121.  If this be a true history of the course of development of every mind that is capable of independent thought upon and investigation of such high matters, it follows that Shakspere’s soul must have experienced a similar struggle—­for he was a man of like passions with ourselves; indeed, to so acute and sensitive a mind the struggle would be, probably, more prolonged and more agonizing than to many; and it is these three mental conditions—­first, of unthinking acceptance of generally received teaching; second, of profound and agitating scepticism; and, thirdly, of belief founded upon reason and experience—­that may be naturally expected to be found impressed upon his early, middle, and later works.

122.  It is impossible here to do more than indicate some of the evidence that this supposition is correct, for to attempt to investigate the question exhaustively would involve the minute consideration of a majority of the plays.  The period of Shakspere’s customary or conventional belief is illustrated in “A Midsummer Night’s Dream,” and to a certain extent also in the “Comedy of Errors.”  In the former play we find him loyally accepting certain phases of the hereditary Stratford belief in supernaturalism, throwing them into poetical form, and making them beautiful.  It has often before been observed, and it is well worthy of observation, that of the three groups of characters in the play, the country folk—­a class whose manner and appearance had most vividly reflected themselves upon the camera of Shakspere’s mind—­are by far the most lifelike and distinct; the fairies, who had been the companions of his childhood and youth in countless talks in the ingle and ballads in the lanes, come second in prominence and finish; whilst the ostensible heroes and heroines of the piece, the aristocrats of Athens, are colourless and uninteresting as a dumb-show—­the real shadows of the play.  This is exactly the ratio of impressionability that the three classes would have for the mind of the youthful dramatist.  The first is a creation from life, the second from traditionary belief, the third from hearsay.  And when it has been said that the fairies are a creation from traditionary belief, a full and accurate description of them has been afforded.  They are an embodiment of a popular superstition, and nothing more.  They do not conceal any thought of the poet who has created them, nor are they used for any deeper purpose with regard to the other persons of the drama than temporary and objectless annoyance.  Throughout the whole play runs a healthy, thoughtless, honest, almost riotous happiness; no note of difficulty, no shadow of coming doubt being perceptible.  The pert and nimble spirit of mirth is fully awakened; the worst tricks of the intermeddling spirits are mischievous merely, and of only transitory influence, and “the summer still doth tend upon their state,” brightening this fairyland with its sunshine and flowers.  Man has absolutely no power to govern these supernatural