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contends that "Abandoned and despairing, he is proving by experience that desire is death." A reader is left to assume without a doctor, reason, around, the ill and fever affecting the poet are doomed to take over completely, leaving death as the only possible outcome. Shakespeare seems to accept this inevitable outcome and writes the final line of the quatrain saying "Desire is death". The final line of the quatrain may hint at a biblical allusion and reference Romans 8:6, where a very similar line appears stating, "For to set the mind on the flesh is death, but to set the mind on the Spirit is life and peace", correlating with the inference that the Dark Lady is morally dark as well as physically dark, and is darkening her lovers morals as well.
169:. Sonnet 147 is written from the perspective of a poet who regards the love he holds for his mistress and lover as a sickness, and more specifically, as a fever. The sonnet details the internal battle the poet has between his reason (or head) and the love he has for his mistress (his heart). As he realizes his love is detrimental to his health and stability, perhaps even fatal, the poet's rationality attempts to put an end to the relationship. Eventually, however, the battle between the poet's reason and his love comes to an end. Unable to give up his lover, the poet gives up rationale and his love becomes all consuming, sending him to the brink of madness.
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as if he is a host to some sort of sickly desired parasite feeding on his sense and reason. The poet begins the sonnet by linking and treating love and disease as parallel and intricately linked concepts. The poet's mistress has planted a sickly fever within the poet, being a type of bodily love and desire, which is causing an illness within him. His love/lust and wantonness is weakening him to the point where his lust has perhaps taken on its own sort of force and being, much as a fever does, and is now occupying a space in his body. There also appears a never ending cycle, within the first two lines. Carl Atkins points out that, "In this author '
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will not help him". Many scholars have speculated what exactly the play on the common proverb means, since it is extremely unlikely
Shakespeare misused a common and well known phrase. One could read the line as a potential marker for the madness the poet says is taking over his body, becoming so muddled and crazed with the fever, he can not even properly use a common saying. Scholars W.G. Ingram and Theodore Redpath also propose, "Shakespeare is here not merely reproducing the proverb . . . but playing with it, for . . . he has here inverted it. The case is past cure,
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writing about this dark and simple woman, Shakespeare writes in stark contrast to most poets of his time, who often and predominantly wrote about fair, virginal, young girls who were of high social status. As with the questioned identity of the inspiration for the Fair Youth sonnets, the identity of the original Dark Lady has been disputed and argued for centuries. Unlike the Fair Youth sonnets, however, there is little academic "proof" to back up any proposed female muses, though historical characters ranging from
Shakespeare's wife
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madness; he has sworn the woman he desires as fair and bright, but is aware she is anything but, comparable only to sin and uncertainty. David West observes that "The madness is defined in the last two lines, and 'fair . . . bright . . . black . . . dark' all contain moral meanings, The darkness is not simply the absence of light. It is the presence of evil."
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sonnets, which refer lovingly and admirably to the beauty and person-hood of a young male, the Dark Lady sonnets frequently include harsh and offensive language, often including sexual innuendos, to describe a woman who is neither admirably beautiful, nor of admirable means or aristocratic status. By
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Leading up to these lines, the poet has been merely describing his symptoms and craze to the reader. Once the couplet begins, however, the tone of the sonnet shifts and the poet begins to address his lady, and not fondly as most sonnets would. These final lines could in fact be more evidence for his
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Sonnet 147 reveals a paradox within the poet, and perhaps the population at large, between desiring the exact sin or ill which makes one sickly, unstable, or less completely whole as an individual, and knowing the thing you desire, in this case the poet's mistress, is the very thing causing trouble.
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The first quatrain of the sonnet lets the reader know the poet has been "infected", in a sense, by his mistress. Though the idea of being "love-sick" has been often idealized and romanticized in modern culture, the way the poet describes his lustfulness and want leads to a more dark reading, almost
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the physician has ceased to care." To further prove and point out the "frantic-mad" and "random "bablings" of the poet past cure and care, G. Blakemore Evans observes that "The poet's frenzied state of mind is illustrated by the harshly extreme indictment of his mistress in the following couplet."
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In the final quatrain, the poet begins to describe his downfall and continuing/ worsening sickness. The line "Past cure I am, now reason is past care," is a play on an old proverb which is usually read "'past care, past cure' expressing the traditional wisdom, that, if a patient is incurable, care
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nurseth the disease' is not idle wordplay, but suggests the patient's sense that this condition is never going to end". It is also important to note that the idea that the poet would "feed" his fever would have been quite contrary in
Elizabethan England, as the going knowledge at the time was to
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His reason, which
Shakespeare compares to the only knowledgeable "physician" or mind around, is the thing that offers him a way of easing its mad fever. The poet's reason can't bear the fact the poet is so foolish and reckless with his body and mind, and abandons the poet entirely. David West
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sequence (Sonnets 127-154), following the Fair Youth sequence (Sonnets 1-126). Placed after the Fair Youth sonnets, which "celebrate a young male love object", The Dark Lady sonnets are associated with a woman of dark physical and moral features. Unlike the
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The meter demands a few variant pronunciations: line 4's "the uncertain" functions as three syllables ("th'uncertain"), line 7's "desperate" as two; and line 11's "discourse" (although a noun) is stressed on the second syllable.
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An initial reversal also occurs in line 6, and a mid-line reversal occurs in line 12. The 9th line exhibits a rightward movement of the fourth ictus (resulting in a four-position figure,
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Scholar Don
Paterson, like many other Shakespearean scholars, has proposed this particular sonnet was in part inspired by an ending passage in
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based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter:
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223:/ × × / × / × / × / Feeding on that which doth preserve the ill, (147.3)
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As a piece within
Shakespeare's sonnet collection, Sonnet 147 lies within the
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Shakespeares
Sonnets: Being a reproduction in facsimile of the first edition
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medical belief. The common idiom and medical belief of the times was to "
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Line 3 begins with a common metrical variant, an initial reversal:
605:. Westford, Massachusetts: Yale University Press. pp. 518–19.
413:
Rhythm and
Meaning in Shakespeare: A Guide for Readers and Actors
547:. Danvers, Massachusetts: Rosemont Publishing. pp. 447–448.
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590:. London, Woodstock, New York: Duckworth Overlook. p. 448.
299:, which reads, "Sicke to the death, still loving my disease".
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Shakespeare's
Sonnets: With Three Hundred Years of Commentary
560:
Shakespeare's
Sonnets: With Three-Hundred Years of Commentary
545:
Shakespeare's Sonnets: With Three Hundred Years of Commentary
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is one of 154 sonnets written by English playwright and poet
666:. Great Britain: Cambridge University Press. p. 267.
380:. The Arden Shakespeare . London: Methuen & Company.
415:. Melbourne: Monash University Publishing. p. 168.
562:. Farleigh Dickins University Press. pp. 360–361.
1109:. The Pelican Shakespeare (Rev. ed.). New York:
532:. London: A&C Black Publishers. pp. 410–411.
460:. London: A & C Black Publishers Ltd. p. 47.
440:. London: A & C Black Publisherd Ltd. p. 46.
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For I have sworn thee fair, and thought thee bright,
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780:A New Variorum Edition of Shakespeare: The Sonnets
680:McNeir, Waldo F. "The Masks of Richard the Third."
475:. London: A&C Black Publishers Ltd. p. 50.
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189:. It follows the typical rhyme scheme of the form
1061:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
616:ed. Ingram and Redpath, W.G., Theodore (1964).
2340:
1190:
1149:The Belknap Press of Harvard University Press
702:Shake-speares Sonnets: Never Before Imprinted
682:SEL: Studies in English Literature 1500–1900.
212:, a metrically strong syllabic position. × =
108:My thoughts and my discourse as madmen’s are,
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92:Feeding on that which doth preserve the ill,
1026:The Sonnets ; and, A Lover's Complaint
647:) CS1 maint: multiple names: authors list (
117:Who art as black as hell, as dark as night.
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110:At random from the truth vainly express’d;
98:Angry that his prescriptions are not kept,
90:For that which longer nurseth the disease;
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271:herself have been suggested as potential
102:Desire is death, which physic did except.
100:Hath left me, and I desperate now approve
942:, third series (Rev. ed.). London:
104:Past cure I am, now reason is past care,
94:The uncertain sickly appetite to please.
643:CS1 maint: location missing publisher (
493:. London: Faber and Faber. p. 455.
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1949:Complete Works of William Shakespeare
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510:. Houghton Mifflin Company. pp.
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106:And frantic-mad with evermore unrest;
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829:Fairleigh Dickinson University Press
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451:
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96:My reason, the physician to my love,
88:My love is as a fever, longing still
2309:
2124:Shakespeare's influence on Tolkien
14:
1064:Shakespeare's Sonnets & Poems
504:Alden, Raymond MacDonald (1916).
377:The Works of Shakespeare: Sonnets
317:never feed a fever, based on the
3057:
2308:
2299:
2298:
1652:
1143:The Art of Shakespeare's Sonnets
528:Duncan-Jones, Katherine (1997).
471:Duncan-Jones, Katherine (1997).
456:Duncan-Jones, Katherine (1997).
436:Duncan-Jones, Katherine (1997).
51:
620:. London, England. p. 520.
181:. The English sonnet has three
3249:Sonnets by William Shakespeare
2129:Works titled after Shakespeare
896:The Complete Sonnets and Poems
185:, followed by a final rhyming
1:
2289:Shakespeare and other authors
990:The New Cambridge Shakespeare
819:Atkins, Carl D., ed. (2007).
684:11.2. (1971): 167–186. Print.
491:Reading Shakespeare's Sonnets
230:, sometimes referred to as a
45:Sonnet 147 in the 1609 Quarto
2171:Shakespeare Birthplace Trust
1147:. Cambridge, Massachusetts:
865:(Rev. ed.). New Haven:
662:Blakemore, G. Evans (1996).
374:Pooler, C Knox, ed. (1918).
1977:English Renaissance theatre
1820:The Second Maiden's Tragedy
1799:The Merry Devil of Edmonton
1331:The Two Gentlemen of Verona
892:Burrow, Colin, ed. (2002).
689:First edition and facsimile
323:feed a cold, starve a fever
18:Poem by William Shakespeare
3265:
2145:Folger Shakespeare Library
1691:The Phoenix and the Turtle
1281:The Merry Wives of Windsor
1069:Folger Shakespeare Library
994:Cambridge University Press
784:J. B. Lippincott & Co.
755:The Sonnets of Shakespeare
507:The Sonnets of Shakespeare
3055:
2283:
2164:Royal Shakespeare Theatre
2159:Royal Shakespeare Company
1650:
1288:A Midsummer Night's Dream
1232:All's Well That Ends Well
760:Houghton Mifflin Harcourt
59:
50:
38:
1302:Pericles, Prince of Tyre
812:Modern critical editions
750:Alden, Raymond Macdonald
1310:The Taming of the Shrew
1073:Washington Square Press
1032:New Penguin Shakespeare
932:Duncan-Jones, Katherine
906:Oxford University Press
601:Booth, Stephen (1997).
1992:Lord Chamberlain's Men
1903:The Passionate Pilgrim
1676:comparison to Petrarch
1295:Much Ado About Nothing
1274:The Merchant of Venice
902:The Oxford Shakespeare
489:Paterson, Don (2010).
411:Groves, Peter (2013).
228:× × / /
2356:Shakespeare's sonnets
2182:Shakespeare Institute
2151:Shakespeare Quarterly
1670:Shakespeare's sonnets
1338:The Two Noble Kinsmen
936:Shakespeare's Sonnets
861:Shakespeare's Sonnets
776:Rollins, Hyder Edward
618:Shakespeare's Sonnets
603:Shakespeare's Sonnets
588:Shakespeare's Sonnets
558:Atkins, Carl (2007).
543:Atkins, Carl (2007).
530:Shakespeare's Sonnets
473:Shakespeare's Sonnets
458:Shakespeare's Sonnets
438:Shakespeare's Sonnets
312:still For that which
150:—William Shakespeare
2363:"Fair Youth" sonnets
2038:Spelling of his name
1878:Vortigern and Rowena
1856:Thomas Lord Cromwell
1436:Troilus and Cressida
1366:Antony and Cleopatra
1260:Love's Labour's Lost
1246:The Comedy of Errors
697:Shakespeare, William
586:West, David (2007).
279:Critical explanation
2371:Procreation sonnets
2262:Richard Shakespeare
2244:Gilbert Shakespeare
2176:Shakespeare's Globe
2081:Authorship question
2076:Attribution studies
2043:Stratford-upon-Avon
1885:A Yorkshire Tragedy
1863:Thomas of Woodstock
1849:The Spanish Tragedy
1790:Love's Labour's Won
1782:The London Prodigal
1739:The Birth of Merlin
1698:The Rape of Lucrece
1684:A Lover's Complaint
1564:Quarto publications
1267:Measure for Measure
1206:William Shakespeare
978:Evans, G. Blakemore
197:, a type of poetic
193:and is composed in
167:William Shakespeare
2256:Edmund Shakespeare
2214:Hamnet Shakespeare
2111:Screen adaptations
1834:Sir John Oldcastle
1732:Arden of Faversham
636:has generic name (
297:Sir Phillip Sydney
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1346:The Winter's Tale
1034:(Rev. ed.).
953:978-1-4080-1797-5
940:Arden Shakespeare
838:978-0-8386-4163-7
742:Variorum editions
422:978-1-921867-81-1
251:Dark Lady sonnets
195:iambic pentameter
191:abab cdcd efef gg
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1827:Sejanus His Fall
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1415:Romeo and Juliet
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2006:Curtain Theatre
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2015:
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1989:
1984:
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1969:
1967:Collaborations
1964:
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1597:
1592:
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1566:
1560:
1558:
1556:Early editions
1552:
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1533:
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1517:
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1495:
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1313:
1306:
1298:
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1249:
1242:
1239:As You Like It
1235:
1227:
1225:
1216:
1210:
1209:
1204:
1202:
1201:
1194:
1187:
1179:
1172:
1171:
1157:
1139:, ed. (1997).
1137:Vendler, Helen
1133:
1120:978-0140714531
1119:
1101:, ed. (2001).
1099:Orgel, Stephen
1095:
1082:978-0743273282
1081:
1058:
1044:
1020:Kerrigan, John
1016:
1003:978-0521294034
1002:
980:, ed. (1996).
974:
952:
928:
915:978-0192819338
914:
889:
875:
867:Yale Nota Bene
855:Booth, Stephen
851:
837:
815:
814:
813:
808:
807:
778:, ed. (1944).
772:
752:, ed. (1916).
745:
744:
743:
738:
737:
717:, ed. (1905).
711:
692:
691:
690:
686:
685:
676:
673:
670:
669:
654:
608:
593:
565:
550:
535:
517:
496:
478:
463:
443:
428:
421:
403:
401:, p. 127.
391:
365:
364:
362:
359:
353:
350:
339:
336:
330:
327:
304:
301:
285:
282:
280:
277:
273:femmes fatales
246:
243:
236:
222:
218:
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203:
174:
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154:
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151:
148:
145:
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86:
84:
64:
57:
56:
48:
47:
44:
36:
35:
29:
24:
17:
13:
10:
9:
6:
4:
3:
2:
3261:
3250:
3247:
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3225:
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2315:
2307:
2305:
2297:
2296:
2292:
2290:
2286:
2285:
2282:
2275:
2274:Thomas Quiney
2272:
2269:
2266:
2264:(grandfather)
2263:
2260:
2257:
2254:
2251:
2248:
2245:
2242:
2239:
2236:
2233:
2230:
2227:
2224:
2221:
2220:Judith Quiney
2218:
2215:
2212:
2209:
2206:
2203:
2202:Anne Hathaway
2200:
2199:
2197:
2193:
2183:
2180:
2177:
2174:
2172:
2169:
2165:
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2107:
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2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2007:
2004:
2002:
1999:
1998:
1997:
1993:
1990:
1988:
1985:
1983:
1982:Globe Theatre
1980:
1978:
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1956:
1953:
1951:
1950:
1946:
1945:
1944:
1941:
1939:
1936:
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1907:
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1623:
1619:
1616:
1614:
1611:
1609:
1606:
1605:
1603:
1601:
1598:
1596:
1595:Late romances
1593:
1591:
1590:Problem plays
1588:
1587:
1585:
1581:
1575:
1572:
1570:
1567:
1565:
1562:
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1559:
1557:
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1514:
1510:
1509:
1508:
1507:
1503:
1501:
1500:
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1478:
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1426:
1424:
1423:
1419:
1417:
1416:
1412:
1410:
1409:
1405:
1403:
1402:
1398:
1396:
1395:
1391:
1389:
1388:
1387:Julius Caesar
1384:
1382:
1381:
1377:
1375:
1374:
1370:
1368:
1367:
1363:
1362:
1360:
1358:
1354:
1348:
1347:
1343:
1340:
1339:
1335:
1333:
1332:
1328:
1326:
1325:
1324:Twelfth Night
1321:
1319:
1318:
1314:
1312:
1311:
1307:
1304:
1303:
1299:
1297:
1296:
1292:
1290:
1289:
1285:
1283:
1282:
1278:
1276:
1275:
1271:
1269:
1268:
1264:
1262:
1261:
1257:
1255:
1254:
1250:
1248:
1247:
1243:
1241:
1240:
1236:
1234:
1233:
1229:
1228:
1226:
1224:
1220:
1217:
1215:
1211:
1207:
1200:
1195:
1193:
1188:
1186:
1181:
1180:
1177:
1168:
1164:
1160:
1158:0-674-63712-7
1154:
1150:
1145:
1144:
1138:
1134:
1130:
1126:
1122:
1116:
1112:
1111:Penguin Books
1107:
1106:
1100:
1096:
1092:
1088:
1084:
1078:
1074:
1070:
1066:
1065:
1059:
1055:
1051:
1047:
1045:0-14-070732-8
1041:
1037:
1036:Penguin Books
1033:
1028:
1027:
1021:
1017:
1013:
1009:
1005:
999:
995:
992:. Cambridge:
991:
986:
985:
979:
975:
973:
970: at the
969:
963:
959:
955:
949:
945:
941:
937:
933:
929:
925:
921:
917:
911:
907:
903:
898:
897:
890:
886:
882:
878:
876:0-300-01959-9
872:
868:
863:
862:
856:
852:
848:
844:
840:
834:
830:
825:
824:
817:
816:
811:
810:
806:
803: at the
802:
798:
792:
788:
785:
781:
777:
773:
769:
765:
761:
757:
756:
751:
747:
746:
741:
740:
734:
730:
726:
722:
721:
716:
712:
708:
707:Thomas Thorpe
704:
703:
698:
694:
693:
688:
687:
683:
679:
678:
674:
665:
658:
655:
650:
646:
639:
627:
619:
612:
609:
604:
597:
594:
589:
582:
580:
578:
576:
574:
572:
570:
566:
561:
554:
551:
546:
539:
536:
531:
524:
522:
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513:
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508:
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497:
492:
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483:
479:
474:
467:
464:
459:
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450:
448:
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429:
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418:
414:
407:
404:
400:
395:
392:
387:
383:
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370:
367:
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358:
351:
349:
346:
337:
335:
328:
326:
324:
320:
315:
311:
302:
300:
298:
294:
293:
283:
278:
276:
274:
270:
266:
265:Emilia Lanier
262:
261:Anne Hathaway
257:
252:
244:
242:
235:
233:
221:
215:
211:
207:
206:
202:
200:
196:
192:
188:
184:
180:
172:
170:
168:
164:
152:
149:
147:
146:
142:
122:
119:
85:
82:
63:
62:
58:
54:
49:
42:
37:
32:
27:
22:
16:
3177:
2276:(son-in-law)
2270:(son-in-law)
2208:Susanna Hall
2149:
2138:Institutions
2117:
1962:Coat of arms
1955:Translations
1947:
1943:Bibliography
1910:To the Queen
1908:
1901:
1883:
1876:
1868:
1861:
1854:
1847:
1839:
1832:
1825:
1818:
1811:
1804:
1797:
1788:
1780:
1773:
1766:
1759:
1752:
1744:
1737:
1730:
1703:
1696:
1689:
1682:
1668:
1630:Performances
1574:Second Folio
1542:
1535:
1526:
1519:
1511:
1504:
1497:
1488:
1481:
1476:
1469:
1461:
1454:
1434:
1427:
1420:
1413:
1406:
1399:
1392:
1385:
1378:
1371:
1364:
1344:
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1329:
1322:
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