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And their heads are hung

With ears that sweep away the morning dew—

and he will perceive at once what we mean by the difference between Shakespeare's own poetry, and that of his plays. We prefer the PASSIONATE PILGRIM very much to the LOVER'S COMPLAINT. It has been doubted whether the latter poem is Shakespeare's.

Of the Sonnets we do not well know what to say. The subject of them seems to be somewhat equivocal; but many of them are highly beautiful in themselves, and interesting as they relate to the state of the personal feelings of the author. The following are some of the most striking:

CONSTANCY

Let those who are in favour with their stars

Of public honour and proud titles boast,

Whilst I, whom fortune of such triumph bars,

Unlook'd for joy in that I honour most.

Great princes' favourites their fair leaves spread,

But as the marigold in the sun's eye;

And in themselves their pride lies buried,

For at a frown they in their glory die.

The painful warrior famous'd for fight,

After a thousand victories once foil'd,

Is from the book of honour razed quite,

And all the rest forgot for which he toil'd:

Then happy I, that love and am belov'd,

Where I may not remove, nor be removed.

LOVE'S CONSOLATION

When in disgrace with fortune and men's eyes,

I all alone beweep my outcast state,

And trouble deaf heaven with my bootless cries,

And look upon myself, and curse my fate,

Wishing me like to one more rich in hope,

Featur'd like him, like him with friends possess'd,

Desiring this man's art, and that man's scope,

With what I most enjoy contented least;

Yet in these thoughts myself almost despising,

Haply I think on thee,—and then my state

(Like to the lark at break of day arising

From sullen earth) sings hymns at heaven's gate;

For thy sweet love remember'd, such wealth brings

That then I scorn to change my state with kings.

NOVELTY

My love is strengthen'd, though more weak in seeming;

I love not less, though less the show appear:

That love is merchandiz'd, whose rich esteeming

The owner's tongue doth publish every where.

Our love was new, and then but in the spring,

When I was wont to greet it with my lays;

As Philomel in summer's front doth sing,

And stops his pipe in growth of riper days:

Not that the summer is less pleasant now

Than when her mournful hymns did hush the night,

But that wild music burthens every bough,

And sweets grown common lose their dear delight.

Therefore, like her, I sometime hold my tongue,

Because I would not dull you with my song.

LIFE'S DECAY

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruin'd choirs, where late the sweet birds sang.

In me thou see'st the twilight of such day

As after sunset fadeth in the west;

Which by and by black night doth take away,

Death's second self, that seals up all in rest.

In me thou see'st the glowing of such fire,

That on the ashes of his youth doth lie,

As the death-bed whereon it must expire

Consum'd with that which it was nourish'd by.

This thou perceiv'st, which makes thy love more strong,

To love that well which thou must leave ere long.

In all these, as well as in many others, there is a mild tone of sentiment, deep, mellow, and sustained, very different from the crudeness of his earlier poems.

TESTIMONY OF THE SONNETS AS TO THE AUTHORSHIP OF THE SHAKESPEAREAN PLAYS AND POEMS by Jesse Johnson

CONTENTS

INTRODUCTORY

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

APPENDIX

INTRODUCTORY

The Shakespearean Sonnets are not a single or connected work like an ordinary play or poem. Their composition apparently extended over a considerable time, which may be fairly estimated as not less than four years. Read literally they seem to portray thoughts, modes or experiences fairly assignable to such a period. Though variable and sometimes light and airy in their movement, the greater portion appear to reveal deep and intense emotion, the welling