and at Blackfriars, with great applause. Lyly's second play, Sapho and Phao, was produced at Court on March 3, following, and also at Blackfriars before the general public.
But at the Easter term, 1584, Sir William More got judgment in his favor. The widow begged Sir Francis Walsingham to intercede in her behalf, declaring that the loss of the lease "might be her utter undoing."[161] Walsingham sent the letter to More, and apparently urged a consideration of her case. More, however, refused to yield. He banished Lyly, Hunnis, Evans, and the Children from the "great upper hall," and reconverted the building into tenements.
CHAPTER VI
ST. PAUL’S
AS shown in the preceding chapter, not only were the Children of the Chapel Royal and of Windsor called upon to entertain the Queen with dramatic performances, but the Children of St. Paul's were also expected to amuse their sovereign on occasion. And following the example of the Children of the Chapel and of Windsor in giving performances before the public in Blackfriars, the Paul's Boys soon began to give such performances in a building near the Cathedral.[162] The building so employed was doubtless one of the structures owned by the Church. Burbage and Heminges refer to it as "the said house near St. Paul's Church."[163] Richard Flecknoe, in A Discourse of the English Stage (1664), places it "behind the Convocation-house in Paul's";[164] and Howes, in his continuation of Stow's Annals (1631), says that it was the "singing-school" of the Cathedral.[165] That the auditorium was small we may well believe. So was the stage. Certain speakers in the Induction to What You Will, acted at Paul's in 1600, say: "Let's place ourselves within the curtains, for, good faith, the stage is so very little, we shall wrong the general eye else very much." Both Fleay and Lawrence[166] contend that the building was "round, like the Globe," and as evidence they cite the Prologue to Marston's Antonio's Revenge, acted at Paul's in 1600, in which the phrases "within this round" and "within this ring" are applied to the theatre. The phrases, however, may have reference merely to the circular disposition of the benches about the stage. That high prices of admission to the little theatre were charged we learn from a marginal note in Pappe with an Hatchet (1589), which states that if a tragedy "be showed at Paul's, it will cost you four pence; at the Theatre two pence."[167] The Children, indeed, catered to a very select public. Persons who went thither were gentle by birth and by behavior as well; and playwrights, we are told, could always feel sure there of the "calm attention of a choice audience."[168] Lyly, in the Prologue to Midas, acted at Paul's in 1589, says: "Only this doth encourage us, that presenting our studies before Gentlemen, though they receive an inward dislike, we shall not be hissed with an open disgrace." Things were quite otherwise in the public theatres of Shoreditch and the Bankside.
Under the direction of their master, Sebastian Westcott, the Boys acted before the public at least as early as 1578,[169] for in December of that year the Privy Council ordered the Lord Mayor to permit them to "exercise plays" within the city;[170] and Stephen Gosson, in his Plays Confuted, written soon afterwards, mentions Cupid and Psyche as having been recently "plaid at Paules."
Westcott died in 1582, and was succeeded by Thomas Gyles. Shortly after this we find the Children of Paul's acting publicly with the Children of the Chapel Royal at the little theatre in Blackfriars. For them John Lyly wrote his two earliest plays, Campaspe and Sapho and Phao, as the title-pages clearly state. But their stay at Blackfriars was short. When in 1584 Sir William More closed up the theatre there, they fell back upon their singing-school as the place for their public performances.
At the same time the Queen became greatly interested in promoting their dramatic activities. To their master, Thomas Gyles, she issued, in April, 1585, a special commission "to take up apt and meet children" wherever he could find them. It was customary for the Queen to issue such a commission to the masters of her two private chapels, but never before, or afterwards, had this power to impress children been conferred upon a person not directly connected with the royal choristers. Its issuance to Gyles in 1585 clearly indicates the Queen's interest in the Paul's Boys as actors, and her expectation of being frequently entertained by them. And to promote her plans still further, she appointed the successful playwright John Lyly as their vice-master, with the understanding, no doubt, that he was to keep them—and her—supplied with plays. This he did, for all his comedies, except the two just mentioned, were written for the Cathedral Children, and were acted by them at Court, and in their little theatre "behind the Convocation House."
Unfortunately under Lyly's leadership the Boys became involved in the bitter Martin Marprelate controversy, for which they were suppressed near the end of 1590. The printer of Lyly's Endimion, in 1591, says to the reader: "Since the plays in Paul's were dissolved, there are certain comedies come to my hands by chance, which were presented before Her Majesty at several times by the Children of Paul's."
Exactly how long the Children were restrained it is hard to determine. In 1596 Thomas Nash, in Have With You to Saffron Walden, expressed a desire to see "the plays at Paul's up again." Mr. Wallace thinks they may have been allowed "up again" in 1598;[171] Fleay, in 1599 or 1600;[172] the evidence, however, points, I think, to the spring or early summer of 1600. The Children began, naturally, with old plays, "musty fopperies of antiquity"; the first, or one of the first, new plays they presented was Marston's Jack Drum's Entertainment, the date of which can be determined within narrow limits. References to Kempe's Morris, which was danced in February, 1600, as being still a common topic of conversation, and the entry of the play in the Stationers' Registers on September 8, 1600, point to the spring or early summer of 1600 as the date of composition. This makes very significant the following passage in the play referring to the Paul's Boys as just beginning to act again after their long inhibition:
Sir Ed. I saw the Children of Paul's last night, And troth they pleas'd me pretty, pretty well. The Apes in time will do it handsomely. Plan. S'faith, I like the audience that frequenteth there With much applause. A man shall not be choak't With the stench of garlic, nor be pasted To the barmy jacket of a beer-brewer. Bra. Ju. 'Tis a good, gentle audience; and I hope the Boys Will come one day into the Court of Requests.
Shortly after this the Boys were indeed called "into the Court of Requests," for on New Year's Day, 1601, they were summoned to present a play before Her Majesty.
Their master now was Edward Pierce, who had succeeded Thomas Gyles. In 1605 the experienced Edward Kirkham, driven from the management of the Blackfriars Theatre, became an assistant to Pierce in the management of Paul's. In this capacity we find him in 1606 receiving the payment for the two performances of the Boys at Court that year.[173]
Among the playwrights engaged by Pierce to write for Paul's were Marston, Middleton, Chapman, Dekker, Webster, and Beaumont; and, as a result, some of the most interesting dramas of the period were first acted on the small stage of the singing-school. Details in the history of the Children, however, are few. We find an occasional notice of their appearance at Court, but our record of them is mainly secured from the title-pages of their plays.
The last notice of a performance by them is as follows: "On the 30th of July, 1606, the youths of Paul's, commonly called the Children of Paul's, played before the two Kings [of England and of Denmark] a play called Abuses, containing both a comedy and a tragedy, at which the Kings seemed to take great delight and be much pleased."[174]
The reason why the Children ceased to act is
