The obvious exaggeration of this estimate proves more conclusively than anything that it is the consequence, not of common sense, but of suggestion. The more trivial, the lower, the emptier a phenomenon is, if only it has become the subject of suggestion, the more supernatural and exaggerated is the significance attributed to it. The Pope is not merely saintly, but most saintly, and so forth. So Shakespeare is not merely a good writer, but the greatest genius, the eternal teacher of man kind. Suggestion is always a deceit, and every deceit is an evil. In truth, the suggestion that Shakespeare's works are great works of genius, presenting the height of both esthetic and ethical perfection, has caused, and is causing, great injury to men. This injury is twofold: first, the fall of the drama, and the replacement of this important weapon of progress by an empty and immoral amusement; and secondly, the direct depravation of men by presenting to them false models for imitation. Human life is perfected only through the development of the religious consciousness, the only element which permanently unites men. The development of the religious consciousness of men is accomplished through all the sides of man's spiritual activity. One direction of this activity is in art. One section of art, perhaps the most influential, is the drama. Therefore the drama, in order to deserve the importance attributed to it, should serve the development of religious consciousness. Such has the drama always been, and such it was in the Christian world. But upon the appearance of Protestantism in its broader sense, _i.e._, the appearance of a new understanding of Christianity as of a teaching of life, the dramatic art did not find a form corresponding to the new understanding of Christianity, and the men of the Renaissance were carried away by the imitation of classical art. This was most natural, but the tendency was bound to pass, and art had to discover, as indeed it is now beginning to do, its new form corresponding to the change in the understanding of Christianity. But the discovery of this new form was arrested by the teaching arising among German writers at the end of the eighteenth and beginning of the nineteenth centuries--as to so-called objective art, _i.e._, art indifferent to good or evil--and therein the exaggerated praise of Shakespeare's dramas, which partly corresponded to the esthetic teaching of the Germans, and partly served as material for it. If there had not been exaggerated praise of Shakespeare's dramas, presenting them as the most perfect models, the men of the eighteenth and nineteenth centuries would have had to understand that the drama, to have a right to exist and to be a serious thing, must serve, as it always has served and can not but do otherwise, the development of the religious consciousness. And having understood this, they would have searched for a new form of drama corresponding to their religious understanding.