1 Gallicanus, part ii.; Sapientia.

2 Gallicanus, part i.; Callimachus; Abraham; Paphnutius.

3 The passion-play of Oberammergau, familiar in its present artistic form to so many visitors, was instituted under special circumstances in the days of the Thirty Years’ War (1634). Various reasons account for its having been allowed to survive.

4 To the earliest group belong The Castle of Perseverance; Wisdom who is Christ; Mankind; to the second, or early Tudor group, Medwell, Nature; The World and the Child; Hycke-Scorner, &c.

5 Magnyfycence.

6 New Custome; N. Woodes, The Conflict of Conscience, &c.

7 Albyon Knight.

8 Rastell, Nature of the Four Elements; Redford, Wit and Science; The Trial of Treasure; The Marriage of Wit and Science.

9 The Marriage of Wit and Wisdom; The Contention between Liberality and Prodigality.

10 Jack Juggler; Tom Tiler and his Wife, &c.

11 The Four P’s, &c.

12 The Disobedient Child (c. 1560).

13 The Χριστὀς πάσχων, an artificial Byzantine product, probably of the 11th century, glorifying the Virgin in Euripidean verse, was not known to the Western world till 1542.

14 Of G. Manzini della Motta’s Latin tragedy on the fall of Antonio della Scala only a chorus remains. He died after 1389. Probably to the earlier half of the century belongs the Latin prose drama Columpnarium, the story of which, though it ends happily, resembles that of The Cenci. Later plays in Latin of the historic type are the extant Landivio de’ Nobili’s De captivitate Ducis Jacobi (the condottiere Jacopo Piccinino, d. 1464); C. Verardi’s Historia Baetica (the expulsion of the Moors from Granada) (1492), and the game author’s Ferdinandus (of Aragon) Servatus, which is called a tragi-comedy because it is neither tragic nor comic. The Florentine L. Dali’s Hiempsal (1441-1442) remains in MS. A few tragedies on sacred subjects were produced in Italy during the last quarter of the 15th century, and a little later. Such were the religious dramas written for his pupils by P. Domizio, on which Politian cast contempt; and the tragedies, following ancient models, of T. da Prato of Treviso, B. Campagna of Verona, De passione Redemptoris; and G. F. Conti, author of Theandrothanatos and numerous vanished plays.

15 Imber aureus (Danae), &c.

16 L. Bruni’s Poliscena (c. 1395); Sicco Polentone’s (1370-1463) jovial Lusus ebriorum s. De lege bibia; the papal secretary P. Candido Decembrio’s (1399-1477) non-extant Aphrodisia; L. B. Alberti’s Philodoxios (1424); Ugolino Pisani of Parma’s (d. before 1462) Philogenia and Confutatio coquinaria (a merry students’ play); the Fraudiphila of A. Tridentino, also of Parma, who died after 1470 and perhaps served Pius II.; Eneo Silvio de’ Piccolomini’s own verse comedy, Chrisis, likewise in MS., written in 1444; P. Domizio’s Lucinia, acted in the palace of Lorenzo de’ Medici in 1478, &c.

17 Mondella, Isifile (1582); Fuligni, Bragadino (1589).

18 Home, Douglas.

19 Lazzaroni, Ulisse il giovane (1719).

20 Didone abbandonata, Siroe, Semiramide, Artaserse, Demetris, &c.

21 Cleopatra, Antigone, Octavia, Mirope, &c.

22 e.g. Bruto I. and II.

23 Filippo; Maria Stuarda.

24 Pellico, Francesca da Rimini; Niccolini, Giovanni da Procida; Beatrice Cenci; Giacometti, Cola di Rienzi (Giacometti’s masterpiece was La Marte civile).

25 Pyrogopolinices in the Miles Gloriosus.

26 The masked characters, each of which spoke the dialect of the place he represented, were (according to Baretti) Pantalone, a Venetian merchant; Dottore, a Bolognese physician; Spaviento, a Neapolitan braggadocio; Pullicinella, a wag of Apulia; Giangurgulo and Coviello, clowns of Calabria; Gelfomino, a Roman beau; Brighella, a Ferrarese pimp; and Arlecchino, a blundering servant of Bergamo. Besides these and a few other such personages (of whom four at least appeared in each play), there were the Amorosos or Innamoratos, men or women (the latter not before 1560, up to which time actresses were unknown in Italy) with serious parts, and Smeraldina, Colombina, Spilletta, and other servettas or waiting-maids. All these spoke Tuscan or Roman, and wore no masks.

27 Pasitea.

28 Amicizia.

29 Milesia.

30 La Lena; Il Negromante.

31 La Cassaria; I Suppositi.

32 Of Machiavelli’s other comedies, two are prose adaptations from Plautus and Terence, La Clizia (Casina) and Andria; of the two others, simply called Commedie, and in verse, his authorship seems doubtful.

33 La Cortigiana, La Talanta, Il Ipocrito, Il Filosofo.

34 Momolo Cortesan (Jerome the Accomplished Man); La Bottega del caffé, &c.

35 La Vedova scaltra (The Cunning Widow); La Putta onorata (The Respectable Girl); La Buona Figlia; La B. Sposa; La B. Famiglia; La B. Madre (the last of which was unsuccessful; “goodness,” says Goldoni, “never displeases, but the public weary of every thing”), &c.; and Il Burbero benefico, called in its original French version Le Bourru bienfaisant.

36 Molière; Terenzio; Tasso.

37 Pamela; Pamela Maritata; Il Filosofo Inglese (Mr Spectator).

38 L’ Amore delle tre melarancie (The Three Lemons); Il Corvo.

39 Turandot; Zobeïde.

40 L’ Amore delle tre m. (against Goldoni); L’ Angellino Belverde (The Small Green Bird), (against Helvetius, Rousseau and Voltaire).

41 Aspasia; Polyxena.

42 Ephemeridophobos.

43 Timoleon; Konstantinos Palaeologos; Rhigas of Pherae.

44 The Three Hundred, or The Character of the Ancient Hellene (Leonidas); The Death of the Orator (Demosthenes); A Scion of Timoleon, &c.

45 The term is the same as that used in the old French collective mysteries (journées).

46 In some of his plays (Comedia Serafina; C. Tinelaria) there is a mixture of languages even stranger than that of dialects in the Italian masked comedy.

47 Necromanticus, Lena, Decepti, Suppositi.

48 Los Engaños (Gli Ingannati).

49 Cornelia (Il Negromante).

50 Lope, Armelina (Medea and Neptune as deus ex machina—si modo machina adfuisset).

51 Menennos.

52 El Azero de Madrid (The Steel Water of Madrid); Dineros son Calidad (= The Dog in the Manger), &c.

53 La Estrella de Sevilla (The Star of Seville, i.e. Sancho the Brave); El Nuevo Mundo (Columbus), &c.

54 Roma Abrasada (R. in Ashes—Nero).

55 Arauco domado (The Conquest of Arauco, 1560).

56 La Moza de cantaro (The Water-maid).

57 Las Mocedades (The Youthful Adventures) del Cid.

58 Don Gil de las calzas verdes (D. G. in the Green Breeches).

59 El Burlador de Sevilla y Convivado de piedra (The Deceiver of Seville, i.e. Don Juan, and the Stone Guest).

60 El Divino Orfeo, &c.

61 El Magico prodigioso; El Purgatorio de San Patricio; La Devocion de la Cruz.

62 El Principe constante (Don Ferdinand of Portugal).

63 La Dama duende (The Fairy Lady).

64 Vida es sueño (Life is a Dream).

65 El Lindo Don Diego (Pretty Don Diego).

66 Desden con el desden (Disdain against Disdain).

67 Luzan, La Razon contra la mode (La Chaussée, Le Préjugé à la mode).

68 El Delinquente honrado (The Honoured Culprit).

69 El Sí de las niñas (The Young Maidens’ Consent).

70 O cioso (The Jealous Man), &c. His Inez de Castro is a tragedy with choruses, partly founded on the Spanish play of J. Bermudez.

71 Don Duardos, Amadis, &c.

72 Auto das Regateiras (The Market-women), Pratica de compadres (The Gossips), &c.

73 Emphatriŏes, Filodemo, Seleuco.

74 Os Estrangeiros, Os Vilhalpandos (The Impostors).

75 Eufrosina, Ulyssipo (Lisbon), Aulegrafia.

76 Astarte, Hermione, Megara.

77 These assumptions of names remind us that we are in the period of the “Arcadias.”

78 Catāo.

79 Manoel de Sousa, &c.

80 Antigone and Electra; Hecuba; and Iphigenia in Aulis. The Andria was also translated, and in 1540 Ronsard translated the Plutus of Aristophanes.

81 Trissino, Sofonisba, by de Saint-Gelais.

82 La Soltane (1561).

83 Daïre (Darius).

84 La Mort de César.

85 Achille (1563).

86 Les Lacènes; Marie Stuart or L’Écossaise.

87 La Juive, &c.

88 Les Corivaux (1573).

89 La Reconnue (Le Capitaine Rodomont).

90 Les Esbahis.

91 Les Contens (S. Parabosco, I Contenti).

92 Les Néapolitaines; Les Désespérades de l’amour.

93 Le Laquais (Il Ragazzo).

94 Les Tromperies (Gli Inganni).

95 “L. du Peschier” (de Barry), La Comédie des comédies.

96 L’Amour tyrannique.

97 Agrippine, Le Pédant joué.

98 Marianne.

99 Sophonisbe.

100 Les Bergeries.

101 Mélite; Clitandre, &c.

102 Le Véritable Saint Genest; Venceslas.

103 Steele, The Lying Lover; Foote, The Liar; Goldoni, Il Bugiardo.

104 Ruiz de Alarcon, La Verdad sospechosa.

105 L’Illusion comique is antithetically mixed.

106 Andromaque; Phèdre; Bérénice, &c.

107 Esther; Athalie.

108 Le Cid; Polyeucte.

109 Esther; Athalie.

110 Corneille, Rodogune; Racine, Phèdre.

111 Brutus; La Mort de César; Sémiramis.

112 Œdipe; Le Fanatisme (Mahomet).

113 Adélaïde du Guesclin.

114 L’Orphelin de la Chine.

115 Tanis et Zélide.

116 Les Guèbres.

117 Olimpie.

118 Tancrède.

119 La Mort de César; Zaïre (Othello).

120 Hamlet; Le Roi Léar, &c.

121 The lectures delivered by the late Professor A. Beljame at Trinity College, Cambridge, in 1905-1906 may be mentioned as valuable contributions to our knowledge of the growth of Shakespeare’s influence in France.

122 Quinault, L’Amour indiscret (Newcastle and Dryden’s Sir Martin Mar-all).

123 Le Mercure galant; Ésope à la ville; Ésope à la cour (Vanbrugh, Aesop).

124 Le Bal (M. de Pourceaugnac); Geronte in Le Légataire universel (Argan in Le Malade imaginaire); La Critique du L. (La C. de l’école des femmes).

125 Le Joueur; Le Légataire universel.

126 Crispin rival de son maître; Turcaret.

127 Le Méchant.

128 La Métromanie.

129 Le Jeu de l’amour et du hasard; Le Legs; La Surprise de l’amour; Les Fausses Confidences; L’Épreuve.

130 Le Philosophe marié; Le Glorieux; Le Dissipateur.

131 La Fausse Antipathie; Le Préjugé à la mode; L’École des amis; Méluside; Paméla. L’École des mères was the play which Frederick the Great described as turning the stage into a bureau général de la fadeur.

132 See especially Nanine, founded on the original Paméla.

133 Le Philosophe sans le savoir; La Gageure imprévue.

134 e.g. Eugénie (the original of Goethe’s Clavigo) and Les Deux Amis, or Le Négociant de Lyon.

135 Richard Cœur de Lion, &c.

136 Zémire et Azor; Jeannot et Jeannette.

137 Les Muses galantes; Le Devin du village.

138 Pygmalion.

139 Charles IX, ou l’école des rois.

140 Hernani (1839); Le Roi s’amuse; Ruy Blas; Les Burgraves, &c. Even in Torquemada, the fruit of its author’s old age, and full of bombast, the original power has not altogether gone out.

141 Chatterton.

142 François le champi; Claudie.

143 Le Gendre de M. Poirier.

144 On ne badine pas avec l’amour, as interpreted by Delaunay, must always remain the most exquisite type of this inimitable genre.

145 Théâtre de Clara Gazul. La Famille Carvajal, one of these pieces, treats the same story as that of The Cenci.

146 Lucrèce (1843); L’Honneur et l’argent; Charlotte Corday.

147 La Ciguë; L’Aventurière; Gabrielle; Le Fils de Giboyer, &c.

148 Valérie; Bertrand et Raton; Le Verre d’eau, &c.

149 Louis XI.

150 Adrienne Lecouvreur.

151 La Dame aux camélias; Le Demi-monde; Le Supplice d’une femme; Les Idées de Mme Aubray; L’Étrangère; Francillon.

152 Les Pattes de mouche; Nos bons villageois; Patrie.

153 Le Monde où l’on s’ennuie.

154 Frou-frou.

155 As has been already seen, Sir David Lyndsay’s celebrated Satyre of the Three Estaits, a dramatic manifesto in favour of the Reformation, is in form a morality pure and simple.

156 Tom Tiler and his Wife (1578); A Knack to know a Knave (c. 1594); Sir Clyomon and Sir Clamydes (misattributed to G. Peele), (printed 1599).

157 An earlier drama by him, Christus redivivus, is said to have been printed at Cologne.

158 Oedipus; Dido; Ulysses redux.

159 By A. Guarna.

160 Pax; Troas; Menaechmi; Oedipus; Mostellaria; Hecuba; Amphytruo; Medea. These fall between 1546 and 1560. The date and place of the production of William Goldingham of Trinity Hall’s Herodes, some time after 1567, are unknown.

161 The date and place of performance of the Latin Fatum Vortigerni are unknown; but it was not improbably produced at a later time than Shakespeare’s Richard II., which it seems in certain points to resemble.

162 Latin “academical” plays directly imitated from Seneca, but of unknown date, are Solymannidae (or the story of Solyman II. and his son Mustapha), and Tomumbeius (Tuman Bey, sultan of Egypt, 1516); yet others exhibit his influence.

163 ”Supposes” and “Jocasta,” ed. J. W. Cunliffe.

164 His Palamon and Arcyte (produced in Christ Church hall, Oxford, in 1566) is not preserved; or we should be able to compare with The Two Noble Kinsmen this early dramatic treatment of a singularly fine theme.

165 The History of the Collier.

166 A Historie of Error (1577), one of the many imitations of the Menaechmi, may have been the foundation of the Comedy of Errors. In the previous year was printed the old Taming of a Shrew, founded on a novel of G. F. Straparola. Part of the plot of Shakespeare’s Taming of the Shrew may have been suggested by The Supposes.

167 Treatise wherein Dicing, Dauncing, Vaine Playes or Enterluds ... are reproved, &c. (1577).

168 The School of Abuse.

169 The Anatomy of Abuses.

170 H. Denham, G. Whetstone (the author of Promos and Cassandra), W. Rankine.

171 It may be mentioned that the practice of companies of players, of one kind or another, being taken into the service of members of the royal family, or of great nobles, dates from much earlier times than the reign of Elizabeth. So far back as 1400/1 the corporation of Shrewsbury paid rewards to the histriones of Prince Henry and of the earl of Stafford, and in 1408/9 reference is made to the players of the earl and countess of Arundel, of Lord Powys, of Lord Talbot and of Lord Furnival.

172 The Woman in the Moone; Sapho and Phao.

173 Alexander and Campaspe.

174 Endimion; Mydas.

175 Gallathea.

176 Friar Bacon and Friar Bungay.

177 The Wounds of Civil War. With Greene he wrote A Looking-Glass for London.

178 Summer’s Last Will and Testament is his sole entire extant play. Dido, Queen of Carthage, is by him and Marlowe.

179 Patient Grissil (with Dekker and Haughton).

180 Hoffman, or A Revenge for a Father.

181 Henry VIII.

182 Ford, Perkin Warbeck.

183 Edward IV.; If You Know Not Me, &c.

184 Henry VIII.

185 The Merry Wives of Windsor.

186 Massinger, The Virgin Martyr; Shirley, St Patrick for Ireland.

187 Cleopatra; Philotas.

188 Darius; Croesus; Julius Caesar; The Alexandraean Tragedy.

189 The Sad Shepherd.

190 The Faithful Shepherdess.

191 The Queen’s Arcadia.

192 Sejanus his Fall; Catiline his Conspiracy.

193 Bussy d’Ambois; The Revenge of B. d’A.; The Conspiracy of Byron; The Tragedy of B.; Chabot, Admiral of France (with Shirley).

194 Arden of Faversham; A Yorkshire Tragedy.

195 A Woman killed with Kindness; The English Traveller.

196 Vittoria Coromboni; The Duchess of Malfi.

197 ’Tis Pity She’s a Whore; The Broken Heart.

198 Every Man in his Humour; Every Man out of his Humour.

199 Shadwell, The Humorists.

200 It is impossible in a summary survey to seek to discriminate by any kind of evidence the respective shares in many Elizabethan plays, and the respective credit due to them, of the joint writers. Yet some such inquiry is necessary before judging the claims to remembrance of highly-gifted dramatists such as William Rowley, his namesake Samuel, John Day, and not a few others.

201 The Latin comedy Victoria by Abraham Fraunce of St John’s was written some time before 1583, and dedicated to Sir Philip Sidney; but there is no evidence to show that it was ever acted.

202 (Bishop) Hacket’s Loyola was acted at Trinity in 1623.

203 Naufragium joculare—The Guardian (rewritten later as The Cutter of Coleman Street).

204 Chapman, Marston (and Jonson), Eastward Hoe (1605); Middleton, A Game at Chess (1624); Shirley and Chapman, The Ball (1632); Massinger(?), The Spanish Viceroy (1634).

205 Twelfth Night.

206 The Puritan, or the Widow of Watling Street, by “W. S.” (Wentworth Smith?).

207 The Alchemist; Bartholomew Fair.

208 Chapman, An Humorous Day’s Mirth; Marston, The Dutch Courtesan; Middleton, The Family of Love.

209 Among these was Sir Richard Fanshawe’s English version of the Pastor fido (1646); after his death were published his translations of two plays by A. de Mendoza.

210 A Short View of Tragedy (1693).

211 The Black Prince; Tryphon; Herod the Great; Altemira.

212 The Indian Queen.

213 The Indian Emperor; Tyrannic Love; The Conquest of Granada.

214 Essay of Dramatic Poesy.

215 Essay of Heroic Plays.

216 A direct satirical invective against rhymed tragedy of the “heroic” type is to be found in Arrowsmith’s comedy Reformation (1673).

217 The Grounds of Criticism in Tragedy.

218 All for Love (Antony and Cleopatra).

219 Don Sebastian.

220 The Rival Queens; Lucius Junius Brutus; The Massacre of Paris.

221 Don Carlos; The Orphan; Venice Preserved.

222 Oroonoko; The Fatal Marriage.

223 The Mourning Bride.

224 The Fair Penitent; Jane Shore.

225 A notable influence was exercised upon English comedy as well as upon other branches of literature by C. de Saint-Evremond, a soldier and man of fashion who was possessed of great intellectual ability and of a charming style. Though during his long exile in England—from 1670 to his death—he never learned English, his critical works included Remarks on English Comedy (1677), and one of his own comedies, the celebrated Sir Politick Would-be, professed to be composed “à la manière angloise.”

226 Epsom Wells; The Squire of Alsatia; The Volunteers.

227 A dramatic curiosity of a rare kind would be The Female Rebellion (1682), which has been, on evidence rather striking at first sight, attributed to Sir Thomas Browne. It is more likely to have been by his son.

228 The Country Wife; The Plain-Dealer.

229 The Double Dealer.

230 The Recruiting Officer; The Beaux’ Stratagem.

231 A Short View of the Immorality and Profaneness of the English Stage.

232 Sir Novelty Fashion (Lord Foppington), &c.

233 The Lying Lover; The Tender Husband.

234 The Conscious Lovers.

235 The Absolute Unlawfulness of Stage Entertainments fully Demonstrated; The Stage defended, &c. (1726).

236 The Siege of Damascus.

237 Mariamne.

238 The Double Falsehood.

239 The Revenge (Othello).

240 Fatal Curiosity.

241 Irene (1749); The Patriot attributed to Johnson, is by Joseph Simpson.

242 Elfrida; Caractacus.

243 Rosamunda.

244 Love in a Village, &c.

245 The Waterman, &c.

246 Pasquin; The Historical Register for 1736.

247 The Golden Rump.

248 The first dramatic performance licensed by the lord chamberlain after the passing of the act was appropriately entitled The Nest of Plays, and consisted of three comedies named respectively The Prodigal Reformed, In Happy Constancy and The Trial of Conjugal Love. It is a curious fact that in the first decade of the reign of George III. a severe control of the theatre was very actively exerted after a positive as well as a negative fashion—objectionable passages being ruthlessly suppressed and plays actually written and licensed for the purpose of upholding the existing régime.

249 J. Townley, High Life Below Stairs (1759).

250 The Minor; Taste; The Author, &c.

251 This celebrated play was at first persistently attributed to Miss Elizabeth Carter.

252 The School for Lovers.

253 False Delicacy.

254 The Jealous Wife; The Clandestine Marriage.

255 The Heiress.

256 The West Indian; The Jew.

257 The Belle’s Stratagem; A Bold Stroke for a Husband, &c.

258 The Road to Ruin, &c.

259 John Bull; The Heir at Law, &c.

260 Midas; The Golden Pippin.

261 Bertram.

262 Ion.

263 Fazio.

264 Philip van Artevelde.

265 The Death of Marlowe.

266 Becket; The Cup.

267 Merope.

268 The Golden Legend.

269 Love is Enough.

270 Strafford; The Blot on the Scutcheon.

271 Atalanta in Calydon; Bothwell; Chastelard; Mary Stuart.

272 Virginius; The Hunchback.

273 A drama entitled Speculum vitae humanae is mentioned as produced by Archduke Ferdinand of the Tirol in 1584.

274 Susanna (Geistliches Spiel) (1536), &c. Sixt Birk also brought out a play on the story of Susanna, which he had previously treated in a Latin form, in the vernacular (1552).

275 Siegfried; Eulenspiegel, &c.

276 Susanna; Vincentius Ladislaus, &c.

277 Mahomet; Edward III.; Hamlet; Romeo and Juliet, &c.

278 The Tempest (Ayrer, Comedia v. d. schonen Sidea).

279 Herr Peter Squenz (Pyramus and Thisbe); Horribilicribrifax (Pistol?).

280 His son, Christian Gryphius, was author of a curious dramatic summary (or revue) of German history, both literary and political; but the title of this school-drama is far too long for quotation.

281 One of his aliases was Pickelharnig. In 1702 the electress Sophia is found requesting Leibniz to see whether a more satisfactory specimen of this class cannot be procured from Berlin than is at present to be found at Hanover.

282 Deschamps and Addison.

283 Richard III.; Romeo and Juliet.

284 Die Zwillinge (The Twins); Die Soldaten, &c.

285 Julius von Tarent.

286 Der Hofmeister (The Governor), &c.

287 Genoveva, &c.

288 Iffland’s best play is Die Jager (1785), which recently still held the stage. From Mannheim he in 1796 passed to Berlin by desire of King Frederick William II., who thus atoned for the hardships which he had allowed the pietistic tyranny of his minister Wollner to inflict upon the Prussian stage as a whole.

289 Die deutschen Kleinstadter is his most celebrated comedy and Menschenhass und Reue one of the most successful of his sentimental dramas. According to one classification he wrote 163 plays with a moral tendency, 5 with an immoral, and 48 doubtful.

290 Der Groosskophta (Cagliostro); Der Burgergeneral.

291 A. W. von Schlegel and Tieck’s (1797-1833).

292 A. W. von Schlegel, Lectures on Dramatic Art and Literature, &c.

293 Zriny, &c.

294 Ion.

295 Alarcos.

296 Kaiser Octavianus; Der gestiefelte Kater (Puss in Boots), &c.

297 Der 24. Februar (produced on the Weimar stage with Goethe’s sanction).

298 Der 29. Februar; Die Schuld (Guilt).

299 Das Bild (The Picture); Der Leuchtthurm (The Lighthouse).

300 Die Ahnfrau (The Ancestress).

301 Das Kathchen (Kate) von Heilbronn.

302 Der zerbrochene Krug (The Broken Pitcher).

303 Prinz Friedrich von Homburg.

304 Sappho, Medea, &c.

305 Konig Ottokar’s Glück und Ende (Fortune and Fall); Der Bruderzwist (Fraternal Feud) in Habsburg.

306 Die verhangnissvolle Gabel (The Fatal Fork); Der romantische Oedipus.

307 Die Nibelungen; Judith, &c.

308 Der Erbforster.

309 Uriel Acosta; Der Königslieutenant.

310 Die Valentine.

311 Die Karlsschüler.

312 Der Pfarrer von Kirchfeld; Der Meineidbauer; Die Kreuzelschreiber; Das vierte Gebot.

313 The Robbers (Franz Moor). His next most famous part was Lear.

314 In connexion with the production in 1855 of “F. Halm’s” Fechter von Ravenna, of which the authorship was claimed by a half-demented schoolmaster.

315 As to more recent developments of German theatrical literature see the article German Literature, and the remarks on the influence of foreign works in the section on Recent English Drama above.

316 Aluta; Asotus; Hecastus, &c.

317 Gysbrecht van Aemstel; Lucifer.

318 Ulysses of Ithaca.

319 The Politician-Tinman; Jean de France or Hans Franzen; The Lying-In, &c.

320 Aladdin; Corregio.

321 Maria Stuart; A Bankruptcy; Leonarda.

322 Brand; Peer Gynt.

323 Samfundets Stöttere; Et Dukkehjem; Gengangere.

324 Pan Jowialski; Oludki i Poeta (The Misanthrope and the Poet).