SHAKESPEARE'S SECOND PERIOD

"THE TWO GENTLEMEN OF VERONA "—"LOVE'S LABOUR LOST"-"ALL'S WELL THAT ENDS WELL"-"A MIDSUMMER NIGHT'S DREAM"-"ROMEO AND JULIET -"THE MERCHANT OF VENICE"-"RICHARD III.""RICHARD II."—"KING JOHN"-"THE MERRY WIVES OF WINDSOR "-" AS YOU LIKE IT”—“TWELFTH NIGHT" -"MUCH ADO ABOUT NOTHING"

CHAPTER VI

SHAKESPEARE'S SECOND PERIOD

IN the first period of our poet's literary activity we know him chiefly as a paraphraser of plays. In his second period, comprising the last ten years of the sixteenth century, he rises to the rank of an independent master, with a positively astounding rapidity of development, which unfortunately we cannot follow step by step. The general impression, however, made by the works of this period, apart from their strong individuality, differs from that made by those of the first. While in the carlier we discover repeated grounds for believing that we encounter traces of unpleasant personal experiences, in the later works we think we see signs proving that they issue from the mind of a man who is happy and content, favoured by success, and living in prosperous outward circumstances. Comedy prevails, and, even in the serious plays, we do not find so much bitterness and misanthropy as in the earlier works.

"THE TWO GENTLEMEN OF VERONA"

Julia-Silvia

For many reasons, internal and external, which we cannot detail here, this comedy must be assigned to an early period of Shakespeare's activity; hence we place it at the head of this second period.

Two young gentlemen have grown up in intimate friendship in Verona. Valentine, who is full of noble ambition, seeks his fortune at the court of the Duke of Milan, while love for

the beautiful Julia keeps the other, Proteus, in Verona. Just as he succeeds in assuring himself that his love is returned, he also, at his father's command, goes to Milan to perfect himself in courtly training. Here he meets Valentine, who has become the successful suitor of the Duke's daughter, Silvia. But the Duke destines her for Thurio, a very rich, but very foolish man. Proteus-whose name is no doubt chosen designedly for making mythological allusions, after a fashion affected by Shakespeare in his early works-becomes a traitor to love and friendship. He forgets Julia, adores Silvia, and betrays to the Duke a project Valentine has confided to him of eloping with Silvia. Valentine is forced to fly from the Duke's wrath. The false friend strives in vain, in Valentine's absence, to shake the faith of his ladylove, who, knowing that Proteus has left a lady in Verona to whom his faith is plighted, treats him with contempt. She is only occupied with plans for joining Valentine, who meantime, driven by necessity, becomes the leader of a band of outlaws banished for political reasons. The forsaken Julia, impelled by her passionate longing for Proteus, has followed him in disguise, and entered his service as a page. She has to carry love messages to Silvia, she is present when her false lover, accused by that lady of treason to love and friendship, excuses himself by a lie, saying that Valentine and Julia are dead. Silvia, who does not believe him, escapes; the Duke, accompanied by Proteus, Julia, and Thurio, goes after her. They are all taken prisoners by the outlawed band. Proteus saves Silvia from the grasp of a robber, and, encouraged by this, once more sues for her love. Valentine, who has only heard of this dialogue, accuses Proteus bitterly of treachery, but, on his expressing deep repentance, forgives him. He is even ready to yield to him the hand of Silvia, of whom, now that he has become a bandit, he considers himself unworthy. Julia, who, in spite of all her inward suffering, has so far played her part perfectly, can bear it no longer now she seems about to lose

Proteus altogether, sinks fainting to the ground. As Proteus recognises her, his old love is re-awakened, and they renew their vows. The Duke, who during the combat has been disgusted by the cowardly demeanour of Thurio, forgives the outlaws, and with them Valentine, to whom he grants Silvia's hand. However hurried and inartistic may be the close of this play, the characters are truly and carefully delineated. We will discuss the women briefly. Julia is a mirror of the purest, most modest womanhood. She speaks of Proteus, whom she already secretly loves, with most modest outward reserve; she sharply scolds her maid who brings her a love-letter from him, and when the girl leaves her says, with charming naïveté :

And yet I would I had o'erlooked the letter;
It were a shame to call her back again
And pray her to a fault for which I chid her.
What a fool is she, that knows I am a maid,
And would not force the letter to my view!
Since maids, in modesty, say 'no' to that
Which they would have the profferer construe 'ay.'
Fie, fie, how wayward is this foolish love
That, like a testy babe, will scratch the nurse

And presently all humbled kiss the rod !

How churlishly I chid Lucetta hence,

When willingly I would have had her here!

How angerly I taught my brow to frown,
When inward joy enforced my heart to smile!

The Two Gentlemen of Verona, act i. scene 2.

When, however, Lucetta returns and bears the letter with her, Julia tears it, but carefully collects the pieces. In the sad moment of parting with her beloved she is speechless with grief. When he is gone, the most intense longing to behold him overcomes her; she conquers all her girlish timidity, and hastens after him in masculine attire, while with noble unshaken faith she repels the doubts her maid tries to throw upon his fidelity. Sad is it for her when she learns that she has given her heart to one unworthy; but this unworthiness does not quench her affection; she remains