So silent is the dramatist on the ecclesiastical issues of his day that Protestants and Catholics are enabled to go on indefinitely claiming him as theirs; the latter dwelling on his generally kindly treatment of friars; the former citing the fact that some Protestant preacher--evidently a protégé of his daughter Susannah--was allowed lodging at his house. But the preacher was not very hospitably treated; [72] and other clues fail. There is good reason to think that Shakespeare was much influenced by Montaigne's Essays, read by him in Florio's translation, which was issued when he was recasting the old Hamlet; and the whole treatment of life in the great tragedies and serious comedies produced by him from that time forward is even more definitely untheological than Montaigne's own doctrine. [73] Nor can he be supposed to have disregarded the current disputes as to fundamental beliefs, implicating as they did his fellow-dramatists Marlowe, Kyd, and Greene. The treatise of De Mornay, of which Sir Philip Sidney began and Arthur Golding finished the translation, [74] was in his time widely circulated in England; and its very inadequate argumentation might well strengthen in him the anti-theological leaning. A serious misconception has been set up as to Shakespeare's cast of mind by the persistence of editors in including among his works without discrimination plays which are certainly not his, as the Henry VI group, to which he contributed little, and in particular the First Part, of which he wrote probably nothing. It is on the assumption that that play is Shakespeare's work that Lecky (Rationalism in Europe, ed. 1887, i, 105-106) speaks of "that melancholy picture of Joan of Arc which is perhaps the darkest blot upon his genius." Now, whatever passages Shakespeare may have contributed to the Second and Third Parts, it is certain that he has barely a scene in the First, and that there is not a line from his hand in the La Pucelle scenes. Many students think that Dr. Furnivall has even gone too far in saying that "the only part ... to be put down to Shakespeare is the Temple Garden scene of the red and white roses" (Introd. to Leopold Shakespeare, p. xxxviii); so little is there to suggest even the juvenile Shakespeare there. (The high proportion of double-endings is a ground for reckoning it a late sample of Marlowe, who in his posthumously published translation of Lucan had approached that proportion. Cp. the author's vol. on Titus Andronicus, p. 190.) But that any critical and qualified reader can still hold him to have written the worst of the play is unintelligible. The whole work would be a "blot on his genius" in respect of its literary weakness. The doubt was raised long before Lecky wrote, and was made good a generation ago. When Lecky further proceeds, with reference to the witches in Macbeth, to say (id. note) that it is "probable that Shakespeare ... believed with an unfaltering faith in the reality