"To • the • onlie • begetter • of •
these • insuing • sonnets •
Mr W. H. • all • happinesse •
and • that • eternitie •
promised • by •
our • ever-living • poet •
wisheth •
the • well-wishing •
adventurer • in •
setting •
forth.
T. T."
Some scholars have supposed that the word "begetter" in this dedication means simply the procurer of the Sonnets for Thomas Thorpe the publisher; but this view is now generally abandoned, and the highest authorities are quite agreed that it is to be taken in the sense of inspirer, the metaphor being drawn from the analogy of physical life. Now I saw that the same metaphor was used by Shakespeare himself all through the poems, and this set me on the right track. Finally I made my great discovery. The marriage that Shakespeare proposes for Willie Hughes is the "marriage with his Muse," an expression which is definitely put forward in the 82d Sonnet, where, in the bitterness of his heart at the defection of the boy-actor for whom he had written his greatest parts, and whose beauty had indeed suggested them, he opens his complaint by saying—
"I'll grant thou wert not married to my Muse.
The children he begs him to beget are no children of flesh and blood, but more immortal children of undying fame. The whole cycle of the early sonnets is simply Shakespeare's invitation to Willie Hughes to go upon the stage and become a player. How barren and profitless a thing, he says, is this beauty of yours if it be not used:
"When forty winters shall besiege thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tattered weed, of small worth held:
Then being asked where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise."
You must create something in art: my verse "is thine, and born of thee;" only listen to me, and I will "bring forth eternal numbers to outlive long date," and you shall people with forms of your own image the imaginary world of the stage. These children that you beget, he continues, will not wither away, as mortal children do, but you shall live in them and in my plays: do but
"Make thee another self, for love of me,
That beauty still may live in thine or thee!"
I collected all the passages that seemed to me to corroborate this view, and they produced a strong impression on me, and showed me how complete Cyril Graham's theory really was. I also saw that it was quite easy to separate those lines in which he speaks of the Sonnets themselves from those in which he speaks of his great dramatic work. This was a point that had been entirely overlooked by all critics up to Cyril Graham's day. And yet it was one of the most important points in the whole series of poems. To
