The present trend of criticism is bringing Shakespeare’s poems and his plays together. A dramatic element is recognized in short poems of many kinds—Shakespeare’s sonnets, Keats’s odes, the lyrics of Yeats. Like plays they attempt to give through some fiction (the truest poetry is the most feigning) form, and so meaning, to experiences whose real-life occasions are now lost to us and are, in any case, none of our business. A sonnet cannot help in the interpretation of a play, nor can the play throw any light on the sonnet’s meaning, if the two works are thought of as belonging to different grades of imitation; if the sonnet, for example, is a snippet of biography or a poetic exercise. But if the two kinds of poetry are regarded, despite their differences in magnitude, as products of the same imaginative process, then our reading of the one can illumine our understanding of the other. In particular, these cross-references can lead us to a fuller understanding of the main theme of the sonnets: the complex and profoundly disturbed relationship of the poet with the friend to whom most of the sequence is addressed.