By M.A.; LOMMER, H.M. SUTHERLAND
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Extra resources for 1234 Modern End Game Studies With Appendix Containing 24 Additional Studies
The fundamental difference between these gentleman playgoers is their sense of what their payment buys; Damplay sees himself as having bought the right to do whatever he wishes in the theater, certain that the play is there for him, not he for the play, while Probee defines his experience in the terms the playwright provides for judging the play: “[O]ur parts that are the spectators, or should hear a comedy, are to await the process and events of things, as the poet presents them, not as we would corruptly fashion them” (4 Chor.
55 Indeed, the dreary regularity of this routinization enervates the courtier of Sir John Davies’s similar epigram “In Fuscum,” for whom, like Ben Jonson, plays have become work: [H]e’s like a horse, which turning round a mill, Doth always in the self-same circle tread. . Thus round he runs without variety. ”56 Vive la différence. The emphasis is on the way that diversion has become routine, that regular playgoing makes a business out of pleasure, which is, after all, the theater industry’s business model.
Ibid. 55. Francis Lenton, The Young Gallant’s Whirligig (London, 1629), 7; Thomas Cranley, “Amanda,” in The History of English Dramatic Poetry to the Time of Shakespeare, by John P. Collier (London: G. Bell and Sons, 1879), 3:217–18; Henry Glapthorne, “To a Reviv’d Vacation Play,” in Plays and Poems (London: John Pearson, 1874), 2:194. 56. Sir John Davies, Epigrams, in The Complete Poems, ed. Alexander B. Grosart (London: Chatto and Windus, 1876), 2:37–38. 57. William Prynne, “Epistle Dedicatory,” in Histrio-Mastix (London, 1632), 3v.
1234 Modern End Game Studies With Appendix Containing 24 Additional Studies by M.A.; LOMMER, H.M. SUTHERLAND