manhood are contrasted with the
liveliest humour.

'Twelfth Night.'

The date of 'Twelfth Night' is probably 1600, and its name, which has no
reference to the story, doubtless commemorates the fact that it was
designed for a Twelfth Night celebration. 'The new map with the
augmentation of the Indies,' spoken of by Maria (III. ii. 86), was a
respectful reference to the great map of the world or 'hydrographical
description' which was first issued with Hakluyt's 'Voyages' in 1599 or
1600, and first disclosed the full extent of recent explorations of the
'Indies' in the New World and the Old. {210a} Like the 'Comedy of
Errors,' 'Twelfth Night' achieved the distinction, early in its career,
of a presentation at an Inn of Court. It was produced at Middle Temple
Hall on February 2, 1601-2, and Manningham, a barrister who was present,
described the performance. {210b} Manningham wrote that the piece was
'much like the "Comedy of Errors" or "Menechmi" in Plautus, but most like
and neere to that in Italian called "Inganni."' Two sixteenth-century
Italian plays entitled 'Gl' Inganni' ('The Cheats'), and a third called
'Gl' Ingannati,' bear resemblance to 'Twelfth Night.' It is possible
that Shakespeare had recourse to the last, which was based on Bandello's
novel of Nicuola, {210c} was first published at Siena in 1538, and became
popular throughout Italy. But in all probability he drew the story
solely from the 'Historie of Apolonius and Silla,' which was related in
'Riche his Farewell to Militarie Profession' (1581). The author of that
volume, Barnabe Riche, translated the tale either direct from Bandello's
Italian novel or from the French rendering of Bandello's work in
Belleforest's 'Histoires Tragiques.' Romantic pathos, as in 'Much Ado,'
is the dominant note of the main plot of 'Twelfth Night,' but Shakespeare
neutralises the tone of sadness by his mirthful portrayal of Malvolio,
Sir Toby Belch, Sir Andrew Aguecheek, Fabian, the clown Feste, and Maria,
all of whom are his own creations. The ludicrous gravity of Malvolio
proved exceptionally popular on the stage.

'Julius Caesar,' 1601.

In 1601 Shakespeare made a new departure by drawing a plot from North's
noble translation of Plutarch's 'Lives.' {211a} Plutarch is the king of
biographers, and the deference which Shakespeare paid his work by
adhering to the phraseology wherever it was practicable illustrates his
literary discrimination. On Plutarc