by Oscar Wilde
“One day Cyril left town to stay with his grandfather, I thought at the time, but I afterwards heard from Lord Crediton that this was not the case; and about a fortnight afterwards I received a telegram from him, handed in at Warwick, asking me to be sure to come and dine with him that evening at eight o’clock. When I arrived, he said to me, ‘The only apostle who did not deserve proof was St. Thomas, and St. Thomas was the only apostle who got it.’ I asked him what he meant. He answered that he had not merely been able to establish the existence in the sixteenth century of a boy-actor of the name of Willie Hughes, but to prove by the most conclusive evidence that he was the Mr. W. H. of the Sonnets. He would not tell me anything more at the time; but after dinner he solemnly produced the picture I showed you, and told me that he had discovered it by the merest chance nailed to the side of an old chest that he had bought at a farmhouse in Warwickshire. The chest itself, which was a very fine example of Elizabethan work, he had, of course, brought with him, and in the centre of the front panel the initials W. H. were undoubtedly carved. It was this monogram that had attracted his attention, and he told me that it was not till he had had the chest in his possession for several days that he had thought of making any careful examination of the inside. One morning, however, he saw that one of the sides of the chest was much thicker than the other, and looking more closely, he discovered that a framed panel picture was clamped against it. On taking it out, he found it was the picture that is now lying on the sofa. It was very dirty, and covered with mould; but he managed to clean it, and, to his great joy, saw that he had fallen by mere chance on the one thing for which he had been looking. Here was an authentic portrait of Mr. W. H., with his hand resting on the dedicatory page of the Sonnets, and on the frame itself could be faintly seen the name of the young man written in black uncial letters on a faded gold ground, ‘Master Will Hews.’
“It never occurred to me that Cyril Graham was playing a trick on me,” illustration by Arthur W. Crisp (uncredited) to “The Portrait of Mr. W. H.,” from Lord Arthur Savile’s Crime, The Portrait of Mr. W. H., and Other Stories, Vol. 4 of The Writings of Oscar Wilde: Uniform Edition (London: New York: Keller-Farmer, 1907).
“Well, what was I to say? It never occurred to me for a moment that Cyril Graham was playing a trick on me, or that he was trying to prove his theory by means of a forgery.”
“But is it a forgery?” I asked. “Of course it is,” said Erskine. “It is a very good forgery; but it is a forgery none the less. I thought at the time that Cyril was rather calm about the whole matter; but I remember he more than once told me that he himself required no proof of the kind, and that he thought the theory complete without it. I laughed at him, and told him that without it the theory would fall to the ground, and I warmly congratulated him on the marvellous discovery. We then arranged that the picture should be etched or facsimilied, and placed as the frontispiece to Cyril’s edition of the Sonnets;24 and for three months we did nothing but go over each poem line by line, till we had settled every difficulty of text or meaning. One unlucky day I was in a print-shop in Holborn, when I saw upon the counter some extremely beautiful drawings in silver-point. I was so attracted by them that I bought them; and the proprietor of the place, a man called Rawlings, told me that they were done by a young painter of the name of Edward Merton, who was very clever, but as poor as a church mouse. I went to see Merton some days afterwards, having got his address from the print-seller, and found a pale, interesting young man, with a rather common-looking wife—his model, as I subsequently learned. I told him how much I admired his drawings, at which he seemed very pleased, and I asked him if he would show me some of his other work. As we were looking over a portfolio, full of really very lovely things,—for Merton had a most delicate and delightful touch,—I suddenly caught sight of a drawing of the picture of Mr. W. H. There was no doubt whatever about it. It was almost a facsimile—the only difference being that the two masks of Tragedy and Comedy were not suspended from the marble table as they are in the picture, but were lying on the floor at the young man’s feet. ‘Where on earth did you get that?’ I said. He grew rather confused, and said ‘Oh, that is nothing. I did not know it was in this portfolio. It is not a thing of any value.’ ‘It is what you did for Mr. Cyril Graham,’ exclaimed his wife; ‘and if this gentleman wishes to buy it, let him have it.’ ‘For Mr. Cyril Graham?’ I repeated. ‘Did you paint the picture of Mr. W. H?’ ‘I don’t understand what you mean,’ he answered, growing very red. Well, the whole thing was quite dreadful. The wife let it all out. I gave her five pounds when I was going away. I can’t bear to think of it now; but of course I was furious. I went off at once to Cyril’s chambers, waited there for three hours before he came in, with that horrid lie staring me in the face, and told him I had discovered his forgery. He grew very pale, and said—‘I did it purely for your sake. You would not be convinced in any other way. It does not affect the truth of the theory.’ ‘The truth of the theory!’ I exclaimed; ‘the less we talk about that the better. You never even believed in it yourself. If you had, you would not have committed a forgery to prove it.’ High words passed between us; we had a fearful quarrel. I daresay I was unjust. The next morning he was dead.”
“Dead!” I cried.
“Yes; he shot himself with a revolver. Some of the blood splashed upon the frame of the picture, just where the name had been painted. By the time I arrived—his servant had sent for me at once—the police were already there. He had left a letter for me, evidently written in the greatest agitation and distress of mind.”
“What was in it?” I asked.
“Oh, that he believed absolutely in Willie Hughes; that the forgery of the picture had been done simply as a concession to me, and did not in the slightest degree invalidate the truth of the theory; and that in order to show me how firm and flawless his faith in the whole thing was, he was going to offer his life as a sacrifice to the secret of the Sonnets. It was a foolish, mad letter. I remember he ended by saying that he intrusted to me the Willie Hughes theory, and that it was for me to present it to the world, and to unlock the secret of Shakespeare’s heart.”
“It is a most tragic story,” I cried; “but why have you not carried out his wishes?”
Erskine shrugged his shoulders. “Because it is a perfectly unsound theory from beginning to end,” he answered.
“My dear Erskine,” I said, getting up from my seat, “you are entirely wrong about the whole matter. It is the only perfect key to Shakespeare’s Sonnets that has ever been made. It is complete in every detail. I believe in Willie Hughes.”
“Don’t say that,” said Erskine, gravely; “I believe there is something fatal about the idea, and intellectually there is nothing to be said for it. I have gone into the whole matter, and I assure you the theory is entirely fallacious. It is plausible up to a certain point. Then it stops. For heaven’s sake, my dear boy, don’t take up the subject of Willie Hughes. You will break your heart over it.”
“Erskine,” I answered, “it is your duty to give this theory to the world. If you will not do it, I will. By keeping it back you wrong the memory of Cyril Graham, the youngest and the most splendid of all the martyrs of literature.25 I entreat you to do him justice. He died for this thing,—don’t let his death be in vain.”
Erskine looked at me in amazement. “You are carried away by the sentiment of the whole story,” he said. “You forget that a thing is not necessarily true because a man dies for it. I was devoted to Cyril Graham. His death was a horrible blow to me. I did not recover it for years. I don’t think I have ever recovered it. But Willie Hughes? There is nothing in the idea of Willie Hughes. No such person ever existed. As for bringing the whole thing before the world—the world thinks that Cyril Graham shot himself by accident. The only proof of his suicide was contained in the letter to me, and of this letter the public never heard anything. To the present day Lord Crediton thinks that the whole thing was accidental.”
“Cyril Graham sacrificed
his life to a great idea,” I answered; “and if you will not tell of his martyrdom, tell at least of his faith.”
“His faith,” said Erskine, “was fixed in a thing that was false, in a thing that was unsound, in a thing that no Shakespearian scholar would accept for a moment. The theory would be laughed at. Don’t make a fool of yourself, and don’t follow a trail that leads nowhere. You start by assuming the existence of the very person whose existence is the thing to be proved. Besides, everybody knows that the Sonnets were addressed to Lord Pembroke. The matter is settled once for all.”
“The matter is not settled!” I exclaimed. “I will take up the theory where Cyril Graham left it, and I will prove to the world that he was right.”
“Silly boy!” said Erskine. “Go home: it is after two, and don’t think about Willie Hughes any more. I am sorry I told you anything about it, and very sorry indeed that I should have converted you to a thing in which I don’t believe.”
“You have given me the key to the greatest mystery of modern literature,” I answered; “and I shall not rest till I have made you recognise, till I have made everybody recognise, that Cyril Graham was the most subtle Shakespearian critic of our day.”26
As I walked home through St. James’s Park the dawn was just breaking over London. The white swans were lying asleep on the polished lake, and the gaunt Palace looked purple against the pale-green sky.27 I thought of Cyril Graham, and my eyes filled with tears.
II
It was past twelve o’clock when I awoke, and the sun was streaming in through the curtains of my room in long slanting beams of dusty gold. I told my servant that I would be at home to no one; and after I had had a cup of chocolate and a petit-pain, I took down from the book-shelf my copy of Shakespeare’s Sonnets,28 and began to go carefully through them. Every poem seemed to me to corroborate Cyril Graham’s theory. I felt as if I had my hand upon Shakespeare’s heart, and was counting each separate throb and pulse of passion. I thought of the wonderful boy-actor, and saw his face in every line.29
Two sonnets, I remember, struck me particularly: they were the 53d and the 67th. In the first of these, Shakespeare, complimenting Willie Hughes on the versatility of his acting, on his wide range of parts, a range extending from Rosalind to Juliet, and from Beatrice to Ophelia, says to him
What is your substance, whereof are you made,
That millions of strange shadows on you tend?
Since every one hath, every one, one shade,
And you, but one, can every shadow lend
—lines that would be unintelligible if they were not addressed to an actor, for the word “shadow” had in Shakespeare’s day a technical meaning connected with the stage. “The best in this kind are but shadows,” says Theseus of the actors in the “Midsummer Night’s Dream,” and there are many similar allusions in the literature of the day. These sonnets evidently belonged to the series in which Shakespeare discusses the nature of the actor’s art, and of the strange and rare temperament that is essential to the perfect stage-player. “How is it,” says Shakespeare to Willie Hughes, “that you have so many personalities?” and then he goes on to point out that his beauty is such that it seems to realise every form and phase of fancy, to embody each dream of the creative imagination—an idea that is still further expanded in the sonnet that immediately follows, where, beginning with the fine thought,
O, how much more doth beauty beauteous seem
By that sweet ornament which truth doth give!30
Shakespeare invites us to notice how the truth of acting, the truth of visible presentation on the stage, adds to the wonder of poetry, giving life to its loveliness, and actual reality to its ideal form. And yet, in the 67th sonnet, Shakespeare calls upon Willie Hughes to abandon the stage with its artificiality, its false mimic life of painted face and unreal costume, its immoral influences and suggestions, its remoteness from the true world of noble action and sincere utterance.
Ah! wherefore with infection should he live,
And with his presence grace impiety,
That sin by him advantage should achieve,
And lace itself with his society?
Why should false painting imitate his cheek
And steal dead seeming of his living hue?
Why should poor beauty indirectly seek
Roses of shadow, since his rose is true?
It may seem strange that so great a dramatist as Shakespeare, who realised his own perfection as an artist and his humanity as a man on the ideal plane of stage-writing and stage-playing, should have written in these terms about the theatre; but we must remember that in Sonnets cx. and cxi. Shakespeare shows us that he too was wearied of the world of puppets, and full of shame at having made himself “a motley to the view.” The 111th Sonnet is especially bitter:
O, for my sake do you with Fortune chide
The guilty goddess of my harmful deeds,
That did not better for my life provide
Than public means which public manners breeds.
Thence comes it that my name receives a brand,
And almost thence my nature is subdued
To what it works in, like the dyer’s hand:
Pity me, then, and wish I were renewed
and there are many signs elsewhere of the same feeling, signs familiar to all real students of Shakespeare.
One point puzzled me immensely as I read the Sonnets, and it was days before I struck on the true interpretation, which indeed Cyril Graham himself seems to have missed. I could not understand how it was that Shakespeare set so high a value on his young friend marrying. He himself had married young, and the result had been unhappiness, and it was not likely that he would have asked Willie Hughes to commit the same error. The boy-player of Rosalind had nothing to gain from marriage, or from the passions of real life. The early sonnets, with their strange entreaties to have children, seemed to me a jarring note. The explanation of the mystery came on me quite suddenly, and I found it in the curious dedication. It will be remembered that the dedication runs as follows:
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;31 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 82nd 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.32
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 da
ys,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.33
Dedication page (detail) to Shake-speares Sonnets. Neuer before Imprinted (London: G. Eld, for T. T., 1609).
You must create something in art: my verse “is thine, and born of thee;”34 only listen to me, and I will “bring forth eternal numbers to outlive long date,”35 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!36
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 the Sonnets Shakespeare was more or less indifferent. He did not wish to rest his fame on them. They were to him his “slight Muse,” as he calls them, and intended, as Meres tells us, for private circulation only among a few, a very few, friends. Upon the other hand he was extremely conscious of the high artistic value of his plays, and shows a noble self-reliance upon his dramatic genius. When he says to Willie Hughes:
But thy eternal summer shall not fade,