WHEN the great European act known as the Renaissance reached England, it found its fullest and about permanent expression in the drama. By a fortunate multitude of coincidences this intellectual and artistic impulse affected the people of England at a moment when the country was undergoing a rapid and, on the whole, a peaceful expansionâ"when the national spirit soared high, and when the developing of the language and the forms of versification had reached a point which made possible the most triumphant literary achievement which that country has seen.
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|THE maneuver BEFORE SHAKESPEARE |Â Â 2 |
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|Â Â Throughout the Middle Ages the English drama, alike that of other European countries, was mainly religious and didactic, | |
|its chief forms be the Miracle Plays, which presented in crude dialogue stories from the Bible and the lives of the | |
|saints, and the Moralities, which taught lessons for the guidance of lifespan through the means of allegorical action and the | |
|personification of purloin qualities. Both forms were severely limited in their opportunities for picturing benignant nature | |
|and human life with breadth and variety. With the revival of encyclopedism came naturally the study and imitation of the ancient | |
|classical drama, and in some countries this proved the chief influence in find the prevalent type of drama for | |
|generations to come. But in England, though we can trace important results of the models given by Seneca in tragedy and | |
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