Tragedy . liographicalreferences with comment and direction. Of great value in their specialfields are Butchers edition of Aristotles Poetics (3d ed. 1902); Beitrdge zur Litteraturgeschichte des Mittelalters und derRenaissance, Halle (1890), vol i; and J. E. Spingams Literary Criticismin the Renaissance (1899). English critical discussions of tragedy willbe noted in the chapters on the various historical periods. For tragedyin relation to aesthetic theory, full references are given in Gayley andScott; and Volkelts Msthetik des Tragischen, Munich (2d ed. 1906),supplies a valuable and
Tragedy . liographicalreferences with comment and direction. Of great value in their specialfields are Butchers edition of Aristotles Poetics (3d ed. 1902); Beitrdge zur Litteraturgeschichte des Mittelalters und derRenaissance, Halle (1890), vol i; and J. E. Spingams Literary Criticismin the Renaissance (1899). English critical discussions of tragedy willbe noted in the chapters on the various historical periods. For tragedyin relation to aesthetic theory, full references are given in Gayley andScott; and Volkelts Msthetik des Tragischen, Munich (2d ed. 1906),supplies a valuable and comprehensive discussion and a directoryand criticism of nearly all aesthetic theories since Kant. Especial men- 20 TRAGEDY tion should be made of A. W. Schlegels Vorlesungen uber dramatischeKunst und Litieratur (1817), translated into English in the Bohnedition; and to Hegels Vorlesungen uber die /Esthetik, which closeswith a discussion of dramatic poetry that has been suggestive of muchlater CHAPTER II THE MEDIEVAL AND THE CLASSICALINFLUENCES NGLISH tragedy makes its appearance atthe very beginning of Elizabeths reign. Inthe Middle Ages nearly all knowledge of thedrama of the Greeks and Romans was lost,and the medieval drama developed without aid fromclassical precedents or models. It resulted in variousforms, of which the miracles and the moralities were themost important, but it produced nothing either in formor matter closely resembling classical tragedy or comedy,and manifested no evolution toward corresponding divi-sions of the drama. The Renaissance gave to the worldthe plays of Seneca, Plautus, and the Athenian drama-tists, and, after a time, some knowledge of the classicaltheatre and dramatic art; then, through the imitation ofthese models and also through the innovations and ex-periments which they suggested, the influence of human-ism came in conflict with that of medievalism throughoutEurope, in the drama as in other fields of literature. InEngland th
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