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I. Method of Inquiry-Chronological Limits-Unity of the Subject.
-II. Three Stages in Evolution of the Drama-Stage of Pre-
paration 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 Architecture, Greek Drama,
Italian Painting.—IV. The Problem for Criticism—In Biography
-In History-Shakspere personifies English Genius in his Cen-
tury-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 Study-
ing all Three Stages-Unique Richness of our Dramatic Litera-
ture. VI. Shakspere's Relation to his Age-To his Predeces-
sors-To his Successors.-VII. Double Direction of English
Literary Art-Jonson, Milton, Dryden, Pope-Spirit of the Eliza-
bethan 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
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. Transitional
Character of that Age in England.-III. Youthfulness-Turbu-
lence-Marked Personality. IV. The Italians of the Renaissance
-Cellini.-V. Distinguishing Characteristics of the English---
Superior Moral Qualities-Travelling-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. Imperfec-
tions of the Romantic Style.-VIII. Treatment of Character-
Violent Changes-Types of Evil-Fantastic Horrors. IX. In-
sanity.-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. Im-
provement of the Language-Variety of Styles-Creation of
Blank Verse.-XXIII. History of Opinion on the Drama-De
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 Rappresentazioni
-Spanish Auto-French Mystère-English Miracle.-IV. Pas-
sage 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 Representa-
tion -Pageant-Procession-Italian, French, and Spanish Pecu-
liarities-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 .
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 essentially
Transitional Character.-III. Stock Personages in Moral Plays
-Devil and Vice-The Vice and the Clown.-IV. Stock Argu-
ment-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 Science'-'The Four Elements ''Micro-
cosmus.'-IX. 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' . 144
THE RISE OF COMEDY.
I. Specific Nature of the Interlude-John Heywood-The Farce
of 'Johan the 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 Gur ton's
Needle'?-Farcical Character of this Piece-Diccon the Bedlam.
-VI. Reasons for the Early Development of Comedy.
THE RISE OF TRAGEDY.
I. Classical Influence in England-The Revival of Learning-Eng-
lish Humanism-Ascham's 'Schoolmaster '-Italian Examples.—
II. The Italian Drama-Paramount Authority of Seneca -Cha-
racter 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-Trans-
lations 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 Misfortunes 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.
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. Descrip-
tion of the English Popular Play-The Florentine Farsa-
Destinies of this Form in England
THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS.
I. Servants of the Nobility become Players-Statutes of Edward VI.
and Mary-Statutes of Elizabeth-Licences.-II. Elizabeth's and
Leicester's Patronage of the Stage-Royal Patent of 1574-Master
of the Revels-Contest between the Corporation of London and
the Privy Council.-III. The Prosecution of this Contest-Plays
Forbidden within the City-Establishment of Theatres in the
Suburbs Hostility of the Clergy.-IV. Acting becomes a Pro-
fession-Theatres are Multiplied-Building of the Globe and
Fortune-Internal Arrangements of Playhouses-Interest of the
Court in Encouragement 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. Pay-
ment to various Classes of Actors-Sharers-Apprentices-Re-
ceipts 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.
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. Florentine 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—
Development 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 Anni-
versary.-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'