[4] Dedication to the “Indian Emperor.”

[5] In this particular a watch was kept over the stage.  “The Maid’s Tragedy,” which turns upon the seduction of Evadne by a licentious and profligate king, was prohibited during the reign of Charles II., as admitting certain unfavourable applications.  The moral was not consolatory,—­

    “on lustful kings,
  Unlooked-for sudden deaths from heaven are sent.”

See Cibber’s Apology, p. 199.  Waller, in compliment to the court, wrote a 5th Act, in which that admired drama is terminated less tragically.

[6] It was a part of the duty of the master of the revels to read over and correct the improprieties of such plays as were to be brought forward.  Several instances occur, in Sir Henry Herbert’s Office-book, of the exercise of his authority in this point.  See Malone’s History of the Stage.

[7] Lord Holland’s “Life of Lope de Vega,” p. 128.

[8] The “Wild Gallant,” which Charles commanded to be performed before him more than once, was of the class of Spanish comedies.  The “Maiden Queen,” which the witty monarch honoured with the title of his play, is in the same division.  Sir Samuel Tuke’s “Adventures of Five Hours,” and Crowne’s “Sir Courtly Nice,” were both translated from the Spanish by the king’s express recommendation.

[9] The gracioso or buffoon, according to Lord Holland, held an intermediate character between a spectator and a character in the play; interrupting with his remarks, at one time, the performance, of which he forms an essential, but very defective part in another.  His part was, I presume, partly written, partly extempore.  Something of the kind was certainly known upon our stage.  Wilson and Tarleton, in their capacity of clowns, entered freely into a contest of wit with the spectators, which was not at all held inconsistent with their having a share in the performance.  Nor was tragedy exempted from their interference.  Hall, after telling us of a tragic representation, informs us,

  “Now least such frightful showes of fortunes fall,
  And bloudy tyrants’ rage, should chance appall
  The dead-struck audience, ’midst the silent rout
  Comes leaping in a selfe-misformed lout,
  And laughes, and grins, and frames his mimick face,
  And justles straight into the prince’s place: 
  Then doth the theatre echo all aloud
  With gladsome noyse of that applauding croud. 
  A goodly hoch-poch, when vile russetings
  Are matcht with monarchs and with mighty kings.”

This extemporal comic part seems to have been held essential to dramatic representation, in most countries in Europe, during the infancy of the art.  Something of the same kind is still retained in the lower kinds of popular exhibitions; and the clowns to the shows of tumbling and horsemanship, with my much-respected friend Mr. Punch in a puppet-show, bear a pretty close resemblance to the gracioso of the Spaniards, the arlequino of the Italians, and the clown of the ancient English drama.  See Malone’s History of the Stage.