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As if their wisdoms had conspir'd

The salamander should be burn'd;

Or like those sophists, that would drown a fish, I am constrain'd to suffer what I wish.

The cynic loves his poverty,

The pelican her wilderness,

And 'tis the Indian's pride to be Naked on frozen Caucasus: Contentment can not smart, stoics we see Make torments easy to their apathy.

These manacles upon my arm,

I, as my mistress' favours, wear;
And for to keep my ankles warm,

I have some iron shackles there:
These walls are but my garrison; this cell,
Which men call jail, doth prove my citadel.

I'm in the cabinet lock'd up,

Like some high-prized margarite;
Or like the great Mogul or Pope,
Am cloister'd up from public sight.
Retiredness is a piece of majesty,

And thus, proud sultan, I'm as great as thee.

Here sin for want of food must starve,
Where tempting objects are not seen;
And these strong walls do only serve
To keep vice out, and keep me in:
Malice of late 's grown charitable sure;
I'm not committed, but am kept secure.

So he that struck at Jason's life,

Thinking t' have made his purpose sure, By a malicious friendly knife

Did only wound him to a cure:

Malice, I see, wants wit; for what is meant
Mischief, ofttimes proves favour by th' event.

When once my prince affliction hath,
Prosperity doth treason seem;

And to make smooth so rough a path,
I can learn patience from him:

Now not to suffer shows no loyal heart

When kings want ease, subjects must bear a part.

What though I can not see my king,
Neither in person, or in coin;

Yet contemplation is a thing

That renders what I have not, mine:
My king from me what adamant can part,
Whom I do wear engraven on my heart.

Have you not seen the nightingale
A prisoner-like, coop'd in a cage,
How doth she chant her wonted tale,
In that her narrow hermitage!

Even then her charming melody doth prove That all her bars are trees, her cage a grove. I am that bird whom they combine

Thus to deprive of liberty;

But though they do my corpse confine,

Yet, maugre hate, my soul is free:

And, though immur'd, yet can I chirp and sing Disgrace to rebels, glory to my king.

My soul is free as ambient air,

Although my baser part 's immur'd;
Whilst loyal thoughts do still repair
T'accompany my solitude;

Although rebellion do my body bind,
My king alone can captivate my mind.

Lecture the Twelfth.

DRAMATIC LITERATURE.

THE ORIGIN OF THE ENGLISH DRAMA-JOHN HEYWOOD-RICHARD ODELL-THOMAS RYCHARDES-JOHN STILL-THOMAS SACKVILLE-THOMAS NORTON-RICHARD EDWARDS-JOHN LYLY-GEORGE PEELE-THOMAS KID-THOMAS NASH-ROBERT GREENE-THOMAS LODGE-ANTHONY MUNDAY-HENRY CHATTLE-CHRISTOPHER MARLOW.

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O the dramatic literature of the period of Elizabeth our attention must now be directed, as toward the latter part of her reign that form of composition and its representation, coinciding with the love of magnificence, chivalrous feeling, and romantic adventures, which animated the court, suddenly arose to the highest degree of splendor, and attracted nearly all the poetic genius of the country. But to present this department of English literature clearly before the mind, it will be necessary to notice briefly, the origin and nature of those rude dramatic representations which both remotely and more immediately preceded it, and in which it had its commence

ment.

At the dawn of modern civilization most countries in Christian Europe possessed a rude kind of theatrical entertainment, consisting, not in those exhibitions of nature, character, and incident which constituted the plays of ancient Greece and Rome, but in representations of the principal supernatural events of the Old and New Testaments, and of the history of the saints, whence they were called Miracles, or Miracle Plays. Originally, they appear to have been acted by the clergy, or under their immediate management, and they are supposed to have considered them favorable to the dif fusion of religious feeling; though from the traces of those Miracles which still remain they seem to have been profane and indecorous in the highest degree. A miracle play upon the story of St. Katherine, and in the French language, was acted at Dunstable in 1119, and how long such entertainments may have previously existed in England, is not known. From 1268, a period of more than three hundred years, they were performed almost every year in Chester; and there were few large cities in England which were not then regaled in a similar manner; even in Scotland they were not unknown.

The most sacred personages, not excluding the Deity himself, were introduced into them.

During the reign of Henry the Sixth, persons representing sentiments and abstract ideas, such as Mercy, Justice, Truth, began to be introduced into the 'Miracle plays,' and led to the composition of an improved kind of drama entirely or chiefly composed of such characters, and termed Moral Plays, These plays were, certainly, a great advance upon the 'Miracles,' inasmuch as they endeavored to convey sound moral lessons, and at the same time gave occasion to some poetical and dramatic ingenuity, in imaging forth the characters, and assigning appropriate speeches to each. The only Scriptural character retained in them was the devil, who being represented in grotesque habiliments, and perpetually beaten by an attendant character, called the Vice, served to enliven what must have been, at the best, a sober, though well-meant entertainment. The Cradle of Security, Hit the Nail on the Head, Impatient Poverty, and the Marriage of Wisdom and Wit, are the names of moral plays which enjoyed popularity in the reign of Henry the Eighth. It was about that time that acting first became a distinct profession, both miracles and moral plays having previously been represented by clergymen, school-boys, or the members of trading incorporations; and were only brought forward occasionally, as part of some public or private festivity.

As the introduction of allegorical characters had been an improvement upon those plays which consisted of Scriptural persons only, so was the introduction of historical and actual characters an improvement upon those which employed only a set of impersonated ideas. It was now found that a real human being, with a human name, was better calculated to awaken the sympathies, and keep alive the attention of an audience, and not less so to impress them with moral truths, than a being who only represented a notion of the mind. The substitution of these for the symbolical characters, gradually took place during the earlier part of the sixteenth century; and thus, with some aid from Greek dramatic literature, which now began to be studied, and from the improved theatres of Italy and Spain, the genuine English drama took its rise.

We should, perhaps, here notice the Interludes of JOHN HEYWOOD, as occupying a place between the moral plays and the modern drama. Heywood was a native of London, and was partially educated at Oxford; but the severity of academical studies did not suit his gay and sprightly disposition; and he therefore returned to his native city, and soon became familiar with the men of wit about the court, especially with Sir Thomas More, with whom he was on terms of close intimacy. He was particularly noticed and patronized by Henry the Eighth, and was afterward equally a favorite with Queen Mary, whom he is represented to have entertained and amused even on her death-bed. As Heywood was a devoted papist, he left England on the accession of Queen Elizabeth, and retired to Mecklin in Brabant, where he died in 1565.

Heywood's dramatic compositions, part of which were produced before 1521, generally represented some ludicrous familiar incidents, in a style of the broadest and coarsest farce, but still with no small degree of skill and talent. One of these, called the Four P's, turns upon a dispute between a Palmer, a Pardoner, a Poticary, and a Pedler, as to which shall tell the grossest falsehood. An accidental assertion of the 'Palmer,' that he never saw a woman out of patience in his life, throws the rest off their guard, all of whom declare it to be the greatest lie they ever heard, and the settlement of the question is thus brought about amid much drollery. There were some less distinguished writers of 'Interludes' than Heywood, and Sir David Lyndsay's Satire of the Three Estates, acted in Scotland in 1539, was a play of this kind.

The regular drama, from its very commencement, was divided into comedy and tragedy, the elements of both being found quite distinct in the rude. entertainments already described. Of comedy, which was an improvement upon the interludes, the earliest specimen that can now be found bears the singular title of Ralph Royster Doyster. It was the production of RICHARD ODELL, master of Westminster school, and is supposed to have been written during the reign of Henry the Eighth, but certainly not later than 1551. The scene is laid in London, and the characters, thirteen in number, exhibit the manners of the middle orders of the people of that day. It is divided into five acts, and the plot is amusing and well constructed. The language is in long and irregularly measured rhyme, of which the following, from a speech of Dame Custance, one of the leading characters, respecting the difficulty of preserving a good reputation, is a specimen :—

How necessary it is now-a-days,

That each body live uprightly in all manner ways;

For let never so little a gap be open,

And be sure of this, the worst will be spoken!

THOMAS RYCHARDES, according to Collier, was the author of the second English comedy of which we have now any knowledge. Mesogonus is the name of the play here alluded to, and the date of its publication is 1560. The scene is laid in Italy, but the manners are English, and the character of the domestic fool, so important in the old comedy, is fully delineated.

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The next English comedy, in the order of time, is Gammer Gurton's Needle. This piece was written by JOHN STILL, Master of Arts, and afterward bishop of Bath and Wells, about 1565, or perhaps at an earlier date. 'In this play,' says Hawkins, there is a vein of familiar humor, and a kind of grotesque imagery, not unlike some parts of Aristophanes; but without those graces of language and metre, for which the Greek comedian is so eminently distinguished.' There is certainly much whim and wit in many of the situations; and the characters, although rudely, are very forcibly delineated. The plot is both simple and coarse, the whole turning upon the

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