APPENDIX C DOCUMENTS OF CRITICISM (continued 2)

xxxi. 1583. John Field.

[From A godly exhortation, by occasion of the late iudgement of God, shewed at Parris-garden, the thirteenth day of Ianuarie: where were assembled by estimation aboue a thousand persons, whereof some were slaine; & of that number, at the least, as is crediblie reported, the thirde person maimed and hurt. Giuen to all estates for their instruction, concerning the keeping of the Sabboth day. By Iohn Field, Minister of the word of God.... Robert Waldegrave for Henry Carre, 1583. There is no entry in S. R., but on 21 Jan. Richard Jones and William Bartlett were imprisoned and fined for printing ‘a thing of the fall of the gallories at Paris Garden’ without licence (Arber, ii. 853). On 19 Jan. Fleetwood wrote to Lord Burghley (M. S. C. i. 160, from Lansdowne MS. 37, f. 10; also in Wright, ii. 184), ‘Vpon the same day [13 Jan.] the violaters of the Sabothe were punished by Godes providens at Paris garden and as I was writing of these last wordes loo here is a booke sett downe vpon the same matter’.]

Epistle to the Lord Mayor, William Fleetwood, the Recorder, and the Aldermen. Explains the address to them. A 2^v. ‘Is it not a lamentable thing, that after so long preaching of the Gospell, there should bee so great prophanation amongst vs? that Theaters should be full and churches be emptie? that the streetes shoulde be replenished, and the places of holy exercises, left destitute? I write not this simplie but in respect, and by comparison.... If you say that this thing belongeth not vnto you, because that Parris garden is out of your iurisdiction, yet why are these men suffered to bring their Beares into the citie, that thereby they may gather your company vnto them? It were duety in you to hinder these and to take order that none of the citie should repaire vnto such places.... 18^th January 1583. Iohn Feild.’ The exhortation is mainly a general call to repentance and fear of judgement, without special reference to the occasion. B 3. Stress is laid on abuse of the Sabbath. B 4. ‘There is no Dicing house, Bowling alley, Cock pit, or Theater, that can be found empty. Those flagges of defiance against God, & trumpets that are blown to gather together such company, will sooner preuail to fil those places, then the preaching of the holy worde of God ... to fill Churches. Nothing can stoppe them from the same: neyther feare of danger, losse of tyme, corruption of maners, infection of diseases, expence of money, suspition of honestie and such like.... Pounds and hundreds can be well ynough afforded, in following these least pleasures, though euery dore hath a payment, & euery gallerie maketh a yearely stipend: thogh euery dog hath a coller, & euery Beare a prize, and euery cracke bring a great aduenture.’ Enforces the warning of Paris Garden. B vii^v. ‘I wil set it down as plainly as I can, and as truly as can be gathered from the examination of those same common euidences, that haue fallen out.... You shal vnderstand therfore (beloued Christians) that vpon the last Lords day being the thirteen day of the first month, that cruell and lothsome exercise of bayting Beares being kept at Parris-garden, in the after-noone, in the time of common praiers, and when many other exercises of Religion, both of preaching and Catechizing were had in sundry places of the City, diuers Preachers hauing not long before also cryed out against such prophanations: yet (the more pitty) there resorted thither a great company of people of al sorts and conditions, that the like nomber, in euery respect (as they say) had not beene seene there a long time before. Beeing thus vngodly assembled, to so vnholy a spectacle and specially considering the time; the yeard, standings, and Galleries being ful fraught, being now amidest their iolity, when the dogs and Bear were in the chiefest Battel, Lo the mighty hand of God vppon them. This gallery that was double, and compassed the yeard round about, was so shaken at the foundation, that it fell (as it were in a moment) flat to the ground, without post or peere, that was left standing, so high as the stake whervnto the Beare was tied. Although some wil say (and as it may be truly) that it was very old and rotten and therefore a great waight of people, being planted vpon it then was wont, that it was no maruaile that it fayled: and would make it but a light matter. Yet surely if this be considered, that no peece of post, boord, or stake was left standing: though we vrge it not as a miracle, yet it must needes be considered as an extraordinary iudgement of God, both for the punishment of those present prophaners of the Lordes day that were then, & also informe and warne vs that were abroad. In the fal of it, there were slaine fiue men and two women, that are come to knowledge, who they were and where they dwelled, to wit, Adam Spencer a Felmonger, in Southwarke, William Cockram a Baker, dwelling in Shordich, Iohn Burton Cleark, of S. Marie Wolmers in Lombard streat, Mathew Mason, seruant with Master Garland, dwelling in Southwarke, Thomas Peace, seruant with Robert Tasker, dwelling in Clerken well. The maydens names, Alice White, seruant to a Pursemaker without Cripplegate, and Marie Harrison, daughter to Iohn Harrison, being a waterbearer, dwelling in Lombard streat.’ C i^v. Nowe beside these that were thus killed out right, with the flat fal of the Galleries, strangely wrunge in peeces as it were by God himselfe, it could not bee but in such confusion, there must needes come great hurt to many. Howe many carried away death, as it were in theyr bosomes, that died the same night, or some little tyme after, the Lorde knoweth. And we heare since, though we know not the iust number, that many of them are dead & buried, and namely one Web a Pewterer his wife that dwelt in Limestreete who being there sore wounded, is now gon with diuers others. Of all the multitude there, which must needes be farre aboue a thousande, it is thought by the iudgement of most people, that not the third personne escaped vnhurt; and by some that haue made search, they esteme that there were sore hurt and maimed, aboue one hundred and fiftye persons, some hauing theyr legs and armes broken, some theyr backes, theyr bodies beeing sore brused, so that euery way into the cittie from that time tyll towardes nine of the clocke and past: and specially ouer London bridge, many were carried in Chayres, & led betwixt their freendes, and so brought home wyth sorrowfull and heauy heartes lyke lame cripples. They say also that at the first, when the Scaffolde cracked (as it did once or twise) there was a crye of fire fire, which set them in such a maze as was wonderfull, so that as destitute of their wits they stood styll, and could make no shifte for them selues, till the Scaffold was made euen with the ground.... Amongst the rest it is credibly reported that there was one Woman, that beeing in the Gallery, threw downe her childe before her, & leaped after herselfe; and yet thankes bee to God neyther of both had any maner of hurt, so was it with diuers others. But it shoulde appere that they were most hurt and in danger, which stoode vnder the Galleries on the grounde, vpon whom both the waight of Timbre and people fel. And sure it was a miraculous worke of God, that any one of those should haue escaped. But heere also God shewed his power for one man falling downe into an hole as if it had beene some sawpit, it pleased God that it was the meane of his deliuerance, so as all things that fell vpon him did not touch him, and by that hee was preserued, wheras two of th’other were slaine of either side of him.’ C. iii. Urges the magistrates to ‘take order especially on the Sabaoth dayes that no Cittizen or Cittizens seruauntes haue libertie to repaire vnto any of those abuse places, that albeit the place be without the Cittie, and by that meanes they haue not to deale with them, yet that they keepe theyr Beares out, and their straggling Wantons in, that they may be better occupied. And as they haue with good commendation so far preuailed, that vppon Sabaoth dayes these Heathenishe Enterludes and Playes are banished, so it wyll please them to followe the matter still, that they may be vtterly rid and taken away. For surely it is to be feared, beesides the distruction bothe of bodye and soule, that many are brought vnto, by frequenting the Theater, the Curtin and such like, that one day those places will likewise be cast downe by God himselfe, & being drawen with them a huge heape of such contempners and prophane persons vtterly to be killed and spoyled in their bodyes. God hath giuen them as I haue heard manye faire warninges already.... January 17, 1583.’

xxxii. 1583. Phillip Stubbes.

[From The Anatomie of Abuses: Contayning a Discoverie, or briefe Summarie of such Notable Vices and Imperfections, as now raigne in many Christian Countreyes of the Worlde: but (especiallie) in a verie famous Ilande called Ailgna (S. R. 1 Mar. 1583; eds. 1 May 1583, 16 Aug. 1583, 1584, 1585, 1595), as reprinted by F. J. Furnivall (1877–9, N. S. S.); other reprints are by W. D. Turnbull (1836, from 1585) and J. P. Collier (1870). Stubbes, a layman and Londoner, was author of various ballads and pamphlets during 1581–93. A second part of The Anatomie of Abuses (S. R. 7 Nov. 1583) has not been reprinted.]

[Summary and Extracts.] The book, which is ‘made dialogue-wise’ between Spudeus and Philoponus, who does most of the denunciation, is not confined to the stage, but is a comprehensive analysis of contemporary frailty. Epistle to Phillip Earl of Arundel. Preface to the Reader. P. x. ‘Wheras in the processe of this my booke, I haue intreated of certen exercyses vsually practised amongest vs, as namely of Playes and Enterludes.... I would not haue thee so to take mee, as though my speaches tended to the overthrowe and vtter disliking of all kynd of exercyses in generall: that is nothing my simple meaning. But the particulare Abuses which are crept into euery one of these seuerall exercyses is the only thing which I think worthie of reprobation. For otherwise (all Abuses cut away) who seeth not that some kind of playes, tragedies and enterluds, in their own nature are not only of great ancientie, but also very honest and very commendable exercyses, being vsed and practised in most Christian common weales, as which containe matter (such they may be) both of doctrine, erudition, good example, and wholsome instruction; and may be vsed, in tyme and place conuenient, as conducible to example of life and reformation of maners. For such is our grosse and dull nature, that what thing we see opposite before our eyes, do pearce further and printe deeper in our harts and minds, than that thing which is hard onely with the eares.... But being vsed (as now commonly they be) to the prophanation of the Lord his sabaoth, to the alluring and inuegling of the People from the blessed word of God preached, to Theaters and vnclean assemblies, to ydlenes, vnthriftynes, whordome, wantonnes, drunkennes, and what not; and which is more, when they are vsed to this end, to maintaine a great sort of ydle Persons, doing nothing but playing and loytring, hauing their lyuings of the sweat of other Mens browes, much like vnto dronets deuouring the sweet honie of the poore labouring bees, than are they exercyses (at no hand) sufferable. But being vsed to the ends that I haue said, they are not to be disliked of any sober and wise Christian.’ The Maner of Sanctifiyng the Sabaoth in Ailgna. P. 137. ‘Some spend the Sabaoth day (for the most part) in frequenting of baudie Stage-playes and enterludes.’ P. 140. Of Stage-playes and Enterluds, with their wickednes. ‘All Stage-playes, Enterluds, and Commedies are either of diuyne or prophane matter: If they be of diuine matter, then are they most intollerable, or rather Sacrilegious; for that the blessed word of God is to be handled reuerently, grauely, and sagely, with veneration to the glorious Maiestie of God, which shineth therin, and not scoffingly, flowtingly, and iybingly, as it is vpon stages in Playes and Enterluds, without any reuerence, worship, or veneration to the same. The word of our Saluation, the price of Christ his bloud, & the merits of his passion, were not giuen to be derided and iested at, as they be in these filthie playes and enterluds on stages & scaffolds, or to be mixt and interlaced with bawdry, wanton shewes, & vncomely gestures, as is vsed (euery Man knoweth) in these playes and enterludes.... Doo these Mockers and Flowters of his Maiesty, these dissembling Hipocrites, and flattering Gnatoes, think to escape vnpunished? beware, therfore, you masking Players, you painted sepulchres, you doble dealing ambodexters, be warned betymes, and, lik good computistes, cast your accompts before, what wil be the reward therof in the end, least God destroy you in his wrath: abuse God no more, corrupt his people no longer with your dregges, and intermingle not his blessed word with such prophane vanities. For at no hand it is not lawfull to mixt scurrilitie with diuinitie, nor diuinitie with scurrilitie.... Vpon the other side, if their playes be of prophane matters, than tend they to the dishonor of God, and norishing of vice, both which are damnable. So that whither they be the one or the other, they are quite contrarie to the Word of grace, and sucked out of the Deuills teates to nourish vs in ydolatrie, hethenrie, and sinne. And therfore they, cariyng the note, or brand, of God his curse vppon their backs, which way soeuer they goe, are to be hissed out of all Christian kingdomes, if they wil haue Christ to dwell amongst them.’ Quotes the Fathers and ancients against histriones. P. 143. ‘Then, seeing that Playes were first inuented by the Deuil, practised by the heathen gentiles, and dedicat to their false ydols, Goddes and Goddesses, as the howse, stage, and apparell to Venus, the musicke to Appollo, the penning to Minerua and the Muses, the action and pronuntiation to Mercurie and the rest, it is more than manifest that they are no fit exercyses for a Christen Man to follow. But if there were no euill in them saue this, namely, that the arguments of tragedies is anger, wrath, immunitie, crueltie, iniurie, incest, murther, & such like, the Persons or Actors are Goddes, Goddesses, Furies, Fyends, Hagges, Kings, Queenes, or Potentates. Of Commedies the matter and ground is loue, bawdrie, cosenage, flattery, whordome, adulterie; the Persons, or agents, whores, queanes, bawdes, scullions, knaues, Curtezans, lecherous old men, amorous yong men, with such like of infinit varietie. If, I say, there were nothing els but this, it were sufficient to withdraw a good christian from the vsing of them; For so often as they goe to those howses where Players frequent, thei go to Venus pallace, & sathans synagogue [in margin, ‘Theaters and curtaines Venus pallaces’], to worship deuils, & betray Christ Iesus.’ To say that plays are ‘as good as sermons’ is to say that ‘the Deuill is equipolent with the Lord’. P. 144. ‘There is no mischief which these plaies maintain not. For do they not norish ydlenes? and otia dant vitia, ydlenes is the Mother of vice. Doo they not draw the people from hering the word of God, from godly Lectures and sermons? for you shall haue them flocke thither, thick & threefould, when the church of God shalbe bare & emptie.... Do they not maintaine bawdrie, infinit folery, & renue the remembrance of hethen ydolatrie? Do they not induce whordom & vnclennes? nay, are they not rather plaine deuourers of maydenly virginitie and chastitie? For proofe wherof, but marke the flocking and running to Theaters & curtens, daylie and hourely, night and daye, tyme and tyde, to see Playes and Enterludes; where such wanton gestures, such bawdie speaches, such laughing and fleering, such kissing and bussing, such clipping and culling, Suche winckinge and glancinge of wanton eyes, and the like, is vsed, as is wonderfull to behold. Then, these goodly pageants being done, euery mate sorts to his mate, euery one bringes another homeward of their way verye freendly, and in their secret conclaues (couertly) they play the Sodomits, or worse. And these be the fruits of Playes or Enterluds for the most part. And wheras you say there are good Examples to be learned in them, Trulie so there are: if you will learne falshood; if you will learn cosenage; if you will learn to deceiue; if you will learn to play the Hipocrit, to cogge, lye, and falsifie; if you will learne to iest, laugh, and fleer, to grin, to nodd, and mow; if you will learn to playe the vice, to swear, teare, and blaspheme both Heauen and Earth: If you will learn to become a bawde, vncleane, and to deuerginat Maydes, to deflour honest Wyues: if you will learne to murther, slaie, kill, picke, steal, robbe, and roue: If you will learn to rebel against Princes, to commit treasons, to consume treasurs, to practise ydlenes, to sing and talke of bawdie loue and venery; if you will lerne to deride, scoffe, mock, & flowt, to flatter & smooth: If you will learn to play the whore-maister, the glutton, Drunkard, or incestuous person: if you will learn to become proude, hawtie, & arrogant; and, finally, if you will learne to contemne God and al his lawes, to care nither for heauen nor hel, and to commit al kinde of sinne and mischeef, you need to goe to no other schoole, for all these good Examples may you see painted before your eyes in enterludes and playes: wherfore that man who giueth money for the maintenance of them must needs incurre the damage of premunire, that is, eternall damnation, except they repent. For the Apostle biddeth vs beware, least wee communicat with other mens sinnes; & this their dooing is not only to communicat with other mens sinnes, & maintain euil to the destruction of them selues & many others, but also a maintaining of a great sorte of idle lubbers, and buzzing dronets, to suck vp and deuoure the good honie, wherupon the poor bees should liue.’ Exhorts ‘all players & Founders of plaies and enterluds’ to leave their life. P. 146. ‘Away therfore with this so infamous an art! for goe they neuer so braue, yet are they counted and taken but for beggers. And is it not true? liue they not vpon begging of euery one that comes? Are they not taken by the lawes of the Realm for roagues and vacaboundes? I speak of such as trauaile the Cuntries with playes & enterludes, making an occupation of it, and ought so to be punished, if they had their deserts.’ Lords of Misrule in Ailgna.... The Manner of Church-ales in Ailgna.... The maner of keeping of Wakesses, and feasts in Ailgna.... The horrible Vice of pestiferous Dauncing, vsed in Ailgna.... Of Musick in Ailgna, and how it allureth to vanitie.... Beare baiting and other exercyses, vsed unlawfully in Ailgna. P. 177. ‘These Hethnicall exercyses vpon the Sabaoth day, which the Lord hath consecrat to holy vses, for the glory of his Name, and our spirituall comfort, are not in any respect tollerable, or to be suffered. For is not the baiting of a Bear, besides that it is a filthie, stinking, and lothsome game, a daungerous & perilous exercyse? wherein a man is in daunger of his life euery minut of an houre; which thing, though it weare not so, yet what exercyse is this meet for any Christian? what christen heart can take pleasure to see one poore beast to rent, teare, and kill another, and all for his foolish pleasure?... And, to be plaine, I thinke the Deuill is the Maister of the game, bearward and all.’ A Fearfull Example of God his Iudgement vpon the prophaners of his Sabaoth. P. 179. Describes the accident of 13 Jan. 1583, with the page-heading, ‘A wofull cry at Syrap garden’. ‘So that either two or three hundred men, women, and children (by estimation), wherof seuen were killed dead, some were wounded, some lamed, and othersome brused and crushed almost to the death.’ A fearfull Iudgement of God, shewed at the Theaters. P. 180. ‘The like Iudgement (almost) did the Lord shew vnto them a litle befor, being assembled at their Theaters, to see their bawdie enterluds and other trumperies practised: For he caused the earth mightely to shak and quauer, as though all would haue fallen down; wherat the People, sore amazed, some leapt down (from the top of the turrets, pinacles, and towres, wher they stood) to the ground; wherof some had their legs broke, some their arms, some their backs, some hurt one where, some another, and many sore crusht and brused; but not any but they went away sore affraid, & wounded in conscience. And yet can neither the one nor the other fray them from these diuelish exercyses, vntill the Lorde consume them all in his wrath; which God forbid! The Lord of his mercie open the eyes of the maiestrats to pluck down these places of abuse, that god may be honored and their consciences disburthened.’

xxxiii. 1583. Gervase Babington.

[From A very Fruitful Exposition of the Commandements by way of Questions and Answers (1583), 316. More general references to the evils of plays and bear-baiting are on pp. 190, 385. Babington was Fellow of Trinity College, Cambridge, and tutor in the Earl of Pembroke’s house at Wilton; he afterwards became Bishop successively of Llandaff, Exeter, and Worcester.]

These prophane & wanton stage playes or interludes: what an occasion they are of adulterie and vncleanenesse, by gesture, by speech, by conueyances, and deuices to attaine to so vngodly desires, the world knoweth with too much hurt by long experience. Vanities they are if we make the best of them.... But I referre you to them, that vpon good knowledge of the abominations of them, haue written largely & wel against them. If they be dangerous on the day time, more daungerous on the night certainely: if on a stage, & in open courtes, much more in chambers and priuate houses. For there are manie roumes beside that where the play is, & peraduenture the strangenes of the place & lacke of light to guide them, causeth errour in their way, more than good Christians should in their houses suffer.

xxxiv. 1583 (?). Philip Sidney.

[From The Defence of Poesie (1595, William Ponsonby; S. R. 29 Nov. 1594), reprinted as An Apologie for Poetrie (1595, Henry Olney), and with 1598 and later editions of Arcadia. Among many modern editions are those by E. Arber (1868), E. Flügel (1889), A. S. Cook (1890), E. S. Schuckburgh (1891), J. C. Collins (1907), and in Gregory Smith (1904), i. 148. The date 1583 is conjecturally assigned by Cook on the ground of the stylistic development since the Arcadia (1580–3). But any date is possible between 1579, when Gosson’s School of Abuse, which probably stimulated it, and Spenser’s Faerie Queene, which it mentions, appeared, and Nov. 1585, when Sidney went to the Low Countries. The book contains a general valuation of poetry, on humanistic lines, together with a criticism of English poetry in particular. Only a few pages are devoted to the drama.]

P. 44. ‘Perchance it is the Comick, whom naughtie Playmakers and Stagekeepers, have iustly made odious. To the argument of abuse, I will answer after. Onely thus much now is to be said, that the Comedy is an imitation of the common errors of our life, which he representeth, in the most ridiculous and scornefull sort that may be. So as it is impossible, that any beholder can be content to be such a one.... So that the right vse of Comedy will (I thinke) by no body be blamed, and much lesse of the high and excellent Tragedy, that openeth the greatest wounds, and sheweth forth the Vlcers, that are couered with Tissue: that maketh Kinges feare to be Tyrants, and Tyrants manifest their tirannicall humors: that with sturring the affects of admiration and commiseration, teacheth, the vncertainety of this world, and vpon how weake foundations guilden roofes are builded.... But it is not the Tragedy they doe mislike: For it were too absurd to cast out so excellent a representation of whatsoeuer is most worthy to be learned.’ P. 50. Answers criticisms of poetry as the ‘Nurse of abuse’, &c. P. 63. Criticizes ‘Our Tragedies and Comedies (not without cause cried out against)’. Even in Gorboduc, much more in other plays, the unities are disregarded (cf. quotations in ch. xix). ‘Besides these gross absurdities, how all theyr Playes be neither right Tragedies, nor right Comedies: mingling Kings and Clownes’ in a ‘mungrell Tragy-comedie.... Our Comedians thinke there is no delight without laughter.... Delight hath a ioy in it, either permanent, or present. Laughter, hath onely a scornful tickling.... But I haue lauished out too many wordes of this play matter. I doe it because as they are excelling parts of Poesie, so is there none so much vsed in England, and none can be more pittifully abused.’

xxxv. 1584. Thomas Lodge.

[From An Alarum against Usurers (1584; S. R. 4 Nov. 1583), edited with Defence of Poetry by D. Laing (1853, Sh. Soc.).]

[Extract from Epistle to Inns of Court.] ‘About three yeres ago, one Stephen Gosson published a booke, intituled The Schoole of Abuse, in which having escaped in many and sundry conclusions, I, as the occasion then fitted me, shapt him such an answere as beseemed his discourse; which by reason of the slendernes of the subject, (because it was in defence of plaies and play makers) the godly and reverent that had to deale in the cause, misliking it, forbad the publishing: notwithstanding he, comming by a private unperfect coppye, about two yeres since made a reply, dividing it into five sections, and in his Epistle dedicatory, to the right honorable, Sir Frances Walsingham, he impugneth me with these reproches, that I am become a vagarant person, visited by the hevy hand of God, lighter than libertie, and looser than vanitie.’ He proceeds to call Gosson an ‘untamed curtail’ and an ‘injurious Asinius’.

xxxvi. 1584. George Whetstone.

[From A Touchstone for the Time, printed as an ‘Addition’ to A Mirour for Magestrates of Cyties (1584).]

The tract is mainly on gaming. P. 24. ‘The godly Divines, in public sermons, and others in printed books, have (of late) very sharply inveighed against Stage-plays (unproperly called, Tragedies, Comedies, and Morals), as the springs of many vices, and the stumbling-blocks of godliness and virtue. Truly the use of them upon the Sabbath day, and the abuse of them at all times, with scurrility and unchaste conveyance, ministred matter sufficient for them to blame, and the Magistrate to reforme.’

xxxvii. 1586. William Webbe.

[From A Discourse of English Poetrie (1586), ed. Arber, 27; also in Gregory Smith, i. 226. The promised expression of opinion (p. 42) is on humanist lines.]

The profitte or discommoditie which aryseth by the vse of these Comedies and Tragedies, which is most, hath beene long in controversie, and is sore urged among us at these dayes: what I think of the same, perhaps I shall breefely declare anon.

xxxviii. 1587. William Rankins.

[From A Mirrour of Monsters: Wherein is plainely described the manifold vices & spotted enormities, that are caused by the infectious sight of Playes, with the description of the subtile slights of Sathan, making them his instruments. Compiled by Wil. Rankins. Magna spes est inferni. Seene and allowed. I. C. for T. H. 1587. The reference to Holywell suggests that the author was the dramatist (cf. ch. xxiii).]

Describes the wedding of Fastus and Luxuria at the ‘Chapell Adulterinum’, near to Κοȋλοφρἑαρ ‘by interpretation from the Greeks Hollow well [i.e. Holywell] where my selfe lulled in the lap of Securitie, not long since was brought a sleepe by carelesse cogitations’. The Chapel Adulterinum is ‘the Theater and Curtine’ (4^v). A banquet and mask with torchbearers furnish an allegory of the vices of players, and various allusions, to the fall of the Bear-garden (3), to the 2d. payment for entrance (3^v), to advertisements by drums and trumpets (5) and bills (5^v), to doorkeepers and boxholders (6^v), are commented on in marginal notes.

xxxix. 1588. John Case.

[From Sphaera Civitatis (1588), a commentary on Aristotle’s Politics (ad v. 8; vii. 17). A similar passage from the commentary on the Ethics (iv. 8) in Speculum Moralium Quaestionum (1586), 183, is quoted by Boas, 228. It is interesting to find from The Christmas Prince, 12 (cf. ch. xxiv), that Case once served as lord of misrule at St. John’s, Oxford.]

(a) Lib. v, c. 8.

Alia nunc dubitatio sequitur, Vtrum ludi chorique permittendi sunt in ciuitate? Memini me olim in Ethicis de his rebus obiter disputasse, verum quoniam opportune se offert quaestio, abs re non erit eandem paucissimis demonstrare: censeo ergo quibusdam adhibitis circumstantiis haec tolerari ac permitti debere; non quod per se et vi sua res vtiles, sed quod in moderato illorum vsu splendor comitatis (quae virtus minima non est) manifeste apparet. Sunt igitur ludi non inanes et histrionicae fabulae, veneris illecebrae, sed facetae comoediae magnificaeque tragaediae, in quibus expressa imago vitae morumque cernitur.... Adhuc in his mores hominum depictos discere, praeclara inuenta doctorum obseruare, temporum antiquorum caniciem cernere, vocem, vultum, gestumque splendide componere, varios affectus et passiones mouere, famam acquirere et comparare possumus [in margin: scenae trigemina corona]. Cum ergo ex iis tot commoda existant, non solum toleranda sed etiam iuste approbanda videntur. Insuper antiquissimis olim temporibus in omni praeclare instituta republica floruerunt ista: ergo sunt licita.... Postremo his addi potest ratio quae est in textu, nempe quod hoc modo potentiores viri quos timet ciuitas (coacti ad ista edenda populo) elumbentur sedatioresque fiant.

(b) Lib. vii, c. 17.

Tertium est vt parentes suos liberos diligenter custodiant, et arceant ab audiendis, videndis, spectandis, malis sermonibus, obscoenis idolis Veneris, vanis spectaculis leuissimorum histrionum, qui plusquam ridiculas ne dicam impias fabellas huc illuc vagabundi agunt. Hic opportunè monendi sunt illi, qui suos infantulos iurare et conuitiari docent, qui simulachra Veneris intuenda, artemque amandi perdiscendam suis filiolis proponunt, qui denique ad theatra plena Veneris, plena vanitatis illos non solum ire permittunt sed etiam alliciunt. Non hic omnes ludos omnesque histriones praesertim hystoricos, tragicos, et si placet comicos (modò sint verè faceti) condemno: quippè Aristoteles hoc loco Theodorum quendam peritum tragoediarum actorem laudat, Cicero suum laudauit Roscium, nos Angli Tarletonum, in cuius voce et vultu omnes iocosi affectus, in cuius cerebroso capite lepidae facetiae habitant.

xl. 1588–90. Martin Marprelate Controversy.

[The texts of the Marprelate pamphlets have been edited by W. Pierce, The Marprelate Tracts (1911); some were reprinted earlier by E. Arber and in J. Petheram, Puritan Discipline Tracts (1842–60). The best accounts of this ribald controversy on Church government are E. Arber, An Introductory Sketch to the Martin Marprelate Controversy (1879); W. Pierce, Historical Introduction to the Marprelate Tracts (1908); J. D. Wilson, The Marprelate Controversy (1909, C. H. iii. 374), and Martin Marprelate and Shakespeare’s Fluellen (1912); R. B. McKerrow, Works of Nashe, v (1910), 34, 184; G. Bonnard, La Controverse de Martin Marprelate (1916). It seems probable that Martin was a composite personality; Sir Roger Williams, John Penry, and Job Throckmorton may all have had a share in the pamphlets. The replies were inspired by Richard Bancroft, then Canon of Westminster and a member of the High Commission. It seems clear that both Lyly and Nashe took part in them, and Pappe with an Hatchet may reasonably be ascribed to Lyly. Nashe has often been regarded as Pasquil, but Mr. McKerrow does not think that any of the pamphlets can be supposed with any certainty to be his; he probably contributed to the lost plays. Of these Bonnard, 92, would distinguish five—(a) Martin anatomized, (b) the May Game of Martinism, (c) Martin carried to hell, as a vice, (d) Martin as cock, ape, and wolf, (e) Martin ravishing Divinity; but (b) seems to be referred to as a forthcoming pamphlet rather than as a play, and of the others (d) and (e) almost certainly, and possibly all four, were episodes in the same piece. F. Bacon in his Advertisement Touching the Controversies (Works, viii. 74), written in the summer of 1589, criticizes the episcopal policy of answering like by like, and ‘this immodest and deformed manner of writing lately entertained, whereby matters of religion are handled in the style of the stage’.]

(a)

[From The Epistle to the Terrible Priests of the Confocation House (Oct.-Nov. 1588), 11, 19, reprinted by E. Arber (1880); also by J. Petheram (1842) in Puritan Discipline Tracts (Martinist).]

Sohow, brother Bridges [John Bridges, Dean of Salisbury] ... you haue bin a worthy writer as they say of a long time, your first book was a proper Enterlude, called Gammar Gurtons needle. But I think that this trifle, which sheweth the author to haue had some witte and inuention in him, was none of your doing: Because your bookes seeme to proceede from the braynes of a woodcocke as hauing neyther wit nor learning.... What if I should report abroad, that cleargie men come vnto their promotions by Simonie? haue not you giuen me iuste cause? I thinke Simonie be the bishops lacky. Tarleton tooke him not long since in Don Iohn [Aylmer] of Londons cellor.

(b)

[From A Whip for an Ape: Or Martin displaied (Apr. 1589), 53, 133, in Bond, Lyly, iii. 417 (Anti-Martinist).]

(c)

[From Anti-Martinus, sive Monitio cuiusdam Londinensis, ad Adolescentes utriusque Academiae, signed A. L. (1589; S. R. 3 July 1589), 59 (Anti-Martinist).]

Libros autem Martini qui legit, nihil aliud reperiet, quam perpetuatum conuitium; sic autem vibratum, vt facile videas ad huiusmodi scurrilitates conquirendas, totam eius vitam theatris illis Londinensibus, & leuissimis scenis, vel scurrarum & nepotum circulis insidiatam.

(d)

[From Theses Martinianae, or Martin Junior (c. 22 July 1589), sig. D ij (Martinist).]

‘There bee that affirme the rimers and stage-players to haue cleane putte you out of countenaunce ... the stage-players, poore rogues, are not so much to be blamed, if being stage-players, that is plaine rogues (saue onely for their liueries) they in the action of dealing against Maister Martin, have gotten them many thousande eie witnesses, of their wittelesse and pittifull conceites.’ The writer condoles with those who ‘for one poor penny’ play ‘ignominious fools for an hour or two together’. Martin may ‘contemn such kennel-rakers and scullions as have sold themselves’ to be laughed at as ‘a company of disguised asses’.

(e)

[From Martins Months Minde (Aug. 1589), in Grosart, Nashe, i. 164, 166, 175, 177, 180, 189 (Anti-Martinist).]

To the Reader. ‘Roscius pleades in the Senate house; Asses play vpon harpes; the Stage is brought into the Church; and vices make plaies of Churche matters.... These Iigges and Rimes, haue nipt the father [Martin] in the head & kild him cleane, seeing that hee is ouertaken in his owne foolerie. And this hath made the yong youthes his sonnes, to chafe and fret aboue measure, especiallie with the Plaiers, (their betters in all respects, both in wit, and honestie) whom sauing their liueries (for indeede they are hir Maiesties men, and these not so much as hir good subiects) they call Rogues, for playing their enterludes, and Asses for trauelling all daie for a pennie [in margin, Martin the vice condemneth the Plaiers, Eigulus, sigulum].... A true report of the death and buriall of Martin Marprelate. ... Martin ... being ... sundrie waies verie curstlie handled; as ... wormd and launced, that he tooke verie grieuouslie, to be made a May-game vpon the Stage [in margin, The Theater] ... as he saw that ... euerie stage Plaier made a iest of him ... fell into a feauer.... Martin, ... calling his sonnes ... said ... I perceiue that euerie stage plaier, if he play the foole but two houres together, hath somewhat for his labour: and I ... nothing.... [The common people are] now wearie of our state mirth, that for a penie, may haue farre better by oddes at the Theater and Curtaine, and any blind playing house euerie day.... In lept I ... with ... twittle tattles; that indeede I had learned in Alehouses, and at the Theater of Lanam and his fellowes.* ... These gambols (my sonnes) are implements for the Stage, and beseeme Iesters, and Plaiers, but are not fit for Church plotters.... Afterwards ensued his bequestes, in manner and forme following ... Item, all my foolerie I bequeath to my good friend Lanam; and his consort, of whom I first had it.’

(f)

[From A Countercuffe giuen to Martin Iunior: ... by Pasquill of England (Aug. 1589), in McKerrow, Nashe, i. 59 (Anti-Martinist).]

The Anotamie latelie taken of him, the blood and the humors that were taken from him, by launcing and worming him at London vpon the common Stage ... are euident tokens, that beeing thorow soust in so many showres, hee had no other refuge but to runne into a hole, and die as he liued, belching.

(g)

[From The Protestatyon of Martin Marprelat (1589, before 20 Oct.), 25 (Martinist).]

Then among al the rimers and stage plaiers, which my Ll. of the cleargy had suborned against me I remember Mar-Martin, Iohn a Cant. his hobbie-horse, was to his reproche, newly put out of the Morris, take it how he will; with a flat discharge for euer shaking his shins about a May-pole againe while he liued.

(h)

[From The Returne of the renowned Caualiero Pasquill of England (c. 20 Oct. 1589) in McKerrow, Nashe, i. 82, 92, 100 (Anti-Martinist).]

Howe whorishlie Scriptures are alleaged by them, I will discouer (by Gods helpe) in another new worke which I haue in hand, and intituled it, The May-game of Martinisme. Verie defflie set out, with Pompes, Pagents, Motions, Maskes, Scutchions, Emblems, Impreases, strange trickes, and deuises, betweene the Ape and the Owle, the like was neuer yet seene in Paris-garden. Penry the welchman is the foregallant of the Morrice, with the treble belles, shot through the wit with a Woodcocks bill: I woulde not for the fayrest horne-beast in all his Countrey, that the Church of England were a cup of Metheglin, and came in his way when he is ouer-heated; euery Bishopricke woulde prooue but a draught, when the Mazer is at his nose. Martin himselfe is the Mayd-marian, trimlie drest vppe in a cast Gowne, and a Kercher of Dame Lawsons, his face handsomlie muffled with a Diaper-napkin to couer his beard, and a great Nosegay in his hande, of the principalest flowers I could gather out of all hys works. Wiggenton daunces round about him in a Cotten-coate, to court him with a Leatherne pudding, and a woodden Ladle. Paget marshalleth the way, with a couple of great clubbes, one in his foote, another in his head, & he cryes to the people with a loude voice, Beware of the Man whom God hath markt. I can not yet find any so fitte to come lagging behind, with a budget on his necke, to gather the deuotion of the lookers on, as the stocke-keeper of the Bridewel-house of Canterburie; he must carrie the purse, to defray their charges, and then hee may be sure to serue himselfe.... Methought Vetus Comœdia beganne to pricke him at London in the right vaine, when shee brought foorth Diuinitie wyth a scratcht face, holding of her hart as if she were sicke, because Martin would haue forced her, but myssing of his purpose, he left the print of his nayles vppon her cheekes, and poysoned her with a vomit which he ministred vnto her, to make her cast vppe her dignities and promotions.... Who commeth yonder Marforius, can you tell me? Marforius. By her gate and her Garland I knowe her well, it is Vetus Comœdia. She hath been so long in the Country, that she is somewhat altred: this is she that called in a counsell of Phisitians about Martin, and found by the sharpnes of his humour, when they had opened the vaine that feedes his head, that hee would spit out his lunges within one yeere.... Pasquil. I haue a tale to tell her in her eare, of the slye practise that was vsed in restraining of her.

(i)

[From Pappe with an Hatchet (1589, end of Oct.) in Bond, Lyly, iii. 408 (Anti-Martinist).]

Sed heus tu, dic sodes, will they not bee discouraged for the common players? Would these Comedies might be allowed to be plaid that are pend, and then I am sure he would be decyphered, and so perhaps discouraged.

He shall not bee brought in as whilom he was, and yet verie well, with a cocks combe, an apes face, a wolfs bellie, cats clawes, &c. but in a cap’de cloake, and all the best apparell he ware the highest day in the yeare....

... Would it not bee a fine Tragedie, when Mardocheus shall play a Bishoppe in a Play, and Martin Hamman, and that he that seekes to pull downe those that are set in authoritie aboue him, should be hoysted vpon a tree aboue all other. [In margin] If it be shewed at Paules, it will cost you foure pence: at the Theater two pence: at Sainct Thomas a Watrings nothing.

(k)

[From G. Harvey, An Advertisement for Papp-Hatchett (1589, Nov. 5), printed with Pierces Supererogation (1593) and in Grosart, Harvey, ii. 131, 213 (Philo-Martinist).]

Had I bene Martin ... it should haue beene one of my May-games, or August triumphes, to haue driuen Officials, Commissaries, Archdeacons, Deanes, Chauncellors, Suffraganes, Bishops and Archbishops, (so Martin would have florished at the least) to entertaine such an odd, light-headded fellow for their defence; a professed iester, a Hickscorner, a scoff-maister, a playmunger, an Interluder; once the foile of Oxford, now the stale of London, and ever the Apesclogge of the presse, Cum Priuilegio perennitatis.... I am threatened with a Bable, and Martin menaced with a Comedie: ... All you, that tender the preseruation of your good names, were best to please Pap-hatchet, and fee Euphues betimes, for feare lesse he be mooued, or some One of his Apes hired, to make a Playe of you; and then is your credit quite vndone for euer, and euer: Such is the publique reputation of their Playes. He must needes be discouraged, whom they decipher. Better, anger an hundred other, then two such; that haue the Stage at commaundement, and can furnish-out Vices, and Diuels at their pleasure.

(l)

[From An Almond for a Parrat, Or Cutbert Curry-knaues Almes (1590, early), in McKerrow, Nashe, iii. 354 (Anti-Martinist).]

Therefore we must not measure of Martin as he is allied to Elderton or tongd like Will Tony, as he was attired like an Ape on the Stage, or sits writing of Pamphlets in some spare outhouse, but as he is Mar-Prelat of England.

(m)

[From The First parte of Pasquils Apologie ... Printed where I was, and where I will bee readie by the helpe of God and my Muse, to send you the May-game of Martinisme for an intermedium, betweene the first and seconde parte of the Apologie (2 July 1590), in McKerrow, Nashe, i. 135 (Anti-Martinist). It may be doubted whether The May-game of Martinism ever had an existence outside the allusions to it in these pamphlets.]

And when I haue sent you the May-game of Martinisme, at the next setting my foote into the styrroppe after it, the signet shall be giuen, and the fielde fought.

xli. 1589. Richard (?) Puttenham.

[From The Arte of English Poesie (1589; S. R. 9 Nov. 1588), edited by E. Arber (1869); also in J. Haslewood, Ancient Critical Essays, vol. i (1811), and in part in Gregory Smith, ii. 1. On the author, cf. ch. xxiii.]

Most of the treatise (bks. ii, iii) deals with the technicalities of poetic structure and style, which the author sometimes illustrates from interludes and verses of his own. Bk. i praises poetry in general, on familiar but non-controversial humanist lines, and discusses with some classical erudition the origin of various types of poetry, as tragedy, comedy, and pantomime (c. 11), comedy (c. 14), tragedy (c. 15), staging (c. 17), pastoral (c. 18). In a brief account of English poets (c. 31) occurs: ‘But the principall man in this profession at the same time [Edward’s] was Maister Edward [sic] Ferrys a man of no lesse mirth and felicitie that way, but of much more skil, and magnificence in his meeter, and therefore wrate for the most part to the stage, in Tragedie and sometimes in Comedie or Enterlude, wherein he gaue the king so much good recreation, as he had thereby many good rewardes.... Of the later sort I thinke thus. That for Tragedie, the Lord of Buckhurst and Maister Edward Ferrys for such doings as I haue sene of theirs do deserue the hyest price: Th’ Earle of Oxford and Maister Edwardes of her Maiesties Chappell for Comedy and Enterlude.’

xlii. 1589. Thomas Nashe.

[From an epistle To the Gentlemen Students of Both Universities, prefixed to Robert Greene’s Menaphon (1589; S. R. 23 Aug. 1589), reprinted from ed. 1610, which has some corrections possibly by Nashe, in McKerrow, iii. 311, with valuable notes (iv. 444) upon the allusions and supposed allusions. The suggestion of Collier that Menaphon was originally printed in 1587 appears to be baseless. Outside the three passages quoted, Nashe praises Watson’s translation of Antigone. McKerrow’s collection of material for the critical discussion of the epistle is so full that I need only compare briefly my conclusions with his. In (i) Nashe seems to me to be criticizing (a) ‘tragedians’, which for me are clearly ‘tragic actors’, while McKerrow inclines to make them ‘writers of tragedy’, and (b) their dramatists, who include blank-verse ‘Art-masters’, which I agree with McKerrow is more likely, in view of the fact that Greene above all flourished his University degree, to mean ‘masters of their art’ than ‘masters of Arts’, and translating tradesmen or serving-men with no education beyond a grammar-school. The slight suggestions that Nashe may have had Marlowe especially in mind are perhaps hardly sufficient to outweigh his statement in Have with you to Saffron Walden (1596) that he ‘neuer abusd Marloe’; and Marlowe was a University man, and no tradesman or serving-man. On the other hand, there is no specific praise of Marlowe with other University poets in the epistle. The whole of (i) is a precise parallel to the following lines by Thomas Brabine, also prefixed to Menaphon:

In (ii) I am rather more inclined than McKerrow to think that the ‘Nouerint’ and the ‘Kidde in Æsop’ may glance at Kyd, who was not one of the University group, and was a grammarian, a translator, and very likely already a serving-man. But the attempts to trace him elsewhere in the passage come to very little; nor is one playwright only necessarily in question, so that, although the ‘handfuls of Tragicall speeches’ may point to a play of Hamlet as already extant in 1589, the inference that Kyd was its author becomes extremely thin. In (iii) Nashe attacks the players as parasitic on the poets, in terms closely resembling those used later by Greene in his Groatsworth of Wit (No. xlviii). Probably Roscius is here Alleyn, and Caesar stands for the poets in general. I do not agree with Fleay, L. of S. 10, 99, that the epistle reflects a rivalry between the poets of the Queen’s men and those of Pembroke’s, who indeed did not yet exist, or any other company. The issue is between the University poets on the one hand and the players and illiterate poets on the other.]

P. 311. ‘I am not ignorant how eloquent our gowned age is grown of late; so that euery mechanicall mate abhorres the English he was borne too, and plucks, with a solemne periphrasis, his vt vales from the inkehorne: which I impute, not so much to the perfection of Arts, as to the seruile imitation of vainglorious Tragedians, who contend not so seriously to excell in action, as to embowell the cloudes in a speech of comparison, thinking themselues more than initiated in Poets immortality, if they but once get Boreas by the beard and the heauenly Bull by the deaw-lap. But heerein I cannot so fully bequeath them to folly, as their ideot Art-masters, that intrude themselues to our eares as the Alcumists of eloquence, who (mounted on the stage of arrogance) think to out-braue better pennes with the swelling bumbast of a bragging blanke verse. Indeede it may bee the ingrafted ouerflow of some kil-cow conceit, that ouercloyeth their imagination with a more than drunken resolution, being not extemporall in the inuention of any other meanes to vent their manhoode, commits the disgestion of their cholericke incumbrances to the spacious volubilitie of a drumming decasillabon. Mongst this kind of men that repose eternitie in the mouth of a Player, I can but ingrosse some deep read Grammarians, who, hauing no more learning in their skull than will serue to take vp a commoditie, nor Art in their braine than was nourished in a seruing mans idlenesse, will take vppon them to be the ironicall Censors of all, when God and Poetrie doth know they are the simplest of all. To leaue these to the mercy of their Mother tongue, that feed on nought but the crums that fall from the Translators trencher, I come (sweet friend) to thy Arcadian Menaphon, ...’ P. 315. ‘I’le turne backe to my first text of Studies of delight, and talke a little in friendship with a few of our triuiall translators. It is a common practise now a dayes amongst a sort of shifting companions, that runne through euery Art and thriue by none, to leaue the trade of Nouerint, whereto they were borne, and busie themselues with the indeuours of Art, that could scarcely Latinize their neck verse if they should haue neede; yet English Seneca read by Candlelight yeelds many good sentences, as Blood is a begger, and so forth; and if you intreate him faire in a frostie morning, hee will affoord you whole Hamlets, I should say handfuls of Tragicall speeches. But O griefe! Tempus edax rerum, whats that will last alwayes? The Sea exhaled by droppes will in continuance bee drie, and Seneca, let blood line by line and page by page, at length must needes die to our Stage; which makes his famished followers to imitate the Kidde in Æsop, who, enamoured with the Foxes newfangles, forsooke all hopes of life to leape into a newe occupation; and these men, renouncing all possibilities of credite or estimation, to intermeddle with Italian Translations: wherein how poorely they haue plodded, (as those that are neither prouenzall men, nor are able to distinguish of Articles,) let all indifferent Gentlemen that haue trauailed in that tongue discerne by their two-pennie pamphlets: & no maruell though their home borne mediocritie bee such in this matter; for what can bee hoped of those that thrust Elisium into hell, and haue not learned, so long as they haue liued in the Spheres, the iust measure of the Horizon without an hexameter? Sufficeth them to bodge vp a blanke verse with ifs and ands, and otherwhile for recreation after their Candle-stuffe, hauing starched their beards most curiously, to make a Peripateticall path into the inner parts of the Citie, and spend two or three howers in turning ouer French Doudie, where they attract more infection in one minute, then they can do eloquence all daies of their life, by conuersing with any Authors of like argument.’ P. 323. ‘There are extant about London many most able men to reuiue Poetry ... as, for example, Mathew Roydon, Thomas Atchelow, and George Peele; the first of whom, as he hath shewed himselfe singular in the immortall Epitaph of his beloued Astrophell, besides many other most absolute Comike inuentions (made more publike by euery mans praise, than they can be by my speech), so the second hath more than once or twice manifested his deepe witted schollership in places of credite: and for the last, though not the least of them all, I dare commend him to all that know him, as the chiefe supporter of pleasance now liuing, the Atlas of Poetrie, and primus verborum Artifex: whose first increase, the arraignement of Paris, might pleade to your opinions his pregnant dexterity of wit, and manifold varietie of inuention; where in (me iudice) he goeth a steppe beyond all that write. Sundry other sweete gentlemen I know, that haue vaunted their pennes in priuate deuices, and tricked vp a company of taffata fooles with their feathers, whose beauty if our Poets had not peecte with the supply of their periwigs, they might haue antickt it vntill this time vp and downe the Countrey with the King of Fairies, and dined euery day at the pease porredge ordinary with Delphrigus. But Tolossa hath forgot that it was sometime sacked, and beggars that euer they carried their fardels on footback: and in truth no meruaile, when as the deserued reputation of one Roscius is of force to enrich a rabble of counterfets; yet let subiects for all their insolence dedicate a De profundis euery morning to the preseruation of their Caesar, least their increasing indignities returne them ere long to their iugling to mediocrity, and they bewaile in weeping blankes the wane of their Monarchie.’

xliii. 1590. Robert Greene.

[From Francescos Fortunes: Or, The second part of Greenes Neuer too Late (1590), reprinted in Works, viii. 111. For the Roscius story, cf. No. xii and ch. xi.]

P. 129. A palmer, telling the tale of Francesco, which contains some probably autobiographical matter on the hero’s writing for the stage (cf. ch. xxiii, s.v. Greene), is interrupted by a request for his ‘iudgement of Playes, Playmakers and Players’. After observing that ‘some for being too lauish against that facultie, haue for their satiricall inuectiues been well canuased’, he sketches the growth of comedy at Athens and Rome, where ‘couetousnesse crept into the qualitie’ and ‘the Actors, by continuall vse grewe not onely excellent, but rich and insolent’. This is illustrated (p. 132) by a rebuke of Cicero to Roscius, ‘Why Roscius, art thou proud with Esops Crow, being pranct with the glorie of others feathers? of thy selfe thou canst say nothing, and if the Cobler hath taught thee to say Aue Caesar, disdain not thy tutor, because thou pratest in a Kings chamber: what sentence thou vtterest on the stage, flowes from the censure of our wittes, and what sentence or conceipte of the inuention the people applaud for excellent, that comes from the secrets of our knowledge. I graunt your action, though it be a kind of mechanical labour; yet wel done tis worthie of praise: but you worthlesse, if for so small a toy you waxe proud’. Publius Seruilius also bade a player ‘bee not so bragge of thy silken roabes, for I sawe them but yesterday make a great shew in a broakers shop’. The palmer concludes, ‘Thus sir haue you heard my opinion briefly of plaies, that Menander deuised them for the suppressing of vanities, necessarie in a common wealth, as long as they are vsed in their right kind; the play makers worthy of honour for their Arte: & players, men deseruing both prayse and profite, as long as they wax neither couetous nor insolent’.

xliv. 1591. Samuel Cox.

[This letter of 15 Jan. 1591 to an unknown correspondent, brother of one Mr. Lewin, occurs with other letters by Cox in the letter-book of Sir Christopher Hatton (Nicolas, Hatton, xxix), to whom he was secretary.]

Has his letter ‘reprehending me in some sort for my sharpness against the use of plays’. Cites view of Fathers, especially Chrysostom. Regrets present toleration of ‘these dangerous schools of licentious liberty, whereunto more people resort than to sermons or prayers’. Now ‘rich men give more to a player for a song which he shall sing in one hour, than to their faithful servants for serving them a whole year.... I could wish that players would use themselves nowadays, as in ancient former times they have done, which was only to exercise their interludes in the time of Christmas, beginning to play in the holidays and continuing until twelfth tide, or at the furthest until Ashwednesday, of which players I find three sorts of people: the first, such as were in wages with the king and played before him some time at Hallowmass, and then in the later holidays until twelfthtide, and after that, only in Shrovetide; and these men had other trades to live of, and seldom or never played abroad at any other times of the whole year. The second sort were such as pertained to noblemen, and were ordinary servants in their house, and only for Christmas times used such plays, without making profession to be players to go abroad for gain, for in such cases they were subject to the statute against retainers. The third sort were certain artisans in good towns and great parishes, as shoemakers, tailors, and such like, that used to play either in their town-halls, or some time in churches, to make the people merry; where it was lawful for all persons to come without exacting any money for their access, having only somewhat gathered of the richer sort by the churchwardens for their apparel and other necessaries.’

xlv. 1591. Sir John Harington.

[From A Preface, or rather a Briefe Apologie of Poetrie, and of the Author and Translator, prefixed to Harington’s translation of Ariosto’s Orlando Furioso (1591), reprinted in Gregory Smith, ii. 194.]

Harington upholds poetry on humanist lines, and answers the objections of Cornelius Agrippa. P. 209. ‘The last reproofe is lightnes & wantonnes.... First, the Tragicall is meerly free from it, as representing onely the cruell and lawlesse proceedings of Princes, mouing nothing but pitie or detestation. The Comicall, whatsoeuer foolish playmakers make it offend in this kind, yet being rightly vsed, it represents them so as to make the vice scorned and not embraced.... And for Tragedies, to omit other famous Tragedies, that that was played at S. Iohns in Cambridge, of Richard the 3, would moue (I thinke) Phalaris the tyraunt, and terrifie all tyrannous minded men from following their foolish ambitious humors, seeing how his ambition made him kill his brother, his nephews, his wife, beside infinit others, and, last of all, after a short and troublesome raigne, to end his miserable life, and to haue his body harried after his death. Then, for Comedies, how full of harmeles myrth is our Cambridge Pedantius? and the Oxford Bellum Grammaticale? or, to speake of a London Comedie, how much good matter, yea and matter of state, is there in that Comedie cald the play of the Cards, in which it is showed how foure Parasiticall knaues robbe the foure principall vocations of the Realme, videl, the vocation of Souldiers, Schollers, Marchants, and Husbandmen? Of which Comedie I cannot forget the saying of a notable wise counseller that is now dead, who when some (to sing Placebo) aduised that it should be forbidden, because it was somewhat too plaine, and indeed as the old saying is, sooth boord is no boord, yet he would haue it allowed, adding it was fit that They which doe that they should not should heare that they would not.’

xlvi. 1592. Thomas Nashe.

[From Pierce Penilesse his Supplication to the Diuell (1592; S. R. 8 Aug. 1592), reprinted in McKerrow, i. 149.]

[Extracts.] P. 211. ‘There is a certaine waste of the people for whome there is no vse, but warre: and these men must haue some employment still to cut them off.... To this effect, the pollicie of Playes is very necessary, howsoeuer some shallow-braind censurers (not the deepest serchers into the secrets of gouernment) mightily oppugne them. For whereas the after-noone beeing the idlest time of the day; wherein men that are their owne masters (as Gentlemen of the Court, the Innes of the Courte, and the number of Captaines and Souldiers about London) do wholy bestow themselues vpon pleasure, and that pleasure they deuide (howe vertuously it skils not) either into gameing, following of harlots, drinking, or seeing a Playe: is it not then better (since of foure extreames all the world cannot keepe them but they will choose one) that they should betake them to the least, which is Playes? Nay, what if I prooue Playes to be no extreame; but a rare exercise of vertue? First, for the subiect of them (for the most part) it is borrowed out of our English Chronicles, wherein our forefathers valiant acts (that haue line long buried in rustie brasse and worme-eaten bookes) are reuiued, and they themselues raised from the Graue of Obliuion, and brought to pleade their aged Honours in open presence: than which, what can be a sharper reproofe to these degenerate effeminate dayes of ours? How would it haue ioyed braue Talbot (the terror of the French) to thinke that after he had lyne two hundred yeares in his Tombe, hee should triumphe againe on the Stage, and haue his bones newe embalmed with the teares of ten thousand spectators at least (at seuerall times) who, in the Tragedian that represents his person, imagine they behold him fresh bleeding? I will defend it against any Collian, or clubfisted Vsurer of them all, there is no immortalitie can be giuen a man on earth like vnto Playes.... All Artes to them are vanitie: and, if you tell them what a glorious thing it is to haue Henrie the fifth represented on the Stage, leading the French King prisoner, and forcing both him and the Dolphin to sweare fealty, I, but (will they say) what do we get by it? Respecting neither the right of Fame that is due to true Nobilitie deceased, nor what hopes of eternitie are to be proposed to aduentrous mindes, to encourage them forward, but onely their execrable luker, and fillthie vnquenchable auarice. They know when they are dead they shall not be brought vpon the Stage for any goodnes, but in a merriment of the Vsurer and the Diuel, or buying Armes of the Herald, who giues them the Lyon, without tongue, tayle, or tallents, because his maister whome hee must serue is a Townesman, and a man of peace, and must not keepe any quarrelling beasts to annoy his honest neighbours. In Playes, all coosonages, all cunning drifts ouer-guylded with outward holinesse, all stratagems of warre, all the cankerwormes that breede on the rust of peace, are most liuely anatomiz’d: they shewe the ill successe of treason, the fall of hastie climbers, the wretched end of vsurpers, the miserie of ciuill dissention, and how iust God is euermore in punishing of murther.... Whereas some Petitioners of the Counsaile against them obiect, they corrupt the youth of the Cittie, and withdrawe Prentises from theyr worke; they heartily wishe they might bee troubled with none of their youth nor their prentises; for some of them (I meane the ruder handicrafts seruants) neuer come abroade, but they are in danger of vndoing: and as for corrupting them when they come, thats false; for no Play they haue, encourageth any man to tumult or rebellion, but layes before such the halter and the gallowes; or praiseth or approoueth pride, lust, whoredome, prodigalitie, or drunkennes, but beates them downe vtterly. As for the hindrance of Trades and Traders of the Citie by them, that is an Article foysted in by the Vintners, Alewiues, and Victuallers, who surmise, if there were no Playes, they should haue all the companie that resort to them, lye bowzing and beere-bathing in their houses euery after-noone.... Our Players are not as the players beyond Sea, a sort of squirting baudie Comedians, that haue whores and common Curtizens to playe womens partes, and forbeare no immodest speech or vnchast action that may procure laughter; but our Sceane is more statelye furnisht than euer it was in the time of Roscius, our representations honourable, and full of gallant resolution, not consisting, like theirs, of a Pantaloun, a Whore, and a Zanie, but of Emperours, Kings, and Princes; whose true Tragedies (Sophocleo cothurno) they do vaunt. Not Roscius nor Æsope, those admyred tragedians that haue liued euer since before Christ was borne, could euer performe more in action than famous Ned Allen.... If I euer write any thing in Latine (as I hope one day I shall) not a man of any desert here amongst vs, but I will haue vp. Tarlton, Ned Allen, Knell, Bentlie, shall be made knowne to France, Spaine, and Italie: and not a part that they surmounted in, more than other, but I will there note and set downe, with the manner of theyr habites and attyre.’

xlvii. 1592. Robert Greene.

[From A Quip for an Upstart Courtier: Or, A quaint Dispute between Velvet Breeches and Cloth Breeches. Wherein is plainely set downe the disorders in all Estates and Trades (Works, xi. 205).]

A jury is being empanelled between the disputants, who represent new and old ideals of gentry. P. 289. ‘An ouerworne gentleman attired in veluet and satin’ is followed by ‘two pert Applesquires: the one had a murrey cloth gowne on, faced down before with gray conny, and laid thicke on the sleeves with lace, which he quaintly bare vp to shew his white taffata hose, and black silk stockings: a huge ruffe about his necke wrapt in his great head like a wicker cage, a little Hat with brims like the wings of a doublet, wherein he wore a jewell of glasse, as broad as a chancery seale: after him followed two boies in cloakes like butterflies: carrying one of them his cutting sword of choller, the other his dauncing rapier of delight.’ The ‘ouerworne gentleman’ is a poet, the ‘applesquires’ a player and the usher of a dancing school. Velvet Breeches thinks the poet ‘a proud fellow’, the others ‘plaine, honest, humble men, that for a penny or an old-cast sute of apparell will do anything. Indeed quoth Cloth Breeches you say troth, they are but too humble, for they be so lowly, that they be base minded: I mean not in their lookes or apparell, for so they be peacockes and painted asses, but in their corse of life, for they care not how they get crowns, I meane how basely so they haue them, and yet of the two I hold the Plaier to be the better Christian, although in his owne imagination too full of selfe liking and selfe loue, and is vnfit to be of the Iury though I hide and conceale his faults and fopperies, in that I haue beene merry at his sports: onely this I must say, that such a plaine country fellow as my selfe, they bring in as clownes and fooles to laugh at in their play, whereas they get by vs, and of our almes the proudest of them all doth line. Well, to be breefe, let him trot to the stage, for he shall be none of the Iury.’

xlviii. 1592. Robert Greene.

[From Greens Groatsworth of Wit (1596; S. R. 20 Sept. 1592), reprinted in Grosart, xii. 131, and C. M. Ingleby, Shakespere Allusion-Books, Part i (1874, N. S. S.); cf. ch. xxiii, s.v. Greene.]

‘Roberto ... vttered his present greefe, beseeching his advuise how he might be imployed. Why easily, quoth hee, and greatly to your benefit: for men of my profession get by schollers their whole liuing. What is your profession, sayd Roberto? Truely sir, said he, I am a player. A Player, quoth Roberto, I tooke you rather for a gentleman of great liuing; for if by outward habit men shuld be censured, I tell you, you would be taken for a substantiall man. So am I where I dwell (quoth the player) reputed able at my proper cost, to build a Windmill. What though the worlde once went hard with mee, when I was faine to carrie my playing Fardle a footebacke; Tempora mutantur: I know you know the meaning of it better than I, but I thus conster it, it is otherwise now; for my very share in playing apparrell will not be solde for two hundred pounds. Truely (said Roberto) it is strange, that you should so prosper in that vaine practise, for that it seemes to me your voyce is nothing gracious. Nay then, said the player, I mislike your iudgement: why, I am as famous for Delphrigus, and the king of Fairies, as euer was any of my time. The twelue labors of Hercules haue I terribly thundred on the stage, and plaied three scenes of the deuill in the highway to heauen. Haue ye so (said Roberto?) then I pray you pardon me. Nay more (quoth the player) I can serue to make a prettie speech, for I was a countrie Author, passing at a morrall, for it was I that pende the Morral of mans wit, the Dialogue of Diues, and for seauen yeeres space was absolute interpreter of the puppets. But now my Almanacke is out of date:

Was not this prettie for a plaine rime extempore? if ye will, ye shall haue more. Nay it is enough, said Roberto, but how meane you to vse mee? Why sir, in making playes, said the other, for which you shall be well paied, if you will take the paines.... Roberto, now famozed for an Arch-plaimaking-poet, his purse like the sea sometime sweld, anon like the same sea fell to a low ebbe; yet seldom he wanted, his labors were so well esteemed. Marry, this rule he kept, what euer he fingerd afore-hand, was the certaine meanes to vnbinde a bargaine; and being asked why he so sleightly dealt with them that did him good? It becomes me, sath hee, to be contrarie to the worlde: for commonly when vulgar men recieue earnest, they doe performe; when I am paid any thing afore-hand, I breake my promise.... To those Gentlemen, his Quondam acquaintance, that spend their wits in making Plaies, R. G. wisheth a better exercise, and wisdome to preuent his extremities.... Base minded men al three of you, if by my miserie ye be not warned: for vnto none of you (like me) sought those burres to cleaue: those Puppits (I meane) that speake from our mouths, those Anticks garnisht in our colours. Is it not strange that I, to whom they al haue beene beholding: is it not like that you, to whome they all haue beene beholding, shall (were ye in that case that I am now) be both at once of them forsaken? Yes, trust them not: for there is an vpstart Crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide, supposes he is as well able to bumbast out a blank verse as the best of you: and being an absolute Iohannes fac totum, is in his owne conceit the onely Shake-scene in a countrie. O that I might intreate your rare wits to be imployed in more profitable courses: & let these Apes imitate your past excellence, and neuer more acquaint them with your admired inuentions. I know the best husband of you all will neuer proue an Vsurer, and the kindest of them all wil neuer prooue a kinde nurse: yet, whilst you may, seeke you better Maisters; for it is pittie men of such rare wits, should be subiect to the pleasures of such rude groomes. In this I might insert two more, that both haue writ against these buckram Gentlemen: but let their owne works serue to witnesse against their owne wickednesse, if they perseuer to maintaine any more such peasants. For other new commers, I leaue them to the mercie of these painted monsters, who (I doubt not) will driue the best minded to despise them: for the rest, it skils not though they make a ieast at them.’ Cf. ch. xxiii, s.v. Greene.

xlix. 1592. Henry Chettle.

[From Kind-Harts Dreame. Conteining fiue Apparitions, with their Inuectiues against abuses raigning. Deliuered by seuerall Ghosts vnto him to be publisht ... by H. C. (N. D.). The tract was entered in the Stationers’ Register (Arber, ii. 623) on 8 Dec. 1592. The Ghosts are those of Anthony Now Now a fiddler, William Cuckoe a juggler, Doctor Burcot a physician, Robert Greene, and Richard Tarlton. Greene died in Sept. 1592. The Epistle is signed by Henry Chettle (cf. ch. xxiii). The whole is reprinted by C. M. Ingleby in Part I (1874) of the Shakspere Allusion-Books of the New Shakspere Society.]

P. 37. To the Gentlemen Readers. ‘About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groatsworth of wit, in which a letter written to diuers playmakers, is offensiuely by one or two of them taken; and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindered the bitter inueying against schollers, it hath been very well knowne; and how in that I dealt, I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other, whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory as if the originall fault had beene my fault, because my selfe haue seene his demeanor no lesse ciuill, than he exelent in the qualitie he professes: Besides, diuers of worship haue reported his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art. For the first, whose learning I reuerence, and at the perusing of Greenes Booke, stroke out what then in conscience I thought he in some displeasure writ: or had it beene true, yet to publish it, was intollerable: him I would wish to vse me no worse than I deserue. I had onely in the copy this share: it was il written, as sometime Greenes hand was none of the best; licensd it must be, ere it could bee printed, which could neuer be if it might not be read. To be breife, I writ it ouer; and as neare as I could, followed the copy; onely in that letter I put something out, but in the whole booke not a worde in; for I protest it was all Greenes, not mine nor Maister Nashes, as some vniustly haue affirmed.’ Henrie Chettle.... The Dreame. P. 43. ‘There entered at once fiue personages.... The next, by his sute of russet, his buttond cap, his taber, his standing on the toe, and other tricks, I knew to be either the body or resemblaunce of Tarlton, who liuing, for his pleasant conceits was of all men liked, and dying, for mirth left not his like.... With him was the fifth, a man of indifferent yeares, of face amible, of body well proportioned, his attire after the habite of a schollerlike Gentleman, onely his haire was somewhat long, whome I supposed to be Robert Greene, maister of Artes: of whome (howe euer some suppose themselues iniured) I haue learned to speake, considering he is dead, nill nisi necessarium. He was of singuler pleasaunce the verye supporter, and, to no man’s disgrace bee this intended, the only Comedian of a vulgar writer in this country.’ P. 63. To all maligners of honest mirth, Tarleton wisheth continuall melancholy. ‘Now Maisters, what say you to a merrie knaue, that for this two years day hath not beene talkt of. Wil you giue him leaue, if he can, to make ye laugh? What, all a mort? No merry countenance? Nay then I see hypocrisie hath the vpper hand, and her spirit raignes in this profitable generation. Sith it is thus, Ile be a time-pleaser. Fie vppon following plaies, the expence is wondrous; vpon players speeches, their wordes are full of wyles; vppon their gestures, that are altogether wanton. Is it not lamentable, that a man should spende his two pence on them in an after-noone, heare couetousnes amongst them daily quipt at, being one of the commonest occupations in the countrey; and in liuely gesture see trecherie set out, with which euery man now adaies vseth to intrap his brother. Byr lady, this would be lookt into: if these be the fruites of playing, tis time the practisers were expeld. Expeld (quoth you); that hath been pretily performd, to the no smal profit of the Bouling-allyes in Bedlam and other places, that were wont in the after-noones to be left empty, by the recourse of good fellows vnto that vnprofitable recreation of Stage-playing. And it were not much amisse, would they ioine with the Dicing houses to make sute againe for their longer restraint, though the sicknesse cease. Is not this well saide (my maisters) of an olde buttond cappe, that hath most part of his life liu’d vppon that against which he inueighs: Yes, and worthily.’ Suppression of plays to the advantage of bawdy-houses, especially those not near Shoreditch. Discourse with a pander. P. 65. ‘And you, sir, find fault with plaies. Out vpon them, they spoile our trade, as you your selfe haue proued. Beside, they open our crosse-biting, our conny-catching, our traines, our traps, our gins, our snares, our subtilties: for no sooner haue we a tricke of deceipt, but they make it common, singing Iigs, and making ieasts of vs, that euerie boy can point out our houses as they passe by. Whither now Tarlton? this is extempore, out of time, tune, and temper.... Thy selfe once a Player, and against Players: nay, turne out the right side of thy russet coate, and lette the world know thy meaning. Why thus I meane, for now I speake in sobernes. Euery thing hath in it selfe his vertue and his vice: from one selfe flower the Bee and Spider sucke honny and poyson. In plaies it fares as in bookes, vice cannot be reproued, except it be discouered: neither is it in any play discouered, but there followes in the same an example of the punishment: now he that at a play will be delighted in the one, and not warned by the other, is like him that reads in a booke the description of sinne, and will not looke ouer the leafe for the reward. Mirth in seasonable time taken, is not forbidden by the austerest Sapients. But indeede there is a time of mirth and a time of mourning. Which time hauing been by the Magistrats wisely obserued, as well for the suppressing of Playes, as other pleasures: so likewise a time may come, when honest recreation shall haue his former libertie. And lette Tarleton intreate the yoong people of the Cittie, either to abstaine altogether from playes, or at their comming thither to vse themselues after a more quiet order. In a place so ciuill as this Cittie is esteemed, it is more than barbarously rude, to see the shamefull disorder and routes that sometimes in such publike meetings are vsed. The beginners are neither gentlemen, nor citizens, nor any of both their seruants, but some lewd mates that long for innouation; & when they see aduantage, that either Seruingmen or Apprentises are most in number, they will be of either side, though indeed they are of no side, but men beside all honestie, willing to make boote of cloakes, hats, purses, or what euer they can lay holde on in a hurley burley. These are the common causers of discord in publike places. If otherwise it happen (as it seldome doth) that any quarrell be betweene man and man, it is far from manhood to make so publike a place their field to fight in: no men will doe it, but cowardes that would faine be parted, or haue hope to haue many partakers. Nowe to you that maligne our moderate merriments, and thinke there is no felicitie but in excessiue possession of wealth: with you I would ende in a song, yea an Extempore song on this Theame, Ne quid nimis necessarium: but I am now hoarse, and troubled with my Taber and Pipe: beside, what pleasure brings musicke to the miserable. Therefore letting songes passe, I tell them in sadnes, how euer Playes are not altogether to be commended: yet some of them do more hurt in a day, than all the Players (by exercizing theyr profession) in an age. Faults there are in the professors as other men, this the greatest, that diuers of them beeing publike in euerie ones eye, and talkt of in euery vulgar mans mouth, see not how they are seene into, especially for their contempt, which makes them among most men most contemptible. Of them I will say no more: of the profession, so much hath Pierce Pennilesse (as I heare say) spoken, that for mee there is not any thing to speake. So wishing the chearefull, pleasaunce endlesse; and the wilfull sullen, sorrow till they surfet; with a turne on the toe I take my leaue. Richard Tarleton.’

l. 1592–9. John Rainolds v. William Gager and Alberico Gentili.

[A controversy arising out of criticism by Rainolds on the legitimacy of academic drama is contained in (a) Gager’s Momus and Epilogus Responsiuus, written c. Jan. 1592, spoken 8 Feb., printed with additional matter c. May (cf. ch. xxiii, s.v. Gager, Ulysses Redux; (b) Rainolds to Thomas Thornton, 6 Feb. 1592; (c) Rainolds to Gager, 10 July 1592; (d) Gager to Rainolds, 31 July 1592; (e) Rainolds to Gager, 30 May 1593; (f) Gentili, Commentatio de Professoribus et Medicis, printed with Ad Titulum de Maleficis et Mathematicis Commentarius (1593, with epistle of 26 June 1593; 1604); (g) Gentili to Rainolds, 7 July 1593; (h) Rainolds to Gentili, 10 July 1593; (i) Gentili to Rainolds, 14 July 1593; (k) Rainolds to Gentili, 5 Aug. 1593; (l) two further letters by Gentili and two by Rainolds, who ends the correspondence on 12 Mar. 1594; (m) Gentili, De Actoribus et Spectatoribus Fabularum non Notandis Disputatio (1599, with epistle of 14 Oct. 1597; reprinted in Gronovius, Thesaurus Antiquitatum, viii); (n) Th’ Overthrow of Stage-Players (1599, no imprint, with epistle from Printer to Reader; 1600; 1629). This is a print of (c), (e), (g), (h), (i), (k). All the twelve letters are in Oxon. C.C.C. MS. 352 and some in Queen’s Coll. MS. 359; a collection in Univ. Coll. MS. 157 is lost, but probably added no more. Rainolds is satirized in the Queen’s College, Cambridge, play of Fucus Histriomastix (1623, ed. G. C. Moore Smith, 1909), probably by Robert Ward.]

The academic controversy is fully summarized by F. S. Boas in Fortnightly Review for August 1907 and University Drama in the Tudor Age (1914), 229, together with the analysis of Gager’s defence by K. Young in An Elizabethan Defence of the Stage (1916, Wisconsin Shakespeare Studies, 103). I only quote the reference in the Epistle to Th’ Overthrow of 1599 to ‘Men ... that haue not been afraied of late dayes to bring vpon the Stage the very sober countenances, graue attire, modest and matronelike gestures, and speaches of men & women to be laughed at as a scorne and reproch to the world’.

li. 1597 (?). John Harington.

[From A Treatise on Playe, printed in Nugae, i. 191. I retain Park’s date of ‘circa 1597’, although I doubt whether it is based on anything but a conjecture that ‘this deere yeer’ (204) may be 1595 or 1597, and the latest definite event referred to is the death of Hatton on 20 Nov. 1591. The treatise deals mainly with gambling.]

One sayd merely that ‘enterludes weare the divells sarmons, and jesters the divells confessors; thease for the most part disgracing of vertue, and those not a little gracinge of vices’. But, for my part, I commend not such sowere censurers, but I thinke in stage-playes may bee much good, in well-penned comedies, and specially tragedies; and I remember, in Cambridge, howsoever the presyser sort have banisht them, the wyser sort did, and still doe mayntayn them.

lii. 1598. Francis Meres.

[From Palladis Tamia: Wit’s Treasury (S. R. 7 Sept. 1598). The general attitude of the treatise is humanist, but it is only of value for the incidental notices and appreciations of contemporary writers given in a rather fantastic series of parallels between classical and Elizabethan literature. Fuller extracts, including some personalia on Shakespeare and other playwrights, not reprinted here, are in C. M. Ingleby, Shakspere Allusion-Books, Part I (1874, N. S. S.), 151, and Gregory Smith, ii. 308.]

Our famous and learned Lawreat masters of England would entitle our English to far greater admired excellency if either the Emperor Augustus, or Octauia his sister, or noble Mecaenas were aliue to rewarde and countenaunce them; or if our witty Comedians and stately Tragedians (the glorious and goodlie representers of all fine witte, glorified phrase, and queint action) bee still supported and vphelde, by which meanes for lacke of Patrones (O ingratefull and damned age) our Poets are soly or chiefly maintained, countenaunced, and patronized....

... A comparatiue discourse of our English poets with the Greeke, Latine, and Italian poets....

... As Plautus and Seneca are accounted the best for Comedy and Tragedy among the Latines: so Shakespeare among the English is the most excellent in both kinds for the stage. For Comedy, witnes his Gentlemen of Verona, his Errors, his Loue Labors Lost, his Loue Labours Wonne, his Midsummers Night Dreame, and his Merchant of Venice; For Tragedy, his Richard the 2, Richard the 3, Henry the 4, King Iohn, Titus Andronicus, and his Romeo and Iuliet....

... These are our best for Tragedie, The Lorde Buckhurst, Doctor Leg of Cambridge, Doctor Edes of Oxford, Master Edward Ferris, the author of the Mirror for Magistrates, Marlow, Peele, Watson, Kid, Shakespeare, Drayton, Chapman, Decker, and Beniamin Iohnson.

As M. Anneus Lucanus writ two excellent tragedies, one called Medea, the other De incendio Troiae cum Priami calamitate: so Doctor Leg hath penned two famous tragedies, the one of Richard the 3, the other of The Destruction of Ierusalem....

... The best for Comedy amongst vs bee Edward, Earle of Oxforde, Doctor Gager of Oxforde, Master Rowley, once a rare scholler of learned Pembrooke Hall in Cambridge, Maister Edwardes, one of Her Maiesties Chappell, eloquent and wittie Iohn Lilly, Lodge, Gascoyne, Greene, Shakespeare, Thomas Nash, Thomas Heywood, Anthony Mundye, our best plotter, Chapman, Porter, Wilson, Hathway, and Henry Chettle....

As Georgius Buchananus’ Iepthae amongst all moderne Tragedies is able to abide the touch of Aristotle’s precepts and Euripedes’s examples: so is Bishop Watson’s Absalon. As ... Watson for his Antigone out of Sophocles, ha[s] got good commendations: so these versifiers for their learned translations are of good note among vs ... the Translators of Seneca’s Tragedies, ... As Antipater Sidonius was famous for extemporall verse in Greeke, and Ouid for his Quicquid conabar dicere versus erat: so was our Tarleton, of whome Doctor Case, that learned physitian, thus speaketh in the Seuenth Booke and seuenteenth chapter of his Politikes: Aristoteles suum Theodoretum laudauit quendam peritum Tragœdiarum actorem, Cicero suum Roscium: nos Angli Tarletonum, in cuius voce et vultu omnes iocosi affectus, in cuius cerebroso capite lepidae facetiae habitant. And so is now our wittie Wilson, who for learning and extemporall witte in this facultie is without compare or compeere, as, to his great and eternall commendations, he manifested in his challenge at the Swanne on the Banke Side.

liii. 1603. Henry Crosse.

[From Vertues Commonwealth: Or The Highway to Honour, reprinted in A. B. Grosart, Occasional Issues, vii (1878), 111.]

Must the holy Prophets and Patriarkes be set vpon a Stage, to be derided, hist, and laught at? or is it fit that the infirmities of holy men should be acted on a Stage, whereby others may be inharted to rush carelessly forward into vnbrideled libertie?... Furthermore, there is no passion wherwith the king, the soueraigne maiestie of the Realme was possest, but is amplified, and openly sported with, and made a May-game to all the beholders.... If a man will learne to be proud, fantasticke, humorous, to make love, sweare, swagger, and in a word closely doo any villanie, for a twopenny almes hee may be throughly taught and made a perfect good scholler.... And as these copper-lace gentlemen growe rich, purchase lands by adulterous Playes, & not fewe of them vsurers and extortioners, which they exhaust out of the purses of their haunters, so are they puft vp in such pride and selfe-loue, as they enuie their equalles, and scorne theyr inferiours.... But especially these nocturnall and night Playes, at vnseasonable and vndue times, more greater euils must necessarily proceed of them, because they do not onely hide and couer the thiefe, but also entice seruants out of their maisters houses, wherby opportunitie is offered to loose fellowes, to effect many wicked stratagems.... To conclude, it were further to be wished, that those admired wittes of this age, Tragædians, and Comædians, that garnish Theaters with their inuentions, would spend their wittes in more profitable studies, and leaue off to maintaine those Anticks, and Puppets, that speake out of their mouthes: for it is pittie such noble giftes, should be so basely imployed, as to prostitute their ingenious labours to inriche such buckorome gentlemen.

liv. 1604–5 (?). Ben Jonson.

[Prologue to Every Man In His Humour, first printed in Folio of 1616, and possibly written for a Jacobean revival.]

lv. 1607. Ben Jonson.

[From Epistle to Volpone (cf. ch. xxiii).]

Hence is it, that I now render my selfe gratefull, and am studious to iustifie the bounty of your act: To which, though your mere authority were satisfying, yet it being an age wherein Poëtry and the Professors of it heare so ill on all sides, there will a reason bee look’d for in the subject. It is certaine, nor can it with any forehead be oppos’d, that the too-much licence of Poëtasters in this time hath much deform’d their Mistresse; that euery day their manifold and manifest ignorance doth stick vnnaturall reproches vpon her. But for their petulancy, it were an act of the greatest iniustice, either to let the learned suffer, or so diuine a skill (which indeed should not be attempted with vncleane hands) to fall vnder the least contempt. For if men will impartially, and not à-squint, looke toward the offices and function of a Poët, they will easily conclude to themselues the impossibility of any mans being the good Poët, without first being a good Man. He that is sayd to be able to informe yong-men to all good disciplines, inflame growne-men to all great vertues, keepe old men in their best and supreme state, or as they decline to child-hood, recouer them to their first strength; that comes forth the Interpreter and Arbiter of Nature, a Teacher of things diuine no lesse than humane, a Master in manners; and can alone, or with a few, effect the busines of Mankind. This, I take him, is no subject for Pride and Ignorance to exercise their railing rhetorique vpon. But it will here be hastily answer’d, that the Writers of these dayes are other things; that not onely their manners, but their natures, are inuerted, and nothing remaining with them of the dignity of Poët, but the abused name, which euery Scribe vsurpes; that now, especially in Dramatick, or (as they terme it) Stage-Poëtry, nothing but Ribaldry, Profanation, Blasphemy, al Licence of offence to God, and Man, is practisd. I dare not deny a great part of this, and am sory I dare not: because in some mens abortiue Features (and would they had neuer boasted the light) it is ouer-true. But that all are embarqu’d in this bold aduenture for Hell, is a most vncharitable thought, and vtterd, a more malicious slander. For my particular, I can, and from a most cleare conscience, affirme, that I haue euer trembled to thinke toward the least Prophanenesse; haue loathed the vse of such foule and vn-washd Baudr’y, as is now made the foode of the Scene.

lvi. 1608. William Crashaw.

[From The Sermon preached at the Crosse, Feb. xiiij. 1607 (1608, 2nd ed. 1609). Crashaw was preacher at the Inner Temple and father of Richard Crashaw, the poet. The hypocrites, Nicholas Saint-Tantlings and Simon Saint-Mary-Oueries, are characters in The Puritan (1607). John Selden says in his Table Talk (1689; ed. Reynolds, 134), ‘I never converted but two, the one was Mr. Crashaw from writing against plays, by telling him a way how to understand that place, of putting on woman’s apparel, which has nothing to do with the business’; cf. infra, s.v. Selden (1616).]