alities retained their place as legitimate drama throughout the
sixteenth century, and indeed after the modern drama appeared. It is
recorded that Queen Elizabeth, in 1601, then an old woman, witnessed one
of these plays, entitled "The Contention between Liberality and
Prodigality." This was written by Lodge and Greene, two of the regular
dramatists, after Ben Jonson had written "Every Man in his Humour," and
while Shakspeare was writing Hamlet. Thus the various progressive forms of
the drama overlapped each other, the older retaining its place until the
younger gained strength to assert its rights and supersede its rival.

THE INTERLUDE.--While the moralities were slowly dying out, another form
of the drama had appeared as a connecting link between them and the
legitimate drama of Shakspeare. This was the _interlude_, a short play, in
which the _dramatis personae_ were no longer allegorical characters, but
persons in real life, usually, however, not all bearing names even
assumed, but presented as a friar, a curate, a tapster, etc. The chief
characteristic of the interlude was, however, its satire; it was a more
outspoken reformer than the morality, scourged the evils of the age with
greater boldness, and plunged into religious controversy with the zeal of
opposing ecclesiastics. The first and principal writer of these interludes
was John Heywood, a Roman Catholic, who wrote during the reign of Henry
VIII., and, while a professed jester, was a great champion of his Church.

As in all cases of progress, literary and scientific, the lines of
demarcation cannot be very distinctly drawn, but as the morality had
superseded the mystery, and the interlude the morality, so now they were
all to give way before the regular drama. The people were becoming more
educated; the greater spread of classical knowledge had caused the
dramatists to study and assimilate the excellences of Latin and Greek
models; the power of the drama to instruct and refine, as well as to
amuse, was acknowledged, and thus its capability of improvement became
manifest. The forms it then assumed were more permanent, and indeed have
remained almost unchanged down to our own day.

What is called the _first_ comedy in the language cannot be expected to
show a very decided improvement over the last interludes or moralities,
but it bears those distinctive marks which establish its right to the
title.

THE FIRST COMEDY.--This was _Ralph Roister Doister_, whi