Cibber, Colley . An Apology for the Life of Mr. Colley Cibber, Volume I
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Colley Cibber


   


   




AN APOLOGY FOR THE LIFE OF MR. COLLEY CIBBER
IN TWO VOLUMES
VOLUME THE FIRST


WRITTEN BY HIMSELF A NEW EDITION WITH NOTES AND SUPPLEMENT
by
ROBERT W. LOWE
WITH TWENTY-SIX ORIGINAL MEZZOTINT PORTRAITS BY R. B. PARKES, AND EIGHTEEN ETCHINGS BY ADOLPHE LALAUZE
LONDON
JOHN C. NIMMO
I4, KING WILLIAM STREET, STRAND
MDCCCLXXXIX
AMS PRESS, INC.
NEW YORK
1966



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PREFACE.

    COLLEY CIBBER'S famous Autobiography has always been recognized as one of the most delightful books of its class; but, to students of theatrical history, the charm of its author's ingenuous frankness has been unable altogether to overweigh the inaccuracy and vagueness of his treatment of matters of fact. To remove this cause of complaint is the principal object of the present edition. But correcting errors is only one of an editor's duties, and by no means the most difficult. More exacting, and almost equally important, are the illustration of the circumstances surrounding the author, the elucidation of his references to current events, and the comparison of his statements and theories with those of judicious contemporaries. In all these particulars I have interpreted my duty in the widest sense, and have aimed at giving, as far as in me lies, an exhaustive commentary on the `' Apology."

    I am fortunate in being able to claim that my work contains much information which has never before been made public. A careful investigation


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of the MSS. in the British Museum, and of the Records of the Lord Chamberlain's Office (to which my access was greatly facilitated by the kindness of Mr. Edward F. S. Pigott, the Licenser of Plays), has enabled me to give the exact dates of many transactions which were previously uncertain, and to give references to documents of great importance in stage history, whose very existence was before unknown. How important my new matter is, may be estimated by comparing the facts given in my notes regarding the intricate transactions of the years 1707 to 1721, with any previous history of the same period. Among other sources of information, I may mention the Cibber Collections in the Forster Library at South Kensington, to which my attention was drawn by the kindness of the courteous keeper, Mr. R. F. Sketchley; and I have also, of course, devoted much time to contemporary newspapers.

    In order to illustrate the "Apology," two tracts of the utmost rarity, the " Historia Histrionica" and Anthony Aston's " Brief Supplement" to Cibber's Lives of the Actors, are reprinted in this edition. The " Historia Histrionica " was written, all authorities agree, by James Wright, Barrister-at-Law, whose "History and Antiquities of the County of Rutland" is quoted by Cibber in his first chapter (vol. i. p. 8). The historical value of this pamphlet is very great, because it contains the only formal account in existence of the generation of actors who preceded Betterton, and because it gives many curious


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and interesting particulars regarding the theatres and plays, as well as the actors, before and during the Civil Wars. As Cibber begins his account of the stage (see chap. iv.) at the Restoration, there is a peculiar propriety in prefacing it by Wright's work; a fact which has already been recognized, for the publisher of the third edition (1750) of the "Apology" appended to it " A Dialogue on Old Plays and Old Players," which is simply a reprint of the "Historia Histrionica" under another title, and without the curious preface.

    Following the "Historia Histrionica" will be found a copy of the Patent granted to Sir William Davenant, one of the most important documents in English stage history. A similar grant was made to Thomas Killigrew, as is noted on page 87 of this volume.

    These documents form a natural introduction to Cibber's History of the Stage and of his own career, which commences, as has been said, at the Restoration, and ends, somewhat abruptly, with his retirement from the regular exercise of his profession in 1733. To complete the record of Cibber's life, I have added a Supplementary Chapter to the 'Apology," in which I have also noted briefly the chief incidents of theatrical history up to the time of his death. In this, too, I have told with some degree of minuteness the story of his famous quarrel with Pope; and to this chapter I have appended a list of Cibber's dramatic productions, and a Bibliography of works by, or relating to him.


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    Anthony Aston's "Brief Supplement to Colley Cibber, Esq; his Lives of the late famous Actors and Actresses," of which a reprint is given with this edition, is almost, if not quite, the rarest of theatrical books. Isaac Reed, says Genest," wrote his name in his copy of Aston's little book, with the date of 1796 -- he says -- 'this Pamphlet contains several circumstances concerning the Performers of the last century, which are no where else to be found -- it seems never to have been published' -- he adds -- 'Easter Monday, 1795 -- though I have now possessed this pamphlet 26 years, it is remarkable that I never have seen another copy of it.'" Of Aston himself, little is known. According to his own account he came on the stage about 1700, and we know that he was a noted stroller; but as to when he was born, or when he died, there is no information. He is supposed, and probably with justice, to be the " trusty Anthony, who has so often adorned both the theatres in England and Ireland," mentioned in Estcourt's advertisement of his opening of the Bumper Tavern, in the "Spectator" of 28th and 29th December, 1711; and he was no doubt a well-known character among actors and theatre-goers. He would thus be well qualified for his undertaking as biographer of the actors of his time; and, indeed, his work bears every mark of being the production of a writer thoroughly well acquainted with his subject. This valuable pamphlet has been, until now practically a sealed book to theatrical students.


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    The three works which make up this edition -- Cibber's " Apology," Wright's " Historia Histrionica," and Aston's " Brief Supplement" -- are reprinted verbatim et literatim; the only alterations made being the correction of obvious errors. Among obvious errors I include the avalanche of commas with which Cibber's printers overwhelmed his text. A more grotesque misuse of punctuation I do not know, and I have struck out a large number of these points, not only because they were unmeaning, but also because, to a modern reader, they were irritating in the highest degree. The rest of the punctuation I have not interfered with, and with the single exception of these commas the present edition reproduces not only the matter of the works reprinted, but the very manner in which they originally appeared, the use of italics and capitals having especially been carefully observed.

    The "Apology" of Cibber has gone through six editions. I have reprinted the text of the second, because it was certainly revised by the author, and many corrections made. But I have carefully compared my text with that of the first edition, and, wherever the correction is more than merely verbal, I have indicated the fact in a note (e.g. vol. i. p. 72). The only edition which has been annotated is that published in 1822, under the editorship of Edmund Bellchambers. Whether the Notes were written by the Editor or by Jacob Henry Burn, who annotated Dickens's "Grimaldi," is a point which I have raised


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in my "Bibliographical Account of English Theatrical Literature" (p. 373). I have been unable to obtain any authentic information on the subject, so give Burn's claim for what it is worth. The statement as to the latter's authorship was made in his own handwriting on the back of the title-page of a copy of the book, sold by a well-known bookseller some years ago. It was in the following terms --

"In 1821, while residing at No. 28, Maiden Lane, Covent Garden, the elder Oxberry, who frequently called in as he passed, found me one day adding notes in MS. to Cibber's 'Apology.' Taking it up, he said he should like to reprint it; he wanted something to employ the spare time of his hands, and proferred to buy my copy, thus annotated. I think it was two pounds I said he should have it for; this sum he instantly paid, and the notes throughout are mine, not Bellchambers's, who having seen it through the press or corrected the proofs whilst printing, added his name as the editor. -- J. H. BURN."

    Whether Burn or Bellchambers be the author, the notes, I find, are by no means faultlessly accurate. I have made little use of them, except that the Biographies, which are by far the most valuable of the annotations, are reprinted at the end of my second volume. Even in these, it will be seen, I have corrected many blunders. Some of the memoirs I have condensed slightly; and, as the Biographies of Booth, Dogget, and Wilks were in all essential points merely a repetition of Cibber's narrative, I have not reprinted them. In all cases where I have made any use of Bellchambers's edition, or have had


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a reference suggested to me by it, I have carefully acknowledged my indebtedness.

    Among the works of contemporary writers which I have quoted, either in illustration, in criticism, or in contradiction of Cibber, it will be noticed that I make large drafts upon the anonymous pamphlet entitled "The Laureat: or, the right side of Colley Cibber, Esq;" (I 740). I have done this because it furnishes the keenest criticism upon Cibber's statements, and gives, in an undeniably clever style, the views of Cibber's enemies upon himself and his works. I am unable even to guess who was the author of this work, but he must have been a man well acquainted with theatrical matters.

    Another pamphlet from which I quote, "The Egotist: or, Colley upon Cibber" (1743), is interesting as being, I think without doubt, the work of Cibber himself, although not acknowledged by him.

    Many of the works which I quote in my notes have gone through only one edition, and my quotations from these are easily traced; but, for the convenience of those who may wish to follow up any of my references to books which have been more than once issued, I may mention that in the case of Davies's "Dramatic Miscellanies" I have referred throughout to the edition of I785; that Dr. Birkbeck Hill's magnificent edition of Boswell's "Life of Johnson" is that which I have quoted; and that the references to Nichols's reprint of Steele's " Theatre," the 'Anti-Theatre," &c., are to the scarce and valuable


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edition in 2 vols. 12mo, 1791. My quotations from the "Tatler" have been made from a set of the original folio numbers, which I am fortunate enough to possess; and I have made my extracts from the "Roscius Anglicanus" from Mr. Joseph Knight's beautiful facsimile edition. The index, which will be found at the end of the second volume, has been the object of my special attention, and I have spared no pains to make it clear and exhaustive.


ROBERT W. LOWE.
LONDON, September, 1888.


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PUBLISHER'S PREFACE.

    THE twenty-six portraits and eighteen chapter headings in this new edition of Colley Cibber's "Apology " are all newly engraved. The portraits are copperplate mezzotints, engraved by R. B. Parkes from the best and most authentic originals, in the selection of which great care has been taken. Where more than one portrait exists, the least hackneyed likeness has been chosen, and pains have been taken to secure those pictures which are likely to be esteemed as rarities. The chapter headings are etched by Adolphe Lalauze, and the subjects represent scenes from plays illustrating the costumes, manner, and appearance of the actors of Cibber's period, from contemporary authorities.


LONDON, October, 1888.


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CONTENTS.

HISTORIA HISTRIONICA: AN HISTORICAL ACCOUNT OF THE ENGLISH STAGE . . .xix

LETTERS PATENT FOR ERECTING A NEW THEATRE . . .liii

TITLE AND DEDICATION TO THE LIFE OF MR. COLLEY CIBBER . . .lxiii

CHAPTER I.
THE INTRODUCTION. THE AUTHOR'S BIRTH, ETC. . . 1

CHAPTER II.
HE THAT WRITES OF HIMSELF NOT EASILY TIR'D, ETC. . .28

CHAPTER III.
THE AUTHOR'S SEVERAL CHANCES FOR THE CHURCH, THE COURT, AND THE ARMY, ETC. . .55

CHAPTER IV.
A SHORT VIEW OF THE STAGE, FROM THE YEAR 1660 TO THE REVOLUTION, ETC. . .86

CHAPTER V.
THE THEATRICAL CHARACTERS OF THE PRINCIPAL ACTORS IN THE YEAR 1690, CONTINU'D, ETC. . .119




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CHAPTER VI.
THE AUTHOR'S FIRST STEP UPON THE STAGE. HIS DISCOURAGEMENTS, ETC. . .180

CHAPTER VII.
THE STATE OF THE STAGE CONTINUED, ETC. . .227

CHAPTER VIII.
THE PATENTEE OF DRURY-LANE WISER THAN HIS ACTORS, ETC. . .262

CHAPTER IX.
A SMALL APOLOGY FOR WRITING ON, ETC. . .299


LIST OF MEZZOTINT PORTRAITS.
NEWLY ENGRAVED BY R. B. PARKES.
VOLUME THE FIRST.

I. COLLEY CIBBER. After the painting by John Baptist Vanloo, 1740 . . . Frontispiece

II. CAIUS GABRIEL CIBBER, the sculptor, father of Colley Cibber. After the picture by Laroon and Christian Richter. (Collection of the Earl of Orford, Strawberry Hill) . . .18

III. THOMAS BETTERTON. After the painting by Sir Godfrey Kneller . . .88

IV. BENJAMIN JOHNSON, in the character of Ananias, in Ben Jonson's "Alchemist," act iii. After the picture by Peter Van Bleeck, 1738 . . . 104

V. EDWARD KYNASTON, comedian. After R. Cooper . . . 122

VI. ANTHONY LEIGH, in the character of the Friar, in Dryden's tragi comedy of " The Spanish Friar." After the painting by Sir Godfrey Kneller . . .146

VII. ELIZABETH BARRY. After the painting by Sir Godfrey Kneller, 1689. (Collection of the Earl of Orford, Strawberry Hill) . . .160

VIII. MRS. BRACEGIRDLE as "The Indian Queen," in the play by Sir R. Howard and J. Dryden. After the picture by J. Smith and W. Vincent . . .188

IX. WILLTAM BULLOCK. After the picture by Thomas Johnson. Ad vivum pinxit et fecit . . .204

X. WILLIAM PENKETHMAN. After the painting by R. Schmutz . . .238

XI. WILLIAM CONGREVE. After the painting by Sir Godfrey Kneller, 1709, "Kit-Cat Club" . . .272

XII. CHARLOTTE CHARKE. After a study by Henry Gravelot . . .288

XIII. SIR JOHN VANBRUGH After the painting by Sir Godfrey Kneller, "Kit-Cat Club" . . .306


LIST OF CHAPTER HEADINGS.
NEWLY ETCHED FROM CONTEMPORARY DRAWINGS BY ADOLPHE LALAUZE.
VOLUME THE FIRST.

I. CAIUS GABRIEL CIBBER'S FIGURES OF RAVING AND MELANCHOLY MADNESS. From Bedlam Hospital.
Note: Colley Cibber's "brazen brainless brothers." According to Horace Walpole," one of the Statues was the portrait of Oliver Cromwell's porter, then in Bedlam."

II. SCENE ILLUSTRATING CROWNE'S "SIR COURTLY NICE." After the contemporary design by Arnold Vanhaecken.

III. SCENE ILLUSTRATING ETHEREDGE'S "MAN OF MODE; OR, SIR FOPLING FLUTTER." After the design by Lud. du Guernier.

IV. SCENE ILLUSTRATING CONGREVE'S "DOUBLE DEALER." After F. Hayman.

V. GRIFFIN AND JOHNSON IN THE CHARACTERS OF TRIBULATION AND ANANIAS, Ben Jonson's " Alchemist'" act iii. scene 2. Tribulation. "I do command thee (Spirit of Zeal, but Trouble) to peace witl in him." After the original by Peter Van Bleeck, 1738.

VI. SCENE ILLUSTRATING OTWAY'S "ORPHAN." After the contemporary etching by G. Vander Gucht.

VII. MRS. PORTER, MILLS, AND CIBBER. After a contemporary engraving by J. Basire.

VIII. SCENE ILLUSTRATING STEELE'S "FUNERAL, OR GRIEF A LA MODE." After the contemporary design by G. Vander Gucht.

IX. MR. ESTCOURT AS "KITE" IN FARQUHAR'S " RECRUITING OFFICER." After the contemporary design by E. Knight and G. Vander Gucht.




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THE PREFACE.

    Much has been Writ of late pro and con, about the Stage, yet the Subject admits of more, and that which has not been hetherto toucht upon; not only what that is, but what it was, about which some People have made such a Busle. What it is we see, and I think it has been sufficiently display'd in Mr. Collier's Book; What it was in former Ages, and how used in this Kingdom, so far back as one may collect any Memorialls. 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 alter'd. 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 Elizabeths 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 Mutability as in that of cloaths. Religion and Religious matters was once as much the Mode in publick Entertainments, as the Contrary has been in


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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 mention'd not worth remembering, But besides that I could name some things contested of late with great heat, of as little, or less Consequence, the Reader may know that the Profession of Players is not so totally scandalous, nor all of them so reprobate, but that there has been found under that Name, a Canonized 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, finisht 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 major part of them fall under a different Character, it is the general unhappiness of Mankind, that the Most are the Worst.




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A
DIALOGUE
OF
PLAYS and PLAYERS.

    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 then 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 least 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


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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, Lacy, Clun, and Shatterel; for I can reach no 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 mention'd, were Bred up under the others of your Acquaintance, and follow'd their manner of Action, which is now lost. So far, that when the Question has been askt, Why these Players do not revive the Silent Woman, and some other of Johnson's Plays, (once of highest esteem) they have answer'd, truly, Because there are none now Living who can rightly Humour those Parts; for all who related to the Black-friers, (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 Black-friers, and acted Womens Parts, Hart was Robinson's Boy or Apprentice: He acted the Dutchess in the Tragedy of the Cardinal, which was the first Part that gave him Reputation. Cartwright, and Wintershal belong'd to the private


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House in Salisbury-court, Burt was a Boy first under Shank at the Black-friers, then 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 Women's Parts, in particular Clariana in Love's Cruelty; and at the same time Mohun acted Bellamente, which Part he retain'd 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 Custome 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 Dutchess of Malfy; the Picture; the Roman Actor; the deserving Favourite; the Wild Goose Chace, (at the Black-friers) 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 Black-friers Men to Act, in Johnson, Shakespear, and Fletcher's Plays.
TRUM.

What I can at present recollect I'll tell you; Shakespear, (who as I have heard, was a much


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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, Falstaffe, Morose, Volpone, and Mammon in the Alchymist; Melancius, in the Maid's Tragedy, and at the same time Amyntor was Play'd by Stephen Hammerton, (who was at first a most noted and beautiful Woman Actor, but afterwards he acted with equal Grace and Applause, a Young Lover's Part) ; Tayler Acted Hamlet incomparably well, Jago, Truewit in the Silent Woman, and Face in the Alchymist; Swanston used to Play Othello; Pollard, and Robinson were Comedians, so was Shank who us'd to Act Sir Roger, in the Scornful Lady. These were of the Blackfriers. 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 Play-houses at the same time. The Black-friers, 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 Red Bull at the upper end of St.John's-street:


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The two last were mostly frequented by Citizens, and the meaner sort of People. All these Companies got Money, and Liv'd in Reputation, especially those of the Black-friers, who were Men of grave and sober Behaviour.
LOVEW.

Which I admire at; That the Town much less than at present, could then maintain Five Companies, and yet now Two can hardly subsist.
TRUM.

Do not wonder, but consider, That tho' the Town was then, perhaps, not much more than half so Populous as now, yet then the Prices were small (there being no Scenes) and better order kept among the Company that came; which made very good People think a Play an Innocent Diversion for an idle Hour or two, the Plays themselves being then, for the most part, more Instructive and Moral. Whereas of late, the Play-houses are so extreamly pestered with Vizard-masks and their Trade, (occasioning continual Quarrels and Abuses) that many of the more Civilized Part of the Town are uneasy in the Company, and shun the Theater 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 inferr'd, that they were much beyond ours in this, to consider that they cou'd support themselves meerly from their own Merit; the weight of the Matter, and goodness of the Action, without Scenes and Machines: Whereas the present Plays with all that shew, can hardly draw an Audience, unless there be the additional Invitation of a Signior Fideli, a Monsieur


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L'abbe, or some such Foreign Regale exprest 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 find one directed to him, full of Encomium, and concluding thus
Wear this Renown, 'tis just that who did give
So many Poets Life, by one should Live.
Was he one of the Black-friers?
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 endow'd Dulwich College, in the Year 1619, for a Master, a Warden, Four Fellows, Twelve aged poor People, and Twelve poor Boys, &c. A noble Charity.
LOVEW.

What kind of Play houses had they before the Wars?
TRUM.

The Black-friers, 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.

Then you have seen the other two, in effect; for they were all three Built almost exactly


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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 Weather, and there they alwaies Acted by Daylight.
LOVEW.

But, prithee, Truman, what became of these Players when the Stage was put down, and the Rebellion rais'd ?
TRUM.

Most of 'em, except Lowin, Tayler and Pollard (who were superannuated) went into the King's Army, and like good Men and true, Serv'd their Old Master, tho' in a different, yet more honourable, Capacity. Robinson was Kill'd at the Taking of a Place, (I think Basing House) by Harrison, he that was after Hang'd at Charing-cross, who refused him Quarter, and Shot him in the Head when he had laid down his Arms; abusing Scripture at the same time, in saying, Cursed is he that doth the Work of the Lord negligently. Mohun was a Captain, (and after the Wars were ended here, served in Flanders, where he received Pay as a Major) Hart was a Lieutenant of Horse under Sir Thomas Dallison, in Prince Rupert's Regiment, Burt was Cornet in the same Troop, and Shatterel Quarter-master. Allen of the Cockpit, was a Major, 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 profest himself a Presbyterian, took up the Trade of a Jeweller, and liv'd in Aldermanbury, within the Territory of Father Calamy. The


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rest either Lost, or expos'd their Lives for their King. When the Wars were over, and the Royalists totally Subdued, most of 'em who were left alive gather'd to London, and for a Subsistence endeavour'd to revive their Old Trade, privately. They made up one Company out of all the Scatter'd 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 cou'd be, at the Cockpit. They continu'd undisturbed for three or four Days; but at last as they were presenting the Tragedy of the Bloudy Brother (in which Lowin Acted Aubrey, Tayler Rollo, Pollard the Cook, Burt Latorch, and I think Hart Otto) a Party of Foot Souldiers beset the House, surpriz'd'em about the midle of the Play, and carried 'em away in their habits, not admitting them to shift, to Hatton-house, then a Prison, where having detain'd them some time, they Plunderd them of their Cloths and let 'em loose 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 Noblemens 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 Black-friers (who had made himself known to Persons of Quality) used to be the jackal, and give notice of Time and Place. At Christmass, and Bartlemew-fair, they used to Bribe the Officer


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who Commanded the Guard at Whitehall, and were thereupon connived at to Act for a few Days, at the Red Bull; but were sometimes notwithstanding Disturb'd by Soldiers. Some pickt up a little Money by publishing the Copies of Plays never before Printed, but kept up in Manuscript. For instance, in the Year 1652, Beaumont 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 Tayler, Servants to his late Majesty; and by them Dedicated To the Honour'd few Lovers of Dramatick 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 Pidgions) at Brentford, where he dyed 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. Tayler 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 Dyed some Years before the Restauration. What follow'd after, I need not tell you : You can easily Remember.
LOVEW.

Yes, presently after the Restauration, the King's Players Acted publickly at the Red Bull for some time, and then Removed to a New-built Playhouse


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in Vere-street, by Claremarket. There they continued for a Year or two, and then removed to the Theater Royal in Drury-lane, where they first made use of Scenes, which had been a little before introduced upon the publick Stage by Sir William Davenant at the Duke's Old Theater in Lincolns-Inn-fields, but afterwards very much improved, with the Addition of curious Machines, by Mr. Betterton at the New Theater in Dorset-Garden, to the great Expence and continual Charge of the Players. This much impair'd their Profit o'er what it was before; for I have been inform'd, (by one of 'em) That for several Years next after the Restauration, every whole Sharer in Mr. Hart's Company, got 1000l. per an. About the same time that Scenes first enter'd upon the Stage at London, Women were taught to Act their 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 off ; then the two Companies thought fit to Unite; but of late, you see, they have thought it no less fit to Divide again, though both Companies keep the same Name of his Majesty's Servants. All this while the Play-house Musick improved Yearly, and is now arrived to greater Perfection than ever I knew it. Yet for all these Advantages, the Reputation


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of the Stage, and Peoples Affection to it, are much Decay'd. 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 Reformed, and not the use, for that Reason only, Abolish'd. 'Twas an Old saying when I was a Boy,
Absit Abusus, non desit totaliter Usus.
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. No wonder


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then, they forbid Christians to be present at them, for it was almost the same as to be present at their Sacrifices. We must also observe that this was in the Infancy of Christianity, when the Church was under severe, and almost continual Persecutions, and when all its true Members were of most strict and exemplary Lives, not knowing when they should be call'd to the Stake, or thrown to Wild-Beasts. They communicated Daily, and expected Death hourly ; their thoughts were intent upon the next World, they abstain'd almost wholly from all Diversions and pleasures (though lawfull and Innocent) in this. Afterwards when Persecution ceased, and the church flourisht, Christians being then freed from their former Terrors, allow'd themselves, at proper times, the lawfull Recreations of Conversation, and among other (no doubt) this of Shewes and Representations. After this time, the Censures of the Church indeed, might be continued, or revived, upon occasion, against Plays and Players; tho' (in my Opinion) it cannot be understood generally, but only against such Players who were of Vicious and Licencious Lives, and represented profane Subjects, inconsistant with the Morals and probity of Manners requisite to Christians; and frequented chiefly by such loose and Debaucht People, as were much more apt to Corrupt than Divert those who associated with them. I say, I cannot think the Canons and Censures of the Fathers can be applyed to all Players, quatenus Players; for if so how could Plays be continued among the Christians,


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as they were, of Divine Subjects, and Scriptural Stories? A late French Author, speaking of the Original of the Hotel de Bourgogne (a Play-house 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 Shews in this Place 600 Years ago. The Spanish and Portuguize continue still to have, for the most part, such Ecclesiastical Stories, for the Subject of their Plays : And, if we may believe Gage, they are Acted in their Churches in Mexico, and the Spanish West-Indies.
LOVEW.

That's a great way off, Truman; I had rather you would come nearer Home, and confine your discourse to Old England.
TRUM.

So I intend. 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, has 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 play'd by the Parish-Clerks of London, at the Skinner's-well beside


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Smithfield, which Play continued three Days together, the King, Queen, and Nobles of the Realm being present. And another was play'd 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 play'd therein upon Corpus-Christi Day; which Pageants being acted with mighty State and Reverence by the Friers of this House, had Theatres for the several Scenes very large and high, plac'd upon Wheels, and drawn to all the eminent Parts of the City, for the better advantage of the Spectators; and contain'd the Story of the New Testament, composed in old English Rhime. 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 Quiristers and Singing Boys; and several of our old Comedies have printed in the Title Page, Acted by the Children of Paul's, (not the School, but the Church) others, By the Children of Her Majesty's Chappel; in particular, Cinthias Revels, and the Poetaster were play'd by them; who were at that time famous for good Action. Among Ben. Johnson's Epigrams you may find An Epitaph on S.P


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(Sal Pavy) one of the Children of Queen Elizabeth's Chappel part of which runs thus,
Years he counted scarce Thirteen
When Fates turn'd Cruel,
Yet three fill'd Zodiacks he had been
The Stages Jewell;
And did act (what now we moan)
Old Men so duly,
As, sooth, the Parcae thought him one,
He play'd so truly.

Some of these Chappel Boys, when they grew Men, became Actors at the Black-friers; 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 filace 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 guess 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,


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qua, sancti Confessores operati sunt, seu Representationes passionum quibus claruit constantia Martyrum. Of this, the Manuscript which I lately mention'd, in the Cottonian Library, is a notable instance. Sir William Dugdale cites this Manuscript, by the Title of Ludus Coventriae,; but in the printed Catalogue of that Library, P. I 13, 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 fratribus mendicantibus repraesentata. It appears by the latter end of the Prologue, that these Plays or Interludes, were not only play'd at Coventry, but in other Towns and Places upon occasion. And possibly this may be the same Play which Stow tells us was play'd in the reign of King Henry IV., which lasted for Eight Days. TheBookseems by the Character and Language to be at least 300 Yearsold. It begins 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 exprest, viz. The Annunciation, Nativity, Visitation ; but more especially all Matters relating to the Passion very particularly, the Resurrection.


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Ascention, the choice of St. Mathias: After which is also represented the Assumption, and last judgment. 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 judgment 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 thyng pray you most mekely,
I haue knowing that our Cosyn Elizabeth with childe is,
That it please yow to go to her hastyly,
If ought we myth comfort her it wer to me blys.
Joseph. A Gods sake, is she with child, sche?
Than will her husband Zachary be mery.
In Montana they dwelle, fer hence, so moty the,
In the city of Juda, I know it verily;
It is hence I trowe myles two a fifty,
We ar like to be wery or we come at the same.
I wole with a good will, blessyd wyff Mary;
Now go we forth then in goddys name, &c.

A little before the Resurrection:-
Nunc dormient milites, & veniet anima Christi de inferno, cum Adam & Eva, Abraham, John Baptist, & aliis.
Anima Christi. Come forth Adam, and Eve with the,
And all my fryndes that herein be,
In Paradys come forth with me
In blysse for to dwelle.
The fende of hell that is yowr foo
He shall be wrappyd and woundyn in woo:
Fro wo to welth now shall ye go,
With myrth cuer mor to melle.



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Adam.I thank the Lord of thy grete grace
That now is forgiuen my gret trespace,
Now shall we dwellyn in blyssful pace, &c.

    The last Scene or Pageant, which represents the Day of judgment, begins thus:

Michael. Surgite, All men aryse,
Venite adjudicium,
For now is set the High justice,
And hath assignyd the day of Dome
Kepe you redyly to this grett assyse,
Both gret and small, all and sum,
And of yowr answer you now advise,
What you shall say when that yow com, &c.

    These and such like, were the Plays which in former Ages were presented publickly: 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 be sure 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, call'd 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


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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.Moder of mekenes, Dame Margarete, princes most excellent,
I King Edward wellcome you with affection cordial,
Certefying to your highnes mekely myn entent,
For the wele of the King and you hertily pray I shall,
And for prince Edward my gostly chylde, who I love principal.
Praying the, John Evangelist, my help therein to be,
On that condition right humbly I giue this Ring to the.
John Evangelist.Holy Edward crowned King, Brother in Verginity,
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 vertuous that God is pleased thereby.
The birth of you unto this Reme shall cause great Melody:
The vertuous voice of Prince Edward shall dayly well encrease,
St. Edward his Godfader and I shall pray therefore doubtlese.
St. Margaret.Most notabul princes of wymen earthle,
Dame Margarete, the chefe myrth of this Empyre,
Ye be hertely welcome to this Cyte.
To the plesure of your highnesse I wyll set my desyre;
Both nature and gentlenesse doth me require,
Seth we be both of one name, to shew you kindnesse;
Wherefore by my power ye shall have no distresse.

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 doubtlesse,
For I wrought all my life that his will wace.
Therefore, Lady, when you be in any dredfull case,
Call on me boldly, thereof I pray you,
And trust in me feythfully, I will do that may pay you.

    In the next Reign (as appears in the same Book,


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fo. 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 entertain'd with many Pageants and Speeches, among which I shall observe only two: one was of St. Edward again, who was then made to speak thus,

Noble Prince Edward, my Cousin and my Knight,
And very Prince of our Line com yn dissent,
I 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 honde.

   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 kings daughter kneling afore him with a Lamb, and the fader and the moder being in a Towre aboven beholding St. George saving their daughter from the Dragon, and the Condite renning wine in four places, and Minstralcy of Organ playing, and St. George hauing this Speech under-written.
0 mighty God our all succour celestiall,
Which this Royme hast given in dower
To thi moder, and to me George protection perpetuall
It to defend from enimys fer and nere,
And as this mayden defended was here
By thy grace from this Dragons devour,
So, Lord preserve this noble prince, and ever be his socour.

LOVEW.

I perceive these holy Matters consisted very much of Praying; but I pitty poor St. Edward the Confessor, who in the compass of a few Years, was made to promise his favour and assistance to


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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 Shews and seeming caresses of Fortune, being both murder'd, one by the Hand, the other by the procurement of Rich. Duke of Glocester. 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, &c. among others one is thus described.
When this Spech was ended, she held on her way tyll she cam unto the Standard in Chepe, where was ordeyned the fifth Pagend made like an hevyn, theryn syttyng a Personage representing the fader of hevyn, beyng all formyd of Gold, and brennying beffor his trone vii Candyilis of wax standyng in vii Candylstykis of Gold, the said personage beyng environed wyth sundry Hyrarchies off Angelis, and sytting in a Cope of most rich cloth of Tyssu, garnishyd wyth stoon and perle in most sumptuous wyse. Foragain which said Pagend upon the sowth syde of the strete stood at that tyme, in a hows wheryn that tyme dwellyd William Geffrey habyrdasher, the king, the Quene, my Lady the Kingys moder, my Lord of Oxynfford, with many othir Lordys and Ladys, and Perys of this Realm, wyth also certayn Ambassadors of France lately sent from the French King; and so


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passyng the said Estatys, eyther guyvyng to other due and con-venyent Saluts and Countenancs, so sone as hyr grace was approachid unto the sayd Pagend, the fadyr began his Spech as folowyth:
Hunc veneram locum, septeno lumine septum.
Dignumque Arthuri totidem astra micant.
I am begynyng and ende, that made ech creature
My sylfe, and for my sylfe, but man esspecially
Both male and female, made aftyr myne aun fygure,
Whom I joyned togydyr in Matrimony
And that in Paradyse, declaring opynly
That men shall weddyng in my Chyrch solempnize,
Fygurid and signifyed by the erthly Paradyze.

In thys my Chyrch I am allway recydent
As my chyeff tabernacle, and most chosyn place,
Among these goldyn candylstikkis, which represent
My Catholyk, Chyrch, shynyng affor my face,
With lyght of feyth, wisdom, doctryne, and grace,
And mervelously eke enflamyd toward me
Wyth the extyngwible fyre of Charyte.

Wherefore, my welbelovid dowgthyr Katharyn,
Syth I have made yow to myne awn semblance
In my Chyrth to be maried, and your noble Childryn
To regn in this land as in their enherytance,
Se that ye have me in speciall remembrance:
Love me and my Chyrch yowr spiritual modyr,
For ye dispysing that oon, dyspyse that othyr.

Look that ye walk in my precepts, and obey them well:
And here I give you the same blyssyng that I
Gave my well beloved chylder of Israell;
Blyssyd be the fruyt of your bely;
Yower substance and frutys I shall encrease and multyply;
Yower rebellious Enimyes I shall put in yowr hand,
Encreasing in honour both yow and yowr land.

LOVEW.

This would be censured now a days as profane to the highest degree.


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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 sence: and then 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 Proceedings was Bishop Fox, a grave Councelor for War or Peace, and also a good Surveyor of Works, and a good Master of Cerimonies, and it seems he approv'd 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 alter, 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 Friers and Pardoners. Of which I'll give you a taste. To begin it, the Fryer enters with these Words,
Deus hic ; the holy Trynyte
Preserue all that now here be.



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Dere bretherne, yf ye will consyder
The Cause why I am corn hyder,
Ye wolde be glad to knowe my entent;
For I com not hyther for mony nor for rent,
I com not hyther for meat nor for meale,
But I corn hyther for your Soules heale, &c.
After a long Preamble, he addresses himself to Preach, when the Pardoner enters with these Words,
God and St. Leonarde send ye all his grace
As many as ben assembled in this place, &c.
And makes a long Speech, shewing his Bulls and his Reliques, in order to sell his Pardons for the raising some Money towards the rebuilding,
Of the holy Chappell of sweet saynt Leonarde,
Which late by fyre was destroyed and marde.
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 euer ye came hyther to make this ado, To polute my Chyrche, &c.
Fri. Mayster Parson, I marvayll ye will give Lycence
To this false knaue in this Audience
To publish his ragman rolles with lyes.
I desyred hym ywys more than ones or twyse
To hold his peas tyll that I had done,
But he would here no more than the man in the mone.
Pard. Why sholde I suffre the, more than thou me
Mayster parson gaue me lycence before the.
And I wolde thou knowest it I have relykes here,
Other maner stuffe than thou dost bere :


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I wyll edefy more with the syght of it,
Than will all thy pratynge of holy wryt;
For that except that the precher himselfe lyve well,
His predyeacyon wyll helpe never a dell, &c.
Pars. No more of this wranglyng in my Chyrch
I shrewe your hertys bothe for this lurche.
Is there any blood shed here between these knaues?
Thanked be god they had no stauys,
Nor egotoles, for then it had ben wronge.
Well, ye shall synge another songe.
Here he calls his Neighbour Prat the Constable, with design to apprehend 'em, and set 'em in the Stocks. But the Frier and Pardoner prove sturdy, and will not be stockt, 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 Battail. Such as this were the Plays of that Age, acted in Gentlemens 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* Lords in those days, and Persons of eminent Quality, had their several Gangs of Players, as some have now of Fidlers, 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


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observed. It was acted at Christ Colledge in Cambridge; there not being as yet any settled and publick Theaters.
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 Buck (in his Third University of England) Dramatick Poesy is so lively exprest and represented upon the publick Stages and Theatres of this City, as Rome in the Auge (the highest pitch) of her Pomp and Glory, never saw it better perform'd, 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 publick Theaters were first erected for this purpose in London?
TRUM.

Not certainly; but I presume about the beginning of Queen Elizabeths Reign. For Stow in his Survey of London (which Book was first printed in the Year 1598) says, Of late Years, in place of these Stage-plays (i. e. those of Religious Matters) have been used Comedies, Tragedies, Interludes, and Histories, both true and feigned; for the acting whereof certain publick Places, as the Theatre, the Curtine, &c. have been erected. And the continuator of Stows Annals, p. 1004, says, That in Sixty Years


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before the publication of that Book, (which was An. Dom. 1629) no less than 17 publick 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 Play-houses, one Cock-pit, St. Paul's singing School, one in the Blackfriers, one in the Whitefriers, and one in former time at Newington Buts; and adds, before the space of 6o years past, I never knew, heard, or read, of any such Theaters, set Stages, or Playhouses, as have been purposely built within Man's Memory.
LOVEW.

After all, I have been told, that Stage-Plays are inconsistant with the Laws of this Kingdom, and Players made Rogues by Statute.
TRUM.

He that told you so strain'd a point of Truth. I never met with any Law wholly to suppress them: Sometimes indeed they have been prohibited for a Season; as in times of Lent, general Mourning or publick Calamities, or upon other occasions, when the Government saw fit. Thus by Proclamation, 7 of April, in the first Year of Queen Elizabeth, Plays and Interludes were forbid till All hallow-tide 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 Gaols,


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Prisons or Hospitals, or Fencers, Barewards, common players of Interludes and Ministrels, wandering abroad, (other than Players of Interludes belonging to any Baron of this Realm, or any other honourable Personage of greater Degree, to be authoriz'd to play under the Hand and Seal of Arms of such Baron or Personage) All Juglers, Tinkers, Pedlers, and Petty chapmen, wandering abroad, all wandring Persons, &c. able in Body, using loytering, and refusing to work for such reasonable Wages as is commonly given, &c. These shall be ajudged and deemed Rogues, Vagabonds and sturdy Beggars, and punished as such.

LOVEW.

But this priviledge of Authorizing or Licensing, is taken away by the Stat. 1 Ja. 1. ch. 7, S. 1, and therefore all of them (as Mr. Collier says, p. 242) are expresly brought under the foresaid Penalty, without distinction.
TRUM.

If he means all Players, without distinction, 'tis a great Mistake. For the force of the Queens Statute extends only to wandring Players, and not to such as are the King or Queen's Servants, and establisht in settled Houses by Royal Authority. On such, the ill Character of vagrant Players (or as they are now called, Strolers) can cast no more aspersion, than the wandring 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, Enterlude, Shew, Maygame, or Pageant, jestingly or prophanely speak or use the holy name of God, Christ Jesus, the holy Ghost, or of the Trinity, he shall forfeit for every such offence, 10l.
The Stat. 1 Char. 1. ch. 1, enacts,
That no Meetings, Assemblies, or concourse of People shall be


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out of their own Parishes, on the Lords day, for any Sports or Pastimes whatsoever, nor any Bear-bating, Bull-bating, Enterludes, 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 II of Feb. 1647. By which all Stage-Plays and Interludes are absolutely forbid; the Stages, Seats, Galleries, &c. to be pulled down; all Players tho' calling themselves the King or Queens Servants, if convicted of acting within two Months before such Conviction, to be punished as Rogues according to Law; the Money received by them to go to the Poor of the Parish; and every Spectator to Pay Ss. to the use of the Poor. Also Cock-fighting 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 off here, and leave you, Lovewit; my Occasions require it.
LOVE.

Farewel, Old Cavalier.
TRUM.

'Tis properly said; we are almost all of us, now, gone and forgotten.

* 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 belinged to several Lords, were chosen & sworn her Servants, as Grooms of the Chamber. Stow's Annals, p. 698.


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15 January, 14 Car. II. 1662.
A Copy of the LETTERS PATENTS then granted by King Charles II. under the Great Seal of England, to SIR WILLIAM D'AVENANT, KNT. his Heirs and Assigns, for erecting a new Theatre, and establishing of a company of actors in any place within London or Westminster, or the Suburbs of the same: And that no other but this company, and one other company, by virtue of a like Patent, to THOMAS KILLIGREW, ESQ.; should be permitted within the said liberties.

    CHARLES the second, by the Grace of God, king of England, Scotland, France, and Ireland, defender of the faith, &c. to all to whom all these presents shall come, greeting.

    Whereas our royal father of glorious memory, by his letters patents under his great seal of England bearing date at Westminster the 26th day of March, in the 14th year of his reign, did give and grant unto Sir William D'avenant (by the name of William D'avenant, gent.)1 his heirs, executors, administrators,


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and assigns, full power, licence, and authority, That he, they, and every of them, by him and themselves, and by all and every such person and persons as he or they should depute or appoint, and his and their laborers, servants, and workmen, should and might, lawfully, quietly, and peaceably, frame, erect, new build, and set up, upon a parcel of ground, lying near unto or behind the Three Kings ordinary in Fleet-street, in the parishes of St. Dunstan's in the West, London; or in St. Bride's, London; or in either of them, or in any other ground in or about that place, or in the whole street aforesaid, then allotted to him for that use; or in any other place that was, or then after should be assigned or allotted out to the said Sir William D'avenant by Thomas Earl of Arundel and Surry, then Earl Marshal of England, or any other commissioner for building, for the time being in that behalf, a theatre or play house, with necessary tiring and retiring rooms, and other places convenient, containing in the whole forty yards square at the most, wherein plays, musical entertainments, scenes, or other the like presentments might be presented. And our said royal father did grant unto the said Sir William D'avenant, his heirs, executors, and administrators and assignee, that it should and might be lawful to and for him the said Sir William D'avenant, his heirs, executors, administrators, and assignee, from time to time, to gather together, entertain, govern, privilege, and keep, such and so many players and


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persons to exercise actions, musical presentments, scenes, dancing, and the like, as he the said Sir William D'avenant, his heirs, executors, administrators, or assignee, should think fit and approve for the said house. And such persons to permit and continue, at and during the pleasure of the said Sir William D'avenant, his heirs, executors, administrators, or assignee, from time to time, to act plays in such house so to be by him or them erected, and exercise musick, musical presentments, scenes, dancing, or other the like, at the same or other houses or times, or after plays are ended, peaceably and quietly, without the impeachment or impediment of any person or persons whatsoever, for the honest recreation of such as should desire to see the same; and that it should and might be lawful to and for the said Sir William D'avenant, his heirs, executors, administrators, and assigns, to take and receive of such as should resort to see or hear any such plays, scenes, and entertainments whatsoever, such sum or sums of money as was or then after, from time to time, should be accustomed to be given or taken in other play-houses and places for the like plays, scenes, presentments, and entertainments as in and by the said letters patents, relation being "hereunto had, more at large may appear.

    And whereas we did, by our letters patents under the great seal of England, bearing date the 16th day of May, in the 13th year of our reign,2 exemplifie


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the said recited letters patents granted by our royal father, as in and by the same, relation being thereunto had, at large may appear.

    And whereas the said Sir William D'avenant hath surrendered our letters patents of exemplification, and also the said recited letters patents granted by our royal father, into our Court of Chancery, to be cancelled; which surrender we have accepted, and do accept by these presents.3

    Know ye that we of our especial grace, certain knowledge, and meer motion, and upon the humble petition of the said Sir William D'avenant, and in consideration of the good and faithful service which he the said Sir William D'avenant hath done unto us, and doth intend to do for the future; and in consideration of the said surrender, have given and granted, and by these presents, for us, our heirs and successors, do give and grant,4 unto the said Sir William D'avenant, his heirs, executors, administrators, and assigns, full power, licence, and authority, that he, they, and every one of them, by him and themselves, and by all and every such person and persons as he or they should depute or appoint, and his or their labourers, servants, and workmen, shall and may lawfully, peaceably, and quietly, frame, erect, new build, and set up, in any place within our cities of London and Westminster, or the suburbs thereof,


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where he or they shall find best accommodation for that purpose5; to be assigned and allotted out by the surveyor of our works; one theatre or play-house, with necessary tiring and retiring rooms, and other places convenient, of such extent and dimension as the said Sir William D'avenant, his heirs or assigns shall think fitting: wherein tragedies, comedies, plays, operas, musick, scenes, and all other entertainments of the stage whatsoever, may be shewed and presented.

    And we do hereby, for us, our heirs and successors, grant unto the said Sir William D'avenant, his heirs and assigns, full power, licence, and authority, from time to time, to gather together, entertain, govern, priviledge and keep, such and so many players and persons to exercise and act tragedies, comedies, plays, operas, and other performances of the stage, within the house to be built as aforesaid. or within the house in Lincoln's-Inn-Fields, wherein the said Sir William D'avenant doth now exercise the premises6; or within any other house, where he or they can best be fitted for that purpose, within our cities of London and Westminster, or the suburbs thereof; which said company shall be the servants of our dearly beloved brother, James Duke of York, and shall consist of such number as the said Sir William D'avenant, his heirs or assigns, shall from time to time think meet. And such persons to permit and continue at and during the


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pleasure of the said Sir William D'avenant, his heirs or assigns, from time to time, to act plays and entertainments of the stage, of all sorts, peaceably and quietly, without the impeachment or impediment of any person or persons whatsoever, for the honest recreation of such as shall desire to see the same.

    And that it shall and may be lawful to and for the said Sir William D'avenant, his heirs and assigns, to take and receive of such our subjects as shall resort to see or hear any such plays, scenes and entertainments whatsoever, such sum or sums of money, as either have accustomably been given and taken in the like kind, or as shall be thought reasonable by him or them, in regard of the great expences of scenes, musick, and such new decorations, as have not been formerly used.

    And further, for us, our heirs, and successors, we do hereby give and grant unto the said Sir William D'avenant, his heirs and assigns, full power to make such allowances out of that which he shall so receive, by the acting of plays and entertainments of the stage, as aforesaid, to the actors and other persons imployed in acting, representing, or in any quality whatsoever, about the said theatre, as he or they shall think fit; and that the said company shall be under the sole government and authority of the said Sir William D'avenant, his heirs and assigns. And all scandalous and mutinous persons shall from time to time be by him and them ejected and disabled from playing in the said theatre.


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And for that we are informed that divers companies of players have taken upon them to act plays publicly in our said cities of London and Westminster, or the suburbs thereof, without any authoity for that purpose; we do hereby declare our dislike of the same, and will and grant that only the said company erected and set up, or to be erected and set up by the said Sir William D'avenant, his heirs and assigns, by virtue of these presents, and one other company erected and set up, or to be erected and set up by Thomas Killigrew, Esq., his heirs or assigns, and none other, shall from henceforth act or represent comedies, agedies, plays, or entertainments of the stage, vithin our said cities of London and Westminster, or the suburbs thereof7; which said company to be erected by the said Thomas Killigrew, his heirs or assigns, shall be subject to his and their government and authority, and shall be stiled the Company of Us and our Royal Consort.

    And the better to preserve amity and correspondence betwixt the said companies, and that the one may not incroach unon the other by any indirect means, we will and ordain, That no actor or other person employed about either of the said theatres, erected by the said Sir William D'avenant and Thomas Killigrew, or either of them, or deserting his company, shall be received by the governor or any of the said


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other company, or any other person or persons, to be employed in acting, or in any matter relating to the stage, without the consent and approbation of the governor of the company, whereof the said person so ejected or deserting was a member, signified under his hand and seal8. And we do by these presents declare all other company and companies, saving the two companies before mentioned, to be silenced and suppressed.

    And forasmuch as many plays, formerly acted, do contain several prophane, obscene, and scurrilous passages; and the womens parts therein have been acted by men in the habits of women, at which some have taken offence: for the preventing of these abuses for the future, we do hereby straitly charge and command and enjoyn, that from henceforth no new play shall be acted by either of the said companies, containing any passages offensive to piety and good manners, nor any old or revived play, containing any such offensive passages as aforesaid, until the same shall be corrected and purged 9, by the said masters or governors of the said respective companies, from all such offensive and scandalous passages, as aforesaid. And we do likewise permit and give leave that all the womens parts to be acted in either of the said two companies for the time to come, may be performed by women, so long as these recreations, which, by reason of the abuses aforesaid, were scandalous and offensive, may by such reformation


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be esteemed, not only harmless delights, but useful and instructive representations of humane life, to such of our good subjects as shall resort to see the same.

    And these our letters patents, or the inrolment thereof, shall be in all things good and effectual in the law, according to the true intent and meaning of the same10, any thing in these presents contained, or any law, statute, act, ordinance, proclamation, provision, restriction, or any other matter, cause, or thing whatsoever to the contrary, in any wise notwithstanding; although express mention of the true yearly value, or certainty of the premises, or of any of them, or of any other gifts or grants by us, or by any of our progenitors or predecessors, heretofore made to the said Sir William D'avenant in these presents, is not made, or any other statute, act, ordinance, provision, proclamation, or restriction heretofore had, made, enacted, ordained, or provided, or any other matter, cause, or thing whatsoever to the contrary thereof, in any wise notwithstanding. In witness whereof, we have caused these our letters to be made patents. Witness our self at Westminster, the fifteenth day of January, in the fourteenth year of our reign.

    By the King.
HOWARD.



[1] Recites former patents, 14 Car. I. ann. 1639, to Sir Will. D'avenant.

[2] 13. Car. II, exemplification of said letters patents.

[3] Surrender of both to the king in the court of Chancery.

[4] New grant to Sir William D'avenant, his heirs and assignes.

[5] To erect a theatre in London or Westmister, or the suburbs.

[6] And to entertain players, &c. to act without the impeachment of any person.

[7] That no other company but this, and one other under Mr. Killigrew, be permitted to act within London or Westminster or the suburbs.

[8] No actor to go from one company to the other.

[9] To correct plays, &c.

[10] These letters patents to be good and effectual in the law, according to the true meaning of the same, although, &c.


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TO A
CERTAIN GENTLEMAN.1

SIR,

    BECAUSE I know it would give you less Concern to find your Name in an impertinent Satyr, than before the daintiest Dedication of a modern Author, I conceal it.

   Let me talk never so idly to you, this way; you are, at least, under no necessity of taking it to yourself: Nor when I boast, of your favours, need you blush to have bestow'd them. Or I may now give you


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all the Attributes that raise a wise and good-natur'd Man to Esteem and Happiness, and not be censured as a Flatterer by my own or your Enemies.

    -- I place my own first; because as they are the greater Number, I am afraid of not paying the greater Respect to them. Yours, if such there are, I imagine are too well-bred to declare themselves: But as there is no Hazard or visible Terror in an Attack upon my defenceless Station, my Censurers have generally been Persons of an intrepid Sincerity. Having therefore shut the Door against them while I am thus privately addressing you, 1 have little to apprehend from either of them.

   Under this Shelter, then, I may safely tell you, That the greatest Encouragement I have had to publish this Work, has risen from the several Hours of Patience you have lent me at the Reading it. It is true, I took the Advantage of your Leisure in the Country, where moderate Matters serve for Amusement ; and there, indeed, how far your Good-nature for an old Acquaintance, or your Reluctance to put the Vanity of an Author out of countenance, may have carried you, I cannot be sure; and yet Appearances give me stronger Hopes: For was not the Complaisance of a whole Evening's Attention as much as an Author of more Importance ought to have expected ? Why then was I desired the next Day to give you a second Lecture? Or why was I kept a third Day with you, to tell you more of the same Story ? If these Circumstances have made


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me vain, shall I say, Sir, you are accountable for them ? No, Sir, I will rather so far flatter myself as to suppose it possible, That your having been a Lover of the Stage (and one of those few good judges who know the Use and Value of it, under a right Regulation) might incline you to think so copious an Account of it a less tedious Amusement, than it may naturally be to others of different good Sense, who may have less Concern or Taste for it. But be all this as it may; the Brat is now born, and rather than see it starve upon the Bare Parish Pro-vision, I chuse thus clandestinely to drop it at your Door, that it may exercise One of your Many Virtues, your Charity, in supporting it.

   If the World were to know into whose Hands I have thrown it, their Regard to its Patron might incline them to treat it as one of his Family : But in the Consciousness of what I am, I chuse not, Sir, to say who you are. If your Equal in Rank were to do publick justice to your Character, then, indeed, the Concealment of your Name might be an unnecessary Diffidence: But am I, Sir, of Consequence enough, in any Guise, to do Honour to Mr. -- ? Were I to set him in the most laudable Lights that Truth and good Sense could give him, or his own Likeness would require, my officious Mite would be lost in that general Esteem and Regard which People of the first Consequence, even of different Parties, have a Pleasure in paying him. Encomiums to Superiors from Authors of lower Life, as


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they are naturally liable to Suspicion, can add very little Lustre to what before was visible to the publick Eye : Such Offerings (to use the Stile they are generally dressed in) like Pagan Incense, evaporate on the Altar, and rather gratify the Priest than the Deity.

   But you, Sir, are to be approached in Terms within the Reach of common Sense: The honest Oblation of a chearful Heart is as much as you desire or I am able to bring you: A Heart that has just Sense enough to mix Respect with Intimacy, and is never more delighted than when your rural Hours of Leisure admit me, with all my laughing Spirits, to be my idle self, and in the whole Day's Possession of you ! Then, indeed, I have Reason to be vain; I am, then, distinguish'd by a Pleasure too great to be conceal'd, and could almost pity the Man of graver Merit that dares not receive it with the same unguarded Transport! This Nakedness of Temper the World may place in what Rank of Folly or Weakness they please; but 'till Wisdom can give me something that will make me more heartily happy, I am content to be gaz'd at as I am, without lessening my Respect for those whose Passions may be more soberly covered.

   Yet, Sir, will I not deceive you; 'tis not the Lustre of your publick Merit, the Affluence of your Fortune, your high Figure in Life, nor those honourable Distinctions, which you had rather deserve than be told of, that have so many Years made my plain


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Heart hang after you: These are but incidental Ornaments, that, 'tis true, may be of Service to you in the World's Opinion; and though, as one among the Crowd, I may rejoice that Providence has so deservedly bestow'd them; yet my particular Attachment has risen from a meer natural and more engaging Charm, The Agreeable Companion! Nor is my Vanity half so much gratified in the Honour, as my Sense is in the Delight of your Society! When I see you lay aside the Advantages of Superiority, and by your own Chearfulness of Spirits call out all that Nature has given me to meet them then 'tis I taste you! then Life runs high! I desire possess you !

   Yet, Sir, in this distinguish'd Happiness I give not up my farther Share of that Pleasure, or of that Right I have to look upon you with the publick Eye, and to join in the general Regard so unanimously pay'd to that uncommon Virtue, your Integrity! This, Sir, the World allows so conspicuous a Part of your Character, that, however invidious the Merit, neither the rude License of Detraction, nor the Prejudice of Party, has ever once thrown on it the least Impeachment or Reproach. This is that commanding Power that, in publick Speaking, makes you heard with such Attention! This it is that discourages and keeps silent the Insinuations of Prejudice and Suspicion; and almost renders your Eloquence an unnecessary Aid to your Assertions: Even your Opponents, conscious of your Integrity,


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hear you rather as a Witness than an Orator-But this, Sir, is drawing you too near the Light, Integrity is too particular a Virtue to be cover'd with a general Application. Let me therefore only talk to you, as at Tusculum (for so I will call that sweet Retreat, which your own Hands have rais'd) where like the fam'd Orator of old, when publick Cares permit, you pass so many rational, unbending Hours: There! and at such Times, to have been admitted, still plays in my Memory more like a fictitious than a real Enjoyment! H ow many golden Evenings, in that Theatrical Paradise of water'd Lawns and hanging Groves, have I walk'd and prated down the Sun in social Happiness! Whether the Retreat of Cicero, in Cost, Magnificence, or curious Luxury of Antiquities, might not out-blaze the simplex Munditiis, the modest Ornaments of your Villa, is not within my reading to determine: But that the united Power of Nature, Art, or Elegance of Taste, could have thrown so many varied Objects into a more delightful Harmony, is beyond my Conception.

   When I consider you in this View, and as the Gentleman of Eminence surrounded with the general Benevolence of Mankind; I rejoice, Sir, for you and for myself; to see You in this particular Light of Merit, and myself sometimes admitted to my more than equal Share of you.

   If this Apology for my past Life discourages you not from holding me in your usual Favour, let me


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quit this greater Stage, the World, whenever I may, I shall think This the best-acted Part of any I have undertaken, since you first condescended to laugh with,

    SIR,
Your most obedient,
most obli'ged, and
most humble Servant,
COLLEY CIBBER.
Novemb. 6. 1739



1 The Right Honourable Henry Pelham. Davies ("Life of Garrick," ii. 377) says that the "Apology" was dedicated to "that wise and honest minister," Pelham. John Taylor ("Records of my Life," i. 263) writes: "The name of the person to whom the Dedication to the 'Apology' was addressed is not mentioned, but the late Mr. John Kemble assured me that he had authority for saying it was Mr. Pelham, brother to the Duke of Newcastle." From the internal evidence it seems quite clear that this is so. In the Verses to Cibber quoted in "The Egotist," p. 69, the authoress writes: --
"Some praise a Patron and reveal him:
You paint so true, you can't conceal him.
Their gaudy Praise undue but shames him,
While your's by Likeness only names him."