Testimony of the Sonnets as to the Authorship of the Shakespearean Plays and Poems

In these pages I propose an examination and study of the Shakespearean Sonnets, for the purpose of ascertaining what information may be derived from them as to the authorship of the Shakespearean plays and poems. I am aware that any question or discussion as to their authorship is regarded with objection or impatience by very many. But to those not friendly to any such inquiry I would say, let us at least proceed so far as to learn precisely what the author of these great dramas says of himself and of his work in the only production in which he in any manner refers to or speaks of himself.

Certainly an inquiry confined to such limits is appropriate, at least is not disloyal. And if we study the characters of Hamlet, Juliet or Rosalind, do we not owe it to the poet whose embodiments or creations they are, that we should study his character in the only one of his works in which his own surroundings and attachments, loves and fears, griefs and forebodings, appear to be at all indicated?

From the Homeric poems, Mr. Gladstone undertook to gather what they indicate as to the religion, morals and customs of the time; of the birthplace of the poet, and of the ethnology and migrations of the Hellenic peoples. Those poems were not written for any such purpose; they were for a people who, in the main, on all those subjects knew or believed as did their author. And it is both curious and instructive to note how much information as to that distant period Mr. Gladstone was able to gather from the circumstances, incidents, and implications of the Homeric poetry. The value of such deductions no one can question. We may reject as myths the Trojan War or the wanderings or personality of Ulysses, but from these poems we certainly learn much of the method of warfare, navigation, agriculture, and of the social customs of those times.

So reading these Sonnets, we may perhaps not believe that the grief or love of the poet or the beauty of his friend was quite as great as the poetry indicates. But we may fairly take as correct what he says of his friend or of himself, as to their relations and companionship, the incidents and descriptions, which were but the framework on which he wove his poetic wreaths of affection, compliment, or regret.

But before entering on this inquiry, it is quite relevant to ascertain what relation these Sonnets bear to the Shakespearean plays and poems. The works of Shakespeare, as published, contain thirty-seven separate plays. Most of them are of the highest order, and rank with the most consummate products of poetic genius. But criticism seems to have established, and critics seem to agree, that in the works accredited to him are plays of a lower order, which certainly are not from the same author as the remainder, and especially the greater plays. In this widely different and lower class, criticism seems to be agreed in placing the greater portion of Pericles, Titus Andronicus, Timon of Athens, two parts of Henry VI., and Henry VIII.[1] In addition to those, there are at least ten plays not now published as Shakespeare's, that are conceded to be of a lower order and by a different author, but which, apart from internal evidence, can be almost as certainly shown to be his work as many of the greater of the recognized Shakespearean plays. In the same high class of poetry as the greater of these dramas are the Sonnets; and they are unmistakably, and I think concededly, the work of the author of those greater plays.

It is of our poet, as the author of these greater dramas as well as of the Sonnets, that we would seek to learn in the study of the Sonnets. It is only in the Sonnets that the poet speaks in the first person, or allows us any suggestion of himself. His dramas reveal to us the characters he has imagined and desires to portray; but they reveal nothing of the author. His two great poems are dramatic in substance and equally fail to give us any hint of their creator; but in the Sonnets his own is the character whose thoughts and emotions are stated. There we come nearest to him; and there it would seem that we should be able to learn very much of him. Perhaps we shall find that they do not present him at his best; it may be that they were intended only for the eye of the friend or patron to whom they are addressed. Perhaps they reveal the raveled sleeve, the anxieties of a straitened life and of narrow means. Certainly, while they reveal the wonderful fertility, resource, and fancy of the poet, they do not indicate that in outward semblance, surroundings or history their author was either fortunate or happy; and as we read them, sometimes we may feel that we are entering the poet's heart-home unbidden and unannounced. But if we have come there when it is all unswept and ungarnished, may we not the more certainly rely on what it indicates?

Before entering on the study of the Sonnets we may inquire what, if anything, there is, distinctive of our great poet, the recognition of which may aid us in their interpretation.

Taine says that "the creative power is the poet's greatest gift, and communicates an extraordinary significance to his words"; and further, that "he had the prodigious faculty of seeing in a twinkling of an eye a complete character."[2]

The poet does not bring those characters to us by description, but he causes them to speak in words so true and apposite to the character he conceives that we seem to know the individuals from what they say and not from what the poet wrote or said. But the poet goes much farther, and in all his works presents surroundings and accessories, impalpable but certain, which fit the characters and their moods and actions. The picture of morning in Venus and Adonis is apposite to the rich, sensuous and brilliant colorings of the queen of love; the reference in Romeo and Juliet to the song of the nightingale "on yond' pomegranate tree" is but an incident to the soft, warm and love- inviting night; Rosalind moves and talks to the quickstep of the forest; in Macbeth the incantation of the witches is but the outward expression of an overmastering fate, whose presence is felt throughout the play. Let us then, in studying the Sonnets, consider that they are from the same great master as the dramas. And we shall be thus prepared, where the meaning seems plain and obvious, to believe that the writer meant what he said, and to reject any interpretation which implies that when he came to speak of himself he said what he did not mean, or filled the picture with descriptions, situations or emotions, incongruous or inappropriate. And if in so reading they seem clear and connected, fanciful and far-drawn interpretations will not be adopted. We should not distort or modify their meaning in order to infer that they are imitations of Petrarch, or that the genius of the poet, cribbed and confined by the fashion of the time, forgot to soar, and limped and waddled in the footsteps of the inconspicuous sonneteers of the Elizabethan era.

I would illustrate my meaning. Sonnet CXXVI. is sometimes said to be an invocation to Cupid.[3] That seems to me to destroy all its grace and beauty. The first two lines of the Sonnet,

O thou, my lovely boy, who in thy power

Dost hold Time's fickle glass, his sickle, hour-

are quite appropriate, if addressed to the god of love. But the lines succeeding are quite the reverse. In effect they say that you have not grown old because Nature, idealized as an active personality, has temporarily vanquished Time, but will soon obtain the full audit. If the Sonnet is addressed to the god of love it reduces him to the limitations of mortality; if it is addressed to his friend, it indicates that, though but for a little while, Nature has lifted him to an attribute of immortality. The latter interpretation makes the poet enlarge and glorify his subject; the former makes him belittle it, and bring the god of love to the audit of age and the ravage of wrinkles. This is the last sonnet of the first series; with the next begins the series relating to his mistress. Reading it literally, considering it as addressed to his friend, it is sparkling and poetic, a final word, loving, admonitory, in perfect line and keeping with the central thought of all that came before. From this Sonnet, interpreted as I indicate, I shall try to find assistance in this study. But if it is a mere poetical ascription to Cupid, it, of course, tells us nothing except that its author was a poet.

I should not, however, leave this subject without stating that the fanciful interpretation of these Sonnets does not seem to be favored by more recent authors. I find no indication of such an interpretation in Taine's English Literature, or in Grant White's edition of Shakespeare. Professor Edward Dowden, universally recognized as a fair and competent critic, says: "The natural sense, I am convinced, is the true one."[4] Hallam says: "No one can doubt that they express not only real but intense emotions of the heart."[5] Professor Tyler, in a work relating to the Sonnets, says: "The impress of reality is stamped on these Sonnets with unmistakable clearness."[6] Mr. Lee, while regarding some of these as mere fancies, obviously finds that many of them treated of facts.[7] Mr. Dowden, in a work devoted to the Sonnets, states very fully the views which have been expressed by different authors in relation to them. His quotations occupy sixty pages and, I think, clearly show that the weight of authority is decidedly in favor of allowing them their natural or primary meaning.

There are one hundred and fifty-four of these Sonnets. The last two are different in theme and effect from those which go before, and may perhaps not improperly be considered as mere exercises in poetizing. They have no connection with the others, and I would have no contention with those who regard them as suggested by Petrarch, or as complaisant imitations of the vogue or fashion of that time. Those two Sonnets I leave out of this discussion, and would have what may be here said, understood as applying only to the one hundred and fifty-two remaining.

These one hundred and fifty-two Sonnets I will now insist have a common theme. Most of them may be placed in groups which seem to be connected and somewhat interdependent. Those groups may perhaps, in some cases, be placed in different orders, without seriously affecting the whole. To that extent they are disconnected. But in whatever order those groups are placed, through them runs the same theme-the relations of the poet to his friend or patron, and to his mistress, the mistress of his carnal love, who is introduced only because the poet fears that she has transferred her affections or favors to his friend, wounding and wronging him in his love or desire for each.

It is easy to pick out many Sonnets which may be read as disconnected and independent poetry. But very many more verses could be selected from In Memoriam that can be read independently of the remainder of that poem. And there are none of the Sonnets, however they may read standing alone, that do not fit the mode and movement of those with which they stand connected. There is, I submit, no more reason for sundering Sonnets of that class from the others, than there is for taking the soliloquy of Hamlet from the play that bears his name.

This statement of the theme and the connected character of the Sonnets is not essential to the views I shall present. Nevertheless, if it is accepted, if we are able to agree that they all are relevant and apposite to a common theme, it strengthens the proposition that we should seek for them a literal meaning and should reject any construction which would make any of their description or movement incongruous to any other part. Of course we shall expect to find in them the enlargement or exaggeration of poetic license. But so doing we must recall the characteristics of their great author, who with all exaggeration preserves harmony and symmetry of parts, and harmony and correspondence in all settings and surroundings. With such views of what is fair and helpful in interpretation, I propose to proceed to a closer view of the first one hundred and fifty-two of what are known as the Sonnets of Shakespeare.

Footnotes:

[1] Brandes's William Shakespeare, a Critical Study. Temple edition of Shakespeare, introduction to plays above named.

[2] Taine's English Literature, pp. 83, 84.

[3] Lee's Life of Shakespeare, p. 27. The Sonnet is printed in full at p. 28.

[4] Dowden, Shakespeare: His Mind and Art, pp. 102, 103.

[5] Hallam's Literature of Europe, Vol. II., Chap. V.

[6] Tyler, Shakespeare's Sonnets, p. 10.

[7] Lee's Life of Shakespeare, pp. 97, 125, 126.

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