Lord Arthur Savile’s Crime and Other Stories by Oscar Wilde (best ereader for graphic novels .TXT) 📕

exaggerated, became clear and rational, and of high artistic import, illustrating Shakespeare’s conception of the true relations between the art of the actor and the art of the dramatist.

“It is of course evident that there must have been in Shakespeare’s company some wonderful boy-actor of great beauty, to whom he entrusted the presentation of his noble heroines; for Shakespeare was a practical theatrical manager as well as an imaginative poet, and Cyril Graham had actually discovered the boy-actor’s name. He was Will, or, as he preferred to call him, Willie Hughes. The Christian name he found of course in the punning sonnets, CXXXV and CXLIII; the surname was, according to him, hidden in the seventh line of the 20th Sonnet, where Mr. W. H. is described as⁠—

A man in hew, all Hews in his controwling.

“In the original edition of the Sonnets ‘Hews’ is printed with a capital letter and in italics, and this, he claimed, showed clearly that a play on words was intended, his view receiving a good deal of corroboration from those sonnets in which curious puns are made on the words ‘use’ and ‘usury.’ Of course I was converted at once, and Willie Hughes became to me as real a person as Shakespeare. The only objection I made to the theory was that the name of Willie Hughes does not occur in the list of the actors of Shakespeare’s company as it is printed in the first folio. Cyril, however, pointed out that the absence of Willie Hughes’s name from this list really corroborated the theory, as it was evident from Sonnet LXXXVI that Willie Hughes had abandoned Shakespeare’s company to play at a rival theatre, probably in some of Chapman’s plays. It is in reference to this that in the great sonnet on Chapman, Shakespeare said to Willie Hughes⁠—

But when your countenance fill’d up his line,
Then lack’d I matter; that enfeebled mine⁠—

the expression ‘when your countenance filled up his line’ referring obviously to the beauty of the young actor giving life and reality and added charm to Chapman’s verse, the same idea being also put forward in the 79th Sonnet⁠—

Whilst I alone did call upon thy aid,
My verse alone had all thy gentle grace;
But now my gracious numbers are decay’d,
And my sick Muse doth give another place;

and in the immediately preceding sonnet, where Shakespeare says⁠—

Every alien pen has got my use
And under thee their poesy disperse,

the play upon words (use=Hughes) being of course obvious, and the phrase ‘under thee their poesy disperse,’ meaning ‘by your assistance as an actor bring their plays before the people.’

“It was a wonderful evening, and we sat up almost till dawn reading and rereading the Sonnets. After some time, however, I began to see that before the theory could be placed before the world in a really perfected form, it was necessary to get some independent evidence about the existence of this young actor, Willie Hughes. If this could be once established, there could be no possible doubt about his identity with Mr. W. H.; but otherwise the theory would fall to the ground. I put this forward very strongly to Cyril, who was a good deal annoyed at what he called my Philistine tone of mind, and indeed was rather bitter upon the subject. However, I made him promise that in his own interest he would not publish his discovery till he had put the whole matter beyond the reach of doubt; and for weeks and weeks we searched the registers of City churches, the Alleyn MSS. at Dulwich, the Record Office, the papers of the Lord Chamberlain⁠—everything, in fact, that we thought might contain some allusion to Willie Hughes. We discovered nothing, of course, and every day the existence of Willie Hughes seemed to me to become more problematical. Cyril was in a dreadful state, and used to go over the whole question day after day, entreating me to believe; but I saw the one flaw in the theory, and I refused to be convinced till the actual existence of Willie Hughes, a boy-actor of Elizabethan days, had been placed beyond the reach of doubt or cavil.

“One day Cyril left town to stay with his grandfather, I thought at the time, but I afterwards heard from Lord Crediton that this was not the case; and about a fortnight afterwards I received a telegram from him, handed in at Warwick, asking me to be sure to come and dine with him that evening at eight o’clock. When I arrived, he said to me, ‘The only apostle who did not deserve proof was St. Thomas, and St. Thomas was the only apostle who got it.’ I asked him what he meant. He answered that he had not merely been able to establish the existence in the sixteenth century of a boy-actor of the name of Willie Hughes, but to prove by the most conclusive evidence that he was the Mr. W. H. of the Sonnets. He would not tell me anything more at the time; but after dinner he solemnly produced the picture I showed you, and told me that he had discovered it by the merest chance nailed to the side of an old chest that he had bought at a farmhouse in Warwickshire. The chest itself, which was a very fine example of Elizabethan work, he had, of course, brought with him, and in the centre of the front panel the initials W. H. were undoubtedly carved. It was this monogram that had attracted his attention, and he told me that it was not till he had had the chest in his possession for several days that he had thought of making any careful examination of the inside. One morning, however, he saw that one of the sides of the chest was much thicker than the other, and looking more closely, he discovered that a framed panel picture was clamped against it. On taking it out, he found it