Poems List

Sonnet 108: What's in the brain that ink may character

Sonnet 108: What's in the brain that ink may character

What's in the brain that ink may character

Which hath not figured to thee my true spirit?

What's new to speak, what now to register,

That may express my love, or thy dear merit?

Nothing, sweet boy, but yet, like prayers divine,

I must each day say o'er the very same,

Counting no old thing old—thou mine, I thine—

Even as when first I hallowed thy fair name.

So that eternal love in love's fresh case

Weighs not the dust and injury of age,

Nor gives to necessary wrinkles place,

But makes antiquity for aye his page,
Finding the first conceit of love there bred
Where time and outward form would show it dead.
288

Sonnet 103: Alack, what poverty my Muse brings forth

Sonnet 103: Alack, what poverty my Muse brings forth

Alack, what poverty my Muse brings forth,
That having such a scope to show her pride,
The argument all bare is of more worth
Than when it hath my added praise beside.
O, blame me not if I no more can write!
Look in your glass, and there appears a face
That overgoes my blunt invention quite,
Dulling my lines, and doing me disgrace.
Were it not sinful then striving to mend,
To mar the subject that before was well?
For to no other pass my verses tend
Than of your graces and your gifts to tell;


And more, much more than in my verse can sit,

Your own glass shows you when you look in it.
323

Sonnet 105: Let not my love be called idolatry

Sonnet 105: Let not my love be called idolatry

Let not my love be called idolatry,

Nor my belovèd as an idol show,

Since all alike my songs and praises be

To one, of one, still such, and ever so.

Kind is my love today, tomorrow kind,

Still constant in a wondrous excellence;

Therefore my verse to constancy confined,

One thing expressing, leaves out difference.

"Fair, kind, and true" is all my argument,

"Fair, kind, and true" varying to other words;

And in this change is my invention spent,

Three themes in one, which wondrous scope affords.
Fair, kind, and true, have often lived alone.
Which three till now never kept seat in one.
288

Sonnet 10: For shame, deny that thou bear'st love to any

Sonnet 10: For shame, deny that thou bear'st love to any

For shame, deny that thou bear'st love to any
Who for thy self art so unprovident.
Grant, if thou wilt, thou art beloved of many,
But that thou none lov'st is most evident;
For thou art so possessed with murd'rous hate,
That 'gainst thy self thou stick'st not to conspire,
Seeking that beauteous roof to ruinate
Which to repair should be thy chief desire.
O, change thy thought, that I may change my mind!
Shall hate be fairer lodged than gentle love?
Be as thy presence is gracious and kind,
Or to thy self at least kind-hearted prove,


Make thee another self, for love of me,
That beauty still may live in thine or thee.
326

Sonnet 101: O truant Muse, what shall be thy amends

Sonnet 101: O truant Muse, what shall be thy amends

O truant Muse, what shall be thy amends
For thy neglect of truth in beauty dyed?
Both truth and beauty on my love depends;
So dost thou too, and therein dignified.
Make answer, Muse. Wilt thou not haply say,
"Truth needs no colour with his colour fixed,
Beauty no pencil, beauty's truth to lay,
But best is best, if never intermixed"?
Because he needs no praise, wilt thou be dumb?
Excuse not silence so, for't lies in thee
To make him much outlive a gilded tomb
And to be praised of ages yet to be.


Then do thy office, Muse; I teach thee how
To make him seem, long hence, as he shows now.
332

Silvia

Silvia


WHO is Silvia? What is she?

That all our swains commend her?
Holy, fair, and wise is she;

The heaven such grace did lend her,
That she might admired be.

Is she kind as she is fair?

For beauty lives with kindness:
Love doth to her eyes repair,

To help him of his blindness;
And, being help'd, inhabits there.

Then to Silvia let us sing,

That Silvia is excelling;
She excels each mortal thing

Upon the dull earth dwelling:
To her let us garlands bring.
325

Sonnet 1:

Sonnet 1:

From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed'st thy light'st flame with self-substantial fuel,
Making a famine where abundance lies,
Thyself thy foe, to thy sweet self too cruel.
Thou that art now the world's fresh ornament
And only herald to the gaudy spring,
Within thine own bud buriest thy content
And, tender churl, makest waste in niggarding.
Pity the world, or else this glutton be,
To eat the world's due, by the grave and thee.
303

Orpheus

Orpheus


? or John Fletcher.

ORPHEUS with his lute made trees
And the mountain tops that freeze

Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers

There had made a lasting spring.

Every thing that heard him play,
Even the billows of the sea,
Hung their heads and then lay by.

In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.
457

Now, my co-mates and brothers in exile

Now, my co-mates and brothers in exile

Now, my co-mates and brothers in exile,
Hath not old customs make this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court!
Here feel we not the penalty of Adam,
The seasons difference; as the icy fang
And churlish chiding of the winters wind,
Which when it bites and blows upon my body,
Even till I shrink with cold, I smile and say
This is no flattery; these are counsellors
That feelingly persuade me what I am.
Sweet are the uses of adversity;
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head;
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.
I would not change it.
298

Love

Love


TELL me where is Fancy bred,
Or in the heart or in the head?
How begot, how nourished?

Reply, reply.
It is engender'd in the eyes,
With gazing fed; and Fancy dies
In the cradle where it lies.

Let us all ring Fancy's knell:
I'll begin it,--Ding, dong, bell.
All. Ding, dong, bell.
415

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Identification and basic context

William Shakespeare is the most celebrated playwright and poet in the English language. He is often referred to by his pseudonyms, though none were widely adopted during his lifetime. He was born and died in Stratford-upon-Avon, England. His father was a glover and alderman, placing him in a respectable social standing within the town. Shakespeare was an English national and wrote exclusively in English.

Childhood and education

Details of Shakespeare's childhood are scarce, but it is generally assumed he attended the Stratford grammar school, where he would have received a solid grounding in Latin and classical literature. This formal education, supplemented by his keen observation of life and his prodigious reading, laid the foundation for his literary genius. He did not pursue higher education at university.

Literary trajectory

Shakespeare began his career in London in the late 1580s or early 1590s, likely as an actor and adapter of plays before establishing himself as a playwright. His career spanned roughly two decades, during which he wrote approximately 39 plays, 154 sonnets, and several longer poems. His work evolved over time, moving from early comedies and historical plays to his great tragedies and later romances. He was a key member of the acting company the Lord Chamberlain's Men (later the King's Men) and a shareholder in the Globe Theatre.

Works, style, and literary characteristics

Shakespeare's major works encompass tragedies ('Hamlet', 'Othello', 'King Lear', 'Macbeth', 'Romeo and Juliet'), comedies ('A Midsummer Night's Dream', 'Twelfth Night', 'As You Like It'), history plays ('Richard III', 'Henry V'), and his sonnets. His dominant themes are universal and enduring: love, death, ambition, jealousy, revenge, fate, appearance versus reality, and the nature of power. He masterfully employed various forms, including blank verse (iambic pentameter) and rhyming couplets, experimenting with structure and pacing. His poetic devices are legendary, utilizing metaphor, simile, personification, and wordplay with extraordinary skill to create rich imagery and profound meaning. His tone varies dramatically, from the profound despair of tragedy to the lighthearted wit of comedy. His poetic voice is multifaceted, capable of capturing the inner lives of kings, commoners, lovers, and fools. His language is renowned for its richness, inventiveness, and rhetorical power, coining countless words and phrases that have entered common usage.

Cultural and historical context

Shakespeare lived during the Elizabethan and Jacobean eras, a period of significant cultural, political, and economic change in England. His plays reflect the political machinations of the court, the exploration of new territories, and the prevailing religious and social anxieties of the time. He was part of a vibrant London theatre scene, interacting with contemporaries like Christopher Marlowe and Ben Jonson. His work engages with Renaissance humanism, the concept of divine right of kings, and evolving ideas about psychology and human nature.

Personal life

While much of Shakespeare's personal life remains private, he married Anne Hathaway and had three children: Susanna, and twins Hamnet and Judith. The death of his son Hamnet at a young age is speculated to have influenced themes in plays like 'Hamlet'. His friendships within the theatre world were crucial to his career. He maintained strong ties to his hometown of Stratford-upon-Avon, where he eventually retired and purchased property. His religious beliefs are a subject of scholarly debate, but his works often engage with Christian morality and theology.

Recognition and reception

Shakespeare achieved considerable fame and financial success during his lifetime, though perhaps not the same level of academic reverence as he enjoys today. His plays were popular with audiences across social classes. Posthumously, his reputation grew exponentially, and he came to be recognized as the pre-eminent figure in English literature. His works are continuously performed, studied, and celebrated worldwide, solidifying his place in the global literary canon.

Influences and legacy

Shakespeare drew inspiration from classical Roman and Greek literature (Plutarch, Ovid, Seneca), medieval morality plays, and earlier English chronicles and romances. His influence on subsequent literature, theatre, and language is immeasurable. He has inspired countless playwrights, poets, novelists, and artists across centuries and cultures. His works have been translated into virtually every major language and continue to be a cornerstone of literary education and theatrical production. His inventive use of language has permanently enriched the English lexicon.

Interpretation and critical analysis

Shakespeare's plays have been subjected to endless critical interpretation, exploring themes of political power, social justice, gender roles, psychology, and existentialism. Scholars and critics continue to debate character motivations, historical accuracy, and the philosophical underpinnings of his works. His texts are constantly re-examined through new critical lenses, including feminist, post-colonial, and psychoanalytic approaches.

Curiosities and lesser-known aspects

Shakespeare's handwriting is notoriously difficult to decipher, with only a few authenticated signatures surviving. His acting career is less documented than his playwriting. The authorship question, suggesting someone else wrote the plays attributed to him, persists despite overwhelming scholarly consensus supporting Shakespeare of Stratford. His knowledge of legal matters and Italian settings in his plays has also been a subject of curiosity.

Death and memory

William Shakespeare died on April 23, 1616, in Stratford-upon-Avon. He was buried in the chancel of Holy Trinity Church. His will famously leaves his 'second-best bed' to his wife. His enduring memory is primarily preserved through the continuous performance and study of his plays and poems, the preservation of his birthplace and home, and his monumental impact on the English language and global culture.