Excerpt from "A Modern Cinderella, or The Little Old Shoe" by Louisa May Alcott (1860).

The old man went away into his imaginary paradise, and Nan into that domestic purgatory on a summer day,--the kitchen. There were vines about the windows, sunshine on the floor, and order everywhere; but it was haunted by a cooking-stove, that family altar whence such varied incense rises to appease the appetite of household gods, before which such dire incantations are pronounced to ease the wrath and woe of the priestess of the fire, and about which often linger saddest memories of wasted temper, time, and toil.

Nan was tired, having risen with the birds,--hurried, having many cares those happy little housewives never know,--and disappointed in a hope that hourly "dwindled, peaked, and pined." She was too young to make the anxious lines upon her forehead seem at home there, too patient to be burdened with the labor others should have shared, too light of heart to be pent up when earth and sky were keeping a blithe holiday. But she was one of that meek sisterhood who, thinking humbly of themselves, believe they are honored by being spent in the service of less conscientious souls, whose careless thanks seem quite reward enough.

To and fro she went, silent and diligent, giving the grace of willingness to every humble or distasteful task the day had brought her; but some malignant sprite seemed to have taken possession of her kingdom, for rebellion broke out everywhere. The kettles would boil over most obstreperously,-- the mutton refused to cook with the meek alacrity to be expected from the nature of a sheep,--the stove, with unnecessary warmth of temper, would glow like a fiery furnace,--the irons would scorch,--the linens would dry,--and spirits would fail, though patience never.

Based on the passage, the author most likely believes ____________.

Passage adapted from Shakespearean Playhouses (1917) by Joseph Quincy Adams.

Before the building of regular playhouses, the itinerant troupes of actors were accustomed, except when received into private homes, to give their performances in any place that chance provided, such as open street-squares, barns, town-halls, moot-courts, schoolhouses, churches, and—most frequently of all, perhaps—the yards of inns. These yards, especially those of carriers' inns, were admirably suited to dramatic representations, consisting as they did of a large open court surrounded by two or more galleries. Many examples of such inn-yards are still to be seen in various parts of England... In the yard a temporary platform—a few boards, it may be, set on barrel-heads—could be erected for a stage; in the adjacent stables a dressing-room could be provided for the actors; the rabble—always the larger and more enthusiastic part of the audience—could be accommodated with standing-room about the stage; while the more aristocratic members of the audience could be comfortably seated in the galleries overhead. Thus a ready-made and very serviceable theatre was always at the command of the players; and it seems to have been frequently made use of from the very beginning of professionalism in acting.

One of the earliest extant moralities, Mankind, acted by strollers in the latter half of the fifteenth century, gives us an interesting glimpse of an inn-yard performance. The opening speech makes distinct reference to the two classes of the audience described above as occupying the galleries and the yard:

"O ye sovereigns that sit, and ye brothers that stand right up."

The "brothers," indeed, seem to have stood up so closely about the stage that the actors had great difficulty in passing to and from their dressing-room. Thus, Nowadays leaves the stage with the request:

“Make space, sirs, let me go out!”

New Gyse enters with the threat:

“Out of my way, sirs, for dread of a beating!”

While Nought, with even less respect, shouts:

“Avaunt, knaves! Let me go by!”

Language such as this would hardly be appropriate if addressed to the "sovereigns" who sat in the galleries above; but, as addressed to the "brothers," it probably served to create a general feeling of good nature. And a feeling of good nature was desirable, for the actors were facing the difficult problem of inducing the audience to pay for its entertainment.

The author's attitude towards fifteenth century theater is best described as being ____________.