Shakespeare's Sonnets: With Three Hundred Years of CommentaryThis is a collection of the scholarship of dozens of commentators who have written about Shakespeare's sonnets over the past 300 years. The text details how the poems work and how they may be interpreted. |
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Page 32
... tones . He can speak philosophically , or rise to an urgent vocative , or can turn to a diction drawn from ' common sense ' ... " She also notes Shakespeare's typical use of antithesis by which concepts " tend to be summoned in pairs ...
... tones . He can speak philosophically , or rise to an urgent vocative , or can turn to a diction drawn from ' common sense ' ... " She also notes Shakespeare's typical use of antithesis by which concepts " tend to be summoned in pairs ...
Page 33
... tones . They remind him that he will someday be besieged by age , his proud livery becoming tattered weeds , his eyes ... tone are much more prominent than in Sonnet 1. They give a strong sense that the speaker of The Sonnets has moods ...
... tones . They remind him that he will someday be besieged by age , his proud livery becoming tattered weeds , his eyes ... tone are much more prominent than in Sonnet 1. They give a strong sense that the speaker of The Sonnets has moods ...
Page 34
... tone . T. R. Price ( 1902 , 371 ) com- ments on the second rhyme pair , " field ... held " : " Rhymes founded upon the consonantal assonance , false rhymes to modern ears , are largely used in the sonnets , over 90 times in all ...
... tone . T. R. Price ( 1902 , 371 ) com- ments on the second rhyme pair , " field ... held " : " Rhymes founded upon the consonantal assonance , false rhymes to modern ears , are largely used in the sonnets , over 90 times in all ...
Page 35
... tone , the cou- plet a graver one . This has a very different effect from the tonal changes in Sonnet 2 , which varied back and forth . Here , the sudden change at the end gives the couplet a more resounding emphasis . Adams ( 1944 ) ...
... tone , the cou- plet a graver one . This has a very different effect from the tonal changes in Sonnet 2 , which varied back and forth . Here , the sudden change at the end gives the couplet a more resounding emphasis . Adams ( 1944 ) ...
Page 37
... tone darkens again throughout this sonnet with the relentless repeti- tion of negative epithets : the youth is an unthrifty loveliness , a beauteous nig- gard , a profitless usurer , who has traffic with himself alone , whose unused ...
... tone darkens again throughout this sonnet with the relentless repeti- tion of negative epithets : the youth is an unthrifty loveliness , a beauteous nig- gard , a profitless usurer , who has traffic with himself alone , whose unused ...
Contents
31 | |
Appendix 1 Editions Referenced | 378 |
Appendix 2 Emendations | 380 |
Appendix 3 Extant Copies of the 1609 Quarto | 383 |
Bibliography | 384 |
General Index to Introduction and Commentary | 393 |
Index of First Lines | 401 |
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Common terms and phrases
Abbott Alden beauty BEECHING beloved beloved's Booth notes Burto citation cites collated editors collated texts comma commentary to Sonnet compositor compositorial error couplet doth DOWDEN dropped letter Dunc Duncan-Jones Elizabethan emendations in collated end of line Evans explains eyes felfe feminine endings giue gloss Harbage hath haue heart iambic iambic pentameter iambs Ingram and Redpath Kerrigan line 11 line 9 liue loue MALONE meaning metaphor meter mistress modern moſt Onions pause phrase poem poet poet's POOLER praiſe punctuation Quarto quatrain reader Redpath note refers rest rhyme Rollins notes says scansion Schmidt second quatrain ſee seems sense Seymour-Smith Shakespeare ſhall ſhould Sonnet 18 Sonnet 29 Sonnet 33 Sonnets 40 speaker spondee ſtill substantive emendations suggests sweet syllable thee theme thine things third quatrain thoſe thought tone trochee trochee-iamb Tucker Vendler verse Willen and Reed Wils Wilson word WYNDHAM