Classical Influences.—In the preceding paragraphs we have considered the early modern drama as an independent growth, but the influence of the classical drama, particularly the Latin tragedies of Seneca and the Latin comedies of Plautus and Terence, showed itself in the later moralities and interludes, and was to appear again and again in the later course of English drama. That great revival of interest in classical learning which gave the Renaissance its name, was a mighty force in the current of English thought throughout the sixteenth century. The old Latin tragedies and comedies were revived and were produced in the original and in translation at schools and colleges. It was an easy step from this to the writing of English comedies after Latin models. The earliest of such attempts which we know is the comedy of Ralph Roister Doister, written by Nicholas Udall for Eton boys at some time between 1534 and 1541. This, commonly called the first English comedy, is little more than a clever adaptation of Plautus to English manners and customs; but a comedy written soon after, Gammer Gurton's Needle, is really an Interlude cast in the Plautean mold. The first English tragedy, Gorboduc, closely imitative of Seneca, but on a mythical British subject and written in English blank verse, did not appear until 1562, nearly a quarter of a century later. Seneca's tragedies had little action, slight characterization, and many extremely long speeches, which often display, however, much brilliant rhetoric. Gorboduc has all these qualities except the brilliance. The history, the third of the types into which the editors of the First Folio were to divide Shakespeare's plays, was also affected by Senecan influence. We have already seen how the historical figure of King John appeared in a morality, one which shows little trace of classical tradition; and the history, with its general formlessness and its mixture of the comic with the serious, remained a peculiarly English product. Nevertheless, in the second half of the sixteenth century, subjects from English history were treated after the manner of Latin tragedy, and the long, rhetorical speeches of the later historical plays are more suggestive of Seneca than are most Elizabethan tragedies.
The classical type of drama, with its strict observance of the three unities,[[2]] was not congenial to the English temperament. Its fetters were soon thrown off, and, with the notable exception of Ben Jonson (1573-1637), few Elizabethan playwrights conformed to its rules. Its influence, however, was not confined to its imitators. From the classical drama the Elizabethans gained a sense for form and for the value of dramatic technique, which did much to make the Elizabethan drama what it was.
Three Predecessors of Shakespeare.—The development of the English drama from the first attempts at comedy, tragedy, and history was extremely rapid. When Shakespeare came to London, he found there dramatists who were far on the road toward mastery of dramatic form, and who were putting into that form both great poetry and a profound knowledge of human nature. A complete list of these dramatists would include a number of names which have a permanent place in the history of English literature, such as those of Thomas Lodge, Thomas Nash, George Peele, and Robert Greene. Among these names three deserve especial prominence, not only because of the great achievements of these men, but because of their influence on Shakespeare. These men were Marlowe, Kyd, and Lyly.
It was Christopher Marlowe (1564-1593) who first gave to English blank verse those qualities which make it an extraordinarily perfect medium of expression. Before him, blank verse had no advantages to offer in compensation for the abandonment of rime. It was stiff, monotonous, and cold. Marlowe began to vary the position of the pauses within the line, and to do away with the pause at the end of some lines by placing the breaks in thought elsewhere. Thus he gave to his verse ease, flexibility, and movement, and he put into it the warmth and vividness of his own personality. Upon such verse as this Shakespeare could hardly improve. But this by no means sums up his debt to Marlowe. His characterization of Richard III, for instance, was distinctly affected by that of Marlowe's hero Tamburlaine, a character to which the poet had given a passionate life and an energy that made him more than human. In other ways less easy to define, Shakespeare must have been stimulated by Marlowe's fire. The latter's greatest tragedies, Tamburlaine, Dr. Faustus, and Edward II, contain poetry so beautiful, feeling so intense, and a promise of future achievement so remarkable, that his early death may fairly be said to have deprived English literature of a genius worthy of comparison with that of Shakespeare himself.
Although Thomas Kyd (1558-1594) was far from the equal of Marlowe, he was a playwright of real ability and one whose tragedies were unusually popular. Influenced greatly by Seneca, he brought to its climax the 'tragedy of blood'—a type of drama in which ungovernable passions of lust and revenge lead to atrocious crimes and end in gruesome and appalling murders. His famous Spanish Tragedy was the forerunner of many similar plays, of which Titus Andronicus was one. He probably wrote the original play of Hamlet, which was elevated by Shakespeare out of its atmosphere of blood and horror into the highest realms of thought and poetry.
John Lyly (c. 1554-1606) was a master in an entirely different field, that of highly artificial comedy. He brought court comedy to a hitherto unattained perfection of form and style, and in his best work, Endymion, he displayed a lovely delicacy of thought and expression which has kept his reputation secure. He is best known, however, for his prose romance, Euphues, which gave its name to the style of which it was the climax. Euphuism is a manner of writing marked by elaborate antithesis and alliteration, and ornamented by fantastic similes drawn from a mass of legendary lore concerning plants and animals.[[3]] This style, which nowadays seems labored and inartistic, was excessively admired by the Elizabethans. Shakespeare imitated it to some extent in Love's Labour's Lost, and parodied it in Falstaff's speech to Prince Hal, I Henry IV, II, iv. Several of Shakespeare's earlier comedies show Lyly's influence for good and ill—ill, in that it made for artificiality and strained conceits; good, in that it made for perfection of dramatic form and refinement of expression.
The Masque.—Somewhat apart from the main current of dramatic evolution is the development of the masque, which became extremely popular in the reign of James I. The English masque was an entertainment, dramatic in character, made up of songs, dialogue, and dances. It originated in masked balls given by the nobility or at court. To John Lydgate, working about 1430, is probably due the credit for introducing into such disguisings a literary element, while the later course of the masque owes much to Italy. In the developed masque there were two classes of participants: noble amateurs, who wore elaborate costumes and danced either among themselves or with the spectators; and professional entertainers, who spoke and sang. The later masques had elaborate scenery and costumes, with just as much plot as would serve to string together the lyrics and dances. Sometimes an anti-masque of grotesque figures was introduced to serve as contrast to the beautiful figures of the masque. The masques were produced with the utmost lavishness, the most extravagant one of which we know costing over £20,000. Some of them, such as those written by Ben Jonson, contain charming poetry; but their chief interest to the student of Shakespeare lies in the fact that their great popularity caused Shakespeare to introduce short masques into some of his plays, notably Henry VIII, The Winter's Tale, and The Tempest. In similar allegorical dances often given between the acts of Italian plays, has been sought the origin of the 'dumb-show,' which was occasionally introduced into English tragedies, and which appears in the Mouse-Trap given in Hamlet.
The most useful general histories of this period are: F. E. Schelling, Elizabethan Drama (Houghton Mifflin, 1908); E. K. Chambers, The Mediaeval Stage (Oxford, 1903); and Creizenach, Geschichte des neueren Dramas (Halle, 1893-1909, and not yet complete). Some of the best Miracles, Moralities, and Interludes are easily accessible in Everyman with other Interludes (Everyman's Library) and J. M. Manly's Specimens of the Pre-Shakespearean Drama (Ginn & Co., 1897).
[[1]] An extract from the Concordia Regularis, a tenth-century appendix to the monastic "rule" of St. Benedict, describes this ceremony. "While the third respond is chanted, let the remaining three follow [one of the brethren, vested in an alb, had before this quietly taken his place at the sepulcher], and let them all, vested in copes, and bearing in their hands thuribles with incense, and stepping delicately, as those who seek something, approach the sepulcher. These things are done in imitation of the angel sitting in the monument, and the women with spices coming to anoint the body of Jesus."