1) §11. His Programme of Reform; "Every Man in His Humour". I. Ben Jonson.
Vol. 6. The Drama to 1642, Part Two. The Cambridge History of English and
American Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...on the public stage, and trained in its conventions and practices. Neither at that time nor at any other did he plan plays that should break from the popular theatres...
2) §18. His place in Literature. I. Ben Jonson. Vol. 6. The Drama to 1642,
Part Two. The Cambridge History of English and American Literature: An
Encyclopedia in Eighteen Volumes. 1907–21
...the unities, or his fidelity to historical authorities, or his copying of the Plautian plan and types. It is also conditioned by his method of making each person...
3) §8. "The School for Scandal". XII. The Georgian Drama. Vol. 11. The Period
of the French Revolution. The Cambridge History of English and American
Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...significant that Sheridan, in the choice of his dramatis personae, was content to use familiar types. Sir Peter Teazle is the traditional stage old man who had already...
4) §16. Evolution of Tragedy and Comedy. I. The Origins of English Drama. Vol.
5. The Drama to 1642, Part One. The Cambridge History of English and
American Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...chronicle history on the one hand, and of the interlude, in the narrower sense of the term, on the other, tragedy and comedy were found ready to be called into being,...
5) §12. Douglas Jerrold. VIII. Nineteenth-Century Drama. Vol. 13. The
Victorian Age, Part One. The Cambridge History of English and American
Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...comedy, with which Knowles was probably not acquainted. Its story is simpler than those of his other comedies, and it is written with freshness and skill in dramatic...
6) §10. His weakness in characterisation. V. Beaumont and Fletcher. Vol. 6.
The Drama to 1642, Part Two. The Cambridge History of English and American
Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...impossibly loyal subject in Aecius and Archas, the blunt soldier in Memnon and Leontius. On the other hand, Fletcher seems especially responsible for the types of...
7) §1. Thomas Heywood as the servant of public taste. IV. Thomas Heywood. Vol.
6. The Drama to 1642, Part Two. The Cambridge History of English and
American Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...which he felt no personal attraction—such as that comedy of humours flash d in wit which satirised types of humanity neither heroic nor attractive—he declined to...
8) §3. "Ane Pleasant Satyre of the Thrie Estaitis". VI. Sir David Lyndsay.
Vol. 3. Renascence and Reformation. The Cambridge History of English and
American Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...as a reformer, were important elements contributing to his dramatic success. Neither in this nor in other satires was he content with generalities. His desire was...
9) §1. Medieval Drama at the Universities. XII. University Plays. Vol. 6. The
Drama to 1642, Part Two. The Cambridge History of English and American
Literature: An Encyclopedia in Eighteen Volumes. 1907–21
...plays in the vernacular produced on college stages, the ceremonial visits of kings and queens and other royal personages to shows at the two seats of learning, the...
10) §2. "The Old Bachelor". VI. The Restoration Drama. Vol. 8. The Age of
Dryden. The Cambridge History of English and American Literature: An
Encyclopedia in Eighteen Volumes. 1907–21
...s contemporaries could have written the play, any one of them might have devised its fable. In other words, Congreve is playing supremely well the tune of the time....
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