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A HISTORY of ENGLISH POETRY MACMILLAN and CO., Limited V- 3 fi<uuU^> ^L4JLsQ_ ^J % A HISTORY OF ENGLISH POETRY MACMILLAN AND CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO ATLANTA • SAN FRANCISCO THE MACMILLAN CO. OF CANADA, Ltd. TORONTO TABLE OF CONTEMPORARY POETICAL DRAMATISTS From 1588-1688. ! Date of ! Date of Date of Date of Date of Date of , ,. Date of Date of 1 English. French. Italian. apanisn. Birth. Death. Birth. Death. Birth> Death. Birth. Death. 1616 1612 Cervantes j Anthony Munday . 1553 1633 Alexandre Hardy circ. 1570 1630 Giovanni Battista Guarini 1537 Miguel de 1547 — 1562 | 1635 Robert Greene circ 1555 I59 2 Antoine de Montchretien . 1575 1621 Giovanni Battista Andreini 1578 Lope de Vega . floruit circ. 1590 Thomas Kyd . circ. 1557 1595 Theophile de Viau . 159° 1626 Damian de Vegas de Tarrega floruit 1591-1608 George Peele . circ. 1558 1597 Jean Desmarets 1595 1676 Francisco 1610-1623 George Chapman 1559 1634 Francois Tristan 1601 1655 Gaspar de Aguilar . floruit Christopher Marlowe 1560 1592 George de Scud^nr 1601 1667 Juan Perez de Montalvan 1602 1638 William Shakespeare 1564 1616 Jean Mairet 1604 1686 Guillen de Castro . *5 6 9 1631 Luis Velez de Guevara Thomas Heywood . floruit 1600-1615 Pierre Corneille 1606 1684 1570— 1644 Thomas Dekker circ. 1570 post 1632 Jean Rotrou . 1609 1650 Tirso de Molina 1648 floruit 1602-1635 Thomas Middleton circ. 1570 1627 Paul Scarron . 1610 1660 Mira de Mescua Ben Jonson 1573 1637 Cyrano de Bergerac 1620 1655 Ruiz de Alarcon — 1639 John Marston circ. 1575 1632 Jean Baptiste Poquelin 1622 1673 Pedro Calderon de la 1600 1681 Cyril Tourneur floruit 1 600-1 6 10 (Moliere) Barca 1607 — John Webster floruit 1 600- 1 624 Thomas Corneille . 1625 1709 Francisco de Roxas Antonio de Solis 1610 1686 John Fletcher . 1579 1625 Philippe Quinault 1635 1688 1618 . Philip Massinger 1584 1640 Jean Racine . 1639 1699 Augustus Moreto 1669 Francis Beaumont 1585 1616 Antoine de Montfleury 1640 1685 Alvaro Cubillo floruit 1650 William Rowley circ. 1585 circ. 164.2 Jean Galbert de Campistron 1656 1723 Juan Diamante floruit 1670 John Ford 1586 post 1638 Nicolas Pradon floruit 1674-1698 Juan de la Hoz floruit 1660 Nathaniel Field 1587 1633 Juan de Matos Fragoso . — 1692 Miguel de Barrios . — James Shirley . 1594 1666 1699 Shackerley Marmion 1603 1639 . Thomas Randolph 1605 1635 I Sir William Davenant 1606 1668 William Cartwright 1611 1643 Richard Brome — 1652 John Dryden . 1632 1700 Thomas Otway 1651 1685 Nathaniel Lee 1653 1692 1 L i 1 A HISTORY OF ENGLISH POETRY * , BY W/J* COURTHOPE, C.B. M.A., D.Litt., LL.D. LATE PROFESSOR OF POETRY IN THE UNIVERSITY OF OXFORD HON. FELLOW OF NEW COLLEGE, OXFORD VOL. IV DEVELOPMENT AND DECLINE OF THE POETIC DRAMA: INFLUENCE OF THE COURT AND THE PEOPLE MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON i 91 1 ? First Edition 1903 Reprinted 191 CONTENTS CHAPTER I I' AGE The Epic and Lyric Elements in the Early Romantic Drama ....... i CHAPTER II The Lyrical Element in Shakespeare's Plays . 19 CHAPTER III Shakespeare's Early Tragedies : Influence of Marlowe 54 CHAPTER IV Shakespeare's Early Comedies : Influence of Lyly 70 CHAPTER V Shakespeare's Later Histories, Romantic Comedies, and Tragi-Comedies . .104 CHAPTER VI Shakespeares's Later Tragedies . 145 CHAPTER VII A Survey of Shakespeare's Dramatic Development r8i v A HISTORY OF ENGLISH POETRY CHAPTER VIII I'AGE The Dramatic Taste of the City : Romance and Morality ; Munday, Heywood, Dekker, Middle- ton . .201 CHAPTER IX The Dramatic Taste of the City : Romance and Melodrama : Arden of Feversham, Chapman, Marston, Tourneur, and Webster . .233 CHAPTER X Ben Jonson and the Anti-Romantic Reaction . 267 CHAPTER XI The Dramatic Taste of the Court: Beaumont and Fletcher. Influence of Spanish Romance on the English Poetic Drama .... 304 CHAPTER XII The Last Days of the Poetic Drama : Massinger and Ford ........ 348 CHAPTER XIII Thk Closing of the Theatres . .386 CHAPTER XIV Dryden and the Romantic Drama after the Re- storation . -397 APPENDIX On the Authenticity of some of the Early Plays assigned to Shakespeare, and their Relation- ship to the Development of his Dramatic Genius 455 ANALYSIS OF CONTENTS CHAPTER I ENGLISH ROMANTIC DRAMA Its history limited to the period between the defeat of the Spanish Armada and the closing of the theatres in 1642. Embryonic character of the drama in the antecedent period. Changed character of the drama after the Restoration. OPPOSITE METHODS OF HISTORIANS IN TRACING THE DEVELOP- MENT OF THE DRAMA The English method : Malone, Collier. Restricted to record of external facts : absence of philosophical criticism. Dr. Ward's History of English Dramatic Literature. The German a priori method. Augustus Schlegel's philosophical theory. Fundamental error of a priori " aesthetic" criticism. Defective method of comparison. COMPARISON OF THE GREEK AND ENGLISH STAGES Similarity of epic and lyric origin in the Greek and English dramas. Point at which these dramas diverge in character. The Greek Myth. Influence of the Church on the form of the early English drama. Transition from the Miracle Play to the Morality. Inadequacy of the Morality as a vehicle for national sentiment. THE EARLY ROMANTIC DRAMA Anti-Catholic spirit in England in the reign of Elizabeth. Christopher Marlowe : his departure from the dramatic principle and form of the Morality. Absence of patriotic feeling in Marlowe. vii A HISTORY OF ENGLISH POETRY THE EPIC AND LYRIC FORM OF THE ROMANTIC DRAMA Want of organic form in Marlowe's plays. Marlowe's influence on the form of Greene's dramas. Romantic element added by Greene : excess of the epic principle in his plays. Peele : his effective stage rhetoric : want of spiritual imagination and knowledge of character. Kyd : his superiority in constructive power, and his vulgarity Audacity and freshness of conception in the work of the early romantic dramatists. CHAPTER II LYRICAL ELEMENT IN SHAKESPEARE'S PLAYS Divergent methods of interpreting Shakespeare. The German "aesthetic" method. Specimens of criticism by Gervinus and Ulrici. Defective sense of humour in the German critics. English analytical method. Grant White and his criticism of the Germans. How far the German method is justified. SHAKESPEARE'S BIOGRAPHERS Mr. Halliwell Phillips: Professor Dowden : Dr. Brandes: Mr. Sidney Lee. Shakespeare's birth, education, and history. SHAKESPEARE'S SONNETS Opposite methods of interpretation. Literal method : conjectural speculation as to the persons alluded to in the Sonnets. Theories of Professor Minto, Mr. Gerald Massey, Mr. Thomas Tyler. Allegorical method : various theories. Mr. Lee's conclusions examined. Necessity of applying the historical principle to the interpretation of the Sonnets. Reality of emotion in the Sonnets. The mediaeval tradition of the sonnet : Woman-Worship. Shakespeare modifies the mediaeval tradition to suit the tradition of Humanism. Platonic element in the Sonnets. Analysis of the situation imagined in the Sonnets. Connection between the second division of the Sonnets and the Dramas. ANAL YSIS OF CONTENTS Predominance of certain veins of feeling in the Sonnets, illustrated by reference to the Dramas and to The Rape of Lucrece. Inferences to be drawn from these facts with regard to Shakespeare's poetical motives. No positive biographical conclusion legitimate. CHAPTER III SHAKESPEARE'S EARLY TRAGEDIES: INFLUENCE OF MARLOWE Meres' mention of Shakespeare's pre-eminence in tragedy and comedy. Early originals oi King John, King Henry VI., and The Taming of the Shrew. Controversy as to the authorship of the originals. Assumption that they were the early work of Shakespeare. "Titus Andronicus." Imitation of Kyd and Marlowe. Power of pathos exhibited in the play. "The Troublesome Raigne of King John." Mixed Machiavellian and Protestant motive. Original sketch of the Bastard Falconbridge. Failure to blend Machiavellism and Protestantism. Recast of the drama in KingJohn. Change in its general character : King John, Constance, Arthur, the Bastard. Reproduction in detail of the original framework. "Henry the VJ." Nash's reference to the death of Talbot. " The Contention between the two Famous Houses of York and Lancaster": "The True Tragedy of Richard, Duke of York." Greenes reference to Shakespeare in 1592. Malone's hypothesis of Shakespeare's plagiarism from Marlowe, Greene, Peele. Incredibility of the hypothesis : true interpretation of Greene's reference. Shakespeare's early imitation of Marlowe. His advance beyond the Machiavellian doctrine. "King Henry VI." and "King Richard III." Moral treatment of the subject added to the dramatic treatment of the Machiavellian principle. King Richard's dream : Richmond's moral. Combination of Marlowe's representation of virtu with the spirit of the Morality. Germs of Shakespeare's later tragic method in the characters of King Henry VI. " A HISTORY OF ENGLISH POETRY CHAPTER IV SHAKESPEARE'S EARLY COMEDIES: INFLUENCE OF LYLY Variety of type in the Comedies of Shakespeare. The result of gradual development. Three types of Comedy pre-existent to Shakespeare. The Morality : character of the Vice. The New Comedy : Ralph Roister Doister ; Gammer Gurtoris Needle. ' Lyly's comedies of ' Wit. Their groundwork of classical mythology : unreal atmosphere. Euphuistic dialogue. The underplot. •'The Taming of a Shrew." The action taken partly from 2. fabliau, partly from Gascoigne's version of Ariosto's Suppositi. The Induction : its source and character. Constructive defects of the play. Removed in The Taming of the Shrew. "The Comedy of Errors." Source of the play. Advance of Shakespeare in constructive power. Imitation of Lyly's underplot and dialogue. "Love's Labour's Lost." Traces of the metrical style of the Morality. Imitation of Lyly. Euphuistic dialogue. Germs of characters in later plays. "The Two Gentlemen of Verona." Probable date of its production. First of Shakespeare's romantic comedies. Source of the play. Imitation of Lyly's underplot and dialogue. Structural defects. "A Midsummer-Night's Dream." Combination of the motives of The Comedy of Errors, The Two Gentlemen of Verona, and Love's Labour's Lost.
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