gery, and of sentimental
excellence, which, had he written nothing more, would have entitled him
to rank on a level with the author of the Faery Queen, and far above all
other contemporary poets. He likewise employed his pen occasionally in
the composition of sonnets, principally devoted to love and friendship,
and written perhaps in emulation of those of Spenser, who, as one of
these sonnets testifies, was at this period the object of his ardent
admiration.

Before the publication however of any one of these poems he must already
have attained considerable note as a dramatic writer, since Robert
Green, in a satirical piece printed in 1592, speaking of theatrical
concerns, stigmatizes this "player" as "an absolute Joannes Factotum,"
and one who was "in his own conceit the only Shake-scene in a country."

The tragedy of Pericles, which was published in 1609 with the name of
Shakespeare in the title-page, and of which Dryden says in one of his
prologues to a first play, "Shakespeare's own muse his Pericles first
bore," was probably acted in 1590, and appears to have been long
popular. Romeo and Juliet was certainly an early production of his muse,
and one which excited much interest, as may well be imagined, amongst
the younger portion of theatrical spectators.

There is high satisfaction in observing, that the age showed itself
worthy of the immortal genius whom it had produced and fostered. It is
agreed on all hands that Shakespeare was beloved as a man, and admired
and patronized as a poet. In the profession of an actor, indeed, his
success does not appear to have been conspicuous; but the never-failing
attraction of his pieces brought overflowing audiences to the Globe
theatre in Southwark, of which he was enabled to become a joint
proprietor. Lord Southampton is said to have once bestowed on him a
munificent donation of a thousand pounds to enable him to complete a
purchase; and it is probable that this nobleman might also introduce him
to the notice of his beloved friend the earl of Essex. Of any particular
gratuities bestowed on him by her majesty we are not informed: but there
is every reason to suppose that he must have received from her on
various occasions both praises and remuneration; for we are told that
she caused several of his pieces to be represented before her, and that
the Merry Wives of Windsor in particular owed its origin to her desire
of seeing Falstaff exhibited in love.

It remains to notice