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formed. The room which gave way was in a private house, and appropriated to the service of religion.

I am unable to ascertain at what time the Globe theatre was built. Hentzner has alluded to it as existing in 1598, though he does not expressly mention it 9. I believe it was not built long before the year 1596'. It was situated on the Bankside, (the southern side of the river Thames,) nearly opposite to Friday Street, Cheapside. It was an hexagonal wooden building, partly open to the weather, and partly

Blackfriars, where he should see a neaste of boyes able to ravish a man."

8

"1623. Ex occasu domûs scenicæ apud Black-friers, Londini, 81 personæ spectabiles necantur." Camdeni Annales ab anno 1603 ad annum 1623, 4to. 1691, p. 82. That this writer was misinformed, appears from an old tract, printed in the same year in which the accident happened, entitled, A Word of Comfort, or a Discourse concerning the late Lamentable Accident of the Fall of a Room at a Catholick Sermon in the Black-friers, London, whereby about four-score persons were oppressed, 4to. 1623.

See also verses prefixed to a play called The Queen, published by Alexander Goughe, (probably the son of Robert Goughe, one of the actors in Shakspeare's Company) in 1653:

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we dare not say

that Black friers we heare, which in this age "Fell, when it was a church, not when a stage;

"Or that the puritans that once dwelt there,

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Prayed and thriv'd, though the play-house were so near." Camden had a paralytick stroke on the 18th of August, 1623, and died on the 9th of November following. The above-mentioned accident happened on the 24th of October; which accounts for his inaccuracy. The room which fell, was an upper room in Hunsdon-House, in which the French Ambassador then dwelt. See Stowe's Chron. p. 1035, edit. 1631.

9 "Non longe ab uno horum theatrorum, quæ omnia lignea sunt, ad Thamesin navis est regia, quæ duo egregia habet conclavia," &c. Itin. p. 132. By navis regia he means the royal barge called the Gallyfoist. See the South View of London, as it appeared in 1599.

See "The Suit of the Watermen against the Players," in the Works of Taylor the Water Poet, p. 171.

thatched 2.

When Hentzner wrote, all the other theatres as well as this were composed of wood.

The Globe was a publick theatre, and of considerable size, and there they always acted by day-light*. On the roof of this, and the other publick theatres

2 In the long Antwerp View of London in the Pepysian Library at Cambridge, is a representation of the Globe theatre, from which a drawing was made by the Rev. Mr. Henley, and transmitted to Mr. Steevens. From that drawing this cut was made.

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3 The Globe, we learn from Wright's Historia Histrionica, was nearly of the same size as the Fortune, which has been already described.

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4 Historia Histrionica, 8vo. 1699, p. 7.

a pole was erected, to which a flag was affixed3. These flags were probably displayed only during the hours of exhibition; and it should seem from one of the old comedies that they were taken down in Lent, in which time, during the early part of King James's reign, plays were not allowed to be represented, though at a subsequent period this prohibition was dispensed with 7.

5 So, in The Curtain-Drawer of the World, 1612: “Each play-house advanceth his flagge in the aire, whither quickly at the waving thereof are summoned whole troops of men, women, and children."-Again, in A Mad World, my Masters, a comedy by Middleton, 1608: " the hair about the hat is as good as a flag upon the pole, at a common play-house, to waft company." See a South View of the City of London as it appeared in 1599, in which are representations of the Globe and Swan theatres. From the words, a common play-house," in the passage last quoted, we may be led to suppose that flags were not displayed on the roof of Blackfriars, and the other private playhouses.

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This custom perhaps took its rise from a misconception of a line in Ovid:

Tunc neque marmoreo pendebant vela theatro-. which Heywood, in a tract published in 1612, thus translates : "In those days from the marble house did waive

"No sail, no silken flag, or ensign brave."

"From the roof (says the same author, describing a Roman amphitheatre,) grew a loover or turret of exceeding altitude, from which an ensign of silk waved continually ;-pendebant vela theatro."-The misinterpretation might, however, have arisen from the English custom.

6"'Tis Lent in your cheeks;-the flag is down." A Mad World, my Masters, a comedy, by Middleton, 1608.

Again, in Earle's Characters, 7th edit. 1638: "Shrove-tuesday hee [a player] feares as much as the bawdes, and Lent is more dangerous to him than the butchers."

7" [Received] of the King's players for a lenten dispensation, the other companys promising to doe as muche, 44s. March 23, 1616.

"Of John Hemminges, in the name of the four companys, for toleration in the holy-dayes, 44s. January 29, 1618."

Extracts from the office-book of Sir George Buc. MSS. Herbert.

These dispensations did not extend to the sermon-days, as they were then called; that is, Wednesday and Friday in each week. VOL. III.

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I formerly conjectured that The Globe, though hexagonal on the outside, was perhaps a rotunda within, and that it might have derived its name from its circular forms. But, though the part appropriated

After Sir Henry Herbert became possessed of the office of Master of the Revels, fees for permission to perform in Lent appear to have been constantly paid by each of the theatres. The managers however did not always perform plays during that season. Some of the theatres, particularly the Red Bull and the Fortune, were then let to prize-fighters, tumblers, and ropedancers, who sometimes added a Masque to the other exhibitions. These facts are ascertained by the following entries :

"1622. 21 Martii. For a prise at the Red-Bull, for the howse; the fencers would give nothing. 10s." MSS. Astley. "From Mr. Gunnel, [Manager of the Fortune,] in the name of the dancers of the ropes for Lent, this 15 March, 1624. 1. 0. 0.

"From Mr. Gunnel, to allowe of a Masque for the dancers of the ropes, this 19 March, 1624. £2. 0. 0."

We see here, by the way, that Microcosmus, which was exhibited in 1637, (was not, as Dr. Burney supposes in his ingenious History of Musick, vol. iii. p. 485,) the first masque exhibited on the publick stage.

"From Mr. Blagrave, in the name of the Cockpit company, for this Lent, this 30th March, 1624. £2. 0. 0."

"March 20, 1626. From Mr. Hemminges, for this Lent allowanse, 2. 0. 0." MSS. Herbert.

Prynne takes notice of this relaxation in his Histriomastix, 4to. 1633 "There are none so addicted to stage-playes, but when they go unto places where they cannot have them, or when; as they are suppressed by publike authority, (as in times of pestilence, and in Lent, till now of late,) can well subsist without them." P. 784.

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8" After these," (says Heywood, speaking of the buildings at Rome, appropriated to scenick exhibitions,) they composed others, but differing in form from the theatre or ampitheatre, and every such was called circus; the frame globe-like, and merely round." Apology for Actors, 1612. See also our author's prologue to King Henry V.:

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or may we cram

"Within this wooden Ó," &c.

But as we find in the prologue to Marston's Antonio's Revenge, which was acted by the Children of Paul's in 1602:

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If any spirit breathes within this round-."

no inference respecting the denomination of the Globe can be drawn from this expression.

to the audience was probably circular, I now believe that the house was denominated only from its sign; which was a figure of Hercules supporting the Globe, under which was written, Totus mundus agit histrionem. This theatre was burnt down on the 29th of June, 1613'; but it was rebuilt in the following

9 Stowe informs us, that "the allowed Stewhouses [antecedent to the year 1545] had signes on their frontes towards the Thames, not hanged out, but painted on the walles; as a Boares Head, The Cross Keyes, The Gunne, The Castle, The Crane, The Cardinal's Hat, The Bell, The Swanne," &c. Survey of London, 4to. 1603, p. 409. The houses which continued to carry on the same trade after the ancient and privileged edifices had been put down, probably were distinguished by the old signs; and the sign of the Globe, which theatre was in their neighbourhood, was perhaps, in imitation of them, painted on its wall.

The following account of this accident is given by Sir Henry Wotton, in a letter dated July 2, 1613, Reliq. Wotton, p. 425, edit. 1685" Now to let matters of state sleepe, I will entertain you at the present with what happened this week at the Banks side. The Kings players had a new play called All is true, representing some principal pieces of the reign of Henry the Eighth, which was set forth with many extraordinary circumstances of pomp and majesty, even to the matting of the stage; the knights of the order with their Georges and Garter, the guards with their embroidered coats, and the like: sufficient in truth within a while to make greatness very familiar, if not ridiculous. Now King Henry making a Masque at the Cardinal Wolsey's house, and certain cannons being shot off at his entry, some of the paper or other stuff, wherwith one of them was stopped, did light on the thatch, where being thought at first but an idle smoak, and their eyes more attentive to the show, it kindled inwardly, and ran round like a train, consuming within less than an hour the whole house to the very ground. This was the fatal period of that virtuous fabrick, wherein yet nothing did perish but wood and straw, and a few forsaken cloaks; only one man had his breeches set on fire, that would perhaps have broyled him, if he had not by the benefit of a provident wit, put it out with bottle ale."

From a letter of Mr. John Chamberlaine's to Sir Ralph Winwood, dated July 8, 1613, in which this accident is likewise mentioned, we learn that this theatre had only two doors. “The burning of the Globe or playhouse on the Bankside on St. Peter's day cannot escape you; which fell out by a peal of chambers,

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