Nor does a single phrase, a single syllable, in the whole play, refer to the event which, for all after-times, is inseparably associated with the memory of King John--the signing of the Magna Charta. The reason of this is evidently, in the first place, that Shakespeare kept close to the earlier drama, and, in the second place, that he did not attribute to the event the importance it really possessed, did not understand that the Magna Charta laid the foundation of popular liberty, by calling into existence a middle class which supported even the House of Tudor in its struggle with an overweening oligarchy. But the chief reason why the Magna Charta is not mentioned was, no doubt, that Elizabeth did not care to be reminded of it. She was not fond of any limitations of her royal prerogative, and did not care to recall the defeats suffered by her predecessors in their struggles with warlike and independent vassals. And the nation was willing enough to humour her in this respect. People felt that they had to thank her government for a great national revival, and therefore showed no eagerness either to vindicate popular rights against her, or to see them vindicated in stage-history. It was not until long after, under the Stuarts, that the English people began to cultivate its constitution. The chronicle-writers of the period touch very lightly upon the barons' victory over King John in the struggle for the Great Charter; and Shakespeare thus followed at once his own personal bias with regard to history, and the current of his age. [1] The full title runs thus: "The Troublesome Raigne of _John_, King of _England,_ with the discouerie of King Richard Cordelions Base sonne (vulgarly named The Bastard Fawconbridge): also the death of King John at Swinstead Abbey. As it was (sundry times) publikely acted by the Queenes Maiesties Players, in the honorable Citie of London." XX "_THE TAMING OF THE SHREW" AND "THE MERCHANT OF VENICE"--SHAKESPEARE'S PREOCCUPATION WITH THOUGHTS OF PROPERTY AND GAIN--HIS GROWING PROSPERITY--HIS ADMISSION TO THE RANKS OF THE "GENTRY"--HIS PURCHASE OF HOUSES AND LAND--MONEY TRANSACTIONS AND LAWSUITS_ The first plays in which we seem to find traces of Italian travel are _The Taming of the Shrew_ and _The Merchant of Venice_, the former written at latest in 1596, the latter almost certainly in that or the following year. Enough has already been said of _The Taming of the Shrew._ It is only a free and spirited reconstruction of an old piece of scenic architecture, which Shakespeare demolished in order to erect from its materials a spacious and airy hall. The old play itself had been highly popular on the stage; it took new life under Shakespeare's hands. His play is not much more than a farce, but it possesses movement and fire, and the leading male character, the somewhat coarsely masculine Petruchio, stands in amusing and typical contrast to the spoilt, headstrong, and passionate little woman whom he masters.