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for disbelief; consequently, the statement incriminates itself. Alice F. Moore also concurs with the writing of
Stephen Booth in her own commentary on Sonnet 138, also proclaiming the relationship between the two lovers as one of mutual dishonesty. For Moore, line 2 highlights an internal division of the speaker because he knows that the lady lies, but he, even knowing this, chooses to believe her. The speaker clearly acknowledges his lady's lies in line 2, and he acknowledges his decision to believe them. Both lines 3 and 4 give reason for the speaker's beliefs concerning his and his lover's lies. He wants to appear younger, while she wants to think that she is with a more youthful lover. However, the editor, Carl D. Atkins, approaches the first quatrain with a slightly different take, believing the word "lies" in line 2 to be nothing more than a set-up for the pun in the ending couplet, using the word "lies" to mean "sleep with" instead of "falsehoods". He also has a slight twist about who lies to whom, claiming that the lady lies to the speaker about her faithfulness, but he does not lie to her, only to himself, imagining that she believes him to be an "untutored youth".
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Shakespeare's sonnets to the young boy this does fall into this contradictory tradition. Here there
Shakespeare references her truth and lies rather than her sensual body showing that he is differing from Christian traditions. Joel Fineman speaks on a similar topic when referencing Shakespeare. "On both sides thus is simple truth suppress'd." Fineman states, "his desire is imposed on him, not by God or by Nature, but by poetry itself." Fineman is explaining that Shakespeare is not only challenging Christianity he is examining the forms and ideas of poetry themselves. Shakespeare's emphasis on truth takes away from his emphasis on procreation. J. Bunselmeyer takes it even further and discusses that Shakespeare's puns here begin to negate not only the traditional ideas of Christianity but also the words that are being presented. This contradiction plays on Fineman's idea of the form of poetry.
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same can be said for line 7, with the second part of the line clearly contradicting the beginning. According to Moore, the confusing contradictions within these lines are intended to display, and help the reader to feel, the "schizophrenia" of both the poem and the two lovebirds. Booth's writing agrees with Moore; lines 5 and 6 parallel the inconsistencies that the speaker discusses in line 2. Booth's interpretation suggests that the lady struggles to believe that she actually believes the lies that she pretends to believe. Boothe says line 7 simply shows line 8 as a truth "thus, we are both liars, she in pretending faithfulness and I in pretending youth", emphasizing the mutuality of the relationship. It reiterates their mutual deception and recognition of said deception, believing all that they hear from each other and all that they tell to each other.
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verb, becoming "we" with "our" shared faults. The end of the poem shows the final progression of the lovers' relationship, beginning with anger, then suppressed anger, followed by game playing, then the realization of the absurdity of truthfulness, finally ending with the admission of flattery when each lover suppresses frank speech in order to lie to and with each other. Booth also recognizes the significance of the mutual pronouns, with line 13 reiterating lies as necessary for a cooperative relationship, but his conclusion from the closing lines of the poem varies slightly from
Vendler's. For Booth, line 14 is not a realization of the lovers situation, but it is a reason for the speaker's attitude throughout the poem, particularly that of "cynicism, bitterness, and despair".
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is shown as being both fair and foul, and both kind and unkind. Alice F. Moore feels that within these later sonnets the poet is equally as dark as the lady. As the speaker reveals the mistress in her "foulness" and "deceit", he consequently reveals himself. These sonnets are shadowed by the speakers own self-hatred and anger. However, Joel
Fineman believes that the biggest difference between series of the dark lady and the other series of sonnets featuring the young man is that those about the dark lady use a formula of lusty misogyny that is clearly Shakespearean. Throughout the sonnets, and especially sonnet 138, the lady "comes to occupy this peculiarly charged erotic place ("therefore I lie with her, and she with me,/And in our faults by lies we flattered be").
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as language— functions as a supplementary and confirming, not a disavowing, gloss on what the poet has to say". They "conceal praise under the guise of disparagement (Kambascovic-Sawers p. 293). A.L. Rowse believes that the sonnet takes us further into
Shakespeare's relationship with the lady. The relationship is both "purely sexual" and "utterly unromantic". However, it can also be said that the speaker is not attracted to the woman because of her "physical, intellectual, or moral excellence". Instead, the attraction is portrayed as being "self-generated, with no basis in 'reality'.
511:"lie with" also furthers Atkins's argument for an elaborate pun, declaring that the speaker lies with the mistress rather than to her. Also in lines 11 and 12, much is debated over the beginning "O" of line 11. Moore interprets this interjection as impatience or sarcasm, possibly a "reason or excuse hastily tossed off." However, author Helen Vendler views it as the beginnings of proverbial wisdom; the "O" is actually an answer to a question. Both lines 11 and 12 are in proverb form, but Vendler believes the proverbs to reference the speaker, as opposed to his lady.
292:, Carl D. Atkins stresses that although the collection title page reads "By W. Shakespeare", it features a number of poems known to belong to other authors. "Commentators have debated", he states, "whether the version of Sonnet 138 in the Passionate Pilgrim represents an early draft by Shakespeare or a poor memorial reconstruction by someone who read the version later printed in the Quarto (or some other draft)" (340). John Roe's analysis in the Cambridge collection of Shakespeare's poetry,
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172:. Making use of frequent puns ("lie" and "lie" being the most obvious), it shows an understanding of the nature of truth and flattery in romantic relationships. The poem has also been argued to be biographical: many scholars have suggested Shakespeare used the poem to discuss his frustrating relationship with
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The sonnets addressed to the dark lady usually relate the lady with "a disjunction occasioned by verbal duplicity," ("When my love swears that she is made of truth,/I do believe her, though I know she lies"). The language in the dark lady sonnets is some that "one is forced to hear— to hear, that is,
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lying cycle is but a moment of love performance. Using wordplay in "Therefore I lie with her, and she with me" suggests that they are not lying at each other but with each other. The sonnet concludes with this reconciling image to release the speaker from transgressing his lover's age insecurity. In
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Valerie Traub presents the idea that many sonnets follow a Judeo-Christian idea of procreation as "justification" for heterosexuality. Shakespeare explores more sensual and even explicit ideas in the sonnets that challenge these ideals. Though Sonnet 138 does not vastly differ from this tradition as
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In line 9, the word "unjust" is taken by Atkins to mean either "dishonest" or "unfaithful"; the editor leans toward the second option because it is in keeping with the rest of his interpretation, but it is clear that the word refers to some "falseness in matters of the heart". In line 13, the term
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In the second quatrain, specifically in lines 5 and 6, the speaker declares he is aware that she knows he is no longer young. Beginning line 5 with the words "Thus vainly" effectively negates the second half of the line, implying that the lady does not actually believe in the speaker's youth. The
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Lines 1 and 2 of
Shakespeare's Sonnet 138 present a paradox where the obsessed lover is blind to what he can clearly see. Line 2 reveals that the speaker is aware of his delusion, possibly because of the word "swears" in line 1. Swearing, according to editor Stephen Booth, means there is a reason
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Sonnet 138 is a part of a series of poems written about
Shakespeare's dark lady. They describe a woman who has dark hair and dark eyes. She diverges from the Petrarchan norm. "Golden locks" and "florid cheeks" were fashionable in that day, but Shakespeare's lady does not bear those traits. The lady
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The ending couplet provides, according to Moore, an interesting twist when "deception and love making become one: to lie is to lie with" However, Vendler has a slightly different take on the poem as a whole in response to the final volta. She notes that the pronouns "I" and "she" share a mutual
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Sonnet 138 unveils a paradox that underlines the speaker's personal struggle to come to terms with issues of deceit and trust in love. The sonnet's tone shifts from a recognition of his lover's lie about her age to developing a sense of trust in exchanging the lie. The lady is portrayed as someone
451:, A. L. Rowse notes that Sonnet 138 shows the "uncompromising realism with which he describes it all: it has been said -- rightly-- that there is no woman like Shakespeare's in all the sonnet-literature of the Renaissance. Most of them are abstractions or wraiths; this one is of flesh and blood".
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The sonnet talks about how lies do not hurt when their purpose is to protect lovers' feelings and preserve relationships. In the sonnet, the speaker knows that his lover is lying about his age, but decides not to make much ado about nothing because he knows her act is dictated by love and concern.
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The tone shift highlights the power of love in interpolating mutual exchange of harmonious moments even at the cost of such negative values as lying. The interpolation process prompts him to transcend his earlier cynical perception of deceit to capture a rather more meaningful feeling, i.e. their
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The poem is quite regular metrically. Ironically, line 7, beginning "simply" may be the most metrically complex: it begins with a common metrical variation, the initial reversal, and features (potentially) a rightward movement of the third ictus (resulting in a four-position figure,
196:" points to the speaker being self-conscious about his age. He stresses his awareness that his best days are behind him; a truth that his lover knows but ignores. He understands that both are lying to each other for the sake of their relationship to live. When the speaker states, "
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Rowse feels that the woman discussed in the sonnet can be identified as the mistress, Emilia. Shakespeare is six years older, and is thus highly conscious of his age. Underneath all the hyprocrisies there is
Shakespeare's "honest candour." In
481:, the writers suggest that the speaker's decision could be his way of preserving "his image of his love as a truthful person" (373). This, however, does not exempt him from taking advantage of the benefits of sustaining the relationship.
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insecure about her age in her attempt to defy time and win compassion of her younger lover. The element of irony in this exchange is his reference to her knowledge that his age is already beyond youth. Author of
699:(Danijela Kambraskovic-Sawers. Three themes in one, which wonderous scope affords: Ambiguous Speaker and Storytelling in Shakespeare's Sonnets, Criticism, 49:3 (2007:Summer) p. 294)
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An initial reversal is potentially present in line 13, and a minor ionic in line 1; however, the frequent emphasis of pronouns in this poem may argue against the latter variation.
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807:(Traub, Valerie. "Sex without Issue: Sodomy, Reproduction, and Signification in Shakespeare's Sonnets" Shakespeare's Sonnets: Critical Essays. Ed. Schiffer, James. 2001.)
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Edward A. Snow's "Loves of
Comfort and Despair: A Reading of Shakespeare's Sonnet 138" presents a critical analysis of the sonnet in light of other Shakespearean works.
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296:, adds a layer of mystery to the sonnet authorship when he mentions the canceled title page of Jaggard's 1612 edition, which bears Heywood's name (58).
708:(Joel Fineman. Shakespeare's Perjurd Eye: The Invention of Poetic Subjectivity in the Sonnets. University of California Press, Berkeley: 1986, p. 17.)
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816:(Fineman, Joel. Shakespeare's Perjurd Eye: The Invention of Poetic Subjectivity in the Sonnets. University of California Press, Berkeley: 1986.)
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Snow, Edward. "Loves of
Comfort and Despair: A Reading of Shakespeare's Sonnet 138". ELH, Vol. 47, No. 3 (Autumn, 1980), pp. 462-483. Journal.
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Philippot, Pierre and Robert S. Feldman et al. The Social Context of Nonverbal Behavior. Cambridge: Cambridge University Press, 1999. Print
180:.) The poem emphasizes the effects of age and the associated deterioration of beauty, and its effect on a sexual or romantic relationship.
897:(Ed. Atkins, Carl D. Shakespeare's Sonnets: With Three Hundred Years of Commentary. Fairleigh Dickinson University Press, Madison: 2007.)
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based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter:
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Sonnet 138 is one of twenty sonnets published in The Passionate Pilgrim (Dark Lady) collection (1599) by Jaggard. In
861:(Ed. Booth, Stephen. Shakespeare's Sonnets Edited with Analytic Commentary. Yale University Press, New Haven: 1977.)
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Sonnet 138 begins with the speaker discussing how his love speaks word of truth, but the next line states "
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The irony is that the speaker is himself aware of the lie while hiding a lie of his own. Gerald Massey's
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Therefore I lie with her and she with me, and in our faults by lies we flattered be
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went through two separate printings during 1599. Sonnet 138 is the first poem in
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
592:. The Arden Shakespeare . London: Methuen & Company.
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Sonnet 138: When My Love Swears That He Is Made Of Truth
1429:. The Pelican Shakespeare (Rev. ed.). New York:
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1100:A New Variorum Edition of Shakespeare: The Sonnets
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1381:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
373:And age, in love, loves not to have years told.
688:Shakespeare's Sonnets Never Before Interpreted
471:Shakespeare's Sonnets Never Before Interpreted
408:Shakespeare's Sonnets Never Before Interpreted
333:Thus vainly thinking that she thinks me young,
318:When my love swears that she is made of truth,
102:On both sides thus is simple truth suppress’d.
96:Thus vainly thinking that she thinks me young,
88:When my love swears that she is made of truth,
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1469:The Belknap Press of Harvard University Press
1022:Shake-speares Sonnets: Never Before Imprinted
351:Outfacing faults in love with love's ill rest
322:That she might think me some untutor'd youth,
247:, a metrically strong syllabic position. Ă— =
110:And age in love loves not to have years told:
98:Although she knows my days are past the best,
92:That she might think me some untutor’d youth,
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194:That she might think me some untutored youth
1346:The Sonnets ; and, A Lover's Complaint
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449:Shakespeare's Sonnets: The Problems Solved
212:Sonnet 138 is an English or Shakespearean
117:And in our faults by lies we flatter’d be.
100:Simply I credit her false-speaking tongue:
94:Unlearned in the world’s false subtleties.
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320:I do believe her, though I know she lies,
198:Simply I credit her false-speaking tongue
113:Therefore I lie with her and she with me,
108:O, love’s best habit is in seeming trust,
104:But wherefore says she not she is unjust?
90:I do believe her, though I know she lies,
1262:, third series (Rev. ed.). London:
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479:The Social Context of Nonverbal Behavior
190:I do believe her, though I know she lies
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306:, followed thereafter by Shakespeare's
365:And wherefore say not I that I am old?
106:And wherefore say not I that I am old?
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1149:Fairleigh Dickinson University Press
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1384:Shakespeare's Sonnets & Poems
661:The Works of Shakespeare: Sonnets
589:The Works of Shakespeare: Sonnets
348:credit her false-speaking tongue,
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1463:The Art of Shakespeare's Sonnets
690:. London: Longmans, 1866. Print.
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216:. The English sonnet has three
2438:Sonnets by William Shakespeare
1216:The Complete Sonnets and Poems
220:, followed by a final rhyming
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1310:The New Cambridge Shakespeare
1139:Atkins, Carl D., ed. (2007).
260:, sometimes referred to as a
165:is one of the most famous of
45:Sonnet 138 in the 1609 Quarto
1467:. Cambridge, Massachusetts:
1185:(Rev. ed.). New Haven:
658:Pooler, C Knox, ed. (1918).
586:Pooler, C Knox, ed. (1918).
1212:Burrow, Colin, ed. (2002).
1009:First edition and facsimile
780:(Kambascovic-Sawers p. 294)
771:(Kambascovic-Sawers p. 294)
18:Poem by William Shakespeare
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1389:Folger Shakespeare Library
1314:Cambridge University Press
1104:J. B. Lippincott & Co.
1075:The Sonnets of Shakespeare
555:Seven Sonnets & a Song
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1080:Houghton Mifflin Harcourt
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1508:Sonnet 138 (Shakespeare)
1132:Modern critical editions
1070:Alden, Raymond Macdonald
1393:Washington Square Press
1352:New Penguin Shakespeare
1252:Duncan-Jones, Katherine
1226:Oxford University Press
563:, for the 2016 single,
367:O love's best habit is
1222:The Oxford Shakespeare
624:Shakespeare's Sonnets
552:, for the 2016 album,
393:in love thus smother'd
304:The Passionate Pilgrim
300:The Passionate Pilgrim
283:The Passionate Pilgrim
258:Ă— Ă— / /
1545:Shakespeare's sonnets
1256:Shakespeare's Sonnets
1181:Shakespeare's Sonnets
1096:Rollins, Hyder Edward
327:in the world's false
290:Shakespeare's Sonnets
167:William Shakespeare's
150:—William Shakespeare
1552:"Fair Youth" sonnets
1017:Shakespeare, William
1560:Procreation sonnets
1298:Evans, G. Blakemore
380:lie with love, and
369:a flattering tongue
355:But wherefore says
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1260:Arden Shakespeare
1158:978-0-8386-4163-7
1062:Variorum editions
686:Massey, Gerald.
622:Atkins, Carl Ed.
534:compilation album
455:Themes and motifs
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735:(Fineman p. 17)
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635:Roe, John Roe.
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532:, for the 2002
530:Richard Johnson
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1496:External links
1494:
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1459:, ed. (1997).
1457:Vendler, Helen
1453:
1440:978-0140714531
1439:
1421:, ed. (2001).
1419:Orgel, Stephen
1415:
1402:978-0743273282
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1340:Kerrigan, John
1336:
1323:978-0521294034
1322:
1300:, ed. (1996).
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1175:Booth, Stephen
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1510:at Wikisource
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1312:. Cambridge:
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1024:
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978:(Moore p. 15)
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960:(Moore p. 15)
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1391:. New York:
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87:
65:
15:
1425:The Sonnets
1304:The Sonnets
1288:1st edition
1147:. Madison:
1035:Lee, Sidney
648:Booth, 476.
391:our faults
262:minor ionic
1966:Rival Poet
1264:Bloomsbury
1224:. Oxford:
1078:. Boston:
1043:. Oxford:
1025:. London:
573:References
550:Paul Kelly
524:Recordings
506:Quatrain 3
497:Quatrain 2
488:Quatrain 1
428:Sonnet 147
424:Sonnet 142
420:Sonnet 137
416:Sonnet 131
389:Since that
376:Therefore
308:Sonnet 144
184:Paraphrase
163:Sonnet 138
34:Sonnet 138
2260:" sonnets
2258:Dark Lady
1282:755065951
1121:Volume II
1053:458829162
987:(Vendler)
969:(Vendler)
637:The Poems
412:Sonnet 96
346:I smiling
335:Although
329:forgeries
325:Unskilful
294:The Poems
218:quatrains
208:Structure
2432:Category
1487:36806589
1449:46683809
1411:64594469
1374:15018446
1332:32272082
1244:48532938
1167:86090499
1117:Volume I
1019:(1609).
951:(Atkins)
561:Ane Brun
464:Exegesis
384:with me,
341:years be
249:nonictus
2227:"Envoy"
1968:sonnets
1205:2968040
1111:6028485
933:(Booth)
674:4770201
598:4770201
515:Couplet
430:(357).
359:she is
312:italics
277:Context
222:couplet
170:sonnets
1485:
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1088:234756
1086:
1051:
672:
596:
426:, and
337:I know
214:sonnet
361:young
245:ictus
234:metre
1483:OCLC
1473:ISBN
1445:OCLC
1435:ISBN
1407:OCLC
1397:ISBN
1370:OCLC
1360:ISBN
1328:OCLC
1318:ISBN
1278:OCLC
1268:ISBN
1240:OCLC
1230:ISBN
1201:OCLC
1191:ISBN
1163:OCLC
1153:ISBN
1119:and
1107:OCLC
1084:OCLC
1049:OCLC
670:OCLC
594:OCLC
382:love
378:I'll
243:/ =
2413:154
2408:153
2392:152
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666:132
544:EMI
395:be.
339:my
264:):
141:14
2434::
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2015:86
2010:85
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1481:.
1471:.
1443:.
1433:.
1405:.
1395:.
1387:.
1368:.
1358:.
1350:.
1326:.
1316:.
1308:.
1286:—
1276:.
1266:.
1258:.
1238:.
1228:.
1220:.
1199:.
1189:.
1161:.
1151:.
1115:—
1082:.
1047:.
668:.
536:,
422:,
418:,
414:,
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