Comparison of the English and Spanish Theatres—­Spirit of the Romantic Drama—­Shakespeare—­His age and the circumstances of his Life.

In conformity with the plan which we laid down at the first, we shall now proceed to treat of the English and Spanish theatres.  We have been, on various occasions, compelled in passing to allude cursorily, sometimes to the one and sometimes to the other, partly for the sake of placing, by means of contrast, many ideas in a clearer light, and partly on account of the influence which these stages have had on the theatres of other countries.  Both the English and Spaniards possess a very rich dramatic literature, both have had a number of prolific and highly talented dramatists, among whom even the least admired and celebrated, considered as a whole, display uncommon aptitude for dramatic animation and insight into the essence of theatrical effect.  The history of their theatres has no connection with that of the Italians and French, for they developed themselves wholly out of the abundance of their own intrinsic energy, without any foreign influence:  the attempts to bring them back to an imitation of the ancients, or even of the French, have either been attended with no success, or not been made till a late period in the decay of the drama.  The formation of these two stages, again, is equally independent of each other; the Spanish poets were altogether unacquainted with the English; and in the older and most important period of the English theatre I could discover no trace of any knowledge of Spanish plays (though their novels and romances were certainly known), and it was not till the time of Charles II. that translations from Calderon first made their appearance.

So many things among men have been handed down from century to century and from nation to nation, and the human mind is in general so slow to invent, that originality in any department of mental exertion is everywhere a rare phenomenon.  We are desirous of seeing the result of the efforts of inventive geniuses when, regardless of what in the same line has elsewhere been carried to a high degree of perfection, they set to work in good earnest to invent altogether for themselves; when they lay the foundation of the new edifice on uncovered ground, and draw all the preparations, all the building materials, from their own resources.  We participate, in some measure, in the joy of success, when we see them advance rapidly from their first helplessness and need to a finished mastery in their art.  The history of the Grecian theatre would afford us this cheering prospect could we witness its rudest beginnings, which were not preserved, for they were not even committed to writing; but it is easy, when we compare AEschylus and Sophocles, to form some idea of the preceding period.  The Greeks neither inherited nor borrowed their dramatic art from any other people; it was original and native, and for that very reason was it able to produce a living and powerful effect.