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Sonnet Cxxviii

Rating: 3.3
How oft, when thou, my music, music play'st,
Upon that blessed wood whose motion sounds
With thy sweet fingers, when thou gently sway'st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood's boldness by thee blushing stand!
To be so tickled, they would change their state
And situation with those dancing chips,
O'er whom thy fingers walk with gentle gait,
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Fabrizio Frosini 05 January 2016
The main imagery that Shakespeare invokes in this poem is of a woman playing a harpsichord or virginal. According to the Encyclopædia Britannica, this was an early version of a piano that was often made of wood.
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Fabrizio Frosini 05 January 2016
Sonnet 128 is comparable to the sonnet in Romeo and Juliet in which Romeo pleads for a first kiss. Like that pilgrim/saint tête-à-tête, this sonnet is set in a public musical celebration. Shakespeare watches his dark lady play the keyboard virginal (or Bassano built clavichord) , captivated by her back swaying with the melody. Like Romeo, he longs for a kiss, but in this sonnet he envies the jacks (wooden keys) that the lady’s playing fingers “tickle” while trilling the notes. Perhaps he also envies the other men (Jacks) standing around the lady. Surely, this is an amusing scene to Shakespeare because he secretly is having an affair with the dark lady. He decides not to envy those keys—although he would like to be tickled as they are—but hopes instead to receive a kiss on his lips. Fred Blick points out that this plea for a kiss, leaving the fingers to the jacks, is a compromise, just as the tuning of the virginal or other keyboard instrument is, in musical temperament, a compromise.
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Fabrizio Frosini 05 January 2016
Sonnet 128 is the 128th of William Shakespeare’s sonnets, and the second of two musical sonnets. Its number suggests, like Sonnet 8, the octave of the scale as well as the 12 notes on the keyboard inside each octave (an association first recognized and described in detail by Fred Blick, in Shakespeare's Musical Sonnets, Numbers 8,128 and Pythagoras, 'The Upstart Crow, A Shakespeare Journal', Vol. XIX, (1999) 152-168.) Further, Blick notes that in Pythagorean musical theory the proportion of the octave is 1: 2 and that on this basis the intervals between 8 and 128 i.e.8-16,16-32,32-64,64-128, span four octaves, the normal range of the keyboard of a virginal in Shakespeare's time. (Wikipedia)
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Brian Jani 26 April 2014
Awesome I like this poem, check mine out
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Erhard Hans Josef Lang 13 November 2007
This is the kind of nature poetry that is so very intriguing to heart and soul. I simply love it!
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