A History of English Literature

[Illustration: TIMON OF ATHENS, v, 4. OUTER SCENE.
_Trumpets sound. Enter Alcibiades with his
Powers before Athens._
"_Alc_. Sound to this Coward, and lascivious
Towne, Our terrible approach."
_Sounds a parly. The Senators appears upon
the Wals._
Reproduced from _The Shakespearean Stage_, by V. E. Albright, through
the courtesy of the publishers, the Columbia University Press.
AN ELIZABETHAN STAGE]
The medieval religious drama had been written and acted in many towns
throughout the country, and was a far less important feature in the life of
London than of many other places. But as the capital became more and more
the center of national life, the drama, with other forms of literature, was
more largely appropriated by it; the Elizabethan drama of the great period
was altogether written in London and belonged distinctly to it. Until well
into the seventeenth century, to be sure, the London companies made
frequent tours through the country, but that was chiefly when the
prevalence of the plague had necessitated the closing of the London
theaters or when for other reasons acting there had become temporarily
unprofitable. The companies themselves had now assumed a regular
organization. They retained a trace of their origin (above, page 90) in
that each was under the protection of some influential noble and was
called, for example, 'Lord Leicester's Servants,' or 'The Lord Admiral's
Servants.' But this connection was for the most part nominal--the companies
were virtually very much like the stock-companies of the nineteenth
century. By the beginning of the great period the membership of each troupe
was made up of at least three classes of persons. At the bottom of the
scale were the boy-apprentices who were employed, as Shakspere is said to
have been at first, in miscellaneous menial capacities. Next came the paid
actors; and lastly the shareholders, generally also actors, some or all of
whom were the general managers. The writers of plays were sometimes members
of the companies, as in Shakspere's case; sometimes, however, they were
independent.
Until near the middle of Elizabeth's reign there were no special theater
buildings, but the players, in London or elsewhere, acted wherever they
could find an available place--in open squares, large halls, or,
especially, in the quadrangular open inner yards of inns. As the profession
became better organized and as the plays gained in quality, such makeshift
accommodations became more and more unsatisfactory; but there were special
difficulties in the way of securing better ones in London. For the
population and magistrates of London were prevailingly Puritan, and the
great body of the Puritans, then as always, were strongly opposed to the
theater as a frivolous and irreligious thing--an attitude for which the
lives of the players and the character of many plays afforded, then as
almost always, only too much reason. The city was very jealous of its
prerogatives; so that in spite of Queen Elizabeth's strong patronage of the
drama, throughout her whole reign no public theater buildings were allowed
within the limits of the city corporation. But these limits were narrow,
and in 1576 James Burbage inaugurated a new era by erecting 'The Theater'