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This is what it is in my mind to do in this book. It is not my intention to discuss the literary values of the plays, or to analyze them from a theatrical, philosophical, or psychological point of view.

Others have done this far beyond any poor capacity I might have in that direction. What I can do, however, is to go over each of the thirty-eight plays and two narrative poems written by Shakespeare in his quarter century of literary life, and explain, as I go along, the historical, legendary, and mythological background. In the process, I will, in some places, spend many pages on a single short speech which requires a great deal of background knowledge for its proper total appreciation.

I may, in other places, skip quickly through whole acts which require nothing more than an understanding of a few archaic words to be crystal clear. On the whole, I shall make no attempt to translate simple archaisms. This is done, quite adequately, in any briefly annotated edition of Shakespeare.

In dealing with the plays, I will quote whatever passage inspires an explanation, but I will quote very little else. If the reader is reasonably familiar with a particular play, he will be able to read through the chapter devoted to it without needing to refer to the play itself.

If he is not familiar with a particular play, it would probably help to keep it at hand for possible reference. One matter over which I hesitated for a considerable length of time was the question of the order of presentation of the plays. The traditional order, as found in most editions of Shakespeare's collected works, groups the comedies first, then the histories, then the tragedies. This traditional order is very far removed from the order in which the plays were written.

Thus, The Tempest, which is the first play in the ordinary editions, is the last play that Shakespeare wrote without collaboration. The Two Gentlemen of Verona, which is next, is one of the earliest.

It is possible to prepare an edition in which the plays are presented roughly in the order of their writing, something of value to those who study Shakespeare's developing techniques and ideas.

This order can only be rough because it is not always certain in exactly which year a particular play was written. Worse yet, placing the plays in the chronological order of writing disrupts the histories and places them out of order as far as the historical events they deal with are concerned.

Since I am chiefly interested in this book in the historical, legendary, and mythological background of the events described in the various plays, I have decided to place the plays in the chronological order of those historical events as far as possible.

The Greek plays will include those that have their basis in Greek legend, as for instance, Troilus and Cressida; or in Greek history however faintly , as Timon of Athens. It will also, however, include pure romances, with no claim whatever to any historical value, except that the background is arbitrarily set in a time we recognize as Greek-as The Winter's Tale. The Roman plays include those that are based on actual history, as Julius Caesar, or on utterly non-historical, but Rome-based, inventiveness, as Titus Andronicus.

As it happens, even historical fiction such as The Winter's Tale and Titus Andronicus can be faintly related to actual historical events. No fiction writer is an island and no matter how he tries to draw on his imagination alone, the real world will intrude. The Italian plays are those set in a Renaissance Italian setting or in nearby places such as France, Austria, or Illyria which cannot be pinned down to any specific period of time.

I will present the plays in this section in the order in which Shakespeare as best we can tell wrote them. The English plays include not only the sober historical plays such as Richard II or Henry V, but also those which deal with the legendary period of English history before the Norman conquest or even, in the case of King Lear and Cymbeline, before the Roman conquest.

There is some overlapping. The Greek plays set latest in time are later than the earliest Roman plays; and the latest Roman plays are later than the earliest English plays. The radical difference in scene, however, makes it convenient to ignore this slight chronological inconsistency. With that out of the way, the order of plays and narrative poems in this volume will carry us through some twenty-eight centuries of history, from the time of legendary Greece before the Trojan War, to Shakespeare's own time.

To make a reasonably even division of the book into two volumes, the Greek, Roman, and Italian plays-in that order-will be grouped into Volume One.