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CHAPTER VIII.

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.--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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CHAPTER IX.

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 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'

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· 363

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.-11. 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 111.'-'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.

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CHAPTER XI.

DOMESTIC TRAGEDY.

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.-11. 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

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