On Helen's cheek all art of beauty set, In all external grace you have some part, But you like none, none you, for constant heart.-53. Between the 20th Sonnet and the 53rd occur, as it appears to us, a number of fragments which we have variously classified; and which seem to have no relation to the praises of that "unknown youth" who has been supposed to preside over five-sixths of the entire series of verses. We have little doubt that the " begetter" of the Sonnets was not able to beget, or obtain, all; and that there is a considerable hiatus between the 20th Sonnet and the second hyperbolical close, which he filled up as well as he could, from other "sugared sonnets amongst private friends:" O how much more doth beauty beauteous seem, Hang on such thorns, and play as wantonly They live unwoo'd, and unrespected fade; Die to themselves. Sweet roses do not so; Of their sweet deaths are sweetest odours made: And so of you, beauteous and lovely youth, When that shall fade, by verse distils your truth.-54. Not marble, not the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone, besmear'd with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall burn The living record of your memory. 'Gainst death and all oblivious enmity Shall you pace forth; your praise shall still find room, Even in the eyes of all posterity That wear this world out to the ending doom. So till the judgment that yourself arise, You live in this, and dwell in lovers' eyes.-55. Wherever we meet with these magnificent promises of the immortality which the poet's verses are to bestow, we find them associated with that personage, the representative at once of " Adonis" and of "Helen," who presents himself to us as the unreal coinage of the fancy. In many of the lines which we have given in the second division of this inquiry, the reader will have noticed the affecting mo desty, the humility without abasement, of the great poet comparing himself with others. Here Shakspere indeed speaks. For example, take the whole of the 32nd Sonnet. We should scarcely imagine, if the poem were continuous, as Mr. Brown believes, that the last stanza of the second portion of it in his classification would conclude with these lines: "Not marble, not the gilded monuments Of princes, shall outlive this powerful rhyme.” They contrast remarkably with the tone of the 32nd Sonnet,— so say I severally of Sir Philip Sidney's, Spenser's, Daniel's, Drayton's, Shakespeare's, and Warner's works." What Ovid and Horace said is imitated in the 55th Sonnet. But we greatly doubt if what Meres would have said of Shakspere he would have said of himself, except in some assumed character, to which we have not the key. Ben Jonson, to whom a boastful spirit has with some justice been objected, never said anything so strong of his own writings; and he wrote with too much reliance, in this and other particulars, upon classical examples. But Jonson was not a writer of Sonnets, which, pitched in an artificial key, made this boastful tone a constituent part of the whole performance. The man, who never once speaks of his own merits in the greatest productions of the human intellect, when he put on the imaginary character in which a poet is weaving a fiction out of his supposed personal relations, did not hesitate to conform himself to the practice of other masters of the art. Shakspere here adopted the tone which Spenser, Daniel, and Drayton had adopted. The parallel appears to us very remarkable; and we must beg the indulgence of our readers while we present them a few passages from each of these writers. And first of Spenser. His 27th Sonnet will furnish an adequate notion of the general tone of his 'Amoretti,' and of the self-exaltation which appears to belong to this species of poem : "Fair Proud! now tell me, why should fair be proud, And in the shade of death itself shall shroud, However now thereof ye little ween! That goodly idol, now so gay beseen, Shall doff her flesh's borrow'd fair attire; And be forgot as it had never been; That many now much worship and admire! Ne any mention shall thereof remain, But what this verse, that never shall expire, And the 69th Sonnet is still more like the model upon which Shakspere formed his 55th: "The famous warriors of the antique world In which they would the records have enroll'd Of my love's conquest, peerless beauty's prize, That may admire such world's rare wonderment; Spenser's 75th Sonnet also thus closes : "My verse your virtues rare shall eternize, And in the heavens write your glorious name. Where, when as Death shall all the world subdue, Our love shall live, and later life renew.' Of Daniel's Sonnets, the 41st and 42nd furnish examples of the same tone, though somewhat more subdued than in Shakspere or Spenser: "Be not displeas'd that these my papers should Or that my wits have show'd the best they could. My muse should sound thy praise with mournful warble; Shall rest in ice, when thine is grav'd in marble! Although my careful accents never mov'd thee, "Delia, these eyes, that so admire thine, Have seen those walls which proud ambition rear'd And therefore grieve not if thy beauties die; And must enstar the needle and the rail. That grace which doth more than enwoman thee, Lives in my lines, and must eternal be." But Drayton, if he display not the energy of Shakspere, the fancy of Spenser, or the sweetness of Daniel, is not behind either in the extravagance of his admiration or his confidence in his own power. The 6th and the 44th "Ideas" are sufficient examples : "How many paltry, foolish, painted things, When nothing else remaineth of these days, "Whilst thus my pen strives to eternize thee, Is modell'd out the world of my disgrace: Proudly thou scorn'st my world-outwearing rhymes, We now proceed to what appears another continuous poem amongst Shakspere's Sonnets, addressed to the same object as the first nineteen stanzas were addressed to, and devoted to the same admiration of his personal beauty. The leading idea is now that of the spoils of Time, to be repaired only by the immortality of verse : Where art thou, Muse, that thou forgett'st so long And gives thy pen both skill and argument. Rise, restive Muse, my love's sweet face survey, If any, be a satire to decay, And make Time's spoils despised everywhere. Give my love fame faster than Time wastes life ; So thou prevent'st his scythe and crooked knife.-100. O truant Muse, what shall be thy amends, So dost thou too, and therein dignified. Make answer, Muse: wilt thou not haply say, Then do thy office, Muse; I teach thee how To make him seem long hence as he shows now. -101. My love is strengthen'd, though more weak in seeming Alack! what poverty my Muse brings forth, Than of your graces and your gifts to tell; And more, much more, than in my verse can sit, ; Your own glass shows you, when you look in it.-103. To me, fair friend, you never can be old, Three April perfumes in three hot Junes burn'd, Steal from his figure, and no pace perceiv'd; So your sweet hue, which methinks still doth stand, R |