An Introduction to Shakespeare Part 2

The cla.s.sical type of drama, with its strict observance of the three unities,[2] was not congenial to the {31} English temperament. Its fetters were soon thrown off, and, with the notable exception of Ben Jonson (1573-1637), few Elizabethan playwrights conformed to its rules.

Its influence, however, was not confined to its imitators. From the cla.s.sical drama the Elizabethans gained a sense for form and for the value of dramatic technique, which did much to make the Elizabethan drama what it was.

+Three Predecessors of Shakespeare+.--The development of the English drama from the first attempts at comedy, tragedy, and history was extremely rapid. When Shakespeare came to London, he found there dramatists who were far on the road toward mastery of dramatic form, and who were putting into that form both great poetry and a profound knowledge of human nature. A complete list of these dramatists would include a number of names which have a permanent place in the history of English literature, such as those of Thomas Lodge, Thomas Nash, George Peele, and Robert Greene. Among these names three deserve especial prominence, not only because of the great achievements of these men, but because of their influence on Shakespeare. These men were Marlowe, Kyd, and Lyly.

It was Christopher Marlowe (1564-1593) who first gave to English blank verse those qualities which make it an extraordinarily perfect medium of expression. Before him, blank verse had no advantages to offer in compensation for the abandonment of rime. It was stiff, monotonous, and cold. Marlowe began to vary the position of the pauses within the line, and to do away with the pause at the end of some lines by {32} placing the breaks in thought elsewhere. Thus he gave to his verse ease, flexibility, and movement, and he put into it the warmth and vividness of his own personality. Upon such verse as this Shakespeare could hardly improve. But this by no means sums up his debt to Marlowe. His characterization of Richard III, for instance, was distinctly affected by that of Marlowe's hero Tamburlaine, a character to which the poet had given a pa.s.sionate life and an energy that made him more than human. In other ways less easy to define, Shakespeare must have been stimulated by Marlowe's fire. The latter's greatest tragedies, _Tamburlaine_, _Dr. Faustus_, and _Edward II_, contain poetry so beautiful, feeling so intense, and a promise of future achievement so remarkable, that his early death may fairly be said to have deprived English literature of a genius worthy of comparison with that of Shakespeare himself.

Although Thomas Kyd (1558-1594) was far from the equal of Marlowe, he was a playwright of real ability and one whose tragedies were unusually popular. Influenced greatly by Seneca, he brought to its climax the 'tragedy of blood'--a type of drama in which ungovernable pa.s.sions of l.u.s.t and revenge lead to atrocious crimes and end in gruesome and appalling murders. His famous _Spanish Tragedy_ was the forerunner of many similar plays, of which _t.i.tus Andronicus_ was one. He probably wrote the original play of _Hamlet_, which was elevated by Shakespeare out of its atmosphere of blood and horror into the highest realms of thought and poetry.

John Lyly (c. 1554-1606) was a master in an {33} entirely different field, that of highly artificial comedy. He brought court comedy to a hitherto unattained perfection of form and style, and in his best work, _Endymion_, he displayed a lovely delicacy of thought and expression which has kept his reputation secure. He is best known, however, for his prose romance, _Euphues_, which gave its name to the style of which it was the climax. Euphuism is a manner of writing marked by elaborate ant.i.thesis and alliteration, and ornamented by fantastic similes drawn from a ma.s.s of legendary lore concerning plants and animals.[3] This style, which nowadays seems labored and inartistic, was excessively admired by the Elizabethans. Shakespeare imitated it to some extent in _Love's Labour's Lost_, and parodied it in Falstaff's speech to Prince Hal, _I Henry IV_, II, iv. Several of Shakespeare's earlier comedies show Lyly's influence for good and ill--ill, in that it made for artificiality and strained conceits; good, in that it made for perfection of dramatic form and refinement of expression.

+The Masque+.--Somewhat apart from the main current of dramatic evolution is the development of the masque, which became extremely popular in the reign of James I. The English masque was an entertainment, dramatic in character, made up of songs, dialogue, and dances. It originated in masked b.a.l.l.s given by the n.o.bility or at court. To John Lydgate, working about 1430, is probably due the credit for introducing into such {34} disguisings a literary element, while the later course of the masque owes much to Italy. In the developed masque there were two cla.s.ses of partic.i.p.ants: n.o.ble amateurs, who wore elaborate costumes and danced either among themselves or with the spectators; and professional entertainers, who spoke and sang. The later masques had elaborate scenery and costumes, with just as much plot as would serve to string together the lyrics and dances.

Sometimes an anti-masque of grotesque figures was introduced to serve as contrast to the beautiful figures of the masque. The masques were produced with the utmost lavishness, the most extravagant one of which we know costing over 20,000. Some of them, such as those written by Ben Jonson, contain charming poetry; but their chief interest to the student of Shakespeare lies in the fact that their great popularity caused Shakespeare to introduce short masques into some of his plays, notably _Henry VIII_, _The Winter's Tale_, and _The Tempest_. In similar allegorical dances often given between the acts of Italian plays, has been sought the origin of the 'dumb-show,' which was occasionally introduced into English tragedies, and which appears in the Mouse-Trap given in _Hamlet_.

The most useful general histories of this period are: F. E. Sch.e.l.ling, _Elizabethan Drama_ (Houghton Mifflin, 1908); E. K. Chambers, _The Mediaeval Stage_ (Oxford, 1903); and Creizenach, _Geschichte des neueren Dramas_ (Halle, 1893-1909, and not yet complete). Some of the best Miracles, Moralities, and Interludes are easily accessible in _Everyman with other Interludes_ (Everyman's Library) and J. M. Manly's _Specimens of the Pre-Shakespearean Drama_ (Ginn & Co., 1897).

[1] An extract from the Concordia Regularis, a tenth-century appendix to the monastic "rule" of St. Benedict, describes this ceremony.

"While the third respond is chanted, let the remaining three follow [one of the brethren, vested in an alb, had before this quietly taken his place at the sepulcher], and let them all, vested in copes, and bearing in their hands thuribles with incense, and stepping delicately, as those who seek something, approach the sepulcher. These things are done in imitation of the angel sitting in the monument, and the women with spices coming to anoint the body of Jesus."

[2] The three unities of action, place, and time are usually believed to have been formulated by Aristotle, who is supposed to have said that a tragedy should have but a single plot and that the action should be confined to a single day and a single place. As a matter of fact, Aristotle is responsible for only the first of these, and this he presented as an observation on the actual condition which prevailed in Greek tragedy rather than as a dramatic principle for all time. The other principles, which were later deduced from the general practice of the Greeks,--a practice arising from the manner in which their plays were staged,--were, together with the first, elevated by the Romans to the dignity of fixed dramatic laws.

[3] The following quotation from Euphues (ed. Bond, i, 289) ill.u.s.trates this style: "Hee that seeketh ye depth of knowledge is as it were in a Laborinth, in which the farther he goeth, the farther he is from the end: or like the bird in the limebush which the more she striveth to get out, ye faster she sticketh in." With this cf. _Hamlet_, III, iii, 69; _I Henry IV_, II, iv, 441.

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CHAPTER III

THE ELIZABETHAN THEATER

In 1575 London had no theaters; that is, no building especially designed for the acting of plays. By 1600 there were at least six, among which were some so large and beautiful as to arouse the unqualified admiration of travelers from the continent. It is the purpose of this chapter to give in outline the history of this rapid development of a new type of building; to describe, as accurately as may be, the general features of these theaters; and to indicate the influence which these features exerted upon the Shakespearean drama.

But before doing this it is necessary to point out the causes which made the first Elizabethan theater what it was.

+The Predecessors of the Elizabethan Theater+.[1]--Of these, the most important was the innyard. As soon as the acting of plays ceased to be merely a local affair, as soon as there were companies of actors which traveled from town to town, it became necessary to find some place for the public presentation of plays other than the pageants of the guilds or the temporary scaffolds sometimes erected for miracle plays. Such a place was offered by the courtyard of an inn. The larger inns of {36} this period were, for the most part, built in the form of a quadrangle surrounding an open court. Opening directly off this court were the stables, the kitchen, and other offices of the inn; above these were from one to three stories of bedrooms and sitting rooms, entered from galleries running all round the court. When such a courtyard was used for theatrical performances, the actors erected a platform at one end to serve as a stage; the s.p.a.ce back of this, shut off by a curtain, they used as a dressing-room; and the part of the gallery immediately over it they employed as a second stage which could represent the walls of a city or the balcony of a house. In the courtyard the poorer cla.s.s of spectators stood; in the galleries the more wealthy sat at their ease. These conditions made the innyards much better places for play acting than were the city squares, while they were given still another advantage from the actors' point of view by the fact that the easily controlled entrance gave an opportunity for charging a regular admission fee--a fee which varied with the desirability of the various parts of the house. Thus the innyards made no bad playhouses, and they continued to be used as such even after theaters were built.

They had, however, one obvious disadvantage; their long, narrow shape made a large number of the seats and a large proportion of the s.p.a.ces available for standing room distinctly bad places from which to see what was happening on the stage. To remedy this defect, the builders of the theaters took a suggestion from the bull-baiting and bear-baiting rings. These rings, of which a considerable number already existed {37} in the outskirts of London, had been built for fights between dogs and bulls or bears, sports vastly enjoyed by the Elizabethans. The rings, like the innyards, had galleries in which spectators could sit and an open yard in which they could stand, and they possessed the added merit of being round. Very possibly these rings, like the Cornish rings used for miracle plays, originated in the stone amphitheaters built by the Romans during their occupation of Britain, buildings occasionally used, even in the sixteenth century, for the performance of plays. It is hardly necessary, nevertheless, to look farther than the bear ring to find the cause which determined the shape of the Elizabethan public theater.

+The History of the Public Theaters+.--With such models, then, James Burbage--the father of Richard Burbage, later the great actor manager of Shakespeare's company--built the first London theater in 1576. It was erected not far outside the northern walls of the city, and was called simply the Theater. Not far away, a second theater, the Curtain, was soon put up, so called not from any curtain on the stage, but from the name of the estate on which it was built. The next theater, the Rose, was situated in another quarter, on the Surrey side of the Thames, where the bear-baiting rings were. This was constructed, probably in 1587, by Philip Henslowe, a prominent theatrical manager. Some time after 1594, a second theater, the Swan, was put up in this same region, commonly called the Bankside. The suitability of the Bankside as a location for theaters is still further attested by the removal thither of the Theater in the winter of 1598-1599. The owner of the land on which the Theater had originally been {38} built had merely leased it to Burbage--who had since died,--and, when the lease expired, he attempted to raise the rent, probably believing that the Burbage heirs were receiving large profits from the building. Being unwilling to pay this increased rent, the Burbages took down the building, and reerected it on the Bankside, this time calling it the Globe. The last to be built of the great public theaters was the Fortune, which Henslowe erected in 1600. The situation of the Fortune outside Cripplegate, although a considerable distance west of the Curtain, was, roughly, that of the earlier theaters, the northern suburbs of the city.

This list does not include all the theaters built or altered between 1576 and 1600, nor did such building stop at the latter date,--the Globe, for instance, was burnt and again rebuilt in 1613,--but the sketch is complete enough for our purposes. By the end of 1600 all the more important public theaters were open, and after that date, so far as we know, no important changes in construction were made. The next real step--which was to do away altogether with this type of theater--did not come until after the Restoration.

+The Buildings+.--Before describing the buildings themselves, it is necessary to make one qualification. It is impossible to speak of the 'Elizabethan theaters' or of the 'Elizabethan stage' as if there were one type to which all theaters and stages conformed. The Fortune was undoubtedly a great improvement over the Theater, the outcome of an evolution which could be traced through the other theaters if we had the necessary doc.u.ments. If the various theaters did not differ from each other as some of our modern theaters do, they {39} still did differ in important points. For example, while the Globe and the Curtain were round, other theaters were hexagonal or octagonal, and the Fortune was square. Likewise, there were certainly differences in size. In spite of these facts, it is, however, still possible to describe the theaters, in general terms which are sufficiently accurate for our present purpose.

An Elizabethan theater was a three-story building of wooden or half-timber construction. The three stories formed three galleries for spectators. The first of these was raised a little above the level of the ground, while the yard, or 'pit,' in which the lower cla.s.s of spectators stood, seems to have been somewhat sunken. The galleries were supported by oaken columns, often handsomely carved and ornamented. They were roofed and ceiled, but the yard was open to the weather. Although we know that the Fortune was eighty feet square outside, and that the yard within was fifty-five feet square, we are left in uncertainty about the seating capacity. From fifteen hundred to eighteen hundred is, however, the most convincing estimate. There were two boxes, or 'gentlemen's rooms,' presumably in the first balcony on either side of the stage. Besides these, there were other, cheaper boxes, and the rest of the balcony s.p.a.ce was filled with seats. The better seats were most comfortably cus.h.i.+oned, and the whole theater anything but the bare rude place which people often imagine it.

Coryat, a widely traveled Englishman of the period, writes of the theaters which he saw in Venice that they were "bare and beggarly in comparison of our stately playhouses in England; neither can their actors compare with us for stately apparel, {40} shows, or music."

That this was no mere British prejudice is shown by the similar statements of foreigners traveling in England.

The most striking difference between Elizabethan and modern theaters was in the position of the stage, which was not back of a great proscenium frame, but was built out as a platform into the middle of the yard. At the Fortune, the stage was forty-three feet wide,--wider, that is, than most modern stages.[2] Jutting out from the level of the top gallery, and extending perhaps ten feet over the stage, was a square structure called the 'hut,' which rose above the level of the outside walls. Built out from the bottom of this, a roof, or 'shadow,'

extended forward over a large part of the stage. The front of this 'shadow' was borne, in the better theaters, on two columns. The shadow and the hut, taken together, are often referred to as the 'heavens.'

+The Stage+.--When we turn from these general features of the theaters to the stage, we shall find it convenient to speak of a front and a rear stage, but this does not imply any permanent line of demarcation between the two, or that they were not often used together as a single field of action. The rear stage is simply that part of the stage which could be shut off from the spectators by curtains; the other, that part which lay in front of the curtains. In other words, the front stage is that portion of the stage which was built out into the yard, for the curtains continued the line made around the rest of the house by the front {41} of the galleries. In both front and rear stages were traps out of which ghosts or apparitions could rise and into which such properties as the caldron in _Macbeth_ could sink. From the 'heavens,'

actors representing G.o.ds or spirits--as Jupiter in _Cymbeline_ or Ariel in _The Tempest_--could be lowered by means of a mechanical contrivance.

[Ill.u.s.tration: TIMON OF ATHENS, v, 4. OUTER SCENE.

_Trumpets sound. Enter Alcibiades with his Powers before Athens._

_Alc_. "Sound to this Coward, and lascivious Towne. Our terrible approach."

_Sounds a parly. The Senators appeare upon the Wals._

Reproduced from _The Shakespearean Stage_, by V. E. Albright, through the courtesy of the publishers, the Columbia University Press.]

The arrangement of the rear stage may have differed considerably in the various theaters, but the typical form may best be described as an alcove in front of which curtains could be drawn. This alcove was by no means so small as the word may seem to imply, but must have been about half as wide as the front stage and perhaps a quarter as deep.

In its rear wall was a door through which the actors could enter without being seen when the curtains were drawn, and it seems to have had side doors as well. To the right and left of it were doors for such entrances to the front stage as could not properly be made through the curtains. This part of the stage was used for such scenes as the caves in _Cymbeline_ or _The Tempest_, for the tomb in _Romeo and Juliet_, and for scenes in which characters concealed themselves behind the arras, as in _I Henry IV_ or _Hamlet_. Since the front stage could not be concealed from the spectators, most heavy properties were placed on the back stage, so that this part of the stage was generally used for scenes which required such properties. For many of these scenes, however, both parts of the stage were used, the actors spreading out over the front stage soon after the beginning of the scene.

The s.p.a.ce between the top of the back stage and the {42} heavens formed a balcony, like the balcony already described as part of the stage as arranged in the inn-yards. This balcony could also be curtained off when occasion required. To the right and left of it, over the doors leading to the front stage, some of the theaters had window-like openings, which were probably not in line with the balcony, but, like the doors below them, projected at an oblique angle. At one of these windows Jessica appeared in the second act of _The Merchant of Venice_; from the balcony Romeo took leave of Juliet. Thus the Elizabethan dramatist had three fields of action--a front, rear, and upper stage--which he could use singly, together, or in various combinations.

+Settings and Costumes+.--In order to understand the way in which this stage was utilized, the student must dismiss from his mind two widespread errors. The Elizabethan stage was by no means a bare, unfurnished platform, nor did the managers subst.i.tute for a setting placards reading "This is a Forest," or "This is a Bedroom." The difference between that age and this is not one between no settings and good ones; it is even possible to doubt whether Shakespeare's plays were not put on more effectively then than in most of our modern theaters. The difference is one of principle, and even this difference may easily be exaggerated. When we say that Elizabethan stagings were 'symbolic,' whereas ours are pictorial, we mean that on the former the presence of a few selected objects suggested to the mind of the spectator all the others which go to make up the kind of scene presented. When a few trees were placed upon the stage, the audience supplied in {43} imagination the other objects that belong in a forest; when a throne was there, they saw with the mind's eye a room of state in a palace. But our modern stage also demands the help of the imagination. It is very far from presenting a completely realistic picture. We see three sides of a room and accept the room as complete, although none of us live in rooms which lack a side. We see a great cathedral painted on a back drop, and are hardly disturbed by the fact that an actor standing near it is twice as high as one of the doors.

The difference between the two stages really simmers down to this: our symbols are of painted canvas, the Elizabethans' were of another sort.

It is extremely unlikely that the Elizabethans used painted scenes in their public theaters. If they ever did, such 'painted cloths' were of the simplest sort, and not pictures painted in perspective. Instead, they relied for their effects upon solid properties--sometimes quite elaborate ones--such as trees, tombs, wells, beds, thrones, etc.

These, as has been said, were usually set on the rear stage, although some of them, such as couches and banquet tables, were occasionally brought forward during the course of a scene.

There were, however, scenes which were acted without any setting. The Elizabethans did not feel it necessary to have every scene definitely localized. Consequently, many scenes which are described in our modern editions of Shakespeare as 'A Street,' 'A Place before the Castle,'

etc., were not definitely a.s.signed to any place, and were usually acted without settings on the front stage before the closed curtains. In order that no time should be lost while properties were {44} being changed, such scenes were commonly inserted between scenes requiring properties, so that a certain alternation between set and unset scenes resulted. The fourth act of the _Merchant of Venice_, for example, begins with the court-room scene, which demanded the whole stage, the properties for the court-room being set on the back stage, with perhaps some moved toward the front. The fifth act takes place in Portia's garden, which also took up the whole stage, with garden properties set on the rear stage. Between these two scenes comes the one in the street, which was acted before the closed curtains and required no properties. The arrangement is somewhat like that followed in many modern melodramas, where a scene not requiring properties is acted in front of a drop scene while scenery is being set behind. The raising of the drop--which corresponds to the opening of the Elizabethan curtains--not only reveals the setting behind, but also makes the whole stage, including that part which was in front of the drop, the scene of the action which follows.[3]

[Ill.u.s.tration: TIMON OF ATHENS, v, 3. INNER SCENE.

_Enter a Souldier in the Woods, seeking Timon._

"_Sol_.--Timon is dead, who hath out-stretcht his span, Some Beast reade this; There do's not live a Man.

Dead sure, and this his Grave, what's on this Tomb."

Reproduced from _The Shakespearean Stage_, by V. E. Albright, through the courtesy of the publishers, the Columbia University Press.]

The costumes on Shakespeare's stage were very elaborate, but there was no desire to make them characteristic of any historical period.

Indeed, the striving after historical accuracy of costume is so much a modern notion that it was nearly two centuries later when Macbeth and Julius Caesar began to appear in costumes appropriate to their respective periods. On the other hand, there probably was some attempt to distinguish the dress of different nationalities. Some notion of how elaborate the costumes of Elizabethan actors were is given by the fact that Henslowe's {45} diary[4] has an entry of 4 14s. paid for a pair of hose, and 20 for a cloak. In connection with this it must be remembered that money was worth then about eight times what it is now, and that a playwright of the time rarely received more than 8 for a play. Another indication is given in Henslowe's list of the costumes belonging to the Lord Admiral's men, which included some eighty-seven garments, for the most part of silk or satin, ornamented with fringe and gold lace.