endeavouring to make political capital of that new and immense motive
power, that not yet available, and not very easily organised political
power which was already beginning to move the masses here then, and
already threatening, to the observant eye, with its portentous
movement, the foundations of tyranny, the fact, too, that these men
were understood to have made use of the stage unsuccessfully as a
means of immediate political effect, are facts which lie on the
surface of the history of these works, and unimportant as it may seem
to the superficial enquirer, it will be found to be anything but
irrelevant as this inquiry proceeds. The man who is said to have
contributed a thousand pounds towards the purchase of the theatre and
wardrobe and machinery, in which these philosophical plays were first
exhibited, was obliged to stay away from the first appearance of
Hamlet, in the perfected excellence of the poetic philosophic design,
in consequence of being immured in the Tower at that time for an
attempt to overthrow the government. This was the ostensible patron
and friend of the Poet; the partner of his treason was the ostensible
friend and patron of the Philosopher. So nearly did these philosophic
minds, that were 'not for an age but for all time,' approach each
other in _this_ point. But the _protege_ and friend and well-nigh
adoring admirer of the _Poet_, was also the _protege_ and friend and
well-nigh adoring admirer of the Philosopher. The fact that these two
philosophies, in this so close juxta-position, always in contact,
playing always into each other's hands, never once heard of each
other, know nothing of each other, is a fact which would seem at the
first blush to point to the secret of these 'Know-Nothings,' who are
men of science in an age of popular ignorance, and therefore have a
'secret'; who are men of science in an age in which the questions of
science are 'forbidden questions,' and are therefore of necessity
'Know-Nothings.'