semblance in Plato's "Republic."

Footnote 110: See Wordsworth's sonnet, _On the Sonnet_. For a detailed
study of this most perfect verse form, see Tomlinson's _The Sonnet, Its
Origin, Structure, and Place in Poetry_.

Footnote 111: William Caxton (_c_. 1422-1491) was the first English
printer. He learned the art abroad, probably at Cologne or Bruges, and
about the year 1476 set up the first wooden printing press in England. His
influence in fixing a national language to supersede the various dialects,
and in preparing the way for the literary renaissance of the Elizabethan
age, is beyond calculation.

Footnote 112: Malory has, in our own day, been identified with an English
country gentleman and soldier, who was member of Parliament for
Warwickshire in 1445.

Footnote 113: For titles and publishers of general works see General
Bibliography at the end of this book.

Footnote 114: _Eastward Ho!_ a play given in Blackfriars Theater about
1603. The play was written by Marston and two collaborators.

Footnote 115: Lie so faint.

Footnote 116: The _View_ was not published till 1633.

Footnote 117: clad.

Footnote 118: handsome.

Footnote 119: jousts, tournaments.

Footnote 120: countenance.

Footnote 121: dreaded.

Footnote 122: took off.

Footnote 123: pity.

Footnote 124: know.

Footnote 125: In the nineteenth century men learned again to appreciate
Chaucer.

Footnote 126: The most dramatic part of the early ritual centered about
Christ's death and resurrection, on Good Fridays and Easter days. An
exquisite account of this most impressive service is preserved in St.
Ethelwold's Latin manual of church services, written about 965. The Latin
and English versions are found in Chambers's _Mediaeval Stage_, Vol. II.
For a brief, interesting description, see Gayley, _Plays of Our
Forefathers_, pp. 14 ff.

Footnote 127: How much we are indebted to the Norman love of pageantry
for the development of the drama in England is an unanswered question.
During the Middle Ages it was customary, in welcoming a monarch or in
celebrating a royal wedding, to represent allegorical and mythological
scenes, like the combat of St. George and the dragon, for instance, on a
stage constructed for the purpose. These pageants were popular all over
Europe and developed during the Renaissance into the dramatic form known as
the Masque. Though the drama was of religious origin, we must not overlo