Tragedy . graphsof importance dealing with the drama from 1557 to 1642. The present chapter borrows from my article on Hamlet and theRevenge Plays (Publ. Mod. Lang. Assn. 1902), referred to in chap,iv. E. E. Stolls John Webster (Cambridge, Mass., 1905) gives a furtherdiscussion of the Revenge Plays, and especially of Marston. Bullensedition of Marston is the standard. The editions of Heywoods Works(1874) and of Chapmans (1873-75) attempt no scholarly S. Boass edition of the two Bussy DAmbois plays in the Belles-Lettres Series (Boston, 1905) has a valuable introduction. Giffordsed
Tragedy . graphsof importance dealing with the drama from 1557 to 1642. The present chapter borrows from my article on Hamlet and theRevenge Plays (Publ. Mod. Lang. Assn. 1902), referred to in chap,iv. E. E. Stolls John Webster (Cambridge, Mass., 1905) gives a furtherdiscussion of the Revenge Plays, and especially of Marston. Bullensedition of Marston is the standard. The editions of Heywoods Works(1874) and of Chapmans (1873-75) attempt no scholarly S. Boass edition of the two Bussy DAmbois plays in the Belles-Lettres Series (Boston, 1905) has a valuable introduction. Giffordsedition of Jonson (1816) is unfortunately not yet superseded. Thecareful editions of various of his plays in the Yale Studies in Englishas yet include none of his tragedies. Ben Jonson, Vhomme et VoeuvreParis, 1907, by Maurice Castelain is very elaborate, and contains afull bibliography with a preliminary descriptive note of editions. Anew edition of Jonson edited by C. H. Herford and P. Simpson CHAPTER VI SHAKESPEARE UR study has perhaps already made it evi-dent that Shakespeares tragedies were inmany ways the product of a rapid and com-plex evolution. At the same time it is clearthat, until Shakespeare, Elizabethan tragedy with all itsgenius and innovations had failed to attain finality ofart, or to mark out any sure pathway thither. It wasstill in its formative period when he created out ofit something new and immortal, and its developmentcontinued after his death mainly in response to forcesnot of his initiating. For the past two centuries, to aconstantly increasing body of spectators and readers,his tragedies have had a life entirely unconnected withthe works of his contemporaries, an existence that hasdominated our theatres and our conceptions of tra-gedy, and become a part of the daily living and the per-manent ideals of the race. It is therefore necessaryto separate his plays from the mass of tragedies, and toreview them for a moment as the creations of a ge
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