this - (Note, to the right.)

Sonnet 18 Notes

Sonnet 18 is "Ophelia's Immortality Sonnet." Shakespeare wrote it in celebration of his Ophelia character in Hamlet. It promises Ophelia eternal Summer.

The original Sonnets publication of 1609 does not have the Sonnets in the order in which they were written. Sonnet 99 was written before this Sonnet. That's conclusive, because Sonnet 99 deals with the choice of flowers for Ophelia while Shakespeare was composing the Ophelia character. This Sonnet concerns Ophelia as completed, and in publication. So, Sonnet 99 obviously had to be written before this Sonnet.

You may suppose this Sonnet means anything - As You Like It - so feel free, but Sonnet 18 was inspired by, and has reference to, the Ophelia character in Hamlet.

Since Sonnet 18 mentions "eternal lines" that men can "see," it was written after July 26, 1602, the date James Roberts registered Hamlet for publication. Further, the Sonnet was probably written after the Second Quarto of Hamlet was printed and offered for sale, most likely the spring of 1605.
-------

L2: temperate = mild.
In the Visconti-Sforza tarot deck, the "Temperance" maiden is the same character as the "Star" maiden. The Visconti-Sforza tarot deck, and other historical tarot decks, provide some ready-made illustrations for Hamlet, and other Shakespeare writings.

L4: Summer's = youth's.
The concept in line 4 is that youth is the "summer" of one's life, and it is time that is only "leased" in the sense of being borrowed, from Nature, for a limited duration. A person doesn't "own" his own youth, meaning it can't be kept forever, and must eventually be surrendered.

L10: ow'st
The word is "owest" = owe. It connects back to "lease" in line 4. Various interpretations, that one may find elsewhere, try to treat the word as "ownest" (possess) but that's obviously wrong. The Poet is continuing to talk about beauty that's "owed" under the mentioned "lease" in line 4.

However, the Poet has changed point of view, in line 10, and now means the beauty "owed" to the world, to see, in anticipation of line 13. So it's the same idea of "owe," but from a different angle.

L14: this
"This" is an ambiguous word. It can mean either "this, here" or it can mean "that, there." In this case it means "that," and the "that" is Hamlet.

. Sonnet 19 .

(original language, but moderately updated)

01. Devouring time, blunt thou the Lion's paws,

02. And make the earth devour her own sweet brood;

03. Pluck the keen teeth from the fierce Tiger's jaws,

04. And burn the long lived Phoenix in her blood;

05. Make glad and sorry seasons as thou fleet'st,

06. And do what e'er thou wilt, swift-footed time

07. To the wide world and all her fading sweets:

08. But I forbid thee one most heinous crime,

09. O carve not with thy hours my love's fair brow,

10. Nor draw no lines there with thine antique pen,

11. Him in thy course untainted do allow,

12. For beauty's pattern to succeeding men.

13. Yet do thy worst old Time, despite thy wrong,

14. My love shall in my verse ever live young.

. Sonnet 19 .

(paraphrased)

01. All-consuming time, you may make dull the lion's claws,

02. And make Mother Earth swallow up her own sweet children,
in death and decay, and you may
03. Pull the sharp teeth from the fierce tiger's jaws,

04. And burn the long-lived Phoenix in her own fever and passion;

05. You may cause cheerful, or sorrowful, times as you go swiftly by,

06. And do whatever else you wish, fast running time,

07. To the world in general, and all her flowers that fade,

08. But I forbid you to commit one particular, hateful crime:

09. O do not carve my cherished friend's fair brow, with sweeps of your sickle,

10. And do not draw lines there, with your ancient pen;

11. Allow him to remain unblemished, as you run your course,

12. As a model of beauty for men of the future.

13. Yet even if you do your worst, old Time, despite your wrongdoing,

14. My love shall, in my writing, be young forever.

Sonnet 19 Gloss

L1: Devouring = all-consuming.

L1: blunt = dull, unsharpen.

L1: paws - (Note, to the right.)

L2: devour = swallow up, with death and decay. Bury.

L2: her - The feminine is used because of 'Mother Earth.'

L2: brood = children.
All living creatures are "children" of the earth.

L3: Pluck = pull.
The word usage implies that Time, personified, can pull fangs as easily as a person picks flowers, figuratively speaking.

L4: Phoenix - (Note, to the right.)

L1 to L4: Lion, Tiger, Phoenix - (Note, to the right.)

L4: blood - (Note, to the right.)

L5: glad and sorry - cheerful and sorrowful.
In addition, the "glad and sorry seasons" can be understood as spring and winter, the seasons of birth and death, because the Poet often used reference to the seasons in that way. Generally, it's reference to glad times, and sad times, as time goes by.

L7: wide world = the world at large.

L7: sweets = flowers.

L8: heinous = hateful, odious.
May also be read 'pitiless' from the way the Poet used "heinous" elsewhere.
See Titus Andronicus Act 5 scene 3:
~
Lucius: ... As for that heinous tiger, Tamora ...
Her life was beast-like, and devoid of pity,
And, being so, shall have like want of pity.
~~~

L9: carve = make 'cuts' in, with reference to deep lines in the skin.
Time, personified, (the Grim Reaper,) is depicted as wielding a sickle, which is a cutting tool.

L9: hours = sweeps of Time's sickle.
The poetic concept is that, hour by hour, Time's sickle sweeps back and forth.

L9: love's = cherished friend's.

L10: antique = ancient.

L11: untainted = unblemished. Also 'untouched' by signs of old age.
May also be read 'undyed,' giving an implicit pun with 'undied,' not dead, leading to the "forever young" idea in line 14.

L12: pattern = model.

L12: succeeding = future. Successive generations, into the indefinite future.

L13: wrong = wrongdoing.

L14: love = cherished friend. Further, implies 'expression of love.'
"Love" can mean more than one thing. It can mean a loved person, or an expression of love. For the secondary meaning, the Poet says his "statement of love," in his verse, will always be young and fresh, a "living" statement of love, no matter how time treats the addressee.

L14: my verse = my writing.
The Poet's verse, expressing love for his addressee, is not necessarily confined to this one Sonnet, so it is better not to take "verse" as equivalent to "this Sonnet."

Sonnet 19 Notes

The addressee of Sonnet 19 is unclear, except that he is young, and a highly valued friend of the Poet.
-------

L1: paws
The Shakespeare plays contain two mentions of lion's claws, and four of lion's paws. The Poet apparently had a preference for "paws," rather than 'claws,' of a lion. The word usage could relate to his interest in heraldry. Paw position is significant in heraldic depiction of the lion: "rampant" is with both forepaws raised, "passant" is with one forepaw raised, and "sejant" is with both forepaws on the ground. So, for heraldic lions, the paws are the things to observe.

L4: Phoenix
Reference to the mythical bird that lives for hundreds of years, then burns itself in its nest, to rise again from the ashes; or, its offspring rises from the ashes, depending on who's telling the story. The use of the word "her" in the line inevitably suggests some allusion to Queen Elizabeth I, which tends to place this Sonnet after the death of the Queen. Ovid's "Metamorphoses," the Golding translation, accepted as one of Shakespeare's sources, uses 'his' and 'he' for the phoenix. "Her" is something to ponder, since it's a departure from a known Shakespeare source. Allusion to the death of Elizabeth I would account for "her." Interpretation should not be carried too far. According to myth, there is only one Phoenix in the world at a time, and there is only one British monarch at a time, thus allowing an analogy to that extent. The analogy, or allusion, if intended, may consist of little more than that. Elizabeth I was certainly "long-lived" as monarch of England. So - again, if allusion is intended - the analogy to the Phoenix would be that England has one monarch at a time, and Elizabeth I was unusually long-lived.

L1 to L4: Lion, Tiger, Phoenix
Since the lion is of Africa, the tiger of Asia, and the phoenix is associated with Arabia, reference to those three goes along with "wide world" in line 7. The Poet may have mentioned those three because of the geographic range.

L4: blood
Beyond the literal, Shakespeare often used the word to refer to passion. Ambiguity is probably intended. The phoenix's behavior, in igniting itself, could be understood, in Shakespearean terms, as an act of "burning" passion.

Compare Hamlet Scene 3 (Act 1 scene 3):
~
Polonius: Aye, springs to catch woodcocks; I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows; these blazes, daughter...
~~~
Polonius expressly speaks of passion being a 'burning' of the 'blood,' and he does so just after mentioning a bird. The similarity is suggestive, of why the Poet associated "blood" and "burn" in this Sonnet.

Compare also, from Venus and Adonis:
~
As burning fevers, agues pale and faint,
Life-poisoning pestilence and frenzies wood,
The marrow-eating sickness, whose attaint
Disorder breeds by heating of the blood
~~~
Also of interest for this concept,
Merry Wives of Windsor Act 5 scene 5:
~
Hostess Quickly: Lust is but a bloody fire...
~~~
Then, Richard II Act 1 scene 2:
~
Duchess of Gloucester: Hath love in thy old blood no living fire?
~~~
Also Tempest Act 4 scene 1:
~
Prospero: ... the strongest oaths are straw
To the fire i' the blood ...
~~~
The original, ancient sources on the phoenix don't associate its burning with its blood, in particular, so apparently the Poet applied his own theory, that the phoenix burned because of extreme emotion, or fever, in the blood. He used the "burning blood" concept widely in his writing.

. Sonnet 20 .

(original language, but moderately updated)

01. A woman's face with nature's own hand painted,

02. Hast thou the Master Mistress of my passion,

03. A woman's gentle heart but not acquainted

04. With shifting change as is false women's fashion;

05. An eye more bright than theirs, less false in rolling:

06. Gilding the object where-upon it gazeth,

07. A man in hue all Hues in his controlling,

08. Much steals men's eyes and women's souls amazeth.

09. And for a woman wert thou first created,

10. Till nature as she wrought thee fell a-doting,

11. And by addition me of thee defeated,

12. By adding one thing to my purpose nothing.

13. But since she pricked thee out for women's pleasure,

14. Mine be thy love and thy love's use their treasure.

. Sonnet 20 .

(paraphrased)

01. A woman's face, created by Mother Nature's own hand,

02. Is what you have, Mister "Mistress" of my display of emotion, and

03. A woman's kind (in both senses) heart, but one that's unfamiliar

04. With artificial change, in the way of unfaithful women's manner,

05. An eye more lively and witty than a woman's, and in action "truer,"
in both senses of the word,
06. Decorating, and adding value to, the object upon which it gazes,

07. A man in form and nature, with both sexes in your repertoire,
and able to convince both sexes,
08. Nearly "stealing" men's eyes, and amazing women down to their souls.

09. So it must be you were first intended to be a woman,

10. Until Nature, as she formed you, began to adore you,

11. And gave you "Will" to defeat me, where you're concerned,

12. By adding one thing, male sex, which is, for my purpose, nothing.

13. But since she chose and equipped you for women's pleasure,

14. Let your emotional love be mine, and your
physical activity as a lover be women's "treasure."

Sonnet 20 Gloss

L1: woman's face - The boy has features that can be seen as a woman's, which would of course be required for his roles. It's part of why he was hired.

L2: Master Mistress - Out of costume the boy is "Master," and in costume he's "Mistress."

L2: passion = the display of extreme emotion. A show of emotion. (Note, to the right.)

L3: gentle = kind. "Kind" is probably the best equivalent in paraphrase, taken to mean both 'tender' and the 'same kind.'

L3: not acquainted = inexperienced. Unfamiliar (with.)

L4: shifting = tricky, affected, artificial in the sense of 'artifice.'
The boy is complimented that while his appearance, as a woman, is false, his heart is truer than a woman's.

L4: false = untrue, in the sense of lacking fidelity.

L4: fashion = style, manner. Also 'temporary interest.' (Double meaning.)

L5: bright = shining. Also 'lively' or 'witty.'

L5: false = deceptive.

L5: rolling = wandering. (Note, to the right.)

L6: Gilding = decorating, 'painting.' Also 'treasuring,' adding value to.
Gold is treasure, and value is a matter of perception. (Note, to the right.)

L7: hue = form, nature.

L7: controlling = repertoire, range of performance.
Also, "in his controlling" = under his control, in performance. (Double meaning.)
In performance, the boy can play either boy or girl, and convince both men and women, either way.

L8: Much = nearly, almost. (Note, to the right.)

L8: amazeth = astounds.
The boy, in costume, can look and act enough like a woman to fool women.

L9: And = So it must be.

10: wrought = worked on, formed, shaped.

L10: fell a-doting = "fell for you," began to adore you.

L11: me = both literal, and also Will, the Poet's name, which is wordplay. (Note, to the right.)

L11: of = either literal, or 'to.'
There is intentional ambiguity, in connection with the "dual nature" of line 11.

12: thing = male sex.

13: pricked = chose, and also wordplay on the male sex organ.

14: treasure - A paradoxical word usage, since "treasure" is euphemistic of the female sex organs.

Sonnet 20 Notes

Sonnet 20 was written by William Shakespeare, and it concerns the boy actor who played the young women characters for Shakespeare's playing company. The boy is not the same young man who is urged to marry in the first group of Sonnets, numbers 1 to 17.

The Sonnet is written so that all the lines have "feminine" endings, poetically speaking. That is, each line ends with an unstressed syllable. It's a sophisticated and professional way of matching the style to the subject.

The Sonnet has sexual teasing, but it does not imply any homosexual behavior. In fact, it explicitly rejects any homosexuality.

(By the way, Sonnet 126 is to this same boy, and not to the young man of the first group of seventeen Sonnets.)

This Sonnet may have been written sometime during the course of the so-called 'Dark Lady' Sonnets, since it contains statements which imply the Poet viewing women in a dim light. It is, at least, reminiscent of the Dark Lady Sonnets in that way. The implications are another indication that the original Sonnets publication does not have the Sonnets in the order in which they were written.
-------

L2: passion = the display of extreme emotion. A show of emotion.
The word "passion" is facetious. Just as the boy plays a role in imitating a woman, the Poet is playing a role of great emotion over it. There is "acting" going on.

Shakespeare, himself, wrote: "All the world's a stage." This Sonnet is what might be called a "players sonnet," one which involves roles.

Compare use of the word "passion" in Hamlet Scene 9 (Act 3 scene 2):
~
Hamlet: Speak the speech, I pray you, as I pronounc'd it to you,
trippingly on the tongue. ...
... but use all
gently; for in the very torrent, tempest, and (as I may say)
whirlwind of your passion, you must acquire and beget a
temperance that may give it smoothness. O, it offends me to the
soul to hear a robustious periwig-pated fellow tear a passion to
tatters ...
~~~
Hamlet is using "passion" in reference to an actor's performance.

Also, compare the use of "passion" in As You Like It (Act 3 scene 2):
~
Rosalind: ... and in this manner. He was to imagine me his
love, his mistress; and I set him every day to woo me; at which
time would I, being but a moonish youth, grieve, be effeminate, ...
shallow, inconstant, full of tears, full of smiles; for every
passion something and for no passion truly anything, ...
~~~
Rosalind is using "passion" in reference to "putting on a show." (The boy who is the subject of this Sonnet probably played Rosalind.)

L5: rolling = wandering.
A reference to fickleness, it means favoring first one thing, then another, by gazing upon them in turn. "Rolling" also has a literal reading, with respect to the emotion displayed by rolling the eye.

L6: Gilding = decorating, 'painting.' Also 'treasuring,' adding value to.
Gold is treasure, and value is a matter of perception.
Line 6 can be read with a double meaning, as to whether it's the boy's eye, or women's eyes that are meant. The ambiguity is intentional. The Poet has it that the boy's eye "adds value," while the woman's eye only "paints," figuratively speaking.

L8: Much = nearly.
"Much steals" = 'nearly takes,' a poetic exaggeration that the boy, costumed as a woman, can "nearly take" men's eyes out of their sockets. The boy can make men widen their eyes, as though their eyes were going to fall out.

The word "much" used in this way is usually followed by "like" or "as" but not always.
For examples:
Roger Ascham, The Scholemaster: "I heare saie, you haue a sonne, moch of his age..."
Shakespeare, Rape of Lucrece: "Much like a press of people at a door."
Francis Bacon, Of Custom and Education: "Men's thoughts, are much according to their inclination."

L11: me = both literal, and also Will, the Poet's name, which is wordplay.
"Me" is a "double-duty" word in the line, to be repeated.
That is:
'And by the addition of "Will" (me,) me defeated of thee' =
'And by the addition of "Will" (me,) defeated me of thee'
"Will" is male sexual desire and characteristics, physically and symbolically phallic.

This Sonnet has an implicit link to the "Will" Sonnets, numbers 135 and 136, although originally printed more than a hundred Sonnets apart from them.

. Sonnet 21 .

(original language, but moderately updated)

01. So is it not with me as with that Muse,

02. Stirred by a painted beauty to his verse,

03. Who heaven itself for ornament doth use,

04. And every fair with his fair doth rehearse,

05. Making a couplement of proud compare

06. With Sun and Moon, with earth and sea's rich gems:

07. With April's first born flowers and all things rare,

08. That heaven's air in this huge rondure hems,

09. O let me true in love but truly write,

10. And then believe me, my love is as fair,

11. As any mother's child, though not so bright

12. As those gold candles fixed in heaven's air:

13. Let them say more that like of hear-say well,

14. I will not praise that purpose not to sell.

. Sonnet 21 .

(paraphrased)

01. It is not so, with me, as it is with that poet, who is

02. Motivated by only a show of beauty to compose, and,

03. Who uses everything in heaven to decorate his poetry,

04. And who speaks, superficially, of every fair thing he knows of,
in comparison with his fair subject,
05. Making similes of overblown comparison,

06. With the Sun and Moon, with the gems of earth and sea,

07. With April's first and loveliest flowers, and anything and
everything that's rare,
08. That he can think of, or see, in the whole wide world;

09. - Oh, let me, my Muse, since I'm true in my love, just write honestly -

10. And then you, my addressee, can believe me, that my love,
and you that I love, are as beautiful
11. As any mother's child, seen through her eyes, although perhaps
not really so brilliant
12. As all the stars in the sky.

13. Let other poets go on and on with cliche, if they like it, but

14. I won't write to that end, in that way, not in order
to gain patronage by selling out.

Sonnet 21 Gloss

L1: So is it not = It is not so. (Note, to the right.)

L1: Muse = poet (Note, to the right.)

L2: stirred = motivated, inspired.

L2: painted = made up.
In both senses, with reference to a false appearance, and also to something that's just made up, not sincere.

L3: heaven itself = everything in heaven.
Reference to a poet indiscriminately using just "anything" and "everything" for simile in his poetry.

L3: ornament = decoration, adornment, furnishing.
Reference to a poet "decorating" his verse to make it look and sound better.

L4: every fair with his fair = every attractive thing (he can think of) with his addressee, the "fair" object of his poetry.

L4: rehearse - Generally, 'speak.' (Note, to the right.)

L5: proud = puffed up, overblown.

L5: compare = comparison.

L5: couplement = simile, (in expressions); analogy, (in ideas.)

L6: gems = gems or jewels. Diamonds, rubies, pearls, etc.

L7: first born = earliest; and also 'most attractive.' (Double meaning.)

L7: rare - Rareness implies value.

L8: heaven's air = the sky.

L8: rondure = the 'circle' or sphere of the earth.
Mainly, the 'circle' within the horizon, "everything in sight." The insincere poet uses "everything in sight" for simile.

L8: hems = borders, surrounds.
Can be understood as "frames," like the frame around a picture.

L9: O let me - The Poet calls upon his own Muse in line 9.

L9: but = only, just.

L10: believe me = you can believe me.

L10: love - Refers to both the emotion, and the addressee. (Double meaning.)

L11: mother's child - (Note, to the right.)

L11: not so bright = not really as brilliant. (Note, to the right.)

L12: gold candles = stars.
"Gold" refers to treasure, or eternal value, more than color, so it can be understood as 'eternal stars.'

L13: say more = go on and on (in the same superficial way.)

L13: hear-say = second hand (praise.)
Reference to the kind of praise that's common, already been heard. "Cliche," in other words.

14: that purpose = in that way, to that end result. Like that. (Note, to the right.)

L14: not to sell = not to seek patronage. (Note, to the right.)

Sonnet 21 Notes

Sonnet 21 is by William Shakespeare, probably to Edward de Vere. However, it might be to a different patron.

The Sonnet hints slightly of being a "rival poet" kind, faintly associated with the more overt "rival poet" Sonnets that appear later in the printed series. However, the criticisms of other poetry may be only general in this Sonnet, with the other poet a "type" rather than any individual.
-------

L1: So is it not = It is not so.
This beginning leads on to the ideas of "painting," and honesty versus insincerity. It immediately raises the issue, "what is so, and what is not so?"

L1: Muse = Poet
A poet is a Muse's servant, conceptually, so the Muse gets the credit, according to the style of speech in Shakespeare's time. It's similar to Shakespeare's acting company being referred to as, "the Lord Chamberlain, his servants." Expressions have changed since those days. If the old way of referring to things were still in use, Microsoft could be called, "Bill Gates, his company," for example. The Muse is cited in line 1 because the Muse is the "boss" or "lord" of the poet who does the actual writing. It's basically feudal language which persisted into the Renaissance.

L4: rehearse - Generally, 'speak.'
Dialogue is spoken when it's rehearsed. The word implies insincerity, in the sense that dialogue is learned by rote, and is not spontaneous. "Rehearse" can further be taken as "recite" or "repeat" statements already used by others. Lack of originality, and spontaneity, is the point.

L11: mother's child
Beauty is in the eye of the beholder, and the perception of beauty is a consequence of emotion. The Poet knew his business well, when it comes to human perception. All the gold on earth, and all the stars in the sky, are as nothing, when it comes to a mother's love for her child. Emotionally, this implicit reference to mother's love is about as strong a statement as one can make.

L11: not so bright = not really as brilliant.
The Poet proves his truth, of his emotion, by admitting the objective truth. It is a powerful technique, that makes the sentiment intensely personal. Line 11 turns from common statements of superficial praise, to a statement of love. It's like saying, "well, maybe you're not really the most beautiful thing on earth - but you are to me!" In any human terms, being loved is far better than being compared to a star or a pearl.

Would you rather be loved, or just compared to a pearl?

14: that purpose = in that way, to that end result. Like that.
The phrase has a double meaning, in that the Poet doesn't praise common, superficial poetry of the kind described, and also he won't offer praise in that way, himself. The Poet did use similes of the kind he criticizes here, and he undoubtedly knew that, but in this Sonnet, he's saying he goes beyond that, when it really counts. Some poems are more important than others. The implication is, that while this Sonnet is not as complex and profound as some of the others, it was important to Shakespeare.

L14: not to sell = not to seek patronage.
Secondarily, the phrase can be understood as "not to deceive," since "deceive" is an archaic meaning of "sell." The Poet disavows that he will be superficial, or use cliche, to deceive or mislead about what he really means. It's a pledge of honesty.

There is the idea of not being a "sell-out," as modern slang has it, referring to somebody who will give up his principles for money. Although Shakespeare did seek patronage, he wasn't a sell-out. He said so here, and he meant it. It serves as a caution to the patron, that if he's looking for some poet just to flatter him with a lot of cliche, he should look for somebody other than Shakespeare.

. Sonnet 22 .

(original language, but moderately updated)

01. My glass shall not persuade me I am old,

02. So long as youth and thou are of one date,

03. But when in thee time's furrows I behold,

04. Then look I death my days should expiate.

05. For all that beauty that doth cover thee,

06. Is but the seemly raiment of my heart,

07. Which in thy breast doth live, as thine in me,

08. How can I then be elder than thou art?

09. O therefore love be of thyself so wary

10. As I not for myself but for thee will,

11. Bearing thy heart which I will keep so chary

12. As tender nurse her babe from faring ill,

13. Presume not on thy heart when mine is slain,

14. Thou gavest me thine not to give back again.

. Sonnet 22 .

(paraphrased)

01. No matter what I see in my mirror, I won't believe that I'm old

02. As long as you are young, like Youth, itself,

03. But when, and if, I see wrinkles of old age on you,

04. Then I'll look for death to atone for my "sin" of living so long,

05. For, all the beauty that I do see covering you,

06. Is only, in truth, a fitting and proper "costuming," I've given you,
because I love you from my heart,
07. Which love lives in your breast, as your love lives in my heart, so,
since our hearts are both young in love,
08. How, then, can I be older than you are?

09. O therefore, since I love you, take good care of yourself,

10. As I will take care of myself, not out of selfishness, but for you,

11. Holding your love, which I will watch over as carefully

12. As an attentive nurse, to keep a baby from doing poorly;

13. Don't take your love of me for granted, that it will
continue when I am dead, because
14. You gave me your love to keep (so I intend to
take your love with me when I die.)

Sonnet 22 Gloss

L1: glass = mirror.

L2: youth - Personified.

L2: one date = the same age.

L3: time's furrows = deeply wrinkled skin, caused by old age.

L4: expiate = atone for. (Note, to the right.)

L4: days = age.

L5: doth cover thee = that I see on you.

L6: but = only, just.

L6: seemly = 'fitting' and 'proper,' both. (Double meaning.)

L6: raiment = costuming.
The stage term is best.

L6: of = from.

L6: heart = love, from the heart.

L7: live = abide, dwell.

L8: elder = older, more elderly. (Note, to the right.)

L9: wary = watchful. 'Watch out for yourself,' 'take good care of yourself.'

L11: Bearing = holding, nurturing.
Like caring for a baby, as line 12 goes on to say.

L11: heart = love.
It's a poetic equation of "heart" and "love" as if they were identical.

L11: keep = watch over, tend.

L11: so chary = with such care, so carefully; as carefully.

L12: faring ill = doing poorly because of neglect.

L13: presume = take for granted. (Note, to the right.)

Sonnet 22 Notes

Sonnet 22 is by Edward de Vere, to William Shakespeare. Of course nobody else has told you that.
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L4: expiate = atone for.
The Poet casts it as a "mortal sin" that he should ever see the addressee as an old man, and for that "sin," of living so long, he would deserve capital punishment. More simply expressed, the Poet says, "if I lived that long, I'd deserve to die."

L8: elder = older, more elderly.
The poetic question being, since the Poet, like the youth, is "young at heart, with love" how can he be older? The persons should be the same age, since their hearts are both young, figuratively speaking.

L13: presume = take for granted.
In line 13 the Poet is saying, 'don't take for granted you'll still love me when I'm gone.' The reason being, as stated in line 14, 'when I die I'm going to take your love with me.' It's a charming variation on the idea of "taking it with you" when you die.

In this case, the Poet is humorously asserting that the addressee won't love him after he's dead, because the Poet is going to take all the addressee's love with him.

. Sonnet 23 .

(original language, but moderately updated)

01. As an unperfect actor on the stage,

02. Who with his fear is put besides his part,

03. Or some fierce thing replete with too much rage,

04. Whose strength's abundance weakens his own heart;

05. So I for fear of trust, forget to say,

06. The perfect ceremony of love's right,

07. And in mine own love's strength seem to decay,

08. Ore-charged with burden of mine own love's might:

09. O let my books be then the eloquence,

10. And dumb presagers of my speaking breast,

11. Who plead for love, and look for recompense,

12. More than that tongue that more hath more expressed.

13. O learn to read what silent love hath writ,

14. To hear with eyes belongs to love's fine wit.

. Sonnet 23 .

(paraphrased)

01. Like an inadequately rehearsed actor on stage,

02. Who forgets his lines because of stage fright,

03. Or like an untamed 'thing' filled with too much passion,

04. Whose overflowing strength diminishes his own expressions of sentiment,

05. So I, worried about being believed, (that I don't see you as just a sex object,)
neglect to say
06. The proper words, to which our "ceremony of love" (marriage) gives you a right,

07. And because of the intensity of my love, I lose my composure,

08. Commanded too much by the weight of my passionate love's compulsion.

09. O then let my writings be the eloquent speech, that I should speak in person,

10. And the soundless messengers, of the love that "speaks" from my heart,

11. Who plead my case of "love," and seek forgiveness,

12. Overcoming what I say in person, that has sometimes been more outspoken
and better expressed.
13. O do please "learn by heart" to understand what unspoken love has written;

14. To "hear" with eyes, that understand, goes hand in hand with love's
accomplished wisdom.

Sonnet 23 Gloss

L1: As = like.

L1: unperfect = unpolished; not thoroughly practiced, not adequately rehearsed.

L2: fear = stage fright.

L2: besides = apart from. (Note, to the right.)

L2: part = the lines written for the actor to say.

L3: fierce = untamed.

L3: thing - Can be read as a euphemism, for penis.

L3: replete = filled.

L3: rage = passion.

L4: strength's abundance = "overflowing" physical power.

L4: weakens = diminishes, fights against.

L4: heart = compassion, sentiment. (Note, to the right, on lines 3 & 4.)

L5: fear = anxiety, apprehension, worry.

L5: trust = credence.
"For fear of trust" = for fear I won't be believed.

L5: forget = fail to recall exactly how. Secondarily, 'neglect.'

L5: say = speak. As opposed to writing.
The Poet means exactly "say," in spoken words.

L6: perfect = proper, "by the book."

L6: ceremony = recitation. (Note, to the right.)

L6: right = entitlement. (Note, to the right.)

L7: strength = intensity.

L7: decay = decompose. (Note, to the right.)

L8: Ore = over. (Note, to the right.)

L8: Ore-charged = overwhelmed. (Note, to the right.)

L8: burden = weight, amount. (Note, to the right.)

L8: might = compulsion. (Note, to the right.)

L9: books = writings.
This is a change from the earlier idea, of speaking.

L9: eloquence = expressive speech.
The Poet writes better than he talks, when it comes to love, is the implication.

L10: dumb = soundless.
Written words do not directly speak.

L10: presagers = heralds, in the sense of messengers.
The word has reference to messengers or "criers" (of love.)

L10: speaking breast = his own voice, speaking from the heart.

L11: plead - Used in a quasi-legal sense.
The addressee is "judge and jury" for the Poet to plead his love.

L11: recompense = compensation, return, restitution. (Note, to the right.)

L12: More than = overcoming. Overlooking.

L12: that tongue = his own tongue, his own speech. His talking.

L12: that more hath more expressed = that has expressed more, and better. That has been more outspoken, and better expressed.

L12: that more - (Note, to the right.)

L13: learn - Since love is the subject, the implication is "learn by heart."

L13: read - Either literal, or 'comprehend,' 'understand.'

L13: silent = unspoken.

14: hear = understand, 'take in.'

L14: belongs = goes along with.
The best equivalent is "goes hand in hand with," since love is the subject.

L14: fine = accomplished.

L14: wit = wisdom, astuteness.

Sonnet 23 Notes

Sonnet 23 is by William Shakespeare, and it's written to his wife. He saw her, but didn't express his love for her in person as well as he wishes he had, so he now tries to make up for that with a Sonnet to her. 'Thing', and its associated words, suggests the visit turned out to be primarily sexual, leaving the Poet worried he was not expressive enough of love in talking to her. It's a long way from London to Stratford, with visits too few and far between.

It might be advisable for scholars to review the argument that a mark on an official document is necessarily a sign of illiteracy. Maybe so, but maybe not. It's generally taken that Mrs. Shakespeare couldn't read, because she signed with a mark. However, this Sonnet is written to her.

Alternatively, the Sonnet can be interpreted as expressing regret that she can't read, and by writing the Sonnet, the Poet is writing "lines" for himself to read to her on his next visit. That was Shakespeare's occupation, after all, the writing of lines to be spoken aloud. This Sonnet may be a "speech" for himself as a "player" the next time his wife is his "audience." The interpretation of it being a "player" Sonnet does not imply any insincerity, by the way. He wrote speeches for players very seriously, as his job, to make money and feed himself and his family.
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L2: besides = apart from.
There is implicit wordplay with "part," i.e., the idea of the player being "apart from his part." There is also further implicit wordplay, with "depart." A player who is "apart from his part" has "departed" from it.

The idea in line 2 is of an actor who forgets his lines, because of stage fright. The more general concept is that of ability being undermined by emotion.

L3 & L4
The point of lines 3 and 4 is that strong emotion "fights against" eloquent expressions of sentiment.

L6: ceremony = recitation.
Ceremonies involve reciting words that have been written down, and memorized. In immediate meaning, the Poet does not mean, literally, reciting words that have been written down. But, read on.

The well known "ceremony of love" is the wedding ceremony, of course. That's part of what identifies this Sonnet as being to Mrs. Shakespeare.

L6: right = entitlement.
There is a pun between "right" and "rite," and both meanings are intended to be understood. A wedding ceremony is a rite that confers certain rights on both husband and wife.

L7: decay = decompose.
The implication of "decompose" is literal, i.e. the intensity of the Poet's love makes it difficult for him to compose exactly what he wants to say. His love affects his "composure." So, his ability to express himself is "de-composed."

L8: Ore = over.
"Ore" is the original spelling. It suggests the old meaning of "ore" = gold, and hints of the Poet's love being too "golden" for him to express.

L8: Ore-charged = overwhelmed.
The term can also be read "overly-commanded." The idea implies that the Poet's love is so great that the "commands" or "orders" of his love are more than he can carry out, when it comes to expressing that love adequately.

L8: burden = weight, amount.
In addition, the word "burden" has an old definition of "childbirth."
For example, see Comedy of Errors Act 1 scene 1:
~
Aegeon: ... A mean woman was delivered
Of such a burden, male twins, both alike.
~
Also from Comedy of Errors, Act 5 scene 1:
~
Abbess: ... if thou be'st the man
That hadst a wife once call'd Aemilia,
That bore thee at a burden two fair sons ...
~~~
A poem is, figuratively, a "child" of a poet's inventiveness. Composing a poem is therefore like bearing a child. Here, the Poet implies that the "child" (poem,) that truly expresses his love, is beyond his ability to give birth to (compose) - extemporaneously!

The subtle parent-child implication also hints of the addressee being the Poet's wife, however, he used the "child" notion quite freely.

L8: might = compulsion.
Compulsion caused by overwhelming power. For an example of this meaning, see Antony and Cleopatra Act 3 scene 12:
~
Euphronius: ... Cleopatra does confess thy greatness,
Submits her to thy might ...
~~~

L11: recompense = compensation, return, restitution.
It's the general notion of "making up for." The Poet hopes his writing will make up for his lack of spoken eloquence. "Forgiveness" would be another way of saying it.

The Poet has seen his wife, and spoken to her, but fears that what he said at the time wasn't good enough. He hopes that what he writes will do better than he did in person. The only "recompense" he seeks, is for her to overlook, or forgive, that he isn't as eloquent as he wants to be, in person.

L12: that more
The phrase puns with "that moor," and thereby constitutes an insult from him to his own tongue. It isn't literal meaning, of his tongue being black, but Shakespeare well knew the 'more-moor' pun. Especially see Othello, and then his various other writings. The complicated phrasing of line 12 is probably to incorporate the pun.

. Sonnet 24 .

(original language, but moderately updated)

01. Mine eye hath play'd the painter and hath stelled, [sp "steeld"]

02. Thy beauty's form in table of my heart,

03. My body is the frame wherein 'tis held,

04. And perspective it is the Painter's art.

05. For through the Painter must you see his skill,

06. To find where your true Image pictur'd lies,

07. Which in my bosom's shop is hanging still,

08. That hath his windows glazed with thine eyes:

09. Now see what good-turns eyes for eyes have done,

10. Mine eyes have drawn thy shape, and thine for me

11. Are windows to my breast, where-through the Sun

12. Delights to peep, to gaze therein on thee

13. Yet eyes this cunning want to grace their art

14. They draw but what they see, know not the heart.

. Sonnet 24 .

(paraphrased)

01. My eye has acted as a painter, and has placed

02. Your beauty's image on a panel in my heart;

03. My body, that you see, is only the frame that holds your picture,

04. And it, (the picture in my heart,) painted by my eye, is my point of view;

05. Therefore, to see the "Painter's" skill, you must look through my eyes,

06. To discover where your truly loved Image is kept,
and where it might be right or wrong,
07. (An Image) Which is always hanging in the gallery of my heart,

08. (A gallery) Which has its windows glazed with your eyes, (so that
when I look into your eyes, I "see" the love I hold for you in my own heart.)
09. Now see what favors my eyes have done for your eyes, and yours for mine:

10. My eyes have imaged your shape, in my heart, and your eyes, for me,

11. Are windows into my own heart, windows which let the sun

12. Shine in, to light and warm my heart, when I see your eyes;

13. Yet eyes alone, by themselves, lack the ability to adorn their "works of art;"

14. They image only what they see on the surface, and don't fathom the heart.
(Therefore I must tell you, in this Sonnet, that I love you, since you can't tell
just by looking.)

Sonnet 24 Gloss

L1: play'd = imitated, acted.

L1: stelled = placed, set, fixed in place. The general idea of 'put.' (Note, to the right.)

L2: form = image.

L2: table = panel, or board. (Note, to the right.)

L3: frame = picture frame. (Playing off the use of "frame" in reference to the human body.)

L4: perspective = point of view. (Note, to the right.)

L5: For = so; therefore.

L5: the Painter = "mine eye," (as already stated in line 1.) (Note, to the right.)

L6: find = discover.

L6: true - to my love, truly loved.

L6: lies = is kept; also, 'departs from truth.' (Note, to the right.)
(Double meaning.)

L7: shop = gallery. (Note, to the right.)

L7: still = always.

L9: good-turns = favors.

L11: breast = heart.

L13: eyes = eyes alone.

L13: cunning = ability, ingenuity.

L13: want = lack.

L13: grace = adorn.

L14: know = fathom.

Sonnet 24 Notes

The conclusion is implicit, from the final couplet, that since eyes alone don't fathom the heart, the sentiments of the heart must be expressed in words, to be known - and therefore, this Sonnet, the expression of love, in words.

Sonnet 24 is by William Shakespeare, probably to Edward de Vere. That's indicated by the idea of "favor" in the term 'good-turns' in line 9, for one thing, following Sonnet 26. (The original publication of the Sonnets does not have them in the order in which they were written.) Also, it was most usual in those days for nobles to have their portraits painted, by artisans. Other factors contribute further to the conclusion that the Sonnet is to Vere.
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L1: stelled = placed, set, fixed in place. The general idea of 'put.'
This word is apparently "stelled," judging by the rhyme word "held" at the end of line 3. However, the original printing shows "steeld," which looks more like "steeled." The word "steeled" makes excellent sense, when understood according to its old definition of 'mirrored', and it also puns with 'stealed' (i.e. 'stolen,') which makes sense in its broad meaning of 'take', which is how the Poet often used the word. "Steeled" would mean the Poet's eye has 'taken' and 'mirrored' the addressee's beauty.

It is possible Shakespeare intentionally spelled "stelled" in a way that suggests "steeled," in order to bring in the additional relevant meanings mentioned: 'mirrored,' and 'took.' The non-standardized nature of Elizabethan spelling made special spellings possible, for the writer creative enough to do that. Hamlet, for example, contains numerous special spellings used to convey additional meanings, and so do the other plays and poems.

It's worth noting, by appearance the word "stell" suggests "stellar," which would refer to a star. That impression makes "stell" compatible with the astrological references elsewhere in the Sonnets. (However, "stell" is from the same root as "stall," and is actually unrelated to "stellar," so there's only a similarity of form. But the word similarity does give the impression, for line 1: 'my eye has "starred" you' - so the similarity contributes additional poetic depth to the line.)

L2: table = panel, or board.
A panel on which a picture is painted was formerly called a "table." The word can further be understood as the 'records' the Poet keeps in his heart. In graphic art terms, a "table" is a 'perspective plane.'

L4: perspective = point of view.
Line 4 means, 'And it, (the picture in my heart,) the Painter's art, is my point of view.' The painter's art is "point of view."

Then, written as it is, line 4 can also be read, in general terms, 'And point of view, it is the painter's art.' So, the line offers a double meaning, referring both to personal point of view, and to art in general.

A further meaning, as well, can be found in line 4, by taking "perspective" literally, according to its root. In root meaning, from the Latin, 'perspective' = "look through." (This also anticipates the 'window glazing' idea in line 8 - the idea of "looking through" a window.)

That is, for the "look through" concept, line 4 can be read:
And "looking through" it is the Painter's art.
Then, regarding Shakespeare, The Poet is the Painter.
It becomes a statement that The Poet's art is to "look through" outward appearance, to see into the heart or soul. Indeed, Shakespeare had an "art" of that, of "looking through," or beyond, superficial appearances.

L5: the Painter = "mine eye," (as already stated in line 1.)
The Poet is saying in line 5, 'you would have to look through my eyes, to see "the Painter's" skill.'

L6: lies = is kept; also, 'departs from truth.'
(Double meaning.) If the addressee could look, at himself, through the Poet's eyes, he might think the image did not look like him. It's a truism that no two people see anything exactly the same way, including each other.

L7: shop = gallery.
Not intended to imply pictures for sale - the addressee's image is for the Poet to keep.

. Sonnet 25 .

(original language, but moderately updated)

01. Let those who are in favor with their stars,

02. Of public honour and proud titles boast,

03. Whilst I whom fortune of such triumph bars

04. Unlooked for joy in that I honour most;

05. Great Princes' favourites their fair leaves spread,

06. But as the Marigold at the sun's eye,

07. And in themselves their pride lies buried,

08. For at a frown they in their glory die.

09. The painful warrior famoused for worth,

10. After a thousand victories once foiled,

11. Is from the book of honour 'rased quite, [~~quite~~ - > forth ??]

12. And all the rest forgot for which he toiled:

13. Then happy I that love and am beloved

14. Where I may not remove, nor be removed.

. Sonnet 25 .

(paraphrased)

01. Let those who have been favored with better fortune than I've had

02. Boast about their public honors, and their noble titles,

03. While I, prevented from such public display by bad luck, and

04. Left unregarded, take joy in what I honour most;

05. Monarch's favorites may display their handsome honors,

06. Only like the marigold flower following the sun,

07. While within themselves, their dignity lies buried,

08. Since, at a frown from the monarch, they wither in all their glory.

09. The warrior who has faced hazards, and is famed for quality,

10. After a thousand victories, when he is once foiled,

11. Is, from the book of honour, entirely erased, forever

12. And everything is forgotten, for which he toiled:

13. Then, it makes me happy, that I love, and am loved,

14. Where I may not disappear, or be banished.

Sonnet 25 Gloss

L1: stars = planets. A reference to astrology.

L2: proud = noble.

L3: fortune: luck. (Bad in this case.)

L3: triumph = public display.

L4: Unlooked for = unregarded.

L4: that = what.

L5: Great Princes' = Monarch's.

L5: fair = attractive to view.

L5: leaves - (Note, to the right.)

L5: spread - (Note, to the right.)

L6: But as = Only like.

L6: Marigold = the marigold flower. (Note, to the right.)

L6: at = reacting to.

L6: sun's eye = sun's gaze. (Note, to the right.)

L7: themselves = their own "earth." (Note, to the right.)

L7: pride = dignity.

L7: lies - Via pun, there's an implication of a person lying to himself.

L7: buried = hidden. (Note, to the right.)

L8: frown = sign of displeasure (from the monarch.)

L8: glory - Can be read literally, or understood as 'renown' or 'magnificence.'

L8: die = wither. (Note, to the right.)

L9: painful - (Note, to the right.)

L9: famoused = famed.

L9: worth = quality.

L9 & L11: - (Note, to the right.)

L10: foiled = balked, thwarted. Defeated.

L11: 'rased = erased. (Note, to the right.)

L12: all the rest = everything except his defeat (is forgotten.)

L12: forgot = forgotten.

L13: happy I = it makes me happy.

L14: remove = depart, disappear, fade away.

L14: removed = banished.

Sonnet 25 Notes

Sonnet 25 is by Edward de Vere (no matter what else you've read, or been told.) It's mixed in with the Shakespeare Sonnets because Vere wrote it to Shakespeare, his good friend, and thus Shakespeare "inherited" it when Vere died.

Being by Vere, may explain the imperfection of the rhyme, between lines 9 and 11. Perhaps he didn't bother, or was intentionally being unconventional, using the words he wanted whether they rhymed or not. (The lack of rhyme could also be a misprint, as noted below.)

Sonnet 25 is an expression of mutual affection from Vere to Shakespeare. It's a different mind at work, but similar. A certain similarity of mind can be the basis of a close, enduring friendship.

Vere served on the tribunal which convicted Mary, Queen of Scots to death. It isn't known how he cast his vote.
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L5: leaves
The word can be taken as literal, the leaves of a flourishing plant which enjoys special attention.

It can also be taken to mean 'petals', a loose usage, in reference to the blossoming of a flower, in advance of "marigold."

In anticipation of the mention of "book" in line 11, it can also be understood as the pages of a book.

L5: spread
For the plant concept, of "leaves," or "petals," it's taken literally, to mean 'display.'

For the book concept of "leaves" it's taken to mean 'publicize.'

Also, pages in the "book of honor" - line 11 - would be 'honors.'

L6: Marigold = the marigold flower.
The word was capitalized in the original printing, and spelled "Marygold." In anticipation of the word "buried" at the end of line 7, it allows speculation about a contemporary allusion to Mary, Queen of Scots. Also, in connection with the idea of "buried," buried gold would be buried treasure.

L6: sun's eye = sun's gaze.
Poetically, the sun is the great eye of heaven. Since the eye is used for looking, or gazing, the phrase can be read as the 'sun's gaze.' In connection with "Prince" in line 5, the sun is a classical symbol of royalty.

L7: themselves = their own "earth."
Poetically, one's body is one's personal "earth."
See, for example, Sonnet 146: "Poor soul, the center of my sinful earth"

L7: buried = hidden.
The usage is figurative in reference to a person's body. It would be literal in reference to the ground, of course.

L8: die = wither.
"Die" is figurative within the poem. If contemporary reference to Mary, Queen of Scots, is intended in line 6, it would be literal for that.

L9: painful
This is a rather paradoxical, or contrary use of the word, against what one would expect. It refers to a warrior who has suffered pain, or faced pain. It also indicates one who has taken pains, to perform well. It can be understood as meaning a warrior who has suffered hardship and faced hazards.

L9 & L11:
The last words of these lines should rhyme, according to the standard pattern of such sonnets. Based on that, it's usually assumed that the word at the end of one of the lines must be a misprint in the original printing.

However, it is entirely possible the Sonnet is simply not intended to have a perfect rhyme scheme. Because that possibility does exist, it's necessary to deal with the Sonnet exactly as it was printed. The printed wording does make good sense.

If a printing error did exist, I suggest line 11 should end with "forth" (in place of "quite.) I indicate that possibility in the Sonnet with the word "forth" in square brackets, with a double question mark. The reader must understand this is only an editorial suggestion, and it may be that the original printing does not have any error. The word "forth" would mean, 'from that time forward, forever.'

L11: 'rased = erased.
This word is printed "rased" in the original. In modern reprints it seems to be generally taken as 'razed', for some strange reason, However, it is obviously the word "erased" with the initial 'e-' apostrophized. One "erases" entries from a book, of course.

. Sonnet 26 .

(original language, but moderately updated)

01. Lord of my love, to whom in vassalage

02. Thy merit hath my duty strongly knit;

03. To thee I send this written embassage

04. To witness duty, not to show my wit.

05. Duty so great, which wit so poor as mine

06. May make seem bare, in wanting words to show it;

07. But that I hope some good conceit of thine

08. In thy soul's thought (all naked) will bestow it:

09. Till whatsoever star that guides my moving,

10. Points on me graciously with fair aspect,

11. And puts apparel on my tattered loving,

12. To show me worthy of their sweet respect,

13. Then may I dare to boast how I do love thee,

14. Till then, not show my head where thou mayst prove me.

. Sonnet 26 .

(paraphrased)

01. Lord whom I admire, and to whom, in service,

02. Your quality has intimately joined my duty;

03. I send, to you, this written "official greeting"

04. To show that I know my duty, (and not to show off my wit;)

05. Duty, to you, so great, that wit so poor as mine

06. Might make it seem of little value, to me, because I lack
words to describe it;
07. Except, I hope that you will take this well, and

08. In your mood, honestly, and without embellishment, will
"give it a home,"
09. Until whichever star that guides my activity,

10. Leads me on, favorably, with good prospect,

11. And properly "dresses up" my "tattered" expressions of affection,

12. To display that I'm worthy of the star's, and your, kind regard.

13. Then I can proclaim, in a more suitable way, how I do admire you;

14. Until then, I'd be ashamed to show myself, where you would see
and pass judgment on me.

Sonnet 26 Gloss

L1: Lord - Literally, the Sonnet is to a lord.

L1: love = affectionate friendship. Love implies obligation.

L1: vassalage = service. (Note, to the right.)

L2: merit = quality. The word refers both to high social status, and mettle.

L2: knit = joined intimately, combined.

L3: embassage = an 'official message' carried by a messenger.
The "official" tone is not facetious, it's serious.

L4: witness = affirm, testify to. An "oath" - a solemn promise - is implied.

L4: show = show off.

L5: great = grand, splendid.

L5: which = that.

L5: poor = humble. (Note, to the right.)

L6: bare - Literally 'plain,' 'simple,' thus implying 'of little value.'

L6: wanting = lacking.

L6: show = display, express. Describe.

L7: But that = Except, used as a conjunction.

L7: conceit = point of view. It's the idea of "take" used in a sentence such as, "what's your take on this subject?"

L7: good conceit - Is a reference to the idea of "taking it well."

L8: thought - (Note, to the right.)

L8: all naked = unembellished, truly, honestly. (Note, to the right.)

L8: bestow it = 'give it a home', figuratively speaking.

L9: star - Has reference to astrology. (Note, to the right.)

L9: moving = activity.

L10: Points on me = shines their light on. Also, 'leads me on.'
(Double meaning.)

L10: graciously = blessedly, favorably. (Note, to the right.)

L10: fair = good. More specifically, 'handsome.'

L10: aspect - (Note, to the right.)

L11: puts apparel on = 'dresses up'.

L11: tattered = poor, unworthy.

L11: loving = expression of love.

L12: show = reveal.

L12: sweet = kind.

L12: their - (Note, to the right.)

L12: respect = regard, esteem, courtesy. It offers wordplay, following "aspect."

L13: boast = proclaim.

L13: love = admire, cherish.

L14: show my head = show myself.

L14: prove = put to the test. Pass judgment on.

Sonnet 26 Notes

Sonnet 26 is from William Shakespeare to Edward de Vere. It's the first Sonnet Shakespeare wrote to Vere. It dates from perhaps 1586. Shakespeare was an accomplished writer by that time, although not in publication, but he probably hadn't done much with sonnets yet.

It's an extremely early Shakespeare Sonnet. It's possible it might be the first Sonnet Shakespeare wrote that was good enough for publication. Shakespeare had learned Vere wrote sonnets, and gave it a try, himself, to Vere. To beg.

It's a request for assistance, from a poor, traveling player, to the great patron of his playing company.

Thus:
~
My lord, I've served your playing company for a while now, and I think I've made
a significant contribution to the quality of our performances,
and also I've learned you write 14-line sonnets - well, so can I, as you see -
but my best Sunday suit is threadbare, and if you saw me,
you'd be ashamed to call me your servant,
and I have a family to feed,
so I was just wondering,
if you have any spare change in your pocket.....
~~~

It's that kind of thing.

It worked. Shakespeare got his lord's favor, such as Vere could provide. He earned more than spare change, he went on to earn Vere's lasting friendship. Shakespeare also went on, eventually, to earn everything worthwhile Vere ever wrote, to adapt, develop, enhance, and take to the public stage as he pleased. Talent will out.
-------

L1: vassalage = service.
Historically, "vassalage" was the status of a tenant landholder under obligation to a lord. Here, it goes along with the Poet being in actual service to the addressee.

L5: poor = humble.
The Poet was being a bit coy. As far as his writing goes, he knew he could write well.

The term has a literal implication, however. The Poet is complaining, to his lord, about how poor he is.

L8: thought
This is an interestingly atypical usage of "thought," since the soul is typically, in the Poet's writing, taken to be the source of emotion, not intellect. It's the archaic use of "thought" to refer to mood.

L8: all naked = unembellished, truly, honestly.
The Poet desires his Sonnet to be understood for 'exactly what it is, or is intended to be.'

The parenthetical phrase "all naked" has a double reference: it refers both to the Sonnet, itself, and also to the addressee's mood. Concerning the addressee's mood, the Poet is asking the addressee to view the Sonnet honestly, for what it's intended to be, and not to "dress it up" as something else.

In reference to the Sonnet, itself, the Poet is likening his Sonnet to a new-born baby that needs a home. It's the concept of a writing being a "child" of the author.

L9: star - Has reference to astrology.
The coat of arms of Edward de Vere, 17th Earl of Oxford, had a star prominently displayed in the upper left quadrant. Shakespeare is asking whether Vere's "star" will be the one he'll follow, in future. He's wondering, because he's not doing well enough to continue for much longer in Vere's service. (Of course your teacher didn't tell you that in school.)

L10: graciously = blessedly, favorably.
It hints of saying grace, to express gratitude, so it can also be read, 'gratefully.'

L10: aspect
Primarily the astrological term 'aspect,' which refers to relative positions of planets as seen from earth. Nine such "aspects" are identified. If one wants to get technical, a "good aspect" is the semisextile, sextile, quintile, trine, or biquintile. "Bad aspects" are the semisquare, square, sesquiquadrate, and opposition. As far as that goes, the main thing is probably that the Poet is hoping for no "opposition" in his desire to do better.

"Fair aspect" is read in ordinary English as 'good prospect' or 'handsome prospect.'

L12: their
"Their" is the word in the original publication of 1609, and it is certainly correct. It's used because "star" in line 9 is actually plural. It takes two stars to form an "aspect." Interpreters who don't understand the Sonnets will change it to "thy," but that's wrong.

. Sonnet 27 .

(original language, but moderately updated)

01. Weary with toil, I haste me to my bed,

02. The dear repose for limbs with travel tired,

03. But then begins a journey in my head

04. To work my mind, when body's work's expired:

05. For then my thoughts (from far where I abide)

06. Intend a zealous pilgrimage to thee,

07. And keep my drooping eyelids open wide,

08. Looking on darkness which the blind do see.

09. Save that my soul's imaginary sight

10. Presents their shadow to my sightless view,

11. Which like a jewel (hung in ghastly night)

12. Makes black night beauteous, and her old face new.

13. Lo thus by day my limbs, by night my mind,

14. For thee, and for myself, no quiet find.

. Sonnet 27 .

(paraphrased)

01. Weary from work, I promptly go to bed,

02. The welcome repose for limbs tired from travel,

03. But then, I begin a journey in my brain,

04. Which occupies my mind, after's the body's work is done;

05. And then my thoughts (wandering far from where I dwell,)

06. Set out upon a devoted journey to you,

07. And keep my sleepy eyelids open wide,

08. As I look upon the kind of darkness which the blind must "see."

09. (We are) Apart, except that my soul's imaginary eyes,
which can't really see, but can form images,
10. Bring their "ghost," of you, into my empty field of view,

11. Which, like a brilliant decoration (suspended in horrid night)

12. Makes the black night beautiful, and makes the old, familiar face
of night look fresh and novel;
13. So behold, how my limbs, by day, and my mind by night,

14. Find no rest, for either you or me.

Sonnet 27 Gloss

L1: haste = go promptly rather than staying up.

L2: dear = welcome.

L4: work = occupy.

L4: expired = done. (Note, to the right.)

L5: from far = far from. (Note, to the right.)

L5: abide - Primarily, 'dwell.' Secondarily, 'suffer.' (Note, to the right.)

L6: Intend = Direct (my) attention to. It can be read as the verb 'purpose.'

L6: zealous = earnestly devoted.

L6: pilgrimage = journey. (Note, to the right.)

L7: drooping = sleepy.

L8: do see - A paradoxical phrasing, since, by definition, the blind do not see.

L9: Save that = "Apart, except that..." (Note, to the right.)

L9: soul's - the Poet ascribes the capacity for visual imagination to the soul.

L9: imaginary = not truly existing. Then also, 'capable of creating an image.'
(Double meaning.)

L9: sight = eyes.

L10: Presents = Bring.
(Since "sight" in line 9 means "eyes," the correct equivalent is a plural verb.)

L10: sightless - Literally, it's too dark to see.

L10: their - (Note, to the right.)

L10: shadow = ghost, apparition.

L10: sightless view = field of view empty of any real sight to see.

L11: jewel = valuable decoration.

L11: hung = suspended.

L11: ghastly - The ordinary dictionary definition applies.
There's implicit wordplay with "shadow" (ghost.)

L12: black - In Elizabethan times, light coloring was considered more handsome than dark coloring.

L12: beauteous = more attractive.

L12: her - Night is cast as female, because of association with the moon, which is stereotypically female.

L12: old - The word "old" is used as in the phrase "old friend." (Note, to the right.)

L13: Lo = Behold.

L14: For thee - The Poet humorously takes it that by concentrating on the addressee, he is not "letting the addressee rest," so to speak.

L14: quiet = rest.

Sonnet 27 Notes

Sonnet 27 is by William Shakespeare, and the addressee is probably Mrs. Shakespeare.

The Poet mentions hard work, in a "we" kind of way, implying he's working for "us," and it worries him enough to keep him awake at night. That points to a wife. "For thee, and for myself" - is why I'm working so hard.
-------

L4: expired = done.
There's wordplay on the idea of death - the Poet has "killed" another day of work.

L5: from far = far from.
It's like the familiar expression, 'my mind was miles away.'
It's also literal, in that, the thoughts concern something far away.

L5: abide - primarily, 'dwell.' Secondarily, 'suffer.'
"Abide" has an old definition of "suffer." It's found in, for example,
the play Julius Caesar Act 3 scene 2:
~
First Citizen: If it be found so, some will dear abide it.
~~~

There's the implication, from the ambiguity of the line 5 phrasing, that the Poet is dwelling far from his permanent residence.

L6: pilgrimage = journey.
The word usage implies a religious journey, a journey by a devotee to an object of veneration. It's compatible with the idea of being a long way away, since religious pilgrimages are usually over long distances.

L9: Save that = "Apart, except that..."
The word "Save" gives some wordplay in advance of 'soul.'

For interpretation, "Save" is a 'double-duty' word, which needs to be read twice, for the four lines, from line 8 to line 12, to be grammatical.
That is, read the word "Save" twice to get "Save, save that..."
The first "Save," taken as "Apart," supplies the idea "We are apart, ..."
The Poet occasionally, in both his poems and plays, used a word in a way so that it needs to be repeated to get the full meaning.

L10: their
"Their" is the word printed originally in the Sonnets publication of 1609. Later interpreters seem to think, generally, that the word should be "thy," however, they are wrong. The word "their" refers back to the soul's sight, in line 9, the soul's "eyes." So, the word "their" is correct as it was printed originally.

L12: old - The word "old" is used as in the phrase "old friend."
It can be understood as 'familiar because of long acquaintance.'
In Biblical terms, darkness is even older than light. "Darkness" is the first condition mentioned in the Bible. The Poet made frequent use of Biblical terms in his writings.

. Sonnet 28 .

(original language, but moderately updated)

01. How can I then return in happy plight

02. That am debarred the benefit of rest?

03. When day's oppression is not eased by night,

04. But day by night, and night by day oppressed.

05. And each (though enemies to either's reign)

06. Do in consent shake hands to torture me,

07. The one by toil, the other to complain

08. How far I toil, still farther off from thee.

09. I tell the Day to please him thou art bright,

10. And dost him grace when clouds do blot the heaven:

11. So flatter I the swart complexioned night,

12. When sparkling stars twire not thou guild'st th' eaven.

13. But day doth daily draw my sorrows longer,

14. And night doth nightly make grief's length seem stronger.

. Sonnet 28 .

(paraphrased)

01. Then how can I go home in cheerful shape

02. When I'm denied the benefit of sleep?

03. When day's hardship is not relieved by night,

04. But my nights make my days worse - and my
days make my nights worse;
05. And both (although day and night are like
nations at war against each other,)
06. Seem to have reached a truce agreement,
between themselves, just to afflict me.
07. The one, day, afflicts me with hard work, and the
other, night, afflicts me by making me lament
08. How far away, from you, I work, and it seems I never
get any nearer;
09. I tell the Day, to flatter and try to appease him, that you,
my ally, shine like the sun,
10. And do him a favor when clouds darken the sky;

11. Similarly, I try to flatter the dark-faced night,

12. That when his sparkling stars don't twinkle, your image,
that I visualize, decorates the evening;
13. But Day is not appeased, and every day draws out
my sadness, (at being away from you,)
14. And Night, also unappeased, every night makes my
sorrow's duration more unendurable.

Sonnet 28 Gloss

L1: return = go home.

L1: happy = cheerful. With a suggestion of 'fortunate.'

L1: plight = condition. Shape. (Note, to the right.)

L2: debarred = denied.

L2: benefit - the dictionary definition. Implies sleep as a 'good deed' done for a person.

L2: rest = sleep. Or, at least restfulness without sleeping.

L3: oppression = difficulty, hardship. (Note, to the right.)

L3: eased = relieved.

L4: (Note, to the right.)

L5: each = both.

L5: enemies = opposites. (Note, to the right.)

L5: reign =rule. (Note, to the right.)

L6: in consent = voluntarily.

L6: shake hands = agree.

L6: torture = afflict, stress, distress. (Note, to the right.)

L7: complain = bewail, lament. The word usage is compatible with "grief" in line 14.

L8: far = far away.

L8: still = always (it seems.) (Note, to the right.)

L9: to please him = to try to make peace with him.

L9: bright = shining, glowing; like the sun. (Note, to the right.)

L10: do grace = do a favor for. (Note, to the right.)

L10: blot = darken. Also, 'remove' in the sense of not being able to see the blue sky.

L11: swart = swarthy.

L11: complexioned = faced. That is, the "face" of the night is dark.

L12: twire = twinkle. Secondarily, 'peep' or 'wink.' Poetically, the stars are cast as eyes.

L12: twire not - a cloudy night, with the stars hidden, like the cloudy day mentioned.

L12: gild'st = decorate.

L12: eaven = even, evening. (Note, to the right.)

L13: day - personified.

L13: draw = draw out. Extend.

L14: night - personified.

L14: grief - 'mourning' over not being with the addressee. 'Sorrow' at being away.

L14: length = duration.

L14: stronger = more unbearable, more unendurable.

Sonnet 28 Notes

Line 12 links back to Sonnet 27, where the Poet wrote of visualizing the addressee before him, like a jewel in the dark night.

Sonnets 27 and 28 are written as a pair, and the best candidate for the addressee is certainly Mrs. Shakespeare.

The Poet is far from home, working very hard, going back to his room at night, tired, but he's having trouble sleeping because he's homesick and lonely, and his wife is so much on his mind. Going back to line 1, "return ... happy," he doesn't want his wife to see that he's so unhappy and worn out, when he does get home. She'd worry too much.
-------

L1: plight = condition. Shape.
The word usage suggests distress. The phrase "happy plight" paradoxically implies 'cheerful distress.' Paradoxical language is one of the hallmarks of the Shakespeare plays and poems.

L3: oppression = difficulty, hardship.
The word usage implies oppression by a tyrannical government, in anticipation of the characterizations of Day and Night as warring rulers. There's also a hint of 'pressing' circumstances.

L4:
Line 4 has a clever poetic rearrangement of 'day by day, and night by night,' which would mean, 'continuously, every day and every night.' The word rearrangement provides additional meaning, of the Poet's days and nights oppressing each other, that is, 'my days oppress my nights, and my nights oppress my days.' In other words, 'my days make my nights more difficult, and my nights make my days more difficult.'

L5: enemies = opposites.
The phrasing is exaggerated for poetic effect, as if the Poet's days and nights are at war.

L5: reign =rule.
Poetically, Day rules people in the daytime, and Night rules people in the nighttime.

L6: torture = afflict, stress, distress.
'Afflict' is probably the best equivalent since it's also an astrological term, so it's compatible with the astrological terms elsewhere in the Sonnets.

L8: still = always (it seems.)
It seems to the Poet that he's always farther from the addressee. It's not necessarily literal, in terms of actual distance. It could be literal, that the Poet's work is taking him farther away, or it could be that the addressee only seems more remote as time goes by. In connection with Sonnet 27, it does appear the travel is literal.

L9: bright = shining, glowing; like the sun.
The concept is that Day should honor his own kind, and therefore "make peace," so to speak. The train of thought being: since the addressee is the Day's own kind, and the Poet is allied with the addressee, Day should make peace with the Poet, and not afflict him.

L10: do grace = do a favor for.
The concept being, the addressee "lights up the day," when the sun is hidden, thereby doing Day a favor, and Day should then be grateful. Then, since the addressee is the Poet's ally, Day should be kinder to the Poet, because of the 'favor' the addressee has done for Day.

The implicit "alliance" idea, between the Poet and the addressee, indicates the addressee being the Poet's wife. "Man and wife are one flesh."

L12: eaven = even, evening.
The word "eaven" is the spelling in the original printing. The word was probably so spelled to give an exact rhyme with"heaven."

In the Elizabethan view, noon was the "even" time of day, the midpoint, and any time after noon was called "evening." Their "even" or "evening" extended into the dark hours of night.

. Sonnet 29 .

(original language, but moderately updated)

01. When in disgrace with Fortune and men's eyes,

02. I all alone beweep my out-cast state,

03. And trouble deaf heaven with my bootless cries,

04. And look upon myself and curse my fate,

05. Wishing me like to one more rich in hope,

06. Featur'd like him, like him with friends possessed,

07. Desiring this man's art, and that man's scope,

08. With what I most enjoy contented least,

09. Yet in these thoughts myself almost despising,

10. Haply I think on thee, and then my state,

11. (Like to the Lark at break of day arising)

12. From sullen earth sings hymns at Heaven's gate,

13. For thy sweet love remembered such wealth brings,

14. That then I scorn to change my state with Kings.

. Sonnet 29 .

(paraphrased)

01. As, in disfavor with the goddess of fortune, and looked down on by men,

02. I, all alone, lament my banishment,

03. And bother heedless heaven with my vain entreaties,

04. And look upon what I've become, and curse what fate has brought me to,

05. Wishing I was like those who have more plentiful hopes, and

06. (Better looking, like that fellow, or with friends of his own, like that
other fellow,
07. Wishing I had that man's skill, and that man's opportunities,)

08. Least satisfied in what I would most enjoy;

09. Yet, while I think about such things, and almost loathe myself,

10. By cheerful good luck, I happen to think of you, and then my mood soars

11. (Like the Lark flying and singing at sunrise,)

12. From this lonely, melancholy earth, to sing songs of joy at such a
heavenly entrance into my thoughts;
13. Because your sweet love, when I'm reminded of it, brings such
splendid comfort to me,
14. That then, I disdainfully reject any idea of trading places with
a king.

Sonnet 29 Gloss

L1: When = As.

L1: disgrace = disfavor.

L1: men's eyes - men look down on him.

L2: beweep = lament.

L2: out-cast state = banishment.

L3: trouble = bother.

L3: deaf = unhearing, heedless.

L3: bootless = vain, unavailing.

L3: cries = entreaties.

L4: myself = what I am, what I've become.

L4: fate = situation in which fate has put me.

L5: rich in = plentifully endowed with.

L6: Featur'd like = looking like. (Note, to the right.)

L6: possessed = 'of his own.'

L7: art = skill.

L7: scope = opportunity. Range of possibilities.

L8: contented = satisfied, supplied.

L9: despising = loathing. "Looking down on" himself, the same as others do.

L10: Haply - both cheerfully and luckily, a double meaning.

L10: state - of his soul. The condition of his spirit (which is depressed.) 'Mood.'

L11: Lark - the bird, which flies and sings at dawn.

L12: sullen = lonely and melancholy.

L12: earth = self - the Poet's body. (Note, to the right.)

L12: hymns = songs of joy.

L12: gate = entry. (Note, to the right.)

L13: remembered = brought to mind. (When I'm) reminded.

L13: wealth = splendid comfort.

L14: scorn = disdainfully reject.

Sonnet 29 Notes

Sonnet 29 is by Edward de Vere. (No matter what your teacher told you in school.) It's written to William Shakespeare, not by him.
-------

L6: Featur'd like = looking like.
In modern use, "feature" almost always refers to facial features, but in Shakespeare's time the word was also used for body shape in general. Here, the word may refer not only to being more handsome, but also being more attractively built.

L12: earth = self - the Poet's body.
The Poet sometimes used "earth" to mean the human body.

See Sonnet 146 - "Poor soul, the center of my sinful earth..."

It reflects the Biblical idea of God creating man from the dust.

"Earth" would be literal for a real lark flying upward. Here, the lark is poetic, symbolic of the addressee making the Poet's spirits "soar," as the saying goes.

L12: gate = entry.
Compare 'Cymbeline' Act 2 scene 3 to the Sonnet lines 11 and 12:
~
Hark, hark! the lark at heaven's gate sings
~~~

This is a contrary usage of "gate," against what one would expect. The Poet is not speaking of entering Heaven, he is speaking of Heaven entering him. This "gate" is a coming in, an entry.

The phrase, "at Heaven's gate" = when Heaven enters my soul, figuratively speaking. When the Poet thinks of the addressee, it's as if Heaven has entered his soul.

Also, sunrise is implicitly likened to the entry of Heaven onto the scene, since the lark soars at sunrise.

-------

The "lark" is the skylark (Alauda arvensis) which ranges across Europe and beyond. It's a ground nesting bird of open areas, meadows and heaths. It's traditionally known for singing at daybreak, although it sings at any time of day. The male birds have a habit of hovering and circling at an altitude of 50 to 100 yards, and singing for as long as 15 minutes. Since it's a small bird, the source of the sound can be hard to find, when the skylark hovers high in the air, even though it can be clearly heard. The skylark's song is quite variable, compared to most songbirds, and can include mimicry of other birds.

. Sonnet 30 .

(original language, but moderately updated)

01. When to the Sessions of sweet silent thought,

02. I summon up remembrance of things past,

03. I sigh the lack of many a thing I sought,

04. And with old woes new wail my dear time's waste:

05. Then can I drown an eye (unused to flow)

06. For precious friends hid in death's dateless night,

07. And weep afresh love's long since cancelled woe,

08. And moan th' expense of many a vanished sight:

09. Then can I grieve at grievances foregone,

10. And heavily from woe to woe tell o'er

11. The sad account of fore-bemoaned moan,

12. Which I new pay as if not paid before.

13. But if the while I think on thee (dear friend)

14. All losses are restored and sorrows end.

. Sonnet 30 .

(paraphrased)

01. When, in my silent, contemplative meditations about friends,

02. I call to mind memories of things long ago,

03. I sigh because I lack many things I hoped for,

04. And with my old woes newly recalled, I lament the waste of my precious life;

05. Then, I could drown my eyes with tears - although I seldom cry -

06. For precious friends dead and buried in death's eternal night,

07. And weep again over love's long-ago-forgiven heartache,

08. And lament the cost of many items I don't have any more;

09. Then, I could grieve about offenses of earlier times,

10. And, with a heavy heart, count up one woe after another,

11. A sad accounting of complaints I've already lamented;

12. Which I newly suffer, when I think of them, as if I hadn't already suffered;

13. But if, while I'm doing that, I think of you, dear friend,

14. All my losses are compensated, and my sorrows end.

Sonnet 30 Gloss

L1: Sessions = meditations. (Note, to the right.)

L1: sweet = courteous, well-bred. Essentially, it means 'friendly.' (Note, to the right)

L1: thought = contemplation. Secondarily, 'grief.' (Note, to the right)

L2: summon up = call to mind. (Note, to the right)

L2: remembrance = keepsake, figuratively speaking. (Note, to the right)

L3: sigh = sigh because of.

L3: sought = hoped for.

L4: new - by being recalled anew.

L4: wail = lament.

L4: dear = precious.

L4: times's = lifetime's.

L5: drown an eye = shed tears.

L5: unused to flow = unaccustomed to tears. (Note, to the right)

L6: hid = buried.

L6: dateless = eternal.

L7: afresh = again.

L7: since = ago.

L7: cancelled = forgiven. (Note, to the right)

L7: woe = heartache.

L8: expense = cost. Emotional and financial.

L8: vanished = no longer present.

L8: sight = item, of visual interest.

L9: grievances = offenses. (Note, to the right)

L9: foregone = gone before; of earlier time.

L10: heavily = with a heavy heart.

L10: from woe to woe = from one misfortune, or sorrow, to another.

L10: tell o'er = count up.

L11: account = accounting, sum.

L11: fore-bemoaned = already lamented.

L11: moan = complaint.

L12: new = again.

14: restored = compensated.

Sonnet 30 Notes

Sonnet 30 is by Edward de Vere, to William Shakespeare - no matter who would ever know it, or admit it.
-------

L1: Sessions = meditations.
The word usage suggests sessions of a court. It implies the Poet's recollections are a "trial" to him.

L1: sweet = courteous, well-bred. Essentially, it means 'friendly.'
The word usage is like the form of address often found in the plays: 'sweet queen,' 'sweet lord,' etc. That form of address refers to a civilized, friendly person, or at least one who is expected to be.

The Poet's thoughts are "friendly" because they're about friends.
The word "sweet" anticipates "friend" in line 13.

The well-known contrasting phrase is "bitter enemies." Enemies are "bitter," friends are "sweet."
"Bitter" enemies / "sweet" friends.

L1: thought = contemplation. Secondarily, 'grief.'
"Grief" is an obsolete definition of "thought" that was in use in Chaucer's time, and still in general use up to about a hundred years ago.
Chaucer, 'Troilus and Criseyde' Book 1 line 579:
~
Which cause is of my deeth, for sorwe and thought.
~~~

L2: summon up = call to mind.
The phrase is suggestive of a witness summoned to court, making it compatible with "sessions" in the first line. The phrase can also be viewed as if summoning spirits, ghosts.

L2: remembrance = keepsake, figuratively speaking.
The Poet casts it that memories are like mementos, souvenirs.
Also, the word "remembrance" has a definition of thought for the dead, or some item, or action done, for the dead. Putting flowers on a grave is a "remembrance."

L5: unused to flow = unaccustomed to tears.
Since he doesn't cry often, his eye is unaccustomed to tears, which means his eye won't swim well, poetically speaking. Thus, his eye will "drown" from not knowing how to swim.

L7: cancelled = forgiven.
He grieved at the time, long ago, so as far as his actual "debt of grief" is concerned, it's already paid, and cancelled, 'forgiven.'

L9: grievances = offenses.
It's unclear whether the offenses were against him, or committed by him, or both. A person can be sad about things he's done, as well as things done against him. A "grievance" is usually an offense against a person, but the language of the Sonnets is not always that simple.

. Sonnet 31 .

(original language, but moderately updated)

01. Thy bosom is endeared with all hearts,

02. Which I by lacking have supposed dead,

03. And there reigns Love and all Love's loving parts,

04. And all those friends which I thought buried.

05. How many a holy and obsequious tear

06. Hath dear religious love stolen from mine eye,

07. As interest of the dead, which now appear,

08. But things remov'd that hidden in there lie.

09. Thou art the grave where buried love doth live,

10. Hung with the trophies of my lovers gone,

11. Who all their parts of me to thee did give,

12. That due of many, now is thine alone.

13. Their images I loved, I view in thee,

14. And thou (all they) hast all the all of me.

. Sonnet 31 .

(paraphrased)

01. Your heart and soul are enriched by holding all the loved ones,
figuratively speaking,
02. Which I (since they're gone from my life) had presumed dead,
in every way,
03. And Love, personified, rules there, in your heart and soul,
with all Love's affectionate qualities,
04. And all those friends I thought I'd lost forever, I "see" them again,
in you;
05. How many devoted and dutiful tears

06. Has emotionally-costly adoration withdrawn from my eyes? --

07. As emotional payment for the dead, who now appear to be

08. Only things misplaced earlier, and who lie hidden in your heart and soul;

09. You are the "house" where dead loves live again,

10. Where the proper and honorable reminders of my dead friends and loves
are displayed,
11. And I have transferred to you all the affection I once held for
each of them;
12. The love I once "owed" to many, is now yours, alone.

13. Their images, that I loved, I see in you,

14. And you ("holding" all of them,) hold everything that's worth anything,
of me.

Sonnet 31 Gloss

L1: bosom - container of the "heart and soul."

L1: endeared with = made beloved by. Can be read 'enriched.'

L1: hearts = loved ones.

L2: lacking - not having (them) in my own life, my own world.
Refers to having them gone from his life.

L2: supposed = presumed.

L3: Love - personified.

L3: parts = qualities.

L4: buried = dead and buried, literally. Means 'lost forever.'

L5: holy = devoted.

L5: obsequious = dutiful. (Note, to the right.)

L6: dear = emotionally costly. (Note, to the right.)

L6: religious love = adoration.

L6: stolen = withdrawn. (Note, to the right.)

L7: interest of = 'payment' to.

L7: appear = seem to be. (Note, to the right.)

L8: But = Only.

L8: remov'd = only misplaced, earlier.

L8: there = "thy bosom." (Note, to the right.)

L9: grave = 'house.' (Note, to the right.)

L9: buried = factually buried in the earth.

L9: love = beloved persons.

L9: live = exist. (Conceptually speaking.)

L10: Hung with = displaying.

L10: trophies = funerary honors. (Note, to the right.)

L10: gone = dead.

L11: parts of me = good feelings of mine. (Note, to the right.)

L12: That due of = What was "owed" to.

L13: images = impressions they made on me.

L14: all they = like all of them together.

L14: all the all = everything that's worth anything.

Sonnet 31 Notes

Sonnet 31 is by Edward de Vere, written to William Shakespeare.
-------

L5: obsequious = dutiful.
Through word similarity, it suggests 'obsequies,' which are rites for the dead.

L6: dear = emotionally costly.
The 'cost' idea anticipates "interest" in line 7.

L6: stolen = withdrawn.
The word usage continues the "cost" idea.
"Stolen" expresses the idea of "take" in a broad sense. The Shakespeare Sonnets, and the plays, contain many instances where the word "steal," and its forms, are used in a very broad way, to mean basically a "taking" of any kind, not intended to imply that an actual crime has occurred.

L7: appear = seem to be.
In the context, of talking about the dead, the word hints of an apparition. When the "dead ... appear," that would be a ghost.

L8: there = "thy bosom."
The word "there" is apparently often mistaken as 'thee,' and printed so in modern editions of the Sonnets, but the original printing of "there" is correct. It links directly back to the first subject phrase of the Sonnet, thy bosom.

L9: grave = 'house.'
For clarification, compare the French phrase 'maison mortuaire' which means "house of the deceased." The addressee's bosom is cast as a "house of the deceased" where the Poet's dead friends "live again," so to speak.

L10: trophies = funerary honors.
It was customary to display a deceased's honors at his funeral, such as the coat of arms, the trophy sword of a knight, or for a maiden, a certain kind of wreath, and so on, depending on the individual, and his accomplishments and social status. The word trophies can be read "proper and honorable reminders."

L11: parts of me = good feelings of mine.
Can be read to refer to 'good "spirits" of mine.' The implication of "spirits" goes along with the old friends being dead.

Can also be read 'my affections,' since his affections are the relevant "parts."

Good feelings that the Poet had about former friends, feelings that "belonged" to them, are now "given," transferred, to the addressee. Following on the "cost" idea, it can likened to transferring an investment to a new account. In this case, the "investment" is emotional.

. Sonnet 32 .

(original language, but moderately updated)

01. If thou survive my well-contented day,

02. When that churl death my bones with dust shall cover

03. And shalt by fortune once more resurvey

04. These poor rude lines of thy deceased Lover:

05. Compare them with the bettering of the time,

06. And though they be outstripped by every pen,

07. Reserve them for my love, not for their rhyme,

08. Exceeded by the height of happier men.

09. Oh then vouchsafe me but this loving thought:

10. Had my friend's Muse grown with this growing age,

11. A dearer birth than this his love had brought

12. To march in ranks of better equipage,

13. But since he died and Poets better prove,

14. Theirs for their style I'll read, his for his love.

. Sonnet 32 .

(paraphrased)

01. If you live beyond the end of my life, to which I'm resigned,

02. After that rude knave, death, buries my mortal remains,

03. And if you do happen to once more reread,

04. These inadequate, unpolished lines, by your deceased good friend,

05. Compare them to the better poetry of that later time,

06. And although they'll be outdone by every writer worthy of the name,

07. Keep my writings for their expressions of love, not for their merit as poetry,

08. Which will be exceeded by the best work of more fortunate men,

09. Oh, then condescend to grant me only this loving thought:

10. 'Had my deceased friend's talent grown as he aged,

11. His love would have brought forth a more prized production than this,

12. To show alongside the writings of poets better equipped with talent

13. But since he's dead and gone, and other poets are proven better now,

14. I'll read their poetry for its style, but still read his, for his love.'

Sonnet 32 Gloss

L1: survive = live beyond.

L1: well-contented = reconciled, resigned. (Note, to the right.)

L2: When = after.

L2: churl = surly peasant. (Note, to the right.)

L2: bones = mortal remains.

L3: by fortune = happen to.

L3: resurvey = reread.

L4: poor = inadequate.

L4: rude = unpolished. (However, the Sonnet is quite well written.)

L4: lines = writings. (Not necessarily just this Sonnet.)

L4: Lover = dear friend.

L5: bettering = better poetry.

L6: outstripped = outdone.

L7: Reserve = Keep.

L8: height = best work.

L8: happier = more fortunate; more cheerful. (Double meaning.)

L9: vouchsafe = condescend to grant.

L10: Muse = talent. (Note, to the right.)

L10: growing = improving.

L11: dearer = more prized.

L11: birth - writing a work is compared to bearing a child.

L11: brought = brought forth.

L12: march = parade. Display, show. Triumph.

L12: in ranks = alongside.

L12: equipage = company. (Note, to the right.)

L13: prove = are proven.

L14: style = literary expression.

Sonnet 32 Notes

Sonnet 32 is by Edward de Vere, to William Shakespeare - no matter what your teacher fabled you in school.
-------

L1: well-contented = reconciled, resigned.
The term implies being satisfied that he's lived so long, and not necessarily being satisfied with his life.

L2: churl = surly peasant.
Death, itself, is poetically cast as the gravedigger.
The best equivalent is probably "rude knave," because of Hamlet Scene 19 (Act 5 scene 1.)
~
... why dooes he suffer this rude knaue now ...
~~~

L10: Muse = talent.
Talent is ascribed to the favor of a Muse, a daughter of Zeus and Mnemosyne in Greek mythology.

L12: equipage = company.
Refers to poets better "equipped" with talent.
From French denoting the crew of a ship, thus 'company,' a group of men engaged in the same activity.

. Sonnet 33 .

Hamnet's Death Sonnet

(original language, but moderately updated)

01. Full many a glorious morning have I seen,

02. Flatter the mountaintops with sovereign eye,

03. Kissing with golden face the meadows green;

04. Gilding pale streams with heavenly alchemy;

05. Anon permit the basest clouds to ride,

06. With ugly rack on his celestial face,

07. And from the forlorn world his visage hide

08. Stealing unseen to west with this disgrace:

09. Even so my Sun one early morn did shine,

10. With all triumphant splendor on my brow,

11. But out alack, he was but one hour mine,

12. The region cloud hath mask'd him from me now.

13. Yet him for this, my love no whit disdaineth,

14. Suns of the world may stain, when heaven's sun staineth.

. Sonnet 33 .

Hamnet's Death Sonnet

(paraphrased)

01. I have seen a great many glorious mornings

02. Beautify the peaks by beaming upon them,

03. Kissing, with golden light, the green of the meadows,

04. Gilding the watery streams with delightful magic;

05. But soon, the morning will permit the meanest clouds to ride roughshod,

06. With ugly ruin, across his heavenly face,

07. And the morning will hide his face, the sun, from the sad world,

08. Stealing the sun away unseen to the west, in his shame.

09. Even so, like that, my own Son appeared early one morning,

10. (With all jubilant splendor on my face,)

11. But he's gone, alack, he was only briefly mine,

12. The dark overcast, on my world, has hidden him from me now.

13. Yet my love for him diminishes not a bit because he's gone,

14. The mortal sons of this world may darken, in memory,
when heaven's sun darkens.

Sonnet 33 Gloss

L1: Full many = Often. A great many.

L1: morning = morning sun. (Note, to the right.)

L2: Flatter = Make more pleasing to the eye. Beautify.

L2: mountaintops = heights, peaks.

L2: sovereign eye - (Note, to the right.)

L3: Kissing = 'lightly touching.' The Sun's "light touch" is a touch of light.

L3: golden face = the sun's face, the "face" of light. The sun's "face" is 'light.'

L4: pale = transparent. Clear as in 'watery.' Streams are "watery," of course.

L4: heavenly = delightful.

L4: alchemy = magic. The ability to transform.

L5: Anon permit = Soon (the morning will) permit.
The Poet is continuing to speak of what a morning will do.

L5: basest = lowest. Meanest, most reprehensible.

L5: ride = ride roughshod.

L6: ugly = causing ugliness.

L6: rack = ruin, wreckage. (Note, to the right.)

L6: celestial = heavenly, and with the further implication of 'angelic.'

L7: forlorn = sad.

L7: his visage = the sun. The sun is the "face" of the morning.

L7: hide = cover. In context, 'bury.'

L8: Stealing - taking away (the sun.)

L8: disgrace = shame, dishonor.

L9: my Sun = my son.

L9: shine = appear.

L10: triumphant = jubilant.

L10: brow = forehead. There's wordplay with 'brow' as in the top of a hill.
It's a synecdoche for 'face.'

L11: out = gone.

L11: alack = woe! Alas! It's literal in that he now lacks his son.

L11: one hour = very briefly.

L12: region cloud = dark overcast.
Clouds that cover his whole region, clouds that darken his entire world.

L12: mask'd = hidden (my son's face.)

L13: for = because of; over.

L13: whit = tiny amount.

L13: distaineth = diminishes (the brightness of.)

L14: Suns = sons.

L14: stain = dim, darken. (In memory.)

L14: staineth = darkens.

Sonnet 33 Notes

Sonnet 33 is Hamnet's Death Sonnet.

Shakespeare wrote Sonnet 33 about the death of his son, Hamnet, who was buried on August 11, 1596. (The lack of recognition of the meaning of this Sonnet is surprising. There really are people who can see the phrase "my Sun" and get nothing at all out of it, strange as that may seem.) Sonnet 33 was written in 1596.
-------

L1: morning = morning sun.
The concepts of "morning" and 'morning sun' are mixed for poetic effect, and for meaning.

"Sun" puns with 'son,' and "morning" puns with 'mourning.'
Morning / sun -- mourning / son.

People think of puns as fun things, just amusing, because that's how an average writer uses them. But Shakespeare was not an average writer. You don't see serious puns often, but these are quite serious puns, indeed. These puns are not for amusement.

L2: mountaintops = heights, peaks.
The word refers to the highest points, whether actual mountains or not. Poetically, a tall building can be a "mountain," and a vacant lot can be a "moor," if one wishes to look at it that way.

L2: sovereign eye
Poetically, the sun is the great ruling eye of heaven. Then, a radiant gaze is a "beam," so the concept is of sunbeams being like a "beam" from an eye.

L6: rack = ruin, wreckage.
A "rack" is also the gait of a horse, so the word usage is compatible with "ride" in line 5.

. Sonnet 34 .

Hamnet's Funeral Sonnet

(original language, but moderately updated)

01. Why didst thou promise such a beauteous day,

02. And make me travel forth without my cloak,

03. To let base clouds o'er-take me in my way,

04. Hiding thy brav'ry in their rotten smoke.

05. 'Tis not enough that through the cloud thou break,

06. To dry the rain on my storm-beaten face,

07. For no man well of such a salve can speak,

08. That heals the wound, and cures not the disgrace:

09. Nor can thy shame give physic to my grief;

10. Though thou repent, yet I have still the loss,

11. Th' offender's sorrow lends but weak relief

12. To him that bears the strong offense's ~~loss~~. [cross]

13. Ah but those tears are pearl which thy love sheds,

14. And they are rich, and ransom all ill deeds.

. Sonnet 34 .

Hamnet's Funeral Sonnet

(paraphrased)

01. Why did you, the morning sun, promise such a beautiful day,

02. And lead me to leave home without my raincoat,

03. Only to let offensive clouds overtake me on my way,

04. To hide your beauty behind their repugnant fumes?

05. It isn't enough that you, the sun, now break through the clouds,

06. And dry the raindrops from my weathered face,

07. For no man can speak well of the kind of treatment,

08. That heals the wound, but doesn't cure the mortification;

09. Nor can your expression of regret give comfort to my sorrow;

10. Although you change your ways, even so, I still have the loss;

11. The offender's sorrow provides only scant relief

12. To him who suffers the great offense's burden.

13. Ah, but those raindrops are pearly tears, which you, the morning,
shed because of your love for me,
14. And since they're rich, they make up for all your bad deeds.

Sonnet 34 Gloss

L1: thou = morning; and also sun. (Mixed meaning.)

L1: beauteous = beautiful (by being sunny.)

L2: make me = lead me to.

L2: travel forth = leave home.

L2: cloak = raincoat.

L3: To = only to.

L3: base = low; 'mean.' Offensive.

L4: Hiding = burying.

L4: bravery = beauty; glory.

L4: rotten smoke = repugnant fumes. (Note, to the right.)

L7: salve = treatment. (Note, to the right.)

L8: disgrace = shame. Or 'insult.'

L9: shame = mortification.

L9: physic = medicine. Comfort.

L9: grief = injury; grievance.

L10: repent = change your ways.

L10: yet = even so.

L10: still = always.

L11: sorrow = regret.

L11: lends = provides.

L11: but = only.

L11: weak = little. Scant.

L12: strong = great, heavy.

L12: bears = suffers.

L12: cross [presumed] = burden.

L13: tears = raindrops. (Note, to the right.)

L13: pearl = pearly. Like pearls.

L14: rich = valuable.

L14: ransom = pay for, make up for.

L14: ill deeds - (Note, to the right.)

Sonnet 34 Notes

Sonnet 34 is Hamnet's Funeral Sonnet.
-------

In the original printing, the word "loss" appears at the end of line 12, repeating "loss" at the end of line 10. It's presumably a misprint in line 12. Since the phrase "bear a cross" is so well known, the word at the end of line 12 should probably be "cross." I indicate that likelihood by showing "cross" in brackets.

Sonnet 34 is a companion to Sonnet 33, 'Hamnet's Death Sonnet,' so concepts from that Sonnet carry over to this one.
-------

L4: rotten smoke = repugnant fumes.
"Rotten" suggests death.
In Shakespeare's London, people burned all sorts of refuse to dispose of it, and also for heat. They certainly did not all have nice, clean hickory fires for warmth. Horses were the standard transportation, for those who didn't walk, and one way to dispose of horse manure is by burning it. Calling clouds "rotten smoke" may seem obscure to a modern reader, but to someone familiar with London in 1600 it would probably be understood instantly. The phrase casts the clouds, that obscured the sun, as being like the noxious smoke over London.

It is an expression of extreme dislike for the clouds - in Stratford - on that particular day.

L7: salve = treatment.
Historically, "salve" is related to (or has been confused with) the words "save" and "salvage," so it suggests the sun trying to "save" or "salvage" the situation.

L13: tears = raindrops.
In line 13 the concept is that the morning is crying in sympathy with the Poet.

L14: ill deeds
The ill deed the morning did was to "bury the sun."

. Sonnet 35 .

(original language, but moderately updated)

01. No more be griev'd at that which thou hast done,

02. Roses have thorns, and silver fountains mud,

03. Clouds and eclipses stain both Moon and Sun,

04. And loathsome canker lives in sweetest bud.

05. All men make faults, and even I in this,

06. Authorizing thy trespass with compare,

07. Myself corrupting salving thy amiss,

08. Excusing their sins more than their sins are;

09. For to thy sensual fault I bring in sense,

10. Thy adverse party is thy Advocate,

11. And 'gainst myself a lawful plea commence,

12. Such civil war is in my love and hate,

13. That I an accessory needs must be,

14. To that sweet thief which sourly robs from me.

. Sonnet 35 .

(paraphrased)

01. Don't grieve any more, over that which you have done,

02. Even beautiful roses have thorns, and even silver fountains have mud,

03. Clouds and eclipses can darken both Moon and Sun,

04. And the loathsome canker can live in the loveliest bud.

05. All men make mistakes - and even I do, in this case,

06. By pardoning your offense through such similes,

07. Debasing myself, as a Poet, while trying to soothe the injury you've done,

08. Pardoning the faults of Sun, Moon, fountain, and roses, more
than their faults are worth to me, now.
09. In exchange, for your offense against what I feel, I rationalize, and

10. Your opposing party becomes your defense attorney,

11. And, against myself, I begin to build a case.

12. Such internal conflict do I have, between my love and my hate,

13. That I have to be an accessory,

14. To the crime of that friendly thief who, like a bitter enemy, steals from me.

Sonnet 35 Gloss

L1: thou = the morning & the sun. (Mixed.) (Note, to the right.)

L4: sweetest = loveliest.

L5: faults = mistakes.

L5: this = writing this way.

L6: Authorizing = Pardoning.

L6: trespass = sin; offense.

L6: compare = simile.

L7: corrupting = debasing.

L7: salving = comforting.

L7: amiss = misdeed.

L8: their - Sun, Moon, fountain, and rose's.

L8: sins = flaws; faults.

L9: sensual = carnal. Refers to feelings.

L9: sense = rationalization.

L10: adverse party = opponent. Suggestion of a legal action.

L10: Advocate = attorney.

L11: lawful plea = legal argument.

L12: civil war = internal conflict. (Note, to the right.)

L13: accessory = contributor.

L14: sweet = friendly.

L14: that sweet thief = that morning.

L14: sourly = bitterly (like a 'bitter' enemy.)

L14: robs - (Note, to the right.)

Sonnet 35 Notes

Sonnet 35 continues the sentiments of # 33 and 34, with the mixed ideas of morning (mourning) and sun (son.) Shakespeare is attempting to reconcile himself to the situation, after having lost his son.
-------

L1: thou = the morning & the sun. (Mixed.)
The Poet is writing to the morning sun.

L12: civil war = internal conflict.
There is internal conflict, in that he both loves and hates the sun now. He's always loved the warm sun, but seeing the sun, now, reminds him of "son," and it bothers him.

L14: robs
That morning has "robbed" him of his son.

. Sonnet 36 .

(original language, but moderately updated)

01. Let me confess that we two must be twain,

02. Although our undivided loves are one:

03. So shall those blots that do with me remain,

04. Without thy help, by me be borne alone.

05. In our two loves there is but one respect,

06. Though in our lives a separable spite,

07. Which though it alter not love's sole effect,

08. Yet doth it steal sweet hours from love's delight.

09. I may not evermore acknowledge thee,

10. Lest my bewailed guilt should do thee shame,

11. Nor thou with public kindness honour me,

12. Unless thou take that honour from thy name:

13. But do not so, I love thee in such sort,

14. As thou being mine, mine is thy good report.

. Sonnet 36 .

(paraphrased)

01. I do confess that we two must, in fact, be two different men,

02. Although our united loves are one single sentiment;

03. So, those stigma that linger on me, shall remain with me,

04. To be borne by me, alone, without your help.

05. In our two loves there is only one mutual consideration,

06. Although, in our lives, there is a disgrace that separates us,

07. Which, although it doesn't alter love's effect of uniting us,

08. Yet, it does take away friendly hours of our love's enjoyment.

09. I cannot, in the future, acknowledge you,

10. Lest my regrettable state of disgrace should shame you, by association,

11. Nor may you, with acts of kindness in public, honor me,

12. Without taking that much honor from your own name,

13. But don't do that - I love you in such a way,

14. That since you're mine, I find my honor in your good reputation.

Sonnet 36 Gloss

L1: twain = two different men, indeed.

L2: undivided = united.

L2: loves = deep and sincere friendships.

L2: one = one single affection.

L3: blots = stigma. Taints; disgraces.

L3: remain = linger; abide.

L5: respect = consideration; mutual regard.

L6: separable = causing separation.

L6: spite = disgrace.

L7: sole effect = effect of uniting us into one.

L8: steal = take away.

L8: sweet = friendly; enjoyable.

L9: ever-more = in the future.

L10: bewailed = regretted; regrettable.

L10: guilt = offense. (Not against the addressee.)
Can be understood as 'state of disgrace.'

L10: shame - By association.

L12: name = reputation.

L13: do not so = don't do that (take honor from your name.)

L13: in such sort = in such a way.

L14: (the second) mine = my honor.

L14: report = reputation.

Sonnet 36 Notes

Sonnet 36 is from Edward de Vere to William Shakespeare.

They wrote very much alike, but not exactly. This Vere Sonnet has the minor flaw of using "although" three times, including twice in the course of successive lines. That doesn't stick out much, but it is a poetic flaw. Shakespeare mostly avoided such flaws; he was the better writer.
-------

. Sonnet 37 .

(original language, but moderately updated)

01. As a decrepit father takes delight,

02. To see his active child do deeds of youth,

03. So I, made lame by Fortune's dearest spite

04. Take all my comfort of thy worth and truth.

05. For whether beauty, birth, or wealth, or wit,

06. Or any of these all, or all, or more

07. Entitled in their parts, do crowned sit,

08. I make my love engrafted to this store:

09. So then I am not lame, poor, nor despis'd,

10. Whilst that this shadow doth such substance give,

11. That I in thy abundance am suffic'd,

12. And by a part of all thy glory live.

13. Look what is best, that best I wish in thee,

14. This wish I have, then ten times happy me.

. Sonnet 37 .

(paraphrased)

01. The way a decrepit father takes delight

02. When he sees his healthy child do youthful feats,

03. That's how I, crippled by the most costly, malicious bad luck,

04. Gain all the comfort I have from your value and integrity.

05. For, whether handsomeness, natural character, prosperity, or intelligence -

06. Or any one of all those, or all together, or even more, as they're

07. Privileged by their respective roles to be dominant, in you -

08. I attach my love, as an integral part, to that abundance you have;

09. So then, I am not lame, poor, nor despised,

10. While being in your shadow gives me such completeness,

11. That I am satisfied in your plenitude,

12. And I thrive by being a part of all your glory.

13. Look around for whatever is best, and that best, I wish for you,

14. This wish I have, (since you are the best,) which makes me cheerful
and lucky ten times over.

Sonnet 37 Gloss

L2: active = healthy.

L2: deeds = feats.

L3: made lame = crippled.
"Lame" is both literal, and 'hobbled' in other ways.

L3: dearest = most costly.

L3: spite = mischief; maliciousness.

L4: of = from.

L4: truth = fidelity and honesty. (Double meaning.)
Integrity.

L5: birth = nature (as opposed to nuture.)
Character.

L6: these all = all these.

L7: entitled in = entitled by. Privileged by.

L7: parts = roles.

L7: crowned sit = rule. Preside.
Be dominant.

L8: engrafted = attached. 'A part of.'

L8: store = abundance.

L10: shadow - The literal; or = image; reflection.

L10: substance = 'body.' Being.
Wholeness. Completeness.

L11: suffic'd = satisfied.

L12: live = thrive.

L13: Look what = Look for whatever.

L13: in = for.

L13: happy = cheerful and lucky. (Double meaning.)

Sonnet 37 Notes

Sonnet 37 is by Edward de Vere to William Shakespeare.

. Sonnet 38 .

(original language, but moderately updated)

01. How can my Muse want subject to invent

02. While thou dost breathe that pour'st into my verse,

03. Thine own sweet argument, too excellent,

04. For every vulgar paper to rehearse:

05. Oh give thyself the thanks if aught in me,

06. Worthy perusal stand against thy sight,

07. For who's so dumb that cannot write to thee,

08. When thou thyself dost give invention light?

09. Be thou the tenth Muse, ten times more in worth

10. Than those old nine which rhymers invocate,

11. And he that calls on thee, let him bring forth

12. Eternal numbers to outlive long date.

13. If my slight Muse do please these curious days,

14. The pain be mine, but thine shall be the praise.

. Sonnet 38 .

(paraphrased)

01. How could my Muse lack subject matter for creative writing

02. While you breathe out that which fills my verse:

03. The sweet subject of you, yourself, which is too excellent,

04. For any inferior writing to record.

05. Please do, give yourself the thanks, if anything from me,

06. Worth your perusal, can withstand your inspection;

07. Since, who could be so lacking in expression, that he couldn't write of you,

08. When you, yourself, are a guiding light for creativity?

09. You must be the tenth Muse, and worth ten times more

10. Than those ancient nine which poets invoke,

11. And the poet who calls upon you, lead him to produce

12. Immortal poems that outlive lengthy time, itself.

13. If my modest talent does please these exacting times,

14. The effort may be mine, but the praise shall be yours.

Sonnet 38 Gloss

L1: want = lack.

L1: subject = subject matter.

L1: invent = create (literature.)

L2: breathe = breathe out. Emit.
In the sense of an aura, an atmosphere.

L2: that = what; that which.

L2: pour'st into = fills.

L3: argument = subject.

L4: every = any. (Note, to the right.)

L4: vulgar paper = inferior writing. (Note, to the right.)

L4: rehearse = record (for later repetition.) Describe.

L6: Worthy = valuable. (Note, to the right.)

L6: sight = view; opinion. Inspection.
"Thy sight" = 'in your eyes.'

L7: dumb = lacking expressive ability.

L8: invention = literary creativity.

L8: light = inspiration; guidance.
The idea of being guided by a light.

L10: old = ancient.

L10: rhymers = poets (not necessarily writing in rhymed verse.)

L10: invocate = invoke.

L12: Eternal numbers = immortal poems.

L12: long = lengthy.
"Long date" = 'lengthy time, itself.'

L13: slight = modest.

L13: Muse = talent.

L13: curious = exacting. Demanding.

L13: please these curious days - (Note, to the right.)

L14: pain = effort.

Sonnet 38 Notes

Sonnet 38 is probably an early Sonnet from William Shakespeare to Edward de Vere. It is not Shakespeare at his height. "Thine shall be the praise" (line 14) would have applied, literally, when Shakespeare was one of Oxford's Men. That would place Sonnet 38 shortly after Sonnet 26, c. 1587.
-------

L4: every = any.
The concept is that the addressee is so inspiring, it simply would not be possible to do an inferior writing about him.

Further, about line 4 overall:
04. For every vulgar paper to rehearse

There's a secondary meaning, that any vulgar publication about the addressee should not be allowed, because of his excellence.

L6: Worthy = valuable.
The line can be interpreted as shown, from the original 1609 publication, but "worthy" is conceivably a minor misprint for "worth thy." The phrase "worth thy" would make excellent sense, and would scan better.

L13: please these curious days
"Pleasing the days" implies pleasing the public, but this Sonnet, itself, was apparently not written to be published at the time. So, something else is being referenced - probably theatrical performance, since Shakespeare was mainly a playwright. It is probably an allusion to Shakespeare's play writing, to please a demanding public.

. Sonnet 39 .

(original language, but moderately updated)

01. Oh how thy worth with manners may I sing,

02. When thou art all the better part of me?

03. What can mine own praise to mine own self bring;

04. And what is't but mine own when I praise thee?

05. Even for this, let us divided live,

06. And our dear love lose name of single one,

07. That by this separation I may give

08. That due to thee which thou deserv'st alone:

09. Oh absence what a torment wouldst thou prove,

10. Were it not thy sour leisure gave sweet leave,

11. To entertain the time with thoughts of love,

12. Which time and thoughts so sweetly doth deceive,

13. And that thou teachest how to make one twain,

14. By praising him here who doth hence remain.

. Sonnet 39 .

(paraphrased)

01. Oh how, with proper etiquette, can I proclaim your worth,

02. When you are all the praiseworthy part of me?

03. What could my own praise, of my own self, accomplish -

04. And what is it, but praise of myself, when I praise you?

05. Immediately, because of this problem, (which inhibits me from
praising you,) let us exist apart,
06. And our dear, loving friendship not be known as one love, only:

07. So that, after our separation, I can extol you with

08. That praise for you, which you, alone, deserve, (without my
being ill mannered by praising myself);
09. But oh, your absence, from our united love, what a torment it
would prove to be,
10. Unless that bitter time of "freedom," for me, included your friendly
permission, and the sweet opportunity,
11. To enjoy the time, while you're apart, by thinking thoughts of love,
for you;
12. (Such time, when I have loving thoughts about you, so sweetly does
beguile me);
13. And also unless your absence would show me how
to double my praise of you,
14. By also praising whichever of us, here, who would therefore
remain, that being you.

Sonnet 39 Gloss

L1: manners = etiquette.

L1: sing = proclaim (in verse.) Declaim.

L2: the better part = the praiseworthy part. (Note, to the right.)

L3: bring = accomplish.

L4: own = own praise.

L5: even = straightaway; directly. Immediately.

L5: for this = because of this problem.

L5: divided = apart. (Note, to the right.)

L5: live = exist. (Note, to the right.)

L6: lose name = not be called; not be known as.

L6: single one - (Note, to the right.)

L7: separation = distinction.

L7: give = speak; write. (With good manners.)

L8: That due = that praise.

L8: alone = for just yourself.

L9: absence = your absence (from "our love" - singular.)
The addressee's hypothetical, emotional absence is personified as Absence, itself.

L9: prove = prove to be.

L10: sour - Essentially equal to "bitter" in this case. Unpleasant.

L10: leisure = "freedom." (Note, to the right.)
That is, the state of being "unbound" from the singular 'love.'

L10: leave = opportunity; or, 'permission.'

L11: entertain the time = enjoyably pass that time.
Suggesting "greet" that time.

L11: love - Of you.

L12: deceive = beguile. (Note, to the right.)
Line 12 is an aside.

L13: teachest = show

L13: make one twain = double one praise. (Note, to the right.)

L14: him = whichever of us. (Note, to the right.)

L14: hence = therefore.
Suggests "henceforth," or "still" in the modern sense, as well.

Sonnet 39 Notes

Sonnet 39 is William Shakespeare's reply to Edward de Vere's Sonnet 36. This Shakespeare Sonnet is significantly more convoluted and profound than Vere's. Although Vere was good, Shakespeare was the better writer.

Rightly, Sonnets 36 and 39 should be consecutive. The original Sonnets publication of 1609 does not have the Sonnets in their correct order. (Thorpe may have published them in the order in which he got them from Mary Sidney, however.)
-------

L2: the better part
Essentially, the Poet is saying that the praiseworthy part of himself is that he has a loving friendship with the addressee. Then, since the addressee is "part of himself," it wouldn't be good manners to praise the addressee, because the Poet would be praising himself. The idea is facetious.

L5: divided = apart.
The concept is that of turning "we love" (together, using the singular) into "I love, and you love" (separately, which makes it "our loves," which is a plural.) This concept leads to the use of "single" in line 6.

L5: live = exist.
It does not mean the Poet and the addressee are actually living together. The togetherness is emotional. The suggestion of living together is facetious.

L6: single one
The line has reference to creating a plural, rather than a singular - i.e. "loves" instead of "love." (The line uses the singular, "love.")

L10: leisure = "freedom."
That is, the state of being "unbound" from the singular 'love.'
The word "leisure" is subtle wordplay. "Leisure" is based on Latin 'licere' which means "be allowed." The word "leave" in line 10 can also be read as a reference to permission. It implies the paradox of a sour leave giving a sweet leave.

L12: deceive = beguile.
Line 12 is an aside.
Based on experience, the Poet knows that time spent thinking about the addressee beguiles him, sweetly.

L13: make one twain = double one praise.
The focus is still on the idea of how to praise suitably.

L14: him = whichever of us.
The concept is sublime: since their love is one, if one left, which would it actually be? If the addressee left, since they're one, perhaps it would actually be the Poet who left, and the addressee who remained. As one, they're the same entity. So, by either name, who stayed, and who left? Thus, the use of "him" to mean "whichever."

The meaning of "him" settles into being the addressee, however, in line 14. That's shown by "praising him," since the Poet is intending to praise the addressee.

The upshot becomes, 'since we're one entity, sharing a single love, if you left you would still remain with me, but your "absence" would show me how to praise you, with good manners, twice over - while you're both absent and still here.

The logic of it all is delicious, albeit hard to follow. Shakespeare had a remarkable mind.

. Sonnet 40 .

(original language, but moderately updated)

01. Take all my loves, my love, yea, take them all,

02. What hast thou then more than thou hadst before?

03. No love, my love, that thou mayst true love call,

04. All mine was thine, before thou hadst this more:

05. Then if for my love, thou my love receivest,

06. I cannot blame thee, for my love thou usest,

07. But yet be blam'd, if thou this self deceivest

08. By willful taste of what thyself refusest.

09. I do forgive thy robb'ry gentle thief

10. Although thou steal thee all my poverty;

11. And yet love knows it is a greater grief

12. To bear love's wrong, than hate's known injury.

13. Lascivious grace, in whom all ill well shows,

14. Kill me with spites yet we must not be foes.

. Sonnet 40 .

(paraphrased)

01. "Steal" all my affections, my beloved friend, yes, "steal" them all -

02. What do you have then, more than you had already?

03. No, beloved friend, my affection, that you may call my true
"property" of love,
04. All of mine, was already yours, even before you "robbed"
that much more;
05. Then if, for love of me, you are a "receiver" of my "stolen" love,

06. I cannot "charge" you, that you "profit" for my love,

07. But yet you will be "charged," if you're deceitful about this "ownership,"

08. By willfully partaking of my love that you then forsake.

09. I do forgive you for your "robbery," kind thief,

10. Although you "steal," to yourself, all my poverty of loved ones,

11. And yet, love knows, it is a greater offense

12. To suffer a loving wrong, than hate's certain injury;

13. So, sportive noble, in whom all that's bad looks good,

14. You can "murder" me with such disgraces, yet,
we must not be opposing parties "at law."

Sonnet 40 Gloss

L1: Take = "steal." Figurative.
The Sonnet uses legalistic metaphor, as revealed expressly in line 9.

The Poet continually used "steal" to mean "take," so the equivalent is applied here.

L3: true love = truly mine i.e. my "property."

L5: receivest = be a "receiver" (of stolen goods.)
The notion is that since the addressee has "stolen" all the Poet's love, he is therefore a receiver of stolen goods.

L6: blame = "charge" (with a "crime.")

L6: usest - Suggests usury.

L7: blam'd = "charged."

L7: self = "own." One's "self" is one's "own."
Continues the metaphor, with respect to "owned" versus "stolen."

L8: willful = intentional.
It's legally significant whether an offense is willful.

L8: taste = partaking. (Partaking of "ill-gotten gains.")

L8: refusest = forsake.

Lines 7 and 8 turn the idea around, that if the addressee declines to be a "receiver of stolen goods," (the Poet's love,) he'll be "charged."

L10: poverty - First, literal (the addressee is a patron who has rewarded the Poet.)

Second, figurative, in that the Poet feels a "poverty" of loving friendships.

L11: love knows - "Love" is used in the phrase the way "god" would typically be used in such a phrase, i.e. "god knows."

L11: grief = "legal" offense.

L12: wrong = "crime." "Civil offense."

L12: injury = "criminal damages." Hate is a "crime."

Lines 11 and 12: - (Note, to the right.)

L13: lascivious = sportive.
This meaning is dictated in advance of Sonnet 121.
Facetiously implies illicit behavior.

L13: grace = noble.
Indicates a person of high social status, as in the term of address, "your grace."

L13: ill = "crime."
The facetious concept being, 'you make "crime" look respectable.'

L14: Kill = "murder." (Continuing the legalistic equivalents.)

L14: spites = disgraces.
"Victimizations."

L14: foes = opposing parties ("at law.")

Sonnet 40 Notes

Sonnet 40 is by William Shakespeare, to a patron familiar with the "steal/take" concept, and legalisms. The addressee is therefore Edward de Vere. It was Vere who taught Shakespeare legalisms.

Sonnet 40 is from a time when Shakespeare was doing well - his "poverty" had been "stolen." That places it in the mid- or late 1590s.

The implication of a "poverty of loved ones" may, or may not, place this Sonnet after the death of Hamnet. That's hard to say. It hints of being after Hamnet's death - "love's wrong"/"known injury" (??) - but the Sonnet may only imply a poverty of close friends in London.
-------

Lines 11 and 12:
The essential concept in the lines is that it's a greater sorrow to lose love, than to be punched in the nose by an enemy. Offenses from an enemy are no big deal, because they're expected. Any serious offense from a beloved friend, however, would really hurt.

. Sonnet 41 .

(original language, but moderately updated)

01. Those pretty wrongs that liberty commits,

02. When I am sometime absent from thy heart,

03. Thy beauty, and thy years full well befits,

04. For still temptation follows where thou art.

05. Gentle thou art, and therefore to be won,

06. Beauteous thou art, therefore to be assailed.

07. And when a woman woes, what woman's son

08. Will sourly leave her till he have prevailed?

09. Aye me, but yet thou might'st my seat forbear,

10. And chide thy beauty, and thy straying youth,

11. Who lead thee in their riot even there

12. Where thou art forced to break a two-fold truth:

13. Hers by thy beauty tempting her to thee,

14. Thine by thy beauty being false to me.

. Sonnet 41 .

(paraphrased)

01. Those cute wrongs that you, at liberty, commit,

02. When remembrance of me is, on occasion, absent from your heart,

03. Go very well along with your beauty and your youth, and are unsurprising,

04. Since temptation will always follow, where you are;

05. You are noble and kind, and therefore a prize to be won;

06. You are handsome, and therefore to be seduced,

07. And when a woman is unhappy, for love, what woman's son

08. Would rudely leave her, until he has had his way with her?

09. Aye me, but yet, you might be so good as to spare my dominion,

10. And rebuke your beauty, and your roving youthfulness,

11. Who lead you, in their rebellion, even into a place

12. Where you are compelled to break two faiths:

13. Her faith in you, because your beauty tempted her to you,

14. Your own, through your beauty causing lack of faithfulness to me.

Sonnet 41 Gloss

L1: pretty = cute and cutely clever. (Note, to the right.)

L1: liberty - (Note, to the right.)

L2: sometime = sometimes = on occasion.

L3: years = youth.
Not very many years.

L3: befits = suits. Goes along with.
Reference to what is not too surprising, given certain circumstances.

L4: still = always.

L4: thou - Both the addressee, and Liberty. (Double meaning.)
Where Liberty goes, temptation follows.
Also, temptation follows where the addressee goes.

L6: assailed = enticed; entreated. Seduced. (Note, to the right.)

L7: woes = is unhappy (for love.)
The word is printed "woes" in the original.
It typically gets changed to "woos" in modern reprints, but with no pressing need for the change.

L8: sourly = rudely; disappointingly.

L9: seat = throne. Dominion. (Note, to the right.)

L9: forbear = spare.

L10: chide = rebuke.

L10: straying = roving.

L11: riot = undisciplined disturbance. Figuratively, 'rebellion.'

L11: lead thee ... even there = lead you even into a place (a situation.)

L12: break = disobey.

L12: two-fold = affecting two persons.

L12: truth = faith. (The idea of "breaking faith.")
A "truthful" person is a "faithful" person.

L13: Hers - By dishonoring her.

L14: Thine - By dishonoring yourself.

L14: me - Perhaps not the Poet, but rather, his patron for this Sonnet.

Lines 12 to 14: - (Note, to the right.)

Sonnet 41 Notes

William Herbert had a fling, notorious at the time, with Mary Fitton, in 1600. She was left pregnant, when Herbert refused to marry her, although he admitted paternity. Herbert was sent to Fleet Prison over it, in February, 1601.

William Herbert's father, Henry Herbert, 2nd Earl of Pembroke, died January 19, 1601, just a month or so before William was sent to prison.

If the addressee of Sonnet 41 is William Herbert, (probably the "fair youth" of the first 17 Sonnets,) there would have been a notable "seat" (Sonnet line 9) involved: the Earldom of Pembroke. The scandal reflected poorly on the earldom, to say the least, since William was in line for it, and did become the 3rd Earl Pembroke.

"My seat forbear" = don't ruin my earldom, with scandal, says your father.
In other words, "spare my earldom."

Sonnet 41 is by William Shakespeare, but does not make good sense for being from him, personally, to William Herbert. It gives much more the impression of being a patronage Sonnet, on behalf of William's father, Henry. That goes along with the group of the first 17 appearing to be patronage Sonnets, to be read or sent by various persons, with William Herbert the likely addressee for them.

This view is compatible with the "Mr. W.H." in the dedication of the original 1609 Sonnets publication being William Herbert. The Herbert family (particularly Mary Sidney) would then have had the "fair youth" Sonnets, to provide to publisher Thorpe, if they were patronage Sonnets commissioned from Shakespeare by the family. Mary Sidney would have had the rest of the Sonnets by being one of the "private friends" (mentioned by Meres, 1598,) in the literary circle where the Shakespeare Sonnets circulated. Then, the Herbert family would have had this Sonnet if it were a patronage Sonnet on behalf of Henry Herbert.

One may surmise Sonnet 41 was written late in the year 1600, after it became known Herbert would not marry Fitton.

(It must be emphasized this is theory, an attempt to place the Sonnet in historical context.)
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L1: pretty = cute and cutely clever.
The Poet used "pretty" in a way that went beyond physical attractiveness, to include an idea of mischief. "Cute" could be a good modern equivalent, understood to include the slang phrase, "that was cute," in reference to a clever stunt, that did not work out so well.

L1: liberty
The wrong is assigned to Liberty, personified, rather than to the addressee, himself. This avoids blaming the addressee, personally, and is a mark of politeness.

The beginning concept is that the addressee took liberty as license, so to speak.

L6: assailed = enticed; entreated. Seduced.
As used here, "assailed" means a figurative "attack" against resistance, in the "war between the sexes."

See Cymbeline Act 2 scene 3.
~
Cloten: I have assailed her with music, but she vouchsafes no notice.
~~~

L9: seat = throne. Dominion.
"My seat" = 'Where I rule.'
There is a secondary implication of "heart," that is, "my seat forbear" = "spare my heart," under the understanding of "ruling" one's own heart. The general idea being, "you're breaking my heart."

In light of the historical considerations noted above, the phrase, with respect to "dominion," could be viewed to indicate the Earldom of Pembroke.

Lines 12 to 14:
Sonnet lines 12 to 14 pit truth versus beauty in a way similar to that used by the Poet elsewhere, notably in the 'Nunnery Scene' in Hamlet, where Hamlet makes a fairness and honesty (beauty and truth) argument to Ophelia.

. Sonnet 42 .

(original language, but moderately updated)

01. That thou hast her it is not all my grief,

02. And yet it may be said I lov'd her dearly,

03. That she hath thee is of my wailing chief,

04. A loss in love that touches me more nearly.

05. Loving offenders thus I will excuse ye:

06. Thou dost love her, because thou knowst I love her;

07. And for my sake even so doth she abuse me,

08. Suffering my friend for my sake to approve her.

09. If I lose thee, my loss is my love's gain,

10. And losing her, my friend hath found that loss,

11. Both find each other, and I lose both twain,

12. And both for my sake lay on me this cross.

13. But here's the joy, my friend and I are one,

14. Sweet flattery, then she loves but me alone.

. Sonnet 42 .

(paraphrased)

01. That you have her, that is not all my woe,

02. And yet, it may be said I loved her dearly;

03. That she has you, is the leading cause of my sorrow,

04. And that's a loss, in love, that touches me more deeply;

05. You two are offenders in love, so I will excuse you, thusly:

06. You love her, because you know I love her,

07. And it's for my sake, in the same way, that she mistreats me,

08. Tolerating my friend, for my sake, to commend her;

09. If I lose you, that loss is a gain by my love,

10. And by my losing her, my friend has gained that loss;

11. Both gain each other, and I lose both, doubly,

12. And both for the sake of my love, give me this burden to bear;

13. But here's the joy in it for me: since my friend and I are one, in our loves,

14. I flatter myself sweetly, that she loves only me, alone.

Sonnet 42 Gloss

L1: grief = woe.

L3: wailing = sorrow.

L3: chief = the leading cause.

L4: nearly = deeply.

L5: thus = thusly. Also, 'so.' (Double meaning.)
'Loving offenders, I will excuse you thusly.'
'You are loving offenders, so I will excuse you.'
The double meaning is intentional, through the use and placement of "thus."

L5: excuse - Literal; or 'justify.'

L7: even so = in the same way.

L7: abuse = mistreat.

L8: Suffering = tolerating.

L8: approve = commend.

L11: twain = doubly.

L12: cross = burden.

L14: flattery = self-serving compliment.

Sonnet 42 Notes

. Sonnet 43 .

(original language, but moderately updated)

01. When most I wink then do mine eyes best see,

02. For all the day they view things unrespected,

03. But when I sleep, in dreams they look on thee,

04. And darkly bright, are bright in dark directed.

05. Then thou whose shadow shadows doth make bright,

06. How would thy shadow's form, form happy show,

07. To the clear day with thy much clearer light,

08. When to unseeing eyes thy shade shines so?

09. How would (I say) mine eyes be blessed made,

10. By looking on thee in the living day,

11. When in dead night their fair imperfect shade,

12. Through heavy sleep on sightless eyes doth stay?

13. All days are nights to see till I see thee,

14. And nights bright days when dreams do show thee me.

. Sonnet 43 .

(paraphrased)

01. When I close my eyes the most, is when my eyes see best,

02. For, all day my eyes view things that I don't admire.

03. But when I sleep, in dreams, my eyes look upon your image,

04. And despite the darkness, my eyes become bright, and are directed
toward your brightness in the dark;
05. Then - you whose image makes the darkness bright -

06. (I dream about) how your image's real form would be a happy sight

07. In the clear daytime, (since to me you're a much more glowing light
than the sun,)
08. When to my eyes, that don't even really see you, your image is so shining.

09. I say to myself - how my eyes would be graced,

10. By looking at the real you in the daytime,

11. When even in the dead of night, my eyes' "ghost" of you, lovely but
not perfectly like you,
12. Stays before me, throughout my heavy sleep, although I really see nothing.

13. All my days are like empty nights, as I see them, till I see you again,

14. And my nights are like bright days - when my dreams show your image to me.

Sonnet 43 Gloss

L1: wink = close my eyes.

L2: unrespected = unadmired, i.e. 'that I don't admire.'

L4: darkly bright - The Poet's eyes are dark by being closed, but brightened by the image of the addressee.

L4: (the second) bright = toward the brightness.

L4: dark = the darkness.

L5: shadow = image; 'ghost.'

L5: shadows = the darkness.

L6: (the first) form = body (the real person.)

L6: (the second) form = make.

L7: clear = cloudless, i.e. 'shadowless.' Sunny.

L7: clearer = more glowing (than the sun, to the Poet.)

L8: unseeing - Not seeing the real person.

L8: shade = image; 'ghost.'

L9: blessed made = graced.

L10: living day - During daytime, living people are active, as opposed to nighttime ghosts.

L11: dead night - Nighttime is poetically the "dead" time.

L11: their = my eyes'.
(Often gets changed to "thy" in modern reprints, which is wrong.)

L11: fair = handsome; lovely.

L11: imperfect shade - A "ghost" not exactly like the addressee.

L12: sightless = not really seeing.

L12: stay = dwell.
(A meaning dictated in advance of Sonnet 55: "You live in this, and dwell in lover's eyes.")

L13: to see = as I see them.

Sonnet 43 Notes

William Shakespeare probably wrote Sonnet 43 about his wife.

. Sonnet 44 .

(original language, but moderately updated)

01. If the dull substance of my flesh were thought,

02. Injurious distance should not stop my way;

03. For then despite of space I would be brought,

04. From limits far remote, where thou dost stay,

05. No matter then although my foot did stand

06. Upon the farthest earth remov'd from thee,

07. For nimble thought can jump both sea and land,

08. As soon as think the place where he would be.

09. But ah, thought kills me that I am not thought

10. To leap large lengths of miles when thou art gone,

11. But that so much of earth and water wrought,

12. I must attend time's leisure with my moan.

13. Receiving naughts by elements so slow,

14. But heavy tears, badges of either's woe.

. Sonnet 44 .

(paraphrased)

01. If the heavy substance of my flesh were, instead, thought itself,

02. The distance, that makes me suffer, would not keep me away from you,

03. Because, despite the distance, I would go like a spirit

04. From any remote location, to the place where you are;

05. It wouldn't matter then, even if I stood

06. At the place on earth farthest away from you,

07. Because thought is so nimble it can jump oceans and continents,

08. As quickly as a person can think where he'd like to be.

09. But oh, my thoughts about that break my heart, since I'm not pure thought,

10. That can leap any great distance of miles, to you, when you're not here;

11. But there's so much, made of earth and water, between us,

12. I can only accompany my unoccupied time, away from you, with my laments;

13. Communicating nothing, either way, via elements so slow,

14. Except my own heavy tears, symbols of our woe.

Sonnet 44 Gloss

L1: dull = heavy. (Note, to the right.)

L2: injurious = unjust.
"Injurious" by causing suffering for the Poet, which he of course views as "unjust."

L2: stop my way = prevent me from making my way (to you.)

L3: space = distance.

L3: brought = summoned
It hints of summoning a spirit - like Ariel in the Tempest.

L4: limits = distant frontiers. (Note, to the right.)

L4: stay = dwell.

L8: he = it.

L9: kills me = breaks my heart. (Note, to the right.)

L10: gone = not in my presence. 'Not here.'
Should not be read to imply that the addressee is away from her home. It only means the Poet and addressee are apart.

L11: that = there's.

L11: so much = so much distance.

L11: wrought = made.

L12: attend = accompany.
The Poet has only his own moan to accompany him, rather than the addressee, whom he would much prefer.

L12: time's leisure = time that's unoccupied. (Note, to the right.)

L12: moan = lamentation.

L13: naughts = nothing either way (earth or water.)
The plural is correct in the original, since there are two elements referenced. Modern reprints that use the singular are wrong.

L13: slow - In the theory of four elements, (earth, water, air, fire,) earth and water are the heavy, "slow" elements, and air and fire are the lighter elements.

L14: heavy = "earthly."
Has reference to the Poet's own tears, from his "earth," his material body. "Heavy" has a conceptual link to "dull" and "slow."

L14: badges = tokens; symbols. Could be read as 'emblems.'

L14: either's - Both the Poet and the addressee's, and also earth and water's. (Double meaning.)
(Note, to the right.)

Sonnet 44 Notes

The reference to the elements, earth and water, identifies Sonnet 44 as being to a woman (probably Mrs. Shakespeare.) As follows.

The Poet identifies himself, or his mortal body, that is, as "earth." (Sonnet 146: "Poor soul, the center of my sinful earth.") The Poet is male.

So, "earth" = the Poet himself, a male.

Water is classically associated with the moon, which is poetically female. Thus, the addressee, associated with water, is female.

"Water" = the addressee, a female.

The woman of whom Shakespeare would have written, who was far away, would have been his wife, in Stratford.

Sonnet 44 is nicely accomplished, but not as intricate as the height of Shakespeare's work. It may date from the early 1590s.
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L1: dull = heavy.
It anticipates the mention of "earth," a 'heavy' element.
The word "dull" also implies "stupid." Compared to ideal Thought, mortal flesh is "stupid." It indicates the Poet wishing he could think of a way to be with the addressee, but circumstances forbid.

L4: limits = distant frontiers.
Human areas (neighborhoods, towns, counties, countries, etc.) are defined by their limits, their boundaries. Here, "limits" means "beyond the limits," which would be a distant frontier. It does not imply the Poet is outside England - poetically, London could be called a "distant frontier," outside the limits of Warwickshire. The word "limit" is a compatible word usage, with respect to the mentioned limitation on the Poet's ability to travel, because he is not immaterial.

L9: kills me = breaks my heart.
The "heart" equivalent is dictated by the idea of love, which is associated with the heart. The word "love" does not appear in this Sonnet, but it's obviously implied, and thus "heart" is implied, also.

L12: time's leisure = time that's unoccupied.
The idea has a double implication - both time that's unoccupied in the sense of not being spent with the addressee; and also unoccupied in the sense of having nothing to engage his attention, like his work at the theater.

L14: either's - Both the Poet and the addressee's, and also earth and water's.
(Double meaning.)
The Poet's tears are his "earth's" tears. The tears, themselves, are "woeful water," and also the Poet presumes his addressee, a woman, is tearful, too.

. Sonnet 45 .

(original language, but moderately updated)

01. The other two, slight air, and purging fire,

02. Are both with thee, wherever I abide,

03. The first my thought, the other my desire,

04. These present absent with swift motion slide.

05. For when these quicker Elements are gone

06. In tender Embassy of love to thee,

07. My life being made of four, with two alone,

08. Sinks down to death, oppressed with melancholy.

09. Until lives' composition be recured,

10. By those swift messengers return'd from thee,

11. Who even but now come back again assured,

12. Of their fair health, recounting it to me.

13. This told, I joy, but then no longer glad,

14. I send them back again and straight grow sad.

. Sonnet 45 .

(paraphrased)

01. The other two of my elements, light air, and burning fire,

02. Are both with you, wherever I am,

03. The first one, air, is my thoughts about you, the other, fire, is my desire for you,

04. These - now present for me, now absent for me - glide with swift motion,

05. For that, when these quicker elements are gone from me, momentarily,

06. In a tender "official greeting" of love to you,

07. My life, since it's made of four elemental humors, becomes short by two,

08. And I "sink into my own earth," oppressed with melancholy,

09. Until our lives' composition be remedied,

10. By those swift elemental messengers return'd from thee,

11. That instantly come back again to me, secured,

12. In their good healthiness, restoring it to me.

13. This counted, from two elements to four again, I'm happy,
but then immediately, I'm no longer glad, as
14. I send my air and fire to you again, and straightaway become sad again.

Sonnet 45 Gloss

L1: The other two - Sonnet 45 is written as a continuation of Sonnet 44.

L1: slight = light in the sense of weightless; insubstantial.

L1: purging = burning; purifying.

L3: desire - In the Poet's vocabulary, desire is "hot," a "fiery passion in the blood." Thus, "desire" goes with "fire."

L4: present absent = now present, now absent. So quick in motion, they are here and there at nearly the same time.

L4: slide = glide; fly like a bird. Can be understood as "sliding" like a skater on smooth ice.

L6: Embassy = "official" greeting. (Note, to the right.)

L7: four = the four humors that correspond to the four elements.

L7: two alone - Double meaning. First, two elements alone. Second, two lonely persons.

L8: Sinks down to death = "sinks" down entirely into earth. (Note, to the right.)
Earth is used for burial of the dead.

L9: lives' = our lives'. The correct word is "lives" as originally printed.
(It is not "life's," the word typically found in modern reprints. The Poet is referring to the lives of both himself and his addressee.)

L9: composition = combination (of elements and humors.)

L9: recured = remedied; recombined. (Note, to the right.)

L10: return'd = come back to our "one flesh."

L11: assured = assuredly; or, 'secured.'

L12: their fair health = their good healthiness. (Note, to the right.)
"Their" is the word in the original printing, and it is correct. Modern reprints that change the word to "thy" are wrong.
A pun with "there" is intended: their fair health / fair health there.

L12: recounting = restoring.

L13: told = counted up (from two to four.)

L14: straight = straightaway.

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Conceptually, as the Poet imagines conveying his thought and desire from himself to his wife, he's sending them from himself, to "himself," since the persons are "one flesh," so the only time he lacks the elements is during the momentary "travel time," of his imagination.

He sends his air and fire to her. They travel quickly. As soon as she receives them, he receives them back, since the two are "one flesh." Having gotten them back, he immediately tries sending his air and fire, his thought and desire, to her again, and immediately gets them back again, to his "own flesh." And so on.

In more literal terms, he's constantly wishing he could express his thoughts and desires to her, and he imagines doing so. But no matter how much he imagines communicating with her, his thoughts about her and his desires for her are still with him, alone. He's sure she knows he's thinking of her, and he's hoping she's well, but he doesn't really know.

The Sonnet is rather difficult, but understanding the "one flesh" concept behind it should help.

Sonnet 45 Notes

Sonnet 45 is by William Shakespeare, and was written to his wife at a time when they were apart.
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L6: Embassy = "official" greeting.
The implication, of their relationship having "official" significance, is consonant with the addressee being the Poet's wife.

L8: Sinks down to death = "sinks" down entirely into earth.
Earth is used for burial of the dead.
The Poet, male, is "earth." His wife, female, is "water." When he sends his air and fire to her, that leaves him dominated by his "earth," so he is "buried in his own earth," so to speak, thus poetically "dead."

L9: recured = remedied; recombined.
The Poet is alluding to the relationship between the four humors theory, of health, and the classical four elements theory of nature.
The classical associations are:
black bile-earth ; phlegm-water ; blood-air ; yellow bile-fire.
Different humors were associated with different moods. Particularly in relation to the Sonnet, black bile (earth) was associated with the melancholy stated in line 9.

L12: their fair health = their good healthiness.
"Their" is the word in the original printing, and it is correct. Modern reprints that change the word to "thy" are wrong.
A pun with "there" is intended.
The Poet is saying that the return of his missing elements restores his health. He is not saying that he's getting psychic messages from his addressee. The Sonnet is phrased in a way to go along with his wish that he could.

However, the return of his elements implies a conclusion, poetically, about the addressee's health. "Man and wife are one flesh," as the Biblical saying goes. When the Poet's air and fire are sent to his wife, they are going to his "own flesh," therefore restoring his own elemental (humorous) balance for himself. The idea involved is not telepathy, it is the concept that "we are one."

So, this allows a sure, if roundabout, conclusion that the other person is Mrs. Shakespeare, the Poet's "own flesh." The proper combination of his own elements would only restore health to his "own flesh." Under the Biblical proposition, that's his wife.

The Poet is not saying he really knows how his wife is, while she's far away. He feels she should be all right. But when he poetically tries sending his air and fire to her again, in line 14, he's doing so because he doesn't really know how she is, which makes him sad, as stated at the conclusion of the Sonnet.

Poetically, the Poet is wishing he could bring all their elements together: his male "earth," her female "water," and their combined air (thoughts,) and fire (desire.) It's a sublime way of expressing his longing for her, at the most "elemental" level.

The original word "their" in line 12 is unquestionably correct, and it is most certainly not "thy." It is, however, an intended pun with "there." Changing the Poet's word to "thy," as most modern reprints mistakenly do, will interfere with correct interpretation of this Sonnet.

Concerning the "their-there" pun in line 12
- their fair health / fair health there -
the Poet is imagining that his elements have reported back that his wife is in good health, "fair health there," but he doesn't really know. It's an expression of his hopes and good wishes for her, in the absence of actual knowledge.

Returning to line 2:
02. Are both with thee, wherever I abide
The reason the elements are both with the Poet and with the addressee, at the same time, is because the Poet and his addressee are "one flesh." They're married.

. Sonnet 46 .

(original language, but moderately updated)

01. Mine eye and heart are at a mortal war,

02. How to divide the conquest of thy sight,

03. Mine eye, my heart their picture's sight would bar,

04. My heart, mine eye the freedom of that right,

05. My heart doth plead that thou in him dost lie,

06. (A closet never pierced with crystal eyes,)

07. But the defendant doth that plea deny,

08. And says in him their fair appearance lies.

09. To side this title, is impaneled

10. A quest of thoughts, all tenants to the heart,

11. And by their verdict is determined

12. The clear eye's moiety and the dear heart's part.

13. As thus; mine eyes' due is their outward part,

14. And my heart's right, their inward love of heart.

. Sonnet 46 .

(paraphrased)

01. My eye and my heart are doing fierce battle, over

02. How to divide up the "spoils of my victory" as I look at you;

03. My eyes would deny to my heart their lovely image of you they see,
(since they want you all to themselves,)
04. My heart would deny my eyes the free exercise of that right,
of keeping you all to themselves;
05. My heart pleads that you properly belong in him,

06. (In his private room, windowless, where eyes don't look,)

07. But my eyes, in their defense, deny the heart's claim, to a share of you,

08. And argue that, it's in them, where their image of your lovely
appearance properly belongs;
09. To justly assign this title, of ownership of you,
to one side or the other, I impanel
10. An inquest of my thoughts, as jury - and all my thoughts of you
are the servants of my heart, my love for you -
11. And my thoughts reach a verdict to determine

12. My clear-seeing eyes' share, and the part of you that dearly
belongs to my heart.
13. The verdict is this: my eyes should have what they can see
of the outer you,
14. And my heart has a right to my eyes' love of you, since love
belongs inwardly in me, in my heart.

Sonnet 46 Gloss

L1: mortal = fierce; extremely contentious.
"Mortal" is used facetiously, or exaggeratedly, in the emotional way - "oh dear, somebody could get killed in this fight!"

L2: conquest = spoils of victory.
The "victory" is that the Poet is with the addressee in person. The Poet is counting it a personal victory that he's in the presence of the addressee.

The "spoils" are the image, or vision, of the addressee, as the Poet looks at the addressee.

L2: thy sight = my perception of you.

L3: eye = eyes.
The singular is poetic, to go with the singular for "heart." The Eye, personified, is the (two) eyes.

L3: their pictures = their images.
The "selfish" eyes want to keep their images of the addressee entirely to themselves.

L4: freedom = permission.
The heart wants the eyes' images of the addressee.
It's a concept that links back to Sonnet 24: "Thy beauty's form in table of my heart."

L4: right - Of keeping the addressee all to themselves.

L5: plead = argue; contend.

L5: lie =belong.
There's implicit, facetious, truth/lie wordplay, since "dost lie" means "does truly lie."

L6: closet = private room. The heart is likened to a private room.
It doesn't mean "closet" in the modern sense.

L6: crystal eyes = windows.
"Eyes" is used because of the idea of eyes seeing through windows.
The concept relates back to Sonnet 24: "That hath his windows glazed with thine eyes."

L7: defendant = the eyes. (Note, to the right.)

L8: their - The plural is because of having two eyes, which form two images.
The Eye, personified, has two images.
Also, "their" puns with "there,"
i.e. "their fair appearance lies" - fair appearance lies there.

L9: side - Refers to ruling for one side or the other in the "case."

L9: title = title of "ownership."

L9: impaneled = enrolled for "jury duty."

10: quest = inquest.

L10: thought - The Poet's thoughts are the "jury."

L10: tenants = vassals; servants. (Note, to the right.)

L12: clear ... dear - The eye sees "clearly," and the heart perceives "dearly."

L12: moity = equitable share.

L13: As thus = here's the verdict.

L13: their outward part = what they can see on the outside.

L14: their = the eyes'. (Note, to the right.)

Sonnet 46 Notes

The words "their," throughout the Sonnet, are correct as originally printed, with no misprint. Modern reprints that change any of them to "thy" are wrong. Such editorial presumption, and blundering, will make the Sonnet impossible to interpret correctly.

Readers among the general public need to be aware that Shakespeare scholars have, over the years, developed the extremely unfortunate, and quite stupid, habit of changing what the Shakespeare writings actually say, when the scholars do not quickly and easily understand the writings. If you see a copy of Sonnet 46 in which the words "their" are changed, you will know that the editor who did that was incompetent, and he changed the true Shakespeare wording because he couldn't read it (or he was too lazy to devote enough attention to trying to read the correct wording.) Then, the general reader gets stuck with that editorial blundering - and so do later scholars, who give earlier, mistaken reprints more credit than they deserve.

An average reader probably won't realize that a Shakespeare editor would change the true words just because they didn't "look right" to that editor. However, that has happened often with Shakespeare, even where the editors were supposed to be professionals doing a professional job. On the bright side, it does mean that for younger Shakespeare scholars there are many opportunities, despite the amount that's already been written about Shakespeare, because so much of the earlier work, in the field of Shakespeare studies, is so poor.

So again, for the general reader, be aware that much of what passes for Shakespeare, in circulation these days, is not authentic, and interpretations based on an earlier editor's incompetence, rather than genuine Shakespeare, are not going to be worth much, if anything.
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L7: defendant = the eyes.
The heart is the "injured party" that brought the complaint, because the eyes are trying to deny the heart any part of the addressee's image. The eyes want the addressee all to themselves, and the heart doesn't think that's fair.

L10: tenants = vassals; servants.
The concept is that the question is the proper dominion of the heart, which gives the heart sovereignty, or jurisdiction. Thus the Poet's thoughts, the "jury," are all servants of his heart, because they're "residents" of the heart's domain. The decision is being made where the heart "rules," i.e. under the "rule" of love. It means the "jury" is biased - by love. It is not an impartial jury. That's perfectly just in the circumstances. The Poet loves the addressee, and love isn't supposed to be impartial.

L14: their = the eyes'.
The "verdict" assigns any love the eyes have, for the addressee, to the heart.

The verdict is a decision against the eyes, as far as love goes, and a ruling in favor of the heart. To the extent the Poet's eyes hold "loving images" of the addressee, they have to give up those loving images, to the heart, since loving images properly belong to the heart.

So, the final decree is, Eye may keep its beautiful images of the addressee, but must hand over its loving images of the addressee to the Heart.

. Sonnet 47 .

(original language, but moderately updated)

01. Betwixt mine eye and heart a league is took,

02. And each doth good turns now unto the other,

03. When that mine eye is famished for a look,

04. Or heart in love with sighs himself doth smother;

05. With my love's picture then my eye doth feast,

06. And to the painted banquet bids my heart;

07. Another time mine eye is my heart's guest,

08. And in his thoughts of love doth share a part.

09. So either by thy picture or my love,

10. Thy self away, are present still with me,

11. For thou nor farther than my thoughts canst move,

12. And I am still with them, and they with thee.

13. Or if they sleep, thy picture in my sight

14. Awakes my heart, to heart's and eye's delight.

. Sonnet 47 .

(paraphrased)

01. Between my eye and heart, a league is formed,

02. And each does favors now, for the other:

03. When it happens that my eye is starved for a look at you,

04. Or my heart, in love with you, suffocates himself with sighs,

05. Then, my eye feasts with my love's picture of you,

06. And, to that painted banquet table, invites my heart;

07. On another occasion, my eye will be my heart's guest,

08. And in my heart's thoughts of love, my eye shares a part.

09. So, either through your image, or my love of you,

10. Although you are away, there's a way you're still present with me,

11. For, you're never farther than my thoughts can travel,

12. And I am always with my thoughts of you, and they're with me,

13. Or if my thoughts should sleep, your picture in my sight

14. Awakens my heart, to the delight of both my heart and eyes.

Sonnet 47 Gloss

L1: league = compact; or, 'alliance.'

L1: took = formed.
An obsolete usage of "took." Not a grammatical error, just poetic.

L2: good turns = favors.

L2: unto = for.
"Unto" suggests the Biblical - 'do unto others, as you would have them do unto you.'

L4: in love with sighs - (Note, to the right.)

L6: painted banquet - On a "table." (Note, to the right.)

L6: bids = invites.

L7: Another time = on another occasion.

L11: nor = never.

L12: still = always.

L12: them = my thoughts of you.

L13: sight = dreams; or, 'vision.'

Sonnet 47 Notes

Sonnet 47 was written to follow #46. The "war" in Sonnet 46 is over. The Poet's heart and eye are now allied, and they share the lovely image the Poet holds of the addressee.
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L4: in love with sighs
The line 4 phrasing is intentionally ambiguous.
It can be read that the heart, in love, smothers itself with sighs, or that the heart is in love with sighs, and smothers itself. The first is the primary meaning. The second is rather facetious.

L6: painted banquet - On a "table."
"Table" is an obsolete term for the panel on which a picture is painted. There is implicit "table" wordplay, between a picture "table" and a banquet table. The picture "table" was expressly stated in Sonnet 24.

. Sonnet 48 .

(original language, but moderately updated)

01. How careful was I when I took my way,

02. Each trifle under truest bars to thrust,

03. That to my use it might un-used stay

04. From hands of falsehood, in sure wards of trust;

05. But thou, to whom my jewels trifles are,

06. Most worthy comfort, now my greatest grief,

07. Thou best of dearest, and mine only care,

08. Art left the prey of every vulgar thief.

09. Thee have I not locked up in any chest,

10. Save where thou art not, though I feel thou art,

11. Within the gentle closure of my breast,

12. From whence at pleasure thou mayst come and part;

13. And even thence thou wilt be stolen I fear,

14. For truth proves thievish for a prize so dear.

. Sonnet 48 .

(paraphrased)

01. How careful I was, when I took my leave,

02. To place each trivial material possession of mine under trustworthy locks,

03. So that in my own possession it might, untaken, be kept, and away

04. From the hands of thieves - under sure protection that can be relied upon;

05. But you, compared to whom my treasured material possessions are mere trifles,

06. My most noble supporter, are now my greatest worry;

07. You're the best of those I hold valuable, and you're my major concern, but

08. You could be the prey of any common thief, of affection;

09. I have not locked you up in any chest,

10. Except one where you really aren't, although I feel you are,

11. That "chest" being the gentle embrace of my breast, where my heart is,

12. But it's a place from which you might come and go at your pleasure,
since I can't lock my heart,
13. And I fear you might be stolen even from my heart,

14. Since Honesty, itself, would be tempted by a prize as valuable as you are.

Sonnet 48 Gloss

L2: trifle - Literally, a small, unimportant thing. (Note, to the right.)

L2: truest = most trustworthy.

L2: bars = locks; bolts; barriers against access by others.

L2: thrust = place.
"Thrust" is used in the sense of pushing or pressing, it does not mean "shove."

L3: to my use = in my possession.

L3: un-used = untaken. (Note, to the right.)

L3: stay = be kept. A double meaning, however.
'Remain.'
'Be kept away.'

L4: hands of falsehood = untrustworthy persons. 'Hands of thieves.'
Probably mostly a reference to plagiarists, where the Poet's writings were concerned.

L4: wards = 'keepers.' Defenses. Protection.
The ground enclosed by the wall of a castle was called a "ward;" thus, 'defended areas.'

L4: of trust = that can be relied upon.

L5: to whom - (Note, to the right.)

L5: jewels = treasures.
Probably mostly a reference to his writings, but not ruling out any jewelry he had.

L5: trifles - (Note, to the right.)

L6: worthy = noble.
The word appears to indicate the addressee is an aristocratic patron of the author's work, but "high" praise of someone else is possible, particularly a wife.

L6: comfort = support; reassurance.
"Worthy comfort" = either 'noble supporter'; or, 'exalted source of strength.'

L6: grief = worry.

L7: best of dearest = best of those who are valuable to me.
May be Mrs. Shakespeare.

L7: only care = primary concern.

L8: vulgar = common.

L11: closure = embrace; an enclosed area.

L14: truth = fidelity; honesty. (Note, to the right.)

Sonnet 48 Notes

The addressee of Sonnet 48 is either a patron of the Poet's work, or his wife. It is not conclusive which.

The interpretation with respect to Mrs. Shakespeare offers a direct explanation of his being away from his work, and away from at least some of his possessions. He would have been traveling from London to Stratford, with his wife on his mind.

Shakespeare had enough talent that he could have written the Sonnet in a dual-use way, primarily about his wife, but worded so that it would work for a patron. There would be nothing unseemly in that, as long as it was a patron he respected. A working author has to make a living, to provide for his wife and family. This notion, about the possibility of a dual-use Sonnet, can only be a speculation, but might be worth mention, primarily because he did have the talent, and the Sonnet addressee is ambiguous.
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L2: trifle - Literally, a small, unimportant thing.
The term probably has reference, mostly, to the Poet's various writings. It was good manners in the Poet's day for an author to belittle the value of his writings, when he referred to them. The Poet would have been concerned about the possible theft of work he had done on plays, since plays were his occupation, but theft of poetry would also have been a worry. This Sonnet probably reveals that the Poet had a way of putting his writings under lock and key when he was absent from his residence in London.

L3: un-used = untaken.
"Un-used" is hyphenated in the 1609 original. The hyphen helps prevent "un-used" from being stressed on the last syllable, which would depart from the meter, so I retain the hyphen.

L5: to whom
There's a double meaning in line 5.
First, "to whom" is read 'compared to whom.' Compared to the value of the addressee to him, the Poet's material possessions are trivial.

Second, "to whom" is read 'to you.' To the addressee, the Poet's writings are trivial (so he says.) This is from the social convention that an author should depreciate his work, as a mark of good manners.

L5: trifles
A patron might, indeed, consider the Poet's Sonnets to be minor entertainments. However, the social convention, already mentioned, probably also applies for this use of "trifles." (Further, the addressee may not be a patron.)

L14: truth = fidelity; honesty.
"Truth" is personified. The Poet is saying that the addressee is such a fine person that even Honesty, itself, might be tempted to steal him (or her) away.

The Poet might be concerned about the possibility of losing the friendship of a patron.

Alternatively, he might be concerned about retaining his wife's affection during his absences from Stratford. Certainly various Shakespeare plays express suspicion of female fidelity (although such suspicions typically prove unfounded in the plays.)

Then, as mentioned, it's hypothetically conceivable the Sonnet is written in a way to accomodate both possibilities.

. Sonnet 49 .

(original language, but moderately updated)

01. Against that time (if ever that time come)

02. When I shall see thee frown on my defects,

03. When as thy love hath cast his utmost sum,

04. Called to that audit by advis'd respects;

05. Against that time when thou shalt strangely pass,

06. And scarcely greet me with that sun thine eye,

07. When love converted from the thing it was

08. Shall reasons find of settled gravity;

09. Against that time do I ensconce me here

10. Within the knowledge of mine own desert,

11. And this my hand, against my self uprear,

12. To guard the lawful reasons on thy part,

13. To leave poor me, thou hast the strength of laws,

14. Since why to love, I can allege no cause.

. Sonnet 49 .

(paraphrased)

01. In preparation against that time (if that time ever comes,)

02. When I may see you frown upon my shortcomings,
(instead of ignoring them,)
03. When, after your love has reckoned its final total of what I'm worth,

04. Called upon to do that "audit" of me by prudent reflections about myself;

05. In preparation for some future day when you may walk by me on the street,

06. And hardly glance an eye in my direction,

07. When your love for me, changed from what it was,

08. Shall find causes, against me, of resolved graveness;

09. In preparation for that time, I take refuge here

10. Within my own awareness of what I deserve,

11. And I take an oath by raising my hand, as a witness against myself,

12. To shield and uphold any legitimate reasons you might have,

13. To leave my unworthy self - and you do have the law on your side,

14. Since why you love me, I can assert no legal case in my defense.

Sonnet 49 Gloss

L1: Against = in preparation for.

L2: frown on = disapprove of.

L2: defects = shortcomings.

L3: When as = 'when, after.' (This phrase is not the word "whenas.")

L3: cast = computed; reckoned.

L3: utmost = final.

L3: sum = total.

Line 3 - (Note, to the right.)

L4: audit = accounting.

L4: advis'd = advisable; prudent. 'Well advised.'

L4: respects = reflections (an obsolete definition.)
The essential idea being the addressee "having another look at" the Poet, "reviewing" him.

L5: strangely - Double meaning.
'As a stranger.'
'In a way strange to me, if you're not friendly.'

L5: pass = pass me by.

L6: scarcely greet = only glance at.

L6: sun = source of beams. (Note, to the right.)

L7: converted = changed; 'turned from.'

L8: reasons = causes.

L8: settled = concluded; resolved.

L8: gravity = graveness. (Note, to the right.)

L9: ensconce = shelter; take refuge.

L10: knowledge = awareness.

L10: desert = deserving; reward; worth. (Note, to the right.)

L11: uprear = raise. (Note, to the right.)

L12: guard = shield; uphold.

L13: lawful = legitimate. (Note, to the right.)

L13: poor = unworthy.

L14: allege no cause = assert no legal case.

Sonnet 49 Notes

Line 3
The idea is that of the addressee submitting to the Poet his "final bill," and giving him no more "credit," so to speak. It would be the time when the Poet would have to "pay."

L6: sun = source of beams.
In Elizabethan times, vision was accounted for by the idea that the eye was a source of illumination. The concept survives figuratively in the idea of a "beaming smile." Here the Poet is talking about whether the addressee will always "beam" on him.

L8: gravity = graveness.
Gravity is of the earth, so it implies the addressee's love for the Poet perhaps someday being "dead and buried."

L10: desert = deserving; reward; worth.
"Mine own desert" = what I deserve. (Not necessarily something good; the Poet was not that simple minded.)

L11: uprear = raise.
Like raising the right hand to swear an oath in court, to tell the truth.

There's a secondary implication, of using his writing hand to compose the "legal" argument against himself that follows.

L13: lawful = legitimate.
The phrasing at the conclusion of the Sonnet tends to imply a legal relationship. That would then tend to imply that the addressee is his wife (although that is not at all a certain inference.)

. Sonnet 50 .

(original language, but moderately updated)

01. How heavy do I journey on the way,

02. When what I seek (my weary travel's end)

03. Doth teach that ease and that repose to say

04. 'Thus far the miles are measured from thy friend.'

05. The beast that bears me, tired with my woe,

06. Plods duly on, to bear that weight in me,

07. As if by some instinct the wretch did know

08. His rider lov'd not speed being made from thee:

09. The bloody spur cannot provoke him on,

10. That sometimes anger thrusts into his hide,

11. Which heavily he answers with a groan,

12. More sharp to me than spurring to his side,

13. For that same groan doth put this in my mind;

14. My grief lies onward and my joy behind.

. Sonnet 50 .

(paraphrased)

01. How heavy-hearted I journey on my way,

02. When where I go (my weary journey's end)

03. Will lead me, when that time of comfort and rest comes, to say

04. 'So very far, do the miles measure, that separate me from my friend.'

05. The horse that bears me, tired, and apparently feeling my own woe,

06. Plods duly on, (not briskly but just doing its duty,) to bear me and
the heaviness of my mood,
07. As if, by some instinct, the poor thing did know

08. His rider did not like moving quickly away from you;

09. Even a bloody spur cannot arouse him to greater speed,

10. When I sometimes, in anger at leaving you, spur him too hard,
into his hide,
11. And he responds sluggishly, with a groan

12. That's sharper to me than the spurring is to his side,

13. Because that groan from my horse puts this idea in my mind:

14. My sorrow, at being farther away from you, is ahead of me,
and my joy, of being with you, is behind me.

Sonnet 50 Gloss

L1: heavy = with a heavy heart.

L3: teach = motivate; induce. Lead.
"Doth teach" = is teaching; will cause.

L3: ease = comfort.

L3: repose = rest.
(When he arrives at his destination.)

L5: beast = horse.

L5: tired - (Note, to the right.)

L6: duly = as is due. (Note, to the right.)
(The word is not "dully," although a pun with "dully" can be assumed.)

L7: wretch = "poor thing."

L9: bloody spur - (Note, to the right.)

Sonnet 50 Notes

Sonnet 50 is primarily a statement about loving friendship. It is not really a travel story.
-------

L5: tired
A good horse will sense its rider's mood, that is to say, it will learn its rider's behaviors: tones of voice, postures, and whether the rider's motion helps or hinders, or is a "dead weight." The Poet is projecting his own mood onto his horse. The horse is probably tired, as stated, but not so bad as described.

L6: duly = as is due.
The horse carries the rider because doing so is the rider's "due." In other words, the horse is not having fun and moving briskly, but is only doing its duty. (The text word is not "dully," but one can assume a pun with "dully.")

L9: bloody spur
Probably exaggerated for effect. The Poet probably doesn't actually spur hard enough to draw blood, and it's doubtful he would have worn the kind of spurs that would draw blood even with a firm jab.

. Sonnet 51 .

(original language, but moderately updated)

01. Thus can my love excuse the slow offence,

02. Of my dull bearer, when from thee I speed,

03. From where thou art, why should I haste me thence,

04. Till I return of posting is no need.

05. O what excuse will my poor beast then find,

06. When swift extremity can seem but slow,

07. Then should I spur though mounted on the wind,

08. In winged speed no motion shall I know,

09. Then can no horse with my desire keep pace,

10. Therefore desire (of perfect's love being made)

11. Shall neigh no dull flesh in his fiery race,

12. But love, for love, thus shall excuse my jade,

13. Since from thee going, he went willful slow,

14. Towards thee I'll run, and give him leave to go.

. Sonnet 51 .

(paraphrased)

01. So I, in my love for you, can forgive the offense of slowness

02. By my plodding horse, when he nevertheless takes me too speedily
away from you:
03. From the place where you are, why should I hurry away?

04. Until the time I return, there's no need to travel posthaste.

05. Oh, but what excuse will my poor horse have then, when I return,

06. When the most extreme swiftness will seem too slow?

07. Then, I would spur even if my horse flew like the wind, and

08. Even with the speed of a bird on the wing, I'd feel that I was standing still;

09. Then, no horse could keep up with my desire to be with you,

10. Therefore, desire itself (made from perfect love)

11. Shall be my "horse" - there'd be no slow flesh-and-blood horse in
my desire's fiery speed! -
12. But my love, out of sympathy for love, shall thereby excuse my worn-out horse:

13. Since, when going away from you, he went slowly as if he were
full of desire for you, like I am,
14. Coming back to you, I'll do the running myself, and turn my horse loose
(since he's earned his freedom, by apparently loving you, too.)

Sonnet 51 Gloss

L1: Thus = so.
Sonnet 51 begins with a word of continuation because it was written to follow Sonnet 50.

L1: my love - (Note, to the right.)

L1: excuse = forgive.

L1: slow offense = offense of being slow.
Also, the offense occurs slowly, thus it's literally a "slow offense."

L2: dull = slow. Plodding.

L2: bearer = horse.

L2: speed = go too fast.
Even plodding seems much too fast as the Poet leaves.

L3: thence = away.

L4: posting = traveling posthaste.

L5: excuse = forgiveness.

L6: swift extremity = swiftness in the extreme.

L8: winged speed = the speed of a bird on the wing.

L10: desire - (Note, to the right.)

L10: perfect's love - (Note, to the right.)

L11: Shall neigh = shall be my horse.
Horses neigh. Therefore, to neigh is to be a horse.

L11: race = speed.

L12: excuse - Double meaning.
'Forgive.'
'Release from duty.'

L12: jade = worn-out horse.

L13: willful = willfully. (Note, to the right.)

L14: run = do the running, myself.

L14: leave to go = freedom. (Note, to the right.)

Sonnet 51 Notes

L1: my love
The phrase has a double meaning.
'My feeling of love.' This is the primary meaning.
'You, my love.' This proceeds from the implicit need for pardon from the addressee for leaving.

L10: desire
In Sonnet 45 the Poet spoke of his desire being fire, one of the quick elements. That same concept leads to "fiery" in line 11 of this Sonnet.

L10: perfect's love
The state of being Perfect is personified. It's a well known idea, as in the sarcastic expression "Mister Perfect." (The allusion to Perfect, personified, in this Sonnet is not sarcastic, however.) The characteristics of Perfect would be perfect. Love, that Perfect has, would be perfect, also. So, what it all boils down to, is that "perfect's love" is an impishly roundabout way of saying "perfect love." The brilliant Poet added an 's' to "perfect" in a way that changed the point of view, but did not change the meaning one iota. (That's not an easy thing to do, and an average writer would never notice it could be done.)

L13: willful = willfully.
The Poet is projecting, ascribing his own mood to the horse. The word usage is highly ironic, or perhaps it would be better described as profound, since "will," as the Poet used the term, is "desire." "Willful" can thus be understood as "desireful." So, the Poet is saying in the Sonnet that he will excuse his "desireful" horse. The Poet is casting the horse as having the same desire to be close to the addressee that he has.

L14: leave to go = freedom.
The idea in the final line is a facetious one, that the horse has earned his freedom, by seeming to want to stay close to the addressee as much as the Poet does. If the horse loves the addressee, the same as the Poet does, the Poet will let the horse go, in appreciation and sympathy. The ultimate excuse the Poet finds for the horse, is love.

. Sonnet 52 .

(original language, but moderately updated)

01. So am I as the rich whose blessed key,

02. Can bring him to his sweet up-locked treasure,

03. The which he will not ev'ry hour survey,

04. For blunting the fine point of seldom pleasure.

05. Therefore are feasts so solemn and so rare,

06. Since seldom coming in the long year set,

07. Like stones of worth they thinly placed are,

08. Or captain Jewels in the carcanet.

09. So is the time that keeps you as my chest,

10. Or as the wardrobe which the robe doth hide,

11. To make some special instant special blest,

12. By new unfolding his imprison'd pride.

13. Blessed are you whose worthiness gives scope,

14. Being had to triumph, being lacked to hope.

. Sonnet 52 .

(paraphrased)

01. In a way, I'm like the rich man who's blessed by having a key

02. That gives him access to his gratifying, locked-away treasure,

03. But a treasure which he will not gaze upon all the time,

04. Since that would take the edge off his exceptional pleasure;

05. That's why the "feasts," for my eyes, gazing upon you, are so
splendid and so special,
06. Because they rarely happen during my long year's schedule;

07. Like valuable gems, they're distributed thinly,

08. Or, one might say, they're like the occasional, most valuable gems,
in a long necklace;
09. That's how it is, with my time, that keeps you "locked away"
as my treasure;
10. Or, I might say, you're like a fancy suit, kept in a wardrobe,

11. That one only wears to show off on some special occasion,

12. When he unfolds, and dons, that normally locked-away pride and joy.

13. I bless you, that your nobility gives me opportunity;

14. When I'm with you, I triumph, and when I'm away from you,
you give me hope.

Sonnet 52 Gloss

L1: So = in a way.

L1: blessed = "crossed." (Note, to the right.)

L2: sweet = gratifying.

L2: up-locked = locked up. Locked away.

L3: survey = gaze upon.

L4: For = because of.

L4: blunting the fine point = "taking the edge off" (in the modern turn of phrase.)
Fine = sharp.

L4: seldom = exceptional.
Referring to the exception rather than the rule, so, 'exceptional.'

L5: Therefore = that's why.

L5: feasts = holidays. "Feast days."
However, there is no particularly religious implication to this Sonnet. Indeed, it is quite the contrary. "It is easier for a camel to go through the eye of a needle..." as the Bible says. The Sonnet sentiment is decidedly irreligious, with respect to Christian theology.

L5: solemn = splendid.
The analogy is to a solemn religious ceremony being splendidly arrayed, as they are on holidays. The solemnity is done in splendor, it's "splendid."

L5: rare = special.
Something that rarely happens is something special.

L6: seldom = infrequently.

L6: set = schedule.
Reference to "set" times; appointed times. Analogy to precious stones being "set" to make jewelry.

L7: stones of worth = gems; jewels. Precious stones.

L7: placed = found. Distributed, by circumstances.

L8: captain Jewels = "leading" jewels. (Note, to the right.)
Jewels of exceptional beauty and value.

L8: carcanet = bejeweled necklace.
Made in the style of having many small gems, and periodically a larger one, the larger ones being the "captain jewels" mentioned.

L9: So is = that's how it is.

L9: chest = treasure.
A synecdoche.

L10: wardrobe - (Note, to the right.)

L10: robe = the cloth cover for the wardrobe. A dust cover.
(Wardrobe doors are not tightly fitted enough to keep dust out by themselves, also, not all wardrobes have doors, some are closed with a cloth drape.)

L10: hide = cover.
(A dust cover is not really intended to conceal that the wardrobe is there; also, a cloth drape, rather than a wooden door, may be the allusion.)

L11: instant = occasion.

L11: blest = favored.
Special blest = a specially favored occasion.

L12: unfolding = showing; revealing.
Reference to taking the fancy suit out of the wardrobe, to wear and show off.

L12: imprison'd = locked away.

L12: pride = "pride and joy" (in modern phrasing.)

L13: Blessed - Blessed by me.

L13: worthiness = nobility.
The Sonnet is written so that it could be provided to an aristocratic patron, but the particular "nobility" that motivated this Sonnet is probably Mrs. Shakespeare.

L13: scope = opportunity.
A rich person can provide opportunities to a poorer person. Likewise, an understanding wife, in Stratford, can allow her husband the business opportunities of London.

L14: triumph = celebrate.

L14: hope - The opposite of "bless" would be "curse." However, the Poet doesn't curse while away from the addressee, instead, he hopes. The Poet is an optimist, it's a healthy attitude.

Sonnet 52 Notes

William Shakespeare probably wrote Sonnet 52 to, and about, his wife. The essential sentiment is "you are my treasure," and the rare visits go along with him being in London, and her in Stratford. The Sonnet is phrased so that it might also serve a patron, which suits his practical need to write professionally.
-------

The facts, of this Sonnet being #52 as originally printed, that it contains reference to a "year," and there being 52 weeks in a year, has been overblown in Sonnet commentary. The coincidence is not really of any significance. The word "year" or "years" also occurs in Sonnets 11, 41, 53, 73, 97, and 138 (none of which are the number of weeks in a year, of course.) For any of those, had it been printed as #52, persons who have superstitious numerological tendencies could find a significance, of their own fabrication.

In fact, there is nothing about this Sonnet that particularly associates it with the weeks of the year, in some occult way, or any non-occult way, either. One could as sensibly argue that since it has 111 words it should be Sonnet #111, or that since it has 14 lines it should be Sonnet #14, or, since it also has the word "hour" it should be Sonnet #24, because there are 24 hours in a day (and it's a fact that the word "hour" occurs in the Sonnet before the word "year" does.) Reference to a "year" in this Sonnet #52 is an accidental coincidence.

Nor does the Sonnet have any particularly Christian, religious undertone. Indeed, the glorification of worldly wealth is decidedly anti-religious, in terms of known Christian doctrine. The anti-religious tone is mollified by the Poet's "wealth" being a person, but nevertheless. The religious terms are simile, to connect with what people in general would recognize, and thereby make the Sonnet meaningful.
-------

L1: blessed = "crossed."
The word "blessed" is wordplay from the shape of the key. The key bits project on opposite sides of the shaft in a cross shape. Some small, inexpensive locks, such as on music boxes, or on small wooden jewelry boxes, are still made for such a key. Nowadays, locks of that kind, with simple two-bit, cross-shaped keys, are used for privacy rather than security. Then, as to the meaning in the Sonnet, the rich man considers himself blessed that he has a key to treasure. One can envision the rich man thanking god, and crossing himself, when he uses his "crossed" key to unlock his treasure.

L8: captain Jewels = "leading" jewels.
Jewels of exceptional beauty and value.
"Jewels" is capitalized in the original printing because it has reference to a known person, the addressee, so it's indirectly a "personal name." Printing practice in the Poet's time tended to treat common nouns that referred to identifiable persons as names, and capitalized them. That practice is found in the original printings of the plays, as well as the Sonnets.

L10: wardrobe
In the Poet's time there was no mechanized mass production of clothing. Suits were custom made, and the fancy suits, for aristocrats (and pretenders,) could incorporate jewels, gold lace, and other such touches. Clothing could be extremely expensive (as it can be today, for that matter, for a fancy outfit.) A wardrobe (the item of furniture,) that contained such clothing, was like a jewel box. The clothing in this Sonnet "wardrobe" is of high financial value.
-------

Sonnet 52 was probably written in the first half of the 1590s, after Shakespeare had gained a position in his business, and he foresaw the prospects of greater success, and wealth. The Sonnet implies he was making money, with the possibility of actual riches on his mind.

. Sonnet 53 .

(original language, but moderately updated)

01. What is your substance, whereof are you made,

02. That millions of strange shadows on you tend?

03. Since every one, hath every one, one shade,

04. And you but one, can every shadow lend:

05. Describe Adonis and the counterfeit,

06. Is poorly imitated after you,

07. On Helen's cheek all art of beauty set,

08. And you in Grecian tires are painted new:

09. Speak of the spring, and foison of the year,

10. The one doth shadow of your beauty show,

11. The other as your bounty doth appear,

12. And you in every blessed shape we know.

13. In all external grace you have some part,

14. But you like none, none you for constant heart.

. Sonnet 53 .

(paraphrased)

01. What is your material substance, from which you are made,

02. That so many shapes, not your own, are at your service?

03. (I wonder,) Since for everyone, they all have one, and only one form,

04. But you, only one person, can temporarily impart any shape.

05. If one describes Adonis, it's like the depiction of him

06. Is only an inadequate description of you;

07. If one envisions the face of Helen, herself, painted using all the arts of beauty,

08. It's you, in Grecian attire, who are the one freshly painted.

09. Speak of the springtime, or of the abundance of the autumn harvest:

10. The flowers of spring show a reflection of your beauty,

11. The other looks like your fruitfulness,

12. And is analogous to you appearing in every desirable form people know;

13. In any welcome, external presence you seem to have some part,

14. But you are like nobody else, and nobody else is like you,
in the fidelity of your heart.

Sonnet 53 Gloss

L2: millions = such a large number. 'So many.'

L2: strange = not your own.
Actually a "stranger" to you.

L2: shadows = (human) shapes; forms.

L2: tend = serve; attend.
"On you tend" = are at your service.

L3: shade = hue. Character.

L4: shadow = imitation.

L4: lend = temporarily impart. (Note, to the right.)

L5: Describe = portray in words; sketch.

L5: counterfeit = depiction.

L6: poorly = inadequately.

L8: tires = attire. Theatrical costume.
Compare the term "tiring house."

L9: foison = profusion; abundance.
In the course of the year, the harvest time.

L10: shadow = reflection.

L11: bounty = fruitfulness.

L12: blessed = desirable.

L13: grace = welcome presence.
To "grace" an occasion is to be a welcome presence.

L14: constant = loyal, true. (Note, to the right.)

Sonnet 53 Notes

L4: lend = temporarily impart.
This Sonnet is about the boy actor who was also the addressee of Sonnet 20.
The addressee of this Sonnet has "all Hues in his controlling," as Sonnet 20 says. He can play any young, beautiful character, male or female. That's why both Adonis (male) and Helen (female) are mentioned.

L14: constant = loyal, true.
The praise of the boy actor for constant heart perhaps indicates he has remained loyal to the Lord Chamberlain's Men despite other offers.

. Sonnet 54 .

(original language, but moderately updated)

01. Oh how much more doth beauty beauteous seem,

02. By that sweet ornament which truth doth give;

03. The Rose looks fair, but fairer we it deem

04. For that sweet odor, which doth in it live;

05. The Canker blooms have full as deep a dye,

06. As the perfumed tincture of the Roses,

07. Hang on such thorns, and play as wantonly

08. When summer's breath their masked buds discloses;

09. But for their virtue only is their show,

10. They live unwoo'd, and unrespected fade,

11. Die to themselves. Sweet Roses do not so,

12. Of their sweet deaths, are sweetest odors made;

13. And so of you, beauteous and lovely youth,

14. When that shall vade, by verse distills your truth.

. Sonnet 54 .

(paraphrased)

01. Oh, how much more beautiful does a beauty seem

02. With the pleasant adornment which its essence adds;

03. The cultivated rose looks lovely, but we think it even better,

04. Because of the good smell which is found in it;

05. The wild rose blossoms have a color fully as natural and
inherent to them,
06. As the perfumed coloration of the domesticated roses,

07. And the wild ones grow on the same kind of thorny stems,
and wave as lively,
08. When the warm summer breeze causes their buds to open;

09. But the goodness of the wild rose is only displayed for itself;

10. Those roses live uncultivated, and they fade away,
unregarded by man, and
11. Their deaths are of concern only to themselves. For cultivated
roses, it's different;
12. From their poignant deaths, men make sweet perfumes;

13. And so, for you, beauteous and lovely "rose" of youth,

14. When you become a "withered rose," a faded beauty, someday,
your youthful essence shall be distilled, by verse, as your adornment.

Sonnet 54 Gloss

L2: ornament = embellishment; adornment.
(Also, a keepsake.)

L2: truth = essence; inner truth. (Note, to the right.)

L2: give = add.

L3: fair = lovely.

L4: sweet = "friendly" to the human nose.

L4: live = abide (to be found.) The concept of something being 'at home.'

L5: Canker = "canker rose"; dog rose.
The Rosa canina plant which grows wild.

L5: deep = sincere. Real; natural. (Note, to the right.)
Not superficial, not "painted" on.

L7: wantonly = in a lively way.
Refers to blossoms "dancing" in the summer breeze.
Can also be read "luxuriantly."
However, double meaning.
Flower blossoms are sexually immodest in that they will accept any insect that can pollinate them. There is, therefore, a suggestion of sexual promiscuity, among "wild" roses, so "wantonly" can also be read as 'promiscuously.'

L7: summer's breath = summer's warm breeze.

L8: masked = covered.

L8: discloses = opens.

L9: virtue = goodness.
Wild roses are only "good" on their own terms.
Cultivated roses must "be good" in human terms.

L9: show = display.

L10: unwoo'd = "unhusbanded." Unmanaged.
Men do not "court" the wild rose, as they do the cultivated ones.
Analogy to man wooing woman.

L10: unrespected = unregarded.

L10: fade = fade away; disappear.

L11: Die to themselves - When they die they're the only ones who care.

L11: Sweet = "friendly" (to man,) i.e. domesticated; cultivated. Cultured.
"Civilized," not wild.

L12: sweet = poignant.
Again "sweet" means "friendly" in a way, in the sense of the cultivated rose's death being a "friendly favor" to man since it leads to extraction of the rose's essence, which men enjoy.

L12: odors = perfumes (for human enjoyment.)

L14: vade = fade (but not only in appearance, also life - wither.)

L14: by - Is correct as originally printed. (Note, to the right.)

L14: truth = essence. Essential nature.

Sonnet 54 Notes

Sonnet 54 is probably about William Herbert, the "fair youth" of Sonnets #1 to 17. So, this "Rose," of Sonnet 54, is the same "Rose" of Sonnet 1, where the word is capitalized and in italics. William Shakespeare probably wrote Sonnet 54 under the patronage of Mary Sidney, Countess of Pembroke, and it's possible this Sonnet is for her son William's 18th birthday, in 1598, when he was still unmarried. William Herbert didn't marry until 1604.

This Sonnet is still on the point of the fair youth's "essence," and there's a suggestion of "husbandry," but it's more subtle here than in Sonnets 1 to 17.
-------

L2: truth = essence; inner truth.
(Not implying outer appearance is necessarily untrue.)
Reference is to the essential "truth" of something, as to what it has within, apart from appearances. The point being, not the "show," but what's inside.

Compare Hamlet Scene 2 (Act 1 scene 2.)
~
Hamlet: "Seems," Madam? Nay, it is; I know not "seems."
...
But I have that within which passes show...
~~~
Hamlet is speaking of his "truth" = "that within." Not a "show." (He is not, however, implying that his appearance is in any way insincere.)

L5: deep = sincere. Real; natural.
Not superficial, not "painted" on.
It means the Rosa canina's color is as inherent, or intrinsic, as that of the cultivated rose, and is not a "put on" color. The point is that the dog rose is not disfavored because of being "artificially colored." The color is real enough, as far as that goes. The word "deep," here, does not mean "dark."

The Poet used "deep" often in this same way, for example, several times in Richard III, such as Act 3 scene 1.
~
Clarence: ... O God ! if my deep prayers cannot appease thee...
~~~
He's not making "dark" prayers to God, but rather deeply sincere prayers, earnest ones.

Of course the Poet well knew of cultivated roses that did not have a dark red color, since the white rose was the symbol of the House of York in the English "War of the Roses." The Tudor Rose, combining the red and white roses, was the emblem of England during the Tudor era, and is still, for some uses, a symbol of England. The "Pelican Portrait," c. 1575, of Queen Elizabeth I has a crowned Tudor Rose in the upper left corner. The fact of dog roses being only pink, not dark red, is not relevant here.

L14: by - Is correct as originally printed.
This word is not "my," which is only an incompetent editorial substitution that appears in many modern reprints. The word "by" refers to how the youth's truth will be distilled, that being by, or through, the use of verse. The word "by" here in line 14 links back to the "By" which begins line 2.

Line 2 - By ... truth.
Line 14 - ... by ... truth.

Shakespeare certainly never wrote "my" in line 14. The correct word is obviously "by," exactly as originally printed.

One looks back to "ornament" in line 2. Line 14 is saying, that by verse distilling the youth's loveliness, his faded beauty, in his old age, will be "ornamented." He'll gain an adornment, for his unattractive old age, from the verse that captures the essence of his youthful beauty, in other words. The Poet is talking about what can be done "by verse," which is: ornamentation. So line 14 goes directly back to line 2.

(As mentioned in an earlier Sonnet note, general readers need to be wary of editorial fraud, deceptive practice, that is, in purporting to present "Shakespeare" that actually isn't, in reprints of both plays and poetry. Modern Shakespeare reprints are not trustworthy, because of editorial incompetence of long standing. One would think a professional editor would notice a repetition of "by...truth" in this Sonnet, but such reasonable expectation is apparently too much to ask of some individuals, even if they've managed, somehow, to rise to the level of being a Shakespeare editor. The general public, as a class, should be disgusted by such habitual editorial misconduct, that robs them of part of their cultural heritage.)

. Sonnet 55 .

. Hamnet's Memorial Sonnet .

(original language, but moderately updated)

01. Not marble, nor the gilded monuments

02. Of Princes shall outlive this powerful rhyme,

03. But you shall shine more bright in these contents

04. Than unswept stone, besmear'd with sluttish time.

05. When wasteful war shall Statues overturn,

06. And broils root out the work of masonry,

07. Nor Mars his sword, nor war's quick fire shall burn

08. The living record of your memory.

09. 'Gainst death, and all-oblivious enmity

10. Shall you pace forth, your praise shall still find room,

11. Even in the eyes of all posterity

12. That wear this world out to the ending doom.

13. So till the judgment that yourself arise,

14. You live in this, and dwell in lovers' eyes.

. Sonnet 55 .

. Hamnet's Memorial Sonnet .

(paraphrased)

01. Neither marble edifices, nor the golden monuments

02. Of princes shall outlive this irresistible rhyme,

03. But you shall exist more glowingly in the content of these lines

04. Than your statue would in stone, tarnished by neglectful time.

05. When ruinous war shall overturn statues,

06. And tumults shall uproot works of masonry,

07. Neither the flaming sword of Mars, himself, nor war's piercing fire, shall burn

08. The lasting record of your memory.

09. Against death, and all-oblivious hostility

10. You shall step forth, praise for you shall always find a place to live,

11. Even to be seen by all posterity,

12. That inhabits this world until the end, on judgment day.

13. So, until the day of final judgment, when you, yourself, arise,

14. You'll live in this, and dwell in lovers' eyes.

Sonnet 55 Gloss

L1: marble = structures made of marble.

L1: gilded = golden; decorated with gold.

L2: powerful = irresistible.

L4: unswept = ancient and untended (and therefore dirty from neglect.)

L4: sluttish = careless; neglectful.

L5: wasteful = causing waste; ruinous.

L6: broils = embroilments; tumults.

L6: root out = uproot.

L7: quick = piercing. Intense.
The concept of intense fire that pierces to the quick.
Also, fire is one of the quick elements (with air; earth and water are the heavy, slow elements.)

L8: living = lasting.

L9: all-oblivious = oblivious to all human considerations.

L9: enmity = hostility.

L10: pace = step.

L10: still = always.

L10: room = a place (to live.)

L12: wear = occupy, inhabit.
The figure of speech is of people "wearing" the world like clothing, until it eventually wears out.

L14: dwell = have a home.

L14: lovers = poetry lovers.

Sonnet 55 Notes

The point of the first quatrain is that this Sonnet will preserve a reference to the addressee longer than a marble statue in a temple would. That's possible. It's too early to say, but this Sonnet might, indeed, outlast any stone temple mankind ever builds. It has a chance of doing that.

So, who is it, who's the person referenced by the Sonnet?

"Shine more bright" . . . what shines bright? The sun does. Son.

The person's name is Hamnet. Sonnet 55 is Hamnet's Memorial Sonnet.
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. Sonnet 56 .

(original language, but moderately updated)

01. Sweet love renew thy force, be it not said

02. Thy edge should blunter be than appetite,

03. Which but today by feeding is allayed,

04. Tomorrow sharpened in his former might.

05. So love be thou, although today thou fill

06. Thy hungry eyes, even till they wink with fullness,

07. Tomorrow see again, and do not kill

08. The spirit of Love, with a perpetual dullness;

09. Let this sad Interim like the Ocean be

10. Which parts the shore, where two contracted new,

11. Come daily to the banks, that when they see

12. Return of love, more blest may be the view.

13. As call it Winter, which being full of care,

14. Makes Summer's welcome, thrice more wish'd, more rare.

. Sonnet 56 .

(paraphrased)

01. Sweet carnal desire, renew your energy, don't let it be said

02. Your "edge" should be less sharp than the appetite for food,

03. (Which is allayed only for a day by feeding,

04. And tomorrow is as insistent as ever.)

05. So, lust, you should be the same way, that although today you fill

06. Your hungry eyes (so to speak,) until they lose interest because of satiety,

07. Tomorrow, let your eyes see again, in the same lustful way,
and do not smother
08. The spirit of Love, within, with an everlasting heaviness;

09. Let this sad interval, of lack of sexual arousal, be only like the ocean

10. Which divides opposite shores (and can therefore be crossed,)
where two newlyweds might
11. Come daily to the opposite banks, so that when they finally see

12. The return of their lover, whom they lust for, the sight may be the more
blessed (both emotionally and physically.)
13. Even call it Winter, a time which, because it's full of anxiety,

14. Makes Summer's glad appearance, that much more wished for,
and even more valuable.

Sonnet 56 Gloss

L1: love - Used here in the sense of "lust."
The physical side of love.

L1: force = energy.

L2: appetite = hunger (for food.)

L3: but today = only for a day.

L4: might = ability.

L6: wink = drowse; nap.

L7: see - A euphemism, still in use, for a sexual relationship.

L7: kill = smother.
The idea of the spirit within being smothered by the "heaviness" of the body.

L8: spirit of Love = internal quality of romantic interest. Also intended to suggest Cupid.

For lines 7 and 8 compare the notion, "the spirit is willing, but the flesh is weak."

L8: dullness = sleepiness; unaroused state. Heaviness.

L9: Interim = interval.
"Interim" is capitalized and italicized in the original, for a reason not clear, but perhaps because it was still seen as a Latin term of religious significance. The word "interim" apparently originated c. 1580 to describe a temporary accomodation between Protestants and Catholics.

L10: contracted new = newly married. Newlyweds.

L12: love = the loved one.
The figure of speech of the loved one being love, itself.

L12: blest = like a blessing from heaven.

L12: view = sight (of the loved one.)

L13: As = even.
This is a dialectal use of "as."

L13: care = anxiety.

L14: welcome = glad arrival.
To be read literally "well come."

L14: thrice = very much.
Used as an intensifier, after the manner of French 'tres.'

L14: rare = valuable.
Rarity is a major factor in value.

Sonnet 56 Notes

The other person in Sonnet 56 is a woman, and a sexual partner, and in fact, it's his wife. "Contracted new" tells us - it's memory of being a newlywed with that woman. The Poet is wishing he had an aphrodisiac. His sexual performance is not what it used to be, and it bothers him. He's hoping the lessening of sexual interest is only temporary, and when he gets going again, it'll be like when they were newlyweds.

The Ocean is like the distance from Stratford to London, or like the distance from Stratford to wherever he went early in his career as a traveling player. In those days, it was like newlyweds when he saw Mrs. Shakespeare again - after being away, he was all over her. But this last time home, he mostly just fell asleep in the chair after dinner - "wink with fullness."

Regrets, to those who fantasize Shakespeare as some kind of bisexual superheroic Don Juan chasing every girl and boy in London, but the other person here is his wife. "Contracted": marriage contract. It's just old Mr. and Mrs. Shakespeare, at home. After dinner, she tidies up the dishes, and he falls asleep. Yawn. Except, he sure could write.

The date of Sonnet 56 would be, maybe around the time he approached 40.
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. Sonnet 57 .

(original language, but moderately updated)

01. Being your slave what should I do but tend,

02. Upon the hours, and times of your desire?

03. I have no precious time at all to spend,

04. Nor services to do till you require.

05. Nor dare I chide the world-without-end hour,

06. Whilst I (my sovereign) watch the clock for you,

07. Nor think the bitterness of absence sour,

08. When you have bid your servant once adieu.

09. Nor dare I question with my jealous thought,

10. Where you may be, or your affairs suppose,

11. But like a sad slave stay and think of naught

12. Save where you are, how happy you make those.

13. So true a fool is love, that in your Will,

14. (Though you do any thing,) he thinks no ill.

. Sonnet 57 .

(paraphrased)

01. If I'm to play the role of slave for you, very well, what then should
I do but wait on you,
02. At whatever hours, and occasions, you desire me?

03. I have no precious time at all, of my own, to spend on myself,

04. Nor any job to do, until you need something.

05. Nor would I dare to scold the endless "blessed" hour that creeps by,

06. While I - my sovereign - watch the clock waiting for you,

07. Nor would I think the bitterness of your absence an unpleasant thing,

08. After you have bid me, your servant, farewell,
(which hasn't happened because I haven't even seen you yet,)
09. Nor would I dare to wonder, with any suspicion,

10. Where you might be, or try to guess what you're doing,

11. But like an unlucky and cheerless slave I'd wait, and think of nothing at all,

12. Except that wherever you are, how happy you're making whoever is with you.

13. Love is such a loyal and genuine fool, that in the mind of "your Will,"
and as far as your desires go,
14. (No matter what you do,) your loving admirer thinks no bad thoughts
of you -- and I really mean that!

Sonnet 57 Gloss

L1: tend = attend; wait on.

L5: world-without-end = seeming to last forever.
It's a prayer book phrase, so there's a religious implication (not serious here.)

L6: sovereign - Not necessarily a man, since the great sovereign of the Poet's lifetime was a woman, Queen Elizabeth I. (That does not imply the "sovereign" in this case is the Queen.)

Line 6 - (Note to the right.)

L7: sour = unpleasant.

L9: jealous = suspicious.

L10: affairs = business. 'Doings.'

L11: sad = unlucky and not cheerful (both.)
"Sad" in this use is exactly opposed to "happy," which the Poet often used to mean both cheerful and lucky.

L13: true - Double meaning, both 'loyal' and 'truly.'

L13: Will = desire. (Note, to the right.)

Sonnet 57 Notes

The tone of Sonnet 57 is sarcastic. The Poet does have a genuine affection for the addressee. The addressee isn't there as arranged earlier; the appointed time has long gone by. The Poet doesn't think the addressee's absence is for any serious reason. Our Player-Poet is a bit annoyed.

But the Poet always had a way to pass the time: write a Sonnet.
-------

Line 6 has a double meaning.

06. Whilst I (my sovereign) watch the clock for you

First - while I watch the clock waiting for you to arrive.
Second - while I watch the clock, instead of you doing so, since you're obviously not watching it.

L13: Will = desire.
The capitalization is for wordplay on the Poet's name. To the addressee, the Poet is "my Will." Thus the sentiment is, for lines 13 and 14, "within your Will, me, I have no ill thoughts about you." However, the Poet is playing a role of "mindless slave" in the Sonnet. He's doubtful of what the addressee is up to. The Poet was also a player, of course, who performed roles.

. Sonnet 58 .

(original language, but moderately updated)

01. That God forbid, that made me first your slave,

02. I should in thought control your times of pleasure,

03. Or at your hand th' account of hours to crave,

04. Being your vassal bound to stay your leisure.

05. Oh let me suffer (being at your beck)

06. Th' imprison'd absence of your liberty,

07. And patience tame, to sufferance bide each check,

08. Without accusing you of injury.

09. Be where you list, your charter is so strong,

10. That you yourself may privilege your time

11. To what you will, to you it doth belong,

12. Yourself to pardon of self-doing crime.

13. I am to wait, though waiting so be hell,

14. Not blame your pleasure be it ill or well.

. Sonnet 58 .

(paraphrased)

01. That Love forbid, that first made me your slave,

02. I should even think to control your times of pleasure,

03. Or ask you to account for how you spend your time,

04. Since I'm your vassal, obligated to wait until you have time for me.

05. Oh, love, give me strength to endure (since I'm at your beck and call,)

06. The absence of yourself, enforced against me, while you're at liberty,

07. And to subdue my impatience, to toleration as I wait through
each minute of delay,
08. Without accusing you of doing harm.

09. Go where you wish; your entitlement is so strong,
because of my love for you,
10. That you, yourself, may allocate your time

11. According to what you please, it is your right

12. To pardon yourself for any "crime" you do, (so you don't need my pardon.)

13. I will wait - although waiting for you like this is hell -

14. And I won't criticize your choice, of where you go or what you do,
whether it's bad or good.

Sonnet 58 Gloss

L1: God = love. Love personified as a god; Cupid.

L2: in thought = even think to.

L3: crave = ask.

L4: stay = await.

L5: Oh let me suffer = give me strength to endure.
This is a minor "prayer," of the "god give me strength" type.

L5: beck = beck and call.

L6: imprison'd = enforced. (Note, to the right.)

L7: patience tame = subdue impatience.
Impatience is poetically cast as a type of "patience."

L7: bide = tolerate.

L7: check = delay.

L8: injury = harm.

L9: list = wish.

L9: charter = entitlement.

L10: privilege = allocate.

L11: will = desire.

L11: doth belong = is your right.

L14: blame your pleasure = criticize your choice.

Sonnet 58 Notes

Sonnet 58 is a variation on a theme, following #57, to make a pair. Sonnet 58 is a more serious consideration of the theme. The annoyance expressed in Sonnet 57 wore off quickly. The Poet was quite fond of the person to whom Sonnets 57 and 58 were addressed.
-------

L6: imprison'd = enforced.
The Poet is "imprisoned" in that his love obligates him to abide the addressee's absence. There's implicit reliance on the different definitions of "abide": tolerate, and dwell. The Poet's love says he must abide the addressee's absence, therefore "dwell" with it, as if imprisoned. The modern slang phrase "live with it" is the same kind of idea.

. Sonnet 59 .

(original language, but moderately updated)

01. If there be nothing new, but that which is,

02. Hath been before, how are our brains beguiled,

03. Which laboring for invention bear amiss

04. The second burden of a former child?

05. Oh that record could with a backward look,

06. Even of five hundred courses of the Sun,

07. Show me your image in some antique book,

08. Since mind at first in character was done,

09. That I might see what the old world could say,

10. To this composed wonder of your frame,

11. Whether we are mended, or where better they,

12. Or whether revolution be the same.

13. Oh sure I am the wits of former days,

14. To subjects worse have given admiring praise.

. Sonnet 59 .

(paraphrased)

01. If there is nothing new under the sun, but everything that exists

02. Has already existed, at an earlier time, how our brains are fooled,

03. When we poets work hard for creativity, but only produce accidentally,
and without knowing it,
04. A duplicate of some earlier writer's "child."

05. Oh, if only written records, of verse, were available,
so that I could look back,
06. Even as far as five hundred years, and I could

07. See your likeness portrayed in an antique book, of poetry,

08. After thoughts, about you, were first written down, in verse, so

09. That I might see what those poets of that older world had to say

10. About the wonderful composition of your human form, and

11. Whether we poets are now improved, or whether that earlier
generation was better, and in what way,
12. Or whether, despite the centuries that have passed, we're still the same.

13. Ah, but I am sure that the poets of earlier times

14. Wrote admiring praise about subjects less praiseworthy than you.

Sonnet 59 Gloss

L2: beguiled = fooled.

L3: invention = creativity.

L4: burden = birth (figuratively speaking.)

L4: child - A poetic figure of speech for a newly-written poem.

L6: five hundred - (Note, to the right.)

L8: mind = perception.

L8: character = detailed description with words.

L9: the old world - Of poets.
The English poets of those olden times.

L10: composed = entire; overall.
Refers to how the addressee is "put together."
Provides wordplay on composition in writing.

L10: frame = form.
The Poet is wondering what earlier poets might have composed to praise the wonder of the addressee's form, under the stated premise that the addressee had an earlier existence.

L11: where - Both "where" and "whether."
In the Poet's time, "where" could be used as an abbreviation, or short form, of "whether." In this instance, both words are intended. Reference is both to "whether" the imagined earlier generation of poets was better, and also "where," in what way, they may have been better.

L13: wits = poets.

Sonnet 59 Notes

In Sonnet 59, the Poet begins with the premise that "there's nothing new under the sun." That idea implies that his addressee for this Sonnet lived at an earlier time, and was praised by poets of that earlier time.

Based on that premise, the Poet wishes he could look back through records, going back to perhaps the time of the Domesday Book, to see what those earlier poets wrote about the addressee, in his earlier life. The Poet wonders, is he only fooling himself, in his attempts to be creative, and merely repeating the same praise of the addressee that other poets wrote centuries earlier? Is the Poet a better poet, (in praising his addressee,) than those earlier poets were, or is he a worse poet, and how is he better or worse, or is he the same?

He doesn't know. He's confident, however, that poets of earlier times praised subjects who were less praiseworthy than his addressee for this Sonnet. That is not faint praise. It's high praise to say someone could withstand historical comparison against others, and be better than most.
-------

L6: five hundred
The mention of 500 years might be because of the Domesday Book of A.D. 1086, (especially since the Sonnet goes on to mention "antique book.") The year 1600 would have been 514 years since the Domesday Book, so the time period during which the Shakespeare Sonnets were written was quite close to being 500 years after the population of England was surveyed in detail.

There's also a way in which the crowning of William the Conquerer after his victory at the Battle of Hastings, 1066, can be viewed as marking the beginning of "the world" of England, as Shakespeare knew it, particularly with respect to the English aristocracy. If the addressee of this Sonnet is a nobleman, his House could go back no further than William I, some 500 years earlier, because William crushed and deprived the Anglo-Saxon earls.

So while a period of 500 years doesn't relate to the actual beginning of writing, and certainly not to the beginning of the history of England, there's a way in which it marks the start of "the world" (so to speak) of Shakespeare's England, after the victory of William I, and the associated events.

. Sonnet 60 .

(original language, but moderately updated)

01. Like as the waves make towards the pebbled shore,

02. So do our minutes hasten to their end,

03. Each changing place with that which goes before,

04. In sequent toil all forwards do contend.

05. Nativity once in the main of light,

06. Crawls to maturity, wherewith being crown'd,

07. Crooked eclipses 'gainst his glory fight,

08. And time that gave, doth now his gift confound.

09. Time doth transfix the flourish set on youth,

10. And delves the parallels in beauty's brow,

11. Feeds on the rarities of nature's truth,

12. And nothing stands but for his scythe to mow.

13. And yet to times in hope, my verse shall stand

14. Praising thy worth, despite his cruel hand.

. Sonnet 60 .

(paraphrased)

01. The same as the waves on the ocean move towards the pebbly shore,

02. So does our time of living go by (too rapidly,) minute by minute,
towards our death;
03. Each wave (or minute) replacing that which went before,

04. One after another, it's like they're all struggling to fight
their way forward.
05. A baby after being born, and once in the "ocean" of life,
under the sun,
06. Grows "crawling" to youthful maturity, and when that has been achieved,

07. He faces a battle against his glory, like the sun being slowly eclipsed
by the curved arc of the moon,
08. And the same way time gave him his youthful maturity, it now starts taking
that gift away, by making him old,
09. Time cuts away the bloom of youth, like cutting a flower,

10. And Time "digs" lines in the face of beauty,

11. It eats up the valuable things of the living world's reality,

12. And every living thing "stands" only for the Grim Reaper's scythe to mow down.

13. And yet, for the future, I hope, my verse shall survive,

14. Praising your worth, despite the cruel hand of Time.

Sonnet 60 Gloss

L1: pebbled = stony. (Note, to the right.)

L2: hasten = go by too rapidly.

L3: changing place with = taking the place of; replacing.

L4: sequent = successive; one after another.

L4: toil = labor.

L4: contend = struggle.

L5: nativity = a baby after being born.

L5: main = ocean. (Note, to the right.)

L5: light = life (under the sun.)
There's a way in which light is life.

L6: Crawls = slowly advances; gradually grows.

L6: crown'd - It's the idea of growing up being a "royal" achievement.

L7: Crooked = curved. (Note, to the right.)

L8: confound = overthrow. (Note, to the right.)

L9: transfix = pierce; sever; cut through. (Note, to the right.)

L9: flourish = bloom. (Note, to the right.)

L10: delves = digs.

L10: parallels = lines (in the skin, due to aging.)
It's reference to the roughly parallel lines that appear in the skin as one ages.

L11: Feeds on = consumes; eats up.

L11: rarities = valuables (in human terms of beauty.)

L11: nature's = the living world's.
"Nature" is the world of the living.

L11: truth = reality.

L12: stands - (Note, to the right.)

L12: his = the Grim Reaper's.

L13: times = the future.

L13: in hope = I hope.

L13: stand = survive.

L14: hand - The hand of the Grim Reaper, wielding the scythe.

Sonnet 60 Notes

L1: pebbled = stony.
The Poet may have used the idea of a stony beach because people like sandy beaches, however, liking the beach is not the idea here. This shore is not supposed to be one people would think of with a smile.

L5: main = ocean.
The figure of speech links back to "waves" in line 1. It casts a baby as being like a wave on the wide ocean of life.

L7: Crooked = curved.
Sonnet 100 speaks of Time's "crooked knife," meaning the Grim Reaper's curved sickle. Then, the edge of the moon, seen against the sun during an eclipse, is curved. An analogy is made between an eclipse, and death.

L8: confound = overthrow.
First, Time "crowns" a person for his "royal" achievement of youthful maturity, but then immediately starts trying to overthrow, with age, the "king" he just "crowned."

L9: transfix = pierce; sever; cut through.
The idea is of using a knife to cut a flower blossom from the plant. The stem must be pierced through, severed, to do that.

L9: flourish = bloom.
The idea in line 9 is of Time's sickle harvesting the "bloom of youth" as a person ages.

L12: stands
Crops grow so that they stand in the field, before harvest; also, humans stand, before being cut down by age. There's analogy between men harvesting a crop, and the Grim Reaper harvesting men, so to speak.

. Sonnet 61 .

(original language, but moderately updated)

01. Is it thy will, thy Image should keep open

02. My heavy eyelids to the weary night?

03. Dost thou desire my slumbers should be broken,

04. While shadows like to thee do mock my sight?

05. Is it thy spirit that thou send'st from thee

06. So far from home into my deeds to pry,

07. To find out shames and idle hours in me,

08. The scope and tenure of thy jealousy?

09. O no, thy love though much, is not so great,

10. It is my love that keeps mine eye awake,

11. Mine own true love that doth my rest defeat,

12. To play the watchman ever for thy sake.

13. For thee watch I, whilst thou dost wake elsewhere,

14. From me far off, with others all too near.

. Sonnet 61 .

(paraphrased)

01. Is it your desire, that your image should keep open

02. My drowsy eyelids, to the long, tired night?

03. Do you want my sleep to be interrupted,

04. While "ghosts," that look like you, make fun of me, in front of my eyes?

05. Is it your spirit, that you send from yourself,

06. So far from home, to look into what I'm doing -

07. To see anything shameful I do, or any waste of time by me,

08. Since I'm the "liberty" and property of your jealous eye?

09. O no, it can't be that; you do love me a lot, but not enough
that your spirit would leave your body;
10. It's my own love for you that keeps me awake,

11. My own true love that prevents me from resting,

12. Like I'm always playing a watchman on the stage, for you as my audience.

13. I watch for you, (and wish I could really see you,) while you
do your waking and watching elsewhere,
14. Far away from me, with other people all too near me,
in this crowded city of London.

Sonnet 61 Gloss

L1: Image - (Note, to the right.)

L4: shadows = ghosts.
The image is cast as the "ghost" of the person.

L8: scope = liberty. (Note, to the right.)

L8: tenure = estate. (Note, to the right.)

L8: jealousy - Observe that for the rhyme, "jealousy" must be pronounced "jealous eye." That is not accidental.

L9: not so great - Not so great as to cause the addressee's spirit to leave her body, that is.

L12: play the watchman = play the role of watchman in a theatrical performance.

L12: for thy sake = for you as my audience.

L13: wake - Probably intended to imply "watch" as well. "Wake and "watch" are related words.

Sonnet 61 Notes

The addressee of Sonnet 61 is Mrs. Shakespeare. The phrase "far from home," by itself, is enough to tell us that. Sonnet 61 is a misplaced companion to Sonnets 27 and 28. The Poet is again, as in those Sonnets, having trouble sleeping, homesick and lonely, with his wife on his mind.
-------

L1: Image
The word is capitalized in the original, apparently because it has reference to a named person (even though the name of the person is not stated in the Sonnet.) Printing practice of the time often treated a common noun like a name, capitalizing it, if it had reference to a person.

L8: scope = liberty.
It's partly a figurative usage, since there was a "liberty" of land area by London, outside the purview of London authority. The Globe Theater was built in "the liberty" (full name, Liberty of the Clink.) So, "scope" means 'liberty' in a literal sense, and then there is allusion to being beyond the eye of authority, so to speak, which connects to the Poet being away from the addressee (identifiable as his wife.)

L8: tenure = estate.
It's the idea of the Poet being treated as the addressee's "property." People are jealous of their own property, of course, and husband and wife are each other's "property" in a way.

. Sonnet 62 .

(original language, but moderately updated)

01. Sin of self-love possesseth all mine eye,

02. And all my soul, and all my every part;

03. And for this sin there is no remedy,

04. It is so grounded inward in my heart.

05. Methinks no face so gracious is as mine,

06. No shape so true, no truth of such account,

07. And for myself mine own worth do define,

08. As I all other in all worths surmount.

09. But when my glass shows me myself indeed,

10. Beated and chopped with tanned antiquity,

11. Mine own self love quite contrary I read:

12. "Self, so self-loving were iniquity.

13. 'Tis thee (my self) that for myself I praise,

14. Painting my age with beauty of thy days."

. Sonnet 62 .

(paraphrased)

01. The sin of vanity has taken hold of my eyes,

02. And my entire soul, and all of me in every part,

03. And for that sin, there is no absolution,

04. It is so deep-seated inside me, all the way to my heart.

05. I think there's no face so good to look at, as mine,

06. No form so ideal, no character of such value,

07. And for myself, my own worth sets the standard,

08. As I think I exceed everybody else in every quality.

09. But when my mirror shows me how I really look -

10. Weatherbeaten, my skin lined and tanned with age -

11. I see my vanity from another point of view, and I understand:

12. "Self, such self-love would be wicked (except,)

13. It's you, (my other self, my dear friend,) for whom I praise myself;

14. I'm beautifying myself, at my age, by imagining that I'm young, handsome you."

Sonnet 62 Gloss

L1: self-love = vanity; pride. (Note, to the right.)

L3: remedy = absolution.

L4: grounded = deep rooted; deep-seated.

L5: gracious = pleasant to look upon.

L6: true = ideal.
True to the ideal of what a human form ought to be.

L6: truth = essential nature. Character; mettle.
Very roughly, "personality."

L6: account = value.

L7: define = set the standard.

L8: worths = qualities.

L8: surmount = exceed.

L9: glass = mirror.

L10: Beated and chopped = weatherbeaten and chapped. (Note, to the right.)

L11: read = understand.

Line 12 and onward is something the Poet says to himself.

L12: so = such.

L13: (my self) = my second self. "My dear friend."
From the old saying that a close friend is a second self, or another self.

L14: painting = beautifying.

Sonnet 62 Notes

L1: self-love = vanity; pride.
Pride, or vanity, is classed as one of the "seven deadly sins," the worst of them, and it is particularly associated with Lucifer.

L10: Beated and chopped = weatherbeaten and chapped.
The exact words "beated and chopped," as printed in the original, are probably jargon from the processing of leather (in advance of "tanned.") Most of the old jargon of the trades has been lost over the centuries.

. Sonnet 63 .

(original language, but moderately updated)

01. Against my love shall be as I am now

02. With time's injurious hand crushed and o'er-worn,

03. When hours have drained his blood and filled his brow

04. With lines and wrinkles; when his youthful morn

05. Hath travelled on to Age's steepy night,

06. And all those beauties whereof now he's King

07. Are vanishing, or vanished out of sight,

08. Stealing away the treasure of his Spring;

09. For such a time do I now fortify

10. Against confounding Age's cruel knife,

11. That he shall never cut from memory

12. My sweet love's beauty, though my lover's life;

13. His beauty shall in these black lines be seen,

14. And they shall live, and he in them still green.

. Sonnet 63 .

(paraphrased)

01. In preparation against the time when my beloved friend
shall be as I am now -
02. Looking like crumpled paper crushed by the hand of time,
and worn out -
03. When the passage of time has exhausted his blood,
and filled his brow
04. With lines and wrinkles; when his youthful day,
like morning now,
05. Has moved on to the low, stooped night of old age,

06. And all those handsome features which now make him
look so majestic,
07. Are vanishing, or already gone, no longer to be seen,

08. Because of age taking away the value of his springtime of life;

09. In preparation for that time, I will now defend and secure,

10. Against the Grim Reaper's cruel sickle,
which cuts down all living things,
11. So that Death shall never cut out of memory,

12. My sweet love's glory, although age will eventually take my lover's life,

13. His beauty shall, in these inked words on paper, be known,

14. And those lines about him shall live, and he,
as portrayed in words, shall always be young.

Sonnet 63 Gloss

L2: injurious = harmful.

L2: crushed = looking like crushed, crumpled paper.

L2: o'er-worn = worn out.

L3: drained = exhausted; depleted. Weakened. (Note, to the right.)

L5: steepy = lowered; stooped. (Note, to the right.)

L6: King = the leader.
Reference to the addressee looking majestic in his youth.

L8: Stealing = taking.

L9: fortify = defend; secure.

L10: confounding = defeating; overthrowing (the King mentioned.)
To overthrow is to "cut down."

L10: cruel knife = the sickle of the Grim Reaper.

L13: seen = known.

L14: green = young.

Sonnet 63 Notes

The word "they" in line 14 has ambiguity as to what writing is referenced. It could be only this Sonnet, or it could be this Sonnet plus other writing. It probably means the Playwright used the admired young man as the basis for a play character. Under that interpretation, the phrase "these black lines" would mean, "these lines of dialogue, that I have near at hand." If the Poet wanted to honor somebody, the best way he had to do that was to make the person a play character, since the writing of plays, not Sonnets, was his major occupation. Certainly some of his play characters are handsome (when properly cast) and forever young.
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L3: drained = exhausted; depleted. Weakened.
Under the theory of the four humors, blood was associated with springtime, love, courage and hope, so the idea of the blood being drained implies loss of vigor and a general decline.

L5: steepy = lowered; stooped.
The words "steep" and "stoop" are related. Age causes a lowering of the posture, and night is a "low" time in various ways (less light, less activity.)

. Sonnet 64 .

(original language, but moderately updated)

01. When I have seen by time's fell hand defaced

02. The rich proud cost of outworn buried age,

03. When sometime lofty towers I see down-razed,

04. And brass eternal slave to mortal rage;

05. When I have seen the hungry Ocean gain

06. Advantage on the Kingdom of the shore,

07. And the firm soil win of the watery main,

08. Increasing store with loss, and loss with store;

09. When I have seen such interchange of state,

10. Or state itself confounded, to decay,

11. Ruin hath taught me thus to ruminate

12. That Time will come and take my love away.

13. This thought is as a death which cannot choose

14. But weep to have, that which it fears to lose.

. Sonnet 64 .

(paraphrased)

01. When I have seen taken away, by time's cruel hand,

02. The lavish, vain expense of my worn out and vanished youth;

03. (And) When I sometimes see where lofty towers have been torn down,

04. And where brass memorials have been taken, and melted down,
to do service as cannons in mortal war;
05. (And) When I have seen the gluttonous ocean take, by erosion,

06. An advance against the "kingdom" of the land,

07. And then sometimes, solid ground newly extend into the sea,

08. Increasing its amount by the ocean's loss, where the land had earlier lost,
by that amount, to the ocean;
09. (So) When I have seen such give and take, in the condition of things,

10. Or even a nation, itself, overthrown and left to decay,

11. The destruction I've seen has taught me to ponder, and to conclude,

12. That the time will come when my beloved friend is taken away.

13. This grievous thought is like experiencing your death, and I cannot help

14. But weep, to have a dear friend I so greatly fear to lose.

Sonnet 64 Gloss

L1: defaced - Literal, referring to the appearance being 'taken away.'

L2: rich = lavish.

L2: proud = vain.

L2: cost = expense.

L2: outworn = worn out.

L2: buried = lost; vanished.

L2: age = youth.

L3: sometime = once.

L3: down-razed = torn down.

L4: brass eternal = brass monuments or memorials. (Note, to the right.)

L4: slave = victim.

L4: mortal = human.

L4: rage = war.

L5: hungry = (appearing to be) gluttonous.

L5: Ocean - Capitalized because of viewing the Ocean as an empire, Neptune's Empire.

L6: shore = land.

L8: store = amount.

L10: state = a nation.

L10: confounded = overthrown.

Sonnet 64 Notes

Sonnet 64 is probably by Edward de Vere, to William Shakespeare.
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L4: brass eternal = brass monuments or memorials.
Brass memorials, (also known as tables, monuments, tablets or plaques,) have been installed in churches since the Middle Ages, in honor of some person or family. They're called "brasses" for short. Such brasses were intended to be in place forever, but not many brasses from early times survive, since the brass was considered, at some point, too valuable to leave unused. So the brass was taken, and melted to make some other item (such as a cannon in wartime.)

. Sonnet 65 .

(original language, but moderately updated)

01. Since brass, nor stone, nor earth, nor boundless sea,

02. But sad mortality o'er-sways their power,

03. How with this rage shall beauty hold a plea,

04. Whose action is no stronger than a flower?

05. O how shall summer's honey breath hold out,

06. Against the wrackful siege of battering days,

07. When rocks impregnable are not so stout,

08. Nor gates of steel so strong but time decays?

09. O fearful meditation, where alack,

10. Shall time's best Jewel from time's chest lie hid?

11. Or what strong hand can hold his swift foot back,

12. Or who his spoil or beauty can forbid?

13. O none, unless this miracle have might,

14. That in black ink my love may still shine bright.

. Sonnet 65 .

(paraphrased)

01. Because brass, and stone, and earth, and even the boundless sea,

02. Are subject to being overcome by time, and are transient,

03. How can beauty have a chance, against violent destruction,

04. When beauty's force is no stronger than a flower?

05. Oh, how shall summer's flowery life hold out,

06. Against the torturous attack of time, where each day is like
a blow from a battering ram,
07. When stone walls that can resist any human army are not sturdy enough,

08. Nor are gates of steel strong enough, to resist the decay of time?

09. Oh, it's a fearful thing to contemplate - so where, alas,

10. Shall the best Jewel that belongs to time be hidden, so that
it won't go back into time's treasure chest?
11. Or, what hand is strong enough to stop the swift march of time,

12. Or, who can order time not to take his treasure or his beauty?

13. Oh, nobody can, unless this miracle of writing has the power,

14. So that in lines written in black ink, the one I love can always
shine brightly, somehow, in the world.

Sonnet 65 Gloss

L2: mortality = transience; perishability.

L2: o'er-sways = overrules; overcomes.

L3: rage = violent force.

L4: action = force; power.

L5: honey breath = smell of flowers. (Note, to the right.)

L6: wrackful = torturous.

L6: siege = attack.

L6: battering days - As though each day is like another blow from a battering ram.

L7: rocks = stone walls.
The idea presented in line 7 is that stone walls which are impregnable to any human army will nevertheless be destroyed by time.

L9: meditation = contemplation.

L10: Jewel - Capitalized in the original because it refers to a person.
The addressee is cast as "time's best Jewel."

L10: chest = treasure chest. (Note, to the right.)

L11: foot = march. The swift foot of time is the swift march of time.
A synecdoche.

L12: spoil or beauty - Is correct as originally printed. (Note, to the right.)
If you see a copy of Sonnet 65 without that exact phrase, it is wrong, and it is not Shakespeare.

L13: miracle - Of writing.

Sonnet 65 Notes

The idea of shining bright suggests "sun/son" again, as earlier. Sonnet 65 is probably a contemplation by Shakespeare of how he could best insure that some reference, of some kind, to his son, would endure. That makes it appear Sonnet 65 was written before # 55, and one would suppose within a year of Hamnet's death. Sonnet 65 is then most likely from late 1596, or 1597.
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L5: honey breath = smell of flowers.
It's the idea that the breath of flowers smells like honey, poetically speaking. Flowers have "honey breath." Since breath is "life," the phrase can also be understood as "flowery life."

L10: chest = treasure chest.
The idea in line 10 is essentially that Time, personified, has a treasure chest: Time occasionally takes a jewel from the treasure chest, and places it in the world for people to enjoy; but then, Time eventually takes the jewel back, and stows it away in the treasure chest again, where people can no longer see it. It's analogy to a person being born into the world, but then dying, as time goes by. The Poet asks the question of how a Jewel can be hidden from Time, to keep it in the world, so Time won't find it and take it back.

L12: spoil or beauty - Is correct as originally printed.
If you see a copy of Sonnet 65 without that exact phrase, it is wrong, and it is not Shakespeare.

Line 12 is written with an intentional ambiguity. The word "his" can be read either as reference to a person, or to time. (Additionally, "or" puns with "o'er," giving the idea of time's "ruin over beauty.")

First, taking "his" as reference to a person - "spoil" means the accumulated wealth a person has "plundered" (figuratively speaking) during his life, and the word "beauty" means the person's own beauty. "Forbid" refers to the notion of forbidding time to take away the aforementioned.

Second, taking "his" as a reference to time - "spoil" means "ruin," and "forbid" again refers to trying to stop time. "Beauty" in this case, however, means the beauty that arises naturally with time, as if a person would want to forbid that. The phrase "or beauty" becomes a parenthetical. That is, "what man can forbid time's ruin (or time's beauty?)"

There's a way in which the Poet's writing can be viewed as a product of time. That concept was raised in Sonnet 16: "... this (Time's pencil...)" So the idea, of man being unable to forbid Time's beauty, relates to the hope of man being unable to "forbid" (stop) the spread of a beautiful sonnet, for one thing. This connects to the hope expressed in line 14 that the Poet's writing will endure.

. Sonnet 66 .

(original language, but moderately updated)

01. Tir'd with all these for restful death I cry,

02. As, to behold desert a beggar born,

03. And needy Nothing trimmed in jollity,

04. And purest faith unhappily forsworn,

05. And gilded honor shamefully misplaced,

06. And maiden virtue rudely strumpeted,

07. And right perfection wrongfully disgrac'd,

08. And strength by limping sway disabled,

09. And art made tongue-tied by authority,

10. And Folly (Doctor-like) controlling skill,

11. And simple-Truth miscalled Simplicity,

12. And captive-good attending Captain ill.

13. Tir'd with all these, from these would I be gone,

14. Save that to die, I leave my love alone.

. Sonnet 66 .

(paraphrased)

01. World-weary, because of all the following, I long for the restful peace of death,

02. I mean: to see persons whom fate ought to reward, born into poverty, instead,

03. And some greedy person who deserves nothing, bestowed, by fate,
with all kinds of pleasures,

04. And faith of the purest kind sadly renounced,

05. And highest honors shamefully awarded to the wrong persons,

06. And virtuous maidens coarsely treated as strumpets,

07. And true refinement wrongly stigmatized,

08. And physical strength disabled by a crippled leg,

09. And good intellectual ability censored by political power,

10. And foolishness, acting like a doctor, prescribing to reason,

11. And plain honesty falsely called naiveté,

12. And good persons bound to serve bad leadership.

13. Tired of what I've seen of all that in this world, I'd rather be gone from it,

14. Except, if I died, my beloved friend would be without me.

Sonnet 66 Gloss

L2: desert = a deserving person; one who ought to be rewarded.

L3: needy = greedy.
Refers to a pretense of being needy. In modern printing, "needy" would be in quotes.

L3: Nothing = one who deserves nothing.

L3: trimmed = dressed.
Figurative.

L3: jollity = pleasure.

L4: unhappily = sadly and unluckily (both.)

L5: gilded honor = "golden" honor; highest honor.

L8: strength = physical strength.

L8: limping sway = (the gait of) a crippled leg.

L9: art = intellectual ability.

L9: tongue-tied = silenced; censored.

L11: simple-Truth = plain honest truth.

L11: Simplicity = naiveté.

L12: captive-good = bound goodness.
Refers to good persons being bound, or obligated.

L12: Captain ill = bad leadership.

L14: love = beloved friend.

Sonnet 66 Notes

Sonnet 66 was written by Edward de Vere, to William Shakespeare.

Some capitalization in the original - Nothing, Folly, Truth, Simplicity - indicates roles, as in an emblematic stage performance.

"Doctor" in line 10 may have some undertone of allusion to Christopher Marlowe's Doctor Faustus. Certainly Faustus' presumption to control "skill" was the height of Folly, for his soul.
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. Sonnet 67 .

(original language, but moderately updated)

01. Ah wherefore with infection should he live,

02. And with his presence grace impiety,

03. That sin by him advantage should achieve,

04. And lace itself with his society?

05. Why should false painting imitate his cheek,

06. And steal dead seeing of his living hue?

07. Why should poor beauty indirectly seek,

08. Roses of shadow, since his Rose is true?

09. Why should he live, now nature bankrupt is,

10. Beggared of blood to blush through lively veins,

11. For she hath no exchequer now but his,

12. And proud of many, lives upon his gains?

13. O him she stores, to show what wealth she had,

14. In days long since, before these last so bad.

. Sonnet 67 .

(paraphrased)

01. Ah, why should he live with infection,

02. And by his mere presence grace immorality,

03. So that sin should achieve an advantage through him,

04. And prettify itself by being in his company?

05. Why should a false appearance, from the use of makeup,
mock his real cheek,
06. And take away the dead look of his real complexion?

07. Why should his impoverished beauty seek

08. The ghosts of his former healthy cheeks, since he still has
the "blossom" of his life?
09. Why should he live, now that his natural vitality is exhausted,

10. Impoverished of red blood to flow through energetic veins -

11. Is the answer that Nature has no "treasury" now but him,

12. And while proud of her many "accounts," is living on his reserves alone,
(so she has to keep him alive)?
13. No, Nature keeps him alive, to display what's left of the treasure
she used to have,
14. In days long ago, before these last, so miserable.

Sonnet 67 Gloss

L1: infection = disease.

L2: impiety = immorality.

L4: lace = prettify; try to make (itself) pretty.
Lace is a "pretty" addition.
Can also be understood as "favor."

L5: painting = makeup; cosmetics.
Not necessarily to imply he's actually using makeup to try to improve his appearance, rather he may be asking why he'd even bother to consider it.

L6: steal = take away.

L6: dead seeing = dead appearance. Refers to "dead looking."
When the Poet looks in the mirror he thinks he looks dead.

L6: hue = complexion.

L7: poor = impoverished.

L7: seek = try to find.
Try to "summon," figuratively speaking.

L8: shadow = ghost.
Reference to a "ghost" of former beauty, a pale imitation.

L8: Rose = blossom. (Note, to the right.)

L8: true = living.
A "true" rose is a living rose, not a paper or cloth imitation.

L9: nature = natural vitality.

L9: bankrupt = exhausted.

L10: Beggared = impoverished.
"Beggared of blood" - One may surmise that, in those days, the doctor has bled him.

L11: she = Nature (personified.)

L11: exchequer = treasury.

L12: many = many depositors; many accounts.
Figurative.

L12: gains = reserves.
Financial reserves (figuratively.)

L13: stores = saves; keeps alive.

Sonnet 67 Notes

In Sonnet 67 the Poet is sick - feeling like he might as well die - perhaps suffering from "rose," erysipelas, mistaken as a symptom of sexually transmitted disease.

Sonnet 67 is probably by Edward de Vere.
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L8: Rose
The word may have an undertone of allusion to the disease erysipelas, which is an acute streptococcus skin infection, one of the symptoms of which is an obvious red rash on the face. "Rose" is an old common name for erysipelas, because of the rash. It is a serious disease, and can be fatal; John Dryden was apparently among the victims, historically, and it's thought to have claimed the lives of some other notables.

This suggestion of erysipelas is only conjectural, of course; there is no possibility of clinical diagnosis. The reason for supposing "rose" might be erysipelas (beyond the disease being called that) is that if there were red rash on the face, then indeed, as line 5 says, there would be no need of cosmetics to get redness of the cheeks (but the existing redness would not be a blush of health.) Further, in connection with the mention of "sin" in the Sonnet, a medically primitive population like that of Elizabethan England could mistake the erysipelas rash for symptoms of venereal disease.

Poetically, within the Sonnet, "Rose" means "blossom." The line 8 clause, "his Rose is true," refers to the "blossom" of his life still being alive.

. Sonnet 68 .

(original language, but moderately updated)

01. Thus is his cheek the map of days out-worn,

02. When beauty liv'd and died as flowers do now,

03. Before these bastard signs of fair were born,

04. Or durst inhabit on a living brow;

05. Before the golden tresses of the dead,

06. The right of sepulchers, were shorn away,

07. To live a second life on second head,

08. Ere beauty's dead fleece made another gay;

09. In him those holy antique hours are seen,

10. Without all ornament, itself and true,

11. Making no summer of another's green,

12. Robbing no old to dress his beauty new,

13. And him as for a map doth Nature store,

14. To show false Art what beauty was of yore.

. Sonnet 68 .

(paraphrased)

01. So it is, his face is like a guidebook to days gone by,

02. When handsomeness lived, and died, as naturally as flowers still do now,

03. Before these various illegitimate ways to improve appearance were invented,

04. Or anyone dared to place such things (as wigs) on his own living head,

05. Before the treasured, blond hair of the dead,

06. Which should rightly be entombed with the deceased, was cut off,

07. To "live a second life" as a wig on somebody's head,

08. Before the beautiful dead were fleeced to make some living person happy.

09. In him, that revered time of old age is seen,

10. Without any artificial decoration - real and true, (the way it ought to be,)

11. Making no false appearance of youth out of somebody else's real youth,

12. Nor doing any grave robbing to try to dress up his own appearance
as if he were young,
13. And Nature has saved him, as a guide,

14. To show the artifice of our times what real beauty was, in the days of yore.

Sonnet 68 Gloss

L1: Thus = so it is.
("Thus" does not refer to the previous Sonnet.)

L1: out-worn = gone by.

L3: bastard = illegitimate.
Further suggesting "rude."

L3: signs of fair = symbols of handsomeness (but without the reality of beauty underneath.) "Signs" can be understood as "facades."

L3: born = invented.

L4: durst = dared.

L4: inhabit = dwell (figuratively.) Be found.

L5: golden = blond. Secondarily, "treasured" (and of whatever color.)

L8: gay = pretty looking.

L9: holy = revered; honored.

L9: antique hours - The time of old age.

L10: itself = real.
Something that is "just itself" is called "real" in modern vernacular.

L11: summer = youth.
Summer is poetically the time of youth.

L12: robbing no old = doing no grave robbing.

L12: dress = dress up.

L13: map = guide. Guiding light; exemplar.

L14: false Art = artifice.

Sonnet 68 Notes

Wigs made from the hair of the dead are the object lesson for what the Poet means. He is not just objecting to wigs, only. His basic objection is to false appearances. Throughout the Sonnets, and certainly including this one, the Poet celebrated what was natural, real and true, and objected to falsehoods of all kinds.

The Poet is congratulating the person of whom he speaks for not giving in to the fashion of trying to make himself look younger - and it is the case that when the elderly try to make themselves look young they too often only end up looking odd.
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. Sonnet 69 .

. Ophelia's Beautiful Mind Sonnet .

(original language, but moderately updated)

01. Those parts of thee that the world's eye doth view,

02. Want nothing that the thought of hearts can mend;

03. All tongues (the voice of souls) give thee that ~~end~~, [due]

04. Uttering bare truth, even so as foes Commend.

05. Their outward thus with outward praise is crowned,

06. But those same tongues that give thee so thine own,

07. In other accents do this praise confound

08. By seeing farther than the eye hath shown.

09. They look into the beauty of thy mind,

10. And that in guess they measure by thy deeds,

11. Then churls their thoughts (although their eyes were kind)

12. To thy fair flower add the rank smell of weeds,

13. But why thy odor matcheth not thy show,

14. The solve is this, that thou dost common grow.

. Sonnet 69 .

. Ophelia's Beautiful Mind Sonnet .

(paraphrased)

01. Your features that the public eye sees,

02. Lack nothing, that loving thoughts could think to improve upon;

03. All tongues (the voices of persons speaking truth) give you that due

04. Uttering plain truth, and even your competitors commend you
in the same way.
05. Their outward speech, of those tongues, is thus topped off
with outward praise, for you;
06. But those same voices, that thus give you the praise that's rightly yours,

07. Do, in derogatory tones, defeat that praise,

08. By imagining more than their eyes have seen,

09. They question the perfection of your mind,

10. And that, just guessing, they try to measure by your actions,

11. Then their thoughts become rude, (although their eyes were kind)

12. (And) They associate your beautiful appearance with a bad reputation,

13. But to the question of why your reputation doesn't match your appearance,

14. The solution is this: that you're associated with what's common.

Sonnet 69 Gloss

L1: parts = features.

L1: the world's eye = the public eye.
The eyes of the public.

L2: Want = lack.

L2: thought of hearts = loving thoughts. Thoughts from the heart.

L2: mend = make better; improve upon.

L3: end - Presumably a misprint in the original, since a rhyme with "view" is needed.
Should probably be the word "due" as shown in brackets, above.

L3: souls = persons.
With the added concept that "souls" must speak truthfully. Conceptually, souls don't lie.

L4: bare = plain.

L4: foes = competitors. (Probably the best equivalent.)

L4: Commend - The reason for the capitalization in the original is unclear.

L5: Their - Is the correct word, as originally printed.
Modern reprints that change it are editorial, not Shakespeare, and are wrong.
It is intentionally ambiguous between "parts" in line 1, and "tongues" in line 3, but refers primarily to the latter.

L5: crowned = topped; topped off.

L7: accents = tones of voice.
Reference to derogatory remarks (in contrast to the praise mentioned.) Praise and criticism are expressed in different tones of voice.

L8: seeing = visualizing. Seeing with the mind's eye. Imagining.

L9: look into = question.

L9: beauty = perfection.

L10: deeds = actions.

L11: churls = become churlish.
"Churls" is used as a verb here.
"Churls their thoughts" = their thoughts become rude.

L14: solve = solution; answer.

L14: common - Has reference to the common stage, public theatrical performance.

Sonnet 69 Notes

Sonnet 69 is about the Ophelia character in 'Hamlet,' as is the following Sonnet 70. Ophelia was probably played by the boy actor who's the addressee in Sonnet 20. Some sentiments in Sonnet 69 are mixed between the Ophelia character and the boy, particularly "foes" (competitors) in line 4. The boy had competitors for his roles, and there was competition from other playing companies.

With respect to interpreting the Ophelia character in Hamlet, the Playwright, in this Sonnet, is indirectly cautioning us to be careful of having "common" thoughts about her. The Sexton Clown (Gravedigger) expresses "common" thoughts about her, by the way - so be cautious of that passage in Hamlet.
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. Sonnet 70 .

. Ophelia's Love Sonnet .

(original language, but moderately updated)

01. That thou art blam'd shall not be thy defect,

02. For slander's mark was ever yet the fair;

03. The ornament of beauty is suspect,

04. A Crow that flies in heaven's sweetest air.

05. So thou be good, slander doth but approve,

06. Their worth the greater being woo'd of time,

07. For Canker vice the sweetest buds doth love,

08. And thou present'st a pure unstained prime.

09. Thou hast passed by the ambush of young days,

10. Either not assailed, or victor being charg'd,

11. Yet this thy praise cannot be so thy praise,

12. To tie up envy, evermore enlarged,

13. If some suspect of ill mask'd not thy show,

14. Then thou alone kingdoms of hearts shouldst owe.

. Sonnet 70 .

. Ophelia's Love Sonnet .

(paraphrased)

01. That you're suspected of some offense shall not be your fault,

02. Because slanderous people always target the beautiful, (out of envy,)

03. Suspicion is like an ornament on beauty, (that proves beauty,)

04. Like a crow flying high in the sky is only a little black "beauty mark"
on the face of heaven.
05. You are so good, slander achieves nothing but approval,

06. And slanders' worth is all the greater as you go hand-in-hand
with time, into the future,
07. For we know canker-like vice loves to attack the sweetest buds,

08. And you present a pure, unstained prime of life.

09. You have passed by the fall from the tree that killed you in your youth,

10. Either with your virginity intact, or, if some people think otherwise,
Hamlet paid with his death,
11. Yet this praise for you cannot be enough praise,

12. To stop all ill will against you, as your fame grows,

13. If some suspicion of wrong didn't veil your true beauty,

14. Then to you, alone, entire kingdoms of hearts would owe...
(love.)

Sonnet 70 Gloss

L1: blam'd = suspected of some offense.

L1: defect = fault.

L3: suspect = doubt; suspicion.
Line 3 must be reversed for prose meaning:
"Suspicion is the ornament of beauty."

L4: Crow - The word was used because of the crowflower in Hamlet.

L5: So thou be good = You are so good.

L6: Their = slanders'. (Note, to the right.)
This word is not "thy."

L7: Canker vice = canker-like vice.

L9: ambush = "attack" involving a tree.

L14: owe - (Note, to the right.)

Sonnet 70 Notes

Sonnet 70 is about the Ophelia character in Hamlet. It's Ophelia's Love Sonnet.

There's more about Ophelia's Love Sonnet at this link:
Ophelia Sonnets
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L6: Their = slanders'.
This word is not "thy."
"Their" is the word in the original 1609 publication, it is correct, and the change to a different word, as found in most modern reprints, is only an editorial blunder.
A pun is intended with "there."
"Their worth the greater" = 'the greater worth there.'
If you see a reprint of Sonnet 70 which has the word "Thy" in line 6 you'll know you don't have genuine Shakespeare, and any other Sonnets from that same source should be viewed with suspicion.

L14: owe
This word "owe" is correct as originally printed, to an absolute certainty. It is not the word "own" which is found in reprints overseen by editors who did not understand the Sonnet.

What is owed to this character, as described? Think about it.

. Sonnet 71 .

(original language, but moderately updated)

01. No Longer mourn for me when I am dead,

02. Than you shall hear the surly sullen bell

03. Give warning to the world that I am fled

04. From this vile world with vildest worms to dwell;

05. Nay if you read this line, remember not,

06. The hand that writ it, for I love you so,

07. That I in your sweet thoughts would be forgot,

08. If thinking on me then should make you woe.

09. O if (I say) you look upon this verse,

10. When I (perhaps) compounded am with clay,

11. Do not so much as my poor name rehearse,

12. But let your love even with my life decay.

13. Lest the wise world should look into your moan,

14. And mock you with me after I am gone.

. Sonnet 71 .

(paraphrased)

01. When I am dead, don't mourn for me for any greater length of time

02. Than you can hear the sour, melancholy funeral bell that they'll ring

03. (To) Give notice to the people that I'm gone

04. From this corrupt world, to "live" with inhuman worms;

05. No, if you read this Sonnet, don't remember

06. The person who wrote it - because I love you so much

07. That I'd rather be forgotten from your loving thoughts,

08. If thinking about me then would make you sad.

09. Oh, if - I say - you do look at this Sonnet,

10. Perhaps after I'm dead and buried,

11. Don't even so much as speak my unfortunate name,

12. But instead, let your love for me disappear along with my life,

13. Lest the know-it-all world should make an issue of your grief,

14. And scorn you, along with me, after I'm gone.

Sonnet 71 Gloss

L2: surly = sour. (Note, to the right.)
A musical bell is "sweet;" a funeral bell is "sour."

L2: sullen = somber; melancholy.
"Sullen" can also be understood as "lonely," recalling the closing phrase of Sonnet 66:
"... I leave my love alone."

L3: warning = notice.

L3: world = people.

L3: fled = gone.

L4: vile = wicked; corrupt.

L4: vildest - (Note, to the right.)
"Vilest" = most inhuman; most beastly.

L6: hand = person.
Synecdoche.

L7: sweet = very friendly; loving.

L8: woe = sorrowful; feel woe.

L11: poor = unfortunate; pitiful.

L11: rehearse = speak; repeat.

L12: decay = disappear.

L13: wise = pretentious.
The usage is sarcastic, with more the meaning of what we now might call "wiseacre."
Can be understood as "know-it-all."

L13: look into = question; make an issue of.

L13: moan = lament; lamentation; grief.

L14: mock = scorn; ridicule.

Sonnet 71 Notes

Sonnet 71 is by Edward de Vere, and the addressee is William Shakespeare.
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L2: surly = sour.
A musical bell is "sweet;" a funeral bell is "sour."
One may encounter the idea of "surly" being derived from "sir-ly," but that is probably only a popular assumption, misled by relying only on spelling from a time when spelling was not standardized. "Surly" more likely goes back to a German root meaning "sour-ly."

L4: vildest
"Vilest" = most inhuman; most beastly.
Spelled "vildest" in the original. It is probably intended to be "vilest," however, the hypothetical possibility exists of a neologism combining "vile" and "wild." One would not like to miss a coinage, even if the chance of that seems remote, so I show the original spelling.

. Sonnet 72 .

(original language, but moderately updated)

01. O Lest the world should task you to recite,

02. What merit liv'd in me that you should love

03. After my death (dear love) forget me quite,

04. For you in me can nothing worthy prove.

05. Unless you would devise some virtuous lie,

06. To do more for me than mine own desert,

07. And hang more praise upon deceased I,

08. Than niggard truth would willingly impart;

09. O lest your true love may seem false in this,

10. That you for love speak well of me untrue,

11. My name be buried where my body is,

12. And live no more to shame nor me, nor you.

13. For I am shamed by that which I bring forth,

14. And so should you, to love things nothing worth.

. Sonnet 72 .

(paraphrased)

01. Oh, lest the world should call upon you to state

02. What merit existed in me so that you could love me,

03. After my death (dear beloved friend) forget me completely,

04. Because you can't show that, in me, there was anything worthy,

05. Unless you make up some white lie,

06. To do more for me than I deserve,

07. And dress up my dead self with more praise

08. Than the poor truth would willingly say;

09. Oh, lest your true love for me might appear false in that way,

10. (That you, out of love, falsely speak well of me,)

11. (Let) My name be buried where my body is,

12. And let my name live no more, since it could bring shame to you,
the way it did me;
13. Because I am ashamed of that which my name evokes,

14. And you should be ashamed, to love things that are worth nothing.

Sonnet 72 Gloss

L1: task you = call upon you; give you the job.

L1: recite = describe; speak of; state.
The word, in context, hints of delivering a eulogy, but that implication is not to be taken literally.

L2: liv'd = existed.

L4: prove = show.

L5: virtuous lie = "white lie."
A lie told from a good motive.

L6: desert = deserving.
What he really deserves.

L7: hang = decorate (with); dress up (with.)

L8: niggard = parsimonious; "poor."

L8: truth - Personified.
Has a connotation of "life."

L8: impart = say.

L13: bring forth = evoke.
That is, his name has certain associations which he would prefer not be recalled.

Sonnet 72 Notes

Sonnet 72 is by Edward de Vere, to William Shakespeare.
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. Sonnet 73 .

(original language, but moderately updated)

01. That time of year thou mayst in me behold,

02. When yellow leaves, or none, or few do hang

03. Upon those boughs which shake against the cold,

04. Bare mewed choirs, where late the sweet birds sang.

05. In me thou seest the twilight of such day,

06. As after Sunset fadeth in the West,

07. Which by and by black night doth take away,

08. Death's second self that seals up all in rest.

09. In me thou see'st the glowing of such fire,

10. That on the ashes of his youth doth lie,

11. As the death bed, whereon it must expire,

12. Consum'd with that which it was nourished by.

13. This thou perceiv'st, which makes thy love more strong,

14. To love that well, which thou must leave ere long.

. Sonnet 73 .

(paraphrased)

01. My time of life, as you may see, is like the time of year,

02. When yellow leaves, or no leaves, or few still hang

03. Upon the branches that shake in the cold winter wind,

04. And the branches are like bare, "molted" choir lofts,
where the birds sang sweetly, not long ago;
05. (Or one might say) In me, you see the twilight of a winter day

06. When, after sunset, the light is fading in the west,

07. And soon, the light is completely gone, taken away by the blackness of night,

08. Night being like a "twin" to death, when everybody is enclosed
by darkness, and resting;
09. (Or one might say,) I'm like the glowing embers left over from a fire,

10. (That burned in me in my youth,) and I'm lying on that bed
of ashes, of my youth,
11. Like on a death bed, where the last glow of the embers will expire,

12. As they're ultimately consumed by the heat which fed the fire
and kept it going;
13. I know you perceive this, and it tells me your love is
even stronger than I thought,
14. That you love so well, somebody you'll have to be separated from,
before long.

Sonnet 73 Gloss

L1: time of year = winter.
Old age is being compared to wintertime.

L4: bare - Literal; can also be understood as 'empty.'

L4: mewed = molted; shed. (Note, to the right.)
It describes the tree branches having shed their leaves.

L4: choirs = choir lofts.
Analogy is drawn between tree branches and the elevated choir areas of churches.

L8: second self - An analogy is made between night and death.
Sleep is like a "twin" of death, in a way.

L8: seals up = closes; encloses.
An analogy is made between houses at night being sealed up, or enclosed, by darkness, and tombs being sealed.

L8: all = everybody.

L9: glowing - A glow of embers, with no flames anymore.

L12: nourished = fed.

L14: leave = be separated from.

Sonnet 73 Notes

Sonnet 73 is by Edward de Vere, to William Shakespeare.
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L4: mewed = molted; shed.
It describes the tree branches having shed their leaves.
Also, poetically, since the birds have left the branches, the tree branches have "molted their feathers," in a manner of speaking.

This word is printed "m'wd" in the 1609 publication: the first 'e' is apostrophized explicitly, and the second 'e', implicitly, which makes it very hard to read. Also, in the original, the 'm' looks rather like 'rn.' The word has been changed to "ruined" in modern reprints, apparently simply from the reading difficulty, which caused the editor to guess. However, the correct word is "mewed."

It is important to restore the correct word, mewed, to Sonnet 73, because of the superb poetry in the concept of tree branches "molting their feathers" when the birds leave. In the Fall, tree branches shed their leaves, and they also "molt" their feathers, so to speak, when the birds migrate elsewhere.

For another usage example of "mewed," from c. 1620, see the Beaumont and Fletcher play, 'Little French Lawyer' Act 3 scene 2.
~=~
La Writ: ... 'tis true I was a Lawyer,
But I have mew'd that coat ...
=~=~=
It means he has shed the coat.
(Although 'Little French Lawyer' was published in the Beaumont and Fletcher folio of 1647, it is apparently by Fletcher and Massinger. Consensus attributes Act 3 scene 2 to Fletcher, who, according to current understanding, worked with Shakespeare on a few things, late in Shakespeare's career.)

. Sonnet 74 .

(original language, but moderately updated)

01. But be contented when that fell arrest,

02. Without all bail shall carry me away,

03. My life hath in this line some interest,

04. Which for memorial still with thee shall stay.

05. When thou reviewest this, thou dost review,

06. The very part was consecrate to thee,

07. The earth can have but earth, which is his due,

08. My spirit is thine the better part of me,

09. So then thou hast but lost the dregs of life,

10. The prey of worms, my body being dead,

11. The coward conquest of a wretch's knife,

12. Too base of thee to be remembered,

13. The worth of that, is that which it contains,

14. And that is this, and this with thee remains.

. Sonnet 74 .

(paraphrased)

01. But, be reconciled, when that fatal arrest, by Death,

02. With no chance for release, carries me away;

03. My life has, in this way, concerning my writing, some interest,

04. Which, as a remembrance of me, will always stay with you.

05. When you review my writing, you're looking at

06. The exact part of me that was devoted to you;

07. The earth is welcome to take the "earth" of my body,
since it's the right of the earth to do that,
08. (But) My spirit, the better part of me, is yours;

09. So then, with the death of my body, you've lost only
the least important part of my life;
10. (So let it be) The prey of worms, my body being dead,

11. Conquered by the sickle of that wretch, the Grim Reaper, a coward,
(who never fights fair,)
12. (My physical self) Is too unworthy a thing to be remembered by you,

13. The worth of my body, is only in that which it contains,

14. And that is my spirit, as expressed in my writing, like this,
and it remains with you.

Sonnet 74 Gloss

L1: But - This Sonnet begins with a word of continuation, since it was written to follow #73.

L1: contented = resigned; reconciled.

L1: fell = deadly; fatal.

L1: arrest = stop; seizure.

L2: all bail = any release; any chance of release.

L3: in this line = in this way.
Also referring literally to written lines.

L4: memorial = remembrance.

L4: still = always.

L6: consecrate = consecrated; dedicated; devoted.

L7: (the second) earth = the human body.
From the religious concept of the body as "dust" raised from the earth by God.

L7: due = right.

L9: dregs = lowest parts; least important parts.
On the concept that the body is the least of life, and the spirit (mentioned in line 8) is what really counts.

L11: coward = cowardly.
The idea is that Death doesn't fight fair, and that not fighting fair is cowardly.

L11: wretch's knife = the sickle of the Grim Reaper.
"Wretch" = abominable creature.

L12: base = low; contemptible; unworthy.

L13: (the first) that = my body.

Sonnet 74 Notes

Sonnet 74 is by Edward de Vere, to William Shakespeare. It contains affirmation that what Vere had written, he left to Shakespeare.
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. Sonnet 75 .

(original language, but moderately updated)

01. So are you to my thoughts as food to life,

02. Or as sweet season'd showers are to the ground;

03. And for the peace of you I hold such strife,

04. As 'twixt a miser and his wealth is found.

05. Now proud as an enjoyer, and anon

06. Doubting the filching age will steal his treasure,

07. Now counting best to be with you alone,

08. Then bettered that the world may see my pleasure,

09. Sometime all full with feasting on your sight,

10. And by and by clean starved for a look,

11. Possessing or pursuing no delight

12. Save what is had, or must from you be took.

13. Thus do I pine and surfeit day by day,

14. Or gluttoning on all, or all away.

. Sonnet 75 .

(paraphrased)

01. You nourish my thoughts the way food nourishes my living body,

02. Or, the way springtime showers produce new growth from the ground,

03. And, for the security of having you, I feel such covetousness,

04. That it's like the way a miser feels for his riches -

05. One minute, the miser congratulates himself in his enjoyment
of having his riches, but soon
06. He suspects and fears that because of all the thieves there are
these days, somebody will steal his treasure;
07. Sometimes I count it best to be alone with you,

08. Then, other times, I think it even better that people should see
the pleasure I take in your company;
09. Sometimes I'm repleted from "feasting my eyes" by gazing upon you,

10. Then, by and by, (when I haven't seen you for a while,) I'm utterly
famished for a look at you,
11. I possess, or pursue, no pleasure,

12. Except what I have from you, or what I must take in your presence.

13. That's how it is, as I first yearn, and then satiate myself,
from one day to the next,
14. Either gluttoning on all I can get of you,
or having nothing when you're away.

Sonnet 75 Gloss

L2: sweet season'd - The "sweet season" is springtime.

L3: peace = security.

L3: strife = covetousness.
Strife is caused by people wanting things, coveting them.

L5: proud = complacent; entirely satisfied. Self-congratulatory.
Implies vanity.

L6: Doubting = suspecting; worrying; fearing.

L6: filching = thievish.

L8: bettered = thinking it even better.

L10: clean starved = utterly famished.

L14: Or = either.

Sonnet 75 Notes

. Sonnet 76 .

(original language, but moderately updated)

01. Why is my verse so barren of new pride?

02. So far from variation or quick change?

03. Why with the time do I not glance aside

04. To new found methods, and to compounds strange?

05. Why write I still all one, ever the same,

06. And keep invention in a noted weed,

07. That every word doth almost fell my name,

08. Showing their birth, and where they did proceed?

09. O know sweet love I always write of you,

10. And you and love are still my argument,

11. So all my best is dressing old words new,

12. Spending again what is already spent;

13. For as the Sun is daily new and old,

14. So is my love still telling what is told.

. Sonnet 76 .

(paraphrased)

01. Why is my verse so empty of new, fanciful conceits?

02. (And) So far from any variation, or any rapid change?

03. Why is it, with the passage of time, I don't look elsewhere,

04. To newfangled ways, and to unfamiliar forms?

05. Why do I always write in one style, always the same,

06. And keep "dressing up" my literary creations in the same,
timeworn "clothing,"
07. - So that everything I write, in this same old style, almost
brings down my reputation -
08. Which reveals their inspiration, and where they came from?

09. Please know, sweet one I love, I always write of you,

10. And you, and my love, are always my subject,

11. So I put all my best effort into dressing up old words
and poetic styles, like new,
12. Dispensing again, the same kind of verse I've already dispensed;

13. Because, like the old sun that's new every day,

14. So is my love, as I always tell you, just as I've already told you.

Sonnet 76 Gloss

L1: barren = unfruitful; empty.

L1: pride = conceit; fancy; fancifulness.
There's implicit reliance on different definitions of "conceit," which can refer either to ego, or fancy. People take pride in their creative fancies.

L3: glance aside = look away (from the Sonnet form.)

L4: new found = novel; newfangled.

L4: compounds strange = unfamiliar kinds of composition.

L5: all one = always in one style.

L6: invention = literary creativity.

L6: noted weed = familiar or timeworn "clothing."
Refers to how poetry is "dressed up."

L7: fell = down; bring down. (Note, to the right.)

L8: birth = conception; inspiration.

Line 8 - (Note, to the right.)

L10: argument = subject.

L12: spending = dispensing.

Sonnet 76 Notes

Sonnet 76 is by William Shakespeare, to Edward de Vere. It is not in response to any complaint, and is neither an apology, nor an apologia. It is an analogy, between the Poet's fidelity to his beloved friend, and the constancy of his poetic style. His poetic form is unchanged because his loyal affection is unchanged.
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L7: fell = down; bring down.
The word is "fell" in the original. It is always changed to "tell" in reprints, but with no legitimate need to change it. The word "fell" as originally printed is probably correct. The Poet is referring to his Sonnets becoming unfashionable, possibly, and thus his reputation being "brought down," because of him becoming out of date. (By the way, the initial 'f-' of "fell" is certainly not a 't' that a typesetter placed upside down by mistake in the original printing; there is flatly no chance of that, the letter in the original is clearly an 'f'.) An author's reputation might decline (be "brought down") if it's said he can't do anything new.

Line 8
The idea is, people would know who wrote the Sonnet just by looking at the subject and style, without even seeing the name of the author, since the subject and style have become so familiar. The same way a child can look like its parent, the verses "look like" the Poet.

. Sonnet 77 .

(original language, but moderately updated)

01. Thy glass will show thee how thy beauties were,

02. Thy dial how thy precious minutes waste,

03. The vacant leaves thy mind's imprint will bear,

04. And of this book, this learning mayst thou taste.

05. The wrinkles which thy glass will truly show,

06. Of mouthed graves will give thee memory,

07. Thou by thy dial's shady stealth mayst know,

08. Time's thievish progress to eternity.

09. Look what thy memory can not contain,

10. Commit to these waste blacks, and thou shalt find

11. Those children nursed, delivered from thy brain,

12. To take a new acquaintance of thy mind.

13. These offices, so oft as thou wilt look,

14. Shall profit thee, and much enrich thy book.

. Sonnet 77 .

(paraphrased)

01. Your mirror will, someday, show you how your beautiful features
used to be,
02. (And) Your sundial will show how your precious minutes go by;

03. The blank pages will hold your mind's impressions, as you write,

04. And using this book, after you've written down your thoughts,
you can look back and sample what you've learned.
05. The wrinkles which your mirror will, someday, plainly show you,

06. Will give you a reminder of graves, open and waiting to be "fed,"

07. And by the steady progress of the sundial's shadow you can see

08. That time is stealing forward towards eternity.

09. Attend to it, that what your memory can't contain,

10. You write on the empty pages, so far unilluminated by thoughts,
and later you will find
11. Those literary creations have been held, just as they were conveyed
from your brain to the printed page,
12. And you can newly acquaint yourself with your own ideas.

13. These tasks, of noting your ideas, as often as you look back
at what you've written,
14. Will be to your profit, and make the value of your book much greater.

Sonnet 77 Gloss

L1: were - (Note, to the right.)

L2: dial = sundial.

L2: waste = pass away; go by.
Not necessarily implying the addressee is wasting his time.

L3: leaves = pages.

L4: of = from.

L4: book - Apparently an actual book, with at least some of the pages blank, perhaps for use as a diary or memorandum book.

L4: learning = that you've learned.

L4: taste = experience again; sample anew.

L5: wrinkles - Of the skin.

L6: mouthed graves - The poetic concept is that deep wrinkles of the skin, that appear with age, are like "open graves" where the beauty of youth is buried.

L6: memory = a reminder.

L7: shady - A sundial works by casting a shadow.

L7: stealth = slow and silent movement.

L8: thievish - Because time "steals" memories.

L9: Look = look to; look upon.
There's an intentional ambiguity.

L10: Commit - Either 'committed' or 'commit (them) to.'
The ambiguity of the phrasing is intentional.

The idea of lines 9 and 10 is that the addressee can first look to committing his thoughts to writing, and later, after they're committed to writing, he can look back to see thoughts he's forgotten.

L10: waste blacks = empty spaces (pages.) (Note, to the right.)
"Blacks" = pages unilluminated by thoughts; 'unenlightened' pages.

L11: children = writings; literary creations.

L11: nursed - (Note, to the right.)

L13: offices = tasks (of writing things down, and then looking at them again, later.)

Sonnet 77 Notes

It appears the addressee has been given three presents - a mirror, a sundial, and a nice diary or memorandum book - and Sonnet 77 was written to accompany the gifts. It is most likely a patronage Sonnet, commissioned by an aristocratic family. If the family is the Herberts (meaning primarily Mary Sidney,) the addressee is not William, but rather Philip, the younger brother. Such musings can only be conjecture. However, this Sonnet is decidedly too "young" for William Herbert. Philip Herbert would have been 13 in October of 1597, for what that observation is worth.
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L1: were
So printed in the original; based on rhyme and meaning, it is generally guessed to be "wear." However, "were" can be interpreted to give essentially the same concept, and it is certainly possible to speak "were" in a way that rhymes with "bear." There is no overriding reason to suppose "were" is not the intended word.

The interpretation of "were" is that as the addressee continually looks into his mirror, over a long period of time, he'll notice changes in his appearance, thus later becoming aware of how his beauties "were." So, "were" goes along, precisely, with the concept of looking back at things the addressee has written in the book mentioned in line 4. This may be an instance where Shakespeare used a subtle word in the Sonnet with the full intent of suggesting an obvious word.

L10: waste blacks = empty spaces (pages.)
"Blacks" = pages unilluminated by thoughts; 'unenlightened' pages.
The word is "blacks" in the original, which is probably correct, especially in connection with "waste." It can be understood that writing is "illumination," so that a page with no writing is "unilluminated," and therefore in "darkness," which is "black," poetically speaking. The idea of "blank" is obviously intended to be understood, but that does not necessarily make "blank" the intended word in the Sonnet.

L11: nursed
It was a practice of Shakespeare's time, among the upper classes, to hand newborn infants over to the care of nurses, and the mother would then see her child only periodically. The prime example of that in the Shakespeare plays is Juliet's silly nurse in Romeo and Juliet. For the Sonnet, it refers to the addressee "giving birth to his writings" by writing them in the book, then leaving them for a while, and looking back at them later. The book is the "nurse" that holds the writings in the meantime.

. Sonnet 78 .

(original language, but moderately updated)

01. So oft have I invok'd thee for my Muse,

02. And found such fair assistance in my verse,

03. As every Alien pen hath got my use,

04. And under thee their poesy disperse.

05. Thine eyes, that taught the dumb on high to sing,

06. And heavy ignorance aloft to flee,

07. Have added feathers to the learned's wing,

08. And given grace a double Majesty.

09. Yet be most proud of that which I compile,

10. Whose influence is thine, and borne of thee,

11. In others' works thou dost but mend the style,

12. And Arts with thy sweet graces graced be.

13. But thou art all my art, and dost advance

14. As high as learning, my rude ignorance.

. Sonnet 78 .

(paraphrased)

01. I have called upon you, so very often, as my Muse,

02. And, by doing so, I've found such favorable inspiration in writing my verse,

03. It's now as if every outsider's pen has "joined my church"
(in "worshipping" you as their Muse,)
04. And they're dispensing their poetry under your benevolence.

05. Your enlightenment, that taught the inarticulate to "sing" like angels,

06. And that caused dull unenlightenment, in high places, to be gone,

07. Has helped even scholars to "fly higher,"

08. And has given nobility, itself, a greatly enhanced dignity.

09. Yet, I pray you will be most pleased by what I compose,

10. Since its destiny is yours, and it was born of you;

11. While in the writings of others you only correct the presentation,

12. And the arts are already blessed by your friendly favors,

13. But you are everything to my own art, and you've elevated

14. As high as erudition, my untrained lack of knowledge.

Sonnet 78 Gloss

L1: invok'd = called upon.

L2: fair = favorable.

L2: assistance = inspiration.

L3: Alien = territorial outsider; "foreigner."
The word is capitalized and italicized in the original, for a reason not clear. It refers to anyone outside the already-established relationship between the addressee and the Poet.

L3: got my use = gotten my religion; joined my church. (Note, to the right.)

L4: under thee = under your benefaction (or 'beneficence' or 'benevolence.')
The Muse/addressee is cast as a "religious power" that does good works.

L4: disperse = dispense.
Like the "clergy" of the Muse/addressee's "church" bestowing religious favors.

L5: eyes - (Note, to the right.)

L5: dumb = inarticulate.

L5: on high to sing = to sing like angels.
Reference to "angelic" poetry.

L6: heavy = dull.

L6: ignorance = unenlightenment.

L6: aloft = in high places.
This is a social class reference, referring to the upper classes.

L6: flee = be gone. (Note, to the right.)

L08: double Majesty = greatly enhanced dignity.
The phrase has an undertone of the Poet serving two monarchs, both the Queen and his addressee Muse, thus "doubling" the Majesty he serves. (The undertone has no disrespect to the Queen.)

L10: influence = destiny. (Note, to the right.)

L10: borne - (Note, to the right.)

L11: mend = correct; repair.

L11: style = poetic form; poetic presentation; manner of doing poetry.

L12: Arts = the fine arts; the aesthetic arts.

L12: sweet = friendly; loving. Desirable.

L12: graces = favors.

L12: graced = blessed.

L13: advance = elevate.

L14: learning = wisdom; erudition. (Note, to the right.)

L14: rude = untrained.

L14: ignorance = lack of understanding; lack of enlightenment.

Sonnet 78 Notes

Sonnet 78 is patently a stylized patronage Sonnet, well executed. The patron is obviously of the nobility, by which I mean the patron is definitely not of the mere "gentleman" or gentlewoman" class, however wealthy; the Sonnet language rules that out. Most likely the Sonnet is from William Shakespeare to Edward de Vere.
-------

L3: got my use = gotten my religion; joined my church.
The word "use" in this sense is a religious term, approximately synonymous with "liturgy" or "ritual," referring to the practices of a church or a denomination of a church. For example, the Sarum Use was a basis for the Book of Common Prayer. The word "use" in such application is often replaced by the word "rite" these days. The Poet is saying, in line 3, that it's as if other poets have "gotten his religion" of "worshipping" the addressee as their Muse.

L5: eyes
Mentioned in particular because in those days the eyes were thought to be a source of light, thus it would be the eyes which would provide enlightenment. In this use, "eyes" can be equated to "enlightenment."

L6: flee = be gone.
"Flee" is the correct word, as originally printed. Modern editors seem always to change it to "fly," which is wrong. The idea in line 6 is that the addressee has caused "heavy ignorance" among the upper classes to flee, to be gone.

The "dumb" in line 5 means the uneducated, inarticulate lower classes, and the "ignorance" of line 6 is among the upper classes, those who are already socially "aloft." In lines 5 and 6 the Poet is citing the range of the addressee's influence in society, from the lower classes to the upper. Overall, the Poet says the addressee's "religious" influence, so to speak, has enlightened all classes, both lower and upper.

L10: influence = destiny.
The word is used in an astrological sense, where an "influence" is exerted toward a certain "destiny." This meaning is revealed by contrast with "born," to give, overall, an "alpha to omega" concept, from birth to end, from nativity to destiny.

L10: borne
So spelled in the original. The primary meaning is taken as "born," but it includes an intended pun with "borne," for additional depth of meaning. The added meaning of "borne" is like saying, "I bear (have) this gift from you, because of you."

L14: learning = wisdom; erudition.
'Erudition' is probably the best equivalent, in advance of "rude," since the word 'erudition' is based on a Latin root meaning "rude." One has to suspect the Poet knew that.

. Sonnet 79 .

(original language, but moderately updated)

01. Whilst I alone did call upon thy aid,

02. My verse alone had all thy gentle grace,

03. But now my gracious numbers are decayed,

04. And my sick Muse doth give another place.

05. I grant (sweet love) thy lovely argument

06. Deserves the travail of a worthier pen,

07. Yet what of thee thy Poet doth invent,

08. He robs thee of, and pays it thee again;

09. He lends thee virtue, and he stole that word,

10. From thy behavior, beauty doth he give

11. And found it in thy cheek; he can afford

12. No praise to thee, but what in thee doth live.

13. Then thank him not for that which he doth say,

14. Since what he owes thee, thou thyself dost pay.

. Sonnet 79 .

(paraphrased)

01. During the time when I, alone, called upon your help,

02. My verse, alone, had all your noble favor,

03. But now my courteous verses are declined,

04. And my Muse, surfeited with my verse, gives another poet my role;

05. I concede (beloved friend) the lovely topic of yourself

06. Deserves the efforts of a better poet than me,

07. Yet, whatever your "court poet" composes about you,

08. He has taken from you, and then he's only giving it back;

09. He allows that you have "virtue," but he took that word

10. From your conduct - so what else could he say? -
he gives you the word "beauty," in his verse,
11. But he found beauty in your features; he can accomplish

12. No praise of you, except by writing of what you already are.

13. So, don't thank him for writing what he does,

14. Since the praise he owes you, in his verse, is only
something you, yourself, have bestowed upon him.

Sonnet 79 Gloss

L2: gentle grace = noble favor.

L3: gracious = courtly; courteous.

L3: numbers = verses.

L3: decayed = declined.

L4: sick = surfeited. (Note, to the right.)

L4: Muse - The addressee.

L4: place = (my) role. (Note, to the right.)

L5: grant = concede.

L6: travail = labors; efforts.

L7: thy Poet = your "court poet;" your "official poet." (Note, to the right.)

L8: robs = takes. (Note, to the right.)

L11: cheek = face; features.
A synecdoche.

L11: afford = accomplish.

L12: live = exist; abide.

Line 14 - The idea is that the addressee doesn't owe the poet anything when the poet inevitably writes of how the addressee is. Just writing of how somebody is, is not really a favor, it's only a factual report.

Sonnet 79 Notes

L4: sick = surfeited.
See Henry IV, Part II Act 1 scene 3.
~=~
Scroop: Let us on,
And publish the occasion of our arms.
The commonwealth is sick of their own choice;
Their over-greedy love hath surfeited.
=~=~=

L4: place = (my) role.
The role being "court poet," so to speak, for the addressee. (By the way, the idea of "court poet" or "official poet" does not mean the addressee is actually part of the royal court of England, i.e. the Poet is not writing to Queen Elizabeth I. The first two lines of the Sonnet rule out that possibility; the Queen never had just one poet praising her.)

L7: thy Poet = your "court poet;" your "official poet."
It refers to whoever the addressee's favored poet may be, at any given time. The Poet is not saying he's essentially different from the other poet. As the Sonnet goes on to explain, any "court poet" the addressee has, when he praises the addressee, will only be expounding upon how the addressee already is, and will not really be giving the addressee anything new.

L8: robs = takes.
The word "robs" is figurative, with no implication of injustice against the addressee. It's the sophisticated "take" concept which the Poet used extensively throughout his writings, both his poetry and his plays.

. Sonnet 80 .

(original language, but moderately updated)

01. O How I faint when I of you do write,

02. Knowing a better spirit doth use your name,

03. And in the praise thereof spends all his might,

04. To make me tongue-tied speaking of your fame.

05. But since your worth (wide as the Ocean is)

06. The humble as the proudest sail doth bear,

07. My saucy bark (inferior far to his)

08. On your broad main doth willfully appear.

09. Your shallowest help will hold me up afloat,

10. Whilst he upon your soundless deep doth ride,

11. Or (being wracked) I am a worthless boat,

12. He of tall building, and of goodly pride.

13. Then If he thrive and I be cast away,

14. The worst was this, my love was my decay.

. Sonnet 80 .

(paraphrased)

01. Oh, how I quail when I write of you,

02. Knowing a better poet than me worships your name,

03. And in his praise of you he expends all his power,

04. Which thwarts me in speaking of your fame.

05. But since your quality (which is as broad as the ocean)

06. Can support the humblest "vessel of verse" as well as the greatest,

07. My "salty" verse, (far inferior to his,)

08. Appears before you as an expression of my own desire;

09. The least amount of patronage from you would keep me afloat,

10. While he enjoys your unlimited support,

11. Or (if I'm "shipwrecked" by receiving no support from you)
then I'm a worthless vessel,
12. While he sails along, with his high superstructure and handsome sails;

13. Then, if he profits from his "ocean-going commerce," and I'm
left a castaway,
14. The most unpleasant thing about it will be, I was ruined by love.

Sonnet 80 Gloss

L1: faint = flinch; quail.

L2: spirit = soul; person.
In the context, "poet."

L2: use = honor; worship.
The religious sense of "use" is implied, as in Sonnet 79.

L3: spends = expends.

L4: tongue-tied = inarticulate; thwarted.

L5: worth = quality.
Both high social status, and wealth.

L7: saucy = pert; or, 'jaunty.' (Note, to the right.)

L7: bark - (Note, to the right.)

L8: broad main = great "ocean" of patronage.

L8: willfully - As the Poet's desire, not in response to a request by the addressee. In other words, the Poet is being willful in writing this Sonnet to the addressee. The addressee didn't ask for it.

L9: shallowest help = least amount of patronage.

L10: soundless deep = generous financial support.

L11: wracked =shipwrecked. (Note, to the right.)

L12: tall building = high (ship) superstructure.

L12: goodly pride = handsome amount and appearance of sail.
Goes back to "proudest sail" in line 6.

L13: thrive = profit (from his "ocean-going" commerce, so to speak.)

L14: worst = most unpleasant; most humiliating.

L14: decay = ruin. (Note, to the right.)

Sonnet 80 Notes

Sonnet 80 may be a Vere Sonnet which William Shakespeare inherited, and it may go back as far as the 1580s. If that's the case, the "Ocean" is Queen Elizabeth I, and the rival poet is Sir Walter Raleigh.
-------

L7: saucy = pert; or, 'jaunty.'
"Saucy" is from a root meaning of "salty," so there is implicit wordplay, or conceptual play, with the ocean being salt water. Any sea-going vessel is "salty."

Concerning the phrase "saucy bark" compare Henry VI, Part 1 Act 3 scene 4.
~=~
Basset: Yes, sir; as well as you dare patronage
The envious barking of your saucy tongue
Against my lord the Duke of Somerset.
=~=~=
Basset's speech occurs just after the sea has been mentioned in that passage, and his speech includes the word "patronage," a subject relevant to this Sonnet. Basset's use of "barking" and "saucy" are obviously not identical to the uses of "bark" and "saucy" in this Sonnet, but are interesting for comparison.

The Poet is openly admitting, in this Sonnet, that the Sonnet is an impudent request for patronage.

L7: bark
The figure of speech is that a poem, or a poet, is like a ship on the ocean. The addressee's great capability to provide financial support is the "ocean," that the poets, with their verses, try to "sail." One could say that the poet is the "ship," and his verses are his "cargo."

So, figuratively, the addressee offers an "ocean" of wealth, social status, and opportunity. The Poet and his competitor are "ships" trying to sail that ocean, with their "cargo" of verses.

L11: wracked =shipwrecked.
So in the original. "Wracked" is approximately "wrecked," but not exactly. The word "wrack" is archaic, or literary, and it is used to refer to a shipwreck, in particular. (The word "wracked" would not properly apply to, for example, a wagon being wrecked.) "Being wracked" = being shipwrecked.

L14: decay = ruin.
In line 14, the Poet means it will be that his love for the addressee has misled him, like making a serious navigational error, causing his ship to run onto the rocks, poetically speaking. The Poet honors love very highly, and he doesn't like to think of being misguided by it.

. Sonnet 81 .

(original language, but moderately updated)

01. Or I shall live your Epitaph to make,

02. Or you survive when I in earth am rotten,

03. From hence your memory death cannot take,

04. Although in me each part will be forgotten.

05. Your name from hence immortal life shall have,

06. Though I (once gone) to all the world must die,

07. The earth can yield me but a common grave,

08. When you entombed in men's eyes shall lie.

09. Your monument shall be my gentle verse,

10. Which eyes not yet created shall o'er-read,

11. And tongues to be, your being shall rehearse,

12. When all the breathers of this world are dead,

13. You still shall live (such virtue hath my Pen)

14. Where breath most breathes, even in the mouths of men.

. Sonnet 81 .

(paraphrased)

01. Whether I shall live to write your epitaph,

02. Or you're still alive when I'm dead and buried in the earth,

03. From this time forward, death cannot take away
the memory of you, from among men,
04. Although everything about me will be forgotten.

05. From now on, your personality shall have immortal life,

06. Although I (when I'm gone) will just die, as far as all the world knows,

07. All that the earth can provide to me, in the future, is an ordinary grave,

08. While you shall reside in the "house" of men's eyes.

09. Your remembrance, among men, shall be through my noble verse,

10. Which the eyes of persons not yet born will read, in the future,

11. And voices, that don't yet exist, shall rehearse your personality,

12. When all the actors of these present times are dead.

13. You shall always exist (because my writing has that power)

14. Where life speaks the most, from the mouths of living men.

Sonnet 81 Gloss

L1: Or = either.

L1: make = write.

L2: rotten = dead and buried.

L4: part = role.

L5: name = character name.

L8: entombed = housed.
Compare the French 'maison mortuaire' = house of the dead. A tomb or grave is figuratively a "house."

L8: lie = be placed. "Reside."

L9: monument = remembrance.

L9: gentle = noble.
It has the implication of being a "ruler." The Poet is saying this is an area where his verse will "rule." Nobility implies ruling a domain.

L11: being = personality.

L11: rehearse - The word is literal.
The Poet is referring to the addressee serving as the basis for a play character, in a Shakespeare play.

L12: breathers = speakers. Actors.

L12: of this world = of this time.

L13: still = always.

L13: live = exist (after a fashion.)

L13: Pen = writing ability.

L14: breath = life.

L14: breathes = speaks.

Sonnet 81 Notes

In Sonnet 81, the Poet is alluding to the fact that he has made the addressee a play character. Since the Poet expressed such confidence, it means he knew the play was already published. The "name" of line 5 is, in fact, known to the world, however, it is not the addressee's personal name, it's his Shakespeare character name in one of the plays. Exactly which play, and which character, is not apparent from the Sonnet. The "gentle verse" of line 9 is not this Sonnet, it is reference to the verse in a play. Shakespeare was mostly a playwright, of course.
-------

. Sonnet 82 .

(original language, but moderately updated)

01. I Grant thou wert not married to my Muse,

02. And therefore mayst without attaint o'erlook

03. The dedicated words which writers use

04. Of their fair subject, blessing every book.

05. Thou art as fair in knowledge as in hue,

06. Finding thy worth a limit past my praise,

07. And therefore art enforc'd to seek anew,

08. Some fresher stamp of the time-bettering days.

09. And do so love, yet when they have devised,

10. What strained touches Rhetoric can lend,

11. Thou truly fair, wert truly sympathized

12. In true plain words, by thy true-telling friend.

13. And their gross painting might be better us'd

14. Where cheeks need blood, in thee it is abus'd.

. Sonnet 82 .

(paraphrased)

01. I admit you were not legally and morally bound to my poetry,
or to any poetry,
02. And you therefore may, without penalty, ignore

03. The dedications which writers compose

04. To their fair subject, hoping that every book they write will be
"blessed" by subsequent patronage.
05. You are as wise as you are handsome, and

06. Describing your quality is something beyond the limit of my ability
to offer praise,
07. And therefore, I understand if you are compelled to look again for

08. Some newer endorsement, from a fresh writer, in these innovative
times in which we live.
09. And do so, my beloved friend, yet, after other writers have devised

10. Whatever artificial touches that their rhetoric can offer,

11. (It remains that) You, who are truly fair, were truly reflected

12. In true, plain words, from your truth-telling friend, (me,)

13. And their excessive depictions might be put to better use
speaking of someone
14. Whose features lack natural beauty - for you, such "cosmetic"
portrayals are an abuse.

Sonnet 82 Gloss

L1: Grant = admit.
The word was capitalized in the original publication merely as printing style.

L1: married = legally and morally bound.

L1: Muse = poetry.
The Poet's Muse for his Sonnets is Euterpe, the Muse of lyric poetry.

L2: attaint = penalty.

L2: o'erlook = ignore.

L3: dedicated words = dedication. (Note, to the right.)

L4: Of = to.

L4: blessing - Refers to the writer hoping his book will be "blessed" by the noble patron to whom he dedicated it, so the nobleman will financially reward him.

L5: fair in knowledge = intelligent; wise.

L5: hue = complexion. (Handsome) appearance.

L7: enforc'd = forced; compelled. (Note, to the right.)

L7: seek anew = look again (for.)

L8: stamp = endorsement.

L8: time-bettering = innovative.

L9: they = other writers.

L10: strained = forced; contrived. Artificial.

L10: Rhetoric = artful language.
Capitalized in the original because it's a formal field of study. "Rhetoric" is not poetry, so there's reference to a different kind of writing, something other than verse. The Muse of Rhetoric is Polyhymnia.

L10: lend = offer.

L11: sympathized = reflected. (Note, to the right.)

L12: true-telling = truth telling.

L13: gross painting = excessive

L14: abus'd = badly overdone.

Sonnet 82 Notes

William Shakespeare might have written Sonnet 82 to the Earl of Southampton, and it might have reference to Thomas Nashe. Conjecturally, the sequence of events would be, Shakespeare dedicated Venus and Adonis (published 1593) to Southampton, who rewarded Shakespeare for it, and Shakespeare then dedicated Lucrece (1594) to Southampton. Nashe dedicated The Unfortunate Traveller (1594) to Southampton, who consequently took an interest in him, and gave some financial support to Nashe, instead of to Shakespeare. It's apparently true that Nashe was the "freshest" thing on the London literary scene, in more ways than one, while he lasted, and speaking of "rhetoric" in connection with Nashe would be right on the mark. (Nashe was no poet, to speak of, rather he was an essayist.) The Sonnet 82 mention of ignoring a dedication, in lines 2 to 4, would refer to Southampton ignoring the Lucrece dedication. If this conjecture, about Southampton and Nashe, has validity, it would place Sonnet 82 in late 1594 or 1595.

Elsewhere, you may see Sonnet 82 called a "rival poet" Sonnet. That's wrong. The other writers referenced in this Sonnet are not poets. The word "Rhetoric" tells us that, following from line 1 of the Sonnet.

01. I Grant thou wert not married to my Muse

The Poet's Muse for his Sonnets is the Muse of lyric poetry, Euterpe. The Muse of Rhetoric is Polyhymnia. We are therefore told that the addressee, not being "married" to Euterpe, the Muse of Lyric Poetry, has turned to Polyhymnia, the Muse of Rhetoric. The inescapable conclusion is that the other writers the Poet is talking about, in Sonnet 82, are not poets.
-------

L3: dedicated words = dedication.
In Elizabethan times, writers would dedicate books to a noble person, either in hopes of receiving patronage, or in gratitude for patronage already received. Shakespeare did that in dedicating Venus and Adonis and Lucrece to the Earl of Southampton. There was nothing legally or morally binding about a book dedication, so a nobleman could simply ignore it.

L7: enforc'd = forced; compelled.
The word "enforst" appears in Thomas Nashe's dedication to the Earl of Southampton in The Unfortunate Traveller. It's one of the things about this Sonnet that hints of Southampton and Nashe.

L11: sympathized = reflected.
It's the idea of a person's depiction being in sympathy with him, matching him exactly, like a reflection in a mirror. Thomas Nashe, in Christ's Tears over Jerusalem, wrote of "... ending my Italianate coined verbs all in -ize," thus the use of "sympathized" here can be read to carry a slight hint of Nashe's writing.

--------

The reasons for supposing Sonnet 82 might have reference to Henry Wriothesley, the 3rd Earl of Southampton, and to Thomas Nashe, are as follows.

1. The reference to book dedications - with the Shakespeare dedications of Venus and Adonis and Lucrece to Southampton being well known, and that of Nashe to Southampton being a known fact, the same year as Lucrece.

2. The statement in the Sonnet that the addressee has turned away from poetry to "rhetorical" writing, and Nashe being a rhetorician, and not a poet.

3. Verbal hints, including "enforst" and "sympathized," as already noted.

It is not much to go on, but it's enough that the hypothesis of Southampton and Nashe is worth mentioning.

. Sonnet 83 .

(original language, but moderately updated)

01. I Never saw that you did painting need,

02. And therefore to your fair no painting set,

03. I found (or thought I found) you did exceed,

04. The barren tender of a Poet's debt;

05. And therefore have I slept in your report,

06. That you yourself being extant well might show,

07. How far a modern quill doth come too short,

08. Speaking of worth, what worth in you doth grow;

09. This silence for my sin you did impute,

10. Which shall be most my glory being dumb,

11. For I impair not beauty being mute,

12. When others would give life, and bring a tomb.

13. There lives more life in one of your fair eyes,

14. Than both your Poets can in praise devise.

. Sonnet 83 .

(paraphrased)

01. I never saw that you needed to be artificially enhanced,

02. And therefore, to your beauty, I applied nothing artificial;

03. I saw (or thought I saw) that you were beyond

04. The pointless offer of a poet's verse;

05. And therefore, I have done nothing on your account,

06. Since you, who exist, might well show, yourself,

07. How far a contemporary writer comes up short

08. When he tries to speak of quality, compared to the quality
that lives within you;
09. You reckoned my silence as an offense by me,

10. But I should earn a halo by remaining silent,

11. Because I don't impair your beauty, or anybody's,
merely by not writing of it,
12. While there are others who would try to give you life,
but poetically, they'd smother you to death with their verse.
13. There's more life living in one of your lovely eyes,

14. Than both your poets, together, could make up in trying to praise you.

Sonnet 83 Gloss

L1: painting = artificial enhancement (like facial cosmetics.)

L2: fair = handsomeness; beauty.

L2: set = applied.

L3: found = saw.

L4: barren = pointless.

L4: tender = offer.

L4: debt = obligation.
A poet "pays his debt" with poetry, therefore "debt" = poetic verse.

L5: slept = done nothing; saved my energy.

L5: in your report = on your account.

L7: modern - As opposed to classical.
It's a compliment, that the addressee would need a classical poet like Homer to do him justice.

L8: grow = live.
Growing things are alive.

L9: sin = offense.

L10: glory = halo.
The meaning is ascertained by contrast with "sin" in line 9. The Poet is saying he's been more saint than sinner, by not writing about the addressee. Instead of being accused of "sin," he should get a halo for keeping quiet.

L12: tomb = (poetic) death.
The implication is, smothered to death with verse, figuratively speaking.

Sonnet 83 Notes

It appears Sonnet 83 concerns a competition the addressee tried to encourage between Shakespeare and another poet, but Shakespeare didn't want to play the game, and didn't respond at that time. Now, in Sonnet 83, he explains why not. He apparently didn't appreciate the attempt to put him in that situation. He challenges the addressee to show himself as a person of beauty and quality, which beats any poetry. Sonnet 83 contains a subtle, genteel correction of the addressee's manners, which is quite interesting since the addressee must have been of higher social rank.
-------

. Sonnet 84 .

(original language, but moderately updated)

01. Who is it that says most, which can say more,

02. Than this rich praise, that you alone, are you

03. In whose confine immured is the store,

04. Which should example where your equal grew,

05. Lean penury within that Pen doth dwell,

06. That to his subject lends not some small glory,

07. But he that writes of you, if he can tell,

08. That you are you, so dignifies his story.

09. Let him but copy what in you is writ,

10. Not making worse what nature made so clear,

11. And such a counterpart shall fame his wit,

12. Making his style admired everywhere.

13. You to your beauteous blessings add a curse,

14. Being fond on praise, which makes your praises worse.

. Sonnet 84 .

(paraphrased)

01. It is he who says most, who can say more

02. Than the high praise that you, alone, are the one

03. In whose person is enclosed the inventory, (of qualities,)

04. That should show where your equal can be found, (which is nowhere.)

05. Meager poverty of expression exists within the poet

06. Who cannot lend at least some small glory to his subject,

07. But he who writes of you, if he can only tell

08. That you are you, he'll greatly dignify his writing.

09. Let him only copy what is already "written" in you,

10. Without making worse what nature made so plain,

11. And such a correspondence, between you and what he writes,
will make his wit famous,
12. And make his style admired by everyone.

13. But you harm the beauty with which you are blessed,

14. By doting on praise, which diminishes your praiseworthiness.

Sonnet 84 Gloss

L2: rich = high.

L2: (the second) you = he; or, 'one.'

L3: confine = area; territory. Person.
Implies "body" from the concept the Poet used elsewhere of one's body being one's "earth." So, 'person.'

L4: immured = enclosed.

L3: store - Of that which is praiseworthy. Inventory.

L4: example = exhibit; illustrate. Show.

L4: grew = could be found.

L5: lean = meager.

L5: penury = poverty (of expression.)

L8: so = greatly.

L10: made so clear - The phrase is highly facetious. The Poet knew he wrote this Sonnet is an obscure way, and he did so quite intentionally.

L11: counterpart = correspondence.

L11: fame = make famous.

L14: Being fond on = doting on.

Sonnet 84 Notes

. Sonnet 85 .

(original language, but moderately updated)

01. My tongue-tied Muse in manners holds her still,

02. While comments of your praise, richly compil'd,

03. Reserve their Character with golden quill,

04. And precious phrase by all the Muses fil'd.

05. I think good thoughts, whilst other write good words,

06. And like unlettered clerk still cry Amen,

07. To every Hymn that able spirit affords,

08. In polished form of well-refined pen.

09. Hearing you praised, I say 'tis so, 'tis true,

10. And to the most of praise add something more,

11. But that is in my thought, whose love to you

12. (Though words come hindmost) holds his rank before,

13. Then others, for the breath of words respect,

14. Me for my dumb thoughts, speaking in effect.

. Sonnet 85 .

(paraphrased)

01. My abashed Muse, out of politeness, keeps silent,

02. While descriptions in praise of you, richly assembled,

03. Save their impressions of you, in writing, written by talented authors,

04. And in precious phrases inspired by all the various Muses;

05. I think good thoughts of you, while others write good words of you,

06. And as if I'm only an illiterate parish clerk, during a church service,
I always cry "Amen!"
07. To every paean to you that an able poet can offer,

08. In polished verse, from his impeccable pen.

09. When I hear you praised, I say, "it's so, it's true,"

10. And to the highest of praise I add something more,

11. But what I add is in my thoughts, whose love for you

12. (Though my words trail those of others) holds first place;

13. So, respect others for the words they write,

14. But respect me for my silent thoughts, which do speak in effect.

Sonnet 85 Gloss

L1: tongue-tied = abashed; shy.

L1: holds = keeps.

L2: comments = descriptions

L2: compil'd = composed; assembled.

L3: Reserve = save.

L3: Character = impression.
Probably capitalized in the original because of reference to the addressee, since the descriptions are of the addressee.

L4: fil'd = filed = assorted; various. (Note, to the right.)

L5: other = other poets.

L6: unlettered = illiterate.

L6: clerk = parish clerk.
A layman functionary in the ch