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 "domestic" 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 "agnostic," though Marlowe was certainly a freethinker. The others were, first or last, avowedly religious. Shakespeare, and Shakespeare alone, after Marlowe, is persistently non-religious in his handling of life. Lear, his darkest tragedy, is predominantly pagan; and The Tempest, in its serener vein, is no less so. But indeed all the genuine plays alike ignore or tacitly negate the idea of immortality; even the conventional religious phrases of Macbeth being but incidental poetry. In the words of a clerical historian, "the religious phrases which are thinly scattered over his work are little more than expressions of a distant and imaginative reverence. And on the deeper grounds of religious faith his silence is significant.... The riddle of life and death ... he leaves ... a riddle to the last, without heeding the common theological solutions around him." [70] The practical wisdom in which he rose above his rivals no less than in dramatic and poetic genius, kept him prudently reticent on his opinions, as it set him upon building his worldly fortunes while the others with hardly an exception lived in shallows and miseries. As so often happens, it was among the ill-balanced types that there was found the heedless courage to cry aloud what others thought; but Shakespeare's significant silence reminds us that the largest spirits of all could live in disregard of contemporary creeds. For, while there is no record of his having privately avowed unbelief, and certainly no explicit utterance of it in his plays, [71] in no genuine work of his is there any more than bare dramatic conformity to current habits of religious speech; and there is often significantly less. In Measure for Measure the Duke, counselling as a friar the condemned Claudio, discusses the ultimate issues of life and death without a hint of Christian credence.