The decline begins with Jonson, and continues with Beaumont and Fletcher, Dekker, Heywood, and the other dramatists mentioned in this chapter. The decline is made clear in several ways: in the narrowing of the ample Shakespearian motive, which comprises all mankind, into themes of temporary, local, and fragmentary importance; in the lack of creative power in the characterization, resulting (as in Jonson) in mere types or “humors,” or (as in Dekker and Fletcher) in superficial improvisation, or in ponderous tragical figures (as in Webster and Tourneur); and lastly, in the degradation of the style, which will be noted below. Sometimes the decline is gilded with delicate fancy, as in Fletcher’s _Faithful Shepherdess_, or in the exquisite _Parliament of Bees_ (1607) by =John Day (1574–1640)=; but the grace and charm of such plays cannot conceal the falling-off in power and imagination. With regard to the development of the different dramatic types, we have already noted that tragedy developed first; in Shakespeare all kinds received attention, tragedy most of all. In post-Shakespearian drama light comedy was the most popular species, chiefly because the tragic note of exalted pity had degenerated into melodrama and horrors. A special word is perhaps necessary on the _masque_, which during this time had a brief but brilliant career. The masque is a short dramatic performance composed for some particular festive occasion, such as the marriage or majority of a great man’s son; it is distinguished by ornate stage-setting, by lyrics, music, and dancing, and by allegorical characters. It finds a place in Shakespeare’s _Tempest_ and other plays; it is strongly developed in the works of Jonson, Fletcher, and other poets of the time; and it attains its climax during the next age in the _Comus_ (1637) of Milton. =3. Prose.= In Elizabethan times the development of prose was slower and slighter than that of poetry. (_a_) The _essay_, beginning in the pamphlet, character-sketch, and other miscellaneous writing, develops in the work of Bacon. Its rise will be sketched more fully in a future chapter (see p. 268). (_b_) The _novel_ has some meager but significant beginnings in More’s _Utopia_ (1516), Sidney’s _Arcadia_ (published in 1590), Lyly’s _Euphues_ (1579), Bacon’s _New Atlantis_ (1626), and most of all in Nash’s _The Unfortunate Traveller_ (1594). The rise of the novel is also reserved for a later chapter (see p. 336). (_c_) _Miscellaneous prose_, in the pamphlets, theological works, sermons, translations, travels, and such abnormalities as Burton’s _Anatomy of Melancholy_ (1621), is exceedingly voluminous and important. We have here a large, loose, and varied mass of English prose, the central exercising-ground of the average prose-writer, that is to be the foundation of many important groups of the future. THE DEVELOPMENT OF LITERARY STYLE