TH E

S O N N E T S
OF

S H AKE S P EA R E

F ro m th e Q ua fOOf :1 659
i d cO n D th fy
)

wit h v a r i o ru m re a di ng s ar

E D I TE D BY

RAY M OND MA C D O NA L D AL D E N

B OS T O N 69
N E W Y OR K
H OU G H T O N MI F F L I N C O M P A NY
t h e Na di ne p ress a mb ri b g e

1
916
C OP Y R I G H T, 1 9 1 6 , B Y R AY M O N D L L E
M A C DO N A D A D N

AL L R l G H TS R E E
S RV ED

'

P u bl z s lz e d S ep t e m b e r
 B . H A
. .

HAP L Y I T H INK O N TH E E ; AN D TH E N MY S TA T E ,

L I KE TO TH E L AR K AT BRE AK OF D AY ARISI NG
F R OM S UL L E N E AR TH ,
SI NGS H Y MN S AT H E AVE N

S G AT E .

34205
3 9
 PRE F AC E

TH E S on n et s Of S hak e spe ar e
have a plac e b e sid e t h e play of H a mlet i n con
t e nt i o n f or t h e d o ubtful h o n or of b e ing t h e cause of m or e p e rpl e x i ty and c o ntro
v e rs y tha n any oth e r lit e rary w o rk in t h e E nglish t o ngu e Mo r e p e rs o ns o th e r .
,

wise se e m i ngly n o rmal m e mb e rs Of s oci e ty have th o ught that th e y we re t h e ,

rst t o und e rstand o n e or t h e Oth e r o f th e se w orks or have pr ofe sse d t o make ,

illuminating disc ove ri e s r e garding th e m than c o uld b e c o mput e d as critics o f ,

any writing sinc e t h e I li a d I f t h e pre se nt e d i t o r can c o m e t o t h e e n d of his task

.

with any f ee ling Of c o mplace ncy it is b e cause h e has spe nt s o m e y e ars w i th t h e

,

S o nn e ts and st i ll nds hi mse lf with o ut a r e ve lati o n I n o th e r w ords his c o m .

,

p la c e n c y must b e d u e o nly t o t h e e xist e nc e o f s o m e e vid e nc e that h e is still san e

a p oor substitut e n o d o ubt f or t h e e nthus i asm of t h e se e r It is t h e purp o se

, , .

o f th i s v o lum e th e n n ot t o pr e se nt a n e w th e o ry o f t h e S o nn e ts but t o br i ng t o
, , ,

ge th e r a b ody Of critical mat e r i al i llustrat i ve Of th e m su f c i e nt f or all t h e pur ,

p ose s Oi t h e l e ss amb i ti o us r e ad e r and ad e quat e t o s e t t h e m o st tire l e ss stud e nt

,

o n t h e track of what h e wish e s t o kn o w .

Th e B i bli ography is int e nd e d t o se rve as a c o nve ni e nt o utlin e of t h e hist o ry

o f t h e t e xt and its int e rpr e tati o n ; but it may b e w e l l t o say so m e thing h e r e o f

t h e g e n e ral c o urs e Of this hist o ry Th ough se e mingly am o ng t h e fa i rly p o p u

.

lar lyrical c ol l e cti o ns of t h e se ve nt e e nth c e ntury t h e S o nne ts large l y dr o ppe d ,

o u t o f s i ght t oward t h e e n d of that c e ntury and thr o ugh t h e gr e at e r part o f t h e

e i ght e e nth c e ntury Th e a g e th e r e f o re Of t h e build i ng Of t h e m od e rn t e xt of

.
, ,

S hak e spe ar e s plays saw n o similar w o rk acc o mplish e d f or t h e S o nn e ts which

we re n ot e ve n i nclud e d in any e d i ti o n of t h e Wo rks Of S hake s pe ar e ( save i n occa

s i o n a l suppl e m e ntary v o l um e s ) unt i l E wing s D ubli n e d i ti o n o f 1 and

77 1 n ot ,

agai n till Mal o n e s of 1 7 9 0 It is t o Mal o ne that w e ow e i n e ffe ct t h e acc e pt

.
, ,

anc e of t h e narrativ e and lyrica l po e ms a s a p a rt of t h e standard S hakes pe are

t e xt ; and it is also t o him i n larg e m e asur e that w e ow e t h e m od e rn t e xt o f
, ,

t h e S o nn e ts
. P ract i cally all t h e w e ll kn o wn e dit o rs Of S hak e spe ar e of t h e nin e
-

t ee n t h c e ntury b e ginn i ng with B osw e ll ( but with t h e e xc e pti o n Of S ing e r ) pai d

,
,

d u e att e nti o n t o t h e S o nn e ts and t o g e th e r with nu m e r o us l e sse r c o mm e nta

, ,

t ors fr o m tim e t o tim e pr o p o se d impr ove m e nts in t h e t e xt ; but it cann o t b e

,

sa i d that i t was give n t o any l at e r crit i c t o add in a distin g uish e d way t o t h e

t e xtual work of Mal o n e th ough it was give n t o a numb e r o f his succ e ss ors
,

t o r e j e ct c e rtai n o f his e rr o rs D yc e s c o nse rvative w ork o n t h e t e xt i n t h e

.

Ald i n e e diti o n of t h e P oems ( 1 8 3 2 ) and i n his Wor k s of S h a k es pea re sh o ul d ,

p e rhaps b e m e nti o n e d I n 1 8 6 6 t h e C ambridge e d i t o rs ( C lark and Wright )

.

issu e d t h e n i nth vo lu me Of th e ir S hake spe are c o nta i ning t h e S o nn e ts and , ,

gave f o r t h e rst tim e s o m e thing l i ke a hist o ry of t h e t e xt up t o that p e ri od ,

which was bro ught d own t o 1 8 9 3 in t h e re vise d e d iti o n Th e C ambridge ed i .

 iii PR E FA C E
t o rs h owe ve r we re n ot s o di s c o nc e rting as t o l eave n othing t o b e d on e in t h e
, ,

way of c o rre ct i o n and c o mpl e ti o n of th e ir t e xtua l apparatus e ve n w i thin t h e ,

l i mits wh i ch th e y s e t f or th e mse lve s ; and as e ve ry stud e nt of t h e S h ake spe are ,

t e xt i s aware th e y mad e n o e ff o rt t o d o m o re than l i st t h e rs t a ppea ra n ce

,

of e v e ry l e cti o n s o that o n e can l e arn n othing fr o m th e ir n ot e s r e garding t h e

,

we i ght Of o pini o n o n any disput e d matt e r S inc e 1 893 n othing of imp o rtanc e .

has b ee n d o ne o n t h e hist ory of t h e t e xt of t h e S o nn e ts Th e t e xt of Wyndham .

,

i n t h e P oem s of 1 8 9 8 is n otabl e f or its c o ns e rvative t e nd e ncy many aban

, ,

d o me d re adings of t h e Quart o having b ee n re st ore d and d e fe nd ed in this e d i

ti o n with variabl e but
, o n t h e wh o l e d o ubtful succ e ss S amu e l B utl e r s .
'

t e xt of 1 8 9 9 is distinguish e d f or t h e O pp osite e xtre m e admitting many n e w

, , ,

r e ad i ngs which n o oth e r e dit or has fe lt j usti e d i n acc e pting Of t h e ve ry nu .

m e ro u s se parat e e diti o ns of t h e P oe ms o r S o nne ts which have appe ar e d sinc e t h e

e n d of t h e nin e t e e nth c e ntury t w o cla s ses may b e distingu i sh e d : th o se wh i ch
,

f oll o w in ge ne ral t h e t ext Of t h e Gl o be or oth e r standard e d i ti on of S hak e

, ,

sp e are and th o se which und e r antiquarian inu e nc e s att e mpt s om e th i ng

, , ,

lik e a re pr od ucti o n of t h e o riginal Quart o t e xt th o ugh admitting a m i nimu m ,

O f c rr ct i ns
o e o as f or e xamp l e Morris s Ke l msc ott r e pri nt and t hat i n
,
~
.

, ,
'

Tud or an d S tuart L ibrary of t h e C lare nd o n P re ss As i d e fr o m t h e

th e .

ph ot ographic facsimil e s mad e by P rae t o rius and by t h e C lare nd o n P r e ss t h e ,

Qua r t o t ext h as bee n re pr od uc ed with a l m ost c ompl e t e accuracy i n t h e Am e ri

can F irst F oli o E d iti o n
.

Th e upsh ot of this d e ve l o pm e nt of t h e t e xt is that it is a matt e r of ge n e ral

agr ee m e nt that t h e S o nn e ts Quart o of 1 6 0 9 was n ot publish e d und e r t h e a u
th or s su pe rvisi o n or c orr e ct e d with such care as t o mak e it an auth oritativ e

,

t e xt On t h e oth e r hand t h e nu mb e r of se ri o us e rr ors in t h e printi ng such as

.
, ,

make re al di f cu l ti e s f or t h e c o mm e ntat or is re lative ly small Asid e fr o m , .

matt e rs of sp e lling and punctuati o n s o m e thing be twe e n fty and f t y v e ,

-

e rr o rs have b ee n c o rr e ct e d by t h e agr e e m e nt Of t h e gr e at maj o rity Of e dit o rs ;

of th e se c o rr e cti o ns nin e w e r e mad e in t h e P oem s of 1 6 40 e ight by Gild o n ( as ,

s u m i n g that h e e dit e d t h e P oems o f 1 7 1 0 and and thirty by Mal o n e

th o ugh of th e se a nu mb e r we re rst sugge st e d by Th e obald Tyrwhitt or , ,

C ap e ll .Th e re r e main s o m e e ight ee n passag e s wh e r e e dit o rial e m e ndati o ns *

a r e in mark ed disagr ee m e nt an d it is ve ry d o ubtful wh e th e r th e se cru ces wil l

,

e v e r b e s o lv e d .

F I n t h e matt e r of i nt e rpr e tati o n Ma l o n e s e diti on was e ve n m or e d ecid e dly

,

li t h e pi o n ee r than in t h e matt e r o f t h e t e xt and his n ot e s ( incl udi ng th o se o f ,

S t ee v e n s ) furnish e d t h e o n l y imp o rtant c o mm e ntary o n t h e S o nn e ts o n e mi ght ,

say f or n e arly a c e ntu r y ; th o ugh cre ditabl e ad d iti o ns we re mad e by K night

,

and D yce i n E ngland H udso n in Am e rica and D e lius in Ge rmany It is

, ,
.

ast o nishing h o we ve r h o w many d i fcu l ti e s and pr o bl e ms Mal o n e and his suc

, ,

c e s s o r s i gn o r e d Th e rst r e ally critical intr od ucti o n and c o mm e ntary t o t h e

.

S o nn e ts app e are d in D o wd e n s e diti o n o f 1 88 1 acc o mpani e d with an e xc e ll e nt

In u . u ; 1 6. 7: 2 3 . 9 ; 2 4. I ; 2 8. I 4 : 46 . 9 ; 5 1 . t o; 58 . n ;
8 5. 3 ; 1 1 2. I4 ; 1 13, 1 4; 1 26 . 2 ; 1 3 5. 1 3 ; 1 4 6 . 2 .
 P R EFA CE ix

wor ki ng bib l i ography ; an d fr o m that tim e t o t h e pre s e nt t h e b od y of ann ota

ti o n has b ee n st e adily i ncr e ase d n otably by t h e work of Tyl e r Wyndham , , ,

B e eching and S idn e y L e e Asid e fr o m t h e n ot e s ma d e by e dit ors a larg e

,
*
. ,

am oun t o f criticism i n t h e sam e e l d ap pe ar ed i n se parat e b oo ks and art icl e s

thr ough o ut t h e nin et ee nth c e ntury Th e chi e f th eori e s of t h e S o nne ts which .

have b e e n pre s e nt e d and disc ussed during this wh ol e p e ri od may b e c on

v e n i e n t ly su mmar i z ed as thr e e i n numbe r : ( 1 ) t h e p e rso nal or aut obi o graphic ,

( 2 ) t h e cti o na l or imaginative and ( 3 ) t h e mystical or e s ot e ric Th e rst was,

.

s e t f ort h by Mal o n e wh e n h e sa i d that t o o n e W H wh oe v e r h e was 1 2 6

. .
, , ,

o f t h e f o ll owing p oe ms a re a ddr e ss e d ; t h e r e maini ng 2 8 a re addr e sse d t o a l ady .

F oll o w i n g this g e n e ral vi e w cam e t h e pr o p o n e nts of S o ut hampt o n and of

P e mbr o k e th us s e tting i n m oti o n a l o ng train of argum e nts d o ubtl e ss n ot
, ,

y e t br o ught t o an e n d Th e p e rs o nal int e rpr

. e tati o n was als o d e ve l op e d i n ue n
t i a lly by C harl e s Armitag e Br own wh ose vi e w of t h e S o nn e ts might b e
said still t o d o minat e t h e b ody of crit i c i sm o n t h e subj ect Th e se c o nd th e o ry .
,

that t h e S o nn e ts a r e primarily imaginative in charact e r has b e e n discusse d ,

l e ss i n E nglish sp e aking c o u ntri e s than i n Ge rmany wh e r e it r ec e i v e d an

-
,

i mp e tus fr o m s o distinguish e d a sch olar as D e l i us in 1 8 6 5 I n its e arli e r f orm , .

,

acc ord i ng t o wh i ch t h e S o nn e ts we r e a pr od uct O f S hak e sp e ar e s imaginati o n

i n much t h e sam e se nse as t h e plays this th eo ry has b e e n e ch oe d m o re and ,

m or e fai ntly during r e c e nt y e ars th o ugh it has had t h e supp o rt in E ngland of ,

D yc e H a l liwe ll P hill i pps and H e nry Mor l e y and i n Am er i ca of H udso n an d

,
-
, ,

Th o mas R P ric e I n an oth e r f orm acc o rdi ng t o which t h e S o nn e ts w e r e writ

. .
,

t e n i n a ki nd o f c o mp e titive f o l l o wing of a l yrical fashi o n o f t h e Re naissanc e ,

t h e imagi nativ e i nt e rpr e tati o n has had t h e p e rsist e nt supp o rt of S i r S idn e y

Le e and i n Ge rmany has l at e ly be e n r e e nf o rc e d by t h e stud i e s o f Wo l ff Th e

, .

third th e o ry t h e mystical is n ot o n e but many standing f o r a typ e of i nt e r

, , ,

p r e t a t i o n thr o ugh which t h e S o nn e ts a r e vi e w e d as of e s ot e r i c o r symb ol i c

signicanc e usually of a m o r e or l e ss spiritua l charact e r Of th e se int e rpr e ta
, .

ti o ns t h e e arli e st is B a r n s t or ff s i n Ge rmany which was f oll o we d by n ot

a f e w eff o rts of kindr e d spirits in b oth Am e rica and E ngland S t i ll a f ourth .

gr o up might b e mad e of Masse y s th e o ry and o n e or t w o s i milar o n e s acc ord

, ,

ing t o which t h e S o nn e ts we r e writt e n c o nc e rning r e al ( p e rs o nal ) situati o ns but ,

th ose n ot of S hake sp e ar e himse lf but o f c e rta i n fri e nds Th i s vi e w of Masse y s .

'
,

supp ort e d with m o r e ab undant d e tail and m or e i mpassi on e d d e voti o n than

that of any o th e r writ e r f o und t w o or thr e e f oll o we rs i n Ge rmany l i ke K rauss
, ,

and v o n Ma u n t z but has n ot c omm e nd e d itse lf t o any n ot e worthy E nglish

,

or Am e rican critic .

As has app e ar e d fr o m this summary t h e pe rso na l vi e w of th e S o nn e ts a c , ,

c ordi ng t o which t h e gr e at b o dy of th e m is vi e we d as havi ng t o d o with r e al

fri e nds and e xpe ri e nc e s of t h e p oe t e m e rg e s g e n e rally d omi nant fr om t h e l o ng ,

d e bat e B ut wh e n w e se e k t o se parat e t h e p e rso nal e l e m e nt i n d e tail fr o m t h e

.

N h uld t h e m of Al d e S h m i d t b f o g tt h f h i L i g v t h sa m
or s o na e ex a n r c e r o en e re , or s e x c on a e e e
ca re f ul t t ti
a en t th S
on t o t th p l y f t w i t h v lu b l ult D wd
e onn e s a s o e t a s , o en a a e r es s o en s
'
n o es
i p ti ot m ean t o i m p ly
.

k wl dg d h f S hmid t t h u gh I d
,
'
n ar l ft
c u a r, a r e o en u n a c no e e ec oe s o c s o o n
an y l k f ca d i th u s e f f mi li
ac o n or n e uth i ty
o so a ar a n a or .
 x PR E FA C E
e el m e nts which a re i n p a rt admitt e dly c o nv nti o nal and still furth e r wh e n w e e ,

se e k f bi graph i c partic ulars id e nt i cat i o ns and t h l i k critic i sm t nds

or o , , e e, e

t o b e i ncr e asi ngly agn o stic Th S o u t h a m p t i t s and P e m b k i t a st i ll

. e on s ro s s re

w i th us ; t h e gh ost of Mary F itt o n is n ot y e t wh olly at pe ac ; but t h e i e and e sar r

m ore c o mpe t e nt of r e c e nt critics l i ke D owd n F u i va ll C hurt o n C oll i ns L uc , e , rn , , e,

Ma c k a i l B ee ching and Walsh sh o w a wh ol e so m e distrust of t h e e ff rt t o re ad

, , , o

i n t h e S o nn ts a d nit e bi ographica l narrative This agn sticism is str ngth

e e . o e

e n e d t o o by t h e pe rs i st e nt susp i ci o n t hat t h e S o nn e ts hav e

, , t c om e t us no o

a l t og e th e r i n th e ir o r i g i na l o rd e r and that that o rd r cann ot i n al l p ob b i l , e ,

r a

ity b e r e st ore d Th e r e acti o n against t h e e xc e sse s of b i graph i c i nt rpre tat i o n

, . o e

has b ee n incre ase d by t h e st udi s of S i S i d ne y Le e and it s e ms cl e ar that u e r , e o r

und rstand i ng f t h e S o nne ts can n e v r b quit e t h e sam e that it was b f re

e o e e e o

th e s stud i e s r e v al d t h xt nt and charact e r of t h s o nne t wr i t i ng f t h e

e e e e e e e o

Re naissanc ; y t o t h o th r hand c o mp e t nt cr i tic i sm i s n e arly unan i m us

e e n e e e o

i n t h e vi e w that Le e i s t oo littl e disp os d t re ali e t h e e xt e nt t o wh i ch an art i e o z

i a l f o rm may e xpr ss a r e a l xpe ri nc and b e saturat e d by p e rs o nal f l

c e e e e ee

i ng B e caus a w dd i ng ri ng is o f i ts lf i nsu fc i nt pr o f of marital a ff cti o n

. e e e e o e ,

i t d e s ot f ll ow that o e w h o we ars a w dding ring is t o b assu me d t o b e

o n o n e e

marri e d o nly i n nam e O n t h e o th e r hand t oo much stre ss can s carc e ly b e laid

.
,

o n t h e wh o l e s o m e and rati o nal hab i t o f w i thh o ldi ng b e li e f fr o m t h e th o usand

b i ographical infe re nc e s which have b e e n drawn fr o m t h e S o nn e ts with o ut a ,

sc i ntilla of pr oof appare nt l y m e re ly b e cause human nature abh ors a vacu u m

,

r e S hak e spe ar e is c o nc e rn e d .

Re sp e cting t h e i ntr i nsic valu e of t h e S o nn e ts w e may disti ngu i sh thre e

stage s of m o d e rn c o mm e nt Th e ea rly m od e rn e d i t ors o f S hake spe are vi e we d .

th e m with i n d i e re n c e and as w e have se e n with n e gl e ct D r J o hnso n d oe s , , . .

n ot v o uchsaf e th e m a w o rd a circu mstanc e which w e n e e d n ot r e gre t sinc e h e

, ,

d o ubtl e ss vi e we d th e m as at l e ast n o b e tt e r than t h e s o nn e ts of Mi lt o n which ,

h e d i sp os e d o f by t h e stat e m e nt that of t h e b e st it can o nly b e sa i d that th e y

a re n ot bad S t e e v e n s s c o mm e nt has b e c o m e n ot o r i o us t o t h e e e c t that an

'

.
,

Ac t of P arl i am e nt c o uld n ot c o m pe l t h e r e ading o f t h e S o nn e ts o f S hak e sp e are .

r e again as e ls e wh e r e Mal o n e intr o d uc e s t h e n e w day L e d by Wo rdsw o rt h

i

f le , , .

a n cl C o l e r i dg e t h e p oe ts and critics o f t h e e arly nin e t e e nth c e ntury ad o pt e d w i th

__ ,

substantial unan i mity t h e Opini o n of t h e f orm e r t hat I n n o n e of S hak e sp e are s

writ i ngs i s f o u nd i n e qual c o mpass a gre at e r numbe r o f e xquisit e fee lings

, ,

f e l i cit o usly e xpre sse d ; t h e Only n otabl e disse nt e rs we re H a z litt and Hallam .

Th e cl i max of t h e a g e o f a p p re c 1a t 10 n_ rhaps b f und n S winburn e s

r
__a
n yP e e o 1

a r t i c le _of 1 8 8 0
_
i n which h e spe aks Of t h e lat e r sonn e ts c o nce rn e d w i th t h e
, ,

dark lady which have b e e n r e l ative ly n e gl e ct e d save f or bi ograph i c c o n j e c

,

ture s as inc o mparably t h e m o re imp o rtant and alt o ge th e r pre c i o us d i v i s i o n

,

e t ion n r e c e nt y e ars th e re has b ee n a pe rc e ptibl e t e nd e ncy as i n

of t h e
cg l c
l I .
,

t h e cr i tic i sm o f S hak e spe ar e s dramatic w o rk t o distingu i sh frankly b e twe e n

th o se e l e m e nts i n t h e S o nne ts which a re of an a g e and a re charact e ri z e d

,
"

e i th e r by t h e e cc e ntriciti e s o f P e trarchan and E l i z ab e than p oe tic fashi o n

o r by t e mp o rary and in d ividual c o ndit i o ns o f e xpr e ssi o n and th ose which ,
 PR E F A C E xi

re pre se nt a lyrica l p owe r and be auty valid f or al l tim e Not many g o s o far .

as a re c e nt Ge rman critic w h o gr oup s t h e S o nn ets acc ording as th e y a r e

'

u n s i ttli ch es ,a bs u rd es and tr i vi a les ,

with a small saving re siduum of E del
,

s tei n e n ; but o n e may r e c o gni z e with o ut sham e a gr o wing c o urag e t o dist i n

guish b e twe e n what is b e li e ve d t o b e i nfe ri or c oincid e nt w i th t h e c o urage t o ,

acclaim what is e xc e ll e nt Th e aesth e tic criticism of t h e S o nne ts has b e e n i m

.

p e d e d by t h e e xagg e rat e d att e nti o n attract e d t o disput e d asp e cts of t h e b i o

graphic pr obl e m but of l at e it has d e ve l o pe d with so m e h op e ful ne ss ; n ot abl e

,

i n th i s re spect i s t h e e diti o n of t h e P oe ms of S hake spe ar e mad e by t h e lat e

Ge orge Wyndham wh i ch as D e an B ee ching obse rve s d e se rve s t h e thanks
, , ,

of all l ove rs of p oe try f or t h e r e s o lut e way i n wh i ch it k ee ps b e f o r e t h e r e ad e r

Om
that o n e thin of i m rt a n c e i n t h e S o nn e ts is th e ir p oe t

n o matt e r by wh o m wr i tt e n h ow or wh e n w e cann o t e xpe ct t o b e abl e wh o lly

, ,
H o w many
a n g ch e r i sh e d
,

t o agr ee ; p e rhaps a n ot much larg e r numb e r than m i ght b e ch o se n fr o m t h e

sam e standp oint out of t h e w ork of oth e r gre at so nne t ee rs S idne y Wo rds
, ,

w o rt h and R oss e tti B ut t h e w orld s j udgm e nt i s n ow s e cur e that i n th e se b e st

,
.

of t h e S o nn e ts of S hake spe ar e w e nd n o l e ss truly r e v e al e d t h e supr e m e lyr i cal

p owe rs of E ngl i sh p oe try than its supr e m e dramat i c p owe rs a re e xh i bit e d i n

h i s gre at e r plays :

I must n ow r e turn fr o m this hurri e d surv e y of t h e cr i t i cism r e pr e s e nt e d i n

this b oo k t o t h e m e th o d of t h e b oo k i tse lf To e xh i b i t t h e h i st o ry Of t h e t e xt .
,

a l i st o f t e xts had t o b e mad e d e n ovo th o ugh o f c o urse w i th i mp o rtant a i d ,

r ec e ive d f or t h e e arl i e r p e r i ods fr o m t h e C ambridg e e dit ors Th e a p p a .

a

ratus i n t h e F i rst F o l i o E d i ti o n is wh olly i nad e quat e and t h e m o num e ntal

,

New Va ri or u m fa i ls us f or r e c e nt t e xt ual hist o ry e v e n i n r e spe ct t o c o mpl e t e

, ,

e diti o ns o f S hak e sp e ar e o wing t o t h e , p oint of vi e w r e pe at e dly e xplaine d ,

th e re in that t h e t e xt of S hak e spe ar e has b e c o m e withi n t h e last twe nty

,

,

v e y e ars s o s e ttl e d that t o c ollat e w o rd f or wo rd e dit i o ns wh i ch hav e app e ar e d

, , ,

withi n th e se y e ars w o uld b e a mark of sup e re r ogati o n

,

That th e r e is much .

sup e r e r o gat ory lab o r i n any such c ollati o n I sh o uld b e t h e last t o d e ny havi ng ,

f o und n o pl e asur e in n oting wh e re He rf o rd puts a c ol o n Rolfe a se mi c o l o n ,

-
,

C raig a p e r i o d B ut i f as is ve ry fre qu e ntly t h e case t h e chi e f u s e t o b e mad e

.
, ,

o f a t e xtual apparatus is t o disc o v e r t h e we ight o f e d i t o ria l O pini o n o n disput e d

issu e s it is cl e ar that r e c e nt e dit orial o pini o n wh e re t h e t e xt has b ee n re worke d

, ,

with car e is oft e n of at l e ast e qual we ight with that of t h e e dit ors of a c e ntury
,

a g o ; h e nc e with all h umbl e r e v e r e nc e f o r t h e New Va ri or u m S h a k es pea re I can

, ,

s e e n o ad e quat e r e as o n f or t h e o missi o n i n its l at e r issu e s o f t h e c o llati o n o f

, ,

such n e wly mad e t e xts as th ose of C raig Ne i l s o n and B ull e n F o r t h e S o nn e ts , , .

,
t .

of c o urs e th e r e must b e num e r o us additi o ns t o t h e l i st of e diti o ns o f t h e p la ys

, .

I hav e tri e d th e n t o c o llat e all e diti o ns of t h e S o nn e ts wh e th e r f o und b y t h e m

, , ,

s e lve s or i n t h e c oll e ct e d Wo rks of S hake sp e are of which t h e t e xt appe ars t o ,

b e t h e r e sult of fr e sh and signicant e dit o ria l c o nsid e rati o n .

F o r t h e c o mm e ntary it was my rst int e nti o n t o limit mys e lf t o cr i ticism

which se e m e d distinctly worthy of att e nti o n ; but I s oo n f o u nd as oth e rs have ,
xi i PR E FA C E
d on e that t o ma ke this d istincti on was t o arrogate t o t h e
, it or u nwarrant e d ed

auth ority I n t h e e n d , e nc o urage d by t h e ge n e r o us attitud e of t h e publ i sh e rs

.

i n t h e matt e r of a l l owanc e of spac e I have so ught t o r e pre se nt substantially

,

all c o mm e nt which was susc e ptib l e o f be ing n ormali z e d t o t h e plan of t h e b oo k ,

i ncluding much with which I have littl e or n o sympathy I n ge n e ra l h o we ve r .

, ,

spac e has n ot b e e n give n t o int e rpre tati o n o f t h e kind wh i ch I have ca l l e d mys

t i cal or e s ot e ric Th e p o int of vi e w of this so rt of i nt e rpre tati o n is s o d i st i nct
.

fr o m that wh i ch make s u s e o f t h e usual m e th ods of phil o l o gical and hist orica l

crit i cism that f or t h e m o st part it cann ot b e mad e t o bl e nd with th e se t o any
advantage I n t h e b ody of t h e n ot e s I have take n occasi o n m ore than o nc e t o
.

re c o rd a pr ot e st against that vi e w of S hake spe ar e which c o nsid e rs that h e mad e

a practic e of writing wo rds i nt e nd e d t o m e an t w o or thr e e di ff e r e nt things at
t h e sam e tim e Th e symb o lic type o f t h e poe tic i mag i nati o n is o n e e asily
.

re c ogni z abl e i n t h e R e na i ssanc e as i n t h e m e d i aeval pe ri od ; and admitting that

, ,

S hak e sp e are occas i o nally ava i l e d o f it f or illustrative o r rh e t o rical purpo se s it ,

see ms t o so m e of us that n o thi ng c o uld b e m o re re m ot e fro m his n ormal m e th ods

o f th o ught and e xpr e ssi o n C haract e ristically t h e o utlin e s o f his id e as a r e
.
,

d e ne d cl e arly as by day l ight n ot bl urre d or d o ubl e d as i n t h e half lights of

, ,
-

all e go ry or mysticism Wh e th e r this b e tru e or n o t h e e sot e ric m e th ods of

.
,

int e rpr e tati o n l ike ciph e rs and oth e r riddl e s must b e w ork ed o ut by th e m
, ,

se l ve s f or th o se wh o se pe rc e pti o ns a re of a k i nd t o d e mand th e m Ye t wishing

,
.
,

t o e r r o n t h e sid e O f c o mpl e t e n e ss rath e r than of n e gl i g e nc e I have mad e plac e , ,

n o w and th e n f o r c e rta i n int e rpr e tati o ns e spe cially th o se c o nc e rni ng t h e

, ,

all e g e d plat o n i sm o f t h e p oe t which g o b e y o nd t h e p o int wh e r e I can f o ll o w

,
.

F o r a th o r o ugh and satisfact o ry c o nsid e rati o n o f t h e plac e o f p l at o nism i n t h e

p oe try o f S hake sp e ar e and his c o nt e mp orari e s w e have still t o wait , .

No t e s r e spe ct i ng t h e d i sput e d plac e of a s o nn e t i n t h e o rd e r of t h e wh o l e

c oll e cti o n or r e spe cting its r e lat i ve dat e or having t o d o with so m e bi ographic
, ,

i nt e rpre tati o n such as t h e P e mbr o ke or t h e S o uthampt o n th e o ry have b e e n ,

includ e d in t h e b o dy of t h e c o mm e ntary o nly wh e r e th e y m i ght thro w s o m e

l ight o n t h e int e rpre tat i o n of t h e part i cular passage c o nc e rn e d Obvi o usly .

such n ot e s cann ot b e we ll und e rst ood e xc e pt as po rti o ns o f c o mp l e t e argu m e nts

f o r sp e cial th e o ri e s o f dat e s o rd e r o r id e nticati on Th e se t o pics th e re f o re
, ,
.
, ,

have b e e n se gr e gat e d in t h e App e ndix .

I t is ve ry difcult t o j udg e h ow far such an e d i ti o n sh o u l d g o i n r e c o rding

th e

parall e l passage s which have b ee n n ot ed by c o mm e ntat o rs I f all we re

.

i nc l ud e d t h e r e sulting bulk wo uld b e alarming f or t h e gam e is a fascinating

, ,

o n e wh e n o nc e e nt e r e d up o n with z e al Th e e ff o rt has b ee n t o d i scriminat e

. ,

th o ugh I dare n ot clai m t o have d o ne s o with c o nsist e ncy and t o n ot e th ose ,

parall e l s which app e ar e d t o b e sugge stive f or t h e int e rpre tati o n o f t h e passage

i n qu e sti o n or m i ght b e th o ught t o have signicance f or its dat e n o t th os e ,

o f m e r e ly curi o us int e r e st .

R e ad e rs w h o u s e t h e c o mm e ntary with se ri o usne ss must l e arn as so o n as

p oss i bl e t o r e ad n ot e s with d ue all o wanc e f or t h e be nt o f t h e ind i vidual critic .

Th e y must re me mb e r f o r e xampl e that t h e c o mm e nts o f Wyndham and of

, ,
 P RE FA C E xi i i
Miss P o rt e r a re bas ed o n an abn ormal d e sir e t o maintai n t h e Quart o t e xt ; that
th o se of Tyl e r a re l ike l y t o b e c o nnect e d with t h e Pe mbr ok e th eo ry th o se of ,

Masse y with his pe cu l iar f o rm of t h e S o uthampt o n th e o ry and th ose of Le e ,

with his diff e re nt f orm of t h e sa me ; that th ose of S amu e l B utl e r a re c o l ore d by

his vi e w of t h e S o nn e ts as of very e ar l y dat e ; and that th ose of D owd e n a re

fre qu e ntly d ue t o his e xtra ordinar y eff orts t o pr e se nt t h e se parat e poe ms as

f orming a pe rf e ct l y c o ntinu o us se ri e s It is t h e distinguishing m e rit of th e n ot e s
.

of D e an B ee ching pe rhaps u niqu e ly am o ng t h e impo rtant e d i ti ons that

t h e y r e pre se nt n o idi osyncrasy or pe t th eo ry of i nt e rpre tati o n and a r e th e re ,

f ore pe cul i arly suit ed t o b e take n at th e ir fac e valu e S hall I b e pr e sumptu o us if .

I e xpr e ss t h e h o pe that my ow n c o mm e nts f e w e n o ugh at t h e wo rst may have

, ,

so m e claim t o this particu l ar m e rit ? sinc e as has bee n hint e d alre ady I have
, ,

list e ne d t o a ll t h e sch oo l s of int e rp re tati o n wit h out having be c o m e a pr ose lyt e

o f any .

I t is t o stat e t h e se l f e vid e nt t o a dd what I sh o uld n e ve rth e l e ss b e asham e d t o

-
,

o mit t o say that this boo k w o u l d pr obably n e v e r have bee n mad e

, at l e ast ,

i n its pre se nt fo rm with o ut t h e e xamp l e of t h e w ork of t h e l at e D r H orace

, .

Ho ward F urn e ss Th o ugh t h e ed it o rial pr obl e ms of t h e S o nn e ts a re so m e

.

what di ff e r e nt fr o m th o se of t h e plays and th o ugh I have ve nture d a word of

,

criticism of o n e d e tail of t h e apparatus of t h e New Va ri oru m S h a kes pea re D r , .

F urn e ss has be e n my t e ach e r in an im por tant se nse fr o m r st t o last ; and it

, ,

wil l b e my happin e ss if I shal l see m n ot o nly t o have l e arn e d fromh i m so m e

thing Of t h e m e chanics of t h e e dit oria l art but t o have caught a n y po rti o n of
t h e clarity and po ise of his spir it I t is g oo d t o b e abl e t o r e m e mbe r that h e o nc e
.

gave fri e nd l y aid an d appre ciati o n t o t h e rst bit of sch olar l y w ork that I e ve r
u nd e rt oo k and that his s o n and succ e s so r Mr H H F urn e ss J u ni o r has
, , . . .
, ,

d o ne t h e sam e f Or t h e pr e se nt und e rtaki ng .

Me nti o n must al s o b e mad e of c e rta i n manuscript n ot e s wh i ch have be e n

graci o usly put at my dispo sa l by fri e nds w h o have bee n stud e nts o f t h e S o n
n e ts On e of th e se fri e nds my lat e c oll eagu e P ro fe s s o r A G Ne wc o m e r wo uld
.
, , . .
,

have had a large r part i n this v olum e if i t had n ot b ee n f or his untim e ly d eath .

Anoth e r c oll e agu e P r ofe sso r H e nry D avid Gray has put m e u nd e r re pe at e d
, ,

o bligati o n .Mr H orac e D avis o f S a n F rancisc o turn e d ove r t o me n ot e s r e p

.

r e se nting t h e l e isur e h o ur studi e s of many y e ars so m e of which gi ve e l oqu e nt

-
,

t e stim o ny t o t h e ut i l i ti e s o f amat e ur sch olarship Matt e r fr o m al l th e se .

so urc e s is du l y ackn owl e dge d i n t h e bo dy of t h e c o mm e ntary Th e S hake spe are .

Bibli ography of Mr Will i am J a g g a rd has be e n of gr eat se rvic e an d I am a l so

.
,

i nd ebt e d t o its e dit or f or c ordial pe rso na l assistance f or t h e u s e of his c o l l e cti o n

,

o f S hak e spe ar e ana at S tratf o rd o n Av o n and f or use ful n o t e s mad e o n c e r

- -
,

tain of my pr oo f sh ee ts e ve n wh i l e h e was abse nt fro m h o m e o n duty w i th his

-

r e gim e nt Th e pursuit of pe rf ecti o n in a bibli ography is o n e o f t h e m o st vain

.

o f human e nd e av o rs ; that t h e o n e includ e d i n this v o l um e is n ot m or e impe r

f ee t than it is I ow e n ot o n l y t o t h e lab ors of Mr J a g g a r d but t o t h e fri e ndly

, .

a i d of P r of e sso r C l ark No rthup of C orne ll U nive rsity and D r S amu e l Tanne n .

ba u m of Ne w York C ity D r Tann e nbau m in particu l ar has e xe rt ed hi m

. .
xi v P R E FAC E
s e lf to mitigat e t h e l imitati ons of my library with assistanc e n otabl e e qually
f or disint e r e st e d z e al and painstaking accuracy L iving at a distanc e fr o m .

any ad e quat e S hak e sp e are an c oll e cti o ns I cann ot h o p e t o hav e av oid e d e rr ors
,

which t h e o pp ortun i ty t o v e rify n ot e s gath e re d in many p l ac e s might have

pre ve nt e d ; I shall b e ve ry grat e ful t o any w h o may furn i sh c orr e cti o ns B ut .

i n c o mp e nsati o n I am happy t o r e m e mb e r t h e e xcursi o ns mad e h e r e and th e r e

i n purs uit o f my task and t h e ge n e r o us h e lp r e c e i ve d fr o m th o se c o nn e ct e d
,

with many l i brar i e s : t h e British Muse um B odl e y s L ibrary at Oxf ord Trinity ,

C o ll e g e L ibrary at C ambridge t h e P ublic L i brary Of Birm i ngham t h e S hak e

, ,

Sp e ar e Me m o rial L ibrary at S tratf o rd o n Av o n t h e B o st o n P ublic L ibrary

- -
, ,

and t h e librari e s o f H arvard U nive rsity and of t h e U niv e rsiti e s of Mi ch i gan ,

I llin o i s and P e nnsy l vania

, .

I r e gr e t that t h e r e c e nt re visi o n o f S i r S idn e y L ee s L i f e of S h a k es pea re cam e

'

t o hand t o o lat e t o b e us e d i n t h e c o mm e ntary Th e add i ti o ns mad e t o his

.

chapt e rs o n t h e S o nn e ts h owe ve r have app e ar e d i n e arli e r publicat i o ns and

, , ,

a r e duly n o t e d i n this b oo k ; t h e pag e r e f e r e nc e s t o t h e L i f e a r e r e strict e d t o

t h e rst e diti o n . An oth e r it e m t oo lat e f o r u s e in t h e c o mm e ntary is t h e i m

p ortant artic l e by D r Wo l ff in a r e c e nt numb e r of E n gli s ch e S tudi en ; I have
.

take n t h e m ore pains t o indicat e i ts c o nt e nts i n t h e App e ndix .

Th e facsimil e titl e pag e D e d i cati o n and h e ad pi e c e at t h e b e ginning of t h e

-
, ,
-

t e xt a re fr o m t h e P rae t o rius r e pr oducti o n of t h e c opy of t h e S o nne ts Quart o

i n t h e Brit i sh Muse um I n t h e case of t h e last (t h e h e ad pi e c e an d capti o n
.
-

o n pag e 1 5) t h e o riginal is e n l arg e d ab o ut o n e ni nth

-
.

I c o nclud e this P r e fac e at t h e s e aso n wh e n t h e wh o l e w o rld c o mm e m o rat e s

t h e thr e e h undr e dth annive rsary o f t h e d e ath of t h e writ e r of th e s e S o nn e ts I f .
,

fro m his p l ac e i n t h e u nd isc o ve r e d c o untry h e may b e th o ught t o l o o k up o n us

,

m o rtals w h o busy o urse lve s with t h e stu ff of his imm o rtality incre asing st ore ,

with l oss and l o ss with st ore may his assure d mast e ry of t h e art of f o rgive ne ss
,
"

r e ach its acm e and his quality of m e rcy dr op e ve n up o n his c omm e ntat o rs !
,

R M A . . .

S TA NF O RD U N I VE RS I TY C A L IF O RNI A
. .

A pr i l , 1 916 .
 E X P L A NATI ON OF TE XTUA L NOTES

Etc .i ndicat e s that t h e r e ading in qu e sti o n is f ound i n a ll t h e e diti o ns

which i n t h e ab ove l ist f oll ow t h e o n e j ust nam e d
, , .

C o nj is add e d t o all r e adings n ot f o und in t h e bo dy of a t e xt

. .

Variati o ns of sp e lling a re n ot n ot e d e xce pt wh e r e th e r e is a p o ssibility of

d oubt as t o t h e word int e nd e d or wh e re ( as i n t h e e arl i e r e diti o ns ) th e y may
,

have signicanc e f or t h e hist o ry of t e xtual usage Variati o ns o f punctuati o n

.

a re n ot n ot e d e xc e pt wh e r e t h e se nse may b e a ff e ct e d ; t h e chang e fr o m an oth e r

mark of punctuati o n t o is usua l ly indicat ed ; that fr om P t o is n ot .

 E X P L AN ATION OF TH E C OMME N TAR Y

WH E N page re fe r e nc e is give n f or a n ot e it is qu ot e d fr o m t h e c o mm e m
no ,

tary of an e d i t o r o n t h e so nne t i n qu e sti o n Wh e n page r e fe re nc e is cit e d with

.

o u t titl e it is fr o m t h e o n l y w o rk o f t h e auth o r o n t h e S o nn e ts
,
S pe cia l cas e s
.

a r e th e se : n ot e s fr o m Masse y a r e fr o m his l at e r w ork Th e S ecret D ra ma of

,

S h s S on ne ts ; r e f e r e nce s t o S ch midt a re t o t h e Le xic o n ; r e f e re nc e s t o Abb o tt

.

and F ran z a re t o th e ir Grammars .

All matt e r e ncl o se d in squar e bracke ts n ot sign e d by t h e e dit or r e pre s e nts

, ,

t h e substanc e but n ot t h e e xact phrasing of t h e auth o r cit e d

, , .

Qu otati o ns mad e by c o mm e ntat ors have b ee n ve ri e d and c orre ct e d an d ,

re fe r e nc e s t o act sc e n e e t c have be e n c orr ect e d or suppli e d with o ut sp e cia l

, , .
, ,

r e mark Qu otati o ns fr o m E li z ab e than t e xts have i n ge n e ral b e e n m od e rn i z e d

.
, ,

i n spe lling and punctuati o n Th o se fro m S hake spe ar e a r e fr o m t h e t e xt of

.

Ne i ls o n ( C ambridg e P oe ts ) ; th o se fro m t h e o th e r s o nn e t e e rs a re usually

qu ot ed fr o m t h e v o lum e s of E li z a beth a n S on n ets i n t h e Ne w E nglish Garn e r .

Th e n ot e s i n Ma l o ne s c o mm e ntary sign e d C which a r e g e n e rally b e li e v e d

,

but n ot p ositive ly kn o wn t o b e C a p e ll s ( s ee Wright C ambridge S h 2 d e d

, .
,

v ol 9 p xviii ) a r e q u ot e d und e r C a pe ll s nam e with a pr e xe d ast e risk

'
. .
.
, ,
 CON TE N TS

D E D ICATI ON

TH E S ONNE TS

A P P E ND I X
GE N E R AL C R I TI CI S M
TH E TE X TS O F 1 6 0 9 AND 1 6 40

TH E A RR AN G E M E N T OF TH E S oNNE Ts

TH E D ATE OF C O M O S I TI O N P
SO U R CE S AND AN AL O GU E S
TH E F RIE N D
TH E R I V AL P OE T

WI L L OB I E HI S AV I S A

MU S I C AL S E TTI N GS

B I B L I O GR AP H Y

I ND E XE S
I ND EX To B I B LI OG R AP HY
I ND E X TO TH E COMME N TA Y R
I ND E X OF FI R S T LI NES
 D E D I CATI O N

[TH E discussi o n which has rag e d ab o ut t his D e dicati o n is ve ry difcult t o

c o nd e ns e m i t h e r e all t hat p o rt i o n o f
. I o it wh i c h c o nc e rns t h e i d e nt i cat i o n
of Mr W

. f o r wh i ch s e e App e nd i x pp 4 6 4 7 1
. ED ] , . . .

MAL O N E [ d o e s n o t discuss t h e g e n e ral charact e r o r phras i ng of t h e D e dica

t i o n but i n c o nne ct i o n with his m e nti o n o f Ty r w h i t t s sugg e st i o n that W H
,

. .

was Wi ll i am H ugh e s ( s e e n o t e o n S 2 0 7 ) h e i mpl i e s t hat W H was t h e .

,
. .

b e ge tt e r i n t h e se nse o f t h e p e rs o n t o wh o m S o nn e ts 1 1 2 6 we r e addr e sse d ]

C H AL M E R S : H o w h e [ Mr W H ] was t h e beg etter o f t h e m it is n o t e asy t o . . .

t e ll unl e ss w e pre sum e what is n ot impr o babl e t hat h e b e g o t a d e s i r e i n S h

, , ,
.

t o d e l i v e r a c o py t o t h e B oo kse ll e r f or publ i cati o n : W H was t h e g etter O f , . .

t h e MS imp e rf e ct as it was fr o m which t h e S o nn e ts we r e pr i nt e d ( S u ppl

.
, ,
. .

Apology 1 7 99 p , [ I n a subs e qu e nt n ot e ( p 9 0 ) h e c i t e s S k i nn e r as
, . .

d e r i v i ng b e g e t fr o m A S beg etta n obtln ere J o h ns o n ad o pts t h i s d e r i va . .

,

t i o n and se ns e ; s o that b e ge tt e r i n t h e qua i nt language o f Th o rp e t h e ,

B oo kse ll e r P ist o l t h e anci e nt and such aff e ct e d p e rs o ns s i gni e d t h e

, , ,

o bta i n e r ; as t o get and g e tt e r i n t h e pr e s e nt day m e an Obta i n and

o btai n e r

.

DR AK E : On t h e rst p e rusal o f t his addr e ss t h e imp o rt wo uld s ee m t o b e , ,

that Mr W H had b e e n t h e s ole obj ect of S h s p oe try and o f t h e e t e rn i ty

. . . .

,

pro m i se d by t h e bard B ut a l i ttl e att e nti o n t o t h e language o f t h e t i m e s i n

.

wh i ch it was writt e n will i nd uc e us t o c o rr e ct th i s c o ncl us i o n ; f o r as a part o f

o u r auth o r s s o nn e ts is m o st c e rtainly addr e sse d t o a f e mal e

it i s e v i d e nt ,

that W H c o uld n ot b e t h e o nly b e g e tt e r o f th e m i n t h e s e nse which

. .

pri m a r i ly sugg e sts its e lf [ C hal m e rs give s t h e tru e m e ani n g ] . We must

i nf e r th e r e f o re t hat Mr W H had in flu e nc e e n o ugh t o o bta i n t h e MS fro m
, , . . . .

t h e p oe t and t hat h e l o dg e d it i n Th o rp e s hands f o r t h e purp o s e o f publ i ca

'

ti o n a fav o ur which t h e b oo kse ll e r r e t urn e d by wish i ng h i m all happ i n e ss

, ,

and that e t e rn i ty which had b e e n pr o mis e d by t h e bard i n such gl ow i ng ,

c o l o urs t o an oth e r nam e ly t o o n e o f t h e i mm e d i at e subj e cts of his s o nn e ts

, , , .

That this is t h e o nly rati o nal m e an i ng wh i ch can b e ann e x e d t o t h e w o rd

pr o m i s e d w i ll app e ar wh e n w e r e e ct that f o r Th o rp e t o have wish e d

,

W H t h e e t e rnity which had b ee n pr o mis e d f or him by a n e ve r l i vi ng

. .
-

p oe t wo uld have b e e n n ot o n l y sup e r u o us b ut d ownright n o ns e nse ; t h e

, ,

e t e rn i ty o f an e v e r livi ng p oe t m ust n e c e ssarily e n s u e and was a "

-
,

pro p e r subj ect o f c o ngratulati o n but n ot o f wishing o r o f h o p e , .

B OS WE L L : Th e b e ge tt e r is m e r e ly t h e pe rso n w h o g ets or pr ocu res a

t h i ng w i th t h e c o mm o n pr e x b e add e d t o it S o i n D e ck e r s S a ti ro
,

.
,

m a s ti x : I have s o m e c o usi n g e rmans at c o urt shall b e g e t y o u t h e r e v e rsi o n -

o f t h e mast e r o f t h e K i ng s R e v e l s K N I GH T [ pursu e s D rak e s argum e nt that

.
6 TH E S ONNE TS OF S HAK ES P E A R E
th e fact t hat so m e o f t h e s o nn e ts a re addr e sse d t o a f e mal e disp os e s o f t h e
asse rti o n that Mr W H was t h e o nly b e ge tt e r i n t h e se ns e o f o nly
. . .

i nsp i re r ] C OL L I E R [ d o e s t h e sam e and agr e e s that t h e d e d i cat i o n was writt e n

.
,

i n c o mplim e nt o f W H f or c o ll e cti ng S h s scatt e r e d s o nnets fr o m vari o us

. . .

parti e s ( I ntr o 2 d e d 6
. .
, .
,

[ P ractically n o pr o gr e ss was mad e i n this d i sc ussi o n th e n d uri ng t h e rst , ,

half O f t h e 1 9 t h c e nt ury B ut in 1 8 6 2 M P H I L ARETE C H AS L E S D ir e ct or of

. .
,

t h e Ma z ari n L ibrary pr o p o s e d an e ntir e ly n e w i nt e rpr e tati o n i n a c o mmu ni

,

cat i o n t o t h e Ath en ce u m o f J an 2 5 ( p 1 t o t h e f o ll o wi ng e ff e c t z] I s t That

. . .

w e hav e h e r e n o d e dicati o n pr o p e rly s o call e d at al l b ut a k i nd o f m o nu , , ,

m e ntal inscr i pt i o n 2 d That t his inscripti o n has n ot o n e c o nti nu o us s e ns e

. .
,

b ut i s br o k e n up i nt o t w o d i sti nct se n te nc e s 3 d That t h e f o rm e r s e nt e nc e . .

c o ntains t h e r e al i nscript i o n which is addre sse d by and n ot to W H 4 t h That , . . .

t h e p e rs o n t o wh o m t h e i nscr i pti o n i s addr e ss e d is f or s o m e r e as o ns n ot , ,

dir e ctly nam e d b ut d e scrib e d by what t h e l e arn e d call an An ton oma s z a th e

o n li e b e g e tt e r o f t h e s e i n s u i n g s o nn e ts 5t h That t h e latt e r se nt e nc e is .

o nly an app e ndag e t o t h e r e al i nscripti o n 6 t h That t h e publish e r i n t h e . .

,

latt e r s e nt e nc e is all o we d t o e xpr e ss his ow n g oo d wish e s ( n ot f or an e t e rnity

,

o f fam e t o t h e b e g e tt e r o f t h e s o nn e ts which w o uld b e an i mp e rt i n e nc e o n ,

h is part ) but f or t h e succ e ss of t h e u nd e rtaking i n which h e ( t h e adv e nt ur e r )

,

has e mbark e d h i s capital S tripp e d o f i ts lap i dary f o rm

. a f orm
m o d e l e d o n anc i e nt lapidary i nscr i pti o ns] t h e i nscr i pti o n will t h e n ru n thus : ,

M W H w i s h e t h t o t h e o n l y b e g e tt e r of t h e s e i n s u i n g S o nn e ts all happ i n e ss
. . .

and that e t e rnity pr o mis e d by o u r e v e r li vi ng p oe t Th e w e ll wish i ng -

.

-

adv e ntur e r i n s e tting f o rt h [ is ] T T [ I n t h e i ssu e o f F e b 1 6 1 8 6 7 i n r e ply . . .

, ,

t o Mass e y s d i scuss i o n i n S h s S on n ets n eve r b ef ore I n terpre te d C hasl e s pur

.
,

su e d t h e subj e ct furth e r o bs e rvi ng ] Mo st d e d i cati o ns o f t h e E li z ab e than

, ,

a g e a r e wr i tt e n i n t h e sam e f o rm t h e nam e o f t h e d e dicat o r f o ll o w i ng cl o s e ly ,

t hat o f t h e d e d i cat e e and t h e v e rb b e i ng l e ft at t h e e n d of t h e s e nt e nc e

,
.

Th o mas Th o rp e s additi o n is a m e r e s i gnatur e a o ur i sh a p o stscr i pt um

'

.
, ,

(p .
[ S t i ll m o r e f o ll o w e d t o t h e sam e e ff e ct i n t h e issu e o f Apr i l 1 3 p
, , , .

4 8 6 . A n d i n t h e i ssu e o f M a y 1 8 C hasl e s o pp o s e d t h e n o ti o n that b e g e tt e r

c o uld m e an o bta i n e r by citi ng ( p 6 6 2 ) 3 1 passage s i n S h wh e r e b e g e t

, . .

cr e at e I t sh o uld b e add e d that C hasl e s b e li e v e d h i s i nt e rpr e tat i o n o f t h e

.

D e d i cati o n w o uld b e s e e n t o b e obvi o us if o n l y its typ ographical arrang e m e nt

we r e accurat e ly r e pr o duc e d i n m o d e rn e diti o ns and c e rtai n e dit o rs n o tably , ,

C o ll i e r hast e n e d t o p o i nt o u t that th e y had s o r e pr o duc e d i t Oth e rs j o i n e d

, .

m e rr i ly i n t h e d i scussi o n ch i e y with a vi e w o f p o i nti ng o u t h o w C hasl e s s

,

argum e nts b o r e o n th e ir o w n p e t th e o ri e s C AR TWR I G H T e d i t o r of S on n ets .

,

of S h R ea rra n g e d
. i n a l e tt e r t o t h e Ath F e b 1 1 8 6 2 ( p p o ints .
, .

o u t that Th o rp e d oe s n o t ass e rt that t h e so nn e ts th e ms e lv e s a r e i nsc r i b e d

t o W H ; t h e t e xt d oe s n ot r e ad pr o m i se d h i m ; h e nc e i t may have b e e n
. .

m e ant t o say t hat e t e rn i ty pr o m i se d t o h i s fr i e nd MAS S E Y ( Ath March

,
. .
,

16 , 1 86 7 p 3 55 ,) tak .e s a S i m i lar V i e w I n t h e issu e o f A pr i l 2 7 r e plyi ng .

,

t o C has l e s s argum e nt r e sp e cting t h e spacing o f t h e l in e s o f t h e D e dicati o n

,
 TH E S ONNE TS OF S HAK ES P E AR E 7
he says : ] Th e spaci ng b e twee n t h e w ords w i s h e t h and t h e we l l wishi ng -

is e xactly t h e sam e as b e twe e n t h e thr ee pr e c e d i ng l i n e s Which am o u nts t o .

t h i s : t h e f o ur c e ntral li n e s of t h e i nscripti o n a re m o r e lea ded tha n t h e li n e s at

t h e b e g i nn i ng and e n d o f t h e sam e I f w e a r e t o draw any i nf e r e nc e fr o m .

t h e pr i nt e r s arrang e m e nt th e n t h e larg e r spaci ng o f t h e thr e e lin e s pr e c e d i ng

t h e w o rd w i s h et h sh o ws an i nt e nti o n o f carryi ng o n t h e i nscript i o n and ,

pr ov e s i t t o b e all o n e ! ( p [ On t h e o t h e r hand B OL TO N C O R N E Y ( N .
, .

Q 3 d s 1 : 8 7 ) acc e pts t h e C hasl e s r e ading and appli e s i t t o t h e furth e ranc e

.
, .
, ,

o f t h e i d e nt i cat i o n o f W H as S o ut hampt o n ; and S AMU E L NE IL ( Ath . . .

,

Apr i l 2 7 1 8 6 7 p 552 ) acc e pts i t i n furth e ranc e o f h i s o w n v i e w o f t h e D e d i

, ,
.

cat i o n as i nt e l l i gibl e w i th o ut g o ing b e y ond t h e l i m i ts o f S h s ow n family .

W H b e i ng his br o th e r i n law Wi ll i am H athaway ( a vi e w which C hasl e s

. .
- -

had i nd e p e nd e ntly pro p o se d ) and t h e b e ge tt e r pe rhaps h i s wife Ann e , .

Ne il s r e nd e ring o f

b e ge tt e r is sugge st or i e t h e adv i se r o f t h e p r o , . .
,

ducti o n o f t h e b oo k as a substantive asse rt i o n o f his right am o ng t h e l e tt e re d

p oe ts o f h i s t i m e Th e r e aft e r l i ttl e was h e ard o f C hasl e s s i nt e rpre tati o n of
.

t h e D e d i cati o n m ost E ngl i shm e n d o ubtl e ss agree ing with D Y C E : ] Th e id e a o f

,

M C hasl e s that t h e inscripti o n c o ns i sts of t w o d i stinct se nt e nc e s appe ars t o m e

.
,

a gr o undl e ss fancy ; and his n o ti o n that i n t h e rst o f th o se se nt e nc e s Mr , , .

W H i s t h e n o minat i ve t o t h e ve rb w i s h e t h off e nds m e as a st i ll wild e r

.

.

,

dre am ( Lif e 3 d e d p 1 0 2 n ) C E DM OND S [ again d i scusse d t h e D e d i cati o n

'

. . . .
.
, ,

i n Ath Nov 2 2 1 8 7 3 p
.
, Wh oe ve r has laugh e d as I have d o ne ove r
.
, , .
, ,

[ Th orpe s fac e ti o us d e dicat i o ns e g of Marl o we s L ucan 1 6 0 0 ; H e al e y s E p i c

. .
, , ,

t e tus and C e be s 1 6 1 0 ; Oldcom bi a n B a nq uet , will n o t b e surpr i se d at his ,

pe nn i ng such a charact e r i stic and familiar inscripti o n t o t h e W H of t h e S o n . .

n e ts in 1 6 0 9 B ut what a d i ff e re nt and highly d e fe re ntial styl e d oe s h e ad o pt

,
.

wh e n i n 1 6 1 6 h e d e d i cat e s his e nlarge d e diti o n of H e al e y s wo rk t o Wi lliam

, ,

H e rb e rt E arl o f P e mbr o k e ! I sh o uld imag i n e t h e t ru e i nt e rpr e tati o n o f t h e

,

i nscripti o n t o b e that T T t h e publish e r fe e l i ng d ee ply i nd e bt e d t o

. .
,

Mr W H f or havi ng obtai ne d f o r him t h e priv i l e g e o f publishing such a

. . .

po pular w o rk as S h s So nne ts w e r e like ly t o b e w i sh e s him all happin e ss and

.

, ,

that e t e rnity pro m i se d by t h e gre at bard t o th o se w h o a r e instrum e ntal i n

pr e se rving things wh i ch t h e wor l d wo u l d not w i ll i ng l y le t d i e And this
.

t h o ught was pr o bably sugge st e d by t h e rst lin e s i n L L L . .

Le t fam e that all hu nt aft e r i n th e ir live s

, .

L ive r e g i s t e r d up o n o u r bra z e n t o mbs

And th e n grac e us i n t h e disgrac e o f d e ath

Wh e n spit e of c orm orant de vo uring Ti m e
, , ,

Th e e nd e avo ur of this pr e se nt bre ath may buy

That h o n o ur which shall bat e his sc yt h e s kee n e dge
'

And ma ke us h e irs of a ll e t e rnity .

E L I C TE N
. H B E R G E R [i n 1 8 77 issu e d at P aris a th e sis D e
'

Ca rm ln z bn s S h a k s perz ,
'

c u m n ova Th orpla n ae I n s cr i pti on i I n te rpr eta ti one int e rpre tati o n i s . Th e n ew

m e re ly t o t h e e ff e ct that th e D edicati on was writt e n particu l ar l y f or t h e rst

8 TH E S ONNETS OF S HAK ES P E AR E
gro up of so nne ts th ose o n pr ocre ati o n and marriage and n e e d no t b e u nd e r
, ,

st ood t o apply t o t h e wh ol e c oll ecti o n I n it t h e writ e r wish e s Mr W H I mm or . . . .

tal i ty thr o ugh a s on as we ll as thro ugh t h e se rvic e s of p oe try ] .

D OWD E N [ qu ot e s t h e passage fro m D e kke r cit e d by B o swe ll but disse nts

fro m t h e vi e w that b e ge tt e r i n t h e D e dicati o n m e ans ob t a m e r Th e re .

is spe cial p oint in t h e ch oic e of t h e word if t h e d e dicati o n b e addre sse d t o t h e ,

p e rso n w h o inspire d t h e p oe ms and f or wh o m th e y we re writt e n E t e rnity .

thr o ugh Offspring is what S h m o st d e sire s f or his fri e nd I f h e w i ll n ot b e ge t a

. .

child th e n h e is pro mise d e t e rnity i n ve rse by his p oe t i n ve rse wh ose i n u

, ,

e nc e is th i n e and b o rn o f th e e
, ( 78 Thus was Mr W H t h e b e ge tt e r of , . . .

th e se p oe ms and fr o m t h e p o int o f v i e w o f a c o mplim e ntary d e dicati o n h e

,

might we ll b e t e rm e d t h e on ly b e ge tt e r ( I ntr o p H AL L I WE L L P H I L L I PP S : . .
, .
-

[ Th e o nly b e ge tt e r is ] t h e o n e p e rso n w h o obtaine d t h e e ntire c o nt e nts o f

t h e w o rk f o r t h e u s e o f t h e publish e r Th e n oti o n that b e g e tt e r stands .

f or insp i re r c o uld o n l y b e r e c e ive d we re on e i ndividual al o ne t h e subj e ct of

a l l t h e p oe ms ; and m o re ove r u nl e ss w e ad o pt t h e wh o l l y grat u i t o us c o nj e ct ure
, ,

that t h e so nne ts of 1 6 0 9 we r e n ot th ose which we re in e x i st e nc e i n 1 59 8 had ,

n o t t h e t i m e s o m e what g o n e by f or a pu bli s h er s d e dicati o n t o that o bj ect ?

( Ou tli n es 8 th e d 2 :
, S H ARP [obs e rv e s that
.
, onl y may m e an n ot s ole ,

but matchl e ss
inc o mparabl e ; cf o nly h e rald in 1 1 0 ( I ntro p
,

.
, . .
, .

[Th e N E D give s s o m e c omfort t o th o se w h o int e rpre t b e g e tt e r as

. . .

o btain e r by C iting H a mlet I I I ii 8 : Yo u must acqu i re and b e ge t a t e m

, , ,

pe r a n c e und e r t h e d e niti o n g e t acquire but o n t h e oth e r hand cit e s t h e

,

,

word b e ge tt e r i n t h e pr e se nt passage und e r t h e d e niti o n age nt that

o riginat e s pr o duc e s o r, ,

TYL E R : To t h e o n l y b e g e tt e r e t e rnity had b ee n pr o mise d by our e ve r

l iving p oe t ; f or n o oth e r c o nstructi o n is at al l re as o nabl e or probabl e Th e re .

i s thus a manif e st r e f e r e nc e t o t h e num e r o us plac e s in t h e S o nne ts in which t h e

poe t pr omise d t o t h e b e autifu l yo uth h e addr e sse d a l i fe b e yo nd lif e

.

[ Th e vi e w that Mr W H s m e rit was that o f c o ll e ct or of t h e S o nn e ts] can

. . .

scarc e ly app e ar i n any way l ike ly More ove r th e re is in t h e S o nn e ts o n e p l ac e

.
,

particularly which sh o u l d g o ve ry far t owards d e t e rmining t h e se nse of t h e

disput e d wo rds [ 3 8 H e r e t h e b e autifu l y o uth appe ars as t h e cause o f
, ,

t h e p oe t s writing v e rs e s

w orthy p e rusa l Wh oe ve r invo ke s this p owerfu l

.

aid is t o bring f orth e t e rna l numb ers t o o ut l ive l o ng dat e Th e qu otati o n .

thus mad e must g o far t o ward s xing t h e se nse o f t h e o n l y b e ge tt e r .

[ As t o t h e O bj e cti o n that t h e b ea utifu l y o uth i s n ot t h e subj e ct of all t h e S o n

n e t s z] h e is t h e subj e ct o f ve ry much t h e l arge r p o rt i o n and this p o rt i o n m o r e , ,

o v e r stands rst and n e xt aft e r t h e D e d i c a ti o n

, ,
H e m i ght th e r e f or e ve ry . , ,

we l l b e sp oke n o f as t h e on li e b ege tt e r of th e s e i n s ui n g s o nne ts ( pp 1 3 . .

VE R I TY : S ur e ly it was a di es n ef a s tn s o n which th e se ill om e n e d w o rds [ of t h e -

D e d icati on ] we re writt e n ; sure ly t h e man w h o pe nne d th e m was capabl e of all

t h e i nfam i e s wh i ch H o rac e ass i gn e d t o t h e unkn o w n p l ant e r o f a c e rtain tr ee

ca pa ble as Vo ltair e sa i d o f
,
m e e k u nc o n s ci o us H abakkuk ca pa ble de tout , , .

Wh o was this impa l pab l e W Wh at d oes on l y be gett e r m ean ?

.
 TH E S ONNETS OF S HAK E S P E AR E 9

Th e w or d s see m simp l e ; as if th e y c o u l d on l y m e an o n e thing ; as if h e

so

ge tt e r must b e e quival e nt t o inspire r [ Agai nst th i s th e r e a re inge ni o us .

argum e nts ; ] but t h e maj ority of writ e rs agr e e that be ge tt e r does m e an

i nspire r and that on ly be ge tt e r might fairly b e said of t h e pe rso n t o
,

wh o m 1 2 6 of t h e s o nne ts a re dir ectly addr e sse d and with wh om t h e r e ma i ni n g ,

poe ms a re m or e or l e ss c o nc e rne d ( I n tr o pp 39 9 . .
, .

L E E : F e w boo ks of t h e l 6 t h or 1 7 th c e ntury we r e ush e r e d i nt o t h e w o rld

with o ut a d e dicati o n I n m ost case s it was t h e wo rk of t h e auth o r but num e r
.
,

o u s v ol um e s be s i d e s S h s S o nn e ts a r e e xtant i n which t h e publ i sh e r ( and n ot

.
, ,

t h e auth or ) lls t h e role of d e dicat or Th e cause o f t h e substitut i o n i s n ot far .

t o se e k Th e signing of t h e d e dicati o n was an asse rti o n of full and r e sp o nsibl e

.

o wn e rship i n t h e publicati o n and t h e publ i sh e r i n S h s l i f e tim e was t h e ful l

.
,

and r e spo nsib l e o wne r of a publicati o n quit e as o ft e n as t h e auth or Wh e n .

a vo lum e i n t h e re i gns o f E li z abe th or Jam e s I was publ i sh e d i nd e pe nd e ntly of

t h e auth or t h e publish e r e x e rcise d unchall e ng e d all t h e o wn e r s r i ghts n o t t h e

, ,

l e ast va l u e d of which was that of ch oo sing t h e patr o n of t h e e nt e rprise and of ,

pe nning t h e d e d i cat o ry c o mplim e nt As a rul e o n e o f o nly t w o inf e r e nc e s

.

is p ossibl e wh e n a publish e r s nam e gure d at t h e f oot of a d e dicat ory e p i stl e :

e ith e r t h e auth o r was ign o rant o f t h e publ i sh e r s d e s i gn o r h e had r e fu s e d t o

c o unt e nance it and was o pe n l y d e e d [ I n t h e case o f t h e S o nn e ts t h e f o rm e r is

,
.

t h e natural e xplanati o n ] I n framing t h e d e d i cati o n Th orpe f o ll o we d e stab

.

li s h e d pr ec e d e nt I nitials run ri ot o ve r E l i z ab e than and J ac o be an b oo ks

. .

P rint e rs and publ i sh e rs auth ors and c o ntr i but o rs o f pr e fat o ry c o m m u n i c a

,

ti o ns we r e all i n t h e habit o f maski ng th e mse lve s b e hind such symb o l s P atr o ns

, .

gure d u nd e r initials i n d e dicati o ns so m e what l e ss fr e qu e ntly than oth e r shar e rs

i n t h e b oo k s pr od ucti o n B ut t h e c o nditi o ns d e t e rmining t h e e mpl oym e nt of

.

i nitials i n that r e l ati o n we r e we l l d e n e d Th e e mpl o ym e nt of i nitials i n a .

d edicati o n was a r e c ogni z e d mark of a c l o se fri e ndship or i ntimacy b e twe e n

patr o n and d e dicat o r It was a sign that t h e patr o n s fam e was limit e d t o a
.

small circl e and that t h e r e ve lati o n of his full nam e was n ot a matt e r of i nt e re st
,

t o a wid e public Th e r e was n othi ng e xc e pti o nal i n t h e w ords of gr e e ting

.

which Th orpe addre sse d t o his patr o n Mr W H Th e y f oll o wed a wid e ly

. . .

ad opt e d f o rmula D e dicati o ns of t h e tim e usual l y c o nsist e d of t w o distinct

.

parts Th e r e was a d e d i cat ory e pistl e which might t ouch at any l e ngt h i n
.
, ,

e i th e r v e rse or pr o se o n t h e subj ect o f t h e b oo k and t h e writ e r s r e lati o ns with

,

his patr o n B ut th e r e was usually i n additi o n a pre l iminary sa l utati o n c on

.
, ,

ne d t o such a sing l e se nt e nc e as Th orpe d i splaye d Th er e is hardly a b oo k .

publish e d by Rob e rt Gree n e b e twee n 1 58 0 and 1 59 2 that d oe s n ot O pe n with an

adj ura t i o n b e f o re t h e d e dicat ory e pistl e i n t h e f orm : To ,R ob
e rt Gr ee n e w i s h e t h i ncr e ase o f h o n o ur with t h e full fruiti o n of pe rf ec t f e l icity .

Th o rpe i n S h s S o nn e ts l e ft t h e salutati o n t o stand al o n e and o mitt e d t h e

, .

, ,

suppl e m e nt of a d edicat o ry e pist l e ; but this t oo was n ot u nusua l [ C f S pe nse r s , , .

d e d i cati o n of F Q ; D ra y t o n s of I dea and P oems L y ri c a n d P a s tora l; Braithwait e

. .

o f his Golde n F leece ] B ut Th o rpe was t oo s e lf ass e rtiv e t o b e a slavish imitat o r

.
-
.

H i s addicti o n t o b o mbast and his e l e m e ntary appr eciati o n of l it e ratur e r e c om

, ,
10 TH E S ONNE TS OF S HAK ES P EAR E
m e nd ed t o him t h e practic e of inc orp orating i n his d edicat ory sa l utati o n s om e
high so unding e mb e ll i shm e nts o f t h e acc e pt e d f o rm ula sugge st e d by his
-
,

auth o r s writing I n his d e dicati o n of t h e So nne ts t o Mr W H h e graft e d

. . . .

o n t h e c o mm o n f o rmula a r e f e r e nc e t o t h e imm o rtality wh i ch S h aft e r t h e .

,

hab i t of c o nt e m po ra ry s o n n e t t ee r s promise d t h e h e r o of h i s s o nne ts i n t h e ,

page s that succ e e d e d I t is o bvi o us that h e d i d n ot e mpl o y b e ge tt e r i n

t h e o rd i nary se nse B e ge tt e r wh e n lit e rally i nt e rpre t e d as appl i e d t o a
.
,

l i t e rary wo rk m e ans fath e r auth or prod uc e r and it cannot b e se ri o usly urge d , , ,

t hat Th o rpe I nt e nd e d t o d e scrib e Mr W H as t h e auth or o f t h e S o nn e ts . . .

.

B e ge tt e r has b e e n use d in t h e gurative se nse of insp i re r and it is o ft e n ,

assum e d that by o nly b e ge tt e r Th orpe m e ant s ol e insp i re r and that by ,

t h e u s e o f th o se w o rds h e i nt e nd e d t o hint at t h e cl o se r e lati o ns subsisting b e

twee n \V H and S h i n t h e dramatist s e arly life ; but that int e rpre tat i o n

. . .

pr e se nts numb e rl e ss d i i c ult i e s I t was c o ntrary t o Th orpe s aims in busi ne ss

.

t o inv e st a d e dicat i o n with any cry ptic signicanc e and thus mystify h i s cus

t om e rs Mo re o ve r his caree r and t h e circumstance s u nd e r which h e b ecam e

.
,

t h e publish e r o f t h e S o nn e ts c o nfut e t h e assumpti o n that h e was in such r e la

t i o ns with S h or with S h s associat e s as w o u l d give h i m any kn owl e dge of

. .

S h s e arly car ee r that was n ot pub l ic pr o pe rty

.

Wh e n Th or pe had t h e l uck .

t o acquir e surr e ptit i o usly an unpri nt e d MS by o u r e v e r l i ving p oe t it was

-
.
,

n ot in t h e gr e at man s circl e of fri e nds o r patr o ns t o which h i th e rt o h e had had

,

n o acc e ss that h e was l i ke ly t o se e k his ow n patr o n

, B e g e t was n ot .

i nfr e qu e ntly e mpl o y e d i n t h e att e nuat ed se nse of g e t pr o cur e or oh , ,

tain a se nse which is e asily d e ducibl e fr o m t h e o riginal On e o f bring int o

,

b e i ng H aml e t wh e n addre ssing t h e playe rs b i ds th e m i n t h e ve ry whirl

.

, ,

wind of passi o n acquir e and be g e t a t e mpe ranc e that may gi ve it sm oothn e ss .

[ Se e als o t h e passag e in D e kke r qu ot e d by B oswe ll ] Mr W H wh o m Th o rpe , . . .

,

d e scrib e d as t h e o nly b e ge tt e r o f th e se ensuing so nn e ts was i n al l pr ob ,

ability t h e acqu i r e r or procur e r o f t h e MS w h o gurativ e ly spe aking br ought , ,

t h e b oo k int o b e i ng e ith e r by rst placing t h e MS i n Th o rpe s hands o r by

.

po int i ng o ut t h e m e ans by wh i ch a c o py might b e acquir e d To ass i gn such .

signicanc e t o t h e w ord be g e tt e r was e ntir e l y i n Th orpe s ve in ( Lif e pp

.
, .

39 1 2 . 39 7 9 9 . 4 0 4
B U TL E R D ec 2 4 1 8 9 8 p
, w riting with o ut r e f e r e nc e t o Lee s
.
, , .

argu m e nt trac e s t h e hist o ry of t h e vi e w that b e g e tt e r m e ans o btain e r

,

,

and re marks that it has always b ee n t h e re so rt o f advocat e s of a d o ubtfu l

th eo ry o f t h e S o nne ts To this AL F R E D AI NG E R r e pli e s ( Jan 1 4 1 899 p
. .
, , .

d e f e nd i ng Le e s Vi e w and asse rting that S h himse lf use s b e ge t i n t h e g e n

, .

e ral se n s e o f pr ocure qu i t e as oft e n as i n t h e se nse o f prod ucing ch i ldre n .

H e furth e r sugge sts that t h e D ed icati o n may b e hum o r o usly int e nd e d l i k e ,

Th o rpe s d ed i cati o n of Marl owe s L ucan t o his fri e nd B l o u nt that h e] is

i ndulging a l i ke stra i n of cha ff at t h e e xpe nse of Mr W H hims e lf sugge sting . . .

,

that h e will obta i n i mm o rtal i ty ( that of a y i n amb e r ) by go i ng d o wn t o po s

t e r i t y as t h e d e d i cat e e o f S h s e ve r l iving poe ms I f th i s was s o Mr .

-
.
, .

Th orpe has prove d himse lf a pro ph e t of no c omm o n ord e r [ F u rth e r o n Jan 2 8 .

, .
,
 TH E S ONNETS OF S HAK ES P EAR E 1 1

p . I d o n ot supp ose that e ve n Mr Le e wo uld pl e ad that t h e wor d b e .

ge tt e r was a natural wo rd f or Mr Th o rpe t o have us e d B ut t h e wh ol e styl e . .

o f t h e d e dicat i o n is e uphuistic t h e ve i n o f Armad o o r Osr i c and t h e rst

th o ught of e uphuists o f that calibr e was n e ve r t o us e a c o mm o n w ord wh e n an
unc o mm o n on e w ould d o .

B U TL E R [ i n his e diti o n of t h e S o nn e ts 1 8 9 9 r e produc e s t h e c o nt e nts of his

, , ,

l e tt e r o f t h e pr ec e ding ye ar and argu e s at l e ngth aga i nst t h e L e e i nt e rpr e tati o n

,

H i s m ost imp ortant c o ntribut i o n c o nc e rns t h e passag e fr o m

of b e g ett e r .

D e k k e r s S a ti r om a s ti x rst cit e d by B o s w e llz] S truck w i th t h e fact that D r

.
,

Murray has n ot cit e d t h e f o re go i ng passage fr o m D e kk e r I turn e d t o ,

D e k k e r s S a ti r oma s ti x and nd that t h e passage i n qu e st i o n is put int o t h e

m o uth o f S i r Re e s Ap Vaughan a We l shman w h o by way of hum o ur i s r e p re , ,

se nt e d as m urd e ring t h e E nglish l anguage all thro ugh t h e p i e c e I th e n u nd e r .

st oo d why D r Murray d i d n ot r e fe r t o it and why Mr S idne y Le e [d i d n o t

. .

r e p e at t h e r e fe re nc e i n his L if e of S h which h e had giv e n i n t h e D N but . . .

I did n o t and d o n ot und e rstand h ow B o swe ll c o uld hav e adduc e d i t unl e ss ,

in t h e h op e of h ood winking unwary r e ad e rs w h o h e kn e w w o uld acc e pt his ,

stat e m e nt with o ut ve r i fying it This singl e factiti o us e xampl e has d o n e duty .

with So ut h a m p t o n i t e s and i m p e rs o n a li t e s f or t h e l ast 8 0 ye ars with o ut any ,

o n e s having b ee n abl e t o cap it with an o th e r An o th e r c o nsid e rati o n of

.

l e ss w e i ght arise s fr o m t h e p re x i n g t h e wo rd o nly t o b e ge tt e r i n

Th o rp e s pre fac e Th e fact that t h e S o nn e ts a re s o alm o st e xclusive ly c o nve r

.

sant dire ctly or indire ct l y ab out a singl e p e rso n sugge sts that th e y wo uld al l
, , ,

b e in t h e hands o f this p e rso n wh oe ve r h e may have b ee n I n this case

,
.
,

supp o sing b e ge tt e r t o m e an no thing m ore than pr ocure r t h e add i ti o n ,

o f t h e w o rd o nly appe ars t oo e mphat i c f o r t h e occasi o n b e ge tt e r

al o n e sh ould have b ee n ampl e I f o n t h e o th e r hand Mr W H was t h e o nly . . . .

cause of t h e S o nn e ts having be e n writt e n at all t h e fact is o n e of su fci e nt ,

i nt e re st and impo rtanc e t o mak e r e c ord re aso n abl e e ve n i n a pre fac e s o t e rse ly

w ord e d as t h e o n e i n qu e sti o n Again t h e wo rd o nly had thro ugh t h e .

,

,

C r e e d b ec o m e s o inse parab l y associat e d with b e gott e n that I cann ot

, ,

imagin e any o ne s using t h e w o rds o nly be ge tt e r with o ut int e nd i ng t h e

ve rb be ge t t o m e an m e taph orically what i t m e ans i n o nly b e g ott e n

.

( I ntr o .pp ,
2 8 . A

LE E F e b 2 4 1 9 0 0 p 2 50 ) r e ne ws his d e f e nse O f his int e rpr e tati o n

.
, , .
,

C iting d e n i t i o ns i n C otgrave and o th e r E li z ab e than l e xic o ns ; t h e D e kk e r and

H a mlet passag e s agai n ; a rece 1 0 0 5 That make s him h o n o ur d or be g e ts

, , ,

him hat e J o ns o n Ma g n L a dy I E pi l ogu e B e ge t him a r e putati o n

, .

In, , , .

ge ne ral h e all e ge s
, get and ge tt e r
, b e ge t and b e ge tt e r we re , ,

always int e rchange abl e i n E li z ab e than usage ; cf ge tt e r f or b e ge tt e r i n .

Cor IV v 2 40 : A ge tt e r of m o r e bastard childr e n To this D OWD E N r e p l i e s

. .
, , ,

at l e ngth i n t h e issu e f or March 1 0 p 3 1 5 asse rting ro undly that n o u n m i s

, , .
,

takabl e E l i z ab e than e xampl e of t h e wo rd b e ge t i n t h e se nse o f pr ocur e

has b e e n f o und C otgrave ( w h o had be e n cit e d by L ee ) d oe s n ot give b ege t
.

t er as proc ur e r but give s b oth w ords i n distinct d e niti o ns as e q ui v a

,

, ,
12 TH E S ONNE TS OF S HAK E S P E AR E
l e nts of E n g en d reur . S kinne r
d oe s n ot gl oss b e ge t with ( als o cit e d by Le e )
obti n ere but o nly t h e AS b e ge t t h e gl o ss is g i g nere Th e S h

, beg etta n ; f or . . .

and J onso n passage s h e nds t o b e e xampl e s o f t h e m e aning ca ll int o b e i ng

or pr oduc e n ot of t h e m e aning procur e H e also p o i nts o u t ( i n d e p e n d

, .

e ntly i t w o uld see m of B utl e r ) t h e dubi o us charact e r o f t h e D e kk e r pass ag e

, , ,

and g i ve s f or t h e rst tim e t h e fu ll c o nt e xt : I f I fall s a n s om e ly u po n t h e

Wi d d ow I have so m e co s s e n s Garman at C o urt S hall b e ge t y ou t h e re ve rsi o n
, ,

o f t h e Mast e r of t h e K ings R e v e ls ( L at e r March 2 4 p 3 7 9 D OWD E N e x

.
, , .
,

plains that wh e n i n his I ntr oducti o n t o t h e S o nn e ts h e had a d m i t t e d t h a t this

, ,

passage furnish e d an e xampl e of b e ge t proc ur e h e had n ot e xamin e d it ,

sufci e ntly ) L E E re j oins ( March 1 7 p

. d e fe nding his int e rpre tat i o n of , .

t h e H a mlet passage wh e re acquir e and b e ge t a re naturally take n as s y n o

,

nyms ; citing a n e w r e f e r e nc e fr o m C ole s s E ngl i sh L at i n Di cti o nary

-

wh e re o n e nds B e ge t ( procure ) con ci li o pa ri o

and an add i ti o na l S h , , .

r e fe r e nc e T of S I i 4 5 : S uch fr i e nds as tim e i n P adua shall b e ge t

, . .
, , , In .

t h e sam e numb e r ( p 34 6 ) AI NG E R als o r e pl i e s t o D OWD E N summing up t h e

.

wh o l e argum e nt by say i ng that t h e primary m e aning was br i ng ab o ut .

I n Mr L ee s int e rpr e tati o n o f t h e fam o us phrase W H is addr e ss e d as t h e

. . .
,

man w h o br o ught ab o ut t h e publ i cati o n o f t h e S o nn e ts

This furnish e s

.

B U TL E R an e asy O pp o rtunity f or r e t o rting ( March 2 4 p F e w will o bj e ct , .

t o r e ading Bringe r ab o ut of th e s e e nsu i ng s o nn e ts Wh e r e is t h e l e git i macy

, .

o f smuggling in t h e w o rds t h e pub li cati o n o f

B E E C H I NG : Th e o nly b e ge tt e r [ is] a phrase which nin ety nine p e rs o ns out

-

of e v e ry hu ndr e d e v e n o f th o s e fam i liar with E l i z ab e than lit e ratur e w o uld

, ,

unh e s i tat i ngly und e rstand t o m e an th e ir inspire r an d i n vi e w o f such so nn e ts , ,

as 3 8 7 6 and 1 0 5 and of t h e m e taph o rs e mpl o y e d i n 7 8 and 8 6 wo uld r e gard

, , , ,

as e sp e cially we ll ch o se n What force wo uld o nly re tai n if b e ge tt e r .

m e ant pr o cure r Al l o wing it t o b e c o nc e ivab l e that a piratical publish e r

sh o uld inscrib e a b oo k of so nne ts t o t h e thi e f w h o bro ught him t h e MS why .
,

sh ould h e lay str e ss o n t h e fact that al o ne h e did it P Wa s it an e nt e rprise

o f such gr e at p e r i l ? Mr Le e att e mpts t o m ee t this and s i milar d i i c u lt i e s by

.

d e pre ciat i ng Th o rp e s skill in t h e u se o f l anguag e ; but t h e e xampl es h e qu ot e s

i n his int e r e sting Appe nd i x d o n ot su pp o rt h i s th eo ry Th orpe s w ords a re .

accurat e ly use d e v e n t o nic e ty and i nd ee d Mr L e e hims e l f o wns that i n

, , , , .

an oth e r matt e r Th orpe sh owe d a lit e rary se nse and a goo d d e al of dry
hum our I v e ntur e t o a ffi rm that this d e dicati o n als o sh ows a w e ll d e v e l o pe d

.
-

lit e rary se nse I n t h e ne xt plac e this th eo ry of t h e procur e r o bl i ge s us t o

.
,

b e l i eve that Th orpe wish e d Mr W H that e t e rnity which t h e p oe t had pro m . . .

i se d not t o hi m n or t o m e n i n ge n e ral but t o so me und e s i gnat e d third

, , ,

party Mr Le e calls t h e w ords pr om i se d by o u r e v e r living p oe t

. . a d ec o -

r a t i v e and sup e r e r o gat o ry phrase That is a ve ry m i ld qual i cat i o n of th e m

.

u nd e r t h e circu mstanc e s B ut an e xaminati o n o f Th orpe s o th e r d e d icati o ns .

sh o ws that his sty l e was rath e r s e nt e nti o us than su pe re r ogat o ry Th e n .

,

again o n this th eo ry t h e e pith e t w e l l wishing also b ec o m es s upe re rog a

,
-

t ory F or what it imp l i e s is that t h e a d ve ntur ous pub l ish e r s m otive in giving
.

 TH E S ONNETS OF S HAK E S P E AR E 13

th e s onne ts t o t h e wor l d with o ut th e ir auth or s c o n s e nt was a g ood on e Th e

.

pe rs o n t o wh o m th e y we r e w ritt e n might r e as o nably e xpe ct th o ugh h e wo uld ,

n ot n e c e ssarily cr e dit an assuranc e o n this h e ad ; but what wo uld o n e lit e rary

,

j ackal care f o r an oth e r s go o d int e nti o ns ? I w o uld add that t h e wh o l e t o n e

o f t h e d e d i cati o n wh i ch is r e spe ctful and t h e u nusual abs e nc e o f a qual i fying

, ,

phrase such as h i s e st ee m e d fri e nd b e f o re t h e i n i tials a re aga i nst t h e t h e

,

, ,

o ry that Mr W H was o n t h e sam e so cial l e v e l as t h e pub l i sh e r

. . .
( I ntr o .

pp xxxiv Xxxv i )
.

.

[ U nd e t e rre d by his o pp o n e nts LE E r e n e ws t h e e xp o siti o n of h is th e ory i n ,

h i s i ntr od ucti o n t o t h e Oxf o rd P r e ss facsim i le e d i t i o n Of t h e S o nn e ts 1 9 0 5 ,

B e ge tt e r m i ght m e an fath e r ( or auth o r ) or i t m i ght m e an p ro

C

cur e r ( or acqu i r e r Th e r e is no sugg e sti o n that Th orpe m e ant that Mr .

W H was auth or o f t h e s o nn e ts C o nse qu e ntly do ubt that h e m e ant

. .

.

pr ocure r o r acqu i re r is bare ly j ustiabl e [ H e r e ne ws h i s l i st o f e xam .

pl e s i ncl ud i ng t h e D e kke r passage

, still with o ut t h e br o ke n E ngl i sh F u r .

t h e r z] A ve ry f e w y e ars e arl i e r a c ogn o m e n a l m o st i d e nt i cal with b e ge tt e r

( in t h e se ns e of pr o cur e r ) was c o nf e rr ed in a p o pular anth o l o gy e ntit le d ,

B elved e re or th e Ga rd en of th e Mu s e s o n o n e w h o r e nd e r e d its publ i sh e r t h e like ,

s rvic e that Mr W H se e ms t o have r e nd e re d Th o rp e t h e publ i sh e r of S h s

e . . .
. .

S o nn e ts On e J o hn B o d e nham l ling much t h e sam e r ole as that assign e d t o

.
,

Mr W H br o ught t o ge th e r i n 1 6 0 0 a numb e r o f bri e f e xtracts ransack e d fr o m

. . .
,

t h e unpubl i sh e d as w e l l as fr o m t h e publish e d writ i ngs o f c o nt e mpo rary p oe ts

, , .

B od e n h a m s c o ll e ct i o ns f e ll i nt o t h e hands o f a n e nt e rpr i sing stat i o ne r o n e

,

H ugh Astl e y w h o publish e d th e m u nd e r [ t h e ab o ve t i tl e with a d e d i cat o ry

, ,

so nne t t o J o h n B o d e nham i n which h e was apostr o ph i z e d as ] F irst caus e r and ,

c o llec t o u r o f th e s e o nr e s I n an oth e r addr e ss t o t h e r e ad e r at t h e e n d o f t h e

.

b oo k t h e publish e r agai n r e f e rs m o r e pr o saically t o B o d e nham as Th e ,

Ge ntl e man w h o was t h e cau s e o f th i s C o l l e ct i o n (p Wh e n Th orpe .

call e d Mr W H t h e o nly b e g e tt e r of th e s e i n s u i n g s o nn e ts
. . h e pr o bably ,

m e ant n o m o r e than t h e o rgan i z e rs o f t h e publ i cati o n o f t h e b oo k call e d

B elvede re i n 1 6 0 0 m e ant wh e n th e y c o nf e rr e d t h e app e llati o ns
, , rst cause r
and t h e cause o n J o h n B od e nham w h o was pr ocure r f o r th e m of t h e c op y ,

f o r that e nt e rpr i s e ( pp 3 8 [ L E E als o O bs e rv e s

.
p
( 3 5 n ) that Th o rpe s
. . .

d e d i cat o ry pr oc e dure and ch o i ce of type w e r e i n u e nc e d by J o nso n s form of

d e dicat i o n b e f ore t h e rst e d i ti o n of Volpon e wh i ch Th o rpe publ i sh e d f or him ,

i n 1 6 0 7 an d which E ld print ed ] On t h e rst l e af fo ll o w i ng t h e titl e appe ars , ,

in sh o rt l i n e s ( in t h e sam e f o u nt o f l arge capita l s as that use d i n Th o rpe s d e di

cati o n t o Mr W th e se words : To t h e Most Nobl e Iand Most Ae q ua ll I

. .

S ist e rs I Th e Tw o F a m ov s Vn i v e rs i t i e s I F or th e i r L ov e I An d IAcc e ptanc e I

S h e wn To his P oe m e I i n t h e P r e s e ntati o n I B e n : I o n s o n I Th e Gr a t e f v ll
Ackn owl e dge r I D e dicat e s I B o th I t and H imse l f s
.

W C H AZL I TT: I t wo u l d b e a se v e r e inj ustic e t o Th o rpe t o o mit or r e fu se t o

. .

c o nc e d e that cre d i t which it strike s m e that h e e mine ntly d e se rve s as t h e ,

rst p e r s o n w h o app e ars t o have pr e sage d t h e e ndur i ng fam e o f t h e auth o r .

He t e rms him O ur E v e r L ivi ng P oe t a n d h e so t e rms him in 1 6 0 9 s ub s e

-
,
14 TH E S ONNETS OF S HAK ES P E AR E
qu e ntly t o t h e far l e ss e mphatic tribut e by J o nso n in P oeta s ter i n 1 6 0 2 but ,

y e ars b e f or e J o ns o n pr o n o unc e d h i s e ul ogium i n t h e f o li o of 1 6 2 3 and ye ars

,

up o n y e ars b e f or e any o n e e lse dre am e d of taking such a vi e w ( S h th e Ma n

. .
,

a n d h i s Wor k e d 1 9 1 2
, .
,p .

[Th e D e dicati o n has n ot e scap e d t h e i nge nuity of t h e m or e myst i cal int e r

p re t e r s K ARP F ( D i e I dee S h s p 4 3 ) b e li e v e s tha t t h e o n l y b e g e tt e r is t h e

. .
.
,

p oe t s o w n so u l ; and L E G I S ( N 69 Q s t h s 6 : 4 2 1 ) that it is t h e

.

.
, .
, spirit of
human know l ed ge which is t h e b ege tt e r of al l tru e w orks .
 11 A K B u s P E A R E S,
S O N N E TS .

F R OM fa i re s t c rea t u re s w e d e s i re i n c r ea s e ,

Th a t t h e r e b y b ea u t i e s R os e m i gh t n e u e r d i e ,

3 B u t a s t h e ri p e r s h o u l d b y t i m e d e c e a s e ,

i H i s t e n d e r b e i r e m i gh t b e a re h i s m e m o ry
f .

5 B u t t h o u p on tra c t e d t o t h i n e ow n e b r i gh t e y e s

F e e d s t t h y l i g h t s a m e w i t h s e lf e s ub s t a n t i a ll f ew e l l

, ,

7 M a k i n g a f a m i n e w h e r e a b o u n d a n ce l i e s ,

9 Th y s e l f e t h y f oe to t h y s w e e t s e lfe too c r ue l l
,

f T h o u t h a t a r t n ow t h e w o r l d s f r e s h o r ri a m e n t ,

lb An d o n ly h e r a u ld t o t h e g a u d y s p r i n g ,

[ I Wi t hi n t h i n e ow n e b ud b u ri e s t th y c on t e n t ,

l Z/An d t e n d e r c h o r le m a k s t w a s t i n n i gga r d i n g

D P i t ty t h e w o r l d o r e l s e t h i s gl u t t on b e
.
, ,

III T0 c a t e t h e w o r l d s d u e b
<
y t h e g ra u e a n d t h e e , .

2 . mi gh t ] m a y G S E , ,
.

3 . d e c e a s e ] d ecrea s e H u z
.

6 . li gh ts ] li f e s B ut Wa

, . se lfe s u b s tan ti all ] H yph e n ed by G

2
, et c .

10 . on l y ] ea rly Go dwi n c o nj .

12 . ch or le] ch u rl G e t c , .

14 . b y th e ] b e th y S t e e c o nj .
; by th y Godwin c o nj . an d ] as Godwi n c o nj .

B O AD EN: hav e b e e n t e mpt e d fr e qu e ntly t o c o nsid e r [ S o nn e ts 1 I9 ] and

I ,

many m o r e o f t h e c o l l e cti o n as parts o f a d e s i gn t o tr e at t h e subj e ct of Ad o nis

,

i n t h e so nn e t f orm [Th e r e se mb l anc e b e twee n th e s e O pe ning so nn e ts and

.
16 TH E S ONNE TS OF S HAK E S P E A R E [1
th e V 81 A
. has b e e n r e mark e d by many c o mm e ntat ors m o st r e c e nt l y by

.
,

J udg e E vans S a t Rea D ec 2 6 1 9 1 4 Cf e sp e c i ally lin e s 1 6 3

-

, .
, .
, . .

To rch e s mad e t o l ight j e w e ls t o w e ar

a re , ,

D ainti e s t o tast e fr e sh b e auty f or t h e u s e , ,

H e rbs f o r th e ir sm e ll and sappy plants t o b e ar ; ,

Th i ngs gr o wing t o th e m se lv e s a r e gr o wth s abu se

.

S e e ds spring fr om se e ds a nd b e auty b r e e d e t h b e auty

Th o u wast b e g o t ; t o g e t it is t hy d uty .

U pon t h e ea
rt h s incr e ase why sh o uldst th o u f ee d

,

U nl e ss t h e e arth wit h t hy i ncr e ase b e f e d ?

B y law o f nat ur e th o u art b o u nd t o br e e d ,

That t hin e may liv e wh e n th o u thys e lf art d e ad

An d s o i n sp i t e o f d e ath th o u d o st survive
, , ,

I n that thy li k e n e ss stil l is l e ft aliv e .

I S AAC : C f . D ani e l s D eli a S o nn e ts 34 3 5

L oo k D e l ia ! h ow w e st e e m t h e half b l o wn r ose

-
, ,

No s o o n e r spr ads h e r g l ory i n t h e air

e ,

B ut straight h er full bl wn prid e is i n d e cl i ning ; -

o

S h e th e n i s sc orn e d that l at e ad o rn e d t h e fair ,

.

5 0 c l o uds thy b e auty aft e r fair e st S hini ng ! ,

0 le t th e n such rich e s wast e i n vai n!

n ot

B ut l ov e whilst t hat th o u may st b e l ov e d agai n ! Ie t c ]

,

.

[Aft e r e xamini ng parall e l s h e r e I saac c o ncl ud e s b e cause o f t h e e qual l y

th e , ,

striki ng parall e ls i n V Er A a nd s o m e o f t h e e arly plays that S h was

.
a
.
, .

pr o bab l y t h e rst t O d e v e l o p t h e id e a ( J a h r b MAS S E Y . .

,

C f S id n e y s Arca d i a :
.

B e auty i s t h e cr o wn of t h e f e m i nin e gr e atn e ss ;
which gift o n wh o msoe v e r t h e h e av e ns ( th e r e i n m o st niggar dly ) d o b e st o w
, ,

with o ut q u e sti o n s h e i s b o u nd t o u s e it t o t h e n obl e purp o se f or which it is

cre at e d [ 1 59 0 cd f
.
[Th es e ] s o nn e ts o n marriag e c o uld n ot hav e
.
, .

b ee n writt e n u nt i l aft e r S h had r e ad t h e Arca d i a ( pp 7 3 . .

.
,

VE R I TY [ als o cit e s as a parall e l D r a y t o n s L eg en d of Ma ti ld a ; b ut t h e r e se m

b l anc e i s c o n n e d t o a f e w l in e s i n stan z as 3 4 a nd 70

H o ard thy b e auty wh e n th o u hast such st or e ;

n ot ,

We r e t n o t gr e at pity it sh o uld thu s li e d e ad

,

Wh i ch by thy l e nd ing m i ght b e mad e m uch m or e ?

F or by t h e u s e sh o uld e v e ry thing b e f e d .

T w e r e pity th o u by niggard i s e sh o uldst thriv e

,

Wh o se w e alth by waxing crav e th t o b e sp e nt ] .

L E E : Th e p e ni ng s e q u e nc e o f 1 7 s o nn e ts i n wh ich a y o uth o f rank and

O ,

w ealth is ad m o n i sh e d t o marry and b e g e t a s o n s o that h is fa i r h o use may

n ot fal l int o d e cay can o nly hav e b e e n addr e ss e d t o a y o u ng p e e r
,
wh o

was as y e t u nmarri ed ( Li f e p [On this s ee f urth er t h e n ot e s o n S 1 3

.
, . . .
I ] TH E S ONNETS OF S HA K ES P EAR E 17

ED .
] WAL S H :
has b e e n supp os e d t hat th e se s o nn e ts w e re actually
It
addr e sse d by S h t o a Mr W H or t o s o m e fri e nd or patr o n w i th t h e bon a
. . . .
, ,

d e i nt e nti o n o f p e rsuad i ng h i m t o marr y a l th o ugh ( e xc e pt f or a slight all u ,

si o n i n 9 1 and st i ll sl i ght e r i n 8 6 9 ) th e r e is n o t a w o rd i n th e m o n t h e
, , ,
-

subj e ct o f marriag e I t is p o ssibl e I t is also p o ss i bl e that th e y a r e imagi nary

. . .

P o ssibly so m e o f th e se so nn e ts w e r e c o m po se d with t h e i nt e nt i o n o f
r e pr e se nting [ t h e w oo i ng o f t h e fair y o ung fri e nd by t h e dark lady o f c e rtai n
o f t h e so nn e ts ] I f s o w e sh o uld hav e h e r e t h e sa m e sit uati o n as i n t h e p o e m
.
,

of V A i n which Ve nus urg e s Ad o nis t o br e e d in w o rd s v e ry similar t o

.

.
, ,

s o m e h e r e r e p e at e d [ Cf lin e s 1 2 9 3 2 7 51 6 8 ] . At all e v e nts it is n o t

.
-
, ,

i mpr obabl e that m o st o f t h e s o nn e ts i n t his s e cti o n w e r e writt e n ab o ut t h e

sam e t i m e with V 69 A I d e as similar t o t h e c hi e f t o pic n o w und e r
.
'
.

tr e atm e nt a r e f o u nd i n t h e plays o nly i n applic ati o n t o w o m e n C f R 81 J . . .

.
,

I i ,
2 2 1
,
2 6 ; T N I v 2 59
6 1 ; A. W I .i , 1 3 6
78
, , . .
, , , .

D E L I U S [b e l i e v e s this gr o up of s o nn e ts t ob e o n e of t h e striking d isproofs

o f t h e p e rs o nal o r aut o bi o graph ica l th e o ry o f t h e c o ll e cti o n ] I n o rd e r t o .

pe rsuad e a fri e nd t o mar r y many kinds o f r e aso ns c o uld pr o tably b e urge d : ,

c o nc e rn f or his ow n m oral and m a t e r i a l w e lfar e i n t h e f o u nding o f a d o m e stic

circ l e o r i n t h e r e sp e ct e d p o siti o n o f a h usband a nd fath e r ; t h e d e sirabl e p o s
s e ssi o n o f a f e minin e pe rso nality d istinguish e d f or b e auty wit birth or , , , ,

pr o p e rty which t h e p oe t m i ght with this i nt e nti o n sk e tch i n t h e m o st allur

, , ,

i ng c o l o rs ; nally if t h e fri e nd w e r e an E ar l o f S o uthampt o n or a P e mbr o k e

, ,

a r e f e r e nc e t o Nobles s e obli g e t o t h e o bligati o n n ot t o le t a n ob l e rac e d i e

,

out but t o pr o gr e ss i n d istincti o n Of all th e s e and similar gr o u nds wit h

,
.

which a man o f e sh and bl oo d might p e rsuad e a r e a l fri e nd t o marriage w e ,

nd i n all th e se so nn e ts n ot o n e s o mu ch as t o uch e d up o n and i nst e ad o f th e m ,

o nly t his o n e argu m e nt disc usse d e v e n t o sati e ty : Yo u a r e b e aut i ful and

, ,

must th e r e f o r e car e f or t h e pr e se rvati o n of y o ur b e aut thr o ugh r e pr o duct i o n ,

an argu m e nt which i n S t o ry land and addr e s s e d t o t h e c oy Ad o nis b y

,
-

lov e s rc e nus m i g t 11 so m e j usticati o n b ut which c ould n e v e r i n t h e

, , ,

act ual r e l a ti o ns of l ife hav e b e e n s e ri o usly advanc e d by a r e as o nabl e man

,

w
U . 0 '
V y .

such as w e tak e S h t o hav e r de r t op e rsuad e an o th e r

. e
w
man M
M

h o pe d also r-e aso nabl e

0

h b 9
r 1 : 36 3 7 , q .

M ~ o

1 2 . SIM P S ON
d o ctrin e which S h puts i nt o t h e t w o o p e ning lin e s of
: Th e .

h is s o nn e ts t o b e as it w e r e t h e t e xt and m o tt o o f t h e wh o l e [ i s P l at o nic ]
, , .

With P lat o L o v e is univ e rsal l y i n t h e high e st and l o w e st f o rms a li k e a n

.

, ,

i mpul se o f g e n e rati o n I t s rst h uman i mpuls e is t o pr o duc e a s e mblanc e

.

M
o f i mm o rtality by g e n e rati ng t h r o ug h a pe rs o n b e l o v e d f or b e auty a n e w , ,

p e rso n t o r e plac e t h e o riginal o n e i n its d e cay ( S y mpos i u m c

, and th us , .

t o pr e serv e t h e i mm ortal i ty o f t h e S p e ci e s amidst t h e d e structi o n o f t h e

i ndivid ua l .
W W W by b e auty is
n ot pr e c is e l y t h e l o v e o f b e auty b ut o f g e n e rati o n i n t h e b e autiful
-
o l y ap , . r

0 6 xa k o b w s m e 1 5 39 y ew a ews m l 1 0 8 r bxov b T ? x k ( pp 1 9

06 7 y C) a t
p , . .

2 R os e [ Th e u s e o f ital i cs h e r e has giv e n rise t o much disc ussi o n e difyi ng

. .
,
 TH E S ONNE TS OF S HAK ES P EA RE

1 8 [1
m or e or l e ss Th e n ot e of Wyndham o n Th e Typ o graphy o f t h e Quart o
.
, ,

c o nsid e r e d i n its b e ari ng o n t h e auth o rity of that t e xt p 2 59 of his e d i ti o n

, .

o f t h e P oems and S i r S i dn e y L e e s intr o ducti o n t o t h e Oxf ord facsimil e e d i

,

ti o n we ll r e pr e se nt t h e o pp o sing att itud e s S e e furth e r o n H ew s i n 2 0 7

,
.
, .

E D ] WYND H AM : E xc e pt i ng R os e 1 2 ; H ew s 2 0 7 ; I nf ormer 1 2 5 1 3 ; and t h e

.
, , , , , ,

Wi lls 1 35 1 3 6 1 4 3 e v e ry wo rd s o pri nt e d is e ith e r a pr o p e r nam e or e lse

, , , , , ,

o f Gr e e k or L ati n e xtracti o n Vi z : Au d i t 4 1 2 ; Ad on i s H ellen s Greci a n . .

, , , , ,

53 5 7
, 8 ; S ta
,
tu es 55 ,5 ; M a rs 55 7 ; I n tri m 5
,6 9 ; Ali e n,7 8 3 ; E a ves , , , , , ,

appl e 9 3 1 3 ; S a tu rn e 9 8 4 ; S a ti re 1 0 0 I I ; P h i lom ell 1 0 2 7 ; Au tu m n e

, , , , , , , , ,

1 0 4, 5 ; Abi s me , 1 12 , 9; Alcu m i e , 1 1 4, 4 ; S y ren , 1 19, I ; H eri ti ck e , 12 4, 9 ;

Aud i te Qui etu s , , 12 6, 1 1 ,
12 ; Cu pi d D y a n s , Cu pi d
, , 1 53 , 14 . Th e se wo rds ,

if oth e r than pr o p e r nam e s we r e s o print e d th e n as F r e nch w ords a r e s o , ,

print e d n ow v i z : b e cau se t h e y w e r e b ut partially i nc o rp o rat e d int o t h e

, .

E nglish languag e Th i s d e str o ys t h e pr e su mpti o n o f accid e nt and cr e at e s a

.

pr e su mpti o n o f d e sign ( p L E E : I t was t h e natural t e n d e n c y t o itali

. .
v

ci z e unfamiliar or f o r e ign wo rds an d nam e s and t o giv e th e m an initial capital

i n additi on B ut t h e print e r of t h e s o nn e ts usually w e nt his ow n w a y with o ut
.

h e e d o f law o r cust o m R o se is u se d 1 2 ti m e s : it is ital i c i z e d o nc e ( 1 2 )

.
,

t h e nam e s o f o th e r o w e rs a r e n ot italici z e d at all ( cf 25 6 ; 94 1 4 ; 9 8 9 .

, , ,

99 ,
A lch e my ( a lc u m i e ) is u se d twic e : it is o nc e italici z e d ( 1 1 4 4 ) an d ,

o nc e n ot ( 33 Au d i t e is u se d thric e and is twic e ital i ci z e d

,
Aut um n , .

app e ars twic e and is o nc e italici z e d : spring , summ e r and wint e r ,

,

a re n e ve r t h u s d i s t i n g u i s h e d Th e f oll o wi ng w o rds o f l i k e class t o th o se .

i ta l ici z e d i n t h e so nn e ts lack that mark o f distincti o n : Ori e nt ( 7 I ) ; P h ae n i x ,

(19 , Mu se ( 32 1 0 e t a l Oc e an ( 6 4
,
E pitaph ( 8 1 I ) ; R h e t o r i c k
.
, ,

( 82 , C hart e r ( 8 7 c ry t t i c k ( 1 1 2 c h e r ub i n e s ( 1 1 4
, P h i s i t i on s , ,

( 1 40 ( pp 4 8
,
S I M P S O N : Th e wo rd h e r e is ful l o f imp o rt I n t h e rang e
. .

o f its ass ociati o ns it r e ach e s fr o m t h e m e aning that must b e giv e n t o it i n

m uch of t h e R oma u n t of th e R os e t o t h e sublim e c o nc e pti o n o f D ant e i n t h e

3 ot h an d 3 l s t cant o s o f his P a rad i s o Th e as pirati o n f or t h e i m m o rt a li t y o f .

w l i s th e ( p L E AY [ at o n e tim e b e li e v e d

b e a ut y g
F .

t hat th e r e might b e an al l usi o n t o t h e R o se t h e atre and S h s c o nn e cti o n , .

with it i n 59 3 9 6 ] ( Ma cm Ma g 3 1 :
1 WYND H AM : B eg utyls .
,

stands h e r e p oe tically f or t h e Mag g r E t e rnal Ty p ep f a t least ,

f or t h e e mb l e m Of t hat id e a I t i s _u s ed t o t h i s g ii wigll a cap i t a l 6 7 8

.
, , ,

and agai n with a capi ta L as w m b leni of

g

, 14 (p . .

[ B ut why n ot Wi t h italics agai n if t h e quart o was as car e fully print e d as ,

W yndham s u pp o s e d P E D ] C R E I G H TO N [ c o mpar e s th i s lin e with 9 5 8 .

, ,

w hich h e thinks pr o v e s that S h kn e w t h e fri e nd by t h e nam e o f Ro se and is .

,

ab l e t o c o nn e ct t h e nam e with P e mbr o k e s c o urt e sy titl e of l o rd R os o f

( B la ck w ood 1 6 9 : 6 7 2 f ) P O RTE R : A p oe tic e mb l e m o f owe ring

, .

bw
Q .

j p e ci al me ag j g g d e s e gv s t h e c a p i t al and it a lics
e _ _ .

4 MAS S E Y : An a ll usi o n t o t h e e arly d e ath o f [ So uthampt o n s ] fath e r

. .

( p 55.

5 contr a cte d S C H M I D T: B e tr oth ed [ So R OL F E an d B E E C H I NG : t h e f o rm e r

. . .
 I ] TH E S ONNETS OF S HAK ES P E AR E 19

cit e s T N V i 2 6 8 : Yo u w o uld hav e b ee n c o ntract ed t o a maid I t is m or e

. .
, , , .

than d o ubtful h o we v e r wh e th e r an apt e r parall e l is n ot t o b e f o u nd in H a ml

, , .
,

I ii 4 : O ur wh ol e kingd o m t o b e c o ntract e d i n o n e br o w o f w oe

, , Th e c o n .

t e xt at any rat e sugge sts t h e n oti o n c o nn e d within t h e o pe rati o n o f y o u r

, ,

ow n eyes Thi s is C l o se t o TY L E R S paraphrase : Not having giv e n e xt e n

.

si o n t o thys e lf i n o ffspring ED ] e y e s TY L E R : Mr W H s bright . . . . . .

eye s a r e r e gard e d as t h e c e ntral p o i nt o r f o cus o f his b e auty .

6 s e lf e s u b s ta n ti all D O WD E N : F u e l o f t h e substanc e o f t h e am e it se lf
. . .

VYND H AM : F u e l t h e sam e substa nc e a s t e ; th i n e W

9
-
10 . MAS S E Y : [ C f . th e D ed icati o n t o
wh e r e ] t h e p oe t h o p e s that V S A
.

his y o u ng patr o n may answ e r t o t h e w orld s h o p e ful e xp e ctat i o n

I n b o th w e hav e H o p e a t i pt oe at ga z e o n thi s n e w w o nd e r o f y o uth and -

b eauty ( p TYL E R : E xpr e ssi o ns suitabl e i n t h e cas e of a y o uth but j ust

. .

e i ght e e n P e mbr ok e ] .

10 only S C H M I D T : P r i ncipa l chi e f

. . S H ARP : Matchl e ss i nc o mparabl e , .
, .

B E E C H I NG : Th e rs t bright o w e r o f a n e w spring Th e id e a o f t h e third .

q uatrain se e ms t o b e that W H might if h e pl eas ed e nrich t h e w o r l d with a . .

, ,

m or e b e aut i ful rac e o f m o rt a l s .

12 C AP E L L : C f R 69 J
.
*
I i 223 26 . .

.
, , ,

Th e n s h ehath s w or n t h a t s h e will sti l l l iv e chast e ?

S h e hath and in that spari ng mak e s hug e wast e ;

,

F or b e auty s t a rv d with h e r se v e rity

C uts b e auty off fr o m a l l po st e rity .

t e nd e r ch orle .
[ Acc ording t o PE R CY S I M P S O N a r e gu l ar e xamp l e o f
, v oc a
th e

t iv e with o ut c o mmas ; cf M V I V i 3 3 5 ( F o li o ) : Now ind e l ] I . . .

, , , hav e th e e
o n t h e hip and ma ny si milar pa ssag e s ( S h P u n ctu a ti on p

. . .
, ,

I4 S TE E VE NS : I r e ad ( pit eo us c o nstraint t o r e ad such stu ff at

. To
e a t t h e w o r l d s d u e be th y grav e and th e e ; i e b e at o nc e th y s e lf and thy

. .
, , ,

g ay e I I d i d n ot th i nk t h e lat e Mr R ich had such e xampl e f o r t h e c o n

g . .

t r i v a n c e o f making H ar l e quin j ump d o wn his ow n thr o at MAL O N E : S h . .

n s i d ers t h ati on of t h e s i e s as t h e w orld t

which it ma d e mand fr o m e v e d iv i d u MW
ackn o w le dg e that as a l ut to n swa lg
S
W M M W
; to t h e wil l d o
d e so lati o n of w h i m ; m

d ue te 1 0

M
1

O ur auth o r s p l ays as w e ll as t h e p oe ms n ow

b e f o r e us a ff o rding a suffi ci e nt numb e r o f c o nc e its it is rath e r hard that h e

,

, ,

sh o uld b e answe rabl e f or such as can o nly b e obtain e d thr o ugh t h e m e diu m
of alt e rati o n ; that h e sh o uld b e ridicul e d n ot o nly f o r what h e has but f or ,

what h e has n ot writt e n th e gr a ve an d th e e D OWD E N : By m e ans of t h e . .

ve llow ou r b e aut cf S 6 and o f o urse lf w h o .

 20 TH E S ONNETS OF S HAK ES P EAR E [ 11

Yo ur d e ath and your r e fusa l t o pr opagat e your b e auty J W B R I G H T [ w ou l d

, . . .

take by with d ue d ue at t h e hands o f ow e d by ( Mod L a ng

or . . .

Notes , 14:

F or a 1 7 th c e ntury MS v e rsi on . of l i ne s 5 1 4 , see n ot e s u nd er S . 2 .

WH E N for t i c Wi n t e rs s h a l l b e s e i g e t h y b row ,

An d d i g g e d e e p t ren ch e s i n t h y b ea u t i e s e ld ,

Th y y o u t h e s p r o u d li u e r y so ga z d

o n n ow ,

Wi l b e a t ot te r d w ee

h e ld d of s ma l w or t h

Th e n b e i n g a s k t w h e r e a ll t h y b e a u t i e l i e s
, ,

Wh e re a ll t h e t re a s u r e of t h y l us t y d a i e s ;
To s a y w i t h i n t h i n e Ow n e d e e p e s u n k e n e y e s ,

We re a n a ll e a t i n g s h a m e a n d t h r i ft le s s e p ra i s e
-
, .

H ow m u ch m o r e p ra i s e d e s e r u d t h y b e a u t i e s v s e

I f t h o u c o u l d s t a n s w e r e t h i s fa i r e ch i l d o f m i n e
S h a l l s u m my c o u n t a n d m a k e my Old exc u s e ,

P roo u i n g h i s b e a u t i e b y s u cc e s s i on t h i n e .

Th i s w e r e t o b e n e w m a d e w h e n t h ou a r t o u l d ,

An d s e e t h y b l ood w a rm e w h e n t h o u f e e l s t i t c o u l d

4 . totte r d ] ta tter d G ,

etc .
( e xc e pt B u l l , Wa ) .

7 . w ithi n s ] I tal i cs by C 0
ey e ow n e ] on e 8
3
.
1
.

d e s pe s u nk e n ] H yph e n e d by G 2 e t c ( e xc e pt A) -
, . .

1 0 1 1 th i s . e xcus e ] Q u ot e d by M e t c ( e xc e pt C 0 3
, .
, Hu ) z
; ita l ics by
C0 3
, Hu z
.

11 . old ] w h ole H a z litt B ut , .

I . f ort i c w i nt e rs S C H M I D T: Us e d f or an i nd e nit e numb e r [ B e sid e s t h e

. .

parall e ls cit e d by S chm i dt s e e E l z e t o t h e sam e e ff e ct J a h r b 1 1 :

, , , .
,

B U TL E R : [S inc e i n it t h e p oe t vi e ws m e n o f f o rty as old ] I h old that this s o n ,

n e t can o nly hav e b e e n wr i tt e n by o n e w h o was still v e ry y o ung (p . .

R OL F E : S ch midt puts this passag e am o ng th o s e i n which f orty is us e d f or

a n i nd e nit e numb e r ( as oft e n ) ; b ut t h e c o nt e xt sh o ws that it has distinct
r e f e r e nc e t o a g e [Th i s n ot e I cann o t und e rstand ; o f c o urs e t h e phras e has
.

r e f e r e nc e t o a g e and o f c o urs e t o an ind e nit e a g e

, E D ] D O WD E N : S h . . .

x e s o n s o e ar l y an a g e as f o rty b e caus e had h e said fty it m i ght hav e , ,

a ll o w e d tim e f or his fr i e nd s s o n t o pass b e y o nd t h e p o int o f y o uthfu l p e r

f e c t i o n t o which S h s fr i e nd has n o w attain e d P e rhaps t h e f o rty y e ars

. .

a r e c o unt e d fr o m t h e pres en t a g e o f t h e y o ung fri e nd bringing him th u s t o ,

11 ] TH E S ONNETS OF S HAK ES P EAR E 2 1

abo ut sixty y e ars of a g e K rauss cit e s fr o m S id n e y s Arca d i a t wo e xam

.

p l e s o f f orty wint e rs .

2 VO N MAU NTZ : C f Ovid Med Formee 4 6 :

. E t p la c i t u s rugis v u lt u s
.
, .
,

aratus e r i t ; and Tri s ti a I I I v ii 3 3 3 4 , , ,

I sta d ec e n s faci e s l o ngis v i t i a b i t u r annis ,

R ug a q u e i n antiq ua fr o nt e se nilis e r i t .

4 . B UL L E N : A r ec ognise d f orm o f tatt e r e d

tott er d

. sc or e s an d sc or e s
o f e xamp l e s o f it may b e f o und and I h a v e n o t h e sitat e d t o r e st o r e it t o t h e
,

t e xt .

7 e y e s P O R TE R : Th e e y e s h e r e as i n S 1 6 and o ft e n by t h e p oe t ar e

. .
. , , , ,

r egard e d a s t h e h o use o f t h e individua l spirit o f l i f e .

8 a ll e ati n g sha m e TY L E R : S ham e w h ich c o nsum e s t h e p e rs o n gui l ty o f

.
-
.

s o sham e ful c o nduct with his p o st e rity ,th rift l e s s D OWD E N : U n p r o t a b le . . .

s u m m y c oun t e t c E D ] my old e x c u s e D E L I U S : My
1 1 .
[Ci 4 1 2 , . .
, . . .

e xcus e wh e n I or that I a m o ld , [ S o R OL F E ] D O WD E N : Th e e xcus e o f my

, . .

o l d n e ss TY L E R : Th e acc o u nt will b e
. se ttl e d by h is s o n wh o se y o uthful ,

b e a uty will furn i sh an e xcuse for Mr W H s oldne ss or pe rhaps w i ll fur . . .

, , ,

n i sh t h e old and c ust o mary e xcuse by pr oving that h e has inh e rit e d t h e
b e auty o f h i s f a fh e r B E E C H I NG : S tand f or t h e wh o l e tr e asur e o f b e auty c o m
.
a

m i t t e d t o m e ( b e i ng i nd e e d my o w n ) a nd s o mak e e xcus e f or my a g e WYND , .

H AM : Old may b e a n o un f or as i n 6 8 1 2 : R obbi ng n o Old [ B ut this

e ld , , .

is n o _p a ra lle l f or i n 6 8 1 2 old m ea ns o ld obj e ct c o rr e lativ e ly with

, ,

,

I n that cas e exc u s e i s a participl e f o r

n ew f or n e w Obj e ct .

e xcus e d [Th e c o nstructi o n r e mains d o ubtful Th e N E D
. th o ugh list . . . .
,

i ng o ld with t h e m e aning old a g e giv e s n o C l e ar e xampl e l at e r t ha n

,

Middl e E ng lish ED ] . .

E xc e pti onal p o pularity i n t h e 1 7 th c e ntury se e ms t o b e indicat e d f or this

s o nn e t by t h e survival o f a numb e r o f MS c opi e s S o m e o f th e s e w e r e d e . .

scrib e d i n Th e Ath e nce u m J uly 2 6 Au g 2 and S e pt 6 1 9 1 3 ; pp 8 9 1 1 2 2 3 0

, , .
, .
, .
, , .

O n e is i n t h e B ritish Mus e um in S l o an e MS 1 7 9 2 f or a car e fu l acc o u nt of , .

,

which I am i nd e bt e d t o P r o f e sso r C harl e s W Wallac e D r Wallac e s c o n . . .

c lu s i o n s a r e that t h e MS is pr obably an e x e rci se b oo k o f a stud e nt at C hrist

.

C hurch with t ut o rial c o rr e cti o ns and dat e s fr o m t h e R e st o rati o n p e ri od

, , .

Th e t e xt o f S o nn e t 2 is as f o ll o ws

To on e Ma y d
th a t w ou ld di e a

Wh e n f orty wi nt e rs shall b e se ig e thy br o w

And tr e nch d e e p e f ur r ow e s i n that lo u e ly f e i ld
Th y y o uth fair e l in e ri e s oe acc o u nt e d n ow
S hal l b e e li k e l ik e r o tt e n w e e d e s o f n oe w o rth h e i ld
Th e n b e ing a s k t wh e r e all thy b e auty li e s

Wh e r e all t h e l ustr e o f thy y o uthful ! day e s

To say with i n th e s h o ll ow s u n c k e n e y e s
We re an a lle a t e n truth and w o r t h le s pl e asur e , .
22 TH E S ONNETS OF S HAK ES P EAR E [ 11

H ow b e tt e r w e r e thy b e auti e s u s e
I f th o u c o uldst say this p r i t t i e ch i ld e o f min e
S an e s my acc o unt and mak e s my o ld e xcu se
Mak i ng his b e auty by succ e ssi o n thin e
This we r e t o b e e n e w b orn e wh e n th o u art old
o
An d s ee thy b lo u d warm e wh e n th o u f e e ls t it c ol d, .

A sec o n d c opy with t h e sa m e titl e app e ars i n a c omm o nplac e b oo k lat e ly i n

, ,

t h e p o ss e ssi o n o f Mr B e rtram D ob e ll i n c o mpany with o th e r p o e ms dating

'

.
,

fr o m t h e rst ha l f of t h e 1 6 th c e ntury Th e t e xt f oll ows

.

To on e Ma y d
th a t wou ld dy e a

Wh e n f orty wint e rs shall b e si e g e thy br ow ,

An d tr e nch d e e p e f u rr o w e s i n that l ov e ly e ld
Th y y o uths fayr e liv e ry s o acc o u nt e d n ow , ,

S hall b e l i k e r o tt e n c loa t h s o f n o w o rth h e ld .

Th e n b e ing a s k t wh e r e all thy b e auty l i e s

Wh e r e all t h e l ustr e of thy y o u t h f u ll d a i e s :
To say withi n th e s e h oll ow su nk e n e y e s
,

We r e an all b e at e n Truth and w or t h le s s e p ra y s e

, .

0 h ow much b e tt e r w e r e thy b e auti e s u s e

I f th o u c o uldst say this pr e tty ch il d o f min e
,
.

S av e s my acc o u nt and mak e s n o o ld e xcus e

,

Making his b e auty by succ e ssi o n t hi n e !

This w e r e t o b e e n e w b o rn e wh e n th o u art old ,

And s e e thy bl ood warm e wh e n th o u f e els t it c o u ld .

A third c opy occurs i n a MS i n t h e L ibrary of S t J o h n s C o ll e g e C ambridg e

. .

( MS S. . t o g e th e r with e xtracts fr o m C ar e w R and o lph D av e nant and , , ,

o th e rs . I am ind e bt ed t o Mr G C Macaulay f or t h e foll owing transcript and

. . .

n ot e s :
wh e n f ort i e wi nt e rs shal l b e s e eg e t h e br ow e ,

An d d ig d e e p e tr e nch e s i n thy b e auti e s e l d ,

Th y y o uth e s p rou d e li u e ry s o ga z e d on n ow
wi l l b e a t a t t e rd we ed e of small w orth h e l d
, .

Th e n b ee i n g ask e d w h e r e a ll thy b e a u t i e l y e s ,

wh e r e all t h e tr e asur e of thy l usty day e s

t o say with i n t hin e ow n e d ee p e s o n k e n e y e s .

w e r e an a ll eating sham e a n d t h r i f t le s s e praise

h o w much m o r e prais e d e s e r u e s thy b e auti e s u s e .

I f th o u c o uldst say that this fair e ch il d o f mi ne

S ha ll s o m my c o u nt and mak e thy o uld e xcu se ,

p ro u i n g his b ea u t i e by succ e ssi o n th in e .

Th is w e r e t o b e n e w mad e wh e n th o u art old .

An d s ee thy b l ood warm e wh e n th o u f eels t it c old ,

.

W S hakspe re . .
 '

11 ] TH E S ONNETS OF S HAK E S P E AR E 2 3

( Th e w ord prais e i n b oth I 8 an d l 9 has t h e s e writt e n i n a

. .

c o nt e mp o rary hand ov e r so m e thing e l se wh ich I cann ot r ead Also

use i n l 9 is a c o rr e cti o n appar e ntly of mus e and o ld i n

.

,

l 1 3 pr obably o f
.

In still an oth e r MS b oo k f o rm e r l y i n t h e p os s e ssi o n o f Mr D ob e l l but n o w

.
, .
,

i n a privat e c o ll e cti o n t h e r e occurs a curi ous co mp osit e of t h e op e ning lin e s

,

o f t h e s o nn e t with t h e gr e at e r p o rti o n o f S o nn e t 1 and t w o l in e s fr o m S o nn e t

54 Th e f o ll owing t ra n s cript i s fr o m a ph ot ograph mad e by Mr D ob e ll :

. .

Cr uel

Th o u C o ntract e d thin e ow n e bright ey s

to

F ee d s t thy l ight am e wit h se lf e substantial f e we ll

Ma k e i n g a fami n e wh e r e a b ou n d a n ce li e s
Th y s e lf e thy f oe t o thy sw ee t se lf e t oo cru e ll .

Th o u that art now t h e w orlds fr e sh o rnam e nt

And o n e ly h e ra u ld t o y e Gaudy spring
Within thi n e ow n e B ud B ur i e s t thy C o nt e n d

And t e nd e r C h u rle make s wast i n niggarding

F itty y e w orld o r E ls this Gl utt o n b e e
To E a t y e w orlds d ue by y e w orld 8? th ee
Wh e n f o rty wint e rs shall b i s i e d g thy brow
An d D ig d e e p t r e n c h e S in thy b e a ut y es e ld
Th y y o uths P r o ud li u e ry s o g a z d on n ow
Wi l b e A t ott e rd wee d of smal l worth h el d
Th e C ank e r b loo m e s hau e ful as d e cpc a d y
As y e P erfum ed tincture of y e r o se s .

I n g e n e ra l it is obvi ous that n o ne o f th e se variant MSS has any i nd e pe n d e nt

.

t e xt ual valu e ; th ough t h e variants i n t h e rst quatrain sim i lar i n t h e t w o

,

v e rsi o ns rst qu ot e d hav e b ee n th o ught t o giv e i ndicati o ns of a di ff e r e nt e ar l y

,

v e rsi o n o f t h e so nn e t Mr D ob ell b e l i e v ed ( Ath Aug 2 1 9 1 3 p 1 1 2 ) that

. . .
, .
, , .

this MS v e r si o n is that o f S h s rst d raft of t h e so nne t

. .

.
2 4 TH E S ONNETS OF S HAK ES P EAR E [ 11 1

0 3

L O OKE i n gl a s s e a n d t e l l t h e fa c e t h ou v ew es t
th y ,

Now i s t h e t i m e t h a t fa c e s h o u l d fo r m e a n o t h e r ,

Wh os e f re s h r e pa i re i f n ow t h o u n o t r e n e w e s t ,

Th o u d oo s t b e g u i l e t h e w o r l d v n b le s s e s o m e m o t h e r

.
,

F o r w h e r e i s s h e s o fa i r e w h o s e v n e a r d w o m b e -

D i s d a i n es t h e t i l l a ge o f t h y h u s b a n d ry ?
Or w h o i s h e s o f o n d w i ll b e t h e t o m b e ,

Of h i s s e lfe l o u e t o s t o p p o s t e r i t y ?
Th o u a r t t h y m o t h e rs gl a s s e a n d s h e i n t h ee
C a l l s b a c k e t h e lo u e ly A p r i l ! o f h e r p r i m e ,

S O t h o u t h r o u g h w i n d ow e s o f t h i n e a g e s h a l t s e e ,

D i s p i g h t o f w r i n k l e s t h i s t h y go u l d e n t i m e .

B u t i f t h ou l i n e r em e m b red n o t to b e ,

D i e s i n gl e a n d t h i n e I m a g e d i e s w i t h t h ee .

3 . r e pai r e ] repa i n e 1 6 40 .

s e lf e l o u e ] H yph e n e d by L G E etc
2
8 .
, , ,
.

12 . g ould e n ] g ou lded 1 6 40 .

1 3 . li n e ] love C ; li s t B ut re m e m b r e d ] re me m ber
. 1 6 40 , G S E
, , .

4 . u n b le s s e . SC H M I D T:
mak e happy Ne gl e ct to .

5 n u e ar d
. MAL O N E : Unpl o ugh e d
-
. .

5
6 RE G I S : On e o f t h e i nstanc e s wh e r e S h
. with o ut kn owing it e ch oe s t h e .
, ,

old p oe ts C f S o ph ocl e s An ti g on e 56 9 :
. . Th e r e a r e oth e r e lds that may b e
, ,

pl o ugh e d C f also f E s c h y lu s S epte m 7 54 Wh o so w e d i n t h e e ld o f t h e

. .

, , ,

w o mb e t c and S o ph ocl e s ( E di pu s Ty ra n n u s 2 6 0 1 2 1 1 1 2 57 1 4 8 5
,

, , , , , ,

6 S E E VE N : Cf M f or M I iv 4 3 44 :
T . S . . .
, , ,

pl e nt e o us wo mb
Her
E x p re s s e t h his full tilth and husbandry .

7 . f on d . SC H M I DT : F oo l ish D E L I U S : Bl i ndly i n l ov e with himse l f

. .

7
8 . MAL O N E : C f R 89 J
. .

.
, I, i , 22 5
2 6
[ s e e und e r 1 , and V S A .

.
, 7 57

What is thy b od y but a swall o wing grave ,

Se e ming t o bu ry that po st e r i ty
Which by t h e rights o f ti me th o u n e eds must have ,

If th o u d e str oy th e m n ot i n dark obscurity ?

8 . s e lf e l ove . TYL E R : E quival e nt appar e ntly to se lf s atisfacti o n
-
.
Iv ] TH E S ONNE TS OF S HAK ES P E AR E 25

9 . MAL ONE : C f L u crece

.
, 1 75 8
59

P oo r br o ken glass I o ft e n did b e h ol d ,

In thy sw ee t se mblanc e my old a g e n ew b orn .

m oth r D OWD E N : We r e t h e fath e r o f S h s fr i e nd l iving it w o u l d have bee n

e s . .

natural t o m e nt i o n him ; 1 3 1 4 y o u had a fath e r c o nrms ou r impr e ss i o n

,

that h e was d e ad B E E C H I NG : This wo rd a ff ords us n o gr o und f or t h e suppo si

.

ti o n that W H s fath e r was d e ad Th e fact may simp l y have b ee n that h e

. .

.

r e se mb l e d his m oth e r P O RTE R : S ur e l y n othing o f t h e so rt e i th e r h e r e or i n

.

S 1 3 sh o uld b o th e r any o n e s h e ad H e r e t h e mat e wh o m t h e fri e nd sh o uld

. .

take in u e nc e s t h e m oth e r image ry Th e r e t h e h e irship o f h i s fath er s h o use .

i nu e nc e s t h e f a t h e r image ry
'

1 0 TY L E R : As P r o f e s s o r Mint o has w e ll p o int e d o u t

9 .
[th e se l i n e s ] a re ,

e ntir e ly su i t e d t o t h e C o unt e ss o f P e mbr o k e VON MAU NTZ : Cf S i dn e y . .

,

Ar ca di a Bk 3 : , What l e ss o n is that unt o y ou but that i n t h e apri l of yo ur

.
,

a g e y o u sh o uld b e l i k e April ?
, [ 1 590 cd f .
, .

11 MAL O N E : C f L O 1 3 1 4
. . . .
,

S pit e h eav e n s f e ll rage

of

So me b e auty thr ough lattic e o f se ar d

pe e p d
'

age .

13 . TYL E R : If y o ur i nt e nt i o n is t o b e forg ott e n B E E C H I NG : . I f y ou e xist only

f or t h e sake of be ing forgott e n .

VNTH RI F TY lou e li n e s s e w h y d os t t h o u s p e n d ,

Vp o n t h y se lf e l e g a cy
th y b ea u t i e s ?

Na t u re s b e q ue s t g i ue s n o t h i n g b u t d o t h l e n d ,

An d b e i n g f ra n c k s h e l e n d s t o t h o s e a r e f r e e :
Th e n b ea u t i o us n i g a r d Wh y d oo s t t h o u a b u s e ,

Th e b o u n t i o u s l a r g e s s e g i u e n t h e e t o gi ue ?
P r o t le s v s e r e r w h y d oo s t t h o u v s e
S O g r e a t a s um m e o f s u m m e s y e t ca n s t n o t li u e ?

F o r h a u i n g t ra k e w i t h t h y s e l fe a l o n e ,

Th o u O f t h y s e l fe t h y s w e e t s e lf e d os t d e c e a u e ,

Th e n h ow w h e n n a t ure ca ll s t h ee t o b e g o n e ,

W t c ep t b e
h a a c a l A u d i t ca n s t t h o u le a u e ?

Th y v n u s d b ea u t y m us t b e t om b d w i t h t h ee

Wh i ch v s e d li ue s t h e xe c u tor t o b e
.

e xe cutor ] th y execu tor C M A B B ut ; th e executor D e l Kl y N

th , , , , , . R 2
, .
2 6 TH E S ONNETS OF S HAK ES P EAR E [Iv
[ I S AAC cal l s att e nti o n to r e s e mb l anc e s b e twee n this so nn e t an d passage s in
Marl owe s
H e ro 69 L ea n der (2 3436

, 2
55 56 , 3 1 7 , 3 2 8 )

is a b us d Tr e asure '

Wh e n mis e rs ke e p it ; b e ing put t o l oan ,

I n tim e it wi ll r e turn us t w o f o r o n e
O n e is n o numb e r ; maids a re n o th i ng th e n , ,

With out t h e sw ee t soci e ty o f m e n

Aband o n fruit l e ss c o ld virg i n i ty ,

B e auty al o n e is l o st t oo warily ke pt , .

Hec o nclud e s : ] That Mar l ow e is h e r e c o pying fr o m S h rath e r than t h e r e v e rse .

, ,

may b e inf e rr e d fr o m t h e circu mstanc e that h e al s o draws up o n V fs A .

.

( J a h rb .
, 19:

1 4 . LE E : C f Guarini , P a s tor F i d o ( I ,
. i) ; F anshaw e trans l at e s
Wh y did frank up o n th e e b e st ow Natur e
Bl o sso ms of b e auty i n thy prim e s o swe e t ,

An d fair f or th ee t o trampl e u nd e r fee t ?

,

3 . D OWD E N : Cf . M f or M I i. .
, , , 37 4 1

n e ve r l e nds Nature
Th e small e st scrupl e o f h e r e xc e ll e nc e
B ut like a thr i fty go dd e ss s h e d e t e rmi ne s
, ,

H e rs e lf t h e gl o ry o f a cre dit o r ,

B oth thanks and use .

S TEE VE NS : C f . Mi l t o n , Camus , 6 7 9 - 84

Wh y sh ou l d cru e l t o y o urs e lf
y ou b e so ,

An d t o th o se dainty l i mbs which Natur e l e nt

F or g e nt l e usage and s o ft d e l icacy ?
B ut y o u inv e rt t h e c ove nants o f h e r trust ,

An d h a f s h ly d e a l l i k e an ill b o rr o w e r

, ,

With that which y ou r ece i v d o n o th e r t e rms

.

VE RI TY : C f L ucr e tius :
. mancipi o nulli d a t ur Vi t a q ue .

4 f ra n ck S C H M I D T: L ib e ral [ F ree as o ft e n is syn o nym o us ; s e e N E D

. . .
, , . . .

on frank and fr ee e t c E D I th os e ar e f r e e [ F o r t h e o missi o n o f t h e
, . . .

r e lative s ee ABB OTT Gr

, ,
I n many cas e s t h e ant e c e d e nt i mm e diat e ly
.
,

pr e c ed e s t h e v e rb t o wh i ch t h e r e lativ e w o uld b e t h e subj e ct .

5 6
-
.S A RR AZ I N : [ C f D an i e l D eli a S 3
.
7 : H e r e s e e t h e gifts that God and
, , .
,

Nature l e nt th ee ( S h s L eh rj a h re p

. . .
,

7 P ro tle s u s e r e r
. TYL E R : To b e ge t p ost e rity w o uld b e t o put o u t t o
.

i nt e r e st Natur e s g i ft o r trust Using this f or h ims e lf al o n e Mr W H is a

.
, . . .

p ro t le s s usur e r Us e i mpli e s an a ll usi o n t o t h e m ea ning put t o usury or

.

int e re st ED ]
. .
V] TH E S ONNETS OF S HA KE S P E AR E
'

2 7
8 MC CL U MP H A : C f R 69 J I I vi 34 : I ca nn ot sum up sum of half my
. . .

.
, , ,

wealth ( J a h rb 40 : .

.
,

12 ac ce pta b l e [ Not us e d e l se wh e r e by S h b ut th e r e a re fam i liar anal o gi e s

. .

f o r t h e acc e nt as com me n da ble i n T is swe e t and c o mm e n d abl e i n y o ur

'
,

natur e H aml e t ,
ED ] . .

[On styl e of this so nn e t as marke d by r e pe titi o n o f wo rds s e e S ARR AZ I N

th e , ,

i n J a h rb 32 : 1 50 54 H e i nstanc e s sim i lar e xampl e s in So nn e ts 6 8 1 3

.
, .
, , ,

4 0 4
, 3 44 1 2 8
, 1 2 9 1 3 6 1
, 3 8 1 42 and,o bse rv e s that t,h e mann e r is c o nn e d t o
, , ,

t h e O p e n i ng procr e ati o n gr o up and t h e l ov e so nne ts furth e r that it i s ,

paral l e l ed e sp ecia l ly i n V 69 A L u crece T G V R 83 J and R .

.
, , . . .
, .
'
.
, .

TH OSE h ow e rs t h a t f ra m e w i th ge n t l e w o rk e d i d ,

Th e lou e ly ga z e w h e r e e u e ry e y e d o t h d w e ll
Wi ll p l a y t h e t i ra n t s t o t h e ve ry s a m e ,

An d t h a t v n fa i r e w h i c h f a i r e ly d o t h exc e l l
F o r n e u e r r e s t i n g t i m e l ea d s S u mm e r o n ,

To h i d i o u s w i n t e r a n d c o n fo u n d s h i m t h e r e ,

S a p c h e c k t w i t h f ro s t a n d lu s t i e lea u s q u i t e g on

.

B ea u t y o r e s n ow d a n d b a r e n e s e u e ry w h e r e

-
,

Th e n w e re n o t s umm e rs d i s t i ll a t i o n l e f t
A l i q u i d p ri s o n e r p e n t i n w all s o f gl a s s e ,

B ea u t i e s e ff e c t w i t h b ea u t y w e re b e re f t ,

Nor i t n o r n oe re m e m b ra n c e w h a t i t w a s .

B u t ow e r s d i s t i l d t h o u gh t h e y w i t h w i n t e r m e e t e

Le e s e b u t t h e i r s h ow t h e i r s ub s ta n c e s t i l l li u e s s w ee t , .

7 . Sap c h e ck t] H yph e n e d by S t ee ( Q r e print ) . le au s ] lea ves

G , et c .

8 . b ar e n e s ] ba ren nes s G ; ba r ren n es s G 2

, 5 2
, E .

14 . Le e s e ] L os e G , S , E , B .

1 . MAL O N E : H o urs is al m o st always use d by S h as a dissyllabl e

h ow e r s . . .

2 gaz e S C H M I D T: Obj ect e ag er l y l oo k e d o n [ Cf Ma cb V viii 2 4 : Th e

. . . . .
, , ,

sh ow and ga z e o t h e

4 u n
. f a i r e A BB OTT : I t may b e
. said that any n o un o r adj e ctiv e c o uld b e c o n
ve rt e d int o a v e rb by t h e E li z abe than auth ors g e ne rally in an activ e s i g n i ,

cati o n . D OWD E N : C f 1 2 7 6 : F airing t h e fou l [An d cf A 69 C

.
, . . .

.
,

II v 64 : I ll unhair thy h e ad ED ]

. .
, ,

6 conf oun d s S C H M I D T: D e str oys

. . .
2 8 TH E S ONNE TS OF S HA K E S P EAR E [ v
7 .
[ Th e rst o f a numb er of b eautifu l e xampl e s in t h e S o nn e ts of what may
be call e d sp o ndaic l i n e s ; not e t h e sp e cia l e ff e ct of balanc e d cad e nc e s li k e sap
c h ec k d and qu i te g o n e c o mparing 2 7 1 2 ; 30 4 ; e t c

E D ] g on P O R TE R :
, , ,
'
. . .

Th e p o e tic e ff e ct o f t h e [ pe ri o d ] aft e r g on e is l ov e ly and t o b e pr e f e rr e d [ I t wil l , .

b e und e rst ood w i th o ut full r e f e r e nc e t o all n o t e s o f th i s charact e r in t h e F irst

,

F o li o E dit i o n that Mi ss P o rt e r is abl e t o nd a subt l e b e auty in m ost o f t h e

,

n e gl i g e nc e s o f t h e quart o print e r ED ] . .

8 b a r e n e s e ve ry w h e r e MAL ON E : C f 9 7 4
. . .
, .

9 1 4 MAL O N E : This is a th o ught with which S h se e ms t o hav e b ee n much

-
. .

pl ease d We nd it again i n S 54 and i n M N D I i 7 6 7 8

. .
, . . .
, , ,

B ut e arthli e r happy is t h e r o se d i s t i ll d

Than that wh i ch with e ri ng o n t h e virgi n th o rn

G r o ws l i ve s and d i e s i n s i ngl e bl e sse dn e ss
, , .

MAS S E Y : C f S idne y Ar ca di a B k iii : H ave y o u e ve r see n a pure r o se wat e r

.
, , .
-

ke pt in a crystal glass ? H ow n e it l oo ks ! h ow swe et it sm e lls wh i l e t h a t b e a ut i '

ful glass impris o ns i t ! Bre ak t h e priso n and le t t h e wat e r tak e his ow n c o urse , ,

d oth it n ot e mbrac e dust and l o se all his f orm e r swee t ne ss and fairn e ss ? Truly
,

s o a r e w e i f w e hav e n o t t h e stay rath e r than t h e r e stra i nt o f crystall i n e mar

,

1 59 0 f B E E C H I NG : Th e e xpr e ss i o n h e re se e ms c e rtainly t o
, .

b e S i d n e y s th o ugh t h e argum e nt i n t h e Arca d i a l s e ntire ly d i ff e r e nt L E E :

Th e id e nt i cal i llustrat io n fro m t h e ro se gure s in E rasmus s c oll oquy

P r oc i ,

e t P u e lla e

WAL S H : This is a simil e fre qu e ntly use d by L i lly : Ro se s that
.

l o se th e ir c o l o urs k e e p th e ir savo urs ; pl ucke d fr o m t h e stalk a r e put t o t h e

, ,

still ( S a ph o 89 P h a o I I i )
.

, , .

1 1 B e auti e s e ff e ct R OL F E : Th e p e rfum e which p erpe tuat e s t h e m e m o ry of

. .

t h e b e auty .

1 4 Le e s e
.
[Th e o nly appe aranc e in S h of this familiar variant of l os e
. . .

S e e t h e N E D f or t h e num e r o us e ar l i e r variant f o rms

. . . ED ] . .

[ F o r a mystica l i nt e rpre tati o n of th e image of disti l lati o n with a ll e ge d ,

paral l e ls i n writings such as th ose of P h i lip of Mo rnay s ee t h e ecc e ntric artic l e

,

i n B la ckwood 1 37 : 774 e special l y p , ,

.
78 1 f .
]
 TH E S ONNETS OF S HAKES P EAR E

THE N le t n ot w i n t e rs w ra g g e d h a n d d e fa c e ,

I n t h ee t h y mm e r e re t h o u b e d i s t i l d
su

M a ke s w e e t s om e v i a l l ; t r ea s ure t h ou s om e p la ce ,

Wi t h b ea u t i t s t rea s u re e re i t b e s e lfe ki l d

Th a t v s e i s n o t fo rb i d d e n v s e ry ,

Wh i ch h a pp i e s t h os e t h a t p a y t h e w i ll i n g l on e ;
Th a t s f or t h y s e lfe t o b r ee d a n o t h e r t h e e

Or t e n t i m e s h a pp i e r b e i t t e n f o r on e ,

Te n t i m e s t h y s e lf e w e r e h a pp i e r t h e n t h o u a r t ,

I f t e n o f t h i n e t e n t i m es r e g u r d t h e e

Th e n w h a t c o u l d d ea t h d o e i f t h ou s h o u l d s t d e pa r t

L ea n i n g t h e e li u i n g i n p o s te r i t y ?
B e n o t s e lf e w i l d f or t h o u a r t m u ch t o o fa i r e
-
,

To b e d ea t h s c o n q ue s t a n d m a k e w o rm e s t h i n e h e i r e .

1 . wr a g g e d ] ra gg ed G , et c .
; r ugg ed C .

4 . b e a uti ts ] bea u ti es 1 6 40 , L , C ; bea u ty 1

s G 2
, etc . se lf e k i l d ] '
H yph e n e d
by G , et c .

wi l d ] wi ll d G , ( xc e pt B ut ) ; f c o nj B ut

ki ll d D el

13 . s e lf e -
s el f -
et c . e s el -
.
, .

I . wr a gg e d . SC H MI D T: R o ugh .

5
6 . MAS S E Y : marriage an d p r ocr e ati on ]
C f S idn e y Arca d i a
.
,
This
as it bi nd e th t h e r ec eive r s o it make s h appy t h e b e st owe r This d oth n ot ,
.

i mpo ve rish but e nr i ch th e give r

[ ed 1 590 f 2 6 1 b ] ( p
,
D OWD E N : . .
, . . .

C f V 83 A '
6 6 8
. . .
, 7 7

F oul cank r i ng rust t h e hidd e n tr e asur e fr e ts

-
,

B ut go l d that s put t o u s e m or e g old be ge ts

.

And M 7 . I, iii usury ]

, 0
9 7 [ S hyl ock s r e marks

on .

u e M AL O N E : U sanc e D OW D E N : I nt e r e st [ C f 1 34 1 0
5 . s . . .
. .
, .

6 h appi e s Se e n ot e o n
. unfair 5 4 . , , .

8 on e [ P E R C Y S I M P S O N i nstanc e s t h e c o mma h e r e as an e xampl e o f its

. .

g e n e ral us e i n E l i z ab e than pri nting wh e r e t h e c o nnecti o n of th ought is e m p h a

, ,

si z e d by para ll e l c l au se s or ech oe d w ords C f S

9 4 5 ( S h P u n ctu a ti on . . .
, . .
,

pp 1 8
.

14 MC C L UMPH A: C f R a J IV v 38 : Dea th i s my s on i n l aw D e ath

. . . .
, , ,
- -
,

is my h eir ( J a h rb 40 : . .
,
30 TH E S ONNETS OF S HAK ES P E AR E IVI I

L OE i n t h e Or i e n t w h e n t h e g ra c i ous l i gh t ,

L i f t s V p h i s b u rn i n g h ea d e a ch v n d e r e y e ,

D o t h h om a g e t o h i s n ew a p p ea r i n g s i gh t ,

S e r u i n g w i t h look e s h i s s a c r e d m a i e s t y ,

An d h a u i n g c li m b d t h e h e a u e n ly hill

s teepe Vp ,

R es e m b l i n g g yo u t h i n h i s m i d d l e a g e
s t ro n ,

Ye t m or ta ll look e s a d ore h i s b ea u t y s t i ll ,

A t t e n d i n g on h i s g ou ld e n pi lg r i m a g e
B u t w h e n f rom h i gh m o s t p i ch w i t h w e ry ca r -
,

L i ke f ee b l e a g e h e r e e le t h f rom t h e d a y ,

Th e e y e s ( fo re d u t i ous ) n ow c on ue r t e d a r e
From h i s low t ra c t a n d look e a n o t h e r w a y
S o t h o u t h y s e lfe o u t g oi n g i n t h y n oo n :
,
-

a ok d o n d i e s t v n le s s e t h ou g e t a s on n e

.

5 . s t e epe vp ] H yph e n e d by G , et c .
( xc e pt B ut ) ; s teep up h ea venly Nich ol s on
e -

c o nj B ut.
, .

7 . b ea uty s ti l l ]
, bea u ty , s ti ll Nich ol s o n c o nj .

9 . car ] ca re 1 6 40 , G , S , E ; ea r L .

1 0 1 2 . da y w ay ] wa y da y Godwi n c o nj .

1 1 . f or e] f ore G 5 e t c (e xc e pt D y
' 2
,
2
, .
,
R ) ; f ore duti ous S
-
.

12 . tr a ct] tra ck G 8
2 2
, .

13 . th ou th y s e lf e ] th ou th y s elf CO
,
2
, .

SIM P S ON : [ This s o nne t is] f o u n de d

c o nve rse of a pr ove rb Me n on th e .

u s e t o w orsh i p t h e rising sun

On t h e oth e r hand says S h m e n turn th e ir .
, .
,

backs o n t h e se tting su n and t h e o n l y way t o r e tain th e ir h omage is t o r ec e ive

,

it i n t h e p e rs on of a s on an d succe ss or ( p . .

1-4 . WAL S H : Cf L L L . . . I V, iii , 2 2 2 2 5

a ru de and savage man of I nd e

L ike
At t h e rst o p e ning of t h e go rgeo us e ast ,

B ows n ot his vassa l h e a d and strucke n b l i nd

K isse s t h e base gro und with ob ed i e nt br e ast .

5 . B E E CH I NG : S o i n a S hake sp e ar e an so nne t i n Th e P P : He r
s t e e pe up . . .

stand s h e take s up o n a st ee p up hi ll (No ix ; 1 S t ee p d own occurs -

. .
-

i n 0 th V ii 2 80 P OR TE R : [Th e t wo words sh ou ld n ot b e hyph e nat e d ] B oth

, , , .
VII ] TH E S ONNE TS OF S HAK ES P EAR E 31

e qua l ly qua l ify h i ll Th e r e as o n f or b oth words is obvi o us e n ough wh e n it

.

i s re ali z e d that e arthly hi ll s d o n ot curv e up as t h e c o ncave s e mi arc of sky d oe s -

wh i ch t h e sun i s h e re imagine d as climbing S h s adj e ctive s give us t h e .

image of t h e st e e p and u p r o unding h e ave nly hil l as e xpr e ss e d by o n e w h o h e ld

-
,

t o t h e P t ol e maic c o nc e pti o n o f t h e c e l e stial sph e r e s [ Th i s e xplanati o n of t h e .

image se e ms t o m e t o b e so und ; n ot s o t h e i nfe r e nc e as t o pu nctuati o n ED ] . .

5
6 M A L O
. N E : P e rhaps o u r auth o r had t h e sacr e d wr i tings i n his th o ughts
I n th e m hath h e s e t a tab ernac l e f or t h e sun which c o m e th f orth as a brid e ,

gr oo m out of his chamb e r and r e j oic e th as a giant t o run his c ourse [ P s 1 9
, . .

4 5-1
7
8 . MAL O N E : C f R 69 J
. .

.
, I, i , 1 2 52 6

Madam a n h o ur b e for e t h e w ors h i pp d su n

,

P ee r d f orth t h e g o l d e n wi nd o w o f t h e e ast

.

9 hi gh m os t p i ch P O R TE R : I t is n ot t h e suns e t or t h e v e rging t o wards

-
. .

t h e h ori z o n that is h e re imagin e d as ingl ori o us but th i s slack m o m e nt ,

wh e n at n oon ou t g oi n g fr o m t h e z e nith of attainm e nt and t h e day by him

, ,
-

cre at e d h e r e e ls away w e ry R OL F E : C f R 3 V iii 1 9 : Th e we ary su n

, . . . .
, , ,

hath mad e a go ld e n s e t .

10 D OWD E N : Cf R 69 J I I iii 3
. . .

.
, , ,

And e c k ed darkne ss l ike a d run kar d r ee l s

F r o m f orth day s path

.

11 . f or e d u ti ou s .
[ P E RC Y S I M P S O N : F or
brac ke ts e mp l o yed with a d th e ,

j ec t i v e s or adj ective phrase s f ol l owing a n oun cf 30 5 and 8 0 5 and 7 ( S h , .

, , . .

P u n ctu a ti on pp 9 1 , .

1 1 1 2 H E N R Y B R OWN : Cf T of A I 1 1 1 50 :
. Me n shut th e ir d oors . .
, ,

a gainst a s e tting su n

.

13 B E E CH I NG : Outg oing thyse l f i n thy noo n passing b e yo nd thy m e ridian

.
- - -
,

b e auty R OL F E : Not r e f e rring t o d e ath

. but t o t h e d e clin e of l if e as w e

,

say [ PE R CY S I M P S ON n ot e s t h e c ol o n at t h e e n d of this line und e r its r e gular

.

u s e f or m a r k i n g e mphatic paus e s ; h e admits h o w e ve r that h e r e t h e se nse

'
, ,

hard l y s ee ms t o j ustify s o str o ng a pause ( pp 6 7 .

1 4 g et .
[ Noting t h e r e gular u s e of this w ord as id e ntica l with b e ge t t h e
.
,

N E D is i n d o ubt wh e th e r it is a sh o rt e ning of t h e nati ve c o mp o und ve rb

. . .

or an ass imi l ati o n of t h e a d opt e d S can di n avian simp l e v e rb t o t h e f orm of t h e

32 TH E S ONNETS OF S HAKES P EA R E [ I
V I I

MVS I C K t o h ea re w h y h ea r s t t h ou m us i c k s a d ly ,

S w e e t s w i t h s w ee t s w a rr e n ot i oy d e li gh t s i n i oy ,

Wh y l ou s t t h o u t h a t w h i ch t h ou rec ea u s t n o t gl a d ly

Or e l s e r e c ea u s t w i t h p lea s u re t h i n e a n n oy ?

I f t h e t r u e c o n c or d o f w e l l t u n e d s ou n d s ,

B y v n i o n s m a r r i e d d o o ff e n d t h i n e ea re ,

Th e y d o b u t s w e e t ly ch i d e t h e e w h o c o n fo u n d s ,

I n s i n g le n e s s e t h e p a r t s t h a t t h o u s h o u l d s t b e a r e

M a r k e h ow o n e s t ri n g s w e e t h us b a n d t o a n o th e r ,

S t r i k e s ea ch i n ea ch b y m u t ua ll o r d e r i n g ;
R e s e m b l i n g s i e r a n d C h i l d a n d h a pp y m o t h e r , , ,

Wh o a ll i n o n e on e p l ea s i n g n o t e d o s i n g ,

Wh os e s p e e ch le s s e s on g b e i n g m a n y s e em i n g on e , ,

S i n g s t h i s t o t h ee t h o u s i n gl e w i l t p ro ue n on e .

1 . M c o nj ; h ea r ? B ut
h e ar e ] , ea r , s a d l y ] s a dly ? G e t c. .
, , .

8 b ear e ] s h a re S t a c o nj
. .

9 s tri n g ] s tra i n Godwi n c o nj

. .

1 4 th ou . n on e ] Qu t e d by
o M A Kt B e l Hu D y S t a Cl
D l
, , , , , , , , , Gl ,
K ly ,

t Ca m D o,
R Ty O Wy B ut
,
X ,
H e r N B ull V a ; ita li cs by C 0
,
V
,
3
, , , , , , , Hu 2
, Be .

[With t h e ge n e ra l c o nc e it of this s o nn e t I S AAC c ompar e s Marl owe s H ero 8?

Lea n de r , 2 2 930 :

L ik e g old e n strings al l w om e n a re
u n t un

d ,

Which l o ng tim e li e u n t ouc h d wil l harsh l y jar

, .

( See his r e mar k on S . TYL E R : Cf D . ai ph a n tu s , by A . Sc .

( 1 60 4 )
Music is o nly swee t
Wh e n with out disc ord A c onsort make s a h eave n . .

Th e e a r is ravish e d wh e n t ru e v oic e s m ee t .

Odds but i n music n e ve r mak es things e ve n

, , ,

I n voic e s di ff e r e nc e br ee ds a p l e asant ditty .

Th e wr it e r of D ai ph a n tu s may have se e n S 8 . i n MS .
, or th e re se mb l anc e
be acci d e nta l .

Mus i ck to h ear e MAL O N E : I have som e tim e s th ought S h might have

1 . . .

writt e n Music t o ea r i e th ou wh ose e ve ry acce nt is music t o t h e e a r C f

,
"
, . .
, . .

Neve r w or d s wer e m usic t o t h i ne ea r D OWD E N : Cf

"
C of E I I i i 1 1 6 :
.
, , . .
V1 1 1 ] TH E S ONNE TS OF S HA K E S P E A R E 33

M V V i 6 9 : I am n e ve r m e rry wh e n I h e ar swee t music TYL E R : Thi s

. .
, , , .

may p ossib l y m e an that Mr W H had n o l iking f or music . B ut is it n ot

. . .

p ossib l e that t h e music h e ar d sadly was t h e virginal playing of S h s d ar k .

mistre ss Th e sadne ss may thus have b ee n cause d by t h e impre ssi o n

which h e r fascinating e nd owm e nts had alr e ady pr o duc e d o n Mr W H . . .

7 c
. on f ou n d s A BB O TT : T h e r e lativ e
.
( pe rhaps b e cause it d oe s n o t signify by
i n ecti o n any agr ee m e nt i n numb e r or pe rso n with its ant e c e d e nt ) fr e qu e nt l y
take s a singular ve rb th o ugh t h e ant e c e d e nt b e p l ura l and t h e ve rb is Oft e n
, ,

in t h e third pe rso n tho ugh t h e ant ec e d e nt b e in t h e se co nd or rst

, [Th e .

pr e se nt e xampl e ] may also b e e xp l ain e d by t h e no rth e rn i n ecti o n of s f or s t

[ s ee o n 1 9 (5 [ F or t h e m e aning s ee 5
, , ,

9 s tri n g GOD WI N [ r e ads

. . strain b ecause ] t h e music is supp osed t o b e
vocal ( p . .

1 2 S I M P S O N : F o un d e d on an ac o ustic ph e n o m e n o n If t w o strings
9 . .
,

s o und any t w o n ot e s of t h e p e rf ect triad i n c o mpl e t e acc ord t h e third n ot e wil l ,

b e sp o ntan e o usly pr o duc e d in t h e air by a c o mpl e m e ntary vibrati o n ( p . .

[ I n this e xplanati o n S imps o n had b ee n ant i cipat e d by K n i ght i n t h e P i ctor i a l ,

E D ] MAS S E Y : C f S idn e y Arca di a :

'

Sh . . C a n o n e string make as g oo d
.
,

music as a c o nsort ? [ 1 590 e d f 2 6 2 b ] ( p .

, . . .

14 D OWD E N : P e rhaps an allusi o n t o t h e pr ove rbia l e xpre ssi o n that one is n o

.

numb e r C f 1 36 8 TY L E R : Th o u canst give f orth n o harm o ny and must

. .
, .
,

e v e ntually c e as e alt o g e th e r .

I n a MS misc e l l any i n t h e British Muse um (Ad d MS S

. mad e up of . .

vari o us 1 7 th c e ntury pi e c e s and pr obably dating ( acc ording t o D r C W , . . .

Wallac e ) fro m t h e p e ri od of t h e Co mm o nwe a l th occurs t h e foll owing ve rsi o n

o f this s o nn e t :

I n la udem Mu s i ce et opprobri um
Con te mptorij ei u s d em .

Mus i c k e t o h e are why h e ar e st th o u m u s i c k e sad l y

S wee ts w t h s w ee t e s warr e n ot J oy d e l i hts i n J oy
g ,

Wh y lo ue s t y u that w eb th ou rec e a ues t n ot g l ad l y

o r e ls rec ea u e s t wt h p l e asur e thi ne a nn o y

J f t h e tru e C o nc ord of we l l tim e d S o un ds

B y Vn i o n s ma ri ed d oe off e nd thy ea r e
Th e y d oe b ut s w e e t li e chid e th e e w h oe c o nfo un d s ,

J n s i n g le n e s a part e w h th ou sh o u l dst b ea r e
,
c

Marke h owe on e stringe swee t husban d t o anoth e r ,

S tri kes each on each by m ut ua ll ord er i ng e ,

34 TH E S ONNETS OF S HAK ES P E AR E [ IX

and happy Moth e r

R e s e m b li n g e C hild e , 69 S y e r ,

w h all i n o n e this singl e n ot e d oth e sing e

e

wh o s e s p eec h le s s o nge b ee i n g e many se e ming o n e

S ings this t o th ee Th o u singl e shalt p u e n o n e
, ,

W: S h a k s p e a re .

I S i t for f ea re to we t a w i dd ow e s ey e ,

Th a t t h o u c on s um s t th y lf e in s ing e l l i fe ?

se

Ah ; ha l t h a p to d i e
i f t h o u i s s ule s s e s ,

Th e w o r l d w i l l w a i le t h e e l i k e a m a k e le s s e w i fe ,

Th e w o r l d w i lb e t h y w i dd ow a n d s t i ll w e e p e ,

Th a t t h ou n o f orm e o f t h e e h a s t l e f t b e h i n d ,

Wh e n e u e ry p r i ua t w i dd ow w e l l m a y k e e p e ,

B y ch i l d r e n s e y e s h e r h u s b a n d s s h a p e i n m i n d e
,

L o ok e w h a t a n v n t h r i f t i n t h e w o r l d d o t h s p e n d
S h i f t s b u t h i s p la c e f o r s t i ll t h e w o r l d i n i oy e s i t
,

B u t b ea u t i e s w a s t e h a t h i n t h e w or l d a n e n d ,

An d k e p t vn vs de th e vs er s o d es t roy e s i t
No l o u e t ow a r d o t h e rs i n t h a t b o s om e s i ts

Th a t on h i m s e lf e su ch m u r d ro u s s h a m e comm i ts .

1 . Is it] I t i s 1 6 40 .

3 . sh alt] s h a ll Wa . to] do E .

5 Th. e wi dd ow] Qu ot ed by E .

]

12 . vs e r u s r er S, E .

13 . tow ar d ] tow a rd s G S E , , .

14 . mur dr ou s ] m u rth erou s Wh , R .

3 Ah. R C Y S I M P S O N not e s that t h e se mi c l n is oft e n use d with

.
[ PE -
o o e xc la o

mati o ns and ad d r e sse s ( S h P u n tua ti on pp 6 0 . . c , .

4 m ak
. e le s s e S C H M I D T : Mak e l e ss wid o w e d
.
, .

8 . s S e e Tyl e r s not e o n 1 5
ey e .

, .

9 . un thr if t S C H M I D T: P r o diga l
. Cf 1 3 1 3 . .
, .

10 . h i s 0 11 t h e n e ut e r p oss e ssive s e e ABB OTT

.
, , 22 8, an d F R ANZ , 1 89 .

12 . MC CL U P H A : C f R 69 J I I I iii 1 2 3 2 4
M .
.

.
, , ,

Which l i ke a usure r
, , a b oun d s t

i n all ,

An d u s e st n o ne i n that tru e use ind e e d .

( J a h rb .
, 40 :

14 . h am e
m ur dr ou s s . SC H M I DT [ An e xampl e Of t h e i nv e rsi o n
: or c o nfusi o n
of ad j ective and n oun : ] sham e fu l mur d e r (2 : .
X] TH E S ONNETS OF S HAK ES P E AR E 35

[ F ro m t h e acc e pt e d Vi e w that this s o nn e t r e f e rs to th e p ossibility of th e

fri e nd s making his wife a wid ow thr ough his d e ath I S AAC d i s s e n t s z] Of al l

gr o u nds which c o u l d b e urge d agai nst marriage t his put int o t h e m o uth of a , ,

youth is t h e m o st origi nal I t see ms t o m e m or e nat ural that wi dow r e fe rs t o

, .

t h e m oth e r of t h e fri e nd an d t hat t h e passag e is t o b e und e rst o od thus : D o st

,

th ou fe ar t o sadd e n thy m oth e r of wh ose wid owh oo d th ou art t h e c o ns olati o n

,

and fro m wh o m marriag e wo u l d s e parat e th ee ? [This is appl i e d t o t h e m oth e r of

E ssex b e twee n t h e d e ath of L e ic e st e r h e r sec o nd husband S e pt 1 588 an d h er
, , .
, ,

marriage t o B l ount J u l y , (J a h rb 1 9 : , .
,

F OR s h a m e d e n y t h a t t h o u b e a r s t lo ue t o a n y

Wh o f or t h y s e lfe a r t s o v n p rou i d e n t
G ra u n t i f t h ou w i lt t h ou a r t b e l ou d o f m a n y ,

B u t t h a t t h o u n on e l o u s t i s m os t e u i d e n t

F o r t h o u a r t s o p os s e s t w i t h m u r d r o u s h a t e ,

Th a t ga i n s t t h y s e lfe t h o u s t i c ks t n o t t o c on s p i re ,

S e e k i n g t h a t b ea u t i o us r oo fe t o r u i n a t e
Wh i ch t o re pa i re s h ou l d b e t h y c h i e f e d e s i re
O ch a n g e t h y t h ough t t h a t I m a y ch a n g e my m i n d e , ,

S h a ll h a t e b e f a i re r log d t h e n g e n t l e l o u e ?

B e a s t h y p re s e n c e i s g ra c i o u s a n d k i n d ,

Or t o t h y s e lfe a t l e a s t ki n d h a r t e d p ro u e ,

M a k e t h ee a n ot h e r s elfe f or l o ue of m e ,

Th a t b ea u t y s t i ll m a y li n e i n t h i n e o r t h e e .

1 . s ham e ] s h a me I S, E, M A Kt , , , Co , B , D e l, Hu , Dy , C l, Gl, Kl y Wh
, , Ha l ,

Ca m , D O, R , Ty , Ox H e r , N ;
, s h a me , S ta .

5 mu r dr ou s ] m u rth e rou s
. Wh , R .

1 . F orh am e WYND H AM : F or sham e s sake [Th e pu nctuati o n sham e !

s .

.

d e str oys t h e rhyth m [Th e t e xtua l n ot e s will sh ow that si nc e Wyndham t e

.
,

st o re d t h e quart o r e adi n g h e r e a numb e r of e dit ors have f oll ow e d hi m I t is

, .

pr obabl e that th e y have d o ne s o o n t h e gr ound that t h e l in e mak e s s e ns e with

o ut t h e p o int o f e xclamati o n rath e r than o n t h e rhyth mical gr o u nd m e nti o n e d
,

by Wyndham ; t h e l att e r argu m e nt is of a p e ri l o us s ort and can usua ll y b e mad e ,

t o w ork b oth ways ED ] . .

7 S TE E VE N S : C f C of E I I I 11 4 :
. . S ha ll l ov e in bui ld ing gr ow s o rui n
.
, , , ,

ate? (F o l i o r e ading ) and T G V V ,iv

7 11 : . . .
, , ,
 36 TH E S ONNETS OF S HA K ES P EAR E [x
O th ou that d ost inhabit i n my br east ,

Le ave not t h e mansi o n s o l o ng t e nant l e ss ,

L e st gr owing ruin o us t h e bui l ding fal l

, ,

And l e ave n o m e m o ry o f what it was !

Re pa i r m e with thy pr e se nc e S i l via ! ,

MAS S E Y : Cf S i d n e y Arca di a
.
,

0 H i s t or , s ee k within thyse lf to o urish ;

Th y h o use by th ee must l i v e . or e ls e b e g o n e ( pp . .
73

D OWD E N : S ee king t o bring rui n t o that h o u s e family ) which it o ught t o ,

b e y our chi e f car e t o r e pa i r Th e s e lin e s c o nrm t h e c o nj e ctur e that t h e fath e r

.

of S h s fri e nd was d e a d TY LE R : B ea uteou s r oof [ is ] t o b e u nd e rst oo d g e n e rally

. .

o f t h e b odily h o us e . B U TL E R : Not his fri e nd s family n or y e t his fam i ly man

si o n ; t h e e sh and bl oo d r o o f o f that particular t e n e m e nt within which h i s

fri e nd s mind was h o us e d [ Cf 1 3 9

.
(p . B E E C H I NG : D owd e n and
, .

He rf ord e xplain h o u s e i e family B ut this is imp ossibl e S h r e gards t h e

, . .
, . . .

pe rp e tuati o n of his fri e nd s b e auty i n an h e ir a s a pr e se rvi ng of it fr o m d ecay

'
.

Th e b e aut e o us r oo f is t h e p e rso n of h is fri e nd .

12. k i n d P OR TE R : Th e adj e ctiv e appli e s i n a sp e cia l s e ns e k i n d b e ing sug

.
,

g e s t i v e of ki n and chi l d
.

1 4 TY LE R C V A
f 69 '
. : . . 1 7 3 74 .
,

And s o i n spit e o f d e ath th o u d ost survive

, ,

I n that thy l i ke n ess sti ll 13 l e ft a l ive .

 x1 ] TH E S ONNE TS OF S HA KES P EAR E 37

As fa s t h s h a l t w an e s o fa s t t h o u g row s t
as t ou ,

I n o n e o f t h i n e f ro m t h a t w h i ch t h o u d e p a r t e s t
,

An d t h a t f re s h b lo ud w h i ch y o n g ly t h o u b e s t ow s t ,

Th o u m a i s t ca l l t h i n e w h e n t h o u f r o m y o u t h c on ue r t e s t , ,

H e re i n l i n e s w i s d om e b e a u t y a n d i n c r ea s e , , ,

Wi t h o u t t h i s fo ll i e a g e a n d c ou l d d e ca y , , ,

I f a ll w e re m i n d e d s o t h e t i m e s s h o u l d c ea s e , ,

An d t h r e e s c oor e y e a re w o u l d m a k e t h e w or l d a w a y
L e t t h o s e w h om n a t u re h a t h n o t m a d e f o r s t o re ,

H a r s h f e a t u r e le s s e a n d r u d e b a rr e n ly p e r r i s h
, , , ,

Loo k e w h o m s h e b e s t i n d o w d s h e ga u e t h e m o r e

Wh i ch b o u n t i o u s g u i f t t h ou s h o uld s t i n b ou n t y c h er ri s h ,

S h e ca r u d t h e e f o r h e r s c a le a n d m e n t t h e rb y
'

, ,

Th ou s h o u ld s t p r i n t m ore n o t le t t h a t c o p p y d i e ,
.

6 . th i s ] th i s , G 2
, etc . ( e xc e pt Kt ) .

8 .
y ear e ] y ea r s G , S , E , C , M, A, t , B , H u , Kly , Ty , B ut K
.

11 . Look e ] Th ou S harp c o nj th e ] th ee S , C , M, A, B , D

. e l, CO 2
, Sta ,
Hu z
, B ut , Be, Wa .

14 . n ot ] n or M A Kt B , , , , Hu l
, S ta , K ly , Ty Ox , .

1 2 . TY L E R : I n
his ch il d [ h e gr o ws ] t owards or in that y o uthful b e auty , ,

which h e is l e aving b e hi nd WYND H AM : I r e tain t h e c o m ma aft e r g row s t as in

.

Q and r e m ove t h e c o mma aft e r th i n e t o make cl e are r t h e o nly m e aning which

, ,

I can e xtract : S o fast th o u g row s t i n o n e of thy childr e n d e riving fr o m that

,

( t h e p e ri od o f y o uth ) which th o u d e p a rt e s t (le a v e s t b e hind ) ; R OL F E : I f y o u

have c h i l d re n as fast as y ou gr o w o ld y o u r e n e w i n y o ur Off spri ng t h e y o uth
,

y o u have l ost ; thus as it w e r e g rowi n g afr e sh f r om th a t ( y o uth ) w h i ch th ou

, ,

d epa rtes t fr o m Th e o missi o n of a pr e p ositi o n is c o mm o n i n a r e lat iv e clause i f

.

it occurs i n t h e ant e c e d e nt claus e P o ssib l y depa rtes t may b e transitiv e . .

D OWD E N : D epa rtes t lea v e s t [So S C H M I D T ] B E E C H I NG : Se p a ra t e s t off

. .

That which th o u d e p a rt e s t a slip of th e e , .

3 y on g ly WYND H AM : I n y o uth
. . .

4 con ve rt e s t [ F or t h e i ntransitiv e u s e cf Ma cb I V i ii 2 2 9 :
. . Le t gri e f , . .
, , ,

c o nve rt t o ange r F or t h e rhym e cf a rt : con vert i n S 1 4

. ED ] . . . .

7 th e ti m es D OWD E N : Th e g e n e rati o ns o f m e n
. . .

7
8 VON MAU NTZ : C f Ovid Amores I I xiv 9 1 0
. .
, , , ,
-

S i m os a nt i q u i s p la c u i s s e t m a t r i b u s id e m ,

Ge ns h o m i n u m vit i o d e pe r i t u ra fuit .
38 TH E S ONNETS OF S HAK ES P E AR E [x 1 1
9 . t s or e . S C H M I D T: I ncr e ase
f e rti l ity H E RF OR D : For s tore t o of m en , .

br e e d fr o m S t o re is pr op erly br e e di ng st ock [ Cf 1 4 1 2
. ED ] -
. .
, . .

11 th e m or e MAL ON E : [Th e Q r e ading is e vid e ntly a mispri nt ] Natur e

. . .
,

h owe ve r l ib e ra l s h e may have b ee n t o o th e rs has b ee n still m or e b o untifu l t o ,

y o u [Th e t e nd e ncy o f r e c e nt e dit o rs h o we ve r as t h e t e xtual n ot e s i ndicat e

.
, , ,

has b e e n to r e tai n t h e Q r e ading E D ] D OWD E N : To wh o m s h e gav e much . .

s h e gav e m o r e R OL F E : Cf Ma tt 1 3 : 1 2 :
. Wh o soeve r hath t o hi m shal l b e
. .
, ,

give n and h e shall hav e m or e abu ndantly [ B ut this i s much e asi e r t o u nd e r

,
.

stand than t h e stat e m e nt that m or e is give n t o on e w h o alr e ady has m os t .

H e nc e n o d o ubt t h e sugg e sti o n that f oll o ws

, , E D ] TY L E R : Th e m o r e . .

t h e m or e imp o rtant or gr e at e r gift t h e functi o n of r e pr od ucing th e ir k i nd ,

.

[ Cf . m or e i n 2 3 1 2 and 40

, ,

1 3 14 MAL ON E : C T N I v 59 6 1
. f 2 . . .
, , ,

L ady y o u a r e t h e c r u e ll s t s h e aliv e

, ,

If y o u will l e ad th e s e grac e s t o t h e grave

And l e av e t h e wor l d n o c opy .

HE N R Y B R OWN : Cf . Massinge r Th e , Fa ta l D ow ry

and rob
D ie,
Th e w or l d natur e s c opy t hat sh e wor ks

of ,

F o rms by .
(p .

WH E N I d oe c oun t t h e c loc k t h a t t e ls t h e t i m e ,

An d s ee th e b ra u e d a y s un ck i n h i d i o us ni gh t ,

Wh e n I b e h old t h e v i ol e t pa s t pme
r i ,

An d l c ur l s o r s i lue r d ore w i t h w h i te

sab e

Wh e n lof ty t rees I s e e b a rre n o f lea u e s ,

Wh i ch e r s t f r om h ea t d i d ca n Op i e t h e h e r d
An d S omm e rs g r e e n e a ll g i r d e d Vp i n s h ea u es
B o rn e o n t h e b ea r e w i t h w h i t e a n d b r i s t ly b ea rd
Th e n o f t h y b ea u t y d o I q u es t i on m a ke
Th a t t h o u a m on g t h e w a s t e s o f t i m e m us t g oe ,

S i n c e s w e e t s a n d b e a u t i e s d o t h e ms e lu e s f or s a k e -
,

An d d i e a s fa s t a s t h e y s ee o t h e rs g r ow ,

An d n o t h i n g g a i n s t Ti m e s s i e t h ca n m a ke d e f e n ce
S a u e b r e e d t o b ra u e h i m w h e n h e t a k e s t h e e h e n c e , .

4 . An d ] I n C . or ] a re G 2
, S, E; a ll M , et c .

o er s i lvered wi th an o n c o nj
.

Nicho l so n c o nj

o er s i lver wi th

d a ll .
XII I TH E S ONNETS OF S HAK E S P E AR E 39

D OWD E N : This s o nne t s e e ms to be a gath e ring int o on e o f 5, 6 , 7 .

3 . D OWD E N : C f H a ml I ,
. iii 7 : A vi ol e t i n t h e y o ut h
.
, , Of pri my natur e .

H a ml I i i 2 42 : A sab l e s i lv e r d

4 . S TE E VE NS : C f . .
, , , .

7
8 .
*
CA P E LL : Cf . M N D I I i 949 5
. . .
, , ,

gr ee n c orn
Th e
H ath r ott e d ere his y o uth a t t a i n d a be ar d
.

TYLE R : Th e p e ssimistic t e nd e ncy which e m e rg e s i n t h e e xpr e ssi o n hi d eo us

night b e c o m e s still m ore appar e nt wh e n harv e st h om e is transmut e d int o a -

fune ral and t h e wagg o n lad e n with r i pe n e d c orn be c om e s a bi er b e aring t h e

,
-

age d d e ad .

9 qu e sti on S C H M I D T
. . ssi o n c o nsid e rati o n TYL E R : Qu esti o n mak e , .

f ee l a d o ubt wh e th e r it w i ll n ot b e e t c , .

10 .wast e s of ti m e [ E diti o ns d if f e r h e r e as e l se wh e r e i n t h e matt e r of

.
, ,

tr e ating ti m e as a p e rs o nicati o n and capitali z i ng it To d o s o in this i n .

stanc e w o uld S e e m t o b e supp o rt e d n ot o nly by line 1 3 but by R 2 V v 49 : , .

, , ,

I wast e d tim e and n ow d o th Tim e wast e m e

, ED ] . .

14 .MAL O N E : E xc e pt childre n wh o se y o uth may s e t t h e scyt h e of Tim e at ,

d e anc e GOD WI N : Th e w ord bre e d

. is n ot us e d i n t h e usual se nse of
t h e e ng e nd e r e d but i n a m or e d e rivativ e s e ns e i nasmuch as t h e i nstanc e s
, ,

adduc e d a re tak e n fr o m t h e v e g e ta l w orld wh e r e it has t h e s i gnicanc e give n ,

it wh e n w e say that u s e bre e ds habit that m o ne y bre e ds int e r e st that , ,

public m e ans d o publ i c mann e rs br e e d ( p [ This is a part o f Godwin s . .

e s ot e ric i nt e rpr e tat i o n o f t h e s o nn e ts which i n g e n e ral I d o n o t att e mpt t o ,

r e pre se nt i n th e se n ot e s E D ] h i m P E R C Y S I M P S O N : [Th e c o mma aft e r this

. . .

w ord is a b e autifu l and sugge stiv e instanc e of its u s e f or a m e trical pause : ] t h e

allit e rati o n of br e e d and brave carri e s o n t h e line t o t h e pause wh e r e t h e
voic e se e ms t o fa l t e r at t h e th o ught of t h e na l parting Th e passage is ruin e d .

by t h e m od e rn punctuati o n Sa v e bree d t o brave hi m wh e n h e take s th ee , ,

h e nc e (S h P u n ctua ti on p
. .
, .
4 0 TH E S ONNETS OF S HAK E S P E AR E [ X I I I

13

0 THAT y ou w e re you r s e lfe b u t loue y ou a re ,

N0 lon g e r y o u rs t h e n y o u y o u r s e l fe h e re li u e
, ,

A ga i n s t t h i s c umm i n g e n d y o u s h o u l d p re pa r e ,

An d y ou r s w e e t s e m b la n c e t o s om e o t h e r g i u e .

S o s h o u l d t h a t b ea u t y w h i ch y ou h old i n l ea s e
F i n d n o d e t e r m i n a t i on t h e n y o u w e r e ,

Yo u s e lf e a ga i n a f t e r y o u r s e lf e s d e c ea s e ,

Wh e n y o u r s w ee t i s s u e yo u r s w e e t f o rm e s h o u l d b ea re .

Wh o l e t s s o fa i r e a h o u s e fa l l to d e ca y ,

Wh i ch h us b a n d ry i n h o n o u r m i gh t v p h old ,

A ga i n s t t h e s t o rmy g u s t s o f w i n t e rs d a y
An d b a rren ra ge o f d ea t h s e t e r n a ll c o l d ?
0 n o n e b u t v n t h r i f t s d ea r e my l o u e y o u kn ow , ,

Yo u h a d a Fa t h e r le t y ou r S on s a y s o ,
.

7 . You ] You r 1 6 40 , G, etc .

13 . d e ar e ] da re 1 6 40 .

D OWD E N : Not e
and y our i nst ead o f th ee
y ou thi ne and t h e ,

,

addr e ss my l ove f or t h e rst ti m e [ Th e di ff e r e nt use s of th e se pr o n o uns .

w e re rst discusse d f or t h e S o nne ts b y Goe d e k e D eu ts che R u n ds ch a u 1 8 77 ;

, , , ,

lat e r by D owd e n i n his e diti o n ; and have b ee n mad e t h e starting po int of

,
-

vari o us int e r e sting discuss i o ns n o ne o f which ca n b e said t o hav e r e ach e d any

,

r e sult D owd e n s ow n summary of t h e facts is as f o ll ows : S o m e tim e s t h e

.

ch o ic e se e ms t o b e d e t e rmin e d by c o nsid e rati o ns o f e uph o ny s o m e ti me s of ,

rhym e ; s o m e tim es inti mat e a ff ecti o n see ms t o indicat e t h e u s e of y ou a n d t e ,

s p ec t f ul h o mag e that o f th ou ; but this is by n o m e ans invariab l e In t h e .

so nne ts t o a mistr e ss th an is i nvariably e mpl oye d ( I ntro p This l ast

. .
, .
,

stat e m e nt c ov e rs o n l y i n D owd e n s vi e w t h e so nn e ts 1 2 7 and f o ll o wing Th e

,

,
.

th ou th y s o nn e ts a re 1 4 6 1 2 1 4
-
2 2 2 6 3 34 5
,
2 1 60 6 2 6 0
, 9 7
, 73 74 ,
-
, ,
-
, ,
-
,

2 8 . 1 3 1 36 . 1 3 9 4 3 . 1 4 7 2 6
7 7 79 . 82 8 7 9 3. 9 5 9 7 . 9 9 . 1 0 7 1 0 . 1 2 2 . 1 2 5 . 1
- - -
,

5 2. T h e y ou -
y o u r so nn e ts a r e 1 3 , 1
5 7 5 55 5
1 2
, 7 5 9 , 7 1
7 2 , 7 5 7 6 , 8
,
0 -
8 1 ,
- -

8 3 86 , 9 8 1 0 2 1 0 4 , 1 0 6 , 1 1 1 1 5, 1 1 7 1 8 , 1 2 0
- -
S 2 c o ntai ns b o th f o rm s ED ]
4
-
. . .
,

I . D OWD E N : m e a n y o ur ow n TYL E R : C f an oth e r

You rs elf se e ms to . .

s e lf , 10 13; , n e xt se lf 1 3 3 6 [ Tyl e r als o and rightly cal l s att e nt i o n t o

, , .
, ,

t h e n ec e ssity o f printi ng y o ur se lf as t w o w ords E D ] VE R I TY : Wo ul d . .

tha t y ou we r e abso l ut e i nd e pe nd e nt of tim e fr ee fro m t h e c o nditi o ns that

, ,
X I I I] TH E S ONNE TS OF S HAK ES P E A RE 41
f e tt e r m e n GOD WI N : [ Ve rity s n ot e e xpr e s s e s] j ust t h e r e ve rs e o f what t h e
.

poe t wish e s i e that h is fri e nd sh ou l d k n o w his d e pe nd e nc e u po n h is c o ndi

, . .
,

t i o ns [Th e m ea ning is : ] Oh tha t y ou w e re mast e r of y o urs e lf and kn ew

.
,

that y ou a re y o ur ow n o nly s o l o ng as this pr e se nt lif e c o ntinu e s ( p . .

3 4 M ON E : C f V s A 7 74 [s e e und e r s
A L 1 1 .
. . .
.
,

5 6 MAL O N E : C f D ani e l D eli a

-
. .
,

I n b eauty s l ease exp i r d appe ars

Th e dat e of a g e t h e cal e n d s o f our d eath , .

D e te r i n l ega l l anguage m eans e n d HAZ L I TT: F in d n o d e t e r

mi na ti on .

minati o n be c o m e a f ee simpl e L O RD C AM PB E LL : Th e word is always use d -

.

by lawy e rs i nst e ad o f e n d ( S h s Lega l Acqui remen ts p . .

, .

8 MAS S E Y : C f S idne y Arca di a : 0 t h e c o mfo rt of c o mf orts t o s ee y our

. .
, ,

chi l dre n gr ow up i n wh o m y ou ar e as it we re e t e rnise d ! If y ou c o uld c o nc e ive

, , ,

what a h eart tickling j oy it is t o s ee yo ur ow n littl e o n e s

-
lik e li ttl e m od els
of y o urse lf stil l carry y o u abo ut th e m y ou w o uld think unkindn e ss i n y o ur ow n ,

th oughts that e ver th e y did r eb el against t h e m e an unt o it [ 1 590 ed ff 2 6 1

,
"
. .
, .

( p .

9 h ous e TYL E R : Must b e r e f e rr e d t o Mr W H s anc e st ry n ot t o t h e

. . . . .
,

b odily h o us e [ With th i s R OL F E agr ee s disti ngu ishi ng t h e passage fr o m

.
,

B ut B E E C H I NG is I thi nk und oubt e dly right i n id e ntifyi ng t h e h ouse with

,

, ,

th e be aut eo us r oo f of S 1 0 ; and lin e s 1 1 1 2 make it e ve n c l e ar e r than i n t h e

.
-

e arli e r so nn e t t hat t h e passag e has gurativ e r e f e r e nc e t o t h e indi vi dual lif e .

E D ] MAS S E Y : S o ut hampt o n be ing an o nly s on l e ft fath e rl e ss h e was t h e

.
,

sol e pr op and stay of t h e anc e stra l r oo f ( p . .

10 h u s b an dr y MAL ONE : E c o n o mical prud e nc e C f H 5 I V i 7

. . . . .
, , ,

F or bad ne ighbo ur make s us e ar l y stirre rs

o ur ,

Which is both h e a l thfu l and g ood husbandry .

12 . b arr e n . ABB OTT: Ad j ective s signifyi ng e ff e ct w e r e o ft e n use d to signify

th e cause .

14 . r MAS S E Y : C f S idn ey Arca d i a

h ad a F a th Nature e as s h e mad e
. .
, .

y ou chil d of a m oth e r ; s o t o d o y o ur be st t o b e m oth e r of a child

[ 1 59 0 e d . .
,

f 2 6 1 b ] (p
.
[ An d ] cf A W I i 1 9 2 0 : This y o u ng ge nt l e wo man [ Masse y
. .
. . .
, , ,

misre ads ge ntl e man I had a fath e r O that had h ow sad a passage tis !

, ,

(p . D O WD E N : Th e fath e r of S h s fri e nd was probab l y d e a d TYL E R : Not .

'
.

that Mr W H s fath e r was d e ad but that h e sh o uld d o as his fath e r did

. . .

, .

C f M W W I I I iv 3 6 wh e r e S hal l o w urgi ng S l e nd e r t o w oo Ann e P age i n

. . . .
, , , , ,

manly fashi o n says S h e s c oming t o h er c oz 0 b oy th ou hadst a

, ,

, , .
,

fath e r
Al s o M V I I ii 1 7 1 9 wh e r e L aunc e l ot says
. My fath e r di d
. .
, , ,
-
, ,

some thing smack To th e se passage s my att e nti o n was dir ect e d by t h e

.

Re v W A H arri so n S ARRAZ I N : [ Th e passag e indicat e s b e y o nd qu e sti o n that

. . . .

t h e y out h s fath e r was d e ad

( J a h rb 3 1 : WYND H AM : S imply an oth e r .

,

poe tica l turn f or t h e advic e b eg e t a s o n It d oe s n ot m e an that t h e fri e nd s

,
.

fath er wa s d ea d P OR TE R : Th e past t e nse sh ou ld n ot b e take n l it e ra ll y but as

. ,
4 2 TH E S ONNETS OF S HAK E S P EA R E [ XIV

th e naturally r e sulting c o ntrast b e twee n t h e so n s birth i n t h e past and t h e

grands o n s i n t h e futur e B E E C H I NG : L angu e t writing t o P h i l i p S i dne y i n

.

praise of marriage t e lls t h e st ory fr o m H e r od otus ( ii i 34 ) of C r oesus d e ciding ,

that C ambyse s fath e r C yrus was t h e b e tt e r of t h e t w o b e caus e h e was t h e

fath e r o f an admirabl e pr i nc e wh e r e as C ambyse s had hims e lf n o s on ( Corre , .

s pon d en ce of S i d n ey 9 L a n g u et trans P e ars p

:
. .
, ,

I4

NOT f r om t h e s t a rs do I my i u d g e m e n t p lu c k e ,

An d y et h
m e t h i n k es I
a u e A s t r o n o my ,

B u t n o t t o t e l l o f goo d o r c u i l l u c k e , ,

Of p l a g u e s o f d e a r t h s o r s ea s o n s q u a lli ty
, , ,

No r ca n I f o r t u n e t o b re e f e m y n u i t s t e l l ;
P o i n t i n g t o e a ch h i s t h u n d e r ra i n e a n d w i n d e , ,

Or s a y w i t h P r i n c e s i f i t s h a l g o w e l
B y o f t p r e d i c t t h a t I i n h ea u e n n d e .

B u t f ro m t h i n e e i e s my k n ow le dg e I d e r i u e ,

An d c o n s t a n t s t a rs i n t h e m I r e a d s u ch a r t
As t r u t h a n d b e a u t i e s h a l t oge t h e r t h r i u e
I f f r om t h y s e lf e t o s t ore t h ou w o u l d s t c on ue r t
,

Or e l s e o f t h ee t h i s I p rog n o s t i ca t e ,

Th y e n d i s Tr u t h e s a n d B e a u t i e s d oom e a n d d a t e .

se a s on s ] s ea s on s

C, M , Co B H u D y S t a Gl Wh H a l D
, , , , , , , , el
3
, Ca m ,
D o, R , Ox , Wy B ut , , H er , Be, N B ull Wa ; s ea s on s A K t D e l
,

,

, , , C l, Kl y ,

Ty .

6 . P oint i ng]
P oi n ti n g Walke r c onj .
, Sta , Hu 2
, N .

8 . of t pr e d i ct] oug h t predi ct G

2
, 5 2
,
E; hyph e n e d by Kl y .

1 1 -
12 . truth con u e rt ] Qu ot e d by D o, Ox .

14 . Th y d at e ] Qu ot e d by D o, OX .

MAS S E Y : [With this bo rr owings fr o m S i d n e y s As tr oph el 83 S tella

so nn e t th e

,

as disti nguish e d fr o m t h e Arca di a b e gin Cf t h e passag e on astr ol ogy h er e , . .

with S idn e y s S 2 6 e t c This sugge sts that S o nn e ts 1

.
, . at l e ast w e re ,

writt e n imm ediat e ly aft e r S h had r e ad t h e Ar ca di a i n 1 59 0 and b e f o re h e h a d

.
,

s ee n t h e A 69 S i n 1 59 1 ( p
.

. . .

2 Astr on omy SC H M I D T: Astr ol og y [ Th e only u s e of t h e w o rd i n S h ]

. . . .

D OWD E N : S O S idn e y Arca di a B k iii 0 swee t Ph i loc lea

, thy h e ave nly
, .
, ,

fac e is my astro n o my and A S S S 2 6 : , .

.
, .
X IV ] TH E S ONNETS OF S HAK ES P E AR E 43
Th o ugh dusty wits dar e sc orn astrol ogy
[ I] o f t f or e j udge my aft e r foll owing rac e -

By on l y th o se t w o stars in S t e lla s fac e

.

50 D ani e l , D eli a , S 30.

( on D e l ia s ey e s )

S tars th e y sure wh o se m oti o ns ru l e d e sire s ;

a re ,

An d ca l m and t e mp e st f oll ow th e ir asp ects .

3 .
[Th e c o mma h e re e x e mpli e s a rul e f o rmulat e d by P E R C Y S I M P S ON
g ood .
,

with r e f e re nc e t o t h e u s e of t h e c o mma b e for e or an d n or ( als o b e f or e

with n o c o mma aft e r C f 0 th I ii 4 : Nin e or t e n tim e s (S h

. . .
, , , , . .

P u n ctu a ti on , p .

4 . F L E AY : Th e
c o nj uncti o n of [ t h e t e rms plagu e s d e arths et c ] se e ms t o ,

, .

p oint t o t h e p l agu e s of 1 59 2 and 1 59 3 succ ee d e d by t h e d e arths of 1 59 4 1 59 5 , , ,

1 59 6 and ,
h
t e irr e gularity o f t h s
e e as o ns in 1 59 5 59
1 6 H nc
[ e e 59 5 9 6 is a pr ob
1
, .

ab l e dat e f or t h e so nn et ] ( B i og Ch r on i cle 2 : .
,

6 P oi n ti ng
. N E D : [Th e wo rd is an ] aph e tic f o rm o f app o int
. . . . R OL F E .

C f Bac o n E ssay 4 5 (e d
.
, B ut this t o b e if y ou d o n ot p oint any of t h e
.
,

l owe r r oo ms f or a dining place of s e rvants ,
.

8 of t pr e d ict S TE E VE NS : Ma y m e an
. . what is m ost fr e qu e ntly p rog n os t i ,

c a t ed

MAL ON E [ in s upp o rt of t h e t e xt c i t e s t h e o f t r e p ort fr o m Th e
.

B i rth of Merli n D OWD E N : F req u e nt pro gn ost i cati o n B UTL E R : [F or

, .

pre dict cf a ff ect f or a ff ecti o n i n L L L I i

,

.

B E E C H I NG : . .
, ,

Th e se pr e d i cti o ns a re t o

P r e dicti o n is use d f or o m e n i n J C I I ii 2 8 :

.
, ,

t h e w or l d in g e n e ra l as t o C ae sar

.

9 S.TE E V E N S : C f L L L I V iii 3 50.: F r o m

. w o m e n s
. e y
. e s
, this d octri,n e ,

I d e riv e .

con sta n t star s [ F or t h e punctuati o n s ee PE R C Y S I M P S O N S stat e m e nt that

10 . .
,

t h e o missi o n of Co mmas is r e gular with app ositi o nal phras e s ( S h P u n ctu a ti on . .

,

p . art S C H M I D T: Le arning
.
[ C f 6 6 9 and c o ntrast vari o us oth e r passage s
.
, , ,

as 6 8 1 4 wh e re t h e word is use d with a sugge sti o n of evil

, ,
ED ] . .

12 MAL O N E : If th o u wo uldst chang e thy singl e stat e and be ge t a num e r

. ,

o u s pr o g e ny s t or e Se e 1 1 9 con ve rt D OWD E N : R hyming with art

. .
, . so .

in D ani e l D eli a S 1 1 c o nver t rhym e s with h eart [ Cf 1 1 4

,

, .
, ED ] . .
, . .
 44 TH E S ONNETS OF S HAK ES P EA R E [ XV

I S

WH E N I c on s i d e r e ue ry t h i n g t h a t g row es
H ol d s i n f c t i o n b u t a l i t t l e m om e n t
p e r e .

Th a t t h i s h u ge s ta g e p re s e n t e t h n ough t b u t s h ow es
Wh e re o n t h e S ta r s i n s e c r e t i n u e n c e c omm e n t .

Wh e n I p e r c e i u e t h a t m e n a s p la n t s i n c re a s e ,

Ch ea r e d a n d c h e c k t e u e n b y t h e s e lf e s a m e s k i e -

Va u n t i n t h e i r y o u t h f u ll s a p a t h e i gh t d e c r ea s e , ,

An d w e r e t h e i r b r a u e s ta t e o u t o f m e m o ry .

Th e n t h e c on c e i t O f t h i s i n c o n s ta n t s t a y ,

S e t s y o u m os t r i ch i n y o u t h b e fo r e my s i gh t ,

Wh e r e w a s t f ull t i m e d e b a t e t h w i t h d e ca y
To ch a n g e y ou r d a y of y ou t h t o s u ll i e d n i gh t ,

An d a ll i n w a r w i t h Ti m e f o r l o u e o f y o u
As h e t a k e s fr o m y ou I i n g ra f t y ou n ew , .

3 . s tag e ] s ta te M A B , , .

] G

6 . eu e n ev n
2
, 5 2
, E .

8 . w e r e] wea r G , et c .

14 .
y ou n ew ] a n ew S harp c onj .

P O TE R R: C f S p e nse r , Am oretti S
.
, . 24

Wh e n I b e h old that b eauty s wo nd e rm e nt

An d rare pe rf e cti o n of ea ch goo dly part ,

Of natur e s ski ll t h e o n l y c o mpl e m e nt

I h o n o ur and admire t h e Make r s art

.

B ut wh e n I f ee l t h e bitt e r bal e fu l smart ,

Which h er fair e y e s u nware s d o work i n m e [e t c ] , .

3 TY.L E R : Cf A Y L I I vii 1 39 : All t h e wor l d s a stage e t c ; M V

. . . .
, , ,

, . .

I i 7 7 : I h ol d t h e w orld but as
, ,

a stage wh e r e e ve ry man must play a ,

part Temp I V i 1 53 : Th e gr e at gl ob e itse lf y ea all which it inh erit shall

.
, , , , , ,

d i ssolve e t c [ MAL ONE S change of stag e t o stat e with out c o mm e nt i s

, .

, ,

u nwarrant e d and u nl i ke him

, ED ] . .

4 D.E L I U S : Th e i nu e nce o f t h e stars furnish e s t h e o nly e xplanati o n of t h e

play o n t h e stage of t h e wor l d TYL E R : As t h e ann otati o n of a c omm e ntat o r .

runs para ll e l with t h e t e xt s o t h e i nu e nc e of t h e stars c orr e spo nds with t h e

,

c o urse of things i n t h e w or l d B E E C H I NG : Th e stars a re r e pre se nt e d as s pec t a

.

t ors a t t h e p l ay ch eering an d ch ecki ng I n uence wa s an a strol ogica l t e rm ;

, .
XV ] TH E S ONNETS OF S HAK E S P E AR E 45
cf . L ea r , I , 11 , 1 3 6 : D ru nkards liars and adult e r e rs by a n e, , n f orc

d obe di e nce
of plane tary i nu e nc e N E D (s v Th e supp o se d ow i ng or
.

. . . . .

stre am i ng from t h e stars or h e ave ns of an e th e rial u i d act i ng upo n t h e char

act er a nd d e stiny of m e n and aff e cting subl unary th i ngs ge n e rally [Th e d i f , .

culty wit h t h e passage which has rath e r oddly e scape d care ful discussi o n i s , ,

that t h e n oti o ns inu e nc e and c o mm e nt se e m t o b e o pp ose d

t h e on e

,

sugge sting t h e traditi o nal active e n e rgy of t h e stars t h e oth e r t h e attitud e o f ,

m e re spectat o rs I t is po ss i bl e that w e a re t o und e rstand inu e nc e in a

.
"

l ess active se nse and t o think o f t h e e manati o ns of t h e plane ts f or t h e tim e

, ,

b e i ng as having o nly t h e natur e o f c omm e nt ; but I think i t m ore pr obabl e fro m

,

t h e c o nt e xt wh i ch e mphasi z e s t h e d e structiv e C haract e r of t h e vari o us f o rc e s

,

acting against all e arthly gr o wth that t h e l i n e m eans s o m e th i ng l i k e th i s : ,

which t h e stars vi e w with disfavo r and against which th e y se cr e tly b e g i n

adve rs e acti o n Th e c o mm e nt i n oth e r words may b e vi e we d as n ot that
.

,

,

o f a m e r e sp e ctat o r but o f an auth o r or manag e r w h o has p o w e r t o change what

,

h e d i sappr o v e s Th e N E D n ot e s that t h e word Oft e n i mp l i e s unfavorabl e

. . . .

j udgm e nt ED I . .

6 . ch e ckt . H M I D T Re pre sse d

SC : .

7 . Vaunt . S CH M I D T E xu l t TYL E R Mo unt pr oud l y upward

: . : . C f T 69 C . .

.
,

P r ol play l e aps o er t h e vaunt and r s t li n g s of th ose br oils wh e re

Ou r

.
, 2 7 , ,

va u n t must m e an t h e b e ginn i ng and e arly c o urse .

9 c onc e i t S C H M I D T: I d e a imag e i n t h e mi nd sta y [ L E E : Th e w ord is fr o m

. .
, . .

Golding s Ovid wh e r e it is fre qu e ntly use d i n c o nn e cti o n with t h e th e ory of Na

t ur e s u ne ndi ng r otati o n Thus Th e e l e m e nts n e ve r stand at stay e t c

.
, ,

.

( On . R ev .
, 2 10 :

1 1 . d e b a te th . MAL ONE : Cf A . . W .
, 7 5: Nature and sickne ss d e bat e
it at th e ir l e isur e . B E E C H I NG : Tim e and D e cay a re a ll i e s i n this d e bat e or

strif e .

12 . S TE E VENS : C f R 3 , I V, . . iv , 16 : H ath d i m m d

yo ur infant m om t o age d
night .

13 [This lin e might b e sai d t o stat e t h e th e m e of a l arg e part of t h e so nn e t

.

c o l l ecti o n ED ] . .

1 4 WAL S H : Th e id e a of o n e thing gr owing as an oth e r wan e s ( an d s o r e p la c

.

i ng and pre s e rving it ) fre qu e nt l y r ecurs i n t h e S o nn e ts ( 1 2 1 2 1 1 , ,

1 2 ; 1 00 ,

I i n graf t B E E C H I NG : Th e rst r e f e r e nc e t o t h e poe t s ve rse

. .

P RI CE : [ I n this so nn et S h ] arranges 1 1 2 word s in one sing l e se nt e nc e ( p . . .

46 TH E S ONNETS OF S HA K ES P EAR E [XVI

I6

B VT w h e re fore d o n ot y ou a m i gh t i e r wa i e

M a ke w a rr e Vp p o n t h i s b lo ud i e t i ra n t t i m e ?

An d f o r t i e yo u r yo u r d e ca y se lfe in
Wi t h m ea n e s m ore b le s s e d t h e n my b a rre n ri m e ?
Now s ta n d y o u on t h e t o p o f h a p p i e h on re s ,

An d m a n y m a i d e n g a r d e n s y e t v n s e t ,

Wi t h ve r t uous w i s h w ou l d b e a re y o u r l i n i n g ow e rs ,

M u ch l i ke r t h e n yo ur p a i n t ed c ou n t e r f e i t
S o s h o u l d t h e l i n e s o f l i fe t h a t l i fe re p a i re
Wh i ch t h i s (Ti m e s p e n s e l or my p u p i ll p e n )
Ne i t h e r i n i n w a r d w o r t h n o r o u t w a r d fa i r e
C a n m a k e y o u li u e y o u r s e lf e i n e i e s of m e n ,

To g i u e a w a y y ou r s e lf e k e e p s y o u r s e lf e s t i ll , ,

An d y ou m u s t li u e d ra w n e b y y o ur ow n e s w e e t s k i ll ,

6 . mai d en gar d en s ] H yph e n e d by K ly .

7 .
y our ] y ou L , G , S , E , M A , , B Hu Tyz
, , , Ox , B ut , Be, Wa .

9 . li n e s ] li ves M c o nj .
; li n e Hu z

Whi ch ] Wi th S t e ng e lc o n j th i s (Tim e s pe n ) ] th i s ti me s pen ci l or my .

i
pup l p en G M, asse y c o nj H u B e Wa ; th i s Ti me s pen ci l or my pupi l pen
2
,
2
.
, , , ,

, ,

M A K t C o B D el H u D y S t a C l Gl Wh H a l C a m D o OX H e r N
, , , ,
l
, , , , , , , , , , , , , ,

B ull ; th i s (ti me s penci l) or my pu pi l pen E ; th i s Ti me s penci l or my pupi l

, , ,

pen K ly ; th i s ti me s pen ci l or my pupi l pen R th i s ti me s pen ci l n or my pupi l

, , ,

pen B ut
, . 0 1 ] f or S t e ng e l c o nj .

2 .ti ran t TYL E R : C f 5 3

. .
, .

6 MAL O N E : C f L C 1 7 1 : H i s p l ants in o th e rs o rchar d s gre w

. . . .
, .

7 D OWD E N : [ I n d e fe nse o f t h e t e xt it may b e said that ] yo ur l iving

. .
,

owe rs stands o ve r against y our paint e d c o unt e rf e it

[ S o ROL F E ; but .

B E E C H I NG f ee ls that ] t o r e p e at y o ur f orc e s t h e antith e sis t oo much

.

8 count e rf e i t [ I llustrating t h e re gular u s e of th i s w ord f or po rtrait

. .
,

MAL ON E cit e s M V I I I ii 1 1 6 : What n d I h e r e ? F air P ortia s c o u nt e r

. .
, , ,

L E E : Th e many r e f e r e nc e s [ of th i s charact e r ; cf S 2 4 2 7 6 7 ] sugge st . .

, ,

that h e r o o ft e n sat f or his p ortrait S o uthampt o n s c ount e nance sur .

vive s i n pr obably m o r e ca nvase s than that of any o f his c o nt e mpo rari e s At .

l e ast 1 4 e xtant p ortraits have b ee n id e ntied Most of th e s e it i s tru e .

, ,

po rtray th eir subj e ct i n middl e a g e (L if e p P OR TE R : An y p o rtraya l of .

, .

l ife by art wh eth e r l it e rary or pict oria l

, Th e p oe m or barre n rim e of

.
X VI ] TH E S ONNE TS OF S HAK ES P E AR E 47
th e p oe t is h e re ca ll e d with be litt l e m e nt a m e re paint e d c o u nt e rf e it in c om

par i so n with l i vin g owe rs

.

9 lin e s of li f e
. MAL O NE : This appe ars t o m e obscure P e rhaps t h e poe t
. .

wrot e t h e li ves of life i e childre n [ Lat e r Mal o n e appr ove d as ve r y plaus

,

, . . .

ibl e an an onym o us sugge sti o n that t h e phrase is e quiva l e nt t o livi ng picture s

,

vi z ch i ldre n 1 D OWD E N : C hildre n Th e u nusua l e xpre ssi o n is se l e ct ed be cause

.
, . .

it suits t h e image ry of t h e s o nn e t l in e s applyi ng t o ( I ) line age ( 2 ) d e l in e ati o n , ,

with a pe ncil a p o rtrait ( 3 ) line s of ve rse as in 1 8 1 2 TYL E R : I was i nclin e d

, , , .

t o take th e se w ords as r e f e rr i ng t o t h e wrink l e s o n t h e br o w o f advanci ng life

( cf 1 9 1 0 )
. B ut havi ng r e gar d t o t h e ge ne ral drift of t h e s o nnet
, , I n ow ,

asse nt t o t h e i nt e rpre tati o n of t h e l i ne s of life as ch i ldre n i n wh o m Mr

.

W H is supp o sed t o have himse lf po rtraye d his m e ntal and b od i ly exce ll e nc e s

. . .

[ C f l i ne
. WYND H AM : I b e li e ve that t h e c o nce i t whil e i nc l ud i ng [t h e m e an '

i ngs n ot e d by D owd e n and o th e rs ] starts fro m a fo urth drawn fro m pal mistry , ,

and that th i s d e t e rmin e d its u nusual cast li n es of lif e Cf M V II , . . . .

, ,

i i 1 6 9 : H e re s a simpl e l i n e of life : h e re s a smal l tri e of wive s e t c Thus

,

, .

t h e se nse is : Many a maid if y o u sh o uld m a rry w o u ld b e ar y o u l iving ow e rs

"
, ,

childr e n much l i ke r than any po rtrait of y ourse lf ; s o sh o uld t h e line s of

,

l i fe marriage and pr ocr e ati o n with a play o n t h e m e a ning deli n ea ti on re pa i r , ,

that li fe o f y o urs wh i ch thi s my r ec o rd with a play o n t h e m e aning li n es of

, ,

ver s e and th e n i n pare nth e se s ( Ti m e s p e nse l

hist o ry r ec ord at large , ,

o r my pupill p e n my humbl e r art ) ; n e ith e r i n inward w orth n or o utward

fa i r
be auty can ( d o f or it cann ot ) make y o u live yo ur se lf ( i e ve ry se l f )
, , . .

i n e ye s o f m e n [ Aft e r se ve ral att e mpts t o mitigat e t h e d ii c ult i e s in p u n c t u a

.

ti o n and phrasing which make this e xplanati o n at l e ast as pu z z ling as t h e

o rigi nal I hav e d e t e rmin e d t o le t t h e r e ad e r l e arn fr o m it what h e can
,
ED ] . .

Th e p l ay o n t h e d oubl e se nse line d e l i n e ati o n and l in e a ve rse is d e ,

ve IOpe d in 1 7 1 2 ; [ c i 6 3 1 3 ; 8 6 1 3 ; 1 7 1 3 1 4 ; 1 8 1 2 An d cf W T I ii
,
- .
, , , , . . . .
, , ,

Loo king o n t h e l in e s of my b oy s fac e e t c ] K I NN E AR : S o sh o uld t h e

1 53 : , .

l ine s of l ife ( yo ur d e cay ) that life ( living childre n ) re pair wh i ch this ( t his life , ,

which i e childr e n s life which ) n or Ti m e s pe ncil e t c ( p P O R TE R : I n

. . .
, .
, , ,

th i s way sh o uld t h e line s of l ife i e t h e line s of pr o pagat i o n impr e gnati o n ,

.
, ,

an d c o nc e pti o n r e paire that l i fe t h e actua l life of t h e b e l o ve d ; w h i ch lif e

,

this c o unt e rf e it l i fe ( Tim e s p e nse l e t c ) can n e i th e r i n its i nward w orth n or

.

o utward fairn e ss cause y o u t o e mbo dy and e nact H E N R Y B R OWN : C f H ugh . .

H ol l and on S h : , .

F or th ough his l ine of l ife w e nt soo n ab o ut ,

Th e l if e y e t of his l in e s shall n e ve r out .

( p .

10MAS S E Y : What S h says I s that t h e be st paint e r t h e mast er p e nci l of t h e

. .
, ,

tim e o r his ow n pe n of a l e arn e r will alike fail t o draw t h e E ar l s line s of life

, ,

as h e h i m s e lf ca n d o it by his ow n swee t skill This p e nci l of t h e tim e may

, .

have b e e n Mi re v elt s ; h e paint e d [So uthampt o n s] po rtrait i n e arly manh o od

.

(p . D OWD E N : Are w e t o u nd e rstand t h e lin e as m e ani ng Which th i s pe n

cil of Tim e or this my pupil p e n and is Tim e h e re c o nc e ive d as a l imne r w h o

48 TH E S ONNETS OF S HA K ES P E AR E [m
has paint ed t h e y outh s o fair but wh ose work cann ot l ast f or future ge n e ra ,

ti o ns ? I n 1 9 d e vo uring Ti me is transf orm e d int o a scrib e ; may n ot tyrant

I s t h e pa i nt e d c o unt e rf e it

Tim e b e transf orm e d h e re i nt o a paint e r ?

of lin e 8 S h s p ortraya l i n h i s v e rs e ? C f 53 5 TYL E R : D r F urnivall has sug

. . .
.
,

g e st e d that this expre ssi o n is use d ge n e rally of such writt e n r ec ords of t h e tim e
as may r efe r t o Mr W H This vi e w see ms t o m e c o rrect ; and it is w el l worthy
. . .

of n ot e that in t h e Quart o t h e w o rds

Tim e s p e nc i l or my pupi l p e n a re

bracke t ed t oge th e r Th e rec ord of Tim e s p e nci l wo uld thus b e of a s i milar

.

kind t o that mad e by t h e poe t s pupil pe n A r e aso n may also thus b e as

.

signe d f or t h e u s e of t h e word pup il as implying that t h e r e c ord in th e se

,

s o nn ets was sub ordinat e t o t h e ge n e ra l r e c ord or chro n i cl e of t h e p e ri od .

This may b e take n as m e aning any writt e n r ec o rd of this k ind

"
.

H E RF O R D : Th e se mblanc e o f t h e man at any m o m e nt is c o nc e iv e d as h i s p or

trait drawn by Tim e B ut Tim e c o ntinually alt e rs and nally sp oi l s his wo rk ;
, .
, ,

h e nce Tim e s p e nci l is n o r e m e dy against d e cay B E E C H I NG : [Th e rhythm

.

which re su l ts fro m a mark of punctuati o n aft e r this is i ncr e d i bl e ] Ne ith e r

p ortraiture ( this tim e s pe nci l cf lin e 8 ) n o r d e scripti o n ( my pup i l p e n cf l ine 4 )

'
, .
, .

can r e pr e s e nt y ou as y ou a re e ith e r in charact e r or b eauty [ F or t h e rhythm i , .

ca l argum e nt c f Wyndham s n ot e o n 1 0 I Are w e t o u nd e rstand that th e se

, .

, .

writ e rs vi e w with suspici o n a c o nsid e rab l e m e trica l pause aft e r t h e se c o nd

syllab l e ? I f s o what of 2 2 I O ; 2 5 3 ; 3 7 3 ; 44 9 ; 6 1 9 ; 8 3 3 ; 8 7 1 ; 9 9 2 ;
, , , , , , , , ,

1 1 6 5; 1 4 8 I ?
,
E D ] S TE E VE N S : [ Th e words pupil pe n 1 may b e c o nsid e r e d
, .

as a slight proof that t h e p oe ms be f or e us w e re o ur auth or s e arli e st c o mp osi

ti ons [ B U TLE R ( p 9 0 ) appr ove s this sugge sti o n ] AR C H E R : On e of t h e e xpre s

. .

si ons of e xagge rat e d h umility with which t h e So nn e ts ab o und ( F ort R ev 6 2 : . . .

,

WAL S H : Not n e ce s s arily i n expe ri e nce d but ob ed i e nt t o nature s i n s t ru c ,

ti o ns c opyist of re a l ity (o ppo se d t o t h e antiqu e or original and mast e r pe n

,

-

of natur e ) P O R TE R : S h sp e aks m od e st l y of his pupi l pe n i n c ompariso n

. .

with Tim e s p e nci l

.

1 1 . MCC L U MP H A: C f R S J 1 iii 90 : F or fair with o ut t h e fair withi n

. .

.
, , ,

t o hi d e

[ F or fair as a substantive cf 1 8 7 1 0 ; 8 3 2

( J a h rb 40 :
. .
, , .
, , , .

ED .
]
13 MAL O N E : To pr od uc e l ike ne sse s of yourse l f
. wil l b e t h e m e ans of

pre se rvi ng y our m e m o ry .

14 MAS S E Y : Cf S i d n ey Arca di a
. With his swee t ski ll my ski ll e ss youth
.
,
he
dr e w ( p

. .
X VI I ] TH E S ONNETS OF S HAK E S P E AR E 49

I 7

WH O w i ll b e le e u e my ve rs e i n t i m e t o c om e
If it w e r e ld w i t h y o u r m os t h i gh d e s e r t s ?

Th o ugh y et h ea u e n k n ow es i t is b ut as a mb e to

Wh i ch h i d e s yo u r l i fe , a n d s h ew es n ot h a lfe y o ur p a r t s

I f I c ou l d w r i t e t h e b ea u t y
your e ye s of ,

An d i n f r e s h n u m b e rs nu m b e r a ll y o ur g ra c e s ,

Th e a g e t o c o m e w o u l d sa y t h i s P o e t l i e s ,

S u c h h ea u e n ly t o u ch e s n e r e t o u c h t ea r t hly fa c e s .

S o s h o u l d my p a p e rs (y e l l ow e d w i t h t h e i r a g e )
,

B e s c o rn d l i k e o ld m e n o f l e s s e t r u t h t h e n t o n g u e

, ,

An d y o u r t r u e r i gh t s b e t e r m d a P o e t s r a g e ,

An d s t r e t c h e d m i t e r o f a n A n t i q u e s o n g
"

B u t w er e s o m e c h i l d e o f y o u r s fa li u e t h a t t i m e ,

Yo u s h o u l d li u e t w i s e i n i t ; a n d i n my r i m e .

th i s fac e s ] Qu ot e d by el H u D y S t a C l G1 Wh et c C O , D ,

, , , , , ,

ital i cs by C 0 3
H u
z
, .

12 mi t e r ] metre G e t c
. An ti q u e ] a n ti ck G S E
, .
, , .

1 4 twi s e i n it ] twi ce; i n i t M A K t B Gl t

. Wy B ut ; twi ce; i n i t S t a
, , , , , , , ,

K ly ; tw i ce i n i t C a m D o He r B e N B ull Wa ; twi ce i n i t C H u D y C l
, , , , , , , , , , , ,

D e l R Ty Ox ; twi ce
3
, , , i n i t Co D el l-2
Wh H a l
l
, , , .

5 8
-
. F L E AY : Cf . D rayt o n , I d ea , S . 17

S tay , sp eed y Tim e !

b e h old b e f or e th o u pass ,

F r o m a g e t o a g e what th o u hast so ught t o s e e !

,

P ass o n ! and t o po st e rity t e ll this !

Y e t s ee th o u t e ll but truly what hath bee n !
S a y t o o ur n e ph e ws that th o u o nc e hast se e n
I n p e rf ect human shap e al l h e av e nly bliss !
And bid th e m m o urn nay m or e d e spair with th ee , , ,

( That s h e is g o n e ) h e r l ike again t o s e e !

( B i og Ch ron . .
, 2 :

6 . f r es h . B E E C H I NG : L iv e l y an d b e autiful to match t h e fri e nd s grac e s

.

S ee S o nne ts 1 , 9; 1 0 4, 8; 10 7, 10 .

1 1 . H M I D T Madn es s ; appli ed in c ont e mpt t o p oe tica l inspirati on

rag e . SC : , , .

12 D OWD E N : K e ats pr xe d th i s lin as m ott o t o his E n dy mi

. e S tr tch e d e on .

e

m etre m ea ns ove rstrain e d p oe try s tr etch e d m it e r S CH M I D T: Aff ect ed ex

. .
,
50 TH E S ONNE TS OF S HAK ES P E AR E [ XV I I I

a gg e ra t e d ve rse . m e tr e
P O TE R R : F orc e d
charact e ristic of ballads and old ,

tim e ve rse This e xpr e ssi o n is c o mm o nly e xplain e d t o m e an i nat ed or

o ve rstrai n e d p oe try It is rath e r a p oe tic gur e o f sp ee ch f or that but

. ,

e sp e cially sugg e sting that i n t h e futur e indulg e nc e will b e sh o wn it as s o m e

thing archaic in ve rse [ C f I H 4 I I I i 1 30 : On e of th ese sam e m e tr e

. . .
, , ,

ba l lad m o nge rs
-

ED ] . .

1 8

S H AL L I com pa r e t h e e t o a S u mm e rs d a y ?
Th o u a r t m or e l o n e ly a n d m or e t e m p e ra t e
R o u gh w i n d e s d o s h a k e t h e d a r l i n g b u d s of M a i e ,

An d S o mm e rs l ea s e h a t h a ll t oo s h o r t a d a t e :
S o m e t i m e t oo h o t t h e e y e o f h ea u e n s h i n e s ,

An d O f t e n i s h i s g o l d c o m p l exi o n d i m m d

An d e u e r y fa i r e f ro m fa i r e s om e t i m e d e cl i n e s -
,

B y Ch a n c e or n a t u r e s ch a n g i n g c o u rs e v n t r i m d

B u t t h y e t e r n a ll S omm e r s h a ll n o t fa d e ,

No r loo s e p o s s e s s i on o f t h a t fa i r e t h ou ow s t

Nor s h a ll d e a t h b ra g t h o u w a n d r s t i n h i s s h a d e

Wh e n i n e t e rn a ll l i n e s t o t i m e t h o u g row s t

S o lo n g a s m e n ca n b r ea t h o r e y e s ca n s e e ,

S o lo n g li ne s t h i s a n d t h i s g i u e s l i f e t o t h ee , ,

3 . Mai e ] Ma le L .

10 . l oos e ] C M e t c (e xc e pt Wy )
, , . .

so nn e t was o mitt e d fr o m t h e P oems

This of 1 6 4 0 and t h e la t e r ed iti o ns base d
o n that v olum e .

M N C f Cym b 1 iii 6
'

3 AL
. O E : 3 37 . .
, , ,

L i ke
tyranno us bre athing of
th e th e n o rt h
S hak e s a ll o u r buds fro m gro wing

an d T of S V 1 1 1 40 : As whir l wi nds shake fair buds

. .
, , , D OWD E N : We must .

re m e mb e r that Ma y i n S h s tim e [ was a summ e r m o nth running ] o n t o within

.
,

a f ew days of o ur mid J u n e .

7 [ On fai r e s e e n ot e o n 1 6 1 1 Th e r e is r oo m f o r d o ubt wh e th e r t h e rst of

.
, , .

th e two

fairs is t h e abstract n oun o r
fai r o ne ( cf 2 1 ED ] , .
, .

8 un tri m d S C H M I D T: S tripp ed of o rnam e ntal dr e ss P O R TE R : As a ship s

'
. . .

sails u ntrimm e d t o t h e c o urs e as t h e wind s c omp e l h er t o b e [ S chmidt s e x .

p l anati o n is u nd o ubt e d l y right ED ] . .

XIX ] TH E S ONNE TS OF S HAK ES P E AR E 51

10 . ow s t

m e aning ow n cf 7 0 1 4
. F or t h e , .
, .

12 D OWD E N : This anticipati on of imm ortal ity f or th e ir ve rse was a c omm on

.

p l ac e with t h e so nn e t writ e rs of t h e tim e of E li z ab e th S ee S p e nse r Amoretti

-
.
, ,

S 2 7 6 9 7 5; D rayt o n I de a S 6 44 ; D ani e l D eli a S 39 [ On this subj ect s ee

.
, , , , .
, , , . .

e sp e cially t h e n o t e s o n S 55 ED ] . . .

L E E : Th e r e is a l m ost a c o ntradicti o n i n t e rms b e tw ee n t h e p oe t s handling of

ap al marry i n rd r that fri nd s b e auty may surviv e i n chi l dr e n

[ t h e p e t o o e t h e e ,

S 1
. and h i s e mphatic b oast i n 1 8 1 9 that his v e rs e al o n e is fully e qual -

t o t h e task o f imm o rtali z ing his fri e nd s y o uth and acc o mplish m e nts

(L i f e . ,

p .
[ T h e r e is ind ee d g oo d gr o und f o r qu e sti o ni ng wh e th e r th e se t w o s o nn e ts
sh ould b e i n c lud ed as fr e qu e nt l y i n t h e sam e gr o up with t h e pr e c e ding and

, , ,

wh e th e r th e y can b e th ought of as writt e n at t h e sam e tim e e v e n if admitt e dly ,

t o t h e sam e p e rso n i ED ] .

This s o nn e t was trans l at ed i nt o Latin b y E D S t o n e N 69 Q J un e 1 0 . .

, .

.
, .

1 87 6 .

I9

D E V OU R I NG t i m e b lun t t h ou t h e L y on s p a w e s ,

An d m a k e t h e ea r t h d e uou re h e r ow n e s w e e t b r ood ,
P luc k e th e k e e n e
h f rom t h e e r c e Ty g e rs y a w es t ee t ,

An d b u r n e t h e lo n g l i u d P h aen i x i n h e r b l oo d

M a k e gla d a n d s orry s e a s on s a s t h o u e e t s t

An d d o w h a t e re t h ou w i l t s w i f t foo t e d t i m e -

To t h e w i d e w o rld a n d a ll h e r fa d i n g s w ee ts
B u t I f o rb i d t h ee o n e m o s t h a i n o u s c r i m e ,

0 ca r ue n o t w i t h t h y b ow e rs my l o u e s fa i r e b row ,

Nor d ra w n oe l i n e s t h e r e w i t h t h i n e a n t i q u e p en ,

H i m i n t h y c o u rs e v n ta i n t e d d oe a l l ow ,

F or b ea u t i e s p a t t e rn e t o s u cc e d i n g m en .

Ye t d o e t h y w o r s t l d Ti m e d i s p i g h t t h y
ou w r on g ,

My lou e s h a ll i n my ve rs e e ue r li ue y ou n g .

I . D e u our i n g ] D es troy i n g Wa l ker c onj .

3 . .

y aw s s 1 j aws C, M , et c .

5 fle e t s t] f leets A
.

, Kt , C0 , D e l, Dy , S t a , C l, Gl, K ly Wh , , H a l, D o,

R OX , H e r , B e , N, B u
, ll .

1 1 . th y ] th e H u g
.

14 . eue r li n e ] li ve ever Nich olso n c o nj .

This so nn et was a l so Omitt ed fr om t h e 1 6 40 v ol um e .

5 2 TH E S ONNE TS OF S HA K ES P E AR E [X I X
1 . i tim e VE R I TY : S o S p e nse r S 58 : D evouring tim e and
D evour n g .
, .

change ful chanc e A r e minisc e nc e of Ovid s eda x vetu s ta s ? WAL S H : C f Th e

.

.

pr e y of Tim e which all things d oth d evo ur S p e nse r s translati o n of B ella y s
, ,

Th e R uins of R o m e 3 8 and D evo uring D e ath S p e nse r s o w n

, , ,

Th e R uins o f Tim e Th e original is Ovid s Tempus eda x E x

52 , ,

P on to I V x 7 and Met xv 2 34 L E E : [ Cf Golding s Ovid

.
, , , , , , .

Th o u Tim e at e r up , th e e of things and , a g e of spit efu l t ee n ,

D estr oy all things !

( Ou Rev . .
, 2 10 :

[ Cf . D ani e l s
s c o nsuming rag e
D eli a , ED ]
S 50 . : Tim e

. .

4 i n h e r bl ood S TE E VE NS : Ma y signify burnt aliv e

. .
[ Cf Cor I V vi 8 5 . .
, , ,

Yo ur t e mp l e s burn e d i n th e ir c e m e nt wh i ch may m e an burne d wh i l e

,

[ S o D E L I U S : H avi ng stil l living bl ood ] R OL F E : F or allus i o ns t o .

t h e ph oe nix in S h cf Temp I I I iii 2 3 ; A Y L I V i i i 1 7 ; H 8 V v 4 1 ;

.
, . .
, , , . . .
, , , .
, , ,

T of A I I i 3 2 ; e t c S e e al so Th e P h oen i x a n d th e Tu rtle
.
, , . .

5 fle e t s t [ F or t h e usua l chang e t o eets s ee ABB OTT: ] I n v e rbs e nding

.
.
,

with t t e st nal i n t h e se c o nd p e rs o n singular oft e n b e c o m e s t s f or e uph o ny

-
,
- -
.

( C f th o u t o rm e nts R 2 I V i 2 70 ; I iv 53 ; e t c )

.
, . This , , , , , .

t e rminati o n i n s c o ntains p e rhaps a trac e of t h e i nu e nc e of t h e n orth e rn i n

-

ec t i o n i n s f or t h e s e c o nd p e rs o n singu l ar
-
[ S ee F R ANZ on t h e sam e .

subj ect ,

6 F or t h e punctuati o n s e e P S I M P S O N S n ot e o n 1 1 2

. .
.
, ,

10 a n ti q u e
. R OL F E : Acc e nt e d o n t h e rst syllab l e as r e gu l ar l y in S h
.
, .

TYL E R : S o call e d appar e ntly as marki ng a g e on t h e c o u nt e nanc e

, , .

14 B E E C H I NG : Th e cad e nc e of this lin e se e ms t o mark t h e c o nc l usi o n of t h e

.

rst secti o n [of t h e S o nn e ts] .

[Th e curi o us r e ad e r may n d i n B lackwood Ma g 1 6 9 : 6 74 s o m e r e marks

s , ,

by C R E I G H TO N t o t h e eff ect that t h e rst quatrain of this s o nn e t inv ol v e s a

d escripti o n of t h e P e mbr o ke arm s with t h e tri ing chang e s of panth er t o tige r ,

and of wyvern t o ph oen ix 1 .

XX ] TH E S ONNETS OF S HAK E S P EAR E 53

A WOMANS fa c e wi th h a n d pa i n t e d
n a t u re s ow n e ,

H a s t e t h o u t h e M a s t e r Mi s t r i s o f my pa s s i on ,

A w oma n s g e n t l e h a r t b u t n o t a c q u a i n t e d
Wi t h s h i f t i n g ch a n ge a s i s fa l s e w om e n s fa s h i o n ,

An e y e m or e b r i gh t t h e n t h e i r s le s s e f a l s e i n r ow l i n g : , 5
G i l d i n g t h e ob i e c t w h e re V p o n i t g a z e t h -
,

A m a n i n h ew a ll H ews i n h i s co n t r ow li n g ,

Wh i ch s t ea l e s
m e n s e y e s a n d w om e n s s o u l e s a m a s e t h .

An d f o r a w om a n w e r t t h ou r s t c r ea t e d ,

Ti ll n a t u re a s s h e w r o ugh t t h e e f e ll a d o t i n g e

An d b y a d d i t i on m e o f t h e e d e f e a t e d ,

B y a d d i n g o n e t h i n g t o my p u r p o s e n o t h i n g .

B u t s i n c e s h e p ri c k t t h e e o u t f or w o m e n s p l ea s u re ,

M i n e b e t h y l o u e a n d t h y l o ue s v s e t h e i r t r e a s u r e .

2 . H a s te ] H a s t 1 6 40 , G, et c .

3 . Ma s te r Mi s tri s ] Ma s ter Mi s tres s , G, S , E ; hyph e n e d by C M , , et c .

( e xc e pt
Wy , N) .

7 . m an i n ] m a i d en B e c o nj . H ew s ] H ue E;

h u es

Gl C a m, , Wh 2
, He r .

w e rt ] we n t 1 6 40 .

[With t h e th e m e of this so nn e t MAS S E Y c o mpar e s C hapman

A y o uth s o swee t of fac e
That many th o ught him of t h e f e ma l e rac e ;

and Mar l owe , H t L. .

,

S o me swor e h e was a mai d i n m e n s attire

F or i n his l oo ks we r e all that m e n d e sir e .

(p .

VO N M AUNTz c o mpare s O vid Me ta,m 8 3 2 2 23

.
, ,

F aci e s quam dic e r e v e r e

,

Vi rg i n e a m i n pu e ro pu e ril e m i n v i rg i n e p osse s ]
,

1 . Mas ter Mi s tri s SC H M I D T: A mal e mistr e ss o n e l ove d l ike a wo man

.
, .

MAL O N E : D oe s n ot p e rhaps m e an man mistr e ss b ut s overei g n mistr e ss

-
, .

[ Mod e rn usage is u nd o ubt e dly r i ght i n hyph e nating t h e w ords and th e y sh o uld ,

b e u nd e rst ood as c oordinat e ; t h e n o t i o n is e ith e r b oth mast e r and mistr e ss

or wh e th e r mast e r o r mistr e ss I ca n hardly say E D ] pass i on S C H M I D T

. . .

Am or ous d e sir e MAS S E Y : [ S yn o nym ous with p oe m C f Watso n s P a s s i on

. . .
 54 TH E S ONNE TS OF S HAKES P E AR E [xx
a te Cen tu ry , wh ose 1 0 0 so nn ets a re call e d passi ons thr ough out ; a nd
1 58 2 ,

M N D wh e re t h e d i tti e s of P yramus and Thisbe a r e s o call ed ] Thus t h e

. . .
, .

pass i o n of S h is n ot an a ff air of t h e h e art

[ but ] t h e th e m e on which h e
.
,

writ e s ; s o t h e e ff e minacy o f t h e w o man l ik e l ov e i n w ooing a mal e fri e n d -

vanish e s fr o m t h e so nn e ts ( pp 39 D OWD E N [ not e s t h e sam e int e rpre ta . .

t i o n of pa s s i on as havi ng b ee n sugg e st e d t o him by H C H art 1

:

. . .

5 f als e i n r owl in g D O WD E N : C f S p e nse r F Q B k 3 c i s 4 1

. . .
, . .
, .
, .
, .

H er want o n e ye s ( i ll signe s of w om a n h e d )
D i d roll t oo l ightly .

TYL E R : Cf . 1 39 , 6; 1 40 , 14 .

7 . m a n i n h ew m e aning of h ue
. SC H M I D T [give s o nly c ol our f or t h e .

Th e N E D n ot e s f orm shap e app e aranc e as t h e rst ( th ough obso l e t e )

. .
.
, , ,

m e aning ( cf Gothic h i wi f o rm app e aranc e ) 1 D OWD E N : Th e w or d was use d

.
, .

by E li z ab ethan writ e rs n ot o n l y i n t h e se nse of c o mpl e xi o n but also in that

,

of shap e f orm I n F Q B k 5 c ix s s 1 7 1 8 Ta l us tri e s t o s e i z e Ma l e ngin

,
.
"
. .
, .
, .
, .
, ,

w h o transf orms himse l f i nt o a f ox a bush a bir d a st o n e an d th e n a h ed g e h og , , , ,

Th e n gan it run away i nc o nti n e nt

B e i ng r e turn ed to his f orm e r h ew .

Th e m eaning th e n may b e A man in f orm and app e aranc e having t h e ,

mast e ry o v e r all f orms in that of his e t c With t h e phrase c o ntrolling hu e s ,

.

cf S 1 0 6 8 B E E C H I NG : I n al l oth e r plac e s wh e r e S h us e s t h e word it m eans

. .
, . .

app e aranc e
c o mp l e xi o n ( cf P er I V i 4 1 that e xc e ll e nt c o mp l e xi o n

,

. .
, , , ,

which did s tea l th e ey es of old an d A b e autifu l c o mp l e xi o n might b e

said t o c o ntr ol oth e rs by making t h e c ol o ur c o m e and g o but o n e shap e

,

c ou l d hav e n o i n u e nc e on an oth e r Th e w ords man i n alm ost c e rtainly a re

.

a c orrupti o n of so m e e pith et b ecause a manly h ue wo u l d n e ith e r st e al m e n s ,

e y e s n or surprise w o m e n s s ou l s ; and t h e wh ol e p oint of t h e so nn e t is that t h e

fri e nd s b e auty is f e mini n e I n t h e pr evi o us t w o l in e s his ey e has b ee n c om

.

par e d with a wo man s an d w e sh ou l d e xp ect a simi l ar c o mpariso n as t o his

h u e t o pr e s e rv e t h e balanc e of t h e d o ubl e c o mpariso n i n t h e rst quatrai n

.

,

I pr o p os e th e r e f or e t o r e ad a ma i den h ue
"
My fri e n d Mr J W Mackal l
, . . . .

pre f ers a n a ti ve h ue
i 84 ) as b e ing n e ar er t o t h e du ctu s li tera ru m ,

of

a man i n h ue That wo u ld d epe nd on t h e handwriting ; i d i n an E l i z a

.

b e than hand l ooks v e ry like i t with a na l o urish and f or t h e mistake of i n ,

f or en cf bitt e r f or b e tt e r i n 9 1 9 F urth e r native r e p e ats t h e po int
"
, . , .
,

a l re ady mad e i n l 1 whil e maid e n wou ld pr e par e t h e way f or l 9 [ I must

.
, . .

r e c ord my c o nvicti o n that this is on e of t h e m ost p l ausib l e e m e ndati o ns which

hav e b ee n pro p ose d in c o nn e cti o n with t h e t e xt of t h e S o nn e ts ED ] . .

H e ws B O S WE L L : Mr Tyrwhitt has p oi nt e d o u t t o m e a l in e
. . which
i nc l i n e s m e t o think that t h e i nitials W H i n t h e D e dicati o n stand f or . .

VJ H ugh e s [Th is l i n e qu ot e d ] Th e nam e H ugh e s was f orm e r l y writt e n

. . .

H ew s Wh e n it is c o ns i d e re d that o n e o f th e se S o nn e ts is f orm e d e ntire ly on a

.

p l ay on our auth or s C hristian nam e this c onj ect ure w i ll n ot a pp ear impr obab l e

, .
 xx ] TH E S ONNE TS OF S HAK ES P E AR E 55

( P r eli m R e ma r k s , . p B R OWN E [discuss e s t h e H ugh e s c o nj ectur e

ed . 1 82 1 , .

i n 4 th Aug 30 1 8 73 m e nt i o n i ng t w o E li z abe than musicians nam e d H e we s ]

. .
,
.
, ,

F U R NI VALL N fat Q" s t h s 5 : 44 3 ) give s a list of c o nt e mpo rar i e s with S h

.
-
.
, .

nam e d H ugh e s ] MAS S E Y : I t is E we s that was aim ed at by t h e d ou ble en

te n d r e wh i ch l e ads us b e y o nd t h e m e r e nam e t o a pe rso n of impo rtanc e ; f or

,

E w e was a titl e of E sse x Th e E arld o m was that o f

E sse x and E w e A

. .

man i n h ue al l E w es i n his c o ntr olling was as far as S h c ou1d g o i n t elling his

, .

fri e nd that his c o m el in e ss and favo ur w e re far sup e ri o r t o th o se of t h e favo urit e ,

and that th ese gave him t h e uppe r hand ( p TYL E R : Th e n oti o n that . .

H ew s was i nt e nd e d t o indicat e a c e rtain Mr William H ugh e s scarc e ly .

n ee ds t o b e r efut e d WYND H AM : I re tain t h e Q type an d sp e lling b e i ng p er

.
,

s ua d ed that t h e w o rd was s o pri nt e d int e nti o nally Th e lin e m e ans A man

.

i n shap e all shape s i n his c o ntrolli ng Cf 53 58 1 2 I t stat e s that t h e fri e n d

. .
, , .

was t h e e t e rnal patt ern of B e auty B ut t h e type se l e ct e d f or hu e s t hanks .

,

t o c o nt e mp o rary sp e lling H ew s e nabl ed t h e po e t t o c o nv e y so m e thing m o r e , ,

which was appar e nt t o t h e p e rso n addr e sse d and is n ot appar e nt n ow Of th i s .

I am c o nv i nc ed B ut be y o nd this all is gu e sswork S o m e h old that Mr W H

. . . . .

of t h e d e dicati o n was t h e fri e nd and that his nam e was William H ugh e s ; ,

o th e rs s ee k an anagram i n t h e l e tt e rs [ H ew s c o ntains t h e in i tials of H e n r y .

Wri ot h e s ley E ar l of S o uthampt o n ] Oth e rs may riddl e it : H e H e rb e rt

, .
,

W S S hake spe are

. . I t i s strange that a passage i n C hapman s P r e fac e t o
.

t h e R e ad e r ( H ome r s I li a d s ) has s o far e scape d [ t h e att e nti o n o f th ose w h o tak e

C hapman as t h e rival poe t m e nti o n ed in t h e S o n n e t s z] An o th e r right l e arn e d ,

h on e st and e ntir e l y l o ve d fri e nd of min e M Rob e rt H e ws

,

L E E : [Th e , . .

H ugh e s th eo ry is a fantast i c sugg e sti o n ] No kn o w n c o nt e mp o rary o f t h e nam e .

,

e ith e r i n a g e or p o siti o n i n l if e b e ars any r e se mblanc e t o t h e y o ung ma n w h o ,

i s addr e ss e d by S h in his so nn e ts (L if e p 93 n ) B U TL E R : Th e r e was a Wi lliam

. .
, . .

H ugh e s or H e we s ( bo th f o rms appe aring ) w h o aft e r having b e e n

, many ,

y ears i n t h e navy an d se rved as st e wa r d i n t h e Vanguard S w i f t s u r e an d

, ,

D r e adn ought appli e d in 1 6 33 34 f or t h e po st of c oo k which I l e arn was rath e r

,
-
,

m ore highly paid than that o f st e ward ; h e was app oint ed and d i e d i n March ,

1 6 36 37 -
This man is quit e as lik e ly t o have b e e n Mr W H as any o f t h e
. . . .

o th e rs (p .
[Th i s is sur e ly a pl e asingly v i o l e nt r e acti o n fr o m t h e usua l
.

dabbling with n ob l e m e n i n c o nn ecti o n with t h e so nn e t myst e ry ED ] . .

C RE I G H TON : A play up o n o ne of t h e bar o ni e s or c o urt e sy tit l e s o f t h e E arl o f

P e mbr o k e F i t z hugh or F i t z h e w ; s o that t h e l i n e c o nstru e s : A man in h e w

, ,

( my l ord F i t z h e w ) t h e l o rd o f all t h e so ns o f H e w

, ( B la ckw ood 1 6 9 : .
,

B E E CH I NG : As t h e word stands on t h e pag e i n t h e Q it c e rta i nly l oo ks m o

m e nt on s B ut i t must b e n ot ed that what chi e y impr e ss e s t h e m od e rn
.

r e ad e r is t h e capita l l e tt e r with t h e ita l ics ; and this is f o un d w i th every wor d

print e d i n ita l ics through o ut t h e so nn e ts s o that a capital l e tt e r t o a r e ad e r ,

o f _t h e Q w o u l d n ot b e i n t h e l e ast sugg e stiv e of a pr o pe r nam e as it is t o u s .

Mo reo ve r t h e l ine c o ntains n o pun such as w e have u po n t h e nam e Wil l

,
"
,

i n S 1 3 5 e t c ( I ntro p X l ii ) MAC KAI L : No argum e nt can b e safe ly bas e d o n

.
, . .
, . .

t h e capita l an d t h e ita l ics f or t h e s e a re f oun d el s e w h er e in s uch c omm on w or d s

, ,
56 TH E S ONNETS OF S HA KE S P E AR E [XX
as a utumn and s ta tues and a re cl e ar l y a m e re irre l e vant
, i nf ormer , h ereti c , ,

e cc e ntricity o f t h e typ e s e tt e r in a v e ry irr e gularly and car e l e ss l y print e d -

vo lu m e ( p: [ On t h i s matt e r of t h e italic typ e s ee t h e n ot e s on ros e i n

.
,

1 2
, .E D ] P O R TE R : Th e r e is r e aso n e n o ugh f or [t h e italics ] in t h e sp e cial
.

E l i z ab e than s e ns e of h ew and H ews i e shap e j o in e d with t h e c o mm o n s e ns e , . .

, , ,

h ue appr o priat e ly alluding h e re t o t h e c o mp l e xi o n as that of a w o man s

,

fac e paint e d fair by Nature s hand and t h e larg e r se nse of t h e s o nne t as a
,

wh o l e i n its praise of t h e d o ubl e charm of masculin e and f e minin e H ews o r

, ,

shap e s W B B R OWN [r e vive s t h e pu n th eory i n N 69 Q 1 1 t h s 7 : 2 4 1 2 6 2

. . . .

.
, .
, , ,

nd i ng puns also i n 6 5; 1 34 1 0 ; and e ls e wh e r e ] H D G R AY : Th e typ e o f

, , . .

pun [ f o und i n this l ine] se e ms t o m e s o uncharact e ristic that t h e ital i ci z e d w ord

give s us t h e o n l y nam e which S h s fri e nd c o u l d n ot have b orne I f S h use d .

. .

this so rt of crypt ogram th e n th e re is littl e t o say against t h e Bac o n i an th e ory , .

( P u b M L A n s 2 3 : 6 34 n )
. . . .
, . . .

c on tr ow li n g S C H M I D T: Ove rp o we ring b e ing sup e ri or t o [ C f 1 0 7 3 and

.
, . .
, ,

C or I I I i 1 6 1
.
, Not havi ng t h e p owe r t o d o t h e g oo d it w o u l d f or t h e ill wh i ch
, , ,

d oth c o ntr ol t 1 TYL E R : Re nd e ring a ll oth e rs sub o rdinat e B E E C H I NG : Ma y

. .

m e an inc l uding and harm o niz ing al l particu l ar b e auti e s o f c o mpl exi o n i n

his an id e a put fr o m t h e o th e r sid e in S 53 or p e rhaps c o mmanding all

,

.
, ,

o th e r fac e s by h i s an id e a e xpand e d i n t h e l ine that f oll ows

,

.

8 Wh i ch WAL K E R : R e f e rs t o a ll h u es n ot t o a ma n [ L e t t s o m adds that W

. . ,
.

e vid e ntly m e ant t o th e f a ct e xpr e sse d by all hu e s (3 :

9 1
-
1 I S AAC : C f . M arl o w e H 6
9 L 8 7 8 8 .
,
. .
,
-

And such as kne w h e was a man wo uld say ,

Le an d e r th o u art mad e f or am or o us play

,
.

( J a h rb .
, 19 :

WAL S H : Cf . Auso nius , I n P u eru m F ormos um

D um d ub i t a t Natura mare m f a ce re t n e
, p ue lla m ,
F actus es , 0 pu l ch er , p a e ne p u e lla, pu er !
11 . d e f e ate d . SC H M I D T: D isappoi nt ed , in th e se nse of d e prived .

ED ] .

I t is imp ossib l e t o r e a d this fu l so m e pan e gyric addre sse d t o a

S TE E VE NS : ,

mal e obj e ct with o ut an e qual mixture of disgust and indignati o n We may

,
.

r e mark also that t h e sam e phrase e mpl o ye d by S h t o d e n ot e t h e h e ight o f

,
.

e nc o mium is us e d by D ryd e n t o e xpr

,
e ss t h e e xtr e m e o f r e pr o ach :

a man If ,

C o rrupt ed t o a wo man ; thy man mistr ess -

.

(D on S eba s ti a n .
)

[ Itwil l b e n ot e d of c o urse that this is n ot t h e sam e phrase as S h s

,
ED ] ,
.

. .

M A L O N E : S o m e part o f this i ndignati o n might p e rhaps hav e b e e n abat e d if ,

it had b ee n co nsid er e d that such addre sse s t o m e n h ow ev e r ind e l i cat e we re , ,

c us t o ma ry i n o u r auth o r s tim e an d n e ith e r i mp o rt e d crimina l ity n or w e r e es

,
XX ] TH E S ONNETS OF S HAK ES PE AR E 57
t e e m ed ind e c oro us S ee a n ot e on lover S 3 2 F U R N I VAL L [ re gards t h e so nne t
.
, . .

as S h s answe r t o] t h e th oughtl e ss obj ect i o n that many sonne ts i n t h i s g r o up

.

c o nfuse t h e s e x of t h e p e rso n th e y t e addre s s e d t o ( I ntro p lxv )

. .
, . .

[ S ure ly it is with vanity an d q uit e n ee dl e ss ve xat i o n of sp i rit that this

so nne t has b ee n ma d e a m e ans of adding t o t h e tr o ubl o us susp i c i o n that so m e
f o rm of se xual p e rv e rsi o n lurks i n t h e c oll e ct i o n C al l t h e th i rd quatrain .

o bsc e n e if n e e d b e but d o n o t fa il
, ,as many have d o n e t o n ot e its wh olly
l i ght and hum o r o us t on e i n c o ntrast with t h e h e ct i c i nt e nsity o f m orbid
,

e r ot i cism I t is s o di ff e r e nt fr o m what S h was abl e t o d o o n occas i o n wh e n

. .
, ,

it was his purp ose t o re pre se nt passi o n that o n e may agr e e unh e sitatingly ,

w i th H ARR I S ( Th e Ma n S h p w h o th o ugh ca l li ng t h e p oe t a se nsualist

.
, .
, ,

t h e se xt e t of this so nn e t abso l ut e l y dispr o ve s t h e implicati o ns

o bse rv e s that

o f S t ee v e n s and oth e rs To t h e same e ff ect is B RAND L S re c e nt I ntr oducti o n

.
,

wh er e it is truly obse rv ed that t h e v e ry substanc e of S 2 0 is t o t h e e ff ect that .

t h e fri e nd may e nj oy w o m e n t h e poe t wish e s o nly t h e l o v e of his h e art .

( p xxvii )
. ED ] . .

[ E so t e ric int e rpr et e rs of t h e S o nn e ts hav e f ou n d S 2 0 e spe cial l y fascinating .

.
.

An an o nym o us writ e r i n B la ckwood s ( 1 37 : int e rpre ts it as r e fe rring t o

t h e dual charact e r o f

e t e rnal l ov e i n t h e plat o n i c phil os o phy and c ompare s ,

F e nt o n s Mon oph y le as f oll ows : [Th e phil oso ph e rs1 i magin ed l ove t o

b e a m ost e xc e ll e nt f orm or p l ot e xc ee d i ng g e n e rally t h e c o nsid e rati o n of man , ,

and th e r e f or e did gur e u nt o us an An drogi na i n wh o m th e y m e ant a ma n

c o mp ose d of m a sculin e and f e mi nine s e x I t was S h s study of S t Au g ti s t i n e . .

.

a nd D ant e t h e critic c o ntinu e s which led him t o ad o pt t h e truly grand id ea

, ,

picture d i n t h e 2 ot h S o nn et GOD WI N al so i nt erpre ts mystica l ly : S h is h e r e

. .

r e pre se nting t h e pe rso ni e d g e nius of a ll art as androgyn o us or d o ub l e se xe d ,

-
.

(p
GE OR G E R os s [ in his e ssay on S h s Ma d C haract e rs make s t h e foll o wing
, .

ob s e rv a t i o n z] As in h eav e n th e r e is n o marrying n or giving i n marriag e s o i n ,

t h e p oe tic e lysium th e r e is n o s ex No d o ubt S h himse lf at a la t e r day . .

,

tr e mbl ed at his o w n t e m e rity but his so nn ets r e mai n t o sh o w that it

,

is p ossibl et o asc e nd t o a r e gi o n of abstracti o n wh e r e fact i s ab s orbe d i n f ee l ing ,

and s e x is on e an d ind ivis i bl e (S tudi es p .

, .

H D GRAY [ nd s this s o nn e t t o b e o ppo sed t o both t h e S o uthampt o n an d

. .

P e mbr o k e th e ori e s sinc e it is] incr e dib l e that S h sh o u l d hav e t ol d e ith e r of

, .

th e s e ear l s e ve n i n j e st that o nly s ex st ood i n t h e way of his grac e s marriage

, ,
'

t o an act o r ( P ub M L A n s 2 3 :
. . . . .
, . .

[ It se e ms t o b e S 2 0 t o which w e must attach a r e mar k r ec ord e d i n Col e ridge s

.

Ta ble Ta lk ( Ma y 1 4 1 8 33 ) : 1 I t s ee ms t o m e that t h e S o nn e ts c ou l d o n l y have

,

c o m e fr om a man d ee ply i n l ove an d i n l ove with a woman ; and th e re is on e ,

s o nn e t w hich fr o m its i nc o ngruity I ta ke t o b e a purpo sed b l in d

, , .
58 TH E S ONNETS OF S HAK ES PE AR E [XX I

S o is it n ot wi t h m e
M us e as w i t h tha t ,

S t i r d b y a p a i n t e d b ea u t y t o h i s v e rs e ,

Wh o h ea u e n i t s e lfe for or n a m e n t d o t h v s e ,

An d e u e ry fa i r e w i t h h i s fa i re d o t h r e h e r s e ,

M a k i n g a c oop elm e n t o f p ro u d co m pa r e
Wi t h S u n n e a n d M oon e w i t h ea r t h a n d s ea s r i c h ge m s ,

Wi t h Ap r i lls rs t b orn e ow e r s a n d a ll t h i n g s ra r e ,

Th a t h e a u e n s a y r e i n t h i s h u g e ro n d u r e h e m s ,

O le t m e t r ue I n l o u e b u t t r u ly w r i t e ,

An d t h e n b e le e u e m e my l o u e i s a s fa i r e , ,

As a n y m o t h e rs C h i l d e t h o u gh n o t s o b r i gh t ,

As t h o s e g o u l d ca n d e lls x t i n h ea u e n s a y e r :
Le t t h e m s a y m o r e t h a t l i ke of h ea re s a y w e l l -
,

I w i l l n o t p ra y s e t h a t p u rp os e n o t t o s e l l .

1 . is it] it is M 1
.

5 . coop e lm e n t ] com plemen t G

1
, S ;
com pli en t G , 8 , E ;
m 2 2
c ou plement C , M ,

etc .

6 . ea rth ] ea tth 1 6 40 .

8 . th is ] h i s E A K ly ,ayr e i n thi s ] va ult i n h i s S t a c o nj

, . .

th os e ] th es e N [e rr or ] i n h ea u e n s ay e r ] i th e h ea ven s
.

a re B ut .

With this s o n e t c f S 1 30 an d n ot e s n

. . .

WYND H AM : This sonne t off e rs t h e rst attack on t h e fa l se art of a riva l p oe t .

B E E C H I NG : [Th e Muse h e r e m e nti o n ed is ] n ot t h e rival p oe t m e nti on e d lat e r

w h o prais e d W H f or h e ex h y poth es i was n ot a paint ed b e auty TYL E R
. .
, , , . :

P o ssibly s o m e particu l ar poe t may b e int e n d e d .

4 . fa i r e
n ot e on 1 8 7 :
. S ee ,

5 coope lm e n t MAL ON E : I f or m e rly th o ught this w or d was o f o u r auth or s

. .

i nve nti o n but I hav e lat e ly f ound it i n S p e nse r s F Q : Alli e d with bands of
,

. .

m utua l c o upl e m e nt
[ T h e N E D cit e s o th e r
. e xampl e s fr o m t h e 1
. 6 t h . .

c e ntury E D ] S C H M I D T: C ombinati o n
. . .

8 r on dur e MAL O N E : A r o und ; r on deur F r C f

. . I I i 2 59 : Ti s n ot , . .
, ,

t h e r ound ur e of y o ur old fac d wal l s M al n rr n us l y r f rs l in

h

[ o e e o e o -
e e t e e t o .

H en ry V ] TYL E R : [ P robably] t h e vast circumfe r e nc e of t h e l imiting h o ri z o n

. .

9 tr ue i n l ove H E N R Y B R OWN : Th e p oe t s m o tt o H i s s e a l pr e s e rv e d at

. . .
,

S tratf o r d b e ars t h e initia l s

,

W S e ntwin e d with t h e tru e l ove rs kn ot , . .
,

.

(P
XXI ] TH E S ONNE TS OF S HAK E S P E AR E 59
12 . can d e lls .MAL ON E : C f R 83 J I I I v 9 : Night s candl e s a re burnt . .
'
.
, , ,

Ma cb I I i 5: Th e re s husbandry i n h e ave n ; th e ir candl e s a re al l

o ut .
, , ,

ou t M V V i 2 2 0 : By th e se bl e sse d cand l e s of t h e n i ght VE RI TY : [ Cf

. .
, , ,

. .

also F a i rf ax s Tasso B k ix st 1 0 Wh e n h e ave n s small candl e s next shal l

, .
, ,

shine L inch e s D i ella 30 : H e that can c o unt t h e candl e s of t h e sky

and ,

se ve ral passage s i n Mar l owe B ul l e n e d 2 : 1 3 7 1 58 , .

, , ,

13 .li k e of h e a r e s a y D OWD E N : S chmidt s explanati o n is that fa ll i n l ove

- .

with what has bee n praise d by oth e rs ; but d oe s it n ot rath e r m e an that

,

l ike t o b e bu z z e d ab o ut by talk ROL F E : Appare ntly re fe rring t o t h e c omm o n

p l ace sty l e of which h e has b e e n spe aking TYL E R : Ar e pl e ase d with i dl e a n d .

e xtravagant t a l k B E E CH I NG : L ike vagu e and e xagge rat ed rum o ur

. .

1 3 1 4 S TE E VE NS : C f L L L
-
. I V iii 2 3940 : . . . .
, , ,

Fie paint e d rh e t oric ! 0 s h e n ee ds it n ot

, , .

To things of sal e a se l l e r s prais e be l o ngs

.

MAL O NE : C f T f C IV i 7 8 : We 11 n ot c o mm e nd what w e int e n d t o se ll

. . .
, , ,

[ n o ting Wa r b u r t on s c o nj e ctur e that it sh o u l d r e a d i nt e nd n ot WYND

H AM : Cf D ani e l D eli a S 53 :
.
, , .

No n eth e r fame mine unambiti ous Muse

o ,

Affe ct e d e ve r but t e t e rni z e th ee ! ,

All o th e r h o no urs d o my h o pe s r e fuse ,

Which m e an e r pri z e d an d m o me ntary b e .

F o r Go d f orbid ! I sh o u l d my pap e rs b l o t
,

With m e rc e nary l ine s with se rvi l e pe n ; ,

P raising virtu e s i n th e m that have th e m n ot ,

B as e ly att e nding o n t h e h o p e s of m e n .

B E E C H I N G : Cf 3 4 . 102 ,
.

[ M A I N : F o r e xampl e s o f t h e ki n d o f c o up l e m e nt of proud c ompare which

S h h e re ri d icu l e s cf D ani e l D eli a S 1 9 :
.
, .
, , .

Re st o r e thy tr e sse s t o t h e go ld e n ore !

Yi e ld C yth e r ea s so n th o se arks of l ov e !

B eq u e ath t h e h e ave ns t h e stars that I a d ore !

An d t o t h e Ori e nt d o thy p e ar l s r e m ove !
Y i e ld thy hands prid e unt o t h e iv o ry whit e !

To Arabian od o ur give thy br e athing swee t !

Re st o re thy b l ush unt o Aur o ra bright !
To Th e tis give t h e h o n o ur of thy f ee t !
Barn es ,
s P a rth e n oph e , S 4 8
P a rth e n oph i l E
.

H er hairs n o grac e of g ol d e n wire s want ;

P ur e pe ar l s with p e rf e ct rubin e s a re inse t ;
Tru e diam o nd s i n e y e s ; sapphire s in ve ins ; , ,

D avie s of Here ford s Wi t s P i lg ri ma ge S 7 3 ; S p e nse r Amoretti S

, .
, ,
.
9

L o ng whi l I so ught t o what I might c o mpar e e

Th o se p owe rfu l e ye s which l ight e n my dark spright ,

60 TH E S ONNE TS OF S HAK ES P E AR E [X XI
Ye t nd I naught o n e art h t o which I d are ,

R e se mbl e t h image of th e ir g oodly l i ght

.

Not t o t h e su n ; f or th e y d o shin e by night

Nor t o t h e m oo n ; f or th e y a re chang e d n e v e r
Nor t o t h e stars ; f or th e y have pur e r s i ght
Nor t o t h e re ; f or th e y c o nsum e n ot e ve r :
Nor t o t h e l i ght ning ; f or th e y still per se ve r
Nor t o t h e d i am o nd ; f or th e y a r e m o r e t e nd e r
Nor u nt o crystal ; f or n o ught may th e m se ve r :
Nor u nt o glass ; such base n e ss m o ught off e nd h er .

Th e n t o t h e Mak e r se lf th e y like st b e ,

Wh ose l ight d oth light e n all that h e re w e s ee ;

i bi d .
, s 64
.

H er lips did sme ll l ike u nt o g i lly ow ers ;

H er ruddy ch e e ks l ike u nt o r o se s r e d ;
H e r sn owy br ows like budd e d b e llam o ur e s ;
H e r l ov e ly e y e s l ike pinks but n e w l y spr e a d ;
H e r g oodly b o so m like a strawb e rry b e d
H er n e ck lik e t o a bu nch o f c o l umbin e s ;
H e r br e ast l i k e lil i e s e re th e ir l e av e s b e sh e d
,

H er nipp l e s l ike y o ung b l o sso m e d j e ssami n e s ;

,

[ D OWD E N a dd s to th e l ist Grif n , F i des s a , S 39 .

My l ady s hair is thr e ads o f be at e n gold

H e r fr o nt t h e pur e st crystal e y e hath se e n ,

H e r ey e s t h e bright e st stars t h e h e av e ns h ol d ,

H e r ch ee ks re d r ose s such as se ld have bee n ;

an d C onstab l e

s D eca de S I
D i ana , 6 th , .

O n e sun unt o my l if e s d ay give s tru e l ight

On e m oo n d issol ve s my st ormy night of w oe s ;

On e st ar my fat e an d happy f o rt un e sh ows ;
On e saint I se rve , on e shri ne w ith vows I dight .

On t h e o th e r h a n d _f or t h e
, ri d icu l e of this type of l ove p oe try , he cit es S i d n e y ,

A 69 S
.
'
S 3
.

L etd ainty wits cry on t h e S ist e rs nin e ,

That brave l y m a s k t th eir fanci e s may b e t ol d

,

Or P in d ar s ap e s aunt th e y i n phrase s n e

,

E nam e ll ing with pi e d ow e rs th e ir th oughts of g old

Or e l se le t th e m i n s tat e l i e r gl o ry shin e ,

E nno b l ing n ew f ou n d tr o pe s with prob l e ms old

-

Or with strange simi l e s e nrich e ach l in e ,

Of h e rbs or b e ast s which I n d e or Afri c h old

XXI ] TH E S ONNE TS OF S HA KES P E AR E 61

and Sh . himse l f i n L L L. . .
, v . n, 40 6

Taff eta phrase s silke n t e rms precise , ,

Thr ee pil e d hyp e rbo l e s spruc e a e c t a t i on

-
, ,

F igur e s pe dantica l .

KR AU S S (J a h rb .
, I6 : 1 76 ) n ot e s also S 55 o f A 69 S
. .

Muse s ! I o f t i nvo ke d yo ur h oly aid ,

With ch oice st owe rs my spee ch t e ngarlan d s o

That it d e spise d i n tru e but nake d sh o w

, ,

Mi ght win so m e grac e in y o ur sweet grace array ed .

An d of t wh ol e tr oo ps of sadd e st w ords I stay e d ,

S triving abr oa d a f o raging t o g o ]

WYND H AM : Cf . D u B e llay , Con tre les P etra r gui des

D e v oz n e st q ue t o ut n or
b ea u t e z , ce

P e rl e s crysta l marbr e e t i v o y r e e n cor

, , , ,

E t t o ut l h o n n e u r d e l I n d i q ue t h r e s or

F l e urs lis oe i ll e ts e t r o se s , , , .

D KL E I N [qu ot e s a l so fr m
.
, o th e sam e p oe m of Du B ella y

s : ]
J ay oubli l art d e pe t ra r q u i s e r

J e ve ux d am our franch e m e nt d evis e r

S a ns v o us att er e t sans m e d guise r .

( S ewa nee R ev .
, 13:

Th e wh ol e poe m se ve ra l page s off e rs a c l ose para ll e l t o t h e similar attacks

, of ,

i n t h e S o nn e ts A poe t was e xpe ct e d t o disclaim t h e practice of Pe trarch s

.

imitat ors and t o tr ounc e his riva l s f or o bse rving it D ra y t o n d oe s b o th .

[ AC H E S O N vi e ws this so nn e t as writt e n i n ridicu l e of C hapman s Th e Amor

ou s Z odi a c 1 59 5
, C e spe cially stan z as 8 9
f .

.

Th y sm ooth e m b ow d br ow wh er e al l grac e I

, s ee ,

My se c ond m o nth and se c ond h o use shall b e ; ,

Which brow with h e r c l ear b eauti e s sha ll d elight

Th e E art h y e t sad and ov e rt ur e conf e r
, ,

To h e rbs buds ow e rs and ve rdur e gracing Ver

, ,
-
,

R e nd e ring h er m o r e t h an S umm e r e xquisit e .

Al l this fr e sh Apri l this sw ee t m o nth of Ve nus , ,

I wil l admire this br ow s o bo u nt eo us ;

This br o w brave c o urt of l ove and virtu e bui l d e d
,

This brow wh e re C hastity h ol ds garri so n ;

,

This br o w that b l ushl e ss n o n e can l oo k u po n ;

,

This br ow with e ve ry gr ac e an d h on our gi ld ed ;

,

an d stanz a 30 ( fro m L E nv oi )

B ut graci o us l ove if j ea lous h e a ve n d e ny

'

, ,

My l if e this tru l y b l e st vari ety ,

62 TH E S ONNE TS OF S HAK ES P E AR E XX
[ II
Yet will I th ee thr o ugh all t h e world dis pe rse ;
I f n ot i n h e av e n a m on g s t th os e bra vi n g res
, ,

Y e t h e r e thy b e aut i e s which t h e w o rld admir e s , ,

B ri g h t a s th os e a mes s h a ll g li s ter i n my vers e .

This c o mpariso n n o t o nly cl e arly sh o ws t o what S h r ef e rs as th o se g old .

candl e s x d in h e av e n s air but plainly r e v e als his str oke at C hapman s vanity

and s e lf pra i se and a l so pr ove s

-
, that S h h e r e avows that his s onn e ts we r e .

n o t writt e n f o r sal e ( S h 59 th e Ri va l P oet p All this is but a fragm e nt o f

. . .
,

Mr Ach e so n s e lab orat e th e o ry o f a C hapman S hak e spe ar e quarre l wh i ch can

.

-
,

n o t b e ad e quat e l y r e pr e s e nt e d h e r e Th e parall e ls j ust cit e d a r e am o ng t h e m ost

.

plausibl e of many d ubi o us o n e s A r e vi e we r of Ach e so n s b o o k ( S pecta tor .

Nov 2 1 1 90 3 p 8 7 2 ) adds t h e sugge sti o n that l i n e 1 4 may c o ntain a play on

.
, , . ,

C hapman s nam e , That is a chapman s way of prais i ng n ot m i n e

ED ]

, . .

GOD WI N : C a n w e d o ubt that t h e p oe t was h e r e writ i ng o f a w o man ? No

p oe t th e n or si nc e wr i t i ng of m e n i ndulge d in t h e e xtravaganc e of d i ct i o n
, ,

which S h disclaims [ I n l i ke mann e r WAL S H gr oups t h e so nn e t with th ose t o

. .
,

t h e p oe t s dark mistr e ss in c ol l o cati o n with t h e admitt edl y sim i l ar S

.
,

MY gla s s e s h a l l n o t p e r s w a d e m e I a m o u l d ,

S o l o n g a s y o u t h a n d t h ou a r e o f o n e d a t e ,

B u t w h e n i n t h e e t i m e s f o r rw e s I b e h o u ld ,

Th e n l oo k I d e a t h my d a i e s s h ou l d ex p i a t e .

F o r a ll t h a t b e a u t y t h a t d o t h c o u e r t h e e ,

I s b u t t h e s ee m e ly ra ym e n t o f my h e a rt ,

Wh i ch i n t h y b r e s t d o t h l i a e a s t h i n e i n m e , ,

H ow c a n I t h e n b e e l d e r t h e n t h o u a r t ?
O t h e r e f o r e l o u e b e o f t h y s e lf e s o w a ry ,

As I n o t f o r my s e lfe b u t f o r t h e e w i l l , ,

B ea r i n g t h y h ea r t w h i ch I w i l l k ee p e s o ch a ry
As t e n d e r n u r s e h e r b a b e f rom fa r i n g i ll ,

P r e s u m e n o t o n t h y h ea r t w h e n m i n e i s s la i n e ,

Th ou g a u s t m e t h i n e n o t t o g i u e b a c k e a g a i n e

.

ar e ] a rt 1 6 40 , L , G , S , E .

f orrw e s ] f or r ow es 1 6 40 , L '
s or r ow s G S E ; f u rrows C
, , , M , etc .

e xp i at e ] ex pi r a te S t ee c on j .
, H uz .

th y ] my F irst F o l i o ed .
[ e rr or ] .
xx u ] TH E S ONNE TS OF S HA K E S P E AR E 63

1 . ould . I S AAC [ po ints out th e c o nve nti onal charact er of this th e m e of

wrinkl e d age . C f B ar n e ld
.

s A ecti on a te S h eph e rd
B e h ol d my gray h ead full of silve r hai rs , ,

My wri nk l e d ski n d ee p furrows in my face ; ,

Gasc oign e My wri nkl e d ch ee ks be wray that prid e of h e at is past

s Flow ers :

D ani e l s S 2 1 : Whilst a g e up o n my wast e d b ody st ea ls ; and passage s i n

.

Tasso and P e trarch ( J a h r b 1 7 : 1 70 .

.

LE E : C f 6 2 9 1 0 ; 73 1 2 ; 1 38 6
, .
, , , .

re fe re nc e t o his gr o wing a g e was a c o nv e nti o na l d e vic e trac eab l e

t o P e trarch o f all s o n n e t t e e r s o f t h e day and adm i ts o f n o l i t e ral i n t e rp r e ,

t a t i on .D ani e l in D eli a 2 3 wh e n 2 9 y ears old exc l aim ed : My ye ars , , ,

draw o n my e ve r l asting night My days a re d o ne [This is S 2 3 of t h e

, . .

P oe ms and So nn e ts print e d aft e r S id ne y s A 69 S 1 59 1 n ot of t h e D eli a
'
. .
, ,

v ol um e ED ] . S imilarly D rayt o n in a so nn e t (I de a 1 4 ) pub l ish e d i n

.
, ,

1 59 4 wh e n h e was bar e ly 3 1 wr ot e :
, ,

Lo o ki ng int o t h e g l ass of my yo uth s mise ri es

I s ee t h e ug l y fac e o f my d e f orm e d car es ,

With with e r e d br ows all wrinkl e d wi t h d e spairs ;

and a little l at e r ( No 43 of t h e 1 599 e diti o n ) h e r e pe at ed h ow Ag e rul e s my
.

l i n e s with wri nkl e s in my fac e Al l th e se lin e s a re ech oe s of P e trarch and S h

.
, .

and D rayt o n f oll owe d t h e I ta l ian mast e r s word s m ore c l ose ly than th e ir

c o nt e mpo rari e s C f P e trarch s S 1 43 (t o L aura a liv e ) or S 8 1 (t o Laura

. .

.
, .

aft er d eath ) ; t h e l at t e r b egins

D i c e m i spe sso i l m i o d a t o spe gli o ,

L ani m o stanc o e l a cangiata sc o rz a

E Ia sc e mata mia d e strez z a e f orz a :

Non ti n a s c o n d e r p i u; tu s e pur ve gli o

.

My faithful g l ass oft e n sh ows m e my we ary spirit and my wrinkl ed ski n ,

an d my d ecaying wit and stre ngt h : it ca nn ot l o nge r b e hidd e n from y ou y o u ,

(L i f e p [ On this subj e ct s e e furth e r u nd e r S o nn e ts 6 2 and 7 3

a re , . .

TYL E R n oting t h e similar passag e s i n D rayt o n is dispose d t o v i e w th e m as

, ,

b orr owings fro m S h ( I ntro p ED ]. .

, . .

4 . e x pi at e S TE E VE N S : I d o n ot c o mpr e h e nd h ow t h e po e t s days w e r e t o
.

b e expi a ted by d e ath P e rhaps h e wr ot e : my days sh o u l d expi ra te i e bri ng

. .
,

th e m t o an e n d C f R 69 J I iv 1 0 9 : E xpire t h e t e rm of a d e spise d l if e
.

. . . .
, , , ,

[ and t h e words fe stinat e

c o n s p i ra t e c o mb i nat e
ruinat e i n oth e r
, ,
7 H
, ,

play s ] MAL O N E : Th e old r e ad i ng is c e rtainly right Th e n d o I e xp ect says .

,

Sh t hat d e ath sh ou l d l l up t h e m e asur e of my days [ C f L ocri n e 1 59 5 . .

,

L i v e s S ah r e n y et t o e xpiat e my wrath ? i e ful l y t o satisfy my wrath . .

,

C hapman s B y ron s Con s pi ra cy 1 6 0 8 [ wh e r e ] an o ld c o urti e r says h e is A

, ,

poor and e xpiat e hum o ur of t h e c o urt and R 3 I I I iii 2 3 : Mak e hast e ; .

, , ,

t h e h o ur of d e ath is e xpiat e S C H M I D T: Bring t o a c l o se N E D : To e x. . . . .

t i n g u i s h ( a p e rs o n s rag e ) by suff e ring it t o t h e fu ll ; t o e n d (o n e s sorr ows a

su ff ering l if e ) by d eath .
64 TH E S ONNE TS OF S HAK ES P EAR E

5 7
. MAS SE Y : C f S idn e y , Arca di a
.

My we a l th is y ou ,

My b e auty s h u e y our b e ams my h e a l th y o ur d eed s ;

My mi nd f or w eed s y o ur virtu e s l iv e ry w e ars ;

a nd (i bi d ) .

My tru e l ov e hath my h e art and I hav e his

-
, ,

By j ust e xchange o n e f or t h e oth e r give n

I h ol d his d e ar and min e h e cann ot m i ss
, ,

Th e r e n e ve r was a b e tt e r barga i n drive n .

H i s h e art i n m e k ee ps m e and him in o n e ,

My h e art i n him h i s th oughts and se nse s gui d e s ;

H e l o ve s my h e art f or o nc e it was h i s o w n ;
I ch e rish h i s b e cause i n m e it bid e s .
(p .

[ In this famil i ar E li z ab e than c o nc e it t h e m o re e so t e ric i nt e rpre t e rs nd a

-

d e e p e r signicanc e Thus HE R AUD ob s e r v e s z] Th i s qu a s i id e nticati o n of t h e

.

subj e ct and o bj e ct d o ubtl e ss sugg e st e d t o [ B a r n s t o rff ] t h e n oti o n that t h e

p oe t thro ugh o ut addr e sse d himse lf Th e e rro r is ve ry pard o nab l e but e as i ly
.
,

c o rr e ct e d It was n ot his ego but his a lter eg o i n t h e id e al p e rs o nal i ty in t h e

.
, , ,

unive rsal humanity that t h e p oe t ap ostr ophis e d [ C f S

, (p S I M P S ON : . . . .

S uch phrase s as My h e art is in thy br e ast

and t h e like which n ow s ee m ,

t o us frigid c o nc e its w e r e i n S h s days warm wit h t h e bl o o d of a st i ll l i vi ng

.
,

phil o so phy [ Cf 4 8 1 0 1 1 wh e r e h e j usti e s] t h e e xpr e ssi o n by insinuat i ng a

. .
,
-
,

distincti o n b e twe e n his ow n living and acting se lf and that s o ul o f h i s which

i n t h e e cstasy o f l ove had take n up its ab o d e i n h i s fri e nd s br e ast ( p
. .

[Th e appar e nt n e c e ssity f or e mphasi z ing th ee mak e s t h e rhythm of

10 .

this lin e unusual and awkward ED ] . .

1 1 14 D OWD E N : Th e rst hint of p ossibl e wro ng c ommitt ed by t h e y outh
.

against fri e ndsh i p .

1 4 H E N R Y B R O WN : C f Wyatt
. Th e L ove r F or s a k e t h his U nki nd L ove
.
,

My h e art I gave th ee n ot t o d o it pa i n , ,

B ut t o pr e se rv e 10 it t o th ee was take n ,( p ,
. .
 '

xx m ] TH E S ONNETS oF S HAK ES P EAR E 65

23

AS a n v n p e rfe c t a ct or on th e s ta ge ,

Wh o w i t h f ea r e i s p u t b e s i d e s h i s p a r t
h is ,

Or s om e e r c e t h i n g r e p lea t w i t h t oo m uch ra g e ,

Wh os e s t r e n g t h s a b on d a n c e w ea ke n s h i s ow n e h ea rt ;
S o I f o r f e a r e o f t r us t f o r g e t t o s a y , ,

Th e p e r f ec t c e re m on y o f loue s r i gh t ,

An d i n m i n e ow n e lou e s s t r e n g t h s ee m e t o d e ca y ,

Or e c h a r g d w i t h b u r t h e n o f m i n e ow n e lo ue s m i gh t

-

0 le t my b o o ks b e t h e n t h e e l oq u e n c e ,

An d d om b p re s a g e rs o f my s p ea k i n g b re s t ,

Wh o p lea d e f or loue a n d look f or r e c om p en ce , ,

M o re t h e n t h a t t o n g e t h a t m o r e h a t h m o r e e x p r e s t .

O lea rn e t o r ea d w h a t s i l e n t lo u e h a t h w r i t ,

To h ea re w i t e i es b elon gs t o loue s n e w i h t .

2 .
pu t ] bu t L . b e si d e s ] bes i de C , M 1
, CO 2
, Hu z
, B ut , Be .

4 . t ngth
s re s a b on da nc e ] s tren gth a bond a n ce L; s tren g th a bunda n ce G 1

s tren g th a bu n da n t G 2
, S, E .

5 . of ] or Sta c o nj .

6 . r i ght] ri te M et c , .

8 . b urth e n ] bu rden G 2
, 5 2
, E , Co , D el, Hu, Dy , S ta , C l, G1, H a l, R , Wh
,

OX , H e r B e N, , , Wa .

9 . b ooks ] look s S , E , C , B ut , Be, Wa , Tu .

pr e s ag e rs ] pres a g es C o [e rr or]
z
10 . .

12 . th a t m or e ] th a t love S t a c o nj .
; th a t les s B ut . m or e h a th ] h a th n ot G 2
,

m or e e xpre s t ] o er ex

pres t Wa c onj .

I4 . Wi t Wih t] wi th wi t 1 6 40 , G, etc .

WAL S H : diti o n of 1 6 40 f or o nc e give s a t ol e rab l e titl e h ea d ing this

Th e e ,

[ s o nn e t ] A Bashfu l L o ve r I t might th e n b e l o ng [ with 1 2 8 an d

. n ot

that it must have ne c e ssari l y b e l ong e d t o t h e dark mistre ss S I M P S ON : [ This .

s o nn e t turns up o n an oth e r c o mm o np l ac e of R e naissanc e so nn et p h i lOS Op h y ] .

This tre mbling pre scrib e d by t h e Code x Am ori s is sp o k e n of i n t h e 4t h s t h

, , , ,

6 t h and 7 t h S o nn e ts of D ant e s Vi ta Nu ova and in se ve ra l of P etrarch s

, , ,

as S 34 ( p. . .

I S AAC [ n ot e s paral l e l s f or t h e id e a of a l ove t oo gr eat f o r wor d s in S pe nse r , ,

Watso n R a l e igh Wyatt Tasso and P e trarch H e a l so cit e s f or t h e n oti o n

, , , , .
,

of t h e e y e s as i nt e rpr e t e rs of t h e h e art D ani el S 8 You mine e ye s t h e

, , .
, ,
66 TH E S ONNE TS OF S HAKE S P EAR E [ XX I I I
ag e nts of my h e art S o uthwe ll H er e y e i n s i l e nc e hath a sp ee ch Which ,

e y e be st und e rstands and S p e nse r Am or etti 4 3 : Mi n e e ye s with m ee k , , ,

h umil i ty L ove l e arn e d l e tt e rs t o h e r e y e s t o

,
-
( J a h rb 1 7 : 1 7 2 .
,

H E N R Y B R O WN [ c o mpar e s a so nn e t by J o hn D avi e s : ]

My loo ks shall l ove and wit s r c rd b oo ks

be ,

e o -
,

Wh e re in s h e still may r e ad what I c onc e ive

Of h e r sw ee t w ords and what r e pli e s I giv e , .
(p .

1 -
2 . MAL ON E : Cf . Cor .
, V , iii ,

4 0 42

a dull act or n ow L ik e ,

I hav e f o rg ot my part and I am o ut , ,

E v e n t o a ful l disgr ac e .

may b e c o nj e cture d that th e se p oe ms w e re n ot c o mp o se d till ou r auth o r

It
had arriv e d i n L o nd o n and b e cam e c o nv e r s ant with t h e stage H e had p e rhaps
, .

himse lf e xp e ri e nc e d what h e h e r e d e scrib e s S TE E VE NS : I t is highly pr obabl e .

that our auth or h ad see n p l ays r e pre se nt ed be f or e h e l e ft h i s ow n c ou ntry , .

MALO N E : Th e se e ing a f e w p l ays e xhibit e d by a c o mpany of str oll e rs i n a

barn at S tratf o rd or i n Warwick C astl e wou l d n ot h o we v er have mad e S h
, , .

acquaint e d with t h e f ee l ings of a ti mid act or o n t h e stag e .

2 . b e si d e s [This f o rm of t h e pr e po siti o n has abu ndant parall e l i n S h F or

. .

t h e m e aning cf t h e 1 6 1 1 Auth o ri z e d Ve rsi o n 2 Cor 5 : 1 3 :

, . Wh e th e r w e b e , .

be sid e s ou r s e lve s ( cit e d i n N E BD ] . . .

3 4 TYL E R : S o m e e rc e ani m a l which has l ost se lf c o ntr ol

-
. .

5 f or f e ar e of tru s t
. D EL I U S : F r o m want of se l f con d e n ce D OWD E N
.
-
.

S chmidt e xplains d o ubting of b e ing trust ed but t h e c o mpariso n is t o an

,

i mp e rf ect act or w h o dar e n ot trust himse lf Obse rve t h e c onstructi o n of t h e

, .

rst 8 lin e s ; 5 6 r e f e r t o 1 2
; 7
8 o
t 3 4
[With th i s R OL F E agr ees ] TYL E R : I t .

se e ms d o ubtfu l wh e th e r [th i s] is t o b e r e gard e d as m e aning f e aring that I

shall n ot b e trust e d o r f e aring t o trust myse lf ,

I pr e f e r t h e f o rm e r

. .

B E E C H I NG : Th e parall e l with t h e act o r sh ows t hat t rust is active P O R TE R .

Wanti ng t o trust s o s o re ly that h e d oe s n ot dare t o .

8 MC C L U MP H A : C f R 69 J I iv 2 2 : U nd e r l o ve s h e avy burd e n d o I

. . . .
, , ,

S ink .
( J a h r b 40 : .
,
J

9 b ooks
. MAL O N E :
. C ape l l ] w o uld r e ad 0 le t my l oo ks etc B ut t h e , .

c o nt e xt I thi nk sh o ws t hat t h e old c opy is right Th e p oe t nding that h e

, , .

c o u l d n ot su f c i e ntly c ol l ect his th oughts t o e xpr e ss his e st e e m by sp e e ch ,

r e qu e sts that hi s writings may spe ak f or him S o aft e rwards : 0 l e arn t o r e a d .

what s i l e nt l ove hath writ H a d l ooks b e e n t h e auth o r s w ord h e hardly

.

w o uld hav e us e d it again i n t h e n e xt lin e but o n e B O S WE L L : I t is dang e ro us .

to m ak e any alt e rati o n wh e r e t h e old c opy is int e l l i g i bl e or I S h o uld give a ,

d ecid e d pr e f e r e nc e t o t h e r e ading [of C ape l l ] ; t h e e l oq u e nc e of looks is m o r e

i n un i s o n with l ov e s n e wit which can h ear with e ye s [ It wil l b e n otic e d

, .

that b oth Mal o n e an d B oswe l l ove rl oo k t h e fact that S e we ll had mad e t h e

chang e pr o p os ed by C ap ell E D ] I S AAC : [ Th e Q r e ading] s ur e l y suits w e ll
. .
XX I I I ] TH E S ONNE TS OF S HAK E S P E AR E 67

n e ith e r t h e pr ogr e ss of th o ught i n t h e s o nn e t n or any imag e pr e se nt e d by this

ve rs e wh i l e l oo ks m ee ts all t h e d e mands o f harm o ny o f i d e as and pr e gnancy
,

o f i mag e ry I n l i n e 1 2 t h e bo o ks a r e br o ught int o a wh o lly u n i nt e ll i g i bl e

.

c o ntrast w i th t h e t o ngu e ; i n this case th e y must say m or e than t h e t o ngu e ,

wh i ch oth e rwi s e can expr e ss itse lf m or e and b e tt e r than b oo ks I tak e th i s .

t o b e n o nse nse [ Again of lin e . f or t h e u nd e rstanding o f writt e n l ove

,

p oe ms o n e n ee ds o nly a kn o wl edge o f wr i ting and a small m odicum of s e ns e .

S inc e t h e poe t must assu m e b oth th e se o n t h e part o f his l ov e d o n e and t h e ,

und e rstanding of his v e rse s is c ertainly n ot mad e di fcult by any o bscur e

mann e r of utt e ranc e I can nd abs olut e ly n oth i ng wh i ch was t o b e l e arn e d
, .

H ow t h e p oe t is abl e t o nam e a l o ve sil e nt which is e xpr e ss e d i n l ov e
p oe ms is not r e ad i ly und e rst oo d ; wh i l e o n e cann ot p o ssibly obj ect t o t h e
,

b e autifu l sugg e sti o n that s il e nt l o ve writ e s its p oe ms in t h e c o unt e nanc e .

S h c o mpar e s t h e e y e fr e qu e ntly t o a b oo k i n wh i ch o n e wr i t e s o r r e ads : cf

. .

93 7
8 L L L
, ; IV i i 1 1 3 ; M N D
. . .
, I I ii 1 2 2 ; W T I V iv 1 7 2 ; R
, , . . .
, J , , . .
, , , . .
,

I i ii 8 1 ff H e use s writ e i n this imaginat i v e s e ns e v e ry abundantly [ C f

.
, , . .

also S p e n s e r s 43d S o nn e t cit ed ab ove b oth f or t h e ge n e ral i d e a and t h e word

, ,

wit Which h e r d e e p wit

,

w i l l s oo n c o nc e ive and l e arn t o c o nstru e
w e ll S h may have had this so nn e t i n min d ]
.

. I f th e n w e simply r e j e ct , ,

t h e unhappy w o rd b oo ks e v e ryt h i ng f orc e d lab o re d and abstruse van i sh e s

, , ,

fr o m t h e ve rse s ; and if w e put l oo ks in its plac e w e can e nj oy o n e o f t h e

,

m o st b e autifu l of S h S s o nn e ts unimpair e d ( Arch i v 59 : 2 6 3 .

D OWD E N : .
,

Th e b oo ks of which S h spe aks a re pr obab l y t h e MS b oo ks in which h e writ e s

. .

h i s S o nn e ts MAS S E Y : Th e se b oo ks a r e t h e s onn e ts se nt in writt e n e mbas

.

sag e Th e y w e r e t h e d umb pr e sage rs of that which h e i nt e nd e d t o say and

.

,

aft e rwards d i d say pub l ic l y t o his fr i e nd wh e n h e print e d V 69 A and L u crece

, .

.
,

d e dicat e d t o So uthampt o n ] ( p S ARR AZ I N [a l so b e l i e v e s t h e b oo ks we r e

. .

t h e V 69 A and t h e L u crece ( J a h rb 34 : 3 7 1 and S h s L eh rj a h re p

'
. . . . .
.
, , ,

R OL F E : Th e old r e ad i ng is suppo rt e d by lin e 1 3 J G B [ (S h a k es pea ri a n a 2 . . . .

,

4 9 5) d e f e nds t h e e m e n d ati o n l oo ks
o n t h e gr o und that t o l o o k f o,r r e co m

pe nse is t h e o fc e o f an e y e rath e r than a b oo k With pre sa g e rs t o o h e

.
, ,

c omp a re s V 69 A 4 57 wh e r e ill pr e sag e re fe rs t o Ad on i s s look ] B E E C H I NG :

.

,

.

L o o ks is an al m ost c e rtain e m e ndati o n f or a distincti o n b e twe e n writing

,

and saying is n ot h e r e t o t h e p oi nt E v e n if a b o o k might b e c o ntrast e d

with a t o ngu e and sp o ke n o f as dumb h ow c o uld it b e a pr es a g er of

, ,

sp e e ch ? And if wh at sil e nt l ove hath writ is s i mply a so nn e t why sh o uld

,

any o n e n e e d t o l e arn t o r e ad it ?

Th e all i t e rati o n of t h e li n e c o nrms

t h e c o rr e cti o n B ULL E N : I kee p t h e Q r e ad i ng th o ugh I admit that S e we ll s

. ,

l ooks is a highly pr obab l e e m e ndati o n AC H E S ON [give s a n e w turn t o .

D owd e n s i nt e rpre tati o n dividing t h e S onn e ts i nt o gro ups o f

,
b o u nd t o

g e th e r i n so m e crud e way i n what S h calls b ooks ( S h Eat th e Ri va l P oet . . .
,

p .
[ Th o ugh but f e w e d it o rs hav e f e l t j usti e d i n intr od ucing t h e e m e nda

t i o n i nt o t h e t e xt I b el i e ve that I saac s and B ee ching s argum e nts a re fa i r l y

,

c onc l usiv e Of all t h e c onsid erati ons urged that of Rol f e s e e ms t o m e t h e

.
,

m ost base l e ss EU ] . .
68 TH E S ONNETS OF S HAK ES PE AR E [XX I II
10 d omb pr e s ag e rs
.
B E E C H I NG : Th e r e fe r e nc e is t o a pr e li minary dumb
.

sh ow l ike that b e f or e t h e p l ay i n H a mlet VON MAUNTZ : C f S idn e y A 83 S

, . .
, .

.
,

Now with sl o w w ords n ow with dumb e l oqu e nc e

61: and S o nn e t 8 5 1 4
,
, .

12 D E L I U S : My t o ngu e which h as said m ore and said that m or e m ore

.
,

c l e arly D OWD E N : Mo r e than that t ongu e ( t h e t o ngu e of an oth e r pe rso n than

.

S h ) which hath m or e ful l y e xpr e sse d m or e ard o urs of l ov e o r m 0r e of y o ur

.
,

pe rf ecti o ns R OL F E : That t o ngu e is pr obably] any t o ngu e h o we ve r e l oqu e nt

.

, .

TYL R A r e c o mpe nse gr e at e r ( rst m ore

E : than that t o ngu e ( t h e voic e of

my b oo ks ) hath b e tt e r (third m o r e ) e xpr e sse d than my vo i c e c o uld d o that

g r eat e r l ov e and r e c o mpe nse ( that m or e ) which I pl e ad f o r I have h e r e .

ad o pt ed an int e rpr e tati o n sugge s t ed t o m e by Mr G B e rnard S haw [ B U TL E R S . . .

e m e ndati o n h e is b ol d t o intr od uc e be cause of S h s l ove of ant i th e s i s

.

l e ss h e int e rpr e ts as] l e ss r e c o mpe nse than my e y e s a re n ow pl e ad i ng f or .

ABB OTT: Mor e is fr e qu e ntly used as a n o un and adve rb i n j uxtap o siti o n C f . .

L ea r V iii 2 0 2 : I f th e re b e m or e m or e woe ful

, , , , .

F L E AY [ vi e ws this so n n e t as a kind of parody of a passage i n D ani e l s

Com
pla i n t of Ros a mon d , st . 19 :

S wee tsil e nt rh e t oric of p ersuading e y e s

D umb e l oqu e nc e wh os e p owe r d oth m ove t h e b l ood
,

Mor e than t h e words or wisd om of t h e wise ] .

El oq u e nc e an d du mb pre sag e rs is a palpab l e hit at t h e sil e nt rh e t oric

and d umb e l oqu e nc e Th e l ast l i n e of t h e so nn e t i s t my m i nd ot

. o n

se ri o us but a v ry d e licat e thrust at D ani e l s l in e s oft e n but m or e r oughly

,
e

, ,

bur l e sq u e d by su b se qu e nt writ rs ( B i og Ch ron 2 e . . :

B UTL E R [ (p p 6 9 7 0 ) attach e s t o thi s so nn e t appare ntly i n c o nn e cti o n with

.
,

S 2 0 s o m e r e pu l sive suspici o ns which it is n e ith e r e asy n or d e sirabl e t o c ompr e

.
,

h e nd . ED .
]
I S AAC : [Addr e ss ed
a wo man ] Th e t one with all c o nsid e rati o n f or t h e
to ,

e xtravagant c o nc e pti o n of fr i e ndship i n that tim e is d ecid e dly t oo t e nd e r f or a ,

s o nn e t of fri e ndship ( Arch i v 59 : GOD WI N [ thinks t his t o b e t h e rst

.
,

so nne t addr e sse d t o t h e l ady pe rhaps droppe d int o h er l ap by t h e p oe t ] , .

(p . W C H AZ L I TT: [Th e so nne t ] see ms t o have b ee n c o mpo se d j ust wh e n

. .

c i rcumstanc e s led t o a susp e nsi o n of th eatrica l pe rf ormanc e s i n L o nd o n i n 1 59 3

and t h e app e aranc e of S h as a lyri c al writ e r H e app e ars t o glanc e at his ow n
. .

n ot t oo succ e ssful e ff o rts as a p e rf o rm e r of parts and t o po int t o his books , ,

that is his t w o poe ms as pl e ad e rs f or him ( S h H i ms elf a n d H i s Work p

, , . .
, , .

E J E L L I S : Th e Se nse of [ this s o nn e t ] is i n c oupl e ts t h e lin e s fall i ng by th e ir

. . ,

m e aning int o pairs al l t h e way thro ugh t h e sec o nd of each pair r e p e ating and ,

c o mp l e ting t h e rst aft e r t h e mann e r of parall e lisms which f orm t h e rhym e

o f biblica l p oe try Th e 5t h and 6 t h l ine s ar e e xc e pti o ns but t h e r e st sh ow this

. ,

accid e nta l quality s o strikingly t hat th e y sugge st h ow H ebre w p oe try might b e

translat e d i nt o E nglish with o ut l os i ng its ow n i nt e nti on and y et b e ma d e t o ,

b el o ng t o t h e s o n g s h i p of an oth e r l anguage .
x x rv ] TH E S ONNETS OF S HAK E S P EAR E 69

24

M I NE h a t h p la y d t h e pa i n t e r a n d h a t h
ey e

s t ee ld ,

Th y b ea u t i e s form e i n ta b l e o f m y h e a r t ,

My b o dy i s t h e f ra m e w h e r e i n t i s h e l d

An d p e r s p ec t i u e i t i s b e s t P a i n t e rs a rt .

F o r t h ro u g h t h e Pa i n t e r m u s t y ou s ee h is s k i ll ,

To n d e w h e re y ou r I ma ge p ctur d l i es ,
i

t rue

Wh i ch my b os om e s s h 0 p i s h a n gi n g s t i l
in ,

Th a t h a t h h i s w i n d ow e s gl a z e d w i t h t h i n e e ye s
Now s e e w h a t g oo d t u rn e s e y es f o r e i e s h a u e d o n e
-
,

M i n e e ye s h a ue d ra wn e t h y s h a p e a n d t h i n e f o r m e ,

Are w i n d ow e s t o my b r e s t w h e r e t h ro u gh t h e S u n ,
-

D e l i gh t s t o p e e p e t o ga z e t h e r e i n o n t h e e
,

Ye t e y e s t h i s c u n n i n g w a n t t o g r a c e t h e i r a r t
Th e y d ra w b u t w h a t th e y s e e k n ow n o t t h e h a r t ,
.

1 . s ee t l d] s tell

d C, A Kt , , D e l, Hu, Dy , S t a , Gl, Kl y , Ca m , D o, R, t ,

Ty Ox H e r B e B ull ; s teled B; d C 1, C 0

s tel
3
, , , ,

4 .
p e rs p ecti u e ] pers pecti ve We dm ore c onj .

5 6
-
.
y ou y ou r ] th ou th y S t e ng e l c o nj .
, Nich ols on c o nj .

9 .
g oo d -
u ne t r s ] H yph e n o mi t t e d by G , et c .

11 . w h e r e th r ough ] wh er e th roug h 1 6 40
-
, G , S E R 2 ; w h ereth rough H u 2 , N
, , .

D OWD E N : Th e stage c o nce its i n this s o nn e t a re parall e l e d i n C o nstab le ,

D i a na S 5 .

Thin e g l ass wh er e I be h ol d my h e art

ey e , th e ,

Min e e y e t h e wind o w throu gh t h e which thin e

, ey e

Ma y s e e my h e art and th e r e thyse lf e spy

,

I n bl oody c ol o urs h ow th o u pa i nt e d art .

Cf . a l so Wats on Th e Tea rs of Fa ncy ( I , S 4 54 6 .

My mistre ss see ing h er fair c ou nt e rf e it

S o sw e e tly fram e d in my bl e e d ing bre ast
B ut it s o fast was x e d t o my h e art e t c , .

Cf L L L
. . B e h ol d t h e wind ow of my h e art min e e y e
. .
, V , 11, 84 8 : , .

I S AAC [ als o n ot e s D ani e l D eli a S 7 I gur e d o n t h e tab l e of my h e art

.
, , ,

S urr e y

I within my w ofu l br east h er picture pa int and grave ; and a similar
,

7 0 TH E S ONNE TS OF S HAK ES P E AR E [XX I V
passage i n Tasso ; with id e a was th e re fo re a curr e nt o n e
th e c o mm e nt , Th e .

L E E : R o n s a r d s Od e ( livr e 4 No 2 0 ) c o nsists of a l i k e

( J a h rb 1 7 : 1 7 1
.
, , .

d i al ogu e b e twe e n t h e h e art and t h e ey e Th e c o nc e it is trac e abl e t o P e trarch .

,

wh os e S o nn e t 55 or 6 3 Occh i piange t e acc o mpagnat e i l c or e ) is a dial ogu e

, ,

b etwe e n t h e p oe t and his e ye s whil e h i s S o nn e t 9 9 or 1 1 7 is a c o mpan i o n ,

d i al ogu e b e twee n t h e p oe t and his h e art C f Watso n s Tea rs of F a n cy 1 92 0 . .

My h e art imp o s e d this penanc e o n min e e y e s and My h e art accus e d min e ,

e y e s and w a s B rayt o n s I d ea 3 3 [o n t h e E y e s and H e art e nvying

e ach o th e r ] ; Barn e s P 8 P 2 0 [ Th e s e e y e s ( thy B e auty s t e nants ) pay d u e

, . 1 .
,

t e ars F or o ccupati o n of m i ne h e art thy C o nstabl e D i a n a 6 t h , , ,

D ecad e S 7 [ My h e art m i n e e y e accuse th of his

, .

( L if e p ,
.

B E E C H I NG : This s o nn e t has t h e a i r of b e i ng a half hum or o us half se ri o us par -

,
-

o d y o f a c o mm o n typ e o f s o nn e t .

WYND H AM : Th e c o nc e i t b e gins with t h e p oe t s e y e as a paint e r w h o has

,

drawn t h e fri e nd s b e auty o n t h e p oet s h e art I t g oe s o n t o a play o n t h e

.

w ord fram e ; t h e b ody is t h e physi ol og i cal f ra me which h olds t h e h e art and

oth e r o rgans but taking t h e oth e r se ns e o f fram e p e rsp e ctiv e lin e 4 is t h e

, , , , ,

b e st of a paint e r s art ; and l i n e 5 taki ng t h e e tym ol ogical d e rivati o n of p er

, ,

s p ec t i v e with a r e v e rsi o n t o t h e c o nc e it t hat t h e fri e nd s b e auty i s e ngrav e d o n

t h e p o e t s physical h e art t o s ee t h e sk i ll of t h e pictur e y ou must l oo k thr o ugh

t h e pa i nt e r t h e p o e t s e y e Th e p oe t s b os o m l i n e 7 b e i ng t h e sh o p wh e r e i n

.
, ,

t h e pictur e hangs has lin e 8 b o rr ow e d t h e fri e nd s e y e s : maki ng lin e 9 a g oo d

, , , ,

e xchange o f e y e s f or e y e s Th e p oet s e y e s lin e 1 0 hav e b ee n e ngag e d i n

.
, ,

drawi ng t h e fri e nd s shap e ; t h e fri e nd s e y e s l i n e 1 1 m e anwh i l e hav e b e e n

'
, ,

wind ows in th e ir plac e t o t h e p oe t s bre ast thr ough which l i n e 1 2 t h e su n

, ,

, , ,

d e lights t o p ee p t o ga z e at t h e image of t h e fri e nd This is a c onc e it with a

, .

ve ngeanc e but it d oe s w or k out !

,

1 . t l d [Th e qu e sti on of t h e t ext h er e I s n ot a l itt l e c o mp l icat e d by a

s ee .

passage i n L u crece 1 444 To nd a fac e wh e r e al l distr e ss is s t e ld rhyming

, ,

,

with d w ell d wh e r e a l s o it is disput e d wh e th e r w e sh o uld r e ad st e e l d or

Th e r e f e r e nc e t o this passag e th e r ef or e by D OWD E N and oth e rs i n

s t e ll d . , , ,

supp ort of an alt e rati o n in t h e t e xt of t h e so nn e t is far fr o m nal E qually u n , .

c o nvincing is WYND H AM S d e f e nse of st ee l d i n t h e L u crece passag e by a

r e f e r e nc e t o V S A 3 7 6 wh e r e t h e word is use d with t h e m e aning hard

.

.
,

,

e n ed ( t h e usual m e an i ng i n T h e r e is n o cl e ar parall e l f or t h e u s e of t h e

word with t h e m e aning e ngrave d On t h e oth e r hand f or st e ll e d w e hav e

.
,

but o n e parall el L ea r I I I vii 6 1 Q ue n c h d t h e st e ll e d r e s which Th eo
, , , , ,

bald d e rive d fro m s tella tu s but which S C H M I D T and F U R N E S S r e nd e r xe d ,

o n t h e auth o rity o f t h e passag e s in L u cr ece and this s o nn e t ! Thus t h e circ l e

o f r e as o ning is c o mpl e t e As t o t h e rhym e with h e ld cf f i eld : h eld i n S 2 ;
. , . .

B U TL E R a l so n ot e s such appar e nt l y imp e rf ect rhym e s as n oon : s u n ( S .

w r on g : y ou n g ( S but h e re t h e q u e sti o n of pr onunciati o n make s ana l ogy

.

i nc o nc l usive E D ] B E E C H I NG : E ngraving an d painting a r e diff e r e nt arts

. .
,

and i n t h e passage i n L u crece t h e w ord is again us e d of pai nting P erhaps .

XX I V ] TH E S ONNETS OF S HAK E S P E AR E 71
it was a virt u oso s w ord Th e para l l e l with L u crece sugge sts an e ar l y dat e f or

.

t h e s o nn e t which its styl e c o nrms P O R TE R : Th e tabl e o f my h e art w o uld

.
,

call f or t h e t ool t o st ee l rath e r than st e ll it th e r e Th e e y e c o uld

.

be tt e r like a paint e r or artist draw b eauty s f orm i n t h e tabl e t of t h e h eart

, ,

than plac e it th e r e as if i n a p ortf oli o L i n e 1 0 c o nrms this . .

2 .MAL ON E : C f A W I i 1 0 40 6 . . .
, , ,

sit and draw To

H i s arch e d br ows his hawki ng e y e h i s cur l s , , ,

I n o u r h e art s tabl e

.

R OL F E : C f . KJ . .
, II, i , 50 3 : D rawn i n t h e att e ring tab le of h er ey e .

4 .
p e rs p e cti v e .
[ S C H M I D T cit e s t h e passage und e r t h e c o mm o n E l i z ab ethan
m e aning a glass cut i n such a mann e r as t o pro duc e an O ptical d e c e pti on
,

,

wh e n l ook e d thr o ugh C f R 2 I I ii 1 8 e t c ] D OWD E N : A pa i nt e r s high e st

. . .
, , , , .

art is t o pro duc e t h e illusi o n of distanc e o n e thing se e ming t o li e b e hind an oth er , .

Yo u m us t loo k th r ou g h t h e paint e r ( my e y e or myse lf ) t o s e e y o ur pictur e t h e

_ ,

product of his sk i ll which li e s within him ( i n my h e art ) TY L E R : As us e d h ere

, .
,

t h e m e aning o f t h e w ord app e ars t o b e capability of b e i ng l oo ke d thro ugh .

Y e t th e r e is a r e f e r e nc e als o t o t h e o rdinary e mpl o ym e nt o f t h e w o rd i n

r e lati o n t o p i ct orial art B U TL E R [ int e rpr e ts t h e w ord as S chm i dt d oe s and is
.
,

led t o c o mm e nt : ] That S h c o uld call such a trick as this b e st paint e r s art

.

sh ows that i n matt e rs of pai nting h e was prof o undly ign orant [ R e f e re nc e t o .

th e N E D . wil l sh ow that t h e m od e rn m e aning of t h e w ord was c o mm o n

. .

also i n S h s tim e ; cf e sp ecially fr o m H a y d oc k e s trans l ati o n of L o ma z z o

.

.
,

( 1 59 8 )

A paint e r with o ut t h e p e rsp ective s was like a d oct or with o ut gram
mar E D ]. .

5 . VE R I TY : L it e rally : t o s e e t h e pictur e paint e d i n my h e art y o u must l oo k

thr ough my ey e t h e ey e b e ing t h e wind ow of t h e h e art ; m etaph orically : t o

,

appre ciat e pr op e r l y a paint er s work y o u sh o uld r e gard it w i th t h e e y e s of

t h e pai nt e r hims e lf [A va l uab l e id e a but scarc .e l y p e rti n e nt t o t h e pr e s e nt ,

so nn et T E D ] .

.

5
6
y.o u y ou r [ T h e o n l y instanc e wh e r e t h e pr
. o n o u n o f addr e ss t o th e

fri e nd is appar e ntly change d insid e a so nn e t ; s e e n ot e o n S 1 3 E D ] D OW . . .

D E N : Ma y n ot y ou and y ou r b e use d i nd e nit e ly n ot with r e f e r e nc e t o t h e ,

p erso n addr e sse d but t o what is of c o mm o n appl i cati o n as i n Yo ur marriage

, ,

c o m e s by d e stiny A W I i i i 66 [ This e xplanati o n had occurr ed t o m e

, . .
, , , .

ind e pe nd e nt l y and I have tri ed t o ch e rish it ; but t o d o s o is mad e d i i c ult by

,

t h e fact that t h e o n l y instanc e s w e hav e i n S h o f t h e ind e n i t e y ou a re dis .

t i n c t ly c oll oq uia l usually on rath e r a low l eve l e ve n at that ; t h e instanc e ,

qu ot ed by D owd e n is fr o m a d ogge r e l ballad An oth e r di f cu l ty is that your

.

imag e see ms t o have distinct r ef e re nc e t o t h e imag e of t h e fri e nd I t sh ou ld

.

b e add e d that i n 1 0 4 1 2 1 3 is an oth e r chang e o f pr o n o un th o ugh i n this case

, ,

n ot with r e f e r e nc e t o t h e p oe t s fri e nd ED ] [ My fri e nd P r o f e ssor H D

. . . .

GR AY r e marks : ] I think w e a re ful l y warrant ed i n e m e nding t h e t ext t o r e ad

thy tru e imag e S h s e xt r e m e car e i n his use of t h e pr o no uns of addre ss
. .

7 2 TH E SONNETS OF S HAK ES P E AR E [XX V
make s it much l e ss l i ke ly that sh o uld have b ee n s o n ee dl e ssly car e l e ss h e r e
he
than that s o me c opyist mad e t h e natural e n o ugh mistak e of writing y o ur

f or thy .

1 I . wi n d ow e s this w ord f or t h e e ye s VE R I TY cit e s L L L

.
[ F or t h e us e of , . . .
,

V ii 84 8 ; V 89 A 4 8 2 ; R 69 J IV i 1 0 0 ; Cy m b I I ii 2 2 ; and similar
, ,
.

.
, .

.
, , , .
, , ,

passag e s fr o m D e kke r S idn e y and t h e auth or of D i ella ]

, , .

14 kn ow n ot th e h art TYL E R : I ntimating p ossibly a suspici o n in acc ord

. .

anc e with t h e l ast lin e s o f S 2 2 . .

2 5

L E T t h os e w h o a re i n fa uor w i t h t h e i r s ta rs ,

O f p ub l i k e h o n o u r a n d p ro u d t i t l e s b os t ,

Wh i l s t I w h o m e fo r t un e o f s u ch t ry um p h b a rs
a oo k t f or i oy i n t h a t I h o n o u r m o s t ;
G rea t P r i n ce s f a uo r i t e s t h e i r fa i re le a u e s s p re a d ,

B u t a s t h e M a r yg o ld a t t h e s u n s e y e
'

An d i n t h e m s e lu e s t h e i r p r i d e l i e s b ur i ed
-
,

F o r a t a f row n e t h e y i n t h e i r gl or y d i e .

Th e p a i n e f ull w a r r i e r fa m o s e d f or w or t h ,

A f te r a t h o us a n d v i c t or i e s o n ce f o i ld ,

I s fr om t h e b oo k e o f h on o u r ra s e d q u i t e ,

An d a ll t h e r e s t fo r go t f or w h i ch h e t oi ld
Th e n h a p p y I t h a t loue a n d a m b e lo u e d
Wh e re I m a y n o t r em oue n or b e re m oued ,
.

4 a . ook t c o nj ; Un h on ou r d S t a c o nj B ut
f or ] Un look d

on Sta .

.
, .

9
1 1 f am os
. e d f or w ort h ras e d q u i t e ] f or w or th f a m os e d q u i te r a s ed

S t e e c o nj w orth q uit e ] w orth f orth Th c o nj K ly Wh C 0 ; mi g h t

3
. .
, , ,

qui te Th c o nj M A K t C 0 B D el H u D y S t a C l C l
13
qu i te C ; g h t .
, , , , , , , , , , , ,

H a l, C a m , D o, R, t , Ox , etc .

1
4 . MAS S E Y :
t e ll s us i ndir e ct l y that his y o ung fr i e nd is n ot i n fav o ur
Sh .

with F ortun e n or t h e r ecipi e nt o f public h o n o urs ( p 1

, B U TL E R : [ Th e . .

s onn e t e xpre sse s j oy ] that S h and appar e ntly Mr W H as w e ll d o n ot m ov e

.
, . . .
,

i n an e xalt e d sph e re TYL E R : Cf S o nn e ts 2 9 36 1 1 1

. .
, , .

4 C
. A B R O
. W N : T. his i s e vid e nc e that t h e n o b l e y o uth had s o ught an ao

quaint anc e with S h and proff e r e d his fri e ndship ( p

.
, MAS S E Y : Th e . .

y o u ng e ar l rst s ought o ut t h e p oe t and c o nfe rr e d on him an u ne xp e ct e d ,

h on our : a j oy u nl oo ke d f or ( p

WYND H AM : Not distinguish e d as a fa
. .
X XV ] TH E S ONNE TS OF S HAK E S P E A R E 73
v o ur i t ewas said t o b e distinguish ed by a l oo k or word fr o m his sove re ign .

B E E CH I NG : P r obab l y an adve rbial usa ge [ of u nlook d] m e aning : c o ntrary t o

g e n e ral u sag e m os t pe o pl e j oy i n b e ing h o n o ure d I i n h o n our i ng B U TL E R :

,

, .

B e aring i n mind t h e car e l e ssn e ss with which this so nne t was print e d i n l 9 .
,

and S h s gr e at l ove of antith e sis I hav e ve nture d t o ad o pt S taunt o n s b old

.

c o nj ectur e H OR AC E D AV I S : i nc o nspicu o us
Un look t f or =
.

5
-
1 2 M AL O
. N E : C f H 8 I I I ii 2
3 5 58 . .
, , ,

This is t h e stat e of man : t o day h e puts f orth -

Th e t e nd e r l e av e s of h op e s ; t o m orr ow bl ossoms -
,

Th e thir d day c o m e s a fr o st a killing frost e t c , , .

WYND H AM : If as t o m e see ms pr obabl e t h e e ar l i e r s onn e ts we re writt e n i n

, ,

1 599 n o l in e s c o ul d hav e b ee n p e nn e d m o r e app o sit e than [ th e s e ] t o t h e fall

,

and disgrac e of E sse x aft e r his military failur e i n I r e land .

6 Ma ry g old D OWD E N : Th e gard e n mar i g old o r R u d d e s ( ca len du la oi ci n

. .

a li s ) turns its owe rs t o t h e su n and f oll ows his guidanc e i n th e ir O p e ning ,

an d shutting Th e old nam e is g old es ; it was t h e h e li otr op e s ols e q ui u m or

.
, ,

t urn e s ol o f o u r f or e fath e rs ( Co nd e nse d fr o m E llacom b e s P la n t L ore of S h )

. .

ROL F E : C f With e r : .

Wh e n with a se ri ous musing I b e h ol d

Th e grat e ful and o bse qui ous marig old ,

H ow du l y e v e ry m orning s h e displays
H e r o p e n br e ast wh e n P h oebus spr e ads his rays ;
H o w wh e n h e d o wn d e c l in e s s h e dr oo ps and m o urns , etc .

9 . wort hMAL O N E : Th e e m e ndati o n [ gh t] was sugge st e d by Mr Th eobald

. .

w h o l ik e wise pr o p ose d i f w orth was r e tai ne d t o r e ad ra z e d f orth

, , .

S TE E VE NS [ in pr o po sing his cac o ph o n ous e m e ndati o n o bs e rv e d u rb a n e ly z]

, ,

Th i s stan z a is n ot worth t h e la b our that has b ee n be st ow e d on it C OLL I E R [ p re .

f e rr e d t h e r e ading worth f h th ough h e did n ot car e t o] disturb t h e t e xt

o r t ,

a s it has st oo d f or a c e ntury [ MAS S E Y and I NGL E B Y expr e ss t h e sam e pre f e r .

e nc e t h e l att e r o bs e rving F or th i s pr ecise l y o u r m o d e rn out and f or w orth

, , , ,

vi rtu s citing L L L I i 1 73 : t h e w o rth of many a knight ( Th e S oule

. . . .
, , , ,

Ara y ed p , B NI C H OL S O N : I b e li e v e that S h le d part l y by allit erati o n but

. . .
, ,

ch i e y by t h e natural se qu e nc e of such a w ord aft e r warri or and b e for e l in e

1 0 rst wr ot e ght but aft e rwards se e ing that rase d f orth was m or e e m
, , ,

phatic than rase d quit e alt e re d ght t o w orth but ( h e or his c opi e r )

, ,

o mitt e d t o chang e t h e

quit e t o f orth ( N {if Q 7 t h s 5 :
. . .
, .
,

I I MAL O N E : C f R 2 I I i ii 7 5: To ra z e on e titl e of y o ur h o n o ur ou t
. . .
, , , .

13 14 B E E C H I NG : This nal c oup l e t po i nts e mphatically t h e g e n e ra l i m
.

pre ssi o n giv e n by t h e so nn e t that S h s fri e nd was not himse lf a gr e at pri nc e s .

favo urit e .

1 4 r e m ove
. D OWD E N [i n o n e of t h e m ost pai nful of his e ff orts t o nd l i nks
.
,

b e twee n t h e succ e ssive so nn e ts as th e y stand nds h e re an ant i cipati o n of t h e ,

j o urn ey of S 2 6 : S h ] r ej oic e s t o thin k t hat at l east i n on e place h e has a xed

. .
74 TH E S ONNETS OF S HAK E S P E AR E [ XX V I
ab od e [ F or t h e punctuati o n s ee P S I M P S O N S n ot e o n 1 2 1 4 This l in e h e
.
, .

, .
,

r e marks is] sim i lar i n rhythm and e qually sp oi lt by m od e rn e dit ors ( p

, . .

[ VO N MAU NTZ n ot nding in th i s s o nn e t anything appl i cabl e t o a particu l ar

,

p e rs on b e li eve s that it has f or its subj e ct t h e p oe t s art or g e niu s ]

,

L O RD my l o u e t o w h om e i n va s s a l a ge
of ,

Th y m e r r i t h a t h my d u t i e s t ro n gly k n i t ;
To t h e e I s e n d t h i s w r i t t e n a m b a s s a g e
To w i t n e s s e d u t y n o t t o s h e w my w i t , .

D u t y s o g re a t w h i ch w i t s o p oo r e a s m i n e
,

Ma y m a k e s e e m e b a re i n w a n t i n g w o r d s t o s h ew i t ; ,

B u t t h a t I h op e s o m e goo d c o n c e i p t o f t h i n e

I n t h y s o u l e s t h o u gh t ( a ll n a k e d ) w i l l b e s t ow i t

Ti l w h a t s oe u e r s t a r t h a t g u i d e s my m o u i n g ,

P o i n t s o n m e g ra t i ou s ly w i t h fa i r e a s p e c t ,

An d p u t s a p p a r r e ll on my t o t t e re d l ou i n g ,

To s h ow m e w o r t hy o f t h e i r s w e e t r e s p e c t ,

Th e n m a y I d a re t o b o a s t h ow I d oe l o u e t h ee ,

Ti l t h e n n o t S h ow my h e a d w h e r e t h o u m a i s t p roue
,

3 .ambassag e ] M A Kt
em a s s a g e G , S , E , C ,
b 2 2
, , , C0 , B ,

C l 6 1 K ly Wh H a l R H e r
, , , , , , .

5 wh i ch ] wi th S

. .

8 thy] my S E
.
, .

9 m y ] by K ly [e rr or P]
. .

1 1 tott e r e d ] ta ttered 5 et c (exc e pt B u ll Wa )

.
, .
, .

12 th ei r ] th y C M e t c
.
, , .

13 d ar e ] d ea r S
.
l
.

CAP E L L [ c ompar e d t h e rst quatrain of this s o nn e t with t h e phrasing of t h e

D e dicati o n t L u cr ce ] B O S WE LL This n ot I i magin e sugge st e d t o D r
o e . : e, , .

D rake his th ory that t h e S onn e ts w re addr e ss d t o L rd S outhampt o n

e e e o .

DR AK E [ at any rat e n ot d t h e re s mblance as pr oof f h i s th e ory ] I n t h e rst

e e o :

plac e it may b e ob s e rv e d that i n his pr ose as we ll as i n his v e rse ou r auth or

, , ,

use s t h e sam e amat ory language ; whil e t h e r e s i du e t e lls us i n e xact c o n ,

f ormity with t h e pr o se addr e ss h i s high s e nse of H i s L ordship s m e rit and ,

his o w n u nworthin e ss ( S h 69 h i s Ti mes 2 : 6 3 .

[ Th e D ed icati on is as
.

,

f oll ows : ]
XX V I ] TH E S ONNE TS OF S HAK E S P E AR E 75

To t h e Ri ght H o n o urabl e H e nry Wr i ot h e s le y E arl e o f S o uthampt on , , , and

Bar o n o f Ti t c h e ld Th e l o ve I d e d i ca t e t o y o ur L o rdsh i p I S w i th o ut
. end .

w h e ro f th i s P amphl e t w i th o ut b e g i nn i ng i s but a supe r u o us Mo i ty Th e .

warrant I have o f y o ur H o n o urabl e d i spo s i t i o n n ot t h e wo rth o f my u n t ut o rd

L i n e s mak e s i t assur e d o f acc e ptanc e Wh at I hav e d o n e i s y o urs what I have
,

We r e my wo rth
,

t o d oe is y o urs b e i ng part i n all I hav e d e v o t e d y o urs

, , .

gre at e r m y d u e t y wo uld sh e w gre at e r m e an e t i m e as i t i s i t is bo u nd t o y o ur

, , , ,

L o rdsh i p ; To wh o m I w i sh l o ng l i f e st i ll le n g t h n e d w i th all h a p p i n e s s e .

Yo ur L o rdsh i ps i n all d u e t y Wi ll i am S hak e spe ar e . .

K N I G H T A d dicati o n acc mpanying s o m e

: e prod ucti o n o f t h e m i ghty
, o n ew

dramat i st i n acc ordance with his d e clarati n

, o What I have d o n e is y o urs ,

,

what I have t o d o is y o urs Th e s o nn e t wh i ch pre c e d e s th i s has also t h e

.

mark e d charact e r of t h e sam e r e sp e ctful a ff e ct i o n and l i ke t h e 2 6 t h i n all , , ,

pr obab i l i ty acc o mpan i e d so m e off e ring o f fr i e ndsh i p (I llus tra ti on p .

, .

D E L I U S : A d e d i cat i o n s o nne t t o o n e o f h i gh e r rank with wh o m t h e p oe t spe aks ,

i n a wh olly d i ff e r e nt t o n e alth ough i n o n e as a ff e ct i o nat e as r e spe ctful

fr o m that o f t h e supp o s e d e xh o rtati o ns t o marriag e
( Ja h rb 1 : MAS S E Y . .
,

This was wr i tt e n and s e nt in MS t o t h e fri e nd addr e sse d b e f ore t h e w r i t e r had .

,

publish e d anyth i ng that is b e f o r e t h e y e ar 1 59 3 , Th e d e d i cat i o n t o t h e

, .

V 69 A is i n part fullm e nt o f t h e int e nti o ns e xpr e sse d [ h e r e ] I n fact w e s e e

.

.

t h e so nn e t was as much a privat e d e d i cat i o n o f t h e poe t s rst po e m as th i s

e pistl e was aft e r wards t h e publ i c o n e ( pp 3 6 I S AAC [ nds t h e so nn e t . .

,

v e ry diff e r e nt i n t o n e fr o m t h e D e d i cati o n of L u crece ] Noth i ng c o uld sh ow .

m or e cl e arly t h e d i ff e r e nc e b e twe e n t h e languag e that o n e use s t o a n obl e patro n

and that t o a fr i e nd t han a c o mpariso n of th e se t w o d e d i cati o ns As c e r e
, .

m o ni a lly c o nstra i n e dly i n as utt e r submissiv e n e ss as i n t h e D e d i cat i o n t o

, , ,

L u crece o n e addr e sse d his patr o n i n t hat a g e ; as intimat e ly with such se lf

, ,

aband o n oft e n as ne ly as i n S 2 6 o n e addr e sse d a fri e nd i n th ose days

, , .
,

and i n e v e ry a g e ( J a h r b 1 9 : L O RD C AM PB E LL [ r e f e rs t o t h e so nn e t as ]
. .
,

a l ov e l e tt e r i n t h e language o f a vassal d oi ng h o mag e t o his l i e ge l o rd ( S h s

-
,
-
. .

L eg al Acqui remen ts p TYL E R : D rak e s argu m e nt [ fr o m t h e r e s e mblanc e

.
,

t o t h e D e d i cati o n ] that it is L ord S o uthampt o n w h o is h e r e addr e ss e d also is ,

c e r tainly n ot c o nclusive We hav e h owe ve r obv i o usly a c ol o uring of p la u s i b i l

.
, ,

ity g i ve n t o t h e asse rti o n that Mr W H was a pe rso n of s o m e w hat similarly . . .

h i gh stati o n S ARRAZ I N : I t is scarc e ly t oo b old t o assum e that this p oe m a c c om

.

a n i e d t h e MS o f L u c r ece and was th e r e f o r e c o mp o se d ab o ut t h e spring o f

p .
,

1 59 4 .
( S h s L e h rj a h re
. p

AR C H E R : [ Th e r e se mblanc e pr o v e s n o thing
, .

but ] that e ve n in t h e min d of S h similar situati o ns b e got sim i lar e xpr e ssi o ns . .

( F or t . R e v n s 6 2 : .
,
L E E : A g o rg eo us r e nd e ring
. . of [ t h e D e dicati o n ,

addr e s se d t o S o uthampt o n ] Th e r e is li tt l e d o ubt that this so nn e t was

par odi ed by S i r J o hn D avi e s i n t h e 9 t h and l ast of his gull i ng so nn e ts in

,

which h e ridicul e s t h e n oti o n that a man of wit sh o uld put h i s wit i n vassalage
t o any o n e .

To l ove my l ord I d o knight s se rvic e ow e

,

And th e r e for e n ow h e hath my wit i n ward ; [e t c ] .

(L i fe pp 1 2 7 1 2 8 n ) , .
, .
76 TH E S ONNE TS OF S HAK E S P EA R E [XXVI
B E E C H I NG : [This] is p ossib l e th ough c o nsi d e ri ng t h e e xc e sse s i n this r e sp ect
, ,

of Z eph e ri a t o which D avi e s r e f e rs by nam e it is u nc e rtain

, [ H e g oe s o n t o , .

S h o w that t h e dat e of D a v i e s s S o nn e ts is u nc e rtai n and th e r e f o r e e v e n if t h e

, ,

re se mblanc e is s i gnicant we a re n ot h e lp e d in t h e probl e m of dating ,

( I ntr o p xxvi i n )
.
, . .

WAL S H : [ C f o n e of S p e nse r s d e dicat ory sonne ts pre x e d t o t h e F Q

.

. .
,

addre sse d t o L ord Gr e y of Wi l t o n

Mo st n o bl e l ord
pil l ar of my life , th e ,

An d patr o n o f my Muse s pupi l lag e

,

Thro ugh wh o se larg e b o unty p o ur e d on m e rif e , ,

I n t h e rst se aso n of my f ee bl e a g e ,

I n ow d o l ive b o und y o urs by vassa l ag e ; et c ]

, .

is quit e p ossibl e that this so nne t was a privat e d e dicati o n writt e n i n t h e

It
pr e se ntati o n c o py [of L ucrece] se nt t o S o uthampt o n F or sak e of c o m .

pariso n it is n ot e wpr t h y t hat S pe nse r s d e dicat o ry so nn e t t o t h e C o u nt e ss of

P e mbr o k e am o ng th ose pr e x e d t o his F Q was littl e e lse than a po etical

, . .
,

ve rsi o n o f his pr o se d e d i cati o n t o h e r of h i s R u i n s of Ti me .

C A B R OWN [ mad e t his so nn e t t h e e nv o y t o what h e cal l e d t h e rst

p oe m of t h e se ri e s i e 1 2 6 Th e sa m e c o nj e cture is pro p o se d by D OWD E N

, . .
, .
,

TYL E R AC H E S O N ( S h 69 th e Ri va l P oet p
, and T L M D O U S E w h o writ e s
.

, . . . .
,

as f oll ows : ] This s o nne t was se nt as an e nv o i or c ove ring n ot e with 1 2 5 t o t h e , , ,

addre sse e w h o had e vid e nt l y lai d o n t h e p oe t a charg e

, that h e wo uld p r o
d uc e a p oe m or p oe ms on a give n subj e ct Th i s charge t h e p oe t has take n up .

and e xe cut e d a ri d s o fulll e d a thrice nam e d d u ty

, [ It is o bvi o us] that t h e -
.

addre sse e was a man of su ff ici e nt stati o n and auth ority t o se cur e t h e executi o n
of his w i sh e s ; als o that Sh was but sl i ghtly acquaint e d with him alth ough h e
.
,

h op e s t o b e o n fri e ndly t e rms s om e day ; also that S o nne ts 1 2 5 w e r e pur e -

p oe try s o that t h e poe t f e ars th e y may b e take n as a m e r e e xe rcise of his cl e ve r

,

n e ss ( N 59 Q l ot h s 2 : [On t h e oth e r hand WYND H AM tr eats t h e

. .
, .
, ,

s o nn e t as a f orma l addre ss Op e n i ng t h e se qu e nce 2 6 3 2 ( I ntro p cx ) ;

.
, .

B U TL E R is disp o se d t o think it acc o mpani e d t h e six n e xt f ol l owing so nn e ts ;

and B E E C H I NG make s it t h e Op e ning so nne t of its gr oup cal l ed Th oughts i n

,

Abse nc e .

2 . S TE E VE NS : C f . Ma cb .
, III, i ,

15 18

L et y o ur H ighn e ss
C o mman d up o n m e ; t o t h e which my duti e s
Ar e with a m o st i ndiss o l ub l e t i e
F or e ve r knit .

4 wi t S C H M I D T [ d oe s n ot cit e t h e pr e se nt
. . passag e ; but it fa ll s u nd e r his
d e n i t i on : ] imagi native and i nve ntive facu l ty .

7 . c on c ei pt . and n o t
[S ee n o t e
e h ow t h e sp e lling h r pr
o n 1 5,
e e e se rv e s t
9; h e

r e l ati o nship o f t h e w o rd t o c o nc e pt
BD ]

. .

8 a ll nak ed D OWD E N : My d uty e v e n na ke d as it is b es tow S C H M I D T

. . ,
. .
XX V I ] TH E S ONNE TS OF S HAK E S P EAR E 77
L odge . TY L E R : [ Th e word ] h e re se e ms to m e an n ot m e r e ly l odge , but a l so
e quip and cl oth e .
"

ABB OTT [explains this c onstructi o n as an ell i psis of

~

9 what s oe ve r
. that .

it b e . m ov i ng S C H M I D T: L iving TYL E R : Th e p o e t it w o uld a p

. .
,

p e ar in acc o rdanc e with fo ll owing so nn e ts is ab o ut t o c o mm e nc e a j o urn e y

, , .

B E E C H I NG : Th e re ne e d b e n o r e f e r e nc e in this w ord t o any j o urn e y s i nc e it is ,

a ge ne ral e xpr e ssi o n f or l i f e as i n t h e phrase t o live and m ove and have o u r

, , ,

b e ing ; but t h e word is c o mm o n i n S h of t h e m oti o n of h e ave n l y b odi e s

.
,

and in o n e or t w o place s it is used of t h e m ove m e nts of m e n u nd e r th e ir i n u

e nc e Thus A W I I i 56 : E a t sp e ak and m ov e und e r t h e i n u e nc e

. . .
, , , , ,

o f t h e m ost r e c e iv e d star S o that m oving h er e may imply j o urn e yi ng

. .

I n t h e f orm e r case t h e s o nn e t may b e tak e n as e nvo y t o what pr e c e d e s i n t h e ,

l att e r as pr oe m t o what foll ows .

1 I .AC H E S O N [ nds h e r e a r e f e r e nc e t o t h e grant of arms r e c e ive d by S h o n .

appl i cati o n t o t h e C o ll e ge of H e ra l ds i n 1 59 6 ( S h 69 th e R i va l P oet p . .

, .

t ott e r e d S ee n ot e o n 2 4
.
, .

12 .th e ir MAL O N E : F or t h e c orr ecti o n [t o thy I am answe rabl e Th e

. .

sam e mistake has se ve ral t i m e s happ e ne d in th e s e so nne ts owing probably t o ,

abbr e viati o ns having b ee n f orm e r l y use d f or t h e w ords th e ir and thy s o

,

n early re se mbling e ach oth e r as n ot t o b e e asily d i stinguish e d I have o bs e rve d .

t h e sam e e rr o r i n so m e of t h e o ld E nglish plays [Th e oth e r i nstanc e s usually .

c o rr e ct e d a r e i n 2 7 I o ; 35 8 ; 37 7 ; 4 3 1 1 ; 4 5 1 2 ; 4 6 3 8 1 3 1 4 ; 6 9 5; 70 6 ;
, , , , , , , , , , ,

128 , I I 14 , E D ] WYND H AM [ a l ways dispo se d t o sav e t h e Q r e ading if h e

. .
,

can ob s erv e s z] It is p o ss ibl e that th e ir may b e t h e right r e adi ng r e fe rring

,

,

t o t h e stars sugg e st ed by
, whatsoe ve r star i n l ine 9 ; [ and Miss PO R TE R w h o

.
,

d e f e nds t h e Q t o t h e d e ath oi r e aso n be li e v e s that

th eir r e fe rs t o t h e,

sw ee t r e sp ect of t h e s ta r and th y s ou les

1 3 14 D OWD E N : Th e rhym e has an ech o of D ani e l s D eli a S 1 0
.

, .

Onc e let h e r kn ow ! sh hath d o ne e n o ugh pr ove me ,

to

An d let h er pity if s h e cannot l ove me

, .

[VON MAUNTZ c ompare s with this so nn e t Ovid s E x P on to, I V, i

-
, 19 2 1

q uesinas oro n ec fastidita re p e lla s

,

Ve rba nec oi c i o crim e n i n e s s e put e s ;

E t l e vis haec me ri t i s r e f e r a t ur gratia tantis ] .
78 THE S ONNETS OF S HAK ES P EAR E [ XX VI I

2 7

WE ARY w i t h h a s t m e to my b e d
t o y le , I ,

Th e d e a re r e p os e f or l i m s w i t h t ra u a i ll t i r e d ,

B u t t h e n b e g i n s a i o u rn y i n my h ea d
To w o rk e my m i n d w h e n b od d i e s w or k s exp i re d

.
,

F o r t h e n my t h o u gh t s ( f r o m fa r w h e r e I a b i d e )
I n t e n d a z e lou s p i lg r i m a ge t o t h e e ;
An d k e e pe my d r oo p i n g e y e l i d s o pe n w i d e -
,

L oo k i n g o n d a r k n e s w h i ch t h e b l i n d d o e s ee .

S a u e t h a t my s o u l e s I m a g i n a ry s i gh t

P re s e n t s t h e i r s h a d d oe t o my s i g h t le s v i e w ,

Wh i ch l i k e a i ew e ll ( h un g e i n ga s t ly n i gh t )
M a ke s b l a c ke n i gh t b ea u t i ous a n d h e r old fa c e n ew , .

L oe t h u s b y d a y my li m s b y n i gh t my m i n d , ,

F o r t h e e a n d f o r my s e l f e n o e q u i e t n d e
, ,
.

2 . trau ai ll] tra vel G 2

, S 2
, et c . ( e xc e pt B ut ) .

3 . h a d ] h ea d G 8 e t c ( e xc e pt D o
e ,
2
,
2
, .
, Ox) .

5 . fr om f ar] f a r f rom G S E M c onj , , , .

10 . th e i r ] th y C M et c
, , .

MAS S E Y : [ This and t h e f oll ow i ng so nn e t pe rtai n t o t h e j o urn e y and abse nc e

abr oad spo ke n of i n 44 4 5 50 6 1 ( p
, I S AA C [ puts t h e pair i n a gr o up of
-
, , . .

Rei s eli ede r with 4 3 4 8 50 5 6 1 9 7 9 9 1 1 3 1 1 4 and be li e v e s th e y a r e c o n

1
,

, , , ,

n ec t ed with a hypo th e tical j o urn e y t o I taly ( J a h rb 1 9 :

[ F or F L E AY S . .
,

n oti o n that all th e se abse nc e or trav e l so nn e ts r e f e r n ot t o any actua l

j o urn e y but t o t h e se par ati o n b e twee n S o uthampt o n and S h cause d by t h e

, .

suppo se d unfaithful ne ss of t h e latt e r s ee Ma cm Ma g 3 1 : 435] , .

,

[ F or t h e th e m e of t h e t w o s o nn e ts MAS S E Y c o mpar e s S idn e y A 69 S 8 9

. .
,
,

Now that of abs e nc e t h e m ost irk s o m e night

With dark e st shad e d oth ove rc o m e m y day ,

S inc e S t e l la s e y e s w o nt t o giv e m e my day

, ,

L e aving my h e misph e r e l e av e m e i n night ; e t c (p ,

. .

And I S AAC n ot e s al so S i d n ey s 8 8 ( Out ! 98

Ah b e d !
,

I am c o nstraine d spurred with L ove s spur

,
t o turn and t o ss in th ee !

,

and 99 ( Wh e n far spe nt night pe rsuad e s each m orta l

-
D an i e l S 49 , .

( t h e w e ll kn o wn
-

C ar e charm e r t w o s
-
o nn e ts o f S urr e y s ( 2 and 1 0

Nott and vari o us p oe ms of P e trarch s ( P t 1 C a nz on e 4 ; S 1 6 1 1 6 8

.
,
.
, ,
x x vn ] TH E S ONNE TS OF S HAKE S P E AR E 79

( J a h rb .
, i n many b e autifu l so nne ts d e scrib e s
17: night and
LE E : S h .

sl ee p and th e ir in u e nc e o n am or o us e m oti o n S uch t opics a re c o mm o n th e m e s .

o f t h e p o e try o f t h e R e naissanc e and th e y gur e i n S h s pag e s clad in t h e

.
,

id e ntical liv e ry that cl oth e d th e m i n t h e so nn e ts of P e trarch R o nsard d e Baif , , ,

and D e sp ort e s or of E nglish discipl e s of t h e I talian and F r e nch mast e rs

, .

F or d e scripti o ns o f night and sl ee p s ee e spe cially R o n s a r d s Am ou rs ( livr e 1

1 8 6 ; livr e 2 2 2 ; Ode s l i vr e 4 No 4 and his Odes R etra n ch es in ( E uvres e d

, , , .
, , , .

B la n c h e m a i n 2 : 39 2 C f Barn e s P 59 P S 8 3 ,
D ark night ! b l ack image .
, .

.

o f my f o u l (L if e pp 1 1 1 , .

3 . h ea d . D OWD E N : Mod e rn ed it ors put a co mma aft e r h e ad . B ut is n ot

th e c o nstructi o n a j ourn e y i n my h e ad b e gins t o work my mind

3 4 [An an o nym o us writ e r i n B lackwood s

1 39 : 335 c o mpar e s D ant e

.
, , ,

P u rga tor i o ii 1 1 1 2

, ,

L i ke musing on th e ir r oad i n th ought

men w h o, ,

J o urn e y wh i l e m oti o nl e ss t h e b ody stand s ]

,

6 . In t e n d . SC H M I D T: D irect . D OWD E N U se d fr e qu e ntly

trav e l: of . Cf .

M W W I I i 1 8 8 : If h e
. . .
, , , sh o uld int e nd this voyage t oward my wif e .

7
8 MAS S E Y : [ Ci S idn e y A 69 S 99 :
. .
, .

.
,

With wind ows Ope th e n at night ] m ost my mi nd d oth li e ,

Vi e wing t h e shap e of darkn e ss and d e l i ght ] .

(p

9 . i ma gi nary . R OL F E : I maginative . Cf . KJ . .
, I V, 11 , 2 6 5: F ou l imaginary

e ye s .

10 i [ Se e n ot e on 2 6 1 2 Again WYND H AM thinks it p ossib l e and Miss

. th e r. , .
,

P O R TE R c e rtain that t h e w ord sh o uld b e k e pt r e fe rring t o my

'
, ,

s h a d d oe S C H M I D T: I mag e pr oduc ed by t h e imaginati o n

.
[ Cf 3 7 1 0 and . .
, ,

n ot e s ED ] . .

1 1 12 -
M A L O N E C R 89 J
: f . I v 4 7 48
. .

.
, , ,

H e r b e auty hangs up o n t h e ch ee k of night

L ik e a rich j e w e l in an E thi op s e a r

[t h e r e ading of th e 2 d Fo l i o] .

12 . rhythm s e e n o t e o n 5 7
F or t h e , , .

13 14 D OWD E N : By day my limbs nd n o qui e t f or mysel f i e on a cc ount
.
, . .
,

o f busin e ss o f my ow n ; by night my mind nds n o qui e t f or th ee i e on y o ur , . .

,

acco unt thinking of y ou ROL F E : F or t h e i nt e rlac e d or chiastic c onstru e
,

ti o n cf W T I I I 1 1 1 6 4 : Th ough I with d e ath an d with r ew ar d d i d

. . .
, , ,

thre at e n and e nc o urage him ; and S 7 5 1 1 1 2
.
, .

B RAND L [ thinks that this so nne t and 2 8 we r e a dd r essed t o a woman .

(p .
80 TH E S ONNE TS OF S HAK ES P EA R E [ XX V III

2 8

H OW can I t h en re t u r n e in h a pp y p l i gh t
Th a t am d e b a rd t h e b e n i t of re s t

Wh e n d a i es Opp re s s i on is n o t ea z d by ni gh t ,

B ut day b y gh t a n d n i gh t b y d a y o p re s t
ni .

An d ea ch ( t h o u gh e n i m e s t o e t h e rs ra i g n e )

D oe i n c o n s e n t s h a k e h a n d s t o t o r t u re m e ,

Th e on e b y t oy le t h e , o th e r to c om p la i n e

H ow f a r I t oy le fr om t h ee
, s ti ll fa r t h e r o ff .

I t e l l t h e D a y t o p l ea s e h i m t h ou a r t b ri gh t ,

An d d o s t h i m g ra c e w h e n cl o u d s d o e b l o t t h e h ea ue n

S o a t t e r I t h e s w a r t c om p le x i o n d n i gh t ,

Wh e n s p a r k l i n g s t a rs tw i re n o t t h ou g u i l s t t h ea ue n
.

B u t d a y d o t h d a i ly d ra w my s orr ow e s l on ge r ,

An d n i gh t d o t h n i gh t ly m a ke g re e f e s le n g t h s e e m e s t ro n ge r

5 . th e rs ] oth ers 1 6 40 L G S E ; ci th e r s M et c
e , , , ,

, .

8 f arth e r ] f u rth er H u Ox
.
, .

9 to p l e a s e h i m ] B e twee n c o mmas G 5 E M A K t B H u D y S t a C l
.
2
, , , , , , , , , , ,

K ly D o Ty B ut B e
, , , , .

12 twi r e ] twi re 1 6 40 ; tweer G S E ; twi rl M c o nj ; twi n k S t e e c o nj ; ti re

.
, , , . .

Masse y c o nj n ot] ou t G S E
.
gull s t] g u i ld s t G S ; gi ld s t S e t c
,
2
,

,
2
.

, .

13 14 l ong e r
-
. l e n gth s e e m e stron g e r] s tron ger le n g th s ee m lon g er an o n .

c o nj ( in M) ; lon ger
. s tren g th s eem s trong er C K t D e l D y C 0
25
) S t a G1 , , , , , , ,

K ly Wh C a m H u R B ut Ox He r B e B ul l Wa
, ,
z
, , , , , , , , .

1 2 . WYND H AM : marke d qu e ry in th e se t w o lin e s sugge sts that th e y

Th e
a re a r e j o ind e r t o so m e ki nd l y e xpr e ssi o n of g oo d wish e s f o r t h e p oe t s happy

re turn i n a l e tt e r fr o m t h e fri e nd .

9 [ D e spit e t h e rath e r impo rtant d i ff e r e nc e of ed it oria l practic e in t h e punctu

.

ati o n of this l in e d et e rmining wh e th e r t o pl e ase him is t h e r e aso n why I

,

t e ll t h e day or why th ou art bright t h e matt er has e scaped discussi on

, .

Th e w e ight of opini o n is sh own by t h e t e xtua l n ot e s t o favor t h e form e r ,

r ea d ing t o p l e ase him be twee n c o mmas d o ubt l e ss f or t h e r ea so n that

,

t h e c ont e xt sugg e sts that t h e phrase is parall e l with

att e r I c o nsol e t h e
d ay wh e n it is c l oudy as I att e r t h e night wh e n it is star l e ss It is possib le
, ,
.
,

h owe ve r t o r e ad t h e t w o se nt e nc e s as para ll e l an d sti l l suppo se that th ou

,

,

art bright with t h e fri e ndly purp ose of p l ea sing t h e day

ED ] . .
 XXV I I I ] TH E S ONNETS OF S HAK E S P EA R E 81

12 . MAS S E Y : Cf . M N . . D .
, III , 11 , 1 8 7 -
88

Fa ir H e l e na
that m or e e ngilds t h e night
,

Than all y o n e ry oe s and e ye s of light .

(p .

twi r e S TE E VE NS [ f oll owing Ty rw h i t t s int e rpre tati o n of t h e word i n C hau

.

c e r s ve rsi o n of B oe thius th ought that it might m e an s i ng

, i f n ot
,

a c o rrupti o n of B O S WE LL : I n J o nso n s S a d S h eph erd this w ord

o ccurs :

Which maids will twire at twee n th e ir nge rs thus Mr Gi ff ord
. .
,

i n a not e o n that passage ( Wor k s vi produc e s se ve ral instanc e s of t h e

, ,

word i n our anci e nt writ e rs and e xplains t h e expre ssi o n i n t h e t e xt thus :

,

Wh e n t h e stars d o n ot gl e am or appe ar at int e rvals To twi re se e ms t o have

.

much t h e sam e s i gnicance as t o peep [ This e xplanati o n has b e e n ge n e rally .

acc e pt e d e xc e pt by MAS S E Y w h o r e ve rt e d t o t h e C hauc e rian m e aning

, , ,

e xpla i n i ng h owe v e r that t h e w o rd is e mpl oy e d f or visibl e m oti o n as we ll a s

, ,

a ud i b l and h e nce is applicabl e t o t h e quive ring light o f t h e stars H e also .

b e li e ve that t h e i mage was sugge st e d t o S h by S idn e y s c o nc e it ( A 69 S 3 8 ) .

.

.
,

that his S t e lla n ot o nly shin e s but sings ( p

. .

1 3 1 4 MAL O N E : [ C ap e ll ] pro po se s t o make t h e t w o c o ncluding w ords of

.
*

this c o upl e t t o change plac e s B ut I b e li e ve t h e old c o py t o b e r i ght S tr o nge r

.

.

cannot w e ll apply t o d ra w n ou t or protra cted so rr ow [ I n his MS c orr ect i o ns . .

,

it will b e n otic e d C ap e l l mad e t h e alt e rnative e m e ndati o n wh i ch has b e e n

,

f ol l owe d by many e d i t ors ED ] D E L I US [ supp o rting th i s e m e ndati o n

. .
,

( str e ngth f or

calls att e nti o n t o 2 H 4 I I iii 55: .
, , ,

j oin y ou with th e m l ike a rib

Th e n , of st e e l ,

To mak e str e ngt h st ro nge r ] .

D OWD E N k ee p t h e Q t ext it m e ans : Th e drawing out o f my sorrows

: [ If w e ,
-

d oe s n ot we ake n the m ] f or my night th o ughts c o m e t o make my sorro ws as

,
-

stro ng as b e fore nay stro nge r I t might b e supp o se d that my gr i e f i f l o ng we r e

, .

l ight but this is n ot s o ; it grows in l e ngth in d e e d e ach day but also t o this
,

l e ngth is add e d str e ngt h e ach night [Th i s is f oll owe d by WYND H AM w i th m ore .
,

assuranc e B E E C H I NG favo rs t h e e m e ndati o n be cause ] it is b e st t o c o nt i nu e

.
,

t h e divisi o n of t h e p oe t s w oe b e twee n day and n i ght t o t h e day l e ngt h o f

j o urn e y t o t h e n i ght stre ngt h of c o mp l aint [ I have no d o ubt that t h e e m e n

, .

dati o n is j usti e d if any is j usti e d e xc e pt t o avoid absol ut e n o nse nse

'

, ED ] . .
 2 TH E S ONNETS OF S HAK ES P E AR E [XX I X

29

WH E N i n d i s gra ce Fo r t u n e a n d m e n s e ye s wi th ,

I a ll a l o n e b e w e e p e my o u t c a s t s t a t e -
,

An d t ro ub l e d e a fe h e a u e n w i t h m y b oo t le s s e c r i e s . ,

An d loo k e v p o n my s e lf e a n d c u rs e my fa t e .

Wi s h i n g m e l i ke t o o n e m o re r i c h i n h ope ,

F e a t u r d l i ke h i m l i ke h i m w i t h f r i e n d s p os s e s t

, ,

D e s i r i n g t h i s m a n s a r t a n d t h a t m a n s s k op e , ,

Wi t h w h a t I m o s t i n i oy c o n t e n t e d l e a s t ,

Y e t i n t h es e t h o ug h t s m y s e lfe a lm os t d e s p i s i n g

, 9
H a p ly e I t h i n k e o n t h e e a n d t h e n my s t a t e , ,

( L i k e to t h e L a r k e a t b r e a k e o f d a y e a r i s i n g)
F r o m s u ll e n ea r t h S i n g s h i m n s a t H e a ue n s ga t e ;
F o r t h y s w e e t l o u e r e m e m b r e d s u ch w e lt h b r i n g s ,

Th a t t h e n I s k orn e t o ch a n g e my s ta t e w i t h K i n gs .

9 . Ye t] Ye a S t a c o nj .

1 0 1 2 . stat e (L ik e , i g ) F r om
ar s i n s ul e n e a l rth ] s ta te , L i ke a ri s i n g

F rom s u llen ea rth , o z

, 5 2
, E, B H u of D
, , , y
z
, Ca m , D O, R, t , Ty ox H e r
, , ,

B e , N, B ull ; s ta te L i ke a ri s i n g F r om s ulle n ea rth , C; s ta te (L i k e

a ri s i n g F r om s u llen ea r th ) M A Kt , , , Co D , e l, D y l
,
S t a , C l, Wh
; s ta te
-
L i ke
a ri s i n g F r om s u llen ea rth Kl y, H a l; s ta te , (L i k e a ri s i ng ) F r om
s ulle n ea r th , Wy ; s ta te L i ke a ri s i n g F r om s ulle n ea r th , B ut ; s ta te , L i ke
a ri s i n g , F r om s ullen ea r th Wa ,

12 . e art h ] ea rth s G 1
. s i ng s h i mn s ] to s i n g G 2
,
S 2
, E .

MAL O N E : Th e se n e rv o us and animat e d line s in which s uch an asse mblage ,

of th o ughts cl o th e d in t h e m o st gl o wi ng e xpr e ss i o ns is c o mpr e sse d i nt o t h e

, , .

narro w c o mpass of f o urt ee n l in e s might I thi nk have save d t h e wh o l e o f this , , ,

c ol l e cti o n fr o m t h e ge n e ra l and ind i scr i minat e c e nsur e thr own out against th e m
by Mr S t ee v e n s
. .

MAS S E Y : [ C f with this and S 30 S idn e y A Ss S 1 8

. .
, .

.
,

With what sharp ch ecks I i n myse lf am sh e nt ,

Wh e n int o R e aso n s audit I d o g o ;

And b y j ust c o unts: myse lf a bankrupt kn o w

Of a ll th o se g oo ds which h e av e n t o m e hath l e nt ; ( etc ) .

and i bi d 6 4 . .

Le t F o rt un e l ay o n m e h e r w or st disgrac e !
L et f ol k o e r c h a r g e d with brai n agai nst m e cry

( p . .
 TH E S ONNE TS OF S HA K E S P E AR E 83

TYL E R : This so nn e t wi th its m e nti o n of S h s o utca st Stat e e t c wou l d

, .

, .
,

b e v e ry suitabl e t o t h e sup po siti o n that b e was o n a pr ovincial t o ur as an act o r .

L E E : Th e so nn e ts i n wh i c h [ S h ] giv e s e x pr e ssi o n t o a se nse of me lanch ol y

. .
,

o ff e r at tim e s a c o nvi ncing illusi o n o f aut obi o gra ph i c c o nf e ssi o ns B ut th e y .

may b e o n t h e oth e r hand m e r e ly lit e rary m e d i tati o ns

, , Alm o st e ve ry n ot e .

i n t h e scal e o f sadn e ss or se lf r e proach is so und e d fro m tim e t o tim e i n P e -

t ra r c h s So nn e ts Tasso i n S celta de lle Ri me 1 58 2 p t 2 p 2 6 has a so nn e t

.
, , .
, .
,

( be gi nning Vinca f ort una h o mai Se s ott o i i pe s o ) which a d u n i b r a t e s S h s

, .

S o nne ts 2 9 and 6 6 D rumm o nd s S o nn ets 2 5 ( What cru e l star i nt o this

.

world was br o ught and 3 2 If crost with all mishaps b e my poo r life ) a re

pitch ed in t h e id e ntical k e y (L if e p [This is an e xampl e of t h e s o rt o f

.
, .

c o mpa rative crit i cism of t h e S o nn e ts which has r e pe at e dly ve x e d t h e so uls o f

th o se w h o ch e ris h gr e at admirati o n f or t h e wr i t e r s l e arning Th e s ourc e of t h e
.

v e xati o n is i ri part at l e ast t h e implicati o n that that wh i ch has b ee n abu n

, ,

dautly utt e r e d by oth e rs is n o t l i ke ly t o b e utt e re d an e w in p e rso nal si nc e rity .

I f this w e r e s o what sh o u l d tru e l ov e rs and h o n e st su ff e r e rs d o ? Th e attitud e

,

of S i r S idn e y L ee is fr o m o n e stand po int a wh o l e so m e r e acti o n against t h e

, ,

s o rt of bi ographic int e rpre tati o n r e pr e se nt e d by t h e n ot e of Tyl e r qu ot e d ,

ab ove wh i ch assum e s that S h c o uld n ot hav e writt e n this so nn e t e xc e pt und e r

,
.

t h e str e ss of s o m e part icu l ar situati o n B ut it i s a l o ng way fr o m this e xtre m e .

t o t h e o th e r t h e i nf e r e nc e that S h was not v o icing his o w n disappo intm e nts

, .

b e cau s e t h e R e naissanc e p oe ts ge n e rally had ch o se n t h e so nn e t i n which t o

vo ic e th e i rs Th e fallacy l urks i n t h e phrase l it e rary m e ditati o n is a l it e rary
.

m editati o n a m e r e imitati o n ? E D ] .

1 . F or tun e ,
[Th e capital i nitial h e r e has b ee n v e ry g e n e ral l y and I think ,

wr o ngly o m i tt e d by m od e rn edito rs d o ubtl e ss u nd e r t h e inu e nc e of t h e

,

Mal o ne and t h e C ambridge e diti o ns ( E xc e pti o ns a r e t h e t e xts of Wyndham .

,

B utl e r Ne i l so n and a f e w oth e rs ) S ur e ly t h e i m po rtanc e of t h e p e rs o n i c a

, , .

ti o n Of F ortun e i n E li z ab e than lit e ratur e raise s a pr e sumpti o n of its be ing

f o und h e r e ED ] . .

3 .
[ AB BO T T scans this l in e rath e r sad l y tr e ating tr o ubl e as an instanc e o f ,

t h e c o ntract i o n o f d i ssyllabl e s i n l and

:

h e av e n as dissyllabic I t is
,
.

sur e ly pr e f e rabl e t o r e ad d e af h ea v n with h ov e ring acc e nt

ED ]

. .

5 7 L A M
. B : [ Thu s c o uld S h l i n t h e pl e nitud e and c o nsc i o usn e ss. o f his o w n

po we rs with that n obl e m od e sty which w e can n e ith e r imitat e n or a p p re

,

ciat e e xpr e ss himse l f

,
o f his ow n se nse o f his ow n d e f e cts ( E s s a y on Th e .

Tra g edi es of S h ) .

8 D OWD E N : Th e
. prec ed ing l in e make s it n ot i mprobab l e that S h is h er e .

spe aki ng of his ow n poe ms .

10 12 [Th e vari o us editi o ns whi l e e xhibiting gr e at dive rsity of d e tail i n
. ,

t h e punctuati o n o f th e se lin e s a re i t will b e n tic e d

o i n pr e tty g e n e ral ,

agree m e nt i n r e m ovi ng t h e st o p aft e r arising I n additi o n t o Wyndham and .

Wa l sh P E R C Y S I M P S ON h olds t o t h e dubi ous c onstructi on o f t h e Q and main

, ,

tai ns that edit ors hav e n o right t o m ove t h e se c o nd mark o f pare nth e sis three
84 TH E S ONNETS OF S HAK ES P E AR E [XXX
words furth e r on I t br e aks a subtl e l ink with t h e th o ught of t h e O p e ning
.

l i n e s and imp ove rish e s t h e b e auty o f t h e simi l e t o d e tach [t h e p oe t s] stat e

fr o m t h e su l l e n e arth
(p This is what might b e call e d transc e nd e nta l
.

.

punctuati o n I f f o l l owe d w e must r e ad i n e ff e ct My stat e fr o m sull e n e arth

'

.
, , ,

sings hymns at h e ave n s gat e which sugge sts a us e of a t lik e that i n t h e

phrase sh out e d at him What t h e lark d oe s at any rat e is n ot t o sing fr o m

.
, ,

sull e n e arth but t o r i se fr o m it and it see ms saf e r t o f oll ow t h e maker of t h e

, ,

simil e than t h e print e r o f t h e p are n t h e s e s i ED ] .

MAL ON E : C f Cy mb I I iii 2 1 2 2 . .
, , ,

H ark ! hark ! t h e lark at h e av e n s gat e sings

,

An d P h oe bus gins ar i se .

P e rhaps , as Mr . Ree d has obse rv e d , Sh . r e m e mb e red L illy

s Ca mpa s pe
( 1 584)
No n e but t h e l ark
shrill and cl e ar ; so

Now at h eave n s gat e s h e c l aps h er wings

'
.

30

WH E N to th e l t h o ugh t
S es s i on s o f s w ee t s i e n t ,

I s om m o n v p r e m e m b ra n c e o f t h i n gs p a s t ,

I s i gh t h e l a c ke o f m a n y a t h i n g I s o u gh t ,

An d w i t h old w oe s n e w w a i le m y d ea re t i m e s w a s te
Th e n ca n I d row n e a n e y e ( v n v s d t o ow )

-

I o r p re c i o u s f ri e n d s h i d i n d ea t h s d a t e les n i gh t ,

An d w ee p e a fr e s h lo ue s l on g s i n ce ca n c e ld w o e ,

An d m on e t h e xp e n c e o f m a n y a v a n n i s h t s i gh t

.

Th e n ca n I g r ee n e a t g r e e ua n c e s fo r e g o n -
,

An d h e a u i ly fr o m w oe t o w oe t e l l ore
Th e s a d a cc ou n t o f f o re b em on e d m o n e -
,

Wh i ch I n e w pa y a s i f n o t pa yd b e fore , .

B u t i f t h e w h i l e I t h i n k e o n t h ee ( d e a re f r i e n d )

All los s e s a re r e s t ord , a n d s o r row e s e n d .

wo e s ] woes

K ock c onj ti m e s ] ti me

G 2
S , E, M Co, ( e xc e pt

4 . . s , , et c.

Ox ) ; ti mes A,

Kt , Ox .

8 . th

e xp e n c e ] th e pen ce C
ex , M A Kt B
, , , ,
D e l, C l, Gl, Kl y , Ca m , D o, R,
t , Ty Ox , , B ut ,
H er B e N , , .

1 . S e ss i on s .
[ F or th e l e ga l m etaph or MAL ON E c ompar e s] , 0 th .
, I I I iii
, ,

1 38 4 1 :
xxx ] TH E S ONNETS OF S HA K S P E AR E
E 85

Wh o has a SO pure
'

b rea s t
B ut so m e unc l e anly appr e h e nsi o ns 5
K ee p l ee ts and law days and in se ssi o ns sit -
.

With m editati o ns lawful ?

4 . r e[ Not e
markably sp o ndaic rhythm
th e E D ] P AL G R AV E : C f K a w ols . . .

[Appare ntly a misqu otati o n as P r of e ss or W A

'
w o u d 6 a xp15 0 s la r vew K Kd 1 a .
,
. .

OL DF ATH E R brings t o my att e nti o n of a passag e att ribut ed t o E uripid e s ( s ee ,

Na u c k Tra g Gra ec F ra g m fragm ent

,
.
ED ] d e ar e ti m e s w ast e TY L E R :
. .
, . .

Th e th i ngs or p e rs o ns d e vastat e d or d e str o y e d by Tim e which w e r e d e ar ,

[ R OL F E se e ms t o fav or this i nt e rpr e tati o n in t h e paraphrase Th os e

to me .
, ,

d ear t o m e n ow go ne I cann ot thi nk h o weve r t hat my tim e s wast e .

, ,

sh o uld b e s o r e ad I s it n ot that his tim e has b e e n wast e d i n a se nse i n se e ki ng

.
, ,

( li n e 3 ) t h e things which h e n ow lacks

that al l his l ife has b ee n wast e d ,

i n t h e sam e trag i c accumu l at i o n of what a r e n ow vanisht sights ? E D ]

.

E A K OC K [ (An gli a 3 1 : 1 33 ) w o uld tak e wail as a n o un and wast e as

. .
,

a v e rb paraphras i ng : An d sp end my preci o us m om e nts in t h e fr e sh b ewailing

,

o f old w oe s .

6 da t e le s S c H MI D T: E t e rna l C f
. . . .

8 e xp e n ce S C H M I D T Lo ss ; cf
.
[ S o R OL F E BE E CH I NG e t c ] D OWD E N
. . .
, , .

D oe s n ot m oan t h e e xpe nse m ea n pay my acc o u nt of m oans f or ? TYL E R

Moan ove r what t h e l oss of pr e ci o us fri e nds c ost m e i n s orr ow [As appe ars
"
.

fr o m my not e o n tim e s wast e I am dispo se d t o agr ee with Tyl e r s n ot e

h er e o nly with t h e e mphasis o n t h e wh ol e we ary e xp e ri e nc e rath e r than t h e

, ,

m e r e nal l oss E D ] s i ght S TE E VE N S : Many an o bj e ct which b e ing g o n e

. . .
,

h e nc e is n o m or e se e n MAL O N E : S i g h t see ms t o b e h e r e use d f or sigh by

, .

,

t h e sam e lic e nse which S h has alr e ady e mp l o y ed i n his L u cr ece writing hild

.
,

i nst e ad of h el d

than i nst ea d of th e n et c

, Th e substantiv e sigh , .

was i n our auth or s tim e pr o n o u nc ed s o hard that in o n e of t h e old c o p i e s of

I H 4 Q 1 599 w e hav e :
.
, An d with a rising s i g h t h e w i s h et h y o u i n h e ave n
,

.

D EL I U S : I mag e (B i ld ) B E E C H I NG : We spe ak of fr ie nds as b e ing l ost t o .

S h cal l s e ach o f th e m a l o st sight

( ou r ) sight

. . .

10 R OL F E : I n this lin e and t h e n e xt n o t e t h e l ing e ring sadn e ss of t h e l o ng

.
,

o s tell S C H M I D T: C o unt Cf 1 3 8 1 2
. . . .
, .

1 3 f ri e n d . MAS S E Y [ n ot e s that this is t h e rst of t h e s o nn e ts t o u s e this

.

f orm of addr e ss which h e h o lds t o b e charact e ristic of l ov e rs i n E li z ab e than

, ,

use ,a stro ng e r t e rm or m or e ass ociat e d with l o ve b e twe e n t h e s e xe s than , ,

th e l ov e of

et c I n supp o rt h e cit e s a l ove l e tt e r writt e n by S i r Geo rg e
.
-

H ayward 1 550 b e ginning My d e ar e st fri e nd ; a l ov e r in o n e o f D e k k e r s

, ,

plays apo str ophi z ing his l ady s p o rtrait as th ou gur e of my fri e nd ; S urr e y
,

.

calling his l ady my fri e nd ; B e atric e of B e n ed ick I must n e e r l ov e that

,

which my fri e nd hat e s ; L uci o of C l audi o H e hath g ot his fri e nd with ch i ld

,

H e rmia t o h er l ove r Ge ntl e fri e nd ; and o th e rs On t h e oth e r hand i n

, .
,

Sonn e ts 1 2 6 c l e ar l y addr e sse d by a man t o o n e o f t h e sam e s e x t h e titl e

, ,

l ove is used se ve n tim es an d fri e n d n ot at a l l ( p

, . .
86 TH E S ONNETS OF S HAK ES P E AR E [ XXX I

31

Th y b os om e i s i n d ea red h ea r t s w i th a ll ,

Wh i ch I b y la c k i n g h a ue s u p p os e d d e a d ,

An d t h e r e r a i g n e s L o u e a n d a ll Lo u e s l o u i n g p a r t s ,

An d a ll t h os e f r i e n d s w h i ch I t h o u g h t b u r i e d .

H ow m a n y a h o ly a n d o b s e q u i o u s t ea r e
H a t h d e a re r e l i g i o u s l o u e s t o l n e f r om m i n e e y e ,

As i n t e r e s t o f t h e d e a d w h i ch n ow a pp e a r e , ,

B u t t h i n g s r e m o u d t h a t h i d d e n i n t h e r e li e

.

Th o u a r t t h e g ra u e w h e r e b u r i e d l o u e d o t h li ue ,

H u n g w i t h t h e t rop h e i s o f my l o n e rs g o n ,

Wh o a ll t h e i r p a r t s o f m e t o t h e e d i d g i n e ,

Th a t d u e o f m a n y n ow i s t h i n e a l o n e , .

Th e i r i m a g e s I l o u d I v i e w i n t h e e

, ,

An d t h o u (a ll t h e y ) h a s t a ll t h e a ll o f m e .

6 . d ear e r e li g i o u s ] H yph e n e d by Walke r c onj .

, S ta , D y z
, Hu z
.

Wy Wa )
i

8 . th e r e ] th ee G , etc .
( e xc e pt , .

1 1 .
g i u e , ] g i ve; 8
1
, M A , , Kt , CO B D , , e l Hu , , Dy , S t a , C l, C l, Kl y Wh , , Ha l ,

Wy B ut B ull Wa ;
C

Ca m , D o, R 1
, Ty , , , , gi ve : H e r , B e .

14 . all th e all ] H yph e n e d by S t a .

SIM P S O N [ nds i n t h e th e m e of this s nn e t a pr e se ntati o n of t h e P lat o nic o

vi e w of l ov e as l e nding itse lf ] t o many c llat e ral obj e cts with o ut b e ing false t o o

its gr e at o bj e ct I t is a high e r stag e wh e n all c ollat e ral al l inf e ri or obj ec ts a re

.
,

summ e d up in t h e main obj e ct and liv e a s e c o nd li f e i n him ( p ( Cf n ot e

, . . .

on 98 1 1 , S o WYND H AM ] Th e mystical c o nfusi o n with and i n t h e fri e nd

:

of all that is b e autifu l o l ovabl e in t h e poe t and oth e rs is a d e v e l o pm e nt fr o m

r ,

t h e P lat o nic th e o ry o f t h e I d e a of B e auty t h e e t e rna l typ e of which al l be auti :

ful things on e arth a re but shad ows ( I ntr o p cxviii ) . .

, . .

1 4 . MAS S E Y : C f S idn e y A 89 S
.
, .

.
, I st S o ng : Wh o l o ng d ea d b e auty with
i ncr e ase re n e w e t h ?

(p .

5 . ob s e q u i ou s MAL O N E. : F un e r e a ; l cf . .
H a ml .
, I, 11 , 92
survivo r bo und Th e
I n l i a l o bligati o n f or s o m e t e rm
To d o obse q ui o us s o rr ow .

[ S o D OWD E N C OLL I E R R OL F E B E E C H I NG e t c ; but TYL E R r e nd e rs d utifu l

, , , , . .

Th ere is hard l y warrant f or t h e r e n d e ring fun er e a l

e ith er i n t h e H a mlet

,
XXX I ] TH E S ONNETS OF S HA KES P EA R E 87

pas s age or h e re ; th o ugh a sp ecial t e nd e ncy i n t h e word i n such c onn ecti o ns , ,

is d o ubtl e ss rightly i ndicat e d by S C H M I D T ( e spe cially z e al o us with r e sp e ct t o

what is d ue t o t h e d e c ease d and t h e N E D ( dut i ful i n pe rf orm i ng fune ra l . .

ED .
]
6 li gi ous D OWD E N : C f L C 2 50 : R e l i gi o us l ove put o u t R e l i g i o n s
re . . . .
,

ey e . S C H M I D T: D e v o t e d t o any h ol y o bl ig ati o n ( B ut i n t h e passage s i n qu e s .

,

ti o n d ev ot e d with o ut t h e m od i fying w ords is a b e tt e r r e nd e ring

,
BD ] . .

[ WAL K E R hyph e nating t h e w or d with d ea re e xplains
, Making a r e l i gi o n of , ,

its
7 in t e r e st S C H M I D T: R i ght claim [ Ci 74 3 wh e r e S chmidt r e nd e rs t h e
. .
, . .
, ,

wor d shar e partic i pati o n

Th e u se s h ow ev e r a r e c l o se ly r e lat e d ; b oth
, .
, ,

be ing i n a se nse gurative fr o m t h e primary m e ani ng t h e r e lati o n of b e i ng

, , ,

o bj e ctiv e ly c o nc e rn e d i n s o m e thing by having a right or titl e t o a claim upo n , , ,

( N E D ) C f R 3 I I ii 4 7

or a shar e in . . . . . .
, , ,

Ah s o much i nt e r e st have I i n thy so rr ow

,

As I had tit l e in thy n obl e husband ED ] . .

8 .th e r e MAL ON E : Th e n ext l in e sh ows c l early that [ this r e ading ] is c or

.

rupt WYND H AM : I r e tain t h e Q r e ading : th e r e r e f e rs back t o thy b o so m

.

( lin e and th e r e ( l i n e Thus hidd e n i n th e r e

hidd e n i n thy b o s o m .

[ Miss P O R TE R mak e s a similar pa i nful e ff o rt t o k ee p t h e t e xt I t n e e d hardly .

b e r e mark e d that S h w o uld hav e writt e n th er e i n ( as fr e qu e ntly ) if t h e

.
,

m e aning had b ee n that sugg e st ed ED ] . .

9 .M C C L U MP H A : C f R 83 J I I iii 83 . .

.
, , ,

An d b a d

st me bury l ove .

Not i n a grav e .
( J a h rb .
, 40 :

10 . D OWD E N : Cf L . . C 2 18: LO , al l th e se tr ophi e s of a ff ecti ons h ot

must y our oblati ons b e .

1 1 part s of m e R OL F E : S har e s i n m e c l aims up o n m e

.
, .

1 1 12 [All t h e m od e rn e dit ors e xc e pt C raig and Ne i l s o n put a str o ng st o p

-
.

aft e r give d o ubtl e ss int e rpr e ti ng t h e f oll ow i ng That as d e m o nstrat i ve

,

.

F o ll owing t h e Q t e xt I e xplain ed that as s o that in t h e Tud o r e diti o n ;

,

but I hav e n o d o ubt that t h e usua l c o rr e ct e d punctuati on is right Cf 39 8 and . .

,

6 9 3 wh i ch mak e it pract i cally c e rtain that That is d e m o nstrative ; and it

, ,

wo ul d b e diffi cult t o e xplai n t h e u s e of d ue with o ut pr o n o u n or articl e

.

That d u e o f many is appar e nt l y t h e substantia l e quiva l e nt of t h e i nt er e st

of t h e d ea d

ED ] . .
88 TH E S ONNETS OF S HAK ES P E AR E [ XXX II

32

I F t h ou my w e l l c on t e n t e d d a i e
s u ru i ue ,

Wh e n t h a t c h u rle d e a t h my b on e s w i t h d us t s ha ll c on e r
An d s h a l t b y f or t u n e o n ce m or e re s u r ua y -

Th e s e p oor e r u d e l i n e s o f t h y d e c e a s e d L ou e r
C om p a re t h e m w i t h t h e b e t t r i n g o f t h e t i m e

An d t h o u gh t h e y b e o u t s t r i p t b y e u e ry p e n -
,

R e s e r u e t h e m f o r my l o u e n o t f o r t h e i r r i m e , ,

Exc e e d e d b y t h e h i gh t o f h a p p i e r m e n .

Oh t h e n v o u t s a fe m e b u t t h i s l o u i n g t h o u gh t ,

H a d m y f r i e n d s M u s e g ro w n e w i t h t h i s g r o w i n g a g e ,

A d e a r e r b i r t h t h e n t h i s h i s lo ue h a d b ro ugh t
To m a r ch i n ra n c k e s o f b e t t e r e q u i pa g e
B u t s i n c e h e d i e d a n d P oe t s b e t t e r p r o u e ,

Th e i rs f or t h e i r s t i l e i le r ea d h i s f o r h i s l oue ,
.

4 . ru d e ] H yph e n e d by Walke r c o nj
poor e .

9 vout s af e ] vou ch s af e 1 6 40 G e t c
.
, , .

10 thi s ] h i s B ut
. .

1 0 1 4 H a d . l ou e ] I talics by M A K ly , , , C0 3
; qu ot e d by K t , Co l 2
, B ,

D e l H u D y S t a Cl Gl Wh H a l C a m D o
, , , , , , , , , , , et c .

D OWD E N s o nn e t r e ads l i k e an envoy TYL E R : P r obably t h e e nv oy t o

: This .

t h e s e ri e s 7 32
2 L E E : [ This s o nn e t r e p e ats t h e i nt i mati o n o f t h e D e d i cati o n
.

o f L ucrece ] that t h e patr o n s l ov e al o n e giv e s valu e t o t h e poe t s u ntut or e d

l i n e s (L if e p

.
, .

1 . nte n t e d MAS S E Y : Th e p oe t cal l s his l i f e a w e ll c o nt e nt e d day

w e ll co .
-
,

i n dir ect o pp os i ti o n t o t h e ma l c o nt e nt w h o s pe aks i n S 2 9 ( p R OL F E . . .

P o ssibly it r e f e rs t o t h e l ov e o f h i s fri e nd which has mad e up f or all t h e

l osse s h e has su ff e r ed [Appar e ntly R olf e h e r e f oll ows t h e misint e rpr e tati o n o f
.

Mass e y ; sur e ly t h e w e ll c o nt e nt ed day is t h e day o f t h e p oe t s burial

EU ]

. .

4 poor e ru d e li n e s D E L I U S : If any o n e se e ks t o l e arn fr o m th e se p oe ms

. .

t h e tru e h e art m e an i ng of o u r poe t what

-
f or e xampl e S h th o ught o f t h e
,
.

w o rth o f h i s s o nne ts h e will sur e ly fall int o s o m e p e rpl e xity if h e nds t h e sam e
,

p oe ni s h e r e call e d po or rud e lin e s which in S 1 8 we r e e t e rnal lin e s ( Ja h rb

. . .
,

Love r MAL O N E : I t i s p r ope r t o o bse rv e that such addr e sse s t o m e n w e r e

1 : .

c o mm o n i n S h s t i m e and we r e n ot th o ught ind ec o r o us

.

,
We have many .

e xampl e s i n o u r auth o r s plays o f t h e e xpr e ssi o n u se d i n t h e s o nn e t b e f o r e us

,

and aft e rwards fr e q u e ntly r e p eat ed [ C f Cor V ii 1 4 : I t ell th ee f e ll ow . . .

, , ,

, ,
XXX I I ] TH E S ONNE TS OF S HAK ES P EAR E 89

thy ge nera l is my l ove r t h e soo th s aye r i n J C I I ii i 9 Th y l ove r Art e m

'

. .
, , , , ,

i d or us ; U lysse s i n T 61 C I I I iii 2 1 4

I as y o ur l ove r
.

.
, In , , ,

l i ke mann e r B e n J o nso n c o nclud e s on e of his l e tt e rs t o D r D o nne by t e lling .

h i m that h e is his e ve r tru e l ov e r and D rayt o n i n a l e tt e r t o Mr D rumm o nd , .

of H awt h ornd e n inf orms him that Mr J o se ph D avi e s is i n love with him
, . .

5
6 D O WD E N : Ma y w e infe r fro m th e se l i n e s ( and 1 0 ) that S h had a se nse
. .

o f t h e w o nd e rfu l pr ogr e ss o f po e try i n t h e tim e o f E li z abe th ? R OL F E : Th e

r e fe r e nc e is pr obably t o t h e g e n e ra l impr ove m e nt that may b e e xpe ct e d i n t h e

futur e .

7 R e s e rve MAL O N E : P r e se rv e C f P er I V i 4o : R e se rv e that e xc e ll e nt

. . . . .
, , ,

c o mpl exi o n P OR TE R : [ C f D ani e l s us e of t h e word i n D eli a 4 1 (39 1 59 4

.

, , ,

with t h e sam e se nse of ch e rishing a l oo f :

Th o umay st i n aft e r age s l ive e st ee m e d

,

U nbur i e d i n th e se l in e s re se rved i n pure n e ss

, , .

10 MAL ON E : We may
. inf e r that th e se w e r e am ong o ur auth or s e ar l i e st

c o mpo siti o ns [ S o DRAK E

. w h o c o mpar e s pupi l p e n in 1 6 1 0 B U TL E R

, .

inf e rs fr o m Mal o n e s c omm e nt that h e int end ed his t e xt t o r e ad h i s growing

ag e

, a r e ad ing n ot ed i n C a pe ll s MS and t h e n e rased ]
.

TYL E R : [ C i Marst o n P i g mali on s I ma g e 1 59 8 wh e r e h e spe aks of his

12 . .
, , ,

stanz as
Which l ike s ol dad os of our war l ike a g e
March rich b ed ight in war l ik e e quipag e ]
Th e r e is no i n pe rc eiving that w e have h e r e i n a ll pr obabi l ity
g r e at d i i c ult y
t h e so urc e of S h s l i n e [Ty l e r thin ks that t h e passag e allud e s t o t h e c o nt e mp o

. .

rary po pularity of Marst on s poe m an att e mpt t o riva l V 89 A ] ( I ntr o

, .

.

p . L E E : [Th e b e li e f that this l in e was i mitat e d fr o m an e xpr e ssi o n of Mars

t o n s ] is quit e gratuit ous Th e phrase was c o mm on i n E li z ab e than l it e ratur e

.

l o ng be for e Marst o n e mp l oye d it Na sh i n his pr e fac e t o Gr ee n s Mena ph on .

,

wr ot e that t h e w or ks of t h e poe t Watso n march i n equipage of h on our

with any of y o ur anci e nt poe ts ( L if e p 1 2 9 n ) P OR TE R : Th e m er e e l ab ora .
, . .

ti o n with ou t n e w applicati o n of t h e c omm on m e taph or by Marst o n t e nds t o

sh ow that h e is t h e b orr o we r and this is c o nrm ed by a ll t h e ext e rna l e vi d e nc e
,

th e r e is as t o dat e s of his work and S h s S o nn e ts .

.

[A MS . this sonn et ( and S 7 1 ) appe ars in a co mm onplac e book a p

c op y of .

p a r en t ly k e pt by an O x f o r d st ud ent ab o ut which is d e scri b e d by L ee

facsimi l d Intr p n ) i n t h e p oss e ssi o n of Mr Marsd e n
( S on ne t s , e e 1 9 0 5 o .
53
, a s ,
.
, . . .

P e rry an Am er ican c oll ect o r F ro m a tran script mad e f or L ee it appe ars th at

,
.

t h e o n l y variant r e adin g in t h e t e xt of t h e so n n e t asi d e fr o m sp ell ing is l ou e , ,

f or birth in l ine 1 1 Th e MS book has now unfortunat ely passed fro m Mr

. .
, , .

P e rry s han d s t o th ose of a l e ss g en e ro us own er s o that I hav e b ee n u na b l e t o

,

ve ri fy t h e tran scri pt ED ] . .
90 TH E S ONNETS OF S HAK E S P E AR E [ XXX I II

33

F VL L ma n y
glor i ou s m orn i n g h a u e I s ee n e
a ,

Fl a t t e r t h e m o u n t a i n e t ops w i t h s o u e r a i ne e i e ,

K i s s i n g w i t h g o ld e n f a c e t h e m e dd ow e s g re e n e ;
Gu i ld i n g p a l e s t re a m e s w i t h h ea u e n ly a lc u my

A n o n p e rm i t t h e b a s e s t c lo ud e s t o r i d e
'

Wi t h ou g ly ra c k on h i s c e l t fa c e } e c
.

An d f r om t h e f or lo rn e WO r ld h i s V i s a ge h i d e
-

S e a li n g v n s e e n e t o w e s t w i t h t h i s d i s g r a c e :
s t
_
_
E u e n s o my S u n n e o n e ea r ly m o rn e d i d s h i n e ,

Wi t h a ll t ri um p h a n t s p l e n d o r on my b row ,

B u t o u t a la c k h e w a s b u t o n e h o u re m i n e
, ,

Th e re g i o n clo u d e h a t h m a s k d h i m f rom m e n ow

.

Y e t h i m f o r t h i s my lo u e n o , da i n eth ,

S u n s o f t h e w or l d m a y s ta i n e au e n s s u n s t a i n t e h ,

.

I . hau e I s e en e ] s un I h a ve s een K ly c o nj .

4 . a lcum y z ] a lch u my ? E .

8 . w e st] c o nj
r es t th i s ] h i s Walke r c o nj
S t ee . .
, Hu z
, B ut .

10 . all tri um phant] H yph e n e d by D el H u D y , , , S t a , G1, C a m , D o, R , Vt .

Ox , etc .

12 . re gi on c lou d e ] r eg en t cloud B c o nj .
; hyph e n e d by K ly , t , N .

14 . s ta i n t eh ] s ta y n eth 1 6 40 ; s ta i n eth L, et c .

DELI U S: I o -
a r e abl e t o s e e o nly p oet i c variati o ns o n a
[ n S nn e ts 3 3 3 5] w e
p oint of i ncid e nc e in t h e last sc e n e of T G V ( J a h rb I S P AL D I NG : [ F r o m
. . . .
,

8 it is cl e ar that t h e fri e nd
S onn e ts 3 3 3 ] has said or d o n e s o m e thing that has
g on e t o S h s h e art like a knife [This is n ot t h e i n t r i g ue of S 40 42 but as is
.

.
y
.
, ,

6
sugg e st e d by 3 3 7 an u nwi ll ingne ss or r e fusa l o n t h e fri e nd s part p e rhaps

, ,

taunt e d by his ass ociat e s t o admit his fri e ndshi p with S h ] ( Gen t Ma g 2 4 2
, . .
,

D OWD E N : A n e w group s ee ms t o b egin with this so nn e t I t i ntr od uc e s .

t h e wr o ngs d o n e t o S h by his fri e nd WYND H AM : Th e rst o f t h e mo r e i mm e

. .

d i a t e ly p e rso na l gar l ands [ fo rms t h e gr o up 33 Th e bi o graphical i nt e r

e s t o f this gr o up has w o n it an und e se rv e d att e nt i o n at t h e e xp e n s e o f oth e rs .

Many supp o se that al l t h e S o nn e ts turn o n this th e m e or at l e ast that t h e , , ,

l o ud e st n ot e of passi o n is h e r e so und e d B ut this is n ot s o Of all t e n three at . .

t h e m o st can b e call ed tragic Th e se a re 34 but it arise s o ut of t h e l ov e l y

.

imag e ry of 33 ; 36 but it e nds ,

I l ov e th e e i n such s o rt
As th ou b e ing min e mine is thy g ood r e p ort ,
XXX I I I ] TH E S ONNETS OF S HAK ES P E AR E 9 1

and 40 but it e nds Ye t we must not b e foe s 33 is i nd e e d b e autifu l but t h e

, , .
,

Oth e rs r e turn t o t h e e arly th e m e of m e re i mm o rtal i sing or a re e xpr e sse d i n ,

abstruse or playful c o nc e i ts which make it imp ossibl e t o b e li e ve th e y mirr or a

K n o wing what S h can d o t o e xp re s s angu i sh and passi on
'

s o ul i n pain . .
,

a r e w e n o t absurd t o nd t h e e vid e nc e o f e ith e r i n th e s e s o nn e ts writt e n as , ,

th e y a re on a privat e so rr ow but i n t h e S pirit o f c o nsci o us art ? ( I ntr o p cxi )

, , .
, . .

[ Th e s o und se nse animating this n ot e of Wyndham s mak e s it i n my j udgm e nt

, ,

worthy of spe cial e mphasis E qually r e markabl e i n an oth e r way is t h e g ro

.
, ,

t e s q u e l it e raln e ss of t h e f o l l o wi ng n o t e E D ] B U TL E R : B e twe e n S o nn e ts 3 2 . .

and 33 I supp ose that th e r e has be e n a catastro ph e [ So m e trap had b ee n laid f or

S h ; h e was ] mad e t o trav e l f o rth with o ut that cl o ak which if h e had n ot

.
, ,

b ee n l ur e d w e may b e sur e that h e wo uld n ot hav e discard e d H ardly had h e

, .

l aid t h e cl oak asid e b e fore h e was surprise d acc ording t o a pr ec o nc e rt ed sch e m e ,

and v e ry probably r o ugh l y handl e d f or w e nd him lam e soo n aft e rwards ,

i

( 37 , (p

1 . P O TE R R : A pause in tim e is indicat e d [ h e re ] by much th e sam e m e ans of

i ndire ct impr e ssi o n of an i nt e rval as is charact e ristic of S h s .

mann e r of i n d i e

e a t i n g t h e passag e o f tim e i n t h e plays .

2 . F latt e r L E E : C f E dw 3 I ii 1 4 1 : L e t n ot thy pr e se nc e l ik e
.

. .
, , , th e Apr il

sun att e r t h e e arth .

S E V
T E E N S : C f K J I II i.
77
80 . .
, , ,

Th e g l ori o us su n
S tays in his c o urs e an d p l ays t h e alch e mist ,

Turning with spl e nd o ur of his pre ci o us e y e

Th e m e agr e cl oddy e arth t o glitt e ring gold .

5
6 .
*
CAP EL L : C f . I H 4 I,
.
, ii ,

220 26

sun Th e ,

Wh o d oth p e rmit t h e base c o ntagi o us cl o uds

To sm oth e r up his b e auty fr o m t h e w or l d ,

That wh e n h e pl e ase again t o b e h i mse lf

B e ing want e d h e may b e m or e wo nd r e d at
,

B y br e aking thr o ugh t h e f o ul and ugly mists

Of vap o urs that did se e m t o strangl e him .

H E N R Y B R OWN : [ C i iii 6
.
3 H 6 V .
, , , 3
I n t h e midst of this bright shi ning d ay -

I spy a black suspici ous t h rea t n i n g c l o ud

, ,

That wil l e nc o u nt e r with o u r gl o ri o us sun .

(p .

6 ack MAL ON E : Th e e e ting m oti o n of t h e c l o uds C f A 59 C I V xiv

r . . . .

.
, , ,

10 : E v e n with a th o ught t h e rack dislimns

D O WD E N ; A mass of vapo ury .

cl o uds Th e winds i n t h e uppe r r egi on which m ove t h e c lo ud s ab ov e ( w h ich

'

. ,

w e call t h e Bac o n S y lva S y lva rum s ec 1 1 5 p 32 ed 1 6 58 ( qu ot ed by

, , .
, .
, .

D yc e Glos s a ry )
, .

7 f or l orn e ABB OTT [ n ot e s this as o n e of t h e w ord s acc e nt e d n e ar e r t h e

.
- .
92 TH E S ONNETS OF S HAK ES P E AR E [ XXX I II

b e gi nning than with us R OL F E n ot e s that its acc e nt is p e nu l timat e

.

o nly wh e n it pr e c e d e s an acc e nt e d syl l ab l e ]

8 t o w e s t ABB O TT: As much an adv e rb as w e stward

. . .

11 on e h ou r e m i n e
. TYL E R : P r e tty cl e ar e vid e nc e that wh e n t h e incid e nt
.
,

i n qu e sti o n occurr e d t h e fri e ndship had b ee n v e ry bri e f ( I ntro p

O
, . .
, .

12 TYL E R : Cf T G V I iii 8 48 7
. . . . .
, , ,

0 h owthis spring of l ove re s e m b let h

'

Th e unc e rtain gl ory of an April day ,

Which n ow sh o ws a l l t h e b e auty of t h e sun

And by and by a c l o ud take s all away .

r e gi on . N E D
. . .
; succ e ssive p o rti o ns int o which t h e air or atm os
One of th e

p h e r e is th e or e t i cally div i d e d acc o rd i ng t o h e ight [ D o wd e n qu ot e s t h e C l a r .

e nd o n P r e ss e diti o n o f H a mlet t o t h e e ff e ct that ] by S h t h e w ord is use d t o .

d e n ot e t h e a i r ge n e rally [ C f H a ml I I ii . . .
, , ,

1 3 th i s
. P E R C Y S I M P S O N [ n ot e s that t h e c o mma h e r e is an i nstanc e of its
.

us e b e tw ee n parts o f a se nt e nc e which a r e in i n v e rt e d Ord e r ( S h P un ctu a ti on . .

,

p p 49
14 . s tai n e . SC H M I DT : Gr o w dim [F or
. th e transitive us e , s e e 3 5,

P R I C E [vi e ws this s onn e t with 7 3 and 9 7 as r e pre se nting ] in th ir p ower of

, , , e

using t h e b e auty of physica l natur e as t h e symb o l of human e m oti o n

i
tl e ,

h i gh e st lyrica l e xpr e ssi o n that E ng l ish p oe try has achi e v ed ( p . .

C OL E R I DG E [ instanc e s t h e Op e ning o f this S o nn e t ( t og e th e r with S 1 0 7 ) as .

charact e ristic of S h s imaginativ e styl e by which h e ] give s a dignity and a

.

,

passi o n t o t h e obj e cts which h e pr ese nts U nai d e d by any pr evi o us e xcit e m e nt . ,

th e y burst up o n us at onc e i n l ife and i n p owe r ( B i og Li t chap . . .

, .
 XXX I V ] TH E S ONNETS OF S HAK E S P E AR E 93

34

WH Y d i d s t t h ou ch a b ea u t i ous d a y p rom i s e su ,

An d m a k e m e t ra ua i le for t h w i t h o u t my c loa k e ,

To le t b a ce c lo u d e s or e ta ke m e i n my w a y -
,

H i d i n g t h y b ra u ry i n t h e i r ro t t e n s m ok e

.

Ti s n o t e n o u gh t h a t t h ro u gh t h e c lo u d e t h o u b rea k e ,

To d ry t h e r a i n e o n my s t orm e b ea t e n fa ce -
,

F o r n o m a n w e l l o f s u ch a s a l ue ca n s p e a k e ,

Th a t h ea les t h e w o u n d a n d c u r e s n o t t h e d i s g ra ce ,

Nor ca n t h y s h a m e g i ne p h i s i c k e t o my g r i e fe ,

Th ou gh t h ou r e p e n t y e t I h a u e s t i l l t h e l o s s e , ,

Th o ff e n d e rs s o rrow l e n d s b u t w ea k e r e li e f e

To h i m t h a t b e a re s t h e s t ro n g o ff e n s e s l o s s e .

A h b u t t h os e t ea re s a r e p ea r l e w h i ch t h y l oue s h e e d s ,

An d t h e y a r e r i t ch a n d ra n s om e a ll i ll d e e d s , .

2 . tr a uai le ] tra vel G 2

, E, etc.

4 th y ] my C s m ok e ] s mok e ? G 2
. .
, e tc .

1 0 1 2 l os s e . l os s e ] cros s cros s 5 2
, E ; los s cr os s C , M , et c .

11 . Th ff e n d er s ] Th e o en der s M Kt B

o

, , O
, D e l, C l, Gl, K ly , Ca m , D o, R , e tc .

12 . b e ar e s th e ] bea rs C ; bea r eth G S E

1 2
, , .

13 . s h ee d s ] s h ed s G , etc .

MR . H O R AC E D AV I S [ not e s t h e re se mblanc e o f this and t h e fo ll owing so nn t e

to S . 120 ; cf e sp ecial l y t h e r e pe at ed word s sa l ve

. wo und so rro w
,

,

,

H M I D T S pl e nd our [ Cf 1 5
SC : . .
,

7
8 s u c h. th a t ABB OTT S uch was by d e rivati o n t h e natura l ant e
. .

, ,

c e d e nt t o which
h e nc e [ i t ] used with oth e r r e lativa l w ords

2 78 13 .

F R ANZ I n S h as is t h e r e gular c orr e lativ e y e t t h e r e l at i ve pr o n o uns

: .
,

app e ar with it that m ost num e ro usl y ,

.

MAS S E Y : Cf S p e nse r F
. , .
Q Bk
.
, . 2 , c . 1 , st . 20

All wr o ngs have m e nds but n o am e nds of sham e , .

Now th e r e fore l ady rise o u t o f y o ur pain

, , , ,

And s ee t h e salvi ng of y our bl ott e d nam e (p . .

8 . d i s gr a c e . P O TER R : S uch disgrac e as is m e ant by right pe rf ecti o n wr ong

fu l ly d i s g ra c d

(6 6 ,

12 . l os s e MAL ON E Th e word [ cr oss ]

. . n ow substitut ed is use d by our
94 TH E S ONNE TS OF S HA K ES P E AR E [ X xx I v
auth or i n t h e se nse r e quir ed h e r e i n 42
, , , 12 . D OWD E N : See a l so 1 33 , 8
1 34 1 3 [ hi m hav e I

,

[D E WAIL L Y ( ps eud A Mor l aix ) c o nc e iving this so nn e t

. .
, a d dr e sse d by to be

l ove r t o lady c o mm e nts i n a passag e who se Gallicism may p e rhaps se rv e as a

,

pl e asing c o ntrast t o t h e Te ut on ic criticism with which t h e S o nn e ts have b ee n

m or e large ly ove rlaid N e st c e pas u n e sc ene charmant e ? c e s r e pr och e s d e

-

l amant b l e ss le r e pe ntir d e la j e un e fe mm e qu i cr o yo ns le c e tt e f ois n a t

, ,
-
,

q u nn pe u c oq u ett e e t l eg ere ; s a pr o m e sse a d e ux ge no ux s il Ie faut d e me plus

,

r e t o mbe r dans la m m e faut e ; le j e un e h o mm e pe rsistant tant qu i l pe ut dans

s o n r e sse ntim e nt e t s e x c i t a n t a la f e rm e t mais me po uvant r sist e r a la v ue

d e s larm e s d e c e ll e qu i l aim e e t la r e l e vant po ur la pr e sse r sur s o n c oe ur n e st ce

-
, ,

pas la u n d lici e ux chap i tre d e r o man ? e t me vo us r e vi e nt i l pas a la m m o ir e -

c e t a i r ra w s s a n t d e Z e rlina B a tti ba tti 0 bel Ma z etto dans le D on Jua n d e

, , , ,

Moz art ? ( Rev des d Monde s 3 s e r 4 :

. .
, .
,
xxxv] TH E S ONNETS OF S HA KE S P EARE 95

35

N0 m ore b ee t h a t w h i ch t h o u h a s t d on e

g r ee u d at ,

R os es h a ue t h orn e s , a n d s i lu e r f o u n ta i n e s m ud ,
C lo ud e s cl i p s e s s ta i n e b o t h M oo n e a n d S un ne
a nd e

An d loa t h s om e ca n k e r l i ne s i n s w e et e s t b ud .

All m e n m a kefa u lt s a n d e ue n I i n t h i s , ,

A u t h ori z i n g t h y t r e s pa s w i t h c om p a re ,

My s e lfe c orr up t i n g s a l u i n g t h y a m i s s e ,

Ex pu s i n g t h e i r s i n s m o re t h e n t h e i r s i n s a r e
F o r t o t h y s e n s ua ll fa u l t I b r i n g i n s e n c e ,

Th y a d ue rs e p a r t y i s t h y Ad uoca t e ,

An d ga i n s t my s e lfe a la w f u ll p l ea c omm e n c e ,

S u ch c i u i ll w a r i s i n my lo ue a n d h a t e ,

Th a t I a n a cc e s s a r y n ee d s m u s t b e ,

To t h a t s w ee t t h e e fe w h i ch s ou re ly r ob s f rom m e ,

2 . s iln e t f oun ta i n e s ] H yph e n ed by Kl y .

t
l i ] corrupti n g s olvi n g G
corr up i n g s a u ng S
; corrupt i n s olvi ng C
2
7 .
, , , et c . .

8 th e i r
. are ] Qu ot ed by B ul l th e ir . th i
e r ] th y th y C , M , et c ,

( exc e pt Wy B u l l ) ; th y , th e i r Wy ; th ee th y B e c o nj .
; th ei r th y B ull .

ar e ] bea r or s h a r e S t a c o nj .

9 . th y ] my G S E ,
.

, .
] i nce n s e
in s enc e
G , S , E,

M c o nj .

9
1 0 . s e n ce , Th y Ad u oca te ] s en s e ( Th y , ad voca te , ) M A , ,Kt B , ,

Hu ;
s en s e ( Th y ad voca te ) Ty ; s en s e Th y , a d voca te , D e l, Dy Sta , ,

Cl Hu,

, Ox B u l ;
, l s en s e Th y a d voca te Gl , Wh , Ca m D , o, R, Wy B ut , ,

He r , B e , N , Wa ; s en s e , Th y ad voca te Kl y ; s en s e , Th y a dve s e r pa rty ,

as th y a dvoca te , D o c o nj .

13 . a cce s s a ry ] a cces s ory A , Kt B , , Hu l

, S ta , Kl y B ut , .

14 . s our e ly ] r
s o ely G S E , , .

3 . Y : Th e ec l ipse of t h e m oo n ( C ynth i a E li z ab e th ) and t h e sun

FLE A -

( S o uthampt o n ; cf 33 1 4 and 3 4 ) a r e.I think c o

, ncl usiv e o f a dat e wh e n S h , , .

was t e mpo rari l y o u t of fav o ur with b oth c o urt and patr o n and n o such dat e ,

can I nd but 1 59 7 ci rca J un e ( B i og Ch ron 2 : , . . .

,

4 c ank
. e r W YND H AM : Cf
.
7 0 7 ; 9 5 2 .
, , .

6 D O WD E N : [ F inding ] pr e c ed e nts f o r y o ur misd ee d by c o mparis o ns wit h

.

r ose s f o untains sun and m oo n TYL E R : By c o mparing thy fau l t t o t h e

, , , .

l oathso m e cank e r
I r e al l y give t h e fau l t a sancti o n ( auth ori z ing
96 TH E S ONNETS OF S HA K E S P EAR E [XXXV
f or it sinks i nt o i n s i g n i ca n ce an d disapp e ars a l t oge th e r wh e n such e xtravagant
c o mp aris o n is mad e [F or o th e r int e rpr e tat i o ns s ee n ot e s o n 1
.
,
.

7 My s e lf e c orru pti ng TYL E R : By unduly e st ee m i ng t h e o ff e nc e against

. .

m e I f o st e r an e xc e ssiv e s e nse of my ow n imp ortanc e [ I cann ot u nd e rstand

, .

this n ot e take n w i th t h e c o nt e xt Th e c o rrupt i ng app e ars t o b e that i n f ec

,

.

ti o n of t h e sp e ak e r which his v e ry l ove f or t h e fri e nd is causing E D ] am i s s e . . .

S C H M I D T: Off e nc e [ Cf 1 51 3 Th e N E D e xpla i ns t h e substantive as

. .
, . .

adj e ctiv e or adv e rb use d qu a s i a d o i ng amiss or a th i ng which is

8 [ Not e s o n th i s d i ffi cult l i n e must b e r e ad i n c o n ne ct i o n with t h e e ff o rts

.
-

mad e t o am e nd t h e t e xt Th e change of th e i r t o thy i n e i th e r or b ot h

.

,

i nstanc e s is o f c o urse amply warrant e d by anal o go us e rr o rs ( s e e n ot e o n 2 6

, ,

B ull e n s i nge n i o us r e ad i ng t h e e quival e nt o f Maki n g th i s e xcuse : Th e i r s i ns

a r e m o r e than th i n e i s attractive but u n i d i o matic E D ] S TE E VE N S [ r e ad

, . .

i ng thy
Making t h e e xcus e m or e than pr o p orti o n e d t o th e off e nc e

D E L I U S [sam e r e a d i n g z] My pard o n of thy sins goe s furth e r than thy s i ns th e m

s e lve s MAS S E Y [ d e f e nds t h e Q t e xt but h i s int e rpr e tati o n is wrapp e d up w i th
.
,

his dramatic th e ory wh i ch und e rstands th i s s o nn e t t o b e sp o ke n by a

w o man : ] Th e plural b e l o ngs t o al l m e n Th e sp e ak e r says All .

,

m e n c o mmit faults and e ve n I w h o am n ot a man d o s o in auth or i z i ng

,
1

yo ur tr e spass by c o mparis o n w i th th ei rs I n d o ing this s h e is salv i ng h i s .

amiss by e xc us i ng th e ir sins m o r e than th e i r sins a r e

That is s h e e x

.
,

a g g e r a t e s t h e sins o f m e n in g e n e ral and th e ir pr o n e n e ss t o faults o n purp o se , ,

t o mak e l e ss of his (p WYND H AM : I re tain t h e s e c o nd th e ir and put a

. .

,

c o mma aft e r t h e rst s i ns b e l i e ving that than th e ir sins a r e r e f e rs back

,

All m e n make fau l ts Th e s e nse is : All m e n m a k e faults and e ve n I

to .
,

i n saying s o givi ng auth ority by thy tre spass by thus c o mpar i ng it t o t h e

,

faults o f all m e n ; I mys e lf am gu i lty o f c orrupt i ng in s o salving thy amiss ;

e x u s i n g thy sins ( wh i ch a r e ) m o r e than th e i r s i ns a r e B U TL E R [ re ading thy

.

thy F inding e xampl e s that wil l j ust i fy y o ur act b e c o ming an acc e ss ory ,

t o i t gl oz ing it o ve r and making e xcuse s f or it a r e w o rs e sins than any o f

, , ,

wh i ch y o u a re guilty B E E C H I NG [ sam e r e ading ] : Th e n e c e ssary se nse is plain

.

fr o m t h e line wh i ch f oll ows Th e p oe t s i ns worse than his fri e nd b e cause i n his .

e xcus e h e sins against r e as o n ; and this can b e g ot o u t o f t h e r e ad i ng

, by
taking m o re i n t h e se nse o f worse ; i e e xcus i ng thy s i ns with m ore wicke d

. .
,

n e ss than th e y th e mse lve s d e n ot e P O R TE R [ Q t e xt ] : All m e n a r e faulty and .

,

e v e n h e in this is s o i n t h e sam e way that th e y a r e wh e n th e y c o mmit or make

faults i e by e xcusing th e ir si ns in a way that is m ore sinful than th e ir sins

, . .
,

th e ms e lve s a re [ I t is d o ubtfu l wh e th e r t h e lab ors o f lat e r cr i t i cs have b e tt e r e d

.

t h e sugg e sti o n of S t e e v e n s ED ] . .

9 s e n s u all S P AL D I NG : [ Not n e c e ssar i ly r e f e rring t o t h e graticati o n of t h e

. .

s e ns e s but as us e d by H oo k e r z] Th e gr e at e st part o f m e n a r e such as pr e f e r

,

th e ir o w n privat e g oo d b e f or e all things e ve n that g ood which is s e nsua l b e f o re ,

whats oe v e r is m o st divin e
( Gen t Ma g 2 4 2 : s e n c e MAL ON E [ appar
. . .
, .

e ntl y n ot n oticing t h e r e ading i n e arl i e r e d i t i o ns pr o p ose d i nc e nse and

, ,

br ought t oge th e r vari ous para ll e l s f or t h e a cc e nt of such a wor d o n t h e na l

XXXV ] TH E S ONNE TS OF S HA KES P E AR E 97

syllab l e ] S TE E VE NS : I b e li e v e t h e old re a d ing t o b e t h e tru e on e To .

wards thy e xculpati o n I bring i n t h e aid of my s o und e st faculti e s my kee ne st

, ,

p e rc e pti o n my utm o st stre ngt h o f r e aso n my s en s e I think I can ve ntur e

,

, .

t o a ff i rm that n o E ngl i sh wr i t e r e ith e r anci e nt or m od e rn se ri o us o r burl e squ e, , ,

e v e r acc e nt e d t h e substantive ince nse o n t h e last syllabl e D OWD E N : R e a

.

s o n j udgm e nt discr e ti o n
, TYL E R : P r o bably se nse of thy tru e w orth and c o n
, .

sid e rati o n of t h e circumstanc e s WYND H AM : U nd e r standing disc e rnm e nt .

, ,

appre ciati o n Cf C of E I I i 2 2 wh e re m e n by c o ntrast t o t h e brut e cr e a

. . . .
, , , ,

t i o n a re I ndu e d w i th int e ll e ctual se nse and so uls

Th e r e is als o a play .

S C H M I D T:

o n t h e o pp osit e m e aning o f se nse akin t o that of se nsual

.
,

Re as o n .

10 D OWD E N : If w e re c e ive t h e pr e se nt t e xt thy adve rse party must

.
,

m e an S h [ But w i th t h e pro p o se d r e adi n g as thy advo cat e it is Se nse ]

.

against wh i ch h e has off e nd e d WYND H AM : Adv ocat e with a capita l and

.
, ,

t h e s e qu e nc e o f t h e n e xt li n e i n which t h e p oe t h i mse lf c o mm e nc e s a lawfu l

,

pl e a c o nrm t h e Q t e xt and i nd i cat e thy advocat e

, t h e p oe t .

13 acc e ssary N E D : Th e substantive is e tym ol o g i cally acc e ssary

. . . . .

and t h e adj e ctiv e acc e ss o ry B UTL E R : [ S h h e re admits that h e has h i mse lf

. .

be e n acce sso ry t o Mr W H s intr i gu e w i th his mistr e s s ]

. . I imagin e S h
.

.

t o b e r e f e rring t o t h e fact that h e had writt e n s o nn e ts f o r W H t o give t h e . .

l ady as th o ugh th e y we r e h i s ow n [ Se e not e o n S [Th e r e ad e r may b e . .

harml e ssly e nt e rtain e d by c o mm e nts of this charact er I t is sure ly u nn e c e ssary .

to sh o w that h
t e gur e acc e ssary sums up t h e c o nt e nts o f lin s
e 5 12 ED ] . .

B U TL E R : Nothing can b e m ore o bvi o us l y out of plac e as c oming be twee n ,

34 and 36 than a s o nn e t which accuse s Mr W H o f having c o mmitt e d a s e n

. .
, .

sual fault i n r e sp e ct of t h e catastr oph e o f 33 an d 34 [ B utl e r has j ust argu e d

.
,

fr o m S 9 4 and oth e r c o nsid e rati o ns that what e ve r fau l ts t h e fri e nd may have
.
, ,

had se nsuality was n ot o n e of th e m ] On taki ng o ut 3 5 36 f oll ows 34 naturally

, .
,

e n o ugh (p . .

[ Not e t h e unusua l structur e of this s o nn e t : t h e principal pause which p re

c e d e s t h e c o nc l usi o n occurring n ot as usua l at t h e e n d of t h e 1 2 t h line but of , , ,

th e 1 1 th . ED .
]
98 TH E S ONNE TS OF S HA KES P EAR E [ XXXV I

36

LE T m e c on fes s e t h a t w e tw o m us t b e tw a i n e ,

A l t h o u gh o u r v n d e u i d e d loue s a re o n e
S o s h a l l t h os e b l o t s t h a t d o w i t h m e re m a i n e ,

Wi t h ou t t h y h e l pe b y m e b e b orn e a l on e
,
.

I n o u r tw o lo u e s t h e r e i s b u t on e r e s p e c t ,

Th o u gh i n ou r li ue s a s e p e ra b le s p i gh t ,

Wh i ch t h ough i t a l t e r n o t lo u e s s o l e e ff e c t ,

Ye t d o t h i t s t e a l e s w e e t h o u re s f r o m l o ue s d e l i gh t ,

I m a y n o t e u e r m o re a c k n o w l e d g e t h e e
-
,

L e a s t my b e w a i le d g u i l t S h o u l d d o t h ee s h a m e ,

No r t h o u w i t h p ub l i ke k i n d n e s s e h on o u r m e ,

a e s s e t h o u ta k e t h a t h o n o u r f r o m t h y n a m e
B u t d oe n o t s o I lo u e t h e e i n s u ch s or t
, ,

As t h ou b e i n g m i n e m i n e i s t h y good re p or t
, .

4 . b orn e ] bor n B 0 .

9 . eue r -
m or e ] ever more Wal ke r c onj Wy .
, .

D OWD E N : Acc ording ann o unc e m e nt mad e i n 35 S h pr oc ee ds t o

to th e , .

mak e himse l f out t h e guilty party B E E C H I NG : Th e poe t has mad e n o such

.

ann o unc e m e nt H e h as call e d himse lf an acc e sso ry m ore t o blam e than t h e
.

,

principa l be cause h e d e fe nds his acti o n B ut that is a l o ng way fr om .

making himse l f o ut t h e gui l ty party Th e s o nn ets fr o m 36 t o 39 must r ef e r

.

t o a di ff e r e nt t opic .

WAL S H [groups t h e s o nn e t with 39 an d 6 2 a s on t h e th e m e of t h e i d e ntity ,

of t h e l ov e r with t h e b e l ov e d Cf als o 2 2 ( an d n ot e s ab ov e ) 40 4 2 8 8 1 1 2
. .
,
-
, , ,

1 33 1 34 ; an d Th e P h oen i x a n d Tu rtle:

S o th e y l o ved as l ov e i n twai n ,

H a d t h e e sse nc e but of on e ;
Tw o distincts divisi o n n o ne ; ,

Numbe r th e re i n l ove was slain .

H e arts r e m ot e y et n ot asund e r ; ,

D istance and n o space was see n , .

E ith e r was th e r s mi ne ;

th e o

[ Mr HO RAC E
. D AVI S not es t h e kinship of t h e son n e t with S .

3 . sth o e b l ot s . TYL E R : We ought probab l y t o und e rstand this e xpres s i o n ,

as we ll as th e

be wai l e d gui l t of l ine 1 0 n ot of m oral turpitud e but of t h e

, ,
XXXV I ] TH E S ONNE TS OF S HAK E S P E AR E 99

pr o fe ssi onal occupati o n and l owe r social standing of t h e poe t [ See n ot e s o n .

line s 6 and
5 . r e s p e ct S C H M I D T: Th o ught
. D O W D E N : Re gard C f C o r I I I i i i 1 1
. 2 . . .
, , ,

I d o l o ve my c o untry s goo d with a r e sp ect m o r e t e nd e r [ S o R OL F E and

.

B E E CH I NG ] TYL E R : B ut o n e r e spe ct
p e rf ect sim i lar i ty [ WYND H AM .

incl i n e s t o vi e w t h e wo rd as hav i ng i ts rst m e an i ng of r e gard i n t h e se nse

of

l oo king t o wards o n e obj ect ; this h e c o nn e cts w i th D o wd e n s int e rpr e ta

ti o n of l i n e 1 0 I i ncline t o what I suppo se t o b e Tyl e r s vi e w v i z that t h e

.

, .
,

w ord has its c ol or l e ss m e an i ng so m e tim e s gl o sse d as r e lati o n po i nt of v i e w

,

, .

On t h e oth e r hand f or t h e m or e g e n e rally acc e pt e d i nt e rpr e tati o n o n e might

,

cite 2 6 1 2 ED ] , . .

6 s e p e ra b le MAL ON E : F o r
. se parating ABB OTT: Adj e ctive s
. I n f ul .
-
,

J es s ble and i ve have bo th an active and a pass iv e m e aning

,
-
,
-
WAL K E R .

[ discusse s t h e sam e matt e r citing S idn e y Ar ca di a B k 2 I n t h e d e c e ivabl e

, , , .
,

styl e of a ff ecti o n S C H M I D T: S e parabl e spit e

( Cri t E xa m 1 : . .

sp i t e ful se parati o n [ Se e n ot e on 9 AC H E S O N : [ I n this lin e and 1 1 1 2

.


, , ,

S h be wai l s his s ocia l po siti o n and w e a r e e nabl e d t o und e rstand his applica
.
,

ti o n f or a grant of arms i n 1 59 6 S ee n ot e o n S 2 6 ( S h t th e R P p . . . . . .
, .

P O R TE R [ O pp o se s t h e vi e w that t h e r e f e r e nc e is t o disparity of rank ] Th e i r .

se parati o n i n socia l standing was n othing n e w And it has b ee n cl e arly

.

e n o ugh said i n S 3 5 that it was t h e e ff e ct of t h e impe rf e cti o n o n th e ir int e rna l

.

r e l ati o nship that cause d t h e poe t t h r o ugh b e c o ming an acc e ssa ry by his ,

,

gre at l ove an d indu l ge nc e t o s ee that th e y must b e t wain h owe ve r m uch th e y

, ,

still l ove e ach oth e r I t is t h e poe t s supe ri or m ora l standing his pr of o und e r
.

i nt e llig e nc e and m or e g e n e r o us h e art that inv olve se parati o n

, .

8 it ABB OTT : Th e suppl e m e ntary pr o n o un is g e n e rally c o nn e d t o case s

. .

wh e r e t h e r e l ative is se parat e d fro m its v erb by an int e rv e ning clau s e and ,

wh er e o n this acc o unt c l e arn e ss req uir e s [t h e r e pe titi o n ] .

10 D OWD E N : Pe rhaps t h e passage m e ans : I may n ot claim y ou as a fri e nd

.

,

le st my re l ati o n t o t h e dark wo man n ow a matt e r of gri e f sh o uld c o nvict

y ou o f faith l e ssn e ss i n fri e ndship

WYND H AM : Th e re is much of probability .

i n this g l oss P ORTE R : This is t h e gu ilt b e wail e d i n S 35 c omplicity i n t h e

. .
,

high e r r e al m of m oral se nse with a l owe r r e al m of se nsual fau l tin e ss .

1 31 4 TYL E R : Th e p oe t d i ssuad e s Mr W H
. fr o m publ i cly r e c o gnising . . .

t h e acquaintanc e s o that his social c o nsid e rati o n may n ot b e th e r e by c o mpr o

,

m i s e d [ Th e se l in e s a r e r e pe at ed as t h e c onc l uding c o up l e t of S 9 6 S ee n ot e s
. . .

th e r e ED ]
. .

1 1 1
[ F or its g e n era l t on e this so nne t sh ou l d b e c ompar e d with 1 0 9
,
ED ] . .

[ S S M I TH TR AV E R S vi ews this so nn et as pr oof that t h e se ri e s was a dd r esse d

.

to an il l egitimat e s o n of Sh . Cf . a l so 39 , 62 ,
10 0 TH E S ONNETS OF S HAK ES P E AR E [ XXX VI I

37

AS d e c re p i t fa t h er ta k e s d e l i gh t
a ,

To s e e h i s a c t i n e ch i ld e d o d e e d s o f y o u t h -

S o I m a d e l a m e b y F o r t u n e s d ea r e s t s p i gh t
,

Ta ke a ll my c omfor t o f t h y w o r t h a n d t r u t h .

F o r w h e t h e r b ea u t y b i r t h o r w e a l t h o r w i t , , , ,

Or a n y o f t h e s e a ll o r a ll o r m ore , ,

I n t i t l e d i n t h e i r p a r t s d o c r ow n e d s i t , ,

I m a ke my l o ue i n g ra f t e d t o t h i s s t or e
S o t h e n I a m n ot l a m e p oor e n or d i s p i s d

, , ,

Wh i l s t t h a t t h i s s h a d ow d o t h s u c h s ub s t a n c e g i ue

Th a t I i n t h y a b u n d a n c e a m s u f c d

An d b y a p a r t o f a ll t h y gl o r y l i n e
L o ok e w h a t i s b e s t t h a t b e s t I w i s h i n t h e e , ,

Th i s w i s h I h a u e t h e n t e n t i m e s h a pp y m e , .

7 . In title d ] E n ti tuled Wy th e ir] . th y C, M , et c .

( e xc e pt Wy , N , B ul l ) Tu , .

9 . n or ] n ot Wh 2

10 . th i s ] th y C a l d ec ott c o nj ( MS ) . .

11 . am ] a n 1 6 40 .

14 . m e ] be E .

3 . l am e MAL ON E : Mr C ape ll gr o unding himsel f o n this l in e and an oth e r

. .
, ,

i n S 8 9 S pe ak of my l am e n e ss and I straight wil l halt c o nj e ctur e d that

.

,

, ,

S h was lit e rally l am e : but t h e e xpr e ssi o n app e ars t o hav e b ee n o nly gurativ e
. .

C f Cor I V vii 7 :
. .
, U n l e ss by using m e ans I l am e t h e f oot of o ur d e sign
, ,

, , .

[ C a p e ll s o bse rvati o n was mad e i n c o nn e cti o n with t h e l e g e nd that S h had

.

play e d t h e part of Adam i n A Y L F or which h e m i ght b e tt e d by an

. . .

acc i d e nta l lam e n e ss which as h e himse lf t e l l s us tw i c e in his S o nn e ts b e f e ll

, , ,

h i m i n s o m e part of l if e S e e New Va ri or um ed of A Y L wh e re F urn e ss

. . . .

calls this a m o nstr ous id e a which e ve ry n ow and th e n is bla z o n e d f o rth as

,

n e w and or i gina l by s o m e o n e w h o disc ov e rs t h e S o nn e ts by r e ad i ng t h e m

f or t h e rst t i m e (p An an o nym o us writ e r i n t h e Wes tm R ev ( 6 8 : 1 2 6 )
. . . .

supp orts C a pe ll s vi e w o n t h e rath e r curi o us gr o und that i n l 9 t h e lam e ne ss

.

is e vid e ntly disti nct fr o m t h e p ove rty and abase m e nt F V H UG O calls t h e . . .

t e rm gurativ e and off e rs as ( rath e r dubi o us ) pr oof t h e lin e fr o m t h e P a s s

, .

P i lg ri m Y o uth is nimbl e a g e is l am e
, A c orr e sp o nd e nt of N 69 Q ( 5t h s e r
, . .

. .
,

s i gning hi mse lf Jab ez g i ve s an amusing o ut l i n e o f t h e r i s e o f t h e

,

myth of S h s l am e ne ss and adds : I t has b e e n r e s e rve d f or m e t o i nf orm t h e

.

,
x xx vn ] TH E S ONNE TS OF S HAK ES P EAR E D

world that S h was crook ba ck ed f or has h e n ot writt e n in S 90 t h e line

.
-
, , .
, ,

J o i n with t h e spit e of f o rtun e make m e b o w ? B y F o rtun e s spit e t h e n h e ,

, ,

was a hu nch back and by F o rt une s d e are st spit e h e was a l i mpe r ! D OWD E N :
-
,

S h use s t o lam e in t h e se ns e o f d i sabl e

H e r e t h e w orth and truth

. .

of his fri e nd a r e s e t o ve r against t h e l am e n e ss o f S h t h e lam e n e ss is th e n

m e taph or i ca l ; a d i sab i l i ty t o j oi n in t h e j oy o us m ove m e nt o f l i f e Mr . .

S winburn e in his m ocking , R e p ort o f t h e P r oc e e d i ngs e t c o f t h e Ne w e st S h , .

, .

S oci e ty intro d uc e s Mr E r e ading a pape r o n Th e L am e n e ss of S h was

,

. .

.

it m oral or physical ? Mr E assum e s at o nc e that t h e i nrmity was physical

. . .

Th e n aro se t h e qu e sti o n I n which le g ? P e rhaps it is b e st s o t o dismiss t h e

subj ect with a j e st TYL E R : [ F or t h e m e taph o r cf A Y L I iii 6 : C o m e

.
, . . . .
, , ,

,

lam e m e with r e aso ns ; ( c o mmunicat e d by W A

WYND H AM . .

Obvi o usly m e taph o rical arising o ut of t h e illustrati o n drawn fr o m a d e cr e pit

,

fath e r [Th e t e rm a l so] f oll o ws an al l usi o n i n t h e pre c e ding numb e r t o

.

so m e disgrac e which wh e th e r d e se rv ed l y or n ot has ove rtak e n t h e p oe t

, , .

B U TL E R : I acc e pt t h e lam e n e ss p ove rty and c o nt e mpt as lit e rally tru e f or , ,

th i s p e ri od of S h s l i fe I t d oe s n ot f oll o w that h e had b e e n lam e l o ng n or y et

.

.
,

t hat h e r e main e d s o B E E C H I NG : Th e lam e n e ss must b e m e taph orica l t o k ee p

.

t h e pr o po rti o n with wo rt h and truth A g ood parall e l is qu ot e d by

.

D o wd e n fr o m L ea r IV vi 2 2 5 ( Q ) : A m ost p oor man mad e lam e by F ort un e s

, , ,

bl ows d e a r e st MAL O N E : Most Op e rative C f H a ml I ii 1 8 2 : Wo uld I

.

.

. . .
, , ,

had m e t my d e ar e st f oe i n h e ave n S C H M I D T: H e artfe lt [Th e N E D d i s

. . . . .

t i n g u i s h e s this and similar use s of t h e w ord as fr o m O E d eor ( t h e m o r e c o m . .

m o n d e ar be i ng fr o m d eore ) str e nu o us b old ; h e nc e hard gri e v o us C f R 2

.
, , , . .
,

I i i i 1 51 Th y d e ar e xil e That t h e t w o m e anings w e re vi e we d as dist i nct

, , , .

words i n S h S tim e is sure ly m ore than d o ubtful F o r such use s as t h e pr e se nt

.

.

o n e F urn e ss a l ways cit e s t h e d e niti o n of W A WR I G H T: D e ar is use d of

. .
,

what e v e r t o uch e s us n e arly e ith e r i n l ove or hat e j oy or so rr o w

ED ] , , . .

4 truth C f 1 4 1 1 and 1 4 and n ot e o n 54 2

. . .
, , , .

5 C . A B R
. O WN : [ T h e
. se lin e s e xpr e ssly i nd i cat e that t h e y o ung man a d

dre sse d was p o sse sse d n ot o nly of be auty b ut o f birth and f o rt un e ( p . .

AR C H E R : Th e y o ung man [ p o sse ss e d of t h e qualiti e s m e nti o n e d ] can scarc e ly

b e u nkn own t o fam e Th e b e auty and wit i nd e ed a r e matt e rs o f O pini o n and
.
, , ,

t h e p oe t s t e st i m o ny must b e tak e n f or what it is w orth ; but h e w o uld scarc e ly

attr i but e b i rt h and we alth t o a y o uth w h o p osse sse d n e i th e r ( F ort R ev 11 s . . .

, . .

62 : B UTL E R : S h d oe s n ot say You have b e auty b i rth w e alth an d

.
, , , ,

wit H e says I f y o u have any singl e on e of th e se f o ur or if y ou e ve n have

.

, ,

th e m all and oth e rs that I have n ot nam ed

,
what e ve r y o u may hav e I shal l ,

graft my l ove th e r e o n Grant e d that S h w ould n ot nam e b e auty if h i s fri e nd

. .

was r e markably plain ; birt h if h e was n ot ori o usly base b o rn ; we alth if h e was ,
-
,

n e c e ssit ous ; or wit if h e was n e xt d oor t o a f oo l ; but if h e was g ood l oo king of

,
-
,

t h e sam e S ocial status as S h hims e l f n ot living fr o m hand t o m o uth and n o t a .

, ,

f ool ( which by t h e way I t hink h e pr obab l y was ) S h w o u l d b e w e ll within his , .

rights i n writing [th e se lin e s] ; n or can I nd c l e are r pr oof that n othing i n t h e

S o nn e ts sugge sts that th e ir ad d r e ssee was i n a high e r socia l p ositi o n than S h s

.
,
 I OQ

Z Z THE S ONNETS OF S HA K ES P E A R E [x x v I

than t h e fact that th e se l in e s a re t h e str o ng est which th o se w h o w ou l d have him

t o have b e e n a gr e at n o b l e man a r e abl e t o bring f o rward ( I ntr o p . .
, .

B E E C H I NG : As t h e fri e nd s be auty is su ffi ci e ntly c e rti e d by t h e r e st of t h e

S onn e ts t h e pr e sumpti o n is that his b i rt h and w e alth and wit a r e e qually

,

matt e rs of fact Th e wh ol e po int of t h e so nn e t is that t h e fri e nd had a d v a n

.

tage s of f or tu n e which we r e d e ni e d t o t h e poe t This s o nn e t puts it b e y o nd .

d oubt that S h s fri e nd was substantially abo ve t h e p oe t i n social po siti o n

.

.

( I ntr o p xxx ) [On this subj ect s ee also n ot e s o n S 1 2 4

.
, . . ED ] , . . .

7 In titl e d i n th e i r parts MAL O N E : E ntitl e d m e ans I think Enn ob l ed

. . .
, ,

S TE E VE N S : C f L u crece , 57 : .

B ut B e auty in that whit e intitul ed

, ,

F r om Ve nus d o ve s d o th chall e ng e that fair e ld ;

[ which I suppo se m e an s ] b e auty take s its titl e fro m that fairn e ss or whit e .

D EL I U S : E stablish e d i n thy gifts ( with t h e r i ght of po sse ss i o n ) P ALG RAV E .

E nn obl e d i n thy g e nius [All t h e f or e go ing acc e pt t h e e m e ndati o n thy

. .

S C H M I D T ; H avi n g a j ust claim t o t h e rst plac e as th e ir d u e m or e e xc e l

le n c i e s ] ; bl und e ring m o d e rn e dit o rs [ r e ad R OL E E : F inding th e ir t i tl e
o r clai m t o t h e thr o n e i n thy q ualiti e s C f L u crece 57 TYL E R : Th e vari o us . .
, .

e nd o wm e nts o f t h e p oe t s fri e nd a r e spo ke n o f as th o ugh e ach w e r e a m o narch

r e igning i n its ow n d o main with j ust titl e WYND H AM : I r e tain th e ir and

.
,

sugge st that I ntitl e d

a c o ntracti o n f orm e d acc ord i ng t o t h e poe t s usage

fr o m I nt i tul e d

p arts

and cr own e d may all thr ee b e e xplai n e d by

.

,

r e f e r e nc e t o c o nt e mpo rary t e rms of h e raldry Gu i lli m ( A D i s pla y of .

H era ld ri e 1 6 1 0 ) has a tabl e of t h e sci e nc e Th e sk i ll o f Arm o ury is divid ed

, .

int o ( i ) Acci den ts and ( ii ) P a rts ; and with o ut pursuing all t h e subh e a d s ,

u nd e r P arts I may sum th e m up g e ne rally by saying that P arts t h e t ech

, , ,

n i c a l t e rm f or t h e plac e s i n a shi e ld o n wh i ch arm o rial d e vic e s a re bo rn e .

Aft e r d e aling with t h e Wr e ath and C a p of D igni ty h e g oe s o n t o oth e r so rts ,

of Cr ow n es I take it th e r e f or e that t h e passag e B e it be auty birth or

.

, , ,

w ealth or wit which is display ed as in an a ch i evemen t b e n e ath t h e Cr ow n , ,

ch a rg es a r e bla z o n e d e ach i n its pa rt of t h e c o at arm o ur I mak e my l ove

-

i n graft ed t o this st ore

y o ur wort h an d truth [Wyndham g oe s on t o cit e
, .

a furth e r passage in which Gui lli m n ot e s f our parts o f n obility : rich e s bl ood

, ,

l earning virt u e ; which h e thinks sh ows a r e markabl e c oi ncid e nc e with l i n e 5

,

o f t h e so nn e t ] B E E C H I NG : [ Th e o n l y o n e of t h e t e rms f or which Wyn d ham s

n ot e furnish e s an h e ra l dic m e aning is I ntitu l e d occurs i n a m or e

or l e ss h e raldic passag e i n L u crece 57 but n ot i n any t e ch nica ll y h e ra l dic s e nse , .

S imi l ar l y i n L L L V ii 8 2 2 . .
, , ,

I f this th ou d o d e ny let our hands part ,

Ne ith e r i ntitl e d i n t h e oth e r s h eart

it m eans havi ng a c l aim t o H e re it may b e used abso l ut e l y 1 n thy pa rts.

,

b e ing c o nstru e d with cr o wn e d ; or pe rhaps i n t hy parts is co nstruct ed

w ith b oth

Th e se exc e ll e nce s s i t crown ed i n t hy va ri ous parts t o w hich th e y
.
x xx v n ] TH E S ONNETS OF S HAK E S P EAR E 10 3

have a claim L E E : P r obab l y e nn ob l ed in th ee d e rivi ng (tit l es of ) h on our

.

fr o m associati o n with thy ca paciti e s .

I o s h a d ow
. s u b stan ce WYND H AM : S h t ake s t h e t w o t e rms fro m t h e
. .

phi l o so phy o f his day and use s th e m f or poe tica l e ff ect as m od e rn e ssayists ,

take t e rms fr o m m od e rn phil oso phy and subj ect i ve and ,

,

u s e th e m i n criticism C f M W W I I ii 2 1 5 Lo v e li ke a shad o w i e s wh e n

. . . . .
, , , ,

substanc e l ove pursu e s ; M V I I I ii 1 2 8 Th e substance o f my praise d oth

. .
, , , ,

wro ng this shad ow ; R 2 I I ii 1 4 Each substanc e o f a gri e f hath twe nty

.
, , , ,

S had o w an d re e xi o n

shad o ws
.

we r e use d by Re naissanc e P lat o

mists as alt e rn ativ e m e taph ors in e xpo unding P lat o s d octrin e that B e auty

wh i ch w e s ee is t h e c o py of a n e t ernal patt e rn Gi ordan o Brun o had di s-

,

c o urse d i n P aris de Umbri s I dea ru m; or rath e r th e y u s e shad ow wh e r e w e

, ,

sh o uld u s e re e xi on C f H oby Th e 4 i h B ook e of th e Cou rty er 1 56 1 :
. .

Le t , ,

us clim e up t h e stay e rs which at t h e l owe rm o st st e pp hav e t h e s h a d ow e of

,

se nsua l be auty
and S pe nse r H y mn i n H on ou r of B ea uty ,

D still pr e se rve y our rst inform ed grac e

o

Wh ose shad ow y e t sh i n e s i n y our be aut eo us fac e .

So d oe s S hmpl oy shad ow e ve n apart fr o m any phil o so phica l s i g n i

. e

,

canc e t o m ean o nly t h e pr oj e cti o n o f like ne ss and n ot t h e obscuring of light

, , .

H e a l so use s t h e t e rm h e r e and e lse wh e r e i n t h e S o nn e ts with l e ss or with

, , ,

mor e appr oximati o n t o t h e m e taphysic u s e fr o m which it was bo rr owe d

, .

[ Ci.
4 3 5 7 53
, ;
-
1 4 1 0 ; 6 7 ,7
8
-
; 9 8 1 4 , C f als o D ra y t o n s so nn e t
, To t h e , . .

S had ow ( S 1 3 ed [This int e r e sting n ot e of Wyndham s l i ke oth e rs

. .
, ,

o f his on plat o nistic e l e m e nts in S h s poe ms is w e ll w o rthy o f study y e t t e nds

.
, ,

t o e rr o n t h e sid e of mystica l c o mpl e xity Wh e th e r S h s u s e of shad ow i n

. .

t h e m eaning opp o se d t o


substanc e was a d e rivati o n dir e ct or indir ect fr o m , ,

t h e l anguag e o f phil o s ophy w e scarc e l y have as y e t info rmati o n t o e nabl e us

, , ,

t o say with c e rtainty ; but e v e n s o his u s e of it is n otic e ably l acking in t h e ,

mystical n ot e charact e ristic ( f or e xamp l e ) of S pe nse r as i n t h e passage qu ot e d ,

ab ove B E E CH I NG S stat e ment r e pr e se nts t h e simpl e fact Oft e n in S h con

.

.

t ra s t ed with substanc e t o e xpr e ss t h e particular so rt of u nr e ality of which

substanc e expr e sse s t h e r e ality WAL S H : C f L illy Ca mpa s pe I V i v : Ye t

. .
, , ,
'

shal l it [thy c t ur e] ll min e ey e : be sid e s t h e swee t th oughts t h e sur e h o pe s

r
A
, ,

thy prot e st e d faith wil l cause m e t o e mbrac e thy shad ow continually i n my

,

arms of t h e which by strong imagin ati o n I wi l l make a substance

,

.

DRAKE : [Wh e n S h wrot e thi s sonn et on l y ] a smal l po rti o n of t h e fam e an d

. ,

pr ope rty which h e aft erw ar d s e nj oy ed c ou ld h ave fall e n t o h i s sh ar e (2 : .

10 4 TH E S ONNETS OF S HAK ES P EAR E [ XXX VI I I

3 8

H OW ca n my M us e wa n t s ub i e c t to i n ue n t
Wh i le t h ou d os t b re a t h t h a t p oor

st i n to my ve rs e ,

Th i n e ow n e s w e e t a r g um e n t , to e xce lle n t ,

For e u e ry v u lga r pa pe r t o re h e a rs e
Oh gi ne t h y s e lfe
t h e t h a n k e s i f o u gh t i n m e ,

Wor t hy p e rus a l s ta n d a ga i n s t t h y s i gh t ,

F o r w h o s s o d u m b e t h a t ca n n o t w r i t e t o t h ee

Wh e n t h o u t h y s e lfe d os t g i n e i n u e n t i o n l i g h t ?
B e t h ou t h e t e n t h M u s e t e n t i m e s m o re i n w or t h ,

Th e n t h os e old n i n e w h i ch r i m e rs i n u o ca t e ,

An d h e t h a t ca l ls o n t h e e le t h i m b r i n g fo r t h ,

E t e rn a l n u m b e rs t o o u t l i n e l o n g d a t e -
.

I f my s li gh t M u s e d o e p l e a s e t h e s e c u r i ou s d a i e s ,

Th e p a i n e b e m i n e b u t t h i n e s h a l b e t h e p ra i s e
, .

] powr s t G, et c

2 .
poor st 1 6 40 ; pou r st .

3 . to] too 1 6 40 , G , et c .

4 . r eh e a r s e z ] reh ea rs e G 2
, 8 2
, et c .

7 . d um b e ] d ull G, S , E .

TYL E R : This s o nn e t may b e r e gard e d as bringing t o a cl os e 333 8 .

LE E : Th e c e ntral c o nc e it h e r e s o n e l y d e v e l o p e d that t h e patr o n may

cl a i m as his ow n handiwork t h e pr ot g s v e rse b e cause h e inspire s i t b e l o ngs

t o t h e m ost c o nv e nti o nal sch e m e s o f d e dicat o ry adulati o n Wh e n D ani e l in .

,

1 59 2 i nscrib e d his v o l um e of so nn ets e ntitl e d D eli a t o t h e C o unt e ss of P e m

,

bro ke h e p l aye d i n t h e pr e fat ory so nn e t o n t h e sam e n ot e and used i n t h e c on

, ,

cl uding c o upl e t alm o st t h e sam e wor d s as S b z .

Gr e at patro n e ss of th e se my humbl e rhym e s ,

Which th ou fr o m out thy gre atn e ss d ost inspir e ,

O l e ave n ot still t o grac e thy w o rk in m e .

Wh e re of t h e travai l I may chall e ng e min e ,

B ut y e t t h e gl o ry madam must b e thi ne

, ,
.

( L i fe p , .

3 . a rgum e n t . SC H M I D T: Th e m e .
[ Ci 76 .
, 10 ; 7 9 5;
, 100 , 8; 1 0 3, 3; 1 0 5, 9 .

ED ]
.

8 i nve nti on S C H M I D T: I maginativ e facu l ty p oetic cti o n

. . , .

9
1 0 A H ALL
. : [ Cf .D rayt o n I d ea S 1 8 .
, , .
XXX VI I I ] TH E S ONNETS OF S HAK ES P E AR E 10 5
Thre e Nin e s th e r e a re t o e v e ry on e a Nin e : ,

Nin e Muse s d o with l e arning still fr e qu e nt ;

My w o rthy o n e t o th e se ni n e w o rthi e s add e th !
My Muse my wort hy and my ange l th e n
, ,

Make s e v e ry on e of th e se thr ee nin e s a t e n .

(N .
Q .
, 6 th s .
, 10 :

1 1 12 TYL E R : [ This passage ] must g o far t owards xi ng t h e se nse of

.

th e

o n li e b e g e tt e r [ in t h e D e dicati o n ] ( I ntr o p . .
, .

1 3 TY L E R : [ On e may inf e r ] that S h

. int e nd e d t h e pub l icati on of t h e
rst .

se ri e s of so nn e ts ( I ntr o p . B U TL E R : I t is plai n that s o m e at any rat e

.
, .
, ,

e v e n o f th e s e e arly s o nn e ts w e r e r e cit e d am o ng S h s fri e nds and much a d

.
,

mir e d .

1 4 pai n
.
[Tyl e r n ot e s that W A H ARR I S O N sugg e st e d that this may b e
. . .

c o nn ect e d with bring f orth I 1 1 t h e pain of part uriti on ]

, , ,

[This is a k ey s o nn e t f or MAS S E Y S dramatic th e o ry ] t h e fri e nd b e ing

-

.

,

tr e at e d by S h as t h e v e ritabl e auth o r of futur e and f o rthc o ming so nn e ts that

.

a r e t o b e pr e se nt e d t o him or stand against his sight wh e n writt e n in his

, ,

o w n b oo k (p . .

GOE D E KE [ b e l i e ve s t h e s o nn e t t o have b ee n addr e sse d t o Qu e e n E li z ab e th .

(D e u ts ch e R u n d s ch a u , 10 :

O S CA R WI L D E [ instance s this s o nn e t i n supp ort of his fancy that t h e pe rso n

addre ss e d was t h e b oy act o r -
f or wh o m Sh . wr ot e his l eadin g f e ma l e parts .

( P ortra i t of Mr W H p . . .
, .
 10 6 THE S ONNETS OF S HAK ES P E AR E [xxx rx

39

OH h ow t h y w or t h w i t h m a n n e rs may I s in ge ,

Wh e n t h o u a t a ll t h e b e t t e r pa t o f m e ?
r r

Wha t c a n m i n e ow n e p ra i e t o m i n e ow e s n se lfe b ri n g
An d w h a t i s mine w he n thee

t b ut ow n e I p r a i s e ,

B u e n f o r t h i s , le t vs d e u i d ed l i ne ,
An d d e a re loue loos e n a m e o f s i n gl e on e
o ur ,

Th a t b y t h i s s e p e ra t i o n I m a y g i u e
Th a t d u e t o t h e e w h i ch t h o u d e s e r u s t a l o n e

Oh a b s e n c e w h a t a t o rm e n t w o u l d s t t h o u p r o ue

We re i t n o t t h y s o ure l e i s u re ga u e s w e e t lea ue ,

To e n t e r t a i n e t h e t i m e w i t h t h o u g h t s o f l o u e ,

Wh i ch t i m e a n d t h o u gh t s s o s w e e t ly d os t d e c e i ue .

An d t h a t t h o u t ea c h e s t h ow t o m a ke o n e t w a i n e ,

B y p ra i s i n g h i m h e re w h o d o t h h e n c e r e m a i n e .

3 . b ring ; ] bri ng ? G , e tc .

4 . th e e ] , th e e ? L , etc .

6 . l oos e ] los e G e t c , .

10 . We r e i t n ot] Were t n ot th a t G

, S, E .

1 2 . d ost] d oth M , etc .

( e xc e pt Wy Wa ) ; , do C , B o c onj .

B U TL E R : [ Th i s s o nn e t ] appe ars to r e fe r to th e s e parati o n that was d ee m e d

e xp e di e nt in 3 6 (p . .

2 b e tt e r pa rt of m e L E E : My s o u
. Th e phras e . l . is similar l y use d by
D ani e ( Cleopa tra 59 4 ) and by Ovid , Meta m , xv , a d n ,
l ,
. . i n Go lding s t r a n s la

ti o n [ C f . .
7 4 , 8 , and n ot e s ]
4 .
[ F or t h e th e m e of d e ntity i
n ot e s o n , s ee 22 ,

5 7 and H E N RY B R OWN
Cf R . . D avi e s , to his br oth e r J o hn D avi e s :
To praise th e e b e ing what I am th ee
, to ,

We r e ( i n e ff e ct ) t o dispraise th e e and m e ;
F o r w h o d o th prais e hims e lf d e s e r v e s d i spraise
Th o u art myse lf th e n th ee I may n ot praise , (p . .

8 . Th a t d u e Cf 3 1. .
, 12 .

12 MAL O N E : Which v i z
. e nt e rtaining t h e tim e with th o ughts o f l ov e
, .
, ,

d o th s o agr ee ably b e gu i l e t h e t e di o usn e ss o f abse nc e Th e r e is n othing t o .

which d ost can r e fe r Th e change b e ing s o smal l I have p l ac e d cl oth i n

.

,
XXX I X ] TH E S ONNE TS OF S HAK E S P E A R E 10 7
th e t e xt B OS WE L L : D oe s wo uld b e ne ar e r t h e o rigi nal r e ading ; but I rath e r
.

think it sh ou l d b e d o making of th o ughts t h e n o minative case C OLL I E R :

,

.

[ Possibly d ost is right ] WYND H AM : I r e tain t h e Q t e xt f o r t h e c o nstructi o n

.
,

i n t h e 2 d p e rso n singu l ar which b e gins with t h e apostro ph e t o abse nc e in l i n e 9

, ,

r ecurs w i th abse nc e again as t h e subj ect i n line 1 3 I t is th e re f o r e I think

, , .
, , ,

rightly maintain e d in l ine 1 2 wh e re t h e e llipsis of a th o u pre se nts n o d i ffi

,

culty be ing imm e diat e l y suppl e m e nt e d by An d that th o u of li ne 1 3

,

Which tim e an d th oughts (of l ove ) th o u ( abse nc e ) d ost s o swee tly d e c e ive .

D e c e ive h e re d oe s n ot me an t o mis l e ad

but t o cause t o fail in

,

fullm e nt or r eal i z ati o n (I mp

t o d e fraud d e f e at und o mak e va i n
.
, , , .

[ C f T 89 C V i i i 9 0 : Th o u d ost thyse l f and a ll ou r Tr oy d e c e ive wh e re

. .
.
, , , ,

t h e m e aning is und o Abse nce th e n whil e h e lping t o pass ti me swee tly ]

.
, , ,

d oe s d e fraud and make vain tim e [This is inge ni o us b ut unc o nvincing wh e n .

,

o n e c o nsid e rs t h e diffi culty o f t h e o mitt e d

th o u and t h e m or e se ri o us ob j ec

,

t i o n that t h e wh ol e purp o rt o f t h e passage is t h e c o mp e nsati o ns of abse nc e .

E D ] [ Miss P O R TE R o f c o urs e fav o rs t h e Q t e xt obse rving that wh i ch is

.
,

n o t r e lativ e but d e m o nstrative r e f e rring t o t h e tim e and th oughts that

, ,

Abse nc e d oth s o swee tly d e c e iv e .

13 . D OWD E N : Abse nc e t e ach e s h ow t o make of t h e abse nt b e l ove d t w o p e r

7

so ns on e abse nt i n r e ality t h e oth e r pr e se nt t o imaginati o n B U TL E R : C f

, ,
. .

P h oen i x 69 Tu rtle [ q u ot e d und e r S

.

1 4 S TE E VE NS : C f A 69 C
.

1 iii 1 0 2 0 4
. . .
, , ,

O ur se parati o n s o abid e s and i e s , ,

That th o u r e siding h e r e goe s y e t with m e

, , ,

An d I h e nc e e eting h er e re mai n with th ee

, , .
 10 8 TH E S ONNE TS OF S HAK E S P E AR E [X L

40

TAKE my lou es my l oue y ea ta ke t h e m a ll

a ll , , ,

Wh a t h a s t t h ou t h e n m or e t h e n t h ou h a d s t b e for e ?
No l ou e my lo u e t h a t t h o u m a i s t t r u e l o u e ca l l
, , ,

A l l m i n e w a s t h i n e b e f o r e t h o u h a d s t t h i s m or e : ,

Th e n i f f o r my lo ue t h o u my l o u e r e c e i ue s t , ,

I ca n n o t b l a m e t h e e f o r my lou e t h o u v s e s t , ,

B u t y e t b e b la m d i f t h o u t h i s s e lfe d e c ea u e s t

B y w i lf u ll t a s t e o f w h a t t h y s e lf e r e f u s e s t .

I d oe f o r g i ue t h y r ob b r i e g e n t l e t h e e f e

A l t h o u gh t h o u s t ea l e t h e e a ll my po u e r ty
An d y e t l ou e k n ow e s i t i s a g re a t e r g r i e fe
To b e a re l o u e s w ron g t h e n h a t e s k n ow n e i n i u ry , .

L a s c i u i o u s g ra c e i n w h o m a ll i l w e l s h ow e s , ,

K i ll m e w i t h s p i gh t s y et w e m u s t n o t b e f oe s .

6 8 . vs e s t re f u s e s t ] u s ed s t B ut f
re u s ed s t .

7 . th i s s e lf e ] th y s el f G , S ; th y s elf E M e t c ( e xc e pt Wy B u l l Wa )
, , .
, , .

y et ] y et, Kt D y , , S ta , C G C
l , 1 a m H u

R, W Ox e t c k n owe s ] k n ows
h 2
, , , , , .
,

C, M A Kt B D e] H u , , , , , , D y S t a C l G1 Kl y Ca m R t
, , Ty Wy B ut
, , , , , , , , ,

H er N B ull Wa
, , , .

14 s pi ghts ] s pi g h t G S ;
.
1 I
, s pi te G 2
, S 2, E .

[This and f oll owing so nn ets sh o uld b e r e ad in c o nn ecti o n with 1 33

th e two

1 34 and 1 44 which a r e c o m m o nly suppo se d t o hav e r e f e r e nc e t o t h e sam e situa

,

ti on Wh e th e r th e y a r e a l so c l o se ly r e lat ed t o 3 33 5 th e r e is m or e u nc e rtainty
. .

B E E C H I NG inf e rs such a r e lati o n aft e r t h e irr e l e vant c o nt e nts of t h e i n t erv e n ,

ing so nne ts by t h e rath e r vi o l e nt assumpti o n that t h e off e nc e of t h e f ri e n d

,

has b ee n r e pe at e d during t h e p oe t s abse nc e r e f e rr ed t o i n 39 9 On t h e

, .

natur e of t h e situati o n h e r e r e pr e se nt e d and e spe cially t h e c o mp l aisant atti ,

tud e of t h e poe t th e r e have bee n v e ry div e rg e nt c o mm e nts On t h e wh ol e

, .
,

Wyndham s n ot e u nd e r S 33 see ms t o m e t o take t h e m ost rati o nal po int of

.

vi e w ED ]
. .

H ALL AM [ nds t h e appar e nt situati o n o f t h e po e t t o b e humiliating e spe cia ll y ,

fr o m his fa i lur e t o r e se nt th o ugh h e f e lt and b e wail e d t h e sed ucti o n of his

,

mistr e ss ( L i t of E u rope P t 3 ch 5
. .
[To GIL D E M E I S TE R t h e gr o up of
, .
, .
,

s onn e ts se e ms t o b e fata l t o t h e bi ographical i n t er p re t a t i on z] C a n o n e se ri o usly

b e li e v e that this t oo k p l ac e and that what is stil l m ore i ncr e d i bl e such
an occurr e nc e was r el at ed t o t h e sa l ons of Lond on i n rhym ed c onc e its ,by t h e ,
 TH E S ONNE TS OF S HA K E S P E AR E I0 9
d ec e ive d l ov e r himse l f ? ( p F U R N I V AL L [ qu ot e s with appr oval with
.
,

sp e cial r e f e r e nc e t o t h e matt e r of t h e f orgiv e ne ss o f t h e wr o ng a passage c o m Q

,

m u n i c a t ed t o him by o n e M Th e r e a re s om e m e n w h o l ove f or t h e sake of

.

what l ove yi e lds and of th e se was L ord B aco n ; and th e r e a r e so m e w h o l ove

,

f o r l ove s sak e and l oving o nce l ove always ; and of th e se was S h Th e se d o

, , .

n ot l i ghtly g i v e th e ir l ov e but o nc e giv e n th e ir faith is i nc o rpo rat e d with th e ir

, ,

be i ng ; and having b e c om e part o f th e mse lve s t o part wit h that part wo uld b e ,

t o b e dism e mbe r e d T h e r e f o r e if chang e or si n c o rrupt t h e e ngraft ed lim b t h e

.
,

o nly e ff e ct is that t h e wh o l e b o dy is shak e n with anguish Th e o ff e nding .

m e mb e r may b e nurse d i nt o h e a l t h o r l ov ed int o l ife aga i n ; but f orsake n ! ,

n e v e r ! ( I ntr o p lxiv ) L E E : Th e d e n it e e l e m e nt of intrigu e that is d e v e l

.
, . .

o pe d h e r e is n ot f o u nd anywh e r e e lse i n t h e rang e of E l i z ab e than s o nn e t

lit e rature [Th ose familiar with S i r S idn e y L ee s so nn e t criticism w i ll n ot fai l

.

t o appr e ciat e t h e c o urag eo us frankn e ss of this admissi o n E D ] Th e charac . .

t e r o f t h e i nn ov ati o n and its tr e atm e nt se e m o nly capabl e o f e xplanati o n by

r e garding it as a r e ecti o n of S h s p e rso nal e xpe ri e nc e I f al l t h e w o rds b e

. .

'

take n lit e rally th e r e is disc l se d a n a c

, o t o f se lf s a c ri ce that it is di ffi cult t o

parall e l or e xplain B ut it r e mains ve ry d oubtful if t h e a ff air d oe s n ot rightly

.

b e l o ng t o t h e annals of gallantry Th e s o nn e t e e r s c o mplac e nt c o nd o nati o n .

of t h e y o ung man s o ff e nc e chi e y sugge sts t h e d e fe r e nce that was e sse ntial t o

t h e maint e nanc e by a d e pe nd e nt o f pe ac e ful r e lat i on s with a se lf will e d and -

se lf i ndulge nt patr on ( L i fe p
-
[ L at e r h o we v e r in t h e n ot e s t o his ed i
.
, .
, ,

ti o n of S h L ee tr e ats t h e situati o n e v e n h e re as at l e ast partially c o nv e nti o nal

.
,

Th e rivalry h e re indicat e d i n t h e poe t s h e art b e tw e e n fri e ndship with a man

and l ov e f or a w o man is n o unc omm o n th e m e o f Re naissanc e poe try P etrarch .

( S . 2 2 7 ) c o nf e sse s t o t h e d o ub l e se ntim e nt :

C arit a di sign ore am or di d onna ,

S o n le cat e n e ov e c o n multi a ffanni ,

Le gat o s o n p e r c h i o st e ss o mi strinsi

.
,

Cf . B ez a s

P oema ta , sua in Ca n d id a m e t Aud e
1 54 8 , E pi g ra mma ta , 9 0 : D e

C l e m e nt Mar o t i n a p oe tic addr e ss A c e ll e qui s o uhaita

b e rt u m b e n e v ole n t i a .

Mar ot aussi am our e ux d e ll e qu n n si e n Am y ( Oi u vres 1 56 5 p

d es c r i b

, , .

i ng his so l icitati o n in l ove by a fri e nd s mistr e ss diagn o se s a like c o nict o f

e m o ti o ns .

J M. S [
. i n t h e S
.
p ec ta to r ( D ec 3 1 8 9 8 p cit e s as a parall e l t o t h
. e situ , , .

ati o n and attitud e r e pr e se nt ed in th e se so nn e ts a l e tt e r writt e n by S t E vr e ,

.

m ond t o his u nfaithfu l mistr e ss

P e ut etr e n e sav e z v o us pas q ue si j e n o se - -
,

rn e plaindr e d e v o us po ur v o us aim e r tr o p j e n o s e ra i s m e plaindr e d e lui p o ur

, , ,

n e l a i m e r gu er e m o ins : e t s i l faut d e n c e ssit m e m e ttr e e n c o l er e appr e n e z

,

m o i c o ntr e qui j e m e d o is f ach e r davantag e ; o u c o ntr e l ui qui m e n lev e u n e

,

maitre sse o u c o ntre v ous qui m e v ol ez un ami J aim e le p e r d e j aim e

,
.
,

l i n d ele e t cr ains se u l e m e nt qu nn ami si nc er e n e s o it mal av e c t o us le s d e ux

.
,

WAL S H : Wh e th e r this is a r e a l or an i maginary e pis od e cann ot b e d et e rmin e d

fro m t h e so nn ets th e m s e l v es A d ramatic p oe t l ik e S h was p e rf e ctly capabl e. .
1 10 TH E S ONNE TS OF S HAK ES P E AR E [X L
inv e nting t h e inci d e nt an d writing ab o ut it as if actua l Th e r e is s ome sim
-

of .

i la r i t y with t h e pl ot of T G V ( supp o se d t o hav e b ee n writt e n i n 1 59 2 . . .

and also i n plac e s with t h e language of that play B RAD L E Y : H allam s

, , .

e xplanati o n o f [ t h e p oe t s attitud e ] as p e rhaps d u e t o t h e e xalt e d p o siti o n o f t h e

fr i e nd w o uld make it much m o r e than u npl e asant ; and h i s language see ms t o

,

sh ow that h e like many critics did n ot fully imagi n e t h e situat i o n

, I t is , .

n e c e ssary t o r e al i se that what e v e r t h e fri e nd s rank might b e h e and t h e p oe t

,

w e re i nt i mat e fri e nds ; that manif e stly it was rath e r t h e mistre ss wh o se duc e d , ,

t h e fr i e nd than t h e fri e nd t h e mistr e ss ; and that s h e was appar e ntl y a w o man

n o t m e r e ly o f n o r e putati o n but o f such a natur e that s h e m i ght r e ad i ly b e ,

e xp e ct e d t o b e m i str e ss t o t w o m e n at o n e and t h e sam e tim e Any o n e w h o .

r e al i se s this may call t h e s i tuat i o n h umiliating i n o n e se nse a n d I cann o t

,

quarr e l w i th h i m ; but h e wil l n ot call it humiliating in r e sp e ct of S h s r e la

.

t i o n t o h i s fr i e nd ; n or will h e wo nd e r much that t h e p oe t f e lt m o r e pa i n than

r e se ntm e nt at his fri e nd s tre atm e nt of him Th e r e is s o m e th i ng i nnit e ly

strange r i n a play of S h s [t h e f o rgive ne ss of P r ot e us by Val e ntin e in T G V ]

.

, . . .

Th e inc i d e nt i s t o us s o utt e rly pr e p o st e r ous that w e nd it hard t o imagin e

h ow t h e audi e nc e st oo d it ; but e v e n i f w e c o nj e ctur e that S h ad o pt e d it fr o m , .

t h e st o ry h e was us i ng w e can hardly supp o se that it was s o absurd t o him as

,

it is t o us A n d it is n ot t h e S o nne ts al o n e wh i ch l e ad us t o surmise that f o r

.

g i v e n e s s was particularly attractiv e t o h i m and t h e f o rgiv e n e ss o f a fri e nd m uch ,

e asi e r than r e s e ntm e nt ( L ectures on P oetry pp 334 .

, .

5. D OWD E N l o v e o f m e
: th o u
I f f or
r e c e i v e s t h e r wh o m I l ove [ S o R OL EE .

and TY L E R ] WYND H AM : I f in plac e of my l ove f or y o u y ou acc e pt t h e w o man ,

I l o ve C f 4 2 9 B E E C H I NG : [ F o r my l o v e m e ans] a s bei n g my l ove t o

.
. .
, ,

wh i ch y o u have a r i ght [ I think Wyndham s e xp l anati o n d e cid e dly t h e m ost

.

pr obabl e ED ]
. .

6 u s e st B U TL E R [ i n supp ort of his e m e ndati o n h e r e and in li n e 8 obs e rv e s
. .
, ,

A man cann ot w i lfully tast e what at t h e sam e tim e h e is r e fusing I f my

.

t e xt is admitt e d t h e se nse w i ll b e D o n ot blam e m e if y o u nd this lady

, ,

tr o ubl e so m e ; y o u r e fuse d h er f or so m e tim e and it is n ob ody s d o ing but your ,

o w n that y o u n ow tak e up with h er .

7 .th i s s e lf e W YND H A M [ d e f e nding

. t h e Q t e xt e xplains : ] Th e p oe t ; must
, ,

b e int e rpr e t e d i n c o nn e xi o n with t h e id e ntity o f himse lf and t h e fri e nd stat e d

i n 39 1 4 and re stat e d i n 42 1 3 1 4 [ C f a l so 1 33 6 and 1 35
,

,

, This .
, ,

se lf t h e po e t is d i sti nguish e d fr o m thy se lf t h e fri e nd o f li n e 8 ; and

th i s d i st i ncti o n o f t w o p e rso ns w h o a re o n e se l f is in harm o ny with t h e c o nc eit

which runs thr o ugh t h e f o ur numb e rs P OR TE R : [ This se lf i s t h e p oe t s and .

t h e b e l ov e d s v e ry se lf th e ir u nity th e ir j oi nt d e ar l ove ( 39
~
, , ,

8 D OWD E N : D e c e iv e y o urse lf by an unla wfu l uni o n whil e y o u r e fus e l oya l

.

w ed l ock WYND H AM : V i lf ully tasting my l ove

.

my mistr e ss whil e y o u
V
, ,

t h e o th e r s e lf r e fuse my l ov e
, my l ove f or y o u TYL E R [ appar e ntly f oll ow .
,

i ng D owd e n s int e rpr e tati o n t hinks t h e passag e m a y r ef e r t o t h e bre aking off

by Wil l iam He rb e rt of his pro p ose d marriag e with L ady Ve re ( I ntr o p . .

, .
XL ] TH E S ONNE TS OF S HAK ES P E AR E
B E E CH I NG : P e rhaps by ta king i n wi l fu l ne ss my mistre ss wh om y e t
m e ans
y o u d o n o t l o v e

S TO P E.S : T h e y o uth has r e fus e d t h e advic e of t h e e arly

s onn e ts and n ow f ea rs n ot t h e m ortal tast e of that f orbidd e n tr ee
,

LE E : .

What thyse l f r ef u s e s t [ is] that l ascivi ous indu l ge nc e which th ou i n re a l ity

d i s d a i nes t [ I . ca n f o rm n o n o ti o n o f what i n
r e ality m e ans h e r e ED
] . .

P O R TE R : Wilfu l tast e of such oth e r kinds O f l ov e as t h e b e l ov e d himse lf r efuse s

t o th e ir high e r ki nd of l ov e ; i e sha l l o w physica l int e rc o urse
. .
, .

pove rty [Th e r e ading pro pe rty i n a Ge rman e diti o n of 1 86 4 is

10 . . , ,

a l m ost w orthy t o b e s e t be si d e t h e e m e n d ati on S e rm o ns i n boo ks st one s in

, ,

running br oo ks
ED ]. .

1 3 C f S 9 5 and 1 50 5 8
. . .
,

, .

B UTL E R [ nds i n this so nn e t a hint give n t o Mr W H by , . that h e

. .

may v e ry po ssibly nd t h e lady n ot al l that h e c o uld wish .

VON MAU NTZ [b e li e v e s that t h e so nn e t was a dd r e sse d by a w o man t o a man

,

t h e o nly int e rpr e tati o n w hi ch see ms cr ed ib l e or natura l ( J a h rb 2 8 :

. .
,
 1 12 TH E S ONNETS OF S HAK E S P E AR E [X L I

4 1

TH OS E p re t ty w ron g s t h a t l i b e r t y c omm i t s ,

Wh e n I a m s om e t i m e a b s e n t from t h y h ea r t -
,

Th y b e a u t i e , a nd t h y y e a re s fu l l we l l b e t s ,

F or s ti ll te m p ta t i on f ollow e s w h e re t h ou a r t .

G e n t l e t h o u a r t a n d t h e r e f or e t o b e w on n e , ,

B ea u t i o u s t h o u a r t t h e re f or e t o b e a s s a i l e d , .

An d w h e n a w om a n w oe s w h a t w om a n s S on n e , ,

Wi ll s ou re ly lea u e h e r t i ll h e h a ue p re ua i le d .

Ay e m e b u t y e t t h o u m i g h s t my s e a t e f or b ea re
, ,

An d ch i d e t h y b ea u t y a n d t h y s t ra y i n g y o u t h , ,

Wh o l e a d t h e e i n t h e i r r yo t e n e n t h e re
Wh e re t h ou a r t fors t t o b rea k e a t w o fo ld t r u t h -

H e rs b y t h y b e a u t y t em p t i n g h e r t o t h e e ,

Th i n e b y t h y b ea u t i e b e e i n g fa ls e t o m e .

1
. r tt
p e y] p y e tt B H u D y D e l3
,B ut l
,
l
, , .

2
. s om e tim e ] s ometi mes 1 6 40 G S E Ox
-
, , , , .

3 b e ts ] be t G S E
2 z
. .
, ,

6 th e r e f or e ] a n d th eref ore G 1 S E
.
, , .

7 w oe s ] w ooes 1 6 40 M ; w oos G S E B o e t c
.
, , , , , .

8 h e ] s h e Ty r c o nj
. M et c ( exc e pt C O Wy ) h au e ] h a s E ; ga ve D el1
3
.
, , .
, .

[ e rr or] preuai le d ] preva i led ? G e t c ( e xc e pt M A C o B H a l)

. .
, .
, , , , .

9 Ay e ] Ah E M A K t C o B D e l H u S t a Cl K ly H a l Ty mi g h s t]
.
, , , , , , , , , , , , .

m g h s t 1 6 40 G e t c m y s e a te ] my s weet ( b e tw ee n c o mmas ) M H u B ut Wa ;
i t , , .
l
, , ,

m y s ta te D e l c o nj .

3 . b e t s .
[ F or t h e singular f orm with plura l subj e ctAB B OTT 333 , s ee ,

I n so m e case s t h e subj e ct n ou n may b e c o nsid e r e d as singular i n th ought ;

-

i n oth e r case s t h e quasi singu l ar v e rb pr e c e d e s t h e p l ural obj e ct [e rr or f or

-

s u bj ect and again i n oth e rs t h e ve rb has f or its no minative t w o singu

,

l ar n ouns or an ant e c e d e nt t o a p l ura l n ou n [S uch i nstanc e s ] indicat e a g e n .

e ral pr e dil e cti o n f or t h e in e cti o n i n s which may w e ll hav e arise n fr om t h e -

n orth e rn E E 3d p erson p l ural i n s

. .
-
.

6 S TE E VE NS : Cf I H 6 V iii 8
5 .
7 9 . .
, , ,

S he s b e autifu l and th ere fore t o b e w oo d

Sh e is a w oman th e re f ore t o b e won , .

LE E : Cf . T An d I I
. .
, , 11 , 82 83 -
XLI ] TH E S ONNE TS OF S HAK E S P E AR E 1 13

Sh e is a w oman th ere for e may , be woo d ;

Sh e is a wo man th e r e for e may , b e w on ;

and Gr ee n e s Orph a ri on 1 599 ( Wor ks Gros a rt 1 2 :

S h e is but a w o man
, , , ,

and th e r e fore t o b e w on .

8 h e [ See t e xtua l n ot e s ] MAL O N E : Th e p oe t with o ut d o ubt wr ot e

. . sh e .

D OWD E N : [Th e Q rea di ng ] may b e right WYND HAM : Th e Q r e ad i ng is m or e .

subti l e in se nse and m or e musical i n so und .

9 Ay e [Th e change t o Ah is quit e unwarrant ed C f V 61 A 1 8 7 8 3 3

. . . . . .
, ,

L u crece 1 1 6 7 ; L C 32 1
, E D ] s ea t e MAL O N E [ d e f e nds his e m e ndati o n by
. .
, . .

vari ous passage s wh e r e swee t or my sw ee t is use d i n dir e ct addr e ss]

.

B OS WE L L : Mr B oa d e n is of o pini o n that t h e c o nt e xt sh e ws t h e original w ord

.

t o b e right I ag o as h e obse rv e s use s t h e wo rd se at with t h e sam e m e aning :

.
, ,

[ I d o susp e ct t h e lusty Moo r hath le a p d int o my se at ( 0 th I I i

. .
, , ,

D OWD E N : D r I ngl e by adds as a parall e l L ucrece 4 1 2 1 3

.
, , ,
-

Wh o l ik e a f o u l usurp e r we nt ab out
, ,

F ro m this fair thr o n e to h e ave th e o wne r ou t .

H . D . G RAY : Th e
wor d thy occurs se v e n tim e s i n this so nne t an d is n ev e r ,

misprint e d th e ir Th e th eo ry that it was includ ed i n a MS wh e r e this mis

.

.

take was s o fre q u e ntly ma d e as t o b e a l m o st a pr e vailing o n e must b e r e exa m

i n ed [ S e e n ot e o n 2 6 1 2
. ED ] , . .

B E E C H I NG : S o m e tim e s t h e [ S hake sp e ar ean ] so nn e t fa ll s n ot int o thr ee parts

.

but int o t w o t h e br ea k c o ming aft er t h e I ta l ian man ne r at t h e e n d of t h e 8 t h

, , ,

line E xampl e s a re 4 1 and 44 in b oth of which as is natura l und e r t h e circu m

.
, ,

stanc e s t h e c o up l e t b ec qm es part of t h e se st e t th o ugh it is l e ft as d e tach e d as

, ,

p o ssibl e ( I ntr o p l iii ) [ S 39 is pr e cise ly similar i n th e se r e sp e cts and 2 9 and

. .
, . . . ,

3 3 f or t h e imp ortanc e of t h e pause at t h e e n d of t h e s e c o nd quatrain ED ] . .

 14 TH E S ONNETS OF S HA K ES P E AR E [X L I I

42

TH AT t h ou h a s t h e r i t i s n o t a ll my g ri e fe ,

An d d l
i t m ay b e d h d l s ai

y et I o u e r e e r e y ,

Th a t s h e h a t h t h ee i s o f my w a yl i n g c h e e f e ,

A l os s e i n lo u e t h a t t o u ch e s m e m or e n ee re ly .

L o u i n g o ff e n d o rs t h u s I w i l l exc u s e y ee ,

Th o u d oos t lo u e h e r b e ca u s e t h o u k n ow s t I l o u e ,
h er,

An d f or my s a ke e n e n s o d o t h s h e a b u s e m e ,

S u ff r i n g my f r i e n d f o r my s a k e t o a pp r oo u e h e r ,

I f I l oo s e t h e e my los s e i s my l o u e s ga i n e
, , 3

An d l oos i n g h e r my f r i e n d h a t h fo u n d t h a t l os s e
, ,

B o t h n d e ea ch o t h e r a n d I loo s e b o t h t w a i n e , ,

An d b o t h f o r my s a k e la y o n m e t h i s c ros s e ,

B u t h e r e s t h e i oy m y f r i e n d a n d I a r e o n e

, ,

S w e e t e a t t e ry t h e n s h e l oue s b u t m e a l on e ,
.

6 . k n ow s t] k n ew s t B o ,

A Kt B , , .

9, 11 l oos e ] los e G
.
, et c .

l oos in g ] los i n g G , etc .

7 . a b us e . SC H M I D T Ma l tre at
B ut th e r e may b e a sugge sti o n
: .
[ Cf . 1 34 , 1 2 .

h e re t oo of t h e c omm o n E li z abe than m e aning d e c e ive

, , ED ]

.

.

8 a ppr oove S C H M I D T: L i k e [S inc e t h e w ord i n S h pract i cally a l ways

'

. .
.
, .
,

i mp l i e s a m oral or m e ntal j udgm e nt wh e n use d in t h e se nse l i ke o r b e ,

pl e ase d with I am dispo se d t o think it is h e re use d in t h e se nse of make

,

trial of ED ]
. .

9 m y l ove s MAL O N E : [ My mistr e ss s ]

. . .

9 0 W
-
1 AL S.H : C f T G V I I vi 2
o 21. . . .
, , ,

If I k ee p th e m I n ee ds must l ose myse lf , .

If I l ose th e m thus nd I by th e i r l oss e t c

, , .

B ut th e re t h e fri e nd is n ot id e nti e d wi th t h e spe ake r far fr o m it as y e t , ,

f or t h e latt e r c o ntinu e s I t o myse lf am d e ar e r than a fr i e nd L at e r h ow

.
, ,

e v e r h e mak e s t h e r e nunciati o n
, .

1 0 1 2 l os s e . cr o s s e D OWD E N : Th e l o ss an d cr oss of th e se l in e s
.

a re s po k e n o f in S 3 4 . .

1 3 S ee n o t e s o n 2 2 5 7
.
, .

P R I C E [c om m e nts o n t h e eff e ctive u se o f m o n o sy ll abic ve rse i n this and t h e

t w o fo l l o wing so nn ets .
(p . He a l so obse rv e s that this so nn e t is o n e of
XL I I I ] TH E S ONNE TS OF S HAK ES P EAR E 1 15

th o se i n which ] t h e p oet ic quality l i e s sol e l y or a l m ost so l e ly in t h e m el od y of

ve rse in t h e r e ned and a cc ura tk ch oic e of w ords and in t h e e m oti onal int e re st
, ,

of t h e psych ol ogical pr obl e m [ with o ut gur e or o th e r imaginativ e d e c o rati on ]

,

Wi th o ut introducing a singl e image of natural b eauty [t h e so nn e t ] S h o ws t h e ,

dramatic p oe t d e al i ng i n ve rse s of l ove l y f o rm and arrange m e nt with a dra

, ,

mat i c situati o n of m o st curi o us dramatic int e r e st ( p . .

H ARR I S : Th i s so nn e t w i th its a ff e ct e d w ord play and wir e drawn c o ns o la

,
- -

ti o n l e ave s o n e gaping : S h s ve rbal aff ectat i o ns had g ot int o his ve ry bl ood

,
.

.

To my mind t h e wh ol e so nn e t is t oo e xtravagant t o b e sinc e re No n e of it .

rings tru e e xc e pt t h e rst c oupl e t ( Th e Ma n S h p [ Ci Wyndham s

. . .
, .

n ot e o n S 3 3 ED ]
. . .

43

WH E N m os t I w i n k e t h e n d oe
m i n e e ye s b e s t s e e ,

F o r a ll t h e d a y t h e y v i e w t h i n gs v n r e s p e c t ed ,

B u t w h e n I s le e p e i n d re a m e s t h e y lo o k e o n t h e e
, ,

An d d a r k e ly b r i g h t a re b r i gh t i n d a r k e d i re c t e d
, .

Th e n t h o u w h os e s h a d dow s h a dd ow e s d o t h m a k e b r i gh t ,

H ow w o u l d t h y s h a d ow e s f o rm e f o rm e h a p p y s h ow , ,

To t h e cl e e r e d a y w i t h t h y m u ch c le e r e r l i gh t ,

Wh e n t o v n s ee i n g e yes t h y s h a d e s h i n e s s o ?
-

H ow w o u l d ( I s a y ) m i n e e y e s b e b l e s s ed m a d e ,

B y l oo k i n g o n t h e e i n t h e li u i n g d a y ?

Wh e n i n d ea d n i gh t t h e i r fa i re i m pe r fe c t s h a d e ,

Th ro u g h h ea u y s le e p e o n s i gh t le s s e e y e s d o t h s t a y ?
AH d a ye s a re n i gh t s t o s e e t i l l I s e e t h ee ,

And ni gh t s b r i gh t d a i e s w h e n d r e a m s d o s h e w t h ee me .

11 . th ei r ] th y M et c
C, , . fai r e im pe rf e ct] H yph e n e d by Walke r c o nj .

13 . to s e e ] to me M c o nj .
, H u B ut
2
, .

13 1
4 . I s ee th e e th e e m e] I th ee s ee m e th ee Tay l or
th ee I s ee m e th ee Le t t s o m c onj .
, Hu z
.

Th i s is o n e of t h e so nn e ts om itt ed fro m t h e P oems of 1 6 40 and t h e edit i ons

base d th e r eo n .

[ F or t h e th e m e cf n ot e s on S 2 7 ; cf also S 6 1 To t h e ana l ogo us passag e s

, . . . . .

cit ed h e re t of or e MAS S E Y ( p 7 7 ) adds f or this so nne t S id ne y s A 69 S

, .
, ,

.

.
,

This night whi l e sl ee p b e gins with h e avy wings

,

To hatch min e e ye s and that unbitt e d th o ught ,

D oth fal l t o stray and my chi ef p ow ers a re brought ,

1 16 TH E S ONNETS OF S HAK E S P E A R E [X L I II
To l e ave t h e sc e ptr e of all su j e ct things
b
Th e rst that straight my fancy s e rr or brings

U nto my mind i s S t e l la s image ; wrought ,

By L ov e

s ow n s e lf ; [e t c ] .

[ S ee a l so t h e f oll owing so nn e t C o m e S l ee p! 0 S l ee p !

, 39 : ED .
]

1 . wink e . SC H M IDT : S hut t h e

y e s or hav e th e m shut [ C f 56 e , . .
,

2 un r e s p ecfe d
. MAL O N E : U nr e gard e d [ C f 54 1 0
.
ED ] . .
, . .

4 d a r k e
. ly br i ght D O W D E N : I llumin e d alth.o ugh cl o s e d TY L E R ; Bright , .
,

th o ugh n ot se e ing [ Is it p ossibl e that t h e phrase may m e an that t h e e y e s a r e

.

bright m o st of all i n t h e dark b e cause of what th e y s ee i n dr e ams ? E D ] ,

.

bright i n d ar k e di r e ct e d D OWD E N : Ar e cl e arly dir e ct e d i n t h e darkn e ss

. .

TY L E R : B e c o m e br i ght thr o ugh t h e visi o n of t h e l ove d image wh e n di , . .

rec t e d I n t h e darkn e ss WYND H AM : I n t h e dark th e y h e e d that on which th e y

.

a r e x e d L E E : G uid e d in t h e dark by t h e brightn e ss [ o f thy

.
[Th e
lat e P r of e sso r A G NE WC OME R e xpla i n ed t h e phrase : D ire ct e d t oward that
. .

wh i ch is bright in t h e dark br i g h t i n da r k having t h e e ff e ct of an adve rb

,
- -
.

ED .
]
5 . D OWD E N Wh o se imag e make s bright
: th e shad e s of night TYL E R : . Cf .

2 7 , 1 11 2 .

11 th e i r [ Miss P O R TE R stands al o ne in wish i ng t o k ee p t h e Q r e ading h e r e

. . .

Acc o rd i ng t o h e r t h e W o rd ] r e f e rs t o e ye s shad e or shad ow of t h e

, th e

e y e s sight i mp e rf e ct TYL E R : As b e ing a m e re insubstantial i mag e

. . .

to s e e MAL O N E : We sh o uld p e rhaps r e ad Th e c o mp osit or

13 . . t o me .

might have caught t h e w o rd s e e fr o m t h e e n d of t h e l i n e S TE E VE N S : As

.

fair t o s e e
s i gn i e s fa i r t o s i ght s o all days a r e n i ghts t o s e e m e ans

,

all days a re gl o o my t o b e h ol d i e l oo k like nights D OWD E N : To s ee ti l l I , . .

,
.

s e e th ee

is pr obably r i ght i n this so nn e t which has a m or e than c o mm o n fancy ,

f or d o ubl i ng a w ord i n t h e sam e l i n e .

[ F or th i s matt e r of word r e pe titi o n cf S ARR AZ I N S n ot e o n S

.
, .

VON MAU NTZ : C f Ovid Tri s ti a I I I iii 1 8 : Nulla ve nit sin e t e

13 14 . .
, , , ,

n ox mihi nulla di e s , .

P R I CE [ nds i n this so nn e t th e l arge st p e rc e ntage of pur e or native d icti on .

(p . also n ot e on S
Se e .

B RAND L [b e li e ve s that t h e so nn e t was ad d r e sse d t o a wo man ; an d n ot o nly

s o but id e nti e s h e r as t h e
, dark l ady on t h e e xtraordinary gro und that s h e

is r e pr e se nt e d as b e ing] s o d ar k that a shad ow b e si d e h e r se e ms bright ( p xi ) . . .

XLI V ] TH E S ONNETS OF S HA K E S P E AR E 1 1 7

44

IF t h e d ull s u b s ta n ce of my e s h w e re t h ough t ,

I n i u r i ous d i s ta n c e s h o uld n o t s to p my w a y ,

F o r t h e n d i s p i g h t o f s pa c e I w o u l d b e b ro u gh t ,

F r om li m i t s fa r re r e m o t e w h e re t h ou d oos t s ta y , ,

No m a t t e r t h e n a lt h o u gh my f oo t e d i d s ta n d
0

Vp on t h e fa r t h e s t e a r t h r e m oo u d f ro m t h e e

F o r n i m b l e t h o u gh t ca n i um pe b o t h s ea a n d l a n d ,

As s oon e a s t h i n k e t h e p la c e w h e r e h e w o u ld b e .

B u t a h t h o u gh t k i l l s m e t h a t I a m n o t t h o u gh t
,

To lea p e l a rge l e n g t h s o f m i l e s w h e n t h o u a r t g o n e
B u t t h a t s o m u ch o f ea r t h a n d w a t e r w r o u g h t ,

I m us t a t t e n d t i m e s lea s u re w i t h my m o n e
,
.

R e c e i u i n g n a u gh ts b y e l e m e n t s s o s l oe ,

B u t b e a n i e te a r e s b a d ge s of e i t h e rs w oe , .

4 . From ] To G , S , E .

6 . f ar th es t] f u rth es t Hu l
, Ox .

8 . As s oon e a s th i nk e ] S oon as h e th i n k s Ve rity c o nj .

10 . wh en ] wh er e B e c o nj .

13 . n a ug h ts ] n a ug h t G , etc.

14 . w oe ] woe: M A Kt B
, , , , D e l, Dy , S t a , C l, Kl y , Hu z
, Ty .

[c o mpare s with this and t h e f oll owing s o nn e t Tasso s Ri me Amoros e ,

I S AAC

D o nna , f o rtuna a m e b e n vi e ta
cru d el ,

S e g u i r y i e n qu e st e sp o nd e or mi riti e n e

, ,

Ma 1 pro nt o m i o p e nsi e r n o n chi fr e n e

C h e s ol rip osa quant o i n v o i s a c q ue t a (J a h rb

, . .
, 1 7:

MAS S E Y : [This and 4 5 a re sp o ke n by t h e trave l e r of t h e j o urn e y i ntr oduc e d

i n 50 wh e n h e is at t h e r e m ot e st d i stanc e fr o m t h e fri e nd at h o m e H e is o n
,
.

d i stant sh or e s with vast spac e s of e arth and wat e r b e tw e e n him and h o m e

, .

This cann ot b e S h ( pp 9 1 . .
,

4 MAS S E Y :
. F rom l imit s far r e m ot e wh e re I am , to wh e r e th o u d ost
stay ( p . .

6 [ ABB O TT n ot e s this am o ng his transp ositi o ns of a d j e ctiva l phrase s

. .
, c om

paring A happy ge ntl e man i n bl ood and l ine am e nts ( R 2 I I I i 9 ) and

.
, , , You

hav e w on a happy vict ory t o Rom e ( Cor V iii 419 .
, , ,
1 1 8 TH E S ONNETS OF S HA KE S P EAR E [X L I V
7
8 . d e aling i n l ike mann e r with th o ught s triumph ove r spac e
L E E : S o nn e ts

a r e v e ry c o mm o n i n R e naissanc e p oe try C f Ro nsard Am ours I 1 6 8 :

Ce . .
, , ,

f ol p e nse r p o ur s e n v ole r tro p haut

,

D u B ella y s Oli ve 43 : P e nse r v olag e e t

, ,

l eg er c o mm e ve nt ; Amadis J a m y n S 2 1 : P e nse r qui pe ux e n u m mo m e nt

, .
,

grand e e rr e c ourir and Tasso s Ri me ( 1 58 3 Ve nic e i

C o m e s human

, , ,

pe nsi e r di g i u n g e r t e nta a l l u og o
9 th ought D OWD E N : P e rhaps th o ught
. . h e r e m eans m e lanch oly c ont e m

p la t i o n as i n J
, C J I I i 1 8.
7 T ak e,th o ught
, and ,d i e f or C ae sar
,

[Th e r e fe r .

e nc e o f c o urse
, is t o t h e rst occurr e nc e of t h e w o rd i n t h e lin e t h e se c ond
, ,

o ccurr e nc e r e f e rr i ng back t o lin e 1 ; and sur e ly th e r e is no n ee d of D owd e n s

caut i o us pe rhaps
ED ] . .

9 1 0 MC C L U v 4 6
-
M P H A : C f R 89 J I I .

.
. .
, , ,

Lo v e s h e ralds sh o uld b e th o ughts

,

Which t en tim e s fast e r gl i d e than t h e su n s b e ams [e t c ]

, .

1 1 . S TE E VE NS : Be ing so th or o ughly c o m po u nd ed of th e se t wo pon d e rous

l m e nts
e e . C f A Es C
. .

.
, V, , 2 2
ii 9 9 3 :
I am re and air ; my oth e r e l e m e nts
I give t o base r lif e .

MAL ON E : C f H 5 I I I vi i 2 2 : H e is pure a i r and re ; and t h e d ull e l e m e nts

. .
, , ,

of e arth and wat e r n e v e r appe ar i n him L E E : [ H e r e and in S 4 5] S h has . . .

adapt e d t o his ow n purpo se a l eading principl e of Ov i d s natural phil o so phy :

This e ndl e ss w orld c o ntains th e r e i n I say , ,

F o ursubstanc e s of which all things a re g e nd e r e d Of th e se f o ur .

Th e earth and wat e r f or th e ir mass and w e ight a re sunk e n l o w e r .

Th e oth e r c o upl e air and r e t h e pure r of t h e twain

, , ,

Mo unt up and n ought can k ee p th e m d own

, [ Go lding s ve rsi o n ] .

.

S uch a th e ory of t h e e l e m e nts was c o mm o n kn owl ed g e am o ng t h e m e di e val

and R e naissanc e poe ts ; but S h s m od e o f c o ntrasting t h e d e nsity of e arth and .

wat e r with that of re and air so unds a pe culiarly Ovidian n ot e ( Ou R ev 2 1 0 :

. . .
,

14 . B E E C H I NG : P e rhaps t h e salt i n t h e t ears r e prese nts t h e c o ntributi o n of

th e e arth ; and s o t e ars a re a ba d g e of t h e w oe of bo th e ar th an d wat e r .

xw ] TH E S ONNE TS OF S HAK E S P E AR E 1 19

45

TH E h er tw o s l i gh t a yre a n d p u rg i n g re
ot , , ,

Are b o t h w i t h t h e e w h e r e e ue r I a b i d e , ,

Th e rs t my t h o u gh t t h e o t h e r my d e s i re

, ,

Th e s e p r e s e n t a b s e n t w i t h s w i f t m o t i o n s l i d e .

F o r w h e n t h e s e q u i c k e r E l e m e n t s a re g o n e
I n t e n d e r E m b a s s i e o f lo u e t o t h ee ,

My l i fe b e i n g m a d e o f f o u re w i t h tw o a l o n e , ,

S i n k e s d ow n e t o d ea t h o p p r e s t w i t h m e l a n ch o l i e , .

Vn t i ll l i n e s c o m p o s i t i o n b e r e c u red ,

B y t h o s e s w i f t m e s s e n g e rs r e t u r n d f r om t h ee

Wh o e ue n b u t n ow c om e b a c k a g a i n e a s s u re d ,

Of t h e i r f a i r e h ea l t h r e c o u n t i n g i t t o m e , .

Th i s t o ld I i oy b u t t h e n n o l o n ge r gl a d
, , ,

I s e n d t h e m b a c k a g a i n e a n d s t ra i g h t g r ow s a d .

4 .
pr es e nt ab s e nt] p res en t, a b s en t, G 2
, S E; , hyph e n ed by M , etc .

] pres s d C

8 . oppr e s t .

9 . li ne s ] li ve s C ; lif s

1
e

G 2
, et c .

12 . th e ir ] th y C M e t c , , .

D E L ECL U Z E [ (D a n te Ali g h i eri , p .

536 ) cal l s this so nn e t th e twin br oth er of

D ant e s 2 2
nd in th e Vi ta Nu ova : ]
Ge ntil pe nsi e r o c h e parla di vui , ,

S e n vi e n e a d i m ora r m e c o so ve nt e ,

E ragi o na d a m or s i d ol c e m e nt e

,

C h e fac e c o nse ntir 10 c o r e i n l ui .

4 . VO N MAU NTz : C f S idn e y , A 81 S

. .

.
, 60 , 13: Wh ose pre se nc e abse nc e ,

abse nc e pr e se nc e is , .

7 . f ou r e S TE E VE N
. S : C f T N I I iii 1 0 :

D oe s n o t o u r l
. i f e c o nsist o f t h e
. .
, , ,

f o ur e l e m e nts ?
8 m e l an ch ol i e WAL K E R : S h was incapabl e of anything s o d i sc o rdant as
. .

this . Ought

m e lanch o ly t o b e pr o n o unc e d m el a n ch ly ? [This p r on u n

c i a t i o n is appr ov e d by R OL F E Th e r e is n o warrant f or it i n any oth e r of t h e .

num e ro us occurr e nc e s o f t h e wo rd in S h ; and whi l e the re se e ms n o e sca pe fr o m .

so m ethi ng of t h e ki nd h e re w e may we l l suspe ct t h e nish ed charact e r of t h e

,

t e xt . ED ] .

9 r ec ur e d S C H M I D T: Re st o r e d t o h e a l th o r so un d n e ss
. . .

12 th e i r [ E ve n Miss P O R TE R h e sitat e s t o ke e p t h e Q r e ading h er e th ough

. .
,

s h e be l i e v e s it may b e right r ef e rring t o t h e p oe t s th o ught an d d e sir e ]

,
1 20 TH E S ONNETS OF S HAK ES P EAR E [X L VI

46

M I NE h ea r t a re a t a m or ta ll wa rre
ey e a n d ,

H ow t o d e u i d e t h e c on q u e s t o f t h y s i gh t ,

M i n e e y e my h ea r t t h e i r p i c t u re s s i gh t w o u l d b a r re
, ,

My h e a r t m i n e e y e t h e f reee d om e of t h a t r i gh t
, ,

My h ea r t d o t h p l ea d t h a t t h o u i n h i m d oos t ly e ,

(A cl os e t n e u e r p e a r s t w i t h c h r i s ta ll e ye s )
B u t t h e d e fe n d a n t d o t h t h a t p l ea d e n y ,

An d s a y es i n h i m t h e i r f a i re a pp e a ra n c e lye s .

To s i d e t h i s t i t l e i s i m p a n n e ll e d
A q ue s t o f t h ou gh t s a ll t e n n a n ts t o t h e h ea r t , ,

An d b y t h e i r ve r d i c t i s d e t e r m i n e d
Th e cl e e re e y e s m oy i t i e a n d t h e d ea re h e a r t s p a r t ,
.

As t h us m i n e e y e s d u e i s t h e i r o u tw a r d p a r t
, ,

An d my h e a r t s r i gh t t h e i r i n w a r d l o ue o f h e a r t ,
.

3, 8 . th e ir ] th y C , M , etc .

9 . s i de ]

ci de G B D el H u S t a Cl
2
, 5 2
, E, C, M A Kt , , , Co , , , , , , G1, Kl y Wh , ,

C a m D o R Ty Ox B ut H e r B e ; ci de D y H a l B ull
, , , , , , , , , .

1 3 1 4 th e i r
th e i r ] th y
. th y C M Gl D y
1 2
Hu 2
R t , , , , , , , Wy , H er ,
B e N B ull Wa ; th i n e
, , th i n e M
,
2
A Kt C o B H u D el
l
, , , , , , , D y l
, S ta , Cl ,

Kly Wh H a l C a m D o Ty Ox B ut
l
, , , , , , , .

I S AAC [ thinks that th i s so nn e t f oll ows S 2 4 dir e ctly I n t h e latt e r ] t h e e y e . .

of t h e p oe t had pa i nt e d t h e p o rtrait o f t h e b e l o v e d o n t h e tabl e o f h i s h e art ; i n

4 6 i n s e qu e nc e t o it occurs a c o nt e st b e tw e e n t h e e y e and t h e h e art f or t h e

, ,

p osse ssi o n of t h e pictur e [ H e also b e l i eve s that this and 4 7 a r e l ove s o nn e ts

.
-
,

n ot so nn e ts o f fri e ndship F or t h e th e m e of an all e g orical strif e h e c i t e s para l l e l s

.

i n D ant e P e trarch e t c and c o mpar e s S idn e y A 89 S 52

, , .
, , .

.
,

A strif e is gr own b e twee n Virtu e and L ove ,

Whil e e ach pr e t e nds th at S t e l l a must b e his .

C f a l so D rayt o n I dea 33
.
, ,

Whilst y e t min e e y e s d o surfe it with d e l i ght ,

My w oful h e art ( i mpriso n e d in my bre ast )

Wi s h e t h t o b e transfo rm e d t o my sight ,

That it like th ose by l ooki ng might b e bl e st , , .

( Arch i v ,

MAS S E Y : [This and t h e f oll owing so nne t ] a re obvi o usly base d o n o n e o f D ray
ton s t h e on e j ust cit e d ] (p TYL E R [ n ot e s t h e sam e r e se mb l anc e

. .
XL VI] TH E S ONNETS OF S HA K ES P EA R E

( I ntr o p .
,but b e li e ve s D rayt o n t o have b e e n t h e i mitat or ] D OWD E N
. .

C f Watso n Tea rs of Fa n cy S o nn e ts 1 9 2 0 [ My h e art i m po s d this pe nanc e

.
, ,

o n mi n e e y e s

and My h e art a c c us d min e e y e s and was

, Con

stabl e D i a n a 6 t h D e cad e S 7 [ My h e art min e e y e accuse th of his

, , , .

C R E I G H TON [b e l i e v e s t h e so nn e ts t o b e a par ody o f t h e pair i n Wat s o n s c oll ee

ti o n ( B la ck wood 1 6 9 :
. L E E : Th e war b e tw e e n t h e e y e and t h e h e art is a
,

f a v ori t e t Op i c am ong R e naissanc e so nn e t ee rs [S ee furth e r Le e s n o t e on S

. .
,

L O RD C AM PB E LL : This so nn e t is s o int e nse l y l e ga l i n its l anguag e and image ry ,

that with o ut a c o nsid e rabl e kn owledge of E nglish f or e nsic pr oc ed ure it cann ot

b e fully und e rst oo d ( S h s L eg al Acqui remen ts p [That such kn owl e dge

. . .
,

was wid e ly curr e nt i n t h e E li z ab e than a g e has be e n abund antly sh own ; s ee ,

f o r e xamp l e R ob e rtso n Th e B a con i a n H eres y 1 9 1 3 chapt e rs 3

, , , ,

9
1 0 . L E E : Th e l gal t e rmin l ogy
this s o nn e t is c omm o n i n S p e nse r
e o of ,

Barne s B a r n e ld and many oth e r writ e rs of t h e day C f F Q bk 6 vii 34

, , . . .
, .
, ,

Th e r e for e a j ury was impan e l e d straight [ F or t e nants cf Barn e s . .

,

P 69 P
.

.
, S .

Th o se y e s ( thy B e auty s t e nants ) pay d ue t e ars

e

F or occupati o n of min e h e art thy fr e e h o ld , .

9 . i d e MAL ON E : Ci de f or t o d ecid e WYND H AM [ kee p i ng t h e Q spe ll

s .

, .

i n g z] Adj udg e this titl e t o o n e or t h e o th e r sid e N E D : Ass i gn t o o n e of . . . .

t w o sid e s or parti e s [ D e spit e t h e auth ority o f t h e N E D . and t h e t e n d e ncy . . .

,

of r ec e nt ed it o rs t o r e ve rt t o t h e Q t e xt I am v e ry d o ubtful wh e th e r th e r e is ,

satisfact ory warrant f or d oing s o Th e o n l y kn own transitive us e of t h e ve rb .

( i n p e rtin e nt m eanings ) is with t h e appar e nt signicati o n t o tak e sid e s with

,

Cor I i 1 9 7 : sid e facti o ns On t h e oth e r hand f or t h e abbr e viati o n ci de

.
.
, , , ,

ABB OTT is ab l e t o cit e num e r ous para ll e l s such as cita l cause bo ut gr ee e t c ,

,

,

,

,
.

ED .
]
que s t MAL ON E : An i nqu e st or j ury C f R 3 I iv 1 8 9 : What l awfu l
10 . . . . .
, , ,

qu e st have give n th e ir v erd ict up ?

12 m oy i ti e MAL O N E : I n anci e nt l anguage signi e s any po rti o n o f a thing

. . .

13 14 th e ir
-
t h ei r P OR TE R : [Th e Q w ords may b e k e pt as r e fe rring t o
. .
,

th oughts On t h e oth e r hand .
, th e c orr ecti o n to

thy i n lin e s 3 and 8 is f or
o nc e admitt e d t o b e right ] .

B E E C H I NG [cal l s this so nn et an d 4 7 early i n sty l e ( I ntr o p . .

, .

WAL S H : [Th e t w o so nne ts as we ll as t h e si mi l ar a r e ge n e r all y suppos e d , ,

with out any good r easo n t o b e a d dre sse d t o t h e fri e nd Th e c o nc e it , was .

c omm o n am o ng t h e so nn et ee rs of t h e tim e c omi ng d own fro m Pe trarch and , ,

th e y a l ways e mpl oy e d it i n c o nnec ti on with th e ir mistr esse s .

1 22 TH E S ONNETS OF S HAKE S P EAR E X
[ LVI I

47

B E TWI X T m i n e e y e a n d h ea r t a le a g ue i s t ooke ,

An d ea ch d o t h g oo d t u rn e s n ow v u t o t h e o t h e r ,

Wh e n t h a t m i n e e y e i s f a m i s h t f or a look e ,

Or h ea r t i n l o ue w i t h S i gh e s h i m s e lf e d o t h s m o t h e r ;
Wi t h my l ou e s p i c t u re t h e n my e y e d o t h fea s t ,

An d t o t h e p a i n t ed b a n q u e t b i d s my h e a r t
An o t h e r t i m e m i n e e y e i s my h e a r t s g ue s t ,

An d i n h i s t h o u gh t s o f lo u e d o t h s h a r e a p a r t .

S o e i t h e r b y t h y p i c t u r e o r my lo u e ,

Th y s e i fe a w a y a r e p re s e n t s t i ll w i t h m e , ,

F o r t h ou n or f a r t h e r t h e n my t h o u gh t s c a n s t m o ue ,

An d I a m s t i ll w i t h t h e m a n d t h e y w i t h t h e e ,
.

Or i f t h e y s le e pe t h y p i c t u re i n my s i gh t ,

Aw a k e s my h e a r t t o h ea r t s a n d e y e s d e l i gh t , .

1 . took e ] s tr ook C .

9 . th y pi cture or ] th e pi ctu re or L ; th e pi cture of G S E , , .

10 . s e if e ] s elf e 1 6 40 e t c ar e ] a rt C M e t c ( e xc e pt B ut )
, .
, , . .

1 1 . n or ] n ot 1 6 4 0 e t c ; n o C f a rt h e r ] f u r th e r H u Ox
, . .
, .

1 . took e . Cf J C
. . .
, II, i , 50 : Wh e re I have t oo k th e m up (ABB OTT ,

and T N I v 2 82 : He m i ght have t oo k his answe r ( F R ANZ

. .
, , ,

,

3 . M AL O N E : C f C of E I I i 8 8 :

.W hilst I at . h o m e starv e f or a m e rry , ,

look D OWD E N : C f 7 5 1 0
. .
, .

1 0 1 2 sti ll [ Th e us e of t h e w ord i n th e se t wo li n e s we ll illustrat e s t h e c on

'

. .

n ec t i o n b e tw ee n t h e m od e rn m e aning stil l an d t h e m e aning always

ED ] . .

[This so nn e t ] cl e arly sugge st ed such a passag e i n S uck l ing s [ Tra g edy

LE E :
of B ren n ora lt] (V 1 8 2 2 ; cf F r a g men ta Au rea
,
1 6 56 p as .
, , .

Wi ll se nd m e ne ith e r
y ou n ot

Y o ur pictur e wh e n y a r e g o n e ?

That Wh e n my e y e is f a m i s h t f or a loo k e ,

I t may have wh e r e t o fee d ,

An d t o t h ep a i n t ed f e a s t i nvit e my h e art '

( S o nne ts F acsimi l e cd , .
, 1 90 5, p .
52 n)
.
X L VI I I ] TH E S ONNE TS OF S HAK E S P E AR E 12 3

48

{ H ow ca re f u l l w a s I my w a y w hen I t oo k e ,

E a ch t r i e v n d e r t r ue s t b a rr e s t o t h r u s t ,

Th a t t o my v s e i t m i gh t v n v s ed s t a y -

F r om h a n d s o f fa l s e h oo d i n s u r e wa r d s o f t r us t ? ,

B u t t h o u t o w h om my i e w e ls t r i e s a r e
, ,

M os t w o r t h y c omfor t n ow my g re a t e s t g r i e fe , ,

Th o u b e s t o f d e e r e s t a n d m i n e o n e ly ca r e , ,

Ar t l e f t t h e p r e y o f e u e ry v u l ga r t h e e f e .

Th ee h a u e I n o t l o c k t V p i n a n y ch e s t ,

S a u e w h e r e t h o u a r t n o t t h o u gh I f e e le t h o u a r t , ,

Wi t h i n t h e ge n t l e cl os u re of my b re s t ,

Fr om w h e n ce a t p l ea s u re t h ou m a i s t c om e a n d p a r t ,

An d e u e n t h e n c e t h o u w i l t b e s t o l n e I fe a r e ,

F o r t r u t h p r oo u e s t h e e u i s h f o r a p r i z e s o d e a re .

[ If S h c o uld have f o re se e n t h e g ood f ortune of this so nn e t i n e scap i ng all

.

t e xt ua l vicissitud e s h e m i ght hav e r egard ed it as his mast e rpi e c e

, ED ] . .

[ Th e r e se mblanc e i n th e m e w i th S 5 2 give s so m e warrant t o WAL S H in

, , .
,

pr i nting t h e t w o s o nne ts i n succ e ssi on ]

1
4 . S TO P E S : A littl e t o uch chara ct e r ; it sh o ws h e wasof car Sh
e ful and
.

s

m e th odical r e tic e nt withal [ S h o uld o n e ad d an e xc l amati o n p oint ? E D ]

,
. .

5 to w h om [ F or t h e u s e o f t o with t h e m e aning i n c o mparis o n with

. .

s e e ABB OTT 1 8 7 w h o tr e ats it as cl o sely r e lat e d t o t h e signicati o n o f m oti on

W
, ,

towa rd h e n bro ught t o t h e sid e of and c o mpar e d with S C H M I D T (2 ,

w h o r e lat e s it t o t h e us e

d e n oting j uncti o n ; and F R ANZ 3 7 6 w h o i n l i ke
, , ,

mann e r trac e s t h e m eaning t o t h e e xpre ssi o n o f r e lat i onsh i p b e twee n t w o

,

o bj e cts which a r e i n a po s i ti o n t o b e vi e w e d fr o m t h e sam e stand po int and s o

c o mpar ed C f Temp I ii 4 8 1 : Th e y t o hi m a re
. .

, ,

1 0 1 1 S e e S I M P S O N 5 n ot e o n 2 2 5 7
. ,
-
.

11 . B OS WE LL : C f V 81 A 7 8 2 : I nt o t h e qui e t cl osur e of my bre ast

. .

.
,
-
.

C AP E LL : C f V 89 A 7 2 4 : R i ch pr e ys mak e tru e m e n thi e v e s

*
14 . . . .
, .

H O R AC E D AV I S : C f 7 5 6 D OWD E N : D oe s n ot this r e f e r t o t h e w o man w h o has

.
,
.
,

sw orn l ove ( 1 52 and wh o se truth t o S h ( sp o ke n of i n 4 1 1 3 ) n ow pr ove s

,
.
,

thi e vish ? R OLE E : Th e m ea ning may si mply b e that s o rich a pri z e may
t e mpt e ve n tru e m e n t o b e c om e th i e ve s [ F or truth s e e n o t e o n 54 2 E D ] .
, , . .

MAS S E Y : [S uch a s onn e t as this] can Only b e spo ke n t o a wo man by a man .

I n t h e p l ays t h e on l y expr e ssi ons e qua l t o th e se in d e pth of t e nd ern e ss a re

,
124 TH E S ONNETS OF S HA K ES P EAR E [X L I X
such as th os e sp o ke n by P osthumus t o I m oge n Th o u t h e cl e ar e st of cr e a
tur e s
.

B e st of c o mf ort C ae sar calls h i s sist er ; th o u d e ar e st P e rdita is

,

F lo r i z e l s phras e ; and t h e D uk e of F ranc e sp e ak i ng o f C o rd e lia t o K ing Le ar

, ,

says : S h e that e ve n but n ow was y our b e st obj e ct balm of y o ur a ge m ost

, ,

S ARR AZ I N : This s o nn e t which stands v e ry n e ar

b e st m ost d e ar e st ( p
, . .
,

127 , 1 31 1 32 ts t h e se nse much b e tt e r addre sse d t o a swee th e art than t o a

, ,

fri e nd ( S h s L eh rj a h re p
. .

, .

49

A GAI NS T t h a t t i m e ( i f e uer t ha t ti m e c om e )
Wh e n I s h a ll s e e t h ee f r ow n e o n m y d e f e c t s
'f

Wh e n a s t h y lo ue h a t h c a s t h i s v t m os t s umm e ,

C a u ld t o t h a t a ud i t e by a d ui s c ts

d re s p e ,

A ga i n s t t h a t t i m e h a l t s t ra n ge ly p a s s e w h e n t h ou s ,

An d s ca r c e ly g re e t e m e w i t h t h a t s u n n e t h i n e e y e ,

Wh e n l o ue con u e r t ed from t h e t h i n g i t wa s
S h a l l r e a s o n s n d e o f s e t le d g ra u i t i e .

A ga i n s t t h a t t i m e d o I i n s c o n c e m e h e r e
Wi t h i n t h e k n ow l e d ge of m i n e ow n e d e s a r t ,
.

An d t h i s my h a n d a ga i n s t my s e lfe V p r e a re , ,

To g ua rd t h e la w f u ll r e a s on s on t h y p a r t ,

To le a ue p oore m e t h ou h a s t t h e s t re n g t h of la w e s , ,

S i n c e w h y t o loue I ca n a ll e d g e n o c a u s e , .

1 . com e ] com es E .

3 . Wh en as ] Wh en a s G 2
,M A Kt 8 2
, , , , Co , B , D e l, Hu , Dy , S ta , Cl , Kl y ,

Wh
, H a l R Ty , , , Ca m "
, N B ull , .

10 . d e s a rt ] des ert G , et c .

3 . camm e D OWD E N : C l ose d his acc o unt and cast up

st . su . th e sum
t ota l [ C f 2 1 1 : sum my c ount
.

.
, ED ] . .

4 a dvi s d r e s pect s D OWD E N : We ll c o nsid e r e d r e as o ns C f X : I IV,

-
. . . . .
, 11 ,

2 14 :

It fr owns m or e up o n hum o ur than advise d r e sp e ct
.

7 8 S TE E VE NS : Cf J C I V ii 2 0 2 1
- . .
. .
, , ,

Wh e n l ove b eg i ns t o sicke n and d ecay

I t use th an e nf orc e d c e r e m o ny .

8 . re a s on s of s e tle d g r avi ti e . SC H M I DT
[ Re aso ns f or] a digni ed r e se rve
: .

[ So D EL I U S ; and B E E C H I NG , wh o obse rv e s that this ] is t h e c o nstant u s e of

gravity i n S h [On t h e oth e r hand D OWD E N and R OL F E by implicati on

.
, ,

an d TYL E R WYND H AM an d P ORTE R ex p l icit l y ta ke t h e phrase t o b e t h e

, , ,
L ] TH E S ONNE TS OF S HAK E S P E AR E 12 5
e quiva l e nt of t h e adv1 s d r e sp ects of l in e 4 or t h e l awfu l re asons of l in e 1 2 ,

e t o m e an .

w eighty r e aso ns Miss P o rt e r re ma r k s z] Th e dre ad of c old
,
.

and f ormal argum e nt is t o ll e d o ut at t h e e n d of e ach quatrai n as Against that ,

tim e is at t h e b eginning [This paral l e l c e rtainly raise s a pr e sumpt i o n in favor

.

o f t h e se c o nd i nt e rpr e tat i o n ; and as t o t h e usua l m e aning o f gravity i n S h

.
,

i t has r e f e re nc e t o pr opri e ty of d e po rtm e nt rath er than t o a d i stant h a uteu r ,

and can scarc e ly b e appl i cabl e h e r e On e may also c o mpar e H oo k e r E ccl .

, .

P oli ty I x 9: To punish t h e inj ury c o mmitt e d acc ording t o t h e gravity o f

, , ,

t h e fact ( C ited i n N E D )

. ED ] . . . .

10 d e s er t D E L I U S : L ittl e d e se rt or want of d e se rt [ F or t h e rhym e cf

. .
, .
, .

and 1 4 1 2 BD ] , . .

F or t h e n oti o n of t h e p oe t s b e c o ming a witn e ss against him s e lf cf

1 1 12 -
.
, .

S 88. .

[This so nn e t is th ose be st r e pre se nting t h e cumulative e ff e ct of t h e

o n e of

three quatrain struct ure C f also 52 and 7 3

-
ED ] . . . .

[ MAC K AY b e li e ve s that this so n n e t in tr o duc e s t h e s e qu e nc e writt e n t o r e p

r e se nt Le ice st e r s l o ve f or Qu e e n E liz abe th t h e the me b e ing d e v e l o pe d in 57 58 ;

62 1 0
7; 1 1 3
1 1
4; 1 1 8 1 40 1 42 .
( Ni n eteenth Cen tu ry , 16 :

50

H OW b ea n i e d oe I i ou rn e y on th e wa y ,

Wh e n w h a t I s ee ke (my w ea r i e t ra u e ls end )
D oth ch t h a t e a s e a n d t h a t r e p os e t o s a y
t ea

Th u s f a rr e t h e m i le s a re m e a s u rd e f rom t h y fr i e n d .

Th e b ea s t t h a t b e a r e s m e t i re d w i t h my w oe , ,

P l o d s d u ly on t o b ea re t h a t w a i gh t i n m e
, ,

As i f b y s om e i n s t i n c t t h e w re t ch d i d k n ow
H i s r i d e r l ou d n o t s p e e d b e i n g m a d e f r o m t h e e

Th e b lo od y s p u rr e ca n n o t p r ou o k e h i m o n ,

Th a t s om e t i m e s a n ge r t h r us t s i n t o h i s h i d e
-
,

Wh i ch h ea u i ly h e a n s w e rs w i t h a g ron e ,

M ore S h a rp e t o m e t h e n s p u rr i n g t o h i s s i d e ,

F o r t h a t s a m e g ro n e d o t h p u t t h i s i n my m i n d ,

My g re e f e l i e s on w a r d a n d my i oy b e h i n d .

2 . w hat ] th a t G , S , E .

4 Thu
. s fri e n d ] I talics by M C O H u ; qu ot e d by A K t ,
3
,
z
, , Co m ,
B , D e l,

Hu l
,
D y S ta , , C l Gl Kl y Wh H a l C a m D o R e t c
, , , , , , , , .

6 . d ul y ] d ully 1 6 40 , G , etc .
 12 6 TH E S ONNE TS OF S HA K E S P E A R E [L
[c o mpare s P e trarch s nn e t a j ourn e y i

I S AAC so on , Pt .
, S .

mi rivolgo i ndi e tr o a ciascun passo

Io
C ol c orp o stanc o ch a gran p e na p o rt o ;

,

E pr e nd o all o r d e l v o s t r a e r e c o nf ort o

,

C h e l fa gir ol tra dic e nd o Oi m l asso ; [e t c ]

.
, ,

MAS S E Y : [ With this and th e f ol l owing so nne t cf . S idn e y

s sonne t h orse
back A: 69 S 49
,
'
.
,

Whil e I spur
My h orse , he L ov e ] spurs with sharp d e sir e my h e art .

Al so R . 2 , I iii
, ,

2 6 8 70 :

E v e ry
t edi o us strid e I make
Wil l but re m e mb e r m e what a d e al of wor ld
I wand e r fr o m t h e j e we ls that I l ove .

S ee a l s o n ot e on S .

P L U MP TR E : [ Cf . D an t e , Vi ta Nu ova S 4 , .

C avalcan d l altr i e r p e r u n cam min o

o

,

P e ns o so d e l andar c h e mi g ra d i a e t c

s , .

( Con te mp . R ev .
, 55 :

5 Th e b e a s t
. . F L E AY [ is t h e o n l y r e ad e r
has b ee n abl e t o give t h e nam e wh o
o f this b e ast I n acc ordanc e with his m e taph orical int e rpr e tat i o n o f t h e
.

j o urn e y so nn e ts ( s ee n ot e o n S
-
h e obse rv e s that t h e h orse ] ridd e n by t h e
.

p oe t is o n l y t h e animal usually e mp l oye d i n carrying such burd e ns P e gasus , .

( Ma cm Ma g 3 1 :
.
,

6 d uly MAL O N E : [ F or t h e e m e ndati o n cf d u ll in

. . .
,
 LI ] TH E S ONNE TS OF S H AK E S P E AR E 12 7

51

TH U S ca n my
xc us e t h e s low off e n c e lo ue e ,

Of my d u ll b e a re r w h e n fr om t h e e I s pe e d , ,

F r om w h e re t h o u a r t w h y s h ou lld I h a s t m e t h e n ce , ,

Ti l l I re t urn e of p os t i n g i s n oe n e e d .

0 w h a t e xc u s e w i ll my p oore b ea s t t h e n n d ,

Wh e n s w i f t extre m i t y c a n s ee m e b u t s low ,

Th e n s h o uld I s p u r re t h o u gh m o u n t e d on t h e w i n d ,

I n w i n ged s pe e d n o m o t i on s h a ll I k n ow ,

Th e n ca n n o h or s e wi t h my d e s i re k ee p e p a c e ,

Th e r e f ore d e s i r e (o f p e r fe c ts loue b e i n g m a d e )
S h a l l n a i g h n oe d u ll e s h i n h i s e r y ra c e ,

B u t lou e f o r lou e t h u s s h a ll exc u s e my i a d e

, , ,

S i n ce fr om t h ee g o i n g h e w e n t w i lf u ll s l ow , ,

Tow a rd s t h e e i le r un a n d g i ue h i m lea ue t o g oe , .

3 . th o u] th o L ._ th e n ce , ] th en ce ? G , et c .

6 . sl ow ] , s low ? G, etc .

7 . w i n d , ] wi n d ? B 0 .

10 .
pe rf e ct s ] perf ect G , S , E , M A , , Co , B , Hu l
, C l, Kl y Wh ,

, H a l Ty ; ,

perf ect s t

Kt , D e l, D y , S t a , C l, C a m , D o, Hu i
, R, t , Ox , etc .

1 1. na igh es h] nei g h to dull es h M c o nj ; . n ei g h ( n o d ull es h ) M A , , Kt ,

Co , B , D el, Hu l
, C l, Wh
; n ei gh n o d ull e s h Dy , Gl H a l C a m H u
, , ,
z
,
R,
t , Ox H e r B e N ;
, , , ne i gh , no dull es h , S t a ; n ei gh , no d ull es h , K ly , Ty ;
n ei gh , no Wy B u l l ; wa i t n o d ull es h B ull och c o nj ; n eed n o d ull
d ull es h D

o, ,
.

e s h G Ki nn e ar c o nj B ut Wa ; wa i g h n o d ull es h G C S m i th c o nj
-

2
. . .
, .
, ,

1 3 Wi lf uu s l ow ] H yph e n e d by M
. C o B D e l H u D y S t a C l Gl Wh H a l 2
, , , , , , , , , , ,

C a m D o R Ox Wy e t c
, , , , , .

1 3 1 4 . S i n ce g oe ] Qu ot e d by D o, Ox .

1 . l B E E C H I NG : Off e nc e which c o nsists i n sl own e ss

s ow o e n c e . .

4 p o s
. ti n g S C H M I D T : G o ing with
. sp e e d [ C f L u c r ece 2 2 0 :

I n a d e sp e rat e . .
,

rage po st hith e r
ED ] . .

6 s wi f t e xtr em i ty S C H M I D T: E xtr e m e swiftn e ss

.
[ S e e n ot e o n 9
. .
,

S TE E VE NS : C f Ma cb I iv 1 7 :


That swift e st wing of r ec o mp e nse is sl ow
. .
, , ,
.

7 m oun te d on th e wi n d MAL O N E: C f 2 H 4 I n d 4 :
.

Mak i ng t h e wi nd. . .
, .
,

my po st h orse ROL F E : C f A Y L I I I ii 9 5 : H er w ort h b e ing m ou nt e d
-
.

. . . .
, , ,

o n t h e wind .

p e rf e cts [ D espit e t h e pr e vai l ing pr e f e r e nc e f or t h e r e a d ing pe rf ec t s t

10 . .
,
12 8 TH E S ONNE TS OE S HAK E S P E AR E [u
I am d ispo se d t o pr e f e r t h e p e rf ect of th e e ar l i e r e dit ors on grou nd s ,

e xpr e ss i o n p e rf e ct l ove

o f e uph o ny and b e cause S h f o ur tim e s use s
. th e .

ED .
]
1 1 . t e xtua l n ot e s f or t h e we ight of Opini o n r e sp e c ting this d i i c ult
Se e t h e
lin e MAL O N E : Th e e xpr e ssi o n is h e r e s o u nc o uth that I stro ngly susp e ct this
.

lin e t o b e c o rrupt P e rhaps w e sh o u l d r e ad t o dull e sh D e sir e in t h e ard o ur

.
,

of impati e nc e sha l l cal l t o t h e s l uggish a nimal ( t h e h orse ) t o proc e e d

, .

S TE E VE NS : Th e se nse may b e this :

Th e re f o r e d e s i r e b e ing n o d ull p i e c e of ,

h orse e s h but c o mp o se d of t h e m ost pe rf e ct l o v e shall n e i gh as h e pr oc ee d s

-
, ,

i n h i s h ot car e e r
A g ood pi e c e o f h orse e s h is a t e rm stil l curr e nt i n t h e
.

-

stabl e S uch a pr ofusi o n of w ords and o nly t o t e ll us that o u r auth or s passi o n

.
,

was imp e tu o us th o ugh his h orse was sl ow ! D E L I U S : D e sir e

, S hall se rv e

t h e po e t as st ee d and n e igh in his e ry c o urse inst e ad o f t h e sl o w h orse o f e sh ,

and bl ood MAS S E Y : H orse s a r e i n t h e hab i t of n e i ghing wh e n th e y salute

.

e ach o th e r ; th e y will d o this t o o if sp ee d b e e v e r s o impo rtant , ,An d t h e writ e r .

says his d e sire be i ng mad e of pe rf e ct e st l ove having n othing animal ab out

, ,

it shall n ot s a lu te any dull e sh in his e ry rac e

,
P e rhaps t h e p oet was .

th i nking of t h e words of t h e pr o ph e t J e r e miah : Th e y we r e as f e d h orse s in

t h e m orning : e v e ry o n e n e igh e d aft e r his n e i ghbo ur s wif e [ D e spit e

(p

. .

D owd e n s r e mark that sure l y n o c omm e nt is n ee dful o n this i nt e rpre tat i o n

,

it ap pe ars t o hav e b ee n acc e pt e d by GOLL AN C Z ] B ULL O C H [ d e f e nds h i s e m e n .

dati o n wait f or na i g h t h e p oe t d e c l ar e s that h e w o uld disp e ns e with al l

,

aid which w ould b e m e r e d ul l e sh and wo uld e xcuse his p oor st ee d e t c

, , , .

(p . D OWD E N : D oe s it n ot m e an : D e sir e wh i ch is all l ove shall n e igh , , ,

th e r e be ing n o dull e sh t o cumb e r him as h e rush e s f orward i n his e ry rac e ?

n ighing stalli n Ad nis V A 3 1 2 WYND H AM [ k ee ps t h e
h f E
Cf t e e

. o o o s 3 0 0 , . .

Q r e ading sav e f or a c o mma aft ,

e r shall n e i gh as a spirit e d h o rse

n e ighs A rac e of c olts was a sp o rting t e rm o f t h e tim e ( Madd e n )

. aki n
t o ou r

b e vy of quails wisp of snip e h e rd of d e e r [ B E E C H I NG cit es

, ,

.

Wyndham as g ivi ng rac e t h e m e aning br ee d ( but this is c e rtainly n ot

,

t h e m e an i ng o f

b e vy or h e rd E D ) H e adds : ] if rac e b e e xplain e d as

.

.

br ee d th e r e is n o word t o imply that D e sir e gall ops o ff h o m e ; h e is l e ft

,

n e igh i ng B U TL E R [d e f e nds what h e and t h e C ambridg e e dit ors ca ll Ki nn e ar s

.

e m e ndati o n of n ee d f or n e i gh th o ugh t h e t extual n ote s wil l sh ow that

,

this had app e ar e d i n Gi ld on s sec o nd ed i ti o n with which t h e C ambridg e e dit or s

,

w e r e n ot acquaint e d H e p a ra p h ra se s z] My d e sir e t o b e with y ou w i ll b e s o

.

gr e at that I shal l n ee d n o such dull e sh as that of my du ll b e ar e r t o c o nve y

m e t o y ou but l ov e will nd an e xcuse f or my p oo r b e ast which h e w o uld n e ve r

,

have b e e n abl e t o d isc ov e r f or himse l f L E E : D e sire which is al l spirit and n o . ,

dull e sh shall n e igh i n t h e e xcit e m e nt o f its impassi o ne d ight G C M

,
. . . .

S M I TH [d e fe nding his e m e ndati o n we igh f or D e sire which is

,

id e nt i ed with l o ve r e fuse s t o kee p t h e sl ow pac e of t h e h orse I t wil l b e n o

, .

burd e n t o his back B ut as t h e h orse wilful l y we nt sl o w o n t h e o utward

.

j o urn e y h e shal l n ot n ow b e spurr e d t o a spe e d b e y o nd his p owe rs L ove or

,
.

d e sire wi l l y ah ead and l ea ve t h e b ea st t o wa lk ( Mod La ng Rev 9 :

, . . . .
,
LI ] TH E S ONNETS OF S HAK E S P E AR E 129

12 . l ove TYL E R : [This may m e an fr o m l ove t o t h e p oor b e ast or

f or .

f o r t h e sak e of t h e l ove await i ng m e o n my r e turn ; or o n acc o u nt of my

a ff e cti o n ; or as sugge st ed by Mr B e rnard S haw o n acc o unt of t h e l ove

,

.
,

sh own by t h e h orse i n t h e pl odding dully o n of 50 6 Tyl e r i ncline s t o t h e

, .

last int e rp r e tati on adding that wilfu l lin e 1 3 must th e n s i gnify purpo se ly

, ,

,

o n acc o unt of ja d e S CH M I D T: A t e rm of c o nt e mpt or pity f or a

.

worthl e ss or wicke d o r maltr e at e d h orse [Th e N E D a d d s z] S o m e tim e s

, , . . . .

use d with o ut d e pr e ciat o ry se nse playfully or i n ge ne rali z e d se nse [ MAS S E Y

, , .
,

vi e wing t h e h o rse n ot as S h s b ut as So uthampt o n s c i t e s R 2 V v 8 5

.

, .
, , , ,

That j ad e hath ea t bre ad fro m my r oyal hand as evid e nc e that this may ,

m e an a h orse such as a n ob l e man might rid e ( p . .

13 14 D OWD E N : I have p l ac e d t h e l ast t w o l in e s spo ke n as I take i t b y
.
, , ,

L ov e within inv e rt ed c o mmas

, .

14 .
g o R OL F E : Th e w o rd h e r e as m ost of t h e critics agr ee see ms t o have
.
, ,

t h e sp ecic s e ns e of wal ki ng as O pp o se d t o running C f Te mp I I I ii 2 2 : . . .

, , ,

We ll n ot run Mo ns i e ur m o nst e r

,

No r g o n e i th e r

. S chmidt d e n e s .

go

i n [ th i s passag e ] as
walk l e isur e ly n ot t o run but t h e i n s t a n c e i n
,

t h e t e xt h e puts und e r t h e h e ad o f g o make hast e [Wh e r e i n h e is c e r

.

t a i n ly wr o ng Th e w o rd had n o such sp e cic m e aning e xc e pt as any v e rb of

.
,

m oti o n may have it u nd e r c e rta i n circumstanc e s E D ] Tyl e r mak e s give

. .

him l e ave t o g o
dismiss him or le t hi m g o at his pl easur e
, .
 1 30 TH E S ONNE TS OF S HAK ES P E AR E [L I I

52

So am I as th e ri ch w h o s e b l e s s e d k ey ,

Ca n gb ri n S w e e t v p l o c k e d t r e a s u re
h im to h is -
,

Th e w h i ch h e w i ll n o t e u r y h ow e r s u r n a y

,

F o r b l u n t i n g t h e n e p o i n t o f s e ld om e p le a s u re .

Th e re f or e a re f ea s t s s o s olle m n e a n d s o ra r e ,

S i n c e s i ld om c om m i n g i n t h e lo n g y ea re s e t ,

L i k e s t on e s o f w o r t h t h e y t h i n ly p la c e d a r e ,

Or ca p t a i n e Ie w e lls i n t h e c a rc on e t .

S o i s t h e t i m e t h a t k ee pe s y o u my ch e s t as ,

Or a s t h e w a r d r ob e w h i ch t h e rob e d o t h h i d e
-
,

To m a k e s om es p e c i a ll i n s t a n t s p e c i a ll b l e s t ,

B y n e w v n fo u ld i n g h i s i m p ri s o n d p r i d e

.

B l e s s e d a re y o u w h o s e w or t h i n e s s e g i u e s s k ope ,

B e i n g h a d t o t r y u m p h b e i n g la c k t t o h op e ,
.

4 . . ne] f a i r E s eld om e p l e a s ur e ] H yph e n ed by

. K ly .

6 . s i ld om ] s eld ome 1 6 40 ; s eld om G e t c , .

1 1 . s pe ci all b l e st] H yph e n e d by M A K t C o D , , , , e l, Hu , Dy , S ta ,

Wh
, Hal .

With this so nn e t cf . S 48 ,
. and n ote .

4 . MAL ON E : C f H orac e : Volup t a t e s c o m m e n d a t ra r i or usus

. F or .

b l un ti n g [ On this u s e o f f o r in t h e se nse o f t o pr e v e nt s ee ABB OTT

.
,
1 54 , , ,

w h o wr o ngly e xplains t h e m e aning as o rig i nal l y i n o ppositi o n t o ; F R ANZ

,

3 2 7 w h o
,
c o nn e cts it with t h e nal u s e as in t o start f o r with t h e addi , ,

t i o n a l n ot i o n o f a circumstanc e which o n e see ks t o av o id ; and N E D ( vii . . . ,

2 3 d s ub und e r t h e ge n e ral signicati o n of t h e cau se or

,

8 MAL ON E : C f 1 H 1 ii 2 2 0
5 .
4 9 3. .
, , ,

B ut wh e n th e y h olidays] se l d o m c o m e th e y , w i s h d f or

c om e ,

And n othing pl e ase th but rar e accid e nts ;

and i bi d .
. I I I, ii ,

57 59
my stat e So ,

S e l d o m but sumptu o us sh ow d l i ke a f east

An d w o n by rare n e ss such sol e mnity .

VE R I TY : C f Mo ntaign e E ssay I n eq ua l ity : F e asts ban q u ets r ev e l s

.
, on , ,

r ej oic e th e m that but se ld o m s ee th e m ( S t ott s r e pri nt 2 : .

8 S TO P E S : Mod e rn n eck l ac e s h av e th e ir l arg e r b e a d s i n t h e mid dl e but

. , old
LII I ] TH E S ONNE TS OF S HAK E S P E A R E 1 31

o n e s we r e thr ead e d m or e like r osari e s capta i n e S C H M I D T: P r ed o m inant . . .

[ Th e N E D cit e s und e r t h e adj ectiv e u s e with t h e m e an i ng princ i pal

. . .
, ,

A manif e st and captain

S tapl e t o n s A R etu rn of Un tru th s

car con e t N E D ( s p ca rca n et) : An o rnam e nta l c oll ar or n e ckl ac e usual l y

. . . . .
,

O f g o ld o r s e t w i th j e w e ls .

9 WYND H AM : C f 6 5 1 0 : Tim e s ch e st

. .
.
,

10 12 S TE E VE NS : C f I H 4 I I I ii 56 57
.
. . , , ,

My pre se nc e l i ke a r ob e po n t i c a l
, ,

Ne e r see n but w on d e r d at

.

14 .
[ F orvari ed scansi o n of b e ing h e r e s ee ABB OTT
th e 4 75 , ,

A w ord r e pe at e d twic e in a ve rse may occupy t h e wh ol e of a fo ot t h e rst

tim e and o n l y part of a foot t h e se c o nd
, Wh e n t h e word incr e ase s i n .

e mphasis t h e c o nv e rse tak e s plac e

, [ It i s rath e r simpl e r t o n ot e that parti .

c i p le s lik e b e ing w i th t h e st e m e nding i n a vowe l w e r e ( an d a re ) tr eat e d as

"
, ,

e ith e r m o n o syllabic or dissyllabic at will ED ] . .

F or t h e structur e of th e so nne t , s ee n ot e at t h e en d of S 49
. .

53

WH AT i s y ou r s ub s ta n ce y m a d e , w h e r eo f a re ou ,

Th a t m i l l i o n s o f s t r a n g e s h a d d o w e s on y ou t e n d ?
S i n c e e u e ry o n e ha t h e u e ry o n e o n e s h a d e
, , ,

An d y ou b u t o n e ca n e ue ry s h a d d ow l e n d ,

D es c r i b e Adon i s a n d t h e c o u n t e r f e t ,

I s p oo re ly i m m i t a t e d a f te r y o u ,

On H ellen s c h e e k e a ll a r t o f b ea u t i e s et ,

An d y ou i n Greci a n t i re s a re pa i n t e d n ew

S p e a ke of th e s p ri n g , a nd f oy z on of t h e y e a re ,

Th e on e d ot hy o u r b ea u t i e s h ow
s h ad do w of ,

Th e o t h e r a s y ou r b o u n t i e d o t h a pp ea re ,

An d y ou i n e ue ry b l e s s e d s h a p e w e k n ow .

I n a ll e x t e rn a ll g ra c e y o u h a ue s om e p a rt ,

B u t y o u l i ke n on e n o n e y o u f o r c o n s t a n t h ea r t , .

3 . on e s h a d e ] one s s h a d e

A Kl y , .

7 . of ] or B ut .

On t h e th e m e of t h e s onne t an d , t h e use of t h e t e rm shad ow , s ee WYND

H AM s

n ot e s on S 3 1 and 37 1 0 . , .
1 32 TH E S ONNE TS OF S HA K ES P E AR E [L I I I
I S AAC [c ompare s som e l in e s i n a so nn et of Tasso s Ri me Amoros e
,

D e l la vostra b e ll ez z a i l m i o p e nsi e r o
Vago m e n b e ll o stima ogni altr o obi e tt o ,

E s e di mil l e mai n g e u n aspe tt o ,

P e r a g g u a g li a r lo a v oi n o n g i ung e a l v e r o , .

( J a h rb , 1 7 : .

2 . rang e S C H M I D T: B e l o nging t o an oth e r C f L C 30 3 : S ubt l e mat

st . . . . .
,

all strange f o rms r e c e ive s t e n d S C H M I D T: Wait ( o n ) C f s 7 1

J "

t er . . . .
, .

(
4 D OWD E N: Y o u a l th o ugh but o n e p e rso n can giv e off all mann e r of
.
, ,

S had owy imag e s .

5 cou n te rf e t MAL O N E : P o rtrait

. .
[Cf 1 6 TYL E R : Th e de script i o n . .
'

, .

[ WAL K E R r e marks that t h e last syllab l e c o mm o nly sp e ll e d f ei t was ge n e rally ,

-
,

pr o n o unc e d n e ar l y as
5

8 [ I n
. t h e rst l i n e s o f this quatrain M A S S E Y nds an allusi o n t o t h e writ

ing of V A i n wh i ch Ad onis may stand in so me se ns e f o r So uthampt on

. .
, .

( p . G E R V I N U S als o tak e s t h e passag e t o i nv o l v e all usi o ns t o d e scr i pt i o ns i n

b oth V 69 A and L u crece ] I n L ucrece S h has m e nti o n e d H e l e n i n t h e
.

. . .

d e script i o n of a picture and it is as if t h e r e tr osp ect had sugg e st e d t o h i m t h e

,

all usi o n Yo u in Gr e cian tir e s a re paint e d n e w Th e imag e o f t h e c oy Ad o n i s

.

is cl ose l y c o nn e ct e d w i th t h e s ubstanc e of t h e rst 1 7 so nn e ts [and w e may .

supp ose with t h e S o uthampt o n fri e ndsh i p ] (Tran s 1 8 8 3 p

,
TY L E R : .
, , .

Notic e fr o m t h e c o mpariso n with H e l e n t h e f e minin e charact e r o f Mr W H s

. . .
, ,

y o uthfu l b e auty C f S 2 0 [On e is chi e y t e mpt e d r e ading th i s quatra i n

. . . .
, ,

t o c o nj e ctur e what e mphasis w o uld hav e b ee n plac e d o n t h e allusi o n t o Ad o nis

or t o H e l e n if O n l y S h ,
had use d e ith e r of th e m a l o n e as e vid e nc e of t h e s ex
. .
,

of t h e p e rs o n addr e ss e d ! ED ] .

7 .V E R I TY : C f A Y L I I I 1 1 1 53 : . H e l e.n s ch ee k but n ot h e r h e art

.
, ,

, .

8 ti r e s S C H M I D T: H e ad dr e ss e s
. . D OWD E N : H ead dre s se s or ge n eral l y
-
.
-
, , ,

attir e R OLE E : Th e w ord may p oss i bly b e a c o ntracti o n of att i r e s TYL E R

.

.

H e ad dr e ss pr op e rly th o ugh h e r e t h e wo rd tir e s wo uld see m t o b e use d
- _
,

m or e g e n e ra llv L E E : Attir e s dr e ss [ No On e app e ars t o have c i t e d i n supp o rt

. , .
,

of t h e m or e g e n e ra l i nt e rpr e tati o n o f t h e w o rd t h e passag e i n A 81 C II v 2 2

'

, .
, ,

( C l e o patra sp e ak i ng ) :

I put my tir e s an d mant l e s
. o n him whilst I w o r e his ,

sword On this R H C AS E r e marks (Ard e n or D owd e n e d p 6 2 ) that t h e

. .
:
e .
, .

word is c o mm o n i n t h e m eaning attire and cit e s H e yw ood Th e B ra z en Ag e :

, ,

He nc e with th e se w o manish tir e s ; also f or t h e singular R ow la n d s s Th e

, ,

Kn a ve of H ea rts : R e ach m e my st ock i ngs and my oth e r tire Th e N E D

. . . .
,

cit e s H ooke r E ccl P oli ty V 7 9 5 : Thr ee sc or e and se v e n attire s o f pri e sts
,

.
, , , .

ED .
]
9 . MAL O N E : P l e nty S C H M I D T: Rich harve st
f oy z on . ROL F E : H e r e . .

autumn [ F or t h e symb o l of y o ur b o unty MAL ON E c o mpar e s A 69 C V 11

.

.
, , ,

86 : F or his b o u nty th e r e was n o wint e r i n t ; an autumn t was et c wh e re

,

, .
,

autum n i s Th e oba l d s r e ad i ng f or t h e F ol i o

s h ow S C H M I D T [ tak e s this t o b e intransitive app ear as i n 1 0 1

10 . . , , ,
LIV ] TH E S ONNE TS OF S HA K E S P E AR E 1 33

11 . B R AN D E S : [ C f we a l th i n S 37 and d e ar p urc h a s d right

b oun ti e . .

.
-

i n S 1 1 7 ; e vid e nc e ] that P e mbroke must have c o nf e rr e d substantial gifts up o n

.

S h ( Wi lli a m S h 1 : 3 49 n )
. .
, .

14 MAS S E Y : [ By th ose w h o r e ad a ll th e se so nn e ts as addr e ssed by S h t o

.
.

o n e fri e nd ] t h e d e c e iv e r w h o has in ict e d a public disgrac e o n t h e sp e ak e r o f

,

S 3 4 w h o has b ee n a base b e traye r of all trust i n S 3 5 a thi e f and a r obb e r i n

.
, .
,

S 4 0 t h e br e ak e r o f
.
,

t w o f o ld truth

in S 4 1 t h e sam e p e rson t h e th i e f-
.
, , ,

trait or d e c e ive r b e traye r inj ur e r and living e fgy of fa l se h oo d and i n co n

, , , ,

sta me y is idi otically supp ose d t o b e t old by S h in a n e ighb oring so nn e t that

, .

th e r e is No n e n o n e l ike y ou f or c o nstant h e art ! [ C i als o S

,

(p , . . .

[ OS C AR WI LD E tr e ats shad ows of this s o nne t as t h e vari ous playing

th e

parts take n by th e y o uthfu l act or addr e sse d ( Th e P ortra i t of Mr W H s ee . .

n ot e o n S .

54

OH h ow m u ch m o re d o t h b e a u t i e b ea u t i ous s ee m e ,

B y t h a t s w e e t o r n a m e n t w h i ch t r u t h d o t h g i ue ,

Th e R os e look e s fa i r e b u t fa i r e r w e i t d e e m e ,

F o r t h a t s w e e t o d o r w h i ch d o t h i n i t l i n e ,

Th e C a n ke r b loom e s h a u e f u l l a s d e e p e a d i e ,

As t h e f m ed t i n c t u re of th e R os e s
'

p e r u ,

Ha n g ch t h or n e s a n d p l a y a s w a n t on ly
on s u , ,

Wh e n s omm e rs b rea t h t h e i r ma s ke d b u d s d i s c los es

B u t f o r t h e i r v i r t u e o n ly i s t h e i r s h ow ,

Th e y l i n e v n w oo d a n d v n re s p ec t e d fa d e

, ,

D i e t o t h em s e lu es . S w ee t R o s e s d o e n ot s o ,

Of t h e i r s w e e t d ea t h e s
d o rs m a d e , ar e s w e e tes t o

An d s o o f y ou b ea u t i ous a n d lon e ly y ou t h , ,

Wh e n t h a t s h a l l va d e b y ve rs e d i s t i l s y ou r t r u t h , .

9 , is] i n 1 6 40 , C 1
. ir
v tu e is]

vertue s on ly i n G, S , E .

d G, S , E

d] u n m oov 1 6 40 ; u n m ov

d

10 . vn w oo .

14 th at s hall ] th ou s h blt B ut c o nj va d e ] f a de G s
. .
, , E, M A Kt
, , , Co H u ,
l
,

S t a C l Kl y Wh H a l B ut H e r B e N b y ] my C M
, , , , , , , , .
, , C0 5 2
B Hu
, , , Gl, Kl y ,

Wh H a l R Ox Wy B ut H e r B e B ull Wa
, , , , , , , , , .

2 . nt P O R TE R : Not h e re use d i n t h e sup e rcia l se nse

orn am e . but as ,

t h e b e tting t ok e n of t h e substanc e that which sh ows what its e sse ntia l ,

natur e is tr u th S C H M I D T: F id e lity [ C f 1 4 1 1 and 1 4 ; 3 7 4 ; 4 8 1 4 ; 6 2 6

. . . .
, , , ,

9 6 8 ; 1 0 1 2 3 6 ; 1 1 0 5 ; 1 3 7 1 2 ( I omit
, , , 1 wh e r e t h e m e aning is d o ubtfu l )
, , , .
,
.
1 34 TH E S ONNETS OF S HAK E S P E AR E [L I V
F r om a c o nsid e rati o n th e se passage s t o ge th e r with t h e pr e se nt so nn e t it of , ,

w i ll app e ar that S h was exc ee dingly fo nd of c oupling t h e n oti o n of truth .

with that of b e auty ; that h e u se d t h e t e rm cl early i n t h e m e aning of c o ;

s t a ncy but so m etim e s with a m or e ge n e ral c o nn otati o n am ou nt i ng ap par
,

e ntly t o h o n or or virt u e ( thus S ch midt give s t h e m eaning right eo us

n e ss ci t ing am o ng oth e r passages K J I V iii 1 44 : Th e l i f e t h e right and

,

. .
, , , ,

truth o f all this r e al m is i n oth e r words that h e see ms t o have te nfle d ,

t o ad opt t h e w ord as signifyi ng m oral pe rf e cti o n s e t ove r against physi c al .

ED .
]
5 Cank e r b loom e s
. MAL O NE : Th e can ke r rose or d og ro se [ Cf M Ad o .
- -
. . .
,

I iii 2 8 : I had rath e r b e a canke r i n a h edge than a r o se in his

,

,

S TE E VE N S : S h had n ot y e t b e gu n t o o b se rv e t h e pr oducti o ns of nature with

.

accuracy o r his e y e s would have c o nvinc e d hi m that t h e cy norh odon is by n o

,

m e ans o f as d e e p a c ol o ur as t h e ro se B ut what has tr uth or natur e t o d o with .

so nn ets ? ROLE E : C f I H 4 1 i i i 1 7 6 : . .
, , ,

To put d own Richard that sw ee t l ovely r o se , ,

And plant this th o rn this canke r B olingbr oke , , .

[ Th e N E D . . . cit e s
passage j ust q u ot ed u nd e r t h e d e niti o n An i nfe ri or
th e ,

kind o f r o se ; t h e d og r o se (ros a F r o m t h e acc e pt ed int e rpr e tati o n o f

-

t h e w o rd th e r e hav e b e e n t w o disse nt e rs R F TOWND R O W i n Ath J uly 2 3 . .

, .
,

and Aug 6 1 9 0 4 s e t f o rt h his be l i e f that t h e cank e r b oth h e re and i n t h e

.
, , ,

passage i n 1 H 4 i s t h e crimso n and gr e e n gall or b e d e guar cause d by t h e

.
, , ,

pu nctur e of t h e R h odi tes r as ae po pu l ar l y kn o wn as R obin s pi ncushi o n

,

.

Mr Tow n d r ow was suffi ci e nt l y answe r e d by G B I R D WOO D in t h e numbe rs f or

. .
,

J u l y 30 and Aug 1 3 WYND H AM on t h e oth e r hand oddly take s t h e passage. .

, ,

t o b e t h e fami l iar typ e of r e f er e nc e t o a bl o sso m e at e n by cank e r ( cf 3 5 4 ; . ,

7 0 7 ;
, 9 5 2 ; 99 1 3 ; and num
,
e r o us passag e s in t h e plays
, )

S o far as I kn o w . ,

says Mr Wyndham canke r is use d by S h f or t h e d og r ose or wild briar

. ,

.

-

o nly twic e

vi z i n t h e t w o passage s qu ot e d abo ve B ut if twic e on e natu
, .
,
.
,

rally asks why n ot thric e ? ED ] ,

.

8 MAL O N E : C f H a ml I iii 3 40
.
6 . .
, , ,

Th e chari e st maid is prod iga l e n ough ,

If unmask h er bea uty t o t h e m oon

sh e .

Virtu e itse l f scape s n ot ca l umni o us str o k e s .

Th e cank e r ga ll s t h e infants of t h e spring

Too of t b e f ore t h e butt ons b e d i s c los d

.

B E E CH ING : I t is curi o us t o n ot e that in this [ H a mlet] p a s s a g e t h e word u n

'

mask is f o und and also cank e r th ough in a d i ff e r e nt se nse I t is n ot i m

, ,
.

po ssibl e that t h e t w o passage s may have be e n writt e n ab o ut t h e sam e tim e ,

and that t h e o n e is so m e thing of an ech o of t h e oth e r MC CL UMP HA : C f . .

R 69 J . I I ii 1 2 1
.
, , ,

This bud of l ove by su mm er s ri pe ning br eath

,

,

Ma y prove a be aut eo us owe r ( J a h rb . .

, 40 :
 L IV ] TH E S ONNETS OF S HAK E S P EA R E 1 35

di scl os e s . SC H M I D T:
B E E C H I NG : Th e word wo u l d see m h er e t o b e sug
Ope ns .

ge s e d by t h e e pith e t ; t h e wind s o pening t h e r o se b e i ng c o mpar ed t o a r ough

wg r g pglli n g off a lady s v so r

i

.

9 f or
.
[ On t h e u s e o f th i s as a c o n j unct i o n
. be cause s ee ABB OTT ,

1 51 and F R ANZ 4 o 8 ] s h ow
,
S C H M I D T : Appe aranc e ,
. . .

9
1 1 . WAL S H : Cf . V 59 A
.

.
, 1 31- 32 , 1 66

F air o we rs that a re n ot g a t h e r d i n th e ir pri m e

R ot and c o nsum e th e mse l ve s i n litt l e tim e .

Things g r ow m g t o th e mse l ve s a re gr owth s abuse

.

10 . unr en ot e on 4 3 2 s pe ct e d . Se e , .

1 1 1 2 See M A L O N E S n ot e o 5 : 9 1 4
.n
.

13 B E E C H I NG : Lo ve ly be i ng distinguish ed fr o m b e aut eo us sh ows

.

, ,

that t h e w o rd had n ot qu i t e l ost i ts m e aning o f attractive

.

14 that D OWD E N : B e auty t h e ge n e ra l subj e ct of t h e so nn et ; or yo uth

. .
, ,

take n fro m swee t and l ove ly y o uth of l in e 1 3 va d e [A familiar variant of

. .

fad e MAI N se e ms t o thi nk th e r e is a distincti o n of m e aning citing Barn

.
,

e l d s Com pla i n t of Ch a s ti ty st 9 :

, .

F or what a re p l easure s but sti ll vading j oye s ? -

F ading as ow e r s ]

by; [Th e r e t e nti o n

this w ord by a f e w edit ors may possibly b e j usti e d on
of

t h e gr o un d that

d i st il is f ound as an intransitive ve rb ; it d oe s n ot h owe ve r

.
, ,

se e m t o b e f oun d with t h e m e aning of is distill ed which is re quire d h e re

,

,

but o nly with that Of trickl e issu e f o rth i n dr o ps ( N E as in T And , . . .

III i 1 7 : R ain that shal l distil E D ] [ DRAKE th o ugh prais i ng highly

-
. .
, , ,

t h e so nn e t as a wh ol e was pain e d by t h e pharmace utica l al l usi o n i n this

,

l ast l ine (S h a nd h i s Ti mes 2 : . .

,

WAL S H : i d e a expr e ssed in this so nn et is pe cu l iar and match ed o n l y by

Th e ,

t h e e n d of S 5 B eauty is tr e at ed as e xt e rnal se c o ndary and transi e nt whil e

. .
, , ,

o d o r is tak e n t o b e inh e r e nt pri mary and pr e se rvabl e be auty a shad o w , , , ,

o d o r a substanc e ; and t o t h e latt e r is c o mpar e d t h e y o uth s truth or c o nstancy

( s ee S 2 0 3

4 and
.
5 3 t o t h,e f o rm e r his be auty
, B ut e lse wh e re t h e youth s
, .

b eauty or rath e r b e auty e mbo di ed i n t h e y o uth is take n f or t h e obj e ct of rst

, ,

impo rtanc e t h e substa n c e that is t o b e pre se rv ed in o n e way or an oth e r E ve n

, .

i n S 5 is n o dir ect m e nti o n o f od o r ( save o n l y i n t h e adj ective

. B ut
cf L illy : Aff ecti on that is br e d in e nchantm e nt is like a o we r that is w ro ught
.

,

i n s i lk i n c ol o ur and f orm m ost l ike but n othing at a ll i n substanc e or savo ur

,

,
.
.

( E n di mi on I ii ) , , .

H E N R Y B R OWN : This so nn e t has b ee n imitat ed by H e nry Pe acham in t h e

Mi n erva B ri ta n n i a 1 6 1 2 p 1 0 0 ( p , , . . .

F or h
t e app e aranc e of l in e s
5 6 of t h e so nn e t in a 1 7 th c e ntury MS s ee .
,

n ot e at t h e e n d of S 2 . .
 TH E S ONNETS OF S HA KES P E AR E

55

NOT m a rb le ,
n or t h e g u i ld e d m on um e n t ,

Of P r i n c e s s ha l l out -
li u e t h i s p ow r e f u ll r i m e ,
B u t y ou s h a ll s h i n e m or e b r i gh t i n t h e s e c o n te n ts
T h en b es m ee r d w i t h s lu t t i s h t i m e

v n s w e p t s t on e , .

Wh e n w a s t e f u ll w a rr e s ha l l S ta tu es o ue r- t urn e ,

An d b r oi le s r oo t e o u t m a s o n ry th e work e of ,
O

No r Ma rs h i s s w or d n o r w a r r e s q u i c k re s h a l l b u rn e tt
,

Th e li u i n g r e c o r d o f y o u r m e m or y .

G a i n s t d ea t h a n d a ll ob li u i o u s e m n i t y
,

S h a l l y o u p a c e f o r t h y o u r p ra i s e s h a l l s t i l n d e r oom e
, ,

E n e n i n t h e e y e s o f a ll po s t e r i t y

. Th a t w ea r e t h i s w o r l d o u t t o t h e e n d i n g d oom e .

S o t i l t h e i u d g e m e n t t h a t y o u r s e lf e a r i s e ,

Yo u li n e i n t h i s a n d d w e l l i n lo u e r s e le s , .

1 . m on um e nt] m on u m en ts M e t c ( e xc e pt Ty ) , . .

4 . vn s w e pt] in s wept S t e ng e l c o nj .

5 S tatu e s ] S ta tu tes G
1
. .

7 Ma rs h i s ] Ma rs s G 5 E ;
.
2 2
Ma rs i s M

, ,
1
.

9 . all ob li ui ou s ] H yph e n e d by M e t c ( e xc e pt Ty Wa ) , .
, . e mn i ty ] en m ty G ,
i 2

etc .

12 . w ear e ] were 1 6 40 .

C A B R OWN [ make s this so nn e t t h e e nvoy of his se c o nd p oe m

. .
, 2 7
D OWD E N : This l oo ks like an e nvoy but 56 is still a s o nn e t o f abse nc e , .

MAL O N E : C f H orac e : .

E xe g i m o n u m e n t u m a e re p e re n n i us ,

R e g a li q u e situ pyramidum altius ;

[ and with t h e se c o nd quatrain ] Ovid

J a m q ue o pus e xe g i , qu o d n ec J ovis i ra ign e s
n ec ,

Nec p ot e ri t fe rrum , n ec e d a x a b ole r e ve tustas .

TYL E R : [ Cf with Me r e s P a lla di s Ta mi a

. As Ovi d sait h of his wor k e
, ,

J a m q u e o pus e x e g i q u od n ec J o vis ira n e c ignis , ,

Nec p ot e ri t f e rrum n ec ed a x ab ol e t e v e tustas ; ,

a nd as Horac e saith of his ,

E xe g i m o n u m e n t u m a e re pe re n n i u s ,

Re g a li q ue situ pyramidu m a l tius ,

Lv ] TH E S ONNE TS OF S HAK ES P EA R E 1 37
Qu od i mb e r ed ax n on Aqui l o i m p ot e n s
n on ,

P o s s i t d i r ue r e aut i n n u m e ra b i li s
An n or u m se ri e s e t fuga t e mp orum ;

so say I se ve rally of S i r P hilip S idne ys , S p e nc e rs , D ani e ls , D r a y t on s , S ha ke

spe are s and Warn e rs w or k e s
,

No n J ovis ira i m b r e s Mars f e rrum a m m a

, , , , , s e n ec t us ,

H oc O pus unda lu e s turb o v e n e n a ru e nt

, , , .

E t q ua n q ua m ad p ulc h e rr i m u m h oc o pus e ue rt e n d u m tr e s il l i D ii con s p i ra b un t ,

l
C r o nus Vu canus , e t pat e r ipse g e ntis :
,

No n tam e m a n n or u m se ri e s , n on a mm a , n ec e nsis ,

AZ t e r n u m p ot ui t h oc a b o le re di e us .
( F ol .

Th ough e vid e nc e is want i ng that S h p osse sse d much if any acquaintanc e .

, ,

with H orac e ge n e rally y e t w e n ee d have n o d i i c ult y in b e l i e ving that aft e r

,

,

Mere s s b oo k had b ee n publ i sh ed S h s att e nti o n w o u l d b e sp e cial l y dir e ct ed

, .

t o t h e od e in qu e sti o n ( i ii or rath e r t o that po rti o n o f it which Me r e s ha d

,

qu ot e d Ve ry l i ke ly h e r e c e ive d a pr e se ntati o n c opy of Wi t s Tr ea s u ry

. .

B ut wh e th e r this was t h e case or n ot it is unl i k e l y that h e w o uld l ong r e main ,

ign orant of t h e c o mplim e nt which had be e n paid t o him And as e vi d e nc e that .

h e did i n fact b e c o m e acqua i nt e d with Me r e s s b o o k it is v e ry n ot e w o rt hy that

th e r e a re s o m e things i n t h e 5s t h S o nn e t wh i ch nd th e ir anal ogi e s n ot in t h e ,

passage fr o m H orac e but i n Mere s s qu otati o n fr o m Ovid and i n particu l ar

,

i n t h e L atin of Me re s s app e ndix I t is Ovid and n ot H orac e w h o sp e aks of

.
, ,

t h e d e structiv e ag e nc i e s of r e an d sw or d

n e c ignis n e c p ot e r i t f e rrum B ut
, , .

t h e 7 t h lin e of t h e s o nn e t nds its cl o se st anal og y in Me r es s Mars

Non

,

f e rrum amma ( n ot
, Mars t h e sw ord

S o c l o se ind e e d is t h e
, , , ,

r e se mblanc e that it is scarc e ly po ssibl e t o av oid t h e c o nc l usi o n that Mere s s

,

L atin sugg e st e d t h e lin e i n t h e so nn e t This c o ncl usi o n is str e ngth e n ed by t h e

.

inc o ngruity which manif e sts itse l f i n t h e lin e t h e v e rb shall burn suiting ,

o nly

war s q uick r e and n ot t h e prec eding Mars h i s sword

,

I t w i ll b e .

see n up o n r e e cti o n that th i s i nc o ngruity is e asily acc o unt e d f or if t h e w o rds

Mars
,
sw ord r e o r t h e id e as th e y r e pr e se nt
,

,
w e r e b orr owe d al l ,

t oge th e r fro m Me r e s Th e e l e m e nts c o mpo sing this li n e a re n ot t o b e fo und i n

.

c o mbinati o n e lse wh e r e i n S h n or is t h e sword of Mars e l se wh e r e m e nti o n e d

.
, .

Th e n t h e e xpr e ssi o n o f t h e 9 t h lin e all oblivi o us e nmity nds its e xplana

, ,

ti o n in t h e num e r ous inu e nc e s t e nding t o pro duc e O blivi o n m e nti o n e d by

Me re s th o ugh p e rhaps t h e w or d e nmity has e spe cially i n vi e w Me r e s s

suppo siti o n of a h ost i l e c o nspiracy on t h e part of t h e thr e e d e iti e s L astly .

,

what S h says of ove rt urn i ng statu e s and of br o i ls r ooting out t h e work of

.

mas onry may v e ry we l l have b ee n sugge st e d by Me r e s s ad p ulc h e rr i m u m

,

h oc o pus e v e rt e n d u m

th o ugh this p e rhaps is n ot quit e s o c o nc l usive On t h e
. .

wh ol e h owe ve r that t h e 5s t h S o nn e t was sugge st ed by t h e passage fr o m Me re s

, ,

see ms scarc e l y Ope n t o qu e st i o n I t may b e r e as o nab l y inf e rr e d th e r e fo re that

.
, ,

S 55 wa s wr itt e n aft er t h e r eg istrati on of Mere s s b ook i n S e pt e mb e r 1 59 8

. .
 38 TH E S ONNETS OF S HAK E S P E AR E [L v
( I ntr o pp 1 9 [ Mrs S TOP E S supp orts Ty l e r s argum e nt with t h e r e mark

.
.
,

that ] it is alm o st c e rtain S h w o uld s e e Me r e s s wo rk i n MS [ sinc e ] IMe re S was

'

. .
,

br oth e r i n law t o F l ori o an oth e r spe c i al pr ot g o f t h e E arl of S o uthampt o n

- -
, .

[ D OWD E N ( I ntro p 2 2 ) and R OL F E r e fe r t o th i s argum e nt as ing e n i o us ;

.
, .

WYND H AM c o nsid e rs i t c o nvincing ( p and it is also acc e pt e d by WAL S H . .

L E E calls t h e e vid e nc e v e ry trivial ob s e r vi n g z] I n Go lding s translati o n [ of

,

O vid ] r e f e r e nc e is mad e t o Mars by nam e (t h e L atin h e r e calls t h e g od Gra d i v u s )

a f e w lin e s ab ove [t h e translati o n of t h e J a m q ue o pus e g i passag e ] and t h e

w ord caught S h s e y e th e r e S h o we d n othi ng t o Me r e s s paraphrase but

.

. .

,

Me re s pr obably owe d much t o passag e s in S h s so nne ts (L if e p 1 1 7 n ) P OR .

.
, . .

TE R : C o mparis o n of [ Me r e s s L at i n with t h e ] qu o tati o ns o n wh i ch i t is bas e d and

with t h e so nn e t will sh o w that t h e ma i n i d e a of Me re s s add i ti o n i e all that is

, . .
,

h i s o w n and has n ot alre ady app e ar e d i n t h e c i tat i o ns fro m H o rac e and Ovid is ,

t h e n oti o n o f t h e thr ee g ods c o nspiring ; als o that t h e s o nn e t sh ows n o c o n v i n

cing trac e of this n oti o n n or t h e l e sse r d e tails pe culiar t o Me r e s i e t h e wave

, . .
, ,

p e stil e nc e t h e whir l wind p o iso n I t is cl e ar that S h did n ot u s e Me re s s

, , . .

sp e c i al c o ntributi o n t o t h e ge n e ra l id e a and did u s e H o rac e and Ovid ( p . .

[ E ve n i f t h e r e se mblanc e b e twe e n t h e so nn e t and Me re s s paragraph w e r e s o

striking as t o l e ad us t o fee l th at so m e d e nit e b orr o wing is inv o lve d it wo uld ,

b e p e cul i arly ha z ard o us t o f o l l ow Tyl e r s assumpti o n that t h e b orr ow e r was

S h sinc e Me r e s happ e ns t o b e t h e o n e c o nt e mp o rary of S h s o f wh o m w e hap

.
.
,

hav vid e nc e that h e had r e ad S h s so nn e ts in MS

e n t o e e E D ]
p . . .

W M R OS S E TTI : That S h w h o le d an inc o nspicu o us life and t oo k n o h e e d

. . .
, ,

f or t h e pr e se rvati o n o f his writings l at e r than t h e V 89 A and t h e L u crece

. .
,

sh ou l d y e t have kn own with such e ntire c e rtainty that t h e y wo uld o utlive t h e

p e ri shing b ody of m e n and things till t h e r e surr e cti o n o f t h e d e ad this is t h e
m ost m oving fact in his e xtant hist ory [ Ye t Rosse tti adds a f oo t n ote i n which .
-

h e ad mits that similar e xpr e ssi o ns f orm e d al m o st a c o mm o nplac e o f s o nn e t

( F a m ous P oet s p H ALL I WE L L P H IL L I PP S : [ S o m e of t h e

, .
-

S o nne ts] hav e t h e app e aranc e of b e ing m e r e imitati o ns fr o m t h e c l assics or t h e

I ta l ian I t is di ffi cult o n any oth e r hyp o th e sis t o r ec o ncil e t h e in at e d
.

e g otism o f such a o n e as 55 with t h e unassuming d e dicati o ns t o t h e Ven u s and

L u crece 1 593 and 1 59 4 or with t h e e xpr e ssi o ns o f humility f o und in t h e S o n

, ,

n ets th e mse l ve s e g 32 an d 38 ( Ou tli n es 8 th ed 2 :

, . .
, VO N MAUNTZ
.
, .
,

[ obse rv e s that this di ff e re nc e can b e e xplain e d by assuming that S o nn e ts 32

and 3 8 w e re a d dr e sse d t o S o uthampt o n i n t h e be ginning of t h e acquaintanc e ,

55 lat e r wh e n t h e
,
p oe t f e l t m o r e c o nd e nc e i n his g e niu s ] B ARR E T T W E ND E LL

Th e writ e r o f th e se s o nn e ts avows his b e li e f that th e y shall b e l asting l it e r

ature Not an infal l ib l e sign o f se ri o us artistic purp o se this is at l e ast a fr eq u e nt
. , .

I t app e ars in S p e nse r s Amoretti and i n many passag e s o f C hapman an d of

,

B e n J o nson l ik e that supe rb b oast ab o ut p oe try i n t h e P oeta s ter :

,

S h e can s o m o u l d R o m e and h e r m o num e nts

Withi n t h e l iquid marbl e o f h e r l i n e s ,

That th e y shal l l iv e fre sh and miracu l ous , ,

E v e n in t h e midst of inn ovating d ust .

Lv ] TH E S O NNETS OF S HA K ES P E AR E 1 39

In small m e n path e tically c o mic such c o nd e nc e b ec o m e s in gr e at m e n n obly ,

adm i rabl e Of S h s S o nne ts th e n w e may fa i rly asse rt that th e y must have

. .

, ,

see m e d t o t h e writ e r m ore i mpo rtant and valuabl e than his plays ( Wi lli a m S h . .
,

p. L E E : I n t h e num e r o us so nn e ts in which S h b o ast e d that his v e rse .

was s o c e rtain of imm ortality that it was ca pabl e of imm o rtal i z ing t h e p e rso n
t o wh o m it was addr e sse d h e gav e v o ic e t o n o c o nv i cti o n that was pe cu l iar
,

t o h i s m e ntal c o nstituti o n t o n o i n v olu n t a rv e xultati o n of spir i t o r sp o ntan eo us

, ,

e bull i t i o n o f f ee l ing H e was m e r e ly pr o vi ng that h e c o uld at will and with

.
,

supe ri o r e ff ect handl e a th e m e that R o nsard and D e sp o rt e s e mulating P indar

, , ,

H o rac e Ovid and oth e r class ical poe ts had lat e ly mad e a c o mm o nplac e o f t h e
, , ,

poe try o f E uro p e I n Gr e e k poe try t h e t op i c is tr e at e d in P indar s Oly mpi c

.

Ode s xi and i n a fragm e nt by S apph o No 1 6 in B e r g k s P oetae L y ri ci Gr a eci

. .
, , ,

I n L atin poe try t h e t o pic is tr e at e d i n E nnius as qu ot e d i n C i c er o D e S en ectu te , ,

c 2 0 7 ; i n H orac e s Od e s I I I 30 ; in Virgil s Georgi cs I I I 9 ; in P r op e rtius I I I i ;

.

, ,

, , , ,

i n Ovid s Meta m orph os es X V 8 7 1 s e q ; and i n Mart i al X 2 7 s e q Am o ng

, , .
, , .

F r e nch so nn e t e e rs Ro nsard attack e d t h e th e m e m o st b o ldly H i s od e s and .

so nn e ts pr o mise imm o rta li ty t o t h e pe rso ns t o wh o m th e y a re addr e sse d with

an e xtravagant and a m o n o t o no us l i b e ral i ty Th e f o ll o w i ng l i n e s fr o m Ron .

sard s Od e ( livre i No

Au S e igne ur C a r n a v a le t illustrat e his habitual
, .
,

tr eatm e nt of t h e th e m e
C

travail d e b o n h e ur
es t u h -

C hant e r le s h o mm e s l o uabl e s ,

E t l e ur b a s t i r u m h o nne ur
S e ul vainqu e ur d es ans m ua b le s .

Le marbre ou l a i r ai n v es t u

D un l ab e ur vif par l e nc l um e

N anim e nt tant l a ve rt u

Q ue le s Muse s par l a plum e [ e t c ] . .

( Oeu vres , ed . B la n c h e m a i n , 2 :

D e sp ort e s was a l s o pro n e t o indu l g e in t h sam e c onc it ; cf h i s Cl n i e e e . eo c ,

S 6 2 whic h D ani e l appr priat e d b od i ly i n h i s D eli a ( S

.
,
D e sp ort e s warns
o .

his mistr e ss that s h e will live i n h i s ve rse lik e t h e p h ce i x i n e S i P h i l i p n r . r

S i dn e y i n his Ap log i e f r P et i e
,
wrot that i t was t h e c o mm o n hab i t
o o o r e

o f p oe ts t o t e l l y o u that th e y will mak e y o u imm or tal by th e i r v e rs s

Me n e .

of gre at calli ng Nash wr o t e i n his P i e rce P en n i les s e 1 59 3 tak e it of m e rit

, , ,

I n t h e hands o f E l i z ab e than s o nn e t

t o hav e th e ir nam e s e t e rnis e d by p oe ts .

e t e rnising faculty o f th e ir ve rse b ecame a stapl e and i nd ee d an

ee r s t h e

in evitab l e t opic [ Cf S p e nse r Amoretti S 7 5 :

. .
, , .

My ve rse y o ur virt u e s rar e shal l e t e rnise ,

An d i n t h e h e ave ns writ e y o ur gl o ri o us nam e ;

D rayt o n my imm orta l s ng
, I dea , 6 , 44 7 14 w e aring o , my w orld -
o ut -

44 1 1 ( E nsuing ag e s y
,
e t my rhym e s shal l

44 14 M y ,

nam e shall m o unt unt o D ani e l This may r e ma i n thy ,

l ast i ng 39 9 (

T h o u mayst i n aft e r ag e s l iv e ,

-
50 , 9 12 :
1 40 TH E S ONNETS OF S HA K E S P E AR E [L v
Th e se arks t h e trophi e s I e r e ct
a re th e ,

That f ortify thy nam e against old a g e ;

And th e se thy sacr e d virtu e s m ust pr ot ect
Against t h e d ark and tim e s c o nsuming rage
.

S 55]
. is a l s o ve ry like R o n s a rd

s Od e ( l ivr e v No , .
32 )

a se Muse ,
which
o pe n s
l us dur q ue f er j ay ni m on o uvrage
P

Q u e l an disp os a d e m e e le pas

,
n r s ,

Q u e l e au le ve nt ou le brulant o ra ge

, ,

t me r u o t p o i nt a h a s

L i ju i [ tc ]

n r an , r n . e .

Cf . a l so Ron s ard s S 7 2 i n Amours ( livr e i ) wh e re h e d e c l ar e s that his

. , mi s
tr ess s nam e

Vict ori e ux d e s pe upl e s e t d e s r ois

S

e n v ole r o i t sus l ai l e d e ma rym e

.

B ut S h like R onsard kn e w H o rac e s far fam e d Od e E xeg i m on u m e n t um

.
, ,

-
,

a e r e p e r e n n i u s [ e t c ] Nor can th e r e b e any d o ubt that S h wr ot e with a
, . .

dire ct r ef e r e nc e t o t h e c o ncluding t e n lin e s of Ovid s Met ( xv 8 7 1 79 )

.
,

J a m q u e o pus e xe g i qu od n ec J ovis ira n e c ign e s , ,

Ne c p ot e ri t f e rrum n e c e d a x a b ole r e v e tustas , .

C u m v ol e t illa di e s qua e nisi c orp o ris h uj u s

, ,

J us hab e t inc e rti spatium mihi n i a t a e v i ;

,

P art e t a m e n m e li or e m e i sup e r a l ta pe r e nnis

Astra f era r n om e n q ue e ri t ind e l e bi l e n o strum .

This passage was familiar his fav o urit e b ooks

to Sh Golding s in on e of

.

transl ati o n of t h e Meta morph os es Golding s r e nd e ring op e ns : .

Now hav e I br ought a w or k e t o e n d which n e ith e r J ove s e rc e wrath

Nor sw or d n or re n or fr e tting a g e with all t h e f o rc e it hath , ,

Ar e ab l e t o ab olish quit e [An d al l t h e w orld shall n e ve r .

B e abl e f or t o qu e nch my nam e An d tim e with o ut al l e n d .

My life shall e v e r l astingly b e l e ngth e n e d still by fam e ]

( f
L i e pp 1 1 3
1 7 ; s e e
,
als o L ee s .articl e in O n R ev 2 10 :

. .
,

[ VON MAU NTZ n ot e s oth e r passage s i n Ovid b e aring on this th e m e than that i n
th e Meta morph os es ; v i z Tri s ti a I vi .
, , , , 35 36

Q ua n t u m c u m q u e n ostra v a leb un t
t a m e n p ra ec on i a ,

C a r m i n i b us vive s t e mpus in o mne m e is ;

i bi d I I I iii , ,
8:
77 7
E t e n i m m a i ora li be lli
Et diuturna magis sunt m on i m e n t a mihi ;
2:
50 5
Me fama s up e rs t e s e ri t
t a m e n e xt i n c t o ,

D u m q ue suis s e pt e m victrix d e m on t i b u s or h e m

P ros p i ci et d om i tu m Marti a Ro ma l e gar ; ,

Lv ] TH E S ONNETS OF S HAK E S P EA R E 1 41

Amores I , , x , 6 1 6 2

S c i n de nt u rve st e s ge mmae f ra n g e n t ur e t aurum

,

C armina quam t ri b u e n t fama p e r e nn i s e ri t , .

To which h e might have a dd ed th e l ine s i n E x P onto, I V, viii , pa s s i m; cf .

sp e cially 8
e 45 4

C armina ve s t ra r um p e r a g u n t p r a e co n i a la u d u m ,
sit a c t or um fama caduca cave nt
Ne v e ,

C armina t viva virtus e xp e r s q u e s e p u lc r i ,

Not i t i a m s e ra e po s t e r i t a t i s hab e t ] .

WAL S H : [ B e sid e s t h e parall e l s n ot e d by Le e ] last so nn e t of B e lla y s R u i n s , th e

of R ome i n S p e n s e r s translati o n may also b e n ot e d [Thi s like t h e H orac e

.
, ,

and Ovid passage s ] is addre ss e d t o t h e p oe t h i mse lf or his w o rk It is p o ss i bl e

, , .

that S h was h e r e ap o str o phising h i mse lf and i nt e nd e d this f or his cl os i ng

.
,

s o nne t Acc ordingly Mr Go dwi n puts it last in his r e arrange m e nt B ut t h e

, .
-
.

y o u h e r e app e ars m o r e appr o priat e ly t h e th o u than t h e I of [ S

.

I t is amusing that i n all t his eff o rt t o e t e rnise so m e b o dy t h e nam e o f t h e p e rs o n ,

c o nc e rn e d is n e ve r s o much as m e nti o n e d e ve n in a h e ading Oth e r so nn e t e e rs .

of t h e p e ri o d w h o publish e d th e i r ow n s o nn e ts o ft e n e t e rnise d th e ir fri e nds

, ,

u nd e r ctiti o us nam e s ! All th i s was a p o e tical c o nve nti o n and t h e pr i nc i pa l ,

o bj e ct striv e n aft e r was t o s ee wh i ch c o uld d o t h e e t e rnising be st with littl e ,

r e gard t o t h e p e rso n addr e sse d or his or h e r d e se rts .

E S B ATE S : I n answ e r [ t o Lee s r e marks o n t h e trit e n e ss o f t h e e t e rni z ing

. .

th e m e ] it sh ou l d b e p oint e d out that it is rath e r curi o us that this th e m e was

e mphasi z e d m o st by t h e thr ee p oe ts o f t h e c e ntury w h o actually had t h e

gr e at e st right t o e xp e ct i mm orta l ity f or th e ir ve rs e s P i e rr e d e Ro nsard .

,

E dmund S p e nse r and William S h w e r e t h e o n e s w h o e xpr e sse d t h e th o ught

, .

m ost fr e qu e ntly and m ost n ob l y Wh y is it imp o ssibl e that th e se m e n sh ou l d .

have sinc e r e ly b e li e v e d i n t h e p e rman e nc e of p oe try or that this th o ught ,

sh o uld h a v e g i v e n th e m d ee p e m oti o n ? An d if in r e gard t o t h e passing of b e auty

w e d o n ot d o ubt t h e sinc e rity of K e ats wh e n h e r e it e rat e s t h e sam e strain why ,

shall w e n ot b e p e rmitt e d t o b e li e ve i n that of S h ? Th e se id e as a re S o unive rsa l .

,

s o m o ving s o intrinsically p oe tical , that t o acc o unt f or th e i r p r es e n ce e v e n i n

, ,

t h e sp e c i a l f orm o f pr o m i sing e t e rnity t o a part i cular p e rs o n w e hardly n e e d ,

t o assum e a h oll ow e nd e av o r at att e ry as th e ir cause A su ffi ci e nt e xplanati o n .

w o uld se e m t o b e that am ong t h e curr e nt p oe tica l c o nc e pt i o ns of t h e tim e th e se

w e r e particular l y c o nge nia l t o S h s wor l d br ooding mind ( M0 d P h i lology 8 : .

-
. .
,

101

4 . t MAL O N E [ int e rpr e ts dusty

un s w e p . by imp l icati o n c o mparing , ,

A W W I I iii 1 4 7 : Wh e re dust and d a m n d ob li vi o n i s t he t o mb of h o n -

. . .
, , , 1

our d b o nes P O R TE R : Gath e ring dust t o gro w lich e ns and m oss in h e l ping

.
,

t h e be sm e aring o f t h e car e l e ss y e ars .

6 Ma r s h i s [Th e f o l l o wing o f Ma l o n e s rst e diti o n may b e trac e d in a

. .
1 42 TH E S ONNETS OF S HAKES P EAR E [L v
numb er of t e xts of t h e l at e 1 8 th or e ar l y l g t h c e ntu ry thr ough t h e r e mar kab l e ,

ge nitive Ma rs i s which app ear e d th e r e ED ] . .

9 all ob li vi ou s
.
[ F or t h e hyph e nating of th e s e w or d s cf all bui l ding
. , .
-
,

M f or M I I iv 94 ; all changing K J II i 582 ; al l e nd i ng R 3 III i

. .
, ,

,

-

,
. .
, , ,
-
, .
, , ,

7 8 ; et c S C H MI DT re nd e rs t h e phrase forgetfu l of all but ROLFE is d o ubt le ss

. ,

C f Ma c b V iii 43 :

right i n sayi ng causi ng t o b e f orgott e n

S o m e sw ee t
. . .
, , ,

ob l ivi o us antid o t e

ED ] . .

10 P O R TE R : This wo nd e rfu l line o we s s o m e thing o f i ts e ff e c t n ot al o n e

.

t o t h e music of t h e al l it e rativ e pac e f o rth an d praise

to th e

pacing f orth of t h e singl e syllab l e d w ords on e aft e r t h e oth e r till t h e ve rse i s

-
,

i n itse lf a c o ntinu o us st e ady go i ng pr oc e ssi o n pace f orth TYL E R : C om

-
e f orth . .

in public vi e w R OLE E : S till g o on e ndur e

.
, .

12 w e ar e thi s w orl d out B E E C H I NG : To w e ar ou t

. . is a c omm o n S hake
s p e a r e a n e xpr e ssi o n f or sp e nd use d of tim e ; Oft e n as h e r e with a n oti o n of

,

we aring away
13 j u d g em en t th a t D OWD E N : Ti ll t h e d e cree of t h e j udgm e nt day that
. .
-

y o u aris e fr o m t h e d e ad [ S o R O L F E
. and W YND H AM B E E C H I NG with wh o m .
,

L E E agr ee s mak e s ,

that wh e n ; and this is supp o rt e d by ABB OTT S

s t a t e m e n t z] S inc e

that r e pr e se nts di ff e r e nt case s of t h e r e l ati ve it may

,

m e an i n that

f or that ,

b e cause ,
or at which tim e

P O R TE R : J udge m e nt i n on e of its fac e ts m e ans t h e , ,

J udge m e nt D ay but in t h e o th e r and primary fac e t h e re of t h e se nt e nc e t h e

, , , , ,

d m en t o f D oo msday : S o h e r e ti ll t h e j u d gm e nt is pr o n o unc e d that y o u

j u g e ,

y ourse l f arise [ H UD S ON has an e xtra or d inary n ot e which it is p e rhaps cru e l

.
,

t o p e rp e tuat e t o t h e eff ect that

,

arise m e ans raise s
put i n t h e p l ura l f or ,

th e

MAR K PATTI S O N [ m e nti o ns this S o nn e t a s an e xamp l e of t h e ba d eff e ct of a

vi ol ati o n of t h e rul e f orbidding t h e r e p e titi o n of rim e so unds in t h e d i ff e r e nt
parts of t h e so nn e t : ] L e t S 55 b e r e ad a l o ud an d it wil l b e f e l t h ow much t h e
.
,

nu mb e rs l ose by this fau l t ; en mi ty a n d pos teri ty b e ing t e rc e t rim e s f oll owing ,

upo n ma s on ry an d memory i n t h e quatrains ( S onnets of Mi lton I ntr od ucti on .

, ,

p .
L VI ] TH E S ONNETS OF S HAKES P EAR E 1 43

56

S WE E T loue r e n ew th y f or c e , be it n ot s a i d

Th y d ge s h ould b lun t e r b e t h e n a pe t i te
e ,

Wh i c h b u t t o o d a i e b y f e e d i n g i s a la i e d ,

To m orr ow s h a r p n ed i n h i s form e r m i gh t .

S O lo ue b e t h o u a lt h ou gh t oo d a i e t h o u ll ,

Th y h u n g r i e c i e s e u e n t i ll t h e y w i n c k w i t h f uln e s s e
, ,

Too m orr ow s ee a g a i n e a n d d oe n o t k i l l ,

Th e S p i r i t o f Lo ue w i t h a p e r p e t ua l d u ln e s s e ,

L e t t h i s s a d I n tri m li ke t h e Oc ea n b e

Wh i ch p a r t s t h e s h ore w h e re tw o c on t ra c te d n ew , ,

C om e d a i ly t o t h e b a n c k e s t h a t w h e n t h e y s ee ,

R e t u rn e o f loue m o re b l e s t m a y b e t h e Vi e w ,

As ca l i t Wi n t e r w h i ch b e i n g f ul o f ca re , ,

M a k e s S o me rs we lc om e t h ri c e m ore w i s h d m ore ,

, ra re .

3 , 5 t oo d a . i e] to d a y C ,
-
M . et c .

7 Too m orrow] To morrow C M et c

.
-
, , .

9 In tri m ] i n teri m L M e t c (e xc e pt Ty
. Wy B ull ) ; I n t ri m Ty Wy B u l l
, , .
, ,

, , .

10 contr a c te d n ew ] H yph e n e d by A K t B D e l H u S t a K ly Ty
.
, , , , , , , .

1 3 As ] Or C Ty r c o nj
. M A K t C o B D e H u D y S t a C l K ly Wh
, l l .
, , , , , , , , , , , , ,

Ha l C a m D o Ty Ox Wy B ut B e N B ul l ; Els e an o n c o nj G1 R t
, , , , , , , , , . .
, , , ,

H e r Wa ; Ah an o n c o nj
, . .

This so nn e t was n ot i n t h e P oems of 1 6 40 or t h e e diti o ns base d th e reo n .

WYND H AM [ make s t h e so nn e t t h e rst of h i s Gr o up D 56 Th e se 1 9 ,

numb e rs c o nc e ived i n a ve in of m e lanch oly c o nt e mplati o n a re am o ng t h e

, ,

m o st b e autiful of all and a re m or e subt l y m e taphysica l than any save only

, ,

1 2 32 5 ( I n tr o p cxii ) B E E C H I NG ; I agr ee with Wyndham i n ta king this

. .
, . .

Th e i nt e rim of l in e 9 is a p e ri od of apathy

so nn e t as ope n i n g a n e w se cti o n .
,

n ot of se parati o n t h e p oe t d oe s n ot h e r e say o n wh o se part but mak e s t h e

, ,

p oe m quit e ge ne ral .

6 . w in ek . S ee n ot e on 43 1 , .

8 . d uln es s e . S C H M I D T: I ns e nsibi l ity i n d ol e nc e D OWD E N : D r owsin e ss [ S o , . .

R OL F E .
]
9
1 2
D OWD E N : I s t h e sight of his fri e n d
. o n l y t h e 1 m a g i na t i ve see ing of

l ov e ; such fanci e d s i ght as t w o b e troth ed p e rsons may have alth o ugh se ve re d

by t h e oc ean ? TYL E R I wo u ld sugge st wh e th er t h e p oe t did n ot imagine an
:
 1 44 TH E S ONNETS OF S HA K E S P E AR E [ L VI

irrupti on of t h e s e a o n l and s o as t o part what was pre vi ous l y c o ntinu o us , .

B ut thr ough pe rsist e nc e of t h e wind or oth e r cause t h e s e a h olds f or a tim e i t s

, ,

c o nqu e st and t h e t wo c ontract e d or b etr oth e d l ove rs c o m e daily t o t h e

,

banks e xp e cting that t h e s e a has r e tir ed B ut in l in e 1 2 inst e ad of sp e aking

, .
,

o f t h e r e turn of t h e s e a t h e poe t dismiss e s his simi l e and sp e aks o f t h e

, r e turn ,

of l o v e

WYND H AM : Th e image is obscure P e rhaps it c o ntains an al l usi on
. .

t o t h e st ory of H ero a n d L ea n d er B E E C H I NG : [Th e oc e an is] any oc e an that .

s e parat e s l ove rs Th e re d oe s n ot se e m t o b e a r e f e r e nc e t o any particular st o ry

. .

P O R TE R : Th e risk o f d e ath surm o unt e d by L e and e r in swimming acr o ss e ach ,

day and t h e fat e o f d e ath at last ov e rtaking him suits t h e id e a h e r e e x ,

t r e m e ly w e ll [ B ut furth e r ] this oc e an and this sh or e sugge sts t h e

.
,

l arg e r m e taph or of t h e s ea of D e ath and t h e e lysian sh ore of t h e li fe b e y o nd

D e ath [Th e lat e P rofe sso r A G NE WC O M E R sugg e st ed an int e rpre tati o n of
. . .

t h e passag e which I h e re s e t d own th o ugh h e e xpr e s se d h i mse lf as hav i ng n o ,

gr e at c o n d e nc e i n it : P arts d oe s n ot se e m t o m ean S e parat e s which w o uld

,

l e ad us t o e xp e ct sh ore s n ot sh ore P e rhaps it m e ans l e ave s r ec ed e s from

,

.

, ,

as i n R 2 I I I i 3 : Yo ur so u l s must part your b odi e s Th e n l ove is like n ed t o

.
, , ,

.

an oc e an with its ti d e s an d w e may paraphrase : Le t this sad int e rim b e o nly

,

l ik e wat e rs that r e ced e fro m th e ir sh or e wh e r e v i z by this oc ean of l ove , , .

,

( dr o pping t h e i mag e of a r e al oc e an at this p o int ) t w o c o ntract e d n e w c om e , , ,

dai l y t o t h e banks that wh e n th e y s e e t h e tid e of l ove c o m e i n again m or e

, ,

bl e st may b e t h e sight C e rtainly this carri e s o ut t h e th ought of t h e ear l y

.

part of t h e s onn e t far be tt e r than t h e imag e Of a su nd e ring ood which at , ,

b e st is diffi cu l t t o work ou t satisfact orily B ut I admit that w e a re und e r n o

,
.

o bl i gati o n t o se e k unity of th o ught i n t h e s o nn e ts I c a n n ot say that I nd .

t h e c o ntinuity of th ought i n t h e so nn e t obscur e th o ugh it is tru e that t h e i mag e ,

i n this quatrain is f or S h re markab l e i n its lack of d i stinctn e s s To m e it

, .
, .

sugge sts a pair of l ove rs w h o l ive o n t h e Opp osit e sid e s of a bay or e stuary ,

wh e r e t h e oc e an may b e said t o part t h e sh or e and w h o c o m e d ai l y t o th e ir

,

r e spe ctive banks f or a vi e w o f e ach oth e r which is t h e m or e b l e st f or t h e

situati on which mak e s it d ifcu l t t o obtai n And this int e rpr etation may per .

haps b e sup port ed by a passage br ought t o my att enti on by MR H OR AC E .

D AV I S i n 3 H 6 ii 35 38 :
,
I 1 .
, , ,

L ik e that stan ds upon a pro m ont o ry

on e

And spi es a far off sh ore wh er e h e wo u ld tr ea d -

,

Wishing his foot we re equa l with his e y e ,

And chid e s t h e sea that sund e rs him f rOm th e nc e .

F or t h e th ought of t h e quatrain cf S 52 ; it is pre se nt e d i n t h e na l c oup l e t , . .

i n an u nmistakab l e image Th e change fro m t h e rst t w o quatrains t o t h e .

third th e n is o n l y i n t h e image ry : t h e p oe t rst says that i nt e rrupt ed l ove

, ,

o ught t o b e as capab l e of ren ewi n g itse l f as appe tit e which must b e n e w l y ,

satis ed eve ry d ay ; th e n that int e rrupti o n sh o u ld e ve n have t h e capacity of

,

i nt e nsifying l ove which is m or e b l e st on its return than if th e re ha d b ee n n o

,

i nt e rim BD ] . .
L VI I ] TH E S ONNETS OF S HAK E S P EAR E 1 45

10 . t TYL E R : Th e w ords a re impo rtant as acc ording with t h e

con tra c e d n e w .

p o siti o n that wh e n this s o nne t was writt e n S h s fri e n d ship with Mr W H

, , .

. . .

was stil l n e w .

11 . b anck e s . B E E C H I NG : Cf M V V i 1 1
. . .
, , ,

S t oo d D id o with a will o w in h e r hand

U po n t h e wild s e a banks and waft h er l ove -
,

To c o m e again t o C arthage .

13 . car e . SC H M I D T: S orr o w .

I S AAC [vi e ws this as a l ov e s o nne t ] I t is su ffi ci e nt t o ca ll t o min d t h e .

t o ne which p oints dire ctly t oward S 75

, On e may d e mand o f th os e w h o . .

think o th e rwise so m e pr oo f that S h s fri e ndship was c o upl ed with that vi ol e nt

.
'

t e nd e rne ss which b oth s onn ets e xhibit a h d which can have j usti e d t h e c om
parison of t h e fri e nds with t w o n e w l y b e tr oth ed ( Arch i v 6 2 : 1 2 .
,

57

B E I NG y ou r s la n e w ha t
h ould I d oe b u t t e n d s ,

Vp o n t h e h o u r e s a n d t i m e s o f y ou r d e s i re ?
,

I h a ue n o p r e c i o u s t i m e a t a l t o s p e n d ;
Nor s e r u i ce s t o d oe t i l y o u re q u i re .

Nor d a re I ch i d e t h e w or ld w i t h out e nd h ou re ,

Wh i l s t I ( my s o u e ra i n e c loc k f or y ou ) w a t ch t h e ,

Nor t h i n k e t h e b i t t e r n e s s e of a b s e n ce s ow re ,

Wh e n y o u h a ue b i d yo u r s e r ua n t on c e a d i e ue .

Nor d a re I q ue s t i on w i t h my i ea li o us t h o u gh t ,

Wh e re y ou m a y b e or you r a ffa i re s s u p p os e
, ,

B u t l i ke a s a d s la ne s ta y a n d t h i n k e o f n o u gh t
S a u e w h e re y ou a re h ow h a pp y y o u m a ke t h o s e
, .

S o t r u e a f oole i s lOue t h a t i n y o u r Wi ll , ,

( Th o u gh y o u d o e a n y t h i n g ) h e t h i n k e s n o i ll .

h oure ] w orld wi th out

- -
end -
h ou r C 1
, S ; w orld wi th ou t-en d
I -

I S AAC , [ again vi e wing this an d S 58 . as addr e sse d to a l ady c o mpar e s th e m

,

with Ro sa l in e s sp e e ch i n

L . L . L , V,
. ii 6 0 6 8
,

That sam e Bir o n I

ll t ortur e e re I go .

0 that I kn e w h e w e r e but i n by t h e w ee k !
H ow I w ou ld mak e him fawn an d b eg and se e k ,
 TH E S ONNETS OF S HAKE S P E AR E
An d wait t h e se as on an d ob s e rve t h e tim e s ,

An d spe nd his pr od igal wits i n b oo t l e ss rhym e s ,

And shap e his se rvic e wh ol ly t o my h e sts ,

And make him pro u d t o make m e pr o ud that j ests !

S O p e dant l ik e w o u ld I o e r s w a y his stat e

-

That h e sh o uld b e my f oo l a n d I his fat e .

( Arch i v , 61 :

KRAU S S n ot e s sam e r e se mb l anc e an d thinks that both passag e s have

th e ,

r e f e r e nc e t o t h e tyranny of L ady P e n e l o p e R ich o n e i n c o nn e cti o n with S i d n e y , ,

t h e o th e r with Wi lliam H e rb e rt (J a h rb 1 6 : . .
,

VO N MAU NTZ [ c o mpar e s Ovid Am ores I I I xiv 4 1 , , , ,

Ni l e q u i d e m i nquiram : n e c qua e c e lar e , p a ra b i s ,

I n s eq ua r , e t falli m u n e r i s instar e ri t .

D OWD E N : Th e abse nc e spo ke n of i n this so nn e t see ms to be v ol untary

abse nc e on th e part of S h s fri e n d .

.

5 w orl d
. with out e n d MAL ONE : C f L L L V 1 1 7 9 9 : To mak e a
. . . . .
, , ,

wor l d wi th o ut e n d bargain in J D B UTL E R N 89 Q 9 t h S 1 1 : 44 8 ) n ot e s

- -

. . . .

.
, .
,

that t h e phrase is f ou nd i n t h e Ki ng Jam e s B ibl e in I s a 4 5: 1 7 and E ph 3 : 2 1 . .

,

but that f or S h it e xist e d o nly in t h e R h e i ms B i bl e of 1 58 2 Mi ss P OR TE R

. .
,

h owe v e r pr o p e r l y r e f e rs it t o t h e Glori a of t h e B ook of Common P ra y er ] L E E

, .

vi e ws t h e phrase as imitative of t h e c o mp o und e pith e ts o f t h e pe ri od call e d by ,

R o nsard vocab l e s c o mp o se z and by S i dn e y c o mp o siti ons of t w o or thr ee

wor d s t oge th e r ( F ren ch R en a i s s a n ce i n E n gla n d p

.
, .

6 s ove r ai n e [ F or th o se c o nc e rn e d t o discuss t h e s e x o f t h e p e rso n a d dr e sse d

. .
,

it may b e pr op e r t o cal l att e nti o n t o t h e fact that S h fr e qu e nt l y use s this w ord .

of w o m e n ED ]. .

8 s e rvan t K N I G H T [ c o nsi d e rs this t o b e d e cisiv e f o r t h e vi e w that S o nn e ts

. .

6
5 5
8 w e r e addr e sse d t o a w o ma n ] T h e l ady was t h e m i str e ss t h e l o v e r t h e ,

se rvant i n t h e ga ll ant ry of S h s tim e [ B ut this us e o f c o urse did n ot put an

,
.

. , ,

e n d t o t h e o th e r use s o f t h e w or d ED ] . .

s u ppo s e S C H M I D T: F igur e t o o n e s se l f imagin e [ Th e o n l y u s e of t h e

10 . . , .

word i n S h with a dire ct obj e ct

. . ED ] . .

13 . tru e a f oole S TO P E S : A sugge sti o n o f u nwi sd o m i n t h e passi o n I t may

. .

b e i nt e nd e d t o b e ar a d o ub l e m e aning Wi l l MASS E Y [ tr e ats this s o nn e t as . .

b e l o nging t o t h e gr o up of th o se c o ntaining pu ns o n t h e po e t s nam e ( p

. .

D OWD E N : I f a play on words is i nt e n d e d it must b e Love i n y o ur Will ,

y o ur Will S h ) can think n o e vi l of y o u d o what y o u pl e ase ; an d a l so L ove

.

,

can disc ov e r n o e vi l i n y o ur wi ll L E E : [ C apital i z ati o n ] was t h e usua l practic e

.

at t h e tim e i n t h e cas e of this and l ike w o rds i n p oe try e g Natur e Truth , . .

, , ,

Wi t Z e al S o ul A d o ubtfu l e n d e avo r has b e e n mad e t o d e t e ct i n t h e w ord h e re

, , .

a tam e pu n [Ty l e r Wyndham B ut l e r B ul l e n and Wa l sh a re t h e m od e rn

.
, , , ,

e d it o rs wh o re tain t h e capit al i n th e ir t ext ED ] . .

Lv11 ] TH E S ONNETS OF S HA K ES P E AR E 1 47

TYL E R [ n ot e s what h e c onsi d e rs to b e signicant r e s e mb l anc e s b etwe e n pas

sage s i n this and t h e f o l l owing so nn e t an d a l ett e r of P e mbroke s t o C e ci l dat e d

,

J un e 1 9 1 6 0 1 : I cann o t f or b ea re t e l ling of y o u that y e t I e ndur e a g r i e uou s

,
'

I mpr i s o nm e nt s o ( th o ugh n ot i n t h e w or l d s misj udging o pini o n ) y e t i n my

.
,

se lf I f ee l still t h e sam e or a w ors punishm e nt f or d oe y ou acc o u nt him a fr ee

, ,

man that is r e strain e d fr o m c o ming wh e r e h e m ost d e sir e s t o b e d e b a r d fr o m

,

e nj oyi ng that c o mf o rt i n r e sp e ct of which al l oth e r e arthl y j o ys see m e mise ri e s ,

th o ugh h e have a wh ol e wor ld e ls t o wa l k i n ? I n this vi l e case a m I wh o se ,

mise rab l e f o rt u n e it is t o b e b a n i s h d fr o m t h e sight of h er i n wh o se f a uor t h e

,

ballanc e c onsist e d of my mise ry or h a p p i n e s and wh os e I n c o m p a ra b le b e auty

was t h e o ne ly so nn e of my l itt l e wor ld that a l o n e ha d po we r t o give it lif e and

,

h ea t e Now j udg e y ou wh e th e r this b e a b o ndag e or n o : f or min e o w n e part I

. ,

pr ot e st I think my f ortu n e as s la ui s h as any mans that l ive s f e tt e r e d i n a gal l e y .

Yo u hau e say d y ou l o u ed m e , I have oft e n f oun d it ; but a gr e at e r t e stim o ny

y ou can n e u e r sh o w of it th e n t o v s e y o ur b e st m e ans t o r i d d m e o u t of this
h e ll Ty l e r s c o nc l usi o n is : ] As t h e l e tt e r was writt e n fr o m Lo nd o n t h e po ssi
.

b i li t y may sugg e st itse l f that if it was writt e n by t h e hand of P e mbr o k e it was

, ,

r e al l y c o mp os e d by S h B ut it is pe rhaps m or e like ly that P e mbr oke b orr owe d

.

id e as fr o m t h e so nn e ts which h e had r ec e iv ed fr o m S h ( I ntr o pp 59 . .

, .

[ It is a p oi nt of s o m e i nt e r e st t o i nquir e w hat is t h e i nt e nd e d t o n e of this and

t h e f o ll owing S o nn e t. B U TL E R ( p 6 3 ) says S h is evid e ntly ve ry angry and
.
, .

,

u nd e rstand s t h e mann e r t o b e on e of bitt e r ir o ny H e a l so vi e ws t h e pair as

.

c onc l usiv e f or t h e r e l ative l y low rank of t h e pe rso n a dd r e sse d I s it con c e i v

ab l e that in S 58 S h sh ou ld t e ll a po we rfu l n ob l e man that h e c o u ld n ot eve n
. .

think of c ontr oll ing his l ibe rty or r eq uiring hi m t o gi ve an acc o unt of his tim e ?
1 48 TH E SONNETS OF S HAK E S P E AR E [L VI I I

58

TH AT God forb i d , t ha t ma d e me rs t y our s la ne ,

I s h o uld i n t h o u g h t c o n t r o u le y ou r t i m e s o f p l ea s u re ,

Or y o u r h a n d t h a cc o u n t o f h o ure s t o c ra u e
at

B e i n g y o u r va s s a i l b o u n d t o s t a i e y o u r le i s u re .

Oh le t m e s u ffe r (b e i n g a t y o u r b e c k )
Th i m p ri s o n d a b s e n c e Of y o u r li b e r t i e

An d p a t i e n ce t a m e t o s u ff e ra n c e b i d e e a ch ch e c k , ,

Wi t h o u t a cc u s i n g y o u o f i n i u ry .

B e w h e re y o u li s t y ou r ch a r t e r i s s o s t ro n g , ,

Th a t y o u y o u r s e lfe m a y p ri u i le d g e y o u r t i m e
To w h a t y o u w i ll t o y ou i t d o t h b e lon g , ,

You r s e lfe t o p a r d on o f s e lfe d oi n g c r i m e -

.

I a m t o w a i t e t h o u gh w a i t i n g s o b e h e ll, ,

No t b la m e y o u r p l e a s u r e b e i t i ll o r w e ll .

3 . th

accoun t] th e a ccou n t L, M A Kt B
, , , , D e l, C l G1 , , Kl y , Ca m D , o, R,
t , Ox , B ut , H er B e N , , .

Th i m pri s on d ] Th e i mpri s on d C M A Kt B Cl, Gl, Kl y

6 D e l, Ca m

.
, , , , , , ,

D o, R, t , Ox , B ut , etc .

7 .
pa ti e n ce tam e , to s u er an c e ] pa ti ence , ta me to su ff era n ce , G 2
, 5 2
, etc

pa ti en ce ta me to su era n ce; C .

1 0 1 1 . tim e To] ti me: D o M A Kt , , , C0 11 2

, B , D cl
l v2
, Hu , S ta , Kl y , Ha l , Wa ;
ti me; D o B ut , Be .

WAL S H : A m e r e r e plica of t h e pr ec ed ing [ so nnet ] and was pr obably int e n ded ,

to supe rse d e it .

3 to. r [ Re gard ing t h e e xp l e tive t o s ee AB B OTTz] J ust as that is

c a ve .
,

s om e tim e s o mitt e d and th e n i nse rt e d t o c o nn ect a distant clau se with a rst part
o f a se nt e nc e s o so m e tim e s to
,

is inse rt e d appar e nt l y f or t h e sam e r e aso n

.

6 . D ELI US : b e ar t h e fact that t h e lib e rty which y ou give or p o sse ss

Le t m e , ,

is wanting t o m e a captive D OWD E N : Th e se parati o n fr o m y ou which is

, .
,

pr op e r t o yo ur stat e of fr ee d o m but which t o m e is impris o nm e nt Or [t h e ,

.
,

int e rpre tati o n of D e lius may b e right ] WYND H AM : Th e abse nce which aris . ,

ing out of y o ur l ibe rty is as impriso nm e nt t o me B U TL E R : L e t me suff e r t h e

, .

i mpriso nm e nt o f b e ing k e pt at h o m e waiting f or y ou whi l e y ou take y o ur

l ib e rty an d abse nt y ourse l f ( aft e r having promised t o c o me t o s ee me ) B E E C H .
L v1 1 1 ] TH E S ONNETS OF S HA K E S P EAR E 1 49

I NG : abse nc e which th o ugh it r e pre se nt l ibe rt y t o y ou m e ans impriso n

Yo ur , , ,

m e nt t o m e [ S o substantial l y L E E ]
.
, , .

7
. ta m e to s,u e r a nc e M A L O N E : C f L ea r I V . vi 2 2 5 : Mad e tam e t o f o r
.
, , ,

tune s bl o ws D OWD E N : B e aring tam e ly e ve n cru e l distr e ss TYL E R : S ubdu e

. .

pati e nc e int o suff e ring [ F r o m which h e wo uld see m t o take tam e as a ve rb

.

,

th ough h e puts t h e usua l c omma aft e r pati e nce

E D ] VE R I TY : [ S u f

. .

f e ra n c e may m e an t h e ve rge of gr e at f orb e arance cf M V I i i i 1 1 1

. . .
, , ,

S u ff e ranc e is t h e badg e of al l o u r L E E : C o mplaisant in su ff e ring

B E E C H I NG : S ubdu e d s o as t o suff e r C f K J I V ii 2 6 2 : Tam e t o th e ir .

. . .
, , ,

o b ed i e nc e [ Miss P O R TE R a l o n e see s a po ssibility of k ee ping t h e Q p u n c t u a

.

ti on ex pla i n i n g z] Th e p oe t suff e rs tam e pati e nc e and bid e s t o t h e p o i nt of

,

su ff e ring e ach r e b u ff b i d e e a ch c h e ck R OL F E : E ndur e e ach r e buke or r e buff

. . .

I o pri vi l e d g e
. S C H M I D T: Auth ori z e l ic e n se [ C f L u crece 6 2 1 :
.
, To privil e g e
. .
,

dish o n o ur in thy
1 1 To MAL O N E : Th e r e can I think b e n o d o ubt that [ this is ] a misprint
. .
, , .

[ See t h e t e xtua l n o t e s f or t h e e xt e nt t o which his e m e ndati o n has b e e n a c

c e pt e d ] B E E C H I NG : Th e rhyth m and se nse of t h e quatrain a r e against [ t h e
Q r e ading ] D o what
.
y o u wi ll answe rs rh e t orically t o B e wh e re y o u list ;

e ls e th e r e is n o v e rb o f d o ing l eading up t o se lf d o ing crim e as b e t o

-
,

privil e ge yo ur tim e .

1 3 to wai t e
. K E LL N E R [ not e s this as a ki nd of absolut e innitive c om
.
,

paring A Y L I I I ii 1 6 2 : I t o l ive and d i e h e r sl ave ( H i s t Gra m

. . .

, , ,

. . .
,
 1 50 TH E S ONNETS OF S HAK ES PE AR E [1 1 x

59

IF t h e i r b ee n ot hi ng n ew , b u t t h a t w hi ch i s ,
H a t h b e e n e b e fo re h ow , a re o u r b r a i n e s b e g u i ld ,
Wh i ch l a b ori n g mis s e
f or i n ue n t i o n b ea r e a

Th e s e c on d b ur t h e n o f a f orm e r ch i l d ?
Oh t h a t re c or d c o u l d w i t h a b a c k w a r d lo ok e -
,

E u e n o f n e h u n d r e t h c ou r s e s o f t h e S u n n e ,

S h ow m e y o u r i m a ge i n s om e a n t i q u e b oo ke ,

S i n c e m i n d e a t r s t i n ca r r e c t e r w a s d o n e .

Th a t I m i gh t s ee w h a t t h e O ld w or ld c o u ld s a y ,

To t h i s c om p os e d w on d e r o f y ou r fra m e ,

Wh e t h e r w e a re m e n d e d or w h e r e b e t t e r t h e y , ,

Or w h e t h e r re u olu t i on b e t h e s a m e .

Oh s u re I a m t h e w i t s o f f orm e r d a i e s ,

To s ub i e c t s w o rs e h a ue g i ue n a dm i ri n g p ra i s e .

1 th e ir ] th ere 1 6 40 e t c
.
, .

4 b ur th e n ] bu rden G S E Co D e l D y S t a C l H a l H u Ox N B u ll Wa
2 2 2
. .
, , , , , , , , , , , , ,

6 h un d r e th ] h u n d red G e t c ; th ou s a n d S t e nge l c o nj
.
, . .

8 m i n d e ] mi n e 1 6 40 G S E
.
, , , .

11 Wh e th e r ] Wh e r Ox w e ar e ] we re G 5 E H u w h e r e ] wh a r C M A
.

.
2 2
, , , .

, , ,

K t B D e l C l Wh D o Ty Ox Wy B e B u l l ; w h r H u D y S t a ; wh eth er
, , ,
l
, , , , , , , , ,

Gl C a m C O R t
, ,
3
, ,B ut H e r ; were K ly ; w h e er N Wa
, ,

, .

R OL F E : H e r e ,
as Tyl e r n ot e s th e r e is pr e tty cl early a br eak of c o ntinuity
, .

[ TYL E R nds i n this so nn e t r e f e r e nc e s t o t h e d octrin e of t h e cyc l e s and

,

c ompar e s a passag e i n 2 H 4 I I I i 8 0 86 .
, , ,

Th e reis a hist ory i n al l m e n s live s

,

F iguring t h e natur e of t h e tim e s d e c e a s d

Th e which ob s erv d a man may pr oph e sy
, ,

With a n e ar aim of t h e main chanc e of things ,

As y et n ot c o m e t o l if e w h o i n th e ir see d s ,

And w e ak b e gi nnings li e i n t re a s ured .

S uch things b ec o m e t h e hatch and br oo d of tim e ]

I t wi ll b e s e e n that [ in t h e so nn e t ] t h e id e a is n ot simply that t h e l ive s of

m e n gur e t h e natur e of t h e tim e s d e c e ase d but t h e abse nc e of anything ,

r e a ll y ne w is supp ose d s o that e ve n t h e brai n itse l f lab ouri ng f or i nve nti o n

, , ,

can but pr od uc e agai n what it has form er l y br ought f orth What foll ows as t o .
LIX ] TH E S ONNE TS OF S HAK ES P E AR E 1 51

ve hund red c ourse s of t h e su n wo u ld see m t o point t o p re e xist e nce i n this -

,

rath e r than i n so m e f orm e r wor l d And h e r e it is worthy t o b e obse rved that .

wh e n S h was thus c ont e mplating t h e c ourse of things t h e id e a of an oc ean of

. ,

be ing se e ms t o have pre se nt e d itse l f t o his mi nd ; an d such an i d e a is in acc ord

anc e with what is said i n [ 2 H 4 I I I i 50 ] ab o ut t h e oc e an and its b e achy .
, , ,

e pe bb l e d sh o r e

g irdl e

[ C i S 6.0 ;

L ik e as
. t h e.wav e s mak e t o wards t h etc ] , .

[As t o t h e so urc e of this d octrin e f or S h ] so m e po ints of c o rr e spo n de nc e , .

i n t h e writings of Brun o and C ampan e l l a might po ssib l y b e d e t e ct ed B ut t h e .

d octri n e as it appears in t h e 59 t h an d 1 2 3rd S o nne ts was t h e d octrine of t h e

, ,

anci e nt S t oics which was re pr od uce d by t h e auth or of t h e biblica l boo k of

,

E ccles i a s te s Th e ve rse s i n t h e rst chapt e r of E ccles i a s tes wh i ch c o ntain

.

t h e d octrin e o f t h e cyc l e s a r e s o sali e nt an d pr o m i n e nt and l e nd th e mse l v e s s o ,

e asily t o qu otati o n that I canno t r eadily a l l ow t h e i mprobab i l i ty of S h s

, .

having obtain ed h i s kn ow l ed ge fro m this so urc e S h d oe s n ot spe ak of t h e . .

d octrin e as d e rive d fr o m his o w n r e ecti o n but rath e r as an hypo th e sis r ec e ive d ,

fr o m with o ut or h e ard fr o m oth e rs ( I ntr o pp 1 0 4 Mr s S TO P E S [f ol . .

, . .
,

l owing Tyl e r h e re and e lse wh e re i n suppo sing so m e i nt ere st on S h s part i n t h e .

writings of Gi ordano Bru n o thinks that t h e pr e se nt so nn e t is a r e fe re nc e t o

,

so m e lat e disc ussi o n of th o se writings b e twee n S h an d t h e fri e nd addr e sse d ] .

B E E CH I NG : Th i s s onn e t anticipat e s t h e th o ught of S o nn e ts 1 0 6 and 1 2 3 L E E .

S h s tr e atm e nt of t h e c e ntra l t e n e t o f Ovid s cyclica l cr e ed may b e b e st d e

.
~

d uc ed fr o m S o nn e ts 59 and 1 2 3 I n b oth th e s e po e ms t h e d octri ne of Natur e s

.

r otat ory pr oc e ss is t h e mai n t opic I n t h e rst so nn e t t h e po e t se r i o usly

e xamin e s t h e th e o ry with o ut c o mmitting hi ms e l f t o it ; in t h e se c o nd h e p r o

n ou nc e s i n its fav o ur a l be it with a smack of ir ony [Gol ding s ve rsi o n of

, .

Ovid s stat e m e nt is : ]

Things e b b and ow E v e n s o t h e tim e s by ki n d

.

D o y an d f ol l ow b ot h at o nc e an d e ve rm or e r e n e w , .

Things pass pe rchance fr o m p l ac e t o plac e y e t all fr o m wh e nc e th e y cam e , ,

Re turning d o unpe rish ed c o ntinu e stil l t h e sam e

, .

( Ou . R ev.
, 2 10 :

F . V H UG O : N e st i l
. pas trang e d e voir re ve nir ici c e tt e d octrine d e l a

-

m e t e m p s y c os e parti e d e l anc i e nn e E g ypt e e t d e la vi e i ll e Gau l e ? R e marqu o ns

aussi la c o nc l usi o n dans l aqu e ll e S h r e po ussa nt l i d e i ndi e nn e d e l i mm ob i li t .

,

e t l i d e bib l iqu e d e l a d eca d e nc e pr oc l am e av ec l a c e rtitud e d u g ni e le

, , ,

grand principe re volut i on n a i re d u prog r es i n d n i .

3 . i nv e nti on . Cf 38 8
.
, and n ot e .

r e c ord S C H M I D T:
5 . . Me m o ry R OL F E : Acc en t ed by
S h o n e i t h e r sy ll ab l e . .
,

as suits t h e m e asur e C f 1 2 2 8 . .
, .

7 8 MAL O N E : Wo uld that I c o u l d r e a d a d e scripti o n of y o u i n t h e e ar l i e st

-
.

manuscript that appe are d aft e r t h e rst u s e of l e tt e rs S TE E VE NS : This may .

allud e t o t h e anci e nt cust o m of inse rting r e al p ortraits am o ng t h e ornam e nts

of i ll uminat e d manuscripts with i nscripti o ns und e r th e m S C H M I D T [ und e r
, .
,

charact e r paraphrase s l ine

, S inc e th o u g ht was rst e xpr e sse d in writi n g .
1 52 TH E S ONNETS OF S HAKE S P E AR E [L X
10 . compos e d won d er . ROLF E : Wo n de rfu l comp ositi on .
[ See S chmi d t s

n ot e on 9,
1 1 . wh er e . MAL O N E : Wh e th e r . D OWD E N : Oft e n m o n osy ll abic i n El i z a
b e than v e rse [ C i V 69 A 30 4 : Wh e r e h e run or y ( Q

. . . .
,

[ F r o m this o nly C OLL I E R disse nts saying that t h e , cl e ar m e aning is ] I n what ,

r e spe cts w e re th e y b e tt e r ?
12 D OWD E N : Wh e th e r t h e age s re vol ving o n th e mse l ve s r e turn t o t h e sam e
.
, ,

things [ Cf 2 H 4 I I I i 4 6 : And see t h e r e v ol uti on of t h e

. . .
, , ,

ED ] .

1 3 1 4 LE E : [ C f S pe nse r s s o nne t t o L ord C har l e s H oward i n which h e

. .
,

t e lls his pa tr o n ] that his g ood pe rso nage and n ob l e d e e ds mad e him t h e

patt e rn t o t h e pre se nt a g e of t h e old h e r oe s of wh o m t h e antiqu e p oe ts we re

w ont s o much t o sing ( L i f e p .

, .

60

L I KE as m a ke tow a r d s t h e p i b led s h ore

t h e w a ue s ,

S o d o ou r m i n ui tes ha s te n t o t h e i r e n d ,

E a ch ch a n g i n g p l a c e w i t h t h a t w h i ch g oe s b e f ore ,

l n s e
..q u e n t t o i l e a ll fo rw a r d s d o c o n t e n d .

Na t i vi t y o n c e i n t h e m a i n e o f l i gh t .

C ra w l e s t o m a t u r i ty w h e r e w i t h b e i n g c r ow n d

, ,
-v-n v-
U

C r oo ke d e cl i p s e s ga i n s t h i s gl or y gh t ,

An d t i m e t h a t gaue d o t h n ow h i s g i f t c o n fou n d ,

Ti m e d o t h t ra n s xe t h e or i s h s e t o n y ou t h ,

An d d e lu e s t h e p a ra le ls I n b ea u t i e s b row ,
F eed e s on th e ra r i t i e s o f n a t ur e s t ru th ,

An d n ot hin g s ta n d s b u t f or his s iet h to

ti mes
h op e my ve rs e s h a ll 5
in ,
f "

y w or t h d i s pi g h t h is c r ue ll h a n
.f

1 .
pi b le
13 . tim e s i n h ope , m y ] ti mes , i n h ope , my G 2
, 5 2
, E ; ti mes i n h ope my C , C o ,
D el, e t c .
( e xc e pt Ty ) ; Ti me s wa n h ope my F

l e ay c onj ; Ti me s own h ou r my
.

B ul l och c o nj .
; ti me

s re bu k e my an o n c o nj .

1 . S TO P E S : By this time
inland poe t had l oo k e d u po n t h e s ea bea ting
th e

up o n so m e p e bbly b e ach pr obably D ov e r [ F or t h e f o rm pi bled see N E D

, .
, . . .

u nd e r p e bbl e wh e re many variant f orms a re n ot ed so m e go ing back t o

,

,

O E t h e ph o n e tic r e lati o ns of which a re

.

1 4 L E E : [ Cf G o lding s Ovid Meta m xv : ]

-
. . .
,

As e v e ry wav e drive s o th e rs f o rth an d that that c o m e s b e hi nd ,

B oth thrust e th and is thrust hi mse lf ; e ve n s o t h e tim e s by k i nd

LX ] TH E S ONNE TS OF S HAK E S P EAR E 1 53

5 . M AL O N E : T h e main o f light is] t h e gr e at b ody of light S O t h e .

,

main o f wat e rs PAL G R AVE : Wh e n a star has ri se n and e nt e re d on t h e full

.

str e am of light D OWD E N : Th e e ntranc e of a child i nt o t h e w o rld at birth is

.

an e ntranc e int o t h e main o r oc e an of l ight TYL E R : Th e w orld c o nc e ive d as .

th ough a wid e oc e an e nl i ght e n e d by t h e rays o f t h e sun WYND H AM : This and .

t h e t w o n e x t l in e s hav e pri mari l y and e sse ntially an astr o l ogica l signicanc e

Nativity is a t e rm of astr ol o gy d e n oting t h e m om e nt o f a child s birth i n

r e lati o n t o t h e sch e m e or gur e of t h e h e ave ns particularly of t h e Twe lve ,

H o use s at that m o m e nt and it is e mp l oye d by S h a l m o st i nvariably with this

, , .

c o nn otati o n L ea r I ii 1 40 : My nativity was un d e r Ursa Maj or ; P er

.
, ,

,
.
,

I I I i 3 2 : Th o u hast as chiding a nativity as r e air wat e r e arth and h e ave n

, , , , , ,

can mak e I H 4 I I I i 1 3 : At my nativity t h e fr o nt of h e ave n was fu l l of

.
, , ,

e ry shap e s H e r e th o ugh po ssib l y with a s e c o ndary e ch o of t h e s e a

.
,

i mage fr o m t h e rst quatrain main of l ight m e ans t h e h oll o w sph e re of t h e

,

unive rs e ll e d with light as c o nc e iv ed i n S h s day L if e b e ginning at a p o int i n .

.

tim e within t h e shining sph e r e of t h e h e ave ns wh ose as pe ct is charged with its ,

fat e crawl s t o maturity o nl y t o b e th w art ed by th e ir fat efu l po we rs B E E CH I NG :

, .

Nat i v i t y or birth is c o mpar ed t o t h e sun crawling u p t h e sky call e d t h e

,

main of light t o d i stinguish it fr o m t h e main of wat e rs [Wyndham s n ot e

.

is of r e al val u e as dir e cting att e nt i o n t o t h e astrol ogical charact e r o f t h e image

, ,

which had curi o usly e scap ed e ar l i e r c o mm e ntat ors e xc e pt pe rhaps P a l ,

grave I n Vi e w of t h e t e rm ec l ipse s h oweve r I think that B ee ching is right

.

, ,

i n taking t h e gur e t o have primary r ef er e nc e t o t h e sun E D ] LE E : Ovid . .

( Meta m xv ) d e scrib e s D am e Natur e as bringing man ou t fr o m t h e w o mb

. .

[ i n] t o ayr e f or hi m t o pass f o rt h t h e spac e o f y o uth t o we ar ou t his

, ,

midd l e a g e apac e an d nally t o have his str e ngth u nd e rmin e d by a g e and

,

t o b e c o nsum e d

e v e ry whit

by l inge ring d e ath

( Gol ding s tran s ed .

, .

1 6 1 2 p 1 8 6 a ) [ I n t h e On Rev 2 1 0 : 4 7 3
, . . L ee a l so ca ll s att e nti o n i n c o nn e c . .
, , ,

ti o n with t h e crawl s of l ine 6 t o Ovid s d e scripti o n of t h e baby s e ar l y

,

e n d e av o ur t o craw l Th e n oti o n h owe ve r of a ch i ld craw l ing t o maturity

.
, ,

i n this lit e ra l fashi on is s o painfu l that w e may b e al l owe d t o f orge t it , ED ] . .

6 Cr aw l e s TYL E R : Me aning pr obably n ot m e re l y that t h e pr ogr e ss is

. .
, ,

s l ow but that t h e c o nditi o n of mankind is abj ect Cf H a ml I I I i 1 30 : . . .

, , ,

What sh ou l d such fe ll ows as I d o crawl ing b e twee n h e ave n and e arth

7 Cr ook e d S CH M I D T: Ma l ignant [ Cf T G V I V i 2 2 : C roo ked f or

. .
. . . . . .
, , ,

8 . n ot e on 5 6
conf oun d . Se e , .

9 t
.ran s xe S C H M I D T: Transp l ac e r e m ov e [ Th e w or d d o e s n ot occ ur e l s e , .

w h e r e i n S h an d I k no w n ot wh e r e S chmi d t can hav e g ot his r e nd e ring S ur e l y

.
, .

t h e w or d is ge n e ra ll y u nd e rst ood i n its c o mm o n m e aning of a Tim e lik e him of ,

Browne s e pitaph w h o may b e expe ct ed t o thro w a dart at th ee

,

EU ] . .

ori s h MAL ONE : E xt e rna l d ec orati o n S CH M I D T: Gl oss ost e ntati o us e m

. .
,

b elli s h m e n t [ C i L L L I I i 1 4 : Th e paint ed ourish of y our

. . . .
.
, , ,

10 MAL ONE : Cf 2 1 2 ; 1 9 9 [With r e fe r e nc e t o d e l ve s B E E C H I NG

.

.

, , .
,

r e marks that Tim e appe ars n ot o n l y with his c o nve nti ona l d art and scyth e ,
1 54 TH E S ONNETS OF S HAK E S P EAR E
b ut a l so with a spa d e B ut sure ly not eve n Tim e w ou ld b e so cru e l as t o u se

.

a spad e on t h e bro w of b eauty ED ] . .

1 1
. n atur e s tr u t h TYL E R : That which is natural l y and g e nuin e ly b e autifu l
.

and e xc e ll e nt as opp o se d t o what is m e r e trici o us and articial [ SO B E E C H I NG ]

, . .

[ F or truth s ee n ot e o n 54 2 Ma y n ot t h e r e f e re nc e b e s 1 m p ly t o t h e rar e

.
, ,

things cr e at e d by t h e d e l i ty of Natur e ? E D ] .

13 . ti m e s i n h ope B UL L O CH e xplai ns his e m e ndati o n by saying that

.

Tim e s ow n h o ur is t h e last h o ur of tim e or c o nsummati o n of all things

,

and cal l s att e nti o n t o t h e pe rso nicati o n i n t h e f oll ow i ng lin e ( p D OW . .

D E N : F utur e tim e s . B E E CH I NG : S chmidt tak e s i n h Op e with stand but

,

t h e pr e vi o us l in e sh ows that


stand is use d abso lut e ly f or e ndur e

[F or .

i n h o pe with t h e m eaning futur e cf T of A I V iii 52 7 : B e n e t
, . . .
, , ,

e ith e r i n h o pe or pr e se nt

ED ] . .

B E E C H I NG : Not e t h e c o ntrast b e twee n t h e sm oothn e ss of t h e rst quatrain ,

d e scrib i ng t h e work of Tim e in which e ach line ru ns t o its e n d l i k e t h e ri pp le

,

t o which it c o mpar e s t h e succ e ssi o n o f minut e s and t h e se c o nd quatrain which , ,

by its sl own e ss and r e pe at ed bre aks sugge sts t h e lab our of human l i f e which
Tim e hind e rs at e ve ry st e p ( I ntr o p l iii ). .
, . .

I n t h e MS b oo k r e f e rr e d t o at t h e e n d of t h e n ot e s on S 2 as having be e n
. .
,

i n t h e posse ssi o n of Mr B e rtram D ob e ll is a kind of c ompo sit e so nn e t mad e up

. ,

o f lin es 5 1 2 o f S 6 0 an d l in e s 38 of S 6 5 Th e l in es fro m S 60 inc l u d e n o

. . . .

t ext ua l pe cu l iariti e s .
 m ] TH E S ONNE TS OF S H AKES P EAR E 1 55

61

I s i t t h y w i l, t h y I m a ge h ou ld k e e pe ope n s

My b ea uy e i e li d s t o t h e w ea ry n i gh t ?
D os t t h o u d e s i re my s lum b e rs s h ould b e b ro ke n ,

Wh i le s h a d ow e s li ke t o t h ee d o m oc ke my s i gh t ?
I s i t t h y s p i ri t t h a t t h o u s e n d s t f ro m t h ee

S o fa rr e f r om h om e i n t o my d e ed s t o pry e ,

To n d o u t s h a m e s a n d i d le h ou r e s i n m e ,

Th e s k op e a nd t e n u re of t h y I e lo u s i e ?

0 no, th y loue t h o u gh
m u ch i s n o t s o gr e a t , ,

I t i s my lo u e t h a t k e e pe s m i n e e i e a w a ke ,

M i n e ow n e t r ue l oue t h a t d o t h my r e s t d e fe a t ,

To p l a i e t h e wa t ch m a n e ue r f or t h y s a ke -
.

F or t h e e w a t ch I w h i l s t t h o u d os t w ake e l s ew h e re , ,

F r o m m e fa rre of w i t h o t h e rs a ll t o n e e re , .

3 . s l um b e rs ] s lum ber B ut .

6 .
pry e , ] pry ? G , E .

8 . t en ur e ] tenou r C , M , etc ( e xc e pt Wy Wa )
.
, .

] of G e e r e ] a ll too m o re 1 6 40 G : G S E C
1
of all to h all
2
14 .
, et c .
, too nea r , , , ,

Co Hu , , Dy , C l, G1, Wh , et c .
; a ll- too- nea r M A Kt B , , , , D e l, Sta ; a ll-too n ea r

K ly .

MAS S E Y : A palpab l e c o ntinuati o n of [ S 43 b e ing o n e of t h e gr o up of so nn e ts .

,

on a j o urn e y (p S ee n ot e s o n S 43 f or t h e r e se mblanc e t o S idn e y s

. . .
,

A 89 S
.

R OL F E : [ C i S o nn e ts 2 7
. .

D OWD E N : Th e j eal ous fee ling of S 57 r eappe ars in this so nn e t . .

1
3 . op e n [ WYND H AM n ot e s t h e
b r ok e n . asso nantal rhym e Cf . .

r emember d : te nd er d i n S P R I C E [ c o mm e nts o n t h e un e xp e ct e d imp e rf ec t

.

rhym e as d e lici ous ( p . .

4 WYND H M F or sha d ows

A C f 1 1 12 n o t e on 3 7 1 0
. : 43 .
, .
, s ee , .

7 sh am e s F L E AY [ c o upl e s this with 7 2 1 3 ; s ee his n ot e o n that l in e ]

. .
, .

i d l e h oure s D OWD E N : C f D ed icati o n of V 69 A : I

v ow t o tak e a d v a n

. . . .

t ag e of al l id l e h o urs

.

8 t e n ure WYND HAM [ ( see t e xtua l n ot e s ) k ee ping t h e Q sp e l l i ng r ef e rs t o

. . , ,

his n ot e on t h e w ord in L ucrece 1 3 1 0 wh e r e h e int e rpr e ts it in t h e l e ga l m e aning ,

of t h e transcri pt or c o py of an instru m e nt Miss P OR TE R d e f e nding t h e sa m e .

,

f orm of t h e word d e n e s it ( f or b oth pa s sage s ) as a pap e r or oth e r c ontain e r

, .

What ever may b e t h e appropriat e ne ss of th e s e r e nd erings f or t h e l in e i n

1 56 TH E S ONNETS OF S HA K ES P E AR E X
[ IIL

L u crece , I am quit e unab l e t o un d e rstand e ith e r of th e m as appli e d t o t h e pre s

e n t passag e wh e r e t h e usual S hak e sp e ar e an m e aning o f t h e w o rd ( spe ll e d b o th
,

t e n or and t e nur e i n old t e xts ) v i z e sse ntial c o nt e nt or m e aning is , .

, ,

obvi ously applicabl e ED ] . .

9 B E
. E C H I NG : Th e half amuse d half d e sp o nd e nt answe r t o t h e sad qu e s
-
,
-

ti o ns in t h e rst t w o quatrains is give n in a l i n e of alm ost ch ok i ng rhythm .

( Intr o p liv ) WAL S H : This lin e suits much b e tt e r t h e charact e r of t h e dis

.
, . .

dainful mistr e ss than that of t h e faithfu l fri e nd .

1 1 d e f e at S C H M I D T: D e str oy
. . .

1 3 1 4 [ I S AAC r e gards th e se l in es as m e aning l e ss u n l e ss a d dre sse d t o a

.

woman ( Arch i v 6 1 : .
,

f l
S NN o s e e lo ue
I E -
f
h a l m i ne ei e p o s s e s s e t ,

An d a ll my s o u l e a n d a l my e ue ry p a r t ; ,

An d f o r t h i s s i n ne t h e re i s n o r e m e d i e ,

I t i s s o g ro u n d e d i n wa r d i n my h ea r t .

Me t h i n k e s n o fa c e s o g ra t i ous i s a s m i n e ,

No s h a p e s o t r u e n o t r u t h o f s u ch a cco u n t , ,

An d f or my s e lfe m i n e ow n e w o r t h d o d e n e ,

AS I a ll o t h e r i n a ll w o r t h s s u rm ou n t .

B u t w h e n my g la s s e s h e w e s m e my s e lfe i n d e e d
B e a t e d a nd c h op t w i t h ta n d a n t i q u i t i e ,

M i n e ow n e s e lfe l oue q u i t e c on t ra r y I re a d
S e lf e s o s elf e lou i n g w e re i n i q u i t y
, ,

T i s t h ee ( my s e lfe ) t h a t f or my s e lfe I p ra i s e

P a i n t i n g my a g e w i t h b e a u t y o f t h y d a i es ,

4 m y
.
] th e G 2
.

7 . f or d o] f or so Wa l k e r c onj .
, D el c onj .
; so do Let t s om c onj .
,

Hu z
; f or to Kt . own e ] one 8 2
, E .

8 . As I ] I d o C . w orth s ] worth B ut .

10 . B e a te d ]

B a ted M ; B a ted
1
Wa l ke r c onj .
, Hu z
, R ; B la s ted S t ee c onj
B ea ten C o c onj .
, K inne ar c onj H u Wh
l
.
, , . ch opt ] ch a

pp d D y , S ta , Wh
, C0 3
,

Hu z
.

11 . se lf e l ou e ] H yph e n ed
by L et c , .

12 . s e lf e l oui ng] H yph e ne d by G e t c , .

[This s o nn e t cann ot b e u nd e rst ood with out re a l i z ing it as a fr e sh l y ing e ni ous

tr e atm e nt of t h e c o nc e it of i d e ntity on which s ee n ot e s on 2 2 an d 36

ED ] , . .
1 x 11 ] TH E S ONNE TS OF S HAK E S P E AR E 1 57

7 . D
ELI US : d e ne und e rstand I d o d e ne u nl e ss we e m e nd
[ F or do , ,

do

to

so D OWD E N : D oe s f or myse lf m e an f or my ow n s a t i s fa c
.

ti o n P ROL F E : P e rhaps it m e r e ly adds e mphas i s t o t h e stat e m e nt WYND H AM .

My d e n i ti o n of my worth is such that [e t c ] B E E C H I NG : [ I f t h e c o rr e cti o n s o , .

myse lf we r e ad opt ed w e sh o uld also have t o r ead d oes

, as myse lf

i n S h is always f o ll owe d by t h e th i rd p e rso n of t h e v e rb I f any c orr ecti o n is

. .

mad e it w o uld b e b e tt e r t o r e ad An d I myse lf my ow n w orth s o d e n e but

,

,

it is simpl e r t o und e rstand t h e o m i ssi o n of t h e p e rso nal pro n o u n u nd e rst oo d

fr o m m e th i nks [Th e l at e P r of e sso r A G NE WC O M E R int e rpre t e d t h e l i n e :

.

. .

I d e n e my ow n wo rth as j ust myse lf th e r e is n o oth e r d e niti o n po ss i

,

Yo u al o n e a re y o u

b le . Cf . 84 , ,

8 oth e r [ F or this u s e in t h e plural cf ABB OTT

. . 1 2 and F R ANZ , .
, , ,

1 0 On t h e th e m e of t h e
p oe t s a g e s e e n o t e s o n 2 2 I R G WH I TE

9 .
, , , . . .

[ calls lin e I O] a v e ry p e rpl e x i ng lin e wh i ch se e ms t o i mply that t h e p oe t was ,

n ot sp e aking i n his o w n p e rs o n VON F R I E S E N : I n itse lf it is n ot unnatural that

.

a man w h o was marri e d at t h e a g e of e ight e e n and had b e c o m e a fath e r at t h e

c o mpl e ti o n of his l g t h y e ar sh ould th i nk of himse lf as gr owing o ld with t h e
,

appr o aching th i rt i e s ( Alten gla n d u Wi lli a m S h p. TYL E R : I am not . .

, .

v e ry w i lli ng t o acc e pt t h e e xplanati o n that on acc o unt of t h e di ff e r e nc e i n t h e ,

c o n diti o ns of lif e t h e signs Of a g e mad e th e ir appe aranc e s oo n e r thre e ce nturi e s

,

a g o than th e y d o n ow I t is m or e t o t h e purp o se that as c o mpar e d with t h e

.
,

a g e o f H e rb e rt at 1 8 ( t h e w orld s fr e sh o rnam e nt and o nly h e rald t o t h e

'
,

gaudy spring in t h e l ove ly Apri l of his prim e ) n ot o nly was f orty ( S

,


.

but e v e n thirty f o ur or thirty v e a so m e what advanc ed a g e This c o mpariso n

- -
, .
,

e xpr e ss e d or impli e d sh o u l d b e k e pt i n Vi e w and w e sh o u l d c e rtain l y n ot l o se

, ,

s i ght of t h e h ue of m e l anch ol y which is s o c l e ar l y c o nspicu o us i n many of t h e

S o nn e ts b e tw ee n 6 4 and 9 4 ( I ntr o p [Ty l e r is sp e ak i ng h e r e it sh o uld
. .
, .
,

b e n ot e d n ot o f t h e pr e se nt s o nn e t but o f S 7 3
, E D ] W C H AZ L I TT: Th e . . . . .

ca n o n i n past oral p oe try of al l age s and c ou ntri e s which l ic e nse s t h e ctiti ous
assumpti o n of ye ars assure dly d oe s n ot app l y h er e I s it r e aso nabl e t o
, .

se e k or acc e pt any e xp l anati o n e xc e pt and b e y o nd t h e sup e rc i a l o n e ? I s it

n e c e ssary ? Th e se e xe rcise s may b e partly at l e ast ascr i b e d t o a stag e i n t h e
li f e of S h wh e n h e had re ach e d his prim e ; so m e on e alm o st c e rtain l y we re
.

c o mp o se d as lat e as 1 6 0 3 wh e n h e was 39 and th e re is n o particu l ar ha z ard

, ,

i n se tting d own [ S onne ts 2 and 7 3 e xamp l e s o f this th e m e of imp e nd i ng a g e] ,

t o t h e v e ry y e ar wh e n t h e f o rty wint e rs [o f S 2 ] had d o n e th e ir w ork and had .

,

wro ught m or e than av e rag e havoc o n a syst e m worn by i nc e ssant int e ll ectua l
l ab our ( S h H i ms elf a n d h i s Work p
. .
, , .

B e a t e d MAL O N E : P e rhaps a m i sprint f or

10 . bat e d
Bat e d is pr op .
'

e rly ov e rthr o wn

l aid low
,

abat e d fr o m a ba ttre F r Beat ed
, , , . ,

h o we ve r t h e r e gu l ar parti cip l e fr o m t h e v e rb t o b e at may b e right We had

,

,

i n a f o rm e r so nne t we ath e r b e at e n fac e S TE E VE NS [i n fav or of blast e d
-
.
, ,

cit e s 2 H 4 I ii E v e ry part ab o ut y o u blast e d with antiqu i ty

. .
, , ,

D OWD E N [ was led by t h e w ord t a n n d t o l e arn that skins a re submitt e d t o a

pr oc e ss ca ll ed h a t i n g th ough h e d oe s n ot take t h e sugge sti o n seri o usly F or

, .
1 58 TH E S ONNE TS OF S H AK ES P E AR E [ II
X L

th e po ssib l e bat ed cit e s M V I I I iii 32 : Th e se gri e fs and l osse s have

, he . .
, , ,

s o h a t ed m e ( F or this wor d S C H M I D T give s t h e m e aning

.

H UD S O N [ als o r e ad ing I n I H 4 I I I iii 2 F alstaff u s e s t h e word i n .

, , , ,

a se nse w e ll suit e d t o this p l ac e : Am I n ot fall e n away vi l e l y ?

d o I n ot
bat e ? d o I n ot dwin dl e ? TYL E R [ re nd e rs t h e wh ol e l in e Batt e r e d wri nk l e d , , ,

and darke n ed pr e sumably c o nn e cting t h e rst word with

, H E RF O R D
F lay e d P r op e rly an agricu l tura l t e rm ( stil l use d i n D e vo nshir e ) f or pari n g
.

away t h e sods fr o m m oo r l and [ B ut h ow d oe s old a g e ay t h e fac e ? B D ] . .

R OL F E [ f or t h e particip l e in ed c o mpar e s sp l itt ed C of E I i 1 0 4 ;

-
.
, , , .
, , ,

catch e d L L L V ii 6 9 e t c ] ch opt S CH M I D T: Re nt and sp l it with t oi l

, . . .
, , , . .

or a g e [Th e sam e w ord as chappe d ( s ee N E

.

which l att e r f orm is n ot . .

f o und i n t h e early ed iti o ns Of S h B D ] an ti q ui ti e S C H M I D T: Old a g e [ C f

. . . . .

2 H 4 I ii 2 0 7 qu o t e d ab o v e ]
.
, , , , .

[This and simi l ar l in e s a re t h e starting po int f or KARPF S e s ot e ri c th eory

13 .
-

that t h e the m e of t h e S o nne ts is di e i dea le S elbs tli ebe See also not e on 2 2 5 .
,

[Aft e r myse l f C R AI G puts c o mma and dash appare ntly ta king t h e f ol l owing

,

that as d e m o nstrative o n what gro unds I cann ot imagi ne , ED ] . .

MAC K AY [ take s this so nne t t o r epr e se nt Le ic e st e r addr e ss i ng t h e Qu ee n ( see

n ot e o n S 49 ) t h e f e e lings of his y o uth and e ar l y pri m e a r e r e pre se nt e d i n t h e
.

rst e ight l ine s o f t h e poe m th o se of his pre se nt a g e ( b e tw ee n fty and sixty )

a re e xpr e sse d in t h e l ast six This se ri e s of t h e so nn e ts f orms as c o mp l e t e a
.

dramatic po e m as V 69 A or L u crece and . de picts with co nsummat e

.
,

mast e ry of t ouch t h e l ove of an ambiti o us man gr own old f or a wo man grown , ,

o ld also wh o m h e l ov e d ( truly or se l shly ) i n his y o uth and wh o m h e c o n t inu e s

, ,

t o l ove or pr e t e n d t o l ov e in his d ec l ini ng y ears (Ni neteen th Cen tury 1 6 : 2 57

'

.
, , , ,

2 59 )
 TH E S ONNETS OF S HAK ES P EA R E 1 59

63

A GAI NS T my loue s h a ll b e a s I a m n ow

Wi t h t i me s i n i uri o us ha n d c h r us h t r
a n d o e -w or n e ,

Wh e n h oure s h a ue d re i n d h i s b l ood a n d ld h i b row s

Wi t h li n e s a n d w i n cle s w h e n h i s y ou t h f u ll m orn e
r ,

Ha th t ra ua i ld on to Ag e s s t ee p le ni gh t
An d a ll t h ose b e a u t i e s w h e r eo f n ow he 3 Ki n g
Are va n i s h i n g , or va n i s h t o u t of s i gh t ,

S t ea l i n g y t h e t r e a s u re o f h i s S p r i n g
a wa .

F or s u ch a t i m e d o I n ow f or t i e
A ga i n s t c o n fo u n d i n g A g es c r ue ll kn i fe ,

Th a t h e s h a ll n e ue r c u t from m e m o ry
My s w e e t loue s b ea u t y t h o u gh my lo ue rs li fe , .

H i s b e a u t i e s h a l l i n t h e s e b la c ke li n e s h e s ee n e ,

An d t h e y s h a ll li ue a n d h e i n t h e m s t i l l gr e e n e ,
.

1 . Ag ai n s t ] Ag h a s t B u ll och c o nj .

d S t ee c onj
'
d G,

2 . ch r us h t] cr u s h et c .
; f ru s h .

G H
] ]

5 . tr auai ld tra vel d , S

, etc : s t e e pi e s lee py u
z

[ D e spit e t h e fact that D OWD E N and

this so nn e t as c o ntinu R OL F E sp e ak of

o u s with t h e pr e c e ding t h e th o ught app e ars t o m e much m or e cl o se ly r e lat e d

,

with that of S 6 0 aft e r which WAL S H plac e s it i n his r e arrange m e nt

.
, .

I S AAC : [ With this s o nn e t cf D ani e l D eli a 33 .

, ,

I o nc e may s e e wh e n ye ars may w r e ck my wr ong , ,

An d g ol d e n hairs may change t o silve r wir e

an d i bi d .
, 37 : Wh e n wint e r snows up o n thy g o ld e n hairs .
( Ja h rb .
, I7:

2 . i n j uri ou s . WAL S H :
nj uri ous time T 89 C I V iv 44 which phrase
Cf . i , .

.
, , , ,

occurs i n L illy s E n di mi on I i and i n S p e nse r s translati o n o f B e lla y s R u i ns

, , ,

of R ome 2 7 6 ,
ch r u s h t S TE E VE N S [ d e f e nd e d his e m e ndati o n
, . . on ,

t h e gr o und that ] t o say that a thing is rst and th e n o ve r w orn

-
,

is littl e be tt e r than t o obse rv e of a man that h e was rst kil l ed an d th e n ,

w o und e d MAL ON E : To f rus h is t o bruise or batt e r What th e n is obtained by

. .

t h e chang e ?

4 l i
. n e s an d wri n cl es F L E A Y : C f D rayt o n S 44 2 : Ag e ru l e s my line s .
, .
,

with wrin kl e s i n my fac e ( B i o g C h ron 2

. :
[ Cf 2 1 2 ; 1 9 9 ; 6 0 1 0 . .
, .
, , , .

ED .
]
1 60 TH E S ONNETS OF S HAK E S P E A R E [L X I I I
5. p le MAL O NE : I o nc e th ought that t h e p oe t wr ot e sl ee py
s te e . B ut .

t h e w ord sh ows I think that t h e old c o py is right h owe ve r i n co n

t ra v e l d , , ,

g r u o u s t h e e p i th e t st ee py may app e ar [ C f 7 5 6 wh i ch e xp l ain what i s

. .
, ,

m e ant by t h e st e e py n i ght of a g e ] H AZL I TT: [ Ag e s st ee py night is ] t h e

.

pre cip i c e o f a g e fr o m wh i ch w e a re t o pl unge i nt o darkn e ss D OWD E N [c o m .

,

paring like Mal o n e t h e st ee p u p h e ave nly hill of S 7 e xplains : ] Yo uth and

,

,
-

.
,

a g e a r e o n t h e st e e p asc e nt and t h e st ee p d e clin e o f h e av e n L E E : An o th e r .

r e min i sc e nc e of Gold i ng s translati o n of Ovid s Meta m bk xv ( 1 6 1 2 e d '

.
, . .
,

p 1 8 6 a ) : Thr ough dr ooping age s st ee py path h e

.

man ) runn e th ou t h i s

rac e .

9 F or s uch a ti m e B E E C H I NG : R e f e rring back t o l in e 1

. . Against [ t h e tim e ,

wh e n ] my l ove shall b e c r u s h d e t c f orti e [ R OLF E z F o r t h e i ntransitive u s e

'
, . .

cf 2 H 4 I i i i 56 : We f o rtify i n pape r and i n

. .
, , , L E E : Cf D ani e l

.
,

D eli a , S 50 , 1 0 :
.
9

Th e se a r e t h e arks t h e tr o phi e s I e r e ct , ,

That f o rtify thy nam e against o ld a g e .

k n if e TY L E R : Ne ar l y quival e nt Tim e s scyth e

10 . . e to .

B RAND L [ n ot e s that this so nn e t and th o se that f oll o w t o 6 8 a r e n ot dir e ctly , ,

addr e sse d t o t h e fri e nd ; t h e po e t writ e s as it we r e a tragic m o n o l ogu e t o him

s e lf ( p
.

.

[ Th e structur e o f t h e so nn e t is unusual i n that t h e principal pause s of t h e

O p e n i ng p o rti o n o ccur aft e r l in e 2 i n t h e midd l e of l ine 4 and at t h e e nds of

, ,

l ine s 5 and 8 ED ] . .
LX I V ] TH E S ONNETS OF S HA KES P EAR E 16 1

64

WH E N I h a ue fell h a n d d e fa c e d
s ee n e b y t i me s
Th e r i ch p ro u d c os t o f o u tw orn e b ur i e d a g e ,

Wh e n s om e t i m e lof t i e t ow e rs I s ee d ow n e ra s ed ,

An d b ra s s e e t e r n a ll s la u e t o m o r t a ll ra ge .

Wh e n I h a u e s ee n e t h e h u n gry Ocea n ga i n e
Ad ua n ta g e on th e Ki n g d om e of th e s h oa re ,
An d t h e rm e y ma i n e
s o ile wi n of th e wa tr ,

I n c re a s i n g s t o re w i t h lo s s e a n d lo s s e w i t h s tore , .

Wh e n I h a u e s ee n e s u ch i n t e r ch a n ge of s ta te ,

Or s ta t e i t s e lf e c o n fo u n d e d t o d e ca y , ,

R u i n e h a t h ta u gh t m e t h u s t o r u m i n a t e
Th a t Ti m e w i l l c om e a n d ta ke my lou e a wa y .

Th i s t h o ugh t i s a s a d ea t h w h i ch ca n n o t ch oos e
B u t w e e p e t o h a ue t h a t w h i ch i t f e a r e s t o loos e , .

2 . r ch i pr ou d ] H yph e n e d by M , A , Kt B , , D el, Hu , Dy , S t a , C l, K ly , Ca m ,
D o,Ty Ox B ut , , .

3 s om e ti me ] s ometi mes G S E d own e ra s e d ] H yph e n ed by M

.
, , .
, et c .
( e xc e pt
K ly ) .

I4 . l oos e ] los e G 2
, S 2
, et c .

P AL G AVE : R [ S o nn e ts
64 6 6] f orm on e poe m of marv el ous p owe r insight , ,

and be auty .

L E E [ vi e ws t h e so nn e t as base d on Ovid s acc ount of ] t h e t o w e rs of Ath e ns

and Th e b e s an d oth e r citi e s of Gr ee c e ruins of wh ose anci e nt w orks we re ,

o v e rgr own with grass (Q u R ev 2 1 0 : [ Th e r e se mblanc e t o Ovid had

. . .
,

b e e n n otic e d by WAL K E R Cri t E xa m 1 : S TO P E S : Cf L u crece 9 39

, .
, .
, ,

9 44 4 8
-

Tim e s g l ory is t o cal m c ont e n d ing kings

,

To ruinat e pr o u d bui l dings with thy h ours ,

An d sm ear with d ust th e ir g li t t r i n g gol d e n t owe rs ;

To ll with w orm h ol e s stat e ly m o num e nts -

,

To f eed ob l ivi o n with d e cay of things ,

To b l ot old b ooks an d alt e r th e ir c o nt e nts .

4 b ra s s e
.
[ It is curi
e te rn all
o us that this.u s e of brass , with its ec ho of

a e r e pe re n n i us e t c nds n o d istinct plac e in t h e N E

, .
,
. . D . ED .
]
5
-
8 *
C A
. P E L L : C f 2 H 4

I I I i 4 6 52 . .
, , ,
-
 TH E S ONNETS OF S HAKE S P E AR E
And s ee t h e r evo l uti o n of t h e tim e s
Make m o unta i ns l e ve l and t h e c o ntin e nt ,

We ary of sol id rmn e ss m e lt itse lf ,

I nt o t h e s ea ! and oth e r ti me s t o s ee , ,

Th e be achy gird l e of t h e oc e a n
Too wid e f or Ne ptun e s hips ; h ow chanc e s m oc k
'
,

An d change s ll t h e cup of alt e rati on .

S TE E VE NS : C f . I H 4 , I I I,
. 1, 1 0 81 1 [ of th e Rive r Tre nt z]

Mark h ow h e be ars his c o urse an d runs , me up

With like advantage on t h e oth er sid e ;
Ge lding t h e o pp o se d c o ntin e nt as much
AS on t h e oth e r S id e it take s fr o m y ou .

R OL F E : S o m e critics have e xpr e sse d surprise that S h sh oul d kn o w anyt hing .

of th e se gradual e ncr oachm e nts of t h e s e a o n t h e l and ; but th e y had be c o m e

familiar o n t h e e ast c oast of E ngland be f ore his day [ He r e f e rs t o h i s not e o n .

R 2 I I i 2 9 5 with r e f e r e nc e t o t h e inr oads o f t h e s e a which swe pt away m o st

.
, , , ,

o f t h e t own of R a v e n s p u rg at t h e m o uth o f t h e H umbe r in t h e 1 4 th c e ntury ]

, , .

L E E : On e m or e of S h s many ech oe s of t h e phi l o so phic disquisiti o n i n Ovid s

.

Meta m xv : .
,

E v e n s o hav e p l ac e s o ft e n tim e s e xchang ed th e ir e stat e -

,

F or I hav e see n it s e a which was substantial gr o und alat e .

Again wh e re s ea was I have see n t h e sam e be c o m e dry l an d , .

[ Th e s e n o t e s o f R o lf e an d Lee nab l e us t o mak e a typica l ch o ic e be twee n l ifee

an d l it eratur e as sourc e s E D ] TYL E R : C f I n Memori a m cxxiii :

. . .
,

Th e re rol l s t h e d ee p wh e re gr e w t h e tree

0 e arth what chang e s hast th o u see n ! ,

Th e re wh e r e t h e l o ng str ee t r oars hath bee n

Th e stil l n e ss of t h e c e ntra l s ea .

Th e hil l s shad ows an d th e y ow

a re ,

F r o m f o rm t o f orm an d n othing stan d s ; ,

Th e y m e lt like mist t h e so li d l an d s , ,

L i ke c l o uds th e y shape th e mse l ve s an d g o .

8 . TYL E R : E xt e nding its ow n d o mai n by what t h e oth e r l ose s an d l os ing by ,

what th e r gains s tor e S C H M I D T: Abundanc e

th e o . . .

9
1 0 s tat e . s ta t e S C H M I D T [ d e n e s t h e rst by
. c o nditi on t h e se c o n d ,

by p omp S o i n e ec t B E E C H I NG and TYL E R ; but WYND H AM d e ne s t h e

'

.
, ,

s ec ond as c onditi o n i n t h e abstract c o mpari ng 1 2 4 1 wh e re h owe ve r h e is , , , , ,

pr obably a l so mistak e n i n his int e rpr e tati o n F or t h e rst u s e of t h e word cf .

, .

e stat e

i n t h e passage fr o m Gol ding s Ovi d qu ot ed ab o ve ED ]

. .

13 D OWD E N : This th ought which cann ot ch oose et c is as a d e ath

.
, , .
, .

P R I CE : Not l e ss than 1 0 of t h e 1 4 ve rse s [of this s o nne t a re ] l in ked by asso

nanc e on a .
[ By this] th e l oveli ne ss of verse m ove m e nt and t h e u nity of th e
-
v ] TH E S ONNETS OF S HA K ES P E AR E 1 63

so nn et f orm a re much e nhanc ed

-
(p G H P AL M E R [ instanc e s t h e . . . .

s o nn e t as stating m ost c ompact l y t h e p e rvasive th e m e as h e vi e ws it of t h e , ,

wh ol e se ri e s t h e tr ansi e ncy of l ove I n this c o nnecti o n h e n ot e s that ] t h e word

,
.

tim e occurs i n t h e S o nn e ts 7 8 tim es ; d eath 2 1 ; a g e 1 8 ( pp 1 6

. .

65

S I NC E b ra s s e , n or s t o n e , n or ea r t h ,
n or b oun d less e sea ,

B ut s ad h e i r p owe r
m or t a lli ty o re - S w a i e s t ,

H ow w i t h t h i s ra g e s h a ll b ea u t i e h old a p lea ,

Wh os e a c t i on i s n o s tron ge r t h en a ow e r ?
0 h ow s h a ll s umm e rs b u n n y b rea t h h old o u t ,

A ga i n s t t h e w ra ck f ull s i ed g e o f b a t t r i n g d a ye s ,

Wh e n roc ks i m p re gna b le a re n ot s o s tou te ,

Nor ga t e s of s t e e le s o s t ron g b u t t i m e d eca y es ?

O f e a re f ull m ed i ta t i on w h e re a la c k , ,

S h al l t i m es b es t I ew e f rom t m es ch e s t l e h d
ll i i i ?

Or w h a t s t ron g h a nd ca n h old h i s s w i f t foo t e b a c k ,

Or w h o h i s s po ile or b ea u t i e ca n f o rb i d ?

0 non e v n le s s e t h i s m i r a cle h a ue m i gh t
, ,

Th a t i n b la c k i nck my loge m a y s t i ll s h i n e b ri gh t .

3 th i s ] h i s M c onj ,
. a e r c onj , B ut . W lk . .

5 h un n y ] h u ng ry 1 6 40 , G , S , E h unn y b rea th ] H yph e n ed by C0 , H u , Kl y

. . ,

Ha l .

6 .

wr a ckf ull] wreckf u l G , E , M A Kt , , , Co, B , D el
l 'z
, H u, Dy , S t a , C l, Gl ,

K ly Wh ,

, H a l Ca m D, , O, B ut , H er , B e , N .

10 . c h es t] que s t Th c o nj .
; th ef t Org er c onj .

11 . h i s ] th i s G, S , E .

] G S E; f M

12 . or on , , o er C; o , et c .

1 ABB OTT: [ B e twee n sinc e an d brass th er e is an e ll ipsis

. of th e r e is

n e ith e r Cf n ot e on 8 6 9
. .
, .

1 2 -
VON MAUNTZ : C f Ovid E x P an to IV viii 4950
. .
, , , ,

Tabi d a c on s um i t f e rrum la p i d e m q ue ve tustas ,

Nulla q ue r e s maius t e mpor e r ob ur habe t .

4 .ti on D OWD E N : I s t h e w ord use d h ere i n a l e ga l se nse ? s ugge st ed pe r

ac .

haps by h old a p l ea B E E C H I NG : Th e re is n o r e f er e nc e

. t o an acti on at
l aw ; f or t h e c ompari so n is with t h e physica l stre ngth of brass st on e e t c Cf

, , . .

J C I iii 7 7 :
. .
,

A man n o mighti e r than thyse l f or me in per so na l acti on
, , .
1 64 TH E S ONNE TS OF S HAK ES P EAR E [L X V
5 h
.
[F or t h e w ord as an adj ective cf R
unn y .
, . .
3 , I V, i , 80 : Gr e w captive
to his h on e y w or d s
ED ] . .

5
6 B E E CH I NG : S umm e r is r e pr e se nt ed as b esi e ged by Wi nt e r
. .

6 D OWD E N : C f 6 3 9 wra ck f ull [ Th e o nly occurr e nc e o f t h e w ord in S h

. .
, . . .

Th e r e gular S hak e spe ar e an f o rm of t h e n o u n and v e rb is wrack

ED
I o ch e st
. MAL O N E : I o nc e t h o ught S h might have w
. ritt e n qu e st but
,
. ,

am n ow c o nvi nc ed that t h e old r e ading is right [Ci j e w e ls and ch e st I . .

i n 4 8 5 and 9 ; R 2 I i 1 8 0 : A j e we l i n a t e n tim e s barr d up ch e st ; e t c ]

, .
, , ,

- -

-

.

Th e ch e st of Tim e is t h e r e p osit ory wh e r e h e lays up t h e m ost rar e and curi o us

pr od ucti o ns of natur e ; o n e of which t h e poe t e st ee m e d his fri e nd : S TE E VE NS :
Ti m e s ch e st is t h e r e p o sit o ry int o which h e is poe tical l y supp o se d t o thr ow

t h o s e t h i n g s which h e d e signs t o b e f org ott e n

'
Cf T C I I I iii 1 4 5 . . .
, ,

Ti m e hath my l o rd a wall e t at his back

, , ,

Wh e re in h e puts al ms f or oblivi o n .

[And 52 is t h e t i m e that k ee p s y o u as my ch e st
, 9: So S H ARP [ d e f e nds t h e .

change t o qu e st sa y i n g z] C o uld a j e we l li e hid fr o m a ch e st ? I t l i e s hid fr o m

"
,
.

t h e e ag e r qu e st of d e str o ying Tim e B U TL E R : [Th e e m e ndati o n i s right ] f or

'

.
,

t h e f oll owing lin e sh o ws that Ti m e is s uppo se d t o b e g o ing ab o ut i n qu e st of this

or that B E E C H I NG : Th e e xpr e ssi o n is e lliptical Wh e re shal l what is Tim e s

. . , ,

b e st j e we l b e hidd e n s o as t o e scape b e ing se i z e d and l ock e d up i n his ch e st ?

[ F or t h e rhyt hm o f this lin e s e e n ot e o n 5 7 ED ] , , . .

n ote at t h e e n d of S 6 0 f or t h e appe arance of lin e s 38 i n a 1 7 th c e ntury

S ee ,

MS L i ne 3 th e re r e ads 0 h ow shall b e auty with this rage h ol d p l e a ; and in

.
,

l in e 5 is t h e 1 6 40 r ea d ing of hungry f or h on e y Th e se a re t h e only

.

variants .
L X VI ] TH E S ONNE TS OF S HA KES P EAR E 1 65

66

TYR w i th a ll hes e f or f l ] d ea t h I

D t re s t u c ry ,

t
As to b e h ol d d es e rt b e gg e r b orn e
'

.
a ,

An d n e ed i No t h i n g tri m d i n i olli t i e ,
An d fa i t h v n h a p p i ly f o rs w o r n e
p u re s t ,

An d gi ld e d h o n o r s h a m e f u l ly m i s p la s t ,

An d m a i d e n v e r t u e r u d e ly s t r u m p e t ed ,

An d r i gh t pe r fe c t i o n w ro n gf u l ly d i s g ra c d

An d s t r e n g t h b y l i m p i n g s w a y d i s a b l e d ,

An d a r t e m a d e t u n g t i d e by a u t h or i t i e -
,

And F o l ly ( D o c t o r l i ke ) c on t ro u l i n g s k i ll
-
,

An d s i m p l e Tr u t h m i s ca ld e S i m p li c i t i e
-
,

An d ca p t i u e g ood a t t e n d i n g C a p t a i n e i ll
-
.

Ty r d w i t h a ll t h e s e f rom t h e s e w o u ld I g on e

, be ,

S a u e t h a t t o d y e I le a ue my lo ue a lo n e ,
.

2 . b orn e ] lor n S t a c o nj .

3 . n e e di e ] empty or h eavy S t a c o n j .

8 . di s a b l e d ] d i s h a bi ted Bayn e c o nj ; di s comf orted an on c o nj . . .

I I . s i m pl e -Tru th ] s i mple tru th G S M e t c , , , .

12 .

ca pti u e g oo d ] ca pti ve g ood G 2
et c , .

*
P E LL [ was t h e rst t o cal l att e nti on t o t h e r e se mb l ance of this so nn e t t o
CA
H am l e t s c l e brat e d so l il oquy This has b ee n ech oe d by many c omm e ntat ors

e . ,

F UR NI VALL re marki ng that it must sur e ly b e ab out t h e H a mlet tim e Th e

.

lin s e spe cia l ly i n qu e sti o n a r e of c o urse th o se of I I I i 7 0 75

e ,

, , ,

F o r w h o w o uld b e ar t h e whips and sc orns of tim e ,

Th e o ppre s sor s wr o ng t h e pr o ud man s c o ntu m e ly

, ,

Th e pangs of d i s p ri z d l ove t h e law s d e l ay

, ,

Th e i nsol e nc e of of c e and t h e spurns ,

That pati e nt m e rit of t h e u nw o rthy tak e s ,

Wh e n h e himse lf might his qu i e tus make e t c ] , .

TYL E R : Th e t o n e of m e l anch oly which has b e e n pr e vi o us l y h e ard e sp ecia l ly

, ,

since S 59 n ow attai ns a g r e at e r i nt e nsity MAS S E Y : Cf Wordsworth s n e

.
, . .

passage [ ne ar t h e e n d of Th e P relude B k , .

An d h e r e was L ab our his ow n b o nd sl av e ; Ho pe ,

-
,

That n e ve r s e t t h e pains against t h e pri z e

Idl e n ess ha l ting with his w e ary c l og ,

An d poor misgui d e d S ham e and wit l e ss F ear , ,

1 66 THE S ONNETS OF S HAK ES P E AR E [ L X VI

And simp l e P l e asur e f oraging f or D e ath

H o n o ur m i s p la c d and D ignity astray ;

,

F e ud s facti o ns a t t e r i e s e nmity and gui l e

, , , , ,

Murmuring submissi on and ba l d gove r n m e nt ,

( Th e id ol we ak as t h e id ol at e r ) ,

And D e ce ncy and C ust o m starving Truth ,

And blind Auth ority b e ating with his s t a t

Th e child that might have le d him ; E mptin e ss

F oll o w e d as o f g ood o m e n and m e e k Wo rth ,

L e ft t o h e rse lf unh e ar d of an d unkn own .

(p .

C OP I N [ c o mpare s th e m ood of th e so nn et with a spe ech by Al c e st e i n Moli ere s

Mi s a n th rope I i : ] , ,

Me s ye ux so nt
_ tr o p bl e ss s e t l a c o ur e t la vi ll e ,
'

Ne m off r e ri e n q u ob j e t s a m c h a u e r la bil e
'

J e ntr e e n u n e hu m e ur n oire e n u n chagri n pr ofo nd

, ,

Quand j e vois vivr e e ntr e e ux le s h o mm e s c o mm e i l s f ont ;

J e n e tr o uve part o ut q ue l ach e a t t e r i e ,

Q u i n j u s t i ce i n t r t trahiso n fo urb e ri e

.
, , ,

J e n y puis p l us t e nir j e n r a g e e t m on d e sse i n

, ,

E s t d e r o mpr e e n visi er e a t o ut le g e nr e humain (p . .

WAL S H : Cf .

L u crece , 9 0 4 0 7
Th e pati ent di e s whi l e t h e physician s l e e ps ;
Th e orphan pi n e s whil e t h e o ppre ssor fe ed s ;
J ustic e is f e asting whil e t h e wid ow wee ps ;
Advic e is sporting whi l e i nf ecti on breed s ;
MV . .
, I I ix , ,

4 45
1

0 that e stat e s d e gr ee s an d of c es

, ,

We re n ot d eri v d c orrupt l y and t h a c lea r h onour

We re pu rc h a s d by t h e m e rit of t h e we arer !

H ow many th e n sh o u ld c ove r that stan d bar e !

H ow many b e c o mman d ed that c o mman d !

and T f A IV iii
. o , , 1 71 8

l earn ed pat e Th e
D uc k s t o t h e gold e n f ool ; a ll is ob l iq ue .

P E
. MOR E [ gr ouping t h e S onne t with t h e pa s sage s ab ove cit ed from H a mlet
.
,

an d L u crece nd s i n a ll thr ee ] n ot t h e m e re c o mm onp l ac e l am e nt ove r t h e i n

,

s u fc i e n c y of l if e but t h e poe t s o w n v e ry p e rso na l an d v e ry bitt e r e xpe ri e nc e

.
,

Th e on e wor d that occurs t o m e as e xpre ssive of his f ee l ing is i ndi gn i ty : if

it we re n ot f or t h e s ound of t h e wor d i n c onne cti o n with s o re ve r ed a nam e I
sh o u ld say s h a me in d ignity against t h e soi l ur e that is f orc e d upo n hi m fro m
c o ntact with t h e w or ld sham e f or his t oo faci l e yi e ld ing t o c ontaminati o n [ C f
,
. .

29, 1 2 ; 36 , 9
1 0
; 37 , 3 ; 8 8 , 6
7; 9 ,
0 2
3; 1 1 2 , 1 2 ; 1 1 9, 1 2 ; 12 1 , ( S h elbu rn e
Es s ays , 2 : 35
v 1 1 TH E S ONNETS OF S HA K ES P E A R E 167

4 . unh a pp il y . S C H M I D T: Mischi e vo usl y .

5 . TYL E R : Cf E ccles i a s tes . vi l which I have see n

, 10 : 5 6
-
:

Th e re is an e

u nd e r t h e su n : f oll y is s e t i n gr e at dignity and t h e rich sit i n a low p l ac e

, .

mi s pla s t B E E CH I NG : P ut int o high p l ac e ab ove its d e se rt C f Pa n d ulp h s

. . .

phra s e t h e m i s p la c d J o h n K J I I I iv 1 33
,

,
. .
, , , .

8 di s a b l e d C OL L I E R : H e r e t o b e pr o n o unc e d as fo ur sy ll ab l e s [ E l se wh e r e
. . .

S h tr e ats r e d o ub l e d e nf ee b l e d unmingl e d i n t h e sam e way ] ABB OTT:

. .
, ,

L iquids i n dissyllabl e s a r e fr e qu e nt l y pr o n o u nc e d as th o ugh an e xtra v owe l

w e r e introduc e d b e twee n th e m an d t h e pr ec e ding c o nso nant [S o m e .

o f Abb ott s e xamp l e s a r e sur e ly d ubi o us but a sufci e nt numb e r r e main

.
,

E D ] [A c o nsid e rab l e discussi o n of this w ord was start e d by T B AYN E i n his

.
,

pro p o sal ( N 89 Q 7 t h s 4 : 30 4 ) t o e m e nd t o dishabit e d H e argu ed I t

.

.
,

.
, .

mak e s satisfact ory m e tr e a n d p l ausib l e rhym e ; i n its E li z ab e than se nse of

di s l od ge d it e ve n stre n g th e ns t h e f orc e and e nrich e s t h e pictur e squ e n e ss of

t h e l in e ; and it is a w o rd e lse wh e re use d by S h with this pr e cise signicati o n ; .

e g
. . K J I I i 2 2 0 [Th e edit or
, . .
, , , added a n ot e sugg e sting disc o mf o rt e d
.

.

Th e Q t e xt was d e f e nd e d by D C T ( p
Th e r e is n othing u nm e trical . . . .

i n t h e l in e ; t h e wo rd is t o b e pr o no u nc e d di s a beled Al so by C B M : D is .
.
. . .

abl e d is si mply t h e right w ord i n t h e plac e S tr e ngth is turn e d t o its c o ntrary .

,

disabl e d and mad e we ak j ust as faith is fo rsworn and maid e n virt u e strum , ,

p et ed L at e r ( 5 : 6 1 ) Brinsl e y Nich ol s o n wr ot e t o t h e sam e e ff e ct but pro p os

.
,

i ng t h e S pe lling
9 a rt e D OWD E N : C o mm o n l y use d by S h f or l e tt e rs l e arning s ci e nc e C a n
. . .
, , .

this lin e r ef e r t o t h e c e nsorship of t h e stage ? R OLF E : I t m a y [r e f e r t o] l egal

auth ority use d t o suppr e ss fr ee d o m of spee ch TYL E R : I n [this an d t h e f oll ow .

i ng l ine ] th ere Se e m t o b e a ll usi o ns t o u niv e rsiti e s an d th e ir te chnica l phrase

ol ogy This vi e w acc ord s with t h e us e of d oct or l ike and l in e 9 ( wh e r e art
-
.
,

wi l l d e n ot e l e arning ) may b e take n t o r e f e r t o Opini ons obn oxi o us t o th ose i n

auth ority b e ing f orbidd e n t o b e e xpr e sse d and pub l ish e d GAR N E TT [ ( L i tera .

tu re 6 : 2 1 I ; s e e a l s o i n J a h r b 3 7 : 2 8 5) thinks t h e r e f e r e nc e is t o t h e thre at e n ed
, .
,

cl o sing of t wo th e atr e s by t h e P rivy C ouncil J u l y 2 8 1 59 7 ; pe rhaps a l so t o , ,

H e n s low e s dif cu l ty r e garding Nash s I s le of D og s a l m o st at t h e sam e t i me l

.
,

I I S i mpli ci ti e MAL O N E : F ol ly
. . .

1 1 12 -
L OWE L L : [ Cf S pe n s e r Coli n Clout l in e s 7 2 7
. .
, ,

Whi l e sing l e Truth and S imp l e Hon esty

D o wan d e r up an d d own d es p i s d of a ll
'
.

( E ssay on S p e nse r , Works

, 4:

12 .
[ KE I G H TL E Y an d TYLE R
mphasi z e t h e appar e nt p e rs o n i ca t i on s h e re e

by printing captive Goo d an d C aptai n I ll S C H M I D T on t h e oth e r hand

"
. , ,

l ists captain h e re as use d adj e ctive l y Thro ugh t h e so nn e t ge n era l ly m ost

.
,

m ode rn edit ors have h e sitat ed t o d e t e rmin e t h e matt e r of pe rso nicati o n by

t h e u s e of capita l s WYND H AM re marks : On l y so m e of t h e pe r s on i ca t i on s

.

have capitals i n Q I foll ow t h e Ke l m s cott in ge ne ra l ising t h e practice

.
"
.

B ULLE N d oe s t h e sam e 1 .
 168 TH E S ONNETS OF S HA KE S P EA R E '

[L X VI
14 .
[ It may w e ll b e qu e ri e d with r e sp e ct p e rso n h e re addr e ssed
, to th e ,

wh e th e r S h w o uld b e lik e ly t o sp e ak of l e aving al o ne thr o ugh his d e ath

.
,

,

such a p e rso nag e as e ith e r Lo rd P e mbr oke or Lo rd S o uthampt on ED ] . .

[This so nn e t is structure a singl e se nt e nc e t h e nal c o upl e t

u n i q ue in
'
, , ,

c o mpl e ting t h e c o nstructi o n of t h e o pe ning phrase S o B E E C H I NG : ] S o nn e ts 6 6

.

and 1 2 9 a re unlike t h e r e st i n n ot b e ing writt e n in quatrains th ough t h e rhym e s ,

a r e s o arrang e d ( I ntr o p l iii ) P R I C E [ nds t h e sp e cial charm o f t h e so nn e t

. .
, . .

t o b e d u e ] t o t h e ski lful manag e m e nt o f t h e many po lysyllabic w o rds I t is a .

marv e l o us triumph of t e chnical skill a startling e xpe rim e nt i n poe tic d i ct i o n

, .

(p. WAL S H : F or t h e t e nf old succ e ssi o n of An d w e may n otic e that

,

S p e ns e r was l ik e wis e f o nd o f r e p e ating w o rds at t h e c o mm e nc e m e nt o f l i n e s ,

th o ugh h e n owh e r e e qual e d this Thus i n his Am ore tti w e nd I f s i x t i m e s

.

succ e ssive ly r e curr i ng Nor se ve n ti m e s and H e r e ight tim e s

E H WI L K I N S [ r e gards this s o nn e t as a sp e c i m e n o f t h e P r o ve n cal f o rm

. .

call e d t h e en ueg z] Th e thr ee charact e ristics of t h e en u eg app e ar : t h e list t h e ,

i nitial r e p e t i ti o n an d t h e e mphatic pr e se nc e of a w ord d e n o ting ann oyanc e

,

.

Th e w ord tir e d t h e pe rf ect E nglish e quival e nt f or t h e id e a of en u eg

, ,

i ntr oduc e s t h e p oe m and r ecurs at t h e h e ad of t h e c o ncl udi ng c oup l e t [ Co m

, .

par e P e trarch Ca n z on i e re 3 1 2 :
, ,

N pe r se re n o ci e l ir vagh e st e l l e ,

N pe r tranquil l o mar l e gni spalmati ,

N p er campagn e ca vali e ri armati ,

N per b e i bo schi all e gr e f e r e e sn e l l e ; etc .

]
P e trarch , b ey o n d d o ubt kn e w sp ecim e ns o f t h e I talian n oi a a nd had t h e type
, ,

I n m i n d wh e n h e c o mp o se d this p o e m Th e striking c orre sp ond e nc e of S h s

. .

s o nn e t t o t h e m ed i e va l f o rmula can hardly indicat e acquaintanc e with P r ov e n g a l

or I talian p oe ms : rath e r d oe s it pr ov e t h e r e a l humanity of t h e en ueg ( Mod . .

P h i lology , 1 3: 1
 L X VII ] TH E S ONNE TS OF S HA KE S P EAR E 1 69

67

AH w h e re fo re w i t h i n fe c t i on s h ould h e li ue ,
An d w i t h h i s p re s e n c e g ra c e i m p i e t i e ,

Th a t s i n n e b y h i m a d ua n t a g e s h o u ld a t c h i ue ,

An d l a c e i t lfe w i t h h i s s oc i e t i e ?
se

Wh y s h ou ld f a l s e pa i n t i n g i m m i t a t e h i s c h eek e ,

An d s t e a l e d e a d s e e i n g o f h i s li u i n g h e w ?
Wh y s h o u ld po or e b e a u t i e i n d i re c tly s e e k e ,

R o s e s o f s h a d d o w s i n c e h i s R o s e i s t r ue ?
,

Wh y s h ou l d h e li u e n ow n a t u r e b a n c k ro u t i s , ,

B e g g e rd o f b l o od t o b l u s h t h r o u gh li u e ly va i n e s ,

F or sh e h a th n o e x c h e c k e r n ow b ut h i s ,
An d p r o u d
ma n y l i n es v p on h i s ga i n es ?
of ,

O h i m s h e s t o r e s t o s h ow w h a t w e lt h s h e h a d
, ,

I n d a i e s l o n g s i n ce b e fo re t h e s e l a s t s o b a d, .

1m pi e ti e , 1 li ve ? i mpi ety ? C S E ; li ve , m
1

1 2 . li u e , ,
2
, i pi ety ? S I
.

6 st e al e d e a d s e e in g ] s tea l dea d s eemi n g C F arm er c o nj B ut ; s tea l dea d

.
, .
,

es s en ce B ull o ch c o nj ; s tea l dea d s eei n g Ve rity c o n j

-
.
, , .

7 p oo
. r e ] p u re C o
3
c o nj .

9 b a
. n ck r ou t ] ba n k r u pt G e t c ( e xc e pt B u ll ) , . .

ga i n s G e t c ( e xc e pt Wy ) ; vei n s ;
10 12 va i n e s g ai n e 1 vei n s ?
s ?
.
, .
, .

ga i n s ? Wy .

pr ou d ] pr ov d C , B ut m an y ] m on ey C 0 j

3
12 . .
,
con .

It may b e worth r e mark i ng that this S o nne t was ch o se n as t h e o p e ning se l e c

ti on f or t h e P oems o f 1 6 40 .

3 TYL.E R : H i s pr e se nc e se rving as a ve il t o c o nc e al c o rrupti o n .

4 l.a ce S T E E VE N S
. : E mb e llish Cf R 8 3 J I I I v 8 : W hat e nvi
. o us .

.
, , ,

str e aks d o lac e t h e se v e ring cl o uds D OWD E N : C f Ma cb I I iii 1 1 8 : H i s . . .

, , ,

silv e r skin lac e d with h i s gold e n bl oo d TYL E R : Ma y h e re m e an e mb e ll i sh .

,

th o ugh i n passa ge s which hav e b ee n qu ot e d i n proo f t h e se nse is rath e r div e r

s if y

.
[ S o t h e N E D : To div e rsify with str e aks of
'
. . . B E E C H I NG
We ar as lac e .

6 WYND H AM : An allusi o n pe rhaps primarily t o t h e imitati o n o f t h e

5 . , ,

fri e nd s b e auty by t h e u s e of c osm e tics am ong his c o mpani o ns but as I sub

, ,

mit also and with d e e p e r int e nti o n t o t h e fa l se art of o th e r e t e r n i z er s

,

, ,

t h e riva l p oe ts

vi z .
, Cf 2 1 1 3; 6 8 1 4;.8 2 9 1 4 ; 83 1 2 ; 84 1
.
,
-
1 4 , , ,
-
,
-
.
1 70 TH E S ONNETS OF S HA K ES P EAR E [v 11

Not e that i n L L L I I i 1 31 4 My b e auty . . n ee d s n ot t h e paint e d, ,

fl o urish of y o ur praise o ur p oe t c o mpar e s praise t o painting ; and i n

I V iii 2 3 839 h e runs on fr o m this i ll ustrati o n

, ,

Le nd m e t h e flo urish of a ll g e nt l e t o ngu e s ,

F i e paint e d rh e t oric ! 0 S h e n ee ds it n ot ;
, ,

t o a d ir e ct a ll usi o n t o t h e u s e o f c o sm e tics ( 2 58 6 0 )

O if i n black my lady s br o ws b e d e c k d

, ,

I t m o urns that painting and usurping hair

S h o ul d ravish d o t e rs with a false asp e ct .

That say h e use s t h e t e rm painting pre cise ly with that d o ub l e s e nse

is to ,

wh i ch I attribut e t o it h e re B E E C H I NG : Th e u s e of c o sm e tics and false hair .

see ms t o have b ee n e spe cially r e pugnant t o S h C f T N I v 2 56 ; H a ml . . . .

, , , .
,

I I I i 1 50 ; M V I I I ii 9 2 ; T of A I V iii 1 44
, , . .
, , , . .
, , , .

6 s e e i n g B UL L O C H [e xplains that his pro p o se d e sse nc e is t h e phi l o

. .

S o phica l t e rm f o und i n 0 th IV i 1 6 : H e r h o no ur is an e sse nc e that s n ot

.
, , , ,

s ee n ( S tudi es p
. K I NN E AR [ favo ring t h e e m e ndati o n se e ming calls
, .

, ,

se e ing ] an e vid e nt and e asy mispri nt which is fo u nd in R 69 J I i 1 8 5 , .

.
, , , ,

wh e re t h e quart o s of 1 599 and 1 6 0 9 have w e ls ee i n g ( Cr u ces p .
, .

D OWD E N : D e a d see ing is] lif e l e ss appe aranc e [S o i n eff e ct R OL F E

.
, , ,

TYL E R and L E E ] VE R I TY [ e xp l ains his pu nctuati o n as m e aning : I ts e lf l oo king

, .

d e ad st e a l fro m his l iving h ue ] [ S ee ing is f o und i n S h as a v e rbal n o un

,

. .
,

b ut n ot with any such m e aning as se mblanc e wh e r e as th e re a re se ve ra l

,

i nstanc e s o f se e ming i n that u s e ED ] . .

7 poor e b e a uti e TYL E R : B eauty indiff e r e nt and impe rf e ct

. . WYND H AM .

Abstract b e auty pe rso ni e d and call e d poo r as abstract Natur e p e rso ni ed

,

( lin e 9 ) is stat e d t o b e B E E C H I NG : I nsignicant b e auty Sh . .

i s usual l y faithfu l t o rh e t orica l paral l e lism withi n t h e q uatrain ; and h e r e p oor

b e auty c o rr e spo nds t o fa l se painting

i n di r e ctly TYLE R : By articia l . .

m eans VE R I TY : Wro ngfu ll y ; cf H 5 I I iv 9 4 :

. . .
, , ,

H e bids y o u th e n r e sign
Yo ur cr own and kingd o m i ndir ect l y h e ld ,

F r o m him t h e native an d tru e chall e ng e r ,

.

8 R os e s of s h a d d ow ROL F E : I magi nary r o se s TYL E R : [ Ros e s of ] m e r e

. . .

e xt e rna l appe aranc e

[ S ee n o t e s o n shad o w i n
.
3 7 1 0 E D ] R os e S ee , . . .

WYND H AM S n ot e on 1 2
, .

1 1 12 -
VON MAU NTZ : C f S idn e y A 89
. S 1 0 1 1 2 14 .
, .
'
.
, ,

Nature with car e swe ats f or h e r dar l ing s sake ;

K nowing w orlds p ass e re s h e e nough can nd

O f such h e av e n stu ff t o cl oth e s o h e av e n l y a min d ,
.

12 D OWD E N : Nature whi l e s h e b oasts of many b e autifu l persons rea ll y

.
, ,

has no tr ea sure of b e auty e xc e pt his .

1 3 s tor e s
. S C H M I D T: P r e s e rv e s [ C f 6 8
. . .
,

1 3 1 4 [ C f this c o nc e it r e p e at e d i n t h e f o ll owing s o nn e t with t h e n oti on of

-
. .
, ,

c o mp a ring t h e fri e n d with f orm e r age s i n S o nne ts 59 an d 1 0 6 ED ] . .

L X VH I ] TH E S ONNETS OF S HAK ES P E AR E
1 71

68

TH US i s h is c h ee k e t h e m a p of d a i es o u t -w orn e ,

Wh en b ea u ty li u

d a nd d y ed
as ow e rs d o n ow ,

B e fo re t h e s e b a s ta r d si g n es of fa i re we re b orn e ,
'

Or d urs t i n h a b i t on a li u i n g b row

B e fo re t h e gould e n t re s s e s o f t h e d ea d ,

Th e r i gh t of s e p u lch ers w e re s h or n e a w a y , ,

To li ue a s con d li fe on s e c o n d h ea d ,

E re b ea u t i e s d ea d ee ce m a d e a n o t h e r g a y
I n h i m t h os e h oly a n t i q ue h ow e rs a r e s ee n e ,

Wi t h ou t a ll orn a m e n t i t s e lfe a n d t rue , ,

M a ki n g n o s umm e r of a n o t h e rs gr ee n e ,

R ob b i n g n o o uld t o d re s s e h i s b ea u ty n ew ,

An d h i m a s f o r a m a p d o t h Na t u re s t ore ,

To s h ew fa u ls e Ar t w h a t b ea u ty w a s o f y ore .

I . th e ma p of dai es ] B e twee n c o mmas i n G S E 2

,

, .

3 . h om e] born G, S , E K t H u D y S t a Gl Wh
, , , , , , , Ha l, Ca m , D o, R , Ox ,

B ut , etc.

7 . s c on d ] s econ d 1 6 40 , et c.

9 . h ow er s ] bow ers Ma unt z c on j

v on .

10 . it s e lf e ] h i ms elf M c o nj B ut .
, .

1 . ma p of MAL O N E : C f L ucrece 1 3 50 : This patt e rn of

da i e s out-w om e . .
,

F L E AY : [ C f D rayt o n S 44 wh e r e t h e fac e is call ed t h e

t h e w o rn o ut a g e

-
. . .
, ,

map of a ll my mise ry ( B i og Ch ron 2 :

. . .
,

3 f ai r e S ee n ot e o n 1 6 1 1
. . h om e WYND H AM : Mod e rn spe lling r e stricts
, . .

t h e poe t s play o n this wo r d : h e e mpl oys it t o m ea n born e but a l so t o sug

,

"
g est b orn

.

8 MAL ON E : C f M V I I I 11 6
5 . 2
9 9 . . .
, , ,

S o a r e th ose crispe d snaky g old e n l ocks ,

Which mak e such want o n gambols with t h e wi nd

U po n suppo sed fairn e ss oft e n kn own ,

To b e t h e d owry of a s ec o nd h e ad ,

Th e skul l that bred th e m i n t h e se pu l chr e .

H ALLI WELL : C f D rayt o n [ Moon Ca ll .

,

And with l arge sums th e y stick n ot t o procur e

H air fro m t h e d e ad y e a and t h e m ost u ncl ean ; , ,

To h e lp th e ir prid e th e y n othing w il l disd ain .

1 72 TH E S ONNE TS OF S HAK ES P E AR E [L X VI I I
[ See als B o H NG S n ot e on 6 7 5 ] R OL F E : [F al se hair ] was th e n c om
EE C I
'
,
6

p a ra t i v e ly a r e c e nt fashi o n S t o w says : Wo m e n s pe riwigs w e r e rst br o ught

.

i nt o E ngland ab o ut t h e tim e of t h e massacr e of P aris Barnaby R ich ,

i n 1 6 1 5 says of t h e pe riw i g se ll e rs : Th e se attir e make rs with i n th e se f o rty

,
-

-

y e ars w e r e n ot kn own by that nam e B ut n ow th e y a re n ot asham e d t o s e t

.

th e m f o rth u po n th e ir stalls such m onstr ous m op p ol e s of hair s o pr o po r -

t i o n e d and d e f o rm e d that but within th e se tw e nty o r t hirty y e ars w o uld hav e

drawn t h e passe rs by t o stand and ga z e ( Not e o n S

~

L E E : Th e r e can b e . .

littl e d o ubt that S h had i n mind t h e we alth of l ocks that f e ll ab o ut S oi It h a m p

.

t o n s n e ck [as itse lf and tru e i n c o ntrast with what is h e r e sc o rn e d ] ( L if e

.
,

p F V H UG O : D ans S h n e st pas l h o mm e se ul e m e nt qui s e '

. . . ce .
,

r vo lt e c o ntr e c e tt e m od e na i ssant e c e st l a rt i s t e C e qui l i n d i g n e ce n e st

,

.

pas se ul e m e nt la vi o lati o n d e s t o mbe aux l o ut r a g e fait a la m o rt ; c e st la vi ola ,

t i o n d e la natur e c e st l ou t ra g e fait a la b e aut vivant e

,

On dirait q u e S h . .

v o i t d j a s e pr oj e t e r sur le c i e l d e l i d a l c o mm e u n e o mbr e d e la sol e nn e ll e

p e rruqu e q u e p o rt e la trag di e d e Lo uis X IV .

10 .Wi th out all orn am e nt WY ND H AM : C f M V I I I 11 74 : Th e world

. . . .
, , ,

is st i ll d ec e i v d with o rnam e nt [ and Bass ani o s wh ol e tirad e against it ]

,

.

i t s e lf e MAL O N E : S ur e ly w e o ught t o r e ad

.

himse lf I n him t h e primitive .

simplic i t y of anci e nt tim e s may b e o bse rv ed ; i n him w h o sc orns al l adscititi o us ,

o rnam e nts w h o appe ars i n his nativ e g e nu i n e stat e TYL E R : I tse lf w o uld

.
,

s e e m t o b e e quival e nt t o natur e itse lf [ On e may c o nj e ctur e that t h e l ogica l

.

subj e ct of this part of t h e quatrain is t h e bea u ty of t h e antiqu e h o urs or so m e ,

sim il ar n oti o n F or t h e u s e o f itse l f with o ut fo rmal a g r e e m e nt with t h e n o u n

.

r e f e rr e d t o cf Mu ch Ad o IV i 8 3 : H e ro itse lf can b l ot out H e r o s virt u e

, .
, , ,

.

ED .
]
14 . Art F or t h e
. imp l icati o n of artic e , cf . 1 2 5, I I .
 TH E S ONNETS OF S HAK ES P EA R E 1 75

69

TH OS E p t s of
a r h
t ee t a t t h e w or ld s e y e h d ot h V i e w ,
Wa n t h i n g t h a t t h e t h ough t of h ea r ts ca n m e n d
not

A l l t o u n g s ( t h e voi c e o f s o u l e s ) g i ue t h ee t h a t e n d ,

Vt t r i n g b a re t r u t h e ue n s o a s foe s C omm e n d , .

Th e i r o u t wa r d t h u s w i t h ou tw a rd p ra i s e i s c row n d ,

B u t t h os e s a m e t o u n g s t h a t g i u e t h e e s o t h i n e own e ,

I n o t h e r a cc e n t s d o e t h i s p ra i s e c o n fo u n d

B y s e e i n g f a r t h e r t h e n t h e e y e h a t h s h ow n e .

Th e y lo ok e i n t o t h e b e a u ty of t h y m i n d ,

An d t h a t i n g ue s s e t h e y m ea s u r e b y t h y d e e d s ,

Th e n ch u r l s t h e i r t h ou gh t s ( a l t h ou g h t h e i r e i e s w e re k i n d )
To t h y fa i re ow e r a d t h e ra n c ke s m e l l o f w e e d s
'

B u t w h y t h y o d o r m a t c h e t h n o t t h y s h ow ,

Th e s oly e i s t h i s t h a t t h ou d oe s t c omm on g row , .

3 . th a t en d ] th y d ue G 2
, 5 2
, E ; th a t d u e Ty r c o nj .
, C, M , etc .

5 Th ei r ] Th y C M
.
, , C l, C a m , D y , D e1 , D o, H u
1 z 3 z
, et c ; . Th i ne M A

, ,
Kt ,

C o , B , D el , H u , D y , S t a C l,
l l
ly , Wh , H a l
l
, K .

8 f ar th e r ] f u rth e r H u
. .

Io . th y ] th ei ran o n c o nj . .

ch ur l s th e ir ] th ei r ch url G 5 E
2 2
I I .
, , .

13 Wh y ] wh y ? S E
.
, .

14 T h e s olye ] Th e s oy le 1 6 40 ; Th e s oi l C C a m D el D o , R , Ox ,
.
'
, , , Wy B ut
, ,

N B ul l ; Th e solve M A K t , C o B D e l
,
l 2
H u D y S t a C l G1 K ly
, , , ,
.
, , , , , , , Wh H a l
, ,

Ty H er B e Wa ; Th e toi l G S E ; Th e
, , , , , s ole S t ee c onj .
; Th e f oi l C a l d ec ott c o nj .

Th a s s oi l an o n c o nj

. .

3 . MAL ON E : Th e l e tt e rs that c om po se t h e w ord d ue we r e pr obably

en d .

transpo se d at t h e pre ss and t h e u i nve rt ed , .

4 Comm en d [This is on e of t h e thr ee w ords i n t h e Q wh ose ca pita l i z ati o n

. .

WYND H AM ca nn ot exp l ain ( p . .

5 Th e ir F or t h e e rr or s ee n ot e on 2 6 1 2
. .
, , .

7 conf oun d S ee n o t e on 5 6
. .
, .

9 b ea uty of th y mi n d TYL E R : S ai d po ssib l y n ot with o ut a sha d e of ir ony

. . .

I o th y .B E E C H I NG : An ear l y and an onym o us c o nj ecture is th e ir And

. .

w e may ask Wh y sh ou l d p eo p l e b e ca ll ed chur l s f or j udgi ng a man by his

"
,

ow n d ee d s ? Mor eo v e r t h e e nsui ng so nn e t se e ms t o say that t h e c o mm o n

,

O pini o n is s l an d e r B ut a l ine in 1 2 1 1 2 B y th e ir rank th oughts my d eed s

. , ,
1 74 TH E S ONNE TS OF S HA K E S P EAR E [L X I X

m ust n ot b e sh own imp li e s that d eeds a re capabl e of vari ous i nt e rpre tati ons
, ,

and t h e impre ssi o n w e g e t fr o m t h e so nn e t is that t h e poe t b e li eve s ( or tri e s t o

b e l i eve ) his fr i e nd t o b e re ally goo d d e spit e c e rtai n l apse s S e e 9 5 1 3 .
, .

1 3 B ut
. K I NN E AR [ regards t h e w ord as be ing transp ose d ; it really b e l ongs
.

i n t h e n e xt line : t h e s o il is but

o nly ) this etc ] ( Cr u ces p ,
"
.
, .

14 . s oly e S ee t h e t e xtual n o t e s f or t h e w e ight o f O pin i o n r e garding this

.

w o rd MAL ONE : [ S o l ve
. so l uti on ]

I hav e n ot f o und t h e w ord
"
in
any auth or : but have i nse rt e d it rath e r than pri nt what appe ars t o m e u n i n

t e lli g i b le S TE E VE NS : I b e li e v e w e sh o uld r e ad Th e s ole is this ; i e h e r e t h e
. . .
,

o nly e xp l anati o n l i e s this is all C L AR K , WR I G H T: As t h e v erb t o so il is

.
"

n ot unc o mm o n i n old E nglish m e ani ng t o solve as f o r e xampl e : This

, , ,

q u e sti o n c o uld n ot o n e o f th e m all s o i le ( U dal s E ra s mu s L uke f ol 1 s 4h ) s o

,

, , .
,

t h e substantiv e so il may b e u se d in t h e se nse o f so l uti o n Th e p l ay upo n

.

w ords thus sugg e st e d is i n t h e auth or s mann e r VE R I TY : So il m eans

.

bl e mish ; cf H a ml I iii 1 5 ( N0 so i l n or caut e l d oth b e smirch t h e v i rtu e

. .
, , ,

of his t h e se nse b e ing t h e fault which pr e v e nts y o ur od o ur

. fr o m
matching y o ur S h ow is t h e fact that y ou gr ow c o mm o n [Th e N E D l i sts

. . . .

b oth soi l and s ol ve with t h e m eani ng sol uti o n thi s lin e b e ing t h e sol e

,

,

r e f e r e nc e i n e ach case ; but with an appar e nt pr e f e re nc e f or t h e f orm e r r eading ]

c om m on B E E C H I NG : Too litt l e ch o ic e i n y o ur c o mpany C f Cor I I iii 1 0 1
. . . .
, , ,

I hav e n ot b ee n c o mm o n in my l ov e WAL S H [c o nn ects t h e w ord with 1 37 1 0 .

, ,

and plac e s this s o nn et with that as addre sse d t o t h e mistr e s s ] B R AND L : Th e

bitt e r w ord r e m i nds us of H a mlet wh e r e t h e P rinc e h urls it int o t h e fac e of his
,

m oth e r b e f or e t h e asse mbl e d c o urt Ay madam it is ( p xii i ) , ,

. .

GOD WI N [b e l i eve s this so nn e t to be a d dr esse d by th e poe t to himse lf

( p .

AC H E S ON [ vi e ws b oth 6 9 and 7 0 as] a d ir ect criticism of C hapman s A

C or on e t f o his Mistr e ss hi l oso phy as w e r e S o nn e ts Th e Am oro us

r P 2 0 2 1 of ,

Z od iac [Th e e vid e nc e add uc ed f or this is t h e phrasing of li n e 3 which Ach e

. ,

s o n thinks i nv olv e s allusi o n t o vari o us lin e s of C hapman s e g Al as ! why

. .
, ,

l e nt n ot h e ave n t h e so u l a t o n g u e ( Ovi d s B a nq ue t) ; S pirit t o e sh and so u l

( A Coron et) ; and similar so ulfu l e xpr e ssi o ns

t o spirit giving

( S h 81 th e

. .

R i va l P oet pp 1 2 4 L in e s 89 a l so r e fe r t o so m e of C hapman s in Th e

.
,

Amorous Z odi a c
Yo ur e y e s w e r e n e v e r y et le t i n t o s ee
Th e maj e sty a n d ri c h e s of t h e mind (p . .

[With this an d th e f oll owing sonne t cf .

6
94 9 . ED .
]
LX X ] TH E S ONNE TS OF S HAK E S P EAR E 1 75

70

THAT t h ou b la m d ha l l not b e th y d e fe c t

a re s ,

F or s anl
d e rs m a r k e w a s e u e r y e t t h e f a i re ,

Th e orn a m e n t of b e a u t y i s s u s pe c t ,

A C row t h a t i e s i n h ea ue n s s w e e t e s t ay re .

S o t h o u b e goo d s l a n d e r d o t h b u t a pp r o ue
, ,

Th e i r w or t h t h e g re a t e r b e e i n g w oo d of t i m e

F or C a n ke r v i ce t h e s w ee t e s t b u d s d o t h l o u e ,

An d t h ou p re s e n t s t a p u re v n s ta y i n e d p r i m e

.

Th o u h a s t p a s t b y t h e a m b u s h o f y o u n g d a i e s ,

E i t h e r n o t a s s a y ld o r v i c t o r b e e i n g c h a rg d

, ,

Ye t t h i s t h y p ra i s e ca n n o t b e s oe t h y p ra i s e ,

To t y e v p e n u y e ue rm ore i n la rg ed , ,

I f s o m e s us p e c t o f i ll m a s k t n o t t h y S h ow ,

Th e n t h ou a l on e k i n g d om e s o f h e a r t s s h o uld s t ow e .

1 . ar e ] a rt 1 6 40 , et c .

6 . Th ei r ] Th y C , M , et c . woo

d of ti m e ] wood o f ti me C c onj ( M )
*
.
1
wood f ti me
o

C *
c onj ( M ) ; wei gh
.
2
d of ti me D el c onj .
; w oo d

f
o cri me S t a c o nj . w oo d

o f ti me B ut .

13 . i ll m a s k t ] i ll ma s k e 1 6 40 , G ; ll, ma k G , S , E
i s
1 2
.

This so nnet has awake n ed discuss i o n chi e y thr ough its appare nt i n c o n s i s t
e ncy with o th e rs c o mm o nly tak e n as addr e sse d t o t h e sam e p e rso n C rit i cs .

u nd e rtak e i nt e rpr e tati o ns naturally acc ording as th e y vi e w t h e unity and

, ,

c ontinuity of t h e S o nne ts i n ge n e ral GE R VI NU S : C o mpar e t h e j oyful want o n .

n e ss with which in t h e f o rm e r untr o ubl e d days t h e m o st opp os i t e r e pr oach e s

, ,
'

had b ee n m ad e ! H e r e h ow disc o nt e nt e d ; h e has passe d t h e ambush ;

th e r e s o c o nt e nt ed : t e mptati o n f ol l ows him and t h e pre tty wr o ngs b e t him

,

,

w e ll A gr e at e r aust e rity it must b e admitt ed appe ars i n th e se l at e r so nn e ts

. , , ,

and in such a m a nn e r as all ows us t o infe r a change of mind i n t h e p oe t ; ye t we '

h e ar i n th e m stil l m or e plainly t h e v oic e of j e a l ousy which grudge s t o t h e world ,

and its j udgm e nt b oth his fri e nd s virtu e s and fau l ts ( Tran s ed 1 8 8 3 p
.
, .
, .

D OWD E N [ i gn ore s t h e d i fcu l ty b e ing c o nt e nt t o c o nn e ct t h e s o nne t with t h e

,

n e xt pr ec ed ing and r e marking that t h e p oet h e r e d ef e nds his fri e nd fr o m t h e

,

suspici o n an d s l and e r of t h e TYL E R : H i s fri e nd s prim e was u nstain ed

'
,

such an a ff a i r as that with t h e p oe t s mistr e ss n ot b e ing r e gar d e d appar e nt l y

, ,

as invol ving se ri o us m ora l bl e mish Mor e ove r th e r e had b een f orgive n e ss ; and .
,

t h e sp e cia l r e f e r e nc e h e r e may b e t o s o m e char g e o f which Mr W H was inn o . . .

~

c e nt B ut ( as i n 7 9 ) S h can scarc e l y e scape t h e charge of a d u l ati on ROL F E :

. . .
1 76 TH E S ONNE TS OF S HA K E S P E A R E [1 11 11
[ I f t h e p e rs o n addr e sse d h e re ] is t h e sam e y o ung man is s o p l ainly th o ugh wh o ,

sadly and t e nd erly re pr ove d in 33 3 5 this S onne t must have b ee n writt e n

, ,

b e f or e th o se Mr Ty l e r s att e mpt t o S h o w that this so nne t is n ot out of

. .

p l ac e is a g ood i l lustrati o n of t h e tricks of d e sp e rati o n t o which a critic may

.

b e drive n in d e f e nc e of his th e o ry ( I ntr o r ev e d p GOL L AN C Z [ s w a l . .

, . .
, .

l ows t h e cam e l a t o nc e s o t o say : ] Th e faults r e fe rred t o i n t h e e arli e r so nn ets

,

a r e n ot o n l y f o rgiv e n but h e r e imput e d t o sland e r L E E : Th e y o ung man wh o m

, .

t h e p oe t addr e sse s [ h e r e ] is cr e dit e d with a di ffe r e nt dispo siti o n and ex p e ri e nc e

[ fr o m that o f t h e y o uth r e buk e d in

3 3 5 4 42 9 5
2 0 ( L if e p [ F ro m , , , .

this on e w o u l d supp ose that L e e t oo k t h e so nn e t t o b e addr e sse d t o a d i ff e r e nt

p erso n fr o m t h e e arli e r o n e s ; but o n p 1 47 h e tr e ats it as b e i ng of a c o nsid e rably .

lat e r dat e on t h e gro und that t h e p oe t n o l o nge r cre dits h i s h e ro with j uve nil e
,

want o nn e ss but with a pure u nstain e d prim e

, H ow this chang e can b e

, .

e xplain e d by assuming t h e l apse of so m e y e ars e xc e pt thr o ugh a m i s u n d e r ,

standing of S h s u s e of prim e I am u nabl e t o s ee E D ] AC H E S O N [ o n t h e

"
. . .
, ,

o th e r hand thinks that t h e t o n e of this so nn e t indicat e s] a pe ri o d ant eri o r t o

,

t e indiscr e ti n o
h o f S o uthampt o n with t h e p oe t s mistr e ss r e c ord e d i n 33 3 5 an d

40 4 2 . I w o uld th e r e f or e giv e th e se t w o s o nn e ts [ 6 9 70 ] a ve ry e arly dat e
.

( S h 69 th e R P p
.

.B E E C H I NG : Th e r ec o nciliati o n wou l d p ossib l y b e
.
, .

simpl e if w e kne w al l t h e facts ; but e ve n in t h e s o nne ts th e mse lve s t w o facts

a r e abso lut e ly l umin o us : F irst that it was t h e mistr e ss w h o c o urt e d t h e fri e nd ,

rath e r than t h e fri e nd w h o c o urt e d t h e mistre ss (4 6 6 2 1 33 Th e , , ,

se c o nd fact is t h a t t h e gr o up of so n ne ts in which 7 0 is i nc l ud e d impli e s that t h e

fri e nd had b ee n k e e p i ng bad c o mpany and d oing things which br ought his nam e
i nt o ba d r e put e [ Se e 6 9 9 1 0 wh e r e it is impli e d that t h e fri e nd s d e e ds] we r e
.
, ,

n ot g o od d e e ds S 7 0 indubitably f o l l ows 6 9 ; but i t is o n t h e surfac e as i n c o n

. .
, ,

sist e nt with it as with t h e gro up 33 35 Wh e th e r t h e e xp l anati o n b e that S h

. .

was h Op i n g t h e b est and giving pr ec e pt in t h e f orm of pra i se w e cann ot say ; b ut ,

t h e po i nt t o n otic e h e r e is that as 6 9 and 7 0 cann ot b e se parat e d t h e i n con ,

sist e ncy cann ot b e g ot ri d of by t h e hyp oth e sis of m o re fri e nds than o n e ( I ntr o . .
,

p l xiv ) [Th i s is h owe ve r t o b e g t h e qu e sti o n ; si nc e if t h e ord e r is n ot r e gard e d

. .
, ,

as xe d by t h e Q 6 9 may n ot b e l o ng with 7 0 but f or ex ampl e

with 9 4 9 6
, , ,

wh e r e Walsh puts it I n oth er wo r d s t h e p ossibility of r e ading 6 9 and 7 0 c o n

. ,

tinu o usly and c o nsist e ntly is pre cise l y on e of t h e qu e sti o ns t o b e c o nsid e re d

in d e t e rmining t h e auth e nticity o f t h e Q o rd e r E D ] W A L S H : This s o nn e t . .

cann ot b e addr e sse d t o t h e fri e nd of f orm e r so nn e ts un l e ss aft e r h e has grown ,

t o manh ood H O R AC E D AV I S : Ma y w e i nt e rpr e t th e s e d i f cu l t l i n e s thus : t h e

.

f ri end s prim e was his e arl y y o uth ; this had b ee n pure and unstain ed ; whil e

his y oung days m e aning his e ar l y man h ood we re ambush e d ind eed ; but

,

,

h e h ad escap ed fr o m t h e snare s (this may r e fe r t o his intrigu e with t h e d ark

w o man with wh om h e was n o l ong e r e ntang l e d ) and n ow that a ll was ove r
, ,

S h r e fus e s t o be li e ve t h e scandal an d maintains t h e sw ee t att e ry that it

.
,

was o nl y t h e s l an d e r ous th oughts ( 6 9 1 1 ) of h is churli sh e n e mi e s that

,

wr ong ed him ; h e admits h owev e r that his fri e n d had give n rea so n f or t h e , ,

c harg e that th ou d o st c omm on grow

.
 L XX ] TH E S ONNE TS OF S HAK E S P E AR E
2 . VE R I TY : [ C f Mar l owe H ero f L ea n der . i , , ,

2 8 5 86

Wh ose nam e is it if s h e b e false or n ot , ,

S o s h e b e fair but so m e vil e t o ngu e s wi ll b l o t ? ,

M f or . M I I I ii 1 9 6 9 8
.
, , ,

N0 might n or gre atn e ss in m ortality

C a n c e nsur e scap e ; back wo unding calumny -

Th e whit e st virtu e strik e s ;

an d S o ph oc l e s Aj a x 1 54f : P o int thin e arr ow at a n obl e spirit an d th ou
, , .
,

sha l t n ot miss 1 R OL F E : C f H a ml I II i 1 3940 : B e th ou as chast e as

. . .
, , ,

i c e as pur e as sn ow th o u shalt n ot e scape calumny

, , .

3 MAL ON E : S land e r is a c o nstant att e ndant o n be auty and adds n e w

.
,

l ustr e t o it [ For suspe ct as a n oun cf 2 H 6 I II i 1 40 : That y ou will

.

, . .
, , ,

c l e ar y o urse lf fro m al l suspe ct 1 [ C i lin e 1 3 ED ] . . . .

5 a ppr ove S C H M I D T: P r ov e
. . .

6 w oo d of ti m e MAL O N E : I str o ng l y susp ect [ th e se w ords ] t o b e c orrupt

. . .

P e rhaps t h e p o e t m e ans that h owe v e r sland e r e d his fri e nd may b e at ,

pr es e nt his w orth shall b e c e l ebrat e d in all futur e tim e S TE E VE NS : [ P e rhaps

, .

w e may int e rpr e t If y o u a r e virtu o us sland e r b e ing t h e fav o urit e of t h e a g e , , ,

o nly stamps t h e str o ng e r mark o f appr o bati o n o n y o ur m e rit I have alr e ady .

sh e wn o n t h e auth ority of B e n J onso n that of ti m e m e ans of t h e th e n
, ,

,

pr e se nt o n e [This i n a n ot e on H a ml I I I i 70 I n t h e sa m e c o nnecti o n
. .
, , , .

B OS WE L L cit e s E M ou t of h i s H
Oh h ow I hat e t h e m o nstr o usn e ss o f
. . .
,

ti me ; and B ed i n g eld 1 57 6 : D isord e r of t y m e t e rroure of wa rres e t c ]

,

, , .

C AP E L L : Might w e n ot r e ad : b e ing wood o f ti m e ? taking wood f or

*

a n e pith e t appli e d t o sland e r signifying frant i c d oing mischi ef at rand o m , , .

S h oft e n use s this old w o rd

. H AZL I TT: B e l ov e d by futur e ti m e ? WAL K E R .

[ d e ve l ops S t e e v e n s s sugg e sti o n of tim e as t h e tim e c o mparing 1 1 7 6 ;

"
, ,

J onso n s P indaric Od e H e v ex e d tim e and busi e d t h e wh ol e stat e ; e t c

,

, .

( Cri t E xa m 3 :
. D OWD E N [ qu ot e s H unt e r New I llus of S h 2 : 2 40 t o
.
, , . .
, ,

t h e sam e e ff e ct and adds : ] B e ing woo d o f tim e see ms th e n t o m e an b e ing

, , ,

s olicit e d or t e mpt e d by t h e pr e s e nt tim e s TYL E R : This must b e take n it .

,

w o uld se e m with sland e r of lin e 5 Th e se nse th e n will b e that sland e r
,

.

c o m i n g u n d e r t h e s oo thing in u e nc e of tim e w i ll sh o w thy w orth t o b e gr e at e r

'

or ,

sland e r will turn t o prais e in c o ur s e of tim e WYND H AM : I sugge st that

.

ti m e h e r e as e lse wh e r e i n t h e S o nn e ts

, n ot t h e tim e

or

t h e tim e s

,

.
4
but Tim e p e rso n i e d C f I 1 7 6 [ wh e re h o we ve r t h e m e aning is also disput e d
. .
, , , .

ED ] Th e s e ns e is : I f o n l y y o u b e virtu o us s l and e r d o th but appr ove

.
,

y o ur wo rt h t h e gre at e r sinc e y ou a re w oo d by Tim e wooe d and n ot y et

,

w on by Tim e an obj e ct stil l f or Tim e s s olicitati o n ) f or y o u a r e i n y o ur pur e

, ,

[ B U TL E R and l at e r Mrs S TO P E S think t h e d i f culty is

u nstain e d prim e .
, .
,

s olve d by ad o pting t h e e m e ndati o n B E E C H I NG : C o urt e d by t h e

w orld F or tim e in this se ns e cf S 1 1 7 6 wh e r e it is paraphrase d by u n

.

, . .
, ,

kn own minds ; H a ml I I I i 7 0 t h e whips and sc orns of

.
, etc LE E, , .

Woo e d by t h e t e mptati ons e ith e r of t h e sea s on of yo uth or of t h e pr e se nt a g e .

1 78 TH E S ONNE TS OF S HAK E S P EAR E [L XX
[ All th e se c omm e ntat ors assum e t h e c orre cti on of Th e ir to Th y (s e e 26 ,

12 , but Miss P O R TE R w o uld kee p it r e ading : ] Th e worth of th o se wh o se ,

distincti o n i s such that Tim e t h e pe ri od ] w oos th e m b e ing t h e gr e at e r f or ,

that and gr e at e r than that o f th o se w h o th e r e f or e w oo th e m and sland e r th e m

, , .

7 C AP E L L : C f T G V I i 42 :
.
*
. . . .
, , ,

in t h e swee t e st bud As
Th e e ating canke r dwe lls s o e ating l ove ,

I nhab i ts in t h e n e st wits of all .

WAL S H : Cf .

10 . E thi e r [ F or
. th e m e trica l tre atm e nt of this w or d as a m on o sy ll abl e , see

ABB OTT ,

1 1- 12 . s oe missi o n of as i n such r e lativa l -c o n s t r uc

To [ F o r
. th e o

ti ons s e e BB
A , O TT 2 8 1 ; cf M V I I I iii 9 1 0 : S o f o nd t o c o m e
,
. . .
, , ,

12 D OWD E N : P r of H al e s writ e s t o m e : S ur e ly a r e f e re nc e h e r e t o F Q
. . . .
,

e n d o f B k vi C a li d ore t i e s up t h e Blatant B e ast ; aft e r a tim e h e br e aks h i s

. .

ir o n chain and g ot int o t h e w orld at libe rty again i e is e ve rm or e e nlarge d

,

,

.
,

.

[ F or t h e m e aning of e nlarge cf H 5 I I ii 40 : E n l arge t h e man c o mmitt e d

. .
, , , ,

ye st e rday ED ] .

.

1 3
1
4 . I S AAC : Cf 9 6 , . 1 1 1 2 .
( Arch i v , 62 :

14 . ow e . Cf . 1 8, 1 0 .

I S AAC impo ssib l e t o app l y

[c o nsid e rs it fri e nd such l in s as 9
to be to th e e 1 0

and 3 1 4 ; on t h e oth e r hand th e y a r e ] we l l match e d with t h e oth e r v e rse s

1

addr e sse d t o a y o ung attractive and much c o urt e d wo man wh o se c oqu ettish
, , ,

natur e has awak e n ed a c e rtain distrust of h er purity ( Arch i v 6 2 : .

,

GOD WI N [vi e ws t h e so nn e t l i ke 6 9 as a so lil o quy ; t h e p oe t says t o himse lf : 1

, ,

I f th o u art r e ally m e rit ori o us such sland e r pr ov e s thy w o rth t h e gr e at e r and ,

particu l ar l y wh e n it is invit ed by or i nstigat e d by thy y o uth ( p . .

L XX I] TH E S ONNETS OF S HAK ES P EAR E 79

71

NOE L on g e r m ou rn e f or m e w h e n I am d ea d ,

Th e n y h a l l h
ou S e a r e t h e s u r ly s u ll e n b ell
Gi u e w a rn i n g t o t h e w or l d t h a t I a m e d
F rom t h i s v i l e w o r l d w i t h v i ld e s t w or m e s t o d w e l l
Na y i f y o u r e a d t h i s l i n e r e m e m b e r n o t , ,

Th e h a n d t h a t wri t i t f o r I l ou e y o u s o , ,

Th a t I i n y o u r s w e e t t h o u gh t s w o u l d b e f orgo t ,

If t h i n k i n g o n m e t h e n s h ou ld m a k e y o u w oe .

O i f ( I s a y ) y o u look e vp o n t h i s v e r s e ,

Wh e n I ( p e r h a p s ) c om po u n d e d a m w i t h c la y ,

D o n o t s o m u ch a s my p o o re n a m e r e h e r s e ; .

B u t le t y o u r lo ue e u e n w i t h my l i f e d e c a y .

L ea s t t h e w i s e w o r l d s h o u l d loo k e i n t o y o u r m o n e ,

An d m o c k e y ou w i t h m e a f t e r I a m g on .

2 . Th e n ] Wh en S , E , C ; Th a n M , et c .

vild e s t ] vi les t G , etc .

B E E CH I NG : J ust as i n t h e plays w e s ee t h e p e rf e ct balanc e b etwe e n t h e

l yr ical and int e ll ectua l impulse s b e g i n t o b e ove rse t i n H a mlet whil e in such ,

plays as Cor and T 61 C t h e int e ll ectua l impulse has triumph ed s o am ong

. . .
,

t h e s o nn e ts w e se e m ab l e t o distinguish so m e such as t e gr o up 7 1 7 4 which

h
, ,

c o rr e sp ond t o t h e H m pe ri d and oth e rs such as 1 2 3 1 2 4 which sugge st

a l et o
, , ,

a fniti e s with T 59 C ( I ntr o p l i )

.

. .
, . .

2 MAL O N E : C f 2 H 4 I i 1 0 2 : A sull e n b e l l r e m e m b e r d k n oll ing a

. .
, , , ,

d e part ed fri e nd .

4 vi
. ld e s t [ This .c o rrupt f o rm o f vi le ( Cen t D i ct ) is v e ry c o mm o n in t h e . .

o rigina l S hak e sp e ar ean t e xt s ED ] . .

MAL O N E : C f 2 H 4 I V v 1 1 6 : On l y c o mp o und m e with f orgott e n

10 . . .
, , ,

d ust .

n ot e at t h e e n d of S 32 f or a MS v e rsi on of this s o nn e t Th e on l y vari

S ee . . .

ant r ea d ing acc ord ing t o Lee s tr an sc ript is m e f or y ou in l in e 8

.
 1 80 TH E S ONNETS OF S HAK ES P E AR E [
L XX II

7 2

O LE AS T t h e w o rld h ou ld t a s ke y ou t o re c i t e
s ,

Wh a t m e r i t l i u d i n m e t h a t y ou s h ou l d loue

A f t e r my d ea t h ( d e a re l o u e ) f o r g e t m e q u i t e ,

F o r y o u i n m e ca n n o t h i n g w o r t hy p ro ue .

a e s s e y o u w ou l d d e u i s e s om e v e r t uou s ly e ,

To d oe m ore f or m e t h e n m i n e ow n e d e s e r t ,

An d h a n g m ore p ra i s e v p on d e c ea s e d I ,

Th e n n i g a rd t r u t h w ou ld w i ll i n gly i m p a r t
O le a s t y o u r t r ue lo ue m a y s e em e fa lc e i n t h i s ,

Th a t y o u f o r lo u e s pe a k e w e l l of m e v n t r ue ,

My n a m e b e b u r i e d w h e r e my b o d y i s ,

An d li ue n om or e to s h a m e n or m e n or y ou , .

F o r I a m s h a m d b y t h a t w h i ch I b r i n g f o r t h ,

An d s o s h ou l d y ou t o l o u e t h i n g s n o t h i n g w or t h
, .

6 . m e th en mi n e own e ] me n ow , th a n mi n e own G 1
, S , E ; me n ow , th a n my G 2
.

4 p
. r o ve S C H M
. I D T : Asc e rtai n nd [ C f 1 53
, . .
,

5 . ve rt u ou s ly e V E R I TY :.D id S h kn o w o f P lat o s .
y ew
/
ov x evbos or H orac e s

ai z

s plen d i de men da x ? C f We bst e r D . of Ma l

, I I I ii : S uch a f e ign e d crim e as
. .
, ,

Tass o calls Ma g n a n i ma m enz og n a a n obl e li e , .

7 I ABB OTT: E uph o ny and e mphasis may have succ e ssfu l ly c o nt e nd e d

. .

agai nst grammar Th i s may e xplain I i n and I

.

but I fr e qu e ntly u s e d

, ,

Th e so un d of d and t b e f or e m e was avoid e d [ Of t h e pr e se nt

f o r me . .

ex ampl e ] t h e rhym e is an obvi o us e xp l anati o n 205 .

,

6 d e s e rt F o r t h e rhym e with impart cf n ot e o n 1 1 4

.
. , .
, .

1 0 TYL E R : L e st t h e r e ality of y o ur l ov e f or m e sh o u l d b e qu e sti on ed or

9 .

d e ni e d wh e n t h e falsity of yo ur e ul ogi e s has b ee n d e t ect e d [S C H M I D T and

, .

R OL F E a l so tak e untru e t o b e an adve rb u n t r u lY) : but WYND H AM may

b e right i n sugg e sting that it is i n agr ee m e nt with m e H e paraphrase s

Of .
,

Or it may hav e t h e g e n e ra l m e aning

m e wh o se p oe try is i mp erf e ct . un

worthy S e e n ot e on truth i n 54 2

.

ED ] , . .

12 s h am e WYND H AM : H e r e as e l s e wh e r e t h e p oe t us e s t e rms of m o ra l
. . , ,

c e nsur e wh e n d e liv e ring an artistic j udgm e nt Th e n ext t w o l in e s pr ove that .

th e

sham e is f or t h e vers es h e brings f ort h .

I 3 F L E AY : [ Th e li n e m e r e ly r e f e rs t o criticism o f his dramatic w o rks as

.

i nfe ri or in c o nt e mp orary o pi ni o n t o his poe m s ] This word sham e has t h e

, ,

sam e m eaning al l thr ough th e se s o nn e ts n othing m ore than t h e f ee ling

,
 1 TH E S ONNE TS OF S HAK ES P E AR E

Lx x111 181

pr oduc e d by unfavo rab l e critica l Opini ons [ C f S 1 ( Ma om Ma g 3 1 . . . .

,

P O R TE R : Th e e ntir e t e n o r o f t h e se q u e nc e sh o ws that t h e artist i c j udgm e nt is

not o w n s o much as that of t h e w o rld o f which h e is c o nsci o us and t o

wh i ch h e i s s o se ns i t i ve that h e is r e ady t o aband o n artistic fam e i n t h e e xt e rna l

se nse f or that ge nuin e n e ss of e xpre ssi o n c onst i tut i ng r e al livingn e ss i n h i s v e rse
, .

[ Wh e n I c o mpare this so nn e t with 3 6 and 1 1 2 tr e ating also t h e sham e

,

m ot i f I f ee l l e ss c e rtain than t h e c o mm e ntat ors app e ar t o that it d e a l s wh olly

,

or primar il y with lit e rary r e putati o n ED ] . .

14 B E E C H I NG : Th e rst n otic e that S h s fri e nd take s any int e r e st in his

. .

p oe ms .

73

TH AT t i m e of y ee a re t h o u ma i s t i n m e b e h old ,
Wh e n y e l low le a u e s , ha n ge or n on e , o r f ew d o e
Vp o n t h os e b o u gh e s w h i c h s h a k e a ga i n s t t h e c o u ld ,

B a r e r n w d q u i e rs w h e r e l a t e t h e S w e e t b i r d s s a n g

, .

I n m e t h o u s e e s t t h e t w i l i gh t o f s u ch d a y -
,

AS a f t e r S u n s e t fa d e t h i n t h e We s t
-
,

Wh i ch b y a n d b y b l ac k e n i gh t d o t h t a ke a w a y ,

D e a t h s s e c on d s e lf e t h a t s e a l s v p a ll i n r e s t .

I n m e t h o u s e e s t t h e gl ow i n g o f s u ch r e ,

Th a t on t h e a s h e s o f h i s y ou t h d o t h ly e ,

AS t h e d e a t h b e d w h e re o n i t m u s t exp i re
, ,

C o n s um d w i t h t h a t w h i ch i t w a s n u r r i s h t b y

.

Th i s t h o u p e rc e u s t w h i ch m a ke s t h y l o u e m ore s t ron g

, ,

To loue t h a t w e l l w h i ch t h o u m u s t le a u e e r e l o n g
, .

4 . B ar e rn

wd q ui e rs ] B a re d qu i res 1 6 40 , G , S , E ; B a re
ru i n

r ui n

d ch oi rs

M , etc .
; B a rren wd qu i ers

L ; B a r ren d of qui res C

.

5 twi.light ] twi li g h t
-s -
1 6 40 , C ; twi li gh ts G
1 2
, S, E .

Th i s ] Ti s Ti s G S E

13 . 1 6 40 ; , , .

14 . le a u e 1lees e B ut c o nj l . on g .
1lon g : M Kt , , Co 112
, D el, Dy , Sta , Kl y Wh ,
1
,

H a l, H u z
, Ty .

1
4 . MAL ON E : Cf . Cy mb .
, III , iii , 6 0 6 4
was I as a tr ee Th e n
Wh os e b oughs did b e n d with fruit ; but in on e night ,

A st o rm or r obbe ry call it what y o u wil l , ,

S h oo k d own my m e ll o w hangings nay my l e ave s , , ,

And l e ft me bare t o weath e r ;

1 82 TH E S ONNE TS OF S HAK ES P E AR E [L XXI I I
an d T of A . .
, I V, iii , 2 6 366 :

That numb e r l e ss upo n me stuck as l eave s

D o o n t h e oa k hav e with o n e wint e r s brush

F e ll fr o m th e ir b o ughs and l e ft m e o p e n bar e ,

F or e v e ry st or m that b l ows .

B R AN D L : C f S p e nse r , S h
. Ja n ua ry
. Ca l .
,

Y o u nak e d tr e e s wh o se shady l e ave s [ e t c ] , .

All s o my lustful l e af is dry and se r e .

( p x1 v )
. .

4 . qui e rs MAL O N E. : That

part of cath e drals wh e r e divin e se rvic e is pe r
f orm e d t o which wh e n u nc o ve r e d and i n ruins A nake d subj e ct t o t h e w ee p
, , ,

i ng cl o uds t h e p oe t c o mpar e s t h e tr e e s at t h e e n d of autumn stripp e d of that ,

f ol i ag e Wh I C h at o nc e invit e d and sh e lt e r e d t h e f e ath e r e d so ngst e rs of su mm e r ;

wh o m F o rd a c o nt e mp o rary and fri e nd of o ur auth or s with an allusi o n t o t h e
,

sam e kind o f i mage ry calls ( i n his L over s Mela n ch oly ) t h e qu i rist e rs of t h e

,

w oods S TE E VE N S : This i mag e was pr obably sugge st e d t o S h by o u r d e so
. .

l at e d m onast e r i e s Th e r e se mblanc e b e tw ee n t h e vaulting of a Gothic aisl e

.
,

and an av e nu e of tre e s wh o se uppe r branch e s m e e t and f orm an arch ov e rh e ad ,

is t oo str i k i ng n ot t o b e ackn o wl e dg e d Wh e n t h e r oof of t h e o n e is shatt e re d .

,

and t h e b o ughs o f t h e o th e r l e a e ss t h e c o mpariso n b e c o m e s y e t m or e s ol e mn ,

and p i ctur e sq u e WYND H AM : This m o st b e autiful i mage was n e ar e r and m ore

.

vivid wh e n many great abb e ys o pe n e d t o th e we ath e r within t h e m e m ory of ,

m e n l iv i ng w e r e b e ginning t o b e ruins e re th e y w e r e f o rg ott e n as C hantri e s

, ,

wh e r e t h e sad and s ol e mn pri e sts sing

B E E C H I NG : Th i s sup e rb so nn e t has .

n ot b e e n with o ut an O pe rati o n upo n its c o mm e ntat ors wh o se styl e it has ,

raise d .

7 . S TE E V E N S : C f T G V I i i i 8 7 . And by and by a cl ou d tak e s a l l

. . .
, , ,

away .

8 D e ath s s e c on d s e lf e L E E : Cf D ani e l s D eli a S 49 which d e scrib e s

. . .
. , ,

sl e e p as br o th e r t o d e ath H o m e r and H e s i od b o th call sl ee p t h e .

br oth e r of d e ath
Th e phrase is use d by R o nsard and d e Ba i f ; [ c f als o
. .

D e spo rt e s : O fr er e d e la [ I t is a l s o p o ss i bl e that s o m e r e s e mblanc e \

b e tw ee n sl e e p and d e ath had occurr e d t o a numb e r of pe rso ns b e f or e e ve r it
was e mb od i e d in poe try ED ] . .

9
1 0 s uch . That [S ee grammatica l n ot e s o n 34 7 . ABB OTT: I n l in e s ,

6 such as is u se d b e cause which f o ll o ws ; in 9 1 0 such that

b caus -
5 , e e ,

as f ol l ows .

12 D OWD E N : Wasting away on t h e d ead ash e s which o nc e n ourish e d it

.

with living am e TYL E R : Th e re and fu e l pass away t oge th e r B E E C H I NG :

. .

C h ok e d by t h e ash e s which o nc e n o urish e d its am e Pfs ash e s c e rtainly .

can ch oke am e s o t h e w eakn e ss of t h e bod y can r e act upo n t h e m e nta l

,

H E N RY RE E D l at e r y ears at S tratford oh
[ re fe rring this so nn e t

, to Sh . s ,

s e rv l We chall e nge t h e poe try of t h e w or l d against [ t h e o e l in e 4 f or t h e

es z n , ,

i ma g e] i ll ustrative of a p oe t s si l e nt old a g e ( L ectures 2 : P RI CE [ n d s

. ,
L X XI V ] TH E S ONNE TS OF S HAKES P E AR E 1 83

that t h e s o nn e t sh ows on e of t h e l ow e st per c e nta g es of f or e ign words and is in ] ,

t h e class i n wh i ch t h e g e m l ik e radianc e of S h s poe tical dicti o n is m o st k e e nly

-
.

f e lt ( p .
[ See also his n ot e at t h e e n d of S
.
[ F or t h e structure of t h e .

so nn e t t h e n e st examp l e of t h e S hake spear ea n m od e s ee n ot e at t h e e n d of

, ,

s 49
. . ED .
]

74

B VT b ec on t e n t ed w h e n t h a t fe l l a re s t ,

Wi t h o u t an b a yle s ha l l ca r ry m e a w a y ,

My li f e h a t h i n t h i s l i n e s om e i n t e re s t ,

Wh i ch f or m e m or i a ll s t i l l w i t h t h e e s h a l l s ta y .

Wh e n t h ou re ue w e s t t h i s t h o u d oe s t re uew , ,

Th e v e ry p a r t w a s c on s e c ra t e t o t h e e ,

Th e e a r t h ca n h a ue b u t ea r t h w h i ch i s h i s d ue , ,

My s p i ri t i s t h i n e t h e b e t t e r pa r t o f m e ,

S o t h e n t h o u h a s t b u t los t t h e d re gs o f l i fe ,

Th e p ra y of w orm e s my b od y b e i n g d e a d , ,

Th e c ow a r d c o n q u e s t o f a w re t ch e s kn i fe ,

To b a s e o f t h e e t o b e re m e m b red ,

Th e w or t h o f t h a t i s t h a t w h i ch i t con t a i n e s , ,

An d t h a t i s t h i s a n d t h i s w i t h t h ee r em a i n e s , .

I . co nt nt e ed wh e n ] con te n te d , wh e n G 2
, S, E; con ten ted : wh en M , etc .
( e xc e pt
Kl y , R 2
); con ten ted ; w h en K ly , R 2
.

6 . co ns e crat e ] con s ecra re L .

8 . S p i r i t] s pr i te S E , .

12 . To] Too G , et c . re m em b r e d ] re membered G 2

, 5 1
, M , etc .

D OWD E N : S 74 .
see ms t o m e l ike an e nvo y . P e rhaps a ne w MS b oo k b egins
.

with 7 5 77
-
.

1 2 B E E C H I NG : Th e re is pe rhaps n othing e ve n in t h e so nn e ts e qua l i n

.
, ,

dignity and be auty t o this cal m o pe ni ng .

I f e ll ar e st C AP E LL : C f H a ml V 1 1 34 7 4 8 : H a d I but tim e
. .
*
. as this .
, , ,
-
,

f e ll se rg e ant d e ath is strict i n his arre st

,

, .

2 a ll b ayl e
. R OL F E : [ Cf
with o ut all o rnam e nt 6 8 1 0 f or t h e u s e o f al l
. .
, , ,

any 1 VE R I TY : S aid in a ll usi o n t o t h e l e ga l phrase with out bai l and main

.

pri z e a summary f o rm of arr e st :
,

3 in t e r e st S e e n ot e o n 3 1 7
. .
,

6 TYL E R : C f Martia l E p VI I 8 4
.
Cert i or i n n ostr o ca rrn i ne v ult us e t it
.
, .
, , .
 1 84 TH E S ONNE TS OF S HA K ES P E AR E [ L xx 1 v
Th e l anguage of our t ext is str onge r sp e aking of t h e i nn e r man which is th or , ,

o ughly i d e nti e d with t h e writt e n v e rse ( li n e pa rt wa s [ F o r t h e o missi o n .

of t h e r e lativ e s e e ABB OTT n ot e o

, 4 ,
n ,

8 b e tt e r p art TYL E R : [ C f D rayt o n I d ea 44 :

. . Wh e r e I e t o m b d my .
, , n
'

b e tt e r part shall save 1 ( I ntr o p L E E : C f 39 2 [ and n ot e ] P O R TE R

. .
, . .
, . :

C f H orac e , Od e 30 pars m e i v i t a b i t L i b i t i n a m
No n om n i s m or i a r ; m u lt a q u e

. : .

1 I D OWD E N : D oe s S h m e r e ly spe ak of t h e l iability of t h e b ody t o untim e ly

. .

or vi o l e nt mischanc e ? Or d oe s h e m e ditat e suicid e ? Or th i nk o f Marl o w e s

d e ath and anticipat e such a fat e as p o ssibly his ow n ? Or has h e like Marl o we
, , ,

b e e n wo und e d ? Or d oe s h e r e f e r t o diss e cti o n of d e ad b odi e s ? Or is it c o n

f o u nd i ng age s cru e l knife of 6 3 1 0 ? [ F U R N I VALL had alr e ady mad e t h e last

,

o f t h e se sugg e sti o ns and P AL G R AV E t h e n e xt pr e c e ding say i ng that t h e lin e ]

, ,

must allud e t o anat o mical disse cti o n th e n re c e nt l y r e vive d i n E ur op e by ,

Ve salius F all o pius P ar and o th e rs R OL F E : I f n ot a m e r e ly gurative

, , , .

e xpr e ssi o n like [ age s cru e l t h e k e y t o it is pr obab l y in [ D owd e n s

rst qu e sti o n : ] th i s lif e which is at t h e m e rcy of any base assassin s knife

.

[ PL U MP TR E ( Con temp R ev argu e s f or t h e th eo ry of m e ditat e d suicid e

. .
, ,

ass ociating t h e passage with t h e f e ve red m e lanch o l ia of 1 4 7 and o th e r sonn e ts .

TYL E R agr ee s with t h e assassin th e o ry VE R I TY calls att e nti o n i n addi

"
.
,

ti o n t o t h e knif e of 6 3 1 0 t o Tim e s cr ooke d knif e i n 1 0 0 I 4 VON MAUNTZ

, ,

, .

( in a n ot e o n 1 0 0 1 4 ) c o mpar e s t h e d e ath s sharp knife of S idn e y s Arca di a

,

( B k 2 ; e d 1 59 0 f
. . WYND H AM : Me taph orica l : t h e d e structi o n of t h e
, .

b ody by d eath and its subse qu e nt c o rrupti o n is a squalid trage dy B E E CH I NG : .

I i nc l in e t o D owd e n s last sugg e sti o n and tak e t h e wr e tch t o b e D eath

, ,

b ut t h e image is d e rive d fro m t h e arr e st with o ut bai l i n l i n e s 1 2 D e ath is

.

t h e e x e cuti o n e r F or c owar d cf M f or M I I I i 1 5 : Th ou rt by n o

.

, . . .
, , ,

m e ans va l iant
.

12 r e m e m b re d
. WYND H AM : Th e r e is l itt l e auth ority [f or t h e m od e rn sp e ll
.

i ng ] Th e v e rb is a l m o st i nvariably r e m e mbr e i n t h e writings of S h and his

.

.

c o nt e mpo rari e s I f s o t h e lin e is d e fe ctive ; cf 6 6 8 disab l ed [ Nev ert h e

.
,

.
, ,

.

l e ss Wyndham puts r e m e mb e r ed i n his t ext 1

,

.

14 D OWD E N : That ( my spirit ) is this ( my poe ms )

. .
L xxv] TH E S ONNE TS OF S HAK E S P EAR E I 85

75

So a re y oumy t hto
o u gh t s a s f o o d t o l i fe ,

Or a s s w e e t s e a s on d s h e w e rs a r e t o t h e gr o u n d ;

An d f or t h e p e a c e of y ou I h old s u ch s t ri f e ,

AS tw i x t a m i s e r a n d h i s w e a l t h i s f o u n d .

Now p ro u d a s a n i n i oy e r a n d a n on ,

D oub t i n g t h e lch i n g a g e w i l l s t e a l e h i s t rea s ure ,

Now c o u n t i n g b e s t t o b e w i t h y ou a l on e ,

Th e n b e t t e rd t h a t t h e w or ld m a y s e e my p l e a s ure ,

S om e t i m e a ll f u l w i t h f e a s t i n g o n y o u r s i gh t
-
,

An d b y a n d b y cl e a n e s t a ru e d f or a look e ,

P o s s e s s i n g or p u rs u i n g n o d e li gh t
S a u e w h a t i s h a d o r m u s t f r om y ou b e t oo ke
, .

Th u s d o I p i n e a n d s u rf e t d a y b y d a y ,

Or g lu t t o n i n g o n a ll o r a ll a w a y , ,

2 . s w e e t s e as on

d ] H yph e n e d by M , et c . s h e w ers ] s h owers L M , , et c .

3 .
p e a c e ] pr i ce or s a k e M c onj ; pri z e . Sta c o nj B ut
.
, .

8 . b e tt e r d ] bette r I saac c o nj .

This so nn e t was o mitt ed fr om t h e 1 6 40 P oems an d t h e ed iti o ns based

th e reo n .

B E E C H I NG : This s o nn et wou ld com e be tte r aft e r 52 .

2 . s we e t s ea s on

d . SC H M I D T: We l l t e mpe red
se as o n cf H a ml I n .
[ F or , . .
, , ,

1 92 :

S e a s o n y o ur admirati o n TYL E R : S e aso nab l e and r e fr e shing .

3 pe a ce MAL O N E : Th e c o nt e xt see ms t o r e q uir e that w e sh ou ld rath e r

. .

r e ad price or sak e Th e c o n icting passi ons d e scrib e d by t h e poe t we re

.

n ot pr od uc ed by a r e gar d t o t h e e ase or qui e t of his fri e nd but by t h e high ,

va l u e h e s e t on his e st ee m : y et as th e re see ms t o hav e b ee n an o ppo siti o n i n

t e nd ed b e twee n pe ac e an d strife I d o n ot suspe ct any c orrupti o n in t h e

,

t ext [An admirabl e spe ci m e n f or ed it ors of h ow on e may annotat e a d i i c ult

. , ,

passage at c o nsi d e rab l e l e ngt h with o ut o ff e ring an e xp l anati on ! B D ] DE LI US .

[ tak e s

pe ac e t o m e an l ov e ; S CH M I D T c o nc or d or rec on ci li a t i on l
"
,

.

S TAUN TO N [ suppo rts his e m e n d ati o n

pri z e by a r e f e re nc e t o 8 6 2 ( Ath , .

D ec 6 1 8 7 3 p
.
, ,
I S AAC [ re fe rring t o MAS S E Y S vi e w that t h e so nn e t is
.
,

suppos e d t o b e spo ke n by S o uthampt o n t o Miss Ve rno n wh e n see ki ng a r ec o n

ciliati on aft e r his abse nc e obse rv e s that a simi l ar i nt e rpr etati o n of this l in e is
,

p o s s i b l e w h e th e r S h hims e l f is t h.e l ov e r o r is d e scribing o b j e ctiv e l y a l ov e

1 86 TH E S ONNETS OF S HA KES P E AR E [L XX V
bl osso ming i n se cr e t Or t h e pe ac e may b e c o nc e rn e d with t h e c onv e nti o na l
.
,

str i fe of l ov e r and lady ; s e e P e trarch p

"
a s s i m and S p e nse r S o nn e ts 1 0 1 2
, , , ,

1 4 57
,
I n this c o nn e cti o n h e qu ot e s t h e translati o n of t h e lin e in Ts c h i s c h w i t z s
.

ve rsi o n
U m R uh mit dir muss ich d e n K ampf b e ginn e n .

( Arch i v , 61 : 1 83

D OWD E N : f o und i n y ou [ S o B E E CH I NG ] TYL E R

Th e p e ac e c o nt e nt , , to b e . .

P e ac e abl e p oss e ss i o n of y o u WYND H AM : P e ac e of p o ss e ssing y o u r l o v e [ L i n e s

. .

6 w o uld se e m t o b e pr e tty g oo d e vid e nc e f or so m e such int e rpr e tati o n as

5
Tyl e r s ED ]

. .

6 D OWD E N : P e rhaps this is t h e rst allusi o n t o t h e poe t S h s rival in his

.
.
,

fri e nd s favour WYND H AM : Th e n ot e struck h e re and i n t h e n ext so nne t with

.
, ,

its r e minisc e nc e of 3 2 se e ms pr e lusiv e t o Gr o up E ( 7 8 , [Cf 4 8 1 3 BD ] .

, . .

8 b e tt e r d S CH M I D T [ obse rv e s t h at t h e w ord h e r e appr oach e s t h e m e aning

. .

surpasse d I S AAC gl osse s t h e passag e C o unting ( myse lf ) b et t e r d in that

.
,

et c .
( Arch i v , 61 :

star ve d C f 4 7 3 and MAL O N E S n ot e

10 . . .
, .

1 3 1 4 . F or th e

chiast c c o nstructi o n ,

i i n this case in inve rt e d ord e r cf , .

n ot e on 2 7, 1 3 1 4 .

14 .ay MAL ON E : H aving n othing on my b o ard all b e i ng a w

a ll a w . ay , .

S TE E VE N S : P e rhaps [ t h e m e aning is ] Away with all ! i e I e ith e r d e v o ur l i k e

. .
,

a glutt o n what is within my r e ach or c o mmand all pr ovisi ons t o b e r e m ov ed ,

o u t o f my sight [ This sugg e sti on it n e e d hardly b e r e mark ed has n ot c om

.
, ,

m e nd e d itse lf t o any oth e r c o mm e ntat o r ED ] . .

I S AAC [ calls this a l ov e so nn et appr oving MAS S E Y S obse rvati on r e spe cting
-
,

l in e that th er e was n o man st e aling in t h e E li z ab e than a g e S o vi e w ed t h e

6, -
.
,

so nn e t ] is an u nsurpasse d sp ecim e n of its type and t h e p ee r of t h e be st that ,

has e ve r b ee n sung on this i n exhaustibl e e t e rna l th e m e ( Arch i v 6 1 : , .

,

B RAND E S : We have h e r e an e xact c ount e rpart t o t h e f oll owing e xpr e ssi o ns in a

l e tt e r fr o m Micha e l Ang e l o t o C avali e ri [ his y oung man fri e nd ] dat e d J uly ,

I w o uld far rath e r f org e t t h e f ood o n which I liv e which wr etch e dly

1 533 : ,

sustains t h e b ody a l o n e than y our nam e which sustai ns b oth b ody an d s o u l

, , ,

ll i ng b oth with such happ i n e ss that I can f ee l n e ith e r care n or f e ar of d e ath

whil e I hav e it i n my m e m ory ( Wi lli a m S h 1 :

WAL S H : [ Thi s t oge th e r . .
,

with S 52 forms ] a pma n of l ove unlike ly t o b e addres sed t o a fri e nd and n ot

.
, , ,

i n c o nf ormity with his r e l ati o n t o t h e dark mistr e s s Th e y may have b ee n .

addr e ssed t o so m e o th e r mistr ess re al or imaginary or e v e n t o his wife VO N , , .

MAU NTZ [c o nc e ive s t h e so nn e t t o b e addr e sse d n ot t o any particular p e rso n , ,

but t o l ove in t h e abstract ] .

H O RAC E D AV I S : This so nn e t se e ms t o gath e r in itse lf pa rts o f 4 7 4 8 52 an d , , , ,

5 6. f
C e e sp cially. l in e I w i th 5 2 I ; lin e4 with 52 1
3 ; l i n e 6 w ith 4 8 8 ; lin e 9
, , , ,

6
with 47 5 ; lin e s 9 1 0 with 56 1 6
-
.
, ,
L xxv1 1 TH E S ONNETS OF S HAK ES P E AR E 1 87

76

WH Y i s my v e rse s o b a r re n o f n ew p r i de ?
S o fa r f ro m v a r i a t i o n or q u i c k e ch a n ge ?
Wh v w i t h t h e t i m e d o I n o t gl a n ce a s i d e
To n e w f o u n d m e t h o d s a n d t o c om p o u n d s s t ra n ge ? ,

Wh y w ri t e I s ti ll a ll o n e e ue r t h e s a m e , ,

An d k e e pe i n ue n t i on i n a n o t e d w ee d ,

Th a t e u e ry w o r d d o t h a lm o s t f e l my n a m e ,

S h e w i n g t h e i r b i r t h a n d w h e r e t h e y d i d p roce e d ?
,

0 k n ow s w e e t l o u e I a lw a i e s w r i t e o f y ou ,

An d y ou a n d l o u e a re s t i l l my a r g u m e n t
S o a ll my b e s t i s d re s s i n g old w o r d s n e w ,

S p e n d i n g a g a i n e w h a t i s a l r e a dy s p e n t
F o r a s t h e S u n i s d a i ly n e w a n d o ld ,

S o i s my l ou e s t i l l t e l l i n g w h a t i s t o ld ,

f e l] tell C , M , et c .
; s pell Nich olso n c onj .

Wh e r e ] wh e nce C C 0 ,
3
, Hu 2
, B ut .

This was also o mitt e d fr o m t h e P oems of and ed iti o ns base d th e re o n 1 6 40 .

D OWD E N : I s this an apo l ogy f or S h s ow n so nn ets of which his fri e nd b egins .

t o w e ary ? B E E C H I NG : This s o nn e t O pe ns a n e w se cti o n d e aling with t h e p oe t s

ve rse and that of o th e r writ e rs We have a l r e ady had on e so nn e t o n this t opic

.

I f 7 6 and 7 7 w e r e int e rchanged t h e subj ect w ould ru n o n with o ut a bre ak , .

M C KAIL [ nds t h e so nn e t e spe cially lin e s 1 8 t o have signicanc e r e sp e ct

A
, ,

ing t h e prob l e m of t h e dat e I t ] indicat e s cl e arly that S h was d e l ib e rat e ly

. .

using a p oe tical f orm wh i ch was passing o ut of v ogu e but i n which his ge nius ,

saw hithe rt o unre ach e d p ossib i liti e s U p t o 1 6 0 3 at l east h e p e rsist e d as h e

.
,

p uts it i n dre ss i ng old w ords n e w s pe nding aga i n what is a l re ady sp e nt

,

, .

Th e ap ol ogy h e mak e s is n ot o nly is n ot e ve n main l y f or any d e ci e ncy i n his

, ,

ow n po w e rs ; it is f or pe rsist i ng in t h e u s e of a p oe tica l mann e r which was ,

r e gard e d as obsol e t e a p oe tical f orm which had fal l e n ou t of fashi o n [ C f 7 9

, . .
,

3 4 and 8 2 7 B ut i n th e s e phrase s th e r e is an acc e nt if n ot of sarcasm at

-
, , , ,

l east of prid e ( L ect on P oetry 1 9 8

'

. .
,

2 .
qui ck e . H
S C MI D T: L iv e ly .

TYL E R : Th e se
lin e s may all ud e t o S h s unwi ll ingn ess t o ad opt t h e

3 4 . .

m od e of e xpr e ssi o n and t h e p oe tica l f orm e mp l oyed by his riva l s WYND H AM : .

5 5 7 with n ot e ]
8 1 2
[ C f 3 2 4 .
; , ,
-
, .
1 88 TH E S ONNETS OF S HA K ES P EAR E [L xxv1
4 . KRAU S S : C f S idn e y , A 89 S
. .

S 3
.

E nn obling f und tr op es with pr ob l e ms

n ew - o old ,

Or with strange simi l e s e nrich e ach l i n e .

( J a h rb .
, 16 :

TYL E R : [Th e w ord s] may ve ry w e l l r e f e r t o t h e n ov e l c o mp ou nd w ords e mpl oy ed

by C hapman t o expr e ss H o m eric e pith ets L E E : C f f or li ke c o mm e nt on c on . .

~

t e mp orary s o nn e t ee rs e xtravaganc e s 2 1 3 8 and 1 30 [ F or t h e c omp o unds

, , .

strange s ee a l so L E E S r e marks o n t h e c omp o und e p i th e t as intr oduc ed

,

int o E l i z ab e than po e try fr o m that of t h e P l i ad e Fr en ch R en a i s s a n ce i n ,

E n gla n d pp 2 4 54 8 H e qu ot e s t h e satir e s of J o se ph H a l l 1 59 7 9 8 as t o t h e
, . .
, ,

curr e nt habit i n e pith e ts t o j o in t w o w ords i n o n e and obs e rve s that S h

,

himse lf ad o pt e d it fr e e ly in t h e co ining of such e pith e ts as h o n e y h e avy

-
,

g i ant rud e
-
marb l e c o nstant et c ] E ve ry r e ad e r of S h s t e xt will r e ca l l
,

-
, . .

t h e fr e qu e ncy o f d o ub l e e pith e ts which i n t h e b e st origina l e diti o ns a r e as , , ,

i n t h e F r e nch b ooks car e fully hyph e n ed by t h e print e r

, .

6 i n ve n ti on R OL F E : [ F or t h e m e aning p oe tic facu l ty cf 3 8

. . n ot e d , , .
,

w e e d S TE E VE NS : A dr e ss by which it is a l ways kn own as th os e pe rso ns a r e

.
,

w h o a l ways w e ar t h e sam e c ol ours B E E C H I NG : This passag e is o n e of t h e

.

st oc k t e xts with t h e wise acr e s w h o think that t h e s o nn e ts w e r e writt e n by F rancis

Bac o n Th e y e xp l ain n ot e d w eed t o m e an a disguise which is exactly
.

,

what it d oe s n ot m e an [This Bac onian misint e rpr e tati on ha d alr e ady b ee n

.

n ot ed by W E OR M S B Y N Eff Q 9 t h s 1 0 ;
. .
, . .
, .
,

9 1 0 L E E : C f S i d n e y A Er S S 9 0
- .
a
. .
. .
, ,

F or n othing fr o m my wi ll or wit d oth ow ,

S inc e a ll my w or d s thy b e auty d oth in d it e .

[ Se e a l so Le e s n ot e
on S .

10 . argum ent. S ee n ot e on 38 , 3 .
Lx x vn ] THE S ONNETS OF S HAK ES P E AR E 1 89

77

THY g la s s e w i ll s h e w t h ee h ow t h y b e a u t i es w e re ,

Th y dy a l l h ow t h y p re t i ous m y n u i t s w a s t e ,

Th e va ca n t le a ues t h y m i n d e s i m p ri n t w i l l b e a re ,

An d of t his b ook e , t h i s le a rn i n g
m a i s t t h ou t a s t e .

Th e w r i n c k le s w h i ch t h y gla s s e w i ll t r u ly s h ow ,

Of m ou t h e d g ra ue s w i l l g i ue t h e e m e m o ri e ,

Th ou b y t h y dya l s s h a d y s t e a l t h m a i s t k n ow ,

Ti m e s t h e e u i s h p rog re s s e t o e t e rn i t i e .

L ook e w h a t t h y m e m or i e c a n n o t c o n t a i n e ,

C omm i t t o t h e s e w a s t e b la c k s a n d t h ou s h a lt n d e ,

Th os e ch i ld re n n u rs t d e li u e rd f r o m t h y b ra i n e , ,

To t a ke a n ew a c q ua i n t a n c e o f t h y m i n d e .

Th e s e o fc e s s o of t a s t h ou w i lt look e
, ,

S h a ll p ro t t h ee a n d m u ch i n r i ch t h y b ook e,
.

I . we r e ] wea r G 2
, et c .

3 . Th e ] Th es e CM c onj B ut
, .
, .

4 th i s b ook e ] th y book M c onj

. .

6 th ee ] th e 1 6 40 G S
.
, , .

10 b l a ck s ] bla n k s Th c o nj C M
. .
, , , e tc.

13 14 [E .prints l in e s 1
3 1 4 of S .

14 . th y ] my C .

C A . Brown [ make s this t h e e nvoy of t h e third p oe m 56

.
,

S TE E VE N S : P r obably this so nn e t was d e sign e d t o acc ompany a pre se nt of a

b ook c o ns i sting of blank pape r MAL O N E : This c onj e cture app e ars t o me e x .

t r e m e ly pr obab l e We l e arn fr o m S 1 2 2 that S h r e c e ive d a tab l e b oo k fr o m

. . .
-

his fri e nd I n his a g e it was cust o mary f or al l ranks of pe o p l e t o make pr e se nts

.

o n t h e rst day of t h e n ew y e ar B RI N S LE Y NIC H OL S ON [ ( N 69 Q 4t h s 3 : 1 6 6 )

. .

.
, .
,

sugge sts that t h e s onne t was writt e n i n a tab l e b ook having a l ooking glass - -

and a p ortab l e dial on or i n e ith e r c ove r S ee A Y L I I vi i 2 0 ( And th e n

. . . .
, , ,

h e dr e w a dial fr o m his p o k e ) f or e vid e nc e that dials w e r e w orn by pe opl e of

t h e c o urt ; and R 2 I V i 2 7 6 ( Give m e that glass ) f or a sugg e sti o n that

.
, , ,

mirr ors we re a l so carri ed by ma l e [This l ast is a d e cid e d sl i p ,

as line 2 6 8 r e ads Go som e of y ou an d f e tch a l ooki ng g l ass

,

E D ] D OWD E N -
. .

I f I might ha z ar d a c o nj e ctur e it wo u ld b e that S h w h o ha d pe rhaps b e gun , .

,

a n ew manuscript b ook with S 7 5 -

h e re c ease d t o writ e knowing that his
.
,

fri e nd was favouri ng a riva l and i nvit ed his fri e nd t o l l up t h e b l ank page s
,
1 90 TH E S ONNETS OF S HAK E S P E AR E [L xxv 1 1
himse l f MAS S E Y : This b ook was r e f e rr e d t o i n S 37 [e rr or f or 38 1 wh e r e as
. .
, ,

w e saw t h e p oe t was n o l o ng e r t o writ e o n any c o mm o n or

"
v ulg a r pap e r

, ,

but i n t h e b oo k which S o uthampt o n had pr ovi d e d f or t h e sp e cia l purpo se .

H e wants his fri e nd t o writ e i n t h e b oo k of so nn e ts as a m e ans of drawing him

o ut of s e lf and s e t him br oo ding o n his th o ughts of l o v e i nst e ad o f gri z z l i ng
,

o v e r his il l f o rtun e s (p TYL E R : Th e vi e w is pr obab l y c orr e ct

. . which
i nf e rs that wh e n [ this and t h e t w o pr e c e ding so nn e ts] we r e se nt t o Mr W H . . .

th e re was se nt with th e m a pr e se nt c o nsisting of a mirr o r a sun dial and a ,

-
,

manuscript b ook e ach of th e se b e ing i n so m e so rt symb ol ical S H I ND L E R :

-
, .

[ Th e so nn e t ] acc o mpani e d a pr e se nt e vid e ntly t o so m e m or e d i stant fri e nd ,

than t h e l ove ly b oy

( Gen t Ma g 2 7 2 :
. B U TL E R : My fri e nd Mr H
. .
, . .

F e sting J o n e s sugge sts t o m e that t h e boo k [ was a b oo k of tab l e ts ; cf S . .

and that t h e t w o fri e nds pr obably e ach mad e t h e o th e r a pr e se nt of a b ook of

tabl e ts o n t h e occasi o n of a Ne w Ye ar s day S h writing S 7 7 o n t h e rst

. .

l e af of t h e b oo k h e gave t o Mr W H ( p B E E C H I NG : Th e phrase s in line s

. . . .

te b l anks se e m t o imp l y that t h e

3 and 1 0 th e vacant
, l e av e s
th e se w a s ,

,

album was n ot a l t og et h e r unwritt e n i n ; b ut th e y wo uld b e j usti ed if t h e d edi

c a t o r y so nn e t occupi e d t h e rst pag e Th e so nn e t is s o out of k e y with what .

pr ec e d e s and f oll o ws it that it is b e st t o tr eat it as an occasi o na l p oe m t o which

,

Th e wri nk l e s of l in e 5 make s it i m p os

w e hav e n ot t h e c o mpl e t e clu e

.

sibl e t o r e gar d it as an e nvoy t o t h e so nn e ts b e for e it R OL F E : That t h e s o n .

n e t r e f e rs t o t h e pr e s e nt o f a b l ank b oo k t o his fri e nd see ms quit e c e rtain

-
,

but I cann ot b e l i eve that it was partly ll e d with S h s poe ms That t h e dial .

.

and mirr or we r e also i nclud e d in t h e g i ft is po ssib l e but n ot probab l e unl e ss

Th y i n lin e s 1 and 2 sh o uld b e Th e as in 3 [ Mr s S TOP E S an d B RAND L

, .

acc e pt Nich ol so n s th eory that t h e mirr or an d d ia l w er e attach e d t o t h e b ook ]

.

4. th i s M AL ON E : [ F or t h e pr op o s ed
b ook e . thy cf l in e th i s l e a rn , .

i n g D OWD E N : B e auty Ti m e a n d Ve rse f orm e d t h e th e m e of many of S h s

.
, , .

so nn e ts ; n ow that h e will writ e n o m or e h e c o mm e nds his fri e nd t o his glass

i
, ,

wh e re h e may disc ove r t h e truth ab out his b e auty ; t o t h e dial wh er e h e may ,

l e arn t h e progre ss of ti m e ; and t o this b oo k which h e himse lf n ot S h , .

must l l TYL E R : Th e l e sso n is that [ d e spit e t h e warning g i v e n by wrinkl e s

.

and t h e s had ow o n t h e dia l ] se curity aga i nst ob l ivi o n may b e f o und by c o mmit
ting th ought t o writing B E E C H I NG : What t h e glass an d dia l have taught
.

th e e .

5 H e r e sh o u l d p e rhaps b e r ecall ed t h e i mp l icati o n in S H I ND L E R S and

.

B E E C H I NG S n ot e s on t h e so nn e t as a wh ol e t o t h e e ff e ct that this cann ot w el l

b e addr e ss e d t o t h e b e autiful y o uth ( f or e xampl e of S , .

6 m ou th e d MAL O N E : All d e v o uring [ Ci

. . swal l owing grave
-
V 83 A . .
, .
'
.
,

S C H M I D T: Gaping ABB OTT: [ By a curi o us u s e of passive participl e s ]

.
,

a participl e f orm e d fr o m an adj e ctive m e ans mad e ( t h e

and d e
rive d fro m a n o un m e ans e nd owe d with ( t h e n o un )

.

7 s ha dy s t e a l th S C H M I D T: S t e a l ing shad ow [ F or t h e i nv e rt e d r e lati o nship

. . .

o f adj ectiv e an d n o un cf n ot e s o n 9 I 4 ; 3 6 6 ; 51
, . B E E C H I NG : Cf 1 0 4 1 0
, , , .
, .
L xxv1 1 1 TH E S ONNETS OF S HAK E S P E AR E 191

8 . th e evi s h . MAL O N E : Cf . A . W .
, I I, i , 1 69 : Th e thi e vish minut e s h ow

th e y pass .

b l a ck s D Y CE [ exp l ains t h e e rr or f or b l anks as b e ing d ue t o t h e MS

10 . . .

form B R I N S L E Y NI C H OL S O N N 59 Q 7 t h s 1 1 : 2 4 ) favors r etai n .

'
.
, .
,

ing t h e Q r eading as r e fe rring t o tabl e s of b l ack s l at e Th e us e of this is m e n

, .

t i o n e d i n D o uc e s I llu s tra ti on s ( 1 8 39 p with an e ngraving fro m Ge sn e r

.
,

wh e r e such a tabl e b oo k is d e scrib e d P ug i lla ri s e la m i n i s saxi nigri

-
,

s s ili s cum styl o e x eod e m 1 Miss P O R TE R [ a l so susp e cts that t h e b l acks

"
.
,

sh o u l d stand but i n t h e se nse of ] print e rs type s marks of l if e actua l ly laid

,

wast e t o n o urish th e m and which i s s p e n t up o n th e m f or t h e s ake of t h e l if e of

,

t h e spirit th e y b e t o ke n [ C f 6 3 1 3 and 6 5
.
[ He r e one is t e mpt e d t o ask
.
, , ,

Wh o shal l co mm e nt u po n t h e c o mm e ntat or ? E D ] .

TYL E R : C hil d re n of t h e brain hav e tak e n t h e p l ac e of t h e natura l

1 1 .

chi l dr e n of t h e rst so nnets .

12 D OWD E N : P e rhaps this is said with som e fe e l ing of wo un ded l ov e my

.

verse s have gr o wn m o n ot o n ous and we ariso m e ; writ e yo urse lf and y ou wil l nd ,

n ove l ty in yo ur ow n th oughts VE R I TY : Reading ove r what y ou have writt e n

.
,

y o u wil l r e ali z e t h e chang e which has g o n e o n i n y o ur o w n natur e a n d char

act e r ; thus y ou wil l appr eciat e t h e d oub l e change o utwar d an d i nward , ,

that has take n plac e i n y o urse l f .

1 3 o ce s
. S C H M I D T: F uncti o ns ag e nci e s B E E C H I N G : Th e of c e s o f glass
.
, .
,

dia l an d b ook
, .

[This is an oth e r of t h e so nne ts i n which GOD WI N be l i e ve s t h e p oe t is a d dr e ss

ing himse l f : 1 That mirror y o nd e r hanging o n t h e wall inf orms th ee h ow thy

, ,

goo d l oo ks a re w earing away ; that D utch cl ock ticki ng on t h e mant e lpi e c e

sh ows th ee t h e rapid passageof ti m e but th e se vacant l e ave s d e sti ne d t o
r e c e ive t h e i mprint of thy min d will f o rm a b oo k and give th ee a tast e of a
,

di ff e r e nt ki nd of l e arning Th e se wast e l e ave s will d e live r t h e chi l dr e n

.

nurse d i n thy brai n i nt o actua l l if e and th e r e by furnish th e e with a n e w ,

acquaintanc e with thy mind Mor e o ve r this se rvic e as oft e n as it sha ll b e

.
,

r e p eat ed will add t o thy pr oci e ncy as a writ er ( pp 6 1
,
. .
1 92 TH E S ONNETS OF S HAK E S P E AR E [ xxv
L 1 1 1

7 8

So of t h a ue I i n uok d t h e e f or my M us e
,

An d f ou n d s u ch fa i re a s s i s t a n c e i n my v e rs e ,

As e u e ry Ali en p e n h a t h g o t my v s e ,

An d v n d e r t h e e t h e i r p oe s i e d i s p e rs e .

Th i n e e y e s t h a t t a u gh t t h e d u m b e o n h i gh t o s i n g
, ,

An d h e a u i e i g n ora n c e a l o f t t o i e ,

H a u e a d d e d f e t h e rs t o t h e l e a rn e d s w i n g ,

An d g i u e n g r a c e a d o u b l e Ma i e s t i e .

Ye t b e m os t p ro u d o f t h a t w h i c h I c o m p i l e ,

Wh os e i n u e n c e i s t h i n e a n d b o r n e of t h e e , ,

I n o t h e rs w o r k e s t h o u d o o s t b u t m e n d t h e s t i l e ,

An d A r t s w i t h t h y s w e e t e g ra c e s gr a ce d b e .

B u t t h o u a r t a ll my a r t a n d d oo s t a d u a n c e ,

AS h i gh a s l ea r n i n g my r u d e i g n o ra n c e ,
.

i e] f lee in Q i n Bridge wat e r L ibrary

Co py of .

l e arn e d s ] lea rn eds t an o n c onj .

1
4 . WAL S H : Cf 79.
, 1 . Sh . c l aims to hav e b ee n th e rst to sing th e praise s
of this patr o n .

3 WYND H AM [ c o nsid e rs this lin e t og e th e r with 8 3 1 2 as pr oof that th e r e

.
, , ,

we r e m or e rival p oe ts than o n e ( p This is d o ubt e d by TYL E R 1 Ali e n

. . . .

S C H M I D T: B e l o ng i ng t o an o th e r [ Th e cap i tal and italics h e r e hav e as usual

.
, ,

le d t o vari o us c o nj e ctur e s ( F or t h e g e n e ral subj e ct s ee n ot e s o n I

. H E N RY , ,

B R OWN thi nks a pun is int e nd e d : a l ea n p e n ; cf t h e p oss i bl e pu n in 8 4 5

.
, .

C R E I G H TO N nds a n e xt r a or d i n a r y anagram i nvo lv i ng t h e nam e s of b oth

D an i e l and Al l e yn ( B la ckw ood 1 6 9 :

.
g ot m y u s e D O WD E N : Acquir e d
, .

my habit ( of writing v e rse t o y ou ) .

4 d i s p e rs e ABB OTT: Th e plura l n o minativ e is impli e d fr o m t h e pr e vi o us

. .

singular n o un .

5
6 B UTL E R : S ur e ly th e se l ine s aff o rd c o nsid e rab l e gr o u nd f or thinking
.

that S h had n ot writt e n at al l b e f or e falling i n with Mr W H

. . . .

6 h e a vi e i gn oran c e MAL O N E : Cf 0 th

I I i 1 44 : O h e avy ign oranc e !

. . . .
, , ,

6 7 VON MAU NTZ : C f S idn e y A 81 S 9 0 9 1 1

-
. .
, .

,

Ne if I w ould u l d j ust titl e mak e

, I Co ,

That any laud t o m e th e r e of sh o uld gr ow ,

With out my p l um e s from oth e rs wings I take

.
L XX VI I I ] TH E S ONNE TS OF S HAK E S P E AR E 1 93

WAL S H : C f S p e ns e r ,
. i n a d edicat ory so nn e t pr e xed to th e F .
Q a d dr e ssed
.
,

to th e E ar l of E sse x :

B ut wh e n my Muse wh o se f e ath e rs n othing it

, , ,

D o y e t but ag and l o wly l e arn t o y

, ,

With b old e r wing shall dar e al oft t o sty

7 . l e arn e d s . ABB OTT [ l i sts this as an instanc e of an a dj e ctive i n ect e d lik e
a n o un th ough h e ,
susp ects that t h e r e ad ing sh ould b e lea r n ed s t
.

D Y CE : C f S pe nse r .
, Tea rs of th e t s es

E ach idl e wit at will pre sum e s t o make ,

An d d oth t h e l e arn e ds task up o n him tak e .

TYL E R : Th e w ord Suits v e ry we ll th e Gr ee k

sch o lar C hapman A d oubl e
, .

maj e sty [of lin e 8 is a l so] an expr e ssi o n quit e suitabl e [t o t h e ] H o m e ric trans
lati o n .

8 MAS S E Y : A p oe t is h e r e prais e d f or t h e se nsu o us grac e of his po e try and

.

maj e sty of his music ; t h e v e ry qualiti e s o f all o th e rs that w e f o ll owing t h e ,

E li z ab e thans associat e with t h e march o f Marl o we s mighty lin e (p

'
.
, .

9 com p i l e S C H M I D T: C o mp os e [ C f 8 5 2 and L L L I V iii 1 3 4 : D id

. . . . .
.
, , , , ,

n e ve r s o nne t f or h e r sake c o mpil e .

I o i n u e nc e
. S C H M I D T: I nspirat i o n . .

12 Art s D OWD E N : L e arn i ng TYL E R : Th e r e is r e f e r e nc e h e r e t o p oe tica l

. . .

styl e .

13 a dvan ce S C H M I D T: R ai se t o a high e r wort h [ Ci L ucrece 1 70 5 : My

. . . .
,

low d eclin e d h o n o ur t o
-

[ F or th eori e s as riva l p oe t or poe ts s ee furth e r t h e n ot e s on S o nn ets

to th e ,

8 0 8 5 8 6 and t h e App e ndix As t o t h e pr e s e nt s o nn e t H E N R Y B R OWN ( p 1 8 3 )

, , , .
, .

th i nks that it has particular r e f e r e nc e t o F rancis D avis o n w h o d e dicat ed his ,

P oeti cal R h a ps ody ( 1 6 0 2 ) t o P e mbr ok e i n t h e f o ll owing lin e s : ]

Gr e at E ar lwh o se high and n obl e mind is high e r ,

An d n obl e than thy n obl e high d e s i r e

Wh ose o utward shape th o ugh it m ost l ove ly b e ,

D oth i n fair r ob e s a faire r so ul att i r e ;

,

Wh o rich i n fading w e alth i n e ndl e ss tr e asure s

Of virtu e val o ur l earning rich e r art
, , , ,

Wh ose pre se nt gre at e st m e n e st e e m but part

Of
what by l in e o f futur e h o p e s thy m e asur e !

I c onse crat e th e se rhym es t o thy gre at nam e ,

Which if th o u l ik e th e y se e k n o oth e r fam e .

MAS S E Y [ n d s i n it r e f e r e nc e s t o riva l s w h o o n t h e oth e rhand we re u nd e r t h e , ,

patr o nag e of S o uthampt o n : ] H e spe ci e s t w o or thr ee of th e se by p ers o nifying

c e rtai n of th eir w e l l kn own q ualiti e s S h stands f or Ign oranc e c o nf e ss e d
-
. .
.

To m Nash had p os e d hims e lf as on e of t h e L e arn e d i n o pp ositi o n t o t h e

supp ose d illit e rat e play e r Tom Nash als o wi e ld e d an ali e n p e n in t h e spirit
.

1 94 TH E S ONNETS OF S HAK ES P E AR E [1 11 11 1 11
of an Ishma e l it e [ S h ] says in eff ect that t h e E ar l has i n patr o nising Nash
. .
, , , ,

r e turn e d th ose f e ath e rs t o t h e wing of Le arning which h e S h had b ee n pub , .

,

li c ly charg e d by Gr e e ne and oth e rs with pur l oi ning [ L in e s 1 2 1

3 signify .

that ] S o uthampt o n s patr o nage an d fri e ndship mad e S h equa l t o e ith e r t h e

.

Ma n of L earning wh o was n ot M A or t h e Ma n of Ar ts wh o was

, . Ma r .
, , .

l owe was a Mast e r of Arts ( pp 1 6 0 . .

,

J M R OB E R TS O N [ spe aks of this and t h e r e l at e d so nne ts a s avowing S h s

. . .

l ack of c l assic cu l ture an d his c o nsci ousn e ss of b e ing o utbrave d by t h e l e arning

,

o f o th e rs Th e y ] cann o t rat i o nally b e supp o se d t o c o m e fr o m t h e Co mp et e nt

.

classicist pictur e d by P r of e ssor F iske and furth e r magn i e d by P r of e sso r

C o l lins and t h e B abon i a n s ( S h a nd Mon ta i g n e pp 340
. .
, .

79

WH I L S T I ca ll v p on t h y a y d e
a lo n e d id ,

My v e rs e a lon e h a d a ll t h y ge n t l e g ra ce ,

B u t n ow my g ra c i o u s n u m b e r s a r e d e ca y d e .
,

An d my s i c k M u s e d o t h g i n e a n o t h e r p la c e .

I g r a n t ( s w e e t lo u e ) t h y l on e ly a r g u m e n t
D e s e r u e s t h e t ra u a i le of a w or t h i e r p e n ,

Ye t w h a t o f t h e e t h y P o e t d o t h i n ue n t ,

H e r ob s t h e e o f a n d p a y e s i t t h e e a g a i n e
, ,

H e le n d s t h e e v e r t u e a n d h e s t ole t h a t w ord , ,

F romt h y b e h a u i ou r b e a u t i e d o t h h e g i ue ,

An d fou n d i t i n t h y c h ee k e : h e ca n a ffoord
No p ra i s e t o t h e e b u t w h a t i n t h ee d o t h li ue
, .

Th e n t h a n k e h i m n Ot f or t h a t w h i ch h e d o t h s a y ,

S i n c e w h a t h e ow e s t h e e t h o u t h y s e lf e d oos t p a y , ,

2 . th y ] th e E .

6 . tr a ua i le ] tra vell 1 6 40 ; tra vel G 1

, S 1

5 . l ove ly arg um e n t . th e m e of y our l ovel in e ss C f 3 8 3

R OL F E : Th e . .
, .

8 9 TYL E R : Notic e t h e d e r og at o ry e xp re ssi o ns r obs and st ol e [ B ut

"
. .

th e y a re n ot d e r ogat ory or a re f ar fr om n ece ssari l y s o i n t h e pr e se nt c o nne c

, ,

ti o n b e ing t h e natura l expre ssi o n of t h e c onc e it of t h e so nne t Th e po int is not

,
.

i nsignicant be cause a n u mbe r of critics have assu m ed that t h e t on e of th e se

,

so nn ets is such as t o indicat e anim osity be twee n S h and t h e riva l poe t "
. .

I nd n othing i n th e m which would n ot b e appr opriat e if t h e t wo we r e e xc ell e nt

fri e nd s See WAL S H S note on 80 2
.

ED ] , . .
1 11 11 11 1 TH E S ONNETS OF S HAK ES P EAR E
.
1 95

80

0 H OW I fa i n t w h en I of y ou d o w ri te ,
K n ow i n g a d o t h v s e y our n a m e
b e t t e r s p i ri t ,

An d i n t h e p ra i s e t h e re o f s pe n d s a ll h i s m i gh t ,

To m a ke me t ou n g t i d e s pe a k i n g o f y ou r fa m e -
.

B u t s i n c e y ou r w o r t h (w i d e a s t h e Oc e a n i s )
Th e h u m b l e a s t h e p rou d e s t s a i l e d o t h b e a re ,

My s a w s i e b a r ke ( i n fe r i or f a rr e t o h i s )
On y ou r b roa d m a i n e d o t h w i lf u l ly a ppea re .

Yo ur s h a l l ow e s t h e l p e w i ll h o l d m e v p a oa te ,

Wh i l s t h e v po n your s ou n d le s s e d e e pe d o t h ri d e ,

Or (b e i n g w ra c k t ) I a m a w or t h le s s e b o t e ,

H e o f t a l l b u i l d i n g a n d of g ood ly p r i d e , .

Th e n I f h e t h r i u e a n d I b e c a s t a w a y ,

Th e w ors t w a s t h i s my l o ue w a s my d e ca y , .

a oate ] a -
f loa t G , S , E ; a oa t C , M , et c .
; al o f t R [e rr or ] 2
.

wra ck t] wreck d G

2
, 5 2
, EM A, , , Kt , Co , B , D e1
11 2
, Hu, Dy , S ta ,
Ha l C a m D, , o, W , Ty ,
h
Wy B ut , , H er B e N, , .

2 . b e tter ri t MAL ON E : C uri osity wil l natura ll y e nd eavo ur t o n d out

S pi .

w h o this b e tt e r spirit was t o wh om e ve n S h ackn ow l e dg e s himse lf i nf e ri o r

.
, .

Th e re was c e rtai n ly n o poe t in his ow n tim e with wh o m h e n eed ed t o have

f e are d a c ompariso n ; but th e se so nn e ts b ei ng pr obab l y writt e n wh e n his nam e
was but littl e kn own an d at a ti m e wh e n S pe nse r was i n t h e z e nith of his r e pu
,

t a t i o n I imagi n e h e was t h e pe rso n h e r e allu d ed t o MAI N : A m e m o rab l e i n

, .

stanc e of that n obl e m od e sty which wo uld see m t o b e charact e ristic of t h e

v e ry gr eat e st nature s Th e r ea d e r will call t o mind B u rn s s tribut e t o F e rguso n
.

C o l e r i dge s t o B owl e s S c ott s t o Miss F e rr i e r e t c WAL S H : S p e nse r was t h e

.
, ,

onl y


b e tt e r spirit at t h e tim e wh ose c omp e titi o n S h nee d have f e ar ed S h . . .

and S pe nse r a re b e li e ved t o h ave bee n fri e nds B ut th e re is n ot a wor d i n th e se .

s o nn e ts that indicat e s anythi ng e lsfe than a fri e ndly rivalry .

5 8 VON MAU NTZ : C f Ovid Tr s ti i

a 2 3 7 30 :
2
-
. .
, , ,

Ar g uor i mm e ri t o Te nuis mihi campus a ra t ur.

Illud e rat magna e f e rt i li t a t i s opus .

Non i d eo d e be t pe l ag o s e cr e d ere S i qua ,

Aud e t i n e xigu o lud ere cumba l acu .

1 96 TH E S ONNETS OF S HAK E S P EAR E [ xxx
L

[To which might b e add e d with sp ecial r e f e r e nc e , to l in e 9 , th e d e dicat ory lin e s

which Vo n Ma u n t z n ot e s i n c o nn ecti o n with S . 26 ,
fr o m t h e Fa s ti , 1 , 3 4

E xcip e pacat o , C ae sar Ge r m a n i ce , v oltu

H oc o pus e t t i mi dae dirige navis it e r ] .

6 .h umb l e pr ou d e s t ABB OTT: Th e es t of t h e se c o nd adj e ctiv e m odi e s

.
-

t h e rst Th e s oft and sw ee t e st music ( J o nso n )

Cf . . .

7 i nf e r i or farr e TYL E R : Not t o b e tak e n t oo lit e ral l y

. . .

1 0 S TE E VE NS : C f T 69 C I iii '
7 .
34 44
. . .
, , ,

b e ing sm oo th Th e sea ,

H ow many sha ll o w baubl e b o ats dar e sai l

U p on h e r pati e nt br e ast making th e ir way ,

With th o se of n ob l e r bulk !
B ut let t h e r u f a n B or e as o nc e e nrage
Th e g e nt l e Th e tis and an o n b e h ol d ,

Th e str ong r i b b d bark thr ough liquid m ountains cut

-
,

wh e re s th e n t h e saucy b oat

Wh o se we ak u n t i mb e r d sid e s but e ve n n ow

C o r i v a ll d gr eatn e ss ?

-

LE E : S h . se e ms t o writ e with an e y e on Barn e s s [ m e taph o r i n

P . 89 P
.
, S 9 1 :1.

My fancy s ship t osse d h e r e and th e re by th e se

S til l o ats i n dang e r ranging t o and f r o .

( Lif e , P 1 34 )
10 . s oun dles s e . S C H M I D T: U nfath o mab l e .

MAS S E Y : I can have n o d o ubt that [this so nn e t ] marks t h e m o m e nt of S h s .

rst ve ntur e i n pub l ishing his p oe m of V 89 A H i s saucy bark is ab out t o

.

.

b e launch e d Th e d e dicat o ry natur e of t h e s o nn e t e spe cia l ly of l i n e 9 may

.
, ,

b e gl o ss e d by t h e d e dicat o ry E pist l e t o E u ph u es i n which L i l y had said t o his ,

patro n I f y our l ordship with y our l ittl e nge r d o but h ol d m e up by t h e chi n

, ,

I sha ll swim Th e re is a tint of t h e m ost d e licat e m od e sty i n t h e p l e a that if h e

.

si nks whi l e Mar l owe swims his l ove f or t h e fri e nd his d e sire t o d o him h o n our

, , ,

wi ll b e t h e cause o f his d ecay ( pp 1 6 7

. .

W C H AZL I TT [ is disp o se d t o think that t h e s onne t r e fe rs t o Grif n w h o

. .
,

pub l ish ed his F i des s a i n H i s s o nn e ts l ik e th o se of S h may hav e b ee n , .

,

i n e xist e nc e b ef ore th e y we r e print ed and t h e m or e fam o us writ e r w h o may

, ,

h e re p ose as t h e humb l e r o n e poeti ca li cen ti a may have b ee n unawar e that ,

G rif n was his d e bt or thr ough t h e plagiari z ing of passage s fro m t h e V 69 A .

This n oti o n is base d furth e r o n t h e fact that Gr i i n was a Warwickshir e man

,

and that th e r e is so m e p o ssibi l ity that h e had b e e n m or e succ e ssfu l than S h i n .

i ngratiating himse lf with a c o mm on l ady fri e nd at a distanc e fro m L o nd on ,

y e t at e acc e ssib l e o n
o n ( S h H i ms elf n h s W k pp 54 5
a d i or 2 .
, , .
 XXX I ] TH E S ONNETS OF S HAKE S P EAR E

L I 97

81

OR I h a l l li ue y ou r E p i ta p h t o m a ke
s ,

Or y o u s u r u i ue w h e n I i n e a r t h a m r o t t e n ,

From h e n ce y our m e m ory d e a t h ca n n o t t a ke ,

A l t h o u gh i n m e e a ch p a r t w i ll b e f org ot t e n .

You r n a m e f rom h e n ce i m m or t a ll l i f e s h a l l h a ue ,

Th o u gh I ( on ce g o n e ) t o a ll t h e w o r l d m us t d y e ,

Th e e a r t h c a n y e e ld m e b u t a c omm on g ra ue ,

Wh e n y o u i n t omb e d i n m e n s e ye s s h a l l ly e ,

Yo ur m on u m e n t s h a l l b e my ge n t l e ve rs e ,

Wh i ch e ye s n o t y e t c re a t e d S h a l l o re re a d -
,

An d t o u n g s t o b e y ou r b ee i n g s h a l l re h e a rs e
, ,

Wh e n a ll t h e b r e a t h e rs o f t h i s w or l d a re d e a d ,
You s t i l l s h a l l li u e (s u ch v e r t u e h a t h my P e n )
Wh e re b re a t h m os t b re a t h s e u e n i n t h e m ou t h s ,
m en .

1 . Or ] Wh e r
c onj ; Th oug h S t e nge l c onj

Sta . . I s h a ll ] s h a ll I G, S E , .

1 2 m ak e . r ott e n ] m a k e ?
, rotten ? G , , S E , .

2 Or y ou ] You wi ll S t e ng e l c o nj
. .

1 1 12 r e h ears e
. d e a d ] reh e a rs e
, dea d.
, .
, 1 6 40 , C ; 1
reh ea rs e d ea d
d ea d S E M A K t C
,

G ; reh ea rs e
2
, . o B D , , , , , , , , e l, H u , Dy , S ta , Cl , Kly , Wh 1
,

Ha l Ca m , D
, o, Ty , Ox , H e r , B e , B u ll; reh ea rs e dea d , C l, R , Wh Wy 2
, , N ,

Wa ; r eh ea rs e; d ea d , Walke r c o nj .

I4 . b r e ath s ] ki lls S t a c o nj . en e n] e en

S ;
l
ev n


S , E .

MAS S E Y : [This so nn et ] is vacant of m e aning wh er e it stands ( p . .

B E E CH I NG : Th i s s onn e t is p l ainly misplac e d ; its th e m e is c o nve nti ona l [ F or .

s ourc e s or ana l ogu e s s e e n ot e s on S 55 ED ] , . . .

4 . in m e e ach p ar t . B E E C H I NG : E ve ry charact eristic of me .

7
1 0 . TYL E R : [ Ci . D ra y t o n I dea S 44
, , .

E nsuing age s y et my rhym e s sha l l ch e rish

Wh ere I e n t om b

d my b e tt e r part sha l l sav e 1 .

( I ntr o pp .
, .
40

12 . MALON E : C f A Y L I I I 1 1 2 9 7 : I wi l l chid e n o br e ath e r

b re a th er s . . . .
, ,

in t h e world but myself thi s worl d D OWD E N : This a g e

. . .

1 3 P en .WYND H AM [e xp l ains t h e capitali z ati o n h e re as signifying ] t h e i n

.

strum e nt of an art use d as its e mbl e m [ Cf 84 5; 1 0 6

, (p [ B ut i n . .
, , .
1 98 TH E S ONNETS OF S HAK ES P E AR E [ xxx
L 1

o th e r passag e s wh er e t h e w ord is use d i n t h e sam e way (32 6 ; 7 8 3 ; 85 8 ; e t c ) , , , .

it is n ot capita l i z e d ED ] . .

14 B E E C H I NG : As one w h o live s is call e d pa r excellen ce a br eath e r y ou

.
,

shal l liv e i n t h e v e ry r e a l m of br e ath i n th e m outh s of m e n L E E : C f t h e

. . .

L atin phrase ( fr o m E nnius ) : Volit o v i v u p e r or a virum t o which S h had

, .

alre ady mad e a l lusi o n i n T n I i 3 89 9 0

A d . .
, , , .

MAC KAIL : Th e pr omi s e of i mm o rta l ity [ h e r e utt e r ed ] is t oo sp l e ndi d t o b e

i nsinc e r e ; it is n o m e r e o urish of rh e t oric but t h e auth e ntic and inspir ed v oic e
,

o f po e try which s o unds i n th e se n o b l e lin e s

, ( L ect on P oetry p . .
, .

G A L E I G H [ b e li e v e s this so nn e t and a f e w of t h e sam e gr o up t o hav e b ee n

. .

addre sse d t o Qu ee n E li z abe th with r e fe r e nc e t o an int e nd ed p oe m in h e r h o n or

, .

( Wes tm . R ev.
, 1 47 :

WYND H AM : pre se nt C o unt e ss of P e mbroke stat e s ( P a ll Ma ll Ma g

Th e .
,

Oc t 1 8 9 7 ) that [ lin e s 9 1 4 of this s o nn e t ] f or e v e n i n lin e 1 4

.
, , ,

a r e f o und writt e n in 1 7 th c e ntury charact e r on an o ld parchm e nt past e d o n ,

t h e back of a pan e l b e aring a sma ll painting of William third E arl of P e m ,

bro ke LE E : Th e ink and han d writing a r e quit e m o d e rn and hardly make

.
,

pr e t e nc e t o b e of old dat e i n t h e e ye s of any on e accust om e d t o st udy manu

scripts On Ma y 5 [ 1 89 8 ] so m e p erso ns i nt e r e st e d i n t h e m att e r inc l uding
.
,

myse l f e xamin e d t h e p ortrait and t h e inscripti on on t h e kind i nvitati o n o f t h e

, ,

pr e se nt E ar l an d t h e i nscripti on was unanim o us l y d eclare d by pal aeographica l

,

e xp e rts t o b e a c l umsy f org e ry unwo rthy of se ri o us n otic e ( L i fe p 4 1 2 n ) .

, . .
L xxx 11 1 TH E S ONNETS OF S HAK ES P EAR E 1 99

82

I G RANT t h ou w e r t n ot m a rri ed t o my M u s e ,

An d t h e r e fo re m a i e s t w i t h ou t a t ta i n t ore loo k e -

Th e d e d i ca t e d w or d s w h i ch w ri t e rs v s e
Of t h e i r fa i re s ub i e c t b le s s i n g e u e ry b ooke

.
,

Th ou a r t a s f a i re i n k n ow le d ge a s i n h ew ,

F i n d i n g t h y w o r t h a li m m i t pa s t my p ra i s e ,

An d t h e re fore a r t i n for c d t o s ee k e a n ew

,

S om e fr e s h e r s t a m p e o f t h e t i m e b e t t e r i n g d a yes .

An d d o s o lou e y e t w h e n t h ey h a ue d e ui s d e , ,

Wh a t s t ra i n e d t ou ch es R h e th ori c k ca n l e n d ,

Th ou t r u ly f a i re w e r t t r u ly s i m p a t h i z d e , ,

I n t ru e p l a i n e W or d s b y t h y t r ue t e l l i n g f ri e n d ,
.

An d t h e i r g ros s e pa i n t i n g m i gh t b e b e t t e r v s d

Wh e re c h ee k e s n eed b lood i n t h ee i t i s a b us d ,

.

7 . art ] a re G S 1
,
I
.

8 . ti me b e tt e rin g ] Hyph e ned by G , et c .

; ti me s betteri ng C

.

12 . tru e pla i n e ] H yph e n e d by Wa lk er m n j .

, S ta , D y z
, Hu z
. l
tru e tel i n g ]
H yph e n ed by G 2
, S , C, M , et c .

1 . D OWD E N : fri e n d had pe rhaps a l l e ged i n p l ayfu l se l f j us t i ca t i on that

Hi s -

he had n ot marri ed S h s Muse vowing t o f orsake a ll ot h e r and kee p only unt o

.

, ,

h er .

1 H M I D T: D isgrac e H M I D T: P e ruse
'

2 ' a ttai n ' SC .

[Cf 88 , ore -look e . SC .

[ Cf M N

. . . D .
, I I ii s st ori es 1
, , 12 1 :

I
o e r loo k Lo ve

.

3 d e di ca te d wor d s S C HMI D T: D e dicat ory w or d s D OWD E N : This may o n l y

. . .

m ean d e v ot e d words b ut probab l y has r e fe r e nc e as t h e n ext l in e see ms t o

, ,

sh ow t o t h e words of so m e d e dicati o n pre x ed t o a b oo k [ Lin e 4 sur el y d oe s

, .

n ot sugg e st a particu l ar b oo k but bo ks addr e sse d t o patr o ns g e n e ral l y

o ED ] , . .

TY L E R : Po ss ib l y [ a] r e f e r e nc e t o a d e di cati o n e ith e r actua l or pr o po se d WYND .

H AM: R e fe rs as I think t o t h e bod y of t h e boo k

, t h e praise s d ed icat e d
,

t o th e ir obj e ct an d n ot m e r e l y t o t h e pr e x e d d e d icati o n R H L E GI S . . .

N 81 Q 5t h s 6 : 1 6 3 ) n d s h e re an a ll usi o n t o t h e d e dicati o ns of D rayt on

. .
, .
, .

H i s d ed icat ed w or d s ] wi ll b e fo un d at t h e c o mm e nce m e nt of t h e I s t an d 3rd

s o ngs hymns or b oo ks of [t h e P oly olbi on ]

, , H E N R Y B R OWN [ nds a ll usi ons t o
, .

t h e d e d icati o ns of F rancis D aviso n ( s ee his n ot e on S 7 8 ) an d J ohn D avi es t h e .

,

l att e r appe aring t o b e t h e principa l riva l poet See es pec ia ll y his d ed icati o n of .
200 TH E S ONNETS OF S HAK E S P EARE [L XXX II
Mi ru m Modu m t o P e mbr oke ( pp 1 8 4
in C R E I G H TO N [ ( B la ckw ood . .
,

1 6 9 : 6 7 8 ) is c e rtain that t h e r e f e r e nc e is t o t h e num e r o us d e dicati o ns o f D ani e l

] .

L E E : Th e r e s ee ms small d o ubt t hat S h has in mind t h e d e dicat o ry so nn ets .

and addr e sse s inscrib e d i n 1 594 and succ e e ding y ears t o his ow n p at ron t h e '

E arl o f S o uthampt o n w h o was i n Nash e s phras e a d e ar l ov e r and ch e rish e r

,

o f p oe ts Am o ng t h e e arl s poetic e ul og i sts we re b e sid e s Nash e Barnab e

.

, ,

Barne s Ge rvase Markham J o h n F l ori o S amu e l D a n i e l J ohn D avi e s Ge o rge

, , , , ,

C hapman and many oth e rs All th e s e pan egyrists of S o uthampt o n e xhaust e d

, .

i n his h o no ur t h e v ocabulary of praise mainly i n so nn e ts and o n e or oth e r o f , ,

th e m is d o ubt l e ss r e f e rr e d t o [ h e r e ] ( Not e on S [ F or t h e styl e of d e dica . .

ti o ns of t h e p e ri od cf Nash e s t o S o uthampt o n pr e x e d t o Th e Unf ortu n a te

, .

Tr a veler ( 1 59 4 ) : 1 I nc o mpr e h e nsibl e is t h e h e ight o f y o ur spir i t b oth i n h e r oica l

r e sol uti o n and matt e rs o f c o nc e i t Un r e p r i e v e b ly p e rish eth that b oo ke whats o .

e v e r t o wast pap e r wh i ch o n t h e diam o nd r ock e o f y o ur j udg e m e nt d i sast e rly

,

chanc e th t o b e s h i p w ra c k t E lse wh e r e Nash e calls S o uthampt o n t h e match

.

l e ss i mag e of h o n o ur and m a g n i c e n t rew a rd e r of v ertu e J ov e s e agl e b orn e

'

-
,

Gani m e d e [ S e e many furth e r sp ecim e ns in L i f e of S h pp 3 8 4 89 1 H D

.
.
, . . .

GR AY [thinks this passag e t o b e e vid e nc e that S o nn e ts 8 2 8 3 ] c o uld n ot hav e

b e e n writt e n t o S outhampt o n w h o had twic e r ec e ive d S h s d edicat e d w ords

, .

.

( P u b M L A n s 2 3 : 6 36 m )
. . . .
, . . .

4 b l e s s i n g e ve ry b ook e A H AL L : I n D ra y t o n s H eroi ca l E pi s tles

. . we .

have 1 1 b oo ks and 1 1 inscripti ons v i z t o t h e L ady H arringt o n E arl and ,

.
, ,

C o unt e ss of B e df ord S i r H e nry and L ady Good e v e e t c o n e bl e ssing t o e ach

, , .
,

divisi o n of on e work Th e n C hapman w h o pub li sh e d his translati o n of t h e

.
,

I li a d in d e tachm e nts d e dicat e d t h e rst s e cti o n t o L o rd E ss e x and aft e rwards

, , ,

in r e printing it with additi o ns inscrib e d it t o P ri nc e H e nry of Wal e s t h e e ld e r , ,

br oth e r of C harl e s I and th e r e t o w e nd appe nd e d ve rs e s t o t h e D uk e of

,

L e nn ox t h e L ord C hanc e ll or L ords S a l isbury S uss e x e t c including of c ours e

, , , , .
, , ,

L ord S o uthampt o n Th e r e a r e 1 6 in a ll of th e se b l e ssings

(N

. Q 6 th s . . .
, .
,

5 . D OWD E N : c e l e brat e d his

Sh fri e n.d s b e h ad
auty ( h u e ) ; p e rhaps his

l e arn e d rival had c e l ebrat ed t h e patro n s kn ow l e dg e TYL E R : S ubs e qu e nt l y

. ,

in t h e titl e t o a so nn e t acc o mpanying his translati o n of t h e I li a d C hapman ,

addr e sse d P e mbr ok e as t h e L earn e d and Mo st Nobl e P atr on of L e arning

,

and t h e so nn e t c e l ebrat e s P e mbr oke s g od l ike l e arning

- .

6 WAL S H : C f 1 0 3 7 L e e : [ C f C amp i o n s l in e s t o L ord Wald e n in which

. . . . ,
,

h e pr o f e ssed that ] t h e admir ed virtu e s of t h e patron s y o uth

Br e d such d e spairing t o his daunt ed Muse

That it c ould scarc e l y utt e r nak e d truth ( L if e p .
, .

8 B E E C H I NG : [This l in e may imp l y] that t h e riva l p oe t is a y ounge r man

.

than S h ( I ntr o p xliv ) ti m e b e tt e ri ng VE R I TY : C f 32 1 0 an d P er I

. .
, . . .
.
, ,
.
, ,

P r ol 1 1 1 2 : Th e s e latt e r tim e s wh e n wit s m or e ripe

. .
, ,

I o s tr ai n e d
. Cf

str etch e d 1 7 1 2

. .
, , .
L xxx 1 1 1 1 TH E S ONNETS OF S HAK E S P E AR E 20 1

11 . s im mth i z d e . SC H M I D T: Answere d t o .
[ Ci L u crece
.
, 1 1 13

Tru e sorr ow th e n is fee lingly su f c e d

Wh e n with l i ke se mblanc e i t is sympathi z e d 1 .

My plain w ords we r e m ost suitabl e t o e xpr e sse d b e st thy fair natur e , , .

C f WYND H AM S n ot e o n 6 7 5 6
13 14 . . , .

83

I NE V E R s aw t ath y ou d i d pa i n ti n g n e ed ,

An d t h e r e f or e y ou r fa i r e n o p a i n t i n g s e t
to ,

I f ou n d ( o r t h ou gh t I f ou n d ) y o u d i d exc e ed ,

Th e b a rr e n t e n d e r o f a P o e t s d eb t :
An d t h e r e f o re h a u e I s l e p t i n y o u r r e p or t ,

Th a t y o u y ou r s e lf e b e i n g ex t a n t w e l l m i gh t S h ow ,

H ow f a r re a m o d e r n e q u i l l d o t h c om e t o s h o r t ,

S p e a k i n g o f w o r t h w h a t w o r t h i n y o u d o t h g row , ,

Th i s s i l e n c e f o r my s i n n e y o u d i d i m p u t e ,

Wh i ch s h a l l b e m os t my gl ory b e i n g d omb e ,

F or I i m p a i r e n o t b e a u t i e b e i n g m u t e ,

Wh e n o t h e rs w ou l d g i ue l i fe a n d b ri n g a t omb e , .

Th e re li ue s m o r e l i f e i n o n e o f y o u r f a i re e y e s ,

Th e n b o t h y o u r P oe t s c a n i n p ra i s e d e u i s e .

y ou r ] y ou S E f ai r e ] f G 2
2 .
, . a ce .

7 . t o] too G , et c .

8 . w ha t] th a t M c onj .

9 . f or] f o 1 6 40 , G S E
, , .

b ei n g ] th i n k i n g or pr a i s i n g S t a c o nj

10 . .

13 . Th e r e ] Th ei r L M [ n ot B 0 1 , .

p a in ti ng WYND H AM : H i gh ow n p oe tica l praise R

1 2 . .
-
. C f 8 5 34
.
, . H O AC E
D AV I S : Cf . 10 1 , 6 7 .

2 . n ot e on 1 6 1 1
f ai r e . Se e , .

t n r H M D A thing ml I iii 1 0 6 : Yo u have

'

4 . e d e S C I T: . o e r e d [ C f H a . . .
, , ,

ta e n his t e n d e rs f or tru e

5 MAL O N E : I hav e n ot s o u nd e d y o ur praise s

. .

7 m od e rn e MAL O NE : C o m m o n or trit e [ S o S C H M I D T D OWD E N B E E C H I NG

. . .
, , ,

L E E P O R TE R e t c ] TYL E R : Th e p e n m ost pr obably o f t h e riva l p oe t t h e

, , .
, , ,

fr e sh e r stamp of 8 2 8 To tak e

m od e rn i n t h e se nse of trivia l
, .

see ms t o me unsatisfact ory WYND H AM : Th e ordinary se nse is int e nd e d I n . .

20 2 TH E S ONNE TS OF S HAK E S P E AR E [L xxx 11 1
th e p oe t c o nstant l y c o ntrasts m od e rnity unfavo urably with
S o nn e ts t h e
antiquity C f 59 7 ; 6 8 9 ; 1 0 6 78 ; 1 0 8 1 2 [ Th e pre va l e nt int e rpr e tati o n of
. .
, , , , .

t h e w ord is bas e d o n t h e g e n e ra l S hak e sp e ar e an usag e and is pr obably s o und , .

Th e anal ogy of t h e th o ught i n S 1 0 6 ( e sp e cial l y t h e c o nc l usi o n ) h owe v e r is an .

, ,

attractiv e o n e f or Wyndham s i nt e rpr e tati o n which of c o urse is n ot O pp o se d

, , ,

t o E li z ab e than usag e C f J o ns o n Volpon e I I I iv : H e has s o m o d e rn and

. .
, , ,
.

fac i l e a ve i n tting t h e t i m e ( N E D )
,

ED ] . . . . .

8 w hat w ort h [ With this e lliptica l c o nstructi o n cf H a ml I i 3 1 33

. .
, . .
, , ,

us o nc e again assail y o ur e ars

L et ,

That a re s o f orti e d against ou r st ory ,

What w e t w o nights have se e n .

Of this passag e ABB OTT obse rv e s 2 52 ) that what d e p e nds o n a v e rb of

sp ee ch i mpli e d e ith e r i n assai l y o ur e ars o r in st o ry S o o n e may say that
,

.

a v e rb Of sp ee ch is impli ed i n c o m e t oo sh ort or that t h e v e rb sp e aking

,

is mad e t o carry its eff e ct ove r int o t h e f oll owing claus e TYL E R av oids t h e .

d i i c u lt y by placing a dash inst e ad o f a c o mma aft e r w orth and an exc la

, , ,

E D 1 d oth g r ow S C H M I D T: I s [ C i 8 4 4 ; 9 3

mati o n p o int afte r gr ow . . . . .
, ,

TYL E R : This w ord may p o ssibly m e an d oth gr ow as a p oe t c o nt e mplat e s

and att e mpts t o d e scrib e y o ur w orth or t h e word may a l lud e t o Mr W H s ,

. . .

stil l immatur e y o uth .

10 b e i ng [ On t h e u s e of t h e particip l e with out a f orma l sub j e ct s e e

. .
,

ABB OTT ,

1 1 12 VON MAU NTZ : C f Ovid Tr i s ti a I I 3373 8
. .
, , ,

E t t a m en ram : s ed d e t rec t a re Vi d eb a r
a us us e ,

Qu odqu e n e fas damno v i ri b u s e sse tuis , .

12 MAL ON E : Wh e n oth ers e nd e avour t o c e l e brat e yo ur charact e r whi l e

.
, ,

i n fact th e y disgrac e it by t h e m e anne ss of th e ir c o mp ositi ons D OWD E N : C f

, . .

I 7:
1 Of S o uthampt on
s p oetic pr ot g s Barn e s make s t h e m ost
13 4 . LE E : ,

marke d r e fe r e nc e t o t h e n obl e patr o n s fair e y e s ; s e e his so nn e t ( d e dicat ory

Graci o us e ye s th ose h e av e n l y l amps which give t h e

t o P a rth enoph i l , ,

Muse s l i ght et c , .

1 4 b oth y our P oe t s
. I S AAC [ nds e vi d e nc e h e r e that th e re we r e t w o riva l s
.

i n mind : ] S h cann o t b e und e rstoo d t o b e o n e o f th e m f or in this sam e s o nn e t

.
,

h e t e lls that h e has b ee n a l o ng whil e sil e nt and I n an oth e r that his ability is ,

inade quat e [ Th e sam e thing h e b e l i e ve s is i ndicat ed by t h e fact that i n c e r

.
, ,
z

tain so nn e ts ( I saac says 7 98 6 p e rhaps an e rr o r f or 8 0 and 8 6 ) S h s ee ms t o ,

.

sp e ak of a riva l w h o stands high e r than hi mse l f bu t i n 8 2 8 4 of o n e o n wh o m ,

'

h e l o o ks d own Th e f orm e r I saac c o nj ectur e s t o b e S p e n s e r t h e la t t er Ma r

.
,

l o w e 1 ( J a h r b 1 9 : 2 36 [ WYND H AM app e ars t o u nd e rstan d b oth y o ur

. .
, ,

p oets in t h e sam e way : ] Am o ng th e se o th e rs w h o still sing whil e t h e p oe t is

,

hi mse l f sil e nt t w o a re c o nspicu ous ( I ntro p cxvi i ) [ S ure ly m o st r e ad e rs

, . .
, . .

u n d e rstan d b oth y our p oets t o b e t h e sp e ake r and his riva l Th e fact that

.
L XXX I V ] TH E S ONNETS OF S HAK ES P E AR E 20 3

he is sil e nt is quit e b e sid e t h e qu e sti o n : spe ech is vain h e says b ecause yo ur , ,

w orth is such that if b oth of us d e vot ed o urse l ve s t o a singl e f e atur e w e sh o u l d

nd it b e yo nd our r each ED ] . .

Mrs . S TO P E S [c ompare s with this sonne t a passag e fr om Wi ll ia mH u n ni s , in

t h e P a ra di s e f
o D a i n ty D evi ces : ]
With paint e d prove my cunning f or t o tri e
s pe a c h e I li st n ot

Nor y e t wil l u s e t o l l my p e nn e with g i le f u l a t t e r i e ;

With p e n in hand and hart i n bre st shall faithful pr omis e mak e
, ,

To l o ve y o u b e st and se rv e y o u m ost by yo ur gr e at v e rtu e s sak e

, , .

S AMU EL NE IL [ ( Lif e of S h p 1 0 7 ) b e l i e v e s that this and t h e f oll owing thr ee

.
, .

s o nn e ts w e r e addr e ss e d t o Qu ee n E l iz ab e t h ]

84

WH O i s i t tha t sa y e s m os t , w h i ch ca n s a y m or e ,

Th e n t h i s r i ch p r a i se, t h a t y ou l
a o n e , a re y ou ,

I n w h os e c on n e i mm u r e d i s t h e s t o re ,

Wh i ch s h ou l d e xa m p l e w h e re y ou r e q ua ll g re w ,

L e a n e p e n u r i e w i t h i n t h a t P e n d o th d w e ll ,

Th a t t o h i s s u b i e c t le n d s n o t s om e s m a l l gl o ry ,

B u t h e t h a t w r i t e s of y o u i f h e c a n t e l l , ,

Th a t y o u a re y ou s o d i g n i e s h i s s t o ry ,
.

L e t h i m b u t c o pp y w h a t i n y o u i s w r i t . ,

Not m a k i n g w ors e w h a t n a t u re m a d e s o c le e re ,

An d s u ch a c ou n t e r p a r t s h a ll fa m e h i s w i t -
,

Maki n g h i s s t i le ad m i re d e ue ry w h e re .

You t o y ou r b ea u t i o u s b l es s i n g s a d d e a c u rs e ,

B e i n g f o n d o n p ra i s e w h i ch m a ke s y o u r p ra i s e s ,
w ors e .

1 . m os t ,1 mos t ? M , et c .
( e xc e pt Tu ) .

2 . ar e y ou , ] a rt y ou , 1 6 40 ; a re y ou ? G, et c .
; a re y ou : C .

4 .
g r ew , 1 g rew ? C , S t a , K ly B ut Wa , ,
.

8 . s o t ry ] . s tory , L, M A Kt C o B D
, , ,
l
, , e l, D y l
, Cl C l, , K ly , Ha l Ca m ,
l
, D O,

t , Ox ; s tory : C , H u, C0 23
, D y z
, B ull ; s tory ; Wh l
, He r B e , .

10 . wors e ] g ros s S t a c o nj B ut .
, .

1 1 . wi t] w ri t 1 6 40 .

12 . his sti l e ] h i s s ti ll 1 6 40 ; h i m s ti ll G S E
, , .

13 . b l e ss i n g s ] bles s i n g G S E , , .

14 . on ] of G , S, E .
pr ai s e , ] pra i s e Ty .
204 TH E S ONNETS OF S HAK ES P EA R E [ xxx 1 v L

1 . Wh o i s it D OWD E N : Which of us t h e riva l p oe t or I ? TYL E R Which of

.
, :

th e t w o t h e d e scrib e r or t h e e ul ogist ? wh i c h P E R C Y S I M P S ON A r e l ative

,
. :

pr o n ou n ; but it has b ee n fr e qu e ntly r e ad as i nt e rr ogativ e and t h e lin e dist ort e d ,

to

Wh o is it that says m ost ? e t c ( S h P u n ctua ti on p [This r e ad i ng of . .
, .

t h e l in e had b e e n anticipat e d by S TAUN TO N and ind e p e nd e ntly by t h e lat e ,

P r of e ss or A G NE WC O M E R w h o e xplain e d it : Wh o is it b e it e v e n h e that

. .
,

says m ost w h o can say m ore e t c ] .

2 .H E N R Y B R OWN : C f A 59 C I I I 11 1 3 : . Wou l d y ou praise C ae sar say

.

.
, , , ,

C aesar g o n o furth e r
,

P OR TE R : C f Br owning : .

What is s h e ? H er human .

s el f , n o l ow e r w or d wil l s e rv e

.

3 .s t or e W YND . H AM : Th e wh o l e w e alth o f B e auty 1 s e nc l o s e d in y o u .

4 .g r e w [ S e e t.h e t e xtual n ot e s f o r t h e punctuati o n T h e gr e at maj o rity o f .

e dit ors of c o urse tak e

wh o se ( l in e 3 ) as r e l ative n ot i nt err ogativ e
ED ] , . .

5 P e n S e e n ot e o n 8 1 I 3
. .
, .

8 s t ory S TAUN TO N : Not satis e d with c o pying t h e mistak e s of t h e Quart o

. .

t h e lat e st e diti o ns o f S h s w orks mak e c o nfusi o n w orse c o nf o und e d by

.

t e rm i nating t h e 8 th lin e with a c o mma inst e ad of a full st op ( Ath J an 3 1 . .

, .
,

1 8 74 p [ D OWD E N S n ot e t o t h e e ff e ct that S taunt o n ma y b e r i ght sh o ws

, .
, ,

that h e at l e ast f oll ow e d Mal o n e s punctuati o n c o nsci ously ; but it d oe s n ot

, ,

app e ar h ow h e w o u l d e xp l ain t h e c o nstructi o n of t h e se nt e nc e ]

9 KR AU S S : C f S idn e y A E
. vS . S 3 , . .
, .

s face I r e ad I n S t e lla

What l ove and b eauty b e ; th e n all my d ee d

B ut c opy i ng 1 5 what in h er Natur e writ e s .

( J a h rb .
, I6:

10 . l r
c ee e . SC H M I D T: B e autifu l g l ori ous , . TYL E R : Manife st an d , of such
Shining b e auty .

13 c ur s e
. B E E C H I NG : Antith e sis t o bl e ssings and s o a n ot much stronge r
.
,

word than disadvantage ; p e rhaps misfortun e c o m e s n ear e st i n m od e rn

E nglish C f W T I I iii 8 6 : I t is a curse h e cann ot b e c o mp e ll e d t o

. . .
.
, , , .

14 S TE E VE N S : B e ing f o nd of such pan e gyric as d e base s what is praise

.

w orthy i n y o u i nst e ad of e xa l ting it [ I t w ould se e m fr o m this that S t ee v e n s

, .

sh ould pr e f e r t h e o missi o n of t h e c o mma aft e r praise On t h e oth e r hand

.
,

TYL E R e xplains t h e latt e r part of t h e lin e as m e aning By which t h e prais e ,

d ue t o y o u is r e ally l e sse n e d an d d e t e ri orat e d y e t o mits t h e c o mma ] f on d on

.
, .

MAL ON E : U s ed by S h f or f on d of ROL F E : D oting on

.

. .
LXXX V ] TH E S ONNETS OF S HAK ES P E AR E 5

85

M g t i d e M u s e i n m a n n e rs h o l d s h e r s t i l l
Y t ou n -
,

Wh i le comm e n t s of you r p ra i s e r i chly com pi l d

Re s e r u e t h e i r C h a ra c te r w i t h g ou ld e n q u i ll ,

An d p re c i ous p h ra s e b y a ll t h e M u s e s l d

.

I t h i n k e g ood t h ou gh t s w h i ls t o t h e r w r i te good word e s , , 5

An d li ke v n le t t e red c la rk e s t i l l c r i e A m e n ,

To e ue ry H i m n e t h a t a b le s p i ri t a ff or d s ,

I n p oli s h t f orm e o f w e ll re n e d p e n .

H e a r i n g y ou p ra i s d I s a y t i s s o t i s t r ue

, , ,

An d t o t h e m os t o f p ra i s e a d d e s om e t h i n g m ore -
,

B u t t h a t i s i n my t h o u g ht w h os e l o u e t o y o u ,

( Th ou gh w ord s c om e h i n d m os t ) h o l d s h i s ra n ke b e fore -
,

Th e n o t h e r s f o r t h e b r e a t h of w or d s r e s pe c t
, ,

Me f or mv d omb e t h ough t s s pe a k i n g i n e ffec t , .

3 . R es e ru e th e ir ] P res erve th ei r G 2
, B urg o n c o nj . Reh ea rs e th y an o n .

c onj Ty ; Reh ea rs e y ou r an o n c o nj ; R es erve y ou r an o n

.
, . . . c onj ; D es erve th ei r
.

D o c onj Ox ; Reh ea rs e th ei r or Recei ve th ei r He r c o nj ; Res erve th y B ut ;

.
, . Res cri be
th e i r Ma c k a i l c o nj ; Record th y B ul l c onj . .

4 l d 1 ll d G , S , E

. .

5 Wh i l s t] wh i le A, B , H u , C l,
.
l
Kl y , Ty Ox , . oth er ] oth ers G,S E2
, , M A Kt
, , ,

B , Hu l
, D el, S t a , C l, Kl y , Ty Ox , .

6 . Am e n ] I ta l ics by M A Kl y , , , C0 3
, Hu
; qu ot ed by K t , Co lo
, B , Hu l
, D e l,

Dy , S t a , C l; Gl, Wh , H a l Ca m , D
, ,
o, R, et c .

7 . H imn e ] li n e Masse y c o nj .

tru e ] Italics by M A Kl y Hu ; q uot ed by Kt l-

C0 Co

3 z
9 . ti s s o, ti s , , , , ,
2
,

Hu i
, D e l, Dy , S t a , Cl, Gl , Wh , Ha l Ca m , D, o, R, et c . ;

ti s s o,
"
ti s

true , Be .

14 . Me ] Men E .

LE E : Th e
numbing eff ect of a patr o n s e mi n e nt virt u e s o n a m od e st
-
1 4 .

poe t is a c o mm on c onc e it am o ng E l i z ab e than poe ts Cf C ampi on t o Lor d . .

Wa ld e n [ qu ot ed u nd e r 8 2 6 above ]
, , .

com pil d S ee n ot e on 7 8 9

2 . .
, .

3 R e s e rve th e ir Ch aracte r MAL O N E :

. Re se rv e has h e re t h e se n se of .

pre se rve Cf 32 , 7 D OWD E N : P oss ib l y D e se rv e th e ir charact e r may b e

.

.

right i e d e se rve t o b e writt e n [ S C H M I D T and R OL F E say that t h e t e xt is

, . .
, .

pr obab l y c orrupt ] TYL E R [ acc e pting t h e e m e ndati on Re h ea rse thy says

.

,
20 6 TH E S ONNE TS OF S HA K ES P E AR E [L xxxv
that charact e r must b e tak e n ] t o d e n ot e fac e app e aranc e Cf T N , . . . .
,

I ii 51 :
, , Th i s thy fair and o utward charact e r

WYND H AM : P r e se rv e or .

tr e asure up th e i r styl e by la b our i n g i t pr e ci o usly with a s e c o ndary sugg e sti o n

'

o f fastidi o us r e straint That charact e r

. sty l e is c o nrm e d by its

b e ing pri nt e d with a capita l L E E : P e rp e tuat e t h e handwriting by ex e cuting it

.

with a g old e n qu il l B E E C H I NG : Th e se n s e r e quire d f r o m this o bscur e l i n e is

.

an ant i th e sis t o lin e I t h e antith e sis e xpr e sse d quit e c l e ar l y i n l in e 5 Thi s

, .

third l i n e th e re f o re must m e an a r e writt e n d o wn with g old e n quill

, ,

C har .

act e r m e ans writing as i n 59 8 ; f or r e se rve th e r e fo r e w e sh o uld e xp e ct

, ,

,

,

r e c e i v e ; and f or that r e se rve may b e a misr e ading of t h e MS o r it may

.
,

b e use d as a str o ng way o f S aying a r e writt e n i n a pe rman e nt f o rm f or p o s

t erity B UL L E N : I t is di fcult t o nd any m e aning i n t h e o rdi nary r e ading

. .

I f w e r e gard th e i r as a m i spr i nt f or thy w e must change

R e s e rv e
t o s o m e such w ord as R e h e ars e or R e c o rd P O R TE R : Th e sp e cia l m e an i ng

.

attaching t o Re se rve h e r e agre e s with that sugg e st e d i n n ot e on 32 7 as t h e

,

s e ns e th e r e C haract e r stands b oth i n t h e usual m e aning l i t e rally f or

.
, ,

handwriting and m e taph or i cally f or Se dul o usly car e ful handwriti ng that
, , , ,

is styl e [ B UTL E R S r e ading is e rr o n e o usly stat e d t o b e base d on Mal o n e

, .

.

Th e y o u a nd y o ur o f t h e r e st of t h e so nn e t a re of c o urse agai nst it H i s

.

stat e m e nt that t h e Q sp e lling is Re s e r n e is d ue t o a badly o utl i n e d u

wh i ch r e s e mbl e s an n i n t h e British Muse um quart o fro m which t h e Pra et o

rius facs i mil e was mad e ED ] . .

4 l d S C H M I D T: P o l i sh e d r e n e d

. . .
,

5 oth e r Se e n ot e o n 6 2 8
. .
, .

6 R OL F E : S i nc e t h e cl e rk wh e th e r l e tt e r e d or unl e tt e r e d r e sp o nds Am e n
.
, , ,

u n le t t e r d 1 must hav e s o m e sp e cial signica nc e Th e m e aning may

t h e w ord

.

b e that h e e nd ors e s t h e e ul og i e s wit h as littl e h e sitati o n as t h e cl e rk d oe s t h e

L atin t o which h e cri e s Am e n

th o ugh h e may n ot u nd e rstand it [Th e word
,

.

is o f c o urs e su f ci e ntly e xplain e d by t h e attitud e which t h e p oe t assum e s in

, ,

this wh ol e gr o up of s o nne ts C f 7 8 6 1 4 . ED ] .
, ,
. .

7 H. i mn e L E E [ r
. e f e rs t o th i s phras e i n his argum e nt f or Barn e s as t h e riva l

ry p ts day i n ngland f oll o w e d R o n s a r d s pract i c e o f

p o e t z] V e f e w o e o f t h e E
b e st owing t h e titl e of hymn o n misc e ll an eo us p oe ms but B arn e s t w ic e appli e s ,

t h e w ord t o his p oe ms o f l ov e ( P a rth en oph i l Madr 1 1 2 ; S 1 7 ( L if e ,

.
, .
, ,

p .
[ I t is n o t o ft e n that a c o mm e ntat o r pr o vid e s us with a r e futati o n of his

o w n p o s i ti o n s o pr o mptly as d o e s L e e with i n t w o pag e s o f t h e passag e j ust ,

qu ot e d Th e str o nge st p oint i n fav ou r of C hapman s id e ntity with t h e riva l

p oe t l i e s i n t h e fact that e ach of t h e t w o S e cti o ns of his p oe m Th e S h a dow of

Ni g h t ( 1 594 ) is styl e d a
hymn B ut D rayt o n o.
f his H a r m on i e o f th e ,

C h u rc h and Barn e s as w e hav e j ust
,
s e e n b o th wr o t e hymns and , ,

t h e w o rd was o ft e n l oo s e ly us e d i n E li z ab e than E ngl i sh as in 1 6 th c e ntury ,

F er nch i n ,
h
t e e g n e ral s e ns e o f

p o e m
( p l 3 6 n ) [ I n fact t h e w o rd .
as h e r e . .
,

use d is su f c i e ntly e xplai ne d by t h e i mage of t h e cl e rk in t h e church se rvic e ,

with o ut re f e re nc e t o any c o nt e mp o rary p oe t whats oeve r E D ] a b l e s piri t . . .

B E E CH I N G : Th e b et t eg spirit of 8 0 2

, .
L xxxv1 1 TH E S ONNE TS OF S HA K E S P EAR E 20 7

1 31 4 . MC CL U MP HA : Cf R 6 . .

J .
, II , vi , 3 3
0 1

C o nc e it , m ore rich i n matt e r than i n w ords ,

Brags of his substanc e n ot of o rnam e nt ,

.

( J a h r b 40 : .
,

14 . in e e ct . TYL E R : I n
th o ught and purpo se Cf S 2 3 . . . . B E E C H I NG : F or
t h e c o ntrast of

w ord and ef f e ct cf T of A I I I v

, . .
, , 97 :

T is i n

f ew
words but spaci ous i n eff e ct
,
.

86

WAS i t t h e p ro u d g r e a t v e rs e f u ll s a i e of l h is ,

B o u n d f or t h e p r i z e o f ( a ll t o p re c i o u s ) y o u ,

Th a t d i d my r i p e t h ou gh t s i n my b ra i n e i n h e a r ce ,

M a k i n g t h e i r t om b e t h e w om b e w h e re i n t h e y g r e w ?
Wa s i t h i s s p i r i t b y s p i ri t s t a u gh t to w r i t e , ,

Ab ou e a m or t a ll p i t c h t h a t s t r u c k m e d e a d ? ,

No n e i t h e r h e n o r h i s c om p i e rs b y n i gh t
, ,

Gi u i n g h i m a y d e my ve rs e a s t on i s h e d ,
.

H e n or t h a t a ffa b l e f a m i l i a r gh os t
Wh i ch n i gh t ly g u l l s h i m w i t h i n te ll i g en ce ,

As v i c t ors of my s i l e n c e c a n n o t b oa s t ,

I wa s n ot s i c k o f a n y f e a r e f r o m t h e n c e .

B u t w h e n y o u r co u n t i n a n c e ld v p h i s l i n e ,

Th e n l c k t I m a tt e r t h a t i n fe e b le d m i n e
a , .

pr ou d
full ] proudf ull S I
1 . .

2 ( all to pr e c i ou s ) 1 (a ll too preci ou s ) G S ; (a ll too pr eci ou s ) G 5 E Wy

.
1 l 2 2
,
- -
, , , ,

Wa ; a ll too preci ous C M A Kt B D e l H u D y S t a C l K ly Ty B e B ull ;

- -
, , , , , , , , , , , , ,

a ll tob pr eci ou s C 0 C l Wh H a l C a m D o R Ox B ut H e r , N ; a ll to preci ous

, , , , , , , , ,

G odw i n c onj .

3 . i nh e ar c e ] reh ea r s e G S E
, , .

9 . a a b le f a mi li ar ] H yp h e n e d by S t a .

1 1. v c o i t rs ] vi ctors , G 2
, 5 2
, E, M A Kt B D y
, , , , , S t a C l, , Kl y , Ca m , D o, Hu z
,

Ty , B ut B u ll , .

13 . ld ] ll d G , S , E , C o , H u , Gl,

K ly , Ca m , D o, R, Wh 2
, Ox , Wy , He r ,

etc .
; l d M A

, , Kt B , , D e l, Dy , S t a , C 1, Wh l
, H a l Ty , , B ut .

I .
[This lin e ] pr obably al l ud e s t o t h e swe lling h e xam e t e rs o f
F U R NI VAL L :
C hapman s E nglishing of H o m e r ( I ntr o p lxv ) Wa s MAS S E Y [ tak e s t h e

. . . . .
,

past t e nse as c o mpar e d w i th

, th e pre se nt t e nse of th e pr e c e ding s o nn e ts , to be
20 8 TH E SONNE TS OF S HAK ES P E AR E [L XXX VI
d ue t o t h e ccurr e nce of Mar l owe s d e ath i n t h e m e an tim e On t h e oth e r hand
o

.
,

t h e pr e se nt of li n e 1 0 is e xplain e d as an al l usi o n t o t h e play of Fa u s tu s stil l ,

runn i ng o n t h e stage ( p f ul l s aile F L E AY [ nds h e re an a ll usi o n t o

. . .

Nash s P i erce P en n i les s wh e re S o uthampt o n may b e r e pr e se nt ed und e r t h e

pse ud o nym Amy n t a s and wh e re t h e e xpr e ssi o n full sai l is use d I n t h e sam e

,

.

c o nn ecti o n h e o e rs so m e v e ry d ubi o us e vi d e nc e c onnecting l ine s 9 1 0 with t h e

sam e b oo k ( Ma cm Ma g 3 1 : . . .
,

2.
( all to pr e ci ou s ) GOD WI N : Ma y t h e l in e n ot hav e r e a d origina ll y B o un d
.
,

t o t h e pri z e of all that is t o t h e c o mm o n pri z e of a ll writ e rs

, , t o pr e ci o us ,

y ou ? ( p .P E R C Y S I M P S O N : C o m p o und n o uns or adj e ctive s [ we r e r e gu

la r ly ] e nc l o se d withi n bracke ts wh e r e w e sh o uld e mpl oy t h e hyph e n if we use d
any punctuati o n at a l l C f 2 H 4 [ F o l i o] I I i 1 2 3 : S uch ( m ore t h e n i m p u
.

. .
, , ,

d e nt ) s a w c i n e s .

4 MAL ON E : C
. f R 69 J
I I iii 9 1 0. .

.
, , ,

Th e e art h that s nat ure s m oth e r is h er t o mb ;

, ,

What is h er burying grave that is h er womb , .

R OL F E : We nd th e sam e th ought i n L ucr e ti us ad e m , v . 2 59 :

Om n i pa re n s e

r e rum c o mmu ne s e p ulc h r u m .

WAL S H : C f [ To Tim e by A
. in
, .

D avi so n s P oeti ca l Rh a ps ody ]

Th y wo mb that al l d oth bree d is t o mb t o all
,

, .

VE R I TY : C f S pe nse r R u i n s of Ti me
.
,

Th e see d s of which a ll things at rst we r e bred

S ha ll in gr e at C ha os w o mb agai n b e hid

.

it s p iri ts [ See ABB OTT S n ot e on 52 1 4 H e re again h owe ve r

5 . s pi r .
, .
, ,

w e n ee d o n l y t o n ot e that spirit was r e gu l ar l y e ith e r m o n osyllab i c or d i s s y l

labi o C f 56 8 wi t h 6 1 5
. .
, E D ] MAS S E Y [ nds h e r e t h e chi e f e vid e nc e o f
, . .

Mar l owe as riva l poe t S h spe aks of Mar l o we and i d e nti es hi m with t h e .

fami l iar spirit Me phist oph e l e s j ust as Th orpe d oe s wh e n h e d e dicat e s t h e

, ,

translati o n of L uc a n s rst b oo k t o E dwar d Blunt and al l ud e s t o Marl owe as

,

a familiar spirit [ Mar l owe was ge n e rally be li e ve d t o practic e n ecr o mancy as

.

a stud e nt of black magic S h ] grants t h e facts of Marl owe s writing und e r what
. .

is n ow t e rm ed spirit c o ntr ol

b ut says [ l i n e 1 2 ] it was n ot this that
-
,

c owed or ove rcrowe d him and mad e him kee p s il e nc e ( p p 1 6 4 , . .

,

7 com pi ers b y ni gh t R H L E G I S [ ta king D ra y t o n as rival poe t ( s ee his

. . . .

n ot e on 8 2 vi e ws th e se c ompee rs as S i r Robe rt Ast o n an d t h e oth e r fri e nds

,

w h o aid ed D rayt o n i n writing t h e P oly olbi on ( N 8? Q 5t h s 6 : . . .

, .
,

8 a s toni s h e d S C H M I D T: S t u
. nn ed with f e ar [ Cf L u crece 1 730 : S t o ne
. . .
,

sti l l a s t on i s h d wit h this d e ad l y

,

1 0 S TE E VE NS : All uding pe rha s t o t h e c e l e brat e d D r D ee s pre t e nd e d

9 .
p .

i nt e rc o urse w ith an ange l and oth e r familiar spirits MAS S E Y : Wh o d oe s n ot

,
.

r ec ogni z e F aust us his ne cr omancy an d his boasts of what h e wi ll have t h e

, ,

spirits d o f or him ? Wh o d oe s n ot s ee t hat S h thinking d ramatica ll y h as .

, ,

i d e nti ed Marl o we wit h F austus and thrown him on t h e stage wh e re i n visi on , ,

if it b e n ot an actua l fact that t h e p l ay Wa s ru nning at t h e C u rtain Th eatr e

w hi l e S h w as c o mposing t h at s o nn et h e see s h i s fami l i a r Me phist oph e l e s
.
L XXX VI ] TH E S ONNE TS OF S HAKE S P E AR E 20 9
gulling him night l y wi th such i nt e llige nc e as that i n He ll a re all manne r -

o f d e l i ghts [ Cf e spe cia l ly t h e li n e i n D r Fa u s tu s

. . Th e y say th o u hast a .
,

fami l iar spirit e t c ] ( Qu R ev 1 1 5: , H E N R Y B R OWN [ taking D avi e s as

. . .
, ,

riva l poe t thinks D rayt o n may have bee n t h e ] i nt e ll i ge nce r allud e d t o as

, ,

aidi ng D avi e s l i ke an e vil spirit with dark sugge sti o ns ( p

, D ELI US , . .

[ thinks that t h e assistant w h o w as r e f e rr e d t o i n lin e 7 is h e re ] ir o ni cally ca ll e d

an obliging h o use spiri t A H AL L : If Marl owe or o n e of his we ll kn own c on
-
. .
-

t e mpo rari e s we re t h e be tt er spirit of S 8 0 t h e abl e spirit of 8 5 t h e writ e r of .

, ,

t h e gr e at v e rse i n 8 6 th e n P ee l e Nash L o dg e D rayt o n C hapman R i c Barn , , , , , , .

e ld B ar naby Rich and such l ik e be ing t h e c o m pe e rs t h e l at e ly d e c e ase d

, , ,

R ob e rt Gr ee n e wo u l d b e t h e aff abl e familiar gh ost w h o was r e pr o duc e d fr o m

t h e spirit w o rl d ov e r an d o ve r a gai n as st e pfath e r t o num e ro us pamphl e ts ,

fr ee ly manufacture d by so m e of th e se s o call e d c o mpee rs but d i sav ow e d by

-

a l l ( N 81 Q 6 t h s 1 0 :
. .
[ L at e r h owe v e r (i bi d p 1 8 2 ) H all tak e s t h e
.
, .
, , .
, .

vi e w that t h e be tt e r spirit is a bur l e squ e t e rm and ( f ollow m g F l e ay ) that

"
,

Nash is ir o nica l ly r e fe rr ed t o On MI N TO S i nt e rpr e tati o n of t h e passag e i n

.

c onne cti o n with C hapman s ee Appe ndix p , , .

1 3 c oun ti n an c e
. S C H M I D T: Auth ority patr o nag e .
[ Cf 1 H 4 I u 33 , . . .
, , ,

U nd e r wh ose c o unt e nanc e w e st e al 1 MAS S E Y [thinks that t h e re fe re nc e is .

t o S o uthampt o n s c o unt e nanc e give n t o t h e n i shing o f Marl o w e s H er o 89

L ea n der ( p ld S TE E VE NS [ with Mal o n e s r e ad i ng P o lish e d

. . . .

C f J o nso n s Ve rse s o n S h I n his w e ll t or n e d and tru e le d lin e s C OLL I E R

- -
. .

Th e w ord is spe l t h ld (as ll d was usually sp e lt ) and no t h l d ( as i n

S 8 5) i n t h e Quart o ; and t h e pr e po siti o n up sh o ws that what t h e p oe t

.

m e ant was ll d up or occupi ed D Y CE : Mr C o lli e r s r e mark ab out up

. .

carri e s n o we ight ; f or e ve n if w e ch oos e t o c o nsid e r that pre p o siti o n as r e dun

dant h er e its r e dundancy is u n obj e cti o nabl e acc o rd i ng t o t h e phrase ol ogy
of S h and his c o nt e mp o rari e s [ A writ e r S i gning hi mse lf

. 69 Q s t h . . .

7 : 2 8 3 ) o bse rv e s that i n t h e Q ll e d is always spe lt ld

S.
, and l e d
,

( S e e 6 3 3 ; t o which may b e add e d 1 7 2 ; f o r l d t h e always of

l d

.
, ,

Jabe z s stat e m e nt must d e p e nd o n 8 5 4

E D ) H e adds that t h e se ns e , . .

o ught t o hav e sav e d D yc e and o th e rs fr o m t h e blund e r o f pr i nt i ng

l d .

R H L E G I S r e t o rts (i bi d p 3 8 5) that e nf ee bl e d lacke d is t h e tru e

. . n ot .
, .
, ,

antith e sis o f t h e word i n disput e ; re ad th e r e fo r e p o l i sh e d up or ma d e p o we r , ,

ful To wh o m J abe z ( p
.

t o t h e e ff e ct that l e d d oe s n ot and n e ve r
"
.

d i d m e an mad e p owe rful 1 D OWD E N : F i ll d up his lin e i s O ppo se d t o th e n

.

la c k d I matt e r

.

1 4 la ck t I m a tt er. TYL E R : C f T 69 iii 1 0 3 : Th e n wi ll Aj ax l ac k

. . .
'
,

matt e r if h e hav e l ost his argum e nt

, .

G S TR O N AC H [ ( N 69 Q 9 t h
.
, .

.
, s .
, 12 : 1 41 ) taking t h e s o nn e t se ri e s t o b e a mis
c e lla n y l i k e t h e P a s s P i lg ri m .
, b e l i e v e s t hat this so nn e t was writt e n a bou t Sh .

bv Barne s ]
C OL E R I DG E [ n o t e s this s o nn e t as an e xampl e of ] S h s r e adin e ss t o pra i se h i s

.

rivals ore plen o and t h e c o nd e nc e of his ow n e q uality with th ose wh o m b e

, ,

d ee m ed m ost w ort hy of his praise ( B i og Li t chap . . .

, .
2 10 TH E S ONNETS OF S HAK E S P E AR E [L XXX VI I

87

FAR E WE LL t h ou a r t t oo d e a re f or my p os s es s i n g ,

An d l i ke e n o u gh t h o u k n ow s t t h y e s t i m a t e ,

Th e C h a r t e r o f t h y w or t h g i u e s t h e e re l e a s i n g
My b on d s i n t h e e a re a ll d e t e rm i n a t e .

F o r h ow d o I h o l d t h e e b u t b y t h y g ra n t i n g ,

An d f o r t h a t r i t c h e s w h e r e i s my d e s e r u i n g ?
Th e c a u s e o f t h i s fa i re g u i f t i n m e i s w a n t i n g ,

An d s o my p a t t e n t b a c k a g a i n e i s s w e r u i n g .

Th y s e lfe t h ou g a u s t t h y ow n e w or t h t h e n n o t k n ow i n g

, , 9
Or m e e t o w h om t h ou g a u s t i t e l s e m i s t a k i n g

, ,

S o t h y g r e a t g u i f t v p o n m i s p r i s i on g r ow i n g ,

C o m e s h om e a g a i n e o n b e t t e r i u d g e m e n t m a k i n g
, .

Th us h a ue I h a d t h e e a s a d re a m e d o t h a t t e r ,

I n s lee p e a K i n g b u t w a k i n g n o s uch m a t te r
, .

5 g r an ti n g , ] g ra n ti n g ? C ,
. M , et c .

6 that ] th os e G
.
2
.

8 .
pa tt e nt] pa ti e n t B o c o nj .

TYL E R : This far e we ll i s pr obably i nt e nd e d li ke Oph e lia s r e turn o f H a m ,

l e t s re m e mbranc e s t o e vo ke a r e n e we d avowa l of a ff ecti on WYND H AM

, .

[ I n t h e gr o up 7 9 6 ] t h e spirit o f t h e v e rs e sudd e nly chang e s : t h e music b e

8

c om e s p l ang e nt and t h e t h e m e of utt e r e strange m e nt is hand l e d with a c om

,

p let e c o mmand ov e r dramatic y e t sw e e t l y m odu l at e d disc o urs e Th e gr o up is .

,

i nd ee d a si ngl e sp e e ch of tragic int e nsity ( I ntr o p cxii ) WAL S H : Th e rst

, . .
, . .

and last lin e s s o u nd as if addr e sse d t o a wo man t h e int e rv e ning as if t o a man ; ,

which r e calls t o mi nd t h e mast e r mistr e ss of S 2 0
B ut w e kn ow of n o
-
. .

na l falling o ut with t h e fri e nd (e xc e pt i n Mr B utl e r s i nt e rpre tati o n o f .

S till this may e xpr e ss o nly a t e mp orary m ood and s o might c o m e aft e r 3 6 ( or
, ,

e v e n aft e r I n t h e Quart o it is plac e d as if addr e ss e d t o t h e patr o n aft e r t h e

i ncid e nt of t h e rival p oe t a l so a p ossibility
, .

I . F L E AY : C f . D rayt o n , S 61.

S inc eth e r e s n o h e lp c o m e le t us kiss and part !

, ,

S hak e hands f or e ve r ! C anc e l al l o u r v o ws ! [e t c ] .

"
Ch a r t e r [ Re pr oduc e d as i n t h e F irst F oli o E diti o n t h e r

3 . . Ch a t er ,

b e ing wh o lly or partially obscur e d i n s o m e c o pi e s th o ugh plai n i n t h e B odl e ian ,

c o py fro m wh ich t h e C l are nd on P r e ss r e pri nt is mad e F or t h e word C f 58 9 .

, .
, .

ED .
]
L xxxv 11 1 1 TH E S ONNE TS OF S HAK ES P E AR E 2 11

3 4
-
. B arne s P Ev P S 1 5 : I shall r e sign thy l ove s l arge
LE E : Cf .
,
'
.

chart e r and thy b o nds again .

4 d
. e t e rm i nat e M AL O N E : E nd e d
. o u t o f dat e Th e t e rm is use d i n l e ga l , .

c o nv e yanc e s S C H M I D T: L im i t e d R oL F E s d e t e rminati o n [ Mod e rn

.
. .
,

e dit o rs g e n e rally c i t e Mal o n e s d e n i ti o n with appr o val d o ubtl e ss u nd e rstand

i ng b o nds i n th e e t o m e an b o nds giving m e a claim u po n th ee S chmidt

.

may have take n i n th ee as b e l o ng i ng w i th d e t e rminat e

ED ]

. .

6 that ri tch e s S C H M I D T: [ Oft e n use d as a s i ngular n o un 1

. . .

8 Cf 49 1
7 . .
, 13 4 .

8 . H M I D T: P rivil e g e
patt e nt . SC .

1 I upo n mi s pri s i on gr owi n g TYL E R

. U po n its be c oming c l e ar that y ou had . :

mad e a mistake B E E C H I NG : Arisi ng fr o m an ve rs i ght

. o .

13 D OWD E N Cf R Br J V i I I f I may trust t h e att e ring trut h f

. : . . .
, , , :

o

l ee p MC CL UMP H A : C f R 8 J I I i i 1 4 1 A dr e am t oo t t e i g swe e t
S .

. . 9

.
, , , :

a r n -
.

D OWD E N : This
nn e t i n fo rm is distinguish e d by d o ubl e rhym e s thr o ugh
So

o ut [ E xc e pt lin e s 2 and 4 as n ot e d by R OL F E P r o fe sso r G H P AL M E R spe aks

.
, . . .

of t h e u t t e r i n g s of t h e h e art c o nv e y e d i n th e se d o ubl e rhym e s ( p LE E . .

n ot e s similar r e p e at e d participial e ndings i n D a ni e l S on n ets af ter As troph el 2 4 , , ,

and Wats o n s Tea rs of Fa n cy

88

WH E N t h ou s h a l t b e d i s p od e t o set m e li gh t ,
An d p l a c e my m e rr i t i n t h e e i e o f s k o r n e ,

Vp on t h y s i d e a g a i n s t my s e lf e i le gh t , ,

An d p r o u e t h e e v i r t uo us t h o u gh t h ou a r t f ors w orn e ,

Wi t h m i n e ow n e w ea k e n es s e b e i n g b e s t a c q u a i n t e d ,

Vp o n t h y p a r t I ca n s e t d ow n e a s t o ry
Of f a u l t s c o n cea ld w h e re i n I a m a t t a i n t e d ,

Th a t t h ou i n loos i n g m e s h a l l w i n m u ch gl ory ,

An d I b y t h i s w i l b e a g a i n e r t oo ,

F o r b e n d i n g a ll my l o u i n g t h o u gh t s o n t h e e ,

Th e i n i u r i e s t h a t t o my s e lfe I d o e ,

D o i n g t h e e va n t a ge d ub l e v a n t a ge m e , .

S u ch i s my l o u e t o t h e e I s o b e l o n g , ,

Th a t f o r t h y ri gh t my s e lfe w i l l b e a re a ll w ron g , .

di s pod e ] di s pos de L ; di s pos d

1 640 G , , etc .

m y ] th y 1 6 4 0 G , S E , , .

l oos in g ] los i n g G h all ] s h a lt S M e t c ( e xc e pt t

2
, et c . N) s , , .
, .

d ub l e van ta g e ] H yph e n e d by C M e t c ( e xc e pt C o H a l Wh l ) , , .
, , .
 TH E S ONNETS OF S HAK ES P E AR E [LXXX I X
[ WAL S H puts this So nne t n e xt t o 49 . See n ot e on 49 , 11

I . s et m e li g h t . D OWD E N : E st ee m m e l itt l e .

2 . MAL ON E : C f 0 th. ii 54 :
.
, I V, ,

Th e xe d gure f or t h e tim e of sc orn

To p oint his s l o w an d m oving nge r at .

7 . ttai n te d S ee 8 2 2
a .
, .

12 TYL E R : What e ve r satisfacti o n his fri e n d may n d

. se tti ng
fau l ts this satisfacti o n wi ll b e d o ub l ed t o himse lf
, .

I S AA C b
[ e li e v e s that this and t h e t w o f o ll o wing so nn e ts b e l o ng with 1
39 1 40 ,

addr e sse d t o t h e dark wo man L i ne 4 in particular must r elat e t o a wo man .

, ,

and t o h e r o f S 1 52 H e n ot e s a l s o that t h e th ought is r e p e at e d i n S 1 49

. . . .

( Arch i v 6 2 : 2 2 S ee t o si mi l ar eff e ct WAL S H S n ot e o n S

.
, , ,

89
'

S AY t h a t t h o u d i d s t f o rs a k e m e e f or so m e fa lt ,

An d I w i l l c omm e n t ce v p on t ha t o ff e n ,

S p e a k e of my la m e n e s s e a n d I s t ra i gh t w i l l h a lt ,

A ga i n s t t h y r e a s on s m a k i n g n o d e fe n c e .

Th ou ca n s t n o t ( lo ue ) d i s gr a c e m e h a lfe s o i ll ,

To s e t a for m e v p on d e s i re d ch a n g e ,

As i le my s e lfe d i s g ra c e k n ow i n g t h y w i l , ,

I w i ll a c q ua i n ta n c e s t ra n gle a n d look e s t ra n g e
B e a b s e n t f r o m t h y w a lke s a n d i n my t o n gu e ,

Th y s w e e t b e lo u e d n a m e n o m o re s h a l l d w e l l ,

L ea s t I ( t oo m u ch p rop h a n e ) s h o u l d d o i t w ro n g e
An d b a p li e o f o u r old a c q ua i n t a n c e t e ll .

F o r t h ee a ga i n s t my s e lfe i le v ow d eb a t e
, ,

F o r I m u s t n e re lo u e h i m w h om t h o u d os t h a t e .

7 . d i s gr a ce , ] di s g ra ce; G , S E , C a m , D o , B ut , H e r , Ox , B e , R ; di s g race:
,
2
M ,

A K, t , C o , B , D el, H u , y , S t a , C l, O l, ly , Wh , H a l, R , Ty , Wy , N, B ull ,
D I
K Wa .

9 . in] on G
2
, S
, E .

10 . s we e t b elou e d ] H yph e n e d by M , A , Kt B, , D e l, Dy , S t a , C l, Kl y , Hu
.

2 . c omm e nt B E E C H I NG : Moral i z e S o of Jaqu e s

. R OL F E : E xpatiat e . .

( A Y L II i wee ping and c o mm e nting up o n t h e sobbing d e ar it

. .
, , ,

was ask e d D id h e n ot m orali z e this sp e ctacl e ? [ I fail t o s e e wh a t pr oof th i s

,

furnish e s that t h e wor d c omm e nt m e ans m orali z e

ED ] . .
L xxx1 x 1 TH E S ONNETS OF S HAK E S P EAR E 2 13

3 lam e n e s s e
. I n add iti o n t o t h e c o mm e nts th e re cit ed
.
[ S e e n ot e s on 37 , 3 .
,

on e may n ot e a d e f e nc e of t h e l it e ra l i nt e rpr e tati o n by S p e ri e nd (N 61 Q . .

,

s t h s 3 : 1 34 w h o stat e s that t h e n oti o n of S h s l am e n e ss was giv e n

.
, , .

curr e ncy by Waldron in his ed iti o n of J onso n s S a d S h eph erd ] C A B R OWN :

. .

H a d h e r e a l ly b ee n l am e this wo u l d have l o st its p oi nt and t h e pr omise of ,

making n o d e fe nc e w o u l d have be e n ridicu l ous ( p C AR TWR I G H T: Th e . .

auth or m e ans S pe ak of my r e putati o n as a play e r an d stra ight I wi ll a c k n ow l

, ,

e dg e it as j ust cause f or y o ur f orsa k ing m e

, (p . .

5 8 I S AAC : [ C f D ani e l S 2 7 :
-
. . .
,

I l l t e ll t h e wor l d that I d es e rv d but il l

,

And b l am e myse l f f or t o e xcuse thy h eart ] ,

(J a h rb .
, I 7:

6 .D OWD E N : Give a be c oming appe aranc e t o t h e change which y ou d e si re .

Cf . M N D I i 32 33 :
. 2 . .
, , ,

Things base a nd vi l e h old in g n o quantity , ,

L ove can transp ose t o f orm an d d ignity .

[ So S C H M I D T , wh o re nd e rs f orm as good se mb l anc e . B E E C H I NG says

pre t e xt 1 .

8 . t t q l MAL ON E : P ut an e n d t o ou r fami l iarity C f T N

a c uai n an ce s r an g e . . . . .
,

V i 1 50 : That m ake s th ee strang l e thy pr o pri e ty ;

, ,

A 69 C I I vi 1 30 .

.
, , ,

You shal l nd t h e band that see ms t o t i e th e ir fri e ndship t oge th e r will b e t h e

v e ry strang l e r of th e ir amity B E E C H I NG : [Th e m e taph or a l so occurs i n W T

. . .
,

I V iv 4 7 ; H 8 V i 1 57 ; T 69 C I V iv
, , .
, look e s tran g e F L E AY : C f
, , .

.
, , , . .

D rayt on S 6 1 , .

Wh e n w e m ee t at any tim e agai n

B e it n ot se e n i n e ith e r of o ur br ows
That w e on e j ot of f orm e r l ove r e tain .

( B i og Ch ron . .
, 2 :

81 2 . 6
Cf 3 , 9 1 2
. .

13 . d eb ate . SC H M I D T: C o nt e st .
[ Cf . 2 H 4 , IV,
. iv , 2 : This d ebat e that

b leed et h at o ur d oors 1 .

WAL S H : C o mpare this an d t h e prec ed ing so nne t with 1 49 , w hich is

a d m itt ed t o b e a d dr e sse d t o a woma n .
2 14 TH E S ONNETS OF S HAK ES P E AR E [KC

90

TH E N h a t e m e w h e n t h ou w i lt , i f e ue r , n ow ,

Now w h i le t h e w o r l d i s b e n t
my d e e d s t o c r os s e ,

o n e w i t h t h e s p i gh t o f f or t u n e m a k e m e b o w ,

An d d oe n o t d r o p i n f o r a n a f t e r l o s s e
A h d oe n o t w h e n my h ea r t h a t h s ca p te t h i s s orr ow
, ,

C o m e i n t h e r e r e w a r d o f a c o n q u e r d w oe ,

Gi u e n o t a w i n dy n i gh t a r a i n i e m o r row ,

To l i n g e r o u t a p ur p os d o u e r t h r ow -
.

I f t h ou w i l t le a u e m e d o n o t le a u e m e la s t , ,

Wh e n o t h e r p e t t i e g r i e f e s h a u e d on e t h e i r s p i gh t ,

B u t i n t h e o n s e t c o m e s o s t a ll I t a s t e ,

At rs t t h e v e ry w o rs t o f for t u n es m i gh t .

An d o t h e r s t r a i n e s of w oe w h i ch n ow s e e m e w oe , ,

C o m p a r d w i t h los s e o f t h e e w i l l n o t s ee m e s o

.
,

4 . t r l os s e ] H yph e n e d by
af e 5 1
, C, M , etc .
(e xc e pt C o , Wh l
, H a l) .

6 . w oe ] f oe P algrav e c o nj .

11 . s tall ] s h a ll 1 6 4 0 e t c , .

2 B E E C H I NG : D oe s th i s spit e of f ortun e r e f e r t o t h e tr oub l e s of S h s

3 .
'

c ompany d ue t o t h e p o pularity of t h e b oy act ors ? S ee H a ml I I ii 3 52

, .
, , , .

J M : [ L in e 2 1 w e b e l i e ve r e fe rs t o t h e gro wing puritanism which call e d f or

. .
,

t h e pr o hib i ti o n o f stag e plays On J uly 2 8 1 59 7 t h e P rivy C o u ncil issu e d an

.
, ,

o rd e r that t h e th e atr e s w e r e t o b e

p l ucke d d own Th e spit e of f o rt un e
.
,

l oss and s orro w w e b e li e ve r e fe r to t h e d e ath of his o n l y s o n H amne t

,

, , ,

August I 59 6 ( p , [Th e c o mma aft e r cr o sse 1 sh o u l d b e substitut e d

. .

by a se mic o l o n as at t h e e n d of l in e 1 By r e taining t h e c o mma it is mad e .

t o app e ar that t h e b e nt o f t h e wor l d which cr o sse d his d e e ds and t h e spit e , ,

o f f ort un e which was a sorr ow of t h e h e art and a l o ss we r e o n e and t h e

, ,

sam e . Th e e xpre ssi o ns r e fe r t o t w o disti nct matt e rs as is furth e r prov e d ,

by t h e u s e of t h e p l ura l furth e r on i n t h e s o nnet

pe tty gri e fs and strains
(p

o f w oe . .

4 d r op i n S C H M I D T: C o m e i n [Th e o n l y occurr e nc e of t h e phrase n ot e d i n

. . .

th e N E D .f or t h e E li z ab e than pe ri od
. . ED ] . .

5 GE R VI NU S [ l i ke J M r e f e rs this s o rr o w t o t h e d e ath of t h e p oe t s

. . .
, ,

s on I S AAC d e n i e s this ( Arch i v 6 2 :

. as c o ntradict e d by t h e p e tty gri e fs
,

o f lin e B U TL E R : I inc l ine t o think t hat th e se l i n e s re fe r t o t h e subj ect of

S onn ets 33 34 an d n ot t o t h e spit e of f ort u n e m e nti on ed in l in e 3

.
,
XC ] TH E S ONNE TS OF S HAK E S P EAR E 2 15

6 . S TE E VE NS : C f . R E
v J. .
, I II, ll, 12 1 : B ut with a r e ar ward f ol l owing -

Tybalt s d e ath R o m e o is banish e d

.
,

7 VE R I TY : C f L u crece 1 7 8 8 : This Windy t e m pe st till it b l ow up rain

. .
, , .

1 1 -
12 . VON MAUNTZ : Cf Ovid , E x P on to, I I ,
. ii , 3 1 32
-

mise rri ma tuta e s t

F o rt u n a
Na m tim or e ve nt us d e t e ri or i s a b e s t .

13 . s tr ai n e s . SC H M I D T: Moti o ns of t h e mi nd fee l ings , ( Ge rm Regung ) . .

[ Ci .

Mu ch Ad o V i , , , 12 :

Me asur e his w oe t h e l e ngth and br eadth of min e ,

An d le t it answe r e ve ry strai n f or strain ] .

TYL E R : Th e xpr e ssi o n may b e take n as n e ar l y e quiva l e nt t o kind s of

e

w oe th ough th er e is pr obably add ed t h e id e a of e xt e nsi o n or l e ngt h e ning

, .

WYND H AM : Ki nds with t h e se nse a l so,o f , ,

i e st ock r
. .
, ,

h on our . h e r e as oft e n o n t h e id e ntity o f this , ,

w ord with t ( O F r es tra i n d re t o strain ) sugge sting t h e . .

,

strai n i o n t h e su ff e r e r B E E C H I NG : Th e passage i n Mu ch .

0 x t h e m e ani ng o f i n b oth plac e s as s ort ki nd

S t ra i n , ,

which c o nn e cts with t h e r oot m e aning of rac e

w oe w oe G H . . . .

P AL M ER[spe aks of t h e calamit o us crash pr od uc e d by t h e i nn e r rhym e h e r e

.

(a 9

WYND H AM : Th e t h e m e of [this
s o nne t ] is a s orr ow which has I supp ose b e e n , ,

su ff e re d at o n e ti m e or an oth e r by m ost m e n : it is hackn e ye d as dy i ng Ye t

, , .

t h e e l oqu e nc e is p ee rl e ss I d o ubt if i n all r e c o rd e d sp e e ch such faultl e ss pe rf e c

.

ti o n may b e fo und s o sustain e d thr o ugh fo urt ee n c o nse cutive lin e s That pe r
, .

f ec t i o n d oe s n ot arise fr o m any th o ught i n t h e p i e c e its e lf f or n o n e is abstruse ; ,

n or fr o m its se ntim e nt which is c o mm o n t o a ll w h o l o v e and su ff e r o r f e ar a

, ,

diminuti o n i n th e i r l ove s r e turn ; n or e ve n fr o m its image ry th ough t h e l i ne

, ,

Giv e n ot a windy night a rainy m orr ow h o lds its ow n aga i nst K e ats s Th e r e
'
,

is a budd i ng m orr o w i n m i dnight which R oSs e t t i o nc e ch o se f or t h e be st i n

,

E nglish p oe try I t ari s e s fr o m pe rf e ct v e rbal e x e cut i o n : fr o m d icti o n rhythm

.
, ,

an d t h e j ust incid e nc e of acc e ntua l stre sse s e nf o rce d by asso nanc e and a lli t
e ra t i on ( I ntr o p cxxxix
.
) S P AL D I NG : A n e
. ch,
o o f t
. h e cry that w e nt o u t fr o m
.

anoth e r ago nise d bre ast so m e 1 6 0 0 y e ars b e f or e : That th o u d oe st d o quickl y

, .

( G e n t M a g 2 4 2.: .
,
 THE S ONNETS or S H AKES P E AR E

91

S OME glory i n t h e i r b i r t h s om e i n t h e i r s k i ll , ,

S om e i n t h e i r w ea lt h s om e i n t h e i r b od i es f or c e , ,

S om e i n t h e i r g a r m e n t s t h ou gh n e w fa n gl ed i ll -

S om e i n t h e i r H a w k e s a n d H ou n d s s om e i n t h e i r H ors e , .

An d e ue ry h u m or h a t h h i s a d i u n c t p le a s ure ,

Wh e re i n i t n d e s a i oy a b oue t h e res t ,

B u t t h e s e p e r t i c u le rs a re n o t my m ea s ure ,

All t h e s e I b e t t e r i n on e g e n e ra ll b e s t .

Th y lou e i s b i t te r t h e n h i gh b i r t h t o m e ,

R i ch e r t h e n w ea lt h p rou d e r t h e n ga rm e n t s c os t
, ,

Of m ore d e li gh t t h e n H a w kes or H ors e s b e e

An d h a ui n g t h e e o f a ll m e n s p ri d e I b oa s t
, .

Wre t ch ed i n t h i s a lon e t h a t t h o u ma i s t ta ke , ,

All t h i s a w a y a n d m e m os t w re t ch e d m a ke
, .

2 . b od i es ] body

s M A Kt
C , , , , Co , B , D e l, Hu l
D y , S t a , C l,
,
l
y , Wh , Kl

Ha l Ca m , D
, o, Ty Ox B ut Wa ;
, , , bodi es Gl, D y

z
, Hu , R,
z
h ,
W
y , H er , B e , W
N B ul l
, .

H ors e ] h or s e H u

z
4 . .

9 . b itt e r ] better 1 6 40 , G, et c .

14 . mak e ] ma k e :
. Kl y .

a w d i ll R OLF E : F ashi o nab l e

. b ut ug l y .

W E N : P r o bably t h e p l ura l ; cf T of S I n d 6 1 : An . . .
, .
,

o th e r t e ll him of his h o unds and h or e

s
"
W YND H AM : Th e capita l s S h o w that .

a ll three words a re ge ne ra l ise d and that th e y stand f or t h e e stab l ishm e nts an d

,

pursuits of H a vi ki n g H unting and t h e Maneg e

, , .

1 0 S TE E VE NS : C f Cy mb
. I I I iii 2 3 2 4 :
.
.
, , ,

Rich e r than d oing n othing f or a babe ,

P r o u d e r than ru st l ing i n unpaid f or si lk -

.

13 14 -
. WAL S H : Co ntr a st this w ith t h e e nd ing of 2 5.
x c 11 } TH E S ONNETS OF S HAKES P E AR E 2 17

92

B VT d oe t h y w ors t to f y s t ea le t h y s e l e a wa ,

F or t ea r m e of li fe t h ou a r t a s s ured m i n e ,

An d li fe n o lon g e r t h e n t h y lou e w i ll s t a y ,

F o r i t d e pe n d s v p o n t h a t lo u e o f t h i n e

Th e n n e ed I n ot t o fea r e th e w or s t of w ron gs ,

Wh e n i n t h e lea s t of t h e m my li fe h a t h e n d ,

I s ee a b e t t e r s ta te t o m e b elon g s
,

Th e n t h a t w h i ch on t h y h u m or d ot h d e pe n d
, .

Th ou ca n s t n o t v ex m e w i t h i n c on s ta n t m i n d e ,

S i n c e t h a t my li fe on t h y re u olt d ot h li e ,

Oh w h a t a h a pp y t i t le d o I n d e ,

H a ppy t o h a ue t h y lou e h a p py t o d i e ! ,

B u t w h a t s s o b les s ed fa i r e t h a t fea r es n o b lo t ,

Th ou m a i s t b e fa lc e an d y e t I kn ow i t not , .

3 . th y ] my 1 6 40 , G S, E , .

6 . l e a s t] la s t B ut .

8 . th y ] my 1 6 40 , G S, E , .

13 . bl e s s ed f ai r e] H yph e n e d by M , et c .
( e
exc pt Co m , Wh 1
, Ha l) . b l ot, 1
blot ? G, et c .

14 . n ot .
1 n ot: M A , , Kt B , , D e l, Dy , S t a , Cl , Kl y , Hu z
, Ty
.
.

6 . l eas t B UTL E R [d e fe nds his e m en d a t i on b y s a y i g ] S ure l y S h cann ot

.

n z .

c o nsid er Mr W H s l e aving hi m as t h e l east of wr ongs I t wo uld b e t h e

. . .

.

cu l mi nating, and h e nce t h e last misf ortu n e TYL E R : Th e pain cause d by t h e .

l oss of t h e fri e nd s affecti o n is t h e l e ast of wrongs on a c c ount of its i mm ediat e

Th e worst of wr o ngs [ is ] t h e c o nti nu ed mise r y of l iving

t e rminati o n .

a l i e nat ed .

10 .on th y r evol t d oth li e D OWD E N : I s d e pe n d e nt o n your d es erti on [ Cf

. . .

Mac b V iv .
, , , 12 :

B oth m ore and l e ss have gi ve n him t h e re vol t ,

An d no ne se rve w ith him but c ons t rai ned thi n g s

Wh os e h earts a re ab se nt t oo .

With thi s phra sing cf a l so S . .

93 ,
2 18 TH E S ONNETS OF S HAK ES P E AR E X
[ CI I I

93

So s h a ll I g t h ou a r t t r ue
li u e , s u p p os i n ,

L i ke a d e c e i u ed h u s b a n d s o lou e s fa c e , ,

Ma y s t i l l s ee m e l ou e t o m e t h o u gh a lte r d n eW ,
'

Th y loo k e s w i t h m e t h y h e a r t i n o t h e r p la c e , .

F o r t h e i r ca n li u e n o h a t r ed i n t h i n e e y e ,

Th e re f ore i n t h a t I ca n n o t k n ow t h y ch a n ge ,

I n m a n i e s look e s t h e fa lc e h ea r t s h i s t o ry ,

I s w r i t i n m o od s a n d f r o u n e s a n d w r i n c k le s s t ra n g e .

B u t h ea u e n i n t h y c rea t i o n d i d d e c r ee ,

Th a t i n t h y f a c e s w e e t lou e s h ould e u er d w e ll ,

Wh a t e re t h y t h o u gh t s or t h y h ea rt s w or k i n gs b e , ,

Th y lo ok e s S h ou l d n o t h i n g t h e n c e b u t S w ee t n e s s e t e l l , .

H ow l i ke E a u es a pp le d o t h t h y b ea u t y g r ow ,

I f t h y s w ee t v e r t ue a n s w e re n o t t h y S h ow .

3 . alte r

d n ew ] H yph e n e d by D e l, Sta , K ly .

5 . th e ir ] th ere G e t c , .

11 . What e r e ] Wh a t a re L ; Wh a te
er G, et c .

12 . s h oul d ] s h a ll G S E , , .

14 . a n s w er e ] a n s w ers E .

[ Th e o p e ning of this nn e t pre se nts an i nt e r e st i ng e xampl e of t h e pr ob l e m of

So

c o ntinuity D OWD E N o bse rv e s n ot with o ut plausib i lity t hat it carri e s on t h e

.
, ,

t h o ught of t h e l ast l ine of WAL S H o n t h e oth e r hand plac e s it aft e r 1 40 , , ,

an d it w i ll b e n ot e d h ow app osit e se e ms t h e O p e ning lin e i n such a c o nn ec

ti o n ED ]
. .

2 . MAL O N E : Mr Ol dys obse rv e s i n o n e of his manu scripts that this an d t h e

. ,

pre c e d i ng so nn e t se e m t o have b ee n addr e sse d by S h t o his b e autiful wif e o n

.

so m e susp i c i o n o f h e r i nd e l i ty
H e must hav e r e a d o u r auth or s p oe ms with
.

b ut littl e att e nti o n ; o th e rwise h e w o u l d have se e n that th e s e as wel l as t h e ,

prec e ding s o nn e ts an d many of th ose that f ol l ow a re n ot addr e sse d t o a f e mal e

, ,
.

4 .W A L S H : [ This lin e ] cl e arly c o nn e cts t h e s o nn e t with 1 3 9 6 and 1 4 0 1 4 , , .

5 th i n e e y e C f 1 0 4 2 e t c and TYL E R S n ot e o n 1 5

.
. . .
, , .
, ,

7 .m an i e s A BB O TT [ b.e l i e v e s this f o rm may b e e xplai n e d by t h e o ld n o un

many C f 2 H 4 I i i i 9 1 : O th o u f o nd many
. . .
, ,

,
.

1 3 E ave s a pple
. S TO P E S : Which s ee m e d g oo d f or f ood and a thing t o b e
. ,

d e sir e d t o mak e me n wise but in r e ality bringing d e ath

,
.
X CI V] TH E S ONNE TS OF S HAK E S P EAR E 2 19

94

TH E Y t h a t h a ue p ow r e h u r t a n d w i l l d oe n o n e
to , ,

Th a t d oe n ot d o th e t h i n g t h e y m os t d o s h ow e
, ,

Wh o m ou i n g o t h e rs ,
a re t h e m s e lu e s a s s t on e ,

Vn m oou ed c ou l d ,
m p t a t i on S lOW
, a nd to te
'

Th ey r i gh t ly d o i n h e rr i t h ea u e n s gr a c e s ,

An d h u s b a n d n a t u re s r i t c h e s f r om e x pe n c e ,

Th e y a re t h e L or d s a n d ow n e rs o f t h e i r fa c es ,

O t h e r s b u t s t e w a r d s o f t h e i r e xc e l l e n c e
,

Th e s omm e r s ow r e i s t o t h e s omm e r s w ee t ,

Th ou gh t o i t s e lfe i t o n e ly li ue a n d d i e , ,

B u t i f t h a t ow r e w i t h b a s e i n fe c t i o n m e e t e ,

Th e b a s e s t w e e d o u t b r a n e s h i s d i g n i t y -

F o r S w ee t e s t t h i n gs t u r n e s ow r e s t b y t h e i r d e e d e s ,

L i l l i e s t h a t f e s t e r s m e l l f a r w ors e t h e n w e e d s
,
.

2 . m os t] m u s t G S E , , .

11 . bas e ] f oul S t a c onj .

bas e st] ba res t Walk e r c o nj .

D OWD E N [thus o utlin e s t h e th ought this d i i c ult so nne t Th e y w h o can of

h old th e ir passi o ns i n ch e ck w h o can r e fuse t o wrath its o utbr e ak w h o can

, ,

s ee m l ovi ng y et ke e p a c oo l h e art w h o m ov e passi o n i n oth e rs y et a r e c old and

, ,

u nm ove d t h e mse l v e s th e y rightly i nh e rit fr o m h e ave n l arge g i ft s f or th e y -

husband th e m ; wh e re as passi o nat e i nt e mp e rat e nature s squand e r th e ir e nd ow

m e nts Th ose w h o can assum e this or that se mb l anc e as th e y s e e r e a s o n a re
.

t h e mast e rs and o wn e rs o f th e ir fac e s ; oth e rs have n o pr o pe rty i n such e xc e l

l e nc e s as th e y p o sse ss b ut h o ld th e m f or t h e advantage of t h e prud e nt se l f

,

c o ntain e d p e rs o ns Tru e th e se se lf c ontain e d p e rs o ns may se e m t o lack ge n e r

.
,
-

o s i t y ; but th e n with o ut making v o luntary gifts th e y giv e in e vitably e v e n as

t h e summ e r s ow e r is sw ee t t o t h e sum m
, , ,

e r th o ugh it l iv e and d i e o nly t o

its elf Ye t let such a n o n e b e ware o f c or r upti o n WYND H AM : This s o nn e t is

. .

a l i mb o f t h e c o ntinu o us argu m e nt e mb odi e d i n [t h e gr o up 8 7 and s o ,

r e ad is n ot obscure Th e fri e nd as d e scrib e d i n t h e pr e c eding numb e r h a s a

, .
, ,

fac e of which t h e be auty is a c o nstant ex pr e ssi o n of l ove B ut this b e auty .

b ec om e s t h e typ e of t e mptati o n if it b e n ot a tru e i nd e x of virt u e [ I n this s on .

n et ] t h e p oe t d e v e l o ps t h e ambiguity o f t h e th e m e H e rst puts t h e case of .

th ose w h o with an o utward b e auty that is t h e e ngin e of t e mptati o n a re th e m

, ,

s e lve s c old and n ot e asily t e mpt e d Th e y ar e t h e o wn e rs and c o ntr oll e rs of .

2 20 TH E S ONNETS OF S HAK ES P E AR E [X C I V
th e ir be auty ; but putting t h e a l t e rnative case th ose w h ose b e auty n ot on l y
, ,

t e mpts but a l s o l e a d s th e m i nt o t e mptati o n a re but disp e nse rs of it As an , .

em bl e m of t h e rst t h e poe t take s a owe r which is swee t t o t h e w orld ar oun d

it a l th o ugh it b l ossoms and di e s t o itse lf se l f c o ntain e d and unre garding : as an
, ,
-

e mb l e m of t h e se c o n d such a owe r if it b e inf ect e d with a cank e r

, TYL E R : .

C f H a ml I I I ii 7 0 76
. .
, , ,

Th ou hast bee n
As on e i n suff e ring a l l that su ff e rs n othing
, , ,

A man that F ort une s b uff e ts an d r e wards

H ath ta e n w ith e qua l thanks ; and bl e st a re th o se

Wh ose b l ood and j udge m e nt a re s o we ll c omming l e d

That th e y a r e n ot a pip e f or F o rt un e s nge r

To s o und what st o p S h e p l e ase .

Sh himse l f p e rhaps ve ry se nsitive an d quickl y m ove d may have appre ciat e d

.
, ,

t oo highly a d iff e r e nt ki n d of charact e r As t o t h e c o rrupti o n of such a charac .

t er as that h e r e d e scrib e d cf t h e po rtraiture of Ange l o i n M f or M S TOP E S

, . . .

S h hast e ns t o disc l aim any i mp l i e d b l am e [ i n t h e pr e c e d ing so nn e t ] thr o ugh

.
,

t h e disass ociati o n of charact e r fr o m appe aranc e It is rath e r a virt u e t o b e .

abl e t o c o ntr ol e xpre ssi o n B ut such peo p l e mus t n ot d o t h e e vil th e y m a y

. .

[ This and t h e t w o foll owing so nn e ts wi ll re min d many re ad e rs of 6 9 which ,

WAL S H p l ac e s i mm ediate l y aft e r th e m ED ] . .

5 B E E C H I NG : I t is right that se l f p osse sse d p e op l e sh ould b e intrust ed

8 .
-

with be auty because th e y d o n ot squand e r it i n passi o n

, B e autifu l p e rso ns .

w h o a re n ot se l f p o sse s se d a re d ec l are d t o hav e n o o wn e rship i n th e ir b e auty

-
,

be cause it is a l ways b e ing spe nt by th e m at t h e c o mman d of Love Ange r , .

R e m orse and o th e r passi o ns

, .

6 e xpe n c e C f 3 0 8 an d 1 2 9 1
. . .
, , .

10 to it s elf e TYL E R : Cf 54 I I
. . .
, .

1 4 S TE E VE NS : This l in e is l ik ew i se f ou n d in t h e an onym ous p l ay of E dwa rd

.

[T e foll owing is t e c ont e xt I I i 44 1 53 Br ooke s S h Apocry ph a

I II h h , , , , .
,

D o
79 3
That sinn e d oth t e n tim e s a gr ev a t e it se l fe ,

That is c ommitt e d i n a b ol i e p l ac e :
An e vi ll d ee d d o ne by a ut h ori t i e
, ,

I s sin and sub ornati o n : D e c ke an Ape

I n tissu e an d t h e b e a ut i e of t h e ro be
,

Add s but t h e gr e at e r sc orn e u nt o t h e b e ast .

A s pa t i ous e ld of re aso ns c o u l d I urge

B e t wee n e his g l o ri e d aught e r an d thy sham e
, ,

That poyso n s h e w e s worst i n a g old e n cup ;

D arke n ight s ee m es d arke r by th e l ightning ash ;
L i ll i e s that fe st e r s me l far w orse th e n weed s ;
An d e ve ry g l ory that i ncly nes t o sin ,

Th e S ham e is t re b le by t h e opposit e ]
X CI V ] TH E S ONNETS OF S HAK E S P E AR E 22 1

D OWD E N : I t sh ou ld b e r e m e mbe re d that se ve ra l critics assign t o S h a p orti o n .

of this p l ay [ inc l ud i ng t h e passag e i n qu e sti o n ] C F TU C K E R B R OOK E : Th e . . .

tr e nd of m od e rn o pi ni o n inclin e s str o ngly t o t h e n e gativ e sid e Th e l o ng l ist of .

th o se w h o d e ny t h e pr e se nc e i n t h e play of m ore than c o nc e ivably a f e w bri e f , ,

i nse rti o ns by S h i nc l ud e s : Mr S wi nburn e D r F urni v a ll S aintsbury K night

.
,
.
, .
, , ,

S ym o nds G C Moor e S mith Ulri c i D e l ius Warnke and P l oe s c h old t H v o n

, . .
, , ,

, .

F ri e s e n and L i e bau ( S h Apocry ph a p xxi ) [ C ritics disagr ee as t o t h e sig

, . .
, . .

n i c a n ce of this r e pe titi o n but t h e maj ority thi nk that t h e pri or c o mp ositi o n

,

o f t h e lin e i n t h e s o nn e t is t o b e i nf e rr e d fr o m t h e fact that h e r e it appe ars t o b e

an i nt e gra l part of t h e poe m wh e r e as i n t h e drama it is su pe r u ous if n ot ,

irre l e vant This positi o n has be e n take n by D E L I U S ( J a h rb I :

. I S AAC .
,

p an d A PL ATT ( Mod L a n g . . . .

Rev 6 :
.
, with t h e c or oll ary that t h e so nn e t was writt e n as e ar l y as 1 59 5 .

S o a l so LE E : A l in e [ fr o m Ed w I I I ] r e appe ars i n S h s S o nne ts It was c on

. . .

t ra ry t o his practic e t o l it e rally p l agiarise hims e lf Th e lin e i n t h e p l ay was .

d o ubtl e s s b orr owe d fr o m a MS Co py of t h e S o nn e ts ( Lif e p D OWD E N

. .
, .
,

o n t h e o th e r hand ( I ntr o p 2 3 ) thinks it t h e m or e like ly supp ositi o n that

. .
,

t h e s o nn e t b orr o we d fr o m t h e play B E E CH I NG thinks t h e p o int i ncapab l e o f

pr oof : A l in e that e mbal ms a pr ove rb may b e e xpe ct e d t o occur i n m or e than

o n e c o nt e xt and n o saf e c o nclusi o n can b e drawn as t o t h e pri o rity of o n e o v e r

,

an oth e r . B ut it n ee ds n o argum e nt that t h e styl e of t h e spee ch i n E d w I I I .

,

if it b e S h s is much e arli e r than that of this so nne t Mrs S TOP E S b e li e v e s

.

,
. .

that t h e l ine was rst writt e n f or t h e s o nne t i n answe r t o a passage i n Wi llo , ,

bi es Avi s a c 1 0 : , .

Un h a p p i e l i ll i e l ove s a wee d
That giv e s no se nt t hat yi e lds
, no g l ee ;
an d was r e p e at e d i n t h e play My fri e n d P r ofe ssor H D GR AY a dd s a n ot e

. . .

which at l e ast r e pr e se nts a fr e sh p oi nt of appr oach : H a s it b ee n n ot e d that

t h e l in e w o u l d b e m or e l ik e l y t o c o m e back i nt o S h s m e m ory and b e use d by

.
,

him i n thi s s o nn et fr o m his havi ng act e d i n t h e p l ay than fro m his havi ng

, ,

writt e n t h e l in e ? E spe cially is this tru e if t h e l in e w e r e o n e that h e himse l f had

sp o k e n fr o m t h e stage It occurs i n I I i and is spo ke n by Warwick If it we r e
.
, , .

i nd ee d tru e that S h p l aye d Adam i n A Y L and t h e Gh ost i n H a mlet

. . . .
, ,

Warwick w o u ld b e an e ntire ly appropriat e part f or him E dw I I I was p ro . .

d uce d by 1 59 5 and pr obably be f or e ; S o nn e ts 9 4 9 6 a re t o b e plac e d rath e r

am ong t h e lat e r than t h e e arli e r o n e s Th e r e is th e r e f ore n o like l i h ood that t h e .

p l ay c ould b e i nd ebt e d t o t h e so nn et With all this o n e must c o mpare t h e .

similar discussi on of a phrase i n 1 42 6 Th e o nly c o nclusi o n wo uld se e m t o b e , .

that h e r e as in eve ry oth e r passage wh ere th e re is a m o m e ntary gl e am of h 0 p e

,

that t h e S o nnets furnish a d e nit e pi e c e o f i nt e rnal e vid e nc e f or t h e dat e

or circ u mstanc e s of th e ir c ompositi on t h e gl e am s oo n vanish e s o ve r t h e mar ,

gin . ED ] .

RE G I S [ n ds i n this c o n c lli d i n g c o up l e t a r e se mblanc e t o a passag e i n P l at o ,

Repu bli c B k 6 :
,

What eve r d oth n ot m ee t with t h e pr ope r n o urishm e nt
. ,
222 TH E S ONNETS OF S HAK E S P EAR E [ X CV

th e m ore vigorous it is by nat ure t h e m or e it is d e fective i n t h e exc ell e nci e s of

,

its ki nd ; an d a l so t o D ant e P urg 30 : 1 1 8 2 0

,
.
,

Ma tant o p i u ma l igno e p i u S i l ve stro

S i fa i l t e rre n col ma l se m e e n on c ol t o ,

Q uant e gli ha p i ll d e l bu o n vig or t e rr e str o ]

.

WAL S H [re marks that it is] a variati o n of t h e old pr ove rb C orr upt i o opt i m i

pe ssima D OWD E N [c ompare s with t h e wh ol e so nne t a passag e i n T N I I I

. .
,

iv 40 1 0 4 : 1
,

I n natur e th e r e s n o b l e mish but t h e mind ;

No n e can b e c a ll d d e f or m d but t h e unkin d

Virtu e is b e auty but t h e be aut eo us e vil ,

Are e mpty trunks o e r ouri s h d by t h e d e vi l

.

95
H OW s w e e t a nd lon e ly
d os t t h o u m a k e t h e s h a m e ,

Wh i ch l i k e a ca n ke r i n t h e fra g ra n t Ros e ,

D o t h s p o t t h e b e a u t i e of t h y b u d d i n g n a m e ?
Oh i n w h a t s w ee t s d o e s t t h o u t h y s i n n e s i n c los e !
Th a t t on g ue t h a t t e l ls t h e s t ory of t h y d a i e s ,

( M a k i n g l a s c i u i o u s c o mm e n t s o n t h y p t)
s o r

C a n n o t d i s p ra i s e b u t i n a k i n d e o f p ra i s e
, ,

Na m i n g t h y n a m e b l e s s e s a n i ll re p o r t , .

Oh w h a t a m a n s i on h a ue t h o s e v i c e s g o t ,

Wh i ch f or t h e i r h a b i ta t i on ch os e out t h e e ,

Wh e re b e a u t i e s va i le d o t h c o ue r e ue ry b l ot ,

An d a ll t h i n g s t u rn es t o fa i re t h a t e i e s c a n s e e ! ,

Ta k e h e e d ( d e a re h ea r t ) o f t h i s l a rg e p r i u i le d g e ,

Th e h a r d e s t k n i fe i ll v s d d ot h loos e h i s e dg e

.

7 . d i s p rai s e , prai s e , 1 di s pra i s e; p ra i s e ,S ; di s pra i s e ,

l

S ; di s pra i s e
2
pra i s e; M , et c .
( e xce pt Hu l
, Wa ) ; di s pra i s e
Wa .

9 . i
v ces ] voi ces E .

10 . ch os e ] ch oos e 1 6 40 G S E ; ch us e G S
,
1
,
l
,
2
,
2
.

12 . turn e s ] tu r n G e t c ( e xc e pt Ty B e N)
2
, .
, , .

14 . l oos e ] los e G e t c, .

TYL E R : Th e scanda l which t h e p oe t had pr e vi ously m e nti o n e d and

tr e at e d as sland e r s ee ms ( if it b e t h e sam e ) n ow t o have b e c o m e t oo obvi o us l y
,

tru e t o admit of b e ing r ebutt e d or e xt e nuat e d .

X CVI ] TH E S ONNETS OF S HAK E S P EA R E 223

6 . s p ort. S C H M I D T: P l e asure . ROL F E : S e nsua l ity .

ICf . oth II , i, 229

Wh e n t h e b l oo d is mad e d u ll with th e act of sport 1 .

8 S TE E VE NS : C f A 6
C, I I ii
. . . .
, , 2 43 45
Vil e stthings
B ec om e th e mse l ve s i n h er ; that th e h oly pri e sts
B l e ss h er wh e n s h e is riggish .

9
-
12 . MAS S E Y : Cf R E
v J. .
;
.
, I II , 11 , 8 385

Wa s e ve r b oo k c o ntaining such vi l e matt er

S o fairly b o und ? 0 that d e c e it sh ou l d d we ll ,

I n such a gorgeo us pa l ac e ! (p .

12 R OL F E : C f 40 1 3 turn e s [TYL E R e xplicitly an d pre sumab l y B E E CH

. .
, . .
,

I NG an d NE IL S ON b e l i e v e that this may b e tak e n transitive l y with vai l e as

, ,

subj ect ] .

I S AAC : [This and t h e f ol owing so nn e t a re ad re ss e t o t h e ark adyl d d d l .

L i ne s 91 2 mak e t h e r e f e re nc e t o h er cl e ar ; and lin e s 4 , 7 , 8 of S 9 6 might . we ll

d
stan i n S 1 50 Compar e t h e n ot e on S 7 0 ( Arch i v, 6 2 : 1 4 ,
. . . .

9 6

S OME fa ult i s y ou t h s om e w a n t on es s e
say th y , ,

S om e s a y t h y g ra c e i s y o u t h a n d g e n t le s po r t ,

B o t h g ra ce a n d fa u lt s a re lou d o f m o re a n d les s e

Th ou m a k s t fa u lt s g ra c e s t h a t t o t h e e res or t ,

As o n t h e n ge r of a t h ro n e d Que e n e ,

Th e b a s e s t Ie w e ll w i l b e w e ll e s t ee m d

So a re t h os e e r r o r s t h a t i n t h e e a r e s ee n e ,

To hs t ra n s la t e d , f o r t r ue t h i n g s d e em d

tr ut a nd .

H ow ma n y m i gh t t h e s te r n e Wo lfe b e t ra y
La mb s ,

I f li ke a La m b e h e c o uld h i s look e s t ra n sla t e .

H ow m a n y gaz e rs m i g h s t t h o u lea d a w a y ,

I f t h o u w o u ld s t v s e t h e s t re n g t h o f a ll t h y s t a t e ?
B u t d oe n o t s o I lo ue t h e e i n s u ch s o r t , ,

As t h o u b e i n g m i n e m i n e i s t h y good re p or t , .

11 . mi gh s t] mi g h ts t L C , , M , et c .

This so nn e t was o mitt e d fr om t h e P oems o f 1 6 40 and ed iti ons ba s e d th e reo n .

2 . s po rt. Cf 9 5 6
.
, .

3 . B E E CH I NG : [This sonn et ] e mphasi z e s th e c o nc l usi on d rawn fr om 36 that

2 24 TH E S ONNETS OF S HAK E S P EAR E [ X C V I

th e fri e nd was a we ll kn own p e rsonage H e is so m e on e wh o m m or e and l e ss

-
.

h i gh and low ) discuss ( I ntr o p xxx ) m or e a n d l e ss e MAL O N E : C f I H . .

, . . . . .

IV i i i 6 8 : Th e m or e and l e ss cam e i n with cap and kn ee

"
4, , , .

4 Cf 9 5. 4 ;
. . 1 50 . 5 .

7
8
rr or s . t o truth s tr ans l a t e d TYL E R : Vic e s change d t o virtu e s [ F or
e . .

truths cf n ot e on 54 2 F or translat e d D OWD E N c ompar e s H a ml I I I

, .

, .
, .
, ,

i 1 1 3 : Th e f o rc e of h o ne sty can translat e b e auty int o h i s l i ke n e ss 1

, .

9 L am b s
. Wolf e WYND H AM : [ C apita l i z e d b e cause ] th e y a re typ e s
.

use d as i n a fabl e .

9
1 0 D OWD E N : Th e sam e th ought e xpresse d i n d i ff ere nt i mage ry app ears
.

i n 93 .

1 1 1 2 I S AAC : [ Cf D ani e l S
. .
, .

If h er d e fe cts have this fam e p u rc h a s d h e r

What sh o uld h e r virt u e s d o h er smil e s h e r l ove ? , ,

I f this h e r w orst h ow S h ou l d h e r b e st i nam e ? ,

( J a h rb .
, 17:
1
[ Cf 7 0 ,
. 13 4 . BD .
]
12 t ng th of a ll th y s ta te S C H M I D T: All thy str e ngt h D OWD E N : Th e
. th e s re . .

str e ngt h of all thy maj e sty spl e nd o ur TYL E R : All t h e p owe r of thy n obl e , .

b e auty L E E : Th e full e xt e nt of thy str e ngth [ C f n ot e s on 6 4 9

. . .
,

1 3 14 MAL O N E : Th i s is like wis e t h e c o nclud i ng c oupl e t of S 3 6 D E L I U S
. . .

I t is e vid e nt that t h e c o upl e t is m or e i n plac e i n S 36 and pr obably was b or .

,

r owe d fr o m th e r e f or S 9 6 ( J a h rb 1 : [ Acc o rdi ng t o MAS S E Y S arrang e

. . .
,

m e nt t h e r e p e titi o n of t h e lin e s is d ue t o t h e fact that th e y a re n ow r e pre se nt e d

,

as b e ing sp o k e n by t h e pe rs o n t o wh o m th e y we r e pre vi o usly addr e sse d and by ,

.

such r e pe titi o n d o ubl e d i n path os ( p D OWD E N : [ It is p ossibl e ] that t h e . .

MS i n Th o rp e s hands may h e r e have be e n imp e rf e ct and that h e ll e d it up

.

s o far as t o c o mpl e t e 9 6 w i th a c o upl e t fr o m an e arli e r s o nn e t ( I ntr o p 32 m ) . .

, . .

R OL F E : [ I f D o wd e n s c o nj e ct ur e is acc e pt e d it is an oth e r e vid e nc e t hat S h

.
,

had n o c o nne cti o n with t h e publicati o n of t h e Q ( I ntr o rev e d p . .

, . .
, .

WAL S H : [This c o upl e t 1 be ing t h e sam e w ords as t h e c o upl e t e nding 3 6 (a d

,

m i t t e d ly addr e sse d t o t h e fri e nd ) is m or l ik e ly t o hav e b e e n addre sse d t o a ,

diff e r e nt pe rs o n w h o wo uld n ot p e rc e ive t h e r e p e titi o n

, .

R OL F E : Id o ubt wh e th e r [S o nn e ts have anything t o d o with Mr

9 9 9]
6 .

W . o r a r e addr e sse d t o a man .

MAS S E Y [d o ubts t h e S hake spe ar e an auth orship of this s o nne t t oge th e r with ,

that of 1 30 1 4 5 1 51 an d 1 53 chi e y on t h e sc or e of bad workmanship

,

, , , ,

attributing th e m t o P e mbr o ke ( Ath Ma r 1 6 1 8 6 7 p . .

, .
, , .

T charact r sk tch d i n this and h pr c ding s nn t may w e l l b e c om

[ h e e e e t e e e o e

par e d with that of t h e D on J uan typ e of h e r o in t h e L over s Compla i n t ED ]

. .
X CVI I ] TH E SONNETS OF S HAK ES P E AR E 225

97

H OW li k e a Wi n t e h a t h my a b s e n ce b ee n e
r

F r om t h e e t h e p l e a s u r e o f t h e e e t i n g y e a r e ?
,

Wh a t fre ez i n gs ha u e I fe l t w h a t d a rk e d a i e s s e e n e ? ,

Wh a t old D e c e m b e rs b a r e n e s s e e u e ry w h e re ?
An d y e t t h i s t i m e r e m o u d w a s s omm e rs t i m e

,

Th e t ee m i n g Au t um n e b i g w i t h r i t ch i n c r e a s e ,

B e a r i n g t h e w a n t on b u r t h e n o f t h e p r i m e ,
.

L i k e w i d d ow e d w om b e s a f t e r t h e i r Lo r d s d e c e a s e
Ye t t h i s a b o u n d a n t i s s u e s e e m d t o m e

B u t h op e o f Or p h a n s a n d v n fa t h e r e d f r u i t e ,
-
,

F or S o mm e r a n d h i s p l e a s u re s w a i t e o n t h ee ,

An d t h ou a w a y t h e v e ry b i r d s a re m u t e , .

Or i f t h e y s i n g t i s w i t h s o d u l l a C h e e r e , ,

Th a t lea u e s look e p a l e d re a d i n g t h e Wi n t e rs me e re , .

4 b ar
. e n es s e ] ba ren n es s C ; b a rr en ne s s G 1 2
, 5 2
, E .

6 Th e ] An d C ; Th en I saac c o nj

. .

7 b urth e n ] bu rd en G , 5 , E
.
2 2
, M A Kt , , , Co, B , D e l, Hu , Dy , S t a , Cl , Kl y ,

H a l, Ty Ox N B ull Wa, , , , .

8 Lor d s ] lord s 1 6 4 0 , G S E
.

, , , K ly , H a l Ty , , Wy ; lords
C, M A Kt
, , , Co, B ,

D e l, Hu , Dy , S t a C l, Gl,
, Wh , Ca m D , o, R , Ox , B ut , et c .

10 . h op e ] crop S t a c o nj B ut .
, .

14 . Wi nt e rs ] wi n ter s G S e t c
2 z

, , .

D OWD E N : gr oup of so nn e ts se e ms t o b e gi n h e re WYND H AM : Th e

A n ew .

br e ak b etwee n this and t h e pre c e ding so nn e t s ee ms t h e m ost marke d in t h e .

F irst S e ri e s .

5 th i
. s ti m e MAL ON E : This tim e i n which I was r e m ot e or abse nt
r em ov

d .

f r o m th e e S C H M I D T: Ti m e of abse nc e [ Cf t h e abse nt tim e R 2 I I iii

. .
, , , ,

6 MAL O N E : Cf M N D
. II i 1 1 2 : Th e childing autumn
. . .
[An y w h o , , .

wish may nd i n MAS S E Y p 1 80 t h e e xplanati o n that this is subtly a ll usive

, .
,

t o t h e fact that E li z ab e t h Ve rn o n was ab o ut t o giv e b i rt h t o a chil d ] .

7 pri m e MAL ON E : S pri ng [ C i 7 0 8

. .
ED 1 . . . .
,

I o h op e of O rphan s
. DO WD E N : S uch h ope as orphans bring ; or exp ecta
.
,

ti o n of t h e birth of ch il dre n wh o se fath e r is d e ad I S AAC : Unf a t h er d fr uit

.

S h o ws that t h e phrase is obj e ctiv e g e nitiv e ( Arch i v 6 2 : TYL E R : H o p e .

,

o f l e aving po sthum o us off spring B E E C H I NG : U nb orn o rphans ; C f 6 0 1 3 ; . .

,

tim e s i n h o pe unb o rn tim e s .

226 TH E S ONNETS OF S HAK ES P E AR E [x c v11
13 . ch e er e . SC H M ID T: ( H igh ) spirits . R OL F E : C o unt e nanc e ; its rigina l
o

se nse [ B ut is . it n ot going t oo far to d e t ect low spirits i n th e f aces of th e

bird s ? E D ] .

[ I S AAC ( Arch i v ) ta ke s t h e vi e w a l re a d y n ot ed from ROL F E that this

, 62 : 1 , ,

a n d t h e t w o f oll owi ng s o nn e ts we re n ot addr e sse d t o a man S o MAS S E Y : 1 Not .

o nl y is t h e wh ol e of t h e i r l ove l y image ry sacr e d t o t h e s e x as I cal l it ; n ot o n l y

'

is it s o use d by S h a ll thr ough his w ork ; n ot o n l y di d S pe nse r addr es s his l ady

.

l ove i n e xact l y t h e sam e strain i n his S onn ets 3 5 and 6 4 ; , but t h e image s
ha d be e n p re vi ously appli e d s eri a ti m by C onstab l e i n his D i a n a [ see n ot e s on
S .
(p
I S AAC : s onne t might b e c a ll ed ] t h e classica l acm e of t h e Re naissanc e
[This -

l yric as it gre w up in Ita l y ( Arch i v 6 2 : P RI C E [ n ot e s that h e re as i n so m e

.
, ,

oth e r so nn e ts th e r e is an e xact balanc e b e tw ee n t h e masculin e and f e minin e

,

f orm of c e sura e ach occurring se ve n tim e s

,

Th e r e a d e r is c o nsci o us of t h e
.

e xquisit e harm o ny that r e su l ts

(p S e e also his n ot e o n S
. . G H . . .

P AL M E R [ spe aks of t h e po ignant matt e r of this so nn e t as d rive n h o m e by

t h e v ow e l e

(p . .

H UD S ON [ be li e ve s that this and t h e t w o f oll owing s o nn e ts as w e ll as 1 0 9 1 1 7 ,

-

an d t h e Wil l so nnets we r e a dd re sse d t o Anne H athaway ( Lif e Art 81

, .
, ,

Ch a ra cters of Sh .
, 1 : 24
X CVI I I ] TH E S ONNETS OF S HAK ES P EAR E 22 7

9 8

F ROM y ou h a ue I b ee n e a b s e n t i n t h e s p ri n g ,

Wh e n p roud p i d e A p ri l l ( d re s t i n a ll h i s t ri m ) :

H a t h p u t a s p i r i t o f y o u t h i n e u e r y th i n g
Th a t b ea n i e S a tu rn e la u gh t a n d l e a p t w i t h h i m .

Ye t n or t h e la i e s of b i r d s n or t h e s w ee t s m e l l ,

Of d i ffe re n t ow e rs i n od or a n d i n h e w ,

C o u ld m a ke m e a n y s umm e rs s t o r y t e ll
Or f ro m t h e i r p r oud la p p l u c k th e m w h ere t h e y g re w
No r d i d I w o n d e r a t t h e L i l l i e s w h i t e ,

Nor p ra i s e t h e d e e pe v e rm i l l i o n i n t h e R os e ,

Th e y w e a re b u t s w e e t b u t g u re s o f d e li gh t ,

D ra w n e a f t e r y o u y o u p a t t e rn e o f a ll t h os e , .

Ye t s e e m d i t Wi n t e r s t i l l a n d y o u a w a y

, ,

As w i t h y o u r s h a dd ow I w i t h t h e s e d i d p la y .

1 . h a u e I] I h a ve G 2
.

2 .
pr ou d pi d e ] pr oud
-
py d E ; pr

ou d -
pi ed M , etc .

3 . H a th ] Ha d B ut .

5 Ye t. n or ] Yet n ot G S E , , .

9 . Li lli e s ] li lly

s C ; li ly

s Co D , e l, Hu , Dy , S t a , C l, Kl y Wh , , Ha l Ca m, D , O,

R , Ox , etc .

I I . w e ar e ] were 1 6 40 M c o nj ; but eeti n g

, G e t c b ut s wee t, b ut] my s w eet but
.
, .

L ett s om c o nj H u ; bu t s w eet but B ut ; bu t s ui te bu t B ull och c o nj

i
.
, , , , .

1 4 pl ay 1 pla y : M A K t Co B D e l H u D y S t a C l Gl K ly Wh Ha l
-
. .
, , , , , , , , , , , , , ,

Ty H e r B e
, , .

LE E : Alm ost all 1 6 th c e ntury so n ne ts on spring i n t h e abse nc e of t h e p o e t s

l ove a r e variati o ns on t h e se ntim e nt and phrase ol ogy of P e trarch s we ll kn own

-

S 42
. I n m ort e di M L aura be gi nni ng Z e ro t orna e l t el t e mpo rim e na
,

.

, ,

[ e t c ] S
. e e a trans l ati o n by D rumm o nd o f H awt h o rnd e n i n S o nn e ts pt 2 No 9 , .
, .

[

S w ee t S pring th o u turn st with ,
a ll thy g oodly S imilar so nn

e ts and
od e s o n April spring and summ e r ab o und i n F r e nch an d E ng l ish ( cf
, ,
B ec q d e .

F o uqui er e s G a vres Ch oi s i es de J A de B a rf pa s s i m and OEu vres ch oi s i e s de s

- .
, ,

con te mpora i n s de R on s a rd ) p 1 0 8 ( by R e my B e ll e au ) ; p 1 2 9 ( by Am a d i S J a m y n )
, . .

et pa s s i m ( f
L i e .p 1 1 [ T his c o nv ,
e nti o na l ity
. o f th e m e had bee n e ar l i e r n ot e d
by I S AAC ( Arch i v 6 2 : 5 w h o i n add iti o n t o t h e ana l ogu e s n ot e d by Le e
, , ,

g iv e s e xampl e s fr o m D ant e S urr e y (

T h e soo t e se aso n that bu d and b l oo m , ,

f orth and S idne y ( I n wo nt e d

22 8 TH E S ONNETS OF S HAK ES P E AR E [X CVI I I
14
. WYND H AM :
ass o nanc e b e tw ee n t h e t w o rhymTh e
e so un d s usual l y a
,

bl e mish is h e re an e ff e ct o f art Th e quick tr e b l e re p e titi o n of sh ort i s ounds

, .
-

se e ms t o have sugge st e d S pring t o t h e E li z ab e thans C f A Y L V iii 2 0 : . . . . .

, , ,
.

spring tim e t h e o n l y pre tty ring tim e

In t h e , ,

Wh e n birds d o sing h ey ding a ding ding : , ,

S we e t l ov e rs l ov e t h e spring ;

an d Nash , S u mmer

s La s t Wi ll
S pring t h e swee t spring is t h e y e ar s p l easant king ;
, ,

Th e n b l oo ms e ach thing th e n maids danc e i n a ring , ,

C o ld d oth n ot sting t h e pr e tty birds d o sing , .

2 . MAL O N E : C f R 69 J I I I 2 7 : Wh e n we ll a pp a re ll d Apri l on t h e h ee l
. .
'
.
, , ,
-

of limping wi nt e r tr e ads R OL F E : S h r e f e rs t o Apr i l o ft e n e r than t o any. .

C f 3 1 0 ; 2 1 7 ; 1 0 4 7 Ma y h o we v e r is a c los e se c o nd

o th e r m o nth . .
, , , .
, , .

4 h e a vi e S a tu rn e WYND H AM [ qu ot e s L illy s I n tr od u cti on to As trology 1 6 4 7 : 1

. .
,

Th e plan e t S aturn

is m e l anch oly auth or of s ol itarin e ss i n lab o ur
pati e nt i n arguing or disputing grave
,
i n al l manne r of acti o ns aust e re
.

[ H e is a l s o disp ose d t o vi e w t h e passag e as signicant f o r t h e dat e of t h e s o nn e t ,

saying : Sh ] w ould n ot I am c o nvinc e d hav e [ intr od uc e d S aturn i nt o a d e s c r i p

.
, ,

ti o n o f a particular m o nth of April ] had n ot S at urn b e e n a visibl e f e atur e i n ,

t h e S k y duri ng t h e m o nth of Apr il t o which h e r e f e rs S aturn was in o pp osi .

ti o n and th e re f ore a s o m e what c o nspicu ous f e atur e i n t h e sky d uring t h e

, ,

m o nth of April i n t h e ye ars 1 6 0 0 1 6 0 1 I f as I h old S h wr ot e S 9 8 with , .

, , . .

t h e r e a l S atu rn i n his mind th e n h e cann ot hav e writt e n it b e f or e 1 6 0 0 and may , ,

with gr e at e r pr obability have writt e n it in 1 60 1 or 1 6 0 2 wh e n S aturn was m ore , ,

c o nspicu o us and gradua l ly pr e se nti ng a large r disc ( p [ I have g i ve n d ue . .

S pac e t o this i nt e r e sting argum e nt but hav e n o n o ti o n that it is t o b e tak e n ,

se ri o us l y Th e S aturn of t h e so nn e t is n ot t h e p l an et but t h e g od c o nc e iv e d
.

,

of as i n Cy m b II v 1 2 :

Th e sw ee t vi e w o n t might we l l hav e w a r m d old

.
, , ,

S aturn ED ]
. .

7 . s u m m e r s s t ory M AL O N E : By a summ e r s st
. o ry S h s ee ms t o hav e

.

m e ant s o m e gay cti o n Thus his c o m edy f o und e d on t h e adve ntur e s of t h e .

,

king and qu ee n of t h e fairi e s h e calls A Mi ds ummer Night s D r e am On t h e

.

o th e r hand i n W T ( I I i 2 5) h e t e ll s us A sa d ta l e s b e st f or wint e r S o

.
, . .
, , ,

also i n Cy mb ( I I I iv 1 2 ) .
, ,

I f t b e summ e r n e ws

S mi l e t o t b e f o r e ; if wint e r l y th o u n ee d

, st

B ut ke e p that c o unt e nanc e still .

9
-
10 . C f B a r n e ld , A ecti on a te S h eph erd ,
. I iii
,

His ivo ry whit e and a l abast e r skin -

I s s t a i n d thr o ugh o ut with rar e v e rmi l i o n re d .

B ut as t h e lily and t h e b l ushi ng r o se ,

S o whit e an d re d o n him i n o rd e r grows .

x c v11 1 1 TH E S ONNE TS OF S HAK ES P E AR E 9
1 1 . b ut s we et MAL ON E [ d e fe nding his sugge st e d e m e ndat i o n ] : What m ore
.

c ould b e e xp e ct e d fr o m owe rs than that th e y sh o uld b e swe e t ? To gratify t h e

sm e l l is th e ir high e st praise I susp ect t h e c o mp osit o r caught t h e wo rd but
.
"

fr o m a subs e qu e nt part of t h e l in e S TE E VE NS : Th e old r e ading is sur e ly t h e

.

tru e on e Th e poe t r e fus e s t o e nlarge o n t h e b e auty of t h e o we rs d e claring

.
,

that th e y a re on ly swe et on ly d e lightfu l s o far as th e y r e se mbl e his fri e n d

, , .

B E E C H I NG : To [ Ma l o n e ] it is su ffi ci e nt t o r e ply that th e y we r e but swee t

is a re fe r e nc e back t o l in e 5 ; and i n t h e f ol l owing s o nn e t b oth swee t n e ss

and b e auty a re dwe l t up o n [ S ee 9 9 1 5 . ED ] , . .

S I M P S O N [ r e f e rs t his i d e a t o P l at o s d octrin e that ] t h e a ff e cti o n ca n

1 1 12
-
.

b e transfe rr e d by ass ociati o n fr o m its primitive obj e ct t o n e w o n e s and y e t ,

t h e primitive obj e ct wil l still r e main t h e r e a l o n e Th e a ff e cti o n f or t h en e w

.

o bj e cts h e says is o nly t h e a ff e cti o n f or t h e old on e und e r oth e r d e n o minati o ns

, ,

an d disguise s [See his n ot e on S 3 1 ; and f or b oth th e se l ine s and t h e shad ow

. .
,

o f li n e I 4 WYND H AM S n ot e o n 3 7

, ,

14 .MAS S E Y [ had t h e e xtra ordinary b e li e f that this l ine r e fe rs t o t h e spring

as t h e sha d ow or symb ol of L ady Ve rno n with a play o n h er nam e ( p
, . .

MI N TO [ nds a striking re se mblanc e be twee n this so nn e t and o n e call e d

P ha e t o n t o his fri e nd F l o ri o pr e xe d t o F l ori o s S econd F ra tes ( 1 59 1 )
,

S we e tfri e n d wh ose nam e agree s with thy i ncr e ase ,

H ow t arriva l art th o u of t h e S pring !

F or wh e n e ach branch hath l e ft his o urishing ,

An d gr e e n loc k d S umm e r s S hady p l e asur e s c e ase

-

S h e mak e s t h e Wint e r s st o rms r e p ose i n pe ac e

And spe nds h e r franchise on e ach l iving thing

Th e daisi e s spr o ut t h e l itt l e birds d o sing
, ,

H e rbs gums and plants d o vaunt o f th e ir r e l e ase ; ( e t c )

, , .

l ead ing him tob e li e ve S h t h e auth or of t h e l att e r ( Ch a r of E n g P oetry pp

. . . .
, .

37 1 No on e e l se see ms t o have b ee n impr e sse d by t h e c omparis on ]

2 30 TH E S ONNETS OF S HAK ES P EA R E [X C I X

99

TH E f orw a r d v i ole t t h u s d i d I ch i d e ,

S w e e t t h e e f e w h e n c e d i d s t t h ou s t e a le t h y s wee t t a t s h m els
If n ot f rom my lo ue s b re a t h , t h e p ur p le p r i d e ,
Wh i ch on th y so ft
c o m p l ex i o n d w e l l s ?
c h eek e f or
I n my lo ue s v e i n e s t h ou h a s t t oo g ros e ly d i e d ;

Th e L i ll i e I c on d e m n e d f or t h y h a n d ,

An d b u d s o f m a r i e rom h a d s t oln e t h y h a i re ,

Th e R os e s f ea re f u lly on t h or n e s d i d s t a n d ,

Ou r b lu s h i n g s h a m e a n o t h e r w h i t e d i s p a i re
,

A t h i rd n or r ed n or w h i t e h a d s t oln e o f b ot h
, , ,

An d t o h i s rob b ry h a d a n n e xt t h y b re a t h ,

Bu t for h i s t h e f t i n p ri d e of a ll h i s g row t h
A v e n g f ull c a n k e r e a t e h i m v p t o d e a t h .

M ore ow e rs I n ot e d y e t I n on e c ould s ee , ,

B u t s w e e t or c ulle r i t h a d s t oln e f r om t h ee
, .

1 . f orwar d ] f rowa rd S harp .

2 5
-
S w e
. e t d i e d ] Qu ot e by H u d
, Kl y , Be .

3 b.r e a th ] b r ea s t G o dwin c o nj .

3 4 b r e a
. t h , d w e l s b r ea th ? l Dy d wells G, , Gl, C a m , D o, Hu
, R,
Wh
, Ox , e t c ; brea th ?
. d wells , S , E , M A Kt C o B, ,

, , , Hu
, D e l, S t a , C l, Kl y ,

Wh l
, H a l, Ty .

7 mari er om ] ma rj erom 1 6 40 G
. ,

, C ; ma rj ora m

G , S, E, M , et c .

9 . Our ] One S , et c .

13 . e at e ] a te B ut .

15 . s we e t] s cen t Wa l ke r c onj .

MAS S E Y [ was p e rhaps t h e rst of many c o mm e ntat ors t o c ompare this s o n ne t

with Co nstab l e s D i a n a I s t D e cad e S

.
, ,

My l a d y s pre se nce make s t h e r ose s red

,

B e cause t o s e e h er l ips th e y b l ush f or sham e .

Th e l i l y s l eav e s f or e nvy pa l e b e cam e ;

, ,

An d h er whit e hands in th e m this e nvy bred .

Th e mari gol d t h e l e ave s abr oa d d oth spre a d ;

B e cause t h e su n s and h er powe r is t h e sam e

.

Th e vi o l e t of purp l e c ol o ur cam e ,

D ye d i n t h e b l ood s h e mad e my h ea rt t o S h ed .
 x c1x 1 TH E S ONNETS OF S HAK ES P E AR E 2 31

I n bri e f a ll owe rs from h e r th e ir vi rtu e take ;

,

F r om h er swee t bre ath th e ir swee t sm e l ls d o pr oc eed

Th e living h e at which h e r e ye be ams d oth make
Warm e th t h e gr ound an d quicke n e th t h e see d , .

Th e rain wh e re with s h e wat e r e th t h e owe rs

, ,

F a l ls fr o m mine e ye s which S h e disso l v e s i n sh owe rs

, .

D OWD E N [co mpare s also S pe nse r Amor tti S 6 4 ( qu ot e d und e r S [C f , e , . . .

also D ani e l D eli a S 1 9 Re st ore thy tre sse s t o t h e gold e n ore et c ( qu ot e d

, , .
, ,

.

ab ove u nd e r S ED
] WYND H AM : Th e se ow e r so nn e ts a re i n a m od e
. .
-

imitat e d fr o m P e trarch which ove rran E ur o pe i n t h e 1 6 th c e ntury Th e, .

Plei ad e wo rk e d it vig or o usly and th e n attack e d it as S h attacks it i n 2 1 and , .

,

agai n i n 1 30 L E E : Ro nsard ( Amou rs i 1 40 ) t e ll s h ow fr o m t h e owe rs d u

.

, ,

b e au j ardin d e s o n pri nt e mps riant fro m his mistre ss) c o m e al l t h e S wee t

pe rfum e s of t h e E ast .

1 . f orwar d . S C H MI D T: Ea r l y ri pe . B E E CH I NG : S pring . A c o nstant , n ot a

part icu l ar , e pith et of th e vi o l et . Cf . H a ml I iii .
, , , 8

A vi ol e t i n t h e y outh of primy nature ,

F orward n ot pe rman e nt S w ee t n ot lasting

, , , .

6 . h an d MAL ON E : F or pre sumi ng t o e mu l at e t h e whit e ne ss of thy

f or th y .

hand D OWD E N : F or th e ft of t h e whit e n e ss of thy han d B E E C H I NG : I n c o m

. .

p a ri so n with [ D owd e n s i nt er pretati on w hich is foll owe d by TYL E R and ROL F E

.

, ,

is und o ubt e dly right ED ] . .

7 mari erom MAS S E Y : Th e bu d s of marj oram a re of a darkish re d br o wn

. .
-

h ue an d hav e a pe c uli a r hair l i ke l ustr e or g l os s i n e ss ( p

, D OWD E N : C f -
. . .

S uc kli n g s B renn ora lt I V i :

, ,

H air cur l ing an d cover d l i ke bu d s of marj oram

,

P art ti e d i n n e g l ig e nc e part l oo se l y owing , .

Mr H C H art t e ll s m e that bu d s of marj o ram ar e d ark purp l e red be fore th e y

. . .
-

O pe n an d aft e rwar d s pin k ; dark auburn I suppose wo uld b e t h e n e are st

, , ,

a ppr oach t o marj o ram i n t h e c o l o ur of hair Mr H art sugge sts that t h e mar . .

j oram has st ol e n n ot c ol o ur but perf ume fr o m t h e y oung man s hair Ge rvase

.

Markham give s swee t marj oram as an ingre di e nt in Th e wat e r of swee t

sm e ll s and C u l pe ppe r says m a rj oram is much use d i n a ll od orife ro us wat e rs

,

.

WYND H AM : Th e c l e an ar omatic sce nt of this swee t h e rb c ou nt ed no d oubt

, , ,

f or s om ething i n sugge sting t h e simi l e bp t t h e qu otati o n fr o m S uckling giv e s ,

t h e m or e dir ect c l
y Th e . c l ose l e av e d -

spi ke of mar j oram with i t s summit C f . .

A
)

Hi s h ea d
ye ll ow '
s ,

Har d h ay r d, an d thic k t wi n d l i ke i vy t ops

'
c url d , ,
-
.

B E E CH I NG : Th e pa ssage fr om S uc kl ing is of c ourse , o nl y a re mi ni s c e nc e , of

th is li ne i n t h e s o nn et an d d oe s n ot ta ke us a n y f urthe r I have a bunch

, . of
2 32 TH E S ONNETS OF S HAK ES P EAR E [X CI X
half o p e n e d marj oram b e f or e m e as I writ e ; and t h e c ol o ur is that of t h e pig
-

m e nt known as br own madd e r Th e c o nt e xt sh ows that it is t h e c ol o ur

.

,

and n ot as s o m e have th o ught t h e shape that is r e f e rre d t o Mr s S TOP E S

,

, , . .

March 1 9 1 8 9 8 p 3 75) d e scrib e s a po rtrait of S o uthampt o n at We lb e c k

, , .

Abb e y i n which t h e E ar l is r e pr e se nt ed as w e aring] his hair n ot aft e r t h e

,

fash i o n of his tim e b ut hanging ove r his l e ft sh o u l d e r i n l o ng l ocks t h e e nds

, ,

curling like buds of marj oram

[This is r e pr o duc e d i n L e e s L i f e facing .

p 1 44 Th e qu e sti o n wh e th e r t h e passage is an al l usi o n t o c o l or or od or is dis

. .

cuss e d b y W B B R OWN and oth e rs N 89 Q 1 1 th s pp 1 6 9 2 1 3

. . C C B , .

.
, .
,
.
, , . . .

o bs e rv e s ( p 2 3 7 ) : 1 S h s marj o ram is usually swee t marj o ram o th e rwise mar

. .
,

j o ram ge ntl e t h e owe rs of which a re whit e and pr obably it is of this vari e ty

, ,

that h e spe aks h e re t h e ow e rs of t h is and t h e pr ec e ding s o nn e t b e ing m o stly

,

gard e n owe rs I s it p oss i bl e that S h is r e mind e d o f s o m e p o mad e us e d by

. .

his fri e nd ? I n an old b oo k of r ec e ipts f or c osm e tics e t c ( Th e Toi let of , .

Flora I nd t w o wash e s f or t h e hair i nt o which marj o ram e nt e rs

, .

8 on th orn e s R OL F E : A quibb l ing a ll usi o n t o t h e pr ove rbial e xpr e ssi o n

. .
,

C f W T I V iv 59 5 :

t o stand on th o rns O t h e th o rns w e stand up o n

. .
! .
, ,

9 VE R I TY : C f L u cre ce 4 7 9 : An d t h e r ed r o se blush at h e r o w n disgrac e

. .
, .

12 MAL O N E : Cf R S J I I iii 30 : F u ll soo n t h e cank e r d e ath e ats u p

. . .

.
, , ,

that plant an d V 69 A 6 56 : This cank e r that e ats up l ove s t e nd e r spring

.
'
.

[With r e fe r e nc e t his s o nne t s having 1 5 l in e s B U TL E R o bse rv e s that t h e

to ,

i nt e rr ogati o n mark at t h e e n d of lin e 4 i n t h e Q ] is what S h d o ubtl e ss wr ot e i n .

t h e rst i nstanc e i nt e nding t h e quatrain t o e n d with a q ue sti o n H e pr ob .

ably canc e l e d t h e qu e ry or f org o t t o canc e l it and add e d t h e fth lin e ,

b e cause until h e did s o t h e qu e ry r e maine d u nanswe r e d unl e ss by bringing t h e ,

answe r t o t h e pre c e ding qu e ry ove r B E E C H I NG : I t may b e c o nj e ctur e d that .

w e hav e h e r e o nly a r o ugh draft of t h e s o nn e t Th e c orr e sp o nd e nc e o f l in e 1 t o .

l in e 6 sh ows that t h e rst line was n ot an aft e rth ought ; and t h e re p e titi o n of

t h e r e f e r e nc e t o bre ath i n line 1 1 sugge sts that S h use d a quatrain alr e ady .

writt e n ( lin e s 2 5) f or his passage ab o ut t h e vi o l e t i nt e nding aft e rwards t o ,

r e duc e it t o three l in e s by limiting t h e parall e l t o c ompl e xi o n L E E : Many

.

s o nnets of 1 5 l in e s app ear i n Barn e s s P a rth en oph i l e g 3 5 3 6 3 8 39 40 et c

, . .
, , , , , , .

[ I n a ll th e se case s t h e e xtra lin e intr oduc e s t h e na l c o upl e t and rhym e s with ,

th e 1 2 th . ED .
]
B RAND L [c o nsid e rs that this s o nn e t is a l m ost c e rtain l y addr e sse d t o a woman .

( p xix ) S o R OL F E : ] E ve n i n E li z ab e than tim e s wh e n e xtravagant e ul ogi e s

. .
,

o f man l y b e auty w e r e s o c o mm o n d o w e nd t h e p oe t dw e lling up o n his l ov e s '

,

bre ath or t h e l i l y whit e n e ss of his hand ? F r o m rst t o l ast t h e swee t n e ss

,

and l ove lin e ss d e s crib e d in t h e v e rse s a re unmistakably f e minin e ( I ntr o rev . .

, .

cd p .
, .

G WI L S O N [ in his Fi ve Ga tewa y s of Kn owledge r e fe rs t o this as a p oe m

.
, ,

which ] b e autiful l y w e av e s t oge th e r t h e e y e t h e n ostril and t h e e a r e ach as i t , , ,

we re like i nstrum e nts i n an orch e stra i n turn p l aying t h e air and th e n falling , ,

back i nt o an acc ompanim e nt s o that now it is c ol our which is m ost pr o min e nt ,

c ] TH E S ONNE TS OF S HAK E S P E AR E 2 55

b e f ore us and th e n sm e ll and th e n s ound an d th er eaft e r thro ugh c ol our we

, , ,

r e turn t o s ou nd and fragrance again ( p . .

[ A r e pulsive and imp o ssibl e int e rpre tati o n o f t h e s o nn e t was pr op ose d by

C R E I G H TO N ( t oge th e r with 1 1 5 and 4) i n B

k wood s 1 6 9 : 8 37 43 ]

1 2 la c ,

100

WH E R E a rt t h ou
M us e t h a t t h ou f org e ts t s o lon g ,

To s p ea ke o f t h a t w h i ch g i u e s t h ee a ll t h y m i gh t ?
S p e n d s t t h o u t h y f u r i e o n s om e w o r t h le s s e s on ge ,

D a r k n i n g t h y p ow re t o le n d b a s e s ub i e c t s l i gh t .

R e t u rn e f o r g e t f u ll M us e a n d s t ra i gh t r e d e em e , ,

I n g e n t l e n u m b e rs t i m e s o i d e ly s p e n t ,

S i n g t o t h e ea r e t h a t d o t h t h y l a i e s e s t ee m e ,

An d g i ue s t h y p e n b o t h s k i l l a n d a r g um e n t .

R i s e r e s t y M u s e my loue s s w e e t fa c e s u r ua y
, ,

I f t i m e h a u e a n y w ri n c le g ra u e n t h e re ,

I f a n y b e a S a ti re t o d e ca y
, ,

An d m a ke t i m e s s p oi le s d i s p i s e d e ue ry w h e re .

Gi u e my lou e fa m e fa s t e r t h e n t i m e w a s t s li fe ,

S o t h o u p re u e n s t h i s s i e t h a n d c r ooke d k n i fe , .

4 . li g h t ] li g h t ? G e t c , .
(e xc e pt B ut ) ; li gh t ! B ut .

8 .
gi u e s ] gi ve 1 6 40 G , , S, E .

9 . r e sty ] res ti ve M A , , B K ly Ty ;
, , res ted B ut c onj .

10 . h a u e ] h a th G S E , , .

G

14 .
p r e u e n s t] p r even t s t , et c .

D OWD E N Writt e n aft e r a c e ssati o n fro m so nn e t writing during which

: -
, Sh .

had b e e n e ngage d i n auth orship writing plays f or t h e public as I supp o se , ,

i nst e ad of p oe ms f or his fri e nd W YND H M [

A : T h e o 1 0
gr up 0 1 2 51 o p e ns aft e r a
.

gr e at sil e nc e and t h e p oe t d e ve l o ps i n it a sing l e sustain e d attack o n t h e

,

La w of C hange I n its surv e y it g oe s ove r t h e old th e m e s with a s oft and

.

si l ve ry t ouch : B e auty and D ec ay Lo ve C o nstancy t h e i mm ortali z ing of t h e , , ,

fri e nd s b e auty c o nc e ive d as an i ncarnati o n of I d e al B e auty ( I ntr o pp cxiii

. .
, .

cxiv ) B UTL E R : [Th e so nne t appe ars t o have be e n writt e n ] aft e r a c o nsid e rab l e
.

i nt e rval during which S h has f o und oth e r things t o writ e ab o ut but has n ot
.
,

y e t ( s o it w o uld s e e m ) b e c o m e a playwright [ With t h e th e m e of si l e nc e and .

,

t h e e xcuse giv e n i n t h e f o ll o wing so nn e t cf 8 3 8 5 ED ] , .

-
. .

1 . sol on g B E E C H I NG :
. Three y e ars ; s ee 1 0 4 , 3 .

2 . TYL E R : Cf 7 8 1 3 .
, .
2 34 TH E S ONNETS OF S HAK ES P EAR E [C
3 . f uri e . fancy [ C f L L L IV iii 2 2 9 : Wha t
S C H M I D T: E xa l tati o n of . . . . .
, , ,

z e a l what fury hath i n s p i r d th ee n ow ? 1 B E E C H I NG : A w ord b o rr ow e d fr o m

t h e c l assics and use d as by th e m of pr o ph e tic inspirati o n w orth les s e s on g e

, . .

P OR TE R : Th e s o nn e t se qu e nc e ( 8 6 9 6 ) pr e c e ding suits t h e d e scripti o n of it as

d a r k n i ng

p owe r and l e nding light t o base subj e cts i e falsity and dis

, . .
,

trust i n l ove .

8 L E E : C f Ro nsard Amours l l 1 2 : Ma p l um e si n o n v ous n e s g a i t autr e

. .
, , ,

suj e t et c [ F or argum e nt cf n ot e o n 3 8
, .
.

, .
,

9 r es ty S C H M I D T: S ti ff with t oo much r e s t t orpid [ Cf E dw I I I I I I iii

. .
, . . .
, , ,

161

An d pr e se nt l y th e y a r e as r e sty stiff -

AS t w e r e a many ove r ridd e n j ad e s ]

-
.

D Y CE [cit e s D icti o na r y
C ole s as giving r e sty

s L ati n pige r ,

1 TYL E R [ d e fe nds t h e e m e n d ati o n

le n t u s . as e quival e nt t o u n U

e asy

i n aiml e ss m oti on
,

wand e ring C f truant Muse 1 0 1 1 S h s
"
,

. .
, , . .

Muse had n ot b ee n a t r es t ( l ine s 3 [ Tyl e r a l so discusse s t h e subj ect i n N 89 . .

'

Q 8 t h s 2 : 2 8 3 ; an d C C B (i bi d 4 : 444 ) cit e s t w o i nstanc e s of t h e w ord fro m

.
, .
, . . . .
,

P a ppe wi th a n H a tch et m e aning u n e asy l iab l e t o b ol t 1 WYND H AM : A t e rm

.
, ,

o f man e g e appli e d t o a h o rse e xhibiti ng t h e vic e n ow cal l e d j i bbing [ F r o m .

a r e vi e w i n t h e S pecta tor Aug 1 5 1 89 1 p 2 3 1 h e cit e s an acc o unt of a c orree , .

, , .
,

ti o n t o b e u se d against r e stive n e ss which appe ar ed i n a boo k by F la t ma n , ,

I t c o nc l ud e s : Th e shrill cri e of a h e dg e h og b e ing strait ti e d by t h e f oot

1 59 7 .

u nd e r t h e h o rse s tai l is a re li n d e r of like f orc e which was pr ove d by maist e r

,

Vi n ce n t i o Re s p i n o a Ne ap olitan w h o c orr e ct e d by this m e ans an old r e stive

, ,

h orse of t h e K ing s i n such so rt as h e had much a d o aft e rward s t o kee p him

fro m t h e c o ntrari e Vic e of runni ng away Th e N E D cit e s u nd e r r e sty
. . . .
, ,

C oope r s Th es a u r u s R e sti e an d s l o w fr o m l ack of u s e 1

, .

1 0 1 1 B UTL E R : Th e s e line s sugge st that Mr W H s good l oo ks we r e

. . . .

be gi nni ng t o g o off th o ugh n ot s o stro ngly as t h e O pe ning l ine s of S 1 0 4 n or

,
.
,

t h e c o ncluding o n e s of 1 0 8 .

11 S a ti r e WAL K E R : S atirist
.
[ Cf J o nso n P oeta s te r V i : Th e h o n e st
. . .
, , ,

s atyr hath t h e hap p i es t so ul ; an d oth e r co nt e mp orary e xampl e s S C H M I D T

.
,

o n t h e oth e r hand lists t h e w o r d u nd e r t h e impe rs o na l n o un 1

, .

12 ti m es s poile s [ So nne ts 6 36 4 a re t h e b e st c o mm e nt o n this phrase

. . .

ED .
]
14 .
pre ve n s t . S TE E VE NS : By anticipati o n hind e re st .

S A H RP : so nne t may a ff or d a c l u e t owards d ating this s ecti o n of

This
t h e se qu e nc e f or it may c o ntai n a r e f e r enc e t o t h e D ark Wo man se ri e s : h e r e
,

S h may have n ot e d his turning away fr o m t h e d e c e itful l ove o f an e vil wo man

. .

I nst e ad o f wasting thy poe tic e nthusiasm i n casting a glam o ur ove r
C asting a g l am our is an odd phrase f or t h e s o nn e ts that

base subj e cts e t c , .

d e pict t h e D ark Wo man ! ED ] .

CI ] TH E S ONNE TS OF S HAK E S P E AR E 2 55

10 1

OH t ru a n t M us e w h a t s h a lb e t h y a m e n d s ,

F o r t h y n e gl e c t o f t r u t h i n b e a u t y d i d ?

B o t h t ru t h a n d b ea u t y o n my lo u e d e pe n d s
S o d o s t t h o u t o o a n d t h e re i n d i g n i d :

M a ke a n s w e re M us e w i lt t h o u n o t h a p ly s a i e , ,

Tr u t h n e e d s n o c ollou r w i t h h i s collo u r x t ,

B e a u t i e n o p e n s e ll b e a u t i e s t ru t h t o la y : ,

B u t b e s t i s b e s t i f n e u e r i n t e rm i xt ,
.

B e ca u s e h e n e e d s n o p ra i s e w i l t t h o u b e d um b ? ,

E xc us e n o t s i l e n c e s o f o r t l i e s i n t h e e

, ,

To m a ke h i m m u ch ou t li ue a g i l d e d t om b e -

An d t o b e p ra i s d o f a ge s y e t t o b e .

Th e n d o t h y ofc e M u s e I t e a ch t h ee h ow , ,

To m a k e h i m s ee m e lon g h e n c e a s h e s h ow e s n ow , .

3 . B oth ] B ut 1 6 40 , G S E, , .

6 . xt ] mi x d

B ut .

6 8 . Truth Ita l ics by M A K ly C 0 H u ; qu ot ed by K t

i n t e rmi xt1 , , ,
3
,
z
,

Co B Hu D e l D y S t a C l Gl Wh H a l C a m D o ; R Ty Ox Wy H e r e t c
ld l
.
, , , , , , , , , , , , , , , ,

] G f or t] f or i t M A K t B K ly C 0

10 . n ot no , S E , .
3
, , , , , .

1 1 . h i m] h er 1 6 40 , G, S E , .

14 . h im h e ] h er s h e 1 6 40 , G S E
, , .

[ C A B R OWN make s this t h e e nvoy of his f o urt h poe m S o nn e ts 7 8

. .
,

[ Mr H ORAC E D AV I S n ot e s t h e r e se mb l anc e of this s o nn e t t o 8 3 8 4

.
. Cf .

e spe cia ll y l ine 6 with 83, 1 -

2 , and line 4 with 84 ,

WYND H AM [ nds h e re again t h e plat o nic ide a o f b e auty : ] He argu e s that

2 .

t h e I d e a of B e auty e mb od i e d i n his fri e nd s b e auty o f which all o th e r b e autiful

, ,

th i ngs a re shad ows is a l so Truth : an e xact c oincid e nce wit h an e t e rna l f orm
,

t o which transit o ry pr e se nt m e nts d o but appr o x i mat e [Cf 6 2 ( I ntr o . .

, .
,

p cxxiv ) [See h o we ve r
. .
, , f or a su f ci e nt e xplanati o n of th e passag e my n ot e on ,

54 , 2 . ED .
]
3 . WAL S H : Cf . 1 4, I I an d 14 . d e pe n d s .
[ F or t h e singular , see ABB OTT S

n ot e on 41 ,
0

6 . collour . WYND H AM :
poe t plays o n t h e wo rd wh i ch i n t h e rst Th e , ,

i nstanc e m e ans d e fe nc e e xt e nuati o n B E E C H I NG : H i s truth n ee ds n o praise

, ,
.
,

or

c ol o ur b e cause h i s ow n c ol o ur or b e auty suf ci e ntly xe s it [Th e

,

, , .

m e aning is rath e r plausib l e pre t e nc e or s e mb l anc e wit h a n e mphasis on

,
2 36 TH E S ONNETS OF S HAK E S P EAR E [CI I
fa l se or articia l s e mb l anc e Wyn d ham s g l oss is n ot supp ort e d by t h e passag e
.

which h e cit e s fr o m I H 6 I I iv 34 : I l ove n o c ol ours and with o ut all c ol o ur

.
, , , ,

o f bas e i nsi nuating att e ry et c S C H M I D T m ore aptly cit e s H a m l I I I ,iv 1 30 :

, . .
, ,

What I have t o d o will want tru e c ol our t e ars p e rchance f or bl ood R OL F E

, .

says that h i s c ol o ur is that of my fri e nd ; I S h o ul d say its ow n c ol o ur

,

r e fe rring t o truth E D ] xt S C H M I D T: Native and unchang e abl e WYND

. . . .

H AM : H e r e a t e rm of painting C f W T V iii 4 7 : Th e stat u e is b ut

.
. . .
, , ,

n e wly x d t h e c ol o ur s n ot dry

, B U TL E R [ d e fe nds his wh olly unn e c e ssary

.

e m e ndati o n

mixt by sh owing t hat S h e l se wh e r e use s such rhym e s as pres s :

, , .

ex pres s , et c .
]
7 . lay . S C H M I D T: Apply as a c ol o ur [ Cf TN I v 2 58 . . . .
, , ,

T is b e auty tru l y b l e nt wh o se r e d and whit e

,

Nature s ow n swe e t and cunning hand l aid ou 1

.

DRAK E : [ I n this s o nn e t S h distinct l y marks] t h e s e x .

, th e dignity , th e rank ,

an d m ora l virt u e of his fri e n d ( S h 69 h i s Ti mes 2 : . .

'
,

MY lo ue i s h ough m ore we a k e i n s eem i n g

s t re n g t h n e d t

I lo u e n o t le s s e t h og h le s s e t h e s h ow a pp e a re
, ,

Th a t lo ue i s m a rc h a n d i z d w h os e r i t ch e s t ee m i n g

, ,

Th e ow n e rs t on g ue d o t h p ub l i s h e ue ry w h e re .

Ou r lo ue w a s n e w a n d t h e n b u t i n t h e s p ri n g , ,

Wh e n I w a s w on t t o g re e t i t w i t h my la i e s ,

As P h i lomell i n s umm e r s f ro n t d o t h s i n g e ,

An d s t op s h i s p i p e i n g row t h o f r i p e r d a i e s
No t t h a t t h e s u mm e r i s le s s e p l e a s a n t n ow
Th e n w h e n h e r m ou rn e f u ll h i m n s d i d h u s h t h e n i gh t ,

B u t t h a t w i ld m u s i c k b u r t h e n s e u e ry b ow ,

An d s w e e t s g row n e c omm on loos e t h e i r d ea re d e li gh t .

Th e re f ore li ke h e r I s om e t i m e h o l d my t o n g ue : ,
-

B e ca u s e I w o u l d n ot d u ll y o u w i t h my s o n g e .

z d ] m erch a n di z d G

m

3 arc
. h an di , et c .

6 wi th ] i n G S , E
. , .

8 . h i s ] h er H o usman , Wa l ke r c onj K t B .
, , , D el, H u, Dy , S t a , C ] , G] , Kl y ,

H al Ca m C O , ,
3
, D o, R, t , Ox , H er , et c .

1 1 . b urth en s ] bu rden s G 2
,

S , E, M , C o, B , D el, H u, Dy , S t a , Cl, Ha l, N,
B ull .

12 . l oos e ] los e G , et c .
CI II ] TH E S ONNE TS OF S HA K E S P E AR E 2 57

3 mar ch an di z d CAP E LL : C f L L i 1 31 6

. .
*
. . . L .
, II, ,

My b e auty th o ugh but m e an , ,

Nee d s n ot t h e paint e d ourish of y o ur praise .

B e auty is b ought by j udge m e nt of t h e ey e ,

Not ut t e r d by base sa l e O f c h a p m e n s t o ngu e s

.

5
6 G O L L.AN C Z : Th e p o e t d e nit e l y id e nti e s t h e fri e nd addr e sse d with t h e

patr o n of his e arly poe ms ( I ntr o p xx ) B E E C H I NG : Th e wh ol e po int of t h e

. .
, . .

sonn e t is l ost un l e ss w e r e fe r it t o t h e e arli e r so nne ts [ I kn ow n ot o n what .

gr o und any r e ad e r may c l aim t o have informati o n as t o j ust what writings a re

h e r e r e f e rr e d t o ED ] . .

7 s umm e r s f r on t MAL ON E : C f W T I V iv 3 : F l ora pee ring i n Apri l s

. . . .
. , , , ,

fro nt ; and Cor I I i 57 : Th e for e h e ad of t h e m orning

.
, , , .

8 h i s [ Th e o nly qu e sti o n as t o t h e e m e ndati o n is as t o wh e th e r it sh o uld b e

. .

mad e h e r e or i n line 1 0 ; and as B E E C H I NG obse rv e s ] Th e singing nightinga l e

, ,

i n S h is a l ways fe ma l e Cf M V V i 1 0 4 ; R 6? J I I I v 4
. . . . .
, , , . .
, , , .

10 3

AL ACK Wh a t my M us e b ri n gs for t h
p ou e r t y ,

Th a t h a u i n g s u ch a s k o p e t o S h ow h e r p ri d e ,

Th e a rg um e n t a ll b a re i s o f m ore w o r t h
Th e n w h e n i t h a t h my a d d e d p ra i s e b e s i d e .

Oh b l a m e m e n o t i f I n o m ore ca n w r i t e !
L ook e i n y o u r g la s s e a n d t h e re a pp ea r e s a f a c e ,

Th a t o u e r goe s my b lu n t i n ue n t i on q u i t e
-
,

D u lli n g my li n e s a n d d o i n g m e d i s gr a c e, .

Were i t n o t S i n f ull t h e n s t ri u i n g t o m e n d ,

To m a rr e t h e s ub i e c t t h a t b e fore w a s w e ll ,

F or t o n o o t h e r p a s s e my v e rs e s t e n d ,

Th e n o f y ou r gr a ce s a n d y ou r g i f t s t o t e l l .

An d m o re m u ch m ore t h e n i n my v e rs e ca n s i t
, ,

Yo u r ow n e gla s s e s h owe s y ou w h e n y ou look e i n , it .

10 . we ll ] well ? L
, , et c .

13 . s it ] t D el c onj .

[ With t h e c o nt e nt of this so nn e t cf ve ry similar th ought of S 84 Mr . th e . . .

H O RAC E D AV I S n ot e s also t h e r e s e mb l anc e of this s o nn e t and 1 0 5 t o S 7 6 C f , , . .

e sp ecial l y t h e r e pe titi o n of t h e w o rds

prid e argu m e nt I nv e nti o n
7)
l
1 , , .
2 38 TH E S ONNETS OF S HAK ES P EAR E [C1 11
VON MAUNTZ : C f Ovi d , Tri s ti a ,
. I v
, , 53 56
-

Si v ox pe ctus mihi r m i us a e r e
i n f ra g i li s , ,

P lura q ue cum li n g ui s pluribus ora f or e nt

Non t a m e n i d c i rc o c om p le c t e rer o mnia ve rbis ,

Mat e ria vires exs u pera n t e m e as .

3. argum e n t n o t e o n
. Se e
a ll b ar e D OW D E N : M e r e l y as it is i n itse l f . .

7. b l un t S C H M I D.T: C lumsy i n v e n ti on Cf 3 8 8 ; 59 3 ;.
7 6 6 . .
, , , .

9
1 0 M A
.L O NE : Cf K J I V ii 2 8 2 :
9 . . .
, , ,

Wh e n workm e n strive to do b ett e r than we ll ,

Th e y d o c o nf o und th e ir ski l l

and L ea r , I iv
, , b e tt e r of t we mar what s we ll
36 9 :

S triving t o ,

.

1 1 pa s s e TYL E R : Th e w ord h e r e is pr obably gurative t h e m e taph or b e ing

. .
,

p erhaps d e rive d fr o m t h e pass in f e ncing B E E C H I NG : Th e w ord usually i m .

pli e s a n e mbarrassing situati o n and th e r e may b e a suggesti o n of that se nse ,

h e re R OL F E : I ss u e r e sult [S o t h e N E D which cit e s t h e l in e und e r t h e

.
, . . . .
,

m e aning e ve nt

,

12 gi f t s WAL S H : P e rhaps i nt e n d ed t o inc l u d e r e f e r e nc e t o pr e se nts ; cf

. .

b o unty I n 53 1 1 , .

13 . sit . C f 37 , 7
. .

1 31 4 S TOP E S : P e rhaps t h e p oor e st nn et e n d ings

. of a ll Sh . s so .
c 1v] TH E S ONNETS OF S HAK ES P EARE 2 59

10 4

To m e f a i re f ri e n d y o u n e u e r c a n be old ,

F or as y ou w e re w h e n
r s t y o u r e y e I e yd e ,

S uch s e e m e s yo ur b e a u t i e s t i l l : Th r e e Wi n t e rs c old e ,

H a ue f ro m t h e forre s t s s h ook e t h re e s umm e rs p ri d e ,

Th re e b ea u t i ou s s p r i n g s t o y e l l ow Au tu mn e t u rn d

I n p ro c e s s e o f t h e s e a s o n s h a u e I s e e n e ,

Th ree A p ri ll pe rf um es i n t h re e h ot I u n e s b u rn d

S i n c e rs t I s a w y o u f re s h w h i ch y e t a re g re e n e .

A h y e t d o t h b ea u ty li k e a D y a l l h a n d ,

S t e a l e f r o m h i s g u r e a n d n o p a c e p e r ce i u d

, ,

S o y o u r s w e e t e h e w w h i ch m e t h i n k e s s t i l l d o t h s t a nd
,

H a t h m o t i on a n d m i n e e y e m a y b e d ec e a ue d
,
.

F o r f e a re o f w h i ch h ea r e t h i s t h o u a g e v n b r ed , ,

E re y o u w e re b o rn e w a s b e a u t i e s s u mm e r d e a d .

1. f ri e n d ] love 1 6 40 , G , S , E .

3 . Winte rs ] wi n ters

Walke r c onj K t D y .
, , , S t a Cl, H u
,
z
, B u ll .

4 . f orr e s ts ] f ores t G
2
, 5 2
, E .

10 .
pa ce ] pla ce 1 6 40 , G, S , E .

1 1 . d oth] d o G1 ; does G , S, E .

wer e ] wa s G , S , E . b ea uti e s ] bea tti es 1 6 40 .

[A nu mbe r c o mm e ntat o rs have f o und this so nn e t of spe cial int e r e st b e

of

cause t h e m e nti o n of t h e d e nit e pe ri od of thre e ye ars see m e d t o give h 0 p e of

a c l u e t o s am e of t h e tim e r e lati o ns of t h e S o nne ts S AR R AZ I N in particular
-
.
, ,

has tak e n it as a k e y so nne t f or t h e dating of t h e c oll e cti o n ( J a h r b 34 : 36 8

-
.
,

maki ng a spe cia l study of its styl e with r e lati o n t o that of t h e plays Wi th .

l i ne 2 h e c o mpar e s R 2 IV i 2 8 5 : I s this t h e fac e which fac d s o many

.
, , ,

f olli e s ? with l in e s 3 7 R 2 I iii 1 4 1 Til l twic e v e summ e rs have e n ri c h d

-
, .
, , ,

o u r e ld s ) an d 2 1 4 F o ur l agging wint e rs and f o ur want o n springs

R 89 J .
:

I ii 1 0
, , Le t t w o m or e summ e rs with e r i n th e ir prid e and M N D I i . . .
, , ,

7 8
-

F o ur days wi l l quickly st ee p th e mse l ve s i n night ,

F o ur nights wil l quickl y dr e am away t h e tim e ;

with l in e 9 L ucrece 32 7 ( Th e h our l y dia l w h o with a l ing rln g stay his c ourse
, ,

d oth le t ) R 2 V v 53 ( Wh er e t o my nge r like a dia l s

.
, , ,

I H 4 ,

.
,

V i i 84 I f l ife did rid e up o n a dial s

.

I I iv 1 1 8 ( Th e

, , R 59 J .

.
, , ,

bawdy hand of t h e e t c ; t h e c o nclusi o n b e ing that t h e s o nn e t is i n S h s

.
.

2 40 TH E S ONNETS OF S HAK ES P EARE [CIV
sty l e of t h e pe ri od 1 594 6 H e nc e if t h e S o nn e ts we r e b egu n thr ee years
-
.
,

b e f ore w e may d at e t h e e arli e r on e s ab o ut 1 59 2 With out disse nting fro m this

,
.

vi e w of t h e dat e of S 1 0 4 I am unabl e t o s ee h ow S arra z in and oth e rs can have

.
,

assuranc e e ithe r that t h e Ope ning s onn ets of t h e p r e se nt c oll ecti on a re t h e rst
o n e s which S h addr e sse d t o t h e fri e nd of S 1 0 4 or that h e w r ot e th e m at p re
. .
,
'

c i s e ly t h e tim e wh e n rst t h e fri e nd s e y e h e e y e d ED ]

. .

I S AAC [c ompare s this so nne t with D ani e l s D eli a S 36

, .

Wh e n sha ll nd thy owe r thy gl ory pass

m en , ,

And th o u wit h care fu l br o w sitting al o ne

, , ,

Rec e ived hast this m e ssage fr o m thy glass ,

That t e l l s t h e truth and says that All is g o n e , etc .

]

1 B UTL E R : I t wo u l d see m as th ough Mr W H ha d b ee n saying so m ething

. . . .

t o S h abo ut his l oo king o ld

. .

2 y our e y e TYL E R : [ C f I 5 an d n ot e 1
. . .
, .

3 Wi n t e r s D Y C E [ d e f e nd s his r e ading of this as po sse ssive i n which b e

. .
,

anticipat e d Walke r s c o nj e ct ure ( Cri t E xa m 2 :

and appr ove s Walke r s . .
,

r e mark that t h e syntax th ough un g rammatica l according t o our pr e se nt

,

n oti o ns is p e rf ect l y
,

8 TYL E R : Th i i n c nj uncti n with i ndicati ns f h spri ng f as

3 .
[ s o o o o t e o 1 6 0 1

t h e dat e of S o nn e ts 1 0 0 1 2 6 ( s e e n ot e s o n 1 0 7 and -
indicat e s t h e spring of
1 59 8 as t h e tim e wh e n S h s acquaintanc e with Mr W H b e gan ( I ntr o p

. .
. . . . .
,

L E E : Th e pe ri od see ms t o have b ee n m or e or l e ss c o nve nti o na l am o ng t h e

so nn et ee rs Cf R on sar d s S on n ets pour H ei ane i 1 4 which be gi ns Tr ois ans
. .

, , , ,

s ont j a passez q ue t o n oei l m e ti e nt pris and D ani e l S on nets af ter As tr oph el , ,

No 1 7 ( of his l ove ) : That was with b l ood and thr ee ye ars witn e ss sign e d

. .

4 G. OL D W I N S M I T H : C f H o rac e :

S y l vis h o n o r.e m d ec u t i t

( S h th e M an . .
,

p .
[ Appare nt l y a c o nf used ref er e nc e t o Ve rgi l Georg 2 : 40 4 : S i l vi s , ,

Aquil o d ec us s i t h o n ore m ED ] . .

7 B.E E C H I NG : T h e i mag e see ms t o b e fr o m t hr o wing i nc e ns e o n a re .

10 MAL ON E : C f 7 7 7 8
.
.
, .

1 1 h ew C f 2 0 7 an d n ot e s m e th i nk e s [ABB OTT f ee l s b ound t o acce nt

. .
, , . .

m e h er e th ough h e a d mits t hat S ha ke spe ar e an practic e is n ot c o nclusive f or

,

such usage .

h chang f pr n u n cf and n ot e s
1 3 1 4 th ou .
y o u [ F o r t e e. o o o 2 4 5 6 .
, , .

S TE NG E L ( E n g S tud 4 : 1 0 ) thinks that t h e discr e pancy sh o uld b e r e m o ved

. .
,

fr o m t h e t ext I t is po ssib l e that i n l in e 1 4 t h e poe t is thinking of t h e vari o us

.

m e mb e rs of post erity an d a dd re ssing t he m says E re y ou wer e b orn

,

,

ED ] , . .

1 4. Cf 6 8 , . 1 3- 1 4 .

WAL S H : With t h e t wo i de as i n this so nne t (t h e appare nt pe rm an e nce of

be auty an d ul timat e tri umph of d ecay ) is t o b e c omp ared [S .

CV] TH E S ONNETS OF S HA KE S P EAR E 2 41

10 5

LE T n o t my
ca l d I d ola t ri e
loue b e

Nor my b e loued a s a n Id oll s h ow ,

S i n ce a ll a l i ke my s on g s a n d p ra i s e s b e
To on e o f o n e s t i ll s u ch a n d e ue r s o
, , ,
.

Ki n d e i s m y lo u e t o d a y t o m o r r o w k i n de , ,

S t i l l c o n s t a n t i n a w on d r o us exc e l le n c e ,

Th e re fore my v e rs e t o co n s t a n c i e c o n n d e

,

On e t h i n g e xpr e s s i n g lea u e s o u t d i ffe re n c e ,

.

Fa i re ki n d e a n d t r ue i s a ll my a r gu m e n t
, , , ,

F a i r e k i n d e a n d t r u e v a r ry i n g t o o t h e r w o r d s
, , ,

An d i n t h i s ch a n g e i s my i n u e n t i on s p e n t ,

Th re e t h e a m s i n on e w h i ch w o n d ro us s c op e a ff or d s ,
.

F a i re ki n d e a n d t r ue h a ue o f t e n l i u d a lon e
, , ,

.

Wh i ch t h re e t i l l n ow n e ue r ke p t s ea t e i n o n e ,
.

1 . b e ] by G l
.

9 , 10 , 13 . Qu ot ed by Gl C a m D o R Wh
Fai re tru e ] , , , ,

, Ox , Wy , H er,

[ I n 1 3 B e r e ads : F air ki nd and tru e

et c .
, , .

n e u e r k e pt s e at e ] never s a te G ; d i d n ever s i t G ; h a ve n ever S, E

1 2
s a te
14 . .

[ F or g e n e ral c ont e nt o f this s o nn e t Cf S

th e ED 1 , . .
76
. .

1 WYND H AM : H i s l ove is n ot i d ol atry sinc e h e w orships o nly at on e S hrin e

. .

B E E C H I NG : Th e re c o uld b e m o n i d ola t ry as we l l as m o noth e is m

S inc e

.

m e ans o n t h e gr o u nd that Th e po e t says Le t n ot my e ntire d ev oti o n t o

,

o n e fri e nd b e call e d id o l atry [This i nt e rpr e tati o n of B ee ching s is c onrm ed

.

by S h s usual e mpl o ym e nt of t h e word

.

ED ] . .

2 s h ow
. F or t h e intransitive u s e cf 1 0 1 1 4
.
, .
, .

8 l ea ve s ou t di e re n ce S C H M I D T [d e n e s di ff e re nc e as vari e ty as i n

. . ,

A Y L I I i 6 : Th e se aso ns diff e r e nc e 1 ROL F E : Omits re f e r e nc e t o oth e r

. . . .
, , ,

q ualiti e s .

9
1 2 R OL F E : C f M V I I vi 53 56
. . . .
, , ,
-

F or s h eis wise if I can j u d ge of h er , ,

And fair s h e is if that min e eye s b e tru e , ,

And tru e s h e is as s h e hath p rov d h erse l f ,

,

An d th e re fore l ike h erse l f wise fair and true

, , , , .

[KARPF nds i n t h e S o nne ts an e l ab orati o n of Arist ot e l ian phi l osophy

, wh o ,

se e s i n t his tri nity of qua l iti e s t h e Tru e Good an d B e autifu l of Arist otl e s , ,

g ttli c h e Vern unf t ( pp 1 2 3

a Th e sam e n oti on is ech oe d by WYN D H AM
. . ,
2 42 TH E S ONNE TS OF S HA K E S P E AR E [C VI
wh o cal l s tria d n othing e l se than t h e thr ee prima l cat egori e s of phi l os
th e

Than which I fancy n othing c ou ld m ore surprise S h

Op h y .
, ED ] , . .

1 1 . i n ven ti on See n ot e on 7 6 6
.
, .

12 . H ORACE D AVI S : C f C o nstab l e D i a na I st D eca d e S 1 0 .

, , , .

H era ld s
at arms d o thr ee pe rf ecti ons qu ot e ,

To wit m ost fair m ost rich m ost glitt e ring ;

, , ,

S o wh e n t h ose thr ee c o ncur withi n on e t hi ng

, ,

Nee ds must that thing of h on o ur b e a n ot e .

1 3 .
[ B E E C H I NG was t h e rst I think , , to pu nctuat e this l ine int e ll ige nt l y ,

q u oti ng se p a ra tely th e three a d j ective n oun s -

ED .
]

S H I ND L E R :
[S inc e t h e c omp l ai nt of m on ot o ny h er e imp l i ed cann ot b e br o ught
against t h e so nne ts of our c ol l ecti on w e have] a cl e ar i ndicati o n that w e have ,

l ost a c o nsid e rab l e number ( Gen t Ma g 2 7 2 : . . .

,

C R E I G H TO N : [This so nn et ] might b e h ead e d with t h e Pe mbr ok e m ott o : Un g

j e s e rvi ra i ( B la c kw
. oo d s 1 6 9 : [T h o se w h o a r

e fain
, t o thr e ad t h e danc e

of t h e P e mb r ok i s t s an d S o ut h a m p t o n i s t s will r ej oic e t o nd that B R ANDL

( p xxxvii ) se e s i n li n e
.
4 th e m ott o of th e h ouse of S o uthampt on Un g pa r tout , ,

tou t pa r ung 1 .

10 6

WH E N i n t h e C h r o n i cl e o f w a s t e d t i m e ,

I s ee d i s c ri p t i on s of th e fa i res t Wi gh t s ,
Ad b n ea u t i e m a k i n g b ea u t i f ull old r i m e ,

I n p ra l s e of L a d i e s d e a d a n d lo u e ly K n i gh t s , ,

Th e n i n t h e b la z on o f S weet be a ut i es b es t ,

Of h a n d of foo t e of li p of e y e of b row
, , , , ,

I s e e t h e i r a n t i q ue P e n w ould h a u e e xp res t ,

E u e n s u ch a b e a u t y a s y ou m a i s t e r n ow .

S o a ll t h e i r p ra i s e s a re b u t p r op h e s i es
Of t h i s o u r t i m e a ll y o u p re g uri n g , ,

An d f o r t h e y look d b u t wi t h d e u i n i n g e yes

,

Th e y h a d not s t i ll e no u gh y ou r w or t h t o s i n g
F o r w e w h i ch n ow b e h o ld t h e s e p r e s e n t d a ye s ,

H a ue e ye s t o w on d e r b u t la c k t ou n g s t o p ra i s e , .

an ti qu e] a n ti ck G S E
, , . e xpre s t ] expres s G 1
.

]

En e n E en S I
.

s till ] s k i ll Ty r c onj .
, C, M , et c . (e xc e pt Wy ) .

wh i ch ] wh o G, S , E .
 CVI ] TH E S ONNETS OF S HA K E S P EAR E 2 43

1
4 . DRAKE : It is high l y pr obab l e that our al l ud e d t o C hauce r [ i n
h a rd
t h e se l in es ] ( S h h i s Ti mes 2 : [ H AL E S
.

, sugge st e d t o D owd e n that S h .

may have b ee n thinki ng of t h e Faeri e Queene 1 .

3 [ S ur e ly a p l ausib l e c o m pe tit or f or t h e claim t o b e t h e l ove li e st l in e i n t h e

.

S o nn e ts Not e t h e rhyth m of t h e last t w o fee t

. ED ] . .

5 b la z on B E E C H I NG : Th e d e scripti o n or pr oclamati o n of a c oat of arms

. . .

I t is n ot e w o rthy i n r e l ati o n t o t h e dat e of t h e S o nn e ts that a ll t h e oth e r

, ,

i nstance s of t h e u s e of t h e word by S h ar e subs e qu e nt t o t h e applicati o n f or a .

grant of arms in 1 59 6 .

7 a nti q u e S ee n ot e o n 1 9 1 0
. .
, .

8 L E E again c o mpar e s S pe nse r s S o nn e t t o Lor d H ow ar d cit e d und e r

7 [
.
59 , ,

J
'

13 -
14

8mai st er S C H M I D T: Po ss e ss [ Cf L ucrece
. . . .
, 86 3 : Le av e s it ( his gol d ) to b e

ma s t er d by his y o ung 1

.

9 1 0 MAI N : C f C o nstabl e s 7 t h S o nne t

-
. .

Miracl e of t h e world I ne ve r wil l d e ny ,

'

That f orm e r p oe ts praise t h e be auty of t h e i r d a y s ;

B ut al l th o se b e auti e s we re but gur e s of thy praise ,

And al l th ose poe ts did of th ee but pro ph e sy .

[ D OWD E N r e f e rs this so nn e t of C o nstabl e s inst e a d it is t h e 7 t h t o t h e D i a na ;

of t h e Mi s cella n eou s S on nets ; o n which B E E C H I NG o bse rv e s : 1 Th e s o nn e t is

n ot in D i a n a ; it is th e r e f or e subse qu e nt t o 1 59 4 ; an d as t h e l ast l i n e wh i ch

,

o nly w e with o ut id olatry ad o r e

l oo ks l ike a re fere nce t o S h s 1 0 5t h S o nn et it
, .

,

is m ost pr obabl e that C o nstabl e is qu oting S h h e r e a l so . .

11 d evi ni n g R OL F E : O nly g u essing

. . .

12 sti ll D OWD E N : A m e aning may b e f orc ed [fr o m t h e Q rea d i ng zl O n l y

. .

divi n ing y o ur b e auty th e y did n ot as y et po sse ss e n o ugh t o sing y o ur worth

, .

WYND H AM : [Th e e m e ndati o n ski ll 1 has b ee n universally ad opt ed but it puts

,

t h e se ns e o t e last six lin e s o t o f ocus

f h u f I n l in e s 8 t h e p oe t d e f e rs h ere
1 .
,

as e l se wh e r e t o t h e artistic exc e l l e nce of t h e anti qu e pre se nt m e nt of be auty

, .

[ Cf n ot e On 8 3
. H e assu m e s that t h e id e a l is as w e say t h e classic t h e
, , , ,

typ e d et e rmined l o ng s i nc e by a traditi o n of gr e at artists Alth o ugh th e y .

could writ e c ou l d i nd eed blaz o n swee t be auty s be st

,

s ti ll th e y l ack e d
,

so m ething e sse ntial vi z t h e m od el which w e can b eh old and wo nd e r at but

, .
,

l ack t ongu e s t o praise B E E C H I NG : Th e skil l that [t h e old poe ts] l ack e d was

.

n ot t h e ski l l t o sing but t o ll o u t t h e id e al fr o m t h e

,

gur e s of th eir o w n
d ay Th e ir e y e s we re o n l y divining e ye s b ut t h e y sang up t o t h e full lim i t
.

,

of th e ir visi o n ; w e m od e rns o n t h e c o ntrary w h o s e e t h e id e a l b e auty l ack

, , ,

t ongu e t o sing it I f w e r ead sti ll th e re is n o n o un f or e n ough t o r efe r t o

.

, .

[ I t may b e int er e st t o c o mpar e t h e Wh e n

of th e n str uct ure of this
so nn e t with t h e si mi l ar f orm of 2 1 2 1 5 and 30 , , , . ED .
]
[WAL S H puts t h e S onn e t with 59 an oth e r stu d y ,
of th e sa m e th e m e ] .
2 44 TH E S ONNETS OF S HAK ES P EAR E [CVI I

10 7

NOT m i n e f e a re s n or t h e p rOp h e t i c k s oule

ow n e ,

,

Of t h e w i d e w o r ld d rea m i n g o n t h i n g s t o c o m e
, ,

C a n y e t t h e lea s e o f my t r ue lo u e c o n t ro u le ,

S u ppo s d e a s f or fe i t t o a con n d d oom e

.

Th e m o r ta ll M oo n e h a t h h e r e c li p s e i n d u r d e

An d t h e s a d A u g u r s m oc k t h e i r ow n e p r e s a ge ,

I n c e r t e n t i e s n ow c row n e t h e m s e lue s a s s u r d e

-
,

An d p e a c e p roc la i m e s Oli ue s of e n d le s s e a g e ,

Now w i t h t h e d rop s o f t h i s m os t b a lm i e t i m e ,

My loue look es f re s h a n d d ea t h t o m e s ub s c r i b e s , ,

S i n c e s p i gh t o f h i m Ile li u e i n t h i s p oo re r i m e ,

Wh i l e h e i n s u lts o re d u ll a n d s pe a c h le s s e t r i b e s .

An d t h o u i n t h i s s h a l t n d e t h y m o n u m e n t ,

Wh e n t yra n t s c re s t s a n d t omb s of b ra s s e a re s pe n t .

3 . my ] th y E .

8 . O li u e s ] a lea s e Go d win c onj .

11 . Ile ] th ou lt S t e nge

l co nj . ri m e ] ti me L .

13 . sh a lt] s h a ll Wa .

[This so nn e t is of chi e f i nt e re st b ecause of t h e sugge sti o n it give s of allusi o n

to xt e rna l e v e nts which has led t o wid e ly dive rge nt c o nj ect ure s r e sp e cting
e

t h e dat e of c o mp os i ti o n I t see ms t o hav e b e e n o n e .

J G a c o rr e sp o nd e nt . .

of N 69 Q (2 d s 7 : 1 2 5; F eb 1 2 w h o u nwittingly o p e n e d t h e l o ng

. .
, .
, .
,

disc ussi o n He int e rpre ts t h e so nne t as r e fe rring t o S o uthampt o n s impriso n

.

m e nt t h e d e at h o f Q u e e n E l i z abe th an d t h e a cce ssi o n o f J am e s

, t h e th eo ry
, ,

which sti ll S e e ms t o c l aim t h e maj ority of adh e re nts MAS S E Y d e ve l ops this .

at l e ngt h : ] S h thus a d dre sse s S o uthampt o n u po n his r e l e ase fro m t h e Towe r

. ,

at t h e tim e of t h e Q u ee n s d e ath in 1 6 0 3 ( p
I n his E ssays Bac o n t e lls . .

us It was ge n e rally b e li e ve d that aft e r t h e d e ath of E li z abe th E ng l and

,

sh o uld c o m e t o utt e r c o nfusi o n ( Wor k s 1 8 56 i E li z ab e th h e rse l f

.
, , ,

pro gn osticat ed that h e r d e ath wo uld b e f oll owe d by t h e ove rthr ow of t h e

P r ot e stant r e l igi o n and ruin of t h e r e al m As F r o u d e says
S o m e ti m e s in .
,

m ock e ry s h e wou ld t e l l t h e C ounci l that s h e; w o uld c om e back aft e r h er d e ath

a n d s ee t h e Q u e e n of S c ots maki ng th eir h e a d s y ! [ C f a l so t h e d e dica

.

t ory e pist l e of t h e Auth o ri z e d Ve rsi o n : 1 F or wh e r e as it was t h e e xp ect ati o n of

m any w h o wish e d n ot we ll t o o ur S i o n that up o n t h e se tting o f that bright
, ,

occid e nta l star Q u e e n E li z ab e th of m ost happy m e m ory s o m e thic k and pa l

, , ,
C VI I ] TH E S ONNETS OF S HAKE S P E AR E 2 45

pa h l e c l oud s of dar k ne ss wo uld s o have ov ershad owed t h e l and that m e n ,

sh ou l d have b e e n i n d o ubt which way th e y we re t o walk and that it sh ould ,

hardly b e kn own w h o was t o direct t h e unse ttl e d S tat e ; t h e app e aranc e of y our
Maj e sty as of t h e sun i n its str e ngt h i nstantly dispe ll e d th ose supp o se d an d
, ,

surmised mists and gave u nt o al l that w e re we l l a ff ect e d e xc ee ding cause of

,

c o mf o rt ; e spe cially wh e n w e b e h e ld t h e Gove rnm e nt e stablish e d in y o ur H igh

n e ss and y o ur h o pe ful see d by an u nd ou bt ed Titl e and this also acc o mpani ed ,

with p e ac e and tranqui l lity at h o m e and abroad

I t is imp o s ibl e t o hav e .
s

any r easo nabl e d o ubt that t h e sa m e spirit pe rvad e s [this d edicati o n and S 1 0 7 ; 1 .

that t h e sa m e d eath is r ec ord e d ; t h e sam e fe ars a re al l ud e d t o ; t h e sam e e xu l

t a t i on is e xpr e sse d ; t h e sam e pe ac e id e nti e d ( pp 2 1 5 Th e r e can b e
. .

n o d o ubt that t h e s o nn e t chr o nic l e s a d e ath and hints at buria l i n a tyrant s

,

t o mb [Th e Q u e e n s ] d eath is a subj e ct of r e j o icing t o S h It is n ot n ec e s

. .

sary t o say that h e r e j o ic ed pe rso na ll y but h e d oe s s o dramatica l ly ( p , . .

C hamb e r l ain writing t o D ud l e y C ar l e t o n April 1 6 0 3 says

, Th e l ot h, , , ,

of t his m o nth t h e E arl of S o uthampt o n was d e l ive r e d out of t h e To we r by war

rant fr o m t h e King se nt by L ord Ki nl oss

,

Th e se b ountifu l b e ginnings

raise all m e n s spirits and put th e m i n gr eat h o pe s ( p

, I S AAC [taki ng . .
,

t h e so nn e t t o b e addr e sse d t o E sse x i nt e rpre ts it as o f t h e y e ar

, I n this
ye ar t h e i ntimat e r e lati o ns b e twee n E li z ab e th an d h e r fav orit e su ff e r e d an

appar e nt l y incurab l e br e ach thr ough t h e b ox on t h e e a r which t h e l att e r r e

c e i v e d during a se ssi o n of t h e P rivy C o unci l E sse x i n r e se ntm e nt k e pt hi mse l f
.

f or s o m e m o nths away fr o m t h e c o urt and i n spit e of t h e r e m o nstranc e s of his

,

fri e nds mad e n ot t h e slight est att e mpt at a r e c onci l iati o n F i nally on t h e .

1 s t h of S e pt e mb e r h e appe ar e d f or t h e rst tim e agai n at c o urt and o n t h e 3r d ,

of Oct ob e r st oo d again in t h e old fav o r with t h e Qu ee n ( D e ve re ux : L i ves of .

th e E a rls of E s s ex ) This r e c o nci l iati o n must have l l e d a ll t h e fri e nds o f t h e

.

E ar l with gr e at j oy a n d c o ul d a l so hav e occasi o n e d t h e writing of this b e autifu l

,

so nne t by t h e poe t wh o had bee n o ppr e sse d by t h e worst anxi e ti e s A furth e r .

r ef e r e nc e h owe ve r than t o this m e r e l y privat e disse nsi o n of t h e Quee n and

, ,

h e r favorit e [ se e ms t o b e ind icat e d by l ine On t h e 1 3th of S e pt e mbe r

t h e irr e c o ncilab l e e n e my of E ng l and P hil i p I I of S pain ha d di e d ; t his e ve nt
, ,

S h c o u l d r e pr e se nt with g ood gr o u nd as t h e b e ginning o f an e ra of pe ac e

. .

[ S til l an o th e r p o ssib i l i ty is a r e f er e nc e t o t h e d e ath of E sse x s m ost p owe rfu l

e n e my L o rd B ur l e igh i n t h e sam e y e ar ] ( J a h r b
, ,
19 : 2 63 TYL E R [ mak e s
. .
,

t h e so nn e t r e f e r t o t h e putti ng d o wn of t h e r e b e lli o n of E sse x an eve nt ,

which it is n ot difcul t t o s ee might b e sp o k e n of as a thre at e ning e clipse and

, , ,

fro m which t h e Q u ee n might b e r e pr e se nt e d as having c o m e f orth with h e r

g l o ry und i m m ed Withi n a wee k of t h e ab ortive att e mpt of E sse x t o cal l
.

o ut t h e citi z e ns of Lo n d o n S e cr e tary C e cil acc ording t o a d oc um e n? in t h e

, ,

Re c ord Ofc e d e li ve r e d himse l f t o t h e f o ll o wing e ff ect : As t h e d ec l i ning of

,

t h e S u n bring es ge ne ral l dar k n e ss s o h e r Maj e sti e s hurt is o u r c on t i n ua ll night

,

and alth o ugh t h e o n e by c ourse of Nature may b e re n e we d y e t t h e oth e r w i ll ,

hardly b e match e d i n any futur e a g e ; h ow odi ous th e n o ught th e y t o b e i n t h e

e y e of a ll g ood s ub j ec t s th a t hav e sought t h e utt er r uin e of s o b l es sed a s over
2 46 TH E S ONNETS OF S HAK E S P E AR E [C V I I
ain e . D om estic E l i z abe th cc lxxviii ) What S h says ab out
( S tat e P ap e rs , , , . .

e clipse of t h e m o rta l m oo n may b e a d vantageo us l y c o mpar e d a l so with

th e

th e f oll o wi ng e xtract fr o m a l ett er of Bac o n s writt e n t o t h e Qu e e n pri or t o

th e r e b e lli o n Th e d e vic e s of so m e that wo u l d put o u t all y o ur Maj e sty s

:

l ights and fall o re cko ning h ow many y e ars y ou have r e igne d which I b e se ech
,
n ,

o u r bl e ss e d S avi o ur may b e d o ubl e d an d that I may n eve r liv e t o s e e any ,

e clips e o f y o ur g l ory Th e re can thus b e o d o ubt

( S p ed di g B acon 9 :

n s ,
n

t hat t h e language of t h e so nn e t w o u l d b e e ntir el y in acc ordanc e with t h e usage

o f t h e tim e [ Lin e 6 ] is a d es cripti o n which w e may w e ll b e li e ve Wo uld aft e r
.
, , ,

t h e a ffair of S u nday F e bruary 8 1 6 0 1 apt l y d e scrib e t h e f ee lings of th o se w h o

, , ,

h ad pre dict e d t h e succ e ss of E ss e x And th e n i n [ lin e s 7 ] w e may nd with .

8
,

pr obabil i ty an allus i o n t o t h e e mbassy se nt by Jam e s t h e S c otch k i ng t o

, , ,

c o ngratulat e t h e Qu ee n o n putting d own t h e r e b e ll i o n Th e inc e rtainti e s

.

may r e f e r t o t h e previ ousl y d o ubtfu l attitu d e of J am e s F urt h e r t h e words .

,

of t h e 9 t h l in e c o ntain as se e ms l ike l y an al l usi o n t o t h e se aso n of t h e

, ,

ye ar wh e n t h e so nn e t was writt e n pr obab l y t h e S pring or e arly su mm e r of 1 6 0 1

, .

( I ntr o pp 2 3 .
, L E E : [This so nn e t ] mak e s r e f e re nc e s that cann o t b e mis
.

tak e n t o thr ee e v e nts that t oo k p l ac e i n 1 6 0 3 t o Qu ee n E li z ab e th s d e ath

t o t h e acc e ss i o n of Jam e s I an d t o t h e r e l e ase of t h e E arl of S o uthampt o n w h o

, ,

had b ee n in priso n sinc e h e was c o nvict e d i n 1 6 0 1 of c o mplicity i n t h e r eb e lli o n

of t h e E ar l of E ss e x It is i n a l m ost id e ntica l phrase that e ve ry p e n i n t h e
.

spring of 1 6 0 3 was f e l i citating t h e nati o n on t h e un e xp e ct e d turn of e ve nts by ,

which E li z ab eth s cr o wn had passe d with out civi l war t o t h e S c ottish King

, , ,

and thus t h e r e vol uti o n that had b e e n f or et old as t h e i ne vitab l e c o nse qu e nc e

of E li z ab e th s d e mise was happi l y av e rt e d C ynthia t h e m oo n ) was t h e

.

Qu ee n s r e c ognise d p oe tic app e llati o n I t is thus that s h e gures i n t h e ve rse

.

of B a rn e ld S p e ns e r F ulk e Gr e vill e and R a l e gh and h e r e l e gist s i n v olu n

, , , ,

f arily f oll ow e d t h e sam e fashi o n F air C ynthia s d e a d sang on e L una s

. .

e xti nct

wr ot e H e nry P et ow e i n his A F e w e Apri ll D r ops S h owe re d on
,

,

t h e H e arse of D e ad E li z a 1 6 0 3 Th e r e was hard l y a v e rse writ e r w h o m o urn e d

-
, .

h er l oss that did n ot typify it m o r e ov e r as t h e e c l ipse of a h e av e nly bo dy O n e

, , .

p oe t assert e d that d e ath v e il e d h er g l o ry in a c l o ud of night

An oth e r .

argu e d : Naught can ec l ipse h er l ight but that h er star wi ll shine i n d arkest ,

night A third vari ed t h e f ormu l a thus :

.

Wh e n wint e r ha d cast off h e r we e d

Our sun e c l ipse d d i d s e t Oh ! l ight m ost fair . .

( Th e se qu otati o ns fr o m S orrowes J oy a c ol l e cti o n of e l e gi e s on Qu ee n

a re ,

E l i z ab e th by C ambridg e writ e rs ( C ambridg e and fr o m C h et t le s E n g

,

la n d s Mou rn i n g Ga rmen t ( L o nd o n At t h e sam e tim e J a me s wa s c on

o

s t a n t ly said t o hav e e nt e r e d on his inh e ritanc e n ot with an o l iv e branch i n

his h and b ut with a wh ol e f or e st of olive s r o u nd ab out hi m f or h e br ought n ot

, ,

p eac e t o this ki ngd o m a l o n e but t o a ll E ur o pe ( Ge rvase Markham s H on ou r

.

i n h er P erf ecti on [ L in e 9 1 is an e ch o of an oth e r curr e nt strai n of fancy

, .

J am e s ca m e t o E ngl and i n a spri ngti d e of rar e l y rival l ed c l e m e ncy which wa s ,

C VI I ] TH E S ONNE TS OF S HAKES P E A RE 47
r e ck o ne d of t h e happi e st au g ury All things l oo k fr e sh o n e poe t sang t o .
, ,

gr ee t his e xc e ll e nc e
Th e air t h e se aso ns and t h e e art h we r e r e pr e se nt ed
.
, ,

as i n sympathy with t h e ge n e ra l j oy i n this swee t e st of all swee t springs

.

On e so urc e of gri e f al on e was ackn ow l e dge d : S o uthampt o n was st i ll a priso ne r

i n t h e Towe r suppo se d as fo rf e it t o a c o nn e d d oo m
,

All m e n wr ot e .
,

Manningham t h e diarist on t h e day foll owing t h e Qu ee n s d e ath wish e d hi m

, ,

at lib e rty Th e wish was fulll e d quickly

. S amu e l D ani e l and J o hn D avi e s .

c e l e brat e d S o uthampt o n s r e l e ase in bu oyant v e rse I t is impr obab le that S h

. .

r e mai ne d sil e nt ( L if e pp 1 4 7 . WYND H AM [ p l ace s l e ss str e ss o n al l usi ons

, .

t o c o nt e mp orary e v e nts : ] This so nn e t is a limb of t h e sustained attack on

Tim e ( 1 0 0 which cul mi nat e s i n a d e nial of its r e ality ( 1 2 3 Th e
se nse see ms t o b e : Not min e ow n fears (e xpr e ssed i n
n or t h e wh o l e

w orld s pr o ph etic e xpe ctati o n of things t o c o m e

can l i mit t h e c o ntinuati o n ,

o f my l ov e which i n c o mm o n with a ll things se e ms but o nly see ms subj e ct

, , , , ,

t o li mitati o n I t suf c e s f or t h e se nse [of l in e s 5 8 ] that th e y d o p o int t o

"
.

so m e crisis i n natur e or p ol itics which e xcit ed an appr e h e nsi o n n ot j usti e d

, ,

by t h e ev e nt I a m disp o se d t o think [ that t h e r e f e r e nc e is t o] an actua l

.

e cl i ps e o f t h e m oo n which ha d b ee n mad e t h e gr o und f or gl oo my pr ogn o stica

,

ti o ns Wh e n c o nt e mp orary p oe ts allud e t o p ol itical crise s th e y mak e th eir

.

r e f ere nc e e xp l icit D rayt on e g i n I dea 51

. has , . .
, , ,

L ast l y min e e y e s amaz e d l y have see n

,

s gr eat fall ! Tyr o ne his pe ac e t o gain !

E sse x

Th e qui e t e n d of that l ong living Qu ee n !

This K i ng s fair e ntranc e ! an d our pe ac e with S pai n !

Sh . i n t h e S o nn ets has n o such e xp l icit r e fe r e nc e s an d his phrase t h e m orta l , ,

m oo n if it m e an t h e m oo n i n d e adly case is quit e i n his mann e r of d es c r i b

,

,

i ng a natural ph e n o m e n o n such as an ecl i pse Th e r e we re 2 1 e clips e s o f t h e .

m oo n t otal or partial visibl e at Gree nwich during t h e ye ars 1 59 2 1 6 0 9 S o

, , .

that t h e champi o ns o f an e arly dat e f or t h e S o nn e ts may nd th e i r a ff air i n this

matt e r as r e adily as t h e champi o ns of a l at e dat e B ut if w e acc e pt Tyl e r s .

sugge sti o n that t h e r e fe r e nc e t o this m ost bal my ti m e pr ove s that t h e so nne t

was writt e n i n l at e spri ng summ e r or e arly autu mn and if my sugge sti o n f or

, , ,

t h e dating o f S 9 8 b e a l so acc e pt e d th e n of such e cl i ps e s thr ee r e main avai l

.
, , ,

abl e : [J u ne 4 1 6 0 2 ; Ma y 2 4 1 60 3 ; Apr 3
, Th e e cl i pse of Ma y 2 4 1 60 3
, .
, , ,

s i nc e it last e d much l o nge r than t h e e clipse of Apri l 3 1 6 0 5 and sinc e o wing , , ,

t o its h o ur [ I P M ] and t h e tim e o f t h e y e ar it must hav e b e e n m or e n o tic e

. .
,

abl e than t h e e cl i pse of J un e 4 1 6 0 2 may pe rhaps b e give n t h e prid e of plac e , , , , .

I t s acc e pta c e also admits o f o n e o f th o se se c o ndary allusi o ns

n in th i s case

t o t h e d e ath of E li z ab e th March 2 3 1 6 0 3 which a r e s o c o m m o n i n Sh s

.
, ,

ve rse I o ught t o add that Mr H e ath and Mr B la i ki e agr ee i n thinking that

. . .

I hav e n ot gi ve n su f ci e nt we ight t o t h e e clipse of 1 6 0 5 ( pp 2 46 B U TL E R : . .

I s th e re any e v e nt e xc e pt t h e Ar mada that occurr e d during S h s y o uth t o

, ,
.
,

which [t h e p i ctur e of suspe nse ske tch e d i n this s o nn e t ] wil l apply with anything
like t h e sa m e f orc e an d accuracy ? I may eve n g o f urt h e r and ask wh eth e r ,
2 48 TH E S ONNETS OF S HAKES P EAR E [C VI I
th ere is any e ve nt be twee n 1 58 5 an d 1 6 0 9 t o which t h e so nne t can app l y with ,

o u t b oth d o ing vi ol e nc e t o t h e m o st natura l m e aning of its w o rds a n d arbi ,

t r a ri ly dating it many y e ars l at e r than t h e oth e r S o nn e ts ? We can s e e h ow

gre at a scar e had be e n cause d by t h e Arma d a fro m t h e thanksgivi ng pray e r

that was re a d i n all church e s aft e r it ha d b ee n d ef e at e d Th e e n e my ha d .

i nt e nd e d t o d e str oy us o ur citi e s t owns c ountri e s an d p eop l e s an d utt e r l y

, , , ,

t o r o ot o ut t h e m e m ory of o ur nati o n fr o m off t h e e arth f or e v e r If this .

is a tru e pictur e S h might we ll ske tch t h e g e ne ra l appr e h e nsi o n i n such a t ell

.

i ng t o uch as t h e pr oph etic so u l of t h e wid e w or l d d r e aming on things t o

'

c o m e and might w e l l supp ose that t h e l e ase of his tru e l ove f or Mr W H

, . . .

was t o e xpir e ve ry sh ortly B ut as th e re is n o oth e r such ske tch s o n e ith e r is

.
,

any such pictur e t o b e f o und i n praye r n or e l se wh e r e of any e ve nt b e twe e n

, ,

1 58 5 and 1 6 0 9 [As t o L e e s clai m that simi l ar alarm was f e lt r e garding t h e

.

d e at h of t h e Qu e e n ] h e has n ot qu ot e d n or have I b ee n abl e t o nd anything

, , ,

writt e n b e for e t h e acc e ssi o n o f Jam e s which suggests any such grav e alarm ,

as was f e l t al l ove r E ng l an d wh e n t h e Arma d a was o ff P l ym o uth or i n sight of ,

D ove r ( pp 1 0 4 C R E I G H TO N [ suppo rts Ty l e r s vi e w : 1 Th e re had b ee n a

. .
,

n otab l e e clipse t h e y ear b e fo re [t h e E sse x r e b e lli o n] o n which Wood h o use s ,

Al manack f or 1 6 0 1 base d a prognosticati o n that its inu e nc e wou l d b e fe lt i n

t h e stat e fr o m 2 ot h Jan 1 6 0 1 u ntil Nove mb e r Wh e n t h e r eb e lli o n of E sse x
"

. .

t oo k plac e t h e p opulac e we re so impr e sse d by Woodh o use s pr oph e cy that t h e

,

Gove rnm e nt th o ught it n e c e ssary t o ca l l i n t h e c o p i e s o f t h e pa l try b ook .

Th e r e was n o oth e r e ve nt i n E li z ab e th s re ign which thre at e ne d h e r i n t h e sam e

way . Sh s

ow n fe ars
.

f or his lib e rty
,

supp osed as forfe it t o a c onne d
d oo m a re e xplai n e d by [t h e p erformanc e of Ri ch a rd I I on t h e Thursd ay or
,

F riday b e fo r e 1 ( B lackwood s 1 6 9 :
. B E E CH I NG [ acc e pts t h e Vi e w tha t

t h e r e i s a r e fe re nc e t o t h e d e ath of t h e Qu ee n but disb e l i eve s L ee s Vi e w as t o ,

t h e matt e r o f S o uthampt o n s r e l e ase : 1 I f this s o nn e t w e r e r e a l ly an od e of

c ongrat u l ati o n un d e r such circu mstanc e s S o uthampt o n i n turn c o uld hard l y ,

hav e c ongratu l at e d t h e p oe t on t h e fe rv o ur of his feel ings F or th er e is n o .

r e fe re nc e i i I t h e s o nn e t t o any re l e ase fr o m prison and its cr owning th ought is ,

t h e familiar o n e that t h e fri e nd wil l survive i n S h s ve rse n ot that h e has

,
.
,

obtain e d a n e w and u n e xp e ct e d r e surr e cti o n t o life [ s paraphras f h

L e e e o t e .

O pe ning quatrain is o n e it wil l n ot b e ar 1 Th e w o rds my tru e l ove might

.

c e rtain l y by th e mse l ve s b e take n as Mr L ee take s th e m t o m e an my tru e

, . ,

fri e nd but t h e l e ase of my tru e l ove can o n l y m e an t h e l e a se of my tru e

,

aff ecti o n f or my fri e n d Al l l e ase s a re f or a t e rm of ye ars ; e ach has a l imit or

"
.

c o nn e assign e d t o it on which day of d oo m it e xpire s S h says t h at n e ith e r
,
. .

his ow n f e ars no r t h e wor ld s proph e ci e s o f disastr o us change s have j usti e d

th e mse l ve s f or i n t h e ye ar of grac e 1 6 0 3 h e nds his a ff e cti o n fre sh e r than e ve r

,
.

B ut t o t h e fri e nds o f S o uthampt o n t h e d e ath o f E li z ab eth w o u l d have b ee n an

o ccasi o n n ot o f fo r e b o ding but o f h o pe ( I ntr o pp xxxiii iv ) .
T h e fe ars .
, .
-
.

and pr oph e ci e s o f l in e 1 must b e i nt erpre t e d by what foll ows as fe ars and

auguri e s of so m e anticipat e d future which w oul d b e t h e d oo m of t h e p oe t s

l ove I n t h e rst q uatrai n t h e fears are stat ed in t h e m ost ge n e ra l t e rms as

.
c vu ] TH E S ONNETS OF S HAK ES P E AR E 2 49

fe ars f or t h e future ; b ut t h e sec o n d quatrai n c onn e cts th e m with som e pa rt i c u

lar crisis which cam e with out bringing t h e e xpe ct e d catastr oph e I nst e ad o f
, .

that it br o ught a happi e r e ra Appare ntly t h e crisis fe are d was a civil war i n
.

which t h e arts wo uld pe rish since p e ac e is r e fe rr e d t o as its o pp o s i t e ; and

,

t h e i mm e diat e r e sult anticipat e d by t h e poe t is t h e survival of his p oe ms .

[ R OL F E is disp ose d t o favor t h e th eo ry of t h e E sse x r e b e lli on which is also ,

acc e pt e d by B RAND E S ( Wi lli a m S h 1 : On t h e oth e r hand MAC KAI L ,

( L ect on P oetry p 1 8 5) and B R AND L ( p xx ) foll o w t h e int e rpre tati o n o f L e e ;

.
, . .

t h e l att e r calling att e nti o n t o t h e fact that i n H en ry V S h sh ow e d an e ag e rn e ss .

f or t h e u ni o n o f S c ot l an d with E ng l and an d nding h e r e furth e r e vi d e nc e of his ,

z e a l fo r a gr e at e r Britain H P E M B E R TON ( New S h a k es pea rea n a 7 : 1 0 5)

. .
,

supp orts t h e th e ory favoring 1 6 0 1 b e l i e ving that t h e sad augurs r ef e r ( as

,

d oe s H a ml I i 1 2 1
.
2 5) t o t h e e ar l y wint e r of that ye ar wh e n b e tw ee n
, , , , ,

Nove mb e r 2 9 a n d C hristmas th e re w e re n otab l e st o rms an e arthquak e an d

, , ,

e c l ipse s of b o th m oo n an d sun B ut th e se maj o r th e ori e s d o n ot e xhaust t h e

.

p ossibiliti e s P AL G RAVE supp ose s that t h e so nn e t re fe rs t o t h e p e ac e o f 1 6 0 9

.
,

which e nd e d t h e war be twe e n S pain and t h e U nit e d P r ovinc e s ; F LE AY ( B i og .

Ch ron 2 : 2 1 1 ) that it can hardly b e ma d e t o t with any d at e but that o f

.
,

t h e P e ac e of Ve rvins Apri l 1 59 8 a vi e w f oll owe d by GOL L AN C Z ( I ntr o

, , .
,
(
p xix ) w h o e mphasi z e s t h e i nc e rtainti e s which E ngland had su ff e re d dur
.
,

ing t h e tim e s h e was aiding He nry IV; and Mrs S TOP E S nds e vid e nc e of t h e .

y e ar 1 59 6 wh e n t h e Qu ee n was re st ored t o h e alth aft e r a p e ri od of i n di s po

,

siti ou which ha d cause d grave anxi ety an d wh e n t h e l e agu e with H e nry IV ,

may have sugge st e d t h e ol iv e s of pe ac e ] .

On t h e oth e r han d a f e w c o mm e ntat ors suspe ct a ll th e se i nt e rpre tati ons

,

r e l ating t o c o nt e mpo rary e ve nts S I M P S ON : Th e so nne t t s int o its p l ace much

.

b e tt e r wh e n int e rpr e t e d n ot of S pe cia l facts but of t h e ge ne ra l circum

, ,

stanc e s of l ove Not his ow n fe ars ( of d ea th e nding a ll l ove ) n or t h e divining

.

o f t h e old p oe ts m e nti o n ed i n S can s et a d e nit e t e rm t o h i s

e ye s 10 6 .
,

l ove which had bee n supp o sed t o b e d oo m ed t o c o m e t o an e n d ( p

, . .

D OWD E N [agr ee s with this int e rpre ting : ] Not my ow n fe ars ( that my fri e nd s

,

b ea uty may b e on t h e wan e 1 0 4 9 n or t h e pr o ph e tic s o u l o f t h e w o rld

, , ,

proph e sying i n t h e pe rso ns o f d e ad knights and lad i e s y our pe rfe cti ons ( S .

and s o p re g uri n g yo ur d e ath ( or p ossib l y divi ning oth e r futur e pe rf e cti o ns , ,

high e r than y ours ) can c onne my l e ase of l ove t o a bri e f t e rm of ye ars D ark
, .

n e ss and fe ars a re past t h e augurs of i ll n d th e ir predicti o ns falsi e d d o ubts

, ,

a re ov e r p e ac e has c o m e i n p l ac e o f strif e ; t h e l o v e i n my h e art is fr e sh and

,

y oung ( s ee 1 0 8 and I have c o nqu e re d D e ath f or i n this ve rse w e both sha ll

, ,

nd life i n t h e m e m ori e s of m e n L U CE : [Th e re is n o n ee d t o l oo k f or hist o ric

.

al l usi o ns ; t h e l ine s may m ean : ] I myse l f fe are d that l ove c ou ld n ot l ast ; and
such was t h e d o ubting or t h e sn ee ring for ecast of my fri e nds ; but n e ith e r I n or
th e y kne w t h e abiding p owe r of l ove ; t h e l ove which w e d oo med t o d e ath has
su ff e r e d o n l y a sh ort e c l ipse a n d t h e d isma l a ugurs have p ut th e m se l ve s t o
,

sham e ( H a n dbook p
. , .
2 50 TH E S ONNE TS OF S HAK E S P E AR E [CV11
1 .
proph e ti ck s ou e . l S TE E VE NS : C f . H a ml , . I , v, 40 : Oh , my p r Op h e t i c
so ul !

1 2 . TYL E R : With this passage which is ve ry impo rtant in re l ati o n t o S h

, .

s

th l gy cf
eo o , . R 3,. II, iii , 1
4 44

B e f ore t h e d ays of change sti ll is it s o , .

By a divin e i nsti nct m e n s mi nd s mistrust

E nsuing dange r ; as by pr oo f w e s ee , ,

Th e wat e r swe l l b e f ore a b o ist er ous st orm .

Bri e rr e d e B oism o nt says in his w ork D es H a lluci na ti on s e d 1 8 6 2 p 43 : 11 , , .

, .

e x i st e dans le s masse s p o pulair e s u n i nstinct po lit i qu e qui l e ur fait pr e s s e ntir

les catastr o ph e s d es s oci t s c o mm e u m instinct natur e l ann o nc e d avanc e aux

,

animaux l a p proc h e d e s b o ul e ve rse m e nts physiqu e s

[Th e d octri n e of t h e .

a n i ma mu n di t h e s o ul of t h e w orld was ] pr o min e nt i n t h e t e aching o f Gi o rdan o

, ,

Bru n o w h o su ff e r e d martyrd o m in t h e y e ar 1 6 0 0 that is a l ittl e b e fore S 1 0 7

, , , .

was writt e n Mor e ove r Bru n o ha d b ee n i n E ng l an d b e twee n 1 58 3 and 1 58 5

.
, ,

and had c o m e i nt o c o ntact with S i r P hi l ip S idn e y William H e rb e rt s u ncl e s o ,

that an a l lusi o n t o Bruno s d octrine is i n n o way unacc ountab l e ( I n t h e J a h rb

. .
,

1 1 : 9 1 th e r e is an artic l e by W K onig o n S h and Gi o r d an o Brun o Th e

. . .
,

writ e r of this artic l e aft e r a d ducing vari ous instanc e s in S h of anal ogy with
, .

Bruno s d octrine s of gr e at e r or l e ss pr obability strang e ly d e ni e s that th e r e is

a n y p o int of c o nn ecti o n b e tw ee n S h and Brun o s d octrin e of an all p e rvading

-
.

world so ul : H i s b e li e f soo n manife sts itse lf i n a c e rtain divi ne i nt oxicat i o n

[ Gotttru n ken h ei t] and a ki nd of panth e ism wh e re h e assum e s an al l p e n e trating

, ,
-

Wor l d So u l I n this wh ol e r e gi on th e re d oe s n ot appe ar in S h t h e slight e st

-
. .

c o nn ecti o n with Bruno H a d t h e writ e r of this artic l e n ev e r r ea d S

. .

Th e r e is also a n oth e r c o nt e mporary of S h w h o sh o uld h e re b e m e nti o n e d . ,

To m mas o C ampan e lla w h o e nt e rtain e d opini o ns similar t o th os e of Brun o with

,

r e gard t o t h e world as an animat ed b e ing [S ee his S o nn e t on Th e World as .

an Anima l translat e d by J A S ym o nd s ] ( I ntr o p

, [ Mr s S TO P E S also
. . .
, .

e mphasi z e s t h e c o nn e cti o n b e tw ee n this passag e and t h e phi l o so phy of Brun o ;

and in S h s Wa rw i cks h i re Contempora ri es

, .

p 9 sugg e sts a link b e twe e n .
,

S h and B run o s writings i n t h e print e r R ichard F i e l d orig i nally o f S tratfo rd

.
,

o n Av o n w h o was f or a tim e in t h e sh o p of Va ut rolli e r Brun o s E ng l ish pub

-
, ,

li s h e r I n Va ut r olli e r s S h o p t h e sayings of Brun o w o uld acquir e tragi c i nt e re st

.

at his d e at h f or a phil oso phic faith S e e also E L TON S e ssay o n Gi ordan o

.

Brun o i n E ng l and wh e re t h e i nu e nc e of Bru n o on S h is d e ni e d ( Mod ern

, . .

S tu di es pp 2 6 , .

2 . B E E C H I NG : Th e pr oph ecy o f things t o c o m e must pr obab l y b e take n with ,

Wyndham as imp l ying that th e y a re t o c om e i n place of t h e things that a re

, .

O nly as S h always u s e s pr o ph e tic i n a tru e se nse I sh ou l d rath e r say t h e

.
, ,

i mplicati o n is that t h e things t o c o m e us ua lly c om e i n plac e of things that

a re . I t is this usua l implicat i o n that t h e p oe t d e ni e s .

[On line s 3 4 s e e t h e n ot e s ab ove introd uct o ry t o t h e so nn e t ]

-
, .

5 e cli ps e i n d ur d e S e e a l so t h e n ot e s ab o ve wh e r e it appe ars that this

. .
,
c vn ] TH E S ONNE TS OF S HAKES PEARE 2 51
phrase is i mp ortant i n c o nn ecti on with t h e suppo se d allusi o n t o t h e d e ath of
E li z abe th MAS S E Y : This l uminary s h o n e i n t h e human or m o rta l sph e r e
.

was subj e ct t o m ortality J ust in t h e sam e ve in h e calls t h e e ye s of L ucr ec e

.
,

m ortal stars ; Val e ria in Cor i ola n us is call e d t h e m oo n of Ro m e ; and

,

,

C l eo patra is spo k e n of by Ant o ny as o u r t e rr e n e m oo n

Th e Qu e e n was t h e .

e arthly o r m orta l m oo n (p D OWD E N : Cf A 69 C I I I xiii 1 53 : Alack

. . . .

.
, , ,

,

o u r t e rr e n e m oo n is n o w e clipse d B ut an ear li e r r e fe r e nc e t o a m oo n e clipse

.
-

( 3 5 3 ) has t o d o with his fri e n d n ot with E li z abe th and i n t h e pr e se nt s onn e t

, , ,

t h e m oo n is imagin ed as having e ndur e d h e r eclipse and c om e out n o n e t h e ,

l e ss bright TYL E R : I t may b e r e ad il y c o nc ed e d that t h e m orta l m oon is

.

in al l pr obability a p oe tica l d e signati o n of t h e Qu ee n S h e was acc ording t o .

,

E li z ab ethan poe ts C ynthia g odd e ss of t h e shining orb

, B ut t o supp o se an
, .

allusi o n t o h e r d e ath see ms alt oge th e r out of harm o ny with t h e drift an d sc o pe

of t h e so nn e t No twithstanding f e ars and f o r e b odings t h e p oe t s l ove f or h i s

.
,

fri e nd shall n ot b e f o rf eit t o a co n n d d oo m but shal l e ve r en dure I n lin e 5

, .

t h e e mphasis is o bvi o usly on t h e w o rd ( I ntr o p B U TL E R : .

, .

To m e t h e s onn e t sugg e sts that [t h e Qu ee n ] n ot o n l y was n ot d e ad but had ,

e m e rg e d fr o m a tim e o f appar e nt pe ri l with sp l e nd o ur a l l undimm e d ( p . .

B E E C H I NG [ re calling L ee s stat e m e nt that t h e writ e rs o f t h e tim e typi e d t h e

,

Qu ee n s d e ath as t h e e clipse of a h e ave nl y b ody says : ] This int erpr e tati o n is

,

c o nrm e d by t h e passage i n A 69 C An examinati o n of passage s wil l .

'
.

sh ow that an e clipse i n S h s m e taph orica l u s e m e ans a na l n ot a t e mp orary

.

, ,

e xtincti o n [ Se e be sid e s t h e A 69 C passage I H 6 I V v 53 : B orn t o

. . . .
, , , , ,

eclipse thy l if e this It is n ot e asy t o s ee by what oth e r m e taph or

t h e d e ath of a m oo n c ould b e d e scrib ed [ I d o n ot s ee that it is p o ssibl e t o b e .

d ogmatic ab out t h e m e a ning of this passag e Th e impr e ssi o n it produc e s o n .

m e is t h e sam e as on D owd e n an d Ty l e r v i z that t h e e clipse has b ee n pa s s ed , .

,

th rou gh ; but it must b e admitt e d that th e r e is amp l e para l l e l i n S h f or t h e u s e .

e n d ur e

of

i n t h e se nse m e r e ly t o su ff e r ; e g R 2 V v 30

. .
, .
, , ,

B e aring th e ir ow n misf o rtun e s on t h e bac k

Of such as hav e b e f or e e n d ur d t h e l i ke :

an d L ea r , I I I , a st orm as his bar h a d i n h ll b l ac k night

vu , 60 : S uch e e e -

e n d ur d

I n oth e r w ords with out kn owing w h o or what t h e m orta l m oo n

.
,

is w e cann ot say wh e th e r t h e th ought is S h e has pa s se d thr ough h e r e clipse
, , ,

and th e r e fo re t h e augurs laugh at th e ir warnings or S h e has su ff e re d e clipse , , ,

and in spit e of this t h e augurs l augh

B ut a pri ori t h e f orm er se e ms m ore . ,

natura l ED ] . .

10 My l ove D OWD E N : I am n ot sure wh e th e r this m e ans t h e l ove i n my

. .

h e art or my l ove my fri e n d Cf 1 0 4 8 an d 1 0 8 9 R OL F E : Th e f o rm e r

,

, . .
, ,
.

see ms t h e m or e pr obabl e B E EC H I NG : My a ff e cti on s ub s cri b es MAL ON E :

.
. .

Acknow l e dge s as a su pe ri or .

1 3 1 4 Cf 55 1 2 [
.W AL S H p l
. ac e s S 55
,
imm e.
diat e l y aft e r .

1 4 B E E C H I NG : Not impr obab l y a ve i l ed r e f e r e nc e t o t h e m onum e nt that

.

woul d b e erect ed t o t h e qu ee n .
2 52 TH E S ONNETS OF S HAK E S P E AR E [c vm
MAS S E Y : [This] I take t o b e t h e l ast of t h e S outhampt o n so nne ts as th e y ,

have c o m e t o us S h s warfar e with Tim e and F o rtune o n his fri e nd s b e half

. .

is e nd e d ; t h e vict ory is w on h e has f o und pe ac e at l ast Th e r e is a nal , .

far e w e ll t ouch i n t h e c o ncluding it e rati on of t h e imm ortality s o oft e n pr omis ed .

(p .

P R I CE [ nds this s onn e t t o S h ow t h e l arg e st p e rc e ntag e of f or e ign dicti o n ; it

is of t h e c l ass] in which t h e m ove m e nt of imaginati o n is m ost imp e d e d t h e ,

charm of p oe try l east fe l t [ Cf in this r e sp ect S .

(p .
, , . .

I n t h e D ob ell MS d e scribe d at t h e e n d of S 2
. t h e sam e c o n taining t h e .
,

pse u d o so nn e t h e ad e d C ru e l
-
is a c opy of S 1 0 7 Th e o nly variant r e ad . .

ings a re in l ine s 1 2 an d 1 4 which r e a d as f oll ows ,

Whi l st h e I nsu l ts ore d u l s e n c ele s s e trib e s

Wh e n t ombs of brasse tyrants cre sts a re spe nt .

10 8

WHAT S i n t h e b a i e t h a t In ck m a y ch a a c te

r n r r,

Wh i ch h t h ot g u d t o t h ee my t ue p i i t
a n r

r s r ,

Wh a t ew to pe a ke w h a t ow t o e gi t e

s n s , n r s r,

Th a t m a y exp re s s e my lo ue , or th y d e a re me ri t ?
No t h i n g s w ee t b oy , b u t y e t li k e p ra ye rs d i u i n e ,
I m us t ea ch ve ry s a m e
d ay s a y ore th e ,

C ou n t i n g n o old t h i n g old t h o u m i n e I t h i n e , , ,

E u e n a s w h e n rs t I h a ll ow e d t h y f a i re n a m e .

S o t h a t e t e r n a ll lo ue i n lo ue s f re s h ca s e ,

Wa i g h es n ot t h e d us t a nd i n i u ry of a ge ,

Nor g i ue s to n e es s a rc y w r i n c k le s p la c e ,

B ut m a k e s a n t i q ui t i e f o r a y e h i s p a g e ,

F i n d i n g t h e rs t con ce i t of loue t h e re b re d ,

Wh e re t i m e a n d out wa rd form e w ould s h e w i t d ea d ,

2 . s pi r it ]
, s pi ri t ? G , et c .

3 . n ew n ow ] n ew n ew M Kt , , D D y S t a C l Wh
e l, , , , , Cam, D o, Hu z
,

R Ox , B ut He r B e N B ul l ; n ow n ow Walk e r c o nf C0 3
. .
, , , , , ,

5 . s w e e t b oy ] s w eet love 1 6 40 ; s weet love G

-
, S, E .

Eu e n ] E S, E

8 . en .

10 . i n i ury ] i nj u ri es 1 6 40 , G S E , , .

3 . r e gi s ter MAL ON E : Th e Q h er e is manif est l y e rr o n eo us B OS WE LL

n ow to . .

Wh y manife st l y e rr oneous ? What can I say now m ore tha n I have sai d a l

re a d y i n y o ur praise ?

TYLE R : P ossib l y a misprint f or n ew
WY ND HAM .
 C VI I I ] TH E S ONNE TS O F S HAK E S P E AR E 2 53

Th e r e i d e as : ( I ) What new thing can b e sai d which h a s not b ee n said ;

a re t wo ,

( 2 ) What can b e sai d n ow t o day wh e n I am taking up my p e n again [Th e ,

-
, .

t e xtual not e s sh ow that t h e gr eat b ody of ed it ors th ough di s d ai ning t o d iscuss ,

t h e matt e r agre e with Mal o n e , ED ] . .

5 sw e e t b oy [ By n o m e ans an u niqu e e xpr e ssi o n i n E li z ab e than l it e ratur e

. . .

C f f or e xampl e as Mr H OR ACE D AV I S n ot e s L y ly s Mi d a s I i My swee t

.
, , .
, , , ,

b o y al l is g o l d
,

addre sse d t o Mella c ri t es a ge ntl e man of t h e c o urt ; and
,

,

Gr ee n e s simi l ar addr e ss e ith e r t o Lod ge or Nash i n A Groa ts w orth of Wi t ( s ee

, ,

Work s of Greene a n d P eele ed D yc e I ntro p , .

, .
, .

8 WYND H AM : Cf 1 0 2 6 This was s o m e thr ee y e ars e ar l i e r and

7 .
5 .
, .

e v e n th e n t h e p oe t ha d t o uch e d this th e m e t e ntative ly : th e n as n ow giv e n , ,

Th o u mi n e I thin e h e c o unt e d n o

t h e id e ntity of himse lf with his fri e nd

, , ,

old thing old [c f 6 2 1 3 Th e primary se nse b e gins at t his p oint t o b e
.
,

d o ubl e d by a l arge r phi l o sophic s e nse Th e o bvi o us m e aning that n e i th e r .

t h e p oe t s so ngs an d praise s th o ugh a l l al i ke

n or t h e b e auty o f t h e
,

fri e nd th ough it st e als away can e ve r b e old ( 1 0 4 )

, is stat e d i n t e rms s o
,

wid e as t o e mbrac e a mystica l sugge sti o n that this which is tru e o f t h e fri e nd s ,

b e auty and of t h e p oe t s d e voti o n is al s o tru e u nive rsally This s o nn e t is

.
,

an i nt e gra l part of t h e wh ol e satir e t o d e cay ( 1 0 0

t h e machin e ry of

which c o nsists i n a r e tr o sp e ct o ve r t h e i nward m oo ds and o utwar d chance s that

have b e fall e n t o t h e p oe t an d t h e fri e nd during three y e ars B ut th e se actua l .

e xp e ri e nc e s se rv e f or t e xts t o an e so t e ric d octrin e whic h a frms t h e e t e rnity o f

L ove and d e ni e s t h e r e a l ity of Tim e .

8 [ NE I L ( Ath Ap r 2 7 1 8 6 7 p 552 ) nds h e r e a sugge sti o n that this s onn e t

. .
, .
, , .

was addr e sse d t o t h e p oe t s s on H amne t ; in which h e is f oll owe d by GOE D E KE

( Ru nds ch a u 1 0 : If this b e i ng e ni o us it pa l e s b e f or e t h e sugge sti o n o f

, ,

Mrs S TO PE S that t h e w ord hall owe d a l lud e s t o t h e rst tim e t h e fri e nd was
.

addre sse d as H a l or that of W U ND E RH I LL ( N E Q 7 t h s 9 :

, wh o . .

.
, .
,

r e gards it as a pu n o n t h e nam e of a supp ose d W H all Th e u s e of t h e word . .

is d ue of c ourse t o t h e gure of t h e l iturgy i n line s 6 7 E ve ry m o rning

, ,

.

sinc e I b e gan t o worship y ou I have c o nti nu e d t o say H al l owe d b e th y ,

nam e ED ]
. .

9 ca s e MAL O N E : By t h e case of l ov e t h e p oe t m e ans his ow n c o mp o siti o ns

. . .

S C H M I D T: C ause D OWD E N : L ove s n e w c o nditi o n and circumstanc e s t h e n ew

.
,

y o uth of l ov e sp oke n of i n 1 0 7 1 0 TYLE R : A n e w p ositi o n [d ue to s om e chang e , .

,

i n t h e app e aranc e of t h e b e l ove d o ne ] WYND H AM : E t e rna l l ove i n l ov e s

.
,

fr e sh case as di ff e r e ntiat e d by accid e nt is u na ff e ct e d by a g e ; [ by which I

,
"
,

E D ] B E E C H I NG : S uch is l o v e s

supp ose is m e ant i n e ach fre sh situati o n . .

fr e sh case its stat e of a l ways b e ing fr e sh [This i nt e rpr e tati o n of B e e ching s

, .

I think is und o ubt e d l y right ; cf fr e sh i n 1 0 7 1 0 wh e re t h e wor d m e ans

.
, , ,

n ot n e w but as g ood as n e w, S ch midt giv e s num e r o us i nstanc e s of case i n
.

t h e m e aning of stat e or c o nditi o n ED ] . .

12 [ H e r e t h e m e anings of b oth antiquity an d pag e a re rath e r curi

.

o u s ly d i sput e d S C H M I D T d e n e s t h e f orm e r as old a g e TY L E R

.
( cf 6 2 , .
, ,

as t h e app earanc e of t h e b el ov ed on e i n that old e n tim e wh e n t h e attachm e nt

 54 TH E S ONNETS OF S HA KE S P E AR E [c vm
c o mm e nc e d f oll owed substantia l ly by R OL F E ; WYND H AM t h e praise of
, ,

ladi e s d e a d a n d l ove ly knights by t h e antiqu e pe n of e arli e r g e n e rati o ns

"
.

S chmidt I think is u nd o ubt edl y right ; old a g e is t h e m or e c o mm o n S hak e

s pe a re a n m e aning and c e rtai n l y pe rtine nt t o this quatrain As f or page

,

.

,

TYL E R appar e ntly und e rstan d s it as t h e page of a b oo k sinc e h e paraphrase s ,

E v e r se ts b e f o r e hi m t h e appe aranc e e t c ; an d h e is f ol l o we d by Miss P OR TE R

.
,

and Mrs S TOPE S t h e f orm e r c o mm e nting As of a page i n a praye r b ook f or

.
,

,
-

r e pe titi o n f o re ve r t h e latt e r P uts t h e mark i n Li f e s b ook at t h e old st ory

, , ,

I und e rstand WYND H AM t o tak e t h e sam e Vi e w th ough h e d oe s

of rst l ov e .
,

n ot mak e it p e rf ectly cl e ar O n t h e oth e r han d B E E C H I NG i n paraphrasing

.
, , ,

L ov e n e ve r se e s t h e w orkings of antiquity which is a l ways i n its r e ar

, ,

s ee ms t o i mply t h e image of a page f o l l owing i n t h e train of L ov e ; ( h e re u m ,

f ortunat e ly on e cannot b e c e rtain j ust what is u nd e rst oo d by

, It
argu e s agai nst t h e f orm e r i nt e rpr e tati o n that S h d e spit e his ab und ant me n .
,

ti o n of b oo ks ne ve r ( unl e ss h e r e ) use s t h e wor d p age i n that c o nn ecti o n but

,

,

always l e af with t h e m e aning se r ant on t h e o th e r hand it is v ery

v
, ,

familiar I b e li e ve th e re f or e that t h e l ine m e ans simply make s old a g e his

.
, ,

,

se rvant i nst e ad of yi el ding it t h e mast e ry ; f or t h e u s e of page with t h e

,

spe cia l impli cati o n of i nf eri or cf M V I I i 35: S o is Al ci d e s b eat e n by his

, . .
, ,

page S o m e of t h e misre adings of t h e l ine a re appar e nt l y d ue t o t h e disp o si

.

ti o n t o c o nn e t it t oo c l o se l y with t h e f oll owing c o upl et which sums up t h e

c ,

wh ol e th e m e as c o mm on l y th e re r ef e rring n ot backward but f orward t o

, , , ,

Wh e r e .

ED ] .

1 31 4 D OWD E N : F in d ing t h e rst c onc e pti o n of l ove i e l ove as passi onat e

. , . .
,

as at rst e xc i t e d by on e wh ose y ears and o utward f orm sh o w t h e e ff ects of

,

a ge .
[ On e might nd a c o mm e ntary o n this c o up l e t in Te nnys o n s d e di c ati o n '

o f his l ast v ol um e t o his wif e ,

This an d my l ove t ogeth e r ,

To y ou that a re se ve nty se ve n -
. BD .
]
B U TL E R [ n d s h e re d e nit e allusi o n t o t h e fa d ing be auty of t h e fri e n d ; s ee
his n ot e on 1 0 0 1 0 1 1 WYND H AM o n t h e oth e r hand is c onvinc e d that t h e
,
-
. , ,

p oe t d oe s n ot r ef er t o any such change off erin g i n pr oof 1 0 4 , ,

C Ix ] TH E S ONNETS OF S HAK ES P EAR E 2 55

I O9

O NE VE R fa l s e of h ea r t
s ay t h a t I wa s ,
'

Th o u gh a b s e n ce s ee m d my a m e t o q ua lli e

,

As e a s i e m i gh t I fro m my s e lfe d e p a r t ,

As fro m my S ou l e w h i ch i n t h y b re s t d o t h ly e
Th a t i s my h om e of l ou e i f I h a u e ra n g d

, ,

L i ke h i m t h a t t ra ue ls I r e t urn e a g a i n e ,

I u s t t o t h e t i m e n o t w i t h t h e t i m e e xc h a n g d

, ,

S o t h a t my s e lf e b ri n g w a t e r f o r my s t a i n e ,

Ne ue r b ele e u e t h ou gh i n my n a t u re r a i g n d

A l l fra i l t i e s t h a t b e s i e ge a ll ki n d e s o f b l ood ,

Th a t i t c ou l d s o p re p os t e ro u s li e b e s t a i n d

To le a ue f or n o t h i n g a ll t h y s u mm e of g ood
F o r n o t h i n g t h i s w i d e Vn i tre rs e I ca l l ,

S a ue t h o u my R os e i n i t t h ou a r t my a ll ,
.

4 . th y ] my G, S , E .

I I . s tai n

d] s tra i n

d S ta c o nj B ut .
, .

14 . R os e , i n it] R os e i n i t, S
.

2 . B E E C H I NG : Th e thr e e y e ars during which t h e fri e nds did n ot

ab s en ce .

m ee t qualli e S CH M I D T: Mod e rat e abat e

. .
, .

4 MAL O N E : C f L L L V ii 8 2 6 : H e nc e e v e r th e n my h eart is in thy

. . . . .
, , ,

br e ast ; and R 3 I i 2 0 5: E ve n s o thy br east e n c los e t h my p oo r h eart

.
, , ,

.

TYL E R : C S 4 [ Ci 2 2 5 7 ; 1 3 3 9
f 2 . ;
. ED ] .
, , .

5 m y h om e of l ov e ABB OTT: [ F or t h e h o m e of my l ov e
. . C f many sim . .

ila t transp os i ti ons .

6 MAL O N E : C f M N D I I I i i 1 7 1 72

5 . . . . .
, , ,

My h eart t o h er but as gu e st wise Soj our n d -

,

And n o w t o H e l e n is it h o m e ret ur n d
.

7 . D OWD E N : a l t e r e d with t h e tim e [F or t h e m e an

P unctual t o t h e tim e , n ot .

i ng of cf M V 3 5 ( J e ssica i n h er b o y s disguise ) :
. . I am .
, I I vi , ,

much a s a m d of my
h

Mr H C H art sugge sts t o m e ove r . . .

inge ni ousl y I think that S h h e r e allud e s t o t h e practic e wh e n travel was .

,

"
m or e dange r o us than at pre se nt of putting o ut up o n r e turn wh e n if t h e

, ,

trave l e r did n ot c o m e h o m e tru e t o t h e tim e h e had as it w er e exch a n ged f or ,

his j o urn e y what ev e r sum h e stake d f orf e iti ng b oth t h e principal and t h e large ,

i nt er e st t o b e pai d on a punctua l r e turn h om e an d g e ttin g i n exchang e o nl y ,

2 56 TH E S ONNE TS OF S HA K ES P E AR E [C I X
his trave l s [Th e m eaning a l t e re d has b ec o m e t h e a cc e pt e d o n e f or ex
.

c h a ng d

i n this line th ough as R OL F E obse rv e s it is t h e o nly instance of this
, , ,

se nse i n S h J e ssica s n o un e xchange is a dubi ous parall e l

.

ED ] . .

1 1 12
-
B E E C H I NG : Th e poe t s abse nce was a stain or fau l t [ cf li n e
.

but n ot
s o pr e po st e r o us a stain as d e se rti o n w o uld hav e b ee n .

R o s e [ S e e WYND H AM S and o th e rs n ot e s o n I MAS S E Y : I d o ubt if

14 . .
,

th er e b e an i nstanc e in S h of man addr e ssing man as my r o se and sh ou l d

.

,

as so o n e xp ect t o nd my tul i p Th e Qu ee n of Richard I I spe aks of h e r fair

.

r ose with e ring and Oph e l ia of H aml e t as t h e r ose of t h e stat e B ut e ve n

,

.

h e r e it is on e s e x d e scribing t h e oth e r F or t h e r e st t h e r ose is t h e wo man

.
,

symb ol ( p . R OL F E : I t is so m e w
. hat p ec uliar l y appli e d t o t h e p e rso n a d
dr e sse d if that perso n is a man I s it c e rtai n that this s o nn e t and t h e n ext a r e
, .

t o a man ?

B R AD LE Y : I t is r e mar kab l e that whi l e t h e e arli e r so nne ts sh ow much

,

d ef e re nce t h e l at e r sh ow ve ry l ittl e s o l itt l e that wh e n t h e writ e r nding that

, , , ,

h e has pain e d his y o ung fri e nd by n egl e cting him be gs t o b e f orgive n h e , ,

writ e s alm ost if n ot qu i t e as an equal Re ad f or e xampl e S o nn e ts 1 0 9 1 1 0

, , .
, , , ,

1 2 0 and ask wh e th e r it is pr obabl e that S h is a dd r es sing h e r e a gr e at n ob l e man

,
. .

( Oxf L ect p
. .
, .

S e e H UD S ON S n ot e at t h e e n d of S 9 7

. .
cx ] TH E S ONNETS OF S HA KES P EAR E 2 57

1 10

AL AS

h a ue gon e h e re a n d t h e re
t i s t ru e , I ,

An d m a d e my s e lfe a m o t l e y t o t h e V i e w ,

Go r d m i n e own t h ou gh t s s old ch ea p w h a t i s m os t d e a re

, ,

M a d e old off e n c e s o f a ff e c t i on s n ew .

M os t t r ue i t i s t h a t I h a ue loo k t on t rut h ,

A s c on c e a n d s t ra n ge ly : B u t b y all a b oue ,

Th e s e b l e n ch e s g a ue my h e a r t a n o t h e r y ou t h ,

An d w or s e e s s a i es p ro u d t h e e my b e s t o f l oue

Now a ll i s d o n e h a ue w h a t s ha l l h a u e n o e n d , ,

M i n e a pp e t i t e I n e ue r m ore w i l l gr i n d e

On n e w e r p r oof e t o t r i e a n old e r f r i e n d , ,

A God i n l ou e t o w h o m I a m con n d

.
,

Th e n g i u e m e w e lco m e n ext my h e a ue n t h e b e s t , ,

E u e n t o t h y p ur e a n d m os t m os t lo u i n g b res t .

2 . th e ] th y G 2
, S 2
, E .

6 . As con ce ] As ea n ce S I
; As ka n ce G 2
, 5 2
, et c .

8 . wors e ] wors t 5 2
, E . e s s ai e s ] a s s a i es 1 6 40 ; a s s a y s G S E , , .

9 . d on e ,] done ; Ty . h au e Wha t] s ave wh a t Ty r c o nj M A .

, , , Co , B , Hu ,

Kl y Wh,
l
, Ox , B ut .

E u en ] E mos t m ost] H yph e n e d by

14 . en 5
1
. Sta .

1 2 . HE N RY RE E D : Wh e n
m e ditat ed up o n his th e atrica l pr of e ssi o n Sh .

h e br e ath ed out his se nse of d e gradati o n i n [ this ] b e autiful so nn e t o f which ,

t h e t o n e is a l ittl e l o ud e r than a sigh and y e t n ot s o harsh as a murmur ( L ec .

S H I ND L E R : This is g e n e ral l y int e rpr e t e d t o e xpr e ss S h s disl i k e

tu res 2 : , .

t o t h e pr of e ssi o n of an act or ; [but this vi e w ] c ove rs o n l y a smal l part o f t h e

m e aning What was far m ore re pugnant t o hi m was that d isc l osure of his
.

ow n f ee lings that r e v e l ati o n o f himse lf which c o uld b e see n i n his plays by

, ,

th ose w h o kne w him intimat el y He had gor ed his ow n th oughts and

.
,

turned his ow n fre sh gri e fs i nt o dre ams of bygo ne age s (Th i s see ms t o b e t h e .

m e aning of l in e ( Gen t Ma g 2 72 : MAS S E Y : H i s l anguage is id e ntica l

. .
,

w ith S aul s wh e n h e says I hav e sinn e d ; b e h o l d I hav e playe d t h e f ool and

'
, , , ,

have e rr ed e xc ee dingly S au l d oe s n ot m e an that h e had worn m ot l e y I f t h e

. .

spe aker had wo rn t h e f ool s c oat of many c ol o urs h e wou l d n ot have b ee n

,

n e c e ssarily making a f oo l of himse l f Th e image is n ot use d i n that se nse I f . .

h e had b e e n playing t h e f oo l s part on t h e stage it wo uld b e F o rt un e that had

,

mad e him a m otl e y t o t h e vi e w not himse l f ( p TYL E R : Wh eth e r S h , . . .

2 58 TH E S ONNETS OF S HAK E S P E AR E [ cx

had act ual l y play e d :t h e part of a foo l of j e st e r a m ot l e y ( cf A Y L I I , . . . .

, ,

vii 1 2 : I m e t a fool i t h e fore st a m ot l e y fo ol ) is pe rhaps d o ubtfu l Th e

,

,
.

word may b e h ere use d g urative l y in acc or d with what fo ll o ws S h may have , . .

p l aye d t h e f ool by see king n ew acquaintanc e J M R O B E R TS ON : It is

. . .

i mp ossib l e t o put i nt o fe we r an d ful l e r wor d s t h e st o ry many a ye ar l o ng of , ,

sord i d c o mpulsi o n lai d on an artistic nature t o t urn its ow n inne r life i nt o

matt e r f or t h e stage I t is tru e that [t h e act or s ca l ling ] is apt t o b e m or e

.

h umiliating than anoth e r t o a man s se l f r espe ct if his j u d gm e nt re main sane

-
,

and s e nsitive : ( S h 69 Mon ta i gn e p

. .

B E E C H I NG : Th e re is n o r e fe re nc e t o , .

t h e p oe t s pr of e ssi o n o f p l ay e r Th e so nn e t give s t h e c o nfe ssi o n of a fav o urit e of

.

s oci e ty B R ADL E Y : B ee chi ng s not e

. see ms t o b e unqu e sti o nably right
.

This appli e s I think t o t h e wh ol e gr o up of so nne ts ( it be gins w i th 1 0 7 ) in

, ,

which t h e p oe t e xcuse s his n eg l ect of his fri e nd th o ugh th e re a re a ls o r e fe re nc es ,

t o his pr o f e ssi o n and its e ff e ct ( Oxf Lect p 32 2 n ) P O RTE R : E ve n i f [t h e . . .

, . .

act or s] car ee r und e rl i e s t h e i mage ry it is n ot o f himse l f as a pr of e ssi o na l artist

,

that t h e p oe t is h e re spe aking but of an impre ssi o nab l e a d aptab i lity that has ,

ov e r l ain a n d hidd e n his g e nuin e f ee l i ngs and i nv o l ve d him i n fa l se and dis ,

cr e ditabl e p ositi o ns with r e l ati o n t o his fri e nd L U CE : [ Ci t h e c o mp l aint of t h e . .

Muse Tha l ia i n S p e nse r s Tea rs of th e Mus es

,

S o am I ma d e t h e se rvant of t h e mani e ,

And laughing st ocke of all that list t o s c orn e ,

Not h o n ored or car ed f or o f ani e ;

B ut loa t h d of l ose l s as a thing f orlor n e '
.

( H a nd book p , .

F urth e r on this subj ect s ee n ot e s on S 1 1 1 , . .

3 Gor d S C H M I D T: Wo und e d MAL ON E : Th e m e aning see ms t o b e I

. . .
,

have w ound ed my ow n th o ughts ; I have act ed c o ntra ry t o what I kne w t o b e

right B OS WE LL : C f H a ml V ii 2 6 1
.

. .
, , ,

I hav e a voic e an d pre c ed e nt of pe ac e ,

To kee p my nam e ung or d

.

D OWD E N : Cf T s C
. . I I I iii 2 2 8
.
, , ,

I s ee my re putati o n is at sta ke ,

My fam e is shr e wd l y gor ed .

B E E CH I NG : [ C f with th e se passage s T N I I I i 1 2 9
. . .
, , ,

H ave y ou n ot s e t mi ne h o n our at t h e sta ke

And bait ed i t ?]
F r om th e se passa ge s it is c l e ar that f or a man s r e putati o n t o b e gored

m e ant that it wa s e xpose d li ke a b e ar at t h e stake f or c o mm o n c e nsure , , .

Or pe rhaps t h e c l ause m e ans simp l y I have wou nd ed my own se lf re sp e ct

-
.
,

S TO P E S : S po ke n his ow n th oughts o n t h e stage thus l osing his se lf re spe ct ,

-
.

4 D OWD E N : E nt e re d int o n ew fri e nd ships and l ov e s which w e re t ra n s gr es

.
,

si ons against my old l ove TYLE R : Old off e nc e s may po ssib l y b e e n d uring

.

VE R I TY : [ P erhaps t h e l ine mea ns zl prostit ut ed my l ove a l ove s o

off e nc e s .
cx ] TH E S ONNE TS OF S HAK E S P E AR E 2 59
n ew , s o u nkn own t o oth e r m e n s o rar e t o t h e old hackn e y e d purp o se s and
,

c o mm o nplac e s Of t h e stage ; mad e capital out of my e m oti o ns turn e d my ,

passi o n t o acc o unt L E E : S inne d against old fri e ndships by fo rm i ng n e w o n e s

. .

Th e re is so m e i nve rsi o n of phraseo l ogy h e re but t h e ge n e ral s e nse i s cl e ar , .

5 truth
. T YL E R : M.a y b e pr e tty n e ar l y e quiva l e nt t o virtu e th ough
,

d e lity is a n ot impr obabl e m e aning [S ee n ot e on 54 2

ED ] .
, . .

6 s tr an g e l y WAL K E R : As th o ugh it we r e a strange r

. .
(2 : D OWD E N .

I n a distant mistrustfu l way , .

7 b l e n ch e s S C H M I D T: I nc o nstanci e s abe rrati o ns D OWD E N : C f M f or M

. .
, . . .

IV v 5 :
, ,

Th o ugh so m e tim e s y ou d o b l e nch fro m this t o that ,

As caus e d oth minist e r .

9 .h ave MAL ON E : [This word ] appe aring t o m e u ni nt e lligib l e I have

.
,

ad o pt e d a c o nj e ctural r e ading sugge st e d by Mr Tyr whitt [ It is hard t o s e e . .

why t h e t ext appe are d un i nt e llig i bl e t o Mal o n e or why his obso l e sc e nt e m e n , e

dati o n S h o uld r e appe ar i n s o r e c e nt a t e xt as t h e Oxfo rd BD ] .

MAS S E Y : [ C f t h e S panish proverb which S h appe ars t o re nd e r or adapt

.
, .

Am or sin n n o ti e ne n ,

Love with o ut e n d hath n o e n d

(p . .

12 D OWD E N : This l ine see ms t o b e a re minisc e nc e of t h e th o ughts expre ss e d

.

in S 1 0 5 and t o r e fe r t o t h e F irst Co mmand m e nt R OL F E : I d o ubt wh e th e r

.
, .

th e r e is such a r e fe re nce .

1 3 my h e av e n
. MAS S E Y [ instanc e s this as pr oo f that t h e so nne t was a d
.

d re sse d t o o n e of t h e Opposit e s e x c o mparing K atharin e of Ki ng H e nry saying

, ,

that S h e had love d h i m ne xt h eav e n and An t i p h olus in C of E calling

"
, , . .
,

L uciana my so l e e arth s h e ave n (p S H ARP : [ Pe rhaps] an all usi o n t o

. .

his mistre ss [Th e phrase has an i nt e r est as b e ing a l m ost t h e o nly e xa mpl e of
.

c o nve nti ona l pi e ty in t h e poe t s utt eranc e s i n t h e S o nn e ts

ED ] . .

1 31 4 B R AND E S : This e xactly c o rr e spo n d s t o Micha e l Ange l o s

. d e sir e

to

c l asp i n his y e arning arms his h e art s l ov ed l ord [ addre sse d t o his y oung

fri e nd C aval i e r i ] ( Wi lli a m S h I . R OL F E : I t is d i ffi cult t o b e li e v e that

.
,

this is addr e sse d t o a m a n VON MAU NTZ [al s o thinks t h e lin e s cann ot b e vi e we d
.

as addr e sse d t o a man a nd that this so nne t and t h e pr ec e ding hav e t o d o with
,

t h e r e turn of S h t o his wif e an d fami l y ]

. .

GE R VI NU S : I s it n ot [ in this so nn et ] as if P rince He nry we re l oo ki ng back

up o n his wi l d days which we r e t o hi m a tim e of trial bl unting t h e gr ow th of
, ,

str ong passi o n ? Not u nfre q u e ntly t h e c onj ectur e has be e n e xpre sse d that
S h c o nf e rr e d up o n P ri nc e H e nry many e sse ntia l qualiti e s of his o w n natur e
. .

I f this we r e d ecid e d w e sh o u ld hav e a sure an d tangibl e po int of c o nnecti on

, ,

u niting his l ife with his poetry ( S h Commen ta ri es p . .

, .
2 60 TH E S ONNETS OF S HAK ES P EAR E [CX I

O F OR my sa ke d oe y ou w i s h
f or t un e ch i d e ,

Th e g u i lt i e g odd e s s e o f my h a rm f ull d ee d s ,

Th a t d i d n o t b e t t e r f o r my l i fe p rou i d e ,

Th e n p u b l i c k m e a n e s w h i ch p ub l i c k m a n n e rs b re e d s .

Th e n ce c o m e s i t t h a t my n a m e re c e i ue s a b ra n d ,

An d a l m os t t h e n c e my n a t u r e i s s ub d u d

To w h a t i t w o rk e s i n l i ke t h e D ye rs h a n d, ,

P i t t y m e t h e n a n d Wi s h I w e r e r e n u d e

, ,

Wh i l s t l i ke a w i ll i n g p a c i e n t I w i l l d r i n ke ,

P o t i o n s o f E y s e ll g a i n s t my s t ron g i n fe c t i on ,

No b i t t e rn e s s e t h a t I w i ll b i t t e r t h i n k e ,

Nor d o ub l e p e n n a n c e t o c orr e c t c orre c t i on .

P i t t i e m e t h e n d e a r e f r i e n d a n d I a s s ure y ee , ,

E u c n t h a t y o u r p i t t i e i s e n o u gh t o c u re m ee .

I . wish ] wi th G , et c .

2 . h arm f ull
] h a rmles s e 1 6 40 ; h a rmles s G S E , , . deeds ] n eeds Wh c onj .

4 . m ann e rs ] cu s tom G 2
.

14 . E u en ] E en S E , .

MAL O NE : Th e auth o r se e ms h e r e t o l am e nt his b eing re duc e d t o t h e n e c e ss i ty

of app e aring o n t h e stage or writing f o r t h e th e atr e B O S WE LL : I s th e r e any
, .

thing i n th e se w ords which r e ad with out a pre c o nc e ive d hyp oth e sis wo uld
, ,

particular l y app l y t o t h e public prof e ssi o n of a playe r or writ e r f or t h e stag e ?

Th e tr o ub l e s an d d ang e rs wh i ch att e nd up o n pub l ic lif e i n g e n e ra l and t h e ,

happin e ss and virt u e of r e t i r e m e nt a re am o ng t h e trit e st c o mm o nplac e s of

,

p oe try Nor was such qu e ru l o us l anguage like ly t o hav e pr oc ee d e d fro m S h

. .

B e n J o ns o n w h o was fr e q u e ntly o blig e d t o e xhibit b e f or e audi e nc e s w h o we r e

,

i ncapabl e of appre c i ating t h e d e pth of his kn owl e dge t h e accuracy of his ,

j udgm e nt or t h e dignity of his m o ral might at on e tim e b e d e siro us of quitting

, ,

t h e l o ath e d stag e or Massing e r might hav e murmur e d at a ca l ling which

,

scarce l y p rocur e d him a subsist e nc e ; but o ur p oe t app e ars fr o m t h e c o mm e nc e ,

m e nt t o t h e c l o se of his dramatic car ee r t o have m e t with un i nt e rrupt ed suc ,

c e ss and w o uld scarc e l y i ndulge i n such bitt e r c o mplaints against a prof e ssi on
,

which was rapidly c o nd ucting him t o f ortun e as w e l l as t o fam e ( P r e lim . .

R e marks pp 2 1 9 L AM B : Wh o can r e ad that a ff e cting s o nn e t o f S h s

. .
,

which al l ud e s t o his pr of e ssi o n as a p l aye r or that o th e r c o nf e ssi o n , ,

Alas ! t is tru e [e t c S 1 1 0 ] wh o can r e a d th e se instanc e s o f j e al o us se l f

"
, .
, .
CX I ] TH E S ONNETS OF S HAK E S P E A R E 2 61

watchfu l ne ss i n our swee t S h and d re am of any c o nge niality b e twee nhim and .
,

o n e that by e v e ry traditi o n o f him appe ars t o have b ee n as m e r e a play e r as

, ,

e v e r e xist e d [This i n allusi o n t o Garrick and i n i ndignant r e m o nstranc e with

. ,

t h e n oti o n that h e w a s p o sse sse d o f a ki ndre d mind with ( E s s a y on th e

Tra gedi es of S h ) D E L I U S [ f oll ows B oswe l l ( J a h r b I 49 50 ) in arguing f or t h e
.
.
,
-

i mpr obabi l ity of S h s re garding his pr ofe ssi o n as a disgrac e S o i n his c om

.

.
,

m e ntary h e obse rve s that line s 3 4 ] t e ll us o n l y i n ge n e ral that t h e p oe t ha d

,

, ,

b ee n drawn i nt o c o mm e rc e with t h e w or ld fr o m c o nsid e rati o ns of a l ive l i h ood ,

and cannot withdraw fr o m this i n spit e of t h e wish of his ow n h e art MAS S E Y .

[ That th e se t w o so nn ets indicat e S h s d isgust at his play e r s lif e ] is not tt e d

.

t o t h e r e l ati o nship o f p oe t and patr o n and it is quit e oppo se d t o a ll that w e

-
,

l e arn of S h s charact e r I t is n ot tru e that h e had g o ne h e r e th e r e and e ve ry

.
'
.
, ,

wh e r e t o make a f ool o f himse l f wh e n h e was qui e t l y worki ng f or his c o mpany , .

Nor c o uld h e wi th any t h e l e ast pr o pri e ty spe ak of making a f oo l of h i mse lf

on t h e stag e which was t h e m ee ting plac e of hi mse l f and t h e E ar l t h e f o unt of
,
-
,

S h s h o n o ur t h e spring of his g oo d f o rtun e t h e kn o wn d e l i ght of S ou t h a m p

.
, ,

t o n s l e isur e

Nor have w e e ve r h e ard of any harmful d ee d s or d o i ngs of
.

,

Sh .
,o ccasi o n e d i n c o nse q u e nc e of his c o nn e cti o n with t h e stag e Nor d o w e .

s ee h ow his nam e c o uld b e bran d e d or r ec e ive a brand fr o m his c o nn e cti o n

, ,

with t h e th e atre H e had n o nam e apart fr o m t h e th e atr e and t h e fri e nd

.
,

ships it had br o ught him [As t o t h e p ublic m e ans of lin e

. it d oe s n ot
se e m t o hav e b ee n qu e sti o n e d wh e th e r a play e r of E li z ab e th s tim e wo uld sp e ak

of l iving by public m e ans wh e n t h e high e st thing aim e d at by t h e play e rs was

,

privat e patr o nage e xc e pt wh e re th e y h op e d t o b ec o m e t h e sworn se rvants of

,

R oya l ty If t h e L o rd C hamb e r l ain s s e rvants we r e acc o u nt e d p ub l ic it w o u ld

.
,

b e i n a spe cia l se nse n ot m e r e l y b e cause th e y w e r e p l ay e rs

, E v e n if it ha d .

app l i e d it was an imp ossib l e c o mm e nt f or our p oe t t o make on what h e had

,

b ee n striving t o d o Th e m e aning as il l ustrat e d i n t h e c o nt e xt is that t h e , ,

sp e ak e r has t o l iv e i n t h e pub l ic ey e i n a way that is apt t o b e ge t public man

n e rs H i s public is t h e o nly public of S h s tim e t h e c o urt circl e and pub l ic

. .
,

offi c e rs of t h e stat e [ C f L L L I i 1 32 : H e shall e ndur e such public

. . . . .
, , ,

sham e as t h e r e st of t h e c o urt shall p ossibly d e sire ; A Y L I iii 4 6 : Our
. . .
, , ,

S 2 5 will t e l l us what S h did n ot c o nsid e r public

public c o urt ; et c ] . .
"
.

,

f or h e th er e in e xpr e ssly says that F o rtun e has d e barr e d hi m fr o m pu bli c h on

o urs ( pp 1 8 9
. . E L Z E : [ I n t h e S o nn e ts S h bitt e rly c o mplains Of t h e bad .

r eputati o n of his callin g ] That t h e stage cast a c e rtain stigma up o n th ose

b el o nging t o it has b ee n n owh er e m or e b l unt l y stat e d than by J ohn D avi e s i n
his Mi crocos mos i n a so nne t which has a ll t h e app e aranc e Of having
b e e n addr e sse d t o S h and B urbage : Th e stage d oth stain pure ge nt l e bl ood
.
"
,

h e says but th e n i mm e diat e l y ad d s : Ye t ge n e r o us y e a r e i n mi nd and m ood

, .

( Wi lli a m S h p That S h s l am e nt of t h e l own e ss of his s ocia l p ositi o n

.
, . .

is n ot a m e r e fancy but an i nv ol untary aut obi ographica l sigh can scarc e l y b e

, ,

d e ni e d wh e n tak e n i n c o nn e cti o n with t h e oth e r circumstance s of his li fe ; and

t h e c o rr e ct n e ss of this supp o siti o n is supp ort e d by t h e p oe t s fath e r having

app l i ed f or t h e grant of a c oat oi arms d o ubt l e ss at t h e s o n s i nstigati on - -

,

.
2 62 TH E S ONNE TS OF S HAK E S P EAR E [c m
(i bi d p .
, H AL L I WEL L P H ILLI PP S : [With r e spe ct t o t h e suppos iti o n that
.
-

th e r e is a re f e r e nc e h e r e t o a bi tt er f ee ling of pe rso na l d egradat i o n r e su l ting

fr o m S h s c onn ecti o n with t h e stage ] is it c o nc e ivabl e that a man w h o e n c our

.
,

ag e d a se ntim e nt of this nature on e which must hav e be e n acc o mpani e d with ,

a distast e and c o nt e mpt f or his pro fe ssi o n w ould hav e r e main e d an act or ye ars ,

and y ears aft e r any r ea l n ec e ssity f or such a c o urse had e xpir e d ? By t h e spring
of 1 60 2 at t h e l at e st if n ot pre vi o usly h e had acquir ed a se cur e and d e nit e
, , ,

c ompe t e nc e i n d e pe n d e nt l y of his e m ol um e nts as a dramatist and y et e i ght , ,

y ea rs aft e rwards i n 1 6 1 0 h e is di sc ov er ed p l aying i n c o mpany with B urbage

, ,

and H e m mings at t h e Blackfriars Th eatr e Wh e n i n additi o n t o this v olu n .

,

tary l o ng c o ntinuanc e o n t h e boards w e be ar i n mind t h e vivid int e r e st i n t h e ,

stage and i n t h e purity of t h e act ed drama which is e xh i b i t e d in t h e w e ll

, ,

kno wn dial ogu e i n H a mlet and that t h e poe t s last wish e s i ncl ud ed a ff ecti o n
,

a t e r ec o ll e cti o ns o f thr ee o f his f e ll ow p l ay e rs it is d i ffi cult t o be l i e v e that h e -

,

c ould have n ourish ed a r ea l antipathy t o his l owe r v ocati o n I f th e r e i s .

,

a m o ngst t h e d e f e ctive r ec ords of t h e poe t s l if e on e f eature d e manding spe c i a l

r e spec t it is t h e u ninchi ng c o urage with which n otwithstand i ng his d e s i re

, ,

f or so cial po siti o n h e brav e d public Opini o n i n fav our of a c o nti nu e d adh e r e nc e

,

t o that which h e f e l t was i n itse l f a n ob l e pr ofe ssi o n Th e se c o nsid e rati o ns .

may su ffi ce t o e l iminat e a pe rso na l applicati o n fr o m [th e se ] t w o so nne ts ( Out .

li nes 8 th cd 1 : 1 7 4
, C W F RAN KL YN [ discusse s this qu e st i o n Wes tm
.
, . .
, .

Rev 1 32 : 34 8 be li e ving that this so nn e t r e pr e se nts a t e mp o rary sn o bb i sh n e ss

.
, ,

in t h e auth or s attitud e t owar d t h e stage S h s wh ol e lat e r h i s t o ry dispr ove s

. .

its be ing his r ea l o pini o n ] TYL E R : That S h sh o uld have e xpr e sse d a dislike
. .

f or t h e dramatic pr o fe ssi o n and its surr o u ndings has bee n l oo k e d u po n as

scarc e ly cred ib l e and y et this is a matt e r on which t h e S o nn e ts l e ave n o r oo m
,

f or d o ubt To S h t h e associati o ns and circu mstanc e s o f t h e th e atr e see m ed

. .

d ebasi ng An d this f ee l ing might we ll b e d ee pe n ed by inti macy w ith a y oung

.

n ob l e man of s o high rank as Wi l liam H e rb e rt With t h e se nsitiv e n e ss of his .

poetic natur e S h c o u ld n ot but d ee p l y feel his be ing l oo ked u po n as s o m ean

, .

a pe rso n that socia l usage w o u ld n ot all ow his d eare st fri e nd t o r ec ognise t h e

acquai ntanc e i n public [c f S ( I ntr o p L E E :
. T hat S.
h chaf ed u nd e r .
, . .

s o m e o f t h e c o nditi o ns of t h e act or s cal l i ng is c o mm o n l y i nf e rr e d [ If t h e

.

se lf pity of t h e se so nn e ts] is t o b e l it e ral l y i nt e rpr et ed it o nl y r e e ct ed an

-
,

e van e sc e nt m oo d H i s int e r e st in al l that t ouch e d t h e e i c i e n cy of his p rof e s

.

si o n was pe rman e ntly a li ve H e was a kee n critic of act ors e l ocuti o n an d in .

,

H a mlet sh r e wdl y d e n o u nc ed th e ir c o mm o n failings but c l e arly and h ope fu l ly ,

point e d out t h e r oad t o impr ove m e nt H i s high e st ambiti ons l ay it is tru e . , ,

e lse wh e r e than in acting an d at an e ar l y pe ri od of his th e atrica l car ee r h e

,

u n d e rt oo k with tri umphant succe ss t h e l abo urs of a p l aywright B ut h e pur

, ,
.

su ed t h e pr ofe ssi o n of an act or l oya ll y an d u ni nt e rru pt ed l y u nti l h e r e sign ed

al l c o nne cti o n with t h e th e atre within a f e w ye ars of his d e ath ( Li fe . ,

pp 44
. WYND H AM : To say that h e cou ld neve r have sl ight ed his art as an
act or ,
and th e n t o see k f or far fe tch ed and fanta s tic i nt erpr etati ons is t o - ,

e vi nc e an i g n oranc e n ot o n l y of t h e ob l oq uy t o w hi ch act ors w e r e th e n ex

,
0 x1 ] TH E S ONNETS OF S HAK ES P EAR E 2 55

po se d an d of t h e d eg rad ati o ns th e y had t o b e ar b ut a l so of human nature as

, ,

w e kn ow it e v e n i n h e r oe s We llingt o n is sa i d t o hav e we pt o ve r t h e carnage .

at Wat er l oo ; t h e gr o ss n e ss of his mat e ria l oft e n i nf ects t h e artist a n d p ott e r s ,

r ot

has its ana l ogu e i n e ve ry pr ofe ss i o n This f ee l ing of u nd e se rv e d d e grada .

ti o n is a m oo d m o st incid e nt t o al l w h o work wh e th e r artists or m e n of acti o n , .

( I ntr o p cxiv ) P E MO RE [ qu ot e s in i ll ustrati o n of S h s attitu d e t owar d

. . .
.
, .
, .

his pr of e ssi o n J C I 11 2 6 0 6 3 : I f t h e tag rag pe o p l e d i d n ot c l ap hi m an d

, . .
, , ,
-

hiss hi m acc ord ing as h e p l ease d an d d isp l e ase d th e m as th e y u s e t o d o t h e

, ,

p l aye rs i n t h e th e atre I am n o tr u e We d o n ot oft e n whil e und e r t h e

, ,

spe ll of S h s magic c onsid e r what it must have m e ant t o s o se nsitive and se l f

.

,

c onsci o us a natur e as his t o hav e bee n expo sed t o t h e o utrageo us appr ova l an d
d isapproval of an E li z abe than audi e nc e ( S h elbu rne E s s a y s 2 : .
,

2 .
gui lti e g odd e s s e . ABB OTT: [ F or godd e ss gui l ty et c .
; f or simi l ar t ran s ~

positi o ns , s ee 4 1 9a .
]
4 .
pu b li ck . SC H MI D T : Vu l gar . TYL E R : I mp l ying vu l gar low an d probab l y , ,

d isre putabl e c onduct B E E C H I NG think with S chmidt that t h e word

. : I do n ot , ,

m e ans vulgar

I t may pe rhaps m e an n o b e tt e r than ordinary
.
[He .

paraphrase s t h e l ine To b e d e pe n d e nt up o n t h e public f or live l i h ood b e gets a

po pularity hunting t e mpe r -
.

5 b r an d F L E AY : Th e branding
. . is simp l y that produc e d by satirica l
writing of se ve r e criticism [ C f P oeta s te r ( l ast sc e ne ) : I c o uld stamp th e ir

. .

f or e h ea ds with th ose d ee p and pub l ic brands et c ] ( Macm Ma g 3 1 :

. . .
,

6 s ub d u d B E E C H I NG : B r ought int o c o nf ormity with C f 0 th I iii 2 51

. . . . .
, , ,

My h e art s subdu ed e ve n t o t h e v e ry qua l ity of my l ord [ MAI N n ot e s an

.

e ch o of t h e S hak e spe ar e an u s e o f t h e w or d in Th e Cen ci III i: , ,

U tt er l y l ost sub d u ed e ve n t o t h e h ue
,

Of that which th ou pe r m i t t es t .
]
8 . r en u

de . GE R VI NU S : Th e
m etam orph osis a f tgr which t h e poe t sighs t h e ,

r e novati o n of h i s be ing w e see m t o pe rc e ive taking plac e fr o m a f ew intima , ,

ti o ns e spe cially in t h e last gr oup of our so nne ts Th e r e n e wal aft e r which h e

,
.

aspir e d may b e u nd erst ood and i nt e rpr e t e d i n diff e r e nt ways I n his o utwar d .

car ee r it is ve ry r e markabl e that at t h e pe ri od of t h e origi n of th e se sonn e ts , ,

w e rst nd S h e nd e av oring t o raise himse l f ab ove his po siti o n t o e nt e r t h e

. ,

rank of t h e ge ntry and t o a d vanc e in c onsid e rati o n and e st ee m by incre asing

,

his wor l d l y pos se ssi o ns B ut with this se l f r e l ianc e w ith r e gard t o his socia l
.
-

po siti o n a st i ll m or e th oro ugh re ne wa l appe ars t o have bee n li nk ed I n t h e

,
.

m ost di ff er e nt passage s of t h e l at e r so nnets wh e re a m or e se ri ous m ood has ,

se i z ed hi m h e g l anc e s u po n his past c o nd uct with t h e se ve rity of fr e sh aust e r

,

ity [ Cf Gervi n us s r e mark on S 1 1 0 ] ( Commen ta ri es pp 466

. .

. , .

10 .Ey s e ll MALO NE : Vin egar is e st ee m ed ve ry e ffi caci ous i n prev e nting

.

h
t e c o m mu nicati o n o f t h e p l agu e an d o th e r c o ntagi o us d ist e mp e rs C AU S TON .

[( E s s a y on M r S i n g er s W orm w ood

.) d iscuss e s at l e n g th t h e

w o r d i n S h as .
,

mea ni ng sour vi negar ; ( cf H a ml V i E ve n as t h e d ye r w ash es his . .

, , ,
2 64 TH E S ONNETS OF S HA K E S P E AR E [CX I
hands in acid (ey s e ll) t o re m ove his surfac e stain S o bri nging t h e purgati o n f or , ,

his ow n brand [ S h ] t oo k t h e wat e r f or his stai n i nwardly by t h e

,

.

,

thr oat ( pp 4 7
. .
J Q AD AM S J R [ in a n ot e i n Mod L a n g Notes 2 9 : 2
. .
, .
, . .
, ,

argu es fr o m t h e u s e of t h e word h er e that S 1 1 1 is c o nt e mp orary with H a mlet ]

. .

12 . correct corr e cti on TYL E R : C o mp l e t e an d p e rf ect t h e c orr e cti o n of my

.

c o n d uct [We sh o u l d of c ourse e xpect that t o c orr ect c o rre cti o n wo ul d b e

.
, ,

t o a l t e r or r e v erse it ; but Ty l e r is d o ubt l e ss right in ta ki ng this as a k in d of

c ognat e c o nstructi on I t may b e said t o b e ana l ogo us t o out He r od

"
.

-

H e r od

. ED ] .

H E N R Y RE E D : This wou ld b e swee t l anguage fr o m any l ips ; b ut what can

b e d e e p e r than t h e path os of it wh e n y ou r e e ct that it is t h e gri e f o f on e wh o se
,

wisd o m f or m or e than t w o c e nturi e s has b ee n r eve re ntly qu ot e d by stat e sm e n

, , ,

phil osoph ers and divine s wh ose pl ots have wo und r ound s o many h e arts an d
, ,

m oist e n e d s o many e y e s ? ( L ectures 2 : ,

B LE I B TR E U [ (D i e Gegen wa rt 7 5: 39 5; n ot ed i n J a h rb 4 6 : 2 1 5) b eli e ve s that

, .
,

this so nn et was writt e n by Lor d R ut l an d whi l e a priso n er in t h e To we r d e , ,

p r i v ed of his pr o pe rty an d c o mp e ll ed t o e arn his b r ea d by ign ob l e m e an s ]

,
 CX I I ] TH E S ONNETS OF S HAK ES P EAR E 2 65

1 12

Y OU R loue a n d p i t t i e d o t h t h i mp res s i on ll
,

Wh i ch v ulga r s can d a ll s t a m p t v pon my b row ,

F or w h a t ca re I w h o c a l le s m e w e l l or i ll ,

50 y o u or e g re e n e my b a d my g ood a low ?
-
,

Yo u a re my All t h e w orld a n d I m us t s t r i ue , ,

To k n ow my s h a m e s a n d p ra i s e s f rom y ou r t oun g e ,

Non e e ls e to me, n or I to n o n e a li u e ,

Th a t my d
ch a n ge s r i gh t or w ron g
t ee l ce

s s en or ,

I n s o p ro fo u n d Abi s me I t h row a ll c a r e
Of o t h e rs v oy c e s t h a t my Add e rs s e n c e , ,

To c r y t t i ck a n d t o a t t e r e r s t o p p e d a re
M a rk e h ow w i t h my n e gl e c t I d oe d i s p en ce .

Yo u a re s o s t ron gly i n my p ur p os e b r ed
Th a t a ll t h e w orld b e s i d e s m e t h i n k e s y a re d ea d .

I . th i m mes s i on ] th e i mpres s i on

M A Kt B
, , , , D el, Gl, Kl y , Ca m , D o, R,
Wh
, Ty Ox B ut H e r B e N
, , , , , .

] G S t ee c o nj

S, E; o er-g ri eve

o er-look o er- s k reen
2
4 . or e -g r e e n e ; .

5 All th e w orl d ,
. an d ] a ll, th e w orld a n d G , S E ; , a ll- th e - world , a n d M A Kt , , ,

Co , B , D D y S t a C l Kl y Wh H a l Ty Ox B e B u l l Wa
e l, H u , , , , ,
l
, , , , , , .

8 s en c e ] s en s e D y S t a or ch an g e s ] e er ch a n g es M c o nj : s o ch a nges

. .
, .

K t c onj ; ch a ges or K ly ; or ch a rg es an on c onj

, . n , r i gh t ] ri g h t C . .
, .

10 s e n c e ] s ens e ? D y S t a
.
, .

1 4 b e s i d es ] bes i de B ut ; bes i des H u Ty Wa Tu m e th i n k e s y ar e ] me

i
. .
, , , , ,

th i n ks I m S ; me th i n k s I m E ; m eth i n k s a re S t ee c o nj C M A Kt B H u

1
.
, , , , , , ,

C O S t a Gl K ly C a m R Wh Ox B ut H e r B e B ul l ; meth i n k s th y a e M
2
, , , , , ,
2
, , , , , e r 2
,

C O Wh ; meth i n ks th ey re D el D y C l H a l C O D o ; meth i n k s y a re Ty ; me

1 l 3
, , , , , ,

th i n k s y ou r e N ; meth i n k s a re H u Wa Tu

.
, , ,

F LE AY : [ With this wh ol e so nn e t cf , . D rayt o n , I d ea , S 4 7 .

I n prid e of wit wh e n high d e sir e of fam e ,

Gav e l if e and c o urag e t o my la b ri n g p e n

,

N0 public gl ory vain l y I pursu e

All that I see k is to e e t rni z e y ou .

( B i og Ch ron . .
, 2 :

2 . l g ar s can dall TYL E R : Th e gr e at d i i c ult y i n t h e way of supp osing that

vu .

t h e r ef e r e nc e is m e r el y t o t h e sta g e an d acting is pr e se nt ed by t h e r e m a r kab l e

2 66 TH E S ONNETS OF S HA KE S PEA R E [ CX I I

l anguage fr o m which it appea rs that t h e scanda l had so m e r e l ati o n

of S . 12 1 ,

t o S h s m ora l ch aract e r S h d oe s n ot d e ny that th e r e was so m e f ou n d a

. . .

ti o n f or t h e scanda l He p l ea d s h oweve r that his fa i lings h a d b ee n exa gg e r

.
, ,

at ed and that his accuser s we r e worse than himse lf [Ty l e r goe s on t o sugg e st
, .

that th e re may b e so m e c o nn ecti o n b etwee n th e se so nn e ts and t h e anecd ot e

r e spe cting S h B urbage and a l ady cit iz e n t ol d i n J ohn Ma n ni ng h a m s
.
, ,
-
,

D iary March 1 3 1 6 0 1 0 2 ; and a l so with t h e a ll eged exchange of h ostiliti e s

, ,

be twee n J o nso n and S h of which th e re have bee n th o ught t o b e e vi d e nc e s i n.

,

t h e S a ti r oma s ti x and Th e Retu rn f rom P a r na s s us H e c o ncl ud e s : ] I t is su ffi .

C i e nt that w e have e vid e nc e that i n or abo ut 1 6 0 1 th e re was i n circu l ati o n

sca ndal aff e cting S h s m oral charact e r and c o nnect e d with t h e th e atre and
.

also that th e r e was at t h e sam e tim e a th e atrica l quarr e l in which S h was .

suppo se d t o hav e take n part I t is n ot at a l l di fcu l t t o u nd e rstand h ow fr o m .

,

such e l e m e nts sca nda l and sland e r may have gr own an d be c o m e i nt e nsi e d t o
,

any po ssib l e d e gr ee ( I ntro pp 1 1 5 . .

, .

4
. ore g re e n e M AL
-
O N E : T h e al l usi o n see ms t o b e e ith e r t o t h e practic e of
.

c ove ring a bar e c oarse pi ec e of gr o un d wit h fr esh gree n sward or t o that of -

,

planting i vy or j e ssamine t o c o nc e a l an u nsightly bui l ding S TE E VE NS : I wou l d .

r ea d o e r gri e ve i e


c ompassi o nat e my fai l ings S C H M I D T: C ove r with
, . .
, .

v e rdur e MAS S E Y : F olds up my faults as t h e gr ee n grass hid e s t h e grave or

.
,

t h e ivy s e mbrac e c o nc e a l s t h e scars of tim e ( p TYL E R : S cr ee ning it as

. .

with l e av e s B E E C H I NG : I t is n ot c l e ar what particu l ar m e taph or t h e p oe t

.

h a d in mind ; pe rhaps t h e gr a ssi ng o ve r of a bar e patch C f 68 1 1 alow . .

, . .

MAL O NE : Approv e R OL F E : Cf P s alms I I : 6 ( P raye r B oo k ve rsi o n ) : Th e

.

.
,

L ord a l l ow e th t h e right eous .

7
8 S T E.E V E N S : T h e m e aning o f this purblind an d obscur e stuff see ms t o

Yo u a re t h e only pe rso n w h o h as po w e r t o chang e my stubb orn r e sol u

be :
ti o n e ith e r t o what is right or t o what is wr o ng D OWD E N : No on e l iving f or
,

.

m e e xc e pt y ou n or I aliv e t o any w h o ca n change my f ee lings x e d as st ee l

, ,

e ith e r f or g ood or ill (e ith e r t o pl e asur e or pain ) . C AR TWRI G H T: [ L in e 8 may

m e an : ] What e ve r I d o I am always in t h e wr o ng th e re f or e my st ee l d se nse

, ,
'

his i ndignant f ee lings ) will make n o change n o d i ff er e nc e b e twee n right ,

or wr o ng t owards o th e rs ( p H E R F O R D [ paraphras e s or chang e s right or

. .

acc e pts criticism fr o m j ust or unj ust B E E C H I NG : So far as I am .

c o nc e rne d th e r e is n o o ne b ut y ou alive i n all t h e wor l d by wh o m my r e solut e

,

mind can b e change d t o right o r wro ng P e rhaps w e sh ou l d r e a d charge s

.

i n that case t h e paraphrase wo uld b e Th e re is n o ne but y o u fro m wh o m my ,

min d r ece ives charge s of right or wr o ng L E E : Nobod y e l se is anything t o m e .

n or I anything t o anyb od y e l se w h o is l ik e l y t o e nd o w my hard e n e d se nsibility

or my vaci ll ati on s of t e mpe r with any se nse of right or wr o ng [ I d oubt if any .

o n e has b e tt e r e d S t ee v e n s s r e ading EU ]

. .

8 s e n ce MAL O NE : He re use d f or
. . se nse s D Y C E : E vid e nt l y a p l ura l as ,

i n t h e ne xt l in e b ut o n e Cf Macb V i 2 9 : Th e ir se nse a re shut . . , ,

.

MAL O NE : C f T 89 C I I n 1 72 : E ars m ore d e af than

I o Ad d e rs

. . . . .
, , ,

a d d e rs "
s e n.c e A BB O T T: T h e p l ura l .an d p o sse ssiv e cas e s o f n o u ns i n which
a ] TH E S ONNETS OF S HAK E S P E AR E 2 67

th e singu l ar e nd s i n s s e s s ce and g e a re fre qu e ntly writt e n an d sti ll m or e

, , , , , ,

fr equ e nt l y pr o n ounce d with o ut t h e additi o na l syllabl e

, .

I 3 S C H M I D T: Yo u ar e s o k e pt an d harb o ur e d i n my th oughts
.
[ Cf a l so . .

n ot e s on l ine
I 4 S TE E VE NS [f o ll o wing Ma l o n e s e m e ndati o n : ] I pr oc ee d as if t h e w or l d

.
,

yo urse lf exc e pt e d we r e n o m or e MAL ON E : Y ar e was I supp ose an

,

.

, ,

abbr e viati o n f or th e y a re or t h a re TYL E R [ ke e ping t h e Q t e xt : ] Th e

.

p oe t t urns and a d dre sse s t h e wor l d C f 1 0 4 1 31 4 WYND H AM : Wh y was t h e

. .
, .

[ e m e n d ati o n ] mad e ? Not t o mak e se nse of a passag e which as print e d i n ,

Q is n o nse nse ; but be cau se t h e e m e nd at ors r ej e ct t h e se nse which it b e ars

, ,

wh e n s o pri nt ed as impr obab l e That se nse is u n e xpe ct e d e ve n startling

, .
,

E v e ry o n e e xc e pt myse lf t h i nks that y ou a re d e ad I s it imp o ssib l e that S h . .

S h o uld hav e m e ant this ? If n ot impo ss ib l e t h e a l t e rati o ns i n t h e t e xt u n re , ,

ward e d by any signa l additi o n t o t h e m ea ning of t h e so nn e t ca n hardly b e ,

d ef e nd e d Now t h e c o up l e t as e m e nd ed ad d s n othing t o t h e m eaning : it

.
, ,

m e r e l y r e pe ats o n e ha lf of t h e m e aning of l ine 7 n o n e el se t o m e

alive
, .

That ind ee d was t h e e vid e nt obj ect of Ma l o n e s e m e n d ati o n : havi ng r e j ect e d

, ,

t h e se nse of t h e c o upl e t as it st ood h e a l t e red it t o suit t h e se nse of t h e se c o n d

,

quatrain S h has so m e we ak c o up l ets but n o ne which m e re ly r e p e ats or

. .
, ,

as h e r e r e p e ats l e ss c o mp l e t e l y
, an id e a a l r eady c o mpl e t e ly s e t f orth And .

h e can scarc e have e ch oe d t h e se c o n d quatrai n f ee b l y aft e r a third quatrain

int e rv e ni ng with a str o ng cres cend o of e mphasis H e cr e at e s an e xp e ctati o n .

of s o m e startling d e c l arati o n I n Q w e g et one Not o n l y is t h e fri e nd al l t h e

. .

wor l d t o t h e p oe t e v e ry on e e l se d e ad t o t h e poe t an d h e d e a d t o e ve ry on e

but ( and h e b e gs us t o mark h ow h e disp e nse s with his n egl e ct at t h e

hands of t h e w orld ) t h e fri e n d is s o i n his purp o se br e d

s o th or o ugh l y

kne ad e d int o t h e i nt e nti o n of his b ei ng) that h e t oo S har e s t h e p oe t s case : him

a l so t h e w or l d h ol ds f or d e ad Th e so nn e t is hyp erb ol ica l thr ough o ut an d its

.
,

cres cen d o m o v e m e nt pr e par e s us f or a last extravaganc e of hyp e rb ol e I s this .

,

t h e straightf orward m e aning of Q t oo sta r t l ing ? I think n ot [This i ng e ni o us l y

, .

l abore d argu me nt is s uffi ci e nt l y answe red by B E E C H I NG w h o obse rv e s that i n ,

kee ping t h e Q t e xt w e g et n ot o n l y a st a rt l ing d e c l arati o n but ] a stat e m e nt

"
,

which i n n o way excuse s S h s n e g l ect of oth e r criti c s or a t t e rers as it p ro

.

f e sses t o d o And it is n ot t h e fact that l i ne 1 4 as am e nd e d m e re ly r e pe ats l ine 7

. .

That said simply Th e re is n o on e a l ive but y ou w h o can m ove m e this says

, ,

th e re is n o o n e alive but y ou
a climax and a su ffi ci e nt l y startling d ec la
, ,

rati on P O R TE R [again k e e ping t h e Q t ext : ] You a re s o str o ngly br ed i e

.
, . .
,
/

astir an d quick s o a l ive withi n my se ttl ed mi n d that i n c om pa r i s o n with

, , ,

what I think y o u a re a ll t h e wor l d be si d e s me thinks y ou a re d e ad

, , He , .

wh o is s o actua ll y a l i ve i n t h e wor ld s es t ee m i s d ea d t o eve ry on e c ompar ed t o

what h e is t o t h e poet .
 268 TH E S ONNE TS OF S HA K ES P E A R E [ CX I I I

1 13

S I NCE I le f t y ou , mi ne ey e is in my m i n d e ,

An d t h a t w h i ch g ouern es m e t o g oe a b ou t ,

D ot h p a r t h is f u n c t i on , a nd i s p a r t ly b li n d ,
S ee m es g b u t e ff e c t ua lly i s ou t :
s eei n ,

F or i t n o fo r m e d e li ue rs t o t h e h e a r t
Of b i rd o f o w r e o r s h a p e w h i ch i t d o t h la c k
, , ,

Of h i s q u i c k ob i ec t s h a t h t h e m i n d e n o p a r t ,

Nor h i s ow n e v i s i on b ou ld s w h a t i t d o t h c a t ch
F or i f i t S e e t h e r ud s t o r g e n t le s t s i gh t

,

Th e m os t s w e e t fa u or or d e f orm e d s t c r ea t ure -
,

Th e m o u n t a i n e or t h e s ea t h e d a y o r n i gh t , , ,

Th e C r oe o r D ou e i t S h a p e s t h e m t o y ou r fe a t ure
, , .

I n c a p a b le o f m ore re p l ea t w i t h y o u , ,

My m os t t r ue m i n d e t h us m a k e t h m i n e v n t rue .

I . l e ft] f elt Godwi n c onj .

6 . b ir d , of ] bi rds , or 1 6 40 , G S E
, , . owr e ] f lowers S
, E . lack ] la tch
C, M 2
, et c .

8 t h ] ta ke G
. ca c
2
.

s w e e t f a u or ] s weet f a vou r 1 6 40 G e t c ; s weet f a vour d D el c o nj

10 .
-
, , .
-
.

1 3 m or e r ep l ea t ] more r eplea t C S m r ple e G S et c

1 t 2 z
.
;, ore e , , , , , .

1 4 My ] Th y M c o nj [ with t h e r e st of t h e l in e u nchang e d ]
. . mak e th m in e ] .

ma k es m i n e ey e C M c o nj Gl R He r ; ma k eth my ey n e C o c o nj ; ma keth m ey e

, .
, , , .

C artwright ; ma k th mi n e ey e L e tt so m c onj ; ma k eth mi nd t ; ma k eth m i ne ey e

.

Kl y N , .

I S AAC [gr oups this and S 1 1 4 with th e r abse nc e so nne ts 7 th e 2 2 8

.
4 3 45 o , , ,

8 1 6 1 be l i e ving th e m a ll t o hav e b e e n addr e sse d t o a l a d y F o ll owing

4 , 5 5
0 , , .

S imps o n h e e mphasi z e s t h e R e naissanc e P lat o nism of t h e th e m e

, t h e i dea

of l ove i n abse nc e as d istinguish ed fr o m e y e l ov e i n t h e pr e se nc e of b e auty ;

,
-

an d c o mpar e s a so nn e t of Mich e l ange l o s i n which divine l ove answe rs t h e

poe t s q u e sti o n wh eth e r his l a d y is r e al l y as be autifu l as s h e see ms t o him

,

a n oth er of Pe trarch s ( Pt i S an d S pe n se r s 8 7 th

. , .

Ofwhich b e h ol ding t h e Id ea p l ain ,

Thr ough c ont e mplati o n of my pure st part ,

With l ight th e re of I d o myse l f sustai n ,

And th e r eon f e e d my l ove a ff a mi s h d h ea rt

-
.

( Arch i v , 6 1 : 41 9
c x 1 11 1 TH E S ONNETS OF S HA KE S P E AR E 2 69

I . TYL E R : C f 4 7 7B E E C H I NG : I t is not c l ea r wh eth e r S inc e I l eft y ou

.
,
8 .

refe rs t o a n ew and particu l ar abse nc e or t o t h e l ong i nt e rva l of se parati o n , .

3 part h i s f un cti on MAL ON E : P artly p e rf orms his ofc e [ B e tt e r its

. . .
,

E D ] D OWD E N

off i c e sinc e t h e pr o n o u n is d oubt le ss ne ut e r ; cf li n e 5
, . . .

D ivid e its functi o n H UD S O N : [Th e c o nt ext r e quire s t h e m e ani ng ] d e part fr o m

.
,

o r f orsake his functi o n R OL F E : P artly c o nrms t h e [ m e ani ng

.

WYND H AM : P e rhaps shar e hi s fu ncti o n with t h e mi n d ; b ut m ore pr obably

,

d e part aband o n C f R 2 I I I i 3 : Yo ur so u l s must part y our b odi e s

,

. . .
, , , .

B E E C H I NG : P e rf orms o nly part of its functi o n L E E : F orsak e P OR TE R : A . .

p l ay on t h e d i eren t shad e of se nse and t h e simi l ar so und o f part i n t h e

,

E li z a b e than se nse of d e part fr o m

an d a di v id e d sharing of t h e fu ncti o ns ,

of e y e an d mind .

5 6 L E E : C f S 53 Th e s e lin e s e xpan d P e trarch s b e autifu l C an z o n e 1 5

-
. . . .
,

h e ad e d I n ogni c o sa tr ova i l P oe ta l i m a g i n e di L aura wh e re t h e p oe t d e

t ect s his mistr e ss s f orm i n e v e ry asp ect of natur e

.

6 l a ck MAL ON E : Th e c orr e spo nding rhym e sh o ws that what I have n ow

. .

substitut e d was t h e auth or s word To la tch f orm e r l y signi e d t o l ay h old of

. .

Cf Macb I V iii 1 9 5
. .
, , ,

have words I
That w ou ld b e h ow l d out i n t h e d e se rt air

,

Wh e re h e aring sh ould n ot l atch th e m .

10 . f avor . S C H M I D T: F e atur e s
c o unt e nanc e , .

1 4 mi n e un tru e
. MAL O N E : I o nc e suspe ct e d that S h wr ot e m i n e ey e
. .

u ntru e Th y m ost tru e mi nd thus make th mi ne untru e B ut t h e t e xt

or , , .

i s und oubt e d l y right Th e w ord untru e is use d as a substantiv e

. Th e sin
.

c e ri t y of my aff e cti o n is t h e cause Of my u ntruth i e of my n ot see ing obj ect s , . .

,

trul y such as th e y appe ar t o t h e re st of mankind [ Cf M f or M I I iv 1 7 0 :

,
. . . .
, , ,

My fa l se o e rw e i g h s y our tru e ;
II i 1 0 1 :

This l ittl e abstract d oth , ,

c o ntain that larg e C OL L IE R : P o ss ibly w e o ught t o r e ad

. my e yn e t h e ,

pri nt e r having c o mp o se d t h e w ord fr o m h i s e a r [ B ut as Ma l o ne s i nt e r

.

p r e t a t i o n ] r e nd e rs an a l t e rati o n o f t h e anci e nt t e xt n ee dl e ss w e h e sitating l y ,

ad opt it WH I TE [ in h i s I s t e diti o n k ee ping t h e Q t e xt : ] Th e se mblanc e t h e

. , ,

ctiti ous ( and s o t h e false or u ntru e ) obj ect which is c o nstantly b e f o re m e .

[ I n his se c o n d e diti o n a d o pting T h e c orr e cti o n of a,

slight an d
e asily mad e typ ographica l e rr o r r e st or e s a n atura l se nse and give s an anti ,

th e tica l c o nc e it which is quit e i n S h s mann e r and which is i n kee pi n g with .

t h e c o ntinuati o n of t h e th o ught i n t h e n e xt s o nn e t B NI CH OL S ON . .

F eb 3 1 8 8 3 p 1 50 ) pr o p o se s t o r e a d

.
, , .

mi n e as mi en ; i e t h e Angl o . .
,

F r e nch mi ne gl osse d by C otgrav e as favo ur f e atur e o utward fac e

,
Sh , , . .

th e n says My min d m ost tru e t o y ou mak es t h e f e ature of any oth e r thing

, , ,

pre se nt e d t o it an u ntru e sh ow or an appe aranc e untru e t o itse lf He nds

,
.

an equiv oqu e of b oth se n s e s of t h e wor d in 1 34 3 and i n t h e P h ce n i x 8? Tu rtle , , ,

l ine 36 : E ith e r was t h e oth e r s mine I n this int e rpr e tati on of min e

.
,

Nich ol so n ha d b ee n anticipat ed by TS CH I S C H WI TZ in his trans l ati o n of ,

2 70 TH E S ONNE TS OF S HAK ES P E AR E [ c x 1 11

TYL E R : A t e mpting m e ndati o n has b e e n sugge st e d

e min d untru e B ut .

t h e se nse r e quir e d w o ul d rath e r see m t o b e that t h e mind mak e s t h e e y e s u n

tru e It is n ot e asy t o supp ose that mine wa s originally m e ye n e q u i v a
.

l e nt t o my e y e s and pr o n ounce d as on e syl l abl e I t is p e rhaps on t h e

, .
,

wh ol e b e st e ve n if this vi e w b e n ot quit e u n obj e cti o nabl e t o tak e u n tru e

, ,

,

as a substantive and t o tak e as t h e m e aning that t h e p oe t s mind tru e t o his

,

,

fri e nd cause s his u ntruthfu l ness

, ,cause s him t o b e u ntruthfu l t o t h e actua l
o bj e cts ar o u nd him WYND H AM : U ntru e is a substantive
.

B ut th e re is .

also a ph o n e tic sugg e sti o n o f min e
rn e yn e my e y e s [This is a p a rt i c

.

u la r ly fantastic applicati o n of Wyndham s curi o us b e l i e f that S h was i n t h e

.

habit of m e aning t w oor thre e quit e di ff e re nt things at t h e sam e tim e ED 1 . .

B U TL E R [ paraphrase s t h e l i n e : 1 Th e untruthfu l n e ss of my p e rc e pti o ns is cause d

b y t h e truthfu l n e ss of my a ff e cti o n f or y o u B E E C H I NG [ al s o f oll o ws Mal o n e s

.

int erpre tati o n ] WAL S H : P r obab l y t h e c o rr e ct r e ading f or min e is m e yn e

( my e y e s ) L E E : U ntru e may po ssibly b e use d l ike a n o un f or u ntruth

.
,

F air is r e p e at e d l y and tru e and false a r e occas i o nally

d e c e pti o n .
,

,

use d as sub stantive s Mod e rn e dit ors usua l ly substitut e min e e y e u m

.

tru e which see ms a pe rmi ssibl e change C f 1 1 4 3 : min e ey e saith tru e
,
.

.
, ,

and 1 0 4 1 2 : mine e y e may b e d ec e ived F or t h e like amb i guity i n similar

,

c ont e xt b e twee n mine and mine e y e s e e T G V I I iv 1 9 6 [ which

. . .
, , , ,

r e ads I S it min e or Val e ntin e s praise but f or which Wa r b ur t o n s r e ad i ng

,

,

has b ee n c o mm o nly acc e pt e d : Is it mine e y e or Val e nt i nus , [Th e

usua l d ef e nse of t h e Q t e xt see ms t o m e ve ry l am e Ma l o ne s paral l e l fr om .

M f or M fr e qu e nt l y r e pe at e d aft e r him is n o r e a l anal ogu e f or t h e sp e ech

. , ,

th e r e m e ans My false utt e rance o utwe ighs y o ur tru e utt e ranc e an d it is

,

this s ort of u s e of adj e ctive f or n oun which is of c o urse familiar e n o ugh I n t h e .

pr e s e nt l ine such a u s e wou ld r e quire that w e u nd e rstand mind t h e n oun

,

j ust use d aft e r tru e t o b e m e ant aft e r untru e

,

My tru e mi nd mak e s,

my mind u ntru e ( an d this is a p ossibl e m e aning if n ot a pr obabl e o n e )

, .

Again it d oe s n ot see m t o have b ee n su ffi ci e nt l y c o nsid e re d that e ve n if t o

, ,

u nd rstand untru as untruthfu l n ss we re natura l t h e state m e nt My

e

e

e

,

tru e min d ma ke s my untruthfu l n e ss wo u ld stil l b e d i ffi cult e n ough On t h e

.

o th e r hand t h e e m e ndati o n
,

mine e y e is r e adi l y d ef e ns i bl e : ( I ) It pr ovid e s

,

e xact l y t h e n e e d e d c o rr e spo nd e nc e with l in e 1 ; ( 2 ) t h e w ord may b e

ey e

th ught
o t o hav b n dr ppe d out e ith e r fr o m a re ading by t h e e a r as was
e ee o
,

sugge st e d by C olli e r or fr o m t h e natura l e rr or of a c opyist w h o had j ust e nd ed

,

a w or d with t h e l e tt e r e ; (3 ) if make th was in t h e origi na l t e xt its dis

,

syllabic charact e r wo u l d pr e ve nt t h e o missi o n of t h e word ey e fr om be ing

br ought t o att e nti o n or if we pre fe r t o supp ose that make s was rst w ritt e n
, ,
,

t h e l oss w o u l d natura ll y l e ad t o its b e ing chang e d t o t h e dissy ll abic f orm ;

( 4 ) t h e appare nt l y para ll e l e rr or i n t h e t e xt of T G V gives support t o t h e . . .

pl ausibility of t h e assum ed err or h ere ED ]

. .
CX I V ] TH E S ONNETS OF S HA KES P EAR E 2 7 1

1 14

OR w h e t h e r d o t h my m i n d e b e i n g crow n d wi t h

D r i n k e v p t h e m on a rk s p l a g ue t h i s a t t e ry ?
Or w h e t h e r s h a l l I S a y m i n e e i e s a i t h t r u e ,

An d t h a t y ou r lo ue t a u gh t i t t h i s Alcu mi e ?
To m a k e o f m on s t e rs a n d t h i n gs i n d i g e s t , ,

S u ch c h e r ub i n e s a s y ou r s w ee t s e lfe re s e mb le ,

C re a t i n g e ue ry b a d a pe r fe c t b e s t
AS fa s t a s ob i ec t s t o h i s b ea m e s a s s e mb le
Oh t i s t h e rs t t i s a t ry i n my s e e i n g , ,

An d my g re a t m i n d e m os t k i n gly d ri n k es i t v p ,

M i n e c i e w e l l kn o w e s w h a t wi t h h i s g us t i s gr ee i n g ,

An d t o h i s p a lla t d o t h p re p a r e t h e c u p .

I f i t b e p oi s on d t i s t h e l e s s e r s i n n e

, ,

Th a t m i n e e y e lo ue s i t a n d d o t h rs t b e g i n n e .

2 . th i s ] h i s E .

3 . sa ith ] s eeth an on c onj B ut

. .
, .

6 . ch e rub i n e s ] ch e ru bi ms G 2
, 8, E .

10 . m ost k i n g l y ] mos t ki ndly 1 6 40 , G S ; ki n dly E

, .

I I . gr e e in g]
g reei n g G , et c .
( e xce pt Dy , Hal R , , B u ll ) .

1 . Or Wh e th er . ABB OTT : Wh e th er is some tim e s use d aft e r or wh e r e w e

sh ould o mit on e of t h e t w o .

MAL ON E : Cf T 69 C I I iii 2 1 1 : H ow his si l e nc e d rinks up this

2 . . . .
, , ,

app l ause
.

in di g e s t S C H M I D T: C haotic f orm l e ss D OWD E N : Cf 2 H 6 V i 1 57

.
, . . .
, , ,

H e nc e h e ap of wrath f o u l ind i g e st e d lump

, , ,

As cr ooke d in thy mann ers as thy shape

6 ch erub i n es MAS S E Y : [ C f P r ospe r o t o Miranda :
. . O a ch e rubi n th o u .
,

wast that d id pr es e rve m e Tim o n of P hryn e F or al l h e r ch e rubin

,

No man is ca ll e d a ch e rubin by S h ( p . .

9 atr y i n m y s e e in g D OWD E N : Cf T N I v 32 8 :
. . Mine e y e t oo gr e at a . . .
, , ,

a t t ere r f or my min d

.

1 0 1 4 [Wa s this i mag e of t h e cup an d cup b e ar e r sugg e st e d by t h e casua l

.
-

phrasi ng of l in e 2 ? I t is possib l e of c ourse that it was i n mind fro m t h eb e gi n , ,

ning .ED ] .

1 1 h i s gu st MAL ON E : Th e tast e of my mind g r e e i n g R OL F E [ printing

. . . .
,

t h e f orm with out t h e sign of abbr e viati o n r e marks that it is a l s o f ou n d i n ,

2 7 2 TH E S ONNETS OF S HAKE S P EAR E [c x v
pr ose S e vera l e xamp l e s may b e f oun d i n N E D Th e o n l y such instanc e i n
.
. . .

Sh h owev e r is in t h e high l y c ol l oq uia l speech of Old Gob b o ( M V I I i i

.
, , . .
, , ,

ED .
1
13 . S TE E VE NS : Th e a ll usi on h e r e is to th e tast e r s to pri nc e s .

1 15

TH OS E li n e s t h a t I b e f ore h a u e w r i t d oe li e ,
E u en t h os e t h a t sai d I cou l d n ot loue y ou d e e re r
Ye t t h en my i ud g e m e n t k n e w n o r e a s on w h y ,

M y m o s t f ull a m e S h ou l d a f t e rw a r d s b u rn e c le e rer .

B u t r e c k e n i n g t i m e w h o s e m illi on d a cc i d e n t s ,

C r e e p e i n tw i xt v ow e s a n d ch a n g e d e c re es of Ki n gs , ,

Ta n s a c r e d b ea u t i e b lun t t h e s h a rp s t i n t e n t s ,

D i ue r t s t r on g m i u d e s t o t h c o u rs e o f a lt r i n g t h i n g s

A la s w h y fe a r i n g of t i m es t i ra n i e ,

M i gh t I n o t t h e n s a y n ow I l oue y ou b es t ,

Wh e n I w a s ce r t a i n e o r e i n c e r t a i n t y -
,

C row n i n g t h e p re s e n t d o ub t i n g o f t h e re s t ,

L o u e I S a B a b e t h e n m i gh t I n o t s a y s o ,

To g i ue f ull g row t h t o t h a t w h i ch s t i ll d o t h g row .

N E n en ] E

en S, E - .

J
O th e n ] wh en L .

l
'

U m i lli on d] mi lli on G S E , , .

Q i n ten ts ] i n ten t Wa [ e rr o r] .

to th to th e M, K t D e l D y , S t a , C l, C l, Kl y Ca m , D Ty Ox

O
O .
, , , o, R, t , , ,

B ut , H er , B e , N ; t th e C o ,

Wh l
, Hal .

10 . now b es t] Ita l ics by M A , , C0 3

, H u ; qu ot ed
2
by K t , Com , B , Hu i
,

D e l, Dy , S t a , C l, Gl, Wh , H a l Ca m , D , o, R , et c .

12 . re st r es t ? G , et c .

13 ] Ita l ics by B e
. n ot .

14 g r ow ] g r ow ? G S E M A K t C o B D
. .
, , , , , , , , e l, Hu, Dy , S t a , Cl C l , , Kl y ,

Wh Ha l Ca m D o R Ox H er N ( n ot Tu )
, , , , , , , .

12 . GR I FF I N : [Th e se l i n e s e vid e nt l y hav e r e f e re nc e ] t o a n o n -exist e nt s on

n et or so nn e ts S uch missing v e rse might , I think , n d a p l ac e aft e r 8 5
. .

( E ng . Wr i ters , 11:

4 . am e . D OWD E N : Cf . 1 09 , 2

5 . re ck eni n g . [Th e l oo se co nstructi o n h e re i s c onnect ed as S C H M I D T in d i ,

l ine mi lli on d S C H M I D T: Mi ll i onfol d [ See

cate s wi th th e fearing of
,

. .

ABB OTT S not e on m o uth ed

, 77,
c x v1 1 TH E S ONNETS OF S HAK ES P EAR E 2 73
8 MAS S E Y : Th e att e mpt of E sse x t o cr ea te a re v olut i o n or so m e gr eat
.

change is u nmistakably m e ant [ h e r e ] ( p

, [ Masse y e vid e ntly m i s u n d e r . .

st oo d t h e syntax oi t h e line B D ] TYL E R : F irm r e so l u ti o n s a r e cha n ged by

. .

a change of circu mstanc e s C f H a ml I I I 1 1 2 1 0 1 1 : . . .

, , ,

Thisw or ld is n ot f or a y e n or t is n ot strange ,

That e ve n o u r l ove s sh o uld with our f o rtun e s chang e .

11 -
12 . D OWD E N : Cf . 1 0 7, 7 .

13 . a B ab e . TYL E R : Th e poe t may have i n vi e w th e c o mm o n r epr e se nta

ti o ns of C upid
as a child .

1 4 g r ow
.
[ See t e xtua l n ot e s f or t h e punctuati on ] WYND H AM : [A mark of
.

int e rr o gati o n ] d e feats t h e se nse of t h e wh ol e so nn e t Th e i ctu s or str e ss o n .

n ot , line 1 3 ( cf t h e ictus o n th e n and n ow i n line 1 0 ) sh ows that t h e

, .

c oupl e t r efut e s t h e argu m e nt of t h e thir d qua t rain : it is a c o ntradicti o n n ot ,

a r e i t e rat e d int e rr ogative [ Wyndham h e re suppo rt s a so und c o nt e nti o n by

.

partly w orthl e ss e vid e nc e Th e ictus pr ove s nothing as it f o ll o ws t h e se nse ;

.
,

this B ee ch i ng take s care of by printing t h e word n ot i n italics E D ]

. .

B E E C H I NG : Wyndham has succ e ss fully vind i cat e d t h e Q full st o p at t h e e n d

o f t h e so nn e t [To this o ne w o u l d suppo se that R OL F E agr ee s as in his 2 d e di
.
,

ti o n h e paraphrase s t h e l ast wor d s of lin e 1 3 I o ught n ot t o have said s o ;

,

his t ext h ow ever stil l S h ows t h e int e rr ogati o n po int 1

, , .

LE T m e n ot to t h e m a rri a ge of t ru e m i n d es
A dm i t i m pe d i m e n t s lo ue i s , n ot l o ue
Wh i ch a l t e rs w h en i t a l te ra t i on n d e s ,

Or b e n d s w i t h t h e r e m ou e r to r e m o ue r

O no, it is a n e ue r xe d m a r ke
Th a t look e s on t e m pe s ts a n d i s n e ue r s h a ke n ;
It IS th e s ta r t o e ue r y w a n d r i n g b a r ke ,

Wh os e w o r th s l t h ough h i s b i g t h b e t a ke n
vnkn o w ne, a .

L o u S n o t Ti m e s f oole t h ou gh r o s i e li p s a n d ch e e k s

Wi t h i n h i s b e n d i n g s i c k l e s com pa s s e com e ,

L o u e a lt e r s n o t w i t h h i s b r ee f e h ou r e s a n d w ee k e s ,

B u t b e a r e s i t o u t e u c n t o t h e e dge O f d oo m e
I f t h i s b e e rr o r a n d V po n m e p ro ued ,

I n e ue r w ri t , n or n o man e ue r lo ued .

1 1 6 .
Q r e ads 1 19 .

8 . worth s ] n orth s

Wa l ker c onj .
; wi dth s

Brae c onj .
; orb s

Ki nnear c onj .
2 74 TH E S ONNETS OF S HAK ES P E AR E [C X VI
2 . impe di m e n ts D OWD EN : . l e mniz ati o n of Matrim ony i n
Cf . F orm of So
B ook f Com mon P ra y er :
o If any of y ou kn ow cause o j ust impe d im e nt etc r , .

B E E C H I NG : A pat e nt re f e r e nc e t o t h e language of t h e C hurch of E ng l an d mar

r i a g e se rvic e l ove i s n ot l ove S TE E VE NS : C f L ea r I i 2 4 1
. . .
, , ,

L o v e s n ot l ove

Wh e n it is mingl ed with r egards that stands

Al oof fr om th e e ntir e po int .

4 . r e m over v S C H M I D T [ no t e s that b oth words a re i ntra n sitive i n

to r emo e .

m e a ni ng ; h e paraphrase s r e m ove t o see k an oth e r ,

D OWD E N : Cf 2 5 .
,

1 31 4 [A c o mparis o n which sh o uld have saved D ow d e n fro m his m i s i n t e rp re

.

t a t i on of t h e latt e r passag e ED ] . .

5 xe d mark e MAL ON E : C f
. .Cor V i i i 7 4 : L ik e a gr e at s e a mark
. .
, , ,
-
,

standing e ve ry aw .

8 WYND H AM : C f D rayt o n I dea S

5 .
43.
, , .

d oth t h e p l owman gaz e t h e wand e ring star

So ,

And o nly r e st c o nt e nt e d with t h e light ;

That n e ve r le a r n d what c o nst e l lati o ns a re

B e y o nd t h e be nt of his u nkn owing sight .

[W yndham thinks this was sugg e st ed by S h s so nn e t (p H e e rr o n e .

. .

o u s ly says that it appe ar e d rst i n 1 6 1 9 ; in fact it was i n t h e P ems of 1 6 0 5 o .

E D ] L E E [vi e ws S hak e spe ar e as i n g e n e ra l t h e b o rr owe r fr o m D rayt o n but

.
, , ,

with o u t discussing this particular so nn e t ( L i fe p 1 1 0 n ) B E E C H I NG ( pp .

, . . .

1 7 39 ) suppo rts Wy n
dham s vi e w 1 S h s so nn ets wer e n ot print e d u nti l 1 6 0 9

3 : .
,

and this S o nne t of D ra y t o s appea re d i n 1 6 0 5; but f or a ll that if th e r e h as

n

,

bee n b orr o wing ( and t h e id e a at a tim e wh e n p l an etary i nu e nc e was sti ll

be li eve d in wo u l d ot have bee n r ec o ndit e ) I cannot h old with Mr F l eay and
n , .

Mr L ee that t h e b orr owe r is S h If th e re was b orr owing sur ely S h s MS

. .
, .

.

wo uld have be e n as acc e ssibl e t o D rayt o n as ( acc ording t o Mr L ee ) B rayt o n s .

was t o S h H ow e ve r this may b e so m e thing ve ry l ike t h e sam e id ea i n a pas

.
, ,

sage still m ore l ike t h e passa g e i n D rayt o n occurs in L L L I i 8 89 1 t h e , . . .

, , , ,

d at e of which cann ot b e subse qu e nt t o 1 59 8 :

Th e se arthly godfath e rs of h eave n s l ights
e

That give a nam e t o e v e ry x ed star

H av e n o m ore pr ot of th e ir shining nights
Than th o se that wa l k an d w ot n ot what th e y . a re .

[E L TON ( Mi ch a el D p 57 ) is d isp ose d t o agr ee with B ee ching On

ra y ton , 1 90 5 , . .

this matt e r s e e furth e r t h e n ot e s t o S 1 44 an d Appe ndix p .

, , .

8 P AL G RA V E : Wh ose st e ll ar inu e nc e is unkn o wn a l th o ugh his angular

.
,

a l titud e has bee n d e t e r m ine d I NG LE B Y : H uman virtu e is gure d [ i n J C

. . .
,

I I I i 6 0 6 1 ] u nd e r t h e tru e x d and r e sting qua l ity of t h e n o rth e rn star

-

- .
, ,

S ur e ly th e n t h e wort h spo k e n o f must b e con s ta n cy
, , Th e s ail o r must .

k n ow that t h e star has this w o rth or his l atitud e w o uld n ot d e pe nd upo n its ,

a l tit ud e ( Th e S oule Ara y ed p [A c rr sp n d nt f N & Q s ( h '

. o e o e o, 7 . t s 1 2 . .
, .
,
C X VI ] TH E S ONNETS OF S HAK ES P E AR E 2 75

) signi ng himse l f Bibli oth ecary pro pose s t o u nd e rstan d hight as fro m
24 ,

t h e o ld v e rb m e aning

pr o mise e t c th ough with e xact l y what signi canc e ,
.
,

h e r e h e d oe s n ot make plain Th e sugge sti o n led t o t h e t w o n ot e s that f oll ow ] . .

B NI C H OL S ON : On e s wh e reabo uts at s e a or at l e ast o ne s l atitud e is a s ce r

.

,

t a i n e d by taking t h e m e ridian h e ight of a c e l e stial b ody I n t h e S ta R eg . . .

I have see n t h e e ntry of a boo k giving t h e h e ights of t h e stars f or t h e m e ridian

of I suppo se Lo nd o n
, ( N 89 Q 6 t h S I :
, B C : Th e sail or in m e r e
. .
'
.
, .
, . .
,

r outine may take t h e a l titud e of t h e P o l e star wi th t h e ut m ost pains

, y et ,

kn o w n othing of its b e nign i nu e nc e s an d occult qualiti e s (i bi d p . .

, .

A E B RAE [ supp orts his e m e ndati o n

. . by t h e indisputab l e fact that

i t is t h e dir e ct o ppo sit e of h e ight and int e rpr e ts it t o m e an h ori z o ntal d e

,

v i a t i on or a z imuth ,

as i n t h e phrase t o g o wi d e (of t h e mark et c ; cf

, , . .

( L i ppi n cott s Ma g 1 9 : D OWD E N : S ch mi dt e xplai ns u n

'
1 40 , .
,

kn own h er e as in e xpre ssib l e i ncalcu l ab l e imm e nse Th e passage see ms

, , .

t o m e an

As t h e star ove r an d ab ove what can b e asc e rtained c o nc e rning
, ,

it f or o ur guidanc e at s ea has u nkno wabl e occult virt u e and in ue nc e s o , ,

l ove be sid e its po we r of guiding us has incalculabl e pot e nci e s This int e r
,

, .

p r e t a t i o n is c o nrm e d by t h e n e xt so nn e t i n which t h e sim il e of sailing at ,

[ C f e spe cial l y 1 1 7 it sh o ul d b e ob

s e a is intr od uc e d H e ight

. .
, ,

se rv ed was use d by E li z ab e than writ e rs i n t h e se nse of valu e an d t h e word

, ,

may b e use d h e r e in a d o ubl e se nse a lti tud e (of t h e star ) and value ( of l ove ) , .

KI NN E AR : See H a c k luy t Voy a ges I I I 39 3 ( R ichard s o n Wh e r e hav

, , , ,

ing take n t h e h e ight of t h e po l e star th e y f ou nd th e mse lve s t o b e i n 3 7 -

,

d egr ee s and of n o rth e r l y l atitu d e

( Cru ces p TYL E R [ thin ks t h e .
, .

r ef e r e nc e is sti ll t o t h e l i ght h ouse of l in e 5 ; a star o nly gurative l y ] VE R

-

I TY : [ P e rhaps w ort h may b e take n li t e ra lly zl Th e h e i ght a l titud e oi t h e

,
.

star is kn own ; but w h o can t e l l what rich e s it c o ntains ? WYND H AM : A m y s t i

cal asse rti o n that as t h e u nkn own worth and occult in u e nc e of a star is in
,

e xc e ss of t h e practica l se rvic e it aff ords t o marin e rs s o has l ov e an e t e rna l ,

valu e imm e asurably sup e ri o r t o t h e accid e nts of tim e .

9 Tim e s too l e MAL ON E : I H 4 V iv 8 1 : Th o ught s t h e slave of life

. .
.
, , , ,

and l if e tim e s fool S C H M I D T: Mad e a spo rt of by tim e TYL E R : Cf M f or M

. . .

Th o u art D e ath s foo l ; R 81 J I I I i 1 4 1 : I am f o rtun e s fool

I II i 1 1 :

-
, , . .
, , , .

1 2 4, I 3 . ED .
]
s i ckl e s C f 1 2 1 3 ; 6 0 1 2 ; 1 0 0 1 4 ;
. .
, , , 1 2 3, 1 4 ; 1 2 6 , 2 .

12 . MAL ON E : Cf A W I I I iii 5 6 . . .
, , ,
-

We l l strive t o be ar it

f or yo ur wo rthy sake
To t h e e xtr e m e edge of haz ard .

H E N R Y R E E D : If this so nn e t was writt e n b e f ore dramas th e n it was ,

t h e pr e gnant th o ught fr o m which w e r e d e stin e d t o spring th o se inimitab l e cr e a

t i o ns o f f e mal e charact e r that have b ee n l ove d as if th e y we r e l iving b e ings by , ,

th o usands If as is m ost pr obab l e it was writt e n aft e rwards it is S h s ow n

.
, , , .

c o mm e nt and might b e pr e xe d as a m ost appo sit e m ott o t o th o se dramas i n

,

w hich h e has giv e n l if e an d m oti o n t o t h e c o nc e pti o n ( L ectu res 2 : .

,
2 76 TH E S ONNETS OF S HAK E S P E AR E
GOLL AN CZ : No l ong i nt e rva l c ou ld have se parat ed R 6 J an d [this sonne t ] . 9

.
,

t h e poe t s e pitaph f or t h e g ol d e n t o mb raise d t o t h e l ov e rs by th e ir l ove l e ss ki n

'
,

t h e v e ry e pit o m e of al l t h e so ngs and st ori e s of r o mantic passi o n that w e

have h e ard or r ead ( I ntr o p xii ) H E RF ORD : [This so nn e t ] is t h e int el l e ctua l
. .
, . .

f ocus of t h e e ntire se ri e s ( I ntr o p [ I n l ike mann e r i n my i ntr o ducti o n

. .
, .
,

t o t h e Tud o r e diti o n I hav e ca l l e d S 1 1 6 t h e

, th e matic t e rminus of t h e c ol .

l ecti on . ED ] .

1 17

A CC U S E m e t h u s h a t I h a u e s c a n t ed a ll , t ,

Wh e r e i n I s h ou l d y ou r g re a t d es e r t s re p a y ,

For g o t v p on you r d e a r e s t loue t o ca l l ,

Wh e r e t o a l b on d s d o t i e m e d a y b y d a y ,

Th a t I h a u e f r e q ue n t b i n n e w i t h v n k n ow n m i u d e s ,

An d g i u e n t o t i m e y o u r ow n e d e a re p u r c h a s d r i gh t

Th a t I h a u e h oy s t e d s a i l e t o a l t h e w i n d e s
Wh i ch s h ould t r a n s p or t m e fa r t h e s t fro m you r s i gh t .

B oo k e b o t h my w i lf uln e s s e a n d e rr ors d ow n e ,

An d on i u s t p r oo f e s u rm i s e a c c um i la t e , ,

B r i n g m e w i t h i n t h e le ue l o f y o u r f r ow n e ,

B u t S h oo t e n o t a t m e i n y o u r w a ke n e d h a t e
S i n c e my a p p e a le s a i e s I d i d s t ri ue t o p rooue
Th e c on s t a n cy a n d v i r t ue o f yo u r lo ue

6 . ti me ] th em S t a c nj B ut
o .
, . d e are pur ch as

d ] H yph e n ed b y S I , M , et c .

7 . l ] s a i ls G S E
s ai e
2
,
2
, .

8 . f a rth e st] f urth es t Ox .

9 . e rr ors ] err ou r 1 6 40 ; error G S E , , .

10 .
p r o of e s u rm i s e 1 proof s u r mi s e M A B Ty ; pr oof s u r mi s e K t
, , , , , , Co D , e l,

Hu , D y S t a Cl Gl K ly Wh C a m D o R Ox Wy e t c
, , , , , , , , , , , .

13 . I di d ] I d i d n ot B .

WAL S H [ plac e s this s o nne t b e twee n 1 09 and 1 10 , with which it is nat ural l y
al l i ed i n th e m e ]
I . s can e d t . S C H M1D T: Aff o r ded sparing l y .

4 . MAL ON E : Cf R . . 2 , IV, i , 76 77
-

Th e r e is m y bo nd of faith ,

To t i e th ee to my str o ng c o rr ecti o n .

5 fr e
. quen t . S C H M1 D T: C o nv e rsant , i ntimat e un k n own mi n d e s S C H MI D T . .

Mind s such as I sh o uld be asham e d t o m e nti on D OWD E N : P e rsons wh o may .

C X VI I ] TH E S ONNE TS OF S HAK E S P E AR E 2 77
n ot be kn own bscure p e rso ns B E E CH I NG : P eop l e of n o i nt e r e st or i mpo r
, or o .

tanc e [ Cf R 3 I ii 2 1 8 : F or divers unkno wn r e aso ns which S chmidt i nt e r

. . .
, , , ,

p r e t s as r e a s o ns such as I must n ot t e ll b ut which B ee ching take s si mply

,

as insignicant

6 ti m e D OWD E N : S oci e ty t h e w orld ; cf 7 0 6 Or giv e n away t o t e mp o

. .
, .
, .
,

rary occasi o n what is y o ur pr o pe rty and th e re f ore an h e ir l o o m f or e t e rnity .

TYL E R [ is disp o se d t o favor S taunt o n s pr o po se d e m e ndati on

WYND
H AM : Tim e is t h e pe rso ni e d obj e ct of t h e wh o l e argu m e nt ( 1 and a p
pe ars as such i n t h e t w o pr e ce ding so nn ets ( 1 1 5 9 and 1 1 6 [ S e e t h e n ot e s
, ,

o n t h e sam e w ord in 7 0 6 e spe cial l y B E E C H I NG S f o r his i nt e rpr e tati o n h e r e ]

, , , .

P O RTE R : Th o se e m oti o ns that had o n l y transi e nt w o rth and t e mp orary c l a i m

up o n him d e ar e pur ch a s d TYL E R : Th o ugh it is n ot p l e asant t o attach a
.

.

mat e rial signicat i o n t o th e se words y et taking int o acc o unt what is r e c o rd e d

, ,

of L o rd P e mbr o k e s l ib e rality t o wards m e n of g e nius it see ms n ot unlik e ly

that th e re is an al l usi o n t o pre vi o us pr e se nts .

9
1 0 B E E
. C H I NG [ cit e s th e s e lin e s and l in s
e 9
1 0 in t h e f ol l o wing s o nn e t as
, ,

e xamp l e s of an abstract way of writing charact e ristic of t h e pe ri od of T 83 C

.
, .

( I ntr o p .
, .

1 1 l eve l S C H M1D T: D ir ecti on [of a weapo n ] WYND HAM : Cf L C 2 2

. . . . . .
,

L ev e l d e y e s

.
2 78 TH E S ONNETS OF S HAK ES P E AR E [ C X VI I I

1 18

LI KE m a ke ou r a pp e t i tes m ore ke en e
as to

Wi t h e a ge r com poun d s w e our p a lla t vrg e ,

As t o p re u e n t o ur m a lla d i e s v n s een e ,

We s i c ke n h u n s i c k n e s s e w h e n w e p ur g e
to s .

E u e n s o b e i n g f u ll o f y o u r n e r e cloy i n g S w e e t n es s e ,

To b i t t e r s a w c e s d i d I f ra m e my f e e d i n g ;
An d s i c ke o f w e l fa r e fo u n d a k i n d o f m e e t n e s s e

-
,

To b e d i s ea s d e r e t h a t t h e re w a s t r ue n ee d i n g

.

Th us p o l l i c i e i n loue t a n t i c i p a t e

Th e i ll s t h a t w e re n o t g r e w t o fa u lt s a s s u re d
, ,

An d b ro u gh t t o m e d i c i n e a h e a l t hf ul] s t a t e
Wh i ch ra n c ke o f g ood n e s s e w o u ld b y i ll b e c u red .

B u t t h e n c e I le a r n e a n d n d t h e l e s s o n t r ue ,

D r u g s p o y s o n h i m t h a t s o f e l l s i c ke o f y o u .

I . to m ak e ] our y ou ma k e y ou r G
2
, 5 2
, E .

r c l oy i ng ] G, S , E ; r cloy i n g Th

5 . ne e n ea re cloy i n g 1 6 40 ; n ea r cloy i ng ne e -

c onj .
, C, M , et c .

7 . m e e tn e s s e ] m eek n es s G 2
, 5 2
, E .

8 . th e r e wa s tru e ] th a t wa s truly G 2
.

9 . t

a n ti ci pa te ] to a n ti ci pa te C , M A Kt B , , , , D el, Dy , S t a , C l, Gl, Kl y , C a m,
D o, R , Ty , Ox , B ut , H er B e N
, , .

10 . w er e , n ot ] were n ot, G , et c .

2 ag e r S TE E VE NS : S o ur tart
. e . , .

5 n e
. r e c l oy i n g W A L S H : C f A 69 .C I I 11 2 4 1 4 3 . .

, ,
-

Oth e r w o m e n c l o y
Th e appe tit e s th e y f ee d b ut s h e make s h ungry ,

Wh e re m ost s h e satis e s .

8 KRAU S S : C f S idn e y Ar ca di a
5 . .
,

L ik e th o s e sick f e ll o ws i n wh o m strange hum ours fl ow , ,

C a n tast e n o swe e ts t h e s o ur o n l y p l e ase ,

.

Bitt e r gri e fs tast e me b e st pai n is my c a s e , ,

S ick t o t h e d e ath sti ll l oving my dise a s e ,

.

( J a h rb .
, 16:

9 .
pol lici e D OWD E N : P ru d e nt manage m e nt of aff airs
. .

10 . Miss P OR TE R [a l on e wo uld k e e p t h e c o mma aft e r we r e

Th e i ll s that
"
we r e d i d not have t h e chanc e t o gr ow t o fa ul ts assured .
Cx 1x 1 TH E S ONNETS OF S HAK ES P E AR E 2 79
12 . r an ck e . S TE E VE NS : Cf . A 83 C . .
, V , 11 , 212 : Ran k of gr oss di e t .

SC H M I D T: S ick (of hyp e rtr ophy ) .

MAS S E Y : [With this l anguage of a r e pe ntant l ove r cf M N . . . D IV, i , 1 77

B ut l ike a sickn e ss did I l oath e this f ood ;

B ut as i n h e alth c om e t o my nat ura l tast e
, , ,

Now I d o wish it l ove it l ong f or it , , .

1 19

WHAT pot i on h a ue s I d run k e o f S y ren t ea re s

f ro m Ly m b e c k s fou le a s h e l l w i t h i n
D i s ti l d

A pp ly i n g f e a re s t o h op e s a n d h op e s t o f e a re s , ,

S t i l l loos i n g w h e n I s a w my s e lf e t o w i n ?
Wh a t w r e t ch e d e rrors h a t h my h e a r t comm i t t ed ,

Wh i ls t i t h a t h t h ou gh t i t s e lfe s o b l e s s e d n e u er ?
H ow h a u e m i n e e i es ou t o f t h e i r S p h e a re s b e n e t t e d
I n t h e d i s t ra c t i on o f t h i s m a d d i n g fe ue r ?

O b e n e t O f i ll n ow I n d t r u e ,

Th a t b e t te r i s b y c ui l s t i l l m a d e b e t t e r
, .

An d r a i n d lo ue w h e n i t i s b u i lt a n ew

Grow e s f a i re r t h e n a t rs t m o re s t ron g f a r g re a t e r , , .

S O I r e t u rn e re b uk t t o my c on t e n t ,

An d g a i n e b y i ll s t h ri s e m ore t h e n I h a ue s pen t .

1 . ti on s ] poti on G 2
po .

4 l oo s i n g ] los i n g G e t c
.
, .

7 S ph e a r e s ] s ph ere G
.
2
. b en e tt e d ] been f li tted Lett so m c onj .
, Masse y
c o nj ; e en i tted H u c o nj
.

.

I3 . r e b uk t ] r e bu k e 1 6 40 , G , S , E .

14 . ill s ] i ll M A Kt C o B D
, , , , , e l, Hu, Dy , S t a , C l, Gl, Kl y Wh , , Ha l C a m , ,

R , Ox , Wy , B ut H e r B ull Wa
, , , .

TYL E R : It is pr obabl e that w e a re h er e br ought c l ose to th e cause s of th e

scand a l to which 1 1 2 and 1 2 1 r e l at e .

I . B E E C H I NG : Th e sire n wo ul d se e m t o b e t h e l ady o f t h e sonnets

S y r en .

[ at t h e e n d of t h e c ol l e cti o n ] R OL F E : Th e wily t e ars of se ductiv e wo m e n

.
.

L E E : [This e x ordium ] a d o pts e xpr e ssi o ns i n Barn e s s vitup e rativ e s on

-
1 2 .

n et ( No wh e r e aft e r d e nouncing his mistr es s as a s ir e n t h e p oet i n co

.
,

,
2 80 TH E S ONNE TS OF S HAK E S P E AR E [ CX I X

h ere n t ly e j acu l at e s : F r om my l ov e s l imb e ck [ have I ] sti ll sti ll e d t e ars !

( Lif e ,

p . 1 52 n .
)
2 . Lym b e ck s . S C H M I D T: Al e mbics stil l s , . f ou le as h el l . TYL E R : C f . 1 31 , 13

and 1 47 , 1 4 .

4 . D OWD E N : E ith e r
l osing in t h e ve ry m om e nt of vict ory or gaining ,

vict ori e s ( of oth e r l ove s than th o se of his fri e nd ) which w e r e ind ee d but l osse s .

B E E CH I NG : Th e c o ntrast of l i ne 5 with l ine 6 sh ows that t h e l att e r is t h e m ore

pr obabl e se nse .

7 tt e d MAL O N E : C o nvu l se d d uring t h e frantic ts o f my f e v e r o us l ove

. . .

[ Cf Ma cb I I I iv 2 1 : Th e n c o m e s my t S TE E VE NS : We m e e t i n

. .
, , ,

H a mlet [ I v 1 7 ] t h e sam e image as h e r e : Make thy t w o e y e s lik e stars start

, , , ,

fr o m th e ir sph e re s S TAUN TO N : S tart e d as by paroxy sms [ H e c o mpare s
.
, .

P er I I i 58 .
,

I f it b e a day ts y o u appar e nt l y u nd e rstanding ts in a
, , ,

,

c ognat e se nse ] S C H M I D T: Worke d by par oxysms D OWD E N : S tart e d fro m th e ir .

h oll ows i n t h e f e ve r ts of my dise ase [Th e N E D acc e pts this traditi o na l . . . .

g l oss with o ut n oting any para ll e l ] MAS S E Y : [ This] must I appr e h e nd b e a

,
.
, ,

mispri nt f or i t t ed t h e wor d that ab ove al l oth e rs signi e d a m oving

,

, ,

or r em ova l t o t h e S c o tch mi nd C f F airfax s Tasso ( 5

Alas that

.
, ,

cannot b e f or h e is it o ut of this camp ,

P utt e nham cal l s t h e gur e m e .

ta s ta s i s t h e itting gure or t h e R e m ov e Th e m e aning of t h e lin e is h ow , .
,

have my e y e s b ee n m ove d out of th e ir sph er e s C f Cy m b V v 3 7 1 : Aft e r

. . .
, , ,

this st range starting fr o m y o ur orbs (p H UD S ON : I str o ngly suspe ct . .

e e n i tt e d


This w o ul d give us so m e thi ng ve ry l ik e a passage i n L u
.

c rece [ l in e Wh o angry that t h e e ye s y fro m th e ir l ights WYND H AM

, .

Fi t

so m e ti m e s a sudd e n e missi o n C f C ol e ri d g e : A t o ngu e of l ight

. .
,

[ Ma l o n e s int e rpre tati o n is suppo rt e d by a l in e n ot ed by

a t of am e .

Mr H OR ACE D AV I S i n B arne s s P a rth en oph i l 2 d Mad rig a l : I f or th ee f eve r

.

,

,

s c orch e d y e t th o u sti ll ,

8 ma d di n g f e ve r TYL E R : C f 1 4 7 1 91 0
. . .
, ,

10 MC CL UMP HA: C f R 69 J I ii 4 6 49 : One re burns out anoth e r s

. . .

.
, , ,

burni ng et c , .

11 D OWD E N : Not e t h e i ntroducti o n of t h e m e taph or of r ebuilt l ove reap

. ,

pe aring i n l at er so nn e t s C f C of E I I I ii 4 : S ha ll l ove in building grow

. . .
, , , ,

s o ruinat e an d A 89 C I I I ii 2 9 3o z Th e c e m e nt of our l ov e t o kee p i t

.
'
, ,
-r
,

buil d e d [The se para ll e l s had b ee n n ot e d by MAL ONE ]

.

F U R N I VALL : [This d octrin e] was also put int o Te nnys o n s P ri n ces s

1 1 12

. ,

i n its Bl e ssings o n t h e fal l ing out that a ll t h e m or e e nd e ars ; but was right l y

-
,

tak e n out again ( I ntr o p l xv ) . .

, . .

[Th e a l t e rati o n t o i ll is d e fe n d ed by so m e ed it ors by a r e f e re nc e

1 4 i ll s

. ,
.
,

t o l in e

MAS S E Y : Th e c o nfe ssi on [ ma d e i n this so nn e t ] can o n l y hav e b ee n mad e to

a w oman It wo u ld hav e no m e aning fr om a man t o a man ( p

. . .
c xx ] TH E S ONNETS OF S HAK ES P E AR E 2 81

1 20

THAT y ou we re on e v n k i n d c b e -f r i e n d s m ee n ow ,

An d f or t h a t s orrow , w h i ch I t h e n d i d d e f ee le ,

Nee d e s m u s t I gr es s i on b ow vnder my t ra n s ,

a e s s e my Ne r n es w e re b ra s s e o r h a mm e re d s t e e le .

F or i f y o u w e re b y my vn ki n d n e s s e s h a ke n
As I b y y ou rs y h a ue p a s t a h e l l o f Ti m e

, ,

An d I a t y ra n t h a u e no lea s u re t a ke n
To w a i gh h ow ff e re d i n your c ri m e
on ce I su .

0 t h a t o u r n i gh t o f w o m i gh t h a u e r e m e m b red
My d ee p e s t s e n c e h ow h a r d t ru e s orrow h i t s , ,

An d s oon e t o y o u a s y o u t o m e t h e n t e n d re d ,

Th e h u m b l e s a l u e w h i ch w o u n d e d b os om e s t s ! ,

B u t t h a t y o u r t r e s p a s s e n ow b e c om e s a f e e ,

M i n e r a n s om s y o u r s a n d y o u r s m u s t ra n s o m e , m ee .

6 .
y h

au e ] y ou h a ve C , M A Kt , , , Co , B , D el
l az
, Kl y Wh ,
l
, H a l; y ou

ve H u,
Dy , S t a , C l, C l, C a m , D el
3
, D o, R, t , Ox , B ut , Her B e N, , .

7 . ty ran t ] trua n t S t a c onj .

9 . our ] s ou r Sta c o nj .
; one or y ou r Be c onj .

1 1 . s oon e ] s h a me S t a c o nj . m e th en ] me th en C , , M A Kt
, , , Co , B , Hul D , el,

D y l
, C l, Gl, Kl y Wh , , H al Ca m , D , o, R , Ox , Wy , H er , N, Wa ; me th en Wa l ker ,

c onj .
, Sta , D y B ut B e B u l l
2
, Hu z
, , , .

12 . b os om e s ] b os om M 1
.

13 . th a t b e com e s ] let becom e Masse y c o nj .

C f S o nn e ts 343 5
.
, and not e .

1 . on ce unk i n d . WAL S H :
is m e nti o ned i n 1 39 2 ( wh er e Th y u nkindn ess

, ,

h owe ve r it see ms t o b e ge n e ral ) and thy tre spass in 3 5 6 Th e pr e se nt l in e

,

, , .

may r efe r t o o n e of th e se or t o t h e c l ou d i n 33 an d 34 or t o t h e quarr e l i n

, , ,

57 and 58 or t o so m e thing e l se
, .

4 Ne rve s [ I n thi s c o nte xt it is pe rhaps pru d e nt t o reca ll that n e rv e s f or

. .

S h m eant sin e ws or muscu l ar stre n g th ; t h e physica l gur e of

. b ow is con
tinn ed ED ] . .

5 6 F UR NI VALL : C f C ol e ridg e [ Ch ri s ta bel]
. .

An d t o b e wr oth with one we l ove

D oth work l ik e mad ne ss i n t h e brain .

( I ntro p .
, . lxv ) .
2 82 TH E S ONNETS OF S HAK ES P E AR E [c xx
6 . a h e ll of Tim e MAL ON E : . C f oth
. .
, III, iii , 1 69 - 70
B ut 0 what damne d minut e s t ells h e o er
,

Wh o d ot e s y et d oubts susp ects y e t sound l y l ove s !

, , ,

An d L u crece , An d that d ee p t ort ur e may b e c a ll d a h e ll

12 87 :

.

9 . ou r n ight T Y L E R : O n that f o
. rm e r occasi o n T h e e xpr e ssi o n night of .

w oe m a y b e m e taph oric al th ough it is of c o urse p o ss ibl e that r e f e r e nc e may

, , ,

b e mad e t o so m e particular night WYND HAM : C l e arly r e f e rs t o so m e o n e occa .

si o n of gr e at S orr o w we ll kn own t o t h e fri e n d and t o t h e p oe t which t h e fri e nd

,
-
,

o nc e cause d by his crim e but f or which h e S oo n t e nd e r e d t h e tting

,

sa l ve B E E C H I NG : [ Th e r e ading our ] is i mp ossib l e as it sp oi l s t h e antith e sis

.

,

of

y o u

and
m e which ru ns all thr o ugh t
,
h e so nn e t E m e ndati o n is d i ffi .

cult b e cause i t is unc e rtai n wh e th e r that is d e m o nstrative or c o nj u nctive

.

I inc l in e t o t h e f orm e r supp ositi o n as t h e e ff e ct of t h e lin e see ms purp ose ly ,

r e p e at e d b e l ow i n l in e 1 3 an d if s o w e may acc e pt S taunt o n s c onj ectur e of

, , ,

s o ur or r e a d one ( fr om t h e onc e i n t h e pr e c e ding l i n e ) If that is a

,

.

c o nj uncti on I c an o n l y sugge st your f or our and supp ose that t h e p oet

,

,

m e ans Wo u l d that i n so m e mystica l way y our night of w oe had c o mmuni

,

c a t e d itse l f t o my d ee pe st ( sub l imina l ) se nse and r e mind e d it et c R OL F E , , .

P r obably m etaph orica l ( that d ark and w ofu l tim e ) r e m e mb r e d MAL O N E . .

C f R 2 I I I iv 1 4 :
. .
,

It d oth r e m e mb er me t h e m ore of so rr ow
, , .

I o d e e p e st s e n c e H UD S ON : As H am l e t e xpr e sse s it my h e art of h e art

. .
, .

11 m e th e n WAL K E R : S ur e l y t h e se nse r eq uir e s [t h e punctuati o n

. .

me
th e n , [Th e rhythm is sur e ly m or e agr e e ab l e if on e can nd it satis
fact ory t o put t h e c o mma aft e r m e ; b ut in 2 2 1 0 w e hav e a simi l ar l ogica l

,

pause aft e r t h e e l ev e nth sy ll ab l e ED ] . .

12 s a l ve
. D OWD E N : C f 34 7
. .
, .

1 3 a f e e TYLE R : S o m e thing which I can off e r as a paym e nt an d ranso m

. .

f or my o w n off e nc e .

[ See B RAD Y n ot e at th e e n d of

LE S S .
 C XX I ] TH E S ONNETS OF S HA KES P EAR E ~

2 83

TI S b e t te r to b e v i le t h e n v i le e s t ee m ed ,

Wh e n n ot to be , ch of b e i n g
r e ce i ue s r e p roa ,

An d t h e i us t p l e a s u re los t w h i ch i s s o d ee m ed , ,

No t b y ou r fe e l i n g b u t b y o t h e rs s ee i n g , .

F o r w h y s h o uld o t h e rs fa l s e a d u lte ra t e ye s

Gi ue s a l u t a t i on t o my s po r t i n e b lood ?
Or on my f ra i l t i e s w h y a r e f r a i l e r s p i e s ;
Wh i ch i n t h e i r w i l s coun t b a d w h a t I t h i n k good ?
.

Noe I a m t h a t I a m a n d t h e y t h a t le ue ll
, ,

At my a b us e s re c kon v p t h e i r ow n e
, ,

I m a y b e s t ra i gh t t h ough t h e y t h e m s elues b e b e ue l -

B y t h e i r ra n c ke th ou g h t e s my d e ed e s m us t n o t b e S h ow n
'

a e s s e t h i s ge n e ra l l e u i ll t h e y m a i n t a i n e ,

All m e n a r e b a d a n d i n t h e i r b a d n e s s e rai g n e .

1 . vi el e st eem e d ] H yph e n e d by Wa l ke r c o nj .
, D e l, S ta H u ,

.

pl e as ur e ] plea s ure

3 . s S .

5 . fal s e a dultera t ] H yph e n e d by Walke r c onj .

, Sta , D y z
, Hu z
:

14 . All r ai gn e ] Italics by B e . t ei gn e ] f ei gn B ut .

J ORD AN : [This so nne t ] see ms t o me t o i ndicat e that a l r eady t h e poe t ha d

l earn e d that th e re we re i n circulati o n unworthy suspici ons such as t h e so nn ets
hav e fr equ e ntly ar ouse d am o ng l at e r critics I S AAC : No on e is dir ect l y a d .

dr e sse d : it is a so l i l oquy o f t h e poe t in wh i ch h e make s l i ght of t h e s l and e rs

,

of e vi l m e n a n d mak e s himse lf tranquil R e garding t h e natur e of t h e sland e rs .

we ca n r e ach t h e ge n e ra l c o ncl usi o n fr o m t h e w ord s adult e rat e eye s that

, ,

it had so me r e lati o n t o g a la n teri e Our kn ow l ed ge g oe s n o furt h e r ( Arch i v

. .
,

59 : [ S e e TYL E R S n ot e on 1 1

2 ,

3 4 . D OWD E N And l egitimat e p l easure l ost which is d ee m ed vi l e n ot
: th e , ,

by us w h o x pe ri e nc e it but by oth ers w h o l ook on an d c o nd e mn WYND H AM :

e , .

A d t h e l awfu l pl e asur e l ost which is j udged vi l e fr o m t h e p o int of Vi e w of

n ,

oth e rs and n ot fr o m any se nse of sha m e o n our part B E E C H I NG : Th e poor er .

by a p l e asur e which is t h e vi l e n e ss th e y m ean th o ugh mayb e w e sh o u l d n ot

, , , ,

so r eck on it .

6 Gi ve s a l uta ti on I S AAC : I b e li e ve that we must g o back t o t h e o ld Ger

. .

manic signicanc e oi this v erb which appears i n M H G g r uoz and stil l ,

. . .

i n t h e E ng l ish gr ee t i n S h i e meet i n an opti o nal se nse e ith er fri e ndl y or

.
, . .
, ,
 TH E S ONNETS OH S HAK E S P EAR E [c xx 1
-

2 84

h ostil e ; 1 t is t h e wh ol e charact e r of t h e m ee ting in which is r e e ct e d t h e i m ,

pre ssi o n which t h e o n e g reeted has mad e up o n t h e on e g reeti n g [ Cf T 69 C . . .

.

I I I i i i 1 0 8 : E y e t o e y e o pp o se d S alut e s e a c h o th e r with e ach oth e r s f orm

, ,

wh e re th e re is t h e sam e m eaning as h e r e v i z
r e e cts t h e impr e ssi o n which , .
,

has b ee n mad e on t h e o n e sa l uting and which in this case is indicat ed by t h e

,

w or d ad u l t erat e

Th e translati o n of J ordan is e xc e l l e nt
.

D es Lii s t li n g s Auge gr i i s s t mit frech e m H ohn e

I n mir ei n ihm ve rw andt e s wi l d e s B l ut .

( Arch i v , 59 :

SC H M I D T: Aff ect i n any mann e r ( gratify or mortify ) [ Cf H 8 I I iii 1 0 3 . . .

, ,

Wou l d I had n o b e ing if this salut e my b l ood a j ot ; and gr ee t i n P er IV

,

.
, ,

iii 38 : It greets m as an e nt e rprise of

, TYL E R : Tak e acc o unt of
e

and criticise H E RF OR D : Aff e ct stir B E E C H I NG : Aff ect stir and s o inf e ct

.
, .
, , .

LE E : S tir ( by gr e e ting )
stimulat e [ It is evid e nt that t h e int e rpr e tati o n of
or .

t h e phrase h e r e is l arg e l y a matt e r of gu e ss w ork What w e sh ould e xp ect -

.

w ou l d b e so m e thing l ike pass j udgm e nt on or i nt e rpre t i n an unfri e ndly

mann e r ; but ne ith e r of th e se m eanings app e ars t o b e warrant e d by what is

said I cannot nd t h e m e aning stir or a ff ect p l ausib l e ; f or it is n ot a

.

qu e sti o n of t h e writ e r s se nsua l nature be ing stirr ed or a ff e ct e d by his critics ;

stil l l e ss can I u nd e rstand B eeching s i n f ect

I saac s r eading se ems r e ally
.

m ore rati o nal than that of any l at e r c o mm e ntat or th ough th e re is n o n ee d t o ,

r e ach t h e int e rpre tati o n by s o c omp l icat ed a l inguistic pr oc e ss S a l ut e f or

.
,

S h c o mm on l y m e ant t h e giving of an e mphatic gr ee ting appr o priat e t o t h e

.
,

r elati o ns of t h e p er s o ns c o nc e rn ed e spe cia l ly that of a king t o a subj e ct or ,

t h e r e v e rse Ma y it n ot th e r e for e m e an h e r e hail as a princ e of a d u l t e ry l ik e

. ,

th e mse l ve s or p erhaps as a gr eat e r princ e

, , a case of t h e b e am sa l uting
,

th e m o t e
ED ] S porti ve TYL E R : My so m e what warm natur e
. . R OL F E : .

Am orous w ant o n [ Cf n ot e s on 9 5 6 GIL D E M E I S TE R g l o ss e s Ve r z e ih l ich e

,
. .

, .
,

Te m pe ra m e n t s s ii n d e n Mr H ORACE D AVI S [ sugge sts that t h e l ine may

. .

m e an Give my bl oo d t h e nam e of S po rtive

,

8 wi l s I S AAC : I nc l inati o ns [ Cf D OWD E N

i lli w i ll 1 ( Arch i v 59 :

.
. . . .
,

Acc ording t o th e ir pl e asur e L E E : Cf 57 1 3 . .

, .

9 I a
. m th a t I a m TY L E R : W ith al l my frai l.ti e s but y e t n ot with o ut s o m e ,

thing of goo d MAC H AI L : Th e se words a r e i n eff ect S h s singl e and n al se lf

. .

c riticism Th e y a re a l m ost ap pa l ling in th e ir supe rb bre vity and c o nc e ntrat ed

.

i nsight ; b e sid e th e m e ve n t h e prid e of Mi l t on dwind l e s and gr ows pal e ; f or

h er e S h f or on e singl e r e vea l ing m o m e nt spe aks n ot as th ough h e we re God s
.
, ,

e l e ct but as th ough h e w e r e God hims e l f

, ( Le ct on P oetry p [On e may . .
, .

e nj o y this e l oqu e nt n ot e it i s t o b e h ope d with o ut b e ing carri e d off his f ee t by

, ,

it Th e c o nt ext sh ows that al l S h says is I hav e an i nd e p e n d e nt s t andard

.

.
,

of charact e r and wh e n oth e rs d o n ot n d th e irs tting it t h e cr oo ked n ess

, ,

l( in e 1 1 ) may b e t h e irs
E D ] l e vell S C H M I D T: Aim [ Cf 1 1 7 1 1
. . . . .
,

10 re ck on. WAL S H : [Appare n t l y subj u n ctive ]

. le t th e m r ecko n [ Most , .

r e ad ers I am sur e take i t a s in d i c ative ex p l ain ed by t h e f oll owing l in e : th ei r

, , ,
c xx 1 ] TH E S ONNE TS OF S HAK E S P E AR E 2 85

fau l ts b e gin t o appe ar f or r eck o ning ( e num erati on ) i n th e ir ve ry act of attack ,

ing min e ED ] . .

1 1 b e ve l S TE E VE N S : C r ooke d ; a t e rm us e d o nly I b e l i e v e by mas o ns and

. . , ,

j oine rs [Th e N E D give s n o oth e r e xamp l e of its adj e ctiv e u s e with this
. . . .
,

m e aning e arli e r than , WYND H AM : Th e se ns e is rath er obliqu e than

cr ooke d
.

12 B E E C H I NG : C f 6 9 1 0 ran k R OL F E : Cf 6 9 1 2 TYL E R : This a s w e ll

. .
, . . .
, .
,

as pr ec e ding e xpre ssi ons sh ows that t h e charg e br ought against t h e p oe t ,

i nv olve d se nsuali ty .

1 4 r ai g n e S CH M1 D T: E xu l t in a r e ma d e happy by
. .
[ Cf R 3 I V iv 53 , . .
, , ,

That e xc e ll e nt grand tyrant of t h e e arth ,

That r e igns i n gal l e d e y e s of w ee ping s o u l s ] .

B UTL E R [r e ading f eign : 1 I can mak e n o s e nse of [t h e Q t e xt 1 Th e se nse I .

take t o b e I am n ot j udge d by t h e rank th o ughts of th e se m e n unl e ss i nd ee d

, , , ,

th e y a re pre par e d t o admit that all m e n a re bad but pr e t e nd t o b e be tt e r than ,

th e y a re B E E C H I NG : I hav e marke d t h e wh ol e lin e [ as a qu otat i o n ] as t h e

.

th eory of t h e spi e s B ut t h e se nse of r eign is n ot cl e ar

. P e rhaps it .

m eans what make s kings of m e n is but a high e r d e gree of bad n e ss

.

L . A J . . ,
B UR GE R S D IJ K int e rpr ets this s o nn e t as an attack 14: 36 3 )
o n t h e P uritans : ] I f o n e c o nc e iv e s that h e r e t h e dra m atic p o e t and act o r ,

d e spise d int e rf e re d with sland e re d p erse cut e d by t h e P uritans hurls a s o n

, , , , ,

n e t against his bitt e r f oe s e v e rything b e c o m e s cl e ar I n this ti m e h e says

, .
, ,

gradually d ominat e d by P uritanism it w o u ld b e b e tt e r t o b e ba d than t o , ,

b e l ong t o a pr of e ssi o n d e fam e d as bad Th e se pi o us or pi e tistic p e o pl e sp oil e d .

his pl e asure [lin e wh i ch was c onsid e r e d bad by som e sp e ctat ors by oth e rs

t h e att e ndants o n t h e th e atr e w h o applau d e d his hum o ur [ lin e ,

w e r e d e prave d i n t h e j udgm e nt of th e se we ak spirits B ut t h e .

p oe t maintains h i s p os i ti on; h e b e li ev e s that t h e stag e is chi e y hat e d b e cause

it h olds up a mirr or b e f ore th e se p e op l e [ lin e and c o nsid e rs i tse lf as s tra i g h t
( t h e e xact e p i th e t f or t h e P uritans ) as th e y at l e ast unl e ss th e y a re right i n ,

th e ir th e sis that humanity and al l its d e ed s a r e e vil [Th e so nn e t wo uld b e .

we ll plac e d n e ar S 2 9 1 wh e r e d o ubt l e ss t h e p oet is also sp e aking of his d e spise d

.
,

pr of e ssi o n [ B ur g e rs d i j k s th e ory is supp ort e d and d e ve l o p e d by VON MAU NTZ

.

( An gli a 1 9 : , w h o mak e s a n e w translati o n o f t h e s o nn e t i n which h e ,

r e nd e rs sp ortive bl ood as f roh na tu r 1

.

H OR ACE D AV I S : I am inc l in e d t o think t h e charge against which S h d e f e nds .

himse lf was inc onstancy ; this is t h e ge n e ra l subj e ct fr om 1 0 9 t o 1 2 5 I n .

pl e ading that h e was n ot fa l se of h e art h e sp e aks of his appar e nt dis l oyalty

,

t o his fri e nd as his

stain r e su l ting fr om his frai l ti e s ; h er e h e u se s t h e sam e

,

e xpr e ssi o n ( l in e
2 86 TH E S ONNETS OF S HAK E S P EAR E [CXX I I

TTH Y g u i f t t h y t a b le s , a re w i t h i n
my b ra i ne
F u l l c h a r a c t e rd w i t h la s t i n g m e m ory ,

Wh i ch s h a l l a b oue t h a t i d le ra n c ke re m a i n e
B e y o n d a ll d a t e e u e n t o e t e rn i t y .

Or a t t h e l e a s t s o lon g a s b ra i n e a n d h e a r t
,

H a ue f a c u lt i e b y n a tur e to s ub s is t ,

Ti l e a ch d ob li ui o n y e e ld h i s pa r t

to ra z

Of t h e e t h y r e co r d n e u e r c a n b e m i s t
,

Th a t p oore re t e n t i on c o u ld n o t s o m u ch h old ,

Nor n ee d I t a ll i e s t h y d e a re lou e t o S kore ,

Th e re fo re t o g i u c t h e m f ro m m e w as I b old ,

To t r u s t t h o s e t a b l e s t h a t r e ce a ue t h ee m ore ,

To k ee p e a n a d i un ck t t o r e m e m b e r t h ee ,

We re t o i m p or t f org e t f uln e s s e i n m ee .

2 . l as ti n g ] a la s ti n g G 1
, S, E .

TYL E R : [A pr e se nt of tab l e ts] t h e p oe t had pr obably d uring t h e p e ri od of ,

s e parati o n g ive n away t o s o m e oth e r p e rso n

,
pe rhaps aft e r writing 9 9 ,

thinking that t h e bre ach was na l VON MAUNTZ [sugge sts that t h e tab l e ts
.

may have c o ntaine d so m e of t h e s onne ts an d that t h e r e f e re nc e is t o th e tim e

,

wh e n S h h a d all o we d th e m t o pass int o o th e r hands ( Ged i ch te p

. .
, .

R OL F E : Cf S 7 7 wh e re a similar pr e se nt t o his fri e nd is m e nti o n e d Miss

. .
, .

P OR TE R [ tak e s t h e tabl e s as al l e g orical r e f e rring t o t h e p e rso nality o f t h e fri e nd

, ,

as rst pre se nt e d and impr e sse d up o n t h e p oe t ) Th e se t ab l e s of m e m o ry a re .

n ow thr o ugh t h e psychica l e ff e ct of rip e n e d l o v e withi n t h e p oe t transc e nd e d

, ,

by a ne r m e m orial t o which t h e rst c o ntribut e d .

L E E : [Th e s o nn e t ] r e p e ats s o m e thing o f R on s a rd s phras eol ogy ; cf Am

.

ou rs l ivre 1 7 8 ; Amou rs pou r As tree 6 Th e latt e r Op e ns :

,

, .

Il ne
'
autre s tab l e tt e s
f a llo i t , m a i s t r e s s e ,
P o ur v o us g r a v e r q u e c e ll e s d e m on c oe ur
0 11 d e s a mai n Am o ur n o str e vainqu e ur , ,

Vo us a grav e et v os grac e s parfait e s .

( L if e p , . 1

TTh y Th e T i n ord inary type is r e p e at ed aft e r t h e l arge i nitia l

I . . tab l e s . .

WAL S H : Tabl e s app e ar t o have b ee n small n ot e b oo ks with g l ossy

-
l eave s ,

or tab l e ts , on which n ot e s c o u ld t e mp orarily be j ott e d d own and again e rase d .

C XX I I ] TH E S ONNETS OF S HAK ES P EAR E 2 87

[ C f Bac o n New Atla n ti s wh er e is m e nti on e d a scr oll ]

, , shini ng like t h e l e av e s
of writing tab l e s but oth e rwise soft and e xib l e
,

; 2 H 4 IV i 2 0 1 .
, , ,

Th e re f ore wil l h e wi pe his tab l e s c l e an

.

1 2 MAL ON E : C f H a ml I v 9 99 0 0 3
. 8 1 2 . .
, , , ,

fr o m t h e tabl e of my m e m ory
Ye a ,

I ll wip e away a ll trivial f o n d r ec or d s

,

And thy c o mmandm e nt a ll a l o ne sha ll l ive

Withi n t h e b ook an d v ol ume of my brain ;
T G V II . .

vu , 3 4 :
.
, ,

Wh o art tab l e wh e r e i n a ll my th ought s

th e
Are visib l y c h a ra c t er d an d e n g ra v d

.

3 i d l e ran ck e S CH M1D T: Un prot a b le d e gr ee of dignity

. . 85 .
,

D OWD E N : P oor dignity B E E C H I NG : U se l e ss se ri e s of l e ave s ; [or D owde n may

.

b e right ] L E E : Th e dignity of such humb l e obj e cts [ F or rank i n t h e m e an

. .

ing pr op o se d by B ee ching which I am d isp ose d t o fav or cf A Y L I V iii

, , . . . .
, , ,

80 : Rank of o si e rs ED ] . .

9 p oo
. r e r e t e n ti on MAL O N E : Th e tab l e b oo
. k i ncapabl e o f r etaini ng -
, ,

or rath e r of c o ntai ning s o much as t h e tab l e t o f t h e brain

, .

10 ta lli e s S C H M I D T: S tic k s on which n otch e s or sc or e s a re c ut t o k ee p

. .
,

acc ounts by .

[VON MAUNTZ take s this t o b e t h e l ast of uthampt o n sonn ets mar ki ng

t h e So ,

th e m om e nt of a sec o nd an d l asting e strang e m e nt ] .

 2 88 TH E S ONNETS OF S HAK E S P EAR E [ CXX I I I

123

No ! Ti m e , t h ou s h a lt n ot b o s t t h a t I d oe ch a n g e ,

Th y py ra m y d s b uy lt m i gh t vp wi th n ewe r

To m e a r e n o t h i n g n o ue ll n ot h i n g s t r a n g e , ,

Th e y a re b u t d re s s i n g s o f a fo rm e r s i gh t
Ou r d a t e s a r e b re e f e a n d t h e re fo r We a dm i re , ,

Wh a t t h ou d os t f oy s t v p on v s t h a t i s ou l d ,

An d r a t h e r m a ke t h e m b orn e t o o u r d e s i re ,

Th e n t h i n k e t h a t w e b e fore h a ue h e a r d t h e m t ould

Th y re g i s t e rs a n d t h e e I b ot h d e e ,

No t w on d r i n g at t h e p re s e n t , n or th e pas t ,
F or t h y re cor d s , a nd wha t we s ee d o t h ly e ,
M a d e m ore or le s b y t h y c o n t i n u a ll h a s t :
Th i s I d oe v ow a n d t h i s s h a l l e u e r b e ,

I w i l l b e t r ue d i s p i g h t t h y s y e t h a n d t h ee .

I I . d oth ] d o M A Kt Co B D el H u D y S t a
2
, , , , , , , , , C l, Kl y Wh ,
l
, H a l,
14 . th e e .
] th ee; M C o D e l
,
l 2
H a l; th ee: A K t D
,

, , , el
3
, Ty .

[ F or t h e r e app e aranc e h e r e d octrin e o f cycl e s s e e n ot e s o n S 59

of th e , . .

L E E r e marks of t h e pre se nt s o n n e t zl S h take s a b o ld e r p o siti o n th o ugh .

,

again h i s int e ll e ctual c o urage e vap orat e s wh e n i n fac e of t h e i n evitab l e c o n

c lu s i on and h e w e akly mak e s e scap e thr ough an e m oti o na l c o mm o nplac e
, .

( Ou Rev . .
, 2 10 :

I . WYND H AM : This ap ostr oph e op e ns th e p e rorati o n to th e p oe t s attack

on Tim e .

2 J OR D AN [tak e s this t o b e a gurative e xpr e ssi o n f or p e rs ons w h o hav e

.

attain e d t o plac e s of p ow e r and i nu e nc e f orm e rly h e l d by o th e rs ; writt e n soo n

aft e r t h e fall of E sse x ] D OWD E N : I think this is m e taph orical ; all that Ti m e
.

pil e s up fr o m day t o day all h i s n ew stup e nd o us e r e cti o ns a r e r e ally but dr e ss

, ,

i ngs of a f orm e r S ight I s th e r e a r e fe r e nc e t o t h e n e w l ove t h e ruin e d l o ve

.
,

b ui l t an e w ( S

b e twe e n t h e t w o fr i e nds ? Th e s am e m e taph or app e ars
.

i n t h e n e xt so nn e t [lin e and again i n [ 1 2 5 D oe s S h m e an h e re t hat this , .

n ew l ov e is r e ally t h e sam e with t h e old l o v e ; h e w i ll r e c o gni z e t h e i d e ntity o f

n e w and old and n ot w o nd e r at e ith e r t h e past or pr e s e nt ? TY L E R : ( P yra

,

mids is] t o b e un d e rst ood of anything grand or stup e nd ous H E RF OR D : All

.

that Tim e p i l e s up fr o m day t o day n e w structur e s of e v e nt B E E CH I NG , .

Th e n ew pyrami d s a re any m od ern marv e l s which see m t o d e fy chang e F or .

CXX I I I ] TH E S ONNE TS OF S HA K E S P E AR E 2 89

pyram id i n this g e n e ra l s e nse cf Ma cb IV i 57 : Th o ugh pa l ac e s and , . , ,

pyramids d o s l op e th e ir h e ads
.

4 d r e s s i ngs of a f orm e r s i g ht WYND H AM : R e p e titi o ns of ant e n ata l e xp e ri

-
. .

e nc e R OL F E :
. D r e ssings o rnam e ntal r e p e t i t i o n s L E E : H e r e S h draws . .

furth e r on that d octrin e of t h e ind e struct i b i lity of matt e r in spi te of its out
ward mutability which Ov i d e xp o unds i n his Meta m bk xv [ C f t h e passage .
, . . .

fr o m Golding s translati o n q u ot e d u nd e r S 59 and furth e r : ]

, .
,

ki nd o f th i ng k ee ps a y e his shap e and h u e

No
F or natur e l oving e v e r chang e r e pa i rs o n e shap e an e w
U po n an oth er n e ith e r d oth th e r e p e rish aught (trust m e )
,

I n all t h e wor l d but alt ring tak e s n e w shap e ,

.

5
6 B E E C H I NG : We a re s o sh ort live d that w e tak e f or n ovel ty what 1 3
.
-

r e ally a n e w dre ssi ng of what is old .

8 D OWD E N : We ch oo s e rath e r t o think such things what th ou d ost

7 .

f oist e t c ] n e w and sp e cially cr e at e d f or o ur sat i sfacti o n than as th e y r e ally

, .
, , ,

a re o ld th i ngs of which w e hav e alr e ady h e ard

,
TY L E R : P r e f e r t o r e g a rd t h e m .
r

as r e ally n e w j ust b o rn WYND H AM : Assuming th e s e li n e s t o r e f e r t o what

,

.

Tim e f oists up o n us [Tyl e r s and D owd e n s e xplanat i o ns a r e t h e b e st t o b e

g o t ]
. B ut th i s r e f e r e nc e of th em

t o what f o ll o w e d by a s i ngular that is
,

,

can hardly b e sustain e d grammatically and it scarc e make s se nse I sug , .

g e st that t h e pl ural th e m r e f e rs grammatically t o t h e plural dat e s and

,

that t h e word usual l y print e d b orn i n li ne 7 had b e st b e print e d b orn e as

it is in t h e Q b ourn ; born e F r e nch and i n H a mlet) We make o ur bri e f , , .

dat e s int o a b o urn or limit t o o ur d e sir e (cf c o nn e d d oo m 1 0 7

inst e ad .
, ,

o f r e c o l l e cting that

w e hav e h e ard th e m t old r e ck on e d ) b e f ore ( I ntr o

. .
,

p cxxix )
. .

1 1 r e c or d s
. R OL F E : S h acc e nts t h e n ou n o n e ith e r sy ll abl e as may suit
. .
,

t h e m e asur e C f 55 8 . .
, .

H UD S O N : Tim e s r e c ord of things is mad e big or littl e t o suit his swiftly

12 .
,

changing occasi o ns and w i th o ut any r e gard t o what t h e things a re in th e m

,

se lve s B E E C H I NG : [All t h e w orks o f Ti m e ] gr o w and d e cay as h e passe s on his

.
,

rapid c o urs e [Th e l att e r int e rpr e tati o n is d o ubtl e ss t h e right o n e With m ore
. .

o r l e ss cf 6 4 8

, . ED ] , . .

MAS S E Y [b e li eve s this s onne t was writt e n wh e n S outhampt o n wa s impris o n e d

i n t h e To we r aft e r t h e E sse x r e b e lli o n an d take s t h e pyrami d s t o r e pr e se nt
,

,

t h e pris on h o us e of Tim e (p
-
. .
2 90 TH E S ONNETS OF S HA K ES P EA R E [ C XX IV

124
O

YF my d ea re loue we re b u t t h e ch i ld e of s ta te ,

I t m i gh t fo r fo r t u n e s b a s t e rd b e v n f a t h e re d ,

As s ub i ec t t o t i m e s loue or t o t i m es h a t e , ,

We ed s a m on g w ee d s or owe rs w i t h owe rs g a th erd , .

No i t w a s b uy ld e d fa r f r om a cc i d e n t ,

I t s u ff e rs n o t i n s m i li n g e po m p n or fa l ls ,

Yu d e r t h e b l ow o f t h ra ll e d d i s con t e n t ,

Wh e re to t h i n u i t i n g t i m e o u r fa s h i on ca lls

I t fe a re s n o t poli cy t h a t H eri ti ck e ,

Wh i ch w ork es on le a s e s of s h or t n um b red h ow e rs ,

B u t a ll a lo n e s t a n d s h u g e ly p olli t i c k ,

Th a t i t n o r g row e s w i t h h e a t n or d row n e s w i t h S h ow res , .

To t h i s I w i t n e s c a ll t h e fo l e s o f t i m e ,

Wh i ch d i e f or g ood n es w h o h a u e l i u d f or c ri m e ,

.

8 . th

i n ui ti n g ] th e i n vi ti n g C , M A Kt B, , , , D e l, C l Gl , ,
Kl y , R, Wh 2
, Ty Ox , ,

B ut He r B e N
Ca m , , , , . our ] or C .

10 . s h ort n um b re d ] H y ph e n e d by C M A , , , Kt B , , D e] , H u, Dy , S t a , Cl, Gl,

K ly , Ca m C 0 ,
3
, R, t , Ty , Wy B ut , , H e r , B e , N, B ull Wa , .

12 . n or gr ow e s ] n ot g rows M 1
; n or d ri e s C ; n or glow s S t ee c o nj .
,
Kl y ; n or

d roops B e c onj .

I3 . f ol e s of tim e ] f ootes of ti me 1 6 40 ; f ools f ti me G

o , et c . ( exc e pt B ut ) ; s ou ls

I . TYL E R : [This e xpre ssi o n ] is at suppo siti o n that l e ast c onsist e nt with th e

t h e poe t was thi n king of E s se x an d t h e digniti e s h e attain e d ( p [S C H M I D T . .

g l o sse s stat e a s sp l e nd our ; ROL F E as rank ; D OWD E N r e nd e rs child of

stat e as b orn of p l ac e an d po we r ; o n t h e oth e r han d WYND H AM B UTL E R

, , ,

B E E CH I NG and L E E und e rstand stat e as accid e n t or circumstance ( circu m

,

stanc e s of nature or fo rtune says B ee ching e xp l ained by accid e nt i n lin e 5

, ,

F or t h e dive rge nt m e anings cf 6 4 9 an d 9 6 GOL L AN CZ [ e xplains t h e l in e as

, .
, ,

an allusi o n t o S o uthampt on s having be e n as Lo rd B urle i g h s ward a chi l d of

,

,

stat e
bro ught u p und e r t h e Qu ee n ( Se e his n ot e on l i ne
,
H e d oe s n ot .
,

h o we ve r m e an that t h e word l ove r e fe rs t o t h e fri e nd as AR C HE R un d e r

,

,

stands and take s pains t o po int o ut is imp o ssib l e ( Fort Rev

,
62 : . . .
,

ACH E S ON [ n d s an a ll usi on h e re t o a passage in C hapman s Ach i lles s S h i eld

CXX I V ] TH E S ONNETS OF S HA K E S P E AR E
Far above
Th e ir tympani e s of stat e S h s s o nn e ts ] that arms
.

, of l ove ,

F ortun e , or b l ood sha ll l ift to dignity .

p
'

( S h s th e R R

. .
,

B E E CH I NG : Th e fri e nd must have bee n so m e on e wh o se fri e ndship t h e poe t

might b e charge d with cultivating f or t h e sake of t h e g ood f ortu n e it m i ght
bri ng I t w ould n ot have bee n w ort h whil e t o say that his l ove did n ot suff e r
.

i n smil i ng po mp if po mp had n o r e l ati on t o his fri e nd ( I ntr o p xxxi )

,
. .
, . .

2
. unf ath e r e d S C H M I D T: As n ot bo rn i n t h e natural way
. WYND HA M : Di s .

inh e rit e d in favo ur of any oth e r e ff ect of Tim e and C hance B E E C H I NG : With .

o ut a tru e fath e r b e ing b e g ott e n by Ti m e u po n F o rt un e and s o subj e ct t o his

, ,

capric e s A bastard was li us n ulli u s

. .

3 4 D OWD E N : S ubj ect t o Tim e s hat e and s o p l uck e d up as a w ee d ; or sub

.

j ec t t o Ti m e s l ove and s o gath e r e d as a owe r

.
,

5 a c ci d e n t S C H M I D T: C asualty chanc e [ C i 1 1 5
. . WYND HAM : A t e rm , . .
,

of m e taphysic : his l ov e be l o ngs t o t h e abso lut e and u nc o nditi o n ed t o E t e rnity ,

and n ot t o Tim e ( I ntr o p cxxix ) [ I fe ar ( or r e j oic e ) that th e r e is n o e vid e nc e

. .
, . .

of S h S using t h e w ord i n its m e taphysical s e ns e

. ED ] . .

7 th rall e d ABB OTT: S o m e tim e s passiv e part i c i pl e s a r e u se d as e pith e ts t o

. .

d e scrib e t h e stat e which would b e t h e r esult of t h e active ve rb TYL E R : .

Th e e xpre ssi on thrall e d d isc o nt ent see ms t o suit pe rf ectl y t h e stat e o f

things aft er t h e re b elli o n [ of E sse x 1 if w e take t h e word thrall ed as re fe rr i ng ,

t o t h e se v e re m e asur e s by which t h e r e b el l i o n had b ee n put d own and by wh i ch ,

disc ont e nt was stil l r e strained ( I ntr o pp 2 5 GOLL AN C Z : [Th e phrase ]

. .
, .

may pe rhaps r e fe r t o t h e gr owi ng f ee lings of disc o nt e nt [ abo ut 1 59 8 ] which

we re ultimat e l y t o nd e xpr e ssi o n i n insan e re v olt On Nov 2 2 1 59 8 .
.
, ,

S o uthampt o n r e turn e d fro m t h e c o ntin e nt ; f or his we lc o m e w e re a d

he , ,

is c mmitt d
o e t o t h e F l t
ee

T h ugh his fri e nd t h e chi ld of st at e has
o .

,

,

su ff e re d F o rt un e s spit e t h e p oe t s l ove be ing n o chi ld of stat e fe ars n o p olicy

, , , ,

and kn ows n o change ( I ntr o p xi x ) . .

, . .

7 8 D O WD E N : Wh e n tim e puts us w h o have b ee n i n fav o ur o ut of fashi o n

-
.
, , .

bl ow of thra l l ed disc o nt e nt that i n a l l probability [it ] suppli e d S h with

, .

his gur e ( p .
B E E C H I NG : I suspe ct t h e main r e fer e nc e h e re is t o t h e J e suit
.

i ntri g u e s t h e bl o w of thrall e d disc o nt e nt be ing t h e P o wd e r P l o t LE E : A
,
.

p ossib l e vagu e a ll usi o n t o t h e so cia l and p olitical unr e st which distinguish e d

alike t h e l ast d ecad e of E li z abe th s r e ign an d t h e rst d e cad e of Ja me s I s r e ign


.

U ne mpl oym e nt and C ath ol ic p l ots against t h e t hr one we re t h e chi e f causes of

disq uie t Th e fo rm e r s ourc e of d isc o nt e nt which pr oduc e d m uch agrarian
.

,

d isturbanc e might w e l l be ar t h e e pith e t thra l l e d [ It wi ll p erhaps cauti o n us

,
"
.

against rash i n f e re nc e s re spe cting t h e dat e of such a passage if w e r e mind our ,

se l ve s h ow pe rtin e nt t o any ye ar of t h e last t e n or tw e nty a r e fe re nc e

i n c ont e mp orary l it e rature t o th e se troubl ed and disc o nt e nt ed tim e s " has

2 92 TH E S ONNETS OF S HAK E S P EA R E [c xx 1v
s ee m e d and h ow utt e r l y at a l oss p ost e rity must b e t o i d e ntify such a ll usi ons
,

with pre cisi o n ED ] . .

9 p ol i cy that H e ri ti ck e D OWD E N : Th e prud e

. nc e of se l f i nt e re st which is.
-
,

faith l e ss i n l ove [ C f R 81 J I ii 9 5 wh e re R o m eo calls u nfa i thful e ye s

. . .
, , ,

transpar e nt LE E : P o licy m e ans intrigu e u nd e rhand d e al i ng , .

Th e re is a p o ssibl e re f e re nc e t o t h e sh ort sight e d p olitical i ntrigu e s o f t h e -

h e r e tic P apists
.

IO . MAS S E Y susp e cts h e re an o min ous hint at t h e a g e of Qu e e n E l i z ab e th .

hug e ly polli ti ck H UD S O N : Organi z e d or knit t oge th e r i n a huge p olity

'

1 1 . .

or stat e D OWD E N : L ove itse lf is innit e l y prud e nt TYL E R : P ol i t i c se e ms

.

.

h e r e e quival e nt t o se lf su ff icing d e siri ng n o incr e ase or e xt e nsi o n and f e aring

-
, ,

n o e ne m ie s like a w e ll o rd e r e d city or stat e C f M Ad o V i i 6 36 4 : S o -

. .
, .
, , ,

p ol i tic a stat e of e vil that th e y w i ll n ot adm i t any g o od part t o i nt e rmingl e with

th e m .WYND H AM : An ind e p e nd e nt and se lf s u fc i n g stat e ( I ntr o p

-
. .
, .

cxxx ) B E E C H I NG : Vastly w i se and pre sci e nt

. .

S TE E VE N S : Th o ugh a bu i ld i ng may b e dr o wn d i e d e lug e d by rain it

12 .
, . .
, ,

can hardly g row und e r t h e i n u e nc e of h e at I wo uld r e ad g lows MAL O N E . .

O u r p oe t fr e qu e ntly starts fr o m o n e id e a t o an oth e r Th o ugh h e had c o mpar e d .

his a ff e ct i o n t o a bu i lding h e se e ms t o have d e se rt e d that th ought ; and h e r e , ,

p e rhaps m e ant t o allud e t o t h e pr ogr e ss o f ve ge tati o n and t h e accid e nts that

, ,

r e tard i t [ Cf 1 5 1 2 5 . B E E C H I NG : Th e i mage is
.
, o f a gr e at tr ee wh i ch
,

n e ith e r su nsh i n e n or st o rm can a ff e ct and which cann o t b e c u t d o wn If .

[t h e lin e ] is m e ant t o b e para ll e l t o lin e 6 w e want inst e ad o f gr ows a w ord t o ,

r e p e at suff e rs such as dr oops which allit e rati o n sugg e sts F or t h e

, , .

pr i nt e r s e rr or of g f or d cf 1 44 6 sight f or sid e [ B e e ching might have

, .
, ,

.

supp ort e d his sugge sti o n furth e r by citing 2 H 6 I I iii 4 5 : Thus dr oops this .
, , ,

l ofty pin e ED ] . .

1 3 1 4 S TE E VE NS : P e rhaps this is a str ok e at s o m e o f F o x s Martyrs

. .

MAS S E Y : Th e a ll usi o n is n o d oubt m o re particu l ar l y dir e ct e d t o E ss e x and his

c o mpani o ns w h o had di e d s o r e c e ntly
,
Th e f ools o f tim e may give us

.

t h e p oe t s e stimat e o f E ss e x s att e mpt H e was o n e o f th o s e w h o had l ive d t o

.

r e ach t h e cr i mina l s e n d but w h o di e d f or goodn e ss in t h e s e nse that h e like

, ,

D anve rs di e d d e vo utly and t ook l e ave of l ife with a re d e e ming t o uch of n obl e
, ,

n e ss E ss e x was als o p o pu l arly d e signat e d t h e good E arl ( p

.

S IM PS ON : . .

[ Th e f ools of tim e ] may b e c o nspirat ors ;

but th e y may b e a l so p olitic

fri e ndsh i ps which subsist o n l y f or se l sh e nds an d d i e i n an atm osph e re of

, ,

truth and h o n o ur false l ov e s as distinguish e d fr om that tru e o n e of which h e

,

sings i n S 1 1 6 ( p . D OWD E N : [Th e l i ne s p e rhaps m e an : ] I call t o witn e ss

. .

t h e transit o ry u nw orthy l ov e s ( f ool s o f tim e sp o rts of tim e ; cf 1 1 6 wh ose .

,

d e ath was a virtu e sinc e th e ir l ife was a crim e H UD S ON : E xce e dingly o bscure . .

[ Pe rhaps t h e m e aning is : ] Th ose f ools w h o mak e as if th e y wo uld d i e f or virtu e

aft e r having d e v ot e d th e ir live s t o vic e S H ARP : I summ o n th ose v e ry d e tra e .

t o rs th os e f ools o f a s e as o n w h o th ough th e y have l iv e d t o my harm will thus

, , , ,

ulti mat e ly st i ll furth e r c e m e nt o u r l ov e TYL E R : Th e se e xpre ssi o ns be .

c om e i nt e lligib l e wh e n c o nsi d er e d a s r e fe rring t o E sse x and his c ompani ons ,

C xx 1v1 TH E S ONNETS OF S HAK ES P E A R E 2 93
and t o t h e c o nse qu e nc e s of t h e r eb e ll i o n Th e f ool s of Ti me a re th ose wh om .

Ti m e d oe s what h e p l e ase s with n ow raising th e m t o t h e high e st d i gnitie s and

, ,

n ow bringing th e m d o wn t o t h e sca ff o l d Th e c o nspiracy and re b e lli o n a re .

e vid e ntly allud e d t o i n t h e living f or crim e whil e i n t h e dying f or good

,

n e ss w e may r e c ognise with e qual faci l ity an ir o nical allusi o n t o t h e p opular

r e gard f or E sse x aft e r his e xe cuti o n as t h e good e ar l ( p

,
VON MAUNTZ , . .

[curi ously int e rpre ts f ol e s i n an active rath e r than a passive se ns e p a r a p h r a s ,

ing : ] Th ose w h o snap th e ir ng e rs at Tim e and alth o ugh th e y a re wh olly bad , ,

m e n y e t ( und e r such a g o ve rnm e nt ) pass as g o od t o t h e m o m e nt o f th e ir d e ath

, .

WYND H AM : [ L in e 1 4 m e ans : ] Wh o a re s o much t h e dup e s of Tim e that th ey

attach i mp ortanc e t o t h e m e r e ord e r of se qu e nc e in which e ve nts occur and ,

b e li e ve that a d e ath b e d r e p e ntanc e can canc e l a l if e of crim e

-
[ I n this s on .

n e t ] d e v e l o ping t h e id e a o f mutati o ns in f o rtun e S h glanc e s asid e at s o m e c on

, , .

t e mp orary r e ve rs e i n p olitics or art which w e cann ot d e c i ph e r It may have .

b ee n t h e c l osing of t h e th e atr e s t h e c e nsorship of plays t h e i mpris onm e nt of

, ,

S o uthampt o n or of H e rb e rt N0 o n e can t e ll n or d oe s it matt e r f or t h e main

.
, ,

m e aning is cl e ar : nam e ly that this abs ol ut e L ove is o utsid e t h e world o f p ol i

,

tics which a re limit e d by Tim e and c o unt o n l e ase s o f sh ort nu mb e r e d h ours

, , .

( I ntro p cxxx ) B U TL E R [ d e f e nding his e m e ndat i o n s ouls

.
, . . Sh .

w ould n eve r call a man a f oo l f or dying we ll aft e r l i ving ill and th e r e is n o ,

re l e vancy i n call i ng such p e rs o ns t o b e ar witn e ss t o t h e fact that S h s l ove f or .

Mr W H was n ot subj e ct t o vicissitud e s

. . I tak e t h e e m e nd e d passag e t o .

m e an I f I have b e e n i nc o nstant n othing can shake m e furth e r ; i n witn e ss

, ,

wh e r e of I cal l t h e s o uls o f th ose wh ose re p e ntanc e e ve n aft e r a l ife of cri m e has

b ee n o fte n ge nu i n e B E E C H I NG : I b e l i e ve t h e al l us i o n h e re is t o t h e J e suit
.
9,

c onspirat ors wh ose obj e ct i n l ife was t o murd e r t h e k i ng and w h o wh e n caught ,

p ose d as martyrs f or t h e faith S uch i nc o nstancy of principl e w o u l d j ustify t h e

.

p oe t in calling th e m t h e f ools of tim e and p o inting his m ora l with th e m Th e

.

m o ral is that L ove is t h e o nly tru e p olicy S TOP E S : [ L in e 1 4 m e ans : ] Wh o .

d i e f or o n e g oo d d ee d aft e r having l ive d a l if e tim e o f e vil L E E : P e nit e nt

,
.

trait ors w h o e xp i at e d th e ir cri m e s with pi e ty on t h e sca ff ol d Th e words wou l d

,
.

apply t o any p ol i tica l or r e ligi o us c onspirat or against t h e thr on e wh o su ff e r e d

capita l punish m e nt i n S h s day All m e t th e ir d e ath with pray e r and pi ous
.

.

c o urage To this fact t h e p oe t ir onically dire cts att e nti o n by way of i ndicating
.

that th e ir live s u n li ke his una l t e rabl e a ff e cti o n we r e p r ot les s b ecaus e th e y

, ,

we re inc o nstant P OR TE R : Th ose w h o trusting t o e xt e rna l fav ors build up o n

.
, ,

th e m or up o n p olicy inst e ad of r e lying o n th e ir ow n i nn er st e adfast n e ss a r e

, ,

t h e f oo ls o f tim e F oll ow e rs of occasi o n or chang e th e y assum e t o b e g oo d

.
,

( or bad ) t o s e rve privat e e nds and th e y a re sur e t o b e ch e at e d by t h e ir o ni e s

,

of lif e ; th o se nally b e ing se nt e nc e d f or such g oo dn e ss t o d i e w h o have liv e d

, ,

al l th e ir liv e s by m e ans of th e ir crim e s B R ANDL : [ Th e passag e is strikingly .

sugge stive of t h e E ss e x c onspiracy Th e n e xt s onne t r e fe rs t o t h e sam e subj e ct . ,

and pr o mis e s t h e fall e n fri e nd t h e p oe t s d e l ity ( p [ It is p l e asant t o

. .

c onclud e with t h e ann otati o n of R OL F E : ] Th e re fer e nc e i s h op e l e ss l y obsc ur e ,

and I shal l ad d n o att e mpt t o exp l ain it .

2 94 TH E S ONNETS OF S HAK ES P E AR E [c xxv
B E E CH I NG [ n ot e s t h e sty l e of t h e so nne t as of S h s more abstract charact e r .

.

( I ntr o p l ii ) S e e n ot e on 1 1 7 9
.
,
. .
,

MAC KAI L : [Th e phrasing of t h i s s on net is singu l ar l y applicabl e t o t h e so nne t

i

c oll e cti o n an d its f o rtun e F or t w o hundr e d y e ars t h e v olu m e see m e d as th ough

.

I t might f o r F o rtun e s bastard b e t h e il l e gitimat e issu e o f t h e

pr e ss of a thi e vish pub l ish e r l itt l e r e gar d e d l itt le m e nti o ne d f or e ith e r praise
, ,

or b l am e B ut f or t h e n ext hu ndre d ye ars which a re n ow e xpiring t h e w ords i n

w hich that s onn e t g oe s on a r e as stri ki ng l y app l i cab l e : No it was build e d far ,

fr om accid e nt ( L ect on P oetry p . .
, .

125

WE R T ough t t o m e I b ore t h e ca n opy

,

Wi t h my ext e m t h e ou twa r d h o n o i n g r ,

Or la y d g re a t b a s e s f or e t e rn i t y ,

Wh i ch m ore s h or t t h e n was t or ru i n i n g ?
p ro u e s
H a u e I n o t s e e n e d w e l le rs o n for m e a n d fa u or
L o s e a ll a n d m o re b y pa y i n g t oo m u ch re n t
,

F o r c om p o u n d s w ee t ; F o rg o i n g s i m p le s a u o r ,

P i t t i f u ll t h ri uors i n t h e i r ga z i n g s p e n t .

Noe le t m e b e o b s e qu i ou s i n t h y h e a r t
, ,

An d t a ke t h ou my ob la c i on poore b u t fre e , ,

Wh i ch i s n o t m ixt w i t h s e con d s kn ow s n o a rt , ,

B u t m u t ua ll re n d e r o n e ly m e f or t h ee , .

H e n c e t h ou s ub b orn d I nf ormer a t rew s oule

, ,

Wh e n m os t i m p ea c h t s t a n d s lea s t i n th y c on t ro ule , .

I . We r t] Were M A B Kl y

Wer t it , , , .

me ] Wh ere it oug h t to be

[w ith qu e sti on mark mitt e d ] G S E

o 2 .
, ,

2 th e ] th y or th ee S t a c o nj
. .

4 p ro
. u e s ] pr ove G
2
S 2
E M A Kt Co B D , , , , , , , , e] , H u , D y , S t a , C l Gl , ,
Kl y ,

Wh , Hal Ca m , D ,
o, R , Ox , H e r , B e .

6
7 . r en t F or com poun d s w e e t ;1 ren t, For com ou nd -s weet,
p S ; I
ren t, For com

pou nd s w eet M A Kt B l
, , , , D y, S t a , C l, Gl, y , C a m , D o, H u , R , t

Kl , Ty ,

Ox , Her , Be, W a, Tu ; rent; F or compou nd s weet C , M , C o, D e l, H u l , h

2
W 1
, Hal
ren t ? F or com pou n d s weet B ut ; ren t, F or com pou nd s weet ; B ull F or eg oi ng ]
. .

f oreg oi n g G S , , A Kt
E, M ( n ot B o) , , , C o, B De l ,
l, 2
, Hu i
, D y Cl Kl y Wh
,

, , ,

H a l, C am D o R Ty Ox Wy B u ll
i
, , , , , , .

8 .
g az i n g ] ga i n i n g S t a c o nj B ut .
, . s pe n t ] s pent ? C M , , etc.

11 . s eco n d s ] s ea s on i n g s B u ll och c on j .

12 . r e n d e r] ren ders B ut .
 CXX V] TH E S ONNETS OF S HAK ES P EAR E 29 5
I . Wer t B E E CH I NG :
Wou ld it b e Comme ntat ors have ign ore d t h e fact

. .

that t h e verb h e re is c o nd iti o na l ; and s o th e y have not se e n that t h e p oe t is

r e pudiating charge s l aid against him by t h e inf o rm e r of line 1 3 Th e charge s
.

ar e of caring t oo much f or his fri e nd s be auty and laying up o n that a basis f or

e t e rnity b ore th e ca n opy MAS S E Y : [Th e spe ake r ] is a pe r s o n w h o has b o rn e

. .

t h e can o py of stat e as a l o rd i n waiting That is n ot S h ( p

,
S TAUN TON : . . .

[An al l usi o n t o] so me pa g e ant i n which t h e writ e r s fri e nd had p l ay e d or might

b e t t i n g ly play t h e l e ading part ,

Wou l d it have avai l e d m e aught if I
.

had paid h o mage t o y our pe r s o na l dignity by assisting t o carry t h e can opy ove r
y o u ?

( A th M arch 1 4 . 1 8
, 74 p H ,UD S O N : P e,rhaps .t h e m e a n i ng i s ,

Were it of any c onse qu e nc e t o m e that I wa l ke d at t h e Qu ee n s sid e a n d car

[

ri e d t h e ca no py ov e r h er r oya l h e ad if I h o n our e d o n l y h e r o utward f o rm with

,

m e r e ext e rna l Obse rvanc e s ? D OWD E N : R e nd e re d o utwar d h o mage as on e

,

r e n de rs w h o be ars a can o py ove r a supe ri o r Th e m e taph or w as n ot s o far .

fetch ed in S h s day as it would b e i n o urs [ He instance s se ve ral occasi o ns wh e n

.

.

can opi e s w e re c o nspicu ous in r oya l pr o gr e sse s ] TYL E R : [F i g u ra t i v e ; m e aning

that t h e poe t s r e lati o ns with S o uthampt o n ] have be e n a be aring t h e can opy

an o utward h on o uring a gaz ing o n his e xt e rn [S ee n ot e on l in e

,

.

WYND H AM : Th e w ord may c ontai n an al l usi o n t o so me on e of t h e many a l l e

g or i e s curr e nt am o ng t h e cultivat e d c o u r t circ l e o f that day I n a l e tt e r .

fr o m F rancis B e aum ont t o Ann e F y t t on y ou r e ad : I n wh i ch con c e i t e of

mine y o ur ow n p rea t i e s t oa ri e of t h e C an o py and myn e of Ti m a n t e s f or ,

c ove ring a ff ec t i on es with c urt a i n es may b e my a ll suffi ci e nt warrant ( Gos s i p

.

f rom a Mun i men t Room B UTL E R : Th e re is a r e fe re nc e t o t h e be aring

,

of a c e rtain can o py app ar e nt l y on so m e ve ry gr e at occasi o n o ve r s o m e gr e at

, ,

pe rso nage : S h see ms e ith e r t o have ha d so m e part in t h e be aring of this can opy
.
,

w hich h a d give n rise t o i ll natur e d r e mar k s or e l se t o have be e n ma l ici o us l y

-
,

f oi l e d in an att e mpt t o b e inclu d e d am o ng t h e be ar e rs [ H e is disp ose d t o thi nk .

that t h e occasi o n is t h e pr ogr e ss of t h e Qu ee n t o S t P au l s Nov 2 4 .

, .
,

(p . C R E I G H TO N : [Th e passag e ] re ca l ls s o m e gre at fu ne ral at which S h .

ha d bo rne t h e ca n opy pe rhaps that of P e mbroke s fath e r i n S a l isbury C ath ed ra l

,

[ Janua ry ( B la ckw ood s 1 6 9 : B E E C H I NG : A symb ol of o utwar d

,

h ono ur R OL F E : On t h e 1 s t h of March 1 6 0 4 wh e n Jam e s mad e a f orma l

.
, ,

march fr o m t h e To we r t o We stminst e r t h e nin e act ors ( incl uding S h ) t o wh om , .

h e had grant e d a spe cia l lic e nse t o pe rf o rm i n Lo nd o n an d t h e pr ovinc e s we re ,

i n t h e r oyal train Wh e th e r t h e act ors b ore t h e can opy o n this occasi on

.

I n d n o re c ord ; but I d o ubt wh e th e r th e re is a r e fe re nc e t o it h e re H P E M . .

B E RTON New S h a kes pea rea na 8 : f oll owing a sugges t i o n mad e by t h e

,

Re v W B E G L E Y in I s i t S h ( p
. .
, argue s f or t h e id e nticati o n of this can
. .

op y with that carri e d ove r t h e q u ee n by a numbe r of n ob l e m e n am ong wh o m

,

was William Herbe rt on t h e occasi o n of t h e marriage of Mistre ss Anne R usse ll

, ,

J un e 1 6 D OWD E N [ pa rri e s th e se e ff orts t o d at e t h e sonn e t by m eans of

,

c o nt e mp orary a ll usi ons with this admirab l e redu cti o a d a bs urdu m : 1 I am pe r

s ua d ed that S o nn e t 1 2
5 was actua ll y writt e n by S h i n D ub l in in t h e ye ar .

1 8 8 5 sh ort l y aft e r t h e visit of t h e P ri n ce of

, Wal es t o t h e I rish capita l Th e .
 TH E S ONNETS OF S HAK ES P E AR E
.

2 96
[
c xxv
s onn e t is i nd e e d packe d ful l of allusi o ns t o t h e e ve nts of that p eri od Th e r e
, , .

is t h e re f e r e nc e t o t h e pract i c e o f b oyc otting t e nants w h o se rvil e t o t h e aris ,

t oc r a c y had paid th e ir full r e nts [ lin e s 5

, Th e r e is a cl e ar r e f e r e nc e t o t h e
i nab i l i ty of t h e cr own t o obtain c o nvicti ons thr ough its paid and p e rj ure d
witn e ss e s [ lin e s 1 3 I f it b e r e m e mb e r ed that t h e P rinc e of Wal e s laid t h e
f o undati o n st o ne s f or a n e w muse um and a nati o na l library th e r e can b e n o ,

o bscurity in t h e l i n e Or l aid gr e at bas e s f or e t e rnity wh i l e t h e can o py u nd e r

which H i s R o ya l H i gh n e ss st oo d o n that occasi o n is e xpr e ssly m e nti on e d i n

lin e I Th e w ord h e r e tic in t h e pr e c e ding s onn e t and t h e r e f e r e nc e t o
'

.
,

l e ase s o f sh o rt numb e re d h o urs manife st l y appli e s t o t h e P rot e stant lan d

,

l ords wh os e days we re n ow numb e re d ( Acad emy J an 30 1 8 86 pp 6 7

, .
, .
, , .

2. S TE E VE NS : C f oth I i 6 1 : . .
, , ,

Wh e n my o utward acti o n d oth d e m onstrat e

Th e native act and gure of my h e art
I n c omplim e nt e xt e rn .

[ Th e N . give s n o oth e r instanc e of t h e n ou n e xt e rn i n this m e aning of

E D . .

e xt e ri o r o utward , WYND H AM : H o n ouring o utward b e auty with

publi c praise (cf 6 9 but as I h o l d with a l arg e r phi l o sophic sugge sti o n i n
.
, , , ,

t h e mann e r of t h e tim e and i n pursuanc e o f t h e argum e nt i n t h e t w o pr e c e ding

,

s o nn e ts v i z t hat t h e po e t s l ove is e s ot e ric and e t e rnal

, .

.

3 4 D OWD E N : Th e l ov e of t h e e ar l i e r s o nn e ts which c e l e brat e d t h e b e auty

.
,

of S h s fri e nd was t o last f o r e v e r and y e t it has b e e n ruin e d TYL E R : Th e

.
.
, ,

r e f e r e nc e is pr obab l y t o t h e D e d i cat i o n t o t h e L u crece: Th e l ove I d e d i cat e t o

y our L o rdship is with o ut e n d e t c

, .

4 pr ov e s
. S e e t e xtua l n ot e s TYL E R : It is t h e anticipat e d
. e t e rnity .

which pr ove s m o r e sh ort than ruin WYND H AM : I t is safe st t o pr e se rve t h e

.

Q t e xt . T h e s e ns e h e r e s e e ms t o b e : or o st e ntati o usly clai m e d an e t e rnity

f or my p a n eg y r i c s : w h i c h e t e rnity pr ov e s sh ort liv e d as wast e or ruining

-
.
,

[ N o int e rpr e tativ e e xp l anati o n is n e c e ssary f or

pr ov e s as t h e e nding in s ,
-

f or t h e pl ural is su fci e nt l y familiar S e e n ot e o n 4 1 3 ED ] .

, . .

5. f a vo r C f 1 1 3
. 1 0 .
, .

6 an d m or e D OWD E N : Thr ough sati e ty e v e n gr ow t o dis l ik e

. . .

6 7 S e e t e xtua l n ot e s o n punctuati o n WYND H AM : I pr e s e rve t h e punct u

. .

ati o n of Q e mphasi z e d as it is by a capita l aft e r t h e s e mic ol on

, ,
Th e ,
.

dwe ll e rs o n f orm and favo ur a re e t e rn i z e rs with th e ir e xt e rn t h e out

,

w ard h o n o ring t o s e cur e e t e rnity by th e ir public pan egyrics Th e

.

c o mp o u nd swee t f or which th e y pay t oo much r e nt is th e ir c oup l e m e nt of

pr oud c o mpar e 2 1 5; th e ir false painting 6 7 5 ; fals e art 6 8 1 4

,

,

, , , ,

strain e d t ouch e s 8 2 1 0 c o mm e nt s of praise

,
g o ld e n quill and we ll
,

r e n e d p e n 8 5 2 8 F or th e s e l ab o ur e d tribut e s t o o utward b e auty th e y

-
.
, ,

f or e g o t h e simp l e savor i e t h e simp l e appre ciati o n of tru e a ff e cti o n [This

, . .
,
.

is ing e ni o us but quit e sup e ru o us f or a ll w h o have l e ss r e ve r e nc e than Wynd

,

ham f or t h e Q pr i nt e r s s e mic ol o ns and capital s ED ]

.

8 S TAU N TON : [With o ut t h e chang e of

. ga z ing t o gaining t h e l ine] is ,
c xxv] TH E S ONNE TS OF S HAK E S P E AR E 2 97

sh ee r u nmitigat e d n o nse nse ( Ath D ec 6 1 8 73 p

,
B E E C H I NG : Th e ir
. .
, , .

l o ve was a m e r e matt e r of gaz ing and s o it was all e xpe nse with o ut r e turn

, ,

which is pit i ful thr i ving i e bad busin e ss [This is much be tt e r than R OL F E S

, . .
, .

e xplanati o n o f pitiful thrive rs as t o b e pit i e d e ve n wh e n succ e ssful

ED ] . .

9 ob
. s e q u i ou s H UD S O N : Mo urn e d or lam
. e nt e d [ A wh o lly u nwarrant e d .

g l oss ED ]
. D OWD E N : Z e al o us d e vot e d
.
, .

I o ob la ci on WYND H AM : C f D rayt o n I d ea S 54
. . .
, , .

Re c e ive t h e
inc e nse which I off e r h e r e ,

My so u l s oblati o ns t o thy sacre d nam e

.

1 1 . n d s S TE E VE NS : I am j ust i n f orm e d by an old lady that se c o nd s

s e co .

is a provinc i a l t e rm f or t h e se c o nd kind of our which is c oll ect e d aft e r t h e ,

smal l e r bran is S ift e d That our auth o r s oblati o n was pur e u nmixe d with
.

base r matt e r is all that h e m e ant t o say D Y CE [ (Aldine e d ) calls S t ee v e n s s

, . .

n ot e pr e p ost e r o usly

K N I G H T: [S t eev e n s ] m e nt i o ns t h e our as i n ,

a l m ost e v e ry oth e r n ot e u po n t h e S o nn e ts t o thr ow di s cr e dit up o n c o mpo si ,

ti ons with which h e c o uld n ot sympathi z e H e had a sharp cunning pe tti .

, ,

f oggi ng mind ; and h e kne w many pr o saic things we ll e n ough H e kne w that a .

s econ d i n a du e l a s econ de r i n a d e bat e a s econ da ry in e cc l e s i astical a ffairs

, , ,

m eant on e n e xt t o t h e pri ncipal Th e poe t s fri e nd has his chi e f oblati o n ; n o .

s econ d s or i nfe ri o r pe rs o ns a r e mix e d up with his tribut e of a ff e ct i o n

, , [ S t ee .

v e n s s e xplanati o n is acc e pt e d b o dily by S C H M I D T and by r e c e nt e d i t o rs pr e tty

g e n e rally ] WYND H AM : Ma y n ot se c o nds m e an assistants and r e fe r t o

t h e c ol l ab orati o n of t h e t w o po e ts i n 8 3 ? I t can hardly m e an base r matt e r ;

since t h e c o ntrast is b e twee n an off e ring humbl e p oo r and with o ut art and , , ,

so m e oth e r off e ring pr e sumably rich and articial such as t h e v e rse of t h e riva l ,

p oe ts ( I ntro p cxxx i i ) B E E C H I NG : Th e word ob l ati o n sugge st e d t h e

. .
, .

.

simpl e st f orm of off e ring i n t h e Le vit i ca l c od e a cake of m e a l ; and this sug ,

ge st e d t h e use of t h e word se c o nds R OL F E : F or t h e gure I may add t h e

fami liar h ouse h old o n e of b olt e d ( s i ft e d l i ke o ur ) which S h use s of pe r , , .

sons ( H 5 I I ii 1 3 7 ) and o f language ( Cor I I I i

.
, , , H e has many .
, , ,

oth e r m e taph o rs e qually

vulgar as B l air and c e rtai n oth e r rh e t o ricians ,

,

train e d i n t h e sch oo l of P o pe call th e m L E E : Cf S i r C hrist o ph e r Hatt o n , . .

,

[ w h o] wr i t i ng t o Qu ee n E li z ab e th i n Nov 1 59 1 bids h e r sift t h e cha ff fr o m

, .
,

t h e wh e at s o that t h e c o rn of y o ur c o mm o nw e alth w ould b e m o re pure an d ,

m i xt grains wo uld l e ss inf e ct t h e sine ws of y o ur surety ( Ni cola s s L if e .

p . Miss P O RTE R [re j e cts S t e e v e n s s n ot e as irr e l e vant and e xplains n ot

mixt w i th se c o nds as : ] Not d e pe nd e nt u po n t h e assistance of oth e rs e ith er

,

by i mitati o n or favo r .

12 r e n d e r S C H M I D T: S urr e nd e r [ Cf Cy m b V iv 1 7 : Take n o strict e r

. . . . .
, , ,

r e nd e r o f me than my only m e f or th e e TYL E R : Alluding pr obably t o .

t h e cti o n of an e xchang e of h e arts ( S o nn e ts 2 2 MAS S E Y : [With t h e wh ol e ,

line cf P o st humus t o h i s wife ( Cy m b I i

. As I my p oor se lf did ex .
, , ,

chang e f or y o u and C laudi o t o H e ro ( M Ad o I I i

"
, L ady as y o u a r e . .
, , , ,

mi n e I am y ours I give away myse l f f or y ou an d d ot e up o n t h e exchan g e 1

, .
"
.
2 98 TH E S ONNETS OF S HAK ES P E AR E [c xx v
I Inf orm e r; S I M P S ON : [ P e rhaps a spy t o w h ose tr e ach e ry was d ue t h e
3 .

c oll apse of t h e gre at base s of l ine 3 ( p

D OWD E N : D oe s this re fe r t o . .

an actual p e rso n , on e of t h e S pi e s of 1 2 1 , 7 8 ? Or is t h e inf orm e r J e a l ousy ,

-

or S uspici o n ? as i n V 89 A 6 55
.

.
,

This s o ur i nf orm e r this bat e br ee d ing spy ,

-
,

This carry ta l e disse nti ous J e a l o usy

-
, .

MAS S E Y : C amd e n t e l l s us that am o ngst t h e c o nfe d e rat e s of E sse x one of th e m , ,

whilst i n pris o n t urne d i nf orm e r and re ve al e d what ha d take n p l ace at t h e

, ,

m ee tings h e l d i n t h e E ar l of S o uthampt o n s h ouse [ He re th e re f or e S o uth

.
, ,

ampt o n supp ose d t o b e spe aking i n g s his disdain at t h e inform e r ] ( p

, , . .

TYL E R [ b e li e ve s that this inf orm e r had hint e d that S h was unfaithfu l t o t h e .

c ourt party b e cause of his e ar l y c o nn e cti o n with S o uthampt o n H e imp l icitly .

d e ni e s that h e ha d e ve r b ee n on t e rms of i ntimacy with e ith e r E sse x or S outh

ampt o n ( I ntr o pp 3 1 . WYND H AM : This w ord of vi ol e nt ap ostroph e
.
, .

r e f e rs t o so m e pe rs o n wh o se i d e ntity was o bvi o us t o t h e o bj e ct of S h s v e rse

. .

I t may b e c o mpare d t o t h e frail e r spi e s of S 1 2 1 ( I ntr o p cxxxii )

"
. . .
, . .

B UTL E R [assuming that t h e fri e nd is sti ll addre sse d : I can s ee n o way of re c on

c i li n g t h e e rc e n e s s of th e se [t w o l in e s] with t h e d e sir e f or r e c o nci l iati o n e x

pre sse d i n t h e pr e c e di ng l i ne s Th e transiti o n h owe ve r is alm ost as abrupt .

, ,

i n t h e cl osing l in e s of S o nn e ts 1 4 7 1 4 8 B E E C H I NG : This is t h e fa l se witn e ss -

.
,

o f c o urse imaginary i n t h e c o nt e st b e tw ee n t h e p oe t and Ti m e w h o brings

, ,

t h e charge i n l in e s 1 4
[ Ne ith e r of D owd e n s sugge sti o ns] has any r e l e vancy

.

h e re WAL S H : Th e r e fe re nce may b e t o Time himse l f w h o is call ed e nvi ous

.
,

and calumniating in T 62 C I II iii 1 74 LE E : A j e a l ous riva l p oe t may b e

.
:
.
, , , .

assume d t o b e t h e s ub orn d info rme r he re P ORTE R : Tim e pe rsoni ed as

.
,

a treache ro us hire d or s ub orn d spy upo n man W B B R OWN N 89 Q

,
"
. . . .
'
.
,

6 : 44 6 ) brings f o rward ane w D owd e n s int e rpr e tati o n that t h e I nform e r

l 1th s .
,

is J e a l ousy an d t h e th eory is d iscus se d by oth e r c orre sp o nde nts b e i ng Opp ose d

, ,

by C C B in 7 : 1 32 1 53 Br own obse rve s : 1 If t h e words

. . .
, a re app l i e d t o
.

W H I d o n ot s ee h ow th e y can b e re c o nci le d with t h e pre ce ding four l ine s

. .
, ,

or in d ee d with any part of t h e wh ol e v ol um e of s o nn e ts As t o th e ir be ing a d .

d re sse d t o a third pe rso n th e re is nothing in t h e so nnets t o sugge st that any ,

b ody e lse ha d anyt hing t o d o with t h e matt e r On t h e oth e r hand it see ms t o .

,

m e a v e ry natura l c o nc l usi o n t o t h e gr o up of so nne ts f or S h t o say Away with

.

j e a l o usy ! [Cf a l s o l in e S o u l s a r e c o ntr oll e d by passi o ns an d n ot by pe r

.

so ns ( 7 : . C C B : Ma y I ask Mr Br o wn wh o m h e tak e s f or t h e tru e

. . . .

so u l of t h e na l c o up l e t ? S ure l y it is S h himse l f ; it is S h wh o is . .

and the re for e S h w h o d oe s n ot stan d i n t h e c o ntr ol of t h e inform e r How

, ,

. .
,

t h e n can j e a l ousy b e t h e i nf orm e r f or th e re is h e re no qu e sti o n of j e a l ousy on

, ,

S h s part ? ( 7 :

.

B R ADL E Y : [ In this so nn e t ] t h e p oe t r e pudiat e s t h e accusati on t h at h i s fri end

s hip i s t oo much bas e d on b e auty ( Oxf ord Lect p 333n ) . .
, . .
C XX VI ] TH E S ONNETS OF S HA K ES P E AR E 2 99

126

O TH OU my loue ly B oy w h o i n t h y p ow e r ,

D oes t b o u l d t i m e s c kle g la s s e
c kle h ow e r , h is si ,

Wh o h a s t b y w a y n i n g g row n e a n d t h e re i n S h o u s t ,

Th y loue rs w i t h e ri n g a s t h y s w ee t s e lfe g row s t

.
,

I f Na t u re ( s oue ra i n e m i s t e re s o ue r w ra c k)
As t h ou goe s t o n w a r d s s t i ll w i l l p l a c k e t h e e b a c ke

S h e k e e p e s t h ee t o t h i s p u r p os e t h a t h e r s k i ll ,
.

Ma y t i m e d i s g ra c e a n d w r e t ch e d m y n u i t k i l l
,
.

Ye t f e a r e h e r 0 t h o u m i n n i on o f h e r p le a s u r e ,

S h e m a y d e t a i n e b u t n o t s t i l l k ee p e h e r t re s u r e !
,

H e r Aud i le ( t h o u gh d e la y d ) a n s w e r d m us t b e

An d h e r Qui etus i s t o r e n d e r t h ee .

2 . t] D os t C M e t c ck l e ] ti ckle K inne ar c o nj ; s i ckle B ut ; bri ttle W B

D oe s , , . .
, . .

Br own c o nj s i ck l e h ower] ckle h ow er L ; ckle h ou r C K inne ar c o nj B ut

.
, , .
, ,

R ; s i c kle h ou r Wal k e r c o nj S t a C 0
- 3
H u B e B ull ; s i ckle h ou r Ty Ox ; ti ckle
z
.
, , , , , ,

h our or s i ckle low er Br ownl ow c o nj ckle mower B ul l och c o nj . .

4 l on er s ] lover s D e l c o nj ; h ours B ut

. . .

8 wr et ch e d ] wa s tef ul K inn e ar c o nj
. myn ui t] mi n u i ts C ; mi n utes M e t c .
, .

This p oe m w as o mitte d fr o m t h e P oems of 1 6 40 an d th e e diti o ns base d

th e re o n .

[ C A B R OWN see ms
. . have b ee n t h e rst t o ca ll t h e p oe m an e nv oy
to ,

maki ng it t h e c o nc l usi o n t o t h e fth p m

oe

S o nn ts
e 1 0 2 126 D OWD E N ca ll s , .

it t h e c o nc l uding poe m of t h e se ri e s addre sse d t o S h s fri e nd i e 1 1 2 6

.

, . .
, ,

and has b e e n f o ll o we d by TYL E R WYND H AM B E E C H I NG and many min or ed i , , ,

t ors H E RF ORD sugge sts that it may or i gi na l ly have c o nc l ud ed t h e se ri e s

.

which e nds at 99 f o rming a , MAS S E Y ca ll s it an unnish ed frag

m e nt b e l o nging t o t h e tim e wh e n S o uthampt on was a b oy and c o ntaining an
, ,

id ea that was worke d up e l se wh e re ( cf S onne ts 1 1 an d ( pp 90 . .

,

Th e l at e B R I N SL E Y NI C H OL S O N mad e t h e foll owing n ot e on t h e y l e af of his -

c o py of C A Br own s b oo k ( n ow i n t h e L i brary of t h e U nive rsity of I llin ois)

. .
'

1 2 6 t o m e r e a d s n othing l ike an e nv o y t o anyt hing but h ow a s o nn e t r e mi n d ,

i ng t h e y o ung man of his i ncre asing ye ars and d e caying b e auty can b e e nvoy
t o a p oe m i n which h e e xcuse s himse lf f or inc o nstancy I cann o t u nd e rstand .

B eec hing opposing He rf or d s sugges ti on ob s e rve s that t h e p oe m would n ot

,

,
30 0 TH E S ONNE TS OF S HAK ES P E AR E [C XX V I
c o m e we l l aft e r 9 9 I t b e l o ngs t o t h e se c o nd p eri o d wh e n passi o n has di e d
.
,

d own ; l i ke t h e s o nn e ts fr o m 1 0 0 o nwards it is ca l m and c o nt e mplative and a

littl e sad E sp e cially it chim e s i n se nti m e nt with 1 0 4
.
( I ntr o p xxxi i n ) . .
, .
h
.

On t his matt e r o f t h e e nvo y I may qu ot e nal l y fr o m s o m e r e marks o f my

, ,

ow n , c o ntribut e d t o t h e Ki ttredg e An n i vers a ry P a pers 1 9 1 3 : If w e ask

,

wh eth e r th e r e is t h e slight e st gr o und f or supp o sing that it was m e ant by t h e

p oe t as a c o nclusi o n t o a pr e c e ding se ri e s we nd n o ne On t h e c ontrary the re , .
,

is gr o u nd f or b e li e ving j ust t h e O pp osit e I f t h e l ove l y b oy h e re addre sse d .

is t h e b e autiful yo uth t o wh o m S onn e ts 1 1 7 and many of t h e oth e rs we re

writt e n t h e p oe m is ve ry naturally c onne ct e d with t h e o p e ning gr o up of t h e
,

c oll e cti o n and with oth e r s o nn e ts standing at so m e d i stanc e fro m 1 2 6 in which

, ,

t h e y o uth is warn e d of t h e i ght o f tim e and t h e appr o ach o f a g e I s th e r e .

anything o f t h e sam e characte r i n t h e s o nn e t s stand i ng n e ar t h e e n d o f t h e

r s t se ri e s ? On t h e c o ntrary th e ir th e m e and t o n e a re e ntir e ly d i ff e r e nt

.
,

I f w e assum e t h e c o nti nuity of 1 0 91 2 5 th e re has b e e n se parat i o n e strange , ,

m e nt su ff e ring p e nit e nc e and this ( po ssib l e ) se ri e s is d e vote d chi e y t o t h e

, , ,

h o p e that fri e ndship will o utlive th e se vicissitud e s and put t o sham e t h e f oo ls

o f tim e Now supp o se S h t o b e arranging t h e s o nn e ts in s o m e na l f orm and

. .
, ,

t o b e s e tting an e p i l ogu e or e nv oy t o t h e se ri e s ( a s o m e what daring supp ositi o n ) ,

what will t h e e nv oy b e ? I t may b e on l ove o n fri e ndship o n t h e st e adfastn e ss , ,

of a tru e s o ul ( e n d of 1 2 on t h e struggl e o f p e rs o nality and fri e ndship with

e vil days and p o licy t h e h e r e tic it may b e a r e turn t o t h e e ve r re curring

-
,

th e m e of t h e p owe r of p oe try t o e t e rni z e a fri e nd ; it may b e alm ost anyt hing ,

o n e m i ght v e ntur e t o say rath e r than a r e turn t o t h e r e l ativ e ly trivia l th e m e o f

,

t h e dang e r of t h e d e cay of t h e fri e nd s y o uthfu l b e auty Th e assumpti o n th e n

.
, ,

that th i s littl e p oe m is an e pil ogu e writt e n by t h e p oe t f or t h e wh ol e pre c e d i ng

c oll e cti o n c o m e s n e ar b e ing e nt i tl e d t o rank as a curi o sity of criticism On e .

w ould supp o se fr o m t h e r e adine ss with which t h e e nv o y th eo ry has b e e n

,

acc e pt e d that it was cust o mary t o c o nclud e E li z abe than se qu e nc e s with so m e

,

thing of t h e kind i n dist i nct m e trica l f orm This is of c o urse by n o m e ans t h e

, .
, ,

fact Th e o nly thing of t h e kind that I r e call is t h e thre e c o nclusi o ns ( lyrics

.

c o nsid e rably l o nge r t han so nn e ts ) wh i ch Rob e rt To ft e app e nd e d t o t h e thr ee

parts o f L a u ra
(p ED ] . . .

D OWD E N : I n t h e Q par e nth e se s f oll ow t h e 1 2 t h l in e , as if t o S h ow that ,

t w o l in e s a re want i ng B ut th e r e is n o good r e as o n f or supp o sing that t h e

.

p oe m is d e fe ctive I n Wi lliam S mith s Ch lori s ( 1 59 6 ) a s o nn e t ( No 2 7 ) of

.

.

t his six c o upl e t f orm app e ars [ LE E also n ot e s s o call e d s o nn e ts in tw e lve

-

.
-

l ine s i n L odge s P h i lli s (8 2 6 ) and L inch e s D i ella

WAL S H calls t h e p oe m
,

a madr i gal saying that it is as much l ike an Italian madriga l as t h e oth e rs

,

a r e lik e I ta l ian so nn e ts (p

. .

[ L E E ( f
Li e p 97) discuss ,
e s t h e p oe
. m as s o unding a variati o n o n t h e c on

v e n t i o n a l p oe tic inv ocati o ns of C upi d or L ov e p e rs o ni e d as a b o y

and cit e s ,

num e r o us parall e ls such as S idn e y s b l ind hitting b oy ( A 59 S

,

-
.

.
,

Gr e vill e s swe e t b oy

( Ca li c a e t c S o als o i n his c o mm e ntary :

T h,
e .

t o n e of a dd re ss d oe s n ot harm onise with t h e th e ory that t h e c kl e b oy and

C XX V I ] TH E S ONNETS OF S HAK E S P E AR E 30 1

Natur e s mini o n 1 s id e ntica l with t h e p oe t s fri e nd of fo rm e r so nn e ts Th e

.

p oe m whi l e subtilise d by Ovid s phil osophy is in t h e ve i n of many lyr i cal ap o s

,
'
,

t r op h e s of t h e b oy C upid As B E E C H I NG r e marks ( I ntr o p xxx iii ) this int e r . .

, .
,

p r e t a t i o n is imp o ssibl e C upid is i mm o rtal o r h e is n o th i ng ; and t h e p oint o f

.

t h e E nvoy is that m o rta l be auty must fad e at

1l ove ly B oy [A pu z z l e f or b oth S out h a m p t o n i s t s an d P e m b ro k i s t s e sp e

. .
,

c i a lly t h e f o rm e r Thus B E E C H I NG ( a ssuming that t h e p oe m is as lat e as 1 6 0 3

.
,

b e cause it f ol l ows 1 0 7 ) asks : Is it cr ed ibl e that any on e e ve n i f h e we re t h e ,

gre at e st pe e r of t h e r ealm and t h e m ost b o untiful of patr o ns sh o uld have bee n ,

addre sse d by S h as a l ove l y b oy wh e n thirty ye ars o f a g e ? ( I ntr o

.

.
,

p xxx i i ) Th e r e is n o r e aso n h o we v e r what e ve r t h e dat e of S 1 0 7 why w e

. .
, , .
,

may n ot assum e if we ch oo se that S 1 2 6 was writt e n at t h e sam e tim e as

, , .

( s a y ) 54 . ED .
]
s i ckle h ow er S e e t h e t e xtua l n ot e s [Th e C ambridg e e dit ors i nt e rpre t
2 .
, . .

C a p e ll s MS c o rr ecti o n of


h o we r as h oar and c o nj e ct ure that h e i n
.

t e nd e d t o r e st or e sickl e in plac e of L i n t ott s ckl e I re ad h i s c o rr e ct i o n

.

h our h owe ve r as not e d ab ove

,
E D ] H UD S O N [ r e ading ,sickl e h o ur ] .
-

Time s h our or c o urse is h e re re pre se nt e d p oe tically as a sickl e K I NN EA R

.
, ,

[ F or t h e e m e ndati o n tickl e cf S pe nse r F Q c 8 : Which mak e s m e l oath e

, . , . .
, .

this stat e of life s o tic kl e and He ywood s E pi g ra ms : Tim e is t i c k e ll

,

.

(p . TYL E R [ re ading sickl e

H i s h o ur which lik e a sickl e cuts off , ,

a ll things b e aut i ful E B B R OWN L OW N fa Q 8 th s 3 : 1 0 3) pr o po se s t o . .

.
,

r e ad e ith e r tickl e h o ur ( tickl e S lippe ry ) or sickl e l owe r Th e b oy h o lds

.

( o r st ops ) Tim e s ckl e glass and l owe rs ( or pr e v e nts inj ury fr o m ) Tim e s

sickl e C C B ( i bi d p 2 8 5) wo u l d r e tain t h e c o mma aft e r sickl e ob

. . . .

.
, .
,

se rving that h o ur has a pe culiar applicati o n as in t h e phr a se t h e h our has ,

B E E C H I NG [ r e ading sick l e h o ur 1: Wh e n t h e h o ur is c om e t h e

-

sickl e strike s Cf I H 4 V ii 8 5 . . .
, , ,

If life did rid e up o n a d i a l s p o int

S till e nding at t h e arrival of an h o ur .

WH I TE : A m ost r e markab l e instanc e inve rsi o n f or D o st h o l d Tim e s ckl e of

h our glass his sickl e R OL F E : Th e old t e xt has n ot b e e n sa tisfact orily e x

-
.
,

plain e d I assum e that .

sick l e was a misprint f or ckl e ( an e asy slip

o f t h e type wh e n t h e l o ng s was i n v o gu e ) and that t h e m e aning is during its

,

ckl e h our Th e b o y simply h e ld Ti m e s ckl e g l ass wh i l e it ran its ckl e

"
.

h o urly c o urse Th e r e pe t i ti o n o f ckl e is in S h s mann e r D ost h old

.

.

.

d ost h old i n hand i n ch e ck in thy p owe r ; and ckl e h o ur

, Tim e s c o urse ,

that is subj e ct t o mutati o n an d vicissitud e [This e xp l anati o n is b orr owe d .

from J C R OS B Y ( L i t World 1 4 :
. I n his rst e diti o n Rol f e d u l y cr e dits his
.
,

so urc e but in his r e visi o n f orge ts both ackn ow l ed gm e nt an d q u otati o n mark s ]

,

W B B R OWN [ ( N 8? Q 1 1 t h s 6 :
. . pr op osing britt l e g l ass and ckl e

.

.
, .
,

h our obse rve s that glass is ca ll ed britt l e i n R 3 IV ii 6 2 and in t h e

"
,

.
, , , ,

P a s s P i lg 8 7 wh e r e britt l e rhym e s with ck l e Obj e cti o ns t o this a re

"
. .
, , .
30 2 TH E S ONNE TS OF S HAK ES P EAR E [CXX VI
fo und in an d 1 53 with Br own s re p l i e s in 7 : 7 6 an d 2 36 One of t h e ob
7 : 32 ,

.

j ec t o r s J o ne s p 32 ) c o mpar e s with sick le D e k k e r s H on es t Wh ore

( To m

, .

F or al l t i m e s sickl e has go n e o ve r P O R TE R [r e ading sickl e h o ur ]

S h s adj e ctive s a re d e scri ptive of t h e change abl e n e ss of Ti m e wh o se g l ass is

.
,

said t o b e ckl e ; and of t h e sudd e nn e ss of D ea th and his h o ur f or d own m ow , ,

-

i ng by Tim e s scyth e is said t o b e s i ckle L E E : C f S p e nse r F Q 7 8 st 1 :

, . .
, .
, , .

Wh ose o we ring prid e s o fad i ng and s o ckl e , ,

S h o rt t i m e shall s oo n cut d o wn with his c o nsuming S ickl e .

[Th e se ri o us obj e cti o n t e xt as it stands is that of t h e thr ee obj e cts e n u

to th e

m e r a t e d t w o a r e c o ncr e t e ly gurative an d t h e third is n ot u n l e ss it m e ans j ust ,

t h e sam e as t h e rst I t is i mp o ssibl e t o s a y with any c e rtainty h ow it sh ould

.

b e e m e nd e d B ut I wo nd e r why it d oe s n ot see m t o hav e o ccurr e d t o any o f

.

th o se r e ad i ng sick l e h o ur that this might b e a cl ock o f t h e old sort on which

-
,

Ti m e strike s t h e b e ll wit h his sickl e Th e o nly n ec e s s ary m e aning of t h e lin e is .

,

H ast se e ming p o we r t o arr e st t h e i ght of t h e h ours

and this wo uld b e ,

gur e d vividly in p owe r o ve r b oth t h e running sands and t h e striking h o ur

b e l l B ut this i s n ot pr op ose d with t h e assuranc e of a tru e c o mm e ntat or
. ED ] . .

.
3 . w a y ni n g g r own e . Cf . 1 1 , 1 .

3
8 . playfully adapting Ovid s d octrine of gr o wth b y waning
LE E : S h .
,
-
,

f oll o ws t h e L at i n p oe t i n making D am e Nature by e xe rcise of cunning

,

hand ( a rti ces ma n u s i n t h e L atin ; of l in e 7 h e r

,

che rish yo uth at .
,

t h e o utse t i n d e anc e o f Tim e e at e r up of things All Natur e s e ff orts t o

.
,

discr e dit Tim e s p owe r a re h owe ve r d oo m e d t o futility

, , .

An d wh e n that l o ng c o nti nuance hath th e m l iving things ] bit ,

Yo u Tim e ] l e isur e l y by l inge ring d e at h c o nsu me th e m e ve ry whit .

[Gol ding s

5 w r a.ck S C H M1 D T : . D e structi on .
[Th e r e gu l ar form in S h ] .

8 k i l TYL E : Th e
. l . R
minut e s a re kill e d or annihilat e d as l e aving b e hind ,

th e m _n o trac e of th e i r e xist e nc e B E E C H I NG : Th e skill of Nature may b e .

said t o ki ll [Tim e s ] minut e s as it r obs th e m of th e ir in u e nc e

, .

9 m i n n
. i on S C H M I D T: F av o urit e
. .

1 1 Au di te C f 4 1 2 ; 4 9 4 an s w er d S C H M1 D T: P aid [c o mparing L u crece

. .
, , .

.
,

83 : That praise which C olla t i n e d oth owe e nchant e d Tarquin answe rs .

B ut t h e passage be l o ngs rath e r und e r t h e int e rpre tati o n re n d e r acc ount

f or which S chmidt cit e s num e r o us instanc e s

of ,
ED ] . .

12 Q ui etus S TE E VE NS [re fe rs t o his n ot e on H a ml I I I i 7 5 : H i s qui e tus

. . .
, , ,

make with a bar e b o dki n This is t h e t e chnica l t e rm f or t h e acquittanc e which

e v e ry sh e riff r e c e iv e s o n s e ttling his acc o unts at t h e E xch e qu e r C f We bst e r . .
,

of M I i : And cause y o u shal l n ot c o m e t o m e i n d e bt h e re up o n

D

.
, ,

y o ur l i ps I S ign y o ur Qui etus es t H UN TE R : We nd qui etu s and f o ur ot h e r

.

w ords which may b e c o nsid e r e d E xch e qu e r t e rms within t h e c ompass of t wo

l in e s ( New I llus tra ti ons 2 :
. r en d er S C H M I D T: S urr e n d e r giv e up
, . , .

[ Cf . 1 2 5,
c xx vn ] TH E S ONNETS OF S HAK E S P EAR E 30 3

R OL F E manne r i n wh i ch this sonne t is

[e mphasi z e s t h e i mp ortanc e of th e

print e d as e vid e nc e that t h e Q was n ot issu ed u nd e r S h s auspic e s S h c ould

,
.

. .

n ot hav e inse rt ed t h e par e nth e se s i ndicating a supp o se d o missi o n ] and Th orpe ,

wo u l d n ot hav e d on e it if h e had b ee n i n co mmun i cati o n with S h I n that case .

h e w ou l d have ask e d t h e p oe t f o r t h e c o up l e t h e supp o se d t o b e miss ing and ,

would have b ee n t o ld that n othing was m i ssi ng ( I ntr o re v e d pp 1 2 . .

, . .
, .

R H LE G I S
. N 69 Q s t h s 7 : 2 6 1 ) i nte rpr e ts this p oe m mystically Th e
. .

.
, .
, .

l ove l y b oy is t h e c o mpl e t e d p o rti o n of t h e s e qu e nc e t h e imm ortali z ati o n

,

o f what was b e st

i n S h ] VON MAUNTZ [b e li e ve s that it was addre sse d t o t h e
.

poe t s s on H amne t ]

.

127

IN t h e oul d age b la c k e w a s cou n t e d fa i re

n ot ,

Or i f i t w e a r e i t b or e n ot b ea u t i es n a m e
B ut n ow i s b l a c ke b ea u t i e s s uc ce s s i u e h e i re ,
An d B e a u t i e s la n d e rd wi th a b a s ta r d s ha me ,

F or s i n c e ch h a n d h a t h p u t o n Na t u re s powe r
ea ,

Fa i ri n g t h e fou le w i t h A r t s f a uls e b orrow d fa ce

S w ee t b e a u ty h a t h n o n a m e n o h o ly b o u r e ,

B u t i s p rOp h a n d i f n o t li u e s i n d i s g ra c e

.
,

Th e re fore my Mi s t e r s s e e ye s a re R a ue n b la c ke ,

H e r e y e s s o s u t ed a n d t h e y m ou rn e r s s ee m e , ,

At s u ch w h o n o t b o rn e fa i re n o b e a u t y l a c k ,

S la n d r i n g C r e a t i on w i t h a fa l s e e s t e e m e ,

Ye t s o t h e y m o u r n e b e c o m m i n g o f t h e i r w o e ,

Th a t e ue ry t o u n g s a i e s b e a u ty s h o u l d look e s o .

2 . we ar e ] w ere 1 6 40 , G, et c .

6 . f a uls e b orr ow d ] H yph e n e d

by M B , , D el
1 2
Dy , Sta , Hu z
.

am e ]
7 . n h ome B ut . b our e ] bower 1 6 40 , G S , E , Co, D
, e l, etc. ; h ou r M ,

A Kt B
, , .

8 n ot] n ot,
. 1 6 40 , G 8
,
2
, E, C .

9
1 0 e e s
y . s ] ey es h a i rs C ; h a i rs
ey e ey es Wa l ke r c onj .
, D el c onj .
,

H u ; b row s ey es S t a c o nj Bra e c o nj Gl B ut
z
.
, .
, , R, t , Ox , , et c .
; ey es

b row s S t a c o nj ; h a i rs b row s K inn e ar c o nj

. .

10 an d ] th a t G 1 S I ; a s D y
.
, .

[Th e rst so nn e t of what many with TYLE R cal l t h e S e c o n d S e ri e s , , . or , l i ke

B E E C HI NG an Appe ndix ,

of S o nn e ts f or t h e m ost part writt e n t o or ab out a
D ark
 30 4 TH E S ONNETS OF S HA K E S P E AR E [CXX V I I
S TE E VE NS : Th e re ad e r wi ll n d a l m ost a l l that is sai d h e re on th e subj ect of

c omp l e xi o n is r e p e at e d i n L L L IV iii 2 50 53 2 586 1

. . .
, , , ,

0 , wh o can give an o ath ? Wh e re is a b ook

That I may swe ar be auty d oth b e auty lack ,

If that s h e l e arn n ot of h e r e y e t o l ook ?

No fac e is fair that is n ot fu l l s o b l ack .

0 ,if i n black my l ady s br o ws b e d ec k d

,

I t m o urns that pai nting and usurping hair

S h o uld ravish d ot e rs with a false aspe ct
An d th e re f or e is s h e b o rn t o make b l ack fair .

[ I S AAC discusse s at l e ngth t h e r e se mblance of this so nne t and 1 32 t o pass age th e

in L . L as e vid e nc e that t h e dark l ady was a r e al
. L .
, , n ot a ctiti ous pe rso n , .

He a l s o n ot e s a r e se mb l anc e t o S idn e y A 69 S 7 : , .

.
,

Wh e n ma d e h e r chi e f work S t e l l a s e y e s
.

Nature ,

,

I n c ol o ur b l ack why wrapt s h e b e ams s o bright ?

Wo uld s h e in b e amy b l ack like paint e r wise , ,

F ram e dainti e st l ustre m i x d of shad e s and l ight ?

Or did s h e e l se that so b e r h ue d e vise ,

I n o bj e ct be st t o knit and str e ngth o ur sight ?

Le st if n o v e il th e se brav e g l e ams did disguise ,

Th e y sun l ike sh o uld m o r e daz z l e than d e l i ght

-
.

Or w o uld s h e h e r miracu l o us p ow e r sh o w ?
That wh e re as black se e ms b e auty s c o ntrary

S h e e v e n in black d oth make al l b e auti e s ow !

, ,

be
wee d ,

To h o n o ur a ll th e ir d e aths which f or h er b l ee d .

We may i nfe r I saac sugge sts that t h e s o nn e t is d at e d b e tw ee n S h s r eading

, , . .

of S i d n e y s so nn e ts an d t h e writing o f L L L ( Arch i v 6 1 : 399 KR AU S S

. . .
,

7 ) n d s t h e c o nn e cti o n with S idne y s ve rs e an e vid e nc e of his

J 8
(

a h r b .1 6,: 1 8 6
vi e w ( d e rive d fr o m Masse y ) o f t h e dark lady s onne ts as c o nc e rne d with

S t e ll a ( L a d y R ich ) an d H e rb e rt H e a l so n ot e s a r e se mb l anc e b e twee n t h e

.

ge ne ra l t o n e of So nne ts 1 2 71 52 and t h e F ifth S o ng of A {if S : Wh il e favo ur . .

f ed my h o pe d e l ight with h o p e was br o ught

, etc ] WH I TE : Th i s is a n allu ,

.

si o n t o t h e re mar kab l e fac t that during t h e chiva l ric ag e s bru ne tt e s we re n ot

ackn ow l ed ge d as be auti e s anywh e re in C hrist e nd o m I n all t h e old con tes .
,

f a bli a ux an d ro manc e s that I am acq uaint e d with t h e h e ro in e s a re bl o nd e s

, , .

And mor e t h e p osse ssi o n of dark e ye s and hair and t h e c o mpl e xi o n that a c c o m
, ,

p a n i e s th e m is r e fe rr e d t o by t h e tr o ubad o urs as a misf o rtune

, B ut t h e bru .

n ett e s have changed t h e fashi o n sinc e that day I s it partly s o be cause as t h e . ,

natura l ist s inf orm us t h e b l o nd type is d i sappe aring and tast e c o nfo rms t o
, ,

ne c e ssity ? LEE : Ne ith e r i n t h e s o nne ts n or i n t h e p l ay ca n S h s praise of .

b l ackne s s c l aim t h e m e rit of b e ing his ow n inve nti o n [ Ci A 59 S

"
To . . .
'
.
,
c x x vn ] TH E S ONNETS OF S HAK E S P EARE 30 5
his praise of blackne ss in L L L S h appe nds a playfu l but ca ustic c om

. . . .

m e nt o n t h e parad ox that h e d e t ects i n t h e c o nc e it [ O parad ox ! Blac k is t h e

badge of h e l l
,S imilar l y t h e so nn e ts i n which a d a r k c o mp l exi on is
,

pr o n o unce d t o b e a mark of be auty a re foll owe d by othe rs i n which t h e p oe t ,

argu e s in se lf c o nfutati o n that b l ackne ss of f e ature is hid eo us i n a woman an d

-
,

invariably i ndicat e s m oral turpitud e or blackne ss o f h e art Twice i n much t h e .

,

sam e language as ha d a l ready se rv e d a l ike purpo se i n t h e play d oe s h e m ock ,

his dark l ady with this u nc o mplim e ntary int e rpretati o n of d ark c ol o ure d

-

hair and e ye s [ He re Lee give s n o r e fe r e nc e s ; t h e o nl y pa ssage s t o which h e ca n

.

allud e wo uld see m t o b e 1 3 1 1 3 ; 1 37 1 2 ; and 1 4 7 1 4 which are far fr o m be aring

, , , ,

o ut his d e scripti o n I t may b e we ll h e re t o n ot e t h e p a ssage s i n additi o n t o t h e

.
,

pre se nt so nne t in which a wo man of dark c o mpl e xi o n is d e nit el y r e fe rr e d t o :

,

th e y a re 1 30 4 ; 1 3 1 1 2 1 4 ; 1 32 ; 1 44 4 ; and pe rhaps 1 4 7 1 4 To this may b e

,

, , , .

add e d r e f e re nc e s t o a wo man physi c al l y unattractive but with o ut furth e r ,

spe cicati o n i n 1 3 7 1 2 ; 1 4 1 2 ; 1 4 8 6
, , E D ] Th e t w o so nn e ts i n which this
, , . .

Vi e w of blackne ss is d e ve l o pe d f orm pa rt of a se ri e s of twe l ve which b e l o ngs

,

t o a spe cial cat e g o ry of so nn e t ee ring e ff o rt I n th e m S h aband o ns t h e sugare d . .

se ntim e nt which charact e rise s m ost of his 1 42 r e maining so nne ts H e gr ows .

vitupe rative and p o urs a vo ll e y of passi o nate abuse upo n a wo man wh o m h e

,

re pre se nts as d i sda i ning his advanc e s Th e ge nui ne anguish of a r e j e ct e d l ove r .

o ft e n e xpr e sse s itse lf i n curse s b oth l o u d and d ee p but t h e m oo d of blinding ,

wrath which t h e r e j ecti o n of a l ove suit may r o use i n a passi o nat e nature d oe s -

n ot see m fr o m t h e int e rnal e vid e nc e t o b e r e e ct e d g e nuin e l y i n S h s so nn e ts

.

of vi tupe rati o n I t was inh e r e nt i n S h s ge nius that h e sh o uld imp ort m or e

. .

dramatic int e nsity than any oth e r poe t i nt o so nne ts of a vitup e rative typ e ;
but the re is a l so in his vitupe rative s o nne ts a d e c la rna t or y parad e of gurative
e xtravaganc e which sugg e sts that t h e e m oti o n is f ei gne d and that t h e p oe t is

striking an attitud e [See furt h e r r e gardi ng t h e fvog ue of t h e vitup e rative

.
,

sonne t n ot e s o n S
, ( Lif e pp 1 1 9
. W C HAZ LI TT: [ Ci J onson , . . . .
,

Ma s que of B la ck ne s s e spe cially t h e line s ,

Th o ugh h e [t h e su n ] t h e b e st j udge and m ost f or mal cause

, ,

Of all dam e s b e auti e s i n th e ir rm h u e s draws

, ,

S igns of his f e rv e n t s t l ove and th e r eby sh ows

,

That i n th e ir black t h e pe rf e c t s t b e auty grow s ]

P e rhaps S h saw this i n MS ( S h Hi ms elf 59 h i s Work pp 2 56

. . WAL S H .
,
'
, .

Th e rar e is m o st admir e d or at l e ast is m o st ta l ke d ab o ut S o uth e rn e rs e xpre ss

,
.

admirati o n f or bl o nd e s north e rn e rs f or brune tt e s As t h e old e r p oe ts we re fr o m

,
.

t h e so uth S h spe aks of brun e tt e s n ot having be e n i n s o much fav our as bl o nd e s

, .

i n t h e old a g e Ovid i nd ee d has writt e n

.
, ,
0

C andida m e c a p i e t c a p i et m e ava p ue lla , ,

E s t e tiam i n fusc o grata c ol or e v e nus ;

( Am I I iv
or es 39 40 ) , , ,

i n which t h e e tiam is not e wo rthy To imp ort int o poe try admirati o n f or

.

brunett e s was so m ething new To a p oe t m or eove r fairne ss s ee m ed ce l e stia l . , , ,

30 6 TH E S ONNE TS OF S HAK ES P E AR E [CXX V I I
d arkn e ss t h e Opp o sit e ; s o that it app e are d parad oxica l praise d arkn e ss and to ,

t h e curr e nt admirati o n f or t h e dark i n f e minin e b e auty w e nt against t h e grai n .

[ C f A 69 S
. . And L illy wr ot e : Oft e ntim e s f or fashi o n sake y ou ca ll th e m

.
,

b e autifu l wh o m y ou kn o w black
, ( Ca mpa s pe I V ii ) On t h e oth e r si d e as .
, , .
,

t h e w ord fair had alre ady be c o m e syn o nym ous with be auty t o prai se t h e
,

b e auty of a dark c o mpl e xi o n ( also blackn e ss and f oulne ss b e ing alm ost

id e nti e d ) gave r oo m f or much word play of which t h e Eli z abe thans w er e e x -

,

t re m e ly f o nd Sh p e rhaps himse lf smitt e n with ad mirat i o n f o r s o m e dark

. .
,

lady make s t h e m ost of this word play and c o ntrad i cti o n ; and wh e n h i s mistr e ss
,
-
,

all al o ng unkind sh owe d h e r s e lf m orally fra il h e f o u nd satisfact i o n i n a n d

, , ,

t urn ed t o p oe tical acc o unt th i s agre e m e nt be twee n h er dark c o mpl e x i o n and ,

h e r black d i sp o sit i o n [ Cf L L L a nd n otic e that i n T 89 C ] t h e ckl e. . . . .

, .

.

h e r oin e is l i ke wise dark c ompl e xi o ne d [ M B OG LE ( S ewa n ee R ev 2 0 : 4 59 ) -

. . . .
,

discusse s t h e id e al of bl o nd b e auty as a l it e rary c o nce it giving e xampl e s fr o m ,

t h e classical and m e di e val p oe ts as w e ll as th o se o f t h e R e naissanc e He c on .

c lud e s : ] What w e c o mm o nly c o nc e ive t o b e t h e d i stinct typ e of s o ut h e rn b e auty

is n ot t h e l it e rary ty pe at all ; it nds n o favor with t h e l ove p oe ts of so uth

e r n pe opl e s wh o se l adi e s a r e all bl o nd e s of t h e m o st pr o n o u nc e d t ype
, ( p . .

H O RA C E D AV I S : C f a poe m i n B u l l e n s More L y r i cs f r om Eli z a beth a n S on g

.

B ook s p 6 5 ( fr o m C hrist C hurch MS K 3 )

, . . .

L e t n ot thy blackn e ss i n ove th ee t o d e spair ;

B lack wo m e n a re b e l o ve d of m e n that s fair
.

What if thy hair h e r axe n blackn e ss l ack ?

Th y face is c o m e l y th ough thy br ow b e b l ack .

3
. si
s u cc e sv e S C H M I D T : H e r e ditary. l e gitimat e , .

4
. T Y L E R : B e auty an d N atur e a r e s l and e r e d by t h e articia l asse rti ng i n

e ff e ct that Art is b e tt e r than Natur e .

6 C f S 6 8 F ai r in g S ee n ot e o n 5 4
. . . . .
, .

7
. b o u r e S e e t e xt u a l.n o t e s S C H M I D T : P l e asant habitati o n .
[Th e N E D . . . .

n ot e s this p assage u nd er t h e se c o nd ary d e n iti o n an i de a l i z e d ab o d e n ot

, ,

re ali z e d in any actual

9 e y e s [ I S AAC fav o ring t h e e m e ndati o n
. .
, hairs cit e s L L L 0 if i n , . .
,

black my lady s br ows b e d ec k d wh e r e w e a re t o und e rstand bro ws as

,

e quiv oca l f or e ith e r e y e br o ws f ore h e ad S inc e black hair give s a tting

or .

image f or a m o urning garm e nt t h e passage may b e b e st u nd e rst oo d Yo ur , ,

f or e h e ad is cl oth e d with black hairs ( Arch i v 6 1 : MAS S E Y : B y h e r .

,

e y e s s o suit e d S h did n ot m e an a ls o but h e r e y e s th u s dre sse d i n black A
.
, .

re pe titi o n which lays a d oubl e str e ss up o n t h e e ye s and pr ove s that n e ith e r t h e ,

hair n or t h e br ows we re i nt e nd e d Th e wo man o f t h e latt e r so nne ts is n o

.

m ore b l ack haired th an s lfe was black ski nn e d If s h e had be e n t h e b l ack e ye s

- -
.
,

w ou l d n ot have put o n m o urning ( p

[This is with r e fe re nce t o t h e . .

id e nticati o n of t h e l ady with P e n e l o pe R i ch w h o was a bl o nd e with black ,

e y e s ] WYND H AM : No e m e ndati o n is n e c e ssary H e r e ye s s o suit e d mak e s

.

a n additi o na l pr op ositi on ab out t h e e y e s which le ad s up t o and th ey m ourners

see m .
c xxv 1 1 1 1 TH E S ONNE TS OF S HA K E S P EA R E 30 7

10 . s ute d . SC H M I D T: C l oth e d
disse nt fr o m this .
[ Ci . 1 32 , [I do n ot

usual int e rpre tati o n but thi nk it po ssibl e that t h e m e ani ng is tt ed
,

,

adapt e d as fr e qu e ntly i n S h ; rath e r m ore pr obably t han i n 1 32 1 2

, .
, ,

wh e r e B ee ching s o re nd e rs it ED ] . .

12 MAL ON E : D ish o no ur natur e by th e ir impe rf ect i mitati o n and fa l se

.

pret e nsi o ns .

1 3 b e c omm i n g of
. S CH M1 D T: Acc ording with D OWD E N : Gracing Th e
. . .

word of is fr e qu e ntly use d as h e re aft e r t h e partic i pl e s o f transitive ve rbs

.

Cf . fe aring of 1 1 5 9 [and many e xamp l e s cit e d by S ch midt un d e r

,

, ,

1 3 1 4 VON MAU NTZ : C f Ovid Amor es I I v 44 : Ma e sta e rat i n v ult u

-

. .
, , , ,

ma e sta d ec e nt e r e rat [ Mar l owe s trans l ati on : S h e l ooked sa d ; sa d c o m e l y

.

I e s t ee m d

128

H OW of t w h en t h ou my m us i k e m us i k e p la y s t ,
Vpon t h a t b l e s s ed w ood w h os e m o t i on s o un ds
Wi t h n ge rs w h e n t h ou ge n t ly s w a y s t
th y s w ee t ,

Th e w i ry c on cor d t h a t m i n e c a r e c on foun d s ,

D o I e n u i e t h os e I a c k e s t h a t n i mb le lea pe ,

To k i s s e t h e t en d e r i n w a rd of t h y h a n d ,

Wh i l s t my poore li ps w h i ch s h ould t h a t h a rues t rea pe ,

At t h e w ood s b ould n e s b y t h ee b lus h i n g s ta n d .

To b e s o t i k led t h e y w ould ch a n g e t h e i r s ta t e ,

An d s i t ua t i on w i t h t h ose d a n c i n g ch i p s ,

Ore w h om e t h e i r n ge r s w a lke w i t h g e n t le ga t e ,

M a ki n g d ea d w ood m ore b le s t t h e n li n i n g li ps ,

S i n c e s a u s i e I a c ke s s o h a p p y a r e i n t h i s ,

Gi ue t h e m t h e i r n g e rs m e t h y li ps t o k i s s e , .

1 . my ] th y 1 6 40 , G S E , , . m u s i k e play s t] H yph e n ed by
G, S , E

.

4 . i
w r y ] wi ty G ; wi tty G 1 2
, S, E .

8 . th e e ] th e L .

11 . th e r i] th y G S C M 1
,
1
, , , et c .

14 . t h e i r ] th y 1 6 40 G e t c , , .

MAS S E Y : Th e m otive or c o nc e it of [this so nn e t ] was b orr owed fr o m B e n

J o nso n s p la y E very Ma n out of h i s H u mou r ( I II iii ) 1 599 Fa s t Yo u s e e t h e

,

, , . .

subj e ct of h e r swee t nge rs th e r e [ a vi o l d e gamba ] Oh s h e tickl e s it s o that .

, ,

s h e make s it l augh m o st divin e ly I ll t e ll y o u a g oo d j e st n ow and y o urse lf

.
,

shall say it s a good on e ; I have wish ed m yse l f t o b e that i nstrume nt I think

, ,
30 8 TH E S ONNETS OF S HAK E S P E AR E [ xxv
c 1 11

a th ousan d tim e s ( p . .
[ S I M P S ON th e r hand sp e aks of t h e id e a
, on th e o ,

as b orr owe d by J o n s on ( p . and m ost c o mm e ntat ors nd n othing signicant

i n t h e r e se mblanc e ]
S ARRAZ I N : [ Cf a s o nn e t of C o nstabl e s e ntit l ed xc e ll e ncy b oth in

.
, Of h er e

s inging and instrum e nts :

A l ut e of se nse l e ss w ood by nature dumb , ,

To uc h d

by thy han d d oth spe ak divine ly we l l ] .

(S h .

s L eh rj a h re , p .

I . m y mu s i k e . R OL F E : C f 8 , . I .

4 . r d MAL O N E : C f 8 5
con co . .
, .

5 e n vi e MAL O N E : This w o rd is acc e nt e d by oth e r anci e nt writ e rs i n t h e

. .

sam e manne r S o i n Marl owe s E dwa rd I I : If f or th e se digniti e s th o u b e

.

e n vy d [ Ci T of S I I i 1 8 ( wh e r e of c o urse w e c o uld n ot b e sure of t h e

. . . .
, , , , ,

acc e nt by i tse lf) : I s it f o him y o u d o e nvy m e s o ?

r E D 1 J a ck e s [ D OWD E N . .

qu ot e s fr o m F a i rh olt thr o ugh D yc e s Glos s a ry a standard d e niti o n of t h e

,

virgi nal j ack as a pi e c e o f wood furnish e d on t h e upp e r part with a quill

,

affi xe d t o it by springs of bristl e which was dir e ct e d by t h e n g e r k ey t o t h e

-
,

stri ng ; but i n d e anc e of t h e citati o n d e ne s t h e w ord h e re as k ey s of t h e

R OL F E : H e r e use d l oose ly ( as pr obably i n c o mm o n spe e ch ) f or t h e

ke ys N E D : B y S h and so m e lat e r writ e rs e rr o neo usly appli e d t o t h e k e y

. . . . . .

[ B ut n o e xampl e is give n fr o m l at e r writ e rs u n l e ss it b e t h e ambigu o us pas

~

S ag e fr o m Middl e t o n F a th er H u bba rd s Ta le : H e r t e e th chatt e re d i n h e r

h e ad and l e ape d up and d own like virgina l j acks

,
D E L I U S [ supp ose s t hat t h e -
.

w ord is ch o se n f or a play o n its m e aning of

6 S TE E VE NS : [ C f C ar e y s ] Ch ron on h oton th olog u s : Th e t e a cups skip with

-
. .

e ag e r hast e t o kiss y o ur r o yal l ip

MAL O N E : Th e re is sca rc e ly a writ e r o f l ove .

v e rse s a m o ng our e ld e r poe ts w h o has n ot intr oduc e d hyp e rb ol e s as e xt ra v a

, ,

gant as that i n t h e t e xt which t h e fo re go ing qu otati o n was pr o duce d t o ridi ,

cu l e Thus Wall e r i n his Addr e ss t o a L ady P laying o n a L ut e

.

,

Th etr e mbling strings ab o ut h e r nge rs cr o wd ,

And t e l l th e ir j oy f or e ve ry kiss al o ud .

LE E : Cf T An d . I I iv , , 46 :

And make th e si l ke n strings d e l ight to kiss
th e m .

14 th e ir [ Miss P O RTE R a l o n e mak e s h e r faithfu l

. . e ff o rt to kee p th e Q t e xt ,

e xp la i n i n g z] B e cause h e r ng e rs a re give n t o th e m .

B UTL E R : I t has b ee n argu ed fr o m this so nn e t that S h s mistre ss w as high l y .

acc o mp l ish e d One woul d l ike t o have h e ard wh e th e r s h e c o u l d d o m ore than

.

strum An d o n e wo u l d a l s o l ike t o kn ow h ow far S h was q ua l i e d t o j udge

.
. .

Th e so nn e t is c o nve nti o na l and d oe s not sugge st a writ e r wh ose e a r was l ike ly ,

t o b e m uch c o n f o und e d by e ith e r c o nc ord or disc ord MAC KAI L [ sp e aks o f th i s .

so nne t and of 1 4 5 as b oth trivial i n substanc e and u nd i sti nguish e d i n styl e

.
, ,

L at e r h e impli e s that th e y are not by S h ( L e ct on P oetr y pp 2 0 3 . . , .

,
c xx 1 x 1 TH E SONNETS OF S HAK ES P E AR E 30 9

129

TH

E X P E NCE o f S p i ri t i n a w a s te of s h a me
Is l us t in a ct ion ,
a nd ti l l a c t i on , lu s t

I S p e r i u rd , m u rd ro u s , b lo u d d y fu l l of b l a me ,

S a u a ge , e x t re a m e , r u d e cr ue l l
, ,
not t o t r u st ,

I n i oy d n o s oo n e r b u t d i s p i s ed s t ra i gh t ,

Pa s t re a s on h u n t ed a n d n o s oon e r h a d,

Pa s t re a s o n h a t e d a s a s w ollow ed b a y t ,

On p u r p o s e la y d t o m a ke t h e t a ke r m a d .

Ma de In p urs u t a nd i n p o s s e s s i on s o,

Ha d , h a ui ng , h a u e ex t rea m e
and in q ue s t
'

, to ,

A b l i s s e i n p roo f e a n d p ro u d a n d ve ry w o ,

B e fo r e a i oy p ro p os d b e h i n d a d r ea m e ,

All t h i s t h e w o r ld w e ll k n ow e s y e t n o n e k n ow e s w e ll,

To S h u n t h e h ea ue n t h a t lea d s m e n t o t h i s h e l l .

1 . Th ] Th e C M A K t B D e l C l Gl Kl y C a m D o R W

, , , , , , , , , , , ,

, Ty Ox , ,

B ut , e t c (e xc e pt Wa )
. .

mur dr ou s ] murth er ou s Wh R ; mu rth rous WW

l
3 .
, .

9 . Ma d e ] Ma d C S C M e t c
1
, , , , .

10 . q u es t, to h a u e] qu es t to h a ve C M e t c , , , .

pr ou d an d ] prov d a n d C ; prov d a S ; prov d a C M e t c

'
1 I
11 .
, , , , .

14 . h e au e n ] h a ven 1 6 40 G 1
, .

MAS SE Y [ puts this so nne t i n a pair with 1 4 6 and thi nks that th e y we re sug ,

ge st e d by S idne y s pair o n se nsua l and s piritua l l ove which f o ll owe d t h e A 89 S

, .
'
.

i n S i d ne y s Poe ms o f 1 59 8 Th e rst of S idne y s is as f oll ows :

.

Th o u b l i nd man s mark ! th o u f oo l s se lf ch o se n snar e !

-

F o nd fancy s scum ! and dr e gs o f scatt e r e d th o ught !

B and of all e vi l s ! cradl e of cause l e ss care !

Th o u w e b o f will ! wh o se e n d is n e ve r wr o ught .

D e sire ! D e sire ! I have t o o d e ar l y b o ught ,

With pric e o f mang l e d mind thy w orth l e ss ware ! ,

Too l o ng t oo l o ng asl e e p th ou hast m e bro ught !

,

Wh o sh o uld my mi nd t o high e r things pre par e .

B ut y e t i n vai n th o u hast my rui n S o ught !

I n vain th o u m a d s t m e t o vai n things aspir e !

I n vain th o u k i n d le s t all thy sm o ky re !

F or virtu e hath this be tt e r l e ss on taught
51 0 TH E S ONNE TS OF S HAK E S P EAR E [
c xx 1 x
Withi n myse l f t o se e k my o n l y hire ,

D e siring n ought but h ow t o ki ll D e sir e , .

A th e m e thus ad o pt e d an d d e ve l ope d fr o m S i d ne y says Masse y can ,

, .

n o l o ng e r b e c o nsid e r e d as a passi o n p e rs o na l t o t h e writ e r (p LE E : . .

[ Th e so nn e t ] tr e ats with marve l o us f orc e and insight a st e re otype d th e m e of

s o nne t ee rs and it may have o we d its wh o l e e xist e nc e t o S i r P hi li p Sidne y s
,

s o nne t o n D e sire I n E ma ri cdulf e : S on n ets w ri tten by E C 1 59 5 S 3 7

. . .
, , .

e ve n m or e c l ose l y r e se mb l e s S h s s o nn e t i n b oth phrase o l ogy and s e ntim e nt

. .

p
.
[ It is as f o l l ows :
0 l ust of sacre d l ove t h e f o u l c orrupt e r
, ,

U surp e r h e ave nly dignity !

of h er
F o lly s rst chi l d g oo d c o unse l s i nt e rrupt e r

, ,

F o s t e r e d by sl oth rst st e p t o i nfamy ! ,

Th o u h e ll b orn m o nst e r t h at a ff r i ghts t h e wise

-
,

L ov e ch o king l ust virtu e s disdainfu l f oe

-
, ,

Wisd o m s co nt e mne r spurn e r of advice

, ,

S wift t o f orswe ar t o f aithfu l pr o mise sl ow ! ,

B e th o u as far fr o m h e r chast e th o ught e d br e ast -

,

H e r tru e l o ve ki nd l ed h e art h e r virtu o us mind

-
, ,

As is all see ing Ty s a n fr o m t h e We st

-
,

Wh e n fro m Aurora s arms h e d oth u ntwind

.

Nature did make h e r o f a h e ave nly m o u ld ,

O nl y tru e h e ave n l y virt ue s t o e nfol d ] .

ROL F E : Cf V 69 A
79 9
8 0
4

. . .
,

L ove c o mfort e th like sunshine aft e r rai n ,

B ut L ust s e ff e ct is t e mp e st aft e r su n ;

L ov e s g e ntl e s p r i n g d o t h always fre sh r e main

'

,

L ust s wi nt e r c o m e s e r e summ e r half b e d o n e ;

L ove surfe its n ot L ust lik e a gl utt o n di e s ; ,

L o ve is al l truth L ust fu l l of f o rge d l i e s ,

.

WAL S H : C f P e tr o ni us F ra gmen ta ,
. ,
1 8

F oe d a es t in bre vis v ol uptas

coi t u e t ,

E t t a ed e t Ve n e ris statim p e ra ct a e ;

which was thus re nd er e d by B e n J o nso n

D oing a l thy pl e asure is an d sh ort ,

And d o ne w e straight r e p e nt us of t h e s po rt ,
.

[ Tr a n s la ti on s C u nningham ,
cd .
, 3:

[An d again with t h e na l c o up l e t ] F ra g men ta 2 3 : Ne m o n on ha e c ve ra dicit

, , , ,

n e m o n on c o ntra facit [Th e fact that J o nso n transl at e d o n e of th e se passage s

.

make s th e sugge sti o n of P e tro nius as a p ossibl e so urc e n ot u ni nt e r e sting p ro ,

v i d e d t h e t w o p a rall e ls a re f o un d in s o m e thing l ike j uxtap ositi o n Not d i s cov .

e ri ng t h e se c o nd h ow e v e r i n t h e stan d ar d e d iti o ns of Pe t ron i us I c o mmuni

, , ,
C KKI X ] TH E S ONNETS OF S HA KE S P E AR E 31 1

c a t ed with Mr Walsh w h o has ki nd l y writt e n t o m e as f oll ows : Th e on l y e d i

.
,

ti o n of P e tro nius I had at t h e ti me was Gue r le s F r e nch translati o n with t h e

L atin origina l at t h e b ott o m of t h e page Th e fragm e nts a re print e d at t h e .

e n d of t h e S a ty r i con and th e r e a re 3 6 of th e m I n ow n otic e what must have

, .
,

e scape d m e that i n t h e I ntr od ucti o n t h e e dit o r says this c o ll e cti o n o f fragm e nts
,

was supp o se d t o have be e n f o und at B e lgrad e i n 1 6 8 8 an d was pub l ish e d by ,

Nod ot i n 1 6 9 2 and is c o nsid e red apocryphal Th e rst on e qu ot e d h owe ve r

, .
,

( F oe d a e s t

is e vid e nt l y ge nui ne as it is accre dit ed t o P e tro ni us i n
,

B a e h re n s s P aeta e L a ti n i Mi n ores v ol iv p 99 ; but t h e p oe m c o ntai n ing t h e

. .
, ,

oth e r l i n e is th e r e ascribe d t o F l o rus p 34 8 To m e it was S igni cant that n ot , . .

o nly this S o nn e t b ut S 2 0 b e sid e s 1 53 1 54 a r e paral l e l e d by L ati n v e rse s F or -

.
, , .

this r e as o n I sh ou l d myse lf rath e r i nfe r that w e have n o right t o attribut e e ith e r

of t h e t w o r s t m e nti o n e d so nn e ts t o anythi ng happe ni ng i n S h s lif e but sh o uld

-
.
,

l ook upo n th e m m e re l y as l i t e rary c ompo siti o ns e ach e xpandi ng int o 1 4 l ine s a ,

L ati n c o upl e t

I am als o ind e bt e d t o P r ofe ssor W A Ol dfath e r f or t h e stat e
. . .

m e nt that t h e e pigram trans l at ed by J o nso n appe ar e d i n t h e e diti o n of P e tr o

ni us mad e by C laudius B i n e t u s i n 1 57 9 ( s ee Ri e se An th olog i a L a ti n a p xxxiii ) , , . .

This w o uld acc o unt f or its acc e ssibi l ity i n t h e E li z ab e than a g e th o ugh I am ,

not abl e t o s e e that t h e matt e r is e spe cially pe rtin e nt t o t h e pr e se nt so nn e t .

B D ] Notic e that this so nn e t has n o c o nne cti o n what e ve r with any oth e r s o nn et
.

o r with anything e l se i n S h s writings Th e n e ar e st t o it a re so me passag e s

. .

c o nce rning l ust i n ge nera l : V 62 A 7 99 80 4 q u ot ed ab ove ] ; T G V I i .

.
, ,
. . .
, , ,

32 33 2
-

If hap l y w on pe rhaps a hapl e ss gai n

,

If l ost why th e n a gri e vous l ab our won ;

,

M WW V v
. .
, , 97
1 0 0 .

Fi e si nfu l fantasy !
on

F i e o n l ust and l uxury !

L ust is b ut a bl oo dy re ,

K i nd l e d with u nchast e d e sire ;

H a ml I v , , 55 57
-
: L ust wi ll pre y on garbage . F or t h e sty l e al so
cf . R 8? J
. .
, I , i , 1 9 6 2 0 0

Love is a sm oke mad e with t h e fum e of sighs ;

B e i ng p u r g d a re sparkling i n l ove rs e ye s ;

B e ing v e x d a s e a n o uri s h d with l ove rs t e ars

,

.

What is it e l se ? A madne ss m ost d i s cree t ,

A ch o ki ng gal l an d a pre se rving swee t ; ,

T 69 C
.

.
, I , 11 , 1 1
3 3 9

Things d o ne j oy s s o ul li e s i n t h e d oing ;
w on a re ,

Me n pri z e t h e thing u n g a i n d m o re than it is

.

Ach i e ve m e nt is c o m mand ; u n g a i n d b e see ch

.
,

Notic e h ow much m or e t e rse is t h e sty l e of this so nne t . On l y t h e qu otati o n

fro m H a mlet is pitch ed i n th e sa me k ey .
 TH E S ONNETS OF S HAK E S P E AR E [c xx 1 x
[ Cf . a l s o ( n ot e d by TR E N C H b e l ow and oth e rs ) , , L u crece , 6 9 0 - 7 1 4

This m o m e ntary j oy bre eds m onths of pain ,

This h ot d e sire c o nve rts t o c o l d disd ain ;

P ur e C hastity is ri e d of h e r st ore ,

An d L ust , th e thi e f far p oore r than b e fore

, .

Whi l e L ust is i n his prid e xclamati o n , no e

C a n curb his h e at or r e in his rash d e sir e ,

Ti l l like a j ad e S e lf will himse lf d oth tir e

, ,
-
.

And th e n with lank and l e an d i s c olour d ch ee k

,

With h e avy e y e knit br o w and stre ngth l e ss pac e

, , ,

F ee b l e D e sir e all r e cr e ant p oo r and m e e k

, , , ,

L ike t o a bankrupt b e ggar wails his case .

Th e e sh be ing pro ud D e sire d o th ght with Grac e , ,

F or th e r e it r e ve ls ; and wh e n that d e cays ,

Th e gui l ty r e b e l f or r e missi o n pray s ]

I c ou l d as s oo n b e li e ve t h e pe nit e ntia l psa l ms of D avi d t o b e pur e l y

R OL F E :
rh e t orical an d ctiti o us as t h e 1 2 9 t h S o nne t than which n o m ore r e m orse ful ,

utt e ranc e was e ve r wrung fr o m a s o ul that had tast e d t h e ash e s t o which t h e

S od om app l e s of illicit l ov e a re turn e d i n t h e e n d
-
I f this is supp o s e d t o b e .

t h e c o unt e rfe it o f f ee ling I can o nly e xclai m with Le o nat o in Much Ado

,
O ,

God ! c o unt e rf e it ! Th e re was n e ve r c o unt e rf e it o f passi o n cam e s o n e ar t h e life

[Th e ana l ogy of t h e p e nit e ntia l P sal ms

o f passi o n ! ( I ntro re v e d p .
, . .
, .

is a bit unfortunat e sinc e th e y a re n ow b e li e ve d by many auth o riti e s t o have

,

r e fe re nc e t o t h e sins of t h e J e wish p e o pl e n ot t o th o se of an individua l On e , .

might obse rv e t oo that t h e wh ol e discus s i o n of originality or u n origi nality i n

, ,

c onne cti o n with this s o nne t is a rath e r drol l e xe rcise of t h e c o mm e ntat ors I t is .

an o utstanding e xc e pti o n t o t h e se ri e s as a wh o l e i n b e ing such a n acc o u nt of ,

its subj e ct as might b e give n fro m e xp e ri e nc e or obse rvati o n by ni n e t e nths of -

al l t h e me n w h o e ve r live d ; h e nc e t o Vi e w it o n t h e o n e hand as havi ng r e f e r e nc e

t o a particular e xpe ri e nc e o f S h s or o n t h e o th e r as an imitati o n of oth e r stat e

.
,

m e nts of t h e sam e fact is e qua ll y pe ri l o us ED ] , . .

1 . e xp e n c e .
[ Cf .
30 , 8 ( and n ot e ) and 94 6 Th e N E D u nd e r t h e d e n i
, . . . .
,

ti o n
th e expe nding or using up (of mat e ria l or i mmat e ria l r e so urc e s ) cit e s ,

L . L . L .
, V ii 52 3 :
much e xpe nse o f thy r o yal swee t
, ,

So TYL E R :
C f Bac o n Na t H i s t It hath b ee n obse rve d by t h e anci e nts that much u s e

. .
, ,

o f Ve nus d oth dim t h e sight Th e cause is t h e e xpe nce o f spirits . .

( S p e dd i n g e d 2 : 555 S pi rit S C H M I D T: Vita l p owe r lif e [ C f K J

.
, IV .
, . . . .
, ,

i 1 1 0 : Th e br e ath of h e ave n hath bl own his (t h e c oal s ) spirit o ut ; A fs C
,

.

.
,

I V xv 58 : Now my Spirit is go ing I can n o m o r e

.
, , ,

1 2 WAL S H : L ust i n acti o n is t h e subj e ct n ot t h e pre dicat e F or t h e
.

,
.

c o nstructi o n cf Wordsworth E xcurs i on ix 2 0 : Th e f ood of h op e is m e di

, .

, , ,

t a t e d acti o n .
c xx 1x 1 TH E S ONNE TS OF S HAK ES P E AR E

4 . tr u to
s t A BB O TT :.I nnitiv e activ e is o ft e n fo un d wh e r e w e u s e t h e pas

sive . This is e spe cially c o mm o n i n what s t o d o f or what s t o b e d o n e

.

[ See also F RANZ .

9
1 1 S e e t e xtual n o t e s
. WYND H AM P r o ud stands naturally f or .

pr oved with as always u f or v ( and as fre qu e ntly n o ap ostr o ph e t o mark

, , , ,

t h e o missi o n of a mut e e ) A may we ll have bee n mistake n f o r t h e sym

.

b ol o f and

.

10 VE R I TY : [ F or t h e c o mpre sse d grammatica l c onstructi o n c i 1 T 81 C

.
, . .

.
,

H e must h e is h e cann ot but b e wise ; an d H a ml I ii 1 58

I I iii 2 6 3 :

, , , , .
, , ,

I t is n ot nor it cann ot c o m e t o goo d

1 1 1 4 TYL E R : Mr S haw has dir e ct e d my att e nti o n t o t h e f o l l o wi ng pas

. .

sage i n L odge s E uph ue s Golden L egaci e ( 1 590 )

Ah Lo rr e l l 12 d what make s th ee H e rry l ove ?

, , ,

A s ug re d harm e a po yso n ful l of p l e asur e , ,

A paint e d shri ne ful h ld with r ott e n treasur e ,

-
,

A h e ave n i n sh e w a h e l l t o th e m that prove , .

I2 . TYLE R : C f . L u cr ece , 2 1 1 1 2

What wi n if I gain t h e thing I se e k ? I,

A dr e am a br e ath a fr oth of ee ting j oy
, , .

[ Rol fe qu ot e s fro m TR E N C H this s o nne t i n t h e H ous eh old B ook of P oetry , on , ,

Th e subj e ct S h must have m ost d ee ply f e l t as h e has e xpr e sse d.

,

himse l f up o n it m ost pr ofo u nd l y I kn o w n o pictur e of this at a ll s o t e rribl e in .

its truth as i n L u crece t h e d e scripti o n of Tarqui n aft e r h e has succe ssfully

, ,

wr ought his d ee d of sham e B ut this so nne t on t h e sa m e th e me is wo rthy t o .

stand by its sid e I S AAC : Wh e th e r be f or e or aft e r S h any poe t has a ccom

.
.

p li s h ed so m e thing si mi l ar i n this f orm I cann ot say but I am rath e r d ispo se d , ,

t o d o ubt it ; am o ng his c o nt e mporari e s n o o n e c o mpo s e d anyt hi ng l ik e s o mag

n i c e n t a so nn e t On e asks himse lf i n surprise I s this r e a l ly a s o nne t ? that
.
,

triing grac e fu l d e c orative an d y et rigid a n d tr oubl e s o m e form i n which

, , , ,

poe ts a re oblige d t o sta l k ab o ut as i n n e w an d e xpe nsive h olida y c l othing ,

which thre at e ns t o sp oi l e ve ry free m ove m e nt e v e ry i ncauti ous t o uch ? ,

What matt e r h e re wh e th e r one i d ea or a n umbe r of id e as ? A ood of_id e as m v

~ l

rush e s ove r us e ve ry word an i d e a e ve ry word a m oral b l ow Th e p oe t kn ows

, ,
.

n o r e stra i nts h e o
p ur S h I s wh ol e 115256 out f or us An d y e t n othing is ove r
'

5

' '

, .

l ooke d or change d of what make s up t h e l aw of this xe d f orm ( Ar ch i v 6 2 : .

,

TYL E R : I n maj e stic str e ngth [ this so nne t ] must c l ai m p re e min e nce ( I ntro -
. .
,

p. Th e matt e r [of it ] answe rs e ve n in se ve ra l d e tai l s t o t h e Al l e g ory

paint ed by Bro nz in o n ow i n t h e Nati o nal Ga ll e ry VE R I TY : I supp o se th e r e is

, .

n owh er e in t h e plays and p oe ms a m ore stri ki ng of c q mp res s i o n than

this so nne t aff ords S H I NDL E R : Th e .

c oming with t h e m o st absolut e i nc ongruity be twee n t wo l ight an d playfu l s o n

m poe m W
ne ts might b e e n ough of itse l f t o mark t h e arbitrary charact e r of t h e pr e se nt
arrange m e nt (Gent Ma g 2 72 : .
F U R N I V ALL : To p ut [ this] gran d pe ne
. .
, ,
31 4 TH E S ONNETS OF S HAK ES P E AR E [c xxx
and we ighty so nn e t
t ra t i v e , b e fo r e 1 6 0 0 1 6 0 1 is sur e ly a misj udgm e nt .

( S h 63 Ma ry Fi tton p P E MO R E : Th e p e culiarity o f S h s c o nf e ssi o n is

. . . . .
,

that w e s e e a se nsitive so ul act_u_ a_lly i n t h e t o i ls e f e v i l; whi ch h e d e p l o r e s y e t

v "

h ugs t o his b rea Sti It is this associati o n which mak e s t h e t e rribl e 1 2 9 th S o nne t
u n i qu e i n E ngl i sh uniqu e s o far as I know i n any language O nly t h e c o n
, ,
.

s ci e nc e oi t h e P uritan u nit e d t o t h e libe rtin e fancy o f a C avali e r ( a ph e n o m e n o n

n ot e asi l y c o nc e ivabl e o utsid e of E ngland ) c o uld hav e pr o duc e d th o s e w o rds .

( S h elbu rn e E s s a y s 2 : [ H E N R Y D AV E Y i n t h e Me m o ir app e nd e d t o t h e

, ,

S tratf o rd To wn E diti o n of S h ca ll s this t h e v e ry n e st S o nn e t e v er writt e n

.
,

i n any language ( 1 0 : .

F or t h e structur e o f t h e s o nn e t s ee B E E C H I NG S n ot e un d e r S 6 6

. .
,

1 30

MY Mi y e s a re n ot h i n g li ke t h e S u n n e
s t re s e ,

C u r r a ll i s f a rr e m ore r e d t h e n h e r li p s r ed , ,

I f s n ow b e w h i t e w h y t h en h e r b re s t s a re d u n
,

I f h a i re s b e w i e r s b la c k w i e rs g row o n h e r h e a d
,

I h a u e s e e n e R os e s d a m a s k t r e d a n d w h i t e , ,

B u t n o s u ch R o s e s s ee I i n h e r c h ee k e s ,

An d i n s o m e p e r f u m e s i s t h e re m o r e d e l i gh t ,

Th e n i n t h e b r e a t h t h a t fr o m my Mi s t re s r ee ke s .

I lo u e t o h ea r e h e r s p e a ke y e t w e ll I k n ow , ,

Th a t Mu s i ck e h a t h a f a rre m ore p le a s i n g s ou n d
I g ra u n t I n e u e r s a w a g odd es s e g oe ,

My Mi s t re s w h e n s h ee w a lke s t rea d s on t h e g roun d .

An d y e t b y h e a ue n I t h i n k e my l ou e a s ra r e ,

As a n y s h e b e li d w i t h fa l s e c om p a re

.

2 . Curra ll] Cora l G , et c . li ps ] li ps C ,

M , et c .
( e xc e pt Ty ) .

5 d am a s k t] d a ma s k G , S , E
. .

7 i s th e r e] th ere i G , S , E
2
. s .

B E E C H I NG : A l e ss pl e asant variati on o n t h e motif of S 2 1 [ F or e xamp l e s of . .

t h e s o nn e t sty l e h e r e ridicul e d s ee t h e n ot e s o n 2 1 To th ose t h e re m e nti o n ed

, .
,

I S AAC ( Arch i v 6 1 : 39 39 6 ) adds a r e fe r e nc e t o P e trarch Pt I S 8 ; ca n z 6

, , .
, . .
,

str 5 ; ca nz 8 str 4 ; C o nstabl e D i a n a S 7

. .
, .
, , .

No n o I att e r n ot wh e n th ee I cal l
, ,

Th e sun sith that t h e sun was n e ve r such ; e t c

, .

S idn e y , A 89 S wh e r e L ove is d e scrib e d as se e ki n g h e at wh e n ld i n t h e

'
. .
, 8, , co ,

l ight of S t e ll a s fac e ; L odge P h i lli s S 8 :

, , .
 c xxx ] TH E S ONNETS OF S HA K ES P EAR E 51 5

stars h e r eye s t o c l e ar t h e wand e ring night

No ,

B ut shining su ns of tru e divi nity ,

That make t h e so u l c o nc e ive h e r p e rf e ct l ight !

No want o n b e auti e s of humanity
H e r pr e tty br o ws h ut b e ams t hat cl e ar t h e S ight
,

Of him that se e ks t h e tru e ph i l o so phy !

No c oral is h e r li p n o r o se h e r fa i r , ,

B ut e ve n that crimso n that a d orns t h e sun ; e t c .

KRAU S S ( J a h rb 1 6 : 2 0 0 ) c ompare s t h e s t h So ng of A 81 S
.
,
.

Think n ow no m or e t o h e ar of warm n e o d o ure d sn ow -

,

Nor blushing lili e s n or pe arls ruby hidd e n row

,
-
,

Nor of that g o ld e n s e a wh o se wave s in curls a re br oke n .

D OWD E N adds t o t h e list S pe nse r Am oretti 1 5 , ,

I f sapphir e s 10 h e r e y e s b e sapphire s plain ;

, ,

I f rubi e s 10 h e r li ps b e rub i e s so und ;

, ,

I f pe arls h er t ee th b e p e arls b oth pure an d r ound ;

, ,

I f ivo ry h e r f or e h e ad iv ory we e n ;
,

I f gol d h e r l ocks a re ne st g old on gro un d ;

,

If silve r h e r fair hands a r e s i lve r sh ee n ]

,

F U R N I VALL : [With t h e c h a f n g t o n e of t h e d e s cripti o n cf t h e poe m Ign ot o .

,

attribut ed t o Mar l owe :

I cann ot whine in puling e l e gi e s ,

E nt o mbing C upid with sad obse qui e s .

S wee t we nch I l ove th e e : y e t I wi ll n ot s ue

, ,

Or sh ow my l ove as musky c o urti e rs d o .

( B ul l e n c d 3 : 2 46 .
,

Al s o a pa ss age in t h e play of L i n gu a ( b e f ore

Th e se puli n g l ove rs I
cann ot but l augh at th e m and th e i r e nc o m i ums of th e ir mistr e sse s Th e y make .
,

f orsooth h e r hair of g old h e r e ye s o f diam o nd h er ch ee ks o f r ose s h e r lips of

, , , ,

rubi e s h e r t ee th of p e arl and h e r wh ol e b o dy of ivory ; and wh e n th e y have

, ,

thus i d ole d h er like P ygmali o n th e y fall d own and worsh i p h e r

,

( D od s le y s .

Old P la y s 9 : 37 0 A similar passage is i n S hirl e y s Th e S i s ters ( IV ii )

'

, ,

We re it n ot ne
I f y ou S h ou ld s e e y our mistre ss with o ut hair ,

D re st o nly with th ose glitt e ring b e ams y ou ta l k of

Tw o suns inst e ad of e y e s and th e y n ot m e lt ,

Th e f ore h e ad mad e of sn ow ! No ch e e ks but t wo ,

R ose s i n oculat e d o n a lily ,

B e twee n a pe nd ant alabast e r n ose

H e r l ips cut out of c oral an d n o t eeth
'

B ut strings of pe ar l : h er t o ngu e a nightinga l e s !

Wou l d n ot this strange chime ra fright y ourse lf ?

( Qu ot e d by C olli e r i n a n ot e t o L i ng ua as ab ove ; in ,

D yc e s e d of S hir l e y 5:

.
,
31 6 TH E S ONNETS OF S HAK E S P EAR E [c xxx
D Y CE [in a not e t o t h e passage l ast qu ot ed obse rve s that i n t h e vol um e call e d
, ,

Th e E xtravagant S h e ph e rd an Anti Romanc e th e r e is ] a p ortrait c om ,

-

p ose d so m e what aft e r [S h i rl e y s] m od e l : t h e hair pre se nts t w o ne ts i n which

h e arts a r e e nsnare d ; t h e for e h e ad is a C upid ; t h e e y e brows a re t w o b ows and ,

t h e e ye s t w o suns ; t h e ch ee ks lili e s and r o se s t h e lips t w o bits of c oral t h e t e e th , ,

p e ar l s and t h e b oso m t w o gl ob e s pr o pe rly mappe d out [This picture is re pr o

, , .

d uc e d i n J uss e rand s Th e E n gli s h Novel i n th e Ti me of S h ED ]

. .

2 L E E : Cf . c oral c o l ore d lips

-
( Z eph eri a , 1 59 4 , No . No c oral is h e r
lips ( Lodge s P h i lli s 1 59 5 No C e b e au c ora l a re t h e o pe ning w ords of

.
, ,

Ro n s a r d s Am ou rs livr e 1 No 2 3 wh e r e a list is giv e n of st on e s and m e tals

, , .
,

c o mparabl e t o wo m e n s f e ature s ( L if e p 1 1 8 n )
.
, . .

4 W i e r s VE R I TY : C f S p e nse r s E pi th a la mi on : H e r l o ng l oose ye ll ow l ocks

. . .

l ike gold e n wire ; [ Barne s ] P a rth en oph i l 1 3 : H e r hair di s ord e re d brown and

, , ,

crisp e d wiry ; E n gla n d s H eli con ( B ull e n e d p H e r tre sse s a r e l i ke

, .
, .

wire s of b e at e n gold ; D i ella S 3 : H e r hair e xc e e ds gold forc e d in small e st , .

wire H ero 89 L ea n der 4t h se stiad 2 9 0 : Her tre sse s we re of wire knit li ke a

, , ,

n et

; P ee l e P r a i s e of Ch a s ti ty : Wh ose ticing hair li ke ne ts of g ol d e n w i re
,

, ,
"

et c Was it s om e thing i n t h e E li z abe than c oi ff ure which sugge st e d t h e c om

.

pariso n ? L E E : Wire s in t h e se nse of hairs was pe culiarly dist i nctive of t h e s o n

n e t eers a ff e ct e d v ocabulary C f D ani e l D eli a 2 6 : An d go ld e n ha i r may

. .
, ,

change t o si l ve r wir e ; L odge P h i lli s : Mad e b l ush t h e b e auti e s of h e r curl e d

,

wire Barne s P a rth en oph i l 48 : H e r hairs n o grac e of gold e n wire s want

, , .

( iL fe 5
1 1 1 8
,
n ) W AL
. S H : S h

.

himse lf has wiry fri e nds of hairs in X I I I I .
, , . .
, ,

iv 6 4 [Al re ady n ot e d by R OL F E ] And t h e e xpre ssi o ns c o ntinu e d t o b e use d

,
. . .

Thus D rumm ond has d e ar c oral l i p and thr e ads of g old e n wir e ( Works


,

i 4 5; ii
, Of t h e latt e r phrase p erhaps t h e last app e aranc e swath e d i n
, ,

qu otati o n marks is in S t ra n gf or d s transl ati o n of C am oe ns P oe ms

,

wh e re t h e transl at or says h e has take n it fr om D rumm o nd (th ough h e use s it

i n a f orm m ore s i milar t o D ani e l s ) ; whi l e t h e f orm e r has passe d ov e r int o Ge r

many and r e app e ars l ustily in Le n a u s sch on e n Munds Kor a lle n ra n d ( Tr i a s

H a rm on i ca ) [Th e c o mparis o n of hair t o wir es is furth e r discusse d an d i l lus

.

t ra t e d in a n ot e by H OR ACE D AV I S Cri ti c n s 19: , , . .

,

5 d am a s k t S CH M1 D T: Of a ming l e d re d a nd whit e [ C f A Y L
. . III v . . . . .
, , ,

123

A litt l e
rip er and m o re lusty re d
Than that m i x d i n his ch e e k ; t was j ust t h e d i ff e re nce
i

B e twixt t h e c o nstant red an d mingl e d damask ]

8 . re e kes . R OL F E : P r o pe r ly =
e mits vap o ur st e ams ; but h e re probably ,

s d f or t h e sak e of t h e rhym e
u e .
[ Cf L L L I V iii 1 40 : S a w sighs ree k
. . . .
, , ,

fro m y o u .

I I g oe S e e n ot e o n 51 1 4
. .
, .

MI NTo [r e gards this m ocking so nne t as e vi d e nc e f or his vi e w that this wh ol e

group of so nn e ts t o a c o urt e sa n a re b e st re gar d e d ] as exe rcise s of skill und e r

,
c xxx ] TH E S ONNETS OF S HAK E S P E AR E 3 7
1

take n in a spirit of want o n d e ance and d e risi o n of c o mm o nplace Wh e n young .

H a l was t old of his fath e r s triumphs t h e hum or o us y o uth i ndulge d in a cur i o us

e cc e ntricity which if I am n ot i n e rr or r e pr e se nts e xactly t h e spirit of th e se

, , ,

so nne ts :
H i s answe r was h e wo u l d unt o t h e st e ws , ,

An d fr o m t h e c o mm o ne st cr e atur e p l uck a g l ove ,

An d we ar it as a fav o ur ; a n d with that

H e wo u l d unh orse t h e l usti e st ch a ll e nge r .

[ R 2 v iii 1 6 .
, , ,

Th e so nn e t ee r l ays d own a hum oro us chall e nge Give p l ace y e

ne w ,

l ove rs w h o b oast of b e auty and virtu e : my mistre ss is ne ith e r fair n or faithful

, ,
.

( Ch a r : of E n g P oets pp 2 1 1
.
, .

I S AAC [cit e s a passage i n Nash s P i erce P en n i les s 1 59 2 alre ad y n ot e d by

, ,

E L Z E r e garding an I nam orat o P oe ta w h o will s o nn e t a wh o l e q ti i re of pap e r

,

in praise of L adi e Ma n i b et t e r his y e ll ow fac ed mistre ss and thinks it may b e

, ,

signicant in c o nne cti o n with this so nnet ] Th e nam e Ma n i better ts t h e s onnet .

lady strikingly b o th i n physical and m ora l r e lati o ns [ He also c o mm e nts on t h e .

so nn et as] t h e m o st c o mpl e t e c o ntradicti o n of S 9 9 And if w e c o mpare t h e . .

wh ol e se ri e s t h e so nn e ts of Trave l [ S ee his n ot e o n S 2 7 ] and th ose d e aling with

, .

t h e P a i n and P l e asur e o f L o ve [ a gr o up i n which h e puts 2 1 3 6 4 9 56 58 6 9

, , , ,

7 0 , 75 8 7,9 1
9 6 ,1 2 7 1 3 0 1,3 2 1 4,9 w e nd, t h e sam e c o ntrast thr o ugh o ut
,

the m : t h e f orm e r e ntir e ly u nd e r t h e d o minati o n of t h e I talian tast e and t h e

I talian th eo ri e s of l ove e ve n if p oe tical l y carri e d o ut thr o ugh t h e g e nui ne n e ss
,

o f t h e i maginati o n ; t h e latt e r s o fr e sh an d u nad o rn e d s o pur e ly p oe tic as t o , ,

se e m t o proc ee d on l y fr o m a p oe t w h o is writing a drama with a Vi e w t o l ashing

t h e unnaturaln e ss of e uphuism ( J a h rb 1 9 : 2 1 1 . .
, ,

[See MAS S E Y S not e at t h e e n d of S

.
5
31 8 TH E S ONNETS OF S HAK ES P E AR E [c xxx 1

1 31

TH OU a rt a s t i r a n o us , s o as t h ou a rt ,

As t h os e w h os e b e a u t i e s p ro u d ly
m a ke t h e m cru ell;
For w e ll t h ou k n ow s t t o my d e a re d o t i n g h a r t

Th ou a r t t h e fa i re s t a nd m os t p re c i o us I e we ll .

Ye t i n g oo d f a i t h s o m e s a y t h a t t h ee b e h o l d ,

Th y fa ce h a t h n o t t h e pow e r t o m a ke lo u e g ron e ;
To s a y t h e y e rr e I d a re n o t b e s o b old , ,

A lt h o u gh I S w e a re i t t o my s elfe a lon e .

An d t o b e s u re t h a t i s n o t fa ls e I S w e a re
A t h ou s a n d g ron e s b u t t h i n ki n g on t h y fa ce ,

On e o n a n o t h e r s n e c ke d o w i t n e s s e b e a re
Th y b la c ke i s fa i r e s t i n my i ud g e m e n t s p la c e .

I n n o t h i n g a r t t h o u b la c ke s a u e i n t h y d ee d s ,

An d t h e n ce t h i s s la un d e r a s I t h i n k e p ro c ee d s .

1 . art a s ] a rt a 1 6 40 ; a rt G 2
, 5 2
, E . s o as ] y es so C 1
, 5 ;
1
so G 2
, 5 2
, E .

d ear e d otin g ] H yph e ne d by D e l,

Sta , D y , z
Hu
3 . .

9 . s w e ar e ] s w e a re , [o r s wea r , ]G 1
, S , C , M, e t c ; s wea r; G2 , S 2, E

.
.

1
4 . KRAU S S C f S idne y A 6 S s t h So ng 56 6 1
: .
, . 9

.
, ,

I l ay th e n t o thy charge unj ust e st tyranny !

I f rul e by f orc e with out all c l aim a tyrant s h ow et h .

F or th o u d ost l o rd my h e art w h o am ot b o rn thy s l ave ; , n

And which is worse make s m e m o st guilt l e s s t rm e nts have

, , o .

A rightfu l princ e by u nr ight d ee ds a tyrant gr o we th .

( J a h rb .
, 16:

5 i n g ood f ai th
. . WYND H AM [thinks th e se word s sh ou l d
ncl ose d i n n ot be e

c o mmas as by m od e rn ed it o rs ge ne rally] ; it is t h e auth or s tribut e t o t h e good

,

faith of his mistre ss s d e tract ors [This sugge sti o n is fol l owe d in t h e t e xts of

.

B E E C H I NG and WAL S H 1 .

6 MC CL U MP H A : C f R 81 J
. I I P r o l 3 : That fair f or which l ove g roa n d
. .
'
.
, , .
,

f or an d wo u l d d i e ( J a h r b 40 :. .
,

1 3 TYL E R : Cf 1 44 4 ; 1 4 7 1 4
. .
, , .

1 31 4 B U TL E R : Th e obvi o usl y ge nui ne a l m o st e rc e n es s of th e se t wo lin e s

.

at t h e c onclusi o n of a c o nve nti o nal so nne t r eca ll t h e c o nc l uding li ne s of 1 3 7 ,

and a l so t h e abrupt change s of t o ne i n t h e e nding of t h e highly u nc o nve nti o na l

s onn ets 1 4 7 1 4 8 and 1 2 5
, , .

14 th i s s la un d er I S AAC : [ Co ntrary t o C oll i e r an d oth e rs w h o r e f e r this t o

. .
,
c xxx 1 11 TH E S ONNETS OF S HAK E S P E AR E 31 9

e arl i e r so nn e ts such as 7 0 t h e so nn e t is se lf exp l a n at o ry all uding t o t h e al l e

-
, ,

g a t i o n that t h e mistr e ss is ugly I n t h e s am e way w e sh o ul d und e rs tand . black

d ee ds o nly of h e r tyrannical distant pe rso nality ( Arch i v 6 1 :

D OWD E N :
,
.
,

Th e sland e r that h e r fac e has n ot t h e p owe r t o make l ove gr oan .

S A H RP [co nj ecture s that t h e gr oup t oge th er with 1 2 8

1 3 1 1 36 , ,

1 39 1 40 , 1 4 3

and 1 49 wer e actually se nt t o t h e mistre ss t h e o the rs i n this part

, , of th e c oll ee
t i on be ing S h s privat e j ourna l of his passi o n

.

( I ntr o p . .
, . See his n ot e
on S .

1 32

TH I NE ei es I lo ue , and t h ey as p i t ty g me ,
i n

Kn ow i n g t h y h e a r t t or m e n t m e w i t h d is da i ne ,
Ha ue p u t o n b la c k ,
m ou rn e rs b e e and lou i n g ,

L ook i n g w i t h p re t t y r u t h v po n my p a i n e .

An d t r u ly n o t t h e m orn i n g S u n o f H e a ue n
B e t t e r b e c o m e s t h e g ra y ch ee ks o f t h E a s t

Nor t h a t f u l l S ta r re t h a t v s h e r s i n t h e E a ue n
D o t h h a lfe t h a t g lory t o t h e s o b e r We s t
i

AS t h os e tw o m orn i n g e y e s b e c om e t h y fa ce
O le t i t t h e n a s w e l l b e s e e m e t h y h e a r t
To m o u rn e f or m e S i n ce m ou rn i n g d o t h t h ee gr a ce ,

An d s u t e t h y p i t t y l i ke i n e ue ry p a r t .

Th e n w i l l I S w ea r e b e a u t y h e r s elfe i s b la c ke ,

An d a ll t h e y fou l e t h a t t h y c om p l exi o n l a c ke .

2 . h e a rt ] h e a rt , M A B C0 , torm e nt] tormen ts

, ,
3
. 1 6 40 , G S , , E, C,,
Kt ,

Co 2
l-
, D e l, H u, D y S t a C l Gl K ly Wh Ha l C a m D
, , , , , , , , o, et c .

6 . th
E a st] th e ea s t , G 2
, etc.

9 . m orni n g ] m ou rn i n g G , e tc .

LE E : u nd e r S 1 2 7 )
[This so nn e t r e pr oduc e s S idne y s c o nc e it ( A 89 S 7 ;

.

. s ee .

that t h e l ady s e y e s a re i n m ourning i n ord e r t o h o no ur al l th e ir d e aths w h o

f or h e r bl ee d
( f
L i e p . KR A U S S [ f,o ll
. o wing Masse y ( s e e n o t e o n 1 2 7 ,

o bse rv e s that i t is o n l y t h e e y e s that a r e black and that t h e fac e is by implica ,

ti o n that of a bl o nd e S idn e y s S t e l l a again ( J a h r b 1 6 :

.
,
.
,

2 torm en t [ Se e t h e t e xtua l n ot e s C OLL I E R e vid e nt l y supposing that h e

. . .
,

was t h e rst t o c o rr e ct t o t orm e nts says that h e owe s t h e e m e nd ati on t o a ,

c orr esp o nde nt by t h e nam e of J O C on nell 1 .

.
3 0
2 TH E S ONNE TS OF S HAK E S P EAR E [CXXX I I

5 9 . D OWD E N : Cf T of S IV v 3 1 32 . . .
, , ,

What stars d o spang l e h e ave n with such be auty ,

As th ose t wo e y e s b e c o m e that h e ave nly fac e ?

S A RAZ I R N: Cf . V 69 A 4 8 5
.

.
,
8 6

And as t h e bright sun g lori e s t h e sky ,

S o is h e r fac e i llu m i n d with h e r e y e

.

(S h .

s L eh rj a h re , p .

9 . MAL O N E : Th e c ont e xt I t hink c l e arly sh ows t h at t h e p oe t

m orn in g .
,

wr ot e m ourning [ C f l i ne

Th e t w o words w e r e I i magin e i n his tim e
. .
, ,

pro n o unc e d al i ke I n a s o nne t of o ur auth or s print e d by W J a g g a r d 1 599

.

, .
, ,

w e nd :

I n black m orn e I

Th e sam e s o nn e t is print e d i n E n gla n d s H eli con
.

1 60 0 and th e re t h e line stands : I n black m o urn I D OWD E N : P r obab l y a

,

.

play was int e nd e d o n t h e w ords m orning sun and m o urning e y e s MAS

.

S E Y [th o ugh h e pri nts t h e w ord
, m ourning c o m pare s t h e p a s s a g e w i t h A 8? , .

S 4 8 ; S o ul s j oy ! b e nd n ot th ose m orning stars fr o m m e

.
,

Mi ss P OR TE R .

wou l d kee p m orning e xp la i n i n g z] L ike t h e m orni ng e y e of t h e su n o f h e ave n

,
.

[ W ith t h e p o ssibl e pu n M r H O R AC E D A V I S c o mpar e s a lin e i

. n D e k k e r s S h oe

m a k er s H oli da y V ii : Yo ur m orning mirth my m o ur ning day hath mad e 1

.
, ,

1 1 . Cf . 12 7, 13 .

12 . n ot e o n 1 2 7 1 0 TYL E R : L e t e ve ry part of th ee and n ot m e r e l y

t
su e . Se e , . ,

thy e y e s pity m e and le t e ve ry part we ar a similar garb of m o urning

, ,
.

14 R OL F E : C f L L L I V iii 2 53 [ s e e u nd e r S
. . . . .
, , ,
.

B U TL E R : [This so nne t may have b ee n S h o wn t o S h s mistr e ss] inst ea d of t h e .

pr ec e d ing so nne t which is much t h e sam e in substanc e

,
.
cxxx n I ] TH E S ONNETS OF S HAK E S P EAR E 32 1

1 33

B E S H RE W t h a t h ea r t t h a t m a kes my h e a r t t o g roa n e
F or t h a t d e e p e w o u n d i t g i ue s my f r i e n d a n d m e ;

I s t n o t y n ou g h t o t o r t u re m e a l on e

,

B u t s la u e t o S la u e r y my s w e e t s t f r i e n d m u s t b e

.

Me f rom my s e lfe t h y c r u e l l e y e h a t h t a ke n ,

An d my n ex t s e lfe t h ou h a r d e r h a s t i n g ros s e d ,

Of h i m my s e lf e a n d t h e e I a m f o rs a ke n
, , ,

A t orm e n t t h r i c e t h re e f o l d t h u s t o b e c ros s e d -

P r i s on my h e a r t i n t h y s t e ele b os om e s w a r d e ,

B u t t h e n my f ri e n d s h e a r t le t my p oo re h e a r t b a le ,

Wh o e re k e e p e s m e le t my h e a r t b e h i s ga r d e , ,

Th ou c a n s t n o t t h e n v s e r i g or i n my I a i l e .

An d y e t t h ou w i l t f o r I b ei n g p e n t i n t h ee , ,

Pe r f or c e a m t h i n e a n d a ll t h a t i s i n m e .

3 . l n ]
a o e alon g 1 6 40 .

4 . s w ee t s t

] B Kl y ; s weet 5
s weete s t G S ,
2
, E, ,
1
. be ] be ? G , et c .

9 . s t e e l e b os om e s ] H yph e n e d by K ly .

B E E CH I NG : This so nne t tr e ats fr o m , th e w o man s p oint

of vi e w , th e sam e
subj ect as S o nne ts 34 35 40 42

, .

1 . SA RRAZ I N : la d y n o ; my h eart l ongs n ot t o gr oan

Cf . V 81 A 7 8 5:
. .
, No , , .

( S h s L eh rj a h re p
.

B e shr ew that h e art [An adaptat i on o f a c o nve m
, . .

t i on a l impr e cati o n Cf M N D V i 2 9 5: B e shre w my h e art T 63 C '

. .
. .
, , . .
,

IV i i 2 9 : C o m e c o m e be shr e w y o ur h e art

, , , et c ED ] , . .

6 i n gr os s e d S C H M I D T: Tak e n t h e wh ol e of
. .
[ C i M W W I I 11 2 0 3 . . . . .
, , ,

E n g r os s d opp ort uniti e s t o m ee t

8 cr os s e d D OWD E N : C f 34 1 2 ; 4 2 1 2
. . .
, , .

9 VE R I TY : C f R 3 I ii
. 2 0 4 05 . .
, , ,

Lo o k , h ow my ring e n com p a s se t h thy ng er ,

E ve n so thy br e ast e n close t h my p oor h e art

an d Barne s , P a rth en oph i l, mine h e art in 1 6: That h er b ody l i e s imprison ed .

LE E : Cf . 2 2 5 7 ; 1 0 9 34 [ and n ot e s
,
-
, .

1 3 14 . F L E AY : C f D rayt o n I d ea S 1 1 : .
, , .

S inc e y ou one w e r e I n e ve r sinc e was one ;

,

S inc e y o u in m e my se lf sinc e o ut of m e
, .
32 2 TH E S ONNETS OF S HAK E S P EAR E [CXXX IV
Transp ort e d fr om my se l f i nt o y o ur b e ing ,

Th ough e ith e r d ist ant pre se nt y et t o e ith e r , .

( B i og Ch ron . .
, 2 :

WAL S H : Cf . M V III
. .
, , 1 1 , 1 6 1 8

On e half is yo urs t h e oth e r ha l f yours

of me , ,

Mine ow n I wo u ld say ; but if min e the n y our s

, , ,

An d s o a l l y o urs .

1 34

So h a ue con fe s t t h a t h e i s t h i n e
n ow I ,

An d I my s e lfe a m m or g a g d t o t h y w i l l

My s e lfe I le f or fe i t s o t h a t o t h e r m i n e , ,

Th ou w i l t r e s t or e t o b e my c omfor t s t i ll
B u t t h ou w i l t n o t n o r h e w i ll n o t b e f ree , ,

F or t h o u a r t cou e t o u s a n d h e i s ki n d e , ,

H e le a rn d b u t s u r e t i e - li ke t o w r i t e f or me

Vn d e r t h a t b on d t h a t h i m as fa s t d ot h b i n d e .

Th e s ta t u t e of th y b e a u ty t h ou w i l t t a ke ,
Th ou h a t p u t s t f or t h a ll t o v s e
v s u re r t

,

An d s u e a fr i e n d ca m e d e b t e r f or my s a ke , ,

S o h i m I loos e t h rou gh my v n k i n d e a b us e .

H i m h a u e I los t t hou h a s t b o t h h i m a n d m e , ,

H e p a i e s t h e w h ole a n d y e t a m I n o t f re e , .

4 . res tore to b e ] r es tore, to be L , M , et c .

; res tore to me G ; 1
res tore to me , G
,

S E
, .

9 . th y ] my B .

12 . loos e] los e G, et c .

14 . am I] I a m 1 6 40 , G S E
, , .

LE E : lega l t e rminol og y i n this so nne t ( cf 8 7 34 ) again cl ose l y re se m

Th e .
,

b l e s that e mp l oyed by Barne s i n his P a rth enoph i l S o nne ts 8 9 and I I wh er e , , , ,

m o rtgage bai l
,

fo rf e it fo rf e iture
,

d ee d of gift a e a l l appli ed t o
,

,
"
r

t h e mistr es s s h ol d on t h e l ove r s h e art This so rt of phraseol ogy app l i ed t o

.
,

am orous purpose s was we ll sati rise d by S i r J oh n D avi e s i n his Culli n g S onnets

, ,

o f which No 7 o pe ns : .I nt o t h e mi ddl e t e mp l e of my h ear t TYL E R : I t wou ld

.

se e m [fr om this so nn e t ] that it was on so m e busine ss of Sh s that h i s fri e n d h a d .

rst go ne t o t h e l ad y ( Q ua rt o F acs i mi le I ntro p xi x )

.
, .
, . .
c xxxv ] TH E S ONNETS OF S HAK ES P EAR E
2 . FL E AY : Cf . D rayt o n , I dea , S 3 .

My h e art hath pa id such g ri e vous usury

That al l th e ir we a l th l i e s i n thy b e auty s boo ks

.

( B i og Ch ron . .
, 2 :

wi ll . pe r s o na l ity i n which will in t h e d o ubl e se nse of stubb orn

LE E : H er , ,

n e ss and se nsual passi o n is t h e stro nge st e l e m e nt , Th e word is n ot h e re .

italicise d i n [t h e Q ] and th e re is n o gr o u nd what e ve r f or d e t ecting i n it any

,

so rt of pun as i n S 1 351 ( L i fe p . .
, .

3 oth e r mi n e D OWD E N : Oth e r myse l f my a lter eg o

. .
, .

9 s ta tut e MAL O N E : [Th e word ] h as h e r e its l e ga l signi cati on that of a

. .
,

se cur i ty or obligati o n f or m o ne y .

10 us e. S ee n ot e o n 6 5
.
, .

c am e [ F or t h e o missi o n of t h e r e l ative s ee ABB OTT S n ot e on 4 4 F or

11 . .
, , .

t h e sh o rt e n e d v e rb f orm cam e be cam e ) se e his n ot e on 4 6 ,

12 ab us e
. TYL E R : I n e xpo sing him t o t h e dange r
. .

VONMAU NTZ [thinks that this son n e t is addre sse d by a wo man t o h er rival ,

and that in l in e s 78 s h e spe a ks of h er marriage c ontract ( J a h rb 2 8 : . .

,

1 35

WH O e uer h a t h h e r w i s h t h o u h a s t t h y Wi ll , ,

An d Wi ll t oo b oo t e a n d Wi ll i oue r p l us , n -
,

M ore t h e n gh a m I t h a t v exe t h ee s t i l l
e n ou ,

To t h y s w e e t w i l l m a ki n g a d d i t i on t h us .

Wi l t t h ou w h os e w i ll i s la r ge a n d s p a ti o us ,

No t o n c e vou ch s a f e t o h i d e my w i ll i n t h i n e ,

S h a l l w i ll i n o t h e r s s ee me r i gh t gr a ci ous ,

An d i n my w i l l n o fa i re a cce p ta n ce s h i n e
Th e s ea a ll wa ter , y e t r e ce i u e s r a i n e s t i ll,

An d i n a b ou n d a n ce a d d eth to h i s s t or e ,

S o t h ou b e e i n g ri ch in Wi ll a d d e to th y Wi ll ,

On e w i ll o f m a ke t h y la r ge Wi ll m ore
mi ne to .

L e t n o v n k i n d e n o fa i r e b e s e e ch ers ki ll
, ,

Th i n k e a ll b u t on e a n d m e i n t h a t on e Wi ll , .

2 . too] to S , et c .

4 . will ] I talics by L .

6, 8 . th in e , sh i ne th i ne s h i ne ? L ; th i ne ? s h i ne ? G , e tc .

1 3 . vnki n d e , n o ] u n ki n d

No D o c o nj Ox ; u n k i nd n o Ty
.
, , Be ; u n ki n dnes s

B ut Wa , . f ai r e ] y ou r Ty c o nj . k i ll ] s ki ll R o sse tti c o nj .
3 4
2 TH E S ONNETS OF S HAK ES P EAR E [CXXX V
H ALLI WE L L : C f P arr ot .

s L a qu ei Ri di cu los i , or S pri n g e s f or Woodcocks , 16 13

K ind e Ka t h e r e n
husband kist th e se words t o h er ,

Mine ow n e swee t Will h ow d eer e ly d oe I l ove th ee ? ,

I f tru e qu oth Will t h e world n o such aff ords

, , ,

An d that t is tru e I durst his warrant b e

F or n e r e h e ard I of w oman g ood or i ll

B ut a lwa y e s l ove d b e st h e r ow n e swee t Wil l .

D OWD E N : I this so nne t i n t h e n e xt and i n S 1 43 t h e Q marks by ita l ics and

n , , .
,

capital W t h e play o words Wi ll Wi lliam n Wi ll William t h e C hris

, ,

t i an nam e of S h fri e nd ( ?M W .

s and Wil l d e sire v oliti n H e re Wi ll r. .
, o .

i n ove rplus m e ans Wi ll S h as t h e ne xt l ine sh ows More than e n o ugh am .

, ,

Th rst Wi l l m e ans d e sir e ( but as w e kn ow that his lady had a husband

I. e ,

it is p ossibl e that h e also may have b ee n a Will and that t h rst Wi ll h re ,

e

e

may r e f e r t o him b e sid e m e aning d sire t h e se c o nd Wi ll

, is S h fri nd e

.

s e .

TY L E R : Th e dark l ady has t h e Will of t h e p oe t s fri e nd m e aning n o d ubt

, ,
o ,

Wil liam H rb rt e An e xc ee dingly i nt e r e sting para l l e l t o th i s and f oll w i ng

e . o

s onne ts is f o und i n t h e D e dicati o n by J ohn D avi s t o his S e l ct S e c o n d H u e

e s

band f or Si Th o mas Ov e r b ury s Wi fe n ow a Matchl e ss Wid ow

r A d
,
n

it is special l y appr opriat e as b e ing addre ss e d t o Wi l l ia m E ar l e of P e mbr ok e :

Wi t and my Wi ll ( d ee r e L ord ) we re l at e at strif e ,

To wh o m this B i d eg me I f or g a e m i ght s e n d r r oo r c

Wh o was e rst t h e happi e st husbands wife

,
B ri d e
That e re was h a p le s s e in his F ri en d and E n d , .

Wi t with it se l fe and with my Wi ll d i d warre

, , , ,

F or Wi ll ( g ood Wi ll) d e s i r d it might b e YO U

-
.

B ut Wi t f o und fault with e ach particular

I t se l fe had mad e ; sith YOU we re I t t o vi e w ; et c .

( Gros a rt

s Ch erts ey Worth i es
Li bra ry .
)
L E E : Th e gr oundwork of t h e p l e asantry is t h e id e ntity i n f orm of t h e pro p e r
nam e with t h e c o mm o n n ou n wil l
This word c o nn ot e d i n E l i z ab ethan .

E ng l ish a ge n e r o us vari e ty of c o nc e pti o ns o f m o st o f which it has l o ng sinc e ,

b ee n d e prive d Th e n as n ow it was e mp l oye d i n t h e ge ne ral p s y c h olog i ba l

.
, ,

s e nse of voliti o n ; but it was m ore o ft e n spe cical l y appl i e d t o t w o limit e d mani
f e s t a t i on s o f t h e v oliti o n It was t h e c o mm o n e st o f syn o nyms a l ik e f or s e lf

.

will or stubb ornn e ss

i n which se nse it stil l survive s in wilful
and
f or l ust or se nsual pass i o n I t a l so did occasi o na l d uty f or its ow n dimin

.

utive wish f or capric e f or good will and f or fr e e c o nse nt ( as n owa

,

,
-
,

days i n wil l ing or will i ngly

S h c o nstantly use d will i n all th e se sig .

[ I n o n e ] of Iag o s se nt e nc e s L ove is m e r e ly a lust o f t h e bl ood

n i ca t i o n s

.
,

and a pe rmissi o n of t h e w i ll l i ght is sh e d o n t h e proc e ss by which t h e word

,

cam e t o b e sp e cically appli e d t o se nsual d e sire Th e l ast is a favourit e s e nse .

with S h and his c o nt e mp orari e s [ C f M f or M I I iv 1 6 4 ; A W I V iii 1 9 ;

. . . .
, ,
. .
, , ,

L ea r I V vi 2 7 8 ; w i th passage s fr o m S id ne y L odge and Br e t o n ]

, , , I t was , , .

n ot o n l y i n t h e s o nn e ts that S h al mo st invariably with a g l anc e at its s e n

.
 C XXX V ] TH E S ONNE TS OF S HAK ES P E AR E 3 2 5
sual rang t h e change s on this many face d v e rba l t o ke n [ Cf
s i g ni ca n ce
-
. .

L L L I I i 99 1 0 0 ; Mu h
. .
.
,
c A
,
d o V,
iv 2 6 2 9 ; M W W I I I iv 58 ; e t c ]
, , ,
. . .
, , , .

Th e c o rr e ct or o f t h e pr e ss r ec ognise d that S o n e ts 1 3 5 1 36 larg e ly turn e d up o n

n

a simpl e pun be twee n t h e wr i t e r s nam e of Wi ll and t h e l ad y s w i ll That

.

fact and n o o th e r h e ind i cat e d ve ry ro ughly by o ccas i o nally italic i si ng t h e

, ,

cruc i a l word Typ o graphy at t h e ti m e f oll owe d n o rmly xe d rul e s and

.
, ,

alth ough will gure s i n a m ore or l e ss punning se nse 1 9 tim e s i n th e se s on

n e ts t h e pr i nt e r o nly b e st owe d o u t h e word t h e d i stincti o n o f ital i cs i n 1 0

,

instanc e s and th e se we re se l e ct e d arbitrarily

,
Th e y gi ve n o hint of t h e far .

m ore c omplicat e d punning that is all e ge d by th o se w h o b e li e ve that Will is "

use d n ow as t h e nam e of t h e writ e r and n ow as that of o n e or m ore of t h e riva l ,

su i t ors S imilar pass age s ab o und i n E l i z ab e than s o nn e ts but c e rtain v e rba l

.
,

s i m i lariti e s give good gro und f or r e gard i ng S h s will so nne ts as d e lib e rat e

.

adaptati o ns d o ubtl e ss with satiric purp ose of B arn e s s st e r eo typ e d r e ec

ti ons on wo m e n s obduracy P a rth en oph i l S e sti n e 2 :

B ut wo m e n wi ll have th e ir Ow n wills ,

S inc e what s h e lists h e r h e art fulll s ]

Th e form and t h e c o nstant r e p e titi o n of t h e w ord will i n th e se t wo s onnets

of S h also s ee m t i m i tat e d e risive ly t e sam e riva l s nne ts 7 73 i n which
. o h S o 2

I Barn e s puts t h e words grac e and grac e s thr o ugh much t h e sa m e e v olu

ti o ns as S h puts t h e wo rds wi l l and wills ( L if e pp 4 1 6

.

[Se e Le e s .
, .

furth e r n ot e s e sp e c i a l ly o n 1 36 1 3 1 4 and 1 43 1 3 with r e f e re nce t o t h e qu e s

,

, , ,

ti o n of m ore than o n e Will I n his e diti o n of S h h e c o m me nts furth e r on t h e

. .

typ ographical probl e m saying that t h e word wil l is s o o ft e n print e d as h e r e

,

in E li z ab ethan b ooks that t h e typ ography give s n o goo d gr o u nd f or d et e cting

pun s ] C f J oh n D a v i e s s S u mma Tota li s
. wh e re i n t h e l ast 2 6 stan z as

t h e substantive

Wi ll is use d 30 time s ; it is italicise d with t h e initia l capita l

1 2 ti m e s an d has t h e initia l capita l with o ut t h e italics 1 6 tim e s ; such a r e m e r e

,

typ ographical vagari e s AR C H E R : [This so nn et make s it cl e ar that S h sp e aks

. .

b oth of his mistre ss s wil l and Wi ll his fri e nd ] Th e o nly d o ubtfu l p o i nt

is .

wh e th e r th e re b e n ot a thir d Wil l a th i rd l ove r i n t h e case

Th e wh ol e
,

th i ng is atly m e an i ng l e ss un l e ss th e re a re tw o ( F ort R ev n s 6 2 : . . . .
,

MAC KAIL : [Whi l e th e se s o nne ts sugge st t h e vi e w that t h e fri e nd s nam e was

Wi ll ] th e y d o n ot n e ce ssitat e it : if analyse d c l o se ly th e y will b e f o und t o c on

, ,

tai n n o th ought or phrase which is n ot satis e d by a play o f wo rds b e twe e n t h e

po e t s ow n nam e and t h e vari o us se nse s which t h e word will b e ars as a

c o mm o n no un ( L ect on P oetry p . WYND H AM : We l e arn fro m this an d

.
, .

oth e r numb e rs [ that Wi l l was ] t h e nam e of b oth t h e p oe t and his fri e nd [ Se e .

furth e r on this matt e r t h e n ot e s on lin e

, ,

1 . An allusi o n t o t h e curre nt cant phrase which was utilise d as t h e

LE E : ,

name of a p opular c o me dy by Will i a m H aught o n c 1 59 7 A wo man wil l hav e , .

,

h e r will

B E E C H I NG : I f will [ i n this line ] we re a pro pe r nam e w e sh ould
.

,

e xpe ct in l in e 4 thy swee t wi ll s

.
32 6 TH E S ONNETS OF S HAKE S P EAR E [c xxxv
2 MAS S E Y : [This] l i ne o n l y i n d icat e s t h e abun d anc e and ove rp l us of t h e
.

l ady s capacity of Wil l ( n ot one or rath e r t w o m ore Wi l ls by name ) ; h e nc e t h e

c ont e xt
To thy swee t wil l ( n ot Wi ll s ) making additi o n thus (p .

F r o m t h e b e ginning t o t h e e n d of t h e s onn e ts th e r e is but o n e

, Wil l ; in

e ach case h e is t h e spe ak e r and n owh e r e is h e t h e pe rso n w h o is sp o ke n t o , .

(p . B U TL E R : B oth t h e Wil l s I take t o b e Mr W H B E E C H I NG : Th e

. . .

third Will h e re must b e S h be cause Wil l i n ove rp l us c orr e sp o nds t o m or e

.
,

than e n ough am I ; an d f e w critics with t h e 1 4 3d S o nne t als o i n mind wo uld

h e sitat e t o r e fe r t h e se c o n d Wi ll t o S h s fri e n d f or wh o m t h e dark l ady had

.

,

b ee n l aying snar e s B ut t h e S out h a m pt on i t e s w h o cannot all ow that t h e

.
,

fri e nd s nam e was Wi l l a re c onstraine d t o d e ny that th e re is any pun at a ll i n

,

1 43 and t o r e f e r that i n 1 3 5 t o t h e distincti o n be tw ee n

,

will i n its ordinary .

se nse and wil l in t h e se nse of d e sire B ut t h e balance of t h e l ine make s it

.

alm ost n e ce ssary that as Wil l in ove rp l us must b e a pr o pe r nam e Will t o

,

,

b oot sh o u l d b e a pro pe r nam e a l so ( I ntro p xxxvii )

. .
, . .

3 a m. I H A L L I W.ELL : Qu e ry I am I n S h s tim e quibbl e s of this kind .

we re c o mm o n [ He cit e s o n e fro m t h e B ook of Merry Ri d dles 1 6 1 3 wh e re i a m

.
, ,

added t o Wi ll Wi l liam ] .

4 B U TL E R : I susp e ct t h e W i ll t o b e a print e r s e rr or f or Wi ll i e S h
. .
.
, .
,

9 I S AAC : C f T N I i 1 1 : Th y capacity re c e ive th as t h e s e a and I I

. . . .
, , , , ,

iv 1 0 3 : [ My l ove ] is a ll as hungry as t h e s ea
,

( Arch i v 59 : WAL S H .
,

C Rf . 82 J I I
. ii 1
33 34
.
, , ,

My b ounty is as b ou n d l e ss as th e s ea ,

My l ove as d ee p .

LE E : Cf 3 H 6 , V, . . iv , 89
Add wate r t o t h e s e a
An d give m ore stre ngth t o that which hath t oo m uch .

12 . WAL S H : I t l ooks as th ough th e Q ha d h e re capita l ise d an d ita l icise d th e

w r o ng will
.

1 3 P AL G R AV E : Le t n o u n ki n d n e ss n o f a i r s pok e n riva l s d e str oy m e

.
WM ,
. . .

R O S S E TTI :

K il l can hardly b e right an d skil l wo u ld make m ore se nse ,

i n t h e signicati o n of avail succ ee d

"
( Li ves p I S AAC : Let n ot thine , .
, .

u nfri e ndline ss s l ay sinc e r e admire rs D OWD E N : I f this b e t h e tru e r e ading we . ,

must take unkind a s a substantive m e aning unki nd o ne

his l ady) ,
.

S o i n D ani e l s D eli a S 2 : An d t e ll t h Un k i n d h ow cl e ar l y I have lov d h er

.
.
,

B ut pe rhaps t h e line ought t o b e print ed thus : Le t n o u nki nd No fair b e

s ee c h ers ki l l S CH M I D T [d e ne s u nkind with a qu e ry as a substantive

, ,

m e aning unnat ural ne ss ave rse n e ss t o t h e works of l o ve

R OL F E f ee l s
,
.

stro ngly t e mpt ed t o ad opt D owd e n s e m e nd ati o n S H ARP acc e pts it with

. ,

t h e int e rpr e tati o n Le t n o u nkin d r ej ecti o n of th e m kil l such fair

,

MAS S E Y : [ D owd e n s reading] is t o s et up a p l e a on be ha l f of any numbe r of

rivals and th e n t o make t h e spe a ke r as k that th ey may b e mistake n f or h i m

,
,

if th e y o nl y b e spe ak h e r fair l y
F a ir is S hake spe are an f or t o make fair . ,

which sh ows t h e antith e sis t o unkind or u nnatura l I r e ad t h e l ast t wo l ines .

c xxxv] TH E S ONNETS OF S HAK E S P EAR E 3 7
2

as m eaning Le t n e ith e r of this c l ass of be see ch e rs c on q u e r or kil l but thi n k

, ,

TYL E R : I am i n

t h e wh ol e o f y o ur suit ors o n e and that o n e m e , (p . .

c li n ed t o acc e pt [ D owd e n s e m e ndati o n ] w ith t h e e xc e pti on that

,

y our would
see m pref e rabl e t o fair
WYND H AM : Th e rh yth m cl e arly i ndicat e d by a
.

,

c omma afte r n o [ E vid e ntly an e rr or f or aft e r unkind

ED ] i n Q

.

.
,

w ould b e shatt e red by [ D owd e n s] e m e ndati o n B UTL E R [ d e f e nding his e m e nda

.

ti o n unki ndne ss : 1 I am t old that t h e abbr eviati o n n e with an e l o ngat e d

,

e was in c o mm o n u s e f or
, ne sse at t h e c l ose of t h e 1 6 th ce ntury If thi s n e

.

in t h e MS was e ve r s o l itt l e d etach ed fr om t h e fore going part of t h e word it

.
,

wou ld c orru pt re adi l y i nt o t h e t e xt of Q [ H E RF ORD th o ugh h i s t e xt r e ads as

.
,

in Q writ e s a not e appar e nt l y base d on D o wd e n s e m e ndati o n ] B E E C H I NG :

,

.

Le t n o un ki ndn e ss kil l any be see ch ers F or t h e adj e ctive use d as a n o u n cf

.
, .

fair 1 6 1 1 et c D owd e n s sugge sti o n

, , , .

is inge ni o us ; but t h e n e xt l ine ,

"
Thi nk all but one see ms t o req u i re n o fair be see ch e rs L E E : Le t n ot my

.
,

mistre ss i n h er u nki ndne ss ki ll any of h e r fair spo ke n ad ore rs ( L i f e p -

.
, .

[Agr ee m e nt on this l ine is probab l y out of t h e qu e sti o n Th ough usually sus .

p i c i ou s of argum e nts base d o n rhyt hmical tast e I cann ot h e lp agr ee ing with ,

Wynd ham that D owde n s re ading is m e trically o utrage ous On t h e oth e r hand

.
,

B ut l e r s e m e ndati o n pe rhaps al o ne of his many e ff orts t o b e tt e r t h e t e xt see ms

, ,

t o m e far fr o m d e spicabl e ; and if one sh o u l d c o mbin e it with Tyl e r s yo ur

"
,

t h e re su l t w o u l d b e attract ive Th e r e is n o warrant i n usag e f or taking

. un

ki nd a s t h e abstract n ou n u nki nd ne ss
F air as a substantiv e is anal og o us
.
,

t o b e sur e but was an ind e pe n d e nt l y we ll e stablish e d E li z abe than n o un

,
-
ED ] . .

1 4 L E E : Le t h er thin k a ll w h o be see ch h e r favo urs i nc o rp o rat e in o n e al o n e o f

.

h er l ov er s an d that one t h e w rit e r wh o se na m e of Wi ll is a syn o nym f or

,

t h e passi ons that d o minat e h er ( L i fe p .

, .

IS AAC [r e mar ks of this so nne t an d 1 36 as we ll as of 1 53 54 that ] th e y are

,
1
,

s o ll ed with subt l e ti e s and p l ays on wor d s s o wh oll y wr o ught i n t h e con v e n

,

t i ona l Italian tast e and sh ow s o e xtra ordi n ari l y littl e of S h s spe cic charact e r

.
,

ist l es that [th e y may b e th ought t o b e e ve n e ar l i e r than th o se that stand at t h e

,

o pe n ing of t h e c oll ecti o n and than V 8? A]

, ( J a h rb 1 9 :
. . .
,

B UTL E R [be li e ve s t h e sonne t was writt e n for Mr W H t o g ive t o S h s mi s . . . .

~

tre s s ( wh o is n ow i n h er t ur n coy ) as i f wri tt e n by hi mse l f 1

"
.
 2 8 TH E SONNETS OF S HA K ES P E AR E [ C XXX VI

1 36

IF t h y ch e c k t h e e t h a t I com e s o n e e re
s o ule ,

S w e a r e t o t h y b l i n d s o u l e t h a t I w a s t h y Wi ll ,

A n d w i l l t h y s o u l e k n ow e s i s a d m i t t e d t h e re
'

Th u s fa rre f or lou e my l oue s u t e s w e e t f u ll ll ,

-
.

Wi ll w i l l f u ll l t h e t rea s u re o f t h y l oue
, ,

I l l i t f u l l w i t h w i l s a n d my w i l l o n e , ,

I n t h i n gs o f g r e a t re c e i t w i t h ea s e w e p r oo u e ,

A m on g a n u m b e r o n e i s r e c k o n d n o n e

.

Th e n i n t h e n u mb e r le t m e p a s s e v n told ,

Th ou gh i n t h y s t ore s a cc o u n t I on e m us t b e ,

F o r n o t h i n g h o l d m e s o i t p l e a s e t h e e h o ld , ,

Th a t n o t h i n g m e a s om e t h i n g s w ee t t o t h ee ,
-
.

M a ke b u t my n a m e t h y loue a n d loue t h a t s t i l l , ,

An d t h e n t h o u loue s t m e f or my n a m e i s Wi ll .

4 . s we e t] (s weet) C; b e twee n c o mmas by M , et c .

( e xc e pt B ut rst c o mma ,

o nly) .

6 . I ] Ay , C , M , et c .

7 .
proou e , ] prove ; M A Kt , , , Hu l
, K ly , C 0 ; prove 3
Dy , S t a , Gl, C a m , D o,

et c .

10 . t r ] s tore s G
s o es

2
, S z
, E , C , Ha l D , o, Hu 2
, R, Ty C a m ,
z
, B ut ,
B e, N ,
B ull
s tores

M A Kt C o B
, , , , , Hu l
, D el , Dy , S ta , C l, Gl, Kl y , W , C a m , Ox ,
h l
Wy , H er .

Wa .

12 . n oth i n g m e] H yph e n ed by G S 1
,
I
. s we e t] (s weet) C; b e twee n c ommas
by Walke r c o nj .
, D y z
, C0 3
, H u B ut
g
, , Be, B ull .

1 h e ck S C H M I D T: C hid e [ Cf 58
. c . . .
,

2 b lin d s oul e L E E : S h r e fe rs t o t h e blind n e ss t h e sightl e ss vi e w of t h e

. . .
,

so u l i n S 2 7 and ap o strophise s t h e sou l as t h e c e ntre of his sinful e arth i n

, .
,

S 1 46
.
( L if e p 42 2 m ) [ It is c e rtai n that t h e r e fe re nc e t o S 2 7 is irr e l e vant
.
, . . .
,

f or th e r e t h e so u l has a Vi e w which is s i ghtl e ss o n l y b e cause t h e e ye s cann ot

s e e i n t h e dark ; that t o S 1 4 6 is s o m e what cryptic E D ] thy Wi ll B E E CH I NG :

. . . .

P e rhaps thy husband Will B ut t h e third l in e r e nd e rs t h e

"

or my fri e nd , .

c o nj e ctur e u nn e c e ssary .

3 wi ll B E E C H I NG : C ar n a l d e sir e [ as i n l i n e
. . C f L u crece 49 5 : B ut .
,

Will is d e af and h e ars n o h e e dfu l fri e nds

.

6 I D OWD E N : Th e usual way of pri nting ou r Ay

. . at t h e tim e ; but p ossi
b l y th e re may h e r e ( as oft e n e l se wh e re i n S h ) b e a play on t h e words I
ay . .
C XXX V I ] TH E S ONNETS OF S HAK ES P E AR E 32 9

y es , and I myse l f . wi ls . L E E : Th e vari e d f orms of wi ll , i . e .

, l usts stub ,

b or n n e s s , et c .

7 . r e ce i t . SC H M I D T:
p owe r of r e c e ivi ng and c o ntaining C apacity ,
Things .

o f gr e at r e c e ipt large matt e rs E D ] proove [Th e pe rs i st e nc e of Mal o ne s

. . .

uni nt e lligibl e se mi c ol o n aft e r this word is r e markabl e F or t h e m e aning cf

-
.
, .

7 42 , and n
, o t e E D ] . .

8 [ Se e D O WD E N S n ot e o n 8 1 4 I n c o nn e cti on with t h e l att e r passage

.
.
,

WYND H AM qu ot e s fro m C ocke r s Ari th meti ck 1 6 6 4 : Most auth ors maintain

that U nit is t h e b e ginning of numbe rs and it se lf n o numb e r ; a l so fr o m Ma r

l owe H 69 L :
, .

.

One is n o numb e r ; maids a re n othing th e n , ,

With out t h e S wee t s oc i e t y of m e n ]

1 0 D OWD E N You n ee d n ot c o unt m e wh e n m e re l y c ou nti ng t h e n umber

9 . :

of th ose w h o h old y o u de a r but wh e n e stimating t h e worth of your posse ssi ons

,

y ou must have r e gard t o m e .

10 s t or e s
. S e e t e xtua l n ot e s S C H M I D T: U se d o nly in t h e singu l ar ; th e re
. .

fore [ re ad ] n ot

1 1 12 -
MC C L U MP H A: Cf R
. J I i 1 83 : O anything of n othing rst . . .
, , , ,

cre at e ( J a h r b 40 :
. .
,

12 s weet
.
[ S e e t e xtual n ot e s Th e swe e t of l in e 4 is one might s a y an
. .
, ,

argum e nt f or t h e r e ading of Walke r and D yc e ; on t h e o th e r hand t o me

,

see ms t o call f or t h e c o nstructi o n wh i ch is ge ne rally acc e pt e d ED ] . .

13 14 D OWD E N : L ove o n l y my nam e ( so m ething l e ss than l oving myse l f )
.
,

and th e n th o u l ove st m e f or my nam e is Will and I myse l f am al l will i e a ll , , , . .

,

d e sir e TYL E R : Yo u l ove y our oth e r admire r nam e d Will Lo ve t h e nam e al o ne

. .
,

and th e n y ou l ove m e f or m ynam e is Will L E E : Make wil l , that which .

is yourse lf ) y o ur l ove a n d th e n y o u l ove m e b e cause Wil l is my nam e Th e

, , .

c oup l e t pr ove s e ve n m ore c o nvi ncing l y than t h e on e which c l i nch e s t h e p re

c eding so nne t that n o ne of t h e riva l s wh o m t h e p oe t s ought t o displace in t h e
l ady s a ff e cti o ns c o uld by any chance have b ee n l i ke himse lf call e d Wi ll Th e

, , .

wr it er c ould n ot app e al t o a mistre ss t o c o nce ntrat e h e r l ove o n his nam e o f

Will be cause it was t h e e mphatic sign of i de ntity b e twe e n h e r b e ing and him
, ,

if that nam e we re c o mm o n t o h i m and on e or m ore rivals and lacke d e xc l usive ,

r e fe re nce t o himse lf Th e wh ol e s i gnicanc e of b oth c o up l e ts re sid e s in t h e

.

twic e r e pe at e d fact that o n e and o n l y on e of t h e l ad y s l ove rs is na m e d Wi l l

-
, ,

and that that o n e is t h e writ e r ( L if e p .

, .

[ Aft e r this so nne t S H ARP inse rts t h e o ne appea ri ng as No 3 i n Th e P a s s i ona te .

P i lg ri m ( a l s o i n L L L I V iii 6 0 7 3) . . .
, , ,

D id h e ave n l y rhe t oric of thine e y e

n ot th e ,

Gainst wh o m t h e wor ld c ou ld n ot h old argum e nt

,

P e rsuad e my h e art t o this fa l se pe rj ury ?

Vows f or th ee br oke d e se rve n ot punishm e nt .

A wo man I forswore ; but I wil l prove ,

Th ou b e in g a godd ess I f orswore not th ee ,

 TH E S ONNETS OF S HAKE S P EAR E [c xx xv 11
My arth l y th o u a h e ave nl y l ove ;
v ow w as e ,

Th y grac e b e ing g a i n d cure s al l disgrac e i n me

.

My v ow was b r eath and breath a vapo ur is ; ,

Th e n th o u fair sun that on this earth d oth sh in e

, , ,

E xha l e this vapo ur v ow ; i n th ee it is :

I f br oke n th e n it is n o fault of mi ne ;
,

I f by m e br oke what fool is n ot s o wise ,

To bre ak an oath t o wi n a para d ise ?

He ca ll s att e nti o n t o t h e appe aranc e i n t h e pre se nt c oll ecti o n of t wo so nne ts

( 1 3 8 and 1 44 ) which we re i ncl ud e d i n Th e P a s s P i lg and be li e ve s this o n e ts . .
,

i n h e r e ] with pe cu l iar applicability It is t h e l a st ti m e that S h hi nts th e re is . .

anythi ng m ore i n his l ove than t h rald om t o a str ong an d subt l e passi on .

1 37

TH OU b li n d e f oole loue , w h a t d oo s t t h ou t o m i n e e yes ,

Th a t t h e y b e h o ld a n d s ee n o t w ha t t h ey s ee

Th e y kn ow w h a t b ea u t i e i s , see w h e re i t ly es ,

Ye t w h a t t h e b e s t i s , ta k e t h e w o r s t t o be :
I f e y es c orr up t b y ou e r - p a r t i a l] look e s ,
Be a n c h ord i n t h e b a y e w h e re a ll men ri de ,

Wh y of e ye s fa l s e h oo d h a s t t h ou forge d h ook es ,

Wh e re t o t h e i ud g e m e n t o f my h ea r t i s t i d e ?
Wh y s h ou l d my h ea r t t h i n k e t h a t a s e ue ra ll p lo t , 9
Wh i ch my h ea r t kn ow e s t h e w i d e w orld s comm on p la c e ?
Or m i n e e ye s s ee i n g t h i s s a y t h i s i s n ot ,

To p u t fa i r e t r u t h v p on s o f ou l e a fa ce ,

I n t h i n gs r i gh t t r ue my h e a r t a n d e ye s h a ue e r re d ,

An d t o t h i s fa l s e p la g u e a re t h e y n ow t ra n s fe rre d .

2 . s ee : ] s ee ? G, et c .

11 . n ot ] n ot, S
, C, M , et c .

12 . fa ce , ]f ace ? M et c (3 2
, C , , .

13 . ri gh t tru e ] H yph e n e d by D el, Sta , D y z

, H uz ,
- B ul l .

MAS S E Y [c o mpare s this so nne t as w e l l as 1 4 1 1 4 8 an d 1 50 f or t h e th e m e of , , , ,

dist ort e d e y e sight with S idn ey s A 69 S 34 : S te lla s gr e at p owe rs that s o

,

.

.
,

,

c onfuse my mind ( p
LE E [c o mpare s it ( and 1 4 8 and
. . f or its u n
att e ring attitu de wi th No 7 of J od elle s Contr Amours ( Oeuvres 1 59 7 pp
, .
'
, ,
.

91
c x xx vn ] TH E S ONNETS OF S HAKE S P E AR E 3 3 1

C o mbi e n d e f ois m e s ve rs on t i l s d or -

C e s ch e ve ux n oirs dign e s d une Me duse ?

C o mbi e n d e f o is c e t e int n oir qui m a m us e

Ay i e d e lis e t r ose s c ol or ?
-

C o mbi e n ce fro nt d e rid e s labo ur

Ay i e a ppla n i ? e t q ue ] a fait ma Muse
-

Le gro s so urcil f oll e e ll e s a b u s e

, ,

Ayant sur luy l arc d Am our g ur ?

Qu e l a y i e fait s on oei l s e re n f on ca n t ?
-

Qu e l a y i e fait s o n grand n ez r o ugissant ?

-

Qu e l l e s a b o uch e e t s e s n oire s d e nts qu e ll e s ?

Qu e l a y i e fait le re st e d e ce c orps ?
-

Qui me se ntant e ndur e r mil l e m orts

, ,

Vi voi t h e ur e ux d e m e s p e in e s m ort e l l e s .

p . 122n .
)
[ Most r e a de rs w ou ld pr obably nd matt e r f or c o ntras t rath e r than c o mparison ,

i n b oth th e se instance s ED ] . .

0
1 . l ove I S AAC : Cf A Y L I V i 2 1 8 : That b l in d rasca ll y
b lin d e f oole . . . .
, ,

b oy that abuse s e ve ry o ne s e y e s be cause his ow n a re o ut

.

6 MAL O N E : C f A 69 C I v 33 : Th e re wo u ld h e anch or his aspe ct

. .
. .
, , ,

i n C l eopatra s brow ] ROL F E : C f M f or M I I iv 4 : My inve nti o n

.

. .
, ,

anch ors on I sab el ; Cy m b V v 393 : P o sthumus anch ors upo n I m oge n

.
, , , .

9 s.e ve rall M A L O N E : C.f L L L I I i 2 2 3:

My l ips a re n o c o mm on
. . . .
, , , ,

th ough se ve ral th e y b e [ I n a not e on t h e l att e r passage S TE E VE NS qu ot e s

.
,

F e nt o n s Tra gi cal D i s cou rs es H e e nte r e d c o m m o ns

t h e ol d e J o hn th ought t o b e r e se rve d s e v e ra ll t o himse l f

.

ti o n t o c omm o ns t h e f or m e r be l o ngi n g t o indivi d ual

,

i nhabitants ge ne ra ll y Wh e n c o mm o ns we re e ncl ose d.

,

o wn e rs o f free h o lds c o pyh ol d s and c ottage s we re f e n

, , ,

se ve rals ( Qu ot e d by Rol fe ) TYL E R : C f P e acham

.
. .
,

Othe rs n ot a ec t i n g marriage at al l l ive as t

, , ,

unt o wh o m it is d e ath t o b e put i nt

10 F V H UG O : C f Moli ere L e Mi s a n th rope
. . . .
,

Celi m n e . Ma i s de t o ut us d e ve n ez j al oux .

Alces te C .

e st q ue t o ut l bi e n r eg u d e vous .

13 . S TO PE S : [Cf .
36 ,

[ Not e t h e cl ose r e l ati o n this s On n et with 1 48 of -

1 50 , which WAL S H n ot un

r easo nab l y p l ac e s immed iat e l y aft er it ED ] . .

332 TH E S ONNETS OF S HA K ES P E AR E [CX XX VI II

1 38

WH E N my loue s w ea re s t ha t she is ma d e of t r ut h ,

I d o b e le e u e h e r t h o u gh I k n ow s h e ly e s ,

Th a t s h e m i gh t t h i n k e m e so me v n t u t e rd y ou t h ,

a e a rn e d i n t h e w o r ld s
fa l s e s u b t i l t i e s .

Th u s v a i n e ly t h i n k i n g t h a t s h e t h i n k e s m e y oun g ,

A l t h o u g h s h e k n ow e s my d a ye s a r e p a s t t h e b e s t ,

S i m p ly I c r e d i t h e r f a l s e s p e a k i n g t o n g u e ,

On b o t h s i d e s t h u s i s s i m p l e t r u t h s u p p re s t
B u t w h e r e fo r e s a y e s s h e n o t s h e i s v n i u s t ?
An d w h e re fo re s a y n o t I t h a t I a m o ld ?
O lo ue s b e s t h a b i t i s i n s ee m i n g t r u s t ,

An d a g e i n loue lou es n o t t h a n e y e a re s t old

,

.

Th e r e fo r e I ly e w i t h h e r a n d s h e w i t h m e , ,

An d i n o u r fa u l t s b y lye s w e a t t e re d b e .

7 . fa l s e s pe ak ing ] H yph e n e d by 5 1 M e t c , , .

12 . han e ] to h a ve C M e t c
t

, , .
( e xc e pt B ull ) .

[ S e e b e l ow f or t h e t e xt of 1 59 9 , 1 6 40 , etc .
]

[Th e chi e f i nt e re st of th i s s o nn e t is in t h e fact that it h ad app e ar e d as t h e

rst p oe m of Th e P a s s i on a te P i lg ri m , 1 59 9 , with a s o m e what di ffe re nt t e xt as ,

f oll ows :
Wh e n my L ov e that s h e is mad e of truth
s we a r e s ,

I d oe b elee v e h e r ( th o ugh I know s h e li e s )

That s h e might t h i n k e m e s o m e u n t ut or d y o uth

U n s k ilf ull i n t h e wor l ds false f org e ri e s .

Thus vainly thinki ng that s h e t h i n k e s m e yo ung ,

Alth o ugh I kn ow my y e a res b e past t h e b e st

I smil i n g cre d it e h e r false sp e aking t o u ng
, ,

O utfacing fau l ts i n Lo ve with l ove s i ll r e st ,

.

B ut wh e re fore saye s my Love that s h e is young ?

And wh e r e fore say not I that L a m old ? ,

0 L o v e s b e st habit e is a s oothing t o u ng
, ,

And Ag e ( in Love ) l ove s n ot t o have y e at e s t old .

Th e rf ore Ile ly e with L ove a n d Lo ve with m e , ,

S inc e that o ur fau l ts i n L ov e t hus s m ot h e r d b e

.

D EL I U S obse rve s that th e P P . ve rsi on ] c l e ar l y sh ows that t h e t e xt give n by

.

Th orp e [in t h e Q ] was t h e ori g ina l Th e s onn et th e n d at e s at l e ast b ef ore 1 59 9

. ,
c x xx v m ] TH E S ONNE TS OF S HAK E S P E AR E 3 33

the re fore at l e ast b e fore t h e 3s t h year of t h e p oe t w h o h e re r e pre se nts himse l f

as an old man in l ove a circumstance which of itse l f might pe rpl e x an aut o
,

bi ographica l i nt e rpre t e r ( J a h rb I : I S AAC : F r o m a c o mpariso n of t h e t w o

. .
,

t ext s t hat of 1 6 0 9 appe ars t h e be tt e r i n e ve ry r e spe ct [Th e P P ve rs i o n . . .

was probably ] a c orrupti on of t h e origina l publish e d in 1 6 0 9 ( Arak i v 6 1 .

,

MAS S E Y : [ If t h e t w o versi o ns] a re care fu l ly c o mpare d it wil l b e see n that t h e ,

subj ect involve s m ore than Ag e i n l ove and that t h e se c o nd ve rsi o n was

,

m odie d of s e t purp ose t o c once a l a fact which was manife st i n t h e rst on e .

As am e nd ed it is mad e t o l oo k as th ough t h e Ag e i n l ove was applicabl e t o

both l ove rs and that both we re t e l l ing l i e s o n t h e sam e gr o u nd of fact B ut i f

,
.

bo th we re old th e re wou l d b e no in eq ua l ity and n o n eed of fa l s e h oo d or disguise .

That t h e l ady was old or t h e e ld e r is ce rtain This is prove d by t h e suppr e ss e d

, , .

l ine s
B ut wh e re fore says my Love that s h e is y o ung ? ( p TYL E R :

.

A c ompariso n of [lin e s 7 8 ] can scarce l y l e ave a d o ubt o f i nt e nti o na l alt e rati o n

-
.

Outfacing fau l ts with l ov e s i l l r e st agr ee s with t h e f o rc e d smi l e of t h e p re

vi on s l ine : I s mili ng cre d it h er fa l se h ood I n t h e se c o n d v e rsi o n o n e m i ght

.
,

think smiling wou ld have bee n be tt e r than S imply ; but S i mply and

s i mp l e have c o m e in t oge th e r [Th e change in line 4 i n 1 6 0 9 is] a t ol e rably

. , ,

manife st impr ove m e nt ( pp 1 35 Acc ording t o t h e [ P P v e rsi o n l ine

. . . .
,

t h e dark lady false ly d e c l ar e d h e rse l f t o b e y o ung B ut e l se wh e re e ve n i n 1 30 .

,

and 1 50 th e re is n o indicati on of h er be i ng oth e r than y o ung ; and this i nd ee d

,

see ms impl ie d in such e xpre ssi o ns as pre tty ruth

pr e tty l oo ks lips that
,

,

L ov e s ow n hand did mak e An d S h s pr e t e nding t o b e y o uthful also impli e s

"
. .

that t h e lady was young It is p ossib l e that J a g g a rd print e d 1 3 8 fro m an i n

.

accurate c opy P e rhaps h owe v e r it is m o re lik e l y that so m e o n e alt e r e d

.
, ,

t h e l ast six lin e s t o c o nc e a l Mrs F itt o n w h o i n 1 599 was i n high favo ur at .

, , ,

C ourt ( p 8 1 n ) WYND H AM : [Th e variati o ns in t h e P P ve rsi on ] with t h e

. . . . .

unlike ly re pe titi on of t o ngu e as a rhym e in t h e third quatrain aft e r it had

,

se rved i n t h e se c o nd c o nrm t h e vi e w that S h s numbe rs i n t h e P P we re

, .

. .

pirat e d pe rhaps fr o m r e c oll e cti o n o n l y B E E CH I NG : I t is int e re sting t o have s o

, .

cl e ar an e xampl e of S h s r e writing It wi ll b e n ot e d that t h e am e nd e d c opy ge ts

.

.

ri d of t h e difcult c o nc l usi o n t o line 8 and also of t h e n e w id e a in l ine 9 which , ,

int e rfe re s with t h e stat e m e nt of t h e t w o faults i n t h e octave : v i z t h e wo man s .

,

i nc o nstancy and t h e man s pr et e nce of youth and i nn oc e nc e L E E : J a g g a rd

.

[ in t h e P P ] se e ms t o have pre se nt ed an e ar l i e r re c e nsi o n of t h e t e xt t han

. .

gured in t h e e diti o n of 1 6 0 9 Th e p oe t s se c o nd th oughts d o not see m t o have

.

b e e n always b e tt e r than his rst L in e s 6 9 [ i n t h e P P t e xt ] if l e ss p ol

. . . .
,

i s h ed a re so m e what m ore p oint ed than t h e l at e r ve rsi o n ( I ntr o t o P P

, . . . .
,

facsimil e ed 1 90 5 pp 2 2 .
, , .

1 . truth n ot e on 54 2
. S ee ,

6 H UD S ON This was print e d i n 1 599 wh e n [Sh was but 35 S ur ely i n this

. .
, . .
,

case his r e aso n f or using such l anguage must have bee n t hat it suit e d his pur
,

pose as a poe t n ot that it was tru e of his a g e as a man ( I ntr o e d 1 8 8 1 p 8 4

, . .
, .
, . .

I S AAC e xp l ains t h e passage as m e a n ing Th e be st part of my l ife t h e harml e ss ,

,
334 TH E S ONNETS OF S HAK ES P EAR E [cxxxv 111
tim e yo uth is be hin d me ( Arch i v 6 1 :
of , .
, [ On this subj ect cf n ot es , . on

2 2 1 a nd 6 2 9
, ,

7 S i mpl y S C H M I D T: Absol ut e l y
. . .

9 un j us t S C H M I D T: F aithl e ss [ Cf P P
. . . . . .
, 33 1 : U nl ess thy l ad y pr oveun

h ab it S CH M I D T: Appe aranc e d e port m e nt

.
, .

12 t h a ve B ULL E N : [We sh o u ld k ee p this rea d ing ] y ears

.

.
, h aving , a sin
many p as sage s t h e va l u e of a d issy l labl e tol d Cf n ot e o n 30
, . . .
, 10 .

I S AAC : [This and S 1 44 sh ow t hat S h ha d mad e l yrica l pr el iminary stu d i e s

. .

f or t h e charact e r of C l eo patra t e n ye ars be f or e t h e play of A 69 As t o .

t h e m oral sid e of this so nn e t it is t o b e ad mitt e d that mal e vo l e nc e can attach

,

t o it a i p p a n t int e rpre tati o n highly u nfav orab l e f or S h s charact e r On e has

, . .

o nly t o o v e rl oo k t h e d ee p bitt e rn e ss of t h e l a st li n e s and i nt e rpr e t th e m as t h e ,

m ocking wisd o m of a bla s and d ecayed ma n of t h e wor l d Th e j udgm e nt of .

t h e tru e admir e r w h o h umb l y see ks t o appr oach t h e r e a l th o ught and f e e l ing

,

o f this gr e at man thr ough t h e v e i l of t h e w or d s wi ll h e r e as e l se wh e r e b e gui d e d,

by t h e m od e sty and r e spe ct t o which t h e u nappr oached m oral gr e atne ss of t h e

p oe t raise s an impe rative claim It wil l nd i n this so nn e t a po rtrayal of f ee l
.

ings such as a r e natura l t o a r e l ati on fr o m which al l mutual c o nd e nc e h as

vanish ed ; it wil l b e fo rc e d t o marve l at t h e i nex orab l e se l f j u d gm e nt with which -

t h e p oe t se ts t o w ork ( Ar ch i v 6 1 : 40 0 4 1 2
.
, ,

[ With r efe re n ce t o t h e 1 599 ve rsi o n of l ine 9 VON MAUNTZ obse rve s that t h e ,

i d e nti cati o n of t h e wo man r e fe rre d t o with Mary F itt o n is improbabl e since ,

a l ady of twe nty ye ars wou ld scarc e l y n eed t o e xert h e rse l f t o see m young t o a
man of thirty ve ] -
.
cx xx 1x ] TH E S ONNETS OF S HA KES P EAR E 335

1 39

O CAL L no t m e t o i us t i e t h e wron g ,
Th a t t h y my h ea r t
vn k i nd n es s e la yes Vpo n ,

Woun d m e n ot w i t h t h i n e e y e b ut wi t h t h y toun g ,

Vs e pow er w i t h pow e r a n d s la y m e n ot b y Ar t , ,

Te ll m e t h o u lo u s t e ls e w h e re ; b u t i n my s i gh t

-
,

D e a re h e a r t forb e a rs t o gla n c e t h i n e ey e a s i d e ,

Wh a t n eed s t t h ou w oun d wi t h c un n i n g w h en t h y m i gh t
I s m o re t h e n my ore p re s t d e fe n ce ca n b i d e ? -

L e t m e exc u s e t h ee a h my loue w e ll kn ow e s , ,

H e r p re t t i e look e s ha ue b ee n e m i n e e n em i e s ,

An d t h e re fore from my fa ce s h e t urn es my foe s ,

Th a t t h e y e ls e w h ere m i gh t d a r t t h e i r i n i uri e s
-

Ye t d o n o t s o b u t s i n c e I a m n ee re s la i n e, ,

K i l l m e ou t ri gh t w i t h look es a n d r i d my pai ne
-
, .

3 . ey e ] ey es Wa .

10 . mi n e ] my 1 6 40 , G S E , , .

I S AAC : [With this so nne t a n d 1 40 cf A . . Y L . III, v , 1 7

S wee t P h e be , d o n ot sc orn me ; d o n ot , P heb e .

Sa y that y ou l ove m e n ot but s a y n ot s o ,

I n bitt e rn e ss Th e c o mm o n e xe cuti o n e r
.
,

Wh ose h e art t h e a ccu s t om d sight of d eath ma kes hard

F alls n ot t h e a xe u po n t h e h umbl e d n e ck
B ut rst b e gs pard o n Wi ll y ou st e rne r b e .

Than h e that d i e s and l ives by b l oody d r ops ?)

SA RRAZ IN : Cf . V 83.A '

49 9 50 2 .
,

0 th o u didst kil l m e ; ki ll me onc e again

, .

Th y e ye s s shr ewd tut or that h a rd h eart of thine

'
, ,

H ath taught th e m sc ornfu l tric ks an d such disdai n

That th e y have m urd er d this p oor h e art of mine

.

(S h .

s L eh rj a h re , p .

3 MAL ON E : Cf R 69 J I I iv 1 4 : S t ab b d with a whit e we nch s b l ack

. . .
'
, ,

ey e . MC CL UMP HA : Cf R 69 J I I ii 7 1 : The re li e s m ore pe ri l i n thin e e y e

. .
'
, ,

t han twe nty of th e ir swo rds ( J a h rb 40 : . .

,

4 Art S C H M ID T: P e rhaps magic may h e m e ant [ Cf P r ospe r o Temp I n

. . . .
, , ,

Li e the re my art ; e t c ]

2 5: , .
336 THE S ONNETS OF S HAK ES P E AR E [ C XXX I X

5
6 . VON MAUNTZ : Cf . C . o f E III , 11 ,
8 1 3
Mufe yo ur fa l se l ove with s o m e sh ow of b l i nd ne ss ;
Le t not my sist e r r e a d it in yo ur e y e ;
B e n ot thy t o ngu e thy ow n sham e s o rat or ;

L oo k swee t spe ak fair be c o m e dis l oya l ty

, ,

Appar e l vic e like virtu e s harbinge r ;

B e ar a fair pre se nc e th ough yo ur h e art b e tainte d ,

an d Ovi d Amores I iv
, , , , 6 970

S e d q ua ec u m q u e t a m e n fort una s eq uet ur n oc t e m ,

C ras mih i c on stanti v oc e d e d i s s e n e ga .

[ Cf also n ot e
. on 1 40 , 5
7 . Wh a t . SC H M I D T [th o ugh n ot citing this p a ssage n ot e s that what , is
e spe cia ll y b e f ore t h e ve rb t o n ee d

use d with th e m e aning why
. Cf .

ABB OTT ,

8 . b de i . C f 58 , 7
. .

I4 . SA RR AZ I N : C f R 3 , . . I , 11 , 1 50 53

Glou Thine . yes swee t l ady have i nfe cted mine

e , , .

An n e . Wo u l d th e y we re basilisks t o strike th ee d e ad ! ,

Glou . I wou ld th e y we re that I might d i e at o nc e ; ,

F or n ow th e y ki ll me with a l iving d e ath .

( J a h rb 3 1 :.
,

D OWD E N : C f S i d ne y A 83 S
.
, .

.
, 48

D e ar ki ll e r spare n ot thy swee t crue l sh ot

, ,

A kin d of grac e it is t o s l ay with spe e d .

VE R I TY : Cf C o nstab l e D i a n a 4t h
.
, , d e ca de , S 5:
.

D e ar if al l oth e r favour y ou sha ll gr ud ge

, ,

D O spee dy e xecuti o n wit h yo ur ey e .

[ I have l wh e re point ed
e se that this an d t h e f oll owing so nne t see m t o b e
o ut

d istinct fr om th o se which Lee cal l s vitu pe rative and t o b e a dd re sse d t o a

,

mistr e ss w h o is c o nve nti o nal l y u n kind an d pro u d Many re a d e rs c onnect this

pair with t h e pr e ced ing an d t h e f ol l owing a n d D owd e n c o mme nts t o t h e eff ect ,

that t h e poe t goe s o n t o spe a k of his l a d y s u ntruthfu l ne ss Th e re is a po ssi

"
.

b i li t y of r e a d ing u nfaithfu l ne ss i nt o t h e p o rtrait ; but sur e l y t h e wh ol e t o ne of

t h e t w o so nn e ts is distinct fro m that of th e ir n e ighbo rs Wh e n w e n d

th e .

w r ong d o n e by t h e l a d y s unkin d n e ss d e ve l ope d by m e ans of t h e c on v e n

t i on a l c onc e it

Wo und me n ot with thine e y e e t c w e a re natura ll y d is

, .
,

p ose d t o u nd e rstand by that u nkind ne ss t h e usua l h a uteur of t h e b e s on net ed

l ady of t h e p e ri od I n 1 40 t oo is d isd ain t h e word f or t h e l ying mistre ss of

.
"
, ,

1 3 8 or t h e adu l t er es s of 1 52 ? ( Ki ttredge P a pers p 2 8 2 n ) , . .

CX L ] THE S ONNETS OF S HA K ES P EA R E 337

1 40

B E wi s e h o u a r t c r ue l l d o n o t p r e s s e
as t ,

My t o u n g t i d e p a t i e n c e w i t h too m u ch d i s d a i n e
-

Le a s t s o r row le n d m e w o r d s a n d w or d s exp re s s e ,

Th e m a n n e r o f my p i t t i e w a n t i n g p a i n e .

I f I m i gh t t ea ch t h ee w i t t e b e t te r i t w e a r e ,

Th o u gh n o t t o lo ue y e t lou e t o t e l l m e s o , ,

AS t e s t i e s i c k m en w h e n t h e i r d e a t h s b e n ee re
-
,

No n e w e s b u t h ea lt h f r o m t h e i r P h i s i t i on s kn ow .

F o r i f I s h o u ld d i s p a i re I s h ou ld g row m a d d e ,

An d i n my ma d n e s s e m i gh t s pe a k e i ll o f t h e e ,

Now t h i s i ll w re s t i n g w o rld i s g row n e s o b a d ,

M a d d e s l a n d e re rs b y m a d d e e a re s b e le e ue d b e .

Th a t I m a y n o t b e s o n or t h ou b e lyd e , ,

B e a r e t h i n e e ye s s t ra i gh t t h ough t h y p roud h e a r t ,

wi de .

4 .
pi tti e wan ti n g ] H yph e n e d by G , et c .

5 wear e ] were
. 1 6 40 , et c .

6 .
y et l ou e ] y et (love) C ; y et, love , M , et c .

I I . wr e s ti n g ] H yph e n ed by L et c
i ll , .

b e l y d e ] be li d e 1 6 40 ; bely d [or beli ed] G b eli d N

13 .
-
, etc . ; .

KRAU S S : [ C f S idne y A 89 S
.
, stanz as 3
.

.
, s t h S o ng ,
B ut n ow that h o pe is l ost u nkindne ss ki ll s d e l ight ; ,

Ye t th o ught and spee ch d o live th o ught m et a m or p h os d quit e

,

F or R age n ow ru l e s t h e r e ins which guid e d we re by P l e asur e .

I think n ow of thy fau l ts w h o lat e th o ught of thy pra i se , .

That sp ee ch fal l s n ow t o b l am e which did thy h o no ur raise .

Th e sam e k ey o pe n ca n which ca n l ock up a tre asure [e t c ] , . .

5
6 . VON MAUNTZ : C f Ovid , Amores , I II ,
xiv 1
.
4 ,

No n e g o n e pe cc e s cu m sis f orm o sa r e cuso , , ,

S e d me sit mise r o scir e n ec asse mihi ;

Nec t e n ostra j ub e t e ri c e nsura p ud i ca m ,

S e d t s m e n ut t e nt e s dissimular e r og at .

[ Marl owe s translati o n

S ee ing th o u art fair I bar n ot thy fa l se p l aying , ,

B ut let not me poor so u l kn ow of thy straying , , .

338 TH E S ONNETS OF S HAK E S P EAR E [C X LI
Nor d o I give th e e c ounse l to l ive chaste ,

B ut that t h o u wou l dst disse mbl e wh e n ,

t is past ] .

11 . i ll wr e s ti n g . S C H M1 D T: Misint e rpre ting t o disa d vantage .

12 . WYND H AM : Th e l ine may h ol d a re fer e nc e t o t h e poe t s

ow n case ;
1 12
1 2
, ; 12 1 , 1 2 .

14 . MAL o NE : [ Ci .
g 3, D OWD E N : [ Ci . 1 39 ,

Cf S 9 3,. . and n ot e .

1 41

IN fa i t h I d oe n ot lou e t h e e w i t h m i n e e ye s ,

F o r t h e y i n t h e e a t h o u s a n d e rr o r s n o t e ,

B u t t i s my h e a r t t h a t lo ue s w h a t t h e y d i s p i s e

Wh o i n d i s pi g h t of v i e w i s p lea s d t o d ot e .

Nor a r e m i n e e a re s w i t h t h y t oun g s t u n e d e li gh t ed ,

Nor t e n d e r f e e l i n g t o b a s e t ou ch e s p r on e ,

Nor t a s t e n or s m e ll d e s i re t o b e i n u i t ed
, ,

To a n y s e n s ua ll fe a s t w i t h t h e e a lon e
B u t my u e w i t s n or my u e s e n ce s c a n,

D i s w a d e o n e f o o l i s h h e a r t fr o m s e r ui n g t h ee ,

Wh o le a ue s v n s wa i

d t h e li k e n e s s e of a ma n ,

Th y pd h ea r t s s la ue a n d va s s a l l w re t ch t o b e
r o u

On e ly my p l a g u e t h us f a r re I c ou n t my g a i n e ,

Th a t s h e t h a t m a k e s m e s i n n e a w a rd s m e p a i n e , .

5 . tun e ] turn E .

6 . f e e lin g ] f eeli n g M A K t , , , , Co , B , D el, Hu , Dy , S t a , C l, Gl , Wh , H a l Ca m

, ,

D o, R , Ty , Ox , Wy , Her , N . touch e s ] tou ch i s B ut .

8 . th e e ] th e 1 6 40 .

1 1 . le au e s ] lea ve C o , H u ; li ves B o l
[e rr or ] .

12 . va s sall wr e tch ] H yph e ne d by K ly .

a wa r d s m e] r ew a rd s me G S ; r ewa rd s my G S E
1 I 2 2
14 .
, , , .

[ T his so nn e t is appar e ntly cl o se ly c o nn e ct e d with 1 37 and 1 4 8 1 50 I S AAC . .

( A r ch i v 6 0 : 6,2 ) calls it a
c o nrmati o n and e lab o rati o n o f 1 5 0 E D ] . .

D OWD E N : Cf D rayt o n I dea S 2 9

.
, , .

Wh e n c onqu e ring Love di d rst my h e art assai l ,

U nt o mine ai d I s u m m o n d e ve ry Se nse

D o ubting if that proud tyrant sh oul d pre vai l

, ,

My h e art sh ou ld s uff e r f or mine e ye s off e nc e

.
c I ] TH E S ONNETS OF S HAK ES P EAR E 339

B ut h e with b e auty rst c orrupt ed S ight ,

My Hearing b rib d with h er t o ngu e s harm ony

,

My Tast e by h e r swee t l ips drawn with d e l ight ,

My S m e ll ing won with h er bre ath s spic e ry ;

B ut whe n my To uching cam e t o play his part

( Th e K ing o f S e n s e s gr e at e r than t h e r e st ) , ,

H e yi e ld s Love up t h e k e ys unt o my h e art ,

An d t e ll s t h e oth e rs h ow th e y sh o u l d b e b l e st .

An d thus by th ose of wh om I h 0 p d f or ai d

To cru el Love my so u l was rst b etraye d .

S AR RAZ I N : Cf . V 69 A .
'
.
,
2
43 7 4
Th ough ne ith e r e y e s ars t o h ear n or see n or e ,

Ye t sh ou ld I b e in l ove by t ouching th ee .

S a y that t h e se nse of f ee ling w e r e be re ft me

, ,

And that I c ou l d not s ee n or h e ar n or t ouch , , ,

And n othing but t h e ve ry sm e ll we re l e ft m e ,

Ye t wou ld my l ov e t o th ee b e sti ll as much .

(S h .

s L eh rj a h re , p .

AC H E S ON : [This sonnet again a ll u d e s t o C hapman s

B a n quet o f S ens e
th e R P .p .
, .

1 -
4 . F V H U GO : C f
. . Mol i ere Le Mi s a n th rope I i
.
, , ,

Non L am ou r q ue j e se ns po ur c e tt e j e une v e uve

.

Ne f e rm e po int m e s y e ux aux d fauts qu o n l ui t re uve ;

E t j e suis qu e l qu e ard e ur qu e ll e m ait p u d o nn e r

, ,

L e pr e mi e r a le s vo ir c o mm e a Les c o ndamn e r [e t c ] ,
. .

VON MAUNTZ : . xi 33 34
C f Ov i d , Amores , I I I , ~

L uct a n t ur pec t u s q ue l e v e i n c o ntraria t e n d u n t

H a c am or hac odi a m ; s ed put o vi ncit am or , , , .

[ Mar l owe s translati o n

Now l ove an d hat e my l ight breast each way move ;

B ut vict ory I think wil l hap t o l ove ] , ,
.

5 TYL E R : C f
-
. . 1 30 , 9 10 .

6 . B E E C H I NG : I f ol l ow Q
f ee lin g . I n r e a d ing n o c o mma Th e poe t says .

that his d e licat e f ee li ng is n ot prone t o base t ouch e s not that it is

, .

8 f e a s t I S AAC : C f L C 1 8 1 : F e asts o f l ove I have b ee n c a ll d u nt o

. . . .
. .
,

9 ve w its MAL O NE : Th e wits D r J oh nson obse rve s

. .

see m t o have , .
,

bee n reck o ne d v e by ana l ogy t o t h e ve se nse s or t h e ve in l ets of id e as

, , .

Wi t in our auth or s tim e w as t h e ge ne ra l t e rm for th e i nt e l le ctua l p owe r

'

.

F r o m S t e ph e n H a w es s p oe m ca ll ed Gra unde Amou r a nd L a B ell F ucel 1 554

, ,

ch 2 4 it appe ars that t h e ve wits we re c o mm o n wit i maginati o n fantasy

.
,

, , ,

"
e stimati o n and m e m o ry [F or t h e c o nstructi on with out n e ith er cf
"
n or , . .
, , .

He n or 86 9 an d s ee ABB OTT

, , , , ,
340 TH E S ONNETS OF S HAK ES P E AR E [C X L I
11 . C OLL I E R : Th e
r e l ative w h o agr ee s with t h e v e wits a n d t h e v e
se nse s s o that l e ave s o ught t o b e l e ave I S AAC :
,

r e fe rs t o

.

f or c l e ar l y t h e man must h e re sway t h e h e art ( h e is o nly t h e e mpty

like n e ss of a man if it is u n s wa y d
,

n ot t h e h e art t h e man ( Arch i v 6 0 :

.
,

D OWD E N : My h eart c e ase s t o gove rn m e and s o l e ave s m e n o b e tt e r than t h e ,

like n e ss of a man a man with out a h eart in o rd e r that it may b e c o m e slave

t o thy pr o ud h e art TYL E R : I cann ot agr ee with D owd e n s e xplanati o n I

. .

sh ould take t h e m e aning to b e i n acc ordance wit h what goe s b e f or e : t h e p oe t is

,

e ntir e l y g ov e rn e d by h i s h e art which stil l d oe s n ot sway his v e s e n s e s e t c

'

, , .
,

th e se c o nstitut i ng t oge th e r t h e l ike ne ss of a man that is a man mi n u s t h e

, ,

h e art WYND H AM : I agree with Tyl e r s [int e rpr e tati o n ] Th e like n e ss of a

.

.

man
t h e v e wits and v e se nse s B U TL E R : U nswaye d by anything that .

e ith e r wits o r se n s e s can urg e my h e art as it we r e unmans itse lf and is c o n

, ,

t e nt e d t o b e y o ur drudge B E E C H I NG : [ Wh o is t h e h e art ] Th e h e art by

.

.

c e asing t o rul e l e ave s t h e man a m e r e l ike ne ss L E E : Which f ore g oing its c on .

,

tr ol make s of a man t h e m e re husk or simulacrum of a human be ing [ I d o n ot

, .

s e e that it f o l l o ws b e cause

, wh o r e fe rs t o t h e h e art that unswaye d must

,

m e an u nswaye d by t h e h e art Th e h e art as Ty l e r r e marks is having its

.
, ,

way ; but I cannot f o l l o w his c or ollary b e ing disp o se d rath e r t o agree with ,

B utl e r s re nd e ri ng u nsway e d by wits or se nse s My fri e nd P r ofe ssor W D

,

. . .

B R I GG S brings t o my att e nti o n a parall e l f or t h e noti o n that h e wh o se h e art has

le ft him is t h e m e re l ike ne ss of a man i n an E l egy of J o nso n s ( Und erwoods

,

,

59 ; in Gi ff ord s e diti o n 6 0 )

,

H ow hal l I d o swee t mistre ss f or my h e art ?

S , ,

An d s o I spare it : c o m e what can b e c o m e

Of m e I ll s oftly tr e a d u nt o my t o mb ;

Or li ke a gh ost wa l k si l e nt am o ngst m e n
, , ,

Ti ll I may see b oth it and y ou again .

ED .
]
14 .
pai n e . su ff e ring WAL K E R : I n its old e tym ol ogica l
SC H M I D T: He avy .

se nse of pu nishm e nt [S o D OWD E N WYND H AM B E E C H I NG and P OR TE R

.
, , , .

TYL E R and R OL F E disse nt and i n a divisi o n I sh o u ld j oin th e m i n vi e w of

, ,

1 3 2 4 ; 1 39 I 4 ; and 1 40 4
, , ED ] , . .

S AH RP : c e rtainl y not se nt t o t h e l ady ; and ] it may b e n ot e d

[This s o nn e t wa s
that t h e pe rso na l addre ss charact e ri z ing t h e o pe ning l ine s is forgott e n i n t h e
c oup l e t wh ere s h e usurps th ou ( I ntro p

,

. ., .
c m ] TH E S ONNETS OF S HAK ES P EAR E 34 1

I 42

L OUE i s my s i n n e a n d t h y d e a r e ve r t ue h a t e , ,

H a t e of my s i n n e g r ou n d e d o n s i n f u ll l ou i n g , ,

O b u t w i t h m i n e c om p a r e t h o u t h i n e o w n e s t a t e , ,

An d t h o u s h a l t n d e i t m e r r i ts n o t r e p roou i n g ,

Or i f i t d o n o t f r o m t h os e l i p s of t h i n e
, ,

Th a t h a ue p r op h a n d t h e i r s ca r l e t o r n a m e n t s

An d s e a ld fa l s e b on d s of l o ue a s o f t a s m i n e ,

Rob d o t h e rs b e d s r e u e n u e s o f t h e i r r e n t s .

B e i t la w f ull I l o u e t h ee as t h o u lo u s t t h os e

Wh om e t h i n e e ye s w ooe a s m i n e i m p or t un e t h ee ,

R o o t e p i t t i e i n t h y h e a r t t h a t w h e n i t g r ow e s ,

Th y p i t ty m a y d e s e r u e t o p i t t i ed b ee .

I f t h ou d oos t s eek e to h a u e w h a t t h o u d oos t h i d e ,

By se lfe e xa mp l e ma i
s t t h ou b e d e n i d e .

H th y ] my 1 6 40 , G S E , , .

N my s i n n e ] s i n G S E , , . on ] upon G 2
; on a S, E .

A
C
t t ]
s a e s a te G 1
.

O
O b e d s ] bed s , S ; beds I '
Kt , D e l, Hu , Dy , S t a , C l, Gl, Ca m , D o, e t c ;
. bed

s

C0 3
. b ed s re u e n u es ] bed -
reven ues C .

9 . Be it] B e t Hu, D y

z
.

Io . wooe ] w oe 1 6 40 .

to pi tti e d ] pi ty d to C

12 . .

13 . h i d e] ch i c o nj B ut
de S t a .
, .

14 . se lf e e xam me ] H yph e n e d by G 2
, 8 2
, et c .

[This so nne t ] is de pe nde nt in c o nt e nt on S

I S AAC : but distinguish e d . 1 52 ,

fro m it through t h e l e ss passi o nat e t o ne ( Arch i v 6 1 : WYND H AM : This .

,

so nn e t is t h e last of f o ur writt e n in an u nbro ke n chain t h e se nse and e ve n ,

t h e phras ing of t h e c o ncludi ng l ine s i n e ach be ing tak e n up i n t h e O pe ning li ne s

of t h e ne xt [ P e rhaps ; but n o m ore obvi o us l y than i n many anoth e r d o ubtfu l

.

case of se qu e nce BD ] . .

1MAS S E Y : Cf S idne y A 89 S 52 : A strife is grown be twee n Virtu e a n d

. .
, .

.
,

Lo ve ( p . d e ar e S CH M1D T: I n m ost
.
[ Cf 1 3 1 TYL E R : C h e rish e d
. . .
, .

R OLF E : Th y ch e r i sh e d virt u e t h e o nly virt u e s h e has .

2 WYND H AM : You hat e my l ove n ot be cause it is sinful but be cause y ou

.
, ,

l ove si nf u ll y e l sewh ere B UTL E R : Hatred of my sin which is base d up on my

, , .
342 TH E S ONNETS OF S HAK ES P E AR E [CX L I I
l ove of y ou R OL F E : S h e hat es hi m f or his l ove and his l ove is si n ; an d so far
.
,

s h e is right .

6 s c ar l e t ornam e n t s MAL ONE : [ Cf Edwa rd I I I

. I I i 1 0 Th e f ol
. .
, , .

l owi ng is t h e c ont e xt fro m l ine ,

L oe , wh e n shee b l usht e ve n th e n d id h e look e pa l e , ,

As if h e r c h ee k es by so m e i n c h a u nt ed p owe r
Attracte d h a d t h e C he ri e bl oo d fr o m his
Ano ne with r e ve re nt f e are whe n s h e gr e w pa l e
, ,

H i s c h ee k es put on th e ir scarl e t o rnam e nts ;

B ut n o m or e l ike h er ory e n t a ll re d ,

Than Bricke t o Co rrall or live things t o d e ad .

D OWD E N : This l in e occurs in t h e part

p l ay attribut e d by se ve ra l critics of th e

to Sh .
[ Se e n ot e s on 94 1 4 E D ] A PL ATT [ ( M L R ev 6 : 51 1 ) disc usse s
, . . . . . .
,

t h e r e p e titi o n of t h e l in e as that of 9 4 1 4 and nds it t o b e absurd in t h e play

, , ,

but i n p oint in t h e so nne t be cause h er e having r e fe re nc e t o t h e scar l e t wax with

,

which t h e b o n d is se a l ed H e nc e t h e dramatist was t h e b o rr ower MAC KAIL

. .
,

i n his l ecture pub l ish ed i n t h e sam e ye ar make s t h e sam e sugge sti o n

t h e l ady s wax re d lips a r e c o mpar ed t o t h e se a l o n a d e ed B ut his i n f e r e n ce is

-
.

di ff er e nt : ] Th e str o ng pr e sumpti o n is that t h e phrase i n t h e p l ay wh e th e r S h s , z

ow n or an oth e r s had c l ung i n his mi nd and was h e r e r e pr o duc e d by him i n a

n e w app l icati o n ( L ect on P oetry p

. . B E E C H I NG : Th e para ll e l woul d
, .

sugge st that this is an e ar l y so nne t and t h e writing c onrms t h e sugge sti o n , .

7 . s e a ld M A
. L O N E [ cit e s f o ur o th e r i nstanc e s o f S h s gurative u s e o f a se a l .

f or a kiss ; e g M f or M IV i 5 6 :
. .
,

. .
, , ,

B ut my kisse s bring again ,

S e a l s of l ove but s e a l d i n vain

.
,

I S AAC ( Arch i v 6 1 : 1 80 ) raise s t h e l ist

, to m or e t han a d oz e n i]
8 F LE AY : I w ould po int :
7 .

An d se a l ed fa l se b o nd s of l ove as oft as mi ne ,

Robb ed oth e rs be ds r e ve nu e s of th e ir r e nts

.

( B i og Ch ron . .
, 2 :

GOD WI N : Th e t e xt b e si d es be i ng u ngrammatical is s o gr oss that it must b e

, ,

c orrupt . What t h e poe t m e ant t o say I thi nk was that s h e had n o right t o , , ,

r e proach him on t h e subj ect of kissing be cause h er lips ha d d o ubt le ss o ffe nd ed , ,

as oft e n as his l ips ha d r obbe d t h e be st r eve nu e s of t h e l ips of th e ir pr ope r d ues .

(p .

8 I S AAC [discusse s t h e c o nstructi o n of this l ine infe rring fr o m th e ir r eading

.
,

of be d s n ot

, that Ma l o ne C olli e r and H az litt t oo k r e ve nu e s of

, ,

th e ir r e nts as a d o ub l e accusative with oth e rs b e ds S i nc e this c o nstru o

.

ti o n d oe s n ot appe ar e l se wh e re i n S h m ost ed it ors f oll ow K night i n r e ad ing .

,

B ut if w e r e ad of th e ir r e nts as a ge nitive obj ect Th ou hast

,

r obb e d t h e i nc o m e of oth e r b e d s o f th e ir r e nts what is t h e m e ani ng ? Re nts

,

an d inc o m e a re t h e sam e thing To avoi d this d i fcu l ty one may take r e ve .

,
c II ] TH E S ONNETS OF S HAK E S P E AR E 343

nu es th e ir r e nts as a S ing l e i d e a as La chmann did i n transl ating it Z i n s er

of ,

tra g .
B ut th e ir re mai ns tr o ubl e so m e as w e sh o uld e xpe ct r e ve nu e s of
"
,

re nts ( A.r c h i v 6 1 : M,
o st r e ad e rs d o ubtl e ss nd n o diffi culty in t h e

pre va le nt t ext und e rstanding r e ve nu e s as rightfu l re c e ipts and r e nts as

,

,

t h e po rti o n of th e se r e ve nu e s which had bee n r obbe d E D ] L E E : C f D ani e l . . .

,

Compla i n t of R os a mu n d 7 56 : Th e re ve nu e of a want o n b e d
,
.

9 1-
0 F LE A .Y : C f D rayt o n I d ea 43
.
, ,

Wh y sh ould y o ur fair e ye s with such sove re ign grace , ,

D ispe rse th e ir rays o n e ve ry vulgar spirit ,

Whilst I i n darkne ss in t h e se lf same plac e ,

-
,

Ge t n ot o n e g l ance t o r ec o mpe nse my m e rit ?

( B i og Ch ron . .
, 2 :

[ Th e se line s might b e re gard e d as t h e ge rm

t wo foll o wing so nn e t of t h e .
-
ED .
]
10 D OWD E N : [This] carri es on t h e co mplaint of 1 39 6 and 1 40 1 4
. , , . im

p ortun e [ R e gularly
. acc e nt e d thus o n t h e p e nu l t i n S h E D ] , , . .

11 I S AAC : [ C f Wyatt Th e L ove r S e nd e th his Co mp l aints et c

.

.
, ,

barre n h e art
S o w e t h er ,

That p ity th e re may gr ow ] .

1
1 12 . WYND HAM : [Th e rst

pity c o mpassi o n ; th e se c o n d gr o und or

subj ect f or
13 . h i de . S C H M1 D T: Not le t appear suppre ss , .

14 . By se lf e e xampl e . D OWD E N : On t h e prec e d e nt of y o ur ow n e xamp l e .

[Th ose c o nc e rn e d with t h e id e nticati o n of t h e dark mistr e ss nd this so nn e t

a matt e r of c o nt e nti o n as t o wh eth e r it indicat e s that s h e was an adu l t er e ss
,

i n t h e strict se nse of be ing a marri e d wo man TYL E R e xpla i ns line 8 as implying .

that t h e lady had r e c e ive d t h e att e nti o ns of oth e r marri e d m e n B u t th ose .

w h o Oppo se his P e mbr ok e F itt o n argum e nt say with Miss P O RTE R that this , ,

line and 1 52 3 c o nstitut e t h e practically insupe rabl e o bstacl e t o t h e th eory

,

that Mary F y t t o n was t h e mistre ss m e ant f or s h e was n ot marri e d unt il ,

TAI N E [r e f e rs t o this so nn e t as r e pr e se nting t h e i nt o xicati o ns t h e e xc e sse s

, ,

t h e d e l irium int o which t h e m ost r e n e d artists fall wh e n th e y yi e l d t o t h e

s ed ucti ons of t h e e sh ( H i s t E ng Li t va n La u n trans 2 :

. . . .
, .
344 TH E S ONNETS OF S HAK ES P E AR E [CX LI I I

1 43

L OE as aca re f ull h us w i fe r un n es t o ca t ch ,

On e o f h e r f e t h e re d c re a t u re s b r oa k e a w a y ,

S e t s d ow n e h e r b a b e a n d m a k e s a ll s w i f t d i s p a t ch
I n p u rs u i t o f t h e t h i n g s h e w ou l d h a ue s t a y

Wh i l s t h e r n e gl e c t e d ch i l d h o l d s h e r i n ch a ce ,

C r i e s t o c a t ch h e r w h os e b u s i e c a r e i s b e n t ,

To f o l l ow t h a t w h i ch i e s b e fore h e r fa c e
No t p ri z i n g h e r p oore i n f a n t s d i s c on t e n t ;
S o r u n s t t h o u a f t e r t h a t w h i ch i e s f r om t h ee ,

Wh i ls t I t h y b a b e ch a ce t h e e a fa rre b e h i n d ,

B u t i f t h ou ca t ch t h y h op e t u rn e b a c k t o m e

An d p la y t h e m o t h e rs p a r t k i s s e m e b e k i n d ,
.

S o w i l l I p r a y t h a t t h o u ma i s t h a u e t h y Wi ll ,

I f t h ou t u r n e b a c k a n d my lo u d e c ry i n g s t i l l .

1 . h u s wif e ] h ou s wi f e G ; h ous ewi f e S2 Z

, E, A , et c .
( xc e pt
e B e ) ; h ous e-wif e M .

WYND HAM : This s o nne t also b e l o ngs t o t h e unbro k e n chain of t h e pre c e d ing
, ,

f our [Th e c o up l e t r e stat e s t h e se nse of 1 42 1 1

.
,

AC H E S ON : [This] so nne t se e ms t o b e a re ecti o n of so m e ve rse s i n t h e p oe m

of Th e Tw o Ita l ian Ge nt l e m e n [ u po n which t h e st ory of T G V is usua ll y . . .

supp osed t o b e f ou nd ed ] Cf .

Lo ! h e re t h e c o mm o n fault of l ove ,

To foll ow h e r that i e s ,

And y fr o m h er that make s h er wai l

With l oud l am e nting cri e s .

( S h 89 th e R P pp 46
'
. . .
.
, ,

1
[A c l ose r r e l ati o nship with t h e situati o n re pre se nt e d i n S o nne ts 1 33 34 is
sugge sted than with th ose which i nt e rv e ne ED ] . .

4 . t W K
pur s ui
AL E R [ c
. oll e cts a numb e r of para ll e l s f o r t h e acc e nt on t h e

pe nu l t C f t h e ve rb i n M V I V i
. . .
, ,

- 9 TYL E R : C f 4 1 7
. .
, .

1 3 Will D OWD E N : P ossib l y as S tee ve n s take s it Wi l l S haks pere ; but it

. .
, ,

see ms as like l y or pe rhaps m ore l i ke l y t o b e S h s fri e n d Will ( ?W

,

,

.

.

S h will pray f o r h e r succ e ss i n t h e chase o f t h e fugitive

. o n c o nditi o n

that if succ e ssful s h e wil l turn back t o him S h [S o R OLF E ] TYL E R : Me aning
, , , . .

pr obab l y h e r purp o se an d a l s o Wi ll iam He rb e rt [This o utpost o f t h e Pe m

, .
em u ] TH E S ONNE TS OF S HAK ES P E AR E 34 5

may b e said t o have bee n captured an d its gu ns turn ed against th e m

b ro ki s t s , ,

by S ARRAZ I N (S h s Leh rj a h re p.

wh o r e a d s

as i n a palimpse st t h e
, .

o riginal t ext of th e se line s as f oll ows ,

S o wil l I pray that th o u mayst hav e thy H en ,

If th o u turn back and my l o ud cryi ng pe n , .

This was l at e r change d by t h e poe t t o a l e ss obj e cti o nabl e f orm Th e r e ad e r .

must admit that if t h e c o upl e t was n ot thus writt e n by S h with r e fe re nce t o .

,

H e nry Wr i ot h e s le y it o ught t o have bee n !

,
ED ] LE E : [ I n ita l ics ] by what is .

al most c e rtainly a typographica l accid e nt Th e poe t li ght l y make s.

play with t h e curr e nt catch phrase ( a wo man wil l have h e r

-
a n d amia
bly wish e s his mistre ss succ e ss i n h e r ch a se on c o nditi o n that havi ng r ecap , ,

t u red t h e truant bird s h e turn back a n d tr e at him h e r bab e with kin d n e ss

, , , .

No pu n o n a man s nam e of Wi ll can b e fairly wr e st ed fro m t h e c o nt e xt

.

( f
L i e p ,
B
. E E C H I NG : I t is c e rtain fr o m t h e s o nn e t which f o ll o ws that a
play is int e nd e d u po n t h e name of t h e poe t s fri e nd
.

S TE E VE NS : Th e imag e with which this so nn e t be gins is at nc e pl e asing an d o

natural ; but t h e c onc l usi o n of it is l am e and impot e nt i nd ee d We att e n d t o t h e .

cri e s of t h e infant but l augh at t h e l ou d b lub b e ri n g s of t h e gr e at b oy Wi ll

, .

I S AAC : As t o t h e amusing charact e r of this pictur e I am o f t h e o pi ni o n t hat ,

o n e c o u ld nd a l arg e numbe r of similar i mage s in t h e p l ays which if th e y a re , ,

d e pict ed with painfu l pr ecisi on by t h e i mag inati on of t h e r e a d e r have so m e ,

thing of t h e c omic about th e m It is j ust th e se num er o us simil e s of gripping

.

re a li ty which pr od uc e oft e n n ot a c onge nia l or b e autiful but a l ways a p o we rfu l

, ,

e ff e ct . Th e image ov er owe d from his fu ll h e art and e ve n th e n h e wo ul d ,

cer tainly n ot have e xpr e sse d it if h e c ou l d have suspe ct e d that aft e r s o m e c e ntu
,
~

r i e s c e rtain critics w o u l d d isc ove r t h e c o mic in it so m e thing wh i ch re sid e s , ,

aft e r al l on l y i n t h e e sth e tic point of vi e w ( Arch i v 59 : 2 56

, [ I saac also
.
, ,

discu s se s int ere stingly t h e imp l i cati ons of t h e so nne t r e spe cting t h e charact e r
of S h ] B E E C H I NG : Th e so nne t is n o d o ubt int e n d e d t o b e o nly half se ri o us
.
,

l ike t h e on e that f oll ows L E E : Th e m ora l of t h e so nn et is s om e what e quiv ocal

. .

Th e poe t s o far fro m r e garding t h e es caping thing as a se ri o us riva l wish e s

, ,

t h e w o man succ e ss i n t h e chase on c o nditi o n that s h e will th e n c o m e back an d

kiss his t ears away Th e re is so m e sugge sti o n of a m nage a tr ois [See n ot e
.

.

on S .

H ORACE D AVI S : I am re mi nde d by this s onne t of some of t h e fe ature s of t h e

situati o n i n A Y L I I I v Th er e is Rosa l ind t h e charming youth P h e be
. . .
, , .
,

t h e d ark be auty an d S i l vius t h e r e j ect e d l ove r wh ose d e voti o n un d e r a d ve r se

, ,

circumstanc e s nds utt e rance in th e se l ine s (9 9

S o h ol y an d s o pe rf ect is my l ove ,

An d I i n such a p ove rty of gr ac e ,

Th a t I sha ll think it a m ost p l e nt eous c rop

To g l e an t h e broke n e ars a ft e r t h e man
That t h e main harve st reaps Loose now a nd th e n .

A s ca tt er d smi le and t hat I ll l ive upon

'
,

.
34 6 TH E S ONNETS OF S HAK E S P E AR E [ CX L I V

1 44

TWO loue s I h a ue o f c omfor t a nd d i s p a i re ,

Wh i ch l i ke tw o s p i ri t s do s ug i es t me s t i l l,

Th e b e t t e r an ge l l is a ma n ri gh t fa i re
Th e w ors e r s p i ri t a w om a n collo u r

d ii .

To w i n m e h e l l my f e m a ll e u i ll
s oon e to ,

Te m p t e t h my b e t t e r a n g e l f rom my s i g h t ,

An d w ou l d c orr u p t my s a i n t t o b e a d i ue l
Wooi n g h i s p u ri t y w i t h h e r fow l e p ri d e .

An d w h e t h e r t h a t my a n ge l b e t u r n d n d e

S us p e c t I m a y y e t n o t d i r e c t ly t e ll
, ,

B u t b e i n g b o t h f ro m m e b o t h t o e a ch f r i e n d ,

I g es s e on e a n g e l i n a n o t h e rs h e l .

Ye t t h i s s h a l I n e re kn ow b u t li u e i n d oub t ,

Ti l l my b a d a n ge l re my g ood on e ou t .

2 . s ugi e s t ] s ugg es t 1 6 40 , etc .

6 . si ght] si de 1 6 40 , et c .

9 . n d e ] f een d 1 6 40 ; en d G , et c .

[ See b e l ow f or t h e t e xt of 1 599 , 1 6 40 , et c .
]
This so nne t l ike 1 3 8 app e ar e d i n Th e P a s s i on a te P i lg ri m 1 599
, , , , th e s ec

on d numbe r i n t h e c ol l ecti o n Th e f oll owing is t h e P P t e xt

. . .

Tw o Lo ve s I have of C o mf ort a n d D e s p a i re , , ,

That l ike t w o S pirits d o sugge st m e sti ll : ,

My b e tt e r Ange l l is a Ma n ( right faire )

My worse r spirit e a Woman (c olour d i ll )
.

To winn e m e soo n e t o h e ll my F e ma l e e v i ll ,

Te mpt eth my b e tt e r Ange ll fr om my sid e ,

And wou l d c orrupt my S aint t o b e a D ive ll ,

Wooing his purity with h er faire pride .

And wh e th e r that my Ange ll b e t ur n de f ee nd ,

S usp e ct I may (y et n ot d ir e ct l y t e ll
F or b e ing b oth t o m e : b oth t o e ac h fri e nd , ,

I gh e sse on e Ange ll i n an oth e rs h e ll :

Th e truth I sha ll n ot kn ow but l ive in d oubt , ,

Til l my ba d Ang e l l re my g ood one out .

TYL E R : [Th e change s i n l ine s 3 , 8, 13 fr o m th e P P . ve rsi on ] may p ossib l y

.

have pr ocee de d fr om r e visi o n . LE E : J a g g a rd s

se c on d so nn e t [in t h e P P ] . .
cm v ] TH E SONNETS 0 17 S HAKES P EAR E 34 7

sh ows f e we r discre panci e s with that of 1 6 0 9 [t h an his ve rsi o n of and his

ve r s i on is on t h e wh ol e t h e be tt e r of t h e t wo (I n tro to P P facsimi l e cd . . . .
, .
,

1 90 5 pp
, 23 . B E E C H I NG : [ F air line 8 t h e o nly imp ortant variati o n

, ,

i n t h e P P t e xt ] is c l e arly a blund e r
. .
, .

D OWD E N : [ Cf D rayt o n I dea S 2 0 ; e spe cially l ine s I 3 1 3

.
, , .
, ,

An e vi l S pirit ( your b e auty ) hau nts m e still ,

Wh e re with a l as I have bee n l ong pos s e s t ;

, ,

Which cea se th n ot t o att e mpt m e t o e ach i ll ,

Nor give m e o nc e but one poo r minut e s r e st

.

I n m e it spe aks wh e th e r I sl ee p or wake

,

And wh e n by m eans t o drive it out I try ,

With gr e at e r t orm e nts th e n it m e cl oth take ,

And t ort ure s m e i n m ost e xtre mity .

B e fore my fac e it l ays d o wn my d e spairs ,

And hast e s m e on unt o a su dd e n d e ath :

Now t e mpting m e t o dr own myse lf i n t e ars ;
And th e n in sighing t o give up my bre ath .

Thus am I still p r ovok d t o e ve ry e vi l

,

B y this goo d wicke d S pirit swee t Ange l D e vi l

-
,
-
.

TYL E R : A c ompariso n of this so nn e t with S h ca n scarc e l y make it oth e r than

. s

probab l e that t h e r e se mblanc e is n ot acci de nta l B ut as S 1 44 was c o ntai ne d . .

in t h e P a s s i onate P i lg ri m it might see m po ssib l e that D rayt o n had se e n

it in this c oll ecti on and that h e imitat e d it lat er i n t h e sam e ye ar [ Oth e r sim
, .

i la r i t i e s h o we v e r ( s ee n ot e s o n S o nn e ts 1 9 4 6 7 4
, l e ad Tyl e r t o be l i e ve
, , ,

that D rayt on was familiar with S h s S o nne ts as a wh ol e ] ( pp 39 .

F L E AY : . .

Th e p osse ssi o n of t h e dark w oman by t h e ang e l man e xactly c orre spo nds t o -

that of D r a yt o n by his ange l wo man ( B i og Ch ron 2 : -

. L E E : This s o n. .
,

n et i s adapt e d fr o m D rayt o n B ut S h e ntire l y alte rs t h e p oi nt of t h e l ine s

.

by c o ntrasting t h e in u e nc e e xe rt e d on him by t h e wo man with that e x e rt e d

o n him by a m a n ( Lif e p 1 53 n ) WYND H AM : Th e l ike n e ss is b ut of phrasing
.
, . .

l
,

f or D rayt o n r e f e rs o n l y t o o n e pe rso n and if as I b e l i e v e [,S o nn e ts

1 7 1 52
2 , ,

we r e writt e n at t h e sam e tim e as 33 pe rhaps i n 1 59 8 or t h e e ar l y part of

B rayt o n s so nne t see ms j ust such a supe rcial plagiarism as a re his

1 599

l at e r so nne ts publish e d rst i n 1 6 1 9 of S h s numb e rs i n t h e l at e r g roups [Se e

, , .

.

n ot e s o n 1 1 6 5 , B E E C H I NG : B oth s o nne ts appe are d i n 1 59 9 and probably ,

on e was sugge st e d by t h e oth e r but which by which ? Mr Le e says tou t cou rt

, .
, ,

E ve n this so nn e t is adapt e d fr o m D rayt o n I sh o ul d say

E ve n this so nne t
.
,

is adapt e d fr om On Mr Lee s th eo ry on e has t o be li e ve that S h built up

. .

his wh ol e so nne t subj ect of a man right fair and a wo man c olou r d ill fr om

this ge rm so nne t f o r which h e was ind ebt ed t o a sugge sti o n fr o m D rayt o n I t

, .

may have bee n s o but on e d es i de rat e s a grain of pr oof ( p 1 37 n ) [ F or myse lf I

, . . .
,

d e sid e rat e a grain of pr oo f that e ith e r so nn e t must have bee n sugge st e d by t h e

oth e r S ur e ly t h e subj ec ts a re distinct ; an d as t o phrasing t h e wo rds e vil
.
, ,

spirit a n d d evi l we re no l e ss fa miliar i n S h s tim e than n ow
,

, ED ] .

. .
34 8 TH E S ONNETS OF S HAK E S P E AR E [CX L I V
KR AU S S : [ Cf . S idn e y , A r S . .
, 5t h S o ng , st .

Ye t witch e s may r e pe nt Th o u art far worse than th e y . .

Al as ! that I am f orc d such e vil of th ee t o say

.

I say th o u art a d e vil ! th o ugh c lot h d i n ange l s shining ;

F or thy fac e t e mpts my so u l t o l e ave t h e h e av e ns f 0r th ee ,

And thy words of r e fuse d o pour e ve n h e ll o n m e s

.

Wh o t e mpt and t e mpt e d plagu e a re d e vils in tru e d e ning

, ,
.

WAL S H : In iv 2 ( supp o se d t o have b e e n writt e n in

H 4 II .
, , , 3 6 2 6 6

th e re is so m ething ab o ut a b oy with a good ange l ab o ut him but wh o m t h e

'

,

d e vil binds t oo and a wo man w h o is in h e l l a l r e ady and burns p oor souls ;

,

,

which may or n ot b e r e minisc e nt

, ,
.

2 . MAL ON E : Te mpt [S o D OWD E N R OL F E TYL E R WYND H AM et c ]

s ug i e s t . . , , , , .

S C H M1 D T: P r o mpt o r inf o rm un de rhan d whisp e r B E E C H I NG : Not n e c e ssar i ly ,

.

t e mpt but whispe r advic e wh eth e r goo d or bad [Th e abso lut e pe rso na l

,

,
.

obj e ct fav o rs Mal o n e s int e rpr e tati o n ED ]

. .

4 . c o llour d i ll [ S hal

l spac e b e. f o u n d h e r e t o r e c o rd a disc o v e ry o f AC H E

S O N S c o nn e cting this l in e with his id e nticati o n of t h e dark lady with Mi str e ss

J an e D ave nant ? On e of t h e p oe ms pre xe d t o Wi llobi e h i s Avi s a ( s e e p 4 7 8 .

,

b e l ow ) o p e ns with t h e l in e I n L avine L and th o ugh L ivi e b oast and t h e rst

,

thirt ee n l e tt e rs of this f orm t h e anagram I II I n D ave nant Th i s says Mr

.
. .
,

Ach e so n is an obvi ous a l lusi o n t o t h e pre se nt passage and t h e disc ove ry p ro

, ,

vid e s t h e titl e of his pamph l e t A Wo man C ol o ur e d

,

5 .W i n m e s oo n e t o h e ll M AS S E Y : S h s m e an i ng
. can o nly b e appr e h e nd e d .

by f ol l owing it acc ord i ng t o t h e l aws of [t h e old gam e of ] Barl e y Bre ak -

Th e gam e turns upo n br e aking t h e l aw and a l so on b e ing caught and c o n ,

d e m me d t o He l l Th o se w h o a re in H e ll a re t h e bad ange ls ; th o se w h o a re out

.

si d e a re t h e goo d To t e mpt or l ure catch or carry t h e g ood on e t o H e ll t h e f e

.
, , , ,

mal e pursu e s t h e ma l e p l aye r Wh e n s h e has caught him h e must g o t o H e ll with

.

h e r and b e c o m e a d e vi l i n t h e He l l of t h e bad ange l s Th e catching is f ol l o we d .

by kissing i n H e l l as it is i n t h e gam e of K iss i n t h e R ing An d t h e sp e ake r

- - -
.

in t h e sonne t has a pre saging fe ar l e st this part of t h e gam e sh o u l d b e carri e d

o u t i n e arn e st [S ee t h e acc ount in t h e Arca di a ; L am o n s so ng of S tre ph o n and

.

[S inc e acc ording t o t h e rul e s ] t h e man right fair c o ul d

Kla i u s B k , .
,

,

on l y b e t h e b ett e r ange l t o a spe ake r w h o is a wo man [and ] t h e be tt e r

,

ange l as a ma l e c o u ld o n l y b e t e mpt e d fro m t h e sid e of a wo man it is ,

d o ub l y impossibl e f or t h e spe ake r t o b e S h or any oth e r man ( pp 1 35 . . .

[ S idn ey s d e scripti o n is as foll ows :

'

Th e n c oup l e s three b e stre ight a ll ott e d th e r e

Th e y of b oth e nd s t h e midd l e t w o d oe i e , ,

Th e t wo that i n mi d p l ace He ll ca l l e d we re , ,

Must strive with w aiting f oo t and watching ey e

To catch of th e m an d th e m t o He ll t o b e ar e , ,

That th e y as we ll as th e y H e ll may supp l i e

, , .
C X L I V] TH E S ONNETS OF S HA K ES P E AR E 349

Th e re may y ou s e e soo ne as t h e mi ddl e t wo ,

D oe c o upl e d t owards e ith er c o upl e make ,

Th e y fa l se and f ea re f ull d o th e ir hands und oc ,

Br oth e r his br oth e r fri e nd d oth fr i e nd f orsake , ,

H ee ding h i m s e lf e car e s n ot h ow fe ll o w d o , ,

B ut of a strange r m ut ua ll h e l p d oth take .

( P oems , Gro s art e d . , 2 : 1 34

I n his n ot e Gros a rt stat e s that whate ve r t h e rul e s und e r which t h e c o upl e in

, ,

h e ll attacke d and pursu e d t h e c o up l e the y singl e d out e ith e r of t h e pursu e d ,

we r e save d by j o ining with on e of t h e othe r out coup le of t h e opp o sit e s e x -

.

It will b e n o tic e d that th e r e is n o warrant i n S idn e y s acc o unt f or t h e implica

ti o n that t h e playe rs cal l e d th e mse lve s ange l s and d e vils an d t h e wh ole

,

anal ogy is ve ry d o ubtful E ve n if S h a l lud e d in his phrasing t o t h e te rms of t h e

. .

gam e it d oe s n ot f oll ow that h e was car e fu l t o i d e nt i fy his three charact e rs

,

with p e rso ns of t h e appro priat e s e x ED ] . .

6 S TE E VE NS : C f 0 th
. V ii 2 0 8 : C urse his b e tt e r ange l fr o m his sid e
. .
, , ,
.

[ T his parall e l is i nt e r e sting f or t h e sugg e sti o n that t h e image in t h e s o nn e t has

t o d o with t h e sp e ake r s g ua rdi a n ange l ED ]

. .

9. M C C L U M P H A : C f R S J I I I ii 7 5 :

B e a utifu.l tyrant ! F i e nd
. ang e li
.
, , ,

cal ! ( J a h rb 40 : .
,

1 0
J od e lle Con tr Am ours No

9 . LE E : C f .
, , . 6

Ja Si l ong te mps faisant d un D iab l e u n Ange

Vo us m o uvr e z l aeil e n l i i us t e l ouange

n ,

Et m

a v e ug le z e n l i n i us t e

t ourm e nt .

( L i f e p mm )
, . .

11 . f r om D OWD E N : Away from e a ch ABB OTT: F or e ach oth e r

. . . .

12 . S H I NDL E R [A] r e fe r e nc e t o a we l l kn o wn st ory of B occacci o

: (Gen t -
. .

Ma g .
, 2 72 : [ S hi ndl e r probably r e f e rs t o t h e tal e of putting t h e d evi l in

h e ll
, third day i n t h e D eca meron
t h e l ot h of t h e ED ] .
-
.

14 B E E C H I NG : Th e re fe re nc e h e re which t h e E li z ab e thans th o ught j ocu l ar

.
, ,

is mad e plaine r by 2 H 4 I I iv 3 6 5 qu ot e d by D o wd e n [ See Walsh s not e .

, , , , .

ab ove ] r e . ou t L E E : Th e e xpr e ssi o n had a lit e rary charact e r in S h s

. .

day . C f Gu i lp i n s S ki a leth ei a ( 1 59 8 e d Gr o s a rt p
.

B ut I le b e , .
, .

l oth ( we nch ) t o b e re d o ut [Lee discusse s t h e hist o ry o f t h e phrase at so me

.

l e n g th i n t h e Ath Jan 1 9 1 90 1 p 8 0 S ee also in N 89 Q 1 0 t h s 8 : 4 54

.
, .
, , . .
, .

.
, .
, ,

so m e acc o unt of it i n r e lati o n t o m od e rn slang ] .

[ I nt e rpre t e rs o f all sch ools t e nd t o mak e this a k e y so nne t th o se wh o

divid e t h e c ol l e cti o n i nt o t w o se ri e s nding h e re t h e t w o pe rs o ns r e spe ctive ly

a ddr e sse d ; Masse y nding a clu e t o his dramatic th eo r y ; and S i mpso n an d

o th e rs o n e t o t h e phil o so phy o f t h e S o nn e ts S I M P S ON says : ] Th e t w o l ove s .

answe r t o fri e ndship and c o ncupisc e nce t h e a mor a mi ci ti ae and a mor con cu pi s ,

ce n ti a e o f t h e sch oo l s Th e f orm e r l ove has its r e voluti o ns but e ach ti m e it

.
,

r e turns t o itse l f with r e n e wed stre ngth Th e oth er l ov e is t h e fa l se i n n it e .

3 50 TH E S ONNETS OF S HA KE S P E AR E [CxL v
t rna l alt e rnati o n y es an d n o
th e e e ck l e fa l se an d frau d u l e nt per , , ,

ve rse se lf c o ntradict o ry and full of change ( p

,
-
, . .

R OL F E : [Th e vi e w that t h e pub l icati o n of this s o nn e t in 1 599 sh ows that t h e

o th e rs d e a l ing with t h e sa m e subj ect we r e writt e n be f o r e that tim e ] is c l e ar l y

a misint e rpre tati o n of that so nne t which inst e ad of marki ng t h e e n d oi t h e , ,

~

st ory r eally be l o ngs t o a c o mparative ly e ar l y stage of it

, Th e p oe t says .

that t h e wo man t e mpt e th ( n ot has succee d e d i n se ducing ) his fri e nd S h e

, .

would c orrupt him but wh e th e r s h e has actually d o neit h e adds S uspe ct

,

, ,

I may but ot dir ec tly t e ll
n ,
I n S o nne ts 34 3 5 h e had n o d o u b t that t h e
.

wo man c ol o ure d i ll had c orrupt e d his be tter ange l ( I ntr o rev e d pp

. .
, . .
, .

38

I 4S

TH OS E li p s t h a t Loues h a n d d i d m a ke
ow n e ,

B re a t h d for t h th e s o u n d t h at s a i d I h a t e

To m e t h a t la n gu i s h t f or h e r sa ke :
B ut w hen s he s aw my w o f u ll s t a t e ,

S t ra i gh t i n h e r h e a r t d i d m e r c i e c om e ,

C h i d i n g t h a t t on g ue t h a t e u e r s w e e t ,

Wa s v s d e i n g i u i n g ge n t le d o me
An d t ou gh t i t t h u s a n ew t o g re e te
I h a t e s h e a lt e rd w i t h a n e n d ,

Th a t f ollow d i t a s g e n t l e d a y

D o t h fo ll ow n i gh t w h o li ke a en d
Fr om h e a u e n t o h e ll i s ow n e a w a y .

I h a t e f r o m h a t e a w a y s h e t h re w
, ,

An d s a u d my l i fe s a y i n g n o t y ou

.

2 . I h a te ] I ta l ics by M , A ,
Kl y , CO 3
, Hu z
; qu ot ed by K t CO W B D, , , e , H
l u l

Dy , S t a , C l Gl, , Wh , H a l, C a m D , o, R, etc .

7 . d om e ] d aame 1 6 40 , G , et c .

8 . a n ew ] a -new G S E , , , M; a n ew A et c , .

9, 13 . I h a t e ] I talics by G S E 2
,
2
, , M A Kl y , , , C0 3
, Hu z
; qu ot ed by K t , Co m ,

B , D e l, H u D y S t a C l Gl Wh H a l
l
, , , , , , , Ca m , D o, R, etc .

1 1 . end ] f ri en d G 2
.

13 . from
thr ew] a wa y f r om h a te s h e ew S t ee c o nj .

1 4 n ot y ou ] I talics by G
.
2
5 E
2 M A K ly C O
3
H u
z
; qu o t e d by K t C o m , , , , , , , , ,

B D e l H u D y S t a C l Gl Wh Ha l Ca m D o R e t c
,
l
, , , , y ou ] I talics by
, , , , , , , .

S ; y et H a l [e rr o r ] .
 CX L V ] TH E S ONNETS OF S HAK ES P E AR E 351

D OWD E N n l y so nne t writt e n in ei ght syllabl e ve rse s S om e critics

: Th e o - .
,

partly on this gr o und partly be cause t h e rhym e s a re i ll manage d re j ect it as

,
-
,

n o t by S h WYND HAM : This sonnet .

[ has ] an unpl e asing asso nanc e b e twe e n
t h e rhym e so unds of t h e rst quatrain and but l ittl e in it that r e calls S h s

-
.
,

hand save That f ollow d it as ge ntl e day d oth f oll o w night AC H E S ON : S h

. .

c e rta i nly did not writ e [this so nne t ] n or did any on e t o wh o m t h e tit le of p oe t ,

m i ght be appli e d : it is p ossib l y a ight of S o uthampt o n s ow n muse ( S h $9 th e

. .

R P p
. .B E E CH I NG : An occasi o nal so nn e t having n o c o nne cti o n with t h e
, .
,

se ri e s Th e re is n o r e aso n t o d oubt its S hake spe are an auth orsh i p [Se e MAS
. .

S E Y S n ot e o n S 9 6 an d MAC KAIL S o n L E E : A p l ayfu l lyric in oct o

.
,

syllabics like Ly ly s so ng of C upi d and C ampaspe ; its t o ne has c l ose afnity

,

t o that and oth e r of Ly ly s so ngs ( L if e p [ I S AAC qu ot e s W K ON I G

. }
, .

( J ah r b 1 1 : 1 3 7 ) as n oting that Gi ord an o Brun o w r ot e so nne ts in f our f oo t

.
,
-

iambics an d ad d s that on e of Wyatt s is in t h e sam e m e tre (Ar ch i v 6 0 :

,

.
,

7 . d om e . S CH M1D T: J u d gm e nt ; se nt e nc e
11 . S TE E VE NS : C f . H 5 I V P r ol 2 1 :
.
, , .
, Night w h o, l ike a fo u l and ugly
witch , et c .

13 . se nse as th e se so nne ts ab o un d with may pe rhaps b e

S TE E VE NS : S uch
disc ove re d as t h e words at pr e se nt stand ; but I had rath e r re ad : I h a te

H avi ng pr o n o unc e d t h e w o r d s I hat e

away fr o m hat e s h e e w et c ,

.
, ,

s h e l e ft m e with a d e c l arati o n i n my fav o ur MAL O NE : Th e m e aning is sh e .

r e m o ve d t h e words I hate t o a distanc e fr o m hatred ; s h e change d th e ir

natural imp ort by subj oining n ot y ou Th e old c opy is c e rt a i nl y right

. .

[ Cf L ucrece
.
, 1 534

I t cannot b e qu oth s h e that s o much gui l e

, ,

S h e w ou l d have sai d can l urk in such a l oo k

B ut Tarqui n s shape cam e in h e r mind t h e whil e

And fr o m h er t o ngu e can l urk fr om cannot t oo k

.

H ORACE D AV I S : C f Lo ngfe l l ow

s transl ati o n of P u rga tori o P ur ch e
.
, 5: 66
i l v ol e r n o n po s s a n o n

U n l e ss t h e I cann ot cut off th e I will .

B RAND L [obse rve s that this so nne t is add re sse d t o a goo d natured swee th eart -

wh oll y diff e re nt from t h e dark l ad y He nds pl e asur e i n re ecting that .

th r w rthy u l i n Lo nd on f or wh om S h warm ed with t e nd e rn e ss

'

e e w a s o n e o s o
. .

( pp XXV . xi x - H
352 TH E S ONNETS OF S HAK E S P E AR E [CX L VI

1 46

l
c e n t e r of my S i n f ull ea r t h

P OOR E s ou e th e ,

M y s i n f ull e a r t h t h e s e r e b b e ll p ow re s t h a t t h ee a rra y ,

Wh y d os t t h ou p i n e w i t h i n a n d s uffe r d e a r t h
P a i n t i n g t h y o u t w a r d w a l l s s o c os t li e g a y ?
Wh y s o l a r ge cos t h a u i n g s o s h or t a le a s e ,

D o s t t h o u v p o n t h y f a d i n g m a n s i on s p e n d ?
S h a l l w o rm e s i n h e r i t o rs o f t h i s e x ce s s e
E a t e v p t h y ch a r g e ? i s t h i s t h y b o d i e s e n d ?
Th e n s o u l e li ue t h o u v p on t h y s e r ua n t s lo s s e
~
,

An d le t t h a t p i n e t o a g g ra u a t t h y s t o r e ;

B u y t e a r m e s d i u i n e i n s e l li n g h o u re s o f d r os s e

Wi t h i n b e f e d w i t h out b e r i ch n o m ore , ,

S o s h a l t t h o u f e ed on d ea t h t h a t fe ed s on m e n , ,

An d d ea t h o n c e d e a d t h e r s n o m ore d yi n g th e n

, ,

1 . ce n er t ] ten a n t S e bastian E vans c o nj .

2 . My th e s e ] Fool d by th os e

M A , , Co , B , Hu l
,
Kl y ; Fool d by th es e

Kt ,

D e l, Dy , S ta , Cl , Wh l
, H a l, Ox ; S ta rv d by th e S t e e
c o nj ; S ta rv d by th es e B ut ;
.

Th ra ll to th es e K inn e ar c o nj N Wa ; S la ve of th es e C artwright ; L ea g ued wi th

.
, ,

th es e Bra e c o nj H u ; F oi l d by th es e P algrave c o nj Masse y c o nj ; H emm d

z
. .
, .
,

wi th th es e F urnival l c o nj ; P res s d by th es e D o R ; Wh y f eed s t th es e Ty ; S port

.
,

of th es e S harp ; L ord of th es e H e r c o nj ; F eedi n g th e s e S e bastian E vans c o nj ; . .

S poi l d by th es e S p e nce c o nj ; Vex d by th es e R usht o n c o nj ; My s i n s th os e B ul

.
.
,

l och c o nj ; S i nf ul th ro Nich olso n c o nj ;

. th es e Gl C a m t

He r B e .
, , , , .

r e b b e ll powr e s ] pow e rs C that th e e arr ay ] a r ra y Masse y c o nj

. Wy B ull .
, , .

ar ray ] a r a y 1 6 40 G H u ; wa rra y S e bastian E vans c o nj Guin e y c o nj

1 2
. .
, , ,

4 w all s ] w a ll Wa
. s o] i n 1 6 40 G . s o cos tli e g a y ] i n cos tly cla y S E , .
, .

6 f a d ing ] f a d ed S E
.
, .

7 i nh e ri tors ] i n h eri tors 1 6 40 ; i n H erri ots G

.
2
.

10 thy] my L
. .

C A B R OWN : An addre ss t o his ow n soul t h e so l e mn nature of which cann ot

. .
,

b e r e gard e d as c o ngru o us with t h e r e st [This s o nne t and 1 4 5 sh o ul d b e e x .

p u n g e d fr o m t h e poe m c o nstitut e d by 1 2 7 [ S e e M AS S E Y S n o t e o n 1 2 9

,

f o r his vi e w of t h e t w o so nne ts as a pair sugge st e d by t wo of S idn e y s Th e

.

s e c o n d of S i d n e y s is as f o l l o ws : ]

L e ave m e , 0 l ove ! which re a c h e s t but t o dust !

And thou my min d ! aspire , to high er things !
C X L VI ] TH E S ONNETS OF S HAK ES P E AR E 353

Gr o w
rich i n that which neve r take th rust !
What eve r fade s but fad ing pl e asure brings .

D raw i n thy be ams and humbl e all thy might ,

To that swee t y o ke wh e r e lasting free d o ms b e !

Wh i ch bre aks t h e cl ou d s and o pe ns f orth t h e l i ght ,

That d oth b oth shin e and give us sight t o s ee .

0 take fast h old ! Le t that light b e thy guid e !

I n this small c o urse which birth draws o u t t o d e ath
And think h ow e vi l b e c om e th him t o slid e ,

Wh o see ke th h e ave n and co me s of h e ave nly bre ath ! ,

Th e n fare we ll wor l d ! Th y utt e rm ost I s e e ! ,

E t e rnal Love maintain thy l ove in m e ! ,

S I M P S ON [ a l so c o mpar e s this s o nn e t with S idne y s an d adds that its phra s e

,

ol o gy r e cal l s that of C hauc e r s r ecantati o n at t h e c l ose of t h e Ca n terbu ry

Ta les zl This b li s f u l r e gn e may m e n p urc h a ce by pov e rt e es p i r i t ue l and t h e

,

gl ori e by low e n e s s t h e pl e nt e of j oye by hunge r and thurst and t h e r e st by tra

, ,

vail e and t h e life by d e th and m ort i ca c i ou n of synn e ( p

,

MAI N [ n ot e s . .

oth e r so nn e ts of S imilar r e ligi o us t o n e : Barn e s 4 9 and 9 7 of t h e D i vi n e Cen tu ry : ,

Grifn 2 7 and 2 9 of F i d es s a ; D avi e s 1 3 of Wi t s P i lg ri ma g e; and o n e of Br e t on s

, ,

S oul s H a rmon y ( Gros a rt e d p b eginning Th e worldly princ e d oth in

.
, .
,

his sc e ptr e F U R N I VALL [ d e scrib e s t h e s o nn e t as ] a r e m o nstranc e with

himse l f o n spe nding t oo much e ith e r on dre ss or o utward se lf indulge nc e an d ,
-
,

e xh o rtin g h i rh s E lf t o give it up fo r inwar d cu l tur e ( I ntr o p lxvi ) TYL E R . .

, . .

e T
[ xe rTITI Ore d e nit e l y make s his int erpr e tati o n se cular ; s ee his n ot e on lin e
'

R OL F E : E mine ntly a re lig i o us so nn e t th o ugh it se e ms t o hav e b e e n m i s u n d e r ,

st oo d by Ty l e r B R AND L [c o nn ects t h e so nn e t with 1 44 nding in it t h e p oe t s

. ,

s oluti o n of t h e pr ob l e m of ch oic e b e twee n g ood and e vil L ike t h e old man in .

Marl owe s Fa u s tus w h o l ost his b ody t o t h e d e vil but save d his s o ul s o S h

, , .

h o pe s that his S o u l will live thr ough its se rvant s l oss (p

G H

. . . .

P AL M E R [ also tre ats t h e so nn e t as an int e gral part o f t h e se ri e s as tt e d , ,

ind ee d t o stand as t h e c o nclusi o n of t h e wh ol e and as r e lat e d t o t h e dark l ady

, ,
-

gr oup sinc e it is pr e cise ly in t h e int e nsity and b e wild e rm e nt of sin that t h e
,

po ssibil i ty of a spiritua l imm ortality is S h saw his passi o ns t o b e .

matt e rs of a m om e nt and s o by c o ntrast b e cam e aware of an impe ria l S e lf

,

wh i ch c o uld n ot b e subj ect e d t o t e mp orary in u e nc e s with o ut sham e Wa s .

h e tru e t o that d ee p insight ? Or did h e l ose himse lf again in s olicitati o ns o f

t h e e sh ? Wh o but himse lf can say ? Onc e at l e ast w e kn ow h e l oo k e d int o , ,

imm o rtality ( pp 4 7 56 . .
, ,

1 . MAL ON E : C f R 69 J
. .

i 1 2 .
, II, ,
-

C a n I g o f orward wh e n my h e art is h e r e ?
Turn back du ll e arth and nd thy c e ntre
, , out ;

and M V V i . .
, , , 6 36 5 :
S uch harm o ny is i n imm ortal so uls ;
B ut wh i lst this muddy ve sture of d e cay
D oth grossly c lose it in w e cann ot h ear it , .
 354 TH E S ONNETS OF S HAK ES P E AR E [c x m
2 . t ext ual n ot es t e ll th e ir ow n sad st ory of t h e succ es si o n of e dit o ri a l
Th e
l ab ors o n this li ne MAL O N E : It is mani fe st that t h e c ompose r i nadve rt e ntly
.

r e pe at e d t h e las t thr ee words of t h e rst ve rse i n t h e be gi n n ing of t h e se c o nd ,

o m itting t w o syllabl e s w h ich a r e su fci e nt t o c o mpl e t e t h e m e tr e Wh at t h e

,
.

o mitt e d w or d or wo rds we r e it is impo ssib l e n ow t o d e t e rmin e ,

R ath e r than .

l e ave an hiatus I have haz ard e d a c onj ecture S TE E VE NS : I w ould rea d

,
.

S t a rv d by Th e d e arth c o mplain ed of in t h e succee di ng lin e appe ars t o

et c, .

auth o rise t h e c o nj ecture Th e poe t see ms t o a ll ud e t o t h e sh o rt c o mm o ns and

.

gaudy habit of so ldi e rs I NGL E B Y [ discusse s t h e l ine at l e ngth e special l y i n

. ,

d e fe nc e of his i nt e rpre tati o n of array as af ict ill treat Mal o ne s e m e n

,
-
.

dati o n is u nt e n abl e be cause it impli e s that t h e re be l po we rs stultify t h e so ul in

,

t h e matt e r o f h e r rai m e nt ; o n t h e c o nt r ary t h e s ouLh er s e lf i s said t o d e ck a n d ,

pa int h e r t e n e m e nt n ot h e rse lf Th e l e ading w o rds se e m t o have a dir ect

, .

applicat i o n to t h e pro xi mat e substantive e ar th and t h e se c o nd li ne S h o u ld ,

b e a j usticati o n of t h e e xpr e ssi o n si nfu l e arth H e nc e Brae s e m e ndati o n

.
,

Lea g u d with is pre fe rabl e be cause it impli e s that t h e e arth is t h e ae c o m

"
, ,

r b l p w rs l agu d in e work of
'

h i l h
p l i c e o f t e e e o e : t h e a n
d__ t s u s t s a r e e e t

d e fra uding t h e s o u l of h e r ri ghtful nutri m e nt ( Th e S ou le Ara y ed pasSi m ) .

, .

F U R NI VAL L f or h i s C o nj e ctur e H e mm e d cit e s V 59 A 1 0 2 2 He m m d

.
, , .
, ,

with thi e ve s ( I ntr o p .

D OWD E N : What I S t h e m e ani ng of array ?
.
, .

D oe s it m e an t o put raim e nt o n ? Th e re is n o d o ubt that t h e w ord aray

or

array was used in [t h e se nse of abuse

aff l ict acc ord i ng t o I ngl eby] ,

,

by E li z ab e than writ e rs and S h T of S I I I 11 53 and IV 1 3 use s ra i ed

, .

, . .
, , , , , , ,

th o ugh n owh e r e aray e xc e pt pe rhaps h e r e in this or a kin dred se nse

, In , .

suppo rt of t h e g e n e ra l O pi ni o n that array m e ans i nve st in raim e nt cf M V

, . . .
,

V i 6 4 [ qu ot e d abo ve ] Th e r e b e l po we rs and t h e o utward walls pe rhaps

.
, ,

r ec e iv e so m e i ll ustrati o n fr o m t h e f oll owing l in e s L ucrece 7 2 2 2 6 , ,

Sh e says subj e cts with f ou l i n surr ecti o n

h er
H ave b a t t e r d d own h e r c o nse crat ed wall

And by th e ir m orta l fau l t bro ught in subj ecti on

H e r imm ortality an d mad e h er thrall ,

To l iving d e ath an d pai n pe rpe tua l .

m e nd ati o n be ing n e c e ssary I sugge st P r e sse d by

So m e e C f 1 39 8 ,

. .
, .

KI NNE AR [cit e s t h e p a ssage qu ot e d by D owd e n fro m L ucrece ( lin e 7 2 5) in su p

po rt of t h e e me ndati o n Th ra ll d ( Cr uces p R OL FE : [ D owd e n s

.
, .

c onj e cture] is on t h e wh ol e as good a gu e ss as any that has be e n mad e .

We pr e fe r [t h e i nt e rpre tati o n of I ngl eby] t o that which make s array

which see ms t o us f orce d and u nnatura l h e r e but w e sh o uld pr e fe r

c i
Masse y s s e t th e ir battl e i n array agai n st t o e ith e r i f any oth e r e xampl e of

,

th i s m e aning c ould b e fo und P e rhaps t h e turn thus g ive n t o t h e military se nse

.

is n o m ore r e markabl e than t h e l ibe rti e s S h tak e s with sundry oth e r wor d s ; .

and h e re t h e e xige nci e s of t h e rhym e m ight j ustify it VE R I TY : I th ink that .

array must m e an cl oth e ; t h e bod y is t h e vest ure which e ncl ose s t h e so ul

,

a n d t h e so ul says with S t P au l ,

Wh o wi ll d e li ver me from t h e b od y of t hi s
.
,
 CXL V I ] TH E S ONNETS OF S HAK E S P E AR E 355

d ea th ? MAS S E Y [having in his rst work pr o pose d t o r e ad My sinful e arth

,

the se r e be l powe rs array in h i s se c o nd work ( Th e S ecret D ra ma ) pr o po se s

,

F o il e d by e t c see mi ng l y unawar e that it had alr e ady b ee n pr o pos e d by

i

P algrave He nds t h e word sugge st e d by S i dne y s poe m b e g i nning I f I c ould

.

think h ow th e se my th oughts t o l eave

Ifr eb e l se nse would re aso n s law re c e ive
,

Or r e aso n f o i l e d w ould n ot in vain c o nt e n d ]

He r e t h e r e be l se nse pr e se nts t h e origi nal of t h e r e be l p owe rs and r e a ,

s o n f o il e d
"
sugge sts t h e right word at last ( p 2 2 6 n ) TYL E R [ d e fe nd i ng t h e . . .

e m e ndati o n Wh y feed
Th e p ri n c i p aLsubj ect 1 3 ma nif e stly t h e f ee d i ng

o f t h e b ody and so ul and t h e co nc l usi o n c o m e t o is that t h e latt e r and n ot

, , ,

th e
"
my of l i ne 1 and t h e why "

lin e s 2 and 3 may have bee n t h e cause of c o nfusi o n and e rro r .

Th e n t oo th e r e is a ve rse of S out h w e ll s C o nt e nt and Ri t c h e which S h

.
, ,

may have had i n vi e w

S pare d i ett is my fare ,

My cl oth e s m ore t t than n e ;

I kn owe I f eed e and cl oth a f oe
That p a m p rd w ould r e pine .

B NI CH OL S ON
.
, N 81 Q
. d e f e nds h i s e m e ndati on S inful
-
.
, 7th s .
, 11 : , ,

on t h e gr o und that t h e m ost pr obabl e cause of t h e c o m po sit or s mis

take n r e pe titi o n of t h e three words is that on e of th e m was r e pe at ed in t h e MS .

Th e poe t s e arth is sinfu l n ot m e r e ly through h e re di tary taint but thr o ugh h er

, ,

be cause of t h e charms that t h e d e v i l and his ange ls had give n h e r I n 1 2 : 42 3 .

C C B obj e cts t o this o n t h e gr o und that it is n ot c o nc e ivabl e that t h e so nne t

. . .
,

is addre sse d t o t h e dark l ady ] WYND H AM : Masse y s e m e ndati o n [of p o wers

.

array ] has t h e m e rit of a d ding nothing t o t h e t e xt and of r e st oring e uph o ny

,

t o o n e of t h e ne st am o ng S h s so nn e ts Th e r e is warrant f or r e pe ating t h e

. .

l as t words of a prec e ding line ; cf 1 42 1 2 ; 9 0 1 2 ; V 69 A 9 6 36 4 : .

, , .

.
,

B oth crystals wh e re th e y v i e w d each oth e r s sorr ow

,

,

S o rr o w that fri e ndly sighs sought st il l t o dry .

Th ere may we ll as ft e n in t h e S o nnets b e d o ubl e m e aning i n t h e word

, so o ,

( 1 ) be l e agu e r a f ict ; (2 ) ad orn B E E GH I NG : Th e d i f culty is i n

, .

cre ased by t h e unce rtainty of what was t h e image i n t h e p oe t s mind I t se e ms

.

at rst t o b e that a cast l e be si eged by r e be l s a s i n L ucrece 7 2 2 2 3 ; th e n it

o f
, ,

change s t o that of a mansi o n with an impr ovid e nt h ouse h ol d e r I f array
.

can m e an h e m in li ke a be si e gi ng army w e c oul d r e ad equally we l l Lo rd of

,

Thral l t o or S t ar v d by [ Masse y s an d Wyndham s r e a d ing d oe s not

or , .

acc o unt f or t h e words that th ee ; and in t h e paral l e l r e pe titi o ns cit ed by

Wyndham th e r e is no ne of m ore than a singl e word ] P ORTE R : Th e re pe titi o n .

is s o poe tica l ly e ff ective that it see ms int e nti o nal Th e e xtra f oo t th o ugh .
,

it may have be e n an ove rsight l e nds an e xplicitn e ss n ee d e d as t o t h e array of

,

t h e b od y s po w e rs

agai nst t h e S oul ; and t h e r e pe titi o n a dd s an e mphasis
356 TH E S ONNE TS OF S HAK ES P EAR E [CX L VI
to t h e fu rth e r e xplicitne ss Miss L I GU I NE Y N 89 Q 1 1 t h s 4 : appar
. . . .

.
, .
,

e ntly n ot kn o w i ng o f its having bee n l o ng sinc e pr op o se d by S e bastian E vans ,

pro po se s warray f o r array in t h e se nse of invad e and be l e agu e r ; cf F Q

,

. . .
,

bk i c 5 st 4 8 : That rst t h e world with sword and re warrayed an d

.
, . .

S eli ma s Th e e arth w i th unkn o wn arm o ur did warray

, That a so ul can b e .

f oo l e d or fo i l e d or hurt by r e be l po we rs wa rra y i n g h e r is e mine ntly int e lligibl e

, , , ,

and is built o n a magnic e nt m e taph o r Miss Guin e y a l so suspe cts that .

c e ntr e ( lin e 1 ) may b e f or c e n t r i e

se ntry ; but t h e word is not u s ed by
Sh .
,and i f t h e spe ll i ng of t h e Q c e nt e r had b ee n n otic e d t h e sugge sti o n

,

, ,

might n ot have b ee n mad e ] L E E : [F or array ] t h e o rdinary m e aning of

"
.

cl o th e or ad o rn see ms al o ne c o nsiste nt with t h e c ostly gay orname nt

in wh i ch acc o rding t o line 4 t h e po wers of sin have inv e st e d t h e so ul s e xt e rna l

, ,

h o me [F o r t h e m e aning tr oubl e afict s ee N E D s V 1 0 5 wh e re is
.

, , . . .
, . .
, , ,

qu o ted Th e P a s s i on of Ch ri s t (ab
Vy c e Wh i ch e b ath e b y m s o .
,
'

No e vid e nc e is give n f or t h e m e aning b e l e agu e r

E n c o m b e re d and aray e d

.

or

be si e ge ED ] . .

4 WYND H AM : C f Mac b V v 1 :
. H ang o ut o ur bann e rs on t h e o utwar d
. .
, , ,

walls B E E C H I NG : Th e re see ms r e aso n t o suppo se that this i d e a was in t h e

.

poe t s mind but that h e m o di ed t h e e xpre ssi o n i n o rd e r t o suit t h e huma n

,

b ody rath e r than t h e cast l e with which h e was c o mparing it S ARRAZ I N [ nd s .

h e re e vid e nc e that S h had b ee n in Italy as t h e practic e of painting t h e ext e ri or

.
,

of bu i ldings was unkn o wn in E nglan d ( J a h rb 3 1 : . .

,

5 sh ort a l e as e C f 1 2 4 1 0
. . .
, .

7
8 TYL E R : C f H a ml I V iii 2 :
.
3 We fat a ll cre ature s e l se t o fat us and
. .
, , , ,

we fat o urse lv e s f or maggo ts ; and V i 99 : D id th e se b one s c ost n o m ore t h e

, ,

breed i ng but t o play at l oggats with e m ?

,

8 c h arg e S C H M I D T: E xpe nse TYL E R : What h as c ost th ee s o much

. . . .

9 P O R TE R : Th e r o yal right of t h e S o ul is t o l ive by t h e b od y s se rvic e and

. ,

by its d e fe at and at its e xpe nse t o o ut l ive it .

1
9 4 1 M .R O B E R T.S O N : An e ch o.o f much o f M o ntaign e s disc o urse

.

It m ore particu l ar l y ech oe s t w o passage s i n t h e l g t h e ssay : Th e re is n o e v i l

i n life f or him that hath well c o nce ive d h ow t h e privati o n of life is n o e vil To .

kn o w h ow t o d i e d oth fr ee us fr o m all subj ecti o n and c o nstraint

,
"
N0 man .

did e ve r pr e par e h imse lf t o quit t h e wor l d m ore S imply and fully than I
am fully assure d I shall d o Th e d e ad e st de aths are t h e be st ( S h
Mon . . .

ta i g ne p , .

10 WAL S H : C f L L L I i 2 5: Th e mi nd shal l banqu et th ough t h e

.

'
. . . .
, , , ,

bod y pin e a ggr a va t S C H M I D T: Mak e gr e at e r th y MAL ON E : Th e e rr o r

. . . .

that has bee n s o oft e n already notic e d has happe ned h e re ; t h e origina l c opy , ,

and al l t h e subse qu e nt impre ssi on s reading my [ He re Ho m e r nodd ed rathe r

,
.

strange l y ; for n ot o nly is t h e e rr or i n qu e sti o n co nne d t o t h e L i n t ot t v olume ,

but t h e e rr o r of my f or thy h as n ot bee n oft e n n otice d i n t h e S o nne ts

"
.

As t h e C ambridge e dit ors r e mark t h e B odl e ian c o py of Q which b e l o nged t o , ,

Mal o n e himse lf r e ads thy "

I t was d oubtl e ss Ma lOn e s n ote which led
, .
'

C OLL I E R t o s a y that s ome of t h e c o pi e s of Q re a d my

c x 1 v1 .
] TH E S ONNETS OF S HAK ES P E AR E 3 57

I I . H M I D T [g l osse s divi n e as h ly
te arm e s di vin e . WAL K E R
SC o .

Terms i n t h e l e ga l and acad e mic se nse : l ong pe ri ods of ti m e o pp ose d t o

"
,

h ours [ Cf 9 2 2 . E D ] TYLE R To b e und e rst oo d m ost pr obably o f i m m o r

.
, . . :

tal r e n own which is t o b e purchased by sacricing a f e w y e ars f l i fe t o i nt e nt

,
o

study and nthusiastic lit e rary work VE R I TY I think t e rms m e ans c o ndi
e . :

ti ons as th ough it we r e t h e t e rms of so m e bargain and c ompact b e twee n so ul

,

and bo dy B E E CH I NG : Te rms divine

.

e t e rnity [Th i s l ast is und o ubt e dly .

right ; h eave nly pe ri ods ( lit e rally ) a re o ppo se d t o h o urs of dro ss

ED ] .

.

12 ri ch MAS S E Y [nds h e re a pu n on t h e nam e of L ady P e ne l o pe R ich as

. .
,

i n S i dne y s A 69 S ( p This is also t h e vi e w of H E N R Y B R O WN ( p

. . . .

1 3 f e e d on d e ath
. B E E C H I NG : By withdrawing food fro m what di e s and s o
.

diminishing t h e d i et of d e ath w e a re sai d t o fee d o n d e ath

, .

1 4 F U R N I V ALL : H e d ec l ar e s his be l i e f in t h e imm ortality of t h e sou l

.
[ Cf . .

D onne S onn e t 1 0 ,

On esh ort s l ee p past we wake e t e rna ll y

, ,

And D e ath shall b e n o m or e ; D eath th ou sha l t , di e .

ED .
]

This so nnet was transl at ed int o La tin ve rse by E D. . S .

, N S Q
.

.
, 1 0 th s .
, 1

2 04 .
358 TH E S ONNETS OF S HAKES P EAR E [C X L VI I

I 47

MY lo u e i s as a f e a ue r lon g i n g s t i ll,

F or t h a t w h i ch lon g e r n u rs e t h th e d i s ea s e ,
Fe e d i n g on t ha t w h i ch d ot h p res e r ue t h e i ll,
Th v n ce r t a i n e s i c k li e a pp e t i t e l ea s e :

to p

My r e a s on t h e P h i s i t i on t o my loue ,

A n g ry t h a t h i s p re s c r i p t i o n s a re n o t k e p t
H a t h le f t m e a n d I d e s p e ra t e n ow a pp r oou e , ,

D e s i re i s d e a t h w h i ch P h i s i ck d i d e xc e p t , .

P a s t c u re I a m n ow Re a s o n i s p a s t ca r e , ,

An d f ra n t i c k m a d d e w i t h e ue r m ore v n r es t -
,

M y t h o ugh t s a n d my d i s cours e a s m a d m e n s a re ,

At ra n d on f ro m t h e t r u t h v a i n e ly e x p re s t .

For I h a ue s w or n e t h e e f a i re a n d t h o u gh t t h e e , b ri gh t ,
Wh o a r t a s b la ck a s h e ll a s d a rke a s n i gh t , .

2 . di s e a s e ] decea s e E .

4 . Th

vn certai n e ] Th e un certa i n M A Kt B, , , , D e l, Cl, C l, Kl y , Ca m D , o, R,
t , B ut , H e r Ox B e , N, , . vn ce rtai n e s i ck li e ] H yph e n e d by D Sta , D y , Hu e l,
2 z
.

7 . d e s pe ra t e ] ( d es pera te ) C . a ppr oou e , ] a pprooue . L ; a ppr ove S , C 0 ;

3
.

a pprove ; G 5 ,
2
, E; a ppr ove , C; a pprove Kt D y , , S t a , C l, G1, C a m , D o , et c .

9 . car e ] cu r e G S E , , .

10 . fran ti ck m a dd e ] H yph e ne d by M B , , D e l, Dy , S t a , Gl, C a m , C 0 3

, D o, Hu z
,

R, Wh Wy 2
, , et c .

12 . r an d on ] r a n d ome 1 6 40 , et c .

I S AAC [discusse s t h e para ll e l tre atm e nt of l ove as a dise ase or mad n e ss n oti ng ,

P e trarch Tri u mph of L ove 3d S o ng v 1 0 6 and E pi s t P oet 1 7 ; Mich e l ang e l o

, , , .
, .
, , ,

S 3 6 ; a s o nn e t of Gi ordan o Brun o s ( s ee J a h r b 1 1 : L o dge P h i lli s S 2 6

. .
, , , .

D rayt o n I dea S 4 1 ( Love s

, et c I n S h s ow n works cf S 1 1 9 ;
, .

. .

, . .

L L L I V iii 9 5: M f or M I ii 1 32 34 ; Cor I i 1 8 2 C f a l s o P lat o i n

. . .
,

, , . .
, , , .
, , , . .

t h e P h cedr us pa s s i m ( Arch i v 6 1 : 1 9 1 , KRAU S S : Cf S i d ne y A fir S

.
, .
, .

s t h S o ng 1 7 8 : No witchcraft is so e vi l as which man s mind d e stroy e th

'
. .
, ,

[ Mr H OR AC E D AV I S n ot e s t h e re se mb l anc e of this sonn e t t o S o nn ets 1 1 8 1 1 9

.
-

C f e spe cia ll y t h e r e pe titi o n of t h e n o ti on s d ise ase

"
.

f e ver appe tite , , ,

pr e scripti o ns m e d icine

3 4
-
. D OWD E N [is ab l e t o pe rs uad e himse l f that th es e l ines furnish a l in k with
-
13 1
CX LVI I ] TH E S ONNETS OF S HAKES P E AR E 359

5 .M AL O N E : [ C f M W W I I i
.
5 in F arm e r s r e ading :
. T h o ugh L ove u s e
. .
, , , ,

as
Re o f or n his physician t h e F o l i o r e ading

pre cisian ,
MAS S E Y : C f . .

S idn e y I f re be l se nse wo u l d r e aso n s l aw r ec e ive [ I n t h e p oe m b e ginning

, ,

If I c o uld think h ow th e se my th oughts t o l e ave ,

7 .a ppr oo v e C f 7 0 5
. B E E C H.I N G : F ind by e xp
,
e ri e nc e .
[ Th e impr e ssi o n o f .

t h e c omma f oll owing this w ord i n so m e c opi e s l oo ks much l ike a pe r i o d and it ,

is s o d e scrib ed by t h e C ambridge edit ors ; this may acc o unt for t h e r e ad ing in
L i nt ot t s e d i ti o n ED ]

. .

7
-
8 D O.W D E N : I w h o am d e sp e,
rat e now e xpe ri e nc e that d e sir e which di d ,

obj ect t o physic is d e ath , .

8 e xce pt S C H M1 D T: Obj e ct t o
. . .

9 MAL O N E : A pr ove rbia l saying [ Cf L L L V I I 2 8 :

. Gre at reas on ; . . . . , ,

f o r past cur e is still past care ; an d H olla nd s L ea guer

S h e has g ot

this adage in h er m o uth : Things past cure past

,

1 4 S TE E VE NS : C f L L L
. I V ii i 2 54 55:
.
. . .
, , ,

B l ack is t h e bad ge of h e ll ,

Th e h ue of d ungeons an d t h e suit of night .

TYLE R : Cf 1 3 1 1 2 1 4 .
,
-
.

M
[ y fri e n d P r o f e sso r H D G R AY o b s erv e s z] T h e bitt e rn e ss of this a n d S on
. .

n e ts 1 50 1 52 c o uld scarc e ly b e d ue t o t h e S am e cau s e as that which le d S h t o .

t h e d n oumen t of his se ri e s 40 42 C o mpare t h e c o nc l uding c o up l e ts of 4 2 an d .

t h e pre se nt so nn e t Th e y cann ot be l o ng t o t h e sa m e st o ry
. at l e ast n ot in
t h e sam e stage of that st ory .

[ O n t h e vitu p e rativ e e l e m e nt cf L E E S n o t e s un d e r S 1 2 7 and furth e r as , .

.
,

f ol l ows : ] E ve ry so nne t ee r of t h e 1 6 th c e ntury at so m e po int i n his caree r , ,

d e vot e d his e ne rgi e s to vitu pe rati o n of a crue l sire n Ronsar d i n his s onne ts .

c el ebrated in language quit e as furi ous as S h s a e rc e tigre ss a murd e re ss "

.

, ,

a Me d usa
"
I n S h s e ar l y lif e t h e c o nv e nti o n was witti l y par odi e d by
. .

Gabri e l H arv e y i n An Am or o us Odi ous so nne t intitul e d Th e S tud e nt s L oove

or Ha t ri d or b oth o r n e ith er o r what shall p l e ase t h e loo vi n g or hat i ng r e ad e r

, , ,

e ith e r i n spo rt or e arn e st t o mak e of such c o ntrary passi o ns as a re h e r e dis ,

c oursed [ C i a l so t h e Con tr Amou rs of J od elle qu ot e d und e r 1 37 and

"
. .

,

Th e dark lady of S h s so nne ts may th e re fore b e r e l e gat e d t o t h e ranks of t h e

.

cr e ature s of his fancy I t is quit e po ssib l e that h e may have m et i n re a l l ife a

.

dark c o mpl e xi o ned sire n and it is possibl e that h e may have fare d il l at h e r
-
,

d isdainful hands B ut it was t h e e xacting c o nve nti o ns of t h e so nne t e e ring

.

co ntagi o n and n ot his pe rso na l e xpe ri e nc e s or e m oti o ns that i mpe ll e d S h t o

, , .

give t h e dark l ady of his so nnets a p oe tic be ing ( L if e pp 1 2 1

.
, .

E S B ATE S : S h s attack upo n t h e m orali t y of his mistr e ss [ is wh oll y un

. . .

P e trarchistic ] Mr Lee has ind ee d cit ed a numbe r of al l e ge d para ll e l isms fr o m

. .

poe ms of Ro nsar d and oth ers calling th e ir mistre sse s tigr e sse s an d Me
.

d usas b e cause of th eir har d h earts but t h e case s a re n ot i n po int sinc e th e se

, ,

r e m onstranc e s a re caused by t h e imm ovab l e chastity of t h e mistre ss whi l e in ,

S h th e y ar e ca use d by h er ckl e unch as tity ( Mod P h i lology 8 :

. . .
,
3 60 TH E S ONNETS OF S HA K E S P EAR E [C X L VI I I

1 48

O ME ! w h a t ye s h a t h l oue p u t i n my h ea d e ,

Wh i ch h a u e n o c orre s p on d e n c e w i t h t r u e s i gh t ,

Or i f t h e y h a u e w h e r e i s my i ud g m e n t e d , ,

Th a t c e n s u re s fa l s e ly w h a t t h e y s e e a r i gh t ?
I f t h a t b e fa i re w h e re o n my fa l s e e y e s d o t e ,

Wh a t m ea n e s t h e w o r l d t o s a y i t i s n o t s o ?
I f i t b e n o t t h e n lou e d o t h w e l l d e n o t e
, ,

L o ue s e y e i s n o t s o t r u e a s a ll m e n s : n o ,

H ow ca n i t ? O h ow c a n l o u e s e y e b e t r u e ,

Th a t i s s o v ext w i t h w a t ch i n g a n d w i t h t e a re s ?
No m a r ua i le t h e n t h ou gh I m i s t a k e my v i e w ,

Th e s u n n e i t s e lfe s e e s n o t t i l l h e a u e n c le e res ,
.

O c u n n i n g lo ue w i t h t e a re s t h o u k e e p s t m e b li n d e , ,

L e a s t e y e s w e ll s e e i n g t h y f o u le f a u l t s s h o u l d n d e .

7 . l oue] th a t L et t s om c onj .
, Hu 2
.

8 . ey e ] ay [ italics] C0 3
. all m en s ] mens E . mens : no ] men

s no . Walke r
L e t t s om c o nj .
, D y 2
, C0 3
, Hu z
, R [n o i n italics in C O ] ; men
3
s

No .

Gl t , .

[ See n ot e at t h e e n d of S 1 3 7 on its c onn e cti o n with this and .

, th e f oll owing
so nn e t s ]

MAS SE Y : [ Cf S i d ne y s so nn et i n Arca di a ( P oe ms Gros a r t e d

.

, .
, 2 :

in sh ow but m or e t ra n s f or m d in mind
Tr a n s f or m d

,

I c ease t o strive with d oub l e c o nqu e st f oil e d ; ,

F or ( w oe is m e ! ) my po we rs al l I n d
With outwar d force and i nwar d tre ason sp oi l ed [et c .

I S AAC : Cf . M N D I i 2 3 37
. . .
, , , 2

Things ba se an d vil e h olding n o quantity , ,

L ove can transp ose t o fo rm and dignity .

L ove l ooks n ot with t h e e y e s but with t h e min d ,

And th e re for e is w i ng d C upi d paint e d b l ind

.

Nor hath Love s min d of any j udge m e nt tast e

Wings an d n o e ye s gure unh ee d y haste .

WAL S H : Cf . T 69 C V ii 1 1 0 1 1 2 :
.
'
.
, , ,

Th e e rr or of our e y e d irects our min d .

What e rr or l e ad s must e rr ; 0 th e n c o nc l u de ,

Minds s w a y d by e y e s a re fu ll of turpitu d e
.
C X L VI I I ] TH E S ONNE TS OF S HAK ES P E AR E 6
3 1

VON MAUNTZ : Cf . Ovi d , Meta m .

, vn , 2 0 21 : Vi deo m el i ora p rob oq ue
d e te ri ora s eq uar .

4 . ns ur e s MAL ON E : E stimat es
ce . .

7 . d e n o t e S C H M 1 D.T : I nd i cat e .

8 TYL E R : Th e se nse may b e that t h e fact of a man s b e ing i n l ov e is suf

7 .
,

c i e n t e vid e nc e ( su fci e ntly d e n ot e s ) that h e cann o t s ee aright

.

8 WAL K E R : Ought w e n ot t o af x a l ong e r st o p t o n o ? Oth e rwi se t h e

.

ow see ms n ot t o b e S hake spe arian L E TTS OM: Ought w e t o st o p h e r e ? O ught .

w e n ot t o e xpunge t h e c ol o n be f or e no

and writ e as al l m e n s n o ? S h

,

.

see ms t o int e nd a pu n on ey e and I i e a y S TAUN TON : We b e li e ve with L e tt , . .

, .

s o m that a quibbl e was int e nd e d and that t h e poe t wr o t e L ove s e y e ( I

, ,

a y e ) is n ot s o tru e as all m e n s n o
"
WYND H AM : This e xquisit e p i ec e of pu nct u

.

ati o n i n Q has bee n fre qu e ntly d e str oye d by e m e ndati o n [To this P E R C Y .

S I M P S ON agr ee s r e garding t h e punctuati o n as impo rtant f or a

, passage o f
e xc e pti o nal b e auty

( S h P u nctu a ti on p
. B E E C H I NG : P r obably t h e pu n
.
, .

be l ongs t o t h e se c o nd e y e i n l ine 9 and line 8 sh o uld r e ad L ove s a y is

, ,

n ot s o tru e as al l m e n s n o Th e punctuati o n h ow ee vr of Q i s s o unusually

.
, ,

precise that I have n ot ve ntured t o change it L E E : No particular sanctity .

attach e s t o this pe rpl e xi ng punctuati o n of t h e Q Th e c ol o n l oo ks like a typo .

graphical s upe r ui t y and m a y we ll take t h e p l ace of t h e c o mma aft e r n o

.

A pun se e ms obvi o usly int e n d ed [A r e spe ctabl e pun must hav e a m e aning .

o n e ach sid e of it and it d oe s n ot see m t o hav e occurr ed t o t h e c o mm e ntat o rs

,

w h o nd on e h e r e t o pr ovid e such a m e aning f or a l in e with t h e e y e standing

i n it ( B ee ching of c o urse avoids this o bj ecti o n by i ntrod uc i ng t h e pu n in

.
, ,

t h e f oll owing li n e o nly ) Mo r e ove r is it n ot rath e r p o intl e ss t o r e ad Lo v e s

.
, ,

af rmative is n ot s o tru e as all m e n s ne gative ? Wh e re as L ove s e y e is m ore

inaccurat e than that of any man is j ust t h e m e an i ng n ee d e d I shall n ot

.

und e rtake t o d e f e nd this po siti o n on pure l y t e xt ual gr o u nds ; f or it is quit e tru e ,

as Lee obse rve s that t h e pu nctuati o n of t h e Q is far fr o m sacr e d and t h e

, ,

rhy hm
t o f m e ns : n o whi l e it may b e e xquisit e is ve ry e xc e pti o nal

,
ED ] ,

. .

9
1 0 S ARR AZ I N : C f R
.
3 I ii 1 6 7 :

Made th e m blind with we e p i ng
. .
, , , .

( S h s Le h rj a h re p

. .
,

12 MC CL UMP H A : C f R of J I I iii 7 3 : Th e sun n ot y et thy sighs fro m

. . . .
, , ,

h eave n cl e ars ( J a h rb 40 : .
"
.
,

1 3 l ove . D OWD E N : He is pe rhaps spe aki ng of his mistre ss but if s o h e

.
, ,

id nti s
e e h e r with L o v e vi e ws h er as Lo ve pe rso ni e d TYL E R : Th er e is
, .

manife st l y so m e distincti o n be twee n t h e Love h e r e sp oke n of [an d i n li n e I ]

"
]

and t h e Love of l in e s 89

.
 6
3 2 TH E S ONNETS OF S HA KES P EA R E [cx mx

I 49

C ANS T t h ou O c rue l l s a y I loue t h ee n ot , ,

Wh e n I a ga i n s t my s e lfe w i t h t h e e p e r t a ke
D o e I n o t t h i n k e on t h e e w h e n I f o r g o t

A m o f my s e lfe a ll t i ra n t f or t h y s a ke ? ,

Wh o h a t e t h t h e e t h a t I d oe ca ll my f ri e n d ,

On w h o m f r o u n s t t h ou t h a t I d o e fa u n e v po n

Na y i f t h ou low rs t on m e d oe I n o t s p e n d
R e ue n g e v p o n my s e lfe w i t h p re s e n t m on e ?
Wh a t m e rri t d o I i n my s e lfe re s p e c t ,

Th a t i s s o p roud e t h y s e r u i ce t o d i s p i s e ,

Wh e n a ll my b e s t d o t h wors h i p t h y d e fe c t ,

C o mm a n d e d b y t h e m ot i on of t h i n e e yes .

B u t lo u e h a t e on f or n ow I kn ow t h y m i n d e ,

Th os e t h a t ca n s ee t h ou lou s t a n d I a m b li n d
, .

3 . I f org ot] I , f org ot, Wa .

4 Am ] All S E
. lf e ] my s elf B ut Wa
, . all ti r an t] a ll ty ra n t S
my se , , .
, ,

,

C ; a ll ty ra n t M A K t C o B D e l H u D y S t a C l Gl Wh Ha l C a m D o
, , , , , , , , , , , , , , , ,

R Ty Ox He r N Wa ; a ll ty ra n t H a z l itt Kl y B e ; all tr ua n t M c onj

, , , , ,
-
, , , .

5 h
. a t th th ]
e ee h a te th th ou G ; h a te s t th ou S E
1
I d oe ] d o I G
S
, .
, .

fri e n d, ] fr i en d ? G , S ,
2 z
et c .

6 . vp on ] p u on G 2
, et c .

12 . e y e s ] ey es
. G 2
, 5 2
, etc .

I S AAC : Wh o wo uld think [ in r e a d ing this so nnet ] of t h e thir d sc e ne

n ot , of

Act I of A 89 C
.

.
, which h as pre cise l y t h e S am e situati on as a basis ?

2 .
perta k e . S TE E VE NS : Take
part .

4 all ti r an t S ee t e xt ua l n o t e s MAL O N E : F or t h e sak e of th e e th ou t y rant

. . .
, .

D OWD E N : Th o u c ompl e t e tyrant ! TYLE R : Wh e n I am r e ckl e s s of my ow n

i nt e re sts an d thus p l ay t h e ty rant t owar d s myse lf [Ye t Ty l e r kee ps t h e c o mma
, .

afte r tyrant and h e admits t h e po ssibility o f r e fe rring t h e word t o t h e l ady

,

i n vi ew of cru e l i n l ine

WYND H AM : Th e Q r e ading is alm ost ce rtain l y
c orr ect ; and t h e p l ain se nse is : I forge t myse l f a tyrant t o myse l f f or your ,

sake [ So B UTL E R and P ORTE R ] B E E CH I NG : [Wyndham s] paraphrase o mits

"
. .

all which has n o f orc e as appli ed t o t h e p oe t R OL F E : P ossib l y v ocative

, . .

[ If t h e c om m a is o mitt e d aft e r tyrant and t h e w ord is r e fe rr ed t o t h e spe ake r

, ,

I S h ou ld pr efe r t o r e ad it as e xp l ai ne d by l in e 2 ( a l itt l e di ff e re nt l y fro m Tyl e r )

CL ] TH E S ONNETS OF S HAK E S P E AR E 6
3 3

tyrannica lly cru e l like y ou t o myse l f ; or in like mann e r , , e xp l ained by

t h e se c o nd quatrain cru e l t o e ve ry o ne on wh o m y ou fr own
,
. ED .
]
5 Cf 8 9 , 1 4
. . .

5
6 S I M S ON : C f
. P . H 8 , II,
. iv , 2
7 33
Wh e n was t h e h our
I e ve r c o ntradict e d yo ur d e sire ,

Or mad e it n ot mine t o o ? Or which of y o ur fri e nd s

H ave I n ot str ove t o l ov e a l th o ugh I kn e w ,

He we r e mine e n e my ? What fri e n d of min e

That ha d t o him d e ri v d y o ur ang e r di d I

,

C o ntinu e in my l iking ?

I2 . TY LE R : C f S o nn e ts 1 32 1 39
.
, .

14 . MAS S E Y : C f S i dne y A 81 S .
, .
'
.
, 62 : That love s h e d i d but lov d a l ove
,

n ot b l i nd .

(p .

I S AAC : Th e last fo ur l ine s

nd ic a te that t h e p oe t is n o l onge r sinking
I

h ope l e ss ly i n his passi o n but a l r ea d y be gins t o Vi e w it obj e ctive ly ; s o that this

,

so nn et d e spit e a ll its fe rv o ur is t o b e l oo ke d at as t h e b e ginning of t h e e n d of

, ,

t h e c onn e cti o n ( Arch i v 6 0 : .

,

1 50

f rom w h a t pow re h a s t t h ou t h i s p ow re f ull m i gh t

OH ,

Wi t h i n s u f ci e n cy my h e a r t t o s w a y ,

To m a ke m e g i ue t h e li e t o my t r ue s i gh t
.
,

An d s w e re t h a t b r i g h t n e s s e d o t h n o t g r a ce t h e d a y ?
Wh e n c e h a s t t h o u t h i s b e c omm i n g of t h i n gs i l ,

Th a t i n t h e ve ry r e f us e o f t h y d e e d s ,

Th e re i s s u ch s t re n g t h a n d w a r ra n t i s e of s ki l l ,

Th a t i n my m i n d e t h y w o rs t a ll b e s t exce e d s ?
Wh o t a ugh t t h e e h ow t o ma ke m e l oue t h e e more ,

Th e m o re I h e a r e a n d s e e i n s t ca u s e o f h a t e ,

Oh t h o u gh I lo ue w h a t o t h e rs d oe a b h o r ,

Wi t h o t h e rs t h ou s h ou ld s t n o t a b h or my s ta te .

I f t h y v n w o r t h i n e s s e r a i s d l o ue i n m e ,

M o re w o r t hy I t o b e b e l ou d of t h ee
.

s wa y , 1 s wa y ? C 1, M , etc.

b e st] bes ts G S , .

ca u e s ] ch us e G 1
. h at e ,] h a te 7 G, etc .
36 4 TH E S ONNE TS or S HA KE S P E AR E [CL
[ With this and t h e r e l at e d so nn e ts VON MAU NTZ c o mpar e s Ovi d Amores
, , , ,

III, xi , 43
F acta m e r e n t od ium faci e s e xora t , a m or e m

Me m i s e r u m ! v i t ii s plus val e t illa suis !

P arc e pe r 0 lec t i s oc i a li a j ura pe r o mn e s
, , ,

Qui dant f a lle n d os s e tibi S a epe d e os , ,

P e rqu e tuam f a c i e m magni mihi n u m i ni s instar , ,

P e rqu e t uos oc ulos qui ra p uere m e os ! ,

[ Ma r l owe s translati o n :

d ee ds gain hat e h er fac e e ntre at eth l ove ;

H er ,

Ah s h e d oth m o r e w orth than h e r vic e s pr ove

, .

S par e m e O by our f e ll o w b e d by all

, ,

Th e g ods w h o by th ee t o b e pe rj u r d fall

And by thy fac e t o m e a p owe r divi ne , ,

And by thine e ye s wh ose radianc e b urns out mi ne

2 . i n s umci e n cy . SC H M I D T: I nc ompe t e ncy D OWD E N : D e fects . .

[Th e o nly
o th er occurr e nc e of t h e w or d i n S h is i n M N D II 1 1 2 8 : . . . .
, , 1 ,

Is t no ugh is t n ot e n ough yo ung man

n ot e ,

, ,

That I did n e ve r n o n or n e ve r c an , , ,

D e se rve a swee t l oo k fro m D e m etrius ey e

B ut y ou must o ut my insu f ci e ncy ?

a pa s sage which see ms t o suppo rt D owd e n s gl o ss Th e ch oic e of t h e
.

h e r e h owe ve r wo uld see m t o b e d ue t o its m e aning abse nc e of p owe r
, ,

im ,

pot e ncy
This is t h e parad ox of y o ur p owe rful might that y ou rul e by
.

,

qualiti e s which e lse wh e r e wo uld appe ar t o b e t h e want of might ED ] . .

4 S.TE E VE N S : C f R 69 J I II v 1 8 1 :
9 . .

, ,

I am c o nt e nt if th ou wilt have it s o ,

ll say y on gr e y is n ot t h e m orning s

I ey e .

5 b e commi n g S CH M1D T: Grac e [ Ci A 69 C 1 , iii 9 6 : My b e c o mings

. . . . .
,

kill m e wh e n th e y d o n ot e y e we ll t o y ou MAL ON E : Cf A 81 C , I I , ii 2 44 :

. .
,

Vil e st
things be c o m e th e mse lve s i n h e r and ibid I i wrangling

, , 49 : Fi e ,

qu ee n ! wh o m e ve rything b ec o m e s .

5 8 F V H UG O : Cf Mo li er e L e Mi s a n th r ope I I v
-
. . . .
, , ,

L am o ur po ur l ord i n a i re e s t pe u fait a ce s l o is

, ,

E t l o n v o it le s amants vant e r t o uj o urs l e urs ch oi x

.

I ls c o mpt e nt le s d fauts p o ur d e s pe rf e cti o ns .

7 . war r an ti s e . SC H MI DT : P l e dg e . TYL E R : E vid e nc e .

9 10 . MAL ON E : C f C atul . l us , 85

Od i e t a mo ; quar e id f a ci a m , f ort a s s e req u i ri s

Ne sci o , sed e r i s e n t i o e t e xc r uci or .

CLI ] TH E S ONNETS OF S HAK E S P E AR E 6
3 5

[ an d Te r e nc e , E un uch us , 7o7 3 ] .

O i n d i g n u m f a c i n us !nunc eg o
E t i lla m s c e le s t a m e sse e t m e m i s e r um s e n t i o ;
E t t a e d e t e t am o r e a rd eo e t prud e ns sci e ns
, , , ,

Vivu s v i d e n s q ue per e o n ee quid agam sci o

, , .

[ I S AAC ma k e s this so nn e t t h e bas i s f o r an int e r e sting e xcursus on

wo m e n e mphasi z ing espe cia ll y its sugge stive n e ss i n c o nn e cti o n with

,

6
(A rch i v, 60 : 55 1- )l s

1 51

L OUE i s t oo y ou n g to k n ow w ha t c on s c i e n c e is ,
Ye t wh o kn ow e s con s c i e n c e i s b orn e of loue n ot ,

Th e n g e n t le ch ea t e r v r g e n o t my a m i s s e ,

Le a s t g ui l ty o f my f a u l t s t h y s w e e t s e lfe p roue .

F or t h o u b e t ra y i n g m e I d oe b e t ra y ,

My n ob l e r p a r t t o my g ros e b o d i e s t re a s on ,

My s oule d o t h t e ll my b o dy t h a t h e m a y ,

Tr i u m p h i n lo ue e s h s t a i e s n o f a r t h e r r e a s on , ,

B u t ry s i n g a t t h y n a m e d o t h p oi n t o u t t h e e ,

As h i s t r i u m p h a n t p r i z e p ro u d o f t h i s p ri d e , ,

H e i s c on t e n t e d t h y p o o r e d r u d g e t o b e
To s t a n d i n t h y a ff a i re s fa l l b y t h y s i d e ,
.

No w a n t o f c on s c i e n c e h o l d i t t h a t I c a l l ,

H e r lou e f or w h os e d e a re lo ue I ri s e a n d f a ll
, .

2 . l ou e ] , love G , e tc .

6 .
gr os e ] g r ea t B o .

8 . f a rth er ] f u rth e r H u , Ox .

10 . th i s ] h i s E Walke r c o nj
, .

13 . h ol d ] h old s M N [e rr or ; not Tu] , .

I4 . l u ] talics by C 0 H u ; qu ot e d by D y
o e I 3 z
, , S t a , C l C l, C a m , D
, 0 , R, et c .

[ MAS S E Y with what D owd e n calls unhappy i nge nuity

i nt e rpre ts this
, ,

so nne t as base d on S idne y s A r S 9 1 t h e th e m e ( i n S idne y s words y ou

. .
, ,

,

i n th e m I l ove ) be ing that t h e poe t is be trayed int o S i n with oth e rs by his

mistre ss s image ( pp 2 47

. .

WYND H AM : A pi ece of amat ori ous argum e nt Th e re fe re nce t o co nsci e nc e .

in line s I 2 1 3 sugge sts that it was writt e n in r e ply t o an appe a l probably

, , ,

playful ad d r es sed t o t h e poe t s c o n sci e nce

,

.
36 6 TH E S ONNETS OF S HAK ES P E AR E [c m
I . MAS S E Y : C f S i d n ey , A 69 S
. .
:
.
, 73 : L ov e sti ll a b oy and oft a want on is .

2 . M W W V v 32 : Wh y n ow is C upi d a chi l d of con

D OWD E N : Cf . . . .
, , , ,

[Th e simi l arity of th e se passag e s e ve n th o ugh c o ntradict ory sug

sci e nc e .
, ,

ge sts that th e r e may b e an allusi o n t o so m e curre nt prove rb of which h ow , ,

e v e r I kn o w n o e vi d e nc e
, ED ] . .

3 ch e at er S TAU N TO N : E sch e at or an oi c i a l wh o appe ars t o have b ee n

. .
,

re gard e d by t h e c o mm o n pe opl e i n S h s day much t h e sam e as th e y n ow l oo k .

up o n an inf orm e r D OWD E N : Th e m ore obvi o us m e ani ng r ogu e make s b e t

.

t e r se ns e S C H M1D T: S windl e r am i s s e Cf 3 5 7
. . . .
, .

8 P O R TE R : Th i s and o th e r such e xpr e ssi o ns in this s o nn e t hav e caus e d it

.

t o b e tak e n m e re ly in a e s h ly se nse Wh ile all that such e xpre ssi o ns sugge st .

und e rl i e s t h e phrase o l o gy th e y c o nstitut e but a m e taph or of t h e d e e pe r se nse

, .

Th i s se nse asse rts t h e triumph and rise of l ove by t h e sub s e rvi e nce t o it o f t h e
b ody [This is on t h e wh ol e t h e m o st re markab l e of all t h e e xampl e s of t h e
.
, ,

pr oc e ss of vi e wing S h as m e aning t w o di ff e r e nt things at t h e sam e tim e

. ED ] . .

9 th y n am e [TYL E R and B R AND L a re disp o se d t o think this impli e s a pun

. .

ning a ll usi o n in t h e so nn e t t o t h e lady s nam e ]

, ,

10 tri um ph an t S C H M1 D T: Vict ori o us ( t h e pri z e of his tr i umph ) pri d e

. . . .

TYL E R : P r o ud c o nqu e st alluding m o st l ik e ly t o t h e l ady s rank

.
,

1 4 ri s e an d f all
. TYL E R : R ise i n t h e triumph of t h e e sh and fa ll in t h e
.
,

subj ugati o n and humi l iati o n of t h e s oul ROL F E : [This paraphrase ] is t oo se ri .

ou s f or t h e g e n e ra l t o n e of t h e s o nn e t which is t h e o n l y o n e i n t h e se ri e s which ,

is frankly and r e alistically gross .

I S AAC : It goes with o ut saying that this so nn e t was writt e n e ar l i e r than S .

12 9 .
( Arch i v ,
cm ] TH E s oNNETS OF S HA KE S P E AR E 36 7

1 52

IN lo u i n g t h e e t h o u k n ow am f ors w or n e ,

s t I
B ut t hou a rt tw i e c
l o ue s w e a ri n gf ors w o r n e t o m e ,

I n a c t t h y b e d v o w b r oa k e a n d n e w fa i t h t o r n e
-
,

I n v ow i n g n e w h a t e a f t e r n e w l o u e b e a r i n g
B u t w h y o f t w o o t h e s b r e a ch d oe I a cc u s e t h e e ,

Wh e n I b re a k e t we n t y : I a m p e ri u r d m os t

F o r a ll my v ow e s a re o t h e s b u t t o m i s u s e t h e e
An d a ll my h on e s t f a i t h i n t h e e i s l os t .

F o r I h a u e s w o rn e d e e p e o t h e s o f t h y d e e p e k i n d n es s e

Ot h e s o f t h y l o u e t h y t r u t h t h y c on s t a n c i e , , ,

An d t o i n l i gh t e n t h e e ga u e e y e s t o b li n d n e s s e ,

Or m a d e t h e m s w e r e a g a i n s t t h e t h i n g t h e y s e e .

F or I h a ue s w o r n e t h e e f a i r e : m o r e p e r i u r d e e y e ,

To s w e re a ga i n s t t h e t r u t h s o f ou le a li e .

me l ou e s w e a ring ] me , L ove s wea ri n g S - I

.

6 . tw en ty z] tw en ty ? G , etc .

13 . ey e ] I S, et c .
( e xc e pt Wa ) .

2 4 .
[wo uld o mit t h e c o mma aft e r swe aring
I S AAC , r e ading : Th o u art
twic e forsw orn ( 1 ) t o m e l ove swe aring in act e t c ; (2 )
, , . n e w faith t o rn e t c ,
.

( Arch i v 6 0 : , F L E AY [ wo uld punct uat e

B ut th o u art twic e f o rsw orn t o m e ( l ove ) swe aring

I n aCt thy b e d vow br ok e and n e w fa i th t orn ;
I n vowing n ew hat e aft e r n ew l ove b e aring .

( B i og Ch ron . .
, 2 :

3 . In a ct . TYL E R : As t h e words a re c omm o n l y r e gard e d th e y a re unsuitabl e ,

and su pe ru ous If h owe ve r i n acc ordance with E li z ab e than usage we tak e

.
, , ,

I n r e a li ty much l ight is thro wn on t h e

th e se words as m e aning in fact

, ,

p l ac e [ C f 0 th I i 1 50 52

. . .
, , ,

F or h e s e m b a rk d
With such l ou d reason t o t h e C yprus wars ,

Which e ve n n ow stands i n act ] .

S ays Iago Th e app o intm e nt is alre ady as g ood as ma d e ; it

v e n n ow
e

stands i n act S im i larly i n t h e S onne t taking in act as e quival e nt

.
,

Sh s mistr e ss ha d br o ke n h e r marriage v ow i n a ct

to in re ality I n fact , .

th ough s h e may have a l l e ge d that t h e marriage was s e t asi d e or wa s tr e at e d as ,

3 6 8 TH E S ONNE TS OF S HAK E S P E AR E [CL I I
nul l and v oi d [All this with r e fe re nce t o an hyp oth e tica l e ar l y marriage of
.

Mrs F itt on ] ( Acad emy D e c 1 5 1 8 88 p

. . b e d vow b roak e [ Se e n ot e
, .
, , .
-
.

f ol l owing S R OL F E : This see ms t o i mply that t h e l ad y was marri e d but

.
,

b e d v ow may po ssibly r e fe r t o h e r illicit r e lati o ns with t h e poe t t o wh o m

-
,

s h e had p l e dge d a faith unfaithful fa l se l y tru e I t is singular that e l se

.
,

wh e re in t h e S o nne ts w e sh o u l d nd n o re fe re nc e t o a husband if s h e had on e .

F L E AY : I take t h e b e d v ow br o k e t o m e an n ot h e r unfaithfu l n e ss t o h e r

,

h usband but h er re fusa l t o ful l a pro mised assignati o n with S h ( B i og

, . .

Ch ron .
, 2 :

4
3 5 . WYND H AM : a d o ubl e ind e l ity sh ows t h at t h e D ark
This re fe re nce to

L ady w h o had br o ke n h e r b ed v ow soo n als o br o k e o ff h e r n e w faith with

-
, ,

t h e fri e nd Th e numb e rs of t h e S e c o nd S e ri e s we re writt e n at t h e sam e tim e

.

as Gr o up C ( 33 and on t h e sam e th e m e That gr o up is but e p i so dica l i n .

t h e F irst Se ri e s ; and it see ms pr obabl e fr o m t h e t e n or of t h e t w o mai n ,

disc ourse s of t h e Se c o n d S e ri e s that t h e fri e nd aft e r an e xp l anati o n fr o m t h e , ,

p oe t s o act e d as t o l e ad t h e D ark L ad y t o br e ak off h e r n e w faith a n d t o

,

e nt e r o n a r ei n teg ra ti o a m ori s with t h e cust o mary argum e nt that it was h e r

l ove r and n ot s h e w h o had b ee n re miss i n l ove [c f 1 49

, , B E E C H I NG : Th e .
,

bre ach of n ew faith is in vo wing n e w hat e t o t h e p oe t Th e r e is n o re fe r

.

e nc e t o br e ak i ng o ff t h e intrigu e with t h e fri e nd .

7 m i s u s e S C H M1D T: S pe ak false ly of misre pr e se nt [Th e re is n o S hak e

. .
, .

s p e a r e a n parall e l f or this m e aning of t h e w ord ; but it may b e tak e n as a kind of

iro nic variant of t h e m e aning sp e ak il l of as i n A Y L IV i 2 0 4 : You

"
, . . .
, , ,

have simp l y m i s us d our s e x ED ]

. .

9 . k i n dn e s s e S C H M1 D T : A ff e cti o n t e nd e rne ss
.
, .

1 0 WAL S H : We p o sse ss n o so nn e ts e xpr e ssing such praise u n l e ss s om e

9 . ,

usua ll y appli ed t o t h e fri e n d b e l o ng t o h e r

1 1 .D OWD E N : To s ee th ee in t h e brightne ss of i maginati on I gave away my
e y e s t o b l indn e ss mad e myse lf b l in d WYND H AM : To sh e d a m ore favourab l e
,
.

li ght on th ee I shut my e yes , .

S ee t e xtua l n ot e s WYND H AM : [Th e Q ] may b e c o rr ect with a

1 3 ey e
. . .
,

play on t h e t w o wo rds I ey e

sinc e it fol l ows o n l i ne 1 2 P O RTE R : Th e ,
.

r e f e r e nc e is t o t h e ey e of se nse an d e ye s of line 1 1 n ow f orsworn by himse l f , .

WAL S H : H e re t h e so nne ts l e ave t h e mistre ss a n d S h s l ove f or h e r with a .

bad pu n H ow h e r ec ove r e d fr o m his fe ve r we a re n ot t old ; pe rhaps h e Son

.

met e d an d pu n n e d himse l f out of it .

I S AAC : [This so nne t ] e ith e r sh o rt l y prec ed e d or f oll owed th e br e aking o of

th e c o nn e cti o n ( Arch i v 6 0 : .
,

B U TLE R : [Th e l ov e of S h s mistre ss f or W H ] had b e e n but r ec e nt and .

. . ,

alre ady s h e was hating him Wh e th e r t h e disa pp ointm e nt was on h e r si de or .

o n Mr W H s d oe s n ot appe ar but I suspe ct it t o have bee n on t h e l ad y s

. . .
,

[ c f 7 0 8 and 94
.
, ,

WYND H AM : Th e S e c o nd Se rie s e nd s with this so nne t I t is impo rtant to .

r e m e m b e r that t h e n u mbe rs of this se ri e s rank chr o n ol ogica ll y w ith 3 3 4 2 a n d ,
ca n ] TH E S ONNETS OF S HAK E S P E A R E 36 9

that like th e m the y a re e arly as we ll as e pisod ica l and in t h e m ai n p l ayful

, ,
, ,

with but littl e by c o mpariso n t o t h e l at r gr ups

,
e o o f grav sp culat i n and
e e o ,

e
th r
e e
a l b e
auty Th e poe t s l o ve f.
or t h e D ark L a d y may

w e ll hav e b e e n o v e r
some three year s b efore h e t oo k up his pe n t o writ e a S atir e t o D e cay ( 1 0 0

1 53

P l i d b h i b d a nd fell a s lee p e ,
C U I D a y s ra n

A m a i d e of D h i s a d u a n t a g e f ou n d
y a n s t ,

l
An d h i s ou e k i n d l-
i n g re d i d q u i c k ly s t e e p e

I n a ouc l d v a l l i e f o u n t a
- i n e o f t h a t g r o u n d
W i bo
h ch r r ow d f r o m t h i s h o l i c r e o f l o u e ,

A d a t e le s s e li ue ly h e a t s t i ll t o i n d ure ,

An d g r e w a s e e t h i n g b a t h w h i ch y e t m e n p ro u e ,

A ga i n s t s t ra n g m a lla d i e s a s o ue ra i g n e c u re :
B u t a t my m i s t re s e i e lo u e s b ra n d n e w re d ,

Th e b oy o f r t r i a l l n e e d e s w o u l d t o u ch my b r e s t ,

I s i c k w i t h a ll t h e h e lp e of b a t h d es i re d ,

An d t h e t h e r h i e d a s a d d i s t e m pe rd g ues t .

B u t f ou n d n o c u re t h e b a t h fo r my h e lp li e s
, ,

Wh e re Cupi d g o t n ew re ; my m i s t re s e y e .

5 th i s ] h i s G, S , E
. .

6 d a te le s s e li u ely ] H yph e ne d
. by S t a , H uz
8 . t
s ran g] s tra n ge 1 6 40 , G , et c .

9 . ei e ] ey es S, E .

1 1 . wi th all] wi th a ll 1 6 40 , G .

12 . th e th e r ] th i th e r G , et c.

14 . ey e ] ey es 1 6 40 , G, et c .

MAL ON E : This and t h e f ol l owing so nne t a re c omp ose d of th e v e ry sam e '

th o ughts d i ff ere ntly ve rs i ed The y see m t o have b ee n e ar l y e s says of th e p oe t

. ,

w h o pe rhaps had n ot d e t e rmine d which h e sh o uld pr e fe r H e h a r di y c o uld

have I nt e nd e d t o se nd th e m b oth int o t h e world C OLL I E R : [Th ey a re t o b e .

l oo ke d u po n] as if t h e auth or had rst c omp ose d o ne and n ot quit e pl e asi ng , ,

himse lf had aft e rwards writt e n t h e oth e r P o ssib l y th e y wer e n ot by t h e sam e

, .

hand t w o diff e re nt p oe ts d e aling with t h e s am e fancy

, .

W H E RTZ B E R G
. 1 3 : 1 58 ) p oi nts o ut that th e o ri gi na l s o urc e of this

pair of so nne ts was appare nt l y an e pigram i n t h e Pa l atine Anth ol ogy B k 1 x , .

,

No . 6 37 :
370 TH E S ONNE TS OF S HAK ES P EA R E [c a n

Tad inn)
' '
r ds n h ar d vovs di r a h qi r er pvue vos bu mp
"
56 6 Epws , mi ngb a cs h a un d ba
1 n a pd uevos .

Nbucpa t 6 d h h h y a c

, Tl u h h ouev; a i de at 7 0 67 4)

.
a a a a nev
'

,
l
e rr ov
,
buon
? ni b xpa b i ns nepbrr wv .

Aa urr d s 5 tb s cph e e Ka i baa/m , Oepub v Kei deV

' '

Nbpupm Epwn ci be s h ovrpoxoecr w flawp

' '
.

Th e auth or is Marianus a Byz antine pr obably of t h e s t h c e ntury He rt z

, , .

b e rg obse rve s that t h e ge rm of t h e p oe m appe ars i n an e pigram attribut e d t o

a c e rtain Z e n od ot us of u nce rtain dat e :
,

"
Ti s y lnhl/a s r b u E pw r a '
. n a pct xp

vy a w tdnxev ;

Oi buevos n a a ew 7 0 81 0 7
-
6 1r iip Ma r c .

Th e P a l ati n e c oll e cti o n was rst publish e d 1 8 1 5 1 7 ; but an abridgm e nt mad e ,

by Maximus P la n ud e s ab o ut 1 350 was wid e ly circulat e d i n we st e rn E ur o pe ; ,

and of L ati n translati o ns th e r e we r e a l so a numb e r S electa epi g ra mm a ta ,

.

Base l 1 52 9 and so m e e ight oth e rs b e for e t h e e n d of t h e c e ntury O n e or

, , .

an oth e r of th e se wo uld sur e ly have f o und its way t o E ngland H e rt z b e rg b e .

li e v e d himse lf t o b e t h e o rigi na l disc ove r e r of thi s Gr ee k so urc e o f t h e s o nn e t ,

and has b ee n ge ne rally cre dit ed with it acc o rd ingly J C C OL L I N S h ow eve r . . .

, ,

says that it had bee n kn o wn l o ng b e f or e

a n d ind ee d was s o n ot ori o us that ,

D r We ll e sl e y i n h i s An th olog i a P oly glotta

. p 9 3 pri nt ed S 1 54 with o ut .
, .
,

any r e mark u nd e rneath t h e Gr e e k origi nal ( F ort Rev n s 7 3 : 8 4 8 n ) 1

, . . .
, . .
,
.

Th e f o ll owing is Ma c k a i l s translati o n of t h e Marianus e p i gram

H e r e b e n e ath t h e p l an e tr ee s o ve rb orn e by s oft sl e e p L o ve s l umb e r e d

-
, , ,

giving h i s t o rch t o t h e Nymphs k ee ping ; and t h e Nymphs said o n e t o an oth e r

Wh y d o w e d e lay ? and w o uld that w i th th i s w e m i ght have qu e nch e d t h e re

,

i n t h e h e art o f m o rtals B ut n ow t h e t orch having k i ndl e d e ve n t h e wat e rs

.
, ,

t h e am or o us Nymphs po ur h o t wat e r th e nc e int o t h e bathing po o l ( E pi gra ms .

f r om th e Greek An th ology 1 8 9 0 p , , .

S VON H E G E D US [ has re c e ntly po int e d o ut ( Un g a ri s ch e Ru n d s ch a u f u r s oz i a le

.

Wi s s en s ch af ten ; r e p o rt e d in J a h rb 50 : 1 53 ) that a ve rsi o n of t h e e p i gram is

.
,

fo und i n t h e An th ologi a L a ti n a ( C od e x S a lm a s i a n i ) No 2 7 1 Th e f oll owing is , . .

t h e t e xt ( e d B uc h e le r
. R i e se I : 2 1 6 ) ,

Ant e bo nam Ve n e r e m g e li d ae pe r li t ora Bai ae

I lla natar e la c u s cum lampad e i us s i t Am ore m .

D um natat a lg e n t e s c ec i d i t scintilla pe r u ndas ;

,

H i n c vapo r u s s i t aquas : q u i c u m q ue n a t a v i t a m a v i t ,
.

[ Me an t im e M J WOL FF ( J a h r b 4 7 : 1 9 1 ) had n ot e d an I talian v e rsi on q u ot ed

. . .
,

i n Tolom ei s Vers i cl R eg ole 1 539 as f ol l ows :

, ,

Tra d ott o da M S tati o Ro man o . .

D e

l a cq ue di Baia .

Al l id o
gia di Baia so tt o u n b el P latan o Am ore ,

D orm e nd o stanc o pre s s o p oso la face ,

Naiad e C a lli r oe d e li g i ove n i amanti pi e t o sa, ,

Tolt ola l i mmers e n el vag o f r edd o ri o

.
,
CL II I ] TH E S ONNE TS OF S HAK E S P E AR E
'

37 1
m e ntr e dee s morz arla ac ce si e t arse
Ilq ua l, , ,

Quinci le be ll e acqu e se mpre coc ce n t i so no .

And P TAUS I G ( J a h rb 40 : 2 3 1 ) cit e s an anal ogu e i n a Ge rman p oe m purport

. .
,

ing t o e xplain t h e origin of t h e baths of Vi e nna S ARRAZ I N ( J a h r b 3 1 : . .

,

r eady as always t o s ee e vid e nc e of a c o ntine ntal j o urn e y of S h s sugge sts that

, , .

,

h e may have se e n t h e Latin v e rsi o n of t h e e pigram use d as a m ott o at o n e of t h e

po pular Italian spas ] .

L E E : An add e d d e tai l S h b o rr o wed fr o m a v e ry r e c e nt adaptati o n o f t h e

.

e p i gram in Gil e s F l e tch e r s Li ci a 1 59 3 ( S wh e r e t h e poe t s Lo ve bath e s i n

, .

t h e f o untain with t h e r e su l t n ot o n l y that s h e t o uch ed t h e wat e r and it

,

burnt with l ove but a l so ,

"

Now by h er m eans it hath that b l iss p u rc h a s d

Wh ich a ll d ise a se s quickl y can r e m ove .

( L if e p , .

6 . da tele s s e . C f 30 , 6 ,
.

8 . t
s r ang . TYL E R : [This ]
might po ssib l y r e pre se nt stro ng .

1 1 b a th S TE E VE NS : Qu e ry wh e th e r w e sh o uld r e ad B ath
. .
, t h e city o f

that nam e ) Th e fo ll o wing word s see m t o auth orise it MAL O N E : Th e old c op y

. .

is c e rtainly right [ C f line 7 and 1 54 . P L U MP TRE [ ( Con te mp Rev

.
, . .
,

argu e s f or t h e vi e w that S h actually wr ot e t h e so nne t at Bath a nd n o t e s a

'

.
,

traditi o n that D iana was a kind of tut e l ary d e ity of t h e plac e ] B E E C H I NG :

Th e r e is und oubt ed l y a re fe re nc e t o t h e Bath wat e rs f or t h e Gre e k origina l says ,

n othing ab out curative powe rs [ H P E M B E R TON ( New S h a k es pea rea n a 8 : 6 4 )

. .
,

d e ve l o ps t h e sam e Vi e w ( f oll owing an argum e nt of Gree nwoo d s i n Th e S h '

.

P r oblem Res ta ted p t h e t e rm

, . va ll e y f o untai n is th o ught t o b e e spe cially
appropriat e ; and Qu ee n E l i z abe th may b e t h e maid of D ian s an d t h e

fair e st votary S h may th e n have writt e n t h e so nne ts f or Lo r d H u n sd o n

. .
, , ,

w h o w e nt t o Bath f or t h e wat e rs in 1 6 0 2 wh e r e t h e Qu ee n was also e xpe ct e d ] ,

D OWD E N : S h e nst on e v e rs i es ane w t h e th e me of this an d t h e f oll owing s on

n e t in his Anacr eo ntic

[ T w as i n a c ool Ao nian glad e

,

want o n C upid spe nt with t oil

Th e , ,

H a d so ught r e fr e shm e nt fr o m t h e S h ad e ,

An d s t ret c h d him on t h e m ossy so i l

.

A vagrant Muse dre w nigh and f o un d ,

Th e subt l e trait or fast asl ee p ;

And is it thine t o sn ore pro fo und ,

S h e said a n d l e av e t h e world t o w ee p ?
,

S l ee p poor chi l d ! whi l st I with d raw

on , ,

An d this thy vil e artil l e ry hid e ,

Wh en t h e C asta l ian fo unt s h e saw ,

And plu ng d his arr ows i n t h e ti d e

.
372 TH E S ONNE TS OF S HAK ES P EAR E [ CL I V

E ve ry d art ,

D ipt in t h e Muse s mystic spring

,

Acq ui r d n ew f orc e t o w oun d t h e h e art

An d taught at o nc e t o l ove an d sing ] .

I S4

TH E li tt le L o ue God ly i n g
-
on ce a s le e p e ,

La i d b y h i s i de h is
h e a r t i n a m i n g b ra n d
s ,

Wh i l s t m a n y Nym p h e s t h a t y o u d ch a s t li fe t o keep

C a m e t r i pp i n g b y b u t i n h e r m a i d e n h a n d
, ,

Th e f a y re s t v o t a ry t ooke v p t h a t re ,

Wh i ch m a n y Le g i on s of t rue h ea r t s h a d wa rm d

An d s o t h e G e n e ra ll o f h o t d e s i re ,

Wa s s lee p i n g b y a Vi rg i n h a n d d i s a rm d
.

Th i s b ra n d s h e q ue n ch e d i n a c oo l e We ll b y ,

Wh i ch f rom loue s re t ooke h e a t p e rp e t ua l] ,

G row i n g a b a t h a n d h e a lt h f ull re m ed y ,

F o r m e n d i s e a s d b ut I my Mi s t r i s s e t h ra ll
, ,

C a m e t h e r e f or c ur e a n d t h i s b y t h a t I p ro ue ,

L o ue s re b e a t e s w a t e r w a t e r c oole s n o t lo ue
, .

h ear t i n am i n g ] h ea r t i n a mi n g 1 6 40 , G S E;
, , hyph e ne d by C,

I S AAC [ di s cusse s t h e writing of t wo so nn e ts on t h e sam e th e m e as a c o n ve n

ti o n f or which para ll e ls a re t o b e f ound i n Pe trarch Mich e l ange l o , , S urr e y ,

S idn e y e t c ( Ar ch i v 6 0 :
, .
,

7 . Ge n e r all . TYL E R : C hi e f cause an d pr om ot e r .

9 . Well [On e of t h e thre e wor d s in Q wh o se capita l i z ati o n

. WYND H AM can
n ot e xplain (p . .

13 . i s D OWD E N : This stat e m e nt which f ol l o ws

th . .

H W B ARR E TT: We kn o w n o t h ow a m or e t o uching c o nc l usi o n [t o t h e S o n

. .

n e ts] c o u ld have b ee n c onc e ive d than this b e autiful al l e go ry Its ve ry r e peti

, .

ti o n is o n e of t h e n e st str o ke s of p oe tica l art I t is scarc e ly infe ri or t o tha t .

m ost aff e cting sc e ne in which Oph e lia app e ars d e liri ously s i nging fragm e nts
,

of wi ld s o ngs and dancing s o r e ckl e ss l y and unf ee l ingly o v e r t h e h ot e mb e rs of

,

h e r mise ry Th ose w h o r e ad t h e pre c e d i ng s o nn ets m ost w orthi l y wil l b e

.
,

m ost fully pre pare d t o appre ciat e t h e n e all egory of te a rs ( Ameri ca n Rev . .
,

6: [An instructive e xampl e o f t h e l e ngths t o which divin at o ry crit i cism ,

with t h e unity of t h e so nne t c oll e cti o n as a basic assumpti on can g o ED ] , . .

CL I V ] TH E S ONNE TS OF S HA K E S P E AR E 3 73

I S AAC [ has a suspici o n which

, we may b e grat e fu l t o him f or stating t e nta
t i v e ly with a ware e s z um B e ispi e l that this pair of so nn e ts may b e i nt e r
"
, ,

p r e t e d symb o lical l y,t h e h e a l ing spring standing f or marriag e I.n that cas e

the y may have bee n writt e n aft e r a j o urn e y h o m e t o S tr atford ( Arch i v 6 0 :

.
,

D OWD E N obse rve s (re v ed ) that this hardly agree s with 1 54 1 2 1 3 Miss
. .
, .

P OR TE R suspe cts an e so t e rica l ly playfu l adaptati o n of this C upi d fabl e t o

t h e S o nn e ts S 1 53 r e fe rring e spe cially t o t h e rst Se ri e s S 1 54 t o t h e

.
, , .

se c ond I n that c ase t h e cl osing l ine su ms up b oth : ] Lo ve s re h e ats ge nially

.

t h e c old va ll e y f o untain of plat o n ic l ove but n o such wat e r is c old e n o ugh

,

t o cure t h e f e ve r h e at of se xua l l ove

-
.
AP P E N D IX
 G E NE RA L C R I TI C I S M

( S elected wi th s p eci al r e eren ce f to th e qu es ti on of th e pers ona l elemen ts i n th e

S on n ets , a nd to th ei r poeti c f orm a n d qua li ti es )

C A H RL E S GIL D O N = M m

Not nl y t h e s a
o

t h e s am e Mod e o f D r e ss and E xpre ssi o n t h e D e c o mpo un d s his pe culiar s o rt , ,

of E pith e ts which distinguish e s his fr o m t h e Ve rse s o f a ll his C o n t e m p ori e s

,

o r S ucc e sso rs Wh oe ve r knows any thing of S hake spe ar will nd his Ge ni us

.

i n e ve ry E pigram of th e se Poe ms i n e ve ry particular I have m e n t i o n d and t h e

fre qu e nt Ca ta ch res es ; his S tarts asid e i n All egori e s and i n sh ort his Ve rs i ca ,

ti o n which I s ve ry un equa l ; sow m e tim e s owi ng smoo thly but grave l y l ike t h e
,
:

Tham e s at o th e r t im e s d own right P r ose He n e ve r t ouch e s on an I mage I n

, .

any of t h e m but h e pr ove s t h e Poe m ge nuine

, .

But s o m e pe rhaps w h o a re f or und e rvaluing what th e y have n o S hare i n

, ,

may s a y that granti ng th e m t o MW

, J Qt th e y a r e mot v aluab le

W
h

r i n t e d as was p l ain by t h e rst E d it o rs of his Wo rks w h o w o u d

en ,

o th e rwise hav e J O T IT H th e m alt oge th e r

*
.

To this I answe r That t h e As s e rti o n is f a l se or we r e it n ot it is m ore , ,

than t h e Obj ect or knows by his ow n J udgm e nt and U nd erstandi ng but t o , ,

prove it false w e nee d o n l y c o nsid e r that th e y a re much l e ss impe rfe ct i n th e ir ,

Ki nd than ev n t h e be st of his Pl ays as wil l appe ar fr om t h e R ul e s I shall lay

,

d own i mmediat e l y ; i n t h e next P l ac e t h e rst E dit ors we re P laye rs w h o had ,

n othing t o d o with any thing but t h e D ramatic P art which th y p u b li s h d

y e t e ,

ful l of gr o ss Mistake s m ost of which r e mai n t o this D ay ; n or we re th e y by any

,

m e ans J udge s of t h e Goo dn e s s o r Ba d ne ss of t h e B e auti e s o r D e fe cts o f e ith e r ,

P l ays or P oe ms .

Th e re is next an Ob j e cti on that if th e se Poe ms had be e n Ge nui n e th e y ha d

M
, ,
u . 1 w o n.

b ee n pub l ish d I n t h e L if e ti m e of t h e Auth or a n d by himse l f but c o mi ng o ut

a

W
a fm os t t h Irt y Ye ars aft e r h i s D e ath th e r e 1 5 gr e at R e aso n t o suspe ct that th e y

a v -u ,

a re n o t Ge nuin e .

7

T o this I answe r that if n othi ng was t o b e th ought his but what w a s pub
,

li s h d i n h i s L ife tim e much t h e gr e at e r Numbe r of his P lays wo u d b e as

,

ly a b le t o this Obj ecti o n as his Poe ms Next th e re is ind ee d n o we ight i n t h e .

,

Obj e cti o n is th e r e any thi ng m ore c o mm o n than t h e P ublicati o n o f Wo rks

, ,

o f g re at Me n aft e r th e ir D e ath No n o th e re is a L ike n e ss i n on e Man s .

, ,

C hi l dre n ge ne rally which ext e nds n o t b e y o nd t h e F amily and i n t h e C hi l dr e n

,
,

of t h e Brai n it is a l ways so wh e n th e y a re be g ot by a Ge ni u s i n d , ee d B es i dg s .

t h es e P oems bei ng m os t j o h i s Mi s t res s it is n ot at a ll unli ke l y tha t s h e k e pt

,

[ All t hi s of course i s di ect ed ag ai n s t Rowe an d h i s edi t i on of t h e Wor k s

. , r ED ] . .
 3 78 A P P E ND I X
t he m by h er t i ll they f ell h e r; Execum xs H an ds or s o me Fgj gnH w h oe I d N W ,
a e
r

not le t th e m b e a n y_lo n ggr cong ea B ut aft e r all th e r e w er e m or e i n P r op or .

t i o n of th e se P oe ms of t his Vol um e pri nt ed in his L if e tim e than of his P lays , , ,

as is plai n fro m his Ven us and Adon i s his Ta rqui n and L u crece and se ve ra l , ,

E pi g ra ms and S on n ets .

Th o L ov e and its E ff ects a re oft e n happily e n o ugh t ouc h d i n many of th e se

P oe ms y e t I must c o nf e ss that it is but t oo visib l e that P e trarch h ad a littl e

, ,

i nf ect e d his way of thinki ng o n that S ubj ect y et w h o e ve r can adm i re Mr C ow , .

l e y s Mistre ss has a th o usand Ti m e s m o re C ause of Admirati on of o ur S hake

sp e ar i n his Lo ve Ve rse s b ecause h e has s o m e tim e s such t o uch e s o f Natur e

,

as wil l make Am e nd s f or th o se P o ints th ose E pi g ra mma ti c Acumi n a which , ,

a r e n ot or e v e r can b e t h e P r od uct of a S o u l truly t o uc h d with t h e P assi o n of

L ov e .

All that I have t o say of t h e Misc e llan e o us P oe ms is that th e y a r e ge ne r ,

ally E p i grams and th ose pe rf e ct i n th e ir ki nd acc ording t o t h e b e st R ul e s that

,

have b e e n drawn fro m t h e P ractic e of t h e An ci en ts by S cal i ge r L i lli us , ,

Gi ra ld us Mi n t ur n u s R ob e r t e llus C orr eas P os s ov i n u s P o n t a t r u s R a d e r us

, , , , , ,

D o natus Vossius and Va va s s e r t h e J e suit at l e ast as far as th e y agree

, , .

Vavasso r d e ne s [t h e E pigram ] i n his Tr e atise o n this S ubj e ct thus An , .

e pi gra m i s a s h ort Copy o f Vers es , wi th B ea u ty a nd P oi n t tr ea ti n g f

o on e on ly

th i n g , a n d con clu di n g wi th that its P arts ( says

a more bea uti f ul P oi n t . So
Vavassor ) a re but t w o t h e e xpr e ssing or r e citing t h e S ubj e ct and t h e C o ncl u ,

S i on ; and its B e auti e s a r e Br e vity an d Acu men which I t e rm P oi n t

T
.
,

Th e Wa y t o attain Br e vity is n ot t o aim at many Things i n t h e wh ol e E pi

gram th e n t o e xpr e s s e ve n that l ittl e as c o ncise l y as p oss i bl e and i n such
, ,

Words that t o e xt e nd it i nt o m ore w ou d e n e rvat e and l ose t h e F orc e and

,
'
,

S tr e ngth of t h e Th o ught and t h e P o i nt o r Acum e n , ,

Th e n e xt Quality is B e auty that is an e xact an d harm oni o us F o rmati on of

,

t h e wh ol e and t h e apt Agr ee m e nt of all t h e P arts of t h e P oe m fr o m t h e B e gi n

,

ning t o t h e E n d with a c e rtain sort of S wee tn e ss as of a natura l C ol o ur with

, ,

out any F ucus o n t h e on e H and and y e t with o ut any thing low a n d m e an o n ,

t h e oth e r ; and t h o it b e plai n and rud e Nature y e t n ot a m ee r rustic S i m p li c

,

ity void of all Art but that which is agree ab l e t o a C o urt Co nve rs ati o n ; and
,

t h e L anguage of t h e P ol it e Th e B e auty of t h e E pigram must a l ways b e a c

.

c o m p a n y d with S w e e tn e ss And this vari e s acc o rding t o t h e S ubj e ct I f that

. .

b e d e licat e s oft t e nd e r am or o us & c th o se Qualiti e s will arise fr o m t h e wel l

, , , , .

e xpr e ssing t h e Natur e o f t h e S ubj e ct that wi ll give B ea u ty an d S weetnes s .

I n t h e L anguage w e o ught rath e r t o avoi d that which is harsh or an e n e my t o , ,

S wee t n e ss than t o study t oo much t o nd ou t that which may h e l p and incr ease
,

it Th e P oi n t is what t h e E pigrammatical C ritics stand much U p o n which is

.
,

chi e y i n t h e C o nclusi o n by e nding with so m e thing u nexp e ct ed or biti ng ,

.

All things a r e t h e a llo w d S ubj e ct of t h e E pigram ; as l o ng as th e y a re tre at e d

o f with Br e vity P oint and B e auty

*
, , .

[ Th a t G i ld on i n c lu d e s t h e S o n n et s u n d er t h e t er m e i ra m pg ma y b e ex pl ia ned b y t wo
c i rc u m s ta n c e s : h
t h e f a c t t a t h e i s re i nti n pr g th
e m f rom t h e e d i t i on of 1 6 40 , i n w i c h h t h e t er m
 G E NE RA L C R I TI C I S M 379

How far S hake spe ar has e xc ell d i n this Wa y is plai n from his P oe ms be fore

us ; but this must b e a llow d hi m that much of t h e B e auty and S wee tne ss of '
,

E xpre ssi o n which is s o much c o nt e nd e d f or is l ost by t h e I nj ury of Ti m e and

,

t h e gr e at C hang e of o ur L anguag e since his Tim e ; and y e t th e r e is a w o nd e rfu l

S m oo thn e ss i n many of th e m that make s t h e B l oo d danc e t o its Numbe rs , .

( R

e marks o n t h e P oe ms o f S hak e spe ar i n Th e Wor k s of W S h Volu me , . .
,

th e S even th 1 7 1 0 pp 44 5 50 4 57 , , . ,

inscri bed ( as Mr .

had n ot e xpre sse d th e mse l ve s in t e rms m or e fami l iar t o human und e rstanding ,

I be li e ve f e w r e ad ers wo uld have r e j o ic e d i n t h e happin e ss of t h e o n e or sym ,

pa t h i z ed with t h e sorr ows of t h e oth e r P e rha ps i nd ee d , q uaintn e ss , obscuri ty .

, ,

t ol o a re t o be re gard e d as t h e c onstitu e nt parts of this ex otic spe ci e s I

E DMUND MAL ON E : I d o n ot f ee l any gr eat prope nsity t o stand f o rth as t h e

champi o n of th e se c o mpo siti ons Ho we ve r as it appe ars t o m e that th e y have .
,

bee n so m e what u nd e rrat ed I think it incumb e nt on m e t o d o th e m that j us ,

tic e t o which th e y se e m e ntit l e d WM

h e n th e y a r e desnrih e d a s m m a s s of
-M
. . .
un O

me o ve r c h a r
g t ed . Th e ir v a ri et an
ea t
y d t h e s ee m t o b e a want
_ ~ " O
of s
W

i n direct e d t o a f e m aM M
a

maj ori ty of t h e s c h ard e n t

pi g _ u
i _

e x r e ss i o ns of e st ee m c o uld with r o pri e t y bEj d drg ssg d I t cann o t b e d e ni e d

p p .

t oo that th e y c o ntain s o m e far f e tch e d c o nc e its ; but a r e ou r auth o r s plays

-

e ntir e ly fr ee fr o m th e m ? Many of t h e th o ughts that occur i n his dramatic p ro

d uct i o n s a re f o und h e r e l ik e wise as may app e ar fr o m t h e num e r o us parall e ls ,

that hav e bee n cit ed fro m his dramas chi e y f or t h e purp ose of auth e nticating ,

th e se po e ms Ha d th e y th e re for e n o oth e r m e rit th e y a r e e ntitl e d t o our a t

.
,

t e nti on as oft e n i l lustrating obscure passage s i n his plays I d o n ot pe rc e iv e

, .

that t h e v e rs i ca t i o n of th e se pi ec e s is l e ss sm oo th and harm o ni o us than that

o f S h s o th e r c o mp os iti o ns Th ough

. .

S TE E VE NS : Th e
case of th e se so nnets is c e rtain l y bad wh e n , so l itt l e can
be advanc e d in suppo rt of th e m I must a di th atw
.
m h

B OS WE LL : I cannot but admit that Mr Mal on e i n his answe rs t o Mr S t ee .

,
.

ve ns ,th ough I t h ink t o use D r J ohnso n s e xpre ssi o n th e y a re c o nc l usive

, .

,

a d h om i ne m has d o ne but scanty j ustic e t o th e se b e autiful c omp o siti o ns

,
*
.

(P la y s a n d P oems of S h Ma l o n e B oswe l l e d 2 0 : 358 .

,
-
.
,

s o nn et s d i d ot occ ur a n d t h e f ct t ha t h e b as e s h i
n m k o t h c i ti aw h o w re on s re ar s n e r cs e c
l p t y
,

cern d w i t h
e l i d f w h om t h
c a s s ca f th
oe rso t h d
an ec o g i
or d e i t ce , e re o r e . e nne a no r n z e x s en .

I t hi s
n ti i t m y b e ot d (
co n n ec P f on W D B i gg b ri g t m y tt t i ) t h t J o
a n e as ro es s o r r s n s o a en on a n
s s 6 t h E pi g O P t Ape i i t h S h ke p
. .

m

son ra , n oe t f -
m B ] s n e a s ea rea n s o n n e or D
g ea t er p rt i o of t h i co t o y ot re p e t d b y t h se
, . .

[ I t h uld b s t ed t h t t h
o e no a e r o n s n r v ers , n r se n e e
ext ra cts co cern d t h e me ri t of t h
, n so t e a f rm of p t y th t h a t h a t of t h
e So
nne ts as o oe r ra er n e nn e
3 80 APP E ND IX

l o ng may it b ef or e this misc o nc e pti o n pass e s away and it b ec o m e s u ni

be ,

v e rs a lly ackn ow l ed ge d that t h e j udgm e nt of S h i n t h e se l e cti o n of his mat e ri a l s .

,

and i n t h e manne r i n whic h h e has mad e th e m h e t e r oge ne o us as t h e y oft e n ,

a re c o nstitut e a unity of th e ir ow n and c o ntribut e all t o on e gr e at e n d is n o t

, , ,

l e ss admirab l e than his imaginati o n his i nve nti o n and his i ntuitive kn ow l edg e , ,

of human natur e !

Th e r e is e xtant a smal l volum e of misc e ll an eous poe ms i n whic h S h e x , .

pr e sse s his ow n f ee lings i n his ow n pe rso n It is n ot di ffi cult t o c o nce ive that .

t h e e dit o r Ge org e S t ee v e n s sh o u l d hav e b ee n i nse nsibl e t o t h e b e auti e s of

, ,

o n e po rti o n of that v o l um e t h e S o nn e ts ; th o ugh i n n o part of t h e writings of ,

this p oe t is f o und i n an e qua l c o m pass a gr e at e r numb e r of e xquisit e f ee l ings

, ,

f e licit o usly e xpre sse d B ut fr o m r egard t o t h e critic s ow n cre dit h e wo ul d n ot

.
,

have ve nture d t o ta l k of an act of par l iam e nt n ot b e i ng str o ng e n ough t o c o mpe l

t h e p e rusal of th os e litt l e pi e c e s if h e had n ot known that t h e peo p l e of E n g
*
,

l and we re ignorant of t h e tre asures c ontai n ed i n th e m .

( E ssay supp l e m e ntary t o t h e P re fac e t o t h e L y ri ca l B a lla ds ,

NATH ANDRAKE : We a l t oge th e r d e ny that e ith e r a ff e ctati o n or p ed antry

can i n t h e pr op e r se nse of t h e t e rms b e app l i ed t o t h e S o nn e ts of S h We re
, , .

any m od e rn i nd e e d of t h e ni net ee nth c e ntury t o ad opt th ir l anguag e and

, , e

sty l e h e might j ustly b e taxe d with b oth ; b ut i n S idne y and S h it was habit
, .
,

i ndisso lubl e habit and n ot a ffectati on ; it was t h e dicti o n i n which th e y had

,

b ee n practise d fr om e ar l y y outh t o cl oth e th e ir se ntim e nts and fee lings ; i t

w as id e nti ed with al l th e ir associati o ns and int e ll e ctual o pe rati o ns ; it was t h e
l anguage i n fact t h e m od e of e xpre ssi on i n a gr e at e r or l e ss d e gree of all th e ir
, , , ,

c o nt e mp orari e s ; and t o have strippe d th e ir th oughts of a dre ss which t o us

appe ars quaint and articia l w o u l d have bee n t o th e m a painful and m or e
e lab orat e task Wh e n o nce i nd eed w e can attribut e this articia l th ough
.
, , ,

oft e n e mphatic sty l e as w e o ught t o d o t o t h e univ e rsal l y d e f e ctiv e tast e of

, ,

t h e a g e i n which it sprang an d n ot t o individua l usag e w e sha ll b e pr e par e d t o

, ,

d o j ustic e t o inj ur e d g e nius an d t o c onf e ss that fr e qu e nt l y b e n e ath this la , ,

b o ur ed phrase ol ogy a re t o b e fo und se ntim e nts simpl e natural and t o uching , , .

We may a l s o ve ry saf e ly a ffi rm of S h s So nne ts that if th e ir sty l e b e c ompare d .

,

with that of his pre d ec e s so rs and c ont e m porari e s i n t h e sam e d e partm e nt of ,

p oe try a manif est supe ri ority must oft e n b e award ed him on t h e sc or e of f or ce

, , ,

dignity and simplicity of expre ssi o n ; qua l iti e s of which w e sha ll ve ry s oo n a f

,

f ord t h e re ad e r s om e striking instanc es .

S t ve s s las t w d a d m os t n ot ori ous a ppea re d i t h e Ad v rt i se m

'
of S h . ee n or , n t to h i s 1 7 9 3 , n e en

wh t s a n d b se v d t h a t t h e s t ro g t

ed i t i
on o f Sh h d f e d d h i s m i s s i on of t h S o
e re e e n e o e nne o r e n es
Act f P li me t t h t f ra med would f i l to co m pe l r d ers i t t h i
.
,

o ar a u ld b n a co e rvi e ED ] a ea n o e r se c .

i b i li t y w as p ub li ly
.

Th i i p p t i
s an pre h d ed b y M C l i d g i a co urse of L
n se n s c re en r. o er e n ee
tu res u po P t ry gi ven b y h i m a t t h e Roya l In s t i t ut i n F o t h e v i ous m e i ts of t houg h t a n d
n oe o . r ar r
la g u g i S h s S
'
n a e n t s ee N um b e rs 2 7 2 9 3 0 3 2 3 3 54 6 4 66 6 8 7 3 7 6 8 6 9 1 9 2 9 3
. o n ne s , . , , , , , , . . , , . , . .

97 98 1 0 5
, . 07 108 , 09 1 1 1
1 1 1 3 1 1 4 1 1 6 1 1 7 1 2 9 a n d ma n y ot h ers
. , 1 , , . . , . . .
 G E NE RA L C R I TI C I S M 3 8 1

have a l m ost unif ormly arise n

fr o m d e nsity and c o mpre ssi o n of styl e n or a re t h e c o mp ositi o ns of S h m ore
, .

than usually fr ee fr o m this so urc e of d e fect ; but wh e n it is c o nsid e r e d that our

auth or has writt e n 1 2 6 so nn e ts f or t h e so l e purpo se of e xpr e ssing his attach
m e nt t o h i s patr o n it must n e c e ssarily f ol l o w that a subj e ct s o c o ntinually

r e it e rat ed wou l d disp l ay n o sma ll shar e of circuml ocuti o n Gr eat inge nuity has .

b ee n e xhibit ed by t h e p oe t i n varyi ng his phrase ol ogy and id e as ; but n o e ff o rt

c o uld p o ssibly obviat e t h e m o n ot o ny as t h e re sult of such a task , .

We shall n ot c o nd e sc e n d t o a r efutati o n of [S t eev e n s s ] f o urth e pith e t which

, ,

if at all appli cab l e t o any po rti o n of S h s min o r p oe ms can al on e apply t o.

S o nn e ts 1 3 5 and 1 3 6 which a re a c o nti nu e d pu n up o n his C hristian nam e a

, ,

speci e s of triing which was t h e pe cul i ar vic e of o ur auth or s a g e

.

That an att empt t o e xhaust t h e subj e ct of fri e ndship ; t o say all that c o uld b e
c oll ect e d on t h e t opic would al m ost c e rtainly l e ad i n t h e days of S h t o a b
, , .
,

s t ra ct i o n s t oo subtil e and m e taphysical and t o a cast of dicti o n so m e tim e s t oo

,

articia l and sch olastic f or m od e rn tast e n o pe rso n we l l acquaint e d with t h e

,

pr ogre ss of our lit e rature ca n d e ny ; but cand o ur will at t h e sam e tim e admit , ,

that t h e e xpre ssi o n and v ers i ca t i on of his so nn e ts a re oft e n natural spirit e d , ,

and harm oni o us and that wh e re t h e su rfac e has be e n r e nd e r e d hard and re

,

pulsive by t h e pe culiariti e s of t h e pe ri od of th e ir pr od ucti o n w e have o nly t o ,

se arch b e ne ath i n ord e r t o disc ove r a rich ore of th o ught image ry and se nti
, , ,

m e nt .

S o far fr o m aff ectati o n and pe dantry b e ing t h e g e n e ra l charact e ristic of

th e se pi ec e s impartial criticism must d eclare that m o re freq u e nt e xampl e s of
,

simpl e c l e ar and n e rv o us dicti o n a re t o b e cull e d fro m th e m than can b e

, ,

f o und am ong t h e so nn e ts of any of his c o nt e mpo rari e s [S o nne t 7 1 ] is give n .

,

n ot as a s o litary pr oof but as t h e e xe mp l ar of a num e r ous class of S hake

,

s p e a re a n s o nn e ts ; and with t h e r e mark that n e ith e r in th i s i nstanc e n or i n ,

many othe rs is th e r e e ith e r in v e r s i c a t i o n language or th o ught t h e small

, , , , ,

e s t d e viati o n int o t h e r e gi o ns of a ff e ctati o n or c o nc e it S implicity o f sty l e .

and t e nde rne ss of se ntim e nt f orm t h e sol e f e ature s of this so nne t ; but in [S on
n et with an equal chastity of dicti o n a r e c o mbine d m ore e n e rgy and d i g
,

nity , t oge th e r with t h e infusi o n of s o m e n obl e a nd appr o priat e image ry It .

must also b e add ed that t h e ow and structur e of t h e v e rse a re s i ngularly

pl e asing . I n sp i rit h owe v e r in e l e ganc e i n t h e sk i ll and t e xtur e o f its
, , ,

m odulati o n and b e y o nd al l i n t h e digni ed an d highly p oe tica l c l ose of t h e

, ,

third quatrain n o on e of our auth or s so nn e ts e xc e ls t h e 2 9 t h

,

.

(S h . a nd h i s Ti mes , 2 : 75

J AM E S B OS WE L L [t h e y o unge r ] : Wh oe ve r t h e p e rs o n might b e t o wh o m t h e
gre at e r part of th e se so nne ts was addre ssed it se e ms t o have b ee n ge n e rally ,

a dmitt e d that t h e poe t spe aks in his o w n pe r s o n ; and so me of his critics have
att e mpt ed by infer e nc e s drawn fr o m th e m t o e k e out t h e scanty m e m orials
, ,
38 2 A PP E ND I X
which have c om e d own t o us of t h e incid e nts of his l if e I c onfe ss mysel f t o .

b e as S ke ptica l o n this p o int as o n [ D rak e s th e ory r e sp ecting S o uthampt o n ]

.

If [t h e So nne ts] we r e c ompo se d b e f or e Me re s s publicati o n h e c o u ld n ot have

bee n at a m or e a d vanc e d a g e than thirty f o ur ; and e ve n if w e we re t o ad opt t h e

-

th eory of D r D rake and supp ose that m ost of th e m w e r e produc e d at a sub

.
,

se qu e nt p e r i od and x up o n t h e l at e st p oss ibl e ye ar 1 60 9 y e t still t h e d e s cri p

, , ,

ti o n of d ecr e pitud e which is f o und i n t h e 7 3d S o nn e t c o uld scarc e ly with out ,

vi ol e nt e xagge rati o n b e app l icabl e t o a man of f orty v e B ut h e must n ot

,
-
.

o nly hav e b e e n o ld h e must als o hav e be e n gr o ssly and n o t o ri o usly pr o i g a t e

, .

To say n othing of t h e criminal c o nn ecti o n (f or criminal in a high d e gree it

would c e rtainly have b ee n in a marri e d man ) which is fr e qu e nt l y allud e d t o i n
th o se S o nn e ts which a re said t o b e ad dre sse d by him i n his ow n charact e r t o
a f e ma l e w e nd him i n a passage alre ady qu ot e d spe aking i n t e rms of sham e
, , ,

and r e m orse of his harmfu l d ee ds of s om e thing fr o m which his nam e ha d

,

r ec e ive d a brand and of t h e impr e ssi o n which vulgar scanda l had stampe d

,

up o n h i s br ow I trust it will n ot r e quir e much argum e nt t o sh ow that this

.

pictur e c o uld n ot b e put f or ge ntl e S h We may l am e nt that w e k now s o l itt l e

.

of his hist o ry ; but this at l e ast may b e asse rt ed with c o nd e nc e that at n o

, , ,

ti m e was t h e slight e st imputati o n cast up o n his m oral charact e r ; and that i n ,

an a g e ab ounding as Mr S t e e ve n s has obse r ve d with i ll ib e ra l privat e abuse an d

, .
,

p ee vish satire t h e c o ncurring t e stim o ny of his c o nt e mp orari e s wil l c o nrm t h e

,

d e c l arati o n of h o n e st C h e tt l e that his d e m e an o ur was n o l e ss civi l than h e

, ,

e xc e ll e nt i n t h e Q ua l ity h e pr of e sse d U p o n t h e wh ol e I am satis e d that

.
,

th e se c omp ositi o ns had ne ith e r t h e p oe t himse lf n or any i ndividual i n vi e w ,

but wer e m e r e l y t h e e ff usi o ns of his fancy writt e n up o n vari o us t opics f or t h e

,

amuse m e nt of a privat e circ l e .

( P lay s a nd P oems f Sh
o .
, 1 82 1 , 2 0 : 2 1 9

H E N R Y HAL L AM : No as far as I r e m e mb e r has e ve r d oubt e d th e ir g e n

on e , ,

u i n e n e s s ; n o o n e can d o ubt that th e y e xpr e ss n ot o n l y r e a l but int e ns e e m o

ti o ns of t h e h e a rt : but wh e n th e y we r e writt e n w h o was t h e W H quaint l y , . .

call e d th e ir b e g e tt er by which we can o n l y u nd e rstan d t h e cause of th e ir

,

b e ing writt e n and t o what pe rs ons or circumstanc e s th e y al l ud e has of lat e

, ,

ye ars b e e n t h e subj e ct of much curi o sity Th e se so nn ets w e re l ong ov e r .

l ooke d : S t e e v e n s sp oke of th e m with t h e utm ost sc orn as pr oducti ons which ,

n o o n e c o uld r e ad : but a v ery di ff e r e nt suff rage is ge n e rally giv e n by t h e l o v e rs

of poe try ; and p e rhaps th e r e is n ow a t e nd e ncy e spe cially am o ng y o ung m e n ,

of poe tica l t e mp e rs t o e xagg e rat e t h e b e aut i e s o f th e se r e markabl e pr o ducti o ns

,
.

Th e y ri se ind e e d i n e stimati o n as w e att e ntive l y r e ad an d r e ect up on th e m ;

, , ,

f or I d o n ot think that at rst th e y give us much p l e asur e No o n e e v e r e nt e r e d .

m o re fully than S h i nt o t h e charact e r of this sp e ci e s of p oe try w hich admits

. ,

of n o e xpl e ti v e imag e ry n o m e r e l y ornam e ntal l in e

,
B ut th ough e ach so nn e t .
,

has ge ne rall y its pr o p e r u nity t h e se nse ( I d o n ot m e an t h e grammatical con

structi o n ) will s o m e tim e s b e f o und t o spre ad fr omon e t o anoth e r i n d e pe n
,

d e n t ly of that r e p e titi on of t h e l eading i d e a l i ke vari a ti ons of an air w hich a , ,

 G E NE RA L C R I TI C I S M 8
3 3
se ri e s th e m fr e qu e nt l y e xhibits and on acc ou nt of which th e y have lat
of ,

t e r ly b ee n r e ck o n e d by s om e rath e r an i nt e gral p oe m than a c oll e ct i o n o f s o n

ne ts B ut this is n ot unc omm o n am o ng t h e I tal i ans and b e l o ngs i n fact t o
. , , ,

th ose of P e trarch himse lf Th e y may e as i ly b e r e solve d i nt o se ve ral ser i e s

.
,

acc ording t o th e ir subj e cts : but whe n re ad att e nt i ve ly w e nd th e m r e l at e

, ,

t o o n e d e nit e th ough o bscur e pe ri od of t h e p oe t s lif e ; i n wh i ch an attach

, ,

m e nt t o so m e f e male which see ms t o have t o uch e d ne ith e r his h e art n or his

,

fancy ve ry s e nsib l y was ove rpo we r ed with o ut e ntire l y c e asing by on e t o

, , ,

a fri e nd ; and this l ast is of such an e nthusiastic charact e r a nd s o e xtravagant ,

in t h e phrase s that t h e auth or use s as t o have thr own an unacc o u ntabl e mys ,

t e ry o v e r t h e wh ol e w ork I t is tru e that in t h e poe try as we ll as in t h e ct i o ns

.

o f e arly age s w e nd a m or e ard e nt t o n e of a ff e ct i o n in t h e language o f fri e nd

ship than has sinc e b ee n usual ; and y et n o instanc e has b ee n adduc e d of such
rapturo us d e v ot e d n e ss such an id ol atry of admiring l ove as on e of t h e gr e a te st
, ,

b e ings wh o m nature e ve r pr od uce d in t h e human f orm p o urs f orth t o som e

u nkn own y o uth i n t h e maj ority of th e se so nnets .

If w e s e i z e a c l e w which innum e rabl e passage s give us and supp o se that ,

th e y al l ud e t o a yo uth of hig h rank as we l l as p ers onal b e auty and acc o mplish

m e nt i n wh ose favo r and i ntimacy acc ord i ng t o t h e base pre j ud i c e s of t h e
, ,

w orld a p l ay e r and a p oe t , th o ugh h e we re t h e auth or of Ma cbeth m i ght b e

, ,

t h ought h o n ore d so m e thing of t h e strange ne ss as it appe ars t o us of S h s

, , , .

h umiliati o n i n addr e ssing him as a b e ing b e f ore wh o se f ee t h e cr o uch ed wh o se ,

fro wn h e fe ar ed wh ose i nj uri e s and th ose of t h e m ost i nsu l ti ng ki nd t h e

, ,

se ducti o n of t h e mistre ss t o wh o m w e have all ud e d h e f e lt and b e wail e d

with o ut r e se nti ng ; s om e thing I say of t h e strang e n ess of this h umiliati o n and
, , ,

at b e st it is but l itt l e may b e l ight e n ed and i n a c e rtai n se nse re nd e r ed ln

, ,

t e lli g i b le He by t h e Pe mbr o ke th e o ry ]
.
,
.

Notwithstandi ng t h e fre qu e nt b e auti e s of th e se s o nn ets t h e pl e asur e of ,

th e ir p e rusa l is gr e at l y diminish e d by th e se circumstanc e s ; and it is imp ossib l e

n ot t o wish that S h had n e v e r writt e n th e m . Th e r e is a we akn e ss an d f oll y .

i n al l e xc e ssiv e and misp l ac ed a ffe cti o n which is n ot r ed ee m ed by t h e t o uch e s ,

o f n obl e r se nti m e nts that ab o und i n this l o ng se ri e s of s o nn e ts B ut th e r e .

a r e a l s o faults o f a m e r e l y critica l nat ur e Th e obscurity is oft e n such as o nly .

c o nj e cture can pe ne trat e ; t h e strai n of t e nd e rn e ss and ad o rati o n w o u l d b e t oo

m o n ot o n o us w e re it l e ss unpl e asing ; and s o many fri gid c o nc e i ts a re scatt e red
,

aro u nd that w e might alm ost fancy t h e p oe t t o have writt e n with o ut ge nuin e
,

e m oti o n did n ot such a h ost of oth e r passage s att e st t h e c o ntrary

, .

( I n trodu cti on to th e Li tera ture of E u rope P art I I I chap 5 48 , , .

,

C H ARL E S K N I G H T:Th e pub l icati o n of Th e P as s i on a te P i lg ri m was n u qu e s

t i on a b ly u nauth ori z ed an d piratica l Th e pub l ish e r g ot al l h e c ould which
.

e xist ed i n manuscript ; and h e t oo k t w o p oe ms out of L L L which was . .

print ed o n l y t h e year b e fore I n 1 60 9 w e have n o h e sitati o n i n b e li e ving that

.

t h e sam e pr oc e ss wa s r e pe at ed ; that with o ut t h e c o nse nt of t h e writ e r t h e I 54

S o nnets s om e f orming a c o ntinu ous p oe m or p oe ms ; oth er s is ol at ed i n t h e , ,

384 AP P E ND I X
subj e cts t o which th e y re l at e and t h e pe rso ns t o wh o m th ey we re ad d re sse d
we re c oll e ct e d t oge th e r with o ut any k ey t o th e ir arrange m e nt and g i v e n ,

t o t h e public Wh e re is t h e di fculty of imagining w i th r e gard t o p oe ms

.
,

o f which e ach s e parat e p o e m s o nn e t or stan z a is e ith e r a l e ad i ng id e a

,

, ,

,

or its variati o n that picke d up as w e think th e y we r e fr o m many quart e rs

, .
, ,

t h e supp os e d c o nn e cti o n must b e i n many r e spe cts fanciful i n s o m e a r e sult ,

o f chanc e mixi ng what t h e p oe t wr ot e i n h i s o w n p e rso n e ith e r i n m o m e nts of

, ,

e lati o n or d e pr e ssi o n with o th e r appar e ntly c o ntinu o us stan z as that pa i nt e d

,

an imaginary charact e r ind ulging i n all t h e warmth of an e xa g g e rdt ed fri e nd

,

sh i p in t h e c o mplaints of an abuse d c o nd e nc e i n t h e picture s of an u nhall o we d

, ,

and unhappy l ov e ; so m e tim e s sp e aki ng with t h e r e al e arn e st n e ss of tru e fri e nd

ship and a m od e st e stimati o n of h i s ow n m e rits ; so m e tim e s e mpl o ying t h e
languag e of an e xtravagant e ul ogy and a m or e e xtravagant e stimati o n o f t h e ,

p owe rs of t h e man w h o was writing that e ul ogy ? S upp o se f or e xampl e that in , ,

t h e l e isur e h o urs w e will say of Wi lliam H e rb e rt E arl of P e mbr o k e and Wi l

, , ,

l i am S h t h e p oe t sh o uld have und e rtake n t o addre ss t o t h e yo uth an argu

.
,

m e nt why h e sh o uld marry With o ut b e li e ving t h e E arl t o b e t h e W H of t h e

. . .

D e dicat i o n w e kn ow that h e was a fri e nd of S h Th e r e is n othing i n t h e rst

, .

1 7 S o nn e ts wh i ch might n o t hav e b ee n writt e n i n t h e art i cial t o n e o f t h e

I tal i an p oe try i n t h e wo rki ng o u t of this sch e m e S upp ose agai n that i n oth e r
, .
, ,

S o nn e ts t h e po e t in t h e sam e articia l spirit c o mplains that t h e fr i e nd h a s

, ,

r obb e d h i m of h i s m i stre ss and avo ws that h e fo rgive s t h e false h ood Th e r e

, .

is n othing in al l this which might n ot have b e e n writt e n e sse ntially as a w ork o f

cti n o ,
r e c e ive d as a work of cti o n hand e d ab o ut am o ngst privat e ,

/
fri e nds with o ut t h e slight e st appreh e nsi o n that it wo uld b e r e gard e d as an
e xp o siti o n of t h e pr i vat e r e lati o ns of t w o p e rs o ns s e parat e d i n rank as th e y

pr obably we r e in th e ir habitual intimaci e s o f v e ry diff e r e nt ag e s t h e on e , ,

an avo we d l y p r oi g a t e b oy t h e oth e r a mature d man B ut this supp o s i t i o n

, .

d oe s n ot e xcl ud e t h e id e a that t h e p oe t had also at vari o us tim e s c o mp o se d i n , , ,

t h e sa m e m e asur e oth e r p oe ms truly e xpr e ss i ng h i s pe rso nal f e e l i ngs

, , w i th ,

n o thing i nat e d i n th e ir t o n e p e rf e ctly simpl e and natural off e ring pra i se, , ,

e xpr e ssing l o v e t o his actu a l fri e nds ( i n t h e language o f t h e ti m e l ove rs

sh o wing r e gr e t i n s e parati o n dre ading unkindn e ss h o p e fu l of c o ntinu e d , ,

a ff e cti o n Th e se a re also c i rc ula t ed a m o n g s t privat e fr i e nds S o m e W H

.

/
.

. .

c oll e cts th e m t oge th e r t e n twe lve or ft ee n y e ars aft e r th e y have b ee n writ

, , ,

t e n ; and a publ i sh e r o f c o urse is f o und t o giv e t o t h e wo rld any pr od uc

, ,

ti o ns of a man s o e min e nt as S h I n t h e sam e vol um e with th e s e S o nn e ts

.

was pub l ish e d a m ost e xquisit e narrative po e m A L over s Compla i n t Th e ,

.

f o rm of it e ntire ly pre ve nts any att e mpt t o c o nsid e r it aut obi o graphical Th e .

S o nn e ts o n t h e c o ntrary a r e p e rso na l i n th e ir f o rm ; but it is _n ot th e r ef o r e t o

, ,

b e assu m e d that th e y a re a ll p e rs o nal i n th eir r e l ati o n t o t h e auth or .

I ll ustrati o n of t h e S o nn e ts
"
P i ctori a l S h v ol , .
, .

GE OR G E G GE R VI NU S : What a l ivi ng picture wo uld our p oe t have l eft

.

b e hind if wh e n pr o mpt ed by his l ove h e ha d s ung t h e uni on of sou l with his

, ,
 G E NE RAL C R I TI C I S M 385

sw ee t yo uth i n t h e fr ee f orms sugge st ed by t h e m o m e nt and by t h e nature

of t h e circu mstanc e s ! B ut as h e m o uld e d all int o this o n e angular f o rm which ,

admits of n o distinctne ss and which spre ads a d i m mist o ve r e ach tang i bl e m e an

ing w e can r e adily und e rstand h o w it was that f or s o l o ng a t i m e t h e bare
,

act ua l circu mstanc e s c o uld b e m i sund e rst oo d or o v e rl o oke d Th i s o n e draw .

back is f o ll o we d by an oth e r ar i sing e q ually naturally fr o m t h e styl e Th e want

, .

o f r e al i ty i n th e se i nd i stinct po e ms was t o b e suppli e d by p oe tic br i ll i ancy ; t h e

r e lati o n b e twee n t h e m e ans and t h e obj e ct b e twee n cause and e ff e ct d i s , ,

app e ars ; far f e tch ed th o ughts strange e xagge rat e d image s and hyp e rb ol i c
-
, ,

phrase s misl e ad t h e und e rstanding ; pr ofo und c o nc e its and e pigrammatic

,

fanci e s spa rkling f or th e ir ow n sake cast t h e subj e ct i n qu e sti o n o n this ve ry

, ,

acc o unt i nt o t h e shad e This int e nse ly p oe tic l anguag e d oe s n ot pr e ve nt e v e n

.

t h e r e pe titi o n of matt e r and e xpre ssi o n i n t h e sam e m o n ot o n o us f o rm s o that ,

t h e taut o l o gy is c o nstant An d as i n L uc rece t h e poe t i nv ol untar i ly e xp e ri e nc e d

.

surprise at t h e pe cul i ariti e s of that c o nc e it styl e of t h e Marin i sts h e r e also i n -

,

t h e midst of his w o rk h e ackn owl ed ge s ( S 7 6 ) that his v erse is barr e n of n e w

.

prid e s o far fr o m variati o n or quick change that h e writ e s a l l on e e ve r

, ,

t h e sam e and kee ps his inve nti o n in a n ot ed wee d I n this wee d it I s n ot

.
,

e asy to r e c o gni z e t h e tru e and r e al purpo rt ; tact and c o mpariso n must t e ach

us n ot t o acc e pt it all t oo much as simp l e truth and y e t also n ot unthinkingly ,

t o l os e t h e c e rtain m e an i ng .

We a re of O pini o n with C unningham an d oth e rs that t h e s onn e ts of o u r

, ,

p oe t aesth e tically c o nsid e red have b ee n ove r e stimat ed With r e sp e ct t o th e ir

, , .

psych ol ogical t e n or th e y appe ar t o us with t h e t otal lack of all oth e r so urc e s

, ,

f or t h e h i st o ry of S h s inn e r l i f e t o b e of in e stimabl e val u e Th e y e xh i bit t h e

. .
,

p oe t t o us j ust i n t h e m ost int e r e sting pe ri od of his m e ntal d e ve l o pm e nt wh e n ,

h e pa ssed fr o m d e pe nd e nt t o inde pe n d e nt art fr o m f o r e ign t o nat i o nal tast e , ,

fr o m s ubse rvi e ncy and distr e ss t o pr o sp e rity and happ i ne ss ; a y e e ve n fr o m ,

l oo se m orality t o inne r r e fo rmati o n And in add i ti o n t o t h e gigantic scarc e ly

.
,

c o mpr e h e nsibl e pictur e of h i s m e ntal d e ve l o pm e nt which is pre se nt e d t o us i n

his dramas of th i s pe ri od w e h e r e r e c e ive a small int e ll i g i bl e painting o f his
,

i nne r lif e which brings us m o re cl o se ly t o t h e p oe t hims elf

, [Th e fri e nd .

sh i p tr e at ed of in t h e S o nn e ts] is a c o nne cti o n in itse lf of n o gre at imp ortanc e ;

nay i n t h e way i n which it is p oe tically e xpr e sse d it is n ot with o ut dist o rti o n
, , .

B ut it t e sti e s t o a str e ngth of f ee ling and pass i o n i n o u r p oe t t o a ch i ldl i ke ,

natur e and a candid mind t o a simpl e inge nu o usne ss t o a p e rfe ct i nabil i ty t o

, ,

v e i l his th oughts or t o disse mbl e t o an innat e capacity f or all o wing circum

,

stanc e s t o act u po n his mind i n a l l th e ir forc e and f or r e acting up o n th e m -

i n a word it t e stie s t o a natur e as truthful ge nuine and straightf o rw ar d

, , ,

as w e imagine t h e p oe t fr o m his dramatic wo rks t o have p o sse sse d .

( S h a k es pea re Commen ta ri es B unn e t trans pp 4 51 52 ;

. .
, ,

H E N R Y N H UD S ON : Gr e at . rt has b ee n mad e t o n d i n t h e S o nn ets

e ff o

som e d ee pe r or oth e r m e aning than m ee ts t h e ea r and t o x up o n th e m , ,

ge ne rally a pe rso nal and aut obi ographica l charact e r It must ind eed b e
,
.
 386 A PP E ND I X
o wn e d that th e r e is i n se ve ra l of th e m an e arn e st ne ss of t o ne and in so m e f e w ,

a subdu e d path os which str ongly argu e s th e m t o b e e xpre ssi ons of t h e poe t s
,

r e al f e el ings r e spe cting himse l f his c o nditi o n and t h e p e rso n or pe rso ns a d

, ,

dre sse d This is particularly t h e case with a se ri e s of t e n be gi nning with t h e

.
,

1 0 9th .S om e thing t h e sam e may b e said of t h e 2 3 d 2 5t h and 2 6 t h wh e re w e , , ,

nd a striking r e se mblanc e t o so m e e xpre ssi o ns use d i n t h e d edicati ons of

t h e V 89 A and of t h e Lu crece B ut as t o t h e g re at e r part of t h e So nne ts

.
. .
, ,

I hav e l o ng b ee n gr o wing m ore and m or e c o nvinc e d that th e y w e re i nt e nd e d

mainly as e xe rcise s of fancy cast i n a f orm of pe r s o nal addre ss a nd pe rhaps
, ,

mi ngling an e l e m e nt of pe rso nal int e r e st or allusi o n m er e ly as a matt e r of ,

art ; what e ve r th e r e is of p e rso na l i n th e m b e i ng thus k e pt subo rdinat e and i n

c i d e n t a l t o poe t i cal b e auty an d e ff e ct I t was a c o mm o n fashi o n of t h e.

tim e in so nn e t writing f or auth ors t o sp e ak i n an id e al or imaginary char

, ,

act e r as if it we re th e ir r e a l o n e and t o attribut e t o th e mse l ve s c er tain th o ughts

,

and fee lings m e re l y b e cause it suit ed th e ir purpo se and was a part of th e ir

, ,

art as p oets s o t o d o And this I make n o d o ubt is t h e tru e k ey t o t h e mys

, .
, ,

t e ry which h as pu z z l ed s o many critics i n t h e S o nn e ts o f S h I n writing s o n .

n ets h e naturally f e ll i nt o t h e curr e nt sty l e of t h e a g e ; o nly by h ow much

, ,

h e surpasse d t h e oth e rs i n dramatic po we r by s o much was h e be tt e r abl e t o ,

\
e xpr e ss id e al se nti m e nts as if th e y w e r e his ow n an d t o pass out of himse lf ,

fint o t h e charact e rs h e had i magin ed or assum e d .

/
To uching t h e m e rits of t h e S o nn e ts th e r e n e e d n ot much h e said S o m e of
, .

th e m wo u l d hardly d o cr e dit t o a sch oo l b oy whil e many a re such as it may w e ll -

,

have writt e n ; th er e be ing n othing of t h e kin d

m e xc e pt a f ew of Mi lt o n s and a g ood many
,

of Word s w ort h s That in th e se t h e poe t sh o u l d have so m e tim e s r e nd e re d h i s

.

work e xc e ss i ve ly frigid with t h e e uphuistic c o nc e i ts and a ff e ctati o ns of t h e

tim e is far l e ss wo nd e rful than t h e e xquisit e b e auty and oft e n m ore than
, ,

b e auty of se ntim e nt and image ry that d i stinguish e s a large p orti o n o f th e m

, .

Many might b e po int e d o ut which with pe rfect cl earne ss and c o mpactn e ss

, ,

of th ought a r e r e sp l e nd e nt with t h e high e st gl o ri e s o f imaginati o n ; oth e rs a r e

,

r e pl e t e with t h e t e nd e re st path os ; oth e rs again a re c o mpact of grace fu l fancy , ,

and airy e l e ganc e ; wh i l e in al l th e se sty l e s th e r e a re spe cim e ns pe rf ectly St ee pe d

i n t h e m e l ody of so unds an d numbe rs as if t h e th ought wer e b orn of music , ,

and t h e music int e rfuse d with its ve ry substanc e .

( Work s of S h H arvard E diti on 2 0 : 83 ,

AL E XAND E R D YCE
pe rusals of t h e So nne ts hav e we ll nigh c on
: Re pe at e d
v i n c ed m e that m o st of th e m w e r e c o mpo se d in an assum e d charact e r o n dif ,

f ere n t s ubj e cts and at di ff e r e nt tim e s f o r t h e amuse m e nt if n ot at t h e sug

, , ,

ge sti on of t h e auth or s intimat e associat e s ( h e nce d e scribe d by Me re s as

,

his s ugre d S o nne ts am o ng h i s privat e fri e nds an d th o ugh I would not d e ny

that on e or t w o o f th e m re e ct his ge nuin e fee lings S I 1 I ) I c o nt e n d that .
,

al lusi o ns s c att e red through t h e wh ol e se ri e s a re n ot t o b e hasti l y re fe rr ed t o t h e

pe rso na l circumstanc e s of S h I n t h e g e nera l e xce ll e nc e of th e se So nnets
. ,
 G E NE RAL C R I TI C I S M 38 7

i n th eir d e pt h of th ought th e ir t e nd e rn e ss th e ir pictur e squ e n e ss th e ir grac e

, , , ,

th e ir harm ony w e f o rge t th e ir occas i o nal c o nc e its and quibbl e s : a n d i n d ee d

~

n o E ngl i sh so nn e ts a re w o rthy i n all r espe cts of be i ng rank e d with S h s if w e

, , .
,

e xc e pt t h e f e w by Milt o n .

(L if e of S h Wor k s 3 d ed 1 : 9 8 , .
,

WIL L I AM MI NTo : so nnets addr e ssed t o a fri e nd

Th e d e part ve ry
striki ngly fr om t h e so nn e ts of S h s pre d ec e sso rs H e c e ase s t o r e i t e rat e
.

.

P e trarch s w oe s and o pe ns up a n e w v e i n of f ee li n g L ov e is st i ll t h e argum e nt

.
,

l ov e s f e ars and c on d e n ces

cr osse s and triumphs but it is l ov e f o r a

,

di ff e r e nt o bj ect u nd e r d i ff e r e nt c o nditi o ns We nd i n S h s so nnets m ost o f . .

t h e c o mm o nplac e s o f t h e c o urse of tru e l ov e c o l d n e ss and r e c o nciliati o n i nd e , ,

pe n d e n c e and d e v ot e d sub m i ssi o n but th e y a r e transf e rr e d t o t h e c o urse of

,

i mpassi o ned fr i e ndship and th e r e by t ra n s g ured Ar e th e n th e se m oods of

, .
, ,

i mpassi o n e d fri e nds h i p r e al or f e i gned utt e rance s fr o m t h e h e art or artic i al

,

, ,

cre ati o ns t o br e ak t h e m o n ot o ny of t h e l anguage an d image ry of pass i o nat e

adm i rat i o n be twee n t h e se xe s ? I t is bad e n o ugh t o d e fy all i nd i cat i o ns
of g e nd e r an d d e clar e that n o n e of th e se so nn e ts we r e addr e sse d t o a y o ung
.

man : it is p e rhaps w orse t o say that s o m e a re and so m e a re n ot and t o make an ,

arbitrary se l e cti o n taking o ne s ow n fee lings as t h e e xact m e asur e of t h e

,

poe t s Admirati o n of t h e pe rso nal be auty of his fri e nd is t oo cl o se ly w ove n i nt o

.

t h e so nn e ts t o b e d e tach e d in this way Th e y a re int e rpe n e trat e d with it : i t .

is expre sse d as warmly i n so nne ts wh e n t h e s e x happe ns t o b e un eq uiv ocal ,

as i n oth e rs wh e re t h e rash ne ss of d ogmatic inge nuity is r estrai n ed by n o su c h

accid e nt .

Th e fri e ndsh i p e xpre sse d in S h s so nn e ts was pr obably n o l e ss r e a l than t h e

.

l ove pr ofe sse d f or th e ir mistre sse s by oth e r so nne t ee rs F ri e ndship is n ot quit e .

d e ad e ve n i n th e se d e ge ne rat e days Th e re a re stil l pe0 p 1e a l ive t o wh om t h e

.

warmth of t h e warm e st of S h s so nne ts wo u l d n ot app e ar an e xagge rati o n B ut

.

.

th e re wo uld se e m t o have bee n a pe culiar e xaltati o n of t h e se ntim e nt of fri end

ship am o ng t h e E l i z ab e than poe ts Th e titl e s of E dward s plays a re D a mon
.

a nd P y th i a s and P a la m on a n d Arci te; and in t h e o n e that has b ee n pr e se rv e d

fri e ndsh i p is e xt ol l ed ab ove a ll oth er bl e ssings Th e P a ra di s e of D a i n ty D evi ces .

is full of praise s of fri e ndship Th e dramatists did not h e sitat e t o bring i t

.
"

i nt o c ollisi o n with l ove and t o re pre se nt it as rising i n som e case s high e r than
,

l ove itse lf Marl owe make s E dward I I d e se rt his qu ee n f or t h e sake of Gave

.

st o n and d e clare s that h e wil l rath e r l o se his kingd o m than r e n ounc e his
,

favo rit e I n Ly ly s E nd y mi on E um e nid e s a i rm s that such is his unspo tt ed

.

faith t o E ndymi on that whats oe ve r see m e th a n e edl e t o prick his nge r is a

,

dagge r t o wo und his h ea r t ; and wh e n it is i n his po we r t o obtai n what e ve r h e

as k h e h e sitat e s b e twee n t h e r e c ove r y of his fri e nd E ndymi o n and t h e po s

s,
se ssi o n o f his m istre ss Se m e l e and is nally d ecid ed by an old m an i n fav o ur
,

of t h e f ri e nd S h himse lf has tr e at ed t h e pr obl e m i n his T G V

. . All th e se . . .

that I have m e nti o ned with t h e e xc e pti o n of E dward and Ga v e s t o n we r e case s

, ,

of fri e ndship be twe e n e qua l s Bac o n laid d own that fri e ndship c o u l d n ot e xist
.
38 8 AP P E ND I X
be twee n e qua l s ; and t h e E l iz ab e thans we re fami l iar with t h e o ft e n qu ot e d
fri e ndsh i ps b e twee n Al e xand e r and H e p h aes t i on He rcul e s and H ylas Achil l e s , ,

and P atrocl us S ocrat e s and Alcibiad e s i n which t h e se ntim e nt was e nhanc e d

, ,

by t h e charms of stre ngth o n t h e o n e hand and y o uth and b e auty on t h e oth e r , .

I t is n ot impo ssibl e that t h e i nu e nc e of t h e maid e n qu e e n had s o m e thing t o d o

with t h e laudati o n of fri e ndship i n t h e E li z ab e than a g e ; and t h e re pre se ntatio n
o f w o m e n s parts o n t h e stag e by b oys m a y hav e f o st e r e d t o an unusual d e gr e e

t h e se ntim e nta l admirati o n o f b e autiful y o uths Th i s last i nu e nce c o uld .

hard l y but have a ff e ct e d S h se e ing that h e act ed up t o b oys in that char .

,

act e r and that th e y must o ccasi o nally have cro sse d his mind with th e ir small
,

pip e s and sm oo th and rubi o us lips wh e n h e was c o mp o sing praise s of t h e

b e auty that the y r e pre se nt ed An d it is di ffi cult t o s e e what can have b e e n .

m e ant by t h e e xpre ss i o n S ocra tem i n gen i o a S o crat e s in disp ositi o n i n -

S h s e pitaph if it d oe s n ot p o int t o his s e ntim e nt f or b e autifu l y o ung m e n

.
, .

( Ch a ra cteri s ti cs of E n gli s h P oets pp 2 1 3 , .

F RE D E RI C K J . FU R N I V AL L We re it
fact that many critics re a ll y
: n ot f or t h e
d e se rving t h e nam e of S h stud e nts and n ot S h f ools have h e ld t h e S onne ts t o
.
, .
,

b e m e r e ly dramatic I c o uld n ot hav e c o nc e ive d that p o e ms s o int e ns e ly and

,

e vid e ntly aut o bi o graphic and se l f r e ve ali ng p oe ms s o o n e with t h e spirit -

,

and i nn e r m e ani ng of S h s gro wt h and l ife c o uld e ve r have b e e n c o nc e ived

.

t o b e oth e r than what th e y a r e t h e r e c ords o f his ow n l ov e s and f e ars An d I , .

b e li e ve that if t h e acc e ptanc e of th e m as such had n ot i nvol ve d t h e c on s e

q u e n c e o f S h s i ntrigu e with
.

a marri e d w o man all r e ad e rs w o uld hav e tak e n ,

t h e S o nn e ts as sp e aking o f S h s o w n l if e B ut his admire rs a re s o anxi o us t o

. .

r e m ove e v e ry sta i n fr o m him that th e y c o nt e nd f or a n on natural i nt e rpre ta ,

-

ti o n of his p oe ms Th e y forg e t t h e d i ffe r e nc e i n o pin i o n b e twee n E li z ab e th an

.

and Vict orian time s as t o th o se swee t sins of t h e e sh wh e re what is said t o b e ,

st ol e n is s o wi l lingly give n Th e y f orge t t h e cuckoo c ry ris i ng fro m ne arly all

.

E li z ab e than l it e rature an d that t h e intimacy n ow th o ught criminal was th e n

,

i n c e rtai n circl e s n e arly as c o mm o n as handshaking is with us Th e y f orge t .

S h s impulsive nat ur e and his l o ng abse nc e fr o m his h o m e Th e y wi l l n ot fac e

.
.
,

t h e pr obabi l iti e s of t h e case o r r e c oll ect that D avid was stil l God s fri e nd

th o ugh Bathsh e ba l ive d Th e S o nne ts a re i n one se nse S h s P sa l ms S piritual

.
, , .

.

strugg l e s und e rli e b oth p oe ts work F or myse l f I d acce pt any numb er of

.
,

slips i n se nsual mire on S h s part t o have t h e bursts of ( l oving ) h e art "

.

give n us i n t h e So nn ets .

Th e tru e m ott o f o r t h e rst gro up of S h s S o nn e ts is t o b e see n i n D avid s

.

words I am d istre st f o r th ee my broth e r J o nathan ; ve ry pl e asant hast th o u

,

,

b ee n unt o m e Th y l ove t o m e was wo nd e rfu l passing t h e l ove of wo man

.
, .

We have had th e m re pr od uc ed for us Vict orians with o ut th e ir stain of sin and ,

sham e i n Mr Te nnyso n s I n Mem ori a m We have had th e m again t o s o m e

, .

.

e xt e nt i n Mrs Br owni ng s gl ori o us so nne ts t o h er husband with th e ir it e r

.
,

ance S a y ove r again and y e t o nc e o ve r again that th o u d o st l ove m e

, , We , .

may l ook up o n t h e S o nne ts as a pi ec e of music or as S h s Path e tic S onata e ach , .

,
 G E NE RA L C R I TI C I S M 38 9

m e l ody introd uc e d droppe d again brought i n again with variati o ns but o n e

, , ,

full strain of und ying l ove and fri e nd ship thr ough t h e wh ol e Wh y c ould S h . .

say s o b e autifully f or Ant o ni o of Th e Merch a n t All d e bts a re cl e are d b e twee n ,

y ou and I if I might but s ee y o u at my d e ath : n o twithstand i ng u s e y o ur

, ,

p l easure Wh y did h e make Vi ola d e c l are

And I m ost j ocund apt an d willing l y , , ,

To d o y o u r e st a th o usand d e aths wou ld

, die ?

Wh y d i d h e paint H e l e na al o ne sayi ng
,

pre tty t h oil g h a plagu e

T was

To s ee him e ve ry h o ur ; t o sit and draw

H i s arch e d br o ws his hawking e ye s his cur l s
, , ,

I n o u r h e art s tabl e h e art t oo capabl e

Of e v e ry line and trick o f his swe e t favo ur !

B ut n ow h e s go ne and my id olatro us fancy

Must sanctify his r elics .

B e cause h e himse lf was H e l e na Ant oni o A witchcraft d re w him , . to a b oy ,

a y o uth t o wh om h e gave his
L o ve
with out pre te nsio n or re straint ,

Al l his in d e d icati o n .

Sh . t oward s hi m was as Vi ola D uke He we nt

t owards th e .

Aft e r him I l ove m ore than I l ove th e se e y e s ,

Mor e than my life .

I n t h e S o nne ts w e have t h e ge nt l e Wil l t h e m e lanch ol y mild e ye d man of t h e ,

-
,

D roe sh o ut po rtrait S h s t e nd e r se nsitive re ne d nature is see n c l e ar l y h e re

. .

, , ,

but thr o ugh a gl a ss darkly in t h e plays .

What e ve r th e ir dat e I wish t o say with al l t h e e mphasis I can that i n my

, ,

b e li e f n o one can und e rstand S h w h o d oe s not h old that his S o nne ts a re aut o
.

bi ographical and that th e y e xplain t h e d e pths of t h e so ul o f t h e S h w h o wrot e

, .

t h e play s I kn o w that Mr Br owning is aga i nst this Vi e w and h olds that if

. .
,

S h d i d unl ock his h e art i n his S o nn e ts th e n t h e l e ss S h h e B ut I d
"

.
, . .

rath e r take on this qu e sti o n t h e witn e ss of t h e great e st p oe t e ss of ou r Vi c

, ,

t orian nay of al l tim e y e t and ask wh e th e r s h e was t h e l e ss or t h e gre at e r

, ,

and tru e r E li z ab e th Barre tt Br o wning o r p oe t b e cause s h e unl ocke d h er

, , ,

h e art i n h e r so nn ets o r b e cau s e s h e we nt fo rward and c o nfe sse d t o h e r critics

,

that h e r p oe ms had h e r h ea rt a nd li f e i n th e m th e y we re n ot e mpty sh e lls !

,

( I ntrod ucti on t o t h e L eopold S h a ks pere I I ) , .

AL GE R N ON C S WI N B U R N E : A nam e s o illustri ous has r e c e ntly b ee n ad d e d

.

t o t h e l ist of th e irs w h o disput e o r d e ny t h e supp o siti o n that e ve n in his s o nn e ts

t h e m ost in s crutably imp e rs o nal of p oe ts did actually unl ock his h e art that it
,

might se e m ne glige nt if n ot ins ol e nt t o take n o acc o unt of such antag o nism

t o t h e O pini o n which t o m e see ms s o c le ar l y j ust an d right Mr Br o wning
pe r . .
,
3 66 A P P E ND I X
haps i n a ll p oints t h e furth e st re m oved fr o m Word sworth of a ll p oe ts i n t his
c e ntury cit e s with s o m e thing of a sn e e r t h e we ll kn o wn e xpre ssi o n of Words
,
-

worth which give s us his Opini o n t o that e ff e ct ; a n d as if sc o rnfully r e j ect n ,

a supp ose d sugge sti o n that h e a l so sh ou ld d o l ike wise r e t orts i n a t o n e of as ,

sured d e ance
D id S hake sp eare ? If s o, l e ss S hak e spe a r e h e !
th e

No Imust ve ntur e t o re ply ; no

, nu whit t h e l e ss l i ke S hake sp e ar e but ,

d oubt e dly t h e l e ss l i ke Br o wning E ve n i n d e fault of his p e rso nal and .

art i culat e e vid e nc e t o that eff e ct w e sho uld have gu e sse d that Mr Bro wn i ng ,

was in n o wise wo nt t o unl ock his h e art with any m e tr i cal k e y t o any dire ct

purp o se e xc e pt as it might b e f or o nc e wh e n e xchanging with such

, , , ,

h appy e ff ect a br o n z e f or a silve r instrum e nt B ut S hake spe ar e n ot
,

.
,

b e ing s i mply a gr eat dramatic poe t like Bro wning or like L and or but a
"
,

gr e at dramatist in t h e m ost absolut e and di ff e re ntial se nse of t h e phrase m i ght ,

( it s ee ms t o m e ) b e t h e l ik e li e r and t h e m o r e d e s i r o us und e r c e rtain circum ,

stanc e s which f or us must b e all unc e rtain t o r e l i e ve and disburd e n his m i nd ,

t o unl oad his h eart rath e r than t o u nl ock it i n sh o rt p e rso nal p oe ms of

a kind as a l i e n fr o m t h e spe cial ge nius or spiritual i nstinct of Mr Br o wning .

as is t h e utt e r l y imp erso nal gi ft of impe rso nati o n n ot i n on e f orm at a t i m e ,

b ut i n many f orms at onc e by dint of m or e than dramatic re nunciat i o n or ,

annihilati o n of himse l f which make s him t h e gr eat e st of all dramatists as ,

sure ly as h e is n ot t h e gre at e st of a ll dramatic poe ts *

.

S h ort No t e s on E ng l ish P oe ts Mi s cella n i es pp 1 2 , .

E D WA RD D OWD E N :
stu d e nt of S h is drawn t o t h e S o nn ets n ot al o n e
Th e .

by th e ir ard o ur and d e pth of f ee l ing th e ir f e rtility and c o nd e nsati o n of th o ught , ,

th e ir e xquisit e f e liciti e s of phrase and th e ir fr e qu e nt b e auty of rhythm i ca l ,

m ove m e nt b ut i n a pe culiar d e gree by t h e p o ssibility that h e r e if n owh e re

, ,

e l se t e gr e at e st of E nglish p oe ts may
h ,
as Wordsworth puts it have
unl ock e d his h e art TIt we re strange if his sil e nc e d ee p as that o f t h e s e crets
'

.
,

[ I h i s S t d y f S h S wi b u e a oi d s t h e d i u i o of t h S o
n u o n ts wit h th e
rn v pl t i o sc ss n e nn e ex an a n

u h a p p s t ous p yra m i d f p es u m pt uo
.
,

t h a t u po th m mm t y h l g i

n e s c re o er o r us co en a r as on s n ce

b ed b y t h e C i m m sp ul t i d B oeot i f i li t s d sc h li

ee n rea r i b i
er a n w t ec a on a n an ra n s -
ea o sc o s an o

as t th t
s, o m d a t m n w i ll h p o d o wi
es m an w ill d i t dd t o t h
o e ant ru ct u ub n se an es r e o a e s r e or s

t ra t f m i t o i gl b i k f p oof o d i p f t h m t h ry
c ro ne s n e r c o ED ]
r r s r oo eo r e or eo . .

i t h i t p ta t i o
,

1 Poe ts d i ff f th e So e t as w i d ly as c i t i cs

er n e n er re n o nn s e r .

Wi t h t hi s s a m e k y
e
S h k es pe ke d h i s h ea rt o ce m o e ! '
u l a are n oc n r

D id S h k p ? If t h e l s s S h k pea re h e !
a es ea re so, e a es

S o Mr B ow i g ; t o w h m r p li es M S w i b u e
, . r n n No w h i t t h e l
o e li k e S h k es p are b ut
r . n rn , es s a e .

u d u b t d ly t h li k e B ow i g S m of S h ll y f li g w i t h
" '
n o lee e ss r n n fe ce t o t h e S o ot e e e s ee n re re n nn e s

f o E p i p s y chi d i on
.

m y b gu
a e d f m e t i li
e ss e to b e f u d
ro m o g t h e S t ud i
c r a n n es d o n a n

es r an

ll d P g e ( P t i a l W k s ed F o m 2 3 9 t o w h i h m y a t t e t i o h s b ee n
"
C a n ce e as s a s oe c or . . r an, : 2 c n n a
ca lled b y M E W Go r. . . sse

If y h uld b e cu i ous t o d i s cover an s o r

Wh t her t y ou I m f ri d o l v e e o a a en r o r,

L t th m re d S h k es pe S t a ki n g t h en ce

e t e a a are s on n e s ,

A Wh t t f o t h i d ull i t lli g e ce e s on e r e r n e n

Th t t d w i ll ot cut o l t t h e m gues s
a ea rs a n n . r e
H ow D i ot i m a t h e wi se prop h et es s , .
 G E NE RA L C R I TI C I S M 39 1

of Natur e n e ve r
, nce kne w int e rrupti o n Th e m om e nt h owever we regard
o .
. , ,

t h e S o nn e ts as aut obi o graphica l w e fi nd o ur s e l ve s i n t h e pre se nc e of d o ubts

,

and d i ffi culti e s e xagge rat ed it is tru e by many writ e rs y et c e rtain l y r eal
, , , , .

If w e must e scap e fr o m th e m t h e simpl e st m od e is t o assum e that t h e S on ,

n e ts a re t h e fr ee o utc o m e of a poe tic imagi nati o n ( D e l ius ) It is an i n

.

g e n i o u s sugge sti o n of D e lius that c e rtain gr o ups may b e offse ts fr o m oth e r

poe tica l works of S h Th o se urging a be autifu l y o uth t o pe rpe tuat e his b e auty
.

in off spri ng may b e a d e rivativ e fro m V 89 A th ose d eclaring l ove f or a .

'

dark c ompl exi o ne d w o man may r e hand l e t h e th e m e s e t f orth i n B e row n e s

-

passi o n f or t h e d ark Rosalin e of L L L ; th o se which t e l l of a mistr e ss re . . .

sig ned t o a fri e nd may b e a n on dramatic tr eatm e nt of t h e th e m e of l ove -

and fri e ndship pr e se nt ed i n t h e l at e r sc e ne s of t h e T G V P e rhaps a fe w . . .

so nne ts as I I oI I I re fe r t o circumstanc e s of S h s life ( D yc e ) Th e mai n b ody

, , .

.

of th e se p oe ms may still b e r e gard e d as m e r e e x e rcise s of t h e fancy .

S uch an e xplanati o n of t h e S o nn ets has t h e m e rit o f simp l icity ; it u nti e s n o

knots but cuts all at a b l ow If t h e c oll ecti o n c o nsi sts of disc o nnect e d e xer
.

cise s of t h e fancy w e n ee d n ot try t o r e c o ncil e discre panci e s n or shap e a st o ry

, , ,

n ot asc e rtain a chr o n o l ogy nor id e ntify pe rso ns An d what ind e e d was a
, .

so nn e t ee r s passi o n b ut a paint ed re What was t h e form of ve rse but an

' ?

e xotic curi o usly train e d and t e nd ed i n which an a rticia l se ntim e nt impo rt e d ,

fro m Ita l y gave pe rfum e and c ol o ur t o t h e owe r ?

And y et i n this as i n oth e r f orms t h e poe try of t h e tim e which p o ssesse s
, , ,

a n e n d uring vitality was n ot c o mm on l y c aught out of t h e air but

, h o we v e r ,

l arge t h e c onve nti o na l e l e m e nt i n it may have bee n was b o rn of t h e u ni o n

of h e art a n d imaginati o n : i n it r e a l f ee l ings an d re a l e xpe r i e n c e submit t ing t o ,

t h e p oe tica l fashi o ns of t h e d ay w e r e raise d t o a n id e al e xpr e ssi o n S p e ns e r

, .

wooe d a n d wedd e d t h e E li z ab eth of his Amarem Th e As troph el 69 S tella t e lls .

o f a v e ritab l e trag e d y fata l pe rhaps t o t w o bright l iv e s and passi o nat e h e arts

, .

And what p oe ms of D ru mm on d d o w e r e m e mbe r as w e re m e mbe r t h o se which

r ec or d h ow h e l ove d and l am e nt ed Mary C unni ngham ?
That [ S h ] sh o uld hav e give n admirati o n and l ove with o ut m e asure t o a
.

yo uth high bo rn brilliant acc omp l ish ed w h o singl e d out t h e p l aye r f or pe

, , ,

c uli ar fav o ur wi ll see m w o n d e rfu l o n l y t o th o se w h o kee p a c o nstant guard up o n

,

th e ir aff ecti o ns and t o th o se w h o have n o n ee d t o ke e p a guard at all I n t h e

,
.

Re nasc e nc e e poch am o ng natura l pr od ucts of a tim e wh e n lif e ran swift an d

,

fr ee t o uching with its curr e nt high and di ff i cu l t p l ac e s t h e ard e nt fri e ndship

, ,

of man with man was o n e To e l e vat e it abo ve m e re pe rso na l re gard a kind of

.

Neo P lat o nism was at hand which r e pr e se nt ed B eauty and L ove incarnat e d
-
,

i n a human cr e atur e as e arth l y vic ege r e nts of t h e D ivi n ity I t was th e n n ot .

unc omm o n obse rve s t h e so be r D yc e f or on e man t o writ e ve rse s t o anoth e r

,

,

i n a strai n of such t e nd e r aff ecti o n as fu l ly warrants us i n t e rming th e m ama

I t ru t ed th e i n s t ru t an d w h y h e
ns c c or ,
R b u ked t h i f t pi i t f m lod ye e n an S r o e

O Aga t h n w t li ps w h i h as h e s pok e
'
n o s s ee . c
W th l ly s t a w h e m o
a s as h a s b ok e e ov e r n rn r

Th e oof of d a kn es s i t h gold en d wn
r r , n e a .

H alf hi d d en an d y et b ea uti f ul -
.
39 2 A PP E ND I X
t ory Mo ntaign e n ot pro ne t o tak e up e xtr e m e p os i ti o ns writ e s of his d e ad
.
, ,

E sti e nn e d e la B o t i e with pass i o nat e t e nd e rn e ss which will n ot h e ar of m od e ra

ti o n Th e haughti e st spirit of Italy Mi cha e l Ange l o d oe s h o mag e t o t h e wo rth
. ,
-
,

and b e auty of yo ung To mmaso C aval i e ri i n such words as th e se

H e ave nward y o ur sp i rit stirr e th m e t o strain ;
E e n as y o u w i ll I blush and blanch again

,

F r e e z e i n t h e sun burn n e ath a fr osty sky

, ,

Yo ur w i ll includ e s and is t h e l ord of m i n e .

Th e l e arn e d L angu e t writ e s y o ung P hil i p S i dne y : Yo ur p o rtrait I ke pt

to

with m e s o m e h ours t o f e ast my e y e s o n i t but my app e t i t e was rath e r incr e ase d ,

than diminish e d by t h e s i ght An d S i dne y t o h i s guard i an fri e nd : Th e ch i e f

.

o bj e ct of my lif e n e xt t o t h e e v e rlast i ng bl e ss e dn e ss of h e av e n w i ll always b e

, ,

t h e e nj oym e nt o f tru e fr i e ndsh i p and th e r e y o u shall hav e t h e ch i e f e st plac e

.
,

I n All ot s Wll s Com mon wea lth ( 1 59 8 ) w e r e ad : Th e l ov e o f m e n t o wo m e n

'

is a thing c o mm o n and of c o urse but t h e fri e ndship of man t o man i nn i t e ,

and imm o rtal ( I nd this qu otati o n i n B lz e s Wi lli a m S h a k es pea r e p

'
.
.
,

S om e said J e re my Tayl or live und e r t h e li ne and t h e b e ams of fri e ndship

, , ,

i n that p o siti o n a r e immin e nt and pe rp e ndicular S o m e hav e o nly a dark day .

and a l o ng night fro m him [t h e S u n ] sn ows and whit e cattl e a m i se rabl e l i f e , ,

and a p e rp e tual harv e st o f C atarrh e s and C o nsumpti o ns ap o pl e x i e s and d e ad ,

palsi e s : but s o m e hav e spl e nd i d r e s and ar o matic sp i c e s r i ch w i ne s and we ll ,

dige st e d fruits gr e at w i t and gre at c o urage b e cause th e y dwe ll i n h i s e y e

, ,

and l oo k i n h i s fac e and a re t h e C o urt i e rs o f t h e S u n and wa i t up o n h i m i n ,

his chamb e rs of t h e E ast J ust s o i t is i n fri e ndsh i p Wa s S h l e ss a c o urti e r

. .

.

o f t h e su n than L angu e t or M i cha e l Ang e l o ?

S h of t h e S o nn e ts is n ot t h e S h se r e n e ly v i ct ori o us inn i t e ly charitabl e

. .
, ,

wise with all wisd o m of t h e int e ll e ct and t h e h e art wh o m w e know thr o ugh ,

t h e Tempes t and H en ry VI I I H e is t h e S h of V 59 A and R 69 J . o n his . .

. .

.
,

way t o acquire so m e of t h e dark e xpe ri e nc e of M f or M and t h e bitt e r l e arn .

i ng of T 69 C S h s writ i ngs assure us that i n t h e ma i n h i s e y e was x e d o n

.

. .

t h e tru e e nds of l i f e but th e y d o n ot l e ad us t o b e l i e v e that h e was i n a cc e s

,

sibl e t o t e mptati o ns of t h e se nse s t h e h e art and t h e i maginati o n We can , , .

o nly gu e ss t h e fra i lty that acc o mpani e d such str e ngth t h e r i sks that att e nd e d ,

such h i gh p owe rs imm e nse d e mands on l ife vast ard o urs and th e n t h e v oid , ,

h o ur t h e d ee p d ej e cti o n Th e r e app e ars t o hav e b ee n a tim e i n his li fe wh e n

, .

t h e springs of faith and h o p e had alm ost c e ased t o o w ; and h e r e c ov e r e d th e se ,

n ot by ying fr o m r e al i ty and l if e but by driving h i s shafts d e e pe r t o wards ,

t h e c e ntr e o f thi ngs S o U lysse s was transf orm e d int o P r ospe r o w orldly wis
.
,

d om int o spiritua l ins i ght S uch id e a l purity as Mil t o n s was not p osse sse d

.

n or s o ught by S h Am ong th e se S o nn e ts o n e or t w o might b e sp ok e n by

.
,
_

Me rcut i o wh e n his wit of ch e v e ril was str e tch ed t o an e ll br oad To c om pe n

, .

sat e S h kn e w m e n and w o m e n a good d e a l b ett e r than did Mi lt o n and

.
,

probably n o patch e s in his life a r e quit e as u n p ro t a b ly ugly as som e which

disgur e d t h e l i f e o f t h e gr e at id e al i st H i s daught e r c ou ld l ove and h on our .
 G E NE RAL C R I TI C I S M 39 3

Sh . m e m ory L am e ntab l e it is if h e was tak e n i n t h e t oils but at l e ast w e

s .
, ,

kno w that h e e scape d al l t oils b e for e t h e e n d Ma y w e dare t o c o nj e ctur e .

that C l e o patra qu e e n and c o urt e san black fro m P h oebus am oro us pinch e s
, ,

a lass u nparall e l e d has so m e ki nsh i p thr o ugh t h e imag i nat i o n with t h e

,

dark lady of t h e virg i nal ? Wo uld I had ne ve r se e n h e r s i ghs o u t Ant o ny ;

,

and t h e shr e wd o nl oo ke r E n obarbus r e pli e s 0 sir y o u had th e n l e ft unse e n ,

,

a wo nd e rful p i e c e of work which n ot t o have b ee n bl e st withal wo uld have dis

,

cre dit e d y o ur trav e l .

If S h unl ocke d h i s h eart i n th e se S o nne ts what d o w e l e arn fr o m th e m

.

,

o f that gr e at h e art ? I cann ot answe r oth e rwise than i n words of my ow n

f o rm e rly writt e n I n t h e S o nne ts w e r e c o gn i z e thr ee th i ngs : that S h was
. .

capabl e of m e asur e l e ss p e r s o nal d e voti o n ; that h e was t e nd e rly se ns i tive ,

se nsitive ab o ve all t o e ve ry diminuti o n or alt e rati o n of that l ove h i s h e art s o

eag e rly crav e d ; and that wh e n wr o nge d a l th o ugh h e su ff e re d anguish h e
, , ,

transc e nd e d his pr i vat e inj ury and l e arn e d t o f org i ve , Th e e rr ors of his .

h e art originat e d i n his se nsitive ne ss in his imaginati o n ( n ot at rst inure d t o ,

t h e hard n e ss of d e l ity t o t h e fact ) in his quick c o nsci o usn e ss of e x i st e nc e and

, ,

i n t h e se l f aband o ni ng d evoti o n of his h e art

-

.

( S onn ets of S h I ntr od ucti o n pp 4

12
; , .

J . O . HALL I WEL L P H I LL I PP S : Th e
-
words of Me re s and t h e insignicant ,

re sult of J a g g a rd s e ff o rts wh e n vi e we d in c o nn e cti o n with t h e nature of th e se

strange p oe ms l e ad t o t h e infe r e nce that so m e of th e m we re writt e n in clus

,

t ers and oth e rs as se parat e exe rcise s e ith e r be ing c o ntribut i o ns mad e by th e ir
, ,

writ e r t o t h e albums of h i s fri e nds probably n o t w o of t h e latt e r b e i ng favoure d

,

with id e ntical c o mp ositi o ns Th e r e was n o tradit i o n adve rse t o a b e l i e f in th e ir

. .

fragm e ntary charact e r i n t h e ge n e rati o n imm e diat e l y f oll owing t h e auth or s

d e ath as may b e gath e r e d fr o m t h e arrange m e nt f o und in B e nso n s e d i ti o n of

,

1 6 40 ; and this c o ncl ud e s t h e littl e r e al e vid e nc e o n t h e subj e ct that has d e

sce nd e d t o us I t was r e se rv e d f or t h e stud e nts of t h e pre se nt c e ntury w h o

.
,

hav e asc e rtaine d s o much re spe cting S h that was unsuspe ct e d by h i s ow n .

fri e nds and c o nt e mp orari e s t o disc ove r that his i nn e rm o st e arne st th o ughts
, ,

his m e ntal c o nicts and s o o n a re r e ve al e d i n what wo uld th e n b e t h e m ost

, ,

po we rful lyrics y e t g i ve n t o t h e world B ut t h e vict i m of spiritual e m oti o ns .

that i nvolve cri minat o ry r e e cti o ns d oe s n ot usually protrud e th e m v olu n

t a r i ly o n t h e c o nsid e rati o n of soci e ty ; and if t h e pe rso nal th eo ry b e acc e pt e d , ,

w e must c o nc e d e t h e p o ssib i l i ty of o u r nati o nal dramatist gratuit o usly c o n

fe ssing h lS sms and r e ve aling th o se of oth e rs pr oclaiming h i s disgrac e and ,

avowing his r e pe ntance i n p oe tical circulars distribut e d by t h e d e linqu e nt

,

himse lf am o ngst his m o st intimat e fri e nds .

Th e re a r e n o e xt e rnal t e stim o ni e s o f any d e script i o n i n favo ur of a pe rs o na l

applicati o n o f t h e S o nn e ts whil e th e re a r e abundant d i i c ult i e s arising fr o m
,

t h e r e c e pti o n o f such a th e o ry It w i ll b e obse rv e d that all t h e hyp oth e se s

.

which ai m at a c ompl e t e bi ographica l e xpo siti o n of t h e S o nn e ts n ec e ssitat e

t h e acc e ptanc e of int e rpr e tati ons that a re t oo subt l e f or dispassi o nat e r e a o
3 94 A P P E ND I X
s on er s in t h e f ew instan ce s wh er e th er e is a re asonab l e po ssibi l ity that
. E ve n
S h was thi nki ng of l ivi ng individuals as wh e n h e r e f e rs t o a n unkn own poe ti
'

.
,

ca l riva l or quibbl e s on his ow n C hristian nam e scarc el y any if any light is , , ,

thr own on his pe rso n al fee lings or charact e r .

( Ou tli nes of th e L if e of S h .
, 9t h ed .
, 1 : 1 73

MAR K PATTI S ON : Th e p re e mine nt se ri e s of p oe ms kn own as S h s so nn ets -

.

m ock at criticism and I ca n but e ch o t h e d e spair of

, Ashcr oft Nobl e and ,

say that t h e rank the y h old is such that t o ign ore th e m is imp ossib le and t o ,

tre at th e m ad e quate ly n ot l e ss s o H e re I have o nly t o spe ak of th e m as t o .

f orm Th e y o nly pre se nt an occ a si o na l appr oach t o pe rfe cti o n of type F irst :
. .

ea ch so nn e t d oe s n ot stand ind e pe nd e ntly but r e li e s up o n that which g oe s ,

b e fore or o n that which f oll ows it t o c o mpl e t e t h e impre ssi o n Th e so nn et is

, , .

thus r obb e d of its indiv i duality and be c ome s a st a nz a i n a p oe m To bo rr ow an , .

illustrati o n fr o m archite cture t h e so nne t be c o m e s a h ouse i n a r ow inst ea d of , ,

a palac e satisfying t h e e y e fr om which e ve r sid e it is vi e wed S e c o nd l y : i n t h e .

struggl e of m eani ng and m e l ody with t h e unmall eabl e m e tal of our language ,

S h s so nn e ts sh ow us t h e p oe t fr e q u e nt l y succumbing I n a small numb e r out

. .

of t h e wh o l e 1 54 d oe s t h e p oe t distinctly e m e rg e as mast e r of h i s instrum e nt ,

an d o nly in a v e ry f e w instanc es d oe s h e achi e ve an unc o nt e st e d triumph ove r

t h e obstinat e and unpliant mat e rial Wh e n h e d oe s s o t h e re su l t is a p oe m .
, ,

n otab l e disti ngu i sh e d stampe d with an individuality which cannot b e mis

, ,

take n It was an u n f ort u nat e ch oic e of v e hicl e wh e n S h se l ect e d t h e sonne t

. .

f orm It was a f orm i n which his supe rab o und i ng f o rc e strangl e d itse lf He is
. .

baf ed by t h e language j ust in pr opo rti o n t o t h e po we r of his th o ught S h . .

r eq uir ed fre e d o m and wh e n free h e spo ke E nglish such as no oth e r E nglish

, ,

man e ve r had skill t o utt er B ut t h e so nne t s narr ow b o unds d e mand co n .

d e nsati o n Now t h e formal r equir e m e nt of t e rse e xpres si o n is a b oo n t o wat e ry

.

o r diff use think e rs Th e c o mpr e ssi o n of f o urt ee n lin e s e ff e cts t h e e xpulsi o n of

.

s u pe r u i t i es and l e nds t h e e xt e rna l supp ort o f stays t o a w e akly fram e

,
Quit e .

o ppo sit e is t h e e ff ect of r e strict ed spac e upo n a t e e ming fancy and a r obust

i nt e ll ect I n him f orc e is c o nce ntrat e d t o be gi n with I n his e nd e avo ur aft e r

.
.

stil l furth e r c ompre ssi o n of e ne rgy h e b e c om e s lab oure d inst e ad of pithy , ,

obscur e i nst e a d o f n e rv o us .

As in t h e drama S h ignore d t h e c l assical u n iti e s s o h e will know n othing of

. ,

t h e e stablish e d l aws of t h e so nn e t

I t has bee n said that h e disclaim e d t h e .

small e r ec o no mi e s Ma y it n ot b e that h e did n ot kn ow of th e m ? What h e

"
.

kne w of that h e f oll owe d As i n t h e substance of his ve rse h e f e ll in with t h e

.
,

re igning fash i o n of inge n i o us dist o rti o ns s o in t h e f o rm of t h e so nn e t b e ,

ad opt e d t h e m e trical arrange m e nt of D ani e l with o ut any suspici o n that th e re ,

e xist e d a be tt e r type S h s so nne ts like D ani e l s c o ntai n se ve n rhym e s

*
.
. . , ,

Th e ir analysis is n ot int o an octave and a se st e t but i nt o three ve rse s of f o ur ,

l i ne s e ach cl o se d by a c oupl e t And such has b ee n t h e fam e of t h e se ri e s of

, .

[Th i s ext ra or d i n a ry ug g s es t i o n i s th e more re mark a b l e b em use P tt i a so n h ad ju t m

s e n ti on ed

Si dn e y as a m on g Sh .
'
s

mod els .

ED .
]
 G E NE RA L C R I TI C I S M 39 5
S hak e sp ear e an p oe ms that E ng l ish hist orians of p oe try have t o rec ogni z e t his
,

f orm and t o creat e a n e w spe ci e s t o c ove r it

,
Mi lt o n s distincti o n i n t h e .

hist o ry of t h e so nne t is that n ot ove rawe d by t h e gre at nam e of S h h e e man

, .
,

c i p a t ed this f o rm of p oe m fr o m t h e t w o vic e s wh i ch d e prav e d t h e E li z ab e than

s onn e t from t h e vic e of misplac e d wit in substanc e and of misplace d rhym e ,

i n f orm H e r e c ogni z e d that t h e so nne t b e l o nge d t o t h e p oe try of fe e ling and

.
,

n ot t o t h e p oe try of ing e nuity An d h e saw that t h e pe rf ecti o n of m e trical

.

c o nstructi o n was n ot r e ach e d by tacki ng t oge th e r three f o ur line ve rse s r ound e d -

by a c o up l e t at t h e e n d .

( Th e S on nets of Joh n Mi lton I ntroducti on pp 40 , , .

A WIL S ON VE R I TY : What primari l y d o w e l ook f or i n a p oe m m or e e spe

.
,

c i a lly in a p oe m of gr e at sc o pe ? I supp o se th e r e a r e t w o things of e sse nt i al valu e

p e rf ect harm o ny of e xpr e ssi o n and int e r e st of subj ect Th e p oe m sh o uld b e ar .

criticism fro m t h e standp oint of t h e artist and of t h e m oral i st : it sh o uld b

aw l e ss i n manne r and of vi ta l signicanc e in matt e r What is said t h e way .

it is said : th e se a re t w o cardina l p oints and of th e se twi n e sse ntials t h e latt e r, ,

t o my mind is t h e gr e at e r
,
And if w e ask what sh ould re gulat e t h e e xpre ssi o n
.

o f a p oe m t h e answ e r is simpl e : ab o ve all things w e r e quir e of t h e sing e r a tru e

,

and p e rf e ct s e nse of m e l ody Now from e ith e r standp oi nt

. fro m that of
t h e artist fr o m that of t h e critic of lif e
, wh e th e r w e l oo k t o th e ir mann e r
or t h e i r m a t t e r t h e S o nn e ts of S h a re gr e at with gr e atn e ss unmistakabl e
. .

I t is n ot that w e c o m e acr o ss an e xquisit e pi ec e of ve rbal b e auty fr o m tim e t o

tim e ; e ve ry p oe m r e ach e s a standard unattainab l e save by t h e tru e singe r ;
fr om rst t o l ast it is t h e
Ad ve ntur ous s o ng
That with no middl e ight i nt e nd s t o s oar .

Th e p owe r of t h e l anguage is tax ed its utm ost ; it can d o n o m ore ; its m e rit
to

as a m ea n s of poe tic e xpre ssi o n as an instrum e nt f or t h e e xpre ssi on of a th ousan d

,

varying shad e s of e m oti o n must stand or fall by such passage s as th e se : [40

, ,

1 4 ; 1 1 6 I I O; 7 1 5 8 ; 1 0 2 5 1 2 ; 1 0 7 1 3 ; 86 1
, , , I n l i n e s such as th e se w e
, ,

have t h e last word in f e l icity of e xpressi o n : a n obl e instrum e nt se nds f o rt h its

n ob l e st not e s i n t h e mast e r s hands and if w e ask f or m ore p i e rcing m ore pe r

, ,

f ec t m e l ody of w ords w e must l oo k t o so m e o th e r t o ngu e ; E nglish can give us

,

n othing gr eat e r than this And such passage s a re n ot t h e e xc e pti o n : w e have

.

picked th e m a l m ost at rand o m Ope n t h e S o nn e ts wh e re we will we nd t h e

.
,

sam e u ne rring se nse of what make s f or t h e music that h e ard o nc e ne ve r di e s , ,

fr om our r ec oll ecti o n .

( I ntrod ucti o n t o t h e S o nn ets H en ry I rvi n g S h 8 : 40 4 , .

,

B ARRE TT WEND E LL : E ve n if t h e So nnets b e se lf re ve al ing th e ir se l f re ve l a -

,
-

ti o n take s a ve ry d el ib e rat e shape Nothing c ou l d b e much furth e r fro m a sp on

.

t a n e o u s o utburst than th e se S hakspe r e an stanz as wh o se f orm is am o ng t h e ,

m ost high l y studi ed i n our l it e ratur e D uring t h e E l iz ab ethan p eri od th e r e

.
39 6 A P P E ND I X
we r e at l e ast three we ll d e n e d vari e ti e s of so nne t : t h e l egiti mat e Ita l ian or
-
,

P e trarchan g e n e ra ll y imitat e d by Wyatt S urre y and S i d ne y ; t h e S pe nse rian

, , , ,

i n which t h e syst e m of rhym e s r e se mbl e d that of t h e Fa eri e Qu een e; and that

n ow b e f o r e us wh o s e m o st familiar e xampl e is i n t h e w ork o f S h
,
I f n ot s o .

i ntricat e ly m e l odi o us as th e S pe nse rian so nne t n or y et s o s o n oro usly sustaine d ,

as t h e P e trarchan this S hakspe re an s o nne t is c o nstantly fr e sh vari e d d i g

, , ,

n i e d ,
and ab ov e all idi o matic Wh y c e rt ai n m e trical f o rms se e m sp e cially
.

at h om e in c e rtain language s it is hard t o say ; b ut as sure ly as t h e h e xam e t e r

,

is idi o matically classic or t h e terz a ri ma I talian or t h e al e xandrin e Fr e nch s o

, ,
.
,

t h e blank ve rse lin e of E li z ab e than trag e dy and t h e m e l odi o usly u e nt quatrains

of t h e S haksp e r e an s o nn e t a re idi o matically E nglish .

What e ve r e lse t h e S o nn e ts re ve al th e n th e y sure ly re ve al t h e t e mpe ram e nt, ,

of an artist a t e mp e ram e nt as w e have see n wh i ch is n ot o nly e xquisit e ly

, , ,

s e ns i tive t o e m ot i o nal i mpr e ssi o ns but is f ound t o nd t h e b e st r e l i e f fro m t h e

,

su ff e ring of such se nsitive ne ss in d e lib e rat e stud i e d e xpr e ssi o n of it To , .

phrase an e m oti o nal m ood an artist must as it w e r e cut his nature i n t w o , , .

With part of himse lf h e must c l ing t o t h e m ood i n qu e sti o n or at l e ast re v i ve ,

it at will With an oth e r part of himse lf h e must d e lib e rat e ly w i thdraw fr o m

.

t h e m o od ob se rv e it criticise it and car e fully se e k t h e v e h i cl e of e xpr e ss i o n

, , ,

wh i ch shall b e st se rv e t o c o nve y it t o o th e r minds than his o w n U nd o ubt .

e d ly this pr oc e ss is n ot always c o nsci o us B e yo nd qu e st i o n re markabl e artis .

,

t i c e ff e cts a re s o m e tim es pr od uc e d by m e th ods which se e m t o t h e artist sp o n

t a n e o u s S uch e ff e cts h ow e v e r wo nd e rfu l th o ugh th e y b e a r e in a se nse rath e r
.
, , ,

accid e ntal than mast e rly ; and what e ve r e lse t h e art of S h s S o nn ets may b e .

call e d it is b e yo nd d o ubt mast e rly n ot accid e nta l

, , .

What th e y e xpre ss i n t e rms of e m oti o nal m oods cannot b e much qu e s

, ,

t i o n e d Th e r e al d o ubt aft e r all c o nc e rns o n l y what cause d th e se m o ods ; and

.
, ,

that is a qu e sti o n rath e r of gossip and of scandal of imp e rtine nt curi o sity than , ,

of criticism Wh a t t h e S onn e ts sure l y e xpre ss what n o criticism can take

.

fr o m us is t h e e age rn e ss t h e r e stl e ssne ss t h e e t e rnal l y swe e t suff e ring of a

, ,

l ove r wh o se l ove is of this w or l d L ove sacre d or pr ofan e id e a l i z e s its obj ect

.
, , .

I f this obj e ct b e e arthly or hu man e xp e ri e nc e must nal l y shatt e r t h e id e a l

, .

R e l i gi o n is a c e rtai nty o nly b e cause t h e o bj e ct of its l o ve is a pure id e al wh i ch ,

n othing but change of faith can alt e r So l ong as any hu man b e ing care s pas .

s i o n a t e ly f or anything n ot pur e l y id e al s o l o ng wil l h e sur e l y nd lif e trag i c , .

Th e lasting trage dy of e arthly l ove th e n is what t h e S o nn e ts phrase ; and th i s , ,

th ey phrase i n n o imp e rs o nal t e rms but rath e r i n t h e language of o n e wh o se ,

t e mp e ram e nt as y o u gr ow y e ar by ye ar t o kno w it b e tt e r stands o ut as indi

, ,

vidua l as any in lit e ratur e Th e d e e p d e pre ssi o n t h e acut e su ff e ring t h e

.
, ,

e rc e passi o n which sh o uld n orma l ly re su l t fro m what w e hav e se e n S h se e ms , .

fully t o have kn own I nst e ad of e xpre ssing it h owe ve r i n such w i ld o utbursts

.
, ,

as o n e might naturally e xp e ct h e displays thr o ugh o ut a p o we r of se lf mas,

-

t e ry which give s his e v e ry utt e rance n o matt e r h ow pass i o nat e t h e b e auty

, , ,

of r e strain e d an d mast e r e d artistic f orm .

( Wi lli a m S h a ks pere pp 2 2 6 , .
 G E NE RA L C R I TI C I S M 39 7

GE OR GE WYND H AM p oe t i c th e m es a re gured and d isp l aye d thr ough

:

o ut t h e S o nn e ts by m e ans o f an imag e ry which as in V 69 A and L u crece is

, . .
,

o ft e n s o vividly se i z e d an d s o minut e ly pr e se nt e d as t o e ngr oss att e nti o n t o

t h e pr e j udic e of t h e th e m e I nd ee d at so m e tim e s t h e p oe t himse lf see ms rath e r

.
,

t h e quarry than t h e pursu e r o f his ow n imag e s as it we r e a magic i an h o und e d

by sp i rits of his summ o ning C o nc e its we r e a fash i o n and S h som e tim e s f ol
.
, .

l owed t h e fashi o n ; b ut this charact e ristic of his lyrical ve rse is rath e r a passive
c o nse q u e nc e of such obse ssi o n than t h e re sult o f any d e li b e rat e pursu i t of an
image unt i l it be c o m e s a c o nce it P ut his f or h e r and in L uc rece h e himse lf .

,

d e scribe s t h e proc e ss :
Much like a pre ss of pe op l e at a d oo r ,

Thr o ng h i s inve nti o ns which shall g o be fore .

Th e r e tina of h i s mi nd s ey e , l ike a ch i ld s
that of a man fe ve rish fr o m t h e

, or

e xcit e m e nt of s o m e h i gh day is as it w e r e a shad o w sh ee t o n which i mag e s

,
-
,

r ec e ive d l o ng sinc e r e vive and gr ow t o t h e ve ry act and radiancy of l i fe .

Ta i ne i nsists pe rhaps t oo e xc l usivel y o n t h e vivid imag e ry of S h s v e rse ;

, , .

Mi nt o and Mr s Me yne l l pe rhaps t oo e xclusive ly on t h e mag i c of so und and

.
, ,

asso ciat i o n which spr i ngs fro m his unexpe ct e d c oll ocati o n of words t i ll th e n
unmat ed Th e truth se e ms t o li e i n a fusi o n of t h e t w o th e ori e s Wh e n S h tak e s
. . .

his i mage s fr o m natur e t h e rst e xce ll e nce is pr e d o minant ; t h e se c o nd wh e n

, ,

h e tak e s th e m fr o m t h e occupati o ns of m e n Oft e n i n t h e S o nn e ts h e illus .

, ,

trat e s his th e m e with i mage s fr om i n h e ritance or usury or t h e l aw ; and th e n , ,

h i s e ff ects a re rath e r pr od uc ed by t h e succe ssfu l impr e ssm e nt of t echnical

t e rms t o t h e se rvice of poe try than by t h e r e c ol l ecti o ns th e y re vive of l e gal
proc e sse s
Wh e n t o t h e se ssi o ns of swe e t sil e nt th ought
I summ o n up r e m e mbranc e of things past .

Am ong such occupat i o ns h e draws also up on j o urn e ys navigati o n (80 ,

86 ,
h usbandry m ed icin e si e ge s and a c o urti e r s caree r

(7 1 1 4)
, H e draws also o n t h e arts o f pa i nting ( fre qu e ntly ) of music ( 8 , ,

of t h e stage o n t h e dark sci e nc e s [ 1 4 1 5 o n alch e my ( 33 ) and , ,

distillati o n [ 5 6 54 , Wh e n as i n th e se e xampl e s h e take s his illustra

, , , ,

t i o ns fro m pr ofe ssi o ns and occupati o ns or fr o m arts and sci e nc e s his magic , , ,

n o d o ubt is mainly v e rbal ; b ut it springs fr o m imm e diat e pe rc e pti o n ( as i n t h e

,

case of annua l an d d i urnal change s ) wh e n his image s a re take n fro m subtl e r ,

e ff e cts of se nsu o us appr e ciati o n b e it o f shad o ws of t h e transpar e ncy of wi n , ,

d ows ( 3 , o f r e e cti o ns i n mirr o rs ( 3 2 2 6 2 77 o r of hallucinati o ns , , , ,

i n t h e dark [2 7 43 ,
And this s o urce of his magic is e vid e nt also wh e n as
, , ,

fre qu e ntly h e make s u s e o f j e we ls ( 2 7 34 4 8 52 6 5

,
appar e l ( 2 2 6 , , , , , , ,

t h e r o se ( 1 3 5 54 6 7 9 5 99
, , , t h e grave
, , , 32 7 1 , ,

se pulchral m o num e nts ( 55, 8 1 t h e alt e rnati o n o f su nshin e with sh owe rs

,

( 33 , t h e singing o f birds and th e ir sil e nc e ( 9 7 Re a l ism is t h e ,

n ot e of th e se imaginative pe rce pti o ns as it is wh e n h e writ e s ,

T is n o t e n o ugh that thr ough t h e cl o ud th o u br e a k

To dry t h e rai n on my st orm b eat e n fac e ; -

 39 8
1 A P P E ND I X
1
[a n d 2 3 ,

1 2 0
; 5 , 5 6 ; 60 , 1 ; instanc e s t h e d y er s han d ( 1 1 1 )
73 , 2 whe n h e

and t h e cr o w that i e s i n h e ave n s swee t e st air (7 0 )

a c l u e t o carri o n

or wh e n h e captur e s a vivi d sc e n e of n urse ry c o m e dy I n a ll s uch pas

sage s t h e magic springs fr o m imaginative obse rvati o n rath e r than fr o m u n e x
p e c t e d v e rbal c olloc ut i o n s An d whil e this obse rvati o n is n o l e ss kee n t h e
.
, ,

r e nd ering of it n o l e ss faithfu l than i n t h e e ar l i e r lyrica l p oe ms con cei ts , , ,

th o ugh still t o b e f o und a re fe we r : e g of t h e e y e and h e art (2 4 46

, of t h e
. .
, , ,

f o ur e l e m e nts e arth air re wat e r ( 44 , , and of t h e tast e r t o a k i ng ( 1

, ,

On t h e oth e r hand t h e e l o qu e nt disc o urse o f t h e e arl i e r poe ms b e c o m e s t h e

,

stapl e of t h e S o nn e ts and th e ir high e st e xc e ll e nce It is f or this that w e chi e y .

r e ad th e m Th e charm of S h s ve rba l surprise s

. a lass unparall e l e d
.

multitudino us se as instance d by Mrs Me yne ll o nce n ot e d is re adily

, .
,

r ec ogni z e d but much of his v e rbal m e l ody d e e s analysis Ye t s o m e of it re

, .
,

minding y o u of C hauc e r s divin e l i quidne ss of dict i o n his divine uidity

,

of m ov e m e nt

may b e e xp l ai ne d by that abso l ut e mast e ry h e had ove r
,

t h e rhythmica l u s e of our E nglish acc e nt No oth e r E ng l ish p oe t l e ts t h e .

acc e nt fall s o j ust l y i n acc or d with t h e m e l ody of his rhythm and t h e e mphasis
of his sp e e ch or m e e ts it with a gr e at e r vari e ty of subtly a i li a t e d s o u nds
, .

[Take S o nn e t an d y ou obse rve ( 1 ) t h e us e of ki ndr e d s ou nds of a l lit e rati o n ,

or of ass o nanc e o r of b oth t o mar k t h e principa l str e sse s in any on e l in e ; e g

, . .
,

l in e 1 crea ture s and i ncrea se wh e re b oth a re use d ; l ine 3 ri pe r and ti m e ; line

, , ,

4 , h e i r and bea r; l in e 5 c o n tr a ct e d an
, d b r i g h t; l in e 9 Th on and n o w; an d ,

and this is m ost charact e ristic t h e j uxtap ositi o n of asso nanta l so unds wh ere ,

t w o syllabl e s c o nse cutive but in se parat e w ords a re acc e nt e d with a mark e d

, ,

pause b e twee n th e m : e g line 5 bri ght ey e s ; l i ne 8 too cru el ; l i n e 1 1 b ud

. .
, , , ,

b u ri e s t ; l in e 1 2 m a k s t w a s t e Mr P atm o r e p oints o ut ( E ssay o n E nglish

. .
,

Me trica l La w ) that ordinary E ng l ish phrase s e xhibit a gr e at pre p o nd e rance

of e mphatic and u n e mphatic syl l ab l e s i n c o nse c utiv e c o up l e s and o ur e ight ,

ee n t h c e ntury p oe ts absorb e d in m etr e an d n e glige nt of var i e d rhythm

, ,

trad e d o n th i s f e atur e of ou r t ongu e t o pr oduc e a numb e r of dull iamb i c l ine s

by t h e u se of th e ir bana l tr ochaic e pith e ts balmy
maz y and t h e r e st , ,

, .

S h c o nstant l y vari e s h i s rhythm in t h e S o nn e ts and fr e qu e nt l y by this bring

.
,

ing of t w o acce nt e d sy l lab l e s t oge th e r with a pause b e twee n B ut wh e n h e , .

,

d oe s s o h e e nsure s a c orr e ct d e l ive ry by a f li a t i n g t h e t w o sy ll ab l e s i n sound

, ,

an d p re xi n g t o t h e rst a d el aying wor d which pr e clud e s any scamping of

t h e n e xt e nsuing acc e nt : e g

ow n .

b e fore bright e ye s
.
,

se l f b e fo r e t oo ,

cru e l ,

chur l b e fore m a k s t wast e
"
Cf

e arth

b e f or e sings hymns . .
"

i n 2 9 1 2 ; and 1 5 8 : and wea r th ei r bra ve s ta te o ut o f m e m ory

.
, ,

It is by th i s c o mbinati o n of acc e nt with rhym e that S h l inks t h e l ine s of e ach .

quatrai n i n his S o nne ts int o o n e p e rf e ct m e asure I f y o u e xc e pt t w o [ 1 1 6 an d .

y o u n d that h e d oe s n o t as M ilt o n did aft e rwards , build up his s o nn e t , ,

l ine up o n lin e i nt o one m o n um e nta l wh ol e : h e writ e s three lyr i cal quatrains

, ,

with a pr o no unce d pause aft e r t h e s e c o nd an d a c o upl e t aft e r t h e th i rd Taking .

t h e rst s o nn e t o nc e m or e y ou o bse rve (3 ) t h e bind i ng t oge th er of t h e l ines

,

Ma tth ew Arnold .
 GE NE RA L C R I TI C I S M 399
i n e ach quatrain by passing on a kind re d sound fr o m t h e l ast or m ost imp o r ,

tant acc e nt i n on e line t o t h e rst or m ost imp ortant i n t h e next : e g fr o m

, , , . .
,

2 t o 3 fr o m di e t o r i per by asso nanc e ; fr o m 2 t o 4 fr o m ti me t o ten der by a lli t e r a

, ,

ti n ; fr om t o 7 fr o m f uel t o f
o 6 a m
,
i n e; [e t c ] C f 6 0 6
7: . .
,

Cr awls t o maturity wh e r e with b e ing cr o w n d

'
,

Croo k ed eclipse s gainst h i gl ory ght

s
.

(4 ) F or a furth e r binding t oge th e r of t h e quatrain t h e rhym e or l ast sy l ,

l abl e th o ugh n ot acc e nt e d is oft e n ti e d by asso nance t o t h e rst syllabl e

, , ,

th o ugh n o t acc e nt e d of t h e ne xt lin e : e g line s 3 4 de cea s e h i s ; l i ne s 7 8

, . .
, , , , ,

li es th y s elf ; l in e s 1 0 1 1 S pri n g wi th i n ; lin e s 1 2

-
, ,
1 3 n i g g a r di n g pi ty , , .

S h s e ff e cts of a l lit e rati o n apart fro m this u s e of th e m f or t h e binding t og eth e r

.
,

of t h e quatrain a re at so m e tim e s of a st o n ishing str e ngth

,

Wh e n r oc ks impre gnabl e a re n ot s o s to u t
Nor gates of s tee l so s tro ng but Tim e d e cays ; (6 5 7 8 ) ,
-

a n d at o th e rs o f a strange sw ee tn e ss :

Th e wor l d w i l l b e thy w id ow and still weep (9 5) .

,

Again at oth ers h e use s t h e d e vice antith e tically in disc o urse :

,

We re it n ot thy s ou r lei s ure gave s weet lea ve; (39 1 0 ) ,

a nd his rhythm is at al l tim e s innite ly vari e d ; [c f 1 9 1 4 ; 33 7 ; 86 4 ; 1 1 .

, , , ,

Works of per f e ct art a re t h e t o mbs i n which artists lay t o re st t h e pas

si o ns th e y wo u l d fain make imm orta l Th e m ore pe rf ect th e ir e x e cuti o n t h e .
,

l o nge r d oe s t h e se pu l chre e ndure t h e soo ne r d oe s t h e pass i o n pe rish Only , .

wh e r e t h e hand has falt e re d d o gh o sts of l ove and anguish still c o mplain I n .

t h e m o st of his S o nn e ts S h s hand d oe s n ot falt e r Th e w o nd e r of th e m l i e s

. .

i n t h e art of his poe t ry n ot i n t h e accid e nts of his life ; and within that art
, , ,

n ot s o much i n his ch o ic e of po e t i c th e m e s as in t h e w e alth of his image ry which ,

gr ows and shine s and change s : ab ove all i n t h e pe rf ect e xe cuti o n o f his ve rba l ,

m e l ody That is t h e b ody of which h i s image ry is t h e s o ul and t h e t wo make

.
,

o n e cr e ati o n s o b e autifu l that w e a re n ot c o nc e rn ed with anything but its

b eauty .

m I ntr d ucti n pp cxl vii

( P oe s of S h o o c xxx n ) .
, , . .

GE OR G E B RAND E S : It h as bee n insist e d that l ove f or a be aut i ful y o uth which ,

t h e study of P lat o ha d pre se nt e d t o t h e m e n of t h e Re nai s sanc e i n its m ost a t

tractive light was a standing th e m e am o ng E nglish poe ts of t hat a g e w h o

, , ,

m or e o ve r as in S h s case we re wo nt t opraise t h e be auty of th e ir fri e nd ab ove

'
, .

,

that of t h e i r mistre ss Th e wo man t oo as i n this case oft e n e nt e rs as a dis

.
, , ,

t u rb i n g e l e m e nt int o t h e r e l ati o n It was an acc e pt ed part o f t h e c o nve nti o n

.

that t h e po e t sh ould r e pre se nt himse lf as with e r e d and wri nkl e d what e ve r his ,

r e al a g e might b e ; S h d oe s s o agai n and aga i n th o ugh h e was at m ost thirty

.
,

s e ve n F inally it was qu i t e i n acc ordanc e with u se and wo nt that t h e fair

.
,

y o uth sh ould b e e xh o rt ed t o marry s o that his b e auty might n ot d i e with ,

h i m S h had alre ady p l a ce d such e xh ortati ons i n t h e m outh of t h e God d e ss

. .

of Lov e i n
40 0 A PP E ND I X
All this is tru e and y e t th e r e is n o r e aso nab l e gr o un d f or d o ubting that t h e
,

S o nn e ts stand i n pr e tty cl o se r e lati o n t o actual facts Th e a g e ind ee d d e t e r .

, ,

min e s t h e t o n e t h e c ol oring of t h e e xpre ss i o ns i n which fri e ndsh i p cl oth e s itse lf

, , .

I n Ge rmany and D e nmark at t h e e n d of t h e e i ght ee nth c e ntury fr i e ndsh i p was

, ,

a se ntim e ntal e nthusiasm j ust as in E ngland and Italy d ur i ng t h e sixt ee nth

,

c e ntury it t ook t h e f orm of plat o nic l ove We can cl e arly d i sc e rn h owe ve r .

, ,

that t h e di ff e r e nt m e th ods of e xpr e ssi o n answe re d t o c orr e spo nding shad e s

o f d i ff e r e nc e in t h e e m o ti o n itse lf Th e m e n of t h e Re naissanc e gave th e m
.

se lve s up t o an ad orati o n of fr i e ndsh i p and of th e ir fri e nd which is n ow unkn o wn ,

e xc e pt i n c i rcl e s wh e r e a p e rv e rt e d se xuality pr e va i ls Mo ntaign e s fri e nd .

sh i p f or E st i e nn e d e l a B o t i e and L angu e t s passi o nat e t e nd e rn e ss f or t h e

,

y o uthful P h i l i p S i dne y a re case s in p oint S i r Th o mas Browne wr i t e s i n h i s

, .

Reli gi o Medi ci I ne v e r y e t cast a tru e a ff e cti o n o n a wo man ; but I

have l ove d my fr i e nd as I d o virtu e my s o ul my God I l o v e my fr i e nd

, , .

b e fo re myse lf and y e t m e thinks I d o n ot l o ve him e no ugh : so m e f e w m o nths

, , ,

h e nc e my m ult i plie d aff e cti o n will make m e b e li e ve I hav e n ot l ove d h i m at all .

Wh e n I am fro m him I am d e ad til l I b e with him ; wh e n I am with him I am

, ,

n ot sat i s e d but w o uld stil l b e n e ar e r him

, B ut t h e m ost re markabl e e xampl e .

o f a fr e nz i e d fri e ndship i n R e na i ssanc e cu l tur e and p oe try is und o ubt e dly t o

b e f o und i n Michae l Ange l o s l e tt e rs and s o nn e ts Michae l Ange l o s r e lat i o n t o

.

Me sse r To mmaso d e C ava l i e ri pre se nts t h e m o st i nt e re sting parall e l t o t h e

att i tud e wh i ch S h ad opt e d t owards Will i am H e rb e rt We nd t h e sam e ex

. .

pre ssi o ns of pass i o nat e l ove fr o m t h e Old e r t o t h e y o unge r man ; but h e re i t i s

st i ll m ore u nqu e sti o nably c e rtai n that w e have n ot t o d o with m e r e p oe t i cal g
ure s of spe ech sinc e t h e l e tte rs a re n ot a wh i t l e ss ard e nt and e nthusiast i c than
,

t h e s o nn e ts Th e e xpr e ssi o ns i n t h e s o nn e ts a re s o m e t i m e s s o warm that Micha e l

.

Ang e l o s n e ph e w i n h i s e d i ti o n of th e m alt e r e d t h e w o rd S i g n i ore int o S i g n ora

, , ,

and th ese poe ms li ke S h s we re f or so m e t i m e supp o se d t o hav e b ee n addr e sse d

, .

,

t o a w o man .
( L udw i g v on S ch e ff l e r : Mi ch el An gelo .

As r e gards t h e f o rm t h e rst and m o st o bvi o us r e mark is that i n spit e

, ,

o f th e ir nam e th e se poe ms a re n ot i n r e ality s o nne ts at all and hav e ind e e d

, , , ,

n othing in c o mm o n with t h e so nn e t e xc e pt th e i r f o urt e e n l i ne s I n t h e structure .

o f his s o call e d S o nn e ts S h
-
simply f oll owe d t h e trad i t i o n and c o nve nti o n of his
.

c o untry Th e chi e f d e f e ct i n S h s S o nne ts as a m e tr i cal wh ol e c o ns i sts i n

. .

t h e appe nd e d c o upl e t which hardly e ve r k ee ps up t o t h e l e ve l of t h e b e gi nning

, ,

hardly e ve r pr e se nts any picture t o t h e e y e but is as a ru l e m e re ly r e e ctive , , , ,

and oft e n br i ngs t h e burst of fee ling which an i mat e s t h e poe m t o a fee bl e or ,

at any rat e m o re rh e t or i ca l than poe tic issu e , .

I n actual p oe tic va l u e t h e S o nn e ts a re e xtr e m e ly un e v e n Th e rst group .

u nd o ubt e dly stands l owe st i n t h e scal e with its se ve nt ee n tim e s re pe at e d and ,

vari e d e xh o rtati o n t o t h e fri e nd t o l e ave t h e wor l d a livi ng r e pr od ucti o n of his

be auty Th e y n e c e s s arily e xpre ss but littl e of t h e p o et s pe rso nal fe e ling
.

.

Th e last t w o S o nn e ts i n t h e c oll e cti o n d e aling w i th a c o nve nt i o nal th e m e b o r

,

ro we d fro m t h e antiqu e a re li ke wise e ntire ly impe rso nal

,
Ne xt i n o rd e r .

sta nd t h e S onnets of m ere ly c onve nti o na l inspirati on th ose i n which t h e e y e an d ,

 G E NE RA L C R I TI C I S M 40 1

h eart g o t o l aw with e ach oth e r or i n which t h e poe t p l ays upo n his ow n nam e ,

and his fri e nd s Th e se cannot p o ss ibly c l a i m any high poe tic valu e B ut t h e

. .

p oe ms thus s e t apart f o rm but a small minority of t h e c o ll e cti o n I n all t h e .

oth e rs t h e wav e s o f f ee l i ng ru n h i gh and it may b e said i n ge n e ra l that t h e ,

d ee pe r t h e se ntim e nt and t h e stro nge r t h e e m oti o n th e y e xpre ss t h e m o re a d ,

mirabl e is th e ir f o rc e of dicti o n and th e ir marve l o us m e l ody Th e re a re So nn e ts .

wh ose musical qual i ty is unsurpasse d by any of t h e so ngs introd uc e d int o t h e

plays or e ve n by t h e m o st fam o us and be autifu l spe e ch e s i n t h e p la y s th e m
, o

se lve s Th e fr ee an d l ax f orm h e had ad o pt e d was of e vid e nt advantage t o S h

. .

Th e tr i pl e and quadrupl e rhym e s which i n It a li a n i nv o l ve scarc e ly any d i i

culty or c o nstrai nt wo uld have pr oved ve r y hampe ring i n E nglish As a mat

, .

t e r of fact S h has b ee n abl e t o fo l l o w ou t e ve ry i nspirati o n u nimpe d e d by t h e

, .

shackl e s of an e lab orat e rhym e sch e m e and has achi e ved a rar e c o mbi nati o n -
,

o f t e rse n e ss and harm o ny i n t h e e xpr e ssi o n o f so rr o w m e lanch ol y anguish and , , ,

r e signati o n .

S h s S o nn e ts a r e f or t h e ge ne ra l r e a d e r t h e m o st inacc e ssib l e o f his w orks but

.
,

th e y a re also t h e m ost d i i c ult t o t e ar o n e se lf away fr o m Th e r ead e r w h o .

can r ec oncil e himse lf t o t h e fact that gr e at ge ni use s a re n ot ne c e ssa rily m od e ls

of c orr e ctn e ss wi l l pass a v e ry diff e r e nt j udgm e nt [fr o m Br o wning s t h e l e ss

S hake spe ar e H e wil l f o ll ow with e age r i nt e r e st t h e e xpe ri e nc e s which r e nt

and harr ow e d S h s so u l _H e wil l r e j oice i n t h e ins i ght a ff ord e d by th e se p oe ms
.

.
,

which t h e cr owd ignor e s i nt o t h e t e mpe stu o us e m oti o nal lif e of o n e of t h e gr e at

e s t of m e n H e r e and h e r e al o n e w e s e e Sh himse l f as distinct fr o m his p oe ti

.
, , .
,

cal cr e ati o ns l oving admiring l ongi ng ye ar ning ad oring disappo int ed h u

, , , , , , ,

m i li a t ed t ortur ed H e r e m or e than anywh e r e e lse can w e w h o at a distanc e

, .
,

of thr e e c e nturi e s d o h o mage t o t h e poe t s art f ee l o urse lv e s i n intimat e com

muni on n ot o nl y with t h e poe t but wi th t h e man

, , .

( Wi lli a m S h a kes pea re , 1 : 3 42

TH OM AS R P RI CE : S o s oo n as t h e w orld c e ase s
. se e k i n t h e so nnets f or to
m orb i d d etails of t h e p oe t s bi ography and f or t h e r e ve lati o n of h i s adve nture s

and intrigu e s th ose p oe ms assu m e th e ir tru e valu e as works of art An d if

, .
,

t h e stag e s of a p oe t s artistic d e v e l opm e nt b e in truth t h e v i tal facts of a p oe t s

life th e n t h e so nne ts b e c o m e of m o num e ntal wort h stage s i n t h e attainm e nt

, ,

o f his p e rf e ct art t h e tra i n ing sch oo l of his transc e nd e nt ge nius f or poe tic
,
-

f orm Th e y a re t h e abiding r e c ord of his studi e s i n p oe try

. I n e sse nc e .

t h e s o nn e ts a r e as pur e ly and int e nse ly dramatic as t h e dramas t h e mse lve s .

Th e re is und e r t h e lyrica l f orm t h e sam e m o ve m e nt and pr oc e ss of t h e i magi

, ,

nati o n F or in e ach drama e ach dramatic sp e e ch that t h e poe t cre at e s is

.
, ,

t h e utt e ranc e as c o nc e iv e d by t h e p oe t of so m e imagin e d p e rs o n as e v oked by

, ,

so m e imagi ne d sit uati o n An d i n t h e so nn e ts i n like mann e r f or t h e cr e a

.
, ,

ti o n of e ach so nn e t th e re is t h e situati o n that t h e p oe t i magine s and t h e pe r

,

s o n a li t y that h e p o se s i n t h e situati o n Thus i n tting d ramatical l y t h e styl e .

, ,

i n all its d e tails of language and v er s i c a t i o n t o t h e charact e r and t o t h e s i t ua ,

ti o n as h e imagi n e d th e m h e struck t h e d ee pe st f o untain of lyrical inspirati on

, .
40 2 A P P E ND I X
H e nc e innit e vari e ty and impe rso na l ity of t h e s o nnets th e mse l ve s S h
th e . .

mad e of th e m in t h e mighty studi e s of his y o uth n o trivia] re ve l ati o n of w o

, ,

m e n that had kisse d hi m n or of fri e nds that had be tray e d him but t h e g e n ,

e ra li z e d utt e ranc e of human passi o n Th e charact e rs that h e imagin ed w e r e s o .

p l ac e d i n a se ri e s of imaginary situati o ns as t o e xhibit i n t h e wid e st p ossib l e , ,

range of e m oti o n t h e ful l play of t h e human so ul , .

F or S h himse l f as f or a l l t h e gr e at writ e rs of his tim e t h e chi e f pr ob l e m of

.
, ,

styl e i n t h e p oe tic handling of th e ir E nglish l anguage was t h e dainty ch oic e

, ,

o f w ords . I n S h within t h e c o mpass of t h e so nn ets t h e chi e f charact e r t o

.
, ,

b e n ot e d is t h e wi d e range of his ch o ic e t h e e xibility of his sty l e I n al l t h e , .

so nne ts take n t og e th e r th e re is t h e ave rage of 1 6 % pe r c e nt of f o re ign word s

,

to p e r c e nt of nativ e word s B ut in se para t e so nne ts and in gr oups of s on .

,

n e ts th e re is l arge dive rge nc e fro m this n orma l ave rage Th e pe rc e ntage of

, .

f or e ign words at its l owe st falls t o 7 } p e r c e nt and at its h i gh e st rise s t o 2 6 %

, ,
7
,

p e r c e nt .Th e so nn e ts that sh ow t h e l arg e st e xc e ss of f or e ign dicti o n a re

1 0 7 1 2 5 1 5 6 6 85 1 2 9 1 2 7 4 8
, , , Th e so nn e ts i n which t h e dicti o n is pure st
, , , , , .

a re 4 3 7 3 2 2 2 4 4 2
, , 6 1 9 7 2 9 2 1 40
, S e ve ra l in e ach c l ass a re supre m e l y
, , , , , , .

be autifu l Th e y sh ow with what skill t h e p oe t kne w h ow t o se c ure t h e t o ne of

.

his e m oti o n .

Th e l e ading wo rds of each ve rse we re ch o se n habitua ll y f or th e ir d e l icat e

allit e rative harm o ny with on e anothe r I n c o mp osing t h e so nne ts [S h ] be cam e . .
,

as w e sha ll s ee a l m o st i n fallibl e i n t h e pr o pe r placing of t h e c aesura l pause

, .

Thus as t h e re su l t of t h e c aesura was t o cut t h e ve rse i nt o t w o ha l ve s h e

, ,

f e lt l ike t h e o l de r p oe ts t h e n ee d of l i n ki ng t h e t wo parts by m ost inge ni ous

, ,

harm o ni e s of so und I n many case s this c o uld b e d o ne with out f ormal a lli t e ra
.
,

ti on by t h e c orre sp o nd e nc e of his acc e nt e d vowe l s Apart fr o m this m e ans and

, .
,

apart fr o m th o se innum e rab l e case s i n which a ll it e rati o n is u se d o nl y t o d e c o

rat e a singl e half ve rse th e re is i n t h e s onn e ts carefu l a l lit e rati o n of ve rse
-
,

structur e in 38 pe r ce nt of his ve rse s I n ge ne ra l S h c o nne s t h e pr oc e ss t o t h e .

, .

singl e v e rse ; but in so m e so nn e ts h e binds t o ge th e r by a l lit e rati o n gr oups of

ve rse s e g 8 2 1 0 1 1 ; 7 1 2 3 ; 1 3 5 1 2 ; 1 2 7 2 3 4 ; 1 0 9 6 7
, .
.
,

,

, , , , .

I n a l m ost a ll s o nne ts th e r e is l ack of l ucidity i n syntax l ack of l ogica l p re ,

c i s i on i n t h e arrange m e nt of se nt e nc e s e ith e r a t oo vi ol e nt c o mpr e ssi o n of t h e ,

th ought t o b e expre sse d or an e xc e ssive l oos e ne ss and prolixity I t is h e re that .

t h e y o ung S h sh o ws t h e supre m e mast e r y of his art F or him t h e pe rf e ct p os e

. .
,

of his th o ught up o n t h e s onnet s P r ocrust e an b ed r e v eals ne ith e r cramping

n o r str e tching E xc e pt i n t w o or three passag e s wh e r e t h e t e xt is d o ubtfu l t h e

.
, ,

syntax of t h e so nnets is fau l t l e ss and e ve n l umin o us He has sol ve d i n his s o n .

n e t c o mp ositi o n n ot o n l y t h e pr ob l e m of ch oosing an d gr o uping his se nt e nc e s

-

acc o rding t o th e ir se nsu o us rhythm but a l so t h e pr ob l e m of c o nstructing an d ,

gr ouping his se nt e nc e s acc ording t o th e ir int e l l e ctua l re l ati o ns Thus i n t h e .

,

b e st of t h e s o nne ts ab o ve a l l i n th ose i n which h e has r e ve al ed t h e fu l ne ss of

,

his imaginative p o we r th e re is t h e attainm e nt of t h e high e st p oe tic harm ony

, ,

t h e harm o ny of cad e nc e with e m o ti o n and truth of th ought .

Th e l ast and t h e high e st p oi nt of vi e w fr om which t h e p oe tica l sty l e of S h .

 G E NE RA L C R I TI C I S M 40 3
is t o b e st ud i ed s o f a r as d isp l ayed i n t h e s onne ts is t h e e xt e nt t o which his
, ,

v ocabu l ary is pe netrat e d and c ol ore d by his imagi nati on F or acc ording t o .
,

t h e purp ose t o b e attain e d words ar e t o b e ch o se n e ith e r b e cause th e y i nv ol ve

,

t h e gure and thus transfe r t h e m ove m e nt o f t h e imaginat i o n or be cause , ,

be ing s o far as p ossibl e fr ee d of gu re th e y make th e ir appe a l only t o t h e pure ,

r e aso n I t is in ma ki ng this ch oic e of words be twee n t h e l imits thus give n that

.
,

t h e sty l e of S h sh ows t h e inni t e range of its e m oti o na l variati o n Th e re a r e

. .

i n fact within t h e gr o up of s o nne ts int e rmingl e d with e ach oth e r t w o se ts of

, , ,

p oe ms f orm ed on pri ncipl e s of art that a re fundam e ntal l y dive rse On t h e o n e .

hand c o mpo sed with t h e high e st attainab l e S pl e nd o r of imag i native dicti o n

, ,

th e re a r e p oe ms f orm ed of v e rse s that a re mad e e ach t o sparkl e and c oruscat e

with bri ll iant t ouch e s of natura l p oe try On t h e oth e r hand c o mpo se d i n .
,

wo rds fr o m which a ll t o uch of gure is car e fu l ly withh e l d th e r e a r e p oe ms i n ,

which t h e subt l e p l ay of pure th o ught rising so m etim e s int o inge n i o us c o nc e it , ,

is mad e t o take t h e p l ac e of imaginative f e rvor Wh e th e r a p oe m b e l ongs t o .

t h e o n e or t o t h e o th e r class may b e r oughly t e st e d by t h e pr e se nc e or t h e

abse nc e of c o nsci o usl y sugge st ed g ure Thus am ong t h e so nne ts th e re a re 4 5 .

that may b e fair l y d e scribe d as purpo se ly l e ft bar e of gure and of imagi native
d ec orati on An d th e re a re 44 oth e rs i n wh i ch t h e play of gure is e xc e pt up o n
.
,

cl ose ana l ysis a l m ost i nvisib l e

, I nt e rmingl e d with th e se 8 9 th e r e a re 2 1
.

o th e rs that a re unsurpasse d in human l it e ratur e f o r th e ir c o nc e ntrat e d spl e nd o r

of poe tical image ry I n th e m t h e poe t inst e a d of d e ve l o ping a curi o us th o ught

.
, ,

e mb odi e s an o ve rwh e l ming e m oti o n i n symb ols and gur e s of natura l b e auty , ,

drawn fr o m al l t h e so urc e s of t h e p oetical imagi nati o n Watch f or e xampl e .

, ,

t h e magical e ff e ct of S o nn e t 33 as full orbe d in radianc e it fa ll s i nt o its plac e

, ,
-
,

aft e r t h e m ore subdu e d harm o ni e s of 30 3 1 and 32 An d s o again So nne t 7 3 , , .

, , ,

with its i nc o mparab l e fulne ss of se nsu o us charm is s e t l ike a pre ci ous g e m , , ,

be twee n t h e alm ost unad orned m ove m e nts of S o nne ts 72 and 74 B e twee n t h e .

t w o e xtre m e s that have bee n d e n ed and e xhibit e d th e r e a re 44 s o nn e ts that ,

partake in eve r shifting d e gree s of b oth charact e rs Th e y a re poe ms i n which

, ,
.
,

whil e th e re is m o re or l e ss d e ve l opm e nt of natura l gur e th e re is a l so t h e ,

p ur e ly psych ol ogica l d e light i n situati o n and dramatic m ove m e nt .

( T h e T e chnic o f S h s S o nn e ts S tu d i es i n H on o
.r of B a s i l L

Gi ld ers
, leeve .
,

PP 3 6 3

H C . B E E CH I N G : Th e form of quat orz ai n invariab l y used by S h f or his

. .

so nn ets was n ot t h e strict P e trarchan f orm but one in three q uatrains an d ,

a c o up l e t ; d e vise d it is b e l i e ve d by t h e E a rl of S urr e y w h o wr ot e i n it at l e ast

, , ,

o n e m e m orab l e so nne t Th e soot e se aso n which bud and b l oo m f o rt h brings

,
.

S urr e y s e xamp l e see ms t o have ha d w e ight with t h e E li z abe than critics f or

,

as e ar l y as 1 575 i e b e f ore any of D ani e l s so nnets ha d appeared we n d

, . .

Ge org e Ga sc oign e d e ning t h e so nne t as a p oe m of f o urt ee n l in e s e ve r y

,

line c o ntaining t e n syllabl e s t h e rst twe l ve rhyming in stave s of f our l in e s

,

by cr oss m e tr e and t h e l ast t w o rhyming t oge th e r Th e publicati o n h owe ve r

,
.

, ,

of S idn e y s As tr oph el 89 S tella ( 1 59 1 ) dr e w att e nti o n o nc e m or e t o t h e Italian

 40 4 AP P E ND I X
f orm with its marke d d ivisi o n i nt o octave and se st e t an d b oth D ani e l an d ,

Barne s wh o se sonne ts imm e diat e ly fo ll owe d ( 1 59 2

, u s e d this f orm oc
c a s i o n a lly whil e C o nstabl e use d it a l ways
, I t is th e re f or e signicant that S h . .

sh o u l d have pr e fe rre d t h e f o rm d e vise d by S urre y I cann ot d o b e tt e r than .

q u ot e h e re som e re marks mad e o n this p oi nt by Mr B owy e r Nich ols i n .

*

re futati o n of t h e id e a put f orward by Mark P atti s o n that S h b l und e re d int o .

t his f orm with o ut any suspici o n that th e re e xist e d a b e tt e r type :

Wh e th e r S h c o uld re ad I talian and F re nch may still b e disput e d th ough
.
,

it is t ol e rably ce rtai n that h e had a w orking acquaintance with th e m b oth H e .

may or may n ot have re ad Pe trarch and D e sp o rt e s ; c e rtai nl y h e did n ot b orr ow

wh ol e sa l e i n t h e fashi o n of c o nt e mp orari e s H e must at any rat e have b ee n .

pe rfe ct l y fami l iar with t h e Ital ian type of t h e so nne t i n t h e wo rk of his f e ll ow

c o untrym e n It c ould n ot have b ee n ign o rance or accid e nt ( as it m i ght have
.

b ee n with l e sse r me n l ike Barne s or Gri f n ) which pre ve nt e d t h e gr e at e st of E n g

l ish s onne t ee rs fro m using what h e must have re c ognise d t o b e t h e id e ally m ore
p e rf ect f orm Th e o n l y e xplanati o n se e ms t o b e that h e c onsid e red t h e f orm
.

e v olve d by S urr e y and o th e r E nglish p oe ts t o have o n t h e wh ol e f or E nglish

practice t h e advantage He j udge d as w e may be l i e ve that t h e c l assic sym

.
, ,

m e try of t h e P e trarchan s o nnet was in E nglish t oo di fcult of attainm e nt that ,

it cramp e d i nve nti o n and imp ose d t oo many sacric e s and c o nc e ssi o ns ; and
,

that t h e artistic e n d c o u l d b e tt e r b e achi e ve d in t h e infe ri or m ed i u m q An d

i nd e e d as a matt e r of fact h e ge ts n e are r t o t h e Pe trarchan quality than any

, ,

o th e r so nn e t ee r in t h e d i gn i ty sw e e tn e ss vari e ty and fr e e d o m of his e ff e cts

, , , .

On e w o rd may b e said as t o t h e na l c o upl e t Th e r e is n o d o ubt that .

,

t o an e a r attun e d t o t h e I talian sch e m e this is a dist urbing e l e m e nt I t has an , .

ov e r e mphatic and e pigrammatic e ff e ct

-
It has a l so this e ff e ct at any rat e i n .
,

m ost E li z ab e than writing that t h e m ost marked rhythmica l bre ak c o m e s at t h e

,

e n d of t h e thr ee quatrains at t h e tw e l fth inst e ad of as i n t h e I talian at t h e

, , ,

e ighth l in e Ne ve rth e l e ss t h e c oup l e t has gre at e xpre ssive charact e r and it

.
,

s ums up t h e situati o n or f e e l ing in a way that n o oth e r f orm c o u l d d o :

Now if th ou w oul d st wh e n a l l h a ve give n him ove r

,

From d e ath t o l ife th ou mightst hi m y et rec ove r .

If this b e e rr or and up o n m e pr ove d ,

I ne ve r writ n or n o man e ve r l ove d .

Ke ats f oll owing c e rtain e l d e r e xamp l e s wh e n

, use s t h e E l i z ab ethan f orm , he ,

ru ns on t h e se nse fr o m t h e third stanz a int o t h e c o up l e t ; but it wou l d see m

r e ally m ost i n c o nsonanc e with t h e ge nius of t h e f orm frank l y t o mak e t h e
pause at t h e twe l fth l i ne and this S h I think a l ways d oe s I
,

.
, , .

Th e re ad e r w h o passe s fro m t h e V 89 A or L u crece t o t h e S o nn e ts u n .

.

d oubt ed ly pe rc e ive s a di ff e r e nc e i n p oint of sty l e but it is n ot s o e asy t o d e scribe ,

A Li ttle B ook of S on n ets I n t rod uc t i on p xvi i i .

p
.
, ,
'
. h h
1 M r Ni c o ls n ot es t a t t h e c oi c e a n d h ra c t i ce of Sh . a re c on rmed by Kea ts . h
w ose ear
li e r s o n n et s w e re I t ali an i n f o r m b ut t h e la t er Sh ak es ea r ean
, p .

I Th e p
o n e exce t i o n s e e m s t o b e S 3 5 . .
 G E NE RA L C R I TI C I S M 40 5
as t h e c orres po n d i ng change that cam e ove r S h s m e th od of writing b l ank

ve rse wh i ch can t o a c e rtain e xt e nt be f ormu l at ed e sp e cially in re gard t o t h e

, , , ,

p ositi o n of t h e pause I n t h e so nne ts as i n t h e p oe ms t h e pause c om e s re gu

.
, ,

la r ly at t h e e n d of t h e lin e and a c e ntral pause is rare th o ugh it is occasi o nally

, ,

f ound ; f or i nstanc e i n 6 3 4 ; 1 0 4 3 ; 1 1 6 2 Th e d i ff e re nc e be twe e n t h e poe ms

i

.
, , ,

and t h e So nne ts is large ly a di ff e re nc e of substance ; t h e latt e r impre ss us as

t h e w ork o f a m atur e r mind Th e poe ms with al l th e i r be auty a r e S o m e what
.
, ,

thi n ; t h e matt e r see ms stre tch e d o ut t o t t h e f orm ; whil e i n t h e so nne ts t h e

m o uld of f o rm is e xactly l le d ; th o ught has d ee pe ned ; passi o n has take n t h e
plac e of rh e t o ric and limp i dity is e xchanged f or richne ss I f w e wo u l d nd a
, .

parall e l in t h e plays t o t h e balance of styl e and substanc e th o ught and imagi ,

nati o n that is s o striking i n t h e gr eat e r numbe r of t h e so nne ts w e must t urn

, ,

n ot t o t h e rhym e d sc e n e s of t h e e arly p l ays but t o t h e m o r e lyrica l passag e s

of t h e blank ve rse i n t h e poe t s midd l e pe ri od ; t o such l in e s f or instanc e as th e se

, ,

fro m t h e M V : . .

A day i n Apri l n e ve r cam e s o swee t ,

To sh ow h ow c o stly summ e r was at hand ,

As this f o re spurre r c o m e s be f ore his l o rd ( I I ix

-
, ,

9 3 9 5)

t h e sam e play

Th e r e s n ot t h e sma ll e st or b which th o u b e h old s t

B ut in h i s m oti o n like an ange l sings ,

S til l quiring t o t h e y o ung e ye d ch e rubins ( V 6 0 -

,

( S on ne ts of S h I ntr od ucti o n pp x l viii li

).
, , . .

S I DNE Y LE E : Th ough S h so nne ts a re u ne qua l in l it e ra r y m e rit many r e ach

.

s ,

l e ve ls of l yric m e l ody a n d m e ditative e ne rgy which a re n ot t o be match ed

e l s wh e r e i n poe try
e Num e r o us l in e s like
.

Gilding pa l e stre ams with h e ave nly a l ch e my

Wh e n t o t h e se ssi ons of sweet sil e nt th o ught
see m t o il l ustrat e t h e pe rf ecti o n of human utt e rance If a f e w of t h e poe ms .

sink i nt o inanity be n e ath t h e burd e n of quibb l e s and c o nc e its oth e rs a re alm ost ,

o v e rcharge d with t h e m e ll o w e d sw ee t n e ss of rhyth m and m etr e t h e d e pth of

th o ught and fee ling t h e vividn e ss of image r y an d t h e stim u l at i ng f e rvo ur of

, ,

e xpr e ssi o n which a re t h e n e st fruits of poe tic po w e r .

I n spit e o f t h e vagu e n e ss of int e nti o n which e nve l o ps so m e of t h e poe ms ,

and t h e sl e nd e rn e ss of t h e l inks which bind t ogeth e r many c o nse cutive s o n

ne ts t h e wh ol e c o ll e cti o n is we ll ca l cu l at ed t o cr e at e t h e il l usi o n of a se ri e s
,

o f e arn e st pe rso na l c o nf e ssi o n s Th e c oll e cti o n has c o nse qu e nt l y b ee n o ft e n

.

tre at ed as a se l f e vid e nt e xce rpt fro m t h e p oe t s aut obi o graphy

-
B ut any
.

strictly lit e ral or aut obi ographica l int e rpre tati o n has t o m ee t a f ormidabl e
array o f diff i culti e s Tw o ge ne ral obj ecti o ns pre se nt th e mse l ve s on t h e thre sh
.

old of t h e discussi o n I n t h e rst plac e t h e a u t Ob i og ra p h i c i nt e rpr e tati o n is

.
,

t o a l a rg e ext e nt i n c o n ict with t h e habit of min d and m e th od of w ork which

40 6 A P P E ND I X
a re disc l osed i n t h e re st of S h s achi e ve m e nt I n t h e se c o nd p l ac e it cre dits
.

.
,

t h e p oe t with humiliating e xpe ri e nc e s of which th e re is no hint e lse wh e r e .

On t h e rst p oint l i ttl e m o re n eed s saying than that S h s mind was d o mi

.
,

n a t ed and e ngr osse d by ge nius f or drama and that in vi e w of his supr e m e mas , ,

t e ry of dramatic p o w e r t h e l ik e l ih ood that any pr oducti o n of his p e n sh o uld

,

e mbo dy a g e nui n e pi e c e o f aut obi o graphy is o n a pri ori gr o unds small R o be rt .

Br owning n o m e an psych ol ogi st we nt s o far as t o asse rt that S h ne e r s o

, , .

l ittl e at any po int of his work l eft his b oso m s gat e aj ar and d eclare d him

i ncapabl e of unl ocking his h eart with a S o nn e t k e y That t h e e nerge tic f e r

-
.

vo ur which animat e s many of S h s so nne ts sh o uld be ar t h e living se mblanc e of

.

privat e e cstasy or anguish is n o c o nfutati o n of Browning s vi e w No critic

,

.

of ins i ght has d e ni e d al l t i e o f ki nship be twee n t h e f e rv o ur o f t h e s o nn e ts and

t h e passi o n which is p or tray e d in t h e trage d i e s Th e passi o n of t h e trage di e s .

is i nvar i ab l y t h e dramatic o r o bj ective e xpre ssi o n i n t h e vivid e st t e rms of e m o , ,

t i on a l e xpe ri e nc e which h ow e ve r c o mm o n in human an nals is r e m o t e fr o m

, , ,

t h e dramatist s ow n i nt e r e st or circumstanc e E ve n his t w o narrat i ve p oe ms

.
,

as C ol e ridge po int e d out b etray t h e utt e r a l oofn e ss of t h e p oe t s ow n f ee lings

,

fro m th ose of which h e is at o nce t h e paint e r and t h e ana l yst C e rtainly t h e

.

int e nse passi o n of t h e trage di e s is ne ve r t h e m e r e lit e ra l pre se ntm e nt of t h e

auth or s pe r s o na l or su bj ective e m oti o nal e xpe ri e nce n or d oe s it draw sus

t e na nc e fr o m e piso d e s i n his imm e d iat e e nvir o nm e nt Th e p e rs o na l n ot e i n .

t h e so nn e ts may w e ll o w e much t o that d ramatic instinct which c o uld r e pr o

duc e i ntuitive l y t h e subt l e st th ought and fee ling of which man s mind is

capabl e .

Th e particu l ar c o urse and e ff ect of t h e e m oti o n which S h po rtray ed i n , .

drama we re usua l ly sugge st e d or pre scribed by so m e st o ry i n an hist oric

,

chronicl e or work of cti o n Th e d e tai l e d sch e me of t h e so nn e ts see ms t o stan d

.

o n so m e thing of t h e sam e f oo ting as t h e pl ots o f his p l ays Th e so nn e ts weave .

t ogeth e r and d e ve l o p with t h e ne st poetic an d d ramatic se nsibility th e m e s -

which had a l ready se rved with i n feri or eff ect t h e purpo se s of poe try many
, ,

tim e s b e f or e Th e mat e ria l f or t h e subj e ct mat t e r and t h e sugge sti o n of t h e

.
-

irre gu l ar e m oti o n of t h e so nne ts l ay at S h s c o mmand i n much l it e rature by .

oth e r pe ns Th e ob l igati o n t o d raw o n his pe rso na l e xpe ri e nc e s f or his th e m e

.

o r its d e v e l o pm e nt was l itt l e gr e at e r i n his so nn e ts than i n his d ramas H un .

dr eds of so nnet ee rs had c e l e brat ed i n t h e l anguage of l ove t h e charms o f, ,

yo ung m e n m ainly by way of acknow l e dging th e i r patr onage i n acc ordanc e

with a c o nve nti o n which was pe c u l iar t o t h e pe ri o d of t h e Re naissanc e Th o u
'

sands of poe ts had d e scribe d th e ir su ff e ri ngs at t h e hands of impe ri o us bea uty .

Ot h e rs had f o und f ood f or poe try i n st ori e s of m e nta l c o nict cause d by a

mistre ss s ind e lity or a fri e nd s c oo l ne ss Th e spur of e xamp l e n eve r fail e d

.

t o i ncit e S h s dramatic m use t o activity and at n o pe ri od o f lit e rary hist o ry

.
,

was t h e pre se ntati o n of am orous a d ve nture s m ore oft e n e ssaye d in so nn ets

than by S h s poe tic c o nt e mp orari e s at h o m e and abroad during t h e last
.

d e cad e of t h e 1 6 th c e nt ury To f e w of t h e so nn e ts can a c o ntroll i ng artist i c

.

impulse b e d e ni e d by cr i t i c i sm Th e b e st of th e m rank with t h e rich e st and

.
 G E NE RA L C R ITI C I S M 40 7
m ost c onc e ntrat ed e ff orts of Sh .

s pe n . To pro n ounce th e m a l one of his extant ,

i d e nti ed with t h e tru e st p oe try is

,

tantam ount t o d e nying his auth orship of th e m an d t o dismissing th e m fr o m ,

t h e S hak e sp e ar e an can o n

Th e se c o nd ge n e ra l obj e cti o n which is raise d by t h e th e ory of t h e s onn e ts

aut obi ograph i c s i gnicanc e can b e stat e d ve ry bri e y A lit e ra l int e rpretat i o n .

of t h e poe ms cr edits t h e poe t with a m ora l i nstability which is at varianc e with

t h e t o n e o f al l t h e r e st of his w o rk and is r e n d e r ed bare ly admissibl e by h i s c o n ,

t e mpo rary r e putati o n f or h on e sty Of t h e pangs of d e spised l ove f or a

"
.

w oman which h e pr ofe sse s t o su ff e r i n t h e so nne ts n othing nee d b e said i n this

, ,

co nne cti on B ut a pure ly l it er a l int e rpre tati o n of t h e impassi o ne d pr ot e sta

.

ti ons of a ff e cti on f or a l ove l y b oy which c o urse thr o ugh t h e s o nne ts casts

, ,

a s l ur on t h e dignity of t h e p oe t s nam e which scarc e ly be ars discussi o n Of

.

fri e n d ship of t h e h ealthy manly type n ot his p l ays al o ne but t h e r ec ords of his , ,

bi o graphy give n e and t o uching e xampl e s All his dramatic writing as we l l

,
.
,

as his t w o narrativ e p oe ms and t h e t e stim on i e s of his inti mat e associat e s i n l ife ,

se e ms t o pr ove him incapabl e of such a pe rso na l c o nfe ssi o n of m orbid infatua

ti o n with a yo uth as a lit e ra l int e rpretati o n disc ov ers i n t h e so nne ts
, .

I t is i n t h e light n ot m e re ly of aesth etic appr e ciati o n but of c onge mp ora ry

l it e rary hist ory that S h s so nnets must b e studi e d if on e h ope s t o re ach any
.

,

c onc l usi o ns as t o th e ir pre cise signicanc e which a re e ntit l e d t o c o nd e nce .

Of chi e f imp ortanc e is i t t o r e ali z e that t h e wh ol e v ocabu l ary of a ff e cti o n t h e

c o mm o ne st t e rms of e nd earm e nt oft e n carri ed with th e m in Re naissanc e
or E li z abe than p oe try and e spe cia ll y i n R e naissanc e and E l i z abe than so nn e ts
, ,

a p oetic valu e that is wh ol l y di ff e r e nt fro m any that th ey b ea r t o day Th e -

.

e xamp l e of Tasso t h e chi e f r e pr e se ntativ e of t h e R e naissanc e o n t h e c o ntin e nt

,

of E ur op e i n S h s day sh ows with singu l ar l ucidity h ow t h e l anguage of l ove

.
,

was su ff e re d d e lib erat e ly t o c l oth e t h e c o nve nti o na l r e lati on s of poe t t o a h e lp

f ul patro n Tasso n ot m e re ly r e c ord ed in so nne ts an appare ntly am or o us d e vo
.

ti o n f or his patr o n t h e D uke of F e rrara which is o n l y i nt e llig i bl e in its his

, ,

t or i ca l e nvir o nm e nt but h e also care fu ll y d e scribe s i n pr o se t h e pre cise se nti

,

m e nts which with a vi e w t o r etaining t h e duca l favour h e se dul o usly culti

, ,

y at e d an d p oe ti z e d I n a l ong prose l ett e r t o a l at e r fri e nd an d patro n t h e

.
,

D uke of U rbino h e wr ot e of his attitude of mind t o his rst patro n thus : I

,

c o nd ed i n him n ot as w e h ope i n m e n but as w e trust i n God

, It appe ar ed , .

t o m e s o l o ng as I was u nd e r his pr ot e cti on f ort un e and d e ath had n o p ow e r

, ,

ov e r m e B urning thus with d evoti o n t o my l ord as much as man e ve r di d

. ,

with l ove t o his mistr e ss I b ecam e with out pe rc e iving it a l m ost an i d ol at e r

, , , .

ass
(T o Op , er e P isa 1 8 2 1
,

32 1 3 : Th e re i s practica l id e ntity be twee n
, ,

t h e alt e rnati o ns of f e e ling which n d t o uching v oic e i n many of t h e s o nn e ts

of S h . and th ose which c ol our Tasso s c o nf e ssi o n of his i nt e rc ourse with his

D uke of F e rrara B oth poe ts pr ofe ss f or a man a l ove r l ike id olatry B oth a t
.
-
.

t e st t h e h o p e s and f e ars which his favour e voke s i n th e m with a f ervo ur and ,

int e nsity of e m oti o n which it was o n l y in t h e p owe r of g re at p oe ts t o fe ign .

( S h s S onnets F acsimi l e ed iti on 1 9 0 5 I ntr oducti o n pp 7

.
, , , , .
40 8 A P P E ND I X
WAL TE R RAL E I G H : Th es e S o nne ts by ge n e ra l c o nse nt w ere privat e
, , d oc u
m e nts ; th e y we re n ot int e nd e d by S h f or o ur p e rusal but we r e addr e sse d t o
.
,

i ndiv i duals To say that th e y d o n ot e xpre ss his ow n f ee l i ngs i n his ow n pe r

.

s on

is as much as t o say that th e y a re n ot sinc e r e An d e v e ry l ove r of p oe try .

w h o has o nc e r e ad t h e S o nn e ts kn ows this t o b e u ntru e I t is n ot chi e y th e ir .

S kill that tak e s us captiv e but t h e i nt e nsity of th e ir qui e t p e rso nal appe a l
, .

By virtu e of this th e y h old th e ir p l ac e with t h e gre at e st p oe try i n t h e world ; th e y

a r e rich in m e taph o r and vari o us in m e l o dy but th e se r e s o urc e s of art have ,

b ee n subdu e d t o t h e fe e ling that inspir e s th e m and have give n us p oe ms as ,

simpl e and as m oving as t h e pl e ading voic e of a ch i ld .

No on e wh ose Opi n i o n nee d b e c o nsid e r e d will maintai n that S h s

.

S o nn e ts a r e d e stitut e of f ee ling S o m e wh ose O pin i o ns c l aim r e sp e ct maintai n

.
, ,

that t h e f ee ling which inspir e s th e m has n othing t o d o with th e ir o st e nsibl e

occasi o ns : that th e y a r e fr ee e xe rcise s of t h e p oe tic fancy r o aming o v e r t h e ,

dramatic p ossibiliti e s of lif e and nding d ee p e xpr e ssi o n f or som e of its i m a g

,

i n e d crise s Th o se w h o h o l d this vi e w have n ot tak e n t h e tr o ub l e t o e xp l ai n

.

h ow s o m e of t h e so nn e ts cam e t o b e addr e sse d or se nt t o a n y o n e If t h e .

s o nne t s we re n e ve r se nt h ow did Th orp e g et h old of th e m ? If th e y we re cir

,

c ula t e d am o ng d i sint e r e st e d l ov e rs o f p oe try w o uld n ot s o m e of th e m which , ,

d e al n ot with ge ne ral th e m e s but with pe rso na l r e lati o ns quit e inad e quat e ly

,

e xplain ed b e as u nint e ll i gibl e t o c o nt e mp o rary r e ad e rs as th e y a re t o us ? Th e se

,

a re n ot se lf c o ntain e d p oe ms l i ke D ani e l s s o nn e t o n S l e e p or S idn e y s s on h e t

-
, ,

o n t h e Moo n ; th e y a r e a c o mm e ntary o n c e rtain impl i e d e v e nts I f t h e e ve nts .

had n o e xist e nc e and t h e so nne ts a re se mi dramatic p oe ms it is sur e l y e sse n

,
-
,

tia l t o good drama that t h e s i tuati o n sh o uld b e mad e cl e ar Mor e ov e r t h e s on .

,

ne t f orm was use d by t h e E li z ab e thans w h o f oll o we d th e ir mast e r P e trarch

, ,

e xclusive l y f or p oe ms e xpr e ssiv e of pe rs o na l f ee l ing n ot f or vagu e dramatic ,

fantasi e s .

P oe try is n ot bi ography ; and t h e va l u e o f t h e S o nn e ts t o t h e m od e rn

r e ad e r is i nd e pe nd e nt of all kn ow l e dge of th e ir occasi o n That th e y we re .

mad e fr o m t h e mat e ria l of e xp e ri e nc e is c e rtain : S h was n ot a puny i mitative .

rhym e st e r B ut t h e pr oc e sse s of art have change d t h e t e ar t o a pe ar l which

.
,

re mains t o d e c orat e n ew so rr ows Th e So nn e ts spe ak t o a ll w h o have kn own

.

t h e chanc e s and change s of human l ife Th e ir occasi o n is a thing of t h e past ;

. ,

th e ir th e m e is e t e rna l Th e trage dy of which th e y sp e ak is t h e t opic a n d i n s p i ra

.
o

ti o n of al l p oe try ; it is t h e triumph of Tim e marching re l e nt l e ssl y ove r t h e ,

rui n of h uman ambiti o ns an d h uman d e sir e s I t may b e r e ad i n al l natur e a n d .

i n a ll art. Al l things d ec ay ; t h e kn ow l e dge is as old as tim e and as d ul l as ,

phi l o sophy B ut what a p oignancy it take s fr om its sud d e n r e c ogniti on by t h e

.

h e art :
Th e n of thy b e auty d o I qu e sti o n mak e ,

That th o u am o ng t h e wast e s of tim e must g o .

Th e p oe ms of S h in way m od ify that c onc e pti o n of his charact e r and

. no

t e mpe r wh i ch a d i s c e rning r e ad e r might gath e r fr o m t h e e vid e nc e of t h e plays .

B ut th e y le t us h e ar his voic e m or e dire ct l y with o ut t h e int e rv e ning barri e r ,

 G E NE RAL C R I TI C I S M 40 0

of th e d rama an d th e y furnish us with so m e br ok n hints of

, e st ormy tria l s
th e

and passi ons which h e lpe d him t o his kn owl ed ge of t h e h uman h eart and e n ,

rich ed his plays with t h e fruits of pe rso na l e xpe ri e nc e .

( S h a kes pea re pp , . 87

GE OR G E S AI N TS B U R Y : [ I n t h e S o nn e ts S h ]has a m e dium which is abso l ut e l y .

c onge nial t o him and with which as with b l ank ve rse h e can d o anyt hing h e
, , ,

li ke s With his usual sagacity h e ch oo se s t h e E ng l ish form and pre fe rs its e x

.
,

t r e m e s t vari e ty that of t h e thr ee quatrains and c o upl e t w i th out any i nt e r

l acing rhym e Ne ve rth e l e ss h e give s t h e full s o nne t e ffe ct n ot m e re ly by

.
-

t h e distributi o n ( which h e d oe s n ot always obse rv e th o ugh h e oft e n d oe s ) ,

of octave and se st e t s u bj ect but v e ry mainly by that sam e e xtra o rdinary

,

symph o ni sing of t h e pr o sodic e ff e cts of individua l and batch e d ve rse s which ,

w as his se cr e t i n blank v e rse itse lf If i t se e m surprising that s o diffi cult and.

subtl e a m edium sh o uld b e mast e r e d s o e arly let it b e r e m e mb e r e d that t h e ,

singl e line m o uld pr o pe rly use d is by n o m e ans unsuitabl e t o t h e so nn e t t h e

-
, , ,

e ff e ct of which is d e nit e ly cumulative l It is by this c o mbin e d cumu l ative .

and dive rsifying e ff ec t this b e ating up against t h e wind as it we re that t h e

, ,

ordinary and e xtra o rdinary t ower of th e se s onnets is pr oduc ed ; and this

t owe r is t o so m e re ad e rs th e ir gr e at and i n exhaustibl e charm No matt e r what .

t h e subj e ct is t h e man right fair or t h e w oman c ol o ure d ill t h e incid e nts
, ,

o f daily j oy and chagrin or th o se i ll imitabl e m e ditati o ns o n l ife and l ove and

,

th ought at l arge which e t e rni se t h e m ore e ph e m e ra l things t h e proc e ss , ,

pr o sodic and p oe tic is m ore or l e ss t h e sam e ; th o ugh car e fully ke pt fro m

,

m o n ot ony I n t h e ve ry rst line s th e re is t h e spr e ad and b e ating of t h e wing ;

.

t h e ight rise s t i l l t h e e n d of t h e d o u z ain wh e n it st oo ps or sinks qui e t l y t o t h e ,

c l o se in t h e c o upl e t Th e i nt e rm e diat e d e vic e s by which thi s e ff e ct is pr od uc e d

.

a re as a l ways with S h
,
hard t o p a rticularise H e r e as i n t h e ki ndre d r e gi o n
.
, .
,

of pur e styl e h e has s o littl e mann e rism that it is e asi e r t o appr e h e nd than t o
, ,

analyse his manne r I t may b e a c o n c i d e n ce or it ma y n ot that i n a ve ry large

. , ,

prop ort i o n of t h e O pe nings what w e may cal l a bastard c aesura or e nding of a ,

wo rd with o ut much m e trical scissi o n at t h e third syllabl e pre c e d e s a strict l y ,

m e trica l o n e at t h e f o urt h ( I n oth e r w ords t h e f o urth half f oot is c o nstantly

.
-

m o n osyl l abic L oo k i n thy gl ass

. S
( 3 ) is t h e rst and th e r e a r

e a d oz en . ,

o th e rs i n t h e rst t w o d oz e n s o nn e ts ) Anoth e r p oint is that thr o ugh o ut fu l l

.

, ,

st ops or th e ir e quival e nts i n mid l i ne a re e xtre m e ly rare and e ve n at t h e e n d

-
,

n ot c o mm o n til l t h e twe l fth s o that t h e ru n o f t h e wh ol e is u ni nt e rrupt ed

, , ,

th o ugh its rhythm is c o nstantly d i ve rsi e d Re dundant syllabl e s a re ve ry rare . ,

e xc e pt wh e r e as i n 8 7 th e y a r e accumulat ed w i th e vid e nt purpose Th e

, ,
.

tr i syllabic f oo t th ough use d with wo nd e rful e ff e ct s o m e tim e s is use d ve ry

, ,

sparingly On t h e wh ole S h se e ms h e r e t o hav e had f or his o bj ect or at any

. . ,

rat e t o have achi e ve d as his e ffe ct t h e varying of t h e line with as l itt l e as p os

,

sibl e bre ach or r u f i n g of it He all ows h i mse lf a ash or blaz e of summ e r

.

li ght ning n ow an d th e n but n o fussing with c o ntinua l cracke rs All t h e p r o

,
.

sod ic hand l ing is subdu ed t o give that st e ad y passi onat e musing that
4 1 0 A P P E ND IX
m oti on re c oll e ct ed i n tranqui ll ity
e which is charact eristic of th e b es t
so nne ts an d of his m or e than a l m ost of any oth e rs
, .

(H i s tory of E n gli s h P ros ody , 2 : 59

I t is p ossib l e t o lay rath e r t oo much stre ss on t h e p ossibility of th e re be i ng
n o i nt e rpr e tati o n at al l or ve ry l itt l e ; of t h e S o nn e ts b e ing m e r e ly or main l y , ,

l it e rary e xe rcise s It is of c ourse pe rfe ctly tru e that t h e form at this time
.
, , , ,

was an e xtr e m e l y fashi o nabl e e xe rcise ; and n o d o ubt i n so m e case s a fashi o n , , ,

abl e e xe rcise m e r e ly It is furt he r tru e that gre at as a re t h e p oe tica l m e rits

.
,

and capaciti e s of t h e so nne t hist orically it has b ee n and fro m its nature was , ,

a l m ost fat e d t o b e m or e t h e pr e y of c omm o n f orm than a l m ost any oth e r

,

vari e ty o f p oe tic c o mp ositi o n Th e o ve rp owe ring auth ority of P e trarch start ed .

this c o mm o n f orm ; and his Italian and F r e nch succ e ssors e nlarging it t o a ,

c e rtain e xt e nt st e r e otype d and c o nve nti o nali z e d it e ve n still m or e I t is pe r

, .

f e ct ly p o ssibl e t o sh o w and has be e n we l l sh own by S id ne y Lee that a gr e at

, ,

n umb e r pe rhaps t h e maj ority of so nne t phrase s so nne t th oughts so nne t

, , , ,

o rnam e nts a re simply c oin of t h e so nn e t r e alm which has passe d fr o m hand

, ,

t o hand thr o ugh I talian F r e nch and E nglish and circulat e s i n t h e actual , ,

E l i z ab e than so nn e t like actua l c oin i n t h e b ody p olitic or l ike b l ood i n t h e b ody

physica l Al l this is tru e B ut it must b e re m e mb e re d that al l p oe try d e a l s
. .

m ore or l e ss in this c omm o n f orm this c o mm o n c oi n this circulating ui d of , ,

id e a and image and phrase an d that it is t h e ve ry eth os nay t h e ve ry e sse nce , , , ,

of t h e p oe t t o mak e t h e c o mm o n as if it w e r e n ot c o mm o n That S h d oe s s o . .

h e re agai n and agai n i n wh ol e so nn e ts i n passage s i n l i ne s i n se parat e phrase s

, , , , ,

th e re is a t ol e rabl e agr ee m e nt of t h e c o mp e t e nt B ut w e may with out rash .

,

n e ss g o a l i ttl e fu r th e r e ve n than this That S h had as pe rhaps n o o th e r man

, . .
,

h as had t h e dramatic facu l ty t h e facu l ty of pro j ecting fr o m himse lf thi ngs an d

, ,

p e rso ns which we re n ot himse l f wil l c e rtainly n ot b e d e ni e d h e re B ut wh e th e r , .

h e c o uld cr e at e and ke e p up such a pr e se ntati o n of appar e ntly auth e ntic and

pe rso nal passi o n as e xhibits itse l f i n th e se S o nn ets is a much m ore d i ff icu l t
qu e sti o n t o answe r i n t h e afrmative Th e pre se nt writ e r is incli ne d t o e ch o .

s e ri o usly a l ight r e mark of o n e of Thacke ray s charact e rs on a di ff e re nt mat

ter : D o n t think h e c o u l d d o it D on t thi n k any o n e c ould d o it

.

.

At t h e same tim e it is of t h e rst impo rtanc e t o re c ogni z e that t h e ve ry

,

i nt e nsity of f eel ing c ombine d as it was with t h e m o st e ne rge tic dramatic

, , ,

quality w o u l d a l m ost c e rtain l y i nduc e c o mp l icat e d disguise and m y s t i ca

,

ti o n i n t h e d e tai l s of t h e pre se ntm e nt To att e mpt t o m a n uf a ct ure a b iog .

ra p h y of S h o ut o f t h e S o nn e ts is t o att e mpt t o f oll ow a will O t h e wisp

.
- - -
.

I t is e ve n e xtre m e l y pr obabl e that a numb e r and pe rhaps a l arge numb e r , ,

o f th e m d o n ot c o rr e sp o nd t o any imm e diat e pe rs o na l occasi o n at a ll or o n l y ,

o w e a r e m o t e ( and lit e ral l y occasi o nal ) impuls e th e r e t o Th e str ong a ff e cti on .

f or t h e fri e nd ; t h e unb o und e d th o ugh n ot uncritica l passi o n f or t h e lady ; and , ,

[ Th e re v ers e of t ish g a r u me n t is p res e n ted , th gh ou to th e s a me e ff ec t , by H D . . G R AY ,

P u b l. M
L A , n s , 2 :
. . . : h ad b een
3 6 35 r n a s m uc

If S h
of a s t o w i ti g h ry t he as s e s o nne ts
p
. . .

t e ll, a n d w r i t i n i t as a n g
a nar i m gi y
o r a b o rro w e d or re ec t e d e x e ri e nce , t i s h P i e of D
r nc ra ma
h
t i s t s w o u ld a v e d on e i t b e tt e r

I t in rof e s s or ra
'
s re as o n i n t h e mo e h kP G y g r s ound of th e t wo
B A LE p
. .

S ee a ls o R D Y t o t h e sa m e eff ec t . 4 1 3 b elow ED ] . . .


G E NE RA L C R I TI C I S M 4 1 I

th e stab l ishm e nt of a rath e r unh ol y triang l e by a cross passi on b e tw ee n

e

th e se t w o th e se a re things which with o ut b e ing capabl e of b e ing a ffi rm e d

,

as re sting o n d e m o nstrati o n have a j oint lit e rary and psych ol og i cal pr obab i lity
,

of t h e str o ng e st ki nd All things be y o nd and all t h e incid e nts b e twe e n which

.
, ,

may have start ed or sugge st e d individua l so nne ts a re utt e rly unc e rtain , .

Browning was abso lut e l y j usti ed wh e n h e l aid it d own that i f S h u nl ocke d , .

his h e art i n t h e S o nne ts t h e l e ss S hake spe ar e h e

, .

Th e S o nne ts have s om e m echanica l an d many m ore n ot m echanical , ,

pe culiariti e s Th e chi e f of t h e rst c l ass is a d e vic e of c o nstant l y th ough n ot

.
,

i nvariably be gi nning with a Str ong c aesura at t h e f ourth syl l abl e and a t e nd
, ,

e ncy th o ugh t h e s o nn e t is bui l t up of quatrains alt e rnat e ly rim e d with na l

,

c oup l e t t o put a stil l str o nge r st op at t h e e n d of t h e se c o nd line (wh e re as y e t

, , ,

is n o rim e ) and at e ach se c o nd l ine of th e se n on c o mpl e t ed c oup l ets thr ough

,
-

o ut . Th e p i ec e is thus e l abo rat e l y built up or accumulat e d n ot as so nn e ts on t h e , ,

octave and se st e t syst e m oft e n a re m or e or l e ss c o ntinu o u

, sl y wr ought in e ach
of th e ir t w o divisi o ns or e ve n thr o ugh o ut This arrange m e nt falls i n e xc e l
.

le n t ly with t h e int e nse l y m e ditative charact er of t h e S o nn e ts Th e p oe t see ms .

t o b e e xpl oring ; f ee ling his way i n t h e c o n ict of p a ssi o n and m e ditati o n AS .

fre sh e m oti o ns and m e ditati o ns pre se nt th e mse lve s h e pause s ove r th e m so m e , ,

tim e s e nt e rtaining th e m o nly t o re j e ct th e m or t o qualify th e m l at e r ; so me tim e s

taking th e m c ompl e t e ly t o himse l f E ve n i n t h e m ost articial such as S o nne t
.
,

6 6 wh e r e alm ost t h e Wh ol e is c om po se d of succ e ssive image s of t h e wr o ng way

,

of t h e w o rld e ach c o mprise d i n a l in e and i n e ach b e ginning with and this

, ,

accumulative charact e r is notic e abl e ; and it c o nstitut e s t h e str o nge st app e a l

of t h e gr e at e st e xampl e s Whi l e at t h e sam e time h e avai l s himse l f t o t h e full
.
, ,

of t h e O pp o rtunity giv e n by t h e E nglish f o rm f or a sudd e n turn anti

t h e tic it may b e or it may b e rapidly summari z ing

, , , in t h e na l c oupl e t .

Th e attracti o n of t h e So nn ets alm o st m ore than that of any oth e r poe try
, ,

c o nsists i n t e p e rpe tua l subduing of e ve rything i n th e m

h ve rse th o ught , ,

dicti o n t o t h e req uire m e nts of abso lut e ly pe rfe ct poe tic e xpr e ssi o n F r om t h e .

c o mpl e t e st succ e sse s in which fr o m b e ginning t o e n d th e re is n o we ak p oint

, , ,

such as [So nn e ts 30 and thro ugh th o se which carry t h e pe rfecti o n o nly

part of t h e way such as [So nne t, d o wn t o t h e se parat e batch e s of l ine s
an d clause s which appe ar in all but a ve ry f e w t h e p e culiar infusing and trans ,

f orming powe r of this p oe tical e xpr e ssi o n is sh own aft e r a fashi o n which it has
pr ove d imp ossib l e t o o utvi e Th e pre cise subj e ct (o r pe rhaps it wo u l d b e m ore
.
, ,

c o rr e ct t o say t h e pr e cise obj ect ) of t h e ve rse di s appe ars It c e ase s t o b e a mat .

t e r of t h e slight e st int e r est wh e th e r it was Mr W H or Mistr e ss M F or any . . . . .

b ody or n ob ody at al l s o that we have o n l y an abstracti o n which t h e poe t

,

ch oo se s t o r e gard as c o ncr e t e Th e b e st m ott o f or t h e S o nn ets would b e on e

.

take n fr o m n ot t h e l e ast profound passage of t h e P a ra di s o of D ant e :

Qui si rimira n e ll art e ch ad o rna'

C o n tant o aff e tt o .

And this a d mirati o n of th e art of b ea utifu l e xpressi on n ot o n l y dispe nse s th e

412 A P P E ND I X
r e ad e r fr o m a ll t h e t e di o us an d pr obab l y vain e nquiri e s i nt o particu l ars which
, ,

have be e n glanc ed at but po sitive ly make s him disi ncline d t o pursu e th e m

, .

( Ca m bri dge H i s tory of E n gli s h Li tera ture 5: , 2 30

J UL E S J J U S S E RA ND : It is O pe n t o t h e humb l e st of
. admir ers t o re a d
[ t h e S o nn e ts ] with o ut any pre c onc e ive d Opini o n and t o f orm th e ir o w n u n p re j
u d i ce d j udgm e nt Th e y will nd i n t h e m s o m e what as i n all t h e mast e r s

.
,

works a m i xt ur e of t h e e xquisit e and t h e hid e ous ; pe ar l s and mi re ; so ngs of

,
-

l ove triumphant or d e spa i ri ng id e a l or be stial ; passi o nat e acc e nts s o pi e rcing

, ,

that th e y cann ot c o m e it se e ms but fro m t h e h e art ; d etails that wo uld have

, ,

n o int e r e st if th e y w e r e n ot tak e n fr o m re ality ; and with that c o nc e its w ord , ,

plays samp l e s of C l e v e r craftsmanship imitati o n of o th e rs t h e working ane w

, , ,

o f th o se s o nn e t th e m e s which i n that e p och of am o urists w e r e c omm o n pro p , ,

e rt y ; i n sh o rt a mixtur e of t h e r e al and t h e imaginary such as is t o b e m e t with

, ,

t o s o m e e xt e nt i n all p oe ts inc l uding t h e m o st si nc e r e and which w o uld hav e

, ,

b ee n r e c ogni z e d n o d o ubt in S h t oo we re it n ot f or his privil e ge of e xciting s e n

, , .
,

t i m e n t s e xc e ssive passi o nat e an d abso lut e

, To b e li e ve that e ve rything i n his
, .

s o nn e ts c orr e sp onds t o t h e r ealiti e s of his l ife or t o b e li eve that n othing d oe s , ,

i s e qually ve nture so m e B e cause a p oe t puts i n his verse s a lit e rary re m i ni s

.

c e nc e an i rre ve la n t witticism or b e cause h e tak e s up se ve ra l tim e s t h e sam e

, ,

th e m e som e want him n ot t o have f e lt anything : what a mistake ! It happ e ns

,

t o t h e tru e st p oe ts and t h e m ost sinc e r e ly m ove d t o h e ar th e ir passi o n sing at

, ,

vari o us m o m e nts i n d i v e rs e ke ys t o transcrib e se ve ra l tim e s its chant or

,

p l ai nt and t o mi ngl e it t oo with distant strains h e ard i n days g on e by th e y

, , ,

kn ow n ot wh e re n or fr o m wh ose li ps B ut t h e prim e m ove r has n eve rth e l e ss

,
.

b e e n th e ir passi o n To a d mit that S h s s o nn ets a re m e r e l it e rary e x e rcise s

. .

se e ms imp ossib l e n ot o nly o n acc o unt of th e ir ring and t o n e which b e sp eak

, ,

r e al i t i e s ( th o ugh this has b ee n disput e d ) n ot o n l y b e cau s e it se e ms v e ry i m ,

probabl e that such a se nsitive natur e n e ve r f e l t anything and that having , ,

f e l t s om e thing h e wo uld have avail e d himse l f wh e n writing his l yrics of his

, , ,

b ook l earning rath e r than of his e xpe ri e nce but also b e cause t oo many of t h e ,

facts d eta i l s and i ncid e nts i n s e rt e d by him a re absol ut el y uni nt e r e sting if

, , ,

n ot tru e an d a re m or e ov e r quit e O pp o s e d t o t h e aesth e tics o f t h e g en re t o t h e

, , , ,

cred o o f t h e am o urist o f t h e p oe t w h o writ e s t o e x e rcise his p e n

, .

S o m e thing m o rbid e xha l e s fr o m th e se p oe ms Th e spirit o f t h e R e naissanc e .

is C l e arly disc e rnib l e i n th e m as we ll as an unc o nsci ous and invol untary ,

plat o nism t h e p l at o nism o f P lat o and n ot that of latt e r day c omm e ntat ors
, ,
-
,

t h e re a l on e that which f o r al l th at it r ose as high as t h e cl ouds n on e t h e l e ss

, , ,

struck its r oots b e n e ath t h e miry e arth H e r e t h e r oo ts a re p artly visibl e and .

,

pagans n eve r wr o t e anything m or e pagan than this se ri e s of so nne ts That which .

cause s m ost of t h e p oe t s transp orts a nd e cstasi e s is t h e m e re mat e rial b e auty

of his fri e nd t h e b e auty of his e y e his lips his han d his f oo t

, P hysical , , , .

b ea uty is of such va l u e that it se cure s its own e r pard o n f or e ve ry sin ; physical

ugline ss is t h e fault f or which t h e r e is n o r e missi on AS f or t h e shad owy b e .

y ond S h sp ea k s of it in his sonn ets b ut i n t h e sam e strains as C l audi o or

, .
,
 GE NE RAL C R I TI C I S M 4 3
1

H am l et ; h e d oe s n ot see m t o have e ve n th e ir d oubts ; h e wi ll b e hi d i n d e ath s

d at e l ess night
; t o di e is t o g o
F r om this vil e w or ld with vi l e st wo rms to dwe ll .

No allusi o n t o a C hristian paradise n ot e ve n t o a po ssibl e m e e ting in classical ,

E lys i an F i e l ds ; h e e xpr e ss e s h e r e f e we r h o pe s than t h e pagans th e mse lv e s I f .

his sp i r i t survive s it will b e in t h e m e m o ry of h i s fri e nd

,
If his fri e nd sur .

vive s i t will b e i n his po st e rity and i n t h e poe t s so nne ts At that th o ught a

,

.
,

r eacti o n take s plac e in him as happ e ns s o easily i n t h e change fu l so ul of art i sts ;

,

pe ssimism vanish e s f or a m o m e nt and w e hav e marve ll o us so ngs of triu mph , ,

bursting f orth on t h e d e solat e m oo r str e wn with l ost illusi o ns am o ng t h e ,

grave s of t h e churchyard wh e r e li e b uri e d yo uth h o pe s v i rtu e s He t oo d i s , , .

p o se s of that S upre m e g i ft be auty ; h e can be st ow that hal o t h e m ost spl e ndid

, ,

and durabl e of all ; i n his w r etch e d n e ss wh i ch in t h e abj e cti o n of his h o urs of ,

gl oo m h e fanci e d irr e m e diabl e h e re m e mb e rs that p o we r wh i ch is his : what t h e

,

blind fat e s ab ove and t h e f orce s of nature cann o t d o h e can ; h e ca n b e st ow ,

imm ortality That th o ught is f or hi m t h e mai n c o nsolat i o n ; n e ith e r pri e sts n or

.

ph i l o so ph e rs have taught hi m anything that c o uld soo th e his tr oubl e d h e art ;

t h e Mus e w orks this wo nd e r an d dictat e s t o him his n e st lin e s , .

(A Li tera ry H i s tory of th e E n gli s h P e ople , 3 : 2 34

A C
. B RAD L E Y : Th e so nn e ts t o t h e fri e nd a re s o far as w e kn ow un i qu e i n
.
, ,

Re naissanc e lit e ratur e in b e ing a pr ol o ng e d and vari e d r e c o rd of t h e int e nse

a ff e cti o n of an old e r fri e nd f or a y o unge r and of oth e r f ee lings ar i sing fro m th e ir ,

r e lati o ns Th e y have n o re al parall e l i n any se r i e s im i tative of Vi rgil s se c o nd

.

E cl ogu e or i n occasi o nal s o nn e ts t o patr o ns or patr o n fri e nds c o uch e d i n t h e

,

h i gh ow n language of t h e tim e Th e int e ns i ty of t h e fe e lings e xpr e sse d h ow

-
.
,

e ve r o ught n ot by itse lf t o c o nvi nc e us that th e y a r e p e rso nal

, , , Th e auth o r .

of t h e plays c o uld I mak e n o d o ubt hav e writt e n t h e m o st intimat e of th e se

, ,

p oe ms t o a m e re cr e ature of h i s imagi nati o n and with o ut e v er having f e l t th e m

e xc e pt i n i maginat i o n Nor is th e r e any but an aesth e tic r e as o n why h e c o uld
.

n ot hav e d o n e s o if h e ha d wish e d B ut an aesth e tic r easo n th e re is ; and this .

is t h e d ecisive po int No capab l e p oe t much l e ss a S h int e nding t o pr od uc e

.
, .
,

a m e re l y dramatic se ri e s of poe ms would dre am of inve nting a st o ry like

,

that of th e se s o nne ts or e ve n if h e did of tr e ating it as th e y tr e at it Th e

, , , .

st ory is ve ry od d a nd u nattractive S uch capaciti e s as it has a re but slightly .

d e ve l o pe d It is l e ft obscure and so m e of t h e p oe ms a re unint e lligibl e t o us

.
,

b e cause th e y c o ntai n allusi o ns of which we can make nothing I t is al l .

unnatural we ll nigh incr e dib l y u nnatural if with t h e m o st ske ptical critics

,
-
, , ,

w e r e gard t h e so nn e ts as a fr ee pr od uct of m e re imaginati o n *

.

If th e n th e re is as it app e ars n o o bstacl e of any magnitud e t o o u r taking

, ,

t h e so nn e ts as substantially what th e y purpo rt t o b e w e may naturally l oo k ,

i n th e m f or pe rso nal traits ( and i nd ee d t o r e p e at a r e mark mad e e arli e r we , , ,

might st i ll e xpe ct t o nd such traits e ve n if w e kne w t h e so nn e ts t o b e pur e ly

I d th t M
n B eec h i g i t h e S tra tf d Tow n ed i ti of S h
a r. n , n h as a ls o ur ged or on .

t h es e con s i d e a ti o s r n .
41 4 A P P E ND I X
dramatic ) B ut i n drawing inf r nc s
. hav b r in min d what is imp l i ed
e e e we e to ea '

by t h e q ualicati o n substantia l ly We have t o r e m e mb e r that s ome of th e se

.

p oe ms may b e m e r e e x e rc i se s of art ; t h at al l of th e m a r e poe ms and n ot le t ,

t e rs much l e ss affi dav i ts ; that th e y a re E l i z ab e than p oe ms; that t h e E li z a

,

b e than language o f d e fe r e nce and a l so o f aff ecti o n is t o o ur m i n d s h a b i t ua lly

, ,

e xtravagant and fantastic ; and that i n E l i z ab e than plays fri e nds O pe nly e xpr e ss

th e i r l ove f or o n e an oth e r as E nglish m e n n ow rare ly d o All o wanc e b e ing .

mad e h o we ve r o n acc o unt of th e se facts t h e s o nn e ts will still l e ave t w o

, , ,

stro ng impre ssi o ns that t h e poe t was e xc ee dingly se ns i tive t o f h e charm .

o f b e auty and that h i s l o v e f o r his fri e nd was at l e ast at o n

, e tim e a f e e ling , ,

am o unting alm ost t o ad orat i o n and s o int e nse as t o b e absorbing , Mo st of .

us I supp o se l ov e any human b e ing of e ith e r s e x and of any a g e t h e b e tt e r

, , , ,

f o r b e ing b e autiful and a r e n ot t h e l e ast a sham e d of t h e fact I t is furth e r t h e

, .

case that m e n w h o a r e b e g i nning like t h e writ e r of t h e so nne ts t o f e el tire d , ,

and old a r e apt t o f e e l an i ncr e a se d and sp e cial pl e asur e in t h e b e a uty of t h e

,

y o ung ( Mr B e e ch ing s i llustrati o n of t h e fri e ndship of t h e so nne ts fr o m t h e

. .

fri e ndship of Gray and B o nst e tt e n is w o rth page s of argum e nt ) If w e r e m e m .

b e r i n add i t i o n what s o m e cr i tics app e ar c o nstantly t o f org e t that S h was

, , , .

a particularly p oe tical b e ing w e shall hardly b e surprise d that t h e b e ginn i ng of

,

this fri e ndsh i p se e ms t o hav e b ee n so m e thing l i ke a fall i ng i n l ove ; and if we ,

must ne e ds pra i se and blam e w e sh o uld also r e m e mb e r that it b e cam e a ,

marriag e of tru e m i nds An d as t o t h e i nt e ns i ty of t h e f e e ling e xpre sse d in

.

t h e s o nn e ts w e can e as i ly b e li e v e i t t o b e charact e rist i c of t h e man w h o mad e

,

Val e ntin e and P r o t e us Brutus and C assius H o rat i o and H aml e t ; w h o paint ed
, ,

that strange ly moving p o rtrait of Ant oni o middl e age d sad and alm ost i n d i f ,
-
, ,

f e re n t b e tw e e n l i f e and d e ath but d e vo t e d t o t h e y o ung brill i ant sp e ndthrift

, ,

Bassani o ; and w h o p o rtraye d t h e sudd e n c o mpe l l ing e nchantm e nt e xe rc i se d by

t h e y o ung S e bastian ov e r t h e Ant o ni o of T N . .

S hake sp e ar e t h e Ma n

Oxf ord L ectu res on P oetry pp , , .

E RNE S T S U TH E RL AND B ATE S : No b e tt e r e xamp l e of t h e r e sults t o which a l oss

of t h e cl e ar se ns e of l it e rary va l u e s may l e a d c o uld b e adduc e d than t h e t e n d

e ncy t o c o nf o und t h e imaginativ e va l u e and sinc e rity of S h s s o nn e ts with

.

that t o b e f o und i n t h e wo rk of his c ont e mp orari e s Th e mistake has l arge ly .

arise n fr o m t h e old fashi o ne d t e nd e ncy t o r e gard t h e S hake spe ar ean s on nets

-

as a unit and t o assum e that what can be said of any of th e m app l i e s eq ual l y
,

we l l t o all That s om e of th e m b e l o ng am o ng t h e m ost c onventi o nal and c on

.

c e i t e d s o nn e ts o f t h e c e n t u ry h a s n e v e r b ee n d o ubt e d th o ugh it may b e sai d

~
,

that h e r e as oft e n e l se wh e r e S h was unc o nve nti o nally c o nve nti o nal Wh e n . .

h e tak e s up a c o nv e nti o n h e t e nds t o carry it t o its l ogical e xtr e m e as his con

t e mp orari e s c o uld n ot d o I d oubt if t h e punning s o nn ets on his ow n nam e
.

( 1 35 or t h e s o nn e t tr e ating t h e th e m e o f his l ov e s b e ing paint e d on his

,

ow n h e art can quit e b e e qual l e d f or p e rve rse inge nuity am ong all his con
t e mp orari e s S o t h e oth e r c o nv e nti o na l iti e s that h e ad o pts a re e ith e r unusua l ly
.

i nt e ll e ctuali z e d or u nusually e m oti ona l i z ed .

 G E NE RA L C R I TI C I S M 415
B ut who l e matt e r of t h e c o nc e it s i n S h s so nn ets has r ec e nt l y b ee n e m
th e .

p h a s i z e d m o r e than it d e se rv e s T h e f o llo w i n g a r e practically all t h e imp o r

. ,

tant instanc e s : punning S o nne ts 1 35 1 36 1 43 ; t h e c o nc e it of t h e p ortra i t of

, , ,

h i s b e l oved as paint ed o n his h e art So nn e t 2 4 ; pe rso nicat i o n of e ye s and h e art , ,

S o nn e ts 46 4 7 ; play u po n t h e id e a of t h e f o ur e l e m e nts S o nne ts 44 4 5; e lab o

, , ,
~

rat e l e gal simil e s S o nne ts 46 8 7 1 34 ; pure ly P e trarchist i c c o mplaints of t h e

, , ,

lad y s cru e lty So nn e ts 57 58 1 3 9 1 40 1 49 ; t e nd e ncy t o s e e h i s b e l ov e d i n all

, , , , ,

t h e o bj e cts o f Natur e S o nn e ts 9 8 9 9 1 1 3 1 1 4 ; c o mpariso n o f h i s be l ove d t o

, , , ,

pe 0 p 1e o f t h e past S o nn e ts 59 1 0 6 ; l o ve wracke d sl ee pl e ss nights S o nn e ts

, ,
-
, ,

2 7 2 8 43 6 1 ; t h e e t e rni z ing th e m e lam e ntati o n ov e r t h e passag e of y o uth

, , , ,

and b e auty a nd c o nso lati o n i n t h e th o ught of his b e l ove d s et e rnity in his ow n

,

p oe try S o nne ts 1 5 1 8 1 9 54 55 6 0 6 3 6 4 6 5 8 1 1 0 0 1 0 1 1 0 7 It will b e

, , , , , , , , , , , , , .

se e n that w i th t h e e xc e pti o n of t h e last th e se c o nc e its app e ar i n o nly 2 6 out

, ,

o f t h e t otal c o ll e ct i o n o f 1 54 so nn e ts sure ly a small pr op orti o n I n re gard .

t o t h e e t e rni z i ng th e m e I sh o uld mys e lf have charact e ri z e d it as a natural

,

alth o ugh c o nve nti o nal th o ught rath e r than as a c o nc e it but I plac e it in t h e ,

list o ut of d e fe r e nc e t o Mr L ee t o wh o m it is a so urc e of pe culiar umbrage

.
, .

O n t h e wh o l e t h e surprising fact in c o nne cti o n with t h e S hak e sp e ar e an so nne ts

,

is that c o nv e nti o nal id e as and c o nc e its a r e as f e w as th e y a re H i s was t h e .

l arge st E li z ab e than c oll e cti o n of l ove so nne ts ; y e t n o c o nt e mp orary c oll e cti o n -

o f a quart e r t h e si z e e xists in which t h e r e w i l l n ot b e f o und many m o r e co n

c e i t s and c o nv e nti o nal i ti e s Th e e t e rna l t e ars and s i ghs of t h e l ove r h i s d e spa i r

.
, ,

his l o ng c o ntinu e d dying f or t h e sake of t h e b e l ove d t h e e l se wh e r e o mni

-
,

pr e se nt alt e rnat e re and i c e of t h e l ove r s passi o n and his fears t h e hackne ye d

, [

classical allusi o ns th e s e r e c e ive n o c o unt e nanc e fr o m S h He a l o n e was ne v er

, .

caught in t h e n e t o f his lady s ha i r or impriso ne d i n h e r e y e s ; w e hav e n o e v i

d e nc e fr o m him that S h e was e v e r s i ck or that s h e l i ve d b e s i d e a rive r ; s h e i s ,

n ot sh own t o us in sim i l e s of j e w e ls or pr e ci o us st o n e s On e r e ading S h s

. .

s onn e ts by th e mse l ve s i s l i ke ly t o b e u nduly se ns i tive t o t h e c onc e i ts that a r e

t o b e f o u nd th e r e but o n e r e ading th e m aft e r acquaintanc e w i th t h e w o rk of
,

his c o nt e mp orari e s is c o ntinually surprise d by t h e abse nc e of t h e we ll known -

and expe ct e d phrase ol ogy .

I t had b e c o m e t h e un i v e rsally acc e pt e d sup e rstiti o n of t h e s o nn e t e e rs e v e n ,

as of t h e m od e rn n ov e l that ro mantic l ove is not o nly t h e chi e f bl e ssing of

,

e art hly e xist e nc e but that i t is actually t h e b e al l and e n d all S adne ss so rr ow - -

.
, , ,

and e ve n d e ath app e ar o nly as e xp e ri e nc e s c o nnect e d with l ove b e twe e n t h e

,

se xe s F or t h e typ i cal P e trarchist t o have r e pine d f or any oth e r cause than t h e

.

l oss of his mistr e ss wo uld have see m e d a kind of sacri l e ge I n S h all this is . .

change d Th e m i sfortun e s of lif e a re give n th e ir tru e plac e as r e su l ts fr om many

.

ca use s I n S 2 9 t h e p oe t s so rr ow arise s fr om his se lf d o ubt rec ogniti o n of his

. .

-
,

disgrac e with f o rt un e and m e n s e y e s d e sire f or this man s art and that

,

man s sc o pe ; in S 30 h e be we e ps pre ci o u s fri e nds hid i n d e ath s d at e l e ss

.

night ; i n S 6 6 h e c o nt e mplat e s with bitt e rne ss t h e inj ustice of human l ife ;

.

and i n e ach case t h e th ought of his fri e nd s l ove c om e s t o him as a c o nsol ati o n
.

What c ou l d b e m ore c ompl e t e ly opp ose d t o t h e usua l so nn et ee ring c onve nti ons ?
 4 1 6 AP P E ND I X
To t h e P e trarchist h owe ve r gr e at t h e re al j oys with which h e is surr ound e d
, ,

l ove is su ffi ci e nt t o sp oi l th e m a ll and turn th e m int o se ntim e ntal sorr ow ; t o

S h h ow e v e r gr e at t h e r e al so rr o w his l ove is s u i ci e n t t o mit i gat e it and bring
jc onsolati on L ike ne ss t o the se three sonnets will b e sought in vain am ong all t h e
.
,

oth e r R e na i ssanc e s o nn e t ee rs e xc e pting again Mich e l ange l o ,An d if e ve r .

p oe try carri e d i n its f e at ure s t h e indubitabl e marks of ge nuin e e m oti o n th e se ,

th re e s o nn e ts o f S h and a d oz e n oth e rs in o nly a sl i ghtly l e ss d e gree a re am o ng

.
, ,

t h e n obl e st witn e ss e s of that p owe r i n o urs or any l anguage .

S h s sup e ri or i ty t o his so nn e t ee ring pr e d e c e ssors and c o nt e mp orari e s l i e s

.

th e r e f ore n ot o nly in his unmatchabl e t e chniqu e but also i n t h e gr e at e r truth ,

and d e pth of his attitud e t oward life H i s so nne ts sh o w us f ee lings that a re .

c o nvincing and int e nse ly human ; w e have i n th e m a p re e mine nt e xamp l e of -

imaginative s i nc e rity .

( Th e S inc e rity of S h s S o nn e ts Moder n P h i lology 8 : 1 0 0

.
, ,

J W MAC KAIL :
. . profe ss t o nd in t h e So nne ts a b od y of m eta
Th ose wh o

physical d octrine ; th o se w h o e xtract fro m th e m with as much vi ol e nce t o p s y ,

c h ology as t o t h e rul e s o f e vid e nc e or t o c o mm o n pr o pri e ty a P r oc o p i a n S e cr e t ,

H ist o ry of S h s ow n l ife ; th o se w h o argu e that th e y a re m e re l it e rary e x e rcise s

.

o n a c o nv e nti o nal th e m e ; al l at l e ast agr ee that th e y a re an un e quall e d mast er

pi e c e of imag i native po we r of psych ol ogical skill and pict oria l visi on of mas
, ,

t e ry i n rhythm an d phrase Th e y c ombin e with a p e rf e cti o n of which S h al o n e

.
, .

had t h e se cre t t h e m ost sumptu ous richn e ss with t h e m ost dire ct simplicity
, .

B e sid e th e m t h e wh ol e of that m a ss of E l i z ab e than so nne t lit e rature of wh i ch -

th e y a re t h e crown gr ows pa l e mann e r e d and thin H e r e al l is at a high e r , , .

p owe r ; it is p oe tic quality distil l e d an d c o nc e ntrat e d That this quality is .

mixe d with t h e c o nc e its and mann e risms of t h e a g e is tru e as it is t ru e of al l ,

S h s w ork e ve n at its n e st as it is tru e of Mu ch Ad o or of H a mlet This must

. , .

b e al l ow e d and e ve n e mphasi z e d if w e a r e t o k ee p ou r f ee ling f or S h san e an d .

,

on this sid e id o lat ry It is tru e t oo that in so m e of t h e S o nn e ts S h is so unding

. .

o n a dim a nd p e ri l o us way ; of this h e has giv e n i n w ords wh ich I hav e alr e ady ,

qu ot e d [fr o m S his ow n vindicati o n

. .

Th e c o nce ntrati o n of p oe t ry in t h eS o nne ts is s o gre at its sw ee tn e ss s o c on ,

d e n s e d that w e can o n l y appr e ciat e it fully thr o ugh a so rt o f pr oc e ss of se para

,

ti o n and diluti o n Ro se s damask and r e d

.

says Bac o n in his E ssa y
, ,

of Gard e ns a r e fast o w e rs o f th e ir sm e lls s o that y o u may wa l k by a wh o l e

, ,

r ow of th e m an d n d n o thing of th e ir swee tn e ss Th e y must b e appr oach ed

.

c l o se l y and sing l y if th e ir r oya l sc e nt is t o pr oduc e its ful l e ff ect

, An d .

t h e o n l y way t o app re ciat e t h e S o nn e ts fu ll y is I think t o kn o w th e m by h e art , , ,

t o b e c o m e saturat e d with th e m an d th e n t o le t passage aft e r passage phrase , ,

aft e r phrase l ine aft e r l in e e xpan d and ge rminat e as m e m o ry r e calls it a s s o

, , ,

c i a t i o n t o uch e s it imaginati o n kind l e s it, Th e n an e nhanc e d richn e ss a subt l e r .

,

grac e a m o re e sse ntia l b e auty w i ll a sh up o n that i nward ey e which is t h e

,

b l iss of s olitud e .

(L ectures on P oetry pp 2 0 6 , .
 TH E TE XTS OF 1 60 9 AND 1 6 40

TH E S o nn e ts Quart o was e nt e red o n t h e S tati o ne rs Re gist e r o n Ma y 2 0 1 6 0 9

, ,

i n t h e f oll owing t e rms : Th omas Th orpe E n t red f or h i s c opi e v n d e r t h [h ] a n d e s

of mast e r Wilso n and mast e r L o wn e s Ward e n a B oo k e call e d S hak e sp e ar e s

I t was issu e d as t h e B i bli ography i ndicat e s with t w o imprints

d
s on n e tte s v j .
, , ,

that of J o h n Wright and that of Wi l l iam Aspl e y ; t h e t e xt of b oth a r e id e n

t i cal A singl e e xtant c opy ( n ow in t h e Bridge wat e r L ibrary ) c o ntains a tri
.

i ng variant n ot e d in t h e t e xtual n ot e s f or 7 8 6 ; and t h e e xtant c opi e s also d i f ,

f e r i n t h e catchw o rd at t h e b o tt o m of f o l i o F 3 recto circumstanc e s which , ,

as S i r S idne y Le e obse rve s illustrat e t h e c o mm o n practic e am o ng E li z ab e than

,

print e rs of binding up an unc o rr e ct e d sh ee t aft e r t h e sh ee t has b ee n c orre ct e d , .

( S on nets 1 9 0 5 p 46 n ) Th e t e xt as give n i n this qua r t o was re print e d by

, , . .

Li n t o t t i n 1 7 0 9 1 0 by S t ee v e n s in 1 7 6 6 an d by Mal o n e ( 1 7 80 and 1 7 9 0 ) w
-
, i th ,

many c orre cti o ns It s auth ority and accuracy r e maine d practically und i s
.

cusse d u nt i l t h e l g t h c e ntury and e ve n th e n we re c o ns i d e r e d f or t h e m ost part

,

o nly in c o nn e cti o n with t h e qu e sti o n wh e th e r S h auth ori z e d t h e publ i cati o n .

and wh e th e r t h e quart o arrange m e nt of t h e S o nne ts is of s i gnicanc e I t .

was f or this purp o se that K N I G H T was led t o o bse rv e : Th e e d i t i o n of 1 6 0 9 a l

,

th o ugh take n as a wh ol e n ot ve ry inaccurat e is full of th o se typ ograph i cal

, , ,

e rr o rs which invariab l y o ccur wh e n a manu s cript is put int o t h e hands of a

print e r t o d e al with it as h e pl e ase s with o ut r e fe re nc e t o t h e auth or or t o any

, ,

c o mpe t e nt e dit o r upo n any d o ubtful p o ints Mal o ne i n a n ot e upo n t h e 7 7 t h

, .
,

S o nn e t ve ry truly says Th i s th ei r and th y a r e s o oft e n c o nf o und e d i n th e se

, , , ,

S o nne ts t hat i t is o nly by att e nding t o t h e c o nt e xt that w e can di s c ove r which

,

was t h e auth o r s wo rd H e is spe ak i ng of t h e o riginal e diti o n It is e vid e nt

.

.
,

th e re f o re that in t h e pro gre ss of t h e b oo k thro ugh t h e pr e ss th e re was n o o n e

,

capabl e of d e ciph e ring t h e o bscurity of t h e manuscript by a r e gard t o t h e Co n

t e xt Th e manuscript in all probab i lity was mad e up of a C o py of c o pi e s ;
. .
, ,

s o that t h e pr i nt e r e ve n was n ot r e spo ns i bl e f or th o se e rr o rs which s o cl e ar l y

sh o w t h e abse nce of a pre siding mind i n t h e c o nduct of t h e printing (P i c .

tori a t S h 6: I n c o mparative ly re c e nt t im e s t h e sam e lin e o f argum e nt

was d e ve l o pe d by R OL F E with spe cia l e mphasis o n t h e printing of S 1 2 6 ( s e e
, .

t h e c o mm e nta r y ) .

S TAUN TO N i n c o nn e cti o n wit h his h e r o ic e ff o rts t o c o rr e ct t h e S h t ext i n

, .

ge n e ral gave att e nti o n t o t h e S o nn e ts and wh e n pr e se nting his e m e ndati ons

, , , ,

r e marke d : Th e S o nne ts carry all t h e appe aranc e o f h aving b ee n put i n typ e

fr o m Co py much damage d and in many p l ac e s ill e gibl e This wo uld b e t h e

, .

natural c o nditi o n of wr i tings whi ch had b ee n c o pi e d and re c o pi e d f or a d oz e n -

y e ars . At t h e sam e tim e th e y d o n ot appe ar t o h ave b e e n se nt t o pr e ss

,

with o ut e xami nati o n by a qua l i e d p e rs on Th e m etrical arrange m e nt is re .

4 1 8 AP P E ND I X
m a rk a b ly fr ee fr om e rr or and it w o u l d see m as i f t h e e dit or had take n s om e
,

pains t o supply t h e d e ci e nci e s of t h e MS i n oth e r r e spe cts [Th e mis . .

pri nts ] a r e s e ld om utt e rly n o nse nsica l or abso lut e l y n e gligib l e like t h e b l und e rs , ,

o f a stupid o r n e glig e nt typ o graph e r but t h e tru e e xpr e ssi o n o r what w e may , ,

supp ose t o have b ee n s o is supe rsed e d by an oth e r m o re or l e ss re se mbling it

, ,

i n f orm (Ath en ceu m J an 3 1 8 7 4 p

. D OWD E N gave c omparative l y l ittl e
, .
, , .

att e nti o n t o t h e t e xt ; h e o bse rve s h oweve r that t h e quart o th ough n ot

, , ,

car e l e ss l y print e d is far l e ss accurat e than V Ea A taking this t o b e e vid e nc e

, .

that it had n e ith e r t h e supe rint e nd e nc e n or t h e c o nse nt of t h e auth or

.

( I ntr o p TY L E R S stat e m e nt is that t h e b oo k is n ot print e d quit e s o

.
, .

accurat e ly as was p o ss ibl e at t h e tim e but stil l it is print e d fair l y we ll It is , .

pr e tty e vid e nt that S h d i d n ot c orr ect succ e ssive pr oofs but o n e n ee d n ot g o

.
,

s o far as t o think it impo ss ibl e that h e fur n ish e d t h e MS ( I ntro pp . .

, .

1 36

It was r e se rve d f or WYND H AM i n his e diti o n of t h e P oe ms t o u nde rtake t h e , ,

vind i cati o n of t h e quart o t e xt I n particular h e maintains that t h e print e r s .

,

u s e of capita l s and italics was much l e ss e rratic than has b e e n g e n e ra l ly as

sum e d a matt e r of s o m e im po rtanc e f or particular passage s (s e e c omm e ntary

, ,

n ot e s o n 1 2 ; 2 0 7 ; 1 2 5 , C apitals f or instanc e a re use d f or pe rs ona l

, , , ,

appe llati o ns t e rms o f f o re ign e xtracti o n titl e s of dignity pe r s o n i ca t i on s

, , .
, ,

nam e s of arts and sci e nc e s of animals and plants use d e mbl e matica ll y or t y p i ,

cally e t c All this goe s t o sh ow t hat t h e Quart o was n ot car e l e ss l y issu e d and
, .

,

t o d e f e at many c o nc l usi o ns drawn fr o m t h e O ppo sit e assumpti o n Th e sam e .

thing is tru e of t h e pu nctuati on : all owing f or st ops plac e d c ontrary t o m od e rn ,

usage t o mark rhythmical or rh e t orical paus e s and f or a numbe r Of case s of

, ,

t ransp ositi o n t h e r e maind e r of e rro r t o b e acc o unt e d f or by car e l e ss editing

,

i s by n o m e ans abn orma l On t h e oth e r hand i n many instanc e s t h e p u n c t ua.

,

ti o n is s o e xqui s i t e ly adapt e d t o t h e se nse rh e t o ric and rhythm of t h e phrase , ,

as t o c o nrm my pl e a f or t h e aut h ority of t h e t e xt Th e us e of t h e apo stro ph e .

as a guid e t o t h e m e trical pr o nunciati o n i e wh e n a syllabl e is n ot t o b e s o und ed , . .

,

give s furth e r supp o rt t o th i s claim H avi ng c o nsid e r e d e v e ry case i n which a .

w o rd i mp orts an e xtra syllab l e int o a line I can nd but t w o i n which t h e ,

Quart o can b e sa id with any c e rtainty t o e r r v i z 1 0 4 I o1 2 and 2
4 , .
, , .

O n t h e O pp o sit e sid e may b e s e t t h e f ol l owing e rr ors c e rtai n o r pr o babl e : t h e ,

r e p e titi o n i n 1 46 2 ; t h e re pe titi o n i n 34 1 0 1 2 ; t e
,
h want o f rhym e in 2
5 9 11; , ,

t h e re p e titi o n of 3 6 1 3 1 4 and 9 6 1 3 1 4 ; t h e o ccasi onal c o nfusi o n of
,
th e ir ,
-

with t hy ; t h e see mi ng d e ci e ncy i n S 1 2 6 ; t og e th e r with so m e half d oz e n

.

-

of trii ng misprints

Wyndham s c o nc l u si o n is that t h e numb e r of un
.

d o ubt e d c orrupti ons is s o smal l as t o b e ne gligibl e ( I ntro p . .

, .

To this argum e nt B E E C H I NG re p l ie s As t o pu nctuati o n : i n o rd e r t o main .

tai n Wyndham s th e si s it is n ot su ffi ci e nt t o sh ow

that occasi o nally t h e
punctuati o n i s admirab l e ; it i s n e c e ssary a ls o t o sh ow that i n n o or v e ry ,

f e w case s is t h e punct uati o n u ni nt e llig e nt o r absurd S uch case s as a matt e r

, .
,

of fact a r e n ot i nfr e qu e nt
, ( C f 1 6 1 0 ; 39 7 8 ; 55 7 8 ; 9 9 2 5 ; 1 1 3 1 3 ; . .
, , , , ,

As t o c orrupti ons i n t h e t ext an d tri ing mis

1 1 7 10 ; 1 1 8 9 1 0 ; 12 6 7
, ,
-
, ,
 TH E TE XTS OF 1 60 9 AND 1 6 40 419
pri nts , Wynd ham s l ist is fa r t oo s h ort ; cf

. 12 , 4 ; 39 , 12 ; 40 , 7 ; 4 1 , 8 ; 44 , 1 3

51 . I O; 54 . I4; 56 . 1 3 ; 58 . 10 1 1 ; 6 5. I 2 ; 6 9 . 4 ; 7 6 . 7 ; 9 1 . 9 ; 99 . 9 : 102.8;

10 6 , 1 2 ; 1 0 8, 3; 1 t e xt s of V 6a A
1 1 1
; 44 , 6 . C o mparing t h e . .

and L u crece which S h saw through t h e pre ss w e nd th e r e but thr ee mispri nts
, .
,

in e ach ( n ot r e cko ning e cce ntriciti e s of spe l l ing ) ( I ntro pp l ixlxiii ) Th e . .

, . .

sam e p ositi o n is maintaine d by L E E i n his carefu l acc ount of t h e Quart o t e xt ,

i n t h e intr oducti o n t o t h e C l ar e nd o n P re ss facsimi l e e diti o n To t h e list

of e rr o rs e num e rat ed by B ee ching h e a d ds th ose i n 2 3 1 4 ; 2 8 1 4 ; 4 7 1 1 ; 77 1 0 ; , , , ,

88 ,
I 4 ; 1 32 2 ; 1 3 2 9 ; 1 40 , 1 4 ; b e sid e s , ,

many i nstance s of u ni nt e llige nt and unusua l spe lling Th e substituti o n f .

,

t e e n ti m e s oi th ei r f or th y or th i ne [s e e list i n n ot e on 2 6
, and o nc e of th ere ,

f or th ee [3 1 e v e n m o r e f o rcibly illustrat e s t h e want o f i nt e llig e nt a pp r e h e n

,

si o n of t h e subj e ct matt e r o f t h e poe ms o n t h e part of th ose w h o saw t h e v ol um e

-

t hr o ugh t h e pre ss F ew w o rks a re m o re d e pe nd e nt f or th e ir d ue c o mpre h e nsi o n

.

o n t h e c orr e ct r e pr od uct i o n of t h e po sse ssiv e pr o n o uns and t h e fr e qu e nt r e ,

c urre nc e of t his fo rm of e rr or i s ve ry damagi ng t o t h e r e putati on of t h e t e xt .

Th e like want of car e alth o ugh of sma ll e r m om e nt is appare nt i n t h e f re

, ,

q u e nt subst ituti o n of t h e pr e p ositi o n to f or t h e adve rbial too (38 3 ; 6 1 1 4 ; 7 4 , , ,

1 2 ; 8 3 7 ; 8 6 2 ; t h e r e v e rs e mistak e appe ars in 1 3 5

, ,
At l e ast t hric e were is ,

c onfuse d with wea r ( 77 I ; 9 8 1 1 ; 1 40 Th e re a re also a numbe r of e rro rs

, , ,

i n t h e catchwords at t h e bott om of t h e page P unctuati o n sh ows on t h e wh ol e .

, ,

n o m o r e syst e matic care than o th e r f e atur e s of c o mpo siti o n C o m mas a re .

fr e qu e nt both i n and out of p l ac e At tim e s th e y stand f or a ful l st op At

, . .

ti m e s th e y a r e p u z z ling l y r e plac e d by a c ol o n or se mic ol o n or agai n th e y a re ,

o mitt e d a l t og e th e r Bracke ts a re oc casi o nal l y use d as a substitut e f or c o m mas

[ c f 57 6 ; 5 5; 7 9 1 0 ; 80 I I ] but n ot re gu l arly e n o ugh t o j ustify a b e li e f

.
, 8 1
, , , ,

that the y w e re i ntr od uc e d on a syst e matic plan B oth capital l e tt e rs and .

italic typ e appe ar rare ly and at t h e c o mposit or s whim Le e s c o nc l usi o n

.

is that t h e t ext of t h e quart o ful l y c o nrms t h e be li e f that t h e e nt e rpr i se

l ack e d auth ority and was pursu e d through out i n that re ckl e ss spirit which i n
,

f e c t ed publish i ng spe cu l ati o ns of t h e day ( I ntr o pp 40 . .

, .

I n his n ot e o n t h e t e xt o f t h e S o nne ts as issu e d i n t h e S tra tf ord TownS h a k e

s pea re BUL L E N obse rv e s : Whil e I wh ol ly disse nt fr o m Mr Wynd
.

ham s vi e w that S h auth orise d and su pe rint e nd e d t h e publicati o n I cannot

.
,

agr ee with C ano n B ee c hi n g that t h e 1 6 0 9 S o nnets is e xc e pti o nally ill print ed -

.

E rr o rs th e r e a re but th e y a re ge n e ra ll y of triing imp ort

, (10 : He .

adds that a numb e r of t h e e rr ors in Lee s l ist may b e r e gard e d as fairly norma l

variants of spe l li ng .

B e y o nd th ese argum e nts t h e re d oe s n ot se e m t o b e much pr ospe ct of a d

va n c i n g I n ge ne ral it may b e said with assurance that Wyndham s Vi e w of
.
,
'

t h e quart o t e xt has n o t pr ove d t e nabl e and that m ost critics w o uld stand on , ,

t h e wh ol e with B ee ching and L ee

, To th i s th e re a re t w o e xc e pti ons d e se rving
.

o f n o tic e t h o ugh t h e cr i t i cs i n qu e sti o n hav e n ot discusse d i n d e tail t h e e v i

,

d e nc e u nd e r c o ns i d e rat i o n Mr P E RC Y S I M P S O N i n his use ful b oo k o n S h a k e

. .
,

s p ea rea n P u n ctua ti on i ncl u d es t h e origina l t exts of t h e S onnet s an d

4 2 0 A PP E ND I X
o th e r p oe ms t ogeth er with matt e r r e lating primari l y t o t h e F irst F ol i o of t h e
plays a wo rk publish e d of c ourse u nd e r v e ry diff e re nt c o nditi ons from
, , ,

t h e qua r t o o f 1 6 0 9 Th e m e th o d f ol l o w e d by S imps o n is t o inf e r by inducti o n

.
, ,

a ge n e ra l ru l e as t o t h e practic e of S hake spe are s print e rs such as that t h e

c o mma may b e use d t o indicat e a pur e l y m e trica l pause or that it may b e ,

o mitt e d aft e r a n o u n i n t h e v o cativ e and t o n ot e charact e ristic e xampl e s

, .

Th e re is n o qu e sti o n of t h e utility of his work e spe cially if w e c o nne o ur ,

se lve s t o a singl e v ol um e lik e t h e F oli o pre sumably mad e up u nd e r a singl e

, ,

gr o up o f c o mpo sit ors and c orre ct o rs ; and it may also b e admitt ed with o ut
h e s i tati o n that h e has giv e n a nee de d warni ng against t h e pr e va l e nt assumpti o n
that E li z ab e than pr i nt e rs i n ge ne ral d i stribut ed marks o f pu nctuati o n with
, ,

wh o lly e rratic and c o nse qu e ntly n e gl i g i bl e aband o n Ne ve rth e l e ss it .

,

still r e mains ne c e ssary t o prove f or any give n pi ec e of pri nting t h a t i t was car e
, ,

fully c o mp ose d ; and t h e fallacy i n a numbe r of S impso n s infe re nc e s is similar

t o that n ot e d by b o th B e e ching and Lee i n t h e case of Wyndham We may .

pr o p e rly n ot e i n e xplanat i o n of an o th e rwise myst e ri o us capital l ett e r that

, ,

t h e pr i nt e r oft e n use d a capital f or a pe rs o nicati o n o r f or a t e chn ol ogica l

t e rm ; but this raise s n o pre sumpti o n that h e did s o with auth oritative co n
sist e ncy pro vid e d o n e nds many such w ords l e ft wi th ou t capita l s We may
, .

e xplain a c o mma o n t h e gr o und that it mar ks a m e r e l y m e trical pause but this ,

has n o signicanc e f or t h e va l u e of t h e punctuati o n of t h e t e xt as a wh ol e i f ,

it turns o ut that th i s i s n ot d o ne with any d e gr ee of r e gu l arity An d n o such .

re gularity has b ee n sh own by S imp s o n any m or e than by Wyndham f or t h e

, ,

quart o of 1 6 0 9 Th e se c o nd n otab l e instanc e of d e v oti o n t o t h e quart o t ext is

.

Mi ss P O R TE R S F irst F o li o e diti o n of t h e S o nne ts Th e r e can b e n o ob j ec

.

t i o n t o t h e publ i sh e r s e xt e nding t h e titl e of this e diti o n t o c ove r t h e poe ms

assuming that it was d e sir e d t o inc l ud e t h e wh ol e t e xt of S hake spe are ; n or

would it b e fair t o e mphasi z e t h e fact that t h e e dit o r car e l e ss l y re prints t h e
e xplanat o ry n o t e s ( p xxiv ) i n t h e sam e f orm i n which th e y app e ar f or t h e
.

plays b e ginning with t h e stat e m e nt that t h e t e xt is that of t h e F irst F ol i o

,

,

Th e se d e tails h ow e v e r a r e m or e or l e ss signicant of t h e fact that

, ,

Miss P o rt e r carri e s ove r h e r r e v e re nc e f or t h e F o li o t e xt appar e ntly w i th o ut ,

pausing f or i nquiry or r e aso ning t o that of t h e S o nn e ts quart o He r o nly

, .

stat e m e nt r e gard ing t h e auth ority of t h e latt e r is that t h e p oe t had n oth i ng

t o d o with t h e publ i cati o n ( with pr o o f b o rr owe d with o ut ackn ow l edgm e nt

,

fro m Rolfe base d o n S

, . but s h e c o mm o nly tre ats t h e e cc e ntric printings of
t h e e diti o n as o f a l m o st mystical imp o rtanc e with what r e sults many of t h e
,

n ot e s cit e d i n t h e c omm e ntary s uc i e n t ly ind i cat e On t h e o the r hand stu .

,

d e nts of t h e S o nn e ts a re grat e fu l f or t h e car efu l r e print of t h e o rigina l t e x t

t o which this d e v oti o n gav e rise .

Th e re r e mains a singl e add i ti o na l matt e r which may b e n ot e d i n c o nn e cti o n

with t h e q uart o of 1 6 0 9 VON MAU NTZ is t h e o nly e d i t or of t h e S o nn e ts w h o has
.

f o und any sign i canc e i n t h e h e ad p i e c e s wh i ch app e ar o n t h e titl e page and -

t h e rst page o f t h e t e xt H e assum e s appar e ntly that th e y we r e mad e f o r t h e

.
, ,

particular v olum e and is d i sp o se d t o c onn ect t h e d e s i gn of t h e thr e e i nve rt e d

'

,
 TH E TE XTS OF 1 609 AND 1 6 40 42 1
sh e s on t h e tit l e page with t h e thr ee g old sh e s in t h e arms of t h eLucy family ;
-

this with t h e har e s and oth e r animal gure s may i nvolve an allusi o n t o t h e
, ,

t raditi o nal p oachi ng e pisod e o f S h s y o uth Th e d e sign o n t h e p ag e c o ntain i ng

.

.

t h e rst so nn e ts is m o r e d i ffi cult t o i nt e rpr e t ; but Vo n Ma u n t z i s t e mpt e d t o

disc e rn a pair of woodc ocks o n e ith e r si d e and t h e amputat e d le g o f a f owl ,

( with three C laws ) at t h e right of t h e l owe r c e nt e r ; t h e inf er e nc e i s that th e r e

may b e a satir i c allusi o n t o t h e p oe t s d e fe at e d h o p e s ( Gedi ch te von W S h

. . .
,

p. I t is o nly j ust t o add that Vo n Ma u n t z h i ms e lf marks this c o nj e ctur e

with b oth an e xclamati o n p o int and a mark of int e rr ogat i o n H aving aske d t h e .

O pi ni o n o f Mr Alfr e d W P o llard o n this matt e r o f t h e h e ad pi e c e s I nd that

. .
-
,

h e c o nrms t h e natura l supp o siti o n that th e y a r e st ock d e s i gns in n o way t o -

,

b e ass ociat e d with t h e particular v o lum e in qu e sti o n I hav e o nly b ee n abl e

.
,

Mr P o llard writ e s t o l oo k up t e n v ol um e s print e d by Eld b e f or e 1 6 0 9 I n

.

, .

three of th e se I have fo und an e arli e r ve rs i o n of t h e thr e e s h e s h e adp i e c e i n -

,

which t h e c e ntr e agr e e s b ut t h e am or e tti a re l e aning back inst e ad of f orwar d s

, .

Th e oth e r d e s i gn wh i ch t h e Bac o n i ans usually int e rpr e t as t w o A s is on e

, ,

o f t h e c o mm o n e st o f h e adpi e c e s and th e r e a r e many variati o ns of it

.
,

Th e rst c o ll e ct e d e diti o n of S h s P oe ms appe ar e d in 1 6 40 with t h e impri nt

.

,

o f J o h n B e ns o n ( s e e t h e Bibli o graphy f or fu ll titl e e t c ; and f o r t h e arrang e , .

m e nt of t h e S o nne ts as f ou nd in it s ee p B e nso n s addr e ss To t h e

, .

R ead e r is as f o l l o ws : I h e r e pr e sum e ( und e r fav o ur ) t o pr e se nt t o y o ur vi e w

,

s om e e xc e l l e nt and s w e e t e ly c omp ose d P oe ms of Mast e r Wil liam S hak e sp e are

, ,

Which in th e mse lve s a ppe a re of t h e sam e purity t h e Aut h our h i m s e lf e th e n ,

l iving avouch ed ; th e y had n ot t h e fortun e by r e aso n of th e ir I n f a n c i e i n his

d e ath t o have t h e d u e a c c om od a t i on of pr op ort i o nabl e gl ory with t h e r e st
, ,

of his e ve rliving Wor k e s y e t t h e l in e s of th e mse lv e s will aff o rd y ou a m o r e

,

a ut h e n t i c k appr obati o n than my assuranc e any way can t o i nvit e y o ur a ll o w ,

anc e i n y o ur p e r u s a ll y ou shall n d e th e m Se r e n c l ee re and e li g a nt ly plain e such

, , ,

ge nt l e s t ra i n e s as shall r e cr e at e and n ot pe rpl e xe y our brain e n o i ntricat e or ,

cl o udy s t uff e t o p u z z e ll int e l l ect but pe rf ect e l oq u e nc e such as wi l l raise y o ur

, ,

admirati o n t o his pra i se : this assuranc e I kn ow will n ot di ff e r fr o m y o ur a c

kn ow l e dge m e nt And c e rt aine I am my Opini o n will b e sec ond e d by t h e suf
.
,

c i e n c y o f th e se e nsuing L in e s ; I hav e b ee n s o m e what s oli c i t u s t o b ring th i s

f o rth t o t h e p e rfe ct vi e w o f al l m e n ; and in s o d oing glad t o b e s e rvic e abl e ,

f or t h e c o nti nuanc e o f g l o ry t o t h e d e se rv e d Auth o r in th e se his P oe ms

.

L E E c o mm e nts o n t his v olum e as f oll o ws :

Th e vo lum e ca m e fro m t h e
pr e ss of Th omas C ot e s t h e print e r w h o was at t h e m o m e nt t h e m ost e xpe ri
,

e n c ed of any i n t h e trad e i n t h e pr od ucti o n of S hak e sp e ar e an l it e ratur e C ot e s .

had b o ught i n 1 6 2 7 and 1 6 30 t h e l arge i nt e re sts i n S h s p l ays which had .

b e l o ng e d r e spe ctive ly t o I saa c J a g g a rd and Th omas P avi e r H e print e d t h e .

S e c o nd F oli o of 1 6 3 2 and a n e w e diti o n o f P eri cles i n 1 6 35 B ut c l ose l y .

,

ass ociat e d as t h e P oe ms o f 1 6 40 w e re through t h e print e r C o t e s wit h t h e cur

, ,

r e nt re i ssu e s of S h s wo rks it may b e d o ubt e d wh eth e r B e nso n d e p e nd e d

.

o n Th orp e s pri nt e d v ol u m e in his c onfuse d impr e ssi o n of t h e s o nn ets Th e

.
4 2
2 A PP E ND I X
w ord so nnet s which l oom e d s o l arge i n Th orpe s ed iti o n nds n o p l ace in

,

B e n s o n s I n t h e titl e page s i n t h e h ea d l ine s and i n t h e publ i sh er s Ad v e r

.
-
,
-
,

t i s e m e nt B e ns o n calls t h e c o nt e nts poe ms or lin e s He avows no kn owl

,

.

e dg e of S hake sp e ar e s S o nn e ts Th o rpe s d edicati o n t o Mr W H is ignor e d

. . . . .

Th e ord e r i n which Th orpe pri nt e d t h e so nn e ts is disre gard ed Th e varia .

ti o ns fr o m Th orp e s t e xt t h o ugh n ot f or t h e m ost part of gre at impo rtanc e

, ,

a r e num e r o us B e nso n s t e xt see ms base d on so m e amat e ur c olle cti o n of

.

pi ec e s of manuscript p oe try which had b ee n in privat e circulati on H i s pre f , .

a c e impli e s that t h e s o nn e ts and poe ms i n his c o l l e cti o n w e r e n ot a m On g th o se

which h e kn e w Sh t o have avo uch ed ( i e publicly ackn owl e dged ) i n his

.

. .

life ti m e By way of e xplaining t h e ir l ong subm e rge nc e h e haz ards a gu e ss th at

.
,

th e y we r e p e nn e d ve ry lat e i n t h e dramatist s life J oh n Warre n w h o c on

.
,

tribut e s n e w c omm e ndat ory l in e s ( Of Mr William S hake spe ar ) f or B e nso n s

.

e diti on writ e s of t h e s onne ts as if t h e r e ad er was ab out t o make th e ir a c

,

q uaintanc e f or t h e rst time He says of th e m that th e y .

Wi ll make t h e l earned still admire t o s ee

Th e Muse s gifts s o fu ll y i nfuse d o n th ee

.

Th e th e ory that t h e publish e r B e nso n sought his c o py e lse wh e re than in Th orpe s

tr e asury i s supp ort e d by oth e r c o nsid e rati o ns S o nn e ts 1 3 8 and 1 44 which take .

,

t h e 3 l s t and 32 md plac e s r e spe ctive ly i n B e nso n s volum e ign ore Th orpe s

,

t e xt and f o ll ow that of J a gg a rd s P a s s i ona te P i lgri m ( 1 599 or

, Th e omis
'

si o n of e ight so nne ts t e l l s t h e sam e tal e I t is di fcult t o acc o unt f or [ th e ir .

e xclusi o n ] e xc e pt o n t h e assumpti o n t hat B e nso n s c o mpi l e r had n ot disc ove r e d

t h e m ( S on n ets 1 9 0 5 pp 55
.
, , .

Th e se argum e nts of Le e a re i n t h e mse l ve s p l ausib l e b ut a c ompariso n of ,

t h e e xact t e xts of B e nso n s vol um e and Th o rpe s quart o soo n sh owe d m e that

t h e f orm e r was unqu e sti o nably pri nt e d fr o m t h e l att e r F or t h e d e tai l e d e v i .

d e nc e s ee my art ic l e in Modern P h i lology v ol 1 4 ( Ma y

, Th i s may b e , .
,

su mmari z e d by t h e stat e m e nt that d e spit e many di ff e re nc e s t h e ge n e ra l , ,

e ff e ct is t hat of a fair l y cl o se f o ll o wing i n t h e d e tails of spe lling punctuati o n , , ,

and typ o graphy of t h e t e xt of 1 6 0 9 I n t h e case of italic i z e d wo rds t h e it e m

, .

l e ast l ike ly t o b e d e pe nde nt on MS c opy th e re is n ot a singl e instanc e o f .

dive rg e nc e ; i n t h e matt e rs of capita l i z ati o n punct uati o n and spe lling d i e r , , ,

e n c e s a re n ot infr e qu e nt but a r e far t oo f e w t o b e acc o unt e d f or by an ind e

,

pe nd e nt c o py As t o t h e printing of S o nne ts 1 3 8 and 1 44 from t h e t e xt of t h e

.

P a s s i ona te P i lg ri m th e y w e r e t h e rst poe ms in t hat c oll e cti o n and s o t h e rst

, ,

t o b e ch os e n f or r e printing in B e n s o n s v olum e ; t h e c o nt e nts of t h e P i l ri m

g
vol um e we re i n ge n e ra l i nse rt e d i n th e ir origina l o rd e r As t o t h e re marks i n
, , .

B e nso n s P r e fac e t h e y must b e r e gard e d as d e l ib e rat e l y i nt e nd e d t o d ec e ive :

t h e b ook was mad e by r e printing t h e c o nt e nts o f thr ee or f our v ol um e s issu e d

s om e thirty ye ars b e fo re but purchase rs we r e t o b e le d t o think that t h e

,

mat e rial i n it was n e w Th e o n l y pi ec e o f e vid e nc e off e re d by Lee in pr oof of

.

t h e v i e w that t h e v o lum e o f 1 6 0 was n ot bas e d o n that o f 1

4 6 0 9 which pre se nts ,

any d i ffi c ul ty i s that c onc e rni ng t h e ei g ht omitt ed s onne ts Of this c i rc um

, .
 TH E TE X TS OF 1 609 AND 1 6 40 42 3
stance I kn ow n o wh olly satisfact ory e xp l anati o n th o ugh I have mad e so m e
,

sugge sti o ns r e garding it i n t h e articl e cit e d ab ove Th e upsh ot of al l this i s

.

that t h e t e xt of 1 6 40 is with o ut i nd e pe nd e nt int e r e st or auth o rity It c orre ct s

.

e rr ors o f t h e quart o i n s o m e th i ng lik e tw e nty passag e s and make s n e w e rr o rs

,

i n ab o ut fty m or e ; all th e se of c ourse a r e duly indicat e d in t h e t ext ual n ot e s

, , .
 TH E A RRA NG E M E NT OF TH E S ONNETS
TH E vo lum e of P oems of 1 6 40 ( s ee page 434) c o ntains n o discussi o n or e x
p l anati o n of t h e o rd e r of t h e S o nn e ts as th e re re print e d n or did t h e c o ntrasting ,

arrange m e nt s of that c o ll e cti o n and t h e Quart o of 1 6 0 9 attract sp e cial att e nti o n

in t h e 1 8 t h c e ntury K N I G H T i n t h e P i c tori a l S h
.
, s ee ms t o hav e b ee n .

t h e rst m o d e rn cr i tic t o pr o p o se a n e w arrang e m e nt th o ugh h e prints t h e ,

so nn e ts i n t h e o r i g i nal ord e r B e l i e ving as w e d o h e said that W

.

, ,

.

b e h e w h o h e may w h o put th e se p oe ms i n t h e hands of T t h e publish e r

.
, ,

arrange d th e m i n t h e m ost arbitrary mann e r (of wh i ch th e r e a re many pr oofs ) ,

w e b e li e v e that t h e assumpti o n o f c o ntinuity h owe v e r inge ni o usly it may b e ,

maintain e d is alt og e th e r fal l aci o us

,
I t is ou r int e nti o n with o ut at al l p re
.
,

s u m i n g t o think that w e hav e disc ov e r e d any r e a l o rd e r i n which th e se e x

t r a or d i n a r y pr o ducti o ns may b e arranged t o of f e r th e m t o t h e r e ad e r up o n a ,

principl e of classicat i o n which o n t h e o n e hand d oe s n ot att e mpt t o rej ect

, , ,

t h e id e a that a c o ntinu o us p oe m or rath e r s e v e ral c o nti nu o us p oe ms may b e

, ,

trace d thr o ugh o ut t h e se r i e s n or ad o pt t h e b e l i e f that t h e wh ol e can b e br oke n

,

up int o fragm e nts ; but wh i ch o n t h e oth e r hand d oe s n o v i ol e nc e t o t h e m e an

, ,

i ng of t h e auth o r by a p e rtinaci o us adh e re nc e t o a principl e of c o ntinuity so m e ,

tim e s obvi o us e n o ugh ( 6 : 4 55

.

Again : Th e transp ositi o ns w e have

mad e i n t h e arrange m e nt a re j usti e d by t h e c o nsid e rati o n that i n th e o riginal

t e xt t h e 5ot h 5l s t and 52 n d S o nn e ts a r e e ntir e ly is olat e d ; that t h e 2 7 t h and
, ,

2 8 t h a r e als o p e rf e ctly u nc o nn e ct e d wit h what pr e c e d e s and what f o ll o ws ; that

t h e 6 I s t stands e qually a l o n e ; and that t h e 4 3r d 44t h and 4 s t h a r e in a simi , ,

l ar p ositio n ( p
. . B oth K night s argum e nt and his arrange m e nt we re

approve d o n t h e wh ol e by H UD S O N in his e diti o n of 1 8 56 I n t h e f oll owing

, , , .

ye ar 1 8 57 F RAN COI S VI C TO R H UG O pr e se nt e d his translati o n in a n e w arrange

, ,

m e nt of his ow n I n I 8 59 C AR TWR I G H T issu ed his re arrange me nt and i n 1 86 2

.
,

B OD E N S TE D T his trans l at ed int o Ge rman Me antim e D E L I U S f o ll owing .

,

t h e origina l ord e r i n his t e xt had stat e d that that o rd e r was t h e re sult of m er e

,

C hanc e f o r i f n ow and th e n so nn e ts tr e ating t h e sam e th e m e with variati o ns

,

a r e p l ac e d t o g e th e r o n t h e oth e r hand so nn e ts which obvi o usly be l o ng t o g e th e r

, ,

o r strik e t h e sam e n o t e a re se parat ed fr o m o n e an o th e r i n Th orp e s e diti o n and

, ,

a syst e matically mai ntain e d p l an acc o rding t o e ith e r c o nt e nt or chro n ol ogy

( Wor k s 2 d e d 7 :

ca n n owh e re b e r e c o gni z e d . It may th e n have
, .
, , ,

b ee n D e l i us w h o mad e t h e re arrange m e nt which app e ar e d i n a Ge rman e diti o n ~

o f 1 86 4 ( s e e Bib l i o graphy u nd e r that dat e ) i n t h e sam e y e ar with his r e vis e d ,

( se c o nd ) e d i ti o n o f t h e standard t e xt GR AN T WH I TE in his e d i ti o n of 1 86 5
.
, ,

asse rt e d that e xc e pt in nn ts 7 n o c o ntinuity c o uld b e disc ove r e d

S o e 1 1 In .

1 86 6 MAS S E Y issu e d his c o mm e ntary inc l uding an arrang e m e nt bas e d on his ,

n ew th e o ry of t h e S o nn e ts and h e nc e inc omm e nsurab l e with any oth e r I n

,
.
 TH E ARRA NG E M E NT OF TH E S ONNE TS 4 5
2

1 8 79 BU R G E R S D I J K translating t h e So nne ts int o D utch re vise d B od e n s t e d t s

, ,

o rd e r .I n 1 88 1 S TE NG E L discusse d ( E n gli s ch e S tu di e n 4 : 1 ) t h e pro bl e m of ,

arrange m e nt and pr e se nt e d a n e w o rd e r in which h e th ought t h e p oe t s i n

,

t e nti o n in i g h t b e d i sc e rn e d I n t h e sam e ye ar appe are d D OWD E N S we ll mad e

.

e diti o n w i th a th or o ugh go ing d e f e nce of t h e Quart o arrange m e nt and a

,
-
,

se ri e s of n ot e s d e s i gne d t o sh o w t h e we ll nigh pe rf e ct c o ntinuity of t h e S o n -

n ets r e ad in that o rd e r I t was p e rhaps o wing t o this str e ngth e ning of t h e

,
.

c o nse rvative p o siti o n that t h e pr obl e m of arrang e m e nt had r e st f or m o re than

a d e cad e .

I n 1 8 9 2 S H I ND L E R c o ntribut ed t o t h e Gen tlema n s Ma g a z i n e (2 7 2 : 7 0 ) t h e

m ost c oge nt attack up o n t h e Quart o ord e r that had y et b ee n mad e and sh o wed ,

that t o take this po siti o n did n ot imp l y t h e ability t o re c o nstruct t h e o rigina l

ord e r of c o mp ositi o n ; o n t h e c o ntrary h e h e l d that t h e th e o ry of on e o r m o r e
,

c onn e ct e d s e ri e s of s o nne ts must b e aband on e d and e ach so nn e t l e ft t o t e l l its ,

ow n st o ry H i s argum e nt se ve r e l y c o nd e nse d is as f o ll ows Th e r e is abu n

. .
, ,

dant e vid e nce that t h e Quart o was n ot publ i sh e d u nd e r S h s auth ority or .

d ire cti on If it is a piratical publicati o n it is po ssib l e that it includ e s a numb e r

.
,

of s o nn e ts n ot S h s and highly pr obab l e that it d oe s n ot by any m e ans incl u de

.
,

all t h e so nne ts h e wr ot e ; h e wr ot e s onn e ts as Me res s re mark ab o ut h i s privat e ,

fri e nds w o uld indicat e t o many pe rso ns and Th orpe publ i sh e d what e ve r h e

, ,

c ou l d lay hands o n with o ut r e f e r e nc e t o t h e pe rso n addre sse d Th e diso rd e r

, .

of t h e Quart o is n ot absol ut e cha os ; th er e a re signs of c o ntinuity th e re a re

,

numb e rs which c l e arly stand t oge th e r but t h e breaks and gaps t h e o missi ons , ,

and t h e wr o ng arrange m e nts a re j ust as c l ear Th o rpe l e ft with o ut any

, .
,

h e lp fr o m t h e auth or c o uld o nly p rint t h e S o nn ets j ust as th e y st oo d in his

,

MS Th o se that e ith e r in b oo ks or on sh ee ts of pap e r st oo d t o ge th e r h e

.
, , ,

print e d t oge th e r and s o pr oduc ed th ose trac e s of o rd e rly arrange m e nt wh i ch

,

On t h e oth e r hand th e r e a r e many e vid e nc e s of displac e m e nt

Th e

w e s ee .
, .

c onfusi o n of S o nne ts 333 5 and 40 42 wit h 6 9 70 o ught t o b e e n o ugh of itse lf

t o S h o w that t h e hyp oth e sis of a singl e se ri e s chr o n o l o gically arrang e d i s a l

t oge th e r unt e nabl e

3 9 pr obably and c e rtainly 2 6 and 2 7 b e l o ng t o t h e
.
, ,

se ri e s of Abse nc e S o nn e ts which b e gins with 43 and c o nclud e s with 52 and t h e

, ,

right p ositi o n of t h e t w o l att e r is pr obab ly aft e r 51 An d this se qu e nc e fr o m .

,

4 3 t o 52 is rud e ly i nt e rrupt e d by 4 9 which is man i f e stly o ut o f plac e I n th e

, , .

R iva l P oe t gr o u p ( 7 6 8 6 ) 77 and 8 1 a r e i ntrusi o ns I n t h e so nn e ts aft e r 1 2 6 .

t h e trac e s o f o r d e r a r e f e w e r and w e hav e a l m o st utt e r cha os All this sh o u ld

.

d isc o urage d ogmatism Th e sam e cause which make s t h e arrange m e nt wrong

.

will pr e v e nt us fr o m e v e r putting it right .

L E E S L i fe of S h (1 8 9 8 ) r e stat e d t h e argu m e nt against t h e ord e r of t h e Q

. .

F antastic e nd e av o urs hav e bee n mad e t o d e t e ct in t h e o rigina l arrange m e nt a

c l o se l y c o nn ect ed narrative but t h e thr ead is o n any sh owi ng c o nstantly int e r
,

Th e ch oic e and succ e ssi o n of t opics in e ach gr oup give t o n e ith e r

ru p t e d

.

ge nuine c oh e si o n I n t o n e and subj e ct matt e r nu m e r o us so nn e ts i n t h e

.
-

se c o nd as in t h e rst group l ack visib le sign of c o h e re nc e with th ose th e y i m

m edi at el y pr ec ed e or foll ow Th er e r e m a in s t h e hist oric fact that r e a d e rs

.
4 2 6 A P P E ND I X
and publish e rs of t h e 1 7 th Century ackn owl e dge d n o so rt of signicanc e in t h e
o rd e r in which t h e p oe ms rst saw t h e l i ght Wh e n t h e s o nne ts we r e print e d .

f or a se c o nd tim e in 1 6 40
3 1 y e ars aft e r th e ir rst appe aranc e th e y we re
pre se nt e d in a c o mpl e t e ly d i ff e r e nt ord e r ( pp 9 6 . .

U nd e t e rre d by this agno stic i sm rec o nstruct e d arrange m e nts of t h e S o nn et s ,

soo n b e gan t o r e appe ar VO N MAU NTZ S Ge rman translat i o n of 1 8 94 pre se nt e d

.

o n e ; B U TL E R S e d i ti o n o f 1 8 9 9 an o th e r ; GO D WI N S d i scuss i o n of 1 9 0 0 a th i rd

.

( B utl e r s r e arrang e m e nt h owe ve r i nvolve s c o mparative ly f e w change s and

, , ,

h e d e f e nd e d th e Qu art o o rd e r o n t h e wh o l e as t h e o nly p o ssibl e oh e f or t h e

, ,

pr e se ntat i o n of a c o h e r e nt st ory ) AC H E S O N in his w ork o n S h a nd th e Ri va l P oet

.
, .

attacke d t h e Quart o arrange m e nt o n partially n e w g r o u n d s and be gan

'

a r e c o nstructi o n base d o n a th eo ry of disarrange d se qu e nc e s of 2 0 S o nne ts e ach

, ,

wh i ch h e has n ot y e t c ompl e t e d or at any rat e mad e publ i c Mr s S TOP E S . .

,

i n h e r e d i t i o n of 1 90 4 pr o po se d a r e arrange m e nt wh i ch s h e did n o t pr ofe ss

,

t o nd auth oritat i v e but b e l i e ve d t o b e n e ar e r t h e tru e o rd e r than t h e o rig i nal

, .

Me ant i m e R OL F E i n succ e ssive re visi o ns of his e dit i o n be cam e incre asingly

, ,

e mphat i c i n d i strust i ng t h e Quart o o rd e r ; s ee his n o t e o n S o nn e t 7 0 in t h e c o m ,

m e ntary f or t h e i mp oss i b i l i ty of r e ading i t c o nsist e ntly in t h e g i ve n ord e r

, , ,

with 3 3 3 5 and 40 42

On e br o k e n link . h e adds sp o ils t h e chain ; if t h e ,

,

o rd e r o f t h e p oe ms is wr o ng h e r e it may b e s o e lse wh e r e , .

Th e m o st impo rtant r e c e nt e d i t o rial d i scussi o n and r e arrange m e nt is that

of WAL S H i n his e d i ti o n o f 1 9 0 8 Th orpe s arrang e m e nt of t h e s o nn e ts h e

.
, ,

says is as p o or as c o uld b e e xp e ct e d of a purl oi ne r w h o publ i sh e d st ol e n g oods

,

with o ut a t i tl e w i th o ut a pr e face with o ut a n ot e but w i t h i nnum e rabl e m i s

, , ,

prints and with t w o misstat e m e nts in t h e littl e inf o rmat i o n h e did vo uchsafe
t o giv e We ne e d n ot h e sitat e t o pr o no unce it wo rthl e ss I t i s n e ith e r chro n o
. .

l og i cal n or acc ord i ng t o subj e cts It o pe ns with t h e l o nge st o f t h e possibl e .

gr o ups of s o nn e ts and s o at t h e st a rt c o nve ys t h e impr e ssi o n of o rd e rlin e ss

,

a cl e ve r trick which has d ec e ive d m ost of t h e subse q u e nt e d i t ors

, B ut aft e r .

this group th e re is a bre aki ng up and a scatt e ring Occasi o nally t w o or thre e .

so nn e ts which obvi o us l y tre at of t h e sam e subj e ct and of which on e is a direct

c o ntinuati o n o f an oth e r a re br o ught i nt o j uxtap ositi o n ; b ut th e se can b e
match e d by oth e rs that plain l y b e l o ng t oge th e r and a r e plac e d apart Al m ost .

all e dit o rs have c o mpla i ne d of t h e inappr opriat e p ositi o n of som e particular

s o n ne t s It is strange th e y d o n ot ad mit unauth o ritative n e ss i n t h e e ntire s e
.

Ye t n oth i ng can b e plai n e r than that Th orpe s arrange m e nt of t h e

q ue n c e .

so nne ts is of n o m o re h e lp t o o ur und e rstanding of th e ir d e ve l opm e nt than is

t h e F oli o e dit ors arrang e m e nt of t h e plays
-

( I ntro pp 3 1 With this . .
,
.

as a starting po int Walsh r e arrange s th e m n ot with r e fe re nc e t o so m e a t

-
, ,

t e mpt e d r e c o nstruct i o n of a c o ntinu o us st o ry but o n t h e basis of t h e usua l ,

sty listic e vid e nc e o f chr o n ol o gy and t h e natura l gr ouping sugge st e d by sub

j ec t matt e r P r o fe sso r H D GR AY (P u bl M L A n s 2 3 : 6 3 5n ) c o mm e nts
-
. . . . . . .
, . .
, .

t o this e ff e ct : Mr Wa l sh c onsid e rs e ach s o nne t as a l aw u nt o itse lf and h e

.
,

bre aks up t h e obv i o us s e q u e nc e s rath e r nee d l e ssl y S till on e w h o cam e t o t h e .

,

S o nn e ts f o r t h e rst ti m e i n his e diti o n w o u l d I think gain a tru e r impr e ssi o n , ,

 TH E ARRA NG E M E NT OF TH E S ONNETS 4 7
2

of th e ir m e aning and valu e than h e w o u l d fr o m t h e Quart o arrange m e nt .

I n this O pin i o n t h e pre sent e d i t or c o ncurs GR AY in t h e art i cl e j ust c i t e d sums .

, ,

up t h e qu e sti o n thus : I n t h e fac e of such facts as w e have i t se e ms odd that ,

t h e arrange m e nt of t h e S o nn e ts in t h e Quart o o f 1 6 0 9 sh o uld e ve r hav e b e e n

take n as of any auth or i ty what e ve r Th e S o nne ts we re pre sumably writt e n .

at i nt e rvals during se ve ral y e ars and give n out in small gro ups or singly ; th e y
we re c opi e d and r e c o p i e d ; w e kn o w fro m t h e P a s s i on a te P i lgri m as we l l as ,

fr o m a pre se rve d MS of S 8 that th e re e xist e d vari ous di ffe ring c o pi e s ; it is

. .
,

c o nc e d e d by all that S h d i d n ot sup e rvise n or auth o ri z e Th orp e s Quart o ( n ot e

.

b oth t h e e rr o rs and t h e d e d i cat i o n by t h e publish e r ) ; n o on e d e ni e s that Th orp e

t oo k s ome libe rt i e s with t h e arrange m e nt sinc e h e r e m o ve d t o t h e e n d th ose ,

S o nne ts that did n o t apply t o t h e y outh ; w e nd in t h e rst s e ri e s i nno

c e nc e attribut e d t o t h e y o ung man aft e r guilt has b e e n r e c ord e d ; w e nd s e
que n c e s int e rrupt e d by s o nne ts which h ave n othing t o d o with t h e s o nne ts
ab o ut th e m Th e r e can b e n o r e a l p ossibility th e re f o re that Th orp e s c oll e cti o n
.
, ,

of manuscr i pts c o uld hav e b e e n suppli e d in th e ir pr o p e r o rd e r e ith e r by t h e

auth or or by t h e p e rso n t o wh o m s o many of th e m we r e addr e sse d ( p . .

Aft e r e xamining c e rtain pe culiariti e s Of t h e t e xt ( such as t h e u s e of th o u

and y o u t h e misprint of th e ir f or thy and t h e use of italics ) Gray

,

, ,

draws t h e c o nclusi o n that vari o us MS S of so nnet gr o ups cam e int o Th orp e s

.

hands so m e of t h e MS S b e aring charact e ristics n ot f o und in t h e oth e rs and

, .
,

that Th orpe se e ms n ot t o have disturbe d his MS gr o ups m or e than was n ec e s .

sary t o r e m ove dupl i cat e s and t o p ut at t h e e n d s o nne ts wh i ch could n ot b e

r e ad as c o nc e rne d with Mr W H I nd ee d t h e ve ry fact that e ve ry so nne t . . .
,

which ca n b e r e ad as addre sse d t o t h e y o uth is plac ed in t h e rst se ri e s and that ,

n o oth e r s o nn e t th o ugh d e aling with t h e sam e th e m e is t o b e f o und th e r e is

, , ,

e vid e nc e of j ust such an obvi o us sorting o ut as Th o rp e c o u l d an d w o uld b e t e

spo nsibl e f or ( p .

.

Turning n ow t o t h e argum e nt in b e half of t h e arrange m e nt of 1 6 0 9 we may ,

c ons i d e r C H ARL E S ARM I TAG E B R OWN t o b e t h e rst nam e of n ot e sinc e i n his , ,

v olu m e of 1 8 3 8 h e laid much str e ss on a gr o up i ng of t h e S o nn e ts d e s i gne d t o

,

make t h e c o nt i nu i ty of t h e standard t e xt int e l l igibl e On t h e wh ol e this group .

,

ing may b e said still t o r e pr e se nt t h e o rth od o x Vi e w of t h e so nn e t st ory It is .

as f o ll ows :
F i rs t P oem
1 26
. To his fri e nd pe rsuading him t o marry
.
, .

S econ d P oem 2 7 55 To his fri e nd

.
- w h o had r ob b e d t h e p oe t of his
.

mistre ss f o rgiving hi m .

56 77 To his fri e nd c o mp l aining o f his c oldn e ss an d warn

Th i rd P oem .
.
, ,

ing him of l i fe s d e cay

.

7 8 1 0 1 To his fri e nd c o mplaining that h e pr e f e rs an oth e r

F ou rth P oem . .
,

p oe t s praise s and r e proving h i m f or faults that may inj ure his charact e r

, .

Ff h
i t P oem 1 0.2 126 To his fri e nd e xcusing himse lf f or having b ee n so m e
.
,

tim e sil e nt and d i sclaiming t h e charge of inc o nstancy

, .

S i xth P oem 1 2 7 1 52
. To his m i str e ss o n h e r ind e lity .
, .

Br own h owe ve r ad mitt e d s o m e disord e r in t h e sixt h p oe m F U R NI VAL L

, ,

.
,
 4 2 8 APP E ND I X
i n his i ntr oducti o n t o t h e L eopold S h pr e se nt ed an oth e r and m ore d e .

tail e d o utli n e o t e
f h S o nne ts dividing t h e F irst r up (
G o 1 1 2 6
) int o ft ee n ,

se cti o ns and t h e S e c o nd Gr oup int o e l e ve n ; but this o utl i n e rath e r e mphasi z e s

,

than r e li e v e s t h e di f culty of nding c o ntinuity i n such an analysis I n t h e .

f ol l owing y e ar T A S P AL D I NG in an articl e i n t h e Gen tlema n s Ma g a z i n e

. .
,

mad e a rath e r m or e c o nsist e nt analysis dividing S o nn e ts 1 1 2 6 i nt o thr e e

,

gr oups and a numb e r of small e r se cti o ns i nt e rpre t e d as d e ve l o ping an i nt e l ,

ligibl e st ory .

D OWD E N as has alre ady app e ar e d mad e a n ew d e fe nce and int e rpretat i o n
,

of t h e Quart o arrang e m e nt in his e d i ti o n o f 1 88 1 That t h e S o nn e ts a r e n ot , .

print e d in t h e Quart o 1 6 0 9 at haphaz ard h e said is e v i d e nt fr o m t h e fact

, , ,

,

that t h e en voy ( 1 2 6 ) i s rightly plac e d ; that p oe ms addr e sse d t o a mistr e ss f oll ow

th ose addre sse d t o a fri e nd ; and that t h e t w o C upid and D ian so nn e ts stand
t oge th e r at t h e c l ose A n e ar e r vi e w make s it appare nt that i n t h e rst se ri e s
.
,

1 1 2 6 a c o ntinu o us st o ry is c o nd uct e d thr o ugh vari o us stag e s t o its t e rmina

-
,

ti o n ; a m or e minut e insp e cti o n disc ov e rs p oints of c o ntact or c o nne cti o n b e twe e n

s o nn e t and s o nn e t and a natural se qu e nc e of th ought passi o n and imag e ry
, , , .

( I ntr o p .
, H e admits h ow e ve r that this d oe s n ot apply t o t h e se ri e s 1 2 7
.
, ,

1 54 Th e Quart o ord e r se e ms als o t o b e c o nrm e d h e a rgu e s by c e rtain asp e cts

.
, ,

o f t h e pu z z ling variati o n i n t h e u s e of t h e pr o n o uns

th o u and y o u in

t h e rst 50 s o nn e ts y o u is of e xtr e m e ly rar e occurr e nc e ; i n t h e s e c o nd 50 y o u

and th o u alt e rnat e i n littl e gro ups of s o nn e ts th ou having st i ll a p re po n

,

d eranc e but n ow o nly a sl i ght pr e p o nd e ranc e ; in t h e r e ma i n i ng 2 6 y ou b e

,

c om e s t h e ordinary m od e of addr e ss and th o u t h e e xc e pt i o n ( p

This ,

. .

argum e nt w e may n ot e at o nc e is answe re d by B E E C H I NG himse lf a be l i e ve r

, , ,

i n t h e Quart o ord e r : H ow littl e d e p e nd e nc e can b e plac e d o n such an argum e nt

is sh own by t h e fact that i n t h e so nn e ts ab o ut t h e R ival P oe t wh i ch u nd o ubt ,
~

e d ly f o rm a se ri e s s o m e tim e s th o u is use d and so m e tim e s y o u An d in fac e

.
,

of t h e fact that 9 7 and 9 8 which a r e alm ost id e ntica l i n se nse e mpl oy diff e r e nt , ,

pr on o uns it is imp o ssibl e t o discriminat e b e tw ee n th e m
, ( I ntr o p lxv n ) . .
, . .

S inc e D owd e n s ti m e th e r e has b ee n n o th oro ugh g oing d e f e nc e of t h e Quart o

-

arrange m e nt b ut its auth ority has be e n assum e d and so m e tim e s e xplicitly

, ,

sancti o ne d by a nu mb e r of e dit ors and critics TYL E R i n his intr od ucti o n t o

, .
,

t h e P ra e t orius F acsimi l e obse rv e d that it has b ee n assu m e d that t h e

o rd e r giv e n i n t h e F irst Quart o is t h e right o rd e r ; and this must c e rtainly b e

maintaine d until t h e c ontrary has bee n pr oved ( p xxvi ) ; an d h e t oo k t h e

.

lib e rty of adding on t h e margins of t h e facsimil e t e xt t h e capt i o ns S e ri e s I

,

S e ri e s I I and S e ri e s I I I opp os i t e S o nn e ts 1 1 2 7 and 1 53 r e spe ctive l y

,
*
, , , .

GOLL AN C Z in t h e Temple S h , we nt furth e r than a l m ost any oth e r c om .

I f it c o uld b e pr ove d h e said that any o n e so nne t is out of

m e n t a t or : , ,

A li b e rt y th
h a s la t e l re s ult ed i n on e of th e m os t a m us i n
at y e n o m e n a i n t h e w ole g ph h
m as s of s o n n et c ri t i ci s m C la ra d e C a mb un i n h e r w or on t h e S o n n e t s h r
ma es t h e k k
p p
. ,

a m az i n g h
s t a t e m e n t t a t i n t h e T o r e e d i t i on t h e oe m s a re

h p
d i v i d ed i n t o t ree s e a ra t e s e ri e s h
b y a n ote i n t h e m ar i n
"
a d i vi s i o n w i cg sh e er t ul a d d s

h h
h as n e v er b ee n ref e rred t o b y v y r y
p p
,

a n y co mm e n t a t o r ( I n c on rm a ti on s h e re rod uces w a t i s ca lled

.

a f a cs i mile of h
pg h rp y ph g ph
.

a e 57 of t h e T o e e d i t i on b ut i s r ea ll a ot o ra of t h e ra e t o i us f a cs i mi le . i n clud i n P r g
p
,

y
o n e of T ler s ca ti on s i n m od e n le t t e ri n

on t h e m ar i n ! r g g
 TH E ARRA NG E M E NT OF TH E S ONNE TS 4 9
2

p l ac e t h e wh ol e chai n wou l d pe rhaps b e spo ilt but n o such bro ke n link can
, ,

b e ad d uc e d ( I ntro p vi ) WYND H AM in his editi o n of t h e P oe ms

. .
, . .
,

also r e pre se nts an e xtr e m e po siti o n sinc e h e b e li e ve d that t h e Quart o of 1 6 0 9 ,

is a m ore auth oritative publicati o n than has b ee n ge ne rally supp ose d : Wh e th e r

or n ot [t h e S o nn e ts ] w e r e e dit e d by S h [th e y ] must s o far have c o mmand e d his
appr oval as t o ar ouse no pr ot e st against t h e f orm in which th e y appe are d It .

wo uld have b ee n as e asy f or him s o t o re s h u f e and re publ i sh as it is imp oss i bl e - -

t o be li e v e that h e c o u l d r e s h u f e and r e publ i sh and n o r e c o rd o f his acti o n

-
,
-
,

survive Wyndham a l so we nt s o far as t o say that all cr i tics n ot quixotically

.

c o mpe ll e d t o r e j ect a re aso nabl e vi e w a re agr ee d that t h e o rd e r i n t h e F i rst

( I ntr o p cix ) H E RF O RD in t h e E vers ley S h

S e ri e s can scarc e b e be tt e r e d . .
, . .
, .

t oo k similar gr o und D isp l ac e m e nt may b e h e re and th e re suspe ct e d ;

.

but on t h e wh ol e [t h e so nn e t gr oups] f orm a c o nnect ed se qu e nc e passing by ,

d e licat e gradati o ns thr ough a rich c o mpass of e m oti o n ( 1 0 : B E E C H I NG .

,

i n his e diti o n of 1 90 4 f oll owed t o t h e sam e e ff ect : Most m od e rn critics a re

,

agr ee d that at l e ast t h e rst divisi o n of t h e S o nne ts is appr oximat e ly i n t h e

( I ntro p l xiii ) ; o n t h e oth e r hand it may ve ry

o rd e r int e nd e d by t h e p oe t

. .
, ,

we ll b e t h e case that so m e f e w a re misplace d such as 36 39 7 5 77 8 1 9 79 9

, , , , ,

( p lxv ) B ee ching adds t w o argum e nts wh olly or partly n e w : t h e fact that

. .

so m e of t h e s o nne ts in t h e appe ndix thr ow light on th o se addr e sse d t o t h e

fri e nd c o nrms t h e th eo ry that t h e so nne ts f orm a se q u e nc e and a re n ot a
,

m e r e b oo kse ll e r s hapha z ard c oll e cti o n ( p lxiv ) ; and so m e furth e r c o n

.

rm a t i o n is a ff o rd e d by t h e fact that a print e r s e rr o r o f th e ir f or thy

occurs 1 4 tim e s in t h e se ri e s of so nn e ts fr o m 2 6 t o 7 0 inclusiv e and o nly o nc e ,

be sid e s v i z in 1 2 8 (This last instanc e f orbids us t o e xplain it by a m e r e change

, . .

of c o mpo sit o rs ) S 2 6 appe ars t o O pe n a n e w divisi o n and 7 1 c e rtainly O p e ns

. .
,

anoth e r It l oo ks th e re fo re as if t h e pri nt e r h as use d f or this divisi o n of t h e

.
, ,

so nne ts a se parat e MS l e ss p l ai n ly writte n than th ose h e had b e fo re him f or

.
,

th e e r st and so it b e c o m e s alm o st c e rtain that a t any rat e f or this se cti o n

,

t h e ord e r of t h e so nn e t s was x e d wh e n it cam e int o Th o rpe s hands S 1 2 8 may

. .

v e ry we ll have bee n in t h e sam e MS

( p lxv ) Th e pre se nt e dit or h as e lse wh e re . . .

co mm e nt e d o n this last argu m e nt as f oll o ws : Admitting t h e utm ost which th e se

facts can imply v i z that t h e misre adi n gs indicat e that t h e MS of t h e s o n

, .
, .

n e ts i n qu es ti o n was i n a di ff e re nt hand w riting fr o m lat e r o ne s w e ca n app l y ,

t h e argu m e nt o nly t o t h e 2 1 so nn e ts fr o m 2 6 t o 46 [t h e e rr o rs occurring i n 2 6 ,

2 7 3 5 3 7 43 4 5
, , , and t h e recurr e nc e of t h e e rro r in 6 9 and 7 0 aft e r a n
, , ,

i nt e rva l with o ut it sugge sts that w e may have c o m e back t o t h e sam e MS

, .
,

an d that c o n se cutive ne ss has bee n l ost ! (Ki ttredge An n i ver s a ry Volume 1 9 1 3 , ,

pp 2 86
.

MAC KAIL i n his l ectur e o n t h e S o nn ets (L ectu res on P oetry 1 9 1

, o bse rve s ,

I s e e n o r e aso n t o d o ubt that th e y we re arrange d by S h or at al l e ve nts that .

,

t h e y l e ft his hands i n th e ir pre se nt o rd e r and t hat this ord e r is substantially

, ,

t h e o rd e r of th e ir c o mpositi o n B ut this be l i e f is subj e ct t o t w o r e se rvati o n s :

.

i n t h e rst p l ac e th ose so nne ts which c o nstitut e a c o nse cutive gro up may have
,

b ee n arrange d by hi m i n an o rd e r d i ff e re nt fr om that of t h e dat e s of th e ir writ

430 A P P E ND IX
ing ; i n t h e se c o nd p l a ce h e may hav e bee n wor ki ng on m ore than one of th ose
,

gro ups c o nt e mp oran eo us l y As t h e S o nne ts ext e n d ove r a pe ri od of se ve ra l

.

ye ars and as diff e r e nt gro ups o f th e m we re C l e ar l y se nt t o th e ir r e cipi e nt at

,

d i ff e re nt tim e s it was obvi o usly p o ssibl e e ith e r f or him or f or so m e third p e rso n

, ,

i nt o wh ose hands th e y had c o m e b e fo re t h e y we nt t o t h e print e r t o alt e r t h e ,

arrang e m e nt ; but th e r e is n o proo f and n o probab i lity that this was i n fact , ,

d one .
( pp 2 0 3 F i nally a partia l d e f e nd e r o f t h e Quart o arrange m e nt is
.
,

f ound i n B RANDL w h o i n his intr od ucti o n t o F ulda s translati o n of t h e S on

, ,

n e ts argu e s : Th e traditi o na l o rd e r d e se rve s a se ri o us att e mpt t o nd

i t int e ll i g i bl e ; if it can b e maintain e d it has i n c o mpariso n with all free

,

att e mpt e d arrange m e nts t h e auth o rity of t h e publish e r wh o se i nt e re st must ,

li e /n ot i n making an e rr or but i n av o iding it Nor n ee d this arrang e m e nt d i s .

play t h e c o mpl e t e d e ve l o pm e nt of its f o rmati o n in al l d e tails ; it may b e a lat e r

r edacti o n by t h e a t h or F i nally it is t o b e qu e ri e d wh e th e r F rancis Me r e s
.
,

w ould have o pe n l y praise d t h e fri e ndship so nn ets if th e y had e xist e d o nly ,

singly and in u nint e lligibl e c o nfusi o n and n ot i n se lf e xplanat ory grouping ,

-

i n a MS c oll e cti o n arrange d f or a wid e r circl e of fri e nds ( p xv ) This ar

.

. . .

g u m e n t e sp e cia l ly c o ncerns what Brand l nds t o b e t h e ch i e f se ri e s of fri e nd

ship so nne ts 1 8 74 ; o n t h e oth e r hand h e nds t h e p olitica l s o nnets t o

,

,

b e o u t o f chr o n o l ogica l ord e r th o se of 1 6 0 3 pr e c ed ing at a l o ng i nt e rva l th o se

,

of 1 6 0 1 ( p xxi i )
. . .

Me nti o n has alr e ady b ee n mad e of an articl e on this subj e ct by t h e pr e se nt

ed it o r i n t h e Ki ttred ge An n i vers a ry Volu me
, What f oll ows is s ub s t a n
t i a lly a r e pr o ducti o n of a p o rt i o n o f that articl e having chi e f c o nc e rn with ,

t h e burd e n of pr oo f in t h e argum e nt o n t h e Quart o arra ng e m e nt ( Se e also ,

w i th r e fe r e nc e t o D o wd en s argu m e nt fro m t h e s o call e d e nvoy t h e n ot e s

-

,

to S .

If w e sh ou l d appr oach t h e s o nne ts with o ut knowl e dge of th e ir c o nt e nt as ,

if disc ove ring th e m f or t h e rst tim e o ur rst inqu i ry w o u l d naturally b e ,

wh e th e r t h e c o ll e cti o n appe ars on t h e fa ce of it t o b e o n e of t h e se qu e nc e s s o

familiar in t h e E l i z a b e than a g e Of thi s type of c o l l e cti o n t h e l e ading traits a re

.

we ll u nd e rst ood A se ri e s of s o nne ts is addr e sse d t o a l ady of gr e at b e auty t o

. ,

wh om a fancifu l nam e is gi ve n ( S t e l la D iana I d e a or t h e like ) which com , , , ,

m o n ly f orms t h e tit l e o f t h e wh o l e This l ady is usua l ly c o l d o f h e art and t h e

. ,

se qu e nce of p oe ms re pr e se nts t h e succ e ssive eff orts of t h e writ e r h e r l ove r t o , ,

wi n h e r t o yi e l d t o his passi o n Turning t o t h e S h Quart o w e nd that t h e tit l e

. . ,

page be ars n o c o nve nti o nal titl e ; n o lady s nam e give s it a nam e ; n o lady s

nam e is m e nti o ned withi n it Th e book is call ed simply S h s S o nn ets : n eve r

.
.
'

be for e imprint ed
It is not w e may say t e ntative l y a c o nve nti o nal s e
.
, ,

q ue n c e A se c o.n d appr o ach wil l naturally b e t h e inqui r y wh e th e r t h e v o l um e

appe ars t o have b ee n pub l ish e d by t h e auth or s auth ority or un d e r his sup e r

visi o n Th e discussi o n o f this w ould b e an impo rtant matt e r w e re t h e facts

.
,

n ot all but univ e rsally admitt e d Th e Quart o is d e dicat e d n ot by t h e auth or

.

but by t h e publ i sh e r a w e ll k n own pirat e i n his tra d e ; it c o ntains num e r o us

,
-

u nint e llige nt misprints ; wh e r e as t h e t w o p oe ms which S h is known t o have .

 TH E ARRA NG E M E NT OF TH E S ONNETS 43 1

publish e d c o ntai n d e d ica ti o ns fr o m his hand and see m t o hav e b e e n care fully
pr oof re ad The se a re t h e chi e f ( but n ot t h e o nly ) c o nsid e rat io ns which have led
-
.

critics t o agr ee on t h e surr e ptiti ous charact e r of t h e Qua rt o of 1 6 0 9 .

I n 1 6 4 0 app e ar e d a n ew iss u e o f t h e S o nn e ts n ow print e d in an e ntir e ly ,

di ff e r e nt ord e r and gro upe d by t h e ed it o r with sub titl e s as t h e t e xt sugge st ed

,
-
.

I n this ed i ti o n o f c o urse th e re i s noth i ng auth oritative ; t h e o nly s i gnicanc e

, ,

t o b e f o und i n i ts charact er is n e gative t o t h e e ff e ct that th e re was n o tra

diti o n i mplying a c o ntinu o us or t w o part t e xt as o f 1 6 0 9 -

.

I t is cl ear th e n s o f ar as this pre liminary e vid e nc e goe s that t h e burd e n of

, , ,

proo f is on any att e mpt t o call th e se so nne ts a se q u e nc e i n t h e usual m e aning of

t h e t e rm I f t h e charact e r of t h e c o nt e nts e xamin e d in d e tail ind i cat e s a c o n sec
. , ,

utiv e and signicant o rd e r th e n j ust t o that e xt e nt w e may r e gard t h e arrange

,

m e nt of t h e Quart o as imp ortant ; but w e have n o warrant f or be ginning t o re ad

t h e c ol l ecti o n with t h e assumpti o n that it is t o b e int e rpre t e d as o n e int e rpr e ts a
se ri e s of poe ms much l e ss chapt e rs of a st ory s e t f ort h by t h e auth o r in pr e d e
, ,

t er m i n e d f orm On t h e c o ntrary in t h e abse nc e of furth e r and c o nicting

.
,

e vi d e nc e w e sh o u l d e xpe ct t o nd that w e have be f o r e us a c o ll e cti o n of all t h e

,

s o nn e ts writt e n by S h s o far as t h e publish e r was abl e t o g e t h old of the m ; an

.
,

e xp e ctati o n str e ngt h e n e d by t h e fact that t w o o f t h e s o nn e ts in t h e vo lum e ,

1 3 8 and 1 44 had b e e n publish ed t e n y e ars e arli e r i n an o th e r pirat e d c oll e cti o n

, ,

Th e P a s s i on a te P i lg ri m .

B ut whil e t h e s o n n e ts d o n ot appe ar t o be a se qu e nc e of t h e usua l sort th e y ,

may give e vid e nc e of be ing an u nc o nve nti o nal se qu e nc e ; that is th e y may ,

f orm a se ri e s e ith e r fr o m having be e n writt e n i n t h e pre s e nt o rd e r or from hav

,

i ng be e n car e fully arrange d This if tru e is n ot t o b e assum e d b ut prove d

.
, ,
.

Our n e xt task sh o uld b e th e r e f o r e t o re ad t h e c o ll e cti o n thr o ugh with a vi e w

, ,

t o aski ng n ot h ow far it w o u l d b e p o ssibl e t o c o nc e ive t h e so nn e ts t o b e s i g n i

,

c a n t ly c o nse cutive if w e kn e w that th e y had b ee n put i n th i s o rd e r by t h e

writ e r but h ow far th e y imply such c o nse cutive n e ss wh e n w e kn ow n othing
,

of t h e circumstanc e s o f th e ir arrang e m e nt H e r e o f c o urse th e re is r oo m f or

.
, ,

gre at dive rsity of j udgm e nt All that can b e d o n e h e r e is t o se t d own t h e re

.

s u lt s of such a r e ading as has j ust b ee n d e scrib e d i n t h e attitud e of o n e w h o ,

d oe s n ot disb e li e ve in t h e e xist e nc e of a large am o u nt of c o ntinuity but w h o ,

r e q uire s t o s e e e vid e nc e of it i n t h e t e xt F ro m this standp oint appare ntly .

,

c o nne ct e d so nne ts f orming thro ugh c o ntiguity

, natural gr oups may b e
-
,

o bse rv e d as f o ll o ws : 1 1 7 ; 1 8 1 9 ; 2 6 2 8 ; 333 5 ; 4o4 2 ; 4 34 5 ; 4 6 4 7 ; 50 52 ;

6 8 6 6 6 6 6 8 6 0 8 8 8 86 8 6
54 55; 5 5 ; 3 5 ;
-
; 9 7 : 7 74 : 7
-
1 0 ; 2 : 7 9 3 : 94 9 ; 9 7 9 9
1 00 1 0 3 ; 1 0 91 1 2 ; 1 1 7- 1 2 0 ; 1 2 31 2 5; 1 3 1 1 3 2 ; 1 3 31 34 ; 1 3 51 36 ; 1 3 7 - 1 3 8 ;

1 391 40 ; 1 4 1 1 42 ; 1 43- 1 44 ; 1 4 7- 1 52 ; 1 531 54 It w ll b e und e rst ood that this . i

l ist incl ud e s o nly th o se so nn e ts wh o se t e xt see ms t o imply so m e imm e diat e con
n e ct i onwith t h e ir imm ed iat e n e ighb ors ; t h e o mitt e d so nn e ts b e ing th ose which .
,

i n t h e abse nc e of any th e o ry of se qu e nc e may naturally b e r e ad as ind e pe nd e nt

,

c omp o s i ti o ns t oge th e r w i th so m e wh i ch a re m ost naturally associat e d with

,

o th e rs n ot standing in c o ntiguity with t h e m No t wo r e ad e rs wo uld b e like l y .

t o r e ach i d e ntica l r e sults in pursuing such an att e mpt as this ; but th e r e has b ee n
432 A PP E ND I X
n o e ff o rt make t h e l ist as pre se nt e d e rr on t h e si d e of d isc ontinuity (f or ex
to
ampl e t h e c o ntinuity of 1 4 7 1 52 is by n o m e ans c e rtain ) What is t h e ge n e ra l
,
-
.

i mpr e ssi o n re sulting ? On e c o nsid e rabl e se ri e s has appe are d ; and it is prope r
t o add that an o th e r might b e a d mitt e d as p l ausibl e f o r m e d by c o nn e cting al l ,

t h e s o nn e ts fr o m 1 0 9 t o 1 2 5 Thr e e sh ort s e ri e s app e ar t o numb e r r e sp e ctive l y

.

v e six a nd se v e n s o nn e ts ; th e re a re thr e e gr o ups of f o ur e ach ; th e re a re

, ,

twe lve s o nn e t tri os and twe l ve pairs To an unbiase d re ad e r t h e re su l t would

,
.

s ee m t o b e i n acc ord with t h e hyp oth e sis a l r e ady sugge st e d by t h e m ore e xt e rna l
e v i d e nc e v i z that t h e publish e r of this c o l l e cti o n gath e r e d al l of S h s s o nne ts
. .
, ,

that h e c o uld obtain i n vari o us MS S , so m e arrange d so m e unarrange d .

, ,

and mad e an att e mpt t o s e t th e m in ord e r H e plac e d at t h e b e ginning of t h e .

b o o k t h e l o nge st obvi o us se ri e s or p o ssib l y t h e se ri e s which h e kne w had be e n

, , ,

addr e sse d t o t h e p e rso n t o wh o m h e wish e d t o d e dicat e t h e vol um e I n oth e r .

case s his MS furnish e d him with pa i rs a nd tri os which h e pre se rve d i ntact ; i n
.

still oth e r case s h e may have mad e a pair or a tri o of so nn e ts which app e are d
t o b e similar i n th e m e or t o n e F inally obs e rving that t h e s o nn e ts pla i nly
.
,

addr e sse d t o w o m e n we re i n t h e min ority h e r e se rve d th e m f or t h e e n d of t h e ,

c oll e cti o n t o ge th e r with c e rtain oth e r p oe ms on ind e pe nd e nt t o pics

, .

It may b e o bj e ct e d that t h e want of a cl e arly c o ntinu o us thr e ad of th o ught

d oe s n ot pr ove t h e c o ll e cti o n t o b e inc o nse cutive ; can o n e trac e such c o ntinuity
in any E li z ab e than se qu e nce ? P roba b ly n ot B ut t h e p oint i n t h e pr e se nt case .

is that t h e burd e n of proo f is on th o se se e king t o Vi e w t his c oll e cti o n as a s e

q ue n c e Mo r e ov e r a m or e d e tai l e d s u rv e y c f t h e c o nt e nts wo uld r e ve al n ot
.
,

m e r e l y a want of c o ntinuity but n o l itt l e e vid e nce of disc o ntinuity D owd e n .

d e scrib e s an E li z abe than se q u e nc e as a chain or se ri e s of p oe ms i n a d e s i gne d

,

o r natura l s e qu e nc e vi e wing in vari o us asp e cts a singl e th e m e or carrying o n

, ,

a l ove st ory t o its issu e pro spe ro us or t h e r e ve rse ( I ntro p

-
,

Wo uld any . .
, .

o n e e x amining th e se s o nn e ts of S h s with o ut a pr e d e t e rmin e d th e o ry b e le d t o

.

nd th e m withi n t h e sc o pe of this d e niti o n ?

An oth e r o bj e cti o n t o this agn ostic po siti o n may b e stat e d as f ol l ows : a d
mitting that t h e se ri e s is n ot a se qu e nce i n t h e usual se nse this d oe s n ot p re ,

ve nt us fr o m r e garding t h e so nn ets as standing on t h e wh ol e in t h e o rd e r of , ,

S h s MS B ut d oe s t his m e an t h e or d e r of S h s ori gi na l MS that is t h e

. . . ,

o rd e r o f c o mp o siti o n or that of so m e na l MS i n which h e arrange d his .

so nn ets ? Th e rst a l t e rnative n o on e suppo se s t o b e app l i cab l e t o t h e wh ol e

c oll e cti o n f or ab out t h e o n l y c e rtain i nf e re nce t o b e drawn fro m t h e t e xt
,

is t hat s o m e of t h e p oe ms in t h e se c o n d se ri e s we re wri tt e n at t h e sam e time

as s o m e in t h e rst se ri e s Th e m ost that is c l ai me d th e n is that so nne ts

.
, ,

1 1 2 5 a r e i n t h e o rigina l o r d e r pre se rved p e rhaps am o ng t h e pape rs of

, , ,

t h e p e rs o n t o wh o m th e y a re suppo se d t o have be e n a d dr e ss e d This vi e w .

cann ot b e sh o wn t o b e imp ossib l e ; but it r e mains not pr ove n

And since .

so m e misplace m e nts a re a d mitt ed by n e ar l y al l critics h ow can a l imit b e s e t ? ,

If t h e MSS of W H .

we re o nc e disarrange d by a want o n bree z e or a care l e ss
. .
,

s e rvant what may not have happ e n e d ? Th e only answe r is that we must fa ll
, ,

bac k on t h e t ext as it stan d s As t o t h e sec on d a l t ernat i ve that t h e e xisting

.
,
 TH E ARRA NG E M E NT OF TH E S ONNETS 4 33
o rd e r r e pre se nts S h s wish e s at t h e tim e t h e so nne ts we re c oll e ct e d w e have
.

alre ady se e n what t h e pro babiliti e s a re that h e mad e any C o py f or t h e purp ose
o f publicat i o n and it is a pure assumpti o n that h e br o ught his s o nn e ts int o
,

o n e MS f or any purpo se what e ve r

. B ut e ve n if h e did t h e argum e nt fr o m . ,

disa rrange m e nt still appli e s .

An oth e r p ossibl e obj ecti o n ( and h e re I pass fro m t h e matt e r pre vi ously pub
li s h e d ) may b e drawn fro m t h e fact that th e re is n o so nn e t c e rtainly addr e sse d
1 2 6 and that this c o ul d hardly b e t h e ca s e

t o a w o man i n h
t e wh o l e

s ri
e e s 1 ,

if t h e ord e r we r e pur e l y hapha z ard This is d o ubtl e ss a r e al hindranc e t o t h e .

th e o ry of a pure ly accid e ntal arrange m e nt if any o n e h olds such a th e o ry ;

and it might n ot unre aso nab l y b e vi e wed as implying that Th orp e o btaine d
, ,

t h e gr e at part of t h e MS or MSS c o ntaining S o nn e ts 1 1 2 6 fr o m a singl e

. .

so urce or fro m so urce s such as le d him t o thi nk that th e y d e alt with id e ntical
,

pe rso ns or th e m e s On t h e oth e r hand it wil l b e n ot e d that P r of e ss or Gray

.
, ,

i n t h e argu m e nt C it ed ab ove re gards this v e ry circumstanc e as e vid e nc e ,

of Th orp e s d e sir e t o attach all t h e so nn e ts t o

W H u nl e ss th e ir cont e nt

. .

abso lut e ly f orc e d him t o r e l e gat e th e m t o an appe nd i x .

I n c o ncl usi o n it ca nn o t b e t oo str o ngly e mphasi z e d that t o nd a c o nn e ct e d

,

st o ry in t h e So nne ts is n ot t o have prove d anyt hing re garding th e ir o rd e r .

E ve n if o n l y o n e st o ry c o uld thus b e mad e it wo uld r e main pur e ly hyp oth e tical ,

u n les s t h e o rd e r of t h e poe ms w e r e asc e rtain e d o n unqu e sti o nabl e gr o unds

*
.

Th e hist o ry of criticism is ful l of t h e wr ecks of th eo ri e s d e pe nd e nt o n t h e n o t i o n

that an indivi d ual i nt e rpr e tati o n was t h e o nly p o ssibl e o n e I n t h e case of t h e .

S o nne ts w e have m ore than a d oz e n r e arrange m e nts each on e t e lling t h e tru e ,

st ory t o its make r Th e Ve ry e xist e nc e of th e se is mad e a re proach t o a g n os t i

.

c i s m o n t h e subj e ct j ust as t h e multiplicati o n of se cts is mad e a r e pr oach t o

,

P r ot e stantism Yo u r e j e ct t h e e xisting o rd e r it is said but cannot make

.
, ,

a b e tt e r which wil l nd ge ne ra l acc e ptanc e

,

B ut this in itse lf of c o urse is . , ,

abso l ut e ly with o ut pe rtine nc e t o t h e qu e sti o n wh eth e r t h e traditi o nal ord e r .

r e sts o n an ad e quat e basis Th e o nly safe ty is i n d e nit e and substantial re a

.

so ns f or b e lie ving that it r e pre se nts t h e work of t h e auth or And n o such re aso ns .

hav e b ee n f o und
,
.

Th e r e f oll ow ut l in e s
o of vari o us rearrange m e nts of t h e So nnets which have
be e n mad e or prop osed .

y y h
S i r S i d n e L ee h a s t r ul ob s e rv ed t a t i f t h e c ri t i c al i n e n u i t w i c h a s d et ec t e d a con g y h h
h
t i n uou s t rea d o f n a rra t i on i n t h e o rd e r t a t T o r e ri n t ed S h s S o nn e t s w ere a h h p p
li ed t o t h e .

pp
k
b oo s e llers m i s ce lla n

y
of so nn e t s mi lle d D i a na t a t v olu me h
co uld b e m a d e t o r ev e al
p
,

t h e s e q ue n ce of a n i n d i v i d u a l lo e r s m ood s q u i t e a s rea d i l v

( Li f e 9 4n ) To w h i c H e r y . . h
p
. ,

f o r d ( E vers ley S h , 1 0 : . re li es :

H e m a y b e i n v i t ed t o t ry

F or m s elf , a s I a v e s a i d . y h
h
e ls e w e r e ( n o t i n f ri v oli t , b u t wi t y
a s e ri o u s v i e w t o t h e a na loh w i t m uc w o r w i c h a s gy h h k h h
h k
b ee n d o n e o n t h e S o n n e t s ) I s ou ld d i s li e t o m a e t h e ex e r i m e n t w i t t h e m o n ot o n o us a e s k p h pg
p
,

o f t h e D i a n a ; b ut i f o n l Word s w or t y
s m i n o r oe m s i n c lu d i n h
h i s so nn e t s h a d co m e d ow n t o u s

g
p p
, ,

h h
wi t o ut d a t e a u t or s t i t le , o r n o te i n a n o rd e r e rh a s d e t e rm i n ed b y t h e c on v e n i e n ce of t h e

p p
, ,

h h
u b li s e r , I s o uld u n d e rt a e t o rea d t e m i n a k h
la u s i b le s e q u e n c e a n d ev e n t o s ow t a t t a t h h h
p p
,

s e q u e n c e w e n t f a r t o w a rd so lv i n g
t h e on e m s t e r of t h e oe t s li f e
'
y y
t h e e r s o n a li t o f L uc
"
y y .

h g k g
I s ou ld t ra c e h e r a m on t h e la e s a lo n t h e Ri v e r D ud d on a n d t h e v i c i n i t o f Ti n t e r n Ab b e ,
, , y y
s h ow w h y s h e w as i ns t u me n ta l i n r
r ev en t i n th e oe f om i s i t i n p g p t r
a rrow , i n d i c a t e t h e ln v gY
4 34 A P P E ND I X

POE MS OF 1 6 40

( Th e g l ory of b e a ut i e ) .

( I nj uri o us

( Th e f orc e of l ove ) .

(Th e b e a u t i e of Nat ure ) .

( L ove s c r ue lt i e ) .

( Yo ut h f ull gl o ry ) .

( Goo d Adm oniti o n ) .

( Q u i c k e pre ve nti o n ) .

( Maga z in e of b ea u t i e ) .

(An invitati o n t o M arriag e ) .

( F als e b e lee f e ) .
[P a s s P i lg v e r s ron ]
. . .

( A T e mptati o n ) [P as
. s P i lg v er si o n] . . .

2 1 (Tru e c ont e nt ) .

23 (A b a s h f ull L ove r ) .

22 ( S tr ong c o n c e i t e ) .

3?

20 (Th e E xchange ) .

27 29 (A disc onso lati o n ) .

30 3 2 (Th e b e n e t of F ri e n d ship ) .

=lt

3 8 40
-
(A c ongrat ulati o n ) .

1
4 4
2
( Losse and gai ne ) .

i t

44 4 5

( Me lanch oly th o ughts ) .

3 3 3 5 ( L ove s Re le e f e )
.

3 3 7 ( Un a n i m i t i e )
6 .

Mast e r p ee c e )
24 (A -
.

2 5 ( H a p p i n e s s e i n c o nt e nt ) .

2 6 ( A d u t i f u ll Me ssage ) .

1 Goe and c o m e quick l y

5 5 (
0 ) .

4 4 7 (Tw o fa i thfull fri e n d s )

6 .

4 8 ( C a re le s s e n e g l e ct ) .

4 9 ( S t o ut e r e s ol uti o n ) .

i t

V
u e n ce o n h i m of h e r v i e w s o n t h e i s i t a t i o n of t h e S i c k y
O ld Ab b e s a n d t h e E m i g ra n t F r e n c h
p
, ,

C le rgy ,and y
ro b a b l d e m on s t ra t e t a t s h e w a s a d a u h gh
t er o f t h e L eec - a t e rer a n d a n i ec e o f hG h
S i m o n L ee
h p
.

k
Th e o c c a s i o n a l a s t e r i s s i n d i c a t e ot er o e m s i n t rod uc e d f ro m Th e P a s s i on a te i lgr i m or P
hr r tr
e ls e w e e , t h e n umb e of as e i s k s co res on d i n r p g
w i t t h e n umb e r of s uc i eces h hp .
 TH E A RRA NG E M E NT OF TH E S ONNE TS 435
62 ( S a t fuisse ) .

55 ( A l iving m o n u m e nt ) .

52 ( F a m i li ar i t i e bree ds c o nt e mpt ) .

6 1 ( P ati e ns Armatus ) .

7 7
1 2 ; 7 4 ( A V al e dicti o n) .

7 0 ( Ni l m a g n i s I nvidia ) .

80 8 1 ( L ove s i cke )
.

1 1 6 ( Th e P ictur e o f tru e l ove ) .

8 2 8 5 ( I n p r a y se o f his Lo v e ) .

86 8 7 (A Re s i gnati o n ) .

8 89 1 ( A r e q u e st t o his s c or n e f u ll Love ) .

9 9 5 (A Lo ve rs aff e cti o n th o ugh his Lo ve pr ove unc onstant )

2 .

9 7 9 9 ( C omplai nt f or his Lo ves abse nce )

.

1 0 0 1 0 1 ( An i nv ocati o n t o his Mus e )

.

1 0 4 1 0 6 ( C o nstant a ff e cti o n )
.

1 0 2 1 0 3 ( Amaz e m e nt ) .

1 0 9 1 1 0 ( A Lo ve rs e xcuse f o r his l o ng ab s e nc e ) .

1 1 1 1 1 2 ( A c o mplaint ) .

1 1 31 1 5 ( S e lf e att e ry of h e r b e a ut i e ) .

1 1 7 1 1 9 ( Tryal l o f l o ve s c o nstancy ) .

1 2 0 ( A g oo d c o nstructi o n of his Lo ve s u n k i n d e ne s se ) .

1 2 1 ( E r r o u r i n o pin i o n ) .

1 2 2 ( U po n t h e rec e i t of a Tab l e B oo ke fr o m his Mi s t ri s ) .

1 2 3 ( A Vo w ) .

1 2 4 ( Lo v e s s a f e t i e ) .

1 2 5 (An i n t r e a t i e f or h e r acc e ptanc e ) .

1 2 8 ( U p o n h e r playi ng o n t h e Vi rg i n a lls ) .

1 2 9 ( I mm od e rat e L ust ) .

1 7 ; 1 30 1 3 2 ( I n p ra y s e o f h e r b e a ut i e th o ugh b l ack )
2 .

1 3 3 1 34 ( Un k i n d e Abu s e )
-
.

1 3 5 1 36 (A Lo v e S uit e )
- -
.

1 3 7 ; 1 39 1 40 ( H i s h e art w o un de d by h er ey e )
-
.

1 4 1 1 4 2 ( A P r ot e stati o n )
.

1 4 3 (An Allusi o n ) .

1 4 5 ( L if e and d e ath ) .

1 4 6 (A C o nsid e rati o n of d e ath ) .

1 4 7 ( I mm od e rat e P assi o n ) .

1 4 81 50 ( Lo v e s po we rfu ll subti l ty ) .

7 79 ( Re taliati o n )
8 .

7 3 ; 77 ( S unne S e t ) .

1 0 71 0 8 ( A m o nu m e nt t o F am e ) .

1 51 1 52 ( P e r j u r i e )
-
.

1 531 54 ( C upi d s Trea c h e ri e ) .

43 6 AP P E ND IX

K N I GH T ( 1 843)
Gr ou p I 1 35 1 36 ;
-
1 43 ; 12 7; 1 3 1 - 1 32 ; 12 8; 1 30 ;
1 8
.
4o ; 1 4 9 ; 57 5
1 50 1 52 :
56 : 1 4 5; 129; 1 37 1 38 : 1 4 7- 1 4 8 :
-
1 4 1 1 42 ; 1 33 -
1 34 ; 1 44 : 33
0 - 6 8
4 42 ; 94 9 ; 11 -
120 .

GrOU P 11
2 9 3 : 3 6 39 ; 2 2 8 : 6 1 : 4 34 5: 4 8 : 7 5: 49 : 8 89 3 : 9 79 9
5 5 : 7
-
2 0 2

109

Gr o up I I I
1 8 8 ; 596 0 ; 126 ; 2 2 ; 62
.
; 10 ; 9 ; 1 1 20 ; 53 55; 1 0 0 10 74 ; 8 1 .

F R ANgOI S VI CTO R H UGO ( 1 8 57 )

Gr o up I . 1 3 5 1 3 6 ; 1 43 ; 1 4 5 ; 1 2 8; [So nn e t fro m P a Ss . 1 39 1 40 ; 12 7
1 31 -
1 32 ; 1 30 ; 2 1 ; 1 4 9 ; 1 3 7 1 3 8 ; 1 4 71 4 8 ; 141 ; 1 50 ; 1 4 2 ; 1 52 ; 1 541 55 ; 1 51

129 .

Gr o up II . 1 33 1 34 ; 1 44 .

Gr o up III .

3 3 3 5 ; 40 4 2 .

Gr O U P I V .
52
8 : 6 1 : 4 3- 4 5 : 9 799 : 53 : 1 2 5 : 9 49 6 : 6 9 ; 6 7
2
75: 56 ; 2 7 1 09 1 2 0 : 77 ; 1 2 2 68 :
-

88
9 3 ; 57 58 : 7 8 : 3 8 : 7 9 8 0 : 82 8 7 : 32
-
70 : 49 :
Gr o up V . 1 46 ;
1 00 10 3; 1 0 5; 76 ; 106 ; 59 .

Gr o up VI . 12 6 ; 104; 1- 19; 6 0 ; 73 ; 37 ; 22 ; 6 2 ; 7 1 7 2 ; 74 ; 8 1 ; 6 4 ; 6 3 ; 6 5; 10 8

C ARTWRI GH T ( 1 8 59 )

Gr o up I . 1 2 0 ; [So nn e t fro m P ass .

53 55
.

G r o up I I 1 0 0 1 0 8 6 0 2 6 2 1 0 91 1 2 ; 6 ; 0 2 ; 8
.
; 59 ; 2 5 ; 2 9 3 ; 12 1 ; 3 39 5 5 4
6
7 : 7 8 8 0 8 2 8
: 7 : 49 ;
-
8 8 6
9 3 : 7 70 :
-
126 : 77
Gro up I I I 2 6 6 2 6 6 8 1 6 1 2
.
33 3 5; 4 4 ;
0 94 9 ; ; ; 7 74 ;
1 1 1 1 2 0 ; 1 2 2 5 .

Gr o up N 2 1 2 4 : 2 3 7
2 8 : 6 1 ; 43 4 7 : 7 5 : 56 58 : 9 799 :
-
11 -
1 1 5: 1 53
1
54 :
1 4 1 1 42 ;
1 2 8 : 1 45 : 2 7: 3 3 : 3 5 3 : 43 : 39 4 : 49 : 3 7 1 3 8 :
2 6 1 1 0 1 1
- -
1 0
3 : 1 1 1 1 1 1 1

1 4 7 1 48 :
-
1 50 1 5 : 44 : 33 1 34 : 1 2 9 : 1 46
2 1 1 -
.

B OD E N S TE D T ( 1 86 2 )
Gr o up I [ So nne t fro m P a s s 1 2 8 ; [ S o nn e t fr o m P a s s
1
. . . 1 35 36
1 1 4 8 ; 1 30
1 2 1 ; 1 53 54 1 52 ; I 37 ; 51 ; 1 4 5 ; 1 419
-
1

1 39 -
1 40 ;

129 .

G 1 3 3 1 3 4 : 1
11 6 2
4; 9 3 : 36 ; 6 6 ;
-
ro u v . 1 44 : 33 3 5: 40 42 : 2 ; 2 0 ; 2

8
4 : 52 : 50 51 :
-
2 7 2 8 ; 6 1 : 43- 4 5 : 53 : 8 0 : 8 2 : 8 58 6 : 7 8- 7 9 : 3 7 : 58 : 4 9 : 6 2 : 8 3

70 : 6 9 : 6 7 6 8 : 9 3 : 8 1 : 7 1 : 7 4 : 3 2
G r o up I II . 1- 19; 22 ; 2 1 ; 12 6; 1 1 0 1 1 2 ; 8 4 ; 6 46 5 ; 1 0 71 0 8 .

Gr o up I V .

63 ; 104 10 6 ; 122
1 15 1 16 : 6 0
73 : 72 : 76 : 54 55: 94 :
-
: 91 1 0 1 102 : 59 :
-
123:
 TH E A R RA NG E M E NT OF TH E S ONNETS 4 37

D ELI US ( 1 8 64 )
I .
( Will ) 1 3 5 1 36 ; 1 4 3
.
-
.

II .
( Black e y e s ) 1 2 7 ; 1 3 1 1 32
.
.

III .
(Virginal ) 1 2 8 . .

IV .
( F a l se C o mpare ) 1 30 ; 2 1 . .

V .
( Tyranny ) 39 1 40 ; 1 49
1.
.

VI .
( lave ry ) 57 58
S .
.

VI I .
( Co ldn e ss ) 56 . .

VI I I .
( I hat e n ot y o u ) 1 4 5 . .

IX .
( L o v e and H a tr ed ) 1 2 1 .

9 ; 3 7 1 38 ; 1 4 1 1 42 ;
-
1 47-
1 4 8 ; 1 50 1 52 .

X .
( I nd e lit 1
y ) 33 1 34 ; 1 44 .

XI .
( nj ury ) 3 3 3 5; 40 42
I

X II ( F ri e nd s aults ) 9 4 9 6
A

. F . .

XIII .
( F o rgiv n s
e e s ) 1 1 8 120 .

X IV .
( Co n d i n g F ri e ndship ) 2 9 32 .
-
.

XV .
( umil i ty ) 36 39
H .
.

X VI .
( bse nc e ) 50 5 ; 7 8 ; 6 1 ; 43 4 5
A 2 2 2 .

X VI I .
( E strang e m e nt 8 .

) 4 ; 7 5 ; 49 ; 8 8 9 3 .

X VI I I .
( Se c nd bse nc e ) 9 7 99
A o A . .

X IX .
( F id e lity ) 1 0 9 1 1 7 ; 1 2 2 1 2 5
.
-
.

XX .
( D e dicati o n s ) 2 6 ; 2 5; 2 3 .

XX I .
( T h e P ict ur e ) 4 ; 4 47
2 .6 .

XX I I .
( Th e Not e B oo k ) 7 7 -
. .

XX I I I
8 80 8 87
.
76 ; 7 ; 2 .

XX IV ( R e p utati o n ) 1 2 1
. . .

X X V (Th e S o ul ) 1 46
. . .

X X VI (Th e P oe t t o a F ri e nd ) 1 1 9
. . .

XXVI I (Th e F ri e nd s B e auty ) 2 0 ; 53 55

.

.
-
.

XXVI I I ( I mm ortality of Ve rse ) 1 0 0 1 0 8 ; 5960

. . .

XX I X ( D e ath ) 1 2 6 ; 2 2 ; 6 2 74 ; 8 1
. .
-
.

XXX ( C upi d ) 1 53
.

MAS S E Y ( )
1 86 6 1 8 8 8

( S h t o S
. o uthampt o n ) 1 2 6
; 38 . .

uthampt n li ab th Ve rn n
( S o o t o E z e o ) 9 31
2 . .

( S h t o So uthampt o n ) 3 2
. . .

li ab th V rn n uthampt n
( E z e e o t o S o o ) 3 3 3 5; 4 1 42 . .

( E li z abe th Ve rn o n t o Lady Rich ) 1 33 1 34 ; 40 .

-
.

( E li z ab e th Ve rn o n ; S o lil o quy ) 1 44 . .

( S h t o S o uthampt o n ) 3 9
. . .

( o
S uthampt o n t o E li z ab e th V e rn o n 6 2
) 3 37 ; 7 2 8 ; .
-
44 52 ;
uthampt n 6 0 6 2 6
( S h t o.S o o ) 53 55 ; 59 ; 5 . .

( E li z ab e th Ve rn o n ; S o lil oq uy ) 6 6 6 9 .
-
.

h S uthampt n ) 70 7 4 ; 7 86
(S t o. o o 6 .
-
.
438 A PP E ND I X

( S o uthampt o n t o E li z abe th Ve rn o n ) 8 7 ; 7 5; 88 9 3 .
-
.

( li z ab e th Ve rn o n t S o uthampt n ) 94 9 6
E o o . .

( S o uthampt o n t o li abe th
E z V e rn n ) 9 7 99
o . .

( S h t o S o uthampt o n ) 1 0 0 1 0 6 ; 1 0 8
. .
-
.

( S o uthampt o n t o E l i abe th Ve rn on ) 1 0 9 1 1 4 ; 1 1 7 1 2 2
z . .

( S h t o S o uthampt o n and E liz abe th Ve rn o n ) 1 1 6

. . .

( S o uthampt o n ; So lil oquy ) 1 2 3 1 2 5 .

-
.

( S h to So uthampt o n ) 1 1 5; 1 0 7 ; ( 1 2 6 ; misplac e d fragm e nt ]

. . .

( Wi ll iam H e rb e rt ) 1 7 1 3 ; 3 5 1 43 ; 57 5 ; 1 4 5 1 54
2 2 1 .
8 .

S TE N G EL ( 1 88 1 )
[ 1 1 2 6 on ly ]
5 9 13: 1 5 106 : 53 : 105

54 : 1 0 4 : 8 1 : 55: 6 4 ; I 9 : 6 3 : 6 5: 6 0 : 10 7: 1 8; 12 6 : 10 8 : 77 : 1 2 2 ; 1 00 - 10 1 :

7 3 7 4 : 3 2 : 39 ; 7 8 79 : 82 ; 2 1 : 76 : 10 3: 8 8
3 : 5 : 8 0 : 86 ; 7 1 7 2 : 102 : 8 4 ; 58 : 57 ;
6 6
67 8: 123: 66 : 1 1 6 : 1 1 5: 124: 12 5: 9 1 94 : 69 9 :
8 6 6 6
40 42 ; 3 0 ; 8 7 ; 5 5 : 7 4 : 4 4 7 : 44 4 5: 9 7 9 9 : 4 8 49
-
0 1 2 2 : 43 : 1 2 ; 2 2 : 2

1 2 o
88 1 13 ; 56 .

VON MAU NTZ ( 1 894)

Gr o up I . 128; [3 so nn e ts f r Om L L . . 1 4 5; 1 3 5 1 6 8
3 ; 57 5 ; 12 7; 1 3 8 ; 1 49

Z I
4 ; 43
1 2 9 ; 1 46 .

Gr o up II 1 1 7 ; 2 3 ; 2 6 ; 2 0 ; 59 ; 106 22 ; 6 2 ; 53 ; 39 ; 126 ; 6 8 ; 64 ; 2 1 ; 103

.
;
8 0 86
76 : 1 0 8 : 7 8 : :
-
84 : 70 6 6
: 7 : 9 z 94 9 6 : [ Th e
P h cen i x a n d Tu rtle] ; 56 ; 2 9 ; 1 1 6 ; 100 ; 1 0 2 ; 32 ; 7 3 ; 7 1 2 7 ; 74 ;
10 1 ; 54 ; 18

124;

Gr o up
111 24: 6 -
4 47 ; 2 5; 3 0 -
31 : 37 : 52 : 50 -
51 : 1 1 3
-
1 14: 2 -
7 28: 4 3 : 6 1 : 48
8 ;
7 5; 1 2 1 ; 66 ; 1 531 54 .
1 09 1 1 2 ; 1 7 1 20 ;
-
1
44 4 5; 7 9 3

B U TLE R ( 1 8 99 )

1 32 ; I2I ; 33
-
S9 : I 2 -
7 I2 8; 1 30 2
4
1 34 : 1 33 ; 1 52 ; 43
1 1 8
; 1 4 7 1 50 ; 1 1 9
-
1 2 0 ; 1 2 2 - 1
25 .

Appe ndix : 1 2 6 ; 1 2 9 ; 1 4 5; 1 4 6 ; 1
1 53 54 .

GOD WI N ( 1 90 0 )

(Th e C e ntral and E xp l anat o ry S o nn e t ) 77 . .

(Th e I nd p
e e n d e nts or S o l itari s
e ) 1 4 5; 1 2 6
; 1 53 1 54 ; 1 9 ; 1 2 2 ; . 81 ; 63; 2 6 .

(A P l e a f o r C r e ativ e o r P oe tic Art ) 1 2 ; 1 ; 4; 1 0

; 3; 5 6 ; 2 ; 1 1 ; .
9 ; 13; 7
8

15

( A Y u ng L v -Ti m e
) 2 5; 8 ; 104;
1 30 ; 1 2 2 ; 32 ;
5 51 ; 28;
44 4 7
7
-
o o e . 0 2 -

52 ; 30 1 1 6 : 1 1 5: 1 3 7 : 54 : 6 97 0 : 6 8
: 73 : 7 1 72 : 74

97 99 ; 29

V (Th e E pi s od e oi t h e
. D ar k La d y ) . 23; 12 7; 1 3 1 1 32 ; 2 4 ; 1 4 1 ; 1 40 ; 1 49 ; 1 3 8
 TH E ARRA NG E M E NT OF TH E S ONNE TS 4 39
12 8; 1 36 ; 1 3 5 : 1 4 2 : 1 3 9 ; 6 1 : 58 : 1 4 3 : 57 : 1 34 : 1 3 3 : 4 1 : 40 : 42 : 3 5: 1 5 1 :
1 6
1 50 : 1 4 7 48 : 1 44 : 1 46 : 95 9 : 1 2 0 : 1 52 ; 87 : 109 : I I9 : 129 .

(Th e P oe t

s C o m mu n i o n with t h e H i gh e r Muse ) .
3 8 ; 43 ; 1 1 3 1 1 4 ; 53 ; 20 ;

8 8 9 3 ; 33 34 ; 56 ;
-
1 0 0 1 0 1 ; 1 0 7 ; 1 1 0 1 1 2 ;
1 1 7 1 1 8 ; 1 0 7 1 0 8 ; 1 2 3 1 2 5;
-

1 0 5; 55

S TO P ES ( 1 90 4)
I .
( P oe tical E xpe rim e nts .
) 1 53
1
54 .

II .
( U rgi ng t h e Yo uth t o marr y ) 1 7 ; 1 2 ; I I . .

III .
( P e r s o na l a ff e cti o n d v
e e l o ps
) 8 10 ; 13 19 ; 24; 20 .
-
2 1 ; 2 5; 2 2 .

IV .
( C o mplim e ntary Badinage ) 1 2 7 ; 1 32 ; 1 2 8 ; 1 49 ; 1 4 5; 1 3 8 ; 130 .
.

V .
( Th e P oe t se nds Manuscripts ) 2 3 ; 2 6 . .

VI .
( H i s F ri e nd s L o v
e ) 9;
2 1 1 2.
; 3 0 2
3 .

VI I .
(Te mptati o n s ) 1 4 8 ; 1 4 1 ; 1 3 1 ; 1 40 ; 1 39; 1 50 .

VI I I .
( D e parture ) 50 51 ; 44 4 7 -
.

IX .
(Trave l ) 2 7 2 8 .
.

X .
(Aft e r r e turn see s t h e l ady ) 1 36 ; 1 51 1 52 ; 1 42 1 4 3 ; 1 3 5
.

XI .
( H e ars that his fri e nd sup e rs e d e d him
) 33 34 ; 4 1 ; 40 ; 4 2 ; 3 5 . .

X II .
( R e pr o ach e s t h e L ady ) 3 3 34
1 1 . .

X III .
( Lov e s F e ve r ) 1 3 7 ; 1 4 7 ; 1 44

. .

X IV (Th e P oe t s Me ditati o ns ) 1 46 ; 1 2 9

. . .

XV .
( Gift t o re c o ncil e d F ri e nd ) 7 7 . .

X VI .
( B e auty and T i m e ) 6 2 6
3;. 6 0 ; 46 6
5 ; 55 .

XVI I .
( R um o urs c o nc e rning R iva l s ) 7 5; 4 49 ;
8 8 8 0 12 1
9 ; . 6
; 3 ; 9 1
93 .

X VI I I .
( T h e R ivals ) 7 ;7 6 . 8 8 0 8 2 8
; 7 .

X IX .
( H e aling o f t h e Br e ach
) 57 58 ; 4 3 ; 6 1 ; 56
. .

XX . H
( e ee f l s o ld and w e ary
) 7 3 74 ; 7 7 2 ; 8 11
. .

XX I .
(Abs e nc e which
, giv e s pain
) 9 7 99 ; 53 . .

XX I I .
( T h e F ri e nd is c o ming o f a g )e 1 0 4
1 0 6
; 59 . .

c o nc e rni ng F ri e nd ) 6 6 6 8 ; 54 ; 94 ; 6 9 ; 9 59 6 ; 70 . .

XX I V .
( T h e P oe t f o rg e ts t o sing ) 1 0 0 ; 1 0 3; 1 0 1.
1 0 2
; 5 ; 39 ; 3 7 3 ;
2 8 10 8 .

XX V .
( C l e ars hims e lf fr o m charg e o f faithl e s sn e s s ) 1 2 2 ; 1 0 9
1 1 1 ; 1 1
7 1 18 ; .

1 1 31 1 4 ; 1 1 9 1 2 0 .

XXVI .
(Triumph of Lo ve o ve r Tim e ) .

1 1 5 1 1 6 ; 1 23; 10 7 ; 124 12 5
-
.

XXVI I .
(Tim e s C o ntr ol of Nature ) 1 2 6

. .

WAL S H ( 1 90 8)
I ( E ar l y Mi s c e l lane o us S o nn e ts ) 1 4 5;
. . 1 54 ; 1 53 .
[ With so nn e ts fro m t h e
P a s s P i lg and t h e play s ]
. .

I I ( To his F air E ff e minat e F ri e nd ) 2 0 ; 10 6 ; 67 6 8 ; 54 ; 1 8-

1 9 ; 60
. .
53 ; 59 ; :
6 3- 6 5 : : 8 : 3: 4: 5 6
- -
1 5- 1 7: I : 7: I4: 12 : I I 2 : 9 10 : I 3 :

1 1 1 ( To
. his D ark D isdainful Mistres s ) . 2 1 ; 1 30 ; 1 2 7 ; 1 3 2 ; 1 3 1 ; 2 4 :

I V (On his Love s

) 5 51 ; 2 8
; 6 1 ; 48 ; 52 7 5; 9 7 ; 43 ;
-
1 13 1 14;
. . 0 2 7 ;
440 A P P E ND I X
8 120 ; 1 18:
9 8 9 9 : 57 5 : 33 34 :
-
I I I- 1 12 : 1 0 9 : I I 7 : n o : I I 9 : 2 9 : 2 5:
-

22 : 37 : 6
3 : 7 74 :
1 -
88
V ( E pis od
. e of th e D ark Mistre ss Woo i ng th e F air F ri e n d). 1 44 ; 1 33 -
1 34

4 0 42 : 3 5: 1 4 3 : 1 51 : 1 39- 1 40 : 9 3 : 1 42 : 94.- 00 ; 6 9 : 1 37 : 1 4 8

( On t h e C o nstancy of t h e P oe ts
Love , i n spit e of th e D e cay of B eauty ) .

1 00 1 0 2 ; 56 ; 1 0 5 ; 1 0 8 ; 1 0 4 ; 1 2 4 1 2 5 ; 12 3; 1 1 5 1 16 ; 10 7 ; 55
-
.

( S o nn e ts addre sse d to his P atro n ) . 26 ; 38 ; 23; 103; 76 ; 7 8

7 9 ; 84 ;

82 8 3;
8 6 ; 8 0 ; 8 5 ; 32 .

(L at e Misce ll aneo us S o nn e ts .
) 77 ; 1 2 2 ; 70 ; 87 ; 1 2 9 ; 1 2 1 ; 1 46 ; 66 ; 30 3 1 .
 TH E D ATE OF C OM P OS ITI ON "
=

TH E d at e qu e sti o n is pe rhaps t h e m ost tanta l i i ng of all t h e prob l e ms i n t h e z

S o nn e ts Th e ori e s r e garding oth e r pro bl e ms at l e ast hav e t h e advantage that

.
,

sinc e th e re is no p ositive e vid e nc e anywh e re on e a rgum e nt has as much imp or ,

tance as an oth e r F or t h e d at e qu e sti o n h owe ve r th e r e a r e j ust e n ough a c

. , ,

c e p t e d facts t o ch e ck t h e critica l P e g a sus i n mid car ee r Th e y a re th e se : ( 1 ) -

.

I n F rancis Me r es s P alladi s Ta mi a ( 1 59 8 ) occurs t h e se nt e nc e As t h e so ul e of

,

E uph orbus was th o ught t o live i n P yt hag oras s o t h e s w ee t e witti e So ul e of ,

Ovid live s in me lli uou s an d h o ny t o ngu e d S hake spe ar e w i t n e s his Ven u s a n d -

,

Adoni s his L ucrece his s ug r e d S o nn e ts am o ng his privat e fri e nds (2 ) I n

.
, ,

1 599 J a gg a r d br o ught o ut Th e P a s s i on a te P i lg ri m i n which w e r e includ e d ,

S o nn ets 1 3 8 and 1 44 which Mr s S TOP E S ( Ath 1 8 9 8 cal l s t h e t w o

. .
, , ,

matur e st t h e climax of t h e wh ol e se ri e s ( 3 ) I n 1 6 0 9 Th orpe publish e d t h e

, .

wh ol e numbe r of S o nn e ts as w e have th e m n ow E ve ry th eorist adds t o th e se .

dat e s c e rtain indisputabl e dat e s of his ow n based on int e rnal e vid e nc e ; but

,

n o ne of th e m appr oach i n d e ni t e n e s s th e se thr ee An d th e se d o n ot give any .

dir ect c l u e t o t h e dat e or d at e s of c o mpo siti o n save that t h e so nn e ts pirat e d ,

by J a g g a rd sugge st that t h e wh ol e st o ry has bee n act ed t o t h e e n d and that ,

it has bee n am ong t h e privat e fri e n d s f or so m e tim e ; 1 oth er wise J a g g a rd

c o u ld n ot have se cur ed t h e t w o .

Of oth e r e xt e rna l e vi d e nc e much c o nsists of r e fe re nc e s which a re app l i e d

,

t o t h e S o nn e ts i n ord e r t o pr ov e so m e th eo ry i n r e gar d t o Mr W H o r t h e . . .

D ar k Lady Thus I S AAC p l ace s t h e l ove so nne ts i n 1 59 1 9 2 b e cause of a re fe r

.
- -

e nc e i n Nash s P i er s P en n i les s S o m e tim e s h e wi l l b e an I n a m o

rat o P oe ta and so nne t a wh ol e q uire of pape r i n praise of L adi e Ma n i e b et t e r

, ,

his y e low fac e d mistre ss ( s ee n ot e at e n d of S
-
and a l so nds a re fe re nc e .

t o S h i n Na s h s Ana tomi e of Abs u rdi ti e

.

wh e re m e nti o n is mad e of n e w

f o und so ngs and so nne ts which e ve ry red n ose d dd le r hath at his n g e rs

,
- '

S ARRAZ I N v e ry pr o pe r l y criticise s th e se c l u e s as

e nd .
( J a h rb 1 9 : .
,

d o ubtfu l ( J a h r b 3 1 : 2 1 8 .
,

I n 1 593 S h a ll ud e d t o Ven u s 69 Adon i s as t h e rst h e ir of my i nve nti o n

, .

may this s e t b ou nds f or t h e be gi nning of t h e S o nn e ts ? ( GOLL ANC Z P re fac e t o ,

Te mp l e xii ) B ut it is possibl e that S h di d n ot c o nsid e r occasi o na l s on

-
. .

n e ts as a forma l e xpre ssi o n of his i nve nti o n ; t h e qu otati on t oo is fr o m a d e di , ,

cati o n t o a patro n .

C O R NE Y ( N 69 Q 3d s 1 : 8 7 ) sugge sts that t h e d e dicati o n t o L u crece ( 1 59 4 )

.
:
.
, .
,

Wh at I have d on e is y ours ; what I have t o d o is y ours
is a pr omise of ,

which t h e So nne ts a re t h e fu l lme nt B ut what I have t o d o may m e an

.

j ust as we l l what e ve r I h o pe t o acc o mplish at any tim e

.

[ T hi s s ect i o w as p re pa r d b y M i ss M AR G E R
n Y B A I L E Y eA M ED ] , . . .

1 B ut even t hi s i s d i s p ut ed ; see R ow e s n ot e a t t h e e n d of S 1 44
'
. .
44 2 A P P E ND I X
F L E AY an d se ve ra l oth e r critics have f o u nd a re fe re nce t o t h e s onn et st ory -

i n Wi llobi e h i s Avi s a but f or t h e d o ubtfu l basis f or this n oti o n s ee b e ,

lo w pp 4 7 8 8 2
, .
.

Re turning f o r a m o m e nt t o t h e al l usi o n i n P a lla di s Ta mi a w e may n ot e ,

that s om e cr i tics ( as F L E AY ) u s e this dat e ( 1 59 8 ) t o li mit that of t h e wh ol e

se ri e s ; but MAC KAIL d o ubts wh e th e r Me r e s a l lud e d t o th i s pa rticular se ri e s at
all ; GRAY ( P u bl M L A 1 9 1 5) h olds that o nly t h e s u g r e d so nne ts n e e d
. . . .
,

c o m e b e f o re 1 59 8 and i nd ee d it is m ore appro priat e that t h e oth e rs sh o uld

,

; TYL E R and AR C H E R al s o be li e ve that Me r e s was n ot spe aking o f t h e

n ot

e ntir e se ri e s .

I nt e rnal e vid e nc e f or t h e dat e pr obl e m is nam e d l e gi o n but much of it

,

may r e c e ive t h e titl e of bald e rdash E ve ry th e o ry se e ms abl e t o twi st e ve ry .

oth e r t o its o wn u s e We may co nside r t h e e vid e nce u nde r f o ur h e ads : ( I)

.

I nt e rpr e tati o ns of so nn e t wo rding ; ( I I ) Th e re lati o n of t h e S o uthampt o n

P e mbr o k e D ark L ady c o ntr o ve rsy t o t h e qu e sti o n o f dat e ; ( I II ) P arall e ls
-

with oth e r auth o rs ; ( IV) P arall e ls with o th e r wo rks o f S h .

. I I n S 2 S h d e scr i be s a man o f f o rty as old and this furnish e s B U TL E R

. .
,

with a starting p oint f or h i s early dating of t h e So nn e ts on t h e simpl e gr ou n d

-
,

that n o o n e c o uld have writt e n t h e so nne t w h o was much ove r twe nty on e ; -

h e nce it may b e dat e d 1 58 5 !

.S 1 4 is t h e rst wh i ch has bee n th o ught t oallud e t o c o nt e m po rary e ve nts .

F L E AY nds i n it r e f e r e nc e t o t h e plagu e s o f 1 59 2 3 t h e d e arths of 1 59 4 6 and

, ,

t h e irr e gularity o f t h e s e as o ns i n 1 59 56 AR C H E R r e pli e s ( Fort R ev n s 6 2 : . . .

, . .
,

8 1 7 ) that t h e passag e i s ve ry ge n e ral i n t o n e but that e v e n if it w e re tak e n , ,

l it e rally 1 59 7 or 1 59 8 would b e fo u nd as appropriat e ( Nee dl e ss t o say F l e ay

, .
,

is a S o ut h a m p t on i s t and Arch e r a P e m b rok i s t ! )

Th e pupil pe n of S 1 6 is supp o se d by S TE E VE NS t o b e a slight proo f that

.

t h e p oe ms b e f or e us w e re o u r aut h o r s e arli e st c o mp o siti o ns B U TL E R and

.

GOL L AN C Z appr ove this sugg e sti o n ; WAL S H and P OR TE R i ncli ne t o AR C H E R S

i nt e rpre tati o n o f t h e phrase as o n e o f e xagge rat e d humility This app l i e s t o .

t h e similar vi e w tak e n by MAL O N E of t h e p oo r rud e l i ne s of S 32

. .
, ,

F L E AY be l i e v e s t h e b oo ks o f S 2 3 t o b e Ven us 69 Ad oni s a nd L ucrece;

.

h e nc e this so nn e t with al l which c o ntain re pe at e d r e fe re nc e s t o t h e L ucrece

,

d e dicati o n ( 1 8 2 6 34 8 1

,must c o m e l at e r than Ma y 1 59 4
, , , , .

S o nn e ts 2 7 4 8 and 50 t h e Trave l S o nn e ts

, , F L E AY use s t o S h ow that t h e
, ,

play e rs we re t o uring t h e provi nc e s probab l y i n 1 59 3 or 1 59 7 o n acc o unt ,

of t h e plagu e As an alt e rnative w e a re o ff e r e d t h e p o ssibility that S h was

. .

rusticating i n Brist o l or D ove r waiting f or t h e i r e o f S i r J o h n Oldcast l e ( w h o ,

c onsid e red himse lf mal i gne d i n H en ry I V 1 59 7 ) t o c oo l I n all pr obability , .

t h e l at e r dat e is t h e c o rr e ct o n e S ARRAZ I N h owe ve r h olds t o t h e e arly dat e .

, , ,

s i nc e h e thinks that th e se so n ne ts we re writt e n on t h e occasi o n of t h e p oe t s

l e avi ng t h e e stat e o f So uthampt o n wh e re h e ha d re mai ne d d uring t h e plagu e ,

of 159 3
Th e pre ci o us fri e nds o f S 30 F LE AY e xp ains t o b e Mar owe ( di e 1 593 )
. l l d
and S h s s o n H amn e t ( di e d F or S 3 5 w e hav e t h e assumpti o n that t h e

. .
 TH E D ATE OF COM P OS I TI ON 44 3

e clipse of t h e m oo n an d sun r e fe rs t o a pe ri od wh e n S h was o ut of favor with .

t h e Qu ee n or t h e c o urt and with S o uthampt on; and n o such dat e can I nd

,

but 1 59 7 ci rca J une Th e se n ot e s charact e ri z e F le a y s wh o l e m e th od and

,
.

,

th o se of similar th eo rist s We have of c o urse n o r e aso n f or thinki ng that .

, ,

pre ci o us fri e nds r e fe rs t o d e nit e pe rso ns ; and a re fe r e nce t o S 3 5 w i ll S h o w

.

that F l e ay t w i sts t h e wh o l e m e an i ng awry I ncid e ntally as GR AY o bse rve s .

, ,

S h produce d L ove s L a bou r s L os t at c o urt i n 1 59 7 hardly a n i ndicati o n of

.

d i sgrace .

S o nn e ts 6 2 and 6 3 c o ntain r e fe re nc e s t o t h e poe t s a g e : t a n n d antiquity

Tim e s i nj uri o us hand e t c ( See also 2 2 1 ; 7 3 ; 1 3 8

AR C H E R Cl a ims
, .
, ,

that th e y must have bee n writt e n at a t i m e wh e n t h e poe t c o uld w i th o ut t oo ,

gr e at poe tic l ic e nse have d e scribe d himse lf as old in c o ntrast with h i s frie nd
, .

F L E AY L E E and oth e rs o n t h e oth e r hand hav e sh o wn that such e xpr e ssi on s

, , , ,

we re c o nve nti o nal i n t h e pe ri od ( s ee no t e s o n t h e so nn e ts i n qu e st i o n ) .

S 6 6 acc o rdi ng t o GAR N E TT ( s ee n ot e o n line

.
,
a i ms a bl o w at t h e sup
pr e ssi o n of t h e th e atre s o rd e re d i n J uly 1 59 7 i n t h e phrase art mad e t o ngu e , ,

ti e d by auth o rity Oth e r i nt e rpre tat i o ns a re at l e ast e qually plausibl e

.

Th e sham e of S 7 2 ( with t h e m otl e y of 1 1 0 and t h e brand of 1 1 1 )

.

a re r e f e rr e d by F L E AY n ot t o t h e m e r e pr o f e ss i o n o f play e r but t o a particular ,

o ccas i o n e spe c i ally t h e Oldcast l e a ff air

,
agai n o f 1 59 7 I t is also po ssibl e .

that t h e vulgar scandal of 1 1 2 and t h e vil e e st ee m e d of 1 2 1 be l o ng with

th e m Th e e xpr e ssi o ns o f 1 1 2 TYL E R re lat es t o a privat e scandal and a t h e a t ri

.

ca l quarr e l o f ab o ut 1 6 0 1 ( s ee t h e n ot e s ) .

I n S 7 6 t h e w ords i nve nti o n i n a n ot e d wee d and n e w f o und m e th ods

-
.

a re also rich i n po ssibiliti e s Wa s S h writing wh e n t h e so nn e t was n oted b e . .

cause it was t h e h e i ght of fashi o n abo ut 1 59 4 (GRAY P u bl M L A , , . . . .

,

or aft e r t h e fashi o n had spe nt itse lf in t h e vari o us so nn e t se qu e nc e s ? Th e w o rd

se e ms t o pr ec l ud e t h e be li e f that h e wr ot e many of t h e S o nn e ts at a tim e wh e n

t h e fashi o n was j ust c o ming i n abo ut 1 590 ( B E E C H I NG I ntro p xxiii ) I f , .
, . .

w e i nquir e as t o S h s attitud e t o ward t h e so nn e t f o rm F L E AY n o t e s that i n

.
,

L L L h e use s so nn e ts i n dial o gu e and quit e se ri o usly ; th e y a r e spo k e n of

. . .
,

( I V iii ) as
, a m e ans o f gai ning fav o r i n l o v e I n T G V ( I I I i i 6 8 9 2 ) P rot e us . . . .
, , ,

r e c o mm e nds t h e f orm t o Th uri o and t h e D uke approve s t h e f orc e of h e ave n ,

br ed poe sy Th e ch o ruse s of R 81 J ( 1 59 8 ) a re so nn ets ; aft e r this th e r e e xi st

.

. .

n o e vid e nc e s o f fav o r t o ward it ( unl e ss t h e l e tt e r o f H e l e na in s o nn e t f o rm , ,

i n A W I I I iv . o f unc e rtai n dat e )

.
, S ARRAZ I N ( J a h r b 3 4 : 3 6 8 ) n ot e s that
, , . .
,

i n t h e middl e drama s t h e art is mad e laughabl e ( M W W I i 2 0 6 ; M Ad o . . .

, , , .
,

V ii 4 ; A Y L I I I iv 2 5; H 5 I I I vii 42 ; A W I V iii
, , . .
, , o n l y exa g .
, , , . .
, , ,

ge rat ed or c o mic gure s practic e it Ce rtainly t h e i nfe re nc e s fro m all this a re .

n ot d e nit e I t is po ssib l e that S h c e ase d t o u s e t h e so nne t in plays as soo n as

. .

h e disc ove re d its po we r as an instrum e nt of sinc e r e se lf e xpr e ssi o n ; at any rat e -

,

t h e se ri o us e mpl oym e nt o f so nn e ts i n t h e plays is i n t h e e arly italianat e

,

styl e F L E AY impl i e s that t h e n ot e d wee d re strai ns t h e so nne ts withi n t h e

.

bo u nd s of its po pularity e nding abo ut 1 59 5; but s ee MAC KAIL S n ot e s ( und e r ,

S 7 6 ) t o t h e e ff e ct that S h re fe rs t o his u se of
.

a poe tica l form whi c h was .
444 A PP E ND I X
passing out of v ogu e On t h e oth e r hand t h e phrase may n ot re f e r t o t h e
.
,

s o nne t f o rm at all but m e re ly t o t h e familiar dre ss of t h e p oe t s language of

,

praise .

S o nn e ts 7 9 8 0 and 86 raise t h e qu e sti o n o f t h e c o nne cti o n b e twe e n t h e dat e

, , ,

probl e m and that of t h e Rival P oe t ( F or this s e e t h e se parat e discussi o n .

, ,

pp 4 7 2
. Th e unc e rtainty h e r e is t oo gr e at t o admit o f use ful inf e r e nc e s .

I t may b e n ot e d that th o se w h o id e ntify t h e riva l po e t as Marl o we assu m e ,

o f c o urse a ve ry e arly dat e On t h e oth e r hand C hapman s S even I li a d es

.
, ,

appe are d i n 1 59 8 and TYL E R c o nsid e rs this t o x t h e dat e of t h e s o nn e ts

,

c o nc e rn e d ; i n 1 59 9 it was still a n e w b oo k; like ly t o e xcit e t h e int e re st of

Mr W H . . .

Of t h e w ords spit e of f o rt un e i n S 90 B E E C H I NG asks : D oe s this re fe r

.
,

t o t h e tr o ubl e s of S h s c o mpany d u e t o t h e p o pularity o f b oy act o rs ?

.
,

i e i n 1 6 0 1 S ee t h e n o t e s o n t h e so nn e t f or oth e r sugg e sti o ns r e sp e cting S h s

.
.
, .

tro ubl e s Nothing c o uld b e l e ss c o nc l usive

. .

I n S 9 8 WYND H AM disc ove rs a n e w clu e i n t h e allusi o n t o

. h e avy S aturn ,

l eadi ng hi m t o dat e t h e so nne t in 1 6 0 1 or 1 6 0 2 S e e t h e n ot e s f or his reaso ning .

,

and so m e c o mm e nt th e re o n .

S 1 0 0 has sugg e st e d so m e vain c l u e s t o a dat e c o ming appar e ntly aft e r a

.
,

pe ri o d of sil e nc e ; but t h e infe re nc e s drawn a re vari o us and ind e nit e ( s e e t h e

~

n ot e s ) .

S 1 0 4 has b e e n call e d a k ey so nn e t f or t h e dat e but r o ams pr e tty wildly

.
-
,

ab o ut t h e cal e ndar of t h e y ears He r e S ARRAZ I N S argum e nt base d o n po ints .

o f styl e is of m ost i nt e r e st ( see t h e n ot e s f o r so m e acc o unt o f it ) ; it r e sults i n

,

t h e dat e of I 59 5 with 1 59 2 f or t h e e ar l i e r so nn e ts At b e s t it is o nly f or t h e

, .

r e lative dating of di ff e r e nt p o rti o ns of t h e se ri e s that this so nn e t has any m ore

signicanc e than any oth e r .

S 1 0 7 i n t h e Vi e w of many critics give s t h e o nly d e nit e e vid e nc e o f dat e

.
, , .

Th e n ot e s s e t f orth t h e charact e r of th i s e v id e nc e i n full and sh ow that whi l e , ,

t h e maj o rity of critics inf e r t h e dat e e ith e r of 1 6 0 1 or 1 6 0 3 th e r e is a h o pe l e ss ,

want of agr e e m e nt e ve n on t h e qu e sti o n wh e th e r t h e allusi o ns of t h e so nne t

a re t o hist o rical e v e nts at all .

Th e sam e thing is tru e of S 1 2 4 with t w o th e ori e s standing o u t c on s p i c u .

,

o us ly : that th e r e is r e f e r e nc e t o t h e e xe c uti o n o f E sse x 1 6 0 1 and that th e r e is , ,

r e fe re nc e t o t h e J e suit p owd e r pl ot of 1 6 0 5 S ee also t h e n ot e s o n 1 2 5 1 3 wh e r e .

, ,

th ose fav oring t h e E sse x th eo ry nd furth e r suppo rt f or th e ir O pini o n

"
.

F inally o n S 1 44 s e e P r of e s s o r GR AY S disc ussi o n of t h e p o ssibl e r e l ati o n of

.
,

this so nn e t t o t h e t w o ve rsi o ns of L ove s L a bou r s L os t I n a MS n ot e h e has

. .

summ e d up his vi e w as f ol l o ws : This so nne t mu s t have be e n writt e n aft e r t h e

additi o ns t o L L L i n 1 59 79 8 ; f or it is a psych ol ogica l impo ssibility that S h

. . . .

c o uld have tre at e d his b l ack h e r oine i n t h e h e art wh ol e an d care free way

- -

h e d oe s i n his r e visi o n of that d rama aft e r this t orm e nting d o ubt had g ot h old ,

o f him And as this s o nne t and 1 3 8 we re pub l ish e d in 1 599 w e may safe l y
.
, , ,

dat e t h e crucia l eve nt i n t h e st o ry of t h e So nne ts as occu rri ng i n 1 59 8 or 1 59 9 .

I I F or t h e Pe mbroke S outhampt o n qu esti on one m ust re f e r chi e y t o t h e

.
-
,
 TH E D ATE OF COM P OS I TI ON 44 5
ou t l ine f o un d i n pp 46 4 6 8 b e l ow Th e i nf e re nc e s fro m t h e t wo th eori e s re
.
-
.

spe cting dat e s may b e n ot e d h e re and t o this e n d one sh o u ld have in mi nd a n ,

o utlin e of t h e e arly l iv e s of t h e t wo e arls .

H e nry Wr i ot h e s le y was b o rn i n 1 57 3 ni n e y ears aft e r S h ; h e b e cam e E ar l

, .

of S o uthampt o n o n t h e d e ath of h i s f at h e r i n 1 58 1 and was bro ught up as a ,

child of stat e und e r Lo rd B url e igh w h o i n 1 590 wr ot e of his d e sir e t o marry ,

t h e y o ung man t o B ur le i g h s granddaught e r ; S o uthampt o n h o w e v e r did n ot

, ,

car e t o marry I n I 59 3 S h d e dicat e d t o hi m V r A and i n 1 59 4 L n

. . . .
,

crec e. I n 1 59 5 h e f e ll i n l ove with E li z a b e th Ve rn o n and i n 1 59 8 se cr e tly mar ,

ri e d h e r thus l osing t h e favo r of t h e Qu ee n I n 1 6 0 1 h e was implicat e d i n t h e

, .

E sse x c o nspiracy and impriso ne d i n t h e Towe r be ing libe rat e d o nly o n t h e

, ,

acc e ssi o n of Jam e s i n 1 6 0 3 Th e r eaft e r h e was active i n public l ife civi l and .
,

military until his d e ath i n 1 6 2 4

, .

William H e rbe rt was b o rn i n 1 580 sixt ee n ye ars aft e r Sh I n 1 59 7 it is , .

known that h e was d e sire d by his family t o m arry b ut re fuse d and w on c o n , ,

se nt t o a pe ri od of l ife i n t o wn c o ming t o Lo nd o n i n 1 59 8 I n 1 6 0 0 b e gan his , .

i ntrigu e with Mary F itt o n on e of t h e Qu ee n s maids ; the ir ill e gitimat e s o n ,

was b orn i n 1 6 0 1 an d both l ove rs we r e i mpriso ne d f or a ti me by E li z ab e th

, .

I n t h e sam e ye ar He rb e rt be cam e E ar l of P e mbr o k e on t h e d e ath of his fath e r , .

L ike S o uthampt o n h e r e turne d t o fav o r at c o urt o nly o n t h e acc e ss i o n of

,

Jam s e .I n 1 6 0 4 e marri e d
h L M
a d y ary Talb ot appare ntly f or a f o rtu ne , .

I n 1 6 2 3 He m i n g e and C o nd e l l d e dicat ed t o hi m and his bro th e r t h e F irst F ol i o

of S h s plays on t h e gr o und that th e y had pr ose c ut e d t h e plays and th e ir

.
,

auth o r living with much favo r H e l ive d till 1 6 30 . .

I t is obvi o us that if t h e P e mbr o ke th eo ry b e acc e pt ed t h e e vid e nc e p o i nts ,

t o a r e lativ e l y lat e dat e f or t h e S o nn e ts ; t h e rst gr o up ( urg i ng t o marry ) can

n ot dat e e arli e r than I 59 7 or 1 59 8 Th e three ye ars of 1 0 4 wo uld th e n c o n

.

f orm t o t h e sugge sti o ns f o u nd f or t h e dat e 1 6 0 1 in c e rtai n of t h e lat e r o n e s On .

t h e oth e r hand if w e acc e pt t h e S o uthampt o n t h eo ry t h e e arli e r so nn e ts might

, ,

dat e anywh e r e fr o m 1 590 t o 1 59 5 t h e pe ri od of S h s rst plays and rst p oe ms ; ,

.

and o n e wo uld assum e that t h e wh ol e numb e r of so nne ts had b ee n writt e n

( with po ssibl e individual e xc e pti o ns ) be fore t h e publicati o n of Th e P a s s i on a te
P i lg ri m i n 1 59 9 .

Th e D ark L ady has n ot rec e ive d much att e nti o n as aff e cting t h e qu e sti o n
of dat e sinc e th e r e i s n o impo rtant claim f or id e nticati o n h e re e xc e pt i n
, ,

c o nn ecti o n with t h e P e mbr o ke th e o ry I t has b e e n n otice d h o we ve r that dark .

, ,

ladi e s appea r i n c e rtai n of t h e plays ; chi e y u nf o rtunat e l y i n on e of e arly , ,

dat e (L ove s L a bou r s L os t) and i n an oth e r

i n which t h e lady is at h e r witch

i ng b e st of lat e dat e ( An ton y 83 Cleopa tra ) D OWD E N obse rve s that i n t h e .

lat e r play t h e poe t see ms t o b e safe ly r e mi nisce nt rath e r than d ee p l y i nv olved ,

i n a l ove a ff air Th e dark lady of L L L is tre at e d mo re t e nd e r l y than C l e o

-
. . . .

patra , and this play is th o ught t o have bee n pro duc e d n o lat e r than 1 59 1 .

Notic e h o we ve r t h e i nt e re sting th e o ry of GRAY ( P u bl M L A

, , In . . . .
,

1 59 7 9 8 S h r e vis e d L L L . and add ed al l th ose p orti ons which r e f e r t o R osa

. . .
,

l ine as dark Th e Rosa l ine of 1 590 or s o was a whit el y want o n with a ve lve t

.

44 0 A P P E ND I X
brow an d an irre spo nsib l e mad cap Th e l at e r a dde d po rti ons d ee pe n h er
,

.

charact e r as th e y d o that of h er l ove r Biro n

, I t is n otab l e that t h e anal o , .

gi e s b e twee n t h e e ar l y p l ay and t h e S o nnets occur al m ost wh ol ly i n t h e

additi o ns of 1 59 79 8 B ut S h c o uld n ot in 1 59 7 have mad e such a p oint

. .

of t h e blackn e ss of his h e r oine and have tr e at e d h e r with such e asy grac e

, ,

j ust aft e r his b e traya l by t h e D ark L ady of t h e So nne ts And t h e t w o s on .

n e ts c o ntain e d i n t h e P a s s i ona te P i lg ri m ( 1 59 9 ) c o m e aft e r this crucial e ve nt .

1 59 8 w o uld acc ordi ngly b e t h e y e ar of t h e k e y so nn e t and fr o m this

dat e w e sh ould have t o build o ut o ur se qu e nc e S ARRAZ I N o n t h e oth e r hand .

, ,

thinks that t h e w ooi ng lady must have b e e n of t h e sam e p e ri o d as t h e Ve nus

o f Ven us 69 Ad on i s ; w e n ee d n ot f o l l o w him in his disc o ve ry of h e r in uppe r

I taly during an hypo th e tical j o urn e y thith e r of S h s in 1 59 2 Mr s S TO P E S has

. . .
,

an oth e r c o nj e ctur e : t h e l ady was J a q u i n etta Va ut rolli e r t h e F re nch wife of ,

F i e ld t h e print e r and t e i ntrigu e t oo k p l ac e in 1 59 5 9 6 j ust b e fo r e F i e ld

,
h ,

,

sign e d t h e pe titi o n against t h e Blackfriars Th e atre F i nally th ose critics w h o .

, ,

l ike F L E AY and AC H E S O N id e ntify h e r with t h e h e roin e of Wi llobi e h i s Avi s a

, ,

must supp ose that t h e a ff air sh ortly pr e ce d e d t h e issu e of that b oo k in 1 59 4 , .

F r o m all o f which it is e vid e nt that o u r n ee d of inf ormati o n r e s pe cting t h e

dat e of t h e S o nne ts i n ord e r t o id e ntify t h e fri e nd and t h e lady is n e ith e r m or e
, ,

n or l e ss gr e at than t h e n ee d of such i d e nticati o n i n or d e r t o thr o w l ight on t h e

qu e sti o n of t h e dat e .

I II F or t h e qu e sti o n of para ll e l s with oth e r auth o rs s e e e spe cia l ly t h e f ol

.
,

l owing se cti o n of t h e Appe ndix We sh ou l d n ot e i n t h e rst place t hat t h e .

, ,

s o nn e t fashi o n b e gan t o b e notic e ab l e with t h e po sthu m o us appe aranc e of

S idn e y s S o nn e ts 1 59 1 and t h e publicati o n of t h e rst e d i ti o n of D ani e l s

, ,

D eli a 1 59 2
,
Th e i nu e nce of b oth th e se works on S h is g e n e rally a d mitt e d
. .
,

and is c o nsist e nt with a l m ost all t h e th e ori e s as t o t h e dat e of his S o nne ts ,

th ough natural l y e mphasi z e d by th ose w h o p l ac e th e m e arly I n t h e case of .

D rayt o n wh ose so nne ts rst appe are d i n 1 59 4 t h e qu e sti o n of t h e b o rrowe r is

, ,

disput ed ( s ee t h e d e tai l s b e l ow ) ; but sinc e b oth sid e s admit th at what e ve r b or

r owing th e re was probably d e pe nd e d on t h e re ading of MS poe ms rath e r than .

o f pub l ish e d o n e s t h e d e cisi o n c o u l d n ot in any case b e use d as pr oo f of t h e

,

dat e of c o m po siti o n Th e sam e thing is tru e of t h e all e ge d para ll e ls b e twee n

.

t h e S o nn e ts and Mar l o we s H ero 83 L ea nd e r with which it may b e assum e d that

:
,

S h was familiar l o ng b e f o re its publicati o n i n 1 59 8 Oth e r para l l e l s such as

. .
,

s o m e which have bee n n ot e d f or t h e so nne ts of Co nstabl e give n o c l u e what e ve r ,

( e ve n if th e y a re d ue t o so m e thi ng oth e r than c o incid e nc e ) as t o which passage

was t h e origi nal .

I n S 3 2 1 2 TYL E R disc o v e rs a b orr owi ng fr om Marst o n s P i g m a li on s I m a g e

.
,

but it wi ll b e see n by a re fe re nce t o t h e n ot e s that t h e infe re nc e is base - 3

l e ss I n l ike manne r h e trac e s t h e phrasing of S 55 t o Me re s s l anguage i n

.
, .

P a lladi s Ta mi a and so m e have f o und this plausibl e ; but t h e n ot e s o n

t h e so nn e t again w i ll sh o w h ow d o ubtfu l is t h e i nfe re nc e
, , .

S o nn e ts 9 4 and 1 4 2 c o ntain i nt e r e sting parall e ls with t h e p l ay of Ed wa rd VI

pub l ish ed 1 59 6 which t o a numb e r of critics such as D EL I U S and I S AAC have
, , ,
 TH E D ATE OF C OM P OS I TI ON 44 7
mad e it appe ar that t he se so nn ets we re i n circu l ati o n in 1 59 5 t h e d ramatist ,

b e ing t h e appare nt b o rr owe r On t h e oth e r hand s ee GRAY S n ot e qu ot e d .

,

und e r S 9 4 f or an i nt e r e sting c o ntrary c o nj ecture

.
,
.

I V P arall e ls with o th e r writings of S h whil e lacki ng i n e vid e nt i al d e n i t e

. . .
,

n e ss f orm o n t h e wh ol e t h e m ost pro misi ng of all t h e ki nds of i nt e rnal e vid e nc e

,

f or t h e dat e o f t h e S o nn et s Of t h e e ff o rts t o arrange and draw i n f e r e nc e s

.

fro m this mat e ria l t h e m ost i mp o rtant is that mad e by I S AAC in his articl e i n
,

t h e Ja h r b uc h f or 1 8 8 4 Th e o nly drawback is h i s subj ective r e arrange m e nt of

.

t h e S o nn e ts i n t e n gr o ups base d o n c o nt e nt with t h e ass u m pti o n that all t h e ,

so nn e ts in e ach gr o up a re of substantially t h e sam e dat e B ut his parall e ls .

can of c o urse b e use d apart fro m this F irst of all I saac divid e s t h e mass of
, , .
,

t h e S o nn e ts i nt o t w o po rti o ns : ( 1 ) th o se which may b e t e rm e d c o nve nti o nal ,

d e aling with plat o nic l ove and oth e r fam i liar Re naissanc e th e m e s f o rming ,

e ight of his t e n cy c l e s and (2 ) th o se which may b e call e d o rig i nal b e aring

,

n o r e se mblanc e t o any oth e r c o nt e mpo ra r y pr oduct Th e f orm e r gro up h e nds .

parall e l e d by t h e r e lative ly light and th o ughtl e ss manne r of t h e e arly pla y s and

p oe ms t h e latt e r by t h e br o ad e r o utl oo k and t h e m e l anch o ly of lat e r plays
, .

C o ming t o t h e m o r e particular parall e ls i n th o ught and styl e h e nds that ,

i n t h e m ore c o nve nti o nal So nne ts th e r e a re v e such p arall e ls sugge stive o f

S h s early w o rk t o o n e of lat e r wo rk i ndicating t h e pe ri od cl o si ng w i t h 1 59 2 ;

. ,

o n t h e oth e r hand t h e matur e r s o nn e ts sh o w f e w r e se mblanc e s t o t h e e arly

,

plays but a pre po nd e rance of parall e l s with t h e plays of t h e pe ri o d of 2 H en ry

,

I V and H a mlet Ve ry f e w para l l e l s again appe ar f or t h e l at e plays

.
, , .

An i nd e pe nd e nt st u d y o f this ph a se of t h e subj e ct has b ee n mad e by Mr .

H O RAC E D AVI S wh ose manuscript n ot es hav e bee n d e po sit e d f or t h e u s e of

, ,

stud e nts of t h e S o nn e ts i n t h e L ibrary of S tanf o rd U ni ve rsity I n ord e r t o

, .

c o mpar e his w o rk with that of I saac t h e appr o ximat e numb e rs o f parall e ls ,

l ist ed by bo th critics a re e num e rat e d i n t h e foll o wing tabl e ; and th e re is add e d

f or e ach play a c o nj e ct ur e d dat e base d o n a c o mbinati o n o f t w o r e c e nt tabl e s
,

of such dat e s that o f Ma c C ra c k e n and P i e rc e i n An I n trod ucti on to S h , .

and that of Ne ilso n and Th orndike i n Th e F ac ts a bou t S h , .

N u mb er of S on nets p a r allels n oted

by I S AA C by D AV IS

1 590 9 1 re vi se d
( 1 59 7 9 8 )

L ove s La bou r s L os t ; 34 49
Com edy o f E rr ors ( 1 590 9 1 ) 12 22

H e n ry VI
I ( 91) 1 590 15 12

2 H en ry VI ( 590 9 2 )1 2 1 14

3 H e n y VI ( 590 9 2 )
r 1 14 1 7
Two G m V
( 59 1 9 2 )
en tle en of e r on a 1 31 35
R m 8 J li ( 59 r vis d
1 59 4 9 5)
t 59 6 9 7 ; 48 48

o e o 9 u e 1 1 e e 1 , or

Ven u s 9 Ad oni s ( 1 59 2 )
:
37 64
R i ch a rd I I I ( 1 59 2 9 3 ) 25 24

Ki n g Joh n ( 1 59 2 9 3 ) 17 22

L u crece ( 1 59 39 4 ) 39 60
Ti tus And r on i cu s ( 1 5939 4 ) 10 18
44 8 A PP E ND I X
N u mber of S on n ets p a r a llels n oted

by I S AA C by D AV IS

Mi ds ummer Ni g h t s '
D rea
m ( 1 593 9 5) 1 8 45
Ri ch a rd I I ( )1 593- 9 5 2 1 26

Merch a n t of Veni ce ( 1 59 4 7 23

Ta mi n g of th e S h rew ( 1 59 69 7 ) 8 7
I H en ry I V ( 1 59 7 ) 8 10

2 H en ry I V ( 1 59 8 ) 13 13

Merry Wi ves of Wi n ds or ( 1 59 8 99 ) 6 7
Mu ch Ad o a bou t Noth i n g ( 1 599 ) 9 7
H en ry V ( 1 59 9 ) 3 7
As You L i k e I t ( 1 599 1 6 0 0 ) 2 6 13

J u li u s Cea s a r 1 4
( 59 9 1 6 0 1 ) 1 3
Tw elf th Ni g h t ( 1 6 0 1 ) 14 15

Tr oi lu s Ea Cres s i d a ( 1 6 0 1 0 2 )

24 16

All s Well th a t E n ds Well ( 1 6 0 2 )

1 1 10

H a mle t ( 1 6 0 2 0 4 ) 17 1 5
Mea s u re f or Mea s u re ( 1 6 0 3) I 4 8
Oth ello ( 1 6 0 4 ) 6 12

Ki n g L ea r ( 1 6 0 40 6 ) 2 1 1

Ma cb eth ( 1 6 0 50 6 ) 3 5
Ant ony Cs Cleopa tra ( 1 6 0 70 8 )

14 7
Ti m on of Ath ens ( 1 6 0 70 8 ) 5 4
P e ri cles ( 1 6 0 70 8 ) 7 o

Cori ola n u s ( 1 6 0 9 ) 4 4
Cy m beli n e ( 1 6 1 0 ) 13 7
Wi n ter s Ta le ( 1 6 1 0 1 1 )

5 6
Th e Tempes t ( 1 6 1 1 ) 3 2

H en ry VI I I ( 1 6 1 2 1 3 )

7 4

C o nsid e ri ng t h e re markably subj ective charact e r of t h e m e th od of se l e cti on

o f such parall e ls o n e must re gard t h e ge n e ra l t e nd e ncy t o c o i ncid e nc e i n th e se
,

t w o lists as fa i r l y signicant On t h e o th e r hand it is o bvi o us that wh e n th e y

.
,

a r e app li e d t o t h e qu e st i o n o f t h e dat e o f c o mp o siti o n o f t h e S o nn e ts var i o us ,

qu e r i e s must b e n ot e d Th e cha ract e r of a give n play i s signicant : if it is

.

large ly pr o se l i ke t h e Merry Wi ves t h e Small numb e r of parall e ls c o unts f or

, ,

no th i ng S o m e w i ll have i t that t h e ch a ra cter of t h e parall e ls is of much m o re

.

i mp ortanc e than t h e numb e r : t h e mass of re se mblanc e s t o t h e e arly plays it i s ,

said is mad e up of c o nve nt i o nal i d e as and e xpre ssi o ns wh i ch m i ght b e re call ed

, ,

and use d aga i n y e ars aft e r th e ir rst e mpl oym e nt wh e re as t h e r e se mblanc e s ,

t o H a mlet and Tr oi lu s 69 Cr es s i d a a re l e ss c o nve nti o nal and m o re s i gnicant

.

F urth e r o n e must n ot e t h e ann o y i ng circu mstanc e that t h e t w o plays which

,

stand at t h e h e ad o f b oth I s aac s and D avis s lists f or t h e numb e r of parall e ls

,

( L ove s L a bou r s L os t a n d R omeo s Juli et) a re th o ught t o have b ee n r e vise d

~
,

ab o ut 1 59 7 s o that th e y can b e used i n supp o rt of t h e c l aims of b oth t h e rst

,

and t h e se c o nd p e ri od .
 TH E D ATE OF C OM P OS I TI ON 449

SA RR AZ I N foll owe d up I saac s studi e s of parall ls so m e e xt e nt supp orting

e , to

his m e th o d but r e aching rath e r di ff e r e nt c o nclusi o ns L ike I saac h e e mphasi z e s .

,

t h e rh e t o rical c o nve nti o ns o f t h e l ove so nn e ts c o u nti ng th e m t o b e t h e e arli e st -

,

th e re a re rh e t orical qu e sti o ns and answe rs ( as i n 1 3 5 1 3 7 1 4 8 t h e sty l e , , ,

is fantastic t oying with t r i e s full o f t h e casu i st r y o f l o ve ; a cl o se sultry air

, , ,

hangs o ve r th em that of t h e c i ty rath e r than t h e e ld and woo ds Th e man

, .

n e r of t h e s o nn e ts of pr ocr e at i o n (t h e O pe n i ng gro up ) is cl o s e t o that o f t h e

-

l o v e s o nn e ts but r i pe r and rath e r m o r e artistic ; i t c orre sp o nds so m e what

-
,

t o that b e tw ee n Ven u s 89 Ad on i s and L u crece Antith e se s r e p e at e d wo rds

.
, ,

and t h e like a re still abundant ; but t h e t o n e is l e ss agitat e d and re stl e ss m o re

, ,

m od e rat e and c o nt e mplat i ve ; t h e dicti o n is r i ch e r i n m e taph o r s o m e tim e s

t o t h e po int of pro fus i o n and c o ntradicti o n as i n S h S lat e r styl e and has

, .

n ow t h e br e ath o f o u t d oo r a i r with imag e s drawn e sp e c i ally fr o m summ e r and

-
,

autumn ( S h s L eh rj a h re pp 1 55 I n his art i cl e s i n t h e Ja h r bu ch ( 1 8 9 6

.
. .
, ,

and S arra z i n c o nsid e rs m o re i n d e ta i l charact e ristics o f styl e l i k e r e

p e a t e d w o rds plays o n r e p
, e at e d o r r e v e rse d phras i ng and t h e l i ke and also , ,

t h e m e r e w ord l i k e n e sse s which may b e gr o upe d as d i s le g o m e n a and t r i s le

-

g o m e na ; t h e ge n e ral c o nclusi o n b e ing that t h e gre at e r p o rt i o n of t h e S o nn e ts

dat e fro m t h e pe r i o d of L ove s L a bou r s L os t R omeo 69 Juli et Ven us Ea Ad on i s

,

,

,

Ri ch a rd I I I and L u c ece o r,
r 1
59 9 5
2 , .

Oth e r cr i tics basing th e ir j udgm e nt rath e r o n g e n e ral i mpr e ssi o ns of t h e

,

parall e lism with t h e plays r e ach vari o us c o nclusi o ns KRAU S S and VON , .

MAU NTZ agree substantially with S arraz in e mphasi z i ng t h e r e se mblance s ,

t o Ven u s 69 Ad on i s

D OWD E N obse rve s that t h e S h of t h e S o nn e ts is t h e
. .

man w h o wr ot e Ven us 68 Ad on i s and R omeo 69 Ju li et ab out t o acqu i re t h e

bitt e r e xpe ri e nc e lat e r r e e ct e d i n Mea s u re f or Mea s u re and Tr oi lu s ; so m e o f

t h e S o nn e ts as 6 4 7 4 may b e th o ught t o e ch o t h e t o n e o f th e s e lat e r plays

, ,

and of H a mlet TYL E R h olds that th e r e is n o k e y like t h e So nn e ts f or t h e u nd e r

.

stand i ng of Tr oi lu s 89 Cres s i da GO0 D L E T i n his art i cl e i n P oet L ore 1 8 9 1

.
, , ,

e mphasi z e s t h e c o nn e cti o n o f t h e S o nn e ts with t h e st o ry o f Tw o Gen tlem en of

Ver on a and be li e ve s that th e y pr obably pr e c e d e d t h e play E K C H AM

, . . .

B E R S would g o t o t h e stake f or it that t h e language and th ought of t h e

,

S o nn e ts a re th o s e o f t h e plays writt e n during t h e y e ars 1 59 2 9 4 ( Aca d emy ,

J uly 3 1 , WYND H M w o uld plac e t e e arli e st gr o ups ( as 1 4 2 ) b e fo re

A h

1 59 9 , but b e li e ve s that t h e m e lanch oly langu o r m e taphysica l sp e culat i o n , ,

and p oe tical p e rfe cti o n of t h e gro up 56 1 2 5 display an af nity f or H a mlet

, .

B E E C H I NG is e sp e cial l y i mpre sse d by t h e parall e ls with H en ry I V and g oe s ,

s o far as t o say what is scarc ely warrant e d that t h e gr e at e r numb e r o f

parall e ls hith e rt o r e c ogn i se d a re f o und i n t h e t w o parts of that play i n
,

L ove s L a bou r s L os t and i n H a mlet S i nc e L ove s L a b ou r s L os t was r e vise d

.
,

i n 1 59 7 t h e dat e also of I H en ry I V t h e pe ri od b e gi nning ab o ut that tim e se e ms

, ,

particularly l ik e ly MAC KAIL goe s still furth e r i n this directi o n asse rt ing that
.
,

i n t h e large maj ority of t h e S o nne ts t h e p owe r of th o ught t h e charge d ful , ,

n e ss of language t h e c o mpre s s e d and a l lusiv e styl e a re qualiti e s n ot o f t h e

, ,

Ven u s {if Ad on i s n ot o f th e Sh of A Mi ds u mmer Ni g h t s D

Sh . of , . r ea m ;
 4 50 A PP E ND I X
th e y a reth o se of t h e S h w h o has fu ll y mast e re d his art i n t h e gre at c om e di e s
.
,

w h o has d e e pe n e d his h o l d o n l if e and t h e human s o u l t o t h e po t e ncy of t h e

gre at trage di e s ; t h e y a re th o se o f t h e S h w h o is fac e t o fac e with t h e wh o l e .

ve xing so rr o w of t h e wo r l d t h e S h w h o was writing or pre paring himse l f t o , .

writ e H a mlet and Tr oi lus Es Cres s i d a ( L ectu res on P oetry p '

GRAY .
, .

e mphasi z e s t h e l i k e n e ss be twee n t h e S o nn e ts and t h e th e m e of t h e l ov e of an

o ld e r man f o r a y o unge r as appe aring i n Th e Me r ch a n t of Ve n i ce

t h e e xa l
H e a l so n ot e s

t a t i o n of fri e nd s hip and t h e iso lati o n and se lf pity of Ant o ni o
,
-
.

t h e S o nn e ts m oo d of o u t o f fav o r with f o rtu ne but happy i n l o ve as be ing

cl o se ly aki n t o that of Ro m eo and adds No c orre spo nd e nce of phrase c o uld , ,

b e half s o signicant as this ama z i ng similarity o f i d e a

P r of e s so r Gray nds .
,

t oo as w e hav e se e n that t h e signicant paral l e l s with L ove s L a bou r s L os t

, ,

a re t o b e th o ught o f as b e l o ngi ng t o t h e r e visi o n o f 1 59 7 .

WAL S H n d s t h e argum e nt fro m parall e ls sugge st i ve of rath e r m o re l ibe ra l

a n d l e ss d e nit e r e sults than have be e n i nf e rr e d by m o st o f th o se w h o hav e

use d it Th e sam e charact e ristics that have le d t h e e dit ors t o arrang e t h e

.

plays i n a t ol e rably we ll agree d upo n se ri e s a re trace abl e in t h e so nne ts Th e se

- -
.

charact e ristics a re that i n his e arly writi ngs S h sh o we d a c o mmand of lan

, .

guage supe ri o r t o his th o ught that i n his middl e pe ri o d his language and th o ugh t ,

match e d e ach o th e r and that i n his l ast p e ri o d his th o ught o utran t h e p o we r

,

o f e xpr e ssi o n S 1 2 9 e xhib i ts t h e C haract e ristic o f t h e last pe ri od and

. .
,

t hat of t h e rst pe ri od as plai n l y as d o t h e Tempes t and t h e Com edy of E r r ors

, .

( I ntr o p .
, H i s c o nclusi o n is that al l t h e usua l t e st s wo uld re sult i n stri ng
.

i ng o ut t he So nne ts ove r a t ract of tim e be gi nning at l e ast as e arly as 1 59 2

_

and e xt e nding as lat e as 1 6 0 3 and po ssibly Th i s is i n harm o ny with t h e

O pi ni o n of F U R N I V AL L w h o whil e placi ng t h e S o nn e ts be twee n t h e se c o nd an d
, ,

third pe ri ods of t h e plays said that h e be li e ve d th e y st re tche d ov e r many ,

y e ars ( I ntr o p l xvi )

. .
, . .

F i nally f o r t h e matt e r o f parall e l s w e may n ot e that so m e critics re j e ct t h e

, ,

wh o l e m e th o d as i nva l id Thus ARC H E R sums up h i s cOh vi ct i o n s by sayi ng

.
, ,

L ik e occasi o ns be ge t like e xpre ssi o ns and t o GOL L ANC Z S r e mark that n o

l o ng tim e c o uld have e l apse d be twee n R omeo 68 Juli et and S o nne t 1 1 6 h e re

pli e s that v e ye ars c o u l d have passe d quit e as we l l as v e days .

n s
. 62 : This vi e w is a l so that o f S WI N B U R N E if on e may j udge fro m his ,

m o cking acc o unt i n t h e Re po rt of t h e P roc ee dings of t h e Ne we st S h

, .

S o ci e ty o f a pr oo f by parall e ls that L ove s L a bour s L os t an d Oth ello a re of t h e

,

sam e dat e (A S tudy of S h Appe ndix )

. .

up acc ounts w e have th e se arg um e nts f or an e ar l y dat e

C asting ,
'

1 B y far t h e l arge r num b e r o f para ll e ls with th e S o nnets a re f oun d i n t h e

.

poe ms and t h e e arly p l ays i n d icati ng a c o mm o n gr o un d b oth f or id eas an d ,

craftsmanship .

2 Th e situati o n i n t h e So nne ts is a l so para ll e l ed i n e ar l y p l ays

. .

3 I d e as and image s i n t h e S o nn e ts a re para ll e l e d a l so i n t h e poe try of oth e rs

.

w h o wr ot e e ar l y ; if th e y b o rr owe d from S h h e must have writt e n v e ry .

,
 TH E D A TE OF COM P OS I TI ON 45 1

e ar l y ; if h e b orr owed fro m Ma r l owe S idne y and D ani e l it is natural t o , , ,

suppo se t hat h e did s o u nd e r t h e i n u e nc e of c o mparative ly fre sh impre s

si o ns .

4 Me re s m e nti o ns S h s S o nn e ts as i n familiar circulati o n i n 1 59 8 ; Jag

. .

gard pri nts i n 1 599 t w o which have bee n th o ught t o t e l l t h e wh ol e st o ry .

5 Th e m e lanch o l y of t h e S o nn e ts may b e attribut e d t o t h e d e ath of S h s

. .

s o n i n 1 59 6 or t o t h e o rdinanc e agai nst t h e t h e atr e s i n 1 59 7 .

6 S h s allusi o ns t o t h e s o nne t f orm a re e ar l y and it is un l ike ly that h e

. .
,

sh ou l d have b e gu n t o writ e i n that form aft e r t h e h e ight of its v ogu e was ove r .

7 To this w e may add t h e S o uthampt o n th e o ry of t h e fri e nd f or th os e t o

.
,

wh o m that see ms plausibl e .

F o r a lat e r d at e i n S h s mi d d l e pe ri od w e hav e th e se argum e nts

.
, ,

1
. P ara l l e ls w i th t h e l at e r c o m e di e s and with t h e trage di e s th o ugh r e l ativ e l y ,

f e w a re v e ry strik i ng ; e spe cia l ly n ot e t h e th e m e o f t h e i nd e lity o f w o man

, .

Th e th e m e of dark be auty i n L ove s L a bou r s L os t sh ows so m e e vid e nc e of

2
.

havi ng b ee n i ntroduc e d i n t h e re visi o n of 1 59 7 .

3 Th e maturity of th o ught and styl e of a gr e at nu mb e r of t h e So nnets

.

po ints t o t h e peri od of t h e poe t s d e ve l o pe d art

.

4 Th e si nc ere ring of t h e allusi o ns t o we arin e ss and a g e mak e s it d o ubtful

.

t hat t h i s a s s u m p t i o n of y e ars is wh olly ctiti o us or c o nve nti o na l

"
-
.

5
. T h e m e la n c h o lv o f S h is q uit e w e ll acc.o unt e d f o r by e ve nts of 1 60 1 .

6 Th e o nly suspe ct e d allusi o ns t o c o nt e mp o rary e ve nts a re c o mm o nly r e

.

f e rr e d t o 1 6 0 1 o r 1 6 0 3 .

7 To this is t o b e add e d t h e P e mbr o ke th e o ry f or th ose w h o nd it plausibl e

.
, .

Th e o utc o m e r e mains u nce rtain E vid e nc e f or an e arly dat e f or at l e ast a

.

c e rtain nu mbe r of t h e S o nne ts see ms t o pre po nd e rat e but this nee d n ot b e

app l i e d t o t h e wh ol e c o ll e cti o n I f o n e f oll o ws t h e divisi o n mad e by I saac an d

.

oth e rs i nt o c o nv e nti o na l and o rigina l gr o ups r e m e mbe ri ng a l s o that t h e S on ,

n e ts th e mse lve s appe ar t o r e fe r t o l apse s of tim e be twee n pe ri ods of c o mp osi

ti o n t h e see mi ng plausibility of t h e argum e nts f or bo th t h e ear l y and t h e
,

midd l e pe ri od may b e explaine d Th e stud e nt s O pini o n as t o t h e dat e of t h e

.

l arge r numbe r of t h e So nne ts wi ll probably d e pe nd on his j udgm e nt re sp ecting

o th e r matt e rs which a re e qua l ly u nc e rtai n with that o f chr o n ol ogy .

Th e f ol l owing tab l e o utline s i n a summary and n ec e s sarily arbitrary fashi on

, ,

t h e O pi ni o ns o f t h e pri ncipal e dit o rs and critics w h o have di scusse d t h e qu e s

ti o n of dat e A singl e dat e fo ll owed by a dash i ndicat e s t h e e ar l i e st l i mit pro

.
~

pos e d with n o d e nit e vi e w as t o a ter mi n us a d quem

, .

AC H E SO N 1 594 1 6 0 0

AL D E N 1 59 1 ( chi e y 1 5939 7 )
ARC H E R 1 59 7

B E E C H I NG 1 59 7- 1 6 0 3

B RANDL 1 59
1 1 60 3 ( chi e y 1 59 1 9 4 ) -

B U TL E R 8
1 5 5 88
4 52 A P P E ND I X
1 59 2 -
1 60 5

I 594 97
'
7

1 59 5 9 8

S9 S 99
-
I

1 58 9

1 59 4 -
1 60 3 ( chi e y 1 59 4 )
1 59 8 -
1 60 3

1 59 0 1 60 3

B e f o re 1 59 8

I S9 7
1 59 2 ( chi e y I S9 2 -
95 )
1 59 2 9 6

1 59 8 1 60 1

1 59 2 - 1 6 0 3

59 1 6 0 3
8-
1
 S OU R C ES AND A NA LOG U ES *

TH E a g e of d isc ove ry
so urc e s and anal ogue s is of c o urse a l at e one and
of ,

f or t h e S o nn e ts practically n o thi ng was d o n e i n this d i r e cti o n pri o r t o t h e l ast

quart e r of t h e ni n e t e e nth c e ntury MAL ON E t o b e sure had re marke d that .
, ,

i n th e se c o mp os i ti o ns D ani e l s S o nne ts which we re publish e d i n 1 59 2 app e ar

, ,

t o m e t o have b e e n t h e m od e l that S h f o ll o we d

( B oswe ll e d 1 8 2 1 2 0 : . . .
, ,

With this DRAKE agre e d e mphasi z ing D ani e l s i nu e nc e on t h e m e trica l form

,

o f t h e s o nn e t and ob s e rvi ng that th e r e is i n D ani e l much of that tissu e of

,

abstract th o ught and that r e it e rati o n of wo rds which distinguish t h e S on
, ,

n e ts of S h ( S h a n d h i s Ti mes 2 :
. . Th e sam e subj e ct was d e ve l o pe d by ,

D OWD E N i n his e diti o n of 1 88 1 : I n re adi ng S idne y S pe nse r Barne s and

,

, , ,

stil l m or e Watso n C o nstabl e D rayt o n and oth e rs alth o ugh a l arge e l e m e nt

, , , ,

of t h e art p o tt e ry o f t h e R e nasc e nc e is c o mm o n t o th e m and S h

-
t h e stud e nt .
,

of S h s S o nn e ts d oe s n ot f ee l at h o m e
.

I t is whe n w e O pe n D ani e l s D eli a that .

w e r e c o gni z e cl os e ki nship Th e manne r is t h e sam e th o ugh t h e mast e r pr o ve s

.
,

himse lf of tardi e r imagi nati o n and l e ss ard e nt t e mpe r D icti o n image ry . , ,

rhym e s an d i n so nn e ts of l ike f orm v ers i c a t i on distinctly re se mb l e th ose

, , , ,

of S h . Ma l o ne was sur e l y right wh e n h e re c ogni z e d i n D ani e l t h e mast e r of

S h as a writ e r of S o nn e ts
. a mast e r quickly e xc e l l e d by his pupi l And it is .

i n D ani e l th at w e n d so nne t starti ng f ro m so nne t a l m ost i n S h s manne r .

,

o n l y that D ani e l o ft e n l i n k s p oe m with poe m i n m o r e f o rmal wise

( I ntro . .
,

p 27
. . Th e matt e r was car e fu ll y e xami n e d by I S AAC i n his articl e i n t h e
Ja h rbuch f or 1 8 8 2 with t h e c o nc l usi o n that S h f elt t h e i nu e nce of t h e b e st
, .

work o f D ani e l but rath e r l e ss than that of S urr e y S idne y and t h e Ita l ians
, , , .

F i nal l y S h s i nd e bt e dn e ss t o D ani e l was e mphasi z e d by S ARRAZ I N i n his S h s

.
, .

L eh rj a h re Th e imp o rtant para ll e l s a re du l y n otice d i n t h e c o mm e ntary

i n t h e pre se nt v ol um e and may b e trac e d by r e f e re nc e t o t h e i nd e x B ut as
,
.
,

appe ars from r e marks l ike D owd e n s i n this case t h e a l l e ge d re se mb l anc e is

,

n ot s o much d e pe n d e nt o n striking anal ogi e s i n part icular s o nn e ts as o n s o m e

ge ne ra l si mi l arity of t one and sty l e I nstanc e s of similar phrasing n ot of suf . ,

c i e n t signicanc e t o b e r e c o rd e d i n t h e n ot e s may ne v e rth e l e ss have a cumu ,

lative e ff e ct Cf f or e xampl e with 2 2 D eli a 4 8 : Be st i n my fac e wh e re

. .
,

, , , , ,

car e s hath till e d d e e p furr ows ;

1 0 with D eli a 2 9 2 :

Th e Apri l of my ,

y ears 5 78 with D eli a 3 7 1 2

, ,
-

Wh e n Wi nt e r snows up o n thy gol d e n hairs ,

An d fr ost of Ag e hat h nippe d thy owers n e ar ;

2 4 2 with D eli a 1 3 6 7
, ,

I gur ed on t h e tab l e of my h ea rt
Th e good l i e st shap e that t h e wor ld s ey e a d mire s ;

[ Th e t po rt i
rs f t hi sec t i co ce rn i g E gli h s o u rc
on o s i b a ed o a s t i ll un p ub li s h ed
on , n n n s es . s s n

pa per b y Mi s R UTH KELSO A M of th e Uni vers i t y of I lli noi s E D ]

s , . .
,
. .
 454 A P PEND I X
and m or e Of t h e sam e charact e r Of itse lf n one of th es e pa ra ll e l s is e spe cia ll y .

stri ki ng Ti m e s furr ows i s a su ffi ci e ntly familiar n oti o n ; Cf f or i nstanc e th e se

.

.
, ,

l i ne s fro m Tu rb e rv i lle s E pi ta ph s E pi g ra ms e t c
, ,

cr oo k e d a g e his w o nt e d trad e i s f or t o p l o ugh t h e fac e

F or
With wri nkl e d furrows that be f o re was chi e f of be auty s grac e ,

.

Th e c o nc e it of t h e mistr e ss s pictur e o n t h e l ove r s h e art is e mp l oy e d by Wat s o n

S idn e y and S p e ns e r n ot t o g o fu r th e r Th e case is stre n gt h e n e d h o we v e r

, , .
, ,

by t h e ge ne ral m e th od of D ani e l s tr e atm e nt of o n e o f S h s principa l th e m e s

.

t h e quick d e cay o f b e auty and t h e c o nse q u e nt n ee d of putting it t o u s e ; C f .

D eli a 3 5 cit e d i n t h e n ot e s o n S 1 Oth e r th e m e s c o mm o n t o b oth p oe ts a re

, . .

t h e O ppr e ssiv e n e ss o f night t o t h e l ov e r and t h e e t e rni z ing p o w e r o f v e rse ; but ,

th e se aga i n we r e c o mm o n also t o t h e b ody of so nn e t lit e rature I n ge ne ra l

, , .
,

si nc e many of t h e so nne ts by D ani e l which hav e b ee n th o ught t o re se mbl e

S h s w e r e publish e d i n 1 59 1 and 1 59 2 and sinc e f e w crit ics wo u l d dat e S h s

.
, .

as e arly t h e hyp oth e sis of D ani e l s i n u e nc e is n ot impr obabl e

,

.

I n c o nn e cti o n with his th e o ry that t h e latt e r p o rti o n of S h s so nn e t c ol

.

l e ct i o n is c o nc e rn e d with P e n e l o pe L ady R i ch supp o se d t o b e S idn e y s , ,

S t e lla

MAS S E Y f o u nd r e aso n t o d e ve l o p t h e subj e ct o f parall e ls b e twee n t h e
,

S o nn e ts and S idn e y s wr i tings H e was f oll o we d i n Ge rmany by KRAU S S

.
,

w h o i n t h e Ja h r bu ch f or 1 8 8 1 p o int ed o ut many such parall e ls I n Masse y s

.

lat e r work ( 1 8 8 8 ) S h s ind e bt e d ne ss t o S idn e y was again mad e much of Th e

.

e ar l i e st so nn e ts o n marriag e c o uld n ot hav e bee n writt e n until aft e r S h had .

r e ad t h e Arca di a *
(p


With S 1 4 t h e l i ke ne ss t o or b o rrowing fro m
. .

[ A s tr op h e l 69 S tella ] be gins

( p s ee also pp 2 4 8 51 ( o f Th e S ecr et D r a m a )
. .

f or a c o mpariso n of t h e so nne ts n e ar t h e e n d o f t h e c o ll e cti o n with S i dn e y s

.

Aga i n t h e m o r e signicant of Ma s se y s parall e ls w i ll b e f o und i n t h e c o mm e ntary

i n this e diti o n This subj e ct has attract e d l e ss discussi o n than t h e all e ge d

.

i n u e nc e of D ani e l ; but on e o f t h e m ost re c e nt c o mm e ntat o rs B RAND L puts , ,

t h e case m o r e str o ngly than any pre d e c e sso r : [S idn e y ] gav e him i n A 89 S

, . .
,

t h e e xampl e o f c e l e brat ing a l ady wit h e y e s of black t h e Opp osit e of be au

t ifu l of writi ng of h e r as marri e d an d of e mphasi z ing h e r u nhappy marita l

, ,

re l ati o ns S idn e y had alr e ady i ntr od uc e d t h e r Ole o f t h e fri e nd w h o warns

.

against illicit passi o n ; S h t oo k it ove r i n such a mann e r as t o b e i n his ow n

. ,

pe rso n c o nc e rn e d ab out t h e be l ove d yo uth S idne y had alre ady O ppo se d

,
.

himse lf t o rival p oe ts w h o a u n t e d n e w f o un d tro pe s a nd strange simil e s

-
, ,

Pr f E D WI N G R E E NLA W h
o es s or l t ly (S t d i i P h i l l gy ca lled a t t e ti
as a e to u es n o o , n on

the so g of G n A di B oo k 1 ( d 59 0 f 9 4 b ) w hi h h t hi k s pa ra llels th s t
e ron , r ca a, e 1 . c e n e r

re d r i t p
.
, ,

clo ely a s t c ti ca lly t h t Sh h a d i t i

t
s e v en ee n so t f Sh nn e s o . so s t i o mi n d n e ra cer a n a . n .

C f es pe ci lly t h ese li
. a nes

N t u re b v e ll t hi g eq u i ret h t h i s
a a o a n s r ,

Th t w u ki d d al b o u t ma i t a i e ;
e o r n oo a r o n n

Whi h d w o ut li d th h ld a ll huma n e b li ss e
c ra n e- ne o o .

Th y f t h j u t ly m y o f t hee com p l i e
a er s a a n ,

I f t h o d oo t p y h i d d f t hee
u no re a s ee s or .

I g tin g u to h i m
n g d i ga in e
ra n n a ra n s re s .

Th y com m w lt h m y i gh tly g i v d b e on - ea a r r e e ,

Whi h m u t b y t h i i m m t ll b e pres e rve d

c s s or a ,

If t h us t h ou m urt he r t h y p os t eri t i e .
 S OU R C ES AND A NA LOG U ES 455
whil e hewo u l d writ e o nly what appe ared i n rea l ity ; t hi s w as d e ve l ope d by
S h t o d e f e nc e against a particular r i val wh o by s uch m ean s appr oach e d his
. ,

fri e nd C e nso rs guardian ange ls old st o ri e s t h e po litic s of t h e d ay as trol o gy

. , , , , ,

natura l sc e n e ry l e gal pr oc e dure play a part i n S idne y s ve rs e and i n like

, ,

mann e r with S h s ; t h e f orm e r spe aks of his ofcial d uti es a s sol di e r and stat es
.

man t h e latt e r of h i s calling as an act o r ; bo th e nj oy e nlarging upo n th e ir

,

j o urn e ys a nd th e ir obse rvati o ns whil e j o urne ying ; bo th glanc e a t r e m ot e r ob

j ec t s but a r e nally le d back by cl e v e r t urns t o t,
h e p e r s o n b e l oved e ve n if , ,

th e se turns nd e xpr e ssi o n i n articial or far f e tch e d f orm S i d n e y had n ot -

.

b ee n asham e d t o c o nf e ss a m o ra l e rr or and t h e rh e t oric of S h see ks t o outd o , .

him with se l f r e pr oach e s ; l ike S idne y S h has e mpl oy ed his tal e nts i mad e
-
, .

q u a t e ly ; and as S id n e y i n t h e e n d r e j o ic e s that by m e ans o f his tr o ub l e s i n

l ove h e has l e arne d t h e di ff e re nc e b e twee n po iso n and true l ove s o S h nds , .

c ont e nt ( 1 1 0 ) in t h e fact that thr o ugh his wand e ri ngs h e has w on a se c ond youth
of t h e h e art S ur e ly t h e appe aranc e of t h e As tr oph el so nn e ts i n 1 59 1 must
.

have give n t h e lit e rary impu l se f or S h s l yrica l p oe try ( I ntr o pp xxxii iii )

.

. .
, .
-
.

Agai n S inc e t h e publicati o n of S idn e y s so nnets be l o ngs t o t h e sam e pe ri od as

,

t hat of D ani e l s e arli e r c oll ecti o ns it is plausib l e that S h sh o u l d have s t u d i ed

, .

t h e l yrica l c o nc e its of t h e o n e with th o se of t h e oth e r .

A t hird i nspire r of t h e S o nne ts has be e n f o und i n D rayt o n n ota bly by F L E AY , ,

w h o i n his B i og ra ph i ca l Ch r oni cle ( 1 8 9 1 ) cit e d many paral l e ls and c o nclud e d ,

[ S h l has at l e ast thr ee c orr e spo nding passag e s with him f or on e with any oth e r
.

writ e r ; and t h e l ike ne ss is much c l ose r e spe cia l ly i n th ose parts of D rayt o n ,

which a re m ost r e m oved fr om c omm onp l ac e It is imp ossibl e h e r e t o give ful l .

e vid e nc e ; but any o n e w h o wil l saturat e himse l f with S h s S o nn e ts and th e n

.
,

rea d D ra y t on s wil l nd as I have d o ne that hard l y a stanz a of D rayt o n h as

, , ,

bee n l e ft unuse d by S h ; and as w e cannot fro m t h e manife st allusi o ns in t h e

.
,

so nn e ts of t h e l att e r dat e th e m ear l i e r than t h e D edicati o n t o L u crece

,

which was print ed i n t h e sam e ye ar as I dea s Mi rrou r w e a re nec e ss itat e d t o

re j ect t h e alt e rnative hypo th e sis that D rayt o n may have c o pi e d S h (2 : .

2 30 B ut TYL E R had alre ady whil e admitting so m e of t h e re se m

b l anc e s o bse rv e d that th e y we re not t o b e f o un d i n t h e poe ms of D rayt o n as
,

publish e d in 1 59 4 but appe are d rst i n his vol um e of 1 599 ; h e th e re fore c on

,

c l u d e d tha t i n t h e int e rva l D rayt o n had mad e t h e acqu aintanc e of S h s S o n .

ne ts , an acquaintance mad e not improbab l e by Mere s s we l l kn own re mark

-

as t o t h e ir circulati o n ( I ntro pp 39 . This argu m e nt was furth e r d e

.
, .

v e lope d by WYND H AM ( P oe ms 1 89 8 p w h o r e mark e d o n fu rth e r imita

, , .

ti ons by D rayt o n in poe ms which rst appe ared as l at e as 1 6 1 9 ( but n ot with

out e rr or h e r e ; cf n ot e o n S 1 . and agai n by B E E CH I NG ( in a n ot e appe nd ed
.

t o his ed iti on w h o argu e d t hat D rayt o n was an arch imitat o r having

,
-
,

rst writt e n so nne ts i n t h e manner of D ani e l th e n i n that of S idne y th e n in , ,

that of S h ( p . B ee chi ng s c onc l usi o n is : I f a poe t at on e tim e c oul d

.

writ e s o l ike D ani e l that his C l e ar Ank or o n wh ose silve r s and ed sh ore is as ,
-

g ood an d a s charact e ristic of D ani e l as any so nn e t that charmi ng writ e r e ve r

pr od uc ed and at an ot h e r tim e s o n ot un l ike S i d ne y that his My he art w as
,

4 56 AP PE ND IX
slain and n o ne but y ou and I sugge st at o nc e t h e A 69 S is it re a sonabl e
,

.

.
, ,

wh e n in t urn w e nd hi m writing i n t h e sch oo l of S h that h e sh o uld b e a o .

,

c o unt e d S h s mast e r and n ot his pupil ? ( p

.

L E E o n t h e o th e r hand
"
.
, ,

supp ort s t h e p os i ti o n of F l eay : Th e wh o l e of D ra y t o n s c e ntury of so nn e ts

e xc e pt tw e lv e w e r e in print l o ng b e f or e 1 6 0 9 and it c o uld e asily b e sh o wn that

, ,

t h e e arli e r 53 publish e d in 1 59 4 supply as cl ose parall e ls w i th S h s s onn e ts as

, , .

any of t h e 4 7 publish e d subse qu e nt l y I nt e rnal e vid e nc e sugg e sts that all but .

o n e or t w o of B rayt o n s s o nn e ts w e r e writt e n by him in 1 59 4 in t h e full tid e

o f t h e so nn e t e e ring cra z e Alm ost all we r e d o ubtl e ss i n c i rc u la t i o n i n manu

script th e n S h w o uld have had r e ady m eans of acc e ss t o D ra y t on s manu

. .

script c o ll ecti o n ( Lif e p 1 1 0 n ) F i n ally E L TON ( Mi ch a el D ray ton 1 90 5)

. .
.
, , ,

v i e ws t h e matt e r as unc e rtain but t e nds t o supp o rt t h e p os i ti o n of Wyndham , .

and B e e ch i ng o n t h e gr o u nd that t h e passage s i n D rayt o n w i th that d ee pe r

,

so und which w e have l e arnt t o call S hake sp e ar e an hardly b e gi n t i ll h i s e d i

, ,

ti o ns o f 1 59 9 or 1 6 0 2 I t is natural t o think that D rayt o n glancing r o und

.
,

aft e r his assimi l ative fash i o n e arly caught so m e d e e p acc e nts and n obl e ,

rhyt hms fro m S h s p oe ms which h e like o th e rs may hav e se e n unprint e d

.

,

, ,

( pp 5.6 A ll which g oe s t o sh o w that i n this instanc e n o matt e r what ,

am o unt of parall e lism is n ot e d i nf e re nc es r e garding b o rr owing a re unsafe , .

Th e r e se mblance s a r e in part again of t h e natur e of curre nt c o nc e it th e m e s , ,

-

id e ntity of l ov e r and fri e nd t h e madne ss of t h e l ov e r t h e supre m e b e auty of , ,

t h e b e l ove d t h e e t e rni z ing p ow e r of v e rse and t h e l i k e

, I n part th e y a ff e ct , .

d e tails of image ry and phrasing ; f or e xampl e s s ee t h e i nd e x t o t h e c om m e ntary ,

as usual With S o nn e ts 3334 (t o no t e o n e or t w o instanc e s n ot m e nti o ned

.

in t h e n ot e s ) have be e n c o mpare d so m e line s fr o m B rayt o n s S 6 0

.

B e h old t h e cl ouds which have e c l ipse d my sun !

And Vi e w t h e cr osse s which my c o urse d o le t !
Te ll m e if e v e r sinc e t h e w orld b e gun
,

S o fair a rising had s o f o ul a s e t ?

Th e para l l e l may have int e r e st but sure ly litt l e e vid e nc e of b orr owing , . With
S . 1 0 7, much m oo t e d f or o th e r re asons has b ee n c ompare d , B rayt o n

s 51
C a l ling t o mind sinc e rst my Love b e gun ,

Th e unc e rtain tim e s of t varying i n th e ir c ourse ; ,

H ow things sti l l u n e xpe ct edly hav e run ,

As it p l e a s e t h e F at e s by th e ir r e sistl e ss f o rc e ; ,

L ast l y min e e y e s ama z ed l y have se e n

,

E sse x s gr e at fa ll Tyr o n e his pe ac e t o gain

, ,

Th e qui e t e n d of that l o ng l iving Qu ee n ,

This K ing s fair e ntranc e an d our pe ac e with S pain

, ,

We and t h e D utch at l e ngth o urse lve s t o se ve r ;

Thus t h e w orl d d oth an d e ve rm o re shall ree l :
Ye t t o my g odd e ss am I c o nstant e ve r !

I n case S h s so nne t c o ntains th o se al l usi ons t o c o nt e mp orary e ve nts which

.
'

many have supp o se d t h e parall e l is sure ly an int e r e sting on e ; but t h e p oint i n

,
 S OU R C E S AND A NA LOG U ES 57
th e case e ve n th e n i s d i e r e n t fr o m that of th e r With
'

one , , th e o . S .

1 34 , 7 1 1 ,

a p a ra ll e l has b ee n f o und i n D r a y t on s 3 91 4 :

An d thus m i ne e y e a d e bt or t o thine e y e ,

Wh i ch by e xt o rti o n g a i n et h all th e i r l oo ks ;
My h e art hath paid such gri e vous usury ,

That al l th e ir we alth li e s in thy B e auty s b oo ks

.

An d all is thin e wh i ch hath b e e n d ue t o m e ;

An d I a bankrupt qu i t e und o n e by th ee , .

B ut t h e abu ndant u se of l e gal i mage ry i n t h e vari o us so nn e t cyc l e s d e prive s

this anal ogy of any ind e pe nd e nt sugge stive ne ss E ve n m o re c o nve nti o nal is .

t h e r e pr e se ntat i o n o f l ove as frant i c mad in S 1 4 7 which has b ee n c o m

"
-
.
, ,

par e d with D ra y t o n s S 9 : I am lunatic ! t h e playful n e ss of t h e latt e r

-
.

be ing i n str o ng c o ntrast wit h t h e t o ne of S h s Of t h e anal o gi e s m e nti o ne d i n .

.

t h e c o mm e ntary t h e m o st int e r e sting a r e th o se f o und i n S o nn e ts with

,
4 6 (
D ra y t on s 33 o n e y e and h e art ) 1 1 6 ( with D ra y t o n s 4 3 o n t h e pl owman
'
, , ,

and t h e star ) and 1 44 ( with D ra y t o n s 2 0 on t h e e vil spirit y o ur

,

I n all th e se case s t h e similarity of phrasing is d e cid edly sugge stive but s ee ,

t h e n ot e s e spe cially o n t h e last t w o f or c omm e nt o n its e lusive n e ss It is par

, , .

t i c u la r ly od d that t h e e vil spirit of D rayt o n sh o uld hav e be e n vi e w ed as s o

c onclusive ly re lat e d t o S h s t w o l ove s ; i n t h e on e case t h e t e rms ange l

.

and d e vil a r e appli e d t o t h e sam e pe rso n i n t h e oth e r case t o di ff e r e nt

,

pe rso ns t h e f o r m
, e r b e ing a su f ci e nt l y fam i liar type o f c o nc e it t h e latt e r a ,

wh olly n ove l s i tuat i on F i nally w e may n ot e D ra y t o n s S 44 p e rhaps t h e

.
*
,

. .

m ost cl ose ly S hake spe ar e an of th e m a ll n ot s o much i n d e tail e d phrasing as ,

i n ge n e ra l th e m e and sty l e
Whilst thus my strive s t o e t e rni z e th ee
pe n ,

Ag e rul e s my l i ne s w i th wrinkl e s i n my fac e ;

Wh e re i n t h e map of all my mise ry
, ,

I s m o d e l e d o u t t h e w orld of my d i sgrac e
Whilst i n d e spit e of tyranni z ing tim e s ,

Me d e a l i ke I mak e th ee y o ung again

-
, ,

P r o udly th o u s c or n s t my w orld o utwe aring rhym e s

-
,

And m u rd e r s t virt u e with thy c oy disdai n

.

And th o ugh i n y o uth my y o uth untim e ly pe rish ,

To k e e p t h ee fr o m obliv i o n and t h e grave ,

E nsu i ng age s y e t my rhym e s shall ch e rish ,

Wh e re I e nt om b d my b e tt e r part shall save ;

And th o ugh th i s e arthly b ody fad e and d i e ,

My nam e sha l l m o u nt up o n e t e rn i ty .

h p
S t i ll les s rea s on i s t e re t o d ra w a a ra lle l b e t w ee n D ra y t o n s S 1 0 a n d S h s co llect i on ,

pp
. .

a s h a s b ee n d o n e on t h e g
r ou n d t a t i t a h
e a rs t o a v e b ee n a d d r e ss e d t o a ou nh man To y g
h g
n ot i n h p h
t t e r ca n I t ee c o m a r e T a n t o t h e s o n o f s o m e ri ch enn T e re i s n ot p y h
gh
t h e s li t es t rea s o n t o s u pp h
o se t a t i t d oe s n o t c o n ce rn a w o m a n . li e a ll th e o t e r s ; t h e c o m a ri k h p
hp
s on w i t g p
r od i a l son i s s ui ci en tly ex la i n ed b y t h e f a c t t a t t e r e i s no s uc t e as a h
rod i h h yp p
ga ld g ht
au er .
 4 58 A P P E ND I X
Oth e r so nne t ee rs than D rayt o n we re intr od uc ed as s ourc es f or S h by L E E .

Th e th o ughts and w ords of t h e so nne ts of D ani e l D rayt o n Watso n Barnabe , , ,

Barne s C o nstabl e and S id ne y we r e assi m

, , ilat ed by S h in his poe ms as c on .

s c i ou s ly and with as littl e c o mpuncti o n as t h e p l ays and n ov e l s of c o nt e mpo

rari e s i n his dramatic w o rk (Lif e p Of th e se m e n Lee s pe culiar
.
, .
,

e mphasis is laid o n Barne s ; th us i n his I ntr od ucti o n t o E li z a beth a n S on ne ts ,

( 1 90 4 ) h e o bse rve s C o nstantly [ Barn e s] strik e s a n ot e which S h cl ea rly

, .

e ch oe s i n fu l l e r t o n e s ( 1 : lxxv vi ) Th e u s e of c o nc e its drawn fr o m le gal p r o

. .

c e d ure and of pu ns a r e t h e chi e f spe cicati o ns ( Se e t h e i nd e x as usual f or -

.
, , , ,

partic ular passage s ) B ut th e se acc ording t o Lee s ow n argum e nt a re am o ng

.
,

t h e practically uni v e rsa l c o nv e nti o ns of t h e a g e ; and it w o uld b e hard t o nd

a so nne t styl e m or e d i e re n t fro m S h s i n ge ne ral than that of Barne s N0 .

, , .

oth e r critic n d s him a plausibl e so urc e .

Th e thr ee s o nn e ts which furnish sugge stive para ll e l s t o Co nstabl e s v e rse a re

2 4 99 and 1 0 6 ( s e e t h e n o t e s f or d e tai l s )
, ,
This is a noth e r i nstanc e wh e re it is .

di fcu l t t o discrimi nat e be twee n c o nve nti o nal and i nd ividual e l e m e nts ; and it
will b e n ot ed that i n at l e ast o n e so nne t ( 1 0 6 ) it has b ee n argu e d that C o nstab l e
is t h e b orr owe r .

F or an i nstanc e of p o ssib l e b o rr owing fr om Gi l e s F l e tch e r s L i ci a also

n ot e d by L E E s ee not e s o n S 1 53 , . .

To Lee s list W C H AZ L I TT add e d t h e nam e of B a r n eld b e l i e ving that it

. .
,

was t h e latt e r s A ecti ona te S h eph e rd ( 1 594 ) which sugge st e d t o S h t h e writing

.

of s o nne ts t o a y o ung man ( S h H i ms elf 89 h i s Wor k e d .

,

, .

F i nally a numbe r of para ll e ls have be e n not e d f or t h e S o nn e ts and Mar l owe s

,

H ero 83 L ea n de r e spe cial l y by I S AAC i n his articl e i n t h e Ja h rbuch f or 1 88 4

'
, .

I saac ( see n ot e o n S 4 ) w as dispo se d t o vi e w Marl owe as t h e b orr owe r but

.
,

AND E R S ( S h s B ook s 1 90 4 pp 90 1 0 0 ) argu e s p l ausib l y f or S h s i nd e bt e d

.

, , . .

n e ss .

Turni ng t o t h e matt e r of f or e ign so urc e s an d ana l ogu e s w e nd of c ourse , , ,

ve ry gre at dif culty i n dise ntangling t h e matt e r of sp e cia l i n u e nc e s fr o m t h e

g e ne ra l qu e sti o n of t h e Re naissanc e lyric I S AAC f or e xamp l e i n his artic l e s .
, ,

i n He rri g s Arch i e f or 1 8 7 9 and t h e J a h r buch er of 1 8 8 2 and 1 8 84 make s much

of t h e I talian e l e m e nts i n what h e tak e s t o b e S h s e arli e r so nn e ts with

.
,

sp ecia l e mphasis o n P e trarch and Tasso but with out e xact c o nsid e rati o n of ,

t h e e vid e nc e s r e sp e cting S h s pr obabl e acquai ntanc e with t h e Italian s o nn e ts

. .

I n r e c e nt tim e s S i r S I DN E Y LE E has be c o m e t h e chi e f auth ority i n this e ld ,

and has e mphasi z e d t h e in u e nc e of th e F r e nch but agai n wi t h so m e va g u e ,

n e ss as t o t h e matt e r of direct and i ndir ect so urc e s f or S h Th e c o nc e its of t h e .

Re na i ssa nc e lyric h e t e ns us gure i n S h s page s clad i n t h e id e ntical live ry

'
.
, ,

that c l oth e d th e m i n t h e s o nne ts of Pe trarch Ro ns ard D e Ba i f and D e spo rt e s , , , ,

o r of E nglish discip l e s of t h e I ta l ian an d F r e nch mast e rs S uch r e se m .

blanc e s as a re visibl e be twee n S h s s o nn e ts and th o se of Pe trarch or D e spo rt e s .

s ee m d ue t o his study o f t h e E ngli sh i mitat o rs o f th o se so nn e t e e rs Most of .

Ro n s a rd s 90 0 so nne ts and many of his num e r o us od e s w e r e acc e ssibl e t o S h

'
.

I n g en era l A d e s ex p li c i tly li gh t s t h e s ub j ect of t h e s ourc e s of t h e So n ets

n r s n .
 SOU R C E S AND A NA LOG U E S 4 59

i n E nglish adaptati o ns but th e re a re a few signs that S h had r e c o urse t o Ron

, .

( Li fe pp 1 1 0 I n his wo rk o n Th e F ren ch R en a i s s a n ce i n

s ard dir e ct .
, .

E n gla n d Lee r e curs t o t h e subj e ct : I n S h s so nne ts n o i nstanc e s of e xact

.

translati o n or dire ct im i tati o n [of t h e poe try of t h e P l i ad e ] app e ar B ut th o ught .

and e xpre ssi o n occasi o nally re se mbl e F r e nch e ff o rt cl o se ly e n o ugh t o sugge st

that t h e pr oc e sse s of ass imilati o n wr o ught at tim e s o n S h s triumphant achi e ve .

m e nt i n much t h e sam e way as on t h e mass of t h e so nne t e e ring e ff o rts of his

day C o nstant l y S h see ms t o d e ve l o p with magnic e nt p ow e r and m e l ody
. .

a familiar th e m e of f o re ign sugge sti o n ( p S pe cial th e m e s of this char . .

act e r a re t h e urging of y o uthful b e auty t o pr o pagat e i tse lf t h e praise of patr o ns , ,

t h e d e nunciat i o n of false mistr e sse s and t h e poe tic vaunt o f i mm ortality , In .

additi o n t o t h e vari ous passage s Cit e d i n t h e c o mm e ntary fr o m Lee h e n ot e s ,

( as a parall e l f or S 1 0 4 ) a s onne t by Vauqu e l i n d e l a F r e snai e :

.

La t e rr e ia tr ois f ois s e st d e s a i s i e

D e s a v e rdur e e t ia d e l e urs v e rt us
,

S e so nt tr o is f o is le s arbre s d ev t u s ,

D e puis q u a t oi s est m on am e asse rvi e ;

agai n , on t h e th e m e of

u nthrifty l ove line ss , a so nne t by Amad is J a my n
Sil a be aut p i t me l e s pa rg e m a i s t e s s e
r s ,

, r ,

Tand i s qu e l l e e uri s t e n s a j e u ne vigu e ur ;

C r ois m o i , j e t e supply d e vant q ue la vi e ill e sse

,

Te sil l o nn e le fr o nt fais plaisir d e ta e ur ;

,

and again i n praise , of a patr o n a so nne t by , E ti e nne J od e lle

C o mbi e n q ue v e u t on sang , t on rang t o n ab o ndanc e , ,

S e rvit e ur j e t e so is : j o se pr e ndr e e nv e rs t oy

Un n om pl us haut plus d i gne e t p l us grand puis q u a m oy

, , ,

Tu daign e s t a b a i ss a n t e n d o nn e r l a pu i ssanc e

.

J e suis d o nc t on ami mais t e l q ue l e xc e lle n ce

D u be au m ot n org ue i lli t mo n d e voir n y ma f oy

C a r p l us q ue mill e se rfs j e puis c e q u e j e d oy

P ay e r e t cr o y q u a m ou r d oit t o ut e o b e i s s a n c e

.
,

F or t h e vitupe rative so nn ets of J od elle s ee t h e not e s on S o nn ets 1 2 7 and ,

1 47 . F or t h e th e m e o f p oe tic imm o rtality b oth R o nsard and D u B e l l ay fur ,

n i sh notab l e paral l e ls as may b e trace d thr o ugh t h e ind e x t o t h e c o mm e ntary

, .

O n t h e oth e r hand f or so m e obse rvati o ns as t o t h e c o ntrast b e twee n S h s u s e

, .

of th e se th e m e s an d that ch a ract e ristic of his pre d e c e s so rs t oo littl e r e marke d ,

by Lee o n e sh o u l d c ompar e t h e e ssay of E S B ATE S a part of which is qu ot e d

, . .
,

ab o ve u nd e r Ge ne ra l C riticism .

Lee s th e o ry o f t h e cl o se r e l at i o nship be twee n t h e s o nn e ts o f S h and th o se

.

of t h e R e naissanc e l yrists o f t h e c o ntin e nt r e c e iv e s n o tabl e supp o rt i n t h e r e

c e nt articl e by WOL FF (E n gli s ch e S tu di e n 49 : 1 6 1 ) o n t h e e vid e nce t o b e drawn ,

fr o m a st udy of P e trarchism i n I taly I n Wo l ff s vi e w th e re is hardly a char .

a c t e ri s t i c th e m e of t h e S o nn e ts which was n ot c o nv e nti o nally fami l iar i n t h e

46 0 A P P E ND I X
p e ri od P articu l ar ana l ogi e s of i nt e re st a re t h e f oll owing : t h e g l orifying of t h e
.

o bj e ct o f t h e p oe t s l o v e as a typ e of a ll b e auty ; t h e want o f d i sti ncti o n b e tw e e n

mal e and f e ma l e b e auty and b etw ee n l ove dir e ct e d t oward on e of t h e sam e s e x

,

and that dire ct e d t oward o n e of t h e opp osit e s e x with a t e nd e ncy h oweve r , , ,

t o pr e f e r e nc e f or t h e f o rm e r as b e ing fr ee fr o m o r d inary physica l passi o n ;

,

t h e praise of man l y b e auty i n t e rms c o mm o n l y associat e d with w o man l y

charms notab l y fair ski n an d b l o nd hair ; t h e d octrin e that it is t h e part of

,

b e auty t o pr o pagat e itse l f ; t h e wil l ingn e ss t o d e m e an o n e s se lf b e fore a patr o n

e v e n t o t h e p o int of se lf c o nt e mpt and se l f accusati o n ; t h e fashi o n of d e p r ec i

- -

ating o ne s ow n p oe try i n c ompariso n with that of rivals ; t h e attitud e of

m e lanch ol y with sc orn of l ife and d e sir e f or d e ath ; t h e disp ositi o n i n oth e r
, ,

m oods t o r e b e l against t h e c o nve nti o na l standards and t o c e l e brat e p e rs o ns

, ,

o f b oth dark b e auty and d o ubtful m o ra l s ; t h e p o rtraya l of a c o nict b e tw ee n

l ove s of O pp os i t e charact e r ; t h e rec ogniti o n of rivalry i n l ove with a t e nd e ncy ,

t o f orgiv e and e v e n t o yi e l d t o t h e riva l P articu l ar i nstanc e s cit e d i n c o nn e c

.

ti o n with so m e of th e s e th e m e s may a l so b e n ot e d Mich e lange l o calls Vi t .

t o ria C ol o nna f or h e r gr e at e r h o n or g ra n de a mi co and i nt e rpr e ts it as h er

, , ,

h i gh e st prai se that S h e is u omo i n un a don n a

Tasso writ e s t o Le o n ora .

S a n v i t a le that n o artist w o u l d b e ab l e t o pr e se rv e h e r l ike n e ss but o nly s h e

, ,

h e rs e lf thr o ugh t h e birt h of a s o n H e warns t h e b e autiful D uke of J oye use

.

not t o fa ll i n l o v e with himse l f l ik e Narcissus as B e rnard o C ap e ll o adm o ni sh e s

, ,

his b e l ove d that God had n ot give n h er b e auty that s h e sh o uld hid e it within
h e rse lf
. Annibal C ar o is s o wh oll y submissive t o t h e wil l of his l ord that h e ,

wish e s n othing thi nks n othing is n othing apart fr o m him
, ,

S a n na z a r o
, .

sp e aks of his s ta to i n di g n o Gi ovanni Gui d i cci on e of his mi s ero s ta to G S tampa

, , .

r e pr e s e nts himse l f as brutta e vi le Me z z a b a rb a as r ough and c o mm o n a n d

, ,

P h i lox e n o ( i n a stramb ott o ) as tu rpe e s tren o B e mb o is s o da z z l e d with t h e

.

spl e nd or of his l ord that h e can nd n o w ords Ange l o di C o stan z o on t h e

, .

o th e r hand r e buk e s t h e pi g ro s on n o of his Mus e which has h i nd e r e d him fr o m ,

ful l ling his duty and Ta n s i llo is d umb b e cause s o many oth e r p oe ts pay h om
,

a g e t o his patr o n

D e l la C asa praise s t h e y oung Ant o ni o S ora n z o as his sol e
.

l ight and c omf ort and C hrist of oro Ma d ruz i o as t h e l ast virtu ous so u l i n t h e
,

ru i n e d wor l d ; B e mb o calls Trif o n Gabri el e a surviving e vid e nc e of t h e gold e n

a g e ; t h e patr o n o f S a n n a z a ro is t h e triumphant r e n e w e r o f a f o rm e r tim e ; and

Gal e az z o d o Tarsia ann o u nc e s that w ith his P r o spe r o be auty was bro ught t o
b irt h and d o n e away
Mo l z a nds a ll t h e spl e nd o r of t h e world u nit e d in
.

I ppo li t o d e Me d e c i t o wh o m his spirit wh ol l y b e l o ngs and f ol lo ws as a shad ow

.
,

B e rnar do Tass o is c o nsum e d with passi o n f or a yo ut h with o ut wh om h e

c ann ot live and wish e s t o d i e as F ranc e sc o C oppe tta prays his fri e nd that
,

h e will r e st o r e t h e sun of his e y e s and il l umin e his night Ang e l o d i C ostanz o

.

cal l s h is styl e p oo r and we ak and l ike S h pr e fe rs t o b e si l e nt rath e r than t o

, , .
,

i nj ur e t h e gl o ry of h is patr o n by his wo rds Mo l z a r ec ogn i z e s t h e d e fe cts.

o f h i s art wh i ch ca n o nly b e raise d thr o ugh his sp l e ndid subj e ct matt e r t h e

,
-
,

w o rt h o f his l ord
B e mb o p l ac e s t h e art of Trissin o high ab ove his ow n ;
.

d e lla C a s a ca ll s himse l f a c omm on wat er f ow l B e mb o a swan i n c ontrast -

, .
 S OU R C E S AND ANALOGUES 4 6 1

In th e sam e way Ange l o di C ostanz o se ts his incapacity ove r against t h e mag

n i ce n ce o f Ant o ni o C arafa B e rni s b e l ov e d has s i lve r hair b l ack br ows
.

, ,

whit e l i ps and s o on ; and i n P etra rch i s m t h e pi l grim r eturne d fr o m Vaucluse

,

r e lat e s that h e had b e e n sh own t h e pictur e of L aura but had be e n abl e t o ,

disc ov e r n othing o f its wo nd e rs ne ith e r sn ow n or r ose s n or gold P o li , , .

z ian pays h o mag e t o h i s B r u n etti n a Tass o calls Le o n ore S a n v i t a le br un a ma

, ,

bella and i n a s o nn e t t o Gi ulia Ne gri h e plays with t h e w o rds n eg ra and a lba

, .

Th e mistr e sse s of Me z z a b a r b a and Alamanni have dark hair Tass o

"
.

d e clar e s atly that his mistr e ss is n ot be autiful that h e r h a i n i s n ot gold e n ; ,

h e d e pl or e s h e r i n c o n s t a n c y an d kn o ws that s h e sc o rns him ; but h e r sc orn

and h e r hat e appe ar t o him b e tt e r than t h e ki nd n e ss of oth e rs
Alamanni

asse rts sad l y that h e and his fri e nd l ove t h e sam e lady Th e n it runs : I n .

c o nstant n ot t o say faithl e ss swe e t fri e nd why w i lt th o u d e str oy t h e old n e st

, , ,

of my th o ughts ? I n t h e sam e way h e b e wails i n a madr i gal t h e tr e ach e ry o f t h e

fri e nd F inally th e r e a r e narrative s of t h e p e ri o d n otably a play call e d

.
, ,

E ro lom a ch i a o r D u ello d Am or e e d Ami ci ti a in which o n e fri e nd t urns ov e r

t o an oth e r t h e lady wh o m h e l ov e s ; i n t h e pr o l ogu e t o this D u ello it i s po int e d

o u t h ow n o bl e it is t o p o sse ss s o l ofty a s o u l as t o pr e f e r fri e ndship t o o n e s ow n

d e sir e s All this ( with m or e o f c o urse n ot r e pre se nt e d h e re ) sur e ly f orms an

.
, ,

i mpr e ssiv e supp ort f or th ose w h o e mphasi z e t h e c o nve nti o na l int e rpre tati o n of
t h e S o nn e ts of S h e v e n if o n e d oe s n ot g o s o far as t o acc e pt Wo l ff s c o ncl usi o n

.
,

that th e y give us practically n othing o n t h e l i fe of t h e auth or e xc e pt what

,

c o nc e rns his life as an art ist Wo l ff d oe s n ot assum e a d i r ect b o rr owing by

.

S h fr o m t h e I talians but rath e r thr o ugh t h e F r e nch p oe ts w h o must b e

.
, ,

furt h e r studi e d al o ng t h e line of i nve stigati o n alr e ady b e gu n by Le e .

Many of th e se c o ntin e nta l inu e nc e s a re of c o urse u l timat e ly plat o n i c , , .

Th e m or e d e nit e ly plat o nic and n e o plat o nic e l e m e nts in t h e S o nne ts w e re -

rst discusse d i n d e tail by S I M P S O N i n his int e re sting e ssay on Th e P h i los oph y

,

s e e his n ot e s o n S o nn e ts 1 2 2 3 1 e t c I S AAC f oll o we d

'
of S h s S on ne ts
.
, , , .
,

i n Ge rmany with a se ct i o n o n S h and P lat o i n his articl e i n H e r ri g s

,

.

Arch i v 1 8 7 9 i n wh i ch h e d e scribe d t h e plat o nic acad e mi e s of t h e I ta l ian R e

,
.

naissanc e Mor e ecc e ntrically but with n o l ittl e l e arn i ng t h e nam e l e ss auth or
.
, ,

o f t h e articl e s o n Ne w Vi e ws of S h s S o nn e ts i n B la ck w ood s Ma g a z i ne

.
,

1 8 8 48 6 r e pr e se nt e d S h
, as a d e vo ut stud e nt of D ant e and als o n ot e d a num
.
,

b e r of E l i z ab e than m e dia f or t h e inu e nc e of m e di e val mysticism WYND H AM .

,

i n h i s e d i ti o n of t h e P oe ms ne wly e mphasi z e d t h e p l at o nic e l e m e nts i n

t h e S o nn e ts ( s ee e spe cial l y his n ot e o n S 3 7 c o mparing th e m with th ose .
,

i n S pe nse r s Hym n in H o no ur of B e a ut i e

Mr Walt e r R al e igh h e says

. .
, ,

has p oi nt e d out t o m e that S pe nse r and S h must have be e n famil i ar with .

H o b y s translati o n o f Ba l da s sar e C a s t i g li o n e s I l Cortegi a n o publish e d i n

P lat o s th eo ry of B e auty had b e e n f e rri e d l o ng b e f o r e fr o m B y z a n

1 56 1 .

tium t o F l or e nc e and had th e re take n r oot , And fr o m Italy y o ung n obl e .

m e n accr e dit e d t o I tal i an c o urt s or trav e ling f or th e ir pl e asur e had br o ught

, ,

its inu e nc e t o F ranc e and E ngland S h must hav e r e ad S p e nse r s H y m n

. .

a n d Hob y s Cou rti er i n which P l at o S ocrat e s an d P l oti nus a re a ll i n stanc e d ;

, , ,
4 6 2 A P P E ND I X
th e phrase gen i o S ocra tem app l i e d t o him i n t h e e pitaph on his m o num e nt
att e sts h i s f o nd n e ss f or P lat o ni c t h e ori e s an d i n t h e S o nne ts h e addr e sse d a ,

l ittl e audi e nc e e qua l ly c o nve rsant with th e m ; it is th e r e f or e n ot surprising , ,

that h e sh o u l d have b orr owe d th e ir t e rmi no l ogy I n so m e s o nne ts h e d oe s s o .

,

but t h e S o nn e ts a re n ot th e re f ore as so m e have argu e d an e xp ositi o n of

, , ,

P l at o s th eo ry o r of its F l o r e nti ne d e ve l opm e nts S h in c e rtain passage s d oe s

. .

bu t lay u nd e r c o ntributi o n t h e phil o s o phy of his tim e j ust as i n oth e r passag e s , , ,

h e lays u nd e r c o ntributi o n t h e art and occupati o ns o f his tim e I ntr o pp
( . .
, .

cxixcxxii ) Th e sam e subj e ct is discusse d by B RAND E S i n his Wi lli a m S h

. , .

TYL E R i n his e diti o n of t h e S o nn e ts

.

( 1 8 9 8 ; 1 : 34 1 , e mphasi z e s

rath e r t h e mystic i sm of Gi o rdano Brun o b e l i e ving that S h may have d e rive d ,

.

fr o m him t h e d octrin e of t h e s oul of t h e world and t h e d octri ne of cycl e s

s ee c o mm e nt o n this d o ubtful c o nj e ct ur e i n t h e n o t e s o n S o nn e ts 59 and 1 0 7 .

All t h e R e naissanc e i nu e nce s b oth p oe tic and phil oso phic a r e c o nsid e re d , , ,

with so m e analysis of t h e l e ading p oe tic th e m e s c o nne ct e d th e r e with i n ,

KL E I N S articl e o n F or e ign I nu e nc e i n S h s S o nn ets i n t h e S ewa n ee Re

.

vi ew , 1 9 0 5 .

Of c l assica l s o urc e s t h e o n l y n otab l e nam e which has b e e n i nstanc e d asid e ,

fr o m P lat o s is that of Ovid F o r this t h e C hi e f auth ority is LE E s articl e i n

,
*
.

t h e Qu a rterly R evi ew 1 9 0 9 wh e r e t h e sp e cia l i n u e nc e o n S h of Gol ding s

, , .

transl ati o n is e mphasi z e d S e e t h e i nd e x as usua l f or particular r ef e re n ce s f

.
, ,

C e rtai n of t h e phil os o phic th e m e s which by oth e rs hav e b ee n r e f e rr e d t o t h e

n eO plat o nists such as t h e d octri n e o f
-
, cyc l e s a r e sh own by Lee t o b e e x

,

p li c a b le b y r e f e r e
'

nc e t o Ovid a l o n e S i nc e S h h e o bse rv e s was n o pr ofe ss e d

. .
, ,

m e taphysician w e may e xp l ai n his u s e of th e se phi l o so phic subtl eti e s by t h e

,

digr e ssi o n i n t h e l ast b oo k of t h e Meta m orph os es

A p oe tic mast e r s i nt e r .

p re t a t i on of L i f e and E t e rnity i nv o l u ntari l y c l aim e d t h e r e sp e ctful att e nti o n

o f a l o ya l discip l e

(p Again : So m e of t h e id e as c o mm o n t o Ovid and

.

S h a re t h e univ e rsa l f ood o f p oe try

.
[ S h ] by n o m e ans st ood a l on e am o ng
. .

E li z ab e than p oe ts in assimi l ating Ovid s Ne o P ythag o r e an d octrine Nor is

-
.

t h e cyc l ica l s ol uti o n of Natur e s myst e ri e s t h e e xc l usive pr o pe rty of Ovid or

o f his Ne o P ythag o r e an tut o rs ; it is shar e d by t h e S t oics and t h e Ne o P l at o

- -

mists B ut t h e p oe ts of E ur o p e rst l e arnt i t s o ut l in e s i n Ovid s page s e ve n if

.
,

curi o sity im pe ll e d so m e of th e m subse qu e nt l y t o su ppl e m e nt Ovid s i nf orma

ti o n by r e sort t o m e taphysica l tr e atise s of o n e or oth e r o f t h e Gre e k sch oo l s

and t o curr e nt Ita l ian adaptati o ns of Ne o P ythago re anism or Ne o P l at o nism - -

( p .

Th o ugh Lee give s e vi d e nc e i n this e ssay as c omm o n l y wh e n s ourc e hunting ,

-
,

B ut n o t e a lso t h e ( o ri i n a l ) re e g ly G k
s o u r c e of S o n n e t s 1 53 - 1 54 ; s ee t h e co m m e n t a r t ereon y h
hp
.

. . LL h
J C C O I NS i n s t a n c e s t i s a s e v i d e n c e of S h s c la ss i ca l s c o la rs i i n h i s a r t i c le . H a d S h
.

h , .

R ea d t h e r ee G k g
Tra ed i e s ? ( F or tn i g h tly R evi ew n s . 7 3 : a n d s om e of t h e
, a con i a n s . p er
. . B
con tr a hv
a e o ff e re d i t a s
, p h
roof t a t t h e S o n n e t s c an not b e t h e w or o f t h e i n ora m us of S t ra t~ k g
f o rd -o n -Av on .

f VO N MAU N TZ i n h i s co mm en t a ,on t h e S o n n e t s . a ls o ry
ro v i d e s m a n o f t e s e re f e r e nc es , p y h
p y h g
e s ec i a ll t o t h e A mores a n d o t er e le i e s b u t t e s e a r e t o b e u n d e rs t oo d n o t a s s u
; h es ti n th e gg g
s o urc e o f S h s t o u t s o m uc
.

h gh h g
a s t h e a n a lo o u s t rea t m e n t o f s i m i la r t e m e s a rt i c u la r l h p y
th a t o f od i c l a mo On t h e o e th r h
an d . S h s f a mi li ari t
.
wi Mar ow e s v ers i on of t h e Amor es
.
'
y th l
m a y b e f ai rl as s umed y .
 SOU R C E S AND A NA LOG U ES 6
4 3
of magnifying be y on d r e aso n t h e th e m e of t h e m o m e nt n o re ad e r will quarr e l
,

with his nal Co mm e nt n or qu e sti o n its appr opriat e ne ss t o this wh ol e discus

,

s i o n of S h s sourc e s : C ritical l ove rs of t h e S o nnets w h o re c ognise i n th e m

.
'
,

t h e ow e r of poe tic f e rv o ur wil l pr o bably b e c o nt e nt t o d raw fr o m t h e fact

, ,

of S h s abso rpti o n of t h e Ovidian phil o so phy fr e sh e vid e nc e of that mirac

. ,

u lo u s sympathy and r ece ptivity wh e r e by

all t h e l e arnings that his time

C o uld make him t h e r e c e ive r of , h e t oo k ,

As w e d o air fast as t was mi n ist e re d

, ,

An d i n s spring be came a h a rves t

.
 TH E F R I E ND

TH E c o mm e ntary o n t h e D e dicati o n se ts f o rt h t h e vari ous i nt e rpre tati o ns

o f it as a se nt e nc e and o f t h e m e an i ng o f t h e w o rd

,
b e ge tt e r Th e se nt e nc e .

has f or t h e m o st part b e e n u nd e rst oo d t o m e an that Th orpe w i s h e d Mr

, ,

.

W H happine ss and e t e rn i ty ; t h e w ord b e ge tt e r has b ee n r e nd e re d

.

.

b oth as i nsp i r e r and as pro cur e r

B e cause of t h e i mp o rtance of t h e

.

D e d i cati o n i n i n u e nc i ng th e ori e s c o nc e rning t h e fri e nd t o wh o m many if

n ot m o st of t h e S o nn e ts w e r e addr e sse d i t may b e take n as a basis f or a ,

class i cati o n of th o se w h o have wr i tt e n on t h e subj e ct of t his fr i e nd s id e nt i ty

.

Thr ee gr o ups may b e r o ughly distinguish e d .

1 . Th o se w h o c o mpr i se t h e rst gr o up make much of t h e D e d i cat i o n Th e y .

b e li e ve that Mr W H and t h e y o ung man wh o m S h so nne ti z e d a re id e ntical

. . . .
,

and that w i th t h e i ni t i als as a hint w e can put o ur nge r up o n t h e i nd i v i dual

, , .

S o m e nd him i n Wi ll i am H e rbe rt E arl of P e mbr o ke ; o th e rs pr e se nt such ,

vari e d nam e s as Wi ll i am H art e Wi ll i am H ugh e s Wi ll i am H amm o nd Wi ll i am , , ,

H all and ( myst i cally und e rst oo d ) Will i am H imse lf ; st i ll oth e rs pr o p o se Wi l

,

l i am S hake sp e are re gard i ng H as a m i spr i nt f or S ; and oth e rs nally

,

, ,

H e n ry Wr i o t h e s le y E arl of S o uthampt o n v i e wi ng t h e i n i tia l s as r e ve rse d as

, ,

a bl i nd All th e se i nt e rpre t b e ge tt e r as insp i re r

.

.

2 . Th e crit i cs i n t h e se c o nd gr o up d o n ot attach s o much i mp o rtanc e t o t h e

D e d i cati o n Mr W H may offe r c orro b orat i ve e v i d e nce as t o t h e id e nt i ty
.

. . .

o f t h e fri e nd but i s n ot himse lf t h e fri e nd

,
C haract e r i st i c o f th i s gr o up a re .

th o se w h o nd t h e fr i e nd i n S o uthampt o n but take Mr W H t o b e a m e r e , . . .

pr ocur e r VVi lli a m H all a stati o ne r s assistant ; o r William H athaway S h s

, ,

, .
'

br oth e r i n law ; o r S i r William H e rv e y w h o marri e d S o uthampt o n s m o th e r

- -
,

.

T h e third b o dy o f stud e nts nd e ve n l e ss t o i n u e nc e th e m i n t h e D e d i ca

3 .

ti o n than d o th os e b e l o nging t o t h e se c o nd gr o up Th e y ad o pt va r ying p o s i .

ti o ns s o m e avo i d i ng t h e se arch f or a f r i e n d b y m e ans of such th e ori e s as that

'

t h e S o nn e ts a r e an all e g o ry or that th e y a r e a w o rk of ct i o n o th e rs admitting ,

his e xist e nc e but h olding that t h e r e is n o e vid e nc e warranting spe culat i o n

as t o his id e ntity .

H aving i nd i cat e d th e se ge n e ra l p o s i t i o ns w e may pr oc ee d t o c o nsid e r t h e ,

e vid e nc e br o ught f o rward by t h e m e mb e rs of t h e rst and se c o nd gr o ups

j ust d e scribe d .

I . TH E P E M BR O K E TH E OR Y
This th e ory was pr o p o se d by B R I G H T ( 1 8 1 9 ) and B OAD E N and r e ach e d
its h e ight i n TYL E R S pre se ntat i o n S i nc e th e n t h e attacks of L E E

, ,

B E E C H I NG and oth e rs have s o m e what we ake n e d it AS t h e argum e nts f or Pe m

, .

[ Th i sec t i on w a p ep ared b y Mr FRANK E H I LL A M

s BD ] s r . .
, . . .
 TH E F R I E ND 46 5

bro ke as t h e fri e nd and for his chi e f rival S o uthampt o n have b e e n wi d e ly scat
, ,

t e re d and fr e qu e ntly v e i l e d und e r misl e ading ve rb i age it se e ms w o rt h wh i l e t o

, ,

s e t d own i n c o mpact and d e n it e f o rm t h e pr i nc i pal e vid e nc e o ff e r e d f or and

against b oth th e se hyp oth e se s I n t h e f o ll o w i ng o utl i ne s s o urc e s and auth o r .

,

iti e s a re bri e y i ndicat e d wh e re i t is pract i cabl e t o d o s o usually t h e or i g i

nat or of t h e argum e nt o r o bj e ct i o n in qu e st i o n s o m e tim e s t h e o n e w h o has ,

rst d e v e l o p e d a l o ng stand i ng but appar e ntly ne gl i g i bl e i d e a i nt o so m e th i ng

w o rt hy of c o nsid e rati o n F ull e r r e fe r e nc e s t o th e se s o urc e s can b e trac e d in
.

t h e B ibl i ography
*
.

Arg u m en ts f or P em br ok e Obj ecti on s to P e m b rok e

I Th e D e d i cat i o n O ff e rs e v i d e nc e I D d i cat i n ff rs o e v i
. Th e e o o e n

that t h e fr i e nd s i n i t i als we re W H
.

'
d nc e t hat t h fr i nd s i n i t i als w r e
e e e

e
W
. .

s i nc e h e is sp o ke n o f as t h e b e ge tt e r . H b e ge tt e r m e ans p r o
.
, f or

o r i nsp i r e r o f t h e S o nn e ts ( B O AD E N , cur e r ( D R AK E ) ; wh i l e e t e rn i ty

D OWD E N ) ; h e is also w i sh e d t h e e t e r c o uld n ot appr o pr i at e ly b e w i sh e d t o

nity which S h had pr o m i se d h i m

. . t h e fri e nd w h o was alr e ady assur e d,

o f h i s e t e rn i ty thr o ugh t h e prais e o f

an e ve r l i vi ng p oe t -
.

S o nne ts 1 3 5, 1 3 6 , and 1 4 3 indi

II II Th e Wi ll so nne ts d o n ot r e f e r

cat e that t h e fri e nd s nam e is W ll

. .

i , to m or e than o n e p e rs o n o f t h e nam e ,

as m or e than o n e pe rs o n of that nam e but play up o n t h e nam e of S h and t h e .

is impli ed ( D OWD E N ) . c o mm o n m e an i ngs d e t e rminat i o n

and d e sir e ( L E E )

.

P e mbr ok e ts t h e r e quir e
III . I I I P e mbr o k e d oe s n ot t t h e t e
.

m e nts of t h e nam e , f or h e w as kn o wn q u i r e m e n t s o f t h e nam e f or h e was

as W ll am H e rb e rt u nt l 1 6 0 1 ( B OA
,

i i i kn own as L o rd H e rb e rt t o 1 6 0 1 and ,

D E N) Th e
Mr is n ot a bar f or E arl o f P e mbr o k e th e r e aft e r ; t o a d
Th o rpe may have f o und W H o n
. .
,

. . dr e ss h i m as Mr w o uld have b e e n
.

t h e MS and hav e add e d t h e .

Mr
. a star chamb e r off e nce ( S TO P E S L E E )
-
, .

D
( O WD E N ) or h e may have add e d it ,
More ove r Th o rp e s d e d i cat i o n t o,
'

as a disgu i se (AR C H E R ) . P e mbr o k e i n 1 6 1 6 sh o ws that h e gav e

full t i tl e s i n addre ss i ng n ob i l i ty
( S TO P E S )
IV B oth S o nn e ts and D e dicati o n
. I V No b lity . s n ot impl e d by i i i
sugge st that t h e fri e nd is a n obl e man . e ith e r S o nn e ts o r e dicat o n t h e m o st D i ,

S 3 7 spe aks o f b i r t h
. a nd w e alt h "
that can b e nfe rr e d b e ng a p o s t o n i i ii
( TYL E R ) ; 3 6 o f publ i c kindn e ss and
"
s o c i ally h i gh e r than an act o r or pr i nt e r
h o n o ur ( B OAD E N ) 49 6 9 7 0 7 1 7 2 ( B UTL E R B E E C H I NG ) P r o n o uns o f

, , , , , ,

9 5 9 6 i n a ge ne ral way and 7 8 7 9 8 0

, , , , , addre ss and o th e r e vi d e nc e s of i nt i
,

8 5 8 6 i n c o nn e ct i o n w i th t h e h o mage
, macy o n e qual t e rms make a n obl e ,

o f po e ts ind i cat e pr omin e nc e of sta

, stati o n ve ry impr obabl e (J U S S E R AND ,

t i o n ( B OAD E N TY L E R ) Th e t o n e of , . G R AY ) .

t h e D e d i cat i o n als o impli e s s o m e s ocia l

standing ( B E E C H I NG ) .

V P e mbr o k e s a g e ts t h e d e mands V Th e e vid e nc e p o ints t o a dat e

. .
,

o f t h e S o nn e ts f or t h e e v i d e nc e p o i nts
, or dat e s be tw e e n 1 59 3 and 1 59 6 w i th , ,

t o a dat e o f c o mp o s i t i o n runn i ng fr o m spe c i al pr o bab i l i ty attach i ng t o t h e

1 59 8 t o 1 6 0 1 P e mbr o k e was 1 8 i n t i m e wh e n t h e s o nne t v ogu e was at i ts
.

1 59 8 and i s kn o wn t o hav e b e e n urg e d

, h e i ght v i z ab o ut 1 59 4 At this t i m e , .
, .

t o marry in 1 59 79 8 ( TYL E R ) H i s b e i ng P e mbr o k e was but 1 4 O n t h e oth e r

. .

S ee a lso
i n t h e s ec t i on on t h e D a t e of C om p
os i t i o n , pp 44 1
-
52 a b o v e , a n o ut li n e of th e s ig
pt P
.

n i ca n t d e ta i ls i n t h e li v es o f S o u t h am on a n d e m b ro k e.
46 6 A PP E ND I X
Sh .
'
sj uni or by 1 6 ye ars a l so c orr e hand S o uthampt on cam e of a g e and ,

s p o n d s t o t h e language o f a numb e r of was stil l u nmarri ed i n 1 59 4 ( L E E ) .

t h e S o nn e ts .

VI P e mbr ok e s pe rso n c o rr e spo nds

.

VI . Wood s and s de
C lar e nd o n

with t h e y o uth of t h e S o nne ts , f or s c r i p t i on s give n o impre ssi o n of

Anth o ny a Woo d and C lar e nd o n t e s be auty and D aviso n s t ribut e is a

t if y t o his impre ssive appe aranc e i n cauti o us qua l icati o n ( LE E ) Pe m .

lat e r ye ars , and a poe m o f aviso n s

D br ok e s hair t oo was dark wh e re as

, , . ,

( 1 6 0 2 ) n ot e s his o utward S hape as

that of t h e h e r o of t h e S o nn ets is c o m
be ing
m ost l ove ly
( TYL E R ) . pare d with r ed dish bu d s of marj oram
( S TO P E S ) .

VI I P e mbr o k e
s charact e r c o rr e VI I S o uthampt o n s charact e r ts

. .

s p o n d s with that o f t h e y o uth o f t h e t h e case at l e ast as w e l l ( s ee arg u

S o nn e ts f or h e was bo th se nsual an d m e nts f or S o uthampt o n )
, .

a l ove r of poe ts ( B OAD E N TYL E R ) , .

VII I H e m i n g e and C o nd e ll d e di
. VI I I Th e l i o d ed icati on has
. Fo
ca t e d t h e F o li o plays t o P e mbr o ke l itt l e we ight b e ing pure ly forma l ; an d ,

( and his br o th e r ) in 1 6 2 3 , and m e n P e mbr o k e , b e ing L o rd C hambe rlai n

t i o n e d his having pr o se c ut e d bo th at t h e tim e , w as t h e o n y ogica ch oice l l l
th e m and th eir auth o r living with
, , so ( LE E ) .

much favo ur ( B OAD E N) .

IX .

P e mbr o k e
s c o nne cti o n with
I X P e mbr oke s m istre ss cann o"t
.

th e dark lady is i ndicat e d by t h e

b e id e nti e d with t h e

dark lady .

e vid e nc e f or h e had illicit r e lati o ns

, S 1 52 indicat e s that t h e latt e r was
.

with Mary F itt o n maid of h o no r t o , marr i e d and Mr s F i tt o n had n ot

, .

t h e Qu ee n wh o se charact e r c o rr e
, bee n marri e d at t h e tim e i n qu e sti o n
s p on d s cl o se l y with that of S h s mis ( cf C hambe rs Aca d em y J uly 3 1

tr e ss ; Will Ke mp s d e dicati o n t o h er
. .
, , ,

m or e ove r Mary F i tt o n see ms
o f h i s Ni ne D a i es Wond e r als o sugge sts
,

n ot t o hav e be e n dark ( cf B R I DG E .

acquaintanc e be twee n h e r and S h . MAN i n appe nd i x t o L ady Ne wdigat e

,

( TYL E R ) Th e dark l ady of a numbe r Ne w d e g a t e s Gos s i p f r om a Mu n i m en t

.

o f t h e p l ays a l so c o rr e spo nds with R oom 2d ed s , L E E ; B E E C H I NG ) .

Mrs F itt o n ( HARRI S )

. . Ke mp s d e dicat i o n s o far from i nd i

cat i ng i ntimacy with Mr s F itt on .

,

mistake s h er C hristian nam e (LE E ) .

Th e ne gative e vi d e n ce h e r e appe ars at l e ast as stro ng as t h e positive t o be .

At b e st t h e c a se f or Pe mbr oke r e sts upo n a pure l y i n fe re ntia l kind of cir

,

c um s t a n t i a l e vi d e nce and practica l ly n o p a rt of it re mai n s u nassai l ed It

,
.

is not e wo rthy that it d e pe nd s rst of a ll u po n a r e lative ly l at e dat e f or t h e

, ,

c ompositi o n of t h e S onne ts If this b e acce pt ed t h e disp a rity of ye ars b e twee n

.
,

S h an d Pe mbr o ke is fav o rab l e t o t h e c l aim of t h e latt e r ; a n d t h e F o l i o d ed ica

.

ti o n make s it at l e ast po ssib le that S h aft e r 1 594 changed patr o ns B ut this .

, ,
.

claim is weake ned rather than stre ngth e ned by its c o nnect i o n with t h e Ma ry
, ,

F itt o n th eo ry which may b e sai d t o have bee n disprove d Ty l e r s argum e nt

.
,

f or this goe s far t o u pse t itse l f Th e l ady is introd uc e d i n ord e r t o st re ngt h e n

.

P e mbr o ke s c l a im t o b e ca ll e d t h e fri e nd Now if w e c o u l d po i nt t o a wo man

.

w h o w as both S h s mistre ss and P e mbro k e s mistr e ss w e might a gree that

.
,

P e mbr ok e s c l aim w a s stre ngt h e ne d th o ugh e v e n th e n it might b e a rgu e d

,

that wh e n t h e woman i n t h e case i s ca lle d t h e bay wh er e all m e n rid e th er e

"
, ,

i s r oo m f or much u nce rtai nty Ty l e r h owe ve r d oe s not provid e t h e l e ast.

, ,

w e cou l d e xpe ct a s pr oof n am e l y t h a t Mrs

'
F itt on was b ot h S h s a nd
, , . .
 TH E F R I E ND 46 7
P e mbr o k e s mistr e ss He d oe s sh ow that s h e w a s Pe mbroke s an d att e mpts

.
'
,

( with out gre at succe ss ) t o sh ow that h e r charact e r match e s that of t h e sire n

of t h e p oe ms Th e n f orge tting that h e had call e d fo rth Mr s F itt o n i n ord e r
.
, .

t o prov e Pe mbr o ke t h e fri e nd and f ee l i ng what is tru e that b e f ore s h e ,

ca n b e of u se t o him s h e must b e d e n i t e ly pr o ve d t h e dark lady h e all e ge s

,

that beca us e Pe mbr oke was t h e fri e nd th e re f or e his mistre ss was S h s mis
, , .

tre ss (t h e fri e nd might have had m ore than on e but let us pass that ) the re ,

f ore s h e was t h e dar k l ady

P e mbr o ke th e r e for e ( nal l y ) was t h e fri e nd !
.
, ,

I I TH E
. S O U TH AM PTON TH E O R Y

This th e ory since its pr oposa l by DRA K E

,
has maintained a brave
fr ont w i th t h e e xc ep ti on o t e pe ri d 9 1 89 8 whe n it se e m e d li ke ly that
f h o 1 8 0
,

TYL E R w ou l d e stablish t h e claims of Pe mbr oke LE E s L i fe of S h ( 1 89 8 ) gave

. .

n e w lif e t o D rak e s hypo th e sis which has a ll a l o ng had m ore a d vocat e s i n

Ge rmany if n ot i n E ngland than t h e Pe mbr o ke th eo ry Th e principa l argu

, , .

m e nts may b e o ut l ine d as fol l ows :

-

Arg umen ts f or S outh a mpton Argumen ts a ga i n s t S outh a mpton

I Ge n e ral e vid e nce favo rs a
. is ve ry d o ubtful wh e th e r m ost d at e I . It
o f c o mp o siti o n f or t h e S o nne ts of of t h e S o nn e ts we r e writt e n as e arly
, ,

ab o ut 1 594 t h e h e ight of t h e so nn e t as 1 594 ( B E E C H I NG e t c ; s e e u nd e r

, , .

v ogu e ; and at this pe ri o d S o ut h a m p D at e ) ; and th e re i s n o e vid e nc e that

t on was S h s av ow e d patr o n ( cf S o uthampt o n s patr o nag e c o ntinu e d

. .

d e dicati o ns t o V 81 A and L ucrece ) ; thr o ugh o ut t h e lat e r pe r i o d I n 1 59 8

.

. .

i nd e e d th e re is n o e v i d e nc e p oint i ng 1 6 0 3 t h e S o nne ts c o uld hardly have

t o any o th e r ( DRAKE L E E ) b e e n addre sse d t o S o uthampt o n ( B OA
, .

D E N TYL E R ) , .

II . Th e S o nn e ts give
vid e nc e of I I Th e r e is n o c e rtainty that t h e
e .

b e ing addr e sse d t o a patr o n f or th e y S o nne ts c e l e brat e a patr o n ; th e ir c o n

,

a r e c o nv e nt i o nal i n f o rm i n th e ir u s e v e n t i o n a li t y has bee n e x a g g e r a t e d a n d

'

, ,

of t h e th e m e of imm o rtality e t c S o m e th e d e d i cat o ry so nne ts a r e n ot

, .

twe nty of th e m a re d e dicat o ry i n na n e c e ssar i ly d e di c at o ry at al l ( B E E C H

t ure and S o nne ts 2 6 3 2 3 8 e xpre ss I NG) S o nne ts 2 6 e t c n o m o r e r e pe at
, , ,
.
, .
,

i n v e rse t h e pr o se se nt i m e nts of t h e t h e L u crece d e dicati o n than d o many

L ucrece d e d i cati o n ( DRAK E L E E ) s o nne ts by oth e r p oe ts of t h e tim e
, .

( AR C H E R ) .

III . Th e re is also
vid e nce of a e I II . Wood s not e is base d
m e re
on
warm e r r e lati o nship b e tw ee n t h e t w o h e arsay and if tru e d e n ot e s n o m or e
,

m e n than that of p oe t and patr o n f or than admiring g e n e r o s i ty ; and th e

Anth o ny a Woo d sp e aks of S o uth
a m p t o n s g e n e r o sity t o S h
,
l o ve of t h e d e dicati o ns is a co n
and S h v e n t i o n a l t e rm f or p oe t t o u s e t o ward
. .
, ,

i n t h e d e d i cati o n of L u crece t e lls of , patr o n as Le e himse l f sh ows (AR C H E R )

, .

th e l ove with o ut e n d which h e

Mo re ove r S 1 2 5 may b e S h s p r o , . .

b e ars his patro n and assure s him , t e stati o n that his att e nti o ns t o S o uth
that what I have is y o urs ( DRAK E

, ampt o n we re f orma l and t e mp o rary
LEE ) . ( TYL E R ) .

V S o uthampt o n and situa s

I V S o uthampt o n s a g e was t oo a d

. age .

ti o n a re appr o priat e f or t h e fri e nd of v a n c ed f or t h e pr o babl e dat e of t h e

t h e S o nn e ts f or in 1 59 4 h e was 2 1 and
,
S o nne ts ( s e e I ab o v e ) ; and it is
was still u nmarr i e d ( L E E ) ; m o reo ve r h i ghly i mpro babl e that S h sh o u l d e ve r , .

h i s fath e r had d i e d wh e n h e was a have addre sse d him as swee t b oy "

chi l d a circumstanc e c o rre sp o nding ( B E E C H I NG ) Th e l anguage of S 1 3

, . .
46 8 A P P E ND I X
to a fath e r of S 1 3 Th e
Yo u h a d . . has no b e aring o n t h e qu e sti o n si nc e ,

argum e nt that h e was n ot e no ugh t h e past t e nse d oe s n o t i mply that t h e

y o unge r than S h t o e xpla i n t h e lan . fath e r was d e ad (TYL E R ) Th e S i x .

guage of t h e S o nn e ts i s n ot val i d f o r , t ee n ye ars d i ff e r e nc e be twee n P e m

h i s y o uthful pr i m e at 2 4 m i ght
br o ke and S h a r e far m or e appr opr i at e
.

we ll make a man o f 33 fee l old by t o t h e c o nd i t i o ns ( B O AD E N AR C H E R ) , .

c ompar i so n ( L E E ) P oe ts a r e kn o wn .
,

t o o t o hav e sp o k e n o f m e n o f 30 as
,

b oys i n E l i z abe th s tim e

.

V S o uthampt o n
s pe rso nal a p V I t is m or e than d o ubtfu l wh e th e r

. .

pe a r a n c e c o rr e sp o nds w i th that o f t h e S o uthampt o n s p o rtra i ts r e v e al a hand

y o uth o f t h e S o nn e ts f or h e was a c so m e man ; and i f t h e S o nn e ts dat e

,

cla i m e d t h e handso m e st o f E l i z abe than fr o m 1 59 8 and lat e r h i s a g e make s ,

c o urt i e rs ( L E E ) ; h i s p o rtraits al s o t h e d e p i ct e d y o uthful b e auty i m p r ob

sh o w h i m t o have b e e n handso m e and abl e ( B OAD E N ) , .

t o hav e had l i ght auburn hair s u g g e s ,

t i ve o f t h e c o mpar i so n w i th bud s
o f marj o ram ( S TO P E S L E E )

.
,

VI S o uthampt o n
haract e r c or s
VI S o uthampt o n s charact e r d oe s

. C .

r e sp o nds w i th that o f t h e fri e nd f or n ot c o rr e sp o nd w i th that of t h e fr i e nd ; ,

h e was o n e o f t h e d i ss i pat e d c o urti e rs h e b o r e n o such r e putat i o n f or se nsu

o f t h e tim e and was be l o ve d o f p oe ts
, al i ty as Pe mbro ke c o uld n ot w e ll b e ,

( LE E ) . call e d l o ve ly ( but was rath e r d i s

t i n g u i s h e d as t e m pe stu o us and quarr e l

so m e ) and was primar i ly a so ld i e r ,

a C ircumstanc e of wh i ch t h e S o nn e ts
g i ve n o hi nt ( B OAD E N AR C H E R ) , .

VI I S o uthampt o n s r e l e ase fr o m VI I Th e dat e o f S 1 0 7 is qu i t e

. . .

pris o n o n t h e acc e ss i o n o f J am e s I u nc e rt a i n and i t cann o t b e naturally ,

appe ars t o b e allud e d t o i n S 1 0 7 e xpla i n e d as a c o ngratulat o ry addre ss

.

(LE E ) . t o S o uthampt o n ( B E E C H I NG ) .

VI I I Th e fact that S o uthampt o n s

.
'
VI I I S o uthampt o n s cla m s mad e

i i
in i tials we r e H W d oe s n ot c o n i ct imp o ss i bl e by t h e fact that h s nam e i
w i th his cla i m ; f or t h e W H o f t h e
. .

. . was H e nry ( s e e I and I I u nd e r t h e ar

D e d i cat i o n may n ot re fe r t o t h e sub g u m e n t s f or P e mbr o ke ) As t o Wi llo .

j c e t o f t h e S o nne ts ; o r if it d oe s t h e , , i
bi e h i s Avi s a , th e r e s n o re al e v d e nc e i
i n i t i als may have b ee n r e v e rse d as i i
f o r c o nn e ct ng t w th S h ; n o r f t h e i i