they have authority to erect two companies of players, and to fit up two theatres "for the representation of tragydies, comedyes, playes, operas, and all other entertainments

of that nature."

V. We have now brought the inquiry as low as was intended, but cannot quit it, without entering into a short description of what may be called the Economy of the ancient English stage.

Such was the fondness of our forefathers for dramatic entertainments, that not fewer than nineteen play-houses had been opened before the year 1633, when Prynne published his Histriomastix.* From this writer it should seem that "tobacco, wine and beer," were in those days the usual accommodations in the theatre, as within our memory at Sadler's Wells.

But while Shakspeare was the favourite dramatic poet, his histories had such superior merit, that he might well claim to be the chief, if not the only historic dramatist that kept possession of the English stage; which gives a strong support to the tradition mentioned by Gildon, that, in a conversation with Ben Jonson, our bard vindicated his historical plays, by urging, that, as he had found "the nation in general very ignorant of history, he With regard to the players themselves, the wrote them in order to instruct the people in several companies were (as hath been already this particular." This is assigning not only shown) retainers, or menial servants to a good motive, but a very probable reason particular noblemen, who protected them for his preference of this species of composi- in the exercise of their profession; and many tion; since we cannot doubt but his illiterate of them were occasionally Strollers, that countrymen would not only want such instruc- *He speaks in p. 492, of the Playhouses in Bishopgate tion when he first began to write, notwith-street, and on Ludgate Hill, which are not among the standing the obscure dramatic chroniclers seventeen enumerated in the Preface to Dodsley's Old Plays. who preceded him; but also that they would Nay, it appears from Rymer's MSS. that twenty-three Playhighly profit by his admirable lectures on English history so long as he continued to deliver them to his audience. And, as it implies no claim to his being the first who qualities, spend 2d., 3d., 4d., 6d., 12d., 18d., 2s.. and some introduced our chronicles on the stage, I see not why the tradition should be rejected.

Upon the whole, we have had abundant proof that both Shakspeare and his contemporaries considered his histories, or historical plays, as of a legitimate distinct species, sufficiently separate from tragedy and comedy; a distinction which deserves the particular attention of his critics and commentators; who, by not adverting to it, deprive him of defence and best vindication for proper

his

his neglect of the Unities, and departure from the classical dramatic forms. For, if it be the first canon of sound criticism to examine and work by whatever rule the author prescribed for his own observance, then we ought not to try Shakspeare's Histories by the general laws of tragedy or comedy. Whether the rule itself be vicious or not, is another inquiry; but certainly we ought to examine a work only by those principles according to which it was composed. This would save a deal of impertinent criticism.

*See Malone's Shaksp. vol. vi. p. 427. This ingenious writer will, with his known liberality, excuse the difference of opinion here entertained concerning the above tradition.

houses had been at different periods open in London: and

even six of them at one time. See Malone's Shaksp. vol. i. pt. ii. p. 48.

So, I think, we may infer from the following passage, viz. "How many are there, who, according to their several

times 4s. or 5s. at a play-house day by day, if coach-hire, boathire, tobacco, wine, beere, and such like vaine expences, which playes do usually occasion, be cast into the reckon

ing?" Prynne's Hystriom. p. 322.

But that tobacco was smoked in the playhouses, appears from Taylor the water-poet, in his proclamation for tobacco's propagation. "Let play-houses, drinking-schools, taverns, &c., be continually haunted with the contaminous vapours of it; nay (if it be possible) bring it into the Churches, and there choak up their preachers." (Works, p. 253.)

And this was really the case at Cambridge: James I. sent a letter, in 1607, against "taking tobacco" in St. Mary's. So I learn from my friend Dr. Farmer.

A gentleman has informed me, that once going into a church in Holland, he saw the male part of the audience

sitting with their hats on, smoking tobacco, while the preacher was holding forth in his morning gown.

See the extracts above, in p. 139, from the Earl of Northumb. Houshold Book.

See the Pref. to Dodsley's Old Plays.-The author of an old invective against the Stage, called a third Blast of Retrait from Plaies, &c., 1580, 12mo., says, "Alas! that private affection should so raigne in the nobilitie, that to pleasure their servants, and to upholde them in their vanitye, they should restraine the magistrates from executing their office!.... They [the nobility] are thought to be covetous by permitting their servants... to live at the

devotion or almes of other men, passing from countrie to countrie, from one gentleman's house to another, offering their service, which is a kind of beggerie. Who indeede, to speake more truelie, are become beggers for their ser vants. For comonlie the good-wil, men beare to their Lordes, makes them draw the stringes of their purses to extend their liberalitie." Vid. pag. 75, 76, &c.

travelled from one gentlemen's house to another. Yet so much were they encouraged, that, notwithstanding their multitude, some of them acquired large fortunes. Edward Allen, master of the play-house called the Globe, who founded Dulwich College, is a known instance. And an old writer speaks of the very inferior actors, whom he calls the hirelings, as living in a degree of splendour, which was thought enormous in that frugal age.*

and

have been the usual price* of what is now called the Pit, which probably had its name from one of the play-houses having been a Cock-pit.†

The day originally set apart for theatrical exhibition appears to have been Sunday; probably because the first dramatic pieces were of a religious cast. During a great part of Queen Elizabeth's reign, the playhouses were only licensed to be opened on that day;‡ but before the end of her reign, or soon after, this abuse was probably removed.

The usual time of acting was early in the afternoon, plays being generally performed

At the same time the ancient prices of admission were often very low. Some houses had penny-benches.† The "two-penny gallery" is mentioned in the prologue to Beaumont and Fletcher's Woman-IIater,‡ seats of three-pence and a groat seem to be intended in the passage of Prynne above referred to. Yet different houses varied in their prices that play-house called the Hope to the Captain, and to the Mad-lover. had seats of five several rates from six-pence to half-a-crown. But a shilling seems to

talks of "The six-penny Roomes in Playhouses;" and leaves a legacy to one whom he calls "Arch-tobacco taker

*Stephen Gosson, in his Schoole of Abuse, 1579, 12mo. fo. 23, says thus of what he terms in his margin Playersmen: "Over lashing in apparel is so common a fault, that the very hyerlings of some of our Players, which stand at revirsion of vi s. by the week, jet under gentlemens noses in sutis of silke, exercising themselves to prating on the stage, and common scoffing when they come abrode, where they look askance over the shoulder at every man, of whom the Sunday before they begged an almes. I speake not this, as though everye one that professeth the qualitie so abused himselfe, for it is well knowen, that some of them are sober, discreete, properly learned, honest housholders and citizens, well-thought on among their neighbours at home" [he seems to mean Edw. Allen above mentioned], "though the pryde of their shadowes (I meane those hangebyes, whom they succour with stipend) cause them to be somewhat il-talked of abroad."

What,

In a subsequent period we have the following satirical fling at the showy exterior and supposed profits of the actors of that time.-Vid. Greene's Groatsworth of Wit, 1625, 4to. "What is your profession?"-" Truly, sir,. . . . I am a Player." "A Player?. ..I took you rather for a Gentleman of great living; for, if by outward habit men should be censured, I tell you, you would be taken for a substantial man." "So I am where I dwell though the world once went hard with me, when I was fayne to carry my playing-fardle a foot-backe: tempora mutantur.... for my very share in playing apparel will not be sold for two hundred pounds.... Nay more, I can serve to make a pretty speech, for I was a country author, passing at a Moral, &c." See Roberto's Tale. sign. D. 3. b. So a MS. of Oldys, from Tom Nash, an old pamphlet writer. And this is confirmed by Taylor the Water-poet, in his Praise of Beggerie, p. 99.

"Yet have I seen a begger with his many, [sc. vermin] Come at a play-house, all in for one penny."

So in the Belman's Night-walks by Decker, 1616, 4to. "Pay thy two-pence to a player, in this gallery thou mayest sit by a harlot."

Induct to Ben Jonson's Bartholomew-fair. An ancient satirical piece, called "The Blacke Book, Lond. 1¤04, 4to."

of England, in ordinaries, upon stages both common and private."

*Shaksp. Prol. to Hen. VIII.--Beaum. and Fletch. Prol.

†This etymology hath been objected to by a very inge nious writer (see Malone's Shaksp. vol. i. pt. ii. p. 59), who thinks it questionable, because, in St. Mary's church at Cambridge, the area that is under the pulpit, and surrounded by the galleries, is (now) called the pit; which, he says, no one can suspect to have been a cock-pit, or that a playhouse phrase could be applied to a church.-But whoever is acquainted with the licentiousness of boys, will not think it impossible that they should thus apply a name so peculiarly expressive of its situation: which from frequent use might at length prevail among the senior members of the university; especially when those young men became seniors themselves. The name of pit, so applied at Cambridge, must be deemed to have been a cant phrase, until it can be shown that the area in other churches was usually so called.

So Ste. Gosson, in his Schoole of abuse, 1579, 12mo., speaking of the players, says, "These, because they are allowed to play every Sunday, make iiii or v. Sundayes at least every week, fol. 24.-So the author of a Second and Third Blast of Retrait from Plaies, 1580, 12mo. "Let the magistrate but repel them from the libertie of placing on the Sabboth-daie.... To plaie on the Sabboth is but a privilege of sufferance, and might with ease be repelled, were it thoroughly followed," pag. 61, 62. So again, Is not the Sabboth of al other daies the most abused?... Wherefore abuse not so the Sabboth-daie, my brethren; leave not the temple of the Lord." "Those unsaverie morsels of unseemelie sentences passing out of the mouth of a ruffenlie plaier, doth more content the hungrie humors of the rude multitude, and carrieth better rellish in their mouthes, than the bread of the worde," &c. Vid. pag. 63, 65, 69, &c. I do not recollect that exclamations of this kind occur in Prynne, whence I conclude that this enormity no longer subsisted in his time.

It should also seem from the author of the Third Blast above quoted, that the churches still continued to be used occasionally for theatres. Thus, in p. 77, he says, that the players (who, as hath been observed, were servants of the nobility), "under the title of their maisters, or as reteiners, are priviledged to roave abroad, and permitted to publish their mametree in everie temple of God, and that throughout England, unto the horrible contempt of praier." ? .

"He entertaines us" (says Overbury in his character of an Actor) "in the best leasure of our life, that is, be

I.

Adam Bell, Clym of the Clough, and William of Cloudesly,

to one or two other passages in our old poets wherein he is mentioned. The Oxford editor has also well conjectured, that "Abraham Cupid," in Romeo and Juliet, act ii. sc. 1, should be "Adam Cupid," in allusion to our archer. Ben Jonson has mentioned Clym o' the Clough in his Alchemist, act i. sc. 2.

were three noted outlaws, whose skill in archery rendered them formerly as famous in the North of England, as Robin Hood and his fellows were in the midland counties. Their place of residence was in the forest of Englewood, not far from Carlisle, (called corruptly in the ballad English-wood, whereas Engle- or Ingle-wood signifies wood for firing.) | And Sir William Davenant, in a mock poem At what time they lived does not appear. The author of the common ballad on "The pedigree, education, and marriage, of Robin Hood," makes them contemporary with Robin Hood's father, in order to give him the honour of beating them: viz.

The father of Robin a forrester was,
And he shot in a lusty long-bow

Two north-country miles and an inch at a
shot,

As the Pindar of Wakefield does know:

of his, called "The Long Vacation in Lon-
don," describes the attorneys and proctors,
as making matches to meet in Finsbury fields.
"With loynes in canvass bow-case tyde:*
Where arrowes stick with mickle pride;.......
Like ghosts of Adam Bell and Clymme,
Sol sets for fear they'l shoot at him.

Works, 1673, fol. p. 291.

I have only to add further concerning the principal hero of this ballad, that the Bells were noted rogues in the north so late as the

For he brought Adam Bell, and Clim of the time of Queen Elizabeth. See in Rymer's

Clough,

Our northern archers were not unknown to their southern countrymen: their excellence at the long-bow is often alluded to by our ancient poets. Shakspeare, in his comedy of "Much adoe about nothing," act 1, makes Benedicke confirm his resolves of not yielding to love by this protestation, "If I do, hang me in a bottle like a cat,* and shoot at me, and he that hits me, let him be clapt on the shoulder, and called Adam :" meaning Adam Bell, as Theobald rightly observes, who refers

*Bottles formerly were of leather; though perhaps a wooden bottle might be here meant. It is still a diversion in Scotland to hang up a cat in a small cask, or firkin, half filled with soot; and then a parcel of clowns on horseback try to beat out the ends of it, in order to show their dexterity in escaping before the contents fall upon them.

Foedera, a letter from Lord William Howard to some of the officers of state, wherein he mentions them.

As for the following stanzas, which will be judged from the style, orthography, and numbers, to be of considerable antiquity, they were here given (corrected in some places by a MS. copy in the Editor's old folio) from a black-letter 4to. Imprinted at London in Lothburge by Wm. Copland (no date). That old quarto edition seems to be exactly followed in Pieces of Ancient Popular Poetry, &c. Lond. 1791," 8vo., the variations from which, that occur in the following copy, are selected from many others in the folio MS. above mentioned, and when distinguished by the usual inverted comma' have been assisted by conjecture.

66

In the same MS. this ballad is followed by another, entitled Younge Cloudeslee, being a continuation of the present story, and reciting the adventures of William of Cloudesly's son: but greatly inferior to this both in merit and antiquity.

* i. e. Each with a canvass bow-case tied round his loins.