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CHAPTER II.

THE NATION AND THE DRAMA.

1. 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.-II. 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

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CHAPTER III.

MIRACLE PLAYS.

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 Mystère-English Miracle.—IV. Pas-

sage of the Miracle from the Clergy to the People-From Latin

to the Vulgar Tongue-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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CHAPTER VIII.

THEATRES, PLAYWRIGHTS, ACTORS, AND PLAYGOERS.

1. 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.-I11. The Prosecution of this Contest-Plays

Forbidden within the City-Establishment of Theatres in the

Suburbs – Hostility of the Clergy.-1V. 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.-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 1.-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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