These conditions, however, were accepted by the audiences of the time
in the most liberal spirit. Critics were prone to deride the popular
liking for "cutler's work" and "the horrid noise of target fight;"
"the fools in the yard" were censured for their "gaping and gazing" at
such exhibitions. But the battles of the stage were still fought on;
"alarums and excursions" continued to engage the scene. Indeed,
variety and stir have always been elements in the British drama as
opposed to the uniformity and repose which were characteristics of the
ancient classical theatre.
Yet our early audiences must have been extremely willing to help out
the illusions of the performance, and abet the tax thus levied upon
their credulity. Shakespeare's battles could hardly have been very
forcibly presented. In his time no "host of auxiliaries" assisted the
company. "Two armies flye in," Sir Philip Sidney writes in his
"Apologie for Poetrie," 1595, "represented with four swords and
bucklers, and what harde heart will not receive it for a pitched
fielde?" So limited an array would not be deemed very impressive in
these days; but it was held sufficient by the lieges of Elizabeth.
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