These, then, are the personages of the drama, and the story is very simple: Shakespeare loved Mistress Fitton and sent his friend, the young Lord Herbert, to her on some pretext, but with the design that he should commend Shakespeare to the lady. Mistress Fitton fell in love with William Herbert, wooed and won him, and Shakespeare had to mourn the loss of both friend and mistress.
It would be natural to speak of this identification of Mr. Tyler's as the best working hypothesis yet put forward; but it would be unfair to him; it is more than this. Till his book appeared, even the date of the sonnets was not fixed; many critics regarded them as an early work, as early indeed, as 1591 or 1592; he was the first person to prove that the time they cover extends roughly from 1598 to 1601. Mr. Tyler then has not only given us the names of the actors, but he has put the tragedy in its proper place in Shakespeare's life, and he deserves all thanks for his illuminating work.
I bring to this theory fresh corroboration from the plays. Strange to say, Mr. Tyler has hardly used the plays, yet, as regards the story told in the sonnets, the proof that it is a real and not an imaginary story can be drawn from the plays. I may have to point out, incidentally, what I regard as mistakes and oversights in Mr. Tyler's work; but in the main it stands four-square, imposing itself on the reason and satisfying at the same time instinct and sympathy.
Let us first see how far the story told in the sonnets is borne out by the plays. For a great many critics, even to-day, reject the story altogether, and believe that the sonnets were nothing but poetic exercises.
The sonnets fall naturally into two parts: from 1 to 126 they tell how Shakespeare loved a youth of high rank and great personal beauty; sonnet 127 is an envoi; from 128 to 152 they tell of Shakespeare's love for a “dark lady.” What binds the two series together is the story told in both, or at least told in one and corroborated in the other, that Shakespeare first sent his friend to the lady, most probably to plead his cause, and that she wooed his friend and gave herself to him. Now this is not a common or easily invented story. No one would guess that Shakespeare could be so foolish as to send his friend to plead his love for him. That's a mistake that no man who knows women would be likely to make: but the unlikelihood of the story is part of the evidence of its truth—credo quia incredibile has an element of persuasion in it.
No one has yet noticed that the story of the sonnets is treated three times in Shakespeare's plays. The first time the story appears it is handled so lightly that it looks to me as if he had not then lived through the incidents which he narrates. In the “Two Gentlemen of Verona” Proteus is asked by the Duke to plead Thurio's cause with Silvia, and he promises to do so; but instead, presses his own suit and is rejected. The incident is handled so carelessly (Proteus not being Thurio's friend) that it seems to me to have no importance save as a mere coincidence. When the scene between Proteus and Silvia was written Shakespeare had not yet been deceived by his friend. Still in “The Two Gentlemen of Verona” there is one speech which certainly betrays personal passion. It is in the last scene of the fifth act, when Valentine surprises Proteus offering violence to Silvia.
“Val.(coming forward) Ruffian, let go that rude uncivil
touch,—
Thou friend of an ill fashion!
Pro. Valentine!
Val. Thou common friend, that's without faith or love,—
For such is a friend now;—treacherous man!
Thou hast beguiled my hopes: nought but mine eye
Could have persuaded me. Now I dare not say
I have one friend alive: thou would'st disprove me.
Who should be trusted when one's own right hand
Is perjured to the bosom? Proteus,
I am sorry I must never trust thee more,
But count the world a stranger for thy sake.
The private wound is deepest: time most accurst
'Mongst all foes that a friend should be the worst!”
The first lines which I have italicised are too plain to be misread; when they were written Shakespeare had just been cheated by his friend; they are his passionate comment on the occurrence—“For such is a friend now”—can hardly be otherwise explained. The last couplet, too, which I have also put in italics, is manifestly a reflection on his betrayal: it is a twin rendering of the feeling expressed in sonnet 40:
“And yet love knows it is a greater grief
To bear love's wrong than hate's known injury.”
It contrasts “foe and friend,” just as the sonnet contrasts “love and hate.”