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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.-11. 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
1. 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 Nsystère-English Miracle.—IV. Pas-
sage of the Miracle from the Clergy to the People—From Latin
to the Vulgar Tonguc-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
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