When, the day after such a representation, conversation arose in the
family circle as to the three happy hours passed in the theatre, an
opportunity was given for discussing the most important events of the
past and the present. The people's history had not yet been written
then. Solitary events only had been loosely marked down in dry folios.
The stage now brought telling historical facts in vivid colours before
the eye. The powerful speeches of high and mighty lords, of learned
bishops, and of kings were heard--of exalted persons, all different
in character, but all moved, like other mortals, by various passions,
and driven by a series of circumstances to definite actions. It was
felt that they, too, were subject to a certain spirit of the time,
the tendency of which, if the poet was attentively listened to, could
be plainly gathered. In this way conclusions might be drawn which shed
light even upon the events of the present.

True, it was forbidden to bring questions of the State and of religion
upon the stage. But has Shakspere really avoided treating upon them?

Richard Simpson has successfully shown that Shakspere, in his historical
plays, carried on a political discussion easily understood by his
contemporaries. [16] The maxims thus enunciated by the poet have been
ascertained by that penetrating critic in such a manner that the results
obtained can scarcely be subjected to doubt any more.

On comparing the older plays and chronicles of which the poet made use
for his historical dramas, with the creations that arose on this basis
under his powerful hand, one sees that he suppresses certain tendencies
of the subject-matter before him, placing others in their stead.
Taking fully into account all the artistic technicalities calculated to
produce a strong dramatic effect, we still find that he has evidently