remembrance of secret actions of our fathers. The obscurity which not infrequently involves these works was studiously and purposely contrived and if it have never yet been cleared away, no blame should be attributed to those who might have dispersed it; the difficulties of the time, and the dangers which encompassed them were sufficient to deter them from so doing. The most learned men and authors of various ages and countries were pupils of this mysterious school, and never losing sight of their one grand object they were constantly on the alert to bring persons of talent and genius to their way of thinking, and to render them cooperators in their bold projects. There can be no doubt that the present state of civilisation in Europe is in a great measure an effect of this school.... which worked to free mankind from the tyranny of priesthood as well as from monarchical despotism.... The opinions I have advanced though at first sight they may appear the dreams of a diseased mind, are in reality true and unquestionable.'

I A Disquisition on the anti Papal spirit that produced the Reformation its secret influence on the Literature of Europe in general and of Italy in particular. Preface and pp. 195-197, vol 11. London 1834.

APPENDIX C

A CASTLE IN SPAIN

Writing on the subject of the Shakespeare Memorial in the November (1905) number of Broad Views Mrs. Helen Hinton Stewart observes :

"That the Dramas are pre-eminently educational must be admitted by all. The Histories are themselves a magnificent series of object lessons. The Tragedies show us the ravages of sin of sin; the Comedies are delicate lessons in refinement, and kindness, and large hearted tolerance...... It certainly would seem that a Memorial Theatre would be the most suitable Commemoration for the poet whose large vision saw the world as a stage, and who, through the stage, sought to teach men so to live that the celestial 'lookers on' need not weep over their errors and 'fantastic tricks '......

In a Theatre built at the public expense and with a substantial fund to fall back on, the great work of instruction might be carried on. Many of the finest of the plays, at present unknown to theatre goers because not calculated to draw large audiences, could be acted without fear of loss. Other classic dramas, English or foreign, could be introduced. New plays could be encouraged whose aim was not merely to attract but to

teach and elevate. The resources of modern History have surely not yet been exhausted. The immortal series might be continued through the Stewart and Hanoverian lines, not perhaps on the same plane of genius but with an equally earnest desire to make the great actions of our ancestors an encouragement or a warning to their posterity.

A Commemoration Scheme which took the form of a Shakespeare Memorial Theatre built and upheld by public subscription, primarily for the production of the Shakespeare Dramas, and secondarily for the production and encouragement of all plays having an educational and elevating tendency, if of sufficient literary merit, leaving the title of "Shakespeare" to be interpreted according to the faith of each subscriber, such a scheme would in all probability, meet with universal and enthusiastic support.

On reading this I fell into a muse, and among other things I dreamed that the unsightly group of mean streets to the immediate west of Charing Cross had been swept away, as unworthy of their situation in the heart of London; and that in their place, free on all sides, there had arisen the stateliest theatre in Europe.

It faced the Thames Embankment, and was carried through to the Strand, and I perceived that it covered the site of old York House, the birthplace and residence of Francis Bacon. To travellers arriving from the Continent it was the most conspicuous Building that greeted them to London, serving as a memento of the World's kinship. From across the intervening streets the

Mother of Parliaments at Westminster saluted the Mother of the Stage at Charing Cross, and the Thames linked them to each other and to the Sea. I saw on entering that a statue of Orpheus stood within the Entrance Hall, and that around its pedestal were inscribed the words of Shakespeare's " Orpheus and his Lute ", below which was engraved the music of Mr. Edward German's setting. I noticed further that everywhere the ornaments and decoration of the Building were emblematic; the floors and pathways, for example, being covered with the figures of fantastic reptiles. This particular design I was informed was emblematic of the animal passions which Shakespeare taught must be trampled under foot.

In the centre was a Theatre and Concert Hall to which the cost of admission was but small the aim being to reach and give pleasure to the poorer classes of London. I heard that it was customary for Royal guests and illustrious personages to be entertained at this National Playhouse in lieu of at Covent Garden; and that the at-one-time conventional gala performance of operatic snippets had been superseded.

Moreover I dreamed that Sir Edward Elgar had composed a Symphony for the opening of this Imperial Memorial. In the form of three movements this Symphony depicted HISTORY, COMEDY, and TRAGEDY. There was also a Prelude which suggested the sweetening and melting away of Mediaevalism under the influence of Orpheus' harp. The harsh and abrupt conclusion with which this Prelude came to an end denoted, I think, the temporary failure and destruction of the Poet by the forces of pedantry and ignorance.

The Symphony proper opened with what I may designate "the Bacchides theme," a motif which grew feebler and more faint until, under the influence of a stately and most scholarly contrapuntal movement, the dissonances gave way before a tout ensemble denoting HISTORY and EDUCATION.

In the middle movement (depicting high and excellent TRAGEDY) I seemed as it were to hear the hammering of malignant chance, and the overthrow of passion and endeavour to the remorseless thudding of Fate's drums.

Into the Finale the composer had shot the warp and woof of happiness and gaiety, entangling the very Spirits of Comedy, and light-winged Mirth. In the uprush of this climax I awoke.