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had so often smarted under the satirical whips of the dramatists, had reduced the drama itself; without, however, extinguishing the talents of the players, or the finer ones of those who once derived their fame from that noble arena of genius, the English stage. At the first suspension of the theatre by the Long Parliament in 1642, they gave vent to their feelings in an admirable satire. About this time "petitions" to the parliament from various classes were put into vogue; multitudes were presented to the House from all parts of the country, and from the city of London; and some of these were extraordinary. The porters, said to have been 15,000 in number, declaimed with great eloquence on the bloodsucking malignants for insulting the privileges of parliament, and threatened to come to extremities, and make good the saying "necessity has no law;" there was one from the beggars, who declared, that by means of the bishops and popish lords they knew not where to get bread; and we are told of a third from the tradesmen's wives in London, headed by a brewer's wife: all these were encouraged by their party, and were alike "most thankfully accepted."

The satirists soon turned this new political trick of "petitions" into an instrument for their own purpose: we have "Petitions of the Poets,”—of the House of Commons to the King,-Remonstrances to the Porters' Petition, &c.: spirited political satires. One of these, the "Players' Petition to the Parliament," after being so long silenced, that they might play again, is replete with sarcastic allusions. It may be found in that rare collection, entitled "Rump Songs," 1662, but with the usual incorrectness of the press in that day. The following extract I have corrected from a manuscript

copy:

Now while you reign, our low petition craves

That we, the king's true subjects and your slaves,
May in our comic mirth and tragic rage

Set up the theatre, and show the stage;

This shop of truth and fancy, where we vow

Not to act anything you disallow.

We will not dare at your strange votes to jeer,
Or personate King Prм* with his state-fleer;

* PYм was then at the head of the Commons, and was usually deputed to address personally the motley petitioners. We have a curious speech he made to the tradesmen's wives in Echard's "History of England," vol. ii. 290.

VOL. II.

U

Aspiring Catiline should be forgot,
Bloody Sejanus, or whoe'er could plot
Confusion 'gainst a state; the war betwixt
The Parliament and just Harry the Sixth

Shall have no thought or mention, 'cause their power
Not only placed, but lost him in the Tower;
Nor will we parallel, with least suspicion,
Your synod with the Spanish inquisition.

All these, and such like maxims as may mar
Your soaring plots, or show you what you are,
We shall omit, lest our inventions shake them :
Why should the men be wiser than you make them?
We think there should not such a difference be
"Twixt our profession and your quality:

You meet, plot, act, talk high with minds immense;
The like with us, but only we speak sense
Inferior unto yours; we can tell how

To depose kings, there we know more than you,
Although not more than what we would; then we
Likewise in our vast privilege agree;

But that yours is the larger; and controls
Not only lives and fortunes, but men's souls,
Declaring by an enigmatic sense

A privilege on each man's conscience,

As if the Trinity could not consent

To save a soul but by the parliament.

We make the people laugh at some strange show,
And as they laugh at us, they do at you;

Only i' the contrary we disagree,

For you can make them cry faster than we.
Your tragedies more real are express'd,
You murder men in earnest, we in jest:
There we come short; but if you follow thus,
Some wise men fear you will come short of us.
As humbly as we did begin, we pray,
Dear schoolmasters, you'll give us leave to play
Quickly before the king comes; for we would
Be glad to say you've done a little good

you

Since have sat your play is almost done
As well as ours-would it had ne'er begun.
But we shall find, ere the last act be spent,
Enter the King, exeunt the Parliament.
And Heigh then up we go! who by the frown
Of guilty members have been voted down,

Until a legal trial show us how

You used the king, and Heigh then up go you!

So pray your humble slaves with all their powers,

That when they have their due, you may have yours.

Such was the petition of the suppressed players in 1642; but, in 1653, their secret exultation appears, although the stage was not yet restored to them, in some verses prefixed

to RICHARD BROME'S Plays, by ALEXANDER BROME, which may close our little history. Alluding to the theatrical people, he moralises on the fate of players :

See the strange twirl of times; when such poor things
Outlive the dates of parliaments or kings!

This revolution makes exploded wit

Now see the fall of those that ruin'd it;

And the condemned stage hath now obtain'd

To see her executioners arraign'd.

There's nothing permanent: those high great men,
That rose from dust, to dust may fall again;
And fate so orders things, that the same hour
Sees the same man both in contempt and power;
For the multitude, in whom the power doth lie,
Do in one breath cry Hail! and Crucify!

At this period, though deprived of a theatre, the taste for the drama was, perhaps, the more lively among its lovers; for, besides the performances already noticed, sometimes connived at, and sometimes protected by bribery, in Oliver's time they stole into a practice of privately acting at noblemen's houses, particularly at Holland-house, at Kensington: and "Alexander Goff, the woman-actor, was the jackal, to give notice of time and place to the lovers of the drama," according to the writer of "Historica Histrionica." The players, urged by their necessities, published several excellent manuscript plays, which they had hoarded in their dramatic exchequers, as the sole property of their respective companies. In one year appeared fifty of these new plays. Of these dramas many have, no doubt, perished; for numerous titles are recorded, but the plays are not known; yet some may still remain in their manuscript state, in hands not capable of valuing them. All our old plays were the property of the actors, who bought them for their own companies. The immortal works of Shakspeare had not descended to us, had Heminge and Condell felt no sympathy for the fame of their friend. They had been scattered and lost, and, perhaps, had not been discriminated among the numerous manuscript plays of that age. One more effort, during this suspension of the drama, was made in 1655, to recal the public attention to its productions. This was a very curious collection by John Cotgrave, entitled "The English Treasury of Wit and Language, collected out of the most, and best, of our English Dramatick Poems." It appears by Cotgrave's preface, that "The Dramatick Poem," as he calls our tragedies and come

dies, "had been of late too much slighted." He tells us how some, not wanting in wit themselves, but "through a stiff and obstinate prejudice, have, in this neglect, lost the benefit of many rich and useful observations; not duly considering, or believing, that the framers of them were the most fluent and redundant wits that this age, or I think any other, ever knew." He enters further into this just panegyric of our old dramatic writers, whose acquired knowledge in ancient and modern languages, and whose luxuriant fancies, which they derived from no other sources but their own native growth, are viewed to great advantage in COTGRAVE'S commonplaces; and, perhaps, still more in HAYWARD'S "British Muse,' which collection was made under the supervisal, and by the valuable aid, of OLDYS, an experienced caterer of these relishing morsels.

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DRINKING-CUSTOMS IN ENGLAND.

THE ancient Bacchus, as represented in gems and statues, was a youthful and graceful divinity; he is so described by Ovid, and was so painted by Barry. He has the epithet of Psilas, to express the light spirits which give wings to the soul. His voluptuousness was joyous and tender; and he was never viewed reeling with intoxication. According to Virgil:

Et quocunque deus circum caput egit honestum.

Georg. ii. 392. which Dryden, contemplating on the red-faced boorish boy astride on a barrel on our sign-posts, tastelessly sinks into gross vulgarity:

On whate'er side he turns his honest face.

This Latinism of honestum even the literal inelegance of Davidson had spirit enough to translate, "Where'er the god hath moved around his graceful head." The hideous figure of that ebriety, in its most disgusting stage, the ancients exposed in the bestial Silenus and his crew; and with these, rather than with the Ovidian and Virgilian deity, our own convivial customs have assimilated.

We shall probably outlive that custom of hard-drinking which was so long one of our national vices. The Frenchman,

the Italian, and the Spaniard only taste the luxury of the grape, but seem never to have indulged in set convivial parties, or drinking-matches, as some of the northern people. Of this folly of ours, which was, however, a borrowed one, and which lasted for two centuries, the history is curious: the variety of its modes and customs; its freaks and extravagances; the technical language introduced to raise it into an art; and the inventions contrived to animate the progress of the thirsty souls of its votaries.*

Nations, like individuals, in their intercourse are great imitators; and we have the authority of Camden, who lived at the time, for asserting that "the English in their long wars in the Netherlands first learnt to drown themselves with immoderate drinking, and by drinking others' healths to impair their own. Of all the northern nations, they had been before this most commended for their sobriety." And the historian adds, "that the vice had so diffused itself over the nation, that in our days it was first restrained by severe laws."+

Here we have the authority of a grave and judicious historian for ascertaining the first period and even origin of this custom; and that the nation had not, heretofore, disgraced itself by such prevalent ebriety, is also confirmed by one of those curious contemporary pamphlets of a popular writer, so invaluable to the philosophical antiquary. Tom Nash, a town-wit of the reign of Elizabeth, long before Camden wrote her history, in his "Pierce Pennilesse," had detected the same origin." Superfluity in drink," says this spirited writer, "is a sin that ever since we have mixed ourselves with the Low Countries is counted honourable; but before we knew their lingering wars, was held in that highest

* Prynne's tract entitled "Health's Sicknesse" is full of curious allusions to the drinking-customs of the era of Charles the First. His paradoxical title alludes to the sickness that results from too freely drinking "healths."

Camden's "History of Queen Elizabeth," Book III. Many statutes against drunkenness, by way of prevention, passed in the reign of James the First. Our law looks on this vice as an aggravation of any offence committed, not as an excuse for criminal misbehaviour. See "Blackstone," book iv. c. 2, sec. 3. In Mr. Gifford's "Massinger," vol. ii. 458, is a note to show that when we were young scholars, we soon equalled, if we did not surpass, our masters. Mr. Gilchrist there furnishes an extract from Sir Richard Baker's Chronicle, which traces the origin of this exotic custom to the source mentioned; but the whole passage from Baker is literally transcribed from Camden.

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