CHAPTER XIX.

DIVISION AND GROUPING.

CONSIDERATIONS have been already adduced tending to show that the Sonnets, or at least the first series of them (I to 126), are in the right order as they are found in the Quarto of 1609. Some additional observations on this arrangement remain, however, to be made. Professor Dowden, following Goedeke, has called attention to the employment of the pronouns "thou" and "you" in the various parts of this series. He observes :- "What I would call attention to, however, as exhibiting something like order and progress in the arrangement of 1609, is this: that in the first fifty Sonnets you is of extremely rare occurrence; in the second fifty you and thou alternate in little groups of Sonnets, thou having still a preponderance, but now only a slight preponderance; in the remaining twenty-six you becomes the ordinary mode of address, and thou the exception. In the Sonnets to a mistress, thou is invariably employed. A few Sonnets of the first series have 'my love,' and the third person throughout." Professor Dowden justly observes that it is difficult or impossible always to find in the sense the reason why the one or the other pronoun is employed. The choice may sometimes "be determined by considerations of euphony." But, as a general x rule, "thou" is the more distant, "you" the more familiar. It is in accordance with this that "thou" prevails in the more distant address of the first Sonnets, and "you," after three years' acquaintance, in 100 to 126.

Though the use of these pronouns is not sufficient by

1 Introduction to Sonnets, larger ed., p. 25.

I

itself to mark the division and grouping, yet it should be taken into account together with other indications. Thus with 17 the exhortation to beget offspring terminates. The address, beginning in 1 with "thou," had become more familiar in the later portion of the seventeen Sonnets. But at the end of 17 we may suppose that, with the change of subject, there is a breach of continuity; and it is in accordance with this fact that "thou" is again employed. But still it would not be quite certain whether 1 to 17 and 18 to 26 were sent separately to Mr. W. H. as two poetical epistles, or whether, having regard to the matter and form of 26, we are to regard the first twenty-six Sonnets together as forming a single epistle. The question is here a difficult one, as in other places. Sonnet 26, however, obviously concludes a series, whether longer or shorter. Between 17 and 18 there is, as just stated, a discontinuity of thought; but connection of thought does not necessarily imply that the Sonnets so connected were transmitted together. From preserving a copy, or even without this, the poet's thoughts may have reverted from time to time to the subject of his last poetical epistle. 27 to 32 are all "thou" Sonnets; and 32 marks, with tolerable certainty, the conclusion of a group. Taking into account the couplet with which 38 ends, 33 to 38 are probably to be regarded as a distinct group, though just possibly 39 should be added. 40 to 42 are concerned with the same subject (the intrigue between Shakespeare's friend and his mistress), and would form a natural group. 43 to 47, speaking of Shakespeare's absence from his friend, may have formed a distinct poetical letter. 48 to 51 may be similarly grouped together. 52 begins a "you" group, extending to 55. In 56 to 58 the poet remonstrates with his friend on an apparent alienation of affection. 59 and 60 may be placed as a distinct group marked off by its philosophical character. 61 to 63 may be placed together, as also 64 to 68, the latter group characterised by deep melancholy; but in this part of the series the grouping becomes difficult. 69 and 70 easily dissociate themselves

from 71. 71 to 74 treat of the grave and the passing bell. 75 to 77 must be placed together, as 78 begins a new subject, which at most had only been just hinted at before. 78 to 87, concerned with the rival poet, form a not improbable group, ending with 87 and its "Farewell." 88 to 93, or 88 to 94, would form the next section; perhaps it is best to take the latter view. 95 and 96 contain a warning and rebuke, and are very clearly marked off from 97. The opinion has been expressed (supra, p. 27 al.) that there was a breach of the intimacy between Shakespeare and his friend, extending perhaps from the November of 1599 till about the May of 1601. Where, in relation to this period, are the three Sonnets 97, 98, 99 to be placed? Shakespeare in these Sonnets speaks of himself as having been absent from his friend during spring, summer, and autumn. These Sonnets may have been written in the autumn, possibly late in the autumn of 1600, and transmitted to Herbert without evoking a reply. His time and attention were probably too much occupied with various matters. But if such was the fact there need scarcely be any insuperable difficulty in accounting for the language of 100 and following Sonnets, so far as relates to Shakespeare's taking upon himself the blame of the silence and separation. The difference of social rank between the poet and his friend, and the complimentary nature of much in these poems, should always be kept in view. That, previous to the breach,1 Shakespeare believed his friend was becoming estranged from him is sufficiently clear. 100 to 126 are, in accordance with what has been previously said, to be treated as a single poem giving various explanations concerning the period of separation. Of course, brief interruptions may have occurred during the composition of the poem; but this would not prevent its forming a single poetical epistle, deriving its unity from

1 See also some remarks on the separation by Mr. T. A. Spalding, Gentleman's Magazine, March 1878, p. 316.

continued reference to the estrangement or separation, and various matters connected therewith. The exceptional form of Sonnet 126 is certainly in accordance with the supposition that this Sonnet was intended as a conclusion to the whole series. Causes which may have induced Shakespeare to bring to a definite conclusion the first series of Sonnets have been already adverted to (p. 66).

With regard to the second series of Sonnets, the division and grouping are of less importance. The last two Sonnets, 153, 154, as already stated, are best treated as a separate group. The following scheme is based, to some extent, on that of Dr. Furnivall, as given in the Leopold Shakspere:

Sonnets.

1 to 26. Whether these Sonnets were or were not transmitted together as a single poetical epistle is not quite certain. There is, however, an obvious division.

(a.) 1 to 17. Treat of the beauty of Shakespeare's friend. Being thus beautiful he ought to beget offspring. 'Thou," &c., exclusively used in twelve of these Sonnets. "You," &c., in 13 and in 15 to 17.

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(b.) 18 to 26. The friend's beauty and the strength of Shakespeare's attachment. "Thou" prevails.

27 to 32. "Thou" Sonnets. Some or all of these Sonnets are written while Shakespeare is away from his friend. 32 a probable termination.

33 to 38. The friend has stolen ("sweet thief," 35) Shakespeare's mistress, but has expressed contrition, and the ill

39.

40 to 42.

deed is ransomed by tears. 38 marks termination of epistle possibly.

May stand alone, or possibly belong to preceding group. The friend has Shakespeare's mistress, but Shakespeare's love for his friend prevails.

43 to 47. A distinct letter possibly sent by Shakespeare to his friend, while absent.

48 to 51. A group to a certain extent similar. Sonnets 34 to 51 all distinguished by "thou."

52 to 55. Group distinguished by "you." Shakespeare's love for his friend in absence. Immortality for the friend in Shakespeare's verse.

56 to 58. Shakespeare remonstrates with his friend on seeming estrangement.

Sonnets.

59, 60. Possess a peculiar philosophical character. 59 gives the doctrine of the cycles hypothetically. 60 pictures the lives of men as resembling the successive waves of the sea.

61 to 63. The poet sleepless through love: Shakespeare's selflove is love for his friend, his second self: Shakespeare waning. Immortality in Shakespeare's verse. Sonnets pervaded by a spirit of melancholy. Shakespeare's friend has associated with bad company, though the censure is softened in 70.

64 to 68.

69, 70.

71 to 74. Shakespeare discourses of his own death and of his deep love for his friend.

75 to 77. Shakespeare's verse may seem monotonous on account of his constancy, and his always treating of the same theme. Use to which the friend may apply mirror, dial, and book for manuscript.

78 to 87. Treat of a rival-poet. In 87 Shakespeare bids farewell to his friend. 81 seems to stand apart.

88 to 94. The friend estranged, or Shakespeare fancies that he is. The poet suggests in 94 that his friend is being corrupted by bad company.

95, 96. Shakespeare more expressly rebukes and warns his

friend.

97, to 99. Sonnets probably composed by Shakespeare, to regain his friend's love, but without apparent success.

100 to 126. Best regarded as a single poem written on the poet being reconciled to his friend after a somewhat protracted separation. The poet alleges that his love for his friend is stronger than before takes on himself the blame of interruption of intimacy: speaks of a scandal from which he was suffering: defends himself from the charge of unfaithfulness; and in 126 gives L'Envoi, and concludes the first series of Sonnets.

The second series is divided by Furnivall as follows::| 127 | 128 | 129 | 130 | 131, 132 | 133 to 136 | 137 to 145 | 146 | 147, 148 | 149 to 152 |. Sonnets 129 and 146, however, are perhaps best regarded as having an independent character. The third series consists only of the final Sonnets, 153, 154.

But it is probably impossible to construct any scheme of division and grouping which shall not be in some, or perhaps many, respects doubtful.