Shakespeare's Sonnets: With Three Hundred Years of CommentaryAssociated University Presse, 2007 - 404 Seiten This is a collection of the scholarship of dozens of commentators who have written about Shakespeare's sonnets over the past 300 years. The text details how the poems work and how they may be interpreted. |
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Seite 34
... metaphor in lines 1 and 2 , which con- tributes to the harshness of the opening tone . T. R. Price ( 1902 , 371 ) com- ments on the second rhyme pair , " field ... held " : " Rhymes founded upon the consonantal assonance , false rhymes ...
... metaphor in lines 1 and 2 , which con- tributes to the harshness of the opening tone . T. R. Price ( 1902 , 371 ) com- ments on the second rhyme pair , " field ... held " : " Rhymes founded upon the consonantal assonance , false rhymes ...
Seite 44
... metaphor . Regarding line 8 , Ridley ( 1934 ) notes : " Strictly one singer can only bear one part in a part song ; but the meaning is clear enough , that by remaining single he prevents there being the concord of sweet sounds that ...
... metaphor . Regarding line 8 , Ridley ( 1934 ) notes : " Strictly one singer can only bear one part in a part song ; but the meaning is clear enough , that by remaining single he prevents there being the concord of sweet sounds that ...
Seite 45
... metaphor- ical terms . Words take on double meanings to allow the connection between the concepts being compared . This is what Ridley , as noted above , intuitively discerned . Vendler notes that " although the division of music into ...
... metaphor- ical terms . Words take on double meanings to allow the connection between the concepts being compared . This is what Ridley , as noted above , intuitively discerned . Vendler notes that " although the division of music into ...
Seite 47
... metaphor of circulating capital " in the third quatrain . The distinction between octave and sestet is heightened , she notes , by the change from the octave's second - person address to the ses- tet's third - person . This blending of ...
... metaphor of circulating capital " in the third quatrain . The distinction between octave and sestet is heightened , she notes , by the change from the octave's second - person address to the ses- tet's third - person . This blending of ...
Seite 62
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Inhalt
31 | |
Appendix 1 Editions Referenced | 378 |
Appendix 2 Emendations | 380 |
Appendix 3 Extant Copies of the 1609 Quarto | 383 |
Bibliography | 384 |
General Index to Introduction and Commentary | 393 |
Index of First Lines | 401 |
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Abbott Alden beauty BEECHING beloved beloved's Booth notes Burto citation cites collated editors collated texts comma commentary to Sonnet compositor compositorial error couplet doth DOWDEN dropped letter Dunc Duncan-Jones Elizabethan emendations in collated end of line Evans explains eyes felfe feminine endings giue gloss Harbage hath haue heart iambic iambic pentameter iambs Ingram and Redpath Kerrigan line 11 line 9 liue loue MALONE meaning metaphor meter mistress modern moſt Onions pause phrase poem poet poet's POOLER praiſe punctuation Quarto quatrain reader Redpath note refers rest rhyme Rollins notes says scansion Schmidt second quatrain ſee seems sense Seymour-Smith Shakespeare ſhall ſhould Sonnet 18 Sonnet 29 Sonnet 33 Sonnets 40 speaker spondee ſtill substantive emendations suggests sweet syllable thee theme thine things third quatrain thoſe thought tone trochee trochee-iamb Tucker Vendler verse Willen and Reed Wils Wilson word WYNDHAM