ly as 1564-1565), which
already shades off from tragedy into what soon came to be called
tragi-comedy.[164] Simultaneously with the influence, exercised directly
or indirectly, of classical literature, that of Italian, both dramatic
and narrative, with its marked tendency to treat native themes, asserted
itself, and, while diversifying the current of early English tragedy,
infused into it a long-abiding element of passion. There are sufficient
grounds for concluding that a play on the subject of _Romeo and Juliet_,
which L. da Porto and M. Bandello had treated in prose narrative--that
of the latter having through a French version formed itself into an
English poem--was seen on an English stage in or before 1562. _Gismonde
of Salerne_, a play founded on Boccaccio, was acted before Queen
Elizabeth at the Inner Temple in 1568, nearly a generation before it was
published, rewritten in blank verse by R. Wilmot, one of the performers,
then in holy orders; G. Whetstone's _Promos and Cassandra_, founded on
G. Cinthio (from which came the plot of _Measure for Measure_),
followed, printed in 1578; and there were other "casts of Italian
devices" belonging to this age, in which the choice of a striking theme
still seemed the chief preoccupation of English tragic poets.

From the double danger which threatened English tragedy in the days of
its infancy--that it would congeal on the wintry heights of classical
themes, or dissolve its vigour in the glowing heat of a passion fiercer
than that of the Italians--_Ingleso Italianato e un diavolo
incarnato_--it was preserved more than by any other cause by its happy
association with the traditions of the national history. An exceptional
position might seem to be in this respect occupied by T. Hughes'
interesting tragedy _The Misfortunes of Arthur_ (1587). But the author
of this play--in certain portions of whose framework there were
associated with him seven other members of Gray's Inn, including Francis
Bacon, and which was presented before Queen Elizabeth like
_Gorboduc_--in truth followed the example of the authors of that work
both in choice of theme, in details of form, and in a general though far
from servile imitation of the manner of Seneca; nor does he represent
any very material advance upon the first English tragedy.

Chronicle histories.

Fortunately, at the very time when from such beginnings as those just
described the English tragic drama was to set forth upon a course