I do not want actors and actresses to understand my plays. That is not necessary. If they will only pronounce the correct sounds I can guarantee the results.
Therefore we value the poet. All the argument and all the wisdom is not in the encyclopedia, or the treatise on metaphysics, or the Body of Divinity, but in the sonnet or the play.
Everything changes with age. The parts change with age, your feelings about them change, roles that I would've wanted to play 10 years ago, I don't want to play now.
Civil disobedience has an honourable history, and when the urgency and moral clarity cross a certain threshold, then I think that civil disobedience is quite understandable, and it has a role to play.
If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.