The Growth of English Drama

The Growth of English Drama,
by Arnold Wynne

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Arnold Wynne
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Title: The Growth of English Drama
Author: Arnold Wynne

Release Date: July 10, 2006 [eBook #18799]
Language: English
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THE GROWTH OF ENGLISH DRAMA
by
ARNOLD WYNNE, M.A.

Oxford At the Clarendon Press Printed in England At the Oxford
University Press by John Johnson Printer to the University Impression
of 1927 First edition, 1914

PREFACE
In spite of the fact that an almost superabundant literature of exposition
has gathered round early English drama, there is, I believe, still room
for this book. Much criticism is available. But the student commonly
searches through it in vain for details of the plots and characters, and
specimens of the verse, of interludes and plays which time, opportunity,
and publishers combine to withhold from him. Notable exceptions to
this generalization exist. Such are Sir A.W. Ward's monumental
English Dramatic Literature, and that delightful volume, J.A. Symonds'
Shakespeare's Predecessors; but the former extends its survey far
beyond the limits of early drama, while the latter too often passes by
with brief mention works concerning which the reader would gladly
hear more. Some authors have written very fully, but upon only a
section of pre-Shakespearian dramatic work. Of others it may generally
be said that their purposes limit to criticism their treatment of all but
the best known plays. The present volume attempts a more
comprehensive plan. It presents, side by side with criticism, such data
as may enable the reader to form an independent judgment. Possibly for
the first time in a book of this scope almost all the plays of the
University Wits receive separate consideration, while such familiar
titles as Hick Scorner, Gammer Gurton's Needle, and The Misfortunes
of Arthur cease to be mere names appended to an argument. As a
consequence it has been possible to examine in detail the influence of
such men as Heywood, Udall, Sackville, and Kyd, and to trace from its

beginning, with much closer observation than a more general method
permits, the evolution of the Elizabethan drama.
I have read the works of my predecessors carefully, and humbly
acknowledge my indebtedness to such authorities as Ten Brink and
Ward. From Mr. Pollard's edition of certain English Miracle Plays I
have borrowed one or two quotations, in addition to information
gathered from his admirable introduction. Particularly am I under an
obligation to Mr. Chambers, upon whose Mediaeval Stage my first
chapter is chiefly based. To the genius of J.A. Symonds I tender
homage.
For most generous and highly valued help as critic and reviser of my
manuscript I thank my colleague, Mr. J.L.W. Stock.
ARNOLD WYNNE.
SOUTH AFRICAN COLLEGE, CAPE TOWN.

CONTENTS
PAGE
CHAPTER I
EARLY CHURCH DRAMA ON THE CONTINENT 9
CHAPTER II
ENGLISH MIRACLE PLAYS 22
CHAPTER III
MORALITIES AND INTERLUDES 51
CHAPTER IV

RISE OF COMEDY AND TRAGEDY 87
CHAPTER V
COMEDY: LYLY, GREENE, PEELE, NASH 124
CHAPTER VI
TRAGEDY: LODGE, KYD, MARLOWE, Arden of Feversham 193
APPENDIX THE ELIZABETHAN STAGE 270
INDEX 277
CHAPTER I
EARLY CHURCH DRAMA ON THE CONTINENT
The old Classical Drama of Greece and Rome died, surfeited with
horror and uncleanness. Centuries rolled by, and then, when the Old
Drama was no more remembered save by the scholarly few, there was
born into the world the New Drama. By a curious circumstance its
nurse was the same Christian Church that had thrust its predecessor
into the grave.
A man may dig his spade haphazard into the earth and by that act
liberate a small stream which shall become a mighty river. Not less
casual perhaps, certainly not less momentous in its consequences, was
the first attempt, by some enterprising ecclesiastic, to enliven the hardly
understood Latin service of the Church. Who the innovator was is
unrecorded. The form of his innovation, however, may be guessed from
this, that even in the fifth century human tableaux had a place in the
Church service on festival occasions. All would be simple: a number of
the junior clergy grouped around a table would represent the 'Marriage
at Cana'; a more carefully postured group, again, would serve to portray
the 'Wise Men presenting gifts to the Infant Saviour'. But the reality
was greater than that of a painted picture; novelty was there, and, shall
we say, curiosity,