14. Rich Dives in hell, and Lazarus in Abraham’s bosom, seen in a most
glorious object, all in machines descending in a throne, guarded with
multitudes of angels, with the breaking of the clouds, discovering the
palace of the sun, in double and treble prospects, to the admiration of
all spectators. Likewise several rich and large figures, with dances,
jiggs, sarabrands, anticks, and country dances between every act:
compleated with the merry humours of Sir John Spendall and Punchanello,
with several other things never yet exposed. Perform’d by Mat. Heatly.
Vivat Regina!”
In Braithwayte’s “Strapado for the Devil,” 8vo. Lond. 1615, p. 161, there
is an allusion to the performance of Mysteries in London in ancient
times:—
“Saint Bartlemews, where all the pagents showne,
And all those acts from Adam unto Noe
Us’d to be represent.”
P. 19, l. 1. Ω.] In MS., _oo_.
P. 22, l. 8. And make the man Adam.] A marginal note on the verso of fol.
74 informs us that Adam was created on the tenth of the calends of April.
P. 27, l. 24. For to hide.] Dr. Marriott, the editor of _A Collection of
English Miracle Plays_, 8vo. Basel, 1838, quotes a play entitled, _The
Travailes of the three English Brothers_, 4to. Lond. 1607, to show that
an exact representation of the primitive state of our forefathers in
the garden of Eden was exhibited on the English stage “as late as the
close of the sixteenth century.” This is an absurd misrepresentation,
and has been founded on an erroneous interpretation of a passage in
the play above-mentioned, which is spoken by Kemp, the actor, in a
conversation with Sir Anthony Sherley. According, however, to one of the
stage directions in the Chester Mysteries, Adam and Eve _stabunt nudi et
non verecundabuntur_; so that, joined with the present passage in the
Coventry Mysteries, there is at least some ground for believing that such
was actually the case at an earlier period.[11]
Dr. Marriott’s mistake has been already noticed by the Rev. A. Dyce, in
his interesting introduction to Kemp’s _Nine Daies Wonder_, reprinted
for the Camden Society, p. xv; and I take the opportunity of introducing
in this place some particulars relating to Kemp, which throw a new light
upon his history, more especially in relation with the above-mentioned
play, and proves that the introduction of the comic actor, and his
interview with Sherley, was strictly founded upon fact. The authors of
the play, indeed, assert in their prologue their intention of
“Clothing our truth within an argument,
Fitting the stage and your attention;
Yet not so hid but that she may appeare
To be herselfe, even truth.”
But dramatic critics have not given much credit to these professions of
honesty. Mr. Dyce even doubts the fact of Kemp having made a journey on
the continent, and considers the notice in _The Returne from Pernassus_
of his “dancing the morrice over the Alpes,” to be only a “sportive
allusion to his journey to Norwich.” In his _Nine Daies Wonder_, however,
he announces his intention of setting out shortly on a “great journey,”
and in his dedication he seems to allude to a projected journey to Rome.
I have recently discovered a passage in a contemporary diary, which
proves that Kemp actually met with Sir Anthony Shirley at Rome, and that
his “great journey” was not a very profitable speculation. It is as
follows:—“1601, Sept. 2. Kemp, mimus quidam, qui peregrinationem quandam
in Germaniam et Italiam instituerat, post multos errores et infortunia
sua reversus: multa refert de Anthonio Sherly equite aurato, quem Romæ
(legatum Persicum agentem) convenerat.”—MS. Sloan. 392, fol. 401. William
Parry, who was with Shirley in Russia, returned to England in the middle
of September, 1601, as we learn from the account published by Hackluyt;
and it is therefore very probable that Kemp was the first who brought the
news of his proceedings in Persia and Russia. An account of Shirley’s
adventures was published at London in 1613, and a very circumstantial
relation by Manwaring is in MS. Sloan. 110, but neither of these contain
the slightest notice of Kemp’s interview with the ambassador. What we
have given above is, however, quite sufficient to establish its truth,
and “the travell to Rome with the return in certain daies,” mentioned
in Rowley’s _Search for Money_, 1609, doubtlessly alludes to the same
circumstance: and would also seem to imply that he had accomplished his
homeward journey in a short time. Mr. Rimbault has also kindly favoured
me with a copy of the following song from an old MS. in his possession
by Thomas Weelkes, entitled, _Ayres or fantasticke spirites_, which was
printed with some variations in 1608:
“Since Robin Hood, Maid Marian,
And little John are gone-a,
The hobby-horse was quite forgot,
When Kempe did dance alone-a.
He did labour after the tabor
For to dance: then into France
He tooke paines
To skip it;
In hope of gaines
He will trip it,
On the toe,
Diddle, diddle, doe.”
[11] John of Salisbury thus complains of the indelicacy of
actors:—“Quorum adeo error invaluit, ut a præclaris domibus non
arceantur, etiam illi qui obscenis partibus corporis, oculis omnium eam
ingerunt turpitudinem, quam erubescat videre vel Cynicus.”—_De Nugis
Curialium_, lib. i. cap. 8, edit. 1639, p. 34.
P. 31, l. 8. Flammea.] Sic in MS. pro _flammeo_.
P. 37, l. 8. Showe.] So in MS., but perhaps _shove_, which would complete
the rhyme.
P. 38, l. 28. Never.] This word is added to the MS. in a more recent hand.
P. 46, l. 28. This schypp for to make.] A marginal note informs us that
“Noe schyp was in lenght ccc. cubytes, in brede ffyfty, and the heythe
thretty: the flode 15. above hyest montayne.”