Part 3 (1/2)

_The Fable._ Tamora, Queen of the Goths, whose firstborn son is sacrificed by t.i.tus Andronicus, determines to be revenged. She succeeds in her determination. t.i.tus and his daughter are mutilated. Two of the Andronici, his sons, are beheaded.

t.i.tus determines to be revenged. He bakes the heads of two of Tamora's sons in a pasty, and serves them up for her to eat. He then stabs her, after stabbing his daughter. He is himself stabbed on the instant; but his surviving son stabs his murderer. Tamora's paramour is then sentenced to be buried alive, and the survivors (about half the original cast) move off (as they say) ”to order well the State.”

This play shows an instinct for the stage and a knowledge of the theatre. It seems to have been a popular piece. A knowledge of the theatre will often make something foolish theatrically effective. So here.

The piece is nearly worthless. The turning of the tide of revenge, from Tamora against Andronicus, and then from Andronicus against Tamora, is the theme. It is a simple theme. Man cannot have simplicity without hard thought, and hard thought is never worthless, though it may be applied unworthily.

There can be no doubt that Shakespeare wrote a little of this tragedy; it is not known when; nor why. Poets do not sin against their art unless they are in desperate want. Shakespeare certainly never touched this job for love. There is only one brief trace of his great, rejoicing triumphant manner. It is possible that the play was brought to him by his theatre-manager, with some such words as these: ”This piece is very bad, but it will succeed, and I mean to produce it, if I can start rehearsals at once. Will you revise it for me? Please do what you can with it, and write in lines and pa.s.sages where you think it is wanting.

And whatever happens please let me have it by Monday.”

The only poetry in the play comes in the three lines--

”You sad-fac'd men, people and sons of Rome, By uproar sever'd, like a flight of fowl Scatter'd by winds and high tempestuous gusts.”

_King Henry VI, Part I._

_Written._ 1589-91.

_Produced._ 1591.

_Published_, in the first folio, 1623.

_Source of the Plot._ Raphael Holinshed's _Chronicles_.

_The Fable._ The play begins shortly after the death of King Henry V. Henry VI is too young to rule. There is a feud between Gloucester, the Lord Protector, and Cardinal Beaufort, Bishop of Winchester. In France, where Talbot is besieging Orleans, the English have had many losses. Joan of Arc begins her conquering progress by causing Talbot to raise the siege.

A feud between the Duke of York (the white rose faction) and the Earl of Somerset (the red rose faction) becomes acute, in spite of King Henry's personal intercession. It intensifies the feud between the Lord Protector and the Cardinal. In France, Talbot is killed in battle. The English are beaten from their possessions. Joan of Arc is taken, tried, and burned.

The menace of civil trouble hangs over King Henry's court. The feud between the factions of the roses threatens to break into war. The Earl of Suffolk (one of the red rose faction) schemes to marry King Henry to Margaret of Anjou. It is made plain that he means to become Margaret's lover so that he may rule England through her. A disgraceful peace is concluded with France. The play ends with Suffolk's departure to arrange the King's marriage with Margaret.

It is plain that this play is not the work of one mind. Part of it is the work of a man who saw a big tragic purpose in events. The rest is the work of at least two mechanical (sometimes muddy) minds, who neither criticised nor understood, but had some sense of the pageant. There are bright marks in the play where Shakespeare's mind touched it.

”Glory is like a circle in the water, Which never ceaseth to enlarge itself, Till, by broad spreading, it disperse to nought.”

”If underneath the standard of the French She carry armour.”

”Now thou art come unto a feast of death.”

”Thus, while the vulture of sedition Feeds in the bosom of such great commanders, Sleeping neglection doth betray to loss The conquest of our scarce-cold conqueror, That ever-living man of memory, Henry the Fifth.”

The work as a whole is one of the old formless chronicle plays, which inspired the remark that if an English dramatist were to make a play of St. George he would begin with the birth of the Dragon. In Act II Shakespeare's mind both directs and explains the welter. The scene in the Temple Gardens, where the men of the two factions pluck the red and white roses, is like music after discord. The play is lifted into poetry. The big tragic purpose broods; something fateful quickens. The next scene, where Mortimer dies in prison, is another instance of the power of great intellect to give life. The dying Mortimer is carried in, to show how the imminent tragedy has been for long years preparing, in countless pa.s.sionate men, each of whom has shaped it, little by little, out of l.u.s.t and hate, till the spiritual measure tips towards justice.

The only other scenes that bear marks of Shakespeare's mind are those in Act IV, in which Talbot meets his death. The verse of these scenes is often careless, but it has a bright variety, pleasant to the mind after the strutting verse (wearily reiterating one prosodic effect, like choppy water) of the other authors. Some people claim that Shakespeare wrote the whole of this play. The intellect changes much in life; but never in kind, only in degree. Shakespeare's mind could play with dirt and relish dirt, but it was never base and never blunt. The base mind is betrayed by its conceptions, not by its amus.e.m.e.nts. Shakespeare's mind could never, at any stage of his career, have sunk to conceive the disgusting scene in which Joan of Arc pleads. Nor could he at any time have planned a play in which the moral idea is a trapping to physical action.

_King Henry VI, Part II._

_Written._ 1591-2.

_Produced._ 1592.

_Published_, in the crude original form, 1593. When first published, the play was called ”The First part of the Contention betwixt the two famous houses of Yorke and Lancaster.” This version seems to have been written by Greene and Peele. It contains pa.s.sages (improving additions) that resemble Shakespeare's work; but the work is very crude. The version as a whole reads like a long scenario.

After the first production of this version, Shakespeare and some other writer, possibly Marlowe, revised, improved and enlarged it.

This revised version, the _Second Part of King Henry VI_, as we now have it, was first published in the first folio in 1623.