Ephemera Critica; Or, Plain Truths About Current LiteratureCollins, John Churton
History
Ephemera Critica; Or, Plain Truths About Current Literature
Collins, John Churton
Criticism; English literature -- History and criticism; Literature -- History and criticism
and deducing, with them, from Sonnets cxxxv., cxxxvi. and cxliii. that
the youth’s Christian name was William, Mr. Butler believes, as they
did, that the youth’s name was William Hughes, or Hewes; and Mr. Butler
is inclined to identify him, though he speaks, of course, by no means
confidently, with a William Hughes, who served as steward in the
_Vanguard_, _Swiftsure_ and _Dreadnought_, and who died in March,
1636-7. Mr. Butler supports his theories with hypotheses which an
impartial judge of evidence will find it difficult to concede. In the
face of Sonnets xxxvi., xxxvii. and cxxiv. the contention that the youth
was not in a superior social station to the poet cannot be maintained
with any confidence. There are still graver difficulties in the way of
supposing that the Sonnets were written between January, 1585-6 and
December, 1588. That they could be the work of a young man between his
twenty-first and his twenty-fourth year, and have preceded by some four
years the composition of _Venus and Adonis_ and the _Rape of Lucrece_,
is simply incredible; but it is a question which cannot be argued, for
we have nothing but mere hypothesis to go upon. Mr. Butler’s
arrangement and interpretation of the Sonnets are, moreover, purely
fanciful. When Mr. Butler would have us believe that some of the Sonnets
in the second group, from cxxvii. to clii., are addressed to and concern
not the woman, but the youth, he asks us to accept a theory which is not
only revolting, but which sets all probability at defiance. Similarly
absurd, he must forgive us for saying, is his grotesquely repulsive
interpretation of Sonnet xxxiv. Nor is there anything to justify the
interpretation placed on Sonnets xxxiii. and xxxiv. or the collocation
of cxxi. All that can be said for Mr. Butler’s exceedingly ingenious and
admirably argued theory is, that it supports a view of the question
which, if it admits of no positive confutation, produces no conviction.
No theory, based on an arbitrary arrangement of these poems and on
positive deductions drawn, or rather strained, from most ambiguous
evidence and from pure hypotheses, can possibly be satisfactory.
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