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 61–80 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 LXI
Is it thy will, thy image should keep open
My heavy eyelids to the weary night?
Dost thou desire my slumbers should be broken,
While shadows like to thee do mock my sight?
My heavy eyelids to the weary night?
Dost thou desire my slumbers should be broken,
While shadows like to thee do mock my sight?
Is it thy spirit that thou send'st from thee
So far from home into my deeds to pry,
To find out shames and idle hours in me,
The scope and tenor of thy jealousy?
So far from home into my deeds to pry,
To find out shames and idle hours in me,
The scope and tenor of thy jealousy?
O, no! thy love, though much, is not so great:
It is my love that keeps mine eye awake:
Mine own true love that doth my rest defeat,
To play the watchman ever for thy sake:
It is my love that keeps mine eye awake:
Mine own true love that doth my rest defeat,
To play the watchman ever for thy sake:
For thee watch I, whilst thou dost wake elsewhere,
From me far off, with others all too near.
From me far off, with others all too near.
Sonnet LXII
Sin of self-love possesseth all mine eye
And all my soul, and all my every part;
And for this sin there is no remedy,
It is so grounded inward in my heart.
And all my soul, and all my every part;
And for this sin there is no remedy,
It is so grounded inward in my heart.
Methinks no face so gracious is as mine,
No shape so true, no truth of such account;
And for myself mine own worth do define,
As I all other in all worths surmount.
No shape so true, no truth of such account;
And for myself mine own worth do define,
As I all other in all worths surmount.
But when my glass shows me myself indeed
Beated and chopp'd with tanned antiquity,
Mine own self-love quite contrary I read;
Self so self-loving were iniquity.
Beated and chopp'd with tanned antiquity,
Mine own self-love quite contrary I read;
Self so self-loving were iniquity.
'Tis thee, myself, that for myself I praise,
Painting my age with beauty of thy days.
Painting my age with beauty of thy days.
Sonnet LXIII
Against my love shall be as I am now,
With Time's injurious hand crushed and o'erworn;
When hours have drained his blood and filled his brow
With lines and wrinkles; when his youthful morn
With Time's injurious hand crushed and o'erworn;
When hours have drained his blood and filled his brow
With lines and wrinkles; when his youthful morn
Hath travelled on to age's steepy night;
And all those beauties whereof now he's king
Are vanishing, or vanished out of sight,
Stealing away the treasure of his spring;
And all those beauties whereof now he's king
Are vanishing, or vanished out of sight,
Stealing away the treasure of his spring;
For such a time do I now fortify
Against confounding age's cruel knife,
That he shall never cut from memory
My sweet love's beauty, though my lover's life:
Against confounding age's cruel knife,
That he shall never cut from memory
My sweet love's beauty, though my lover's life:
His beauty shall in these black lines be seen,
And they shall live, and he in them still green.
And they shall live, and he in them still green.
Sonnet LXIV
When I have seen by Time's fell hand defaced
The rich proud cost of outworn buried age;
When sometime lofty towers I see down-razed,
And brass eternal slave to mortal rage;
The rich proud cost of outworn buried age;
When sometime lofty towers I see down-razed,
And brass eternal slave to mortal rage;
When I have seen the hungry ocean gain
Advantage on the kingdom of the shore,
And the firm soil win of the watery main,
Increasing store with loss, and loss with store;
Advantage on the kingdom of the shore,
And the firm soil win of the watery main,
Increasing store with loss, and loss with store;
When I have seen such interchange of state,
Or state itself confounded to decay;
Ruin hath taught me thus to ruminate
That Time will come and take my love away.
Or state itself confounded to decay;
Ruin hath taught me thus to ruminate
That Time will come and take my love away.
This thought is as a death which cannot choose
But weep to have that which it fears to lose.
But weep to have that which it fears to lose.
Sonnet LXV
Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o'ersways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
But sad mortality o'ersways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O! how shall summer's honey breath hold out,
Against the wrackful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong but Time decays?
Against the wrackful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong but Time decays?
O fearful meditation! where, alack,
Shall Time's best jewel from Time's chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
Shall Time's best jewel from Time's chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O! none, unless this miracle have might,
That in black ink my love may still shine bright.
That in black ink my love may still shine bright.
Sonnet LXVI
Tired with all these, for restful death I cry,
As to behold desert a beggar born,
And needy nothing trimm'd in jollity,
And purest faith unhappily forsworn,
As to behold desert a beggar born,
And needy nothing trimm'd in jollity,
And purest faith unhappily forsworn,
And gilded honour shamefully misplaced,
And maiden virtue rudely strumpeted,
And right perfection wrongfully disgraced,
And strength by limping sway disabled
And maiden virtue rudely strumpeted,
And right perfection wrongfully disgraced,
And strength by limping sway disabled
And art made tongue-tied by authority,
And folly, doctor-like, controlling skill,
And simple truth miscalled simplicity,
And captive good attending captain ill:
And folly, doctor-like, controlling skill,
And simple truth miscalled simplicity,
And captive good attending captain ill:
Tired with all these, from these would I be gone,
Save that, to die, I leave my love alone.
Save that, to die, I leave my love alone.
Sonnet LXVII
Ah! wherefore with infection should he live,
And with his presence grace impiety,
That sin by him advantage should achieve,
And lace itself with his society?
And with his presence grace impiety,
That sin by him advantage should achieve,
And lace itself with his society?
Why should false painting imitate his cheek,
And steal dead seeming of his living hue?
Why should poor beauty indirectly seek
Roses of shadow, since his rose is true?
And steal dead seeming of his living hue?
Why should poor beauty indirectly seek
Roses of shadow, since his rose is true?
Why should he live, now Nature bankrupt is,
Beggared of blood to blush through lively veins?
For she hath no exchequer now but his,
And proud of many, lives upon his gains.
Beggared of blood to blush through lively veins?
For she hath no exchequer now but his,
And proud of many, lives upon his gains.
O! him she stores, to show what wealth she had
In days long since, before these last so bad.
In days long since, before these last so bad.
Sonnet LXVIII
Thus is his cheek the map of days outworn,
When beauty lived and died as flowers do now,
Before these bastard signs of fair were born,
Or durst inhabit on a living brow;
When beauty lived and died as flowers do now,
Before these bastard signs of fair were born,
Or durst inhabit on a living brow;
Before the golden tresses of the dead,
The right of sepulchres, were shorn away,
To live a second life on second head;
Ere beauty's dead fleece made another gay:
The right of sepulchres, were shorn away,
To live a second life on second head;
Ere beauty's dead fleece made another gay:
In him those holy antique hours are seen,
Without all ornament, itself and true,
Making no summer of another's green,
Robbing no old to dress his beauty new;
Without all ornament, itself and true,
Making no summer of another's green,
Robbing no old to dress his beauty new;
And him as for a map doth Nature store,
To show false Art what beauty was of yore.
To show false Art what beauty was of yore.
Sonnet LXIX
Those parts of thee that the world's eye doth view
Want nothing that the thought of hearts can mend;
All tongues, the voice of souls, give thee that due,
Uttering bare truth, even so as foes commend.
Want nothing that the thought of hearts can mend;
All tongues, the voice of souls, give thee that due,
Uttering bare truth, even so as foes commend.
Thy outward thus with outward praise is crown'd;
But those same tongues, that give thee so thine own,
In other accents do this praise confound
By seeing farther than the eye hath shown.
But those same tongues, that give thee so thine own,
In other accents do this praise confound
By seeing farther than the eye hath shown.
They look into the beauty of thy mind,
And that in guess they measure by thy deeds;
Then, churls, their thoughts, although their eyes were kind,
To thy fair flower add the rank smell of weeds:
And that in guess they measure by thy deeds;
Then, churls, their thoughts, although their eyes were kind,
To thy fair flower add the rank smell of weeds:
But why thy odour matcheth not thy show,
The soil is this, that thou dost common grow.
The soil is this, that thou dost common grow.
Sonnet LXX
That thou art blamed shall not be thy defect,
For slander's mark was ever yet the fair;
The ornament of beauty is suspect,
A crow that flies in heaven's sweetest air.
For slander's mark was ever yet the fair;
The ornament of beauty is suspect,
A crow that flies in heaven's sweetest air.
So thou be good, slander doth but approve
Thy worth the greater, being wooed of time;
For canker vice the sweetest buds doth love,
And thou present'st a pure unstained prime.
Thy worth the greater, being wooed of time;
For canker vice the sweetest buds doth love,
And thou present'st a pure unstained prime.
Thou hast passed by the ambush of young days
Either not assailed, or victor being charged;
Yet this thy praise cannot be so thy praise,
To tie up envy, evermore enlarged,
Either not assailed, or victor being charged;
Yet this thy praise cannot be so thy praise,
To tie up envy, evermore enlarged,
If some suspect of ill masked not thy show,
Then thou alone kingdoms of hearts shouldst owe.
Then thou alone kingdoms of hearts shouldst owe.
Sonnet LXXI
No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell:
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it, for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
The hand that writ it, for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O! if, I say, you look upon this verse,
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse;
But let your love even with my life decay;
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse;
But let your love even with my life decay;
Lest the wise world should look into your moan,
And mock you with me after I am gone.
And mock you with me after I am gone.
Sonnet LXXII
O! lest the world should task you to recite
What merit lived in me, that you should love
After my death,--dear love, forget me quite,
For you in me can nothing worthy prove.
What merit lived in me, that you should love
After my death,--dear love, forget me quite,
For you in me can nothing worthy prove.
Unless you would devise some virtuous lie,
To do more for me than mine own desert,
And hang more praise upon deceased I
Than niggard truth would willingly impart:
To do more for me than mine own desert,
And hang more praise upon deceased I
Than niggard truth would willingly impart:
O! lest your true love may seem false in this
That you for love speak well of me untrue,
My name be buried where my body is,
And live no more to shame nor me nor you.
That you for love speak well of me untrue,
My name be buried where my body is,
And live no more to shame nor me nor you.
For I am shamed by that which I bring forth,
And so should you, to love things nothing worth.
And so should you, to love things nothing worth.
Sonnet LXXIII
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire,
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consumed with that which it was nourish'd by.
That on the ashes of his youth doth lie,
As the death-bed, whereon it must expire,
Consumed with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long.
To love that well, which thou must leave ere long.
Sonnet LXXIV
But be contented when that fell arrest
Without all bail shall carry me away,
My life hath in this line some interest,
Which for memorial still with thee shall stay.
Without all bail shall carry me away,
My life hath in this line some interest,
Which for memorial still with thee shall stay.
When thou reviewest this, thou dost review
The very part was consecrate to thee:
The earth can have but earth, which is his due;
My spirit is thine, the better part of me:
The very part was consecrate to thee:
The earth can have but earth, which is his due;
My spirit is thine, the better part of me:
So then thou hast but lost the dregs of life,
The prey of worms, my body being dead;
The coward conquest of a wretch's knife,
Too base of thee to be remembered.
The prey of worms, my body being dead;
The coward conquest of a wretch's knife,
Too base of thee to be remembered.
The worth of that is that which it contains,
And that is this, and this with thee remains.
And that is this, and this with thee remains.
Sonnet LXXV
So are you to my thoughts as food to life,
Or as sweet-season'd showers are to the ground;
And for the peace of you I hold such strife
As 'twixt a miser and his wealth is found.
Or as sweet-season'd showers are to the ground;
And for the peace of you I hold such strife
As 'twixt a miser and his wealth is found.
Now proud as an enjoyer, and anon
Doubting the filching age will steal his treasure;
Now counting best to be with you alone,
Then better'd that the world may see my pleasure:
Doubting the filching age will steal his treasure;
Now counting best to be with you alone,
Then better'd that the world may see my pleasure:
Sometime all full with feasting on your sight,
And by and by clean starved for a look;
Possessing or pursuing no delight
Save what is had, or must from you be took.
And by and by clean starved for a look;
Possessing or pursuing no delight
Save what is had, or must from you be took.
Thus do I pine and surfeit day by day,
Or gluttoning on all, or all away.
Or gluttoning on all, or all away.
Sonnet LXXVI
Why is my verse so barren of new pride,
So far from variation or quick change?
Why with the time do I not glance aside
To new-found methods, and to compounds strange?
So far from variation or quick change?
Why with the time do I not glance aside
To new-found methods, and to compounds strange?
Why write I still all one, ever the same,
And keep invention in a noted weed,
That every word doth almost tell my name,
Showing their birth, and where they did proceed?
And keep invention in a noted weed,
That every word doth almost tell my name,
Showing their birth, and where they did proceed?
O! know sweet love I always write of you,
And you and love are still my argument;
So all my best is dressing old words new,
Spending again what is already spent:
And you and love are still my argument;
So all my best is dressing old words new,
Spending again what is already spent:
For as the sun is daily new and old,
So is my love still telling what is told.
So is my love still telling what is told.
Sonnet LXXVII
Thy glass will show thee how thy beauties wear,
Thy dial how thy precious minutes waste;
The vacant leaves thy mind's imprint will bear,
And of this book, this learning mayst thou taste.
Thy dial how thy precious minutes waste;
The vacant leaves thy mind's imprint will bear,
And of this book, this learning mayst thou taste.
The wrinkles which thy glass will truly show
Of mouthed graves will give thee memory;
Thou by thy dial's shady stealth mayst know
Time's thievish progress to eternity.
Of mouthed graves will give thee memory;
Thou by thy dial's shady stealth mayst know
Time's thievish progress to eternity.
Look what thy memory cannot contain,
Commit to these waste blanks, and thou shalt find
Those children nursed, delivered from thy brain,
To take a new acquaintance of thy mind.
Commit to these waste blanks, and thou shalt find
Those children nursed, delivered from thy brain,
To take a new acquaintance of thy mind.
These offices, so oft as thou wilt look,
Shall profit thee and much enrich thy book.
Shall profit thee and much enrich thy book.
Sonnet LXXVIII
So oft have I invoked thee for my Muse,
And found such fair assistance in my verse
As every alien pen hath got my use
And under thee their poesy disperse.
And found such fair assistance in my verse
As every alien pen hath got my use
And under thee their poesy disperse.
Thine eyes, that taught the dumb on high to sing
And heavy ignorance aloft to fly,
Have added feathers to the learned's wing
And given grace a double majesty.
And heavy ignorance aloft to fly,
Have added feathers to the learned's wing
And given grace a double majesty.
Yet be most proud of that which I compile,
Whose influence is thine, and born of thee:
In others' works thou dost but mend the style,
And arts with thy sweet graces graced be;
Whose influence is thine, and born of thee:
In others' works thou dost but mend the style,
And arts with thy sweet graces graced be;
But thou art all my art, and dost advance
As high as learning, my rude ignorance.
As high as learning, my rude ignorance.
Sonnet LXXIX
Whilst I alone did call upon thy aid,
My verse alone had all thy gentle grace;
But now my gracious numbers are decayed,
And my sick Muse doth give an other place.
My verse alone had all thy gentle grace;
But now my gracious numbers are decayed,
And my sick Muse doth give an other place.
I grant, sweet love, thy lovely argument
Deserves the travail of a worthier pen;
Yet what of thee thy poet doth invent
He robs thee of, and pays it thee again.
Deserves the travail of a worthier pen;
Yet what of thee thy poet doth invent
He robs thee of, and pays it thee again.
He lends thee virtue, and he stole that word
From thy behaviour; beauty doth he give,
And found it in thy cheek: he can afford
No praise to thee, but what in thee doth live.
From thy behaviour; beauty doth he give,
And found it in thy cheek: he can afford
No praise to thee, but what in thee doth live.
Then thank him not for that which he doth say,
Since what he owes thee, thou thyself dost pay.
Since what he owes thee, thou thyself dost pay.
Sonnet LXXX
O! how I faint when I of you do write,
Knowing a better spirit doth use your name,
And in the praise thereof spends all his might,
To make me tongue-tied speaking of your fame.
Knowing a better spirit doth use your name,
And in the praise thereof spends all his might,
To make me tongue-tied speaking of your fame.
But since your worth, wide as the ocean is,
The humble as the proudest sail doth bear,
My saucy bark, inferior far to his,
On your broad main doth wilfully appear.
The humble as the proudest sail doth bear,
My saucy bark, inferior far to his,
On your broad main doth wilfully appear.
Your shallowest help will hold me up afloat,
Whilst he upon your soundless deep doth ride;
Or, being wracked, I am a worthless boat,
He of tall building, and of goodly pride:
Whilst he upon your soundless deep doth ride;
Or, being wracked, I am a worthless boat,
He of tall building, and of goodly pride:
Then if he thrive and I be cast away,
The worst was this, my love was my decay.
The worst was this, my love was my decay.
These illustrations were drawn using Stable Diffusion 2.1.
The sonnets were originally written by William Shakespeare.
