works. I say intentionally such; for many of Beaumont and Fletcher's plays, and the greater part of Ben Jonson's comedies, are farce plots. I add All's Well that Ends Well, originally intended as the counterpart of Love's Labour's Lost, Taming of the Shrew, Midsummer Night's Dream, Much Ado about Nothing, and Romeo and Juliet.
SECOND EPOCH.
| Richard II. | |
| King John. | |
| Henry VI.—rifacimento only. | |
| Richard III. |
[pg 081]
THIRD EPOCH.
| Henry IV. | |
| Henry V. | |
| Merry Wives of Windsor. | |
| Henry VIII.—a sort of historical masque, or show play. |
FOURTH EPOCH
gives all the graces and facilities of a genius in full possession and habitual exercise of power, and peculiarly of the feminine, the lady's character.
| Tempest. | |
| As You Like It | |
| Merchant of Venice. | |
| Twelfth Night. |
And, finally, at its very point of culmination—
| Lear. | |
| Hamlet. | |
| Macbeth. | |
| Othello. |
LAST EPOCH.
when the energies of intellect in the cycle of genius were, though in a rich and more potentiated form, becoming predominant over passion and creative self-manifestation—
| Measure for Measure, | |
| Timon of Athens. | |
| Coriolanus. | |
| Julius Cæsar. | |
| Antony and Cleopatra. | |
| Troilus and Cressida. |
Merciful, wonder-making Heaven! what a man was this Shakespeare! Myriad-minded, indeed, he was.
[pg 083]
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