of Plautus, and treats of mistakes of ident.i.ty arising from the likeness of twin-born children. The scene (act iii. sc. i.) in which Antipholus of Ephesus is shut out from his own house, while his brother and wife are at dinner within, recalls one in the 'Amphitruo' of Plautus. Shakespeare doubtless had direct recourse to Plautus as well as to the old play, and he may have read Plautus in English. The earliest translation of the 'Menaechmi' was not licensed for publication before June 10, 1594, and was not published until the following year. No translation of any other play of Plautus appeared before. But it was stated in the preface to this first published translation of the 'Menaechmi' that the translator, W. W., doubtless William Warner, a veteran of the Elizabethan world of letters, had some time previously 'Englished' that and 'divers' others of Plautus's comedies, and had circulated them in ma.n.u.script 'for the use of and delight of his private friends, who, in Plautus's own words, are not able to understand them.'

'Romeo and Juliet.'

Such plays as these, although each gave promise of a dramatic capacity out of the common way, cannot be with certainty p.r.o.nounced to be beyond the ability of other men. It was in 'Romeo and Juliet,' Shakespeare's first tragedy, that he proved himself the possessor of a poetic and dramatic instinct of unprecedented quality. In 'Romeo and Juliet' he turned to account a tragic romance of Italian origin, {55a} which was already popular in English versions. Arthur Broke rendered it into English verse from the Italian of Bandello in 1562, and William Painter had published it in prose in his 'Palace of Pleasure' in 1567.

Shakespeare made little change in the plot as drawn from Bandello by Broke, but he impregnated it with poetic fervour, and relieved the tragic intensity by developing the humour of Mercutio, and by grafting on the story the new comic character of the Nurse. {55b} The ecstasy of youthful pa.s.sion is portrayed by Shakespeare in language of the highest lyric beauty, and although a predilection for quibbles and conceits occasionally pa.s.ses beyond the author's control, 'Romeo and Juliet,' as a tragic poem on the theme of love, has no rival in any literature. If the Nurse's remark, ''Tis since the earthquake now eleven years' (I. iii.

23), be taken literally, the composition of the play must be referred to 1591, for no earthquake in the sixteenth century was experienced in England after 1580. There are a few parallelisms with Daniel's 'Complainte of Rosamond,' published in 1592, and it is probable that Shakespeare completed the piece in that year. It was first printed anonymously and surrept.i.tiously by John Danter in 1597 from an imperfect acting copy. A second quarto of 1599 (by T. Creede for Cuthbert Burbie) was printed from an authentic version, but the piece had probably undergone revision since its first production. {56}

Of the original representation on the stage of three other pieces of the period we have more explicit information. These reveal Shakespeare undisguisedly as an adapter of plays by other hands. Though they lack the interest attaching to his unaided work, they throw invaluable light on some of his early methods of composition and his early relations with other dramatists.

'Henry VI.'

On March 3, 1592, a new piece, called 'Henry VI,' was acted at the Rose Theatre by Lord Strange's men. It was no doubt the play which was subsequently known as Shakespeare's 'The First Part of Henry VI.' On its first performance it won a popular triumph. 'How would it have joyed brave Talbot (the terror of the French),' wrote Nash in his 'Pierce Pennilesse' (1592, licensed August 8), in reference to the striking scenes of Talbot's death (act iv. sc. vi. and vii.), 'to thinke that after he had lyne two hundred yeares in his Tombe, hee should triumphe againe on the Stage, and have his bones newe embalmed with the teares of ten thousand spectators at least (at severall times) who, in the Tragedian that represents his person, imagine they behold him fresh bleeding!' There is no categorical record of the production of a second piece in continuation of the theme, but such a play quickly followed; for a third piece, treating of the concluding incidents of Henry VI's reign, attracted much attention on the stage early in the following autumn.

Greene's attack. Chettle's apology.

The applause attending the completion of this historical trilogy caused bewilderment in the theatrical profession. The older dramatists awoke to the fact that their popularity was endangered by the young stranger who had set up his tent in their midst, and one veteran uttered without delay a rancorous protest. Robert Greene, who died on September 3, 1592, wrote on his deathbed an ill-natured farewell to life, ent.i.tled 'A Groats-worth of Wit bought with a Million of Repentance.' Addressing three brother dramatists--Marlowe, Nash, and Peele or Lodge--he bade them beware of puppets 'that speak from our mouths,' and of 'antics garnished in our colours.' 'There is,' he continued, 'an upstart Crow, beautified with our feathers, that with his _Tygers heart wrapt in a players hide_ supposes he is as well able to b.u.mbast out a blanke verse as the best of you; and being an absolute _Johannes factotum_ is, in his owne conceit, the only Shake-scene in a countrie. . . . Never more acquaint [those apes] with your admired inventions, for it is pity men of such rare wits should be subject to the pleasures of such rude groomes.' The 'only Shake-scene' is a punning denunciation of Shakespeare. The tirade was probably inspired by an established author's resentment at the energy of a young actor--the theatre's factotum--in revising the dramatic work of his seniors with such masterly effect as to imperil their hold on the esteem of manager and playgoer. The italicised quotation travesties a line from the third piece in the trilogy of Shakespeare's 'Henry VI:'

Oh Tiger's heart wrapt in a woman's hide.

But Shakespeare's amiability of character and versatile ability had already won him admirers, and his successes excited the sympathetic regard of colleagues more kindly than Greene. In December 1592 Greene's publisher, Henry Chettle, prefixed an apology for Greene's attack on the young actor to his 'Kind Hartes Dreame,' a tract reflecting on phases of contemporary social life. 'I am as sory,' Chettle wrote, 'as if the originall fault had beene my fault, because myselfe have seene his [_i.e._ Shakespeare's] demeanour no lesse civill than he [is] exelent in the qualitie he professes, besides divers of worship have reported his uprightnes of dealing, which argues his honesty, and his facetious grace in writing that aprooves his art.'

Divided authorship of 'Henry VI.'

The first of the three plays dealing with the reign of Henry VI was originally published in the collected edition of Shakespeare's works; the second and third plays were previously printed in a form very different from that which they subsequently a.s.sumed when they followed the first part in the folio. Criticism has proved beyond doubt that in these plays Shakespeare did no more than add, revise, and correct other men's work.

In 'The First Part of Henry VI' the scene in the Temple Gardens, where white and red roses are plucked as emblems by the rival political parties (act ii. sc. iv.), the dying speech of Mortimer, and perhaps the wooing of Margaret by Suffolk, alone bear the impress of his style. A play dealing with the second part of Henry VI's reign was published anonymously from a rough stage copy in 1594, with the t.i.tle 'The first part of the Contention betwixt the two famous houses of Yorke and Lancaster.' A play dealing with the third part was published with greater care next year under the t.i.tle 'The True Tragedie of Richard, Duke of Yorke, and the death of good King Henry the Sixt, as it was sundrie times acted by the Earl of Pembroke his servants.' In both these plays Shakespeare's revising hand can be traced. The humours of Jack Cade in 'The Contention' can owe their savour to him alone. After he had hastily revised the original drafts of the three pieces, perhaps with another's aid, they were put on the stage in 1592, the first two parts by his own company (Lord Strange's men), and the third, under some exceptional arrangement, by Lord Pembroke's men. But Shakespeare was not content to leave them thus. Within a brief interval, possibly for a revival, he undertook a more thorough revision, still in conjunction with another writer. 'The First Part of The Contention' was thoroughly overhauled, and was converted into what was ent.i.tled in the folio 'The Second Part of Henry VI;' there more than half the lines are new. 'The True Tragedie,' which became 'The Third Part of Henry VI,' was less drastically handled; two-thirds of it was left practically untouched; only a third was thoroughly remodelled. {60}

Shakespeare's coadjutors.

Who Shakespeare's coadjutors were in the two successive revisions of 'Henry VI' is matter for conjecture. The theory that Greene and Peele produced the original draft of the three parts of 'Henry VI,' which Shakespeare recast, may help to account for Greene's indignant denunciation of Shakespeare as 'an upstart crow, beautified with the feathers' of himself and his fellow dramatists. Much can be said, too, in behalf of the suggestion that Shakespeare joined Marlowe, the greatest of his predecessors, in the first revision of which 'The Contention' and the 'True Tragedie' were the outcome. Most of the new pa.s.sages in the second recension seem a.s.signable to Shakespeare alone, but a few suggest a partnership resembling that of the first revision. It is probable that Marlowe began the final revision, but his task was interrupted by his death, and the lion's share of the work fell to his younger coadjutor.

Shakespeare's a.s.similative power.

Shakespeare shared with other men of genius that receptivity of mind which impels them to a.s.similate much of the intellectual effort of their contemporaries and to trans.m.u.te it in the process from unvalued ore into pure gold. Had Shakespeare not been professionally employed in recasting old plays by contemporaries, he would doubtless have shown in his writings traces of a study of their work. The verses of Thomas Watson, Samuel Daniel, Michael Drayton, Sir Philip Sidney, and Thomas Lodge were certainly among the rills which fed the mighty river of his poetic and lyric invention. Kyd and Greene, among rival writers of tragedy, left more or less definite impression on all Shakespeare's early efforts in tragedy. It was, however, only to two of his fellow dramatists that his indebtedness as a writer of either comedy or tragedy was material or emphatically defined. Superior as Shakespeare's powers were to those of Marlowe, his coadjutor in 'Henry VI,' his early tragedies often reveal him in the character of a faithful disciple of that vehement delineator of tragic pa.s.sion. Shakespeare's early comedies disclose a like relationship between him and Lyly.

Lyly's influence in comedy.

Lyly is best known as the author of the affected romance of 'Euphues,'

but between 1580 and 1592 he produced eight trivial and insubstantial comedies, of which six were written in prose, one was in blank verse, and one was in rhyme. Much of the dialogue in Shakespeare's comedies, from 'Love's Labour's Lost' to 'Much Ado about Nothing,' consists in thrusting and parrying fantastic conceits, puns, or ant.i.theses. This is the style of intercourse in which most of Lyly's characters exclusively indulge.

Three-fourths of Lyly's comedies lightly revolve about topics of cla.s.sical or fairy mythology--in the very manner which Shakespeare first brought to a triumphant issue in his 'Midsummer Night's Dream.'

Shakespeare's treatment of eccentric character like Don Armado in 'Love's Labour's Lost' and his boy Moth reads like a reminiscence of Lyly's portrayal of Sir Thopas, a fat vainglorious knight, and his boy Epiton in the comedy of 'Endymion,' while the watchmen in the same play clearly adumbrate Shakespeare's Dogberry and Verges. The device of masculine disguise for love-sick maidens was characteristic of Lyly's method before Shakespeare ventured on it for the first of many times in 'Two Gentlemen of Verona,' and the dispersal through Lyly's comedies of songs possessing every lyrical charm is not the least interesting of the many striking features which Shakespeare's achievements in comedy seem to borrow from Lyly's comparatively insignificant experiments. {62}

Marlowe's influence in tragedy. 'Richard III.'

Marlowe, who alone of Shakespeare's contemporaries can be credited with exerting on his efforts in tragedy a really substantial influence, was in 1592 and 1593 at the zenith of his fame. Two of Shakespeare's earliest historical tragedies, 'Richard III' and 'Richard II,' with the story of Shylock in his somewhat later comedy of the 'Merchant of Venice,' plainly disclose a conscious resolve to follow in Marlowe's footsteps. In 'Richard III' Shakespeare, working single-handed, takes up the history of England near the point at which Marlowe and he, apparently working in partnership, left it in the third part of 'Henry VI.' The subject was already familiar to dramatists, but Shakespeare sought his materials in the 'Chronicle' of Holinshed. A Latin piece, by Dr. Thomas Legge, had been in favour with academic audiences since 1579, and in 1594 the 'True Tragedie of Richard III' from some other pen was published anonymously; but Shakespeare's piece bears little resemblance to either. Throughout Shakespeare's 'Richard III' the effort to emulate Marlowe is undeniable.

The tragedy is, says Mr. Swinburne, 'as fiery in pa.s.sion, as single in purpose, as rhetorical often, though never so inflated in expression, as Marlowe's "Tamburlaine" itself.' The turbulent piece was naturally popular. Burbage's impersonation of the hero was one of his most effective performances, and his vigorous enunciation of 'A horse, a horse! my kingdom for a horse!' gave the line proverbial currency.

'Richard II.'

'Richard II' seems to have followed 'Richard III' without delay.

Subsequently both were published anonymously in the same year (1597) as they had 'been publikely acted by the right Honorable the Lorde Chamberlaine his servants;' but the deposition scene in 'Richard II,'

which dealt with a topic distasteful to the Queen, was omitted from the early impressions. Prose is avoided throughout the play, a certain sign of early work. The piece was probably composed very early in 1593.

Marlowe's tempestuous vein is less apparent in 'Richard II' than in 'Richard III.' But if 'Richard II' be in style and treatment less deeply indebted to Marlowe than its predecessor, it was clearly suggested by Marlowe's 'Edward II.' Throughout its exposition of the leading theme--the development and collapse of the weak king's character--Shakespeare's historical tragedy closely imitates Marlowe's.

Shakespeare drew the facts from Holinshed, but his embellishments are numerous, and include the magnificently eloquent eulogy of England which is set in the mouth of John of Gaunt.

Acknowledgments to Marlowe.

In 'As you like it' (III. v. 80) Shakespeare parenthetically commemorated his acquaintance with, and his general indebtedness to, the elder dramatist by apostrophising him in the lines:

Dead Shepherd! now I find thy saw of might: 'Who ever loved that loved not at first sight?'

The second line is a quotation from Marlowe's poem 'Hero and Leander'

(line 76). In the 'Merry Wives of Windsor' (III. i. 17-21) Shakespeare places in the mouth of Sir Hugh Evans s.n.a.t.c.hes of verse from Marlowe's charming lyric, 'Come live with me and be my love.'

Between February 1593 and the end of the year the London theatres were closed, owing to the prevalence of the plague, and Shakespeare doubtless travelled with his company in the country. But his pen was busily employed, and before the close of 1594 he gave marvellous proofs of his rapid powers of production.

't.i.tus Andronicus.'