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is metaphorical; a disability to join in the joyous movement of life, as his friend does. Capell and others conje&ured that Shakspere was literally lame.

3. Dearest, chief, strongest; as in Hamlet, A& I. sc. 2, 1. 182:

Would I had met my deareft foe in heaven. 7. Entitled in thy parts do crowned fit. The Quarto reads "their parts’; but the misprint their for thy happens several times. Schmidt accepts the Quarto text and explains, 'i.e. or more excellencies, having a just claim to the first place as their due. Blundering M. Edd. e. in thy parts'. 'Entitled means, I think, ennobled'.-MALONE. • Perhaps ':-DYCE. Perhaps it means “having a title in, having a claim upon', as in Lucrece, 57:But beauty in that white (the paleness of Lucrece)

intituled, From Venus' doves doth challenge that fair field.

XXXVIII. The same thought as that of the two preceding sonnets : Shakspere will look on, delight in his friend, and sing his praise. In XXXVII. 14, Shakspere is ‘ten times happy' in his friend's happiness and glory; thus he receives ten times the inspiration of other poets from his friend who is the tenth Muse, ten times more in worth' than the old nine Muses.

XXXIX. In XXXVIII. Shakspere declares that he will sing his friend's praises, but in xxxvII. he had spoken of his friend as the better part of himself. He now asks how he can with modesty sing the worth of his own better part. Thereupon he returns to the thought of XXXVI. 'we two must be twain'; and now, not only are the two lives to be divided, but our dear love'-undivided in XXXVI. -muft. lose name of single one'.

12. Doth. The Quarto has ‘doft'.

13, 14. Absence teaches how to make of the absent beloved two persons, one, absent in reality, the other, present to imagination.

XL. In xxxix. Shakspere desires that his love and his friend's may be separated, in order that he may give his friend what otherwise he must give also to himself. Now, separated, he gives his beloved all his loves, yet knows that, before the gift, all his was his friend's by right. Our love losing name of single one' (xxxix. 6) suggests the manifold loves, mine and thine.

s. Then if for love of me thou receivest her whom I love.

6. For, because: I cannot blame thee for using my love, i.e. her whom I love.

7, 8. The Quarto has 'this selfe' for thyself. Yet you are to blame if you deceive yourself by an unlawful union while you refuse loyal wedlock.

11. And yet love knows it. Printed by many editors, 'And yet, love knows, it'.

XLI. The thought of xL. 13, ‘Lascivious grace, in whom all ill well shows' is carried out in this fonnet.


Pretty wrongs. Bell and Palgrave read petty. S, 6. Compare i King Henry VI., A& v. sc. 3, 11. 77, 78:

She's beautiful and therefore to be wood;

She is a woman, therefore to be won. 8. Till she have prevaild. The Quarto has 'till he', which may be right.

9. Thou mights my seat forbear. Malone reads • Thou might'st, my sweet, forbear'; but ‘seat' is right, and the meaning is explained by Othello, A& 11. sc. 1, l. 304, (Iago jealous of Othello) :

I do suspeat the lufy Moor
Hath leap'd into my

Dr. Ingleby adds, as a parallel, Lucrece, 412, 413.

XLII. In XLI. 13, 14, Shakspere declares that he loses both friend and mistress; he now goes on to say that the loss of his friend is the greater of the two.

10, 12. The loss' and cross' of these lines are spoken of in xxxiv.

11. Both twain. This is found also in Love's Labour's Loft, A& v. sc. 2, l. 459.

XLIII. Does this begin a new group of Sonnets?

1. Wink, to close the eyes, not necessarily for a moment, but as in fleep. Compare Cymbeline, Act 11. sc. 3,

And winking Mary-buds begin

To ope their golden eyes.
2. Unrefpe&ed, unregarded.

4. And darkly, etc. And illumined, although closed, are clearly dire&ted in the darkness.

25, 26:

s. Whose shadow shadows, etc.

Whose image makes bright the shades of night.

6. Shadow's form, the form which casts thy shadow.

11. Thy. The Quarto has their.

13, 14. All days are nights to see, etc. Malone proposed nights to me'. Steevens defending the Quarto text explains it 'All days are gloomy to behold, i.e. look like nights'. Mr. Lettsom proposed:

All days are nights to me till thee I see, [thee. And nights bright days when dreams do show me

*To see till I see thee', is probably right in this sonnet, which has a more than common fancy for doubling a word in the same line, as in lines 4, 5, 6.

XLIV. In XLIII. he obtains sight of his friend in dreams; xliv. expreffes the longing of the waking hours to come into his friend's presence by some preternatural means.

4. Where thou dost stay. I would be brought where (i.e. to where) thou dost stay.

9. Thought kills me. Perhaps thought' here means melancholy contemplation, as in Julius Cæfar A& 11. sc. 1, l. 187, ‘Take thought and die for Cæsar'.

10. So much of earth and water wrought. So Jarge a proportion of earth and water having entered into my composition. Twelfth Night, AA II. sc. 3, 1. 10, Does not our life consist of the four elements ?' Antony do Cleopatra, A& v. sc. 2, l. 292; King Henry V., Act III. sc. 7, l. 22; • He is pure air and fire; and the dull elements of earth and water never appear in him, but only in patient stillness, etc.'

XLV. Sonnet XLIV. tells of the duller elements of earth and water; this sonnet, of the elements of air and fire.

9. Recured, restored to wholeness and soundness. Venus & Adonis, l. 465.

12. Thy fair health. The Quarto has their for thy.

XLVI. As xliv. and xlv. are a pair of companion sonnets, so are XLVI. and XLVII. The theme of the first pair is the opposition of the four elements in the person of the poet; the theme of the second is the opposition of the heart and the eye, i.e. of love and the senses.

3. Thy pidure's sight. The Quarto has their, so also in lines 8, 13, 14.

10. A quest of thoughts, an inquest or jury.
12. Moiety, portion.


XLVII. Companion sonnet to the last. 3. Famished for a look. Compare Sonnet Lxxv.

So Comedy of Errors, A& 11. sc. 1, l. 88:

Whils I at home farve for a merry look. 10. Art present. The Quarto has are.

II, 12. Not. Quarto nor. The same thought which appears

in XLV. Compare Sonnets xIx., xx. of Watson's Tears of Fancie, 1593 (Watson's Poems, ed. Arber, p. 188):

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