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and "gilded" statues and monuments; these are called this way when the speaker compares them to the verse immortalizing the beloved. However, when compared to "sluttish time" they are "unswept stone besmeared". The same technique occurs in the second quatrain. Battle occurs between mortal monuments of princes, conflict is crude and vulgar, "wasteful war" overturns unelaborated statues and "broils" root out masonry. Later in quatrain war becomes "war's quick fire" and "broils" become "Mars his sword". The war is suddenly grand and the foes are emboldened. The blatant contempt with which the speaker regards anything not having to do with the young man, or anything that works against the young man's immortality, raises the adoration of the young man by contrast alone.
267:. Lars Engle argues that echoing the ancients, as the speaker does when he says "not marble, nor the gilded monuments / Of princes, shall outlive this powerful rhyme;" further solidifies the speaker's claim about the longevity of the written word. However, while Horace and Ovid claim the immortality for themselves, the speaker in sonnet 55 bestows it on another. Engle also claims that this is not the first time Shakespeare references the self-aggrandizement of royals and rulers by saying that poetry will outlive them. He frequently mentions his own (political) unimportance, which could lead sonnet 55 to be read as a sort of revenge of the socially humble on their oppressors.
287:
word "live" itself. However, this raises the question of whether the young man actually continues to live bodily or if only his memory remains. There are references to being alive physically with active phrases like "you shall shine in these contents" and "'gainst death and all oblivious enmity / shall you pace forth", and also to living in memory: "the living record of your memory", and "your praise shall…find room…in the eyes of all posterity". Vendler argues that this question is answered by the couplet when it assigns "real" living to the day of the Last
Judgment: "So till the judgment that your self arise / you live in this, and dwell in lovers' eyes."
279:. In the play, Timon associates the word "slut" with "whore" and venereal disease. Associating "sluttish" with venereal disease makes Shakespeare's use of the word "besmeared" more specific. Fontana states: "The effect of time, personified as a whore, on the hypothetical stone statue of the young man, is identified in metaphor with the effect of syphilis on the body—the statue will be besmeared, that is, covered, with metaphoric blains, lesions, and scars." (Female) time destroys whereas the male voice of the sonnet is "generative and vivifying".
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237:. The sonnet traces the progression of time, from the physical endeavours built by man (monuments, statues, masonry), as well as the primeval notion of warfare depicted through the image of "Mars his sword" and "war's quick fire", to the concept of the Last Judgment. The young man will survive all of these things through the verses of the speaker.
282:
Helen
Vendler expands on the idea of "sluttish time" by examining how the speaker bestows grandeur on entities when they are connected to the beloved but mocks them and associates them with dirtiness when they're connected with something the speaker hates. She begins by addressing the "grand marble"
274:
gives "sluttish" two definitions: 1) dirty, careless, slovenly (which can refer to objects and persons of both sexes) and 2) lewd, morally loose, and whorish. According to
Fontana, Shakespeare intended the second meaning, personifying and assigning gender to time, making the difference between the
243:
points out that there is a certain self-refuting aspect to the promises of immortality: for all the talk of causing the subject of the poems to live forever, the sonnets keep the young man mostly hidden. The claim that the poems will cause him to live eternally seem odd when the vocabulary used to
286:
Like the other critics, Vendler recognizes the theme of time in this sonnet. She expands on this by arguing that the sonnet revolves around the keyword "live". In quatrain 1, the focus is the word "outlive". In quatrain 2 it's "living"; in quatrain 3 "oblivious", and the couplet focuses on the
299:, Robert Evans came across an epitaph that someone had written to the memory of Shakespeare. Evans could not find the verse recorded in various reference books. The epitaph was found on the last end page of a folio in the Folger collection. It is written in brown ink, in a
244:
describe the young man is so vague, with words such as "lovely", "sweet", "beauteous" and "fair". In this poem among the memorable descriptions of ruined monuments the reader only gets a glimpse of the young man in line 10 "pacing forth".
387:
Kaula, David. "In War With Time: Temporal
Perspectives in Shakespeare's Sonnets". SEL: Studies in English Literature 1500–1900. Vol. 3, No. 1, The English Renaissance (Winter, 1963), pp. 45-57. JSTOR Database
323:
The lines of the verse echo lines from sonnet 55, which the unknown author may have been recalling. (“So, till the judgement that yourself arise, / You live in this, and dwell in lovers’ eyes.”)
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Sonnet 55 is interpreted as a poem in part about time and immortalization. The poet claims that his poem will outlast palaces and cities, and keep the young man's good qualities alive until the
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Evans, Robert. "Whome None but Death Could Shake: An
Unreported Epitaph on Shakespeare". Shakespeare Quarterly, Vol. 39, No. 1, (Spring, 1988) p. 60. JSTOR Database
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young man sonnets and the dark lady sonnets all the more obvious. Shakespeare had used the word "slut" nearly a year before he wrote sonnet 55 when he wrote
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303:, which was a common 17th Century style of handwriting. It was written between two other epitaphs that are well known (including the one in the
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While the first quatrain is referential and full of imagery, in the second quatrain Ernest
Fontana focuses on the epithet "sluttish time". The
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where
Shakespeare is buried). If it is authentic, it can be seen as another example indicating Shakespeare's regard among his contemporaries:
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Engle, Lars. "Afloat in Thick Deeps: Shakespeare's
Sonnets on Certainty". PMLA, Vol. 104, No. 5 (Oct., 1989), pp. 832-843. JSTOR Database
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Fontana, E. "Shakespeare's Sonnet 55." The
Explicator v. 45 (Spring 1987) p. 6-8. EBSCO Host Database
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Vendler, Helen. The Art of
Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print.
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Shakespeares Sonnets: Being a reproduction in facsimile of the first edition
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
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Heere Shakespeare lyes whome none but Death could Shake
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Shall you pace forth; your praise shall still find room
876:. The Pelican Shakespeare (Rev. ed.). New York:
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These monuments, statues, and masonry reference both
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published in 1609 by the English playwright and poet
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The first two stanzas of Sonnet 55 in the 1609 Quarto
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Nor Mars his sword, nor war’s quick fire, shall burn
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547:A New Variorum Edition of Shakespeare: The Sonnets
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94:Than unswept stone, besmeared with sluttish time.
92:But you shall shine more bright in these contents
828:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
400:Charles Scribner's Son, New York, 1938. p. 287
366:Shakespeare, William. Duncan-Jones, Katherine.
309:
173:. It is included in what is referred to as the
90:Of princes, shall outlive this powerful rhyme;
2107:
957:
916:The Belknap Press of Harvard University Press
469:Shake-speares Sonnets: Never Before Imprinted
220:, a metrically strong syllabic position. Ă— =
8:
314:and heere shall ly till judgement all awake;
117:You live in this, and dwell in lovers’ eyes.
110:That wear this world out to the ending doom.
793:The Sonnets ; and, A Lover's Complaint
318:the wittiest poet in the world shall rise.
316:when the last trumpet doth unclose his eyes
113:So, till the judgement that yourself arise,
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185:Sonnet 55 is an English or Shakespearean
709:, third series (Rev. ed.). London:
305:Holy Trinity Church, Stratford-upon-Avon
201:, ABAB CDCD EFEF GG, and is composed in
104:’Gainst death, and all oblivious enmity,
98:And broils root out the work of masonry,
96:When wasteful war shall statues overturn
359:
20:
1716:Complete Works of William Shakespeare
7:
596:Fairleigh Dickinson University Press
189:. The English sonnet contains three
88:Not marble, nor the gilded monuments
2076:
1891:Shakespeare's influence on Tolkien
14:
831:Shakespeare's Sonnets & Poems
291:A possible contemporary reference
108:Even in the eyes of all posterity
102:The living record of your memory:
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2075:
2066:
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910:The Art of Shakespeare's Sonnets
197:. It follows the form's typical
51:
3016:Sonnets by William Shakespeare
1896:Works titled after Shakespeare
663:The Complete Sonnets and Poems
1:
2056:Shakespeare and other authors
757:The New Cambridge Shakespeare
586:Atkins, Carl D., ed. (2007).
1938:Shakespeare Birthplace Trust
914:. Cambridge, Massachusetts:
632:(Rev. ed.). New Haven:
193:followed by a final rhyming
1744:English Renaissance theatre
1587:The Second Maiden's Tragedy
1566:The Merry Devil of Edmonton
1098:The Two Gentlemen of Verona
659:Burrow, Colin, ed. (2002).
456:First edition and facsimile
18:Poem by William Shakespeare
3042:
1912:Folger Shakespeare Library
1458:The Phoenix and the Turtle
1048:The Merry Wives of Windsor
836:Folger Shakespeare Library
761:Cambridge University Press
551:J. B. Lippincott & Co.
522:The Sonnets of Shakespeare
2822:
2050:
1931:Royal Shakespeare Theatre
1926:Royal Shakespeare Company
1417:
1055:A Midsummer Night's Dream
999:All's Well That Ends Well
527:Houghton Mifflin Harcourt
370:. Bloomsbury Arden 2010.
272:Oxford English Dictionary
59:
50:
38:
1069:Pericles, Prince of Tyre
579:Modern critical editions
517:Alden, Raymond Macdonald
1077:The Taming of the Shrew
840:Washington Square Press
799:New Penguin Shakespeare
699:Duncan-Jones, Katherine
673:Oxford University Press
1759:Lord Chamberlain's Men
1670:The Passionate Pilgrim
1443:comparison to Petrarch
1062:Much Ado About Nothing
1041:The Merchant of Venice
669:The Oxford Shakespeare
321:
2123:Shakespeare's sonnets
1949:Shakespeare Institute
1918:Shakespeare Quarterly
1437:Shakespeare's sonnets
1105:The Two Noble Kinsmen
703:Shakespeare's Sonnets
628:Shakespeare's Sonnets
543:Rollins, Hyder Edward
368:Shakespeare’s Sonnets
150:—William Shakespeare
2130:"Fair Youth" sonnets
1805:Spelling of his name
1645:Vortigern and Rowena
1623:Thomas Lord Cromwell
1203:Troilus and Cressida
1133:Antony and Cleopatra
1027:Love's Labour's Lost
1013:The Comedy of Errors
464:Shakespeare, William
396:Ransom, John Crowe.
2138:Procreation sonnets
2029:Richard Shakespeare
2011:Gilbert Shakespeare
1943:Shakespeare's Globe
1848:Authorship question
1843:Attribution studies
1810:Stratford-upon-Avon
1652:A Yorkshire Tragedy
1630:Thomas of Woodstock
1616:The Spanish Tragedy
1557:Love's Labour's Won
1549:The London Prodigal
1506:The Birth of Merlin
1465:The Rape of Lucrece
1451:A Lover's Complaint
1331:Quarto publications
1034:Measure for Measure
973:William Shakespeare
745:Evans, G. Blakemore
205:, a type of poetic
171:William Shakespeare
2023:Edmund Shakespeare
1981:Hamnet Shakespeare
1878:Screen adaptations
1601:Sir John Oldcastle
1499:Arden of Faversham
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1113:The Winter's Tale
801:(Rev. ed.).
720:978-1-4080-1797-5
707:Arden Shakespeare
605:978-0-8386-4163-7
509:Variorum editions
398:The World’s Body.
337:compilation album
241:John Crowe Ransom
203:iambic pentameter
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1999:John Shakespeare
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1963:
1959:
1958:
1955:
1954:
1952:
1951:
1946:
1940:
1935:
1934:
1933:
1923:
1922:
1921:
1908:
1906:
1899:
1898:
1893:
1888:
1880:
1875:
1870:
1865:
1860:
1855:
1850:
1845:
1839:
1837:
1831:
1830:
1828:
1827:
1822:
1817:
1812:
1807:
1802:
1797:
1792:
1787:
1782:
1777:
1776:
1775:
1770:
1756:
1751:
1746:
1741:
1736:
1734:Collaborations
1731:
1726:
1725:
1724:
1719:
1707:
1701:
1699:
1688:
1687:
1684:
1683:
1681:
1680:
1673:
1665:
1663:
1659:
1658:
1656:
1655:
1648:
1641:
1633:
1626:
1619:
1612:
1604:
1597:
1590:
1583:
1576:
1569:
1562:
1552:
1545:
1538:
1531:
1524:
1517:
1509:
1502:
1494:
1492:
1485:
1479:
1478:
1476:
1475:
1468:
1461:
1454:
1447:
1446:
1445:
1432:
1430:
1426:
1425:
1418:
1416:
1413:
1412:
1410:
1409:
1404:
1399:
1394:
1389:
1388:
1387:
1382:
1377:
1369:
1364:
1359:
1353:
1351:
1347:
1346:
1344:
1343:
1338:
1333:
1327:
1325:
1323:Early editions
1319:
1318:
1316:
1315:
1307:
1300:
1299:
1298:
1291:
1284:
1269:
1262:
1261:
1260:
1253:
1241:
1234:
1226:
1218:
1216:
1210:
1209:
1207:
1206:
1199:
1192:
1185:
1178:
1171:
1164:
1157:
1150:
1143:
1136:
1128:
1126:
1120:
1119:
1117:
1116:
1109:
1101:
1094:
1087:
1080:
1073:
1065:
1058:
1051:
1044:
1037:
1030:
1023:
1016:
1009:
1006:As You Like It
1002:
994:
992:
983:
977:
976:
971:
969:
968:
961:
954:
946:
939:
938:
924:
906:, ed. (1997).
904:Vendler, Helen
900:
887:978-0140714531
886:
868:, ed. (2001).
866:Orgel, Stephen
862:
849:978-0743273282
848:
825:
811:
787:Kerrigan, John
783:
770:978-0521294034
769:
747:, ed. (1996).
741:
719:
695:
682:978-0192819338
681:
656:
642:
634:Yale Nota Bene
622:Booth, Stephen
618:
604:
582:
581:
580:
575:
574:
545:, ed. (1944).
539:
519:, ed. (1916).
512:
511:
510:
505:
504:
484:, ed. (1905).
478:
459:
458:
457:
452:
449:
446:
445:
436:
427:
418:
409:
389:
380:
358:
357:
355:
352:
351:
350:
333:Richard Briers
328:
325:
310:
301:secretary hand
297:Folger Library
292:
289:
235:Last Judgement
230:
227:
226:
225:
211:
182:
179:
165:is one of the
158:
157:
154:
153:
151:
148:
145:
144:
123:
121:
86:
84:
64:
57:
56:
48:
47:
44:
36:
35:
29:
24:
17:
13:
10:
9:
6:
4:
3:
2:
3038:
3027:
3024:
3022:
3021:Last Judgment
3019:
3017:
3014:
3013:
3011:
2992:
2989:
2987:
2984:
2983:
2981:
2977:
2971:
2968:
2966:
2963:
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2958:
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2951:
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2946:
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2936:
2933:
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2928:
2926:
2923:
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2918:
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2913:
2911:
2908:
2906:
2903:
2901:
2898:
2896:
2893:
2891:
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2886:
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2881:
2878:
2876:
2873:
2871:
2868:
2866:
2863:
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2858:
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2851:
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2842:
2840:
2837:
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2764:
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2754:
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2734:
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2727:
2724:
2722:
2719:
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2714:
2712:
2709:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2603:
2594:
2591:
2589:
2586:
2584:
2581:
2579:
2576:
2574:
2571:
2569:
2566:
2564:
2561:
2559:
2556:
2554:
2551:
2550:
2548:
2545:
2541:
2535:
2532:
2530:
2527:
2525:
2522:
2520:
2517:
2515:
2512:
2510:
2507:
2505:
2502:
2500:
2497:
2495:
2492:
2490:
2487:
2485:
2482:
2480:
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2455:
2452:
2450:
2447:
2445:
2442:
2440:
2437:
2435:
2432:
2430:
2427:
2425:
2422:
2420:
2417:
2415:
2412:
2410:
2407:
2405:
2402:
2400:
2397:
2395:
2392:
2390:
2387:
2385:
2382:
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2377:
2375:
2372:
2370:
2367:
2365:
2362:
2360:
2357:
2355:
2352:
2350:
2347:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2317:
2315:
2312:
2310:
2307:
2305:
2302:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2265:
2262:
2260:
2257:
2255:
2252:
2250:
2247:
2245:
2242:
2240:
2237:
2236:
2227:
2224:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2177:
2174:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2143:
2141:
2139:
2135:
2132:
2128:
2124:
2117:
2112:
2110:
2105:
2103:
2098:
2097:
2094:
2082:
2074:
2072:
2064:
2063:
2059:
2057:
2053:
2052:
2049:
2042:
2041:Thomas Quiney
2039:
2036:
2033:
2031:(grandfather)
2030:
2027:
2024:
2021:
2018:
2015:
2012:
2009:
2006:
2003:
2000:
1997:
1994:
1991:
1988:
1987:Judith Quiney
1985:
1982:
1979:
1976:
1973:
1970:
1969:Anne Hathaway
1967:
1966:
1964:
1960:
1950:
1947:
1944:
1941:
1939:
1936:
1932:
1929:
1928:
1927:
1924:
1920:
1919:
1915:
1914:
1913:
1910:
1909:
1907:
1903:
1897:
1894:
1892:
1889:
1887:
1886:
1881:
1879:
1876:
1874:
1871:
1869:
1866:
1864:
1861:
1859:
1856:
1854:
1851:
1849:
1846:
1844:
1841:
1840:
1838:
1836:
1832:
1826:
1823:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
1783:
1781:
1778:
1774:
1771:
1769:
1766:
1765:
1764:
1760:
1757:
1755:
1752:
1750:
1749:Globe Theatre
1747:
1745:
1742:
1740:
1737:
1735:
1732:
1730:
1727:
1723:
1720:
1718:
1717:
1713:
1712:
1711:
1708:
1706:
1703:
1702:
1700:
1698:
1693:
1689:
1679:
1678:
1674:
1672:
1671:
1667:
1666:
1664:
1660:
1654:
1653:
1649:
1647:
1646:
1642:
1639:
1638:
1634:
1632:
1631:
1627:
1625:
1624:
1620:
1618:
1617:
1613:
1610:
1609:
1605:
1603:
1602:
1598:
1596:
1595:
1591:
1589:
1588:
1584:
1582:
1581:
1577:
1575:
1574:
1570:
1568:
1567:
1563:
1559:
1558:
1553:
1551:
1550:
1546:
1544:
1543:
1539:
1537:
1536:
1532:
1530:
1529:
1525:
1523:
1522:
1518:
1515:
1514:
1510:
1508:
1507:
1503:
1501:
1500:
1496:
1495:
1493:
1489:
1486:
1484:
1480:
1474:
1473:
1469:
1467:
1466:
1462:
1460:
1459:
1455:
1453:
1452:
1448:
1444:
1441:
1440:
1439:
1438:
1434:
1433:
1431:
1427:
1422:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1386:
1383:
1381:
1378:
1376:
1373:
1372:
1370:
1368:
1365:
1363:
1362:Late romances
1360:
1358:
1357:Problem plays
1355:
1354:
1352:
1348:
1342:
1339:
1337:
1334:
1332:
1329:
1328:
1326:
1324:
1320:
1313:
1312:
1308:
1306:
1305:
1301:
1297:
1296:
1292:
1290:
1289:
1285:
1282:
1281:
1277:
1276:
1275:
1274:
1270:
1268:
1267:
1263:
1259:
1258:
1254:
1252:
1251:
1247:
1246:
1245:
1242:
1240:
1239:
1235:
1232:
1231:
1227:
1225:
1224:
1220:
1219:
1217:
1215:
1211:
1205:
1204:
1200:
1198:
1197:
1193:
1191:
1190:
1186:
1184:
1183:
1179:
1177:
1176:
1172:
1170:
1169:
1165:
1163:
1162:
1158:
1156:
1155:
1154:Julius Caesar
1151:
1149:
1148:
1144:
1142:
1141:
1137:
1135:
1134:
1130:
1129:
1127:
1125:
1121:
1115:
1114:
1110:
1107:
1106:
1102:
1100:
1099:
1095:
1093:
1092:
1091:Twelfth Night
1088:
1086:
1085:
1081:
1079:
1078:
1074:
1071:
1070:
1066:
1064:
1063:
1059:
1057:
1056:
1052:
1050:
1049:
1045:
1043:
1042:
1038:
1036:
1035:
1031:
1029:
1028:
1024:
1022:
1021:
1017:
1015:
1014:
1010:
1008:
1007:
1003:
1001:
1000:
996:
995:
993:
991:
987:
984:
982:
978:
974:
967:
962:
960:
955:
953:
948:
947:
944:
935:
931:
927:
925:0-674-63712-7
921:
917:
912:
911:
905:
901:
897:
893:
889:
883:
879:
878:Penguin Books
874:
873:
867:
863:
859:
855:
851:
845:
841:
837:
833:
832:
826:
822:
818:
814:
812:0-14-070732-8
808:
804:
803:Penguin Books
800:
795:
794:
788:
784:
780:
776:
772:
766:
762:
759:. Cambridge:
758:
753:
752:
746:
742:
740:
737: at the
736:
730:
726:
722:
716:
712:
708:
704:
700:
696:
692:
688:
684:
678:
674:
670:
665:
664:
657:
653:
649:
645:
643:0-300-01959-9
639:
635:
630:
629:
623:
619:
615:
611:
607:
601:
597:
592:
591:
584:
583:
578:
577:
573:
570: at the
569:
565:
559:
555:
552:
548:
544:
540:
536:
532:
528:
524:
523:
518:
514:
513:
508:
507:
501:
497:
493:
489:
488:
483:
479:
475:
474:Thomas Thorpe
471:
470:
465:
461:
460:
455:
454:
450:
440:
437:
431:
428:
422:
419:
413:
410:
407:
406:9780807101285
403:
399:
393:
390:
384:
381:
377:
376:9781408017975
373:
369:
363:
360:
353:
348:
344:
343:
338:
334:
331:
330:
326:
324:
319:
308:
306:
302:
298:
290:
288:
284:
280:
278:
273:
268:
266:
265:
264:Metamorphoses
260:
256:
255:
250:
245:
242:
238:
236:
228:
223:
219:
215:
214:
210:
208:
204:
200:
196:
192:
188:
180:
178:
176:
172:
168:
164:
152:
149:
147:
146:
142:
122:
119:
85:
82:
63:
62:
58:
54:
49:
42:
37:
32:
27:
22:
16:
2423:
2043:(son-in-law)
2037:(son-in-law)
1975:Susanna Hall
1916:
1905:Institutions
1884:
1729:Coat of arms
1722:Translations
1714:
1710:Bibliography
1677:To the Queen
1675:
1668:
1650:
1643:
1635:
1628:
1621:
1614:
1606:
1599:
1592:
1585:
1578:
1571:
1564:
1555:
1547:
1540:
1533:
1526:
1519:
1511:
1504:
1497:
1470:
1463:
1456:
1449:
1435:
1397:Performances
1341:Second Folio
1309:
1302:
1293:
1286:
1278:
1271:
1264:
1255:
1248:
1243:
1236:
1228:
1221:
1201:
1194:
1187:
1180:
1173:
1166:
1159:
1152:
1145:
1138:
1131:
1111:
1103:
1096:
1089:
1082:
1075:
1067:
1060:
1053:
1046:
1039:
1032:
1025:
1018:
1011:
1004:
997:
909:
871:
838:. New York:
830:
792:
750:
702:
662:
627:
589:
546:
521:
486:
468:
439:
430:
421:
412:
397:
392:
383:
367:
362:
347:EMI Classics
340:
322:
311:
294:
285:
281:
269:
262:
252:
246:
239:
232:
221:
217:
199:rhyme scheme
184:
162:
161:
124:
87:
65:
15:
3026:Immortality
2081:WikiProject
1768:The Theatre
1754:Handwriting
1580:The Puritan
1371:Characters
1336:First Folio
1304:Richard III
1084:The Tempest
872:The Sonnets
751:The Sonnets
735:1st edition
594:. Madison:
482:Lee, Sidney
167:154 sonnets
3010:Categories
2544:Rival Poet
2005:Mary Arden
1989:(daughter)
1977:(daughter)
1853:Bardolatry
1763:King's Men
1705:Birthplace
1392:Chronology
1311:Henry VIII
1238:Richard II
1230:Edward III
1140:Coriolanus
711:Bloomsbury
671:. Oxford:
525:. Boston:
490:. Oxford:
472:. London:
354:References
177:sequence.
175:Fair Youth
2838:" sonnets
2836:Dark Lady
2035:John Hall
2025:(brother)
2013:(brother)
1945:(replica)
1885:Star Trek
1873:Memorials
1868:Influence
1858:Festivals
1800:Sexuality
1790:Portraits
1785:New Place
1637:Ur-Hamlet
1573:Mucedorus
1483:Apocrypha
1223:King John
1214:Histories
1161:King Lear
1124:Tragedies
1020:Cymbeline
729:755065951
568:Volume II
500:458829162
229:Criticism
191:quatrains
181:Structure
163:Sonnet 55
34:Sonnet 55
2071:Category
2019:(sister)
2007:(mother)
2001:(father)
1513:Cardenio
1402:Settings
1350:See also
1273:Henry VI
1244:Henry IV
990:Comedies
934:36806589
896:46683809
858:64594469
821:15018446
779:32272082
691:48532938
614:86090499
564:Volume I
466:(1609).
378:. p. 221
222:nonictus
2805:"Envoy"
2546:sonnets
1863:Gardens
1739:Editors
1542:Locrine
1535:Fair Em
1367:Henriad
1266:Henry V
1175:Othello
1168:Macbeth
652:2968040
558:6028485
295:In the
195:couplet
2060:†Lost
1971:(wife)
1962:Family
1835:Legacy
1407:Scenes
1147:Hamlet
932:
922:
894:
884:
856:
846:
819:
809:
777:
767:
727:
717:
689:
679:
650:
640:
612:
602:
556:
535:234756
533:
498:
404:
374:
249:Horace
187:sonnet
1983:(son)
1825:Grave
1815:Style
1780:Music
1697:works
1662:Poems
1491:Plays
1429:Poems
981:Plays
218:ictus
207:metre
1820:Will
1695:and
1692:Life
930:OCLC
920:ISBN
892:OCLC
882:ISBN
854:OCLC
844:ISBN
817:OCLC
807:ISBN
775:OCLC
765:ISBN
725:OCLC
715:ISBN
687:OCLC
677:ISBN
648:OCLC
638:ISBN
610:OCLC
600:ISBN
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