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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 .
PAGE
. 93
6
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 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
CHAPTER V.
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 Gurton's
Needle'?-Farcical Character of this Piece-Diccon the Bedlam.
-VI. Reasons for the Early Development of Comedy.
184
CHAPTER VI.
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 .
211
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. Descrip-
tion of the English Popular Play-The Florentine Farsa—
Destinies of this Form in England
246
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. 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. . 265
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. 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'
and 'Comus'
. 317
CHAPTER X.
ENGLISH HISTORY.
I. The Chronicle Play is a peculiarly English Form-Its Difference
from other Historical Dramas-Supplies the Place of the Epic-
Treatment of National Annals by the Playwrights.-II. Shak-
spere's Chronicles-Four Groups of non-Shaksperian Plays on
English History.-III. Legendary Subjects-Locrine'—' The
History of King Leir.'-IV. Shakspere's Doubtful Plays-Prin-
ciples of Criticism-'The Birth of Merlin.'-V. Chronicle-Plays
Proper Troublesome Reign of King John'—'True Tragedy of
Richard III.'-'Famous Victories of Henry V.'-'Contention of
the Two Famous Houses.'-VI. 'Edward III.'-The Problem of
its Authorship-Based on a Novella and on History The Superior
Development of Situations.-VII. Marlowe's 'Edward II.'-Peele's
'Edward I.'-Heywood's 'Edward IV.'-Rowley's Play on Henry
VIII.—VIII. The Ground covered by the Chronicle Plays-Their
Utility-Heywood's 'Apology' quoted.-IX. Biographies of Poli-
tical Persons and Popular Heroes-Sir Thomas More -' Lord
Cromwell 'Sir John Oldcastle'-Schlegel's Opinion criticised
-Sir Thomas Wyatt'-Ford's 'Perkin Warbeck'-Last Plays of
this Species.-X. English Adventurers-'Fair Maid of the West'
The Shirley Brothers'-'Sir Thomas Stukeley'-His Life
--Dramatised in 'The Famous History,' &c.-'Battle of Alcazar.'—
XI. Apocryphal Heroes-'Fair Em'-'Blind Beggar of Bethnal
Green'-Two Plays on the Robin Hood Legend-English Par-
tiality for Outlaws-Life in Sherwood—‘George a Greene'—Jon-
son's 'Sad Shepherd '-Popularity in England of Princes who
have shared the People's Sports and Pastimes.
363
CHAPTER XI.
DOMESTIC TRAGEDY.
I. Induction to 'A Warning for Fair Women '-Peculiar Qualities of
the Domestic Tragedy-Its Realism-Its Early Popularity-
List of Plays of this Description-Their Sources.-II. Five Plays
selected for Examination-Questions of disputed Authorship—
Shakspere's suggested part in Three of these-The different
Aspects of Realism in them.—III. 'A Warning for Fair Women'
-The Story-Use of Dumb Show-Bye-Scenes-Handling of the
Prose-Tale-Critique of the Style and Character-Drawing of this
Play-Its deliberate Moral Intention.-IV. ‘A Yorkshire Tragedy'
-The Crime of Walter Calverley-His Character in the Drama
-Demoniacal Possession.-V. 'Arden of Feversham '-Diffi-
culty of dealing with it-Its Unmitigated Horror-Fidelity to
Holinshed's Chronicle-Intense Nature of its Imaginative Realism
-Character of Arden-Character of Mosbie-A Gallery of
Scoundrels-Two Types of Murderers-Michael's Terror-Alice
Arden-Her Relation to some Women of Shakspere-Develop-
ment of her Murderous Intention—Quarrel with Mosbie-The
Crescendo of her Passion-Redeeming Points in her Character-
Incidents and Episodes.—VI. ‘A Woman Killed with Kindness'
-The Gentleness of this Tragedy-The Plot-Italian Underplot
adapted to English Life-Character of Mr. Frankford-The Scene
in the Bed-chamber-Character of Mrs. Frankford-Wendoll-
Question regarding the Moral Tone of the Last Act-Religious
Sentiment. VII. 'Witch of Edmonton'-Its Joint-Authorship-
The Story-Female Parts-Two Plays patched together-Mother
Sawyer-The Realistic Picture of an English Witch-Humane
Treatment of Witchcraft in this Play.
CHAPTER XII.
TRAGEDY OF BLOOD.
I. The Tough Fibres of a London Audience-Craving for Strong
Sensation-Specific Note of English Melodrama-Its Lyrical and
Pathetic Relief.-II. Thomas Kyd-' Hieronymo' and 'The
Spanish Tragedy'-Analysis of the Story-Stock-Ingredients of
a Tragedy of Blood-The Ghost-The Villain-The Romantic
Lovers-Suicide, Murder, Insanity.-III. 'Soliman and Perseda'-
The Induction to this Play-The Tragedy of Hoffmann.'-IV.
Marlowe's Use of this Form-'The Jew of Malta'—'Titus An-
dronicus'' Lust's Dominion'-Points of Resemblance between
'Hamlet' and 'The Spanish Tragedy'-Use made by Marston,
Webster, and Tourneur of the Species.-V. The Additions to The
Spanish Tragedy'-Did Jonson make them?-Quotation from
the Scene of Hieronymo in the Garden
CHAPTER XIII.
JOHN LYLY.
I. The Publication of 'Euphues'-Its Two Parts-Outline of the
Story.-II. It forms a Series of Short Treatises-Love-Conduct
-Education-A Book for Women. III. Its Popularity-The
Spread of Euphuism-What we Mean by that Word.—IV. Qua-
lities of Medieval Taste-Allegory-Symbolism-The Bestiaries
-Qualities of Early Humanism-Scholastic Subtleties - Petrar-
chistic Diction-Bad Taste in Italy-Influence of Italian Litera-
ture The Affectation of the Sixteenth Century-Definition of
Euphuism-Illustrations.-V. Lyly becomes a Courtier-His
Want of Success--The Simplicity of his Dramatic Prose-The
a
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