so providing them with a stable environment where they could practice their trade to a more diffuse audience in the public theaters (Dutton 2). In 1581, the Queen gave the serving Master, Edmond Tilney, a special commission that authorized him:to warne commaunde and appointe in all places within this our Realme of England, as well within the francheses and liberties as without, all and every plaier with their playmakers, either belonging the name or names or using the facultie of playmakers or plaiers of Comedies, Tragedies, Enterludes or whatever other showes soever, from tyme to tyme and at all tymes to appeare before him with all such plaies, Tragedies, Comedies, or showes as they shall readiness or meane to sette forth, and them recite before our Servant or his sufficient deputie, whom we ordeyne appointe and aucthorise be these presentes of all suche showes, plaies, plaiers, and playmakers, together with their playing places, to order and reforme, auctorise and put downe, as shallbe thought meete or unmeete unto himself or his said deputie in that behalf.(Chambers, 4, pp.285-7)He was also given the powers to enforce this authority. The Masters primary concern was to suppress anything that may cause social disorder.A myriad of subjects were considered dangerous in Elizabethan Drama. Indulging in religious controversy, any kind of sacrilege, and criticism of sovereigns are just a few examples of chief offenses to authority and reason for censorship. On May 16, 1559, Elizabeth I issued a proclamation that instructed all the Masters of the Revels on what was not acceptable in plays:And for instruction to every one of the sayde officers, her majestie doth likewise charge every one of them, as they will aunswere: that they permit none to be played wherein either matters of religion or of the governaunce of the estate of the common weale shalbe handled or treated, being no meete matters to be written or treated upon, but by menne of auct...
