“His heart was in his two early poems—‘Venus and Adonis,’ and the ‘Rape of Lucrece,’” said Dr. Milman, “the only compositions, it should be observed, that were ever published by his authority, and to which he appended his name. His sonnets, which some people admire so much—an admiration in which I do not share—were published surreptitiously, without his consent, and probably more than one-half of them were not written by him. Some of them are undoubtedly by Marlowe, and some by authors of far inferior ability. Shakespeare’s name was popular at the time; there was no law of copyright, and booksellers did almost what they pleased with the names and works of celebrated men; and what seems extraordinary in our day, the celebrated men made no complaint—most probably because there was no redress to be obtained for them if they had done so. The real law of copyright only dates from the eighth year of the reign of Queen Anne, 1710, or nearly a century after Shakespeare’s death.” “But authors in those early days, even in the absence of a well-defined law of copyright,” said Mr. Miller, “received payment for their works; witness the receipt of John Milton for five pounds on account of ‘Paradise Lost’—now in the possession of our host—and which we have all seen.” “But that was long after the death of Shakespeare,” said Mr. Dyce, “and it does not appear that Shakespeare ever received a shilling for the copyright of any of his works. Perhaps he received gratuities from the Earls of Southampton and Pembroke, and the other rich young men about town, for whom it is supposed that he wrote many of his sonnets. That he also must have received considerable sums for his representation of his plays at the Globe Theatre is evident from the well-ascertained fact that he retired from theatrical business with a competent fortune and lived the life for some years of a prosperous country gentleman.”