ABSTRACT
The dominating Shakespearian symbols of thunder-tempests and music address themselves respectively to atavistic terrors and aspiration beyond thought. Shakespeare's Sonnets follow the balance of his Rape of Lucrece as against his Venus and Adonis, recording a sexual fascination, sinking to lust, for a Dark Lady, and an adoration of Socratic tone for a Fair Youth. The romantic comedies range from political dissension and tragic loss to wit and gaiety, with love central and conclusion in marriage. Marriage is deeply honoured, and the rights and qualities of the sexes beautifully distinguished. It is the woman's part to surrender to man, as lord; and yet the women, not the men, are the controlling powers. In actual life, however, there are few Portias or Helenas ready to counsel courts and heal kings, as Shakespeare's historical dramas, with their rivalries and tensions, only too clearly show.
