The dramatic literature of this period only wants exploring, to fill the enquiring mind with wonder and delight, and to convince us that we have been wrong in lavishing all our praise on ‘new-born gauds, though they are made and moulded of things past;’ and in ‘giving to dust, that is a little gilded, more laud than gilt o’er-dusted.’ In short, the discovery of such an unsuspected and forgotten mine of wealth will be found amply to repay the labour of the search, and it will be hard, if in most cases curiosity does not end in admiration, and modesty teach us wisdom. A few of the most singular productions of these times remain unclaimed; of others the authors are uncertain; many of them are joint productions of different pens; but of the best the writers’ names are in general known, and obviously stamped on the productions themselves. The names of Ben Jonson, for instance, Massinger, Beaumont and Fletcher, are almost, though not quite, as familiar to us, as that of Shakespear; and their works still keep regular possession of the stage. Another set of writers included in the same general period (the end of the sixteenth and the beginning of the seventeenth century), who are next, or equal, or sometimes superior to these in power, but whose names are now little known, and their writings nearly obsolete, are Lyly, Marlow, Marston, Chapman, Middleton, and Rowley, Heywood, Webster, Deckar, and Ford. I shall devote the present and two following Lectures to the best account I can give of these, and shall begin with some of the least known.