to death and from sunrise to eclipse or sunset as ways to explicate the feeling of loss after having so much. It culminates in the pessimism that all that was ever had, has been or will be lost. He explains the third quatrain as the degradation of his fascination's beauty, that the weapons that time methodically uses to slowly strip what the speaker values is a crushing blow. The completeness of time's destruction is made clear as if man's beauty and goodness are created only for time to demolish. Helen Vendler sees the conflict that both Booth and Lopez are picking up on, but also adds the idea of the different concepts of time that Shakespeare develops. The waves upon the shore, beating endlessly as the minutes beat upon the hours, is the stationary model, showing the consistency and terminality of the speaker's enemy. She also describes a model of rise and fall, characterizing the tragic model. Similar to the shape of a human lifespan, with a rise from immaturity and incompetence, climaxing at a stage most able, and then steadily falling away from the high point of life and towards entropy, the second quatrain shows this parabolic idea of existence, from which Shakespeare longs to escape. The third quatrain gives Vendler the specific images that Booth and Lopez refer to the violent encounter between the speaker and time, and how time speedily spoils all the speaker enjoys. While Booth and Lopez see the conflict Shakespeare is ensnared by as one of the main points to take away from this sonnet, Vendler examines the confusion of these models interacting with each other, suggesting an inner conflict as more pressing than his external conflict about time and its destructive and unwanted powers. Context Sonnet 60 appears as part of a larger collection of 154 sonnets published in 1609 under the title "Shakespeare's Sonnets". Sonnets 1-126, or the "Fair Youth" sequence, are commonly thought to be addressed to a young man, though that man's identity is not known. It is believed that the majority of the sonnets were written in the 1590s, including Sonnet 60 (xxix). The historical context in which Shakespeare wrote Sonnet 60, especially matters concerning time, provide an interpretive key to the poem. By the 1590s, when Shakespeare wrote Sonnet 60, England was in the midst of a period of unprecedented colonization, industry, and commerce. Charles Andrews points out