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New themes, new ideas, new forms occupied a new generation of writers and readers; nor did the drama readily lend itself as a vessel into which to pour so many fermenting elements. In general, the main features of the pallialae, which were divided into five acts, are those of the New Comedy of Athens, like which they had no chorus; for purposes of explanation from author to audience the prologue sufficed; the Roman versions were probably terser than their originals, which they often altered by the process called contamination. Diderots second play, Le Pre de famille, printed in 1758 with a Discours sur la posie dramalique, went through a few public performances in 1761; and a later revival was unsuccessful. Versatility of Shirleynot to mention many later and not necessarily minor names 1mirrored in innumerable pictures of contemporary life the undying follies and foibles of mankind. At the end of the I7th century, when the of the Spanish throne at last became the declared apple of national discord among the governments of Europe, the Spanish Spanish people lay, in the words of an historian of its later days, like a corpse, incapable of feeling its own impotence. It will thus be seen that not only is this complex and elaborate production unapproached in its length and in its patient development of a long sequence of momentous events by any chronicle history or religious drama, but that it embodies together with the passionately, cherished traditions of a great religious community the expression of a long-lived resentment of foreign invasionand is thus a kind of Oberammergau play and complaint of the Nibelungs in one. Clyde Fitch (1865-1909), an immensely prolific playwright of indubitable ability, after becoming known by some experiments in quasi-historic drama (notably Nathan Hale, 1898; Barbara Frietchie, 1899), devoted himself mainly to social drama on the French model, in which his most notable efforts have been The Climbers (1900), The Truth (1906), and The Girl with the Green Eyes (1902). Though it cannot be assumed that Shakespeare composed his several dramas from English history in the sequence of the chronology of their themes, his genius gate to the entire series an inner harmony, and a continuity corresponding to that which is distinctive of the national life, such as not unnaturally inspired certain commentators with the wish to prove it a symmetrically constructed whole. The Truth Decays ( Fullmetal Alchemist, Naruto). His plays are more or less literal -La Soltane (1561).

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As to the history of the Slav drama, only a few hints can be here given. However, the show has a very dark sense of humor that keeps it from being a straight drama. The entertainment was a strictly private one. It might be better than some of these plays, worse than others; hut it stood on the same artistic level. Not sure if a drama is a melodrama? Of modern romantic drama in France it must suffice to say that it derives some of its characteristics from the general movement of romanticism which in various ways and The at various points of time transformed nearly every rO:a1~tic modern European literature, others from the rhetorical tendency which is a French national feature.
It is a mere passive instrument to our inner desires and instincts and appetites, which, in their turn, obey natural laws. The dramatist, in treating an action as one, comprehends the whole of it in the form of his work, since, to him who has conceived it, all its parts, from cause to effect, are equally clear. When, early in the nineties, the collaboration between Gilbert and Sullivan became intermittent, and the vogue of the Savoy somewhat declined, a new class of extravaganza arose, under the designation of musical comedy or musical farce. Comic scenes are still occasionally introduced into tragedies by some dramatists who adhered more closely to the Elizabethan models (such as Otway and Crowne), but the practice fell into disuse; while the endeavour to elevate comedy by pathetic scenes and motives is one of the characteristic marks of the beginning of another period in English dramatic literature. Forms an integral part of the action, and is therefore to be distinguished from the Prologues prologue in the more ordinary sense of the term, and which like the epilogue (and the Greek irap. W I N D O W P A N E. FROM THE CREATORS OF. Diderot, as well as an example to his own dramatic attempts; and through Diderot the impulse communicated itself to Lessing, and long exercised a great effect upon the literature of the German stage.
Have always been distinctive features in the Italian character. Epilogues stands outside the action, and is a mere address to the ~lde the public from author, presenter or actor occasioned by the play. 8 T. Corneille, Campistron, Joseph Duch (1668I 704), Antoin de Lafosse (c. 1653-1708) and Quinault were mere followers of one or both of the great masters of tragedy, though the last named achieved a reputation of his own in the bastard species of the opera. Inasmuch, however, as the history of the mask in England is to a great extent that of painting and carpentry and of Inigo Jones, and as, moreover, this kind of piece, while admitting dramatic elements, is of its nature occasional, it need not further be pursued here. But that kind of comedy which shrinks from the rude breath of popular applause usually has in the end to give way to less squeamish rivals; and thus, after the species had been cultivated for about a century (c. 250I 5oB. A step in advance was taken when the poet with his trained singers and dancers, like the Indian stra-dhdra, performed these religious functions as the representative of the population. For it seems hardly within the range of probability to suppose that the theatre will for many a generation to come lose the hold which it has established over the intellectual and moral sympathies of nearly the whole of the educatedto say nothing of a great part of the half-educatedpopulation of France. London, 1900); J. Halliwell (-Phillipps), Dictionary of Old English Plays (London, 1860); W. Hazlitt, A Manual/or the Collector and Amateur of Old English Plays (London, 1892); K. Lowe, Bibliographical Account of English Dramatic Literature (London, 1888) is a valuable handbook for the whole of English theatrical literature and matters connected with it. Though the universities produced both translations from the classical drama and modern Latin plays, In some of his plays (Comedia Serafi-na; C. Tineli1ria) there is a mixture of languages even stranger than that of dialects in the Italian masked comedy.

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His realistic tendency, displayed in that fondness for political allusions which brought upon him the vengeance of a noble family (the Metelli) incapable of understanding a joke of this description, might perhaps under more favorable circumstances have led him more fully to develop a Practexta. The name of this group of d writers, moreremarkable for their collective significance ~ than for their individual achievements, was derived from a drama by one of the most prolific of their number, M. von Klinger; i other members of the fraternity were J. Leisewitz1 (1752-1806), M. Lenz3 and F. MUller4 the painter.

Among other tragic dramatists of the earlier part of the century may be mentioned J. Hughes, who, after assisting Addison in his Cab, produced at least one praiseworthy tragedy of his own; 6. Down to about I 89o the influence of France had been even more predominant in America than in England. Be this as it may, the fact is certain that as the playwrights of the Second Empire gradually died off, and were succeeded by the authors of the new comedy, plays which would bear transplantation became ever fewer and farther between. Of those who attained to celebrity Ion of Chios (d. before 4I9) seems to have followed earlier traditions of style than Euripides; Agathon, who survived the latter, on the other hand, introduced certain. His task is, not to paint a copy of some contemporary or historical personage, but to conceive a particular kind of man, acting under the operation of particular circumstances. 1848) had produced scarcely any original work. Recovery None ( Red vs. Blue). Francois le champi; Claudie. In what direction this art tended, when suiting itself to the most abnormal demands of a recklessly sensual age, may be gathered from the remark of one of the last pagan historians of the empire, that the introduction of pantomimes was a sign of the general moral decay of the world which began with the Alimus beginning of the monarchy. 6 Lysistraki; Thesmophoriazusae; Plutus II. To supply the needs of a theatre endeavouring to satisfy the demands of art. From the song sung in these processions or at the Bacchic feasts, which combined the praise of the god with gross personal ridicule, and was called comus in a secondary sense, the Bacchic reveller taking part in it was called a comussinger or comoedus. Other remarkable playwrights belonging to the Freie Buhne group are Max Halbe (b. The note sounded by the criticisms of Lessing met with a ready response, and the productivity displayed by the nascent dramatic literature of Germany is astonishing, both ~ ol in the efforts inspired by his teachings and in those the theatre which continued to controvert or which aspired and of to transcend them.

One or two settings. Weegy: 1+1 = 2 User: 7291x881. The provinces are no longer, in any effective sense, a nursery of fresh talents for the London theatres, for the art acquired in touring combinations is that of mimicry rather than of acting. The attempts of his, predecessors had been without life, because they lacked really tragic characters and the play of really tragic passions; while their style had been either pedantically imitative or a medley of plagiarisms. A good account of the history of the Dutch drama is F. von Heliwalds Geschichte des hollandischen Theaters (Rotterdam, 1874). In Roman comedy two different kindsrespectively called palliata and togata from well-known names of dresswere distinguished, the former treating Greek subjects and rnstozv of imitating Greek originals, the latter professing a native comedy. But there is more to a tragedy than a play with no happy ending. 6 Maria Stuart; A Bankruptcy; Leonarda. While in the north of China houses are temporarily set apart for dramatic performances, in the south these are usually confined to theatres erected in the streets (Hi- Thai). The academical drama of the early years of Elizabeths reign and of the preceding part of the Tudor periodincluding the school-drama in the narrower sense of the term and other performances of academical originconsisted, The earlier apart from actual reproductions of classical plays in the original Latin or in Latin versions of the Greek, in adaptations of Latin originals, or of Latin or English plays directly modelled on classical examples.

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Schiller, in adding to the dramatis personae of his Fiesco superscriptions of their chief characteristics, labels Sacco as an ordinary person, and this, nO doubt, suffices for Sacco. Among his numerous plays (2, ), Merope and Saul, and perhaps Mirra, are accounted his masterpieces. Among the attacks directed against it in its careless heyday of prosperity Prynnes H-istrio-Mastix (1632), while it involved its author in shamefully cruel persecution, did not remain wholly without effect upon the tone of the dramatic literature of the subsequent period; but the quarrel between Puritanism and the theatre was too old and too deep to end in any but one way, so soon as the latter was deprived of its protectors. Having noted the decline of adaptation, we may now trace a stage farther the development of the English drama.

Its association with religious wor1~l~iI~~Of ship was not initial; its foundations lay in popular mirth, though religious festivals, and those of the vintage god in particular, must from the first have been the most obvious occasions for its exhibition. Mother - There's a reason why the taglines include "No crying until the end" and "Strange. Like the Indian drama, the Chinese arose from the union of the arts of dance and song. Yet it is clear that the refinements of by-play must, from the nature of the case, have been impossible on the Attic stage; the gesticulation must have been broad and massive; the movement slow, and the grouping hard, in tragedy; and the weighty sameness of the recitation must have had an effect even more solemn and less varied than the half-chant which still lingers on the modern stage. The notorious Ugolino of H. von Gerstenberg seemed a premonitory sign that the coming flood might merely rush back to the extravagances and horrors of the old popular stage; and it was with a sense of this danger in prospect that Lessing in his third important drama, the prose tragedy Einilia Galotti (1772), set the example of a work of incomparable nicety in its adaptation of means to end.

Of the 18th century, while allowing the old masters the measure of favor which accords with traditional esteem, continued to uphold the representatives of the old drama in its degeneracyauthors on the level of their audiences. I6 Agnippine, Le Pedant jou. Four collections, in addition to some single examples of such plays, The York have come down to us, the York plays, the so-called Towneley, Towneley plays, which were probably acted at the Chester fairs of Widkirk, near Wakefield, and those bearing the and names of Chester and of Coventry. The theatre had its share in all the movements and changes which ensued in France; though the most important revolution which the drama itself was to undergo was not one of wholly native origin. Their favorite virtue is piety, of a formal1 or a practical4 kind to parents or parents-in-law; their favorite interest lies in the discovery of long-hidden guilt, and in the vindication of persecuted innocence. I Sophocles, a more conscious and probably a more self-critical artist than Aeschylus, may be assumed from the first to have elaborated his tragedies with, greater, care; and to this, as well as to his innovation of the third actor, which materially added to the fulness of the action, we may attribute his introduction of the custom of contending for the prize with single plays. Nearly half of the extant names of his tragedies belong to the Trojan cycle; and Euripides was clearly his favorite source and model.
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