Uploaded November 2015 | Updated September 2026, 2 weeks ago
Here's a virtual movie of the great William Shakespeare reading his sonnet 116 "Let me not to the marriage of true minds". You can see the amazing 78rpm Shellac record circa 1932 of John Gielgud reading this wonderful sonnet here at this link...
youtube.com/watch?v=Wrj3rilcTnk
Shakespeare's sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet.
The poet begins by stating he should not stand in the way of "the marriage of true minds", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, "ever-fixèd" and lasts forever.
Sonnet 116 is one of Shakespeare's most famous love sonnets, but some scholars have argued the theme has been misunderstood. Hilton Landry believes the appreciation of 116 as a celebration of true love is mistaken,[3] in part because its context in the sequence of adjacent sonnets is not properly considered. Landry acknowledges the sonnet "has the grandeur of generality or a 'universal significance'," but cautions that "however timeless and universal its implications may be, we must never forget that Sonnet 116 has a restricted or particular range of meaning simply because it does not stand alone."[4] Carol Thomas Neely writes that, "Sonnet 116 is part of a sequence which is separate from all the other sonnets of Shakespeare because of their sense of detachment. They aren’t about the action of love and the object of that love is removed in this sequence which consists of Sonnets 94, 116, and 129".[5] This group of three sonnets does not fit the mold of the rest of Shakespeare’s sonnets, therefore, and they defy the typical concept and give a different perspective of what love is and how it is portrayed or experienced. "Though 116 resolves no issues, the poet in this part of the sequence acknowledges and accepts the fallibility of his love more fully than he could acknowledge that of the young man’s earlier".[6] Other critics of Sonnet 116[7] have argued that one cannot rely on the context of the sonnet to understand its tone. They argue that since "there is no indisputably authoritative sequence to them, we cannot make use of context as positive evidence for one kind of tone or another."[8] Shakespeare does not attempt to come to any significant conclusion within this particular sonnet because no resolution is needed.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015
Here's a virtual movie of the great William Shakespeare reading his sonnet 116 "Let me not to the marriage of true minds". You can see the amazing 78rpm Shellac record circa 1932 of John Gielgud reading this wonderful sonnet here at this link...
youtube.com/watch?v=Wrj3rilcTnk
Shakespeare's sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet.
The poet begins by stating he should not stand in the way of "the marriage of true minds", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, "ever-fixèd" and lasts forever.
Sonnet 116 is one of Shakespeare's most famous love sonnets, but some scholars have argued the theme has been misunderstood. Hilton Landry believes the appreciation of 116 as a celebration of true love is mistaken,[3] in part because its context in the sequence of adjacent sonnets is not properly considered. Landry acknowledges the sonnet "has the grandeur of generality or a 'universal significance'," but cautions that "however timeless and universal its implications may be, we must never forget that Sonnet 116 has a restricted or particular range of meaning simply because it does not stand alone."[4] Carol Thomas Neely writes that, "Sonnet 116 is part of a sequence which is separate from all the other sonnets of Shakespeare because of their sense of detachment. They aren’t about the action of love and the object of that love is removed in this sequence which consists of Sonnets 94, 116, and 129".[5] This group of three sonnets does not fit the mold of the rest of Shakespeare’s sonnets, therefore, and they defy the typical concept and give a different perspective of what love is and how it is portrayed or experienced. "Though 116 resolves no issues, the poet in this part of the sequence acknowledges and accepts the fallibility of his love more fully than he could acknowledge that of the young man’s earlier".[6] Other critics of Sonnet 116[7] have argued that one cannot rely on the context of the sonnet to understand its tone. They argue that since "there is no indisputably authoritative sequence to them, we cannot make use of context as positive evidence for one kind of tone or another."[8] Shakespeare does not attempt to come to any significant conclusion within this particular sonnet because no resolution is needed.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015





![Wee Wee Tailor - Thomas Lovell Beddoes - Poem - animation
Heres a virtual movie of Thomas Lovell Beddoes reading his very dark poem Wee Wee Tailor which is also known as The Oviparous Tailor This dark poetic fable tells of a tailor cursed by a witch to lay eggs like a chicken. There can be few less haunted poets than Thomas Lovell Beddoes the son of a surgeon who witnessed from an early age the horrors of patients going under the knife before the age of Anesthesia. Beddoes himself became a doctor until mental illness and infection contracted from a mortuary corpse and suicide ended his life prematurely at age 45.This definitive beautiful recital of the poem is by Alan Halsey.
Thomas Lovell Beddoes (30 June 1803[1] – 26 January 1849) was an English poet, dramatist and physician.
Born in Clifton, Bristol, England, he was the son of Dr. Thomas Beddoes, a friend of Samuel Taylor Coleridge, and Anna, sister of Maria Edgeworth. He was educated at Charterhouse and Pembroke College, Oxford. He published in 1821 The Improvisatore, which he afterwards endeavoured to suppress. His next venture, a blank-verse drama called The Brides Tragedy (1822), was published and well reviewed, and won for him the friendship of Barry Cornwall.
Beddoes work shows a constant preoccupation with death. In 1824, he went to Göttingen to study medicine, motivated by his hope of discovering physical evidence of a human spirit which survives the death of the body.[2] He was expelled, and then went to Würzburg to complete his training. He then wandered about practising his profession, and expounding democratic theories which got him into trouble. He was deported from Bavaria in 1833, and had to leave Zürich, where he had settled, in 1840.
He continued to write, but published nothing.
He led an itinerant life after leaving Switzerland, returning to England only in 1846, before going back to Germany. He became increasingly disturbed, and committed suicide by poison at Basel, in 1849, at the age of 45.[3]
For some time before his death he had been engaged on a drama, Deaths Jest Book, which was published in 1850 with a memoir by his friend, T. F. Kelsall. His Collected Poems were published in 1851.
Kind Regards
Jim Clark
All rights are reserved on this video recordin g copyright Jim Clark 2015 Wee Wee Tailor - Thomas Lovell Beddoes - Poem - animation](https://i.ytimg.com/vi/QcmeJUlfCDQ/mqdefault.jpg)


![The Cloths of Heaven - William Butler Yeats Poem - Animation
Heres the great William Butler Yeats reading his romantic poem Aedh Wishes for the Cloths of Heaven better known as He Wishes for the Cloths of Heaven is a poem Yeats wrote for Maud Gonne, a woman he loved for most of his life although she did not return his feelings. It was published in 1899 in his third volume of poetry, The Wind Among the Reeds.The speaker of the poem is the character Aedh, who appears in Yeatss work alongside two other archetypal characters of the poets myth: Michael Robartes and Red Hanrahan. The three are collectively known as the principles of the mind. Whereas Robartes is intellectually powerful and Hanrahan represents Romantic primitivism, Aedh is pale, lovelorn, and in the thrall of La belle dame sans merci.[1] (The character Aedh is replaced in volumes of Yeatss collected poetry by a more generic he.)
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015 The Cloths of Heaven - William Butler Yeats Poem - Animation](https://i.ytimg.com/vi/RBX6mmGtdqw/mqdefault.jpg)
![Edgar Allan Poe - The Conqueror Worm - Poem - Animation
Heres a virtual movie of the great Edgar Allan Poe reading his characteristically pessimistic poem The Conqueror Worm. Food for worms was how the British dissolute gothic poet described himself in his suicide note in the final analysis that is all we are is the theme of this joyous ode.
The Conqueror Worm is a poem by Edgar Allan Poe about human mortality and the inevitability of death. It was first published separately in Grahams Magazine in 1843, but quickly became associated with Poes short story Ligeia after Poe added the poem to a revised publication of the story in 1845. In the revised story, the poem is composed by the eponymous Ligeia, and taught to the narrator in the fits of her death throes.
An audience of weeping angels watches a play performed by mimes, in the form of God on high, and controlled by vast formless shapes looming behind the scenes. The mimes chase a Phantom which they can never capture, running around in circles. Finally, a monstrous crawling shape emerges, and eats the mimes. The final curtain comes down, a funeral pall, signaling an end to the tragedy, Man whose only hero is The Conqueror Worm.
The Conqueror Worm was first published as a stand-alone poem in the January 1843 issue of Grahams Magazine.[1] Shortly after, it was included among several other poems by Poe in the February 25 issue of the Saturday Museum in a feature called The Poets & Poetry of Philadelphia: Edgar Allan Poe.[2] It was later included in Poes poetry collection The Raven and Other Poems in 1845.[1] That same year, it was incorporated into Ligeia for the first time when the story was reprinted in the February 15, 1845, issue of the New York World.[3] Ligeia was again republished with The Conqueror Worm in the September 27, 1845, issue of The Broadway Journal while Poe was its editor.[4] This was not unusual for Poe, who had also incorporated poems The Coliseum and To One in Paradise into tales
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2015 Edgar Allan Poe - The Conqueror Worm - Poem - Animation](https://i.ytimg.com/vi/RdCE_kM8GMw/mqdefault.jpg)
![William Shakespeare Mumbles Jamaica Inn Style To be, or not to be Poem animation
Heres a virtual movie of the great William Shakespeare reading in the modern actors mumbled way To be, or not to be.How appropriate on the occasion of his 450th Birthday today 23 April 2014.
To be or not to be... is the opening phrase of a soliloquy in the Nunnery Scene[1] of William Shakespeares play Hamlet.
It made me laugh out loud when I heard this on BBC Radio 4s IPM programme today and they got Nigel Havers do this mumbled recital to demonstrate the problem.
The BBC have received complaints about actors mumbling their lines in their Jamaica Inn drama series heres an article from the Telegraph Newspaper about the issue.
The number of viewer complaints over the audibility of BBC One television drama series Jamaica Inn has escalated, with the second episode seeing a decline in ratings.
A total of 252 people complained after the second episode on Tuesday, following the 546 who complained after Monday nights opening episode.
Episode two drew an average audience of 4.5 million, down on the 6.1 million who tuned in for the first instalment.
The three-part adaptation of Daphne du Mauriers novel concludes later.
The BBC apologised on Tuesday, attributing problems viewers had understanding the dialogue to issues with the sound levels.
Some viewers said they had to use subtitles to understand the actors apparent mumbling, which one complainant said was the worst [ever] heard in a TV drama.
Comedian Al Murray and Only Fools and Horses actor John Challis were among those to voice their displeasure on Twitter.
In a statement, the BBC apologised to viewers and said it would be adjusting the dialogue levels in episode two and three to address audience concerns.
Speaking to BBC Radio 5 live on Tuesday, director Philippa Lowthorpe said she was more sad than angry that the sound issues may have disturbed a few peoples enjoyment.
Set in 1821, Jamaica Inn tells of a young woman, played by former Downton Abbey actress Jessica Brown Findlay, who gets mixed up with smugglers in Cornwall.
Kind Regards
Jim Clark
All rights are reserved on this video recording copyright Jim Clark 2013
To be, or not to be: that is the question:
Whether tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them. To die: to sleep;
No more; and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to, tis a consummation
Devoutly to be wishd. To die, to sleep;
To sleep: perchance to dream: aye, theres the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: theres the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressors wrong, the proud mans contumely,
The pangs of despised love, the laws delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscoverd country from whose bourn
No traveler returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied oer with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action. William Shakespeare Mumbles Jamaica Inn Style To be, or not to be Poem animation](https://i.ytimg.com/vi/RfBgdCG9C0g/mqdefault.jpg)