Elze, confronted with this fact, takes refuge in a Latin epitaph on Romano, quoted by Vasari, which speaks of "Corpora sculpta pictaque" by him, and here again finds a testimony to Shakespeare's omniscience, since he knew of works of sculpture by Romano which no one else has seen or heard of. We can only see in this a new proof of the fact that critical idolatry of departed greatness can now and then lead the student as far astray as uncritical prejudice.
[1] A very few Jews were, indeed, tolerated in England in spite of the prohibition, but it is not probable that Shakespeare knew any of them.
[2] See Pericles, The Tempest, Cymbeline (i. 7), As You Like It (ii. 7), Hamlet (v. 2).
[3] It must be remembered that the sea route to Italy was practically closed by Spanish cruisers.
[XVII]
SHAKESPEARE TURNS TO HISTORIC DRAMA—HIS RICHARD II. AND MARLOWE'S EDWARD II.—LACK OF HUMOUR AND OF CONSISTENCY OF STYLE—ENGLISH NATIONAL PRIDE
About the age of thirty, even men of an introspective disposition are apt to turn their gaze outwards. When Shakespeare approaches his thirtieth year, he begins to occupy himself in earnest with history, to read the chronicles, to project and work out a whole series of historical plays. Several years had now passed since he had revised and furbished up the old dramas on the subject of Henry VI. This task had whetted his appetite, and had cultivated his sense for historic character and historic nemesis. Having now given expression to the high spirits, the lyrism, and the passion of youth, in lyrical and dramatic productions of scintillant diversity, he once more turned his attention to the history of England. In so doing he obeyed a dual vocation, both as a poet and as a patriot.