as proverbs. Massinger was a student of Italian authors; and some of the lucky hits of their theatre, which then consisted of nothing else but these burlesque comedies, might have circuitously reached the English bard; and six-and-thirty years afterwards, the same traditional jests might have been gleaned by the Gallic one from the "Dottore," who was still repeating what he knew was sure of pleasing. Our theatres of the Elizabethan period seem to have had here the extempore comedy after the manner of the Italians: we surely possess one of these Scenarios, in the remarkable." Platts," which were accidentally discovered at Dulwich College, bearing every feature of an Italian Scenario. Steevens calls them

a mysterious fragment of ancient stage-direction," and adds, that "the paper describes a species of dramatic entertainment of which no memorial is preserved in any annals of the English stage*. The commentators on Shakespeare appear not to have known the nature of these Scenarios. The "Platt," as it is called, is fairly written in a large hand, cóntaining directions appointed to be stuck up near the prompter's station; and it has even an oblong hole in its

I refer the reader to Steevens's edition, 1793, vol. II. p. 495, for a sight of these literary curiosities.

centre to admit of being suspended on a wooden peg. Particular scenes are barely ordered, and the names, or rather nick-names, of several of the players, appear in the most familiar manner, as they were known to their companions in the rude green-room of that day; such as Pigg, White and Black Dick and Sam, Little Will Barne, Jack Gregory, and the Red-faced Fellow," &c. Some of these "Platts" are on solemn subjects, like the tragic pantomime; and in some appear "Pantaloon, and his man Peascod, with spectacles." Steevens observes, that he met with no earlier example of the appearance of Pantaloon, as a specific character on our stage; and that this direction concerning "the spectacles" cannot fail to remind the reader of a celebrated passage in "As You like it:"

-The lean and slipper'd Pantaloon,

With spectacles on nose

Perhaps, he adds, Shakespeare alludes to this personage, as habited in his own time. Can we doubt that this Pantaloon had come from the Italian theatre, after what we have already said? Does not this confirm the conjecture, that there existed an intercourse between the Italian theatre and our own? Further, Tarleton the comedian, and others, celebrated for their "extemporal wit," was the

writer or inventor of one of these "Platts." Stowe records of one of our actors that " he had a quick, delicate, refined, extemporal wit." And of another that "he had a wondrous, plentiful, pleasant, extemporal wit." These actors then, who were in the habit of exercising their impromptus, resembled those who performed in the unwritten comedies of the Italians. Gabriel Harvey, the Aristarchus of the day, compliments Tarleton for having brought forward a new species of dramatic exhibition. If this compliment paid to Tarleton merely alludes to his dexterity at extemporaneous wit in the character of the clown, as my friend Mr. Douce thinks, this would be sufficient to show that he was attempting to introduce on our stage the extempore comedy of the Italians; which Gabriel Harvey distinguishes as "a new species." As for these "Platts," which I shall now venture to call "Scenarios," they surprise by their bareness, conveying no notion of the piece itself, though quite sufficient for the actors. They consist of mere exits and entrances of the actors, and often the real names of the actors are familiarly mixed with those of the dramatis persona. Steevens has justly observed however on these skeletons, that although "the drift of these dramatic pieces cannot be collected from the mere outlines before us, yet we must not charge them with ab

surdity. Even the scenes of Shakespeare would have worn as unpromising an aspect, had their skeletons only been discovered." The painted scenarios of the Italian theatre were not more intelligible; exhibiting only the hints for scenes.

Thus, I think, we have sufficient evidence of an intercourse subsisting between the English and Italian theatres, not hitherto suspected; and I find an allusion to these Italian pantomimes, by the great town-wit Tom Nash, in his "Pierce Pennilesse," which shows that he was well acquainted with their nature. He indeed exults over them, observing that our plays are "honourable and full of gallant resolution, not consisting, like theirs, of pantaloon, a zany, and a w-e, (alluding to the women actors of the Italian stage*;) but of emperors, kings, and princes." But my conviction is still confirmed, when I find that Stephen Gosson wrote "the comedie of captain Mario;" it has not been printed, but "captain Mario" is one of the Italian characters.

Even at a later period, the influence of these performances reached the greatest name in the English Parnassus. One of the great actors and authors of these pieces, who published eighteen

* Women were first introduced on the Italian stage about 1560-it was therefore an extraordinary novelty in Nash's time.

of these irregular productions, was Andreini, whose name must have the honour of being associated with Milton's, for it was his comedy or opera which threw the first spark of the Paradise Lost into the soul of the epic poet-a circumstance which will hardly be questioned by those who have examined the different schemes and allegorical personages of the first projected drama of Paradise Lost: nor was Andreini, as well as many others of this race of Italian dramatists, inferior poets. The Adamo of Andreini was a personage sufficiently original and poetical to serve as the model of the Adam of Milton. The youthful English poet, at its representation, carried it away in his mind. Wit indeed is a great traveller; and thus also the "Empiric" of Massinger might have reached us, from the Bolognese "Dottore."

The late Mr. Hole, the ingenious writer on the Arabian Nights, observed to me that Moliere it must be presumed never read Fletcher's plays, yet his "Bourgeois gentilhomme" and the other's "Noble Gentleman" bear in some instances a great resemblance. They possibly may have drawn from the same Italian source of comedy which I have here indicated,