It was already one o'clock when we arrived. As we took our seats the music played its first sounding or flourish. There was a great hubbub in the place: hucksters went about with baskets crying pippins, nuts, and ale; in the "rooms" book-sellers' boys hawked about new books; everybody was talking together; everywhere the people were smoking tobacco, playing cards, throwing dice, cheapening books, cracking nuts, and calling for ale. The music played a second sounding. The hubbub continued unabated. Then it played the third and last. Suddenly the tumult ceased. The piece was about to begin.
The stage was decorated with blue hangings of silk between the columns, showing that the piece was to be--in part, at least--a comedy. Across the raised gallery at the back was stretched a painted canvas representing a royal palace. When the scene was changed this canvas became the wall of a city, and the actors would walk on the top of the wall; or a street with houses; or a tavern with its red lattice and its sign; or a tented field. When night was intended, the blue hangings were drawn up and exchanged for black.
The hawkers retired and were quiet; the house settled down to listen, and the Prologue began. Prologue appeared dressed in a long black velvet cloak; he assumed a diffident and most respectful manner; he bowed to the ground.
"In Troy there lies the scene. From isles of Greece, The princes orgulous, their high blood chaf'd, Have to the port of Athens sent their ships."
[Illustration: INSIDE OF THE RED BULL PLAYHOUSE]
In this way the mind of the audience was prepared for what was to follow. We needed no play-bill. The palace before us could be no other than Priam's Palace. If there was a field with tents, it must be the battle-field and the camp of the Greeks; if there was a wall, it must be the wall of Troy. And though the scenery was rough, it was enough. One wants no more than the unmistakable suggestion; the poet and the actor find the rest. Therefore, though the intrusive gallants lay on the stage; though Troilus was dressed in the armor of Tudor-time, and Pandarus wore just such a doublet as old Stow himself, we were actually at Troy. The boy who played Cressida was a lovely maiden. The narrow stage was large enough for the Council of Kings, the wooing of lovers, and the battle-field of heroes. Women unfaithful and perjured, lovers trustful, warriors fierce, the alarms of war, fighting and slaying, the sweet whispers of love drowned by the blare of trumpets; the loss of lover forgotten in the loss of a great captain; and among the warriors and the kings and the lovers, the creeping creatures who live upon the weaknesses and the sins of their betters, played their parts upon these narrow boards before a silent and enraptured house. For three hours we were kept out of our senses. There was no need, I say, of better scenery; a quick shifting of the canvas showed a battle-field and turned the stage into a vast plain covered with armies of Greeks and Romans. Soldiers innumerable, as thick as motes in the sun, crossed the stage fighting, shouting, challenging each other. While they fought, the trumpets blew and the drums beat, the wounded fell, and the fight continued over these prostrate bodies till they were carried off by their friends. The chiefs rushed to the front, crossed swords, and rushed off again. "Come, both you cogging Greeks!" said Troilus, while our cheeks flushed and our lips parted. If the stage had been four times as broad, if the number of men in action had been multiplied by ten, we could not have felt more vividly the rage, the joy, the madness of the battle.