the Court and University circles, were now learning from the study of classical plays a sense for form and the fundamental distinction between tragedy and comedy. THE CHRONICLE-HISTORY PLAY. About twenty years before the end of the century there began to appear, at first at the Court and the Universities, later on the popular stage, a form of play which was to hold, along with tragedy and comedy, an important place in the great decades that were to follow, namely the Chronicle-History Play. This form of play generally presented the chief events in the whole or a part of the reign of some English king. It was largely a product of the pride which was being awakened among the people in the greatness of England under Elizabeth, and of the consequent desire to know something of the past history of the country, and it received a great impulse from the enthusiasm aroused by the struggle with Spain and the defeat of the Armada. It was not, however, altogether a new creation, for its method was similar to that of the university plays which dealt with monarchs of classical history. It partly inherited from them the formless mixture of farcical humor with historical or supposedly historical fact which it shared with other plays of the time, and sometimes also an unusually reckless disregard of unity of action, time, and place. Since its main serious purpose, when it had one, was to convey information, the other chief dramatic principles, such as careful presentation of a few main characters and of a universally significant human struggle, were also generally disregarded. It was only in the hands of Shakspere that the species was to be moulded into true dramatic form and to attain real greatness; and after a quarter century of popularity it was to be reabsorbed into tragedy, of which in fact it was always only a special variety.