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Judicial immunity
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Judicial immunity is a form of legal immunity which protects judges and others employed by the judiciary from liability resulting from their judicial actions.[1]
Contents
1 Overview
2 United States
2.1 Cases
2.1.1 Stump v. Sparkman
2.1.2 Harris v. Harvey
2.1.3 Supreme Court of Virginia v. Consumers Union
2.1.4 Mireles v. Waco
3 See also
4 References
5 External links
Overview[edit]
Historically, judicial immunity was associated with the English common law idea that "the King can do no wrong." (Compare Sovereign immunity.) Judges, the King's delegates for dispensing justice, accordingly "ought not to be drawn into question for any supposed corruption [for this tends] to the slander of the justice of the King."[2] An example of applying judicial immunity: a judge is not liable for a slander or libel suit for statements made about someone during a trial, no matter how corrupt that act was.[citation needed]
United States[edit]
In the United States, judicial immunity is among a handful of forms of absolute immunity, along with prosecutorial immunity, legislative immunity, and witness immunity. The U.S. Supreme Court has characterized judicial immunity as providing "the maximum ability [of judges] to deal fearlessly and impartially with the public".[3] The justification is as follows: because of the likelihood of innocent individuals being convicted in a court of law under false claims, the "burden" of being subjected to a court of law (a trial) would "dampen" the judges "enthusiasm" or "passion".[4] Opponents of judicial immunity argue that this doctrine is not adequately justified.[5] For example, judges could be shielded from any personal capacity liability, and still be subject to official capacity liability so that they may be held accountable for their injurious acts -- thus "balancing" the "evil" to better protect the fundamental rights of victims.
Judicial immunity does not protect judges from suits stemming from administrative decisions made while off the bench, like hiring and firing decisions. But immunity generally does extend to all judicial decisions in which the judge has proper jurisdiction, even if a decision is made with "corrupt or malicious intent."[6] In 1997 West Virginia judge Troisi became so irritated with a rude defendant, he stepped down from the bench, took off his robe, and bit the defendant on the nose.[7] He pleaded no contest to state charges but was acquitted of federal charges of violating the defendant's civil rights.[8] He spent five days in jail and was put on probation.[9]
Because the immunity is attached to the judicial nature of the acts, not the official title of the officeholder, judicial immunity also applies to administrative hearings, although in some situations, only qualified immunity applies.[10] In determining whether absolute or qualified immunity should be provided, the U.S. Supreme Court has identified the following factors, according to the Shriver Center's Federal Practice Manual for Legal Aid Attorneys:[10]
(a)The need to assure that the individual can perform his functions without harassment or intimidation; (b) the presence of safeguards that reduce the need for private damages actions as a means of controlling unconstitutional conduct; (c) insulation from political influence; (d) the importance of precedent; (e) the adversary nature of the process; and (f) the correctability of error on appeal.
Cases[edit]
Stump v. Sparkman[edit]
Main article: Stump v. Sparkman
One of the leading decisions on judicial immunity is Stump v. Sparkman. In 1971, Judge Harold D. Stump granted a mother's petition to have a tubal ligation performed on her 15-year-old daughter, whom the mother alleged was "somewhat retarded." The daughter was told that the surgery was to remove her appendix. In 1975 the daughter, going by her then-married name of Linda Sparkman, learned that she had been sterilized. She sued the judge. The U.S. Supreme Court ruled that the judge could not be sued, because the decision was made in the course of his duties. In that regard, it was irrelevant that the judge's decision may have been contrary to law and morally reprehensible.
Harris v. Harvey[edit]
Judges usually, but not always, receive immunity from being sued. One exception where a judge was sued and lost is Harris v. Harvey (1979),[11][12] Sylvester Harris was an African-American police lieutenant in Racine, Wisconsin, attacked in a variety of ways by Judge Richard G. Harvey. Harris sued Harvey because of (a) comments Harvey made to the news media, (b) threatening letters Harvey wrote to city and county officials who attempted to defend Harris, and (c) parties Harvey held for ranking state officials during which he attempted to get Harris removed from law enforcement. The jury concluded that Harvey was not eligible for judicial immunity for these actions, as such acts which were not part of the judge's normal duties (i.e., were "outside his jurisdiction"). The jury awarded Harris $260,000 damages. Another judge later added $7,500 legal fees. The United States Court of Appeals for the Seventh Circuit concurred with the jury's decision. Judge Harvey petitioned the Seventh Circuit court for an en banc rehearing, which was denied. His petition to the Supreme Court was also denied. Harris v. Harvey is the first case in the United States, where a sitting court judge has been sued and lost in a civil action,[13] it is a binding precedent in the Seventh Circuit and is persuasive authority in the other circuits.
Supreme Court of Virginia v. Consumers Union[edit]
Decision of the U.S. Supreme Court that the Supreme Court of Virginia did not have immunity in federal court from being enjoined in its enforcement capacity where state law gave the court independent authority to initiate certain proceedings against attorneys.[14] Consumers Union was hindered from compiling an attorney directory because many attorneys they contacted declined to provide requested information out of fear of violating, and thereafter prosecuted, attorney conduct regulations promulgated by the Supreme Court of Virginia. Consumers Union filed a lawsuit in federal court against the Supreme Court of Virginia and others, under 42 U.S.C. § 1983, seeking to have the regulation declared unconstitutional and to enjoin the defendants from enforcing it.[15] The U.S. Supreme Court affirmed the Supreme Court of Virginia's legislative immunity:[16]
If the sole basis for [Consumer Union's] § 1983 action against the Virginia Court and its chief justice were the issuance of, or failure to amend, the challenged rules, legislative immunity would foreclose suit against appellants. ... As already indicated, § 54-74 gives the Virginia Court independent authority of its own to initiate proceedings against attorneys. For this reason, the Virginia Court and its members were proper defendants in a suit for declaratory and injunctive relief, just as other enforcement officers and agencies were. ... If prosecutors and law enforcement personnel cannot be proceeded against for declaratory relief, putative plaintiffs would have to await the institution of state court proceedings against them in order to assert their federal constitutional claims. This is not the way the law has developed, and, because of its own inherent and statutory enforcement powers, immunity does not shield the Virginia Court and its chief justice from suit in this case.
—  Supreme Court of Virginia v. Consumers Union, 446 U.S. 719, 734-37 (1980)
Mireles v. Waco[edit]
On the other hand, misbehavior while performing judicial acts is immune. In the case of Mireles v. Waco (1991),[17] when a defense lawyer failed to appear for a scheduled hearing, the judge not only issued a bench warrant for his arrest, but instructed the police sent to arrest him to "rough him up a little" to teach him not to skip court dates. Although this was entirely unprofessional and possibly criminal, the judge was held, by the Supreme Court, to have absolute immunity from a lawsuit arising from the resulting beating, because done entirely within his activities as a judge presiding over a court.
See also[edit]
Judicial misconduct
Diminished responsibility
Diminished capacity in United States law
References[edit]
Jump up ^ Shaman, Jeffrey (January 1990). "Judicial Immunity from Civil and Criminal Liability". San Diego Law Review. 27: 1.
Jump up ^ Floyd & Barker, 12 Co. Rep. 23, 25, 77 Eng. Rep. 1305, 1307 (Star Chamber 1607).
Jump up ^ https://supreme.justia.com/cases/federal/us/444/193/case.html
Jump up ^ Barr v. Matteo, 360 U.S. 564 (1959)
Jump up ^ http://object.cato.org/sites/cato.org/files/serials/files/cato-journal/1987/11/cj7n2-13.pdf
Jump up ^ Jones, Ashby (November 12, 2009). "New Lawsuits Try to Pierce Shield of Judicial Immunity". The Wall Street Journal.
Jump up ^ "Judge Who Bit Nose of Defendant Faces Prison". Los Angeles Times. October 11, 1997. Retrieved September 25, 2013.
Jump up ^ "Judge Is Acquitted in Nose-Biting Case". Lost Angeles Times. May 7, 1998. Retrieved September 25, 2013.
Jump up ^ Meiners, Roger; Al. H. Ringleb; Frances L. Edwards (2008). The Legal Environment of Business, Tenth Edition. p. 43. ISBN 978-0-324-65436-3.
^ Jump up to: a b "8.2 Suits Against Public Officials in Their Individual Capacity". Federal Practice Manual for Legal Aid Attorneys. Sargent Shriver National Center on Poverty Law. 2016. Retrieved 4 May 2018.
Jump up ^ 605 F.2d 330 (7th Cir. 1979)
Jump up ^ Harris v. Harvey , 605 F.2d 330 (7th Cir. 1979).
Jump up ^ "The Landmark Court Case - Sylvester Harris". Sylvester Harris. Retrieved 2018-10-21.
Jump up ^ Supreme Court of Virginia v. Consumers Union, 446 U.S. 719, 719-720 (1980)
Jump up ^ 446 U.S. at 724-727
Jump up ^ 446 U.S. at 734-37
Jump up ^ 502 U.S. 9, 112 S.Ct. 286, 116 L.Ed.2d 9
External links[edit]
The Horrifying Extent of Absolute Judicial Immunity
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Sonnet 116
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Sonnet 116
Sonnet 116 in the 1609 Quarto (where it is mis-numbered as 119)
Q1

Q2

Q3

C
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

4

8

12

14
—William Shakespeare[1]
Shakespeare's Sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet.
The poet begins by stating he should not stand in the way of "the marriage of true minds", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, "ever-fixèd" and lasts forever.
"The movement of 116, like its tone, is careful, controlled, laborious…it defines and redefines its subject in each quatrain, and this subject becomes increasingly vulnerable".[2] It starts out as motionless and distant, remote, independent—then moves to be "less remote, more tangible and earthbound",[2] and the final couplet brings a sense of "coming back down to earth". Ideal love is deteriorating throughout the sonnet and continues to do so through the couplet.
Contents
[hide]
1 Structure
2 Analysis
2.1 Overview
2.2 Quatrain 1
2.3 Quatrain 2
2.4 Quatrain 3
2.5 Couplet
3 Notes and references
3.1 References
3.2 Sources
4 See also
5 External links
Structure[edit]
Sonnet 116 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 10th line exemplifies a regular iambic pentameter:
 ×  /   ×   /  ×    /  ×     /  ×    /
Within his bending sickle's compass come; (116.10)

This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 6 and 8 feature a final extrametrical syllable or feminine ending:
  ×   /    ×   /  ×    /   ×   / ×    /(×)
That looks on tempests and is never shaken; (116.6)

/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Line 2 exhibits a mid-line reversal:
×  /  ×  / × /      /   ×   ×   /
Admit impediments. Love is not love (116.2)

A mid-line reversal can also be found in line 12, while lines 7, 9, and 11 all have potential initial reversals. Finally, line 11 also features a rightward movement of the third ictus (resulting in a four-position figure, × × / /, sometimes referred to as a minor ionic):
 /   ×  ×    /   ×    ×    /    /    ×    /
Love alters not with his brief hours and weeks, (116.11)

The meter demands that line 12's "even" function as one syllable.[3]
Analysis[edit]
Overview[edit]
Sonnet 116 is one of Shakespeare's most famous love sonnets, but some scholars have argued the theme has been misunderstood. Hilton Landry believes the appreciation of 116 as a celebration of true love is mistaken,[4] in part because its context in the sequence of adjacent sonnets is not properly considered. Landry acknowledges the sonnet "has the grandeur of generality or a 'universal significance'," but cautions that "however timeless and universal its implications may be, we must never forget that Sonnet 116 has a restricted or particular range of meaning simply because it does not stand alone."[5] Carol Thomas Neely writes that, "Sonnet 116 is part of a sequence which is separate from all the other sonnets of Shakespeare because of their sense of detachment. They aren't about the action of love and the object of that love is removed in this sequence which consists of Sonnets 94, 116, and 129".[6] This group of three sonnets does not fit the mold of the rest of Shakespeare's sonnets, therefore, and they defy the typical concept and give a different perspective of what love is and how it is portrayed or experienced. "Though 116 resolves no issues, the poet in this part of the sequence acknowledges and accepts the fallibility of his love more fully than he could acknowledge that of the young man's earlier".[7] Other critics of Sonnet 116[8] have argued that one cannot rely on the context of the sonnet to understand its tone. They argue that since "there is no indisputably authoritative sequence to them, we cannot make use of context as positive evidence for one kind of tone or another."[9] Shakespeare does not attempt to come to any significant conclusion within this particular sonnet because no resolution is needed.
Quatrain 1[edit]
The sonnet begins with the poet's apparent acknowledgment of the compelling quality of the emotional union of "true minds". As Helen Vendler has observed, "This famous almost 'impersonal' sonnet on the marriage of true minds has usually been read as a definition of true love."[10] This is not a unique theme of Shakespeare's sonnets. Carol Neely observes that "Like [sonnet] 94, it defines and redefines its subject in each quatrain and this subject becomes increasingly concrete, attractive and vulnerable."[2] Shakespeare tends to use negation to define love according to Lukas Erne, "The first and the third [quatrains], it is true, define love negatively: 'love is not...'; Love's not...'. The two quatrains are further tied together by the reappearance of the verbs 'to bend' and 'to alter'."[11] Love is defined in vague terms in the first quatrain.
Garry Murphy observes that the meaning shifts with the distribution of emphasis. He suggests that in the first line the stress should properly be on "me": "Let ME not to the marriage of true minds..."; the sonnet then becomes "not just a gentle metaphoric definition but an agitated protest born out of fear of loss and merely conveyed by means of definition."[9] C.R. B. Combellack disputes the emphasis placed on the "ME" due to the "absence from the sonnet of another person to stand in contrast. No one else is addressed, described, named, or mentioned."[12] Murphy also claims that "The unstopped first and second lines suggest urgency in speech, not leisurely meditation."[9] He writes that the short words when delivered would have the effect of "rapid delivery" rather than "slow rumination". Combellack questions this analysis by asking whether "urgency is not more likely to be expressed in short bursts of speech?" He argues that the words in the sonnet are not intended to be read quickly and that this is simply Murphy's subjective opinion of the quatrain. Murphy believes the best support of the "sonnet itself being an exclamation" comes from the "O no" which he writes a person would not say without some agitation. Combellack responds that "O no" could be used rather calmly in a statement such as "O no, thank you, but my coffee limit is two cups."[12] If anything, Combellack suggests, the use of the "O" softens the statement and it would require the use of different grammar to suggest that the sonnet should be understood as rapid speech.
The poetic language leaves the sort of love described somewhat indeterminate; "The 'marriage of true minds' like the 'power to hurt' is troublesomely vague open to a variety of interpretations."[2] Interpretations include the potential for religious imagery and the love being for God, "Lines one and two echo the Anglican marriage service from the Book of Common Prayer." The concept of the marriage of true minds is thought to be a highly Christian; according to Erne, "The mental picture thus called up in our minds of the bride and bridegroom standing up front in a church is even reinforced by the insistence on the word alter/altar in the following line."[11]
Quatrain 2[edit]
The second quatrain explains how love is unchanging according to Neely, "Love is a star, remote, immovable, self-contained, and perhaps, like the 'lords and owners of their faces,' improbably and even somewhat unpleasantly cold and distant."[2] The second quatrain continues Shakespeare's attempt to define love, but in a more direct way. Shakespeare mentions "it" in the second quatrain according to Douglas Trevor, "The constancy of love in sonnet 116, the "it" of line five of the poem, is also – for the poet – the poetry, the object of love itself."[13] Not only is there a direct address to love itself, the style Shakespeare's contemplation becomes more direct. Erne states, "Lines five to eight stand in contrast to their adjacent quatrains, and they have their special importance by saying what love is rather than what it is not." This represents a change in Shakespeare's view that love is completely undefinable. This concept of unchanging love is focused in the statement, "'[love] is an ever-fixed mark'. This has generally been understood as a sea mark or a beacon."[11] This concept may also convey in a theological sense. During the Reformation there was dispute about Catholic doctrines, "One of the points of disagreement was precisely that the Reformers rejected the existence of an ever-fixed, or in theological idiom, 'idelible' mark which three of the sacraments, according to Catholic teaching, imprint on the soul."[11] This interpretation makes God the focus of the sonnet as opposed to the typical concept of love.
The compass is also considered an important symbol in the first part of the poem. John Doebler identifies a compass as a symbol that drives the poem, "The first quatrain of this sonnet makes implied use of the compass emblem, a commonplace symbol for constancy during the period in which Shakespeare's sonnets were composed."[14] Doebler identifies certain images in the poem with a compass, "In the Renaissance the compass is usually associated with the making of a circle, the ancient symbol of eternity, but in sonnet 116 the emphasis is more upon the contrasting symbolism of the legs of the compass."[14] The two feet of the compass represent the differences between permanent aspects of love and temporary ones. These differences are explained as, "The physical lovers are caught in a changing world of time, but they are stabilized by spiritual love, which exists in a constant world of eternal ideals."[14] The sonnet uses imagery like this to create a clearer concept of love in the speaker's mind.
Quatrain 3[edit]
In the third quatrain, "The remover who bends turns out to be the grim reaper, Time, with his bending sickle. What alters are Time's brief hours and weeks…" and "Only the Day of Judgment (invoked from the sacramental liturgy of marriage) is the proper measure of love's time".[15] The young man holds the value of beauty over that of love. When he comes to face the fact that the love he felt has changed and become less intense and, in fact, less felt, he changes his mind about this person he'd loved before because what he had felt in his heart wasn't true. That the object of his affection's beauty fell to "Time's Sickle" would not make his feelings change. This fact is supported by Helen Vendler as she wrote, "The second refutational passage, in the third quatrain, proposes indirectly a valuable alternative law, one approved by the poet-speaker, which we may label "the law of inverse constancy": the more inconstant are time's alterations (one an hour, one a week), the more constant is love's endurance, even to the edge of doom".[16] Vendler believes that if the love the young man felt was real it would still be there after the object of that love's beauty had long faded away, but he "has announced the waning of his own attachment to the speaker, dissolving the "marriage of true minds""[17] Shakespeare is arguing that if love is true it will stand against all tests of time and adversity, no manner of insignificant details such as the person's beauty fading could alter or dissolve "the marriage of two minds".
Couplet[edit]
The couplet of Sonnet 116 Shakespeare went about explaining in the inverse. He says the opposite of what it would be natural to say about love. For instance, instead of writing something to the effect of 'I have written and men have loved', according to Nelson, Shakespeare chose to write, "I never writ, nor no man ever loved." Nelson argues that "The existence of the poem itself gives good evidence that the poet has written. It is harder to see, however, how the mere existence of the poem could show that men have loved. In part, whether men have loved depends upon just what love is…Since the poem is concerned with the nature of love, there is a sense in which what the poem says about love, if true, in part determines whether or not men have loved."[18] Nelson quotes Ingram and Redpath who are in agreement with his statement when they paraphrase the couplet in an extended form: "If this is a judgment (or a heresy), and this can be proved against me, and by citing my own case in evidence, then I've never written anything, and no man's love has ever been real love.""[18] Vendler states "Therefore, if he himself is in error on the subject of what true love is, then no man has ever loved; certainly the young man (it is implied) has not loved, if he has not loved after the steady fashion urged by the speaker, without alteration, removals, or impediments".[19] Each of these authorities agree in the essence of the Sonnet and its portrayal of what love really is and what it can withstand, for example, the test of time and the fading of physical attraction of the object of our love. The couplet is, therefore, that men have indeed loved both in true and honest affection (this being the most important part of the argument) as well as falsely in the illusions of beauty before just as Shakespeare has written before this sonnet.
Notes and references[edit]
References[edit]
Jump up ^ Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201.
^ Jump up to: a b c d e Neely 1977.
Jump up ^ Booth 2000, p. 386.
Jump up ^ Landry 1967.
Jump up ^ Landry 1967, p. 98.
Jump up ^ Neely 1977, p. 83.
Jump up ^ Neely 1977, p. 89.
Jump up ^ Murphy 1982.
^ Jump up to: a b c Murphy 1982, p. 40.
Jump up ^ Vendler 1997.
^ Jump up to: a b c d Erne 2000.
^ Jump up to: a b Combellack 1982, p. 13.
Jump up ^ Trevor 2007.
^ Jump up to: a b c Doebler 1964.
Jump up ^ Vendler 1997, p. 490.
Jump up ^ Vendler 1997, p. 492.
Jump up ^ Vendler 1997, p. 493.
^ Jump up to: a b Nelson & Cling 2000.
Jump up ^ Vendler 1997, p. 491.
Sources[edit]
Combellack, C.R.B. (1982). "Shakespeare's Sonnet 116". The Explicator. 41 (1). ISSN 1939-926X.
Doebler, John (1964). "A Submerged Emblem in Sonnet 116". Shakespeare Quarterly. Folger Shakespeare Library. 15 (1): 109–110. doi:10.2307/2867968. ISSN 1538-3555. JSTOR 2867968.
Erne, Lukas (2000). "Shakespeare's 'Ever-Fixed Mark': Theological Implications in Sonnet 116". English Studies. Routledge. 81 (4): 293–304. doi:10.1076/0013-838X(200007)81:4;1-F;FT293. ISSN 1744-4217.
Landry, Hilton (1967). "The Marriage of True Minds: Truth and Error in Sonnet 116". Shakespeare Studies. University of Cincinnati. 3: 98–110.
Murphy, Garry (1982). "Shakespeare's Sonnet 116". The Explicator. 39 (1): 39–41. ISSN 1939-926X.
Neely, Carol Thomas (1977). "Detachment and Engagement in Shakespeare's Sonnets: 94, 116, and 129". PMLA. Modern Language Association. 92 (1): 83–95. doi:10.2307/461416. ISSN 0030-8129. JSTOR 461416.
Nelson, Jeffrey N.; Cling, Andrew D. (2000). "Love's Logic Lost: The Couplet of Shakespeare's Sonnet 116". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. Routledge. 13 (3): 14–19. doi:10.1080/08957690009598107. ISSN 1940-3364.
Trevor, Douglas (2007). "Shakespeare's Love Objects". In Schoenfeldt, Michael. A Companion to Shakespeare's Sonnets. Grand Rapids: Blackwell Limited. doi:10.1111/b.9781405121552.2007.00015.x. ISBN 9781405121552.
First edition and facsimile
Shakespeare, William (1609). Shake-speares Sonnets: Never Before Imprinted. London: Thomas Thorpe.
Lee, Sidney, ed. (1905). Shakespeares Sonnets: Being a reproduction in facsimile of the first edition. Oxford: Clarendon Press. OCLC 458829162.
Variorum editions
Alden, Raymond Macdonald, ed. (1916). The Sonnets of Shakespeare. Boston: Houghton Mifflin Company. OCLC 234756.
Rollins, Hyder Edward, ed. (1944). A New Variorum Edition of Shakespeare: The Sonnets [2 Volumes]. Philadelphia: J. B. Lippincott & Co. OCLC 6028485.
Modern critical editions
Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499.
Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040.
Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938.
Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951.
Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082.
Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446.
Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469.
Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809.
Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589.
See also[edit]
When Love Speaks
External links[edit]
From the British Library and NPR, a reading of Sonnet 116 in a reproduction of Shakespeare's dialect
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Loser (3 Doors Down song)
From Wikipedia, the free encyclopedia
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"Loser"
Single by 3 Doors Down
from the album The Better Life
Released
July 29, 2000
Format
CD
Recorded
1999
Genre
Post-grunge
alternative rock
Length
4:21 (album version)
3:48 (radio edit)
Label
Republic
Songwriter(s)
Brad Arnold
Matt Roberts
Todd Harrell
3 Doors Down singles chronology
"Kryptonite"
(2000) "Loser"
(2000) "Duck and Run"
(2001)
"Kryptonite"
(2000) "Loser"
(2000) "Duck and Run"
(2001)
"Loser" is a song by American rock band 3 Doors Down. It was released in July 2000 as the second single from their debut album The Better Life. The power ballad spent 21 weeks at the number-one position on the Billboard U.S. Mainstream Rock chart, an all-time record for the chart.[1]
Contents
[hide]
1 Background
2 Chart performance
3 Track listing
4 References
5 External links
Background[edit]
Lead singer Brad Arnold wrote the song about a childhood friend who became addicted to cocaine.
Chart performance[edit]
Chart (2000–2001)
Peak
Position
Australia (ARIA)[2] 68
Belgium (Ultratip Flanders)[3] 9
Canadian RPM Rock Chart 4
Germany (Official German Charts)[4] 78
Netherlands (Single Top 100)[5] 67
New Zealand (Recorded Music NZ)[6] 37
US Billboard Hot 100 55
US Billboard Modern Rock Tracks 2
US Billboard Mainstream Rock Tracks 1
US Billboard Adult Top 40 36
Track listing[edit]
UK version
"Loser" (Radio edit) – 3:48
"Loser" (Album version) – 4:21
EU version
"Loser" (Album version) – 4:21
"Loser" (Acoustic, Radio Fritz, Berlin) – 3:59
"Loser" (Live version) – 5:38
"Kryptonite" (Live Acoustic version) – 3:49
German version
"Loser" (Top 40 Edit)
"Loser" (Album version) – 4:21
"Loser" (Live edit in Atlanta, 2000) – 5:27
"Loser" (Acoustic, Radio Fritz, Berlin) – 3:59
"Kryptonite" (Live Acoustic version)
"Loser" (Video)
References[edit]
Jump up ^ Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications), page 633.
Jump up ^ Kent, David (2006). Australian Chart Book 1993-2005. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-45889-2.
Jump up ^ "Ultratop.be – 3 Doors Down – Loser" (in Dutch). Ultratip.
Jump up ^ "Musicline.de – 3 Doors Down Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ "Dutchcharts.nl – 3 Doors Down – Loser" (in Dutch). Single Top 100.
Jump up ^ "Charts.org.nz – 3 Doors Down – Loser". Top 40 Singles.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Californication" by Red Hot Chili Peppers Billboard Mainstream Rock Tracks number-one single
September 9, 2000 – January 27, 2001 Succeeded by
"Awake" by Godsmack
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