The history of French tragedy begins with the _Cléopâtre captive_, in the representation of which the author, together with other members of the "Pleiad," took part. It is a tragedy in the manner of Seneca, devoid of action and provided with a ghost and a chorus. Though mainly written in the five-foot Iambic couplet, it already contains passages in the Alexandrine metre, which soon afterwards J. de La Péruse by his _Médée_ (pr. 1556) established in French tragedy, and which Jodelle employed in his _Didon_. Numerous tragedies followed in the same style by various authors, among whom Gabriel Bounyn produced the first French regular tragedy on a subject neither Greek nor Roman,[82] and the brothers de la Taille,[83] and J. Grévin,[84] distinguished themselves by their style. In the reign of Charles IX. a vain attempt was made by Nicolas Filleul to introduce the pastoral style of the Italians into French tragedy;[85] and the Brotherhood of the Passion was intermingling with pastoral plays its still continued reproductions of the old entertainments, and the religious drama making its expiring efforts, among which T. Le Coq's interesting mystery of _Cain_ (1580) should be noted. Beza's _Abraham sacrifiant_ (1550), J. de Coignac's _Goliath_ (dedicated to Edward VI.), Rivandeau's _Haman_ (1561), belong to a group of Biblical tragedies, inspired by Calvinist influences. But these more and more approached to the examples of the classical school, which, in spite of all difficulties and rivalries, prevailed. Among its followers Montchrétien exhibited unusual vigour of rhetoric,[86] and in R. Garnier French tragedy reached the greatest height in nobility and dignity of style, as well as in the exhibition of dramatic passion, to which it attained before Corneille. In his tragedies[87] choruses are still interspersed among the long Alexandrine tirades of the dialogue. Comedy under Italian influence.