r the
appearance of "Pericles," "Titus Andronicus," the two parts of the
"Contention," "The Comedy of Errors," and "The Two Gentlemen of Verona."
Professor Wendell admits that in "The Two Gentlemen of Verona" Shakspere
did work of his own. After that, it is not quite "obvious" that "Love's
Labour's Lost" is in the style of Lilly, however clear to the critic may
be its "tedious length."

Lilly wrote "Endymion, or The Man in the Moon," first published in 1591;
it is "one great and elaborate piece of flattery addressed to 'Elizabeth
Cynthia'," that is, the Queen; she instructs her ladies in Morals and
Pythagoras in Philosophy. "Her kiss breaks the spell" which put Endymion
into his forty-years sleep, upon which, and upon his deliverance from
which, "the action principally turns within the space of forty years."
Can any impartial reader trace this "manner of Lilly" in "Love's
Labour's Lost"?

Lilly's "Pleasant conceited Comedy," called "Mother Bombie," appeared in
1594, his "Midas" in 1592, and his "Most Excellent Comedie of
Alexander, Campaspe, and Diogenes" in 1584. "Mother Bombie" represents
four servants, treated partly as English, partly as Roman slaves, who
deceive their respective masters in an "equally clumsy, unlikely, and
un-motived manner." It is difficult to see how "Love's Labour's Lost,"
produced in 1592, could have imitated "Mother Bombie," produced in 1594.
"Alexander and Campaspe" is "taken from the well known story of the
magnanimity and self-command with which Alexander curbs his passionate
love for his beautiful Theban captive, and withdraws in favor of her
lover Apelles." The most important comic scenes afford Diogenes the
opportunity of emerging from his tub and silencing all comers by his
cynical speeches.

Lilly's most ambitious work was his "Euphues, the Anatomy of Wit, very
pleasant for all Gentlemen to read," "probably printed as early as
1579." Long before Shakspere's time, all "Gentlemen" had read it, and
it had introduced to the fashionable world a new language which nobody
but the high-born could understand.

If "Love's Labour's Lost" is "in the manner of Lilly," it is not so in
Professor Wendell's sense, but only as it ridicules with unsparing
satire Lilly's conceits and puns.

The statement that "Henry VI." is "certainly collaborative" is
unwarranted, because it has been successfully challenged and disproved
by the eminent critics Hermann Ulrici and Charles Knight; it is
supported onl