Some of his company brought flowers, some green grass; and one brought a piece of black stone, much like to a sea coal in color, which by the weight seemed to be some kind of metal or mineral. This was a thing of no account in the judgment of the captain at first sight; and yet for novelty it was kept, in respect of the place from whence it came. After his arrival in London, being demanded of sundry his friends what thing he had brought them home out of that country, he had nothing left to present them withal but a piece of this black stone. And it fortuned a gentlewoman, one of the adventurer's wives, to have a piece thereof, which by chance she threw and burned in the fire, so long that at the length being taken forth, and quenched in a little vinegar, it glistened with a bright marquesite of gold. Whereupon the matter being called in some question, it was brought to certain gold-finers in London to make assay thereof, who gave out that it held gold, and that very richly for the quantity.[8] ] Afterward the same gold-finers promised great matters thereof if there were any store to be found, and offered themselves to adventure for the searching of those parts from whence the same was brought. Some that had great hope of the matter sought secretly to have a lease at her majesty's hands of those places, whereby to enjoy the mass of so great a public profit unto their own private gains.
In conclusion, the hope of more of the same gold ore to be found kindled a greater opinion in the hearts of many to advance the voyage again. Whereupon preparation was made for a new voyage against the year following, and the captain more specially directed by commission for the searching more of this gold ore than for the searching any further discovery of the passage. And being well accompanied with divers resolute and forward gentlemen, her majesty then lying at the Right Honorable the Lord of Warwick's house, in Essex, he came to take his leave; and kissing her highness' hands, with gracious countenance and comfortable words departed toward his charge.
[ BUILDING OF THE FIRST THEATRE IN ENGLAND ]
A.D. 1576
KARL MANTZIUS
A History of the Theatre, the scholarly work of Mantzius, has had no time to become a classic—published 1904—but certainly the author has delved into his subject with a minuteness and presented it with a lively interest which fully justify the selection of his work for presentation here.
The theatre has become so prominent an institution among us that its origin must be of interest to all; and the building of the first theatre is inextricably interwoven with the larger and vaguer story of the rise of the modern drama itself. The dramatic arts of Greece and Rome had never been wholly forgotten. Their traditions survived in Italy in the crude pantomime performances of the common people. Practically, however, the Middle Ages invented a new dramatic art of their own, developed from the gorgeous religious pantomime of the church services. The theatre was born of the cathedral; the stage, of the altar.
The plays, at first purely religious, rapidly developed a comic side, which by degrees became their central theme. The moral purpose of the performance was forgotten; and the Church disowned its evil changeling. To none of these early plays can the term "drama" be accurately applied; for each and all of them lack plot. They are merely a series of disconnected scenes, pictures having small connection and less development. The idea of pursuing a single, slowly developing story to its climax and conclusion dawns upon the modern stage only with the English Elizabethan drama.
Despite our imperfect knowledge of the plays and players of that time, one feels almost justified in saying that the modern drama was created about 1580 by Christopher Marlowe and was raised to the highest point of its development about 1600 by William Shakespeare.