104 XIX. SHAKESPEARE LOSES HIS SON-TRACES OF HIS GRIEF IN KING JOHN-THE OLD PLAY OF THE SAME NAME- DISPLACEMENT OF ITS CENTRE OF GRAVITY-ELIMINA- XX. "THE TAMING OF THE SHREW" AND "THE MERCHANT OF VENICE" SHAKESPEARE'S PREOCCUPATION WITH XXIV. PRINCE HENRY-THE POINT OF DEPARTURE FOR SHAKE- SPEARE'S IMAGINATION-A TYPICAL ENGLISH NATIONAL HERO-THE FRESHNESS AND PERFECTION OF THE PLAY XXV. "KING HENRY IV.," SECOND PART-OLD AND NEW CHAR- XXVII. SHAKESPEARE'S MOST BRILLIANT PERIOD-THE FEMININE TYPES BELONGING TO IT-WITTY AND HIGHBORN YOUNG WOMEN-MUCH ADO ABOUT NOTHING-SLAVISH FAITH- FULNESS TO HIS SOURCES-BENEDICK AND BEATRICE- SPIRITUAL DEVELOPMENT-THE LOW-COMEDY FIGURES. XXVIII. THE INTERVAL OF SERENITY - AS YOU LIKE IT THE SHAKESPEARE'S AND MICHAEL. ANGELO'S SONNETS-THE TECHNIQUE OF THE SONNETS . VIII. JULIUS CÆSAR-ITS FUNDAMENTAL DEFECT WILLIAM SHAKESPEARE BOOK FIRST THE same year which saw the death of Michael Angelo in Rome, saw the birth of William Shakespeare at Stratford-on-Avon. The great artist of the Italian Renaissance, the man who painted the ceiling of the Sistine Chapel, was replaced, as it were, by the great artist of the English Renaissance, the man who wrote King Lear. Death overtook Shakespeare in his native place on the same date on which Cervantes died in Madrid. The two great creative artists of the Spanish and the English Renaissance, the men to whom we owe Don Quixote and Hamlet, Sancho Panza and Falstaff, were simultaneously snatched away. Michael Angelo has depicted mighty and suffering demigods in solitary grandeur. No Italian has rivalled him in sombre lyrism or tragic sublimity. The finest creations of Cervantes stand as monuments of a humour so exalted that it marks an epoch in the literature of the No Spaniard has rivalled him in type-creating comic world. force. Shakespeare stands co-equal with Michael Angelo in pathos and with Cervantes in humour. This of itself gives us a certain standard for measuring the height and range of his powers. It is three hundred years since his genius [attained its full development, yet Europe is still busied with him as though with a contemporary. His dramas are acted and read wherever civilisation extends. Perhaps, however, he exercises the strongest fascination upon the reader whose natural bent of mind leads him to delight in searching out the human spirit concealed and VOL. I. A revealed in a great artist's work. "I will not let you go until you have confessed to me the secret of your being"-these are the words that rise to the lips of such a reader of Shakespeare. Ranging the plays in their probable order of production, and reviewing the poet's life-work as a whole, he feels constrained to form for himself some image of the spiritual experience of which it is the expression. |