Shakespeare and the Stage

Title: Shakespeare and the Stage

Author: Maurice Jonas

Release date: March 22, 2017 [eBook #54410] Most recently updated: October 23, 2024

Language: English

Other information and formats: www.gutenberg.org/ebooks/54410

Credits: Produced by Jane Robins, Reiner Ruf, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

Transcriber’s Notes

This e-text is based on the printed edition of ‘Shakespeare and the Stage,’ by Maurice Jonas, from 1918. Inconsistent spelling and hyphenation have been retained, but punctuation and typographical errors have been corrected.

Illustrations, as well as facsimiles of book titles and exemplary book pages, have been moved between two paragraphs for reasons of clarity and comprehensibility. As a consequence, page references for illustrations have been removed, because in most cases they are no longer consistent with the original. Some title lines of the facsimile pages seem to be cropped at the upper end. These errors originate from the printed book; the rest of the titles cannot be retrieved.

Some sections in the original have been printed in black letter, which is illustrated by using the ‘Old English Text MT’ font in the electronic version. If this font cannot be installed in the reader device, these passages will be displayed in sans-serif standard typeface.

The chapters in the original book have been numbered inconsistently; the correct numbering scheme has been applied to this electronic version.

Repeated, missing or inconsistent quotations have been adopted from the original without modifications. No changes have been made to passages copied from Shakespeare’s plays by the author; some suspected errors have not been corrected.

SHAKESPEARE AND THE STAGE

The interior of the Swan Theatre. Drawn by De Witt in 1596.

SHAKESPEARE AND THE STAGE

WITH A COMPLETE LIST OF THEATRICAL TERMS USED BY SHAKESPEARE IN HIS PLAYS AND POEMS, ARRANGED IN ALPHABETICAL ORDER, & EXPLANATORY NOTES

BY

MAURICE JONAS

AUTHOR OF “NOTES OF AN ART COLLECTOR AND MASUCCIO.”

WITH ILLUSTRATIONS

LONDON: DAVIS AND ORIOLI 24 MUSEUM STREET MCMXVIII

PRINTED IN ENGLAND BY THE WESTMINSTER PRESS, 411A, HARROW ROAD, LONDON, W.

LIST OF ILLUSTRATIONS

[Pg 1]

CHAPTER I THE EARLY DRAMA

The beginning of the English drama dates from a late period in the history of this country. Until the reign of Elizabeth, dramatic literature was really non-existent. During the Middle Ages, the religious drama held complete sway over the populace, producing such an abiding effect that no other kind of performance was tolerated. In England the first germs of a dramatic nature emanated from the church, chiefly in connection with the festival at Eastertide. At this time of the year the ritual was solemnized in a highly theatrical fashion. Processions marched round the sacred edifice, various scenes from the Gospels were introduced, accompanied by music and song. The festivals of Christmas and Corpus Christi were observed with great enthusiasm, sacred episodes taken from church history were acted with such fervour and ecstasy that the congregation remained spellbound during the service.

The next development in the evolution of the drama is the representation of the liturgical play, written in Latin, gradually being superseded by the religious play written in the vernacular; the scenes depicted consisted chiefly of episodes in connection with the Birth of the Saviour, also of events narrating the Lives of the Saints, together with other legendary characters.

All these scenes were called Miracle Plays, a name by which in this country all religious dramas were known, regardless of the origin of their source. In course of time these first offshoots of the ordinary service had grown to such dimensions that it was[Pg 2] found impracticable that these spectacles should be presented inside the church, consequently, a larger space outside was deemed more convenient, but still remaining within the precincts. Even this innovation was not entirely successful, as the ground allotted for the performance was not extensive enough for the numerous throng that assembled on these occasions. Then a further step was taken by transferring the scene of action from the sacred precincts to the open spaces within the town. The development of the drama was greatly accelerated by this innovation. During the period that these plays formed part of the religious service, the clergy only were allowed the privilege of assuming the different characters, but when spectacular episodes were added to the ordinary ritual they became secularized by calling in

the aid of the various guilds, assisted by professional entertainers. By these means the plays gradually lost their religious significance, finally being regarded as a popular form of amusement. By an act of Pope Gregory in 1210, the priests were forbidden to officiate in these interludes in any capacity, even if held inside the church. After the act had been confirmed by the Council of Trent in 1227, the clergy were strictly prohibited from joining the open-air performance.

The important Festival of Corpus Christi, founded by Pope Urban IV in the year 1264, was ratified years later by the Council of Vienne strictly enforcing its celebration. In England this very Corpus Christi day was, above all others, chosen for the representation of important plays composed in dramatic form chiefly from events connected with the religious history of the civilized world. There are extant several groups of plays which, during the Middle Ages, were regularly performed before appreciative audiences. Four of these “cycles” as[Pg 3] they were termed, namely, the York, Townley, Chester, and Coventry plays, have been published and edited by competent scholars. The York cycle contains forty-eight pieces, most of which are derived from biblical subjects. These plays were written during the fourteenth century, and were acted by members of the different guilds.

In the “Ordo Paginorum” of 1415 a detailed list is given of the whole forty-eight interludes. “The order of the Pageants of the Play of Corpus Christi in the time of the mayoralty of William Alne, in the third year of the reign of Henry V, anno 1415, compiled by Roger Burton, town clerk.”

Forty-eight different Companies took part in this pageant, commencing with the Tanners and ending with the Mercers. These crude compositions were still being exhibited during the greater portion of Shakespeare’s lifetime; their total suppression followed in the first decade of the seventeenth century. Although these plays continued until so late a date, signs of their waning interest were apparent in the last quarter of the sixteenth century, when a more ambitious type of drama gradually superseded the old Morality play. The New Comedy displays more inventive genius in dramatic construction, together with greater skill in treating the literary dialogue, and a wider sympathy and ingenuity in the development of character, thus appealing to a more educated section of the public. The first real comedy written in the English language is entitled “Ralph Roister Doister,” and was composed about the year 1550. By this composition an enormous stride in advance was made compared with earlier dramatic pieces.

Many of the characters are moulded on classical models, whilst others still bear traces of an allegorical nature. Other plays quickly followed based on similar types. The first English tragedy called[Pg 4] “Gorboduc or Ferrex and Porrex,” produced about this period, was likewise founded on classical lines. Henceforth the Miracle play was doomed, and hereafter budded forth a new drama, the full blossom thereof culminating in the immortal works of William Shakespeare.

The construction of the open-air stage, where the Miracle plays were exhibited, totally differed from any kind of stage adopted by Europeans for the last three hundred years. The inn-yard performance presents a greater likeness to our present theatre than the primitive shows represented before our ancestors of the Middle Ages compared with the inn-yard performances. These Miracle plays were performed for over three centuries, and formed the only dramatic fare of the English people during this long period. The Miracle play can fitly be described as an isolated production, the successive stages can be plainly regarded as an organic whole, beginning with birth, developing into maturity, eventually drifting into decline and decay, finally ending in total extinction. The plays of a later date, and the conditions under which they were produced, owed little or nothing beyond a trifling debt to their forerunners.

When the Miracle plays emerged from the church and became secularized, the performances took place in the open streets. These exhibitions consisted of two kinds, one being stationary, and generally acted in the market place, or other convenient open space, such as the village green, or they were divided into separate stations or points, or as we should now say districts, each station being visited by the several pageants or movable stages, which formed a kind of processional ceremony. The actual acting place was a kind of platform resting on trestles, with planks thrown across; this primitive stage was fixed on wheels and was drawn[Pg 5] by horses from one street to another, and as they arrived at each station a performance was given. By this method a large concourse of people could witness the entertainment in ease and comfort. What a contrast in comparison to a performance of a Greek play, when twenty thousand people were seated in a public theatre and watched with enthusiasm and delight the tragic masterpieces of Æschylus, Sophocles, Euripides and the biting satirical comedies of

Aristophanes, and pray remember that these great plays were written and performed about two thousand years before these puny dramatic efforts of our own people. In large towns like York, sixteen stations were erected to satisfy the demands of the public. In a small town about three or four would supply all needs. At Coventry the latter number proved sufficient. Six stations are mentioned in a pageant acted at Beverley. The length and duration of the plays varied at different places. Three days were allotted to the Chester plays, other towns managed in quicker time, finishing their programme in a single day.

These one-day performances usually commenced at daybreak. Newcastle was not quite so enthusiastic, conforming more with our modern ideas, commencing their pageant a little after mid-day, corresponding almost with our matinée. The most trustworthy account of a performance of a Miracle play is that described by Archdeacon Roger, who witnessed one of the plays at Chester during the Whitsun holidays in the year 1594.

“Every company had his pageant, or parte, which pageants weare a high scafolde with two rowmes, a higher and a lower, upon four wheels. In the lower they apparelled themselves, and in the higher rowm they played, beinge all open on the tope that all behoulders mighte heare and see them. The places where they played them was in every[Pg 6] street. They begane first at the abye gates, and when the first pageant was played it was wheeled to the high crosse before the mayor, and so to every streete and soe every streete had a pageant playinge before them at one time, till all the pageants for the daye appointed were played, and when one pageant was neare ended, worde was brought from streete to streete that so they might come in place thereof exceedinge orderlye and all the streets have their pageants afore them, all at one time playinge together, to see which plays was great resorte, and also scafoldes and stages made in the streets in these places where they determined to play their pageants.”

The Miracle plays are frequently mentioned by Chaucer, a verse in the Miller’s Tale included among the Canterbury Tales, informs us how Joly Absolom, the parish priest, played Herod “in a Scafolde hie.” Shakespeare refers to the ranting of the actors that prevailed in these entertainments in the proverbial phrase “out Herod’s Herod,” Herod being a well-known character in the Miracle play. May we not indulge in the fancy that John Shakespeare took his eldest son, William, over to Coventry to witness one of these shows, this town being distant only a few miles from Stratford-on-Avon?

In a most fascinating book written by the late Professor Haigh, of Oxford University, entitled The Attic Theatre, the author gives an exhaustive and detailed account of the ancient Greek theatre from the earliest times until its extinction. After the perusal of this admirable work, the reader may well be amazed at the paucity of reliable information concerning our own theatre. The distinguished author analyses each of his statements with remarkable accuracy before pronouncing judgment. The wealth of illustration brought to bear on the subject is truly remarkable, placing before the reader an exact account of how a play was produced in those[Pg 7] remote times by graphically describing the conditions with such minuteness and intelligence that the reader can visualize the acted play from the printed page. Many other points of a theatrical interest are discussed in this fascinating book, which should be read by everyone who takes the least interest in the drama. After studying this detailed account of theatrical events, existing so many centuries past, we naturally expect from the

innumerable writings of the Elizabethan age an ample and exact account of how a play was represented during that era. Unfortunately in this instance our expectations will remain unrealized, stage history not being deemed worthy of chronicling in those spacious times.

Professor Lawrence, of Dublin, is specially to be congratulated on his brilliant articles and essays in Shakespearean dramatic and theatrical subjects. It would be a consummation devoutly to be wished if the erudite author would undertake to write a history of the early stage on the same lines as adopted by the author of The Attic Theatre.

[Pg 8]

AN EARLY TYPE OF STAGE

Reproduced by kind permission of Professor G. P. Baker.

[Pg 9]

CHAPTER II INN-YARDS

When Shakespeare first arrived in London, which is now generally assigned to the year 1586, there existed in the Metropolis two permanent theatres, called respectively The Theatre and The Curtain. Shakespeare’s dramatic connection with the stage commenced probably about 1590, but where his first plays were produced records are found wanting. Personally I am strongly in favour of his early plays being acted at the Theatre. Students are agreed that Shakespeare joined the company of actors known as the Earl of Leicester’s servants, in which the celebrated Burbages, both father and son, were included. The first named was the builder and manager of The Theatre; therefore, the inference is quite logical that Shakespeare acted in the playhouse to which his company was attached.

Before the public theatres were erected the actors set up their stages at the inn-yards, and many early and important plays were presented in these places. That acting took place in these localities is beyond question, and it is within the bounds of possibility that Shakespeare’s earliest contributions to the drama may have been first produced in these impromptu play places, otherwise inn-yards.

The names of several of these London inn-yards are well known, both from contemporary literature and documentary records; unfortunately little information can be gleaned of their connection with the drama. These resorts were fairly well suited for stage plays. The fore part of the yard corresponded to the pit of a modern provincial theatre, with the[Pg 10] exception that standing room only was provided. The galleries that surrounded the yard accommodated the better class of spectators, probably a space at the back of the stage supplied the needs of a dressing room. How the play was produced, the manner in which the scenes were indicated, the number of stage properties used and other details connected with the drama are questions that cannot be satisfactorily answered; the historian in search of full information on these subjects seeks in vain. However much we may deplore the loss of written documents elucidating this period of our early drama, we possess proof that the acting companies of the Earl of Leicester, Lord

Strange, the Admiral’s and other noblemen’s companies frequently gave performances in these places. Although Southwark, the pleasure seeking resort of Londoners, was plentifully supplied with inn-yards, many becoming quite famous, namely, The Tabard, White Hart, Cross Keys, George, and several others, there exists no record or reference that any company of actors set up their stage in any one of those taverns named above. As already stated, little is known of the conditions under which theatrical companies acted in those impromptu places of entertainment.

In connection with these taverns one great difficulty arises of a rather perplexing nature, namely, how was the money collected during one of these performances? Devoid of any reliable information, every reader who is interested in the question must work out a theory for himself, relying on his own conclusion for the solution. My own particular theory is that, whenever the players announced a performance they hired the premises for the afternoon, with the right of charging admission for anyone entering the yard or the rooms in the gallery surrounding the building. As these last could be entered through the inn proper, money takers were[Pg 11] stationed at the door or doors of all the private entrances and also at the place where the general public entered. In confirmation of the above, an account of a quarrel may be quoted from Halliwell-Phillipps’s “Illustrations to Shakespeare”: “Whilst the Queen’s players were performing at Norwich a man named Wynsdon endeavoured to gain admission without payment. An altercation

ensued, during which the money box was upset. The disturbance had a tragic sequel, so far as regards the originator of the quarrel, as he received a sword thrust from one of his pursuers, from which he succumbed.” The above written testimony proves that some kind of system existed, whereby money could be taken at the doors before gaining admission. The entire subject of plays produced at inn-yards requires special treatment by a trained Shakesperean scholar. The subject is a difficult one, necessitating patient research, exact knowledge of sixteenth century theatrical customs and much leisure, but finally the student will be amply rewarded by the interest and fascination which the theme evokes. Printed matter has been ransacked in the hope of throwing light on the subject, but with poor results. Original research among the MSS. of the British Museum and the documents stored at the Record Office must be henceforth the order of the day. Considering so little is known in connection with this interesting subject, reference

to similar theatrical conditions in Spain during the Elizabethan period may interest the reader. In Madrid plays were performed in a corral, which, in Spanish, signifies a courtyard of a private house, corresponding in England to our inn-yard. The stage was erected at the back of the yard, in all cases being a movable one, the majority of the audience viewing the performance standing in the court-yard. From the windows of the surrounding houses the better class of spectators[Pg 12] watched the play. The entire building was open to the sky, fine weather being absolutely necessary for a continuous performance.