Of the other
companies
I took little notice.
Dodsley - Select Collection of Old Plays - v1
The piece he represented was Pas
quin, which was acted to crowded audiences for fifty successive nights. Encouraged by the fa
vourable reception this performance met with, he
determined to continue at the same place the next season, when he produced several new plays, some
of which were applauded, and the rest condemned.
As soon as the novelty of the design was over, a
visible difference appeared between the audiences
of the two years. The company, which as the play-bills said dropped from the clouds, were dis
banded; and the manager, not having attended to
MR. DoDSLEY’s PREFACE. cxxix
the voice of economy in his prosperity, was left no richer or more independent than when he first engaged in the project.
The severity of Mr. Fielding's satire in these
pieces had galled the minister to that degree, that
the impression was not erased from his mind when the cause of it had lost all effect. He meditated
therefore a severe revenge on the stage, and de
termined to prevent any attacks of the like kind for
the future. In the execution of this plan he stea
dily persisted;
and at last had the satisfaction of
seeing the enemy, which had given him so much uneasiness, effectually restrained from any power
of annoying him on the public theatres. An act of parliament passed in the year 1737, which for bad the representation of any performance not pre viously licenced by the Lord Chamberlain, or in any place, except the city of Westminster and the
liberties thereof, or where the royal family should
at any time reside. It also took from the crown the power of licensing any more theatres, and in
flicted heavy penalties on those who should here after perform in defiance of the regulations in the statute. This unpopular act did not pass without opposition. It called forth the eloquence of Lord
Chesterfield in a speech, wherein the arguments favour this obnoxious law were answered, the
dangers which might ensue from were pointed
out, and the little necessity for such hostilities VOL.
I.
of
all k
it
in
CXXX --
SUPPL EMENT TO
against the stage clearly demonstrated. It also excited an alarm in the people at large, as tending
to introduce restraints on the liberty of the press. Many pamphlets were published against the prin
ciple of the act; and it was combated in every
shape which wit, ridicule, or argument, could op
pose it All these, however, availed nothing;
the minister had resolved, and the parliament was
too compliant
mended from
slight bill which came recom powerful quarter. there
law, and freed the then, and
fore passed into
future ministers, from any apprehensions mis
chief from the wit or malice of dramatic writers. The year 1740, was rendered remarkable
This was the late Mr. Garrick, who, after experi encing some slights from the managers Drury Lane and Covent-Garden, determined make trial his theatrical qualifications the playhouse
Goodman's Fields, under the direction Mr. Giffard, who was that time permitted perform there without molestation. The part chose
his first appearance was that Richard the Third, which displayed clear conception
character, such power execution, and union talents varied, extensive, and unexpected, soon fixed his reputation the first actor
theatrical world the
whose genius seemed intended adorn, and whose abilities were destined support the stage,
appearance actor,
so
he
to it
in.
as
a
a of to a
of his as of the
of
toof an ofIt in
of
a
at he to
to
of
in
in
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a by
to so
for "
the all
of
MR. DODSLEY'S PREFACE. cxxxi
own or any former times. His fame spread through every part of the town with the greatest
rapidity; and Goodman's Fields theatre, which had been confined to the inhabitants of the city, be came the resort of the polite, and was honoured
people. At Goodman's Fields, Mr. Garrick remained
with the notice of ranks and orders
but one season; after which lane, where continued and, by prudent attention
removed Drury increase his reputation,
the dictates fru gality and discretion, acquired character which
pointed him out proper person succeed the management the theatre few years after,
accomplish
The affairs Drury-lane theatre suffered the
mischiefs which could arise from the imprudence inability the manager. That gentleman had em
barrassed his domestic concerns almost every species misconduct, and involved himself such
and fortune which enabled him
that point when the opportunity offered.
difficulties,
that there remained no other means extricating himself from them than abandoning his country, and retiring abroad. About the year
1745, the whole either mortgaged
had been assigned tised be disposed
his property the theatre was sold; and the patent, which
some creditors, was adver public auction. Two Bankers soon afterwards became the purchasers,
and they received into the management the late Mr.
to
of
of
a
a
of by
to
of as to a
he
all
or of
in
by
by
to
to
of to
of
in
or
all
of to
of
to aa
he
cxxxii SUPPLEMENT To
Lacey, to whom the conduct of the theatre was
relinquished.
The calamities of the times affected
the credit of many persons at this juncture; and
amongst the rest of the new managers, who found
themselves obliged to stop payment. Their mis fortunes occasioned the patent again to become
the object of a sale. It was offered to several persons, but few appeared to have courage enough
to venture upon At length was proposed
Mr. Lacey, that and Mr. Garrick should be come joint-purchasers. The offer was accepted.
renewal the patent was solicited and obtained. All the preliminaries were short time settled,
and, the year 1747, the house was opened with Prologue written Dr. Johnson, and spoken
Mr. Garrick.
From this period may dated the flourishing
state the theatre. The new partners were fur
nished with abilities make their purchase advan tageous themselves, and useful the public.
Mr. Garrick's admirable performances insured them great audiences; and the industry and attention
Mr. Lacey were employed rendering the house
convenient the frequenters They both exerted their endeavours acquire the favour the town; and the preference which was given them over their rivals the other theatre suffi
ciently proved the superior estimation they were held The harmony which subsisted between
1.
he it. by
in.
of to
at
toin bein a
to of
of
by
to
of
of
it
it.
to
to
by a
A in
MR. Dodsley's PREFACE. cxxxiii
them contributed to the success of their under
taking, and their efforts in the end procured them both riches and respect.
The month of December, 1761, was marked with the death of Mr. Rich, who had been ma nager under the patents granted by Charles the
Second almost fifty years. His peculiar excel lence in the composition of those performances
which demanded shew and expence enabled him, with an indifferent company of actors, to make a stand against the greatest performers of his time:
he was unrivalled in the representation of his fa vourite character Harlequin, and possessed with
many foibles some qualities which commanded the esteem of his friends and acquaintance. On his decease, the business of Covent-Garden theatre
was conducted by his son-in-law Mr. Beard.
In the year 1763, Mr. Garrick, by the advice of
his physicians, went abroad, in order to relax from the fatigues of profession, and re-establish health, which had been much broken uninter rupted exertion abilities the stage. He was absent two seasons, and then returned the
theatre, where remained until the year 1776. The theatre the Hay-market had for some
years been occupied the summer time of licences from the Lord Chamberlain.
month July, 1766, was advanced
nity theatre royal; patent being then made.
virtue In the
the dig
of a
of
in he
in a
it
to
by an
by
to
his his
of
on
to
his
cxxxiv. SU PPL EMI ENT TO
out to Mr. Foote, authorizing him to build a thea tre in the city and liberties of Westminster, and to exhibit dramatic performances, &c. therein, from
the 14th day of May to the 14th of September, during life. On this grant being passed, the patentee purchased the old playhouse, which had been built 1720, and immediately pulled down. was rebuilt the course the next
year, and opened the month May, 1767. Mr. Foote very successfully managed this theatre until the season before his death.
From the decease Mr. Rich, Covent-Garden theatre had been intrusted the direction of his
son-in-law Mr. Beard, who introduced several
musical pieces the stage, which were received with applause, and brought considerable profits those concerned the house. The taste of the public inclined very much this species per
formance for several seasons; but about the year
1766 the audiences beginning lessen, and the
acting manager finding
which desirous the quiet
relief for had long been afflicted with,
retiring from the bustle private life. the summer
deafness became
theatre 1767,
negociation was set foot and Rutherford, for the purchase
the play-house which belonged prietors; but the advantage
Messieurs Harris the property
the then pro having capital
performer one the sharers being suggested,
as
in
of a
by
to
of
in
a
of
on
of
in
to of all
of a
he of of
It
his
In
no
to
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of
of
it
to
to
in
to
in
to
MR. DoDSLEY'S PREFACE. CXXXV
Mr. Powell was invited to join with them, and he recommended Mr. Colman as a person from whom the undertaking would receive great advantage.
The proposal being assented to by the several parties, the property of the theatre was assigned in
August, 1767; the conduct of the stage was in trusted to Mr. Colman, and the house opened on the 14th of September with the Comedy of the Rehearsal; and a Prologue written by Paul White head, and spoken by Mr. Powell.
The disputes which soon afterwards arose amongst the new managers are unworthy of any
notice, on account of the virulence and acrimony with which each party seems to have been inflamed: it is sufficient to observe, that after they had con
tinued a long time, and had received a judicial de termination, they were amicably ended.
Mr. Rutherford sold his share to Messieurs Leake and Dagge. Mr. Powell died in July,
1769;
Fisher, who by that means became entitled to
some part of her late husband's interest in the
theatre. Mr. Colman managed the affairs of the stage until the year 1774, when his right was pur
chased by the rest of his partners, to whom it was immediately assigned.
In 1776, an event took place, which the ad mirers of theatrical entertainments had long ex pected with concern, and now viewed with regret.
3-
and his widow afterwards married Dr.
cxxxvi SUPPLEMENT TO
Mr. Garrick, at a period when his powers had
suffered little injury from time, and in the height of his fame and popularity, determined to relin
quish connection with the stage, and retire the honourable enjoyment large fortune, ac
quired the course near forty years spent
the service the public. His last appearance
was the character Don Felix the Play
the Wonder, acted the 10th day June, for charitable benefit. He was honoured with
brilliant and crowded audience, and was dismissed with the loudest applauses ever heard theatre.
The obligations which the public are under him for the decency and propriety our present
dramatic performances, will ever intitle him the grateful respect the world, independent his
extraordinary author.
merit either actor
As this the period which the present im perfect account the English theatre intended
closed, some apology may expected for
the defects more copious and particular detail would not have been consistent with the
plan this work; and the materials for history
executed with such minuteness the subject de serves are too much scattered, and too difficult
obtained, readily brought together. Many
might pro cured from those who have access the interior
circumstances and much information
to
ofin ofin a is a
be
or
as of to
an to a of in to
be
of
to be
a
to be
of
to
as
an
is it.
in of
A
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of
be
at
as
of a
in
all
onof of
MR. DoDSLEY'S PREFACE. cxxxvii
of the present playhouses; the neglected pamphlets
of former times would afford a great fund of intel ligence; and the remembrance of many individuals would furnish particulars of considerable value to
any person who had leisure and abilities for such
an undertaking. The History of the Drama seems in
titled to more regard than hath been bestowed upon To excite the attention of those who are best
qualified for such work, hath been the chief end
the present slight view
more worthy public notice. March 31, 1780.
the English theatres, pardon, may
which can only entitled
probably some future time
ducing performance with fewer imperfections and
the means pro
a
at
of
be
a
be to of
as of it
of
it.
HISTORIA HISTRIONICA : AN
HISTORICAL ACCOUNT
THE ENGLISH STAGE; sh Ewing,
THE ANCIENT Use, IMPROVEMENT, AND PERFECTION OF DRAMATIC REPRESENTATIONS IN THIS NATION.
IN
A DIALOGUE OF PLAYS AND PLAYERS.
—Olim meminisse juvabit.
LONDON;
PRINTED BY G. G Room, FOR WILLIAM HAWEs, AT THE ROSE IN LUDGATE-STREET.
1699.
This tract was originally printed in 1699. It is said to have been the production of James Wright of New Inn, afterwards of the Middle Temple, Barrister at Law.
He was the author of The Antiquities of Rutlandshire, and some poems; particularly, (1. ) “An Essay on the
“present Ruins of St. Paul's Cathedral. ” To which is annexed, “The Misfortunes of St. Paul's Cathe “dral,” in heroic verse, 4to. 1668; re-printed with
two other poems under the title of, (2) “Three poems “ of St. Paul's Cathedral; viz. The Ruins, The Re
“building, The Choire”, Fo. 1697. ” and (3. ) “Phoe “ mix Paulina, a Poem on St. Paul's Cathedral, 4to.
“ 1709+. ” He was alive in 1710, being mentioned by
Mr. Hearne in his preface to Leland's Itimerary, in this manner; “I could have supply'd more Lacunae, and
“in likelyhood have render'd this performance more “perfect, had had the use very good tran
“script Mr. Leland's Itinerary, taken about the time Queen Elizabeth (before the originals took wet,
“is suppos'd) and was formerly possession James “Wright, the Middle Temple, Esq. the worthy “author the Antiquities Rutlandshire; but this,
“with multitude
“unhappily burnt
“the year 1698,
“inform me. ” Anthony Wood says, wrote elegy on the death Mr. John Goad, Master Merchant Taylor's School, who died 1689. (See Wood's Athenae,
vol. 839. )
-
-
other valuable curiosities, was
the fire the Middle Temple, Mr. Wright has been pleased
British Topography, vol. 610.
Catalogue pamphlets the Harleian Library, 140.
+ of 1.
all
of
of
p. a
* ofof
of if I
in
-
of
a
1. p.
in
of
of p.
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“
THE PREFACE. *
MUCH has been writ of late pro and con about the stage, yet the subject admits of more, and that which has not been hitherto touched upon ; not only what that but what was, about which some people have made such bustle. What
we see, and think has been sufficiently dis play’d Mr. Collier's book; what was former ages and how used this kingdom, far back
one may collect any memorials, the subject the following dialogue. Old plays will always
read the curious, were only discover the
manners and behaviour several ages and how they altered. For plays are exactly like portraits,
drawn the garb and fashion the time when
You see one habit the time Charles
another quite different from that, both for men and women, Queen Elizabeth's time another
This preface now for the first time inserted, Mr.
Reed having omitted probably because his copy was not perfect. reprinted from the first edition 1699,
painted.
which the former editor had not been able
procure.
It is
by in
is it
is, it
to
;
of
to
is
so
C.
in
*
I.
as
is in
in
I if
in
it it
of
be
in
of it
it of
in
a
cxlii
under Henry the Eighth different from both, and so backward all various. And in the several fashions
of behaviour and conversation there is as much
mutability as in that of clothes. Religion and re ligious matters was once as much the mode in public entertainments, as the contrary has been in
some times since. This appears in the different
plays of several ages: and to evince this the fol lowing sheets are an essay or specimen.
Some may think the subject of this discourse trivial, and the persons herein mentioned not worth
But besides that I could name some
remembering.
things contested of late with great heat, of as little or less consequence, the reader may know that the profession of players is not so totally scandalous, nor them reprobate, but that there has been found under that name canonized saint the pri mitive church; may seen the Roman Mar
tyrology the 29th March: his name Masculas, master interludes (the Latin Archimimus, and the French translation Maitre comedien) who under the persecution the Vandals Africa,
Geisericus the Arian King, having, endured many
and grievous torments and reproaches for the con
fession the truth, finished the course this glo rious combat, saith the said Martyrology.
appears from this and some further instances the following discourse, that there have been
in It
all of
of
of on
be a
in of
of
un
in
is
in by a
as
so
cxliii
players of worthy principles as to religion, loyalty
and other virtues; and if the major part of them
fall under a different character, it is the general
unhappiness of mankind, that the most are the (VOrSt.
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,
farther
-
the
are and to
all
1.
I be
of of
to I
I to
as
l
of
in of if
I
;
as
no
to
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
as it
in at
in
It of of
I in a in
so
I
of
in
I
he at
up
all
is
by
in
of or
as
we I at
atin he
of of
to in
it, of
at
I
to at
to
of
up do
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
and
of
of it,
all
on at
its
is
It
be" in a
to
all
1;
or
a
in
to
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. ”
of
in
all
in
or
be
of
of a
“
of of
in
of
a
a be
of by1. p.
to be
I 3.
be
“““
is of to
;
to
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.
of
all
of
by to
by
,
clo A DIALOG UE, &c.
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
“
*
of
orat a of
up or
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to
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be
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as to
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. . .
at as
of up
;
all
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
to
as
or
at to
of all
of as of
to upfor at aaat ofor
of in
of of a
by
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as by;
;
I
by
to
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by
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of so as
in us
to : a
a as or ;
to
to it
in
of ofofas to
of
all
at
for
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
at
in
inby a
to I a at
at he ina
to
all
of
of
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it by to
orby
I. atan
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by in of in
to
to
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at of in
to
of
he
a
as in
of
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
onof
an If is
it, .
all by
of
to I I
to
in
fit to to
all by
be a of
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let
no fit to
cliv A DIALOG UE, &c.
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
on of
it to
in
of
of
in
A as
of a
S.
of
in
in
beall
de of
if {
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
in
of in
of
8. to be
of
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at
of
all of
of
to
is,
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of
II.
is
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in of of
in
inof at
if
of
15
of
of
by
p.
11
by in
of he
in a
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
“By his gray beard shew the height and pride
to
is
to
in
it is
of in
of it, he
of
It
of
in
of
in he
is
in
of
in to
of
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.
quin, which was acted to crowded audiences for fifty successive nights. Encouraged by the fa
vourable reception this performance met with, he
determined to continue at the same place the next season, when he produced several new plays, some
of which were applauded, and the rest condemned.
As soon as the novelty of the design was over, a
visible difference appeared between the audiences
of the two years. The company, which as the play-bills said dropped from the clouds, were dis
banded; and the manager, not having attended to
MR. DoDSLEY’s PREFACE. cxxix
the voice of economy in his prosperity, was left no richer or more independent than when he first engaged in the project.
The severity of Mr. Fielding's satire in these
pieces had galled the minister to that degree, that
the impression was not erased from his mind when the cause of it had lost all effect. He meditated
therefore a severe revenge on the stage, and de
termined to prevent any attacks of the like kind for
the future. In the execution of this plan he stea
dily persisted;
and at last had the satisfaction of
seeing the enemy, which had given him so much uneasiness, effectually restrained from any power
of annoying him on the public theatres. An act of parliament passed in the year 1737, which for bad the representation of any performance not pre viously licenced by the Lord Chamberlain, or in any place, except the city of Westminster and the
liberties thereof, or where the royal family should
at any time reside. It also took from the crown the power of licensing any more theatres, and in
flicted heavy penalties on those who should here after perform in defiance of the regulations in the statute. This unpopular act did not pass without opposition. It called forth the eloquence of Lord
Chesterfield in a speech, wherein the arguments favour this obnoxious law were answered, the
dangers which might ensue from were pointed
out, and the little necessity for such hostilities VOL.
I.
of
all k
it
in
CXXX --
SUPPL EMENT TO
against the stage clearly demonstrated. It also excited an alarm in the people at large, as tending
to introduce restraints on the liberty of the press. Many pamphlets were published against the prin
ciple of the act; and it was combated in every
shape which wit, ridicule, or argument, could op
pose it All these, however, availed nothing;
the minister had resolved, and the parliament was
too compliant
mended from
slight bill which came recom powerful quarter. there
law, and freed the then, and
fore passed into
future ministers, from any apprehensions mis
chief from the wit or malice of dramatic writers. The year 1740, was rendered remarkable
This was the late Mr. Garrick, who, after experi encing some slights from the managers Drury Lane and Covent-Garden, determined make trial his theatrical qualifications the playhouse
Goodman's Fields, under the direction Mr. Giffard, who was that time permitted perform there without molestation. The part chose
his first appearance was that Richard the Third, which displayed clear conception
character, such power execution, and union talents varied, extensive, and unexpected, soon fixed his reputation the first actor
theatrical world the
whose genius seemed intended adorn, and whose abilities were destined support the stage,
appearance actor,
so
he
to it
in.
as
a
a of to a
of his as of the
of
toof an ofIt in
of
a
at he to
to
of
in
in
at of so
a by
to so
for "
the all
of
MR. DODSLEY'S PREFACE. cxxxi
own or any former times. His fame spread through every part of the town with the greatest
rapidity; and Goodman's Fields theatre, which had been confined to the inhabitants of the city, be came the resort of the polite, and was honoured
people. At Goodman's Fields, Mr. Garrick remained
with the notice of ranks and orders
but one season; after which lane, where continued and, by prudent attention
removed Drury increase his reputation,
the dictates fru gality and discretion, acquired character which
pointed him out proper person succeed the management the theatre few years after,
accomplish
The affairs Drury-lane theatre suffered the
mischiefs which could arise from the imprudence inability the manager. That gentleman had em
barrassed his domestic concerns almost every species misconduct, and involved himself such
and fortune which enabled him
that point when the opportunity offered.
difficulties,
that there remained no other means extricating himself from them than abandoning his country, and retiring abroad. About the year
1745, the whole either mortgaged
had been assigned tised be disposed
his property the theatre was sold; and the patent, which
some creditors, was adver public auction. Two Bankers soon afterwards became the purchasers,
and they received into the management the late Mr.
to
of
of
a
a
of by
to
of as to a
he
all
or of
in
by
by
to
to
of to
of
in
or
all
of to
of
to aa
he
cxxxii SUPPLEMENT To
Lacey, to whom the conduct of the theatre was
relinquished.
The calamities of the times affected
the credit of many persons at this juncture; and
amongst the rest of the new managers, who found
themselves obliged to stop payment. Their mis fortunes occasioned the patent again to become
the object of a sale. It was offered to several persons, but few appeared to have courage enough
to venture upon At length was proposed
Mr. Lacey, that and Mr. Garrick should be come joint-purchasers. The offer was accepted.
renewal the patent was solicited and obtained. All the preliminaries were short time settled,
and, the year 1747, the house was opened with Prologue written Dr. Johnson, and spoken
Mr. Garrick.
From this period may dated the flourishing
state the theatre. The new partners were fur
nished with abilities make their purchase advan tageous themselves, and useful the public.
Mr. Garrick's admirable performances insured them great audiences; and the industry and attention
Mr. Lacey were employed rendering the house
convenient the frequenters They both exerted their endeavours acquire the favour the town; and the preference which was given them over their rivals the other theatre suffi
ciently proved the superior estimation they were held The harmony which subsisted between
1.
he it. by
in.
of to
at
toin bein a
to of
of
by
to
of
of
it
it.
to
to
by a
A in
MR. Dodsley's PREFACE. cxxxiii
them contributed to the success of their under
taking, and their efforts in the end procured them both riches and respect.
The month of December, 1761, was marked with the death of Mr. Rich, who had been ma nager under the patents granted by Charles the
Second almost fifty years. His peculiar excel lence in the composition of those performances
which demanded shew and expence enabled him, with an indifferent company of actors, to make a stand against the greatest performers of his time:
he was unrivalled in the representation of his fa vourite character Harlequin, and possessed with
many foibles some qualities which commanded the esteem of his friends and acquaintance. On his decease, the business of Covent-Garden theatre
was conducted by his son-in-law Mr. Beard.
In the year 1763, Mr. Garrick, by the advice of
his physicians, went abroad, in order to relax from the fatigues of profession, and re-establish health, which had been much broken uninter rupted exertion abilities the stage. He was absent two seasons, and then returned the
theatre, where remained until the year 1776. The theatre the Hay-market had for some
years been occupied the summer time of licences from the Lord Chamberlain.
month July, 1766, was advanced
nity theatre royal; patent being then made.
virtue In the
the dig
of a
of
in he
in a
it
to
by an
by
to
his his
of
on
to
his
cxxxiv. SU PPL EMI ENT TO
out to Mr. Foote, authorizing him to build a thea tre in the city and liberties of Westminster, and to exhibit dramatic performances, &c. therein, from
the 14th day of May to the 14th of September, during life. On this grant being passed, the patentee purchased the old playhouse, which had been built 1720, and immediately pulled down. was rebuilt the course the next
year, and opened the month May, 1767. Mr. Foote very successfully managed this theatre until the season before his death.
From the decease Mr. Rich, Covent-Garden theatre had been intrusted the direction of his
son-in-law Mr. Beard, who introduced several
musical pieces the stage, which were received with applause, and brought considerable profits those concerned the house. The taste of the public inclined very much this species per
formance for several seasons; but about the year
1766 the audiences beginning lessen, and the
acting manager finding
which desirous the quiet
relief for had long been afflicted with,
retiring from the bustle private life. the summer
deafness became
theatre 1767,
negociation was set foot and Rutherford, for the purchase
the play-house which belonged prietors; but the advantage
Messieurs Harris the property
the then pro having capital
performer one the sharers being suggested,
as
in
of a
by
to
of
in
a
of
on
of
in
to of all
of a
he of of
It
his
In
no
to
of
he a
of
of
it
to
to
in
to
in
to
MR. DoDSLEY'S PREFACE. CXXXV
Mr. Powell was invited to join with them, and he recommended Mr. Colman as a person from whom the undertaking would receive great advantage.
The proposal being assented to by the several parties, the property of the theatre was assigned in
August, 1767; the conduct of the stage was in trusted to Mr. Colman, and the house opened on the 14th of September with the Comedy of the Rehearsal; and a Prologue written by Paul White head, and spoken by Mr. Powell.
The disputes which soon afterwards arose amongst the new managers are unworthy of any
notice, on account of the virulence and acrimony with which each party seems to have been inflamed: it is sufficient to observe, that after they had con
tinued a long time, and had received a judicial de termination, they were amicably ended.
Mr. Rutherford sold his share to Messieurs Leake and Dagge. Mr. Powell died in July,
1769;
Fisher, who by that means became entitled to
some part of her late husband's interest in the
theatre. Mr. Colman managed the affairs of the stage until the year 1774, when his right was pur
chased by the rest of his partners, to whom it was immediately assigned.
In 1776, an event took place, which the ad mirers of theatrical entertainments had long ex pected with concern, and now viewed with regret.
3-
and his widow afterwards married Dr.
cxxxvi SUPPLEMENT TO
Mr. Garrick, at a period when his powers had
suffered little injury from time, and in the height of his fame and popularity, determined to relin
quish connection with the stage, and retire the honourable enjoyment large fortune, ac
quired the course near forty years spent
the service the public. His last appearance
was the character Don Felix the Play
the Wonder, acted the 10th day June, for charitable benefit. He was honoured with
brilliant and crowded audience, and was dismissed with the loudest applauses ever heard theatre.
The obligations which the public are under him for the decency and propriety our present
dramatic performances, will ever intitle him the grateful respect the world, independent his
extraordinary author.
merit either actor
As this the period which the present im perfect account the English theatre intended
closed, some apology may expected for
the defects more copious and particular detail would not have been consistent with the
plan this work; and the materials for history
executed with such minuteness the subject de serves are too much scattered, and too difficult
obtained, readily brought together. Many
might pro cured from those who have access the interior
circumstances and much information
to
ofin ofin a is a
be
or
as of to
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in of
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at
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in
all
onof of
MR. DoDSLEY'S PREFACE. cxxxvii
of the present playhouses; the neglected pamphlets
of former times would afford a great fund of intel ligence; and the remembrance of many individuals would furnish particulars of considerable value to
any person who had leisure and abilities for such
an undertaking. The History of the Drama seems in
titled to more regard than hath been bestowed upon To excite the attention of those who are best
qualified for such work, hath been the chief end
the present slight view
more worthy public notice. March 31, 1780.
the English theatres, pardon, may
which can only entitled
probably some future time
ducing performance with fewer imperfections and
the means pro
a
at
of
be
a
be to of
as of it
of
it.
HISTORIA HISTRIONICA : AN
HISTORICAL ACCOUNT
THE ENGLISH STAGE; sh Ewing,
THE ANCIENT Use, IMPROVEMENT, AND PERFECTION OF DRAMATIC REPRESENTATIONS IN THIS NATION.
IN
A DIALOGUE OF PLAYS AND PLAYERS.
—Olim meminisse juvabit.
LONDON;
PRINTED BY G. G Room, FOR WILLIAM HAWEs, AT THE ROSE IN LUDGATE-STREET.
1699.
This tract was originally printed in 1699. It is said to have been the production of James Wright of New Inn, afterwards of the Middle Temple, Barrister at Law.
He was the author of The Antiquities of Rutlandshire, and some poems; particularly, (1. ) “An Essay on the
“present Ruins of St. Paul's Cathedral. ” To which is annexed, “The Misfortunes of St. Paul's Cathe “dral,” in heroic verse, 4to. 1668; re-printed with
two other poems under the title of, (2) “Three poems “ of St. Paul's Cathedral; viz. The Ruins, The Re
“building, The Choire”, Fo. 1697. ” and (3. ) “Phoe “ mix Paulina, a Poem on St. Paul's Cathedral, 4to.
“ 1709+. ” He was alive in 1710, being mentioned by
Mr. Hearne in his preface to Leland's Itimerary, in this manner; “I could have supply'd more Lacunae, and
“in likelyhood have render'd this performance more “perfect, had had the use very good tran
“script Mr. Leland's Itinerary, taken about the time Queen Elizabeth (before the originals took wet,
“is suppos'd) and was formerly possession James “Wright, the Middle Temple, Esq. the worthy “author the Antiquities Rutlandshire; but this,
“with multitude
“unhappily burnt
“the year 1698,
“inform me. ” Anthony Wood says, wrote elegy on the death Mr. John Goad, Master Merchant Taylor's School, who died 1689. (See Wood's Athenae,
vol. 839. )
-
-
other valuable curiosities, was
the fire the Middle Temple, Mr. Wright has been pleased
British Topography, vol. 610.
Catalogue pamphlets the Harleian Library, 140.
+ of 1.
all
of
of
p. a
* ofof
of if I
in
-
of
a
1. p.
in
of
of p.
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“
THE PREFACE. *
MUCH has been writ of late pro and con about the stage, yet the subject admits of more, and that which has not been hitherto touched upon ; not only what that but what was, about which some people have made such bustle. What
we see, and think has been sufficiently dis play’d Mr. Collier's book; what was former ages and how used this kingdom, far back
one may collect any memorials, the subject the following dialogue. Old plays will always
read the curious, were only discover the
manners and behaviour several ages and how they altered. For plays are exactly like portraits,
drawn the garb and fashion the time when
You see one habit the time Charles
another quite different from that, both for men and women, Queen Elizabeth's time another
This preface now for the first time inserted, Mr.
Reed having omitted probably because his copy was not perfect. reprinted from the first edition 1699,
painted.
which the former editor had not been able
procure.
It is
by in
is it
is, it
to
;
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so
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cxlii
under Henry the Eighth different from both, and so backward all various. And in the several fashions
of behaviour and conversation there is as much
mutability as in that of clothes. Religion and re ligious matters was once as much the mode in public entertainments, as the contrary has been in
some times since. This appears in the different
plays of several ages: and to evince this the fol lowing sheets are an essay or specimen.
Some may think the subject of this discourse trivial, and the persons herein mentioned not worth
But besides that I could name some
remembering.
things contested of late with great heat, of as little or less consequence, the reader may know that the profession of players is not so totally scandalous, nor them reprobate, but that there has been found under that name canonized saint the pri mitive church; may seen the Roman Mar
tyrology the 29th March: his name Masculas, master interludes (the Latin Archimimus, and the French translation Maitre comedien) who under the persecution the Vandals Africa,
Geisericus the Arian King, having, endured many
and grievous torments and reproaches for the con
fession the truth, finished the course this glo rious combat, saith the said Martyrology.
appears from this and some further instances the following discourse, that there have been
in It
all of
of
of on
be a
in of
of
un
in
is
in by a
as
so
cxliii
players of worthy principles as to religion, loyalty
and other virtues; and if the major part of them
fall under a different character, it is the general
unhappiness of mankind, that the most are the (VOrSt.
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,
farther
-
the
are and to
all
1.
I be
of of
to I
I to
as
l
of
in of if
I
;
as
no
to
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
as it
in at
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It of of
I in a in
so
I
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up
all
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by
in
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it, of
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up do
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
and
of
of it,
all
on at
its
is
It
be" in a
to
all
1;
or
a
in
to
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. ”
of
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;
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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.
of
all
of
by to
by
,
clo A DIALOG UE, &c.
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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;
all
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
to
as
or
at to
of all
of as of
to upfor at aaat ofor
of in
of of a
by
of
as by;
;
I
by
to
“““
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by
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in us
to : a
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to
to it
in
of ofofas to
of
all
at
for
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
at
in
inby a
to I a at
at he ina
to
all
of
of
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to
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to
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a
as in
of
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
onof
an If is
it, .
all by
of
to I I
to
in
fit to to
all by
be a of
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In fit to
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to it,
let
no fit to
cliv A DIALOG UE, &c.
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
on of
it to
in
of
of
in
A as
of a
S.
of
in
in
beall
de of
if {
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
“By his gray beard shew the height and pride
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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.
