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Chapter VI. The Drama From About 1550 To 1642 

THE INFLUENCE OF CLASSICAL COMEDY AND TRAGEDY. In Chapter IV we left the drama at that point, toward the middle of the sixteenth century, when the Mystery Plays had largely declined and Moralities and Interlude-Farces, themselves decadent, were sharing in rather confused rivalry that degree of popular interest which remained unabsorbed by the religious, political, and social ferment. There was still to be a period of thirty or forty years before the flowering of the great Elizabethan drama, but they were to be years of new, if uncertain, beginnings.

The first new formative force was the influence of the classical drama, for which, with other things classical, the Renaissance had aroused enthusiasm. This force operated mainly not through writers for popular audiences, like the authors of most Moralities and Interludes, but through men of the schools and the universities, writing for performances in their own circles or in that of the Court. It had now become a not uncommon thing for boys at the large schools to act in regular dramatic fashion, at first in Latin, afterward in English translation, some of the plays of the Latin comedians which had long formed a part of the school curriculum. Shortly after the middle of the century, probably, the head-master of Westminister School, Nicholas Udall, took the further step of writing for his boys on the classical model an original farce-comedy, the amusing 'Ralph Roister Doister.' This play is so close a copy of Plautus' 'Miles Gloriosus' and Terence's 'Eunuchus' that there is little that is really English about it; a much larger element of local realism of the traditional English sort, in a classical framework, was presented in the coarse but really skillful

'Gammer Gurton's Needle,' which was probably written at about the same time, apparently by the Cambridge student William Stevenson.

Meanwhile students at the universities, also, had been acting Plautus and Terence, and further, had been writing and acting Latin tragedies, as well as comedies, of their own composition. Their chief models for tragedy were the plays of the first-century Roman Seneca, who may or may not have been identical with the philosopher who was the tutor of the Emperor Nero. Both through these university imitations and directly, Seneca's very faulty plays continued for many years to exercise a great influence on English tragedy. Falling far short of the noble spirit of Greek tragedy, which they in turn attempt to copy, Seneca's plays do observe its mechanical conventions, especially the unities of Action and Time, the use of the chorus to comment on the action, the avoidance of violent action and deaths on the stage, and the use of messengers to report such events. For proper dramatic action they largely substitute ranting moralizing declamation, with crudely exaggerated passion, and they exhibit a great vein of melodramatic horror, for instance in the frequent use of the motive of implacable revenge for murder and of a ghost who incites to it. In the early Elizabethan period, however, an age when life itself was dramatically intense and tragic, when everything classic was looked on with reverence, and when standards of taste were unformed, it was natural enough that such plays should pass for masterpieces.

A direct imitation of Seneca, famous as the first tragedy in English on classical lines, was the 'Gorboduc, or Ferrex and Porrex,' of Thomas Norton and Thomas Sackville, acted in 1562. Its story, like those of some of Shakspere's plays later, goes back ultimately to the account of one of the early reigns in Geoffrey of Monmouth's 'History.' 'Gorboduc' outdoes its Senecan models in tedious moralizing, and is painfully wooden in all respects; but it has real importance not only because it is the first regular English tragedy, but because it was the first play to use the iambic pentameter blank verse which Surrey had introduced to English poetry and which was destined to be the verse-form of really great English tragedy. When they wrote the play Norton and Sackville were law students at the Inner Temple, and from other law students during the following years came other plays, which were generally acted at festival seasons, such, as Christmas, at the lawyers' colleges, or before the Queen, though the common people were also admitted among the audience. Unlike 'Gorboduc,' these other university plays were not only for the most part crude and coarse in the same manner as earlier English plays, but in accordance also with the native English tradition and in violent defiance of the classical principle of Unity, they generally combined tragical classical stories with realistic scenes of English comedy (somewhat later with Italian stories). Nevertheless, and this is the main thing, the more thoughtful members of the Court and University circles, were now learning from the study of classical plays a sense for form and the fundamental distinction between tragedy and comedy.

THE CHRONICLE-HISTORY PLAY. About twenty years before the end of the century there began to appear, at first at the Court and the Universities, later on the popular stage, a form of play which was to hold, along with tragedy and comedy, an important place in the great decades that were to follow, namely the Chronicle-History Play. This form of play generally presented the chief events in the whole or a part of the reign of some English king. It was largely a product of the pride which was being awakened among the people in the greatness of England under Elizabeth, and of the consequent desire to know something of the past history of the country, and it received a great impulse from the enthusiasm aroused by the struggle with Spain and the defeat of the Armada. It was not, however, altogether a new creation, for its method was similar to that of the university plays which dealt with monarchs of classical history. It partly inherited from them the formless mixture of farcical humor with historical or supposedly historical fact which it shared with other plays of the time, and sometimes also an unusually reckless disregard of unity of action, time, and place. Since its main serious purpose, when it had one, was to convey information, the other chief dramatic principles, such as careful presentation of a few main characters and of a universally significant human struggle, were also generally disregarded. It was only in the hands of Shakspere that the species was to be moulded into true dramatic form and to attain real greatness; and after a quarter century of popularity it was to be reabsorbed into tragedy, of which in fact it was always only a special variety.

JOHN LYLY. The first Elizabethan dramatist of permanent individual importance is the comedian John Lyly, of whose early success at Court with the artificial romance 'Euphues' we have already spoken. From 'Euphues' Lyly turned to the still more promising work of writing comedies for the Court entertainments with which Queen Elizabeth was extremely lavish. The character of Lyly's plays was largely determined by the light and spectacular nature of these entertainments, and further by the fact that on most occasions the players at Court were boys. These were primarily the

'children [choir-boys] of the Queen's Chapel,' who for some generations had been sought out from all parts of England for their good voices and were very carefully trained for singing and for dramatic performances. The choir-boys of St. Paul's Cathedral, similarly trained, also often acted before the Queen. Many of the plays given by these boys were of the ordinary sorts, but it is evident that they would be most successful in dainty comedies especially adapted to their boyish capacity. Such comedies Lyly proceeded to write, in prose. The subjects are from classical mythology or history or English folk-lore, into which Lyly sometimes weaves an allegorical presentation of court intrigue. The plots are very slight, and though the structure is decidedly better than in most previous plays, the humorous sub-actions sometimes have little connection with the main action. Characterization is still rudimentary, and altogether the plays present not so much a picture of reality as 'a faint moonlight reflection of life.' None the less the best of them, such as 'Alexander and Campaspe,' are delightful in their sparkling delicacy, which is produced partly by the carefully-wrought style, similar to that of 'Euphues,' but less artificial, and is enhanced by the charming lyrics which are scattered through them. For all this the elaborate scenery and costuming of the Court entertainments provided a very harmonious background.

These plays were to exert a strong influence on Shakspere's early comedies, probably suggesting to him: the use of prose for comedy; the value of snappy and witty dialog; refinement, as well as affectation, of style; lyric atmosphere; the characters and tone of high comedy, contrasting so favorably with the usual coarse farce of the period; and further such details as the employment of impudent boy-pages as a source of amusement.

PEELE, GREENE, AND KYD. Of the most important early contemporaries of Shakspere we have already mentioned two as noteworthy in other fields of literature. George Peele's masque-like 'Arraignment of Paris' helps to show him as more a lyric poet than a dramatist. Robert Greene's plays, especially 'Friar Bacon and Friar Bungay,' reveal, like his novels, some real, though not very elaborate, power of characterization. They are especially important in developing the theme of romantic love with real fineness of feeling and thus helping to prepare the way for Shakspere in a very important particular. In marked contrast to these men is Thomas Kyd, who about the year 1590 attained a meteoric reputation with crude

'tragedies of blood,' specialized descendants of Senecan tragedy, one of which may have been the early play on Hamlet which Shakspere used as the groundwork for his masterpiece.

CHRISTOPHER MARLOWE, 1564-1593. Peele and Greene were University men who wrote partly for Court or academic audiences, partly for the popular stage. The distinction between the two sorts of drama was still further broken down in the work of Christopher Marlowe, a poet of real genius, decidedly the chief dramatist among Shakspere's early contemporaries, and the one from whom Shakspere learned the most.

Marlowe was born in 1564 (the same year as Shakspere), the son of a shoemaker at Canterbury. Taking his master's degree after seven years at Cambridge, in 1587, he followed the other 'university wits' to London. There, probably the same year and the next, he astonished the public with the two parts of 'Tamburlaine the Great,' a dramatization of the stupendous career of the bloodthirsty Mongol fourteenth-century conqueror. These plays, in spite of faults now conspicuous enough, are splendidly imaginative and poetic, and were by far the most powerful that had yet been written in England. Marlowe followed them with 'The Tragical History of Dr. Faustus,' a treatment of the medieval story which two hundred years later was to serve Goethe for his masterpiece; with 'The Jew of Malta,' which was to give Shakspere suggestions for 'The Merchant of Venice'; and with

'Edward the Second,' the first really artistic Chronicle History play. Among the literary adventurers of the age who led wild lives in the London taverns Marlowe is said to have attained a conspicuous reputation for violence and irreligion. He was killed in 1593 in a reckless and foolish brawl, before he had reached the age of thirty.

If Marlowe's life was unworthy, the fault must be laid rather at the door of circumstances than of his own genuine nature. His plays show him to have been an ardent idealist and a representative of many of the qualities that made the greatness of the Renaissance. The Renaissance learning, the apparently boundless vistas which it had opened to the human spirit, and the consciousness of his own power, evidently intoxicated Marlowe with a vast ambition to achieve results which in his youthful inexperience he could scarcely even picture to himself. His spirit, cramped and outraged by the impassable limitations of human life and by the conventions of society, beat recklessly against them with an impatience fruitless but partly grand. This is the underlying spirit of almost all his plays, struggling in them for expression. The Prolog to 'Tamburlaine' makes pretentious announcement that the author will discard the usual buffoonery of the popular stage and will set a new standard of tragic majesty:

From jigging veins of rhyming mother wits,

And such conceits as clownage keeps in pay,

We'll lead you to the stately tent of war,

Where you shall hear the Scythian Tamburlaine

Threatening the world with high astounding terms,

And scourging kingdoms with his conquering sword.

Tamburlaine himself as Marlowe presents him is a titanic, almost superhuman, figure who by sheer courage and pitiless unbending will raises himself from shepherd to general and then emperor of countless peoples, and sweeps like a whirlwind over the stage of the world, carrying everywhere overwhelming slaughter and desolation. His speeches are outbursts of incredible arrogance, equally powerful and bombastic. Indeed his blasphemous boasts of superiority to the gods seem almost justified by his apparently irresistible success. But at the end he learns that the laws of life are inexorable even for him; all his indignant rage cannot redeem his son from cowardice, or save his wife from death, or delay his own end. As has been said, [Footnote: Professor Barrett Wendell, 'William Shakspere,' p. 36.] 'Tamburlaine' expresses with 'a profound, lasting, noble sense and in grandly symbolic terms, the eternal tragedy inherent in the conflict between human aspiration and human power.'

For several other reasons 'Tamburlaine' is of high importance. It gives repeated and splendid expression to the passionate haunting Renaissance zest for the beautiful. It is rich with extravagant sensuous descriptions, notable among those which abound gorgeously in all Elizabethan poetry. But finest of all is the description of beauty by its effects which Marlowe puts into the mouth of Faustus at the sight of Helen of Troy:

Was this the face that launched a thousand ships

And burnt the topless towers of Ilium?

Much of Marlowe's strength, again, lies in his powerful and beautiful use of blank verse. First among the dramatists of the popular stage he discarded rime, and taking and vitalizing the stiff pentameter line of

'Gorboduc,' gave it an immediate and lasting vogue for tragedy and high comedy. Marlowe, virtually a beginner, could not be expected to carry blank verse to that perfection which his success made possible for Shakspere; he did not altogether escape monotony and commonplaceness; but he gained a high degree of flexibility and beauty by avoiding a regularly end-stopped arrangement, by taking pains to secure variety of pause and accent, and by giving his language poetic condensation and suggestiveness. His workmanship thoroughly justifies the characterization 'Marlowe's mighty line,' which Ben Jonson in his tribute to Shakspere bestowed on it long after Marlowe's death.

The greatest significance of 'Tamburlaine,' lastly, lies in the fact that it definitely established tragedy as a distinct form on the English popular stage, and invested it with proper dignity.

These are Marlowe's great achievements both in 'Tamburlaine' and in his later more restrained plays. His limitations must also be suggested. Like other Elizabethans he did not fully understand the distinction between drama and other literary forms; 'Tamburlaine' is not so much a regularly constructed tragedy, with a struggle between nearly equal persons and forces, artistically complicated and resolved, as an epic poem, a succession of adventures in war (and love). Again, in spite of the prolog in 'Tamburlaine,' Marlowe, in almost all his plays, and following the Elizabethan custom, does attempt scenes of humor, but he attains only to the coarse and brutal horse-play at which the English audiences had laughed for centuries in the Mystery plays and the Interludes. Elizabethan also

(and before that medieval) is the lack of historical perspective which gives to Mongol shepherds the manners and speech of Greek classical antiquity as Marlowe had learned to know it at the university. More serious is the lack of mature skill in characterization. Tamburlaine the man is an exaggerated type; most of the men about him are his faint shadows, and those who are intended to be comic are preposterous. The women, though they have some differentiating touches, are certainly not more dramatically and vitally imagined. In his later plays Marlowe makes gains in this respect, but he never arrives at full easy mastery and trenchantly convincing lifelikeness either in characterization, in presentation of action, or in fine poetic finish. It has often been remarked that at the age when Marlowe died Shakspere had produced not one of the great plays on which his reputation rests; but Shakspere's genius came to maturity more surely, as well as more slowly, and there is no basis for the inference sometimes drawn that if Marlowe had lived he would ever have equalled or even approached Shakespere's supreme achievement.

THEATRICAL CONDITIONS AND THE THEATER BUILDINGS. Before we pass to Shakspere we must briefly consider those external facts which conditioned the form of the Elizabethan plays and explain many of those things in them which at the present time appear perplexing.

[Illustration: TIMON OF ATHENS, v, 4. OUTER SCENE.

Trumpets sound. Enter Alcibiades with his

Powers before Athens.

"Alc. Sound to this Coward, and lascivious

Towne, Our terrible approach."

Sounds a parly. The Senators appears upon

the Wals.

Reproduced from The Shakespearean Stage, by V. E. Albright, through the courtesy of the publishers, the Columbia University Press.


The medieval religious drama had been written and acted in many towns throughout the country, and was a far less important feature in the life of London than of many other places. But as the capital became more and more the center of national life, the drama, with other forms of literature, was more largely appropriated by it; the Elizabethan drama of the great period was altogether written in London and belonged distinctly to it. Until well into the seventeenth century, to be sure, the London companies made frequent tours through the country, but that was chiefly when the prevalence of the plague had necessitated the closing of the London theaters or when for other reasons acting there had become temporarily unprofitable. The companies themselves had now assumed a regular organization. They retained a trace of their origin (above, page 90) in that each was under the protection of some influential noble and was called, for example, 'Lord Leicester's Servants,' or 'The Lord Admiral's Servants.' But this connection was for the most part nominal--the companies were virtually very much like the stock-companies of the nineteenth century. By the beginning of the great period the membership of each troupe was made up of at least three classes of persons. At the bottom of the scale were the boy-apprentices who were employed, as Shakspere is said to have been at first, in miscellaneous menial capacities. Next came the paid actors; and lastly the shareholders, generally also actors, some or all of whom were the general managers. The writers of plays were sometimes members of the companies, as in Shakspere's case; sometimes, however, they were independent.

Until near the middle of Elizabeth's reign there were no special theater buildings, but the players, in London or elsewhere, acted wherever they could find an available place--in open squares, large halls, or, especially, in the quadrangular open inner yards of inns. As the profession became better organized and as the plays gained in quality, such makeshift accommodations became more and more unsatisfactory; but there were special difficulties in the way of securing better ones in London. For the population and magistrates of London were prevailingly Puritan, and the great body of the Puritans, then as always, were strongly opposed to the theater as a frivolous and irreligious thing--an attitude for which the lives of the players and the character of many plays afforded, then as almost always, only too much reason. The city was very jealous of its prerogatives; so that in spite of Queen Elizabeth's strong patronage of the drama, throughout her whole reign no public theater buildings were allowed within the limits of the city corporation. But these limits were narrow, and in 1576 James Burbage inaugurated a new era by erecting 'The Theater' just to the north of the 'city,' only a few minutes' walk from the center of population. His example was soon followed by other managers, though the favorite place for the theaters soon came to be the 'Bankside,' the region in Southwark just across the Thames from the 'city' where Chaucer's Tabard Inn had stood and where pits for bear-baiting and cock-fighting had long flourished.

The structure of the Elizabethan theater was naturally imitated from its chief predecessor, the inn-yard. There, under the open sky, opposite the street entrance, the players had been accustomed to set up their stage. About it, on three sides, the ordinary part of the audience had stood during the performance, while the inn-guests and persons able to pay a fixed price had sat in the open galleries which lined the building and ran all around the yard. In the theaters, therefore, at first generally square-built or octagonal, the stage projected from the rear wall well toward the center of an unroofed pit (the present-day 'orchestra'), where, still on three sides of the stage, the common people, admitted for sixpence or less, stood and jostled each other, either going home when it rained or staying and getting wet as the degree of their interest in the play might determine. The enveloping building proper was occupied with tiers of galleries, generally two or three in number, provided with seats; and here, of course, sat the people of means, the women avoiding embarrassment and annoyance only by being always masked. Behind the unprotected front part of the stage the middle part was covered by a lean-to roof sloping down from the rear wall of the building and supported by two pillars standing on the stage. This roof concealed a loft, from which gods and goddesses or any appropriate properties could be let down by mechanical devices. Still farther back, under the galleries, was the 'rear-stage,' which could be used to represent inner rooms; and that part of the lower gallery immediately above it was generally appropriated as a part of the stage, representing such places as city walls or the second stories of houses. The musicians' place was also just beside in the gallery.

The stage, therefore, was a 'platform stage,' seen by the audience from almost all sides, not, as in our own time, a 'picture-stage,' with its scenes viewed through a single large frame. This arrangement made impossible any front curtain, though a curtain was generally hung before the rear stage, from the floor of the gallery. Hence the changes between scenes must generally be made in full view of the audience, and instead of ending the scenes with striking situations the dramatists must arrange for a withdrawal of the actors, only avoiding if possible the effect of a mere anti-climax. Dead bodies must either get up and walk away in plain sight or be carried off, either by stage hands, or, as part of the action, by other characters in the play. This latter device was sometimes adopted at considerable violence to probability, as when Shakspere makes Falstaff bear away Hotspur, and Hamlet, Polonius. Likewise, while the medieval habit of elaborate costuming was continued, there was every reason for adhering to the medieval simplicity of scenery. A single potted tree might symbolize a forest, and houses and caverns, with a great deal else, might be left to the imagination of the audience. In no respect, indeed, was realism of setting an important concern of either dramatist or audience; in many cases, evidently, neither of them cared to think of a scene as located in any precise spot; hence the anxious effort of Shakspere's editors on this point is beside the mark. This nonchalance made for easy transition from one place to another, and the whole simplicity of staging had the important advantage of allowing the audience to center their attention on the play rather than on the accompaniments. On the rear-stage, however, behind the curtain, more elaborate scenery might be placed, and Elizabethan plays, like those of our own day, seem sometimes to have 'alternation scenes,' intended to be acted in front, while the next background was being prepared behind the balcony curtain. The lack of elaborate settings also facilitated rapidity of action, and the plays, beginning at three in the afternoon, were ordinarily over by the dinner-hour of five. Less satisfactory was the entire absence of women-actors, who did not appear on the public stage until after the Restoration of 1660. The inadequacy of the boys who took the part of the women-characters is alluded to by Shakspere and must have been a source of frequent irritation to any dramatist who was attempting to present a subtle or complex heroine.

Lastly may be mentioned the picturesque but very objectionable custom of the young dandies who insisted on carrying their chairs onto the sides of the stage itself, where they not only made themselves conspicuous objects of attention but seriously crowded the actors and rudely abused them if the play was not to their liking. It should be added that from the latter part of Elizabeth's reign there existed within the city itself certain 'private' theaters, used by the boys' companies and others, whose structure was more like that of the theaters of our own time and where plays were given by artificial light.

SHAKESPEARE, 1564-1616. William Shakspere, by universal consent the greatest author of England, if not of the world, occupies chronologically a central position in the Elizabethan drama. He was born in 1564 in the good-sized village of Stratford-on-Avon in Warwickshire, near the middle of England, where the level but beautiful country furnished full external stimulus for a poet's eye and heart. His father, John Shakspere, who was a general dealer in agricultural products and other commodities, was one of the chief citizens of the village, and during his son's childhood was chosen an alderman and shortly after mayor, as we should call it. But by

1577 his prosperity declined, apparently through his own shiftlessness, and for many years he was harassed with legal difficulties. In the village

'grammar' school William Shakspere had acquired the rudiments of book-knowledge, consisting largely of Latin, but his chief education was from Nature and experience. As his father's troubles thickened he was very likely removed from school, but at the age of eighteen, under circumstances not altogether creditable to himself, he married Anne Hathaway, a woman eight years his senior, who lived in the neighboring village of Shottery. The suggestion that the marriage proved positively unhappy is supported by no real evidence, but what little is known of Shakspere's later life implies that it was not exceptionally congenial. Two girls and a boy were born from it.

In his early manhood, apparently between 1586 and 1588, Shakspere left Stratford to seek his fortune in London. As to the circumstances, there is reasonable plausibility in the later tradition that he had joined in poaching raids on the deer-park of Sir Thomas Lucy, a neighboring country gentleman, and found it desirable to get beyond the bounds of that gentleman's authority. It is also likely enough that Shakspere had been fascinated by the performances of traveling dramatic companies at Stratford and by the Earl of Leicester's costly entertainment of Queen Elizabeth in

1575 at the castle of Kenilworth, not many miles away. At any rate, in London he evidently soon secured mechanical employment in a theatrical company, presumably the one then known as Lord Leicester's company, with which, in that case, he was always thereafter connected. His energy and interest must soon have won him the opportunity to show his skill as actor and also reviser and collaborator in play-writing, then as independent author; and after the first few years of slow progress his rise was rapid. He became one of the leading members, later one of the chief shareholders, of the company, and evidently enjoyed a substantial reputation as a playwright and a good, though not a great, actor. This was both at Court

(where, however, actors had no social standing) and in the London dramatic circle. Of his personal life only the most fragmentary record has been preserved, through occasional mentions in miscellaneous documents, but it is evident that his rich nature was partly appreciated and thoroughly loved by his associates. His business talent was marked and before the end of his dramatic career he seems to have been receiving as manager, shareholder, playwright and actor, a yearly income equivalent to $25,000 in money of the present time. He early began to devote attention to paying the debts of his father, who lived until 1601, and restoring the fortunes of his family in Stratford. The death of his only son, Hamnet, in 1596, must have been a severe blow to him, but he obtained from the Heralds' College the grant of a family coat of arms, which secured the position of the family as gentlefolks; in 1597 he purchased New Place, the largest house in Stratford; and later on he acquired other large property rights there. How often he may have visited Stratford in the twenty-five years of his career in London we have no information; but however enjoyable London life and the society of the writers at the 'Mermaid' Tavern may have been to him, he probably always looked forward to ending his life as the chief country gentleman of his native village. Thither he retired about 1610 or 1612, and there he died prematurely in 1616, just as he was completing his fifty-second year.

Shakspere's dramatic career falls naturally into four successive divisions of increasing maturity. To be sure, no definite record of the order of his plays has come down to us, and it can scarcely be said that we certainly know the exact date of a single one of them; but the evidence of the title-page dates of such of them as were hastily published during his lifetime, of allusions to them in other writings of the time, and other scattering facts of one sort or another, joined with the more important internal evidence of comparative maturity of mind and art which shows

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