Section 14. Sonnets 100-121. a. 100-112. Renewing of love, three years 35 66 15. after the first Sonnets (104). Shakspere's love stronger now in its summer than it was in its spring, 102.5; 119. 1012.* Note the "hell of time" (120.6) that Will's unkindness has made Shakspere pass.† B. 113-114. Fourth Absence. Shakspere sees Will in all nature. y. 115-121. Shakspere describes his love for Will, and justifies himself. 122-126. Shakspere excuses himself for giving away Will's present of some tables, again describes his love for Will, and warns Will that he too must grow old. With regard to the Second Group of Sonnets, we must always keep Shakspere's own words in No. 121 before us: "No, I am that I am; ‡ and they that level At my abuses, reckon up their own: I may be straight, though they themselves be bevel; All men are bad, and in their badness reign." Still I think it is plain that Shakspere had become involved in an intrigue with a married woman, who threw him over for his friend Will. She was dark, had beautiful eyes, and was a fine musician, but false. The most repulsive of the Sonnets is no doubt No. 129. But that and the others plainly show that Shakspere knew that his love was his sin (142), *The doctrine here that "ruin'd love, when it is built anew, Grows fairer than at first" was also put into Tennyson's Princess in its "Blessings on the falling-out, that all the more endears;" but was rightly taken out again. 36 "And to be wroth with one we love, Doth work like madness in the brain."-Coleridge. Compare Iago's "I am not what I am," in Othello, i. 1, and Parolles's Simply the thing I am shall make me live," in All's Well, iv. 3. and that in his supposed heaven he found hell.* Adultery in those days was no new thing, was treated with an indifference that we wonder at now. What was new, is that which Shakspere shows us, his deep repentance for the sin committed. Sad as it may be to us to be forced to conclude that shame has to be cast on the noble name we reverence, yet let us remember that it is but for a temporary stain on his career, and that through the knowledge of the human heart he gained by his own trials we get the intensest and most valuable records of his genius. It is only those who have been through the mill themselves, that know how hard God's stones and the devil's grind. The Second Group of Sonnets, 127-154, I divide into Section 1. Sonnet 127. On his mistress's dark complexion, brows, and eyes. (Cf. Berowne on his dark Rosaline, in Love's Labours Lost.) 128. On her, his music, playing music (the virginals). 129. On her, after enjoying her. He laments his weakness. 130. On her, a chaffing description of her. (Compare Marlowe's Ignoto; Lingua, before 1603, in Dodsley, ix. 370; and Shirley's Sisters: "Were it not fine," etc.) 131-132. Though plain to others, his mistress is fairest to Shakspere's doting heart. But her deeds are black; and her black eyes pity him. 133-136. She has taken his friend Will from him (cf. 40-42). He asks her to restore his friend 39 (134), or to take him as part of her (and his) Will (135). If she 'll but love his name, she'll love him (Shakspere), as his name too is Will (136). 7. " 137-145. Shakspere knows his mistress is not beautiful, and that she's false, but he loves her (137). Each lies to and flatters the other (138). Still if she 'll only look kindly on him, it'll be enough (139). She must not look too cruelly, or he might despair and go mad, and tell *Sonnets 119. 2, 8; 147. I, 14. 43 the world that ill of her that it would only too soon believe (140). He loves her in spite of his senses (141). She has broken her bed-vow; then let her pity him (142). She may catch his friend if she will but give him a smile (143). He has two loves, a fair man, a dark woman who 'd corrupt the man (144, the Key Sonnet). She was going to say she hated him, but, seeing his distress, said, not him (145). Section 8. Sonnet 146. (? Misplaced.) A remonstrance with himself, on spending too much, either on dress or outward self-indulgence, and exhorting himself to give it up for inward culture. (The blank for two words in line 2,.I fill with "Hemm'd with:" cf. Venus and Adonis, 1022," Hemm'd with thieves.") 147-148. Shakspere's feverish love drives him mad, his doctor-Reason-being set aside (147). Love has obscured his sight (148). 149-152. He gives himself up wholly to his mistress; loves whom she loves, hates whom she hates (149). The worst of her deeds he loves better than any other's best (150). The more he ought to hate her, the more he loves her. He is content to be her drudge, for he loves her (151). Yet he 's forsworn, for he 's told lies of her goodness, and she has broken her bed-vow; he has broken twenty oaths (152). 153-154. (May be made Group III., or Division 2 of Group II.). Two sonnets lighter in tone. In both Cupid sleeps, has his brand put out, in (153) a fountain, (154) a well, which the brand turns into medical baths; Shakspere comes for cure to each, but finds none. wants his mistress's eyes for that (153). Water cools not love (154). He I always ask that the Sonnets should be read between the Second and Third Periods,* for the "hell of time" of which * For Mr. Furnivall's classification of Shakespeare's plays and poems, see our ed. of A. Y. L. p. 25.—Ed. they speak is the best preparation for the temper of that Third Period, and enables us to understand it. The fierce and stern decree of that Period seems to me to be, "there shall be vengeance, death, for misjudgment, failure in duty, self-indulgence, sin," and the innocent who belong to the guilty shall suffer with them: Portia, Ophelia, Desdemona, Cordelia, lie beside Brutus, Hamlet, Othello, Lear. |