. The only play of Shakespeare's, out of nearly forty,
which is farcical,--'The Comedy of Errors,'--was written in the poet's
earliest period of authorship, and was formed upon the suggestion of a
preceding piece. It has been observed with truth by Gervinus that the
farcical incidents of this play have been connected by Shakespeare
with a tragic background, which is probably his own invention. With
beauty, or with pathos, or with thought, Shakespeare can mingle his
mirth; and then he is happy, and knows how to deal with play of wit or
humorous characterization; but an entirely comic subject somewhat
disconcerts the poet. On this ground, if no other were forthcoming, it
might be suspected that 'The Taming of the Shrew' was not altogether
the work of Shakespeare's hand. The secondary intrigues and minor
incidents were of little interest to the poet. But in the buoyant
force of Petruchio's character, in his subduing tempest of high
spirits, and in the person of the foiled revoltress against the law of
sex, who carries into her wifely loyalty the same energy which she had
shown in her virgin _sauvagerie_, there were elements of human
character in which the imagination of the poet took delight.

Unless it be its own excess, however, Shakespeare's laughter seems to
fear nothing. It does not, when it has once arrived at its full
development, fear enthusiasm, or passion, or tragic intensity; nor do
these fear it. The traditions of the English drama had favored the
juxtaposition of the serious and comic: but it was reserved for
Shakespeare to make each a part of the other; to interpenetrate
tragedy with comedy, and comedy with tragic earnestness.

SHAKESPEARE'S PORTRAITURE OF WOMEN

From 'Transcripts and Studies'

Of all the daughters of his imagination, which did Shakespeare love
the best? Perhaps we shall not err if we say one of the latest born of
them all,--our English Imogen. And what most clearly shows us how
Shakespeare loved Imogen is this--he has given her faults, and has
made them exquisite, so that we love her better for their sake. No one
has so quick and keen a sensibility to whatever pains and to whatever
gladdens as she. To her a word is a blow; and as she is quick in her
sensibility, so she is quick in her perceptions, piercing at once
through the Queen's false show of friendship; quick in her contempt
for what is unworthy, as for all professions of love from the
clown-prince, Cloten; quick in her resen