428:"we cannot quite take these lines literally" because "to tell someone to forget something is to make it harder for them to forget." This demonstrates a certain "reverse-psychology appeal" as a sense of irony. Furthermore "the shift from the 'vile world' (line 4) to the 'wise world' (line 13) is the final evidence of Shakespeare's irony" in this particular sonnet. Krieger goes on to explain: "For this world is wise—that is, shrewd, prudential—only as it is vile, only as it exercises those characteristics which ape the destructive perfection, the absolute cooperation with time, of the 'vilest worms.'" He questions, "How single-mindedly, then, is his friend to take this selfless, seemingly anti-sentimental injunction to obey the dictates of the world's cold wisdom lest he be mocked by it?"
186:
should only think about him for as long as it takes to tell the world of his death. The speaker then tells his beloved youth that if even reading this sonnet will cause him to suffer, he should forget the hand that wrote the poem. Joseph
Pequigney writes that the sonnet is a "persuasive appeal to be recalled, loved and lamented…a covert counterthesis". Stephen Booth calls this sonnet "a cosmic caricature of a revenging lover." While many critics agree with Peguiney and Booth, and have said that this sonnet is a veiled attempt on the part of the speaker to actually invoke the youth to mourn him, some critics believe differently. Helen Vendler writes that "There are also, I believe, sonnets of hapless love--intended as such by the author, expressed as such by the speaker."
270:
for mourning. In the line there is a limit of time being set aside for mourning, only in life, but after life has ended the mourning must stop. The line ends in dead, finality, giving the false sense that the sentence is over and yet it continues through to the second line. The second line gives the brief time between life and the sound of the bell to mourn and it seems to contradict the first line. The sonnet seems to be firmly against mourning after death, but really it is for mourning the dead but only in a timely manner. "The sonnet's first-person subject demands that mourning—even if it lasts only for one minute or one day—coincides with, rather than succeed, the death knell that will "Give warning to the world that I am fled."
278:
comment on the reading of the first quatrain is that, the experience of reading the poem "an experience of being unable to get on to something new." Booth sees the "Give warning" not only as a literal warning of death but a comment of mortality, "an idea that undercuts the advice the speaker purports to offer by inviting a wider view of all particular deaths that his mundane premises allow for." This reading takes a particular view of the speaker and highlights the theme of aging in the sonnets.
274:
word fled insinuates a presence not no longer existing but being off and gone somewhere else or displaced, an absence. The use of the word dead implies there is no return, while the use of fled opens possibilities of returning. The last line of the first quatrain follows the fled term, "fled", or fleeing from a "vile" world and insinuates that the next world is even worse as it is where the vilest worms dwell. This creates the question of if it is any better after death than it was in life.
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392:"harsh alliterating c's and echoic 'compounded'" and line 12's "soft alliterating l's". Atkins adds "as Ingram and Redpath note, a great variety of stress , supplying a fluidity that, surprisingly perhaps, allows the author to keep the third quatrain's interloped feet ('I say' , 'perhaps' ) and reversed word order ('compounded am' ) from appearing clumsy."
410:
notion is that the world will judge the poet's shortcoming only too well," as clarified by Tucker . After the speaker's urge for the beloved not to mourn him, one might expect several different orthodox explanations at the conclusion. Instead of what is expected "we get: 'Forget me when I am dead – after all, someone might make fun of you.'"
304:
and 'remember not / The hand that writ it'" (p 287). In this same vein, Stephen Booth writes that the "narcissistic smugness of the speaker's gesture of selflessness is made ridiculously apparent by the logic of the situation he evokes: a survivor rereading a poem about forgetting the deceased speaker must necessarily be reminded of him."
243:
beloved friend to cooperate with time and the world in two ways. He pleads for him to not allow love to outlast the poet's life and to not bestow more values on the poet and his work than is warranted. Essentially the poet in Sonnet 71 develops the idea that he is one of the causes as to why the youth "is suspect of the wise world."
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There seems to be a couple different types of irony in the sonnets in general that which is "openly voiced by the speaker and authorial irony suggested at the expense of the (deceived) speaker." There seems to a sense of irony when the speaker tells the beloved to forget him. Schoenfeldt reasons that
269:
According to Guyer, the first line says that once the speaker of the sonnets is dead there should be no mourning, but it is phrased in such a way that says the mourning is happening now, at a point in life and living. Guyer's interpretation focuses heavily on time and the importance of that time used
409:
The couplet tie at the end of the sonnet "sums up the poem: look, mourn (moan), world". By the couplet " is gone, no longer corporeal at all." While the quatrains lead up to a climax in quatrain 3, the couplet suggests a point, a succinct conclusion. According to Atkins, in the couplet "The primary
307:
Conversely, Helen
Vendler, in her book The Art of Shakespeare's Sonnets, writes that this sonnet can indeed be read honestly, that is, as a real-life love predicament wherein two lovers are having a candid discussion of their love for one another. Here, she writes a suicidal dialogue from which she
299:
In quatrain two, the speaker implores the young man to forget the hand that wrote the sonnet if the mere thought of the speaker would cause him to mourn. This is particularly ironic considering that there are lines in other sonnets (e.g., Sonnet 18, Sonnet 55, Sonnet 65 and Sonnet 81) that speak of
273:
Guyer continues on to say that the "Giving warning", describes the bell's message and follows the imperative tense of the first line, give warning mirrors no longer mourn. "The bell that marks the death also marks the duration of the addressee's mourning, and thus sounds a second obligation." The
391:
As par the structure of this particular quatrain, it seems to tie the sonnet all together. As Ingram illustrates, "line 10 look back to lines 1-4" and "line 11 and 12 to the gentler, un-self-regarding tone of lines 5-8." Additionally, these lines within quatrain three contrast because of line 10's
383:
Throughout the entire sonnet there seems to be a movement of mourning from very real and apparent to basically vanished. By quatrain 3 the subject "narrows from the hand to the mere name —as if to render the mourning ever more tenuous, while having the beloved still enact the putatively wished-for
303:
These examples give credence to
Peguiney's argument of a calculated attempt to invoke the youth's mourning, as he writes in his essay Sonnets 71–74, "The 'if' clauses at lines 5 and 9 are cunning invitations to future readings of the verse, and how impossible it would be for 'you read this line'
185:
Shakespeare's sonnet cycle has overarching themes of great love and the passage of time. In this sonnet, the speaker is now concentrating on his own death and how the youth is to mourn him after he is deceased. The speaker tells the youth not to mourn for him when he is dead, and that the youth
277:
Booth takes a different approach to the sonnets. He suggests that the entire sonnet is an "emblem of the poets self-mocking tactics. He argues that though the sonnet works to remind the reader to forget the speaker, it is also contradicts as it constantly reminds the reader of the speaker. His
242:
Sonnet 71 is one of the first 126 sonnets which address the putative young man. It is more specifically a part of four sonnets (71-74), which are "humble bids for affection, cast in tones of deepest gloom." Sonnets 71 and 72 are linked: a double sonnet. Krieger explains the poet's pleas to the
387:
The sonnet as a whole leads the reader's mind and emotion to the climax, line 12. It is in this line that there is an affirmation of the return of love. The line reads "let your love even with my life decay." With this affirmation of the return of love comes the "advice to terminate it".
41:
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This reading is also possible, as the speaker in other sonnets did speak of his name having a stigma attached to it (Sonnet 111), of being despised and disgraced by men (Sonnet 29), and also of being battered and oppressed by the world (Sonnet 27 and Sonnet 28).
710:
Shakespeare, William. "Sonnets". The Norton
Shakespeare Volume I: Early Plays and Poems. Eds. Stephen Greenbldtt, Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus. New York: W. W. Norton & Company, 1997. Print. pg.
881:
Shakespeare, William. "Sonnets". The Norton
Shakespeare Volume I: Early Plays and Poems. Eds. Stephen Greenbldtt, Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus. New York: W. W. Norton & Company, 1997.
673:
Vendler, Helen, and Helen
Vendler. The Art Of Shakespeare's Sonnets / Helen Vendler. n.p.: Cambridge, Massachusetts : Belknap Press of Harvard University Press, 1997., 1997. SLU Libraries Catalog. Web. 29 Oct.
559:
Vendler, Helen, and Helen
Vendler. The Art Of Shakespeare's Sonnets / Helen Vendler. n.p.: Cambridge, Massachusetts : Belknap Press of Harvard University Press, 1997., 1997. SLU Libraries Catalog. Web. 29 Oct.
663:
Shakespeare, William, and
Stephen Booth. Shakespeare's Sonnets / Edited With Analytic Commentary By Stephen Booth. n.p.: New Haven : Yale University Press, 1977., 1977. SLU Libraries Catalog. Web. 29 Oct.
413:
Alternately, Pequigney believes "the answer depends on our mood as we read it." He maintains that "we learn more about ourselves when we interpret this poem than we do about its author."
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behavior." Vendler points out the increasingly distanced view of the speaker and his expression. By this quatrain "the speaker is wholly compounded… with clay, dissolved into dust."
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Finally, the couplet may be read as reflecting the shame imposed on same-sex love by some, and a desire by the author to spare the young man the cruel harshness of such mockery.
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Schiffer, James. Shakespeare's
Sonnets : Critical Essays / Edited By James Schiffer. n.p.: New York : Garland Pub., 1999. SLU Libraries Catalog. Web. 29 October 2012.
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Pequigney, Joseph. "Sonnets 71-74: Texts and
Contexts" Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland Publishing, 199. Print. pg. 286.
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Pequigney, Joseph. "Sonnets 71-74: Texts and Contexts" Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland Publishing, 199. Print. pg. 286.
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Krieger, Murray. A Window to Criticism: Shakespeare's Sonnets and the Modern Poetics. Princeton, New Jersey: Princeton University Press, 1964. Print. pg. 120-121
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Overall, "the couplet is superbly organized, both in the management of its rhythms and in its backward verbal reflection to the patterning of the whole poem."
596:
Krieger, Murray. A Window to Criticism: Shakespeare's Sonnets and the Modern Poetics. Princeton, New Jersey: Princeton University Press, 1964. Print. pg. 120.
872:
Pequigney, Joseph. "Sonnets 71-74: Texts and Contexts" Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland Publishing, 1999. Print.
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Pequigney, Joseph. "Sonnets 71-74: Texts and Contexts" Shakespeare's Sonnets: Critical Essays. Ed. James Schiffer. New York: Garland Publishing, 199. Print.
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550:/ Edited With Analytic Commentary By Stephen Booth. n.p.: New Haven : Yale University Press, 1977., 1977. SLU Libraries Catalog. Web. 29 October 2012
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sequence, in which the poet expresses his love towards a young man. It focuses on the speaker's aging and impending death in relation to his young lover.
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Atkins, Carl D., ed. Shakespeare's Sonnets: With Three Hundred Years of Commentary. Cranbury, NJ: Associated University Press, 2007. Print. pg. 192-193.
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Krieger, Murray. A Window to Criticism: Shakespeare's Sonnets and the Modern Poetics. Princeton, New Jersey: Princeton University Press, 1964. Print.
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Atkins, Carl D., ed. Shakespeare's Sonnets: With Three Hundred Years of Commentary. Cranbury, NJ: Associated University Press, 2007. Print. pg. 193.
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Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets. Ed. Hilton Landry. New York: AMS Press, 1976. Print. pg. 61-62.
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316:: I am going to flee this vile world, preferring a dwelling with vilest worms to any further existence here. What will you do after my death?
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Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets. Ed. Hilton Landry. New York: AMS Press, 1976. Print. pg. 62.
765:
Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets. Ed. Hilton Landry. New York: AMS Press, 1976. Print. pg. 53.
692:
Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets. Ed. Hilton Landry. New York: AMS Press, 1976. Print. pg. 49.
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Schiffer, James. Shakespeare's Sonnets : Critical Essays / Edited By James Schiffer. n.p.: New York : Garland Pub., 1999., 1999.
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Baldwin, T. W. On the Literary Genetics of Shakespeare's Poems and Sonnets. Urbana: University of Illinois Press, 1950. Print. pg. 248.
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Ingram, W. G. "The Shakespearean Quality". New Essays on Shakespeare's Sonnets. Ed. Hilton Landry. New York: AMS Press, 1976. Print.
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Cheney, Patrick, ed. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge University Press, 2007. Print. pg 126.
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Baldwin, T. W. On the Literary Genetics of Shakespeare's Poems and Sonnets. Urbana: University of Illinois Press, 1950. Print.
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based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter:
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Cheney, Patrick, ed. The Cambridge Companion to Shakespeare's Poetry. Cambridge: Cambridge University Press, 2007. Print.
356:: Because the world, which has so mocked me, will then associate you with me, and you will find yourself by association.
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Schoenfeldt, Michael, ed. A Companion to Shakespeare's Sonnets. Malden, MA: Blackwell Publishing, 2007. Print. pg. 356.
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Schoenfeldt, Michael, ed. A Companion to Shakespeare's Sonnets. Malden, MA: Blackwell Publishing, 2007. Print.
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Wait, R. J. C. "Introduction." The Background to Shakespeare's Sonnets. New York: Schocken, 1972. 7-17. Print.
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Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 327.
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Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 329.
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Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 328.
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Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 329.
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Vendler, Helen. The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press, 1997. Print. pg. 327.
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Wait, R. J. C. The Background to Shakespeare's Sonnets. New York: Schocken Books, 1972. Print. pg. 73-74.
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336:: Nay, if you read this line, remember not the hand that wrote it, if that memory would cause you grief.
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Wait, R. J. C. The Background to Shakespeare's Sonnets. New York: Schocken Books, 1972. Print.
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immortality through poetic verse, thus negating the possibility that one can be forgotten.
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Guyer, Sara (2005). "Breath, Today: Celan's Translation of Shakespeare's Sonnet 71".
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Guyer, Sara (2005). "Breath, Today: Celan's Translation of Shakespeare's Sonnet 71".
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221:× / × / × / × / × / No longer mourn for me when I am dead (71.1)
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346:: No, do not rehearse my name, but let your love for me cease when me life does.
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Shakespeares Sonnets: Being a reproduction in facsimile of the first edition
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351:: Why do you forbid me to remember you, grieve for you, read you, name you?
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Booth, Stephen. Shakespeare's Sonnets. New Haven: Yale UP, 1977. Print.
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Poeterra recorded a pop ballad version of Sonnet 71 on their album "
331:: Well, then I will read your lines, and grieve while reading them.
326:: No, mourn for me no longer than it takes to toll my passing bell.
2529:
1379:
473:'s A Solo Requiem begins and ends with settings of Sonnet 71.
1024:
Shakespeare's Sonnets: With Three Hundred Years of Commentary
510:. The Arden Shakespeare . London: Methuen & Company.
341:: Then I will, from love, mention your name to others.
1310:. The Pelican Shakespeare (Rev. ed.). New York:
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981:A New Variorum Edition of Shakespeare: The Sonnets
206:. It follows the typical rhyme scheme of the form,
23:
1341:
1303:
1224:
1182:
1094:
1059:
1021:
264:From this vile world, with vilest worms to dwell:
94:From this vile world, with vilest worms to dwell:
1262:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
113:Lest the wise world should look into your moan,
402:Lest the wise world should look into your moan
100:That I in your sweet thoughts would be forgot,
2541:
1391:
1350:The Belknap Press of Harvard University Press
903:Shake-speares Sonnets: Never Before Imprinted
292:That I in your sweet thoughts would be forgot
229:, a metrically strong syllabic position. × =
8:
615:
613:
611:
476:The lyrics from the song Dead Boy's Poem on
294:If thinking on me then should make you woe.
1227:The Sonnets ; and, A Lover's Complaint
378:But let your love even with my life decay,
308:infers the sonnet could have been written:
169:written by the English playwright and poet
102:If thinking on me then should make you woe.
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110:But let your love even with my life decay;
39:
546:Shakespeare, William, and Stephen Booth.
260:Than you shall hear the surly sullen bell
194:Sonnet 71 is an English or Shakespearean
98:The hand that writ it; for I love you so,
90:Than you shall hear the surly sullen bell
1143:, third series (Rev. ed.). London:
376:Do not so much as my poor name rehearse.
290:The hand that writ it; for I love you so
288:Nay, if you read this line, remember not
262:Give warning to the world that I am fled
108:Do not so much as my poor name rehearse,
96:Nay, if you read this line, remember not
92:Give warning to the world that I am fled
496:
374:When I perhaps compounded am with clay,
106:When I perhaps compounded am with clay,
404:And mock you with me after I am gone.
372:O, if, I say, you look upon this verse
104:O, if, I say, you look upon this verse
20:
2150:Complete Works of William Shakespeare
258:No longer mourn for me when I am dead
117:And mock you with me after I am gone.
88:No longer mourn for me when I am dead
7:
1030:Fairleigh Dickinson University Press
2510:
2325:Shakespeare's influence on Tolkien
14:
1265:Shakespeare's Sonnets & Poems
507:The Works of Shakespeare: Sonnets
3258:
2509:
2500:
2499:
1853:
1344:The Art of Shakespeare's Sonnets
51:
198:. The English sonnet has three
3450:Sonnets by William Shakespeare
2330:Works titled after Shakespeare
1097:The Complete Sonnets and Poems
202:, followed by a final rhyming
1:
2490:Shakespeare and other authors
1191:The New Cambridge Shakespeare
1020:Atkins, Carl D., ed. (2007).
2372:Shakespeare Birthplace Trust
1348:. Cambridge, Massachusetts:
1066:(Rev. ed.). New Haven:
504:Pooler, C Knox, ed. (1918).
45:Sonnet 71 in the 1609 Quarto
2178:English Renaissance theatre
2021:The Second Maiden's Tragedy
2000:The Merry Devil of Edmonton
1532:The Two Gentlemen of Verona
1093:Burrow, Colin, ed. (2002).
890:First edition and facsimile
321:: I will mourn you forever.
18:Poem by William Shakespeare
3466:
2346:Folger Shakespeare Library
1892:The Phoenix and the Turtle
1482:The Merry Wives of Windsor
1270:Folger Shakespeare Library
1195:Cambridge University Press
985:J. B. Lippincott & Co.
956:The Sonnets of Shakespeare
3256:
2484:
2365:Royal Shakespeare Theatre
2360:Royal Shakespeare Company
1851:
1489:A Midsummer Night's Dream
1433:All's Well That Ends Well
961:Houghton Mifflin Harcourt
59:
50:
38:
1503:Pericles, Prince of Tyre
1013:Modern critical editions
951:Alden, Raymond Macdonald
1511:The Taming of the Shrew
1274:Washington Square Press
1233:New Penguin Shakespeare
1133:Duncan-Jones, Katherine
1107:Oxford University Press
173:. It's a member of the
2193:Lord Chamberlain's Men
2104:The Passionate Pilgrim
1877:comparison to Petrarch
1496:Much Ado About Nothing
1475:The Merchant of Venice
1103:The Oxford Shakespeare
840:Comparative Literature
622:Comparative Literature
407:
381:
359:
297:
267:
2557:Shakespeare's sonnets
2383:Shakespeare Institute
2352:Shakespeare Quarterly
1871:Shakespeare's sonnets
1539:The Two Noble Kinsmen
1137:Shakespeare's Sonnets
1062:Shakespeare's Sonnets
977:Rollins, Hyder Edward
548:Shakespeare's Sonnets
399:
369:
310:
285:
255:
150:—William Shakespeare
2564:"Fair Youth" sonnets
2239:Spelling of his name
2079:Vortigern and Rowena
2057:Thomas Lord Cromwell
1637:Troilus and Cressida
1567:Antony and Cleopatra
1461:Love's Labour's Lost
1447:The Comedy of Errors
898:Shakespeare, William
2572:Procreation sonnets
2463:Richard Shakespeare
2445:Gilbert Shakespeare
2377:Shakespeare's Globe
2282:Authorship question
2277:Attribution studies
2244:Stratford-upon-Avon
2086:A Yorkshire Tragedy
2064:Thomas of Woodstock
2050:The Spanish Tragedy
1991:Love's Labour's Won
1983:The London Prodigal
1940:The Birth of Merlin
1899:The Rape of Lucrece
1885:A Lover's Complaint
1765:Quarto publications
1468:Measure for Measure
1407:William Shakespeare
1179:Evans, G. Blakemore
488:quote this sonnet.
214:, a type of poetic
210:and is composed in
171:William Shakespeare
2457:Edmund Shakespeare
2415:Hamnet Shakespeare
2312:Screen adaptations
2035:Sir John Oldcastle
1933:Arden of Faversham
3437:
3436:
3433:
3432:
3254:
3253:
3035:
3034:
2668:
2667:
2523:
2522:
2427:Elizabeth Barnard
2391:
2390:
2120:
2119:
1849:
1848:
1547:The Winter's Tale
1235:(Rev. ed.).
1154:978-1-4080-1797-5
1141:Arden Shakespeare
1039:978-0-8386-4163-7
943:Variorum editions
852:10.1215/-57-4-328
634:10.1215/-57-4-328
442:compilation album
212:iambic pentameter
208:abab cdcd efef gg
160:
159:
156:
155:
3457:
3410:
3262:
3236:
2974:
2568:
2550:
2543:
2536:
2527:
2513:
2512:
2503:
2502:
2451:Joan Shakespeare
2433:John Shakespeare
2336:
2317:Shakespeare and
2028:Sejanus His Fall
1995:
1955:Double Falsehood
1922:
1906:Venus and Adonis
1857:
1630:Titus Andronicus
1616:Romeo and Juliet
1420:
1400:
1393:
1386:
1377:
1371:
1347:
1333:
1309:
1295:
1258:
1230:
1216:
1188:
1173:Internet Archive
1166:
1128:
1100:
1089:
1065:
1051:
1027:
1006:Internet Archive
995:
983:. Philadelphia:
972:
937:
911:
863:
820:
817:
811:
808:
802:
799:
793:
790:
784:
781:
775:
772:
766:
763:
757:
754:
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745:
739:
736:
730:
727:
721:
718:
712:
708:
702:
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684:
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675:
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617:
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579:
576:
570:
567:
561:
557:
551:
544:
538:
535:
529:
526:
520:
519:
501:
465:When in Disgrace
447:When Love Speaks
118:
114:
61:
60:
55:
43:
21:
3465:
3464:
3460:
3459:
3458:
3456:
3455:
3454:
3440:
3439:
3438:
3429:
3408:
3263:
3250:
3234:
3031:
2972:
2664:
2559:
2554:
2524:
2519:
2480:
2429:(granddaughter)
2387:
2334:
2263:
2229:Religious views
2207:Curtain Theatre
2128:
2116:
2091:
2042:Sir Thomas More
1988:
1962:Edmund Ironside
1911:
1858:
1845:
1819:Ghost character
1779:
1751:
1642:
1623:Timon of Athens
1552:
1409:
1404:
1374:
1360:
1336:
1322:
1298:
1284:
1261:
1247:
1223:, ed. (1995) .
1219:
1205:
1177:
1155:
1135:, ed. (2010) .
1131:
1117:
1092:
1078:
1058:, ed. (2000) .
1054:
1040:
1019:
1010:
975:
949:
940:
926:Clarendon Press
914:
896:
837:
828:
823:
818:
814:
809:
805:
800:
796:
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787:
782:
778:
773:
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568:
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541:
536:
532:
527:
523:
503:
502:
498:
494:
478:symphonic metal
461:
440:, for the 2002
434:
432:Interpretations
425:
406:
403:
398:
380:
377:
375:
373:
368:
358:
352:
347:
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46:
33:
28:
19:
12:
11:
5:
3463:
3461:
3453:
3452:
3442:
3441:
3435:
3434:
3431:
3430:
3428:
3427:
3422:
3416:
3414:
3413:"Anacreontics"
3407:
3406:
3401:
3396:
3391:
3386:
3381:
3376:
3371:
3366:
3361:
3356:
3351:
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3326:
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3281:
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3257:
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3157:
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3127:
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3117:
3112:
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3102:
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3077:
3072:
3067:
3062:
3057:
3052:
3047:
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3024:
3019:
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3009:
3004:
2999:
2994:
2989:
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2652:
2647:
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2622:
2617:
2612:
2607:
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2597:
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2555:
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2507:
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2221:
2216:
2211:
2210:
2209:
2204:
2190:
2185:
2180:
2175:
2170:
2168:Collaborations
2165:
2160:
2159:
2158:
2153:
2141:
2135:
2133:
2122:
2121:
2118:
2117:
2115:
2114:
2107:
2099:
2097:
2093:
2092:
2090:
2089:
2082:
2075:
2067:
2060:
2053:
2046:
2038:
2031:
2024:
2017:
2010:
2003:
1996:
1986:
1979:
1972:
1965:
1958:
1951:
1943:
1936:
1928:
1926:
1919:
1913:
1912:
1910:
1909:
1902:
1895:
1888:
1881:
1880:
1879:
1866:
1864:
1860:
1859:
1852:
1850:
1847:
1846:
1844:
1843:
1838:
1833:
1828:
1823:
1822:
1821:
1816:
1811:
1803:
1798:
1793:
1787:
1785:
1781:
1780:
1778:
1777:
1772:
1767:
1761:
1759:
1757:Early editions
1753:
1752:
1750:
1749:
1741:
1734:
1733:
1732:
1725:
1718:
1703:
1696:
1695:
1694:
1687:
1675:
1668:
1660:
1652:
1650:
1644:
1643:
1641:
1640:
1633:
1626:
1619:
1612:
1605:
1598:
1591:
1584:
1577:
1570:
1562:
1560:
1554:
1553:
1551:
1550:
1543:
1535:
1528:
1521:
1514:
1507:
1499:
1492:
1485:
1478:
1471:
1464:
1457:
1450:
1443:
1440:As You Like It
1436:
1428:
1426:
1417:
1411:
1410:
1405:
1403:
1402:
1395:
1388:
1380:
1373:
1372:
1358:
1340:, ed. (1997).
1338:Vendler, Helen
1334:
1321:978-0140714531
1320:
1302:, ed. (2001).
1300:Orgel, Stephen
1296:
1283:978-0743273282
1282:
1259:
1245:
1221:Kerrigan, John
1217:
1204:978-0521294034
1203:
1181:, ed. (1996).
1175:
1153:
1129:
1116:978-0192819338
1115:
1090:
1076:
1068:Yale Nota Bene
1056:Booth, Stephen
1052:
1038:
1016:
1015:
1014:
1009:
1008:
979:, ed. (1944).
973:
953:, ed. (1916).
946:
945:
944:
939:
938:
918:, ed. (1905).
912:
893:
892:
891:
887:
886:
883:
879:
876:
873:
870:
867:
864:
846:(4): 328–351.
835:
832:
827:
824:
822:
821:
812:
803:
794:
785:
776:
767:
758:
749:
740:
731:
722:
713:
703:
694:
685:
676:
666:
656:
647:
628:(4): 328–351.
607:
598:
589:
580:
571:
562:
552:
539:
530:
521:
495:
493:
490:
471:Milton Babbitt
460:
457:
456:
455:
433:
430:
424:
421:
400:
397:
394:
370:
367:
364:
311:
286:
283:
280:
256:
253:
250:
248:
245:
239:
236:
235:
234:
220:
191:
188:
182:
179:
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:
3462:
3451:
3448:
3447:
3445:
3426:
3423:
3421:
3418:
3417:
3415:
3411:
3405:
3402:
3400:
3397:
3395:
3392:
3390:
3387:
3385:
3382:
3380:
3377:
3375:
3372:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3347:
3345:
3342:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3290:
3287:
3285:
3282:
3280:
3277:
3276:
3274:
3271:
3266:
3261:
3247:
3244:
3243:
3241:
3237:
3231:
3228:
3226:
3223:
3221:
3218:
3216:
3213:
3211:
3208:
3206:
3203:
3201:
3198:
3196:
3193:
3191:
3188:
3186:
3183:
3181:
3178:
3176:
3173:
3171:
3168:
3166:
3163:
3161:
3158:
3156:
3153:
3151:
3148:
3146:
3143:
3141:
3138:
3136:
3133:
3131:
3128:
3126:
3123:
3121:
3118:
3116:
3113:
3111:
3108:
3106:
3103:
3101:
3098:
3096:
3093:
3091:
3088:
3086:
3083:
3081:
3078:
3076:
3073:
3071:
3068:
3066:
3063:
3061:
3058:
3056:
3053:
3051:
3048:
3046:
3043:
3041:
3038:
3037:
3028:
3025:
3023:
3020:
3018:
3015:
3013:
3010:
3008:
3005:
3003:
3000:
2998:
2995:
2993:
2990:
2988:
2985:
2984:
2982:
2979:
2975:
2969:
2966:
2964:
2961:
2959:
2956:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2931:
2929:
2926:
2924:
2921:
2919:
2916:
2914:
2911:
2909:
2906:
2904:
2901:
2899:
2896:
2894:
2891:
2889:
2886:
2884:
2881:
2879:
2876:
2874:
2871:
2869:
2866:
2864:
2861:
2859:
2856:
2854:
2851:
2849:
2846:
2844:
2841:
2839:
2836:
2834:
2831:
2829:
2826:
2824:
2821:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2794:
2791:
2789:
2786:
2784:
2781:
2779:
2776:
2774:
2771:
2769:
2766:
2764:
2761:
2759:
2756:
2754:
2751:
2749:
2746:
2744:
2741:
2739:
2736:
2734:
2731:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2709:
2706:
2704:
2701:
2699:
2696:
2694:
2691:
2689:
2686:
2684:
2681:
2679:
2676:
2674:
2671:
2670:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2621:
2618:
2616:
2613:
2611:
2608:
2606:
2603:
2601:
2598:
2596:
2593:
2591:
2588:
2586:
2583:
2581:
2578:
2577:
2575:
2573:
2569:
2566:
2562:
2558:
2551:
2546:
2544:
2539:
2537:
2532:
2531:
2528:
2516:
2508:
2506:
2498:
2497:
2493:
2491:
2487:
2486:
2483:
2476:
2475:Thomas Quiney
2473:
2470:
2467:
2465:(grandfather)
2464:
2461:
2458:
2455:
2452:
2449:
2446:
2443:
2440:
2437:
2434:
2431:
2428:
2425:
2422:
2421:Judith Quiney
2419:
2416:
2413:
2410:
2407:
2404:
2403:Anne Hathaway
2401:
2400:
2398:
2394:
2384:
2381:
2378:
2375:
2373:
2370:
2366:
2363:
2362:
2361:
2358:
2354:
2353:
2349:
2348:
2347:
2344:
2343:
2341:
2337:
2331:
2328:
2326:
2323:
2321:
2320:
2315:
2313:
2310:
2308:
2305:
2303:
2300:
2298:
2295:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2274:
2272:
2270:
2266:
2260:
2257:
2255:
2252:
2250:
2247:
2245:
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2220:
2217:
2215:
2212:
2208:
2205:
2203:
2200:
2199:
2198:
2194:
2191:
2189:
2186:
2184:
2183:Globe Theatre
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2161:
2157:
2154:
2152:
2151:
2147:
2146:
2145:
2142:
2140:
2137:
2136:
2134:
2132:
2127:
2123:
2113:
2112:
2108:
2106:
2105:
2101:
2100:
2098:
2094:
2088:
2087:
2083:
2081:
2080:
2076:
2073:
2072:
2068:
2066:
2065:
2061:
2059:
2058:
2054:
2052:
2051:
2047:
2044:
2043:
2039:
2037:
2036:
2032:
2030:
2029:
2025:
2023:
2022:
2018:
2016:
2015:
2011:
2009:
2008:
2004:
2002:
2001:
1997:
1993:
1992:
1987:
1985:
1984:
1980:
1978:
1977:
1973:
1971:
1970:
1966:
1964:
1963:
1959:
1957:
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2144:Bibliography
2111:To the Queen
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2202:The Theatre
2188:Handwriting
2014:The Puritan
1805:Characters
1770:First Folio
1738:Richard III
1518:The Tempest
1306:The Sonnets
1185:The Sonnets
1169:1st edition
1028:. Madison:
916:Lee, Sidney
167:154 sonnets
2978:Rival Poet
2439:Mary Arden
2423:(daughter)
2411:(daughter)
2287:Bardolatry
2197:King's Men
2139:Birthplace
1826:Chronology
1745:Henry VIII
1672:Richard II
1664:Edward III
1574:Coriolanus
1145:Bloomsbury
1105:. Oxford:
959:. Boston:
924:. Oxford:
906:. London:
826:References
486:Wishmaster
467:" (2014).
366:Quatrain 3
282:Quatrain 2
252:Quatrain 1
175:Fair Youth
165:is one of
3272:" sonnets
3270:Dark Lady
2469:John Hall
2459:(brother)
2447:(brother)
2379:(replica)
2319:Star Trek
2307:Memorials
2302:Influence
2292:Festivals
2234:Sexuality
2224:Portraits
2219:New Place
2071:Ur-Hamlet
2007:Mucedorus
1917:Apocrypha
1657:King John
1648:Histories
1595:King Lear
1558:Tragedies
1454:Cymbeline
1163:755065951
1002:Volume II
934:458829162
482:Nightwish
200:quatrains
190:Structure
163:Sonnet 71
34:Sonnet 71
3444:Category
2505:Category
2453:(sister)
2441:(mother)
2435:(father)
1947:Cardenio
1836:Settings
1784:See also
1707:Henry VI
1678:Henry IV
1424:Comedies
1368:36806589
1330:46683809
1292:64594469
1255:15018446
1213:32272082
1125:48532938
1048:86090499
998:Volume I
900:(1609).
484:' album
459:In Music
247:Analysis
231:nonictus
181:Synopsis
3239:"Envoy"
2980:sonnets
2297:Gardens
2173:Editors
1976:Locrine
1969:Fair Em
1801:Henriad
1700:Henry V
1609:Othello
1602:Macbeth
1086:2968040
992:6028485
860:4122561
642:4122561
516:4770201
396:Couplet
349:Beloved
339:Beloved
329:Beloved
319:Beloved
238:Context
204:couplet
2494:† Lost
2405:(wife)
2396:Family
2269:Legacy
1841:Scenes
1581:Hamlet
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196:sonnet
2417:(son)
2259:Grave
2249:Style
2214:Music
2131:works
2096:Poems
1925:Plays
1863:Poems
1415:Plays
856:JSTOR
711:1778.
638:JSTOR
492:Notes
480:band
423:Irony
227:ictus
216:metre
2254:Will
2129:and
2126:Life
1364:OCLC
1354:ISBN
1326:OCLC
1316:ISBN
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1278:ISBN
1251:OCLC
1241:ISBN
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1199:ISBN
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1111:ISBN
1082:OCLC
1072:ISBN
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1034:ISBN
1000:and
988:OCLC
965:OCLC
930:OCLC
674:2012
664:2012
560:2012
512:OCLC
354:Poet
344:Poet
334:Poet
324:Poet
314:Poet
225:/ =
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81:C
76:Q3
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