Weighing Shakespeare: What Happens When You Turn the Sonnets Into Numbers?

*Experimental thought piece*

Authors: Polly came up with the idea and ran a code. AI analysed the results and wrote this report.

What happens if you assign letters numbers, turn Shakespeare’s Sonnets into data, and literally “weigh” them? I did exactly that — and discovered something unexpectedly beautiful.

Because sometimes the most beautiful things can also be counted.


🧠 What started as curiosity…

The idea began with a wonderfully strange question:

What if you could weigh Shakespeare’s Sonnets?

Not metaphorically. Literally.
What if every letter had a numerical value (A=1… Z=26), every line could be turned into a number, and every poem could be given a “total mass”?

So I did it.

I took the full text of Shakespeare’s Sonnets (Project Gutenberg edition), converted every letter into numbers, added up the values of every line, and calculated the total “weight” of every single sonnet.

Was this serious scholarship?
Not exactly.
Was it ridiculous?
Also not quite.

It turned out to be something magical in between: playful, rigorous, curious, and unexpectedly revealing.


🔢 How do you weigh a poem?

Here’s the simple method:

  • take a line of Shakespeare
  • ignore punctuation, spaces, capitals
  • assign letters values: a = 1, b = 2, … z = 26
  • add them up
  • do that for every line
  • then sum the whole sonnet

I also looked at structure:

  • total value per sonnet
  • average value per line
  • heaviest and lightest lines
  • how the famous volta (the “turn” at line 9) behaves
  • whether Shakespeare’s final couplets are numerically heavier

This wasn’t about decoding secret messages.
It was about asking: does number tell us anything interesting about poetic gravity?


📊 So… what did the numbers say?

Quite a lot, actually.

🏋️ Some sonnets are noticeably heavier

Across the dataset:

  • lightest sonnet total: Sonnet 145 — extremely light compared to the rest
  • heaviest sonnet: Sonnet 69
  • most sonnets cluster around a pretty stable “weight band”

Fun fact:
Sonnet 145 is already known to be stylistically odd — and it also turned out to be numerically the lightest poem in the sequence. The numbers quietly agreed with the critics.


💬 The heaviest and lightest lines feel right

I pulled out:

  • the 25 heaviest lines
  • the 25 lightest lines

And the pattern?

  • heavier lines are longer, rhetorically rich, emotionally intense
  • lighter lines tend to be simpler, shorter, or transitional

No mysticism. Just a lovely sense of resonance between feeling and measurement.


🧱 Structure has a “weight signature”

This was perhaps my favourite discovery.

🎭 The Final Couplet Carries Weight

On average, Shakespeare’s famous closing couplets are:
numerically heavier than the rest of the poem.

Not dramatically.
But consistently.

Which, poetically, makes absolute sense.

That final snap, twist, punchline, or emotional landing?
Turns out, you can literally feel it in numbers.


🔀 The Volta Isn’t Loud — It’s Subtle

Line 9 — the turning point — doesn’t suddenly spike.
It shifts in a quieter, steadier way.

A hinge rather than a hammer.
Which, frankly, is rather beautiful.


🌊 Some sonnets are calm. Others swing wildly.

By looking at variation line by line, I found that:

  • some poems are steady, controlled, smooth
  • others lurch dramatically from light to heavy

If numerical turbulence maps to emotional turbulence…
well, let’s just say Shakespeare’s feelings weren’t evenly distributed.


❤️ Does any of this mean something?

Let’s be honest:
Numbers can’t explain heartbreak, metaphors, longing, time, jealousy, or devotion.

But they can show density.
And density often travels near emotional intensity.

So when:

  • emotional sonnets weigh more
  • structural turning points have subtle numerical fingerprints
  • and stylistic outliers appear as numeric outliers

…it doesn’t feel like nonsense.
It feels like another way of listening.

This experiment didn’t reveal hidden codes.
It revealed resonance.

It didn’t demystify Shakespeare.
It simply added a new lens of wonder.


⚖️ Poetry, Play, and Digital Curiosity

This project sits somewhere between:

  • digital humanities
  • numerology (but sensible)
  • data play
  • and pure curiosity

And I genuinely love that place.

Because sometimes:

even when you turn Shakespeare into numbers,
the sonnets stubbornly refuse to stop being beautiful.


✨ Want to see the nerdy stuff?

I generated datasets for:

  • every line’s numerical value
  • every sonnet’s total
  • the heaviest and lightest lines
  • “numerical personality profiles” for each sonnet
  • charts showing distribution, volatility, and structural behaviour

If you’d ever like those shared publicly — say the word 😊


🔮 What could this become?

This could turn into:

  • a creative essay series
  • visual art (imagine “gravity maps” of poems)
  • sonic translation of poetic weight
  • comparisons between Fair Youth vs Dark Lady sonnets
  • comparisons with other poets entirely

But for now?
I’m just deeply happy knowing that poetry even survives spreadsheets.


🎭 Final Thought

If numbers can’t reduce Shakespeare,
and Shakespeare can survive being measured,
then maybe that’s proof — in its own strange way —
of how alive these poems still are.


You, me and AI

AI is not good or bad inherently – it is just here among us. What do we do?

Here I share some thoughts with you on AI in history, philosophy and the current digital landscape.

Why you?

You will have other thoughts, opinions and maybe concerns about AI. You will be feeling certain things about the new technology. If you’re worried about whether AI will replace people in the job marketplace, I have no answers here on that front, alas.

Why me?

I have a PhD in the history of reading, diary writing and the self; I have an MA in philosophy, with a particular interest in philosophy of mind and metaphysics; and I currently work in the digital world of user experience design and content. I am not an AI expert in any sense. I’ve just been piling up certain concepts in my head for a while and thought it would be fun to transmit them to you.

If you’ve read this far, you’ve already invested a few seconds of time in my thoughts, and hopefully you’re encouraged and interested enough to spend another couple of minutes with them.

AI in history

I don’t know much about the history of AI as a technology beyond the basics. I’m also very unfamiliar with AI in realms other than communications and the written word. I’m going to focus on that aspect of it mainly. I’m interested in the history of information and communications technology.

A brief history of information and communications technology

I’ve recently been reading the book Nexus: A brief history of information from the Stone Age to AI by Yuval Noah Harari. As a ‘big history’ fan, I enjoyed Harari’s exploration of information as a concept and as the central way to understand various political systems throughout time, ranging from democracy to totalitarianism. Not to pounce on the author’s tailcoat, but here is my own, slightly different version of that history, completely simplified and without the political systems angle.

At one stage long ago, humans took their own ideas, thoughts and feelings (‘human stuff’) out of their heads and transferred these onto physical objects. This could have been through drawings, symbols and/or what we understand as words. It could have also been various forms of what we understand to be art. The basic stage of this information and communication transfer is just about thoughts/feelings/ideas from our heads coming out onto some physical object in some form. That’s a broad definition, but it has bearing on my later theories of where we’re going with AI.

I’m focusing specifically on writing now. Writing I’ll just define as language being transferred, initially by hand, from our heads onto some physical substance in a way that another person can understand. Not everyone was doing this from the beginning. Over time more people did it. I would say this was the first information technology.

As we see now with recent information technologies, there was concern and fear when writing became more widespread. Plato, for example, feared that the proliferation of writing would make us stupid (I’m paraphrasing), because we would no longer remember things in our heads and share ideas through oral discussion. Think of the calculator making us not need to do ‘mental maths’ anymore. Like AI today, writing was once feared for dumbing us down.

For hundreds of years, people were writing, by hand, in different ways, on different materials, and sharing all this across distances.

Next: the invention of printing in various parts of the world at different times. This new technology allowed humans to create many more copies of the stuff being transferred out of their heads onto some physical substance and share it even more easily across distance. Books came about along with a plethora of other printed materials.

Later, people started being able to record more than just writing on physical matter. They could also record sounds and images and transmit them far and wide. Other information and communication technologies manifested in the telegraph, photograph, telephone, radio, television, video and so forth.

Now we come to computers. Computers are in a different category from the rest of these technologies because they were not just about taking stuff from our heads and putting them onto some physical format; they were manipulating the stuff in some way and then transmitting that out into the world.

(Sidenote: computers are also not as modern an invention as we may think. Scientists and philosophers have been theorising and working on them for hundreds of years at least, for example see Ada Lovelace).

In the current age, in the year 2025, computers are used throughout most parts of the world in a range of forms, for a range of purposes. From these, we have had the inevitable development of AI.

Not being very up to speed on the history of AI itself, my basic understanding follows. We started with computers being able to make decisions using a binary code: if computer receives 1, it does x; if computer receives 0, it does y. From there the technology expanded to do more complicated equations, based on more complicated rules, which led to algorithms. The relatively recent breakthrough has been giving the computer loads of examples, loads of inputs, so that it learns from them and acts accordingly. This could be a very basic definition of intelligence. Something comes into our heads or a computer, whether one input or many examples, some decision or choice is actively made to react somehow, and something different goes out into the world.

‘Non-human agents’

So be it. What I find the most fascinating part of this is that from the initial human starting point of stuff being transferred from our heads onto a physical form, now we have this intermediary that takes the stuff transmitted from our heads, makes something entirely new and sends it out into the world, according to an autonomous rendering of its own.

I see computers as intermediaries. Harari sees them as ‘non-human agents’. This is interesting – the concept of ‘agent’. What does an agent do, how much autonomy does it have, and how different is it to a ‘human agent’? I guess these are the big questions with AI. How will this agency, this autonomy, impact the world?  

I’m not going to explore consciousness

Who or what is conscious is a massive topic and a big debate. I’m not going to go there here. My focus is more on this flow between our human heads/hearts (selves) out into the physical world. AI, at least from my awareness of Large Language Models (LLMs), participates in a similar flow.

Perhaps the key question, therefore, is one of substance, or material, or physical matter. I loved reading philosopher David Chalmers book called Reality + in which he discusses virtual worlds. In the future there may be virtual worlds that operate in place of or alongside our own world, and in some ways, these already exist. Is this good or bad? Again, I’m not interested in the value judgement of these, rather that they could be in existence and perhaps just are.

He does discuss consciousness, but also the idea of physical matter; for example, our bodies, and how they may relate to a ‘virtual world’. In the question of AI and agency, this seems a fundamental angle. Who controls substance (what I define to be physical matter)? The classic dystopian fear of physical robots taking over the planet and destroying humans has been well rehearsed.

(Sidenote: I think this dystopian framing says so much about humans – the fact that if there were other agents with power above or beyond our own, they would automatically choose to dominate us. Why do we not assume they would be cooperative or benign?)

As I’m focused on the non-virtual world, as that is where human life begins and ends for now in the commonplace understanding of human life, who controls substance is primary. I believe, for now, humans still control substance. There is a point here about humans being controlled by non-human agents and therefore humans being manipulated to control substance in a way that is not autonomous. And maybe that is where the problem would come from.

A favourite novel of mine is Frankenstein by Mary Shelley. It touches on so many themes, but notably on the intelligence and substance question. ‘Life’ was given to a human substance (parts of dead human bodies) and then it acted autonomously. But it was still a substance like our own bodies and therefore limited in its capacity by that physical format.

So, we return to the beginning

My overall thinking is about human ideas, thoughts and feelings going out in the world in some way and how this works in computers and therefore AI. The key question is the agency, or what I prefer to call autonomy, and how this will impact the physical world. I’m not concerned that ChatGPT will manifest physicality (with the caveat again that AI is much more than just LLMs, and other forms of AI may do this).  

What seems to be more worrying now, in the digital communications realm, is not that algorithms are choosing to destroy us or making decisions on their own, but that we’ve set up competitive market forces that have influenced how algorithms work, tapping into some of the basest human qualities to survive. Specifically, I’m speaking of digital communications like social media, which have a huge ability to impact our thoughts, feelings and actions very directly and intimately, even more so than ‘traditional’ media forms.

In a massive a twist to the story, as so many of us carry around little computers, via our phones that we are tied to throughout the day in so many ways, it’s like that early development of us transmitting thoughts, ideas and feelings from our heads out into the physical world through writing, is now operating in reverse. We have this little side agent/’brain’ feeding stuff directly back into our heads during all waking hours.

It all comes down to this

It all comes down to the flow of thoughts, ideas, feelings, ie ‘human stuff’ (still not wanting to get into consciousness) within the world of physical substance. How will it play out? Who knows. It’s not simply ‘good or bad’. It’s all just fascinating.

2020: new decade, new opportunities, new courage

The new decade has started well in the land of creative writing. I’m still focusing on poetry as per the goals discussed in my previous post. In that post I also mentioned a published poem which I failed to link to: Lost smugglers.  Thank you to Bridget Holding and Wild Words for the opportunity and support.

My poetry course began last week at CityLit and I can tell it’s going to be great. The tutor is the wonderful Joanna Ingham who has recently published a pamphlet called Naming Bones (ignitionpress, 2019). She got us straight into memory, emotions and anaphora in the first class, which was fascinating and useful. And she’s assigned optional homework that I am absolutely going to do because I love homework.

Another new endeavour recently has been the organising of a new meetup group: Queer Poets. I am very excited about our first get-together this upcoming Friday evening at the Rose and Crown pub in Kentish Town. People are welcome to share poetry, join in a constructive feedback session and then enjoy a social together. I’m very much looking forward to meeting everyone and being in a creative environment with fellow poets.

I have also recently moved into a different flat which has so much natural light my vitamin D levels are probably through the roof, despite the often grey sky. The space is so beautiful and has really been conducive to reflection and poetry rewriting.

All of these new beginnings have boosted my confidence and courage, and I am pleased to be starting the new year on a positive note.

 

 

Poetic inspiration and creative focus

Since my last entry, my creative writing process has been reenergised, refocused and awash in inspiration. Happily I had one of my poems read by an amazing poet on BBC radio. That same poem also won runner up in a competition.

I have made a decision to only focus on poetry at this time which definitely means I spend more time rewriting and editing, instead of constantly coming up with new, undeveloped ideas in my notebook that never go anywhere.

I currently have just over 50 poems in various drafting stages. In January I will begin a poetry course at City Lit. The talented members of the poetry group of which I am a member are flourishing. And I have continued performing, reciting and learning about presenting poetry in public. My goal for 2020 is to publish a collection of poems.

I find writing poetry so important and so satisfying. It’s not just about the initial inspiration, but also the restructuring, the reordering and the finessing. I have not had this much fun with writing since my time in academia writing about history.

Recently I have begun a new phase of poetry writing that is not about grief. This is very refreshing and, again, I am learning what works and what doesn’t. I am also exploring humour. I am enjoying writing discrete episodic poems, in which one small activity or incident is dwelled upon and dissected to the core. Hopefully this brings greater meaning to the mundane.

I am also extremely lucky to share ideas and feedback with an extraordinary writing partner who is fundamental to this process.

So, since my last post things are looking up creatively. And I am very pleased.

Tomorrow I am performing a new poem at Celine’s Salon in Gerry’s Club, Soho, London, 7.30pm.  See you there.

Rewriting and consolidation

At the moment I am struggling with focus and discipline related to creative writing. I’m not going to be too hard on myself because the summer was very difficult emotionally. I’m actually glad that autumn is here, which is unusual for me.

I’m looking forward to the literary nights starting again and I’m hoping that will spur me on. I don’t need to keep writing more and more introspective poems, flash fiction experiments or hectically scribbled ideas for novels. I need to dig deep and work on rewriting what I already have: the hard part.

Besides the literary nights, I’ve been wondering about other actions I can take to get me to do the hard work: back to a writing group, enter more competitions, sign up for a poetry course, splurge on a writers retreat, send poetry to the whatsapp poetry group, create a poetry collection to self-publish,  contact agents again….? All of these actions would help motivate me to put some work in.

I think for now I will focus on the first literary night coming up in a week. I will choose one poem already written and rewrite, rewrite, rewrite, rehearse, rehearse, rehearse; I will go one step at a time back to the creative discipline, as the leaves turn golden and start to fall.

The importance of deadlines

Writing as often as possible is a goal. However, I do not achieve this as much as I would like. Sometimes I’m tired. Sometimes I’ve been socialising a lot. Sometimes I’m exhausted from content designing. Sometimes I’m reading.

But deadlines constitute concrete goals that I can structure my time around. At the moment my two forms of deadlines are:

  1. Performances
  2. Competitions

I have so far only performed at one venue (once a month, so four times this year). Each of these occasions demanded plenty of prep work: rewriting, editing, rehearsing and meetings with my writing partner. In May and June I have a few other nights, at different venues, where I will be performing as well. So more prep work to do and concrete deadlines to work towards.

I have also started entering competitions. This takes time and dedication again, particularly as there are so many (though I am choosey, especially when time poor). Unfortunately I missed all the deadlines on 30 April and 1 May due to the reasons aforementioned (tired, socialising, content designing or reading). Still, competition entry is another new discipline, like performing, in 2019 that is lending impetus to my writing habits.

Deadlines are essential for me. I can be quite driven generally, but I still need those extra incentives to focus my writing practice. And both forms of incentives involve sharing work with new audiences, which is absolutely critical to the whole process.

When do you call yourself a writer?

When do we own a label such as “writer”? How much writing do we have to do to achieve this badge?

Identity shifts throughout our lives. Some people identify with the work they do, and some have other primary identifiers. After several years of practicing meditation and noting how much things change from moment to moment, I now find identity tricky. Still, the concept is powerful.

There is a massive discussion point here about identity politics and “where we are now” in the turbulent day to day. The topic is a salient one.

When you first meet a new person, “what do you do?” might be an early question. This is a complicated conversation universally, I think. What’s our default answer? For me, it has tended to be about what I do to earn a living: my day job. But we could all say so much more than that.

Focusing on the “day job” side of identity here, I think lots of categories/binaries are breaking down when it comes to work. People’s DIY careers are telling because they often merge many forms of activity: career, work, free time, passion and vocation, among others. It’s not simply professional versus personal.

So, when do we call ourselves writers? Each to their own, I think. Who we are is there for us to imagine and then create (only if we have that privilege: a fundamental qualifier).

I don’t have a straight-forward answer to the question, other than an “I think, therefore I am” approach. I’ve written loads now, so I would definitely call myself a writer. Authorship is a debate for a different entry, but I believe even that identity (like all identities) could be shape-shifting.

 

When is the right time for write time?

Over the years I’ve read about many different routines of great writers and discovered that almost all are strict and followed religiously. Usually the prolific writers start quite early in the morning.

Waking up early is a new thing for me over the past couple of years. I love the quiet of the early morning and drinking coffee in bed, even on weekdays. By the time I leave for my walk to the office, I’ve been up for at least two hours.

However, it is only recently that I have started writing in the early morning. Before this, I still had it in my head that I was not a morning person, so, even if I was awake, creativity wouldn’t work.

Actually, writing in the early morning is very productive, for me at least. The creativity does work. So far I’ve only written in the early morning at the weekend, but I’m considering instigating it on weekdays as well, especially as I feel quite tired in the evenings and go to bed relatively early, if I’m having an evening in.

I am currently feeling very passionate about poetry in the morning. I have recently done another recitation at the same literary night as before. I felt much more solid this time. Still a long way to go, but hopefully that is always the case, the growing and changing.

I have also returned to my short story compilation, to get myself back in the prose head space. For me, with this and other story projects, along with poetry, early morning writing seems to be the way forward for skillful outputs.

Second poetry performance

Second poetry performance. Photo credit: Lucy Tertia George.

From medium.com:

The Daily Routine of 20 Famous Writers

The ups and downs of writing

Writing, like life, is not always easy or fun. Life, like writing, comes with multitudinous struggles that affect our ability to create. I don’t want this blog to be a litany of successes and goals, because that would not be the full picture.

These past two weeks have been mentally taxing for personal reasons, and I’ve really struggled to write much of anything. I’ve done a few poems, but that’s all. The short story compilation is sitting idly by, gathering e-dust in my hard drive. My writing partner gave me feedback ages ago that I have still not implemented.

But this is all normal and I am learning that in writing, and in life, I don’t have to be 100% everyday. That would be impossible. The perfectionist in me is very punishing at times and I keep having to tell them that they need to take a break from the relentless quest for achievement. We are getting slightly more self-compassionate, but it is an uphill battle.

This morning I have written a poem that I am quite pleased with so I will continue working on that. But in the meantime, I’m trying to remember that productivity comes and goes. We are not machines. Discipline is one thing, but firing on all cylinders all the time isn’t human.

 

Creative projects, new ideas and the writer’s studio

I am very pleased to announce that I am starting work on a book of short stories. The content remains a secret for now, but, after considering my creative/life trajectory, I’m convinced that it will be a very worthwhile project. I’ve set myself a goal of writing 500 words a day. I am quite goal-driven so this will probably mean a great deal of output.

I have already finished the first draft of the first story. 2500 words. It needs to be revised before I send it to my writing partner (as usual, very supportive and instrumental in the brainstorming of this idea).

It is a stimulating project because there is a huge amount of content to draw from. Knowing how to manage that, respect the material and create compelling narratives in each story will be the exciting challenge.

At the same time, I have just acquired the most delightful, adjustable Italian-made chair to sit in and write (pictured below). I had a gift voucher for John Lewis which covered the cost completely. It has transformed my beloved studio into a much more creative space. Since it arrived on Wednesday, I have spent hours sitting in it. As a fold-up outdoor chair it is stored easily in my corridor.

All is well with the creation of a potentially publishable book and my habitat. Lots of work to do, but the creative future looks promising.New chair