ajornell Untuerattg ffiihrarg BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 Cornell University Library PR 625.B82 A short history of the English drama, 3 1924 013 270 180 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013270180 A SHORT HISTORY OF THE ENGLISH DRAMA BY BENJAMIN BRAWLEY NEW YORK HARCOURT, BRACE AND COMPANY 1921 w rK COPYRIGHT, 1921, BV HARCOURT, BRACE AND COMPANY, INC. PRINTED IN THE U. 8. A. BV THE QUINN a BODEN COMPANY RAHWAX. N. J. WILLIAM ALLAN NEILSON TEACHER AND FRIEND PEEFAOE This book makes no special effort to be either original or profound. It aims simply to set forth in brief compass the main facts that one might wish to have at hand in his first course in the English Drama. The great revival of interest in this subject within recent years has produced many noteworthy studies, especially in the literature of the age of Elizabeth ; but, singularly enough, most of the books that have been written have been for those who already knew most about the subject. The present work pre- supposes only that the student has had an elementary col- lege course in the history of English Literature, and with just so much as a basis it endeavors to assist him as he passes on to the study of the greatest of the forms that this literature has so far assumed. The book holds itself strictly to the history of the drama. There is accordingly no introductory discussion of tech- nique. Such information may be given at the pleasure of the instructor, or it may be founa in convenient form in Dr. Elizabeth Woodbridge's The Drama, its Law and Technique or in Professor Baker's comprehensive Dra- matic Technique. The bibliography is necessarily selective. While emphasizing the books that one might need in an introductory course, it also contains some suggestions for more advanced study. In presenting the subject of the English Drama in this form I have naturally had to be indebted to many students of special men or periods. Quotations are frequent, espe- cially where statements are so final in their precision as Ti PREFACE to leave no chance for me to improve upon them. All students regard with respect Ward's History of English Dramatic Literature and are grateful for the Camhridge History of English Literature, while such works as Lee's Life of William Shakespeare and Baker's The Develop- ment of Shakespeare as a Dramatist have hecome simply a part of the general tradition. In the Cambridge History I feel especially indebted to the several articles by Mr. Harold Child, and also to the one on " The Drama and the Stage" by Professor Gr. H. Nettleton, while the latter writer's English Drama of the Restoration and Eighteenth Century has proved altogether indispensable. Some sim- ply written but very accurate works for school use have helped again and again. Such are the Introduction to Professor C. G. Child's edition of The Second Shepherd's Play, Everyman, and other Early Plays, MacOracken, Pierce, and Durham's An Introduction to Shakespeare, and Neilson and Thorndike's The Facts about Shakespeare. Constantly I have had to avail myself of the results of the studies of Professor F. E. Schelling; to Professor Barrett Wendell I must ever be grateful for helpful criticism; while to President W. A. INeilson and Professor J. M. Manly I feel an indebtedness difficult to express. Back and forth between these last two teachers it was long my happy lot as a student to pass ; their works are frequently cited in the notes ; and while neither of- course is respon- sible for any statement on my own part, it is a pleasure to take this occasion to thank two men who in themselves so excellently represent the highest ideals of modem scholarship. Benjamin Bbawlet. Cambbidoe, January 15, 1921. CONTENTS I. THE BEGINNINGS OF THE ENGLISH DEAMA FAOB 1. Origin 1 2. Artistic Connections 3 3. Miracle Flays 4 4. Early Development 5 5. ./Cycles 7 6. Secular Elements 8 II. MORALITY AND INTERLUDE 7. The Temper of the Middle Ages 11 8. Moralities 11 9. Interludes 15 10. John Heywood 16 11. The Vice 18 12. Conditions of Presentation 19 IIL THE ELIZABETHAN AGE 13. Spirit of the Age 21 14. Elements Contributing to the Drama 21 15. First Regular Comedies 23 16. First Regular Tragedies 28 17. Chronicle Plays 32 18. First Theatres 34 19. Stage and Setting 36 20. Theatrical Companies 38 rV. SHAKESPEARE'S EARLIER CONTEMPORARIES 21. Prominent Dramatists 41 22. John Lyly 42 23. George Peele 45 24. Robert Greene 47 25. Thomas Kyd 50 26. Christopher Marlowe CfiiS--' V. SHAKESPEARE 27. Life 57 28. Indebtedness to Predecessors 69 29. Periods of Dramatic Work ........ 60 Vlll CONTENTS PAQB 30. Plays of First Period 61 31. Plays of Second Period 67 74 32. Plays of Third Period . 81 33. Plays of Fourth Period . 34. Shakespeare's Advance in his Art 84 35. The Tradition of Shakespeare 85 36. Shakespeare's Greatness 88 VI. SHAKESPEARE'S LATER CONTEMPORARIES AND THE DECLINE OF THE ELIZABETHAN DRAMA 37. CONTENTS vs. Pi.eE 66. Ballad Opera: John Gay 164 67. Domestic Tragedy: George Lillo 164 68. Burlesque: Henry Fielding 167 69. Adaptation: David Garrick 169 70. Bomanticism : John Home 171 71. Pure Comedy: Foote and Colman 173 72. Sentimentalism : Kelly and Cumberland .... 174 73. Summary of the Period 178 X. GOLDSMITH AND SHERIDAN 74. Reaction from Sentimentalism 179 75. Oliver Goldsmith 182 76. Richard Brinsley Sheridan 184 77. Close of the Century 188 XI. EARLY NINETEENTH CENTURY DRAMA: ROMANTICISM 78. Era of Romanticism 193 79. "Closaft Drama" . ' 197 80. Late deorgian Dramatists 200 81. James Sheridan Knowles 203 82. Edward Bulwer-Lytton 204 83. Robert Browning 205 84. Alfred Tennyson 207 85. Other Mid-Century Dramatists 210 86. Robertson, Gilbert, and the Transition 212 / XII. LATER VICTORIAN AND CONTEMPORARY DRAMA: ANALYSIS AND THE SOCIAL IMPULSE 87. Continental Influences 216 88. Oscar Wilde . 220 89. Arthur Wing Pinero 221 90. Henry Arthur Jones 222 91. George Bernard Shaw 224 92. James Matthew Barrie 226 93. John Galsworthy . 227 94. Stephen Phillips ... 228 95. Granville Barker 230 96. Irish National Theatre. Lady Gregory .... 230 97. William Butler Yeata 232 98. John Millington Synge 233 99. Other Recent Dramatists 234 100. Current Tendencies 235 Bibliography 239 Index 251 A SHORT HISTORY OF THE ENGLISH DRAMA CHAPTBE I BEGmNINGS- OF THE ENGLISH DKAMA I. Origin.—The English. Drama, of which we now think as a highly developed form of entertainment, found its origin not in any accepted centers of amusement hut in the dignified service of the Church. While moreover in later centuries the drama of Greece and Home had con- siderahle influence on the English stage, there was no real connection hetween the classic drama and the origins of the new form that arose in the Middle Ages. If in the earlier mediaeval centuries in England people could not go to anything like a modern theatre, the theatre could at least come to them ; and it came in the shape of the minstrel, the scop, or the gleeman, who went from one great home to another, and of whom we hear so much in early song and story. The minstrels gave entertainments that we should now term recitals, and into their work the idea of imper- sonation was frequently introduced. Toward the end of the ninth century, however, there hegan on the Continent a development that was destined ultimately to revolutionize all such means of passing tedious hours away. " The Church, though it had sternly repressed the classic drama, in time came itself to use dramatic action to enrich its 1 : 2 A SHORT HISTOEY OF THE ENGLISH DEAMA liturgy and to enforce its teachings." ^ Elaboration of the liturgy developed by means of " tropes," which are defined ^ more generally as " any interpolations of liturgical texts," and more specifically as " texts appropriate for special days, adapted for choral rendering in the musical portions of the Mass." * " Some of these tropes were simply lyric, or hymnal, in character; some, involving dialogue, were from the first dramatic in character. Certain tropes used at Easter, Christmas, and Ascension were of special im- portance as starting points of dramatic expansion." * Of first importance is the Qv^mf Quaeritis, an Easter trope based on the words of the angel who addressed the holy women who went to anoint the body of Christ and an- nounced to them the Resurrection, and preserved for us from the Benedictine Abbey of St. Gall. " It was origi- nally sung as a choral addition to the music of the Introit of the Mass, that is, the procession with which the Mass begins. In course of time, however, as its dramatic pos- sibilities were developed, it was detached from this posi- tion, where elaboration in the "way of action was impos- sible, and inserted in the services preceding the Mass." The words of the trope were as follows Quern quaeritis in sepulehro, Christicolae? lesum Nazarenmn crucifixum, caelicola. Non est hie; surrexit sicut praedixerat: Ite, nuntiate quia surrexit a mortuia. These four sentences appear in all Easter plays. At first they were of course not produced dramatically, but even in ' Child, Introduction to The Second Shepherds' Play, Everyman, and other Early Plays, xii. ' Manly. • Child, Introduction, xii. ' Child. BEGINNINGS OF THE ENGLISH DKAMA 3 tlie tenth century they passed the boundary of non-drama and drama,° 2.