Although Thomas Kyd (1558-1594) was far from the equal of Marlowe, he was a playwright of real ability and one whose tragedies were unusually popular. Influenced greatly by Seneca, he brought to its climax the 'tragedy of blood'--a type of drama in which ungovernable passions of lust and revenge lead to atrocious crimes and end in gruesome and appalling murders. His famous _Spanish Tragedy_ was the forerunner of many similar plays, of which _Titus Andronicus_ was one. He probably wrote the original play of _Hamlet_, which was elevated by Shakespeare out of its atmosphere of blood and horror into the highest realms of thought and poetry.
John Lyly (c. 1554-1606) was a master in an { 33} entirely different field, that of highly artificial comedy. He brought court comedy to a hitherto unattained perfection of form and style, and in his best work, _Endymion_, he displayed a lovely delicacy of thought and expression which has kept his reputation secure. He is best known, however, for his prose romance, _Euphues_, which gave its name to the style of which it was the climax. Euphuism is a manner of writing marked by elaborate antithesis and alliteration, and ornamented by fantastic similes drawn from a mass of legendary lore concerning plants and animals.[3] This style, which nowadays seems labored and inartistic, was excessively admired by the Elizabethans. Shakespeare imitated it to some extent in _Love's Labour's Lost_, and parodied it in Falstaff's speech to Prince Hal, _I Henry IV_, II, iv. Several of Shakespeare's earlier comedies show Lyly's influence for good and ill--ill, in that it made for artificiality and strained conceits; good, in that it made for perfection of dramatic form and refinement of expression.
+The Masque+.--Somewhat apart from the main current of dramatic evolution is the development of the masque, which became extremely popular in the reign of James I. The English masque was an entertainment, dramatic in character, made up of songs, dialogue, and dances. It originated in masked balls given by the nobility or at court. To John Lydgate, working about 1430, is probably due the credit for introducing into such { 34} disguisings a literary element, while the later course of the masque owes much to Italy. In the developed masque there were two classes of participants: noble amateurs, who wore elaborate costumes and danced either among themselves or with the spectators; and professional entertainers, who spoke and sang. The later masques had elaborate scenery and costumes, with just as much plot as would serve to string together the lyrics and dances. Sometimes an anti-masque of grotesque figures was introduced to serve as contrast to the beautiful figures of the masque. The masques were produced with the utmost lavishness, the most extravagant one of which we know costing over £20,000. Some of them, such as those written by Ben Jonson, contain charming poetry; but their chief interest to the student of Shakespeare lies in the fact that their great popularity caused Shakespeare to introduce short masques into some of his plays, notably _Henry VIII_, _The Winter's Tale_, and _The Tempest_. In similar allegorical dances often given between the acts of Italian plays, has been sought the origin of the 'dumb-show,' which was occasionally introduced into English tragedies, and which appears in the Mouse-Trap given in _Hamlet_.