erature, which was established in France before the foundation of the stage, was the work of men of letters, who derived protection from, and felt justly proud of, the exclusive possession of a foreign erudition which raised them above the rest of the nation. The court of France submitted to the guidance of the men of letters; and the nation at large, undecided how to act, and destitute of those institutions which might have given authority to its habits and influence to its tastes, formed into groups, as it were, around the court. In England the drama had taken precedence of classic lore; ancient history and mythology found a popular poetry and creed in possession of the means of delighting the minds of the people; and the study of the classics, which became known at a late period, and at first only by the medium of French translations, was introduced as one of those foreign fashions by which a few men may render themselves remarkable, but which take root only when they fall into harmonious accordance with the national taste. The court itself sometimes affected, in evidence of its attainments, exclusive admiration for ancient literature; but as soon as it stood in need of amusement, it followed the example of the general public; and, indeed, it was not easy to pass from the exhibition of a bear-baiting to the pretensions of classical severity, even according to the ideas then entertained regarding it.
The stage, therefore, remained under the almost undisputed government of the general taste; and science attempted only very timid invasions of the prerogative. In 1561, Thomas Sackville, Lord Buckhurst, procured the representation, in presence of Elizabeth, of his tragedy of “Gorboduc,” or “Forrex and Porrex,” which critics have considered as the dramatic glory of the time preceding Shakspeare. This was, in fact, the first play which was
