sense, i.e., the appearance of a new understanding of Christianity as of a teaching of life, the dramatic art did not find a form corresponding to the new understanding of Christianity, and the men of the Renaissance were carried away by the imitation of classical art. This was most natural, but the tendency was bound to pass, and art had to discover, as indeed it is now beginning to do, its new form corresponding to the change in the understanding of Christianity.
But the discovery of this new form was arrested by the teaching arising among German writers at the end of the eighteenth and beginning of the nineteenth centuries—as to so-called objective art, i.e., art indifferent to good or evil—and therein the exaggerated praise of Shakespeare's dramas, which partly corresponded to the esthetic teaching of the Germans, and partly served as material for it. If there had not been exaggerated praise of Shakespeare's dramas, presenting them as the most perfect models, the men of the eighteenth and nineteenth centuries would have had to understand that the drama, to have a right to exist and to be a serious thing, must
