But it will be said, Do you then believe that the classic school has an actual existence—that it is not a mistake, a folly, as has been so often declared? Assuredly, we believe this. Do you think that the romantic school has its laws, and that it does not consist in the abnegation of all laws? Far from it. You do not regard as laws of the classic school those rules about which so much noise has been made? Not at all.
Explain yourself, then. Where is the line of demarkation between the two schools to be drawn? What is your idea of the classic, what of the romantic school? What are those laws of which you speak?
These are questions which we would very gladly answer; but time presses, and the amount of space which can be allotted to us in a review of this kind is already more than exhausted. We must, then, of necessity delay our answer till another opportunity. Moreover, the adherents of the romantic school have now a favorable breeze; and as besides, they do not lack expertness to find pretexts, the occasion will not long be wanting to us.
Historical Dramas.
Shakspeare did not write his historical dramas in chronological order, and with the intention of reproducing upon the stage the great events and characters of the history of England, as they had been successively developed in fact. He had no idea of working on so general and systematic a plan. He composed his plays just according as some particular circumstance either suggested the idea, or inspired the whim, or imposed the necessity of composing them, never troubling himself about the chronology of the subjects, or about the uniform whole which certain works might form. He has introduced upon the stage nearly all the history of England from the thirteenth to the sixteenth century, from John Lackland to Henry VIII.; beginning with King Henry VI. and the fifteenth century, then ascending to King John and the thirteenth century, and finally ending with Henry VIII. and the sixteenth century, after having several times transposed the order of both centuries and kings. The following is the dramatic chronology of his six historical dramas, according to his most learned commentators, and among others, Mr. Malone:
1. The First Part of King Henry VI. (1422-1461), composed in 1569.
2. The Second Part of King Henry VI., composed in 1591.
3. The Third Part of King Henry VI., composed in 1591.
4. King John (1199-1216), composed in 1596.
5. King Richard II. (1377-1399), composed in 1597.
6. King Richard III. (1483-1485), composed in 1597.
7. The First Part of King Henry IV. (1399-1413), composed in 1598.
8. The Second Part of King Henry IV., composed in 1598.
9. King Henry V. (1413-1422), composed in 1599.
10. King Henry VIII. (1509-1547), composed in 1601.
But, after having indicated with precision the chronological order of the composition of Shakspeare's historical dramas, we must, in order properly to appreciate their character and dramatic connection, replace them in the true order of events. This I have done in the notices which I have written on these dramas; and thus alone can we really behold the genius of Shakspeare unfolding and giving new life to the history of his country.