the materials he
wrought in. What an economy of power! and what a compensation for the
shortness of life! All is done to his hand. The world has brought him
thus far on his way. The human race has gone out before him, sunk the
hills, filled the hollows, and bridged the rivers. Men, nations,
poets, artisans, women, all have worked for him, and he enters into
their labors. Choose any other thing, out of the line of tendency, out
of the national feeling and history, and he would have all to do for
himself: his powers would be expended in the first preparations. Great
genial power, one would almost say, consists in not being original at
all; in being altogether receptive; in letting the world do all, and
suffering the spirit of the hour to pass unobstructed through the
mind.

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