A Life of William Shakespeare / with portraits and facsimiles

by Sir Sidney Lee

The evidence of portraits.

But the most striking evidence of the identity of the

youth of the sonnets of ‘friendship’ with Southampton is found in the likeness of feature and complexion which characterises the poet’s description of the youth’s outward appearance and the extant pictures of Southampton as a young man. Shakespeare’s many references to his youth’s ‘painted counterfeit’ (xvi., xxiv., xlvii., lxvii.) suggest that his hero often sat for his portrait. Southampton’s countenance survives in probably more canvases than that of any of his contemporaries. At least fourteen extant portraits have been identified on good authority—nine paintings, three miniatures (two by Peter Oliver and one by Isaac Oliver), and two contemporary prints. [144] Most of these, it is true,

portray their subject in middle age, when the roses of youth had faded, and they contribute nothing to the present argument. But the two portraits that are now at Welbeck, the property of the Duke of Portland, give all the information that can be desired of Southampton’s aspect ‘in his youthful morn.’ [145] One of these pictures represents the Earl at twenty-one, and the other at twenty-five or twenty-six. The earlier portrait, which is reproduced on the opposite page, shows a young man resplendently attired. His doublet is of white satin; a broad collar, edged with lace, half covers a pointed gorget of red leather, embroidered with silver thread; the white trunks and knee-breeches are laced with gold; the sword-belt, embroidered in red and gold, is decorated at intervals with white silk bows; the hilt of the rapier is overlaid with gold; purple garters, embroidered in silver thread, fasten the white stockings below the knee. Light body armour, richly damascened, lies on the ground to the right of the figure; and a white-plumed helmet stands to the left on a table covered with a cloth of purple velvet embroidered in gold. Such gorgeous raiment suggests that its wearer bestowed much attention on his personal equipment. But the head is more interesting than the body. The eyes are blue, the cheeks pink, the complexion clear, and the expression sedate; rings are in the ears; beard and moustache are at an incipient stage, and are of the same, bright auburn hue as the hair in a picture of Southampton’s mother

that is also at Welbeck. [146a] But, however scanty is the down on the youth’s cheek, the hair on his head is luxuriant. It is worn very long, and falls over and below the shoulder. The colour is now of walnut, but was originally of lighter tint.

The portrait depicting Southampton five or six years later shows him in prison, to which he was committed after his secret marriage in 1598. A cat and a book in a jewelled binding are on a desk at his right hand. Here the hair falls over both his shoulders in even greater profusion, and is distinctly blonde. The beard and thin upturned moustache are of brighter auburn and fuller than before, although still slight. The blue eyes and colouring of the cheeks show signs of ill-health, but differ little from those features in the earlier portrait.

From either of the two Welbeck portraits of Southampton might Shakespeare have drawn his picture of the youth in the Sonnets. Many times does he tell us that the youth is fair in complexion, and that his eyes are fair. In Sonnet lxviii., when he points to the youth’s face as a map of what beauty was ‘without all ornament, itself and true’—before fashion sanctioned the use of artificial ‘golden tresses’—there can be little doubt that he had in mind the wealth of locks that fell about Southampton’s neck. [146b]

Sonnet cvii. the last of the series.

A few only of the sonnets that Shakespeare addressed to the youth can be allotted to a date subsequent to 1594; only two bear on the surface signs of a later composition. In Sonnet lxx. the poet no longer credits his hero with juvenile wantonness, but with a ‘pure, unstained prime,’ which has ‘passed by the ambush of young days.’ Sonnet cvii., apparently the last of the series, was penned almost a decade after the mass of its companions, for it makes references that cannot be mistaken to three events that took place in 1603—to Queen Elizabeth’s death, to the accession of James I, and to the release of the Earl of Southampton, who had been in prison since he was convicted in 1601 of complicity in the rebellion of the Earl of Essex. The first two events are thus described: