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Shakespeare's Sonnet 18 is by far his most famous sonnet,

so I thought it might be nice to give you a detailed explanation of what it means

and how you might read it.

Now the main message of this sonnet is fairly obvious, so the poem starts with a question, shall I compare thee to a summer's day?

And as the poem proceeds we do get this comparison.

We have the beloved, Shakespeare says hey, I love you, and then we have summer, and the question is which is better?

And of course the answer is the beloved.

But there is a problem with this, which is the fact that the beloved and summer are both subject to decay.

Both of them face time.

Summer ends and the beloved's gonna get old, and that produces a new problem.

And so at the end of the poem the answer, the solution to all of this, is to say well, poetry can solve this because

if I write this poem and make you famous then you will continue to live on in this,

in this particular poem, and this poem will give life to you.

You're going to be famous forever, and we refer to this as poetic immortality.

That is the gist of the poem, but as we'll see there's quite a bit more to it as Shakespeare makes this argument.

Now before we get too deep into the weeds, I just want to say a few things about the form of the poem.

This is a fairly typical Shakespearean sonnet, which means that it has three quatrains.

A quatrain is a four -line stanza and then also a rhyming couplet at the end.

It also has a unique rhyme scheme, and as you compare these two sonnets you can see that there are some major differences.

That said, this poem does have one thing in common with the Petrarchan sonnet, which is that the volta,

as it's referred to, also known as the poetic turn, happens right here after the eighth line.

And that's typical of a Petrarchan sonnet, whereas with Shakespeare the poetic turn tends to happen with the final rhyming couplet.

What is a poetic turn?

Well this is where we get the solution to the problem.

This is where suddenly the poet turns things around, goes in a different direction, and provides a kind of startling and interesting conclusion.

We can also say something about the rhyme scheme, and the rhyme scheme here is what we call iambic pentameter,

which means that we have these units where we have two beats.

One is stressed, one is not stressed, so I'm not sure if it makes sense to call them beats,

but we have an unstressed syllable followed by a stress syllable, and then we do that five times and we get iambic pentameter.

Penta means five.

The rhythm is generally quite smooth, which is what adds to the appeal of the poem and why the poem is justifiably famous,

but there are a few awkward moments.

Well, they're not necessarily awkward, they're just different.

So with line three we have rough winds.

This is where we have two stresses in a row.

This is called a spondy.

There we go.

And it makes sense to have a spondy here

because of course the winds are rough and so we can't have this smooth nice meter here.

But generally speaking we do have a very nice rhythm in the poem,

and you have to restrain yourself from following the rhythm too much when you read it.

So don't read it like, Shall I compare thee to a summer's day?

That's gonna get really annoying.

Just read it naturally shall I compare thee to a summer's day?" And that's totally fine.

If you want to be more dramatic you can emphasize one of those words, but I would hesitate to do that.

I would just let the line reach the listener as a whole.

Okay, so that's a little bit about the rhythm here.

Now occasionally Shakespeare also includes some interesting sound effects in the middle of a line.

So if we look for instance at this line,

line eight, we have by chance the ch sound or nature's changing course.

So you have these three ch sounds kind of interesting there.

At the end you have this internal rhyme with lives

and gives which creates a nice symmetry and it adds to the effect, the point that the poet is making there.

We also have this nice balance of fair and fair.

Shake and has a nice internal kind of a sound.

Lots of other examples could be mentioned, but it gives you a little bit of a sense of how Shakespeare creates

this very pleasing effect through the form of the poem.

Before we jump in any further by reading the individual lines, I should also say something about how this poem fits into the larger sonnet sequence.

So you might know that Shakespeare wrote 154 sonnets,

so 154, of which the first 126 are to a young man,

and the last ones all the way to the end are to a dark lady.

And there's been a lot of dispute about well

which is more controversial and does it mean that Shakespeare was gay and questions like that.

I'm not going to get into that in this particular video.

Now in terms of these first 126 sonnets,

the first 17 are actually referred to often as the procreation sonnets, and Shakespeare's argument to the young man here is,

hey, you should get married at some point, be a good idea, then you're gonna have kids and offspring, they will look like you,

all these little mini -me's running around, and you're gonna be famous through them.

Your reputation, your fame will live on.

So that point when you read those sonnets you see that poetry as an argument, as something that is worth something,

is held in fairly low esteem.

So in sonnet 16, for instance, Shakespeare refers to his barren rhyme.

My rhyme is like infertile, it cannot give you kids, but you should have kids and that will be to your advantage.

Then in sonnet 17 things start to change a little bit because at the end in the rhyming couplet,

Shakespeare writes, but were some child of yours alive that time, you should live twice in it and in my rhyme.

So we start to see the idea that, hey, you could also live in rhyme, not just in a child.

But even in this sonnet the main option is procreation, and rhyme poetry is seen as inferior.

So sonnet 18 then marks a shift by saying, wait a second, maybe poetic immortality is better, that gets repeated in sonnet 19

and then it comes back sporadically throughout the rest of the sonnet sequence in sonnets like 55 and so on.

So that gives you a bit of a sense of the context then in terms of what

Shakespeare is trying to do here.

And I should mention that sonnets 18 and 19 are sometimes included in the procreation sonnets,

but it's better not to do that, they are quite distinct.

Let's now jump into the poem then, and as you can see it starts with a question, which is quite interesting.

Why does he start with a question?

Well, there are a few possibilities.

One, of course, is to provide an easy way to set up the comparison.

Shall I compare you?

Well, let's compare.

You might compare here another very famous poem by Elizabeth Bear Browning writing in the 19th century.

Her sonnet 14 starts with, How do I love thee?

Let me count the ways.

Very famous opening as well.

So that's one reason to start with a question just to create the comparison.

In the second place the question is interesting because it makes us think, well, is the poetic comparison even necessary?

Do we need to compare you to a summer's day?

You're so obviously better.

Is this comparison even necessary?

So that provides a sort of implicit praise for the beloved.

100

You are so beautiful, so handsome, do I even need to do this?

101

In the third place, and this is perhaps more interesting, we tend to focus here on the comparison between the beloved,

102

the, and the day, but there's also this pronoun I, and if we focus on that we we start to wonder,

103

well, is the poet not also drawing attention to himself?

104

Shall I compare thee to a summer's day?

105

Is the Beloved dependent on the poet for being remembered?

106

I might not compare you.

107

Do I really feel like this?" So if that's the case, it really points out that the Beloved owes something to the poet as well.

108

And then finally, very briefly, the word shall makes us think about the future and it starts to make us think about the question of time.

109

There's lots of references to time in this poem.

110

Sometime, often, right?

111

Chance, nature's changing course.

112

Time is going to be a problem and somehow the poet needs to deal with this particular issue.

113

The second line reads, thou art more lovely and more temperate, so you are more beautiful, more handsome than summer.

114

Notice the play on words on the word temperate.

115

Temperate can mean self -restrained or even temperate.

116

It can also mean having a mild climate, and this is what allows us to bring these two things together.

117

In other words, the summer has to do with the climate, and we can't really say about summer that summer is self -restrained,

118

but a person can be self -restrained.

119

and a person can also be mild, you know, not too hot, not too cold.

120

So the fact that two things refer to a person, whereas only one thing refers to the summer,

121

also shows that there's something more to a person.

122

A person can also be self -restrained, can have this character aspect that a summer cannot.

123

Then we read, rough winds do shake the darling buds of May, and you might have noticed that May is technically not in summer,

124

it's in the spring, but the idea seems to be here

125

that in May we have these very cute little closed buds on the flowers.

126

They're beautiful and they're adorable, but eventually in the summer they will open, those darling buds of May,

127

then the winds come by and they shake them and the petals fall off.

128

It's very sad, but this is not going to happen to you.

129

You're so much more dependable, and you last longer, and you are also not rough.

130

You are even keeled and even tempered.

131

The fourth line introduces a legal image, so it says, and summer's lease hath all too short a date.

132

If you lease a car, for instance, you don't own it forever,

133

you make payments maybe, but your lease has a date to it, an end date, and the idea here is that date means allotted time.

134

It's the time given.

135

So summer is gonna pass into autumn, and then summer is over.

136

Summer cannot cling to its possession.

137

It's gonna lose its lease.

138

It's interesting that in the original, if you look at the original text here, the S here is a long S,

139

and what that means is that visually this looks a little bit like the word leaf, which kind of fits as well, right?

140

Like if you think of summer's leaf hath all too short a date, the leaves of the summer are going to fall off in the fall.

141

So that seems to fit beautifully.

142

In the 1920s somebody actually suggested that we should change the editing here, that leaf was a mistake and leaf is the intended meaning.

143

That has not been accepted for a good reason, but more recently in the last decade

144

somebody has made the argument that at least visually we should be aware of this potential pun.

145

The main meaning is lease, but if you look at it in the original it does remind you a little bit of leaf as well,

146

and the word leaf can also mean page.

147

So if you think of the final conclusion here that you're going to live on in poetry,

148

well, you're gonna live on on the leaf, the page.

149

So maybe of interest, but definitely a bit of an obscure play on words.

150

The next quatrain continues the comparison, so it says sometime too hot the eye of heaven shines.

151

The eye of heaven, of course, is the Sun, and the fact that we're referring to the eye, the metaphor here for the Sun,

152

this should be a U, it's a bit hard to read,

153

The fact that we're using this metaphor makes for a beautiful comparison with the person as well,

154

because you can say your eye is not too hot, right?

155

You're not too disdainful or hot -tempered, you're much more even -keeled.

156

It says, and often is his gold complexion dimmed.

157

The idea here is that you have a cloud in front of the sun, so the sun is trying to shine out,

158

there you go, but it can't because it's dimmed by the clouds.

159

Sometimes it's too hot in the summer, sometimes it's too cold because the sun goes into hiding, and this inconsistency does not apply to the beloved.

160

This word complexion, critics have also noted that this word has a double meaning as well.

161

So it can mean your face or your appearance, your countenance, that's the main meaning here that the face of the sun is dimmed.

162

But in the Renaissance people talked about the four humors, and then they used the word complexion to mean your character, your inner makeup.

163

You could have a sanguine complexion or a phlegmatic complexion.

164

You're dominated by a different humor which is going to affect who you are.

165

That relates back to the word temperate, which refers to character as well.

166

So let's go on then.

167

The next line reads, and every fair from fair sometimes declines.

168

Now the first fair here means fair thing, and the second fair here means beauty or fairness.

169

In other words, every fair person or thing is gonna lose its fairness, its beauty.

170

You're gonna get old, you'll get gray hair, not to say that gray is not beautiful, but things will change.

171

so every fair is going to move away from, decline from, get worse from its initial fairness, its initial beauty.

172

And this word decline may help us to understand this

173

because in the Renaissance decline often referred not just to getting worse but to moving away from.

174

Originally the word really had this idea of turning away from, bending away from, and it was often used for the sun as well.

175

So if the sun is sinking in the sky, it's declining.

176

In this case what you could say is that the standard of beauty, so we could say the standard of beauty,

177

there we go, is going to remain.

178

This is what we're striving for, this is what's beautiful, but the actual person is going to decline,

179

so their beauty will not be the same as the standard anymore, but will decline from it.

180

Kind of sad, isn't it?

181

The next line gives us a couple of reasons why this happens.

182

So the first is chance.

183

Imagine that you're walking along on the sidewalk and you walk into a lamppost, you get a cut on your face, now you have a scar,

184

and you're like, oh well that was too bad, now I'm not beautiful anymore,

185

unless scars are beautiful, and there you see how a chance random event can suddenly make this happen.

186

But we also have nature's changing course untrimmed, and we can talk about how nature over time is going to,

187

through its changing course, make you grow old as well.

188

Your life goes up and down, it changes, one day you're gonna wake up and you're not the same person that you were before.

189

Maybe you some wrinkles.

190

So that's another reason why this decline is happening.

191

The difficulty is with this word untrimmed.

192

The main meaning here is taking away something that was ornamental.

193

So before we have this fair thing, a beautiful thing, and now it is untrimmed.

194

So the beauty has been taken away.

195

That's the primary meaning here.

196

Untrimmed means not put in good order, having the ornamentation removed.

197

Some people, though, and Shakespearean critics are like this, they like to read every possible pun into a word.

198

Some critics have suggested another possible meaning, and they point to the fact that when it comes to ships we sometimes

199

or people sometimes use the word untrimmed as well.

200

So think of a ship going along here.

201

We'll draw a little picture there.

202

There we go.

203

The ship is going along and you can do two things to trim it.

204

One is to balance the ship by moving cargo to one side or the other, so that's to trim the ship.

205

The other one is to change the sails, adjust the sails, so that you can go in a particular direction.

206

But in this case we have this word untrimmed, so we don't get a boat being steered,

207

we get a boat that is completely random, completely uncontrolled.

208

If that's the meaning we're going with, then we should not apply untrim to the word fair, but we should apply it to nature's changing course.

209

And what it means then is that nature, as it's changing its course over time, is out of control.

210

It's like a boat that is not being steered, not being controlled.

211

So we could translate this word then as unchanged.

212

We haven't changed the ship, we haven't affected it to make sure it goes where we want it to go, it's simply unchanged.

213

It is as it is, and it's going all over the place.

214

That does lead to a kind of oxymoron, though, because then we're saying nature's changing unchanged course.

215

But that makes kind of sense, because nature's course is both random and predictable.

216

You can predict that it is random.

217

It's an unchanged changing course,

218

or changing unchanged course, because the fact that nature is full of change is unchanging.

219

Okay, if your head is spinning at this point, not to worry.

220

The main meaning here is removing the ornamentation, and that's the easiest way to read this.

221

You can always just read it as referring back to fair and having the sense of at some point, whether by chance or by nature,

222

you're gonna lose your ornamentation, your beauty, and you're gonna be untrimmed.

223

Let's turn then to the final six lines, to the volta, and now the poet says, but thy eternal summer shall not fade.

224

So you are going to last.

225

Now the word summer is no longer in contrast to the beloved but is being applied to the beloved,

226

which is a kind of rhetorical technique here to shift the comparison.

227

You're going to last because your beauty, your summer, is not going to fade.

228

You're not going to lose possession of that fair thou oased.

229

All right, oased is another tricky word.

230

It can mean one of two things.

231

It can mean to own or to owe.

232

And because this apostrophe kind of hides the real meaning, we have to guess what the actual meaning might be.

233

The easiest and most sensible option is own, so what this would say then is you're not going to lose possession of that beauty,

234

that fairness, that you own.

235

You own a great beauty, through my poetry you're going to keep it?

236

There you go, that's the meaning.

237

Not very difficult.

238

I should also add that there is a play here on the contrast between possession and ownership.

239

We tend to say that possession is nine -tenths of the law.

240

In other words, if you're a squatter staying in somebody else's property and they're never there, after a while somebody might be like,

241

or the judge might be like, well you stayed there long enough, maybe you have some rights to this place.

242

At least in some countries this is the case.

243

But usually we say ownership is more important than possession.

244

If you have a legal document and you say, hey look, I have title to this land, get off, then that's more important than possession.

245

So he's saying in a sense you own your beauty, and that is a little bit ironic because can you own your beauty?

246

Aren't you going to lose it over time?

247

Aren't you going to get old and die?

248

Is it really something that you own in that sense?

249

And the second meaning here, owe, kind of plays with that ambiguity.

250

So let's try to understand what it means to say that you owe your fare, whatever that means.

251

All right, well the word fare can also be a pun.

252

If you pay the fare, then you pay somebody to get on the bus, let's say here's my ticket, I owe you this.

253

If we talk about beauty, you could say beauty is something that was just given to me by chance.

254

I happen to be good -looking, you're not as good -looking as me.

255

It's too bad.

256

But you know, I feel sorry for you, and so I'll point out that this was just by chance.

257

That's all it is.

258

But when time comes, you know, you have to pay the piper, you have to pay the fare, you have to give back what you owe,

259

and you're gonna lose your beauty.

260

So that's the second sense of this, the other way to read this.

261

And it also fits in nicely, of course, because if we think of the poem itself, the poem with all its different lines,

262

it's saying, hey, you're gonna be remembered in this.

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People are gonna know who you are.

264

But now we can see the poem almost as a legal document as well to say, this poem gives a kind of ownership forever,

265

and so in a sense we could even say, you owe me.

266

As a poet, you're gonna owe me.

267

That's not really the sense directly here, but you can kind of play with this pun.

268

All right, maybe reading too much into this,

269

but I'm just trying to give you all the different perspectives on this poem so you can really make sense of it.

270

Just to sum up what we've seen so far.

271

We've seen that Shakespeare started with a comparison by saying, hey, should I compare you to a summer's day?

272

He does do that.

273

He says you are much better than a summer's day, but we do start to get this problem, which is that beauty fades and decays,

274

and then Shakespeare turns it around and says, but your eternal summer, your beauty, is not going to fade.

275

I will remember it through my poem.

276

There's one more enemy here, not just time but also death, and of course they're kind of the same.

277

Nor shall death brag, thou wanderest in his shade.

278

This is likely a reference to Psalm 23, to the valley of the shadow of death,

279

but in Psalm 23 God provides the rescue.

280

Here it's the poet who provides the rescue, maybe a little bit tongue in cheek.

281

But this word shade as a result is kind of ironic,

282

because given everything we saw before about temperate climates and beautiful places to be, shade sounds rather pleasant.

283

But it's death saying, hey come into my shade here, come and enjoy the shade, and what it really means is you're gonna die.

284

The poet then is using this word ironically, and we're gonna see a lot of irony in these final lines.

285

And as he goes on, here's another irony, he starts to brag.

286

He says, well, death can't brag, but I can.

287

In eternal lines to time thou growest.

288

lines here is no longer bloodlines, like your offspring, but it's poetic lines.

289

And over time you're gonna grow in your fame and your reputation.

290

But this word is somewhat ironic as well, of course, because can a person really grow through poetry?

291

Does poetry really grow?

292

Doesn't this remind us more of those biological children?

293

They will grow.

294

They will literally grow.

295

So you can see here that these natural metaphors are being applied in a different context.

296

And the same thing is true for gives life at the end, which we talked about before, the sense that the poem,

297

the poet, gives life to the beloved now.

298

Gives birth, you might say.

299

So long as men can breathe, their eyes can see, so long lives this, this poem, and this gives life to thee.

300

That is quite a boast, isn't it?

301

And it ironically mixes this biological natural metaphor with something more artificial,

302

which of course is poetry.

303

So an incredibly intricate sonnet.

304

The critic Helen Wendler has pointed out

305

that Shakespeare is very clever here in moving gradually outwards as he starts with the and a day,

306

very specific, and then moving towards a month in May, then we have the summer, the season, then we move to the heavens,

307

we move to nature, we move to death, we move to eternity, and it just gets bigger and bigger

308

and bigger as Shakespeare very cleverly kind of moves us to these bigger questions about what actually matters.

309

And that's another reason why the sonnet is often remembered and treasured.

310

I hope this helps you a little bit then to make sense of Sonnet 18.

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I went on a little bit longer than I thought I would, but hopefully this gives you a really detailed understanding of the poem.

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Лексика и советы по произношению к этому уроку

Этот урок разговорной практики построен на видео «Shakespeare's Sonnet 18: Explanation and Analysis». Чаще всего повторяются слова: word, sonnet, poem, summer, beauty. В этом видео 25 предложений и 4329 слов для шедоуинга. Речь длится 27:11. Говорящий говорит в естественном темпе, около 159 слов в минуту, близком к повседневной речи. 84% слов входят в 3000 самых частых слов английского языка; остальные стоит разобрать перед занятием. Вопросов здесь 28 из 25 предложений, так что это хорошая тренировка вопросительной интонации и коротких ответов.

Ключевая лексика этого видео

15 слов из видео, которые стоит выучить, с произношением и значением:

Слово	Произношение	Значение
poem существительное	/ˈpoʊ.əm/	стихи́, стихотворе́ние
rhyme существительное	/ɹaɪm/	ри́фма
compare глагол	/kəmˈpɛɚ/	сра́внивать, сравни́ть
poet существительное	/ˈpoʊ.ət/	поэ́т, поэте́сса
beloved прилагательное	/bɪˈlʌvd/	возлю́бленный, люби́мый
decline глагол	/dɪˈklaɪn/	спада́ть
poetry существительное	/ˈpoʊ.ə.tɹi/	поэ́зия
refer глагол	/ɹɪˈfɜː/	ссыла́ться, сосла́ться
possession существительное	/pəˈzɛʃn̩/	одержи́мость, бѐсоодержи́мость
poetic прилагательное	/poʊˈɛtɪk/	поэти́ческий, поэти́чный
lease существительное	/liːs/	аре́нда, ли́зинг
shade существительное	/ʃeɪd/	тень
rhythm существительное	/ˈɹɪð.əm/	ритм, такт
critic существительное	/ˈkɹɪt.ɪk/	кри́тик
fairness существительное	/ˈfɛɚ.nəs/	справедли́вость, беспристра́стие

Фразовые глаголы, которые вы услышите

Слово	Произношение	Значение
point out глагол		ука́зывать, указа́ть
come back глагол		возвраща́ться, возврати́ться
get off глагол		спуска́ться, спусти́ться
give back глагол		возвраща́ть, верну́ть
go up глагол		поднима́ться, подня́ться
set up глагол	/ˌsɛt ˈʌp/	устана́вливать, установи́ть
wake up глагол	/ˌweɪk ˈʌp/	просыпа́ться, просну́ться

Фразы, которые стоит повторять

Короткие законченные фразы из видео, которые пригодятся в повседневном разговоре:

Shall I compare thee to a summer's day?
Do we need to compare you to a summer's day?
Shall "I" compare thee to a summer's day?
Aren't you going to lose it over time?
Doesn't this remind us more of those biological children?

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	there's been · has not been accepted · has made
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is called · could be mentioned · are actually referred
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	this, which is · sonnet, which means · sonnet, which is

Произношение, на которое стоит обратить внимание

Говорящий использует 65 сокращённых и редуцированных форм, например you're, they're, we're. Произносите их коротко, так, как слышите.

Звуки «th»: rhythm /ˈɹɪð.əm/, smooth /smuːð/, breathe /bɹiːð/, eighth /eɪtθ/
Звуки «sh» и «zh»: possession /pəˈzɛʃn̩/, shade /ʃeɪd/, ownership /ˈoʊnɚʃɪp/, shake /ˈʃeɪk/, reputation /ˌɹɛpjʊˈteɪʃən/
Длинные слова — следите за ударением: reputation /ˌɹɛpjʊˈteɪʃən/, biological /ˌbaɪ.əˈlɑ.d͡ʒɪ.kəl/, ironically /aɪˈɹɑnɪkli/, visually /ˈvɪzju.əli/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/

Звуки, трудные для русскоязычных:

/w/ — губы округлены, это не /v/: whereas /(h)wɛɹˈæz/, sequence /ˈsiː.kwəns/, awkward /ˈɔk.wɚd/, weed /wiːd/, sidewalk /ˈsaɪdwɔk/
/h/ — лёгкий выдох, а не русское «х»: whereas /(h)wɛɹˈæz/, handsome /ˈhæn.səm/, humour /ˈhjuːmɚ/, hesitate /ˈhɛz.ə.teɪt/
Звонкие согласные в конце слова — не оглушайте их: beloved /bɪˈlʌvd/, shade /ʃeɪd/, unchanged /ʌnˈt͡ʃeɪnd͡ʒd/, bud /bʌd/, fade /feɪd/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Начните со скорости 0,75×, повторяйте предложение за предложением и вернитесь к обычной скорости, когда станет легко.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как poem, rhyme, compare.

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: Shakespeare's Sonnet 18: Explanation and Analysis - Изучайте разговорный английский по видео

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