This gentle, bewildered soul makes the only human remarks in the play.

In Shakespeare's vision it is from such souls, planted, to their own misery, among spikes and thorns, that the flower of human goodness blossoms.

_King Henry VI, Part III._

_Written._ (?)

_Published_, in the crude original form, 1595. When first published, the play was called "The True Tragedie of Richard Duke of Yorke, and the Death of good King Henrie the Sixt, with the whole contention betweene the two Houses of Lancaster and Yorke."

This version seems to have been by Greene, Peele, Marlowe, or by some combination among the three. There are some marks of Shakespeare's hand upon it; but not many. Afterwards the piece was revised and enlarged to its present form by some unknown hand.

Shakespeare added a few touches to this revision. It was printed in the first folio as his original work.

_Source of the Plot._ Edward Hall's _Chronicle_. Raphael Holinshed's _Chronicle_.

_The Fable._ The play describes the rise to power of Edward, Duke of York, afterwards Edward IV. It carries on the story of the reign of Henry VI from the time of his deposition by Richard, Duke of York, to the time of his murder by Richard, Duke of Gloucester.

Various other tragedies are developed by the plot. Richard, Duke of York, is defeated and put to death. The Earl of Warwick rises to power, makes Edward, Duke of York, King, revolts from him, restores Henry VI, is attacked, defeated, and killed in battle. Richard, Duke of Gloucester, begins to cherish ambition, and sets bloodily to work to gratify it. Edward, Duke of York, after one deposition, due to his own treachery, obtains the supreme power, and rules as King.

Shakespeare had little hand in this ruthless chronicle. The idea of the piece seems to be this, that--

"It is war's prize to take all vantages,"

that mercy has no place in war, that an act of mercy in war is more fatal than defeat, and that the parfit gentle knight, if he wish to prosper, must greet his father after battle with some such remark as--

"I cleft his beaver with a downright blow; That this is true, father, behold his blood."

There are three scenes that rouse human emotion: that in Act I, sc. iv, where Margaret of Anjou taunts the captured York before putting him to death; that in Act II, sc. v, where King Henry wishes himself either dead, or called to some gentler trade than kingship; and that at the end, after the battle of Tewkesbury, where the Prince of Wales is murdered in his mother's presence. The second of these, the lamentation of King Henry, is an enlargement, done in leisure, from a suggestion in the early version. It is a very beautiful example of the quiet, limpid running rhetoric that marks Shakespeare's best moments in the days before he attained to power.

"So minutes, hours, days, moneths and years, Pa.s.s'd over to the end they were created, Would bring white hairs unto a quiet grave.

Ah, what a life were this. How sweet. How lovely.

Gives not the hawthorn-bush a sweeter shade To shepherds looking on their silly sheep, Than doth a rich-embroidered canopy To kings that fear their subjects' treachery."

_A Midsummer Night's Dream._

_Written._ 1595 (?)

_Published._ 1600.

_Source of the Plot._ The fantasy is of Shakespeare's making. Some of it was perhaps current in popular belief. Names and lesser incidents were suggested by various books. He took little bits from various sources, added them to the vision, and turned upon the whole the light of his mind. If any author laid under contribution were to recognise his bantling, he could only cry to it, "Bless thee, Bottom, thou art translated." Shakespeare did never this particular kind of wrong but with just cause.

_The Fable._ Theseus, Duke of Athens, is about to marry Hippolyta.

Bottom, the weaver, and his friends, plan to play the tragedy of Pyramus and Thisbe before the Duke after the wedding.

Hermia and Lysander, two lovers, whose match is opposed, plan to escape from Athens to a state where they can marry.

Demetrius, in love with Hermia, is loved by Helena.

Oberon, King of the fairies, planning to punish his Queen t.i.tania, orders Puck to procure a juice that will make her dote upon the next thing seen by her.

Helena pursues Demetrius into the wood of the fairies. t.i.tania, anointed with the juice, falls in love with Bottom. Lysander, anointed with the juice, falls in love with Helena. The confusion caused by these enchantments (accidentally) makes the main action of the play. When the purpose of Oberon is satisfied, the enchantments are removed. The cross purposes of the lovers cease.

Theseus causes Hermia to wed Lysander, and Helena to wed Demetrius.

Bottom and his company perform their tragedy, and all ends happily.

It is a strange and sad thing that the English poets have cared little for England; or, caring for England, have had little sense of the spirit of the English. Many of our poets have written botanical verses, and braggart verses, many more have described faithfully the appearance of parts of the land at different seasons. Only two or three show the mettle of their pasture in such a way that he who reads them can be sure that the indefinable soul of England has given their words something sacred and of the land.

Shakespeare attained to all the spiritual powers of the English. He made a map of the English character. We have not yet pa.s.sed the frontiers of it. It is one of his humanities that the English country, which made him, always meant much to him, so that, now, wherever his works go, something of the soul of that country goes too, to comfort exiles over the sea. Man roams the world, wandering and working; but he is not enough removed from the beasts to escape the p.r.i.c.k in the heart that turns the tired horse homeward, and sets the old fox padding through the woods to die near the earth where he was whelped. Shakespeare's heart always turned for quiet happiness to the country where he lived as a boy. In this play, he turned not to the squires and farm-folk, but to the country itself, and to those genii of the country, the fairies, believed in, and often seen by country people, and reverenced by them as the cause of mishaps. Imagination in a work of art is a trans.m.u.ting of the known by understanding. For some reason, perhaps home-sickness, perhaps weariness of the city-jostle, that those who have lived the country life cannot call life, or it may be, perhaps, from an exultation in the bounty of the world to give pleasure to the mind, the country meant very much to Shakespeare in the months during which he wrote the last of the English plays. In writing this play, his imagination conceived Athens as an English town, possibly Stratford, or some other more pleasant place, with a wood, haunted by fairies, only a league away, where the mind could be happy listening to the voice of the beloved--

"More tuneable than lark to shepherd's ear, When wheat is green, when hawthorn buds appear."

There was a memory of happiness about the wood. It was

"the wood, where often you and I Upon faint primrose-beds were wont to lie, Emptying our bosoms of their counsel sweet."

In this wood, where Theseus goes a-hunting, Shakespeare, in his fantasy, allows the fairies to vex the life of mortals. For a little while he fancied, or tried to fancy, that those who are made mad and blind by the obsessions of pa.s.sion are made so at the whim of powers outside life, and that the accidents of life, bad seasons, personal deformities, etc., are due to something unhappy in a capricious immortal world, careless of this world, but easily offended and appeased by mortal action.

All the earth of England is consecrated by the intense memories of the English. In this play Shakespeare set himself free to tell his love for the earth of England that had ministered to his mind with beauty through the years of youth. Walking in the Cotswold country, when

"russet-pated choughs, many in sort Rising and cawing at the gun's report, Sever themselves and madly sweep the sky,"

gives to the pa.s.senger a sense of the enduringness of the pageant upon which those seeing eyes looked more than three centuries ago.

_Romeo and Juliet._

_Written._ 1591-96.

_Published_, in a mutilated form, 1597.

_Source of the Plot._ The story existed in many forms, mostly Italian. Shakespeare took it from Arthur Broke's metrical version (_Romeus and Juliet_), and possibly consulted the prose version in William Painter's _Palace of Pleasure_. The tale had been dramatised and performed before Arthur Broke published his poem in 1562. The play (if it existed a generation later) may have helped Shakespeare. It is now lost.

_The Fable._ The houses of Montague and Capulet are at feud in Verona.

Romeo, of the house of Montague, falls in love with Juliet, of the house of Capulet. She returns his love. A friar marries them.

In a street brawl, which Romeo does his best to stop, Mercutio, Romeo's friend, is killed by Tybalt, Juliet's cousin. Carried away by pa.s.sion, Romeo kills Tybalt. He is banished from Verona.

The Capulets plan to marry Juliet to the Count Paris.

Juliet, in great distress, consults the Friar who married her to Romeo. He gives her a potion to create an apparent death in her, to the end that she may be buried in the family vault, taken thence and restored to life by himself, and then conveyed to Romeo. He writes to Romeo, telling him of the plan; but the letter miscarries. Juliet takes the potion, and is laid in the tomb as dead.

The Count Paris comes by night to the tomb, to mourn her there.

Romeo, who has heard only that his love is dead, also comes to the tomb. The two lovers fight, and Romeo kills Paris. He then takes poison and dies at Juliet's side.

The Friar enters to restore Juliet to life. Juliet awakens to find her lover dead. The Friar, being alarmed, leaves the tomb. Juliet stabs herself with Romeo's dagger and dies.

The feud of the Montagues and Capulets is brought to an end. The leaders of the two houses are reconciled over the bodies of the lovers.

This play is one of the early plays, written, perhaps, before Shakespeare was thirty years old. It was much revised during the next few years; but a good deal of the early work remains. Much of the early work is in rhymed couplets. Much is in picked prose full of quibbles and mistakings of the word. Another sign of early work is the mention of the dark lady, the Rosaline of the _Comedy of Errors_, here called by the same name, and described in similar terms: viz. a high forehead, a hard heart, a white face, big black eyes and red lips. Perhaps she appeared as one of the characters in the early drafts of the play. In the play as we have it she is only talked of as a love of Romeo's who is easily thrown aside when Juliet enters.

The play differs slightly from the other plays, which deal, as we have said, with the treacheries caused by obsessions. The subject of this play is not so much the treachery as the obsession that causes it. The obsession is the blind and raging one of sudden, gratified youthful love. That storm in the blood has never been so finely described. It takes sudden hold upon two young pa.s.sionate natures, who have hardly met each other. It drives out instantly from Romeo a sentimental love that had made him mopish and wan. It brings to an end in two hearts, filial affection and that perhaps stronger thing, attachment to family. It makes the charming young man a frantic madman, careless of everything but his love. It makes the sweet-natured girl a deceitful, scheming liar, less frantic, but not less devoted than her lover. It results almost at once in five violent deaths, and a legacy of broken-heartedness not easily told. The only apparent good of the disease is that it destroys its victims swiftly. It may also be said of it that it teaches the old that there is something in life, some power not dreamed of in their philosophy.