To a certain extent, we must admit the charge of _circumlocution_, not as applied to individual sonnets, but to the subject on which the whole series is written. The obscurities of this species of poem have almost uniformly arisen from density and compression of style, nor are the compositions of Shakspeare more than usually free from this source of defect; but when it is considered that our author has written one hundred and twenty-six sonnets for the sole purpose of expressing his attachment to his patron, it must necessarily follow, that a subject so continually reiterated, would display no small share of circumlocution. Great ingenuity has been exhibited by the poet in varying his phraseology and ideas; but no effort could possibly obviate the monotony, as the result of such a task. We shall not condescend to a refutation of the _fourth_ epithet, which, if at all applicable to any portion of Shakspeare's minor poems, can alone apply to Sonnets 135. and 136., which are a continued pun upon his Christian name, a species of trifling which was the peculiar vice of our author's age. That an attempt to exhaust the subject of friendship; to say all that could be collected on the topic, would almost certainly lead, in the days of Shakspeare, to abstractions too subtile and metaphysical, and to a cast of diction sometimes too artificial and scholastic for modern taste, no person well acquainted with the progress of our literature can deny; but candour will, at the same time, admit, that the expression and versification of his sonnets are often natural, spirited, and harmonious, and that where the surface has been rendered hard and repulsive by the peculiarities of the period of their production, we have only to search beneath, in order to discover a rich ore of thought, imagery, and sentiment. It has been stated that Shakspeare's sonnets, consisting of three elegiac quatrains and a couplet, are constructed on the plan of Daniel's; a mode of arrangement which, though bearing no similitude to the elaborate involution of the Petrarchan sonnet, may be praised for the simplicity of its form, and the easy flow of its verse; and that these technical beauties have often been preserved by our bard, and are frequently the medium through which he displays the treasures of a fervent fancy and a feeling heart, we shall now attempt, by a series of extracts, to prove. The description of the sun in his course, his rising, meridian altitude, and setting, and his influence over the human mind, are enlivened by imagery peculiarly vivid and rich; the seventh and eighth lines especially, contain a picture of a great beauty:—