SONNETCAST
  • Home
  • About
  • OVERVIEW
    • Introduction
    • The Procreation Sonnets
    • Special Guest: Professor Stephen Regan – The Sonnet as a Poetic Form
    • Special Guests: Sir Stanley Wells and Paul Edmondson – The Order of the Sonnets
    • The Halfway Point Summary
    • The Rival Poet
    • Special Guest: Professor Gabriel Egan – Computational Approaches to the Study of Shakespeare
    • Special Guest: Professor Abigail Rokison-Woodall – Speaking Shakespeare
    • Special Guest: Professor David Crystal – Original Pronunciation
    • The Fair Youth
  • THE SONNETS
    • Sonnet 1: From Fairest Creatures We Desire Increase
    • Sonnet 2: When Forty Winters Shall Besiege Thy Brow
    • Sonnet 3: Look in Thy Glass and Tell the Face Thou Viewest
    • Sonnet 4: Unthrifty Loveliness, Why Dost Thou Spend
    • Sonnet 5: Those Hours That With Gentle Work Did Frame
    • Sonnet 6: Then Let Not Winter's Ragged Hand Deface
    • Sonnet 7: Lo! In the Orient When the Gracious Light
    • Sonnet 8: Music to Hear, Why Hearst Thou Music Sadly?
    • Sonnet 9: Is it for Fear to Wet a Widow's Eye
    • Sonnet 10: For Shame Deny That Thou Bearst Love to Any
    • Sonnet 11: As Fast as Thou Shalt Wane, So Fast Thou Growst
    • Sonnet 12: When I Do Count the Clock that Tells the Time
    • Sonnet 13: O That You Were Yourself, But Love, You Are
    • Sonnet 14: Not From the Stars Do I My Judgement Pluck
    • Sonnet 15: When I Consider Every Thing That Grows
    • Sonnet 16: But Wherefore Do Not You a Mightier Way
    • Sonnet 17: Who Will Believe My Verse in Time to Come
    • Sonnet 18: Shall I Compare Thee to a Summer's Day
    • Sonnet 19: Devouring Time, Blunt Thou the Lion's Paws
    • Sonnet 20: A Woman's Face, With Nature's Own Hand Painted
    • Sonnet 21: So Is it Not With Me as With That Muse
    • Sonnet 22: My Glass Shall Not Persuade Me I Am Old
    • Sonnet 23: As an Unperfect Actor on the Stage
    • Sonnet 24: Mine Eye Hath Played the Painter and Hath Stelled
    • Sonnet 25: Let Those Who Are in Favour With Their Stars
    • Sonnet 26: Lord of My Love to Whom in Vassalage
    • Sonnet 27: Weary With Toil, I Haste Me to My Bed
    • Sonnet 28: How Can I Then Return in Happy Plight
    • Sonnet 29: When in Disgrace With Fortune and Men's Eyes
    • Sonnet 30: When to the Sessions of Sweet Silent Thought
    • Sonnet 31: Thy Bosom Is Endeared With All Hearts
    • Sonnet 32: If Thou Survive My Well-Contented Day
    • Sonnet 33: Full Many a Glorious Morning Have I Seen
    • Sonnet 34: Why Didst Thou Promise Such a Beauteous Day
    • Sonnet 35: No More Be Grieved at That Which Thou Hast Done
    • Sonnet 36: Let Me Confess That We Two Must Be Twain
    • Sonnet 37: As a Decrepit Father Takes Delight
    • Sonnet 38: How Can My Muse Want Subject to Invent
    • Sonnet 39: O How Thy Worth With Manners May I Sing
    • Sonnet 40: Take All My Loves, My Love, Yea Take Them All
    • Sonnet 41: Those Pretty Wrongs That Liberty Commits
    • Sonnet 42: That Thou Hast Her, it Is Not All My Grief
    • Sonnet 43: When Most I Wink, Then Do Mine Eyes Best See
    • Sonnet 44: If the Dull Substance of My Flesh Were Thought
    • Sonnet 45: The Other Two, Slight Air and Purging Fire
    • Sonnet 46: Mine Eye and Heart Are at a Mortal War
    • Sonnet 47: Betwixt Mine Eye and Heart a League Is Took
    • Sonnet 48: How Careful Was I When I Took My Way
    • Sonnet 49: Against That Time, if Ever That Time Come
    • Sonnet 50: How Heavy Do I Journey on the Way
    • Sonnet 51: Thus Can My Love Excuse the Slow Offence
    • Sonnet 52: So Am I as the Rich, Whose Blessed Key
    • Sonnet 53: What Is Your Substance, Whereof Are You Made
    • Sonnet 54: O How Much More Doth Beauty Beauteous Seem
    • Sonnet 55: Not Marble, Nor the Gilded Monuments
    • Sonnet 56: Sweet Love, Renew Thy Force, Be it Not Said
    • Sonnet 57: Being Your Slave, What Should I Do But Tend
    • Sonnet 58: That God Forbid That Made Me First Your Slave
    • Sonnet 59: If There Be Nothing New, But That Which Is
    • Sonnet 60: Like as the Waves Make Towards the Pebbled Shore
    • Sonnet 61: Is it Thy Will Thy Image Should Keep Open
    • Sonnet 62: Sin of Self-Love Possesseth All Mine Eye
    • Sonnet 63: Against My Love Shall Be as I Am Now
    • Sonnet 64: When I have Seen by Time's Fell Hand Defaced
    • Sonnet 65: Since Brass, Nor Stone, Nor Earth, Nor Boundless Sea
    • Sonnet 66: Tired With All These, for Restful Death I Cry
    • Sonnet 67: Ah, Wherefore With Infection Should He Live
    • Sonnet 68: Thus Is His Cheek the Map of Days Outworn
    • Sonnet 69: Those Parts of Thee That The World's Eye Doth View
    • Sonnet 70: That Thou Are Blamed Shall Not Be Thy Defect
    • Sonnet 71: No Longer Mourn for Me When I Am Dead
    • Sonnet 72: O Lest the World Should Task You to Recite
    • Sonnet 73: That Time of Year Thou Mayst in Me Behold
    • Sonnet 74: But Be Contented When That Fell Arrest
    • Sonnet 75: So Are You to My Thoughts as Food to Life
    • Sonnet 76: Why Is My Verse so Barren of New Pride
    • Sonnet 77: Thy Glass Will Show Thee How Thy Beauties Wear
    • Sonnet 78: So Oft Have I Invoked Thee for My Muse
    • Sonnet 79: Whilst I Alone Did Call Upon Thy Aid
    • Sonnet 80: O How I Faint When I of You Do Write
    • Sonnet 81: Or I Shall Live Your Epitaph to Make
    • Sonnet 82: I Grant Thou Wert Not Married to My Muse
    • Sonnet 83: I Never Saw That You Did Painting Need
    • Sonnet 84: Who Is it That Says Most, Which Can Say More
    • Sonnet 85: My Tongue-Tied Muse in Manners Holds Her Still
    • Sonnet 86: Was it the Proud Full Sail of His Great Verse
    • Sonnet 87: Farewell, Thou Art Too Dear for My Posessing
    • Sonnet 88: When Thou Shalt Be Disposed to Set Me Light
    • Sonnet 89: Say That Thou Didst Forsake Me for Some Fault
    • Sonnet 90: Then Hate Me When Thou Wilt, if Ever, Now
    • Sonnet 91: Some Glory in Their Birth, Some in Their Skill
    • Sonnet 92: But Do Thy Worst to Steal Thyself Away
    • Sonnet 93: So Shall I Live, Supposing Thou Art True
    • Sonnet 94: They That Have Power to Hurt and Will Do None
    • Sonnet 95: How Sweet and Lovely Dost Thou Make the Shame
    • Sonnet 96: Some Say Thy Fault Is Youth, Some Wantonness
    • Sonnet 97: How Like a Winter Hath my Absence Been
    • Sonnet 98: From You Have I Been Absent in the Spring
    • Sonnet 99: The Forward Violet Thus Did I Chide
    • Sonnet 100: Where Art Thou, Muse, That Thou Forgetst so Long
    • Sonnet 101: O Truant Muse, What Shall Be Thy Amends
    • Sonnet 102: My Love Is Strengthened Though More Weak in Seeming
    • Sonnet 103: Alack, What Poverty My Muse Brings Forth
    • Sonnet 104: To Me, Fair Friend, You Never Can Be Old
    • Sonnet 105: Let Not My Love Be Called Idolatry
    • Sonnet 106: When in the Chronicle of Wasted Time
    • Sonnet 107: Not Mine Own Fears Nor the Prophetic Soul
    • Sonnet 108: What's in the Brain That Ink May Character
    • Sonnet 109: O Never Say That I Was False of Heart
    • Sonnet 110: Alas, 'Tis True I Have Gone Here and There
    • Sonnet 111: O For My Sake Do You With Fortune Chide
    • Sonnet 112: Your Love and Pity Doth Th'Impression Fill
    • Sonnet 113: Since I Left You, Mine Eye Is in My Mind
    • Sonnet 114: Or Whether Doth My Mind, Being Crowned With You
    • Sonnet 115: Those Lines That I Before Have Writ Do Lie
    • Sonnet 116: Let Me Not to the Marriage of True Minds
    • Sonnet 117: Accuse Me Thus, That I Have Scanted All
    • Sonnet 118: Like as to Make Our Appetites More Keen
    • Sonnet 119: What Potions Have I Drunk of Siren Tears
    • Sonnet 120: That You Were Once Unkind Befriends Me Now
    • Sonnet 121: Tis Better to Be Vile Than Vile Esteemed
    • Sonnet 122: Thy Gift, Thy Tables, Are Within My Brain
    • Sonnet 123: No! Time, Thou Shalt Not Boast That I Do Change
    • Sonnet 124: If My Dear Love Were But the Child of State
    • Sonnet 125: Were't Ought to Me I Bore the Canopy
    • Sonnet 126: O Thou, My Lovely Boy, Who in Thy Power
    • Sonnet 127: In the Old Age Black Was Not Counted Fair
    • Sonnet 128: How Oft When Thou, My Music, Music Playst
    • Sonnet 129: Th'Expense of Spirit in a Waste of Shame
    • Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun
    • Sonnet 131: Thou Art as Tyrannous, so as Thou Art
    • Sonnet 132: Thine Eyes I love, and They, as Pitying Me
    • Sonnet 133: Beshrew That Heart That Makes My Heart to Groan
    • Sonnet 134: So Now I Have Confessed That He Is Thine
    • Sonnet 135: Whoever Hath Her Wish, Thou Hast Thy Will
    • Sonnet 136: If Thy Soul Check Thee That I Come so Near
    • Sonnet 137: Thou Blind Fool Love, What Dost Thou to Mine Eyes
    • Sonnet 138: When My Love Swears That She Is Made of Truth
    • Sonnet 139: O Call Not Me to Justify the Wrong
    • Sonnet 140: Be Wise as Thou Art Cruel, Do Not Press
  • THE SONNETEER
  • EVENTS
  • TEXT NOTE
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In rendering the Sonnets by William Shakespeare on this website, the following conventions are being applied throughout. 

Much in line with common practice:

- Archaic spellings are being contemporised, such as neuer to never, heire to heir, fewell to fuel, eate to eat; and obsolete letters replaced with contemporary ones, such as s for the 'long s' ſ.

- Punctuation is being standardised and emended to aid the contemporary reader in their understanding of the text. 

- In most cases, capitalised words that in contemporary English do not require a capital letter are being converted to lower case, such as Winter to winter. Exceptions are made in cases where personification requires or strongly suggests that the word be given effectively as a name.

Editors make different choices concerning conjugated verbs and the use of apostrophes to indicate syllables that are not pronounced or accents to mark those that are.

Here, a decision has been taken to largely ease off on these aids as neither the Quarto Edition nor any subsequent one is entirely consistent as to the use of apostrophes, and of course accents do not feature in the Quarto Edition at all. So here, the text is set largely without extraneous marks, with notes given in the explanations to help with pronunciation where necessary and/or relevant.

For example:

1.6 Quarto Edition feed'st is here given as feedst
1.11 Quarto Edition buriest is here also given as buriest; it is nevertheless pronounced with two syllables: 'buri'st'
1.12 Quarto Edition makst is here given as makest ​and pronounced with one syllable. 

Most editors render the Shakespearean ore, to mean over, as o'er. A decision has been taken here to leave the original spelling, although archaic, intact, as it is easy enough to understand and makes sense as it is.​

Specific textual issues will be discussed in the notes for each sonnet as they are added. Summarised here for easy reference are those instances where potentially significant departures from the Quarto Editions have been carried out only. This does not, however, include obvious misspellings of words in the Quarto Edition.

 Sonnet 25: Let Those Who Are in Favour With Their Stars

Line 9:
The painful warrior famoused for fight,

Quarto Edition:
The painefull warrier famosed for worth,

Most people agree that 'worth' must be a typesetting error.

Some editors, including Colin Burrow for the Oxford Shakespeare edition, adopt might. Others, including John Kerrigan for the New Penguin edition prefer fight. 

Some editors have suggested emending line 11 to obtain a rhyme with 'worth', such as:

The painful warrior famoused for worth
After a thousand victories once foiled
Is from the book of honour razed forth

This, however, is not very convincing and rarely retained today.

Colin Burrow argues that the alliteration famoused for fight is "too harsh, even for this military context," but I disagree. I hold with John Kerrigan and opt for 'fight', as – to my mind – it yields by far the most satisfying and sensible solution, seeing that a warrior would, after all, be mostly famous for their fighting skill and prowess, whereas 'might' might more readily be ascribed to a prince or indeed an entire armed force. The issue, however, cannot be resolved conclusively.

Sonnet 27: Weary With Toil I Haste Me to My Bed

Line 10:
Presents thy shadow to my sightless view,

Quarto Edition:
Presents their shaddoe to my sightles view

'Their' is almost universally accepted to be a typesetting error, which is why most editors here emend – as I do – to 'thy'.

Sonnet 31: Thy Bosom Is Endeared With All Hearts

Line 8:
But things removed that hidden in thee lie

Quarto Edition:
But things remou'd that hidden in there lie,

The Quarto Edition's 'there' makes sense, but 'there' and 'thee' very often get mixed up in this edition, and when spoken out loud, thee not only yields a gratifying and rhythmically more accurate emphasis, but also segues the line straight into the 'Thou' of the next line. Many editors therefore emend to 'thee' and I have followed this practice in this instance.

Sonnet 34: Why Didst Thou Promise Such a Beauteous Day

Line 12:
To him that bears the strong offence's cross.

Quarto Edition:
To him that beares the strong offenses losse. 

​'Loss' is more or less universally accepted to be an error as the biblical reference clearly suggests 'cross'.

Line 13:
Ah, but those tears are pearl that thy love sheds,

Quarto Edition:
Ah but those teares are pearle that thy loue sheeds,

'Sheeds' is an old spelling of 'sheds' and here is required to obtain a perfect rhyme with 'deeds':

Ah, but those tears are pearl that thy love sheeds,
And they are rich and ransom all ill deeds.


Editors make different decisions as to whether to retain the original 'sheeds' to preserve the rhyme, or whether to modernise it at the expense of the rhyme. Since in the majority of cases where Original Pronunciation (OP) is needed for a perfect rhyme the spelling of the word in the Quarto Edition does not, as it does here, make this clear, the general approach taken is to lean towards contemporary spellings and pronunciations, even if this by necessity means compromising on rhymes. 

Sonnet 35: No More Be Grieved at That Which Thou Hast Done

Line 8:
Excusing thy sins more than thy sins are;

Quarto Edition:
Excusing their sins more than their sins are:

Most editors emend 'their' to 'thy' here, because it seems obvious that the typesetter working from a manuscript often gets these mixed up, and this emendation has here been adopted. That said, a strong case can be made for Quarto's 'their': if the 'faults' that 'all men make' are allowed to represent sins, then the idea that I, the poet, excuse the sins of the faults that all men make in you more than they actually are makes sense.

Sonnet 37: As a Decrepit Father Takes Delight

Line 7:
Entitled in thy parts do crowned sit.

Quarto Edition:
Intitled in their parts, do crowned sit.

'Their' here is almost universally considered to be an instance of the common typesetting error and emended to 'thy'.

Sonnet 45: The Other Two, Slight Air and Purging Fire

Line 17:
Of thy fair health, recounting it to me.

Quarto Edition:
Of their faire health, recounting it to me.

​'Their' is widely considered to be a typesetting error and emended to 'thy'.

Sonnet 50: How Heavy Do I Journey on the Way

Line 6:
Plods dully on, to bear that weight in me.

Quarto Edition:
Plods duly on, to beare that waight in me,

'Duly', meaning 'dutifully' or possibly 'due in the right direction', would make sense, but the majority of editors emend this to 'dully', which is referenced in the companion piece, Sonnet 51, with:

Thus can my love forgive the slow offence
Of my dull bearer, when from thee I speed.


'Dully' would appear to sit more comfortably in the context of Sonnet 50 also, and the omission of a letter in a usually double-lettered spelling is so common as to be considered almost normal at the time. Worth bearing in mind too is that a double meaning of both 'duly' and 'dully', which would have been pronounced almost the same in Shakespeare's day, may be fully intended.

Sonnet 51: Thus Can My Love Excuse the Slow Offence

Line 10:
Therefore desire, of perfectst love being made,

Quarto Edition:
Therefore desire (of perfects love being made)

Some editors argue that there can be no superlative of 'perfect', since 'perfect' is by definition unimprovable, and therefore emend to 'perfect', but Shakespeare uses 'perfectst' in MacBeth, 'perfectest' as an adjective in Much Ado About Nothing and 'most perfect' in Cymbeline: he is clearly not concerned about the logical strictures of grammar and so here the emendation to the more evocative and pointed 'perfectst' has been adopted.

Sonnet 55: Not Marble, Nor the Gilded Monuments

Line 1:
Not marble, nor the gilded monuments

Quarto Edition:
Not marble, nor the guilded monument,

Since the word at the end of this line has to rhyme with 'contents', and since we are talking about princes in the plural, the common emendation to 'monuments' is almost certainly justified.

Sonnet 67: Ah, Wherefore With Infection Should He Live

Line 6:
And steal dead seeming of his living hue

Quarto Edition:
And steale dead seeing of his liuing hew

There is no consensus as to whether 'dead seeing' should be accepted to mean 'lifeless appearance' or whether the letter m has been omitted in error. Shakespeare uses the phrase "after long seeming dead" in Othello, but neither 'dead seeing' nor 'dead seeming' appears anywhere else in his works. On a balance of probabilities, a decision has here been taken to adopt the emendation to dead seeming suggested by many editors.

Sonnet 69: Those Parts of Thee That the World's Eye Doth View

Line 3:
All tongues, the voice of souls, give thee that due,

Quarto Edition:
All toungs (the voice of soules), giue thee that end,

'End' in the Quarto Edition does not rhyme with 'view' and is universally accepted as a typesetting error, which most editors emend to 'due', since this makes sense. 

Line 5:
Thy outward thus with outward praise is crowned,

Quarto Edition:
Their outward thus with outward praise is crownd,

If accompanied by a verb in plural, the Quarto's 'Their' could potentially refer to the 'parts of thee', but since the verb 'is' stands in the singular, it is clear that this is a common their/thy confusion and usually gets emended accordingly.

Sonnet 70

Line 6:
Thy ​worth the greater, being wooed of time,

Quarto Edition:
Their worth the greater being woo'd of time,

There is no plural here that 'their' could refer to, so this is generally accepted as a common their/thy confusion and usually gets emended.

Sonnet 71: No Longer Mourn for Me When I am Dead

​Line 2:
Than you shall hear the surly sullen bell

Quarto Edition:
Then you shall heare the surly sullen bell

The emendation to 'than' is usually adopted as it makes sense, but it does subtly change the dynamic, because it 'then' allows us to also read:

No longer mourn for me when I am dead. Then, when I am dead, you will hear the surly sullen bell...

And there is a difference, because the instruction not to mourn me when I am dead is much more categorical: a) don't do this, don't mourn me; and then, b) this will happen, you will hear the surly sullen bell.

The spelling of 'then' and 'than' is interchangeable in Early Modern English and this is a glorious example of Shakespeare deploying the powers of his language to maximum and multiple effect. But since we no longer readily read 'then' as 'than', the emendation here, too, has been accepted.

Sonnet 77: Thy Glass Will Show Thee How Thy Beauties Wear

Line 10:
Commit to these waste blanks and thou shalt find

Quarto Edition:
Commit to these waste blacks, and thou shalt finde

'Blacks' – since it makes no sense – is generally taken as a printing error and emended to 'blanks', which not only makes sense but also references the 'vacant leaves' of line 3.

Sonnet 106: When in the Chronicle of Wasted Time

Line 12:
They had not skill enough your worth to sing,

Quarto Edition:
They had not still enough your worth to sing:

'Still' also can make sense, to mean 'yet', so the line would then read, 'they did not yet have enough – material, grounds, or indeed practice and therefore skill – to speak of your true worth because they could not yet look at you'. And it can also be read as an old spelling of 'style' in which case the line would read: 'they did not yet have the style to speak of you properly'.

None of this though sounds truly satisfactory, and most major editions assume 'still' to be a typesetting error and emend this to 'skill' which I therefore follow.

Sonnet 111: O For My Sake Do You With Fortune Chide

Line 1:
O for my sake do you with Fortune chide,

Quarto Edition:
O For my sake doe you wish fortune chide,

This really makes no sense, and also the long s in use at the time is so close to a t that a typesetting error seems more than likely. Most editors therefore emend this to 'with', a practice that is here followed.


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©2022-25  |   SONNETCAST – WILLIAM SHAKESPEARE'S SONNETS RECITED, REVEALED, RELIVED
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  • Home
  • About
  • OVERVIEW
    • Introduction
    • The Procreation Sonnets
    • Special Guest: Professor Stephen Regan – The Sonnet as a Poetic Form
    • Special Guests: Sir Stanley Wells and Paul Edmondson – The Order of the Sonnets
    • The Halfway Point Summary
    • The Rival Poet
    • Special Guest: Professor Gabriel Egan – Computational Approaches to the Study of Shakespeare
    • Special Guest: Professor Abigail Rokison-Woodall – Speaking Shakespeare
    • Special Guest: Professor David Crystal – Original Pronunciation
    • The Fair Youth
  • THE SONNETS
    • Sonnet 1: From Fairest Creatures We Desire Increase
    • Sonnet 2: When Forty Winters Shall Besiege Thy Brow
    • Sonnet 3: Look in Thy Glass and Tell the Face Thou Viewest
    • Sonnet 4: Unthrifty Loveliness, Why Dost Thou Spend
    • Sonnet 5: Those Hours That With Gentle Work Did Frame
    • Sonnet 6: Then Let Not Winter's Ragged Hand Deface
    • Sonnet 7: Lo! In the Orient When the Gracious Light
    • Sonnet 8: Music to Hear, Why Hearst Thou Music Sadly?
    • Sonnet 9: Is it for Fear to Wet a Widow's Eye
    • Sonnet 10: For Shame Deny That Thou Bearst Love to Any
    • Sonnet 11: As Fast as Thou Shalt Wane, So Fast Thou Growst
    • Sonnet 12: When I Do Count the Clock that Tells the Time
    • Sonnet 13: O That You Were Yourself, But Love, You Are
    • Sonnet 14: Not From the Stars Do I My Judgement Pluck
    • Sonnet 15: When I Consider Every Thing That Grows
    • Sonnet 16: But Wherefore Do Not You a Mightier Way
    • Sonnet 17: Who Will Believe My Verse in Time to Come
    • Sonnet 18: Shall I Compare Thee to a Summer's Day
    • Sonnet 19: Devouring Time, Blunt Thou the Lion's Paws
    • Sonnet 20: A Woman's Face, With Nature's Own Hand Painted
    • Sonnet 21: So Is it Not With Me as With That Muse
    • Sonnet 22: My Glass Shall Not Persuade Me I Am Old
    • Sonnet 23: As an Unperfect Actor on the Stage
    • Sonnet 24: Mine Eye Hath Played the Painter and Hath Stelled
    • Sonnet 25: Let Those Who Are in Favour With Their Stars
    • Sonnet 26: Lord of My Love to Whom in Vassalage
    • Sonnet 27: Weary With Toil, I Haste Me to My Bed
    • Sonnet 28: How Can I Then Return in Happy Plight
    • Sonnet 29: When in Disgrace With Fortune and Men's Eyes
    • Sonnet 30: When to the Sessions of Sweet Silent Thought
    • Sonnet 31: Thy Bosom Is Endeared With All Hearts
    • Sonnet 32: If Thou Survive My Well-Contented Day
    • Sonnet 33: Full Many a Glorious Morning Have I Seen
    • Sonnet 34: Why Didst Thou Promise Such a Beauteous Day
    • Sonnet 35: No More Be Grieved at That Which Thou Hast Done
    • Sonnet 36: Let Me Confess That We Two Must Be Twain
    • Sonnet 37: As a Decrepit Father Takes Delight
    • Sonnet 38: How Can My Muse Want Subject to Invent
    • Sonnet 39: O How Thy Worth With Manners May I Sing
    • Sonnet 40: Take All My Loves, My Love, Yea Take Them All
    • Sonnet 41: Those Pretty Wrongs That Liberty Commits
    • Sonnet 42: That Thou Hast Her, it Is Not All My Grief
    • Sonnet 43: When Most I Wink, Then Do Mine Eyes Best See
    • Sonnet 44: If the Dull Substance of My Flesh Were Thought
    • Sonnet 45: The Other Two, Slight Air and Purging Fire
    • Sonnet 46: Mine Eye and Heart Are at a Mortal War
    • Sonnet 47: Betwixt Mine Eye and Heart a League Is Took
    • Sonnet 48: How Careful Was I When I Took My Way
    • Sonnet 49: Against That Time, if Ever That Time Come
    • Sonnet 50: How Heavy Do I Journey on the Way
    • Sonnet 51: Thus Can My Love Excuse the Slow Offence
    • Sonnet 52: So Am I as the Rich, Whose Blessed Key
    • Sonnet 53: What Is Your Substance, Whereof Are You Made
    • Sonnet 54: O How Much More Doth Beauty Beauteous Seem
    • Sonnet 55: Not Marble, Nor the Gilded Monuments
    • Sonnet 56: Sweet Love, Renew Thy Force, Be it Not Said
    • Sonnet 57: Being Your Slave, What Should I Do But Tend
    • Sonnet 58: That God Forbid That Made Me First Your Slave
    • Sonnet 59: If There Be Nothing New, But That Which Is
    • Sonnet 60: Like as the Waves Make Towards the Pebbled Shore
    • Sonnet 61: Is it Thy Will Thy Image Should Keep Open
    • Sonnet 62: Sin of Self-Love Possesseth All Mine Eye
    • Sonnet 63: Against My Love Shall Be as I Am Now
    • Sonnet 64: When I have Seen by Time's Fell Hand Defaced
    • Sonnet 65: Since Brass, Nor Stone, Nor Earth, Nor Boundless Sea
    • Sonnet 66: Tired With All These, for Restful Death I Cry
    • Sonnet 67: Ah, Wherefore With Infection Should He Live
    • Sonnet 68: Thus Is His Cheek the Map of Days Outworn
    • Sonnet 69: Those Parts of Thee That The World's Eye Doth View
    • Sonnet 70: That Thou Are Blamed Shall Not Be Thy Defect
    • Sonnet 71: No Longer Mourn for Me When I Am Dead
    • Sonnet 72: O Lest the World Should Task You to Recite
    • Sonnet 73: That Time of Year Thou Mayst in Me Behold
    • Sonnet 74: But Be Contented When That Fell Arrest
    • Sonnet 75: So Are You to My Thoughts as Food to Life
    • Sonnet 76: Why Is My Verse so Barren of New Pride
    • Sonnet 77: Thy Glass Will Show Thee How Thy Beauties Wear
    • Sonnet 78: So Oft Have I Invoked Thee for My Muse
    • Sonnet 79: Whilst I Alone Did Call Upon Thy Aid
    • Sonnet 80: O How I Faint When I of You Do Write
    • Sonnet 81: Or I Shall Live Your Epitaph to Make
    • Sonnet 82: I Grant Thou Wert Not Married to My Muse
    • Sonnet 83: I Never Saw That You Did Painting Need
    • Sonnet 84: Who Is it That Says Most, Which Can Say More
    • Sonnet 85: My Tongue-Tied Muse in Manners Holds Her Still
    • Sonnet 86: Was it the Proud Full Sail of His Great Verse
    • Sonnet 87: Farewell, Thou Art Too Dear for My Posessing
    • Sonnet 88: When Thou Shalt Be Disposed to Set Me Light
    • Sonnet 89: Say That Thou Didst Forsake Me for Some Fault
    • Sonnet 90: Then Hate Me When Thou Wilt, if Ever, Now
    • Sonnet 91: Some Glory in Their Birth, Some in Their Skill
    • Sonnet 92: But Do Thy Worst to Steal Thyself Away
    • Sonnet 93: So Shall I Live, Supposing Thou Art True
    • Sonnet 94: They That Have Power to Hurt and Will Do None
    • Sonnet 95: How Sweet and Lovely Dost Thou Make the Shame
    • Sonnet 96: Some Say Thy Fault Is Youth, Some Wantonness
    • Sonnet 97: How Like a Winter Hath my Absence Been
    • Sonnet 98: From You Have I Been Absent in the Spring
    • Sonnet 99: The Forward Violet Thus Did I Chide
    • Sonnet 100: Where Art Thou, Muse, That Thou Forgetst so Long
    • Sonnet 101: O Truant Muse, What Shall Be Thy Amends
    • Sonnet 102: My Love Is Strengthened Though More Weak in Seeming
    • Sonnet 103: Alack, What Poverty My Muse Brings Forth
    • Sonnet 104: To Me, Fair Friend, You Never Can Be Old
    • Sonnet 105: Let Not My Love Be Called Idolatry
    • Sonnet 106: When in the Chronicle of Wasted Time
    • Sonnet 107: Not Mine Own Fears Nor the Prophetic Soul
    • Sonnet 108: What's in the Brain That Ink May Character
    • Sonnet 109: O Never Say That I Was False of Heart
    • Sonnet 110: Alas, 'Tis True I Have Gone Here and There
    • Sonnet 111: O For My Sake Do You With Fortune Chide
    • Sonnet 112: Your Love and Pity Doth Th'Impression Fill
    • Sonnet 113: Since I Left You, Mine Eye Is in My Mind
    • Sonnet 114: Or Whether Doth My Mind, Being Crowned With You
    • Sonnet 115: Those Lines That I Before Have Writ Do Lie
    • Sonnet 116: Let Me Not to the Marriage of True Minds
    • Sonnet 117: Accuse Me Thus, That I Have Scanted All
    • Sonnet 118: Like as to Make Our Appetites More Keen
    • Sonnet 119: What Potions Have I Drunk of Siren Tears
    • Sonnet 120: That You Were Once Unkind Befriends Me Now
    • Sonnet 121: Tis Better to Be Vile Than Vile Esteemed
    • Sonnet 122: Thy Gift, Thy Tables, Are Within My Brain
    • Sonnet 123: No! Time, Thou Shalt Not Boast That I Do Change
    • Sonnet 124: If My Dear Love Were But the Child of State
    • Sonnet 125: Were't Ought to Me I Bore the Canopy
    • Sonnet 126: O Thou, My Lovely Boy, Who in Thy Power
    • Sonnet 127: In the Old Age Black Was Not Counted Fair
    • Sonnet 128: How Oft When Thou, My Music, Music Playst
    • Sonnet 129: Th'Expense of Spirit in a Waste of Shame
    • Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun
    • Sonnet 131: Thou Art as Tyrannous, so as Thou Art
    • Sonnet 132: Thine Eyes I love, and They, as Pitying Me
    • Sonnet 133: Beshrew That Heart That Makes My Heart to Groan
    • Sonnet 134: So Now I Have Confessed That He Is Thine
    • Sonnet 135: Whoever Hath Her Wish, Thou Hast Thy Will
    • Sonnet 136: If Thy Soul Check Thee That I Come so Near
    • Sonnet 137: Thou Blind Fool Love, What Dost Thou to Mine Eyes
    • Sonnet 138: When My Love Swears That She Is Made of Truth
    • Sonnet 139: O Call Not Me to Justify the Wrong
    • Sonnet 140: Be Wise as Thou Art Cruel, Do Not Press
  • THE SONNETEER
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