"O gentle daughter of king Edipus ! O sister dear to that unhappy wight, Whom brother's rage hath reaved of his right, To whom thou knowest, in young and tender yeares, Come foorth, since that her grace hath granted leave, So chaste a maid to set her dainty foot As it was wont to do at dawn of day; The wretched dames throughout the woful town, Gascoyne, however, has more facility of versification, though not more vigour. The fight between Eteocles and Polynices (Act v.) is not without merit, considering the period. The learned reader may compare it with the original, or we should rather say, the model of imitation; for this drama cannot, in strictness, be called a translation. "So said Eteocles; and trumpets blown To sound the summons of their bloody fight, Like lions two, both fraught with boiling wrath, Both couched their lances full against the face. But heaven would not that there they should them teint: Upon the battered shields the mighty spears Are both broke, and in a thousand shivers' Amid the air flown up into the heavens. Each one the other furiously assaults. Here they of Thebes, there stood the Greeks in doubt, Of whom doth each man feel more chilling dread, Lest any of the twaine should lose his life, Then any of the twaine did feel in fight. preceded by the ten tragedies of Seneca. 19 These ap peared successively in 8vo. between the years 1559 and 1566. Three were from the pen of Jasper Heywood, son of the celebrated epigrammatist: these were the Troas, Thyestes, and Hercules Furens. Edipus (1563) was by Alexander Neville; Medea and Agamemnon (1566) by John Studley, who subsequently added Hippolytus and Hercules Etæus. Of the rest, Octavia was undertaken by Thomas Nuce, and the Thebais by Thomas Newton. It must not, however, be understood that these are mere translations: in some instances they diverge considerably from the original. This is particularly the case in regard to Heywood and Studley, who added whole scenes and choruses. Neville, who is the least able of the men to whom Even classical literature is thus indebted, acknowledges that he had "sometimes boldly presumed author, roving at random where he list, adding to err from his and subtracting at his pleasure." This, indeed, was unavoidable; for no literal version of the ancient dramas would have been tolerated even in the closet, for which they were designed. But there were other pieces founded on classical subjects, and actually represented: these were probably half translated, half composed. The following eighteen were represented at court, between the years 1568 and 1580: Orestes. Ajax and Ulysses. Alcmæon. Of these, however, none survive; and when we add, that twenty-four dramas of a different character, chiefly founded on modern history and fable, -appeared we can merely 9. At the rest of the more remarkable dramas written prior to Shakespear's age glance. The Tragedy of Tancred and Gismund, which was exhibited (1568) before Elizabeth, at the Inner Temple, was the first play in our language founded -a source soon to become an Italian original; fruitful enough. It was taken from one of Boccaccio's novels, and was the composition of five different we have no wish to rescue persons, whose names It appears to have been written in from oblivion. rhyme; for though the second edition (1592) is chiefly in blank verse, there is little doubt that, by expressions on the title, "newly revised and published, according to the decorum of these days," we are to understand the change of the one form of metre for the other. This, indeed, is confirmed from internal evidence; for many passages still remain in rhyme. We perceive that this unnatural, jingling measure was, in 1592, no longer tolerated on the stage. The interval, however, viz. from 1570 to 1592, was often distinguished by such compositions, though they were relieved by frequent passages in But the majority of the the more natural measure. pieces were in blank verse, with frequent passages rhyme. The Knack to know a Knave, The History of Sir Clyoman and Clemydes, The Rare Triumphs of Love and Fortune, Arden of Feversham, were of And they have another peculiarity: they this class. are among the latest of our dramas which partake of the spirit of the old morals, though in a degree much inferior to compositions half a century older. But we shall not dwell on characteristics which have already been sufficiently described. The period had worthier compositions. The Misfortunes of Arthur, a tragedy by Thomas Hughes*, of whom nothing is known, save that he was a member of Gray's Inn, is, with the exception of two choruses, wholly in blank verse; and it is a very respectable performance. Its versification is superior to that of Ferrex and Porrex; and its sentiments are quite as natural. It has, however, some defects which Sackville knew how to avoid. It is too strictly formed on the ancient models; the unities are observed; dialogue supplies the place of action; while the nuntios and the chorus do the rest. Yet, with all this cold, unimpassioned discourse, the drama will please. Its interest, however, is far inferior to that inspired by those which form our domestic tragedy. Of this class are, Arden of Feversham, which was founded on a murder in the reign of Edward VI.; A Warning for Fair Women, derived from a more recent event; Four Tragedies in One, partly founded on the assassination of a London merchant; The Fair Maid of Bristol, originating in a similar fact; and, though much subsequent, The Yorkshire Tragedy, which some critics have not hesitated to ascribe to Shakespear. For the superior success of such pieces, we cannot be surprised: the feelings of our common nature always acquire intensity, in proportion to the reality of events, and the proximity of time and place. From the preceding observations, it is evident that the intellectual activity, so conspicuous in the latter half of the sixteenth century, has never been surpassed. We have already alluded to fifty-two pieces, of which |