COLLEGE DRAMATICS. The tion of the arts of the theatre with the arts and aims of pedagogy—an alliance which has the profoundest roots—may be summed up in a few words. Most religious and worshipful in its origin, the primitive theatre becomes, in some sort, a moving picture aid to the teacher in his character of mystic; then, because his public craves yet more reality, history re peatedly gives us the view of the teacher-actor dramatist evolving into the instructor of ethics (as distinct from mysticism), in a theatre within the Church itself, or within the School. At this point both Church and School conserve; while the secular dramatists and actors, taking the general public with them into a freer and often richer air of art, round out the humanities. Yet, observing that conservative educationists in all ages have been inclined to frown upon the theatre either as a frivolous amusement or a dangerous one, nevertheless in some form or another, high or base according to the times, toleration or lack of it, the mind of energetic youth has quite as stubbornly inclined to theat rical -performances. And youth has ever pre vailed. Thus we must constantly view the union of the academy and the theatre from two stand points: first, the pedagogic, and then the dis tinctly theatrical. Oftentimes, as in ancient Greece, recitative or oratorical exercises have taken the place of a fuller expression of the dramatic instinct, but only as alternatives and palliatives. The plays of 2Eschylus, Sophocles and Euripides were used in the schools ; and Plato in The Republic' refers to their influ ence. It is noteworthy that even he objected, on moral grounds, to the use of such master pieces. But, of course, Time is not with Plato in this respect.
The Roman schools used plays as textbooks, and probably gave performances. Down the Middle Ages, the dramatic records are few and negligible. We have no evidence of a school theatre during this period till the 10th century, when Hrotsvitha, the Benedictine abbess in Saxony, wrote comedies after the manner of Terence, understood to have been performed in her convent school. But till the latter part of the 16th century plays and playing were mainly encouraged in the universities of western Europe for the purpose of Latin teach ing. Even in this we see the beginnings of a development. Old form plays paved the way for the Neo-Latin plays of the schoolmen, until the Reformation made itself felt. At this day we have a survival in the Latin play of the Westminster School. Then, Latin falling out of general use, school plays came to be written in the vernacular. Italy, Holland, France, Ger many and England were all exponents of school and university drama. Dutch scholars (led by Erasmus) gave the drama what was perhaps the warmest welcome in the schools. France introduced Ravinius Textor, who, through the school drama, is said to have been the first Continental playwright to iafluence the English stage. At this period also the university intro duced George Buchanan, the sturdy Scottish humorist, who was compelled to flee from Scot land, where he wrote histories, to France, where he made plays. His (Jephthes) was °the first
classical tragedy written north of the Alps.p Montaigne played in Buchanan's school theatre, and writes his love and praise of his master in Essay I-215 (Hazlitt edition). German school drama, more religious and probably more spectacular than that of other countries, be came widely popular with the people. Schmidt tells us that the aim of the school drama was °to gain a mastery of the Latin language, to develop the pupil's oratorical powers, to picture vividly moral truths, to interest the pupils, parents and townspeople, to help pay the teach er's salary and sometimes to develop a Icnowl edge and love of the dramatic arts.* Many illustrious youths took part in these plays all over western Europe. In England, Oliver Cromwell, according to his biographer, Heath, played Tactus, the sense of feeling, in a school drama on the Five Senses. Francis Bacon was a famous dramaturg of (showes" at school and of masques at court; whence, doubtless, he drew the matter for his essay on 'Masques and Triumphs.' Since then many a college man, pleading with cold authority, has leaned heavily on the words of his incomparable Elizabethan prototype: °In modern states play acting is esteemed but a toy, except when it is too satirical and biting; but among the ancients it was used as a means of educating men's minds to virtue? And, again, of school drama : °It is a thing indeed, if practised professionally, of low repute; but if it be made a part of dis cipline, it is of excellent use. I mean stage playing; an art which strengthens the memory, regulates the tone and effect of the voice and pronunciation, teaches a decent carriage of the count( nance and gesture, gives not a little as surance, and accustoms young men to bear being looked at? Not the least use of the school and university playing in the vernacular in England was the contribution it made to the rise of the modern drama through the influence of classic translations and imitations. Thus even Euripides speaks indirectly to us to-day through the frigid Seneca, through the pre Shakespearean dramatists, by Shakespeare him self. For this, a debt is due to the schools and universities. Again, the first English comedy, 'Roister Doister,) was a free adaptation from Plautus bv. Nicholas Udall, sometime master of Eton and of Westminster, whose work rose and developed in the schools. It was originally performed at Eton by the scholars. Consult A. W. Ward's 'History of English Dramatic Lit erature' ; Boas's 'University Drama' ; and the same author's (University Plays' ((Cambridge History of English Literature,' Vol. VI) ; E. K. Chamber's 'The Mediwval Stage.' Toward the end of the 17th century the academic drama passed out almost completely, although since that time occasional attenipts have been made to revive the old spirit. These, however, have represented a tradition rather than any native genius.