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TH
He drama before the time of Shakspeare was so

little cultivated, or so ill understood, that to many it may appear unnecessary to carry our theatrical researches higher than that period. Dryden has truly observed, that he “found not, but created first the stage;" of which no one can doubt, who considers, that of all the plays iffued from the press antecedent to the year 1592, when there is reason to believe he commenced a dramatick writer, the titles are scarcely known, except to antiquaries; nor is there one of them that will bear a second perusal. . Yet these, contemptible and few as they are, we may suppose to have been the most popular productions of the time, and the best that had been exhibited before the appearance of Shakspeare'.

* There are but thirty-eight plays, (exclusive of mysteries, moralities, interludes, and tranflated pieces,) now extant, written antecedent to, or in, the year 1592. Their titles are as follows: Acolastus

1540 | Appius and Virginia Ferrex and Porrex

} 1975 1561 Gummer Gurton's Needle 1562 Promos and Colandra 1578 1568 Arraignment of Paris Sappho and Pbao

1584 bably written before

1570 Alexander and Campaspe

Misfortunes of Aribur, 1987
B

A minuts

Damon and Pyibias
Tancred and Gismund
Cambyses, no date, but pro-

Vol. I, Part II.

1588

1589

;} 1591 Pr. Faufour

in or

A minute investigation, therefore, of the origin and
progress of the drama in England, will scarcely repay
the labour of the inquiry. However, as the best intro-
duction to an'accruc of the internal economy and usages
of the English theatres in the time of Shakspeare, (the
princir : object of this dissertation,) 1 fall take a cursory
vir of our most ancient dramatick exhibitions, though I
acar I can add but little to the researches which have
already been made on that subject.
Jeronimo

Orlando Furioso
Spanish Tragedy, or Alpbonjus king of Arra.
Hieronimo is mad again

gon
Tamburlaine

James IV. king of Score
Titus Andronicus

land
King Henry V. in or before 1589 A Lookinglass for.
Contention between tbe

London and England

before Houses of Yorke and Lan. Friar Bacon and Friar cafer, in or before 1590 Bungay

1592 King Jobn, in two parts,

How of Malia
Endymion
Soliman and Perfeda

Edward II.
Midas

before

Luft's Dominion
Galarbea

Masacre of Paris
Arden of Fever

fram
Between the years 1592 and 1600, the following plays were printed
or exhibited; the greater part of which, probably, were written before
our author commenced play-wright.
Cleopatra

Woman in the Moon

1597 Edward I.

Mucedorus
Batrle of Alcazar

Tbe virtuous Oslavia
Wounds of Civil War

Blind Beggar of Alexa 1598
Selymus, Emperor of tbe

andria
Turks

Every Man in bis Humour
Cornelia

Pinner of Wakefield
Morber Bombie

Warning for fair Women
Tbe Cobler's Propbery 1594 David and Betbsabe
Tbe Wars of Cyrus

Two angry women of A.
King Leir

bingdon
Taming of a Sbroru

Tbe Case is akered 1599
An old wives Tale

Every Man out of bis
Maid's Metamorpboses

Humour
Love's Metamorphoses

The Trial of Cbevalry
Pedler's Propbery

Humorous day's mirib
Antonius

Summer's loft Will and
Edward III.

1595) Teftament
Wily Beguiled

Mr.

}

1592 Dido

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} 1593

Mr. Warton in his elegant and ingenious History of English Poetry has given so accurate an account of our earliest dramatick performances, that I fall make no apology for extracting from various parts of his valuable work, such particulars as suit my present purpore.

The earliest dramatick entertainments exhibited in England, as well as every other part of Europe, were of a religious kind. So early as in the beginning of the twelfth century, it was customary in England on holy festivals to represent, in or near the churches, either the lives and miracles of saints, or the most important stories of Scripture. From the subject of these spectacles, which, as has been observed, were either the miracles of faints, or the more mysterious parts of holy writ, such as the incarnation, passion, and resurrection of Christ, these scriptural plays were denominated Miracles, or Myfteries. At what period of time they were first exhibited in this country, I am unable to ascertain. Undoubtedly, however, they are of very great antiquity; and Riccoboni, who has contended that the Italian theatre is the most ancient in Europe, has claimed for his country an honour to which it is not entitled. The era of the earliest representation in Italy, founded on holy writ, he has placed in the year 1264, when the fraternity del Gonfalone was established; but we had fimilar exhibitions in England above 150 years before that time. In the year 1110, as Dr. Percy and Mr. Warton have observed, the Miracle-play of Saint Catharine, written by Geoffrey, a learned Norman, (afterwards Abbot of St. Alban's,) was acted, probably by his scholars, in the abbey of Dunstable; perhaps the first spectacle of this kind exhibited in England 3: William Fitz-Stephen, a monk of Canterbury, who according

2 The French theatre cannot be traced higher than the year 1398, when the Myftery of the Paffion was represented at St. Maur.

3“ Apud Dunestapliam-quendam ludum de sancta Katerina (quem MIRACULA vulgariter appellamus) fecit. Ad quæ decoranda, petiit a sacrista san&i Albani, ut fibi capäe chorales accommodarentur, et obtinuit." Vitæ Abbat, ad calc. Hint. Mat. Paris, folio, 1639. p. 56. * B 2

to

to the best accounts composed his very curious work in 1174, about four years after the murder of his patron Archbishop Becket, and in the twenty-first year of the reign of King Henry the second, mentions, that “ London, for its theatrical exhibitions, has religious plays, either the representations of miracles wrought by holy confessors, or the sufferings of martyrs 4.

Mr. Warton has remarked, that “ in the time of Chaucer Plays of Miracles appear to have been the common resort of idle gossips in Lent:”

4 “ Lundonia pro fpe&aculis theatralibus, pro ludis fcenicis, ludos habit sanctiores, repræsentationes miraculorum quæ sancti con. fellores operati funt, seu repræsentationes paffionum, quibus claruit conftantia martyrum.” Descriptio nobiliffimæ civitaris Londonia. Fitz-Stephen's very curious description of London is a portion of a larger work, entitled Vila Janeli Tbome, Archiepiscopi ei Martyris, i. e. Thomas a Becket. It is ascertained to have been written after the murder of Becket in the year 1170, of which Ficz-Stephen was an ocular witness, and while King Henry Il, was yet living. A modern writer with great probability supposes it to have been composed in 1174, the author in one passage mentioning that the church of Saint Paul's was formerly metropolitical, and that it was thought it would become so again, “ should the citizens return into the inand." In 1174 King Henry II. and his sons had carried over with them a conliderable number of citizens to France, and many Englith had in that year also gone to Ireland. See Dissertation prefixed to FitzStephen's Defcription of London, newly translated, &c. 4to. 1772, p. 16.- Near the end of his Description is a pallage which ascertains it to have been written before the year 1182: “ Lundonia et modernis temporibus reges illuftros magnificosque peperit; imperatricem Ma. tildam, Henricum regem tertium, et beatum Thomam” [Thomas Becket]. Some have supposed that instead of terrium we ought to read secundum, but the text is undoubtedly right; and by tertium, FitzStephen must have meant Henry, the second son of Henry the Second, who was born in London in 1156.7, and being heir apparent, after the death of his elder brother William, was crowned king of England in his father's life-time, on the 15th of July, 1170. He was frequently styled rex filius, rex juvenis, and sometimes he and his father were denominated Reges Anglia. The young king, who occasionally exercised all the rights and prerogatives of royalty, died in 1182. Had he not been living when Fitz-Stephen wrote, he would probably have added nuper defuncium. Neither Henry II, nor Henry III. were born in London. See the Dissertation above cited, p. 12.

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