But
After the prolific but sterile productions of the Middle Age, we now enter a rather short transitory period not extending beyond three quarters of a century, i.e., the second half of the /6th and the first years of the 17th. Nothing re markable stands out in this period and it did not produce any masterpiece, but it is of great importance, marking as it does a real revolu tion in dramatic art. Thanks to the humanists, whose minds had been elevated by a closer acquaintance with Homer and Virgil, dramatic art was of a more refined character, the' lan guage richer, and the colored but confused realism of the Middle Age was succeeded by classicism, undoubtedly poorer but certainly of a more finished quality, the real perfection of which moreover was not to be attained until a later period which was felt to be imminent. The 16th century was creating the instrument with which the 17th century would write mas terpieces. We here witness the birth of tragedy, which has no precedent in France, being di reedy inspired from the ancient literature, while comedy for a time is eclipsed. In the 16th century we find the founders and pioneers of dramatic art.
Tragedy.
populace always took delight in the old sotie, farce, morality and mistere plays, but literary men had already conceived a form of art of a higher tone. Emulating the Italians, the humanists of • the colleges composed Latin tragedies, played by the pupils before their professors and fellow students.
however, original works in the French Ian. gunge. The first French tragedy was
It was undoubtedly tragedy in the true meaning of the word, the study of a moral' crisis, treated just prior to its close and cul minating in the death of the hero. The work was clumsy and confused but this is not of great importance. We are shown Cleopatra;' after the death of .Antony, discussing with Ottavius, deliberating with her confidants,. hesitating before taking a decision, finally de ciding-and then killing herself. This was the. commencement of a psychological development of a character in a tragic situation, in fact a' domestic drama transported to the stage. It was tragedy itself.
Among the successors of Jodelle, two really talented authors should be mentioned: Robert Gamier and Antoine de Montchrestien. The masterpiece of the first named was 'Les Juives> (1580), a spirited work which paved the way for Racine 's
Tragedy of the 16th century like that of the 17th obeys
three unities." But it was dull and declamatory, and contained lyrical parts and choruses which, however, disappeared later. More pathetic than dramatic, it left its mark on poetry rather: than the theatre. The' first years of the 17th century mark a step backward rather than forkvard. Once again the different styles become confused. The best known author was Alexandre Hardy, the of ficially appointed playwright to the .aGrands Comediens de l'Hotel de Bourgogne.* He was' indefatigable, turning out pieces by the !tun-• dred: comedies, tragedies, romantic dramas, popular pieces and pastoral plays. He under stood the theatre and knew how to create a dramatic situation, but never troubled about art,. merely aiming at' making money.