Never again did Shakespeare so depart from the possible in order to attain a scenic effect. And yet it is doubtful whether the effect is really attained. In reading, it is true, these curses strike us with extraordinary force; but on the stage, where she only disturbs and retards the action, and takes no effective part in it, Margaret cannot but prove wearisome. Yet, though she herself remains inactive, her curses are effectual enough. Death overtakes all those on whom they fall--the King and his children, Rivers and Dorset, Lord Hastings and the rest. She encounters the Duchess of York, the mother of Edward IV., Queen Elizabeth, his widow, and finally Anne, Richard's daringly-won and quickly-repudiated wife. And all these women, like a Greek chorus, give utterance in rhymed verse to imprecations and lamentations of high lyric fervour. In two passages in particular (ii. 2 and iv. I) they chant positive choral odes in dialogue form. Take as an example of the lyric tone of the diction these lines (iv. I):--. "_Duchess of York [To Dorset_.] Go thou to Richmond, and good fortune guide thee!-- [_To Anne_.] Go thou to Richard, and good angels tend thee! [_To Q. Elizabeth_.] Go thou to sanctuary, and good thoughts possess thee!-- I to my grave, where peace and rest lie with me! Eighty odd years of sorrow have I seen, And each hour's joy wrack'd with a week of teen." Such is this work of Shakespeare's youth, firm, massive, and masterful throughout, even though of very unequal merit. Everything is here worked out upon the surface; the characters themselves tell us what sort of people they are, and proclaim themselves evil or good, as the case may be. They are all transparent, all self-conscious to excess. They expound themselves in soliloquies, and each of them is judged in a sort of choral ode. The time is yet to come when Shakespeare no longer dreams of making his characters formally hand over to the spectators the key to their mystery--when, on the contrary, with his sense of the secrets and inward contradictions of the spiritual life, he sedulously hides that key in the depths of personality. XIX _SHAKESPEARE LOSES HIS SON--TRACES OF HIS GRIEF IN KING JOHN--THE OLD PLAY OF THE SAME NAME--DISPLACEMENT OF ITS CENTRE OF GRAVITY--ELIMINATION OF RELIGIOUS POLEMICS--RETENTION OF THE NATIONAL BASIS--PATRIOTIC SPIRIT--SHAKESPEARE KNOWS NOTHING OF THE DISTINCTION BETWEEN NORMANS AND ANGLO-SAXONS, AND IGNORES THE MAGNA CHARTA_ In the Parish Register of Stratford-on-Avon for 1596, under the heading of burials, we find this entry, in a clear and elegant handwriting:-- "_August_ 11, _Hamnet filius William Shakespeare._" Shakespeare's only son was born on the 2nd of February 1585; he was thus only eleven and a half when he died.