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diff --git a/13469-h/13469-h.htm b/13469-h/13469-h.htm new file mode 100644 index 0000000..c9098c3 --- /dev/null +++ b/13469-h/13469-h.htm @@ -0,0 +1,6211 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> +<title>The Project Gutenberg eBook of A History of Pantomime, by R. J. Broadbent</title> +<style type="text/css"> + <!-- + body { margin-left: 5%; margin-right: 5%; } + p { text-indent: 1em; + margin-top: .75em; + font-size: 100%; + text-align: justify; + margin-bottom: .75em; } + h1, h2, h3, h4, h5, h6 { text-align: center; } + hr { width: 50%; } + hr.full { width: 100%; + height: 5px; } + .foot { margin-left: 10%; margin-right: 10%; text-align: justify; text-indent: -3em; font-size: 85%; } + .poem { margin-left: 10%; margin-right: 10%; margin-bottom: 1em; text-align: left; } + .poem .stanza { margin: 1em 0em 1em 0em; } + .poem p { margin: 0; padding-left: 3em; text-indent: -3em; } + .poem p.i2 { margin-left: 1em; } + .poem p.i4 { margin-left: 2em; } + .poem p.i6 { margin-left: 3em; } + .poem p.i8 { margin-left: 4em; } + .poem p.i10 { margin-left: 5em; } + .toc { margin-left: 15%; font-size: 80%; margin-bottom: 0em;} + center { padding: 0.8em;} + a:link {color:#0000ff; + text-decoration:none} + link {color:#0000ff; + text-decoration:none} + a:visited {color:#0000ff; + text-decoration:none} + a:hover {color:#ff0000} + pre.pg {font-size: 9pt;} + // --> +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 13469 ***</div> +<h1>The Project Gutenberg eBook, A History of Pantomime, by R. J. Broadbent</h1> +<br> +<br> +<br> +<br> +<hr class="full" noshade> +<br> +<br> +<br> +<h1> + A +</h1> +<center> + <h1>HISTORY OF PANTOMIME. </h1> +</center> +<center><b> + BY +</b></center> +<center><b> + R. J. BROADBENT, +</b></center> +<p style="text-align: center"> + Author of "STAGE WHISPERS," etc. +</p> +<p style="text-align: center"> + </p> +<center> + LONDON<br> + <br> + 1901 +</center> +<p style="text-align: center"> + </p> + + +<hr> +<p style="text-align: center"> + </p> + + +<h3> + TO +</h3> +<h3> + WILLIAM WADE, ESQUIRE. +</h3> +<p style="text-align: center"> + This book is dedicated as a small token of the + Author's esteem and regard. +</p> +<center> + R.J.B. + <p> </p> +</center> + + + +<hr> + + +<h2> + </h2> + +<h2> + CONTENTS. +</h2> + <p style="text-indent: 0em"><a href="#PREFACE">PREFACE</a></p> +<p style="text-indent: 0em"> </p> +<p style="text-indent: 0em"><a href="#2HCH0001">CHAPTER I.</a></p> +<blockquote> + <p style="text-indent: 0em">Origin of Pantomime<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0002">CHAPTER II.</a></p> +<blockquote> + <p style="text-indent: 0em">Origin of Tragedy and Comedy—Mythology—The meaning of +the word Pantomime—The origin of Harlequin, Columbine, +Clown, and Pantaloon—Grecian Mythology—Transformation +Scenes—The rise of Grecian Tragedy and Comedy—The Satirical Drama<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0003">CHAPTER III.</a></p> +<blockquote> + <p style="text-indent: 0em">The origin of the Indian Drama—Aryan Mythology—Clown +and Columbine—Origin of the Chinese Drama—Inception +of the Japanese Drama—The Siamese Drama—Dramatic +performances of the South Sea Islanders, Peruvians, Aztecs, Zulus, and Fijis—The + Egyptian Drama +<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0004">CHAPTER IV. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">"Dancing," <i>i.e.</i> Pantomime—Grecian Dancing and Pantomimic +Scenes—Aristotle—Homer—Dances common to both Greeks and Romans +<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0005">CHAPTER V. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">Thespis—The Progress of Tragedy and Comedy—Aeschylus—The +Epopée—Homer—Sophocles—Euripides—Grecian +Mimes—The First Athenian Theatre—Scenery and Effects<br> + </p> +</blockquote> +<p style="text-indent: 0em"> </p> +<p style="text-indent: 0em"><a href="#2HCH0006">CHAPTER VI. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">Roman Theatres—Description—"Deadheads"—Pantomime +in Italy—Livius Andronicus—<i>Fabulae Atellanae</i>—Extemporal +Comedy—Origin of the Masque, Opera, and +Vaudeville—Origin of the term Histrionic—Etruscans—Popularity +of Pantomime in Italy—Pantomimists banished +by Trajan—Nero as a Mime—Pylades and Bathyllus—Subjects +chosen for the Roman Pantomimes—The Ballet—The +<i>Mimi</i> and <i>Pantomimi</i>—<i>Archimimus</i>—Vespasian—Harlequin—"Mr. +Punch"—Zany, how the word originated—Ancient +Masks—Lucian, Cassiodorus, and Demetrius +in praise of Pantomime—A celebrated <i>Mima</i>—Pantomimes +denounced by early writers—The purity of the +English stage contrasted with that of the Grecian and +Roman—Female parts on the Grecian and Roman stages—The +principal Roman <i>Mimas</i>—The origin of the Clown of the early English + Drama<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0007">CHAPTER VII. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">Introduction of the Roman Pantomimic Art into Britain—First +English reference to the word Pantomime—The +fall of the Roman Empire—The sacred play—Cornish +Amphitheatres—Pantomimical and Lyrical elements in +the sacrifice of the Mass—Christian banishment of the +<i>Mimis</i>—Penalties imposed by the Church—St. Anthony +on Harlequin and Punch—Vandenhoff—what we owe to +the <i>Mimis</i></p> + <p style="text-indent: 0em"> +<br> + </p> +</blockquote> +<a href="#2HCH0008">CHAPTER VIII. </a> +<blockquote> + <p> +<br> +Pantomime in the English Mystery or Miracle Plays and +Pageants—A retrospect of the Early Drama—Mysteries +on Biblical events—Chester, Coventry, York, and Towneley +Mystery Plays—Plays in Churches—Traces of the +Mystery Play in England in the Nineteenth Century—Mystery +Plays on the Continent—The Chester series of +Plays—The Devil or Clown and the <i>Exodiarii</i> and +<i>Emboliariae</i> of the Ancient Mimes</p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0009">CHAPTER IX. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">The Clown or Fool of the early English Drama—Moralities—The +Interlude—The rise of English Tragedy and +Comedy—"Dumb Shews" in the Old Plays—Plays suppressed by Elizabeth—A + retrospect<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0010">CHAPTER X. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +The Italian Masque—The Masque in England—First +appearance in this country of Harlequin—Joe Haines as +Harlequin—Marlowe's "Faustus"—A Curious Play—The +Italian Harlequin—Colley Cibber, Penkethman—Shakespeare's +Burlesques of the Masque—Decline of the Masque<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0011">CHAPTER XI. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Italian Pantomime—Riccoboni—Broom's "Antipodes"—Gherardi—Extemporal +Comedies—Salvator Rosa—Impromptu Acting<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0012">CHAPTER XII. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Pantomimical Characters—Neapolitan Pantomime—The +Harlequin Family—The Original Characters in the +Italian Pantomimes—Celebrated Harlequins—Italian +and French Harlequins—A French view of the English +Clown—Pierrots' origin—Pantaloon, how the name has +been derived—Columbine—Marionette and Puppet Shows<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0013">CHAPTER XIII. </a> +<br> + </p> +<blockquote> + <p style="text-indent: 0em">Italian Scenarios and English "Platts"—Pantaloon—Tarleton, +the Clown—Extemporal Comedy—The Poet +Milton—Ben Jonson—The Commonwealth—"A Reign +of Dramatic Terror"—Robert Cox and his "Humours" and "Drolleries"—The + Restoration<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0014">CHAPTER XIV. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Introduction of Pantomimes to the English Stage—Weaver's +"History of the Mimes and Pantomimes"—Weaver's +Pantomimes—The prejudice against Pantomimes—Booth's counsel<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0015">CHAPTER XV. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +John Rich and his Pantomimes—Rich's Miming—Garrick, +Walpole, Foote—Anecdotes of Rich—Pope—The dance +of internals in "Harlequin Sorcerer"—Drury Lane—Colley +Cibber—Henry Fielding, the Novelist—Contemporary +Writers' opinion of Pantomime—Woodward, the +Harlequin—The meaning of the word Actor—Harlequins—"Dr. +Faustus," a description—William +Rufus Chetwood—Accidents—Vandermere, the Harlequin—"Orpheus +and Eurydice" at Covent Garden—A +description—Sam. Hoole, the machinist—Prejudice +against Pantomime—Mrs. Oldfield—Robert Wilks—Macklin—Riot +at Lincoln's Inn Fields Theatre—Death of Rich<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0016">CHAPTER XVI. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Joseph Grimaldi<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0017">CHAPTER XVII. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Plots of the old form of Pantomimes—A description of +"Harlequin and the Ogress; or the Sleeping +Beauty of the Wood," produced at Covent Garden—Grimaldi, +<i>Père et Fils</i>—Tom Ellar, the Harlequin, and +Barnes, the Pantaloon—An account of the first production +of the "House that Jack built," at Covent Garden—Spectacular +display—Antiquity and Origin of some +Pantomimic devices—Devoto, Angelo, and French, the +Scenic Artists—Transparencies—Beverley—Transformation Scenes<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0018">CHAPTER XVIII. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Pantomimic Families—Giuseppe Grimaldi—James Byrne, +the Harlequin and Inventor of the modern Harlequin's +dress—Joseph Grimaldi, Junior—The Bologna Family—Tom +Ellar—The Ridgways—The Bradburys—The +Montgomerys—The Paynes—The Marshalls—Charles +and Richard Stilt—Richard Flexmore—Tom Gray—The +Paulos—Dubois—Arthur and Charles Leclerq—"Jimmy" +Barnes—Famous Pantaloons—Miss Farren—Mrs. +Siddons—Columbines—Notable Actors in Pantomime<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0019">CHAPTER XIX.</a></p> +<blockquote> +<p style="text-indent: 0em"> +<br> +Popular Pantomime subjects—Poor Pantomime Librettos—Pantomime +subjects of our progenitors—The various +versions of "Aladdin"—"The Babes in the Wood"—"Blue +Beard"—"Beauty and the Beast"—"Cinderella"—"Dick +Whittington"—"The House that Jack Built"—"Jack +the Giant Killer"—"Jack and the Beanstalk"—"Red +Riding-Hood"—"The Sleeping Beauty in the +Wood"—Unlucky subjects—"Ali Baba and the Forty +Thieves"—"The Fair One with Golden Locks"—The +source of "Sindbad the Sailor" and "Robinson Crusoe"<br> +</p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0020">CHAPTER XX. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> + Pantomime in America<br> + </p> +</blockquote> + <p style="text-indent: 0em"><a href="#2HCH0021">CHAPTER XXI. </a> </p> +<blockquote> + <p style="text-indent: 0em"> +<br> +Pantomimes made more attractive—The Restrictive Policy +of the Patent Houses—"Mother Goose" and "George +Barnwell" at Covent Garden—Lively Audiences—"Jane +Shore"—"Harlequin Pat and Harlequin Bat"—"The +first speaking opening"—Extravagence in Extravaganzas—The +doom of the old form of Pantomime—Its +revival in a new form—A piece of pure Pantomime—Present +day Mimetic Art—"<i>L'Enfant Prodigue</i>"—A retrospect—The old with + the new, and conclusion</p> +</blockquote> + + +<p> </p> + + +<hr> +<p style="text-align: center"> +<br> + + +</p> + + +<h2> + <a name="PREFACE">PREFACE. </a> +</h2> +<p> + One of the most important factors in the making of Theatrical History + has been that of Pantomime, yet in many of the published works dealing + with the History of the Stage it has, with the exception of a passing + reference here and there, been much neglected. +</p> +<p> + It is with a view of conveying to the reading public some little, and, + perhaps, new information about this ancient form of entertainment that I + am tempted to issue this History of Pantomime in the hope and belief + that it may not only prove interesting, but also instructive, to all + lovers of the Stage. +</p> +<center> + R.J.B. +</center> +<p style="text-align: center"> + Liverpool, December, 1901. +</p> + + + +<a name="2HCH0001"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER I. +</h2> +<h3> + Origin of Pantomime. +</h3> +<p> + From the beginning of all time there has been implanted in the human + breast the Dramatic instinct full of life and of vigour, and finding + undoubtedly its outlet, in the early days of civilization, if not in the + Dramatic Art then in the poetry of motion with that necessary and always + essential concomitant of both—Pantomime. Indeed, of the Terpsichorean + Art, it has been truly observed "That deprived of the imitative + principle (<i>i.e.</i>, Pantomime), the strength, the mute expression, it + becomes nothing but a series of cadenced steps, interesting merely as a + graceful exercise." Equally so in every way does it apply to the + Dramatic Art, which minus its acting, its gestures—in a word, its + Pantomime—we have nothing but, to quote Hamlet, "Words, words, words." +</p> +<p> + In observing "That all the world's a stage, and the men and women merely + players," Shakespeare doubtless included in the generic term "players," + Pantomimists as well: Inasmuch as this, that when, and wherever a + character is portrayed, or represented, be it in real life or on the + stage—"Nature's looking-glass," and the world in miniature—the words + that the individual or the character speaks, are accompanied with + gesture and motion, or, in other words, Pantomime, when "The action is + suited to the word, the word to the action." +</p> +<p> + To trace the original origin of Pantomime, or Mimicry, we must go to + Nature herself where we can find this practised by her from the + beginning of all time as freely, and as fully, as ever it was, or ever + will be, upon the stages of our theatres. What better evidence, or + instances, of this can we have than in those studies of her handiwork? + as the larger species of caterpillars, when, by stretching themselves + out in imitation of, and to make their foes think that they are snakes; + tigers and lions choosing a background in keeping with, and in imitation + of, the colours of their bodies, in order to seize their unwary prey; + and for the same purpose crocodiles imitating a rotting log; the green + tint of the lizard's skin for the sake of concealment; the playful + imitativeness of the mocking bird; the hysterical laugh of the hyaena; + the gaudy colours of tropical snakes imitated by others, besides many + other examples of Mimicry, in such as butterflies of the species + <i>Danaidae</i> and <i>Acraediae</i>, the <i>Heliconidiae</i> of tropical America; and + hornets, wasps, ants, and bees. All this, it may be urged, is only + instinct. True; but is it not also Mimicry—the Pantomime of Nature, + and, though, of course, of a different kind, and for very different + objects, is, nevertheless, of a kind of instinctive Pantomime or Mimicry + which each and every one of us possesses in greater or lesser degrees, + and as much as we do the Dramatic instinct. +</p> +<p> + The very name Pantomime itself signifies Nature as Pan was amongst the + Ancients, the allegorical god of Nature, the shepherd of Arcadia, and + with <i>Mimos</i>, meaning an imitator, we have, in the combination of these + two words, "an imitator of Nature," and from whence we derive the origin + of our word Pantomime. +</p> +<p> + Dryden says:— +</p> +<pre> "Pan taught to join with wax unequal reeds; + Pan loves the shepherds and the flocks he feeds." +</pre> +<p> + "Pan," says Servius, "is a rustic god, formed in similitude of Nature, + whence he is called Pan, <i>i.e.</i>, All: for he has horns in similitude of + the rays of the sun and the horns of the moon; his face is as ruddy as + the imitation of the aether; he has a spotted fawn skin on his breast in + likeness of the stars; his lower parts are shaggy on account of the + trees, shrubs, and wild beasts; he has goat's feet to denote the + stability of the earth; he has a pipe of seven reeds on account of the + harmony of the heavens, in which there are seven sounds; he has a crook, + that is a curved staff, on account of the year, which runs back on + itself <i>because he is the god of all Nature</i>." +</p> +<p> + Bernardin de St. Pierre observes of Pantomime, "That it was the first + language of man; it is known to all nations; and is so natural and so + expressive that the children of white parents learn it rapidly when they + see it used by the negroes." +</p> +<p> + Of the Pantomimic language—a universal language and common to the whole + world from time immemorial—Charles Darwin says in his "Descent of Man," + that "The intellectual and social faculties of man could hardly have + been inferior in any extreme degree to those now possessed by the + lowest savage; otherwise primeval man could not have been so eminently + successful in the struggle for life as proved by his early and wide + diffusion. From the fundamental differences between certain languages + some philologists have inferred that, when man first became widely + diffused, he was not a speaking animal; but it may be suspected that + languages, far less perfect than any now spoken, <i>aided by gestures</i>, + might have been used, and yet have left no traces on subsequent and more + highly-developed tongues." +</p> +<p> + With the progress of, and also as an aid to, civilization how could the + traveller or the trader, not only in the beginning of time, but also + now, when occasion demands, in their intercourse with foreign nations + (unless, of course, they know the language) make themselves understood, + or be able to trade, unless they were or are able to use that "dumb + silent language"—Pantomime? Civilization undoubtedly owes much of its + progress to it, and, also the world at large, to this only and always + universal language. To both the deaf, as well as the dumb, its + advantages have ever been apparent. +</p> +<p> + Therefore, from prehistoric times, and from the beginning of the world, + we may presume to have had in some form or another, the Pantomimic Art. + In the lower stages of humanity, even in our own times, there is, in all + probability, a close similarity to the savagedom of mankind in the early + Antediluvian period as "This is shown (says Darwin) by the pleasure + which they all take in dancing, rude music, painting, tattooing, and + otherwise decorating themselves—in their mutual comprehension of + <i>gesture language</i>, and by the same inarticulate cries, when they are + excited by various emotions." It naturally follows that even if there + was only dancing, there must necessarily, as a form of entertainment, + have also been Pantomime. Again, all savage tribes have a war-dance of + some description, in which in fighting costume they invariably go + through, in Pantomimic form, the respective movements of the Challenge, + the Conflict, the Pursuit, and the Defeat, whilst other members of the + tribe, both men and women, give additional stimulus to these + representations by a rude form of music. +</p> +<p> + The Ostyak tribe of Northern Asia give us a specimen of the rude + imitative dances of early civilization in a Pantomimic exhibition of the + Chase; the gambols and habits of the wolf and other wild beasts. The + Pantomimic dances of the Kamchadales are in imitation of birds, dogs, + and bears; and the Damaras represent, by four of the tribe stooping down + with their heads together, and uttering harsh cries, the movements of + oxen, and of sheep. The Australian Bushmen Mimic the leaping of calves, + the antics of the baboon, and the buzzing of swarms of bees. Primitive + Pantomimic dancing is practised amongst the South Sea Islanders, and + other races, and just as it was, presumably, at the beginning of the + world. +</p> +<p> + Having briefly traced the origin of Pantomime, and the source of + dancing, let us, in order to further amplify my subject, look at also + for a moment the origin of music, in the time of prehistoric man. +</p> +<p> + From Nature also do we derive this art, as "The sighing of the wind + passing over a bed of reeds is Nature's first suggestion of breath," and + of music. The clapping of hands and the stamping of feet is man's first + element in the making of music, which developed itself into the + formation of drums, bells, and cymbals, and the evolution of the same + primary principle. +</p> +<p> + It has been argued, and also ridiculously pretended, that in the + Antediluvian period mankind only lived in caves with the hairy mammoth, + the cave bear, the rhinoceros, and the hyaena, in a state of barbarous + savagery; and that only since the Deluge have the Arts been known and + cities built on this terrestrial sphere of ours. Could anything be more + fallacious? +</p> +<p> + We know, from the Bible, that the first man was created about six + thousand years ago, and some sixteen hundred and fifty-six years + afterwards the inhabitants of the world, with the exception of Noah and + his family, consisting of eight souls all told, were destroyed by the + flood. Noah and his family, we can take it, were of the same race of + mankind then on the earth, of the same descent and of the same flesh and + blood (as we all are) of our common father and mother, Adam and Eve; yet + we are not told that Noah (he was six hundred years old when he went + into the Ark) and his family were savages. In the 4th chapter, 21st + verse of Genesis, of Jubal-Cain, we learn that "He was the father of all + such as handle the harp and organ"; and in the following verse, + Tubal-Cain is described as "An instructor of every artificer in brass + and iron." +</p> +<p> + We learn, also, that magnificent statues were made in Egypt some six + thousand years ago; and that mention is made of a statue of King + Cephren, said to have been chiselled about this period, and many learned + men also affirm that letters were known to the inhabitants of the + Antediluvian world. All this, however, hardly looks like the work of a + barbarous race, and points to an acquaintance with the Arts, at any rate + of Music and Sculpture, and that of the artificers and workers in brass + and iron. +</p> +<p> + To follow, for my subject, this reasoning a little further, if there was + music (which, doubtless, there was) there must also have been dancing, + and, if dancing, there must, in the Antediluvian age, as a form of + entertainment, have also been Pantomime. On the other hand, even + supposing that man, at this period, was nothing else but a complete + savage, the words of Darwin, that I have quoted on a previous page, + conclusively proves, I think (on a common-sense like basis), of the + existence of dancing, a rude form of music, and, of course, Pantomime at + this epoch. +</p> +<p> + Ingersoll's doctrine was that "The distance from savagery to Shakespeare + must be measured not by hundreds, but by millions, of years." +</p> +<p> + Finally, why, and for what reason, should the Lord God, in His + all-seeing goodness and mercy, punish the inhabitants of the + Antediluvian world if they were only poor unenlightened savages? Was it + not because they were idolaters and worshippers of idols, "And that + every imagination of the thoughts of his (man's) heart was only evil + continually," as the sixth chapter and fifth verse of Genesis tells us? + This then being so, we know also that in every ancient form of religion + dancing was one of the acts of worship, and if dancing, there must as + previously stated, have also been Pantomime. +</p> +<a name="2HCH0002"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER II. +</h2> +<h3 style="text-indent: 0em; text-align: center"> + Origin of Tragedy and Comedy—Mythology—The meaning of the word + Pantomime—The origin of Harlequin, Columbine, Clown, and + Pantaloon—Grecian Mythology—Transformation Scenes—The rise of Grecian + Tragedy and Comedy—The Satirical Drama. +</h3> +<p> + In the year 2347 B.C., in Chapter 9, verse 20, in Genesis, there occurs: + "And Noah began to be a husbandman, and he planted a vineyard." This is + one of the first acts that Noah did after the Deluge, and it is, as + history tells us, from the rites and ceremonies in celebration of the + cultivation of the vine, that we owe the origin of Tragedy and Comedy. +</p> +<p> + After the Deluge God placed His bow in the heavens as His covenant with + man that the world should no more be accursed; and in the first ages of + this world's history, Noah and his descendants celebrated their + deliverance from the Ark, the return of the seasons, and the promise of + plenty in their several religious rites and ceremonies. The children of + Shem had in general Asia as their portion; Japhet had Europe; and Ham, + Africa. +</p> +<p> + Soon, however, religion began to lose its purity, and it then began to + degenerate very fast. Men began to repair to the tops of mountains, + lonely caves and grottoes, where they thought resided their gods. To + honour them they erected altars and performed their vows. Amongst the + Ancients their Mythology went no further than the epoch of the Deluge, + and in honour of which, and also of the Ark, they erected many temples + called Aren, Theba, Argus (from whence was probably derived the Argo of + the Argonauts, and the sacred ship of Osiris), Cibotus, Toleus, and + Baris. +</p> +<p> + The symbol by which the Mythologists represented the Ark was an immense + egg. This was supposed to have been produced by Ether and Chaos, at the + bidding of Time, the one ethereal being who created the universe. By Nox + (Night) the egg was hatched, which, being opened into two parts, from + the upper part was formed heaven, and the lower earth. +</p> +<p> + In the sacred rites of Osiris, Isis, and the Dionysia of Bacchus, the + Ark or Ship was introduced. The Dove, by many nations, in their + celebrations, was looked upon as a special emblem of peace and + good-will. Theba, in Egypt, was originally one of the temples dedicated + to the Ark. Both priests and sooth-sayers were styled Ionah or Doves. To + Dodona, in Epirus, was brought this and the first Grecian oracle all the + rites and history of the Thebans. The priestesses of this temple were + known in the Latin as <i>Columbae</i>. It is from this word that we derive + the name Columbine, which means, in the Italian, "little dove." Homer + alludes to the priestesses as doves, and that they administered to Zeuth + (Noah). Nonnus speaks of Cadmus, and others of Orpheus, as introducing + into Greece the rites of Dionysus or Bacchus. +</p> +<p> + The Ancients, mentions Kennedy in his work on "Mythology," have highly + reverenced Noah, and designated him as Noa, Noos, Nous, Nus, Nusas, + Nusus (in India), Thoth, Hermes, Mercury, Osiris, Prometheus, + Deucalion, Atlas, Deus, Zeus, and Dios. Dios was one of the most ancient + terms for Noah, and whence was derived Deus—Nusus compounded of Dios + and Nusos, which gives us Dionysus, the Bacchus of the Greeks, and the + chief god of the heathen world. Bacchus was, properly speaking, Cush + (the son of Ham, and grandson of Noah), though both Dionysus and Bacchus + are, by ancient writers, frequently confounded with one another. +</p> +<p> + The resting of the Ark upon Mount Baris, Minyas, the Ararat of Moses in + Armenia, the dispersal of the flood, the multiplication of the families + of the earth, and the migration from the plains of Shinar of the + descendants of the sons of Chus or Cush (as it is sometimes written), + and called Chushites or Cushites, to different parts of the world, being + joined by other nations, particularly those of the descendants of Ham, + one of the sons of Noah. They were the first apostates from the truth, + but being great in worldly wisdom and knowledge they were thought to be, + and looked upon as a superior class of beings. Ham they looked upon as a + divinity, and under the name of Ammon they worshipped him as the Sun, + and Chus likewise as Apollo, a name which was also bestowed by the + Ancients upon Noah. The worship of the sun in all probability originated + the eastern position in our churches. +</p> +<p> + Another of the ancient deities worshipped by the Ammonians was Meed, or + Meet, the Cybele of the Phrygians, the nurse of Dionysus, and the Soul + of the World. +</p> +<p> + Nimrod, the "mighty hunter" (who possessed the regions of Babylonia and + Chaldee), and one of the sons of Cush, was the builder of that seminary + of idolatory the City and Tower of Bel, and erected in honour of the god + Bel, and another name for the sun. Upon the confusion of tongues when + hitherto "The whole earth was of one language, and of one speech," it + came to be known as Babylon, "The City of Confusion." Homer introduces + Orion (Nimrod) as a giant and a hunter in the shades below, and the + author of the "Pascal Chronicles" mentions that Nimrod taught the + Assyrians or Babylonians to worship fire. The priests of Ammon, named + Petor or Pator, used to dance round a large fire, which they affected in + their dancing to describe. Probably from this the Dervish dances all + over the East may be traced to this source. +</p> +<p> + Kennedy observes, of the confusion of tongues at Babel, that it was only + a labial failure, so that the people could not articulate. It was not an + aberration in words or language, but a failure and incapacity in labial + utterance. Epiphanius says that Babel, or Babylon, was the first city + built after the flood. +</p> +<p> + The Cushites were a large and numerous body, and after their dispersion + from Babylon they were scattered "Abroad upon the face of the earth." + They were the same people who imparted their rites and religious + services into Egypt, as far as the Indus and the Ganges, and still + further into Japan and China. From this event is to be discovered the + fable of the flight of the Grecian god Bacchus, the fabulous wanderings + of Osiris, and the same god under another name, of the Egyptians. + Wherever Dionysus, Osiris, or Bacchus went, the Ancients say that he + taught the cultivation of the soil, and the planting of the vine. + Dionysus, Bacchus, or Osiris, as I have shown in a preceding page, were + only other designations for Noah. +</p> +<p> + Of the Hindu heathen deity, Vishnu, Father Boushet mentions an Indian + tradition, concerning a flood which covered the whole earth, when Vishnu + made a raft, and, being turned into a fish, steered it with his tail. + Vishnu, like Dagon, was represented under the figure of a man and fish. +</p> +<p> + Strangely enough, the regions said to have been traversed by Dionysus, + Osiris, or Bacchus were, at different times, passed through by the + posterity of Ham, and in many of them they took up their residence. In + his journeyings the chief attendants of Osiris, or Bacchus, were Pan, + Anabis, Macedo, the Muses, the Satyrs, and Bacchic women were all in his + retinue. The people of India claim him as their own, and maintain that + he was born at Nusa in their country. Arrian speaks of the Nuseans as + being the attendants of Dionysus. In all traditions Dionysus appears as + the representative of some power of Nature. +</p> +<p> + The first who reduced Mythology to a kind of system were, in all + probability, the Egyptians. Egypt was ever the land of graven images, + and under the veil of Allegory and Mythology the priests concealed + religion from the eyes of the vulgar. In the beginning, brute animals + and certain vegetables were represented as the visible symbols of the + deities to which they were consecrated. Hence Jupiter Ammon was + represented under the figure of a Ram; Apis under a Cow; Osiris of a + Bull; Mercury or Thol of an Ibis; Diana or Babastis of a Cat; and Pan of + a Goat. From these sources are derived the fabulous transformation of + the gods celebrated in Egyptian Mythology, and afterwards imported into + Greece and Italy to serve as the subjects of the Grecian and Roman + Pantomimes. +</p> +<p> + Pantomime as we now know the term, means, not only the Art of acting in + dumb show, but also that of a spectacle or Christmas entertainment. (I + may add in parenthesis, that in the early part of the last century—the + nineteenth—the dictionaries only refer to Pantomime as meaning the + former of the above two definitions, and not the latter.) +</p> +<p> + Pan, regarded as the symbol of the universe, was also the god of flocks, + pastures, and shepherds in classic Mythology, and the guardian of bees, + hunting and fishing in his Kingdom of Arcadia. His form, like the + Satyrs, both supposed to have been the offsprings of Mercury, was that + of a man combined with a goat, having horns and feet like the latter + animal. +</p> +<p> + <i>Mimos</i> (Gr.), as I have stated in the beginning, means an "imitator," + or a "mimic," and from which word we have the derivation of the words + "mimicry," "mimetic," and the like. +</p> +<p> + Pan was the traditional inventor of the Pandean pipes, and also from + his name we derive many words that are in our language, such as "panic" + (Pan used to delight in suddenly surprising the shepherds whilst tending + their flocks), and the other attributes of this noun, including that + recently coined term of the Americans, "panicy." +</p> +<p> + Pan is said to have been the son of Mercury, or even Mercury himself, + and others say that he was the son of Zeus. Mercury and Zeus, it will be + remembered in Mythology, were only names for Noah. Pan is unnoticed by + Homer. +</p> +<p> + A heathen deity of Italy, Lupercus, the guardian of their flocks and + pastures, has also been identified with Pan, and in whose honour annual + rural festivals, known as Lupercalia, were observed. +</p> +<p> + The Lupercalian festivals were held on the 15th of the Kalends of March. + The priests, Luperci, used to dance naked through the streets as part of + the ceremonies attached to the festival. +</p> +<p> + Mention has been made by Dr. Clarke, in his "Travels," Vol. IV., that + Harlequin is the god Mercury, with his short sword <i>herpe</i>, or his rod, + the <i>caduceus</i> (which has been likened to the sceptre of Judah), to + render himself invisible, and to transport himself from one end of the + earth to the other, and that the covering on his head, the winged cap, + was the <i>petasus</i>. Apropos of this, the following lines in the tenth + Ode, of the first book of Horace, will probably occur to the reader: +</p> +<pre> "Mercury! Atlas' smooth-tongued boy, whose will + First trained to speed our wildest earliest race, + And gave their rough hewn forms with supple skill + The gymnast's grace. + + "'Tis thine the unbodied spirits of the blessed, + To guide to bliss, and with thy <i>golden rod</i> + To rule the shades; above, below, caressed + By every god." +</pre> +<p> + Mercury, as we have seen, was among the Ancients, only another name for + Noah. "Indeed," says Dr. Clarke, "some of the representations of Mercury + upon ancient vases are actually taken from the scenic exhibitions of the + Grecian theatre; and that these exhibitions were also the prototypes + whereon D'Hancarville shows Mercury, Momus, and Psyche delineated as we + see Harlequin, Columbine, and Clown on our stages. The old man + (Pantaloon), is Charon (the ferryman of hell). The Clown is Momus, the + buffoon of heaven, the god of raillery and wit, and whose large gaping + mouth is in imitation of the ancient masks." +</p> +<p> + Amongst the Aryans, Medians, Egyptians, Chaldeans, Babylonians, and + other nations (including our own, as did not Lilly predict the execution + of Charles I., the plague, the great fire of London, and other events) + was astrology practised. The Egyptians peopled the constellation of the + Zodiac (the first open book for mankind to read), with Genii, and one of + the twelve Zodiacal signs was Aries (the Ram). The ram is of the same + species as the goat, and the god Pan was the Goat god, as we know. The + astrologers, in their divinations and rulings of the planets placed the + various parts of the body under a planetary influence. The head and face + were assigned to the house of Aries, and therefore the face notably for + the Pantomimic Art was placed by the ancient astrologers under the + influence of this particular planet. +</p> +<p> + The heathen worship of Pan was not only known in Arcadia, but also + throughout Greece, although it did not reach Athens until after + Marathon. +</p> +<p> + Of Pan's death Plutarch tells the story that in the reign of Tiberius, + one Thamus, a pilot, visiting the islands of Paxae, was told of this + god's death. When he reached Palodes he told the news, whereupon loud + and great lamentations were heard, as of Nature herself expressing her + grief. The epoch of the story coincides with the enactment of that grim, + and the world's greatest tragedy on the hill of Golgotha, and the end, + and the beginning of a new world. Rabelais, Milton, Schiller, and also + Mrs. Browning, have allusions to this story of Plutarch's. +</p> +<p> + The ambitious family of the Titans (the bones of the "giants on the + earth" before the Deluge, gave rise to the stories of the Titans found + in caves), and their scions and coadjutors Jupiter, Juno, Mars, Mercury, + Apollo, Diana, Bacchus, Minerva, or Pallas, Ceres, Proserpine, Pluto, + and Neptune furnish by far the greatest part of the Mythology of Greece. + Tradition says that they left Phoenicia about the time of Moses to + settle in Crete, and from thence they made their way into Greece, which + was supposed at that time to be inhabited by a race of savages. The arts + and inventions were communicated to the natives, and the blessings of + civilization in process of time inspired the inhabitants with + admiration. They, therefore, relinquished worshipping the luminary and + heavenly bodies, and transferred their devotion to their benefactors. + Then into existence sprang the most inconsistent and irreconcilable + fictions. The deified mortals, with their foibles and frailities, were + transmitted to posterity in the most glorious manner possible, and hence + accordingly, in both the Odyssey and the Iliad of Homer, we have a + strange and heterogeneous mixture of what is not only mighty in heroes, + but also that which is equally mean. +</p> +<p> + In the Grecian Mythology the labours of Hercules, the expedition of + Osiris, the wanderings and transformation of Io, the fable of the + conflagration of Phaeton, the rage of Proserpine, the wanderings of + Ceres, the Eleusinian Mysteries, the Orgia, or sacred rites of Bacchus, + in fine, the ground work of Grecian Mythology is to be traced to the + East, from where also all our nursery tales, and also our popular + Pantomime subjects; (which is the subject of another chapter) perhaps, + with the exception of our own "Robinson Crusoe," originated. +</p> +<p> + The nine Muses called Pierides in Grecian Mythology were the daughters + of Jupiter and Mnemosyne (Memory), supposed to preside over the liberal + Arts and the sciences. They were Calliope (Heroic Poetry), Clio Euterpe + (Music), Erato (Love Poetry), Melpomene (Tragedy), Polyhymnia (Muse of + Singing and Rhetoric), Terpsichore (Dancing), Thalia (Comedy), and + Urania (Astronomy). Mount Parnassus, Mount Helicon, and the fountains of + Castalia and Aganippe were the sacred places of the Muses. +</p> +<p> + The Eleusinian Mysteries are of a period that may be likened to the 7th + century B.C., and at these Mysteries as many as 30,000 persons, in the + time of Herodotus, assembled to witness them. The attributes of these + Grecian Mysteries, like those of the Egyptians, consisted of + processions, sacrificial offerings, purifications, dances, and all that + the Mimetic and the other Arts could convey; add to this the various + coloured lights, and the fairy-like grandeur of the whole, we have + something that may be likened to the Transformation, and other + fairy-like scenes of English Pantomimes and Extravaganzas. +</p> +<p> + At the Orgia, or sacred rites of Bacchus, the customary sacrifice to be + offered, because it fed on vines, was the goat. The vine, ivy, laurel, + asphodel, the dolphin, lynx, tiger, and ass were all sacred to Bacchus. + The acceptable sacrifice to Venus was a dove; Jupiter, a bull; an ox of + five years old, ram or boar pig to Neptune; and Diana, a stag. At the + inception of the Bacchanalian festivals in Greece, the tragic song of + the Goat, a sacred hymn was sung, and from which rude beginning sprang + the Tragedy and Comedy of Greece. The Greeks place every event as + happening in their country, and it is not surprising that they claim for + themselves the inception of Tragedy and Comedy, which they undoubtedly + were the originators of in Greece, but the religious festivals of + Dionysus, Osiris, and Bacchus, to which we are supposed to owe the + inception of Tragedy and Comedy, were known long before the Greeks knew + them. (Dionysus was the patron and protector of theatres.) "The purport + of the song was that Bacchus imparted his secret of the cultivation of + vines to a petty prince in Attica, named Icarius, who happened one day + to espy a goat brouzing upon his plantations, immediately seized, and + offered it up as a sacrifice to his divine benefactor; the peasants + assembled round their master, assisted in the ceremony, and expressed + their joy and gratitude in music, songs, dances, and Pantomime on the + occasion; the sacrifice grew into a festival, and the festival into an + annual solemnity, attended most probably every year with additional + circumstances, when the countrymen flocked together in crowds, and sang + in rustic strains the praises of their favourite deity." +</p> +<p> + Amongst the reported followers of these Bacchanalian festivals were + those fabulous race of grotesque sylvan beings, previously referred to, + known as the Satyrs. They were of a sturdy frame, in features they had + broad snub noses, and appeared in rough skins of animals with large + pointed ears, heavy knots on their foreheads, and a small tail. The + elder Satyrs were known as Sileni. The younger were more pleasing and + not so grotesque or repulsive in appearance as the elder Satyrs. To the + Satyrs can be traced the variegated dress of the modern Harlequin, as in + ancient Greek history mention is made of the performers enacting Satyrs + being sometimes habited in a tiger's skin of various colours, which + encircled the performer's body tightly, and who carried a wooden sword, + wore a white hat, and a brown mask. According to Servius (as we have + seen) Pan had also a bright spotted dress "in likeness of the stars." +</p> +<p> + From these rustic festivals originated the Satyr, or Satirical Drama, as + did its Italian prototype, the <i>Fabulae Atellanae</i> or, <i>Laudi Osci</i>. + These rural sacrifices became, in process of time, a solemn fast, and + assumed all the pomp and splendour of a religious ceremony; poets were + employed by the magistrate to compose hymns, or songs, for the occasion; + such was the rudeness and simplicity of the age that their bards + contended for a prize, which, as Horace intimates, was scarce worth + contending for, being no more than a goat or skin of wine, which was + given to the happy poet who acquitted himself best in the task assigned + him. +</p> +<p> + From such small beginnings Tragedy and Comedy took their rise; and like + (as the best writers on these subjects tell us) every other production + of human art, extremely contemptible; that wide and deep stream, which + flows with such strength and rapidity through cultivated Greece, took + its rise from a small and inconsiderable fountain, which hides itself in + the recesses of antiquity, and is almost buried in oblivion; the name + alone remains to give us some light into its original nature, and to + inform us, that Tragedy and Comedy, like every other species of poetry, + owe their birth to Religion. +</p> +<p> + Appropriately does Horace observe:— +</p> +<pre> "Nor was the flute at first with silver bound, + Nor rivalled emulous the trumpet's sound; + Few were its notes, its forms were simply plain, + Yet not unuseful was its feeble strain, + To aid the chorus, and their songs to raise, + Filling the little theatre with ease, + To which a thin and pious audience came + Of frugal manners, and unsullied fame." +</pre> +<a name="2HCH0003"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER III. +</h2> +<h3 style="text-align: center"> + The origin of the Indian Drama—Aryan Mythology—Clown and + Columbine—Origin of the Chinese Drama—Inception of the Japanese + Drama—The Siamese Drama—Dramatic performances of the South Sea + Islanders, Peruvians, Aztecs, Zulus, and Fijis—The Egyptian Drama. +</h3> +<p> + Of the Indian Drama we learn that the union of music, song, dance, and + Pantomime took place centuries ago B.C., at the festivals of the native + gods, to which was afterwards added dialogue, and long before the + advent, out of which it grew, of the native drama itself. +</p> +<p> + The progenitors of the Indo-European race, the Aryans—in Sanscrit + meaning Agriculturists—who crossed the Indus from Amoo, where they + dwelt near the Oxus, some two thousand years before Christ, were the + original ancestors and people of India. +</p> +<p> + The Aryan race (Hindus and Persians only speak of themselves as Aryans) + laid the foundation of the Grecian and Roman Mythology, the dark and + more sombre legends of the Scandinavian and the Teuton; and all derived + from the various names grouped round the Sun god, which in the lighter + themes the Aryans associated with the rising and the setting of the sun, + in all its heavenly glory, and with the sombre legends the coming of the + winter, and marking the difference between lightness and darkness. +</p> +<p> + In India the origin of dramatic entertainments has been attributed to + the sage Bharata (meaning an actor), who received, it is said, a + communication from the god Brahma to introduce them, as the latter had + received his knowledge of them from the Vedas. Bharata was also said to + be the "Father of dramatic criticism." Pantomimic scenes derived from + the heathen Mythology of Vishnu—a collection of poems and hymns on the + Aryan religion—are even now in India occasionally enacted by the Jatras + of the Bengalis and the Rasas of the provinces in the west, and, just as + their forefathers did ages and ages ago. An episode from the history of + the god Vishnu, in relation to his marriage with Laxmi, was a favourite + subject for the early Indian Drama. Of Vedic Mythology Professor Max + Müller observes that in it "There are no genealogies, no settled + marriages between gods and goddesses. The father is sometimes the son, + the brother, the husband, and she who in one hymn is the mother, is in + another the wife. As the conceptions of the poet vary so varies the + nature of these gods." +</p> +<p> + The Hindoo dramatic writer, Babhavñti—the Indian + Shakespeare—introduced with success in one of his dramas, like in our + "Hamlet," "a play within a play," and much in a similar way as our early + dramatists used in their plays, the "dumb shows." +</p> +<p> + Between the native Tragedy and Comedy, as in China, there was no + definite distinction, and, although both contained some of the best and + noblest sentiments, yet the racial philosophy of caste enters greatly + into the construction of each. +</p> +<p> + In the Hindoo Mythology we have prototypes of the gods of the Egyptian, + Grecian, and Roman Mythologies. The god Vishnu, who, in Aryan Mythology, + is the wind and "Traverses the heavens in three strides," is the + greatest of all heathen deities. His dwelling-place was "The aerial + mountains, where the many horned and swiftly moving cattle abide." In + Grecian Mythology Hermes or Mercury took on some of the characteristics + of Vishnu. +</p> +<p> + In the Eleusinian Mysteries of the Greeks, the signs and symbols that + marked the worship of Vishnu by the Aryans, are apparent; and in the + British Museum the scenes of the vases of the Hamilton collection agree + closely with the Sacti rites of Hindustan. +</p> +<p> + After having briefly noticed and introduced Vishnu or Hermes to the + notice of the reader, we will now take another of the Aryan + deities—See-Va, the Wine god. This myth was the Dionysus, or Bacchus, + of the Greeks, and the expedition of this "immortal" through the world + to instruct mankind in agriculture, is likened as well as the god + himself by the Egyptians to their deity Osiris—the god of the Nile. The + worship of See-Va, Bacchus, or Osiris extended over Asia Minor, Greece, + and Italy. +</p> +<p> + The visit and advent of the Wine or Pleasure god Bacchus to India, with + his accompanying train of sylvan and rural deities, and nymphs, is + supposed to have conquered the Hindoos, and taught them civilization, + besides the cultivation of the vine. Strange to relate that when + Alexander and his army reached the present Cabul they found ivy and + wild vines (both sacred to Bacchus) growing in abundance, and they were + met by processions dressed in parti-coloured dresses, playing on drums + like the Bacchic festivals of Greece and Lower Asia of that time. +</p> +<p> + Female parts were acted by women, but it was not a general custom; and + the Clown of the piece was always a Brahma, or if not, at any rate a + pupil of Brahma. +</p> +<p> + Also among the minor characters was the <i>Vita</i>, "the accomplished + companion," a part sometimes played by men and sometimes by women. + Probably in this in the latter instance we have the origin of the + Columbine and Soubrette part in after years of the European stage as the + term "accomplished companion," would equally apply to both. It is only a + surmise, yet history as we know is continually repeating itself—even in + Soubrette parts, and in more senses than one. +</p> +<p> + Of scenic displays that it possessed there was little or none, though + the exits and entrances to the stage had probably some device to denote + them. What they possessed in the way of properties it is more than + useless to speculate, as, whatever could be said, could only be + conjectural. In dressing their parts propriety in costume, and in + adhering to the habits of the Indian Drama, seems to have been observed + with some show of consistency. +</p> +<p> + The Chinese Drama also arose from the Hindoo developing itself as time + rolled on from Pantomimes and ballets. A very ancient Pantomime is said + to have been symbolical of the conquest of China by Wou Wang. Others + were on subjects of the Harvest, War, and Peace; whilst many were only + of an obscure nature. With the rise and progress of the native drama + about five hundred years before Christ Pantomimes fell into disrepute. +</p> +<p> + It is interesting to note that one of the penal codes of the Celestial + Empire was, that those who wrote plays with vicious, or immoral + tendencies, should stay in "purgatory" as long as their plays were + performed. This precept was all right in theory, but in practice it was + more honoured in the breach than in the observance, as amongst the whole + of the Celestial dramatic writers only one in about ten thousand seems + to have conformed to this rule. +</p> +<p> + The dramatic writers of China duly observed the question of rank and + priority, and just as much as the native Hindoo writers observed that of + the various phases of caste. +</p> +<p> + Plays were divided into acts and scenes, and occasionally were prefixed + by a prologue. Performances took sometimes a single day, and favourite + plays oftentimes longer. +</p> +<p> + The Japanese type of drama seems to have originally evolved itself from + that of the Chinese, though its singing, dancing, historical, and + Pantomimical displays are, of course, purely native. +</p> +<p> + A native of Japan, though of Chinese descent, Hadu Kawatsa, at the + close of the 6th century (A.D.) gave dramatic entertainments in Japan. + The Japanese claim for the Pantomimical dance Sambâso as a preventative + of earthquakes and volcanic eruptions; and this dance, it is said, that + within recent years, is used as a prelude to dramatic entertainments. +</p> +<p> + Isono Zenji is thought to have been the originator of the Japanese + Drama, but her performances were more those of the <i>Mima</i>—dancing and + posturing. +</p> +<p> + In the seventeenth century Saruwaka Kanzaburô introduced the drama + proper into Japan by the erection, in 1624, of a theatre, and nearly + fifty years later than the first permanent theatre that was erected + (1576) in England. +</p> +<p> + Popular historical subjects were chosen for the plays, though the names + of the characters were transformed. Fancy plays, operas, ballets, which + in the latter women appeared, became also very popular. +</p> +<p> + Within sight of the closing years of the last century (the nineteenth), + Japanese actors were more or less under a ban when the same was happily + removed. +</p> +<p> + Siam was content with the Indian style of dramatic and Pantomimic + entertainments. Theatrical performances were also slightly known—though + no regular type of drama is known—amongst the South Sea Islanders, the + Peruvians, the Aztecs, the Zulus, and the Fijis, the two last named + having a similar version of our popular Pantomime subject, "Jack and the + Beanstalk." +</p> +<p> + The Egyptians possessed no regular type of drama, yet in both the Books + of Job and Ruth the dramatic element is strongly marked. At the rustic + festivals of the native gods, as in Greece and Italy, there was, + however, the dramatic elements of the union of song, dance, and + Pantomime, and we are told that the priests not only studied music, but + also taught the art to others. Again in the rites of the dead the + Mysteries of the sepulture over the transmigration of souls, the + dramatic element entered largely into these mystic rites and + celebrations. Amongst the Pagan Greeks, as I have previously stated, and + the Romans, we learn of similar celebrations, carried out with great + pomp and ceremony, such as the apotheosis of the soul departing from its + earthly to its heavenly abode. +</p> +<a name="2HCH0004"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER IV. +</h2> +<h3 style="text-align: center"> + "Dancing," <i>i.e.</i> Pantomime—Grecian Dancing and Pantomimic + Scenes—Aristotle—Homer—Dances common to both Greeks and Romans. +</h3> +<p> + In tracing the History of Pantomime it becomes a matter of considerable + difficulty, and, as Baron, in his <i>Lettres sur la Danse</i>, observes that + when the word Dancing occurs in an old author, that it should always be + translated by "gesticulation," "declamation," or "Pantomime." When we + read that an actress "danced" her part well in the tragedy of Medea, + that a carver cut up food dancing, that Heligobalus and Caligula + "danced" a discourse for an audience of state, we are to understand that + they—actress, carver, and emperor—declaimed, gesticulated, made + themselves understood in a language without words. Acting is also + oftentimes confounded with dancing, and it is, therefore, manifestly + impossible to distinguish now one from the other. +</p> +<p> + "The Greeks," mentions Butteux, applied the term "Dancing" to all + measured movements, even to military marching. They danced anywhere and + everywhere; and we are told that both their limbs and bodies spoke. +</p> +<p> + Cybele was supposed by the Greeks to have taught dancing on Mount Ida to + the Corybantes, and they also say that it was in their country that + Apollo revealed the Terpsichorean Art, and that of Music and Poetry. +</p> +<p> + After all this, it is not very surprising that they make claim for the + innovation of Pantomime. This, of course, we know is different, as we + have seen that, from time immemorial Pantomimic scenes and dances have + been represented. Cassiodorus attributes its institution to Philistion; + Athenaens assigns it to Rhodamanthus, or to Palamedes. +</p> +<p> + With the Greeks, Pantomimes became very popular, and they were + distinguished by various names. Before they began their Tragedies the + Greeks used to give a Pantomimic display. The principal Pantomimists + were known as <i>Ethologues</i>, meaning painters of manners. One of the most + celebrated of these Mimes was Sophron of Syracuse. In depicting the + conduct of man so faithfully, the Pantomimes of the Greek Mimes served + to teach and inculcate useful moral lessons. The moral philosophy of the + Mime, Sophron, was so pure that Plato kept a book of his poems under his + pillow when on his death-bed. Besides these Moralities, as they were + termed, there were, in addition, light pieces of a farcical kind, in the + portrayal of which the Mimes were equally as successful as in the other + species. +</p> +<p> + The dancing of the Greeks was an actual language, in which all + sentiments and passages were interpreted. By the aid of the + Terpsichorean Art, Professor Desrat says, "That the Greeks, a nation of + heroes, trained themselves in the art of hand-to-hand combat." +</p> +<p> + "Dancing," says another writer, "and imitative acting in the lower + stages of civilization are identical, and in the sacred dances of + ancient Greece we may trace the whole Dramatic Art of the modern world. + The Spartans practised dancing as a gymnastic exercise, and made it + compulsory upon all children from the age of five." +</p> +<p> + And we are also told that religious processions went with song and dance + (and, of course, Pantomime), to the Egyptian temples; the Cretan chorus + sang hymns to the Greek gods; David danced in procession before the Ark + of the Covenant; and that we are to "Praise the Lord with the sound of + the trumpet, praise Him with the psaltery and the harp; praise Him with + the timbrel and the <i>dance</i>." +</p> +<p> + Aristotle speaks of Mimetic dances three hundred years before the + Augustan era. He also says that dancers want neither poetry or music, as + by the assistance of measure and cadence only they can imitate human + manners, actions, and passions. +</p> +<p> + Again, "Homer, describing the employment of the Delian priestesses, or + Nuns, of the order of St. Apollo of Delos, that they were great adepts + in the Art of Mimicry, and that part of the entertainment which they + afforded to the numerous people of different nations; who formed their + congregations was, as the poet expresses it, from their <i>being skilled + to imitate the voices and the pulsation or measure of all nations, and + so exactly was their song adapted that every man would think he himself + was singing</i>." +</p> +<p> + Homer also mentions a dance invented for Ariadne. In the midst of the + dancers, there were two dancers who sang the adventures of Daedalus, + supplementing their singing by gestures, and explaining in Pantomime the + subject of the whole performance. +</p> +<p> + The Pyrrhic dance of the Greeks was a sort of military Pantomime. The + Greeks had several kinds of Pyrrhic dances, the names of which varied + with the character of the performance. +</p> +<pre> The Hyplomachia imitated a fight with shields. + The Skiamachia was a battle with shadows, + The Monomachia was an imitation of single combat. +</pre> +<p> + Some of the Mimetic dances common to both Greeks and Romans were The + Loves of Adonis and Venus, the Exploits of Ajax, the Adventures of + Apollo, the Rape of Ganymede, the Loves of Jupiter and Danae, the Birth + of Jupiter, Hector, the Rape of Europa, the Labours of Hercules, + Hercules Mad, the Graces, Saturn devouring his Children, the Cybele in + honour of Cybele, the Cyclops, the Sorrows of Niobe, the Tragic End of + Semele, the Wars of the Titans, the Judgment of Paris, Daphne pursued by + Apollo, the Bucolic Dance, and the Dance of Flowers. +</p> +<a name="2HCH0005"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER V. +</h2> +<h3 style="text-align: center"> + Thespis—The Progress of Tragedy and Comedy—Aeschylus—The + Epopée—Homer—Sophocles—Euripides—Grecian Mimes—The First Athenian + Theatre—Scenery and Effects. +</h3> +<p> + When Thespis first pointed out the tragic path, and when (as Horace + tells us in his Odes) that "The inventor of the Art carried his vagrant + players on a cart," by his introduction of a new personage, who relieved + the chorus, or troop of singers, by reciting some part of a well-known + history, or fable, which gave time for the chorus to rest. All that the + actors repeated between the songs of the chorus was called an episode, + or additional part, consisting often of different adventures, which had + no connexion with each other. Thus Pantomime, the song, and the dance, + which were at first the only performances, became gradually and + insensibly a necessary and ornamental part of the drama. +</p> +<p> + From this time, the actor, or reciter, was more attended to than the + chorus; however, his part was executed, and it had the powerful charms + of novelty to recommend it, and quickly obscured the lustre of the + chorus, whose songs were now of a different nature, insomuch that the + original subject of them, the praise of Bacchus, was by degrees either + slightly mentioned, or totally passed over and forgotten; the priests, + who we may suppose for a long time presided over the whole, were alarmed + at so open a contempt of the deity, and unanimously exclaimed, that this + was nothing to Bacchus; the contempt grew into a kind of proverbial + saying, and as such is handed down to us. +</p> +<p> + From the origin of Tragedy and Comedy, and to the days of Thespis, and + from this time to that of Aeschylus, all is doubt, conjecture, and + obscurity; neither Aristotle, nor any other ancient writer, gives us the + least insight into the state and progress of the Greek Drama; the names + of a few, and but a few, tragedians, during this dark period, are handed + down to us; such were Epigenes, the Sicyonion, and Pratinas, who wrote + fifty-two plays, thirty-two of which are said to be satirical. After + Thespis, came his scholar Phrynicus, who wrote nine tragedies; for one + of which, we are told, he was fined fifty drachmas, because he had made + it (an odd reason) too deep, and too affecting; there was another, also + named Phrynicus, author of two tragedies: to these must be added + Alcaeus, Phormus, and Choeritas, together with Cephisodorus, an + Athenian, who wrote the "Amazon," and Apollophanes, supposed to have + been the author of a tragedy named "Daulis," though Suidas is of another + opinion. Tragedy had, during the lives of these writers, probably made + but a slow progress, and received but very little culture and + improvement; when at length the great Aeschylus arose, who, from this + rude and undigested chaos, created as it were a new world in the system + of letters. +</p> +<p> + Poets, and perhaps epic poets, there might have been before Homer (the + latter, who, in all probability, lived within fifty years of the Fall of + Troy—1250 B.C.). Dramatic writers there certainly were before Aeschylus + the former notwithstanding, we may, with the utmost propriety, style the + inventor and father of heroic poetry, and the latter of the ancient + drama, which, before his time, does not appear to have had any + particular form but that of Pantomime, song, and the union of song and + dance. <i>Aeschylus first introduced dialogue</i>, that most essential part + of tragedy, and by the addition of the second personage, threw the whole + fable into action, and restored the chorus to its ancient dignity. +</p> +<p> + Aeschylus having, like a tender parent, endowed his darling child with + every mental accomplishment, seemed resolved that no external ornaments + should be wanting to render her universally amiable; he clothed her, + therefore, in the most splendid habit, and bestowed upon her everything + that Art could produce, to heighten and improve her charms. Aeschylus, + who being himself author, actor, and manager, took upon him the whole + conduct of the drama, and did not neglect any part of it; he improved + the scenery and decorations, brought his actors into a well constructed + theatre, raised his heroes on the <i>cothurnus</i>, or buskin, invented the + masks, and introduced splendid habits with long trains, that gave an air + of majesty and dignity to the performers. +</p> +<p> + From the time when Tragedy began to assume a regular form, we find her + closely following the steps of epic poetry; all the parts of <i>epopée</i>, + or heroic poem, may be traced in tragedy, though, as Aristotle observes, + all the parts of tragedy are not to be found in the <i>epopée</i>; whence the + partisans of the stage with some reason conclude, that perfection in the + former is more difficult to be attained than in the latter. Without + entering into a dispute, we may venture, however, to say that from Homer + the tragedians drew the plan, construction, and conduct of their fables, + and not unfrequently, the fable itself; to him they applied for + propriety of manners, character, sentiment, and diction. +</p> +<p> + From this era then, we are to consider Tragedy as an elegant and noble + structure, built according to the rules of art, symmetry, and + proportion; whose every part was in itself fair, firm, and compact—and + at the same time contributed to the beauty, utility, and duration of the + whole edifice. +</p> +<p> + Sophocles and Euripides carefully studied the plan laid down by + Aeschylus, and by their superior genius and judgment, improved it in a + short time to its highest state of perfection, from which it gradually + declined to the rise of the Roman Drama. +</p> +<p> + Aeschylus, Sophocles, and Euripides were the three great tragic poets; + and from the works of these three illustrious writers, and from them + alone, we must draw all our knowledge of the ancient Greek Tragedy. +</p> +<p> + Comedy, like Tragedy, owes its origin to the union of music, song, + dance, and Pantomime; Tragedy to the dithyrambick, and Comedy to the + phallica; and each of them (emulating Pantomime), began to form + themselves into dramatic imitations; each studied to adopt a measure + suited to their purpose:—Tragedy, the more lofty, chose the tetrameter; + and comedy, which aimed at familiarity, the iambic. But, as the style of + tragedy improved, Nature herself, says Aristotle, directed the writers + to abandon the capering tetrameter, and to embrace that measure which + was most accommodated to the purposes of dialogue; whence the iambic + became the common measure of both Tragedy and Comedy. +</p> +<p> + Sophocles brought on a third actor, which number was not exceeded in the + Greek tragedies during the same scene. Horace alludes to this, "<i>nec + quarta loqui persona laboret</i>," (Let not a fourth person strive to + speak): but it was not observed in comedy. Players of second parts were + obliged to speak so low as not to drown the voice of the chief actor. + Tyrants were always played by subalterns. The women were only dancers + (and Pantomimists). Female parts were performed by eunuchs. +</p> +<p> + On the Grecian stage, those performers who devoted themselves entirely + to the Art of Miming originally came from Sicily and southern Italy, + though the exact period is difficult to determine with any degree of + certainty. +</p> +<p> + The figures of tragic or comic actors were known by the long and strait + sleeves which they wore. The servants in comedy, below the dress with + strait sleeves, had a short cassock with half-sleeves. That the + characters might be distinguished (a difficulty in this respect arising + from the size of the theatres) parasites carried a short truncheon; the + rural deities, shepherds, and peasants, the crook; heralds and + ambassadors, the <i>caduceus</i>; kings, a long, straight sceptre; heroes, a + club, etc. The tunic of tragic actors descended to the heels, and was + called <i>palla</i>. They generally carried a long staff or an erect sceptre. + They who represented old men, leaned upon a long and crooked staff. +</p> +<p> + The first Greek theatre at Athens (says Fosbroke, in his "Antiquities,") + was a temporary structure of boards, removed after the performances were + closed. This fashion continued till the erection of the theatre of + Bacchus, at Athens, which served as a model for the others. The Greek + theatre was no more than a concave sweep, scooped out of the hollow side + of a hill, generally facing the sea. The sweep was filled with seats, + rising above each other, and ascended by staircases, placed like the + <i>radii</i> of a circle. This semi-circular form was adopted not merely for + convenience of vision, but for an aid to the sound. This range for + spectators was called the <i>coilon</i> or hollow. The area below was the + <i>conistra</i>, or pit. There was no superstructure for a gallery, but + around the rim of the building were porticos, by which the spectators + entered, and whither they could retire, if it rained. The portico just + about the highest corridor, or lobby, was denominated the <i>cercys</i>, and + used by the women. Where is now the orchestra, was a platform, called + by that name; and here, among the Greeks, were stationed the musicians; + chorus and Mimes; among the Romans, the Emperor, Senate, and other + persons of quality. Seven feet above the orchestra, and eleven above the + <i>conistra</i>, or pit, was the front stage, or proscenium, upon which stood + an altar to Apollo. Here the principal actors performed, and the site of + the altar was devoted to the dances (of the Mimes) and songs of the + chorus. The part called the <i>scena</i> was in line with the ornamental + columns, upon the sides of the stage. +</p> +<p> + The ancient scenery at first consisted of mere boughs, but afterwards of + tapestry, not painted canvas. The Greek stage consisted of three parts, + the <i>scena</i>, across the theatre, upon the line of the curtain in our + theatres; the proscenium, where the actors performed; and the + post-scenium, the part behind the house, before-mentioned. To form parts + of the scenes there were prisms of framework, turning upon pivots, upon + each face of which was strained a distinct picture, one for tragedy, + consisting of large buildings, with columns, statues, and other + corresponding ornaments; a second face, with houses, windows, and + balconies, for comedy; a third applied to farce, with cottages, + grottoes, and rural scenes. There were the <i>scenae versatiles</i> of + Servius. Besides these, there were <i>scenae ductiles</i>, which drew + backwards and forwards, and opened a view of the house, which was built + upon the stage, and contained apartments for machinery, or retirement + for the actors. As to the patterns of the scenes, in comedy, the most + considerable building was in the centre; that on the right side was a + little less elevated, and that on the left generally represented an inn. + In the satirical pieces they had always a cave in the middle, a wretched + cabin on the right, and on the left an old ruined temple, or some + landscape. In these representations perspective was observed for + Vitruvius remarks (C. 8) that the rules of it were invented and + practised from the time of Aeschylus, by a painter named Agararchus, who + has even left a treatise upon it. After the downfall of the Roman + Empire, these decorations of the stage were neglected, till Peruzzi, a + Siennese, who died in 1536, revived them. +</p> +<p> + There were three entries in front, and two on the sides; the middle + entry (termed the Royal door) was always that of the principal actor; + thus, in tragedy, it was commonly the gate of a palace. Those on the + right and left were destined to the second-part players, and the two + others, on the sides, one to people from the country, the other to those + from the harbour, or any public place. +</p> +<p> + Pollux informs us, that there were trap-doors for ghosts, furies, and + the infernal deities. Some under the doors, on one side, introduced the + rural deities, and on the other the marine. The ascents or descents were + managed by cords, wheels, and counter-weights. Of these machines none + were more common than those which descended from heaven in the end of + the play, in which the gods came to extricate the poet in the + <i>denouement</i>. The kinds were chiefly three; some conveyed the performer + across the theatre in the air; by others, the gods descended on the + stage; and a third contrivance, elevated, or supported in the air, + persons who seemed to fly, from which accidents often happened. (It is + from this that the well-known phrase "<i>Deus ex machina</i>" has its + origin.) As the ancient theatres were larger than ours, and unroofed, + there was no wheel-work aloft, but the performer was elevated by a sort + of crane, of which the beam was above the stage; and turning upon + itself, whilst the counter-weight made the actor descend or ascend, + caused him to describe curves, jointly composed of the circular motion + of the crane, and the vertical ascent. The <i>anapesmata</i> were cords for + the sudden appearance of furies, when fastened to the lowest steps; and + to the ascension of rivers, when attached to the stage. The + <i>ceraunoscopium</i> was a kind of moveable tower, whence Jupiter darted + lightning, supposed to be the Greek fire, as in Ajax Oielus. The machine + for thunder (<i>bronton</i>) was a brazen vase, concealed under the stage, in + which they rolled stones. Festus calls it the Claudian thunder, from + Claudius Pulcher, the inventor. The most dreadful machines were, + however, the <i>pegmata</i> (a general term also for all the machines), which + first consisted of scaffolds in stories, &c. These first exhibited + criminals fighting at the top, and then, dropping to pieces, + precipitated them to the lower story, to be torn to pieces by wild + beasts. Sometimes they were for vomiting flames, &c. The <i>theologium</i> + was a place more elevated than the stage, where the gods stood and + spoke, and the machines which held them rested. +</p> +<p> + The seats of the spectators were divided into stories, each containing + seven rows of seats, with two passages (<i>praecinctiones</i>) around them + above and below. Small staircases divided the seats into sections, + called <i>cunei</i>, and ended in a gate at the top, which communicated with + passages (the <i>vomitoriae</i>) for admission. +</p> +<a name="2HCH0006"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER VI. +</h2> +<h3 style="text-align: center"> + Roman Theatres—Description—"Deadheads"—Pantomime in Italy—Livius + Andronicus—<i>Fabulae Atellanae</i>—Extemporal Comedy—Origin of the + Masque, Opera, and Vaudeville—Origin of the term + Histrionic—Etruscans—Popularity of Pantomime in Italy—Pantomimists + banished by Trajan—Nero as a Mime—Pylades and Bathyllus—Subjects + chosen for the Roman Pantomimes—The Ballet—The <i>Mimi</i> and + <i>Pantomimi</i>—<i>Archimimus</i>—Vespasian—Harlequin—"Mr. Punch"—Zany, how + the word originated—Ancient Masks—Lucian, Cassiodorus, and Demetrius + in praise of Pantomime—A celebrated <i>Mima</i>—Pantomimes denounced by + early writers—The purity of the English stage contrasted with that of + the Grecian and Roman—Female parts on the Grecian and Roman stages—The + principal Roman <i>Mimas</i>—The origin of the Clown of the early English + Drama. +</h3> +<p> + The Roman theatres (continues Fosbroke) were of a similar D form. Two + lofty arched doorways entered into the pit. In front of the stage, which + was very shallow, was a pew-like orchestra. The proscenium was very + narrow, and instead of a drop scene was the <i>elisium</i>, a house, narrow, + with a kind of bow window front in the centre, and a door on each side: + for Pollux says that a house with two stories formed part of the stage, + whence old women and panders used to look down and peep about them. + Within the house were apartments. Around the back of the stage was a + <i>porticus</i>. At Herculaneum, on a balustrade which divided the orchestra + from the stage, was found a row of statues, and on each side of the + <i>pulpitum</i>, an equestrian figure. Below the theatre (great and small) + was a large square constructed, says Vitruvius, for the reception of the + audience in bad weather. It consisted of Doric columns, around an open + area, forming an ample portico for this purpose, whilst under it were + arranged <i>cellae</i>, or apartments, amongst which were a soap manufactory, + oil mill, corn mill, and prison. An inner <i>logia</i> was connected with a + suite of apartments. There was also an <i>exedra</i>, or recess. +</p> +<p> + Among the Romans, theatrical approbation was signified by an artificial + musical kind of noise, made by the audience to express satisfaction. + There were three species of applause denominated from the different + noises made in them, viz.: <i>Bombus</i>, <i>Imbrius</i>, and <i>Testae</i>. +</p> +<p> + First, a confused din, made either by the hands or mouth. The second and + third, by beating on a sort of sounding vessel placed in the theatres + for that purpose. Persons were instructed to give applause with + skill—and there were even masters who professed to teach the art. The + proficients in this way let themselves out for hire to the poets, + actors, &c., and were so disposed as to support a loud applause. These + they called <i>Laudicena</i>. At the end of the play, a loud peal of applause + was expected, and even asked of the audience either by the chorus or by + the person who spoke last. The formula was "<i>Spectatore Claudite</i>," or + "<i>Valete et Plaudite</i>." The applauders were divided into <i>Chori</i>, and + disposed in theatres opposite to each other, like the choristers in + cathedrals, so that there was a kind of concert of applause. The free + admission tickets were small ivory death's heads, and specimens of these + are to be seen in the Museum of Naples. From this custom, it is stated, + that we derive our word "Deadhead," as denoting one who has a free + entrance to places of amusement. +</p> +<p> + With the dawn of the Roman Empire, Pantomime, in Italy, is first + authentically mentioned. The Emperor Augustus always displayed great + favour to the Art, and even by some writers he has been credited with + being the originator of Pantomime. This, of course, as we have seen, is + impossible, and to use a familiar and trite saying, the Pantomimic Art + is "as old as the hills" themselves. Again, Bathyllus and Pylades (both + freed slaves, the former born in Cilicia, and the latter came from + Alexandria), and Hylas, the principal exponents of Pantomime during the + reign of Augustus, have also been credited with the honour of + originating Pantomime. +</p> +<p> + The early Roman entertainments only consisted of the military and sacred + dances, and the scenes in the circus. With the advent of the arts of + Greece the austerity hitherto practised by the Romans, which had arisen, + says Duray, "Much more from poverty than conviction," for "Two or three + generations had sufficed to change a city which had only known meagre + festivities and rustic delights into the home of revelry and pleasure." +</p> +<p> + With the Romans, in their Pantomimic entertainments, the whole gamut of + the emotions were gone through. +</p> +<p> + When the Greek drama was brought into Rome by Livius Andronicus, the + <i>Fabulae Atellanae</i>, or <i>Laudi Osci</i>—derived from the town of Atella, + in Campania, between Capua and Naples—was still employed to furnish the + Interludes, and just in a similar way as the <i>Satyra</i> Extemporal + Interludes supplied the Grecian stage. None of these Atellan Farces + have been committed to us, but Cicero, in a letter to his friend + Papyrius Paetus, speaks of them as the "More delicate burlesque of the + old Atellan Farces." From them also, we derive the Extemporal Comedy, or + <i>Comedia del' Arte</i> of Italy (afterwards to be noted), with its + characters, Harlequin, Clown, Pierrot, and the like, associated with + English and Italian Pantomime, and the progenitor also of all those + light forms of entertainment known as the Masque, the Opera, and the + Vaudeville. On English dramatic literature the Italian Extemporal + Comedies and their Pantomimical characters have also had a considerable + amount of influence. +</p> +<p> + Livy mentions that actors were sent for (<i>circa</i> 364 B.C.) from Etruria, + who, without verses or any action expressive of verses, danced not + ungracefully, after the Tuscan manner to the flute. In process of time + the Roman youth began to imitate these dancers intermixing raillery with + unpolished verses, their gestures corresponding with the sense of the + words. Thus were these plays received at Rome, and being improved and + refined by frequent performance the Roman actors acquired the name of + <i>Histriones</i>, from the Etruscan <i>Hister</i>, meaning a dancer or a stage + player. (From this we obtain our words histrion and histrionic). But + their dialogue did not consist of unpremeditated and coarse jests in + such rude verses as were used by the <i>Fescennini</i>, but of satires, + accompanied with music set to the flute, recited with suitable gestures. + After satires, which had afforded the people subject of coarse mirth + and laughter, were, by this regulation, reduced to form and acting, by + degrees became an art, the Roman youth left it to players by profession, + and began, as formerly, to act farces at the end of their regular + pieces. These dramas were called <i>Exodia</i>, and were generally woven with + the <i>Atellanae</i> Comedies. These were borrowed from the Osci, and were + always acted by the Roman youth. Tacitus speaks of <i>Atellanae</i> Comedies + written in the spirit and language of the Osci having been acted in his + time. +</p> +<p> + It is thought that the Etruscans possessed histories, poems, and dramas, + and, if these, then certainly they knew the Pantomimic Art, out of + which, in all probability, their dramatic entertainments grew. To the + Etruscans the Romans owe their early civilization. +</p> +<p> + The Etruscan era is supposed to have commenced about 1044 B.C., and we + are told that the Etruscans shared with the Greeks, and the Phoenicians, + the maritime supremacy of the Mediterranean. In the sepulchral chambers + of the Necropolis of Tarquinii, which extends for many miles, there are + several scenes painted in the archaic style by the Etruscans, + representing the Chase, the Circus, and Dancing Girls. +</p> +<p> + Soon after its innovation among the Romans, Pantomime spread all over + Italy and the provinces. So attractive did it become in Rome, and so + popular, that Tiberius issued a decree forbidding the knights and nobles + to frequent their houses of entertainment, or to be seen walking in the + streets with them. Trajan also oppressed and banished the Pantomimists. + Under Caligula, however, they were received with great favour, and + Aurelius made them priests of Apollo. Nero, who carried everything to + the extremity of foolishness, was not content in patronising the + Pantomimes, but must needs assist, and appear himself, as a <i>Mimi</i>. Here + again, in Nero, another claimant as the author of Pantomime has been put + forward. +</p> +<p> + "So great (observes Gaston Vuillier, in his 'History of Dancing,') was + the admiration for Pylades and Bathyllus that the theatrical supporters + clothed themselves in different liveries, and broils in the public + streets were of frequent occurrence." "The rivalries of Pylades and + Bathyllus," says De Laulnaye, "occupied the Romans as much as the + gravest affairs of state. Every citizen was a Bathyllian or a Pyladian." + Augustus reproved Pylades on one occasion for his quarrels with + Bathyllus. The Mime retorted, "It is well for you that the people are + engrossed by our disputes; their attention is thus diverted from your + actions." A bold retort, but it shows how important these Mimes were. + The banishment of Pylades brought about an insurrection, and the Emperor + had to recall him. +</p> +<p> + Cassius attributes the disgrace of Pylades to the intrigues of + Bathyllus, Suetonius to his effrontery; for on one occasion, when acting + Hercules, annoyed by the criticism of the spectators, he tore off his + mask, and shouted to them: "Fools, I am acting a madman." They thought + his gestures too extravagant. Another time he shot off arrows amongst + the spectators. Amongst other privileges extended by the Emperor + Augustus to the <i>Mimis</i> was being exempt from magisterial control and + immunity from military serving. +</p> +<p> + The subjects chosen for the Roman Pantomimes, like those of the Grecian + mysteries, from which they doubtless were borrowed, were of a + Mythological description, and they were of such a nature that the + audience could follow them easily, even if they were not already + previously acquainted with them. Between the Roman Pantomime, and the + Western <i>ballet d'action</i>, there is hardly any difference. The Romans + always liked to see their stages well peopled; and to help in the action + of their Pantomimes, a chorus accompanied with music, formed part of the + entertainment. The <i>Mimis and Mimas</i>, like the ballet of the present + day, provided the dances in addition to their Pantomimic Art of posing + and posturing. +</p> +<p> + Mr. Isaac Disraeli, in his work, "Curiosities of Literature," edited by + the late Earl of Beaconsfield, thus distinguishes between the <i>Mimi</i> and + the <i>Pantomimi</i> of the Ancients. The <i>Mimi</i> were an impudent race of + buffoons who excelled in mimicry, and like our domestic fools, were + admitted into convivial parties to entertain the guests. Their powers + enabled them to perform a more extraordinary office; for they appear to + have been introduced into funerals to mimic the person, and even the + language of the deceased. Suetonius describes an <i>archimimus</i> + accompanying the funeral of Vespasian. This <i>archimimus</i> performed his + part admirably, not only representing the person, but imitating, + according to custom, <i>ut est mos</i>, the manners and language of the + living Emperor. He contrived a happy stroke at the prevailing foible of + Vespasian, when he enquired the cost of all this funeral pomp—"Ten + million of sesterces!" On this he observed that if they would give him + but a hundred thousand they might throw his body into the Tiber. +</p> +<p> + The <i>Pantomimi</i> were quite of a different class. They were tragic + actors, and usually mute; they combined the arts of gesture, music, and + dances of the most impressive character. Their silent language has often + drawn tears by the pathetic emotions they excited; "Their very nod + speaks, their hands talk, and their fingers have a voice," says one of + their admirers. +</p> +<p> + These Pantomimists seem to have been held in great honour. The tragic + and the comic masks were among the ornaments of the sepulchral monuments + of an <i>Archmime</i> and a <i>Pantomimi</i>. Montfaucon conjectures that they + formed a select fraternity. +</p> +<p> + The parti-coloured hero (Harlequin), with every part of his dress, has + been drawn out of the greatest wardrobe of antiquity; he was a Roman + Mime. Harlequin is described with his shaven head (<i>rasis capitibus</i>); + his sooty face (<i>fuligine faciem abducti</i>); his flat unshod feet, + (<i>planipedes</i>), and his patched coat of many colours, (<i>Mimi + centunculo</i>). Even <i>Pulcinello</i>, whom we familiarly call "Punch," may + receive, like other personages of no great importance, all his dignity + from antiquity; one of his Roman ancestors having appeared to an + antiquary's visionary eye in a bronze statue; more than one erudite + dissertation authenticates the family likeness; the nose long, prominent + and hooked; the staring goggle eyes; the hump at his back, and at his + breast; in a word, all the character which so strongly marks the Punch + race, as distinctly as whole dynasties have been featured by the + Austrian lip and the Bourbon nose. +</p> +<p> + The genealogy of the whole family is confirmed by the general term which + includes them all: in English, Zany; in Italian, <i>Zanni</i>; in the Latin, + <i>Sannio</i>; and a passage in "Cicero <i>De Oratore</i>," paints Harlequin and + his brother gesticulators after the life; the perpetual trembling motion + of their limbs, their ludicrous and flexible gestures, and all the + mimicry of their faces: "<i>Quid enim potest tam ridiculum quam Sannio + esse? Qui ore vultu, imitandis motibus, voce, denique corpore ridetur + ipso.</i>" Lib II., Sect. 51. ("For what has more of the ludicrous than + Sannio? Who, with his mouth, his face, imitating every motion with his + voice, and, indeed, with all his body, provokes laughter.") +</p> +<p> + The Latin Sannio was changed by the Italians into (as Ainsworth + explains) Zanni, as, in words like Smyrna and Sambuco, they change the + s into z, which gives Zmyrna and Zambuco, and hence we derive our word + Zany. The word is, however, originally obtained from the Greek <i>Sannos</i> + (observes Quadrio), from whence the Latins derived their <i>Sannio</i>. +</p> +<p> + From the size of the ancient theatres it was not possible to notice the + visage of the actors, and this was one, but not the only reason, why + masks were adopted. The Ancients did not like a character to be + attempted, to which a proper appropriation was not annexed, and these + masks were so contrived, that the profile on one side exhibited chagrin, + and on the other serenity, or whatever other passion was most required. + The actor thus, according to the part he was playing, presented the side + of the mask best suited to the passage which he was reciting. The large + mouths of these masks were presumed to have contained some bronze + instrument suited to assist the voice, upon the principle of the + speaking trumpet; for the mask was wider, and the recitation in tragedy + much louder than in comedy, so that the voice might be heard all over + the theatre. The masks of the dancers were of regular features. +</p> +<p> + By some it has been contended that these masks covered both the head and + the shoulders under the supposed idea that when the head was thus + enlarged it would throw the whole body into symmetry when raised upon + stilts. It has, also, been argued that the masks for some of the + characters were made of gold-beaters skin, or some transparent substance + just covering the face so that the facial muscles could be seen through + it, and the eyes, mouth, and ears being left uncovered. These masks, + however, delineated very carefully the features of the character that + were to be represented. Something not unlike the huge Pantomime masks of + a hideous and frightful shape that we sometimes see in our present day + Pantomimes must have appeared, especially those that covered the head + and shoulders of the <i>Mimis</i> in the days of the Romans. Those that were + just of the size of the face in all probability were fantastic and + picturesque; and the third and remaining species of mask made of a + transparent substance could hardly have been very effective. +</p> +<p> + Mr. Wright tells us, in his book on the Chester Mystery plays (which + work I shall again refer to later on), that masks were used in the + Mystery series of plays acted in England during the thirteenth and + fourteenth centuries. +</p> +<p> + Julius Pollux is still more ample in his account of theatrical masks + used in Tragedy, Satyr, and Comedy. Niobe weeping, Medea furious, Ajax + astonished, and Hercules enraged. In Comedy, the slave, the parasite, + the clown, the captain, the old woman, the harlot, the austere old man, + the debauched young man, the prodigal, the prudent young woman, the + matron, and the father of a family, were all constantly characterised by + particular masks. +</p> +<p> + Lucian and the other writers of the Augustan era, have handed down to us + sufficient information to show how Pantomime in Rome was so highly + thought of. Cassiodorous, speaking of them, says:—"Men whose eloquent + hands had a tongue, as it were, on the tip of each finger—men who spoke + while they were silent, and knew how to make a recital without opening + their mouths—men, in short, whom Polyhymnia had formed in order to show + that there was no necessity for articulation in order to convey our + thoughts." Demetrius, a cynic philosopher, laughed at the Romans for + permitting so strange an entertainment; but having been, with much + difficulty, prevailed upon to be present at the representation of one of + them, he was confounded with wonder. The story represented was that of + Mars and Venus, the whole performed by a single actor, who described the + fable in <i>dumb show</i>. At length the philosopher, wrought up to the + highest pitch of admiration, exclaimed, "That the actor <i>had no occasion + for a tongue, he spoke so well with his hands</i>." +</p> +<p> + Of one Pontus, who had come on a visit to Nero, we are told that he was + present at a performance, in the course of which a favourite Mime gave a + representation of the Labours of Hercules. The Mime's gestures were so + precise that he could follow the action without the slightest + hesitation. Being struck by the performance, on taking leave he begged + Nero to give him the actor, explaining that there was a barbarous tribe + adjoining his dominions, whose language no one could learn, and that + Pantomime could express his intentions to them so faithfully by gestures + that they would at once understand. +</p> +<p> + The dress of the performers of Pantomime was made to reveal, and not to + conceal, their figures. After the second century women began to act in + their representations, and even down to the sixth century we find them + associating themselves with Pantomime, and mention is made of a + celebrated <i>Mima</i>, who was ultimately raised to the imperial throne. + Through the lewdness of the <i>Mimis</i> and <i>mimas</i> in Pantomime, their + dress, or rather lack of dress, Pantomimes were denounced, not only by + the early Christian writers, but also by some of the Pagan writers, like + Juvenal, as being very prejudicial to morality. +</p> +<p> + It has, however, always been a favourite topic of the Prynne's, the + Jeremy Collier's and the Dr. Style's, and such like opponents of the + theatre, to contrast the English stage with the purity of the Grecian + and Roman Theatres. Now, without stopping to enquire whether this has + any particular connection with the subject of their dissertations, or + whether it is not in fact quite irrelevant to the question, it is + impossible not to remark the crass ignorance which these assertions + display of the manners and customs of the theatres of either the Greeks + or the Romans. Without wearying the reader by entering into a long + discussion upon the subject, it will be sufficient to recall certain + passages in Aristophanes, Xenophon, Plautus, and Terence to induce them + to hesitate in assenting to such vague assertions of the purity of + either the Grecian or Roman dramatic writers. William Prynne, the + English Puritan writer, in his violent attack on the stage in the + "<i>Histrio-Mastix</i>" or "Players Scourge"—which book, by the way, for + some unfavourable comments therein on the Queen of Charles I., and the + ladies of her Court, for attending theatrical representations, was + debarred his rooms (he was a barrister), by the Court of Star Chamber, + sentenced to be imprisoned for life, fined £5,000, committed to the + Tower, placed in the pillory, both ears cut off, and his book burnt by + the common hangman; yet after undergoing all these pains and penalties, + he published a <i>recantation of all that he had previously written in his + "Histrio-Mastix</i>"—says "It seems that the Grecian actors did now and + then to refresh the spectators, bring a kind of cisterne on the stage, + wherein naked women did swim and bathe themselves between the acts and + scenes; which wicked, impudent, and execrable practice the holy father + Chrysostom doth sharpely and excellently declaime against." +</p> +<p> + Xenophon mentions the tale of "Bacchus and Ariadne," Pantomimically + played, and Martial tells us he saw the whole story of "Pasiphae," + minutely represented on the stage of the <i>Mimis</i>, and Plautus, in his + epilogue to "Casina," has— +</p> +<pre> "Nunc vos aequim est, manibus meritis, + Meritam mercedem dare. + Qui faxit, clam uxorem, ducat scortum + Semper quod volet. + Verum qui non manibus clare, quantum + Potent, plauserit, + Ei, pro scorto, supponetur hircus unctus nantea." +</pre> +<p> + On the Roman stage female parts were represented in tragedy by men, is + ascertained (says Malone) by one of Cicero's letters to Atticus, and by + a passage in Horace. Horace mentions, however, a female performer called + Arbuscula, but as we find from his own authority men personated women on + the Roman stage, she was probably an <i>Emboliariae</i>. Servius calls her a + <i>Mima</i>, or one who danced in the Pantomimic dances, and which seems more + probable, as she is mentioned by Cicero, who says the part of Andromache + was played by a male performer on the very day Arbuscula also performed. +</p> +<p> + The principal Roman <i>Mimas</i> were:—Arbuscula, Thymele, Licilia, + Dionysia, Cytheris, Valeria, and Cloppia. +</p> +<p> + In the satirical interludes of the Grecian stage, and the <i>Fabulae + Atellanae</i> of the Roman theatres, the <i>Exodiarii</i> and <i>Emboliariae</i> of + the Mimes, were the remote progenitors (says Malone) of the Vice or + Devil, and the Clown of our English Mystery plays, the latter series of + plays being the origin of the drama of this country. The exact + conformity between our Clown and the <i>Exodiarii</i> and <i>Emboliariae</i> of + the Roman stage is ascertained by that passage in Pliny—"<i>Lucceia Mima + centum annis in scena pronuntiavit. Galeria, Copiola, Emboliariae, + reducta est in scenam: annum certissimum quartum agens</i>," is thus + translated by an English author, Philemon Holland, "Lucceia, a common + Vice in a play, followed the stage, and acted thereupon 100 yeeres. Such + another Vice that <i>plaied the foole, and made sporte between whiles in + interludes</i>, named Galeria Copiola, was brought to act upon the stage + when she was in the 104th yeere of her age." We shall, in another + chapter, return to the Vice, or Clown. +</p> +<a name="2HCH0007"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER VII. +</h2> + + +<h3 style="text-indent: 0em; text-align:center"> + Introduction of the Roman Pantomimic Art into Britain—First English + reference to the word Pantomime—The fall of the Roman Empire—The + sacred play—Cornish Amphitheatres—Pantomimical and Lyrical elements in + the sacrifice of the Mass—Christian banishment of the + <i>Mimis</i>—Penalties imposed by the Church—St. Anthony on Harlequin and + Punch—Vandenhoff—what we owe to the <i>Mimis</i>. +</h3> +<p> + With the advent of Julius Caesar and the conquest of Britain by the + Romans, about the year 52 B.C., we have, in all probability, the first + introduction of the Roman Pantomimic Art into this country. Inasmuch as + we have it upon the authority of history that Caesar travelled with his + Mimes, and it is, therefore, not improbable that they came into Britain + with him. England, then, during the occupancy of the Romans, must have + known the Dramatic Art, or else (as Dibdin observes) Pacuvius, Accius, + and Livius Andronicus were ignorant of it. Martial tells us that it did, + and so does Boadicea, so that we have not only Roman authorities for it, + but also British. +</p> +<p> + The word "Pantomime" could not, I may say here, have been Anglicised + earlier than sometime during the seventeenth century. Dr. Johnson's + earliest example is from "Hudibras"— +</p> +<pre> "Not that I think those <i>Pantomimes</i>, + Who vary action with the times, + Are less ingenious in their art + Than those who duly act one part." +</pre> +<p> + Bacon and Ben Jonson use the Latin <i>Pantomimi</i>—"Here be certain + <i>Pantomimi</i> that will represent the voices of players." Again in the + "Masque of Love's Triumph," etc., 1630, "After the manner of the old + <i>Pantomimi</i> they dance over a distracted Comedy of Love." +</p> +<p> + The fall of the Roman Empire and the progress of Christianity in Europe + sounded the death knell of Paganism and its attributes, of which + Pantomime was deemed to be one, owing to the bad odour in which this + form of entertainment had got to during the last days of the Empire. + Notwithstanding this the church was only too glad to avail itself of + Pantomime as a vehicle to portray before the world at large, and in + order to turn attention to the great moral truths to be deduced from the + death of Him on Calvary Hill. These exhibitions of religious subjects, + in the form of <i>tableaux vivants</i>, took place in the churches, and, + having regard to the sacred edifices in which they were given, they + were, especially in the beginning, I conjecture, performed in dumb show, + without any dialogue. Afterwards dialogue was introduced, and they began + to be, not only held in the churches, but also in the church-yards, the + streets, and in booths. +</p> +<p> + It is true the sacred play was not a new institution, as one is said to + be mentioned about the time of the Fall of Jerusalem. In Cornwall, plays + were given in the ancient times in the open air, after the fashion of + the Roman Amphitheatre, with the dialogue in the Cymric tongue. + Pantomimical performances might also have been given in those open-air + theatres by the Romans. +</p> +<p> + Perhaps no better example of the early Sacred Drama I can give, and + which is still with us, and performed daily, is the sacrifice of the + Mass in all Roman Catholic Churches throughout the length and breadth of + the world. In the Mass we have a dramatic action <i>pantomimically</i> + presented, in part aided by lyrical and epical elements. I will not, + however, pursue this portion of my subject further, save than to add + that at the Catholic Churches' festivals, especially during Holy Week or + Passion Week, what I have mentioned of the Mass becomes at these times + marked in even a greater degree. +</p> +<p> + With the decline and fall of the Roman Empire, the <i>Mimis</i> became + wanderers on the face of the earth, only appearing at festivals and the + like, when they were wanted, and returning to their haunts as + mysteriously as they came. +</p> +<p> + In the fourth century A.D. they were excluded from the benefit of the + rites of the Church, and even those who visited their entertainments, + instead of churches, on the Sundays and holidays, were excommunicated. + The Theodosian creed provided that the actors were not to have the + sacraments administered to them save when death was imminent, and then + only that, in case of recovery, their calling should be renounced. +</p> +<p> + In the second century one of the Fathers of the Church wrote a special + treatise against plays (<i>Tertulian De Spectaculis</i>), in which he asks + those who will not renounce them "Whether the God of truth, who hates + all falsehood, can be willing to receive into His kingdom those whose + features and hair, whose age and sex, whose sighs and laughter, love and + anger, are all feigned. He promises them a tragedy of their own when, in + the day of Judgment, they shall be consigned to everlasting suffering." +</p> +<p> + However, the church was not always against the stage, even in those + early times, as St. Thomas Aquinas says that "The office of the player + as being serviceable for the enlivenment of men, and as not being + blameworthy if the player leads an upright life." Both Saints Thomas + Aquinas and Anthony supported the stage, the latter only stipulating + that the character of Harlequin should not be represented by a + clergyman, nor that Punch should be exhibited in church. +</p> +<p> + It is one of the most remarkable things that, despite the bitterness, + hostility, and deadly enmity that has been levelled at the stage, and + its players termed "Rogues and Vagabonds" from time immemorial, how it + has lived through it all. In connection with this how the lines of that + great actor, Vandenhoff, occurs to me, a few of which, with the reader's + permission, I subjoin. +</p> +<pre> "The drama's now a great established fact, + That can't be blink'd, ignored how'er attack'd + By vain abuse or angry prejudice; + The time's gone by when <i>playing was a vice</i>; + When bigots mark'd the actor with a ban, + (Tho' saintly crowds to hear his accents ran), + Denied him sacred rite and hallowed grave— + Filching from God the soul he made to save— + And, for the pleasure which his life had giv'n + On earth, refused him dead, a place in heav'n. + No! wiser days bring gentler feelings in, + And 'Nature's touches makes the whole world kin'." +</pre> +<p> + By degrees the <i>Mimis</i>, or mummers, with their fellows, spread + themselves all over Europe. The humbler of the craft, in fact it might + be said of them all, as Othello's occupation had (for them) long since + been gone, strolled from castle to castle, from village to town, and + earning their livelihood as best they could. To these wandering + Bohemians we owe such traditions of the drama that survived with them + into succeeding ages; and to them also we are indebted for keeping alive + by inculcating unto others the Art of <i>Pantomimus</i>, when in the heyday + of its popularity in the Roman Empire. +</p> +<a name="2HCH0008"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER VIII. +</h2> +<h3 style="text-align: center"> + Pantomime in the English Mystery or Miracle Plays and Pageants—A + retrospect of the Early Drama—Mysteries on Biblical events—Chester, + Coventry, York, and Towneley Mystery Plays—Plays in Churches—Traces of + the Mystery Play in England in the Nineteenth Century—Mystery Plays on + the Continent—The Chester series of Plays—The Devil or Clown and the + <i>Exodiarii</i> and <i>Emboliariae</i> of the Ancient Mimes. +</h3> +<p> + It is presumed that, not only were the early sacred plays acted in + dumb-show, but that the Miracle or Mysteries of Religion series of + plays—which grew out of the sacred play—also the Pageants in the + beginning, and for long afterwards were acted in this wise. Percy, in + his "Reliques of Ancient English Poetry," also takes this view. He + says:—"They were (the Mysteries) probably a kind of <i>dumb show</i>, + intermingled, it may be, with a few short speeches, at length they grew + into regular scenes of connected dialogues, formally divided into acts + and scenes." Colley Cibber has: "It has been conjectured that the actors + of the Mysteries of Religion were <i>mummers</i>, a word signifying one who + makes and disguises himself to play the fool <i>without speaking</i>. They + were dressed in an antic manner, <i>dancing, mimicking</i>, and <i>showing + postures</i>." Mr. Wright also observes (in his work on the Mystery Plays + of Chester, published by the Shakespearean Society) that the "<i>chief + effect seems to have been caused by the dumb show</i>." +</p> +<p> + Before dealing with the Mysteries, and as perhaps a kind of retrospect, + let us have a look what Wharton has to say of the early drama. "Trade," + he says (in the early centuries) "was carried on by means of fairs, which + lasted several days. Charlemagne established many great marts of this + sort in France, as did William the Conqueror and his Norman successors + in England. The merchants, who frequented these fairs in numerous + caravans and companies, employed every art to draw the people together. + They were, therefore, accompanied by jugglers, minstrels, and buffoons + (<i>i.e.</i>, Pantomimists), who were no less interested in giving their + attendance and exercising their skill on these occasions. Few large + towns existed, no public spectacles or popular amusements were + established; and as the sedentary pleasures of domestic life and private + society were yet unknown, the fair time was the season for diversion. In + proportion as the shows were attended and encouraged, they began to be + set off with new decorations and improvements; and the arts of + buffoonery being rendered still more attractive by extending their + circle of exhibition, acquired an importance in the eyes of the people. + By degrees the Clergy, observing that the entertainments of dancing, + music, and mimicry exhibited at these annual celebrations made the + people less religious by promoting idleness and a love of festivity, + proscribed these sports and excommunicated the performers." +</p> +<p> + Mystery plays were afterwards divided into three classes, though the + generic term Mysteries, meaning all three, is generally used. In the + Mysteries, Biblical events were principally used; Miracle plays were + obtained from the legends of the saints; and the last, Moralities, + allegorical stories of a moral character not essentially taken from the + Bible, or from the legends of the saints, comprised the third heading. + The Mysteries were for several centuries known on the Continent before + they were performed in England. The earliest Mystery play known to have + been acted in England was at Dunstable about the year 1110. It was + probably in Latin, and composed by a Norman monk. +</p> +<p> + It is a peculiarity of the English Mystery plays that they were combined + into a series of plays on the Old and New Testament; and in which the + whole course of Divine Providence, from the Creation to the Day of + Judgment, is set before the spectator. Four noted groups of plays were + the Chester, the Towneley, Coventry, and York Mystery plays. The Chester + plays began on Whit Monday, and, continued till the following Wednesday. + Permission to perform them, in the beginning of their institution, had + twice to be asked of the Pope. They consisted of 24 plays, and were + almost annually performed till 1577. Before the suppression of the + monasteries the Grey Friars at Coventry were celebrated for their + exhibitions of the Mystery plays usually on <i>Corpus Christi</i>. The + Towneley, or Woodkirk group of plays were acted at Woodkirk, about four + miles from Wakefield, and they are of a style that may be likened to the + times of Henry VI., or Edward IV. Until the Mystery play fell into + disuse, the trading companies and guilds seem principally to have + maintained them. The mixture of secular with ecclesiastical players + helped to change the characters of the English plays and to provoke + censure, which began to be levelled at them from the beginning of the + thirteenth century. +</p> +<p> + The practise of performing plays in sacred edifices in England, had not + ceased in 1542, when Bishop Bonner prohibited them in his diocese. + However, so late as 1572, it appears that Interludes were occasionally + performed in Churches. +</p> +<p> + Collier speaks of a kind of Mystery, or Miracle play, exhibited in the + last century, with the characters of Herod, Beelzebub, and others. In + 1838 Sandy mentions of having seen the play of "St. George and the + Dragon," presented in the Northern and Western parts of the Kingdom, or + rather Queendom, as Victoria had just ascended the throne. I myself + remember quite well, within a couple of decades ago, what was probably + at the time a remnant of the old Mystery play presented in a rural part + of Lancashire by men in a fantastic garb, and termed by the country + folk, "Paste-eggers." They generally appeared about Good Friday and on + to Easter; and their performance consisted of a mixture of music (?), + songs, and sometimes not over choice language. This custom does not now + exist where I write of, but it may do—though I very much doubt—in some + rural parts. On the Continent, as at Oberammergau, Mystery plays are + still enacted. +</p> +<p> + The following account of the Chester Mysteries may be of interest, and + appears (says Warton) in the Harleian Catalogue. M.S. Harl. 2013, etc. + Exhibited at Chester in the year 1327 at the expense of the different + trading companies of that city. "The Fall of Lucifer," by the tanners; + "The Creation," by the drapers; "The Deluge," by the dyers; "Abraham, + Melchizedeck and Lot," by the barbers; "Moses, Balak and Balaam," by the + cappers; "The Salutation and the Nativity," by the wrights (carpenters); + "The Shepherds feeding the Flocks by Night," by the painters and + glaziers; "The Three Kings," by the vintners; "The oblation of the Three + Kings," by the mercers; "The Killing of the Holy Innocents," by the + goldsmiths; "The Purification," by the blacksmiths; "The Temptations," + by the butchers; "The Blindmen and Lazarus," by the glovers; "Jesus and + the Lepers," by the cowesarys; "Christ's Passion," by the bowyers, + fletchers and ironmongers; "Descent into Hell," by the cooks and + inn-keepers; "Resurrection," by the skinners; "Ascension," by the + taylors; "The Election of St. Matthias," "Sending of the Holy Ghost," + etc., by the fishmongers; "Anti-christ," by the clothiers; and "The Day + of Judgment," by the websters (weavers). The reader will perhaps smile + at some of these combinations. This is the substance and order of the + former part of the play. God enters, creating the world, he breathes + life into Adam, leads him into Paradise, and opens his side while + sleeping. Adam and Eve appear <i>naked</i>, and <i>not ashamed</i>; and the old + Serpent enters, lamenting his fall. He converses with Eve. She eats part + of the forbidden fruit, and gives part to Adam. They propose, according + to the stage directions, to make themselves, <i>subligacula a folis + quibus tegamus pudenda</i>, cover their nakedness with leaves and converse + with God. God's curse. The Serpent exits, hissing. They are driven from + Paradise by four angels, and the Cherubim with a flaming sword. Adam + appears digging the ground, and Eve spinning. Their children, Cain and + Abel, enter, the former kills his brother. Adam's lamentation. Cain is + banished, etc., etc. +</p> +<p> + Adam and Eve, in the "altogether," so to speak, were acted like this as + late as the sixteenth century. In a play called "The Travails of the + Three English Brothers," acted in 1607, there occurs this:— +</p> +<p> + "Many idle toyes, but the old play <i>that Adam and Eve acted in bare + action under the figge tree draws most of the gentlemen</i>." +</p> +<p> + An Account of the Proclamation of the Mystery plays, acted in "Ye Citye + on ye Dee," may prove of interest, and the copy of which I subjoin is + taken from the Harleian M.S. No. 2013. +</p> +<p> + "The proclamation for Whitsone playes made by Wm. Newell, Clarke of the + Pendice, 24 Hen. 8. Wm. Snead 2nd yere Maior." +</p> +<p> + "For as much as auld tyme, not only for the augmentation and increese of + the holy and catholick faith of our Saviour Jesu Christ, and to exort + the mindes of comon people to good devotion and holsome doctrine + thereof, but also for the comonwelth and prosperity of this citty, a + play and declaration of divers storyes of Bible beginning with the + Creation and fall of Lucifer, and ending with the generall Judgment of + the world, to be declared and played in Whitsonne weeke, was devised and + made by one Sir Henry Frances, sometyme moonck of this monastrey + disolved, who obtayning and gat of Clemant, then Bushop of Rome, a 1000 + dayes of pardon, and of the Bushop of Chester at that tyme 40 dayes of + pardon, graunted from thensforth to every person resorting, in peaceable + manner with good devotion, to heare and see the sayd playes, from time + to time as oft as they shall be played within the said citty (and that + every person or persons disturbing the sayd playes in the maner wise to + be acused by the authority of the sayd pope Clemant's bulls, untill such + tyme as he or they be absolved thereof) which playes were devised to the + honor of God by John Arnway, then maior of this citty of Chester, his + brethren and whole cominalty thereof, to be brought forth, declared, and + played, at the cost and charges of the craftesman and occupations of the + sayd citty, which hitherto have from tyme to tyme used and performed the + same accordingly. +</p> +<p> + "Wherefore Mr. maior, in the King's name, stratly chargeth and + commandeth that every person and persons of what estate, degree, or + condition so ever he or they be resorting to the sayd playes, do use + themselves peaciblie, without making any assault, affray, or other + disturbance, whereby the same playes shall be disturbed, and that no + manner of person or persons, whiche so ever he or they be, do use or + wear any unlawfull weapons within the precinct of the sayd citty during + the tyme of the sayd playes (not only upon payn of cursing by authority + of the sayd Pope Clemant's bulls but also) upon payn of imprisonment of + their bodyes, and making fine to the King at Mr. maior's pleasure." +</p> +<p> + Archdeacon Rogers, who died in 1595, and saw the Whitsuntide plays + performed at Chester in the preceding year, gives the following account + of the mode of exhibition:— +</p> +<p> + "The time of the yeare they were played was on Monday, Tuesday, and + Wenseday in Whitson weake. The maner of these playes weare every company + had his pagiant, or parte, which pagiants weare a high scafolde with 2 + rowmes, a higher and a lower, upon 4 wheeles. In the lower they + apparelled themselves, and in the higher rowme they played, being all + open on the tope, that all behoulders might heare and see them. The + places where they played them was in every streete. They begane first at + the abay gates, and when the first pagiante was played, it was wheeled + to the high crosse before the mayor, and soe to every streete; and soe + every streete had a pagiant playinge before them at one time, till all + the pagiantes for the daye appoynted weare played, and when one pagiant + was neere ended, word was broughte from streete to streete that soe they + mighte come in place thereof exceedinge orderlye, and all the streetes + have their pagiantes afore them all at one time playeinge togeather; to + se which playes was greate resorte, and also scafoldes and stages made + in the streetes in those places where they determined to playe their + pagiantes." +</p> +<p> + Strutt has the following description of the Mystery plays:—"In the + early dawn of literature, and when the sacred Mysteries were the only + theatrical performances, what is now called the stage did then consist + of three several platforms or stages, raised one above another; on the + uppermost sat the <i>Pater Caelestis</i>, surrounded with his angels; on the + second appeared the holy saints and glorified men; and the last and + lowest were occupied by mere men who had not passed through this life to + the regions of eternity. On one side of this lowest platform was the + resemblance of a dark pitchy cavern, from whence issued appearance of + fire and flames; and when it was necessary the audience were treated + with hideous yellings and noises, as imitations of the howlings and + cries of the wretched souls tormented by the relentless demons. From + this yawning cave the devils themselves constantly ascended, to delight + and instruct the spectators; to delight because they were usually the + greatest jesters and buffoons that then appeared; and to instruct for + that they treated the wretched mortals who were delivered to them with + the utmost cruelty, warning thereby all men carefully to avoid the + falling into the clutches of such hardened and relentless spirits." +</p> +<p> + It is interesting to note that Hell was imitated by a whale's open jaws, + behind which a fire was lighted, in such a way, however, so as not to + injure the "damned," who had to pass into its gaping mouth. The + performer who impersonated God had not only his face but also the hair + of his wig gilded. Christ was dressed in a long sheep's skin. The Devil, + or Vice (the <i>Exodiarii</i> and <i>Emboliariae</i> of the ancient <i>Mimis</i>), was + easily recognisable by his horns and his tail, whilst his beard was of a + bright red colour, to indicate the flames of the region in which he + dwelt. Judas also wore a wig of a fiery hue, and, after being hung, had + sometimes to do the "cock crowing," as some old accounts of the York + Mysteries show. +</p> +<p> + It appears to have been customary for the Devil to appear before the + audience with a cry of "Ho! ho! ho!" somewhat similar to the + ejaculations of the Pantomime Clown in after years. (See <i>Gammer + Gurton's Needle</i>, Act II., Sc. 3, and "The Devil is an Ass," by Ben + Jonson, Act I., Sc. 1.) The following passage occurs in "Wily Beguiled," + 1606. "Tush! feare not the dodge; I'll rather put on my flashing red + nose, and my flaming face, and come wrapped in a calfe's skin, and cry + 'Ho! ho! ho!'" Again, "I'll put me on my great carnation nose, and wrap + me in a rousing calf's-skin suit, and come like some hob-goblin, or some + Devil ascended from the grisly pit of hell, and like a scarebabe make + him take to his legs; I'll play the Devil, I warrant ye." +</p> +<a name="2HCH0009"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER IX. +</h2> +<h3 style="text-align: center"> + The Clown or Fool of the early English Drama—Moralities—The + Interlude—The rise of English Tragedy and Comedy—"Dumb Shews" in the + Old Plays—Plays suppressed by Elizabeth—A retrospect. +</h3> +<p> + In the sixth chapter of this work, in quoting Malone, I have mentioned + that the <i>Exodiarii</i> and <i>Emboliariae</i> of the <i>Mimis</i> were the remote + progenitors of the Clown of the Mystery Plays of this country. Now let + us see what were the duties the Clown fulfilled in the old plays of this + country, and also briefly of the others who were known under the generic + name of Clown or fool. +</p> +<p> + In the early drama the Clown was a personage of no mean importance and + whose duty was to preserve the stage from vacancy by amusing the + audience with extemporary buffoonery, and also at the end of the + performance. And, as Heywood, in his "History of Women" (1624), says "By + his mimic gestures to breed in the less capable mirth and laughter." On + these occasions, it was usual to descant, in a humourous style, on + various subjects proposed to him by the spectators; but they were more + commonly entertained with what was termed a jig: this was a ludicrous + composition in rhyme, sung by the Clown, accompanied by his pipe and + tabor. In these jigs there were sometimes more actors than one, and the + most unbounded license of tongue was allowed; the pith of the matter + being usually some scurrilous exposure of persons among, or well known + to the audience. Here again history repeats itself in this once more, + and in imitation of the satirical interludes of the Grecian stage and + the <i>Atellans</i> and <i>Mimis</i> of the Roman theatres. +</p> +<p> + The practice of putting the fools and Clowns in requisition between the + acts and scenes (observes Francis Douce), and after the play was + finished, to amuse the spectators with their tricks, may be traced to + the Greek and Roman theatres; and their usages being preserved in the + middle ages, wherever the Roman influence had spread, it would not, of + course, be peculiar to England. The records of the French theatre + demonstrate this fact; in the "Mystery of Saint Barbara," we find this + stage direction:—<i>Pausa. Vadunt, et stultus loquitur.</i> (A pause. They + quit the stage, and the fool speaks). And in this way he is frequently + brought on between the scenes. +</p> +<p> + It is quite obvious that the terms Clown and fool were used, though + improperly, perhaps, as synonymous by our old dramatists. Their confused + introduction might render this doubtful to one who had not well + considered the matter. The fool of our early plays denoted a mere idiot + or natural, or else a witty hireling retained to make sport for his + masters. The Clown was a character of more variety; sometimes he was a + mere rustic; and, often, no more than a shrewd domestic. There are + instances in which any low character in a play served to amuse with his + coarse sallies, and thus became the Clown of the piece. In fact, the + fool of the drama was a kind of heterogeneous being, copied in part from + real life, but highly coloured in order to produce effect. This opinion + derives force from what is put into the mouth of Hamlet, when he + admonishes those who perform the Clowns, to speak no more than is set + down for them. Indeed, Shakespeare himself cannot be absolved from the + imputation of making mere caricatures of his merry Andrews, unless we + suppose, what is very probable, that his compositions have been much + interpolated with the extemporaneous jokes of the players. To this + folly, allusions are made in a clever satire, entitled, "Pasquils + Mad-cappe, throwne at the Corruptions of these Times," 1626, quarto. +</p> +<pre> "Tell country players, that old paltry jests + Pronounced in a painted motley coate, + Filles all the world so full of cuckoo nests, + That nightingales can scarcely sing a note. + Oh! bid them turn their minds to better meanings; + Fields are ill sowne that give no better gleanings." +</pre> +<p> + Sir Philip Sidney reprobates the custom of introducing fools on the + stage; and declares that the plays of his time were neither right + tragedies nor right comedies, for the authors mingled kings and Clowns, + "not," says he, "because the matter so carrieth it, but thrust in the + Clowne by head and shoulders to play a part in majestical matters, with + neither decencie nor discretion; so as neither the admiration and + commisseration, nor the right sportfulnesse, is by their mongrell + tragie-comedie obtained." Rankin, a puritan, contemporary with + Shakespeare, wrote a most bitter attack on plays and players, whom he + calls monsters; "And whie monsters?" says he, "because under colour of + humanitie they present nothing but prodigious vanitie; these are wels + without water, dead branches fit for fuell, cockle amongst corne, + unwholesome weedes amongst sweete hearbes; and, finallie, feends that + are crept into the worlde by stealth, and hold possession by subtill + invasion." In another place, he says, "some transformed themselves to + rogues, others to ruffians, some others to Clownes, a fourth to fools; + the rogues were ready, the ruffians were rude, theyr Clownes cladde as + well with country condition, as in ruffe russet; theyr fooles as fond as + might be." +</p> +<p> + To give a clear view of our subject, something of the different sorts of + fools may be thus classed: +</p> +<p> + 1.—The <i>general domestic fool</i>, termed often, but <i>improperly</i>, a + <i>Clown</i>; described by Puttenham as "a buffoune, or counterfett foole." +</p> +<p> + 2.—The <i>Clown</i>, who was a mere country booby, or a witty rustic. +</p> +<p> + 3.—The <i>female fool</i>, who was generally an idiot. +</p> +<p> + 4.—The <i>city or corporation fool</i>, an assistant in public + entertainments. +</p> +<p> + 5.—The <i>tavern fool</i>, retained to amuse the customers. +</p> +<p> + 6.—The <i>fool of the ancient Mysteries and Moralities</i>, otherwise the + <i>Vice</i>. +</p> +<p> + 7.—The <i>fool in the old dumb shows</i>, often alluded to by Shakespeare. +</p> +<p> + 8.—The <i>fool in the Whitsun ales and morris dance</i>. +</p> +<p> + 9.—The <i>mountebank's fool, or merry Andrew</i>. +</p> +<p> + There may be others in our ancient dramas, of an irregular kind, not + reducible to any of these classes; but to exemplify them is not within + the scope of this essay: what has been stated may assist the readers of + old plays to judge for themselves when they meet with such characters. +</p> +<p> + The practice of retaining fools can be distinctly traced from the + remotest times. They were to be found alike in the palace and the + brothel; the Pope had his fool, and the bawd hers; they excited the + mirth of kings and beggars; the hovel of the villain and the castle of + the baron were alike exhilarated by their jokes. With respect to the + antiquity of this custom in England, it appears to have existed even + during the period of our Saxon history, but we are certain of the fact + in the reign of William the Conqueror. Maitre Wace, an historian of that + time, has an account of the preservation of William's life, when Duke of + Normandy, by his fool, <i>Goles</i>; and, in Domesday book, mention is made + of <i>Berdin joculator regis</i>; and though this term sometimes denoted a + minstrel, evidence might be adduced to prove, that in this instance it + signified a buffoon. +</p> +<p> + The entertainment, fools were expected to afford, may be collected in + great variety from our old plays, especially from those of Shakespeare; + but, perhaps, a good idea may be formed of their general conduct from a + passage in a curious tract by Lodge, entitled, "Wit's Miserie," 1599, + quarto: "Immoderate and disordinate joy became incorporate in the bodie + of a jeaster; this fellow in person is comely, in apparell courtly, but + in behaviour a very ape, and no man; his studie is to coin bitter + jeasts, or to shew antique motions, or to sing baudie sonnets and + ballads; give him a little wine in his head, he is continually flearing + and making of mouthes; he laughs intemperately at every little occasion, + and dances about the house, leaps over tables, outskips men's heads, + trips up his companions' heeles, burns sack with a candle, and hath all + the feats of a lord of misrule in the countrie: feed him in his humour, + you shall have his heart; in mere kindness he will hug you in his armes, + kisse you on the cheeke, and rapping out an horrible oath, crie 'God's + soule, Tum, I love you, you knowe my poore heart, come to my chamber for + a pipe of tobacco, there lives not a man in this world that I more + honor.' In these ceremonies you shall know his courting, and it is a + speciall mark of him at table, he sits and makes faces: keep not this + fellow company, for in jingling with him, your wardropes shall be + wasted, your credits crackt, your crownes consumed, and time (the most + precious riches of the world) utterly lost." +</p> +<p> + With regard to the fool's business on the stage, it was nearly the same + as in reality, with this difference, that the wit was more highly + seasoned. In Middleton's "Mayor of Quinborough," a company of actors, + with a Clown, make their appearance, and the following dialogue + ensues:— +</p> +<pre>1st Cheater. This is our Clown, sir. +</pre> +<pre>Simon. Fye, fye, your company + Must fall upon him and beat him; he's too fair i'faith, + To make the people laugh. +</pre> +<pre>1st Cheater. Not as he may be dress'd, sir. +</pre> +<pre>Simon. Faith, dress him how you will. I'll give him + That gift, he will never look half scurvily enough. + Oh! the Clowns that I have seen in my time, + The very peeping out of one of them would have + Made a young heir laugh, though his father lay a-dying; + A man undone in law the day before, + (The saddest case that can be) might for his second + Have burst himself with laughing, and ended all + His miseries. Here was a merry world, my masters! + Some talk of things of state, of puling stuff; + There's nothing in a play like to a Clown, + If he have the grace to hit on it, that's the thing indeed. + Away then, shift; Clown, to thy motley crupper. +</pre> +<p> + In the <i>praeludium</i> to Goffe's "Careless Shepherdess," 1656, quarto, + there is a panegyric on them, and some concern is shown for the fool's + absence in the play itself, while it is stated that "The motley coat was + banished with trunk-hose." Yet in Charles II.'s reign, some efforts were + made to restore the character. In the tragedy of "Thorney Abbey, or the + London Maid," 1662, 12mo., the prologue is delivered by a fool, who uses + these words:—"The poet's a fool who made the tragedy, to tell a story + of a king and a court, and leave a fool out on't, when in Pacey's, and + Sommer's, and Patche's, and Archer's times, my venerable predecessours, + a fool was alwaies the principal verb." Shadwell's play of "The Woman + Captain," 1680, is perhaps the last in which a regular fool is + introduced; and even there, his master is made to say that the character + was exploded on the stage. In real life, as was formerly stated, the + professed fool was to be met with at a much later period, but the custom + has long been obsolete. +</p> +<p> + What I have said of the Mysteries of Religion plays will, I hope, be + sufficient to show the reader how they were associated with Pantomime. + The Moralities, founded on the Mysteries, were the means used to + inculcate, by the aid of a slight plot, religious truths without + directly using scriptural or legendary subjects. Malone says of + them:—"I am unable to ascertain when the first Morality appeared, but + incline to think not sooner than the reign of Edward IV. (about 1460). + The public pageants of the reign of his predecessor were uncommonly + splendid, and being then <i>first</i> enlivened by the introduction of + <i>speaking</i> allegorical personages, properly and characteristically + habited, naturally led the way to these personifications, by which + Moralities were <i>distinguished from</i> the simple religious dramas called + Mysteries." +</p> +<p> + The Interlude, that was the progenitor of English Comedy, next arrived. + The origin of the Interlude is credited to John Heywood. +</p> +<p> + It is interesting to note that a play, entitled, "Gammer Gurton's + Needle," is credited with being our first English Comedy, though its + humour and wit, it is stated, is of a low and sordid kind. Others make + claim for the comedy, "Ralph Roister Doister." +</p> +<p> + Tragedy and Comedy now began to raise their heads, yet they could not, + for some time, do more than bluster and quibble. There is an excellent + criticism on them by that distinguished statesman, poet, scholar, and + brave soldier, Sir Philip Sydney. "Some of their pieces were only '<i>dumb + shews</i>,' some with choruses, and some they explained by an + Interlocutor," says an old writer on the subject. The mention of + Pantomime in connection with tragedy, and as an example how Pantomime + was requisitioned in Shakespeare's time, is shown in the Second Scene of + Act III. of "Hamlet," wherein the "dumb shew" is given by the players. +</p> +<p> + The true drama, however, received birth and perfection from the creative + geniuses of Shakespeare, Beaumont and Fletcher, Jonson, and others. + Though the stage no sooner began to talk than it grew scurrilous, and + plays were thought "Dangerous to Religion, the State, Honesty, and + Manners, and also for Infection, in Time of Sickness." Wherefore they + were afterwards for some time suppressed. But upon application to the + Queen and Council they were again tolerated under the following + restrictions: "That no Plays be acted on Sundays at all, nor on any + other Holidays till after Evening Prayer. That no playing be in the + <i>Dark</i>, nor continue and such Time, but the Auditors may return to their + Dwellings in London before Sunset, or at least before it be <i>Dark</i>." The + foregoing is from Stow, and this Act was made in the reign of Elizabeth. + The Virgin Queen does not seem to have cared much about this enactment, + as we find that on Sunday, the 24th September, 1592, she and her Court + attended a play at Oxford. +</p> +<p> + As Tragedy and Comedy progressed on the English stage, Pantomime, as far + as it was associated with the dumb shows in the early English drama, + became, little by little, a thing of the past. +</p> +<p> + We have seen, and traced, from the Creation of this planet, and through + succeeding ages, how Pantomime has always flourished; we have seen also + how the Interlude gave way to the Comedy; we will now see how this love + of light entertainment formulated in this country by the Interlude, and, + about the same time, by the Italian Masque Comedy, the progenitor of + Pantomime (referring to the whole as a spectacle), and the forerunner in + France, also of that other form of light entertainment known as the + French Vaudeville, cultivated by Le Sage and other French writers of + note. +</p> +<p> + To go to the bed-rock for our facts, and for the innovation of all this, + it is necessary in thought, and perhaps as well in spirit, to journey to + Italy. +</p> +<a name="2HCH0010"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER X. +</h2> +<h3 style="text-align: center"> + The Italian Masque—The Masque in England—First appearance in this + country of Harlequin—Joe Haines as Harlequin—Marlowe's "Faustus"—A + Curious Play—The Italian Harlequin—Colley Cibber, + Penkethman—Shakespeare's Burlesques of the Masque—Decline of the + Masque. +</h3> +<p> + In Italy the Masque entertainment long held sway, and was a light form + of amusement, consisting of Pantomime, music, singing, and dancing, and + an adaptation of the <i>Fabulae Atellanae</i> of ancient Italy. The + performers wore masks, also high-heeled shoes, fitted with brass or iron + heels, which jingled as they danced. This ancient custom to present-day + stage dancers will doubtless be of interest. Masks, like on the stages + of the Greeks and the Romans, were used, hence the title Mask, or + Masque, as it is sometimes written both ways. In the days of Elizabeth + the custom was also practised in the Elizabethean Masque. The Masquerade + and the Masked ball, or <i>Bal-Masque</i>, are survivals of this ancient + custom. +</p> +<p> + Crossing the Alps, if the reader will accompany me, the Italian Masque + Comedy we find was already known in France in the fifteenth century. In + the days of Mary de Medici ballets were introduced, and by the time of + Louis XIV. "Opera" (<i>i.e.</i>, the Masque) was in full swing in the early + part of this reign. On the Spanish stage ballets, with allegorical + characters, were known in the sixteenth century; and, in fact, + throughout Europe about this age, and some time previously this + improvised form of Italian Comedy, and the several characters in it, + belonging to the family of Harlequin, had long been familiar subjects. +</p> +<p> + Returning to England after our little holiday, the Masque in the + fifteenth and sixteenth centuries had become very popular. The + architect, Inigo Jones, being frequently employed to furnish the + decorations with all the magnificence of his invention. At the Courts of + Elizabeth, James I., Charles I., and up to the time when all plays were + totally suppressed, was it the rage. At the Restoration the Masque was + revived again, and here, borrowing the name from the continent, it is + called "Opera." In proof of this, in Dryden's work, "Albion and + Albanius," 1685, "Opera" is defined as a "poetical tale or picture + represented by vocal and instrumental music, and endowed with machines + and dances." +</p> +<p> + The dramatic poet and author, Ben Jonson, collaborated with Inigo Jones, + the architect, in devising these Masque plays, Jonson supplying the + words, and Jones the scenic effects, the latter being very gorgeous, + consisting of "landscapes, mountains, and clouds, which opened to + display heathen deities illuminated by variegated coloured lights." Over + these Masques or "Operatic" entertainments Jonson and Jones quarrelled, + as the former's grievance was that he received no more for his + librettos than Jones did for his scenic devices. Ben Jonson thereupon + wrote satires upon Inigo Jones, and in one of his squibs appears the + satirical line, "Painting and Carpentry are the Soul of Masque." Is not + this applicable to many of our present-day Pantomimes, which, as I have + just stated in the previous chapter, the Masque was one of the original + progenitors? +</p> +<p> + Inigo Jones and Jonson first collaborated in the "Masque of Blackness," + performed at Whitehall on Twelfth Night, 1603. In our money this Masque + cost some £10,000. Jones and Jonson's quarrel originated because the + poet had, in the "Masque of Chloridia," performed in 1630, prefixed his + own name before that of Jones. In consequence of this "rare old Ben" was + deprived—through Jones' influence—of employment at Court. +</p> +<p> + Gifford, in his "Memoirs of Ben Jonson," says that "In poetry, painting, + architecture, they (the Masques) have not since been equalled." +</p> +<p> + "The Masque," continues Gifford, "as it attained its highest degree of + excellence, admitted of dialogue, singing and dancing; these were not + independent of one another, but combined by the introduction of some + ingenious fable into an harmonious whole. When the plan was formed, the + aid of the sister-arts was called in; for the essence of the Masque was + pomp and glory. Movable scenery of the most costly and splendid kind was + lavished on the Masque; the most celebrated masters were employed on + the songs and dances; and all that the kingdom afforded of vocal and + instrumental excellence was employed to embellish the exhibition. Thus, + magnificently constructed, was composed, as Lord Bacon says, for + princes, and by princes it was played. Of these Masques, the skill with + which their ornaments were designed, and the inexpressible grace with + which they were executed appear to have left a vivid impression on the + mind of Jonson. His genius awakens at once, and all his faculties attune + to sprightliness and pleasure. He makes his appearance like his own + Delight, accompanied with Grace, Love, Harmony, Revel, Sport, and + Laughter." +</p> +<p> + In the Masques the Pantomimic dances of the Masquers were known as + motions:— +</p> +<pre> "In curious knot and mazes so + The Spring at first was taught to go; + And Zephyr, when he came to woo + His Flora had his <i>motions</i> too; + And thus did Venus learn to lead + The Idalian brawls, and so to tread, + As if the wind, not she did walk, + Nor press'd a flower, nor bow'd a stalk." +</pre> +<p> + Before the arrival of the Italian Masque in England, the Harlequin + family were unknown, and, doubtless, Harlequin's first appearance in + this country was in consonance with the Masque itself. +</p> +<p> + Heywood, in a tract, published in 1609, entitled, "<i>Troia Britannica</i>," + mentions "Zanyes, Pantaloons, Harlakeans, in which the French, but + especially the Italians, have been excellent as known in this country." +</p> +<p> + The earliest record I can find of a Harlequin performing in this country + is in the Masque given before Charles I. and his Court on the Sunday + evening following Twelfth Night, 1637. An account of this Masque, as + well as other information dealing with the Masque entertainments, will + be found in my volume, "Stage Whispers," and in the article on + theatrical scenery. +</p> +<p> + In a comedy, written by Ravenscroft, after the Italian manner, Joe + Haines, in 1667, donned the motley jacket of Harlequin, and which, in + all probability, was the first appearance of Harlequin on the English + boards, though not in England, as stated above. In a farce of the + audacious Mrs. Aphra Behn's, produced twenty years afterwards, Harlequin + and Scaramouch were two of the characters. Mrs. Behn died April 16, + 1689, and was buried in the cloisters of Westminster Abbey. To Marlowe's + "Faustus," Mountfort added comic scenes to the tragedy, introducing + Harlequin and Scaramouch. A Harlequin, Pantaloon, Columbine, and Clown + appeared in a curious piece in 1697, entitled, "Novelty; or Every Act a + Play." The first act consisted of a pastoral Drama, the second of a + Comedy, the third a Masque, the fourth a Tragedy, and the fifth act a + Farce. +</p> +<p> + In Italy the fame of Harlequin was at its zenith at the close of the + seventeenth century. In this country in 1687 a Harlequin (Penkethman) + appeared in a farce called "The Emperor of the Moon" without a mask. + Colley Cibber says of this performance "That when he (Penkethman) first + played Harlequin in 'The Emperor of the Moon' several gentlemen (who + inadvertently judged by the rules of nature) fancied that a great deal + of the drollery, and spirit of his grimace was lost by his wearing that + useless, unmeaning mask, therefore insisted that the next time of his + acting that part he should play without it. Their desire was accordingly + complied with, but alas! in vain—Penkethman was no more Harlequin. His + humour was quite disconcerted." +</p> +<p> + In "The Tempest," Shakespeare introduces a Masque, and also in his + "Midsummer Nights' Dream," the play of "Pyramus and Thisbe," performed + by the Clowns, is in burlesque of the Masque plays. +</p> +<p> + In both these two plays of the bard's, and in connection with the Masque + plays, we see, from the stage directions in them, how Pantomime formed + part of their effective representation. +</p> +<p> + In out heroding-herod in the way of splendour, showy dresses and + expensive machinery, the Masque soon fell into decay; and, as Ben Jonson + states, "The glory of all these solemnities had perished like a blaze, + and gone out in the beholder's eyes; so short-lived are the bodies of + all things in comparison with their souls." +</p> +<a name="2HCH0011"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XI. +</h2> +<h3 style="text-align: center"> + Italian Pantomime—Riccoboni—Broom's "Antipodes"—Gherardi—Extemporal + Comedies—Salvator Rosa—Impromptu Acting. +</h3> +<p> + Pantomime in Italy had two distinct features, one a species of + buffoonery, termed <i>Lazzi</i>, and the other Extemporal or Improvised + Comedies. +</p> +<p> + "<i>Lazzi</i>," mentions Riccoboni, in his "<i>Histoire du Theâtre Italien</i>," + is a term corrupted from the old Tuscan <i>Lacci</i>, which signifies a knot, + or something that connects. (Both the <i>Lazzi</i> and the Extemporal + Comedies were all derived from the one original source, that of the + Satirical drama of the Greeks, and perpetuated in the <i>Fabulae + Atellanae</i> or <i>Laudi Osci</i> of Italy.) +</p> +<p> + Riccoboni continues: "These pleasantries, called <i>Lazzi</i>, are certain + actions by which the performer breaks into the scene, to paint to the + eye his emotions of panic or jocularity; but as such gestures are + foreign to the business going on, the nicety of the art consists in not + interrupting the scene, and connecting the <i>Lazzi</i> with it; thus to tie + the whole together." +</p> +<p> + <i>Lazzi</i> is what we might term "bye play," which, by gesture and action, + could not detract, but rather added to the effectiveness of the scene in + progress. +</p> +<p> + In Broom's "Antipodes," which was performed at the Salisbury Court + Theatre, London, in 1638, a <i>by-play</i>, as he calls it, is represented in + this comedy—"A word (explains Malone) for the application of which we + are indebted to this writer, there being no other term in our language + that I know of, which so properly expresses that species of Interlude + which we find in our poet's 'Hamlet,' and other pieces." +</p> +<p> + Riccoboni, in describing some <i>Lazzi</i>, says that Harlequin and Scapin + being in a famished condition, Scapin, in order to bring their young + mistress out, asks Harlequin to groan. Scapin explains to her the + reason, and while they are talking, Harlequin is performing his <i>Lazzi</i>. + This consists of eating an imaginary hatful of cherries, and throwing + the stones at Scapin; or catching imaginary flies, and chopping off + their wings. +</p> +<p> + "<i>Lazzi</i>," we are told, "although they seem to interrupt the progress of + the action, yet in cutting it they slide back into it, and connect or + tie the whole." +</p> +<p> + When Riccoboni and his company first appeared in France, though being + unable to speak nothing but Italian, their audiences, though not being + able to understand the <i>words</i>, yet the performers were such + past-masters in the Mimetic Art that their representations were just as + intelligible and as expressive as if they had been with words. +</p> +<p> + Gherardi, in his treatise, "<i>Theâtre Italien</i>," speaks of a Scaramouch, + who, waiting for his master, Harlequin, seats and plays on the guitar. + Suddenly, by Pasquariel, he is thrown into a fright. "It was then," says + Gherardi, "that incomparable model of our most eminent actors displayed + the miracles of his art; that art which paints the passions in the face, + throws them into every gesture, and through a whole scene of frights + upon frights, conveys the most powerful expression of ludicrous terror. + This man moved all hearts by the simplicity of nature, more than skilful + orators can with all the charms of persuasive rhetoric." +</p> +<p> + The Extemporal Comedies were all improvised, the actors underwent no + rehearsal, and, as the name denotes, everything was impromptu. The + Scenario, or plot, had just simply the scenes and the characters set + forth, and it was then hung in a conspicuous place on the stage; and + just in a similar way as the gas or lime light "plots" are affixed in + present day theatres, though the Scenarios were not as elaborate as what + some of our gas or limelight "plots" are. +</p> +<p> + Before going on the stage, the Mimes just inspected the Scenario of the + <i>Comedia Del' Arte</i>, and for the dialogue and action everything depended + solely upon their Pantomimic genius. +</p> +<p> + Disraeli mentions that men of great genius had a passion for performing + in these Extemporal Comedies, and, amongst others, the great painter, + Salvator Rosa. A favourite character of Rosa's was that of Formica, a + Clown of Calabria. Passeri, in his life of Rosa, tells the following + anecdote:— +</p> +<p> + One summer, Salvator Rosa joined a company of young persons, who were + curiously addicted to the making of <i>Comedie all' Improviso</i>. In the + midst of a vineyard they raised a rustic stage, under the direction of + one Mussi, who enjoyed some literary reputation, particularly for his + sermons preached in Lent. +</p> +<p> + Their second Comedy was numerously attended, and I went among the rest. + I sat on the same bench by good fortune with Cavalier Bernini, + Romanelli, and Guido, all well-known persons. Salvator Rosa, who had + already made himself a favourite with the Roman people, under the + character of Formica, opened with a prologue in company with other + actors. He proposed for relieving themselves of the extreme heats and + <i>ennui</i> that they should make a Comedy, and all agreed. Formica (Rosa) + then spoke (in the satirical Venetian dialect) these exact words, which + Mr. Disraeli translates as follows:—"I will not, however, that we + should make a Comedy like certain persons who cut clothes, and put them + on this man's back, and on that man's back; for at last the time comes + which shows how much faster went the cut of the shears than the pen of + the poet; nor will we have entering on the scene, couriers, brandy + sellers, and goatherds, and there stare shy and blockish, which I think + worthy the senseless invention of an ass." +</p> +<p> + Passeri continues: "At this time Bernini had made a Comedy in the + Carnival very pungent and biting; and that summer he had one of + Castelli's performed in the suburbs, where, to represent the dawn of + day, appeared on the stage water-carriers, couriers, and goat-herds, + going about—all which is contrary to rule, which allows of no character + who is not concerned in the dialogue to mix with the groups. At these + words of the Formica, I, who well knew his meaning, instantly glanced my + eye at Bernini, to observe his movements; but he, with an artificial + carelessness, showed that this 'cut of the shears' did not touch him; + and he made no apparent show of being hurt. But Castelli, who was also + near, tossing his head and smiling in bitterness, showed clearly that he + was hit." +</p> +<p> + In concluding, Mr. Disraeli observes that: "This Italian story, told + with all the poignant relish of these vivacious natives, to whom such a + stinging incident was an important event, also shows the personal + freedoms taken on these occasions by a man of genius, entirely in the + spirit of the ancient Roman <i>Atellanae</i> or the Grecian <i>Satyra</i>." +</p> +<p> + Of Extemporal Comedies, Riccoboni mentions that: "This kind of spectacle + is peculiar to Italy; one cannot deny that it has graces perfectly its + own, and which <i>written Comedy can never exhibit</i>. This impromptu mode + of acting furnishes opportunities for a perpetual change in the + performance, so that the same Scenario repeated still appears a new one: + thus one Comedy may become twenty Comedies. <i>An actor of this + description, always supposing an actor of genius, is more vividly + affected than one who has coldly got his part by rote. But figure, + memory, voice, and even sensibility, are not sufficient for the actor + all' improvista; he must be in the habit of cultivating the imagination, + pouring forth the flow of expression, and prompt in those flashes which + instantly vibrate in the plaudits of an audience.</i>" +</p> +<p> + Again, Gherardi: "Anyone may learn a part by rote, and do something bad, + or indifferent, on another theatre. With us the affair is quite + otherwise; and when an Italian actor dies, it is with infinite + difficulty that we can supply his place. An Italian actor learns nothing + by head; he looks on the subject for a moment before he comes forward on + the stage, and entirely depends upon his imagination for the rest. The + actor who is accustomed merely to recite what he has been taught is so + completely occupied by his memory, that he appears to stand, as it were, + unconnected either with the audience or his companions; he is so + impatient to deliver himself of the burthen he is carrying that he + trembles like a schoolboy, or is as senseless as an echo, <i>and could + never speak if others had not spoken before</i>. Such a tutored actor among + us would be like a paralytic arm to a body: an unserviceable member, + only fatiguing the healthy action of the sound parts." +</p> +<a name="2HCH0012"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XII. +</h2> +<h3 style="text-align: center"> + Pantomimical Characters—Neapolitan Pantomime—The Harlequin Family—The + Original Characters in the Italian Pantomimes—Celebrated + Harlequins—Italian and French Harlequins—A French view of the English + Clown—Pierrots' origin—Pantaloon, how the name has been + derived—Columbine—Marionette and Puppet Shows. +</h3> +<p> + After having shown what the <i>Lazzi</i> and Extemporal Comedies were like, + let us now turn to the Pantomimical characters associated with their + representations. +</p> +<p> + Every one, observes Mr. Isaac Disraeli, of this grotesque family were + the creatures of national genius, chosen by the people for themselves. + Italy, both ancient and modern, exhibits a gesticulating people of + comedians, and the same comic genius characterised the nation through + all its revolutions, as well as the individual through all his fortunes. + The lower classes still betray their aptitude in that vivid humour, + where the action is suited to the word—silent gestures sometimes + expressing whole sentences. They can tell a story, and even raise the + passions, without opening their lips. No nation in modern Europe + possesses so keen a relish for the burlesque, insomuch as to show a + class of unrivalled poems, which are distinguished by the very title; + and perhaps there never was an Italian in a foreign country, however + deep in trouble, but would drop all remembrance of his sorrows, should + one of his countrymen present himself with the paraphernalia of Punch at + the corner of a street. I was acquainted with an Italian, a philosopher + and a man of fortune, residing in this country, who found so lively a + pleasure in performing Punchinello's little comedy, that, for this + purpose, with considerable expense and curiosity, he had his wooden + company, in all their costume, sent over from his native place. The + shrill squeak of the tin whistle had the same comic effect on him as the + notes of the <i>Ranz des Vaches</i> have in awakening the tenderness of + domestic emotions in the wandering Swiss—the national genius is + dramatic. Lady Wortley Montagu when she resided at a villa near Brescia, + was applied to by the villagers for leave to erect a theatre in her + saloon: they had been accustomed to turn the stables into a playhouse + every Carnival. She complied, and, as she tells us, was "Surprised at + the beauty of their scenes, though painted by a country painter. The + performance was yet more surprising, the actors being all peasants; but + the Italians have so natural a genius for comedy, they acted as well as + if they had been brought up to nothing else, particularly the Arlechino, + who far surpassed any of our English, though only the tailor of our + village, and I am assured never saw a play in any other place." Italy is + the mother, and the nurse, of the whole Harlequin race. +</p> +<p> + Hence it is that no scholars in Europe but the most learned Italians, + smit by the national genius, could have devoted their vigils to narrate + the evolutions of Pantomime, to compile the annals of Harlequin, to + unroll the genealogy of Punch, and to discover even the most secret + anecdotes of the obscurer branches of that grotesque family, amidst + their changeful fortunes, during a period of two thousand years. Nor is + this all; princes have ranked them among the Rosciuses; and Harlequins + and Scaramouches have been ennobled. Even Harlequins themselves have + written elaborate treatises on the almost insurmountable difficulties of + their art. I despair to convey the sympathy they have inspired me with + to my reader; but every <i>Tramontane</i> genius must be informed, that of + what he has never seen, he must rest content to be told. +</p> +<p> + Of the ancient Italian troop we have retained three or four of the + characters, while their origin has nearly escaped our recollection; but + of the burlesque comedy, the extempore dialogue, the humorous fable, and + its peculiar species of comic acting, all has vanished. +</p> +<p> + Many of the popular pastimes of the Romans unquestionably survived their + dominion, for the people will amuse themselves, though their masters may + be conquered; and tradition has never proved more faithful than in + preserving popular sports. Many of the games of our children were played + by Roman boys; the mountebanks, with the dancers and tumblers on their + moveable stages, still in our fairs, are Roman; the disorders of the + <i>Bacchanalia</i>, Italy appears to imitate in her Carnivals. Among these + Roman diversions certain comic characters have been transmitted to us, + along with some of their characteristics, and their dresses. The + speaking Pantomimes and Extemporal Comedies which have delighted the + Italians for many centuries, are from this ancient source. +</p> +<p> + Rich, in his "Companion to the Latin Dictionary," has an excellent + illustration of this passage:—"This Art was of very great antiquity, + and much practiced by the Greeks and Romans, both on the stage and in + the tribune, induced by their habit of addressing large assemblies in + the open air, where it would have been impossible for the majority to + comprehend what was said without the assistance of some conventional + signs, which enabled the speaker to address himself to the eye, as well + as the ear of the audience. These were chiefly made by certain positions + of the hands and fingers, the meaning of which was universally + recognised and familiar to all classes, and the practice itself reduced + to a regular system, as it remains at the present time amongst the + populace of Naples, who will carry on a long conversation between + themselves by mere gesticulation, and without pronouncing a word." That + many of these signs are similar to those used by the Ancients, is proved + by the same author, who copies from an antique vase a scene which he + explains by the action of the hands of the figures, adding, "A common + lazzaroni, when shown one of these compositions, will at once explain + the purport of the action, which a scholar with all his learning cannot + divine." The gesture to signify love, employed by the Ancients and + modern Neapolitans, was joining the tips of the thumb and forefinger of + the left hand; an imputation or asseveration by holding forth the right + hand; a denial by raising the same hand, extending the fingers. In + mediaeval works of art, a particular attitude of the fingers is adopted + to exhibit malicious hate: it is done by crossing the forefinger of each + hand, and is generally seen in figures of Herod or Judas Iscariot. +</p> +<p> + Down to the fifteenth century there is not much known of the family of + Harlequin, with the exception, perhaps, that the name Zany became more + widely distributed into such as Drolls, Clowns, Pantaloons, Punches, + Scaramouches, and the like. In the Italian Comedy, of purely native + growth, the original characters were Pantaloon, a Venetian Merchant; + Dottore, a Bolognese physician; Spavento, a Neapolitan braggart; + Pulcinello, a wag of Apalia; Giangurgoto and Corviello, two Clowns of + Cala-simpleton; and Arlechino, a blundering servant of Bergamo. +</p> +<p> + The latter The Harlequin of the Italian theatre, has passed through, + mentions Mr. Disraeli, all the vicissitudes of fortune. At first (as we + have seen) he was a true representative of the ancient Mime; but, during + the fourteenth and fifteenth centuries, he degenerated into a booby and + a gourmand, the perpetual butt for a sharp-witted fellow, his companion, + Brighella, the knife and the whetstone. Harlequin, however, under the + reforming hand of Goldoni, became, in after years, a child of nature, + and the delight of his country; and he has commemorated the historical + character of the great Harlequin Sacchi. It may serve the reader to + correct his notions of one, from the absurd pretender with us who has + usurped the title. "Sacchi possessed a lively and brilliant imagination. + While other Harlequins merely repeated themselves, Sacchi, who always + adhered to the essence of the play, contrived to give an air of + freshness to the piece by his new sallies and unexpected repartees. His + comic traits and his jests were neither taken from the language of the + lower orders, nor that of the comedians. He levied contributions on + comic authors, on poets, orators, and philosophers; and in his + impromptus they often discovered the thoughts of Seneca, Cicero, or + Montaigne. He possessed the art of appropriating the remains of these + great men to himself, and allying them to the simplicity of the + blockhead; so that the same proposition which was admired in a serious + author, became highly ridiculous in the mouth of this excellent actor." + In France Harlequin was improved into a wit, and even converted into a + moralist; he is the graceful hero of Florian's charming compositions, + which please even in the closet. "This imaginary being, invented by the + Italians, and adopted by the French," says the ingenious Goldoni, "has + the exclusive right of uniting <i>naiveté</i> with <i>finesse</i>, and no one ever + surpassed Florian in the delineation of this amphibious character. He + has even contrived to impart sentiment, passion, and morality to his + pieces." Harlequin must be modelled as a national character, the + creature of manners; and thus the history of such a Harlequin might be + that of the age and of the people, whose genius he ought to represent. +</p> +<p> + The history of a people is often detected in their popular amusements; + one of these Italian Pantomimic characters shows this. They had a + <i>Capitan</i>, who probably originated in the <i>Miles gloriosus</i> of Plautus; + a brother, at least, of our Ancient Pistol and Bobadil. The ludicrous + names of this military poltroon were Spavento (Horrid fright), + Spezza-fer (Shiver-spear), and a tremendous recreant was Captain + Spavento de Val inferno. When Charles V. entered Italy, a Spanish + Captain was introduced; a dreadful man he was too, if we are to be + frightened by names: Sangre e Fuego! and Matamoro! His business was to + deal in Spanish rhodomontades, to kick out the native Italian Capitan, + in compliment to the Spaniards, and then to take a quiet caning from + Harlequin, in compliment to themselves. When the Spaniards lost their + influence in Italy, the Spanish Captain was turned into Scaramouch, who + still wore the Spanish dress, and was perpetually in a panic. The + Italians could only avenge themselves on the Spaniards in Pantomime! On + the same principle the gown of Pantaloon over his red waistcoat and + breeches, commemorates a circumstance in Venetian history expressive of + the popular feeling. +</p> +<p> + The characters of the Italian Pantomime became so numerous, that every + dramatic subject was easily furnished with the necessary personages of + comedy. That loquacious pedant, the Dottore, was taken from the lawyers + and the physicians, babbling false Latin in the dialect of learned + Bologna. Scapin was a livery servant, who spoke the dialect of Bergamo, + a province proverbially abounding with rank intriguing knaves, who, + like the slaves in Plautus and Terence, were always on the watch to + further any wickedness; while Calabria furnished the booby Giangurgello + with his grotesque nose. Molière, it has been ascertained, discovered in + the Italian theatre at Paris his "<i>Medecin malgre Lui</i>," his + "<i>Etourdi</i>," his "<i>L'Avare</i>," and his "<i>Scapin</i>." Milan offered a pimp + in Brighella; Florence, an ape of fashion in Gelsomino. These and other + Pantomimic characters, and some ludicrous ones, as the Tartaglia, a + spectacled dotard, a stammerer, and usually in a passion, had been + gradually introduced by the inventive powers of an actor of genius, to + call forth his own peculiar talents. +</p> +<p> + The Pantomimes, or, as they have been described, the continual + Masquerades, of Ruzzante, with all these diversified personages, talking + and acting, formed, in truth, a burlesque comedy. Some of the finest + geniuses of Italy became the votaries of Harlequin; and the Italian + Pantomime may be said to form a school of its own. The invention of + Ruzzante was one capable of perpetual novelty. Many of these actors have + been chronicled either for the invention of some comic character, or for + their true imitation of nature in performing some favourite one. One, + already immortalised by having lost his real name in that of Captain + Matamoros, by whose inimitable humours he became the most popular man in + Italy, invented the Neapolitan Pullicinello; while another, by deeper + study, added new graces to another burlesque rival. One Constantini + invented the character of Mezetin, as the Narcissus of Pantomime. He + acted without a mask, to charm by the beautiful play of his countenance, + and display the graces of his figure; the floating drapery of his + fanciful dress could be arranged by the changeable humour of the wearer. + Crowds followed him in the streets, and a King of Poland ennobled him. + The Wit and Harlequin Dominic sometimes dined at the table of Louis + XIV.—Tiberio Florillo, who invented the character of Scaramouch, had + been the amusing companion of the boyhood of Louis XIV.; and from him + Molière learnt much, as appears by the verses under his portrait:— +</p> +<pre> Cet illustre comédien + De son art traça la carrière: + II fut le maître de Molière, + Et la Nature fut le sien. +</pre> +<p> + The last lines of an epitaph on one of these Pantomimic actors may be + applied to many of them during their flourishing period:— +</p> +<pre> Toute sa vie il a fait rire; + Il a fait pleurer a sa mort. +</pre> +<p> + Several of these admirable actors were literary men, who have written on + their art, and shown that it was one. The Harlequin Cecchini composed + the most ancient treatise on this subject, and was ennobled by the + Emperor Matthias; and Nicholas Barbieri, for his excellent acting called + the Beltrame, a Milanese simpleton, in his treatise on comedy, tells us + that he was honoured by the conversation of Louis XIII., and rewarded + with fortune. +</p> +<p> + A sketch of Harlequin's original part is worth recording. "He is a + mixture of wit, simplicity, ignorance, and grace, he is a half made up + man, a great child with gleams of reason and intelligence, and all his + mistakes and blunders have something arch about them. The true mode of + representing him is to give him suppleness, agility, the playfulness of + a kitten with a certain coarseness of exterior, which renders his + actions more absurd. His part is that of a faithful valet; greedy; + always in love; always in trouble, either on his own or his master's + account; afflicted and consoled as easily as a child, and whose grief is + as amusing as his joy." +</p> +<p> + His costume consisted of a jacket fastened in front with loose ribbons, + and pantaloons of wide dimensions, patched with various coloured pieces + of cloth sewn on in any fashion. His beard was worn straight, and of a + black colour; on his face he had a half black mask and in his belt of + untanned leather he carried a wooden sword. +</p> +<p> + In Italy there were many varieties of Harlequin, the most notable being + Trivelin, and Truffaldin. The dress of the former, instead of the + patches symmetrically arranged, had triangular patches along the seams, + and suns and moons only for patches. He wore the soft hat and hare's + foot, but did not carry the wooden sword. The hare's foot denoting + speed, has in all probability its origin in the winged cap of the god + Mercury. +</p> +<p> + Truffaldin is a species of Harlequin, who first appeared about 1530. He + represented (<i>truffa</i>, the villain) a sneaking kind of knave, and in the + middle of the seventeenth century this character was very popular. +</p> +<p> + In France, about 1660, Cardinal Mazarin invited one Joseph Dominique + Biancolelli, to come to Paris to give entertainments. Shortly after his + arrival Biancolelli gave quite a new reading to the character of + Arlechino, as he made him not only a wit and punster, but also a bit of + a philosopher. Biancolelli's improvements did not end here, as he turned + his attention to the dress of Arlechino, which was now made of finer and + better quality, whilst the parti-coloured patches were made more + artistic and attractive. On the death of Lolatelli, who, in his + lifetime, had played a kind of Arlechino part, Biancolelli succeeded + him, and soon sprang into prominence, and acquired a great artistic + reputation. Whilst dancing before Louis XV. Biancolelli contracted a + cold, which set up inflammation of the lungs, causing his death. His + companions, at the theatre in which he performed, to mark the sense of + their great grief, closed the theatre for a month. Biancolelli died in + 1688. +</p> +<p> + As Arlechino, Biancolelli was succeeded by his son, Pierre, who played + under the name of Dominique. +</p> +<p> + A Tuscan, named Gherardi, who had obtained celebrity as a singer, was + the next successful French Harlequin. In consequence of a fall Gherardi + met his death, in the year 1700. +</p> +<p> + Nearly a couple of decades afterwards, in 1716, Thomassin made his + appearance as Harlequin, in pieces written for him by Marivaux, such as + "<i>Le Prince Travesti</i>," "<i>La Surprise de l'Amour</i>," and in which he + appeared with great success. So daring were Thomassin's tricks, and in + such popularity was he held, that, fearful of losing their favourite + like Gherardi, he was obliged to discontinue them. +</p> +<p> + Another competitor now arose to take the crown from Thomassin, and in + the person of one Carlo Bertinazzi, commonly called Carlin. Our actor, + Garrick, was an admirer of this famous Mime. Of Carlin, M. Sand + speaks:—"Like most clever buffoons, he had a very melancholy + disposition, and, as with Dominique, his gaiety was what the English + term humour. It belonged to his mind, and not to his temperament." + Carlin also wrote a book entitled, "<i>Les Metamorphosis d'Arlequin</i>." In + 1783 Carlin died, and his place in the favour of the public was filled + by Galinetti. +</p> +<p> + The French view of the English Clown is interesting: "The English clown + (whose nearest representative on the French stage is Pierrot) is an odd + and fantastical being. The Florentine Stentorella alone resembles him in + his jests and tricks. His strange dress seems to have been taken from + the American Indians. It consists of a white, red, yellow, and green net + work, ornamented with diamond-shaped pieces of stuff of various colours. + His face is floured, and streaked with paint a deep carmine; the + forehead is prolonged to the top of the head, which is covered with a + red wig, from the centre of which a little stiff tail points to the sky. + His manners are no less singular than his costume. He is not dumb, like + our Pierrot, but, on the contrary, he sustains an animated and witty + conversation; he is also an acrobat, and very expert in feats of + strength." +</p> +<p> + M. Blandelaire gives a more poetical description: "The English Pierrot + is not a person as pale as the moon, mysterious as silent, straight and + long, like the gallows to whom we have been accustomed in Deburean. The + English Pierrot enters like the tempest, and tumbles like a parcel; his + laugh resembles joyous thunder. He is short and fat; his face is floured + and streaked with paint; he has a great patch of red on each cheek; his + mouth is enlarged by prolongation of the lips by means of two red bands, + so that when he laughs his mouth appears to open from ear to ear." +</p> +<p> + The Pierrots—not only in France, but on the Continent generally—took + all the characteristics of the Zanys, Bertoldo, Paggliaccio, Gros, + Giullaume, Pedrolino, Gilles, Corviello, and Peppe Nappa, of the Italian + Comedy, and all owing at least their original conception to the theatres + of the Greeks, and the Romans. On the Italian stage there was not a + principal Clown like in England, the foremost place being occupied by + Arlechino. The four principal masked characters of the Italian <i>Comedia + del' Arte</i> in Venice consisted of Tartaglia (a stammerer), Truffildino, + Brighella (a representative of orators and public personages), and + Pantaloon (a native of Venice). The name of Pantaloon is derived from + <i>planta-leone</i> (<i>plante-lion</i>—he planted the lion). The probable + meaning of it in this particular is that the Venetian merchants, it is + said, in boasting of their conquests set up their standard—the Venetian + standard being the lion of St. Mark—on various islands in the + Mediterranean, and from which they were nicknamed, it is said, "plant + lion." A more probable derivation of the word is that the ancient patron + saint of Venice is San Pantaleone. St. Pantaleone's day is July 27. He + was martyred A.D. 303. In "Childe Harold," Lord Byron, in Canto IV., + stanza 14, has that "The Venetian name of Pantaleone is her very + by-word." +</p> +<p> + Pantaloon has been, at various times, husband, father, and widower. + Sometimes he is rich, then poor, and occasionally a spendthrift. The + dress that he wore consisted of tight red breeches, rather short, a long + black robe, red stockings and waistcoat, a little woollen skull-cap and + slippers. +</p> +<p> + When the Venetian republic lost Negropont mourning generally was + adopted, and Pantaloon adopted it with the rest, and on the Continent + mourning has, I believe, formed a component part of Pantaloon's dress + ever since. +</p> +<p> + In 1750 Darbes, in Italy, was one of the best Pantaloons. Darbes, on + one occasion, ventured to play this character in one of Goldoni + characters, without a mask, and which, we are told, was a failure. A + similar attempt was made on the English stage, which I have previously + referred to. +</p> +<p> + Mention has been previously made of females appearing on the stage + during the Grecian and Roman periods. From this, however, there arose on + the Italian stage, in after years, the <i>Servetta</i> or <i>Fantesca</i>, a kind + of waiting maid, or "accomplished companion" part, and called later, in + France, <i>Soubrette</i>, and the origin of which, in all probability, can be + traced to the <i>Mimas</i> of <i>Pantomimus</i>. +</p> +<p> + In the sixteenth century mention is made of a troupe of performers known + as <i>Amorosos</i> or <i>Innamortos</i>, appearing in Italy. Those who only + appeared in the female parts were known as Colombina, Oliva, Fianetta, + Pasquella, and Nespella. Columbina's part, the "accomplished companion," + like the <i>Vita</i> of the Indian Drama, was sometimes that of mistress, and + sometimes that of maid. Up to 1560 women were unknown on the Italian + stage. In England just one hundred years later. +</p> +<p> + Three generations of the family of Biancolelli, the Harlequin, + grandmother, grand-daughter, and great grand-daughter appeared as + Columbines in France. The most talented was Catherine, the daughter of + Dominique, and she made her <i>debut</i> in 1683, in "<i>Arlequin Protée</i>," + with great success. +</p> +<p> + About 1695, Columbine appeared in a parti-coloured gown like a female + Harlequin, and in the piece "<i>Le Retour de la foie de Besons</i>," acted at + the Comedie Italiene. As the innovation was much liked, the part of + Columbine came to be dressed like the Harlequin. The Columbine dressed + in short muslin skirts is a creation of modern times. In the French + Comedies Columbine was often Harlequin's wife, but she never had the + powers of a magical wand. +</p> +<p> + In the old form of Pantomime there were many other personages in these + dumb shows which we never had in the English Pantomimes. To note a few + of them:—The Captain, a bragging swash-buckler; the Apothecary, a + half-starved individual with a red nose; and a female <i>soubrette</i>, who + acted for her mistress, Columbine, similar duties as what Clown + performed as valet for his master. The Doctor brought at first on the + stage in 1560, was supposed to be a lawyer or a physician. From 1560 his + dress was that of a professor's, a short, black tunic, stockings, and a + black mask covering the forehead and nose. Another, Façanappa, had a + long parrot nose, surmounted by a pair of green spectacles, a flat hat, + with a broad brim, a waistcoat covered with tinsel, and a long white + coat with large pockets. Like the Clown of our early English plays, and + like his ancestors, the <i>Atellans</i> and <i>Mimes</i>, he had the privilege of + making allusions from the stage, in what, I suppose, were something like + the Interludes. Il Barone is another variety. He was a Sicilian lord, + deceived by his daughter, and also duped by his valets. "<i>Il Barone</i>" + was a favourite subject for another form of "Miming," that of the + wooden figures called Marionettes. +</p> +<p> + Marionette entertainments were known both to the Greeks and the Romans. + The adventures of "<i>Don Juan</i>" and "<i>Don Giovanni</i>," of the Italian + Opera, in all probability sprang originally from the adventures of Punch + in the puppet shows. +</p> +<p> + Puppet shows introduced into France (<i>temp.</i> Charles IX.) from Italy, + where they were and are still known as <i>Fantoccini</i>, by Marion—hence + their name—and then into this country, are mentioned by Shakespeare, + Pepys, Jonson, Swift, and the Essayists. +</p> +<p> + Puppet shows, in this country, were formerly known as "Motions." + Shakespeare's Antolycus frequented fairs and the like, and he also + composed a "Motion" of "The Prodigal Son." Mystery plays were also + represented by puppets. +</p> +<p> + In England, especially at Bartholomew Fair, they were always very + popular, and the chief survivor of this form of "dumb show" is "Mr. + Punch" of our streets, whose ancient history I have briefly mentioned in + another chapter, but not that of "Mrs. Punch," on whose history I am + unable—however so brief—to throw any light. +</p> +<p> + Let us now, dear reader, return to England, and trace in this country + something more of the History of Pantomime, and for which we will now + open another chapter. +</p> +<a name="2HCH0013"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XIII. +</h2> +<h3 style="text-align: center"> + Italian Scenarios and English "Platts"—Pantaloon—Tarleton, the + Clown—Extemporal Comedy—The Poet Milton—Ben Jonson—The + Commonwealth—"A Reign of Dramatic Terror"—Robert Cox and his "Humours" + and "Drolleries"—The Restoration. +</h3> +<p> + It has been thought that our dramatic poet, Massinger, drew upon the + Italian Comedy for the humour of some of his plays. That there was some + form of intercourse between the English and Italian stage is shown by + the discovery of one of the Italian Scenarios, or "Platts," as we know + them, at Dulwich College, which discovery Steevens describes as "a + mysterious fragment of ancient stage direction, and of a species of + dramatic entertainment which no memorial is preserved in any annals of + the English stage." The "Platt," written in a large hand, "And + containing directions, was thought to have been affixed near the + prompter's stand, and it has even an oblong hole in its centre to admit + of being suspended on a wooden peg (Disraeli). On it, and in a familiar + way, appear the names of the players, such as: Pigg, White and Black, + Dick and Sam, Little Will Barne, Jack Gregory, and the Red-faced + fellow." +</p> +<p> + A "Platt" of the "Seven Deadly Sinnes," supposed to have been written by + Dick Tarleton, the famous Clown, is preserved, I believe, in Dulwich + College. It consists of a pasteboard fifteen inches high, and nine in + breadth, and on it is written, in two columns, the following:— +</p> +<p> + "A tent being placed on the stage for Henry the Sixth; he in it asleep. + To him the lieutenant, and a pursuivant (R. Cowley, Jo. Duke), and one + warder (R. Pallant). To them Pride, Gluttony, Wrath, and Covetousness at + one door; at another door Envy, Sloth, and Lechery. The three put back + the four, and so <i>exeunt</i>. +</p> +<p> + "Henry awaking, enter a keeper (J. Sinclair), to him a servant (T. Belt), + to him Lidgate and the keeper. <i>Exit</i>, then enter again—then Envy + passeth over the stage. Lidgate speaks." +</p> +<p> + These "Platts" were, in all probability, one of the first written forms + of Pantomimic entertainments known in England, and borrowed, as + mentioned, from the Scenarios of the Italians. That form of home + amusement well-known in family circles, "Acting Charades," may be + likened to them. +</p> +<p> + To get all the information that we can obtain of the "Platts," I am sure + I cannot do better than quote the words of Mr. Isaac Disraeli, well + assured that they will be more acceptable than any I can make. +</p> +<p> + Some of these "Platts" are on solemn subjects, like the tragic + Pantomimes; and in some appear "Pantaloon, and his man Peascod, with + <i>spectacles</i>." Steevens observes, that he met with no earlier example of + the appearance of Pantaloon, as a specific character on our stage; and + that this direction concerning "the spectacles" cannot fail to remind + the reader of a celebrated passage in "As you like it." (Scene 6, Act + II.). +</p> +<pre> ... "The sixth age shifts + Into the lean and slippered pantaloon; + With spectacles on nose, and pouch on side; + His youthful hose well saved, a world too wide + For his shrunk shank; and his big manly voice, + Turning again toward childish treble, pipes + And whistles in his sound." +</pre> +<p> + Perhaps, he adds, Shakespeare alludes to this personage, as habited in + his own time. The old age of Pantaloon is marked by his leanness, and + his spectacles and his slippers. He always runs after Harlequin, but + cannot catch him; as he runs in slippers and without spectacles, is + liable to pass him by without seeing him. Can we doubt that this + Pantaloon had come from the Italian theatre, after what we have already + said? Does not this confirm the conjecture, that there existed an + intercourse between the Italian theatre and our own? Further, Tarleton, + the comedian, celebrated for his "Extemporal wit," was the writer or + inventor of one of these "Platts." Stow records of one of our actors + that "he had a quick, delicate, refined <i>Extemporal wit</i>." And Howes, + the continuator of Stow's Chronicles of another, that "he had a + wondrous, plentiful, pleasant, <i>Extemporal</i> wit." +</p> +<p> + Praiseworthy reference is also made of Tarleton in "Kinde-Hart's + Dream," 4to., published in 1592. In 1611 a book was published entitled + "Tarleton's Jeasts." Tarleton was so celebrated in his time that his + portrait was hung out as a sign for alehouses. "To sit with Tarleton on + an ale-post's signe," observes Bishop Hall in his satires. Oldys, in his + M.S. notes, mentions that "There is an alehouse sign of a tabor and pipe + man, with the name of Tarleton under it, in the borough of Southwark, + and it was taken from the print before the old 4to. book of 'Tarleton's + Jeasts;' and Lord Oxford had a portrait of him with his tabor and pipe, + which was probably taken from the pamphlet called 'Tarleton's Jeasts,' + on the title page of which there is a wooden plate of Tarleton, at full + length in his Clown's dress, playing on his pipe with one hand, and + beating his drum with the other." +</p> +<p> + These actors then (continues Mr. Disraeli), who were in the habit of + exercising their impromptus, resembled those who performed in the + unwritten comedies of the Italians. Gabriel Harvey, the Aristarchus of + the day, compliments Tarleton for having brought forward a <i>new species + of dramatic exhibition</i>. If this compliment paid to Tarleton merely + alludes to his dexterity at <i>extemporaneous wit</i> in the character of the + <i>Clown</i>, as my friend Mr. Douce thinks, this would be sufficient to show + that he was attempting to introduce on our stage the Extemporal Comedy + of the Italians, which Gabriel Harvey distinguishes as "a new species." + As for these "Platts," which I shall not venture to call "Scenarios," + they surprise by their bareness, conveying no notion of the piece + itself, though quite sufficient for the actors. They consist of mere + exits and entrances of the actors, and often the real names of the + actors are familiarly mixed with those of the <i>dramatis personae</i>. + Steevens has justly observed, however, on these skeletons, that although + "The drift of these dramatic pieces cannot be collected from the mere + outlines before us, yet we must not charge them with absurdity. Even the + scenes of Shakespeare would have worn as unpromising an aspect, had + their skeletons only been discovered." The printed <i>Scenarios</i> of the + Italian theatre were not more intelligible; exhibiting only the <i>hints</i> + for scenes. +</p> +<p> + Thus, I think, we have sufficient evidence of an intercourse subsisting + between the English and Italian theatres, not hitherto suspected; and I + find an allusion to these Italian Pantomimes, by the great town-wit Tom + Nash, in his "Pierce Pennilesse," which shows that he was well + acquainted with their nature. He, indeed, exults over them, observing + that our plays are "honourable and full of gallant resolution, not + consisting, like theirs, of Pantaloon, a Zany, and a w—-e (alluding to + the women actors of the Italian stage); but of emperors, kings, and + princes." My conviction is still confirmed, when I find that Stephen + Gosson wrote the comedy of "Captain Mario;" it has not been printed, but + "Captain Mario" is one of the Italian characters. +</p> +<p> + Even at a later period, the influence of these performances reached the + greatest name in the English Parnassus. One of the great actors and + authors of these pieces, who published eighteen of these irregular + productions, was Andreini, whose name must have the honour of being + associated with Milton's, for it was his comedy or opera which threw the + first spark of the "Paradise Lost" into the soul of the epic poet—a + circumstance which will hardly be questioned by those who have examined + the different schemes and allegorical personages of the first projected + drama of "Paradise Lost": nor was Andreini, as well as many others of + this race of Italian dramatists, inferior poets. The Adamo of Andreini + was a personage sufficiently original and poetical to serve as the model + of the Adam of Milton. The youthful English poet, at its representation, + carried it away in his mind. Wit, indeed, is a great traveller; and thus + also the "Empiric" of Massinger might have reached us from the Bolognese + Dottore. +</p> +<p> + The late Mr. Hole, the ingenious writer on the "Arabian Nights," + observed to me that Molière, it must be presumed, never read Fletcher's + plays, yet his "<i>Bourgeois Gentilhomme</i>," and the other's "Noble + Gentleman," bear in some instances a great resemblance. Both may have + been drawn from the same Italian source of comedy which I have here + indicated. +</p> +<p> + Many years after this article was written, appeared "The History of + English Dramatic Poetry," by Mr. Collier. That very laborious + investigator has an article on "Extemporal Plays and Plots," iii., 393. + The nature of these "Platts" or "Plots," he observes, "Our theatrical + antiquaries have not explained." The truth is that they never suspected + their origin in the Italian "Scenarios." My conjectures are amply + confirmed by Mr. Collier's notices of the intercourse of our players + with the Italian actors. Whetstone's Heptameron, in 1582, mentions "The + comedians of Ravenna, who are not <i>tied to any written device</i>." In + Kyd's Spanish Tragedy the Extemporal Art is described:— +</p> +<pre> The Italian tragedians were so sharp of wit, + That in one hour of meditation + They would perform anything in action. +</pre> +<p> + These Extemporal plays were witnessed much nearer than in Italy—at the + <i>Theâtre des Italiens</i> at Paris—for one of the characters replies:— +</p> +<pre> I have seen the like, + In Paris, among the French tragedians. +</pre> +<p> + Ben Jonson has mentioned the Italian "Extemporal Plays," in his "Case is + Altered"; and an Italian <i>commediante</i> and his company were in London in + 1578, who probably let our players into many a secret. +</p> +<p> + Evil times, with the advent of the Commonwealth, soon fell upon our + theatres, and when they, as well as plays, were suppressed by order of + the Puritan Parliament, some of the actors followed the Royalist cause + (we do not hear of any taking the side of the Parliament), and lost + their lives fighting for the king. Others attempted to enact plays in + secret, but these performances more often than not, caused the actors + incarceration in some prison. At Holland House, in Kensington, many of + these secret performances, by the aid of bribery, took place. To give + timely warning of the performances Mr. Wright, in his "<i>Historia + Histronica</i>," mentions that "Alexander Goff, the woman-actor, was the + jackal to give notice of time and place to the lovers of the drama." +</p> +<p> + All this however, could not, and would not, keep the spirit of the drama + alive. The theatres were, we know, totally suppressed, "so there might + be no more plaies acted." Play-goers there were, as I have shown, but + they never knew when, in witnessing a performance, they might be seized + by the military, to be fined or imprisoned, or perhaps both. A more + lengthy reign of "Dramatic Terror" than what we had at this period, + would, in all probability, have left us little or no trace of the Drama + of this country. But a saviour was at hand, and that was Pantomime. +</p> +<p> + Pantomime, as previously stated, kept alive for ages, after the downfall + of the Roman Empire, the Dramatic Art, and during the Commonwealth of + this country, it practically did the same for us. +</p> +<p> + Owing to the exigences of the times, one Robert Cox, an actor of + considerable genius, after the fashion of the Extemporal Comedies of + Italy, invented a series of dramatic exhibitions at the Red Bull Theatre + (where the first English actress made her appearance December 8, 1660) + and elsewhere, under the guise of rope-dancing, a number of comic scenes + from Shakespeare, Shirley, Marston, Beaumont, and Fletcher, and others. + Cox's exhibitions, known as "Humours" or "Drolleries," were collected by + Marsh, and reprinted (1672) by Francis Kirkman, the author and + book-seller. This collection is entitled "The Wits, or Sport upon Sport, + in select pieces of Drollery, digested into scenes by way of dialogue. + Together with variety of Humours of several nations fitted for the + pleasure and content of all persons, either in Court, City, Country, or + Camp." +</p> +<p> + Of these "Humours" Kirkman observes, "As meanly as you may now think of + these Drolls, they were then acted by the best comedians; and, I may + say, by some that then exceeded all now living; the incomparable Robert + Cox, who was not only the principal actor, but also the contriver and + author of most of these farces. How I have heard him cried up for his + John Swabber, and Simpleton the Smith; in which he being to appear with + a large piece of bread and butter, I have frequently known several of + the female spectators and auditors to long for it; and once that + well-known natural, Jack Adams of Clerkenwell, seeing him with bread and + butter on the stage, and knowing him, cried out, 'Cuz! Cuz! give me + some!' to the great pleasure of the audience. And so naturally did he + act the smith's part, that being at a fair in a country town, and that + farce being presented the only master-smith of the town came to him, + saying, 'Well, although your father speaks so ill of you, yet when the + fair is done, if you will come and work with me, I will give you twelve + pence a week more than I give any other journeyman.' Thus was he taken + for a smith bred, that was, indeed, as much of any trade." +</p> +<p> + With the death of the Lord Protector, Cromwell, "The merry rattle of + Monk's drums coming up the Gray's Inn Road, welcomed by thousands of + dusty spectators," the return of Charles II., 1660, and though Charles + was more a lover of the stage than of the drama, the theatre again + recovered its credit, and to vigorously flourish once more. +</p> +<a name="2HCH0014"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XIV. +</h2> + + +<h3 style="text-align: center"> + Introduction of Pantomimes to the English Stage—Weaver's "History of + the Mimes and Pantomimes"—Weaver's Pantomimes—The prejudice against + Pantomimes—Booth's counsel. +</h3> +<p> + The year 1702 marks the appearance of the first Pantomime introduced to + the English stage, written by John Weaver, a friend of Addison and + Steele's, and entitled "Tavern Bilkers." It was produced at Drury Lane. +</p> +<p> + The author was by profession a dancing-master; his name is not to be + found in any biographical dictionary, yet, it is evident that the + "little dapper, cheerful man" had brains in his head as well as talent + in his heels. +</p> +<p> + John Weaver was the son of a Mr. Weaver, whom the Duke of Ormond, the + Chancellor of Oxford, licensed in 1676 to exercise the profession of a + dancing-master within the university. The date of his birth is unknown, + but we first hear of him as stage-managing the production of his own + Pantomime at Drury Lane, 1702, an entertainment which he described as + one of "dancing, action, and motion." The latter would appear to have + been a failure, as in his "History of the Mimes and Pantomimes," + published in 1728, Weaver states that his next attempt on similar lines + did not take place until many years afterwards—not until the year 1716, + in fact. In 1716 Weaver was back in London producing two burlesque + Pantomimes, "The Loves of Mars and Venus," and "Perseus and Andromeda." + At Drury Lane, in the following year, "Orpheus and Eurydice," and + "Harlequin Turn'd Judge," was produced, and "Cupid and Bacchus" in 1719. + Weaver also wrote many treatises on dancing, some of which were highly + commended by Steele. +</p> +<p> + Another Pantomime of Weaver's was "The Judgment of Paris"—date + uncertain—performed by the author's pupils "in the great room over the + Market-house," Shrewsbury—in which town he had taken up his + residence—in the year 1750. John Weaver died September 28th, 1760, and + was buried at St. Chads, Shrewsbury. +</p> +<p> + The mention above of "Perseus and Andromeda" calls to mind that there + were several pieces of this name. One of them was severely commented on + in "The Grub-Street Journal" of April 8, 1731. Its title was:—"Perseus + and Andromeda; or the Flying Lovers, in five Interludes, three serious + and two comic. The serious composed by Monsieur Roger, the comic by John + Weaver, dancing-masters." +</p> +<p> + It is only just to assign to Weaver the entire credit of being the first + to introduce Pantomimes on the English stage, though the author's + original bent was "scenical dancing," or ballet dancing, by + representations of historical incidents with graceful motion. In his + "History of Pantomimes" the author is careful to distinguish between + those entertainments where "Grin and grimace usurp the passions and + affections of the mind," and those where "A nice address and management + of the passions take up the thoughts of the performer." "Spectators," + says Weaver, in 1730, or thereabouts, "are now so pandering away their + applause on interpolations of pseudo-players, merry Andrews, tumblers, + and rope dancers; and are but rarely touched with, or encourage a + natural player or just Pantomime." +</p> +<p> + It was, however, left to John Rich to place Pantomime on a firm footing. + Before dealing with Rich and his Pantomimes, which I shall treat of in + the next chapter, it is appropriate here to note how Pantomimes + generally came to be introduced on the English stage. +</p> +<p> + Colley Cibber mentions:—About this time the patentee (Rich) having very + near finished his house in Lincoln's Inn Fields, began to think of + forming a new company; and, in the meantime, found it necessary to apply + for leave to employ them. By the weak defence he had always made against + the several attacks upon his interests, and former Government of the + theatre (Drury Lane), it might be a question, if his house had been + ready, in the Queen's (Anne) time, whether he would then have had the + spirit to ask, or interest enough to obtain leave to use it; but in the + following reign, as it did not appear he had done anything to forfeit + the right of his patent, he prevailed with Mr. Craggs, the younger, to + lay his case before the king, which he did in so effectual a manner that + (as Mr. Craggs himself told me) his Majesty was pleased to say upon it, + "That he remembered when he had been in England before, in King + Charles's time, there had been two theatres in London; and as the patent + seemed to be a lawful grant, he saw no reason why two play-houses might + not be continued." +</p> +<p> + The suspension of the patent being thus taken off, the younger multitude + seemed to call aloud for two play-houses! Many desired another, from the + common notion, that two would always create emulation, in the actors. + Others too were as eager for them, from the natural ill-will that + follows the fortunate or prosperous in any undertaking. Of this low + malevolence we had, now and then, remarkable instances; we had been + forced to dismiss an audience of a hundred and fifty pounds, from a + disturbance spirited up, by obscure people, who never gave any better + reason for it than that it was their fancy to support the idle complaint + of one rival actress against another, in their several pretensions to + the chief part in a new tragedy. But as this tumult seemed only to be + the wantonness of English liberty, I shall not presume to lay any + further censure upon it. +</p> +<p> + Now, notwithstanding this public desire of re-establishing two houses; + and though I have allowed the former actors greatly our superiors; and + the managers I am speaking of not to have been without their private + errors, yet under all these disadvantages, it is certain, the stage, for + twenty years before this time, had never been in so flourishing a + condition. +</p> +<p> + But, in what I have said, I would not be understood to be an advocate + for two play-houses; for we shall soon find that two sets of actors, + tolerated in the same place, have constantly ended in the corruption of + the theatre; of which the auxiliary entertainments, that have so + barbarously supplied the defects of weak action, have, for some years + past, been a flagrant instance; it may not, therefore, be here improper + to shew how our childish Pantomimes first came to take so gross a + possession of the stage. +</p> +<p> + I have upon several occasions, already observed, that when one company + is too hard for another, the lower in reputation has always been forced + to exhibit fine newfangled foppery, to draw the multitude after them; of + these expedients, singing and dancing had formerly been most effectual; + but, at the time I am speaking of, our English music had been so + discountenanced since the taste of Italian Operas prevailed, that it was + to no purpose to pretend to it. Dancing, therefore, was now the only + weight, in the opposite scale, and as the new theatre sometimes found + their account in it, it could not be safe for us wholly to neglect it. +</p> +<p> + Cibber's antagonistical views towards Pantomime were shared, as we + shall see, by a good many others. +</p> +<p> + Booth, however, a greater actor than Cibber, and a tragedian to boot, + took a more business-like view of the proceedings, thinking thin houses + the greatest indignity the stage could suffer. "Men of taste and + judgment (said he) must necessarily form but a small proportion of the + spectators at a theatre, and if a greater number of people were enticed + to sit out a play because a Pantomime was tacked to it, the Pantomime + did good service to all concerned. Besides, if people of position and + taste could, if so minded, leave before the nonsense commenced—an + opportunity they do not seem to have embraced since Booth reminded the + opponents of Pantomime how Italian opera had drawn the nobility and + gentry away from the play-houses, as appeared by the melancholy + testimony of their receipts, until Pantomime came to the rescue when pit + and gallery were better filled, and the boxes too put on a nobler + appearance." +</p> +<a name="2HCH0015"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XV. +</h2> +<h3 style="text-align: center"> + John Rich and his Pantomimes—Rich's Miming—-Garrick, Walpole, + Foote—Anecdotes of Rich—Pope—The dance of infernals in "Harlequin + Sorcerer"—Drury Lane—Colley Cibber—Henry Fielding, the + Novelist—Contemporary Writers' opinion of Pantomime—Woodward, the + Harlequin—The meaning of the word Actor—Harlequins—"Dr. Faustus," a + description—William Rufus Chetwood—Accidents—Vandermere, the + Harlequin—"Orpheus and Eurydice" at Covent Garden—A description—Sam. + Hoole, the machinist—Prejudice against Pantomime—Mrs. Oldfield—Robert + Wilks—Macklin—Riot at Lincoln's Inn Fields Theatre—Death of Rich. +</h3> +<p> + It was in 1717 that Rich devised this new form of entertainment, though + it was not till 1724, when "The Necromancer, or History of Dr. Faustus" + was produced by Rich, which took the town by storm, that Pantomime + became such a rage. It has been stated that what induced Rich to turn + his attention to Pantomime was the bringing over of a German, named + Swartz, who had two performing dogs that could dance. They were engaged + at £10 a night; and brought full houses. However, be this as it may, in + the "Daily Courant," of December 20, 1717, we find him, advertising for + his "Italian Mimic Scenes"—as he, for long enough, so termed his + Pantomimes—as follows:— +</p> +<pre> "Harlequin Executed: a new Italian Mimic Scene between a + Scaramouch, a Harlequin, a Country Farmer, his Wife, and + others." +</pre> +<p> + Of Rich and his early Pantomimes, Davies observes:— +</p> +<p> + John Rich was the son of Christopher Rich, formerly patentee of Drury + Lane Theatre, and he imbibed from his father a <i>dislike of people with + whom he was obliged to live and converse</i>. His father wished to acquire + wealth by French dancers and Italian singers, than by the united skill + of the most accomplished comedians. The son inherited the same taste, + and when he came into the patent, with his brother Christopher, of Drury + Lane, and after having ineffectually tried his talent for acting in the + part of the Earl of Essex, and other important characters, he applied + himself to the study of Pantomimical representations at Lincoln's Inn + Fields Theatre. To retrieve the credit of his theatre Rich created a + species of dramatic composition unknown to this, and, I believe, to any + other country, which he called Pantomime. It consisted of two parts, one + serious, the other comic; by the help of gay scenes, fine habits, grand + dances, appropriate music, and other decorations, he exhibited a story + from "Ovid's Metamorphosis," or some other fabulous history. Between the + pauses of the acts he interwove a comic fable, consisting chiefly of the + courtship of Harlequin and Columbine, with a variety of surprising + adventures and tricks, which were produced by the magic wand of + Harlequin; such as the sudden transformation of palaces and temples to + huts and cottages; of men and women into wheelbarrows and joint stools; + of trees turned to houses; colonnades to beds of tulips; and mechanics' + hops into serpents and ostriches. +</p> +<p> + It is a most remarkable fact that the Pantomimes that Rich brought out, + all of them could be written down as successes. In the exhibition of his + Pantomimes, Mr. Rich always displayed the greatest taste. He had also + acquired a considerable reputation as a performer of the motley hero + under the name of "Lun Junr," as he was so designated on the bills at + that time, and he was the first performer who rendered the character of + Harlequin at all intelligible in this country. To others he taught the + art of silent, but expressive, action, the interpreter of the mind. + Feeling was pre-eminent in his Miming; and he used to render the scene + of a separation with Columbine as graphic as it was affecting. Excellent + were his "statue scenes" and his "catching the butterfly;" so also were + his other dumb show performances. +</p> +<p> + Of Rich, Garrick wrote:— +</p> +<pre> "When Lun appeared with matchless art and whim, + He gave the power of speech to every limb; + Though masked and mute conveyed his quick intent, + And told in frolic's gestures all he meant." +</pre> +<p> + Rich, however, erred in thinking himself a better actor than a + Pantomimist; and, in fact, he thought himself a finer actor than the + great Garrick himself. "You should see <i>me</i> play Richard!" was a + favourite cry of his. +</p> +<p> + In 1782, after seeing the Pantomime of "Robinson Crusoe," Walpole said, + "How unlike the Pantomimes of Rich, which were full of wit, and + coherent, and carried on by a story." +</p> +<p> + As I have shown above, Rich had, like many other people, his own + particular little idiosyncrasies, and when in the season 1746-7 he + netted nearly £9,000 from his Pantomimes, to the chagrin of Garrick and + Quin, he was very angry and much annoyed because he, as Harlequin, had + contributed little or nothing. Another mannerism of his was to despise + the regular drama on these occasions, and he has been known to look at + the packed audience through a small hole in the curtain, and then + ejaculate, "Ah! you are there, you fools, are you? Much good may it do + you!" +</p> +<p> + Rich used to address everyone as "Mister." On one occasion Foote, being + incensed at being so addressed, asked Rich why he did not call him by + his name. "Don't be angry," says Rich, "I sometimes forget my own name." + "I know," replied Foote, "that you can't write your own name, but I + wonder you should forget it." +</p> +<p> + The first of Rich's successes was "Harlequin Sorcerer." On its + production Pope wrote:— +</p> +<pre> "Behold a sober sorcerer rise + Swift to whose wand a winged volume flies; + All sudden, gorgon's hiss and dragon's glare, + And ten horned fiends and giants rush to war. + Hell rises, heaven descends, and dance on earth, + Gods, imps and monsters, music, rage and mirth, + A fire, a jig, a battle, and a ball, + Till one wide conflagration swallows all; + Thence a new world to nature's laws unknown, + Breaks out refulgent with a heaven its own; + Another Cynthia her new journey runs, + And other planets circle after suns. + The forests dance, the rivers upwards rise, + Whales sport in woods, and dolphins in the skies; + At last, to give the whole creation grace, + Lo! one vast egg produces human race." +</pre> +<p> + Of Harlequin, in "Harlequin Sorcerer," being hatched from an egg by the + rays of the sun. This has been called a master-piece of Rich's Miming + "From the first chipping of the egg (says Jackson) his receiving of + motion, his feeling of the ground, his standing upright, to his quick + Harlequin trip round the empty shell, through the whole progression, + every limb had its tongue, and every motion a voice." +</p> +<p> + As probably occurring in "Harlequin Sorcerer," there is an amusing + incident. The belief in the possibility of a supernatural appearance on + the stage existed (says an old writer) about the beginning of the + eighteenth century. A dance of infernals having to be exhibited, they + were represented in dresses of black and red, with fiery eyes and snaky + locks, and garnished with every pendage of horror. They were twelve in + number. In the middle of their performance, while intent upon the figure + in which they had been completely practised, an actor of some humour, + who had been accommodated with a spare dress, appeared among them. He + was, if possible, more terrific than the rest, and seemed to the + beholders as designed by the conductor for the principal fiend. His + fellow furies took the alarm; they knew he did not belong to them, and + they judged him an infernal in earnest. Their fears were excited, a + general panic ensued, and the whole group fled different ways; some to + their dressing-rooms, and others, through the streets, to their own + homes, in order to avoid the destruction which they believed to be + coming upon them, for the profane mockery they had been guilty of. The + odd devil was <i>non inventus</i>. He took himself invisibly away, through + fears of another kind. He was, however, seen by many, in imagination, to + fly through the roof of the house, and they fancied themselves almost + suffocated by the stench he had left behind. The confusion of the + audience is scarcely to be described. They retired to their families, + informing them of this supposed appearance of the devil, with many of + his additional frolics in the exploit. So thoroughly was its reality + believed that every official assurance which could be made the following + day did not entirely counteract the idea. The explanation was given by + Rich himself, in the presence of his friend Bencraft, the contriver, and + perhaps the actor of the scheme, which he designed only as an innocent + affair, to confuse the dancers, without adverting to the serious + consequences which succeeded. +</p> +<p> + I have met with another author, who, in giving an account of this + transaction, places it as a much earlier period, and says it was during + the performance of "Dr. Faustus," and that when the devil took flight he + carried away with him the roof of the theatre. This story may be + alluded to in a very curious work, entitled, "The Blacke Booke" (a + proper depository), "London, printed in black letter, by T.C. for + Jeffery Chorlton, 1604." "The light burning serjant Lucifer" says of + one, running away through fear of fire at a brothel, "Hee had a head of + hayre like one of my divells in 'Doctor Faustus,' when the olde theatre + crakt and frighted the audience." +</p> +<p> + Emulating Rich, Drury Lane then followed with "Mars and Venus," of which + Colley Cibber says: Was formed into something more than motion without + meaning into a connected presentation of dances in character, wherein + the passions were so happily expressed, and the whole story so + intelligibly told by a mute narration of gesture only, that even + thinking spectators allowed it to be both a pleasing and a rational + entertainment; though, at the same time, from our distrust of its + reception we durst not venture to decorate it with any extraordinary + expense of scenes or habits; but upon the success of this attempt it was + rightly concluded that if a visible expense in both were added to + something of the same nature, it could not fail of drawing the town + proportionately after it. +</p> +<p> + From this original hint there (but every way unequal to it) sprang forth + that succession of monstrous medlies, that have so long infested the + stage, and which arose upon one another alternately, at both houses, + outvying in expense, like contending bribes on both sides at an + election, to secure a majority of the multitude. +</p> +<p> + If I am asked (after condemning these fooleries myself) how I came to + assent or continue my share of expense to them? I have no better excuse + for my error, than confessing it. I did it against my conscience, and + had not virtue enough to starve by opposing a multitude that would have + been too hard for me. +</p> +<p> + ("The Drama's laws the Drama's patrons give," has always been an axiom + of the stage; and worthy Colley Cibber, notwithstanding his antagonism, + and the rivalry of Rich, had too good a knowledge of this truism not to + do otherwise but follow the popular voice.) +</p> +<p> + Notwithstanding then (Cibber continues) this, our compliance with the + vulgar taste, we generally made use of these Pantomimes, but as crutches + to our weakest plays. Nor were we so lost to all sense of what was + valuable, as to dishonor our best authors in such bad company. We still + had a due respect to several select plays, that were able to be their + own support; and in which we found constant account, without painting + and patching them out.... It is a reproach to a sensible people to let + folly so quickly govern their pleasures. +</p> +<p> + Henry Fielding, the novelist, was one of Harlequin's assailants. "The + comic part of the English Pantomimes," he says, "being duller than + anything before shown on the stage could only be set off by the + superlative dulness of the serious portion, in which the gods and + goddesses were so insufferably tedious, that Harlequin was always a + relief from still worse company." Eager for theatrical reform, the + "Weekly Miscellany" of 1732, said that plays were not intended for + tradesmen, and denounced Pantomimes as infamous. +</p> +<p> + Another competitor, who entered the lists against Rich, was Thormond, a + dancing-master, and at Drury Lane Theatre he produced "Dr. Faustus," in + 1733. Speaking of this Pantomime, Pasquin mentions that "An account is + very honestly published, to save people the trouble of going to see it." +</p> +<p> + In a Pantomime produced at Drury Lane in the following year, there were + Macklin, Theo. Cibber (who ultimately lost his life by shipwreck in the + Irish Sea, in company with a troupe of Pantomimists), Mrs. Clive, and + Mrs. Cibber. At the performance it was announced that the money paid + would be returned to anyone who went out before the overture; but no one + availed themselves of the concession. Commenting on the occurrence, a + contemporary writer observes:—"Happy is it that we live in an age of + taste, when the dumb eloquence and natural wit and humour of Harlequin + are justly preferred to the whining of Tragedy, or the vulgarity of + Comedy." +</p> +<p> + Garrick, at Drury Lane, finding his audience with no heart for tragedy, + and that they must have Pantomime, very wisely said, "If you won't come + to 'Lear' and 'Hamlet,' I must give you Harlequin." And Harlequin he + did give them, in the person of Woodward, one of the best of Harlequins + that ever trod the stage. A contemporary print of the time, represents + Woodward being weighed in one scale, with all the great actors of the + day in the other, and Woodward makes them all kick the beam. +</p> +<p> + To satirise the prevailing fashion, Garrick penned the following:— +</p> +<pre> They in the drama find no joys, + But doat on mimicry and toys; + Thus, when a dance is on my bill, + Nobility my boxes fill; + Or send three days before the time + To crowd a new-made Pantomime. +</pre> +<p> + Garrick's success, however, was, I am of opinion, undoubtedly owing to + his being such a clever Pantomimist. "We saw him," says Grimm, "play the + dagger scene in 'Macbeth' in a room in his ordinary dress, without any + stage illusion; and, as he followed with his eyes the air-drawn dagger, + he became so grand that the assembly broke into a cry of general + admiration. Who would believe that this same man, a moment after, + counterfeited, with equal perfection, a pastry cook's boy, who, carrying + a tray of tartlets on his head, and gaping about him at the corner of + the street, lets his tray fall, and, at first stupified by the accident, + bursts at last into a fit of crying?" +</p> +<p> + All our great actors have been good Mimics, and herein, doubtless, lies + the secret of their success. The mere intonation of words unaccompanied + by a strict knowledge of "that dumb, silent language," Pantomime, is + only <i>parroting</i>. Herein, therefore, lies the true imitativeness of the + actor, and <i>the natural form of acting</i>. The word actor "Is a name only + given to the persons in a dramatic work, <i>because they ought to be in + continual action during the performance of it</i>." It does not mean that + the actor is to stand still, and to be in action only with his tongue + when speaking his "lines." No! he bears the honoured name of actor, and + he should bring the full power of gesture language—Pantomime—that he + has at his control into play in order to be convincing in the character + that, for the time being, he is. +</p> +<p> + Action (mentions Betterton, in his "History of the English Stage," + 1741), can never be in its perfection but on the stage. Action, indeed, + has a natural excellence in it superior to all other qualities; action + is motion, and motion is the support of nature, which without it would + sink into the sluggish mass of chaos. Life is motion, and when that + ceases, the human body so beautiful, nay so divine, when enlivened by + motion, becomes a dead and putrid corpse, from which all turn their + eyes. The eye is caught by anything in motion, but passes over the + sluggish and motionless things as not the pleasing object of its view. +</p> +<p> + The natural power of motion, or action, is the reason that the + attention of the audience is fixed by any irregular, or even fantastic + action, on the stage, of the most indifferent player; and supine and + drowsy when the best actor speaks without the addition of action. The + stage ought to be the seat of passion in its various kinds, and, + therefore, the actors ought to be thoroughly acquainted with the whole + nature of the affections, and habits of the mind, or else they will + never be able to express them justly in their looks and gestures, as + well as in the tone of their voice and manner of utterance. They must + know them in their various mixtures, as they are differently blended + together in the different characters they represent; and then that + excellent rule in the "Essay on Poetry" will be of equal use to the poet + and player:— +</p> +<pre> Who must look within to find + These <i>secret</i> turns of Nature in the mind; + Without this part in vain would be the whole, + And but a <i>body</i> all without a soul? +</pre> +<p> + A few words more just to lay further stress on the importance of + Pantomime, and then to return to our History. Take any part in any play, + strip from it in its enactment the whole of its gesture language, could + we realise that the actor appearing in it was portraying nature for us? + Replace the Pantomime so essential to the part, and the character + becomes—or rather should become if properly played—a creature of flesh + and blood the same as ourselves. Pantomime, on the other hand, does not + require words to be spoken to express its meaning, as it is quite + expressible without. +</p> +<p> + A contemporary account of the production of the Pantomime "Harlequin Dr. + Faustus," at Drury Lane Theatre, forms interesting reading, in addition + to providing a contrast with present-day Pantomime. +</p> +<p> + Every action is executed to different agreeable music, so adapted that + it properly expresses what is going forward; in the machinery there is + something so highly surprising that words cannot give a full idea of it. + The effects described seem to be marvellous, considering the state of + theatrical mechanism. A devil riding on a fiery dragon rides swiftly + across the stage. Two country men and women enter to be told their + fortunes, when Dr. Faustus waves his wand, and four pictures turn out of + the scenes opposite, representing a judge and a soldier, a dressed lady, + and a lady in riding habit; the scene changes to the outside of a + handsome house, when the louting men, running in, place their backs + against the door. The front of the house turns, and at the same instant + the machine turns, a supper ready dressed rises up. The countrymen's + wives remain with the Doctor, who (afterwards) goes out. He beckons the + table, and it follows him. Punch, Scaramouch, and Pierrot are next met + by the Doctor, who invites them into a banquet. The table ascends into + the air. He waves his wand, and asses' ears appear at the sides of their + heads. A usurer lending money to Dr. Faustus demands a limb as + security, and cuts off the Doctor's leg, several legs appear on the + scene, and the Doctor strikes a woman's leg with his wand, which + immediately flies from the rest, and fixes to the Doctor's stump, who + dances with it ridiculously. The next scene opens, disclosing the + Doctor's study. He enters affrighted, and the clock strikes one; the + figures of Time and Death appear. Several devils enter and tear him in + pieces, some sink, some fly out, each bearing a limb of him. The last, + which is the grand scene, is the most magnificent that ever appeared on + the English stage—all the gods and goddesses discovered with the + apotheosis of Diana, ascending into the air. +</p> +<p> + The tricks that formed part and parcel of the Pantomimes, in causing + surprise and wonderment, placed Harlequin, for his extraordinary feats, + in the first rank of magicians. Oftentimes, however, they were the cause + of many accidents. +</p> +<p> + Chetwood—William Rufus Chetwood—who had, in the eighteenth century, a + bookseller's shop in Covent Garden, and was, for twenty years, prompter + for Drury Lane, a writer of four plays, and a volume of sketches of the + actors whom he had met, says:—"A tumbler at the Haymarket beat the + breath out of his body by an accident, and which raised such vociferous + applause that lasted the poor man's life, for he never breathed more. + Indeed, his wife had this comfort, when the truth was known, pity + succeeded to the roar of applause. Another accident occurred in the + Pantomime of 'Dr. Faustus' (previously referred to), at Lincoln's Inn + Fields Theatre, where a machine in the working threw the mock Pierrot + down headlong with such force that the poor man broke a plank on the + stage with his fall, and expired; another was sorely maimed that he did + not survive many days; and a third, one of the softer sex, broke her + thigh." +</p> +<p> + Vandermere, the Harlequin, one of the most agile that ever trod the + stage, on one occasion, in the pursuit by the Clown, leaped through a + window on to the stage, a full thirteen feet. Performing at the Dublin + theatre one night, having a prodigious leap to make, the persons behind + the scenes not being ready to receive him in the customary blanket, he + fell upon the stage and was badly bruised. This accident occasioned him + to take a solemn oath that he would never take another leap upon the + stage; nor did he violate his oath, for when he afterwards played + Harlequin another actor of his size, and of considerable activity was + equipped with the parti-coloured habit, and when a leap was necessary + Vandermere passed off on one side of the stage as Dawson—Vandermere's + understudy—entered at the other, and undertook it. +</p> +<p> + How little do we know of the tragic ending of these poor unhappy + Pantomimists' lives. Their names even have not been handed down to us, + and they, like probably many more with whose quips and quiddities we + have laughed at with infinite zest, have long since gone "to that bourne + from whence no traveller returns," and perhaps, "unwept, unhonoured, and + unsung." +</p> +<p> + On February 12, 1739, Rich produced, at Covent Garden (opened in + December 1732, with Congreve's "Way of the World"), "Orpheus and + Eurydice." On the mounting something like £2,000 were spent. +</p> +<p> + Rich devised the scenario and comic scenes. Lewis Theobald wrote the + libretto, and George Lambert—founder of the Beefsteak Club—painted the + scenery. Hippisley played Clown, Manager Rich was the Harlequin, and + Signor Grimaldi, father of the celebrated Mime, to be noted further on, + was the Pantaloon. This is the first instance of a member of the + Grimaldi family (says Mr. W.J. Lawrence) appearing in English Pantomime. +</p> +<p> + The following was the argument and the curious arrangement of the + scenes:—Interlude I.—Rhodope, Queen of Thrace, practising art magic, + makes love to Orpheus. He rejects her love. She is enraged. A serpent + appears who receives Rhodope's commands, and these ended, glides off the + stage. Here the comic part begins. In the Opera (as practically it was) + a scene takes place between Orpheus and Eurydice. Eurydice's heel is + pierced by the serpent, behind the scenes. She dies on the stage—after + which the comic part is continued. Interlude II. Scene: Hell. Pluto and + Orpheus enter. Orpheus prevails on Pluto to restore Eurydice to him. + Ascalox tells Orpheus that Eurydice shall follow him, but that if he + should look back at her before they shall have passed the bounds of + Hell, she will die again. Orpheus turns back to look for Eurydice, + Fiends carry her away. After this the comic part is resumed. Interlude + III.—Orpheus again rejects Rhodope's solicitations. Departs. The scene + draws, and discovers Orpheus slain. Several Baccants enter in a + triumphant manner. They bring in the lyre and chaplet of Orpheus. + Rhodope stabs herself. The piece concludes with the remainder of the + comic part. +</p> +<p> + "'The Scots Magazine' for March, 1740, says:—'Orpheus and Eurydice' + draws the whole town to Covent Garden, whether for the Opera itself (the + words of which are miserable stuff) or for the Pantomimical Interlude, + with which it is intermixed, I cannot determine. The music is pretty + good, and the tricks are not foolisher than usual, and some have said + that they have more meaning than most that have preceded them. The + performance is grand as to the scenery. What pleases everybody is a + regular growth of trees, represented more like nature than what has yet + been seen upon the stage, and the representation of a serpent so lively + as to frighten half the ladies who see it. It is, indeed, curious in its + kind, being wholly a piece of machinery, that enters, performs its + exercise of head, body, and tail in a most surprising manner, and makes + behind the curtain with a velocity scarcely credible. It is about a foot + and a half in circumference of the thickest part, and far exceeds the + former custom of stuffing a bag into such likeness. It is believed to + have cost more than £200; and when the multitude of wings, springs, + etc., whereof it consists, are considered, the charge will not appear + extravagant. The whole Royal family have been to see this performance; + and, from what can be judged, everybody else will see it before the end + of the season, the house being every day full at 3 o'clock, though + seldom empty till after eleven." +</p> +<p> + Sam Hoole—father of the translator of Tasso and Ariosto—was Rich's + chief machinist at this period, and the inventor of this famous serpent. + He had, according to Cumberland, a shop where he sold mechanical toys. + Having a large stock of serpent toys left on his hands he became a + ruined and bankrupt man. +</p> +<p> + "Orpheus and Eurydice" was revived by Rich in 1747, and again in 1755; + when it ran 31 nights. In 1768 it was reproduced by his successors at + Covent Garden. In October, 1787, it was again put in the bill, and this + time by Royal Command, it was said. +</p> +<p> + Of the number of Pantomimes brought out by Rich I shall not dilate on, + and those that I have referred to will, doubtless, show what all these + "plays without words" were like. +</p> +<p> + During the summer season of 1761, at Drury Lane, Murphy and Foote + endeavoured +</p> +<pre> "From Pantomime to free the stage + And combat all the ministers of the age," +</pre> +<p> + by ridiculing the popular amusement in having the character of Harlequin + hung in full view of the audience in a play entitled "The Wishes." When + the catastrophe was at hand Murphy whispered to Cumberland: "If they + don't damn this, they deserve to be damned themselves!" No sooner were + the words uttered than a turbulent mob in the pit broke out, and quickly + put an end to the dire fatality with which Pantomime and its hero, + Harlequin, were threatened. +</p> +<p> + Christopher Rich gave the first engagement to the afterwards celebrated + actress, Mrs. Oldfield, and, previously, a similar kindness to Robert + Wilks, about the year 1690, at the salary of fifteen shillings a week, + with two shillings and sixpence deducted for teaching him to dance. + Another famous performer, Macklin, was also introduced to the stage by + this family. +</p> +<p> + At the Lincoln's Inn Fields Theatre, in 1721, there was a memorable + riot, caused by some drunken aristocratic beaux, owing to an alleged + insult, which one of their number was supposed to have received. The + beau referred to, a noble Earl, had crossed the stage whilst Macbeth and + his lady were upon it, in order to speak to a companion who was lolling + in the wings. Rich told the noble Earl that for his indecorum he would + not be allowed behind the scenes again, which so incensed the latter + that he gave Manager Rich a smart slap on the face, which Rich returned. + Swords then were drawn, and between the actors and the beaux a free + fight ensued, which ended in the former driving the latter out of the + theatre. The rioters, however, again obtained access, and rushing into + the boxes, cut down the hangings, besides doing other damage, when, led + by Quin and a number of constables, several of the beaux were captured, + and taken before the magistrates. The end of it all was that the matter + was compromised; but, in order to prevent a recurrence of such + disorderly scenes, a guard should attend the performances. The custom of + having the military in attendance at our theatres—which the above + affray was the primary cause—was in vogue for over a hundred years + after this event. +</p> +<p> + Rich lived to see Pantomimes firmly established at Drury Lane and Covent + Garden. Drury Lane did, for a few years, discard it in favour of + spectacle, but ultimately found it advisable to return to Pantomime. +</p> +<p> + At the beginning of the 'sixties of the eighteenth century—1761—died + the father of Harlequins in England, and also—as he has been called—of + English Pantomimes, and there is, I believe, a costly tomb erected to + his memory in Hillingdon Church-yard, Middlesex. +</p> +<p> + Rich left Covent Garden Theatre to his son-in-law, Beard, the vocalist, + with the not unpleasant restriction, however, that the property should + be sold when £60,000 was bid for it, and for which sum it ultimately + passed into the hands of Harris, Colman, and their partners. +</p> +<a name="2HCH0016"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XVI. +</h2> +<h3> + Joseph Grimaldi. +</h3> +<p> + The year 1778 marks an epoch in the History of Pantomime, as just over + three-quarters of a century before marked another epoch, the + introduction of Pantomimes to the English stage. On December 18th, 1778, + was born Joseph Grimaldi—afterwards the Prince of Clowns, and the son + of Giuseppe Grimaldi ("Iron Legs"). Joe's first appearance was at + Sadler's Wells on April 16, Easter Monday, 1781, he not being quite + three years old. Dickens, in the "Memoirs of Grimaldi," has given us + from the Clown's own diary, which Grimaldi kept close up to the time of + his death, on May, 31st, 1837, a full and true account of the life of + this remarkably clever Pantomimist. To add to what Dickens has written + of "Only a Clown" (which doubtless the reader is already acquainted + with) would only be like painting the lily; and, perhaps, I cannot do + better in honouring his memory than by quoting the words of Mr. Harley + at the annual dinner of the Drury Lane Fund, spoken in the June + following Grimaldi's death:—"Yet, shall delicacy suffer no violence in + adducing one example, for death has hushed his cock-crowing cachination, + and uproarious merriment. The mortal Jupiter of practical Joke, the + Michael Angelo of buffoonery, who, if he was <i>Grim-all-day</i>, was sure to + make you chuckle at night." +</p> +<p> + A contemporary writer of Grimaldi's days thus eulogises the Prince of + Clowns:— +</p> +<p> + As a Clown, Mr. Grimaldi is perfectly unrivalled. Other performers of + the part may be droll in their generation; but, which of them can for a + moment compete with the Covent Garden hero in acute observation upon the + foibles and absurdities of society, and his happy talent of holding them + up to ridicule. He is the finest practical satyrist that ever existed. + He does not, like many Clowns, content himself with raising a + horse-laugh by contortions and grimaces, but tickles the fancy, and + excites the risibility of an audience by devices as varied as they are + ingenious. "He uses his folly as a stalking-horse, under cover of which + he shoots his wit;" and fully deserves the encomium bestowed upon him by + Kemble, who, it is said, pronounced him to be "the best low comedian + upon the stage." +</p> +<p> + There are few things, we think, more delightful than a Pantomime—that + is, a <i>good</i> Pantomime, such as is usually produced at Covent Garden. We + know there are a set of solemn pompous mortals about town, who express + much dignified horror at the absurdities of these things, and declaim + very fluently, in good set terms, upon the necessity of their abolition. + Such fellows as these are ever your dullest of blockheads. Conscious of + their lack of ideas, they think to earn the reputation of men of + sterling sense, by inveighing continually against what <i>they</i> deem to be + frivolity; while they only expose more clearly to all observers the sad + vacuum which exists in their <i>pericraniums</i>. Far, far from us be such + dullards, and such opinions; and let us continue to laugh heartily at + our Pantomimes, undisturbed by their tedious harangues; "Do they think, + because they are <i>wise</i>, there shall be no more cakes and ale?" The man + who refuses to smile at the humours of Grimaldi is made of bad + materials—<i>hic niger est</i>—let no such man be trusted! +</p> +<p> + Can there possibly be a more captivating sight than that which the + theatre presents nightly, of hundreds of beautiful children all happy + and laughing, "as if a master-spring constrained them all;" and filled + with delight, unalloyed and unbounded, at the performance of one man? + And shall that man go without his due meed of praise? Never be it said! + No, Joey! When we forget thee, may our right hand forget its cunning! We + owe thee much for the delight thou hast already afforded us; and rely + upon thee, with confident expectation, for many a future hour of gay + forgetfulness. Well do we remember, in our boyish dreams of bliss, how + prominent a feature thou didst stand amongst the anticipated enjoyments + of Christmas; how the thoughts of home, of kindred, and release from + school, were rendered ten-fold more delightful by the idea of thy motley + garb and mirth-inspiring voice, which ever formed the greatest enjoyment + our holidays afforded. Heaven be praised, we still are children in some + respects, for we still feel gladdened by thy gambols, as heartily as we + did years ago, when we made our periodical escape from the terrors of + our old pedagogue's frown, and went with Aunt Bridget ("Happier than + ourselves the while") to banquet upon the Pantomimic treat provided for + us. "All wisdom is folly," says the philosopher; but we often incline to + think the converse of the proposition correct, when we see thee put thy + antic disposition on, and set the audience in a roar by the magic of thy + powers. +</p> +<p> + It is thought by many persons that Grimaldi is seen to greater advantage + on the small stage of Sadler's Wells, than on the more capacious one of + Covent Garden; but, this is an opinion with which we cannot coincide. He + always appears to us more at his ease at the latter house; to come forth + exulting in his power, and exclaiming, "Ay, marry, here my soul hath + elbow-room." His engagement there has certainly been a lucrative + speculation for the proprietors. "Mother Goose," we believe, drew more + money than any other piece which has been produced during the present + century; and no Pantomime since brought forward at Covent Garden has + been unsuccessful; which is mainly to be attributed to his inimitable + performance of Clown. It is scarcely possible for language to do justice + to his unequalled powers of gesture and expression. Do our readers + recollect a Pantomime some years ago, in which he was introduced begging + a tart from a pieman? The simple expression, "May I?" with the look and + action which accompanied it, are impressed upon our recollection, as + forming one of the finest pieces of acting we ever witnessed. Indeed, + let the subject be what it may, it never fails to become highly amusing + in the hands of Grimaldi; whether it is to rob a pieman, or open an + oyster, imitate a chimney-sweep, or a dandy, grasp a red-hot poker, or + devour a pudding, take snuff, sneeze, make love, mimic a tragedian, + cheat his master, pick a pocket, beat a watchman, or nurse a child, it + is all performed in so admirably humorous and extravagantly natural a + manner, that spectators of the most saturnine disposition are + irresistibly moved to laughter. +</p> +<p> + Mr. Grimaldi also possesses great merit in Pantomimic performances of a + different character, which all are aware of, who have ever seen him in + the melodrama, called "Perouse," and other pieces of the same + description. +</p> +<p> + We cannot better terminate this article, than with a poetical tribute to + his powers, addressed to him by one of the authors of "Horace in + London," who appears to have had a true relish of his subject:— +</p> +<pre> Facetious Mime! thou enemy of gloom, + Grandson of Momus, blithe and debonair, + Who, aping Pan, with an inverted broom, + Can'st brush the cobwebs from the brows of care. + + Our gallery gods immortalize thy song; + Thy Newgate thefts impart ecstatic pleasure; + Thou bid'st a Jew's harp charm a Christian throng, + A Gothic salt-box teem with attic treasure. + + When Harlequin, entangled in thy clue, + By magic seeks to dissipate the strife, + Thy furtive fingers snatch his faulchion too; + The luckless wizard loses wand and wife. + + The fabled egg from thee obtains its gold; + Thou sett'st the mind from critic bondage loose, + Where male and female cacklers, young and old, + Birds of a feather, hail the sacred Goose. + + Even pious souls, from Bunyan's durance free, + At Sadler's Wells applaud thy agile wit, + Forget old Care while they remember thee, + "Laugh the heart's laugh," and haunt the jovial pit. + + Long may'st thou guard the prize thy humour won, + Long hold thy court in Pantomimic state, + And, to the equipoise of English fun, + Exalt the lowly, and bring down the great. +</pre> +<p> + Again we are told "That his Pantomime was such that you could fancy he + would have been the Pulcinello of the Italians, the Harlequin of the + French, that he could have returned a smart repartee from Carlin. His + motions, eccentric as they were, were evidently not a mere lesson from + the gymnasium; there was a will and mind overflowing with, nay living + upon fun, real fun. He was so extravagantly natural, that the most + saturnine looker-on acknowledged his sway; and neither the wise, the + proud, or the fair, the young nor the old, were ashamed to laugh till + tears coursed down their cheeks at Joe and his comicalities." +</p> +<p> + Grimaldi used sometimes to play in two different Pantomimes at two + different theatres, when he would have to go through some twenty scenes. +</p> +<p> + Unlike the painting of the face with a few patches adopted by the + modern Clown, Grimaldi used to give one the idea of a greedy boy, who + had covered himself with jam in robbing from a cupboard. Grimaldi + dressed the part like a Clown should be dressed. His trousers were large + and baggy, and were fastened to his jacket, and round his neck he wore a + schoolboy's frill—part of the dress, in all probability, borrowed from + the Spanish Captain and the French Pierrot. +</p> +<p> + At Drury Lane on Friday, June 27, 1828, he took his farewell benefit. + The following being the bill:— +</p> +<p> + Mr. Grimaldi's Farewell Benefit, + On Friday, June 27th, 1828, + will be performed + JONATHAN IN ENGLAND, + after which + A MUSICAL MELANGE, + To be succeeded by + THE ADOPTED CHILD, + and concluded by + HARLEQUIN HOAX, + In which Mr. Grimaldi will act Clown in one scene, + sing a song, and speak his + FAREWELL ADDRESS. +</p> +<p> + With the reader's permisson, I will give, from his "Memoirs," the + address he spoke:— +</p> +<p> + "Ladies and Gentlemen:—In putting off the Clown's garment, allow me to + drop also the Clown's taciturnity, and address you in a few parting + sentences. I entered early on this course of life, and leave it + prematurely. Eight-and-forty years only have passed over my head—but I + am going as fast down the hill of life as that older Joe—John Anderson. + Like vaulting ambition, I have overleaped myself, and pay the penalty in + an advanced old age. If I have now any aptitude for tumbling it is + through bodily infirmity, for I am worse on my feet than I used to be on + my head. It is four years since I jumped my last jump—filched my last + oyster—boiled my last sausage—and set in for retirement. Not quite so + well provided for, I must acknowledge, as in the days of my Clownship, + for then, I dare say, some of you remember, I used to have a fowl in one + pocket and sauce for it in the other. +</p> +<p> + "To-night has seen me assume the motley for a short time—it clung to my + skin as I took it off, and the old cap and bells rang mournfully as I + quitted them for ever. +</p> +<p> + "With the same respectful feelings as ever do I find myself in your + presence—in the presence of my last audience—this kindly assemblage so + happily contradicting the adage that a favourite has no friends. For the + benvolence that brought you hither—accept, ladies and gentlemen, my + warmest and most grateful thanks, and believe, that of one and all, + Joseph Grimaldi takes a double leave, with a farewell on his lips, and a + tear in his eyes. +</p> +<p> + "Farewell! That you and yours may ever enjoy that greatest earthly + good—health, is the sincere wish of your faithful and obliged servant. + God bless you all!" +</p> +<p> + Poor Joe was buried in the burying-ground of St. James' Chapel, on + Pentonville Hill, and in a grave next to his friend, Charles Dibdin. May + the earth lie lightly over him! +</p> +<a name="2HCH0017"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XVII. +</h2> +<h3 style="text-align: center"> + Plots of the old form of Pantomimes—A description of "Harlequin and the + Ogress; or the Sleeping Beauty of the Wood," produced at Covent + Garden—Grimaldi, <i>Père et Fils</i>—Tom Ellar, the Harlequin, and Barnes, + the Pantaloon—An account of the first production of the "House that + Jack built," at Covent Garden—Spectacular display—Antiquity and Origin + of some Pantomimic devices—Devoto, Angelo, and French, the Scenic + Artists—Transparencies—Beverley—Transformation Scenes. +</h3> +<p> + Of the plots of the old form of Pantomime and what these entertainments + were generally like, graphically, does Planché describe them. +</p> +<p> + How different (he says) were the Christmas Pantomimes of my younger + days. A pretty story—a nursery tale—dramatically told, in which "the + course of true love never did run smooth," formed the opening; the + characters being a cross-grained old father, with a pretty daughter, who + had two suitors—one a poor young fellow, whom she preferred, the other + a wealthy fop, whose pretensions were, of course, favoured by the + father. There was also a body servant of some sort in the old man's + establishment. At the moment when the young lady was about to be + forcibly married to the fop she despised, or, on the point of eloping + with the youth of her choice, the good fairy made her appearance, and, + changing the refractory pair into Harlequin and Columbine, the old + curmudgeon into Pantaloon, and the body servant into Clown: the two + latter in company with the rejected "lover," as he was called, commenced + the pursuit of the happy pair, and the "comic business" consisted of a + dozen or more cleverly constructed scenes, in which all the tricks and + changes had a meaning, and were introduced as contrivances to favour the + escape of Harlequin and Columbine, when too closely followed by their + enemies. There was as regular a plot as might be found in a melodrama. + An interest in the chase which increased the admiration of the ingenuity + and the enjoyment of the fun of the tricks, by which the runaways + escaped capture, till the inevitable "dark scene" came, a cavern or a + forest, in which they were overtaken, seized, and the magic wand, which + had so uniformly aided them, snatched from the grasp of the despairing + Harlequin, and flourished in triumph by the Clown. Again at the critical + moment the protecting fairy appeared, and, exacting the consent of the + father to the marriage of the devoted couple, transported the whole + party to what was really a grand last scene, which everybody did wait + for. There was some congruity, some dramatic construction, in such + Pantomimes; and then the acting. For it was acting, and first-rate + acting. +</p> +<p> + To give the reader a further insight into the old form of Christmas + Pantomimes, I cull the following from "The Drama," a contemporary + magazine of the period (1822):— +</p> +<p> + In compliance with the long-established custom of gratifying the holiday + visitors of the theatres with Pantomimic representations at this season + of year, a new piece of that description was produced at this theatre + (Covent Garden) last night, December 26th, 1822, under the title of + "Harlequin and the Ogress; or the Sleeping Beauty of the Wood." The + introductory story is taken from the well-known tale of "The Sleeping + Beauty," in "Mother Bunch's Fairy Tales," which had before been + "melodramatised," but had not hitherto been taken for the groundwork of + a Harlequinade. +</p> +<p> + The piece opens in one of the fabled grand caverns under the Pyramids of + Egypt, in which the three fatal sisters of Mother Bunch's Mythology are + seen spinning and winding a ball of golden thread, the fastening of + which to the wrist of the Sleeping Beauty is intended to add another + century to the duration of her life, and of the power which the Ogress, + or Fairy, has exercised over her, and her possessions, for the preceding + hundred years. The ball having been completed, with the due quantum of + magic incantation in such cases prescribed, is consigned to the care of + Grim Gribber, the porter of the castle, with directions to attach it to + the wrist of the lady in the chamber of sleep, whither he accordingly + proceeds for that purpose; but overcome by the soporific influences of + the atmosphere of that enchanted place, he falls into a deep sleep ere + his task is accomplished. The Prince Azoff, with his Squire Abnab, + straying from a hunting party into the enchanted cedar grove, encounters + the Fairy Blue-bell, protector of the Sleeping Beauty, who imparts to + the Prince the story of her enchantment, furnishes him with a magic + flower to protect him from the influence of the Ogress, and instructs + him in the means of releasing the Beauty at the expiration of the term + of her first enchanted sleep, which is then drawing to a close. In the + amazement which seizes the Prince on finding himself in the chamber of + sleep, at the splendour of everything around him, and the sight of the + Sleeping Beauty with her surrounding train of attendants, whose + faculties are all enchained in the same preternatural slumber, he lets + fall the magic flower, and becomes thereby subject to the power of the + Ogress, from which he is, however, rescued on the instant by the + protecting interference of the Fairy Blue-bell. But in punishment of his + neglect, he is condemned to wander for a time in search of happiness + with the now-awakened Beauty, pursued by the relentless Ogress and her + servant, Grim Gribber. The whole of the persons engaged in the scene now + undergo the prescriptive Pantomimic changes, and the ordinary succession + of Harlequinade adventures, tricks, and transformations ensue. +</p> +<p> + Our old favourites, the Grimaldis, father and son, Mr. Ellar as + Harlequin, and Mr. Barnes as Pantaloon, were hailed, on their + appearance, with the warmth of greeting to which their excellence in + their several parts fully entitles them, and displayed their wonted + drollery, gracefulness, and agility: and Miss Brissak, who, for the + first time, appeared as Columbine, acquitted herself with tolerable + credit, and was very well received. +</p> +<p> + The scenery in general was marked with that characteristic beauty and + highly-finished excellence, which have long distinguished the + productions of this theatre: and the panoramic series of views of the + River Thames, from Greenwich to the Nore, on the passage of the Royal + flotilla for Scotland, and its arrival in Leith Roads, probably surpass + everything of the kind before exhibited. There are several diverting + tricks and ingenious changes. Grimaldi's equipment of a patent safety + coach at Brighton, in particular was highly amusing. The machinery, + which is, in many instances, of a most complicated description, worked + remarkably well for a first night's exhibition; and the whole went off + with a degree of <i>eclat</i>, which must have been exceedingly gratifying to + the managers, as auguring the probability of such a lengthened run for + the piece as may amply recompense the pains and expense which have been + so lavishly bestowed in its preparation. The house was filled in every + part, and the announcement of the Pantomime's repetition was received + with the most clamorous approbation, undisturbed by a single dissentient + voice. +</p> +<p> + The first production of "The House that Jack Built," at Covent Garden, + on December 26, 1824, also reads interestingly:— +</p> +<p> + The Pantomime is before us, and we should ill-repay the pleasure it + afforded us, if we did not acknowledge and make public its excellence. + The name implies the source from which it is taken, and we had, + therefore, the supreme pleasure of renewing our friendship with those + very old acquaintances, the "Priest all shaven and shorn, the maiden all + forlorn, the cow with the crumpled horn, the dog that worried the cat, + that killed the rat, that eat up the malt, that lay in the House that + Jack built." This, of course, gave us, as it appeared to do many others, + great pleasure, "For should auld acquaintance be forgot, and never + brought to mind." Mr. Farley, however, who supports (like an Atlas) all + the weight of bringing forward these annual pieces of fun and foolery, + and who appears to be as learned in the mystic lore of "hoary + antiquity," as he is in the mysteries of all the wonders of the tricks, + changes, and mechanism of the Pantomimic world, has let us this time + into a secret, which will doubtless cause much erudite argument, and + pros and cons from various sage antiquarians for months to come, in that + invaluable work of old Sylvanus Urban, 'yclept the "Gentlemen's + Magazine." As the play-bills on which this important piece of + information is to be found, will doubtless be bought up by all the + mystogogii of the Metropolis, and shortly become scarce, we shall take + the liberty of inserting it in our imperishable pages, for the benefit, + not only of posterity, but for those of our own day, who are infected + with the building mania, and who, we think, ought to make Mr. Farley + some very valuable present to mark their sense of the obligation they + are under to him, in consequence of the benefit which must accrue to + them from it. It appears from this fragment in what manner Jack became + possessed of his house, and which it never before occurred to us, to + enquire. Thus then the mystery is elucidated by Mr. Farley. +</p> +<p> + Jack's Wager; +</p> +<p> + "By virtue of one of our forest charters, if a man do build a dwelling + upon common land, from sun-set to sun-rise, and enclose a piece of + ground, wherein there shall be a tree growing, a beast feeding, a fire + kindled, and provision in the pot, such dwelling shall be freely held by + the builder, anything to the contrary, nevertheless, notwithstanding." + Forest Laws. +</p> +<p> + Accordingly Jack, in the opening scene, is represented just before + nightfall, as completing his dwelling, by putting on the chimney pot as + the finishing stroke; he then claims his bride, Rosebud, from her + father, Gaffer Gandy, who refuses his consent, having determined on + bestowing her hand on one Squire Sap. Jack, in despair, repairs to Poor + Robin, the village astrologer, who is intently observing an eclipse of + the moon (which, by-the-bye, is most excellently managed), and relates + his griefs. The old man cheers his drooping spirits, by casting his + nativity and finding by his observations, that Jack's stars are of the + most benign influence, and that all his wishes shall be fulfilled. The + marriage of the maiden all forlorn with the Squire is on the point of + being completed, when Venus (one of whose doves had been preserved by + Jack) dispatches Cupid to the assistance of the despairing lovers, by + the magic of whose powerful wand the usual Pantomimic changes are + effected in a trice—Jack becomes Harlequin; Rosebud, Columbine; + Gaffer, Pantaloon; the Squire, the Lover; and the Priest, the Clown. + Mirth, revelry, fun, frolic, and joviality are now the order of the day, + and the scene changes to a view of Hyde Park and the Serpentine River on + a frosty morning in January: in which is represented, with admirable + effect, a display of patent skating. An oil cloth is spread upon the + stage, a group comprised of various laughable characters are assembled + on it, and skate about with as much rapidity, and precisely as though it + were a sheet of ice. The adroit skill of old stagers on the slippery + surface, with the clumsy awkwardness and terror of novices in the art, + are well represented. A prodigious fat man makes his appearance; when a + race is called for, he, of course, tries his prowess, when the ice + cracking beneath the heavy weight assembled on it gives way with a heavy + crash, and "Fatty" is consigned to a watery bed. Assistance is + immediately tendered, when, by Harlequin's power, a lean and shrivelled + spirit of the deep rises from below to the great alarm of the beholders, + and whose limbs continue to expand till his head touches the clouds. The + whole of the scene is one of the most laughable and best managed in the + Pantomime. Kew Gardens, on a May-day morning, is also a very pleasing + scene, in which some pretty Morris dancing is introduced. The Barber's + shop, in which shaving by steam is hit off, is excellent in its way, but + not so well understood in its details, as to make it equally effective + in representation. Vauxhall Bridge, and the Gardens which succeeds it, + are also charmingly painted by the Grieves, and from hence the Clown + and Pantaloon take an "Aeronautic excursion" to Paris. This is a + revolving scene—the balloon ascends—and the English landscape + gradually recedes from the view—the gradual approach of night—the + rising of the moon—the passing of the balloon through heavy clouds—and + the return of day, are beautifully represented; the sea covered with + ships, is seen in distant perspective with the French coast; a + bird's-eye view of Paris follows, and the balloon safely descends in the + gardens of the Tuileries. The adjoining palace, mansions, and gardens + being brilliantly illuminated, give the scene a most splendid and + picturesque effect. A variety of other scenes, but far too numerous to + mention individually, deserve the highest applause, particularly the + village of Bow, Leadenhall Market, with a change to an illuminated civic + feast in the Guildhall; Burlington Arcade at night, and the village of + Ganderclue by sunrise. The Temple of Iris, formed of the "radiant + panoply of the heavenly arch," by Grieve, is most brilliant. +</p> +<p> + The advent of Pantomime, early in the eighteenth century, gave a special + fillip to spectacular display, as they were all announced to be set off + with "new scenery, decorations, and flyings." +</p> +<p> + Some of the stage devices of Pantomime are of considerable antiquity; + as, for instance, the basket-work hobby-horses, that figured as far back + as the old English Morris dances, to be revived in the French ballet of + the seventeenth century, and, in after years, in English Pantomime. +</p> +<p> + The Pantomime donkey is at least, we are told, 200 years old. In + "<i>Arlequin Mercure Galant</i>," produced in Paris in 1682, by the Italian + Comedians, Harlequin made his entrance on a moke's back—and the + merriment afterwards being greatly enhanced when Master "Neddy," with + Pan seated on its back, suddenly came in two, to the consternation of + the beholders. To the Italian Pantomime Comedians we owe many of our + stage devices and tricks. The statue scene in "Frivolity," played by the + Messrs. Leopolds, was introduced by the Italians in "<i>Arlequin Lingere + du Palais</i>," when this piece was performed at Paris in 1682. Again, the + device of cutting a hole in a portrait for an eaves-dropper's head to be + inserted, was used in "<i>Columbine Avocat</i>" as far back as 1685. +</p> +<p> + In "<i>Arlequin Lingere du Palais</i>," played at the Hotel de Bourgogne in + October, 1682, there was represented two stalls—an underclothier's and + a confectioner's. Harlequin dressed half like a man and half like a + woman, with a mask on each side of his face to match presides in this + dual capacity at both stalls. Pasquariel, who comes to buy, is utterly + bewildered, and is made the target of both jests and missiles of + monsieur of the confectioners, and mademoiselle of the adjoining stall. + Possibly the shop scenes in our English Harlequinades may have + originated from this. A similar idea to the above was given in O'Keefe's + Pantomime of "Harlequin Teague; or the Giants' Causeway," performed at + the Haymarket in 1782. Charles Bannister appeared in this Pantomime and + sang a duet as a giant with two heads, one side representing a gentleman + of quality, and the other a hunting squire. Mrs. German Reed, about + 1855, appeared representing two old women, between whom an imaginary + conversation was held, Mrs. Reed turning first one side of her face to + the audience, and then the other. Fred Maccabe, in his "Essence of + Faust," had also a similar allusion, and by many "transformation + dancers" was it used. The antiquity of many other devices could be + noted, but I must desist, yet I cannot help remarking that even here we + have more exemplifications of history repeating itself. +</p> +<p> + Scenical representations and mechanical devices in Italy had long been + made a fine art, and an English traveller and critic observes that our + painting compared to theirs is only daubing. I find among their + decorations statues of marble, alabaster, palaces, colonnades, + galleries, and sketches of architecture; pieces of perspective that + deceive the judgment as well as the eye; prospects of a prodigious + extent in spaces not thirty feet deep. As for their machines I can't + think it in the power of human wit to carry their inventions further. In + 1697, I saw at Venice an elephant discovered on the stage, when, in an + instant, an army was seen in its place; the soldiers, having by the + disposition of their shields, given so true a representation of it as if + it had been a real elephant. +</p> +<p> + In Rome, at the Theatre Capranio, in 1698, there was a ghost of a woman + surrounded by guards. This phantom, extending her arms and unfolding her + clothes, was, with one motion, transformed into a perfect palace, with + its front, its wings, body, and courtyard. The guards, striking their + halberds on the stage, were immediately turned into so many waterworks, + cascades, and trees, that formed a charming garden before the palace. At + the same theatre, in the opera "<i>Nerone Infante</i>," the interior of hell + was shown. Here part of the stage opened, and discovered a scene + underneath, representing several caves, full of infernal spirits, that + flew about, discharging fire and smoke, on another side the river of + Lethe and Charon's boat. Upon this landing a prodigious monster + appeared, whose mouth opening to the great horror of the spectators, + covered the front wings of the remaining part of the stage. Within his + jaws was discovered a throne of fire, and a multitude of monstrous + snakes, on which Pluto sat. After this the great monster, expanding his + wings, began to move very slowly towards the audience. Under his body + appeared a great multitude of devils, who formed themselves into a + ballet, and plunged, one after the other, into the opening of the floor. + The great monster was in an instant transformed into an innumerable + multitude of broad white butterflies, which flew all into the pit, and + so low that some often touched the hats of several of the spectators, + and at last they disappeared. During this circumstance, which + sufficiently employed the eyes of the spectators, the stage was + refitted, and the scene changed into a beautiful garden, with which the + third act began. +</p> +<p> + The scene painter, Devoto, painted the scenery and decorations for the + Goodman's Fields Theatre, where, it is interesting to note, David + Garrick made his first <i>London</i> appearance in 1741. His first appearance + on any stage had been made at Ipswich on Tuesday, 21st July, in the same + year, under the name of Lyddall. Garrick, during his time, introduced + many novelties in the way of scenery and transparencies, acting on the + suggestions of Signor Seivandoni, the scenic artist at the Opera-house, + and the fencing master, Dominico Angelo. These transparencies became the + talk of London, and it has been known for several plays to have been + written so as to introduce them. The first transparent scene is said to + have been the "Enchanted Wood," introduced in "Harlequin's Invasion," at + Drury Lane, the painter being one French, the scenic artist of the + theatre. +</p> +<p> + Beverley, the scene painter for Madame Vestris, half a century ago, + brought fairy, or Pantomime, scenes to great perfection. Leopold Wagner, + speaking of them, says:—"We have it upon the authority of Mr. Planché + that these were almost entirely due to the skilled efforts and successes + of Mr. William Beverley, who, in the nature of Extravaganza, so + impressed the public with his fine talents as an artist upon theatrical + canvas, that gorgeous scenes became quite the rage, and how, year after + year, Mr. Beverley's powers were taxed to the utmost to outdo his + former triumphs, and how the most costly materials and complicated + machinery were annually put into requisition until the managers began to + suffer." +</p> +<p> + Speaking of the production on the 26th December, 1849, of "The Island of + Jewels," Planché says, "The novel, and yet exceedingly simple, falling + of the leaves of a palm tree, which discovered six fairies, supporting a + coronet of jewels, produced such an effect as I scarcely remember having + witnessed on any similar occasion up to that period. The last scene + became the first in the estimation of the management. The most + complicated machinery, the most costly materials were annually put into + requisition, until their bacon was so buttered that it was impossible to + save it. Nothing was considered brilliant but the <i>last</i> scene. Dutch + metal was in the ascendant. It was no longer even painting, it was + upholstery. Mrs. Charles Mathews herself informed me that she had paid + between £60 and £70 for gold tissue for the dresses of the + Supernumeraries alone." I wonder what Mrs. Mathews would say if she + could now visit this terrestrial sphere of ours? +</p> +<p> + All this love of spectacular display soon began to supersede the good + old-fashioned Christmas Pantomimes. +</p> +<p> + In his work, "Behind the Scenes," Mr. Fitzgerald very graphically + describes the Transformation scene of later days, and now becoming + nearly as obsolete as the Harlequinade. All will recall in some + elaborate transformation scene how quietly and gradually it is evoked. + First the gauzes lift slowly one behind the other—perhaps the most + pleasing of all scenic effects—giving glimpses of the Realms of Bliss + seen beyond in a tantalising fashion. Then is revealed a kind of half + glorified country, clouds and banks evidently concealing much. Always a + sort of pathetic, and, at the same time, exultant strain rises, and is + repeated as the changes go on; now we hear the faint tinkle—signal to + those aloft on the "bridges" to open more glories. Now some of the banks + begin to part slowly, showing realms of light with a few divine + beings—fairies—rising slowly here and there. More breaks beyond, and + more fairies rising with a pyramid of these ladies beginning to mount + slowly in the centre. Thus it goes on, the lights streaming on full in + every colour and from every quarter in the richest effulgence. In some + of the more daring efforts the <i>femmes suspendues</i> seem to float in the + air or rest on the frail support of sprays or branches of trees. While, + finally, at the back of all the most glorious paradise of all will open, + revealing the pure empyrean itself, and some fair spirit aloft in a + cloud among the stars; the apex of all. Then all motion ceases; the work + is complete; the fumes of crimson, red, and blue fire begin to rise at + the wings; the music bursts into a crash of exultation; and, possibly to + the general disenchantment, a burly man, in a black frock coat, steps + out from the side and bows awkwardly. Then, to a shrill whistle, the + first scene of the Harlequinade closes in, and shuts out the brilliant + vision. +</p> +<a name="2HCH0018"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XVIII. +</h2> +<h3 style="text-align: center"> + Pantomimic Families—Giuseppe Grimaldi—James Byrne, the Harlequin and + Inventor of the modern Harlequin's dress—Joseph Grimaldi, Junior—The + Bologna Family—Tom Ellar—The Ridgways—The Bradburys—The + Montgomerys—-The Paynes—The Marshalls—Charles and Richard + Stilt—Richard Flexmore—Tom Gray—The Paulos—Dubois—Arthur and + Charles Leclerq—"Jimmy" Barnes—Famous Pantaloons—Miss Farren—Mrs. + Siddons—Columbines—Notable Actors in Pantomime. +</h3> +<p> + In the histrionic profession the genius of hereditary is shown over and + over again; and no more so than in Pantomimic families. For, if blessed + with a numerous progeny, the sons became—the eldest, of course, could + only, as the place of honour, be Clown—the others, Harlequins, + Pantaloons; the daughters, Columbines; and, perhaps, Harlequinas. +</p> +<p> + In the last chapter but one I have referred to Grimaldi's father, + Giuseppe Grimaldi, "Iron Legs," and now let us recall something more of + the sire of so worthy a son. +</p> +<p> + As a dancer—as his father was before him—and Pantomimist, Giuseppe + Grimaldi, before coming to England, had appeared at the fairs of France + and Italy. In 1758 Giuseppe made his first appearance on the stage of + Drury Lane, under Garrick's management, in a new Pantomime dance, + entitled, "The Millers." +</p> +<p> + For some thirty years afterwards the Signor continued to be a member of + the Drury Lane <i>corps de ballet</i>, and appearing as Clown, Harlequin, and + Pantaloon. +</p> +<p> + In 1764, Giuseppe played Harlequin in a Clown-less Pantomime at Sadler's + Wells, and in the Drury Lane Pantomime of the same year, though there + were Harlequin, Pantaloon, and Columbine in it, there was no Clown. + Drury Lane was then only open in the winter, and Sadler's Wells in the + summer months. +</p> +<p> + A notable Harlequin was Mr. James Byrne, the ballet-master. "Mr. Byrne," + says Grimaldi, in his "Memoirs," "was the best Harlequin on the boards, + and never has been excelled, or even equalled, since that period." +</p> +<p> + Mr. Byrne came of a well-known dancing family, and to him we owe the + introduction of the tight-fitting dress worn by Harlequin. Until the + production of the Pantomime of "Harlequin Amulet, or the Magic of Mona," + at Drury Lane Theatre, written by Mr. Powell, produced at Christmas, + 1799, by Mr. Byrne, and which ran until Easter, 1800—it had been the + loose jacket and trousers of the ancient Mimes. It had also been + considered indispensable that Harlequin should be continually + attitudinising in the five different positions of Admiration, + Flirtation, Thought, Defiance, and Determination; and continually + passing from one to the other without pausing. Byrne, for newer + attitudes, abolished these postures, but long afterwards the old form of + posing was, and is still, retained by the exponents of Harlequin. +</p> +<p> + In this Pantomime, Byrne, as Harlequin, appeared in a white silk + close-fitting shape, fitting without a wrinkle, and into which the + variegated colours of time-honoured memory were woven, and covered with + spangles, presenting a very bright appearance. +</p> +<p> + Mr. Byrne, also gave the character of Harlequin an entirely new reading. + The colours of Harlequin's dress had every one a significance, as + follows:—Red, temper; blue, love; yellow, jealousy; brown or mauve, + constancy. When Harlequin wore his mask down he was supposed to be + invisible. On his mask he had two bumps, denoting knowledge on the one + hand, and thought on the other, whilst in his cap he wore a hare's foot, + and a worked device on his shoes, indicating flight and speed. Can we + not from the bumps of knowledge and the hare's foot trace the + characteristics of the god Mercury, which, as previously stated, was the + prototype of Harlequin. With the bat, or magic sword, the gift from the + fairies to him, Harlequin was supposed to be invulnerable, and if he + lost his sword he would fall into the power of the Clown. +</p> +<p> + Byrne's innovation was not resisted, and it was well received, and ever + since this memorable occasion, the character of Harlequin has, for the + most part, been dressed as Byrne dressed it. The significance of the + present-day variegated colours of Harlequin's costume are somewhat + different to the above, and denote: red, fire; blue, water; yellow, air; + and black, earth. These—the four elements—are typical of the regions + governed by Mercury. +</p> +<p> + Mr. Byrne was at Drury Lane in the time of Garrick. He died December + 4th, 1845, in the eighty-ninth year of his age. Mrs. Byrne, who was also + a dancer, pre-deceasing her husband by a few months in her + seventy-fourth year. +</p> +<p> + Joseph Grimaldi, son of "Old Joe," made, at twelve years of age, his + first appearance at Sadler's Wells in 1814, playing Man Friday to his + father's Robinson Crusoe. For several years both father and son played + together in various Pantomimes; and it was thought that before young Joe + there was a brilliant future. This, however, was soon dissipated, as he + embarked upon vicious courses, and through a blow on the head received + in some brawl "He became a wild and furious savage; he was frequently + attacked with dreadful fits of epilepsy, and continually committed + actions which nothing but insanity could prompt. In 1828 he had a + decided attack of insanity, and was confined in a strait waistcoat in + his father's house for some time." +</p> +<p> + From engagements at Drury Lane, Sadler's Wells, the Pavilion and the + Surrey Theatre in turn, he was dismissed, finally "Falling into the + lowest state of wretchedness and poverty. His dress had fallen to rags, + his feet were thrust into two worn-out slippers, his face was pale with + disease, and squalid with dirt and want, and he was steeped in + degradation." This unhappy life came to a final close in a public-house + in Pitt Street, off the Tottenham Court Road. +</p> +<p> + Signor Pietro Bologna, a country-man and friend of Giuseppe Grimaldi, + Joe Grimaldi's father, brought with him from Genoa his wife, two sons + and a daughter. They were all Mimes, and, in a Pantomime produced in + 1795, entitled, "The Magic Feast," Signor Bologna was Clown, and his + son, "Jack" Bologna, was Harlequin; the latter being also Harlequin to + Grimaldi's Clown, both at Covent Garden and Sadler's Wells. "Jack" + Bologna married a sister of Mary Bristow, Joe Grimaldi's second wife, + and the mother of poor young Joe. +</p> +<p> + Tom Ellar was another famous Harlequin, first making his appearance at + the Royalty, Goodman's Fields, in 1808. For several seasons he played + Harlequin at Covent Garden. +</p> +<p> + Many years ago penny portraits of Mr. Ellar "In his favourite character + of Harlequin," were published by a Mr. Skelt, or a Mr. Park, of Long + Lane, Smithfield, and were the delight of those, who, if living now, are + old and gray. +</p> +<p> + Tom Ellar died April 8, 1842, aged 62. Previous to his death he must + have fallen upon evil days, as Thackeray, in 1840, wrote: "Tom, who + comes bounding home from school, has the doctor's account in his trunk, + and his father goes to sleep at the Pantomime to which he takes him. + <i>Pater infelix</i>, you too, have laughed at Clown, and the magic wand of + spangled Harlequin: what delightful enchantment did it wave round you in + the golden days 'when George the Third was King?' But our Clown lies in + his grave; and our Harlequin Ellar, prince of many of our enchanted + islands, was he not at Bow Street the other day, in his dirty, faded, + tattered motley—seized as a law breaker for acting at a penny theatre, + after having well nigh starved in the streets, where nobody would listen + to his old guitar? No one gave a shilling to bless him: not one of us + who owe him so much!" +</p> +<p> + Another Pantomime family were the Ridgways. Tom Ridgway was Clown under + Madame Vestris's management at Covent Garden. +</p> +<p> + There have been several Bradburys since the time of Grimaldi's great + rival, Robert Bradbury, died July 21, 1831, who wore on his person nine + strong "pads," in order to go through some extraordinary feats. +</p> +<p> + The Montgomerys; the Paynes, Harry and Fred; nor should the name of "Old + Billy" Payne be omitted. "Billy" Payne it was, it will be remembered, + who, in 1833, helped, from the stage of Covent Garden, the dying Edmund + Kean. +</p> +<p> + Then there were the Marshalls, Harry and Joseph; Charles and Richard + Stilt; and a very original and amusing Clown, Richard Flexmore, died + August 20, 1860, aged 36. Tom Gray, a famous Clown of Covent Garden, + died January 28th, 1768, aged upwards of 100 years; the Paulo family of + Pantomimists; Dubois, Arthur and Charles Leclerq, Walter Hilyard, and + many, many others. +</p> +<p> + In the 'twenties and 'thirties a popular and famous Pantaloon was + "Jimmy" Barnes, died September 28th, 1838. Barnes, in the summer of + 1830, was engaged to play in an English company at Paris, but they had + hardly commenced to perform when the Revolution of July broke out. Some + years afterwards Barnes published in "Bentley's Miscellany," from his + old original M.S., an amusing and illustrated account of his wanderings. +</p> +<p> + Amongst other Pantaloons there have been—Thomas Blanchard, died August + 20, 1859, aged 72; William Lynch, died June 29, 1861, aged 78; R. + Norman, died September 16, 1858, aged 70; George Tanner, died February + 8, 1870; and Paulo, a member of Mr. Charles Kean's Company at the + Princess's Theatre, had as Pantaloon appeared in many Pantomimes. It is + a notable fact that a good number of our Mimes were long-livers. +</p> +<p> + Long before Miss Farren, afterwards Countess of Derby (died April 21, + 1829), first charmed a London audience, we hear of her in 1772 at + Wakefield in one of her first parts—if not her first—that of + Columbine. She could both sing well and dance gracefully. One of the + earliest "parts" that even the great Mrs. Siddons (that afterwards was), + when a young girl, played, was in connection with Pantomime, as Combes + remembered to have seen her "Standing by the side of her father's stage, + and knocking a pair of snuffers against a candle-stick to imitate the + sound of a wind-mill, during the representation of some Harlequinade." +</p> +<p> + In days gone by Madame Leclerq, Carlotta Leclerq, Charles Kean's + Columbine in the seasons of 1850-1-2, E. Dennett, Emma Boleno, died + October 18th, 1867, aged 35; Marie Charles, who died from an accident by + fire, Pavilion Theatre, January 21, 1864, and others have won + considerable fame in the part of Columbine. +</p> +<p> + Amongst those who have played Harlequin in days gone by, have been the + elder Kean, and the well-known actor, Mr. Wilson Barrett, who, early in + his career, played this part for an extra two shillings and sixpence + "thrown in," to augment his then weekly salary of seventeen shillings + and sixpence; whilst Sir Henry Irving tells us that he also has appeared + in Pantomime, in the character of a wicked fairy, named Venoma, in days + since past, for a small monetary emolument. +</p> +<a name="2HCH0019"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XIX. +</h2> +<h3 style="text-align: center"> + Popular Pantomime subjects—Poor Pantomime Librettos—Pantomime subjects + of our progenitors—The various versions of "Aladdin"—"The Babes in the + Wood"—"Blue Beard"—"Beauty and the Beast"—"Cinderella"—"Dick + Whittington"—"The House that Jack Built"—"Jack the Giant + Killer"—"Jack and the Beanstalk"—"Red Riding Hood"—"The Sleeping + Beauty in the Wood"—Unlucky subjects—"Ali Baba and the Forty + Thieves"—"The Fair One with Golden Locks"—The source of "Sindbad the + Sailor" and "Robinson Crusoe." +</h3> +<p> + It may be of interest in this History of Pantomime to note the origin of + some of our most popular present day Pantomime subjects, besides showing + many of our present day Pantomime libretto writers that in such + well-known themes as "Aladdin," "Cinderella," and others, there is no + need to cast their stories pretty much in the same groove, year after + year, when by drawing on the fairy-lore of the East much that is new and + original, for present-day English Pantomimes, is waiting the attention + of their skill and ingenuity. +</p> +<p> + Though the stories of popular English Pantomimes are practically the + same each year (why I do not know), yet, not content with this, in many + of our large cities and towns we frequently see the same Pantomime title + not only "billed" at one theatre, but perhaps at several others. This + clashing and clashing year after year with one another's titles (I say + nothing about the "plots," as these, in many instances, only consist of + a half-penny worth of author to an intolerable deal of music-hall gag), + cannot but, I have long been of opinion, adversely affect the box-office + receipts, unless, of course, the Pantomime-goer makes a point of "doing + the round," so to speak, which, however, is not generally the case. +</p> +<p> + As Pantomime writers in the early days there were Thomas Dibdin, son of + Charles Dibdin, the writer of nautical ballads, Pocock and Sheridan. + Dibdin was one of the best of Pantomime librettists, and from the years + 1771 to 1841 his prolific pen, as a writer of Pantomimes, was never + idle, as from it came some thirty-three Pantomimes, and all successes. + Amongst other literary luminaries, in after years, as writers of + Pantomime Extravaganzas, there were J.R. Planché, E.L. Blanchard, W. + Brough, Mark Lemon, H.J. Byron, Wilton Jones, and John Francis McArdle. +</p> +<p> + History always repeats itself we know, and poor Pantomime books were not + unknown as far back as half a century ago, as the subjoined parody on + the "Burial of Sir John Moore," by the late Albert Smith plainly + shows:— +</p> +<pre> Not a laugh was heard, not a topical joke, + As its corse to oblivion we hurried; + Not a paper a word in its favour spoke + On the Pantomime going to be buried. + + We buried it after the Boxing Night, + The folks from the galleries turning; + For 'twas plain it would scarcely pay for the light + Of the star in the last act burning. + + No useless play-bill put forth a puff, + How splendid the public had found it, + But it lay like a piece that had been called "stuff," + With a very wet blanket around it. +</pre> +<p> + After this digression for one brief moment more, let us take a passing + glance at some of the Pantomime subjects which our progenitors delighted + in. They had not the continual ringing of the changes on half-a-dozen + Pantomime subjects, as we have at present, but revelled in such + attractions as "Harlequin Don Quixote," "The Triumph of Mirth, or + Harlequin's Wedding," "The Enchanted Wood or Harlequin's Vagaries," + "Hurly Burly, or the Fairy of the Wells," "Blue Beard, Black Beard, and + Grey Beard," and many others. However, to return. +</p> +<p> + Of the Pantomime subjects, whose origin we are going to enquire into, + let us first commence with "Aladdin." +</p> +<p> + According to the many versions of this popular story in Europe and Asia, + it would seem that its origin originally was of Buddhist extraction. In + our common English version of "Aladdin," in "The Arabian Nights," which + was taken from Galland's French version, it is doubtless an Eastern + picture. It does not occur, however, in any known Arabian text (says + Mr. Clouston, in "Popular Tales," and to whose work I am indebted for + much of the information for this chapter) of "The Thousand and One + Nights" (<i>Elf Laila wa Laila</i>), although the chief incidents are found + in many Asiatic fictions, and it had become orally current in Greece and + Italy before it was published by Galland. A popular Italian version, + which presents a close analogy to the familiar story of "Aladdin" + (properly "<i>Alá-u-d-Din</i>," signifying "Exaltation of the Faith") is + given by Miss M.H. Busk, in her "Folklore of Rome," under the title of + "How Cajusse was married." +</p> +<p> + A good natured looking old man one day knocks at the door of a poor + tailor out of work; his son, opening the door, is told by the old man + that he is his uncle, and he gives him half a piastre to buy a good + dinner. When the tailor comes home—he was absent at the time—he is + surprised to hear the old man claim him as a brother, but finding him so + rich he does not dispute the matter. After the old man had lived some + time with the tailor and his family, literally defraying all the + household expenses, he finds it necessary to depart, and with the + tailor's consent takes the boy Cajusse with him, in order that he may + learn some useful business. But no sooner do they get outside the town + than he tells Cajusse that it is all a dodge. "I'm not your uncle," he + says, "I want a strong, daring boy to do something I am too old to do. + I'm a wizard—don't attempt to escape for you can't." Cajusse, not a bit + frightened, asks him what it is he wants him to do; and the wizard + raises a flat stone from the ground, and orders him to go down, and + after he gets to the bottom of the cave to proceed until he comes to a + beautiful garden, where he will see a fierce dog keeping watch. "Here's + bread for him. Don't look back when you hear sounds behind you. On a + shelf you will see an old lantern; take it down, and bring it to me." So + saying the wizard gave Cajusse a ring, in case anything awkward should + happen to him after he had got the lantern, when he had only to rub the + ring, and wish for deliverance. Cajusse finds precious stones hanging + like frost from the trees in the garden underground, and he fills his + pocket with them. Returning to the entrance of the cave, he refuses to + give up the lantern till he has been drawn out; so the wizard thinking + merely to frighten him replaces the stone. Cajusse finding himself thus + entrapped rubs the ring, when instantly the Slave of the Ring appears, + and the youth at once orders the table to be laid for dinner. He then + calls for his mother and father, and they all have an unusually good + meal. Some time afterwards, Cajusse had returned home, the town was + illuminated, one day in honour of the marriage of the Sultan's daughter + to the Vizier's son. He sends his mother to the palace with a basket of + jewels, and, to demand the Sultan's daughter in marriage. The Sultan is + astounded at the purity of the gems, and says he will give his answer in + a month. At the end of the same week the Grand Vizier's son is married + to the Princess. Cajusse rubs his lantern and says "Go to-night and take + the daughter of the Sultan and lay her on a poor pallet in our + outhouse." This is done, and Cajusse begins to talk to her, but she is + far too frightened to answer. The Sultan learns of his daughter's + whereabouts, and does not know what to make of the strange business. The + son of the Vizier complains to his father that his wife disappears every + night, and comes back just before dawn. Cajusse now sends his mother to + the Sultan with three more baskets full of jewels, and the Sultan tells + her he may come and see him at the palace. Having received this message, + Cajusse rubs the lantern, gets a dress of gold and silver, a richly + caparisoned horse, four pages with rich dresses to ride behind them, and + one to go before, distributing money to the people. Cajusse is next + married to the Princess, and they live together in a most magnificent + palace with great happiness. By-and-bye the old wizard hears of this, + and resolves to obtain the lantern by hook or by crook. Disguising + himself as a pedlar he comes to the palace calling out the familiar "New + lamps for old." By this means he obtains the precious lamp, and + immediately transports the palace and the princess to an island in the + high seas. Cajusse, by the aid of the magic ring, quickly follows, to + find his princess a prisoner in the power of the wizard. He then gives + her this advice: "Make a feast to-night; say you'll marry the old wizard + if he'll tell you what thing would be fatal to him, and you will guard + him against it." The princess gets from the magician the fatal secret. + "One must go into a far distant forest," he says "Where there is a beast + called the hydra, and cut off his seven heads. If the middle head is + split open a leveret will jump out and run off. If the leveret is split + open, a bird will fly out. If the bird is caught and opened, in its body + is a precious stone, and should that be placed under my pillow I shall + die." Cajusse accomplishes all these things, and gives the life-stone to + the princess, together with a bottle of opium. The princess drugs the + wizard's wine, and when he had laid his head on his pillow (under which + was the stone) he gave three terrible yells, turned himself round three + times, and was dead. After thus ridding themselves of their enemy, + Cajusse and his bride lived happy ever afterwards. +</p> +<p> + Aladdin's adventure with the magician in the enchanted cave has also its + counterpart in Germany (see Grimms' German Collection). +</p> +<p> + Another "Aladdin" version is the tale of Marúf, the last in the Búlák + and Calcutta printed Arabic texts of the "Book of Marúf" in "The + Thousand and One Nights." The story is to the effect that Marúf had + given out that he was a rich man, under which false pretence he marries + the Sultan's daughter. The tale he spread about was that he was + expecting the arrival of a rich caravan, which contained all his + princely wealth. After they were married, Marúf confesses to his wife + the imposture he has practised on them. She urges him to fly, or his + head would be forfeited, and procures him a disguise to flee the + country. He does so, and, whilst journeying through a village, he sees a + man ploughing in a field, whom he asks for food. Whilst the latter is + away, Marúf continues the ploughing, where the man had left off, and + the ploughshare strikes against something hard in the ground, which + turns out to be an iron ring in a marble slab. He pulls at the ring, and + Marúf discovers a small room covered with gold, emeralds, rubies, and + other precious stones. He also discovers a coffer of crystal, having a + little box, containing a diamond in its entirety. Desirous of knowing + what the box further contains, he finds a plain gold ring, with strange + talismanic characters engraved thereon. Placing the ring on his finger, + he is suddenly confronted by the Genii of the Ring, who demands to know + what are his commands. Marúf desires the Genii to transport all the + treasure to the earth, when mules and servants appear, and carry it to + the city which Marúf had left, much to the chagrin of the Vizier, who + did not like Marúf. Marúf, during a great feast prepared for the + occasion, tells the Sultan how he became possessed of the treasure, when + the Sultan begs the loan of the ring, which Marúf hands to the Vizier to + give him, and which no sooner does he get, than he commands the Genii to + convey Marúf to some desert island, and leave him to die. The Vizier + also serves the Sultan the same way, and then he turns his attention to + "Mrs. Marúf," whom he threatens with death if she refuses to marry him. + At a banquet she makes the Vizier drunk, obtains possession of the ring, + secures the return of Marúf and the Sultan, and the decapitation of the + Vizier. +</p> +<p> + The "Babes in the Wood" was registered on the books of Stationers' Hall + as a ballad as far back as 1595. +</p> +<p> + To take another familiar Pantomime subject, "Blue Beard," this story is + said to have been invented as a satire on our King Henry VIII. There is + little doubt, however, of it originating from a very ancient source; and + to afford the reader all the possible information on the subject, a + writer in "The Drama," a magazine of the beginning of the last century + has the following, though he does not state his authority for the + information:— +</p> +<p> + As this extraordinary personage has long been the theme, not only of + children's early study and terror, it will be gratifying to peruse the + character of that being who really existed, and who was distinguished in + horror and derision by the strange appellation of "Blue Beard." +</p> +<p> + He was the famous Gilles, Marquis de Laval, a Mareschal of France, and a + General of uncommon intrepidity, who greatly distinguished himself in + the reigns of Charles VI. and VII., by his courage, particularly against + the English, when they invaded France. He rendered such services to his + country, which were sufficient to immortalize his name, had he not for + ever tarnished his glory by the most terrible and cruel murders, + blasphemies, and licentiousness of every kind. His revenues were + princely; but his prodigality was sufficient to render even an Emperor a + bankrupt. Wherever he went he had in his suite a seraglio, a band of + players, a company of musicians, a society of sorcerers and magicians, + an almost incredible number of cooks, packs of dogs of various kinds, + and above 200 led horses. Mezerai, an author of great repute, says, + that he encouraged and maintained men who called themselves sorcerers, + to discover hidden treasures, and corrupted young persons of both sexes + to attach themselves to him, and afterwards killed them for the sake of + their blood, which was requisite to form his charms and incantations. + These horrid excesses may be believed, when we reflect on the age of + ignorance and barbarism in which they were certainly too often + practised. He was at length, for a state crime against the Duke of + Brittany, sentenced to be burnt alive in a field at Nantz in 1440, but + the Duke, who was present at his execution, so far mitigated the + sentence, that he was first strangled, then burnt, and his ashes buried. + Though he was descended from one of the most illustrious families in + France, he declared, previous to his death, that all his terrible + excesses were owing to his wretched education. +</p> +<p> + "Blue Beard" was first dramatised at Paris, in 1746, when "<i>Barbe Bleu</i>" + was thus announced:—<i>Pantomime</i>—<i>representée par la troupe des + Comediens Pantomimes, Foir St. Laurent</i>. It was afterwards dramatised at + the Earl of Barrymore's Theatre, Wargrave, Berks., and in 1791. After + that the subject was produced at Covent Garden Theatre as a Pantomime. +</p> +<p> + "Beauty and the Beast," the latter a white bear, is to be found in + "Popular Tales from the Norse," by Mr. Dasent, and in the collection of + "Popular Tales from the German" by the Brothers Grimm. As a ballad the + story of "Beauty and the Beast" is a very old one. +</p> +<p> + "Cinderella" is to be found in the language of every European country. + In ancient Hindu legends it appears; in tales related by the Greek poets + it is also to be found. +</p> +<p> + The story of "Cinderella," according to the ancient Hindu legends, is + that of the Sun and the Dawn. Cinderella has been likened to Aurora, the + Spirit of the Dawn, and the fairy Prince of the legend is the morning + Sun, ever closely pursuing her to make her his bride. The Hindu legend + of the lost slipper is that a wealthy Rajah's beautiful daughter was + born with a golden necklace, which contained her soul, and, if the + necklace was taken off and worn by someone else, the Princess would die. + The Rajah gave her on her birthday a pair of slippers with ornaments of + gold and gems upon them. The princess went out upon a mountain to gather + flowers, and whilst stooping there to pluck the flowers, one of her + slippers fell into the forest below. A Prince, who was hunting, picked + up the slipper, and was so charmed with it that he said he would make + the wearer his wife. He made his wish known, but no one came to claim + the slipper; at length word was given to the Prince where to find the + Rajah's daughter; and shortly afterwards they were married. One of the + wives of the Prince, being jealous of the Rajah's daughter, stole the + necklace, put it on her own neck, and then the Rajah's daughter died. + The Prince, afterwards, found out the secret of the necklace, and got it + back again, and put it on his dead wife's neck, and she came to life, + and they lived ever afterwards in the greatest harmony. +</p> +<p> + The ancient Grecian version of "Cinderella" is that of the story of a + beautiful woman named Rhodope, who, whilst bathing, an eagle flew away + with one of her slippers to Egypt, and dropped it in the lap of the King + as he sat at Memphis on the judgment seat. The King was so attracted by + the smallness and beauty of the slipper that he fell in love with the + wearer, and afterwards made her his wife. +</p> +<p> + In Tuscany, Persia, Norway, Denmark, Russia, the story of "Dick + Whittington" is well known. In all probability, like many other fairy + tales, its origin was from a Buddhist source. The English version, that + the Lord Mayor Whittington was the poor ill-used boy he is represented + to have been in the popular tale seems quite impossible, since according + to Stow (mentions Mr. Clouston) he was the son of Sir Richard + Whittington, Knight. The story was current in Europe in the thirteenth + century. In the chronicle of Albert, Abbot of the Convent of St. Mary of + Slade, written at that period, it is related that there were two + citizens of Venice, one of whom was rich, the other poor. It fortuned + that the rich man went abroad to trade, and the poor man gave him as his + venture two cats, the sale of which, as in our tale of the renowned + "Dick Whittington," procured him great wealth. +</p> +<p> + On September 21st, 1668, Pepys makes mention in his diary of going to + Southwark Fair, and of seeing the puppet show of "Whittington," which he + says "was pretty to see." A Pantomime on the subject was also given by + Rich early in the eighteenth century. +</p> +<p> + In Tuscany, the "Dick Whittington" story runs that in the fifteenth + century, a Genoese merchant, who presented two cats to the King, was + rewarded by him with rich presents. +</p> +<p> + In Norway, a poor boy, having found a box full of silver money under a + stone, emptied the box and its contents into a lake—one piece, however, + floated, which he kept, believing it to be <i>good</i>. His mother, hearing + of this, thrust him out of doors; and he eventually obtained employment + in a merchant's house. The merchant, having to make a voyage to foreign + parts, he asked each of his servants what he should "venture" for him. + The poor boy offered all he had, the silver penny, of which he was still + the possessor. With this the merchant purchased a cat, and sailed away, + but the vessel in which he was in was driven out of her course on to the + shores of a strange country. The merchant going ashore went to an inn, + and, in a room, he saw the table laid for dinner, with a long rod for + each man who sat at it. When the meat was set on the table, out swarmed + thousands of mice, and each one who sat at the table beat them off with + his rod. The cat was brought into service, and sold for a hundred + dollars, and soon put an end to the career of the mice. When the + merchant had weighed anchor, much to his surprise, he saw the cat + sitting at the mast head. Again foul weather came on, and again the + vessel was driven to another strange country, where the mice were just + as numerous as before. The cat was called in, sold this time for two + hundred dollars, and away the merchant sailed. No sooner, however, was + he at sea, than the cat once more appeared before him. The vessel was + again driven out of her course to another strange country, over-run with + rats this time, when poor pussy was sold a third time, for the sum of + three hundred dollars. Again the cat made its appearance; and the + merchant thinking to do the poor boy out of his money, a dreadful storm + arose, which only subsided on the merchant making a vow that the boy + should have every penny. When he arrived home the merchant faithfully + kept his promise, gave the boy the six hundred dollars, and the hand of + his daughter besides. +</p> +<p> + A Breton legend of the story of "Dick Whittington" runs that three sons + go to seek their fortune, the eldest of whom, Yvon, possesses a cat. The + cat again plays an important part. Yvon becomes the friend of the Lord + of the Manor, and has gold and diamonds bestowed upon him in galore. +</p> +<p> + The Russian version is that a poor little orphan boy buys a cat, which + some mischievous boys were teasing, for three copecks (about a penny). + Taken into the service of a merchant the latter goes to a distant + country, accompanied by the cat of the orphan boy. Puss making sad work + of some rats, which threatened to make an end of the merchant in the + inn, which he occupied. He ultimately sold the cat to the landlord for a + sack full of gold. Returning home, on his way thither, he thought how + foolish it would be to give all the money to the boy. Whereupon a + dreadful storm arose, and the vessel, in which was the merchant, was in + danger of sinking. The merchant, knowing that the storm had arisen + through his change of purpose, prayed to heaven for forgiveness, when + the sea became calm, and the vessel arrived safely in port, when the + merchant paid over to the orphan boy all the wealth obtained by the sale + of the cat. +</p> +<p> + In the Persian version, unlike the other legends, the cat is owned by a + poor widow, who had been impoverished through her sons, and was left + with only a cat. The sale of the cat produces great wealth; and the + widow, Kayser, immediately sends for her sons to share her + newly-acquired fortune. What follows is different to the other versions + of these wonderful cat stories. The sons only too eager to share the + wealth of their mother, fit out many vessels, and begin to trade largely + with India and Arabia. Thinking that to acquire wealth by commerce + alone, rather slow work, they turned pirates, and were a source of + trouble and annoyance to the neighbouring states, till about 1230 A.D., + when they were reduced to vassalage under Persian rule. +</p> +<p> + "The House that Jack Built" has its prototype in a sacred hymn in the + Talmud of the Hebrews. +</p> +<p> + "Jack, the Giant Killer" and "Jack and the Beanstalk" are two very + ancient themes coming from the North, of the time, it is said, of King + Arthur, and of the days when "Giants were upon the earth." The + well-known cry of the giants in these legends— +</p> +<pre> "Fe, Fi, Fo, Fum, + I smell the blood of an Englishman; + Be he alive or be he dead, + I'll grind his bones to make my bread," +</pre> +<p> + is also referred to by Shakespeare in "King Lear," in Act III., Scene 5, + when Edgar sings:— +</p> +<pre> "Child Rowland to the dark Tower came; + His word was still, fee, foh, and fum, + I smell the blood of an Englishman." +</pre> +<p> + The English version of the story of "Jack the Giant Killer," must, + therefore, be older than the time of Elizabeth. It is also a strange and + significant fact that amongst the Zulus, and the inhabitants of the Fiji + Islands, there are similar legends of the story of "Jack and the + Beanstalk." +</p> +<p> + The story of "Jack and the Beanstalk" is also to be found in old Hindoo + tales, in which the beans denote abundance. The Russians have a story in + which a bean falls to the ground, and an old man, the Sun, climbs up by + it to heaven. "The ogre in the land above the skies," observes Mr. + Baring Gould, "who was once the all-father, possessed three treasures—a + harp, which played of itself enchanting music; bags of gold and + diamonds; and a hen which daily laid a golden egg. The harp is the + wind, the bags of gold are the clouds dropping the sparkling rain, and + the golden egg laid every day by the red hen is the producing sun." The + same idea in "Jack and the Beanstalk" occurs in the fairy legends of the + North and the East, as well as in Grecian stories. +</p> +<p> + In "Jack the Giant Killer," the gifts given to Jack are found in Tartar, + Hindoo, Scandinavian, and German legends. +</p> +<p> + Now let us note briefly the origin of "Red Riding Hood" and "The + Sleeping Beauty in the Wood." All the other fairy stories that we know + of are to be found in other countries, and springing originally from + Asia, where they were made ages and ages ago. +</p> +<p> + The Wolf in the story of "Red Riding Hood" has been likened to the days + of our own "Bluff King Hal," owing to the latter's suppression of the + monasteries, and Red Riding Hood herself, whom the Wolf subsequently + eats, with her hood and habit, was supposed to be typical of the + monastic orders. +</p> +<p> + The Hindoo's version of the "Red Riding Hood" story is a pretty and + fanciful one. Their idea was that there was always a great Dragon + endeavouring to devour Indra, the Sun god, and to prevent the Sun from + shining upon the earth, Indra ultimately overcomes the Dragon. Red + Riding Hood, with her warm habit, is supposed to be the setting sun + casting its red and glittering rays as it sinks to rest. The old + Grandmother is Mother Earth; and the Wolf, the Dragon; and when all is + dark and still, the Wolf swallows the Grandmother, namely, the Earth; + and afterwards, as Night has fallen, the Evening Sun. The Huntsman + denotes the Morning Sun, and he chases away all the dark clouds gathered + during the night, and by doing so kills the Wolf; recovers the old + Grandmother Earth, and brings to life again, Little Red Riding Hood. + Another version (observes Mr. T. Bunce) is that the Wolf is the dark, + and dreary winter, that kills the Earth with frost, but when spring + comes again it brings the Earth and the Sun back to life. +</p> +<p> + In "The Sleeping Beauty in the Wood," the maiden has been likened to the + Morning dawn, and the young Prince, who awakens her, with a kiss, to the + Sun. +</p> +<p> + "Ali Baba and the Forty Thieves," in concluding this chapter, I may say, + with "The Fair One with Golden Locks," forms to the superstitious the + only two unlucky Pantomime subjects. +</p> +<p> + "Sindbad, the Sailor," taken from the "Arabian Nights," has its origin + in Persian and Arabian tales. +</p> +<p> + Of all our Pantomime subjects, "Robinson Crusoe," seems to be the only + one we can properly lay claim to as being "of our own make," so to + speak, and written by Daniel De Foe, and, in the main, from the + imagination. De Foe, it has been stated, derived his idea for this + story from the adventures of one, Alexander Selkirk, a Scotchman, who + had been a castaway on the Island of Juan Fernandez. The first portion + of "Robinson Crusoe" appeared in "The Family Instructor," in 1719, of + which De Foe was the founder. It, at once, sprang into popularity, and + has left its author undying fame. De Foe was born about 1660 in the + parish of St. Giles, Cripplegate, died 26th April, 1731, and was buried + in Bunhill Fields. +</p> +<a name="2HCH0020"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XX. +</h2> +<h3> + Pantomime in America. +</h3> +<p> + Pantomime, in America, had not a very long run, it being killed by the + farcical comedy. Mr. E.L. Blanchard supposes that "Mother Goose" was the + first Pantomime played in America, but this is an error, as it was not + until 1786, when Garrick's "Harlequin's Invasion," and R. Pocock's + "Robinson Crusoe" were played at the John Street Theatre, New York, that + Pantomime made its advent in America. "Mother Goose" was afterwards + played, but it did not suit the Yankee's taste. Rich's Harlequin, Gay of + "The Beggars Opera," produced at Lincoln's Inn Fields Theatre, and which + it is said made "Rich Gay, and Gay Rich," also went to America, and + where, it is said, he became the Chief of an Indian tribe in the Far + West. In the South Sea Bubble Gay held some £20,000. His friends advised + him to sell, but he dreamed of greatness and splendour, and refused + their counsel. Ultimately, both the profit and the principal was lost, + and Gay sunk under the calamity so low that his life became in danger. +</p> +<p> + American Pantomimes consisted of a semi-pastoral "opening," performed + almost entirely in dumb show, and a big trick Harlequinade, and down to + the time of Pantomime's decease in America was it played like this. +</p> +<p> + George L. Fox made Pantomime highly popular in America. Born in May of + 1825, he, as an actor and comedian in Yankee and Irish parts, held his + own in popularity with the great Joseph Jefferson. +</p> +<p> + Fox might be properly termed "The Grimaldi of America," as he was the + representative Clown of the land of the stars and stripes. His Clown's + parts he dressed like Grimaldi, and with the whitened face and bald head + of Pierrot, the French type of Clown. +</p> +<p> + The year that "Mother Goose" came to New York saw the introduction of a + French troupe of Pantomimists, known as the Ravels. In imitation of + these performers Fox introduced in the 'fifties ballet Pantomimes, and + several Ravelsque pieces like "The Red Gnome" and "The Schoolmaster" + with good results. +</p> +<p> + In 1862 Fox was at the Bowery Theatre, and, during his occupation of the + same, he did much to popularise Pantomime. Half a dozen years afterwards + we find him at the Olympic Theatre, New York, where he produced "Humpty + Dumpty," which ran 483 nights, and for five years, till 1873, it held + its place, on and off, in the bill. Altogether it was played 943 times. + Fox, from this, was known as Humpty Dumpty, and, strangely enough, also, + the Americans for long enough afterwards called every Pantomime "Humpty + Dumpty." +</p> +<p> + Fox was a very good mimic, imitating all the Hamlets of the day, besides + being a good melodramatic actor. He died October 24th, 1877, at + Cambridge, Mass., of softening of the brain. +</p> +<p> + Tony Denier, a pupil of the Ravels, and a quondam friend of Fox, next + took Fox's place in the estimation of the American public. Of Denier, we + are told that he arrived in Boston in 1852, with the proverbial + half-crown in his pocket. He was of French extraction, and descended + from one of the best French families. In 1863 he was with P.T. Barnum, + and appearing as a one-legged dancer. In 1868, he went into Pantomime, + toured "Humpty Dumpty," and for some twenty years afterwards kept the + Pantomimic ball merrily rolling until his retirement at Chicago into + private life. Denier made Harlequinade tricks a speciality. +</p> +<p> + Pantomime in America may be said to have lived about a quarter of a + century; but in the autumn of this year (1901) Pantomime, as we now know + it in this country, made its first appearance at the Broadway Theatre, + New York, when last year's Drury Lane annual, "The Sleeping Beauty and + the Beast," was successfully presented. It is very probable that this + class of entertainment will become very popular in America. +</p> +<a name="2HCH0021"><!-- H2 anchor --></a> + +<div style="height: 4em;"><br><br><br><br></div> + +<h2> + CHAPTER XXI. +</h2> +<h3 style="text-align: center"> + Pantomimes made more attractive—The Restrictive Policy of the Patent + Houses—"Mother Goose" and "George Barnwell" at Covent Garden—Lively + Audiences—"Jane Shore"—"Harlequin Pat and Harlequin Bat"—"The first + speaking opening"—Extravagence in Extravaganzas—The doom of the old + form of Pantomime—Its revival in a new form—A piece of pure + Pantomime—Present day Mimetic Art—"<i>L'Enfant Prodigue</i>"—A + retrospect—The old with the new, and conclusion. +</h3> +<p> + Pantomimes, as they grew, were made more and more attractive, "new + scenery, decorations, and flyings" were introduced, and with new + "flyings," of course, more accidents. +</p> +<p> + The restrictive policy adopted by the Patent theatres—till the repeal + of their patents (1843)—towards the minor houses, which gave to the + former the sole and only right of performing the "legitimate" was, by + the minor theatres, infringed in many ways. The means adopted was the + employment of Pantomime in the depiction of plays adapted and considered + suitable for the minor theatres. These were entirely carried on by + action, and when the actor could not express something that had to be + explained, like the names of characters, a scroll, with the necessary + details inscribed thereon, was unrolled in full view of the audience. + These entertainments were very popular at the close of the eighteenth + century, and they were also the means of providing some first-class + Pantomimists—as, for instance, Bologna and D'Egville. +</p> +<p> + In a couple of volumes by Mr. J.C. Cross, entitled, "Circusiana," the + author of many of these old "dumb shows," the reader can see what they + were like. The scripts of these plays consisted, like our ancient + "Platts" and the Italian Scenarios, of principally stage directions. +</p> +<p> + John Palmer, the actor who died on the stage of the Theatre Royal, + Liverpool—now used for the purpose of a cold storage—after uttering, + in the part of "The Stranger," the words "There is another and a better + world," found that, after building his theatre, the Royalty, in + Wellclose Square, that he was prohibited its use, used to give + Pantomimic representations, and just in a similar way as what the minor + theatres did, as mentioned above. +</p> +<p> + It is amusing to note how the titles of some of Shakespeare's + works—which at one time the Patent theatres had the monopoly—were got + over; "Hamlet" has been known to have been played as "Methinks I see my + Father;" "Othello," as "Is He Jealous?;" "Romeo and Juliet," as "How to + Die for Love;" "The Merchant of Venice," under "Diamond Cut Diamond," + and so on. Music and dancing also were introduced <i>ad lib</i> into these + performances. +</p> +<p> + The Pantomime of "Mother Goose," produced at Covent Garden, December 29, + 1806, which ran 92 nights, was preceded by "George Barnwell," and + brought some £20,000 into the theatre treasury. Strangely enough, for + about thirty years, it was the unvarying rule to play "George Barnwell" + at this theatre on a Boxing Night, which, from all accounts, owing to + the liveliness of the gods and goddesses assembled on these + occasions—the Tragedy was as much a Pantomime as the Pantomime proper + that followed. Of these "merry moments" Dibdin recalls that Tragedies, + Comedies, and Operas were doomed to suffer all the complicated + combinations of "Pray ask that gentleman to sit down," "Take off your + hat?" and the like. "But the moment," continues Dibdin, "the curtain + goes up (on the Pantomime), if any unfortunate gentleman speaks a word + they make no reply, <i>but throw him over directly</i>." +</p> +<p> + Seemingly afterwards, at Pantomime time, "Barnwell" was discarded in + favour of "Jane Shore," as in "The Theatrical Magazine" we find a writer + penning the following:— +</p> +<p> + A few years since it was the established rule to play "George Barnwell," + by way, we suppose, of a "great moral lesson" to the apprentices of + London. In this age of innovation this venerable custom has been broken + down, but the principle seems not wholly to have been abandoned. "Jane + Shore" has supplanted "Barnwell," and the anxieties of the age, are, it + would appear, now directed towards the softer sex. Seriously speaking, + we consider these Christmas selections as exceedingly absurd. Visitants + at this period of the year frequent the theatre less for the purpose of + seeing the play than the Pantomime, and at both theatres it was this + evening their chief, and almost only, attraction; for the tragedy of + Rowe, which is of very little merit, derived but trifling interest or + effect from the performers who personated the prominent characters. + Moreover the lessons of the pulpit have unfortunately but too slight an + influence on those who attend them, and we are rather fearful the moral + benefits to be derived from these stage lectures, to the apprentices and + servants of the metropolis, do not countervail the loss of pleasure + sustained by those who would be so much better pleased; and, therefore, + perhaps, taught by a lively comedy, satirising some of the light vices + or laughable follies of the age. We trust this theatrical nuisance will + be for the future reformed; we can almost excuse the holiday folks for + being turbulent, when we reflect upon the insult offered to their + understandings, in the treatment they receive on these occasions. +</p> +<p> + In 1830, at Covent Garden Theatre, Peake introduced into the Pantomime + of "Harlequin Pat, and Harlequin Bat" a "speaking opening." Pantomime, + however, pursued the even tenour of its way until the production at the + Adelphi, about 1857, of a Pantomime, with a "burlesque opening," and + "the thin end of the wedge" was provided, written by Mark Lemon. In the + Harlequinade, Madame Celeste appeared as Harlequin <i>à la Watteau</i>, and + Miss Mary Keeley was the Columbine. These Extravaganzas, from the pen of + Planché, with scenery by Beverley, and all under the management of + Vestris, afterwards became quite the rage. +</p> +<p> + I have previously referred to the excellence of Beverley's scenes under + the <i>regime</i> of Madame Vestris. Extravagance in Extravaganzas, like "The + Blue Bird," "Once Upon a Time," and the like, caused the managers, in + the matter of scenery, to enter into serious competition with one + another. +</p> +<p> + Pantomime, it was thought, was doomed, as its decease at this epoch + seemed impending. It managed, however, to come again into popular + favour, but in a very different shape. Instead of the usual comic + Pantomime it was played by two different sets of performers, and having + no connection with one another. The opening scenes, like a soap bubble, + began to grow larger and larger, the double plot was abandoned, the + Transformation scene became the principal feature, and a long + Harlequinade at the <i>end</i>. +</p> +<p> + In the Pantomime of "Red Riding Hood," written by F.W. Green, and + produced at Her Majesty's Theatre, during the 'eighties, an effort was + made to compose and invent a piece of pure Pantomime. The Vokes family, + J.T. Powers, and others, appeared in this Pantomime. +</p> +<p> + In France and Italy particularly, the Mimetic Art still flourishes; but + in this country it is practically a lost Art. One of the best examples, + and most successful, we have had in recent years of this ancient form + of entertainment in this country was that of "<i>L'Enfant Prodigue</i>," + played by Mdlle. Jane May and a French Company of Pantomimists. There + are, however, several other very brilliant Pantomimists excellent in + their Art, like the Martinetti troupe, the two brothers Renad, and the + Leopolds. +</p> +<p> + "It is a pity (observes Dickens, in 'The Theatre') that the knowledge of + it (Pantomime) cannot be more extended among our modern actors and + actresses, so few of whom understand anything about the effectiveness of + appropriate gesture. A few lessons in the business of Harlequin would + teach many a young man, for instance, the simple lesson that arms may be + moved with advantage from the shoulder as well as from the elbow; and so + we should get rid of one of the awkwardest, ugliest, and commonest of + modern stage tricks. And there would be nothing derogatory in the study. + Many of our most distinguished actors have graduated in Pantomime." +</p> +<p> + Mr. Davenport Adams, writing in "The Theatre," for January, 1882, on the + decline of Pantomime, says:— +</p> +<p> + "We may say of present-day Pantomime that the trail of the music-hall is + over it all. I admit the extreme ability of certain music-hall + comedians. I object, however, altogether, to the intrusion of such + artists into the domain of Pantomime, and I do so because they, and + others not so able, bring with them, so to speak, an atmosphere which it + is sad to see imported into the theatre. They bring with them, not only + their songs, which, when offensive in their wording, are sometimes made + doubly dangerous by their tunefulness; not only their dances, which are + usually vulgar, when they are not inane, but their style and manner and + 'gags,' which are generally the most deplorable of all. The objection to + music-hall artists on the stage is, not only that they take the bread + out of the mouths of 'the profession,' which is a minor consideration + for the public, but that they have the effect of familiarising general + audiences, and children especially, with a style and a kind of singing, + dancing, and 'business' which, however it may be relished by a certain + class of the population, ought steadily to be confined to its original + habitat. The managers are, of course, very much to blame, for it is by + their permission, if not by their desire, that youthful ears are regaled + with 'W'st, w'st, w'st,' and similar elegant compositions. Such songs as + these would not be tolerated by <i>paterfamilias</i> in his drawing-room, + yet, when he takes his children to the Pantomime, they are the most + prominent portion of the entertainment." +</p> +<p> + In the last century, Pantomimes, in the form so dear to our forefathers, + sometimes twice yearly—at Easter and Christmas—were given. The comic + and other scenes were in that true sense of the word humorous and funny. + The reason was not far to seek, as they were all played by <i>actors</i>. The + music-hall had not, as far as Pantomime was concerned, made such inroads + as at the present time it has done into the dramatic profession. Clown, + to <i>pater</i> and <i>materfamilias</i>, and others, was a source of genuine + enjoyment; and though they may have passed the sere and yellow leaf of + age, the laughs and hearty merriment of their grand-children gathered + around them made them think of other days, when they were young + themselves. Picture them all, dear reader, sitting in the Family + Circle—now termed the Dress Circle—a happy party with smiling and + contented faces, laughing at some <i>genuine acting</i>—Pantomime though it + be—no <i>double entendre</i> songs, and nothing to be ashamed of. +</p> +<p> + To the young a visit to the Pantomime was invariably a yearly occurrence + to be joyfully remembered till the next Boxing Day came round again. Do + they, or can they, understand Pantomime in its present form? I very much + doubt it. +</p> +<p> + When towards the close of the 'fifties, and the double plot was + abandoned, the character of Harlequin began to be played by women, the + origin of what is now known as the "principal boy," and some acrobatic + turns, or other speciality business, began to be introduced during the + course of the Pantomime, which greatly discounted the efforts of + Harlequin and Clown. +</p> +<p> + Another competitor that took up the running to the abolition of Clown + and his companions, was the music-hall, which began introducing + Pantomimes and ballets. The first to do this, some years ago, was the + Canterbury, other halls soon following suit. +</p> +<p> + The managers of the theatres took up arms, with the result that various + decisions, chiefly averse to the music-halls, were obtained. A decision + of the Court of Common Pleas left the music-halls in a position to give + ballets with costume and scenic effects without any such control or + precautions as was exercised in theatres under the Lord Chamberlain's + authority. The duration of the litigation was all owing to the vague + definition "Stageplays in the 6 and 7 Vict. c. 68," and of "Music, + dancing and public entertainments in the Act 25, Geo. II., c. 30." +</p> +<p> + Of present-day Pantomime, with the immense sums spent annually on its + gorgeous spectacular display and costly dresses, there is no necessity + for me here to dilate upon, as it is a subject that is well known to us + all. All that is beautiful about it is due principally to the scenic + artists and the costumiers. The best parts are, as a general rule, + allotted to music-hall "stars," whose names will draw the most money. + And the followers of Thespis have, until the reign of King Pantomime is + over, to take oftentimes second-class places in the Pantomimic form of + entertainment of the present day. +</p> +<p> + In the old days everyone looked forward to the performances of Clown and + his companions; but little by little their business went, until finally + this has dwindled down to about one or two scenes—which, in some few + instances is still retained. +</p> +<p> + And now to formally "ring down," and in writing the "tag," there is, I + may say, with the sound of the prompter's bell, a melancholy ring as the + passing knell of Clown and his merry companions, and the "tag," as it + were, their epitaph. +</p> +<p> + Pantomimes—as our forefathers knew them—have become a thing of the + past, and the survivors, Clown and his comrades, the former whose quips + and quiddities, in childhood's happy days, many of us still lovingly + remember; the wonderment with which we gazed at the magical tricks + wrought by Harlequin and his wand; the quaint conceits and ambling gait + of Pantaloon; and, last but not least, bewitching Columbine, with whom, + most likely as each year came round, in youthful ardour we fell anew in + love's toils, are all rapidly vanishing into the dim and distant past, + and to live in the future only in the memory. +</p> + + +<p> + </p> + + +<h3> + CURTAIN.</h3> + + +<p> + </p> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 13469 ***</div> +</body> +</html> |