Source of the Plot. The plot was taken from the Menæchmi of Plautus. Whether Shakespeare read the play in Latin, or in a translation, or heard it from a friend, or saw it acted, is not known. All four are possible.
The sub-plot, in this case a duplication of the plot, was suggested by a part of the Amphitruo of Plautus.
The play is brought on to the plane of human feeling by the character of Ægeon. This character was suggested by a story in Gli Suppositi (The Supposes) of Ariosto.
The Fable. Like all comedies of mistake, the Comedy of Errors has an extremely complicated plot. The play consists of a number of ingeniously contrived situations in which either the Antipholus and the Dromio of Ephesus are mistaken for the Antipholus and Dromio of Syracuse, or those of Syracuse are mistaken for those of Ephesus. The comedy of mistake is touched with beauty by the romantic addition of the restoration of old Ægeon to his long-lost wife.
Poets are great or little according to the nobleness of their endeavour to build a mansion for the soul. Shakespeare, like other poets, grew by continual, very difficult mental labour, by the deliberate and prolonged exercise of every mental weapon, and by the resolve to do not "the nearest thing," precious to human sheep, but the difficult, new and noble thing, glimmering beyond his mind, and brought to glow there by toil. We do not know when the play was written, nor why it was written. If it were not written by special request, for reward, it must have been chosen either for the rest given by a subject external to the mind, or as a self-set exercise in the difficult mental labour of comic dramatic construction. Every playwright sees the comic opportunity of the Menæchmi fable. A playwright not yet sure of his art sees and admires behind the comedy the firm, intricate mental outline that has kept the play alive for more than two thousand years.
The Menæchmi of Plautus is a piece of very skilful theatrical craft. It is almost heartless. In bringing it out of the Satanic kingdom of comedy into the charities of a larger system Shakespeare shows for the first time a real largeness of dramatic instinct. In his handling of the tricky ingenious plot he achieves (what, perhaps, he wrote the play to get) a dexterous, certain play of mind. He strikes the ringing note, time after time. It cannot be said that the verse, or the sense of character, or the invention is better than in the other early plays. It is not. The play is on a lower plane than any of his other works. It is the only Shakespearean play without a deep philosophical idea. If it be not a special commission, or an exercise in art, it is perhaps another instance of the price great men pay for being happy. It is certainly the fruit of a happier mood than that which bore the other early plays. It is also the first play that shows a fine, sustained power of dramatic construction.
It is so well constructed (for the simple Elizabethan theatre and the bustle of the Elizabethan speech) that any unspoiled mind is held by it, when it is acted as Shakespeare meant it to be acted. The closeness and firmness of the dramatic texture is the work of an acutely clear mind driven at white heat and mercilessly judged at each step. Those who do not understand the nature of dramatic art should read the ninety odd verses in which Ægeon tells his story (in Act I, sc. i). They would do well to consider the power of mind that has told so much in so few words. They will find an instance of Shakespeare's happy use of stage trick, in the final scene, where, after the general recognition, Dromio of Syracuse again mistakes Antipholus of Ephesus for his master.
Rare poetical power is shown in the making of the play. Little beauty adorns the action. The speech of Adriana (in Act II, sc. ii) against the obsession of passion that leads to treachery in marriage, is passionate and profound. It is the most deeply felt speech in the early plays. Adriana's husband is frequenting another woman who, having the charm that so often goes with worthlessness, has a power of attracting that is sometimes refused to the noble. Adriana beseeches him not to break the tie that binds them. Two souls that have been each other's are not to be torn apart without death to one of them. With that sympathy for the suffering mind which gives Shakespeare all his power—
("My deepest sense, how hard true sorrow hits")
he gives to her speech an unendurable reality. Reality, however obtained, is the only cure for an obsession. As far as words can teach in such a case Adriana's words teach the reality of her husband's sin.