Part 19
[16] L. Bruni's _Poliscena_ (c. 1395); Sicco Polentone's (1370-1463) jovial _Lusus ebriorum_ s. _De lege bibia_; the papal secretary P. Candido Decembrio's (1399-1477) non-extant _Aphrodisia_; L. B. Alberti's _Philodoxios_ (1424); Ugolino Pisani of Parma's (d. before 1462) _Philogenia_ and _Confutatio coquinaria_ (a merry students' play); the _Fraudiphila_ of 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's _Lucinia_, acted in the palace of Lorenzo de' Medici in 1478, &c.
[17] Mondella, _Isifile_ (1582); Fuligni, _Bragadino_ (1589).
[18] Home, _Douglas_.
[19] Lazzaroni, _Ulisse il giovane_ (1719).
[20] _Didone abbandonata_, _Siroe_, _Semiramide_, _Artaserse_, _Demetris_, &c.
[21] _Cleopatra_, _Antigone_, _Octavia_, _Mirope_, &c.
[22] e.g. _Bruto I._ and _II._
[23] _Filippo_; _Maria Stuarda_.
[24] Pellico, _Francesca da Rimini_; Niccolini, _Giovanni da Procida_; _Beatrice Cenci_; Giacometti, _Cola di Rienzi_ (Giacometti's masterpiece was _La Marte civile_).
[25] Pyrogopolinices in the _Miles Gloriosus_.
[26] The 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; _Giangurgulo_ and _Coviello_, clowns of Calabria; _Gelfomino_, a Roman beau; _Brighella_, a Ferrarese pimp; and _Arlecchino_, a blundering servant of Bergamo. Besides these and a few other such personages (of whom four at least appeared in each play), there were the _Amorosos_ or _Innamoratos_, men or women (the latter not before 1560, up to which time actresses were unknown in Italy) with serious parts, and _Smeraldina_, _Colombina_, _Spilletta_, and other _servettas_ or waiting-maids. All these spoke Tuscan or Roman, and wore no masks.
[27] _Pasitea_.
[28] _Amicizia_.
[29] _Milesia_.
[30] _La Lena_; _Il Negromante_.
[31] _La Cassaria_; _I Suppositi_.
[32] Of Machiavelli's other comedies, two are prose adaptations from Plautus and Terence, _La Clizia_ (Casina) and _Andria_; of the two others, simply called _Commedie_, and in verse, his authorship seems doubtful.
[33] _La Cortigiana_, _La Talanta_, _Il Ipocrito_, _Il Filosofo_.
[34] _Momolo Cortesan_ (_Jerome the Accomplished Man_); _La Bottega del caffé_, &c.
[35] _La 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.; and _Il Burbero benefico_, called in its original French version _Le Bourru bienfaisant_.
[36] _Molière_; _Terenzio_; _Tasso_.
[37] _Pamela_; _Pamela Maritata_; _Il Filosofo Inglese_ (_Mr Spectator_).
[38] _L' Amore delle tre melarancie_ (_The Three Lemons_); _Il Corvo_.
[39] _Turandot_; _Zobeïde_.
[40] _L' Amore delle tre m._ (against Goldoni); _L' Angellino Belverde_ (_The Small Green Bird_), (against Helvetius, Rousseau and Voltaire).
[41] _Aspasia_; _Polyxena_.
[42] _Ephemeridophobos_.
[43] _Timoleon_; _Konstantinos Palaeologos_; _Rhigas of Pherae_.
[44] _The Three Hundred_, or _The Character of the Ancient Hellene_ (Leonidas); _The Death of the Orator_ (Demosthenes); _A Scion of Timoleon_, &c.
[45] The term is the same as that used in the old French collective mysteries (_journées_).
[46] In 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.
[47] _Necromanticus_, _Lena_, _Decepti_, _Suppositi_.
[48] _Los Engaños_ (_Gli Ingannati_).
[49] _Cornelia_ (_Il Negromante_).
[50] Lope, _Armelina_ (Medea and Neptune as _deus ex machina_--si modo machina adfuisset).
[51] _Menennos_.
[52] _El Azero de Madrid_ (_The Steel Water of Madrid_); _Dineros son Calidad_ (= _The Dog in the Manger_), &c.
[53] _La Estrella de Sevilla_ (_The Star of Seville_, i.e. Sancho the Brave); _El Nuevo Mundo_ (Columbus), &c.
[54] _Roma Abrasada_ (_R. in Ashes_--Nero).
[55] _Arauco domado_ (_The Conquest of Arauco_, 1560).
[56] _La Moza de cantaro_ (_The Water-maid_).
[57] _Las Mocedades_ (_The Youthful Adventures_) _del Cid_.
[58] _Don Gil de las calzas verdes_ (_D. G. in the Green Breeches_).
[59] _El Burlador de Sevilla y Convivado de piedra_ (_The Deceiver of Seville_, i.e. Don Juan, _and the Stone Guest_).
[60] _El Divino Orfeo_, &c.
[61] _El Magico prodigioso_; _El Purgatorio de San Patricio_; _La Devocion de la Cruz_.
[62] _El Principe constante_ (Don Ferdinand of Portugal).
[63] _La Dama duende_ (_The Fairy Lady_).
[64] _Vida es sueño_ (_Life is a Dream_).
[65] _El Lindo Don Diego_ (_Pretty Don Diego_).
[66] _Desden con el desden_ (_Disdain against Disdain_).
[67] Luzan, _La Razon contra la mode_ (La Chaussée, _Le Préjugé à la mode_).
[68] _El Delinquente honrado (The Honoured Culprit)._
[69] _El Sí de las niñas (The Young Maidens' Consent)._
[70] _O cioso_ (_The Jealous Man_), &c. His _Inez de Castro_ is a tragedy with choruses, partly founded on the Spanish play of J. Bermudez.
[71] _Don Duardos_, _Amadis_, &c.
[72] _Auto das Regateiras_ (_The Market-women_), _Pratica de compadres_ (_The Gossips_), &c.
[73] _Emphatri[)o]es_, _Filodemo_, _Seleuco_.
[74] _Os Estrangeiros_, _Os Vilhalpandos_ (_The Impostors_).
[75] _Eufrosina_, _Ulyssipo_ (Lisbon), _Aulegrafia_.
[76] _Astarte_, _Hermione_, _Megara_.
[77] These assumptions of names remind us that we are in the period of the "_Arcadias_."
[78] _Cat[=a]o_.
[79] _Manoel de Sousa_, &c.
[80] _Antigone_ and _Electra_; _Hecuba_; and _Iphigenia in Aulis_. The _Andria_ was also translated, and in 1540 Ronsard translated the _Plutus_ of Aristophanes.
[81] Trissino, _Sofonisba_, by de Saint-Gelais.
[82] _La Soltane_ (1561).
[83] _Daïre (Darius)._
[84] _La Mort de César._
[85] _Achille_ (1563).
[86] _Les Lacènes_; _Marie Stuart or L'Écossaise_.
[87] _La Juive_, &c.
[88] _Les Corivaux_ (1573).
[89] _La Reconnue_ (Le Capitaine Rodomont).
[90] _Les Esbahis._
[91] _Les Contens_ (S. Parabosco, _I Contenti_).
[92] _Les Néapolitaines_; _Les Désespérades de l'amour_.
[93] _Le Laquais (Il Ragazzo)._
[94] _Les Tromperies (Gli Inganni)._
[95] "L. du Peschier" (de Barry), _La Comédie des comédies_.
[96] _L'Amour tyrannique._
[97] _Agrippine_, _Le Pédant joué_.
[98] _Marianne._
[99] _Sophonisbe._
[100] _Les Bergeries._
[101] _Mélite_; _Clitandre_, &c.
[102] _Le Véritable Saint Genest_; _Venceslas_.
[103] Steele, _The Lying Lover_; Foote, _The Liar_; Goldoni, _Il Bugiardo_.
[104] Ruiz de Alarcon, _La Verdad sospechosa._
[105] _L'Illusion comique_ is antithetically mixed.
[106] _Andromaque_; _Phèdre_; _Bérénice_, &c.
[107] _Esther_; _Athalie_.
[108] _Le Cid_; _Polyeucte_.
[109] _Esther_; _Athalie_.
[110] Corneille, _Rodogune_; Racine, _Phèdre_.
[111] _Brutus_; _La Mort de César_; _Sémiramis_.
[112] _OEdipe_; _Le Fanatisme_ (_Mahomet_).
[113] _Adélaïde du Guesclin_.
[114] _L'Orphelin de la Chine_.
[115] _Tanis et Zélide_.
[116] _Les Guèbres_.
[117] _Olimpie_.
[118] _Tancrède_.
[119] _La Mort de César_; _Zaïre_ (_Othello_).
[120] _Hamlet_; _Le Roi Léar_, &c.
[121] The 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.
[122] Quinault, _L'Amour indiscret_ (Newcastle and Dryden's _Sir Martin Mar-all_).
[123] _Le Mercure galant_; _Ésope à la ville_; _Ésope à la cour_ (Vanbrugh, _Aesop_).
[124] _Le Bal_ (_M. de Pourceaugnac_); Geronte in _Le Légataire universel_ (Argan in _Le Malade imaginaire_); _La Critique du L._ (_La C. de l'école des femmes_).
[125] _Le Joueur_; _Le Légataire universel_.
[126] _Crispin rival de son maître_; _Turcaret_.
[127] _Le Méchant_.
[128] _La Métromanie_.
[129] _Le Jeu de l'amour et du hasard_; _Le Legs_; _La Surprise de l'amour_; _Les Fausses Confidences_; _L'Épreuve_.
[130] _Le Philosophe marié_; _Le Glorieux_; _Le Dissipateur_.
[131] _La Fausse Antipathie_; _Le Préjugé à la mode_; _L'École des amis_; _Méluside_; _Paméla_. _L'École des mères_ was the play which Frederick the Great described as turning the stage into a _bureau général de la fadeur_.
[132] See especially _Nanine_, founded on the original _Paméla_.
[133] _Le Philosophe sans le savoir_; _La Gageure imprévue_.
[134] e.g. _Eugénie_ (the original of Goethe's _Clavigo_) and _Les Deux Amis_, or _Le Négociant de Lyon_.
[135] _Richard Coeur de Lion_, &c.
[136] _Zémire et Azor_; _Jeannot et Jeannette_.
[137] _Les Muses galantes_; _Le Devin du village_.
[138] _Pygmalion_.
[139] _Charles IX, ou l'école des rois_.
[140] _Hernani_ (1839); _Le Roi s'amuse_; _Ruy Blas_; _Les Burgraves_, &c. Even in _Torquemada_, the fruit of its author's old age, and full of bombast, the original power has not altogether gone out.
[141] _Chatterton_.
[142] _François le champi_; _Claudie_.
[143] _Le Gendre de M. Poirier_.
[144] _On ne badine pas avec l'amour_, as interpreted by Delaunay, must always remain the most exquisite type of this inimitable _genre_.
[145] _Théâtre de Clara Gazul_. _La Famille Carvajal_, one of these pieces, treats the same story as that of _The Cenci_.
[146] _Lucrèce_ (1843); _L'Honneur et l'argent_; _Charlotte Corday_.
[147] _La Ciguë_; _L'Aventurière_; _Gabrielle_; _Le Fils de Giboyer_, &c.
[148] _Valérie_; _Bertrand et Raton_; _Le Verre d'eau_, &c.
[149] _Louis XI._
[150] _Adrienne Lecouvreur_.
[151] _La Dame aux camélias_; _Le Demi-monde_; _Le Supplice d'une femme_; _Les Idées de Mme Aubray_; _L'Étrangère_; _Francillon_.
[152] _Les Pattes de mouche_; _Nos bons villageois_; _Patrie_.
[153] _Le Monde où l'on s'ennuie_.
[154] _Frou-frou_.
[155] As has been already seen, Sir David Lyndsay's celebrated _Satyre of the Three Estaits_, a dramatic manifesto in favour of the Reformation, is in form a morality pure and simple.
[156] _Tom Tiler and his Wife_ (1578); _A Knack to know a Knave_ (c. 1594); _Sir Clyomon and Sir Clamydes_ (misattributed to G. Peele), (printed 1599).
[157] An earlier drama by him, _Christus redivivus_, is said to have been printed at Cologne.
[158] _Oedipus_; _Dido_; _Ulysses redux_.
[159] By A. Guarna.
[160] _Pax_; _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's _Herodes_, some time after 1567, are unknown.
[161] The date and place of performance of the Latin _Fatum Vortigerni_ are unknown; but it was not improbably produced at a later time than Shakespeare's _Richard II._, which it seems in certain points to resemble.
[162] Latin "academical" plays directly imitated from Seneca, but of unknown date, are _Solymannidae_ (or the story of Solyman II. and his son Mustapha), and _Tomumbeius_ (Tuman Bey, sultan of Egypt, 1516); yet others exhibit his influence.
[163] _"Supposes" and "Jocasta,"_ ed. J. W. Cunliffe.
[164] His _Palamon and Arcyte_ (produced in Christ Church hall, Oxford, in 1566) is not preserved; or we should be able to compare with _The Two Noble Kinsmen_ this early dramatic treatment of a singularly fine theme.
[165] _The History of the Collier._
[166] _A Historie of Error_ (1577), one of the many imitations of the _Menaechmi_, may have been the foundation of the _Comedy of Errors_. In the previous year was printed the old _Taming of a Shrew_, founded on a novel of G. F. Straparola. Part of the plot of Shakespeare's _Taming of the Shrew_ may have been suggested by _The Supposes_.
[167] _Treatise wherein Dicing, Dauncing, Vaine Playes or Enterluds ... are reproved_, &c. (1577).
[168] _The School of Abuse._
[169] _The Anatomy of Abuses._
[170] H. Denham, G. Whetstone (the author of _Promos and Cassandra_), W. Rankine.
[171] It 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 the _histriones_ of 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.
[172] _The Woman in the Moone_; _Sapho and Phao_.
[173] _Alexander and Campaspe._
[174] _Endimion_; _Mydas_.
[175] _Gallathea._
[176] _Friar Bacon and Friar Bungay._
[177] _The Wounds of Civil War._ With Greene he wrote _A Looking-Glass for London_.
[178] _Summer's Last Will and Testament_ is his sole entire extant play. _Dido, Queen of Carthage_, is by him and Marlowe.
[179] _Patient Grissil_ (with Dekker and Haughton).
[180] _Hoffman, or A Revenge for a Father._
[181] _Henry VIII._
[182] Ford, _Perkin Warbeck_.
[183] _Edward IV._; _If You Know Not Me_, &c.
[184] _Henry VIII._
[185] _The Merry Wives of Windsor._
[186] Massinger, _The Virgin Martyr_; Shirley, _St Patrick for Ireland_.
[187] _Cleopatra_; _Philotas_.
[188] _Darius_; _Croesus_; _Julius Caesar_; _The Alexandraean Tragedy_.
[189] _The Sad Shepherd_.
[190] _The Faithful Shepherdess._
[191] _The Queen's Arcadia._
[192] _Sejanus his Fall_; _Catiline his Conspiracy_.
[193] _Bussy d'Ambois_; _The Revenge of B. d'A._; _The Conspiracy of Byron_; _The Tragedy of B._; _Chabot, Admiral of France_ (with Shirley).
[194] _Arden of Faversham_; _A Yorkshire Tragedy_.
[195] _A Woman killed with Kindness_; _The English Traveller_.
[196] _Vittoria Coromboni_; _The Duchess of Malfi_.
[197] _'Tis Pity She's a Whore_; _The Broken Heart_.
[198] _Every Man in his Humour_; _Every Man out of his Humour_.
[199] Shadwell, _The Humorists_.
[200] It 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.
[201] The Latin comedy _Victoria_ by 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's _Loyola_ was acted at Trinity in 1623.
[203] _Naufragium joculare--The Guardian_ (rewritten later as _The Cutter of Coleman Street_).
[204] Chapman, Marston (and Jonson), _Eastward Hoe_ (1605); Middleton, _A Game at Chess_ (1624); Shirley and Chapman, _The Ball_ (1632); Massinger(?), _The Spanish Viceroy_ (1634).
[205] _Twelfth Night._
[206] _The Puritan, or the Widow of Watling Street_, by "W. S." (Wentworth Smith?).
[207] _The Alchemist_; _Bartholomew Fair_.
[208] Chapman, _An Humorous Day's Mirth_; Marston, _The Dutch Courtesan_; Middleton, _The Family of Love_.
[209] Among these was Sir Richard Fanshawe's English version of the _Pastor fido_ (1646); after his death were published his translations of two plays by A. de Mendoza.
[210] _A Short View of Tragedy_ (1693).
[211] _The Black Prince_; _Tryphon_; _Herod the Great_; _Altemira._
[212] _The Indian Queen._
[213] _The Indian Emperor_; _Tyrannic Love_; _The Conquest of Granada._
[214] _Essay of Dramatic Poesy._
[215] _Essay of Heroic Plays._
[216] A direct satirical invective against rhymed tragedy of the "heroic" type is to be found in Arrowsmith's comedy _Reformation_ (1673).
[217] _The Grounds of Criticism in Tragedy._
[218] _All for Love (Antony and Cleopatra)._
[219] _Don Sebastian._
[220] _The Rival Queens_; _Lucius Junius Brutus_; _The Massacre of Paris._
[221] _Don Carlos_; _The Orphan_; _Venice Preserved._
[222] _Oroonoko_; _The Fatal Marriage._
[223] _The Mourning Bride._
[224] _The Fair Penitent_; _Jane Shore._
[225] A 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 included _Remarks on English Comedy_ (1677), and one of his own comedies, the celebrated _Sir Politick Would-be_, professed to be composed "_à la manière angloise_."
[226] _Epsom Wells_; _The Squire of Alsatia_; _The Volunteers._
[227] A dramatic curiosity of a rare kind would be _The 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.
[228] _The Country Wife_; _The Plain-Dealer._
[229] _The Double Dealer._
[230] _The Recruiting Officer_; _The Beaux' Stratagem._
[231] _A Short View of the Immorality and Profaneness of the English Stage._
[232] Sir Novelty Fashion (Lord Foppington), &c.
[233] _The Lying Lover_; _The Tender Husband._
[234] _The Conscious Lovers._
[235] _The Absolute Unlawfulness of Stage Entertainments fully Demonstrated_; _The Stage defended_, &c. (1726).
[236] _The Siege of Damascus._
[237] _Mariamne._
[238] _The Double Falsehood._
[239] _The Revenge (Othello)._
[240] _Fatal Curiosity._
[241] _Irene_ (1749); _The Patriot_ attributed to Johnson, is by Joseph Simpson.
[242] _Elfrida_; _Caractacus_.
[243] _Rosamunda._
[244] _Love in a Village_, &c.
[245] _The Waterman_, &c.
[246] _Pasquin_; _The Historical Register for 1736._
[247] _The Golden Rump._
[248] The first dramatic performance licensed by the lord chamberlain after the passing of the act was appropriately entitled _The Nest of Plays_, and consisted of three comedies named respectively _The Prodigal Reformed_, _In Happy Constancy_ and _The 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.
[249] J. Townley, _High Life Below Stairs_ (1759).
[250] _The Minor_; _Taste_; _The Author_, &c.
[251] This celebrated play was at first persistently attributed to Miss Elizabeth Carter.
[252] _The School for Lovers._
[253] _False Delicacy._
[254] _The Jealous Wife_; _The Clandestine Marriage._
[255] _The Heiress._
[256] _The West Indian_; _The Jew._
[257] _The Belle's Stratagem_; _A Bold Stroke for a Husband_, &c.
[258] _The Road to Ruin_, &c.
[259] _John Bull_; _The Heir at Law_, &c.
[260] _Midas_; _The Golden Pippin._
[261] _Bertram._
[262] _Ion._
[263] _Fazio._
[264] _Philip van Artevelde._
[265] _The Death of Marlowe._
[266] _Becket_; _The Cup._
[267] _Merope._
[268] _The Golden Legend._
[269] _Love is Enough._
[270] _Strafford_; _The Blot on the Scutcheon._
[271] _Atalanta in Calydon_; _Bothwell_; _Chastelard_; _Mary Stuart._
[272] _Virginius_; _The Hunchback._
[273] A drama entitled _Speculum vitae humanae_ is mentioned as produced by Archduke Ferdinand of the Tirol in 1584.
[274] _Susanna_ (_Geistliches Spiel_) (1536), &c. Sixt Birk also brought out a play on the story of _Susanna_, which he had previously treated in a Latin form, in the vernacular (1552).
[275] _Siegfried_; _Eulenspiegel_, &c.
[276] _Susanna_; _Vincentius Ladislaus_, &c.
[277] _Mahomet_; _Edward III._; _Hamlet_; _Romeo and Juliet_, &c.
[278] _The Tempest_ (Ayrer, _Comedia v. d. schonen Sidea_).
[279] _Herr Peter Squenz_ (_Pyramus and Thisbe_); _Horribilicribrifax_ (Pistol?).
[280] His son, Christian Gryphius, was author of a curious dramatic summary (or _revue_) of German history, both literary and political; but the title of this school-drama is far too long for quotation.
[281] One of his _aliases_ was _Pickelharnig_. 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.
[282] Deschamps and Addison.
[283] _Richard III._; _Romeo and Juliet_.
[284] _Die Zwillinge_ (_The Twins_); _Die Soldaten_, &c.
[285] _Julius von Tarent._
[286] _Der Hofmeister_ (_The Governor_), &c.
[287] _Genoveva_, &c.
[288] Iffland's best play is _Die 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.
[289] _Die deutschen Kleinstadter_ is his most celebrated comedy and _Menschenhass und Reue_ one 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.
[290] _Der Groosskophta_ (Cagliostro); _Der Burgergeneral_.
[291] A. W. von Schlegel and Tieck's (1797-1833).
[292] A. W. von Schlegel, _Lectures on Dramatic Art and Literature_, &c.
[293] _Zriny_, &c.
[294] _Ion._
[295] _Alarcos._
[296] _Kaiser Octavianus_; _Der gestiefelte Kater_ (_Puss in Boots_), &c.
[297] _Der 24. Februar_ (produced on the Weimar stage with Goethe's sanction).
[298] _Der 29. Februar_; _Die Schuld_ (_Guilt_).
[299] _Das Bild_ (_The Picture_); _Der Leuchtthurm_ (_The Lighthouse_).
[300] _Die Ahnfrau_ (_The Ancestress_).
[301] _Das Kathchen_ (_Kate_) _von Heilbronn_.
[302] _Der zerbrochene Krug_ (_The Broken Pitcher_).
[303] _Prinz Friedrich von Homburg._
[304] _Sappho_, _Medea_, &c.
[305] _Konig Ottokar's Glück und Ende_ (_Fortune and Fall_); _Der Bruderzwist_ (_Fraternal Feud_) _in Habsburg_.
[306] _Die verhangnissvolle Gabel_ (_The Fatal Fork_); _Der romantische Oedipus_.
[307] _Die Nibelungen_; _Judith_, &c.
[308] _Der Erbforster._
[309] _Uriel Acosta_; _Der Königslieutenant._
[310] _Die Valentine._
[311] _Die Karlsschüler._
[312] _Der Pfarrer von Kirchfeld_; _Der Meineidbauer_; _Die Kreuzelschreiber_; _Das vierte Gebot_.
[313] _The Robbers_ (Franz Moor). His next most famous part was Lear.
[314] In connexion with the production in 1855 of "F. Halm's" _Fechter von Ravenna_, of which the authorship was claimed by a half-demented schoolmaster.
[315] As to more recent developments of German theatrical literature see the article GERMAN LITERATURE, and the remarks on the influence of foreign works in the section on _Recent English Drama_ above.
[316] _Aluta_; _Asotus_; _Hecastus_, &c.
[317] _Gysbrecht van Aemstel_; _Lucifer_.
[318] _Ulysses of Ithaca._
[319] _The Politician-Tinman_; _Jean de France or Hans Franzen; The Lying-In_, &c.
[320] _Aladdin_; _Corregio._
[321] _Maria Stuart_; _A Bankruptcy_; _Leonarda._
[322] _Brand_; _Peer Gynt._
[323] _Samfundets Stöttere_; _Et Dukkehjem_; _Gengangere._
[324] _Pan 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-Laurvik _amter_ (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 the _Morality 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 the _Three Chancellors_ (1859), a sketch of the lives of William of Wykeham, William of Waynflete and Sir Thomas More.
A complete list of her writings is given in the _Memoir of Mother Francis Raphael, O.S.D., Augusta Theodosia Drane_, edited by B. Wilberforce, O.P. (London, 1895).