KING JOHN.
Life and Death of King John' is mentioned among Shakespeare's works by Francis Meres in 1598, but was not printed till the appearance of the Folio in 1623. In historic time it stands at the head of the history plays, and in date of composition it probably preceded all except 'Henry VI' and 'Richard Critics assign it to 1593 or 1594. This play is an interesting mark of the transi tion from Shakespeare's earliest manner to his mature mode of composition. Like the second and third parts of 'Henry VI,' it is based upon an earlier drama in two parts. This latter work was printed in 1591 under the title of 'The Troublesome Reign of John, King of England.' Shakespeare's increasing independ ence is shown in 'King John' in that, though making few important changes in the story, he retains practically nothing of the original lan guage. The plot, therefore, of the later play is essentially that of the unknown author of the 'Troublesome Reign,' while the language and in great degree the psychology are Shake speare's own. The condensation of 10 acts of the original into five has been skillfully done, but evidences of cramping appears, especially toward the close, where the entire second part of the
iod of real mastery are, for example, the famous sentimental scene between Hubert and Prince Arthur (IV, i); the expressions of Con stance's mother-love, e.g., III, iv, 93ff: " Grief fills the room up of my absent child, Lies in his bed, walks up and down with me"; and the closing patriotic declamation of the Bastard Faulconbridge, " This England never did, nor never shall Lie at the proud foot of a conqueror," etc.
Of the first passage mentioned, Hazlitt writes of Shakespeare's Plays,' 1817) ; "If anything ever was penned, heart-piercing. mixing the extremes of terror an i pity, of that which shocks and that which soothes the mind, it is this scene." There seems to be no record of any actual performance of 'King John' before 1737. Gar rick acted the title role at Drury Lane in 1744. and in 1755 took the part of the Bastard with less success. On the whole, the play offers more opportunity for actresses than for actors, hiany heroines of the stage — among others, Mrs. Cibber, Mrs. Siddons and Ellen Terry— having won fame either as Constance or as Prince Arthur.