Sonnets

ABBREVIATIONS USED IN THE NOTES.

Abbott (or Gr.), Abbott's Shakespearian Grammar (third edition).

A. S., Anglo-Saxon.

A. V., Authorized Version of the Bible (1611).

B. and F., Beaumont and Fletcher.

B. J., Ben Jonson.

Camb. ed., "Cambridge edition" of Shakespeare, edited by Clark and Wright.
Cf. (confer), compare.

Coll., Collier (second edition).

D., Dyce (second edition).

Dowden, Prof. E. Dowden's eds. of the Sonnets (see p. 11, foot-note, above).

Gildon, Chas. Gildon's ed. of Shakespeare's Poems (London, 1710).

H., Hudson ("Harvard" edition).

Halliwell, J. O. Halliwell (folio ed. of Shakespeare).

Id. (idem), the same.

K., Knight (second edition).

Lintott, the 1709 ed. of the Poems (see p. 10 above).

Massey, Gerald Massey's Shakespeare's Sonnets, etc. (London, 1866). Cf. p. 21 above.

Nares, Glossary, edited by Halliwell and Wright (London, 1859).

Palgrave, F. T. Palgrave's ed. of Shakespeare's Songs and Sonnets (London, 1879). Prol., Prologue.

S., Shakespeare.

Schmidt, A. Schmidt's Shakespeare-Lexicon (Berlin, 1874).

Sewell, Geo. Sewell's ed. of the Poems (7th vol. of Pope's ed. of 1725).

Sr., Singer.

St., Staunton.

Theo., Theobald.

W., R. Grant White.

Walker, Wm. Sidney Walker's Critical Examination of the Text of Shakespeare (London, 1860).

Warb., Warburton.

Wb., Webster's Dictionary (revised quarto edition of 1879).

Worc., Worcester's Dictionary (quarto edition).

The abbreviations of the names of Shakespeare's Plays will be readily understood; as T. N. for Twelfth Night, Cor. for Coriolanus, 3 Hen. VI. for The Third Part of King Henry the Sixth, etc. P. P. refers to The Passionate Pilgrim; V. and A. to Venus and Adonis; L. C. to Lover's Complaint; and Sonn. to the Sonnets.

When the abbreviation of the name of a play is followed by a reference to page, Rolfe's edition of the play is meant. The numbers of the lines in the references are those of the "Globe " ed.

THE DEDICATION.-The only begetter. Boswell remarks: "The begetter is merely the person who gets or procures a thing. So in Dekker's Satiromastix: I have some cousin-germans at court shall beget you the reversion of the master of the king's revels.' W. H. was probably one of the friends to whom Shakespeare's 'sugred sonnets,' as they are termed by Meres, had been communicated, and who furnished the printer with

his copy." W. says: "This dedication is not written in the common phraseology of its period; it is throughout a piece of affectation and elaborate quaintness, in which the then antiquated prefix be- might be expected to occur; beget being used for get, as Wiclif uses betook for took in Mark, xv. I: 'And ledden him and betoken him to Pilate.'" Cf. Gr. 438.

SONNET I.-As Boswell and Boaden note, this and the following sonnets are only an expansion of V. and A. 169–174: “Upon the earth's increase why shouldst thou feed," etc.

"Herr Krauss (Shakespeare-Jahrbuch, 1881) cites, as a parallel to the arguments in favour of marriage in these sonnets, the versified dialogue between Geron and Histor at the close of Sidney's Arcadia, lib. iii.” (Dowden).

2. Rose. In the quarto the word is printed in italics and with a capital. See on 20. 8 below.

6. Self-substantial fuel. "Fuel of the substance of the flame itself" (Dowden).

10. Gaudy. Gay and showy. Cf. L. L. L. v. 2. 812: “Nip not the gaudy blossoms of your love," etc.

12. Mak'st waste in niggarding. Cf. R. and J. i. 1. 223:

"Benvolio. Then she hath sworn that she will still live chaste?
Romeo. She hath, and in that sparing makes huge waste."

13. Pity the world, etc. "Pity the world, or else be a glutton, devouring the world's due, by means of the grave (which will else swallow your beauty-cf. Sonn. 77. 6) and of yourself, who refuse to beget offspring (Dowden). Steevens conjectured "be thy grave and thee "=" be at once thyself and thy grave."

II. "In Sonn. I the Friend is 'contracted to his own bright eyes;' such a marriage is fruitless, and at forty the eyes will be 'deep-sunken.' The 'glutton' of 1 reappears here in the phrase 'all-eating shame;' the 'makest waste' of I reappears in the 'thriftless praise of 2. If the youth addressed were now to marry, at forty he might have a son of his present age, that is, about twenty" (Dowden).*

4. Tatter'd The quarto has "totter'd," as in 26. 11 below. Cf. K. John, p. 178, note on Tottering. For weed (= garment), see M. N. D.

p. 149.

* We reprint Dowden's introductory notes to each sonnet, but we must call attention here to his own comments upon them:

"Repeated perusals have convinced me that the Sonnets stand in the right order, and that sonnet is connected with sonnet in more instances than have been observed. notes on each sonnet commonly begin with an attempt to point out the little links or articulations in thought and word, which connect it with its predecessor or the group to which it belongs. I frankly warn the reader that I have pushed this kind of criticism far, perhaps too far. I have perhaps in some instances fancied points of connection which have no real existence; some I have set down, which seem to myself conjectural. After this warning, I ask the friendly reader not to grow too soon impatient: and if, going through the text carefully, he will consider for himself the points which I have noted, I have a hope that he will in many instances see reason to agree with what I have said."

8. Thriftless. Unprofitable; as in T. N. ii. 2. 40: "What thriftless sighs shall poor Olivia breathe!"

II. Shall sum my count, etc. "Shall complete my account, and serve as the excuse of my oldness" (Dowden). Hazlitt reads "whole" for old.

Here is a par

But here that

III." A proof by example of the truth set forth in 2. ent finding in a child the excuse for age and wrinkles. parent is the mother. Were the father of Shakspere's friend living, it would have been natural to mention him: 13. 14 'you had a father' confirms our impression that he was dead.

"There are two kinds of mirrors-first, that of glass; secondly, a child who reflects his parent's beauty" (Dowden).

5. Unear'd. Unploughed. Cf. Rich. II. p. 192, note on Ear. For the figure, cf. A. and C. ii. 2. 233: "He plough'd her, and she cropp'd." Steevens quotes M. for M. i. 4. 43. W. aptly remarks that the expression is "the converse of the common metaphor 'virgin soil."

7. Fond. Foolish; the usual meaning in S. Cf. M. N. D. p. 163. For the passage Malone compares V. and A. 757-761.

9. Thy mother's glass, etc. Cf. R. of L. 1758, where Lucretius says: "Poor broken glass, I often did behold

In thy sweet semblance my old age new born." II. Windows of thine age. Malone quotes L. C. 14: peep'd through lattice of sear'd age."

13. Live. Capell conjectures "love."

"Some beauty

IV.-"In Sonn. 3 Shakspere has viewed his friend as an inheritor of beauty from his mother; this legacy of beauty is now regarded as the bequest of nature. The ideas of unthriftiness (1) and niggardliness (5) are derived from Sonn. 1, 2; the 'audit' (12) is another form of the 'sum my count' of 2. II. The new idea introduced in this Sonnet is that of usury, which reappears in 6. 5,.6" (Dowden).

3. Nature's bequest, etc. Dowden quotes M. for M. i. 1. 36:

Spirits are not finely touch'd

But to fine issues, nor Nature never lends
The smallest scruple of her excellence
But, like a thrifty goddess, she determines
Herself the glory of a creditor,
Both thanks and use."

Steevens compares Milton, Comus, 679:

"Why should you be so cruel to yourself,
And to those dainty limbs which Nature lent

For gentle usage, and soft delicacy?

But you invert the covenants of her trust,

And harshly deal, like an ill borrower,

With that which you receiv'd on other terms."

Knihy