from the writings of learned men of antiquity, and of the ages preceding that of Elizabeth. Mrs. Pott has traced the analogy in many instances between these disjointed thoughts and passages from the dramas attributed to Shakespeare, in which they appear in more gorgeous dress; and thus furnished a strong inferential argument in favor of the Baconian theory of authorship. This "youth's proud livery," which would be a "tatter'd weed" if not used before the age of forty, was the Truth as set forth in these commonplace books, elaborated and embellished by his powers of composition. It would be mere "tatters" if unused. SONNET 3. Look in Thy glass, and tell the face Thou viewest Or who is he so fond will be the tomb Of his self-love, to stop posterity? Thou art Thy mother's glass, and she in Thee So Thou through windows of Thine age shalt see, But if Thou live, remember'd not to be, Die single, and Thine image dies with Thee. The Rev. John Lord, in his admirable lecture on Queen Elizabeth, winds up a graphic description of the condition of England at the time of her accession, in the following glowing language: "In England, in Elizabeth's time, there was a noble material for Christianity and art and literature to work upon, and to develop a civilization such as had not existed previously on this earth,— a civilization destined to spread throughout the world, in new inventions, laws, language, and literature, binding hostile races together, and proclaiming the sovereignty of intelligence." "Look in thy glass." "Glass" as used here, and in other places in the poem, means past life. Look in his past life, and “tell the face Thou viewest" (his culture, opportunities, education, and natural abilities) that the time of life has come to him when he should utilize these attainments in the production of some work reflecting their powers and beauties. Failing of this, "thou dost beguile the world" (the world will be deceived in the opinion it has formed of his genius), and "unbless some mother" (some subject suited to his taste will fail of investigation). There are no "unear'd" (original) matters which Thy (Thought) could not examine with profit, and he would be selfish indeed, who, having the power, would keep his thoughts in himself as in a "tomb," and so rob "posterity" of them. As his mother gave her thoughts to the revealment of Truth, so in his thoughts she would see her life reproduced. Truth, despite of age, would be encircled by his youthful thoughts, and he would see that this had proved the time for their improvement. There was work for him to do, and it would be his own fault if he neglected to do it. The age was full of opportunities, and great men were rapidly improving them. A mighty revolution in the world's history was in progress, and if he failed to participate in it, and remained unknown, he would "die single" (be forgotten), and his "image" (his memory) would die with him. SONNET 4. Unthrifty loveliness, why dost Thou spend Thy unus'd beauty must be tomb'd with Thee, Nature, which gives no more to him than others, has lent him much more, and is entitled to a proper return for it. "Being frank, she lends to those are free" (her kindness, frankly bestowed, should be freely given to the world). Why does he abuse the "bounteous largess given him to give"? (Why should he, so greatly endowed, neglect to make others participators of his gifts?) Why use it, and not live in it? In other words, why let his great powers (his thought and beauty) remain in himself, when so much good can be done by devoting them to some great service that will outlive him, and give him an undying name. It is wrong not to "live" (perpetuate himself), with "so great a sum of sums" (such wide and varied powers). He belies himself by keeping them unused; and will leave nothing to show that he has ever lived. All his "unus'd beauty" (those talents, both acquired and natural), which, if devoted to proper uses, would give him character and renown, and be to him at death as an “executor," will be "tomb'd with Thee" (buried with his thoughts, and lost to the world). SONNET 5. Those hours, that with gentle work did frame For never-resting time leads summer on To hideous winter, and confounds him there; Sap check'd with frost, and lusty leaves quite gone, Then, were not summer's distillation left, But flowers distill'd, though they with winter meet, If he neglects to use his powers, the hours of study, which have made him so accomplished in learning, intelligence, and poetry, will cause him to be scorned and despised for his neglect, when never-resting time leads summer on to hideous winter" (when his youth is passed, and dreary old age comes). He will then be like a tree whose sap is frozen, bare of leaves; all its beauty covered with snow, and its limbs, and all around it, naked and cold. But if he improves his opportunities, they will be to him like "summer's distillation" (the life-preserving principle) to the tree and to flowers, which no winter with its frost and snow and bareness can rob of their perfume. SONNET 6. Then let not winter's ragged hand deface Which happies those that pay the willing loan; Ten times Thyself were happier than Thou art, If ten of Thine ten times refigur'd Thee: Then what could death do, if Thou shouldst depart, Be not self-will'd, for Thou art much too fair To be Death's conquest, and make worms Thine heir. He should protect his age from such disasters, as from neglect await it, by producing something in his youth. His power to delineate Truth and Beauty should be displayed in his thoughts, before it is destroyed by age. There is abundant opportunity for all that he can do; "that use is not forbidden usury" (where the work is well done). He |