is the hero of the play, and the main interest culminates in the Jew’s trial and discomfiture. The bold transition from that solemn scene which trembles on the brink of tragedy to the gently poetic and humorous incidents of the concluding act attests a mastery of stagecraft; but the interest, although it is sustained to the end, is, after Shylock’s final exit, pitched in a lower key. The ‘Venesyon Comedy,’ which Henslowe, the manager, produced at the Rose on August 25, 1594, was probably the earliest version of ‘The Merchant of Venice,’ and it was revised later. It was not published till 1600, when two editions appeared, each printed from a different stage copy.
‘King John.’
To 1594 must also be assigned ‘King John,’ which, like the ‘Comedy of Errors’ and ‘Richard II,’ altogether eschews prose. The piece, which was not printed till 1623, was directly adapted from a worthless play called ‘The Troublesome Raigne of King John’ (1591), which was fraudulently reissued in 1611 as ‘written by W. Sh.,’ and in 1622 as by ‘W. Shakespeare.’ There is very small ground for associating Marlowe’s name with the old play. Into the adaptation Shakespeare flung all his energy, and the theme grew under his hand into genuine tragedy. The three chief characters—the mean and cruel king,
the noblehearted and desperately wronged Constance, and the soldierly humourist, Faulconbridge—are in all essentials of his own invention, and are portrayed with the same sureness of touch that marked in Shylock his rapidly maturing strength. The scene, in which the gentle boy Arthur learns from Hubert that the king has ordered his eyes to be put out, is as affecting as any passage in tragic literature.
‘Comedy of Errors’ in Gray’s Inn Hall.
At the close of 1594 a performance of Shakespeare’s early farce, ‘The Comedy of Errors,’ gave him a passing notoriety that he could well have spared. The piece was played on the evening of Innocents’ Day (December 28), 1594, in the hall of Gray’s Inn, before a crowded audience of benchers, students, and their friends. There was some disturbance during the evening on the part of guests from the Inner Temple, who, dissatisfied with the accommodation afforded them, retired in dudgeon. ‘So that night,’ the contemporary chronicler states, ‘was begun and continued to the end in nothing but confusion and errors, whereupon it was ever afterwards called the “Night of Errors.”’ [70] Shakespeare was acting on the same day before the Queen at Greenwich, and it is doubtful if he were present. On the morrow a commission of oyer and terminer inquired into the causes of the tumult, which was attributed to a sorcerer having ‘foisted a company of base and common fellows to
make up our disorders with a play of errors and confusions.’
Early plays doubtfully assigned to Shakespeare.
Two plays of uncertain authorship attracted public attention during the period under review (1591-4)—‘Arden of Feversham’ (licensed for publication April 3, 1592, and published in 1592) and ‘Edward III’ (licensed for publication December 1, 1595, and published in 1596). Shakespeare’s hand has been traced in both, mainly on the ground that their dramatic energy is of a quality not to be discerned in the work of any contemporary whose writings are extant. There is no external evidence in favour of Shakespeare’s authorship in either case. ‘Arden of Feversham’ dramatises with intensity and insight a sordid murder of a husband by a wife which took place at Faversham in 1551, and was fully reported by Holinshed. The subject is of a different type from any which Shakespeare is known to have treated, and although the play may be, as Mr. Swinburne insists, ‘a young man’s work,’ it bears no relation either in topic or style to the work on which young Shakespeare was engaged at a period so early as 1591 or 1592. ‘Edward III’ is a play in Marlowe’s vein, and has been assigned to Shakespeare on even more shadowy grounds. Capell reprinted it in his ‘Prolusions’ in 1760, and described it as ‘thought to be writ by Shakespeare.’ Many speeches scattered through the drama, and one whole scene—that in which the Countess of Salisbury repulses the advances of Edward III—show the hand of a master (act ii. sc. ii.) But there is even in the style of
these contributions much to dissociate them from Shakespeare’s acknowledged productions, and to justify their ascription to some less gifted disciple of Marlowe. [72a] A line in act ii. sc. i. (‘Lilies that fester smell far worse than weeds’) reappears in Shakespeare’s Sonnets’ (xciv. l. 14). [72b] It was contrary to his practice to literally plagiarise himself. The line in the play was doubtless borrowed from a manuscript copy of the ‘Sonnets.’