Chapter XXIII: Epilogue

Please you to see the epilogue or to hear a Bergomask dance between
two of our company?
V, i, 360.

A Bergomask dance was performed after the manner of a dance by Bergamo peasants. Bergamo was formerly a town in Venetia; now it is in the province of Lombardy.

But come, your Bergomask; let your epilogue alone.
V, i, 369.

ERCLES VEIN. PART.

I could play Ercles rarely, or a part to tear a cat in.
I, 2, 31.

This is Ercles’ vein, a tyrant’s vein; a lover is more condoling.
I, 2, 42.

The “Ercles vein” referred to a style of acting widely prevalent in Shakespeare’s day. This method gained his unqualified disapproval, which he specially denounced in Hamlet’s advice to the players. Through his influence, this melodramatic bombastic ranting was finally driven from the stage, not, alas, without many pleadings for its retention amongst several playgoers. Robert Greene, the dramatist, in his _Groatsworth of Wit_, the same pamphlet in which he accuses Shakespeare of downright plagiarism, mentions an actor who observes how he heard “The Twelve Labours of Hercules thunder on the stage.” Henslowe, in his Diary, notes the name of a play on this subject, and others are also known. It gave an opportunity for a robust actor to carry an audience with him in his display of fiery outbursts of uncontrollable passion.

EXTEMPORE.

You may do it extempore, for it is nothing but roaring.
I, 2, 70.

MASK.

FLUTE.

Nay, faith, let not me play a woman: I have a beard coming.

QUI.

That’s all one, you shall play it in a mask.

There is a tradition that masks were worn by ladies attending the theatres in the sixteenth and seventeenth centuries. This custom may have originated from the stage use of boys and men playing female parts, sometimes in masks. Very little is known of the history of wearing masks, both in public and private performances. The above quotation proves that it would not be at all incongruous for an actor to play his part in a mask.

MASQUE.

What masques, what dances shall we have?
V, 1, 32.

What masque? what music? How shall we beguile
The lazy time, if not with some delight.
V, 1, 40.

INTERLUDE.

Here is the scroll of every man’s name which is thought fit,
through all Athens, to play in our interlude.
I, 2, 5.

APPAREL.

Get your apparel together, good strings to your beards, new ribbons
to your pumps. In any case, let Thisby have clean linen.
IV, 2, 36.

Although scenic effects did not play a great part in Elizabethan performances, the actors spared no pains in appearing before the audience in most elaborate costumes. The court masques were most gorgeously costumed, and the expenses totalled thousands of pounds. It is on record that noblemen lent their rich doublets and hose to actors on special occasions, all characters, whether ancient or modern, appearing in the costume of the day. Henslowe’s Diary affords many glimpses of the dresses supplied to the actors. In fact, the rich apparel of the actors is one of the noteworthy features of an Elizabethan play, and can be attested by many contemporary witnesses. We see here the rude mechanicals aping their betters, and Bottom’s request that the performers shall appear in their best and do everything in their power to make a goodly show before the Duke.

PLAY.

Say what the play treats on.
I, 2, 9.

Mary! our play is The most lamentable comedy.
I, 2, 11.

I could play Ercles rarely.
I, 2, 31.

Let me not play a woman, I have a beard coming.

You shall play it in a mask.
I, 2, 51.

Let me play Thisby, too.
I, 2, 53.

You must play Pyramus: And Flute, you Thisby.
I, 2, 57.

Robin Starveling you must play Thisby’s mother.
I, 2, 62.

Here is a play fitted
I, 2, 67.

Let me play the lion, too. I will roar.
I, 2, 72.

You can play no part but Thisby.
I, 2, 87.

What beard where I best to play it in.
I, 2, 93.

And then you will play barefaced.
I, 2, 100.

I will draw a bill of properties, such as our play wants.
I, 2, 105.

Doth the moon shine that night we play our play.
III, 1, 53.

Leave a casement of the great chamber window where we play, open.
III, 1, 58.

What a play toward.
III, 1, 81.

To rehearse a play.
III, 11, 2.

I will sing it the latter end of the play.
IV, 1, 23.

If he come not then the play is marred.
IV, 2, 5.

Our play is preferred.
IV, 2, 39.

Let not him that plays the lion pare his nails.
IV, 2, 41.

Is there no play
To ease the anguish of a torturing hour?
V, i, 36.

A play there is, my lord, some ten words long,
Which is as brief as I have known a play.
V, 1, 61.

For in all the play
There is not one word apt, one player fitted.
V, i, 64.

What are they that do play it?
V, 1, 71.

And now have toiled their unbreathed memories
With this same play.
V, 1, 75.

I will hear that play.
V, 1, 81.

Here she comes, and her passion ends the play.
V, 1, 321.

No epilogue, I pray you; for your play needs no excuse.
V, 1, 362.

This palpable gross play hath well beguil’d
The heavy gait of night.
V, 1, 374.

PLAYED.

A stranger Pyramus than e’er played here.
II, 1, 91.

It was play’d
When I from Thebes came last a conqueror.
V, 1, 90.

He hath played on his prologue like a child on a recorder.
V, 1, 122.

If he that writ it had played Pyramus and hanged himself in
Thisbe’s garter it would have been a fine tragedy.
V, 1, 365.

PLAYER.

Now name the rest of the players.
I, 2, 42.

For in all the play there is not one word apt, one player fitted.
V, 1, 65.

Never excuse, for when the players are all dead there need none to
be blamed.
V, 1, 364.

PUPPET.

Fie: you counterfeit, you puppet you!
Puppet? why so?
III, 2, 288.