Criticisms on Shakspeare's Historical Dramas.
LECTURE XXVII.
Two Periods of the English Theatre: the first the most important—The
first Conformation of the Stage, and its Advantages—State of the
Histrionic Art in Shakspeare's Time—Antiquities of Dramatic Literature—
Lilly, Marlow, Heywood—Ben Jonson; Criticism of his Works—Masques—
Beaumont and Fletcher—General Characterization of these Poets, and
Remarks on some of their Pieces—Massinger and other Contemporaries of
Charles I.
LECTURE XXVIII.
Closing of the Stage by the Puritans—Revival of the Stage under Charles
II.—Depravity of Taste and Morals—Dryden, Otway, and others—
Characterization of the Comic Poets from Wycherley and Congreve to the
Middle of the Eighteenth Century—Tragedies of the same Period—Rowe—
Addison's Cato—Later Pieces—Familiar Tragedy: Lillo—Garrick—
Latest State.
LECTURE XXIX.
Spanish Theatre—Its three Periods: Cervantes, Lope de Vega, Calderon— Spirit of the Spanish Poetry in general—Influence of the National History on it—Form, and various Species of the Spanish Drama—Decline since the beginning of the Eighteenth Century.
LECTURE XXX.
Origin of the German Theatre—Hans Sachs—Gryphius—The Age of Gottsched—
Wretched Imitation of the French—Lessing, Goethe, and Schiller—Review of
their Works—Their Influence on Chivalrous Dramas, Affecting Dramas, and
Family Pictures—Prospect for Futurity.