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LVI.

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Sweet love, renew thy force; be it not said

LVII. Being your slave, what should I do but tend

That God forbid that made me first your slave

If there be nothing new, but that which is

Like as the waves make towards the pebbled shore

Is it thy will thy image should keep open

LXII. Sin of self-love possesseth all mine eye

LXIII. Against my love shall be, as I am now

When I have seen by Time's fell hand defaced

LXV. Since brass, nor stone, nor earth, nor boundless sea

Tir'd with all these, for restful death I cry

LXVII. Ah, wherefore with infection should he live

Thus is his cheek the map of days outworn

Those parts of thee that the world's eye doth view

That thou art blam'd shall not be thy defect.

LXXI. No longer mourn for me when I am dead

LXXII. O, lest the world should task you to recite

That time of year thou mayst in me behold

But be contented : when that fell arrest

LXXV. So are you to my thonghts as food to life

LXXVI. Why is my verse so barren of new pride

LXXVII. Thy glass will show thee how thy beauties wear

LXXVIII. So oft have I invok'd thee for my Muse

Whilst I alone did call upon thy aid

LXXX. O, how I faint when I of you do write

Or I shall live your epitaph to make

I grant thou wert not married to my Muse

I never saw that you did painting need

Who is it that says most? which can say more

Lxxxv. My tongue-tied Muse in manners holds her still

Was it the proud full sail of his great verse

LXXXVII. Farewell! thou art too dear for my possessing

When thou shalt be disposed to set me light.

LXXXIX. Say that thou didst forsake me for some fault

Then hate me when tliou wilt; if ever, now

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Some glory in their birth, some in their skill

XCII. But do thy worst to steal thyself away

XCIII. So shall I live, supposing thou art true

xciv. They that have power to hurt and will do none

XCV. How sweet and lovely dost thou make the shame

XCVI. Some say, thy fault is youth, some wantonness

XCVII. How like a winter hath my absence been

XCVIII. From you have I been absent in the spring

The forward violet thus did I chide

Where art thou, Muse, that thou forget'st so long

O truant Muse, what shall be thy amends

CII. My love is strengthen'd, though more weak in seeming

CIII. Alack, what poverty my Muse brings forth

To fair friend, you never can be old

Let not my love be call'd idolatry

CVI. When in the chronicle of wasted time

Not mine own fears, nor the prophetic soul

What's in the brain that ink may character

cix. O, never say that I was false of heart

cx. Alas, 'tis true, I have gone here and there

CXI. O, for my sake do you with Fortune chide

Your love and pity doth the impression fill

CXIII. Since I left you, mine eye is in my mind

Or whether doth my mind, being crown’d with you

Those lines that I before have writ do lie

cxvi. Let me not to the marriage of true minds

CXVII. Accuse me thus: that I have scanted all

Like as, to make our appetites more keen

CXIX. What potions have I drunk of Siren tears

cxx. That you were once unkind befriends me now

'Tis better to be vile than vile esteemid

CXXII. Thy gift, thy tables, are within my brain

CXXIII. No, Time, thou shalt not boast that I do change

CXXXIV. If my dear love were but the child of state

cxxv. Were't aught to me I bore the canopy

CVIII.

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NOTES

NOTE.

The present Edition differs from that in the Parchment Series in having

fuller notes, and Part II. of the Introduction, giving a survey of the

Literature of the Sonnets.

I No en writin

The best counsel to a reader of Shakspere is to cling close to the text of

appe:

plays and poems, and remain with it long. Notes are made to be used,

Sont

and then cast aside. But the careful student knows how presumptuous a

unde

mistake it is to suppose that an off hand reader will always take up the

inter

meaning rightly. The study of each line and each sentence on this side

time

and on that is like the preliminary posturings of wrestlers before the

grapple and the tug. To those unversed in the art it is foolishness ; but

diffic Varie chiet volu:

others know the uses of the wary eye and slow approach.

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INTRODUCTION.

PART I.

No edition of Shakspere's Sonnets, apart from his other writings, with sufficient explanatory notes, has hitherto appeared. Notes are an evil, but in the case of the Sonnets a necessary evil, for many passages are hard to understand. I have kept beside me for several years an interleaved copy of Dyce's text, in which I set down from time to time anything that seemed to throw light on a difficult passage. From these jottings, and from the Variorum Shakspere of 1821, my annotations have been chiefly drawn. I have had before me in preparing this volume the editions of Bell, Clark and Wright, Collier, Delius, Dyce, Halliwell, Hazlitt, Knight, Palgrave, Staunton, Grant White; the translations of FrançoisVictor Hugo, Bodenstedt, and others; and the greater portion of the extensive Shakspere Sonnets literature,

The poet's name is rightly written Shakespeare, rightly also Shakspere. If I err in choosing the form Shakspere, I err with the owner of the name.

? To which this general reference may suffice. I often found it convenient to alter slightly the notes of the Variorum Shakspere, and I have not made it a rule to refer each note from that edition to its individual writer.

B

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