problems of human existence. It is not, however, the purpose of this
essay to consider the question of what are the relations between the
artist and his art; for it will assume the truth of the generally
accepted view, that the character of the one can be inferred from that
of the other. What it will attempt to discuss is whether, upon this
hypothesis, the most important part of the ordinary doctrine of
Shakespeare's mental development is justifiable.

What, then, is the ordinary doctrine? Dr. Furnivall states it as
follows:

Shakespeare's course is thus shown to have run from the amorousness
and fun of youth, through the strong patriotism of early manhood,
to the wrestlings with the dark problems that beset the man of
middle age, to the gloom which weighed on Shakespeare (as on so
many men) in later life, when, though outwardly successful, the
world seemed all against him, and his mind dwelt with sympathy on
scenes of faithlessness of friends, treachery of relations and
subjects, ingratitude of children, scorn of his kind; till at last,
in his Stratford home again, peace came to him, Miranda and Perdita
in their lovely freshness and charm greeted him, and he was laid by
his quiet Avon side.

And the same writer goes on to quote with approval Professor Dowden's

likening of Shakespeare to a ship, beaten and storm-tossed, but yet
entering harbour with sails full-set, to anchor in peace.

Such, in fact, is the general opinion of modern writers upon
Shakespeare; after a happy youth and a gloomy middle age he reached at