But in the melancholy and meditative Jaques of the last drama we feel the touch of a new and graver mood. Youth, so full and buoyant in the poet till now, seems to have passed almost suddenly away. Though Shakspere had hardly reached forty, in one of his Sonnets which cannot have been written at a much later time than this there are indications that he already felt the advance of premature age. And at this moment the outer world suddenly darkened around him. The brilliant circle of young nobles whose friendship he had shared was broken up in 1601 by the political storm which burst in a mad struggle of the Earl of Essex for power. Essex himself fell on the scaffold; his friend and Shakspere's idol, Southampton, passed a prisoner into the Tower; Herbert Lord Pembroke, a younger patron of the poet, was banished from the Court. While friends were thus falling and hopes fading without, Shakspere's own mind seems to have been going through a phase of bitter suffering and unrest. In spite of the ingenuity of commentators, it is difficult and even impossible to derive any knowledge of Shakspere's inner history from the Sonnets; "the strange imagery of passion which passes over the magic mirror," it has been finely said, "has no tangible evidence before or behind it." But its mere passing is itself an evidence of the restlessness and agony within. The change in the character of his dramas gives a surer indication of his change of mood. The fresh joyousness, the keen delight in life and in man, which breathes through Shakspere's early work disappears in comedies such as "Troilus" and "Measure for Measure." Disappointment, disillusion, a new sense of the evil and foulness that underlie so much of human life, a loss of the old frank trust in its beauty and goodness, threw their gloom over these comedies. Failure seems everywhere. In "Julius Caesar" the virtue of Brutus is foiled by its ignorance of and isolation from mankind; in Hamlet even penetrating intellect proves helpless for want of the capacity of action; the poison of Iago taints the love of Desdemona and the grandeur of Othello; Lear's mighty passion battles helplessly against the wind and the rain; a woman's weakness of frame dashes the cup of her triumph from the hand of Lady Macbeth; lust and self-indulgence blast the heroism of Antony; pride ruins the nobleness of Coriolanus. [Sidenote: His passion plays.]