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A DIALOGUE, &c.
LovEw It, TRUE. M. A. N.
Lovewit. HoN fist old Cavalier well met, 'faith I’m glad to see thee.
Trueman. Have a care what you call me; old is a word of disgrace among the ladies; to be honest is to be poor, and foolish, (as some think;) and Cavalier is a word as much out of fashion as any of 'em.
Lorewit. The more's the pity : but what said the for tune-teller in Ben Jonson's mask of Gypsies, to the
then Lord Privy Seal
Honest and old l
In those the good part of a fortune is told. Trueman. Ben Jonson how dare you name Ben Jonson in these times; when we have such a crowd of
poets of a quite different genius; the least of which thinks himself as well able to correct Ben Jonson, as
he old a country school-mistress that taught to spell?
Lovewit. We have, indeed, poets of a different ge mius; so are the plays: but, in my opinion, they are
'em (some few excepted) much inferior those former times, the actors now being (gene tally speaking) are, compared Hart, Mohun, Burt, Lacy, Clun, and Shatterel; for can reach
backward.
Trueman. can and dare assure you,
memory are not partial (for men
apt over indulgent the thoughts
my fancy my age their
Youthful days) say the actors that have seen before
wars, Lowin, Taylor, Pollard, and some others, WOL,
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cxlvi A Dr A LOGUE, &c.
were almost as far beyond Hart and his company, as those were beyond these now in being.
Lovewit. I am willing to believe but cannot rea dily; because have been told, that those whom mention'd, were bred under the others your ac quaintance, and follow'd their manner action, which
now lost: far, that when the question has been
ask'd, Why these players not revive the Silent Wo
man, and some other Jonson's plays (once highest
esteem) they have answered, Truly, because there are
none now living who can rightly humour those parts;
for who related the Black-friers, (where they were
acted perfection) are now dead and almost for gotten.
Trueman. "Tis very true, Hart and Clun were bred boys the Black-friers, and acted women's parts;
Hart was Robinson's boy, apprentice; acted the Duchess, the Tragedy the Cardinal, which was
the first part that gave him reputation. Cartwright and Wintershal belong'd the Private House Salisbury court; Burt was boy, first under Shank the Black friers, then under Beeston the Cock-pit; and Mohun and Shatterel were the same condition with him, the last place. There Burt used play the principal women's parts, particular Clariana, Love's Cuelty: and the same time Mohun acted Bellamente, which part
retained after the restoration.
Lovewit. That have seen, and can well remember.
wish they had printed the last age (so call the times before the rebellion) the actors' names over against the parts they acted, they have done since the restoration; and thus one might have guess'd
the action the men, the parts which now read the old plays.
Trueman. was not the custom and usage those
days, hath been since. Yet some few old plays
there are that have the names set against the parts, as,
The Dutchess Malfy; the Picture; the Roman Actor; the Deserving Favourite; the Wild-Goose Chase, (at the Black-friers); the Wedding; the Rene
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A DIALOGUE, &c. cxlvii
gado: the Fair Maid of the West; Hannibaland Scipio; King John and Matilda, (at the Cock-pit); and Hol land's Leaguer, (at Salisbury Court).
Lovewit. These are but few indeed: but pray, sir,
what master-parts can you remember the old Black
frier's men to act in Jonson, Shakspeare, and Fletcher's plays?
Trueman. What I can at present recollect I'll tell you; Shakspeare, (who, as I have heard, was a much better poet than player) Burbage, Hemmings, and others of the older sort, were dead before I knew the town : but in my time, before the wars, Lowin used to act, with mighty applause, Falstaffe, Morose, Volpone, Mammon, in the Alchymist; Melantius, in the Maid's Tragedy; and at the same time Amyntor was play'd by Stephen Hammerton, (who was at first a most noted and beautiful woman actor, but afterwards he acted,
with equal grace and applause, a young lover's part); Taylor acted Hamlet incomparably well, Jago, Truewit
in the Silent Woman, and Face in the Alchymist; Swanston us’d to play Othello; Pollard and Robinson were comedians; so was Shank, who us’d to act Sir
Roger, in the Scornful Lady: these were of the Black
friers. Those of principal note at the Cock-pit, were, Perkins, Michael Bowyer, Sumner, William Allen, and
Bird, eminent actors, and Robins, a comedian. Of the other companies I took little notice.
Lovewit. Were there so many companies?
Trueman. Before the wars there were in being these play-houses the same time. The Black-friers,
and Globe the Bank-side, winter and summer house, belonging the same company, called the King's Servants; the Cock-pit Phoenix, Drury lane, called the Queen's Servants; the Private House
Salisbury-court, called the Prince's Servants; the Fortune near Whitecross Street and the Red Bull,
The Fortune near Whitecross Street. ] This afterwards said large round brick building. Mr. Steevens supposes, from the extent that the actors resided within precincts. was pulled down about the time the restoration, soon after the ap
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cxlviii A DIALOGUE, &c.
at the upper end of St. John's Street: the two last were mostly frequented by citizens, and the meaner sort
of people. All these companies got money, and liv'd in reputation, especially those of the Black-friers, who were men of grave and sober behaviour.
Lovewit. Which I admire at; that the town, much less than at present, could then maintain five compa nies, and yet now two can hardly subsist.
Trueman. Do not wonder, but consider, that tho’ the
town was then, perhaps, not much more than half so
populous as now, yet then the prices were small (there
being no scenes) and better order kept among the com
pany that came; which made very good people think
a play an innocent diversion for an idle hour or two,
the plays themselves being then, for the most part,
more instructive and moral. Whereas, of late, the play
houses are so extremely pestered with vizard-masks and their trade, (occasioning continual quarrels and abuses)
that many of the more civiliz'd part of the town are un easy in the company, and shun the Theatre as they would a house of scandal. It is an argument of the worth of the plays and actors of the last age, and easily inferred, that they were much beyond ours in this, to
consider that they could support themselves merely from their own merit, the weight of the matter, and goodness of the action, without scenes and machines;
whereas the present plays with that shew can hardly draw an audience, unless there be the additional invi
pearance the following advertisement, the Mercurius Politicus Tuesday, Feb. 14, Tuesday, Feb. 21. 1661. “The Fortune
“Playhouse, situate between Whitecross Street, and Golding “Square, the parish St. Giles, Cripplegate, with the ground
thereunto belonging, let built upon where 23 te
nements may erected, with gardens; and street may cut through for the better accommodation the buildings. ” (See
edition Shakspeare, 1778, vol. passage The English Traveller, find there was picture Statue
267. ) From the following Heywood, 1633, Sign. we
——
Fortune before the building. I’le rather stand heere
“Like Statue the Forefront your house “For ever; Like the picture Dame Fortune
“Before the Fortune Playhouse. ”
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A DIALOGU E, &c. cxlix
tation of a Signior Fideli, a Monsieur l'Abbe, or some such foreign regale express'd in the bottom of the bill. Lovewit. To wave this digression, I have read of one
Edward Alleyn, a man, so famed for excellent action, that among Ben Jonson's epigrams, I find one directed to him, full of encomium, and concluding thus:
Wear this renown, 'tis just that who did give So many poets life, by one should live.
Was he one of the Black-friers ?
Trueman. Never, as I have heard; (for he was dead
before my time). He was master of a company of his
own, for whom he built the Fortune play-house from the ground, a large, round, brick building. This is he
that grew so rich, that he purchased a great estate in Surry and elsewhere; and having no issue, he built and largely endowed Dulwich college, in the year 1619", for a master, a warden, four fellows, twelve aged poor people, and twelve poor boys, &c. A noble charity.
Lovewit. What kind of play-houses had they before the wars?
Trueman. The Black-friers, Cock-pit, and Salis
bury-court, were called private houses, and were very
small to what we see now. The Cock-pit was stand
ing since the restoration, and Rhodes's company acted there for some time.
Lovewit. I have seen that.
Trueman. Then you have seen the other two, in ef
fect; for they were three built almost exactly alike,
for form and bigness. Here they had pits for the gentry, and acted candle-light. The Globe, Fortune, and
Bull, were large houses, and lay partly open the wea ther, and there they always acted day-light.
Lovewit. But, pr’ythee, Trueman, what became
these players when the stage was put down, and the rebellion rais'd?
Trueman. Most 'em, except Lowin, Taylor and Pollard (who were superannuated) went into the king's
2The letters patent under the great seal, bear date the 21st June, 1619.
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army, and, like good men and true, serv'd their old master, tho' in a different, yet more honourable capa
city. Robinson was kill'd at the taking of a place, (I think Basing-house) by Harrison, he that was after
hang'd at Charing-cross, who refused him quarter, and shot him in the head when he had laid down his arms; abusing scripture at the same time, in saying, Cursed is he that doth the work of the Lord negligently. Mohun was a captain (and after the wars were ended here, served in Flanders, where he received pay as a major. ) |Hart was a lieutenant of horse under sir Thomas Dalli son, in prince Rupert's regiment; Burt was cornet in the same troop, and Shatterel quarter-master; Allen of the Cock-pit was a major, and quarter-master-general
at Oxford. have not heard one these players
any note that sided with the other party, but only Swanston, and profess'd himself presbyterian, took
the trade jeweller, and liv'd Aldermanbury, within the territory father Calamy; the rest either lost, expos'd their lives for their king. When the
wars were over, and the royalists totally subdu'd, most
'em who were left alive gather'd London, and for subsistence endeavour'd revive their old trade
privately. They made one company out the scatter'd members of several and the winter before the king's murder, 1648, they ventured act some
plays, with much caution and privacy could be, the Cock-pit. They continued undisturbed for three four days; but last, they were presenting the
tragedy the Bloody Brother (in which Lowin acted Aubrey; Taylor, Rollo; Pollard, the Cook: Burt,
Latorch; and think Hart, Otto) party foot sol diers beset the house, surprized 'em about the middle
the play”, and carried 'em away their habits, not
This confirmed by Kirkman; who, his Preface The Wits, Sport upon Sport, 1672, says, the small compositions
which his work was made up, being scenes and parts plays, were this period “liked and approved all, and they were the “fittest for the actors represent, there being little cost cloaths,
which often were great danger seized by the then sol
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A DIALOG UE, &c. cli
admitting them to shift, to Hatton-house, then a prison,
where, having detain'd them some time, they plundered
them of their clothes, and let 'em loose again. After wards, in Oliver's time, they used to act privately, three or four miles or more out of town, now here, now there,
sometimes in noblemen's houses, in particular, Holland house at Kensington, where the nobility and gentry
who met (but in no great numbers) used to make a sum them, each giving broad piece, the like. And Alexander Goffe, the woman actor Black-friers (who
had made himself known persons quality) used At the jackall, and give notice time and place.
Christmas and Bartholomew-fair, they used bribe the
officer who commanded the guard Whitehall, and
were thereupon connived act few days, the Red Bull"; but were sometimes, notwithstanding, dis
turb’d soldiers. Some pick’d little money
“diers; who, the poet sayes, Enter the Red Coat, Erit Hat and
“Cleak, was very true, not only the audience but the actors too, “who were commonly not only stripp'd, but many times impri
“soned till they paid such ransom the souldiers would impose
“upon them that “quired any good cloaths “times served the turn
was hazardous act any thing that re instead which, painted cloath many
represent rich habits. ”
“When the publique Theatres were shut up, and the actors
“forbidden present with any their tragedies, because we “had enough that earnest; and comedies, because the vices “of the age were too lively and smartly represented then that
“we could divert ourselves with, were these humours and pieces
“of plays, which, passing under the name merry conceited “fellow, called Bottom the Weaver, Simpleton the Smith; John
“Swabber, some such title, were only allowed us, and that but
“by stealth too, and under pretence rope-dancing, the like
“and these being all that was permitted us, great was the con
“fluence
and plays.
the auditors; and these small things were profitable great get-pennies the actors any our late famed have seen the Red Bull Playhouse, which was large one,
“so full, that and meanly
“then acted
“may say some that then exceeded now living, name, “the incomparable Robert Cox, who was not only the principal
“aetor, but also the contriver and author most these farces. ” Kirkman's Preface The Wits, Sport upon Sport, 1672.
many went back for want room had entered; you may now think these drols, they were
the best comedians then and now being and
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clii A DIALOG UE, &c.
ublishing the copies of plays never before printed, but ept up in manuscript. For instance, in the year 1652,
Beaumont and Fletcher's Wild-Goose-Chacewas printed in folio, for the public use of the ingenious, the
title-page says, and private benefit John Lowin and Joseph Taylor, servants his late majesty; and them dedicated the honoured few lovers of dramatic
poesy: wherein they modestly intimate their wants, and that with sufficient cause; for whatever they were
before the wars, they were after reduced necessitous
his latter days, kept inn, the Brentford, where died very old,
lard, who lived single, and had competent estate, re tired some relations had the country, and there
ended his life. Perkins and Sumner the Cock-pit, kept house together Clerkenwell, and were there
buried. These died some years before the restora tion; what followed after, need not tell you; you can easily remember.
Lovewit. Yes; presently after the restoration, the
king's players acted publicly the Red Bull for some
time, and then removed new-built playhouse
Vere-street, Clare-market. There they continued
for year two, and then removed the Theatre Royal Drury-lane, where they first made use
scenes, which had been little before introduced upon the public stage Sir William Davenant, the duke's Old Theatre Lincoln’s-inn-fields, but after wards very much improved, with the addition curious machines, Mr. Betterton, the New Theatre Dorset-garden, the great expence and continual charge the players. This much impaired their profit o'er what was before; for have been inform'd
one 'em, that for several years next after the restora tion, every whole sharer Mr. Hart's company, got
1000l. per ann. About the same time that scenes first entered upon the stage London, women were taught
condition. Lowin, Three Pigeons,
for was actor
James and his poverty was great his age. Taylor died Richmond, and was there buried. Pol
eminent note the reign King
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A DIALOGUE, &c. cliii
to act their own parts; since when, we have seen at
both houses several actresses, justly famed, as well for beauty, as perfect good action. And some plays, in
particular the Parson's Wedding, have been presented
the old men, began grow weary, and were minded leave off; then the two companies thought
unite; but late you see, they have thought less
divide again, though both companies keep the
same name his majesty's servants. All this while the playhouse musick improved yearly, and now
arrived greater perfection than ever knew Yet for all these advantages, the reputation the stage,
and people's affection are much decayed. Some were lately severe against and would hardly allow stage-plays longer permitted. Have you seen
Mr. Collier's book?
Trueman. Yes, and his opposers'. Lovewit. And what think you?
Trueman. my mind, Mr. Collier's reflections are pertinent, and true the main; the book ingeniously
wrote, and well intended; but he has overshot himself some places, and his respondents perhaps more. My affection inclines me not engage either
side, but rather mediate. there abuses relating
the stage, which think too apparent, the abuse be reformed, and not the use, for that reason
only, abolished. "Twas old saying, when was boy,
Absit abusus, non desit totaliter usus.
shall not run through Mr. Collier's book; will only touch little two three general notions, which,
think, may mistaken. What urges out the primitive councils and fathers the church, seems
me directed against the heathen plays, which were sort religious worship with them, the honour Ceres, Flora, some their false deities. They
had always little altar their stages, appears
women, formerly
men. Thus conti nued for about 20 years, when Mr. Hart, and some
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plain enough from some places in Plautus. And Mr. Collier himself, p. 235, tells us out of Livy, that plays were brought in upon the score of religion, to pacify the gods. No wonder them, they forbid Christians to be present at them, for it was almost the same as to be present at their sacrifices. We must also observe, that this was in the infancy of Christianity, when the church
was under severe, and almost continual persecutions, and when all its true members were of most strict and
exemplary lives, not knowing when they should be
called to the stake, or thrown to wild beasts. They communicated daily, and expected death hourly; as their thoughts were intent upon the next world, they abstain’d almost wholly from all diversions and plea
sures (though lawful and innocent) in this. After wards, when persecution ceased, and the church flou
rish'd, christians being then freed from their former terrors, allow'd themselves, at proper times, the lawful recreations of conversation, and among other, no doubt,
this of shews and representations. After this time, the censures of the church indeed might be continued, or revived upon occasion, against plays and players; tho',
in my opinion, it cannot be understood generally, but only against such players who were of vicious and licen tious lives, and represented profane subjects, incon
sistent with the morals and probity of manners requisite to christians; and frequented chiefly by such loose and
debauch'd people, as were much more apt to corrupt
than divert those who associated with them. I say, I cannot think the canons and censures ofthe fathers
can be applied to players, quatenus players; for
so, how could plays continued among the christians,
they were, divine subjects, and scriptural stories?
late French author, speaking the Hôtel Bour gogne, play-house Paris, says, that the ancient
dukes that name gave the brotherhood the Passion, established the church Trinity-hospital,
the Rue Denis, condition that they should represent here interludes devotion; and adds, that
there have been public shews this place six hundred
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A DIALOG U E, &c. clv
years ago. The Spanish and Portuguese continue still
to have, for the most part, such ecclesiastical stories for the subject of their plays: and, if we may believe Gage,
they are acted in their churches in Mexico, and the Spanish West-Indies.
Lovewit. That's a great way off, Trueman; I had
rather you would come nearer home, and confine your discourse to Old England.
Trueman. So I intend. The same has been done
here in England; for otherwise how comes it to be pro hibited in the 88th canon, among those poss'd in con
vocation, 1603? Certain it that our ancient plays were religious subjects, and had for their actors, not
priests, yet men relating the church. Lovewit. How does that appear?
Trueman. Nothing clearer. Stow, his survey London, has one chapter the sports and pastimes
old time used this city; and there
the year 1391, which was Richard was play’d the parish-clerks
tells us, that stage-play
London, the
Skinner's-well beside Smithfield, which play continued three days together, the king, queen, and nobles the
realm being present. And another was play’d the year 1409, Henry IV. which lasted eight days, and was of matter from the creation the world; whereat were present most part the nobility and gentry England. Sir William Dugdale, his antiquities Warwickshire, 116, speaking the Gray-friars, Franciscans, Coventry, says, Before the suppression
the monasteries, this city was very famous for the pageants that were play'd therein upon Corpus-christi
day; which pageants being acted with mighty state and
reverence the friers this house, had theatres for the several scenes very large and high, placed upon
wheels, and drawn the eminent parts the city, for the better advantage the spectators; and con tained the story the New Testament, composed old
English rhime. An ancient manuscript the same now seen the Cottonian library, Sub Effig. Vesp. D. Since the reformation, queen Elizabeth's
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clvi A DIALOG U E, &c.
time, plays were frequently acted by quiristers and singing-boys; and several of our old comedies have
printed in the title-page, “acted by the children of Paul's,” (not the school, but the church) others, “by the children of her majesty's chapel;” in particular, Cinthia's Revels, and the Poetaster, were play’d by them; who were at that time famous for good action. Among Ben Jonson's epigrams you may find an epitaph on S. P. (Sal. Pavy) one of the children of Queen Elizabeth's chapel: part of which runs thus,
Years he counted scarce thirteen, When fates turn'd cruel,
Yet three fill'd zodiacks he had been The stage's jewel ;
And did act (what now we moan) Old man so duly,
As, sooth, the Parcae thought him one, He play'd so truly.
Some of these chapel boys, when they grew men, be came actors at the Black-friers; such were Nathan.
Field" and John Underwood. Now I can hardly ima
* Nathaniel Field, on the authority of Roberts the player, (See his answer to Mr. Pope's preface to Shakspeare) has been consi dered as the author of two plays; A Woman is a Weathercocke, 1612, and Amends for Ladies, 1618. He is also supposed to be the same person who assisted Massinger in The Fatal Dowry.
I suspect that
Roberts was mistaken in these assertions, as I do not find any con temporary writer speak of Field as an author; nor is it mentioned by Langbaine, who would have noticed had known the fact.
seems more probable, that the writer these plays was Natha niel Field, M. A. Fellow New College, Oxford, who wrote some Latin verses, printed “Oxoniensis Academiae, Parentalia, 1625,” and who, being the same university with Massinger, might join
with him while there, the composition the play ascribed them. Nathaniel Field above mentioned, was celebrated the part Bussy Dambois, first printed 1607. On the republication
that play, 1641, thus spoken the Prologue:
44 Field gone,
“Whose action first did give name, and one “Who came the neerest him, denide
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A DIALOGUE, &c. clvii
gime that such plays and players as these, are included in the severe censure of the councils and fathers; but
such only who are truly within the character given by Didacus de Tapia, cited by Mr. Collier, p. 276, viz.
The infamous play-house; a place of contradiction to the strictness and sobriety of religion; a place hated by God,
and haunted by the devil. And for such I have as great an abhorrence as any man.
Lovewit. Can you guess of what antiquity the repre
senting of religious matters on the stage hath been in England?
Trueman. How long before the conquest I know not, but that it was used in London not long after, appears by Fitz-stevens, an author who wrote in the reign of
King Henry the Second". His words are, Londonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet
sanctiones, representationes miraculorum, quae
confessores operati sunt, seu repraesentationes passionum
quibus claruit constantia martyrum. Of this, the manu
script which I lately mentioned, in the Cottonian library,
is a notable instance. Sir William Dugdale cites this manuscript, by the title of Ludus Coventriae; but in the
printed catalogue of that library, p. 113, it is named
thus, A collection of plays in old English metre; h. e.
Dramata sacra, in quibus exhibentur historia Veteris et
N. Testamenti, introductis quasi in scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio
fingit poeta. Widentur olim coram populo, sive ad in struendum, sive ad placendum, a fratribus mendicantibus repraesentata. It appears by the latter end of the pro
logue, that these plays or interludes were not only play'd at Coventry, but in other towns and places upon
“OfD'Ambois youth and braverie; yet to hold “Our title still a foot, and not grow cold
“By giving it o're, a third man with his best “Of care and paines defends our interest;
“As Richard he was lik'd, nor doe wee feare, “In personating Dambois, hee’le appeare “To faint, or goe lesse, so your free consent “As heretofore give him encouragement. ”
• P. 73, 4to. Edition 1772.
sancti
clviii A DIALOGUE, &c. "
occasion. And possibly this may be the same play
which Stow tells us was play'd in the reign of King
Henry IV. which lasted for eight days. The book seems
by the character and language to be at least 300 years old. It begins with a general prologue, giving the ar
guments of 40 pageants or gesticulations (which were
as so many several acts or scenes) representing all the histories of both testaments, from the creation to the
chusing of St. Matthias to be an apostle. The stories
of the New Testament are more largely express'd, viz. the annunciation, nativity, visitation; but more espe
cially matters relating the passion, very particu larly, the resurrection, ascension, the choice St.
also represented the assump
thing the right and easiest handle: For example, the scene relating the visitation:
Maria. But husband thyng pray you most *- mekeley,
have knowing that our cosyn Elizabeth with childe That please you her hastyly,
Matthias. After which tion, and last judgment.
very homely stile,
below the dignity the subject: but seems the gout that age was not nice and delicate these matters; the plain and incurious judgment our an cestors, being prepared with favour, and taking every
ought myth comfort her, wer me blys.
Joseph. Gods sake, she with child, sche Than will her husband Zachary mery.
Montana they dwelle, fer hence,
moty the,
the city hence, We like wole with
Juda, know verily; trowe, myles two fifty,
All these things were treated we now think, infinitely
wery we come the same. good will, blessyd wyff Mary;
Now we forth then Goddys name, &c. little before the Resurrection.
Nunc dormient milites, veniet anima Christi cum Adam Eva, Abraham, John Baptist,
inferno, aliis.
A et
atoIof A be
et de
9
is,
ds
in
et
it is to
is soas to
go
is ar
it byofa all we
I ItInIn
If I of in
I to in or go
to
of
at
so
to
a it be
of oo
in
it
of
A DIALOGUE, &c. clix
Anima Christi. Come forth Adam, and Eve with the, And all my fryndes that herein be,
In paradys come forth with me
In blysse for to dwelle.
The fende of hell that is your foo
He shall be wrappyd and woundyn in woo: Fro wo to welth now shall ye go,
With myrth ever mor to melle.
Adam. I thank the Lord of thy grete grace That now is forgiven my gret trespace,
Now shall we dwellyn in blyssful place, &c.
The last scene or pageant, which represents the day of judgment, begins thus:
Michael. Surgite, All men aryse, Venite adjudicium,
For now is set the High Justice,
And hath assignyd the day of dome: Kepe you redyly to this grett assyse. Both gret and small, all and sum,
And of yowr answer you now advise,
What you shall say when that you com, &c.
These and such like were the plays, which in former ages were presented publicly: Whether they had any
settled and constant houses for that purpose, does not
appear; I suppose not. But it is notorious that in
former times there was hardly ever any solemn reception of princes, or noble persons, but pageants, that
the en one
the nature scenes; and
the speakers must some saint the same name with the party whom the honour intended. For instance, there ancient manuscript Coventry,
call'd the Old Leet Book, wherein set down very particular manner, 168, the reception Queen Mar
garet, wife Henry VI, who came Coventry; and, think, with her, her young son, prince Edward,
the feast the exaltation the holy-cross, Hen. VI.
stages erected tertainment. more persons,
the open street, were part On which there were speeches
sure one
of
of is
I
of
of
of
to
is of
of
35 at be in
of by
on
or is,
a
is to an
in
in
p.
be
clx A DIALOGUE, &c.
1456. Many pageants and speeches were made her welcome; out all which, shall observe but two
three, the old English, recorded.
St. Edward. Moder mekenes, dame Margarete, princes most excellent,
king Edward wellcome you with affection cordial, Testefying your highnes mekely myn entent.
For the wele the king and you hertily pray shall, And for prince Edward my gostly chylde, who love
principal,
Praying the, John Evangelist, my help therein be,
On that condition right humbly give this ring the.
John Evangelist. Holy Edward, crowned king, brother verginity,
My power plainly will prefer thy will amplefy. Most excellent princes wymen mortal, your bedeman
will be.
know your life vertuous that God pleased thereby. The birth you unto this reme shall cause great melody The vertuous voice prince Edward shall dayly well
encrease,
St. Edward his Godfader, and shall prey therefore doubtlese.
St. Margaret. Most notabul princes wymen earthle, Dame Margarete, the chefe myrth this empyre,
Ye hertely welcome this cyte.
To the plesure your highnesse wyll set my desyre;
Both nature and gentlenesse doth me require,
Seth we both one name, shew you kindnesse Wherefore my power shall have distresse.
shall pray the prince that endlese
To socour you with solas his high grace; He will here my petition, this doubtlesse,
For wrought all my life that his will wace.
Therefore, lady, when you
Call me boldly, thereof And trust me feythfully,
any dredfull case, pray you,
will that may pay you.
-
in
be
of I so
in of
on
I
by
II of ye be
to
of
do
in is
is
to Ias II itI
I
be
II in
or
to
of
of
I of
of
no of is
is
;
:
for
to
to to
I I
to
of
of
A DIALOGUE, &c. clxi
In the next reign, as appears in the same book, fol. 221, another prince Edward, son of king Edward IV. came to Coventry on the 28th of April, 14 Edward IV. 1474, and was entertained with many pageants and speeches, among which I shall observe only two; one was of St. Edward again, who was then made to speak thus:
Noble prince Edward, my cousin and my knight, And very prince of our line com yn dissent,
I St. Edward have pursued for your fader's imperial
right,
-
Whereof he was ercluded by full furious intent. Unto this your chamber, as prince full excellent,
Ye be right welcome. Thanked be Crist of his sonde, For that that was ours is now in your fader's honde.
The other speech was from St. George, and thus
saith the book.
ge.
“afore him with a lamb, and the fader and the moder “being in a towre aboven beholding St. George saving
“ their daughter from the dragon, and the condite ren “ming wine in four places, and minstralcy of organ play
“ing, and St. George having this speech underwritten. .
“O mighty God our all succour celestiall,
Which this royme hast given in dower -
To thi moder, and to me George protection perpetuall
It to defend from enimys fer and nere, And as this mayden defended was here By thy grace from this dragon's devour,
So, Lord, preserve this noble prince and ever be his socour.
Lovewit. I perceive these holy matters consisted very much of praying; but I pity poor St. Edward the con fessor, who, in the compass of a few years, was made
to promise his favour and assistance to two young
princes, of the same name indeed, but of as different and opposite interests as the two poles. I know not
how he could perform to both. -
Also upon the condite in the Croscheping “ was St. George armed, and a king's daughter kneling
Trueman. Alas! they were both unhappy notwith WOL. I. m
-
-
-
clxii A DIALOGUE, &c.
standing these fine shews and seeming caresses of fortune, being both murder'd, one by the hand, the
other by the procurement of Richard duke of Głocester.
I will produce but one example more of this sort of ac tion, or representations, and that is of later time, and
an instance of much higher nature than any yet men tioned; it was at the marriage of prince Arthur, eldest
son of king Henry VII. to the princess Catharine of Spain, ann. 1501. Her passage through London was very magnificent, as I have read it described in an old
MS. chronicle of that time. The pageants and speeches were many; the persons represented, St. Catharine, St. Ursula, a senator, noblesse, virtue, an angel, king Al phonse, Job, Boetius, &c, among others one is thus described. “When this spech was ended, she held
“on her way tyll she came unto the standard in Chepe, “where was ordeyned the fifth paygend made like an “hevyn, theryn, syttyng a personage representing “ the fader of hevyn, beyng all formyd of gold, and “brennyng beffor his trome candyilis war standyng “in vii candylstykis gold, the said personage beyng en “vironed wyth sundry hyrarchies angelis, and sytt “ing cope most rich cloth tyssu, garnishyd “wyth stoon and perle most sumptuous wyse,
“Foragain which said pagend upon the sowth syde the
“strete stood that tyme, hows wheryn that tyme dwellyd William Geffrey habyrdasher, the king, the queene, my lady the kingys moder, my lord Ozyn
“fford, wyth many other lordys and ladys, and perys
“this realm, wyth also certayn ambassadors France
“lately sent from the French king and passyng the said estatys, eyther guyving other due and convenyent saluts and countenancs, some hyr grace was ap
“proachid unto the sayd pagend, the fadyr began his “spech folousyth
Hunc veneram locum, septeno lumine septum. Dignumque Arthuri totidem astra micant.
am begynyng and ende, that made ech creature My sylfe, and for my sylfe, but man esspecially
I
““ ““ as
:
at
of
so
to
in a
in
of
vii
as
;
of off
of
so
of
of
of
of
in a
A DIALOGUE, &c.
clxiii
Both male and female, made aftyr myne aunfygure, Whom I joyned togydyr in matrimony,
4nd that in paradyse, declaring opynly
That men shall weddyng in my chyrch solempnize,
Fygurid and signifyed by the erthly paradyze.
In thys my chyrch I am allway recydent
As my chyeff tabernacle, and most chosyn place, 4mong these goilyn condylstikkis, which represent My catholyk chyrch shynyng affor my face,
With lyght offeyth, wisdom, doctryne, and grace, 4nd mercelously eke enflamyd toward me
Wyth the eatyngwible fyre of charyle.
Wherefore, my welbelovid dowthyr Katharyn, Syth I have made you to myne awn semblance
In my chyrch to be maried, and your noble childryn
To regn in this land as in their enherytance, Se that ye have me in speciall remembrance: Love me and my chyrch your spiritual modyr.
For ye dispysing that oon, dyspyse that othyr.
Look that ye walk in my precepts, and obeyIthem well: And here I gue you the same blyssyng that
Gave my well beloved chylder of Israell; Blyssy'd be the fruyt of your bely;
Yower substance and frutys I shall encrease and mul typly ;
Yower rebellious enimyes I shall put in your hand, Encreasing in honour both you and your land. pro
Lovewit. This would be censured now-a-days as fane to the highest degree.
Trueman. No doubt on't: yet you see there was a time when people were not so nicely censorious in these matters, but were willing to take things in the best sense; and then this was thought a noble entertain ment for the greatest king in Europe (such I esteem king Henry VII. at that time) and proper for that day of mighty joy and triumph. And I must farther ob serve out of Lord Bacon's history of Henry VII. that the chief man who had the care of that day's proceed ings was bishop Fox, a grave counsellor for war or
clxiv A DIALOGUE, &c.
peace, and also a good surveyor of works, and a good
master of ceremonies, and it seems he approv’d The said lord Bacon tells farther, That whosoever had those toys compiling, they were not altogether pedantical.
Lovewit. These things however are far from that
those times. Afterwards the reign king Henry VIII. both the subject and form these plays began alter, and have since varied more and more. have
by me, thing called merry play between the Par
doner and the Frere, the Curate and Neybour Pratte.
which we understand the name
Trueman. may so; but these were the plays
Printed the 5th April 1533, which was 24 Henry
VIII. few years before the dissolution monaste
play.
ries. ) The design this play was ridicule Friers
and Pardoners. Of which I'll give you taste. To
begin
the Frier enters with these words:
Deus hic; the holy trynyte Preserve all that now here be.
Dere bretherne, The cause why Ye wolde glad
will consyder am com hyder,
knowe my entent:
For com not hyther for mony nor for rent,
com not hyther for meat nor for meale. But com hyther for your soules heale, &c.
After long preamble addresses himself preach, when the Pardoner enters with these words:
God and St. Leonarde send all his grace, As many ben assembled this place, &c.
and makes long speech, shewing his bulls and reliques, order sell his pardons, for the raising some money towards the rebuilding
Ofthe holy chappell sweet saynt Leonarde, Which late fyre was destroyed and marde.
Both these speaking together, with continual interrup tion, last they fall together the ears. Here the
at aI ina II
to it, (a a
by
in ye
of
of a
.
to his
I
of
by as to
be
of
It
in
I of A beby
ofhetouf in ye
us
to a
of of
it.
A DIALOG UE, &c. clxv
curate enters (for you must know the scene lies in the church),
Hold your hands; a vengeance on ye both two,
That ever ye came hyther to make this ado, To polute my chyrche, &c.
Frier. Mayster parson, I marvayll ye will give ly cence.
To this false knave in this audience
To publish ragman rolles with lyes.
desyred hym yuys more than ones twyse
hold his peas tyll that had done, But he would here no more than the man
the mone.
Pardoner. Why sholde suffre the, more than thoume? Mayster parson gave me lycence before the.
And wolde thou knowest have relykes here, Other maner stuffe than thou dost bere:
wyll edefy more with the syght
Than will all thy pratynge holy wryt;
For that except that the precher himselfe lyve well, His predycacyon wyll helpe never dell, &c.
Parson. No more this wranglyng my chyrch shrewe your hertys bothe for this lurche.
there any blood shed here between these knaves? Thanked god they had stavys,
Nor egotoles, for then had ben wronge, Well, shall synge another songe.
Here calls his neighbour Prat, the Constable, with design apprehend'em, and set 'em the stocks. But the Frier and Pardoner prove sturdy, and will not
stock'd, but fall upon the poor Parson and Con
stable, and bang them both they are glad 'em
well-favour'dly, that last
liberty: and the farce Such this were the plays
ends with drawn battle.
that age, acted gentlemen's halls
Christmas, the family,
trade.
such like festival times, the servants strollers, who went about and made
in by
let
it at
in
as
a
of it,
goso at
no
it I of I
I
a of in so
in
at It or
:
be IsII
ToI I
or of
a he be
to to
his
ye
it
of
or
clxvi A DIALOGUE, &c.
is not unlikely that the 7 lords in those day, and per sons of eminent quality had their several gangs of players, as some have now of fiddlers, to whom they give cloaks and badges. The first comedy that I have seen, that looks like regular, is Gammer Gurton's Needle, writ”, I think, in the reign of king Edward VI.
This is composed of five acts, the scenes unbroken, and the unities of time and place duly observed. It was acted at Christ's College in Cambridge; there not being as yet any settled and public theatres.
Lovewit. I observe, Trueman, from what you have said, that plays in England had a beginning much like
those of Greece; the Monologues and the Pageants drawn from place to place on wheels, answer exactly to
the cart of Thespis, and the improvements have been by such little steps and degrees as among the ancients,
till at last, to use the words of Sir George Buck (in his Third University of England) “Dramatic poesy is so “lively express'd and represented upon the public
“stages and theatres of this city, as Rome in the auge “(the highest pitch) of her pomp and glory, never saw “it better performed, I mean (says he) in respect of
“the action and art, and not of the cost and sump “tuousness. ” This he writ about the year 1631. But can you inform me, Trueman, when the public
theatres were first erected for this purpose in London? Trueman. Not certainly; but, I presume, about
the beginning of queen Elizabeth's reign. For Stow, in his survey of London (which book was first printed
in the year 1598) says, “Of late years, in place of these “stage plays those religious matters) have “been used comedies, tragedies, interludes, and histo
“ries, both true and feigned: for the acting whereof certain publick places, the Theatre, the Curtine, &c. have been erected. ” And the continuator of
Till the 25th year queen Elizabeth, the queen had not any players; but that year twelve the best all those who be
longed several lords, were chosen, and sworn her servants. Stow's Annals, 698.
See vol. II. where reason assigned for supposing that this play was written later.
*7 to
““
in p. p.
8,
(i. e.
of a
is
of
as of
of
A DIALOGUE, &c. clxvii
Stow's annals, p. 1004, says, that in sixty years before the publication of that book, (which was Ann. Dom 1529) no less than seventeen publick stages, or common
play-houses, had been built in and about London. In which number he reckous five inns or common
osteries, to have been in his time turned into play houses, one Cock-pit, Saint Paul's singing-school, one in the Black-friers, one in the White-friers, and one in
former time at Newington Butts; and adds, before the space of sixty years past, I never knew, heard, or read of any such theatres, stages, or play-houses, as have
been purposely built within man's memory.
Lovewit. After all, I have been told, that stage-plays
are inconsistent with the laws of this kingdom, and players made rogues by statute.
Trueman. He that told you so, strain’d a point of
truth. I never met with any law wholly to suppress them: sometimes, indeed, they have been prohibited
for a season; as in times of Lent, general mourning, or publick calamities, or upon other occasions, when the government saw fit.