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When thou is the grammatical subject of a finite verb in the indicative mood, the verb form typically ends in -(e)st (e.g. "thou goest", "thou do(e)st"), but in some cases just -t (e.g., "thou art"; "thou shalt"). Originally, thou was simply the singular counterpart to the plural pronoun ye, derived from an ancient Indo-European root.
Sonnet 18 (also known as "Shall I compare thee to a summer's day") is one of the best-known of the 154 sonnets written by English poet and playwright William Shakespeare.. In the sonnet, the speaker asks whether he should compare the Fair Youth to a summer's day, but notes that he has qualities that surpass a summer's day, which is one of the themes of the poem.
Sonnet 3 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is often referred to as a procreation sonnet that falls within the Fair Youth sequence. In the sonnet , the speaker is urging the man being addressed to preserve something of himself and something of the image he sees in the mirror by fathering a ...
Sonnet 9 is one of 154 sonnets written by the English playwright and poet William Shakespeare.It is a procreation sonnet within the Fair Youth sequence.. Because Sonnet 10 pursues and amplifies the theme of "hatred against the world" which appears rather suddenly in the final couplet of this sonnet, one may well say that Sonnet 9 and Sonnet 10 form a diptych, even though the form of linkage is ...
Sonnet 100 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. Structure
Sonnet 20 is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare.Part of the Fair Youth sequence (which comprises sonnets 1-126), the subject of the sonnet is widely interpreted as being male, thereby raising questions about the sexuality of its author.
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-liv’d phœnix 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;
In sonnet 76 the poet fears his writing may be old-fashioned; in sonnet 77 he demonstrates both the problem and his fears by having sonnet 77 take the form of the much maligned rhetorical device correlatio, which was perhaps over-used by Philip Sidney in the 1590s, then later in that decade mocked by Sir John Davies in his Gullinge Sonnets.