Jonson, Ben · published 1600 · first performed or written 1599 (Annals) comedy · Lord Chamberlain's (Hunsdon's) Men T9 Theatre talk: prologues, poets and playe typicality 0.74 · 467 words
Marked words are the most distinguishing words of T9: play, stage, poet, prologue, author, wit, plays, muse, scene, players.
No, I assure you signor; if those laws you speak of, had been delivered us, ab Initio; and in their present virtue and perfection, there had been some reason of obeying their powers: but 'tis extant, that that which we call Comoedia, was at first nothing but a simple and continued Satire, sung by one only person, till Susario invented a second, after him Epicharmus a third, Phormus, and Chionides devised to have four actors, with a Prologue and Chorus; to which Cratinus (long after) added a fift and sixth; Eupolis more, Aristophanes more than they: every man in the dignity of his spirit and judgement, supplied something: and (though that in him this kind of Poem appeared absolute, and fully perfected) yet how is the face of it changed since, in Menander, Philemon, Cecilius, Plautus, and the rest; who have utterly excluded the Chorus, altered the property of the persons, their names, and natures, and augmented it with all liberty, according to the elegancy and disposition of those times wherein they wrote? I see not then but we should enjoy the same Licentia or free power, to illustrate and heighten our invention as they did; and not be tied to those strict and regular forms, which the niceness of a few (who are nothing but Form) would thrust upon us. Well, we will not dispute of this now: but what's his Scene? Mary Insula fortunata, Sir. O, the fortunate Island? mass he has bound himself to a strict law there. Why so? He cannot lightly alter the Scene without crossing the seas. He needs not, having a whole Island to run through, I think. No? how comes it then, that in some one play we see so many seas, countries, and kingdoms, passed over with such admirable dexterity? O, that but shows how well the Authors can travail in their vocation, and outrun the apprehension of their Auditory. But leaving this, I would they would begin once: this protraction is able to sour the best-settled patience in the Theatre. They have answered your wish sir: they sound. O here comes the Prologue: Now sir, if you had stayed a little longer, I meant to have spoke your Prologue for you, i'faith. Mary with all my heart sir, you shall do it yet, and I thank you. Nay, nay, stay, stay, hear you? You could not have studied to ha' done me a greater benefit at the instant, for I protest to you, I am unperfect, and (had I spoke it) I must of necessity have been out. Why but do you speak this seriously? Seriously! I (God's my help do I) and esteem myself indebted to your kindness for it. For what? Why for undertaking the Prologue for me. How? did I undertake it for you?
seed 43: T16 · seed 44: T15 — topic numbers are assigned independently in each run; equal or different numbers say nothing by themselves
Original spelling (EEBO-TCP, unregularized)
No, I assure you signior; if those lawes you speake of, had beene deliuered vs, ab Initio; and in their present vertue and perfection, there had beene some reason of obeying their powers: but 'tis extant, that that which wee call Comoedia, was at first nothing but a simple and continued Satyre, sung by one only person, till Susario invented a second, after him Epicharmus a third, Phormus, and Chionides devised to have foure actors, with a Prologue and Chorus; to which Cratinus (long after) added a fift and sixt; Eupolis more, Aristophanes more than they: every man in the dignitie of his spirit and judgement, supplied something: and (though that in him this kind of Poeme appeared absolute, and fully perfected) yet how is the face of it chang'd since, in Menander, Philemon, Cecilius, Plautus, and the rest; who have vtterly excluded the Chorus, altered the propertie of the persons, their names, and natures, and augmented it with all libertie, according to the elegancie and disposition of those times wherein they wrote? I see not then but we should enjoy the same Licentia or free power, to illustrate and heighten our invention as they did; and not be tied to those strict and regular forms, which the nicenesse of a fewe (who are nothing but Forme) would thrust vpon vs. VVell, we will not dispute of this now: but what's his Scene? Mary Insula fortunata, Sir. O, the fortunate Iland? masse hee has bound himselfe to a strict law there. VVhy so? He cannot lightly alter the Scene without crossing the seas. He needs not, having a whole Iland to runne through, I thinke. No? how comes it then, that in some one play wee see so many seas, countries, and kingdomes, past over with such admirable dexteritie? O, that but shewes how well the Authors can travaile in their vocation, and out-run the apprehension of their Auditorie. But leaving this, I would they would begin once: this protraction is able to sower the best-setled patience in the Theatre. They have answered your wish sir: they sound. O here comes the Prologue: Now sir, if you had staid a little longer, I meant to have spoke your Prologue for you, I faith. Mary with all my heart sir, you shall doe it yet, and I thanke you. Nay, nay, stay, stay, heare you? You could not have studied to ha' done me a greater benefit at the instant, for I protest to you, I am vnperfect, and (had I spoke it) I must of necessitie have been out. VVhy but doe you speake this seriously? Seriously! I (God's my helpe doe I) and esteeme my selfe indebted to your kindnesse for it. For what? VVhy for vndertaking the Prologue for me. How? did I vndertake it for you?