power, or his mastery of poetic beauty. One of the most learned of the
group was George Chapman, whose verse has a Jonsonian solidity not
unaccompanied with Jonsonian ponderousness. He won fame also in
non-dramatic poetry, especially by vigorous but rather clumsy verse
translations of the 'Iliad' and 'Odyssey,' Another highly individual figure
is that of Thomas Dekker, who seems to have been one of the completest
embodiments of irrepressible Elizabethan cheerfulness, though this was
joined in him with an irresponsibility which kept him commonly floundering
in debt or confined in debtor's prison. His 'Shoemaker's Holiday' (1600),
still occasionally chosen by amateur companies for reproduction, gives a
rough-and-ready but (apart from its coarseness) charming romanticized
picture of the life of London apprentices and whole-hearted citizens.
Thomas Heywood, a sort of journalist before the days of newspapers,
produced an enormous amount of work in various literary forms; in the drama
he claimed to have had 'an entire hand, or at least a maine finger' in no
less than two hundred and twenty plays. Inevitably, therefore, he is
careless and slipshod, but some of his portrayals of sturdy English men and
women and of romantic adventure (as in 'The Fair Maid of the West') are of
refreshing naturalness and breeziness. Thomas Middleton, also a very
prolific writer, often deals, like Jonson and Heywood, with sordid
material. John Marston, as well, has too little delicacy or reserve; he
also wrote catch-as-catch-can non-dramatic satires.

The sanity of Shakspere's plays, continuing and indeed increasing toward
the end of his career, disguises for modern students the tendency to
decline in the drama which set in at about the time of King James'
accession. Not later than the end of the first decade of the century the
dramatists as a class exhibit not only a decrease of originality in plot
and characterization, but also a lowering of moral tone, which results
largely from the closer identification of the drama with the Court party.