Shakespeare, like other sensitive, intelligent men, saw that our distinctive products, the characters that we set most store by, are very strange. That beautiful kindness, high courage, and devoted service should go so often with real animal boorishness and the incapacity to see more than one thing at a time (mistaken for stupidity by stupid people) puzzled him, as it puzzles the un-English mind to-day. A reader feels that in the figure of the Bastard he set down what he found most significant in the common English character. With the exceptions of Sir Toby Belch and Justice Shallow, the Bastard is the most English figure in the plays. He is the Englishman neither at his best nor at his worst, but at his commonest. The Englishman was never so seen before, nor since. An entirely honest, robust, hearty person, contemptuous of the weak, glad to be a king's bastard, making friends with women (his own mother one of them) with a trusty, good-humoured frankness, fond of fighting, extremely able when told what to do, fond of plain measures--the plainer the better, an honest servant, easily impressed by intellect when found in high place on his own side, but utterly incapable of perceiving intellect in a foreigner, fond of those sorts of humour which generally lead to blows, extremely just, very kind when not fighting, fond of the words "fair play," and nobly and exquisitely moved to deep, true poetical feeling by a cruel act done to something helpless and little. The completeness of the portrait is best seen in the suggestion of the man's wisdom in affairs. The Bastard is trying to find out whether Hubert killed Arthur, whose little body lies close beside them. He says that he suspects Hubert "very grievously." Hubert protests. The Bastard tests the protest with one sentence: "Go bear him in thine arms." He utters the commonplace lines-- "I am amaz'd, methinks, and lose my way Among the thorns and dangers of the world"-- while he watches Hubert's face. Hubert stands the test (the emotional test that none but an Englishman would apply), he picks up the body. Instantly the Bastard is touched to a tenderness that lifts Hubert to a spiritual comradeship with him-- "How easy dost thou take all England up." This tragedy of the death of a child causes nearly all that is nobly poetical in the play. All the passionately-felt scenes are about Arthur or his mother. Some have thought that Shakespeare wrote the play in 1596, shortly after the death of his little son Hamnet, aged eleven. The supposition accuses Shakespeare of a want of heart, of a want of imagination, or of both wants together. He wrote like every other writer, from his sense of what was fitting in an imagined situation. It was no more necessary for him to delay the writing of Prince Arthur till his son had died than it was for Dickens to wait till he had killed a real Little Dorrit by slow poison.