Selected
Sonnets and Their Meanings
.
Cummings
Guides Home..|..Shakespeare
Videos..|..Shakespeare
Books
.
.
Annotations
and Interpretations by Michael J. Cummings.©
Sonnet
1 (Addressed
to the Unidentified Young Man)
.
From
fairest creatures we desire increase, |
increase:
reproduction, offspring, children |
That
thereby beauty's rose might never die, |
so that your beauty will
live on in your children |
But
as the riper should by time decease, |
riper:
riper person--that is, older person or aging person |
His
tender
heir might bear his memory: |
tender:
young |
But
thou, contracted to thine own bright eyes, |
contracted
to . . . eyes: married to yourself, in love with yourself |
Feed'st
thy light'st flame with self-substantial fuel, |
burn with love for yourself |
Making
a famine where abundance lies, |
famine
. . . lies: depleting
your own abundant beauty |
Thyself
thy foe, to thy sweet self too cruel. |
You
are your own worst enemy |
Thou
that art now the world's fresh ornament |
ornament: young person |
And
only herald to the gaudy spring, |
gaudy: shining brilliant,
gleaming |
Within
thine own bud buriest thy content |
bud . . . content:
seed, source of new life |
And,
tender
churl, makest waste in niggarding. |
tender churl: young
miser; niggarding: being stingy |
Pity
the world, or else this glutton be, |
Share yourself or your gluttony
will consume potential offspring |
To
eat the world's due, by the grave and thee. |
|
.
Sonnet
1 Meaning
.
......We
want beautiful people and things to reproduce themselves so that their
good qualities will be passed on to their offspring (children, plants,
etc.) It's true that an aging person or thing
will eventually die, but the memory of that person or thing will continue
to live if offspring are produced. But you, who are in love with yourself,
seem to devote all of your attention to yourself. You're like the flame
of a candle that burns only for itself instead of providing light for others.You
are your own enemy. Right now, you are young
and new to the world. But instead of procreating and sharing yourself by
marrying, you keep your procreative seed inside yourself, unused (thine
own bud buriest thy content).
......Thus,
young miser, you waste your good qualities by refusing to spend them on
others In the end, by thinking only of yourself
and not mingling with others, you will consume your ability to procreate
and go to your grave without any children or memories to immortalize you.
Sonnet
3 (Addressed to the Unidentified Young
Man)
Look
in thy glass, and tell the face thou viewest |
glass:
mirror |
Now is the time that face
should form another; |
form another: beget
a child |
Whose fresh repair if now
thou not renewest, |
|
Thou dost beguile the world,
unless some mother. |
|
For where is she so fair
whose unear'd womb |
unear’d: not tilled,
unplowed |
Disdains the tillage
of thy husbandry? |
tillage: fertilization;
cultivation; reception of the male seed |
Or who is he so fond will
be the tomb |
Your fondness for yourself
will be a tomb |
Of his self-love, to stop
posterity? |
because, failing to marry,
you will not have a child like you |
Thou art thy mother's glass,
and she in thee |
You resemble your mother |
Calls back the lovely April
of her prime: |
and I can see her beauty
in you |
So thou through windows
of thine age shall see |
|
Despite of wrinkles this
thy golden time. |
|
......But
if thou live, remember'd not to be, |
|
......Die
single, and thine image dies with thee. |
If you remain single, you
will not pass on your image |
Sonnet
3 Meaning
......Look
in a mirror and tell yourself that now is the time to beget a child (“form
another”). There is no woman, after all, who is so outstanding that she
will refuse to marry you and engage in intimate relations. It is not right
that a man should love only himself, refusing to take a wife and pass on
his good qualities to a child. Your mother bequeathed to you your excellent
attributes, and you in turn should bestow them on your own child, who will
reflect your youth when you are old. If you choose not to marry and have
a family, no one will remember you.
Sonnet
9 (Addressed to the Unidentified Young
Man)
Is
it for fear to wet a widow's eye |
wet
a widow's: Are you afraid to marry because you will sadden your |
That thou consumest thyself
in single life? |
wife when you die? |
Ah! if thou issueless
shalt hap to die. |
issueless . . . die:
if you happen to die without children |
The world will wail thee,
like a makeless wife; |
makeless . . . wife:
spinster or childless woman |
The world will be
thy widow and still weep |
"w" words: example
of alliteration |
That thou no form of
thee hast left behind, |
no . . .thee: no
offspring |
When every private widow
well may keep |
may . . . mind: may
be reminded of her late husband by her children's |
By children's eyes her
husband's shape in mind. |
resemblance to him |
Look, what an unthrift in
the world doth spend |
Lines 9, 10: When a spendthrift
dies, his money continues to |
Shifts but his place, for
still the world enjoys it; |
circulate among people |
But beauty's waste hath
in the world an end, |
Lines 11, 12: When an unmarried
man dies, he leaves nothing behind |
And kept unused, the user
so destroys it. |
and thus destroys his image |
......No
love toward others in that bosom sits |
Lines 13, 14: He who wastes
himself in this way has no love for others. |
......That
on himself such murderous shame commits. |
|
Sonnet
9 Meaning
......The
first two lines ask whether the young man is afraid to marry for fear that
he will leave behind a saddened widow when he eventually dies. If he remains
single because of that fear, the sonnet says, he should keep in mind that
the world itself will weep for him because he died without children to
preserve his image in them. He will become less than a wastrel, who lives
on after his death in the still-circulating money that he spent. Shakespeare
ends the sonnet by saying that the young man’s avoidance of marriage is
shameful.
Sonnet
12 (Addressed to the Unidentified Young
Man)
When
I do count the clock that tells the time, |
count
the clock: count the times the clock strikes the hour |
And see the brave day
sunk in hideous night; |
brave: splendid,
shining |
When I behold the violet
past prime |
|
And sable curls all
silvered o'er with white |
sable: black |
When lofty trees I see barren
of leaves |
|
Which erst from heat
did canopy the herd |
erst: formerly, at
one time; canopy: cover, like an umbrella |
And summer's green all
girded up in sheaves |
green . . . sheaves:
harvested grain stalks tied in bundles |
Borne on the bier withwhite
and bristly beard |
bier: cart, wagon;
beard:
tufted growth on the head of a cereal grain |
Then of thy beauty do I
question
make, |
question make: think
about |
That thou among the wastes
of time must go, |
among . . . go: must
die, just as the violets, leaves, crops, etc. |
Since sweets and beauties
do themselves forsake |
|
And die as fast as they
see others grow. |
|
......And
nothing 'gainst Time's scythe can make defense |
scythe: sickle, symbol
of death, the grim reaper |
......Save
breed,
to brave him when takes thee hence. |
breed: offspring,
children; brave him: mock death, taunt death |
Sonnet
12 Meaning
......The
toll or tick of a clock, the setting sun, withering flowers, falling
leaves, the autumn harvest all make me aware of the passing of time, reminding
me that you (the young man) too will grow old and die. Therefore, now,
while you are still young, you should marry and breed (have children) who
will live on after you. Only in this way can you defeat death.
Sonnet
17 (Addressed to the Unidentified Young
Man)
Who will believe my verse
in time to come, |
|
If it were fill'd with your
most high deserts? |
high deserts: superior
qualities |
Though yet, heaven knows,
it
is but as a tomb |
it is but a tomb . .
. parts: see line below |
Which hides your life and
shows not half your parts. |
my poetry is like a tomb
because it hides your qualities |
If I could write the beauty
of your eyes |
|
And in fresh numbers number
all your graces, |
numbers: verses,
poems |
The age to come would say
'This poet lies: |
|
Such heavenly touches
ne'er touch'd earthly faces.' |
touches: qualities,
attributes |
So should my papers
yellow'd with their age |
papers: poems |
Be scorn'd like old men
of less truth than tongue, |
scorned like lying old men |
And your true rights be
term'd a poet's rage |
rage: zeal, passion,
enthusiasm |
And stretched metre
of an antique song: |
stretched: exaggerated |
......But
were some child of yours alive that time, |
|
......You
should live twice; in it and in my rhyme. |
You would live on in your
child and in my poetry. |
......
Sonnet 17 Meaning
.......Will
future readers of my verse believe me when I tell them about all of your
superior qualities? So far, I have only hinted at these qualities because
a full description of them would make readers doubt that anyone could have
such extraordinary attributes. They would call me a liar. They would
say I am exaggerating (with “stretched meter”). However, if you marry and
father a child, people will see a reflection of you in the child and, thus,
my poetry about you will be taken as the truth.
Sonnet
18 (Addressed to the Unidentified Young
Man)
.......This
sonnet is presented and explained on the main page (The
Sonnet: A Study Guide). It is probably the most popular of all the
sonnets because of the beauty of its poetry and rhythm. It is differs from
the previous 17 sonnets in one key respect: It does not urge the young
man to marry and have children. The reason for this new approach is that
the author is now convinced that his poetry alone is enough to preserve
the memory of the young man's outstanding qualities.
Sonnet
22 (Addressed to the Unidentified Young
Man)
My glass shall not
persuade me I am old, |
glass: mirror. Lines
1-2: I will never grow old as long as you remain |
So long as youth and thou
are of one date; |
as young as youth itself
(a personification in which youthfulness is a |
But when in thee time's
furrows I behold, |
person who never ages).
time's
furrows: aging, wrinkles |
Then look I death my days
should expiate. |
Line 4: Then let
death claim me as payment for my sins (days) |
For all that beauty that
doth cover thee |
Lines 5-8: My heart
wears your beauty like clothing (seemly |
Is but the seemly raiment
of my heart, |
raiment); this beauty
lives in you and me, so how can I be older |
Which in thy breast doth
live, as thine in me: |
than you? |
How can I then be elder
than thou art? |
|
O, therefore, love, be
of thyself so wary |
be . . . will:
be concerned about your welfare; be as concerned about |
As I, not for
myself, but for thee will; |
it as I am |
Bearing thy heart, which
I will keep so chary |
chary: safe; free
from harm |
As tender nurse her babe
from faring ill. |
|
......Presume
not on thy heart when mine is slain; |
Lines 13-14: Do not
presume that your heart will go on beating |
......Thou
gavest me thine, not to give back again. |
when mine stops, for your
heart and mine are the same. These lines |
|
could be a warning not to
cross the poet. |
......
Sonnet 22 Meaning
.......Even
though my mirror tells me that I am aging, the poet says, I will not grow
old while you remain young. However, when I see wrinkles (“time’s furrows”)
on your face, then I will look for death to come for me and take me as
payment for any offenses I may have committed in my life. Your heart and
mine are bound together, and I will guard yours as carefully as a nurse
caring for a baby. But do not presume that you will be unaffected when
my heart is no longer able to beat for you. Here, the poet appears to be
warning the young man that ending their relationship would have adverse
consequences.
Sonnet
33 (Addressed to the Unidentified Young
Man)
Full many a glorious morning
have I seen |
|
Flatter the mountain-tops
with sovereign eye, |
Flatter: beautify;
sovereign
eye: majestic sunlight |
Kissing with golden face
the meadows green, |
Kissing with golden face:
shining on |
Gilding pale streams with
heavenly alchemy; |
heavenly alchemy: reflected
sunlight, dancing sunbeams |
Anon permit thebasest
clouds to ride |
Anon . . . basest:
but soon the morning permits the darkest |
With ugly rack on
his celestial face, |
rack:
mass of drifting clouds |
And from the forlorn world
his visage hide, |
visage: face |
Stealing unseen to west
with this disgrace: |
moving westward above the
cloud cover |
Even so my sun one
early morn did shine |
my sun: the young
man; did shine: looked (on me) favorably |
With all triumphant splendor
on my brow; |
the young man |
But out, alack! he
was but one hour mine; |
alack: alas. Something
came between them. |
The region cloud hath
mask'd him from me now. |
region cloud hath mask'd:
cloud above me hid him from me |
.....Yet
him for this my love no whit disdaineth; |
But I won't hold his behavior
against him |
.....Suns
of the world may stain when heaven's sun staineth. |
Problems darken human relationships,
just as clouds hide the sun |
.
Sonnet 33 Meaning
.......This
sonnet is a metaphor that compares the young man to the sun. In the morning
the sun turns its “sovereign eye” (light) on the mountaintops, then on
the green meadows and streams. (In other words, when all is well between
the poet and the young man, everything is cheerful and bright.) However,
dark clouds come between the sun and the earth (just as a barrier–perhaps
a disagreement–has apparently come between the two men). Then, obscured
by the clouds, the sun continues on its daily journey across the sky. Nevertheless,
the poet says, he will not diminish his love and admiration for the young
man. After all, the last two lines say, human relationships cloud over
from time to time just as the sky does. The implication here is that the
clouds will eventually move on and the sun will shine again.
.......The
word flatter in the second line could indicate that the poet–despite
the forgiving attitude he mentions in Line 13–may be a bit peeved. In most
dictionaries, one of the definitions for flattery is insincere
praise. Thus, it could be that Shakespeare is chiding the young man
for giving perfunctory, artificial praise, then returning to his “celestial
orbit” and remaining there.
.......In
the fifth line, basest clouds appears to refer to despicable persons
or regrettable circumstances that estranged the two men.
Sonnet
35 (Addressed to the Unidentified Young
Man)
No more be grieved at that
which thou hast done: |
Do not fret over your offense
(see "Meaning" below) |
Roses have thorns, and silver
fountains mud; |
Nothing is perfect |
Clouds and eclipses stain
both moon and sun, |
stain: darken, pollute |
And loathsome canker
lives in sweetest bud. |
canker: plant disease
caused by bacteria or fungi |
All men make faults, and
even I in this, |
I myself may be faulted |
Authorizing thy trespass
with compare, |
For excusing your offense
with my comparisons (in Lines 2-4) |
Myself corrupting, salving
thy amiss, |
I corrupt myself by playing
down your offense (amiss) |
Excusing thy sins more than
thy sins are; |
Offering greater forgiveness
than your sins require |
For to thy sensual fault
I bring in sense-- |
sensual fault: perhaps
lust; bring in sense: bring reason, common |
Thy adverse party is thy
advocate-- |
Although I am the offended
party, I am your defender |
And 'gainst myself a lawful
plea commence: |
In fact, I even bring accuse
myself of an offense |
Such civil war is in my
love and hate |
For I am so concerned in
my love for your and hatred for what you did |
.....That
I an accessary needs must be |
That I have become your
accomplice in forgiving you |
.....To
that sweet thief which sourly robs from me. |
You who have robbed me of
your presence. |
.
Sonnet 35 Meaning
.
.......The
poet continues to reprove the young man for an offense, which the poet
does not specify. The word sensual in Line 9 suggests that the offense
may have been a sin of the flesh. Using legal terms such as advocate
(Line 10), lawful plea (Line 11), and accessary (accessory)
(Line 13), the poet says he, too, is guilty, since he has decided to overlook
the offense.
Sonnet
42 (Addressed to the Unidentified Young
Man, Chiding Him for Stealing the Poet's Female Companion)
That thou hast her, it is
not all my grief, |
|
And yet it may be said I
loved her dearly; |
|
That she hath thee, is of
my wailing chief, |
That she has you is a source
of misery for me |
A loss in love that touches
me more nearly. |
|
Loving offenders,
thus I will excuse ye: |
Loving offenders:
young man and woman as betrayers; loving is an |
Thou dost love her, because
thou knowst I love her; |
.....adjective;
loving offenders is used in direct address |
And for my sake even so
doth she abuse me, |
abuse: deceive, betray |
Suffering my friend for
my sake to approve her. |
allowing my friend to have
an affair with her |
If I lose thee, my loss
is my love's gain, |
The loss of my friend is
the woman's gain |
And losing her, my friend
hath found that loss; |
My loss of the woman is
my friend's gain |
Both find each other, and
I lose both twain, |
twain: together |
And both for my sake lay
on me this cross: |
|
.....But
here's the joy; my friend and I are one; |
my friend and I are the
same person--that is, united in love |
.....Sweet
flattery! then she loves but me alone. |
|
.
Sonnet 42 Meaning
.
.......You
now have the woman whom I love dearly. That she has given herself to you
deeply hurts me, although I will excuse both of you for offending me. You
love her because you know I love her, and she abuses me by allowing you
to love her. If I lose you, my loss is her gain. And now that I have lost
her, my loss is your gain. Both of you have found each other, meaning I
have lost both of you and now have a cross to bear. But here's the saving
grace of it all: My friend and I are united in our love and friendship;
therefore, if she loves him, she also loves me.
Sonnet
49 (Addressed to the Unidentified Young
Man)
Against that
time, if ever that time come, |
Against: In preparation
for |
When I shall see thee frown
on my defects, |
|
When as thy love hath cast
his utmost sum, |
cast . . . sum: taken
a full accounting (evaluated the poet) |
Call'd to that audit by
advised
respects; |
advised respects:
by your observance of me |
Against that time when thou
shalt strangely pass |
strangely pass: walk
by like a stranger |
And scarcely greet me with
that
sun thine eye, |
that . . . eye: your
eye, which is like the sun |
When love, converted
from the thing it was, |
converted . . .
was: diminished, lessened |
Shall reasons find of settled
gravity,-- |
you will find serious reasons
(to go your separate way) |
Against that time do
I ensconce me here |
do . . . .here: do here
entrench myself like a warrior |
Within the knowledge of
mine own desert, |
With the knowledge of my
own qualities, including shortcomings |
And this my hand against
myself uprear, |
And am ready to disclose
my faults |
To guard the lawful reasons
on thy part: |
In order to defend you against
criticism |
.....To
leave poor me thou hast the strength of laws, |
You have good reasons to
abandon me |
.....Since
why to love I can allege no cause. |
Since I cannot give you
rational reasons for you to remain. |
.
..
Sonnet 49 Meaning
.
.......Here
is what Shakespeare says, on the surface, to the young man:
Suppose a time comes when
my flaws become annoying to you and, as a result, you evaluate our friendship–weighing
the pluses and minuses as a bookkeeper does. Suppose a time comes when
you walk by, hardly even noticing me, because your regard for me is no
longer what it was and you have settled upon reasons to break off our relationship.
Well, if such a time does come and our relationship ends, I will still
hold you in fond memory and, like a soldier, defend your reputation against
anyone who criticizes you for your action. I will defend you by pointing
out my faults, noting that they are good reasons for you to go your own
way. With all my defects, I will not be able to make a good case for you
to stay.
.......Here
is what Shakespeare may be saying below the surface:
I have always sincerely
valued our friendship without being petty or calling attention to your
flaws. But you–you are like an accountant who wants everything to add up.
The time may come when everything does not add up, in your mind, and you
will then end our friendship. Like a mathematician, you will examine me
as if you were examining an equation. Or, like a judge in a court of law,
you will weigh me in the scales of justice. Then you will find reasons
to justify your action. I will not protest because I will not be able to
present legalisms that explain my fondness for you. Nevertheless, I will
always defend you and speak no ill of you.
Sonnet
60 (Addressed to the Young Man)
Like as the waves
make towards the pebbled shore, |
Like . . . end: Simile
comparing the speed of the passage of time to |
So do our minutes hasten
to their end; |
to the speed of waves moving
toward a shore |
Each changing place with
that which goes before, |
One wave takes the place
of the wave that was there moments before. |
In sequent toil all forward
do contend. |
This action is repeated
without end. |
Nativity, once in
the main of light, |
Nativity: early life;
main
of light: morning light without shadows |
Crawls to maturity,
wherewith being crown'd, |
Crawls to maturity:
Young people crawl figuratively, like a baby |
Crooked eclipses
'gainst his glory fight, |
Crooked eclipses:
effects of aging (metaphor: aging dims the light) |
And Time that gave doth
now his gift confound. |
Time now becomes an enemy |
Time doth transfix
the flourish set on youth |
transfix: paralyze,
stop (the ability to bloom and flourish) |
And delves the parallels
in beauty's brow, |
delves the parallels:
carves wrinkles in the brow |
Feeds on the rarities of
nature's truth, |
And consumes youthfulness |
And nothing stands but for
his scythe to mow: |
Eventually death (scythe)
cuts down the aging man |
.....And
yet to times in hope my verse shall stand, |
However, I hope my verse
will remain (continued on next line) |
.....Praising
thy worth, despite his cruel hand. |
to praise all of your worthy
qualities |
.
Sonnet
60 Meaning
.
.......This
sonnet says time passes swiftly, just as swiftly as ocean waves rushing
toward a shore. The word minutes in Line 2 and the number of the
sonnet, 60, suggest that life passes like the 60 minutes in an hour. Although
a young man stands for a while in the bright sunlight of youth, advancing
age will all-too-soon appear as a cloud that hides the sun. Wrinkles will
appear and infirmities will develop. Eventually, death–with its scythe–will
come to reap its harvest. However, the poet’s verse will live on to extol
the qualities of the man as he was in his youth.
Sonnet
61 (Addressed to the Young Man)
Is it thy will thy image
should keep open |
Is it you--the image of
you-- |
My heavy eyelids to the
weary night? |
That keeps me awake at night. |
Dost thou desire my slumbers
should be broken, |
Do you want me to stay awake |
While shadows like to
thee do mock my sight? |
shadows . . . thee:
images resembling the young man |
Is it thy spirit that thou
send'st from thee |
Is what I see your spirit,
which you sent to me |
So far from home into my
deeds to pry, |
To watch what I do |
To find out shames and idle
hours in me, |
And discover my shames and
what I do in idle hours? |
The scope and tenor
of thy jealousy? |
scope and tenor:
extent and nature (of the jealousy) |
O, no! thy love, though
much, is not so great: |
I don't think so. Your love
for me is not that great. |
It is my love that keeps
mine eye awake; |
It is my love for you that
keeps me awake. |
Mine own true love that
doth my rest defeat, |
My love for you prevents
me from sleeping/ |
To play the watchman ever
for thy sake: |
I stay up for your sake. |
.....For
thee watch I whilst thou dost wake elsewhere, |
I watch for you while you
are somewhere else, |
.....From
me far off, with others all too near. |
Somewhere far off, where
others are keeping you company. |
.
Sonnet
61 Meaning
.
.......While
the young man is out entertaining guests, Shakespeare lies awake seeing
images of him. He asks whether the images he sees were sent by the young
man, perhaps to spy on him. Then he answers his own question by saying
that the young man could not have sent the images, since the young man’s
love for him is not that great. No, what keeps Shakespeare awake is his
love for the young man. The poet is ever on the watch for the young man
to appear even though the young man is apparently elsewhere enjoying the
company of other acquaintances. There is a bit of irony in this poem, in
that Shakespeare wonders whether the youth is watching him, evening prying,
when it is Shakespeare who is ever vigilant and watchful.
Sonnet
71 (Addressed to the Unidentified Young
Man)
No longer mourn for me when
I am dead |
Mourn for me only as long
as the bell tolls |
Than you shall hear the
surly sullen bell |
bell: church bell
at funeral |
Give warning to the world
that I am fled |
I am fled: I am dead |
From this vile world, with
vilest worms to dwell: |
with vilest worms to
dwell: to rest in my grave |
Nay, if you read this line,
remember not |
|
The hand that writ it; for
I love you so |
|
That I in your sweet thoughts
would be forgot |
|
If thinking on me then should
make you woe. |
|
O, if, I say, you look upon
this verse |
If you read this after I
am dead |
When I perhaps compounded
am with clay, |
compounded with clay:
buried |
Do not so much as my poor
name rehearse. |
don't even mention my name |
But let your love even with
my life decay, |
and let your love for me
die |
......Lest
the wise world should look into your moan |
Otherwise, the world might
see you grieving |
......And
mock you with me after I am gone. |
and mock you for it. |
......
Sonnet 71 Meaning
.
.......When
I am dead, don't mourn for me any longer than it takes to hear the doleful
church bell ring at my funeral, alerting the world that I have left the
world to live in a grave with worms. No, if you read this line, don't remember
the hand that wrote it. For I love you so much that I don't want you to
fret over me if doing so will make you sad. O, if, you read this verse
when I am buried in clay, do not so much as mention my insignificant name.
Instead, let your love decay, just as I decay, lest the world mock you
for hanging onto the memory of me.
Sonnet
73 (Addressed to the Unidentified Young
Man)
That time of year thou mayst
in me behold |
behold: notice, realize
that |
When yellow leaves, or none,
or few, do hang |
|
Upon those boughs which
shake against the cold, |
|
Bare ruin'd choirs, where
late the sweet birds sang. |
bare ruin'd choirs: metaphor
comparing the branches to church choirs |
In me thou seest the twilight
of such day |
|
As after sunset fadeth in
the west, |
|
Which by and by black night
doth take away, |
|
Death's second self,
that seals up all in rest. |
Death's second self:
night is like death |
In me thou see'st the glowing
of such fire |
|
That on the ashes of his
youth doth lie, |
the fire of life is dying;
only embers remain on ashes |
As the death-bed whereon
it must expire |
|
Consumed with that which
it was nourish'd by. |
paradox: consumed by the
love (fire) that nourished him |
......This
thou perceivest, which makes thy love more strong, |
When you realize that I
am dying |
......To
love that well which thou must leave ere long. |
you will love me all the
more. (See third paragraph below.) |
.
Shakespeare
Study Guide in Book Form
........Shakespeare:
a Guide to the Complete Works is now available in hardback and paperback.
It incorporates virtually all of the information on this web site, including
plot summaries of all the plays. It also gives dates and sources of each
play, describes the setting and characters, discusses imagery, identifies
themes, points out the climax, and provides historical background wherever
necessary. In addition, it discusses and analyzes the sonnets, as well
as other poems written by Shakespeare.
........Among
the many additional features of the book are essays, glossaries, explanations
of versification and iambic pentameter, and a section on the Globe Theatre.
........Your
purchase of this book will help maintain this web site as a free resource
for teachers and students. You can order the book directly from the publisher's
web site or from Amazon.com. |
.
....
Sonnet 73 Meaning
......In
this sonnet, Shakespeare–though young when he wrote it–assumes the persona
of an old man reflecting on his advancing age. Here is what he tells
the young man:
......I
am like trees as they appear late in the year–either autumn (signified
by yellow “leaves”) or early winter (signified by “none”) when most or
all of the leaves have fallen from the trees. The boughs of the trees,
once alive with choirs of singing birds, now are bare–like empty seats
in the chancel or choir loft of a decaying church. (Many churches and monasteries
in Shakespeare’s day were in ruins as a result of King Henry VIII’s
crackdown on Catholicism before Shakespeare was born.) I am also like evening
after the “sunset fadeth.” The blackness of night, or death, will eventually
take me, sealing me from life as I lie at eternal rest. Finally, I am like
dying embers on ashes–the burned-out remnants of the fire of my youth.
......The
last two lines are addressed to the young man. They appear to have two
meanings: (1) You will love the old man all the more because you know that
I am near death; (2) you will love and appreciate your own life more because
you now realize that the green leaf of youth will soon turn yellow and
fall.
Sonnet
79 (Addressed
to the Unidentified Young Man as a Complaint About the Rival Poet)
Whilst I alone did call
upon thy aid, |
When only I wrote about
you |
My verse alone had all thy
gentle grace, |
and only my poetry captured
your gentle qualities |
But now my gracious numbers
are decay'd |
Now I have worn myself out
writing about you; numbers: poems |
And my sick Muse
doth give another place. |
sick Muse: flagging,
overtaxed creativity |
I grant, sweet love, thy
lovely argument |
argument: excellent
qualities that "argue" for attention |
Deserves the travail
of a worthier pen, |
travail: writing,
poetry; the work of writing poetry |
Yet what of thee thy poet
doth invent |
whatever quality this other
poet writes about |
He robs thee of and pays
it thee again. |
See paragraph below |
He lends thee virtue and
he stole that word |
See paragraph below |
From thy behavior; beauty
doth he give |
See paragraph below |
And found it in thy cheek;
he can afford |
See paragraph below |
No praise to thee but what
in thee doth live. |
See paragraph below |
......Then
thank him not for that which he doth say, |
See paragraph below |
......Since
what he owes thee thou thyself dost pay. |
See paragraph below |
Sonnet 79 Meaning
......When
only I wrote about you, mine was the only poetry that extolled your gentle
virtues. However, now that I have worn myself out praising you in verse,
another poet has taken my place and is writing his own poems about you.
Of course, I realize that your lovely qualities deserve the attention of
another poet. Yet all he seems to do is reflect your virtues in words--that
is, he takes your good qualities, then simply gives them back to you. He
doesn't really interpret you creatively; he merely repeats what is already
written in your behavior or in your cheek. Thus, you don't owe him any
thanks for what he writes about you. In fact, he owes you thanks for what
you are giving him.
Sonnet
81 (Addressed
to the Unidentified Young Man)
Or I shall live your epitaph
to make, |
I shall live to
make your epitaph |
Or you survive when I in
earth am rotten; |
so
that you will live on in my words when I am dead |
From hence your memory
death cannot take, |
hence: the epitaph;
You will be remembered by the epitaph (poetry) |
Although in me each part
will be forgotten. |
Whereas I will be forgotten. |
Your name from hence immortal
life shall have, |
Your name will live forever |
Though I, once gone, to
all the world must die: |
Although mine will die |
The earth can yield me but
a common grave, |
While I am entombed in earth |
When you entombed in men's
eyes shall lie. |
You will be entombed in
fame |
Your monument shall be my
gentle verse, |
Since my poetry will preserve
your memory |
Which eyes not yet created
shall o'er-read, |
Future generations will
read about you |
And tongues to be
your being shall rehearse |
tongues to be: future
generations; being...rehearse:
shall speak of you |
When all the breathers of
this world are dead; |
After everyone living today
is dead |
......You
still shall live--such virtue hath my pen-- |
You will live on, thanks
to my poetry, |
......Where
breath most breathes, even in the mouths of men. |
In the stories told by men. |
Sonnet 81 Meaning
......Shakespeare
says his poetry about the young man will immortalize the youth. It will
serve as an epitaph that future generations will read and talk about. Although
Shakespeare himself will lie in a humble grave, forgotten, the young man
will "lie" in a memorial of fame constructed by Shakespeare's poetry. After
everyone in the world of Shakespeare and the young man is dead, the young
man will continue to live in Shakespeare's words. (Shakespeare, of course,
was right about one thing: He did immortalize the young man. But he was
wrong about another: that he himself, as author of the sonnets, would be
forgotten.)
Sonnet
91 (Addressed
to the Unidentified Young Man)
Some glory in
their birth, some in their
skill, |
Some in their: Repetition
of this phrase is an example of anaphora. |
Some in their wealth,
some
in their bodies' force, |
birth:
social status |
Some in their garments,
though new-fangled ill, |
new-fangled
ill: new (clothes) but garish or tawdry |
Some in their hawks
and hounds, some in their horse; |
hawks,
hounds, horse: examples of alliteration |
And every humour
hath his adjunct pleasure, |
humour
hath his: continuation of alliteration from the previous line |
Wherein it finds a joy above
the rest: |
humour:
caprice; notion; impulse; whim |
But these particulars are
not my measure; |
Lines 6, 7: I am not concerned
about social status, money, clothes, |
All these I better in one
general best. |
or sports. What means the
most to me is your love; it is better than |
Thy love is better than
high birth to me, |
being born into nobility
or aristocracy. |
Richer
than wealth, prouder than
garments' cost, |
Richer,
prouder: parallel structure |
Of more delight than hawks
or horses be; |
Lines 11-14: Because you
mean more than hawks, horses or other |
And having thee, of all
men's pride I boast: |
pursuits, I would be wretched
if you ignored me. |
......Wretched
in this alone, that thou mayst take |
|
......All
this away and me most wretched make. |
|
Sonnet 91 Meaning
......Some
men glory in having a prestigious family name. Others glory in special
talents–or perhaps their wealth or physical strength. Still others take
great pride in wearing the latest fashions, even though sometimes they
choose horrid apparel. And there are all sorts of other things that command
the attention of men. As for me, I prize your love above all else. It is
better than horses and hawks and all of the other pursuits and pleasures.
However, if you choose to ignore me, I will become woeful and desolate.
Sonnet
100 (Addressed
to the Muse That Inspires Shakespeare)
Where art thou, Muse,
that thou forget'st so long |
Muse: Greek goddess
who inspired poets |
To speak of that which gives
thee all thy might? |
To speak of the young man,
an excellent subject to focus on |
Spend'st thou thy fury on
some worthless song, |
Have you been spending your
time on worthless tasks? |
Darkening thy power to lend
base subjects light? |
Lowering yourself by focusing
on unworthy subjects? |
Return, forgetful Muse,
and straight redeem |
Come back and inspire me,
thereby redeeming |
In gentle numbers time so
idly spent; |
Yourself for time ill spent
by inspiring new, gentle poems |
Sing to the ear that doth
thy lays esteem |
Help me create these that
please the ear of the young man |
And gives thy pen both skill
and argument. |
Making the lines that you
inspire admirable and full of meaning |
Rise, resty Muse, my love's
sweet face survey, |
Rise from your rest and
look at the beautiful young man |
If Time have any wrinkle
graven there; |
See whether time has put
wrinkles in his face |
If any, be a satire to decay, |
If there are wrinkles, ridicule
them |
And make Time's spoils despised
every where. |
And, for good measure, make
everyone hate Time |
......Give
my love fame faster than Time wastes life; |
Help my poetry to give the
young man fame before Time wastes him |
......So
thou prevent'st his scythe and crooked knife. |
You must keep Time from
reaping him with His scythe and knife. |
Sonnet 100 Meaning
.
......Shakespeare
has apparently been experiencing writer’s block or some other problem hindering
him from producing new poems about the young man. So, in this sonnet, he
asks the Muse for new enthusiasm, new ideas, so that he may continue to
extol the virtues of the young man. A Muse was a Greek goddess. There were
nine of them in all. It was believed that they infused poets, painters,
and other artists with the fire of creativity. Shakespeare, of course,
did not believe in goddesses. He was simply using the word Muse
as a metaphor for the intellectual stimulation required to write a good
poem. Since ancient times, writers have used Muse in this way. In
modern America, we call upon the metaphorical "Uncle Sam" to protect us
against enemies or "Lady Luck" to bring us good fortune in a gambling casino.
And, we also call upon the "Muse" to inspire us to write a good essay for
English 101.
Sonnet
104 (Addressed
to the Unidentified Young Man)
To me, fair friend, you
never can be old, |
|
For as you were when
first your eye I eyed, |
when . . . eyed:
when I first saw you |
Such seems your beauty still.
Three
winters cold |
Three winters cold:
three years |
Have from the forests shook
three summers' pride, |
pride: leaves |
Three beauteous springs
to yellow autumn turn'd |
|
In process of the seasons
have I seen, |
|
Three April perfumes in
three hot Junes burn'd, |
|
Since first I saw you fresh,
which yet are green. |
green: young |
Ah! yet doth beauty, like
a dial-hand, |
dial-hand: hand of
a sun dial or a clock |
Steal from his figure and
no
pace perceived; |
no pace perceived:
time seems to be standing still |
So your sweet hue, which
methinks still doth stand, |
|
Hath motion and mine
eye may be deceived: |
hath motion: continues
to age |
......For
fear of which, hear this, thou age unbred; |
thou age unbred:
all of you who haven't been born yet |
.....Ere
you were born was beauty's summer dead. |
before you were born, beauty
(the young man) died. |
.
Sonnet 104 Meaning
......In
my eyes, you can never be old, for you look the same now as you did when
I first saw you. You still retain your beauty. Since that time, three cold
winters have shaken the leaves of three summers off the trees, and three
beautiful springs have turned into the yellow color of autumn. During those
three years, the fresh fragrance of three Aprils burned away in the hot
sun of three Junes. Yet still you are young, unchanged. The hand of the
clock may be stealing your beauty, but hand must be moving very slowly
because I perceive no change in you. Your sweet complexion still looks
the same, even though it is aging, but I realize time may be deceiving
my eye. In fear that I am being deceived, I urge you who have yet to be
born, all of you of future generations, to pay attention to this observation:
You cannot grow up to be truly beautiful, because beauty--which has been
fully and supremely realized in the young man I am writing about--will
die when he dies. In him, beauty has used itself up.
Sonnet
116 (Addressed
to the Unidentified Young Man)
Let me not to the marriage
of true minds |
Lines 1-3: When two
people bond intellectually (platonically), they |
Admit impediments. Love
is not love |
should not allow impediments
(problems, personal flaws, etc.) to come |
Which alters when it alteration
finds, |
between them. Love is not
love if impediments separate them. |
Or bends
with the remover to remove: |
bends
. . . remove: weakens or succumbs to these impediments in |
O no! it is an ever-fixed
mark |
response to an offense by
the other person (remover) |
That looks on tempests and
is never shaken; |
Lines 5-8: Metaphor
comparing the constancy of real love during |
It is the star to every
wandering bark, |
difficult times to the constancy
of a star that guides ships (barks) |
Whose worth's
unknown, although his height be taken. |
worth's,
height:
one knows a star is high but does not know its |
Love's not Time's fool,
though rosy lips and cheeks |
composition |
Within his bending sickle's
compass come: |
Lines 9-12: Time
cannot alter true love although, with his sickle, he can |
Love alters not with his
brief hours and weeks, |
cut down youth (rosy lips
and cheeks). Love remains constant until |
But bears it out even to
the edge of doom. |
doomsday. |
.....If
this be error and upon me proved, |
Lines 13-14: If
my observations are proven wrong, I never wrote a word |
.....I
never writ, nor no man ever loved. |
of
poetry and never loved. |
.
Sonnet 116 Meaning
The message of this sonnet
is simple and straightforward: If a person discovers impediments hampering
his relationship with another person, he should not alter his love for
that person. On the contrary, his love should remain fixed and constant,
like a star that guides ships in a storm. In addition, his love should
remain strong even when youth passes–in fact, “even to the edge of doom.”
Sonnet
128 (Addressed to the Dark Lady)
How oft, when thou, my music,
music play'st, |
You are my music and when
you, my music, play |
Upon that blessed wood whose
motion sounds |
wood: a type of harpsichord
called a virginal |
With thy sweet fingers,
when thou gently sway'st |
|
The wiry concord
that mine ear confounds, |
wiry concord: the
strings of the harpsichord |
Do I envy those jacks
that nimble leap |
jacks: keys on the
keyboard that leap up to kiss the lady's hand |
To kiss the tender inward
of thy hand, |
See line above |
Whilst my poor lips, which
should that harvest reap, |
harvest reap: feel
the touch of your hands |
At the wood's boldness by
thee blushing stand! |
My lips lack the nerve to
kiss your hands |
To be so tickled, they would
change their state |
|
And situation with those
dancing
chips, |
dancing chips: keys |
O'er whom thy fingers walk
with gentle gait, |
|
Making dead wood more blest
than living lips. |
|
......Since
saucy jacks so happy are in this, |
|
......Give
them thy fingers, me thy lips to kiss. |
|
Sonnet 128 Meaning
......You
are my music. When you play music on the harpsichord, making beautiful
sounds, I envy the keys which feel the kiss of your hands. It is I who
should feel that kiss. But my lips remain untouched as your fingers walk
gently over the keys, making the dead wood of the harpsichord more blest
than my own lips. Since the harpsichord seems happy to know the touch of
your fingers, then give it your fingers and give your lips to me.
Sonnet
131 (Addressed
to the Dark Lady)
Thou art as tyrannous, so
as thou art, |
You can be a tyrant in being
the kind of person that you are |
As those whose beauties
proudly make them cruel; |
like other beauties who
act cruel and arrogant |
For well thou know'st to
my dear doting heart |
|
Thou art the fairest and
most precious jewel. |
|
Yet, in good faith, some
say that thee behold |
some . . . behold:
some who look at you say that |
Thy face hath not the power
to make love groan: |
make love groan:
make men sigh with desire |
To say they err I dare not
be so bold, |
|
And, to be sure that is
not false I swear, |
when I'm alone, I swear
that they are wrong |
thousand groans, but
thinking on thy face, |
I groan with desire when
I think of your face |
One on another's neck,
do witness bear |
One on another's neck:
when we are close |
Thy black is fairest in
my judgment's place. |
Your dark beauty is the
fairest kind |
Making dead wood more blest
than living lips. |
|
......In
nothing art thou black save in thy deeds, |
deeds: immoral behavior |
......And
thence this slander, as I think, proceeds. |
|
Sonnet 131 Meaning
......You
are tyrannical, such as you are, like others whose beauty makes them cruel.
You well know that, to me, you are the fairest and most precious jewel.
Yet, in truth, some men who look at you say that your face does not have
the power to make them sigh. I will not be so bold as to say that they
are wrong, although I say that to myself when I'm alone. I know I am right
about your beauty; the groans of desire I experience when I think of your
face bear witness to this fact. Your dark beauty is the fairest kind, in
my judgment. You are not black in anything except your reprehensible behavior,
which I think is the reason that some men slander your physical beauty.
Sonnet
135 (Addressed
to the Dark Lady)
Whoever hath her wish, thou
hast thy 'Will,' |
'Will': (1) wish,
inclination, desire; (2) Shakespeare's nickname |
And 'Will' to boot, and
'Will'
in overplus; |
'Will': passion,
carnality |
More than enough am I that
vex thee still, |
I bother you to point out
that there's plenty of me to go around |
To thy sweet will making
addition thus. |
I can fulfill your desire |
Wilt thou, whose will
is large and spacious, |
will: here, will
can be taken as referring to her vagina |
Not once vouchsafe to hide
my will in thine? |
will: here will
can be taken as referring to his penis |
Shall will in others
seem right gracious, |
will in others: the
desires of others |
And in my will no fair acceptance
shine? |
|
The sea all water, yet receives
rain still |
|
And in abundance addeth
to his store; |
|
So thou, being rich in
'Will,' add to thy 'Will' |
being rich in 'Will':
rich with the attention I give you |
One will of mine, to make
thy large 'Will' more. |
|
......Let
no unkind, no fair beseechers kill; |
don't refuse (kill) me,
for I am kind |
......Think
all but one, and me in that one 'Will.'. |
|
Sonnet 135 Meaning
......Whoever
has the attention of the Dark Lady has his own wish fulfilled and also
has Will Shakespeare--in fact, an excess of Will Shakespeare, since my
own will, my own desire, is centered in her. I am ever ready to add more
of myself to you, dear Dark Lady, to please your will (desire), which is
"large and spacious." Please put my will in your will--that is, desire
me the way I desire you. (When Shakespeare speaks of the Dark Lady's "large
and spacious" will and then of hiding his will "in thine," he may be alluding
to sexual relations.) Does it seem right to accept the will of others while
rejecting my will? True, you already have all of me. I am like a sea that
fills you up. But the sea, though full, receives rain and therefore becomes
more full. Do the same for me. Although you are already rich in 'Will'--me--receive
more of me so that I become an even bigger 'Will' in you.
Sonnet
141 (Addressed
to the Dark Lady)
In faith, I do not love
thee with mine eyes, |
In truth it is not your
looks that attract me |
For they in thee a thousand
errors note, |
because they have flaws |
But 'tis my heart that loves
what they despise, |
but my heart loves what
my eyes do not |
Who, in despite of
view, is pleased to dote. |
Who: the heart; pleased
to dote: takes pleasure in your company |
Nor are mine ears with thy
tongue's tune delighted, |
The sound of your voice
isn't what attracts me, either |
Nor tender feeling, to base
touches prone, |
nor does touching you |
Nor taste, nor smell, desire
to be invited |
nor do I wish to taste or
smell |
To any sensual feast with
thee alone. |
the banquet of your body. |
But my five wits
nor my five senses can |
But: neither; five
wits (intellectual powers). See Note 1 below. |
Dissuade one foolish
heart from serving thee |
one foolish heart:
Shakespeare's heart |
Who leaves unswayed the
likeness of man, |
you who leave me without
any self-control (unswayed) |
Thy proud heart's slave
and vassal wretch to be. |
vassal: servant |
......Only
my plague thus far I count my gain, |
But I benefit from being
a slave to love |
......That
she that makes me sin awards me pain. |
awards me pain: paradox.
See Note 2 below. |
Sonnet 141Meaning
......It
is not my physical senses that make me love you. After all, my eyes, my
ears, and the rest of my five senses perceive flaws in your body. Instead,
it is my heart that loves you. But in spite of the way my physical senses
see you, they cannot stop my heart from making myself your slave. In this
regard, you rob me of self-control (who leaves unswayed) so that I have
no choice but to serve you. Nevertheless, desiring you benefits me.
Note 1: In a footnote
on Page 1997 of The Norton Shakespeare, the five wits are identified
as “common sense, imagination, fancy, judgment, memory.”–Greenblatt, Stephen,
general ed. The Norton Shakespeare. New York: W.W. Norton, 1997.
Page 1997.
Note 2: The Norton
Shakespeare suggests the following meaning of this line: The Dark Lady
causes the author to sin. To erase the sin, he mortifies himself–that is,
he does painful penance which lessens his guilt in the eyes of God and
therefore enhances his chances of a favorable destiny in the afterlife.
Sonnet
153 (The
Lovesick Poet Tries a Spa But Finds No Cure)
Cupid laid by his
brand, and fell asleep: |
Cupid: god of love,
who used a brand to ignite love in human hearts |
A maid of Dian's
this advantage found, |
Dian: Diana, goddess
of the hunt and moon; protector of women |
And his love-kindling fire
did quickly steep |
|
In a cold valley-fountain
of that ground; |
|
Which borrow'd from
this holy fire of Love |
which borrow'd: which
took, which absorbed |
A dateless lively heat,
still to endure, |
The waters heated up |
And grew a seething bath,
which yet men prove |
The waters became a steamy
bath, a spa, used by men |
Against strange maladies
a sovereign cure. |
|
But at my mistress' eye
Love's brand new-fired, |
Cupid's brand received new
fire from the eyes of the poet's mistress |
The boy for trial
needs would touch my breast; |
the boy: Cupid |
I, sick withal, the help
of bath desired, |
|
And thither hied, a sad
distemper'd guest, |
|
.....But
found no cure: the bath for my help lies |
the bath for my help:
the cure for my problem |
.....Where
Cupid got new fire--my mistress' eyes. |
|
Sonnet 153 Meaning
......Cupid
put down the burning torch he often used (in place of his arrows) to inflame
the human heart with love. Then he fell asleep. One of the maidservants
of Diana happened by. (In Roman mythology, Diana, a virgin, was the goddess
of the hunt and of the moon. She was also a protector of women.) The mischievous
maidservant stole the firebrand and plunged it into the cold water of a
fountain. However, the fire did not go out. Instead, it continued to burn,
causing the water to heat up and create a steamy bath in which men could
immerse themselves and cure strange illnesses resulting from their romantic
relationships. As for Shakespeare, well, he wishes the boy (Cupid) would
use on him the fire he captured from the emotional fire in the eyes of
Shakespeare's mistress. Shakespeare is sick with love for her, but when
he tried out the bath he found no cure. So the only help for him is the
warmth in his mistress's eyes.
Sonnets:
Art of Shakespeare's Sonnets Available at Amazon.com
The
Sonnets: Charles Robinson Illustrator Available at Amazon.com
Sonnets:
Complete Shakespeare Sonnets on Audiotape
Available at Amazon.com
William
Shakespeare: A Poet for All Times Available at Amazon.com
Plays
on DVD (or VHS)
..
Play |
Director |
Actors |
Antony
and Cleopatra (1974) |
Trevor
Nunn, John Schoffield |
Richard
Johnson, Janet Suzman |
Antony
and Cleopatra |
BBC
Production |
Jane
Lapotaire |
As
You Like It (2010) |
Thea
Sharrock |
Jack
Laskey, Naomi Frederick |
As
You Like It (1937) |
Paul
Czinner |
Henry
Ainley, Felix Aylmer |
The
Comedy of Errors |
BBC
Production |
Not
Listed |
Coriolanus |
BBC
Production |
Alan
Howard, Irene Worth |
Cymbeline |
Elijah
Moshinsky |
Claire
Bloom, Richard Johnson, Helen Mirren |
Gift
Box: The Comedies |
BBC
Production |
Various |
Gift
Box: The Histories |
BBC
Production |
Various |
Gift
Box: The Tragedies |
BBC
Production |
Various |
Hamlet
(1948) |
Laurence
Olivier |
Laurence
Olivier, Jean Simmons |
Hamlet
(1990) |
Kevin
Kline |
Kevin
Kline |
Hamlet(1991) |
Franco
Zeffirelli |
Mel
Gibson, Glenn Close |
Hamlet
(1996) |
Kenneth
Branagh |
Kenneth
Branagh, |
Hamlet
(2009) |
Gregory Doran |
David Tennant, Patrick Stewart,
Penny Downie |
Hamlet
(1964) |
John
Gielgud, Bill Colleran |
Richard
Burton, Hume Cronyn |
Hamlet
(1964) |
Grigori
Kozintsev |
Innokenti
Smoktunovsky |
Hamlet
(2000) |
Cambpell
Scott, Eric Simonson |
Campbell
Scott, Blair Brown |
Henry
V (1989) |
Kenneth
Branagh |
Kenneth
Branaugh, Derek Jacobi |
Henry
V( 1946) |
Laurence
Olivier |
Leslie
Banks, Felix Aylmer |
Henry
VI Part I |
BBC
Production |
Peter
Benson, Trevor Peacock |
Henry
VI Part II |
BBC
Production |
Not
Listed |
Henry
VI Part III |
BBC
Production |
Not
Listed |
Henry
VIII |
BBC
Production |
John
Stride, Claire Bloom, Julian Glover |
Julius
Caesar |
BBC
Production |
Richard
Pasco, Keith Michell |
Julius
Caesar (1950) |
David
Bradley |
Charlton
Heston |
Julius
Caesar (1953) |
Joseph
L. Mankiewicz |
Marlon
Brando, James Mason |
Julius
Caesar (1970) |
Stuart
Burge |
Charlton
Heston, Jason Robards |
King
John |
BBC
Production |
Not
Listed |
King
Lear (1970) |
Grigori
Kozintsev |
Yuri
Yarvet |
King
Lear (1971) |
Peter
Brook |
Cyril
Cusack, Susan Engel |
King
Lear (1974) |
Edwin
Sherin |
James
Earl Jones |
King
Lear (1976) |
Tony
Davenall |
Patrick
Mower, Ann Lynn |
King
Lear (1984) |
Michael
Elliott |
Laurence
Olivier, Colin Blakely |
King
Lear (1997) |
Richard
Eyre |
Ian
Holm |
Love's
Labour's Lost (2000) |
Kenneth
Branagh |
Kenneth
Branagh, Alicia Silverstone |
Love's
Labour's Lost |
BBC
Production) |
Not
Listed |
Macbeth
(1978) |
Philip
Casson |
Ian
McKellen, Judy Dench |
Macbeth |
BBC
Production |
Not
Listed |
The
Merchant of Venice |
BBC
Production |
Warren
Mitchell, Gemma Jones |
The
Merchant of Venice (2001) |
Christ
Hunt, Trevor Nunn |
David
Bamber, Peter De Jersey |
The
Merchant of Venice (1973) |
John
Sichel |
Laurence
Olivier, Joan Plowright |
The
Merry Wives of Windsor (1970) |
Not
Listed |
Leon
Charles, Gloria Grahame |
Midsummer
Night's Dream (1996) |
Adrian
Noble |
Lindsay
Duncan, Alex Jennings |
A
Midsummer Night's Dream (1999) |
Michael
Hoffman |
Kevin
Kline, Michelle Pfeiffer |
Much
Ado About Nothing (1993) |
Kenneth
Branaugh |
Branaugh,
Emma Thompson |
Much
Ado About Nothing (1973) |
Nick
Havinga |
Sam
Waterston, F. Murray Abraham |
Othello
(2005) |
Janet
Suzman |
Richard
Haines, John Kaki |
Othello
(1990) |
Trevor
Nunn |
Ian
McKellen, Michael Grandage |
Othello
(1965) |
Stuart
Burge |
Laurence
Olivier, Frank Finlay |
Othello
(1955) |
Orson
Welles |
Orson
Welles |
Othello
(1983) |
Franklin
Melton |
Peter
MacLean, Bob Hoskins, Jenny Agutter |
Ran
(1985) Japanese Version of King Lear |
Akira
Kurosawa |
Tatsuya
Nakadai, Akira Terao |
Richard
II (2001) |
John
Farrell |
Matte
Osian, Kadina de Elejalde |
Richard
III (1912) |
André
Calmettes, James Keane |
Robert
Gemp, Frederick Warde |
Richard
III - Criterion Collection (1956) |
Laurence
Olivier |
Laurence
Olivier, Ralph Richardson |
Richard
III (1995) |
Richard
Loncraine |
Ian
McKellen, Annette Bening |
Richard
III |
BBC
Production |
Ron
Cook, Brian Protheroe, Michael Byrne |
Romeo
and Juliet (1968) |
Franco
Zeffirelli |
Leonard
Whiting, Olivia Hussey |
Romeo
and Juliet (1996) |
Baz
Luhrmann |
Leonardo
DiCaprio, Claire Danes |
Romeo
and Juliet (1976) |
Joan
Kemp-Welch |
Christopher
Neame, Ann Hasson |
Romeo
and Juliet |
BBC
Production |
John
Gielgud, Rebecca Saire, Patrick Ryecart |
The
Taming of the Shrew |
Franco
Zeffirelli |
Elizabeth
Taylor, Richard Burton |
The
Taming of the Shrew |
Kirk
Browning |
Raye
Birk, Earl Boen, Ron Boussom |
The
Taming of The Shrew |
Not
Listed |
Franklin
Seales, Karen Austin |
The
Tempest |
Paul
Mazursky |
John
Cassavetes, Gena Rowlands |
The
Tempest (1998) |
Jack
Bender |
Peter
Fonda, John Glover, Harold Perrineau, |
Throne
of Blood (1961) Macbeth in Japan |
Akira
Kurosawa |
Toshirô
Mifune, Isuzu Yamada |
Twelfth
Night (1996) |
Trevor
Nunn |
Helena
Bonham Carter |
Twelfth
Night |
BBC
Production |
Not
Listed |
The
Two Gentlemen of Verona |
BBC
Production |
John
Hudson, Joanne Pearce |
The
Winter's Tale (2005) |
Greg
Doran |
Royal
Shakespeare Company |
The
Winter's Tale |
BBC
Production |
Not
Listed |
.
|