Similarly, in "Cymbeline," the joy of the brothers in finding the sister
is an echo of his own pleasure in getting to know his daughter.
I have an idea about the genesis of these last three plays as regards
their order which may be wholly false, though true, I am sure, to
Shakespeare's character. I imagine he was asked by the author to touch
up "Pericles." On reading the play, he saw the opportunity of giving
expression to the new emotion which had been awakened in him by the
serious sweet charm of his young daughter, and accordingly he wrote the
scenes in which Marina figures. Judith's modesty was a perpetual wonder
to him.
His success induced him to sketch out "The Winter's Tale," in which tale
he played sadly with what might have been if his accused love, Mary
Fitton, had been guiltless instead of guilty. I imagine he saw that the
play was not a success, or supreme critic as he was, that his hand had
grown weak, and seeking for the cause he probably came to the conclusion
that the comparative failure was due to the fact that he did not put
himself into "The Winter's Tale," and so he determined in the next play
to draw a full-length portrait of himself again, as he had done in
"Hamlet," and accordingly he sketched Posthumus, a staider, older,
idealized Hamlet, with lymph in his veins, instead of blood.
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