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Shakespeare was keeping clear of an embroilment with the clergy, nevertheless pronounces the plays to be wholly secular in spirit. While contending that
gpt
the German critic admits that Shakespeare
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[59] And, while refusing the inference of positive unbelief on the poet's part, he pronounces that,
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Just as Bacon banished religion from science, so did Shakespeare from art.... From Bacon's example it seems clear that Shakespeare left religious matters unnoticed on the same grounds. [60] The latest and weightiest criticism comes to the same conclusion; and it is only on presupposition that any other can be reached. One of the ablest of Shakespearean critics sums up that
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(p. 174). Here, it seems to the present writer, Professor Bradley obtrudes the chief error of his admirable book--the constant implication that Shakespeare planned his plays as moral wholes. The fact is that he found the ghost an integral part of the old play which he rewrote; and in making it, in Professor Bradley's words,
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he was simply heightening the character as he does others in the play, and as was his habit in the presentment of a king. In his volume of lectures entitled Oxford Lectures on Poetry (1909), Professor Bradley goes more fully into the problem of Shakespeare's religion. Here he somewhat needlessly obscures the issue by contending (p. 349) that it is preposterous to suppose that Shakespeare was
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and makes the most of the poet's sympathetic treatment of religious types and religious sentiments; but still sums up that he
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and that
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Marlowe, as we saw, puts theistic sentiment into the mouth of his
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; and of Doctor Faustus, despite incidental heresy, the dénouement is religiously orthodox. Thomas Heywood may even be pronounced a religious man, [66] as he was certainly a strong Protestant, [67] though an anti-Puritan; and his prose treatise The Hierarchy of the Blessed Angels (1635) exhibits a religious temperament. The same may be said of Dekker, who is recorded to have written at least the prologue and the epilogue for a play on Pontius Pilate, [68] and is believed to be the author of the best scenes in The Virgin Martyr, in which he collaborated with Massinger. He too uses supererogatory religious expressions, [69] and shows his warm Protestantism in The Whore of Babylon, as he does his general religious sentiment in his treatise The Seven Deadly Sins. Chapman was certainly a devout theist, and probably a Christian. In the
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tragedy, A Warning for Fair Women (1599), which is conjecturally ascribed to Lodge, the conclusion is on Christian lines, as in Arden; and the same holds of The Witch of Edmonton, by Dekker and others. Of none of these dramatists could it be said, on the mere strength of his work, that he was