Such phrases sum up Shakespeare's habitual bearing to formal philosophy. The consideration of causes, first principles, abstract truths, never, in the dramatist's opinion, cured a human ill. The futility of formal philosophy stands, from this point of view, in no further need of demonstration. II But it is permissible to use the words philosopher and philosophy, without scientific precision or significance, in the popular inaccurate senses of shrewd observer and observation of life. By philosophy we may understand common-sense wisdom about one's fellow-men, their aspirations, their failures and successes. As soon as we employ the word in that significance, we must allow that few men were better philosophers than Shakespeare. Shakespeare is what Touchstone calls the shepherd in _As You Like It_--"a natural philosopher"--an observer by light of nature, an acute expositor of phases of human life and feeling. Character, thought, passion, emotion, form the raw material of which ethical or metaphysical systems are made. The poet's contempt for formal ethical or metaphysical theory co-existed with a searching knowledge of the ultimate foundations of all systematised philosophic structures. The range of fact or knowledge within which the formal theorist speculates in the fields of ethics, logic, metaphysics, or psychology, is, indeed, very circumscribed when it is compared with the region of observation and experience over which Shakespeare exerted complete mastery. Almost every aspect of life Shakespeare portrays with singular evenness of insight. He saw life whole. The web of life always presented itself to him as a mingled yarn, good and ill together. He did not stay to reconcile its contradictions. He adduces a wealth of evidence touching ethical experience. It may be that the patient scrutiny of formal philosophers can alone reveal the full significance of his harvest. But the dramatist's exposition of the workings of virtue or vice has no recondite intention. Shakespeare was no patient scholar, who deliberately sought to extend the limits of human knowledge. With unrivalled ease and celerity he digested, in the recesses of his consciousness, the fruit of personal observation and reading. His only conscious aim was to depict human conduct and human thought. He interpreted them unconsciously by virtue of an involuntary intuition. Shakespeare's intuition pierces life at the lowest as well as at the highest level of experience. It is coloured by delicate imaginative genius as well as by robust and practical worldliness. Not his writings only, but the facts of his private life--his mode of managing his private property, for example--attest his alert knowledge of the material and practical affairs of human existence. Idealism and realism in perfect development were interwoven with the texture of his mind.