plays, or who denounced them as the works of the devil and the allies of
sin. I say again to the student that by this means Shakespeare will
become a new thing to him, his mind will be enlarged to the purpose and
scope of the great dramatist, and more illumination will be cast upon the
plays than is received from the whole race of inquisitors into his
phrases and critics of his genius. In the light of contemporary life, its
visions of empire, its spirit of adventure, its piracy, exploration, and
warlike turmoil, its credulity and superstitious wonder at natural
phenomena, its implicit belief in the supernatural, its faith, its
virility of daring, coarseness of speech, bluntness of manner, luxury of
apparel, and ostentation of wealth, the mobility of its shifting society,
these dramas glow with a new meaning, and awaken a profounder admiration
of the poet's knowledge of human life.

The experiences of the poet began with the rude and rural life of
England, and when he passed into the presence of the court and into the
bustle of great London in an age of amazing agitation, he felt still in
his veins the throb of the popular blood. There were classic affectations
in England, there were masks and mummeries and classic puerilities at
court and in noble houses--Elizabeth's court would well have liked to be
classical, remarks Guizot--but Shakespeare was not fettered by classic
conventionalities, nor did he obey the unities, nor attempt to separate
on the stage the tragedy and comedy of life--"immense and living stage,"
says the writer I like to quote because he is French, upon which all
things are represented, as it were, in their solid form, and in the place
which they occupied in a stormy and complicated civilization. In these
dramas the comic element is introduced whenever its character of reality
gives it the right of admission and the advantage of opportune
appearance. Falstaff appears in the train of Henry V., and Doll
Tear-Sheet in the train of Falstaff; the people surround the kings, and