New

The

of
Art

Writing

Plays

AT

PUBLIC

IONS

the

of

Dramatic

Museum

UNIVERSITY

COLUMBIA

OF

CITY

THE

IN

Seriei

First

Papers

Playmaking

on

de

Translated

THE

AUTOBIOGRAPHY

by

THE

OF

tion
Introduc-

Translated

Philip

by
Introduction

With

Ferdinand

by

an

M.

Henry

Jones.

Arthur

STEVENSON

Louis

ROBERT

By

By

DRAMA.

THE

Brunetiere.

IV

an

Thomas.

OF

Hayden.

By

PLAY.

With

Augustus

LAW

and

Matthews.

Howard.

Bronson

T.

an

Brander

by

William

by
Introduction

With

Notes

By

PLAYS.

WRITING

OF

Vega.

Brewster.

III

ART

NEW

THE

Lope

II

YORK

NEW

OF

Wing

Arthur
and

Clayton

Hamilton.

Pinero.

Bibliographical

AS

With

DRAMATIST.

an

Appendix

duction
Intro-

by

PLAY-MAKING

ON

PAPERS

I
The

Writing

of

Art

New

Plays

BY

LOPE

VEGA

DE

BY

TRANSLATED

WITH

MATTHEWS

Printed

for

of

Museum
in

BY

INTRODUCTION

AN

BRANDER

Dramatic

BREWSTER

T.

WILLIAM

the

City of

the

Columbia
New

University
York

MCMXIV

DRAMATIC

1914

COPYRIGHT

MUSEUM

OF

COLUMBIA

BY

UNIVERSITY

CONTENTS

Introduction

The

Notes

Brander

by

New

Art

Matthews
i

of

Writing

Plays

by

Lope

de

Vega.

23
.

by

B.

INTRODUCTION

BY

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Plautus
he

I have

resents
rep-

ficult
difsince

does

Menander,

Comedy.

the

to

approbation,

my

be

to

back

that

knows

cause
be-

or

vulgar.

'Amphitryon'

in his

as

either

the

that

see

lord,

not

and

turning

we

Jupiter.

Plutarch,

lowly

merely

where

gods,

highly

the

Philip

art

to

ought

authority

in

tho,

our

in them

hostile

was

not

kings;

and

king

tremes.
ex-

do

that

Spain

seeing

among

This

6.

of

King

two

precepts

understand

royal

represented

with

deal

follow

and

these

excuse

have

to

the

chosen

crowd,

but

be

you

matter

the

the

between

since

I would

sort

recourse

no

to

at

the

because

what

subject

matter,

of

you

command

to

error

tell

me,

power

mean

may

"

for

happens

"

Old

is

the

amused,

the
of

there

observing

art

has

whoever

tell you

desire

pardon

you

the^vile

I will

monster,

do

what

maintain

should

its laws

not

since

Spain

we

do

it

thousand

wrongs,

their

close

the

let

learned

this

once

lips.
r

Tragedy

17.^
Terence

Seneca,

of

Pasiphae,

the

other

much

causes

contain

no

which

should

style

the

with

it take
when

except
which

some

on

in

place
the

to

some

is

poet

the

journey;

of

have

30

time

as

thing

that

sun,

lose

we

tragic

possible,
history

the
a

in
he

these

between
have

it

comedy.

mean

pass;

can

one

but

writing
to

space

he

the

that

mingle

of

be
of

advising

we

little

as

beside

member

Aristotle
when

the

are

period

humbleness

if necessary,

wherein,

the

him

years

relegate

can

go

for

respect

in

the

mean

whole

the

use

of

view

is the

this

no

in

place

take

our

is

any

ruin

might

There

context.

that

should

it that

to

which

things

good

us

subject

episodic;

nor

purpose;

omitted

Let

other

variety

it is beautiful.

variety

this

part

one

gives

seeing

only,
be

of

main

tho

that

manner

introduction
the

in mind
action

one

in

story

such

another

this

f^r

Nature

through

Bear

8.

like

render

ridiculous;

and

comedy

it be

will

delight.

for

example,

with
tho

with

minotaur
grave,

mixed

acts,

character

greatly

of-

fends

whoever
is offended

who

Oh

19.

this

at

! how

in

sets

limit;

an

the

for

tho

for

of

time,

one

the

space

Virues,
into

three

fours,
then

acts,

as

infants.

eleven

four

for

the

little
then

not
to

fitting,if

for

it

adjust

to

us

be

three

before

of

of

then

intermissions

entremeses,

but

dance,

for
3"

was

today
the

all

on

gone

of

for
it

comedy

were

when

myself,

age,

paper,

each

tain
Cap-

comedies

them

years

and

had

feet, for

wrote

in

divided

wit,

acts

broken.

not

in

write

into

three

is

Genesis

chosen,

day

which

act;

there

most

matter

worthy

sheets

each

is

Spaniard

it, if possible, that

the

twelve

or

of

the

ing
consider-

But,

him,

once

baby's

on

not

it succeeds.

to

of

would

from
it

please

divide

seeing

day

hours

two

are

artificial

seated

I deem

subject

and

many

years

they

everything

that

so

an

day

in

him

not

are

that

this

of

to

vThe

prose,

and

which

here

us

20.

three

to

Judgment,

everything

that

affair

him

to

Last

and

seeing

when

presented

be

at

wrath

the

immoderate,

the

in admiration

mathematical

that

let

But

them.

see

lost

time

passed

allow

to

go

very

it.

perceives

four

acts

sheet

tained
con-

the

fashion

were

made

scarce

dancing

one,,

is

so*

\\

in

important
of

it, and

Xenophon

pretends

to

divided

matter

into

from

the

the

to

what

restless

becomes

spins

story
besides

its

being

that

the

the

for,

avoidance

X''

artifice.

and

crowd

length;

great

in

and

defect, the

great

for

remain

intervals

at

it

known.

stage

because

these

out

grace

Begin

ilo

witty

the

its

what

be

to

the

IB

22.

is

itself

it increases
vO

is

for
turn

face;

should

in

is, will

face

speaking,

someone

to

more

of

untying

scene

to

nection
con-

action

its shoulder

nothing
seldom

the

the

the

end

hours

he
The

to

until

last

the

and

three

Very

without

of

what

appears

2i.-\

the

this

wherein

see

permit

reaching

for

and

parts,

not

proves
disap-

chorus.

beginning

door

awaited

ancient
two

do

knowing

face
has

but

until

plot

crowd,

is

the

down;

runs

the

and

last

Callipides,

at

ape

this

dancing;

is vexed

prove
ap-

Plato,

it, though

indecorous

he

reason

Aristotle

Athenaeus,

of

treat

of

that

comedy

then,

sayings
the

family

on

familiar

representing.
introduced
then

sententious

spend

not

with

and,

talk

of

But

when

there

should
32

thoughts

trifles, which
two

or

the

be

all

people

character

gravity

and

is

three

counsels

persuades,

guage,
lan-

simple

who
or

and

suade
dis-

wit;

''

for
a

or

he

the

and

should

be

for

in

elegant,
in

drag

quotations,

be

imitate

tai irs.

who

of

ple,
peo-

polite
will

Do

not

fend
of-

language
for, if

one

it should

speak,

Panchaia,

not

of

vpf hippogriffs, demi-gods

the

and

cen-

much
mi

as

sage

If

the

which

the

possible
speak,

greatly

recitant

is

with

in

such

quite transformed,

himself,
questions
make

the

changes
and

reply

plaints,

to

themjj

that
in

the

ing
chang-

him
listenef^tLet
to

let him
33

passions

manner

and

if

esty;
mod-

listens
a

as

king;

those

whoever

move

of

imitate

sententious

lovers

soliloquies

speak,

gravity

observe

manage

shall

should

king

describe

he

the

it

"

23.

ask

that

adorned.

of

pure,

diction

exquisite words;

language

Metaurus,

the

let your

nor

those

the

by

the

of

of

for

be

also

that

case

and

sonorous,

because
to

latter

suades,
per-

this

to

usage

from

different
the

for

adds

the

or

Aristides,

comedy

he

from

taken

being

society;

of

language

what

counsel,

anything.

flexible, and

this

be

gave

from

style

warrant

us

since

observed,

gives

against

rhetorician,

clear,

is

he

argues

wishes

truth

different

when

common

the

is

in

speaks

man

is

doubtless

then

himself,

and

observe

the

if
re-

due

spect

to

T,et

women.

their character, and

for

excused;

male

Let

pleasing.

him

that

should

be

conceits

which
in

and

plays;

be

against

to

for

let the

who
*

y
o"

In

the

second

one

tKat until the

may

hardly

guess

trick expectancy;
pass

that

promised

the

be

left

treated.

"

Dccimas

to

of

the

the

with

the
to

In
in

the
such

third

act

Always

outcome.

are

34

Let

case.

it may

something quite far

may

has

disgusted

events,

hence

and

Tactfully suitxyour verse

the

middle
the

.,.

he

wit, and

audience

forth

together

weave

mean

that, at his exit,he

the

set

act

tradict
con-

blames

one

that

with

wise

not

the

foreign

said^I

h;iml.

epigram,

should

charter

has

own

truth

express

Sophocles

his

of

lackey

remembering

in such

first

he

in

as

leave

spouts

wise

in what

chiefest

in certain

wise

with

elegant verse,
\

The

no

with

end

the

likeness

seen

not

Laius

scenes

the

have

"

Oedipus
killed

it is of

we

forget,

say,

his guard

on

lofty affairs,nor

himself

be

it may

is very

only

of

that

tumes,
cos-

disguise usually

represented.

discourse

not

gard
disre-

they change

wise

impossible things, for

importance

if

in such

let it be

ladies

not

from

to

come

what

is

understanding.
the

ing
subjectsbe-

good

for

com-

him,

honor

men

him,

each

for

twelve

the

patience

have

well

are

of

parts,

be

is known

that

for

forbidden

is

clear

not

the

to

who

tertain
en-

sheets,
and

time

In

listening.

or

very

reason

law

in

Greece

it

since

open,

this

by

out,

four

but

suited

him

him

seek

him.

act

satirical

were

him,

acclaim

and

Let

25.

love

comedies
and

Italy

,.
1

be

done,

aspire

nor

fame.

to

which

aphorisms
which

art,

things

These

26.

the

with

do

which

present

speaks

just

trees,

cabins,
Of

us

case

if it
that

the

things:

barbarous
gear

of

Christian

and

breeches.
36

has

the

their

would

Spain
is

Roman

drops,
marbles.
tell

it is the

replete

wearing
a

others

and

Pollux

today

presa
im-

Petrus

simulated

in

ther
fur-

properties

stage
concerns

for

Turk

no

whatever

with

as

ancient

allows

epistles,

and

of

comedy

the

Maximus,

his

necessary,

were

of

Julius

costume

from

of

properties,
houses,

regard

since

Valerius
in

Horace
these

27.

as

may

occasion

kinds

three

Vitruvius

describe

not

treating;

the

Crinitus,

you

get

you

for

space
to

applause,

not

expect

der
slan-

if, perchance,

for

hate,

without

wound

the
in

with
neck-

tight

I dare

myself

all,

nojjpdy
myselfjsince

than

barbarous
art

of

But

28.

lay

to

wherefore

four

with

along
week?
sin

have

they

would

they

have
to

contrary

the

pleases

How
How

true

subtle

And
What

what

is

What
Deceit
How
How

reflects
her

had

the

sometimes

they

which

vogue

that

this

life of
of

which
reason,

very

wit, polished in
speech,

and

of

success,

span,
too

mixed

smiles,

pleasant

jest;

beguiles

treacherous

swains

to

though

all

37

behold;

you

with

oft

slyness is her

old;

and

narrow

more

woman

man,

young

sadness
seems

manner,

that

just, for

portraiture

slaves; how

rare

what

taste.

silly, awkward
How

this

six, gravely

another

in

consideration

full

ten
writ-

that, tho

seriousness, along with

of

me

finished

know

have
for

purest
grave

call

if I have

have

had;

rent,
cur-

eighty-three comedies,

better

not

Comedy

How

vulgar

Yet, in fine, I defend

been

of

I allow

and

these, except

and

more

defiance

the

I do

which

art.

written,

might

call

France

and

can

and

all of

For

against

have

what

one

in

along

hundred

in

precepts,

Italy

But

ignorant.

down

borne

be

to

can

breast;
run,

well

begun,

is

Let

hear

one

not

of

be

found

the

for

art;

of

everything

(Translated

with

such

in

and

attention,

everything

comedy

sort

that

in

listening

evident.

becomes

by

William

T.

Brewster.)

dispute
will
to

it

NOTES

NOTES

The

i.

is

thus

opening

passage

Lope's

English

into

rendered

of

poem

Lord

by

verse

Holland:"

flow'rs

Bright

shall

long

Ere
And

of
that

match'd

whose

Spain,

nam'd

Tully

by

Athenian

the

academy

young

outvie;
where

porch

Plato

taught,
Whose
bid

You

Such

tell

me

the

as

such

shades

sacred

the

of

art

crowd

of

throngs

"

plays

writing

and

please,

might

sought,

sages

might

you

praise,
The

work

To

who

you

For

seems

I, whom

Yes,

God

Scarce

ten

was

So

wide

had

Which

the

found

critics

Nay

more

Who
Be

blended
writes
daimn'd

of

from

these

and

taste,

by

sad

rule

without

latter

days,
plays

drama

barbarous

but

the

so

trod,

of

the
the

please

himself

remorse,

41

and

"

ador'd.

debauch'd

must

stor'd:

pieces

crowd

corrupters

road

narrow

the

due,

through:

waded

the

of

with

censur'd

patience

Spanish

our

fathers

stage

the

these

schools,

grammar

"

wander'd
strict

the

The

So

in

simple,

rules:
in

treat

me.

restrain?

e'er

since
all

to

explain,

art

antient

with

authors

truant

the

subject

not

should

long

old,

that

case

The

all

praised,

but
of

rule

nor

years

books

My

be

rules

be

might

much,

the

studied

it

easy

"

not

I
art

nor

but

The

write

should

how

Not

easy

die

stage
age,

alone,
unknown.

Such

force

has

habit

for

the

"

Trusting

their

Yet,

true

The

wiser

few,

But

when

The

crowd's,

Who

still

To

see

sanction

up

Plautus
Lest

shew

should

rage

their

of

taste

drive

rage

hit,

to

vain

quit;

to

write,

from

these

books

applause,

stage.

'twas

before

teach

dumb

the

public
dress

Terence

fair's

indulgent

monster

praise

draws

all, the

with

rule

every

skill, might
nonsense,

than

the

rules,

plays,

with
and

more

barbarous

and

And

how

write,

the

lock

judge

every

antient

written

who

forward

to

Resume

have

too

and,

are

I, doom'd

is, I

it

the

despise

own,

fools,

untaught

out

injur'd

wits

shame

cry

sight,

my

join,

to

works

on

like

mine.
To

vulgar

Writing
'Tis

standards

at

just,

And

methinks,

he

the

locks

of
fixt

Souriau
face

his

his

to

de

Victor

of

over

to

that
in his

'Drame

in

put

4*

mation
proclaart

of

it

pre-

But

the

'Pre

possible

that

the

quotation

by Scudery,
forth

Faguet,

Ancien,

the

keys

(1827).

'Cid.'

Emile

that

six

dramatic

pamphlet

Corneille's
M.

with

edition

Passages'

hear.

to

declares

'Cromwell'

borrowed

des

steer,

love

Hugo

annotated

from

pay,

compass

Terence

have

quarrel

lines

and

theories

his

public

Lope

thinks

second-hand

note

which

play,

my

they

Cromwell'
may

Preuve

in

unactable
in

Hugo

by

the

that

Plautus

up

square

their

by

nonsense

quoted

were

lines

two

for, since

ease;

write

The

then

Drame

'La
the

during
It is

amusing

quoting

these

Moderne'

De
that

this

In

8.

also

and

the

of

of

Lope's

Robortello

on

French

of

knowledge

he

of

certain
is

poet
had

of

comedies

the

Plautus

Damas-Hinard

Spanish
since

rence
Te-

to

which

to

translation
the

plays,

Lope,

attributes

As

against light,

sinning

form
in-

paragraph

style

attained.

his

in

this

blindly,

loftiness

occasionally
noted

relying

of

end

Donatus

following
the

erudition.

Morel-Fatio

as

again

of

Donatus.

on

At

9.

is

Robortello

parade

paragraph,

Lope

us,

his

all

derives

Lope

from

mainly

It is

Comedia.'

here

first-hand

the

both

.Latin

dramatists.
Professor

15.

this

that

out

is

it

"the

and

Robortello
that
this
a

Sir
of

it

Once

Philip

the

to

the

of

the

the

period
of

doctrine
theorists

characters,

the

in

and
from

tragedy

distinction

maintains

Sidney

the

Italian

later

is

of

the

distinguished
This

altho

thruout

end

was

rank

which

comedy."

which
'Defence

his

Poesy.'
the

is

Lord

Holland's
lines

concluding
to

England,
Or

"the

was

only,

Here
of

of

and

and

tragedy

obtained

It

points

180)

un-Aristotelian,

and

down

Classicism."

(p.

between

that

one

Renascence
of

distinction

arbitrary

comedy
was

Rennert

that

behold

'tis said,
he

deem'd

monarch
our

such

metrical

of

this

on

the

prudent

44

passage

stage,

Philip's

characters

version

unfit

rage;

lively sallies

For

Or

debas'd,

crowns

To

the

bring
his

In

of

the

the

that

nature

and

the

of

if this

the

is true,

faults

of

these

are

fault

that

is

Mezieres

in

French

disparate

the

much
advance

of
a

in

it

the

of

so

so

strict

had

classicist
45

here
as

two

rier."
bar-

derived

Sir

so

in

as

than

amusing
as

bad

himself

hailed
is

on

burlesque

ground
It is

Romanticists,

dramatic

natural

reveals

often

the

to

confounded

by

But

than

more

are

firmer

on

be

Diderot

and

who

Diderot,

that

can

prefixt

from

be

never

Lessing,

Diderot,

the

over

Lessing's

contemporary.

of

he

passage

he

nature."

uniting tragedy

and

French

of

species, separated

from

than

more

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It

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the

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example

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kings

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of

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if

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us

for

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note

forerunner

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Philip

echo

Sidney

who

English

stage

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nor

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the

the

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admiration

so

head

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is

shoulders,

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carrieth

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neither

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magestical

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on

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part

saw

mingling

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in

play

to

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were

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plays

comedies,

thrust

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the

that

asserted

the

nor

gicomed
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mongrel

attained."
1

Morel-Fatio

6.

is

also

derived

English
The

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spite

Thru'

all

of

rules,

her

from

this

19.

shown,
Three

the

half

seated

once,

as

be

may

by

Victor

to

46

Robortello.

this

freely
go

has

Morel-Fatio
upon

of

lines

disdain

Lope's

'Cromwell.'

to

leaning

translates

Holland

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right,

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set

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statement

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mirth.

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Pasiphae's

grant,

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triplet:

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four

the

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those

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boy;

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it is that

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lines

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own

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spectators
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since

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manuscripts

up

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48

since

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chain.

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to

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compose

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"

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on

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that

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of

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An

three

action

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of

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plays

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sheets

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that

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twelve

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dramas

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plays

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acts

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time,
babes

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entremeses

four

short

to

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up

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their

study

theater

Verues.

Dramaturgy'

And

(Dec.

p.

44,

had
half

Lessing
4th,
49

had

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old;

years

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fold
"

still, between,

preface

Spanish

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play,

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in

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than

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paragraph

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the

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XIV)

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set

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time

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and

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in

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of

de

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note)

1767)

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of
that

itself

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century
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assert

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the

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he

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le

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into

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noted

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ably
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the

drian
Alexan-

has
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been
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of

325).

p.

show

five-act

tendency

dramatists
three-act

Horace,

lii, liii,).
the

as

the

stood

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omitted,

acts

comedy

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to

Antique,'

Latin

'Andria,'
that

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sages
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dialog,

of

precepts

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choral

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centuries

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eighteenth

passages

following

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time

any

shown

story

from

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seventeenth

drama,

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end.

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was

action

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acted

only

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and

duction
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Aristotle

three-act

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dies),
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this

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his

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altho

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act,

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carrying

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the

been

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principle
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the

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French

of
Theatre

left

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23.

into
In

line

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sonnet

Let

plain

Though
Grand
But

the

Calderon'

in

lover's

introduction

mentions

the

various
"

52

shown;

shines;
should

contain

strain.

'Select

gives
sorts

Romances

here:

be

octaves

Maccoll

Norman

turned

lines;

his

to

tators
spec-

alone;

triplet

the

the

is

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copious

thoughts
suit

of

Lope

tale

the

Holland:

speaks

in

by

appear.

Lord

who

and

now

expectancy

wailing

flow

established
have

to

by

man

narration

redondillas

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English-

the

paragraph

should

suits

weighty

this

enter

letting

next

couplets

staves

much

and

is

of

part

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ten

bare

stage

and
hammer

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of

the

moment

never

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ways
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act;

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characters

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at
not

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has

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does

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rule

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leaving

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the

the

obeyed

conventional

for

of

this

stage

the

termination

raps

begin

itself; and

the

curtain

whereupon

to

are

accepted

unoccupied

three

heard,

by

act.

the

the

on

is

stage

are

the

Frangais,
fall

then

of

end

obeyed

the

New

Corneille

rule, he

because

became

empty

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this

who

possibly

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discuss

dramatists

stage

from

generally

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theory,

chorus

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expressly

not

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the

of

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a

clear

verse

are

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that
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sometimes

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do

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in

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the

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occur

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quintillas

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arrangement

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rimes

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five

second
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other

lines.

lines.

ten

c,

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b, b,

a,

forms

of

follows

as

arranged

are

not

must

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and

observed

combination

disposed

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in

strophe

one

use.

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plest
sim-

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and

is the

rule

same

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employed.

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rime

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is that

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are

both

are

measures

each.

riming

ballads,

rimed

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and

riming

lines

the

lines

lines

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of

four

endings

second

of

of

weak

and

in

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strophes

and

endings

of

measure

sometimes

are

assonant.

in

The

As

ballads.

trochaics

these

customary

"

Spanish

the

the

trochaics

syllabic

the

a,

a,

d, d, jel

c,

iambic

verse

borrowed

are

(the
his

into

English
In

Yet
While
And

The

finds

sonnet's

Romances

the
the

Italians),
the

Sonnet."

several

of

Terceto
Octava
Maccoll
lines

Lope's

rimes:

decimas

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the

renders

turn

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and

rima}

ottava

the

of

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terza

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fitted
to

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deed

well
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redondillas

incessant

the

voice

can

high
are

for

tell

mourner's

the
the

action's

player's

stirring
import
the

53

in

lover's

employment

wail

news

stay;
tale.
convey;

shines,

terzas

lines.

of

these

var-

ious

lyric
of

needed,
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measures

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of

dialog

prevailing

the

Calderon

and
noted

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Acts,'

by

Lawrence

Barker,

the

element

in

riming
the

their

the

Three

Granville
the

by

story

lyrical

scattering

intervals

irregular

with

sonnet

of

be

intercalated

thruout

Yet

verse

stanzaic
a

French

and

of

passages

and

give

of

moments

the

modern
French

'Melite'

of

the

pieces
the

was

in

the

was

secular
in
"

and

aid

This

54

only

over

in

most

in

the

of

by

the

of

the

well

as

especially

composed

not

dramatic

Corneille's

Spanish.

wright
play-

tradition

taken

English

the

the

also

but

drama

deviser

tained
long-sus-

intenser

action.

languages,
and

of

take

religious

founders

the

their

emotion

lyrical

forms

utilizing

even

of

dieval
me-

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the

from

and

himself

fixt

prevent

stately chant-royal;

availed

the

employed.

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ballade,

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from

various

passion-play

the

triolet,

swift

did

rigidity

gestion
sug-

only

inherited

frequently

were

dialog

strange

here

was

wherein

mysteries

rimes

dramatic

readers

Lope

trary
arbi-

and

interlaced

into

practise

its artificial

intricately

modern

to

seem

may

in

and

be

may

in

Fantasy

Lope

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emphasize

scheme
should

of

of

dialog.
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of

chiefs.

rococo

at

any

when

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authors

stanzas

drama

its

'Prunella,

were

lyrical quality

Spanish

were

in

evidence,

first
to

as

in

play

bring

in

sonnet;

neille

his

(in

annotated

of

for

the

the

outside

the

address

in 'Love's
in

Labor's
'All's
he

4)

scene

with

three

where

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hero

first

the

is

quatrain,
quatrain

Juliet
and

them,

the
each

his

'Staple

before

tate
hesi-

the

play;

lines,
terminal

and

Juliet'

fall

lyrical significance

Romeo

the

the

final

couplet

taking
55

in

in

love

of

this
of

employment
the

speaking
second,

while

the

are

shared

turn

iii,

(act

fourteen

and

and

2)

Well'

and

the

not

did

'Romeo

by

kept

it is utilized

inside

meet

form

fixt

is thus

when

into

in

suggested

fourteener,

employs

the

sonnet

quatrains

heroine

and

of

ends

letter

the

Juliet'

(act iii,scene

that

again

sight,

meeting
the

Well
casts

of

audience

Lost'

to

net
son-

Jonson

fixt form

riming

couplet.

at

this

the

(p. 69).

and

Shakspere

But

begins.

to

Elizabethan

and

the

to

heart

Court

the

art

down

'Romeo

the

itself

first

his

Ben

when

employ

the

incongruity

play

the

to

also

for

more

lyrical soliloquy

looser
to

Abbe

Corneille's

on

and

The
obvious

action

the

Prolog

is least

in

hand

his

stanzas,

Brunetiere

and

coming

tenor,

Chorus;

by

of

end

prolog

News.'

only

the

used

Shakspere

of

of

with

footlights

it for

likens

the

at

solo

spoken

of

plays)

Rodrigue

bravura

edition

Cor-

the

by

by Voltaire;

and

important

into

censured

was

'Cid'

the

as

lyrical monologs

he

Aubignac

late

as

even

his

cast

which

for
d'

and

first
third

line

tween
beor

M.

two.

of

act

Rostand

his

poetical
which

'Chantecler,'

the

action
take

The

is

de

Bergerac'

pieces

the

frankly

please

audience";

not

usually
tos'

the

more

and

he

that

she

and

Lord

English
than

hurried

Dare

give

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my

am

their

sonnets

that

to

speech

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elects

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her

diate
imme-

saying

soliloquy
the

in

vulgar

precepts
and
I

to

in

despite

Italy
do?

taste

former,

these

or

56

now

rule.
me

pronounce

who

more

along,
of

of

or

redondillas."

turned

barbarous

in

"by
a

"

were

notes

in

more

the

by

France
what

the

lines

couplets:

myself

Who

"from

as

has

of

sparingly

indulge

Holland

sonnets

part

'Gustos

soliloquize

to

hero

playwright

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her

the

that

three

doubt

it is,

by

employed

is in

these
"

that

pieces,

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both

Spanish

play."

'Gringoire'

fixt form

or

sonnet.

proceeds

into
None

be

teenth
nine-

what

as

remarks

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28.

in
posed
sup-

two

in

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pronounce

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suggests

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Maccoll

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introduced

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1612,

objected

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relinques."
B.

M.

or

THIS

BOOK

THIRTY-THREE

FROM

COMPANY

HUNDRED

THREE

COPIES

TYPE

IN

WERE

CORU1S,

.BY

NOVEMBER

AND

PRINTED

MACY

AND

MCMXIV