is warrant for repeating the last words of a preceding line. E.g. in CXLII. 1, 2: in xc. 1, 2: 'Love is my sin, and thy dear virtue hate, "Then hate me when thou wilt; if ever, now; In Venus and Adonis, 963-4:— 'Both crystals, where they view'd each other's sorrow, Sorrow that friendly sighs sought still to dry. . . ?' So, too, for the parenthetical development in the second line of a term used in the first, e.g. cxI. :— and cxv. : 'O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, "Those lines that I before have writ do lie, Even those that said I could not love you dearer.' Many other emendations have been suggested :--Fool'd by those rebel, Malone. Starv'd by the rebel, Steevens. Fool'd by these rebel, Dyce. Thrall to these rebel, Anon. Press'd by, Dowden. Foil'd by, Palgrave. Hemm'd with, Furnivall. My sense these rebel, Bullock. Slave of these, Cartwright. Leagu'd with these rebel, A. E. Bræ, adopted by Dr. Ingleby in the Soul arayed,' p. 15. Why Feed'st, Tyler. 666 array :—““ Array" here does not only mean dress. I think it also signifies that in the flesh these rebel powers set their battle in array against the soul.'-MASSEY. Dowden adds, "There is no doubt the word "aray" or "array" was used in this sense by Elizabethan writers, and Shakspere, in The Taming of the Shrew, III. ii. and rv. i., uses "raied," though nowhere "aray," except perhaps here in this or a kindred sense.' There may well, as so often in the Sonnets, be double meaning in the word. Array = (1) beleaguer, afflict = (2) adorn. Dowden also cites Lucrece, 11. 722-728, and notes the close juxtaposition of siege and livery in Sonnet II. An association of the ideas of a 'siege' and of 'outward embellishment' does, certainly, seem suggested. And the next two lines: 'Why dost thou pine within and suffer dearth, recall Macbeth : 'Hang out our banners on the outward walls.' 8. . . . charge? . . . end? Q.: a good example of careful punctuation in Q. 10. aggravate = increase, pile up; thy Q., my Lintott. 'Malone says that the original copy and all the subsequent impressions read "my" instead of "thy." The copies of the 1609 Edition in the Bodleian-one of which belonged to Malone himself-in the Bridgewater Library, and in the Capell Collection, as well as Steevens' reprint, have "thy."'-Cambridge, Note x. 13, 14. . . . Death . . . Death, death. . . death Q. CXLVII. I retain the capitals of Q. See Note V. on the Typography of the Quarto 1609, and Note III. on Lucrece. 7, 8. and 1 desperate now approve Desire is death, which Physic did except. Q. has a comma after approve,' but this raises no grammatical presumption. (See Note V. on the Typography of the Quarto 1609.) The sense is: I, being in despair, now recognise that desire to be fatal which took exception to the teaching of Physic.' 9. Past cure 1 am, now Reason is past care:-'So in Love's Labour's Lost, v. ii. 28: "Great reason; for past cure is still past care." It was a proverbial saying'-like 'Fast bind, fast find; A proverb never stale in thrifty mind' (Merchant of Venice, II. v. 54).—See Holland's Leaguer, a pamphlet published in 1632: "She has got this adage in her mouth; Things past cure, past care.' ---MALONE. CXLVIII. 1. O me! Q. has the note of exclamation. Love, love Q. 8, 9. Love's eye is not so true as all men's: no, How can it? O, how can Love's eye be true. This exquisite piece of punctuation in Q. (see Note V. on Typography of the Quarto 1609) has been frequently destroyed by emendation : all men's: no. S. Walker conj., all men's 'No,' Editors Globe ed. (Lettsom conj.), taking eye as a pun on 'Ay.' Any change in the Q. punctuation destroys the rhetorical force of the two heavy stresses, the second heavier than the first, on ‘. . . can . . . can' in 1. 9. ... CXLIX. 2. partake, pertake Q. :— I.e. take part with thee against myself.'-STEEVENS. A partaker was in Shakespeare's time the term for an associate or confederate in any business.'-MALONE. Dowden cites 'your partaker, Pole,' i.e. partisan, 1 Henry VI., II. iv. 100. The Guide into Tongues (1617), gives :- Partaker, vide Partner.' 3, 4. when I forgot Am of myself, all tyrant for thy sake? I retain the punctuation of Q. Malone put all tyrant, for thy sake? That is, for the sake of thee, thou tyrant.' Dowden also refers all tyrant, as an apostrophe, to the Dark Lady. But the Q. reading is, almost certainly, correct; and the plain sense is :-'I forget myself, a tyrant to myself for your sake.' 10. That is so proud thy service to despise :-That is, what merit of mine is so proud as to despise the state of slavery to you. 13, 14. A conceit on the Poet's blindness, due to his love, which furnished matter for a conceit in the couplet to the preceding sonnet. The next number continues to work on the same theme, proving that the three numbers were written at one time. CL. Cf. 1. 2 with ll. 11 and 12 of CXLIX., 1. 3 with Il. 1 and 2 of CXLVIII. CLI. A piece of amatorious argument: the reference to 'conscience" in ll. 1, 2, 13 suggests that it was written in reply to an appeal, probably playful, addressed to the Poet's conscience. That appeal, if made, and whether playful or serious, was in any case not seriously entertained. 6. gross, grose Q. 10. prize: proud, prize, proud Q. CLII. In loving thee thou know'st I am forsworn, etc. :—A similar piece of playful debate. L. 11, And, to enlighten thee, gave eyes to blindness, connects this Sonnet closely with CXLVII., CXLVIII., CXLIX., CL., in which continuous discourse is resumed between the Poet and his mistress after the break, indicated by CXLIV., where the Poet comments, in suspense, on the infidelity of his mistress with his Friend; CXLV., in octosyllabic verse, and CXLVI., with its grave appeal to his soul. Before the break, the Poet doubts whether his Mistress have not altogether abandoned him; after the break, it is clear that she has again taken him into her favour: CXLIX. 'Canst thou, O Cruel! say I love thee not'; CLI. 'Then, gentle cheater, urge not my amiss'; and here, l. 2, 'But thou art twice forsworn, to me love swearing.' This reference to a double infidelity-1. 3, 'In act thy bed-vow broke and new faith torn,' and 1. 5, 'But why of two oaths' breach do I accuse thee-shows that the Dark Lady, who had broken her bedvow, soon also broke off her 'new faith' with the Friend. The numbers of the Second Series were written at the same time as Group C. (XXXIII.-XLII.), and on the same theme. That Group is but episodical in the First Series: and if, as I have suggested (Note on cxx. 9)—'O that our night of woe might have remembred,' i.e. reminded 'my deepest sense, how hard true sorrow hits,' refers back to some one occasion of sorrow on which the Friend soon. . . tendered the humble salve,' then it seems probable, from the tenor of the two main discourses of the Second Series, that the Friend, after an explanation from the Poet, so acted as to lead the Dark Lady to break off her 'new faith' and to enter on a reintegratio amoris with the customary argument that it was her lover, and not she, who had been remiss in love: : 'Canst thou, O Cruel, say I love thee not?' The Second Series ends with this Sonnet, for the next two are but exercises on a Renaissance convention. It is important, let me repeat, to remember that the numbers of this Series rank chronologically with the numbers xXXXIII.-XLII., and that, like them, they are early as well as episodical, and in the main playful, with but little, by comparison to the later groups, of grave speculation and ethereal beauty. The Poet's love for the Dark Lady may have been well over some three years before he took up his pen to write a 'Satire to Decay' (c.-cxxv.). 11. And, to enlighten thee, gave eyes to blindness:-That is, to shed a more favourable light on thee, I shut my eyes. 13. perjured I, periured eye Q. This may be correct, with a play on the two words '. . . I . . . eye,' since it follows on 1. 12 'made them (=eyes) swear against the thing they see.' CLIII. This and the following sonnet are composed of the very same thoughts differently versified. They seem to have been early essays of the poet, who perhaps had not determined which he should prefer.' -MALONE. Dowden and Tyler note that Herr Hertzberg (Jahrbuch der Deutschen Shakespeare-Gesellschaft, 1878, pp. 158-162) has tracked the conceit developed in these two sonnets to a poem in the Anthology by Marianus, written, as he thinks likely, in the fifth century after Christ. The Epigram is Ix. 627 of the Palatine Anthology' (Tyler). 6. Dateless = eternal. Cf. xxx. 6, 'death's dateless night.' 11. bath-Query, whether we should read Bath (i.e. the city of that name). The following words seem to authorize it.'-STEEVENS. 14. eyes, eye Q. This line offers an example of the use of stops in Q. to indicate the duration of a rhythmical pause :— 'Where Cupid got new fire; my mistres eye.' CLIV. I retain the capitals of Q. (see Note V. on Typography of the Quarto 1609), except for legions (Legions Q.), and well (Well Q.). A LOVER'S COMPLAINT I. The Text. The text, as in the case of the Sonnets, has been founded on the facsimile by Charles Praetorius, from the Museum copy of the First Quarto, 1609, and the same rules have been observed in editing it. II. Notes on the Text. 7. Storming her world with sorrow's wind and rain :-Her world = herself, as a microcosm. Cf. King Lear, 11. i. 11: 'Strives in his little world of man to out-scorn The to-and-fro-conflicting wind and rain.' Sorrowes, wind and raine in Q. 14. lattice, lettice Q. Cf. Sonnet . 11, 12: 'So thou through windows of thine age shalt see 15. napkin, Napkin Q. 18. That season'd woe had pelleted in tears :-' Pellet was the ancient culinary term for a forced meat ball, a well-known seasoning.'— STEEVENS. = 22. Sometimes her levell'd eyes their carriage ride; levelled aimed, as guns on their carriages. Cf. the Note on Sonnet cxvii. 11. 28. commix'd, commxit Q. 31. sheav'd, sheu'd Q. 36. maunda hand-basket. The Guide into Tongues gives :—' a maunde or great basket, a Lat. manus, a hand, quod manu gestari soleat.' Cf. Bishop Hall's Virgidemiarum, lib. v.:— 'Or many maunds-full of his mellow fruite': and Dekker, Jests to Make You Merry : and Herrick : 'In her maund, a basket, which She bears upon her arm': : "There, filling maunds with cowslips, you |