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RV 276 (Rh) from the greatest of Shakespearean critics since the days of Coleridge, Hazlitt and Lamb. Mr. Swinburne, after observing that King Lear is ‘by far the most Aeschylean’ of Shakespeare’s works, proceeds thus:

‘But in one main point it differs radically from the work and the spirit of Aeschylus. Its fatalism is of a darker and harder nature. To Prometheus the fetters of the lord and enemy of mankind even into a mirth almost as light-hearted as that of younger days. When we consider these facts, not as barely stated thus but as they affect us in reading the plays, it is, to my mind, very hard to believe that their origin was simply and solely a change in dramatic methods. or choice of subjects, or even merely such inward changes as may be expected to accompany the arrival and progress of middle age.

(2) On the other side, and over against these facts, we have to set the multitudinousness of Shakespeare’s genius, and his almost unlimited power of conceiving and expressing human experience of all kinds. And we have to set more. Apparently during this period of years he never ceased to write busily, or to exhibit in his writings the greatest mental activity. He wrote also either nothing or very little (Troilus and Cressida and his part of Timon are the possible exceptions) in which there is any appearance of personal feeling overcoming or seriously endangering the self-control or ‘objectivity’ of the artist. And finally it is not possible to make out any continuously deepening personal note: for although Othello is darker than Hamlet it surely strikes one as about as impersonal as a play can be; and, on grounds of style and versification, it appears (to me, at least) impossible to bring Troilus and Cressida chronologically close to King Lear and Timon; even if parts of it are later than others, the late parts must be decidedly earlier than those plays.

The conclusion we may very tentatively draw from these sets of facts would seem to be as follows. Shakespeare during these years was probably not a happy man, and it is quite likely that he felt at times even an intense melancholy, bitterness, contempt, anger, possibly even loathing and despair. It is quite likely too that he used these experiences of his in writing such plays as Hamlet, Troilus and Cressida, King Lear, Timon. But it is evident that he cannot have been for any considerable time, if ever, overwhelmed by such feelings, and there is no appearance of their having issued in any settled ‘pessimistic’ conviction which coloured his whole imagination and expressed itself in his works. The choice of the subject of ingratitude, for instance, in King Lear and Timon, and the method of handling it, may have been due in part to personal feeling; but it does not follow that this feeling was particularly acute at this particular time, and, even if it was, it certainly was not so absorbing as to hinder Shakespeare from representing in the most sympathetic manner aspects of life the very reverse of pessimistic. Whether the total impression of King Lear can be called pessimistic is a further question, which is considered in the text.