‘Comedy of Errors.’
Shakespeare next tried his hand, in the ‘Comedy of Errors’ (commonly known at the time as ‘Errors’), at boisterous farce. It also was first published in 1623. Again, as in ‘Love’s Labour’s Lost,’ allusion was made to the civil war in France. France was described as ‘making war against her heir’
(III. ii. 125). Shakespeare’s farcical comedy, which is by far the shortest of all his dramas, may have been founded on a play, no longer extant, called ‘The Historie of Error,’ which was acted in 1576 at Hampton Court. In subject-matter it resembles the ‘Menæchmi’ of Plautus, and treats of mistakes of identity arising from the likeness of twin-born children. The scene (act iii. sc. i.) in which Antipholus of Ephesus is shut out from his own house, while his brother and wife are at dinner within, recalls one in the ‘Amphitruo’ of Plautus. Shakespeare doubtless had direct recourse to Plautus as well as to the old play, and he may have read Plautus in English. The earliest translation of the ‘Menæchmi’ was not licensed for publication before June 10, 1594, and was not published until the following year. No translation of any other play of Plautus appeared before. But it was stated in the preface to this first published translation of the ‘Menæchmi’ that the translator, W. W., doubtless William Warner, a veteran of the Elizabethan world of letters, had some time previously ‘Englished’ that and ‘divers’ others of Plautus’s comedies, and had circulated them in manuscript ‘for the use of and delight of his private friends, who, in Plautus’s own words, are not able to understand them.’
‘Romeo and Juliet.’
Such plays as these, although each gave promise of a dramatic capacity out of the common way, cannot be with certainty pronounced to be beyond the ability of other men. It was in ‘Romeo and Juliet,’ Shakespeare’s first tragedy, that he proved himself
the possessor of a poetic and dramatic instinct of unprecedented quality. In ‘Romeo and Juliet’ he turned to account a tragic romance of Italian origin, [55a] which was already popular in English versions. Arthur Broke rendered it into English verse from the Italian of Bandello in 1562, and William Painter had published it in prose in his ‘Palace of Pleasure’ in 1567. Shakespeare made little change in the plot as drawn from Bandello by Broke, but he impregnated it with poetic fervour, and relieved the tragic intensity by developing the humour of Mercutio, and by grafting on the story the new comic character of the Nurse. [55b] The ecstasy of youthful passion is portrayed by Shakespeare in language of the highest lyric beauty, and although a predilection for quibbles and conceits occasionally passes beyond the author’s control, ‘Romeo and Juliet,’ as a tragic poem on the theme of love, has no rival in any literature. If the Nurse’s remark, ‘’Tis since the earthquake now eleven years’ (I. iii. 23), be taken
literally, the composition of the play must be referred to 1591, for no earthquake in the sixteenth century was experienced in England after 1580. There are a few parallelisms with Daniel’s ‘Complainte of Rosamond,’ published in 1592, and it is probable that Shakespeare completed the piece in that year. It was first printed anonymously and surreptitiously by John Danter in 1597 from an imperfect acting copy. A second quarto of 1599 (by T. Creede for Cuthbert Burbie) was printed from an authentic version, but the piece had probably undergone revision since its first production. [56]
Of the original representation on the stage of three other pieces of the period we have more explicit information. These reveal Shakespeare undisguisedly as an adapter of plays by other hands. Though they lack the interest attaching to his unaided work, they throw invaluable light on some of his early methods of composition and his early relations with other dramatists.
‘Henry VI.’
On March 3, 1592, a new piece, called ‘Henry VI,’ was acted at the Rose Theatre by Lord Strange’s men. It was no doubt the play which was subsequently known as Shakespeare’s ‘The First Part of Henry VI.’ On its first performance it won a popular triumph. ‘How would it have joyed brave Talbot (the terror of the French),’ wrote Nash in his ‘Pierce Pennilesse’ (1592, licensed August 8), in reference to the striking scenes of Talbot’s death (act iv. sc. vi. and vii.), ‘to thinke that after he had