Über dieses Buch
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 . .
. . . . . . 93
1. 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.
1. Specific Nature of the Interlude-John Heywood - The Farce
of Johan the Husband'—'The Pardoner and the Friar.'-11.
Heywood's Life and Character.-I11. 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 . . . 184
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
TRIUMPH OF THE ROMANTIC DRAMA.
1. 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.-I11. Descrip-
tion of the English Popular Play-The Florentine Farsa-
Destinies of this Form in England . . . . . . 246
THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS.
1. Servants of the Nobility become Players—Statutes of Edward VI.
and Mary-Statutes of Elizabeth-Licences.-11. 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
MASQUES AT COURT.
1. 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 1.-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. ProseDescriptions 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
1. 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.-111. 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.
1. 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 . . . . . . 412
TRAGEDY OF BLOOD.
1. The Tough Fibres of a London Audience-Craving for Strong
Sensation-Specific Note of English Melodrama- Its Lyrical and
Pathetic Relief.-11. 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.-I11.‘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
· · 485
1. 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