The members of the men's companies were divided into four classes: those who had shares in the house and in the company, those who had shares only in the company, hired actors, and apprentices. The third of these classes received a fixed salary, the last were cared for by the individual actors to whom they were apprenticed. The profits of the theaters were derived from entrance money and the additional fees received for the better seats. All of the first and half of the second was divided between the members of the first and second classes of shareholders. The members of the first received in addition shares in the other half of the additional fees.[5] Because female parts were always taken by men or boys, it is sometimes assumed that Elizabethan acting must have been crude. On the contrary, we have every reason to believe that most parts, particularly the less important ones, were acted better than they are usually acted to-day. Some of the actors, such as Burbage and Alleyn, were undoubtedly men of great genius. All of them had the advantage of regular and consistent training--a thing only too often lacking in these days when an actor of ability is almost immediately made a 'star,' although he frequently knows pitifully little of the art of acting. One of the most interesting testimonies to the ability of Elizabethan actors is Ben {50} Jonson's tribute to the memory of the boy actor, Salathiel Pavy:-- "Weep with me, all you that read This little story; And know, for whom a tear you shed Death's self is sorry. 'Twas a child that so did thrive In grace and feature, As Heaven and Nature seem'd to strive Which owned the creature. Years he number'd scarce thirteen When Fates turn'd cruel, Yet three fill'd zodiacs had he been The stage's jewel; And did act (what now we moan) Old men so duly, As sooth the Parcae thought him one, He play'd so truly. So, by error, to his fate They all consented; But, viewing him since, alas, too late! They have repented; And have sought, to give new birth, In baths to steep him; But, being so much too good for earth, Heaven vows to keep him." Many of the points discussed in this chapter are still the subject of controversy. The theories of the stage adopted here are, in general, those of V. E. Albright, _The Shakespearean Stage_ (Macmillan, 1909). Among the numerous books and articles on these topics, the most useful are: G. F. Reynolds, _Some Principles of Elizabethan Staging_ (_Modern Philology_, Vols. 3 and 4); Brodmeier, _Die Shakespeare Bühne_ (Weimar, 1904); Fleay, _Chronicle History of the London Stage_ (London, 1890); Henslowe's _Diary_, ed. by W. Greg (London, 1904); and the works of Creizenach and Schelling referred to in the preceding chapter.