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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

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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

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I. 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

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