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 41–60 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 XLI
Those pretty wrongs that liberty commits,
When I am sometime absent from thy heart,
Thy beauty, and thy years full well befits,
For still temptation follows where thou art.
When I am sometime absent from thy heart,
Thy beauty, and thy years full well befits,
For still temptation follows where thou art.
Gentle thou art, and therefore to be won,
Beauteous thou art, therefore to be assailed;
And when a woman woos, what woman's son
Will sourly leave her till he have prevailed?
Beauteous thou art, therefore to be assailed;
And when a woman woos, what woman's son
Will sourly leave her till he have prevailed?
Ay me! but yet thou mightst my seat forbear,
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forced to break a twofold truth:
And chide thy beauty and thy straying youth,
Who lead thee in their riot even there
Where thou art forced to break a twofold truth:
Hers by thy beauty tempting her to thee,
Thine by thy beauty being false to me.
Thine by thy beauty being false to me.
Sonnet XLII
That thou hast her it is not all my grief,
And yet it may be said I loved her dearly;
That she hath thee is of my wailing chief,
A loss in love that touches me more nearly.
And yet it may be said I loved her dearly;
That she hath thee is of my wailing chief,
A loss in love that touches me more nearly.
Loving offenders thus I will excuse ye:
Thou dost love her, because thou know'st I love her;
And for my sake even so doth she abuse me,
Suffering my friend for my sake to approve her.
Thou dost love her, because thou know'st I love her;
And for my sake even so doth she abuse me,
Suffering my friend for my sake to approve her.
If I lose thee, my loss is my love's gain,
And losing her, my friend hath found that loss;
Both find each other, and I lose both twain,
And both for my sake lay on me this cross:
And losing her, my friend hath found that loss;
Both find each other, and I lose both twain,
And both for my sake lay on me this cross:
But here's the joy; my friend and I are one;
Sweet flattery! then she loves but me alone.
Sweet flattery! then she loves but me alone.
Sonnet XLIII
When most I wink, then do mine eyes best see,
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And darkly bright, are bright in dark directed.
For all the day they view things unrespected;
But when I sleep, in dreams they look on thee,
And darkly bright, are bright in dark directed.
Then thou, whose shadow shadows doth make bright,
How would thy shadow's form form happy show
To the clear day with thy much clearer light,
When to unseeing eyes thy shade shines so!
How would thy shadow's form form happy show
To the clear day with thy much clearer light,
When to unseeing eyes thy shade shines so!
How would, I say, mine eyes be blessed made
By looking on thee in the living day,
When in dead night thy fair imperfect shade
Through heavy sleep on sightless eyes doth stay!
By looking on thee in the living day,
When in dead night thy fair imperfect shade
Through heavy sleep on sightless eyes doth stay!
All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.
And nights bright days when dreams do show thee me.
Sonnet XLIV
If the dull substance of my flesh were thought,
Injurious distance should not stop my way;
For then despite of space I would be brought,
From limits far remote, where thou dost stay.
Injurious distance should not stop my way;
For then despite of space I would be brought,
From limits far remote, where thou dost stay.
No matter then although my foot did stand
Upon the farthest earth removed from thee;
For nimble thought can jump both sea and land
As soon as think the place where he would be.
Upon the farthest earth removed from thee;
For nimble thought can jump both sea and land
As soon as think the place where he would be.
But ah! thought kills me that I am not thought,
To leap large lengths of miles when thou art gone,
But that, so much of earth and water wrought,
I must attend time's leisure with my moan,
To leap large lengths of miles when thou art gone,
But that, so much of earth and water wrought,
I must attend time's leisure with my moan,
Receiving nought by elements so slow
But heavy tears, badges of either's woe.
But heavy tears, badges of either's woe.
Sonnet XLV
The other two, slight air and purging fire,
Are both with thee, wherever I abide;
The first my thought, the other my desire,
These present-absent with swift motion slide.
Are both with thee, wherever I abide;
The first my thought, the other my desire,
These present-absent with swift motion slide.
For when these quicker elements are gone
In tender embassy of love to thee,
My life, being made of four, with two alone
Sinks down to death, oppressed with melancholy;
In tender embassy of love to thee,
My life, being made of four, with two alone
Sinks down to death, oppressed with melancholy;
Until life's composition be recured
By those swift messengers return'd from thee,
Who even but now come back again, assured
Of thy fair health, recounting it to me:
By those swift messengers return'd from thee,
Who even but now come back again, assured
Of thy fair health, recounting it to me:
This told, I joy; but then no longer glad,
I send them back again and straight grow sad.
I send them back again and straight grow sad.
Sonnet XLVI
Mine eye and heart are at a mortal war,
How to divide the conquest of thy sight;
Mine eye my heart thy picture's sight would bar,
My heart mine eye the freedom of that right.
How to divide the conquest of thy sight;
Mine eye my heart thy picture's sight would bar,
My heart mine eye the freedom of that right.
My heart doth plead that thou in him dost lie,
A closet never pierced with crystal eyes,
But the defendant doth that plea deny,
And says in him thy fair appearance lies.
A closet never pierced with crystal eyes,
But the defendant doth that plea deny,
And says in him thy fair appearance lies.
To 'cide this title is impannelled
A quest of thoughts, all tenants to the heart;
And by their verdict is determined
The clear eye's moiety, and the dear heart's part:
A quest of thoughts, all tenants to the heart;
And by their verdict is determined
The clear eye's moiety, and the dear heart's part:
As thus: mine eye's due is thine outward part,
And my heart's right, thine inward love of heart.
And my heart's right, thine inward love of heart.
Sonnet XLVII
Betwixt mine eye and heart a league is took,
And each doth good turns now unto the other:
When that mine eye is famish'd for a look,
Or heart in love with sighs himself doth smother,
And each doth good turns now unto the other:
When that mine eye is famish'd for a look,
Or heart in love with sighs himself doth smother,
With my love's picture then my eye doth feast,
And to the painted banquet bids my heart;
Another time mine eye is my heart's guest,
And in his thoughts of love doth share a part:
And to the painted banquet bids my heart;
Another time mine eye is my heart's guest,
And in his thoughts of love doth share a part:
So, either by thy picture or my love,
Thy self away, art present still with me;
For thou not farther than my thoughts canst move,
And I am still with them, and they with thee;
Thy self away, art present still with me;
For thou not farther than my thoughts canst move,
And I am still with them, and they with thee;
Or, if they sleep, thy picture in my sight
Awakes my heart, to heart's and eyes' delight.
Awakes my heart, to heart's and eyes' delight.
Sonnet XLVIII
How careful was I when I took my way,
Each trifle under truest bars to thrust,
That to my use it might unused stay
From hands of falsehood, in sure wards of trust!
Each trifle under truest bars to thrust,
That to my use it might unused stay
From hands of falsehood, in sure wards of trust!
But thou, to whom my jewels trifles are,
Most worthy comfort, now my greatest grief,
Thou best of dearest, and mine only care,
Art left the prey of every vulgar thief.
Most worthy comfort, now my greatest grief,
Thou best of dearest, and mine only care,
Art left the prey of every vulgar thief.
Thee have I not locked up in any chest,
Save where thou art not, though I feel thou art,
Within the gentle closure of my breast,
From whence at pleasure thou mayst come and part;
Save where thou art not, though I feel thou art,
Within the gentle closure of my breast,
From whence at pleasure thou mayst come and part;
And even thence thou wilt be stol'n I fear,
For truth proves thievish for a prize so dear.
For truth proves thievish for a prize so dear.
Sonnet XLIX
Against that time, if ever that time come,
When I shall see thee frown on my defects,
When as thy love hath cast his utmost sum,
Called to that audit by advis'd respects;
When I shall see thee frown on my defects,
When as thy love hath cast his utmost sum,
Called to that audit by advis'd respects;
Against that time when thou shalt strangely pass,
And scarcely greet me with that sun, thine eye,
When love, converted from the thing it was,
Shall reasons find of settled gravity;
And scarcely greet me with that sun, thine eye,
When love, converted from the thing it was,
Shall reasons find of settled gravity;
Against that time do I ensconce me here,
Within the knowledge of mine own desert,
And this my hand, against my self uprear,
To guard the lawful reasons on thy part:
Within the knowledge of mine own desert,
And this my hand, against my self uprear,
To guard the lawful reasons on thy part:
To leave poor me thou hast the strength of laws,
Since why to love I can allege no cause.
Since why to love I can allege no cause.
Sonnet L
How heavy do I journey on the way,
When what I seek, my weary travel's end,
Doth teach that ease and that repose to say,
'Thus far the miles are measured from thy friend!'
When what I seek, my weary travel's end,
Doth teach that ease and that repose to say,
'Thus far the miles are measured from thy friend!'
The beast that bears me, tired with my woe,
Plods dully on, to bear that weight in me,
As if by some instinct the wretch did know
His rider lov'd not speed being made from thee.
Plods dully on, to bear that weight in me,
As if by some instinct the wretch did know
His rider lov'd not speed being made from thee.
The bloody spur cannot provoke him on,
That sometimes anger thrusts into his hide,
Which heavily he answers with a groan,
More sharp to me than spurring to his side;
That sometimes anger thrusts into his hide,
Which heavily he answers with a groan,
More sharp to me than spurring to his side;
For that same groan doth put this in my mind,
My grief lies onward, and my joy behind.
My grief lies onward, and my joy behind.
Sonnet LI
Thus can my love excuse the slow offence
Of my dull bearer when from thee I speed:
From where thou art why should I haste me thence?
Till I return, of posting is no need.
Of my dull bearer when from thee I speed:
From where thou art why should I haste me thence?
Till I return, of posting is no need.
O! what excuse will my poor beast then find,
When swift extremity can seem but slow?
Then should I spur, though mounted on the wind,
In winged speed no motion shall I know,
When swift extremity can seem but slow?
Then should I spur, though mounted on the wind,
In winged speed no motion shall I know,
Then can no horse with my desire keep pace.
Therefore desire, (of perfect'st love being made)
Shall neigh, no dull flesh, in his fiery race;
But love, for love, thus shall excuse my jade-
Therefore desire, (of perfect'st love being made)
Shall neigh, no dull flesh, in his fiery race;
But love, for love, thus shall excuse my jade-
Since from thee going, he went wilful-slow,
Towards thee I'll run, and give him leave to go.
Towards thee I'll run, and give him leave to go.
Sonnet LII
So am I as the rich, whose blessed key,
Can bring him to his sweet up-locked treasure,
The which he will not every hour survey,
For blunting the fine point of seldom pleasure.
Can bring him to his sweet up-locked treasure,
The which he will not every hour survey,
For blunting the fine point of seldom pleasure.
Therefore are feasts so solemn and so rare,
Since, seldom coming in the long year set,
Like stones of worth they thinly placed are,
Or captain jewels in the carcanet.
Since, seldom coming in the long year set,
Like stones of worth they thinly placed are,
Or captain jewels in the carcanet.
So is the time that keeps you as my chest,
Or as the wardrobe which the robe doth hide,
To make some special instant special-blest,
By new unfolding his imprisoned pride.
Or as the wardrobe which the robe doth hide,
To make some special instant special-blest,
By new unfolding his imprisoned pride.
Blessed are you whose worthiness gives scope,
Being had, to triumph, being lacked, to hope.
Being had, to triumph, being lacked, to hope.
Sonnet LIII
What is your substance, whereof are you made,
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you but one, can every shadow lend.
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you but one, can every shadow lend.
Describe Adonis, and the counterfeit
Is poorly imitated after you;
On Helen's cheek all art of beauty set,
And you in Grecian tires are painted new:
Is poorly imitated after you;
On Helen's cheek all art of beauty set,
And you in Grecian tires are painted new:
Speak of the spring, and foison of the year,
The one doth shadow of your beauty show,
The other as your bounty doth appear;
And you in every blessed shape we know.
The one doth shadow of your beauty show,
The other as your bounty doth appear;
And you in every blessed shape we know.
In all external grace you have some part,
But you like none, none you, for constant heart.
But you like none, none you, for constant heart.
Sonnet LIV
O! how much more doth beauty beauteous seem
By that sweet ornament which truth doth give.
The rose looks fair, but fairer we it deem
For that sweet odour, which doth in it live.
By that sweet ornament which truth doth give.
The rose looks fair, but fairer we it deem
For that sweet odour, which doth in it live.
The canker blooms have full as deep a dye
As the perfumed tincture of the roses,
Hang on such thorns, and play as wantonly
When summer's breath their masked buds discloses:
As the perfumed tincture of the roses,
Hang on such thorns, and play as wantonly
When summer's breath their masked buds discloses:
But, for their virtue only is their show,
They live unwoo'd, and unrespected fade;
Die to themselves. Sweet roses do not so;
Of their sweet deaths are sweetest odours made:
They live unwoo'd, and unrespected fade;
Die to themselves. Sweet roses do not so;
Of their sweet deaths are sweetest odours made:
And so of you, beauteous and lovely youth,
When that shall vade, my verse distills your truth.
When that shall vade, my verse distills your truth.
Sonnet LV
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone, besmear'd with sluttish time.
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stone, besmear'd with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword, nor war's quick fire shall burn
The living record of your memory.
And broils root out the work of masonry,
Nor Mars his sword, nor war's quick fire shall burn
The living record of your memory.
'Gainst death, and all oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this, and dwell in lovers' eyes.
You live in this, and dwell in lovers' eyes.
Sonnet LVI
Sweet love, renew thy force; be it not said
Thy edge should blunter be than appetite,
Which but to-day by feeding is allayed,
To-morrow sharpened in his former might:
Thy edge should blunter be than appetite,
Which but to-day by feeding is allayed,
To-morrow sharpened in his former might:
So, love, be thou, although to-day thou fill
Thy hungry eyes, even till they wink with fulness,
To-morrow see again, and do not kill
The spirit of love, with a perpetual dulness.
Thy hungry eyes, even till they wink with fulness,
To-morrow see again, and do not kill
The spirit of love, with a perpetual dulness.
Let this sad interim like the ocean be
Which parts the shore, where two contracted new
Come daily to the banks, that when they see
Return of love, more blest may be the view;
Which parts the shore, where two contracted new
Come daily to the banks, that when they see
Return of love, more blest may be the view;
As call it winter, which being full of care,
Makes summer's welcome, thrice more wished, more rare.
Makes summer's welcome, thrice more wished, more rare.
Sonnet LVII
Being your slave what should I do but tend
Upon the hours, and times of your desire?
I have no precious time at all to spend;
Nor services to do, till you require.
Upon the hours, and times of your desire?
I have no precious time at all to spend;
Nor services to do, till you require.
Nor dare I chide the world without end hour,
Whilst I, my sovereign, watch the clock for you,
Nor think the bitterness of absence sour,
When you have bid your servant once adieu;
Whilst I, my sovereign, watch the clock for you,
Nor think the bitterness of absence sour,
When you have bid your servant once adieu;
Nor dare I question with my jealous thought
Where you may be, or your affairs suppose,
But, like a sad slave, stay and think of nought
Save, where you are, how happy you make those.
Where you may be, or your affairs suppose,
But, like a sad slave, stay and think of nought
Save, where you are, how happy you make those.
So true a fool is love, that in your will,
Though you do anything, he thinks no ill.
Though you do anything, he thinks no ill.
Sonnet LVIII
That god forbid, that made me first your slave,
I should in thought control your times of pleasure,
Or at your hand the account of hours to crave,
Being your vassal, bound to stay your leisure!
I should in thought control your times of pleasure,
Or at your hand the account of hours to crave,
Being your vassal, bound to stay your leisure!
O! let me suffer, being at your beck,
The imprison'd absence of your liberty;
And patience, tame to sufferance, bide each check,
Without accusing you of injury.
The imprison'd absence of your liberty;
And patience, tame to sufferance, bide each check,
Without accusing you of injury.
Be where you list, your charter is so strong
That you yourself may privilege your time
To what you will; to you it doth belong
Yourself to pardon of self-doing crime.
That you yourself may privilege your time
To what you will; to you it doth belong
Yourself to pardon of self-doing crime.
I am to wait, though waiting so be hell,
Not blame your pleasure be it ill or well.
Not blame your pleasure be it ill or well.
Sonnet LIX
If there be nothing new, but that which is
Hath been before, how are our brains beguil'd,
Which labouring for invention bear amiss
The second burthen of a former child.
Hath been before, how are our brains beguil'd,
Which labouring for invention bear amiss
The second burthen of a former child.
Oh that record could with a backward look,
Even of five hundred courses of the sun,
Show me your image in some antique book,
Since mind at first in character was done,
Even of five hundred courses of the sun,
Show me your image in some antique book,
Since mind at first in character was done,
That I might see what the old world could say
To this composed wonder of your frame;
Whether we are mended, or where better they,
Or whether revolution be the same.
To this composed wonder of your frame;
Whether we are mended, or where better they,
Or whether revolution be the same.
Oh sure I am the wits of former days,
To subjects worse have given admiring praise.
To subjects worse have given admiring praise.
Sonnet LX
Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown'd,
Crooked eclipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Crawls to maturity, wherewith being crown'd,
Crooked eclipses 'gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And delves the parallels in beauty's brow,
Feeds on the rarities of nature's truth,
And nothing stands but for his scythe to mow:
And yet to times in hope, my verse shall stand
Praising thy worth, despite his cruel hand.
Praising thy worth, despite his cruel hand.
These illustrations were drawn using Stable Diffusion 2.1.
The sonnets were originally written by William Shakespeare.
