skylarks in their rare madrigals and part-songs. Tragedy and comedy alike are unlimited with respect to contrasts of incident and utterance, light and shadow of experience; they embrace whatsoever is poetic in mirth, woe, learning, law, religion—above all, in passion and action. So that the drama is like a stately architectural structure; a cathedral that includes every part essential to minor buildings, and calls upon the entire artistic brotherhood for its shape and beauty: upon the carver and the sculptor for its reliefs and imagery; upon the painter and the decorative artist for its wall-color and stained glass; upon the moulder to fashion its altar-rail, and the founder to cast the bells that give out its knell or pæan to the land about. The drama is thus more inclusive than the epic. There is little in Homer that is not true to nature, but there is no phase of nature that is not in Shakespeare.
Analyze the components of a Shakespearian play, and you will see that I make no overstatement.
"The Tempest," a romantic play, is as notable as "The Tempest" as an illustration.any for poetic quality and varied conception. It takes elemental nature for its scenes and background, the unbarred sky, the sea in storm and calm, the enchanted flowery isle, so
"full of noises,
Sounds and sweet airs that give delight and hurt not."
The personages comprise many types,—king, noble, sage, low-born sailor, boisterous vagabond, youth and maiden in the heyday of their innocent love. To
