In the following year The Theatre gained an ally in "The Curtain," which was built in the same neighborhood, both, of course, causing great indignation among the Puritans. In 1577, the year after the first playhouse had been erected, there appeared a furious pamphlet, by John Northbrooke, against "dicing, dancing, plays and interludes as well as other idle pastimes."
No doubt all possible means were taken to have plays forbidden and the playhouses pulled down, but though the attack of the Black Army never ceased for a moment, the Puritans did not succeed in getting the better of the theatres till the year 1642, when they acquired political power through the civil war; and, fortunately for the part of mankind which appreciates art, this precious flower of culture, one of the richest and most remarkable periods in the life of dramatic art, had developed into full bloom before the outbreak of the war.
In a sermon of 1578 we read the following bitter and deep-drawn sigh by the clergyman John Stockwood: "Wyll not a fylthye playe wyth the blast of a trumpette sooner call thyther a thousande than an houres tolling of a bell bring to the sermon a hundred?—nay, even heere in the Citie, without it be at this place and some other certaine ordinarie audience, where shall you finde a reasonable company?—whereas, if you resort to the Theatre, The Curtayne, and other places of playes in the Citie, you shall on the Lord's Day have these places, with many other that I cannot reckon, so full as possible they can throng."
That the bold defiance with which James Burbage and the other actors met the lord mayor and the corporation should prove so successful lay almost in the nature of things. The prohibition of plays within the bounds of the city of London did not mean that they were looked upon with animosity by the people, but merely that a majority of the corporation was unfriendly to them. It was soon shown that, though the wise city fathers could easily forbid the actors to perform their plays in London, they could not prevent the enthusiastic public from walking in crowds a mile out of town in order to see such performances, especially as people were quite accustomed to the journey. Burbage, who was a business-like man, had chosen his ground quite close to the public places, where the Londoners practised their open-air sports and amused themselves with tennis and football, stone-throwing, cock fights, and archery.
Although Burbage called his new building "The Theatre," the title was not intended to mean the theatre par excellence, for the word "theatre" was not then commonly used to denote a building in which dramatic representations were performed. It is more probable that he thought he had succeeded in choosing an elegant name with a certain suggestion of the old classics, which was euphonious and not quite common.
The usual name for a theatre was the playhouse, a house intended for all kinds of games and sport, such as fencing, bear-fights, bull-fights, jigs, morris-dances, and pantomimes, as well as for dramatic performances.
It cannot be sufficiently emphasized that the theatrical entertainments of those times were something more or less literary; anyhow, something quite apart from the dramatic performances of the present day. They were meant to satisfy mixed desires in the nation; but, besides satisfying its craving for beautiful, picturesque language, fine spectacles, and merry jests, they also gratified its desire for the display of physical strength, for shallow rhyming tricks and competitions, graceful exercises of the body, indeed for all that might be included under the notion of sport and give opportunity for betting.
Therefore, the plays, properly so called, alternated with fights between animals, in which bears and bulls were baited by great blood-thirsty bulldogs, or with fencing-matches fought by celebrated English and foreign fencing-masters, with rope-dancing, acrobatic tricks, and boxing. Even the serious performances ended with a more or less absurd jig, in which the clown sang endless songs about the events of the day, and danced interminable morris-dances.
Shakespeare and his contemporaries, whose works are now reckoned among the first literature—so much so that they are scarcely read any longer—at the time of which we are speaking were nothing but practical playwrights, and Shakespeare was so far from dreaming that the time would come when his plays would be counted among the most precious treasures of posterity that, as we know, he did not even take the trouble to have a printed edition of his works published.
The many fighting-scenes in the plays of the time, in Shakespeare's among the rest, the wrestling-match in As You Like It, the duel between Macduff and Macbeth, the fencing-scene between Hamlet and Laertes, no doubt afforded opportunities for magnificent displays of skill in the use of arms and in physical exercises, and we may be sure that the spectators followed those scenes with an interest which was perhaps more of a sporting than of a literary nature.