[Footnote 9: Does this refer to the pause that expresses the unutterable? or to the ruin of the measure of the verse by an incompetent heroine?]
[Footnote 10: Does this mean, 'I think their prohibition comes through the late innovation,'—of the children's acting; or, 'I think they are prevented from staying at home by the late new measures,'—such, namely, as came of the puritan opposition to stage-plays? This had grown so strong, that, in 1600, the Privy Council issued an order restricting the number of theatres in London to two: by such an innovation a number of players might well be driven to the country.]
[Page 96]
Ham. Doe they hold the same estimation they did when I was in the City? Are they so follow'd?
Rosin. No indeed, they are not. [Sidenote: are they not.]
[1]Ham. How comes it? doe they grow rusty?
Rosin. Nay, their indeauour keepes in the wonted pace; But there is Sir an ayrie of Children,[2] little Yases,[3] that crye out[4] on the top of question;[5] and are most tyrannically clap't for't: these are now the fashion, and so be-ratled the common Stages[6] (so they call them) that many wearing Rapiers,[7] are affraide of Goose-quils, and dare scarse come thither.[8]
Ham. What are they Children? Who maintains 'em? How are they escoted?[9] Will they pursue the Quality[10] no longer then they can sing?[11] Will they not say afterwards if they should grow themselues to common Players (as it is like most[12] if their meanes are no better) their Writers[13] do them wrong, to make them exclaim against their owne Succession.[14]
Rosin. Faith there ha's bene much to do on both sides: and the Nation holds it no sinne, to tarre them[15] to Controuersie. There was for a while, no mony bid for argument, vnlesse the Poet and the Player went to Cuffes in the Question.[16]
Ham. Is't possible?