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in with a resolution to kill his Uncle, but finding him at his prayers,
he says he will not do it, lest he should do him a piece of service
and send him to Heaven.

We pause here to say that not a few latter-day impersona-
tors of Hamlet have taken this view and omitted the
soliloquy. In his closing, encomiastic sentences the critic
contrives to make neat allusion to the defection of the band:

Till you came upon the stage to let us know that the music
would not attend you, I never thought of it; as it was formerly said
of Milton's poetry, that it was so sublime and grand in itself, that it
needed not the embellishment of rhyme, so can I say of you in the
part of Hamlet, that the satisfaction I received from thence was so
!2;reat, that music could not have added anything to make it more
complete than it was. With this I conclude, that if you find any-
thing here that you think worthy of your observation and practice,
the end I proposed will be fully answered ; if not, yet I shall still
remain your constant well-wisher and admirer.

With these and many similar oral compliments lingering in
his mind, Garrick had no reason to regret his first visit to
Dublin. Small wonder that he returned for a whole season
to the fascinating city by the Liffey only three years later.

1 Restored when he first played Hamlet in London (see Murphy's Life, Chap. v).



Appendices



Appendix I

Amended Chronological List of Elizabethan, and
quasi-Elizabethan, Playhouses (1576 — 1663).

The Theater.
Unroofed theatre ; situated in Moore-fields, Shoreditch ; built by-
James Burbage, 1576; pulled down, 1598; authentic views, none.

The Curtain.
Unroofed theatre ; situated in Moore-fields, Shoreditch, on
ground called the Curtain, near Holywell Lane; built in 1576;
pulled down c. 1630; last referred to in 1627; s ^ te afterwards
known successively as Curtain Court, Gloucester Row, and
Gloucester Street ; authentic views, none.

The First Blackfriars.
First roofed (or private) theatre; constructed by Richard Farrant
early in 1577 on a section of the second floor of the old Blackfriars
monastery; abandoned c. May, 1584; authentic views, none. (For
details, see C. W. Wallace, The Evolution of the English Drama up to
Shakespeare, Chapters xv-xxi.)

Paul's.
Roofed theatre; situated in the Choir Singing School, near the
Convocation House (St. Paul's); built c. 1 58 1 ; suppressed, 1590-6;
last trace of, 1608; burnt down in Great Fire, 1666; authentic
views, none.

Newington Butts.
Unroofed theatre ; situated in Lambeth; built c. 1586; pulled
down c. 1603; authentic views, none.

The Rose.
Small, unroofed theatre; situated on the Bankside in Southwark;
built between 1587 and 1592; first referred to in 1592, last in
1622; authentic views: (Exterior) Norden's Map, 1593.

The Swan.
Unroofed theatre; situated in Paris Garden, Southwark; built
1 595 by Francis Langley; pulled down c. 1635; authentic views:
(Interior) Van Buchell's sketch, after de Witt, 1596 ; (Exterior)
Visscher's Map, 16 16 ; Manor Map, 1627.



238 Appendix I

The Second Blackfriars.
Small roofed theatre, built in 1 596 by Burbage on the first floor of
the South section of Blackfriars Monastery; pulled down 6 August,
1 65 5 ; authentic views, none.

The First Globe.
Unroofed theatre; situated on the Bankside; built 1598, burnt
down 29 June, 1613 ; authentic views, none.

The First Fortune.
Unroofed square theatre ; situated in Golden Lane (afterwards
Red Cross Street), Cripplegate; built 1600; burnt down, 9 Decem-
ber, 1 62 1; authentic views, none.

Red Bull.
Unroofed theatre; situated in St. John Street, Clerkenwell; built
c. 160O; enlarged in 1632; last used as playhouse 1663 (see Pepys'
Diary, 25 April, 1664) ; authentic views, none.

Whitefriars.

Small roofed theatre ; erected in the Hall of Whitefriars Monas-
tery, adjoining Dorset Gardens, Fleet Street; opened c. 1608 1 ;
abandoned before 1616, when surveyed as in bad repair, but re-
opened subsequently and finally closed in 1621 ; authentic views,
none.

The Hope.

Unroofed theatre and Bear-baiting arena ; situated on the Bank-
side ; built 1614 ; dismantled in 1656, but re-opened after the
Restoration simply as a Bear-garden ; last trace of, 1682 (see
T. F. Ordish's Early London Theatres, p. 242) ; authentic views:
(Exterior) Visscher's Map, 1616 ; Merian's Map, 1 638 ; " Cittie
of London " Map, 1646.

The Second Globe.

Unroofed theatre (on site of, but much superior to, the first
house); built 1614; pulled down 1644; exterior view of, Visscher,
1616.

The Cockpit, or Phcenix.

Small roofed theatre ; constructed in the Cockpit in Drury Lane
c. 161 7; dismantled 1649; last used 1664; site afterwards known
as Pit Court ; authentic views, none.

1 Some slender traces exist of an earlier Whitefriars playhouse c. 1580, but the
evidence is too inconclusive to base upon. Cf. Collier's Hist. Eng. Dram. Poetry, iii. 290;
and Cunningham's article on the Fleet Street Theatres in Shakespeare Society Papers,
v. p. 89.



Appendix I 239

The Second Fortune.

Unroofed, brick theatre; erected on site of older house c. 1623;
dismantled in 1649, anc ^ ne ver afterwards used as a playhouse;
serving as a secret conventicle in November, 1682 ; later used as
a brewery. For exterior view in final stage, see Wilkinson's
Londina Illustrata.

Salisbury Court.

Roofed theatre of 140 ft. by 42 ft. ; erected in 1629 Dv Richard
Gunnell and Wm. Blagrave on the site of the old granary of Dorset
House, near Fleet Street; dismantled 24 March, 1648-9; purchased
in 1652 by William Beeston,the player, and rebuilt by him in April,
1660, at a cost of ^329 odd ; last used 1663 ; destroyed by Great
Fire, 1666 ; authentic views, none. (For details, see Shakespeare
Society Papers, iv. pp. 98 ff.)

The First Dublin Theatre.
Small roofed theatre ; built in Werburgh Street in 1634 by John
Ogilby ; notable as the only Pre-Restoration playhouse outside
London ; closed in October, 1 641, by order of the Lords Justices,
and afterwards converted into a cowhouse. For this theatre Shirley
wrote The Royal Mastery St. Patrick for Ireland and other plays.

Vere Street.
Oblong roofed theatre; situated in Bear Yard, Vere Street, Clare
Market ; built in a tennis-court ; last constructed house of the
Elizabethan order ; opened by Killigrew and the King's players,
November, 1660 ; abandoned April, 1663 ; used as a Nursery for
actors in 1669 (see Pepys' Diary, 23 April, 1669); served as a Meet-
ing House from 1675 to 1682 ; subsequently used as a carpenter's
shop and a slaughter house; destroyed by fire 17 September, 1809;
for view of ruins, see C. W. Heckethorn's Lincoln s Inn Fields and
the Localities Adjacent, p. 138.



Appendix II
The Oldest Known English Playbills

(Vide ante pp. 80-81).

Further search having been made at my instance in the Verney
archives, I am pleased to say that in the nick of time the old bills
have been discovered, and that Sir Harry Verney, with rare courtesy,
has permitted me to make photographs of them for reproduction.
Owing to the fact that the bills are inaccurately described in Mr.
Alfred J. Horwood's calendaring of the Verney Papers in the
Historical Manuscripts Commission Report of 1879, it came as an
agreeable surprise to find that they are four in number, not three.
This mistake arose through assigning All For Love and Theodosius
to the one bill. I had myself originally suspected some such con-
fusion in connexion with the two plays, but later on my suspicions
were allayed by Malone's statement as cited on page 81, note I.

Another fact unrevealed by the Report is that the bills deal with
two theatres, Drury Lane and the Queen's in Dorset Gardens.
But since they all run in the one mould and belong to the period
of 1692-4, it is requisite to bear in mind that they were issued
by the one theatrical organization. After the union of the two
companies in November, 1682, London, while continuing to
possess two theatres, only boasted a single troupe of players until
April, 1695. Acting, for the most part, took place at Drury Lane,
but occasional performances had to be given at Dorset Gardens to
propitiate the adventurers. The following is a summary of the
details presented by the various bills.

(1) Henry the Second King of England, at Drury Lane on
Wednesday, 9 November (1692). " Never acted but once." Size
of bill 6J inches by 3J; size of printed surface 3§ inches by i£.

(2) The Indian Emperour ; or the Conquest of Mexico by the
Spaniards. Drury Lane, 30 November (1692). Size of bill 7 J
inches by 3J; of printed surface 3f inches by if.

(3) All for Love, or The World Well Lost. Queen's Theatre,
Dorset Gardens, Wednesday, 9 May (1694). Size of bill 6 inches
by l\\ of printed surface 3 -J inches by \\.



w



O
r
U
w



o
z

z

o



re £






.:7




/





2? 2= >w* ft ^?»v



0,23*0



iff*



lit




■ -




pi



ATd» THEATRE ROVAtt, l&Dm^

;* «£* Za*e t this prefcm WtzfcUy beiog *B3 &£&<&$

•' - ■'' A- Play called,

H- Sh *^ Indiaa Bmperour, <5r»

jTv*F>&, Tfee€oqqadlofM«ikobyrfie8^«ii.

■ •* ' 1 -\ '■$; '»• " j^Jo money tc$e retttra'd after the cumin isd&vtt,

'O^'/i*'" By their Sfojefltes Servants. FrvmMes^&rimk

Z*r\ >; , - ■



I




£-'



V r .



Lj * 4 ->*9fcg3




..^v<~






##############€*# i i»^## lis






■^Tthc Q.OEEN
kW«» this prel
©f 4$s/>will be prefenti
APIs
All for Love, Oft
#c money to be return*
By their MajeftiesServai



THE AT RE,in fcft* ^

i Wettfdap being the NiiwtfidY g






the World well-loft-/- & xl
I after the Curtain is drawny. >4 \
its. P7tywtRtx& Bagimin , t^
fe>- "ft '




"v,



n



"T^



- -t :j






AT the (QUEENS THEATRE, in Dor/et-
Garden, this prefent 7tf<r/&7 being the iath*
of June, will be patented,

A Play called,
Theodofius, Or, The Force of love.
. • No money to be re tnr n'd after the Curtain is drawsu
By their Majefties Servaojts. Prum Rex& Rtgirtt.




SEVENTEENTH-CENTURY PLAYBILLS
(Reduced facsimiles).



[ To face p. 241.



Appendix II 241

(4) Theodosius, or the Force of Love. Queen's Theatre, Dorset
Gardens, Tuesday, 12 June (1694). Size of bill 6 inches by 2^-;
of printed surface 3 J inches by 1 \.

(1) This is now the oldest extant English playbill and the third
oldest known bill in Europe. 1 Since it indicates the second perform-
ance of Bancroft and Mountford's tragedy, my date (ante p. 81) for
the production of the play — derived from a contemporary news-
letter transcribed in one of the Historical Manuscripts Comm. Reports
— is slightly astray. Everything now points to the fact that Henry II
King of England v/2& first produced on 8 November, 1692. 2

(2) With the exception that the original has the mis-spellings
" Wensday" and "Emperour", this bill has been correctly given
by me (from the Historical Manuscripts Comm. Report) at p. 81.
Allowing for necessary changes of theatre, dating and play-title, the
formula is the same in all. One notes that the hour of performance
is not specified.

(3) Dryden's tragedy, All for Love, dates from December,
1677, when it was produced at Drury Lane. Dorset Garden
Theatre ceased to be called the Duke's, and became the Queen's,
on the accession of James II in 1685. This bill bears on the back
and front some writing believed to be in the hand of Sir Ralph
Verney, together with the date " May, 1694." This affords a clue
to the date of the bill, for 9 May, 1694, fell on a Wednesday.

(4) Lee's tragedy of Theodosius was first produced in 1680, and
was so frequently revived that some caution is necessary in dating
this bill. However, the "Vivant Rex et Regina" at the end
apparently limits it to the reign of William and Mary, and 1694
is fairly conclusive seeing that 1 2 June in that year fell on a Tuesday.

To eyes habituated to the amplitude of the latter-day day-bill
what will appear remarkable about these bills is the meagreness of
their information and the tininess of their size. The music-lover
was left to discover how best he could that three out of the four plays
announced had the extra attraction of fine vocal and instrumental
music by Purcell. If the bills were used indifferently as poster
and as handbill one cannot well see why they should have been so
limited in size. That they were delivered at the houses of aristo-
cratic patrons of the play their preservation in the Verney archives
clearly attests.

1 For facsimiles of French afficbes of 1630 and 1659, see Pougin, Le Theatre a
V Exposition Universelle de 1889, pp. 17-18.

2 For other evidence, see Quart. Mag. International Musical Society, Year V, Pt. iv,
1904, p. 527, W. Barclay Squire's article " Purcell's Dramatic Music."

R



Bibliography



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Aubrey's Brief Lives — ed. Andrew Clark, 2 vols., 1898.

Baker, H. Barton — Article on "England's National
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Brereton, Austin — Some Famous Hamlets, 1884.

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Broadbent, R. J. — Annals of the Liverpool Stage, Liver-
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246 Bibliography

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[Calcraft, J. W.] — "The Theatre Royal, Dublin, from
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Calendars of State Papers, Ireland, Charles II.

Calendar of the Manuscripts of the Marquis of Ormonde, K.P.
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Cargill, Alexander — Article on "Shakespeare as an
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Bibliography 247

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24 8 Bibliography

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Hitchcock, Robert — An Historical View of the Irish Stage,
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Index



INDEX

* # * The small superior figures refer to footnotes.

Abbey Players, The . 200 Bearers for the dead, 151,
Abington, Mrs. ... 113 x 78-9

Academic plays, ... 13 Beaumont and Fletcher, 14,
Actresses, First English 1 3 7, 172, 187, 195

1 $2 Bedchamber scenes, 3-4, 22,
Addison, Joseph 174, 180 50, 173

Ademollo, A 204 1 Beeston, William 188,239

Albemarle, Duke of . 106 Behn, Aphra . 176-7, 215

Albright, Victor E. 28,45-6 Bell, Hamilton .... 142 3

Algarotti, Count . . . 146 Bellamy, Thos.Ludford 158

Alleyn, Edward ... 11 1 Benefits, 86, 97 1 , 101, 143,
Angelo, Henry .... 113 218, 220

Announcements, Open-air Betterton, Thomas 82,138,

57-9,61 ^ 144 1

"Apron, The" 146, 176-7 Bindley, James .... 77

Arne, Thomas .... 113 Blagrave, Wm 239



Argyle, Duke of .
Arrowsmith, Mr.
Ashbury, Joseph .
Ass-Epilogue, The



2 1 8 Blanchard, Ed. Laman 1 1 1

178 Blazing Star, The . . 19-20

193 Book-holder, The . 16, 60

218 2 Bouchard, Alfred 15% 187 3

Aubrey, John . 122, 136-7 Boxes, Stage . 38-41, 170

Authors' names on bills, Boxkeepers, ioo 3 , 109, 1 12-

71-2 1 13, 1 18

Brodmeier, Cecil . 27 s , 41

Baker, H. Barton . . . 75 1 Brome, Richard . . 122-3

Baker, G. P. ... 7 1 , 28 1 Brooke, C. F. Tucker 171 2

Balconies, Stage ... 53 Brown, Henry (comedian)

Bancroft, John . . 81, 241 186-7

Bapst, Germain 141 1 y 179 5 , Buckley, Rev. E. R. . 101 1

208 Bullock, Christopher 2 1 6-7,

Barclay, Sir Wm. ... 122 219

Barbarina, La ... . 230-1 Burbage, Cuthbert . . 96

Beard, John .... 117-8 Burbage, James 96, 237,238



254



Index



Byeplays 166-7 Collins, J. Churton 62 1 ,



Calcraft, J. W 158

Cambridge, The drama in

60 2
Candlesnuffer, The . . 16

Cargill, Alex in 1

Carleton, Sir Dudley 67-8
Carteret, Sir Philip . . 105
Catch-titles of plays, . 63
Cavalli, Francesco . 204-5
Celler, Ludovic 135 1 , 205 3 ,

208
Centlivre, Susannah 84 1 ,

160, 184, 186
Chambers, E. K. . . . 171 2
Chamberlain, John 67-8,95
Chamberlayne, Dr. Wm. 79
Chambre a quatre portes,

124-5
Charlewood, John 60, 66
Checks and Check-takers,

1 10- 1
Chetwood, W. R. 87, 193
Cibber, Colley 64-5, 81-2,

86-7, 108, 112, 146 2 ,

1 16 1 , 178, 183, 186, 196,

199
Cibber, Theophilus 1 10,1 15
Cleveland, Duchess of 143
Cloud effects, . . . 19, 165

Clun, Walter 75-7

Cohn, Albert 6^

Coleman, Dr. Chas. . 130
Collier, Jeremy .... 82-3
Collier, J. Payne 62, 74, 77,

97, 99, 101, 125, 127,

238 1



101
Congreve, W. 71, 83, 143 2 ,


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 21

Online LibraryWilliam John LawrenceThe Elizabethan playhouse and other studies → online text (page 21 of 22)