ut hacking off its stoutest limbs. Under their control
tragedy steps upon the stage in an English dress to prove herself worthy
of her Roman sister and ultimately capable of far greater achievements.

To select details in proof of the success of _Damon and Pythias_ as a
pioneer in tragedy is made difficult by the fact that it ends happily.
But attention may be called to the very praiseworthy treatment of the
comic characters--notably Stephano and the gruff but kind-hearted
hangman, Gronno--and to the humanity which vitalizes the major
personages, Carisophus in particular; to the dignity also, maintained
throughout the play (the Collier episode alone excepted), and to the
admirably dramatic suspense secured just before Damon's return. The
following extract is drawn from Pythias's farewell speech at that time,
delivered on the scaffold in accordance with the best English customs:

But why do I stay any longer, seeing that one man's death
May suffice, O king, to pacify thy wrath?
O thou minister of justice, do thine office by and by,
Let not thy hand tremble, for I tremble not to die.
Stephano, the right pattern of true fidelity,
Commend me to thy master, my sweet Damon, and of him crave liberty
When I am dead, in my name; for thy trusty services
Hath well deserved a gift far better than this.
O my Damon, farewell now for ever, a true friend, to me most dear;
Whiles life doth last, my mouth shall still talk of thee,
And when I am dead, my simple ghost, true witness of amity,
Shall hover about the place, wheresoever thou be.

Before this chapter closes a word remains to be said about the rise of
History Plays. Pre-eminently they are the outcome of a patriotism that
was growing stronger and stronger as each year increased the glory of
Queen Elizabeth's reign. Nothing in them is more noteworthy than the
pride in England, in England's kings, and in England's defiance and
conquest of her foes. Whether we read _The Famous Victories of Henry the
Fifth_ (acted before 1588) or _The Troublesome Reign of King John_
(printed 1591) we find the same joyous presentment of courageous
victory. Unfortunately for the author of the latter play, his royal
subject fell away sadly in his submission to the Pope; yet the writer
would not entirely concede the victory to Rome, and having made the very
most of his king's campaign in France and his defiant rejection of the
Papal demands, he attempts t