Ham. How comes it? doe they grow rusty?
Rosin. Nay, their indeauour keepes in the wonted pace; But there is Sir an ayrie of Children, little Yases, that crye out on the top of question; and are most tyrannically clap't for't: these are now the fashion, and so be-ratled the common Stages (so they call them) that many wearing Rapiers, are affraide of Goose-quils, and dare scarse come thither.
Ham. What are they Children? Who maintains 'em? How are they escoted? Will they pursue the Quality no longer then they can sing? Will they not say afterwards if they should grow themselues to common Players (as it is like most if their meanes are no better) their Writers do them wrong, to make them exclaim against their owne Succession.
Rosin. Faith there ha's bene much to do on both sides: and the Nation holds it no sinne, to tarre them to Controuersie. There was for a while, no mony bid for argument, vnlesse the Poet and the Player went to Cuffes in the Question.
Ham. Is't possible?
Guild. Oh there ha's beene much throwing about of Braines.
Ham. Do the Boyes carry it away?
Rosin. I that they do my Lord, Hercules & his load too.
The be-rattling of the common stages and their spirited replies, thought by some to include a 'purge' in Troilus and Cressida, with which Shakespeare 'put down' Ben Jonson, form an element in the literary conflict known as 'the war of the theatres', in which, however, this issue is much complicated with others arising from the personalities of the dramatists engaged, and notably from that of Ben Jonson himself.[1063] Thus is explained the apparent paradox by which plays as well as pamphlets become the vehicle of attacks upon players. Three such plays, Histriomastix, The Poetaster, and the second part of The Return from Parnassus, call for special attention. The player-scenes in Histriomastix seem to belong mainly, though not wholly, to the original form of the play, which I regard as an outcome of the campaign of Robert Greene and his fellows about 1590, although the extant text, not printed until 1610, represents a later recension, probably undertaken by Marston, as one of the 'musty fopperies of antiquity' produced by the Paul's boys about 1600.[1064] The piece is of the nature of a political morality, and the scenes in question serve as one illustration of its general theme, which is that of the cyclical rotation of society through the successive stages of Peace, Plenty, Pride, Envy, War, Poverty, and so to Peace again. Many side-lights are thrown upon the methods of company organization which have already been described in these pages. In Act I some idle and drunken artisans, Gulch, Clout, Belch the beard-maker, Gut the fiddle-string-maker, Incle the pedlar, combine to form a company. Their poet is Master Posthaste, whom they call a gentleman scholar, but who is evidently a caricature of Anthony Munday, dramatist and Messenger of the Chamber. A scrivener is called in to 'tye a knott of knaves togither', and Bougie the mercer will furnish them with 'rich stuff' at a price. They call themselves Sir Oliver Owlet's men, and take his badge of an owl in an ivy-bush. In Act II they appear on the steps of a market cross and 'cry' a play to be given in the town-house at three o'clock. Their repertory includes The Lascivious Knight, Lady Nature, Mother Gurton's Needle (a tragedy), The Devil and Dives (a comedy), A Russet Coat and a Knight's Cap (an infernal), A Proud Heart and a Beggar's Purse (a pastoral), The Widow's Apron Strings (a nocturnal).[1065] Posthaste is also working on 'the new plot of the Prodigall Childe', with a prologue 'for lords' and an epilogue. They are invited to play before Lord Mavortius, and thereupon throw over 'the town play', and attend him, singing:
Some up and some down, there's players in the town: