The Dark Lady of the Sonnets , livre ebook

Interactive Media - George Bernard Shaw

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22 pages

English

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It is midsummer night on the terrace of the Palace at Whitehall, overlooking the Thames. The Palace clock chimes four quarters and strikes eleven. The Man arrives at Whitehall where he meets a Beefeater guard. He persuades the Beefeater to allow him to stay to meet his girlfriend, a lady of the court, who will be arriving soon for a secret tryst. The Man notes down various interesting phrases used by the Beefeater. The Lady arrives, cloaked, but it is not the woman he is expecting. The Man immediately falls for her.

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Publié par	Interactive Media
Date de parution	17 août 2018
Nombre de lectures	0
EAN13	9781787247888
Langue	English
Poids de l'ouvrage	1 Mo

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George Bernard Shaw
The Dark Lady
of the Sonnets

New Edition

LONDON ∙ NEW YORK ∙ TORONTO ∙ SAO PAULO ∙ MOSCOW
PARIS ∙ MADRID ∙ BERLIN ∙ ROME ∙ MEXICO CITY ∙ MUMBAI ∙ SEOUL ∙ DOHA
TOKYO ∙ SYDNEY ∙ CAPE TOWN ∙ AUCKLAND ∙ BEIJING
New Edition
Published by Sovereign
This Edition first published in 2018
Copyright © 2018 Sovereign
All Rights Reserved.
ISBN: 9781787247888
Contents
PREFACE
THE DARK LADY OF THE SONNETS
PREFACE
HOW THE PLAY CAME TO BE WRITTEN
I had better explain why, in this little piece d’occasion, written for a performance in aid of the funds of the project for establishing a National Theatre as a memorial to Shakespear, I have identified the Dark Lady with Mistress Mary Fitton. First, let me say that I do not contend that the Dark Lady was Mary Fitton, because when the case in Mary’s favor (or against her, if you please to consider that the Dark Lady was no better than she ought to have been) was complete, a portrait of Mary came to light and turned out to be that of a fair lady, not of a dark one. That settles the question, if the portrait is authentic, which I see no reason to doubt, and the lady’s hair undyed, which is perhaps less certain. Shakespear rubbed in the lady’s complexion in his sonnets mercilessly; for in his day black hair was as unpopular as red hair was in the early days of Queen Victoria. Any tinge lighter than raven black must be held fatal to the strongest claim to be the Dark Lady. And so, unless it can be shewn that Shakespear’s sonnets exasperated Mary Fitton into dyeing her hair and getting painted in false colors, I must give up all pretence that my play is historical. The later suggestion of Mr Acheson that the Dark Lady, far from being a maid of honor, kept a tavern in Oxford and was the mother of Davenant the poet, is the one I should have adopted had I wished to be up to date. Why, then, did I introduce the Dark Lady as Mistress Fitton?
Well, I had two reasons. The play was not to have been written by me at all, but by Mrs Alfred Lyttelton; and it was she who suggested a scene of jealousy between Queen Elizabeth and the Dark Lady at the expense of the unfortunate Bard. Now this, if the Dark Lady was a maid of honor, was quite easy. If she were a tavern landlady, it would have strained all probability. So I stuck to Mary Fitton. But I had another and more personal reason. I was, in a manner, present at the birth of the Fitton theory. Its parent and I had become acquainted; and he used to consult me on obscure passages in the sonnets, on which, as far as I can remember, I never succeeded in throwing the faintest light, at a time when nobody else thought my opinion, on that or any other subject, of the slightest importance. I thought it would be friendly to immortalize him, as the silly literary saying is, much as Shakespear immortalized Mr W. H., as he said he would, simply by writing about him.
Let me tell the story formally.
THOMAS TYLER
Throughout the eighties at least, and probably for some years before, the British Museum reading room was used daily by a gentleman of such astonishing and crushing ugliness that no one who had once seen him could ever thereafter forget him. He was of fair complexion, rather golden red than sandy; aged between forty-five and sixty; and dressed in frock coat and tall hat of presentable but never new appearance. His figure was rectangular, waistless, neckless, ankleless, of middle height, looking shortish because, though he was not particularly stout, there was nothing slender about him. His ugliness was not unamiable; it was accidental, external, excrescential. Attached to his face from the left ear to the point of his chin was a monstrous goitre, which hung down to his collar bone, and was very inadequately balanced by a smaller one on his right eyelid. Nature’s malice was so overdone in his case that it somehow failed to produce the effect of repulsion it seemed to have aimed at. When you first met Thomas Tyler you could think of nothing else but whether surgery could really do nothing for him. But after a very brief acquaintance you never thought of his disfigurements at all, and talked to him as you might to Romeo or Lovelace; only, so many people, especially women, would not risk the preliminary ordeal, that he remained a man apart and a bachelor all his days. I am not to be frightened or prejudiced by a tumor; and I struck up a cordial acquaintance with him, in the course of which he kept me pretty closely on the track of his work at the Museum, in which I was then, like himself, a daily reader.
He was by profession a man of letters of an uncommercial kind. He was a specialist in pessimism; had made a translation of Ecclesiastes of which eight copies a year were sold; and followed up the pessimism of Shakespear and Swift with keen interest. He delighted in a hideous conception which he called the theory of the cycles, according to which the history of mankind and the universe keeps eternally repeating itself without the slightest variation throughout all eternity; so that he had lived and died and had his goitre before and would live and die and have it again and again and again. He liked to believe that nothing that happened to him was completely novel: he was persuaded that he often had some recollection of its previous occurrence in the last cycle. He hunted out allusions to this favorite theory in his three favorite pessimists. He tried his hand occasionally at deciphering ancient inscriptions, reading them as people seem to read the stars, by discovering bears and bulls and swords and goats where, as it seems to me, no sane human being can see anything but stars higgledy-piggledy. Next to the translation of Ecclesiastes, his magnum opus was his work on Shakespear’s Sonnets, in which he accepted a previous identification of Mr W. H., the “onlie begetter” of the sonnets, with the Earl of Pembroke (William Herbert), and promulgated his own identification of Mistress Mary Fitton with the Dark Lady. Whether he was right or wrong about the Dark Lady did not matter urgently to me: she might have been Maria Tompkins for all I cared. But Tyler would have it that she was Mary Fitton; and he tracked Mary down from the first of her marriages in her teens to her tomb in Cheshire, whither he made a pilgrimage and whence returned in triumph with a picture of her statue, and the news that he was convinced she was a dark lady by traces of paint still discernible.
In due course he published his edition of the Sonnets, with the evidence he had collected. He lent me a copy of the book, which I never returned. But I reviewed it in the Pall Mall Gazette on the 7th of January 1886, and thereby let loose the Fitton theory in a wider circle of readers than the book could reach. Then Tyler died, sinking unnoted like a stone in the sea. I observed that Mr Acheson, Mrs Davenant’s champion, calls him Reverend. It may very well be that he got his knowledge of Hebrew in reading for the Church; and there was always something of the clergyman or the schoolmaster in his dress and air. Possibly he may actually have been ordained. But he never told me that or anything else about his affairs; and his black pessimism would have shot him violently out of any church at present established in the West. We never talked about affairs: we talked about Shakespear, and the Dark Lady, and Swift, and Koheleth, and the cycles, and the mysterious moments when a feeling came over us that this had happened to us before, and about the forgeries of the Pentateuch which were offered for sale to the British Museum, and about literature and things of the spirit generally. He always came to my desk at the Museum and spoke to me about something or other, no doubt finding that people who were keen on this sort of conversation were rather scarce. He remains a vivid spot of memory in the void of my forgetfulness, a quite considerable and dignified soul in a grotesquely disfigured body.
FRANK HARRIS
To the review in the Pall Mall Gazette I attribute, rightly or wrongly, the introduction of Mary Fitton to Mr Frank Harris. My reason for this is that Mr Harris wrote a play about Shakespear and Mary Fitton; and when I, as a pious duty to Tyler’s ghost, reminded the world that it was to Tyler we owed the Fitton theory, Frank Harris, who clearly had not a notion of what had first put Mary into his head, believed, I think, that I had invented Tyler expressly for his discomfiture; for the stress I laid on Tyler’s claims must have seemed unaccountable and perhaps malicious on the assumption that he was to me a mere name among the thousands of names in the British Museum catalogue. Therefore I make it clear that I had and have personal reasons for remembering Tyler, and for regarding myself as in some sort charged with the duty of reminding the world of his work. I am sorry for his sake that Mary’s portrait is fair, and that Mr W. H. has veered round again from Pembroke to Southampton; but even so his work was not wasted: it is by exhausting all the hypotheses that we reach the verifiable one; and after all, the wrong road always leads somewhere.
Frank Harris’s play was written long before mine. I read it in manuscript before the Shakespear Memorial National Theatre was mooted; and if there is anything except the Fitton theory (which is Tyler’s property) in my play which is also in Mr Harris’s it was I who annexed it from him and not he from me. It does not matter anyhow, because this play of mine is a brief trifle, and full of manifest impossibilities at that; whilst Mr Harris’s play is serious both in size, intention, and quality. But there could not in the nature of things be much resemblance, because Frank conceives Shakespear to have been a broken-hearted, melancholy, enormously sentimental person, whereas I am convinced that he was very like myself: in fact, if I had been born in 1556 instead of in 1856, I should have taken to blank verse a