Part 20

_Mediaeval Drama._--There is no drama between the death of Seneca and the Renaissance, unless we except the six curious 'comedies' of the nun Hrosvitha of Gandersheim (born about A.D. 935). These plays are based upon Terence, though they do not follow their model closely. They are, of course, written in Latin. They have some vivid dramatic touches, and frequent felicities of expression. They were probably intended for recitation, not for representation on the stage. They must be regarded as an isolated phenomenon. The Church for long discouraged drama, but ended by adapting it to its own purposes. As in Greece, therefore, drama originated in England from religion. The priests impressed certain events in sacred history upon the minds of their congregation by means of dramatic performances which at first took place actually in the church. Thus the removal of the stone from the mouth of the sepulchre and the discovery of the empty tomb was performed at Easter, and the finding of the Babe in the manger by the three Magi was represented at Epiphany. It is easy to understand how performances of this sort arose from the singing of suitable anthems on festival days. The Oberammergau passion-play is a somewhat sophisticated representative of these liturgical plays; it cannot be called a survival, as it only dates back to 1633. These mystery-plays, so called because they were produced by the trade-guilds (Lat. _ministerium_, a trade), were eventually brought out into the market-place on wagons, and were moved round to various 'stations' in the town, different plays being performed at each station. A distinction is sometimes made between mystery- and miracle-plays, the former being defined as dealing with gospel events only, while the latter deal with incidents derived from the legends of the saints. Several collections of these plays survive--the Wakefield, Chester, and Coventry plays. They are written in a lively fashion, and are often naively humorous, the most sacred Bible characters being introduced along with English yokels and crudely comic persons. The next development of the drama was the morality play or allegory; the well-known _Everyman_ is the most finished specimen of this kind of play which we possess. Here personifications of Virtues and Vices formed the dramatis personae; the Devil was usually included in the cast. Moralities were in ways less crude than mysteries, as they consisted of an allegory worked out by means of a more or less continuous plot, while mysteries consisted merely of a series of isolated scenes. The interlude is another early species of drama; it marks a still further advance. Interludes were both farcical and theological in their subjects, and played an important part in the controversies at the time of the Reformation. John Heywood (1497-1580) is the most important writer of interludes, the controversial plays of John Bale (1495-1563) serving to link the interlude to the regular drama, which began gradually to spring up.

[Illustration: Elizabethan Drama

Interior of the Swan Theatre in 1596. From a sketch made by a Dutchman who visited England at the time.]

_Elizabethan Drama._--The first English comedy, _Ralph Roister Doister_, appeared in 1551. It is by Nicolas Udall, and is based upon the _Miles Gloriosus_ of Plautus. _Gammer Gurton's Needle_, a more native production, thought to have been by John Still, who was master of St. John's College, Cambridge, and Bishop of Bath and Wells, appeared about 1566. Drama now improved rapidly, and was soon to attain perfection in Shakespeare. Marlowe, Kyd, Greene, Lyly, Nash, Lodge, and Peele all helped to prepare the way. The greatest of these is Marlowe, who died at the age of twenty-nine, leaving behind him the great plays _Tamburlaine_ (1588), _Faustus_, and _Edward II_. In his development of blank verse he contributed greatly to the success of the drama. The earliest tragedy, _Gorboduc_ (1562), is incredibly stiff and wooden in its versification. Marlowe made of blank verse an instrument that would sound any note of pathos or sublimity. In the plays of Shakespeare (1564-1616) drama reached its greatest height. In comedy, tragedy, history, in handling dramatic situations, and in liquid perfection of verse, he is supreme. Like the very greatest masters, he founded no school, and his contemporaries owe little to him. While they are all put in the shade by his myriad-minded genius, they are all partakers with him in the glory of their age, and are all great in themselves. Jonson (1573-1637) is one of the most important, as he to some extent founded a school and exercised considerable influence over later writers. He was a scholarly and laborious playwright, who over-elaborated some of his work, but who was a masterly adept at constructing a play, and a vigorous realist. Chapman (1559-1634), Dekker (1570-1641), and Marston (1575-1634) were all good workmanlike dramatists. Beaumont and Fletcher produced between them a great body of work, some of inferior quality, but all of great power. In some respects their work is less unlike that of Shakespeare than the work of other Elizabethans. Middleton, Webster, Tourneur, Thomas Heywood, and Massinger are all excellent in their way, Massinger in particular being a master of stage-craft. Shirley and Ford conclude the list of the great Jacobean dramatists. The Puritans caused the theatres to be closed in 1642.

_Spanish and French Drama._--Meanwhile a similar outburst of dramatic

## activity was taking place on the Continent. In Spain, Lope de Vega

(1562-1634) wrote a prodigious quantity of plays, and wrote them with much brilliance. Calderon wrote some beautiful plays, several of which have been translated by Edward Fitzgerald. Cervantes, though much better known as a novelist, wrote many good plays. The Spanish school directly inspired Corneille (1606-1684) to write his play _Le Cid_, and so begin the great age of classical French tragedy. Racine (1639-1700) is the other great name. French classical drama, though somewhat fettered by its observance of laws that were wrongly considered essential, is extremely dignified and beautiful. In Moli[`e]re (1622-73) France possesses the greatest of all writers of society comedies. He is as supreme in his kingdom as Shakespeare is in his empire. He borrowed from his predecessors with all the licence of genius, but he payed usurious interest on his borrowings.

_Restoration Drama._--When the theatres were reopened after the Restoration, many dramatists began to write. Restoration comedy was largely based on Moli[`e]re, who was brutalized by Wycherley, and adapted but not improved by Congreve. Congreve was, however, a master of sparkling dialogue, and in one play, _The Way of the World_, he has shown himself not unworthy of comparison with his master. Vanbrugh and Farquhar are the other two important writers of comedies; all their comedies are more or less disfigured by cynicism and immorality, the reaction after the Puritan restraint. Restoration tragedy is much less important than Restoration comedy. Otway, Lee, and Southerne are its chief exponents.

_Eighteenth Century Drama._--Some of these dramatists bring us into the eighteenth century, which was not on the whole prolific in good plays. Fielding wrote many amusing farces, but all were more or less hack-work. At a later period Foote, Cumberland, and the two Colmans wrote good acting plays, which have not lived. The two plays of Goldsmith and several of the plays of Sheridan still hold the stage. Sheridan owed much to the Restoration dramatists, especially Vanbrugh, but as he improved his originals in many respects, and made them much more presentable in decent society, he is entitled to most of the reputation he long enjoyed.

In France, Marivaux (1678-1763) wrote sentimental comedies, while Beaumarchais, whose own life was more exciting and varied than most plays, wrote comedies with brilliant plots. In Italy, Maffei, Goldoni, and Alfieri are notable dramatists; the last named wrote propaganda in the disguise of tragedy. In Germany, Lessing by precept and example inaugurated the 'romantic movement'; Schiller and Goethe are the two greatest names associated with the stage. _Wallenstein_ in particular is a good chronicle-play, while _Faust_ is considered one of the greatest of all German plays.

_Nineteenth and Twentieth Century Drama._--Victor Hugo led the Romantic movement in France, and wrote many great plays, such as _Hernani_ and _Ruy Blas_. De Musset wrote his plays, which he called _proverbes_, under the same influence, and later followers of this school are Rostand and the Belgian M. Maurice Maeterlinck. The French dramatists Augier, Scribe, and Sardou had an overwhelming influence on the English stage, not altogether for its good. English drama was at a low ebb in the middle of the nineteenth century. Lytton's plays, though sometimes performed still, are extremely theatrical. Boucicault, who made a great success by dramatizing 'the pathos of Paddy', is not a great writer. H. J. Byron was an inveterate punster and writer of burlesques of no value. One of his plays, _Our Boys_, was acted for many years. Robertson is the most outstanding author of what is known as 'the cup and saucer' school of comedy. His plays are very much

## acting plays; they are not literature, and are quite removed from real

life. Gilbert was a man of great gifts, but though some of his farces and comedies are good, he was not a master of drama as he was of _libretti_ writing. He did little to improve the drama of his day. Sir A. W. Pinero began his career as a dramatist under the aegis of Robertson, but continued it under that of Ibsen. Ibsen (1828-1906) exercised a not altogether wholesome influence upon English drama for a considerable time. His plays are extremely well-constructed, and he refused to tolerate many conventions, such as asides and soliloquies. In many of his plays he adopted the retrospective method, where the plot consists not so much in anything being done as in the gradual discovery of what has been done long before the rise of the curtain. Sophocles had done this most skilfully in _Oedipus Tyrannus_, but Ibsen carried the method to perfection in _The Wild Duck_ and _Rosmersholm_. All Ibsen's plays are more or less unpleasant, and he did not make many of his characters sympathetic. Pinero, after writing several farces, wrote _The Second Mrs. Tanqueray_ (1893), a masterpiece after the style of Ibsen. _His House in Order_ is a cleverly constructed example of the retrospective method. H. A. Jones (born 1851) has written many excellent and extremely powerful plays, of which the best known are _The Liars_ and _The Case of Rebellious Susan_. G. Bernard Shaw (born 1856), who combines some of the qualities of a Greek sophist with some of the foibles of a modern Irishman, has written some amusing plays, though others have been spoilt by his tendency to turn them into propaganda. Galsworthy has written plays of great earnestness; in some he has neglected the Aristotelian maxim that every play must have a beginning, a middle, and an end. Sir James Barrie has accumulated a large fortune by means of his plays, and in one at least, _Peter Pan_, he has made a bid for immortality.

BIBLIOGRAPHY.--S. H. Butcher, _Aristotle's_ _Theory of Poetry and Fine Art_; A. E. Haigh, _The Attic Theatre_; E. K. Chambers, _The Mediaeval Stage_; A. W. Pollard, _English Miracle Plays_; F. S. Boas, _Shakespeare and his Predecessors_; A. C. Bradley, _Shakespearean Tragedy_; Sir W. Raleigh, _Shakespeare_ (English Men of Letters Series); Sir A. W. Ward, _History of English Dramatic Literature_; K. Mantzius, _History of Theatrical Art_; A. S. Rappoport, _The English Drama_ (Temple Primers); T. H. Dickinson, _The Contemporary Drama of England_; F. Bruneti[`e]re, _Les ['E]poques du th['e][^a]tre francais 1636-1850_; A. Filon, _The Modern French Drama_; A. d'Ancona, _Origini del teatro italiano_; G. H. Lewes, _The Spanish Drama_.

DRAMMEN, or DRAM, a seaport of Norway, in a valley on both sides of the Drammen, at its mouth in the Drammenfiord, 25 miles S.S.W. of Christiania. It has manufactures of leather, soap, ropes, sail-cloth, earthenware, and tobacco; and is the second port in the kingdom for the export of timber.

DRAPER, John William, American chemist and physiologist, born at Liverpool 1811, died 1882. He went to America in 1833, and was successively professor of physical science in Hampden-Sidney College, Virginia, and of natural history, chemistry, and physiology in the University of New York. He made many contributions to scientific literature, and devoted much attention to the chemical action of light, in connection with which he effected some discoveries. Among his chief works is his _History of the Intellectual Development of Europe_ (2 vols., 1863). His son, Henry Draper (born 1837, died 1882), chemist and astronomer, made some valuable researches on the spectra of the heavenly bodies.

DRAUGHTS, a game resembling chess played on a board divided into sixty-four checkered squares. Each of the two players is provided with twelve pieces or 'men' placed on every alternate square at each end of the board. The men are moved forward diagonally to the right or left one square at a time, the object of each player being to capture all his opponent's men, or to hem them in so that they cannot move. A piece can be captured only when the square on the diagonal line behind it is unoccupied. When a player succeeds in moving a piece to the farther end of the board (the crown-head), that piece becomes a king, and has the power of moving or capturing diagonally backwards or forwards. When it so happens that neither of the players has sufficient advantage in force or position to enable him to win, the game is drawn. _Checkers_ is the common American name of the game.

The game does not offer the same scope for brilliance and originality as the sister game of chess, but still is much more profound than is generally supposed. It has been cultivated in Britain, and especially in Scotland, certainly for over two hundred years, and has served as a field of exercise for some extremely able intellects, which but for it might hardly have been exercised at all. Among famous players are: Andrew Anderson, of Carluke, who published a celebrated work on the game in 1852; James Wyllie, the 'Herd Laddie', who travelled over the world playing exhibition matches, and was for many years world's champion; Robert Martins, English champion about 1870, who played several matches with Wyllie; R. D. Yates, a young American player, who defeated Wyllie for the championship, but shortly afterwards gave up the game; James Ferrie, of Coatbridge, who in 1894 defeated Wyllie and became champion, to be defeated in turn by Richard Jordan of Edinburgh in 1896; Robert Stewart, of Fifeshire, many times Scottish champion, and probably the strongest player now living.

The Scottish tourney, held annually in Glasgow since 1893, except for a few years on account of the War, has done much to stimulate interest in the game. The English Draughts Association also holds a biennial tourney. Several international matches have taken place between Scotland and England, the first in 1884. This, like nearly all the other matches, was won by Scotland. In 1905 a very strong British team visited America and decisively defeated a side representing the United States.--BIBLIOGRAPHY: James Lees, _A Guide to the Game of Draughts_. Early works by Payne, Sturges, Drummond, Hay, Anderson, and Bowen are now very scarce. There are several periodicals devoted to the game; and some newspapers, notably _The Glasgow Weekly Herald_, give it a column weekly.

DRAVE, or DRAU (dr[:a]'ve, drou), a European river which rises in Tyrol, flows E.S.E. across the north of Illyria and the south of Styria, and between Hungary on the left and Croatia and Slavonia on the right, and, after a course of nearly 400 miles, joins the Danube 14 miles east of Essek. It is navigable for about 200 miles.

DRAVID'IAN, a term applied to the vernacular tongues of the great majority of the inhabitants of Southern India, and to the people themselves who inhabited India previous to the advent of the Aryans. The affinities of the Dravidian languages are uncertain. The family consists of the Tamil, Telugu, Canarese, Malay[^a]lam, Tulu, Tuda, Gond, Rajmahal, Oraon, &c. Only the first four mentioned have a literature, that of the Tamil being the oldest and the most important. Originally the word Dravidian was a purely philological term, but it is now used in an ethnological sense as well.--Cf. R. Caldwell, _Comparative Grammar of the Dravidian or South Indian Family of Languages_.

DRAWBACK, usually a certain amount of duties or customs dues paid back or remitted to an importer when he exports goods that he has previously imported and paid duty on, as, for instance, tobacco, &c.; or a certain amount of excise paid back or allowed on the exportation of home manufactures.

DRAWBRIDGE, a bridge with a lifting floor, such as was formerly used for crossing the ditches of fortresses, or any movable bridge over a navigable channel where the height of the roadway is insufficient to allow vessels to pass underneath. Modern drawbridges across rivers, canals, the entrances of docks, &c., are generally made to open horizontally, and the movable portion is called a bascule, balance, or lifting bridge, a turning, swivel, or swing bridge, or a rolling bridge, in accordance with the mode in which it is made to open. Swing-bridges are usually divided into two parts meeting in the middle, and each moved on pivots on the opposite sides of the channel, or they may move as a whole on a pivot in the middle of the channel. Rolling bridges are suspended from a structure high above the water, and are propelled backwards and forwards by means of rollers.

DRAWING is the art of representing upon a flat surface the forms of objects, and their positions in relation to each other. The idea of nearness or distance is given by the aid of perspective, foreshortening, and gradation, and in the same way the three-dimensional quality of objects is expressed. The term drawing is sometimes limited to the representing of the forms of objects in outline, with or without the shading necessary to develop roundness or _modelling_. But the term has a wider significance. Any arrangement of colours or tones which serve to express form, and the relation of one form to another, is really drawing; and thus a painting may show fine draughtsmanship without line being used at all. Drawing is not a matter of the medium employed, but of the manner in which it is used. It is, however, convenient to classify drawings according to mediums, each of which produces its effect in a different way. Thus drawing may be divided into (1) pen drawing; (2) chalk, pencil, or charcoal drawing; (3) crayon and pastel drawing; (4) drawing shaded with the brush; (5) architectural or mechanical drawing. _Pen drawings_ are often confined to pure outlines; an appearance of _relief_ or projection being given by thickening or doubling the lines on the shadow side, or they may be shaded by combination of lines. _Chalk, pencil, and charcoal drawings_ may be in line or tone. When the chalk is powdered and rubbed in with a stump, large masses and broad effects can be produced with much rapidity. The best draughtsmen, however, rarely use a stump. In _crayon and pastel drawings_ the colours of the objects represented are more or less completely represented in the medium. _Drawings shaded with the brush_ are outlined with the pencil or pen, the shading being laid on or _washed in_ with the brush in tints of Indian ink, sepia, or colour. This was the method of the early water-colour painters in England. _Architectural and mechanical drawings_ are those in which the proportions of a building, machine, &c., are accurately set out for the guidance of the constructor; objects are, in general, delineated by geometric or orthographic projection.

The great schools of painting all show excellent drawing, though differing in character. In Italy the Florentine school combined study of the antique with anatomical research, and produced many vigorous and expressive draughtsmen, notably Michael Angelo and Leonardo da Vinci. The Roman school, under the influence of Raphael, sacrificed vigour and expressiveness to elegance and the representation of ideal form. In the Lombard school a severe style of drawing is seen through harmonious colouring, and in the Venetian school the drawing is often veiled in the richness of the colour. The German and Dutch schools excel in a careful and minute style of naturalistic drawing, combined with good colour. The French school in the time of Poussin was very accurate in its drawing; at a later period its style betrayed a tendency to mannerism. David introduced, again, a purer taste in drawing and a close study of the antique, and these are qualities which distinguish his school (the so-called Classical school), of which Ingres is the leading representative, from the Romantic and Eclectic schools of a later period. The drawing of the British school is naturalistic rather than academic, but the work of Gainsborough and Alfred Stevens is comparable with that of earlier masters.--BIBLIOGRAPHY: Ruskin, _Elements of Drawing_; Spiers, _Architectural Drawing_; R. S. Bowers, _Drawing and Design for Craftsmen_; J. H. Brown, _Sketching without a Master_; Harold Speed, _Drawing_.

DRAWING-ROOM, a room appropriated for the reception of company; a room in which distinguished personages hold levees, or private persons receive

## parties. _Court drawing-rooms_ are those assemblies held from time to time

for the reception or presentation to the sovereign of such ladies as by custom, right, or courtesy are admissible. Receptions at which men are presented are known as _levees_. The sovereign sometimes deputes a member of the royal family to receive, in which case presentations are equivalent to those made to the sovereign in person.

DRAWINGS. The term 'drawings' is usually taken to mean drawings of an architectural or engineering nature, such as the plans of a new building prepared by an architect, or the designs for engineering works, or for machinery produced by an engineer.

[Illustration: Isometric projection of a Brick 8-3/4 x 4-1/4 x 2-3/4]

[Illustration: Plan and Elevation of a Square Slab pierced by a square hole obtained by orthographic projection]

Three methods are commonly made use of in preparing drawings. (1) Orthographic, which represents the subject under consideration in one plane only, and from which dimensions may be scaled off, and which is the normal method of preparing an engineering drawing. (2) Perspective or radial projection is made use of by an architect for displaying the elevations of a building, and gives a truer appreciation of the actual appearance of the building than can be obtained by orthographic projection. (3) Isometric projection enables one to show the length, breadth, and thickness of an object drawn to scale on the one drawing. Such a drawing is really composed of three sets of parallel straight lines, and is not strictly a true representation of the object as it would appear to the eye. It has the great advantage, however, that measurements may be directly scaled from it, and lines which are parallel in the object are also parallel in the drawing.

DRAYTON, MICHAEL, an English poet, born in 1563, is said to have studied at Oxford, and afterwards held a commission in the army. The poem by which his name is chiefly remembered is his _Polyolbion_ (1622, reprinted in 1890), a sort of topographical description of England. It is generally extremely accurate in its details, with, at the same time, many passages of true poetic fire and beauty. Other works are his _Nymphidia, the Court of Fairy_; _The Barons' Wars_; _The Legend of Great Cromwell_; _The Battle of Agincourt_; besides numerous legends, sonnets, and other pieces. He died in 1631, and was buried in Westminster Abbey.--Cf. O. Elton, _Michael Drayton: a Critical Study_.

DRAYTON, MARKET, or DRAYTON-IN-HALES, a town, England, county Salop, 18 miles northeast of Shrewsbury. It has a church, supposed to have been erected, with exception of the steeple, in the reign of William I. There are paper and hair-cloth manufactories. Pop. 5167.