pany and the theatre in which they are exhibited are carried along the streets at quick time and with a light step by the two persons who manage the concern. But the Rowlandian, Dixonian, or Ingletonian puppets were large as life; and required for their removal a caravan (in the use to which that word is now appropriated),—a vehicle of such magnitude and questionable shape, that if Don Quixote had encountered its like upon the highway, he would have regarded it as the most formidable adventure which had ever been presented to his valour. And they went as far beyond our street-puppets in the sphere of their subjects as they exceeded them in size; for in that sphere quicquid agunt homines was included, and a great deal more. In no country and in no stage of society has the drama ever existed in a ruder state than that in which this company presented it. The Drolls of Bartholomew Fair were hardly so far below the legitimate drama, as they were above that of Rowland Dixon; for the Drolls were written compositions; much ribaldry might be, and no doubt was, interpolated as opportunity allowed or invited; but the main dialogue was prepared. Here on the contrary, there was no other preparation than that of frequent practice. The stock pieces were founded upon popular stories or ballads, such as Fair Rosamond, Jane Shore, and Bateman who hanged himself for love; with scriptural subjects for Easter and Whitsun-week, such as the Creation, the Deluge, Susannah and the Elders, and Nebuchadnezzar or the Fall of Pride. These had been handed down from the time of the old mysteries and miracle-plays, having, in the progress of time and change, descended from the monks and clergy to become the property of such managers as Powel and Rowland Dixon. In what manner they were represented when thus Fallen, fallen, fallen, fallen, Fallen, from their high estate, may be imagined from a play-bill of Queen Anne's reign, in which one of them is thus advertised: "At Crawley's Booth, over against the Crown Tavern in Smithfield, during the time of Bartholomew Fair, will be presented a little Opera, called the Old Creation of the World, yet newly revived; with the addition of Noah's flood. Also several fountains playing water during the time of the play. The last scene does present Noah and his family coming out of the Ark, with all the beasts two and two, and all the fowls of the air seen in a prospect sitting upon trees. Likewise over the Ark is seen the Sun rising in a most glorious manner. Moreover a multitude of Angels will be seen in a double rank, which presents a double prospect, one for the Sun, the other for a palace, where will be seen six Angels, ringing of bells. Likewise machines descend from above double and treble, with Dives rising out of Hell, and Lazarus seen in Abraham's bosom; besides several figures dancing jigs, sarabands and country dances, to the admiration of the spectators; with the merry conceits of Squire Punch, and Sir John Spendall." I have not found it any where stated at what time these irreverent representations were discontinued in England, nor whether (which is not unlikely) they were put an end to by the interference of the magistrates. The Autos Sacra mentales, which form the most characteristic department of the Spanish drama, were prohibited at Madrid in 1763, at the instance of the Conde de Teba, then Archbishop of Toledo, chiefly because of the profaneness of the actors, and the indecency of the places in which they were represented: it seems therefore that if they had been performed by clerks, and within consecrated precincts, he would not have objected to them. The religious dramas, though they are not less extraordinary and far more reprehensible, because in many instances nothing can be more pernicious than their direct tendency, were not included in the same prohibition; the same marks of external reverence not being required for Saints and Images as for the great object of Romish Idolatry. These probably will long continue to delight the Spanish people. But facts of the same kind may be met with nearer home. So recently as the year 1816, the Sacrifice of Isaac was represented on the stage at Paris: Samson was the subject of the ballet; the unshorn son of Manoah delighted the spectators by dancing a solo with the gates of Gaza on his back; Dalilah clipt him during the intervals of a jig; and the Philistines surrounded and captured him in a country dance! That Punch made his appearance in the puppet-show of the Deluge, most persons know; his exclamation of "hazy weather, master Noah," having been preserved by tradition. In all of these wooden dramas whether sacred or profane, Punch indeed bore a part, and that part is well described in the verses entitled Pupa gesticulantes, which may be found among the Selecta Poemata Anglorum Latina, edited by Mr. Popham. Ecce tamen subitò, et medio discrimine rerum, Cui riget in gibbum, immensusque protruditur alvus : Ullus; quinetiam media inter seria semper Sæpe puellarum densa ad subsellia sese |