Again: in the short time allowed for the presentation of a play, before a restless audience, as soon as the plot was fairly shadowed, the hearers were anxious for the _dénouement_. And so Shakspeare, careless of future fame, frequently displays a singular disparity between the parts. He has so much of detail in the first two acts, that in order to preserve the symmetry, five or six more would be necessary. Thus conclusions are hurried, when, as works of art, they should be the most elaborated.
He has sometimes been accused of obscurity in expression, which renders some of his passages difficult to be understood by commentators; but this, in most cases, is the fault of his editors. The cases are exceptional and unimportant. His anachronisms and historical inaccuracies have already been referred to. His greatest admirers will allow that his wit and humor are very often forced and frequently out of place; but here, too, he should be leniently judged. These sallies of wit were meant rather to "tickle the ears of the groundlings" than as just subjects for criticism by later scholars. We know that old jokes, bad puns, and innuendoes are needed on the stage at the present day. Shakspeare used them for the same ephemeral purpose then; and had he sent down corrected versions to posterity, they would have been purged of these.
INFLUENCE OF ELIZABETH.--Enough has been said to show in what manner Shakspeare represents his age, and indeed many former periods of English history. There are numerous passages which display the influence of Elizabeth. It was at her request that he wrote the _Merry Wives of Windsor_, in which Falstaff is depicted as a lover: the play of Henry VIII., criticizing the queen's father, was not produced until after her death. His pure women, like those of Spenser, are drawn after a queenly model. It is known that Elizabeth was very susceptible to admiration, but did not wish to be considered so; and Shakspeare paid the most delicate and courtly tribute to her vanity, in those exquisite lines from the _Midsummer Night's Dream_, showing how powerless Cupid was to touch her heart:
A certain aim he took At a fair vestal, throned by the west; And loos'd his love-shaft smartly from his bow, As it should pierce a hundred thousand hearts: But I might see young Cupid's fiery shaft Quench'd in the chaste beams of the wat'ry moon; And _the imperial votaress passed on_, In maiden meditation, fancy free.