The Theory of the Theatre, and Other Principles of Dramatic Criticism

speeches and well-sounding phrases." A few years later the young poet, Christopher Marlowe, promised the audience of his initial tragedy that they should

vor; while Tamburlaine the Great was triumphant with the drums and tramplings of romance. The two plays were diametr

Conquest of Granada an epilogue in which he criticised adversely the dramat

ow to write, wh

every word, thr

no, not Jonson

out allowing gr

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ived to a mor

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ion than tho

h drama, during which a playwright could hope for no greater glory than to be

e its presentation was "so natural." He will tell you that A Woman's Way gave an apt and admirable reproduction of contemporary manners in New York; he will mention the make of the automobile that

eteenth century it has grown to be a Drama of Illusion. During the first period it aimed at poetic power, during the second at brilliancy of dialogue, and during the third at naturalness of representment. Throughout the last three centuries, the gradual perfecting of the physical conditions