HISTORIA HISTRIONICA: AN Historical Account OF THE English-Stage. SHOWING The ancient Use, Improvement, and Perfection, of Dramatic Representations, in this Nation. IN A Dialogue, of PLAYS and PLAYER'S. — Olim meminisse juvabit. LONDON. Printed by G. Croom, for William Haws at the Rose in Ludgate-street. 1699. 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 is, but what it was, about which some People have made such a Bustle. What it is we see, and I think it has been sufficiently displayed in Mr. Colier's Book; What it was in former Ages, and how used in this Kingdom, so far back as one may collect any Memorials, is the Subject of the following Dialogue. Old Plays will be always Read by the Curious, if it were only to discover the Manners and Behaviour of several Ages; and how they altered. For Plays▪ are exactly like Portraits Drawn in the Garb and Fashion of the time when Painted. You see one Habit in the time of King Charles I. another quite different from that, both for Men and Women, in Queen Elizabeth's time another; 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 Matability as in that of . Religion and Religious 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 following Sheets are an Essay or Specimen. Some may think the Subject of this Discourse trivial, and the persons herein mentioned not worth remembering. But besides that I could name some things contested of late with great heat, of as little, or lesle Consequence, the Reader may know that the Profession of Players is not so totally scandalous, nor all of them so reprobate, but that there has been found under that Name, a Canonised Saint in the primitive Church; as may be seen in the Roman Martyrology on the 29th of March; his name Masculas a Master of Interludes, (the Latin is Archimimus, and the French Translation un Maitre Comedien) who under the Persecution of the Vandals in Africa, by Geisericus the Arian King, having endured many and greivious Torments and Reproaches for the Confession of the Truth, finished the Course of this glorious Combat. Saith the said Martyrology. It appears from this, and some further Instances in the following Discourse, That there have been Players of worthy Principles as to Religion, Loyalty, and other Virtues; and if the mayor part of them fall under a different Character, it is the general unhappiness of Mankind, that the Most are the Worst. A DIALOGUE OF PLAYS and PLAYER'S. Lovewit, Truman. LOvew. Honest Old Cavalier! well met, faith I'm glad to see thee. Trum. 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. Lovew. The more's the pity: But what said the Fortune-Teller in Ben. Johnson's Mask of Gypsies, to the than Lord Privy Seal, Honest and Old! In those the Good Part of a Fortune is told. Trum. Ben. Johnson? How dare you name Ben. Johnson in these times? When we have such a crowd of Poets of a quite different Genius; the lest of which thinks himself as well able to correct Ben. Johnson, as he could a Country School Mistress that taught to Spell. Lovew. We have indeed, Poets of a different Genius; so are the Plays: But in my Opinion, they are all of 'em (some few excepted) as much inferior to those of former Times, as the Actors now in being (generally speaking) are, compared to Hart, Mohun, Burt, Lacie, Clun, and Shatterel; for I can reach not farther backward. Trum. I can; and dare assure you, if my Fancy and Memory are not partial (for Men of my Age are apt to be over indulgent to the thoughts of their youthful Days) I say the Actors that I have seen before the Wars, Lowin, Tayler, Pollard, and some others, were almost as far beyond Hart and his Company, as those were beyond these now in being. Lovew. I am willing to believe it, but cannot readily; because I have been told, That those whom I mentioned, were Bread up under the others of your Acquaintance, and followed their manner of Action, which is now lost. So far, that when the Question has been asked, Why these Players do not receive the Silent Woman, and some other of Johnson's Plays, (once of highest esteem) they have answered, truly, Because there are none now Living who can rightly Humour those Parts, for all who related to the Blackfriars (where they were Acted in perfection) are now Dead, and almost forgotten. Trum. 'Tis very true, Hart and Clun, were bred up Boys at the Blackfriers; and Acted women's Parts, Hart was Robinson's Boy or Apprentice: He Acted the Duchess in the Tragedy of the Cardinal, which was the first Part that gave him Reputation. Cartwright, and Wintershal belonged to the private House in Salisbury-Court, Burt was a Boy first under Shank at the Blackfriars, than under Beeston at the Cockpit; and Mohun, and Shatterel were in the same Condition with him, at the last Place. There Burt used to Play the principal Woman's Parts, in particular Clariana in Love's Cruelty; and at the same time Mohun Acted Bellament, which Part he retained after the Restauration. Lovew. That I have seen, and can well remember. I wish they had Printed in the last Age (so I call the times before the Rebellion) the Actors Names over against the Parts they Acted, as they have done since the Restauration. And thus one might have guest at the Action of the Men, by the Parts which we now Read in the Old Plays. Trum. It was not the Custom and Usage of those Days, as it hath been since. Yet some few Old Plays there are that have the Names set against the Parts, as, The Duchess of Malfi; 〈◊〉 Picture; the Roman Actor; the deserving P●●●●urite, the Wild Goose Chase, (at the Blackfriars) the Wedding; the Renegado; the fair Maid of the West; Hannibal and Scipio; King John and Matilda; (at the Cockpit) and Holland's Leaguer, (at Salisbury Court.) Lovew. These are but few indeed: But pray Sir, what Master Parts can you remember the Old Blackfriars Men to Act, in Johnson, Shakespeare, and Fletcher's Plays. Trum. What I can at present recollect I'll tell you; Shakespeare, (who as I have heard, was a much better Poet, than Player) Burbadge, 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, Flastaffe, Morose, Volpone, and Mammon in the Alchemist; Melancius in the Maid's Tragedy, and at the same time Amyntor was Played 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) Tailor Acted Hamlet incomparably well, Jago, Truewit in the Silent Woman, and Face in the Alchemist; Swanston used to Play Othello: Pollard, and Robinson were Comedians, so was Shank who used to Act Sir Roger, in the Scornful Lady. These were of the Blackfriars. Those of principal Note at the Cockpit, were, Perkins, Michael Bowyer, Sumner, William Allen, and Bird, eminent Actors. and Robins a Comedian. Of the other Companies I took little notice. Lovew. Were there so many Companies? Trum. Before the Wars, there were in being all these Playhouses at the same time. The Blackfriars, and Globe on the Bankside, a Winter and Summer House, belonging to the same Company called the King's Servants; the Cockpit or Phoenix, in Drury-lane, called the Queen's Servants; the private House in Salisbury court, called the Prince's Servants; the Fortune near White-cross-street, and the Read Bull 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 Lived in Reputation, especially those of the Blackfriers, who were Men of grave and sober Behaviour. Lovew. Which I admire at; That the Town much lesle than at present, could than maintain Five Companies, and yet now Two can hardly Subsist. Trum. Do not wonder, but consider, That tho' the Town was than, perhaps, not much more than half so Populous as now, yet than the Prices were small (there being no Scenes) and better order kept among the Company that came; which made very good People think a Play an Innocent Diversion for an idle Hour or two, the Plays themselves being than, for the most part, more Instructive and Moral. Whereas of late, the Playhouses are so extremely pestered with Vizard-masks and their Trade, (occasioning continual Quarrels and Abuses) that many of the more Civilised Part of the Town are uneasy in the Company, and eat 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 Machine's: Whereas the present Plays with all that show, can hardly draw an Audience, unless there be the additional Invitation of a Signior Fideli, a Monsieur L'abbe, or some such Foreign Regale expressed in the bottom of the Bill. Lovew. To wave this Digression, I have Read of one Edward Allin, a Man so famed for excellent Action, that among Ben. Johnson's Epigrams, I found one directed to him, full of Encomium, and concluding thus Wear this Renown, 'tis just that who did give So many Poet's Life, by one should Live. Was he one of the Blackfriars? Trum. 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 Playhouse from the Ground, a large, round Brick Building. This is he that grew so Rich that he purchased a great Estate in Surrey 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, etc. A noble Charity. Lovew. What kind of Playhouses had they before the Wars? Trum. The Blackfriars, Cockpit, and Salisbury-court, were called Private Houses, and were very small to what we see now. The Cockpit was standing since the Restauration, and Rhode's Company Acted there for some time. Lovew. I have seen that. Trum. Than you have seen the other two, in effect; for they were all three Built almost exactly alike, for Form and Bigness. Here they had Pits for the Gentry, and Acted by Candle-light. The Globe, Fortune and Bull, were large Houses, and lay partly open to the Wether, and there they always Acted by Daylight. Lovew. But prithee, Truman, what became of these Players when the Stage was put down, and the Rebellion raised? Trum. Most of 'em, except Lowin, Tayler and Pollard, (who were superannuated) went into the King's Army, and like good Men and true, Served their Old Master, tho' in a different, yet more honourable, Capacity. Robinson was Killed at the Taking of a Place (I think Basin House) by Harrison, he that was after Hanged 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 Mayor) Hart was a Lieutenant of Horse under Sir Thomas Dallison, in Prince Rupert's, Regiment, Burt was Cornet in the same Troop, and Shatterel Quartermaster. Allen of the Cockpit, was a Mayor, and Quarter Master General at Oxford. I have not heard of one of these Players of any Note that sided with the other Party, but only Swanston, and he professed himself a Presbyterian, took up the Trade of a Jeweller, and lived in Aldermanburic, within the Territory of Father Calamy. The rest either Lost, or exposed their Lives for their King. When the Wars were over, and the Royalists totally Subdued; most of 'em who were left alive gathered to London, and for a Subsistence endeavoured to revive their Old Trade, privately. They made up one Company out of all the Scattered Members of Several; and in the Winter before the King's Murder, 1648, They ventured to Act some Plays with as much caution and privacy as could be, at the Cockpit. They continued undisturbed for three or four Days; but at last as they were presenting the Tragedy of the Bloody Brother, (in which Lowin Acted Aubrey, Tailor Rollo, Pollard the Cook, Burt Latorche, and I think Hart Otto) a Party of Foot Soldiers beset the House, surprised 'em about the middle of the Play, and carried 'em away in their habits, not admitting them to Shift, to Hatton-house than a Prison, where having detained them sometime, they Plundered them of their and let 'em lose again. Afterwards in Oliver's time, they used to Act privately, three or four Miles, or more, out of Town, now here, now there, sometimes in Nobleman'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 for them, each giving a broad Peice, or the like. And Alexander Goffe., the Woman Actor at Blackfriars, (who had made himself known to Persons of Quality) used to be the Jackal and give notice of Time and Place. At Christmas, and Bartlemew-fair, they used to Bribe the Officer who Commanded the Guard at Whitehall, and were thereupon connived at to Act for a few Days, at the Read Bull; but were sometimes notwithstanding Disturbed by Soldiers. Some picked up a little Money by publishing the Copies of Plays never before Printed, but kept up in Manuscript. For instance, in the Year 1652, Beaumond and Fletcher's Wild Goose Chace was Printed in Folio, for the Public use of all the Ingenious, (as the Title-page says) and private Benefit of John Lowin and Joseph Tailor, Servants to his late Majesty; and by them Dedicated To 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 to a necessitous Condition. Lowin in his latter Days, kept an Inn (the three Pigeons) at Brentford, where he Died very Old, (for he was an Actor of eminent Note in the Reign of K. James the first) and his Poverty was as great as his Age. Tailor Dyed at Richmond and was there Buried. Pollard who Lived Single, and had a Competent Estate; Retired to some Relations he had in the Country, and there ended his Life. Perkins and Sumner of the Cockpit, kept House together at Clerkenwel, and were there Buried. These all Died some Years before the Restauration. What followed after, I need not tell you: You can easily Remember. Lovew. Yes, presently after the Restauration, the King's Players Acted publicly at the Read Bull for some time, and than Removed to a New-built Playhouse in Vere-street by Claremarket. There they continued for a Year or two, and than removed to the Theatre Royal in Drury-lane, where they first made use of Scenes, which had been a little before introduced upon the public Stage by Sir William Davenant at the Duke's Old Theatre in Lincolns-Inn-fields, but afterwards very much improved, with the Addition of curious Machine's by Mr. Betterton at the New Theatre in Dorset-Garden, to the great Expense and continual Charge of the Players. This much impaired their Profit o'er what it was before; for I have been informed, (by one of 'em) That for several Years next after the Restauration, every whole Sharer in Mr. Heart's Company, got 1000 l. per an. About the same time that Scenes first entered upon the Stage at London, Women were taught to Act thei● own Parts; since when, we have seen at both Houses several excellent Actresses, justly famed as well for Beauty, as perfect good Action. And some Plays (in particular The Parson's Wedding) have been Presented all by Women, as formerly all by Men. Thus it continued for about 20 Years, when Mr. Hart and some of the Old Men began to grow weary, and were minded to leave of; than the two Companies thought fit to Unite; hut of late, you see, they have thought it not lesle fit to Divide again, though both Companies keep the same Name of his Majesty's Servants. All this while the Playhouse Music improved Yearly, and is now arrived to greater Perfection than ever I knew it. Yet for all these Advantages, the Reputation of the Stage, and People's Affection to it, are much Decayed. Some were lately severe against it, and would hardly allow Stage-Plays fit to be longer permitted. Have you seen Mr. Collier's Book? Trum. Yes, and his Opposer's. Lovew. And what think you? Trum. In my mind Mr. Collier's Reflections are Pertinent, and True, in the Main; the Book ingeniously Writ, and well Intended: But he has overshot himself in some Places; and his Respondents, perhaps, in more. My affection inclines me not to Engage on either side, but rather Mediate. If there be Abuses relating to the Stage; (which I think is too apparent) Let the Abuse be reform, and not the use, for that Reason only, Abolished. 'Twas an Old saying when I was a Boy, Absit Abusus non desit totaliter Vsus. I shall not run through Mr. Collier's Book; I will only touch a little on two or three general Notions, in which, I think he may be mistaken. What he urges out of the Primitive Councils, and Fathers of the Church, seems to me to be directed against the Heathen Plays, which were a sort of Religious Worship with them, to the Honour of Ceres, Flora, or some of their false Deities; they had always a little Altar on their Stages, as appears 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. Not wonder than, they forbidden 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; their thoughts were intent upon the next World, they abstained almost wholly from all Diversions and pleasures (though lawful and Innocent) in this. Afterwards when Persecution ceased, and the Church flourished, Christians being than freed from their former Terrors, allowed themselves, at proper times, the lawful Recreations of Conversation, and among other (no doubt) this of Shows 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 can not be understood generally, but only against such Players who were of Vicious and Licentious Lives, and represented profane Subjects, inconsistent with the Morals and probity of Manners requisite to Christians; and frequented chief by such lose and Debauched People as were much more apt to Corrupt than Divert those who associated with them. I say, I can not think the Canons and Censures of the Fathers can be applied to all Players, quatenus Players; for if so how could Plays be continued among the Christians, as they were, of Divine Subject, and Scriptural Stories? A late French Author Speaking of the Original of the Hotel De Bourgogne (a Playhouse in Paris) says that the ancient Dukes of that Name gave it to the Brotherhood of the Passion, established in the Church of Trinity-Hospital in the Rue S. Denis, on condition that they should represent here Interludes of Devotion: And adds that there have been public Shows in this Place 600 Years ago. The Spanish and Portugese continued 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-indieses. Lovew. That's a great way of, Truman; I had rather you would come nearer Home, and confine your discourse to Old England. Trum. So I intent. The same has been done here in England; for otherwise how comes it to be prohibited in the 88th Canon, among those past in Convocation, 1603. Certain it is that our ancient Plays were of Religious Subjects, and had for their Actors, (if not Priests) yet Men relating to the Church. Lovew. How does that appear? Trum. Nothing clearer. Stow in his Survey of London, had one Chapter of the Sports and Pastimes of old time used in this City, and there he tells us, That in the Year 1391 (which was 15 R. 2.) a Stage-Play was played by the Parish-Clerks of London, at the Skinner's-well beside Smithfield, which Play continued three Days together, the King, Queen, and Nobles of the Realm being present. And another was played in the Year 1409 (11 H. 4.) which lasted eight Days, and was of Matter from the Creation of the World; whereat was present most part of the Nobility and Gentry of England. Sir William Dugdale in his Antiquities of Warwickshire, p. 116, speaking of the Gray-Friers (or Franciscans) at Coventry, says, Before the suppression of the Monasteries, this City was very famous for the Pageants that were played therein upon Corpus-Christi Day; which Pageants being acted with mighty State and Reverence by the Friars of this House, had Theatres for the several Scenes very large and high, placed upon Wheels, and drawn to all the eminent Parts of the City, for the better advantage of the Spectators; and contained the Story of the New Testament, composed in old English Rhyme. An ancient Manuscript of the same is now to be seen in the Cottonian Library, Sub Effig. Vespat. D. 8. Since the Reformation, in Queen Elizabeth's time, Plays were frequently acted by Choristers and Singing Boys; and several of our old Comedies have printed in the Title Page, Acted by the Children of Paul'●, (not the School, but the Church) others, By the Children of her Majesty's Chapel; in particular, Cinthia's Revels, and the Poetaster were played by them; who were at that time famous for good Action. Among Ben. Johnson's Epigrams you may found An Epitaph on S. P. (Sal. Pavy) one of the Children of Queen Elizabeth ' ss Chapel; part of which runs thus, Years he counted scarce Thirteen When Fates turned Cruel, Yet three filled Zodiacs he had been The Stages-Jewell. And did act (what now we moan) Old Man so duly, As, sooth, the Parcaes thought him one, He played so truly. Some of these Chapel Boys, when they grew Men, became Actors at the Blackfriars; such were Nathan Feild, and John Underwood. Now I can hardly imagine 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 Playhouse; 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 abhorrance as any Man. Lovew. Can you guests of what Antiquity the representing of Religious Matters, on the Stage, hath been in England? Trum. 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 sanctiores, Representationes miraculorum, quae sancti Confessores operati sunt, seu Representationes passionum quibus claruit constantia Martyrum. Of this, the Manuscript which I lately mentioned, in the Cottonian Library, is a notable instance. Sir William Dugdale citys 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 historiae veteris & N. Testamenti, introductis quasi in Scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio fingit Poeta. Videntur olim coram populo, sive ad instruendum sive ad placendum, a fratibus mendicantibus repraesentata. It appears by the latter end of the Prologue, that these Plays or Interludes, were not only played at Coventry, but in other Towns and Places upon occasion. And possibly this may be the same Play which Stow tells us was played in the Reign of King Henry IV, which lasted for Eight Days. The Book seems by the Character and Language to be at lest 300 Years old. It gins with a general Prologue, giving the Arguments 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 choosing of St. Mathias to be an Apostle. The Stories of the New Testament are more largely expressed, viz. The Annunciation, Nativity, Visitation; but more especially all Matters relating to the Passion very particularly, the Resurrection, Ascention, the choice of St. Mathias: After which is also represented the Assumption, and last Judgement. All these things were treated of in a very homely Style, (as we now think) infinitely below the Dignity of the Subject: But it seems the Gust of that Age was not so nice and delicate in these Matters; the plain and incurious Judgement of our Ancestors, being prepared with favour, and taking every thing by the right and easiest Handle: For example, in the Scene relating to the Visitation. Maria But Husband of oo thing pray you most mekely, ●aue knowing that our Cousin Elizabeth with child is, ●●t it please you to go to her hastily, ●●●ght we myth comfort her it were to me bliss. Joseph. 〈…〉 sake, is she with child, sche? 〈…〉 her husband Zachary be merry. In Montana they dwell, for hence, so moty the, In the City of juda, I know it verily; It is hence I trow miles two a fifty, We are like to be weary or we come at the same. I will with a good will, blessed wyff Mary; Now go we we forth than in goddys' name, etc. A little before the Resurrection. Nunc dormient milites, & veniet anima Christi de inferno, cum Adam & Eva, Abraham, John Baptist, & alijs. Anima Christi. Come forth Adam, and Eve with the, And all my friends that herein be, In Paradys come forth with me In bliss for to dwell. The fiend of hell that is your foo He shall be wraped and woundyn in woe: From woe to wealth now shall ye go, With mirth ever mor to melle. Adam. I thank the Lord of thy grace That now is forgiven my great trespass, Now shall we dwellyn in blissful pace, etc. The last Scene or Pageant, which represents the Day of Judgement, gins thus. Michael. Surgite, All men arise, Venite ad judicium, For now is set the High justice: And hath assignyd the day of Dome; Keep you readily to this great assize, Both great and small, all and sum, And of your answer you now advice, What you shall say when that you come, etc. 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 is Stages Erected in the open Street) were part of the Entertainment. On which there were Speeches by one or more Persons, in the nature of Scenes; and besure one of the Speakers must be some Saint of the same Name with the Party to whom the Honour is intended. For instance, there is an ancient Manuscript at Coventry, called the Old Leet Book, wherein is set down in a very particular manner, (fo. 168) the Reception of Queen Margaret, Wife of H. 6, who came to Coventry (and I think, with her, her young Son Prince Edward) on the Feast of the Exaltation of the Holy-Cross, 35. H. 6. (1456) Many Pageants and Speeches were made for her Welcome; out of all which, I shall observe but two or three, in the Old English, as it is Recorded. St. Edward. Mother of meekness, Dame Margarete, princes most excellent, I King Edward welcome you with affection cordial, Certefying to your highness' meekly mine intent, For the weal of the King and you hertily pray I shall, And for prince Edward my ghostly child, who I love principal. Praying the, john Evangelist, my help therein to be, On that condition right humbly I give this Ring to the. John Evangelist. Holy Edward crowned King, Brother in Virginity, My power plainly I will prefer thy will to amplefy. Most excellent princes of wymen mortal, your Bedeman will I be. I know your Life so virtuous that God is pleased thereby The birth of you unto this Reme shall 'cause great Melody: The virtuous voice of Prince Edward shall daily well increase. St. Edward his Godfader and I shall pray therefore doubtlese. St. Margaret. Most notabul Princes of wymen earthle Dame Margarete, the chief mirth of this Empire, Ye be hertely welcome to this Cyte. To the pleasure of your highness I will set my desire; Both nature and gentlenesie doth me require, Seth we be both of one name, to show you kindness; Wherefore by my power ye shall have no distress. I shall pray to the Prince that is endlese To socour you with solas of his high grace; He will here my petition this is doubtless, For I wrought all my life that his will wace. Therefore, Lady, when you be in any dreadful case, Call on me boldly, thereof I pray you, And trust in me faithfully, I will do that may pay you. In the next Reign (as appears in the same Book, so. 221) an other Prince Edward, Son of King Edward the 4, came to Coventry on the 28 of April, 14 E. 4, (1474) and was entertained with many Pageants and Speeches, among which I shall observe only two; one was of St. Edward again, who was than made to speak thus, Noble Prince Edward, my Cousin and my Knight, And very Prince of our Line come yn dissent, I Saint Edward have pursued for your faders imperial Right, Whereof he was excluded 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 faders hand. The other Speech was from St. George; and thus saith the Book. — Also upon the Condite in the Croscheping was St. George armed, and a king's daughter kneeling afore him with a Lamb, and the fader and the mother being in a Tower aboven beholding St. George saving their daughter from the Dragon, and the Condite renning wine in four places, and Minstrelsy of Organ playiug, and St. George having this Speech underwritten. O mighty God our all succour celestial Which this Royme hast given in dower To the mother, and to me George protection perpetual It to defend from enimys fer and ne'er, And as this maiden defended was here By thy grace from this Dragons devour, So, Lord preserve this noble prince, and ever be his succour. Lovew. I perceive these holy Matters consisted very much of Praying; but I pity poor St. Edward the Confessor, 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. Trum. Alas! they were both unhappy, notwithstanding these fine Shows and seeming caresses of Fortune, being both murdered, one by the Hand, the other by the procurement of Rich. Duke of Gloucester. I will produce but one Example more of this sort of Action, or Representations, and that is of later time, and an Instance of much higher Nature than any yet mentioned, It was at the marriage of Prince Arthur, eldest Son of King Henry 7. to the Princess Catherine of Spain, An. 1501. Her passage through London was very magnificent, as I have read it described in an old M. S. Chronicle of that time. The Pageants and Speeches were many; the Persons represented St. Catherine, St. Ursula, a Senator, Noblesse, Virtue, an Angel, King Alphonse, Job, Boetius, etc. among others one is thus described, — When this Speech was ended, she held on her way till she come unto the Standard in Cheap, where was ordained the fifth Pagend made like an hevyn, therein syttying a Personage representing the fader of hevyn, keyng all formed of Gold, and brennying beffor his throne seven Candyilis of war standing in seven Candylitykis of Gold, the said personage being environed with sundry Gyrarchies of Angelis, and sitting in a Cope of most rich cloth of Tyssu, garnishyd with stoon and pearl in most sumptuous wise. Foragain which said Pagend upon the sowth side of the street stood at that time, in a hows wheryn that time dwelled William Geffrey habyrdasher, the king, the Queen, my Lady the Kingys' mother, my, Lord of Oxynfford, with many other Lordys and Ladies, and Peries of this Realm, with also certain Ambassadors of France lately sent from the French King: and so passing the said Estatys, either guyving to other due and convenyent Salutes and Countenancs, so soon as her grace was approchid unto the said Pagend, the father began his Speech as followeth. H●nc veneram locum, septeno lumine septum. Dignumque Arthuri totidem Astra micant. I am beginning and end, that made each creature My self, and for my self, but man esspecially Both male and female, made after mine aun figure, Whom I joined togydyr in Matrimony And that in Paradyse, declaring opynly That men shall wedding in my Chyrch solemnize, Fygurid and signified by the erthly Paradyze. In this my Church I am alway recydent As my chyeff tabernacle, and most chosen place, Among these goldyn Candylstikkis which represent My catholic Chyrch, shining affor my face, With light of faith, wisdom, doctrine, and grace, And mervelously eke enflamyd toward me With the exting wible fire of Charyte. Wherhfore my welbelovid dowgthyr Katharyn, Sith I have made you to mine awn semblance In my Chyrch to be married, and your noble Childryn To regn in this land as in their inheritance, See that ye have me in special remembrance: Love me and my Chyrch your spiritual modyr. For ye despising that oon, despise that othyr. Look that ye walk in my precepts, and obey them well: And here I give you the same blessing that I Gave my well beloved child of Israel; Blyssyd be the fruit of your belly; your substance and fruits I shall increase and multiply; your rebellious Enemies I shall put in your hand, Increasing in honour both you and your land. Lovew. This would be censured now a days as profane to the higest degree. Trum. 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 than this was thought a noble Entertainment for the greatest King in Europe (such I esteem King H. 7. at that time) and proper for that Day of mighty Joy and Triumph. And I must farther observe out of the Lord Bacon's History of H. 7. that the chief Man who had the care of that Days Proceed was Bishop Fox, a grave Councelor for War or Peace, and also a good Surveyor of Works, and a good Master of Ceremonies. and it seems he approved it. The said Lord Bacon tells us farther, That whosoever had those Toys in compiling, they were not altogether Pedantical. Lovew. These things however are far from that which we understand by the name of a Play. Trum. It may be so; but these were the Plays of those times. Afterwards in the Reign of K. H. 8. both the Subject and Form of these Plays began to altar, and have since varied more and more. I have by me, a thing called A merry Play between the Pardoner and the Frere, the Curate and Neybour Pratte. Printed the 5 of April 1533. which was 24 H. 8. (a few Years before the Dissolution of Monasteries) The design of this Play was to redicule Friars and Pardoners. Of which I'll give you a taste. To begin it, the Friar enters with these Words, Deus hic; the holy Trynyte Preserve all that now here be. Dear brothers, if ye will consider. The Cause why I am come hither, Ye would be glad to know my intent; For I come not hither for money nor for rent, I come not hither for meat nor for meal, But I come hither for your Souls heal, etc. After a long Preamble, he addresses himself to Preach, when the Pardoner enters with these Words, God and St. Leonarde sand ye all his grace As many as ben assembled in this place, etc. And makes a long Speech, showing his Bulls and his Relics, in order to cell his Pardons for the raising some Money towards the rebuilding, Of the holy Chapel of sweet saint Leonarde Which late by fire was destroyed and marred. Both these speaking together, with continual interruption, at last they fall together by the Ears. Here the 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 hither to make this ado, To pollute my church, etc. Fri. Master Parson, I marvayll ye will give Licence To this false knave in this Audience To publish his ragman rolls with lies. I desired him ywys more than ones or twice To hold his pease till that I had done, But he would hear no more than the man in the moan. Pard. Why should I suffer the more than thou me? Master parson gave me licence before the. And I would thou knowyest it I have relics here. Other manner stuff than thou dost bear: I will edify more with the sight of it, Than will all thy prating of holy wryt; For that except that the precher himself live well His predication will help never a dell, etc. Pars. Not more of this wrangling in my Chyrch: I shrew your hearts both for this lurch. Is there any blood shed here between these knaves? Thanked be god they had no staffs, Nor egoteles, for than it had ben wrong. Well, ye shall sing another song. Here he calls his Neighbour Prat the Constable, with design to apprehended 'em, and set 'em in the Stocks. But the Friar and Pardoner prove sturdy, and will not be stocked, but fall upon the poor Parson and Constable, and bang 'em both so well-favour'dly, that at last they are glad to let 'em go at liberty: And so the Farce ends with a drawn Battle. Such as this were the Plays of that Age, acted in gentlemen's Halls at Christmas, or such like festival times, by the Servants of the Family, or Strowlers who went about and made it a Trade. It is not unlikely that * Till the 25 Year of Queen Elizabeth, the Queen had not any Players; but in that Year 12 of the best of all those who belonged to several Lords, where chosen & sworn her Servants, as Grooms of the Chamber. Stow's Annals, p. 698. Lords in those days, and Persons 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 6. This is composed of five Acts, the Scenes unbroken, and the unities of Time and Place duly observed. It was acted at Christ College in Cambridge; there not being as yet any settled and public theatres. Lovew. I observe, Truman, 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 Back (in his Third University of England) Dramatic Poesy is so lively expressed 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 Sumptiousness. This he writ about the Year 1631. But can you inform me Truman, when public theatres were first erected for this purpose in London? Trum. 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 stageplays (i e. those of Religious Matters) have been used Comedies, Tragedies, Interludes, and Histories, both true and feigned; for the acting whereof certain public Places, as the Theatre, the Curtain, etc. have been erected. And the continuator of Stow's Annals, p. 1004, says, That in Sixty Years before the publication of that Book (which was An. Dom. 1629) no lesle than 17 public Stages, or common Playhouses, had been built in and about London. In which number he reckons five Inns or Common Osteries, to have been in his time turned into Playhouses, one Cockpit, St. Paul's singing School, one in the Blackfriers, one in the Whitefriers, and one in former time at Newington Butts; and adds, before the space of 60 Years past, I never knew, heard, or read, of any such theatres, set Stages, or Playhouses, as have been purposely built within Man's Memory. Lovew. After all, I have been told, that Stage-Plays are inconsistent with the Laws of this Kingdom, and Players made Rogues by Statute. Trum. He that told you so strained 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 public Calamities, or upon other occasions, when the Government saw fit. Thus by Proclamation, 7 of April, in the first Year of Queen Elizabeth, Plays and Interludes were forbidden till Alhallowtide next following. Hollinshed, p. 1184. Some Statutes have been made for their Regulation or Reformation, not general suppression. By the Stat. 39 Eliz. c. 4. (which was made for the suppressing of Rogues, Vagabonds and sturdy Beggars) it is enacted, S. 2, That all persons that be, or utter themselves to be, Proctors, Procurers, Patent gatherers, or Collectors for Goals, Prisons or Hospitals, or Fencers, Barewards, common players of Interludes and Ministrels, wand'ring abroad, (other than Players of Interludes belonging to any Baron of this Realm, or any other honourable Personage of greater Degree, to be authorised to play under the Hand and Seal of Arms of such Baron or Personage) All jugglers, Tinkers, Pedlars and Petty chapmen, wandering abroad, all wand'ring Persons, etc. able in Body, using loitering, and refusing to work for such reasonable Wages as is commonly given, etc. These shall he ajudged and deemed Rogues, Vagabonds and sturdy Beggars, and punished as such. Lovew. But this privilege of Authorising or Licensing, is taken away by the Stat. 1 Ja. 1. ch. 7. S. 1. and therefore all of them (as Mr. Collier says) are without distinction brought under the foresaid Penalty. Trum. If he me ans all Players without distintion distintion, 'tis a great Mista ke. For the 39th of the Queen's Statute extends only to Wandering Player's, and not to such as are the King or Queen's Servants, and established in settled Houses by Royal Authority. On such, the ill Character of vagrant Players (or as they are now called, Strolers) can cast not more aspersion, than the wand'ring Proctors, in the same Statute mentioned, on those of Doctors-Commons. By a Stat. made 3. Ja. 1. ch. 21. It was enacted, That if any person shall in any Stage-play, Interlude, Show, Maygame or Pageant, jestingly or profanely speak or use the holy name of God, Christ jesus, the holy Ghost, or of the Trinity, he shall forfeit for every such offence, 10 l. The Stat. 1. Char. 1. ch. 1. enacts, That no Meetings, Assemblies, or concourse of People shall be out of their own Parishes, on the Lord's day, for any Sports or Pastimes whatsoever, nor any Bear-bating, Bull-bating, Interludes, Common Plays, or other unlawful Exercises and Pastimes used by any person or persons within their own Parishes. These are all the Statutes that I can think of relating to the Stage and Players; but nothing to suppress them totally, till the two Ordinances of the Long Parliament, one of the 22 of October 1647, the other of the 11 of Feb. 1647. By which all Stage-Plays and Interludes are absolutely forbidden; the Stages, Seats, Galleries, etc. to be pulled down; all Players tho' calling themselves the King or Queen's servants, and as such Ac● ●ing within this Realm, all of them on Conviction, to be punished and fined according according to Law; the money forfeited by them to go to the Poor of the Parish; and every Spectator to Pay 5 s. to the use of the Poor. Also was prohibited by one of Oliver's Acts of 31 Mar. 1654. But I suppose no body pretends these things to be Laws; I could say more on this Subject, but I must break of here, and leave you, Lovewit; my Occasions require it. Love. Farewell, Old Cavalier. Trum. 'Tis properly said; we are almost all of us, now, gone and forgotten. FINIS.