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 _dramatis personae_.

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 _Scenarios_ of the Italian theatre were not more intelligible; exhibiting only the _hints_ for scenes.

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.

Even at a later period, the influence of these performances reached the greatest name in the English Parna.s.sus. 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 a.s.sociated 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 circ.u.mstance 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 Ma.s.singer might have reached us from the Bolognese Dottore.

The late Mr. Hole, the ingenious writer on the "Arabian Nights,"

observed to me that Moliere, it must be presumed, never read Fletcher's plays, yet his "_Bourgeois Gentilhomme_," and the other's "n.o.ble 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.

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 _tied to any written device_." In Kyd's Spanish Tragedy the Extemporal Art is described:--

The Italian tragedians were so sharp of wit, That in one hour of meditation They would perform anything in action.

These Extemporal plays were witnessed much nearer than in Italy--at the _Theatre des Italiens_ at Paris--for one of the characters replies:--

I have seen the like, In Paris, among the French tragedians.

Ben Jonson has mentioned the Italian "Extemporal Plays," in his "Case is Altered"; and an Italian _commediante_ and his company were in London in 1578, who probably let our players into many a secret.

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 "_Historia Histronica_," mentions that "Alexander Goff, the woman-actor, was the jackal to give notice of time and place to the lovers of the drama."

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.

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.

Owing to the exigences of the times, one Robert c.o.x, 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.

c.o.x'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 ent.i.tled "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."

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 c.o.x, who was not only the princ.i.p.al 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 b.u.t.ter, 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 b.u.t.ter 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."

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.

CHAPTER XIV.

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.

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 ent.i.tled "Tavern Bilkers." It was produced at Drury Lane.

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.

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.

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.

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 t.i.tle 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."

It is only just to a.s.sign 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 pa.s.sions and affections of the mind," and those where "A nice address and management of the pa.s.sions 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."

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.

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."

The suspension of the patent being thus taken off, the younger mult.i.tude 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.

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.

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.

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 mult.i.tude 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.

Cibber's antagonistical views towards Pantomime were shared, as we shall see, by a good many others.

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 n.o.bility 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 n.o.bler appearance."

CHAPTER XV.

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.

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:--

"Harlequin Executed: a new Italian Mimic Scene between a Scaramouch, a Harlequin, a Country Farmer, his Wife, and others."

Of Rich and his early Pantomimes, Davies observes:--

John Rich was the son of Christopher Rich, formerly patentee of Drury Lane Theatre, and he imbibed from his father a _dislike of people with whom he was obliged to live and converse_. 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 Ess.e.x, 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.

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 b.u.t.terfly;" so also were his other dumb show performances.