Note (return) — SHAKESPEARE'S ART

I have placed Shakespeare's power of dramatic architecture or organization at the head of his gifts and prerogatives as an artist. And so I suppose a just Philosophy of Art is bound to reckon it. But comparatively few men are or can be, in the fair sense of the term, philosophers of Art, as this requires a course of special training and study. But Shakespeare is a great teacher in the School of Life as well as a great master in the School of Art. And indeed the right use of Art is nowise to serve as the raw material of philosophy, but to furnish instruction and inspiration in the truth of things; and unless it can work home to the business and bosoms of plain practical men, it might as well be struck from the roll of legitimate interests. Now, in the circle of uninspired forces, Shakespeare's art may be justly regarded as our broadest and noblest "discipline of humanity." And his characterization, not his dramatic composition, is his point of contact with us as a practical teacher. In other words, it is by his thorough at-homeness with human nature in the transpirations of individual character that he touches the general mind and heart. Here he speaks a language which all men of developed intelligence can understand and feel. Accordingly it is in his characters that most men place, and rightly place, his supreme excellence: here it is that his wisdom finds and grasps men directly as men; nor, at this point of meeting, does he leave any part of our many-sided being without its fitting portion of meat in due season; while our receptiveness is the only limit to our acquisitions.[16]