An apology for actors Containing three briefe treatises. 1 Their antiquity. 2 Their ancient dignity. 3 The true vse of their quality. Written by Thomas Heywood.

OF ACTORS, AND their ancient Dignitie. (Book 2)

THE SECOND BOOKE. (Book 2)

IVLIVS CAESAR, the famous Con∣querour, discoursing with Marcus Cice∣ro, the as famous Orator, amongst many other matters debated, It pleased the Emperour to aske his opinion of the Hi∣striones, the players of Rome, pretending some cauell against them, as men whose imployment in the Common-weale was vnnecessary: to whom Cicero answered thus: Content thee Caesar, there bee many heads busied & bewitched with these pastimes now in Rome, which otherwise would be inquisitiue after thee and thy greatnesse. Which answere, how sufficiently the Emperour approued, may bee coniectured by the many guifts bestowed, and priuiledges and Charters after gran∣ted to men of that quality. Such was likewise the opinion of a great statesman of this la••d, about the time that cer∣taine bookes were called in question. Doubtlesse there be many men of that temper, who were they not carried away, and weaned from their owne corrupt and bad disposition, and by accidentall meanes remoued and altered from their dangerous and sullen intendments, would be found apt and prone to many notorious and trayterous practises. Kings & Monarches are by God placed and inthroaned supra nos, aboue vs, & we are to regard them as the Sun from whom we receiue the light to liue vnder, whose beauty & bright∣nesse we may onely admire, not meddle with: Ne ludamus

cum Dijs, they that shoot at the st••••res ouer their heads, their arrowes ••all directly downe and wound themselues. But this allusion may bee better referred to the vse of acti∣on promised i•• ou•• third Treatise. Then to their Dignity, which next and immediatly (by Gods grace) our purpose is to handle.

The word Tragedy, is deriued from the Greeke word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Caper a goat, because the goat being a beast most in∣iuri••us to ••he vines, was sacrificed to Bacchus: Heer upon 〈◊〉〈◊〉 writes, that Tragedies had their first names from the oblations due to Bacchus; or else of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, a kinde of pain∣ting, which the Tragedians of the old time vsed to stayne their faces with. By the censure of Horace, Thespis was the first Tragicke writer.

Ignotum Tragic•• genus invenisse Camenae Dicitur,* 1.1 & plaustris vexisse po••mata Thespis.

The vnknowne T••agicke Muse Thespis fi••st sought, And her high Po••ms in her Chariot brought.

This Thespis was an Athenian Poet, borne in Thespina, a free towne in Boetia by Helicon, of him the nine Muses were called Thespiades. But by the censure of Quintilian, Aeschi∣les was before him, but after them Sophocles and Eurip••des clothed their Tragedies in better ornament.* 1.2 Liuius An∣dronicus was the first that writ any Roman Tragedy, in which kinde of poësie A••cius, Pacuvius, Seneca, and Ouidius ex∣celled.

Sceptra tamen sumpsi curá{que} Tragedia nostra, Creuit,* 1.3 at huic operi quamlibet aptus eram.

The sceptred Tragedy then proou'd our wit, And to that worke we found vs apt and fit.

Againe, in his fift Booke de tristibus Eleg. 8.

Carmen quod vestro saltarinostra Theatro Versibus & plaudiscribis (amice) meis.

Deere friend thou writ'st our Muse is 'mongst you song, And in your Theaters with plaudits r••ng.

Likewise in his Epistle to Augustus, writ from the pon∣ticke Island, whither he was banisht.

Et ded••mus tragicis scriptum regale Cothurnis, Quae{que} grauis debet verba Cothurnus habet.

With royall stile speakes our Cothurnate Muse, A buskind phrase in buskin'd playes we vse.

The word Comedy is deriued from the Greeke word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a street, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Cantus, a song, a street song, as signify∣ing there was euer mirth in those streets where Comedies most florisht.

Haec paces habuere bonae venti{que} secundi.

In this kinde Aristophanes, E••p••lis, Cratinus were famous•• after them Menander and Philemon: succeeding them Cici∣lius, Neuius, Plautus and Terentius.

Musa{que} Turani tragicis in••ixa Cothurnis Et tua cum socco, Musa, Melisse leuis.

Turanus tragicke buskin grac'd the Play, Melissa'es Comicke shooe made lighter way.

The ancient Histriographers write,* 1.4 that among the Greekes there were diuers places of exercises, appointed for Poets, some at the graue of Theseus, others at Helicon, where they in Comedies and Tragedies contended for seueral pri∣ses, where S••p••ocles was aiudged victor ouer Aeschilus: There were others in the Citty of Elis, where Menander was foyled by Philomene. In the same kinde Hesiod is sayd to haue triumpht ouer Homer. So Corinna for her excellen∣cies in these inuentions, (called Muscalyrica) excelled Pin∣darus the Theban Poet, for which she was fiue times crow∣ned with garlands.

The first publicke Theater was by Dionysius built in A∣thens,* 1.5 it was fashioned in the manner of a semi-circle, or halfe-moone, whose galleries & degrees were reared from the ground, their staires high, in the midst of which did arise the stage, beside, such a conuenient distance from the earth, that the audience assembled might easily behold

the whole proiect without impediment. From this the Ro∣manes had their first patterne, which at the first not being roof't, but lying open to all weathers, Quintus Catulus was the first that caused the out-side to bee couered with linnen cloth, and the in-side to bee hung round with Cur∣tens of silke. But when Marcus Scaurus was A••dilis, hee repaired it, and supported it round with pillers of Marble.

Caius Curio, at the solemne obsequies of his father, ere∣cted a famous Theater of Timber, in so strange a forme, that on two seuerall stages, two sundry playes might bee acted at once, and yet the one bee no hinderance or impe∣diment to the other; and when hee so pleased the whole frame was artificially composed to meet in the middest, which made an Amphi-theater.

Pompey the great, after his victories against Methridates, King of Pontus, saw in the Citty Mitelene a Theater of a∣nother forme, and after his triumphes and returne to Rome, he raised one after the same patterne, of free stone, of that vastnesse and receit, that within his spaciousnesse it was a∣ble at once to receiue fourescore thousand people, euery one to sit, see and heare.

In emulation of this sumptuous and gorgious building Iulius Caesar, successor to Pompeyes greatnesse, exceeded him in his famous Architecture, hee raised an Amphitheater, Campo Martio, in the field of Mars, which as farre excelled Pompeyes, as Pompeyes did exceed Caius Curioes, Curioes that of Marcus Scaurus, Scaurus that of Quintus Catulus, or Ca∣tulus that which was first made in Athens by Dionysius: for the Basses, Columnes, Pillars, and Pyramides were all of hewed Marble, the couerings of the stage, which wee call the heauens (where vpon any occasion their Gods descen∣ded) were Geometrically supported by a Giant-like Atlas, whom the Poëts for his Astrology, feigne to beare heauen on his shoulders, in which an artificiall Sunne and Moone of extraordinary aspect and brightnesse had their diurnall, and nocturnall motions; so had the starres their true and

coelestiall course; so had the spheares, which in their con∣tinuall motion made a most sweet and rauishing harmony: Here were the Elements and planets in their degrees, the sky of the Moone, the sky of Mercury, Venus, Sol, Mars, Iupiter and Saturne; the starres, both fixed and wandering: and aboue all these, the first mouer, or primum mobile, there were the 12 signes; the lines Equinoctiall and Zodiacal, the Meridian circle, or Zenith, the Orizon circle, or Emisphere, the Zones torrid & frozen, the poles articke & antarticke, with all other tropickes, orbs, lines, circles, the Solstitium & all other motions of the stars, signes, & planets. In briefe, in that little compasse were comprehended the perfect modell of the firmament, the whole frame of the heauens, with all grounds of Astronomicall coniecture. From the roofe grew a loouer, or turret, of an exceedding altitude, from which an ensigne of silke waued continually, Pendebant vela Theatro. But lest I waste too much of that compendiousnesse I haue promised in my discourse, in idle descriptions, I leaue you to iudge the proportion of the body by the making of this one limbe, euery piller, seat, foot-post, staire, gallery, & whatsoeuer else belongs to the furnishing of such a place, being in cost, substance, forme, and artificiall workmanship, most sutable. The floore, stage, roofe, out-side, & in-side, as costly as the Pantheon or ••apitols. In the principall galleries were special remote, selected & chosen seats for the Empe∣rour, patres conscripti, Dictators, Consuls, Pretors, Tribunes, Triumviri, Decemviri, Ediles, Curules, and other Noble Officers among the Senators: all other roomes were free for the plebe, or multitude. To this purpose I introduce these famous Edifices, as wondring at their cost & state, thus intimating, that if the quality of Acting, were (as some propose) altogether vnworthy, why for the speciall practise, and memorable imployment of the same, were founded so many rare and admirable monuments: and by whom were they erected? but by the greatest princes of their times, and the most famous and worthiest of them all,

builded by him that was the greatest Prince of the world, Iulius Caesar, at what time in his hand he grip't the vniuersal Empire of the earth. So of Augustus Caesar.

Inspice ludorum sumptus Auguste tuorum Empta tibi magno—

Behold Augustus the great pompe and state Of these thy Playes payd deere for, at hye rate.

〈◊〉〈◊〉 tu sp••ctasti spectanda{que} sepe d••disti.

And could any inferiour quality bee more worthily e∣steemed or noblier graced, then to haue Princes of such magnificence and state to bestow on them places of such port and countenance, had they been neuer well regarded, they had been neuer so sufficiently prouided for, nor would such worthy princes haue striued who should (by their greatest expence and prouision) haue done them the am∣plest dignity, had they not with incredible fauour regarded the quality. I will not trauerse this too farre, least I incurre some suspition of selfe-loue, I rather leaue it to the fauou∣rable consideration of the wise, though to the peruersnesse of the ignorant, who had they any taste either of Poe••ie, Phylosophy, or Historicall Antiquity, would rather stand mated at their owne impudent ignorance, then against such noble, and notable examples stand in publicke defiance.

I read of a Theater built in the midst of the riuer Tyber, standing on pillers and arches, the foundation wrought vn∣der water like London-bridge, the Nobles and Ladyes in their Barges and Gondelayes, landed at the very stayres of the galleryes. After these they composed others, but dif∣fering in forme from the Theater, or Amphi-theater, and e∣uery such was called Circus, the frame Globe-like, & mere∣ly round.

Circus in ha••c exit ••lamata{que} palma Theatris.

And the yeare from the first building of Rome, fiue hun∣dred threescore and seuen, what time Spurius Posthumus

Albinus, and Quintus Martius Philippus, were Consuls, Ne∣ro made one, and the noble Flaminius another; but the grea∣test was founded by Tarquinius Priscus, and was called Circus maximus: In this the Gladiators practised, the wide∣nesse and spaciousnesse was such, that in it they fought at Barriers, and many times ran at tilt. Dion records eighteene Elephants slaine at once in one Theater. More particularly to suruey the rarer Monuments of Rome, neere to the Pan∣theon (the Temple of the Roman Gods) at the discent from the hil Capitolinus, lies the great Forum, by which is scituate the great Amphi-theater of Tytus, first erected by Vespati∣an, but after (almost ruined by fire) by the Roman Tytus rare∣ly reëdified. It is called Colliseus, also a Cauea, which signi∣fies a scaffold,* 1.6 also Arena▪ a place of combate, by Siluianus and Prudentius, which name Tertullian, Pliny, Ouid, Firmi∣cus, and Apuleins likewise giue it. It had the title of Circus, Caula and stadium, by Suetonius, C••pitolinus and Arcadius. Cassianus affirmes these Theaters consecrated to Diana Taurica, Tertullian, to Mars and Diana, Martiall to Iupiter Latiaris, and to Stigian Pluto, whose opinion Minutius, & Prudentius approue. The first structures were by the Tri∣bune Curio,* 1.7 which Dio, lib. 37. affirmes. Vitruvius lib. 5. saith, Multa Theatra, Rome structa quotannis. Of Iulius Caesars Am∣phi-theater Camp•• Martio, Dio Cassius records,* 1.8 which Au∣gustus after patronizied, as Vi••tor remembers of them, whose charge Sta••ilius Taurus assisted, of whom Dio spea∣keth thus 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 &c. anno vrbis,* 1.9 DCCXXV. Pub. Victor forgets not Circus Flaminij,* 1.10 and Suetonius re∣members one builded by Caligul••, at Septa, whose building Claudius at first interdicted.* 1.11 Nero erected a magnificent Theater in the field of Mars. Suetonius lib. Ner. 12.

Publius Victor speakes further of a Castrense Theatrum, a Theater belōging to the Campe in the Coūtry of the Aes∣quiles, built by Tiberius Caesar,* 1.12 and of Pompies Theater Pli∣ny witnesseth. The great Theater of Statilius being in grea∣test vse, was burnt in the time of Nero, which Xiphilinus

thus speakes of, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. This was built in the middest of the old Citty, and after the combustion repaired by Vespatian, Consulatu suo 8. whose coyne of one side, beares the expresse figure of his Theater, yet was it onely begun by him, but perfected by his sonne Tytus: Eutropius and Cassiodorus, attribute this place soly to Titus, but Aurelius Victor giues him onely the honour of the perfecting a place so exquisitely begun: this after was repaired by Marcus Anthonius Pius, by whose cost sayth Capitolinus, the Temple of Hadri••nus was repaired, and the great The••••er reëdified, which Heliogabalus, by the testimo∣ny of Lampridius, patronized, and after the Senate of Rome, tooke to their protection, vnder the Gordians.

Touching Theaters without Rome, Lypsius records Thea∣tra circa Romani, extructa passim, euen in Ierusalem, Herodes magnifi••us & illustris rex non vno loco Iudeae Amphi-theatra aedificauit, extruxit in ips•• vrbe sacra, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 (as Iosephus saith) 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Herod a magnificent and illustrious King, not in one place of Iudea, erected Amphitheaters, but euen in the holy Citty hee built one of greatest receit. Also in Greece, Asia, Affricke, Spaine, France: nor is there any pro∣uince in which their ancient structures do not yet remaine, or their perishing ruines are not still remembred. In Italy, ad Lyrim campaniae Fluvium iuxta Minturnas, remaines part of an ample Amphi-theater.

At Puteolis, a City by the sea-side in Campania, 8 miles from Naples, one.

At Capua, a magnificent one of sollid Marble.

At Alba in Italy, one.

At O••riculum in Vmbria one.

At Verona, one most beautifull.

At Florens, one whose compasse yet remaines.

At Athens in Greece, one of Marble.

At Pola in Istria, by the H••driaticke sea, one described by Sebastian Serlius.

At Hyspalis in Spaine, one built without the walles of the

In 〈◊〉〈◊〉 at 〈◊〉〈◊〉 one of squared stone, the length 3••. perches, or poles, the bredth 2••.

At Arelate one.

At Burdegall one.

At Nemaus one, remembred by Euseb. in Ecclesias••ica Hi∣storia.

At Lygeris one.

Another among the Heluetians.

The Ver••ne••se Theatrum Marmoreum, erected before the time of Augustus, as Torellus Se••ayna in his descriptio•• of Ver••na, records: but Cyrnicus An••onitanus reports it built in the nine and thirtieth yeare of Octauian. Carolus Sigonius re∣••erres it to the reigne of Maximinian,* 1.13 who saith, Maximi∣nian built Theaters in Medi••lanum Aquilea, and Brixium. The like Cornelius Tacitus 2. Hist. remembers in Placentia, but the descriptiō of the Verona Theater Leuinus Kersmake∣rus sets downe. This the great King Francis anno 1539 gaue to certaine Actors, who thirty dayes space together, represented in the same the Acts of the Apostles, nor was i•• lawfull by the Edi••t of the King for any man to remoue any stone within thirty poles of his scituation, lest they should endanger the foundation of the Theater.

The like haue been in Venice, Millan, Padua. In Paris ther•• are diuers now in vse by the French Kings Comedians, as the Burgonian, and others. Others in Massilia, in Treuers, in Magontia, in Agripina, and infinite Cities of Greece, Thebes, Carthage, Delphos, Creet, Paph••s, Epyrus, also in the Citie Ty∣dena, so at Ciuil in Spaine, and at Madrill, with others.

At the entertainement of the Cardinall Alphonsus,* 1.14 and the Infant of Spaine into the Low-countryes, they were pre∣sented at Antwerpe, with sundry pageants and playes: the King of Denmark••, father to him that now reigneth, enter∣tained into his seruice, a company of English Comedians, commended vnto him by the honourable the Earle of Lei∣••ester: the Duke of Brounswicke, and the Landsgraue of Hesse•• retaine in their Courts certaine of ours, of the same quality.

But among the Romans they were in highest reputation: for in comparison of their playes, they neuer regarded any of their solemnities, there ludifunebres, there Floralia, Cerealia, Fugalia, Bachinalia▪ or Lup••rcalia.

And amongst vs,* 1.15 one of our best English Chroniclers re∣cords, that when Edward the fourth would shew himselfe in publicke state to the view of the people, hee repaired to his Palace at S. Iohnes, where he accustomed to see the Citty Actors. And since then, that house by the Princes free gift, hath belong••d to the office of the Reuels, where our Court playes haue beene in late daies yearely rehersed, perfected, and corrected before they come to the publike view of the Prince and the Nobility. Ouid speaking of the Tragicke Muse, thus writes.

Venit & ingenti violenta tragedia passu, Fronte com•• tor••a palla iacebat humi Laeua manus sceptrum late regale tenebat, Lydius apta pedum vin••ta cothurnus habet.

Then came the Tragicke Muse with a proud pace, Measuring her ••low strides with maiesticke grace. Her long traine sweepes the earth, and she doth stand, With b••skin'd legge, rough brow, and sceptred hand.

Well knew the poet what estimation she was in with Au∣gustus, whē he describes her holding in her left hand a scep∣ter. Now to recite some famous Actors that liued in the pre∣ceding ages: the first Comediās were Cincius & Falis••us,* 1.16 the first Tragedians were Minutius, & Prothonius. Elius Donatus in his preface to Terence his Andrea, saith that in that Come∣dy Lucius Attilius, Latinus Prenestinus, and Lucius Ambiuius Turpi•• were Actors: this Comedy was dedicated to Cibil, & such were called ludi Megalenses, acted in the yeare that M. Fuluius was Edilis, & Quintus Minutius Valerius, & M. Gla∣brio were Curules, which were Coūsellers & chiefe officers in Rom••, so called because they customably sate in chayres

of Iuory. The songs that were sung in this Comedy were set by Fl••ccus,* 1.17 the sonne of Clodius. Terence his Eunuchus or second Comedy was acted in the yeare L. Posthumus, and L. Cornelius were Edil. Curules, Marcus Valerius, & Caius Fannius Consuls.* 1.18 The yeare from the building of Rome 291. in his Adelphi one Protinus acted, & was highly applauded, in his H••••yra Iulius Seruius.* 1.19 Cicero commends one Rupili∣us a rare Tragedian:* 1.20 I read of another called Arossus, ano∣ther called Theocrines, who purchased him a great applause in the playes called Terentini. There were other playes in Rome, called Actia and Pythia, made in the honour of A∣pollo, for killing the Dragon Python. In those one Aesopus* 1.21 bare the praise, a man generally esteemed, who left behind him much substance, which Clodius his sonne after possest.

Quae grauis Aesopus, quae doctus Rossius egit.

Labericus* 1.22 was an excellent Poet, and a rare Actor, who writ a booke of the gesture & action to be vsed by the Tra∣gedians and Comedians in performance of euery part in his natiue humor. Plautus himselfe was so inamored of the Actors in his dayes, that hee published many excellent and exquisite Comedies, yet extant. Aristotle commends one Theodoretes* 1.23 to be the best Tragedian in his time. This in the presence of Alexander personated Achilles, which so de∣lighted the Emperour, that hee bestowed on him a pension of quinque mille Drachmae, fiue thousand Drachmaes, and e∣uery thousand Drachmaes are twenty nine pounds, three shillings, foure pence sterling.

Rossius, whom the eloquent Orator, & excellent statesman of Rome, Marcus Cicero, for his elegant pronuntiatiō & for∣mall gesture called his iewell, had from the common Tre∣sury of the Roman Exchequer, a daily pention allowed him of so many Sestertij as in our coine amount to 16 pound & a marke, or thereabouts, which yearely did arise to any no∣ble mans reuenues. So great was the fame of this Roscius, and so good his estimation, that learned Cato made a que∣stion whether Cicero could write better then Roscius could

speake and act, or Rosoius speake and act better then Cicero write. Many times when they had any important orations, to be with an audible and loud voyce deliuered to the peo∣ple, they imployed the tongue and memory of this excel∣lent Actor, to whom for his worth, the Senate granted such large exhibition.

—quae peruincere voces, Eualuere sonum referunt quem nostra Theatra, Gorganum mugire putes n••mus aut mare Thuscum, Tanto cum strepitu ludi spect••atur & artes. What voyce can be compared with the sound, Our Theaters from their deepe concaues send, For their reuerberate murmures seeme to drownd The Gorgan wood when the proud windes contend. Or when rough stormes the Thuscan billowes raise, With such loud ••oy they ring our Arts and Playes.

To omit all the Doctors, Zawnyes, Pantaloones, Har∣lakeenes, in which the French, but especially the Italians, haue beene excellent, and according to the occasion offered to do some right to our English Actors, as Knell, Bently, Mils, Wilson, Crosse, Lanam, and others: these, since I neuer saw them, as being before my time, I cannot (as an eye-wit∣nesse of their desert) giue them that applause, which no doubt, they worthily merit, yet by the report of many iu∣ditial auditors, their performance of many parts haue been so absolute, that it were a kinde of sinne to drowne their worths in Lethe, and not commit their (almost forgotten) names to eternity. Heere I must needs remember Tarleton, in his time gratious with the Queene his soueraigne, and in the peoples generall applause, whom succeeded VVil. Kemp, as wel in the fauour of her Maiesty, as in the opinion & good thoughts of the generall audience. Gabriel, Singer, Pope, Phillips, Sly, all the right I can do them, is but this, that though they be dead, their deserts yet liue in the remem∣brance of many. Among so many dead let me not forget one yet aliue in his time the most worthy famous, Maist••r Edward Allen. To omit these, as also such as for diuers

imperfections, may be thought insufficient for the quality. Actors should be men pick'd out personable, according to the parts they present, they should be rather schollers, that though they cānot speake well, know how to speake, or else to haue that volubility▪ that they can speake well, though they vnderstand not what, & so both imperfections may by instructiōs be helped & amended: but where a good tongue & a good conceit both faile, there can neuer be good actor. I also could wish, that such as are cōdemned for their licen∣tioufnesse, might by a generall consent bee quite excluded our society: for as we are men that stand in the broad eye of the world, so should our manners, gestures, and behaui∣ours, sauour of such gouernment and modesty, to deserue the good thoughts and reports of all men, and to abide the sharpest censures euen of those that are the greatest oppo∣sites to the quality. Many amongst vs, I know, to be of sub∣stance, of gouernment, of sober liues, and temperate car∣riages, house-keepers, and contributary to all duties enioy∣ned them, equally with them that are rank't with the most bountifull; and if amongst so many of sort, there be any few degenerate from the rest in that good demeanor, which is both requisite & expected at their hands, let me entreat you not to censure hardly of all for the misdeeds of some, but ra∣ther to excuse vs, as Ouid doth the generality of women.

Parcite paucarum diffundere crimen in omnes, Spectetur meritis quae{que} puella suis. For some offenders (that perhaps are few) Spare in your thoughts to censure all the crew, Since euery breast containes a sundry spirit, Let euery one be censur'd as they merit.

Others there are of whom should you aske my opinion, I must refer you to this, Consule Theatrum. Here I might take fit opportunity to reckon vp all our English writers, & com∣pare them with the Greeke, French, Italian, & Latine Poets, not only in their Pastorall, Historicall, Elegeicall, & Heroical•• Po••ms, but in their Tragicall, & Comical subiects, but it was

my chance to happen on the like learnedly done by an ap∣proued good scholler, in a booke called Wits Comon-wealth, to which treatise I wholy referre you, returning to our pre∣sent subiect. Iulius Caesar himselfe for his pleasure became an Actor, being in shape, state, voyce, iudgement, and all other occurrents, exterior and interior excellent. Amongst many other parts acted by him in person, it is recorded of him, that with generall applause in his owne Theater he played Hercules Fure••s, and amongst many other arguments of his compleatnesse, excellence, and extraordinary care in his action, it is thus reported of him: Being in the depth of a passion, one of his seruants (as his part then fell out) presen∣ting Lychas, who before had from Deianeira brought him the poysoned shirt, dipt in the bloud of the Centaure Nes∣sus: he in the middest of his torture and fury, finding this Lychas hid in a remote corner (appoynted him to creep in∣to of purpose) although he was, as our Tragedians vse, but seemingly to kill him by some false imagined wound, yet was Caesar so extremely carryed away with the violence of his practised fury, and by the perfect shape of the madnesse of Hercules, to which he had fashioned all his actiue spirits, that he slew him dead at his foot, & after swoong him ter{que} quater{que} (as the Poet sayes) about his head. It was the man∣ner of their Emperours, in those dayes, in their publicke Tragedies to choose out the fittest amongst such, as for ca∣pital offences were condemned to dye, and imploy them in such parts as were to be kil'd in the Tragedy, wh•••• of them∣selues would make suit rather so to dye with resolution, and by the hands of such princely Actors, then otherwise to suf∣fer a shamefull & most detestable end. And these were Tra∣gedies naturally performed. And such Caius Caligula, Clau∣dius Nero, Vitellius, Domitianus, Cōmodus, & other Emperours of Rome, vpon their festiuals and holy daies of greatest con∣secration, vsed to act. Therefore M. Kid in the Spanish Tra∣gedy, vpon occasion presenting it selfe, thus writes.

Why Nero thought it no disparagement,

And Kings and Emperours haue tane delight, To make experience of their wits in playes.

These exercises, as traditions▪ haue beene since (though in better manner) continued through all ages, amongst all the noblest Nations of the earth. But I haue promised to be al∣together compendious, presuming that what before is dis∣courst, may for the practise of playes, their Antiquity, and Dignity be altogether sufficient. I omit the shewes and ce∣remonies euen in these times generally vsed amongst the Catholikes, in which by the Churchmen & 〈◊〉〈◊〉 religious, diuers pageants, as of the Natiuity, Passion, and Ascention, with other Historicall places of the Bible, are at diuers times & seasons of the yeare vsually celebrated; sed haec pre∣••er me. In the yeare of the world 4207. of Christ 246. Ori∣gin writ certaine godly Epistles to Philip▪ then Emperour of Rome, who was the first Christian Emperour, and in his life I reade, that in the fourth yeare of his reigne, which was the 1000. yeare after the building of Rome, he solemnized that yeare, as a Iubilee with sumptuous pageants and playes. Homer, the most excellent of all Poets, composed his Illiads in the shape of a Tragedy, his Odisseas like a Co∣medy. Virgil in the first of his Aeneiads, in his description of Didoes Carthage.

—hic alta Theatris Fundamenta locant alij immanes{que} Columnas, Rup••bus excidunt scenis decora alta futuris.

Which proues, that in those dayes immediatly after the ruine of Troy, when Carthage had her first foundation, they built Theaters with stately columnes of stone, as in his de∣scription may appeare. I haue sufficiently discourst of the first Theaters, and in whose times they were erected, euen till the reigne of Iulius Caesar, the first Emperour, and how they continued in their glory from him till the reigne of Marcus Aurelius the 23 Emperour, and from him euen to these times. Now to proue they were in as high estimation at La••edemo••, and Athens two the most famous Citties of

Greece. Cicero in his booke Cato maior, seu de 〈◊〉〈◊〉. Cum Athenis ludis quidam grandis natu in Theat••••m venisset, &c. An ancient Citizen comming into one of the Athenian Theaters to see the pastimes there solemnized (which shewes that the most antient and graue frequented them) by reason of the throng, no man gaue him place or reue∣rence: but the same Citizen being implyo'd in an Embassy to Lacedemon, and coming like a priuate man into the The∣ater, the generall multitude arose at once, and with great ceremonious reuerence gaue his age place. This Cicero al∣ledges to proue the reuerence due to age, and this I may ••itly introduce to the approbation of my present subiect. Moreouer, this great Statesman of Rome, at whose exile twenty thousand of the chiefest Roman Citizens wore mourning apparrel, oftentimes commends Plautus, calling him Plautus noster, and Atticorum antiqua Comedia, where he proceeds further to extoll. Aesopus, for personating A∣iax, and the famous Actor Rupilius, in Epigonus, Med••a, Me∣nalip, Clytemnestra and A••tiopa, proceeding in the same place with this worthy & graue sentence, Ergo Histrio hoc videbi•• in scena, quod non videbit sapiens in vita? shall a Tragedian see that in his Scen•• which a wise man cannot see in the course of his life? So in another of his workes, amongst many in∣structions to his sonne Marcus, he applauds Turpio Ambi∣nius for his action, Statius, Neuius, and Plautus for their wri∣ting. Ouid in Augustum.

Luminibus{que} tuis totus quibus vtitur orbis, Scenica vidisti lusus adulteria.

Those eyes with which you all the world suruay, See in your Theaters our Actors play.

Augustus Caesar, because he would haue some memory of his loue to those places of pastime, reared in Rome two stately Obelisci, or Pyramides, one in Iulius Caesars Temple in the field of Mars, another in the great Theater, called C••••cus Maximus, built by Flaminius: these were in height an

hundred cubits a peece, in bredth foure cubits, they were first raised by King Pheron in the Temple of the Sunne, and after remoued to Rome by Augustus: the occasion of their first composu••e was this: Pheron for some great crime, committed by him in his youth against the Gods, was by them strooke blinde, and so continued the space of ten yeares: but after by a reuelation in the Citty Bucis, it was told, that if he washt his eyes in the water of a woman that was chaste, and neuer adulterately touch't with any saue her husband, he should againe recouer his sight: the King first tride his wife, then many other of the most graue and best reputed matrons, but continued still in despaire, till at length hee met with one vertuous Lady, by whose cha∣stity his ••ight was restored; whom (hauing first com∣manded his Queene and the rest to be consumed with fire) he after married. Pheron in memo∣ry of this, builded his two Pyramides, after remoued to Rome by AVGVSTVS.

Sancta{que} maiestas & erat venerabile nomen▪ Vatibus—

The end of the second Booke.

Notes

• * 1.1

  〈…〉〈…〉
• * 1.2

  Poltd. Virgil.
• * 1.3

  〈…〉〈…〉
• * 1.4

  Alex. Metapol.
• * 1.5

  Theaters.
• * 1.6

  Ammianus, lib. 29.
• * 1.7

  Pliny. lib. 36.
• * 1.8

  Dio Cassius lib. 43.
• * 1.9

  Dio. lib. 51
• * 1.10

  Su••tonius cap 21.
• * 1.11

  Ta••itus lib. 13. A mal••um.
• * 1.12

  Pliny, lib. 36. cap. 15.
• * 1.13

  Sicon. 〈◊〉〈◊〉. Hist. Occide••.
• * 1.14

  Archduke Al∣phonsus.
• * 1.15

  Stowe.
• * 1.16

  Cincius, Faliscus, Minutius. Prothonius. L. Attilius. Latinus. Prenestinu••. Lucius. Ambiuius Tur∣pi••.
• * 1.17

  Flaccus.
• * 1.18

  Protinus. L. Seruius.
• * 1.19

  Offic. 1.
• * 1.20

  Rupilius. Arossus. Theocrines.
• * 1.21

  AEsopus.
• * 1.22

  Labericus.
• * 1.23

  Theodorete••.