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 that the greatest, noblest and most eloquent men could attain to, to be listened to by youths eager to learn and to be taught, then the present slavery both of the teacher and of the student will cease, but scarcely before then.

The case of Shakespeare is an eminent example to us of what the Goth is able to accomplish, when he breaks the Roman chains. His works are not an imitation of Seneca or Æschylus, nor are they the fruit of a careful study of the Ars Poetica or Gradus ad Parnassum. No, he knew but little Latin and less Greek, but what made him the undisputed Hercules in English literature was the heroic spirit of Gothdom which flowed in his veins, and which drove him away from the Latin school before his emotional nature had been flogged and tortured out of him. Shakespeare, and not Roman literature and scholasticism, is the lever that has raised English literature and given it the first rank among all the Teutons. It is not, we repeat, the deluge of Latin words that flood it, that has given this preëminence to English, but it is the genuine Gothic strength that everywhere has tried to break down the Roman walls. The slaves of Latin will find it difficult enough to explain how Shakespeare, who was not for an age, but for all time,—he whose Latin was small and whose Greek was less,—how he, the star of poets, the sweet swan of Avon, was made as well as born. Ay, he was made. He was also one of those who, to cast a living line had to sweat, and strike the second heat upon the Muses' anvil. It is true that Shakespeare did not arrive at a full appreciation of the Gothic spirit, for he did not have an opportunity to acquaint himself thoroughly with the Gothic myths; but then they ever haunted him like the ghost of Hamlet, accusing their