Shakespeare's sonnets

417:

only four dedications and three prefaces. It has been suggested that Thorpe signing the dedication, rather than the author, might indicate that Thorpe published the work without obtaining Shakespeare's permission. Though Thorpe's taking on the dedication may be explained by the great demands of business and travel that Shakespeare was facing at this time, which may have caused him to deal with the printing production in haste before rushing out of town. After all, May 1609 was an extraordinary time: That month saw a serious outbreak of the plague, which shut down the theatres, and also caused many to flee London. Plus Shakespeare's theatre company was on tour from Ipswich to Oxford. In addition, Shakespeare had been away from Stratford and in the same month, May, was being called on to tend to family and business there, and deal with the litigation of a lawsuit in Warwickshire that involved a substantial amount of money.

441: 575: 671:). The young man is handsome, self-centred, universally admired and much sought after. The sequence begins with the poet urging the young man to marry and father children (sonnets 1–17). It continues with the friendship developing with the poet's loving admiration, which at times is homoerotic in nature. Then comes a set of betrayals by the young man, as he is seduced by the Dark Lady, and they maintain a liaison (sonnets 133, 134 & 144), all of which the poet struggles to abide. It concludes with the poet's own act of betrayal, resulting in his independence from the fair youth (sonnet 152). 1064:, suggests that the non-expert reader, who is thoughtful and engaged, does not need that much help in understanding the sonnets: though, he states, the reader may often feel mystified when trying to decide, for example, if a word or passage has a concrete meaning or an abstract meaning; laying that kind of perplexity in the reader's path for the reader to deal with is an essential part of reading the sonnets—the reader doesn't always benefit from having knots untangled and double-meanings simplified by the experts, according to Hammond. 1660:(Numbers 1, 6, 8, 76, and 102). These sonnets contain comic imperfections, including awkward phrasing, and problems with the meter. After Berowne is caught breaking his vow, and exposed by the sonnet he composed, he passionately renounces speech that is affected, and vows to prefer plain country speech. Ironically, when proclaiming this he demonstrates that he can't seem to avoid rich courtly language, and his speech happens to fall into the meter and rhyme of a sonnet. ("O, never will I trust to speeches penned…") 46: 904:"A Lover's Complaint" begins with a young woman weeping at the edge of a river, into which she throws torn-up letters, rings, and other tokens of love. An old man nearby approaches her and asks the reason for her sorrow. She responds by telling him of a former lover who pursued, seduced, and finally abandoned her. She recounts in detail the speech her lover gave to her which seduced her. She concludes her story by conceding that she would fall for the young man's false charms again. 863:. It is an example of a normal feature of the two-part poetic form, in which the first part expresses the male point of view, and the second part contrasts or complements the first part with the female's point of view. The first part of the quarto, the 154 sonnets, considers frustrated male desire, and the second part, "A Lover's Complaint", expresses the misery of a woman victimized by male desire. The earliest Elizabethan example of this two-part structure is Samuel Daniel's 655:

then so does the Fair Youth. Current linguistic analysis and historical evidence suggests, however, that the sonnets to the Dark Lady were composed first (around 1591–95), the procreation sonnets next, and the later sonnets to the Fair Youth last (1597–1603). It is not known whether the poems and their characters are fiction or autobiographical; scholars who find the sonnets to be autobiographical have attempted to identify the characters with historical individuals.

5159: 784:. The Dark Lady presents an adequate receptor for male desire. She is celebrated in cocky terms that would be offensive to her, not that she would be able to read or understand what is said. Soon the speaker rebukes her for enslaving his fair friend (sonnet 133). He can't abide the triangular relationship, and it ends with him rejecting her. As with the Fair Youth, there have been many attempts to identify her with a real historical individual. Lucy Negro, 4500: 1654:, the King and his three lords have all vowed to live like monks, to study, to give up worldly things, and to see no women. All of them break the last part of the vow by falling in love. The lord Longaville expresses his love in a sonnet ("Did not the heavenly rhetoric of thine eye…"), and the lord Berowne does, too—a hexameter sonnet ("If love make me forsworn, how shall I swear to love?")–a form Sidney uses in six of the sonnets in 1680:, the character of Chorus, who has addressed the audience a few times during the play, speaks the wide-ranging epilogue/sonnet. It begins by allowing that the play may not have presented the story in its full glory. It points out that the next king would be Henry VI, who was an infant when he succeeded Henry V, and who "lost France, and made his England bleed/ Which oft our stage hath shown." It refers to the three parts of 5805: 780:). The Dark Lady is so called because she has black hair and "dun" skin. The Dark Lady suddenly appears (Sonnet 127), and she and the speaker of the sonnets, the poet, are in a sexual relationship. She is not aristocratic, young, beautiful, intelligent or chaste. Her complexion is muddy, her breath "reeks", and she is ungainly when she walks. The relationship strongly parallels Touchstone's pursuit of Audrey in 3601: 5815: 288:, are addressed to the young man—urging him to marry and have children in order to immortalize his beauty by passing it to the next generation. Other sonnets express the speaker's love for the young man; brood upon loneliness, death, and the transience of life; seem to criticise the young man for preferring a rival poet; express ambiguous feelings for the speaker's 1763:—sonnets by Beatrice and Benedick—and though not committed to paper, they were in Shakespeare's mind. The first one, revealed by Claudio, is described as "A halting sonnet of his own pure brain/Fashion'd to Beatrice". The second, found by Hero, was "Writ in my cousin's hand, stolen from her pocket/Containing her affection unto Benedick". 1011:(1609), which he rewrites and rearranges. Benson imperfectly rewrites the sonnets to make them appear to be addressing a woman—the pronoun "he" is often replaced by "she". This edition is unfortunately influential and resulted in confusing and confounding various critical understanding and response for more than a century. 678:, the 3rd Earl of Southampton; this is based in part on the idea that his physical features, age, and personality might fairly match the young man in the sonnets. He was both an admirer and patron of Shakespeare and was considered one of the most prominent nobles of the period. It is also noted that Shakespeare's 1593 poem 465:(1616), in which the text of Jonson's dedication begins, "MY LORD, While you cannot change your merit, I dare not change your title … " Jonson's emphasis on Pembroke's title, and his comment, seem to be chiding someone else who had the audacity to use the wrong title, as perhaps is the case in Shakespeare's dedication. 269:. The title appears in upper case lettering on the title page, where it is followed by the phrase "Neuer before Imprinted". The title also appears every time the quarto is opened. That the author's name in a possessive form is part of the title sets it apart from all other sonnet collections of the time, except for one— 461:. Thorpe would have been unlikely to have addressed a lord as "Mr", but there may be an explanation, perhaps that form of address came from the author, who wanted to refer to Herbert at an earlier time—when Herbert was a "younger man". There is a later dedication to Herbert in another quarto of verse, Ben Jonson's 429:", is not known for certain. His identity has been the subject of a great amount of speculation: That he was the author's patron, that he was both patron and the "faire youth" who is addressed in the sonnets, that the "faire youth" is based on Mr. W.H. in some sonnets but not others, and a number of other ideas. 1049:

He may have been inspired out of literary ambition, and a desire to carve new paths apart from the well-worn tradition. Or he may have been inspired by biographical elements in his life. It is thought that the biographical aspects have been over-explored and over-speculated on, especially in the face

965:

January 1600 – an entry in the Stationers' Register is for a work that will include "certain other sonnets by W.S." This may suggest that Shakespeare planned to respond right away and correct the impression left by Jaggard's book with Shakespeare's own publication, or the entry may have been merely a

842:

It may be that the Rival Poet is a composite of several poets through which Shakespeare explores his sense of being threatened by competing poets. The speaker sees the Rival Poet as competition for fame and patronage. The sonnets most commonly identified as the Rival Poet group exist within the Fair

654:

When analysed as characters, the subjects of the sonnets are usually referred to as the Fair Youth, the Rival Poet, and the Dark Lady. The speaker expresses admiration for the Fair Youth's beauty, and—if reading the sonnets in chronological order as published—later has an affair with the Dark Lady,

1018:

is also a feature of 17th-century commonplace books which include Sonnet 2, the most popular sonnet to appear in such collections. In Margaret Bellasys' commonplace book the poem appears with the non-gendered title, 'Spes Altera'. In IA's commonplace book, the gender of the addressee is explicitly

951:

It is an anthology of 20 poems. This small publication contained some spurious content falsely ascribed to Shakespeare; it also contained four sonnets that can be said to be by Shakespeare: Two of the four appear to be early versions of sonnets that were later published in the 1609 quarto (numbers

924:

is published as a quarto; the play's title page suggests it is a revision of an earlier version. The comedy features the King of Navarre and his lords who express their love in sonnet form for the Queen of France and her ladies. This play is believed to have been performed at the Inns of Court for

416:

The initials "T.T." are taken to refer to the publisher, Thomas Thorpe. Thorpe usually signed prefatory matter only if the author was out of the country or dead, which suggests that Shakespeare was not in London during the last stage of printing. However, Thorpe's entire corpus of such consists of

1644:

The sonnets that Shakespeare satirizes in his plays are sonnets written in the tradition of Petrarch and Sidney, whereas Shakespeare's sonnets published in the quarto of 1609 take a radical turn away from that older style, and have none of the lovelorn qualities that are mocked in the plays. The

749:

A problem with identifying the fair youth with Southampton is that the most certainly datable events referred to in the Sonnets are the fall of Essex and then the gunpowder plotters' executions in 1606, which puts Southampton at the age of 33, and then 39 when the sonnets were published, when he

645:

Apart from rhyme, and considering only the arrangement of ideas, and the placement of the volta, a number of sonnets maintain the two-part organization of the Italian sonnet. In that case the term "octave" and "sestet" are commonly used to refer to the sonnet's first eight lines followed by the

433: 1779:

has recently become accepted as part of Shakespeare's canon of plays. It was considered an anonymous work, and that is how it was first published, but in the late 1990s it began to be included in publications of the complete works as co-authored by Shakespeare. Scholars who have supported this

1606:

There are sonnets written by Shakespeare that occur in his plays, and these include his earliest sonnets. They differ from the 154 sonnets published in the 1609, because they may lack the deep introspection, for example, and they are written to serve the needs of a performance, exposition or

3604: 961:

were, in the context of the play, written by comic characters who were intended to be seen as amateur sonneteers. Jaggard's piracy sold well—a second printing was quickly ordered—but it, including poetry falsely ascribed to Shakespeare, must have been a disappointment to Shakespeare's

1084:

with the perfection of the English sonnet. Towards the end of the nineteenth century, Shakespeare and Milton seemed to be on an equal footing, but critics, burdened by an over-emphasis on biographical explorations, continued to contend with each other for decades on this point.

1045:

In his plays, Shakespeare himself seemed to be a satiric critic of sonnets—the allusions to them are often scornful. Then he went on to create one of the longest sonnet-sequences of his era, a sequence that took some sharp turns away from the tradition.

1819:

The king, Edward III, has fallen in love with the Countess of Salisbury, and he tells Lodowick, his secretary, to fetch ink and paper. Edward wants Lodowick's help in composing a poem that will sing the praises of the countess. Lodowick has a question:

980:. The contents include a collection of 154 sonnets followed by the poem "A Lover's Complaint". This publication was greeted with near silence in the documentary record, especially when compared with the lively reception that followed the publication of 956:

Sonnets 138 and 144 are anything but the sweet sonnets hinted at by Francis Meres' comment. They are instead harshly frank, ironic and recriminative regarding the relationship of the speaker and the Dark Lady. The two sonnets that were taken from

761:

proposed that the Fair Youth was William Hughes, a seductive young actor who played female roles in Shakespeare's plays. Particularly, Wilde claimed that he was the Mr. W.H. referred to in the dedication attached to the manuscript of the Sonnets.

542:

Who He. It has been argued that the dedication is deliberately ambiguous, possibly standing for "Who He", a conceit also used in a contemporary pamphlet. It might have been created by Thorpe to encourage speculation and discussion (and hence,

1002:

publishes an anthology of poems; some are by Shakespeare, and about 30 are not, but all are ascribed to Shakespeare. It is titled "Poems: Written by Wil. Shakespeare Gent". Benson is even more wildly piratical than Jaggard. Benson draws on

939:

As the soule of Euphorbus was thought to live in Pythagoras: so the sweete wittie soule of Ouid liues in mellifluous & hony-tongued Shakespeare, witnes his Venus and Adonis, his Lucrece, his sugred Sonnets among his private friends,

281:. The idea that the persona referred to as the speaker of Shakespeare's sonnets might be Shakespeare himself, is aggressively repudiated by scholars; however, the title of the quarto does seem to encourage that kind of speculation. 810:

The Rival Poet's identity remains a mystery. If Shakespeare's patron and friend was Pembroke, Shakespeare was not the only poet who praised his beauty; Francis Davison did in a sonnet that is the preface to Davison's quarto

1702:: The prologue to the play ("Two households, both alike in dignity…"), the prologue to the second act ("Now old desire doth in his death-bed lie…"), and set in the form of dialogue at the moment when Romeo and Juliet meet: 238:

The sonnets cover such themes as the passage of time, love, infidelity, jealousy, beauty and mortality. The first 126 are addressed to a young man; the last 28 are either addressed to, or refer to, a woman. (Sonnets

888:

The young man of the sonnets and the young man of "A Lover's Complaint" provide a thematic link between the two parts. In each part the young man is handsome, wealthy and promiscuous, unreliable and admired by all.

896:" also has a possessive form in its title, which is followed by its own assertion of the author's name. This time the possessive word, "Lover's", refers to a woman, who becomes the primary "speaker" of the work. 917:

is published. The spoken prologue to the play, and the prologue to Act II are both written in sonnet form, and the first meeting of the star-crossed lovers is written as a sonnet woven into the dialogue.

2796: 867:(1592)—a sonnet sequence that tells the story of a woman being threatened by a man of higher rank, followed by the woman's complaint. This was imitated by other poets, including Shakespeare with his 1804:, and others. The play, printed in 1596, contains language and themes that also appear in Shakespeare's sonnets, including the line: "Lilies that fester smell far worse than weeds", which occurs in 277:, which is considered one of Shakespeare's most important models. Sidney's title may have inspired Shakespeare, particularly if the "W.H." of Shakespeare's dedication is Sidney's nephew and heir, 995:(1612), writing that Shakespeare was "much offended" with Jaggard for making "so bold with his name." Jaggard withdraws the attribution to Shakespeare from unsold copies of the 1612 edition. 684:

is dedicated to Southampton and, in that poem a young man, Adonis, is encouraged by the goddess of love, Venus, to beget a child, which is a theme in the sonnets. Here are the verses from

615:

scheme is ABAB CDCD EFEF GG. Sonnets using this scheme are known as Shakespearean sonnets, or English sonnets, or Elizabethan sonnets. Often, at the end of the third quatrain occurs the

1676:

is written in the form of a sonnet ("Thus far with rough, and all-unable pen…"). Formal epilogues were established as a theatrical tradition, and occur in 13 of Shakespeare's plays. In

1054:

and by scholars such as Stephen Booth and Helen Vendler) to the text itself, which is studied and appreciated linguistically as a "highly complex structure of language and ideas".

440: 1812:. The scene of the play that contains those quotations is a comic scene that features a poet attempting to compose a love poem at the behest of his king, Edward III. At the time 512:, a printer who had worked with Thorpe. It is noted that "ALL" following "MR. W. H." spells "MR. W. HALL". Using his initials W.H., Hall had edited a collection of the poems of 5459: 231:". Thirteen copies of the quarto have survived in fairly good shape. There is evidence in a note on the title page of one of the extant copies that the great Elizabethan actor 776:

The Dark Lady sequence (sonnets 127–152) is the most defiant of the sonnet tradition. The sequence distinguishes itself from the Fair Youth sequence with its overt sexuality (

140:

on a variety of themes. When discussing or referring to Shakespeare's sonnets, it is almost always a reference to the 154 sonnets that were first published all together in a

1057:

Besides the biographic and the linguistic approaches, another way of considering Shakespeare's sonnets is in the context of the culture and literature that surrounds them.

3787: 5562: 5615: 1841:

The king then expresses and dictates his passion in exuberant poetry, and asks Lodowick to read back to him what he has been able to write down. Lodowick reads:

4701: 2787: 1560: 859:"A Lover's Complaint" is part two of the quarto published in 1609. It is not written in the sonnet form, but is composed of 47 seven-line stanzas written in 5117: 5112: 675: 468: 444: 5180: 934:, which was entered on the Stationers' Register on 7 September that year. In it he mentions that sonnets by Shakespeare were being circulated privately: 5517: 3677: 5839: 1895: 5793: 5471: 5633: 5532: 3780: 646:

remaining six lines. There are other line-groupings as well, as Shakespeare finds inventive ways with the content of the fourteen-line poems.

5628: 5060: 3182: 3142: 2756: 2581: 2407: 2143: 1363: 1248: 450: 278: 1240: 475:), with initials reversed, has received a great deal of consideration as a likely possibility. He was the dedicatee of Shakespeare's poems 5129: 344: 319:

Tho. Thorpe. Entred for his copie under the handes of master Wilson and master Lownes Wardenes a booke called Shakespeares sonnettes vjd.

5706: 5209: 5068: 680: 477: 966:"staying entry" not regarding an upcoming publication, but intended to prevent Jaggard from publishing any more sonnets by Shakespeare. 3536: 3500: 3464: 3388: 3250: 3162: 3122: 3089: 3069: 3022: 3001: 2937: 2916: 2866: 2846: 2826: 2731: 2695: 2671: 2646: 2538: 2351: 2242: 2208: 2188: 2167: 2007: 1983: 1596: 1530: 1492: 1413: 1325: 5818: 5572: 4694: 2971: 2272: 2100: 1630: 1568: 1455: 1286: 5542: 3773: 1858:

When the countess enters, the poetry-writing scene is interrupted without Lodowick having accomplished much poetry—only two lines:

574: 5610: 5605: 5537: 1431: 524: 5585: 5580: 5500: 3688: 1076: 634:. Number 99 has fifteen lines. Number 126 consists of six couplets, and two blank lines marked with italic brackets; 145 is in 3589: 5139: 2621: 1026:, in his two volume supplement to the 1778 Johnson-Stevens edition of the plays, finally instates the 1609 quarto edition of 5552: 5324: 5099: 1637:, a partial sonnet is read, and Bertram comments, "He shall be whipp'd through the army with this rhyme in's forehead." In 642:, the rhyme scheme is changed by repeating the second (B) rhyme of quatrain one as the second (F) rhyme of quatrain three. 5453: 1401: 530: 5808: 5675: 5491: 5144: 4792: 4736: 4687: 2428: 1881: 404:, perhaps accentuating the declaration in Sonnet 55 that the work would confer immortality to the subjects of the work: 189: 5481: 5429: 5303: 4835: 4499: 2324: 5442: 674:

The identity of the Fair Youth has been the subject of speculation among scholars. One popular theory is that he was

176:

Shakespeare's sonnets are considered a continuation of the sonnet tradition that swept through the Renaissance from

5649: 5367: 5195: 5134: 5094: 4785: 4764: 1650: 1480: 1405: 393:

The upper case letters and the stops that follow each word of the dedication were probably intended to resemble an

203:

Instead of expressing worshipful love for an almost goddess-like yet unobtainable female love-object, as Petrarch,

158: 1033:

1986 – The New Penguin Shakespeare’s edition of the sonnets restores "A Lover's Complaint" as an integral part of

5668: 5663: 5620: 5496: 3668: 1615:

In Shakespeare's early comedies, the sonnets and sonnet-making of his characters are often objects of satire. In

1195: 1171: 663:

The "Fair Youth" is the unnamed young man addressed by the devoted poet in the greatest sequence of the sonnets (

562: 513: 5294: 2881:

MacD. P. Jackson (1 April 2005). "Francis Meres and the Cultural Contexts of Shakespeare's Rival Poet Sonnets".

1916: 973:

is entered into the Register of the Stationers' Company. The spoken epilogue is written in the form of a sonnet.

5527: 5466: 5447: 5434: 4806: 3036: 2043: 1801: 1474: 1266: 332: 5476: 5250: 4814: 4509: 3636: 2026: 1484: 1443: 1317: 1161: 999: 820: 771: 509: 265: 212: 457:, is seen as perhaps the most likely identity of Mr. W.H. and the "young man". He was the dedicatee of the 5680: 5407: 5345: 5265: 5188: 4799: 4778: 4718: 3153:

Sloan, Thomas O., editor. Waddington, Raymond B. editor. "Shakespeare's Sonnet 15 and the Art of Memory".

2158:

Honigmann, E.A.J. "There is a World Elsewhere, William Shakespeare, Businessman". Habitcht, W., editor.

1625: 1343: 1313: 947: 893: 252: 228: 2376:

Appleby, John C (2008). "Hervey, William, Baron Hervey of Kidbrooke and Baron Hervey of Ross (d. 1642)".

120: 5772: 5686: 5655: 5220: 4951: 4861: 4842: 3635:– Compare two sonnets side-by-side, see all of them together on one page, or view a range of sonnets on 1355: 793: 5557: 45: 3194:

Sanderlin, George (June 1939). "The Repute of Shakespeare's Sonnets in the Early Nineteenth Century".

5595: 5382: 5360: 4940: 4891: 4870: 4850: 4750: 4727: 2492: 1656: 1187: 582: 565:", and that the sonnets were written to a young actor who played female roles in Shakespeare's plays. 69: 144:

in 1609. However, there are six additional sonnets that Shakespeare wrote and included in the plays

5766: 5748: 5547: 5389: 5353: 5286: 5243: 5202: 4771: 4710: 3811: 3716: 2983:

Meres, Francis. Paladis Tamia. Wit's Treasury. Being the Second Part of Wits Commonwealth. (1598)

2092: 1876: 1108: 832: 503: 483: 472: 432: 285: 181: 133: 59: 30: 323:

Whether Thorpe used an authorised manuscript from Shakespeare or an unauthorised copy is unknown.

192:. With few exceptions, Shakespeare's sonnets observe the stylistic form of the English sonnet—the 5760: 5718: 5600: 5338: 5236: 5041: 3630: 3211: 1389: 109: 79: 3759: 3734: 873:, the last lines of which contain Lucrece's complaint. Other examples are found in the works of 3566: 215:. Shakespeare explores themes such as lust, homoeroticism, misogyny, infidelity, and acrimony. 5730: 5048: 4975: 4967: 3755: 3730: 3581: 3532: 3496: 3460: 3384: 3246: 3178: 3158: 3138: 3118: 3085: 3065: 3018: 2997: 2967: 2933: 2912: 2862: 2842: 2822: 2752: 2727: 2691: 2667: 2642: 2617: 2577: 2534: 2505: 2462: 2403: 2347: 2268: 2264: 2258: 2238: 2204: 2184: 2163: 2139: 2135: 2129: 2096: 2003: 1979: 1816:

was published, Shakespeare's sonnets were known by some, but they had not yet been published.

1797: 1775: 1592: 1574: 1564: 1536: 1526: 1498: 1488: 1461: 1451: 1419: 1409: 1369: 1359: 1351: 1331: 1321: 1292: 1282: 1254: 1244: 1198: 1175: 1140: 882: 635: 601: 164: 2664:

The Apocryphal William Shakespeare: Book One of A 'Third Way' Shakespeare Authorship Scenario

494:

A simple printing error for Shakespeare's initials, "W.S." or "W. Sh". This was suggested by

5844: 5754: 5742: 5736: 5331: 5258: 5158: 5032: 5025: 5017: 4994: 4987: 4960: 4933: 4919: 3203: 2890: 2433: 1436: 1383: 1233: 1216: 536: 495: 454: 401: 146: 5510: 5122: 5010: 4926: 3672: 3654: 3593: 3570: 2278: 2052: 1633:

and Benedick each write a sonnet, which serves as proof that they have fallen in love. In

1136: 874: 869: 754: 638:, not pentameters. In one other variation on the standard structure, found for example in 550: 3622: 2551: 2085: 1165: 1130: 3700: 1112: 5003: 4743: 2962:

Wells, Stanley, and Gary Taylor, with John Jowett and William Montgomery (1987, 1997),

2395: 1672: 1278: 930: 828: 619:("turn"), where the mood of the poem shifts, and the poet expresses a turn of thought. 328: 197: 152: 750:

would be past the age when he would be referred to as a "lovely boy" or "fair youth".

5833: 5778: 5724: 5486: 4828: 2391: 2019: 1785: 1781: 1553: 1548: 1522: 1510: 1447: 1379: 1271: 1212: 1208: 1118: 1051: 1023: 824: 789: 546: 499: 308: 289: 270: 232: 208: 89: 17: 5712: 5414: 5078: 3586: 2495:, The Sonnets, New Variorum Shakespeare, vol. 25 II, Lippincott, 1944, pp. 181–184. 2039: 1789: 1515: 1394: 1015: 878: 605: 394: 193: 1623:, sonnets are portrayed as evidence that love can render men weak and foolish. In 3765: 2639:

William Stanley as Shakespeare: Evidence of Authorship by the Sixth Earl of Derby

1306: 223:

The primary source of Shakespeare's sonnets is a quarto published in 1609 titled

5505: 5317: 5073: 4821: 3751: 3741: 3726: 3696: 2438: 2423: 1081: 860: 785: 758: 558: 458: 343: 3641: 991:, which had been published in 1599. Thomas Heywood protests this piracy in his 5590: 4877: 4664: 4659: 4643: 4638: 4633: 4628: 4623: 4618: 4613: 4608: 4603: 4598: 4593: 4588: 4583: 4578: 4573: 4568: 4563: 4558: 4553: 4548: 4543: 4538: 4533: 4528: 4523: 4518: 4485: 4469: 4464: 4459: 4454: 4449: 4444: 4439: 4434: 4429: 4424: 4419: 4414: 4409: 4404: 4399: 4394: 4389: 4384: 4379: 4374: 4369: 4364: 4359: 4354: 4349: 4344: 4217: 2443: 1891: 1809: 1126: 1012: 836: 805: 777: 668: 631: 627: 517: 324: 248: 244: 240: 125: 1373: 1144: 553:

proposed "William Hughes", based on puns on the name in the sonnets (notably

5522: 5374: 5310: 4898: 4757: 4339: 4334: 4329: 4324: 4319: 4314: 4309: 4304: 4299: 4294: 4289: 4284: 4279: 4266: 4261: 4256: 4251: 4246: 4241: 4236: 4231: 4226: 4207: 4202: 4197: 4192: 4187: 4182: 4177: 4172: 4167: 4162: 4157: 4152: 4147: 4142: 4137: 4132: 4127: 4122: 4117: 4112: 4107: 4102: 4097: 4092: 4087: 4082: 4077: 4072: 4067: 4062: 4057: 4052: 4047: 4042: 4037: 4032: 4027: 4022: 4017: 4012: 4007: 4002: 3997: 3992: 3987: 3982: 3977: 3972: 3967: 3962: 3957: 3952: 3947: 3942: 3937: 3932: 3927: 3922: 3917: 3912: 3899: 3894: 3889: 3884: 3879: 3874: 3869: 3864: 3660: 2466: 2282: 1805: 1793: 1578: 1540: 1502: 1465: 1423: 1335: 1258: 1132:

Shakespeares Sonnets: Being a reproduction in facsimile of the first edition

848: 844: 639: 623: 589: 578: 554: 180:

in 14th-century Italy and was finally introduced in 16th-century England by

1296: 1202: 1179: 200:. But, Shakespeare's sonnets introduce significant departures of content. 3859: 3854: 3849: 3844: 3839: 3834: 3829: 3824: 3819: 3610: 2894: 2724:

Lord Arthur Savile ́s Crime – The Portrait of Mr. W. H. and other Stories

2641:. Jefferson, NC: McFarland & Company, Inc., Publishers. p. 108. 1887: 1050:

of a paucity of evidence. The critical focus has turned instead (through

664: 397: 297: 293: 185: 177: 3232:, Vol. 20, No. 2 University of North Carolina Press. (1923). pp. 111–136 2857:

Wells, Stanley. Dobson, Michael. Sharpe, Will. Sullivan, Erin. editors.

952:

138 and 144); the other two were sonnets lifted from Shakespeare's play

5279: 5272: 5104: 4912: 4905: 3575: 3421:, Vol. 47, No. 1/2. The Johns Hopkins University Press (1984), pp. 7–16 3344:, Vol. 20, No. 2 University of North Carolina Press. (1923). p. 121–124 3215: 597: 593: 4679: 3665: 2686:

Duncan-Jones, Katherine. Woudhuysen, H. R. eds. Shakespeare, William.

2616:. New Delhi: Atlantic Publishers & Distributors. pp. 87, 89. 1645:

sonnets published in 1609 seem to be rebelling against the tradition.

1591:. foreword by HRH Charles Prince of Wales. Bloomington. World Wisdom. 987:

1612 – Jaggard issues an expanded edition of his piratical anthology,

4884: 1619:, sonnet-writing is portrayed cynically as a seduction technique. In 211:

had done, Shakespeare introduces a young man. He also introduces the

141: 137: 3207: 327:

printed the quarto, and the run was divided between the booksellers

3529:

Shakespeare's Edward III : An Early Play Restored to the Canon

3493:

Shakespeare's Edward III : An Early Play Restored to the Canon

3477:

The Problem of the Reign of King Edward III: A Statistical Approach

3446:, Vol. 20, No. 2 University of North Carolina Press. (1923). p. 121 2932:. The Arden Shakespeare, second series. London: Thomson Learning. 839:

are also candidates that find support among clues in the sonnets.

612: 573: 439: 431: 342: 301: 204: 3666:

Discussion of the identification of Emily Lanier as the Dark Lady

4683: 3769: 2426:(27 April 1867). "Moffat, N.B., Shakespeare's birthday, 1867". 1641:, the Dauphin suggests he will compose a sonnet to his horse. 976:

20 May 1609 – The entry in the Stationers' Register announces

227:

It contains 154 sonnets, which are followed by the long poem "

2131:

Shakespeare, A lover's complaint, and John Davies of Hereford

1235:

Shakespeare's Sonnets: With Three Hundred Years of Commentary

2263:(1st ed.). New York: Oxford University Press. pp. 1974:

Shakespeare, William (2010). Duncan-Jones, Katherine (ed.).

1097:

have been reprinted many times. Prominent editions include:

2711:. London: John W. Parker and Son West Strand. p. 163. 2400:

Berryman's Shakespeare: essays, letters and other writings

2992:

Duncan-Jones, Katherine; Woudhuysen, H. R., eds. (2007).

2322:

Foster, Donald W. (January 1987). "Master W.H., R.I.P.".

945:

1599 – William Jaggard published an octavo volume called

292:; and pun on the poet's name. The final two sonnets are 3155:

The Rhetoric of Renaissance Poetry from Wyatt to Milton

2690:. Arden Shakespeare. (28 September 2007) lines 163–174 1019:

changed with the title, 'To one that would die a mayd'.

3442:

Emerson, Oliver Farrar. "Shakespeare's Sonneteering".

3340:

Emerson, Oliver Farrar. "Shakespeare's Sonneteering".

3228:

Emerson, Oliver Farrar. "Shakespeare's Sonneteering".

2432:. Vol. 1867, no. 2061. London. p. 552. 3157:. University of California Press (1974). pp. 96–122. 2666:. Indianapolis, IN: Dog Ear Publishing. p. 110. 1688:— connecting the Lancastrian and the Yorkist cycles. 1521:. The Pelican Shakespeare (Rev. ed.). New York: 2788:"Has Shakespeare's dark lady finally been revealed?" 1808:

and the phrase "scarlet ornaments", which occurs in

1723:

For saints have hands that pilgrims' hands do touch,

707:

Seeds spring from seeds, and beauty breedeth beauty;

5699: 5642: 5571: 5428: 5399: 5228: 5219: 5166: 5087: 5059: 4950: 4860: 4726: 4717: 4652: 4507: 4478: 4216: 3810: 3803: 3084:The New Penguin Shakespeare. Harmondsworth (1986) 2749:

The World of Shakespeare's Sonnets: An Introduction

2222:

A New Variorum Edition of Shakespeare: The Sonnets.

1998:Shakespeare, William. Callaghan, Dympna, editor. 1836:What, thinkest thou I did bid thee praise a horse? 1743:

Saints do not move, though grant for prayers' sake.

1192:A New Variorum Edition of Shakespeare: The Sonnets 1074:reputation in England was relatively low; in 1805, 588:The sonnets are almost all constructed using three 162:. There is also a partial sonnet found in the play 115: 105: 95: 85: 75: 65: 55: 3642:Explore the Sonnets yourself, with Gramener's tool 3408:. Vol. 35 (1956), University of Texas Press. p. 11 3202:(6). The Johns Hopkins University Press: 462–466. 3060:Schoenfeldt, Michael Carl. Schoenfeldt, Michael. 2928:Shakespeare, William. Gibbons, Brian, ed. (1980). 2786: 2084: 1739:They pray, grant thou, lest faith turn to despair. 1552: 1514: 1435: 1393: 1305: 1270: 1232: 184:and was given its rhyming metre and division into 2876: 2874: 2461:. London: Houlston and Wright. pp. 105–106. 1863:More fair and chaste than is the queen of shades, 719:Upon the earth's increase why shouldst thou feed, 487:. Southampton was also known for his good looks. 2252: 2250: 1747:Then move not, while my prayer's effect I take. 1473:Mowat, Barbara A.; Werstine, Paul, eds. (2006). 701:Things growing to themselves are growth's abuse, 698:Herbs for their smell, and sappy plants to bear; 425:The identity of Mr. W.H., "the only begetter of 2297:William Shakespeare: Complete Sonnets and Poems 2260:William Shakespeare: a compact documentary life 1969: 1967: 1965: 1963: 1961: 1959: 1957: 1860: 1843: 1822: 1737:O, then, dear saint, let lips do what hands do; 1733:Ay, pilgrim, lips that they must use in prayer. 1704: 937: 728:That thine may live when thou thyself art dead; 406: 360: 3513:The New Cambridge Shakespeare: King Edward III 3080:Shakespeare, William. Kerrigan, John, editor. 3013:Shakespeare, William (2008). Gary Taylor, ed. 2726:. Main, Germany: Outlook. pp. 82–83, 87. 1955: 1953: 1951: 1949: 1947: 1945: 1943: 1941: 1939: 1937: 1917:"First edition of Shakespeare's Sonnets, 1609" 1719:Good pilgrim, you do wrong your hand too much, 1715:To smooth that rough touch with a tender kiss. 4695: 3781: 2366:Westminster, Constable and Co., 1902; p. 216. 1561:The Belknap Press of Harvard University Press 1114:Shake-speares Sonnets: Never Before Imprinted 411:Of princes shall outlive this pow'rful rhyme 284:The first 17 poems, traditionally called the 235:bought a copy in June 1609 for one shilling. 8: 3479:, Cambridge University Press, 1988, pp. 7–9. 2841:Baltimore, Penguin, 1964. pp. 52, 127, 141. 1865:More bold in constance ... Than Judith was. 695:Dainties to taste, fresh beauty for the use, 273:posthumous 1591 publication that is titled, 38: 3644:helps readers explore Shakespeare's Sonnets 2707:Shakespeare, William; Bell, Robert (1855). 2380:. Oxford, England: Oxford University Press. 1729:Have not saints lips, and holy palmers too? 1713:My lips, two blushing pilgrims, ready stand 1438:The Sonnets ; and, A Lover's Complaint 948:The Passionate Pilgrime. By W. Shakespeare. 734:And so in spite of death thou dost survive, 29:"T.T." redirects here. For other uses, see 5639: 5225: 4723: 4702: 4688: 4680: 4649: 4475: 4213: 3807: 3788: 3774: 3766: 3417:McNeir, Waldo. "Shakespeare's Epilogues". 3406:The University of Texas Studies in English 2346:(1898). Cambridge University Press, 2012. 1711:This holy shrine, the gentle fine is this: 928:1598 – Francis Meres published his quarto 722:Unless the earth with thy increase be fed? 692:Torches are made to light, jewels to wear, 445:Henry Wriothesley, 3rd Earl of Southampton 247:had previously been published in the 1599 44: 37: 2909:Petrarch and the English Sonnet Sequences 2437: 740:In that thy likeness still is left alive. 725:By law of nature thou art bound to breed, 3523: 3521: 3487: 3485: 3037:"Shakespeare, sexuality and the Sonnets" 2964:William Shakespeare: A Textual Companion 2889:(224). Res.oxfordjournals.org: 224–246. 2819:Shakespeare's Patrons; and other essays. 2591: 2589: 2201:William Shakespeare, a Documentary Life, 1853:I did not bid thee talk of chastity ... 1834:Or who but women do our love lays greet? 1354:, third series (Rev. ed.). London: 971:The Chronicle History of Henry the fifth 865:Delia ... with the Complaint of Rosamund 815:(1608), which was published just before 3587:Complete sonnets of William Shakespeare 3064:. John Wiley & Sons, 2010. p. 150 2402:. London: Tauris Parke. p. xxxvi. 2378:Oxford Dictionary of National Biography 2299:, Oxford University Press, 2002, p. 98. 2237:Oxford University Press. 1991. p. 566. 1908: 1832:What beauty else could triumph over me, 1725:And palm to palm is holy palmers' kiss. 713:Thou wast begot; to get it is thy duty. 2953:(London: Arden Shakespeare, 1998): 61. 2552:"The International Literary Quarterly" 2224:Lippincott & Co. 1944. pp. 174–185 2134:. Cambridge University Press. p. 2123: 2121: 1721:Which mannerly devotion shows in this; 263:, is consistent with the entry in the 5454:Complete Works of William Shakespeare 3455:Dunton-Downer, Leslie. Riding, Alan. 2996:The Arden Shakespeare, Third Series. 2607: 2605: 2002:. John Wiley & Sons, 2008. p. x. 1709:If I profane with my unworthiest hand 539:, Shakespeare's nephew and male heir. 436:William Herbert, 3rd Earl of Pembroke 7: 3400:Law, Robert Adger. "The Choruses in 3175:The Reader and the Young Man Sonnets 3135:The Reader and the Young Man Sonnets 3082:The Sonnets and A Lover's Complaint. 3062:A Companion to Shakespeare's Sonnets 2859:The Oxford Companion to Shakespeare. 2799:from the original on 12 January 2022 2574:The Reader and the Young Man Sonnets 1670:The epilogue at the end of the play 1241:Fairleigh Dickinson University Press 1062:The Reader and the Young Man Sonnets 969:14 August 1600 – Shakespeare's play 409:Not marble, nor the gilded monuments 357:include a dedication to "Mr. W.H.": 50:Thorpe edition of the sonnets (1609) 5814: 3177:. Barnes & Noble. 1981. p. 7. 3137:. Barnes & Noble. 1981. p. 1. 2966:, Oxford: Oxford University Press, 2576:. Barnes & Noble. 1981. p. 2. 2533:. Harvard University Press, 1999. 2483:(Oxford UP, 2002), pp. 98, 102–103. 2091:. Oxford University Press. p. 2024:The Oxford Companion to Shakespeare 1589:Shakespeare's Sonnets and the Bible 925:Queen Elizabeth I in the mid-1590s. 300:referring to the "little love-god" 5629:Shakespeare's influence on Tolkien 3596:– Listed by number and first line. 2839:A Shakespeare Companion 1564–1964. 2785:Furness, Hannah (8 January 2013). 796:, and others have been suggested. 520:, the printer of the 1609 Sonnets. 275:Syr. P.S. his Astrophel and Stella 25: 3678:William Shakespeare Sonnets facts 3243:The Art of Shakespeare's Sonnets. 3115:The Art of Shakespeare's Sonnets. 2688:Shakespeare's Poems: Third Series 1476:Shakespeare's Sonnets & Poems 570:Form and structure of the sonnets 5813: 5804: 5803: 5157: 4498: 3623:Self-referential concordance to 3599: 3245:Harvard University Press, 1999. 3117:Harvard University Press, 1999. 2821:Forgotten Books (19 April 2018) 2709:The Poems of William Shakespeare 2531:The Art of Shakespeare's Sonnets 2459:Shakespere: a critical biography 2044:"Shakespeare, sexuality and the 1555:The Art of Shakespeare's Sonnets 3383:. Atlantic Publishers, 1998. 3104:. Yale University Press. 1969. 1602:Sonnets that occur in the plays 1067:During the eighteenth century, 1030:as the sole authoritative text. 899: 854: 5840:Sonnets by William Shakespeare 5634:Works titled after Shakespeare 3746:A very brief comparative Study 3459:. Publisher: DK 2004 . P. 97 3457:Essential Shakespeare Handbook 3305:. Act 4, scene 3, line 203–225 3102:Essay on Shakespeare's Sonnets 2481:The Complete Sonnets and Poems 1308:The Complete Sonnets and Poems 1093:Like all Shakespeare's works, 900:Story of "A Lover's Complaint" 600:. The sonnets are composed in 367:Mr.W.H. ALL.HAPPINESSE. 1: 5794:Shakespeare and other authors 2883:The Review of English Studies 2597:Shakespeare's Songs and Poems 2344:A Life of William Shakespeare 1759:Two sonnets are mentioned in 1402:The New Cambridge Shakespeare 1231:Atkins, Carl D., ed. (2007). 1007:and other sources, including 913:1597 – Shakespeare's tragedy 608:used in Shakespeare's plays. 557:). This idea is expressed in 5676:Shakespeare Birthplace Trust 3680:Quick reference facts about 2911:. AMS Press. New York 1989. 2775:. Act 3, scene 3, lines 1–57 1882:The Dark Lady of the Sonnets 1559:. Cambridge, Massachusetts: 1277:(Rev. ed.). New Haven: 1060:Gerald Hammond, in his book 5482:English Renaissance theatre 5325:The Second Maiden's Tragedy 5304:The Merry Devil of Edmonton 4836:The Two Gentlemen of Verona 3737:, 17 (April 2019): 177–181. 3721:Relooking at the Characters 3689:"14: Shakespeare's Sonnets" 3609:public domain audiobook at 3548:Edward III. Act 2, scene 1. 3017:. Oxford University Press. 1698:Three sonnets are found in 1304:Burrow, Colin, ed. (2002). 1101:First edition and facsimile 622:The exceptions are sonnets 549:. The 18th-century scholar 533:, a contemporary dramatist. 527:, Southampton's stepfather. 490:Other suggestions include: 5861: 5650:Folger Shakespeare Library 5196:The Phoenix and the Turtle 4786:The Merry Wives of Windsor 2599:. McGraw HIll. 1964. p. xl 2506:"Glossary of Poetic Terms" 2087:Complete Sonnets and Poems 2022:and Michael Dobson, eds., 1481:Folger Shakespeare Library 1406:Cambridge University Press 1196:J. B. Lippincott & Co. 1167:The Sonnets of Shakespeare 843:Youth sequence in sonnets 803: 769: 311:, entered the book in the 28: 5788: 5669:Royal Shakespeare Theatre 5664:Royal Shakespeare Company 5155: 4793:A Midsummer Night's Dream 4737:All's Well That Ends Well 4496: 3318:. Act 3, scene 7, line 42 3303:All's Well that Ends Well 2662:Feldman, Sabrina (2011). 2310:The Genius of Shakespeare 1635:All’s Well that Ends Well 1587:Zinman, Ira, ed. (2009). 1172:Houghton Mifflin Harcourt 650:Characters of the sonnets 563:The Portrait of Mr. W. H. 363:TO.THE.ONLIE.BEGETTER.OF. 259:The title of the quarto, 43: 4807:Pericles, Prince of Tyre 3715:Banerjee, Subhrasleta. " 3511:Melchiori, Giorgio, ed. 3292:. Act 5, sc. 4, line 86. 1224:Modern critical editions 1162:Alden, Raymond Macdonald 421:Mr. W. H., the dedicatee 196:, the 14 lines, and the 4815:The Taming of the Shrew 3637:Open Source Shakespeare 3266:. Act 3, sc. 2, line 68 3264:Two Gentlemen of Verona 2949:Woudhuysen, H. R., ed. 2771:Shakespeare, William. 2362:Collins, John Churton. 2257:Schoenbaum, S. (1977). 2183:vol. 2, p. 214 (1923). 2128:Vickers, Brian (2007). 2027:Oxford University Press 1848:'More fair and chaste'— 1617:Two Gentlemen of Verona 1485:Washington Square Press 1444:New Penguin Shakespeare 1344:Duncan-Jones, Katherine 1318:Oxford University Press 821:John Davies of Hereford 772:Dark Lady (Shakespeare) 225:Shake-speare's Sonnets. 5497:Lord Chamberlain's Men 5408:The Passionate Pilgrim 5181:comparison to Petrarch 4800:Much Ado About Nothing 4779:The Merchant of Venice 3366:Shakespeare, William. 3353:Shakespeare, William. 3327:Shakespeare, William. 3314:Shakespeare, William. 3301:Shakespeare, William. 3290:Much Ado About Nothing 3288:Shakespeare, William. 3275:Shakespeare, William. 3262:Shakespeare, William. 2637:Rollett, John (2015). 2612:Sarker, Sunil (2006). 2181:The Elizabethan Stage, 2160:Images of Shakespeare. 2083:Burrow, Colin (2002). 1868: 1856: 1839: 1761:Much Ado About Nothing 1754:Much Ado About Nothing 1750: 1626:Much Ado About Nothing 1314:The Oxford Shakespeare 1035:Shakespeare's Sonnets. 1005:The Passionate Pilgrim 989:The Passionate Pilgrim 942: 596:) followed by a final 585: 447: 437: 414: 390: 365:THESE.INSUING.SONNETS. 351: 261:Shake-speare's Sonnets 253:The Passionate Pilgrim 39:Shakespeare's Sonnets 5687:Shakespeare Institute 5656:Shakespeare Quarterly 5175:Shakespeare's sonnets 4843:The Two Noble Kinsmen 3797:Shakespeare's sonnets 3762:, 18 (2020): 118–124. 3606:Shakespeare's Sonnets 3592:14 April 2016 at the 3381:Shakespeare's Sonnets 3379:Sarker, Sunil Kumar. 3196:Modern Language Notes 2747:Matz, Robert (2008). 2722:Wilde, Oscar (2018). 2614:Shakespeare's Sonnets 2457:Neil, Samuel (1863). 2199:Schoenbaum, Samuel. 2000:Shakespeare's Sonnets 1976:Shakespeare's Sonnets 1348:Shakespeare's Sonnets 1273:Shakespeare's Sonnets 1188:Rollins, Hyder Edward 1095:Shakespeare's Sonnets 1028:Shakespeare's Sonnets 1009:Shakespeare's Sonnets 998:1640 – The publisher 978:Shakespeare's Sonnets 959:Love's Labour's Lost, 954:Love's Labour's Lost. 855:"A Lover's Complaint" 817:Shakespeare's Sonnets 794:Elizabeth Wriothesley 577: 443: 435: 427:Shakespeare's Sonnets 375:OUR.EVER-LIVING.POET. 355:Shakespeare's Sonnets 347:Dedication page from 346: 121:Shakespeare's Sonnets 18:Shakespearean Sonnets 5543:Spelling of his name 5383:Vortigern and Rowena 5361:Thomas Lord Cromwell 4941:Troilus and Cressida 4871:Antony and Cleopatra 4765:Love's Labour's Lost 4751:The Comedy of Errors 3804:"Fair Youth" sonnets 3444:Studies in Philology 3368:Love's Labour's Lost 3355:Love's Labour's Lost 3342:Studies in Philology 3329:Love's Labour's Lost 3277:Love's Labours' Lost 3230:Studies in Philology 2994:Shakespeare's Poems. 2493:Hyder Edward Rollins 2439:2027/uc1.l0063569123 2235:Shakespeare's Lives. 1978:. Bloomsbury Arden. 1780:attribution include 1657:Astrophel and Stella 1651:Love's Labour's Lost 1621:Love's Labour's Lost 1109:Shakespeare, William 922:Love's Labour's Lost 516:that was printed by 398:lapidary inscription 313:Stationers' Register 296:treatments of Greek 266:Stationers' Register 159:Love's Labour's Lost 70:Early Modern English 5767:Richard Shakespeare 5749:Gilbert Shakespeare 5681:Shakespeare's Globe 5586:Authorship question 5581:Attribution studies 5548:Stratford-upon-Avon 5390:A Yorkshire Tragedy 5368:Thomas of Woodstock 5354:The Spanish Tragedy 5295:Love's Labour's Won 5287:The London Prodigal 5244:The Birth of Merlin 5203:The Rape of Lucrece 5189:A Lover's Complaint 5069:Quarto publications 4772:Measure for Measure 4711:William Shakespeare 3812:Procreation sonnets 3717:William Shakespeare 3671:8 June 2008 at the 3041:The British Library 2951:Love's Labours Lost 1921:The British Library 1877:George Bernard Shaw 1827:Write I to a woman? 1390:Evans, G. Blakemore 1077:The Critical Review 894:A Lover's Complaint 892:Like the sonnets, " 833:Christopher Marlowe 813:A Poetical Rhapsody 583:wall poem in Leiden 484:The Rape of Lucrece 473:Earl of Southampton 369:AND.THAT.ETERNITIE. 286:procreation sonnets 271:Sir Philip Sidney's 229:A Lover's Complaint 134:William Shakespeare 60:William Shakespeare 40: 31:TT (disambiguation) 5761:Edmund Shakespeare 5719:Hamnet Shakespeare 5616:Screen adaptations 5339:Sir John Oldcastle 5237:Arden of Faversham 3703:on 1 February 2016 2895:10.1093/res/hgi050 2479:Colin Burrow, ed. 2342:Lee, Sidney, Sir. 2233:Schoenbaum, S. S. 993:Apology for Actors 636:iambic tetrameters 586: 448: 438: 352: 219:The quarto of 1609 136:(1564–1616) wrote 80:Renaissance poetry 5827: 5826: 5731:Elizabeth Barnard 5695: 5694: 5424: 5423: 5153: 5152: 4851:The Winter's Tale 4677: 4676: 4673: 4672: 4494: 4493: 4275: 4274: 3908: 3907: 3582:Project Gutenberg 3183:978-1-349-05443-5 3143:978-1-349-05443-5 2907:Roche, Thomas P. 2758:978-0-7864-3219-6 2582:978-1-349-05443-5 2510:Poetry Foundation 2409:978-1-86064-643-0 2364:Ephemera Critica. 2145:978-0-521-85912-7 2073:Burrow 2002, 380. 2042:(30 March 2017). 1798:Giorgio Melchiori 1446:(Rev. ed.). 1365:978-1-4080-1797-5 1352:Arden Shakespeare 1250:978-0-8386-4163-7 1154:Variorum editions 883:Richard Barnfield 676:Henry Wriothesley 602:iambic pentameter 469:Henry Wriothesley 379:THE.WELL-WISHING. 131: 130: 106:Publication place 16:(Redirected from 5852: 5817: 5816: 5807: 5806: 5755:Joan Shakespeare 5737:John Shakespeare 5640: 5621:Shakespeare and 5332:Sejanus His Fall 5299: 5259:Double Falsehood 5226: 5210:Venus and Adonis 5161: 4934:Titus Andronicus 4920:Romeo and Juliet 4724: 4704: 4697: 4690: 4681: 4650: 4502: 4476: 4214: 3808: 3790: 3783: 3776: 3767: 3712: 3710: 3708: 3699:. Archived from 3603: 3602: 3567:Complete Sonnets 3561:Full collections 3549: 3546: 3540: 3531:(Yale UP, 1996) 3525: 3516: 3509: 3503: 3495:(Yale UP, 1996) 3489: 3480: 3475:Stater, Elliot, 3473: 3467: 3453: 3447: 3440: 3434: 3431:Romeo and Juliet 3428: 3422: 3415: 3409: 3398: 3392: 3377: 3371: 3364: 3358: 3351: 3345: 3338: 3332: 3325: 3319: 3312: 3306: 3299: 3293: 3286: 3280: 3273: 3267: 3260: 3254: 3241:Vendler, Helen. 3239: 3233: 3226: 3220: 3219: 3191: 3185: 3171: 3165: 3151: 3145: 3131: 3125: 3113:Vendler, Helen. 3111: 3105: 3100:Booth, Stephen. 3098: 3092: 3078: 3072: 3058: 3052: 3051: 3049: 3047: 3032: 3026: 3011: 3005: 2990: 2984: 2981: 2975: 2960: 2954: 2947: 2941: 2930:Romeo and Juliet 2926: 2920: 2905: 2899: 2898: 2878: 2869: 2855: 2849: 2837:Halliday, F. E. 2835: 2829: 2815: 2809: 2808: 2806: 2804: 2790: 2782: 2776: 2769: 2763: 2762: 2744: 2738: 2737: 2719: 2713: 2712: 2704: 2698: 2684: 2678: 2677: 2659: 2653: 2652: 2634: 2628: 2627: 2609: 2600: 2595:Hubler, Edward. 2593: 2584: 2570: 2564: 2563: 2561: 2559: 2548: 2542: 2529:Vendler, Helen. 2527: 2521: 2520: 2518: 2516: 2502: 2496: 2490: 2484: 2477: 2471: 2470: 2454: 2448: 2447: 2441: 2420: 2414: 2413: 2388: 2382: 2381: 2373: 2367: 2360: 2354: 2340: 2334: 2333: 2319: 2313: 2308:Bate, Jonathan. 2306: 2300: 2293: 2287: 2286: 2254: 2245: 2231: 2225: 2220:Rollins, H. E., 2218: 2212: 2197: 2191: 2177: 2171: 2156: 2150: 2149: 2125: 2116: 2115:Foster 1984, 43. 2113: 2107: 2106: 2090: 2080: 2074: 2071: 2065: 2064: 2062: 2060: 2036: 2030: 2017: 2011: 1996: 1990: 1989: 1971: 1932: 1931: 1929: 1927: 1913: 1700:Romeo and Juliet 1693:Romeo and Juliet 1582: 1558: 1544: 1520: 1506: 1469: 1441: 1427: 1399: 1384:Internet Archive 1377: 1339: 1311: 1300: 1276: 1262: 1238: 1217:Internet Archive 1206: 1194:. Philadelphia: 1183: 1148: 1122: 1073: 982:Venus and Adonis 915:Romeo and Juliet 753:Authors such as 744:Venus and Adonis 739: 733: 712: 706: 686:Venus and Adonis 681:Venus and Adonis 561:'s short story " 531:William Haughton 514:Robert Southwell 504:Donald W. Foster 496:Bertrand Russell 478:Venus and Adonis 455:Earl of Pembroke 402:monumental brass 315:on 20 May 1609: 147:Romeo and Juliet 97:Publication date 48: 41: 21: 5860: 5859: 5855: 5854: 5853: 5851: 5850: 5849: 5830: 5829: 5828: 5823: 5784: 5733:(granddaughter) 5691: 5638: 5567: 5533:Religious views 5511:Curtain Theatre 5432: 5420: 5395: 5346:Sir Thomas More 5292: 5266:Edmund Ironside 5215: 5162: 5149: 5123:Ghost character 5083: 5055: 4946: 4927:Timon of Athens 4856: 4713: 4708: 4678: 4669: 4648: 4503: 4490: 4474: 4271: 4212: 3904: 3799: 3794: 3706: 3704: 3687:Bowley, Roger. 3686: 3673:Wayback Machine 3651: 3619: 3617:Study resources 3600: 3594:Wayback Machine 3571:Standard Ebooks 3563: 3558: 3553: 3552: 3547: 3543: 3539:Act 2, scene 1. 3526: 3519: 3510: 3506: 3490: 3483: 3474: 3470: 3454: 3450: 3441: 3437: 3429: 3425: 3416: 3412: 3402:Henry the Fifth 3399: 3395: 3378: 3374: 3365: 3361: 3357:, IV,ii,104–117 3352: 3348: 3339: 3335: 3326: 3322: 3313: 3309: 3300: 3296: 3287: 3283: 3274: 3270: 3261: 3257: 3240: 3236: 3227: 3223: 3208:10.2307/2910858 3193: 3192: 3188: 3172: 3168: 3152: 3148: 3132: 3128: 3112: 3108: 3099: 3095: 3079: 3075: 3059: 3055: 3045: 3043: 3035:Dautch, Aviva. 3034: 3033: 3029: 3012: 3008: 2991: 2987: 2982: 2978: 2961: 2957: 2948: 2944: 2927: 2923: 2906: 2902: 2880: 2879: 2872: 2856: 2852: 2836: 2832: 2816: 2812: 2802: 2800: 2784: 2783: 2779: 2770: 2766: 2759: 2751:. p. 111. 2746: 2745: 2741: 2734: 2721: 2720: 2716: 2706: 2705: 2701: 2685: 2681: 2674: 2661: 2660: 2656: 2649: 2636: 2635: 2631: 2624: 2611: 2610: 2603: 2594: 2587: 2571: 2567: 2557: 2555: 2554:. Interlitq.org 2550: 2549: 2545: 2528: 2524: 2514: 2512: 2504: 2503: 2499: 2491: 2487: 2478: 2474: 2456: 2455: 2451: 2422: 2421: 2417: 2410: 2396:Haffenden, John 2390: 2389: 2385: 2375: 2374: 2370: 2361: 2357: 2341: 2337: 2321: 2320: 2316: 2307: 2303: 2295:Burrow, Colin, 2294: 2290: 2275: 2256: 2255: 2248: 2232: 2228: 2219: 2215: 2203:Oxford (1975). 2198: 2194: 2178: 2174: 2157: 2153: 2146: 2127: 2126: 2119: 2114: 2110: 2103: 2082: 2081: 2077: 2072: 2068: 2058: 2056: 2053:British Library 2038: 2037: 2033: 2029:, 2001, p. 439. 2018: 2014: 1997: 1993: 1986: 1973: 1972: 1935: 1925: 1923: 1915: 1914: 1910: 1905: 1873: 1867: 1864: 1855: 1852: 1850: 1849: 1847: 1838: 1835: 1833: 1831: 1829: 1828: 1826: 1771: 1757: 1749: 1746: 1744: 1742: 1740: 1738: 1736: 1734: 1732: 1730: 1728: 1726: 1724: 1722: 1720: 1718: 1716: 1714: 1712: 1710: 1708: 1696: 1668: 1613: 1604: 1585: 1571: 1547: 1533: 1509: 1495: 1472: 1458: 1434:, ed. (1995) . 1430: 1416: 1388: 1366: 1346:, ed. (2010) . 1342: 1328: 1303: 1289: 1269:, ed. (2000) . 1265: 1251: 1230: 1221: 1186: 1160: 1151: 1137:Clarendon Press 1125: 1107: 1091: 1071: 1043: 910: 902: 875:Michael Drayton 870:Rape of Lucrece 857: 808: 802: 774: 768: 755:Thomas Tyrwhitt 747: 746: 741: 737: 735: 731: 729: 726: 723: 720: 717: 716: 714: 710: 708: 704: 702: 699: 696: 693: 661: 652: 572: 551:Thomas Tyrwhitt 451:William Herbert 423: 413: 410: 391: 389: 386: 384: 382: 380: 378: 376: 374: 372: 370: 368: 366: 364: 341: 307:The publisher, 279:William Herbert 221: 174: 98: 51: 34: 23: 22: 15: 12: 11: 5: 5858: 5856: 5848: 5847: 5842: 5832: 5831: 5825: 5824: 5822: 5821: 5811: 5800: 5799: 5796: 5789: 5786: 5785: 5783: 5782: 5776: 5770: 5764: 5758: 5752: 5746: 5740: 5734: 5728: 5722: 5716: 5710: 5703: 5701: 5697: 5696: 5693: 5692: 5690: 5689: 5684: 5678: 5673: 5672: 5671: 5661: 5660: 5659: 5646: 5644: 5637: 5636: 5631: 5626: 5618: 5613: 5608: 5603: 5598: 5593: 5588: 5583: 5577: 5575: 5569: 5568: 5566: 5565: 5560: 5555: 5550: 5545: 5540: 5535: 5530: 5525: 5520: 5515: 5514: 5513: 5508: 5494: 5489: 5484: 5479: 5474: 5472:Collaborations 5469: 5464: 5463: 5462: 5457: 5445: 5439: 5437: 5426: 5425: 5422: 5421: 5419: 5418: 5411: 5403: 5401: 5397: 5396: 5394: 5393: 5386: 5379: 5371: 5364: 5357: 5350: 5342: 5335: 5328: 5321: 5314: 5307: 5300: 5290: 5283: 5276: 5269: 5262: 5255: 5247: 5240: 5232: 5230: 5223: 5217: 5216: 5214: 5213: 5206: 5199: 5192: 5185: 5184: 5183: 5170: 5168: 5164: 5163: 5156: 5154: 5151: 5150: 5148: 5147: 5142: 5137: 5132: 5127: 5126: 5125: 5120: 5115: 5107: 5102: 5097: 5091: 5089: 5085: 5084: 5082: 5081: 5076: 5071: 5065: 5063: 5061:Early editions 5057: 5056: 5054: 5053: 5045: 5038: 5037: 5036: 5029: 5022: 5007: 5000: 4999: 4998: 4991: 4979: 4972: 4964: 4956: 4954: 4948: 4947: 4945: 4944: 4937: 4930: 4923: 4916: 4909: 4902: 4895: 4888: 4881: 4874: 4866: 4864: 4858: 4857: 4855: 4854: 4847: 4839: 4832: 4825: 4818: 4811: 4803: 4796: 4789: 4782: 4775: 4768: 4761: 4754: 4747: 4744:As You Like It 4740: 4732: 4730: 4721: 4715: 4714: 4709: 4707: 4706: 4699: 4692: 4684: 4675: 4674: 4671: 4670: 4668: 4667: 4662: 4656: 4654: 4653:"Anacreontics" 4647: 4646: 4641: 4636: 4631: 4626: 4621: 4616: 4611: 4606: 4601: 4596: 4591: 4586: 4581: 4576: 4571: 4566: 4561: 4556: 4551: 4546: 4541: 4536: 4531: 4526: 4521: 4515: 4513: 4505: 4504: 4497: 4495: 4492: 4491: 4489: 4488: 4482: 4480: 4473: 4472: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4357: 4352: 4347: 4342: 4337: 4332: 4327: 4322: 4317: 4312: 4307: 4302: 4297: 4292: 4287: 4282: 4276: 4273: 4272: 4270: 4269: 4264: 4259: 4254: 4249: 4244: 4239: 4234: 4229: 4223: 4221: 4211: 4210: 4205: 4200: 4195: 4190: 4185: 4180: 4175: 4170: 4165: 4160: 4155: 4150: 4145: 4140: 4135: 4130: 4125: 4120: 4115: 4110: 4105: 4100: 4095: 4090: 4085: 4080: 4075: 4070: 4065: 4060: 4055: 4050: 4045: 4040: 4035: 4030: 4025: 4020: 4015: 4010: 4005: 4000: 3995: 3990: 3985: 3980: 3975: 3970: 3965: 3960: 3955: 3950: 3945: 3940: 3935: 3930: 3925: 3920: 3915: 3909: 3906: 3905: 3903: 3902: 3897: 3892: 3887: 3882: 3877: 3872: 3867: 3862: 3857: 3852: 3847: 3842: 3837: 3832: 3827: 3822: 3816: 3814: 3805: 3801: 3800: 3795: 3793: 3792: 3785: 3778: 3770: 3764: 3763: 3740:Roy, Pinaki. " 3738: 3713: 3684: 3675: 3663: 3650: 3647: 3646: 3645: 3639: 3628: 3618: 3615: 3614: 3613: 3597: 3584: 3573: 3562: 3559: 3557: 3556:External links 3554: 3551: 3550: 3541: 3537:978-0300066265 3517: 3504: 3501:978-0300066265 3481: 3468: 3465:978-0789493330 3448: 3435: 3423: 3410: 3393: 3389:978-8171567256 3372: 3370:, V,ii,405–419 3359: 3346: 3333: 3331:, IV,iii,56–59 3320: 3307: 3294: 3281: 3279:. Act 4, sc. 3 3268: 3255: 3251:978-0674637122 3234: 3221: 3186: 3166: 3163:978-0520025011 3146: 3126: 3123:978-0674637122 3106: 3093: 3090:978-0140436846 3073: 3070:978-1444332063 3053: 3027: 3023:978-0199536511 3006: 3002:978-1903436868 2985: 2976: 2955: 2942: 2938:978-1903436417 2921: 2917:978-0404622886 2900: 2870: 2867:978-0191058158 2861:Oxford (2015) 2850: 2847:978-0715603093 2830: 2827:978-1331296171 2817:Brown, Henry. 2810: 2777: 2773:As You Like It 2764: 2757: 2739: 2733:978-3732658817 2732: 2714: 2699: 2696:978-1903436875 2679: 2673:978-1457507212 2672: 2654: 2648:978-0786496600 2647: 2629: 2622: 2601: 2585: 2565: 2543: 2539:978-0674637122 2522: 2497: 2485: 2472: 2449: 2415: 2408: 2392:Berryman, John 2383: 2368: 2355: 2352:978-1108048194 2335: 2314: 2301: 2288: 2273: 2246: 2243:978-0198186182 2226: 2213: 2209:978-0195051612 2192: 2189:978-0199567478 2172: 2168:978-0874133295 2151: 2144: 2117: 2108: 2101: 2075: 2066: 2031: 2012: 2008:978-0470777510 1991: 1985:978-1408017975 1984: 1933: 1907: 1906: 1904: 1901: 1900: 1899: 1885: 1872: 1869: 1861: 1844: 1823: 1770: 1765: 1756: 1751: 1705: 1695: 1690: 1667: 1662: 1612: 1611:Early comedies 1609: 1603: 1600: 1597:978-1933316758 1584: 1583: 1569: 1551:, ed. (1997). 1549:Vendler, Helen 1545: 1532:978-0140714531 1531: 1513:, ed. (2001). 1511:Orgel, Stephen 1507: 1494:978-0743273282 1493: 1470: 1456: 1432:Kerrigan, John 1428: 1415:978-0521294034 1414: 1392:, ed. (1996). 1386: 1364: 1340: 1327:978-0192819338 1326: 1301: 1287: 1279:Yale Nota Bene 1267:Booth, Stephen 1263: 1249: 1227: 1226: 1225: 1220: 1219: 1190:, ed. (1944). 1184: 1164:, ed. (1916). 1157: 1156: 1155: 1150: 1149: 1129:, ed. (1905). 1123: 1104: 1103: 1102: 1090: 1087: 1042: 1039: 1038: 1037: 1031: 1020: 996: 985: 974: 967: 963: 936: 935: 931:Palladis Tamia 926: 918: 909: 906: 901: 898: 885:, and others. 856: 853: 829:George Chapman 804:Main article: 801: 800:The Rival Poet 798: 782:As You Like It 770:Main article: 767: 764: 742: 736: 730: 727: 724: 721: 718: 715: 709: 703: 700: 697: 694: 691: 690: 660: 657: 651: 648: 571: 568: 567: 566: 544: 540: 534: 528: 525:William Harvey 521: 507: 422: 419: 407: 381:ADVENTURER.IN. 361: 359: 340: 337: 329:William Aspley 321: 320: 220: 217: 173: 170: 129: 128: 117: 113: 112: 107: 103: 102: 99: 96: 93: 92: 87: 83: 82: 77: 73: 72: 67: 63: 62: 57: 53: 52: 49: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5857: 5846: 5843: 5841: 5838: 5837: 5835: 5820: 5812: 5810: 5802: 5801: 5797: 5795: 5791: 5790: 5787: 5780: 5779:Thomas Quiney 5777: 5774: 5771: 5769:(grandfather) 5768: 5765: 5762: 5759: 5756: 5753: 5750: 5747: 5744: 5741: 5738: 5735: 5732: 5729: 5726: 5725:Judith Quiney 5723: 5720: 5717: 5714: 5711: 5708: 5707:Anne Hathaway 5705: 5704: 5702: 5698: 5688: 5685: 5682: 5679: 5677: 5674: 5670: 5667: 5666: 5665: 5662: 5658: 5657: 5653: 5652: 5651: 5648: 5647: 5645: 5641: 5635: 5632: 5630: 5627: 5625: 5624: 5619: 5617: 5614: 5612: 5609: 5607: 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5578: 5576: 5574: 5570: 5564: 5561: 5559: 5556: 5554: 5551: 5549: 5546: 5544: 5541: 5539: 5536: 5534: 5531: 5529: 5526: 5524: 5521: 5519: 5516: 5512: 5509: 5507: 5504: 5503: 5502: 5498: 5495: 5493: 5490: 5488: 5487:Globe Theatre 5485: 5483: 5480: 5478: 5475: 5473: 5470: 5468: 5465: 5461: 5458: 5456: 5455: 5451: 5450: 5449: 5446: 5444: 5441: 5440: 5438: 5436: 5431: 5427: 5417: 5416: 5412: 5410: 5409: 5405: 5404: 5402: 5398: 5392: 5391: 5387: 5385: 5384: 5380: 5377: 5376: 5372: 5370: 5369: 5365: 5363: 5362: 5358: 5356: 5355: 5351: 5348: 5347: 5343: 5341: 5340: 5336: 5334: 5333: 5329: 5327: 5326: 5322: 5320: 5319: 5315: 5313: 5312: 5308: 5306: 5305: 5301: 5297: 5296: 5291: 5289: 5288: 5284: 5282: 5281: 5277: 5275: 5274: 5270: 5268: 5267: 5263: 5261: 5260: 5256: 5253: 5252: 5248: 5246: 5245: 5241: 5239: 5238: 5234: 5233: 5231: 5227: 5224: 5222: 5218: 5212: 5211: 5207: 5205: 5204: 5200: 5198: 5197: 5193: 5191: 5190: 5186: 5182: 5179: 5178: 5177: 5176: 5172: 5171: 5169: 5165: 5160: 5146: 5143: 5141: 5138: 5136: 5133: 5131: 5128: 5124: 5121: 5119: 5116: 5114: 5111: 5110: 5108: 5106: 5103: 5101: 5100:Late romances 5098: 5096: 5095:Problem plays 5093: 5092: 5090: 5086: 5080: 5077: 5075: 5072: 5070: 5067: 5066: 5064: 5062: 5058: 5051: 5050: 5046: 5044: 5043: 5039: 5035: 5034: 5030: 5028: 5027: 5023: 5020: 5019: 5015: 5014: 5013: 5012: 5008: 5006: 5005: 5001: 4997: 4996: 4992: 4990: 4989: 4985: 4984: 4983: 4980: 4978: 4977: 4973: 4970: 4969: 4965: 4963: 4962: 4958: 4957: 4955: 4953: 4949: 4943: 4942: 4938: 4936: 4935: 4931: 4929: 4928: 4924: 4922: 4921: 4917: 4915: 4914: 4910: 4908: 4907: 4903: 4901: 4900: 4896: 4894: 4893: 4892:Julius Caesar 4889: 4887: 4886: 4882: 4880: 4879: 4875: 4873: 4872: 4868: 4867: 4865: 4863: 4859: 4853: 4852: 4848: 4845: 4844: 4840: 4838: 4837: 4833: 4831: 4830: 4829:Twelfth Night 4826: 4824: 4823: 4819: 4817: 4816: 4812: 4809: 4808: 4804: 4802: 4801: 4797: 4795: 4794: 4790: 4788: 4787: 4783: 4781: 4780: 4776: 4774: 4773: 4769: 4767: 4766: 4762: 4760: 4759: 4755: 4753: 4752: 4748: 4746: 4745: 4741: 4739: 4738: 4734: 4733: 4731: 4729: 4725: 4722: 4720: 4716: 4712: 4705: 4700: 4698: 4693: 4691: 4686: 4685: 4682: 4666: 4663: 4661: 4658: 4657: 4655: 4651: 4645: 4642: 4640: 4637: 4635: 4632: 4630: 4627: 4625: 4622: 4620: 4617: 4615: 4612: 4610: 4607: 4605: 4602: 4600: 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4580: 4577: 4575: 4572: 4570: 4567: 4565: 4562: 4560: 4557: 4555: 4552: 4550: 4547: 4545: 4542: 4540: 4537: 4535: 4532: 4530: 4527: 4525: 4522: 4520: 4517: 4516: 4514: 4511: 4506: 4501: 4487: 4484: 4483: 4481: 4477: 4471: 4468: 4466: 4463: 4461: 4458: 4456: 4453: 4451: 4448: 4446: 4443: 4441: 4438: 4436: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4341: 4338: 4336: 4333: 4331: 4328: 4326: 4323: 4321: 4318: 4316: 4313: 4311: 4308: 4306: 4303: 4301: 4298: 4296: 4293: 4291: 4288: 4286: 4283: 4281: 4278: 4277: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4228: 4225: 4224: 4222: 4219: 4215: 4209: 4206: 4204: 4201: 4199: 4196: 4194: 4191: 4189: 4186: 4184: 4181: 4179: 4176: 4174: 4171: 4169: 4166: 4164: 4161: 4159: 4156: 4154: 4151: 4149: 4146: 4144: 4141: 4139: 4136: 4134: 4131: 4129: 4126: 4124: 4121: 4119: 4116: 4114: 4111: 4109: 4106: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4076: 4074: 4071: 4069: 4066: 4064: 4061: 4059: 4056: 4054: 4051: 4049: 4046: 4044: 4041: 4039: 4036: 4034: 4031: 4029: 4026: 4024: 4021: 4019: 4016: 4014: 4011: 4009: 4006: 4004: 4001: 3999: 3996: 3994: 3991: 3989: 3986: 3984: 3981: 3979: 3976: 3974: 3971: 3969: 3966: 3964: 3961: 3959: 3956: 3954: 3951: 3949: 3946: 3944: 3941: 3939: 3936: 3934: 3931: 3929: 3926: 3924: 3921: 3919: 3916: 3914: 3911: 3910: 3901: 3898: 3896: 3893: 3891: 3888: 3886: 3883: 3881: 3878: 3876: 3873: 3871: 3868: 3866: 3863: 3861: 3858: 3856: 3853: 3851: 3848: 3846: 3843: 3841: 3838: 3836: 3833: 3831: 3828: 3826: 3823: 3821: 3818: 3817: 3815: 3813: 3809: 3806: 3802: 3798: 3791: 3786: 3784: 3779: 3777: 3772: 3771: 3768: 3761: 3757: 3754: 3753: 3747: 3743: 3739: 3736: 3732: 3729: 3728: 3722: 3718: 3714: 3702: 3698: 3694: 3690: 3685: 3683: 3679: 3676: 3674: 3670: 3667: 3664: 3662: 3658: 3657: 3653: 3652: 3648: 3643: 3640: 3638: 3634: 3633: 3629: 3627: 3626: 3621: 3620: 3616: 3612: 3608: 3607: 3598: 3595: 3591: 3588: 3585: 3583: 3579: 3578: 3574: 3572: 3568: 3565: 3564: 3560: 3555: 3545: 3542: 3538: 3534: 3530: 3524: 3522: 3518: 3515:, 1998, p. 2. 3514: 3508: 3505: 3502: 3498: 3494: 3488: 3486: 3482: 3478: 3472: 3469: 3466: 3462: 3458: 3452: 3449: 3445: 3439: 3436: 3432: 3427: 3424: 3420: 3414: 3411: 3407: 3403: 3397: 3394: 3391:. pp. 54–56. 3390: 3386: 3382: 3376: 3373: 3369: 3363: 3360: 3356: 3350: 3347: 3343: 3337: 3334: 3330: 3324: 3321: 3317: 3311: 3308: 3304: 3298: 3295: 3291: 3285: 3282: 3278: 3272: 3269: 3265: 3259: 3256: 3252: 3248: 3244: 3238: 3235: 3231: 3225: 3222: 3217: 3213: 3209: 3205: 3201: 3197: 3190: 3187: 3184: 3180: 3176: 3170: 3167: 3164: 3160: 3156: 3150: 3147: 3144: 3140: 3136: 3130: 3127: 3124: 3120: 3116: 3110: 3107: 3103: 3097: 3094: 3091: 3087: 3083: 3077: 3074: 3071: 3067: 3063: 3057: 3054: 3042: 3038: 3031: 3028: 3024: 3020: 3016: 3010: 3007: 3003: 2999: 2995: 2989: 2986: 2980: 2977: 2973: 2972:0-19-812914-9 2969: 2965: 2959: 2956: 2952: 2946: 2943: 2939: 2935: 2931: 2925: 2922: 2918: 2914: 2910: 2904: 2901: 2896: 2892: 2888: 2884: 2877: 2875: 2871: 2868: 2864: 2860: 2854: 2851: 2848: 2844: 2840: 2834: 2831: 2828: 2824: 2820: 2814: 2811: 2798: 2794: 2789: 2781: 2778: 2774: 2768: 2765: 2760: 2754: 2750: 2743: 2740: 2735: 2729: 2725: 2718: 2715: 2710: 2703: 2700: 2697: 2693: 2689: 2683: 2680: 2675: 2669: 2665: 2658: 2655: 2650: 2644: 2640: 2633: 2630: 2625: 2619: 2615: 2608: 2606: 2602: 2598: 2592: 2590: 2586: 2583: 2579: 2575: 2569: 2566: 2553: 2547: 2544: 2540: 2536: 2532: 2526: 2523: 2511: 2507: 2501: 2498: 2494: 2489: 2486: 2482: 2476: 2473: 2468: 2464: 2460: 2453: 2450: 2445: 2440: 2435: 2431: 2430: 2425: 2419: 2416: 2411: 2405: 2401: 2397: 2393: 2387: 2384: 2379: 2372: 2369: 2365: 2359: 2356: 2353: 2349: 2345: 2339: 2336: 2331: 2327: 2326: 2318: 2315: 2312:(1998) 61–62. 2311: 2305: 2302: 2298: 2292: 2289: 2284: 2280: 2276: 2274:0-19-502211-4 2270: 2266: 2262: 2261: 2253: 2251: 2247: 2244: 2240: 2236: 2230: 2227: 2223: 2217: 2214: 2210: 2206: 2202: 2196: 2193: 2190: 2186: 2182: 2176: 2173: 2169: 2165: 2161: 2155: 2152: 2147: 2141: 2137: 2133: 2132: 2124: 2122: 2118: 2112: 2109: 2104: 2102:0-19-818431-X 2098: 2094: 2089: 2088: 2079: 2076: 2070: 2067: 2055: 2054: 2049: 2047: 2041: 2040:Dautch, Aviva 2035: 2032: 2028: 2025: 2021: 2020:Stanley Wells 2016: 2013: 2009: 2005: 2001: 1995: 1992: 1987: 1981: 1977: 1970: 1968: 1966: 1964: 1962: 1960: 1958: 1956: 1954: 1952: 1950: 1948: 1946: 1944: 1942: 1940: 1938: 1934: 1922: 1918: 1912: 1909: 1902: 1897: 1893: 1889: 1886: 1884: 1883: 1878: 1875: 1874: 1870: 1866: 1859: 1854: 1842: 1837: 1821: 1817: 1815: 1811: 1807: 1803: 1802:Brian Vickers 1799: 1795: 1791: 1787: 1786:Edward Capell 1783: 1782:Jonathan Bate 1778: 1777: 1769: 1766: 1764: 1762: 1755: 1752: 1748: 1703: 1701: 1694: 1691: 1689: 1687: 1683: 1679: 1675: 1674: 1666: 1663: 1661: 1659: 1658: 1653: 1652: 1646: 1642: 1640: 1636: 1632: 1628: 1627: 1622: 1618: 1610: 1608: 1601: 1599: 1598: 1594: 1590: 1580: 1576: 1572: 1570:0-674-63712-7 1566: 1562: 1557: 1556: 1550: 1546: 1542: 1538: 1534: 1528: 1524: 1523:Penguin Books 1519: 1518: 1512: 1508: 1504: 1500: 1496: 1490: 1486: 1482: 1478: 1477: 1471: 1467: 1463: 1459: 1457:0-14-070732-8 1453: 1449: 1448:Penguin Books 1445: 1440: 1439: 1433: 1429: 1425: 1421: 1417: 1411: 1407: 1404:. Cambridge: 1403: 1398: 1397: 1391: 1387: 1385: 1382: at the 1381: 1375: 1371: 1367: 1361: 1357: 1353: 1349: 1345: 1341: 1337: 1333: 1329: 1323: 1319: 1315: 1310: 1309: 1302: 1298: 1294: 1290: 1288:0-300-01959-9 1284: 1280: 1275: 1274: 1268: 1264: 1260: 1256: 1252: 1246: 1242: 1237: 1236: 1229: 1228: 1223: 1222: 1218: 1215: at the 1214: 1210: 1204: 1200: 1197: 1193: 1189: 1185: 1181: 1177: 1173: 1169: 1168: 1163: 1159: 1158: 1153: 1152: 1146: 1142: 1138: 1134: 1133: 1128: 1124: 1120: 1119:Thomas Thorpe 1116: 1115: 1110: 1106: 1105: 1100: 1099: 1098: 1096: 1088: 1086: 1083: 1079: 1078: 1070: 1065: 1063: 1058: 1055: 1053: 1052:New Criticism 1047: 1040: 1036: 1032: 1029: 1025: 1024:Edmond Malone 1021: 1017: 1014: 1010: 1006: 1001: 997: 994: 990: 986: 983: 979: 975: 972: 968: 964: 960: 955: 950: 949: 944: 943: 941: 933: 932: 927: 923: 919: 916: 912: 911: 907: 905: 897: 895: 890: 886: 884: 880: 876: 872: 871: 866: 862: 852: 850: 846: 840: 838: 834: 830: 826: 825:Samuel Daniel 822: 818: 814: 807: 799: 797: 795: 791: 790:Emilia Lanier 787: 783: 779: 773: 766:The Dark Lady 765: 763: 760: 756: 751: 745: 689: 687: 683: 682: 677: 672: 670: 666: 658: 656: 649: 647: 643: 641: 637: 633: 629: 625: 620: 618: 614: 609: 607: 603: 599: 595: 591: 584: 580: 576: 569: 564: 560: 556: 552: 548: 547:Willie Hughes 545: 541: 538: 535: 532: 529: 526: 522: 519: 515: 511: 508: 505: 501: 500:Jonathan Bate 497: 493: 492: 491: 488: 486: 485: 480: 479: 474: 470: 466: 464: 460: 456: 452: 446: 442: 434: 430: 428: 420: 418: 412: 405: 403: 399: 396: 395:ancient Roman 387: 358: 356: 350: 345: 338: 336: 334: 330: 326: 318: 317: 316: 314: 310: 309:Thomas Thorpe 305: 303: 299: 295: 291: 287: 282: 280: 276: 272: 268: 267: 262: 257: 255: 254: 250: 246: 242: 236: 234: 233:Edward Alleyn 230: 226: 218: 216: 214: 210: 209:Philip Sidney 206: 201: 199: 195: 191: 187: 183: 179: 171: 169: 167: 166: 161: 160: 155: 154: 149: 148: 143: 139: 135: 127: 123: 122: 118: 114: 111: 108: 104: 100: 94: 91: 90:Thomas Thorpe 88: 84: 81: 78: 74: 71: 68: 64: 61: 58: 54: 47: 42: 36: 32: 27: 19: 5781:(son-in-law) 5775:(son-in-law) 5713:Susanna Hall 5654: 5643:Institutions 5622: 5467:Coat of arms 5460:Translations 5452: 5448:Bibliography 5415:To the Queen 5413: 5406: 5388: 5381: 5373: 5366: 5359: 5352: 5344: 5337: 5330: 5323: 5316: 5309: 5302: 5293: 5285: 5278: 5271: 5264: 5257: 5249: 5242: 5235: 5208: 5201: 5194: 5187: 5174: 5173: 5135:Performances 5079:Second Folio 5047: 5040: 5031: 5024: 5016: 5009: 5002: 4993: 4986: 4981: 4974: 4966: 4959: 4939: 4932: 4925: 4918: 4911: 4904: 4897: 4890: 4883: 4876: 4869: 4849: 4841: 4834: 4827: 4820: 4813: 4805: 4798: 4791: 4784: 4777: 4770: 4763: 4756: 4749: 4742: 4735: 3796: 3749: 3745: 3724: 3720: 3719:'s Sonnets: 3705:. Retrieved 3701:the original 3692: 3681: 3655: 3649:Commentaries 3631: 3624: 3605: 3576: 3544: 3528: 3527:Sams, Eric. 3512: 3507: 3492: 3491:Sams, Eric. 3476: 3471: 3456: 3451: 3443: 3438: 3433:. I,v,91–104 3430: 3426: 3418: 3413: 3405: 3401: 3396: 3380: 3375: 3367: 3362: 3354: 3349: 3341: 3336: 3328: 3323: 3315: 3310: 3302: 3297: 3289: 3284: 3276: 3271: 3263: 3258: 3242: 3237: 3229: 3224: 3199: 3195: 3189: 3174: 3169: 3154: 3149: 3134: 3129: 3114: 3109: 3101: 3096: 3081: 3076: 3061: 3056: 3046:13 September 3044:. Retrieved 3040: 3030: 3014: 3009: 2993: 2988: 2979: 2963: 2958: 2950: 2945: 2929: 2924: 2908: 2903: 2886: 2882: 2858: 2853: 2838: 2833: 2818: 2813: 2801:. Retrieved 2792: 2780: 2772: 2767: 2748: 2742: 2723: 2717: 2708: 2702: 2687: 2682: 2663: 2657: 2638: 2632: 2613: 2596: 2573: 2568: 2556:. Retrieved 2546: 2530: 2525: 2513:. Retrieved 2509: 2500: 2488: 2480: 2475: 2458: 2452: 2442:– via 2427: 2424:Neil, Samuel 2418: 2399: 2386: 2377: 2371: 2363: 2358: 2343: 2338: 2332:(1): 42, 49. 2329: 2323: 2317: 2309: 2304: 2296: 2291: 2259: 2234: 2229: 2221: 2216: 2200: 2195: 2180: 2175: 2159: 2154: 2130: 2111: 2086: 2078: 2069: 2057:. Retrieved 2051: 2045: 2034: 2023: 2015: 1999: 1994: 1975: 1924:. Retrieved 1920: 1911: 1880: 1862: 1857: 1851:KING EDWARD. 1845: 1840: 1824: 1818: 1813: 1790:Eliot Slater 1774: 1772: 1767: 1760: 1758: 1753: 1706: 1699: 1697: 1692: 1685: 1681: 1677: 1671: 1669: 1664: 1655: 1649: 1648:In the play 1647: 1643: 1638: 1634: 1624: 1620: 1616: 1614: 1605: 1588: 1586: 1554: 1516: 1483:. New York: 1475: 1437: 1395: 1347: 1307: 1272: 1234: 1191: 1166: 1131: 1113: 1094: 1092: 1075: 1068: 1066: 1061: 1059: 1056: 1048: 1044: 1034: 1027: 1016:misgendering 1008: 1004: 992: 988: 981: 977: 970: 958: 953: 946: 938: 929: 921: 914: 903: 891: 887: 879:Thomas Lodge 868: 864: 858: 841: 816: 812: 809: 781: 775: 752: 748: 743: 685: 679: 673: 662: 653: 644: 621: 616: 610: 587: 537:William Hart 510:William Hall 489: 482: 476: 467: 462: 449: 426: 424: 415: 408: 392: 362: 354: 353: 348: 322: 312: 306: 283: 274: 264: 260: 258: 251: 237: 224: 222: 202: 194:rhyme scheme 190:Henry Howard 182:Thomas Wyatt 175: 163: 157: 151: 145: 132: 119: 35: 26: 5819:WikiProject 5506:The Theatre 5492:Handwriting 5318:The Puritan 5109:Characters 5074:First Folio 5042:Richard III 4822:The Tempest 3752:Shakespeare 3744:and Celan: 3742:Shakespeare 3727:Shakespeare 3697:Brady Haran 3693:Numberphile 3682:The Sonnets 3656:The Sonnets 3632:The Sonnets 3625:The Sonnets 3577:The Sonnets 2515:12 February 1926:18 February 1830:KING EDWARD 1686:Richard III 1607:narrative. 1517:The Sonnets 1396:The Sonnets 1380:1st edition 1239:. Madison: 1127:Lee, Sidney 1082:John Milton 1069:The Sonnets 1000:John Benson 861:rhyme royal 786:Mary Fitton 759:Oscar Wilde 592:(four-line 559:Oscar Wilde 459:First Folio 349:The Sonnets 333:John Wright 294:allegorical 5834:Categories 5743:Mary Arden 5727:(daughter) 5715:(daughter) 5591:Bardolatry 5501:King's Men 5443:Birthplace 5130:Chronology 5049:Henry VIII 4976:Richard II 4968:Edward III 4878:Coriolanus 4218:Rival Poet 3419:CEA Critic 3253:. pp. 5–9. 2623:8171567258 2444:HathiTrust 2179:Chambers, 1903:References 1892:Sonnet 154 1814:Edward III 1810:sonnet 142 1776:Edward III 1768:Edward III 1356:Bloomsbury 1316:. Oxford: 1170:. Boston: 1135:. Oxford: 1117:. London: 1013:Deliberate 837:Ben Jonson 806:Rival Poet 778:Sonnet 151 659:Fair Youth 518:George Eld 463:Epigrammes 339:Dedication 325:George Eld 249:miscellany 165:Edward III 126:Wikisource 5773:John Hall 5763:(brother) 5751:(brother) 5683:(replica) 5623:Star Trek 5611:Memorials 5606:Influence 5596:Festivals 5538:Sexuality 5528:Portraits 5523:New Place 5375:Ur-Hamlet 5311:Mucedorus 5221:Apocrypha 4961:King John 4952:Histories 4899:King Lear 4862:Tragedies 4758:Cymbeline 4512:" sonnets 4510:Dark Lady 3760:0976-9536 3735:0976-9536 3661:About.com 3173:Hammond. 3133:Hammond. 2793:Telegraph 2572:Hammond. 2283:21295405M 1896:full list 1846:LODOWICK. 1806:sonnet 94 1794:Eric Sams 1773:The play 1374:755065951 1213:Volume II 1145:458829162 1080:credited 1041:Criticism 640:sonnet 29 590:quatrains 579:Sonnet 30 555:Sonnet 20 371:PROMISED. 213:Dark Lady 186:quatrains 86:Publisher 5809:Category 5757:(sister) 5745:(mother) 5739:(father) 5251:Cardenio 5140:Settings 5088:See also 5011:Henry VI 4982:Henry IV 4728:Comedies 3669:Archived 3611:LibriVox 3590:Archived 2974:, p. 90. 2919:. p. 343 2797:Archived 2467:77866350 2429:Athenæum 2394:(2001). 1888:Sonnet 1 1871:See also 1825:LODOWICK 1682:Henry VI 1631:Beatrice 1579:36806589 1541:46683809 1503:64594469 1466:15018446 1424:32272082 1336:48532938 1259:86090499 1209:Volume I 1111:(1609). 1089:Editions 962:readers. 383:SETTING. 377:WISHETH. 298:epigrams 290:mistress 178:Petrarch 66:Language 5845:Sonnets 5601:Gardens 5477:Editors 5280:Locrine 5273:Fair Em 5105:Henriad 5004:Henry V 4913:Othello 4906:Macbeth 4479:"Envoy" 4220:sonnets 3750:Yearly 3725:Yearly 3707:2 April 3316:Henry V 3216:2910858 3015:Henry V 2803:2 April 2558:2 April 2398:(ed.). 2265:270–271 2162:(1988) 2046:Sonnets 1684:and to 1678:Henry V 1673:Henry V 1665:Henry V 1639:Henry V 1297:2968040 1203:6028485 1022:1780 – 940:&c. 920:1598 – 598:couplet 594:stanzas 543:sales). 172:Context 153:Henry V 138:sonnets 110:England 5798:† Lost 5709:(wife) 5700:Family 5573:Legacy 5145:Scenes 4885:Hamlet 3758: 3733: 3535: 3499: 3463: 3387: 3249: 3214: 3181: 3161: 3141: 3121: 3088: 3068: 3021: 3000: 2970: 2936: 2915: 2865: 2845: 2825: 2755: 2730: 2694: 2670: 2645: 2620: 2580: 2537: 2465: 2406: 2350: 2281: 2271: 2241: 2211:p. 183 2207: 2187: 2166: 2142: 2099: 2059:20 May 2006: 1982: 1741:JULIET 1731:JULIET 1717:JULIET 1595: 1577: 1567: 1539: 1529: 1501: 1491: 1464: 1454: 1422: 1412: 1372: 1362: 1334: 1324: 1295: 1285: 1257: 1247: 1201: 1180:234756 1178: 1143: 835:, and 738: 732: 711: 705: 630:, and 604:, the 502:, and 453:, the 385:FORTH. 207:, and 142:quarto 56:Author 5721:(son) 5563:Grave 5553:Style 5518:Music 5435:works 5400:Poems 5229:Plays 5167:Poems 4719:Plays 3212:JSTOR 2541:p. 50 2170:p. 45 1745:ROMEO 1735:ROMEO 1727:ROMEO 1707:ROMEO 1072:' 908:Dates 617:volta 613:rhyme 606:metre 581:as a 471:(the 302:Cupid 205:Dante 198:metre 76:Genre 5558:Will 5433:and 5430:Life 3756:ISSN 3731:ISSN 3709:2013 3533:ISBN 3497:ISBN 3461:ISBN 3385:ISBN 3247:ISBN 3179:ISBN 3159:ISBN 3139:ISBN 3119:ISBN 3086:ISBN 3066:ISBN 3048:2019 3019:ISBN 2998:ISBN 2968:ISBN 2934:ISBN 2913:ISBN 2863:ISBN 2843:ISBN 2823:ISBN 2805:2014 2753:ISBN 2728:ISBN 2692:ISBN 2668:ISBN 2643:ISBN 2618:ISBN 2578:ISBN 2560:2014 2535:ISBN 2517:2018 2463:OCLC 2404:ISBN 2348:ISBN 2325:PMLA 2269:ISBN 2239:ISBN 2205:ISBN 2185:ISBN 2164:ISBN 2140:ISBN 2097:ISBN 2061:2019 2004:ISBN 1980:ISBN 1928:2019 1593:ISBN 1575:OCLC 1565:ISBN 1537:OCLC 1527:ISBN 1499:OCLC 1489:ISBN 1462:OCLC 1452:ISBN 1420:OCLC 1410:ISBN 1370:OCLC 1360:ISBN 1332:OCLC 1322:ISBN 1293:OCLC 1283:ISBN 1255:OCLC 1245:ISBN 1211:and 1199:OCLC 1176:OCLC 1141:OCLC 757:and 611:The 523:Sir 481:and 388:T.T. 331:and 243:and 156:and 116:Text 101:1609 5118:L–Z 5113:A–K 4665:154 4660:153 4644:152 4639:151 4634:150 4629:149 4624:148 4619:147 4614:146 4609:145 4604:144 4599:143 4594:142 4589:141 4584:140 4579:139 4574:138 4569:137 4564:136 4559:135 4554:134 4549:133 4544:132 4539:131 4534:130 4529:129 4524:128 4519:127 4486:126 4470:125 4465:124 4460:123 4455:122 4450:121 4445:120 4440:119 4435:118 4430:117 4425:116 4420:115 4415:114 4410:113 4405:112 4400:111 4395:110 4390:109 4385:108 4380:107 4375:106 4370:105 4365:104 4360:103 4355:102 4350:101 4345:100 3748:". 3723:". 3659:at 3580:at 3569:at 3404:". 3204:doi 2891:doi 2434:hdl 2330:102 1890:to 1879:'s 669:126 632:145 628:126 400:or 373:BY. 256:.) 245:144 241:138 188:by 124:at 5836:: 5792:✻ 5254:✻† 4340:99 4335:98 4330:97 4325:96 4320:95 4315:94 4310:93 4305:92 4300:91 4295:90 4290:89 4285:88 4280:87 4267:86 4262:85 4257:84 4252:83 4247:82 4242:81 4237:80 4232:79 4227:78 4208:77 4203:76 4198:75 4193:74 4188:73 4183:72 4178:71 4173:70 4168:69 4163:68 4158:67 4153:66 4148:65 4143:64 4138:63 4133:62 4128:61 4123:60 4118:59 4113:58 4108:57 4103:56 4098:55 4093:54 4088:53 4083:52 4078:51 4073:50 4068:49 4063:48 4058:47 4053:46 4048:45 4043:44 4038:43 4033:42 4028:41 4023:40 4018:39 4013:38 4008:37 4003:36 3998:35 3993:34 3988:33 3983:32 3978:31 3973:30 3968:29 3963:28 3958:27 3953:26 3948:25 3943:24 3938:23 3933:22 3928:21 3923:20 3918:19 3913:18 3900:17 3895:16 3890:15 3885:14 3880:13 3875:12 3870:11 3865:10 3695:. 3691:. 3520:^ 3484:^ 3210:. 3200:54 3198:. 3039:. 2887:56 2885:. 2873:^ 2795:. 2791:. 2604:^ 2588:^ 2508:. 2328:. 2279:OL 2277:. 2267:. 2249:^ 2138:. 2120:^ 2095:. 2093:99 2050:. 1936:^ 1919:. 1800:, 1796:, 1792:, 1788:, 1784:, 1629:, 1573:. 1563:. 1535:. 1525:. 1497:. 1487:. 1479:. 1460:. 1450:. 1442:. 1418:. 1408:. 1400:. 1378:— 1368:. 1358:. 1350:. 1330:. 1320:. 1312:. 1291:. 1281:. 1253:. 1243:. 1207:— 1174:. 1139:. 881:, 877:, 851:. 849:86 845:78 831:, 827:, 823:, 819:. 792:, 788:, 688:: 626:, 624:99 498:, 335:. 304:. 168:. 150:, 5499:/ 5378:† 5349:✻ 5298:† 5052:✻ 5033:3 5026:2 5021:✻ 5018:1 4995:2 4988:1 4971:✻ 4846:✻ 4810:✻ 4703:e 4696:t 4689:v 4508:" 3860:9 3855:8 3850:7 3845:6 3840:5 3835:4 3830:3 3825:2 3820:1 3789:e 3782:t 3775:v 3711:. 3218:. 3206:: 3050:. 3025:. 3004:. 2940:. 2897:. 2893:: 2807:. 2761:. 2736:. 2676:. 2651:. 2626:. 2562:. 2519:. 2469:. 2446:. 2436:: 2412:. 2285:. 2148:. 2136:8 2105:. 2063:. 2048:" 2010:. 1988:. 1930:. 1898:) 1894:( 1581:. 1543:. 1505:. 1468:. 1426:. 1376:. 1338:. 1299:. 1261:. 1205:. 1182:. 1147:. 1121:. 984:. 847:– 667:– 665:1 506:. 33:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

Shakespeare's sonnets

Index