inscription followed which translates as "Breasts, O mother, milk and life thou didst give. Woe is me—for how great a boon shall I give stones? How much rather would I pray that the good angel should move the stone so that, like Christ's body, thine image might come forth! But my prayers are unavailing. Come quickly, Christ, that my mother, though shut within this tomb may rise again and reach the stars." The inscription is believed to have been written by John Hall on behalf of his wife, Anne's daughter, Susanna. In literature Shakespeare's sonnets One of Shakespeare's sonnets, number 145, has been claimed to make reference to Anne Hathaway: the words 'hate away' may be a pun (in Elizabethan pronunciation) on 'Hathaway'. It has also been suggested that the next words, "And saved my life", would have been indistinguishable in pronunciation from "Anne saved my life". The sonnet differs from all the others in the length of the lines. Its fairly simple language and syntax have led to suggestions that it was written much earlier than the other, more mature, sonnets. Other literature The following poem about Anne has also been ascribed to Shakespeare, but its language and style are not typical of his verse. It is widely attributed to Charles Dibdin (1748–1814) and may have been written for the Stratford-upon-Avon Shakespeare Festival of 1769: Fictional portrayals Anne is depicted in fiction during the 19th century, when Shakespeare started to become a figure in wider national and popular culture. Emma Severn's novel Anne Hathaway, or, Shakespeare in Love (1845) portrays an idealised romance and happy marriage in an idyllic rural Stratford. She also appears in William Black's 1884 novel Judith Shakespeare about her daughter, portrayed as a conventional dutiful wife and concerned parent with a wayward daughter. By the early 20th century a more negative image of Hathaway emerged, following the publication of Frank Harris's books on Shakespeare's love life, and after the discovery that Anne was already pregnant when the couple married. A trend in literature on Hathaway in this period was to imagine her as a sexually incontinent cradle-snatcher, or, alternatively, a calculating shrew. More recent literature has included more varied representations of her. Historian Katherine Scheil describes Hathaway as a "wife-shaped void" used by modern writers "as a canvas for expressing contemporary woman's struggles—over independence, single motherhood, sexual freedom, unfaithful husbands, woman's education and power-relations between