The progress of the drama is a subject which claims in this place some share of our attention, partly because it excited in a variety of ways that of Elizabeth herself. By the appearance of Ferrex and Porrex in 1561, and that of Gammer Gurton's Needle five years later, a new impulse had been given to English genius; and both tragedies and comedies approaching the regular models, besides historical and pastoral dramas, allegorical pieces resembling the old moralities, and translations from the ancients, were from this time produced in abundance, and received by all classes with avidity and delight.
About twenty dramatic poets flourished between 1561 and 1590; and an inspection of the titles alone of their numerous productions would furnish evidence of an acquaintance with the stores of history, mythology, classical fiction, and romance, strikingly illustrative of the literary diligence and intellectual activity of the age.
Richard Edwards produced a tragi-comedy on the affecting ancient story of Damon and Pithias, besides his comedy of Palamon and Arcite, formerly noticed as having been performed for the entertainment of her majesty at Oxford. In connexion with this latter piece it may be remarked, that of the chivalrous idea of Theseus in this celebrated tale and in the Midsummer Night's Dream, as well as of all the other gothicized representations of ancient heroes, of which Shakespeare's Troilus and Cressida, his Rape of Lucrece, and some passages of Spenser's Faery Queen, afford further examples, Guido Colonna's Historia Trojana, written in 1260, was the original: a work long and widely popular, which had been translated, paraphrased and imitated in French and English, and which the barbarism of its incongruities, however palpable, had not as yet consigned to oblivion or contempt.
George Gascoigne, besides his tragedy from Euripides, translated also a comedy from Ariosto, performed by the students of Gray's Inn under the title of The Supposes; which was the first specimen in our language of a drama in prose. Italian literature was at this period cultivated amongst us with an assiduity unequalled either before or since, and it possessed few authors of merit or celebrity whose works were not speedily familiarized to the English public through the medium of translations. The study of this enchanting language found however a vehement opponent in Roger Ascham, who exclaims against the "enchantments of Circe, brought out of Italy to mar men's manners in England; much by examples of ill life, but more by precepts of fond books, of late translated out of Italian into English, and sold in every shop in London." He afterwards declares that "there be more of these ungracious books set out in print within these few months than have been seen in England many years before." To these strictures on the moral tendencies of the popular writers of Italy some force must be allowed; but it is obvious to remark, that similar objections might be urged with at least equal cogency against the favorite classics of Ascham; and that the use of so valuable an instrument of intellectual advancement as the free introduction of the literature of a highly polished nation into one comparatively rude, is not to be denied to beings capable of moral discrimination, from the apprehension of such partial and incidental injury as may arise out of its abuse. Italy, in fact, was at once the plenteous store-house whence the English poets, dramatists and romance writers of the latter half of the sixteenth century drew their most precious materials; the school where they acquired taste and skill to adapt them to their various purposes; and the Parnassian mount on which they caught the purest inspirations of the muse.
Elizabeth was a zealous patroness of these studies; she spoke the Italian language with fluency and elegance, and used it frequently in her mottos and devices: by her encouragement, as we shall see, Harrington was urged to complete his version of the Orlando Furioso, and she willingly accepted in the year 1600 the dedication of Fairfax's admirable translation of the great epic of Tasso.
But to return to our dramatic writers:... Thomas Kyd was the author of a tragedy entitled Jeronimo, which for the absurd horrors of its plot, and the mingled puerility and bombast of its language, was a source of perpetual ridicule to rival poets, while from a certain wild pathos combined with its imposing grandiloquence it was long a favorite with the people. The same person also translated a play by Garnier on the story of Cornelia the wife of Pompey;—a solitary instance apparently of obligation to the French theatre on the part of these founders of our national drama.
By Thomas Hughes the misfortunes of Arthur, son of Uther Pendragon, were made the subject of a tragedy performed before the queen.
Preston, to whom when a youth her majesty had granted a pension of a shilling a day in consideration of his excellent acting in the play of Palamon and Arcite, composed on the story of Cambyses king of Persia "A lamentable tragedy mixed full of pleasant mirth," which is now only remembered as having been an object of ridicule to Shakespeare.
Lilly, the author of Euphues, composed six court comedies and other pieces principally on classical subjects, but disfigured by all the barbarous affectations of style which had marked his earlier production.
Christopher Marlow, unquestionably a man of genius, however deficient in taste and judgement, astonished the world with his Tamburlain the Great, which became in a manner proverbial for its rant and extravagance: he also composed, but in a purer style and with a pathetic cast of sentiment, a drama on the subject of king Edward II., and ministered fuel to the ferocious prejudices of the age by his fiend-like portraiture of Barabas in The rich Jew of Malta. Marlow was also the author of a tragedy, in which the sublime and the grotesque were extraordinarily mingled, on the noted story of Dr. Faustus; a tale of preternatural horrors, which, after the lapse of two centuries, was again to receive a similar distinction from the pen of one of the most celebrated of German dramatists: not the only example which could be produced of a coincidence of taste between the early tragedians of the two countries.