reprinted by the Spenser Society (1887). Within the last few years three new translations have appeared: by Watson Bradshaw, in prose (1902); by Miss E. A. Harris, in verse, two tragedies 1899, the remaining eight 1904; by F. J. Miller, in verse, with introduction on Seneca's Influence on English Drama by J. M. Manly (Chicago, 1907). Text and discussions of plays are presented by A. W. Pollard, _English Miracle Plays_, Oxford, 4th ed., 1904; A. Brandl, _Quellen des weltlichen Dramas in England_, 1898; J. M. Manly, _Specimens of the Pre-Shakespearean Drama_, 1897 (2 vols., the third to contain notes and discussion). Dodsley's _Old Plays_, ed. W. C. Hazlitt, 15 vols., 1874-76, also contains texts. The matter of this and subsequent chapters also receives treatment in the general histories of literature. J. J. Jusserand, _Literary History of the English People_, 2 vols., 1895-, is especially valuable in its account of the drama. The new _Cambridge History of English Literature_ (now in progress) will contain valuable monographs on the matter of this and subsequent chapters. _The Dictionary of National Biography_ is, of course, most valuable for individual writers. F. E. Schelling's _Elizabethan Drama_, 1558-1642, which appears as this volume is passing the press, is a general history of the drama of the period stated, with special reference to the development of dramatic species. It contains an extremely useful Bibliographical Essay and "A List of Plays" written, acted, or published in England, 1558-1642. CHAPTER III THE BEGINNINGS OF TRAGEDY In this chapter the development of tragedy is to be traced from 1562, the year of the production of "Gorboduc," to about 1587, the beginning of Marlowe's career. Our knowledge of the drama during this period is scanty, and there are few extant tragedies or plays resembling tragedy. Before examining these plays with the detail which their historical position demands, it will be necessary first to glance at the theatrical conditions. Reference has been made to some of the changes that had been working a transformation from the conditions of the popular performance of the religious drama in the fourteenth and fifteenth centuries. Through these, the drama had already to a large extent passed from the control of the guilds to that of small companies of amateur or professional actors; from the open air into the halls of noblemen or of the schools; from the large stage with its fixed stations for the different actors or the procession of pageants, to the small and perhaps improvised platform. Long plays with hosts of actors had given place to short plays with few parts, or many parts divisible among few actors, and constructed with a clear distinction between "on the stage" and "off the stage." Performances indoors, no specially prepared stage, few actors, and short plays represent the prevailing theatrical practice of the early sixteenth century.