The profits accruing to the original source of the entertainment, or, in other words, the Remuneration given to the Dramatic Poet, was certainly, if we compare the claims of genius between the two parties, on a scale inferior to that which fell to the lot of the actor.
The author had the choice of two modes in the disposal of his property; he either sold the copy-right of his play to the theatre, or retained it in his own hands. In the former instance, which was frequently had recourse to in the age of Shakspeare, the only emolument was that derived from the purchase made by the proprietors of the theatre, who took care to secure the performance of the piece exclusively to their own company, and whose interest it was to defer its publication as long as possible; in the latter instance, not only had the poet the right of publication and the benefit of sale in his own option, but he had, likewise, a claim upon the theatre for a benefit. This, towards the termination of the sixteenth century, took place on the second day[224:B], but
was soon afterwards, as early indeed as 1612, postponed to the third day.[225:A]
From a publication of Robert Greene's, dated 1592, it appears, that the price of a drama, when disposed of to the public players, was twenty nobles, or six pounds thirteen shillings and four pence; but that private companies would sometimes give double that[225:B] sum. It has been recorded, indeed, by Oldys, in one of his manuscripts, but upon what authority is not mentioned, that Shakspeare received but five pounds for his Hamlet![225:C]
What a bookseller gave for the copyright of a play at this period is unknown; but we have sufficient foundation, that of the bookseller's Preface to the quarto edition of our poet's Troilus and Cressida in 1609, for asserting, that sixpence was the sale price of a play when published.[225:D] It may also be affirmed, on grounds of equal security, that forty shillings formed the customary compliment for the flattery of a dedication.[225:E]
To these notices concerning the pecuniary rewards of poets and performers, may be added the conjecture of Mr. Malone, that Shakspeare, "as author, actor, and proprietor, probably received from the theatre about two hundred pounds a year."[225:F]
From this description of the architecture, economy, and usages of the Shakspearean Stage, it must be evident, how trifling were the obligations of our great poet to the adventitious aid of scenery, machinery, and decoration, notwithstanding we have admitted these to be somewhat more elaborate than is usually allowed. The Art of Acting, however, had, during the same period, made very rapid strides towards perfection, and dramatic action and expression, therefore, coadjutors of infinitely more importance than the most splendid scenical apparatus, exhibited, we have reason to believe, powers in a great degree competent to the task of doing justice to the imperishable productions of this unrivalled bard of pity and of terror.
FOOTNOTES:
[168:A] Burton's Anatomy of Melancholy, fol., 8th edit., p. 171. col. i.