Friday, February 27, 2015

Sonnet CXXI (121)

'Tis better to be vile, than vile esteemed,
When not to be, receives reproach of being,
And the just pleasure lost which is so deemed 
Not by our feeling, but by others' seeing: 
For why should others' false adulterate eyes 
Give salutation to my sportive blood? 
Or on my frailties why are frailer spies, 
Which in their wills count bad what I think good?
No; -- I am that I am, and they that level 
At my abuses reckon up their own: 
I may be straight, though they themselves be bevel;
By their rank thoughts my deeds must not be shown;
   Unless this general evil they maintain,
   All men are bad, and in their badness reign.

2. When he who is not vile incurs the reproach of being so. 

3, 4. And the just pleasure, -- that is, of self-respect or of an approving conscience. Which is so deemed looks back to what had been said in lines 1 and 2: "When the character which is not vile is so deemed, looked at by the eyes of others; though all the time our own conscience tells us that we are misjudged, and that we are not really vile." 

5. Adulterate. Equivalent to "adulterous." Or in a more general sense, as "And bastards of his foul adulterate heart" (Lover's Complaint, line 175). 

6. Take account of and criticise what my somewhat warm nature may do in gay or less restrained moments. 

8. In their wills. These words maybe equivalent not merely to "in their minds," but with the added notion "in accordance with their wishes" -- "they would like to make me out bad." 

9. No;-- I am that I am. With all my frailties, but yet not without something of good. Level. So as to take aim. Cf. CXVII.11 

11. They should not think that because they diverge from the straight line (of rectitude) I must necessarily do the same. 

13. Their rank thoughts. This, as well as preceding expressions, shows that the charge brought against the poet involved sensuality in some form or other.

Soneto de amor CXXI (121)


Mejor ser vil que ser vilipendiado 
Si te acusan de ser lo que no eres 
Y se pierde el placer, según decide 
Lo que ven los demás, no lo que sientes. 
¿Por qué miradas falsas y vulgares 
En lo sensual conmigo se comparan 
O espías culposos de mis culpas 
Lo que tengo por bueno juzgan malo? 
Yo soy quien soy, y aquellos que se midan 
Con mis faltas, las propias enumeran; 
Tal vez soy recto aunque ellos sean torcidos; 
Su ruin pensar no es vara de mis actos 
A menos que los guíe este principio: 
Medran en el mal todos los hombres. 

Sonnet CXX (120)

That you were once unkind, befriends me now, 
And for that sorrow, which I then did feel
Needs must I under my transgression bow,
Unless my nerves were brass or hammered steel.
For if you were by my unkindness shaken,
As I by yours, y' have pass'd a hell of time, 
And I, a tyrant, have no leisure taken
To weigh how once I suffer'd in your crime.
O, that our night of woe might have remember'd
My deepest sense, how hard true sorrow hits,
And soon to you, as you to me, then tendered
The humble salve which wounded bosoms fits!
   But that your trespass now becomes a fee;
   Mine ransoms yours, and yours must ransom me. 

3. Thinking that I have now inflicted on you similar pain. 

4. Unless my nerves, &c. Unless I were destitute of feeling. 

6. Y' have pass'd a hell of time. Cf. "Though waiting so be hell" (LVIII. 13); and Lucrece, 1287 and 1288:

"And that deep torture may be call'd a Hell,
When more is felt than one hath power to tell."

7, 8. And I a tyrant, &c. I, like a tyrant, have been regardless of the pain I inflicted, not even sparing time to think of the suffering I once endured. 

9, 10. Our night of woe. On that former occasion. The expression "night of woe" may be metaphorical, though it is, of course, possible that reference may be made to some particular night. Might have remembered my deepest sense. Might have caused my deepest sense to remember. 
11. And that I had soon tendered to you, as you tendered to me on that former occasion. 

12. The humble salve. The humble apology. Fits. Suits. 

13. That former trespass of yours against me has become something which I can offer as a payment and ransom for my own offence. 

Soneto de amor CXX (120)

Tu vieja crueldad ahora me aplaca, 
Y por ese dolor que sufrí entonces 
De mi delito debo arrepentirme, 
Pues no soy de bronce o duro acero, 
Y si mi acto cruel te ha lastimado 
Como el tuyo a mí, te di un infierno 
Y, déspota, no me he detenido 
A recordar mis propios padeceres. 
La noche de pesar debió evocarme 
Cuánto muerde el dolor cuando es severo, 
Y pronto, igual que tú, te habría llevado 
El bálsamo que sana un pecho herido. 
Mas tu crimen ahora es mi fianza, 
Mutuamente debemos indultarnos. 

Sonnet CXIX (119)

What potions have I drunk of Siren tears,
Distill'd from lymbecks foul as hell within,
Applying fears to hopes, and hopes to fears, 
Still losing when I saw myself to win!
What wretched errors hath my heart committed,
Whilst it hath thought itself so blessed never!
How have mine eyes out of their spheres been fitted
In the distraction of this madding fever!
O benefit of ill! now I find true
That better is by evil still made better;
And ruin'd love, when it is built anew,
Grows fairer than at first, more strong, far greater.
   So I return rebuk'd to my content, 
   And gain by ills thrice more than I have spent.

1. Drunk. The tears had influenced him so thoroughly, that they had been, as it were, imbibed. 

2. Lymbecks. Alembics or stills. Foul as hell within. Cf. what is said of the poet's dark mistress in the second series of Sonnets, "In nothing art thou black, save in thy deeds" (CXXXI.13); "Who art as black as hell, as dark as night" (CXLVII.14)

3. Now letting fear give way to hope, and now hope to fear. 

4. Still losing, &c. Probably on account of the unworthiness of the objects won. 

7. Fitted. "Worked and vexed by paroxysms." SCHMIDT. Comparison has been made of Pericles, Act ii. so. i, line 58, "If it be a day fits you," &c. But there appears to be in our passage the idea of strange surprises. 

8. This madding fever. Cf. "My love is as a fever," &c., and,
"Past cure I am, now reason is past cure,
And frantic mad with evermore unrest," &c. (CXLVII)
10. That better, &c. The better love is manifestly the love to his friend. 

13. To my content. With a feeling of contentment and satisfaction. 

Soneto de amor CXIX (119)

¿Bebí poción de llanto de sirenas 
Destilado de horribles alambiques 
Que confundo el temor y la esperanza 
Y pierdo cuando creo haber ganado? 
¿Qué error mi corazón ha cometido 
Si antes tanta dicha lo colmaba? 
¿Por qué desorbitados son mis ojos 
En arrebatos de maligna fiebre? 
Oh feliz desventura: ahora descubro 
Lo bueno por el mal perfeccionado, 
Y la casa de amor, reconstruida, 
Es más bella, más fuerte y espaciosa. 
Vuelvo castigado a mi contento, 
La dicha triplicada por mis males.  

Sonnet CXVIII (118)

Like as, to make our appetites more keen,
With eager compounds we our palate urge, 
As, to prevent our maladies unseen, 
We sicken to shun sickness, when we purge, 
Even so, being tuff of your ne'er-cloying sweetness,
To bitter sauces did I frame my feeding, 
And, sick of welfare, found a kind of meetness
To be diseas'd, ere that there was true needing. 
Thus policy in love, to anticipate 
The ills that were not, grew to faults assured,
And brought to medicine a healthful state,
Which, rank of goodness, would by ill be cured:
   But thence I learn, and find the lesson true,
   Drugs poison him that so fell sick of you. 

CXVIII. The poet had previously (cx.) spoken of "grinding his appetite" during the period of absence. He now changes the figure. He had been taking a tonic to sharpen his appetite, or a prophylactic medicine to prevent disease. But he had learned that the expedient he had resorted to was premature and unnecessary, and that the drugs he had employed -- that is, the companions and pursuits which had engaged his time and attention -- were, under the circumstances, poisonous. 

2. Eager. Sharp, acid. Cf. Ham., Act i. sc. 5, line 69, "And curd, like eager droppings into milk." 

4. Sicken to shun sickness. Make ourselves ill with drugs. So "To be diseas'd," line 8. 

5. Ne'er cloying. Repels the supposition that he had been really satiated with his friend's society. So, in the next line but one, "sick of welfare," and in line 8, "ere that there was trueneeding." 

9, 10. The policy spoken of resulted in unquestionable faults, disorders of moral health. 

11. And had recourse to medicine, though in a state of health. 

12. Rank of goodness may be taken as equivalent to "sick of welfare" in line 7. 

14. That so fell sick. Being "full of your ne'er-cloying sweetness."

Soneto de amor CXVIII (118)

Así como la gula estimulamos 
Tentando al paladar con las especias, 
Y males invisibles prevenimos 
Con purgas que acarrean males ciertos, 
Ya harto de gustar de tus dulzuras 
Tomé por alimento salsas rancias, 
Y enfermo de salud creí adecuado 
Procurarme un remedio innecesario. 
Y así mi decisión de anticiparme 
A un mal inexistente acarreó males
Que mi buena salud deterioraron 
Y en mi busca de alivio me hice daño. 
Mas luego esta lección aprendí al menos: 
Al enfermo de ti nadie lo cura. 

Sonnet CXVII (117)

Accuse me thus: that I have scanted all
Wherein I should your great deserts repay;
Forgot upon your dearest love to call,
Whereto all bonds do tie me day by day;
That I have frequent been with unknown minds,
And given to time your own dear-purchas'd right
That I have hoisted sail to all the winds
Which should transport me farthest from your sight.
Book both my wilfulness and errors down
And on just proof surmise accumulate;
Bring me within the level of your frown,
But shoot not at me in your waken'd hate;
   Since my appeal says I did strive to prove
   The constancy and virtue of your love. 

CXVII. The poet admits that he had neglected to pay due regard to his friend, and had allowed new companions to engross too much of his attention. He is willing that his friend should consider his conduct as not without blame; but he palliates the fault, by asserting that he wished to prove the reality and constancy of his friend's affection. 

1. That I have scanted all. That I have been negligent in all particulars, &c. 

6. Given to time, according to Dowden, means, "given to society, to the world," or "given away to temporary occasion what is your property, and therefore an heirloom for eternity." But the emendation which Staunton suggests, "given to them," seems not improbable. Your own dear purchas'd right. Though it is not pleasant to attach a material signification to these words, yet, taking into account what is recorded of Lord Pembroke's liberality towards men of genius, it seems not unlikely that there is an allusion to previous presents. 

7. Hoisted sail, &c. Availed myself of every occasion, &c. 

9. My wilfulness. My self-willed and unreasonable conduct, as alluded to in previous lines. 

10. The meaning may be, "Add reasonable conjecture to what you can prove." 

11. Within the level of your frown. Within the scope or reach of your frown. Malone compares,
"The harlot king
Is quite beyond my arm: out of the blank
And level of my brain" (Winter's Tale, Act ii. sc. 3, lines 4-6).

Soneto de amor CXVII (117)

Acúsame si quieres de avaricia, 
Pues no fui dispendioso con mis honras 
Y olvidé un amor al que me atan 
Día a día, lo sé, todos los lazos; 
Y de haber frecuentado gente indigna 
Poniendo en otras manos lo que es tuyo, 
De haber izado velas a los vientos 
Que más lejos de ti me arrastrarían. 
Consigna mis errores y mis culpas 
Y acumula los cargos en mi contra 
Clavándome tus ojos furibundos, 
Mas no lances los dardos de tu odio: 
Pues esta apelación reza que he actuado 
Por probar tu virtud y tu constancia. 

Sonnet CXVI (116)

Let me not to the marriage of true minds
Admit impediments. Love is 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.

Soneto de amor CXVI (116)

No admito impedimentos al enlace 
De almas fieles; el amor no es amor 
Si por cualquier mudanza es demudado 
O se desvía ante el menor desvío. 
Oh no, es señal fija que contempla 
Inconmovible la borrasca oscura, 
Astro que guía a la barcaza errante, 
Misterioso, aunque a altura mensurable. 
No es bufón del Tiempo, cuyo acero 
Siega labios rosados y mejillas, 
Ni se altera en horas y días breves 
Más perdura hasta el mismo umbral del juicio. 
Si yerro, y así me lo demuestran, 
Nunca escribí, jamás amó hombre alguno. 

Sonnet CXV (115)

Those lines that I before have writ do lie,
Even those that said I could not love you dearer;
Yet then my judgment knew no reason why
My most full flame should afterwards burn clearer.
But reckoning Time, whose million'd accidents 
Creep in 'twixt vows and change decrees of kings, 
Tan sacred beauty, blunt the sharp'st intents, 
Divert strong minds to the course of altering things;
Alas, why, fearing of Time's tyranny, 
Might I not then say 'Now I love you best,' 
When I was certain o'er incertainty, 
Crowning the present, doubting of the rest?
   Love is a babe; then might I not say so,
   To give full growth to that which still doth grow?

CXV. The poet retracts what he had previously written to the effect that his love for his friend was then as intense as possible. His affection has now become stronger than ever. 

5. Reckoning Time. Taking account of time as ever changing the aspect and course of things, dulling the strongest affection, &c. Schmidt justly connects the "reckoning " with the "fearing of Time's tyranny " of line 9. Million d accidents. "Millionfold, innumerable." SCHMIDT, Lex. The change of "million'd" to "million" would injure the line. 

8. Divert strong minds to the course of altering things. Firm resolutions are changed by a change of circumstances. Cf. the Player King's speech in Hamlet, Act iii. sc. 2, lines 210, 211 and Troilus and Cressida, Act iv. sc. 5, end, "Sweet love is food for Fortune's tooth." 

11. O'er incertainty. Presuming on the uncertainty of the future. 

12. Crowning the present. By pronouncing it best. 

13. Love is a babe. Having a babe's power of growth. The poet may have in view the common representations of Cupid as a child. Might I not say so. I ought not to have said so. 

14. To give full growth. To suppose to be fully grown.

Soneto de amor CXV (115)

Mienten los versos que escribí hasta ahora 
Si afirman que más no podía amarte, 
Mi juicio no sabía de razones 
Que avivaran aún mi llama ardiente; 
Mas pensando en el Tiempo, que azaroso 
Anula votos y decretos regios, 
La belleza corrompe, tuerce afanes, 
Y doblega al espíritu inflexible, 
¿Por qué por temor a ese tirano, 
No debí afirmar que así te amaba, 
Certeza sobre toda certidumbre 
A despecho del porvenir dudoso? 
Amor es niño, no debí afirmarlo 
Para dar más brío a lo que aún crece. 

Sonnet CXIV (114)

Or whether doth my mind, being crown'd with you,
Drink up the monarch's plague, this flattery?
Or whether shall I say, mine eye saith true,
And that your love taught it this alchymy,
To make of monsters and things indigest
Such cherubins as your sweet self resemble,
Creating every bad a perfect best,
As fast as objects to his beams assemble?
O,'tis the first; 'tis flattery in my seeing,
And my great mind most kingly drinks it up: 
Mine eye well knows what with his gust is 'greeing,
And to his palate doth prepare the cup: 
   If it be poison'd, 'tis the lesser sin
   That mine eye loves it and doth first begin. 

CXIV. In the joy of reconciliation the poet imagines himself a monarch crowned with his friend's love. His eye, like a king's cup-bearer desiring to please his master and humour his taste, presents only the image of his friend. Cf. CXIII

2. This flattery. Thus deceiving itself, by fancying that to be real which is only an illusion, like a monarch drinking in the false flattery of his courtiers. 

3. Shall I say that the cause is in the eye rather than in the mind? This question receives virtually an affirmative answer in line 9. 

6. What is said in this line might suit very well a young man of only twenty or twenty-one, but would scarcely agree with a more fully developed manhood. 

8. As fast as objects present themselves to view. 

9. 'Tis the first. The mind, whose taste ("gust") the eye flatters, willingly receives the false image prepared by the eye. [his gust. The taste of my mind. Malone.] 

10. Cf. line 1. The comparison with the king and his cup-bearer is still kept in view. 

14. Still the eye is a willing agent, and, like a cup-bearer, tastes first. 

Soneto de amor CXIV (114)

O mi mente, contigo coronada, 
Bebe lisonjas, perdición de reyes, 
O bien mis ojos ven visiones ciertas 
Y tu amor le enseñó esta alquimia 
De fabricar con monstruos indigestos 
Querubines que imitan tu dulzura, 
Creando algo perfecto con lo espurio 
Al reunirse objetos en sus rayos: 
Ay, son lisonjas vanas, y mi mente 
Como un monarca incauto apura el trago, 
Pues bien saben mis ojos qué prefiere 
Y a su gusto preparan el brebaje. 
Si hay veneno, no es delito grave, 
Pues mis ojos lo probarán primero.

Sonnet CXIII (113)

Since I left you, mine eye is in my mind; 
And that which governs me to go about
Doth part his function, and is partly blind,
Seems seeing, but effectually is out;
For it no form delivers to the heart
Of bird of flower, or shape, which it doth latch:
Of his quick objects hath the mind no part,
Nor his own vision holds what it doth catch;
For if it see the rud'st or gentlest sight,
The most sweet favour or deformed'st creature, 
The mountain or the sea, the day or night, 
The crow, or dove, it shapes them to your feature: 
   Incapable of more, replete with you,    
My most true mind thus maketh mine untrue. 


CXIII. The poet asserts that, even during the period of absence, his heart had been thoroughly with his friend, whom he had seen in everything and everywhere. 

1. Mine eye is in my mind. Cf. xlvii. 7, 8,
"Another time mine eye is my heart's guest,
And in his thoughts of love doth share a part."
2, 3. My bodily eye is partly blind. 

4. Is out. Is out of order. 

6. Latch. Receive and hold. Q. has "lack," a reading apparently impracticable. Cf. Macbeth, Act iv. sc. 3, lines 193-195, "Words that would be howl'd out in the desert air, where hearing should not latch them." 

7. His quick objects. Objects perceived as the eye quickly moves. 

10. The most sweet favour. The sweetest outward appearance. Cf. cxxv. 5. 

14. Mine untrue. A tempting emendation has been suggested "mind untrue." But the sense required would rather seem to be that the mind makes the eyes untrue. It is not easy to suppose that "mine" was originally "m' eyen," equivalent to "my eyes," and pronounced as one syllable. It is perhaps, on the whole, best, even if this view be not quite unobjectionable, to take "untrue" as a substantive, and to take as the meaning that the poet's mind, true to his friend, causes his untruthfulness; causes him to be untruthful to the actual objects around him. So Malone, who quotes Measure for Measure (Act ii. sc. 4, line 170),
"Say what you can, my false outweighs your true."

Soneto de amor CXIII (113)

Sin ti, tengo los ojos en mi mente, 
Y aquellos que me guían paso a paso 
Sus funciones las cumplen sólo en parte; 
Creen ver, mas en verdad son ciegos: 
Pues forma alguna al corazón revelan 
De ave, flor o bulto perceptible; 
Ni a la mente objetos comunican 
Ni en sí mismos retienen las visiones, 
Pues vean trazo tosco o delicado, 
Rostro dulce o deforme criatura, 
La montaña o el mar, el día o la noche, 
El cuervo o la paloma, ven tus rasgos. 
De ti ebria, mi mente verdadera 
Es fábrica de turbias falsedades. 

Sonnet CXII (112)

Your love and pity doth the impression fill
Which vulgar scandal stamp'd upon my brow;
For what care I who calls me well or ill,
So you o'er-green my bad, my good allow?
You are my all-the-world, and I must strive
To know my shames and praises from your tongue:
None else to me, nor I to none alive,
That my steel'd sense or changes right or wrong.
In so profound abysm I throw all care
Of others' voices, that my adder's sense
To critic and to flatterer stopped are.
Mark how with my neglect I do dispense:
   You are so strongly in my purpose bred, 
   That all the world besides, methinks y' are dead. 

CXII. The request which the poet had made for his friend's pity is supposed to have been complied with. Satisfied in this respect, he strongly asserts that he cares nothing what others may think or say concerning him. 

1, 2. Showing how deeply the poet felt the scandal: it was as if he had been branded on the forehead. 

4. O'er-green my bad. Extenuate what is evil, kindly screening it as with leaves. 

6. To recognise you as the only judge of my conduct. 


8. Steel'd. Hardened. Or changes, right or wrong. "Either to what is right, or to what is wrong." Steevens. 

10. My adder's sense. Alluding to the adder's alleged deafness. 

13. Bred may be taken as implying incorporation; and thus the sense may be given, "My view of my own conduct is so thoroughly identified with your judgment; and my future course of action depends so exclusively on you." 

14. The poet turns and addresses the world. Cf. civ. 13, 14. Y' are is equivalent to "you are." 

Soneto de amor CXII (112)

Tu amor y tu piedad borran la marca 
Que escándalo vulgar grabó en mi frente, 
¿Pues qué importa mi fama, mala o buena, 
Si tú mi bien exaltas, mi mal cubres? 
Para mí eres el mundo, y de tu lengua 
Quiero oír las críticas y elogios. 
No cuenta nadie más, nadie podría 
Torcer por bien o mal mis intenciones. 
Arrojo en un abismo tan profundo 
Las voces de los otros, que mi oído 
Es sordo a reproches y lisonjas; 
Mas excuso así mi negligencia: 
Con tal fuerza estás en mí arraigado 
Que el mundo, salvo tú, parece muerto.

Wednesday, February 25, 2015

Sonnet CXI (111)

O, for my sake do you with Fortune chide,
The guilty goddess of my harmful deeds, 
That did not better for my life provide, 
Than public means which public manners breeds.
Thence comes it that my name receives a brand, 
And almost thence my nature is subdu'd
To what it works in, like the dyer's hand:
Pity me then and wish I were renew'd; 
Whilst, like a willing patient, I will drink
Potions of eysell, 'gainst my strong infection; 
No bitterness that I will bitter think, 
Nor double penance, to correct correction. 
Pity me then, dear friend, and I assure ye 
Even that your pity is enough to cure me.

1. With. Q. "wish." 

4. Publick manners. Implying vulgar, low, and probably disreputable conduct. 

8. Renew' d. Thoroughly changed. 

10. Eysell. Vinegar, a well-known supposed disinfectant. But here the idea is of a medicine to arrest and neutralise disease and corruption within. 

12. To correct correction. To complete and perfect the correction of my conduct. Similarly we say, "To make assurance doubly sure." 

14. Implying probably that the cause of offence, whatever it may have been, was superficial, and not deeply seated in Shakespeare's nature. 

Soneto de amor CXI (111)

Si me amas, reprocha a la fortuna, 
Diosa culpable de mis actos viles, 
No brindarme sino medios vulgares 
Que vulgares modales me enseñaron. 
Esa marca mi nombre lleva impresa, 
Y me tiñe igual que los colores 
Que impregnan la tez del tintorero. 
Compadéceme, ansía que yo cambie, 
Mientras yo, cual un paciente dócil 
Con sorbos de vinagre el mal combato: 
Ninguna amargura sabrá amarga 
Ni penitencia alguna rigurosa. 
Compadéceme, amigo, y te aseguro. 
Tu piedad bastará para curarme.  

Sonnet CX (110)

Alas! 'tis true I have gone here and there 
And made myself a motley to the view, 
Gor'd mine own thoughts, sold cheap what is most dear,
Made old offences of affections new. 
Most true it is that I have look'd on truth
Askance and strangely: but, by all above, 
These blenches gave my heart another youth, 
And worse essays prov'd thee my best of love. 
Now all is done; have what shall have no end: 
Mine appetite I never more will grind 
On newer proof, to try an older friend, 
A god in love, to whom I am confin'd. 
Then give me welcome, next my heaven the best,
Even to thy pure and most most loving breast. 

1. I have gone here and there. Alluding possibly to journeys undertaken in pursuit of his theatrical profession. 

2. And made myself a motley to the view. Whether Shakespeare had actually played the part of a fool or jester, a "motley" (cf. As You Like It, Act ii. sc. 7), is perhaps doubtful. The word may be here used figuratively, in accord with what follows. Shakespeare may have "played the fool" by seeking new acquaintance. 

3. Gor'd mine own thoughts. Meaning probably "wounded my self-respect." Sold cheap, &c. Made light of the love of my best friend. 

4. Made old offences of affections new. Dowden interprets, "Entered into new friendships and loves, which were transgressions against my old love." But "old offences" may possibly be "enduring offences." 

5. Truth here maybe pretty nearly equivalent to "virtue," though "fidelity" is a not improbable meaning.

6. Askance and strangely. As having parted acquaintance therewith. Q. "Asconce and strangely." 

7. Blenches. Aberrations. Cf. "Sometimes you do blench from this to that," Measure for Measure, Act iv. sc. 5, line 3. Gave my heart another youth. The reaction ensuing restored my former state of mind. 

8. Essays. Attempts at making new friends. 

9. What shall have no end. That is, my love for you. 

10, 11. I will not repeat the experiment (however successful it may have been now) of trying an older friend, by "grinding my appetite" for his love through the failure of other attempts at love and friendship. 

13. To the most welcome refuge of all, next to heaven.