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'It is of course evident that there must have been in Shakespeare's company some wonderful boy-actor of great beauty, to whom he intrusted 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.
I thought of the wonderful boy-actor, and saw his face in every line. Two sonnets, I remember, struck me particularly: they were the 53rd and the 67th. In the first of these, Shakespeare, complimenting Willie Hughes on the versatility of his acting, on his wide range of parts, a range extending from Rosalind to Juliet, and from Beatrice to Ophelia, says to him
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.
Indeed there would have been something peculiarly fitting in the idea that the boy-actor, whose beauty had been so vital an element in the realism and romance of Shakespeare's art, should have been the first to have brought to Germany the seed of the new culture, and was in his way the precursor of that Aufklarung or Illumination of the eighteenth century, that splendid movement which, though begun by Lessing and Herder, and brought to its full and perfect issue by Goethe, was in no small part helped on by another actor Friedrich Schroeder who awoke the popular consciousness, and by means of the feigned passions and mimetic methods of the stage showed the intimate, the vital, connection between life and literature.
Thou art all my art, and dost advance As high as learning my rude ignorance, he to whom he promised immortality, Where breath most breathes, even in the mouths of men, was surely none other than the boy-actor for whom he created Viola and Imogen, Juliet and Rosalind, Portia and Desdemona, and Cleopatra herself.
The first English actress was the lovely Margaret Hews, whom Prince Rupert so madly loved. What more probable than that between her and Lord Essex's musician had come the boy-actor of Shakespeare's plays? But the proofs, the links where were they? Alas! I could not find them. It seemed to me that I was always on the brink of absolute verification, but that I could never really attain to it.
The marriage that Shakespeare proposes for Willie Hughes is the marriage with his Muse, an expression which is definitely put forward in the 82nd Sonnet, where, in the bitterness of his heart at the defection of the boy-actor for whom he had written his greatest parts, and whose beauty had indeed suggested them, he opens his complaint by saying I grant thou wert not married to my Muse.
After a long fit of musing, the Bishop turned to the chaplain, and asked the question whether nations might not go mad, as well as individuals? Classes of society, I think, may certainly have attacks of temporary insanity on some one point. The Jenny Lind fever was such an attack. Such was the popularity of the boy-actor Betty.
No doubt, Marlowe was fascinated by the beauty and grace of the boy-actor, and lured him away from the Blackfriars Theatre, that he might play the Gaveston of his Edward II. That Shakespeare had the legal right to retain Willie Hughes in his own company is evident from Sonnet LXXXVII., where he says:
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.
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