Stays the time from turning old,
And keeps the age up in a head of gold.
He makes it ever day and ever spring
When he doth shine, and quickens everything.
Then two Fays sing a song and all the Fays together dance, after which all together sing. Then Oberon and his knights dance. Another song follows. Then they all together dance 'measures, corantos, and galliards,' till Phosphorus the day star appears and calls them away—
To rest! To rest! The herald of the day,
Bright Phosphorus commands you hence. Obey.
They quickly dance their last dance, one by one getting into the Palace. Then the Star vanishes, the day breaks, and while the last song is sung the 'machine closes'—i.e. the Palace becomes a wall of the room and the show is over. This is the pretty song which ends the Masque:
O yet how early and before her time,
The envious morning up doth climb,
Though she not love her bed!
What haste the jealous sun doth make
His fiery horses up to take
And once more show his head!
Lest, taken with the brightness of this night,
The world should wish it last and never miss his light.
49. PLAYS AND PAGEANTS.
PART IV.
Through the Religious Drama, the Pageant, the Masque, we work our way to the Play itself. The first beginnings of the modern Drama must here be passed over: there were the rough and unformed comedies such as 'Gammer Gurton's Needle,' performed in a college hall: or the tragedy played on boards spread over a waggon in the courtyard of an inn. Let us suppose that we are past the beginnings and are in Shakespeare's time—i.e. the end of Queen Elizabeth and the whole reign of James I.
The first theatre was built in 1570. Thirty years after there were seven. The Queen had companies of children to play before her. They were the boys of the choirs of St. Paul's, Westminster, Whitehall, and Windsor. The actors called themselves the servants of some great lord. Lord Leicester, Lord Warwick, Lord Pembroke, Lord Howard, the Earl of Essex, and others all had their company of actors—not all at the same time. The principal Houses were those at Southwark, and especially at Bank Side, where there were three, including the famous Globe: the Blackfriars Playhouse: the Fortune in Golden Lane, and the Curtain at Shoreditch. If you will look at the map you will observe that not one of these theatres is within the City—that at Blackfriars was in the former precinct of the Dominicans and outside the City. No theatre was allowed in the City. Thus early sprang up the prejudice against actors. Probably this was of old standing, and first belonged to the time when the minstrel and the tumbler, the musician and the dancing girl, the buffoon and the contortionist, wandered about the country free of rule and discipline, leading careless and lawless lives.
The theatre was octagonal in shape but circular within. What we call the pit was called the 'yarde.' The stage projected into the 'yarde,' about three or four feet high. The people who filled the 'yarde' were called groundlings. Round the house were three galleries, the lowest of which contained 'rooms' or private boxes: what we call the upper circle and the gallery were above. There were no seats in the pit, nor apparently in the upper circles. On either side of the stage sat or lay gentlemen, chiefly of the younger kind, who smoked pipes of tobacco and talked loudly, disturbing the performance. At the back of the stage was a kind of upper stage, supported on columns, which gave the players a tower, gallery, wall, a town, or an upper story of a house, or anything of the kind that they wanted. There was a great sale of apples, nuts, and ale before the play began and between the acts: boys hawked the newest books about the 'rooms': the people while they waited smoked pipes, played cards. Above the stage on one side was the 'music.' Three times the trumpets sounded. At the first, those who were outside hurried in to get a place: at the second, the card-players left off their games: at the third, those who bawled apples and ale and shouted the name of the new book became silent: the audience settled down: the Play began. Not much costume was wanted: that of the Elizabethan—noble—courtier—young knight—clown—fitted any and every age. There was little scenery required: blue hangings above meant day: black hangings night: the actors came out upon the advanced stage and played their parts. No doubt the illusion was as complete as we can contrive with all our scenery, mounting, and correctness of costume.