Urging his friend to marry, the poet, comparing the harmony of music to a happy marriage, in Sonnet VIII. says:

Mark how one string, sweet husband to another, Strikes each in each by mutual ordering; Resembling sire and child and happy mother, Who, all in one, one pleasing note do sing: Whose speechless song, being many, seeming one, Sings this to thee: "Thou single wilt prove none."

But is it not a little strange that the pen that drew Rosalind and Juliet should have gone no farther, when by a touch he could have filled it with suggestions of the fair, the stately and the titled maidens who were in the court life of that day, and whose names and faces and reputed characters must have been known to the poet, whatever his place or station in London? How would a tracing of a mother, nobly born, or of a lordly but deceased father, of some old castle, of some fair eminence, of some grand forest, or of ancestral oaks shading fair waters, have lightened the picture! And could the poet who gave us the magnificent pictures of English kings and queens, princes and lords—could that poet, writing to and of one of the fairest of the courtly circle of the reign of Elizabeth, so withhold his pen that it gives no hint that his friend was in or of that circle, or any suggestion of his most happy and fortunate surroundings? Surely, in painting so fully the beauties of his friend, the poet would have allowed to appear some hint of the beauty of light and color in which he moved.

I have before me in the book of Mr. Lee, a copy of the picture of the Earl of Southampton painted in Welbeck Abbey. The dress is of the court; and the sword, the armor, the plume and rich drapery all indicate a member of the nobility. Could our great poet in so many lines of extreme compliment and adulation have always omitted any reference to the insignia of rank which were almost a part of the young Earl; and would he always have escaped all reference to coronet or sword, to lands or halls, or to any of the employments or sports, privileges or honors, then much more than now, distinctive of a peer of the realm?

And all that is here said equally repels the inference that these Sonnets were addressed to any person connected with the nobility. The claim that they were addressed to Lord Pembroke [William Herbert] I think is exploded, if it ever had substance.[36] Lord Pembroke did not come to London until 1598 and was then but eighteen years old. There is not a particle of evidence that he and Shakespeare had any relations or intimacy whatever.

While I regard the view that the Sonnets were addressed to Southampton as entirely untenable, it nevertheless has this basis,—two of the Shakespearean poems were dedicated to Southampton. At least we may say that, if they were addressed to any person of that class, there is a strong probability in his favor. And in order to consider that claim I would ask the reader to turn back to Sonnet II., page 23. That certainly is one of the very earliest of the Sonnets, almost certainly written when Shakespeare was not older than thirty and Southampton not over twenty-one years of age. With these facts in mind, the assumption that those lines were addressed to the Earl of Southampton becomes altogether improbable. Can we imagine a man of thirty, in the full glow of a vigorous and successful life, saying to a friend of twenty-one,—you should marry now, because when you are forty years old (about twice your present age and ten years above my own) your beauty will have faded and your blood be cold?

We should not so slander the author of the Shakespearean plays.

* * * * *

The language of the Sonnets implies a familiarity and equality of intercourse not consistent with the theory that they were addressed to a peer of England by a person in Shakespeare's position.[37]

The dedication of Lucrece, which apparently was written in 1593, omits no reference to title, and envinces no disposition or privilege to ignore the rank or dignities of the Earl. I will quote no particular Sonnet on this point; but the impression which the entire series seems to me to convey, is that the poet was addressing a friend separated from him by no distinction of rank. Sonnets XCVI. and XCVII. are instances of such familiarity of address and communication.

* * * * *

On the other hand, there is not a single indication which the Sonnets contain as to the poet's friend which in any manner disagrees with what we know of Shakespeare. It may be said that being married the invocation to marry could not have been addressed to him. But the test is,—how did he pass, how was he known in London, as married or unmarried? He is supposed to have come to London in 1586, or when he was twenty-two years of age, and he was then married and had three children. He remained in London about twenty-five years, and there is no indication that any member of his family ever resided there or visited him, and the clear consensus of opinion seems to be that they did not.[38] The indications that he had little love for his wife are regrettably clear.[39] When the earlier Sonnets were written he must have been living there about nine years, and must have had an income sufficient easily to have maintained his family in the city.[40] That he led a life notoriously free as to women cannot be questioned. Traditions elsewhere referred to so indicate[41]; and whether the Sonnets were written by or to him they equally so testify. Under such circumstances his friends or acquaintances would not be led to presume that he was married, but would assume the contrary. They would have done or considered precisely as we do, classing our friends as married or unmarried, as their mode of life indicates. Hence the invocation to marry is entirely consistent with the theory that the Sonnets were addressed to Shakespeare. When Sonnet CIV. was written, the poet had known his friend but three years[42]; the Sonnets referring to marriage are printed first, and very probably were written much earlier than Sonnet CIV., and perhaps when their acquaintance was first formed. The fact that the appeal ceases with the seventeenth Sonnet, and that after that there is not even a hint of marrying, or of female excellence and beauty, perhaps indicates that the first seventeen Sonnets had provoked a disclosure which restrained the poet from further reference to those subjects.

* * * * *

The starting point in this chapter is the fact stated by Mr. Lee, and I think conceded or assumed by all writers on these Sonnets,—that they were written to some one intimately connected with the Shakespearean plays, either as a patron or in some other manner. Many, perhaps all, of the plays were produced, and in that way published, at the theatre where Shakespeare acted. Those of the higher class or order as well as those of the lower class were published as his. Those most strenuous in supporting the claims of authorship for Shakespeare, have, I think, generally conceded that the plays, as we now have them, reveal in various parts the work of more than one author. And from that it has been suggested that Shakespeare must have had a fellow-worker,—a collaborator. Lee's Shakespeare, Brandes's Critical Study of Shakespeare, and the Temple edition of Shakespeare's works, are practically agreed on this fact in relation to Henry VI., Henry VIII., Titus Andronicus, and some other plays. There must have been a very considerable degree of intercourse between the two persons who worked together even on a single one of these plays. And there are Sonnets which at least suggest a degree and kind of intercourse and communication between the poet and his friend which such a relation would require.

Chiding his friend for absence in Sonnets LVII. and LVIII., the poet indicates such waiting and watching as would come to him had their relations been very intimate, and perhaps indicates that he and his friend lodged together.

Those Sonnets are as follows:

Being your slave, what should I do but tend Upon the hours and times of your desire? I have no precious time at all to spend, Nor services to do, till you require. Nor dare I chide the world-without-end hour Whilst I, my sovereign, watch the clock for you, Nor think the bitterness of absence sour When you have bid your servant once adieu; Nor dare I question with my jealous thought Where you may be, or your affairs suppose, But, like a sad slave, stay and think of nought Save, where you are how happy you make those. So true a fool is love that in your will, Though you do anything, he thinks no ill.

That God forbid that made me first your slave, I should in thought control your times of pleasure, Or at your hand the account of hours to crave, Being your vassal, bound to stay your leisure! O, let me suffer, being at your beck, The imprison'd absence of your liberty; And patience, tame to sufferance, bide each check, Without accusing you of injury. Be where you list, your charter is so strong That you yourself may privilege your time To what you will; to you it doth belong Yourself to pardon of self-doing crime. I am to wait, though waiting so be hell, Not blame your pleasure, be it ill or well.

I am not unaware that there are other Sonnets which indicate that they lived apart, though it is of course quite possible that they lived apart at one time and together at another. But whether or not they at any time lodged together, these Sonnets indicate that their lives were brought together by some common purpose, and that hours and seasons of communication and perhaps of kindred labor were frequent to them. Our affections or friendships do not blossom in untilled fields; it is the comradeship of common effort, mutually helpful and beneficial, that more than often determines the impalpable garments and coverings of our lives. Certainly we may believe that the two characters that fill these two thousand lines of poetry did not live and move so far apart as were the busy actor at a theatre and the courted and adventurous peer of England.

If the friend to whom the Sonnets were addressed was Shakespeare, and if the author of the Sonnets and of the accredited Shakespearean plays was some "pale, wasted," and unknown student who sold his labors and his genius to another, we may perhaps see how they would have had frequent interviews and hours of labor, and how Shakespeare might have had all the relations to the poet, which the Sonnets imply of the poet's friend. But if Shakespeare, then well advanced both to fame and fortune, was the poet it is very difficult to imagine any one person who could have borne to him all the relations which the Sonnets indicate—patron or benefactor and familiar associate and companion; a rival and successor in the favors of his mistress, and a loved or at least cherished friend.

While I present the view that some unknown student wrote, and Shakespeare adopted and published, the Shakespearean plays, I do not deny to Shakespeare a part, perhaps a large part, in their production. As I have said, there are many plays attributed to Shakespeare, some or the greater portions of which are distinctively of a lower class than the greater plays or the Sonnets. The theory of collaboration affects at least six plays commonly classed as Shakespearean, and perhaps others classed as doubtful plays. Why is not the situation satisfied if we ascribe to Shakespeare a capacity equal to the composition of Titus Andronicus? That is a play which seems to have been attractive from its plot and the character of its incidents. In it, however, there are but few lines that seem to be from the same author as the Sonnets and the greater of the recognized Shakespearean plays. The remainder of the play has no poetic merit which raises it far above the rustic poetry which is handed down by tradition as Shakespeare's. And if we give the unknown student all credit for authorship of the finer poetry of the greater dramas, may we not still assume that Shakespeare labored with him, assisting in moulding into form adapted to the stage the poetry that burst from his friend with volcanic force; or that he perhaps sometimes suggested the side lights and sudden transitions which appear so often,—for instance, in the grave scene in Hamlet or the nurse's part in Romeo and Juliet?[43] And if some great unknown was the sole author and Shakespeare was the publisher and was to take part in the representation of these plays, may we not still, however they lodged, find ample occasion for the waiting hours of the poet, which would be entirely unexplained if the person addressed was the Earl of Southampton or some other member of the nobility?

Such a view explains very much which is otherwise inexplicable. If into that series of publications came the genius of the unknown author of the Sonnets, touching some of the plays like stray sunbeams, and as the work progressed absorbing and filling all their framework,—it must yet be assumed that he did not labor without recompense. And so we may believe that Shakespeare from friend became patron, and that this employment, coming as the poet was passing to life's "steepy night," gave him the means and the leisure for those dreams of lovers, of captains and of kings, so visioned on his brain that he wrote of them as of persons real and living. So regarding the author of the Sonnets, we appreciate his jealousy, when (as perhaps in Henry VIII.) another and almost equal poet was employed, and may understand how he could blame his false mistress and yet forgive his friend. His poetry and the opportunity and leisure for its enjoyment was his real mistress, like the love of Andromache for Hector displacing and absorbing all other loves.

* * * * *

If the Sonnets were written by Shakespeare, who the friend and patron so intimately related to the poet and his work was, is a riddle still unsolved; but if they were written by some unknown poet, the obvious and reasonable inference is that they were addressed to Shakespeare.[44]

It may be asked why I would leave anything as the work of Shakespeare, if I deny to him the authorship of the greater plays. My answer is this: I believe he did not write the Sonnets; and if the Sonnets are the work of another, I think it fairly follows that the great dramas, considered as mere poetry, are so clearly in the same class as the Sonnets, that we must ascribe the authorship of the greater Shakespearean dramas to the same great unknown.

When it is once agreed that any considerable portions of the plays credited to Shakespeare are from different authors, almost the entire force of the argument resting on report or tradition is destroyed; because report or tradition is about equally satisfied and equally antagonized by ascribing to him the authorship of either section into which the admission of dual authorship concedes that they are divided.

That Shakespeare must have had a genius for dramatic work,—though not necessarily for poetry,—his success as a reputed dramatist and as a manager, all his history and traditions, very clearly indicate. And conceding him that, why is not the situation fully satisfied by considering that he was the lesser, or one of the lesser, rather than the greater of the collaborators; and that his knowledge of the stage and his talent for conceiving proper dramatic effects or situations, made his labors valuable to the greater poet, aiding him to give to his works a dramatic form and movement which many other great poets have entirely failed to attain. So considering, the Shakespearean plays will in some degree still seem to us the work of the gentle Shakespeare, although in large part the product of the older and more mature mind, the dreaming and loving recluse and student, who could say,—

Your name from hence immortal life shall have, Though I, once gone, to all the world must die: The earth can yield me but a common grave, When you entombed in men's eyes shall lie.

And so believing, may we not still go with reverent feet to that grave upon the Avon? For there, as I conceive, sleeps he whose sunny graces won the undying love of the greatest of lovers and of poets, and whose assistance and support made possible the dreaming hours and days in which were delivered from his loving friend's overburdened brain the marvellous and matchless creations of the Shakespearean anthology.

Footnotes:

[33] Sonnets LXXVIII., LXXIX., LXXX., LXXXV., LXXXVI.

[34] Sonnets XCV. and XCVI.

[35] Lee's Shakespeare, pp. 377-380.

[36] Lee's Shakespeare, p. 406.

[37] It was not until 1596 or 1599 that a coat of arms was granted to John Shakespeare, the father of William. That appears to have been granted on the application of the son, and to have been allowed, in part at least, because his wife, the mother of William, was the daughter of Robert Arden, gentleman. The grant gave the father the title of Esquire and not of Gentleman. Lee's Shakespeare, pp. 187-190.

[38] Lee's Shakespeare, p. 26; Halliwell's Life of Shakespeare, p. 133; Grant White's Introductory Life of Shakespeare, pp. 25, 42.

[39] Lee's Shakespeare, pp. 22-26, 273, 274.

[40] Halliwell's Shakespeare, p. 172, Lee's Shakespeare, pp. 193-196.

[41] See pp. 68-70, supra.

[42] The portion of Sonnet CIV. relevant to this point is printed at page 26, supra.

[43] These plays contain names of places and persons, and allusions and references, which could hardly have been made had Shakespeare been a stranger to their composition. In As You Like It, the forest has his mother's family name, "Arden"; the allusion to Sir Thomas Lucy, has already been noticed. Page 63, supra.

[44] While I speak of the poet of the Sonnets and of the greater plays as unknown, I can but believe that the Sonnets, when carefully studied in connection with contemporaneous history and chronicles, will yet afford an adequate clew to his identification. It occurs to me that a promising line of inquiry might be made on this assumption,—that the poet was born about twenty years before Shakespeare and died soon after the production of the plays ceased, or when about sixty-five or seventy years of age; that he had reverses and disappointments, perhaps humiliations; that his name was William, and that he had written other works before he wrote the Shakespearean plays. It is also possible, although I think not probable, that the initials, W. H., appearing in the introduction to these Sonnets may refer to him. That he had produced earlier works, I think is shown by Sonnet LXXVI. The first lines of that Sonnet are as follows:

"Why is my verse so barren of new pride, So far from variation of quick change? Why with the time do I not glance aside To new-found methods and to compounds strange? Why write I still all one, ever the same, And keep inventions in a noted weed, That every word doth almost tell my name, Showing their birth and where they did proceed?"



CHAPTER VI

OF THE CONCLUSIONS TO BE DRAWN FROM THE SONNETS

The result of the preceding discussion, as it appears to me, is as follows:

The Sonnets were not written by Shakespeare, but it is very probable that he was the friend or patron around whom their poetry moves and to whom most of them are addressed.

Reading the entire series with that theory in mind, very many difficulties of interpretation are entirely overcome. Without this theory so many of the Sonnets seem blind, or obviously false or inaccurate, that many have been led to the inference of conceits, affectations, imitations, or hidden meanings. Adopting the theory here presented, there is neither reason nor excuse for giving to their words any other than their natural or ordinary meaning.

I would not deny to Shakespeare great talent. His success in and with theatres certainly forbids us to do so. That he had a bent or a talent for rhyming or for poetry, an early and persistent tradition and the inscription over his grave indicate. And otherwise there could hardly have been attributed to him so many plays beside those written by the author of the Sonnets.

Assuming that the Sonnets were not written by him, it would then seem clear that to Shakespeare, working as an actor, adapter or perhaps author, came a very great poet, one who outclassed all the writers of that day, in some respects all other writers; and that it is the poetry of that great unknown which, flowing into Shakespeare's work, comprises all, or nearly all of it which the world treasures or cares to remember. I would not dispute any claim made for Shakespeare for dramatic as distinguished from poetic talent, for wit, or comely or captivating graces. The case is all with him there,—at least there is no evidence to the contrary. But I insist that the Sonnets reveal another poet, and reveal that those great dramas, or at least that those portions of them which are in the same class or grade of poetry as the Sonnets, were the work of that great unknown.



APPENDIX

The different versions of the verses which Shakespeare is alleged to have composed on Sir Thomas Lucy are as follows:

A parliamente member, a justice of peace, At home a poore scare-crow, at London an asse; If lowsie is Lucy, as some volke miscalle it, Then Lucy is lowsie, whatever befalle it: He thinkes himselfe greate, Yet an asse in his state We allowe by his eares but with asses to mate. If Lucy is lowsie, as some volke miscalle it, Sing lowsie Lucy, whatever befalle it.



Sir Thomas was too covetous To covet so much deer, When horns enough upon his head Most plainly did appear.

Had not his worship one deer left? What then? He had a wife Took pains enough to find him horns Should last him during life.



Transcriber's Notes: The following printing errors were corrected: "Adronicus" corrected to "Andronicus" (book page 10). "Th" corrected to "The" (Footnote 11). "of" corrected to "on" (Footnote 11).

Comma changed to period at the end of Footnote 1.

Passages in italics indicated by underscore italics.

Otherwise, all printing is as appears in the original.

Additional spacing after some of the poetry and block quotes is intentional to indicate both the end of a quotation and the beginning of a new paragraph as is in the original text.