In a couple of days William was up to his head and ears in theatrical composition and stage structure.
A few years before the Bard had "dashed off" a love tragedy entitled "Romeo and Juliet," taken from an Italian novel of the thirteenth century, and a translation of the old family feud in poetry, by Walter Brooke, who had but recently delighted London with the story.
Shakspere never hesitated to take crude ore and rough ashler from any quarry of thought; and out of the dull, leaden material of others, produced characters in living form to walk the stage of life forever, teaching the lesson of virtue triumphant over vice.
The exemplification of true love, as pictured in the pure affection of Juliet and the intense, heroic devotion of Romeo, have never been equaled or surpassed by any other dramatic characters.
The lordly and wealthy gentry of Italy have been noted for their family feuds for the past three thousand years, and the party followers of these blood-stained rivals have desolated many happy homes in Rome, Florence, Milan, Naples, Venice and Verona.
Shakspere showed the finished play of "Romeo and Juliet" to Burbage, and the old manager fairly jumped with joy and astonishment at the eloquence of the love and ruin drama.
The families of Capulet and Montague of Verona, stuffed with foolish pride about the matrimonial choice of their daughters and sons, can be found in every city in the world where a tyrant father or purse-proud mother insist on selecting life partners for their children.
The story of Romeo and Juliet shows the utter failure of such parental folly.
The play was largely advertised among the lights of London and announced to come off in all its glory at the Blackfriars on the last Saturday of December, 1595.
Queen Elizabeth, in a special box, was there incog, with a royal train of lords and ladies; and such another audience for dress and stunning show was never seen in London.