This idyllic love of nature, this marked preference for the country over the city, however peculiar in a highway robber, are characteristics of Shakespeare from youth to age. Not only do his comedies lead us continually from the haunts of men to the forest and stream, but also his tragedies. He turns to nature, indeed, in all times of stress and trouble for its healing unconsciousness, its gentle changes that can be foreseen and reckoned upon, and that yet bring fresh interests and charming surprises; and in times of health and happiness he pictures the pleasant earth and its diviner beauties with a passionate intensity. Again and again we shall have to notice his poet's love for “unfrequented woods,” his thinker's longing for “the life removed.”
At the end of the drama Valentine displays the gentle forgivingness of disposition which we have already had reason to regard as one of Shakespeare's most marked characteristics. As soon as “false, fleeting Proteus” confesses his sin Valentine pardons him with words that echo and re-echo through Shakespeare's later dramas:
“Then I am paid,
And once again I do receive thee honest.
Who by repentance is not satisfied
Is nor of heaven nor earth; for these are pleased;
By patience the Eternal's wrath's appeased.”
He even goes further than this, and confounds our knowledge of human nature by adding:
“And that my love may appear plain and free
All that was mine in Silvia I give thee.”
And that the meaning may be made more distinct than words can make it, he causes Julia to faint on hearing the proposal. One cannot help recalling the passage in “The Merchant of Venice” when Bassanio and Gratiano both declare they would sacrifice their wives to free Antonio, and a well-known sonnet which seems to prove that Shakespeare thought more of a man's friendship for a man than of a man's love for a woman. But as I shall have to discuss this point at length when I handle the Sonnets, I have, perhaps, said enough for the moment. Nor need I consider the fact here that the whole of this last scene of the last act was manifestly revised or rewritten by Shakespeare circa 1598—years after the rest of the play.
I think every one will admit now that Shakespeare revealed himself in “The Two Gentlemen of Verona,” and especially in Valentine, much more fully than in Biron and in “Love's Labour's Lost” The three earliest comedies prove that from the very beginning of his career Shakespeare's chief aim was to reveal and realize himself.
CHAPTER II. SHAKESPEARE AS ANTONIO, THE MERCHANT
No one, so far as I know, has yet tried to identify Antonio, the Merchant of Venice, with Shakespeare, and yet Antonio is Shakespeare himself, and Shakespeare in what to us, children of an industrial civilization, is the most interesting attitude possible. Here in Antonio for the first time we discover Shakespeare in direct relations with real life, as real life is understood in the twentieth century. From Antonio we shall learn what Shakespeare thought of business men and business methods—of our modern way of living. Of course we must be on our guard against drawing general conclusions from this solitary example, unless we find from other plays that Antonio's attitude towards practical affairs was indeed Shakespeare's. But if this is the case, if Shakespeare has depicted himself characteristically in Antonio, how interesting it will be to hear his opinion of our money-making civilization. It will be as if he rose from the dead to tell us what he thinks of our doings. He has been represented by this critic and by that as a master of affairs, a prudent thrifty soul; now we shall see if this monstrous hybrid of tradesman-poet ever had any foundation in fact.