William Shakespeare is primarily known for the plays that he wrote. But he also wrote poetry, including 154 sonnets. The English sonnet has a very specific form. It has fourteen lines, organized into three quatrains (stanzas with four lines) followed by a couplet (a stanza with two lines). The meter is iambic pentameter and the rhyme scheme is ABAB CDCD EFEF GG. The narrative structure of the English sonnet also follows a pattern. The first quatrain is sometimes called the proposition because it introduces an idea or problem that serves as the focus of the poem. The second and third quatrains further develop that idea or problem. At the end of the third quatrain is a volta ("turn") that changes the tone or direction of the poem so that the final couplet can act as the "resolution".
I wanted to see how Stable Diffusion would interpret Shakespeare's sonnets. For each sonnet, I submitted each quatrain and the couplet separately, which produced for images for each. I accepted the first output unless it had objectionable content or had defects (see below). This post contains the results for sonnets 21–40 by Shakespeare, along with the text, for comparison.
Perhaps not surprisingly, Stable Diffusion sometimes struggled with the archaic language of Shakespeare. But in the process some interesting patterns emerged. All of these could be considered defects in how AIs currently generate art.
Fixations
Just like there are people who get fixated on one thing, AIs can become hyperfocused on certain terms to the exclusion of the rest of the prompt.
In this project, there were certain words that, if present, had an inordinate influence on the final image produced. For example, any time the verb "bear" appeared in the prompt, Stable Diffusion added a bear (the animal) to the image. Admittedly, this usage is uncommon in modern English, but it still reveals that some words matter more to the AI than others. Another example of this is the word "eye". Almost every time that the word "eye" appeared in the prompt, Stable Diffusion drew a giant eyeball, no matter what else the prompt said.
Fixations could be due to incomplete language training or due to overrepresentation of certain topics in the training dataset.
Tics
In humans, tics are unwanted and uncontrollable behaviors, like coprolalia or an eye twitch. In AI art, it manifests as the AI adding things to an image that were not part of the prompt. To create art there must be some degree of flexibility, so unwanted elements are only considered tics if they consistently appear without being requested. Tics are distinct from defects, like extra fingers or crossed eyes.
This project revealed several tics in the instantiation of Stable Diffusion that I was using [Imagine v4(Beta) by vyro.ai]. First, almost every time that it drew a human character, it added some kind of filigree to the cheekbones (and sometimes the forehead) of that character. Second, it frequently drew leaves or feathers (I couldn't always tell which and I'm not sure that Stable Diffusion could, either) on human and animal characters. Third, it often drew giant heads emerging from landscapes. Fourth, Stable Diffusion often returned an image of a piece of paper with the requested drawing on it and pencils or pens lying on the paper, partially obscuring the requested drawing. Outside of this project, I've also seen Stable Diffusion draw giant mushroom-shaped objects when it is asked to draw an alien landscape. These things regularly showed up even though they weren't asked for.
Tics could be due to overrepresentation of certain image types in the training dataset.
Blocks
When humans experience an unwanted thought or memory, they may create a mental block that prevents them from recalling it. Likewise, AI art generators may consistently fail to recognize a term and render it as art.
Because I used complex prompts for this project, I don't have specific examples from this project because I used such complex prompts. However, I have found that the instantiation of Stable Diffusion that I use has terms that it doesn't recognize (like "arrowhead" and "anvil"). Or, for example, if I ask it for a bleeding heart, I always get a heart shape with blood dripping from it; never the organ with blood dripping from it or the flower.
Blocks can be due to underrepresentation of certain topics in the training set or through deliberate filtering on the part of the service provider (e.g., filtering out adult content).
Defects
Defects are obvious distortions in the final art product that lack aesthetic value. Where tics add unwanted artistic elements, defects just make the final product look garbled, incomplete, or even disturbing.
In this project I actively discarded images that had defects like extra fingers, extra limbs, two right hands, crossed eyes, garbled writing, etc., but there are probably some that I missed. Outside of this project, I have found that the instantiation of Stable Diffusion that I use has terms that it recognizes but (usually) can't produce accurately (like "lawnmower", "chainsaw", "walking frame", "unicorn", and "centaur").
Defects are most likely due to a failure to form an accurate model of a topic during training.
Sonnet XXI
So is it not with me as with that Muse,
Stirred by a painted beauty to his verse,
Who heaven itself for ornament doth use
And every fair with his fair doth rehearse,
Stirred by a painted beauty to his verse,
Who heaven itself for ornament doth use
And every fair with his fair doth rehearse,
Making a couplement of proud compare
With sun and moon, with earth and sea's rich gems,
With April's first-born flowers, and all things rare,
That heaven's air in this huge rondure hems.
With sun and moon, with earth and sea's rich gems,
With April's first-born flowers, and all things rare,
That heaven's air in this huge rondure hems.
O! let me, true in love, but truly write,
And then believe me, my love is as fair
As any mother's child, though not so bright
As those gold candles fixed in heaven's air:
And then believe me, my love is as fair
As any mother's child, though not so bright
As those gold candles fixed in heaven's air:
Let them say more that like of hearsay well;
I will not praise that purpose not to sell.
I will not praise that purpose not to sell.
Sonnet XXII
My glass shall not persuade me I am old,
So long as youth and thou are of one date;
But when in thee time's furrows I behold,
Then look I death my days should expiate.
So long as youth and thou are of one date;
But when in thee time's furrows I behold,
Then look I death my days should expiate.
For all that beauty that doth cover thee,
Is but the seemly raiment of my heart,
Which in thy breast doth live, as thine in me:
How can I then be elder than thou art?
Is but the seemly raiment of my heart,
Which in thy breast doth live, as thine in me:
How can I then be elder than thou art?
O! therefore, love, be of thyself so wary
As I, not for myself, but for thee will;
Bearing thy heart, which I will keep so chary
As tender nurse her babe from faring ill.
As I, not for myself, but for thee will;
Bearing thy heart, which I will keep so chary
As tender nurse her babe from faring ill.
Presume not on thy heart when mine is slain,
Thou gav'st me thine not to give back again.
Thou gav'st me thine not to give back again.
Sonnet XXIII
As an unperfect actor on the stage,
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart;
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart;
So I, for fear of trust, forget to say
The perfect ceremony of love's rite,
And in mine own love's strength seem to decay,
O'ercharged with burthen of mine own love's might.
The perfect ceremony of love's rite,
And in mine own love's strength seem to decay,
O'ercharged with burthen of mine own love's might.
O! let my looks be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love, and look for recompense,
More than that tongue that more hath more express'd.
And dumb presagers of my speaking breast,
Who plead for love, and look for recompense,
More than that tongue that more hath more express'd.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love's fine wit.
To hear with eyes belongs to love's fine wit.
Sonnet XXIV
Mine eye hath played the painter and hath steeled,
Thy beauty's form in table of my heart;
My body is the frame wherein 'tis held,
And perspective that is best painter's art.
Thy beauty's form in table of my heart;
My body is the frame wherein 'tis held,
And perspective that is best painter's art.
For through the painter must you see his skill,
To find where your true image pictured lies,
Which in my bosom's shop is hanging still,
That hath his windows glazed with thine eyes.
To find where your true image pictured lies,
Which in my bosom's shop is hanging still,
That hath his windows glazed with thine eyes.
Now see what good turns eyes for eyes have done:
Mine eyes have drawn thy shape, and thine for me
Are windows to my breast, where-through the sun
Delights to peep, to gaze therein on thee;
Mine eyes have drawn thy shape, and thine for me
Are windows to my breast, where-through the sun
Delights to peep, to gaze therein on thee;
Yet eyes this cunning want to grace their art,
They draw but what they see, know not the heart.
They draw but what they see, know not the heart.
Sonnet XXV
Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars
Unlook'd for joy in that I honour most.
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars
Unlook'd for joy in that I honour most.
Great princes' favourites their fair leaves spread
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
The painful warrior famoused for fight,
After a thousand victories once foiled,
Is from the book of honour razed quite,
And all the rest forgot for which he toiled:
After a thousand victories once foiled,
Is from the book of honour razed quite,
And all the rest forgot for which he toiled:
Then happy I, that love and am beloved,
Where I may not remove nor be removed.
Where I may not remove nor be removed.
Sonnet XXVI
Lord of my love, to whom in vassalage
Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit:
Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit:
Duty so great, which wit so poor as mine
May make seem bare, in wanting words to show it,
But that I hope some good conceit of thine
In thy soul's thought, all naked, will bestow it:
May make seem bare, in wanting words to show it,
But that I hope some good conceit of thine
In thy soul's thought, all naked, will bestow it:
Till whatsoever star that guides my moving,
Points on me graciously with fair aspect,
And puts apparel on my tottered loving,
To show me worthy of thy sweet respect:
Points on me graciously with fair aspect,
And puts apparel on my tottered loving,
To show me worthy of thy sweet respect:
Then may I dare to boast how I do love thee;
Till then, not show my head where thou mayst prove me.
Till then, not show my head where thou mayst prove me.
Sonnet XXVII
Weary with toil, I haste me to my bed,
The dear repose for limbs with travel tired;
But then begins a journey in my head
To work my mind, when body's work's expired:
The dear repose for limbs with travel tired;
But then begins a journey in my head
To work my mind, when body's work's expired:
For then my thoughts—from far where I abide—
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see:
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness which the blind do see:
Save that my soul's imaginary sight
Presents thy shadow to my sightless view,
Which, like a jewel hung in ghastly night,
Makes black night beauteous, and her old face new.
Presents thy shadow to my sightless view,
Which, like a jewel hung in ghastly night,
Makes black night beauteous, and her old face new.
Lo! thus, by day my limbs, by night my mind,
For thee, and for myself, no quiet find.
For thee, and for myself, no quiet find.
Sonnet XXVIII
How can I then return in happy plight,
That am debarred the benefit of rest?
When day's oppression is not eas'd by night,
But day by night and night by day oppressed,
That am debarred the benefit of rest?
When day's oppression is not eas'd by night,
But day by night and night by day oppressed,
And each, though enemies to either's reign,
Do in consent shake hands to torture me,
The one by toil, the other to complain
How far I toil, still farther off from thee.
Do in consent shake hands to torture me,
The one by toil, the other to complain
How far I toil, still farther off from thee.
I tell the day, to please him thou art bright,
And dost him grace when clouds do blot the heaven:
So flatter I the swart-complexion'd night,
When sparkling stars twire not thou gild'st the even.
And dost him grace when clouds do blot the heaven:
So flatter I the swart-complexion'd night,
When sparkling stars twire not thou gild'st the even.
But day doth daily draw my sorrows longer,
And night doth nightly make grief's length seem stronger.
And night doth nightly make grief's length seem stronger.
Sonnet XXIX
When in disgrace with fortune and men's eyes
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Featured like him, like him with friends possessed,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts my self almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
That then I scorn to change my state with kings.
Sonnet XXX
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unused to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancelled woe,
And moan the expense of many a vanished sight:
For precious friends hid in death's dateless night,
And weep afresh love's long since cancelled woe,
And moan the expense of many a vanished sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restor'd and sorrows end.
All losses are restor'd and sorrows end.
Sonnet XXXI
Thy bosom is endeared with all hearts,
Which I by lacking have supposed dead;
And there reigns Love, and all Love's loving parts,
And all those friends which I thought buried.
Which I by lacking have supposed dead;
And there reigns Love, and all Love's loving parts,
And all those friends which I thought buried.
How many a holy and obsequious tear
Hath dear religious love stol'n from mine eye,
As interest of the dead, which now appear
But things removed that hidden in thee lie!
Hath dear religious love stol'n from mine eye,
As interest of the dead, which now appear
But things removed that hidden in thee lie!
Thou art the grave where buried love doth live,
Hung with the trophies of my lovers gone,
Who all their parts of me to thee did give,
That due of many now is thine alone:
Hung with the trophies of my lovers gone,
Who all their parts of me to thee did give,
That due of many now is thine alone:
Their images I loved, I view in thee,
And thou (all they) hast all the all of me.
And thou (all they) hast all the all of me.
Sonnet XXXII
If thou survive my well-contented day,
When that churl Death my bones with dust shall cover
And shalt by fortune once more re-survey
These poor rude lines of thy deceased lover,
When that churl Death my bones with dust shall cover
And shalt by fortune once more re-survey
These poor rude lines of thy deceased lover,
Compare them with the bett'ring of the time,
And though they be outstripped by every pen,
Reserve them for my love, not for their rhyme,
Exceeded by the height of happier men.
And though they be outstripped by every pen,
Reserve them for my love, not for their rhyme,
Exceeded by the height of happier men.
O! then vouchsafe me but this loving thought:
'Had my friend's Muse grown with this growing age,
A dearer birth than this his love had brought,
To march in ranks of better equipage:
'Had my friend's Muse grown with this growing age,
A dearer birth than this his love had brought,
To march in ranks of better equipage:
But since he died and poets better prove,
Theirs for their style I'll read, his for his love'.
Theirs for their style I'll read, his for his love'.
Sonnet XXXIII
Full many a glorious morning have I seen
Flatter the mountain tops with sovereign eye,
Kissing with golden face the meadows green,
Gilding pale streams with heavenly alchemy;
Flatter the mountain tops with sovereign eye,
Kissing with golden face the meadows green,
Gilding pale streams with heavenly alchemy;
Anon permit the basest clouds to ride
With ugly rack on his celestial face,
And from the forlorn world his visage hide,
Stealing unseen to west with this disgrace:
With ugly rack on his celestial face,
And from the forlorn world his visage hide,
Stealing unseen to west with this disgrace:
Even so my sun one early morn did shine,
With all triumphant splendour on my brow;
But out, alack, he was but one hour mine,
The region cloud hath mask'd him from me now.
With all triumphant splendour on my brow;
But out, alack, he was but one hour mine,
The region cloud hath mask'd him from me now.
Yet him for this my love no whit disdaineth;
Suns of the world may stain when heaven's sun staineth.
Suns of the world may stain when heaven's sun staineth.
Sonnet XXXIV
Why didst thou promise such a beauteous day,
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding thy bravery in their rotten smoke?
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding thy bravery in their rotten smoke?
'Tis not enough that through the cloud thou break,
To dry the rain on my storm-beaten face,
For no man well of such a salve can speak,
That heals the wound, and cures not the disgrace:
To dry the rain on my storm-beaten face,
For no man well of such a salve can speak,
That heals the wound, and cures not the disgrace:
Nor can thy shame give physic to my grief;
Though thou repent, yet I have still the loss:
The offender's sorrow lends but weak relief
To him that bears the strong offence's cross.
Though thou repent, yet I have still the loss:
The offender's sorrow lends but weak relief
To him that bears the strong offence's cross.
Ah! but those tears are pearl which thy love sheds,
And they are rich and ransom all ill deeds.
And they are rich and ransom all ill deeds.
Sonnet XXXV
No more be grieved at that which thou hast done:
Roses have thorns, and silver fountains mud:
Clouds and eclipses stain both moon and sun,
And loathsome canker lives in sweetest bud.
Roses have thorns, and silver fountains mud:
Clouds and eclipses stain both moon and sun,
And loathsome canker lives in sweetest bud.
All men make faults, and even I in this,
Authorizing thy trespass with compare,
Myself corrupting, salving thy amiss,
Excusing thy sins more than thy sins are;
Authorizing thy trespass with compare,
Myself corrupting, salving thy amiss,
Excusing thy sins more than thy sins are;
For to thy sensual fault I bring in sense,
Thy adverse party is thy advocate,
And 'gainst myself a lawful plea commence:
Such civil war is in my love and hate,
Thy adverse party is thy advocate,
And 'gainst myself a lawful plea commence:
Such civil war is in my love and hate,
That I an accessary needs must be,
To that sweet thief which sourly robs from me.
To that sweet thief which sourly robs from me.
Sonnet XXXVI
Let me confess that we two must be twain,
Although our undivided loves are one:
So shall those blots that do with me remain,
Without thy help, by me be borne alone.
Although our undivided loves are one:
So shall those blots that do with me remain,
Without thy help, by me be borne alone.
In our two loves there is but one respect,
Though in our lives a separable spite,
Which though it alter not love's sole effect,
Yet doth it steal sweet hours from love's delight.
Though in our lives a separable spite,
Which though it alter not love's sole effect,
Yet doth it steal sweet hours from love's delight.
I may not evermore acknowledge thee,
Lest my bewailed guilt should do thee shame,
Nor thou with public kindness honour me,
Unless thou take that honour from thy name:
Lest my bewailed guilt should do thee shame,
Nor thou with public kindness honour me,
Unless thou take that honour from thy name:
But do not so, I love thee in such sort,
As thou being mine, mine is thy good report.
As thou being mine, mine is thy good report.
Sonnet XXXVII
As a decrepit father takes delight
To see his active child do deeds of youth,
So I, made lame by Fortune's dearest spite,
Take all my comfort of thy worth and truth;
To see his active child do deeds of youth,
So I, made lame by Fortune's dearest spite,
Take all my comfort of thy worth and truth;
For whether beauty, birth, or wealth, or wit,
Or any of these all, or all, or more,
Entitled in thy parts, do crowned sit,
I make my love engrafted to this store:
Or any of these all, or all, or more,
Entitled in thy parts, do crowned sit,
I make my love engrafted to this store:
So then I am not lame, poor, nor despised,
Whilst that this shadow doth such substance give
That I in thy abundance am sufficed,
And by a part of all thy glory live.
Whilst that this shadow doth such substance give
That I in thy abundance am sufficed,
And by a part of all thy glory live.
Look what is best, that best I wish in thee:
This wish I have; then ten times happy me!
This wish I have; then ten times happy me!
Sonnet XXXVIII
How can my muse want subject to invent,
While thou dost breathe, that pour'st into my verse
Thine own sweet argument, too excellent
For every vulgar paper to rehearse?
While thou dost breathe, that pour'st into my verse
Thine own sweet argument, too excellent
For every vulgar paper to rehearse?
O! give thy self the thanks, if aught in me
Worthy perusal stand against thy sight;
For who's so dumb that cannot write to thee,
When thou thy self dost give invention light?
Worthy perusal stand against thy sight;
For who's so dumb that cannot write to thee,
When thou thy self dost give invention light?
Be thou the tenth Muse, ten times more in worth
Than those old nine which rhymers invocate;
And he that calls on thee, let him bring forth
Eternal numbers to outlive long date.
Than those old nine which rhymers invocate;
And he that calls on thee, let him bring forth
Eternal numbers to outlive long date.
If my slight muse do please these curious days,
The pain be mine, but thine shall be the praise.
The pain be mine, but thine shall be the praise.
Sonnet XXXIX
O! how thy worth with manners may I sing,
When thou art all the better part of me?
What can mine own praise to mine own self bring?
And what is't but mine own when I praise thee?
When thou art all the better part of me?
What can mine own praise to mine own self bring?
And what is't but mine own when I praise thee?
Even for this, let us divided live,
And our dear love lose name of single one,
That by this separation I may give
That due to thee which thou deserv'st alone.
And our dear love lose name of single one,
That by this separation I may give
That due to thee which thou deserv'st alone.
O absence! what a torment wouldst thou prove,
Were it not thy sour leisure gave sweet leave,
To entertain the time with thoughts of love,
Which time and thoughts so sweetly doth deceive,
Were it not thy sour leisure gave sweet leave,
To entertain the time with thoughts of love,
Which time and thoughts so sweetly doth deceive,
And that thou teachest how to make one twain,
By praising him here who doth hence remain.
By praising him here who doth hence remain.
Sonnet XL
Take all my loves, my love, yea take them all;
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call;
All mine was thine, before thou hadst this more.
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call;
All mine was thine, before thou hadst this more.
Then, if for my love, thou my love receivest,
I cannot blame thee, for my love thou usest;
But yet be blam'd, if thou thy self deceivest
By wilful taste of what thyself refusest.
I cannot blame thee, for my love thou usest;
But yet be blam'd, if thou thy self deceivest
By wilful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty:
And yet, love knows it is a greater grief
To bear love's wrong, than hate's known injury.
Although thou steal thee all my poverty:
And yet, love knows it is a greater grief
To bear love's wrong, than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites yet we must not be foes.
Kill me with spites yet we must not be foes.
These illustrations were drawn using Stable Diffusion 2.1.
The sonnets were originally written by William Shakespeare.
