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THis word Ludus hath diverse acceptions, sometimes it is takē for a iest or scoffe, as vt me ludos facit? How he scoffeth me? Sometimes for a place of exercise where any feate is learned, as ludus literarius, a schoole for learning; ludus gladiatorius a fence-schoole; and Aperire
ludùm, to set vp a schoole. Sometimes for any game, pa∣stime, or sport publiquely exhibited, either that thereby the Gods might bee appeased, or the applause and fa∣vour of the people gained. These games from the diversity of the place where they were had, may be divided into lu∣dos compitales, circenses, & scenicos. Compitales were such asr 1.1 vsually were solēnzied in compitis. .i. in the crosse-waies and open streetes. Circenses were circque-shewes, taking their appellatiō either frō the great circque, or shewplace, called Circus Max: where the games were exhibited; or from the swords wherewith the players were invironed, as one would say Circaenses. They much resembled those Grecian games, called certamina Olympica, where the rū∣ners with chariots were hemmed in on the one side with the running river, and on the other with swords pitched point-wise, that they should hold on the race directly, and not swarue aside without danger.s 1.2 Some haue thought thē to be the same with ludi Gymnici, so called from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, na∣ked; because that those which did performe these kinde of exercises did either put off all, or the greatest part of their clothes, to the intent that they might the more readily and nimbly performe their games; for which purpose they did also annoint their bodies with oile:t 1.3 Whence we say when a man hath lost his cost, and labour, Operam & oleum per∣didit; oleum in this place signifying cost & charges: so that the proverb was the same with that ofu 1.4 the coble••s crow, opera & impensaperijt. The games and Masteries vsed in the circque were diverse; namely fifty-cuffes, fencing with swords, shaking the speare, dauncing in plaine ground, lea∣ping, iumping, casting the dart, wrestling, running the race with chariots, which was called certamen bigarum vel qua∣drigarum; playing at whorle-bats, which was tearmed bel∣••are coestu; casting or hurling the great stone called discus; though sometimes this discus was made of yron or brasse: The players thereat were called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, to dart or cast out any thing. The third sort of plaies
were ludi Scenici, stage-plaies. The reason of this name sce∣na may be seene* 1.5 before.x 1.6 The first institution of them was occasioned by reasō of a great sicknes, which by no medi∣cinary help could be removed; The Romanes superstitious∣ly conceiting, that some new games or sports being found out the wrath of the Gods woulde thereby bee vnarmed. y 1.7 Wherevpon about the fowre hundreth yeare after the building of Rome they sent for certaine stage-players out of Hetruria, which they called Histriones frō the Hetruriā word Hister, which signified such a player. Concerning the diverse kindes of stage-plaies I read of fowre, called by the Grecians, Mimicae, Satyrae, Tragoediae, Comoediae: by the Romanes Planipedes, Attellanae, Praetextatae, Tabernariae. In English, Fables Mimicall, Satyricall, Tragicall, Comicall. These Mimicall players did much resemble the clowne in many of our English stage-plaies, who sometimes would go a tip-toe in derision of the mincing dames; sometimes would speak ful-mouthed to mocke the country-clownes; sometimes vpon the top of their tongue to scoffe the citi∣zen. And thus, by their imitation of all ridiculous gestures or speeches, in al kinde of vocations, they provoked laugh∣ter; whence both the plaies and plaiers were named Mimi, from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 an Imitator, or one that doth apelike counter∣fet others: as likewise they were called Planipedes, because the Actors did enter vpon the stage planis pedibus .i.z 1.8 Ex∣calceati barefooted. The second sort of plaies were called Satyrae,a 1.9 frō the lascivious and wanton country-Gods cal∣led Satyri, because the Actors in these Satyricall playes, did vse many obscene poems, and vnchast gestures to delight their spectators. Afterwarde these kinde of actors as wee may coniect, did assume such liberty vnto themselues, that they did freely and without controlement, sharpely taxe & censure the vices even of kings, as wel as of the commons, insomuch that now wee call every witty poeme, wherein the liues and manners of men are sharpely taxed, A satyre, or satyricall poeme.b 1.10 Satyra mordax fuit & salsum genus
carminis. These satyricall plaies were also called Attellanae, from the city Attella in Campania, where they were often acted. The third sort of stage-plaies, were called Tragoediae, from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a goat, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 an ode or song; because the a∣ctors thereof had a goat given them as a reward. And like∣wise they were called Praetextatae, frō Praetexta, a certaine Romane robe, which these actors did vse to weare in their plaies. The fourth sort were comoediae, frō 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which sig∣nifieth villages, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: because these kinde of actors did go vp and downe the country acting these Comedies in the villages as they passed along. They were likewise called Tabernariae à tabulis .i. from the boards or pentices where∣with they were sheltred frō the weather, whiles they were acting. These two last sorts of plaies, namely Tragedies & Comedies being still in vse amongst vs, it will be worth our labour to consider the communities, wherin they agree; & likewise the proprieties or notes of distinction by which they differ. I finde three sorts of parts, wherein they agree, namely partes primariae, accessoriae, circūstantes; parts prin∣cipal, accessory, and circumstances, which are not so truely parts, as accidental ornamēts added to beautifie the plaies. The principal parts are 4. in respect of the matter treated of. For as farre as the declaration or exposition of the mat∣ter in hand reacheth, without intimation of the event to ensue, so farre reacheth the first part called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which word signifieth no more then a proposition or declarati∣on. But when the play inclineth to its heate & trouble, thē ensueth the second part called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which signifieth the intension or exaggeration of matters. The third part is called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 .i. the state and full vigour of the play. The last part which is an vnexpected change into a suddaine tranquillity and quietnesse is called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: whence by a metaphor it hath beene translated to signifie the end, or period of any other thing; or rather the inclination vnto the end, as vitae, humanae catastrophe, the end of a mans life. In respect of the players forsaking the stage, the parts were
fiue; namely the fiue Acts. For the Actors did fiue times in every Comedie and Tragedie forsake the stage, and make as it weare so many interruptions. The occasion whereof is supposed to haue been this, That the spectators might not be wearied out with a continued discourse or action, but that they might sometimes be delighted with variety in∣termixed. For those breaches and chasmes betweene each act, were made vp and supplyed, either by the Chorus, or Musicke. Where we must note, that every Tragedy and Co∣medie must haue fiue Actus, and no more, according to that of Horace.
Neuè minor quinto, neù sit productior actu Fabula.—Againe we must remember that it is not necessary that the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 should alwaies be cōtained in the first Act, though many times it happeneth so: for in Plautus his bragging souldier the Protasis is found in the second Act: and so like∣wise haue the other three parts .i. Epitasis, Catastasis & Ca∣tastrophe their bounds vnbounded. These Acts are divided into severall scenes, which sometimes fal out more, some∣times fewer in every Act. The definition of a scene being c 1.11 Mutatio personarum: Whence we call a subtile Gnatho, which can humor himselfe for all persons and times omniū scenarum hominem, A man fit for all parts. Now amongst the Romanes it was thought vnfit, that aboue three persons should come on the stage in one scene.
Nec quarta loqui persona laboret. Hor.The partes accessoriae in a Comedy are foure, Argumentum, Prologus, Chorus, & Mimus. The first is the matter or sub∣iect of the Comedy: the second is the Prologue, which is either 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, such as doth open the state of the fable, at which time there needeth no argument; or else 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, such as cōmendeth the fable, or the Poet vnto the people; or lastly 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, such as shall refute the obiections and cavils of adversaries. The third is Chorus, which speaketh betweene each Act; and this Chorus may consist either of
one, or many speakers, & that either male or female:d 1.12 but with this caution, that if a male be to be commended, then must the Chorus consist of males; if a female be to be com∣mended, then must it consist of females. And alwaies what∣soever the Chorus speaketh, it must be pertinent vnto the Act past, or covertly intimating somewhat ensuing.
—Non quid medios intercinat actus, Quod non proposito conducat & haereat aptè. Horat.
The fourth and last accessory part, was Mimus the clowne or foole of the play. Of all these parts 〈◊〉〈◊〉 tragedy hath onely a Chorus. The partes circumstantes, or accidentall orna∣ments were foure, common to both, Titulus, Cantus, Salta∣tio, Apparatus .i. the title of the play, Musicke, Dauncing, and the beautifying of the scene. By the Scene in this place, I vnderstand the partition betweene the players ve∣stry, and the stage or scaffold. This partition at the acting of a Tragedy was vnderpropped with stately columnes & pillars, and beautified with paintings resembling princely buildings, and the images as well of Gods as Kings. At the acting of a Comedy country-cottages and private buil∣dings were painted in the out face of the partition. In the Satyricall plaies the painting was overcast with shadowes of mountaines and woods: Thee 1.13 first of these partitions they called Scenam Tragicam, the second Comicam, the third Satyricam. The differences betweene a Tragedy & a Comedy which may be collected out off 1.14 Antesignanus are these: first in respect of the matter, because a Tragedy trea∣teth of exilements, murders, matters of griefe, &c. a Come∣dy of loue toyes, merry fictions, and petty matters, the one being 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉; the other 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. In a Tragedy the greatest part of the Actors are Kings and Noble per∣sons; in a Comedy private persons of meaner state and cō∣dition. The subiect of a Comedy is often feigned, but of a Tragedy it is commonly true, and once really performed. The beginning of a tragedy is calme and quiet, the ende fearefull and turbulent; but in a comedy contrarily the be∣ginning
is turbulent, and the end calme. Another differēce which Antesignanus hath omitted is behouefull for vs to knowe, namely that the Tragedians did weare vpon the stage a certaine shooe comming halfe way vp the legge in manner of buskins, which kind of shooe was called by thē Cothurnus, and from that custome it hath beene occasio∣ned, that Cothurnus is translated to signifie a Tragicall and loftie stile; as Sophocleo digna Cothurno, matters beseeming Sophocles his stile: & sometimes a tragedy it selfe. The Co∣mediās did vse an high shooe cōming vp aboue the ankle, much like a kind of shooes which plough-mē vse to weare to keepe themselues out of the durt. This kinde of shooe is called Soccus, by which word sometimes also is signified a Comedy, as
Hunc socci cepere pedem, grandes{que} Cothurni. Horat.g 1.15 All these sorts of stage plaies both Mimicall, Satyricall, Tragicall, and Comicall, if they were acted according to the Grecian rite and custome, then were they called Palliatae, from pallium, a certaine mantle which the Grecians did vse to weare: if according to the Romane manner, then were they called from the Romane gowne Togatae. Another divi∣sion of playes hath beene taken not from the place where they were exhibited, but from the final cause or reasō why. Some were celebrated in the honour of the Gods, & they were named Ludi sacri; others for the performāce of some vow, being called therefore Ludi votiui; others for the more solemne celebration of funerals, whence they were called Ludi funebres: lastly others for sport and exercise called therefore Ludi ludicri. Vnto those sacred or holy playes belonged these; ludi Megalenses, otherwise called Megalesia, which were sports solemnized in the honour of Cybele; Cereales, sports in the honour of Ceres; Florales, in the honour of the goddesse Flora; Martiales in the ho∣nour of Mars; Apollinares in the honour of Apollo, &c. The votiui ludi were also performed in the honour of some God, but they were distinguished from ludi sacri, because
these votivi were performed only vpon occasion of some speciall vow made: for whensoever the Romans did vnder∣take any desperate warre, then did some Roman magistrate Vovere ludos vel templa, conditionally, that they got the conquest.h 1.16 Whiles the magistrate vttered this his vow, he was said Vota nuncupare or facere vota .i. to make a so∣lemne vow vnto the Gods; The vow being thus made, hee was said to be votireus. .i. conditionally bound & obliged to the performance of this vow, so that the Gods might challenge the thing vowed as due debt, if they granted his request. But the request being granted, then was hee said damnatus voti, vel voto .i. simply bound to the performance of it; so that by a consequence Damnari voti vel voto, is to haue ones desire accomplished. The third sort of plaies, which wee called ludos funebres, was fencing and playing of prizes, the custome among the Romanes being, that at the funerals of their friends, they would procure certaine slaues and captiues to ioyne combate vpon the Amphithe∣atre, vntil one of them had beene killed; whence those fen∣cers were called Bustuarij, from bustum, the place where dead mens bodies were burned. They first began their fight with certaine cudgels, or yardes called Rudes & after ward went to naked weapons (& that was termed dimica∣re & versis armis pugnare, this word versis signifying muta∣tis according toi 1.17 Lipsius) whereat they fought till one was killed; neither was the other so acquitted, but he stood lia∣ble to vndertake another, & so a third, vntil he had foyled six or seaven combatants: and if his hap were to prevaile so often, then did he receaue a garland or coronet of palme tree, wound about with certaine woollen ribbands called Lemnisci.k 1.18 The coronet it selfe was called therefore palma lemniscata: and hence figuratiuely hath palma beene tran∣slated to signifie the victory it selfe; andl 1.19 such a mā as hath often gotten the prize, we say proverbially, that he is Plu∣rimarum palmarum homo. The reason why the palme tree rather then any other tree should bee given in token of
victory is rendred bym 1.20 divers good authors to bee this; because the palme tree, though you put never so ponde∣rous and heavy weight vpon it, yet it will not yeeld, but rather indeavour the more vpward. After hee had foiled six or seaven, hee receaved one of those staues or cudgels also, wherewith they began their combat, in token of libertie; signifying thereby, that hee should hence for-ward lead his life free frō shedding of blood. Alluding vnto which custome this wordn 1.21 Rudis hath beene vsed to signifie any other kind of freedome, or discharge, wherevpon Horace said of himselfe, that he was Rude donatus .i. set at libertie, and discharged from his paines in poetry. The last sort of plaies called Ludi ludicri, were either military to traine vp young men in the knowledg of the art military, and those were called ludi castrenses: or else they were only for exer∣cise, namely rūning the race, iusting, or turnamēts, which were called sometimes Troianus ludus, sometimeso 1.22 Troia without any other word added therevnto,p 1.23 because As∣canius Aeneas his sonne first brought them out of Troy in∣to Italy.
Alex. Gen. dier. lib. 6. c. 19.
Rosin. Ant lib. 5. cap. 5.
Vid. Erasm. adag. operam & oleum pe••∣dere.
Macrob. lib Satur.
Vid. pag. 14.
Lazius de Repub. Rom. lib. 10. cap. 11.
Alex. Gen. dier. l. 6. c. 19.
Alex. ib
Antesignan in suis obser. de metris co∣micis. Teren. praefixis.
Vid Erasm. adag. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
Vid. Erasm. Adag.
Rosin. ant. cap. de trag. & com. lib. 5.
Alex. Gen. dier. l. 5. c. 16.
Antesig. in suis observ. de metris co∣micis Teren. praefixis.
Antesig. ib.
Ascensius epist. viror. illust. lib. 5.
Saturn. ser∣mon. l. 2. c. 19.
Fr. Sylvius in orat. pro Sex. Roscio.
Fr. Sylv. ib.
Arist. prob. 7. Plut. symp. 8 q 4. A. Gell. lib. 3. cap. 6.
Eras. Adag. Rudem accip.
Suet in Iu∣lio. Caes. c. 39.
Rosin. Ant. lib. 5. cap. 29.