Accordingly, it is not surprising that, when a company of comedians came to Perth in June 1589, and applied to the kirk-session for a licence to represent a play, of which they produced a copy, that reverend court expressed itself as follows: ‘_Perth, June 3, 1589._--The minister and elders give licence to play the play, with conditions that no swearing, banning, nor nae scurrility shall be spoken, whilk would be a scandal to our religion, and for an evil example to others. Also, that nothing shall be added to what is in the register of the play itself. If any one who plays shall do in the contrary, he shall be wardit, and make his public repentance.’--_P. K. S. R._ These are among the proofs to the general conclusion, that the puritanic strictness for which Scotland has been noted, did not reach its acme during the first age succeeding the Reformation. Ten years had since elapsed, during which the English drama had passed through a vigorous adolescence, drawing the highest wits of the land into its service. No regular theatre had been set up in Scotland, nor was the time come when one could be supported; but some inclination was manifested by the London acting companies to pay occasional visits to the north, where the mirth-loving king and his court were ready to patronise them. The clergy were by this time disposed to look more sourly on the children of Thespis. An English company did come to Edinburgh about October 1599--possibly the Blackfriars company, to which Shakspeare belonged; but on this point, and as to the question whether Shakspeare was of the party, we have no information. It received a licence from the king to perform. [Sidenote: NOV. 10.] [Sidenote: 1599.] Roused by ‘certain malicious and restless bodies, wha upon every little occasion misconstrue his majesty’s haill doings,’ the general kirk-session of the city passed an act in direct opposition to the purport of the royal licence, threatening with censure all who should support the comedy; and this they ordered to be read in all pulpits, where, at the same time, the ‘unruly and immodest behaviour of the stage-players’ became the theme of abundant declamation. The king chose to take up this act as a discharge of his licence, and called the sessions before him, when, after a conference, they professed to be convinced that ‘his hieness had not commandit nor allowit ony thing carrying with it ony offence or slander;’ and they readily agreed to annul their former act. This was accordingly done next day, ‘sae that now not only may the comedians freely enjoy the benefit of his majesty’s liberty and warrant grantit to them, but all his majesty’s subjects, inhabitants within the said burgh, and others whatsomever, may freely at their awn pleasure repair to the said comedies and plays, without ony pain, reproach, censure, or slander to be incurrit by them.’--_P. C. R._ We learn, however, from Spottiswoode, that this was ‘to the great offence of the ministers.’