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Home :: Archive :: 2004 :: August ::
Sonnet 89
The Shakespeare Conference: SHK 15.1537  Monday, 16 August 2004

[1]     From:   D Bloom <
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        Date:   Friday, 13 Aug 2004 08:59:50 -0500
        Subj:   RE: SHK 15.1529 Sonnet 89

[2]     From:   Stephen C. Rose <
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        Date:   Saturday, 14 Aug 2004 07:44:10 -0700 (PDT)
        Subj:   Re: SHK 15.1529 Sonnet 89


[1]-----------------------------------------------------------------
From:           D Bloom <
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Date:           Friday, 13 Aug 2004 08:59:50 -0500
Subject: 15.1529 Sonnet 89
Comment:        RE: SHK 15.1529 Sonnet 89

Peter Bridgman, at the end of his paragraph suggesting that Auden
suppressed his true feelings about the homoerotic possibilities in the
Sonnets, writes,

"Consequent changes in attitude have also been slow to take effect.  Not
until the American Joseph Pequigney's Such Is My Love in 1985 was a
homoerotic reading of Shakespeare's Sonnets positively and
systematically championed."

I may be misreading him, but this doesn't make sense to me. I was able
to reach two feet, pluck down my *Shakespeare's Bawdy* (rev. 1968) and
read Partridge's attack on Wilde, Butler and Harris, who all propounded
this idea before 1910. My impression has been that the idea has been
commonly held since before Wilde's time, especially among homosexuals.

Or is there something about "positively and systematically championed"
that I'm not catching on to?

Cheers,
don

[2]-------------------------------------------------------------
From:           Stephen C. Rose <
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Date:           Saturday, 14 Aug 2004 07:44:10 -0700 (PDT)
Subject: 15.1529 Sonnet 89
Comment:        Re: SHK 15.1529 Sonnet 89

 >I
 >wondered what I would find if I
 >read just the couplets of each sonnet, in
 >sequence, from first to last.
 > So I read just the last two lines from each
 >sonnet in sequence.  I was
 >reading from the Amaranth Press, Masters
 >Library, Complete Works of
 >Shakespeare, 1985.
 >
 >Call me touched if you like, or laugh if you
 >will, but quite a story was
 >revealed in placing those lines together, a
 >fascinating tale, either
 >autobiographical or accidental, hidden in a
 >carefully crafted puzzle, or
 >not.  And I wondered, had the man intentionally
 >created the form as a
 >personal journal of sorts, using his craft to
 >sequester his hopes for
 >the future, for the life of his work, leaving
 >the form as a clue to the
 >hidden value of the couplets.  He was certainly
 >clever enough to do so.

Fascinating in turn Sally, but I suspect the ordering of the sonnets
will remain a major question. So ideally you would mix them up in many
different ways and come out with the same degree of wonder. Cheers, S

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