[Illustration:  THE OLD THEATRE, WEIMAR From a Water Color by Peter Woltze]

To this end all conspire—­heroes and mercenaries, masters and slaves, kings and messengers; the subordinate figures, indeed, being often more effective in this respect than the superior ones.  Everything mysteriously brewing in the air at the time of some great world-event, all that is hidden in the human soul in moments of supreme experience, is given expression; what the spirit anxiously locks up and screens is freely and unreservedly exposed; we learn the meaning of life and know not how.

Shakespeare mates himself with the world-spirit; like it he pervades the world; to neither is anything concealed; but if it is the function of the world-spirit to maintain secrecy before, indeed often after, the event, it is the poet’s aim to divulge the secret and make us confidants before the deed, or at least during its occurrence.  The vicious man of power, well-meaning mediocrity, the passionate enthusiast, the calmly reflective character, all wear their hearts upon their sleeves, often contrary to all likelihood; every one is inclined to talk, to be loquacious.  In short, the secret must out, should the stones have to proclaim it.  Even inanimate objects contribute their share; all subordinate things chime in; the elements, the phenomena of the heavens, earth and sea, thunder and lightning, wild beasts, raise their voices, often apparently in parables, but always acting as accessories.

But the civilized world, too, must render up its treasures; arts and sciences, trades and professions, all offer their gifts.  Shakespeare’s creations are a great, animated fair, and for this richness he is indebted to his native land.

England, sea-girt, veiled in mist and clouds, turning its active interest toward every quarter of the globe, is everywhere.  The poet lived at a notable and momentous time, and depicted its culture, its misculture even, in the merriest vein; indeed, he would not affect us so powerfully had he not identified himself with the age in which he lived.  No one had a greater contempt for the mere material, outward garb of man than he; he understands full well that which is within, and here all are on the same footing.  It is thought that he represented the Romans admirably; I do not find it so; they are all true-blue Englishmen, but, to be sure, they are men, men through and through, and the Roman toga, too, fits them.  When we have seized this point of view, we find his anachronisms highly laudable, and it is this very disregard of the outer raiment that renders his creations so vivid.

Let these few words, which do not by any means exhaust Shakespeare’s merits, suffice.  His friends and worshipers would find much that might be added.  Yet one remark more It would be difficult to name another poet each of whose works has a different underlying conception exerting such a dominating influence as we find in Shakespeare’s.