“When Shakespeare took Harriette Bowenni as his wife, at once they began their life-work in earnest. Women then were never recognized in literary work, and in fact did not ever act upon the stage, their parts being taken by boys. Harriette knew English history probably better than any man in England at that time, having studied it for several years with her father, and written it out for the nobleman. The first successful plays of Shakespeare were those of English history. Then followed tragedy and comedy in rapid and startling succession. Thirty-seven plays are known positively to be Shakespeare’s, all written in the space of twenty-six years; there being scarcely any repetition of plot or plan, all sweeping forward in that matchless and noble diction possessed by no other writer. The source of nearly all the plots have been well traced. Many of the plays are combinations of two or three others. In several instances the story is taken pure and simple from other writers, and the dialogue changed, modified, interpolated, as if it was necessary to get the play out at a certain time; yet the work is always nobly done, although many of the plays show very plainly the work of two persons. “In every one of these thirty-seven plays William Shakespeare and Harriette Bowenni worked side by side, she supplying the plot and historical connection and he the language. The philosophy and by-play was worked in between them. “Shakespeare’s conception of womanhood is higher than that of any other dramatist, even of modern time. Generally we find the saints and sinners pretty evenly divided between the sexes. Not so with the Master! His women are wise, gentle and good. Look at Portia, Rosalind, Cecelia, Viola, Jessica and others. The character of Lady Macbeth was worked out by Harriette alone, as I will show you in her diary where she protests against William parsing excellencies in the feminine gender continually, and she asks leave to portray Lady Macbeth herself alone.