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pg 218 Editor’s NoteSonnet. 22.

  • On vnknown shore, wth wethera hard destrest
  • the fainting Mariner so feares the night
  • as I whoe in the dayes declining light
  • doe read the story of my wrack of rest.
  • Blest in yowr sight: and but in sight yet blest
  • euen now to leaue yowr light, my lifes delight
  • I wayte to adore, in rayes, as sweet as bright
  • the Sun lodg'd in yowr eys, heauēs in yor brest
  • O of mans hopes the vaine condition!
  • whyle I ame saijng, thow lowe shady roome
  • straight shalt a match to highest spheares becoom.
  • Sad night to bee more darck yor stay puts on.
  • and in yowr fayling paints, her black aspect,
  • yet sees a minde more darck, for yor neglect.


pg 219Editor’s Note Sonnet 22

  • 1On unknown shore, with weather hard distressed,
  • 2The fainting mariner so fears the night
  • 3As I, who in the day's declining light
  • 4Do read the story of my wrack of rest.
  • Editor’s Note5Blest in your sight, and but in sight yet blest,
  • 6Even now to leave your light, my life's delight,
  • 7I wait to'adore, in rays as sweet as bright,
  • 8The sun lodged in your eyes, heavens in your breast.
  • Editor’s Note9O of man's hopes the vain condition!
  • 10While I am saying 'Thou low shady room
  • 11Straight shalt a match to highest spheres become'
  • Editor’s Note12Sad night, to be more dark, your stay puts on,
  • 13And in your failing paints her black aspect;
  • 14Yet sees a mind more dark for your neglect.

Notes Settings


Editor’s Note
For the metre of this poem, see p. 31.
Editor’s Note
The first of three consecutive sonnets whose opening quatrains all evoke a shore and a storm-beaten mariner: see pp. 100–1. This is Robert's only poem on the stock theme of the 'missed meeting': see pp. 80–1 for the possible association of Barbara with the situation here portrayed.
Editor’s Note
5–8 He is shortly to depart from the beloved and, having been blessed hitherto only with the sight of her, he now hopes that his hearing also is about to be blessed with the sound of her voice. See p. 58.
Editor’s Note
9 condition metre and rhyme show that the ion termination has here its full disyllabic value (see p. 21).
Editor’s Note
12–14 For this fusion of outer and inner darkness cf. AS 96–9, especially AS 98: 9–10
  • While the black horrors of the silent night
  • Paint woe's black face so lively to my sight.
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