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CONTENTS
CHAPTER I
INTRODUCTORY
I. Method of Inquiry-Chronological Limits-Unity of the Subject.
-II. Three Stages in Evolution of the Drama-Stage of
Preparation and Formation-Closed by Marlowe-Stage of
perfectly developed Type-Character of Shakspere's Art-
Jonson and Fletcher-Stage of Gradual Decline.-III. The
Law of Artistic Evolution-Illustrations from Gothic Archi-
tecture, Greek Drama, Italian Painting.-IV. The Problem
for Criticism-In Biography-In History-Shakspere per-
sonifies English Genius in his Century-Criticism has to
demonstrate this.-V. Chronology is scarcely helpful-
Complexity of the Subject-Imperfection of our Drama as a
Work of Art-Abundance of Materials for Studying all Three
Stages-Unique Richness of our Dramatic Literature.-VI.
Shakspere's Relation to his Age-To his Predecessors-To
his Successors-VII. Double Direction of English Literary
Art-Jonson, Milton, Dryden, Pope-Spirit of the Elizabethan
Epoch.-VIII. The Elizabethan Inspiration is exhausted in
the Reign of Charles I.-Dramatists of the Restoration—
Rise of the Novel-Place of Novelists in the Victorian Age
CHAPTER II
THE NATION AND THE DRAMA
I. The Function of a Great Drama-To be both National and Uni-
versal-How that of England fulfilled this--England and
the Renaissance-Fifty Years of Mental Activity.-II. Trans-
itional Character of that Age in England.-III. Youthful-
ness-Turbulence-Marked Personality.-IV. The Italians
of the Renaissance-Cellini.-V. Distinguishing Charac-
teristics of the English-Superior Moral Qualities-Travelling
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-Rudeness of Society-The Medley of the Age.-VI. How
the Drama represented Society-Determination of the
Romantic Species-Its Specific Quality-Materials of Plays-
Heywood's Boast.-VII. Imperfections of the Romantic
Style.-VIII. Treatment of Character-Violent Changes-
Types of Evil-Fantastic Horrors. IX. Insanity.-X.
Meditations upon Death.-XI. Sombre Philosophy of Life-
Melancholy-Religious Feeling.-XII. Blending of Gay with
Grave-Types of Female Character-Boy-Actors.-XIII.
Comedy of Life and of Imagination-Shaksperian Comedy-
Fletcher's Romantic Comedy and Comedy of Intrigue-
Hybrids between Pastoral and Allegory-Farce-Comedy of
Manners-Jonson.-XIV. Questions for Criticism.-XV.
Three Main Points relating to English Drama.-XVI. National
Public-England compared with Italy, France, Spain.-XVII.
English Poetry-Mr. M. Arnold on Literatures of Genius and
Intelligence The Inheritors of Elizabethan Poetry.-XVIII.
Unimpeded Freedom of Development-Absence of Academies
-No Interference from Government-The Dramatic Art
considered as a Trade and a Tradition.-XIX. Dramatic
Clairvoyance-Insight into Human Nature-Insight into
Dramatic Method.-XX. The Morality of the Elizabethan
Drama.-XXI. Its Importance in Educating the People-In
Stimulating Patriotism-Contrast with the Drama of the
Restoration.-XXII. Improvement of the Language-Variety
of Styles-Creation of Blank Verse.-XXIII. History of
Opinion on the Drama-De Quincey's Panegyric .
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CHAPTER III
MIRACLE PLAYS
I. Emergence of the Drama from the Mystery - Ecclesiastical
Condemnation of Theatres and Players-Obscure Survival of
Mimes from Pagan Times-Their Place in Medieval Society.
-II. Hroswitha-Liturgical Drama.-III. Transition to the
Mystery or Miracle Play-Ludi-Italian Sacre Rappresen
tazioni-Spanish Auto-French Mystère-English Miracle.--
IV. Passage of the Miracle from the Clergy to the People-
From Latin to the Vulgar Tongue-Gradual Emergence of
Secular Drama.-V. Three English Cycles-Origin of the
Chester Plays-Of the Coventry Plays-Differences between
the Three Sets-Other Places famous for Sacred Plays.-VI.
Methods of Representation-Pageant-Procession-Italian,
French, and Spanish Peculiarities-The Guilds-Cost of the
Show-Concourse of People-Stage Effects and Properties.—
VII. Relation of the Miracle to Medieval Art-Materialistic
Realism-Place in the Cathedral-Effect upon the Audience.
-VIII. Dramatic Elements in the Miracles-Tragedy-
Pathos-Melodrama-Herod and the Devil.-IX. Realistic
Comedy-Joseph-Noah's Wife-The Nativity-Pastoral
Interludes.-X. Transcripts from Common Life-Satire-
The Woman Taken in Adultery-Mixture of the Sacred and
the Grotesque.-XI. The Art of the Miracles and the Art of
Italian Sacri Monti
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CHAPTER IV
MORAL PLAYS
I. Development of Minor Religious Plays from the Cyclical
Miracle-Intermediate Forms between Miracle and Drama-
Allegory and Personification.-II. Allegories in the Miracle
-Detached from the Miracle-Medieval Contrasti, Dialogi,
and Disputationes-Emergence of the Morality-Its essen-
tially Transitional Character.-III. Stock Personages in
Moral Plays-Devil and Vice-The Vice and the Clown.-IV.
Stock Argument-Protestant and Catholic - Mundus et
Infans.'-V. The Castle of Perseverance'-'Lusty Juventus'
-Youth.'-VI. 'Hick Scorner'-A real Person introduced
-'New Custom '-' Trial of Treasure '-'Like will to Like.'-
VII. Everyman '-The Allegorical Importance of this
Piece.-VIII. Moral Plays with an Attempt at Plot-
'Marriage of Wit and Wisdom '-' Marriage of Wit and
'Microcosmus.' — IX.
Science' The Four Elements
Advance in Dramatic Quality-The Nice Wanton'-'The
Disobedient Child.'-X. How Moral Plays were Acted-
Passage from the old Play of Sir Thomas More.'-XI.
Hybrids between Moral Plays and Drama-'King Johan ’-
Mixture of History and Allegory-The Vice in 'Appius and
Virginia'-In Cambyses'
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CHAPTER V
THE RISE OF COMEDY
I. Specific Nature of the Interlude-John Heywood-The Farce
of Johan 'he Husband'-' The Pardoner and the Friar.'-
II. Heywood's Life and Character.-III. Analysis of The
Four P's '-Chaucerian Qualities of Heywood's Talent.-IV.
Nicholas Udall and Ralph Roister Doister '-Its Debt to
Latin Comedy.-V. John Still-Was He the Author of
'Gammer Gurton's Needle '?-Farcical Character of this
Piece--Dic on the Bedlam.-VI. Reasons for the Early
Developm t of Comedy
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CHAPTER VI
THE RISE OF TRAGEDY
I. Classical Influence in England-The Revival of Learn-
ing - English Humanism - Ascham's Schoolmaster'
Italian Examples.-II. The Italian Drama-Paramount
Authority of Seneca-Character of Seneca's Plays.-III.
English Translations of Seneca-English Translations of
Italian Plays.-IV. English Adaptations of the Latin
Tragedy-Lord Brooke-Samuel Daniel-Translations from
the French-Latin Tragedies-False Dramatic Theory.-V.
'Gorboduc '-Sir Philip Sidney's Eulogy of it-Lives of
Sackville and Norton-General Character of this Tragedy-
Its Argument-Distribution of Material-Chorus-Dumb
Show-The Actors-Use of Blank Verse.-VI. 'The Mis-
fortunes of Arthur '-Thomas Hughes and Francis Bacon-
The Plot-Its Adaptation to the Græco-Roman Style of
Tragedy-Part of Guenevora-The Ghost-Advance on
'Gorboduc' in Dramatic Force and Versification.-VII.
Failure of this Pseudo-Classical Attempt-What it effected
for English Tragedy
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CHAPTER VII
TRIUMPH OF THE ROMANTIC DRAMA
I. Fifty-two Plays at Court-Analysis of their Subjects-The
Court follows the Taste of the People-The Damon and
Pithias' of Edwards- Romeo and Juliet '-' Tancred' and
'Gismunda ''Promos and Cassandra.'-II. Contemporary
Criticisms of the Romantic Style-Gosson-Whetstone-
Sidney.-III. Description of the English Popular Play-
The Florentine Farsa-Destinies of this Form in England
CHAPTER VIII
THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS
I. Servants of the Nobility become Players-Statutes of Edward
VI. and Mary-Statutes of Elizabeth-Licences.-II. Eliza-
beth's and Leicester's Patronage of the Stage-Royal Patent
of 1574-Master of the Revels-Contest between the Corpora-
tion of London and the Privy Council.-III. The Prosecu-
tion of this Contest-Plays Forbidden within the City-
Establishment of Theatres in the Suburbs-Hostility of the
Clergy.-IV. Acting becomes a Profession-Theatres are
Multiplied-Building of the Globe and Fortune-Internal
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Arrangements of Playhouses-Interest of the Court in En-
couragement of Acting Companies.-V. Public and Private
Theatres-Entrance Prices-Habits of the Audience.-VI.
Absence of Scenery-Simplicity of Stage-Wardrobe-Library
of Theatres.-VII. Prices given for Plays-Henslowe—
Benefit Nights-Collaboration and Manufacture of Plays.-
VIII. Boy-Actors-Northbrooke on Plays at School-The
Choristers of Chapel Royal, Windsor, Paul's-Popularity of
the Boys at Blackfriars-Female Parts-The Education of
Actors.-IX. Payment to various Classes of Actors-Sharers
-Apprentices-Receipts from Court Performances-Service
of Nobility-Strolling Companies-Comparative Dishonour
of the Profession.-X. Taverns-Bad Company at Theatres
-Gosson and Stubbes upon the Manners of Playgoers-
Women of the Town-Cranley's 'Amanda.'-XI. 'The Young
Gallant's Whirligig'-Jonson's Fitzdottrel at the Play.-
XII. Comparison of the London and the Attic Theatres
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CHAPTER IX
MASQUES AT COURT
I. Definition of the Masque-its Courtly Character-Its Partial
Influence over the Regular Drama.-II. Its Italian Origin.—
III. Masques at Rome in 1474-At Ferrara in 1502-Morris
Dances-At Urbino in 1513-Triumphal Cars.-IV. Floren-
tine Trionfi-Machinery and Engines - The Marriage
Festivals of Florence in 1565-Play and Masques of Cupid
and Psyche The Masque of Dreams-Marriage Festival of
Bianca Capello in 1579.-V. Reception of Henri III. at
Venice in 1574-His Passage from Murano to San Niccolò
on Lido.-VI. The Masque transported to England-
At the Court of Henry VIII. and Elizabeth-Develop-
ment in the Reign of James I.-Specific Character of the
English Masque-The Share of Poetry in its Success.-
VII. Ben Jonson and Inigo Jones-Italian and English
Artists The Cost of Masques-VIII. Prose Descriptions of
Masques-Jonson's Libretti-His Quarrels with Jones-
Architect versus Poet.--IX. Royal Performers-Professionals
in the Anti-Masque.-X. Variety of Jonson's Masques-
Their Names Their Subjects—Their Lyric Poetry.-XI.
Feeling for Pastoral Beauty-Pan's Anniversary.-XII. The
Masque of Beauty-Prince Henry's Barriers-Masque of
Oberon.-XIII. Royal and Noble Actors-Lady_Arabella
Stuart - Prince Henry - Duke Charles-The Earl and
Countess of Essex-Tragic Irony and Pathos of the Masques
at Court.-XIV. Effect of Masques upon the Drama-Use
of them by Shakspere and Fletcher-By Marston and
Tourneur-Their great Popularity-Milton's Partiality for
Masques The Arcades' and 'Comus'
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