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Browsing named entities in a specific section of M. W. MacCallum, Shakespeare's Roman Plays and their Background. Search the whole document.

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1300 AD (search for this): part 2, chapter 1
eca himself, the poorest of them all, with most of the faults and few of the virtues of the rest, Octavia, the sole surviving example of the Fabula Praetexta, or the Tragedy that dealt with native Roman themes. The Octavia, however, was not less popular and influential than its companions, and has even a claim to especial attention inasmuch as it may be considered.the remote ancestress of the Modern Historic Play in general and of the Modern Roman Play in particular. It inspired Mussato about 1300 to write in Latin his Eccerinis, which deals with an almost contemporary national subject, the fate of Ezzelino: it inspired the young Muretus about 1544 to write his Julius Caesar, which in turn showed his countrymen the way to treat such themes in French. Before eight years were over they had begun to do so, and many were the Roman plays composed by the School of Ronsard. Certainly Seneca's method would suit the historical dramatist who was not quite at home in his history, for of local col
1544 AD (search for this): part 2, chapter 1
istoric Play in general and of the Modern Roman Play in particular. It inspired Mussato about 1300 to write in Latin his Eccerinis, which deals with an almost contemporary national subject, the fate of Ezzelino: it inspired the young Muretus about 1544 to write his Julius Caesar, which in turn showed his countrymen the way to treat such themes in French. Before eight years were over they had begun to do so, and many were the Roman plays composed by the School of Ronsard. Certainly Seneca's methoe de Guienne avecques dignité: en cela, Andreas Goveanus, nostre principal, comme en toutes aultres parties de sa charge, feut sans comparaison le plus grand principal de France; et m'en tenoit on maistre ouvrier. The Julius Caesar written in 1544 belongs to the year before Montaigne left Bordeaux at the age of thirteen, so he may have taken one of the chief parts in it, Caesar, or M. Brutus, or Calpurnia. This would always give us a kind of personal concern in Muret's short boyish composit
1552 AD (search for this): part 2, chapter 1
man theme in the vernacular. In the vernacular, too, Grévin was inspired to rehandle the same theme as Muretus, obtaining from his predecessor most of his material and his apparatus. These experiments again were not without effect on the later dramas of Garnier, two of which were to leave a mark on English literature. The first regular tragedy as well as the first Roman history in the French language was the Cleopatre Captive of Jodelle, acted with great success in 1552 before Henry II. by Jodelle's friends, who at the subsequent banquet presented to him, in semipagan wise, a goat decked with flowers and ivy. The prologueAncien Theatre Francois, Tome iv. ed Viollet Le Duc. to the King describes the contents. C‘est une tragedie Qui d‘une voix plainti?? et hardie Te represente un Romain, Marc Antoine, Et Cleopatre, Egyptienne royne, Laquelle après qu‘Antoine, son amy, Estant desjà vaincu par l'ennemy, Se fust tué, ja se sentant captive, Et qu'on v
1558 AD (search for this): part 2, chapter 1
bespeaks for her not only our sympathy but our admiration. It is just another aspect of this that Antony treats her death as the beginning of her punishment, but to her and her attendants and the women of Alexandria it is a desirable release. The recurrent theme of the chorus, varied to suit the complexion of the different acts, is always the same: Joye, qui dueil enfante Se meurdrist; puis la mort, Par la joye plaisante, Fait au deuil mesme tort. Half a dozen years later, in 1558, the Confrères de la Passion were acting a play which Muretus had more immediately prompted, and which did him greater credit. This was the Cesar of Jacques Grévin, a young Huguenot gentlemen who, at the age of twenty, recast in French the even more juvenile effort of the famous scholar, expanding it to twice the size, introducing new personages, giving the old ones more to do, and while borrowing largely in language and construction, shaping it to his own ends and making it much more dra
1559 AD (search for this): part 2, chapter 1
popular London stage. A survey of these will show how far the ground was prepared for Shakespeare by the traditions of this branch of the drama when he turned to cultivate it himself. 1. Appius and Virginia. The Translation of Octavia The crudest if not the earliest of the series is entitled A new Tragicall Comedie of Apius and Virginia, by R.B., initials which have been supposed with some probability to stand for Richard Bower, who was master of the Chapel Royal at Windsor in 1559. It was first printed in 1575, but must have been written some years before. A phrase it contains, perhaps a number will die of the sweat, has been thought to refer to the prevalence of the plague in 1563, and it may be identified with a play on the same subject that was acted at that time by the boys of Westminster. At any rate several expressions show beyond doubt that it was meant for representation, but only on the old-fashioned scaffold which was soon to be out-of-date. Its characte
1561 AD (search for this): part 2, chapter 1
reatly to its advantage it has been rearranged by later editors, but in the following account, their conjectures, generally happy and sometimes convincing, have been disregarded, as they were unknown to Thomas Nuce, who rendered it into English in 1561. In his hands, therefore, it is more loosely connected than it originally was, or than once more it has become for us; and something of regularity it forfeits as well, for the dislocated framework led him to regard it as a drama in only four acts.ng it to his own ends and making it much more dramatic. Indeed, his tragedy strikes one as fitter for the popular stage than almost any other of its class, and this seems to have been felt at the time, for besides running through two editions in 1561 and 1562, it was reproduced by the Confrères with great success in the former year. Of course its theatrical merit is only relative, and it does not escape the faults of the Senecan school. Grévin styles his dramatis personae rather ominously an
1562 AD (search for this): part 2, chapter 1
age of twenty, recast in French the even more juvenile effort of the famous scholar, expanding it to twice the size, introducing new personages, giving the old ones more to do, and while borrowing largely in language and construction, shaping it to his own ends and making it much more dramatic. Indeed, his tragedy strikes one as fitter for the popular stage than almost any other of its class, and this seems to have been felt at the time, for besides running through two editions in 1561 and 1562, it was reproduced by the Confrères with great success in the former year. Of course its theatrical merit is only relative, and it does not escape the faults of the Senecan school. Grévin styles his dramatis personae rather ominously and very correctly entreparleurs ; for they talk rather than act. They talk, moreover, in long, set harangues even when they are conversing, and Grévin so likes to hear them that he sometimes lets the story wait. Nor do they possess much individuality or
1563 AD (search for this): part 2, chapter 1
ginia. The Translation of Octavia The crudest if not the earliest of the series is entitled A new Tragicall Comedie of Apius and Virginia, by R.B., initials which have been supposed with some probability to stand for Richard Bower, who was master of the Chapel Royal at Windsor in 1559. It was first printed in 1575, but must have been written some years before. A phrase it contains, perhaps a number will die of the sweat, has been thought to refer to the prevalence of the plague in 1563, and it may be identified with a play on the same subject that was acted at that time by the boys of Westminster. At any rate several expressions show beyond doubt that it was meant for representation, but only on the old-fashioned scaffold which was soon to be out-of-date. Its character and scope belong too, in part, to a bygone age. The prologue proclaims its ethical intention with the utmost emphasis: You lordings all that present be, this Tragidie to heare Note well what zeale and lo
1568 AD (search for this): part 2, chapter 1
révin may really be due to the later and much more famous French Senecan Garnier, two of whose works have an undoubted though not very conspicuous place in the history of the English Drama generally, and especially of the Roman Play in England. Cornélie, the earlier and less successful of the pair, written in Garnier's twenty-eighth year, was performed at the Hôtel de Bourgogne in 1573, and was published in 1574. The young author was not altogether unpractised in his art, for already in 1568 he had written a drama on the subject of Portia, but he has not yet advanced beyond his predecessors, and like them, or perhaps more obviously than they, is at the stage of regarding the tragedy only as an elegy mixed with rhetorical expositions. The episode that he selected lent itself to such treatment. Cornelia, the daughter of Metellus Scipio, had after the loss of her first husband, the younger Cassius, become the wife of Pompey the Great, of whose murder she was an eye-witness. M
1573 AD (search for this): part 2, chapter 1
's paraphrase of his authorities is so diffuse that they are not always easy to trace. His apparent debts to Grévin may really be due to the later and much more famous French Senecan Garnier, two of whose works have an undoubted though not very conspicuous place in the history of the English Drama generally, and especially of the Roman Play in England. Cornélie, the earlier and less successful of the pair, written in Garnier's twenty-eighth year, was performed at the Hôtel de Bourgogne in 1573, and was published in 1574. The young author was not altogether unpractised in his art, for already in 1568 he had written a drama on the subject of Portia, but he has not yet advanced beyond his predecessors, and like them, or perhaps more obviously than they, is at the stage of regarding the tragedy only as an elegy mixed with rhetorical expositions. The episode that he selected lent itself to such treatment. Cornelia, the daughter of Metellus Scipio, had after the loss of her first
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