from any lips save his of whom astonished crowds declared "Never man spake like this man." Shunning the formalities of scholastic logic, its elaborate methods and techincs, he yet inwrought its very gist through his works,—not logic as an art with its routine and formulæ, but those principles which an analysis of the art reveals. None of its terms are in his nomenclature, but the laws of thought that underlie them are presupposed throughout.
Sixth. Another advantage of the study of Shakespeare is the culture of the dramatic element. This is a universal power. Why not give it its due? We have special appliances for training the other powers—why not give this, too, its due. If undeveloped; the other powers suffer. Its special function seems to be, to act, not only as a sort of universal mental lubricant, but to minister vividness, piquancy, compass, conceptive force, and general momentum to all the powers. Its development gives self-poise, quickens perception, memory, imaginative, taste, and intuition, gives keener appreciation of beauty, strength and grace, and to volition a firmer grasp and wider sway.
To exercise this power seems a kind of instinctive mental necessity. No intellectual element has more persistently asserted itself through all time; and of all way-marks with which civilization has spaced off its progress, none have been projected into higher relief than the dramatic. Through phases of manifestation endlessly diversified, its exercise has formed in all nations the most attractive of diversions. True, it has thus often been in bad company, and put to evil uses, and thus come to be associated with the lax morals of theatres in their perlieus.
But does the abuse of a thing forbid its use? Is it not rather a plea all the stronger for its right use? What good things are not abused, and the best the most? Shall all good things be ruled out, because they only can be abused? Shall we deny education to the dramatic power because the theatre is its special sphere?
Far more plausibly might the scouter of all Christian churches put under his ban the dramatic element, because formerly its almost exclusive public exercise was in the service of the church, its houses of worship being thrown open for its representation, and presided over throughout Christendom by bishops and the clergy.
Accustomed to associate the exercise of this power with the theatre alone, we are apt to overlook the vastly wider scope and relations of the dramatic element in mind. To illustrate this, I refer you to the fact that the teachings of Jesus Christ, the very essence of practical Christianity are an appeal to the dramatic element in mind. How am I to determine my duty to my neighbor? I am to put myself in his place, to make his case my own, I am to be to myself the representative of his rights, interests, and well-being. In a word, I am in the highest sense to impersonate him, at the bar of my own conscience, just as in any other case of personation, I do in my conception assume
