ights, like the
parts of a Greek trilogy. In order of composition the second group came
first. _Henry VI_. is strikingly inferior to the others. _Richard III_.
is a good acting play, and its popularity has been sustained by a series
of great tragedians, who have taken the part of the king. But, in a
literary sense, it is unequal to _Richard II.,_ or the two parts of
_Henry IV_. The latter is unquestionably Shakspere's greatest historical
tragedy, and it contains his master-creation in the region of low
comedy, the immortal Falstaff.

The constructive art with which Shakspere shaped history into drama is
well seen in comparing his _King John_ with the two plays on that
subject which were already on the stage. These, like all the other old
"Chronicle histories," such as _Thomas Lord Cromwell_ and the _Famous
Victories of Henry V._, follow a merely chronological, or biographical,
order, giving events loosely, as they occurred, without any unity of
effect, or any reference to their bearing on the catastrophe.
Shakspere's order was logical. He compressed and selected, disregarding
the fact of history oftentimes, in favor of the higher truth of fiction;
bringing together a crime and its punishment as cause and effect, even
though they had no such relation in the chronicle, and were separated,
perhaps, by many years.

Shakspere's first two comedies were experiments. _Love's Labour's Lost_
was a play of manners, with hardly any plot. It brought together a
number of _humors_, that is, oddities and affectations of various sorts,
and played them off on one another, as Ben Jonson afterward did in his
comedies of humor. Shakspere never returned to this type of play,
unless, perhaps, in the _Taming of the Shrew_. There the story turned on
a single "humor," Katharine's bad temper, just as the story in Jonson's
_Silent Woman_ turned on Morose's hatred of noise. The _Taming of the
Shrew_ is, therefore, one of the least Shaksperian of Shakspere's plays;
a _bourgeois_ domestic comedy, with a very narrow interest. It belongs
to the school of French comedy, like Moliere's _Malade Imaginaire_, not
to the romantic comedy of Shakspere and Fletcher.

The _Comedy of Errors_ was an experiment of an exactly opposite kind. It
was a play purely of incident; a farce, in which the main improbability
being granted, namely, that the twin Antipholi and twin Dromios are so
alike that they cannot be distinguished, all the amusing complications
follow na