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LONDON:
HARRISON AND CO., PRINTERS,
ST. MARTIN'S LANE.
Introduction-Spirit of True Criticism-Difference of Taste between
the Ancients and Moderns Classical and Romantic Poetry and
Art-Division of Dramatic Literature; the Ancients, their Imita-
tors, and the Romantic Poets..
LECTURE II.
Definition of the Drama-View of the Theatres of all Nations-The-
atrical Effect-Importance of the Stage-Principal Species of the
Drama
LECTURE III.
Essence of Tragedy and Comedy Earnestness and Sport-How far
it is possible to become acquainted with the Ancients without
knowing Original Languages-Winkelmann
LECTURE IV.
Structure of the Stage among the Greeks-Their Acting-Use of
Masks-False comparison of Ancient Tragedy to the Opera Tra-
(gical Lyric Poetry....
LECTURE V.
Essence of the Greek Tragedies-Ideality of the Representation-
Idea of Fate--Source of the Pleasure derived from Tragical Repre-
sentations-Import of the Chorus-The materials of Greek Tragedy
derived from Mythology-Comparison with the Plastic Arts
LECTURE VI.
Progress of the Tragic Art among the Greeks--Various styles of Tragic
Art-Eschylus-Connexion in a Trilogy of Æschylus-His re-
maining Works...
LECTURE VII.
Life and Political Character of Sophocles-Character of his different
Tragedies
17
30
43
52
66
78
96
Comparison between the Choephora of Eschylus, the Electra of
Sophocles, and that of Euripides
LECTURE X.
Character of the remaining Works of Euripides The Satirical
Drama-Alexandrian Tragic Poets
LECTURE XI.
....................
The Old Comedy proved to be completely a contrast to Tragedy-
Parody Ideality of Comedy the reverse of that of Tragedy—
Mirthful Caprice - Allegoric and Political Signification
Chorus and its Parabases.........
LECTURE XII.
111
122
134
--
The
145
Aristophanes-His Character as an Artist-Description and Character
of his remaining Works-A Scene, translated from the Acharnæ,
by way of Appendix......
LECTURE XIII.
153
Whether the Middle Comedy was a distinct species-Origin of the
New Comedy-A mixed species-Its prosaic character-Whe-
ther versification is essential to Comedy-Subordinate kinds
Pieces of Character, and of Intrigue-The Comic of observation,
of self-consciousness, and arbitrary Comic-Morality of Comedy 174
LECTURE XIV.
Plautus and Terence as Imitators of the Greeks, here examined and
characterized in the absence of the Originals they copied-Motives
of the Athenian Comedy from Manners and Society-Portrait-Sta-
tues of two Comedians.......
LECTURE XV.
Roman Theatre-Native kinds: Atellane Fables, Mimes, Comoedia
Togata--Greek Tragedy transplanted to Rome-Tragic Authors of a
former Epoch, and of the Augustan Age-Idea of a National Roman
Tragedy-Causes of the want of success of the Romans in Tragedy
-Seneca
LECTURE XVI.
The Italians-Pastoral Dramas of Tasso and Guarini-Small progress
in Tragedy-Metastasio and Alfieri-Character of both-Comedies
of Ariosto, Aretin, Porta- Improvisatore Masks-Goldoni-Gozzi
-Latest state
188
200
213
CONTENTS.
LECTURE XVII.
Antiquities of the French Stage-Influence of Aristotle and the Imi-
tation of the Ancients-Investigation of the Three Unities-What
is Unity of Action?-Unity of Time-Was it observed by the
Greeks?- Unity of Place as connected with it
LECTURE XVIII.
Mischief resulting to the French Stage from too narrow Interpreta-
tion of the Rules of Unity-Influence of these rules on French
Tragedy-Manner of treating Mythological and Historical Materials
-Idea of Tragical Dignity-Observation of Conventional Rules-
False System of Expositions
LECTURE XIX.
Use at first made of the Spanish Theatre by the French-General
Character of Corneille, Racine, and Voltaire-Review of the prin-
cipal Works of Corneille and of Racine-Thomas Corneille and
Crebillon
LECTURE XX.
Voltaire-Tragedies on Greek Subjects: Edipe, Merope, Oreste—
Tragedies on Roman Subjects: Brute, Morte de César, Catiline,
Le Triumvirat-Earlier Pieces: Zaire, Alzire, Mahomet, Semi-
ramis, and Tancred..
LECTURE XXI.
vii
PAGE
232
253
275
295
French Comedy-Molière-Criticism of his Works-Scarron, Bour-
sault, Regnard; Comedies in the Time of the Regency; Marivaux
and Destouches; Piron and Gresset-Later Attempts-The Heroic
Opera: Quinault-Operettes and Vaudevilles-Diderot's attempted
Change of the Theatre-The Weeping Drama-Beaumarchais-
Melo-Dramas-Merits and Defects of the Histrionic Art................ 304
LECTURE XXII.
Comparison of the English and Spanish Theatres-Spirit of the Ro-
mantic Drama-Shakspeare-His Age and the Circumstances of his
Life
LECTURE XXIII.
Ignorance or Learning of Shakspeare-Costume as observed by Shak-
speare, and how far necessary, or may be dispensed with, in the
Drama-Shakspeare the greatest drawer of Character-Vindication
of the genuineness of his pathos-Play on Words-Moral Delicacy
-Irony-Mixture of the Tragic and Comic-The part of the Fool
or Clown-Shakspeare's Language and Versification
LECTURE XXIV.
Criticisms on Shakspeare's Comedies...
LECTURE XXV.
Criticisms on Shakspeare's Tragedies..
338
354
379
400
Two Periods of the English Theatre: the first the most important—
The first Conformation of the Stage, and its Advantages-State of
the Histrionic Art in Shakspeare's Time-Antiquities of Dramatic
Literature-Lilly, Marlow, Heywood-Ben Jonson; Criticism of
his Works-Masques-Beaumont and Fletcher-General Charac-
terization of these Poets, and Remarks on some of their Pieces-
Massinger and other Contemporaries of Charles I.
LECTURE XXVIII.
Closing of the Stage by the Puritans-Revival of the Stage under
Charles II.-Depravity of Taste and Morals-Dryden, Otway, and
others-Characterization of the Comic Poets from Wycherley and
Congreve to the Middle of the Eighteenth Century-Tragedies of
the same Period-Rowe-Addison's Cato-Later Pieces-Familiar
Tragedy: Lillo-Garrick-Latest State.........
LECTURE XXIX.
Spanish Theatre-Its three Periods: Cervantes, Lope de Vega, Cal-
deron-Spirit of the Spanish Poetry in general-Influence of the
National History on it-Form, and various Species of the Spanish
Drama-Decline since the beginning of the Eighteenth Century
LECTURE XXX.
Origin of the German Theatre-Hans Sachs-Gryphius-The Age of
Gottsched-Wretched Imitation of the French-Lessing, Goethe,
and Schiller-Review of their Works-Their Influence on Chival-
rous Dramas, Affecting Dramas, and Family Pictures-Prospect
for Futurity
414
446
475
488
506