I

SHAKESPEARE AND THE MODERN STAGE[1]

[Footnote 1: This paper was first printed in _The Nineteenth Century_,
January 1900.]


I

Without "the living comment and interpretation of the theatre,"
Shakespeare's work is, for the rank and file of mankind, "a deep well
without a wheel or a windlass." It is true that the whole of the
spiritual treasures which Shakespeare's dramas hoard will never be
disclosed to the mere playgoer, but "a large, a very large, proportion
of that indefinite all" may be revealed to him on the stage, and, if
he be no patient reader, will be revealed to him nowhere else.

There are earnest students of Shakespeare who scorn the theatre and
arrogate to themselves in the library, often with some justification,
a greater capacity for apprehending and appreciating Shakespeare than
is at the command of the ordinary playgoer or actor. But let Sir
Oracle of the study, however full and deep be his knowledge, "use all
gently." Let him bear in mind that his vision also has its
limitations, and that student, actor, and spectator of Shakespeare's
plays are all alike exploring a measureless region of philosophy and