3.  Shakspeare’s youth[527] fell in a time when the English people were importunate for dramatic entertainments.  The court took offense easily at political allusions, and attempted to suppress them.  The Puritans,[528] a growing and energetic party and the religious among the Anglican Church,[529] would suppress them.  But the people wanted them.  Inn-yards, houses without roofs, and extemporaneous inclosures at country fairs, were the ready theaters of strolling players.  The people had tasted this new joy; and, as we could not hope to suppress newspapers now,—­no, not by the strongest party,—­neither then could king, prelate, or puritan,—­alone or united, suppress an organ, which was ballad, epic, newspaper, caucus, lecture, Punch,[530] and library, at the same time.  Probably king, prelate, and puritan, all found their own account in it.  It had become, by all causes, a national interest,—­by no means conspicuous, so that some great scholar would have thought of treating it in an English history,—­but not a whit less considerable, because it was cheap, and of no account, like a baker’s shop.  The best proof of its vitality is the crowd of writers which suddenly broke into this field; Kyd, Marlow, Greene,[531] Jonson, Chapman, Dekker, Webster, Heywood, Middleton, Peele, Ford, Massinger, Beaumont, and Fletcher.

4.  The secure possession, by the stage, of the public mind, is of the first importance to the poet who works for it.  He loses no time in idle experiments.  Here is audience and expectation prepared.  In the case of Shakspeare there is much more.  At the time when[532] he left Stratford, and went up to London, a great body of stage-plays, of all dates and writers, existed in manuscript, and were in turn produced on the boards.  Here is the Tale of Troy,[533] which the audience will bear hearing some part of, every week; the Death of Julius Caesar,[534] and other stories out of Plutarch,[535] which they never tire of; a shelf full of English history, from the chronicles of Brut[536] and Arthur,[537] down to the royal Henries,[538] which men hear eagerly; and a string of doleful tragedies, merry Italian tales,[539] and Spanish voyages,[540] which all the London prentices know.  All the mass has been treated, with more or less skill, by every playwright, and the prompter has the soiled and tattered manuscripts.  It is now no longer possible to say who wrote them first.  They have been the property of the Theater so long, and so many rising geniuses have enlarged or altered them, inserting a speech, or a whole scene, or adding a song, that no man can any longer claim copyright in this work of numbers.  Happily, no man wishes to.  They are not yet desired in that way.  We have few readers, many spectators and hearers.  They had best lie where they are.