In his earliest pieces, written during his arduous apprenticeship to the craft of playmaking, when he was not yet sure of his footing in the theater, Shakspere had to provide parts for a pair of popular fun-makers,—Will Kempe and another as yet unidentified. They were lusty and robust comedians accustomed to set the house in a roar as soon as they showed their cheerful faces. They created the two Dromios, the two Gobbos, Launce and Speed, Costard and Dull; and it is idle to deny that not a little of the talk that Shakspere put in their mouths is no longer laughter-provoking; it is not only too topical, too deliberately Tudor, it is also too mechanical in its effort at humor to move us to mirth to-day. Their merry jests,—Heaven save the mark!—are not lifted above the level of the patter of the “sidewalk comedians” of our variety-shows. They are frankly “clowns”; and Shakspere has set down for them what the groundlings expected them to utter, only little better than the rough repartee and vigorous innuendo and obvious pun which they would have provided for themselves if they had been free to do as they were wont to do. What he gives them to say is rarely the utterance of the characters they were supposed to be interpreting; and this is because the two Dromios are parts only, are not true characters, and are scarcely to be accepted even as types. A difference of taste in jests, so George Eliot declared, is “a great strain on the affections”; and it would be insulting to the creator of Bottom and Falstaff to pretend that we have any affectionate regard for Costard and Dull, for Launce and Speed. It is only when Shakspere was coming to the end of his apprenticeship that he found out how to utilize the talents of Kempe and of Kempe’s unknown comrade in comedy, in parts which without ceasing to be adjusted to their personalities were also accusable characters, Dogberry and Touchstone. But when we come to Touchstone we are forced to perceive that Shakspere was the child of his own age even when he refrained from echoing its catchwords. He was cleaner than the majority of his rivals, but he was near enough to Rabelais to be frank of speech. On occasion he can be of the earth, earthy. He bestows upon Touchstone a humor which is at times Rabelaisian in its breadth, in its outspoken plainness of speech, assured of the guffaws of the riffraff and rabble of a Tudor seaport, but a little too coarse for the descendants of the Puritans on either side of the Atlantic to-day. Nearly fifty years ago when Harry Beckett was rehearsing in ‘As You Like It’ for one of the infrequent Shaksperian revivals that Lester Wallack ventured to make, he told me sorrowfully that his part had been sadly shorn, some of Touchstone’s best lines having been sacrificed in deference to the increasing squeamishness of American audiences.