According to Malone these early playbills did not contain a list of the characters or of the names of the actors by whom they were represented. But that the name of the author was sometimes, if not always, on the playbill may be inferred from a passage in the anonymous play of “Histriomastix” (1610), act iv., in which Belch, speaking of Post-hast the playwriter, says, “It is as dangerous to read his name at a play dore, as a printed bill on a plague dore,” the allusion being to the practice of writing “Lord have mercy upon us” on the doors of houses in which the plague had broken out, which words of course were a caution, and made people pass on hurriedly. In the same play also we find a curious illustration of our subject in a reference to the part of one of the inferior actors. In act iii. the stage direction says, “Enter Belch setting up bills.” And it may not be out of place to remark that the word poster is evidently derived from the custom of sticking bills on posts. That bills were stuck on posts for choice, many of them at stated or customary places, there is plenty of evidence. Sometimes they were ordered to be stuck upon doors and gates, as in the following, though this very possibly means door or gate post. From the Moderate Intelligencer, March 18-25, 1647, we discover that in the time of civil war, when the bishops’ lands and palaces were sold, the following places were appointed by Parliament to be used for affixing bills concerning the sales. Upon the outer gate and upon the hall door of Sir Richard Gourney’s house in the Old Jewry (this was the office where the committee charged with those sales held their sitting), upon the north door of St Paul’s Church, upon the gate of Guildhall, and upon the gate of Blackwell Hall.
As long as they have had an existence—from the sixteenth century—these bills have gone by the name of playbills. In the prologue to the anonymous tragedy of “A Warning for Fair Women” (1599), Tragedy whips History and Comedy from the stage, exclaiming:—
’Tis you have kept the theatre so long
Painted in Play bills upon every post,
While I am scornèd of the multitude.
They have also, however, in various places and at various times, been called “text bills for plays.” The natural and shorter title, though, always overruled its more pretentious rival. From the prologue to Shirley’s “Cardinal” (1652) it appears that it was usual to add on the bill whether the piece was a comedy or a tragedy. This “Cardinal” being a tragedy, the author apologises in the following words for only calling it “a play” in the bills:—
Think what you please, we call it but a “play.”
Whether the comic muse, or lady’s love,
Romance, or direful tragedy it prove,
The bill determines not: and you would be
Persuaded I would have’t a comedy
For all the purple in the name.
From which it may be inferred that the names of tragedies, for greater distinction, were usually, or at all events occasionally, printed in red ink. That the custom of posting playbills continued in the reign of Charles II. may be inferred from the following entry in Pepys’ Diary: “I went to see if any play was acted and I found none upon the posts, it being Passion Weeke.”
During the Civil Wars the drama had a hard struggle not to be swamped in the deluge which destroyed all things appertaining to the pomp and luxury of the Court, or connected with pleasure generally. The face of the Parliament was turned against stage-plays, and when the war broke out, one of the first measures was that which led to the publication of the following bill:—
Ordinance of the Lords and Commons concerning Stage-Plays.
Whereas,
The distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by a civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; amongst which Fasting and Prayer, having been often tried to be very effectual, have been lately, and are still, enjoined; And whereas public Sports do not well agree with public Calamities, nor public Stage-plays with the Seasons of Humiliation, this being an exercise of sad and pious Solemnity, and the other being Spectacles of Pleasure too commonly expressing lascivious Mirth and Levity; It is therefore thought fit, and ordered by the Lords and Commons in this Parliament assembled, That while these sad Causes and set Times of Humiliation do continue, public Stage-plays shall cease and be forborne. Instead of which are recommended to the People of this Land the profitable and seasonable consideration of Repentance, Reconciliation, and Peace with God, which probably will produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations.