The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3027]
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."[] Hallam says: "No one can doubt that they express not only real but intense emotions of the heart."[] Professor Tyler, in a work relating to the Sonnets, says: "The impress of reality is stamped on these Sonnets with unmistakable clearness."[] Mr. Lee, while regarding some of these as mere fancies, obviously finds that many of them treated of facts.[] 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