Shakespeare's sonnets

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Shakespeare's Sonnets ( German Shakespeare's Sonnets ) is a volume of poetry with 154 sonnets by the poet William Shakespeare . It is the latest major cycle of sonnets in the succession of Francesco Petrarch , ie the sonnets are (if not exclusively) devoted to the theme of love. This article does not refer to the numerous sonnets that also appear in Shakespeare's dramas. Following the sonnets, the book contains the long poem A Lover's Complaint (dt. One lovers suit ). (The English sonnet - and thus also that of Shakespeare - differs from the Italian form, see Shakespeare sonnet .)

The first edition from 1609

Title page of the first edition

The printed edition of Shakespeare's sonnets was first published in collected form in 1609 by Thomas Thorpe in London. The title is SHAKE-SPEARES SONNETS. Neuer before Imprinted (the “u” in “Neuer” can be read as a consonant “v”). In the English-speaking world, this edition is often called the "Quarto edition", a convention that is based on the book format.

Some of the sonnets had already been published, for example numbers 138 and 144 in the volume of poetry The Passionate Pilgrim (around 1599). In addition, Fancis Meres already pointed out the existence of further sonnets by Shakespeare in his literature review Palladis Tamia from 1598. There is also evidence of literary allusions to the sonnets from the 1590s. Most commentators therefore assume that at least some of the sonnets were written before 1600. The exact period of origin of Shakespeare's sonnet collection can no longer be determined with absolute certainty; the various assumptions about the time of origin of the entire sonnets differ in the dating by a period of at least 27 years, not only due to the different presumed external or internal evidence used for the dating attempts, but above all due to the different underlying interpretations: the Attempt at a biographical understanding on the one hand as well as the evaluation of Thorpeschen quarto edition on the other hand.

The text of the print edition from 1609 contains numerous typographical errors, misunderstandings and carelessness. Even if there is by no means consensus about the actual flawedness of all suspected passages in the scholarship, the unmistakable negligence of the edition is nowhere really denied. The obvious conclusion that neither an author's manuscript nor a reliable copy was available for printing is also largely uncontroversial. It has sometimes been suspected that it was a hastily produced pirated print that was not given the necessary care by the publisher and under no circumstances had the author corrected the proof . But ultimately there is no certainty about this either.

The authenticity of the sonnets, on the other hand, is not disputed in the professional world: They are works by the person who wrote the Shakespeare dramas. Even if there are around a dozen non-identical manuscript versions of sonnet 2 from the first third of the 17th century, this does not disprove Shakespeare's authorship, but rather indicates that Shakespeare, like other poets of his time, probably revised and revised the sonnet cycle several times.

Dedication text

After the title, the book contains an enigmatic dedication to a “Mr. WH ”, who is called“ the only begetter ”of the poems. (Mr. can be read Master.) This designation “begetter” - Shakespeare never uses the word, here too it is not his word, but that of the publisher - could be used as “producer”, “causer”, “procurer”, “ Colporteur ”etc. interpret. This “dedication”, like the person referred to by the initials, remains a mystery to this day. That is precisely why both have led to a myriad of speculation and controversy. However, one can assume that a discovery of the "real" Mr. WH would only provide the important information hoped for about the creation of the sonnets if it meant a prominent contemporary, which is by no means certain. The view is becoming increasingly plausible that this “dedication” could be a publisher's note, perhaps for advertising purposes. That the “dedication” alludes to sonnet 18 suggests that in “Mr. WH “to assume the Fair Youth (beautiful youth) mentioned in the sonnets. This person, who is said to have had a homoerotic relationship with the author, is named and hidden at the same time, which stimulates the curiosity of the readership. It is unlikely that the abbreviation of the name hides a person from the patron nobility of the time, such as - which has often been suspected - William Herbert, 3rd Earl of Pembroke , and above all by nothing. A person from the nobility would hardly have gotten involved in such a naming comedy or allowed to be addressed as a "master". In the correct dedication to his verse tale Venus and Adonis , signed by Shakespeare himself, we have the model of a correct dedication to a nobleman, namely to Henry Wriothesley (spoken: raitsli or, according to another view: rotsli), the 3rd Earl of Southampton . The apparent dedication text by the publisher Thomas Thorpe (signed “TT”), which appears next to the sonnets, differs from the other dedication in every detail. We learn nothing about the alleged recipient of the dedication or what role he played. Even older editors of the sonnets - Edward Dowden 1881 may be mentioned as an example - often overlooked the problem of dedication in their annotated editions. Even modern editors rarely dwell on the Mr. W. H. question. (See on this problem also below under "History of effects and interpretation".)

Something else is also surprising: the author's name “Shakespeare” is broken down into “Shake-speare”. This was not uncommon for names in Elizabethan times , especially when one could read new meaning from the now separated words. However, it is unclear what should be read from "Shake-speare". Again one could assume that - as in the case of the so-called dedication - a mystification was planned with the suggested “shaking spear” , regardless of the question of whether the origin of the name is correctly or incorrectly described in terms of linguistic history.

content

Sonnet 30 (Wall poem in Leiden )

In terms of content, the sonnets 1 to 126 obviously address a young man, even if this is not grammatically completely clear in all 126, a completely new idea in the history of the lyrical tradition since Petrarch. If in this type of poetry an angelic, unreachable woman was always the subject of both loving admiration and the resulting poems, Shakespeare ended this convention with a provocation, the explosive force of which is still effective today, that is, it explains part of the continued effect of this cycle to this day. Shakespeare's “fair boy” is at the same time an apparent homoerotic lover and, like the “madonna angelicata” of Petrarch, a love goal that should not be reached sexually.

In sonnets 1 to 17 the appeals to the young man go to the point of fathering a descendant in order to pass on his “beauty” and to become, as it were, “immortal”; they are therefore also called the “procreation” sonnets. In Sonnet 18 , the most famous of them all, this idea of ​​immortality is also programmatically linked to the poet's activity: "So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee"; this idea is one of the main ideas of the sonnets that keeps coming up.

In Sonett 20, an androgynous version of the addressed person is formally designed: “ A woman's face, with Nature's own hand painted / Hast thou, the master-mistress of my passion. "In this act of witty parody , Shakespeare shows his clear intention to actually break up the Petrarkist tradition by taking it ad absurdum with its own means and thus creating space for a real relationship debate, which Petrarkism lacks, - an innovation that is quite comparable to the innovations in his dramas.

Other topics are aging, the fear of losing love, jealousy and much more. On the whole, a love casuistry is spread that has been without any example until then; Even German minstrels and their English contemporaries have not yet formulated such things. In addition, statements that have little to do with love interfere, but are personal lamentation of fate (Sonnet 29) or general world lamentation (Sonnet 66) and only find their way back to the love dialogue in the final couplet. Also very often clear poetological discussions are made, something that is already sketched out in Petrarch's canzoniere , there z. B. in Sonnets 27 and 32 as well as in Canzone 53.

The purpose of turning to a “modern” love poetry also serves the creation of a provocative “dark lady”, who is the focus from sonnet number 127 onwards. The poet now contrasts the “fair lady”, who has already been replaced by a “fair boy”, with a “dark lady” as his earthly lover. There is repeated talk of sheer sexuality - an impossibility in the previous sonnet discourse even with Shakespeare's forerunners and contemporaries, such as Sir Philip Sidney , Samuel Daniel or Michael Drayton . Only with Shakespeare's contemporary John Donne , who was only a few years his junior - however, there is no recognizable real historical connection between the two poets - such a thing becomes possible, now outside the Petrarkist discourse. The stark clarity with which sexuality is first named and then rejected is astonishing - as in Sonnet 129: “The expense of spirit in a waste of shame / Is lust in action; and till action, lust / Is perjured, murderous, bloody, full of blame, / Savage, extreme, rude, cruel, not to trust ".

In this part of the work Sonett 130 can be seen as programmatic, in which the counter-image to the unattainable beauty is created by an apparently “ugly” person who is, however, the poet's erotic lover: “My mistress' eyes are nothing like the sun / Coral is far more red, than her lips red [...] I love to hear her speak, yet well I know, / That music hath a far more pleasing sound [...] I grant I never saw a goddess go - / My mistress when she walks treads on the ground ”. Shakespeare's poetry suddenly stands on real ground that was never trodden under Petrarkism; in sonnet 151 the poet even goes as far as pornographic allusions.

Nevertheless, one should not regard Shakespeare's sonnets as love poems in the simple, modern sense. The reason for this is that they are still within a specific lyrical discourse, Petrarkism . This is a lyrical speaking that, comparable to medieval minnesang , takes place in social space, not in the intimacy of two lovers. The young man addressed is a projection of an ideal of love, not of a historical individual. Then there is what Stephen Greenblatt called “self-fashioning”. The Petrarchist sonnet poet not only stylizes his counterpart, but also himself, and this in competition with his fellow sonnetists who wrote poetry.

Comparable to Walther von der Vogelweide , another “finisher” and “overcomer” of a poetic discourse, that of German minnesong , under whose sign it originally began, - Shakespeare also completes and overcomes Petrarkism 400 years after Walther. It is noticeable how the means of overcoming this are the same for both poets: turning away from standardized and turning to personal speech, the main means of which are parody, humor and poetological thoughtfulness. The most important means of Western love poetry, comparison , in all its forms (see also metaphor ) is questioned by Shakespeare and supplemented by completely new rhetorical means.

History of impact and interpretation

Beginning of the article by Ludwig Tieck in 1826

In 1946, WH Auden took a firm stand against the attempts to identify people in the sonnets, i.e. against the endless debate about whether the sonnets had a real-world background or are to be read fictionally. Initially unencumbered by this question, Shakespeare's sonnets were still fairly well known to the literary public of the time during his lifetime and for some time afterwards and therefore experienced a second edition in 1640, although the publisher John Benson falsified it because of the apparently homoerotic facts; Benson even included poems that were not Shakespeare's. After that, however, they fell more and more into oblivion and were only read from the middle of the 18th century in the course of the philological rediscovery of Shakespeare because of their obvious confessions, sometimes only with great astonishment, even individual poems, such as sonnet No. 20 (“ A woman's face, with nature's own hand painted, / Hast thou, the master mistress of my passion ... ”), downright with moral disgust, - especially by Edmund Malone , one of the first deserving philological editors of Shakespeare's work. In Germany, the discovery also began in the 18th century. First the sonnets were examined in more detail by the scholar Johann Joachim Eschenburg in 1787, even if Eschenburg did not know what to do with the texts personally. In his Viennese lectures in 1809 , August Wilhelm von Schlegel suggested reading the sonnets biographically, although he did not commit himself to specific persons. In 1826, Ludwig Tieck commented on the sonnets and presented transmissions by his daughter Dorothea , although he did not disclose her identity.

We do not know whether Shakespeare's sonnets conceal specific life-world events and people. All "persons" who appear in the poems, the lyrical speaker himself, the young friend, the poet rival, the dark lover, may be modeled on people from Shakespeare's world - or they may be pure fiction. Depending on how it sees itself, literary studies have accepted one or the other, and often refused to make a decision. That at the turn of the 18th and 19th centuries, both in England and Germany, the concept of experiential poetry , which Goethe had acquired , was also applied to the Shakespeare sonnets (the English romantic William Wordsworth said: “[...] with this key Shakespeare unlocked his heart ”) and still is now, is understandable, even if, as already explained above, quite problematic.

In the biography-related conception of the sonnets, one can go so far as to read them as a kind of diary of the speaker's record of the development of his relationship with a “patron”; H. to a patron nobleman, but must be aware of the implications of such an understanding. First of all, the “dedication” inserted not by the author but by Thomas Thorpe, the publisher, is completely untypical in all its aspects. In addition, the provocation emanating from the sonnets would be twofold: Not only is a man and not the "madonna angelicata" the main goal of the sonnets, but this man would also be someone who faces the author in a standardized, external, lifeworld role. All Elizabethan poets had patrons, Shakespeare certainly the two Counts Pembroke and Wriothesley, but there is no known work from this period that also makes the patron the main character of a poem or the 'lyrical duo' of sonnets. Dozens of suggestions have been made as to the actual historical person that may appear here, but none of these suggestions is convincing in view of the scarce sources.

Research into sonnets in the 19th century was initially dominated by purely biographical speculation, which spread all the more since little was known about the external life of William Shakespeare from Stratford and almost nothing about his 'internal biography'. In the course of the 19th century, this type of approach was followed by a more form-oriented reception that emphasized the poetic qualities of the sonnets. In addition to these interpretations, in the first half of the 20th century, especially in the extremely large number of complete German translations, there were more and more considerations of the history of literature that tried to anchor Shakespeare's poems in the poetics of his time and also wanted to connect them with the historical events and values ​​of the Elizabethan epoch. In the early modern period, the sonnets were partly read and translated as identification poetry for one's own poetic and ideological programs (for example in the George Circle ) or used in the service of the emancipation of homosexual forms of life. At present, the sonnets, with over two dozen current historical-critical and commented text editions, are receiving more attention in English than ever before. The biographical interpretation or interpretation has also recently been revived; B. by the proponents of the alternative (antistratfordian) authorship theories as evidence.

After all, for over a hundred years, newly established genesis stories of the sonnets have also been the subject of stories, novels and plays. This means that not only is research on Shakespeare's sonnets constantly intensifying, but they also have a direct impact on fiction . Some examples: Oscar Wilde , The Portrait of Mr. WH , 1889; Erna Grautoff , ruler of dreams and life , 1940; Anne Cuneo , Objets de Splendeur , 1996; Hildegard Hammerschmidt-Hummel , Shakespeare's mistress, a docudrama , 2003.

Translations into German and other media support

Stefan George's preface to his translation in 1909
Karl Kraus' reaction to Stefan George in 1933

Translations of Shakespeare sonnets are a subject of research in English and German studies; a complete bibliography, however incomplete for the past 10 years, has been published by the Herzog-August-Bibliothek . The sonnets had a clear history of impact simply through translations in German literature - and it continues. No other work in world literature - apart from Bible texts - has been translated into German more often. Around 300 translators have worked with the sonnets since the 18th century, when Shakespeare was rediscovered in Germany and England. In the years between 1836 and 1894, twelve complete German translations with commentary were published . Currently (August 2018) 78 German complete translations and more than 80 partial translations of the work have been published. There are over 200 German translations of the sonnets No. 18 and No. 66. Especially in Germany, but also in the Soviet Union and in the Yiddish cultural area, the Shakespeare sonnets or a new translation, according to the translator's ID, often served as a means of identification and secret companions in distress and distress in dictatorships , in exile , in " inner emigration "Or during political and captivity (examples: Boris Pasternak , Lion Feuchtwanger , Eta Harich-Schneider , Sophie Heiden , Ilse Krämer and others). These sonnets have also been translated , sometimes several times, into most of the other living written languages ​​in the world, including Latin among the languages ​​that are no longer spoken - also into artificial languages ​​such as Esperanto or even into the “extraterrestrial” Klingon . The sonnets were also set to music, especially in Germany, transformed into theater scenes and ballets, translated into dialects, translated into prose, processed into counterfactures , illustrated, parodied and paraphrased - and have been the subject of numerous multimedia stage presentations in recent years, most recently (2009) in Robert Wilson's and Rufus Wainwright's “Shakespeare's Sonnets” in the Berliner Ensemble. In more than 60 films, mostly of Anglo-Saxon origin, the sonnets are linked to the plot in individual scenes. There is also an American project to film every single sonnet in a short film with different directors and actors. Several audio book publishers have produced full or partial readings of the sonnets, also in German, with the voices of Jürgen Hentsch , Michael Rotschopf , Jacques Breuer (only the 52 Vanitas sonnets), Daniel Friedrich and Peter Matić .

Literature (only a selection of annotated text editions)

English and German complete editions

  • Stephen Booth : Shakespeare's Sonnets , Yale University Press, New Haven and London 1977 (with a facsimile of the first edition from 1609)
  • Katherine Duncan-Jones : Shakespeare's Sonnets , The Arden Shakespeare, London 1997
  • John Kerrigan : William Shakespeare, The Sonnets and A Lover's Complaint , Penguin Books, London 1999
  • Michael Mertes : You, my rose, are space for me. The Sonnets by William Shakespeare, Bonn 2014 (the second revised version of a complete verse translation)
  • Klaus Reichert : William Shakespeare, The Sonnets - The Sonnets , bilingual, Frankfurt a. M. 2007 (a complete translation in rhythmic prose)
  • Christa Schuenke : William Shakespeare: The Sonnets / Die Sonette , bilingual, Straelen am Niederrhein 1994 (hardcover) and Munich 1999 (paperback) (a complete verse translation)
  • Helen Vendler : The Art of Shakespeare's Sonnets , Harvard University Press, Cambridge / Mass. and London 1999

Collections of different translations

  • THE SONNETS - The Sonnets - in English and in selected German verse translations with notes and afterword, edited by Raimund Borgmeier - Reclam Stuttgart 1974 (and more often), RUB 9729 (3), ISBN 3-15-009729-0
  • Ulrich Erckenbrecht (Ed.): Shakespeare sixty-six: Variations on a Sonnet , third expanded edition, Muri Verlag, Kassel 2015 (212 German translations of Sonnet 66)
  • Jürgen Gutsch (Ed.): "... read, how blatantly beautiful you are specifically", William Shakespeare, Sonett 18, mediated by German translators , EDITION SIGNAThUR, Dozwil / TG ​​/ Switzerland 2nd edition 2017 (223 German translations of Sonett 18)
  • Manfred Pfister , Jürgen Gutsch (Eds.): William Shakespeare's Sonnets - For the First Time Globally Reprinted - A Quatercentenary Anthology 1609–2009 (with a DVD), 2 vols., EDITION SIGNAThUR, Dozwil / TG ​​/ Switzerland 2009 and 2014 (translations in more than 80 languages ​​of the world with all over 700 presented sonnets in original language recitation and a collection of the medial transpositions in pictures, settings and film scenes on an enclosed DVD)

Web links

Commons : Shakespeare's sonnets  - collection of images, videos and audio files
Wikisource: Translation of the sonnets by Ludwig Reinhold Walesrode, 1840  - sources and full texts

Individual evidence

  1. ↑ One of the peculiarities of the cycle edited by Thorpe is a. not only the genre-untypical mention of the author's name in the title, but also the lack of an author dedication, which deprived the otherwise financially quite enterprising Shakespeare of an important source of income. Thorpe's dedication, which can be interpreted in different ways, is just as strange. On the dating of the time of origin, see the summary in Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 568-570.
  2. ↑ See Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 568-570.
  3. ↑ With precisely this argument, among other things, the Shakespeare researcher Geoffrey Caveney suggested at the beginning of 2015 (in Notes & Queries of Oxford University Press) to identify Mr WH as a publisher who was friends with Thomas Thorpe by the name of William Holme. He would then be the procurer of the sonnet manuscript. Stanley Wells, the doyen of Shakespearean philologists, said that this suggestion was more likely than any other. However, it has not been proven.
  4. ↑ The American researcher Joel Fineman (in Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets , UC Press, 1986, passim) sees Shakespeare's sonnets, as Harold Bloom explains , “as the paradigm for all bisexualities that Shakespeare (or otherwise an author) has created ". For Bloom, Shakespeare's sonnets is a “skeptical ironic”. (Harold Bloom, Shakespeare, the invention of the human , German translation Berlin 2000, p. 1017/1018.)
  5. ↑ Cf. Ina Schabert : English Literature History of the 20th Century. A new presentation from the perspective of gender research (= Kröner's pocket edition . Volume 397). Kröner, Stuttgart 2006, ISBN 3-520-39701-3 , pp. 146–147: “Shakespeare's sonnets to the young man […] emphasize the homoerotic potential of the ideal-typical poet's praise with particular clarity. The masculine imagined 'feminine' beauty and virtue, “a woman's face” and “a woman's gentle heart”, are suited to the young man in a more perfect way than any woman (Sonnet 20). ”And further:“ With all the artistic means that [ the poet] provides the epideictic genre, he ascribes sonnet after sonnet to the friend the trinity of the beautiful, the good and the true: "Fair, kind and true 'is all my argument" (Sonett 105) ". (Ibid., P. 147)
  6. ↑ : Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare . Chicago 1980
  7. ↑ Since the more or less negative assessment of sonnets by the early critical editors of the 18th century (e.g. Malone or Eschenburg) has been overcome, all Shakespeare experts have been completely in agreement in the general appreciation of sonnets, even if There are of course different focus points.
  8. ↑ “Most of these sonnets were addressed to a man. That can lead to a variety of nonsensical attitudes from exercises in special pleading to discreet whitewashing. It is also nonsensical, no matter how accurate your results may be, to waste time trying to identify characters. It is an idiot's job, pointless and uninteresting. It is just gossip, and gossip, though it can be exceedingly interesting when the parties are alive, is not at all interesting when they're dead. ” (WA Auden, Lectures on Shakespeare , Princeton 2000, lecture on December 2, 1946.) - John Dover Wilson, one of the numerous historical-critical editors of Shakespeare's sonnets , describes the once sprawling revelatory literature with regard to the fair friend as follows: “There they [the various theories about the identity of the Friend] lie, the whole wilderness of them, for the inspection of curious eyes, a strange chapter in this history of human folly. "(John Dover Wilson, The Sonnets , Cambridge 1966, Introduction, P. 89)
  9. ↑ In 1780 and again in 1790 Malone's text-critical edition of the sonnets appeared together with other works by Shakespeare.
  10. ^ Johann Joachim Eschenburg, Ueber W. Shakspeare , Zurich 1787, therein from p. 571 the first German appraisal of the sonnets.
  11. ↑ “It betrays an extraordinary lack of critical acumen that none of the interpreters of Shakespeare we know has ever thought of using his sonnets in his biography. They clearly describe the poet's real situations and moods, they make us acquainted with the passions of man, yes, they also contain very strange confessions about his adolescent aberrations. ”(AW Schlegel, Lectures on Dramatic Art and Literature , edited by Giovanni Vittorio Amoretti, Bonn and Leipzig 1923, Volume 2. S. 123/124.)
  12. ↑ Ludwig Tieck, "About Shakspear's sonnets a few words, together with samples of a translation of the same", in: Penelope, Taschenbuch für das Jahr 1826 , Leipzig 1826, pp. 314–339. Dorothea Tieck's complete translation was only published in 1992.
  13. ↑ In his sonnet Scorn not the Sonnet ... from 1827.
  14. ↑ The sonnet editor Katherine Duncan-Jones ( Shakespeare's Sonnets , London 1997 and more) calls this with others "a narrative".
  15. ↑ The latter has been increasingly taken up again since the publications of Stephen Greenblatt and others from the school of "new historicism".
  16. ↑ On the meaning of the sonnets in the George circle cf. Friedrich Gundolfs Translation Torso , William Shakespeare, Friedrich Gundolf, 49 Sonnets , ed. by Jürgen Gutsch, Dozwil 2011.
  17. ↑ For example in Hans Detlef Sierck , Sonnets to the beloved boys , Hamburg 1922.
  18. ↑ About Joseph Sobran , alias Shakespeare. Solving the Greatest Literary Mystery of All Time , New York 1997.
  19. ^ Shakespeare's sonnets in Germany. Christa Jansohn with the collaboration of Eymar Fertig (1931–2011), Bamberg / Wolfenbüttel, 2016, accessed on May 24, 2020 .
  20. ↑ Gottlob Regis 1836, Emil Wagner 1840, Friedrich Bodenstedt 1856, Wilhelm Jordan 1861, Alexander Neidhardt 1865, Ferdinand Gelbcke 1867, Karl Simrock 1867, Hermann von Friesen 1869, Benno Tschischwitz 1870, Otto Gildemeister 1871, Fritz Krauss 1872, Alfred von Mauntz 1894 .
  21. ↑ Annette Leithner-Brauns, "Shakespeare's Sonnets in German Translations 1787–1994: a bibliographical overview", ASSL 232 (1995), 285–316. - Eymar Fertig, “Addendum to the bibliography 'Shakespeare's Sonnets in German Translations 1787–1994', expanded with scenic and musical arrangements. Reporting period 1784–1998 “, ASSL 236 (1999), 265–324.
  22. ↑ GVLIELMI SHAKESPEARE CARMINA QVAE SONNETS NVNCVPANTVR LATINE REDDITA AB ALFREDO THOMA BARTON EDENDA CVRAVIT JOANNES HARROWER , London 1933. An annotated new edition of this Latin translation, ed. by Ludwig Bernays was published in EDITION SIGNAThUR, Dozwil 2006.
  23. ↑ sonnetprojectnyc.com