by many competent writers. Professor A. W. Ward's · History of English Dramatic Literature' supplies what was conspicuous by its absence from our libraries in 1862, namely, a comprehensive and excellently balanced survey of the works of the chief dramatists. The New Shakspere Society has instituted an original method of inquiry into questions of text, chronology, and authorship. Mr. Swinburne, Professor Dowden, and Mr. Gosse have published monographs of fine critical and ästhetic quality. Mr. W. C. Hazlitt, Mr. Churton Collins, Mr. A. H. Bullen, and the late Richard Simpson—to mention only a few prominent names—have enriched our stores of accessible documents with plays reprinted from rare copies or published for the first time from MS. Professor Arber and Dr. Grosart have placed at the student's disposition masses of useful materials, extracted from sources inaccessible to the general reader, and edited with unimpeachable accuracy.

American scholarship, meanwhile, has not been altogether idle in this field ; while German criticism has been voluminously prolific.

To mention all the men of distinction whose varied labours have aided the student of Elizabethan Dramatic Literature during the last twenty years, would involve too long a catalogue of names and publications.

I may well feel diffidence in bringing forth my own

studies to the light of day, after this computation of recent and still active workers on the subject. Elizabethan Dramatic Literature is a well-defined speciality, important enough to occupy a man's life-labours. I cannot pretend to be a specialist in this department ; nor have I sought to write for specialists. It has been iny intention to bring the history of the English Drama within the sphere of popular treatment; not shrinking from the discussion of topics which are only too familiar to special students; combining exposition with criticism ; and endeavouring to fix attention on the main points of literary evolution.

I have only to add in conclusion that the present volume has been produced under the disadvantageous conditions of continued residence in the High Alps, at a distance from all libraries except my own.

But for the

generous and disinterested assistance rendered me by Mr. A. H. BULLEN, I should almost dread to print a work of this nature, composed in such unfavourable circumstances. To this gentleman, so well known by his edition of Day's works and by his series of Old Plays in course of publication, my warmest thanks are due for reading each sheet as it passed through the press, and for making most valuable suggestions and corrections, which give me confidence in the comparative accuracy

of my statements.

Davos Platz: Nov. 9, 1883.

CONTENTS.

CHAPTER I.

INTRODUCTORY.

PAGE

I. Method of Inquiry-Chronological Limits-Unity of the Subject.

-II. Three Stages in Evolution of the Drama-Stage of Pre-

paration and Formation--Closed by Marlowe-Stage of perfectly

developed Type-Character of Shakspere's Art - Jonson and

Fletcher-Stage of Gradual Decline.—III. The Law of Artistic

Evolution-Illustrations from Gothic Architecture, Greek Drama,

Italian Painting.-IV. The Problem for Criticism-In Biography

-In History-Shakspere personifies English Genius in his Cen-

tury-Criticism has to demonstrate this. – V. Chronology is

scarcely helpful-Complexity of the Subject-Imperfection of

our Drama as a Work of Art-Abundance of Materials for Study-

ing all Three Stages-Unique Richness of our Dramatic Litera-

ture.-VI. Shakspere's Relation to his Age-To his Predeces-

sors-To his Successors.–VII. Double Direction of English

Literary Art--Jonson, Milton, Dryden, Pope-Spirit of the Eliza-

bethan Epoch.--VIII. The Elizabethan Inspiration is exhausted

in the Reign of Charles I.-Dramatists of the Restoration-Rise

of the Novel-Place of Novelists in the Victorian Age

I

PAGE

Society-Determination of the Romantic Species-Its Specific

Quality—Materials of Plays—Heywood's Boast.–VII. Imperfec-

tions of the Romantic Style.–VIII. Treatment of Character-

Violent Changes—Types of Evil-Fantastic Horrors.—IX. In-

sanity.-X. Meditations upon Death.—XI. Sombre Philosophy

of Life-Melancholy-Religious Feeling.-XII. Blending of Gay

with Grave—Types of Female Character-Boy-Actors.—XIII.

Comedy of Life and of Imagination-Shaksperian Comedy-

Fletcher's Romantic Comedy and Comedy of Intrigue-

Hybrids between Pastoral and Allegory-Farce—Comedy of

Manners-Jonson.—XIV. Questions for Criticism.—XV. Three

Main Points relating to English Drama.—XVI. National

Public-England compared with Italy, France, Spain.-XVII.

English Poetry-Mr. M. Arnold on Literatures of Genius and

Intelligence—The Inheritors of Elizabethan Poetry.--XVIII.

Unimpeded Freedom of Development-Absence of Academies-

No Interference from Government- The Dramatic Art considered

as a Trade and a Tradition.—XIX. Dramatic Clairvoyance

-- Insight into Human Nature-Insight into Dramatic Method.

-XX. The Morality of the Elizabethan Drama.-XXI. Its

Importance in Educating the People-In Stimulating Patriotism

-Contrast with the Drama of the Restoration.--XXII. Im-

provement of the Language-Variety of Styles-Creation of

Blank Verse.-XXIII. History of Opinion on the Drama--De

Quincey's Panegyric

23