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Blood tells, no doubt, and a masterpiece usually betrays some token of the place and hour of its birth. A knowledge of the condition of political parties in Athens in 416 B.C. adds immensely to the enjoyment of the readers of Aristophanes; the fun becomes funnier and the daring even more splendid than before. Molière's training as an actor does affect the dramaturgic quality of his comedies. All this is demonstrable, and to the prevalent consciousness of it our generation is deeply indebted to Taine and his pupils. But before displaying dogmatically the inevitable brandings of racial and national traits on a national literature, before pointing to this and that unmistakable evidence of local or temporal influence on the form or spirit of a masterpiece, we are now inclined to make some distinct reservations. These reservations are not without bearing upon our own literature in America.
