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1. 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.-I11. 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

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1. Definition of the Masque-Its Courtly Character-Its Partial

Influence over the Regular Drama.-11. 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

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.-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

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