But to ascertain the fact, that the controlling idea of that new learning which the Man in the Tower is illustrating now in so grand and mature a manner, not with his pen only, but with his 'living art,' and with such an entire independence of classic models, is already organically contained in those earlier works on which the classic shell is still visible, it is not necessary to go back to the Westminster play of these new classics, or to the performances of the Queen's Scholars. Plays having a considerable air of maturity, in which the internal freedom of judgment and taste is already absolute, still exhibit on the surface of them this remarkable submission to the ancient forms which are afterwards rejected on principle, and by a rule in the new rhetoric--a rule which the author of the Advancement of Learning is at pains to state very clearly. The _wildness_ of which we hear so much, works itself out upon the surface, and determines the form at length, as these players proceed and grow bolder with their work. A play, second to none in historical interest, invaluable when regarded simply in its relation to the history of this school, one which may be considered, in fact, the Introductory Play of the New School of Learning, is one which exhibits very vividly these striking characteristics of the earlier period. It is one in which the vulgarities of the Play-house are still the cloak of the philosophic subtleties, and incorporated, too, into the philosophic design; and it is one in which the unity of design, that one design which makes the works of this school, from first to last, as the work of one man, is still cramped with those other unities which the doctrines of Dionysus and the mysteries of Eleusis prescribed of old to _their_ interpreters. 'What is the _end_ of _study_? What is the _end_ of it?' was the word of the New School of Learning. _That_ was its first speech. It was a speech produced with dramatic illustrations, for the purpose of bringing out its significance more fully, for the purpose of pointing the inquiry unmistakeably to those ends of learning which the study of the learned then had not yet comprehended. It is a speech on behalf of a new learning, in which the extant learning is produced on the stage, in its actual historical relation to those '_ends_' which the new school conceived to be the true ends of it, which are brought on to the stage in palpable, visible representation, not in allegorical forms, but in instances, 'conspicuous instances,' living specimens, after the manner of this school.