.. having nether a
complete number of actors, nor any good aparell, nor any ornament of the
stage, yet the Germans, not understanding a worde they sayde, both men and
wemen, flocked wonderfully to see their gesture and action."

Footnote 135: Schelling, _Elizabethan Drama_.

Footnote 136: Baker, in his _Development of Shakespeare as a Dramatist_,
pp. 57-62, takes a different view, and shows how carefully many of the boy
actors were trained. It would require, however, a vigorous use of the
imagination to be satisfied with a boy's presentation of Portia, Juliet,
Cordelia, Rosalind, or any other of Shakespeare's wonderful women.

Footnote 137: These choir masters had royal permits to take boys of good
voice, wherever found, and train them as singers and actors. The boys were
taken from their parents and were often half starved and most brutally
treated. The abuse of this unnatural privilege led to the final withdrawal
of all such permits.

Footnote 138: So called from Euphues, the hero of Lyly's two prose works,
_Euphues, the Anatomy of Wit_ (1579), and _Euphues and his England_ (1580).
The style is affected and over-elegant, abounds in odd conceits, and uses
hopelessly involved sentences. It is found in nearly all Elizabethan prose
writers, and partially accounts for their general tendency to
artificiality. Shakespeare satirizes euphuism in the character of Don
Adriano of _Love's Labour's Lost_, but is himself tiresomely euphuistic at
times, especially in his early or "Lylian" comedies. Lyly, by the way, did
not invent the style, but did more than any other to diffuse it.

Footnote 139: See Schelling, I, 211.

Footnote 140: See p. 114.

Footnote 141: In 1587 the first history of Johann Faust, a half-legendary
German necromancer, appeared in Frankfort. Where Marlowe found the story is
unknown; but he used it, as Goethe did two centuries later, for the basis
of his great tragedy.

Footnote 142: We must remember, however, that our present version of
_Faustus_ is very much mutilated, and does not preserve the play as Marlowe
wrote it.

Footnote 143: The two dramatists may have worked together in such
doubtful plays as _Richard III_, the hero of which is like Timur in an
English dress, and _Titus Andronicus_, with its violence and horror. In
many strong scenes in Shakespeare's works Marlowe's influence is manifest.

Footnote 144: _Gammer Gurton's Needle_ appeared _c_. 1562; _Love's
Labour's Lost,