1Gallicanus, part ii.;Sapientia.2Gallicanus, part i.;Callimachus;Abraham;Paphnutius.3The passion-play of Oberammergau, familiar in its present artistic form to so many visitors, was instituted under special circumstances in the days of the Thirty Years’ War (1634). Various reasons account for its having been allowed to survive.4To the earliest group belongThe Castle of Perseverance;Wisdom who is Christ;Mankind; to the second, or early Tudor group, Medwell,Nature;The World and the Child;Hycke-Scorner, &c.5Magnyfycence.6New Custome; N. Woodes,The Conflict of Conscience, &c.7Albyon Knight.8Rastell,Nature of the Four Elements; Redford,Wit and Science;The Trial of Treasure;The Marriage of Wit and Science.9The Marriage of Wit and Wisdom;The Contention between Liberality and Prodigality.10Jack Juggler;Tom Tiler and his Wife, &c.11The Four P’s, &c.12The Disobedient Child(c. 1560).13TheΧριστὀς πάσχων, an artificial Byzantine product, probably of the 11th century, glorifying the Virgin in Euripidean verse, was not known to the Western world till 1542.14Of G. Manzini della Motta’s Latin tragedy on the fall of Antonio della Scala only a chorus remains. He died after 1389. Probably to the earlier half of the century belongs the Latin prose dramaColumpnarium, the story of which, though it ends happily, resembles that ofThe Cenci. Later plays in Latin of the historic type are the extant Landivio de’ Nobili’sDe captivitate Ducis Jacobi(thecondottiereJacopo Piccinino, d. 1464); C. Verardi’sHistoria Baetica(the expulsion of the Moors from Granada) (1492), and the game author’sFerdinandus(of Aragon)Servatus, which is called a tragi-comedy because it is neither tragic nor comic. The Florentine L. Dali’sHiempsal(1441-1442) remains in MS. A few tragedies on sacred subjects were produced in Italy during the last quarter of the 15th century, and a little later. Such were the religious dramas written for his pupils by P. Domizio, on which Politian cast contempt; and the tragedies, following ancient models, of T. da Prato of Treviso, B. Campagna of Verona,De passione Redemptoris; and G. F. Conti, author ofTheandrothanatosand numerous vanished plays.15Imber aureus(Danae), &c.16L. Bruni’sPoliscena(c. 1395); Sicco Polentone’s (1370-1463) jovialLusus ebriorums.De lege bibia; the papal secretary P. Candido Decembrio’s (1399-1477) non-extantAphrodisia; L. B. Alberti’sPhilodoxios(1424); Ugolino Pisani of Parma’s (d. before 1462)PhilogeniaandConfutatio coquinaria(a merry students’ play); theFraudiphilaof A. Tridentino, also of Parma, who died after 1470 and perhaps served Pius II.; Eneo Silvio de’ Piccolomini’s own verse comedy,Chrisis, likewise in MS., written in 1444; P. Domizio’sLucinia, acted in the palace of Lorenzo de’ Medici in 1478, &c.17Mondella,Isifile(1582); Fuligni,Bragadino(1589).18Home,Douglas.19Lazzaroni,Ulisse il giovane(1719).20Didone abbandonata,Siroe,Semiramide,Artaserse,Demetris, &c.21Cleopatra,Antigone,Octavia,Mirope, &c.22e.g.Bruto I.andII.23Filippo;Maria Stuarda.24Pellico,Francesca da Rimini; Niccolini,Giovanni da Procida;Beatrice Cenci; Giacometti,Cola di Rienzi(Giacometti’s masterpiece wasLa Marte civile).25Pyrogopolinices in theMiles Gloriosus.26The masked characters, each of which spoke the dialect of the place he represented, were (according to Baretti)Pantalone, a Venetian merchant;Dottore, a Bolognese physician;Spaviento, a Neapolitan braggadocio;Pullicinella, a wag of Apulia;GiangurguloandCoviello, clowns of Calabria;Gelfomino, a Roman beau;Brighella, a Ferrarese pimp; andArlecchino, a blundering servant of Bergamo. Besides these and a few other such personages (of whom four at least appeared in each play), there were theAmorososorInnamoratos, men or women (the latter not before 1560, up to which time actresses were unknown in Italy) with serious parts, andSmeraldina,Colombina,Spilletta, and otherservettasor waiting-maids. All these spoke Tuscan or Roman, and wore no masks.27Pasitea.28Amicizia.29Milesia.30La Lena;Il Negromante.31La Cassaria;I Suppositi.32Of Machiavelli’s other comedies, two are prose adaptations from Plautus and Terence,La Clizia(Casina) andAndria; of the two others, simply calledCommedie, and in verse, his authorship seems doubtful.33La Cortigiana,La Talanta,Il Ipocrito,Il Filosofo.34Momolo Cortesan(Jerome the Accomplished Man);La Bottega del caffé, &c.35La Vedova scaltra(The Cunning Widow);La Putta onorata(The Respectable Girl);La Buona Figlia;La B. Sposa;La B. Famiglia;La B. Madre(the last of which was unsuccessful; “goodness,” says Goldoni, “never displeases, but the public weary of every thing”), &c.; andIl Burbero benefico, called in its original French versionLe Bourru bienfaisant.36Molière;Terenzio;Tasso.37Pamela;Pamela Maritata;Il Filosofo Inglese(Mr Spectator).38L’ Amore delle tre melarancie(The Three Lemons);Il Corvo.39Turandot;Zobeïde.40L’ Amore delle tre m.(against Goldoni);L’ Angellino Belverde(The Small Green Bird), (against Helvetius, Rousseau and Voltaire).41Aspasia;Polyxena.42Ephemeridophobos.43Timoleon;Konstantinos Palaeologos;Rhigas of Pherae.44The Three Hundred, orThe Character of the Ancient Hellene(Leonidas);The Death of the Orator(Demosthenes);A Scion of Timoleon, &c.45The term is the same as that used in the old French collective mysteries (journées).46In some of his plays (Comedia Serafina;C. Tinelaria) there is a mixture of languages even stranger than that of dialects in the Italian masked comedy.47Necromanticus,Lena,Decepti,Suppositi.48Los Engaños(Gli Ingannati).49Cornelia(Il Negromante).50Lope,Armelina(Medea and Neptune asdeus ex machina—si modo machina adfuisset).51Menennos.52El Azero de Madrid(The Steel Water of Madrid);Dineros son Calidad(=The Dog in the Manger), &c.53La Estrella de Sevilla(The Star of Seville,i.e.Sancho the Brave);El Nuevo Mundo(Columbus), &c.54Roma Abrasada(R. in Ashes—Nero).55Arauco domado(The Conquest of Arauco, 1560).56La Moza de cantaro(The Water-maid).57Las Mocedades(The Youthful Adventures)del Cid.58Don Gil de las calzas verdes(D. G. in the Green Breeches).59El Burlador de Sevilla y Convivado de piedra(The Deceiver of Seville,i.e.Don Juan,and the Stone Guest).60El Divino Orfeo, &c.61El Magico prodigioso;El Purgatorio de San Patricio;La Devocion de la Cruz.62El Principe constante(Don Ferdinand of Portugal).63La Dama duende(The Fairy Lady).64Vida es sueño(Life is a Dream).65El Lindo Don Diego(Pretty Don Diego).66Desden con el desden(Disdain against Disdain).67Luzan,La Razon contra la mode(La Chaussée,Le Préjugé à la mode).68El Delinquente honrado (The Honoured Culprit).69El Sí de las niñas (The Young Maidens’ Consent).70O cioso(The Jealous Man), &c. HisInez de Castrois a tragedy with choruses, partly founded on the Spanish play of J. Bermudez.71Don Duardos,Amadis, &c.72Auto das Regateiras(The Market-women),Pratica de compadres(The Gossips), &c.73Emphatriŏes,Filodemo,Seleuco.74Os Estrangeiros,Os Vilhalpandos(The Impostors).75Eufrosina,Ulyssipo(Lisbon),Aulegrafia.76Astarte,Hermione,Megara.77These assumptions of names remind us that we are in the period of the “Arcadias.”78Catāo.79Manoel de Sousa, &c.80AntigoneandElectra;Hecuba; andIphigenia in Aulis. TheAndriawas also translated, and in 1540 Ronsard translated thePlutusof Aristophanes.81Trissino,Sofonisba, by de Saint-Gelais.82La Soltane(1561).83Daïre (Darius).84La Mort de César.85Achille(1563).86Les Lacènes;Marie Stuart or L’Écossaise.87La Juive, &c.88Les Corivaux(1573).89La Reconnue(Le Capitaine Rodomont).90Les Esbahis.91Les Contens(S. Parabosco,I Contenti).92Les Néapolitaines;Les Désespérades de l’amour.93Le Laquais (Il Ragazzo).94Les Tromperies (Gli Inganni).95“L. du Peschier” (de Barry),La Comédie des comédies.96L’Amour tyrannique.97Agrippine,Le Pédant joué.98Marianne.99Sophonisbe.100Les Bergeries.101Mélite;Clitandre, &c.102Le Véritable Saint Genest;Venceslas.103Steele,The Lying Lover; Foote,The Liar; Goldoni,Il Bugiardo.104Ruiz de Alarcon,La Verdad sospechosa.105L’Illusion comiqueis antithetically mixed.106Andromaque;Phèdre;Bérénice, &c.107Esther;Athalie.108Le Cid;Polyeucte.109Esther;Athalie.110Corneille,Rodogune; Racine,Phèdre.111Brutus;La Mort de César;Sémiramis.112Œdipe;Le Fanatisme(Mahomet).113Adélaïde du Guesclin.114L’Orphelin de la Chine.115Tanis et Zélide.116Les Guèbres.117Olimpie.118Tancrède.119La Mort de César;Zaïre(Othello).120Hamlet;Le Roi Léar, &c.121The lectures delivered by the late Professor A. Beljame at Trinity College, Cambridge, in 1905-1906 may be mentioned as valuable contributions to our knowledge of the growth of Shakespeare’s influence in France.122Quinault,L’Amour indiscret(Newcastle and Dryden’sSir Martin Mar-all).123Le Mercure galant;Ésope à la ville;Ésope à la cour(Vanbrugh,Aesop).124Le Bal(M. de Pourceaugnac); Geronte inLe Légataire universel(Argan inLe Malade imaginaire);La Critique du L.(La C. de l’école des femmes).125Le Joueur;Le Légataire universel.126Crispin rival de son maître;Turcaret.127Le Méchant.128La Métromanie.129Le Jeu de l’amour et du hasard;Le Legs;La Surprise de l’amour;Les Fausses Confidences;L’Épreuve.130Le Philosophe marié;Le Glorieux;Le Dissipateur.131La Fausse Antipathie;Le Préjugé à la mode;L’École des amis;Méluside;Paméla.L’École des mèreswas the play which Frederick the Great described as turning the stage into abureau général de la fadeur.132See especiallyNanine, founded on the originalPaméla.133Le Philosophe sans le savoir;La Gageure imprévue.134e.g.Eugénie(the original of Goethe’sClavigo) andLes Deux Amis, orLe Négociant de Lyon.135Richard Cœur de Lion, &c.136Zémire et Azor;Jeannot et Jeannette.137Les Muses galantes;Le Devin du village.138Pygmalion.139Charles IX, ou l’école des rois.140Hernani(1839);Le Roi s’amuse;Ruy Blas;Les Burgraves, &c. Even inTorquemada, the fruit of its author’s old age, and full of bombast, the original power has not altogether gone out.141Chatterton.142François le champi;Claudie.143Le Gendre de M. Poirier.144On ne badine pas avec l’amour, as interpreted by Delaunay, must always remain the most exquisite type of this inimitablegenre.145Théâtre de Clara Gazul.La Famille Carvajal, one of these pieces, treats the same story as that ofThe Cenci.146Lucrèce(1843);L’Honneur et l’argent;Charlotte Corday.147La Ciguë;L’Aventurière;Gabrielle;Le Fils de Giboyer, &c.148Valérie;Bertrand et Raton;Le Verre d’eau, &c.149Louis XI.150Adrienne Lecouvreur.151La Dame aux camélias;Le Demi-monde;Le Supplice d’une femme;Les Idées de Mme Aubray;L’Étrangère;Francillon.152Les Pattes de mouche;Nos bons villageois;Patrie.153Le Monde où l’on s’ennuie.154Frou-frou.155As has been already seen, Sir David Lyndsay’s celebratedSatyre of the Three Estaits, a dramatic manifesto in favour of the Reformation, is in form a morality pure and simple.156Tom Tiler and his Wife(1578);A Knack to know a Knave(c. 1594);Sir Clyomon and Sir Clamydes(misattributed to G. Peele), (printed 1599).157An earlier drama by him,Christus redivivus, is said to have been printed at Cologne.158Oedipus;Dido;Ulysses redux.159By A. Guarna.160Pax;Troas;Menaechmi;Oedipus;Mostellaria;Hecuba;Amphytruo;Medea. These fall between 1546 and 1560. The date and place of the production of William Goldingham of Trinity Hall’sHerodes, some time after 1567, are unknown.161The date and place of performance of the LatinFatum Vortigerniare unknown; but it was not improbably produced at a later time than Shakespeare’sRichard II., which it seems in certain points to resemble.162Latin “academical” plays directly imitated from Seneca, but of unknown date, areSolymannidae(or the story of Solyman II. and his son Mustapha), andTomumbeius(Tuman Bey, sultan of Egypt, 1516); yet others exhibit his influence.163”Supposes” and “Jocasta,”ed. J. W. Cunliffe.164HisPalamon and Arcyte(produced in Christ Church hall, Oxford, in 1566) is not preserved; or we should be able to compare withThe Two Noble Kinsmenthis early dramatic treatment of a singularly fine theme.165The History of the Collier.166A Historie of Error(1577), one of the many imitations of theMenaechmi, may have been the foundation of theComedy of Errors. In the previous year was printed the oldTaming of a Shrew, founded on a novel of G. F. Straparola. Part of the plot of Shakespeare’sTaming of the Shrewmay have been suggested byThe Supposes.167Treatise wherein Dicing, Dauncing, Vaine Playes or Enterluds ... are reproved, &c. (1577).168The School of Abuse.169The Anatomy of Abuses.170H. Denham, G. Whetstone (the author ofPromos and Cassandra), W. Rankine.171It may be mentioned that the practice of companies of players, of one kind or another, being taken into the service of members of the royal family, or of great nobles, dates from much earlier times than the reign of Elizabeth. So far back as 1400/1 the corporation of Shrewsbury paid rewards to thehistrionesof Prince Henry and of the earl of Stafford, and in 1408/9 reference is made to the players of the earl and countess of Arundel, of Lord Powys, of Lord Talbot and of Lord Furnival.172The Woman in the Moone;Sapho and Phao.173Alexander and Campaspe.174Endimion;Mydas.175Gallathea.176Friar Bacon and Friar Bungay.177The Wounds of Civil War.With Greene he wroteA Looking-Glass for London.178Summer’s Last Will and Testamentis his sole entire extant play.Dido, Queen of Carthage, is by him and Marlowe.179Patient Grissil(with Dekker and Haughton).180Hoffman, or A Revenge for a Father.181Henry VIII.182Ford,Perkin Warbeck.183Edward IV.;If You Know Not Me, &c.184Henry VIII.185The Merry Wives of Windsor.186Massinger,The Virgin Martyr; Shirley,St Patrick for Ireland.187Cleopatra;Philotas.188Darius;Croesus;Julius Caesar;The Alexandraean Tragedy.189The Sad Shepherd.190The Faithful Shepherdess.191The Queen’s Arcadia.192Sejanus his Fall;Catiline his Conspiracy.193Bussy d’Ambois;The Revenge of B. d’A.;The Conspiracy of Byron;The Tragedy of B.;Chabot, Admiral of France(with Shirley).194Arden of Faversham;A Yorkshire Tragedy.195A Woman killed with Kindness;The English Traveller.196Vittoria Coromboni;The Duchess of Malfi.197’Tis Pity She’s a Whore;The Broken Heart.198Every Man in his Humour;Every Man out of his Humour.199Shadwell,The Humorists.200It is impossible in a summary survey to seek to discriminate by any kind of evidence the respective shares in many Elizabethan plays, and the respective credit due to them, of the joint writers. Yet some such inquiry is necessary before judging the claims to remembrance of highly-gifted dramatists such as William Rowley, his namesake Samuel, John Day, and not a few others.201The Latin comedyVictoriaby Abraham Fraunce of St John’s was written some time before 1583, and dedicated to Sir Philip Sidney; but there is no evidence to show that it was ever acted.202(Bishop) Hacket’sLoyolawas acted at Trinity in 1623.203Naufragium joculare—The Guardian(rewritten later asThe Cutter of Coleman Street).204Chapman, Marston (and Jonson),Eastward Hoe(1605); Middleton,A Game at Chess(1624); Shirley and Chapman,The Ball(1632); Massinger(?),The Spanish Viceroy(1634).205Twelfth Night.206The Puritan, or the Widow of Watling Street, by “W. S.” (Wentworth Smith?).207The Alchemist;Bartholomew Fair.208Chapman,An Humorous Day’s Mirth; Marston,The Dutch Courtesan; Middleton,The Family of Love.209Among these was Sir Richard Fanshawe’s English version of thePastor fido(1646); after his death were published his translations of two plays by A. de Mendoza.210A Short View of Tragedy(1693).211The Black Prince;Tryphon;Herod the Great;Altemira.212The Indian Queen.213The Indian Emperor;Tyrannic Love;The Conquest of Granada.214Essay of Dramatic Poesy.215Essay of Heroic Plays.216A direct satirical invective against rhymed tragedy of the “heroic” type is to be found in Arrowsmith’s comedyReformation(1673).217The Grounds of Criticism in Tragedy.218All for Love (Antony and Cleopatra).219Don Sebastian.220The Rival Queens;Lucius Junius Brutus;The Massacre of Paris.221Don Carlos;The Orphan;Venice Preserved.222Oroonoko;The Fatal Marriage.223The Mourning Bride.224The Fair Penitent;Jane Shore.225A notable influence was exercised upon English comedy as well as upon other branches of literature by C. de Saint-Evremond, a soldier and man of fashion who was possessed of great intellectual ability and of a charming style. Though during his long exile in England—from 1670 to his death—he never learned English, his critical works includedRemarks on English Comedy(1677), and one of his own comedies, the celebratedSir Politick Would-be, professed to be composed “à la manière angloise.”226Epsom Wells;The Squire of Alsatia;The Volunteers.227A dramatic curiosity of a rare kind would beThe Female Rebellion(1682), which has been, on evidence rather striking at first sight, attributed to Sir Thomas Browne. It is more likely to have been by his son.228The Country Wife;The Plain-Dealer.229The Double Dealer.230The Recruiting Officer;The Beaux’ Stratagem.231A Short View of the Immorality and Profaneness of the English Stage.232Sir Novelty Fashion (Lord Foppington), &c.233The Lying Lover;The Tender Husband.234The Conscious Lovers.235The Absolute Unlawfulness of Stage Entertainments fully Demonstrated;The Stage defended, &c. (1726).236The Siege of Damascus.237Mariamne.238The Double Falsehood.239The Revenge (Othello).240Fatal Curiosity.241Irene(1749);The Patriotattributed to Johnson, is by Joseph Simpson.242Elfrida;Caractacus.243Rosamunda.244Love in a Village, &c.245The Waterman, &c.246Pasquin;The Historical Register for 1736.247The Golden Rump.248The first dramatic performance licensed by the lord chamberlain after the passing of the act was appropriately entitledThe Nest of Plays, and consisted of three comedies named respectivelyThe Prodigal Reformed,In Happy ConstancyandThe Trial of Conjugal Love. It is a curious fact that in the first decade of the reign of George III. a severe control of the theatre was very actively exerted after a positive as well as a negative fashion—objectionable passages being ruthlessly suppressed and plays actually written and licensed for the purpose of upholding the existing régime.249J. Townley,High Life Below Stairs(1759).250The Minor;Taste;The Author, &c.251This celebrated play was at first persistently attributed to Miss Elizabeth Carter.252The School for Lovers.253False Delicacy.254The Jealous Wife;The Clandestine Marriage.255The Heiress.256The West Indian;The Jew.257The Belle’s Stratagem;A Bold Stroke for a Husband, &c.258The Road to Ruin, &c.259John Bull;The Heir at Law, &c.260Midas;The Golden Pippin.261Bertram.262Ion.263Fazio.264Philip van Artevelde.265The Death of Marlowe.266Becket;The Cup.267Merope.268The Golden Legend.269Love is Enough.270Strafford;The Blot on the Scutcheon.271Atalanta in Calydon;Bothwell;Chastelard;Mary Stuart.272Virginius;The Hunchback.273A drama entitledSpeculum vitae humanaeis mentioned as produced by Archduke Ferdinand of the Tirol in 1584.274Susanna(Geistliches Spiel) (1536), &c. Sixt Birk also brought out a play on the story ofSusanna, which he had previously treated in a Latin form, in the vernacular (1552).275Siegfried;Eulenspiegel, &c.276Susanna;Vincentius Ladislaus, &c.277Mahomet;Edward III.;Hamlet;Romeo and Juliet, &c.278The Tempest(Ayrer,Comedia v. d. schonen Sidea).279Herr Peter Squenz(Pyramus and Thisbe);Horribilicribrifax(Pistol?).280His son, Christian Gryphius, was author of a curious dramatic summary (orrevue) of German history, both literary and political; but the title of this school-drama is far too long for quotation.281One of hisaliaseswasPickelharnig. In 1702 the electress Sophia is found requesting Leibniz to see whether a more satisfactory specimen of this class cannot be procured from Berlin than is at present to be found at Hanover.282Deschamps and Addison.283Richard III.;Romeo and Juliet.284Die Zwillinge(The Twins);Die Soldaten, &c.285Julius von Tarent.286Der Hofmeister(The Governor), &c.287Genoveva, &c.288Iffland’s best play isDie Jager(1785), which recently still held the stage. From Mannheim he in 1796 passed to Berlin by desire of King Frederick William II., who thus atoned for the hardships which he had allowed the pietistic tyranny of his minister Wollner to inflict upon the Prussian stage as a whole.289Die deutschen Kleinstadteris his most celebrated comedy andMenschenhass und Reueone of the most successful of his sentimental dramas. According to one classification he wrote 163 plays with a moral tendency, 5 with an immoral, and 48 doubtful.290Der Groosskophta(Cagliostro);Der Burgergeneral.291A. W. von Schlegel and Tieck’s (1797-1833).292A. W. von Schlegel,Lectures on Dramatic Art and Literature, &c.293Zriny, &c.294Ion.295Alarcos.296Kaiser Octavianus;Der gestiefelte Kater(Puss in Boots), &c.297Der 24. Februar(produced on the Weimar stage with Goethe’s sanction).298Der 29. Februar;Die Schuld(Guilt).299Das Bild(The Picture);Der Leuchtthurm(The Lighthouse).300Die Ahnfrau(The Ancestress).301Das Kathchen(Kate)von Heilbronn.302Der zerbrochene Krug(The Broken Pitcher).303Prinz Friedrich von Homburg.304Sappho,Medea, &c.305Konig Ottokar’s Glück und Ende(Fortune and Fall);Der Bruderzwist(Fraternal Feud)in Habsburg.306Die verhangnissvolle Gabel(The Fatal Fork);Der romantische Oedipus.307Die Nibelungen;Judith, &c.308Der Erbforster.309Uriel Acosta;Der Königslieutenant.310Die Valentine.311Die Karlsschüler.312Der Pfarrer von Kirchfeld;Der Meineidbauer;Die Kreuzelschreiber;Das vierte Gebot.313The Robbers(Franz Moor). His next most famous part was Lear.314In connexion with the production in 1855 of “F. Halm’s”Fechter von Ravenna, of which the authorship was claimed by a half-demented schoolmaster.315As to more recent developments of German theatrical literature see the articleGerman Literature, and the remarks on the influence of foreign works in the section onRecent English Dramaabove.316Aluta;Asotus;Hecastus, &c.317Gysbrecht van Aemstel;Lucifer.318Ulysses of Ithaca.319The Politician-Tinman;Jean de France or Hans Franzen; The Lying-In, &c.320Aladdin;Corregio.321Maria Stuart;A Bankruptcy;Leonarda.322Brand;Peer Gynt.323Samfundets Stöttere;Et Dukkehjem;Gengangere.324Pan Jowialski;Oludki i Poeta(The Misanthrope and the Poet).
1Gallicanus, part ii.;Sapientia.
2Gallicanus, part i.;Callimachus;Abraham;Paphnutius.
3The passion-play of Oberammergau, familiar in its present artistic form to so many visitors, was instituted under special circumstances in the days of the Thirty Years’ War (1634). Various reasons account for its having been allowed to survive.
4To the earliest group belongThe Castle of Perseverance;Wisdom who is Christ;Mankind; to the second, or early Tudor group, Medwell,Nature;The World and the Child;Hycke-Scorner, &c.
5Magnyfycence.
6New Custome; N. Woodes,The Conflict of Conscience, &c.
7Albyon Knight.
8Rastell,Nature of the Four Elements; Redford,Wit and Science;The Trial of Treasure;The Marriage of Wit and Science.
9The Marriage of Wit and Wisdom;The Contention between Liberality and Prodigality.
10Jack Juggler;Tom Tiler and his Wife, &c.
11The Four P’s, &c.
12The Disobedient Child(c. 1560).
13TheΧριστὀς πάσχων, an artificial Byzantine product, probably of the 11th century, glorifying the Virgin in Euripidean verse, was not known to the Western world till 1542.
14Of G. Manzini della Motta’s Latin tragedy on the fall of Antonio della Scala only a chorus remains. He died after 1389. Probably to the earlier half of the century belongs the Latin prose dramaColumpnarium, the story of which, though it ends happily, resembles that ofThe Cenci. Later plays in Latin of the historic type are the extant Landivio de’ Nobili’sDe captivitate Ducis Jacobi(thecondottiereJacopo Piccinino, d. 1464); C. Verardi’sHistoria Baetica(the expulsion of the Moors from Granada) (1492), and the game author’sFerdinandus(of Aragon)Servatus, which is called a tragi-comedy because it is neither tragic nor comic. The Florentine L. Dali’sHiempsal(1441-1442) remains in MS. A few tragedies on sacred subjects were produced in Italy during the last quarter of the 15th century, and a little later. Such were the religious dramas written for his pupils by P. Domizio, on which Politian cast contempt; and the tragedies, following ancient models, of T. da Prato of Treviso, B. Campagna of Verona,De passione Redemptoris; and G. F. Conti, author ofTheandrothanatosand numerous vanished plays.
15Imber aureus(Danae), &c.
16L. Bruni’sPoliscena(c. 1395); Sicco Polentone’s (1370-1463) jovialLusus ebriorums.De lege bibia; the papal secretary P. Candido Decembrio’s (1399-1477) non-extantAphrodisia; L. B. Alberti’sPhilodoxios(1424); Ugolino Pisani of Parma’s (d. before 1462)PhilogeniaandConfutatio coquinaria(a merry students’ play); theFraudiphilaof A. Tridentino, also of Parma, who died after 1470 and perhaps served Pius II.; Eneo Silvio de’ Piccolomini’s own verse comedy,Chrisis, likewise in MS., written in 1444; P. Domizio’sLucinia, acted in the palace of Lorenzo de’ Medici in 1478, &c.
17Mondella,Isifile(1582); Fuligni,Bragadino(1589).
18Home,Douglas.
19Lazzaroni,Ulisse il giovane(1719).
20Didone abbandonata,Siroe,Semiramide,Artaserse,Demetris, &c.
21Cleopatra,Antigone,Octavia,Mirope, &c.
22e.g.Bruto I.andII.
23Filippo;Maria Stuarda.
24Pellico,Francesca da Rimini; Niccolini,Giovanni da Procida;Beatrice Cenci; Giacometti,Cola di Rienzi(Giacometti’s masterpiece wasLa Marte civile).
25Pyrogopolinices in theMiles Gloriosus.
26The masked characters, each of which spoke the dialect of the place he represented, were (according to Baretti)Pantalone, a Venetian merchant;Dottore, a Bolognese physician;Spaviento, a Neapolitan braggadocio;Pullicinella, a wag of Apulia;GiangurguloandCoviello, clowns of Calabria;Gelfomino, a Roman beau;Brighella, a Ferrarese pimp; andArlecchino, a blundering servant of Bergamo. Besides these and a few other such personages (of whom four at least appeared in each play), there were theAmorososorInnamoratos, men or women (the latter not before 1560, up to which time actresses were unknown in Italy) with serious parts, andSmeraldina,Colombina,Spilletta, and otherservettasor waiting-maids. All these spoke Tuscan or Roman, and wore no masks.
27Pasitea.
28Amicizia.
29Milesia.
30La Lena;Il Negromante.
31La Cassaria;I Suppositi.
32Of Machiavelli’s other comedies, two are prose adaptations from Plautus and Terence,La Clizia(Casina) andAndria; of the two others, simply calledCommedie, and in verse, his authorship seems doubtful.
33La Cortigiana,La Talanta,Il Ipocrito,Il Filosofo.
34Momolo Cortesan(Jerome the Accomplished Man);La Bottega del caffé, &c.
35La Vedova scaltra(The Cunning Widow);La Putta onorata(The Respectable Girl);La Buona Figlia;La B. Sposa;La B. Famiglia;La B. Madre(the last of which was unsuccessful; “goodness,” says Goldoni, “never displeases, but the public weary of every thing”), &c.; andIl Burbero benefico, called in its original French versionLe Bourru bienfaisant.
36Molière;Terenzio;Tasso.
37Pamela;Pamela Maritata;Il Filosofo Inglese(Mr Spectator).
38L’ Amore delle tre melarancie(The Three Lemons);Il Corvo.
39Turandot;Zobeïde.
40L’ Amore delle tre m.(against Goldoni);L’ Angellino Belverde(The Small Green Bird), (against Helvetius, Rousseau and Voltaire).
41Aspasia;Polyxena.
42Ephemeridophobos.
43Timoleon;Konstantinos Palaeologos;Rhigas of Pherae.
44The Three Hundred, orThe Character of the Ancient Hellene(Leonidas);The Death of the Orator(Demosthenes);A Scion of Timoleon, &c.
45The term is the same as that used in the old French collective mysteries (journées).
46In some of his plays (Comedia Serafina;C. Tinelaria) there is a mixture of languages even stranger than that of dialects in the Italian masked comedy.
47Necromanticus,Lena,Decepti,Suppositi.
48Los Engaños(Gli Ingannati).
49Cornelia(Il Negromante).
50Lope,Armelina(Medea and Neptune asdeus ex machina—si modo machina adfuisset).
51Menennos.
52El Azero de Madrid(The Steel Water of Madrid);Dineros son Calidad(=The Dog in the Manger), &c.
53La Estrella de Sevilla(The Star of Seville,i.e.Sancho the Brave);El Nuevo Mundo(Columbus), &c.
54Roma Abrasada(R. in Ashes—Nero).
55Arauco domado(The Conquest of Arauco, 1560).
56La Moza de cantaro(The Water-maid).
57Las Mocedades(The Youthful Adventures)del Cid.
58Don Gil de las calzas verdes(D. G. in the Green Breeches).
59El Burlador de Sevilla y Convivado de piedra(The Deceiver of Seville,i.e.Don Juan,and the Stone Guest).
60El Divino Orfeo, &c.
61El Magico prodigioso;El Purgatorio de San Patricio;La Devocion de la Cruz.
62El Principe constante(Don Ferdinand of Portugal).
63La Dama duende(The Fairy Lady).
64Vida es sueño(Life is a Dream).
65El Lindo Don Diego(Pretty Don Diego).
66Desden con el desden(Disdain against Disdain).
67Luzan,La Razon contra la mode(La Chaussée,Le Préjugé à la mode).
68El Delinquente honrado (The Honoured Culprit).
69El Sí de las niñas (The Young Maidens’ Consent).
70O cioso(The Jealous Man), &c. HisInez de Castrois a tragedy with choruses, partly founded on the Spanish play of J. Bermudez.
71Don Duardos,Amadis, &c.
72Auto das Regateiras(The Market-women),Pratica de compadres(The Gossips), &c.
73Emphatriŏes,Filodemo,Seleuco.
74Os Estrangeiros,Os Vilhalpandos(The Impostors).
75Eufrosina,Ulyssipo(Lisbon),Aulegrafia.
76Astarte,Hermione,Megara.
77These assumptions of names remind us that we are in the period of the “Arcadias.”
78Catāo.
79Manoel de Sousa, &c.
80AntigoneandElectra;Hecuba; andIphigenia in Aulis. TheAndriawas also translated, and in 1540 Ronsard translated thePlutusof Aristophanes.
81Trissino,Sofonisba, by de Saint-Gelais.
82La Soltane(1561).
83Daïre (Darius).
84La Mort de César.
85Achille(1563).
86Les Lacènes;Marie Stuart or L’Écossaise.
87La Juive, &c.
88Les Corivaux(1573).
89La Reconnue(Le Capitaine Rodomont).
90Les Esbahis.
91Les Contens(S. Parabosco,I Contenti).
92Les Néapolitaines;Les Désespérades de l’amour.
93Le Laquais (Il Ragazzo).
94Les Tromperies (Gli Inganni).
95“L. du Peschier” (de Barry),La Comédie des comédies.
96L’Amour tyrannique.
97Agrippine,Le Pédant joué.
98Marianne.
99Sophonisbe.
100Les Bergeries.
101Mélite;Clitandre, &c.
102Le Véritable Saint Genest;Venceslas.
103Steele,The Lying Lover; Foote,The Liar; Goldoni,Il Bugiardo.
104Ruiz de Alarcon,La Verdad sospechosa.
105L’Illusion comiqueis antithetically mixed.
106Andromaque;Phèdre;Bérénice, &c.
107Esther;Athalie.
108Le Cid;Polyeucte.
109Esther;Athalie.
110Corneille,Rodogune; Racine,Phèdre.
111Brutus;La Mort de César;Sémiramis.
112Œdipe;Le Fanatisme(Mahomet).
113Adélaïde du Guesclin.
114L’Orphelin de la Chine.
115Tanis et Zélide.
116Les Guèbres.
117Olimpie.
118Tancrède.
119La Mort de César;Zaïre(Othello).
120Hamlet;Le Roi Léar, &c.
121The lectures delivered by the late Professor A. Beljame at Trinity College, Cambridge, in 1905-1906 may be mentioned as valuable contributions to our knowledge of the growth of Shakespeare’s influence in France.
122Quinault,L’Amour indiscret(Newcastle and Dryden’sSir Martin Mar-all).
123Le Mercure galant;Ésope à la ville;Ésope à la cour(Vanbrugh,Aesop).
124Le Bal(M. de Pourceaugnac); Geronte inLe Légataire universel(Argan inLe Malade imaginaire);La Critique du L.(La C. de l’école des femmes).
125Le Joueur;Le Légataire universel.
126Crispin rival de son maître;Turcaret.
127Le Méchant.
128La Métromanie.
129Le Jeu de l’amour et du hasard;Le Legs;La Surprise de l’amour;Les Fausses Confidences;L’Épreuve.
130Le Philosophe marié;Le Glorieux;Le Dissipateur.
131La Fausse Antipathie;Le Préjugé à la mode;L’École des amis;Méluside;Paméla.L’École des mèreswas the play which Frederick the Great described as turning the stage into abureau général de la fadeur.
132See especiallyNanine, founded on the originalPaméla.
133Le Philosophe sans le savoir;La Gageure imprévue.
134e.g.Eugénie(the original of Goethe’sClavigo) andLes Deux Amis, orLe Négociant de Lyon.
135Richard Cœur de Lion, &c.
136Zémire et Azor;Jeannot et Jeannette.
137Les Muses galantes;Le Devin du village.
138Pygmalion.
139Charles IX, ou l’école des rois.
140Hernani(1839);Le Roi s’amuse;Ruy Blas;Les Burgraves, &c. Even inTorquemada, the fruit of its author’s old age, and full of bombast, the original power has not altogether gone out.
141Chatterton.
142François le champi;Claudie.
143Le Gendre de M. Poirier.
144On ne badine pas avec l’amour, as interpreted by Delaunay, must always remain the most exquisite type of this inimitablegenre.
145Théâtre de Clara Gazul.La Famille Carvajal, one of these pieces, treats the same story as that ofThe Cenci.
146Lucrèce(1843);L’Honneur et l’argent;Charlotte Corday.
147La Ciguë;L’Aventurière;Gabrielle;Le Fils de Giboyer, &c.
148Valérie;Bertrand et Raton;Le Verre d’eau, &c.
149Louis XI.
150Adrienne Lecouvreur.
151La Dame aux camélias;Le Demi-monde;Le Supplice d’une femme;Les Idées de Mme Aubray;L’Étrangère;Francillon.
152Les Pattes de mouche;Nos bons villageois;Patrie.
153Le Monde où l’on s’ennuie.
154Frou-frou.
155As has been already seen, Sir David Lyndsay’s celebratedSatyre of the Three Estaits, a dramatic manifesto in favour of the Reformation, is in form a morality pure and simple.
156Tom Tiler and his Wife(1578);A Knack to know a Knave(c. 1594);Sir Clyomon and Sir Clamydes(misattributed to G. Peele), (printed 1599).
157An earlier drama by him,Christus redivivus, is said to have been printed at Cologne.
158Oedipus;Dido;Ulysses redux.
159By A. Guarna.
160Pax;Troas;Menaechmi;Oedipus;Mostellaria;Hecuba;Amphytruo;Medea. These fall between 1546 and 1560. The date and place of the production of William Goldingham of Trinity Hall’sHerodes, some time after 1567, are unknown.
161The date and place of performance of the LatinFatum Vortigerniare unknown; but it was not improbably produced at a later time than Shakespeare’sRichard II., which it seems in certain points to resemble.
162Latin “academical” plays directly imitated from Seneca, but of unknown date, areSolymannidae(or the story of Solyman II. and his son Mustapha), andTomumbeius(Tuman Bey, sultan of Egypt, 1516); yet others exhibit his influence.
163”Supposes” and “Jocasta,”ed. J. W. Cunliffe.
164HisPalamon and Arcyte(produced in Christ Church hall, Oxford, in 1566) is not preserved; or we should be able to compare withThe Two Noble Kinsmenthis early dramatic treatment of a singularly fine theme.
165The History of the Collier.
166A Historie of Error(1577), one of the many imitations of theMenaechmi, may have been the foundation of theComedy of Errors. In the previous year was printed the oldTaming of a Shrew, founded on a novel of G. F. Straparola. Part of the plot of Shakespeare’sTaming of the Shrewmay have been suggested byThe Supposes.
167Treatise wherein Dicing, Dauncing, Vaine Playes or Enterluds ... are reproved, &c. (1577).
168The School of Abuse.
169The Anatomy of Abuses.
170H. Denham, G. Whetstone (the author ofPromos and Cassandra), W. Rankine.
171It may be mentioned that the practice of companies of players, of one kind or another, being taken into the service of members of the royal family, or of great nobles, dates from much earlier times than the reign of Elizabeth. So far back as 1400/1 the corporation of Shrewsbury paid rewards to thehistrionesof Prince Henry and of the earl of Stafford, and in 1408/9 reference is made to the players of the earl and countess of Arundel, of Lord Powys, of Lord Talbot and of Lord Furnival.
172The Woman in the Moone;Sapho and Phao.
173Alexander and Campaspe.
174Endimion;Mydas.
175Gallathea.
176Friar Bacon and Friar Bungay.
177The Wounds of Civil War.With Greene he wroteA Looking-Glass for London.
178Summer’s Last Will and Testamentis his sole entire extant play.Dido, Queen of Carthage, is by him and Marlowe.
179Patient Grissil(with Dekker and Haughton).
180Hoffman, or A Revenge for a Father.
181Henry VIII.
182Ford,Perkin Warbeck.
183Edward IV.;If You Know Not Me, &c.
184Henry VIII.
185The Merry Wives of Windsor.
186Massinger,The Virgin Martyr; Shirley,St Patrick for Ireland.
187Cleopatra;Philotas.
188Darius;Croesus;Julius Caesar;The Alexandraean Tragedy.
189The Sad Shepherd.
190The Faithful Shepherdess.
191The Queen’s Arcadia.
192Sejanus his Fall;Catiline his Conspiracy.
193Bussy d’Ambois;The Revenge of B. d’A.;The Conspiracy of Byron;The Tragedy of B.;Chabot, Admiral of France(with Shirley).
194Arden of Faversham;A Yorkshire Tragedy.
195A Woman killed with Kindness;The English Traveller.
196Vittoria Coromboni;The Duchess of Malfi.
197’Tis Pity She’s a Whore;The Broken Heart.
198Every Man in his Humour;Every Man out of his Humour.
199Shadwell,The Humorists.
200It is impossible in a summary survey to seek to discriminate by any kind of evidence the respective shares in many Elizabethan plays, and the respective credit due to them, of the joint writers. Yet some such inquiry is necessary before judging the claims to remembrance of highly-gifted dramatists such as William Rowley, his namesake Samuel, John Day, and not a few others.
201The Latin comedyVictoriaby Abraham Fraunce of St John’s was written some time before 1583, and dedicated to Sir Philip Sidney; but there is no evidence to show that it was ever acted.
202(Bishop) Hacket’sLoyolawas acted at Trinity in 1623.
203Naufragium joculare—The Guardian(rewritten later asThe Cutter of Coleman Street).
204Chapman, Marston (and Jonson),Eastward Hoe(1605); Middleton,A Game at Chess(1624); Shirley and Chapman,The Ball(1632); Massinger(?),The Spanish Viceroy(1634).
205Twelfth Night.
206The Puritan, or the Widow of Watling Street, by “W. S.” (Wentworth Smith?).
207The Alchemist;Bartholomew Fair.
208Chapman,An Humorous Day’s Mirth; Marston,The Dutch Courtesan; Middleton,The Family of Love.
209Among these was Sir Richard Fanshawe’s English version of thePastor fido(1646); after his death were published his translations of two plays by A. de Mendoza.
210A Short View of Tragedy(1693).
211The Black Prince;Tryphon;Herod the Great;Altemira.
212The Indian Queen.
213The Indian Emperor;Tyrannic Love;The Conquest of Granada.
214Essay of Dramatic Poesy.
215Essay of Heroic Plays.
216A direct satirical invective against rhymed tragedy of the “heroic” type is to be found in Arrowsmith’s comedyReformation(1673).
217The Grounds of Criticism in Tragedy.
218All for Love (Antony and Cleopatra).
219Don Sebastian.
220The Rival Queens;Lucius Junius Brutus;The Massacre of Paris.
221Don Carlos;The Orphan;Venice Preserved.
222Oroonoko;The Fatal Marriage.
223The Mourning Bride.
224The Fair Penitent;Jane Shore.
225A notable influence was exercised upon English comedy as well as upon other branches of literature by C. de Saint-Evremond, a soldier and man of fashion who was possessed of great intellectual ability and of a charming style. Though during his long exile in England—from 1670 to his death—he never learned English, his critical works includedRemarks on English Comedy(1677), and one of his own comedies, the celebratedSir Politick Would-be, professed to be composed “à la manière angloise.”
226Epsom Wells;The Squire of Alsatia;The Volunteers.
227A dramatic curiosity of a rare kind would beThe Female Rebellion(1682), which has been, on evidence rather striking at first sight, attributed to Sir Thomas Browne. It is more likely to have been by his son.
228The Country Wife;The Plain-Dealer.
229The Double Dealer.
230The Recruiting Officer;The Beaux’ Stratagem.
231A Short View of the Immorality and Profaneness of the English Stage.
232Sir Novelty Fashion (Lord Foppington), &c.
233The Lying Lover;The Tender Husband.
234The Conscious Lovers.
235The Absolute Unlawfulness of Stage Entertainments fully Demonstrated;The Stage defended, &c. (1726).
236The Siege of Damascus.
237Mariamne.
238The Double Falsehood.
239The Revenge (Othello).
240Fatal Curiosity.
241Irene(1749);The Patriotattributed to Johnson, is by Joseph Simpson.
242Elfrida;Caractacus.
243Rosamunda.
244Love in a Village, &c.
245The Waterman, &c.
246Pasquin;The Historical Register for 1736.
247The Golden Rump.
248The first dramatic performance licensed by the lord chamberlain after the passing of the act was appropriately entitledThe Nest of Plays, and consisted of three comedies named respectivelyThe Prodigal Reformed,In Happy ConstancyandThe Trial of Conjugal Love. It is a curious fact that in the first decade of the reign of George III. a severe control of the theatre was very actively exerted after a positive as well as a negative fashion—objectionable passages being ruthlessly suppressed and plays actually written and licensed for the purpose of upholding the existing régime.
249J. Townley,High Life Below Stairs(1759).
250The Minor;Taste;The Author, &c.
251This celebrated play was at first persistently attributed to Miss Elizabeth Carter.
252The School for Lovers.
253False Delicacy.
254The Jealous Wife;The Clandestine Marriage.
255The Heiress.
256The West Indian;The Jew.
257The Belle’s Stratagem;A Bold Stroke for a Husband, &c.
258The Road to Ruin, &c.
259John Bull;The Heir at Law, &c.
260Midas;The Golden Pippin.
261Bertram.
262Ion.
263Fazio.
264Philip van Artevelde.
265The Death of Marlowe.
266Becket;The Cup.
267Merope.
268The Golden Legend.
269Love is Enough.
270Strafford;The Blot on the Scutcheon.
271Atalanta in Calydon;Bothwell;Chastelard;Mary Stuart.
272Virginius;The Hunchback.
273A drama entitledSpeculum vitae humanaeis mentioned as produced by Archduke Ferdinand of the Tirol in 1584.
274Susanna(Geistliches Spiel) (1536), &c. Sixt Birk also brought out a play on the story ofSusanna, which he had previously treated in a Latin form, in the vernacular (1552).
275Siegfried;Eulenspiegel, &c.
276Susanna;Vincentius Ladislaus, &c.
277Mahomet;Edward III.;Hamlet;Romeo and Juliet, &c.
278The Tempest(Ayrer,Comedia v. d. schonen Sidea).
279Herr Peter Squenz(Pyramus and Thisbe);Horribilicribrifax(Pistol?).
280His son, Christian Gryphius, was author of a curious dramatic summary (orrevue) of German history, both literary and political; but the title of this school-drama is far too long for quotation.
281One of hisaliaseswasPickelharnig. In 1702 the electress Sophia is found requesting Leibniz to see whether a more satisfactory specimen of this class cannot be procured from Berlin than is at present to be found at Hanover.
282Deschamps and Addison.
283Richard III.;Romeo and Juliet.
284Die Zwillinge(The Twins);Die Soldaten, &c.
285Julius von Tarent.
286Der Hofmeister(The Governor), &c.
287Genoveva, &c.
288Iffland’s best play isDie Jager(1785), which recently still held the stage. From Mannheim he in 1796 passed to Berlin by desire of King Frederick William II., who thus atoned for the hardships which he had allowed the pietistic tyranny of his minister Wollner to inflict upon the Prussian stage as a whole.
289Die deutschen Kleinstadteris his most celebrated comedy andMenschenhass und Reueone of the most successful of his sentimental dramas. According to one classification he wrote 163 plays with a moral tendency, 5 with an immoral, and 48 doubtful.
290Der Groosskophta(Cagliostro);Der Burgergeneral.
291A. W. von Schlegel and Tieck’s (1797-1833).
292A. W. von Schlegel,Lectures on Dramatic Art and Literature, &c.
293Zriny, &c.
294Ion.
295Alarcos.
296Kaiser Octavianus;Der gestiefelte Kater(Puss in Boots), &c.
297Der 24. Februar(produced on the Weimar stage with Goethe’s sanction).
298Der 29. Februar;Die Schuld(Guilt).
299Das Bild(The Picture);Der Leuchtthurm(The Lighthouse).
300Die Ahnfrau(The Ancestress).
301Das Kathchen(Kate)von Heilbronn.
302Der zerbrochene Krug(The Broken Pitcher).
303Prinz Friedrich von Homburg.
304Sappho,Medea, &c.
305Konig Ottokar’s Glück und Ende(Fortune and Fall);Der Bruderzwist(Fraternal Feud)in Habsburg.
306Die verhangnissvolle Gabel(The Fatal Fork);Der romantische Oedipus.
307Die Nibelungen;Judith, &c.
308Der Erbforster.
309Uriel Acosta;Der Königslieutenant.
310Die Valentine.
311Die Karlsschüler.
312Der Pfarrer von Kirchfeld;Der Meineidbauer;Die Kreuzelschreiber;Das vierte Gebot.
313The Robbers(Franz Moor). His next most famous part was Lear.
314In connexion with the production in 1855 of “F. Halm’s”Fechter von Ravenna, of which the authorship was claimed by a half-demented schoolmaster.
315As to more recent developments of German theatrical literature see the articleGerman Literature, and the remarks on the influence of foreign works in the section onRecent English Dramaabove.
316Aluta;Asotus;Hecastus, &c.
317Gysbrecht van Aemstel;Lucifer.
318Ulysses of Ithaca.
319The Politician-Tinman;Jean de France or Hans Franzen; The Lying-In, &c.
320Aladdin;Corregio.
321Maria Stuart;A Bankruptcy;Leonarda.
322Brand;Peer Gynt.
323Samfundets Stöttere;Et Dukkehjem;Gengangere.
324Pan Jowialski;Oludki i Poeta(The Misanthrope and the Poet).
DRAMBURG,a town of Germany in the kingdom of Prussia, on the Drage, a tributary of the Oder, 50 m. E. of Stettin, on the railway Ruhnow-Neustettin. Pop. 5800. It contains an Evangelical church, a gymnasium, a hospital and various administrative offices, and carries on cotton and woollen weaving, tanning, brewing and distilling.
DRAMMEN,a seaport of Norway, in Buskerud and Jarlsberg-Laurvikamter(counties), at the head of Drammen Fjord, a western arm of Christiania Fjord, 33 m. by rail S. W. from Christiania. Pop. (1900) 23,093. Its situation, at the mouth of the broad Drammen river, between lofty hills, is very beautiful. It is the junction of railways from Christiania to Haugsund, Kongsberg and Hönefos, and to Laurvik and Skien. The town is modern, having suffered from fires in 1866, 1870 and 1880. It consists of three parts: Bragernaes on the north, divided by the river from Strömsö and the port, Tangen, on the south. The prosperity of Drammen depends mainly on the timber trade; and saw-milling is an active industry, the logs being floated down the river from the upland forests. Timber and wood-pulp are exported (over half of each to Great Britain), with paper, ice and some cobalt and nickel ore. The chief imports are British coal and German machinery. Salmon are taken in the upper reaches of the Drammen.
DRANE, AUGUSTA THEODOSIA(1823-1894), English writer, was born at Bromley, near Bow, on the 29th of December 1823. Brought up in the Anglican creed, she fell under the influence of Tractarian teaching at Torquay, and joined the Roman Catholic Church in 1850. She wrote, and published anonymously, an essay questioning theMorality of Tractarianism, which was attributed to John Henry Newman. In 1852, after a prolonged stay in Rome, she joined the third order of St Dominic, to which she belonged for over forty years. She was prioress (1872-1881) of the Stone convent in Staffordshire, where she died on the 29th of April 1894. Her chief works in prose and verse are:The History of Saint Dominic(1857; enlarged edition, 1891);The Life of St Catherine of Siena(1880; 2nd ed., 1899);Christian Schools and Scholars(1867);The Knights of St John(1858);Songs in the Night(1876); and theThree Chancellors(1859), a sketch of the lives of William of Wykeham, William of Waynflete and Sir Thomas More.