No More Learning

ideas had some shadow teries only represented,
However, thesejumbled meaning. The mys
senseless manner, some miraculous History from the Old New
Testament: but these Moralities
something
Mr. Malone opinion his Historical Account
English Stage, that the earliest Morality was not produced
before 1460. They did not however any means super sede Mysteries.
an
C.
is of
be of
so
of
by
the *
in
of
of
in of as in a to
of of
or
to of
its
a
of
be of
at a
in a
o
MR. DODSLEY'S PREFACE. xlv.
design appeared, a fable and a moral; something also of poetry, the virtues, vices, and other affec
tions of the mind
being frequently personified".
* In an old Morality, entitled All Money, the Persons of the Drama are:
Theology. Science. Art. Money. Sin.
Adulation.
Mischievous Help. Pleasure.
Prest for Pleasure.
Gregory Graceless. Moneyless.
William with the two Wives. Nychol.
S. Lawrence. Mother Crooke. Judas.
Dives.
Godly Admonition. Virtue.
Humility. Charity. D.
Thomas Lupton, and printed
Swift Damnation. Satan.
Pride. Gluttony.
Learning with Money. Learning without Money. Money without Learning. Allfor Money.
Neither Money nor Learning.
Moneyless and Friendless. This Play was written
Sin.
4to. 1578.
this date Elizabeth had reigned years; but from
the subsequent lines the Epilogue, may perhaps in ferred, that the Morality was produced earlier her reign.
“Let praye for the Queenes Majestie, our soveraigne governour,
That she may raigne quietly according Gods will, Whereby she may suppresse vyce and foorth Gods
glorie and honour,
And she hath begon godly, continue still.
as
to
so to
set
20 in
us
B. L.
it to
for
be
in At
in
R.
I.
by
xlvi MR. DoDSLEY’s PREFAC e.
But the Moralities were also very often concerned wholly in religious matters. For religion then was
every one's concern, and it was no wonder if each party employed arts promote Had they
been use now, they would doubtless have turned much upon politics. Thus, the New Custom,
which have chosen specimen writing, was certainly intended
this kind promote the the reign early
partizans the old doctrines (and perhaps also the new) defend and illustrate their tenets
this way, that the 24th year Henry VIII.
Reformation, when
Queen Elizabeth. days the Reformation,
was revived And the
pro moting true religion, find clause restraining
Act Parliament made for the
rimors players from singing songs, playing interludes, any thing that should contra dict the established doctrines. was also cus
tomary this time act these moral and religious dramas private houses, for edification and im provement, well the diversion well-disposed
families; and for this purpose, the appearance
disposed,
The title curious, much
piece was written “plainly represent the manners “men, and fashion the world now-a-days. ”
Wide New Custom, vol.
the Persons the Drama was
more
was common for the
states that the
*
allin ofas
is
*of of
in at in
of
as or to
of in
all
in asto I itas
as a
to itto
a in as so
I. itsoofItof toof
it.
C.
of as of or
of
of
in
in
an
of Iin
that five or six actors personages.
might represent twenty
MR. DoDSLEY'S PREFACE. xlvii
What has been said of the Mysteries and Mora
lities, it is hoped, will be sufficient just to shew the reader what the nature of them was. I should have
been glad to be more particular; but where mate
rials are not to be had, the building must be deficient. And, to say the truth, a more particular
knowledge of these things, any farther than as it
serves to shew the turn and genius of our ancestors,
and the progressive refinement of our language,
was so little worth preserving, that the loss of it is scarce to be regretted. I proceed, therefore, with
my subject. The Muse might now be said to be
just awake, when she began to trifle in the old interludes,and aimed at something like wit and
humour. And for these “ John Heywood the epigrammatist undoubtedly claims earliest,
not the foremost place. He was jester king Henry VIII. but lived till the beginning queen
Elizabeth's reign. Gammer Gurton's Needle, which generally called our first comedy", and
What the nature and merit his interludes were, may guessed the specimen have preserved them
this collection. Tom Tyler and Wife, The Disobedient Child, and some others the same cast, were wrote some
thing later, but not better than Heywood.
The word comedy was very indefinitely employed
the early age the British Drama, and did not all
of
is by
it
the of to
at
*
be *
in
in
||
if A*f
at
all of
of D.
I
of his
xlviii MR. DoDSLEY’s PREFACE.
not undeservedly, appeared soon after the inter ludes: it indeed, altogether comic cast, and
wants not humour, though kind. And now dramatic
low and sordid writers, properly
called, began appear, and turn their talents the stage. Henry Parker, son Sir William
Parker, said have wrote several tragedies and comedies the reign Henry VIII, and one
John Hoker, 1535, wrote comedy called Pis cator, the Fisher caught. Mr. Richard Edwards,
who was born 1523, and the beginning queen Elizabeth's reign, was made one the gen tlemen her majesty's chapel, and master the
mean what we now understand Tragedy was even more licentiously used, and frequently had reference
whatever theatrical representation. Thus Markham's Poem the death Sir Richard Grenville, ealled
“a Tragedy. ”
The author of Historia Histrionica calls Gammer Gurton's
Needle the first production English “that looks like “regular comedy;” but was not acquainted with
piece, the name which only was until lately known— Ralph Roister Doister. Although the title-page the unique
copy recently discovered lost, yet termed “a comedie,or enterlude;” and into acts and scenes was written
the prologue regularly divided
Nicholas Udall, many years before Gammer Gurton’s Needle: died proba bility nine years before Gammer Gurton's Needle was
represented. See note vol. the present edition Dodsley's Old Plays.
of
on oforis
to
a of in
in
is, to
to
is
C. II. by
by it.
a
of of aa
p. he itin 3, is
in
of
in of no of
all
is
of
It
of
it
is aa
of
to so
he in
of
in
to
of
\
MR. DoDSLEY’s PREFA C F.
xiix
children there, being both an excellent musician and a good poet, wrote two comedies, called one
Palæmon and Arcite, in which a cry of hounds in hunting was so well imitated, that the queen and
the audience were extremely delighted : the other
called Damon and Pithias, the two faithfullest Friends in the World. This last I have inserted.
After him came Thomas Sackville, Lord Buck
hurst and Thomas Norton", -bodac,” the first dramatic piece
tion English language. others, hear judgement
writers Gor any considera
these and some Puttenham,
Art Poetry, wrote the reign
queen Eliza
tragedy
beth
“I
think,” says he,
“that for
the
Ferrer and Porres, here called Gorboduc, was probably written earlier than Damon and Pithias. R.
does not appear where nor whom IRalph Rajster Doister was acted, but clear that neither Gammer
Gurton's Needle nor Gorboduc were represented upon public stages; the first having been played Christ's College,
Cambridge,
and the last the Students the Inner
Temple. this view the Tragical Comedie Apius and Virginia, well others pointed out the introductory
observations curious. C.
[See Vol. 12,] may looked upon
Puttenham (if such really were his name), printed his
the year 1589: excellent reprint 1811, and the merits the work are the prefatory matter. Brathwaite borrowed most the remarks upon English poets and
anonymous work was published
sufficiently discussed
poetry his English Gentleman from Puttenham.
it in
t* It
*
ofof in
of
in it, as in in
an e of
by
by
of
Of of the
C. \
of in
w
of
as
his
in
be in
at
I.
of
as
the the
In to
of of
it is
in
l MR. DoDSLEY'S PREFACE.
“Lord of Buckhurst, and Maister Edward Ferrys, “ for such doings as I have seen of theirs, do “ deserve the highest price: the Earl of Oxford, “ and Maister Edwards of her majesty's chapel,
“for comedy and interlude. ” And in another place he says—“ But the principal man in this “ profession (of poetry) at the same time, (viz. “Edward VI. ) was Maister Edward Ferrys, a “man of no less mirth and felicity than John “Heywood, but of much more skill and magni “ficence in his metre, and therefore wrote for the
“most part to the stage in tragedy, and sometimes “in comedy or interlude; wherein he gave the
“king so much good recreation, as he had thereby
“many good
so considerable a writer,
After these followed John Lillie, famous in his time for wit, and for having greatly improved the English
language, in a romance which he wrote, entitled,
Euphues and England",
rewards. ”
Of this Edward
Ferrys, remains,
can find no nor even the titles of any thing he wrote.
Wit;
Plays,
“English which taught them, Euphues and his
Lyly published “Euphues, The Anatomy Wit,
“4to. 1581;” and “Euphues and his England, 4to. 1582. ” They are two distinct works.
Mr. Blount, who published six his Plays the year 1632.
which said “Our nation are
his debt for new
I
The Anatomy the publisher his
D.
”*
of
of
or 17
in
of
a of
I. R.
in by
he
it his is
of
MR. DODSLEY’s PREFACE. li
“ England began first that language. All our
“ladies were then his scholars, and that beauty in “court who could not parle Euphuism, was as “little regarded as she which now there speaks not “French. ” This extraordinary romance, so famous
for its wit, so fashionable in the court of Queen Elizabeth, and which is said to have introduced so
remarkable a change in our language, I have seen and readio. It is an unnatural affected jargon, in
* A few sentences from will give its composition.
taste of the manner
“There must every triangle three lines; the first “beginneth, the second augmenteth, the third concludeth “it figure: love three virtues; affection, which
“draweth the heart; secresy, which encreaseth the hope; “constancy, which finisheth the work: without any these rules there can triangle; without any
these virtues, no love. ”
-
Again, “Fire cannot hidden
smoke, nor musk the bosom without smell, nor love
“in the breast without suspicion. ”
Once more. “She the flower courtesy, the picture
comeliness; one that shameth Venus, being somewhat “fairer, and much more virtuous; and staineth Diana,
“being chaste, but much more amiable: but the more “beauty she hath, the more pride; and the more virtue,
“the more preciseness. The peacock bird for none “but Juno the dove for none but Vesta; none must wear “Venus table but Alexander; none Pallas ring “but Ulysses: for there but one phoenix the world, “so there but one tree Arabia where she buildeth
the flax without
in ; is a
as
in is
be
be no
it,
;
of of
as
in
in
in a
is a
““““ of
of a
is
of
be
in
a
so
in in
lii MR. DoDSLEY’s PR EFACE.
which the perpetual use of metaphors, allusions, allegories, and analogies, is to pass for wit; and
stiff bombast for language. And with this nonsense the court of Queen Elizabeth (whose times afforded
better models for stile and composition, than almost any since) became miserably infected, and greatly helped to let in the vile pedantry language
the following reign. much mischief the most
ridiculous instrument may do, when proposes improve upon the simplicity nature.
Though tragedy and comedy began now lift
their heads, yet they could more for some time than bluster and quibble and how
imperfect they were
from excellent criticism
and there but one Camilla
“but one Caesar that she will like of. ” His Plays are the same strain, may w seen that have preserved.
D.
Our tragedies and comedies, says he, observe rules
neither honest civility, nor skilful poetry. Here you shall have Asia the one side, and Africk the other, and many other under kingdoms, that the player when
comes must ever begin with telling where
else the tale will not three ladies walk lieve the stage
conceived. Now you shall have gather flowers, and then we must be
garden. By and by we hear news shipwreck the same place, then we are blame we accept not for rock. Upon the back that comes out hideous monster with fire and smoke, and then the mise
dramatic art, appears Sir Philip Sidney”,
heard of, there
aahe “ *
up an
it
in
so
of
as
a
to
of be
is as
of
to
do
of to
if
he is,
be to a
all
of or
ofis
to in
in
of
; so
he no
be
in
by I
of all to
So of
be
MR. DODSLEY'S PREFA C E. liii
on the writers of that time. Yet they seem to
have had a disposition to do better had they known
how, as appears by the several efforts they used to
lick the lump into a shape: for some of their
pieces they adorned with dumb shews, some with choruses, and some they introduced and explained
by an interlocutor. Yet imperfect as they were,
we had made a far better progress at this time than
our neighbours, the French: the Italians indeed,
by early translations of the old dramatic writers,
had arrived to greater perfection; but we were at
least upon a footing with the other nations of Europe.
But now, as it were, once (as happened
rable beholders are bound take for cave: while in
the mean time two armies flie in, represented with four swords and bucklers; and then what hard heart will not
receive for pitched field? Now time they are much more liberal. For ordinary that two young princes fall love, after many traverses she got with child, deli
vered fair boy; lost, groweth man, falleth love, and ready get another child; and all this two hours space: which how absurd sense, even sense may imagine. —Defence Poesy.
This tract was first published 1595, under the title An Apologie for Poetrie, preceded by four sonnets Henry Constable Sir Philip Sidney's soul. was subsequently added the Arcadia when was called “A Defence of Poesie,” and Constable’s sonnets were omitted. Sir Sidney, well known, was killed 1586.
as is
to
of is a
it a
in
is
of
it
C.
by
a
it
P.
of
in
to
It
a
.
of
in it D. is in
is
at
to
he
in
in
is
it ittoall
liv MR. DoDSLEY'S PREFACE.
in France, though in a much later period) the true dramareceived birth and perfection from the creative genius of Shakspeare, Fletcher, and Jonson, whose
several characters are so well known, that it would be superfluous to say any more of them.
Having thus traced the dramatic Muse through all her characters and transformations, till she had
acquired a reasonable figure, let us now return and take a more particular view of the stage and actors. The first company of players we have any account
of in history, are the children of Paul's" in 1378, mentioned before in page xliii. ” About twelve years afterwards the parish clerks of London are
said to have acted the Mysteries at Skinner's Well. Which of these two companies have been the earliest, is not certain; but as the children of Paul's
* This is not quite accurate. Mr. Steevens has shewn from the unpublished collections of Rymer, now in the British Museum, that a patent was granted four years
earlier; viz. in 1574, to James Burbage, John Perkyn, John Lanham, William Johnson, and Robert Wilson, servants to the earl of Leicester, to act comedies, tragedies, enterludes, and\ stage plays, during pleasure. —Dr. Johnson and Mr.
Sleevens's edition of Shakspeare, 1778, vol. I. p. 193. I. R. * Upon this point Mr. Malone remarks that he was
“unable to mark the time when the profession of a player became common and established. ” (Mal. Sh, edit. by Bosw. III, 42. ) He, however, establishes that in the
reign of Henry VII, there was not only a regular troop of
players in London, but also a royal company, C. 3
MR. DODSLEY’s PREFACE. lv
are first mentioned, we must in justice give the
priority to them. It is certain, the Mysteries and
Moralities were acted by these two societies many ears before any other regular companies appeared.
And the children of Paul's continued to act long after tragedies and comedies came in vogue, even till the year 1618, when a comedy called Jack Drum's Entertainment” was acted by them. I believe the next company regularly established was, the children of The Royal Chapel, in the beginning of queen Elizabeth's reign, the direction of which was given to Mr. Richard Edwards beforemen tioned : and some few years afterwards, as the subjects of the stage became more gay and ludi crous, a company was formed under the denomina
tion of The Children of the Revels. The children of
the Chapel and of the Revels became very famous, and Lillie's Plays, and many Shakspeare's,
*This mistake; there edition this play printed 4to, 1601, from which that 1618 was taken.
The edition 1618 was copied from that 1616, for printers did not much care consult the best editions and
was not likely that they should go far back 1601 besides, there internal evidence the fact, the errors of
1616 being incorporated with the new blunders 1618. The play contains eulogistic criticism upon the acting
the children Paul's, and upon the genteelness their audiences. C.
not find any play Shakspeare acted the Children of the Revels. R.
Dodsley here speaking generally the three compa
of
so
of
of *
*I
it
in
do
all
is
of
is a
I.
of
to
is of an
is an
of
of
ofofas I. R.
by
of
;
of
lvi MR. DoDSLEY's PR EFACE.
Jonson's, and others, were first acted by them. Nay, so great was their vogue and estimation, that
the common players, as may be gathered from a scene in Hamlet, grew jealous of them. However,
they served as an excellent nursery for the theatres, many who afterwards became approved actors being educated among them.
It is surprising to consider what a number of playhouses were supported in London about this time. From the year 1570 to the year 1629, when the playhouse in White Friers was finished, no
less than 17 playhouses had been built. " The names of most of them I have collected from the
Title-pages of Plays”. And as the theatres were
nies of the children of St. Paul's, the Chapel, and the Revels,
and not as Mr. Reed concludes, of the two last only, as is
clear from what he observes of Lilly's Plays, for at least six
of those attributed to him were acted by the Children of Paul’s. C.
* Mr. G. Chalmers, in his Supplemental Apology, p. 186, states that “in 1589 there existed in and about London
only two theatres—the Theatre and the Curtain. ” C.
* Paul's Singing-school, The Globe the Bankside,
Southwark, The Swan and The Hope there, The Fortune between h’hitecross-street and Golding Lane, which Maitland tells
was the first playhouse erected London, The Red Bull John's-street, The Cross Keys Grace-Church-street, The Tuns, The Theater, The Curtain, The Nursery Barbican, one
Black Friers, one White Friers, one Salisbury-Court, and the Cockpit and the Phaenir Drury-Lane.
in
in St.
in
in
in in
D.
in
in
on
us
St.
MR. DoDSLEY’s PREFACE.
lvii
so numerous, the companies of players were in
proportion. Besides the Children of the Chapel, and of the Revels, we are told that Queen Eliza beth, at the request of Sir Francis Walsingham, established in handsome salaries twelve of the
principal players of that time, who went under the
In the above enumeration, I suspect there are two play houses which are mentioned twice. Those in JWhite Friers
and Salisbury-Court seem to be one and the same, as those
called The Cock-Pit and The Phaenir certainly are. See
Historia Histrionica, vol. XII. p. 341. The Curtain was in
Shoreditch, a part of which district still retains the name
The Curtain. The original sign hung out at this theatre
was the painting of a curtain striped. (See first volume of
Shakspeare, edit. 1778. vol. I. p. 267. and Sir John Haw
kins's History of Musick, vol. IV. p. 67. ) That called The Theatre, I imagine, was Black Friers. We learn, likewise,
from Prynne's Histriomastir, that in the time of Queen
Elizabeth, there were two other playhouses, the one called The Bell-Sauvage (situated very probably on Ludgate-Hill), the other in Bishopsgate-street; though this latter might be The Curtain. Taylor, the water poet, in The true Cause of the Waterman's Suit concerning Players, 1613, mentions
another theatre, called The Rose. I. R.
The Rose stood on the Bankside, and by the discovery of
Philip Henslowe's accounts in MS. at Dulwich College, it has of late years acquired considerable notoriety Hen slowe was the proprietor of Mr. Malone accuses Dodsley
falling into the error supposing that play houses were open one time, but his words not quite warrant such conclusion: only means say, the authority
the person who continued Stowe's Survey, that between
of
of a
he
to
do
on
17
at
of
it.
lviii MR. DoDSLEY’s PREFACE.
name of her Majesty's Comedians and Servants. “ But exclusive of these, many “noblemen retained companies of players, who acted not only privately
1570 and 1629, no less than 17 play houses had been built: the companies (as he adds) might be in proportion even
though they did not all exist at once. C.
* This took place in 1583, but as early as 1574 she
granted a licence to James Burbage and four others to ex hibit stage plays of any kind in any part of the king dom.
*Thus Shakspeare's Titus Andronicus was acted by the Earls of Derby, Pembroke, and Essex's servants; his Romeo and Juliet in 1596, which some say was his first play, by Lord Hunsdon's servants; and his Merry Wives of Windsor in 1602, by the Lord Chamberlain's [the earl of Oxford's]
servants. The earl of Nottingham, Lord High Admiral,
had a company in 1594, and in 1599 The Pinner of Wake
Jield was acted by the earl of Sussex's servants. In short,
plays were acted by the Lawyers in the Inns of Court, by
the Students of several Halls and Colleges in the Univer"
sities, and even by London Prentices: so that now the say
ing was almost literally true, Tolus Mundus agit Histrio
D.
of players under their protection, may be added the names of The Earl of Worcester and Lord Strange ; the plays of How
nem;
To the noblemen abovementioned, who had companies
to chuse a good Wife from a bad, 4to, 1602, being acted by the servants of the former; and Fair Em, Miller's Daughter Manchester, 4to, 1631, those the latter. The privi protecting players, seems
lege which the nobility claimed have been acknowledged
tury. Mrs. Centlivre's play
late the present cen Love Venture, was
•
of
of of
in at
the
a
to
of
by so
as
MR. DoDSLEY'S PREFACE. lix
in their lords houses, but publicly under their
licence and protection. Agreeable to this is the
account which Stow gives us – “Players in former “ times, says he, were retainers to noblemen, and
“none had the privilege to act plays but such. So “in Queen Elizabeth's time, many of the nobility “had servants and retainers who were players, and
“went about getting their livelihood that way *. “The Lord Admiral had players, so had Lord “Strange, that played in the city of London. And
printed in 4to, 1706, as it was acted by the duke of Graf. ton’s servants, at the new theatre in Bath; and Injured Virtue, or Virgin Martyr, Benjamin Griffin, was like
manner printed 12mo, 1715, acted the playhouse
Richmond servants. R.
the duke Southampton and Cleveland's
The Protector Somerset had company players and no doubt others were sheltered under the patronage noblemen, earlier than the reign Edward VI. work
printed 1568 “at Collen Arnold Birckman,” but the preface dated 1557, find the following mention them, and one Miles, member the company, who perhaps
the first actor England whose name stands upon re cord: the title the book “of the nature and proper
ties well the bathes England, Germanye. ”
“They (says the writer) drye
heale the goute excellently (and that
with diverse others, one Myles, some tyme one my Lord
Summersettes players, can beare witness. ”
other bathes
wounderfullie and shorte tyme)
of is *
in
C. of
of
In a
inup as aof
at
asin
of
as
of
of
by in
in
is
by
a
of
as
by
of in a
we
of
of
in
I.
the
of
in
lx MR. DoDSLEY’s PREFACE.
“it was usual, on any gentleman's complaint of
“them for indecent reflections in their plays, to “ have them put down. Thus once the lord trea “surer signified to the lord mayor to have these “ players of Lord Admiral and Lord Strange pro “hibited, at least for some time, because one Mr. “Tilney
had for some reasons disliked them. “Whereupon the mayor sent for both companies
“ and gave them strict charge to forbear playing
“till farther orders. The Lord Admiral's players “obeyed; but the Lord Strange's in a contemptu
“ous manner went to the Cross-Keys, and played “ that afternoon. Upon which the mayor com “mitted two of them to the Compter, and pro “hibited playing for the future, till the trea “surer's pleasure was farther known. This was
“1589. ” And another part his Survey London, speaking the stage, says, “This which
was once recreation, and used therefore now
and then occasionally, afterwards abuse be
“came trade and calling, and remains this day. those former days, ingenious trades “men, and gentlemen's servants, would sometimes
“gather company themselves, and learn inter
“ludes,
“actions “Festivals,
expose vice, represent the noble
our ancestors. These they played private houses, weddings,
“other entertainments. But process time
in
In a
a
all of in
to in
he so
at of
of by
it or at
of in
“ of to a
or
of
““
to
MR. DODSLEY’s PREFACE. lxi
“ became an occupation; and these plays being “ commonly acted on as Sundays and Festivals,
“ the churches were forsaken, and the playhouses “ thronged. Great Inns were used for this pur
“pose, which had secret chambers and places, as “well as open stages and galleries. Here maids
“and good citizens children were inveigled and
“allured to private and unmeet contracts; here
“were publicly uttered popular and seditious mat
“ters, unchaste, uncomely,
and unshamefaced
“speeches, and many other enormities. The con
“sideration of these things occasioned in 1574, Sir
“James Hawes being mayor, an act of common
“councel, wherein it was ordained, that no play
“should be openly acted within the liberty of the
“city, wherein should be uttered any words, ex “amples, or doings of any unchastity, sedition, or
“such like unfit and uncomely matter, under the
“penalty of five pounds, and fourteen days im
“prisonment. That no play should be acted till
“first perused and allowed by the lord mayor and
“ court of aldermen; with many other restrictions.
“Yet it was provided that this act should not ex “tend to plays showed in private houses, the lodg
“ings of a nobleman, citizen, or gentleman, for the
* The custom of acting on Sundays possibly took rise from the exhibition of the mysteries on that day, which was
partly considered as an act of religion. D.
xiii MR. DoDSLEY'S PREFACE.
“ celebration of any marriage, or other festivity,
“ and where no collection of money was made from “ the auditors. But these orders were not so well
“observed as they should be ; the lewd matters of “ plays encreased, and they were thought danger
“ous to religion, the state, honesty of manners, “ and also for infection in the time of sickness.
“Wherefore they were afterwards for some time “totally suppressed. But upon application to the
“ queen and the councel they were again tolerated, “under the following restrictions: That no plays
“be acted on Sundays at all, nor on any other “holidays till after evening-prayer”. That no play
“ing be in the dark, nor continue any such time,
* The acting of plays, &c. on Sunday was prohibited in consequence of the fall of a scaffold in Paris garden, on the 13th January, 1583. This appears from a Sermon on the event by John Field. Prynne (Histriomastix 491) states on
the supposed authority of Field that they abolished plays
on the Sabbath, about 1580; but this is a mistake. Arthur
Golding, the translator of Ovid, in his “Discourse upon the Earthquake” of the 6th April, 1580, complains that the
Lord's Day “is spent full heathenishly in taverning, tip ling, gaming, playing and beholding of bear-baitings and stage-plays to the utter dishonour of God, impeachment of
the godliness and unnecessary consuming men's sub stances, which ought better employed. ” George Whetstone, his Mirror for Magistrates Cities, 1584, though play-poet himself, objects the use them upon the Sabbath day, and the abuse them all times. ”
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MR. DoDSLEY's PREFACE. lxiii
“but as any of the auditors may return to their “ dwellings in London before sunset, or at least
players
“only be tolerated, and of them their number and “certain names to be notified in the lord trea
“surer's letters to the lord mayor, and to the jus “tices of Middlesex and Surrey. And those her
“ players not to divide themselves in several com “panies. And that for breaking any of these
“before it be dark. That the Queen's
“ orders, their toleration cease. “scriptions were not sufficient “in due bounds, but their plays
times
“offence, and occasioned many disturbances:
“whence they were now and then stopped and prohibited. ” hope this long quotation from
abusive often virtue, particular persons, gave great
prove the stage
that time, and the early depravity
the plays not only that age, but long before, were sometimes personal satires, appears from manu
script letter which have seen from Sir John Hallies
the Lord Treasurer Burleigh, found amongst some papers belonging the House Commons,
which the knight accuses his lordship having
said several dishonourable things him and his family particularly that his grandfather, who had
then been dead seventy years, was man
Stow will excused, serves not only several facts, but show the customs
But these pre keep them with
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}xiv. MR. Do DSL EY’s PREFACE.
remarkably covetous, that the common players re presented him before the court with great applause.
Thus we see the stage no sooner began to talk,
than it grew scurrilous: and first marks sense were seen ribaldry and lasciviousness. This occasioned much offence; the zeal of the
pulpit, and the gravity
the city, equally con Many pamphlets were Stephen Gosson”, the book, intituled, The School Abuse, pleasant Invective against Poets,
curred condemn wrote both sides. year 1579, published
Pipers, Players, Jesters,
pillars the Commonwealth; dedicated Sir
Philip Sydney, He also wrote, Plays confuted five Actions: proving that they are not
Stephen Gosson was Kentishman, born 1556, and
admitted scholar of Christ Church 1512. He left the
University without completing his degrees, and came
London, where became celebrated poet, and wrote, acknowledges, the following Plays, which were acted
upon the theatre; viz. Calalin's Conspiracies; The Comedie Captain Mario, borrowed from the Italian; and The Praise
shewed his dislike plays such patron growing weary his company,
Parling, Morality.
He afterwards went into the coun try instruct agentleman’s sons, and continued there until
and took orders. He was first parson
Essex, and afterwards St. Botolph without Bishop
gate, London. Wood says was alive 1615.
and such like Cater
manner, that, his left his service, Great Wigoorow,
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MR. DoDSLEY'S PREFACE. lxv
suffered in a Christian commonwealth: dedicated
to Sir Francis Walsingham. The defendants in
this controversy were Thomas Lodge”, who wrote an old play, called, A Looking-glass for London
and England; and that voluminous dramatic writer Thomas Heywood. *
But to proceed: The stage soon after recovered
its credit, and rose to a higher pitch than ever. In
1603, the first year of King James's reign, a licence” was granted under the privy seal to Shakspeare,
Fletcher, Burbage, Hemmings, Condel, and others,
authorizing them to act plays not only at their usual
house, the Globe on the Bankside, but in any other part of the kingdom, during his majesty's pleasure.
And now, as there lived together at this time many
eminent players, it may not be amiss just to set
down what we can collect, which will be but very
little, of the most considerable of them, with regard to their talents and abilities. And first, “who is of
“more report,” says the author of the Return from Parnassus, “ than Dick Burbage” and Will
* For a particular account of Lodge, and his dramatic
and undramatic productions, see the prefatory matter to
The Wounds of Civil War, (vol. VIII. ) a play for the first time included in this collection. C.
* In his “Apology for Actors,” 1612. C.
* This licence is printed in the last edition of Shakspeare, (1778) vol. I. p. 193. I. R.
* Burbage died, says Mr. Steevens, in tfhe year 1629.
vol. I.
.
lxvi MR. DoDSLEY'S PREFACE.
“ Kempe”? He is not counted a gentleman that “ knows not Dick Burbage and Will Kempe:
(Shakspeare, 1778, p. 198. ) Flecnoe, in A short Discourse of English Stage, printed the end Love's Kingdom, 1674, speaking Burbage, says, “he was delightful
“Proteus, wholly transforming himself into his part,
and putting off himself with his cloathes, never (not much the Tyring-house) assumed himself
“again until the play was done: there being much difference betwixt him and one of our common actors as
“between ballad-singer who onely mouths and “excellent singer who knows all his graces, and can art “fully vary and modulate his voice even know how “much breath give every syllable. He had all the
parts excellent orator (animating his words with “speaking and speech with action); his auditors being
“never more delighted than when spake, nor more sorry then when held his peace; yet even then, was
“excellent actor still, never falling his part when had done speaking; but with his looks and gesture main “taining still unto the heighth, imagining age quod
“agis onely spoke
player him wrong, man being less idle then he,
“whose whole life nothing else but action; with only
“this difference from other men's, that what but play
“to them his business; their business but play “to him. ” R.
William Kempe was one the actors who performed the Globe and Black Fryers. His name appears among
the original performers Jonson's Every Man
remarkable for excelling
Shakspeare's Plays, and Ben Humour, acted 1598. He was the morrice dance, circum
him those who call him
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MR. DODSLEY'S PREFACE. lxvii
“ there's not a country wench that can dance Sel “ lenger's Round, but can talk of Dick Burbage and
stance often mentioned by contemporary writers. As in Jacke Drum’s Entertainment, 1616, Sign. A. 3:
“I
“For of foolish actions, may be theyle talke wisely but of “Wise intendments, most part talke like fooles. ”
had rather that
Kemp’s chat, Morice were their
Taylor's Laugh and be fat, p. 73:
“This gentleman thy travels doth advance
“Above Kemp’s Norwich anticke Morris dance. ”
I am informed, that among the books, given by Robert
Burton to the Bodleian library, is a pamphlet, entitled,
“Kemp's nine daies wonder performed in a daunce from “London to Norwich. Containing the pleasure, paines,
“ and kind entertainment of William Kemp, between Lon “don and that city in his late Morrice. Wherein is some “what set downe worth note; to reproove the slaunders “spred of him: many things merry, nothing hurtfull. “Written by himselfe to satisfie his friends. ” London,
printed for Nicholas Ling, 4to. 1600, B. L. It is dedicated
to “The true ennobled Lady, and his most bountifull mis
“tris, mistris Anne Fitton, mayde of Honour to the Most
“Sacred Mayde Royall Queene Elizabeth. ” Prefixed to it
is a wooden cut of Kemp as a morris-dancer, preceded by a
fellow with a pipe and drum, whom he (in the book) calls
Thomas Slye his taberer. Ben Jonson, in Every Man out
of his Humour, A. 4. S. 4. makes one of the characters say:
“— would I had one of Kemp's shoes to throw after you. ” Among Braithwaite's Epitaphs, 8vo. 1618, Sign. F 8, is
the following:
UPON KEMPE AND HIS MORICE WITH HIS EPITAPH.
“Welcome from Norwich Kempe; all joy to see “Thy safe returne moriscoed lustily.
lxviii MR. DoDSLEY'S PREFACE.
“Will Kempe.