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Sonnets

JP1 — Sun, 03 Jun 2007 16:44:18 CDT

Shakespeare followed the more idiomatic rhyme scheme that Philip Sydney used in the first great Elizabethan sonnet cycle, Astrophel and Stella (published posthumously in 1591). This scheme interlaces the rhymes of two pairs of couplets to make a quatrain, then builds the whole sonnet of three differently rhymed quatrains and a concluding couplet: this is an example of the form Shakespeare used, offten called Iambic Pentameter

Q1	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:	a b a b
Q2	But thou, contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel.	c d c d
Q3	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, mak'st waste in niggarding:	e f e f
C	Pity the world, or else this glutton be, To eat the world's due, by the grave and thee.	g g

(4)

The above Sonnet #1 introduces the themes that run throughout Shakespeare's collection because it focuses on beauty, love, and the passage of time. It effectively opens the first mini-sequence of the collection, the first seventeen sonnets often referred to as the "procreation" sonnets because they urge a young man to have children. This particular sonnet begins by stating that beautiful creatures should reproduce so that their beauty will live forever. However the young man refuses and the solution states that if he doesn't reproduce he will be doing a disservice to the entire world. (10)

Shakespeare Sonnet # 130

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses demasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare. [1]

Analysis
Sonnet 130 is a tribute to the average woman. It points out all the normal imperfections in a woman and accepts them. While most love poems of the day talked about the perfect and idealistic woman, this one parodies all of those writings comedically and truthfully.

A picture of Shakespeares Sonnets (2)

The Sonnets of Shakespeare all follow the same pattern. They all consist of 14 lines of 3 quatrains and one couplet. They are written in iambic pentameter with a ABABCDCDEFEFGG rhyme scheme. The first 12 lines are usually questions follow by the last couplet which is the answer. (3)

Sonnet XV
When I consider every thing that grows
Holds in perfection but a little moment,
That this huge stage presenteth nought but shows
Whereon the stars in secret influence comment;
When I perceive that men as plants increase,
Cheered and check'd even by the self-same sky,
Vaunt in their youthful sap, at height decrease,
And wear their brave state out of memory;
Then the conceit of this inconstant stay
Sets you most rich in youth before my sight,
Where wasteful Time debateth with Decay,
To change your day of youth to sullied night;
And all in war with Time for love of you,
As he takes from you, I engraft you new.(5).

XVI

But wherefore do not you a mightier way
Make war upon this bloody tyrant, Time?
And fortify your self in your decay
With means more blessed than my barren rhyme?
Now stand you on the top of happy hours,
And many maiden gardens, yet unset,
With virtuous wish would bear you living flowers,
Much liker than your painted counterfeit:
So should the lines of life that life repair,
Which this, Time's pencil, or my pupil pen,
Neither in inward worth nor outward fair,
Can make you live your self in eyes of men.
To give away yourself, keeps yourself still,
And you must live, drawn by your own sweet skill.(6)

Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance or nature's changing course untrimmed;
But thy eternal summer shall not fade,
Nor lose possesion of that fair thou own'st;
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st:
So long as men can breath, or eyes can see,
So long lives this, and this gives life to thee. (7)

The sonnet arose during the Italian Middle Ages. Dante Alighieri and Francesco Petrarca helped to make it famous. When it reached Spain and France, it was slightly refined by "Pléiade" poets Joachim DuBellay and Pierre Ronsard. Many at the end of the Renaissance were familiar with the sonnet cycle, which was a book sized collection of sonnets. Shakespearean sonnets allowed for two extra ryhmes than the favored "Italian" sonnets by adding another quatraine. The Shakespearean quatrains had the rhyme scheme of ABAB, outside of the whole sonnet, while the "Italian" sonnets had the scheme of ABBA for both quatraines. The latter would then go into two tercets with the scheme of CCD EED or CCD EDE, while the former would end in a couplet. (8)

Shakespeare's sonnets were published in 1609, no doubt without authorization, by the unsavory Thomas Thorpe (1580-1614), described as "a publishing understrapper of piratical habits" who "hung about scriveners' shops" in order to pinch manuscripts. There was no reprint until 1640. (9)

Sonnet 25

Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars
Unlook'd for joy in that I honour most.
Great princes' favourites their fair leaves spread
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
The painful warrior famoused for fight,
After a thousand victories once foiled,
Is from the book of honour razed quite,
And all the rest forgot for which he toiled:
Then happy I, that love and am beloved,
Where I may not remove nor be removed.(11)

Sonnet CXVI

Let me not to the marriage of true minds
Admit impediments. Love not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved. [12]

Shakespeare Sonnet #17

Who will believe my verse in time to come,

If it were fill'd with your most high deserts?

Though yet, heaven knows, it is but as a tomb

Which hides your life and shows not half your parts.

If I could write the beauty of your eyes

And in fresh numbers number all your graces,

The age to come would say 'This poet lies:

Such heavenly touches ne'er touch'd earthly faces.'

So should my papers yellow'd with their age

Be scorn'd like old men of less truth than tongue,

And your true rights be term'd a poet's rage

And stretched metre of an antique song:

But were some child of yours alive that time,

You should live twice; in it and in my rhyme. [13]

Sonnet XLVIII

How careful was I when I took my way,
Each trifle under truest bars to thrust,
That to my use it might unused stay
From hands of falsehood, in sure wards of trust!
But thou, to whom my jewels trifles are,
Most worthy comfort, now my greatest grief,
Thou best of dearest, and mine only care,
Art left the prey of every vulgar thief.
Thee have I not lock'd up in any chest,
Save where thou art not, though I feel thou art,
Within the gentle closure of my breast,
From whence at pleasure thou mayst come and part;
And even thence thou wilt be stol'n I fear,
For truth proves thievish for a prize so dear (14)

154

The little Loue-God lying once a ſleepe,
Laid by his ſide his heart inflaming brand,
Whilſt many Nymphes that vou'd chaſt life to keep,
Came tripping by, but in her maiden hand,
The fayreſt votary tooke vp that fire,
Which many Legions of true hearts had warm'd,
And ſo the Generall of hot deſire,
Was ſleeping by a Virgin hand diſarm'd.
This brand ſhe quenched in a coole Well by,
Which from loues fire tooke heat perpetuall,
Growing a bath and healthfull remedy,
For men diſeaſd,but I my Miſtriſſe thrall,
Came there for cure and this by that I proue,
Loues fire heates water,water cooles not loue. (15)
(shakespeare's last sonnet)

Sonnet XXIII

As an unperfect actor on the stage,
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart;
So I, for fear of trust, forget to say
The perfect ceremony of love's rite,
And in mine own love's strength seem to decay,
O'ercharg'd with burthen of mine own love's might.
O! let my looks be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love, and look for recompense,
More than that tongue that more hath more express'd.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love's fine wit. [16]

XXXIII. (33)
Full many a glorious morning have I seen
Flatter the mountain-tops with sovereign eye,
Kissing with golden face the meadows green,
Gilding pale streams with heavenly alchymy;
Anon permit the basest clouds to ride
With ugly rack on his celestial face,
And from the forlorn world his visage hide,
Stealing unseen to west with this disgrace:
Even so my sun one early morn did shine,
With all-triumphant splendour on my brow;
But, out! alack! he was but one hour mine,
The region cloud hath mask'd him from me now.
Yet him for this my love no whit disdaineth;
Suns of the world may stain when heaven's
sun staineth. (17)

Analysis
This poem is in one aspect simply glorifying the sun and beauty of the world, but also rueing that the world is impure, because of the juxtaposition of pure and base or impure imagery (ugly rack on his celestial face).

Sonnet XXXIV

Why didst thou promise such a beauteous day,
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding thy bravery in their rotten smoke?
'Tis not enough that through the cloud thou break,
To dry the rain on my storm-beaten face,
For no man well of such a salve can speak
That heals the wound and cures not the disgrace:
Nor can thy shame give physic to my grief;
Though thou repent, yet I have still the loss:
The offender's sorrow lends but weak relief
To him that bears the strong offence's cross.
Ah! but those tears are pearl which thy love sheds,
And they are rich and ransom all ill deeds.(22)

Sonnet XXXV

No more be griev'd at that which thou hast
done:
Roses have thorns, and silver fountains mud;
Clouds and eclipses stain both moon and sun,
And loathsome canker lives in sweetest bud.
All men make faults, and even I in this,
Authorising thy trespass with compare,
Myself corrupting, salving thy amiss,
Excusing thy sins more than thy sins are;
For to thy sensual fault I bring in sense,—
Thy adverse party is thy advocate,—
And 'gainst myself a lawful plea commence:
Such civil war is in my love and hate,
That I an accessary needs must be
To that sweet thief which sourly robs from
me. [18]

Sonnet XXXVI
Let me confess that we two must be twain,
Although our undivided loves are one:
So shall those blots that do with me remain
Without thy help by me be borne alone.
In our two loves there is but one respect,
Though in our lives a separable spite,
Which though it alter not love's sole effect,
Yet doth it steal sweet hours from love's delight.
I may not evermore acknowledge thee,
Lest my bewailed guilt should do thee shame,
Nor thou with public kindness honour me,
Unless thou take that honour from thy name:
But do not so; I love thee in such sort
As, thou being mine, mine is thy good report.(24)

Sonnet XXXVII
As a decrepit father takes delight
To see his active child do deeds of youth,
So I, made lame by fortune's dearest spite,
Take all my comfort of thy worth and truth.
For whether beauty, birth, or wealth, or wit,
Or any of these all, or all, or more,
Entitled in thy parts do crowned sit,
I make my love engrafted to this store:
So then I am not lame, poor, nor despised,
Whilst that this shadow doth such substance give
That I in thy abundance am sufficed
And by a part of all thy glory live.
Look, what is best, that best I wish in thee:
This wish I have; then ten times happy me!(31)

Sonnet XXXVIII
How can my Muse want subject to invent,
While thou dost breathe, that pour'st into my verse
Thine own sweet argument, too excellent
For every vulgar paper to rehearse?
O, give thyself the thanks, if aught in me
Worthy perusal stand against thy sight;
For who's so dumb that cannot write to thee,
When thou thyself dost give invention light?
Be thou the tenth Muse, ten times more in worth
Than those old nine which rhymers invocate;
And he that calls on thee, let him bring forth
Eternal numbers to outlive long date.
If my slight Muse do please these curious days,
The pain be mine, but thine shall be the praise.(37)

William Shakespeare, Sonnet 129
Th' expense of spirit in a waste of shame
Is lust in action; and, till action, lust
Is perjured, murd'rous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust;
Enjoyed no sooner but despisèd straight; 5
Past reason hunted, and no sooner had,
Past reason hated, as a swallowed bait
On purpose laid to make the taker mad;
Mad in pursuit, and in possession so;
Had, having, and in quest to have, extreme; 10
A bliss in proof--and proved, a very woe;
Before, a joy proposed; behind, a dream.
All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell.

Analysis-- this sonnet talks about lust, and how it can be such a destructive thing in the world that causes horrible and murderous acts. However, people still lust, and cause pain even though they know that the consequences won't be good. The physical image portrayed in this sonnet is the image of bait struggling, even though in the end it will be doomed no matter what it does. People try to avoid lust, but in the end, they fall into doing something they know will not end well. Love is the opposite of lust, because love is pure and good. (19)

Sonnet 21
So is it not with me as with that muse,
Stirred by a painted beauty to his verse,
Who heaven it self for ornament doth use,
And every fair with his fair doth rehearse,
Making a couplement of proud compare
With sun and moon, with earth and sea's rich gems:
With April's first-born flowers and all things rare,
That heaven's air in this huge rondure hems.
O let me true in love but truly write,
And then believe me, my love is as fair,
As any mother's child, though not so bright
As those gold candles fixed in heaven's air:
Let them say more that like of hearsay well,
I will not praise that purpose not to sell.(20)

Sonnet 19

Devouring Time, blunt thou the lion's paws,

And make the earth devour her own sweet brood;

Pluck the keen teeth from the fierce tiger's jaws,

And burn the long-lived phoenix in her blood;

Make glad and sorry seasons as thou fleets,

And do whate'er thou wilt, swift-footed Time,

To the wide world and all her fading sweets;

But I forbid thee one most heinous crime:

O, carve not with thy hours my love's fair brow,

Nor draw no lines there with thine antique pen;

Him in thy course untainted do allow

For beauty's pattern to succeeding men.

Yet, do thy worst, old Time: despite thy wrong,

My love shall in my verse ever live young. (21)

The edition of Shakespeare's sonnets published by Thomas Thorpe contained a dedication to a M.W.H of unknown identity. People have speculated of the identity of M.W.H and whether the dedication was written by Thorpe or Shakepeare. Below is a copy of the dedication:
(23)

Sonnet XXXII

If thou survive my well-contented day,
When that churl Death my bones with dust shall
cover,
And shalt by fortune once more re-survey
These poor rude lines of thy deceased lover,
Compare them with the bettering of the time,
And though they be outstripp'd by every pen,
Reserve them for my love, not for their rime,
Exceeded by the height of happier men.
O! then vouchsafe me but this loving thought:
'Had my friend's Muse grown with this growing
age,
A dearer birth than this his love had brought,
To march in ranks of better equipage:
But since he died, and poets better prove,
Theirs for their style I'll read, his for his
love.' [25]

SONNET 2

When forty winters shall beseige thy brow,

And dig deep trenches in thy beauty's field,

Thy youth's proud livery, so gazed on now,

Will be a tatter'd weed, of small worth held:

Then being ask'd where all thy beauty lies,

Where all the treasure of thy lusty days,

To say, within thine own deep-sunken eyes,

Were an all-eating shame and thriftless praise.

How much more praise deserved thy beauty's use,

If thou couldst answer 'This fair child of mine

Shall sum my count and make my old excuse,'

Proving his beauty by succession thine!

This were to be new made when thou art old,

And see thy blood warm when thou feel'st it cold. (26)

SONNET 133

Beshrew that heart that makes my heart to groan
For that deep wound it gives my friend and me!
Is't not enough to torture me alone,
But slave to slavery my sweet'st friend must be?
Me from myself thy cruel eye hath taken,
And my next self thou harder hast engross'd:
Of him, myself, and thee, I am forsaken;
A torment thrice threefold thus to be cross'd.
Prison my heart in thy steel bosom's ward,
But then my friend's heart let my poor heart bail;
Whoe'er keeps me, let my heart be his guard;
Thou canst not then use rigor in my gaol:
And yet thou wilt; for I, being pent in thee,
Perforce am thine, and all that is in me. (27)

Sonnet 39
O! how thy worth with manners may I sing,
When thou art all the better part of me?
What can mine own praise to mine own self bring?
And what is't but mine own when I praise thee?
Even for this, let us divided live,
And our dear love lose name of single one,
That by this separation I may give
That due to thee which thou deserv'st alone.
O absence! what a torment wouldst thou prove,
Were it not thy sour leisure gave sweet leave,
To entertain the time with thoughts of love,
Which time and thoughts so sweetly doth deceive,
And that thou teachest how to make one twain,
By praising him here who doth hence remain.(28)

SONNET 3

Look in thy glass, and tell the face thou viewest

Now is the time that face should form another;

Whose fresh repair if now thou not renewest,

Thou dost beguile the world, unbless some mother.

For where is she so fair whose unear'd womb

Disdains the tillage of thy husbandry?

Or who is he so fond will be the tomb

Of his self-love, to stop posterity?

Thou art thy mother's glass, and she in thee

Calls back the lovely April of her prime:

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. (29)

Sonnet 4

Unthrifty loveliness, why dost thou spend
Upon thyself thy beauty's legacy?
Nature's bequest gives nothing but doth lend,
And being frank she lends to those are free.
Then, beauteous niggard, why dost thou abuse
The bounteous largess given thee to give?
Profitless usurer, why dost thou use
So great a sum of sums, yet canst not live?
For having traffic with thyself alone,
Thou of thyself thy sweet self dost deceive.
Then how, when nature calls thee to be gone,
What acceptable audit canst thou leave?
Thy unused beauty must be tomb'd with thee,
Which, used, lives th' executor to be. (30)

Sonnet 5
Those hours, that with gentle work did frame
The lovely gaze where every eye doth dwell,
Will play the tyrants to the very same
And that unfair which fairly doth excel;
For never-resting time leads summer on
To hideous winter, and confounds him there;
Sap checked with frost, and lusty leaves quite gone,
Beauty o'er-snowed and bareness every where:
Then were not summer's distillation left,
A liquid prisoner pent in walls of glass,
Beauty's effect with beauty were bereft,
Nor it, nor no remembrance what it was:
But flowers distill'd, though they with winter meet,
Leese but their show; their substance still lives sweet. (32)
c
SONNET XL

Take all my loves, my love, yea, take them all;
What hast thou then more than thou hadst
before?
No love, my love, that thou mayst true love
call;
All mine was thine before thou hadst this more
Then, if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blam'd, if thou thyself deceivest
By wilful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows it is a greater grief
To bear love's wrong than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes. [33]

CXLIX
Canst thou, O cruel! say I love thee not,
When I against myself with thee partake?
Do I not think on thee, when I forgot
Am of my self, all tyrant, for thy sake?
Who hateth thee that I do call my friend,
On whom frown'st thou that I do fawn upon,
Nay, if thou lour'st on me, do I not spend
Revenge upon myself with present moan?
What merit do I in my self respect,
That is so proud thy service to despise,
When all my best doth worship thy defect,
Commanded by the motion of thine eyes?
But, love, hate on, for now I know thy mind,
Those that can see thou lov'st, and I am blind. (34)

CLIII

Cupid laid by his brand and fell asleep:
A maid of Dian's this advantage found,
And his love-kindling fire did quickly steep
In a cold valley-fountain of that ground;
Which borrowed from this holy fire of Love,
A dateless lively heat, still to endure,
And grew a seething bath, which yet men prove
Against strange maladies a sovereign cure.
But at my mistress' eye Love's brand new-fired,
The boy for trial needs would touch my breast;
I, sick withal, the help of bath desired,
And thither hied, a sad distempered guest,
But found no cure, the bath for my help lies
Where Cupid got new fire; my mistress' eyes. (35)

Sonnet 6

Then let not winter's ragged hand deface

In thee thy summer, ere thou be distill'd:

Make sweet some vial; treasure thou some place

With beauty's treasure, ere it be self-kill'd.

That use is not forbidden usury,

Which happies those that pay the willing loan;

That's for thyself to breed another thee,

Or ten times happier, be it ten for one;

Ten times thyself were happier than thou art,

If ten of thine ten times refigured thee:

Then what could death do, if thou shouldst depart,

Leaving thee living in posterity?

Be not self-will'd, for thou art much too fair

To be death's conquest and make worms thine heir.

XL. Take all my loves, my love, yea, take them all;
What hast thou then more than thou hadst
before?
No love, my love, that thou mayst true love
call;
All mine was thine before thou hadst this more
Then, if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blam'd, if thou thyself deceivest
By wilful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows it is a greater grief
To bear love's wrong than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.
XLI. Those pretty wrongs that liberty commits,
When I am sometimes absent from thy heart,
Thy beauty and thy years full well befits,
For still temptation follows where thou art.
Gentle thou art, and therefore to be won,
Beauteous thou art, therefore to be assail'd;
And when a woman woos, what woman's son
Will sourly leave her till she have prevail'd?
Ay me! but yet thou mightst my seat forbear,
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forc'd to break a twofold truth;—
Hers, by thy beauty tempting her to thee,
Thine, by thy beauty being false to me. [38]

Sonnet 7
Lo! in the orient when the gracious light

Lifts up his burning head, each under eye

Doth homage to his new-appearing sight,

Serving with looks his sacred majesty;

And having climb'd the steep-up heavenly hill,

Resembling strong youth in his middle age,

yet mortal looks adore his beauty still,

Attending on his golden pilgrimage;

But when from highmost pitch, with weary car,

Like feeble age, he reeleth from the day,

The eyes, 'fore duteous, now converted are

From his low tract and look another way:

So thou, thyself out-going in thy noon,

Unlook'd on diest, unless thou get a son. (39)

Sonnet 28
How can I then return in happy plight,
That am debarr'd the benefit of rest?
When day's oppression is not eas'd by night,
But day by night, and night by day oppress'd,
And each, though enemies to either's reign,
Do in consent shake hands to torture me,
The one by toil, the other to complain
How far I toil, still further off from thee.
I tell the day, to please him thou art bright
And dost him grace when clouds do blot the
heaven:
So flatter I the swart-complexion'd night;
When sparkling stars twire not thou gild'st the
even.
But day doth daily draw my sorrows longer,
And night doth nightly make griefs strength
seem stronger. [40]

Sonnet 8

Music to hear, why hear'st thou music sadly?

Sweets with sweets war not, joy delights in joy.

Why lovest thou that which thou receivest not gladly,

Or else receivest with pleasure thine annoy?

If the true concord of well-tuned sounds,

By unions married, do offend thine ear,

They do but sweetly chide thee, who confounds

In singleness the parts that thou shouldst bear.

Mark how one string, sweet husband to another,

Strikes each in each by mutual ordering,

Resembling sire and child and happy mother

Who all in one, one pleasing note do sing:

Whose speechless song, being many, seeming one,

Sings this to thee: 'thou single wilt prove none.' (41)

Sonnet 29

When in disgrace with fortune and men's eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee,—and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth
brings
That then I scorn to change my state with kings. [42]

Sonnet 9

Is it for fear to wet a widow's eye

That thou consumest thyself in single life?

Ah! if thou issueless shalt hap to die.

The world will wail thee, like a makeless wife;

The world will be thy widow and still weep

That thou no form of thee hast left behind,

When every private widow well may keep

By children's eyes her husband's shape in mind.

Look, what an unthrift in the world doth spend

Shifts but his place, for still the world enjoys it;

But beauty's waste hath in the world an end,

And kept unused, the user so destroys it.

No love toward others in that bosom sits

That on himself such murderous shame commits. (43)

Sonnet 10

For shame! deny that thou bear'st love to any,

Who for thyself art so unprovident.

Grant, if thou wilt, thou art beloved of many,

But that thou none lovest is most evident;

For thou art so possess'd with murderous hate

That 'gainst thyself 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 thyself at least kind-hearted prove:

Make thee another self, for love of me,

That beauty still may live in thine or thee. (44)

Sonnet 11

As fast as thou shalt wane, so fast thou growest

In one of thine, from that which thou departest;

And that fresh blood which youngly thou bestowest

Thou mayst call thine when thou from youth convertest.

Without this, folly, age and cold decay:

If all were minded so, the times should cease

And threescore year would make the world away.

Let those whom Nature hath not made for store,

Harsh featureless and rude, barrenly perish:

Look, whom she best endow'd she gave the more;

Which bounteous gift thou shouldst in bounty cherish:

She carved thee for her seal, and meant thereby

Thou shouldst print more, not let that copy die. (45)

[1] http://www.eecs.harvard.edu/~keith/poems/sonnet130.htm
(2)http://www.shakespearesmonument.com/uploads/Monumentsm.JPG
(3)Mr. Bausch's English Notes
(4)http://www.handprint.com/SC/SHK/sonnets.html
(5)http://www.william-shakespeare.info/william-shakespeare-sonnet-15.htm
(6) http://www.shakespeares-sonnets.com/sonn01.htm
(7) http://www.eecs.harvard.edu/~keith/poems/sonnet18.html
(8) http://www.handprint.com/SC/SHK/sonnets.html
(9) http://www.wsu.edu/~delahoyd/shakespeare/sonnets.html
(10)http://www.sparknotes.com/shakespeare/shakesonnets/section2.rhtml
(11)http://www.shakespeares-sonnets.com/sonn01.htm#anchor025
[12]http://www.cs.rice.edu/~ssiyer/minstrels/poems/363.html
[13]http://www.shakespeare-online.com/sonnets/17.html
(14)http://www.shakespeares-sonnets.com/sonn01.htm#anchor025
(15) http://www.shakespeares-sonnets.com/154comm.htm
[16]http://www.shakespeares-sonnets.com/sonn01.htm#anchor023
(17) http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
[18] http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
(19) http://www.mala.bc.ca/~Johnstoi/poems/shakespeare1.htm
(20)http://poetry.eserver.org/sonnets/021.html
(21)http://www.shakespeare-online.com/sonnets/19.html
(22)http://www.shakespeare-online.com/sonnets/34detail.html
23)http://www.shakespeares-sonnets.com/dedcomm.htm
(24)http://www.shakespeare-online.com/sonnets/36.html
[25] http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
(26)http://www.shakespeare-online.com/sonnets/2.html
(27)http://www.shakespeare-online.com/sonnets/133.html
(28)http://www.shakespeares-sonnets.com/sonn01.htm#anchor039
(29)http://www.shakespeare-online.com/sonnets/3.html
(30) http://www.nosweatshakespeare.com/shakespeare's_sonnet4.htm
(31)http://www.shakespeare-online.com/sonnets/37.html
32. http://www.nosweatshakespeare.com/shakespeare's_sonnet5.htm
[33] http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm

(34) http:/www.shakespeares-sonnets.com/sonn03.htm#149

(35)http://www.shakespeares-sonnets.com/sonn03.htm#154
(36)http://www.shakespeare-online.com/sonnets/6.html
(37)http://www.shakespeare-online.com/sonnets/38.html
[38] http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
(39)http://www.shakespeare-online.com/sonnets/7.html
[40]http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
(41)http://www.shakespeare-online.com/sonnets/8.html
[42]http://absoluteshakespeare.com/sonnets/sonnets_26-50.htm
(43)http://www.shakespeare-online.com/sonnets/9.html
(44)http://www.shakespeare-online.com/sonnets/10.html
(45)http://www.shakespeare-online.com/sonnets/11.html

William Blake

manreet417 — Mon, 28 May 2007 23:41:37 CDT

William Blake was born November 28, 1757. His mother was Catherine Wright and father was James Blake.
When he was young, he began to "see" spirits and angels. He continued to see such things all his life. He also began to show artistic ability as a kid. He went to henry par's art school. He also began to collect various prints. His artistic skills continued to grow, and he ended up illustrating various books and other things.

Some of Blake's visions included the angel Gabriel, the Virgin Mary, and other people throughout history. He considered Newton's scientific theories to be complete nonsense, and was deeply influenced by gothic art. After Blake's death, Wordsworth said, "There was no doubt that this poor man was mad, but there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott."(9)
Two of William Blake's most famous works, "Songs of Innocence" and "Songs of Experience," are books of poems that are written to directly contrast one another. "Songs of Innocence" was written from a young, innocent child's perspective, and "Songs of Experience" was written to be from that same child, but from a older, wiser, and more mature perspective. "Songs of Experience" is often seen as a more negative group of poems, because the child has learned of such things as fear and envy, but it is intended only to be an ironic, as well as necessary contrast to the poems of "Songs of Innocence." William Blake believed very strongly that both the good and the bad, the dark and the light, are necessary, and that one should not be viewed as a negative and the other as a positive. (3)

Two of Blake's poems that show the difference between the the "Songs of Innocence" and the "Songs of Experience" are "The Lamb" and "The Tyger." "The Lamb" published in his first book takes a look at God in a more noble and gentle view while "The Tyger" speaks of God as evil and responsible for all misery and death in the world. These two poems are excellent illustrations of Blake's message in his two famous books of poetry. (4)

William Blake died August 12, 1827. His wife died four years after him. From the year 1818 to the year of his death, Blake wrote no more poetry, but continued making engravings. (5)

(10) Blake's self illustrated image of his "book of innocence"

One of Blake's many illustrations. (6)

This is another of Blake's paintings, entitled "The Ancient of Days" (12).

Blake's "The Tyger" (7) Blake's "The Lamb" from Songs of Innocence (8)

THE TYGER
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare sieze the fire?
And what shoulder, & what art.
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?
When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry? (13)

The Lamb
1 Little Lamb, who made thee?
2 Dost thou know who made thee?
3 Gave thee life, and bid thee feed
4 By the stream and o'er the mead;
5 Gave thee clothing of delight,
6 Softest clothing, woolly, bright;
7 Gave thee such a tender voice,
8 Making all the vales rejoice?
9 Little Lamb, who made thee?
10 Dost thou know who made thee?

11 Little Lamb, I'll tell thee,
12 Little Lamb, I'll tell thee:
13 He is called by thy name,
14 For he calls himself a Lamb.
15 He is meek, and he is mild;
16 He became a little child.
17 I a child, and thou a lamb.
18 We are called by his name.
19 Little Lamb, God bless thee!
20 Little Lamb, God bless thee! (11)

LOVE'S SECRET
by: William Blake (1757-1827)

NIGHT by: William Blake (1757-1827)

MAD SONG by: William Blake (1757-1827)

(16)

(3)http://www.online-literature.com/blake/
(4)http://www.geocities.com/Athens/Ithaca/8855/tyger.html
(5) http://www.vu.union.edu/~blake/man.html
(6)http://www.apocalyptic-theories.com/gallery/womanandbeast/blakedragonbg.jpg
(7) http://goodking.new21.net/bbs/rgboard/view.php?&bbs_id=00005&page=12&doc_num=1183&PHPSESSID=68f805be6aa189f1d27fe53ac0f6f223
(8) http://images.google.com/imgres?imgurl=http://www.fredonia.edu/department/english/shokoff/lamb.jpg&imgrefurl=http://www.fredonia.edu/department/english/shokoff/britroma.htm&h=536&w=364&sz=50&hl=en&start=4&um=1&tbnid=qP5UMOUf4rf4ZM:&tbnh=132&tbnw=90&prev=/images%3Fq%3Dwilliam%2Bblake%2B%2522the%2Blamb%2522%26svnum%3D10%26um%3D1%26hl%3Den%26sa%3DN
(9)http://www.kirjasto.sci.fi/wblake.htm
(10)innocence
(11) http://rpo.library.utoronto.ca/poem/181.html
(12) http://www.ibiblio.org/wm/paint/auth/blake/
(13) http://www.eecs.harvard.edu/~keith/poems/tyger.html
(14)http://www.poetry-archive.com/b/loves_secret.html
(15) http://www.poetry-archive.com/b/night.html
(16) http://www.poetry-archive.com/b/mad_song.html

Works

manreet417 — Mon, 21 May 2007 16:16:00 CDT

The Alchemist
The Alchemist is a play written by Ben Jonson first preformed in 1610. It is a critically acclaimed comedy, hailed as "one of the three most perfect plots in literature" by opium addict Samuel Coleridge. It has become one of the few non-Shakespearean plays to exist from its time period. (1)

Volpone- play
The setting of the play is seventeenth century Venice and takes place in the span of a day. It is a black comedy produced in 1606. Volpone means "Big Fox" in Italian.
(2)

The Shadow

FOLLOW a shadow, it still flies you;
Seem to fly it, it will pursue:
So court a mistress, she denies you;
Let her alone, she will court you.
Say, are not women truly, then,	5
Styled but the shadows of us men?

At morn and even, shades are longest;
At noon they are or short or none:
So men at weakest, they are strongest,
But grant us perfect, they're not known.	10
Say, are not women truly, then,
Styled but the shadows of us men?

(3)

Sources
(1)http://www.answers.com/the%20alchemist
(2)http://www.bookrags.com/Volpone
(3) http://www.bartleby.com/101/187.html

Home

Will_B — Wed, 16 May 2007 06:27:55 CDT

Welcome to the Undoomed Warrior wiki!

This wiki is for the exclusive use of Mr. Bausch's English III, 1 students. You may add any reliable content either expressly or loosely connected to works and topics discussed in class. You may also discuss, analyze, or explore anything you wish with your fellow students of literature.

Macbeth

Stephen_S — Tue, 15 May 2007 19:06:06 CDT

There is no abstract available for this page revision.

"Auld Lang Syne"

colonelsanders — Sun, 13 May 2007 23:39:00 CDT

“The following song, an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man's singing, is enough to recommend any air.” - Robert Burns

Original Version:

Burns’ verse:
Should auld acquaintance be forgot,
and never brought to mind ?
Should auld acquaintance be forgot,
and auld lang syne ?CHORUS: For auld lang syne, my dear, for auld lang syne, we’ll tak a cup o’ kindness yet, for auld lang syne. And surely ye’ll be your pint-stoup !
And surely I’ll be mine !
And we’ll tak a cup o’ kindness yet,
for auld lang syne.CHORUS We twa hae run about the braes,
and pou’d the gowans fine ;
But we’ve wander’d mony a weary fit,
sin’ auld lang syne.CHORUS We twa hae paidl’d in the burn,
frae morning sun till dine ;
But seas between us braid hae roar’d
sin’ auld lang syne.CHORUS And there’s a hand, my trusty fiere !
And gies a hand o’ thine !
And we’ll tak a right gude-willie-waught,
for auld lang syne.CHORUS

Auld Lang Syne, meaning "Long Time Ago," is an old Scottish poem by Robert Burns that is best known in modern day as a song to sing on New Year's Eve. The song is also usually by a traditional dance. The group who is singing forms a circle, holding hands for the first verse. For the second verse, arms are crossed and again linked. For the third verse everyone moves in to the center of the circle and then out again. (A/N: I'd really like to see a bunch of drunks on New Year's do this correctly.)
The fascinating part about it, is that the song is known around the world. From Ireland to Australia, South Africa to Hong Kong, and Taiwan to Canada, this song is sung to mark a farewell, or a period of moving on.
The well-known tune is pentatonic Scots folk melody. It has a quick tempo, and is obviously easier to remember than the words to the song. Poor Robert Burns doesn't usually get much credit for his poem, because it's been translated and formatted so many times (probably because people never get the words right anyway).

English translation:

Should old acquaintance be forgot,
and never brought to mind ?
Should old acquaintance be forgot,
and auld lang syne ?CHORUS: For auld lang syne, my dear, for auld lang syne, we'll take a cup o’ kindness yet, for auld lang syne. And surely you’ll buy your pint cup !
And surely I’ll buy mine !
And we'll take a cup o’ kindness yet,
for auld lang syne.CHORUS We two have run about the hills,
and picked the daisies fine ;
But we’ve wandered many a weary foot,
since auld lang syne.CHORUS We two have paddled in the stream,
from morning sun till dine (dinner time) ;
But seas between us broad have roared
since auld lang syne.CHORUS And there’s a hand my trusty friend !
And give us a hand o’ thine !
And we’ll take a right good-will draught,
for auld lang syne.CHORUS

This song is used for New Years and it world renowned. Robert Burns was said to have just restored the song and the original version was written before his time. Most of the words were lost but he wrote most of the verses. The version sung and known today is a shortened version but still the same thing Burns wrote.

http://www.chivalry.com/cantaria/lyrics/auldlang.html
http://people.howstuffworks.com/question279.htm
http://www.importantscots.com/auld-lang-syne-translation.htm
http://www.robertburns.org/encyclopedia/AuldLangSyne.5.shtml
http://www.worldburnsclub.com/newsletter/auld_lang_syne_what_about.htm

WH Quotes

skifree033 — Sun, 13 May 2007 21:50:17 CDT

" . . . he's more myself than I am. Whatever our souls are made of, his and mine are the same, and Linton's is as different as a moonbeam from lightning, or frost from fire."

The quote above shows the relationship that Catherine and Heathcliff have compared to the relationship that Catherine and Linton have. Catherine and Heathcliff are more of a whole than Catherine and Linton. (1)

I’ve no more business to marry Edgar Linton than I have to be in heaven; and if the wicked man in there had not brought Heathcliff so low, I shouldn’t have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because he’s handsome, Nelly, but because he’s more myself than I am. (page 86)

In this quote, Catherine admits that she loves Heathcliff, but can't think of marrying him because he has been degraded by Hindley. Heathcliff hears this and he leaves Wuthering Heights not returning for 3 years.

My love for Linton is like the foliage in the woods; time will change it, I'm well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath--a source of little visible delight, but necessary. Nelly, I am Heathcliff! He's always, always in my mind--not as a pleasure, any more than I am always a pleasure to myself, but as my own being. (page 88)

The extent of love between Catherine and Heathcliff is shown here.

I'd as soon put that little canary into the park on a winter's day, as recommend you to bestow your heart on him!...He's not a rough diamond--a pearl-containing oyster of a rustic: he's a fierce, pitiless, wolfish man. (page 109)

Although, she loves Heathcliff, Catherine realizes the man he has become and strongly advises Isabella to not get involved with him. Isabella thinks she is only jealous and does not take her advise.
(2)

It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same, and [Edgar’s] is as different as a moonbeam from lightning, or frost from fire.

This is a quote from when Catherine is talking to Nelly about her reply to Edgar's proposal and is a turning point of the plot. It is overhearing this conversation that Heathcliff hears Catherine say that it would degrade her to marry Heathcliff and then he leaves. When it is said "he's more myself than i am" it shows how they are unified and are so alike.(3)

"Better to reign in Hell, then serve in Heaven."

This quote is from Paradise Lost, however Heathcliff says this explaining that he would rather be at Wuthering Heights, which is represented as hell, than be unwanted at Thrushcross Grange. Heathcliff makes this comment after the Lintons kick him out and take Catherine in. (4)

"This writing, however, was nothing but a name repeated in all kinds of characters, large and small—Catherine Earnshaw, here and there varied to Catherine Heathcliff, and then again to Catherine Linton. In vapid listlessness I leant my head against the window, and continued spelling over Catherine Earnshaw—Heathcliff—Linton, till my eyes closed; but they had not rested five minutes when a glare of white letters started from the dark, as vivid as spectres—the air swarmed with Catherines..."

This quote was the first introduction of the name of the character Catherine to the readers. It is the first time Lockwood is finding secrets about Wuthering Heights, and attempting to understand them. Later, we learn about the history of Catherine and why she is given two names. It is not sure whether this vision described by Lockwood is actually supposed to be a dream or not. First he sees her name, but then it becomes more clear when he actually sees her. This name haunts him as he reads it over, and sees Catherine. We will find out soon that her name haunts more than just Lockwood. (5)

...Catherine Earnshaw, may you not rest as long as I am living! You said I killed you--haunt me, then! The murdered do haunt their murderers. I believe--I know that ghosts have wandered on earth. Be with me always--take any form--drive me mad! only do not leave me in this abyss, where I cannot find you! Oh God! it is unutterable! I cannot live without my life! I cannot live without my soul! (page 176)

Heathcliff passionately pleads for Catherine not to leave him after she has died. (6)

"You teach me how cruel you've been - cruel and false. Why do you despise me? Why did you betray your own heart, Cathy? I have not one word of comfort. You deserve this. You have killed yourself. Yes, you may kiss me, and cry, and wring out my kisses and tears; they’ll blight you - they'll damn you. You loved me--then what right had you to leave me? What right--answer me--for the poor fancy you felt for Linton? Because misery, and degradation and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it. I have not broken your heart--you have broken it; and in breaking it, you have broken mine" (6)

This quote is made by Heathcliff. He is distraught and heartbroken over the death and rejection of Catherine. He feels guilty for his actions against her that may or may not have played a part in her death.

" . . . treachery and violence are spears pointed at both ends; they wound those who resort to them worse than their enemies." (7)

This quote discusses the use of "treachery and violence" in life, and how these negatives actions can affect those who are involved with them. The quote is saying that if you must resort to treachery and/or violence, they will only end up hurting you more than the person that you tried to use them against.

1. http://www.litquotes.com/quote_title_resp.php?TName=Wuthering%20Heights
2. http://www.novelguide.com/wutheringheights/toptenquotes.html\
3. http://www.sparknotes.com/lit/wuthering/quotes.html
4. http://www.litquotes.com/quote_topic_resp.php?QuoteType=Hell&Amazon=Hell
5. http://www.sparknotes.com/lit/wuthering/quotes.html
6.http://www.novelguide.com/wutheringheights/toptenquotes.html
7. http://www.litquotes.com/quote_title_resp.php?TName=Wuthering%20Heights&page=2

Macbeth Superstition

lollerbot_nick — Sun, 13 May 2007 21:44:16 CDT

It is common theater superstition that the play Macbeth brings bad luck to actors and productions. Even saying the name Macbeth can bring about this bad luck. It is believed that the bad luck comes from the many incantations and spells produced by the witches in the play. The oldest explanation as to the origins of this superstition dates back to 1606, when a man playing Lady Macbeth died in the play. Since then, there have been many accounts of bad luck associated with the play or the name Macbeth. (1)

(1)http://answers.google.com/answers/threadview?id=721201

Shakespeare

kreilly105 — Sun, 13 May 2007 19:33:33 CDT

William Shakespeare was born in the town of Stratford-on-Avon in England and was born on April 23, 1564. In the course of his life William Shakespeare wrote around 38 plays and numerous poems. He is one of the most influential literary talent of all time.
(1)

Shakespeare's sonnets are a collection of 154 poems that focus on love, beauty, and morality. All but two were originally published in 1609 in Shakespeare's Sonnets. Sonnet 138 and Sonnet 144 first appeared in 1599 in The Passionate Pilgrim. Shakespeare wrote his collection of sonnets over a period of several years, probably beginning in the 1590's. (2)

"The First Folio" was the first published collections of Shakespeare's work. It is titled "Mr. William Shakespeare's Comedies, Histories, and Tragedies." It contains thirty-six of his plays and on the front is a copper engraving of himself done by Martin Droeshout. This was put together by a pair of his fellow actors. They were John Hemminge and Henry Condell. (11)

william shakespeare was born 1564. He married in 1582 and two years later had a daughter, susanna. two years later he had twins, Judith and Hamnet. In 1587 he left Stratford and in 1592 he was established in london as an actor/ playwrighter. (3)

(This is a picture of the house that Shakespeare was born in, in the town of Stratford-on-Avon)(4)

(This is a picture of the Globe Theater where Shakespeare's plays were preformed)(5)

The members of the audience at one of Shakespeare's plays varied greatly by class. The poorer members of the audience would pay one English penny, in some cases an entire day's pay, to stand in front of the stage. If a spectator wished to sit it would cost him another penny and if he desired a cushion it would cost yet another penny. The richest patrons would sit in covered galleries and have the best view, but this seat could cost as much as half a crown. (10)

His plays varied greatly in theme and scope. The majority, by number, were comedic in nature; 17 of his works could be categorized this way. He also had 10 tradgedies and only 4 historical plays. He also published 5 major works of poetry in his lifetime. They were originally presented in twice-folded "quarto" booklets. (6)

In 1952, the Plague closed all theaters for about two years.
It was during this time that Shakespeare began to write
narrative poetry the length of books. The most popular,
dedicated to the Earl of Southampton, were "Venus and
Adonis" and "The Rape of Lucrece." Also during this time,
Shakespeare was writing sonnets. In 1954, the theaters
reopened, and he returne to play writing. He wrote no more
poetry. His sonnets were published without his consent. (7)

A potrait of William Shakespeare (8)

The following is a complete list of Shakespeare's poetry:
The Sonnets
A Lover's Complaint
The Rape of Lucrece
Venus and Adonis
Funeral Elegy by W.S. (12)

From Shakespeare's Sonnets and plays come famous lines such as shall i compare thee to a summers day... and others. (13)
at this website one will find all of the shakespearean sonnets http://absoluteshakespeare.com/sonnets/sonnets.htm

Facts about William Shakespeare
Shakespeare went to a grammar school in Stratford, Connectictut. THis is where is parents lived. He later studied Latin rhetoric, logic, and literature. Many people say Shakespeare's life can be divided into 3 stages-his first 20 years, the next 25, and the last 5 when he retired(9)

The term the Bard really means a poet. But William Shakespeare's nickname was "The Bard." It is common to hear someone called 'The Bard' they are talking about Shakespeare not some other poet.

Shakespeare retired from the theatre in late 1603. He died on April 23,1616 at the age of 52.(14)

When Shakespeare was 18, he got married to Anne Hathaway, who was 7-8 years older than him. (16)

Tragedies

The following is the list of the tragedies that William Shakespeare wrote in order of the year they were first performed.

Titus Andronicus
Romeo and Juliet
Hamlet
Julius Caesar
Othello
Anthony and Cleopatra
King Lear
Coriolanus
Timon of Athens
Macbeth (15)

Comedies

The following is a list of the comedies that Shakespeare wrote throughout his career.

All's Well That Ends Well
As You Like It
The Comedy of Errors
Cymbeline
Love's Labours Lost
Measure for Measure
The Merry Wives of Windsor
The Merchant of Venice
A Midsummer Night's Dream
Much Ado About Nothing
Pericles, Prince of Tyre
Taming of the Shrew
The Tempest
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
Winter's Tale (17)

Sonnet 18 Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed.
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.(18)
1.http://www.enotes.com/william-shakespeare/shakespeare-an-introduction
2.http://www.shakespeare-online.com/index.html
3. http://shakespeare.palomar.edu/timeline/summarychart.htm

http://images.google.com/imgres?imgurl=http://www.shakespearehelp.com/images/shakespeare/birthplace260.jpg&imgrefurl=http://www.shakespearehelp.com/bio.htm&h=167&w=257&sz=18&hl=en&start=75&tbnid=lPTtGg27OVZOAM:&tbnh=73&tbnw=112&prev=/images%3Fq%3Dshakespeare%2527s%2Bchildren%26start%3D60%26ndsp%3D20%26svnum%3D10%26hl%3Den%26client%3Dsafari%26rls%3Den%26sa%3DN

(5)www.davidclaudon.com/Elizabethan/globe3.jpg
(6)http://shakespeare.mit.edu/
(7) http://www.enotes.com/william-shakespeare/shakespeare-biography
(8) http://www.shakespeare-oxford.com/ashbou10.jpg

(9)http://www.enotes.com/william-shakespeare/shakespeare-biography
(10) http://shakespeare.about.com/cs/homeworkhelp/a/audience.htm
(11)http://www.william-shakespeare.info/william-shakespeare-first-folio.htm
(12) http://shakespeare.mit.edu/
(13) http://absoluteshakespeare.com/sonnets/sonnets.htm
(14)http://www.shakespeare-online.com/faq/lifefaq.html#nickname
(15) http://www.online-literature.com/shakespeare/
(16) http://students.roanoke.edu/t/tnunez/shakesdone.html
(17) http://shakespeare.mit.edu/
(18)http://www.love-poems.me.uk/shakespeare_sonnet_18_shall_i_compare_thee_to_a_summers_day.htm

Percy Bysshe Shelley

Becca — Sun, 13 May 2007 19:03:43 CDT

(1)

Percy Bysshe Shelley was born in Horsham, Sussex, England. He was the oldest son in a family of nine. His father died and his mother, Elizabeth Pilfold, remarried a country squire named Timothy Shelley. He had went to the Sion House Academy and then to Eton College. In these six years, he began to write gothic works such as Zastrozzi and The Necessity of Atheism. He was expelled from Oxford to expressing himself as an atheist. (2)

After being expelled from Oxford, Shelley eloped with a young Harriet Westbrook. The couple spent two years spreading the word of atheism and the political injusices. During that time he wrote a poem titled "Queen Mab," which was known later as the "Chartist's Bible." It discussed topics such as free love, atheism, Christianity, and vegetarianism. (3)

Sources:

(1) http://www.berkshirehistory.com/bios/images/pbshelley.jpg
(2) http://www.online-literature.com/shelley_percy/
(3)http://www.kirjasto.sci.fi/pshelley.htm

Modern Day Shakespeare

NutMeg — Sun, 13 May 2007 12:54:14 CDT

Romeo And Juliet
1996 Movie - Romeo And Juliet as depicted in 1996 by director Baz Luhrmann mixes the setting of a modern day town, Verona, CA, with the original dialogue of Shakespeare's Romeo and Juliet play. Leonardo DiCaprio plays Romeo. The film was nominated for an Oscar and won 13 other awards. Perhaps the most intriguing part is when people with guns claim to have swords.(1)

(2)It is a movie poster for the modern depiction of Romeo and Juliet. The movies dialogue is from the play but it has a modern twist such as pistols(as seen in the top right) and cars instead of swords and horses.

Shes the man is a movie starring amanda bynes that is based off of shakespeare twelfth night, i takes plac in modern day high school and is a comedy. In the movie amanda bynes character, viola is told that she cannot play on the boys soccer team after the girls team is cut. so she takes her brothers place, poses as a boy and joins his schools team. (1)

(1) http://www.imdb.com/title/tt0117509/
(2)poster

Romantics

Kristen — Sat, 12 May 2007 22:40:47 CDT

Romanticism
The Romantic Age started in the 1770's during the revolutionary age. With such the American and French Revolutions. It was at that time that English and German writers began to use that Romantic style. It was writors like Wordsworth, Coleridge, Burns and Goethe that started this new style. What they wrote about influenced how people thought about themselves and the world around them. (2)

Robert Burns
Burns was born in Alloway, Ayrshire in 1759 to William Burness, a poor farmer. He was the oldest of seven children and spent his childhood working on the farm. Despite his poverty, he was well educated because his father wanted better things for him than what they had now. At 15 Burns wrote his first verse "My Handsome Nell" which was an ode to the other subjects that dominated his life, scotch and women. At the end of his life, Burs devoted his time to penning great poetic masterpieces such as "The Lea Rig", "Tam O'Shanter", and a "Red, Red Rose". He died at the age of 37 of heart disease caused by the hard labor he undertook working on the farm as a child.

A list of Burn's works:
Tam O'Shanter
Holy Willie's Prayer
Address to a Haggis
Auld Lang Syne
A Man's A Man for a' That
My Luve is Like a Red, Red Rose
The Cotter's Saturday Night
Address to the Unco Guid
To A Mouse
Epistle to a Young Friend
(1)

(7) A portrait of Robert Burns

William Wordsworth
Wordswoth is considered to have written the most poems out of all the enlgish romantics. The Prelude is considered his best work and lived to be 80 years old.(3)

William Wordsworth was born on April 17, 1770, in Cockermouth, Cumberland in the Lake District. The magnificent landscape deeply affected his imagination and gave him a love of nature. He lost his mother when he was eight and lost his father five years later. His debut as a writer was in 1787 when he published a sonnet in The European Magazine. In the same year he entered St. John's College where he got his B.A. He was part of the English Romantic Movement. His first masterwork, Lyrical Ballads, was a collaboration with Samuel Taylor Coleridge and it opened with "Ancient Mariner". He died on April 23, 1850. (4)

William Wordsworth (5)

Lord Byron
Lord Byron (George Gordon) lived from 1788-1824. He had a difficult childhood, dealing with a clubbed foot. It is said that he was seduced by both and alcoholic governess and a lord of a manor at a young age, which may account for his womanizing and affairs with boys, as well as incest with his half-sister. He eventually left England with a traveling physician who lost three patients and killed himself. Byron got a fever while attempting to fight for Greece and died. His heart has taken to Athens, his body to England, and other organs and bones were taken as souvenirs. (6)

Lord Byron (8)

Sources
(1) http://www.rabbie-burns.com/the_man/index.cfm.html
(2)http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
(3)http://en.wikipedia.org/wiki/William_Wordsworth
(4)http://www.online-literature.com/wordsworth/
(5)http://www.englit.ed.ac.uk/studying/undergrd/english_lit_2/Handouts/tm_coleridge.htm
(6)http://www.kirjasto.sci.fi/byron.htm
(7)http://www.whiskyclassified.com/RobertBurns.jpg
(8)englishhistory.net/byron/moorebyron.html

Thomas Hobbes

BDavis — Sat, 12 May 2007 12:59:03 CDT

(1)

Thomas Hobbes lived from 1588 to 1679. He was always involved in political and religious controversies. Elements of Law, Natural and Politic, was Hobbes' first statement of political philosophy. Written in 1640, it is based mainly on the idea of natural law that had been the main traditional belief from Aquinas to Grotius. However, his views on such topics began to change. This became evident when he reissused parts of his work in Latin. This version is known as De Cive. (2)

"The universe is corporeal; all that is real is material, and what is not material is not real." --The Leviathan
Cover of The Leviathan (3)

1.http://www.ps.ritsumei.ac.jp/shige/cgi-bin/index/hobbes_search.cgi
2. http://www.philosophypages.com/ph/hobb.htm
3. http://www.lib.udel.edu/ud/spec/images/udla/hobes2.jpg

Anglo-Saxon Music

NYYY1927 — Fri, 11 May 2007 12:40:41 CDT

Here is an Anglo-Saxon piece of music entitled Dance of the faerie king Joker composed by Gregor ROZMAN. It is a dancing song for the "'jiggle dance' of the middle-aged castles of Anglo-Saxon counties; also a dance song for the legendary male faerie creatures" [1]

Categories of Music

The three types of music that were used in society were "musica mundana, the philosophical and astrological celestial music, musica humana, the music of human bodies and emotions, and musica instrumentalis, musical sounds created with instruments." Instruments were usually only used during celebrations and most of the music derived from the era was vocal [2]

Musical Instruments

Stringed Instruments such as the lyre were most popular in Anglo-Saxon times. They were six stringed and made of wood with gut or horse hair strings. Other stringed instruments include the harp and Rebec, a violin like instrument.

A wind instrument found on many archaeological digs is the bone whistle. It is always blown in from the end, but the number of finger holes varies (from none to six). Another wind instrument is the blasting horn or trumpet which was not only used for music but also when hunting and on the battlefield.

For percussion there was a form of drum known as the hylsung, but no drums have ever been found so it is not certain what they looked like or how the were played. Bells were suspended on a string and hit with a wooden hammer. Also, clapping was used for percussion.

How it Sounded
Musical notation was different modern notation. Many songs were hymns and religiously based, offering gentle tunes to convey the mood of theh message they were trying to send. Many songs were performed according to their subject, such as a war song being sung in a marching fashion. The Anglo-Saxon lifestyle was filled with music that was key to their livelihood. (9)

[3]

This is a picture of an Anglo-Saxon harp. (8)

Anglo Saxon Music History
Much of the music performed in the Anglo-Saxon times was not written down. The songs that were written down are not decipherable today. The few songs that are decipherable are Latin liturgical text this is plainchant ( plainsong) which means "monophonic music consisting of a single unision melodic line without harmony and usually sung without an instrument".(4)

The Anglo-Saxons wrote their music mainly for the use of religion. It was looked down upon to write in a secular way and was many times thought to be demonic. When there was an eclipse or a different great influence to weather, they were not allowed to play wind instruments because they felt that the instrument may be influencing the weather. This was known as Indiculus Superstitionum. (6)

Anglo-Saxon "Modes"
Though no written music was left behind, we do know how the Anglo-Saxons approached music. They did not have keys as we have today, but "modes" which were a combination of tones and semitones. For example, Ionian was a certain tone, and along with Aeolian, Dorian, and Mixolydian, it was the most commonly used. Ionion is also basically the same as our major scale is today. Likewise, Aeolian is similar to the minor scale. For some reason, Lochrian was considered to be an evil tone and it was not used in Anglo-Saxon music. [5]

Demonic Meanings
In the Anglo-Saxon times, many clergy members felt that musical acts were the "persuasive powers of demonic origin" Instruments like wind instruments were forbid from being used to "influence the weather" or " passing of an eclipse". Anglo-Saxons who took part in this were punished. Music was "favorbly" played only for religious reasons. [7]

Music and Poetry
To this day poetry and music combined continues to be a speculation of Anglo-Saxon times. Some evidence exists of poets reciting their poetry with a musical instrument playing low as background music. There is also speculation that poets would sing thier own poetry. To this day it is a mystery if poets were singing or if poetry and music were at all used together to express feelings. Many people feel that only recently in modern times has music and poetry been separated.(9)

Storytelling in Music

It was customary at large gatherings for an individual to sing a song that would convey a story that ranged from religion to heroes such as Beowulf or the Norsemen. People who made this into a profession were called scops and traveled from village to village, telling stories in exchange for food and other items.(8)
A verse of Beowulf:
'... now and then the poet raised his voice, resonant in Heorot... Then Hrothgar, leader in battle, was entertained with music - harp and voice in harmony. The strings were plucked, many a song rehearsed, when it was the turn of Hrothgar's poet to please men at the mead bench, perform in the hall... Thus was the lay sung, the song of the poet. The hall echoed with joy, waves of noise broke out along the benches...'[9]

The Vikings had their own professional version of storytellers, called Skalds. They were usually simple verses that were famous for alliteration and the implication of kennings, a trademark of anglosaxon times. Many of which were called 'Sagas' which told of the exploits of heroes, and others were of simple folk. But an often common attribute to them all was to point out something in society, either as a moral to its story or as satire. (8)

Singing was popular even among the non-professionals and would be done after a large feast as a form of celebration. A harp was passed around an assembly so that every person could recite a portion of a song that told a story. In this way Anglo-Saxons had to learn the histories and tales that were important to them. (8)

Sources
[1] http://www.geocities.com/vienna/strasse/4660/Ambrosia.htm
[2] http://www.chass.utoronto.ca/~cpercy/courses/1001Lovett.htm
[3] http://www.regia.org/music.htm
[4]http://www.litencyc.com/php/stopics.php?rec=true&UID=1267
[5] http://mailgate.harriman4.net/~janellen/Musicpage.html
[6] http://www.chass.utoronto.ca/~cpercy/courses/1001Lovett.htm
[7]http://www.chass.utoronto.ca/~cpercy/courses/1001Lovett.htm
[8] http://etc.usf.edu/clipart/6100/6112/anglosaxon_harp_1.htm
[9]http://www.chass.utoronto.ca/%7Ecpercy/courses/1001Lovett.htm
(8) http://www.regia.org/music.htm
(9) http://www.regia.org/music.htm(

Paintings and Engravings

alexa_m — Thu, 10 May 2007 20:03:31 CDT

Some of Blake's creepy artwork:
(rollover for artwork's name)

The Last Judgement (2) Good and Evil Angels(2)

Newton (2) Queen Katherine's Dream (2)

(1) http://www.ibiblio.org/wm/paint/auth/blake/
(2) http://www.gailgastfield.com/blake3.html

William Wordsworth

lollerbot_nick — Mon, 07 May 2007 12:38:14 CDT

William Wordsworth. April 7, 1770-April 23, 1850 (2)

William Wordsworth was born on April 17, 1770. He lost his mother when he was eight and his father when he was 13. He had developed a very close relationship with his sister, Dorothy, from whom he was separated after the death of his father. He went on to live with his two uncles, who sent him to Cambridge University. In 1787, a sonnet of his was published in The European Magazine, making himself known as a writer. (1.)

Wordworth's works centered on several major themes. One theme was nature, and man's relationship with nature. Some poems relating to nature include:

'Ode: Intimations of Immortality'

'Tintern Abbey'

The Prelude

Another major theme that Wordsworth focused on was revolution, in particular the French revolution and society. Poems that focus on these themes include: The Prelude (Book 6, Books 9-12)

Lyrical Ballads
Preface to Lyrical Ballads
'The Ruined Cottage'
'Michael'
'Resolution and Independence'

A thrid major theme of wordwsoworth was his relationships with other people. These works include:

'Home at Grasmere'
'She was a Phantom of delight' (written for his wife Mary)
'The Sparrow's Nest' (3)

In Wordsworth's poem London, 1802 the first line mentions Milton, a reference to John Milton. Milton was a famous English poet who lived from 1608-1674. His most famous work, Paradise Lost, is an epic poem that inspired many different literary movements, including the romantics.(4)
Wordsworth defined poetry as "the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquility." By this, wordsworth meant that when he can step back from the world and recede into tranquility, he has the power to bring his emotion into perspective and put it into poetry. This similar view was shared by many of the romantics, and can help explain their love and attachment to nature. (5)

References (1.) http://www.online-literature.com/wordsworth/

(2) http://www.nndb.com/people/855/000024783/
(3)http://www.wordsworth.org.uk/Default.asp?page=111
(4)http://www.luminarium.org/sevenlit/milton/
(5) http://www.authorsontheweb.com/features/0204-poet/poet-q9.asp

French Revolution and Romanticism

Clarkus — Mon, 07 May 2007 03:51:32 CDT

(2) Drawing of King Louis XVI being executed after he was dethroned by the revolution.

The French Revolution

In 1789, the meeting of the States General started a revolt by the peasants and middle class against the Monarchy of France. The Bastille was taken by revolutionaries in July of that year, and by October King Louis XVI and and his family were removed from Versailles to Paris. The King was brought to trial and executed by guillotine and following his death began a reign of terror. During this time, the ruling faction killed all potential threats. French rule shifted from a Legislative Assembly, to the National Convention, to the Directory, and finally to Consulate before Napoleon Buonaparte became Emperor in 1804.(1)

The Revolution is considered by some to have ushered in a culture of genocide for the 20th century that was then copied by many other governments. The Revolution itself, however, pales in comparison to the scale of the genocides it may have influenced. (3)

1)http://www.victorianweb.org/history/hist7.html
(2)Execution picture
(3)http://econ161.berkeley.edu/TCEH/Slouch_power4.html

Research Papers

colonelsanders — Sun, 06 May 2007 21:53:23 CDT

The Difference Between Analytical Research Papers and Argumentative Research Papers

One of the earliest and most important steps in the process of writing a research paper is determing whether it is intended to be an analytical paper or an argumentative paper.
Analytical papers do not begin with a thesis, but with a reserch question, such as asking what the purpose of something is. These papers must begin without an opinion, as they are meant to research all aspects of a topic and to form an opinion based on the research. The body of the paper should be exploring the topic with primary sources like facts and statistics and secondary sources like the opinions of experts. It is in the conclusion of analytical papers, after all of the research has been stated, that a logical conclusion that ties everything together and answers or explains the research question is drawn.
Argumentative papers do not begin with research questions but with theses. While an analytical paper explores unresolved topics, argumentative papers take a stand on an issue and attempt to defend it. Papers like this would begin with the writer's opinion on a debatable or controversial matter. The body of fthe paper will explain why the writer believes what he does, and, if the goal is attained, convince the reader that the writer's opinion is true. (1)

Here is a map of the process of writing a research paper. Everything leads into the other processes. (2)

Thesis Statement Tips
-Don't make it very complex, and try to keep it simple. The bigger the subject, the harder it will be to work with.
-Help yourself by making your statement as narrow and specific as you can get it. If your topic's broad, your paper will wonder and won't be as convincing.
-Research ideads before committing to it as a thesis statement. Assuming an idea will work as expected could be risky if it becomes complicated as you do research.
-Make sure the statement is solid, and is interesting enough to draw a reader into it.
-Revise it as many times as necessary.

How to write a research paper:
1. pick a topic
2. research and find information
3. come up with a thesis
4. make an outline
5. organize notes and facts
6. first draft
7. make corrections to first draft
8. second and final paper

Example of a tentative outline:

I. INTRODUCTION - (Brief comment leading into subject matter -
Thesis statement on Shakespeare)
II. BODY - Shakespeare's Early Life, Marriage, Works, Later Years
A. Early life in Stratford
1. Shakespeare's family
a. Shakespeare's father
b. Shakespeare's mother
2. Shakespeare's marriage
a. Life of Anne Hathaway
b. Reference in Shakespeare's Poems
B. Shakespeare's works
1. Plays
a. Tragedies
i. Hamlet
ii. Romeo and Juliet
b. Comedies
i. The Tempest
ii. Much Ado About Nothing
c. Histories
i. King John
ii. Richard III
iii. Henry VIII
2. Sonnets
3. Other poems
C. Shakespeare's Later Years
1. Last two plays
2. Retired to Stratford
a. Death
b. Burial
i. Epitaph on his tombstone
III. CONCLUSION
A. Analytical summary
1. Shakespeare's early life
2. Shakespeare's works
3. Shakespeare's later years
B. Thesis reworded
C. Concluding statement
(4)

An important thing to keep in mind when writing a research paper is the audience. Many people write their paper with the wrong audience in mind. A common misconception is that the professor alone is the audience. Another misconception is that society in general is the audience. It is important to take into consideration the actual audience, or the person who is going to be reading the paper, but it should be written based on the intended audience. (5)

Tips for writer's block and procrastination
If you're having trouble figuring out the best way to write what you mean to, try talking out loud about the topic as if you were giving a speech about it. It may give you an idea to spark the rest of your essay. If your problem is more so procrastination and daydreaming than actual writer's block, try setting a time limit for yourself in which to write the paper, or else set deadlines for yourself for when each paragraph is due. By breaking up the work, it will be less all at once and you won't be staring at a blank screen at midnight the night before it's due. (6)

Getting Started

1. Understand the assignment
2. Consider the process you'll use
3. Set deadlines for each step of the assignment
4. Think about possible topics
5. Search for information
6. Relate topic to your own experience
7. Write down questions and ideas for possible topics (7)

References
(1) http://owl.english.purdue.edu/workshops/hypertext/ResearchW/types.html
(2) http://www.csuohio.edu/writingcenter/writproc.html
(3) http://www.academictips.org/acad/atipsforwritingresearchpaper.html
(4) http://www.aresearchguide.com/1steps.html
(5) http://owl.english.purdue.edu/workshops/hypertext/ResearchW/audience.html
(6) http://owl.english.purdue.edu/workshops/hypertext/ResearchW/procrast.html
(7) http://www.ipl.org/div/aplus/step1.htm

George Gordon Byron

ChrisO'Mullane — Sun, 06 May 2007 21:03:35 CDT

(2)

Life

Lord Byron was the son of captain John Byron and Catherine Gordon. He was born with a club foot and spend his childhood poor. In 1798, Byron inherited a title and wealth from his great-uncle. He then attended Dulwich, Harrow, and Cambridge University. In 1807, he published Hours of Idleness, his first collection of poetry. He married Isabella Milbanke in 1815, but soon separated from her and moved to Geneva with his friend and fellow poet Percy Shelley. After many travels and adventure throughout his life, Byron decided to go to Greece and help the Greeks overthrow the Ottomans who ruled them. Before he saw any military action, however, he died from a fever on April 19, 1824. (1)

A poem by George Gordon Byron

For Music

THERE be none of Beauty's daughters
With a magic like thee;
And like music on the waters
Is thy sweet voice to me:
When, as if its sound were causing
The charmed ocean's pausing,
The waves lie still and gleaming,
And the lull'd winds seem dreaming:

And the midnight moon is weaving
Her bright chain o'er the deep;
Whose breast is gently heaving,
As an infant's asleep:
So the spirit bows before thee,
To listen and adore thee;
With a full but soft emotion,
Like the swell of Summer's ocean.(3)

A Spirit Passed Befor Me
A spirit passed before me: I beheld
The face of immortality unveiled -
Deep sleep came down on every eye save mine -
And there it stood, -all formless -but divine:
Along my bones the creeping flesh did quake;
And as my damp hair stiffened, thus it spake:

"Is man more just than God? Is man more pure
Than He who deems even Seraphs insecure?
Creatures of clay -vain dwellers in the dust!
The moth survives you, and are ye more just?
Things of a day! you wither ere the night,
Heedless and blind to Wisdom's wasted light!"(5)

This is a picture of the house Byron rented in the summer of 1816, located in Cologny, named the Villa Diodati. (4)

1)http://www.online-literature.com/byron/
2)http://www.gac.culture.gov.uk/search/object.asp?object_key=24070
3)http://www.poemhunter.com/poem/for-music/
4)http://www.english.upenn.edu/Projects/knarf/Gifs/diodati.html
5)http://www.online-literature.com/byron/697/

Wuthering Heights

NutMeg — Sun, 06 May 2007 14:08:08 CDT

Published in 1847, it is the only novel written by Emily Bronte. It is based upon the love between Catherine and Heathcliff and how it destorys them both in the end. The story is narrated by a character, Lockwood. (1) Catherine and her brother Hindley are the sons of a rich man, Mr. Earnshaw. When the two are young children, mr. earnshaw goes on a business trip. He promises to bring the two kids a gift. Instead, he picks up a young orphan gypsy. This orphan is Heathcliff. At first, both children despise the boy. However, Catherine soon becomes friendly with him. Hindley always despises him. When Mr. Earnshaw dies, hindley takes over the household. He attempts to destry any relationship betwen heathcliff and catherine.

Emily Bronte although se only published one novel, was considered the greatest writer of the three sisters: Charlotte Emily and Anne. Todgether they also published another book called Poems by Currer, Ellis and Acton Bell, as the title implys it was a book of poems. ONly 2 copies of the book were ever sold. (15)

Wuthering Heights (10)

The story takes place in two time periods simultaneously. The narrator, Lockwood, is set in a time somewhere between 1801 and 1802, ending in September 1802. The story he tells begins in the summer of 1771. (6)

In 1939 a movie version of Wuthering Heights came out starring Merle Oberon as Cathy, Laurence Olivier as Heathcliff, and David Niven as Edgar Linton. Directed by William Wyler its tangline is, "A story of vengeful thwarted love."(2)

Directed by
William Wyler

Writing credits
Emily Brontë (novel)
Charles MacArthur ...
(more)

Cathy: You could come back to me rich and take me away. Why aren't you my prince like we said long ago? Why can't you rescue me Heathcliff?
Heathcliff: Cathy, come with me now.
Cathy: Where?
Heathcliff: Anywhere.
Cathy: And live in haystacks and steal our food from the marketplaces? No Heathcliff, that's not what I want.
Heathcliff: You just want to send me off. That won't do. I've stayed here and been beaten like a dog, abused and cursed and driven mad, but I stayed just to be near you, even as a dog. And I'll stay 'til the end. I'll live and I'll die under this rock. (2)
the above is aquote from the movie that encompasses the overall plot of the story.

(3)

The cover of the 1992 remake of Wuthering Heights. (12)

The 1992 remake of the 1939 movie version of Wuthering Heights was directed by Peter Kosminsky. It starred Juliette Binoche as Cathy, Ralph Fiennes as Heathcliff, and Simon Shepherd as Edgar. The tagline was "A Passion. An obsession. A love that destroyed everyone it touched." (7)

Picture of Emily bronte (4)

When Wuthering Heights first came out, early critics did not approve of it. They thought it to be too passionate, and unnecessary. Two years after the author died, in 1850, a second version came out. Her sister Charlotte prefaced this newer version and it achieved much more success than the first version. The novel has continued to grow in popularity ever since. (5)

in 1970 an episode of monty python's flying circus was an adaptation of wuthering heights(9)
(8)

Wuthering Heights was first published under Emily’s pseudonym Ellis Bell but was later changed to Emily Bronte.(11)

(13)

Movie Poster

(14)

http://www.online-literature.com/bronte/
Source:
(1)http://en.wikipedia.org/wiki/Wuthering_Heights
(2) http://www.imdb.com/title/tt0032145/
(3) http://www.imdb.com/title/tt0032145/
(4)
(5) http://www.answers.com/topic/wuthering-heights-3#Themes
(6)http://www.usfca.edu/~southerr/wuthering.html
(7)http://www.imdb.com/title/tt0104181/
(8) http://www.newi.ac.uk/englishresources/workunits/alevel/novel/wuthites/familytree.pdf
(9) monty python's flying circus season 2 episode 15
(10)http://sfsubookstore.com/catalog/popup_image.php/pID/473000?osCsid=548f8ca11daff4b1
(11) http://www.online-literature.com/bronte/
(12) http://images.barnesandnoble.com/images/7090000/7099545.jpg
(13) http://www.uni-duisburg.de/Fak2/duet/Bild09aa.jpg
(14) http://www.filmsite.org/posters/wuth2.gif
(15)http://www.classicreader.com/author.php/aut.13/