in_ (1580) should be noted. Beza's _Abraham
sacrifiant_ (1550), J. de Coignac's _Goliath_ (dedicated to Edward VI.),
Rivandeau's _Haman_ (1561), belong to a group of Biblical tragedies,
inspired by Calvinist influences. But these more and more approached to
the examples of the classical school, which, in spite of all
difficulties and rivalries, prevailed. Among its followers Montchretien
exhibited unusual vigour of rhetoric,[86] and in R. Garnier French
tragedy reached the greatest height in nobility and dignity of style, as
well as in the exhibition of dramatic passion, to which it attained
before Corneille. In his tragedies[87] choruses are still interspersed
among the long Alexandrine tirades of the dialogue.

Comedy under Italian influence.

During this period comedy had likewise been influenced by classical
models; but the distance was less between the national farces and
Terence, than between the mysteries and moralities, and Seneca and the
Greeks. _L'Eugene_ differs little in style from the more elaborate of
the old farces; and while it satirizes the foibles of the clergy without
any appreciable abatement of the old licence, its theme is the favourite
burden of the French comic theatre in all times--_le cocuage_. The
examples, however, which directly facilitated the productivity of the
French comic dramatists of this period, among whom Jean de la Taille was
the first to attempt a regular comedy in prose,[88] were those of the
Italian stage, which in 1576 established a permanent colony in France,
destined to survive there till the close of the 17th century, by which
time it had adopted the French language, and was ready to coalesce with
French actors, without, however, relinquishing all remembrance of its
origin. R. Belleau, a member of the "Pleiad," produced a comedy in which
the type (already approached by Jodelle) of the swaggering captain
appears,[89] J. Grevin copied Italian intrigue, characters and
manners;[90] O. de Turnebe (d. 1581) borrowed the title of one Italian
play[91] and perhaps parts of the plots of others; the Florentine F.
d'Amboise (d. 1558) produced versions of two Italian comedies;[92] and
the foremost French comic poet of the century, P. de Larivey, likewise
an Italian born (of the name of Pietro Giunto), openly professed to
imitate the poets of his native country. His plays are more or less
literal translations of L. Dolce,[93] Secchi[94] and other Italian
dramatists; and this lively a