Differences
between the Elizabethan and the Modern
Stage.
Stage.
Cambridge History of English Literature - 1908 - v06
D.
(Glasgow), Professor
of English Language and Literature in the University of Glasgow
Chapman's life. Shakespeare and the 'Rival Poet! Didactic nature
of Chapman's Poetry. His Comedies. His Historic Tragedies.
Bussy D'Ambois. The Revenge. Chapman's Homer. Marston's
life. His prominence in the War of the Theatres. Quarrel with
Jonson. Assaults and Counter-assaults. End of the quarrel.
Marston's Tragedies. Antonio and Mellida. The Malcontent.
Eastward Hoe. The Fawne. His other Plays. Withdrawal from
theatrical life. Dekker's early activities. Value of his work. His
Comedies. The Shomakers Holiday. Old Fortunatus. The
Honest Whore. His Collaborators. His place as a Dramatist.
Importance of his prose work
29
321851
## p. vi (#12) ##############################################
vi
Contents
CHAPTER III
PAGE
MIDDLETON AND ROWLEY
By ARTHUR SYMONS
Biographical details. Middleton's non-dramatic work. His first Plays.
The Mayor of Quinborough. The Old Law. Blurt Master-
Constable. His farcical Comedies: their character and material.
His realism. Fluency and naturalness of his work. His Collabora-
tors. Plays by Rowley alone; their sincerity and nobility of aim.
Rowley's influence on Middleton. A Faire Quarrell. The World
tost at Tennis. The Changeling. Later Plays by Middleton.
His dramatic genius
58
CHAPTER IV
THOMAS HEYWOOD
By A. W. WARD, Litt. D. , F. B. A. , Master of Peterhouse
Thomas Heywood as the servant of public taste. His special work in
Domestic Drama. His life: London and Court associations. His
point of view as a Playwright. His non-dramatic works. The
Apology for Actors. His Plays. A Woman Kilde with Kind-
nesse. Elizabethan Domestic Dram a. Early attempts at realistic
treatment. The Murder Plays. Changes in the social system and
their effect on the Drama. Heywood's picture of English country
life. The Royall King, and The Loyall Subject. The Fair Maid
Of The West. Other Plays. His work in collaboration with others.
His qualities as a Dramatist
81
.
CHAPTER V
BEAUMONT AND FLETCHER
By G. C. MACAULAY, M. A. , late Fellow of Trinity College,
University Lecturer in English
New influences on the Drama. Abandonment of Tragedy for Tragi-
comedy. Lowering of moral standards. Contemporary apprecia-
tion of Beaumont and Fletcher's work. Biographies and early
intimacy of the two Dramatists. Individual characteristics. Evi-
dence as to authorship. Fletcher's Metrical Style: comparison
with that of Shakespeare. Features assignable to Beaumont.
Massinger's collaboration with Fletcher. Excellence of Fletcher's
stage effects. His weakness in characterisation. Sources of his
plays. Rapidity of production. Classification of the Plays.
Tragedies. Romantic Dramas. Comedies. Qualities of language
and style in Beaumont and Fletcher's plays
107
Appendix. List of Beaumont and Fletcher's Plays, with indications
of probable authorship and chief sources
137
## p. vii (#13) #############################################
Contents
vii
CHAPTER VI
PHILIP MASSINGER
PAGE
By EMIL KOEPPEL, Professor of English Philology in the
University of Strassburg
Massinger's life. Biographical value of his Dedications. His relations
with the Herberts. Literary friends. Joint workmanship with
Fletcher and others. His independent Dramas. Some Political
Dramas of the time. Massinger's political opinions. His religious
sympathies. His literary models: Shakespeare, Fletcher, Jonson.
His constructive art. Typical situations. His women. His lovers.
His villains. His comical figures. His style: preponderance of
the rhetorical element. His repetitions. Contemporary and post-
humous reputation. Massinger in Germany
141
CHAPTER VII
TOURNEUR AND WEBSTER
By C. E. VAUGHAN, M. A. , Balliol College, Oxford, Professor of
English Literature in the University of Leeds
Meagreness of biographical details. Tourneur's two Tragedies. John
Webster: periods of his literary activity. Collaboration with
Dekker and Marston, West-Ward Hoe and North-Ward Hoe.
Webster's original work. The White Divel: question of its
sources: possibility of originality in the plot. Advance on his
earlier work. The theme of Revenge as handled by Elizabethan
Dramatists. The Dutchesse Of Malfy; its source and date; ad-
vance in representation and motif. The last period. Appius
and Virginia. The Devils Law-case: influence of Fletcher.
Secret of Webster's genius: his profound knowledge of human
character and sense of tragic issues. His imaginat and poetic
power.
166
CHAPTER VIII
FORD AND SHIRLEY
By W. A. NEILSON, M. A. (Edinburgh), Ph. D. (Harvard),
Professor of English in Harvard University
Commencement of the literary period of English Drama. Ford's life
and early work. Romantic character of his non-dramatic work.
His collaboration with Dekker. His independent Dramas. His
lost Plays. Ford as typical of the period of decadence. His merits.
Shirley's life and career. His Poems. His Tragedies. His Comedies
of Manners and Romantic Comedies. His Entertainments. Origi-
nality of his plots. Conventionality of his style. Comparison of
Shirley with Ford .
188
## p. viii (#14) ############################################
viii
Contents
CHAPTER IX
LESSER JACOBEAN AND CAROLINE DRAMATISTS
By the Rev. RONALD BAYNE, M. A. , University College, Oxford
PAGE
General characteristics of the Jacobean and Caroline Drama; the
central position of Jonson. Belated Elizabethans: John Day's
later comedies; The Ile of Guls; evolution of The Parliament
of Bees; its merits and characteristics. Armin's Two Maids of
More-clacke. Sharpham's two Plays. The single Plays of Barry,
Cooke and Tailor. The Pupils of Jonson: Nathaniel Field: his
life and training. A Woman is a Weather-cocke. Field's debt to
Jonson; his romantic tendency and collaboration with Massinger.
Richard Brome's life and training: his fifteen extant Plays. The
Northern Lasse. Brome's debt to Dekker. The Sparagus Garden.
The City Witt; its briskness and humour. A Joviall Crew,
Brome's best Play. His romantic experiments; partial success of
The Queen and Concubine. Thomas Randolph's University train-
ing. His Aristippus and The Conceited Pedler. Aristotle's
Ethics dramatised in The Muses Looking-Glasse. Originality
of Randolph. May's Comedies. The anonymous Nero. Daven-
port's Revisions of older Plays. Thomas Nabbes's virtuous heroines.
Comedies of Cartwright and Mayne. Sir John Suckling's Plays:
Aglaura, The Goblins, Brennoralt. Marmion's The Antiquary.
Tragicomedy as exemplified in the Plays of Lodowick Carlell,
Henry Glapthorne and Sir William D'Avenant
210
CHAPTER X
THE ELIZABETHAN THEATRE
By HAROLD CHILD, sometime Scholar of Brasenose College,
Oxford
Early Companies of Players. Triumph of the Professional Actor and
Patronised Company over the Stroller. Grounds of objection to the
Drama. Royal patronage and its effect. Increasing control of
the production of Plays by the Master of the Revels. The
Chamberlain’s Company. The Queen's and Admiral's Companies.
Places of performance. Site and architectural features of the
Theater. The Curtain. The Newington Butts Playhouse. The
Rose. The Globe. The Blackfriars. The Swan. Other Play-
houses.
Differences between the Elizabethan and the Modern
Stage. Value of John de Witt's drawing of the Swan. The
Alternation Theory. Differences in Construction. Stage Ap-
pliances and Properties. Performances at private Playhouses
and at Court. Costumes. The Audience. The Author and his
Company. Financial arrangements. Social position of the Actor 241
## p. ix (#15) ##############################################
Contents
ix
CHAPTER XI
PAGE
THE CHILDREN OF THE CHAPEL ROYAL AND THEIR
MASTERS
By J. M. MANLY, M. A. , Ph. D. (Harvard), Professor of English in
the University of Chicago
Early history of the Chapel Children. Early Masters: John Plummer,
Henry Abyndon, William Newark, William Cornish and others.
Histrionic activity of the Children. Dramatic work of the Masters.
Plays of the University Wits acted by the Children. The Children
at the Blackfriars: profitable nature of the undertaking. The
Child-actors. Causes of their success. Royal patronage
. 279
.
CHAPTER XII
UNIVERSITY PLAYS.
By F. S. BOAS, M. A. , Balliol College, Oxford, LLD. (St Andrews),
late Professor of English Literature in Queen's College,
Belfast, and late Clark Lecturer, Trinity College
Medieval Drama at the Universities. The Senecan School of dramatists.
Grimald's Christus Redivivus and Archipropheta. Kirchmayer's
Pammachius. Gammer Gurtons Nedle. Effect of Queen Eliza-
beth's visits to the Universities. Halliwell's Dido and Udall's
Ezechias. Edwards's Palamon and Arcyte. Rickets's Byrsa
Basilica. Legge's Richardus Tertius. Perfidus Hetruscus.
Gager's Meleager and Dido. Fraunce's Victoria. Academic
Comedies. Hymenaeus. Laelia. Pedantius. Attack on Academic
Personages and on the Civic Authorities. Club-Law. The
Parnassus Trilogy. Tomkis's Lingua. Narcissus. King James
at Oxford. Daniel's The Queenes Arcadia. Thomas Tucker, the
Christmas Prince. King James at Cambridge. Ruggle's Ignora-
Barten Holiday's Technogamia. Allegorical and satirical
character of the later Plays. King Charles at Cambridge and
Oxford. Influence of the University Drama
293
mus.
CHAPTER XIII
MASQUE AND PASTORAL
By the Rev. RONALD BAYNE, M. A.
Popularity of the Masque in the age of Elizabeth. Its early history.
Mummings and Disguisings: development of these into the Masque.
The Masque in Spenser. Ben Jonson's Masques. Introduction
of the Antimasque. Development of the Presenter. Campion's
Masques. Chapman and Beaumont as Masque-writers. Rapid
increase of dramatic elements in Jonson's Masques. Jonson's
later work in this field. Pastoral Poetry: its history and develop-
ment. Pastoral drama of the University Wits. Daniel's Pastorals.
Fletcher's The Faithful Shepheardesse. Ben Jonson's The Sad
Shepherd. Randolph's Amyntas
:
328
## p. x (#16) ###############################################
X
Contents
CHAPTER XIV
THE PURITAN ATTACK UPON THE STAGE
By J. DOVER WILSON, M. A. , Gonville and Caius College, Lecturer
in English Literature at the Goldsmiths' College, University
of London
PAGE
The attitude of the Reformers towards the Stage. Theological and
moral objections. Beginnings of Puritan opposition in England.
Attitude of the Civic Authorities in London. Systematic persecu-
tion of Actors. Royal Patronage. Attacks on the Stage from
the Pulpit. Work of Pamphleteers. Gosson's Schoole of Abuse.
Lodge's Defence. Stubbes's Anatomie of Abuses. Waning
interest in the struggle. The Controversy at the Universities.
Effects of changes introduced under the Stewarte. Heywood's
Apology for Actors. Prynne's Histriomastix. General aspects
of the Controversy
373
410
.
.
Bibliographies .
Table of Principal Dates
Index of Names
502
507
## p. xi (#17) ##############################################
THE CAMBRIDGE HISTORY
OF ENGLISH LITERATURE
VOLUME VI. THE DRAMA TO 1642
PART II
Second Impression, 1918, Corrections and Additions
The errata mentioned in volumes of the History published later than the first edition
of this volume have been corrected in the present impression. In addition, some mis-
prints noticed later have been corrected, and a few alterations made. A list of the more
important of these follows:
p. 166, 11. 17, 18 for nothing. . . Tourneur. read it is by these alone that Tourneur
survives.
p. 178, 11. 29–39 for Both innovations. . . took up the tale. read Both changes are
repeated—the latter, however, with sweeping modifications—in the next play of
Marston, The Malcontent (1604, or earlier), to which, indeed, it is quite possible that
the credit of innovation may belong rather than to Hoffman. The modifications are as
follows. The murderer of the original version is replaced by a usurper who drives the
rightful prince into exile. This, necessarily, involves the disappearance of the ghost.
And revenge, though retained, is retained in a form so softened that the avenger
contents himself with melting one of his enemies to at least outward repentance and
dismissing the other with magnanimous contempt.
It was at this point that Tourneur-or the author of The Revengers Tragoedie,
whoever he may have been—took up the tale.
p. 301, 1. 2 for another play of somewhat later date, read another, and better-known,
play,
p. 386, 1. 41 the following footnote has been added :
[Cf. Bacon, Apophthegms. "Galba succeeded Nero. . . . ']
p. 404, 1. 32 for high commission read Star-chamber
pp. 410–13 added to the General Bibliography:
Boyer, C. V. The villain as hero in Elizabethan tragedy. 1914.
Mod. Lang. Rev. General Index to volumes 1-X. Cambridge, 1915.
p. 420 added to the bibliography of chapter 1:
Suddard, M. Essais de litt. angl. Cambridge, 1912.
pp. 420-6 added to the bibliography of chapter II:
Robertson, J. M. Shakespeare and Chapman. A thesis of Chapman's authorship of
A Lover's Complaint and his origination of Timon of Athens, etc. 1917.
Crawford, C. Collectanea. 2nd series. Stratford-on-Avon, 1907.
Pierce, F. E. The Collaboration of Webster and Dekker. Yale Studies in English. 1909.
p. 441 added to the bibliography of chapter V:
Gayley, C. M. Francis Beaumont, Dramatist. 1914.
p. 446 added to the bibliography of chapter VII:
Brooke, R. John Webster and the Elizabethan Drama. 1916.
[TURN OVER
## p. xii (#18) #############################################
pter X:
p. 452 added to the bibliography of chapter VIII:
Forsythe, R. S. Shirley's Plays in their relation to the Elizabethan Drama. Columbia
Univ. Press, 1915.
Nason, A. H. James Shirley, Dramatist. A Biographical and Critical Study. New
York, 1915.
p. 453 added to the bibliography of chapter IX:
Andrews, C. E. Richard Brome. Yale Studies in English.
pp. 459-67 added to the bibl raphy of
Cowling, G. H. Music on the Shakespearian Stage. Cambridge, 1913.
of English Language and Literature in the University of Glasgow
Chapman's life. Shakespeare and the 'Rival Poet! Didactic nature
of Chapman's Poetry. His Comedies. His Historic Tragedies.
Bussy D'Ambois. The Revenge. Chapman's Homer. Marston's
life. His prominence in the War of the Theatres. Quarrel with
Jonson. Assaults and Counter-assaults. End of the quarrel.
Marston's Tragedies. Antonio and Mellida. The Malcontent.
Eastward Hoe. The Fawne. His other Plays. Withdrawal from
theatrical life. Dekker's early activities. Value of his work. His
Comedies. The Shomakers Holiday. Old Fortunatus. The
Honest Whore. His Collaborators. His place as a Dramatist.
Importance of his prose work
29
321851
## p. vi (#12) ##############################################
vi
Contents
CHAPTER III
PAGE
MIDDLETON AND ROWLEY
By ARTHUR SYMONS
Biographical details. Middleton's non-dramatic work. His first Plays.
The Mayor of Quinborough. The Old Law. Blurt Master-
Constable. His farcical Comedies: their character and material.
His realism. Fluency and naturalness of his work. His Collabora-
tors. Plays by Rowley alone; their sincerity and nobility of aim.
Rowley's influence on Middleton. A Faire Quarrell. The World
tost at Tennis. The Changeling. Later Plays by Middleton.
His dramatic genius
58
CHAPTER IV
THOMAS HEYWOOD
By A. W. WARD, Litt. D. , F. B. A. , Master of Peterhouse
Thomas Heywood as the servant of public taste. His special work in
Domestic Drama. His life: London and Court associations. His
point of view as a Playwright. His non-dramatic works. The
Apology for Actors. His Plays. A Woman Kilde with Kind-
nesse. Elizabethan Domestic Dram a. Early attempts at realistic
treatment. The Murder Plays. Changes in the social system and
their effect on the Drama. Heywood's picture of English country
life. The Royall King, and The Loyall Subject. The Fair Maid
Of The West. Other Plays. His work in collaboration with others.
His qualities as a Dramatist
81
.
CHAPTER V
BEAUMONT AND FLETCHER
By G. C. MACAULAY, M. A. , late Fellow of Trinity College,
University Lecturer in English
New influences on the Drama. Abandonment of Tragedy for Tragi-
comedy. Lowering of moral standards. Contemporary apprecia-
tion of Beaumont and Fletcher's work. Biographies and early
intimacy of the two Dramatists. Individual characteristics. Evi-
dence as to authorship. Fletcher's Metrical Style: comparison
with that of Shakespeare. Features assignable to Beaumont.
Massinger's collaboration with Fletcher. Excellence of Fletcher's
stage effects. His weakness in characterisation. Sources of his
plays. Rapidity of production. Classification of the Plays.
Tragedies. Romantic Dramas. Comedies. Qualities of language
and style in Beaumont and Fletcher's plays
107
Appendix. List of Beaumont and Fletcher's Plays, with indications
of probable authorship and chief sources
137
## p. vii (#13) #############################################
Contents
vii
CHAPTER VI
PHILIP MASSINGER
PAGE
By EMIL KOEPPEL, Professor of English Philology in the
University of Strassburg
Massinger's life. Biographical value of his Dedications. His relations
with the Herberts. Literary friends. Joint workmanship with
Fletcher and others. His independent Dramas. Some Political
Dramas of the time. Massinger's political opinions. His religious
sympathies. His literary models: Shakespeare, Fletcher, Jonson.
His constructive art. Typical situations. His women. His lovers.
His villains. His comical figures. His style: preponderance of
the rhetorical element. His repetitions. Contemporary and post-
humous reputation. Massinger in Germany
141
CHAPTER VII
TOURNEUR AND WEBSTER
By C. E. VAUGHAN, M. A. , Balliol College, Oxford, Professor of
English Literature in the University of Leeds
Meagreness of biographical details. Tourneur's two Tragedies. John
Webster: periods of his literary activity. Collaboration with
Dekker and Marston, West-Ward Hoe and North-Ward Hoe.
Webster's original work. The White Divel: question of its
sources: possibility of originality in the plot. Advance on his
earlier work. The theme of Revenge as handled by Elizabethan
Dramatists. The Dutchesse Of Malfy; its source and date; ad-
vance in representation and motif. The last period. Appius
and Virginia. The Devils Law-case: influence of Fletcher.
Secret of Webster's genius: his profound knowledge of human
character and sense of tragic issues. His imaginat and poetic
power.
166
CHAPTER VIII
FORD AND SHIRLEY
By W. A. NEILSON, M. A. (Edinburgh), Ph. D. (Harvard),
Professor of English in Harvard University
Commencement of the literary period of English Drama. Ford's life
and early work. Romantic character of his non-dramatic work.
His collaboration with Dekker. His independent Dramas. His
lost Plays. Ford as typical of the period of decadence. His merits.
Shirley's life and career. His Poems. His Tragedies. His Comedies
of Manners and Romantic Comedies. His Entertainments. Origi-
nality of his plots. Conventionality of his style. Comparison of
Shirley with Ford .
188
## p. viii (#14) ############################################
viii
Contents
CHAPTER IX
LESSER JACOBEAN AND CAROLINE DRAMATISTS
By the Rev. RONALD BAYNE, M. A. , University College, Oxford
PAGE
General characteristics of the Jacobean and Caroline Drama; the
central position of Jonson. Belated Elizabethans: John Day's
later comedies; The Ile of Guls; evolution of The Parliament
of Bees; its merits and characteristics. Armin's Two Maids of
More-clacke. Sharpham's two Plays. The single Plays of Barry,
Cooke and Tailor. The Pupils of Jonson: Nathaniel Field: his
life and training. A Woman is a Weather-cocke. Field's debt to
Jonson; his romantic tendency and collaboration with Massinger.
Richard Brome's life and training: his fifteen extant Plays. The
Northern Lasse. Brome's debt to Dekker. The Sparagus Garden.
The City Witt; its briskness and humour. A Joviall Crew,
Brome's best Play. His romantic experiments; partial success of
The Queen and Concubine. Thomas Randolph's University train-
ing. His Aristippus and The Conceited Pedler. Aristotle's
Ethics dramatised in The Muses Looking-Glasse. Originality
of Randolph. May's Comedies. The anonymous Nero. Daven-
port's Revisions of older Plays. Thomas Nabbes's virtuous heroines.
Comedies of Cartwright and Mayne. Sir John Suckling's Plays:
Aglaura, The Goblins, Brennoralt. Marmion's The Antiquary.
Tragicomedy as exemplified in the Plays of Lodowick Carlell,
Henry Glapthorne and Sir William D'Avenant
210
CHAPTER X
THE ELIZABETHAN THEATRE
By HAROLD CHILD, sometime Scholar of Brasenose College,
Oxford
Early Companies of Players. Triumph of the Professional Actor and
Patronised Company over the Stroller. Grounds of objection to the
Drama. Royal patronage and its effect. Increasing control of
the production of Plays by the Master of the Revels. The
Chamberlain’s Company. The Queen's and Admiral's Companies.
Places of performance. Site and architectural features of the
Theater. The Curtain. The Newington Butts Playhouse. The
Rose. The Globe. The Blackfriars. The Swan. Other Play-
houses.
Differences between the Elizabethan and the Modern
Stage. Value of John de Witt's drawing of the Swan. The
Alternation Theory. Differences in Construction. Stage Ap-
pliances and Properties. Performances at private Playhouses
and at Court. Costumes. The Audience. The Author and his
Company. Financial arrangements. Social position of the Actor 241
## p. ix (#15) ##############################################
Contents
ix
CHAPTER XI
PAGE
THE CHILDREN OF THE CHAPEL ROYAL AND THEIR
MASTERS
By J. M. MANLY, M. A. , Ph. D. (Harvard), Professor of English in
the University of Chicago
Early history of the Chapel Children. Early Masters: John Plummer,
Henry Abyndon, William Newark, William Cornish and others.
Histrionic activity of the Children. Dramatic work of the Masters.
Plays of the University Wits acted by the Children. The Children
at the Blackfriars: profitable nature of the undertaking. The
Child-actors. Causes of their success. Royal patronage
. 279
.
CHAPTER XII
UNIVERSITY PLAYS.
By F. S. BOAS, M. A. , Balliol College, Oxford, LLD. (St Andrews),
late Professor of English Literature in Queen's College,
Belfast, and late Clark Lecturer, Trinity College
Medieval Drama at the Universities. The Senecan School of dramatists.
Grimald's Christus Redivivus and Archipropheta. Kirchmayer's
Pammachius. Gammer Gurtons Nedle. Effect of Queen Eliza-
beth's visits to the Universities. Halliwell's Dido and Udall's
Ezechias. Edwards's Palamon and Arcyte. Rickets's Byrsa
Basilica. Legge's Richardus Tertius. Perfidus Hetruscus.
Gager's Meleager and Dido. Fraunce's Victoria. Academic
Comedies. Hymenaeus. Laelia. Pedantius. Attack on Academic
Personages and on the Civic Authorities. Club-Law. The
Parnassus Trilogy. Tomkis's Lingua. Narcissus. King James
at Oxford. Daniel's The Queenes Arcadia. Thomas Tucker, the
Christmas Prince. King James at Cambridge. Ruggle's Ignora-
Barten Holiday's Technogamia. Allegorical and satirical
character of the later Plays. King Charles at Cambridge and
Oxford. Influence of the University Drama
293
mus.
CHAPTER XIII
MASQUE AND PASTORAL
By the Rev. RONALD BAYNE, M. A.
Popularity of the Masque in the age of Elizabeth. Its early history.
Mummings and Disguisings: development of these into the Masque.
The Masque in Spenser. Ben Jonson's Masques. Introduction
of the Antimasque. Development of the Presenter. Campion's
Masques. Chapman and Beaumont as Masque-writers. Rapid
increase of dramatic elements in Jonson's Masques. Jonson's
later work in this field. Pastoral Poetry: its history and develop-
ment. Pastoral drama of the University Wits. Daniel's Pastorals.
Fletcher's The Faithful Shepheardesse. Ben Jonson's The Sad
Shepherd. Randolph's Amyntas
:
328
## p. x (#16) ###############################################
X
Contents
CHAPTER XIV
THE PURITAN ATTACK UPON THE STAGE
By J. DOVER WILSON, M. A. , Gonville and Caius College, Lecturer
in English Literature at the Goldsmiths' College, University
of London
PAGE
The attitude of the Reformers towards the Stage. Theological and
moral objections. Beginnings of Puritan opposition in England.
Attitude of the Civic Authorities in London. Systematic persecu-
tion of Actors. Royal Patronage. Attacks on the Stage from
the Pulpit. Work of Pamphleteers. Gosson's Schoole of Abuse.
Lodge's Defence. Stubbes's Anatomie of Abuses. Waning
interest in the struggle. The Controversy at the Universities.
Effects of changes introduced under the Stewarte. Heywood's
Apology for Actors. Prynne's Histriomastix. General aspects
of the Controversy
373
410
.
.
Bibliographies .
Table of Principal Dates
Index of Names
502
507
## p. xi (#17) ##############################################
THE CAMBRIDGE HISTORY
OF ENGLISH LITERATURE
VOLUME VI. THE DRAMA TO 1642
PART II
Second Impression, 1918, Corrections and Additions
The errata mentioned in volumes of the History published later than the first edition
of this volume have been corrected in the present impression. In addition, some mis-
prints noticed later have been corrected, and a few alterations made. A list of the more
important of these follows:
p. 166, 11. 17, 18 for nothing. . . Tourneur. read it is by these alone that Tourneur
survives.
p. 178, 11. 29–39 for Both innovations. . . took up the tale. read Both changes are
repeated—the latter, however, with sweeping modifications—in the next play of
Marston, The Malcontent (1604, or earlier), to which, indeed, it is quite possible that
the credit of innovation may belong rather than to Hoffman. The modifications are as
follows. The murderer of the original version is replaced by a usurper who drives the
rightful prince into exile. This, necessarily, involves the disappearance of the ghost.
And revenge, though retained, is retained in a form so softened that the avenger
contents himself with melting one of his enemies to at least outward repentance and
dismissing the other with magnanimous contempt.
It was at this point that Tourneur-or the author of The Revengers Tragoedie,
whoever he may have been—took up the tale.
p. 301, 1. 2 for another play of somewhat later date, read another, and better-known,
play,
p. 386, 1. 41 the following footnote has been added :
[Cf. Bacon, Apophthegms. "Galba succeeded Nero. . . . ']
p. 404, 1. 32 for high commission read Star-chamber
pp. 410–13 added to the General Bibliography:
Boyer, C. V. The villain as hero in Elizabethan tragedy. 1914.
Mod. Lang. Rev. General Index to volumes 1-X. Cambridge, 1915.
p. 420 added to the bibliography of chapter 1:
Suddard, M. Essais de litt. angl. Cambridge, 1912.
pp. 420-6 added to the bibliography of chapter II:
Robertson, J. M. Shakespeare and Chapman. A thesis of Chapman's authorship of
A Lover's Complaint and his origination of Timon of Athens, etc. 1917.
Crawford, C. Collectanea. 2nd series. Stratford-on-Avon, 1907.
Pierce, F. E. The Collaboration of Webster and Dekker. Yale Studies in English. 1909.
p. 441 added to the bibliography of chapter V:
Gayley, C. M. Francis Beaumont, Dramatist. 1914.
p. 446 added to the bibliography of chapter VII:
Brooke, R. John Webster and the Elizabethan Drama. 1916.
[TURN OVER
## p. xii (#18) #############################################
pter X:
p. 452 added to the bibliography of chapter VIII:
Forsythe, R. S. Shirley's Plays in their relation to the Elizabethan Drama. Columbia
Univ. Press, 1915.
Nason, A. H. James Shirley, Dramatist. A Biographical and Critical Study. New
York, 1915.
p. 453 added to the bibliography of chapter IX:
Andrews, C. E. Richard Brome. Yale Studies in English.
pp. 459-67 added to the bibl raphy of
Cowling, G. H. Music on the Shakespearian Stage. Cambridge, 1913.
