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Reign of Terror
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This article is about the Reign of Terror in the French Revolution. For other uses, see Reign of Terror (disambiguation).
"The Terror" redirects here. For other uses, see The Terror (disambiguation).
Nine emigrés are executed by guillotine, 1793
Heads of aristocrats, on pikes
The Reign of Terror, or The Terror (French: la Terreur), is the label given by some historians to a period during the French Revolution after the First French Republic was established.
Several historians consider the "reign of terror" to have begun in 1793, placing the starting date at either 5 September,[1] June [2] or March (birth of the Revolutionary Tribunal), while some consider it to have begun in September 1792 (September Massacres), or even July 1789 (when the first beheadings by guillotine took place),[3] but there is a consensus that it ended with the fall of Robespierre in July 1794.[1][2]
Between June 1793 and the end of July 1794, there were 16,594 official death sentences in France, of which 2,639 were in Paris.[2][4]
Contents
[hide]
1 Barère and Robespierre glorify "terror"
2 Major events during 'the terror'
3 Thermidorian Reaction
4 See also
5 References
6 Further reading
6.1 Primary sources
6.2 Secondary sources
6.3 Historiography
7 External links
Barère and Robespierre glorify "terror"[edit]
See also: History of France § Counter-revolution subdued (July 1793–April 1794)
Bertrand Barère
There was a sense of emergency among leading politicians in France in the summer of 1793 between the widespread civil war and counter-revolution. Mr. Barère exclaimed on 5 September 1793 in the Convention: "Let's make terror the order of the day!"[5][6] They were determined to avoid street violence such as the September Massacres of 1792 by taking violence into their own hands as an instrument of government.[4]
Robespierre in February 1794 in a speech explained the necessity of terror:
If the basis of popular government in peacetime is virtue, the basis of popular government during a revolution is both virtue and terror; virtue, without which terror is baneful; terror, without which virtue is powerless. Terror is nothing more than speedy, severe and inflexible justice; it is thus an emanation of virtue; it is less a principle in itself, than a consequence of the general principle of democracy, applied to the most pressing needs of the patrie [homeland, fatherland].[7][4]
Some historians argue that such terror was a necessary reaction to the circumstances.[8] Others suggest there were also other causes, including ideological[9] and emotional.[10]
Major events during 'the terror'[edit]
Main articles: History of France § Revolutionary France (1789–1799), and France § Revolutionary France (1789–1799)
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Maximilien Robespierre, member of the Committee of Public Safety
On 10 March 1793 the National Convention created the Revolutionary Tribunal. Among those charged by the tribunal, about a half were acquitted (though the number dropped to about a quarter after the enactment of the Law of 22 Prairial). In March rebellion broke out in the Vendée in response to mass conscription, which developed into a civil war that lasted until after the Terror.
On 6 April the Committee of Public Safety was created, which gradually became the de facto war-time government.
On 2 June, the Parisian sans-culottes surrounded the National Convention, calling for administrative and political purges, a low fixed price for bread, and a limitation of the electoral franchise to sans-culottes alone. With the backing of the national guard, they persuaded the convention to arrest 29 Girondist leaders.[11] In reaction to the imprisonment of the Girondin deputies, some thirteen departments started the Federalist revolt against the National Convention in Paris, which was ultimately crushed. On 24 June, the convention adopted the first republican constitution of France, the French Constitution of 1793. It was ratified by public referendum, but never put into force.
On 13 July the assassination of Jean-Paul Marat – a Jacobin leader and journalist – resulted in a further increase in Jacobin political influence. Georges Danton, the leader of the August 1792 uprising against the king, was removed from the committee. On July 27, 1793, Robespierre became part of the Committee of Public Safety.[12]
On 23 August, the National Convention decreed the Levée en masse, "The young men shall fight; the married man shall forge arms and transport provisions; the women shall make tents and clothes and shall serve in the hospitals; the children shall turn all lint into linen; the old men shall betake themselves to the public square in order to arouse the courage of the warriors and preach hatred of kings and the unity of the Republic."
The execution of the Girondins
On 9 September, the convention established paramilitary forces, the "revolutionary armies", to force farmers to surrender grain demanded by the government. On 17 September, the Law of Suspects was passed, which authorized the imprisonment of vaguely defined "suspects". This created a mass overflow in the prison systems. On 29 September, the convention extended price fixing from grain and bread to other essential goods, and also fixed wages.
On 10 October, the Convention decreed that "the provisional government shall be revolutionary until peace." On 24 October, the French Republican Calendar was enacted. The trial of the Girondins started on the same day and they were executed on 31 October.
Anti-clerical sentiments increased during 1793 and a campaign of dechristianization occurred. On 10 November (20 Brumaire Year II of the French Republican Calendar), the Hébertists organized a Festival of Reason.
The execution of Olympe de Gouges, feminist writer close to the Girondins
On 14 Frimaire (5 December 1793) was passed the Law of Frimaire, which gave the central government more control over the actions of the representatives on mission.
On 16 Pluviôse (4 February 1794), the National Convention decreed that slavery be abolished in all of France and French colonies.
On 8 and 13 Ventôse (26 February and 3 March), Saint-Just proposed decrees to confiscate the property of exiles and opponents of the revolution, known as the Ventôse Decrees.
By the end of 1793, two major factions had emerged, both threatening the Revolutionary Government: the Hébertists, who called for an intensification of the Terror and threatened insurrection, and the Dantonists, led by Georges Danton, who demanded moderation and clemency. The Committee of Public Safety took actions against both. The major Hébertists were tried before the Revolutionary Tribunal and executed on 24 March. The Dantonists were arrested on 30 March, tried on 3 to 5 April and executed on 5 April.
On 20 Prairial (8 June) was celebrated across the country the Festival of the Supreme Being, which was part of the Cult of the Supreme Being, a deist national religion. On 22 Prairial (10 June), the National Convention passed a law proposed by Georges Couthon, known as the Law of 22 Prairial, which simplified the judicial process and greatly accelerated the work of the Revolutionary Tribunal. With the enactment of the law, the number of executions greatly increased, and the period from this time to the Thermidorian Reaction became known as "The Grand Terror".
On 8 Messidor (26 June), the French army won the Battle of Fleurus, which marked a turning point in France's military campaign and undermined the necessity of wartime measures and the legitimacy of the Revolutionary Government.
Thermidorian Reaction[edit]
Main article: Thermidorian Reaction
The execution of Maximilien Robespierre
The fall of Robespierre was brought about by a combination of those who wanted more power for the Committee of Public Safety (and a more radical policy than he was willing to allow) and the moderates who completely opposed the revolutionary government. They had, between them, made the Law of 22 Prairial one of the charges against him, so that, after his fall, to advocate terror would be seen as adopting the policy of a convicted enemy of the republic, putting the advocate's own head at risk. Between his arrest and his execution, Robespierre may have tried to commit suicide by shooting himself, although the bullet wound he sustained, whatever its origin, only shattered his jaw. Alternatively, he may have been shot by the gendarme Merda. The great confusion that arose during the storming of the municipal Hall of Paris, where Robespierre and his friends had found refuge, make it impossible to be sure of the wound's origin. In any case, Robespierre was guillotined the next day.[13]
The reign of the standing Committee of Public Safety was ended. New members were appointed the day after Robespierre's execution, and limits on terms of office were fixed (a quarter of the committee retired every three months). The Committee's powers were gradually eroded.
See also[edit]
Bals des victimes
Tricoteuse
Drownings at Nantes
State terrorism
References[edit]
^ Jump up to: a b "Reign of Terror". Encyclopædia Britannica (2015). Retrieved 19 April 2017.
^ Jump up to: a b c Linton, Marisa. "The Terror in the French Revolution" (PDF). Kingston University. Archived from the original (PDF) on 17 January 2012. Retrieved 2 December 2011.
Jump up ^ The dates July 1789, September 1792, March 1793 as starting date for the Reign of Terror (French: la Terreur) are given in the French Wikipedia, referring to source: Jean-Clément Martin, La Terreur, part maudite de la Révolution ('The Terror, the cursed part of the Revolution'), coll. Découvertes Gallimard (n° 566), Paris: Gallimard, 2010, p. 14–15.
^ Jump up to: a b c Linton, Marisa (August 2006). "Robespierre and the terror: Marisa Linton reviews the life and career of one of the most vilified men in history". History Today. 8 (56): 23. Retrieved 28 April 2017.
Jump up ^ Noah Shusterman – The French Revolution. Faith, Desire, and Politics. Routledge, London and New York, 2014. Chapter 7 (p. 175–203): The federalist revolt, the Vendée, and the start of the Terror (summer–fall 1793).
Jump up ^ (in French) '30 août 1793 – La terreur à l'ordre du jour!' Website Vendéens & Chouans. Retrieved 6 July 2017.
Jump up ^ Halsall, Paul (1997). "Maximilien Robespierre: On the Principles of Political Morality, February 1794". Fordham University. Retrieved 5 March 2016.
Jump up ^ Mathiez, Albert. La Révolution Française. Librairie Armand Colin. ISBN 978-7-100-07058-4.
Jump up ^ Furet, Francois. A Deep-rooted Ideology as Well as Circumstance, p. 224.
Jump up ^ Tackett, Timothy (2015-02-23). The Coming of the Terror in the French Revolution. Belknap Press: An Imprint of Harvard University Press. ISBN 0674736559.
Jump up ^ Jones, Peter. The French Revolution 1787–1804. Pearson Education, 2003, p. 57.
Jump up ^ "Maximilien Robespierre | Biography, Facts, & Execution". Encyclopedia Britannica. Retrieved 2017-09-19.
Jump up ^ Merriman, John (2004). "Thermidor" (2nd ed.). A history of modern Europe: from the Renaissance to the present, p 507. W.W. Norton & Company Ltd. ISBN 0-393-92495-5
Further reading[edit]
Primary sources[edit]
Cléry, Jean-Baptiste; Henry Essex Edgeworth (1961) [1798]. Sidney Scott, ed. Journal of the Terror. Cambridge: Cambridge University Press. OCLC 3153946.
Secondary sources[edit]
Andress, David (2006). The Terror: The Merciless War for Freedom in Revolutionary France. New York: Farrar, Straus and Giroux. ISBN 0-374-27341-3.
Baker, Keith M. François Furet, and Colin Lucas, eds. (1987) The French Revolution and the Creation of Modern Political Culture, vol. 4, The Terror (London: Pergamon Press, 1987)
Beik, William (August 2005). "The Absolutism of Louis XIV as Social Collaboration: Review Article". Past and Present. 188: 195–224. doi:10.1093/pastj/gti019.
Censer, Jack, and Lynn Hunt (2001). Liberty, Equality, Fraternity: Exploring the French Revolution. University Park, PA: Pennsylvania State University Press.
Hunt, Lynn (1984). Politics, Culture, and Class in the French Revolution. Berkeley: University of California Press.
Gough, Hugh. The terror in the French revolution (London: Macmillan, 1998)
Hibbert, Christopher (1981). The Days of the French Revolution. New York: Quill-William Morrow. ISBN 978-0-688-16978-7.
Kerr, Wilfred Brenton (1985). Reign of Terror, 1793–1794. London: Porcupine Press. ISBN 0-87991-631-1.
Linton, Marisa (August 2006). "Robespierre and the terror: Marisa Linton reviews the life and career of one of the most vilified men in history, (Maximilien Robespierre)(Biography)". History Today. 8 (56): 23.
Linton, Marisa, Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution (Oxford University Press, 2013).
Loomis, Stanley (1964). Paris in the Terror. New York: Dorset Press. ISBN 0-88029-401-9.
Moore, Lucy (2006). Liberty: The Lives and Times of Six Women in Revolutionary France. London: HarperCollins. ISBN 0-00-720601-1.
Steel, Mark (2003). Vive La Revolution. London: Scribner. ISBN 0-7432-0806-4.
Reviewed by Adam Thorpe in The Guardian, 23 December 2006.
Palmer, R. R. (2005). Twelve Who Ruled: The Year of the Terror in the French Revolution. Princeton, New Jersey: Princeton University Press. ISBN 0-691-12187-7.
Schama, Simon (1989). Citizens: A Chronicle of the French Revolution. New York: Alfred A. Knopf. pp. 678–847. ISBN 0-394-55948-7.
Scott, Otto (1974). Robespierre, The Fool as Revolutionary – Inside the French Revolution. Windsor, New York: The Reformer Library. ISBN 978-1-887690-05-8.
Shulim, Joseph I. "Robespierre and the French Revolution," American Historical Review (1977) 82#1 pp. 20–38 in JSTOR
Soboul, Albert. "Robespierre and the Popular Movement of 1793–4", Past and Present, No. 5. (May 1954), pp. 54–70. in JSTOR
Sutherland, D.M.G. (2003) The French Revolution and Empire: The Quest for a Civic Order pp 174–253
Wahnich, Sophie (2016). In Defence of the Terror: Liberty or Death in the French Revolution (Reprint ed.). Verso. ISBN 978-1784782023.
Reviewed by Ruth Scurr in The Guardian, 17 August 2012
Weber, Caroline. (2003) Terror and Its Discontents: Suspect Words in Revolutionary France online
Historiography[edit]
Kafker, Frank, James M. Lauz, and Darline Gay Levy (2002). The French Revolution: Conflicting Interpretations. Malabar, FL: Krieger Publishing Company.
Rudé, George (1976). Robespierre: Portrait of a Revolutionary Democrat. New York: Viking Press. ISBN 0-670-60128-4. A Marxist political portrait of Robespierre, examining his changing image among historians and the different aspects of Robespierre as an 'ideologue', as a political democrat, as a social democrat, as a practitioner of revolution, as a politician and as a popular leader/leader of revolution, it also touches on his legacy for the future revolutionary leaders Vladimir Lenin and Mao Zedong.
External links[edit]
Wikimedia Commons has media related to French Revolution.
"The Terror" from In Our Time (BBC Radio 4)
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Nicolas Oudinot
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Charlotte Corday
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Jean Baptiste Treilhard
Pierre Victurnien Vergniaud
Bertrand Barère de Vieuzac
Jérôme Pétion de Villeneuve
Jean Debry
Jean-Jacques Duval d'Eprémesnil
Olympe de Gouges
Jean-Baptiste Robert Lindet
Louis Marie de La Révellière-Lépeaux
The Plain
Abbé Sieyès
de Cambacérès
Charles François Lebrun
Lazare Nicolas Marguerite Carnot
Philippe Égalité
Louis Philippe I
Mirabeau
Antoine Christophe Merlin de Thionville
Jean Joseph Mounier
Pierre Samuel du Pont de Nemours
François de Neufchâteau
Montagnards
Maximilien Robespierre
Georges Danton
Jean-Paul Marat
Camille Desmoulins
Louis Antoine de Saint-Just
Paul Nicolas, vicomte de Barras
Louis Philippe I
Louis Michel le Peletier de Saint-Fargeau
Jacques-Louis David
Marquis de Sade
Jacques-Louis David
Georges Couthon
Roger Ducos
Jean-Marie Collot d'Herbois
Jean-Henri Voulland
Philippe-Antoine Merlin de Douai
Antoine Quentin Fouquier-Tinville
Philippe-François-Joseph Le Bas
Marc-Guillaume Alexis Vadier
Jean-Pierre-André Amar
Prieur de la Côte-d'Or
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Gilbert Romme
Jean Bon Saint-André
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Bertrand Barère de Vieuzac
Antoine Christophe Saliceti
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and Enragés
Jacques Hébert
Jacques Nicolas Billaud-Varenne
Pierre Gaspard Chaumette
Charles-Philippe Ronsin
Antoine-François Momoro
François-Nicolas Vincent
François Chabot
Jean Baptiste Noël Bouchotte
Jean-Baptiste-Joseph Gobel
François Hanriot
Jacques Roux
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Talleyrand
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Catherine Théot
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Diderot
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Thomas Paine
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Sonnet 18
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Sonnet 18
Sonnet 18 in the 1609 Quarto of Shakespeare's sonnets
Q1
Q2
Q3
C
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimm’d:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall Death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
4
8
12
14
—William Shakespeare[1]
Sonnet 18, often alternatively titled Shall I compare thee to a summer's day?, is one of the best-known of 154 sonnets written by the English playwright and poet William Shakespeare. Part of the Fair Youth sequence (which comprises sonnets 1–126 in the accepted numbering stemming from the first edition in 1609), it is the first of the cycle after the opening sequence now described as the procreation sonnets.
In the sonnet, the speaker asks whether or not he should compare his beloved to the summer season, and argues that he should not because the comparison does not properly express the depths of his emotion. He also states that his beloved will live on forever through the words of the poem. Scholars have found parallels within the poem to Ovid's Tristia and Amores, both of which have love themes. Sonnet 18 is written in the typical Shakespearean sonnet form, having 14 lines of iambic pentameter ending in a rhymed couplet. Detailed exegeses have revealed several double meanings within the poem, giving it a greater depth of interpretation.
Contents
[hide]
1 Paraphrase
2 Structure
3 Context
4 Exegesis
5 Recordings
6 Notes
7 References
8 External links
Paraphrase[edit]
The poem starts with a flattering question to the beloved—"Shall I compare thee to a summer's day?" The beloved is "more lovely and more temperate" than a summer's day. The speaker lists some negative things about summer: it is short—"summer's lease hath all too short a date"—and sometimes the sun is too hot—"Sometime too hot the eye of heaven shines." However, the beloved has beauty that will last forever and will be rejuvenated with the passage of time, unlike the fleeting beauty of a summer's day. At the end of the sonnet, by putting his love's beauty into the form of poetry, the poet is preserving it forever. "So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee." The lover's beauty will live on, through the poem which will last as long as it can be read. Thus, the beauty of his friend is immortalized by William Shakespeare.
Structure[edit]
Sonnet 18 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a couplet, and it has the characteristic rhyme scheme: abab cdcd efef gg. The poem reflects the rhetorical tradition of an Italian or Petrarchan Sonnet. Petrarchan sonnets typically discussed the love and beauty of a beloved, often an unattainable love, but not always.[2] It also contains a volta, or shift in the poem's subject matter, beginning with the third quatrain.[3]
The couplet's first line exemplifies a regular iambic pentameter rhythm:
 ×  /   ×   /   ×    /     ×  /     ×   /
So long as men can breathe or eyes can see, (18.13)

/ = ictus, a metrically strong syllabic position. × = nonictus.
Context[edit]
The poem is part of the Fair Youth sequence (which comprises sonnets 1–126 in the accepted numbering stemming from the first edition in 1609). It is also the first of the cycle after the opening sequence now described as the procreation sonnets. Some scholars, however, contend that it is part of the procreation sonnets, as it addresses the idea of reaching eternal life through the written word, a theme they find in sonnets 15–17. In this view, it can be seen as part of a transition to sonnet 20's time theme.[4]
There are many, varying theories about the identity of the 1609 Quarto's enigmatic dedicatee, Mr. W.H. Some scholars have suggested that this poem may be expressing a hope that they interpret the procreation sonnets as having despaired of: the hope of metaphorical procreation in a homosexual relationship.[5] Professor Michael Schoenfeldt of the University of Michigan, characterizes the Fair Youth sequence sonnets as "the articulation of a fervent same-sex love,"[6] and some scholars, noting the romantic language used in the sequence, refer to it as a "daring representation of homoerotic...passions," [7] of "passionate, erotic love," [8] suggesting that the relationship between the speaker and the Fair Youth is sexual. The true character of this love remains unclear, however, and others interpret the relationship as one of purely platonic love, while yet others see it as describing a woman. Scholars have pointed out that the order in which the sonnets are placed may have been the decision of the publishers, and not of Shakespeare, which would further support the interpretation that Sonnet 18 was addressed to a woman.[9]
Exegesis[edit]
Line one is paradoxical, because the implied answer to the poet's question, "Shall I compare thee to a summer's day", is in the negative, even though the point is illustrated by comparisons.[10]
"Complexion" in line six, can have two meanings:
(1)The outward appearance of the face as compared with the sun ("the eye of heaven") in the previous line, or
(2)The older sense of the word in relation to The four humours.
In Shakespeare's time, "complexion" carried both outward and inward meanings, as did the word "temperate" (externally, a weather condition; internally, a balance of humours). The second meaning of "complexion" would communicate that the beloved's inner, cheerful, and temperate disposition is constant, unlike the sun, which may be blotted out on a cloudy day. The first meaning is more obvious, meaning of a negative change in his outward appearance.[11]
The word, "untrimmed" in line eight, can be taken two ways: First, in the sense of loss of decoration and frills, and second, in the sense of untrimmed sails on a ship.In the first interpretation, the poem reads that beautiful things naturally lose their fanciness over time. In the second, it reads that nature is a ship with sails not adjusted to wind changes in order to correct course. This, in combination with the words "nature's changing course", creates an oxymoron: the unchanging change of nature, or the fact that the only thing that does not change is change. This line in the poem creates a shift from the mutability of the first eight lines, into the eternity of the last six. Both change and eternity are then acknowledged and challenged by the final line.[2]
"Ow'st" in line ten can also carry two meanings equally common at the time: "ownest" and "owest". Many readers interpret it as "ownest", as do many Shakespearean glosses ("owe" in Shakespeare's day, was sometimes used as a synonym for "own"). However, "owest" delivers an interesting view on the text. It conveys the idea that beauty is something borrowed from nature—that it must be paid back as time progresses. In this interpretation, "fair" can be a pun on "fare", or the fare required by nature for life's journey.[12] Other scholars have pointed out that this borrowing and lending theme within the poem is true of both nature and humanity. Summer, for example, is said to have a "lease" with "all too short a date." This monetary theme is common in many of Shakespeare's sonnets, as it was an everyday theme in his budding capitalistic society.[13]
Recordings[edit]
Paul Kelly, for the 2016 album, Seven Sonnets & a Song
Chuck Liddell Video on YouTube
Notes[edit]
Jump up ^ Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201. To correct a typographical error in Arden 1, Quatrain 2 has been supplied by Arden 3: Duncan-Jones, Katherine (1997). Shakespeare's Sonnets. London: Arden Shakespeare. ISBN 978-1903436578.
^ Jump up to: a b Jungman, Robert E. (January 2003). "Trimming Shakespeare's Sonnet 18". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. ANQ. 16 (1): 18–19. doi:10.1080/08957690309598181. ISSN 0895-769X.
Jump up ^ Preminger, Alex and T. Brogan. The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University Press, 1993. pg. 894 ISBN 0-691-02123-6
Jump up ^ Shakespeare, William et al. The Sonnets. Cambridge: Cambridge University Press, 1996. pg. 130 ISBN 0-521-29403-7
Jump up ^ Neely, Carol Thomas (October 1978). "The Structure of English Renaissance Sonnet Sequence". ELH. ELH, Vol. 45, No. 3. 45 (3): 359–389. doi:10.2307/2872643. JSTOR 2872643.
Jump up ^ Schoenfeldt, Michael Carl. A Companion to Shakespeare's Sonnets. Malden: Blackwell Publishing, 2010. Print. p 1.
Jump up ^ (Cohen 1745)
Jump up ^ (Cohen 1749)
Jump up ^ Schiffer, James. Shakespeare's Sonnets. New York: Garland Pub, 1999. pg. 124. ISBN 0-8153-2365-4
Jump up ^ Larsen, Kenneth J. "Sonnet 18". Essays on Shakespeare's Sonnets. Retrieved 28 November 2014.
Jump up ^ Ray, Robert H. (October 1994). "Shakespeare's Sonnet 18". The Explicator. 53 (1): 10–11. doi:10.1080/00144940.1994.9938800. ISSN 0014-4940.
Jump up ^ Howell, Mark (April 1982). "Shakespeare's Sonnet 18". The Explicator. 40 (3): 12. ISSN 0014-4940.
Jump up ^ Thurman, Christopher (May 2007). "Love's Usury, Poet's Debt: Borrowing and Mimesis in Shakespeare's Sonnets". Literature Compass. Literature Compass. 4 (3): 809–819. doi:10.1111/j.1741-4113.2007.00433.x.
References[edit]
Baldwin, T. W. (1950). On the Literary Genetics of Shakspeare's Sonnets. University of Illinois Press, Urbana.
Hubler, Edward (1952). The Sense of Shakespeare's Sonnets. Princeton University Press, Princeton.
Schoenfeldt, Michael (2007). The Sonnets: The Cambridge Companion to Shakespeare’s Poetry. Patrick Cheney, Cambridge University Press, Cambridge.
First edition and facsimile
Shakespeare, William (1609). Shake-speares Sonnets: Never Before Imprinted. London: Thomas Thorpe.
Lee, Sidney, ed. (1905). Shakespeares Sonnets: Being a reproduction in facsimile of the first edition. Oxford: Clarendon Press. OCLC 458829162.
Variorum editions
Alden, Raymond Macdonald, ed. (1916). The Sonnets of Shakespeare. Boston: Houghton Mifflin Company. OCLC 234756.
Rollins, Hyder Edward, ed. (1944). A New Variorum Edition of Shakespeare: The Sonnets [2 Volumes]. Philadelphia: J. B. Lippincott & Co. OCLC 6028485.
Modern critical editions
Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499.
Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040.
Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938.
Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951.
Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082.
Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446.
Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469.
Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809.
Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589.
External links[edit]
Works related to Sonnet 18 (Shakespeare) at Wikisource
Paraphrase and analysis (Shakespeare-online)
David Gilmour's recording of Sonnet 18 on YouTube
Poeterra's recording of Sonnet 18
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text:
I Don't Want to Live Without You
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the song by Gregg Tripp, see I Don't Want to Live Without You (Gregg Tripp song).
"I Don't Want to Live Without You"
Single by Foreigner
from the album Inside Information
B-side
"Face To Face"
Released
March 1988
Recorded
1987
Genre
Soft rock[1]
Length
4:52
Label
Atlantic
Songwriter(s)
Mick Jones
Producer(s)
Frank Filipetti, Mick Jones
Foreigner singles chronology
"Say You Will"
(1987) "I Don't Want to Live Without You"
(1988) "Heart Turns to Stone"
(1988)
"Say You Will"
(1987) "I Don't Want to Live Without You"
(1988) "Heart Turns to Stone"
(1988)
"I Don't Want to Live Without You" is a song from the rock-pop band Foreigner. It was included on their 1987 platinum album, Inside Information.
Released as the follow-up single to the song "Say You Will", "I Don't Want to Live Without You" peaked at #5 on the Billboard Hot 100 chart in May 1988.[2] It was the band's sixteenth (and, to date, final) entry on the Billboard pop Top 40. On the Billboard adult contemporary chart, the song became Foreigner's only #1 hit, spending one week atop the tally the week of May 14, 1988.[3] The band had previously reached the Top 5 on the AC chart twice, with the songs "Waiting for a Girl Like You" (#5 in 1981) and "I Want to Know What Love Is" (#3 in 1985).
References[edit]
Jump up ^ Sawdey, Evan (26 November 2014). "Foreigner: The Complete Atlantic Studio Albums 1977-1991". PopMatters. Retrieved 26 January 2017.
Jump up ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications)
Jump up ^ Hyatt, Wesley (1999). The Billboard Book of #1 Adult Contemporary Hits (Billboard Publications)
Preceded by
"Anything for You" by Gloria Estefan & Miami Sound Machine Billboard Adult Contemporary number-one single
May 14, 1988 Succeeded by
"Shattered Dreams" by Johnny Hates Jazz
[hide]
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Kelly Hansen
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Ian McDonald
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Rick Wills
Jack Allen Smith
Johnny Edwards
Jeff Jacobs
Mark Schulman
Bruce Turgon
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Brian Tichy
Denny Carmassi
Jason Bonham
Chaz West
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Studio albums
Foreigner
Double Vision
Head Games
4
Agent Provocateur
Inside Information
Unusual Heat
Mr. Moonlight
Can't Slow Down
Compilations
Records
The Very Best ... and Beyond
Jukebox Heroes: The Foreigner Anthology
Complete Greatest Hits
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No End in Sight: The Very Best of Foreigner
Live albums
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Can't Slow Down...When It's Live!
Singles
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"Hot Blooded"
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"That Was Yesterday"
"Tooth and Nail"
"Reaction to Action"
"Growing Up the Hard Way"
"Down on Love"
"Say You Will"
"I Don't Want to Live Without You"
"Heart Turns to Stone"
"Can't Wait"
"Lowdown and Dirty"
"I'll Fight for You"
"With Heaven on Our Side"
"Soul Doctor"
"White Lie"
"Until the End of Time"
"Rain"
"Under the Gun"
"Too Late"
"When It Comes to Love"
"Can't Slow Down"
"In Pieces"
Related articles
Discography
Shadow King
Black Sheep
"Revenge of the Mooninites"
Book
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Don%27t_Want_to_Live_Without_You&oldid=808564907"
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Songs written by Mick Jones (Foreigner)
1987 songs
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