251:. According to Robert Matz, "Shakespeare transforms the sonnet convention". Shakespeare brings in topics and themes that were unusual at the time. Shakespeare's audience would have interpreted such an aggressive tone as entirely improper encouragement of procreation. In fact, the other sonnets of the time revered chastity. However, Shakespeare "does not engage in stock exaltation of the chastity of the beloved, but instead accuses the young man of gluttonous self-consumption in his refusal to produce a 'tender heir' who would continue his beauty beyond the inexorable decay of aging". Sonnets are often about romantic love between the speaker and the beloved but Shakespeare does not do this. Instead, Shakespeare urges the young man to have sex and procreate with a woman in marriage.
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the rest". Vendler says that because of the "sheer abundance of values, images, and concepts important in the sequence which are called into play" and "the number of significant words brought to our attention" in this sonnet, that it may have been composed late in the writing process, and then placed first "as a 'preface' to the others". Philip Martin says that Sonnet 1 is important to the rest because it "states the themes for the sonnets immediately following and also for the sequence at large". To him, the themes are announced in this sonnet and the later ones develop those themes. Joseph
Pequigney says that Sonnet 1 may be "a befitting way to begin the least conventional of Renaissance love-sonnet sequences". It provides a "production of metaphorical
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bright eyes", suggests the young man is pledged to himself, as in a betrothal, but reduced to the small scope of his own eyes. Shakespeare then goes on to give the imagery of a candle eating itself, "Feed'st thy light's flame with self-substantial fuel", which can be tied to gluttony in the thirteenth line. In the last two lines of the second quatrain, "Making a famine where abundance lies, Thy self thy foe, to thy sweet self too cruel", Shakespeare uses the contrasting images of "famine" and "abundance" and then "sweet self" and "cruel" to describe the selfishness of the young man.
204:" sonnets, in which an unnamed young man is being addressed by the speaker. Patrick Cheney comments on this: "Beginning with a putatively male speaker imploring a beautiful young man to reproduce, and concluding with a series of poems – the dark lady poems – that affiliate consummated heterosexual passion with incurable disease, Shakespeare's Sonnets radically and deliberately disrupt the conventional narrative of erotic courtship". Sonnet 1 serves as being a kind of introduction to the rest of the sonnets, and may have been written later than the ones that follow. The "
447:, when a mother asks her son with the same understanding, “Who are the violets now/That strew the green lap of the new-come spring?” The word “gaudy” suggests richness, but not the modern meaning of “vulgar excess”. The word “only” means “supreme”, as it is also used in the dedication of the quarto (the “only begetter”). "Within thine own bud buriest thy content", suggests the youth keeps his beauty and life to himself, instead of letting the world see it in bloom. The word "buriest" suggests the youth digging his own grave. According to
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451:, in this line "content" means "'all that he contains', which of course includes the power to beget children, and at the same time it means his 'contentment', now and more especially in the future, and the contentment which he could give to others". In the next line, "and, tender churl, mak'st waste in niggarding", the speaker uses the paradox of the tender
327:– tend to be summoned in pairs: increase and decrease, ripening and dying; beauty and immortality versus memory and inheritance; expansion and contraction; inner spirit (eyes) and outward show (bud); self-consumption and dispersal, famine and abundance". Shakespeare uses these words to make "an aesthetic investment in profusion".
208:" (sonnets 1 – 17) urge this youth to not waste his beauty by failing to marry or reproduce. Joseph Pequigney notes: "the opening movement give expression to one compelling case... The first mode of preservation entertained is procreation, which is urged without letup in the first fourteen poems and twice again".
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Shakespeare contrasts the allusions to famine in the second quatrain with an allusion of gluttony by saying that the young man is "eat the world's due" if he were to die without offspring. The rhythmic structure of the couplet (particularly "by the grave and thee") suggests
Shakespeare's "consummate
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for femininity, to be used to refer to a man. At the end of the first quatrain, Shakespeare's pun on the word "tender" (to mean both the obvious meaning of youth and beauty and the less obvious sense of currency to alleviate a debt) further illustrates the beloved's need to reproduce in order to pay
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Shakespeare begins Sonnet 1 with a reference to the physical beauty of “fairest creatures”, then challenges the young man's lack of a desire for an heir. According to Robert Matz, "Sonnet 1 is so far from the romantic desires we usually associate with sonnets that no woman is even mentioned in it...
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what the world deserves (his bloodline). Instead of ending the sonnet on a positive note or feeling while alternating between dark and bright tones, the tone of the couplet is negative since the sonnet is overshadowed by the themes of blame, self-interest, and famine in both quatrains two and three.
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It is in this final quatrain and the concluding couplet we see one final change. The couplet of the poem describes the seemingly selfish nature of the beloved (Shakespeare chooses to rhyme "be" and "thee" here). By making the choice to not procreate, Shakespeare describes how the beloved is denying
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that makes waste in niggarding as the beginning of the turning point for the sonnet. Helen
Vendler considers that quatrain three is used as a "delay in wonder and admiration" of the youth by the speaker. Philip Martin describes the third quatrain as a "tone of self-love, as the poet sees it in the
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In the second quatrain, the speaker says that the young man is not only betrothed to himself, but is also eating away at himself and will leave famine behind where there is abundance, thus making the young man's cruel self an enemy of his “sweet self”. Line five, "But thou, contracted to thine own
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This sonnet is the first one of the collection of sonnets published in the 1609 quarto. According to Helen
Vendler, this sonnet can be “as an index to the rest of the sonnets", mainly because it brings "into play such a plethora of conceptual material; it seems a self-conscious groundwork laid for
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sums up Sonnet 1: "The different rhetorical moments of this sonnet (generalizing reflection, reproach, injunction, prophecy) are permeable to one another's metaphors, so that the rose of philosophical reflection yields the bud of direct address, and the famine of address yields the glutton who, in
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that will recur in the upcoming sonnets, particularly in the next fourteen or so; it gives the concepts of beauty and time and their interrelationship, as also the emblem of the rose, all of which carry the weight in the other sonnets; and it shows the theme of reproduction, to be taken up in all
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In lines one through four of this sonnet, Shakespeare writes about increasing and references memory. Here, Shakespeare chooses to rhyme "increase" and "decease", "die" and "memory" and then proceeds to use "eyes" and "lies", "fuel" and "cruel" as rhymes in the second quatrain (lines five through
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of
Shakespeare but at different times – Wriothesley in the 1590s and Herbert in the 1600s. Though the idea that the Fair Youth and the W.H. are the same person has often been doubted, the Fair Youth may be based on one person in the first 17 sonnets and based on another person in the rest.
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Helen
Vendler comments on the overall significance of this sonnet: "When God saw his creatures, he commanded them to increase and multiply. Shakespeare, in this first sonnet of the sequence, suggests we have internalized the paradisal command in an aestheticized form:
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The sonnet ends with a couplet: two consecutive rhyming lines. Each line contains ten syllables, and the second line is composed only of one-syllable words. Some scholars attribute the monosyllable closing line of the poem as a tribute to 16th century poet,
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ability to mimic colloquial speech so that the sonnet sounds personal and conversational, rather than sententious", and that upon first reading, one may be granted the ability to absorb more of the author's message as opposed to a close contextual reading.
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But while there is no woman in this sonnet it is not the case that there is no desire. On the contrary, Shakespeare continually expresses his desire for the young man whom he calls 'beauty's rose' and who, he warns, must like a rose reproduce himself". The
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eight). In lines five through twelve, Shakespeare shifts to famine and waste. Carl Atkins highlights
Shakespeare's inventiveness in the second quatrain, where the sonnet takes on a less-regular rhythm: "We note Shakespeare's consummate ability to mimic
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where beauty’s rose will never die; but the fall quickly arrives with decease. Unless the young man pities the world, and consents to his own increase, even a successively self-renewing Eden is unavailable". Kenneth Larsen notes that
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In the third quatrain, the key rhyming words given by the speaker are: "ornament" and "content", and "spring" and "niggarding"; additional images are presented in this quatrain, such as "fresh", "herald", "bud", "burial", and the
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Donald A. Stauffer says that the sonnets "may not be in an order which is absolutely correct but no one can deny that they are related and that they do show some development some 'story' even if incomplete and unsatisfactory".
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Sonnet. In this type of sonnet (though not in Sonnet 1) "the first eight lines are logically or metaphorically set against the last six an octave-generalization will be followed by a particular sestet-application, an
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of line 5, so effective after the regular iambic pentameter of all that precedes it. This is then followed by the flowing trochee-iamb that begins the next line, a combination that will be repeated frequently".
392:, the "locus biblicus of openings". The expectation recalls God's command, “bring ye forth fruite & multiplie: grow plentifully in the earth, and increase therein” (9.10; GV).
422:(soft air), giving the phrase a double meaning: not only that a child will preserve his memory, but that his wife will bear that child. This pun is repeated in Shakespeare's play
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might have published the poems without
Shakespeare's consent, but modern scholars don't agree and consider that Thorpe maintained a good reputation. Sonnet 1 is the first of the "
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so that the sonnet sounds personal and conversational, rather than sententious. Rhythm has an important role here. Thus, we have the triple emphasis produced by the final
443:“Thou that art now the world’s fresh ornament/And only herald to the gaudy spring” might suggest that the young man has potential as a courtier, as in Shakespeare's play
353:Ă— / Ă— / Ă— / Ă— / Ă— / From fairest creatures we desire increase, (1.1) / Ă— Ă— / Ă— / Ă— / Ă— / Making a famine where abundance lies, (1.7)
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323:"tender churl". Other words and themes the speaker uses are explained by Helen Vendler: "The concepts – because Shakespeare's mind works by contrastive
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The identity of the "Fair Youth" is not known; two leading candidates are considered the “W.H.” mentioned in the dedication of the 1609 quarto: "
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does not begin his sequence with a customary dedicatory sonnet. Larsen also claims that the sonnet's first line echoes
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The first line illustrates a regular iambic pentameter, and the seventh illustrates a variation: an initial reversal.
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41.4 (1990): 470-488. Folger
Shakespeare Library in association with George Washington University. Web, pg. 470.
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41.4 (1990): 470-488. Folger
Shakespeare Library in association with George Washington University. Web, pg. 477.
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Crosman, Robert. "Making Love out of Nothing at All: The Issue of Story in Shakespeare's Procreation Sonnets".
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Crosman, Robert. "Making Love out of Nothing at All: The Issue of Story in Shakespeare's Procreation Sonnets".
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Bennett, Kenneth C. Threading Shakespeare's Sonnets. Lake Forest, IL: Lake Forest College, 2007. Print, pg. 2.
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question will be followed by a sestet answer or at least a quatrain answer before the summarizing couplet".
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Herman, Peter C. "What's the Use? Or, the Problematic of Economy in Shakespeare's Procreation Sonnets".
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youth" and it is "not praise alone, nor blame alone; not one and then the other; but both at once".
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In Sonnet 1 the speaker engages in an argument with the youth regarding procreation. Scholar
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Shakespeare's sonnets do not exactly follow the sonnet form established by the Italian poet
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293:. Many of Shakespeare's sonnets also reflect the two-part structure of the Italian
915:. Ed. Carl D. Atkins. Cranbury, NJ: Rosemont and Printing, 2007. Print, pg. 31-32.
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to the rose is a particularly significant because it was uncommon for the rose, a
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Sonnet 1 has the traditional characteristics of a Shakespearean sonnet—three
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Shakespeares Sonnets: Being a reproduction in facsimile of the first edition
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1087:. Cambridge, Massachusetts: Harvard University Press, 1997. Print, pg. 51.
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Cambridge, Massachusetts: Harvard University Press, 1997. Print, pg. 47.)
754:. Ed. Patrick Cheney. Cambridge: Cambridge UP, 2007. Print, pg. 125-143.
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Cambridge, Massachusetts: Harvard University Press, 1997. Print, pg. 47.
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Cambridge, Massachusetts: Harvard University Press, 1997. Print, pg. 47
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941:. Cambridge, Massachusetts: Belknap of Harvard UP, 1997. Print, pg. 46
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Cambridge, Massachusetts: Belknap of Harvard UP, 1997. Print, pg. 46.
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Cambridge, Massachusetts: Belknap of Harvard UP, 1997. Print, pg. 47.
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New York City, NY:Cambridge University Press, 1972. Print, pg. 20.)
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New York City, NY: Cambridge University Press, 1972. Print, pg. 20.
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New York City, NY:Cambridge University Press, 1972. Print, pg. 20.
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Ed. James Schiffer. New York: Garland, 1999. Print, pg. 263-279
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Shakespeare's Sonnets: With Three Hundred Years of Commentary.
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
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Shakespeare's Sonnets: With Three Hundred Years of Commentary
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897:
Madison, NJ: Fairleigh Dickinson UP, 2007. Print, pg. 32.
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379:. The sonnet begins, so to speak, in the desire for an
1009:. Chicago: University of Chicago, 1985. Print, pg. 10.
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you shall seemed, and the less you shall smell of the
1548:. The Pelican Shakespeare (Rev. ed.). New York:
855:. Chicago: University of Chicago, 1985. Print, pg. 9.
633:. Jefferson, NC: McFarland &, 2008. Print, pg. 6.
188:
1 is the first in a series of 154 sonnets written by
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Feed’st thy light’s flame with self-substantial fuel,
996:
Jefferson, NC: McFarland &, 2008. Print, pg. 79.
994:
The World of Shakespeare's Sonnets: An Introduction.
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Chicago: University of Chicago, 1985. Print, pg. 8.
774:
Jefferson, NC: McFarland &, 2008. Print, pg. 78.
772:
The World of Shakespeare's Sonnets: An Introduction.
728:
Jefferson, NC: McFarland &, 2008. Print, pg. 77.
726:
The World of Shakespeare's Sonnets: An Introduction.
1219:A New Variorum Edition of Shakespeare: The Sonnets
842:
Chicago: University of Chicago, 1985. Print, pg. 9.
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Chicago: University of Chicago, 1985. Print, pg. 7.
631:
The World of Shakespeare's Sonnets: An Introduction
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988:
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971:Such Is My Love: A Study of Shakespeare's Sonnets.
956:http://www.williamshakespeare-sonnets.com/sonnet-1
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840:Such Is My Love: A Study of Shakespeare's Sonnets.
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219:, third earl of Pembroke (1580–1630)". Both were
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1500:Mowat, Barbara A.; Werstine, Paul, eds. (2006).
1114:On the Literary Genetics of Shakspeare's Sonnets
649:
586:The Cambridge Companion to Shakespeare's Poetry.
566:The Cambridge Companion to Shakespeare's Poetry.
503:The Cambridge Companion to Shakespeare's Poetry.
983:
900:
871:
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752:The Cambridge Companion to Shakespeare's Poetry
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671:Shakespeare, William. Duncan-Jones, Katherine.
568:Cambridge: Cambridge UP, 2007. Print, pg. 128.
548:Cambridge: Cambridge UP, 2007. Print, pg. 127.
544:The Cambridge Companion to Shakespeare's Poetry
480:Shakespeare, William. Duncan-Jones, Katherine.
1123:. Princeton: Princeton University Press, 1952.
960:
598:
588:Cambridge: Cambridge UP, 2007. Print, pg. 128
505:Cambridge: Cambridge UP, 2007. Print, pg.127.
113:To eat the world’s due, by the grave and thee.
106:And, tender churl, mak’st waste in niggarding.
92:But thou, contracted to thine own bright eyes,
2808:
1658:
1588:The Belknap Press of Harvard University Press
1499:
1141:Shake-speares Sonnets: Never Before Imprinted
1116:. Urbana: University of Illinois Press, 1950.
361:, a metrically strong syllabic position. Ă— =
100:Thou that art now the world’s fresh ornament,
98:Thyself thy foe, to thy sweet self too cruel.
1369:
215:, third earl of Southampton (1573–1624), or
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1465:The Sonnets ; and, A Lover's Complaint
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165:written by the English playwright and poet
86:That thereby beauty’s rose might never die,
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1665:
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1098:Shakespeare's Sonnets; Self, Love and Art.
1063:Shakespeare's Sonnets; Self, Love and Art.
827:Shakespeare's Sonnets; Self, Love and Art.
265:except one of the sixteen ensuing poems".
84:From fairest creatures we desire increase,
34:
893:Atkins, Carl D. and William Shakespeare.
523:William Shakespeare: A Textual Companion.
377:From fairest creatures we desire increase
104:Within thine own bud buriest thy content,
1633:An analysis and paraphrase of the sonnet
1457:
1381:, third series (Rev. ed.). London:
109:Pity the world, or else this glutton be,
1672:
1574:
1213:
1052:Richard II, act 5, scene 2, lines 46-47
1035:(Rev. ed.). New Haven: Yale Nota Bene.
739:Shakespeare's Sonnets: Critical Essays.
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88:But as the riper should by time decease
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90:His tender heir might bear his memory:
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2417:Complete Works of William Shakespeare
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1638:Shakespeare's sonnets.com on Sonnet 1
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750:Schoenfeldt, Michael. "The Sonnets".
525:New York, W. W. Norton, 1997, p. 444.
272:
196:. Nineteenth-century critics thought
96:Making a famine where abundance lies,
1268:Fairleigh Dickinson University Press
426:, where the etymology is discussed.
102:And only herald to the gaudy spring,
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2592:Shakespeare's influence on Tolkien
1121:The Sense of Shakespeare's Sonnets
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14:
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1503:Shakespeare's Sonnets & Poems
882:The Art of Shakespeare's Sonnets.
811:The Art of Shakespeare's Sonnets.
798:The Art of Shakespeare's Sonnets.
785:The Art of Shakespeare's Sonnets.
706:The Art of Shakespeare's Sonnets.
611:The Art of Shakespeare's Sonnets.
521:Wells, Stanley, and Gary Taylor.
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1582:The Art of Shakespeare's Sonnets
1085:The Art of Shakespeare's Sonnets
939:The Art of Shakespeare's Sonnets
926:The Art of Shakespeare's Sonnets
484:. Bloomsbury Arden 2010. p. 113
239:epigram, eats the world's due".
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952:Essays on Shakespeare's Sonnets
950:Larsen, Kenneth J. "Sonnet 1",
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764:
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731:
718:
686:
665:
180:
3717:Sonnets by William Shakespeare
2597:Works titled after Shakespeare
1335:The Complete Sonnets and Poems
1022:act V, scene 5, lines 448-449
636:
623:
578:
558:
535:
515:
495:
474:
1:
2757:Shakespeare and other authors
1429:The New Cambridge Shakespeare
1258:Atkins, Carl D., ed. (2007).
1031:Booth, Stephen, ed. (2000) .
468:
438:
429:
395:
2639:Shakespeare Birthplace Trust
1586:. Cambridge, Massachusetts:
1304:(Rev. ed.). New Haven:
7:
2445:English Renaissance theatre
2288:The Second Maiden's Tragedy
2267:The Merry Devil of Edmonton
1799:The Two Gentlemen of Verona
1331:Burrow, Colin, ed. (2002).
1128:First edition and facsimile
369:
229:See: Identity of "Mr. W.H."
40:Sonnet 1 in the 1609 Quarto
18:Poem by William Shakespeare
10:
3733:
2613:Folger Shakespeare Library
2159:The Phoenix and the Turtle
1749:The Merry Wives of Windsor
1508:Folger Shakespeare Library
1433:Cambridge University Press
1223:J. B. Lippincott & Co.
1194:The Sonnets of Shakespeare
675:. Bloomsbury Arden 2010.
459:
289:with an ABAB CDCD EFEF GG
242:
3534:
3523:
2830:
2751:
2662:
2632:Royal Shakespeare Theatre
2627:Royal Shakespeare Company
2534:
2391:
2362:
2191:
2182:
2129:
2118:
2050:
2022:
1913:
1823:
1756:A Midsummer Night's Dream
1700:All's Well That Ends Well
1689:
1680:
1199:Houghton Mifflin Harcourt
192:and published in 1609 by
54:
45:
33:
23:
1770:Pericles, Prince of Tyre
1251:Modern critical editions
1189:Alden, Raymond Macdonald
1778:The Taming of the Shrew
1512:Washington Square Press
1471:New Penguin Shakespeare
1371:Duncan-Jones, Katherine
1345:Oxford University Press
2460:Lord Chamberlain's Men
2371:The Passionate Pilgrim
2144:comparison to Petrarch
1763:Much Ado About Nothing
1742:The Merchant of Venice
1627:Sonnet 1 (Shakespeare)
1341:The Oxford Shakespeare
1018:Shakespeare, William.
2824:Shakespeare's sonnets
2650:Shakespeare Institute
2619:Shakespeare Quarterly
2138:Shakespeare's sonnets
1806:The Two Noble Kinsmen
1375:Shakespeare's Sonnets
1300:Shakespeare's Sonnets
1215:Rollins, Hyder Edward
1096:Martin, Philip J. T.
1061:Martin, Philip J. T.
1033:Shakespeare's Sonnets
866:Shakespeare Quarterly
825:Martin, Philip J. T.
673:Shakespeare’s Sonnets
660:Shakespeare Quarterly
482:Shakespeare’s Sonnets
146:—William Shakespeare
2831:"Fair Youth" sonnets
2506:Spelling of his name
2346:Vortigern and Rowena
2324:Thomas Lord Cromwell
1904:Troilus and Cressida
1834:Antony and Cleopatra
1728:Love's Labour's Lost
1714:The Comedy of Errors
1136:Shakespeare, William
255:Context for Sonnet 1
2839:Procreation sonnets
2730:Richard Shakespeare
2712:Gilbert Shakespeare
2644:Shakespeare's Globe
2549:Authorship question
2544:Attribution studies
2511:Stratford-upon-Avon
2353:A Yorkshire Tragedy
2331:Thomas of Woodstock
2317:The Spanish Tragedy
2258:Love's Labour's Won
2250:The London Prodigal
2207:The Birth of Merlin
2166:The Rape of Lucrece
2152:A Lover's Complaint
2032:Quarto publications
1735:Measure for Measure
1674:William Shakespeare
1417:Evans, G. Blakemore
1005:Pequigney, Joseph.
969:Pequigney, Joseph.
911:"The Sonnets - 1."
851:Pequigney, Joseph.
838:Pequigney, Joseph.
642:Pequigney, Joseph.
206:procreation sonnets
190:William Shakespeare
167:William Shakespeare
2724:Edmund Shakespeare
2682:Hamnet Shakespeare
2579:Screen adaptations
2302:Sir John Oldcastle
2200:Arden of Faversham
449:Philip J.T. Martin
273:Form and structure
171:procreation sonnet
3704:
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2935:
2934:
2790:
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2694:Elizabeth Barnard
2658:
2657:
2387:
2386:
2116:
2115:
1814:The Winter's Tale
1625:Works related to
1473:(Rev. ed.).
1392:978-1-4080-1797-5
1379:Arden Shakespeare
1277:978-0-8386-4163-7
1181:Variorum editions
809:(Vendler, Helen.
584:Cheney, Patrick.
564:Cheney, Patrick.
541:Cheney, Patrick.
501:Cheney, Patrick.
308:colloquial speech
287:iambic pentameter
213:Henry Wriothesley
156:
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2718:Joan Shakespeare
2700:John Shakespeare
2603:
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2584:Shakespeare and
2295:Sejanus His Fall
2262:
2222:Double Falsehood
2189:
2188:
2173:Venus and Adonis
2124:
1897:Titus Andronicus
1883:Romeo and Juliet
1687:
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2474:Curtain Theatre
2395:
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2309:Sir Thomas More
2255:
2229:Edmund Ironside
2178:
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2086:Ghost character
2046:
2018:
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1890:Timon of Athens
1819:
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1461:, ed. (1995) .
1443:
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1373:, ed. (2010) .
1355:
1316:
1296:, ed. (2000) .
1278:
1248:
1178:
1164:Clarendon Press
1119:Hubler, Edwin.
1112:Baldwin, T. W.
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3680:"Anacreontics"
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2024:Early editions
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2019:
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1707:As You Like It
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1615:External links
1613:
1611:
1610:
1596:
1578:, ed. (1997).
1576:Vendler, Helen
1572:
1559:978-0140714531
1558:
1540:, ed. (2001).
1538:Orgel, Stephen
1534:
1521:978-0743273282
1520:
1497:
1483:
1459:Kerrigan, John
1455:
1442:978-0521294034
1441:
1419:, ed. (1996).
1413:
1391:
1367:
1354:978-0192819338
1353:
1328:
1314:
1306:Yale Nota Bene
1294:Booth, Stephen
1290:
1276:
1254:
1253:
1252:
1247:
1246:
1217:, ed. (1944).
1211:
1191:, ed. (1916).
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1156:, ed. (1905).
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181:Introduction
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2782:WikiProject
2469:The Theatre
2455:Handwriting
2281:The Puritan
2072:Characters
2037:First Folio
2005:Richard III
1785:The Tempest
1544:The Sonnets
1423:The Sonnets
1407:1st edition
1266:. Madison:
1154:Lee, Sidney
386:Shakespeare
285:written in
173:within the
163:154 sonnets
3245:Rival Poet
2706:Mary Arden
2690:(daughter)
2678:(daughter)
2554:Bardolatry
2464:King's Men
2406:Birthplace
2093:Chronology
2012:Henry VIII
1939:Richard II
1931:Edward III
1841:Coriolanus
1383:Bloomsbury
1343:. Oxford:
1197:. Boston:
1162:. Oxford:
1144:. London:
1041:0300019599
1020:Cymbeline,
469:References
445:Richard II
439:Quatrain 3
430:Quatrain 2
420:mollis aer
396:Quatrain 1
337:Englishman
295:Petrarchan
202:Fair Youth
177:sequence.
175:Fair Youth
169:. It is a
161:is one of
3539:" sonnets
3537:Dark Lady
2736:John Hall
2726:(brother)
2714:(brother)
2646:(replica)
2586:Star Trek
2574:Memorials
2569:Influence
2559:Festivals
2501:Sexuality
2491:Portraits
2486:New Place
2338:Ur-Hamlet
2274:Mucedorus
2184:Apocrypha
1924:King John
1915:Histories
1862:King Lear
1825:Tragedies
1721:Cymbeline
1401:755065951
1240:Volume II
1172:458829162
424:Cymbeline
279:quatrains
3711:Category
2772:Category
2720:(sister)
2708:(mother)
2702:(father)
2214:Cardenio
2103:Settings
2051:See also
1974:Henry VI
1945:Henry IV
1691:Comedies
1606:36806589
1568:46683809
1530:64594469
1493:15018446
1451:32272082
1363:48532938
1286:86090499
1236:Volume I
1138:(1609).
1043:. p. 579
683:. p. 55.
412:chastity
403:allusion
370:Analysis
363:nonictus
325:taxonomy
321:oxymoron
249:Petrarch
159:Sonnet 1
29:Sonnet 1
3506:"Envoy"
3247:sonnets
2564:Gardens
2440:Editors
2243:Locrine
2236:Fair Em
2068:Henriad
1967:Henry V
1876:Othello
1869:Macbeth
1324:2968040
1230:6028485
460:Couplet
390:Genesis
341:Inkhorn
312:spondee
283:couplet
243:Context
221:patrons
2761:†Lost
2672:(wife)
2663:Family
2536:Legacy
2108:Scenes
1848:Hamlet
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407:symbol
300:octave
281:and a
262:motifs
198:Thorpe
186:Sonnet
2684:(son)
2526:Grave
2516:Style
2481:Music
2398:works
2363:Poems
2192:Plays
2130:Poems
1682:Plays
453:churl
359:ictus
2521:Will
2396:and
2393:Life
1602:OCLC
1592:ISBN
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1554:ISBN
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1320:OCLC
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1282:OCLC
1272:ISBN
1238:and
1226:OCLC
1203:OCLC
1168:OCLC
1037:ISBN
975:ISBN
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710:ISBN
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381:Eden
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