Lectures on Dramatic Art and Literature

by August Wilhelm von Schlegel

2. Pericles, Prince of Tyre. This piece was acknowledged by Dryden to be a work, but a youthful work of Shakspeare's. It is most undoubtedly his, and it has been admitted into several late editions of his works. The supposed imperfections originate in the circumstance, that Shakspeare here handled a childish and extravagant romance of the old poet Gower, and was unwilling to drag the subject out of its proper sphere. Hence he even introduces Gower himself, and makes him deliver a prologue in his own antiquated language and versification. This power of assuming so foreign a manner is at least no proof of helplessness.

3. The London Prodigal. If we are not mistaken, Lessing pronounced this piece to be Shakspeare's, and wished to bring it on the German stage.

4. The Puritan; or The Widow of Wailing Street. One of my literary friends, intimately acquainted with Shakspeare, was of opinion that the poet must have wished for once to write a play in the style of Ben Jonson, and that in this way we must account for the difference between the present piece and his usual manner. To follow out this idea, however, would lead to a long and very nice critical investigation.

5. Thomas Lord Cromwell.

6. Sir John Oldcastle.—First part.

7. A Yorkshire Tragedy.

The three last pieces are not only unquestionably Shakspeare's, but in my opinion they deserve to be classed among his best and maturest works. Steevens at last admits, in some degree, that they, as well as the rest, except Lochrine, are Shakspeare's, but he speaks of all of them with great contempt, as worthless productions. His condemnatory sentence is not, however, in the slightest degree convincing, nor is it supported by much critical acumen. I should like to see how such a critic would, of his own natural suggestion, have decided on Shakspeare's acknowledged master-pieces, and how much he would have thought of praising in them, had not the public opinion already imposed on him the duty of admiration. Thomas Lord Cromwell and Sir John Oldcastle are biographical dramas, and in this species they are models: the first, by its subject, attaches itself to Henry the Eighth, and the second to Henry the Fifth. The second part of Sir John Oldcastle is wanting; I know not whether a copy of the old edition has been discovered in England, or whether it is lost. The Yorkshire Tragedy is a tragedy in one act, a dramatised tale of murder: the tragical effect is overpowering, and it is extremely important to see how poetically Shakspeare could handle such a subject.

Still farther, there have been ascribed to him, 1st. The Merry Devil of Edmonton, a comedy in one act, printed in Dodsley's Collection of Old Plays. This has, certainly, some appearance in its favour. It contains a merry landlord, who bears great similarity to the one in The Merry Wives of Windsor. However, at all events, though a clever, it is but a hasty sketch. 2nd. The Arraignment of Paris. 3rd. The Birth of Merlin. 4th. Edward the Third. 5th. The Fair Em. (Emma). 6th. Mucedorus. 7th. Arden of Feversham. I have never seen any of these, and cannot therefore say anything respecting them. From the passages cited, I am led to conjecture that the subject of Mucedorus is the popular story of Valentine and Orson: a beautiful subject which Lope de Vega has also taken for a play. Arden of Feversham is said to be a tragedy on the story of a man from whom the poet descended by the mother's side. This circumstance, if the quality of the piece be not too directly at variance with its supposed authorship, would afford an additional probability in its favour. For such motives were not without their influence on Shakspeare: thus he treated with a manifest partiality, Henry VII., who had bestowed lands on his forefathers for services performed by them.

Of Shakspeare's share in The Two Noble Cousins, it will be the time to speak when I come to mention Fletcher's works.

It would be very instructive, if it could be proved that several earlier attempts of works, afterwards re-written, proceeded from himself, and not from an unknown author. We should thus be best enabled to trace his development as an artist. Of the older King John, in two parts, (printed by Steevens among six old plays,) this might probably be made out. That he sometimes returned to an old piece is certain. With respect to Hamlet, for instance, it is well known, that it was very gradually formed by him to its present perfect state.