_Love's Labor's Lost_ is an example of the poet's first independent work. In this play such characters as Holofernes the schoolmaster, Costard the clown and Adriano the fantastic Spaniard are all plainly of the "stock" variety; various rimes and meters are used experimentally; blank verse is not mastered; and some of the songs, such as "On a Day," are more or less artificial. Other plays of this early experimental period are _Two Gentlemen of Verona_ and _Richard III_, the latter of which shows the influence and, possibly, the collaboration of Marlowe. [Sidenote: SECOND PERIOD] In the second period (_cir_. 1595-1600) Shakespeare constructed his plots with better skill, showed a greater mastery of blank verse, created some original characters, and especially did he give free rein to his romantic imagination. All doubt and experiment vanished in the confident enthusiasm of this period, as if Shakespeare felt within himself the coming of the sunrise in _Romeo and Juliet_: Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. Though some of his later plays are more carefully finished, in none of them are we so completely under the sway of poetry and romance as in these early works, written when Shakespeare first felt the thrill of mastery in his art. In _Midsummer Nights Dream_, for example, the practical affairs of life seem to smother its poetic dreams; but note how the dream abides with us after the play is over. The spell of the enchanted forest is broken when the crowd invades its solitude; the witchery of moonlight fades into the light of common day; and then comes Theseus with his dogs to drive not the foxes but the fairies out of the landscape. As Chesterton points out, this masterful man, who has seen no fairies, proceeds to arrange matters in a practical way, with a wedding, a feast and a pantomime, as if these were the chief things of life. So, he thinks, the drama is ended; but after he and his noisy followers have departed to slumber, lo! enter once more Puck, Oberon, Titania and the whole train of fairies, to repeople the ancient world and dance to the music of Mendelssohn: Hand in hand, with fairy grace, While we sing, and bless this place. So in _The Merchant of Venice_ with its tragic figure of Shylock, who is hurried off the stage to make place for a final scene of love, moonlight and music; so in every other play of this period, the poetic dream of life triumphs over its practical realities. [Sidenote: THIRD PERIOD] During the third period, of maturity of power (_cir._ 1600-1610), Shakespeare was overshadowed by some personal grief or disappointment. He wrote his "farewell to mirth" in _Twelfth Night_, and seems to have reflected his own perturbed state in the lines which he attributes to Achilles in _Troilus and Cressida_: My mind is troubled, like a fountain stirr'd, And I myself see not the bottom of it.