There is not a shadow of proof for the hypothesis that the Dark Lady of the Sonnets was a Maid of Honour, Mary Fitton, whose portraits demonstrate that she was of a fair complexion, with grey eyes and brown hair. We have not the slightest reason to believe that, in 1597-1601, when he was building up an estate, Shakespeare was mad with love of Mary, and jealousy of her lovers who, after 1601, are unknown, till, in 1606, she committed a fault, in the country. Of the two Earls, Southampton, rather more probably than Pembroke, was, if either of them was, the beloved friend of the Sonnets.[7] The Sonnets are not in the Italian or Petrarchian form of recurring rhymes, but are in three verses of four lines, with a rhyming couplet to conclude. In many respects they resemble the sonnets fashionable at the time, with praise of a patron whom the poet loves and who is the inspiration of the poet. The accustomed conceits of Petrarch and his French followers, des Portes, Ronsard, and many others, are transfigured by the poet's genius. It was usual to applaud the beauty of the patron, and to exaggerate the love of the poet. This was matter of common form, but the sonnets of Shakespeare reflect the actual passion of love, or of friendship "passing the love of women," yet always respectful. People wrote thus to Elizabeth in her old age, but Shakespeare conveys an impression of sincerity, whether because he felt what he expresses, or whether his genius makes real and glowing that which was, with other writers, mere matter of compliment. He may be "unlocking his heart," in either case, for he must have known, for some one, the passion which, on the second theory, he dramatically employs to glorify his young inspirer. Yet again, he could imitate and express "all thoughts, all passions": his "sweetest nature" can scarcely have known the emotions of Shylock! However we may try to distinguish between what is conventional and what is _felt_ in the Sonnets, they apparently refer to real persons and real situations. Sonnets I-XVII urge marriage on the beautiful young patron and friend: his beauties and virtues must live in his children as well as in verse. Sonnets XXXIII-XXXVI hint at some measure of estrangement, some wrong done to the poet by the friend. No more be grieved at that which thou hast done. Sonnets XL-XLIII suggest that the friend has drawn away the poet's mistress. I do forgive thy robbery, gentle thief, Although thou steal thee all my poverty. Such are The pretty wrongs that liberty commits. The suffering poet appears to bear no malice, it must be admitted. Thenceforward there are regrets for the absence of the friend, beautiful reflections, promises of immortality in verse, till (LXVII) the poet hears that the friend keeps bad company, and though (LXX) this may be an envious slander, the poet has his doubts. In LXVIII-XCIII the poet feels that the patron is preferring other minstrels, and one of these he applauds for