Tragedy . of dialogue or stage spec-tacle that might be omitted without detracting from thetotal impressiveness. How many minor inconsistenciesof plot or characterization might be corrected. Howcomplicated and bewildering is Hamlet in comparisonwith the simpler harmony of Antigone. How involvedand cumbrous, and how undignified in its appeal to theemotions, is much of Antony and Cleopatra in com-parison with Phedre. How impossible and fantasticis much of Lear in comparison with Ghosts. ButShakespeares defects and deficiencies belong to his timeand to his methods. They are inseparable, indeed, f
Tragedy . of dialogue or stage spec-tacle that might be omitted without detracting from thetotal impressiveness. How many minor inconsistenciesof plot or characterization might be corrected. Howcomplicated and bewildering is Hamlet in comparisonwith the simpler harmony of Antigone. How involvedand cumbrous, and how undignified in its appeal to theemotions, is much of Antony and Cleopatra in com-parison with Phedre. How impossible and fantasticis much of Lear in comparison with Ghosts. ButShakespeares defects and deficiencies belong to his timeand to his methods. They are inseparable, indeed, fromthe very means on which depend his consummate in response to literary tradition, but to the publictheatre; not by a refined but by a daring art; not bysimplicity and unity, but by complexity and opulence ofeffect; not by devotion to creed or science or fact, butby the idealization and sublimation of mans emotionalnature, did Shakespeare give to his dramas their imper-ishable wealth of CHAPTER VII THE LATER ELIZABETHANS* HAKESPEARES great tragedies did notcreate a new epoch in the development ofthe drama. In themes and general treat-ment they made no marked departure fromthe past. Their translation of story and circumstanceinto the conflicts and processes of character was beyondthe reach of imitation, and, indeed, not likely to gainfull recognition from contemporaries. They were ratherthe consummation of the old than the heralds of anew era, though their influence on succeeding drama-tists w^as wide and permeating, especially as time andpublication brought a growing appreciation of theirgreatness as literature. Meanwhile, the old types oftragedy continued their sway, sometimes little touchedby Shakespeares influence. English history plays wererare; Roman history plays frequent; Senecan closetdramas continued; the Marlowean and Kydian tradi-tions received further development. The revenge play,in particular, continued to be one of the most conspicu-ous types.
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Keywords: ., bookcentury1900, bookdecade1900, bookidt, booksubjectenglishdrama
