Some account of the English stage, from the restoration in 1600 to 1830

i —

SOME ACCOUNT

OF THE

ENGLISH STAGE,

KUOM THE

RESTORATION IN 1660 TO 1830.

IN TEN VOLUMES.

Ei t T.

. - EVAORIUS, p- 473.

IF ANY THING BU O\ LKLOOKE1), OR NOT ACCURATELY INSERTED, LET
NO ONE FIND FAULT, BDT TAKE INTO CONSIDERATION THAT THIS
HISTORY IS COMPILED FROM ALL O.UARTKHS.

VOL I.

BATH:

PRINTED BY H. E. CARRINGTON.
SOLD BY THOMAS RODD, GREAT NEWPORT STREET, LONDON.

1832.

at

6,4-

M \

CONTENTS.

Short Account previously to 1660.

Some Account from 1660 to 1663.

Theatre Royal & Lincoln's Inn Fields — from 1663 to 1668.

Sir William Davenant.

Duchess of Newcastle.

Dry den's Essay of Dramatick Poesie.

T. R. and L. I. F. 1669.

Sir John Coventry and Charles 2d.

T. R. and L. I. F. to 1671.

Dorset Garden 1671

T. R. and D. G. to 1675.

Dryden and Crowne.

T. R. and D. G. to 1677.

Rymer.

T. R. and D. G. to 1682.

Union of the two Companies in 1682.

T. R. to 1 684.

Charles the 2d.

T. R. 1685 to 1688.

James the 2d.

T. R. to 1690.

N. B. For Corrections and Additions see vol. 10 p. 246.

ABBREVIATIONS IN INDEX.

T. R. for Theatre Royal.

L. I. F. for Lincoln's Inn Fields.

D. G for Dorset Garden.

Hay. for Haymarket.

G. F. for Goodman's Fields.

D. L. C. for Drury Lane Company.

C. G. C. for Covent Garden Company.

INDEX TO THE ENGLISH STAGE.

N B. FOR THE FIRST APP. OF ANY PERFORMER OF CONSEQUENCE, SEE
HIS, OR HER, CHARACTERS.

A

ALdalla — see vol. 10 p. 225.

Abdicated Prince — see vol. 1 p. 468.

Abdication of Ferdinand — see vol. 10 p. 229.

Abdelazer— D. G. 1677.

Abington Mrs — her characters — C. G. 1798-1799.

Abon Hassan — D. L. April 4 1825.

Abradates and Panthea — see vol. 10 p. 229.

Abra Mule— L. I. F. Jan — 1704— D. L. Jan 26 1710— L. I. F.
March 18 1721— C. G. Feb. 15 1735— C. G.March 8 1744.

Abroad and at Home — C. G. Nov. 19 1796 — D. L. May 28
1822.

Absent Apothecary — D. L. Feb. 10 1813.

Absent Man by Bickerstaffe — D. L. March 21 1768 — D. L.
March 29 1784— C. G. March 24 1795.

Absent Man by Hull— C. G. April 28 1764.

Abudah, or the Talisman of Oromanes — D. L. April 13 1819.

Accomplished Maid — C G. Dec. 3 1766.

Accusation, or the Family of D'Anglade — D.L. Feb. 1 1816.

Achilles by Boyer— T. R. 1699.

b

11 INDEX,

Achilles by Gay— C. G. Feb. 10 1733.

Achilles in Petticoats — C. G. Dec. 16 1773.

Act at Oxford — see D. L. Oct. 30 1705.

Actor by Lloyd — see end of C. G. 1760-1761.

Actor of All Work—Hay. Aug. 13 1817.

Actress of All Work— Bath May 8 1819— Bath April 23 1823.

A damns Exsul — see vol. 10 p. 178.

Adelaide by Pye — D. L. Jan. 5 1800.

Adelaide, or the Emigrants — C. G. May 23 1816.

Adelaide of Wulfingen — see vol. 10 p. 208.

Adelinda — see vol. 7 p. 401.

Adeline — D. L. Feb. 9 1822.

Adelgitha— D. L. April 30 1807— D. L. May 19 1817— C. G.
Oct. 29 1818— D. L. Nov. 16 1820— D. L. June 18 1823
— D. L. April 14 1828.

Adelmorn the Outlaw — D. L. May 4 1801 — in 2 acts D. L.
May 7 1802.

Admirable Crichton — D. L. June 12 1820.
Adopted Child— D. L. May 1 1795— C. G. May 14 1799.
Adrian and Orrila— C. G. Nov. 15 1806— Bath Oct. 28 1820.
Adventures in Madrid — see end of Hay. 1705-1706.
Adventures of a Night — D. L. March 24 1783.

Adventures of Five Hours— L. I. F. 1663— Hay. Feb. 3 1707—
D. L. Oct. 9 1727— for the plot see C. G. Jan. 31 1767.

Adventures of Half an Hour— L. I. F. March 19 1716.

Adventures of a Ventriloquist — Bath Jan. 18 1823.

Adventurers— D. L. March 18 1790.

Adventures of Ulysses — see vol. 10 p. 230.

Advertisement, or Bold Stroke for a Husband — Hay. Aug. 9
1777.

Aerostation — C. G. Oct. 29 1784.

JSschylus — see vol. 5 p. 629.

. L. 1697— D. L. March 16 1708— L. I. F. Nov. 13
and Dec. 7 1725— D. L. Jan. 5 1738— C. G. May 4 1742
— D. L. Dec. 28 1758— as afterpiece D. L. Dec. 19 1778.

jEthiop— C. G. Oct. 6 1812— Bath Feb. 25 1819.
Africans— Hay. July 29 1808— Hay. Aug. 5 1818— D. L. June
2 1823.

Agamemnon — D. L. April 6 1738.
Agis— D. L. Feb. 21 1758.

INDEX. Ill

Aglauru — see vol. 10 p. 66.

Agmunda — see Huniades.

Agnes de Castro — D. L. 1696.

Agnes, or Midnight Marriage — Bath Mar. 12 1823.

Agreeable Surprise — Hay. Sep. 3 1781 — Hay. (D. L. C.)
April 8 1793— D. L. April 16 1795— C. G. Dec. 5 1795—
C. G. June 9 1818.

Agrippina — see vol. 10 p. 49.

Aikin F — his characters— C. G. 1792-1793.

Aikin James — see D. L. Dec. 5 1767 and end of D. L. 1799-1800.

Aladdin — melodramatic Romance — C. G. April 19 1813.

Aladdin, by Soane — D. L. April 29 1826.

Alasco — see vol. 10 p. 243.

Albert and Adelaide— C. G. Dec. 22 1798.

Albertus Wallenstein — see Old Plays 1823-1824.

Albina Countess Raymond — Hay. July 31 1779.

Albion and Albanius— T. R. 1685.

f

Albion Restored — see vol. 10 p. 179.

Albion Queens— D. L. Mar. 6 1704— D. L. Mar. 2 1723— C. G.
Sep. 30 1734— C. G. April 5 1750— C. G. May 13 1766—

C. G. April 16 1773— C. G. May 20 1779— Bath Nov 23
1815.

Albovine King of the Lombards — see vol. 10 p. 77.

Albumazar— L. I. F. Feb. 2 1668— D. L. Oct. 3 1747— D. L.
April 13 1748 — for the plot see D. L. Oct. 19 1773.

Alcaid— Hay. Aug. 10 1824.

Alcanor — see Arab C. G. March 8 1785.

Alchemist T. R. Aug. 3 1664— L. I. F. Oct. 9 1702— D. L.
Feb. 19 1709— D. L. Oct. 27 1721— C.G. Dec. 10 1740—

D. L. March 21 1743 — D. L. March 20 1753 — D. L.
Dec. 17 1763— D. L. Oct. 24 1774— as Farce D. L. April
10 1787.

Alcibiades— D. G. 1675.
Alcmena — D. L. Nov. 2 1764.

Alexander the Great — (see Rival Queens) — D. L. Oct. 16 1772 —
C. G. Oct. 4 1774— D. L. March 27 1776— C. G. Oct. 22
1787 — C. G. May 6 1794— D. L. Nov. 23 1795— D. L.
April 23 1806— C. G. June 1 1808— C. G. Nov. 17 1812
— D. L. June 8 1818— D. L. June 23 1823.

Alexander the Great — Pantomime — D. L. Feb. 12 1795.
Alexandrsean Tragedy — see vol. 10 p. 32.

IV INDEX.

Alexander the Little — C. G. May 2 1791.
-Alexis' Paradise — see vol. 10 p. 157.

Alfonso King of Castile— C. G. Jan. 15 1802— Hay. Feb. 28 1803
— D. L. Jan. 28 1804.

Alfred and Emma — see vol. 10 p. 227.

Alfred the Great by Pocock — C. G. Nov. 3 1827.

Alfred by Home— C. G. Jan. 21 1778.

Alfred by Mallet— D. L. Feb. 23 1751— D. L. Oct. 9 1773.

Algonah— D. L. April 30 1802.

Alive and Merry— (F.)—D. L. May 17 1796.

Ali Pacha— C. G. Oct. 19 1822.

All Alive and Merry— L. I. F. Jan. 10 1737.

All a Mistake— C. G. July 2 1825.

All at Sixes and Sevens — D. L. March 21 1829.

All Fools — see vol. 4 p. 122.

All for Love— T R. 1678— L. I. F. Feb. — 1704— D. L. Dec. 3
1718— D. L. April 2 1734— C. G. March 11 1736— U. L.
Feb. 2 1747— C. G. March 12 1750— D. L, March 22 1766
— D. L. Dec. 17 1772— C. G. April 28 1773— D. L. March
18 1776— C. G. Jan 19 1779— D. L. May 5 1788— C. G.
May 24 1790— Bath Jan. 12 1818.

All for the Better— see vol 2 p. 276.
All in Good Humour — Hay. July 7 1792.
All in a Bustle — see vol. 10 p. 203.
All in the Right— C. G. April 26 1766.

All in the Wrong— D. L. June 15 1761— C. G. April 26 1776—

C. G. Jan. 3 1783— D. L. Oct. 26 1785— C. G. Nov. 13 1786
_D. L. March 29 1787— Hay. (D. L. C.) April 22 1793—

D. L. Jan 27 1797— D. L. April 2 1803— C. G. May 1 1810
— C. G. April 1 1824.

All Mistaken— T. R. Dec. 28 1667— for the plot see vol. 4 p. 116.
All on a Summer's Day— C. G. Dec. 15 1787.
All Plot, or the Disguises— see L. I. F. 1671.
All's Fair in Love— C. G. April 29 1803.

All's lost by Lust— see vol. 1 p. 36 — for the plot see vol. 2
p. 330.

All's Right—Hay. June 15 1827.

All's Well that ends well— G. F. March 7 1741— D. L. Jan. 22
1742— C. G. April 1 1746— D. L. Feb. 24 and March 2 1756
— D. L. Oct. 23 1762— C. G. Nov. 29 1762— C. G. Dec. 3
1772— Hay. July 26 1785 — D. L. Dec. 12 1794 — C. G.
May 24 1811— Bath May 23 1821.

INDEX. V

All the World's a Stage— D. L. April 7 1777— C. G. May 17
1782— D. L. May 31 1819— C. G- Oct. 30 1820— L). L.
May 22 1823— 1 Jay. Oct. 13 1823.

Almena-D. L. Nov. 2 1764.

Almeyda, Queen of Granada— D. L. April 20 1796.

Alraida— D. L. Jan. 12 1771.

Almyna— Hay. Dec. 16 1706.

Alonzo— D. L. Feb. 27 1773.

Alonzo and Imogine — C. G. June 10 1801.

Alphonso, King of Naples— T. R. 1691.

Alphonsus, Emperour of Germany — see vol. 9 p. 538.

Alsop Mrs.— 1st app. at C. G. Oct. 18 1815.

Altamira by Victor — see vol. 5 p. 539.

Altemira by Lord Orrery— L. I. F. 1702.

Alzira — L. I. F. June 18 1736 — D. L. April 30 1744 — C. G.

March 18 1755— and C. G. Jan. 11 1758.
Alzuma— C. G. Feb. 23 1773.
Amana— see vol. 10 p. 181.

Amasis, King of ^gypt— C. G. August 22 1738.
Amateur of Fashion — Bath Feb. 9 1810 — D.L.April 10 1813

C. G. Feb. 25 1813 — Bath May 28 1814 — Bath Dec. 21
1816.

Amateurs and Actors — C. G. Oct. 28 1826.
Ambition — Hay. Sept. 13 1830.
Ambitious Statesman— T. R. 1679.

Ambitious Stepmother — L. I. F. 1700 — D. L. Jan. 25 1722

D. L. Feb. 1 1759.

Amboyna— T. R. 1673.

Amelia, altered from Summer's Tale — C. G. April 12 1768

D. L. Dec. 14 1771.

Amelia by Carey— see vol. 10 p. 258.

Amends for Ladies — see vol. 10 p. 2?.

Americans by D. L. C. April 27 1811.

American Indian — see vol. 10 p. 203.

Amintas— C. G. Dec. 15 1769.

Amoroso, King of Little Britain— D. L. April 21 1818.

Amorous Bigot — T. R. 1690.

Amorous Miser — see D. L. Jan. 18 1705.

Amorous Orontus — see vol. 10 p. 140.

Amorous Prince — L. I. F. 1671.

Amorous War — see vol. 10 p. 71.

VI INDEX.

Amorous Widow— L. I. F. 1670— Hay. Nov. 19 1709— L. I. F.
Oct. 23 1724— C. G. Jan. 1752— C. G. March 11 1758.

Amours of Billingsgate — D. L. June 11 1731.

Amphitryon— T. R. 1690— D.L. Sep. 18 1708 — D. L. Sep. 12
1734— D. L Dec. 15 1756 — D. L. Nov. 23 1769 — C. G.
March 20 1773— D. L. May 17 1781 — revived at D. L. in
2 acts, Nov. 18 1826.

Amyntas by Randolph — see vol. 2 p. 293.
Anaconda, the Serpent of Ceylon — Bath May 8 1826.

Anatomist — L. I. F. 1697 — revived as Farce D. L. Nov. 18 1743
— D. L. April 15 1771— C. G. Dec. 21 1786— D. L. Feb. 4
1791— D.L. Dec. 19 1801.

Andrfc — see vol. 10 p. 212.

Andromache— D. G. 1675.

Andromana — see vol. 11 of Dodsley 1744.

Andronicus Commenius — see vol. 10 p. 138.

Animal Magnetism— C. G. May 26 1788 — Hay. July 22 1806—

C. G. March 16 1819— Hay. Oct. 2 1824 — C. G. Nov. 24

1824.

Anna— D. L. C. Feb. 25 1793:

Annette and Lubin— C. G. Oct. 2 1778— C. G. May 9 1786.

Anniversary (Sequel to Lethe)— C. G. March 29 1758.

Antigone by May — see vol. 10 p. 50.

Antiochusby Mottley— L. I. F. April 13 1721.

Antiochus by Mrs. Wiseman — L. I. F. 1702.

Antipodes — see vol. 10 p. 39.

Antiquary — see vol. 7 of Dodsley 1744.

Antiquary— C, G. Jan 25 1820.

Antiquity— see vol. 10 p. 228.

Antonio and Mellida-see vol. 2 of Old Plays 1814-1815.

Antonio, or Soldier's Return— D. L.Dec. 131800.

Antony and Cleopatra by Sedley— D. G. 1 677.

Antony and Cleopatra by Shakspeare — D. L. Jan. 3 1759.

Antony and Cleopatra altered from Shakspeare and Dryden —

C. G. Nov. 15 1813.

Antony and Cleopatra by Brooke— see his works 1778.
Any thing New— Bath Nov. 12 1812.
Apollo and Daphne-C. G. Nov. 9 1748.
Apostate -C. G. May 3 1817.
Apparition, a musical Romance — Hay. Sep. 3 1794.
Apparition, or Sham Wedding— D. L. Nov. 25 1713.

INDEX. Vii

Appeal— see vol. 7 p. 134.

Appearance is against them — C. G. Oct. 22 1784 — C. G. May 1

1K04.

Appius and Virginia T. C. 1575 — see vol. 4 p. 133.
Appius and Virginia by Dennis— D. L. Feb. 5 1709.
Appius by Webster — see Unjust Judge L. I. F. 1670.
Appius by Moncrief — C. G. Mar. 6 1756.

Apprentice — D. L. Jan. 2 1756 — D. L. May 7 1762 — Hay. Aug.
27 1778— D. L. Jan. 16 1781— C. G. Mar. 26 1788.

April Day— Hay. Aug. 22 1777.

Arab— C. G. Mar. 8 1785.

Arbitration, or Free and Easy — C. G. Dec. 1 1 1806.

Arcadia by Lloyd— D. L. Oct. 26 1761.

Arcadia by Sbirley — see vol. 9 p. 553.

Arden of Feversham — D. L. July 19 1759 — altered at C. G.
Ap. 14 1790.

Argalus and Parthenia — see T. R. 1682.

Ariadne by D'Urfey — see vol. 10 p. 156.

Aristippus — see vol. 10 p. 47.

Aristoderaus — see vol 10 p. 229.

Aristomenes — see vol. 10 p. 153.

Aristophanes — see vol. 5 p. 609.

Armed Briton — see vol. 10 p. 228.

Arminius — see end of D. L. 1739-1740.

Armourer— C. G. Ap. 4 1793.

Arrived at Portsmouth — C. G. Oct. 30 1794.

Arsaces — see vol. 10 p. 190.

Arsinoe— D. L. Jan. 16 1705.

Art and Nature — D. L. Feb. 16 1738.

Artaxerxes — C. G. Feb. 2 1762.

Artful Husband— L. I. F. Feb. 11 1717— L. I. F. May 5 1721
— D. L. Mar. 3 and 10 1747.

Artful Wife— L. I. F. Dec. 3 1717.

Arthur and Eraraeline — D. L. Nov. 22 1784 — C. G. Nov. 2

1803— C. G. Oct. 26 1819.
Arthur John— see end of C. G. 1757-1758.
Artifice by Mrs. Centlivre — D. L. Oct. 2 1722.
Artifice F.— D. L. April 14 1780.
Art of Management — see Hay. 1759.

Vlll INDEX.

Arviragus and PhiKcia — T. B. 1672 — for the plot see vol. 10
p. 25.

As it should be — Hay. June 3 1789.

Assembly, or Scotch Reformation — see vol. 10 p. 183.

Assignation by Dryden_T. R. 1672— D. L. July 3 1716— C. G.
Nov. 30 1744.

Assignation by Miss Lee — D. L. Jan. 28 1807.
Assignation in g acts — D. L. Dec. 12 1812.
Aston Anthony — see L. I. F. Jan. 13 1722.
Astrologer — -D. L. A p. 3 1744.
As you find it— L. I. F. Ap. 28 1703.

As you like it— D. L. Dec. 20 1740— C. G. Jan. 8 1742— D. L.
Nov. 2 1747— D. L. Oct. 22 1767— C. G. Ap. 5 1771—
C. G. Jan. 24 1775 -C. G. Dec. 17 1779— Hay. July 4 1783
— D.L. Ap. 30 1785— D L. Ap. 13 1787— C.G Feb. 11 and
Nov. 20 1789— D. L. May 12 1797— C. G. Oct. 25 1805.

Athaliah — see vol. 10 p. 156.

Atheist— T. R. 1684.

Atheist's Tragedy — see vol. 10 p. 19.

Athelstan— D. L. Feb. 27 1756.

Athelwold— D. L. Dec. 10 1731.

At Home— C. G. Feb. 25 1813.

Atreus and Thyestes — see vol. 1 0 p. 235 .

Auchindrane — see vol. 1 0 p. 245.

Auction of Pictures by Foote — Hay. 1747-1748.

Augustus — see vol. 10 p. 155.

Augusta, or the Blind Girl — D. L. Jan. 14 182 .

Auld Robin Gray— Hay. July 29 1794.

Aurelio and Miranda — D. L. Dec. 29 1798.

Aurenge-Zebe— T. R. 1675— D. L. Feb. 19 1708— D. L Nov.
23 1709— D. L. Dec. 11 1721.

Austin — see D. L. March 20 1760.

Author— D. L. Feb. 5 1757— C. G. Oct. 17 1770— D. L. March
14 1771 _ D. L. March 21 1774 — D. L. March 16 1779
— C. G. April 21 1779— Hay. June 1 1781— C. G. Dec.
11 1790.

Author's Farce and Pleasures of the Town — Hay. 1730 — D. L.
Jan. 19 1734— C. G. March 28 1748.

Author's Triumph — see vol. 10 p. 166.
A Year in an Hour— Hay. June 17 1824.

B.

Bachelors— see vol. 10 p. 216.

INDEX, 'I

BaddeK-y Mrs.— gee end of D. L. 1780-1781.

Baddeley's characters — D. L. 1794-1795.

Baker-Bath Feb. 28 and April 10 1820.

Ball — see vol. 9 p. 553.

Banditti— T. R. 1686.

Banishment of Cicero — see Cumberland 1812-1813.

Banished Duke — see vol. 1 p. 468.

Bank Note— C. G. May 1 1795.

Bankrupt—Hay. July 21 1773.

Bannian Day — Hay. June 11 1796.

Bannister Sen. — see Hay. Oct. 16 1804.

Bannister Jun — his characters — D. L. 1814-1815.

Bantry Bay— C. G. Feb. 20 1797.

Barataria— C. G- March 29 1785— Hay. Aug. 31 1818.

Barbarossa— D. L. Dec. 17 1754— C. G. Nov. 1 1770— C. G.
Feb. 2 1779— C. G. Dec. 13 1784— C. G. Jan. 4 1798—

C. G. Dec. 1 1804 — D. L. Dec. 15 1804 — D. L. May 26
1817— D. L. Dec. 26 1826-

Barber Baron— Hay. Sep. 8 1828.

Barber of Seville — C. G. Oct. 13 1818.

Barmecide — D. L. Nov. 3 1818.

Barnaby Brittle— C. G. April 18 1781— Hay. June 23 1809.

Baron Kink— Hay. July 9 1781.

Barons of Elbenbergh — see vol. 10 p. 228.

Barresford Mrs. — her characters — Hay. 1789.

Barry Mrs. Elizabeth — her characters — Hay. 1709-1710.

Barry Mrs. Ann — see Mrs. Crawford.

Barry and Mrs- Dancer acted at the Opera House Hay. in the
summer of 1766.

Barry's characters — C. G. 1776-1777.
Barsanti Miss — her characters — Hay. 1777.

Bartley Mrs. — made her 1st app. at C. G. Oct. 2 1805 — as Miss
Smith.

Bartholomew Fair — see T. R. 1682 — Hay. Aug. 12 1707 —

D. L. June 28 1715— D. L. Oct. 30 1731.

Bartholemew and other Fairs — see vol. 10 p. 158.
Bashaw and Bear— Bath Jan. 25 1822-
Bashful Lover- see C. G. May 30 1798.
Basil— see Miss Baillie 1811-1812.
Basket Maker— Hay. Sep. 4 1790.

X INDEX.

Basset Table— D. L. Nov. 20 1705-
Bastard — see vol. 10 p. 123.
Bastard Child— see vol. 10 p. 186.

Bateman, or the Unhappy Marriage — see vol. 2 p. 275.
Bath, or Western Lass— D. L. 1701.
Bath Unmasked— L. I. F. Feb. 27 1725.
Bath Theatrical Fund— see end of 1829-1830.
Battle of Alcazar — see vol. 10 p. 87.
Battle of Bothwell Brigg— C. G. May 22 1820.
Battle of Eddington— C. G. July 19 1824.
Battle of Hastings — D. L. Jan. 24 1778.

Battle of Hexham— Hay. Aug. 1.1 1789— C. G. May 14 1795—
Hay. July 11 1803.

Battle of the Poets — Hay. Jan. 1 1731.
Battle of Poitiers— G. F. March 5 1746-1747.
Battle of Pultawa— C. G. Feb. 23 1829.
Battle of Sedgmoor — see vol. 10 p. 154.
Bays' Opera— D. L. March 30 1730.
Beacon— see Miss Baillie— 1811-1812.
Beacon of Liberty— C. G. Oct. 8 1823.
Beau Demolished— L. I. F. Feb. 9 1715.
Beaumont and Fletcher — see end of 1777-1778.
Beau's Duel— L. I. F. Oct. 21 1702— D. L. April 11 1785.
Beautiful Armenia — see vol. 10 p. 192.
Beauty in Distress— L. [. F. 1698.

Beaux Stratagem— Hay. March 8 1707— L. I. F. Nov. 18 1721
— D. L. Sept. 13 1740— D. L. Dec. 22 1742— C. G. June
23 1746— D. L. April 10 1761— D. L. Dec. 1 1767— C. G.
Jan. 5 1774— D. L. Nov. 3 1774— C. G. Feb. 28 1778—
Hay. Aug. 17 1779— C. G. Nov. 19 1785— C. G. Feb. 10
1786— C. G. March 22 1798— D. L. Nov. 20 1802— Hay.
June 21 1810— D. L. June 5 1818— C. G. Nov. 26 1819—
Hay. Oct. 13 1823— C. G. Dec. 31 1628.
Beehive by D. L. C.— Jan. 19 1811— C. G. June 9 1813.
Before Breakfast— Bath Feb. 25 1828.
Beggar my Neighbour — Hay. July 10 1802.
Beggar on Horseback — Hay. June 16 1785 — Hay. Aug. 8 1797

— D. L. June 14 1814.
Beggar's Bush— see T. R. 1682 — for the plot see D. L. Dec.

14 1815.
Beggar's Daughter of Bethnal Green — D. L. Nov. 22 1828.

INDEX. XI

Beggar's Opera — L. 1. F. Jan. 29 1728 — acted by Children at
L. I. F. Jan. 1 1729— D. L. Jan. 25 1738— C. G. May 29
1745— D. L. Dec. 12 1747— C. G. Oct. 10 1759— Hay.
Aug. 10 1767— D. L. Nov. 8 1777— Hay. Aug. 8 1781—
C.G.May 18 1789— May. Aug. 19 1791— C. G. May 3
1796— C. G. June 4 1816— Hay. July 22 1820— D. L.
Nov. 4 1820— Bath Jan. 15 1821.

Beggar's Opera was reduced to 2 acts at C. G. March 12 1814.

Beggar's Pantomime — L. I. F. Jan. 3 1737.

Beggar's Wedding— see Hay. 1729— and D. L. July 4 1729.

Begone Dull Care— C. G. Feb. 9 1808.

Behn Mrs. — see vol. 2 p. 79.

Belfille Mrs.— see C. G. Nov. 13 1786.

Belford and Minton— Hay. Aug. 13 1819.

Belisarius— L. I. F. April 14 1724.

Bellamira by Sedley— T. R. 1687.

Bellamira, or the Fall of Tunis— C. G. April 22 1818.

Bellamy Mrs. — her characters — D. L. 1784-1785.

Belles without Beaux — see vol. 9 p. 162.

Belle's Stratagem— C. G. Feb. 22 1780— D. L. March 22 1790 —
C. G. Jan. 8 1808— C. G. Sept. 12 1817— D. L. Jan. 20

1818.

Belle's Stratagem (not acted) — see vol. 10 p. 193.
Belphegor by Wilson— T. R. 1690.

Belphegor by Andrews— D. L. March 16 1778— D. L. Oct. 27
1789.

Belshazzar — see Miss More 1781-1782.

Benefice — see vol. 10 p. 148.

Benefits — for origin of them, see end of D. L. 1708-1709.

Benevolent Planters (it came out as Friends) Hay. Aug. 5 1789.

Benjamin Bolus, or Newcastle Apothecary — Hay. Aug. 8 1797.

Ben Nazir— D. L. May 21 1827.

Bensley's characters — D. L. 1795-1796.

Benyowsky — D. L. March 16 1826.

Bernard— see end of C. G. 1795-1796.

Berry— see end of D. L. 1758 1759.

Bertram— D. L. May 9 1816.

Best Bidder— D. L. Dec. 11 1782.

Better late than Never — D. L. Nov. 17 1790.

Better late than Never (not acted) — see vol. 10 p. 195.

XH INDEX.

Betterton — his famous bt. at D. L. April 7 1709 — his characters
Hay. 1709-1710.

Betterton Mrs. — her characters T. R. 1694.

Betty, or the Country Bumpkins — D. L. Dec. 2 and 6 1732.

Betty Master — his 1st app. as a boy at C. G. Dec. 1 1804 — his
1st app. as a man at Bath Feb. 15 1812 — C. G. Nov. 3
1812— C. G. June 12 1813— C. G. June 6 1815— Bath
March 28 1815— Bath Dec. 6 1822.

BickerstafFs Burial — D. L. March 27 1710 — acted as Custom of
the Country D. L. May 5 1715.

Bickerstaff's Unburied Dead— L. 1. F. Jan. 14 1743— C. G.
April 27 1748.

Bicknell Mrs. — her characters D. L. 1722-1723.
Bill of Fare— Hay. June 15 1822.
Biographia Dramatica — see vol. 8 p. 327.

Bird in a Cage — C. G. April 24 1786 — for the dedication to

Prynne, see vol. 9 p. 546.
Birds without Feathers — Hay. Oct. 1 1824.
Birthday, or Prince of Arragon — Hay. Aug. 12 1783.

Birthday, by Dibdin— C. G. April 8 1799— Bay. Sep. 3 1800—
Hay. Sep. 5 1814— C. G. Dec. 6 1825.

Birth of Hercules— see vol. 10 p. 181.

Birth of Merlin— see vol. 10 p. 56.

Biter— L. I. F. Dec. 4 1704,

Blackamoor Washed White— D. L. Feb. 1 and 5 1776.

Blackamoor's Head— D. L. May 1G 1818.

Black Beard— Bath Jan. 18 1816.

Black-eyed Susan— Bath Nov. 18 1829.

Black Prince— T. R. Oct. 19 1667.

Blacksmith of Antwerp-C. G. Feb. 7 1785— D. L. Oct. 3 1816.

Blanchard Thomas-see end of C. G. 1793-1794.

Blanchard William— his 1st app.— see C. G. October 1 1800.

Bland Mrs.- see D. L. July 5 1824.

Blazing Comet— see vol. 10 p. 258.

Blind Bargain-C. G. Oct. 24 1804.

Blind Beggar of Bethnal Green— D. L. April 3 1741.

Blind Boy— C. G. Dec. 1 1807— D. L. June 20 1826.

Blind Girl— C. G. April 22 1801.

Blind Lady— see vol. 10 p. 135.

Bloody Banquet — see vol. 10 p. 98.

Bloody Duke — see vol. 1 p. 468.

INDEX. Xlll

Blue Beard, by Colman — D. L. Jan. 23 1798 — C. G. Feb. 18
1811, with horses — C.G.June 2 1825.

Blue Devils— C. G. April 24 1798— Hay Juno 12 1798.

Boadicea, by Hopkins — L. I. F. 1697.

Boadicea by Glover — f). L. Dec. 1 1753.

Boarding House — Bath March 3 1812 — D. L. June 5 1817.

Boarding School Romps — D. L.Jan. 29 1733.

Boheme — his characters— L. I. F. 1730-1731.

Bobinet, the Bandit — C. G. Dec. 4 1815.

Bold Beauchamps — see vol. 1 0 p. 87.

Bold Stroke for a Husband— C. G. Feb. 25 1783— C. G. May 29
1795— D. L. June 1 1803— C. G. May 1 1804— Hay. Oct.
14 1811— D. L. May 27 1815— D. L. May 28 1821— Bath
Feb. 19 1822— Hay. Aug. 15 1828.

Bold Stroke for a Wife — L. I. F. Feb. 3 1718 — L. I. F. April
23 1728— D. L. Jan. 13 1739— C. G. April 28 1746— D. L.
Dec. 26 and 27 1748— C. G. April 3 1758— C. G. Dec. 27
1762— D. L. Dec. 28 1763 — C. G. Dec. 28 1772 — D. L.
April 29 1777— C. G. Oct. 7 1778 — C. G. Jan. 2 1787 —
Hay. Oct. 29 1793 — D. L. Oct. 19 1796 — Hay. June 11
1810— D. L. Oct. 25 1813— C. G. Jan. 3 1826.

Boman— see D. L. 1738-1739.

Borabastes Furioso — Hay. Aug. 7 1810.

Bondman — D. L. June 8 1719 — altered by Cumberland, C. G.
Oct. 13 1779.

Bonds without Judgments — C. G. May 1 1787.

Bonduca, badly altered, was revived at D. L. 1696 — acted at

D. L.Feb. 12 1706 and June 9 1731.
Bonduca, altered by Colman — see Hay. July 30 1778 — C. G.

April 24 1795— C. G.May 3 1808.

Bonifacio and Bridgetina — C. G. March 31 1808.

Bon Ton— D. L. March 18 1775— Hay. Aug. 18 1777 — C. G.
Nov. 20 1789— Hay. Aug. 31 1791— D. L. Oct. 17 1796—
D. L. July 5 1815 — C. G. Feb. 23 1819 — D. L. Nov. 23
1819— C. G. June 6 1827.

Booth Barton— his characters — D. L. 1727-1728.

Booth Mrs.— D. L. 1732-1733.

Booth Lucius Junius — C. G. Feb. 12 1817— Bath May 13 1817.

Botheration — C. G. May 8 1798.

Bottle Imp— C. G. Oct. 17 1828.

Boutel Mrs. — her characters L. I. F. 1696.

Bowen's characters— D. L. 1717-1718.

Bow Street Opera— see vol. 10 p. 188.

XIV INDEX.

Box-Lobby Challenge— Hay. Feb. 22 1794.
Box-Lobby Loungers— D. L. May 16 1787.
Boy of Santillane— D. L. April 16 1827.
Bracegirdle Mrs. — her characters — Hay. 1706-1707-
Bradshaw Mrs. — her characters — D. L. 1713-1714.

Braganza— D. L. Feb. 17 1775— D. L. March 16 1782 — D. L.
May 24 1785— D. L. Oct. 20 1785.

Brand Miss Hannah— D. L. C. Jan. 18 1792.

Brave Irishman— G. F. Jan. 31 1746— D. L. May 14 1770— Bath
May 21 1783.

Brazen Bust— C. G. May~29 1813.

Brennoralt — T. R. March 5 1668— for the plot see vol. 10 p. 67.

Brereton — see end of D. L. 1784-1785.

Bridal Ring— C. G. Oct. 16 1810.

Bride C.— see end of D. L. 1705-1706.

Bride of Abydos— D. L. Feb. 5 1818.

Bride of Laramermoor — Bath March 11 1826.

Bridgewater — see C G. 1753-1754.

Brigand— D. L. Nov. 18 1829.

Britain's Glory, or Trip to Portsmouth — Hay. Aug. 20 1794.

Britain's Jubilee, acted by D. L. Company, Oct. 25 1809.

Britannia, or Royal Lovers — G. F. Feb. 11 1734.

Britannia by Mallet — D. L. May 9 1755.

British Enchanters— Hay. Feb. 21 1706 — Hay. Feb. 22 1707,

with alterations.
British Fortitude, and Hibernian Friendship — C. G. April 29

1794— C. G. March 5 1799.

British Heroine— C. G. May 5 1778.

British Loyalty, or Squeeze at St. Paul's — D. L. April 30 1789.

British Sailor, or Whimsical Ladies — Bath May 9 1786.

Briton— D. L. Feb. 19 1722.

Britons Strike Home — D. L. Dec. 31 1739 — D. L. March 27

1779.

Broad but not Long — C. G. June 15 1814.
Broken Gold— D. L. Feb. 8 1806.
Broken Heart — see Ford's works — 1811.
Broken Sword— C. G. Oct. 7 1816.
Brooke's Plays— see end of 1777-1778.

Brother and Sister— C. G. Feb. 1 1815— D. L. June 17 1823.
Brothers by Shirley — see vol. 9 p. 559.

INDEX. XV

Brothers by Dr. Young — I). L. March 3 1753.

Brothers by Cumberland — C. G. Dec. 2 1769 — Hay. July 24
1771— C. G. Jan. 15 1778 — C. G. April 25 1787 — D. L.
Nov. 4 1800—Bath May 23 1812.

Brown Mrs. — her 1st app. at C. G. Jan. 28 1786.

Brunton— see C. G. Sep. 22 1800.

Brunt on Miss Ann — see Mrs. Merry.

Brunt on Miss — see Bath April 21 1823 — afterwards Mrs. Yates

Brute Sir John — Quin Garrick and Cibber — see C. G. April 20
1749.

Brutus of Alba T D. G. 1678.

Brutus of Alba Op.— D. L. 1696.

Brutus by Payne— D. L. Dec. 3 1818.

Buchanan Mrs. — her characters — C. G. 1735-1736.

Budget of Blunders— C. G. Feb. 16 1810.

Building on the Stage at Benefits — see D. L. 1762-1763.

Bulkley Mrs. — see Barresford.

Bullock Christopher — his characters— L. I. F. 1721-1722.

Bullock Mrs.— see C. G. 1734 1735.

Bullock William — his lastbt. C. G. Jan. 6 1739 — his characters
at end of season.

Bulls and Bears— D. L. Dec. 1 1715.

Bunn Mrs made her 1st app. at D. L. May 9 1816 — as Miss

Somerville.

Buonaparte, or the Freebooter — see vol. 10 p. 226.
Buonaparte's Invasion of Russia — Bath Nov. 6 1826.
Burgomaster of Saardam — C. G. Sep. 23 1818.

Bury Fair— T. R. 1689— D. L. April 10 1708— L. I. F. Oct. 10
1716.

Busiris — D. L. March 7 1719 — G. C. March 22 1756.
Bussy D'Ambois— T. R. 1691.

Busy Body— D. L. May 12 1709 — Hay. Oct. 11 1709 L I. F.

Jan. 23 1730— D. L. Feb. 27 1735— Hay. Aug. 21 1755 —
D. L. Dec. 2 1758 — C. G. March 22 1759 — C. G. Oct. 5
1762— D. L. Jan. 24 1783— C. G. Dec. 2 1790— Hay. Oct.
5 1793— D. L. Dec. 8 1802 — D. L. Jan. 3 1816 — Hay
Sep. 3 1824.

Buthred— C. G. Dec. 8 1778.

Butler Mrs.— see L. I. F. 1742-1743.

Buxom Joan — Hay. June 25 1778 — C. G. April 22 1780.

XV1 INDEX.

c

Cabal and Love — see C. G. May 4 1803.
Cabinet— C. G. Feb. 9 1802— D. L. Nov. 12 1805.
Cady of Bagdad— D. L. Feb. 19 1778.
Caesar and Pompey — see vol. 9 p. 585.

Csesar Borgia — D. G. 1G80— Hay. Aug. 19 1707 — D. L. Jan. 3
1719.

Caesar in JSgypt— D. L. Dec. 9 1724.

Cselia, or Perjured Lover — D. L. Dec. 11 1732.

Caernarvon Castle — Hay. Aug. 12 1793.

Caffres, or Buried Alive— C. G. June 2 1802.

Cain— see Lord Byron 1820-1821.

Caius Gracchus — D. L. Nov. 18 1823.

Caius Marius — D. G. 1680 — Hay. Feb. 18 1707— D. L. Feb. 21
1715— D. L. May 10 1717.

Calaf— see vol. 10 p. 244.

Caleb Quotem and his Wife — see Hay. July 6 1798.

Caligula— D. L. 1698.

Calisto — see vol. 1 p. 180.

Calypso— C. G. March 20 1779.

Cambro-Britons, or Fishguard in an Uproar — C. G. May 31

1797.

Cambro-Britons, by Boaden — Hay. July 21 1798-
Cambyses— L. I. F. J667.

Camp— D. L. Oct. 15 1778— C. G. April 22 1800— D. L. Oct. 8
1803.

Campaigners — D. L. 1698.

Campaign, or Love in the East — C. G. May 12 1785.

Campaspe— see G. F. Feb. 23 1731.

Campbell Mrs formerly Miss Wallis — returned to the stage at

C. G. Feb. 20 1813.

C and Country — see vol. 10 p. 165.

Candidate — Hay. Aug. 5 1782.

Candlemas Day — see Hawkins 1772-1773.

Cantabs— C. G. May 21 1787.

Canterbury Guests — T. R. 1694.

Capricious Lady F— D. L. May 10 1771.

Capricious Lady C.— C. G. Jan. 17 1783— C. G. Feb. 25 1788.

Capricious Lovers, by Odingsells — L. I. F. Dec. 8 1725.

INDFA'. XVII

Capricious Lovers, by Lloyd — D. L. Nov 28 1704 — D. L. April
24 1782.

Captain — see 6th vol. of Beaumont and Fletcher 1778.

Captain Cook— C. G. March 24 1789.

Captain O* Blunder, or Brave Irishman— G. F. Jan. 31 1746.

Captive F._ Hay. 1769— D. L. March 16 1771.

Captive Monarch — see vol. 10 p. 201.

Captive (Mono-Drama) — C. G. March 22 1803.

Captive of Spilburg— D. L. Nov. 16 1798.

Captives, by Gay — D. L. Jan. 15 1724.

Captives by Delap— D. L. March 9 1786.

Capuchin — Hay. Aug. 17 1776.

Caractacus— C. G. Dec. 6 177C — C. G. Oct. 22 1778.

Caravan, or Driver and his Dog — D. L. Dec. 5 1803.

Cardinal— see T. R. 1682.

Careful Servant and Careless Master — C. G. Oct. 29 1816.

Careless Husband— D. L. Dec. 7 1704 — Hay. Nov. 7 1706—
— C. G. Feb. 14 1734— D. L. March 20 1742— C. G. Feb.
9 1745— D. L. March 19 1750— C. G. Jan. 7 1755— C. G.
March 24 1759— D. L. Sep. 24 1763— D. L. Jan. 25 1770—
C. G. Feb. 13 1778 — C. G. Feb. 10 1781 — D. L. Jan. 1
1790.

Careless Lovers — D. G. 1673.

Cares of Love — Hay. Aug 1 1705.

Carey's Imitations — see end of D. L. C. 1791-1792.

Carib Chief— D. L. May 13 1819.

Carmelite — D. L. Dec. 2 1784.

Carnival — T. R. 1664— for the plot, see vol. 10 p. 248.

Carnival of Venice— D. L. Dec. 13 1781.

Carron Side-C. G. May 27 1828.

Cartouche, or French Robber — L. I. F. Feb. 18 1723.

Case is Altered— see vol. 6 of Ben Jonson 1815-1816.

Casket— D. L. March 10 1829.

Castellan's Oath— C. G. June 4 1824.

Castle of Andalusia — C. G. Nov. 2 1782 — C. G.April 1 1788

C. G. Sep. 27 1799— C. G. June 20 1826.
Castle of Glyndower— D. L. March 2 1818.
Castle of Montval — D. L. April 23 1799—Bath May 19 1812.
Castle of Morsino— see vol. 10 p. 232.
Castle of Paluzzi-C. G. May 27 1818.

d

INDEX.

Castle of Sorrento— Hay. July 17 1799— C G. April 26 1800 —

D. L. May 13 1805.
Castle of Wouders — D. L. March 8 1819.

Castle Spectre— D. L. Dec. 14 1797 — Hay. August 22 1803 —

C. G. May 30 1804— acted by C. G. C. May 19 1809— C. G.
July 2 1812— Hay. August 19 1815— C. G. Dec. 10 1818—

D. L. March 30 1822.

Caswallan— D. L. Jan. 12 1829.

Cataract of the Ganges— D. L. Oct. 27 1823— Bath April 2 1824.

Catch him who can— Hay. June 12 1806 — C. G. June 8 1814.

Catharine and Petruchio — D. L. March 18 1754 — D. L. Jan. 21
1756— C. G. March 26 1757— C. G. April 18 1774 — D. L.
May 19 1781 — D. L. March 13 and May 5 1788 — C. G.

Nov. 21 1796.

Catiline— T. R. Dec. 19 1668.
Catiline, by Croly - see vol. 10 p. 236.
Catley Miss - see end of C. G. 1783-1784.

Cato— D. L. April 14 1713— L. I. F. April 20 1730— C. G. Jan.
18 1734— D. L. Sep. 14 1734 — at Leicester House 1749 —

C. G. Nov. 27 1754— D. L. Dec. 11 1756— C. G. April 16
1765 — C. G. Oct. 21 1775 — Hay. Aug. 14 1777 — D. L.
April 28 1784— C. G. May 31 1797— C. G. Dec. 23 1802 —
D.L.Feb. 1 1809— C. G. Jan. 26 1811 — with change of
scenes.

Cato of Utica— L.T. F. May 14 1716.
Caulfield's Imitations — see Bath May 13 1806.
Cave of Trophonius— D. L. May 3 1791.

Celadon and Florimel — (altered from Comical Lovers) — D. L.
May 23 1796.

Centlivre Mrs.— see L. I. F. Nov. 30 1723.

Cent per Cent C. G. May 29 1823.

Chabot, Admiral of France — see vol. 9 p. 552.

Chace— see vol. 10 p. 187.

Chains of the Heart— C. G. Dec. 9 1801.

Challenge for Beauty—see Old Plays 1814-1815, vol. 6.

Chambermaid— D. L. Feb. 10 1730.

Chances, by Duke of Buckingham— T. R. Feb. 5 1667 — D. L.
Feb. 24 1708— C. G. April 12 1738— D. L- Nov. 23 1739—

D. L. Nov. 7 1754— D. L. April 21 1773 — Hay. Aug. 19
1777 — D. L. Dec. 4 1777 — C. G- Dec. 11 1779 — D. L.
May 14 1782— C. G. June 1 1791 — C- G. March 29 1806
^-D. L. Feb. 6 1808.

Changeling— see D. L. Nov. 7 1789.

INDEX. XIX

lhange of Crowns— T. R. April 15 1667.
Change Partners— D. L. March 10 1825.

Changes, or Love in a Maze — T. R. May 1 1667 — for the plot,
see vol. 9 p. 546.

Chaplet— D. L. Dec. 2 1749.
Chapman's characters— C. G. 1746-1747.

Chapter of Accidents— Hay. Aug. 5 1780— D. L. May 8 1781—
C. G. April 23 1782— D. L. C. Feb. 14 1793— C. G. Sep. 25
1795— D. L. Jan. 14 1797— D. L. June 8 1802— C. G. Oct.
15 1805— D. L. April 2 1816— D. L. Nov. 13 1823.

Charitable Association — see Brooke 1777-1778.

Charity Boy— D. L. Nov. 5 1796.

Charke Mrs.— see Hay. 1759.

Charles the Bold— D. L. June 15 1815.

Charles 1st— L. I. F. March 1 1737— D. L. May 9 1740— C. G.
April 2 1781— see Bath Jan. 31 1820.

Charles 2d~C. G. May 27 1824.

Charles 2d and Sir John Coventry — vol. 1 p. 99 — for his death,

&c — see end of T. R. 1684.
Charles 8th- D. G. 1671.
Charles 12th— D. L. Dec. 11 1828.
Chatterley— see Bath Nov. 20 1810.
Chaubert— see vol. 10 p. 198.
Cheap Living_D. L. Oct. 21 1797.

Cheats — see vol. 1 p. 34 — L. I. F. Nov. 26 and May 29 1720-
1721— L. I. F. Dec. 11 1727.

Cheats of Scapin — D. G. 1677 — Hay. Dec. 3 1705 — L. I. F.
May 21 and Nov. 13 1724 — C. G. Nov. 13 1738 — C. G.
Jan. 15 1776— C. G. May 18 1789— Hay. July 13 1808 —
C. G. Nov. 6 1812.

Chelsea Pensioner— C. G. May 6 1779.

Cheque on my Banker — (compressed to 2 acts from Wanted a
Wife)— D. L. Aug. 13 1821. •

Cherokee— D. L. Dec. 20 1794.
Chetwood's bt._ C. G. Jan. 12 1741.
Child of Chance— Hay. July 8 1812.

Child of Nature— C. G. Nov. 28 1788— Hay. Aug. 11 1790—
— D. L. April 16 1795.

Children in the Wood — Hay. Oct. 1 1793— C. G. Oct. 16 1806
— D. L. Jan. 16 1818.

Children, or Give them their Way — D. L. April 28 1800.

XX INDEX.

Chimera— L. I. F. Jan. 19 1721.
Chimney Corner — D. L. Oct. 7 1797.
Chinese Festival— D. L. Nov. 8 1755.
Chinese Orphan — see D. L. April 21 1759.
Chip of the Old Block— Hay. Aug. 22 -1815.
Chit Chat, by Killegrew— D. L. Feb. 14 1719.
Chit Chat (Interlude)— C. G. April 20 1781.

Choice, by Murphy— D. L. March 23 1765 — C. G. March 30
1772.

Choice of Harlequin— C. G. Dec. 26 1781.
Choleric Fathers— C. G. Nov. 10 1785.
Choleric Man— D. L. Dec. 19 1774.
Christian turn'd Turk — see vol. 10 p. 94.
Christian Hero — D. L. Jan. 13 1735.
Christmas Tale— D. L. Dec. 27 1773.

Chrononhotonthologos — Hay. Feb. 22 1734 — C. G. April 21
1772— C. G. May 3 1779— Hay. Aug. 13 1783— Hay. Aug.
27 1788— Hay. Aug. 9 1806— D. L. June 30 1815.

Gibber Colley — for his quarrel with Pope, see D. L. Jan. 16
1717 — for his pleading against Sir llichard Steele, see Feb.
17 1728 — for his conduct as manager, see end of D. L.
1731-1732 — for his retirement and characters, see 1732-1733
— for his return to the stage, see D. L. Oct. 31 1734 — for
his final retirement, see C. G. 1744-1745 — for his alteration
of King John, see Historical Register at Hay. 1737.

Cibber Mrs.— Theophilus Gibber's 1st wife— see D. L. 1732-1733.
Cibber Mrs his 2d wife — her characters — D. L. 1765 — 1766.

Cibber Theophilus — account of him and his wife at end of D. L.
1737-1738 — his death and characters, Hay. 1758.

Cicilia and Clorinda — see vol. 1 pp. 391-2.
Cinderella, or the Fairy, &c. — C. G. April 13 1830
Cinna's Conspiracy — D. L. Feb. 19 1713.
Cinthia and Endimion — D. L, 1697.
Circassian Bride— D. L. Feb. 23 1809.

Circe— D. G. 1677— L. I. F. July 14 1704— L. I. F. April 1 1
1719.

Citizen— D. L. July 2 1761— C. G. Nov. 15 1762— C. G. Dec. 5
1775— Hay. June 30 1777— D. L. April 5 1780— C. G. Feb.
23 1788— D. L. Oct. 28 1813— C. G. June 2 1818.

Citizen's Daughter — see vol. 10 p. 190.

Citizen turned Gentleman, or Mamamouchi — D. G. 1671.

City Bride— -L. I. F. 1696.

INDEX. XXI

City Customs— D. L. June 30 1703.

City Farce — see vol. 10 p. 166.

City Heiress— D. G. 1681— Hay. July 10 1707.

City Lady— L. 1. F. 1697.

City Madam — D. L. April 29 1783 — see Riches.

City Match — see D. L. April 15 1755.

City Night-Cap — see Dodsley 1744 — vol. 9.

City Politics— T. R. 1683— D. L. July 11 17152— L. I. F. July

10 1717.

City Ramble, or Playhouse Wedding — D. L. Aug. 17 1711.
City Ramble, or Humours of the Compter — L. I. F. June 2 1715.
City Wit— see vol. 10 p. 36.

Clandestine Marriage — D. L. Feb. 20 1766— C. G. Jan. 9 1768
— C. G. Nov. 30 1770— D. L. Nov. 20 1775— Hay. Aug.
19 1784— C. G. Nov. 27 1789— D. L. June 15 1798— D. L.
May 6 1802— D. L. May 22 1804— Hay. Sep. 3 1806—
D. L. C. May 14 1810— C. G. Sep. 15 1813— D.L. June 2
1817— C. G. Sep. 18 1818 — Hay. Sep. 11 1824 — C. G.
Jan. 9 1828.

Clancy Dr., when blind, acted in (Edipus — D. L. April 2 1744.

Clari— C. G. May 8 1823.

Claricilla— see vol 1 p. 36 and p. 391.

Clarke's characters— C. G. 1785-1786.

Clementina— C. G. Feb. 23 1771.

Clemenza— Bath June 1 1822.

Cleomenes— T. R. 1692— D. L. Aug. 8 1721.

Cleone— C. G. Dec. 2 1758— Bath Dec. 21 1782— D. L. Nov.
22 and 24 1786.

Cleonice— C. G. March 2 1775.

Cleopatra by Daniel — see vol. 9 p. 581.

Cleopatra by May — see vol. 10 p. 49.

Clive Mrs. — her characters — D. L. 1768-1769.

Cloacina — see vol. 10 p. 190.

Clock Case— C. G. May 2 1777.

Club of Fortune Hunters — D. L. April 28 1748.

Clun— see T. R. Aug. 3 1664.

Coalition by Graves — see vol. 10 p. 201.

Coalition by Macnally— C. G. May 19 1783.

Coalition between Patentees of D. L. and C. G. — see D. L.
1778-1779.

Cobler— D. L. Dec. 9 1774.

XX11 INDEX.

Cobler of Castlebury— C. G. April 27 1779.

Cobler of Preston, by Bullock— L. I. F. Jan. 24 1716— C. G.
April 7 1738— C. G. May 23 1759.

Cobler of Preston, by Johnson — D. L.Feb. 3 1716 — D. L. Sept.
29 1817.

Cobler's Opera— L. I. F. April 26 1728— C. G. April 24 1739.
Coffeehouse, by Miller— D. L. Jan. 26 1738.
Coffeehouse Politician — L. I. F. Dec. 4 1730.

Collier Jeremy — his View of the Immorality and Profaneness of
the Stage — see end of 1697.

Collier William — gets possession of D. L. Nov. 22 1709 — ex-
torts a pension from the actors in 1711-1712 — becomes a
non-entity in 1714-15.

Collins — 1st app. at D. L. Oct. 2 1802 — died in May 1806.

Colman the Elder sold his share of the Patent of C. G. — at end
of 1773-1774.

Colman the Younger — for his Random Records see the end of
Hay. 1830.

Colonel— C. G. May 4 1830.

Columbus— C. G. Dec. 1 1792— C. G. June 25 1816— Bath

May 5 1823.

Combat of Love and Friendship — see vol. 10 p. 127.
Come and See— Hay. July 18 1814.

Comedy of Errors — D. L. Nov. 11 1741— C. G. April 24 1762
— C. G. June 3 1793— C. G. June 2 1798— C. G. Jan. 9
1808 — C. G. April 17 1811 — for an account of the play,
see C. G. Jan. 22 1779.

Comedy of Errors, as Opera — C. G. Dec. 11 1819 — D. L. June

1 1824.

Come if you Can— Hay. June 14 1824.
Comer— Bath Dec. 16 1813— C. G. Oct. 4 1819.
Comfortable Lodgings — D. L. March 10 1827.
Comical Gallant— D. L. 1702.
Comical Lovers, or Marriage a- la-Mode — Hay. Feb. 4 1707 —

D. L. Oct. 8 1720— D. L. March 10 1746— D. L. March 9

1752.

Comical Revenge, or Love in a Tub — L. I. F. 1664 — Hay. Dec.
14 1706— D. L. Jan. 10 1713— D. L. Sept. 29 1720— D.L.
Nov. 26 1726 — for the plot, see vol. 10 p. 252.

Comical Resentment — C. G. March 26 1759.

Commissary — Hay. 1765— C. G. May 1 1771— Hay June 17
J774— C. G. April 1 1788— Hay. June 25 1793.

INDEX. xxiii

Committee— T. R. 1665 — Hay. Dec. 2 1706— D. L. Oct. 29
1720— L. I. F. March 21 1732— D. L. Jan. 6 1742— C. G.
Oct. 11 1749— D. L. Dec. 29 1760— D. L. April 21 1778
— D. L. Feb. 7 1788.

Committee Man Curried — see vol. 10 p. 121.
Commonwealth of Women — T. R. 1685.
Comparison between the two Stages — see end of 1702.
Compromise— L. I. F. Dec. 15 1722.

Comus in 3 acts as first piece — D. L. March 4 1738 — C. G.
March 3 1744— D. L. Nov. 28 1752 -C. G. April 9 1755
— C. G. Jan 18 1760— reduced to 2 acts C. G. Oct 16 1773
— D. L. May 1 1775— C. G. March 16 1776— D.L. Dec. 22
1777— C. G. March 23 1784— D. L. May 15 1786— C. G.
April 20 1803— C. G. June 5 1812— C. G. May 12 1829.

Conceited Pedlar — see vol. 10 p. 47.

Confederacy— Hay. Oct. 30 1705— D. L. Dec. 17 1709— L. I. F.
March 28 1720— L. I. F. Dec. 16 1725— D. L. Dec. 8 1739
— D. L. Feb. 24 1746— D. L. Oct. 27 1759— D. L. Dec. 8
1769— C. G. Nov. 16 1770— D. L. April 9 1778— Hay.
Aug. 21 1781— Hay. June 11 1785— D. L. Nov. 24 1796
— C. G. Dec. 16 1807— D. L. C. Jan. 12 1810— C. G.
April 10 1810— D. L. May 20 1817— C. G. Nov. 10 1819
— D. L. Nov. 2 1825.

Confederates, by Breval — see D. L. Jan. 16 1717.

Confession — see Cumberland's Posthumous Works — 1812-1813.

Confined in Vain— see vol. 10 p. 226.

Conflict, or Love, Honour and Pride — see vol. 7 p. 399.

Congreve — see Old Batchelor T. R. 1693, and Way of the
World L. I. F. 1700.

Conjectures — Hay. June 15 1830.
Conjuror F. — D. L. April 29 1774.
Connoisseur— D. L. Feb. 20 1736.

Conquest of Algiers— (altered from Ramah Droog) — Bath Nov.
16 1816.

Conquest of Canada — see vol. 10 p. 184.

Conquest of China— D. G. 1674.

Conquest of Granada — T- R. 1670— D. L. March 5 1709.

Conquest of Spain — Hay. May — 1705.

Conquest of Taranto— C. G. April 15 1817.

Conscience— D. L. Feb. 21 1821.

Conscience, by Iffland — see vol. 10 p. 221.

XXIV INDEX.

Conscious Lovers — D. L. Nov. 7 1722 — L. 1. F. Nov. 23 1730
— D.L. Feb. 9 1736 _ C. G. March 9 1741— D. L. March
12 1747— D. L. Oct. 3 1751— C. G. April 25 1758— D. L.
Oct. 2 1759— C. G. Oct. 5 1763— D. L. April 4 1766— C. G.
Oct. 7 1774— I). L. Oct. 25 1776— D. L. Jan. 6 1780—
C. G. March 27 1787— D. L. Dec. 20 1796— C. G. Nov. 18
1797— C. G. Jan. 16 1810— Bath April 25 1818.

Consequences — see vol. 10 p. 201.
Conspiracy, by Jephson — D. L. Nov. 15 1796.
Conspiracy, by H. Killegrew — see vol. 10 p. 109.
Conspiracy, by Whitaker — D. G. 1680.

Conspiracy Discovered, or French Policy Defeated — D. L. Aug. 4
1746.

Conspiracy of Byron — see vol. 9 p. 583.

Constant Couple— D. L. 1699— L. I. F. March 22 1731— D. L.
March 22 1739— C. G. Nov. 21 1740— D. L. Jan. 4 1742
— D. L. March 17 1743— D. L. Dec. 12 1749— C. G. Nov.
1 1754—1). L. April 1 1762— D. L. March 12 1771— D. L.
May8 1776— D. L. April 16 1779— C. G. March 29 1785
— D. L. May 2 1788— Hay. July 30 1789— D. L. Oct. 9
1805— Bath Dec. 6 1817— Hay. Aug. 9 1820.

Constantino, by Lee— T. R. 1684.

Constantino, by Francis— C. G. Feb. 28 1754.

Constantino Paleologus — see Miss Baillie 1811-1812.

Constant Lovers — see vol. 2 p. 529.

Constant Maid — see vol. 9 p. 557.

Constant Nymph— D. G. 1677.

Consultation— Hay. April 24 1705.

Contending Brothers — see Brooke 1777-1778.

Contented Cuckold — see vol. 10 p. 149.

Contract, by L. I. F. April 30 1731.

Contract, by Dr. Franklin — Hay. June 12 1776.

Contract, or Female Captain — D. L. April 5 1779.

Contrariety — see vol. 10 p. 204.

Contrast, or Jew and Married Courtezan — D. L. May 12 1775.

Contrast — 1790 — see vol. 10 p. 199.

Contrivances— D. L. Aug. 9 1715— D. L. Aug. 5 1729— D. L.
Jan. 17 1746— C. G. March 25 1761— D. L. April 20 1761
— C. G. April 23 1773— C. G. May 6 1785— Bath June 16
1819.

Conway's characters— Bath 1820-1821.

INDEX. XXV

Cooke's characters— C. G. 1809-1810.

Cooper — Hay. June 1772.

Cooper John — made his 1st app. at D. L. Nov. 1 1820.

Coquet, by Molloy— L. I. F. April 19 1718.

Coriolanus, by Tate — see Ingratitude of a Commonwealth — T. R.
1682.

Coriolanns, by Dennis — see Invader of his Country — D. L. Nov.
11 1719.

Coriolanus, by Thompson — C. G. Jan. 13 1749.

Coriolanus, by Sheridan — C. G. Dec. 10 1754 — C. G. March 14
1758.

Coriolanus, by J. P. Kemble— D. L. Feb. 7 1789— D. L. May 29

1804— C. G. Nov. 3 1806— Bath Jan. 14 1817.
Coriolanus, by Shakspeare (only) — D. L. Jan. 24 1820.
Cornelia — see llth vol. of Dodsley, 1744.
Cornish Comedy— D. G. 1696.
Cornish Miners — Bath March 19 1829.
Cornish Shipwreck — Bath June 12 1813.
Cornish Squire — D. L. Jan. 3 1734.
Coronation, by Shirley — see vol. 9 p. 558.

Coronation of George the 4th — July 19 1821 — D. L., C. G. and
Hay. were opened gratuitously to the public.

Coronation of David — see vol. 10 p. 184.

Corsican& — see vol. 10 p. 209.

Cortez — C. G. Nov. 5 1823.

Costly Whore — see vol. 10 p. 106.

Cottage, by Smith 1796 — see vol. 10 p. 204.

Cottage Maid— C. G. June 3 1791.

Cottagers (C. O.) by Miss Ross— see vol. 10 p. 198.

Cottagers— see end of C. G. 1767-1768 — and C. G. Nov. 12
1779.

Cottagers, by Carey — see vol. 10 p. 184.
Count de Villeroi— see vol. 10 p. 201.
Count Koenigsmark— see vol. 10 p. 219.
Counterfeit Bri(^roorn — D. G. 1677.
Counterfeit, by Franklin — D. L. March 17 1804.

Counterfeit Heiress— ( F. from Love for Money) — C. G. April 16
1762.

Counterfeits C.— D. G. 1678.
Counterfeits F.— D. L. March 26 17G4.

XXVI I N D EX.

Countess of Salisbury— Hay. Aug. 31 1767— D. L. Jan. 20 1768
— C. G. Oct. 26 and Nov. 14 1768— C. G. April 7 1777—
D. L. March 16 1779— Hay. Aug. 14 1780— D.L. March 6
and April 13 1784— D. L. Dec. 8 1797-

Count of Anjou — D. L. May 2 1816.
Count of Burgundy— C. G. April 12 1799.

Count of Narbonne — C. G. Nov. 17 1781 — D. L. March 8
1787— C. G. March 22 1790— D. L. April 30 1798— C. G.
Nov. 5 1807.

Country Attorney — Hay. July 7 1787.
Country Captain — see vol. 10 p. 73.
Country Coquet — see vol. 10 p. 178.

Country Girl — D. L. Oct. 25 1766— D. L. Oct. 18 1785— C. G.
June 16 1790— Hay. Aug. 2 1791— C. G. Nov. 23 1805—
— C. G. May 11 1811— D. L. Nov. 7 1815— C. G. Dec. 6
1828.

Country House— D. L. June 16 1705— C. G. April 18 1735—
C. G. Aprils 1758.

Country Inn — see Miss Baillie — 1811-1812.
Country Innocence — T. R. 1677.

Country Lasses — D. L. Feb. 4 1715 — D. L. July 4 and Aug. 9
1729 — G. F. Dec. 3 1734— C. G. March 27 1739— C. G.
Jan. 6 1756— C. G. Nov. 26 1763— Bath Dec. 7 1813.

Country Madcap— D. L. June 7 1770— C. G. Dec. 12 1770—
C. G. April 14 1777— C. G. May 9 1786.

Country Wake— L. I. F. 1696— Hay. Feb. 18 1710— reduced to
one act at D. L. Oct. 6 1711— as F.— C. G. March 18 1760.

Country Wedding F — D. L. July 27 1714.

Country Wedding, by Hawker — see L. I. F. May 6 1729.

Country Wedding, or the Cocknies Bit — see ditto.

Country Wife— T. R. 1673— D. L. April 14 1709— D. L. May
18 1715— L. I. F. Oct. 4 1725— D. L. Feb. 4 1735— C. G.
Jan. 12 1742— D. L. Nov. 28 1748.

Country Wife, as Farce— D. L. April 26 1765— C. G. April 13
1768— C. G. Dec. 16 1776— C. G. Feb. 7 1786.

Country Wit— D. G. 1675— D. L. Feb. 6 1708— D. L. Dec. 6
1709— D. L. Jan. 20 1727.

Courage Rewarded — see vol. 10 p. 205.

Courageous Turk — see vol. 10 p. 4.

Court and Country, or the Changelings — see vol 10 p. 171.

Court Beggar — see vol. 10 p. 35.

Courtney, Earl of Devonshire— see vol. 10 p. 152.

I N DEX. XXV11

Court of Alexander — see vol. 5 p. 288.
Court Secret — T. R. 1682.
Courtship a-la-Mode— D. L. July 9 1700.
Covent Garden C. by Nabbes — see vol. 10 p. 61.

Covent Garden differences — between the Proprietors and 8 Actors
—see end of 1799-1800.

Covent Garden opened — Dec. 7 1732 — burnt on the night of Sep.
19 1808 — new theatre opened Sep. 18 1809.

Covent Garden Theatre— Dramatic Satire at C. G. April 8 1752.
Covent Garden Tragedy — D. L. June 1 1732.
Coventry Act — see vol. 10 p. 201.
Cow Doctor — see vol. 10 p. 231.
Coxcomb— T. R. 1682.

Cozeners— Hay. Aug. 3 1774— C. G. April 10 1792 — D. L.
Nov. 8 1800.

Cozening, or Half an Hour in France— C. G. May 22 1819.

Crawford Mrs. — her characters — C. G. 1797-1798.

Creusa— D. L. April 20 1754.

Crime from Ambition — see vol. 10 p. 220.

Crisis— D. L. May 1 1778.

Critic— D. L. Oct. 29 1779— Hay. Aug. 29 1783— C. G. Feb.
21 1785— D. L. May 12 1797 — C. G. April 30 1800—
C. G. May 10 1809— D. L. C. May 22 1809— C. G. Nov.
6 1818— C. G. June 6 1826— D. L. Dec. 31 1827. J

Critic upon Critic — see vol. 10 p. 197.

Croaking (Interlude from Good-natured Man) — D. L. C. May 2
1810.

Croesus — see vol. 10 p. 31.

Cromwell — Life and Death of Thomas Lord Cromwell — see
vol. 2 p. 530.

Cross Mrs — her characters — L. I. F. 1723-1724.
Cross Partners — Hay. Aug. 23 1792.

Cross Purposes— C. G. Dec. 8 1772— D. L. Dec. 10 1789— C; G.
Oct. 5 1790— Bath Jan. 22 1821.

Cross the Prompter — see D. L. April 17 1754.

Cross' Dramas — see vol. 8 p. 347.

Crotchet Lodge— C. G. Feb. 17 1795— D. L. Dec. 13 1813.

Crowne— see vol. 1 pp. 304, 415— and vol. 2 p. 144.

Cruel Brother — see vol. 10 p. 79.

Cruel Gift— D. L. Dec. 17 1716.

xxvm INDEX.

Cruelty of the Spaniards in Peru — see vol. 1 p. 38.

Crusade— C. G. May 6 1790.

Cry to-day and Laugh to-morrow — D. L. Nov 29 1816.

Cuckold in Conceit — Hay. March 22 1707.

Cuckold's Haven — T. R. 1685.

Cumberland's Posthumous Plays — 1812-1813.

Cunning Lovers— see vol. 10 p. 128.

Cunning Man— D. L. Nov. 21 1766.

Cupid and Psyche -D. L. Feb. 4 1734.

Cupid's Revenge-L. I. F. 1668.

Cupid's Revenge F.— Hay. July — 1772.

Cupid's Whirligig — see vol. 10 p. 93.

Cure for a Coxcomb— C. G. May 15 1792.

Cure fora Cuckold — see City Bride — L. I. F. 1796.

Cure for a Scold — D. L. Feb. 25 1735— C. G. March 27 and
April 26 1750.

Cure for Jealousy-L. I. F. 1701.

Cure for the Heart- Ache — C. G. Jan. 10 1797 — D. L. Oct. 6
1813.

Cure of Saul-see end of C. G. 1770-1771.
Curfew— D. L. Feb. 19 1807-C. G. March 27/1817.
Curiosity by Lathom — see vol. 10 p. 222.
Curiosity by King of Sweden— C. G. April 17 1798.
Curiosity Cured— D- L. July 21 1825.

Custom of the Country — revived at T. R. Jan. 2 1667 — for the
plot see Love makes a Man D. L. 1701.

Custom of the Country ( Bickerstaff 's Burial) — D. L. May 5 1715.
Custom's Fallacy — see vol. 10 p. 226.

Cutter of Colman Street — L. I. F. Dec. 16 1661 — L. I. F. Oct
5 1702— D. L. Aug. I 1712— L. I. F. Jan. 3 1723 —for
the plot see vol. 10 p. 62.

Cymbeline, by Shakspeare — Hay. NOT: 8 1744 — C. G. April 7
1746— D. L. Nov. 28 1761— C. G. Dec. 28 1767 — D. L.
Dec. 1 1770— Hay. Aug. 9 1782 — C. G. Oct. 18 1784 —
D. L. Nov. 21 1785— D. L. Jan. 29 and March 20 1787 —
C. G. May 13 1800 — C. G. Jan. 18 1806 — C. G. June 3
1812 — C. G. May 29 1816 — C. G. June 2 1825 — D. L.
Feb. 9 1829 — for the foundation of the plot, see D. L. Nov.
28 1761.

Cymbeline by Brooke — see end of 1777-1778.

INDEX. XXIX

Cymbeline, by D'Urfey — see Injured Princess T. R. 1682 — Cym-

beline at C. G. March 20 1738.
Cymbeline, by Hawkins — C. G. Feb. 15 1759.
Cymon— D. L. Jan. 2 1767 — C. G. March 27 1784 — D. L. C.

Dec. 31 1791 — C. G. Nov. 20 1815 in 3, and then in 2 acts

— C. G. April? 1827.
Cynick— G.F. Feb. 22 and 23 1731.
Cynthia's Revels — see Ben Jonson 1815-1816 — vol. 2.
Cyrus— C. G. Dec. 3 1768— D. L. March 13 1776— C. G. May

30 1794.

Cyrus the Great— L. I. F. 1696.
Czar— C. G. March 8 1790.
Czar by Cradock — see vol. 10 p. 244.
Czar of Muscovy— L. I. F. 1701.

D.

Dagobert King of the Franks — see vol. 10 p. 217-

Dame Dobson— T. R. 1684.

Damn— as condemn only — see C. G. Feb. 29 1812.

Damoiselle — see vol. 10 p.fc38.

Damon and Daphne — D. L. May 7 1733,

Damon and Phillida— see vol. 3 p. 233 — D. L. Feb. 23 1769.

Damon and Pithias — see 1st vol. of Dodsley 1744.

Damon and Pythias— C. G. May 28 1821.

Dance in Macbeth — see Hath April 12 1803.

Dance Miss — see end of Bath 1822-1823.

Dancer Mrs. — see Mrs. Crawford.

Daniel — see Miss More 1781-1782.

Daphne and Amintor — D. L. Oct. 8 1765.

Darby's Return— see vol. 10 p. 227.

Darius by Crowne— T. R. 1688.

Darius by the Earl of Sterline — see vol. 10 p. 31.

Darkness Visible— Hay. Sep. 23 1811— C. G. June 10 1813.

Dash, or Who but He ?_D. L. Oct. 20 1804.

Daughter to Marry — Hay. June 16 1828.

Davenport Mrs. — see end of L. I. F. 1663.

Davenport Mrs.— her characters— C. G. 1829-1830

David and Bethsabe — see Hawkins 1773.

David and Goliath— see Miss More 1781-1782.

XXX INDEX.

David Rizzio — D. L. June 17 1820.

Davies T. — for some of his mistakes, see end of D. L. 1777-1778.

Davison Mrs — made her 1st app. at D. L. Oct. 8 1804, as Miss
Duncan.

Day after the Wedding- — C. G. May 18 1808 — Hay. Sept. 7
1809.

Day at Rome— C. G. Oct. 11 1798.
Day in London — D. L. April 9 1807.
Day in Turkey— C. G. Dec. 3 1791.
Days of Yore— C. G. Jan. 13 1796.

Deaf and Dumb — D. L. Feb. 24* 1801 — Bath Dec. 3 1801—
D. L. May 22 1806— Hay. Sept. 2 1814— D. L. May 27
1816— C. G. Nov. 22 1826.

Deaf Lover — C. G. Feb. 2 1780 — D. L. Feb. 4 1784 — D. L.
Feb. 20 1790-C. G. Feb. 2 1792— C. G. March 9 1819.

Deaf Indeed— D. L. Dec. 4 1780.
Deaf as a Post— D. L. Feb. 15 1823.

Dead Alive— Hay. June 16 1781— Hay. July 27 1797— C. G.
June 8 1814.

Death of Bucephalus — see vol. 7 p. 133.

Death of Captain Cook— C. G. March 24 1789.

Death of Csesar, by Voltaire — see vol. 3 p. 95.

Death of Capt. Faulknor— C. G. May 6 1795.

Death of Robert, Earl of Huntington — see vol. 9 p. 451.

Debauchee, or Credulous Cuckold — D. G. 1677 — D. L. Aug. 4
1708.

Debauchees, by Fielding— D. L. June 1 1732— D. L. Oct. 17
1745.

Deborah, or a Wife for you all— D. L. April 6 1733.
Debtor and Creditor — C. G. April 20 1814-
Deceiver Deceived — L. I. F. 1698.
December and May — C. G. May 16 1818.
Decoy, or Harlot's Progress — G. F. Feb. 5 1733.
Deception— D. L. Oct. 28 1784.
Deformed Transformed — see vol. 9 p. 140.
Delane's characters — C. G. 1749-1750.
Delays and Blunders— C. G. Oct. 30 1802-
Delinquent— C. G. Nov. 14 1805.

Delusion (altered from Students of Salamanca) — C. G. March 4
1813.

INDEX. XXXi

Democratic Rage — see vol. 10 p. 201.
Demetrius — see vol. 10 p. 184.

De Monfort or Montfort — D. L. April 29 1800— D. L. Nov. 27
1821— Bath June 19 1822.

Dependent — D. L. Oct. 20 1795.

Deposing and Death of Queen Gin — Hay. 1736.

Dennis — Hay. Dec. 18 1733.

Der Freischutz— C. G. Oct. 14 1824— D. L. Nov. 10 1824.

Deserted Daughter — C. G. May 2 1795.

Deserter— D. L. Nov. 2 1773— D. L. Sep. 22 1796— C. G. Nov.
25 1813 — C. G. June 1 1825.

Desert Island— D. L. Jan. 24 1760.
Deserter of Naples — D. L. June 2 1788.
Deserts of Arabia— C. G. Nov. 20 1806.
Deserving Favourite — see vol. 10 p. 24.

Destruction of Jerusalem — in 2 parts at T. R. 1677 — 2d part re-
vived at D. L. July 1 1712.

Destruction of Troy— D. G. 1678.

Deuce is in him— D. L. Nov. 4 1763 — C. G. April 20 1771—
C. G. Nov. 14 1782— Hay. July 23 1785— D. L. April 28
1790— D. L. May 1 1797 — D. L. Dec. 11 1813 — D.L.
Oct. 23 1817.

Device, or Deaf Doctor— C. G. Sep. 27 1779.

Devil of a Duke, or Trappolin's Vagaries — D. L. Sep. 23 1732.

Devil of a Wife— T. R. 1686— L. I. F. April 6 1724.

Devil's an Ass — see T. R. 1682.

Devil's Bridge— by D. L. C. May 6 1812— C. G. April 11 1818.

Devil's Law-case — see vol. 10 p. 16.

Devil's Elixir— C. G. April 20 1829.

Devil in the Wine Cellar, altered from Walking Statue — Hay.
July 25 1786.

Devil to Pay— D. L. Aug. 6 1731— C. G. April 11 1758— D. L.

Nov. 24 1773— D. L. April 9 1779— Bath Feb. 9 1782—

C. G. April 11 1785— C. G. March 1 1787 — D. L. Dec.

17 1788— C. G. May 9 1828.
Devil upon two Sticks — Hay. May 30 1768 — Hay. Sep. 11 1780

— C. G. June 1 1 1787-

Diamond cut Diamond, or Venetian Revels — C. G. May 23 1797.
Didier Mrs — see Bath Feb. 17 1807.
Dido and tineas— Hay. Jan. 12 1734.
Dido ( Burlesque Opera) — Hay. July 24 1771.

XXXH INDEX.

Dido, by Marlowe — see Old Plays 1823-1824.
Dido, by Reed — D. L. March 28 1767 — I). L. April 28 1797.
Dido Queen of Carthage Op.— by D. L. C. May 23 1792.
Different Widows — L. I. F. 1703.

Difficulty in arranging plays without the playbills — see vol. 1
p. 109.

Difficulty of arranging the names of the performers in the bills
—see D. L. C. April 28 1792.

Difficulty of finding letters sufficiently large for the principal per-
formers— see vol. 4 p. 374.

Digges — his characters — Hay. 1781.

Dimond's characters — see Bath 1800-1801.

Dirce, or Fatal Urn — D. L. June 2 1821.

Disagreeable Surprise — D. L. Dec. 1 1819.

Disappointed Gallant, or Buckram in Armour — see vol. 7 p. 133.

Disappointment by Southerne— T. R. 1684.

Disbanded Officer— Hay. July 23 1786.

Discarded Secretary — see vol. 10 p. 210.

Discovery— D.L. Feb. 3 1763— D. L. Jan. 20 1776— D. L. Feb.
3 1779— C. G. Nov. 29 1782— D. L. April 21 1806.

Disguise — see vol. 10 p. 195.

Disinterested Love — C. G. May 30 1798.

Dissembled Wanton— L. I. F. Dec. 14 1726.

Dissipation — D. L. March 9 1781.

Distracted State — see vol. 10 p. 75.

Distressed Baronet — D. L. May 11 1787.

Distressed Family— Hay. July 9 1791.

Distressed Innocence — T. R. 1691.

Distressed Mother — D. L. March 17 1712 — C. G. Jan. 16 1735
— C. G. Nov. 29 1742— C. G. April 4 1747— D. L. March
10 1748— C. G. Dec. 18 1750— D. L. Dec. 10 1751— C. G.
April 30 1753 with large and small letters according to the
rank of the different performers — D. L. Oct. 29 1754 —
D. L. Dec. 8 1764— C. G. Jan 7 1775— D. L. Feb. 6
1775— C.G. Nov. 19 1778— D. LJ March 29 1781— D. L.
March 4 1786— D. L. Jan. 6 1802— C. G. Dec. 21 1803—
C. G. Sept. 16 1816— D. L. Oct. 22 1818— Bath Jan. 5
1820.

Distressed Wife — C. G. March 5 1734 — revived at C. G. as
Modern Wife, April 27 1771.

Distresses — see vol. 10 p. 83.

Distress upon Distress — see vol. 10 p. 177.

INDEX. \.XX1I1

Diversions of the Morning- Hay. 1747— D. L. Oct. 17 1768.

Divorce— D. L. Nov. 10 1781— D. L. April 14 1789— D. L. Nov.
4 1807.

Doating Lovers -L. I. F. June 23 1715.

Doctor and Apothecary — D.L. Oct. 25 1788 — D-L. June 3 1817.

Dr. Faustus, by Marlowe ) _, H irftA

Dr. Faustus, by Mountfort J

Dr. Hocus Pocus— Hay. Aug 12 1814.

Dr. Last in his Chariot—Hay. 1769— C. G. April 26 1779.

Dr. Last's Examination— Hay. Aug. 21 1787 — D. L. May 4 1790
— C. G. May 29 1795— D. L. May 15 1801— C. G. C. May
17 1809— Hay. Aug. 21 1809.

Dodd's characters — D. L. 1795-1796.
Dodsley's Old Plays — see end of 1743-1744.

Dog Days in Bond Street — Hay. Aug. 31 1820 — Bath Jan. 31
1821— Hay. Sept. 20 1824.

Dogget — his Istapp. at T. R. seems to have been in 1691 — he
became joint-manager in 1709-1710 — for his characters, see
D. L. 1713-1714 — for his coat and badge see D. L. Aug.
1 1716.

Doldrura— C. G. April 23 1796— Hay. Aug. 29 1812.

Don Carlos, by Lee— D. G. 1676— D. L July 27 1708.

Don Carlos, by Lord John Russell — see vol. 10 p. 240.

Don Giovanni in London — Bath Dec. 11 1820.

Don Giovanni in Ireland— D. L.Dec. 22 1821.

Don Giovanni, or the Spectre on Horseback — Bath May 19 1819.

Don John, or Two Violettas — C. G. Feb. 20 1821.

Don Juan, or the Libertine Destroyed, Pant — D. L. May 10
1782— D. L. May 22 1789— C. G. May 28 1780.

Don Pedro, by Cumberland— Hay. July 23 1790.

Don Pedro, by Lord Porchester— I). L. March 10 1828.

Don Quixote 1st and 2d parts — T. R. 1694.

Don Quixote (probably 2d part)-D. L. June 17 1713 — C. G.
May 17 1739.

Don Quixote, 3d part— D. L. 1690.

Don Quixote in England — Hay. about April 1734 — D. L. April
6 1752— C. G. May 3 1759— Liverpool June 11 1777.

Don Sebastian— T. R. 1690— D. L. April 9 1709-L. I. F.
Jan. 28 1717— L. 1. F. Jan. 28 1717— L. I. F. April 24
1732— C. G. March 12 1744— D. L. Dec. 7 1752-C. G.
March 22 1774— C. G. May 20 1794.

Doom of Devorgoil — see vol. 10 p. 245.

XXXIV INDEX.

Dorset Garden— opened Nov. 7 1671.

JDorval— see vol. 10 p. 184.

Double Deception — D. L, April 28 1779.

Double Dealer— T. R. 1693 — L. I. F. Oct. 18 1718— D. L. Jan.
10 1738— C. G. Jan. 18 1745— C. G. April 5 1749— C. G.
Nov. 28 1754— D.L. Oct. 29 1756— D.L. March 23 1773—
C. G. March 5 1776— Hay. Sept. 2 1776— C. G. Dec. 17
1776— C. G. March 19 1782— D. L. Dec. 3 1784— D. L.
Feb. 27 1802.

Double Deceit (C. by Popple)— C.G. April 25 1735.

Double Disappointment — D. L. March 18 1746— D. L. Oct. 16
1752— C. G. March 22 1759— D. L. Nov. 7 1767.

Double Disguise — D. L. March 8 1784.
Double Distress— L. I. F. 1701.

Double Falsehood— D. L. Dec. 13 1727— C. G. Dec. 13 1740—
C. G. April 24 1767— D. L. March 31 1770— C. G. June 6
1791— Bath May 23 1793.

Double Gallant— Hay. Nov. 1 1707 — C. G.Nov. 21 1734— D. L.
Jan. 8 1739— C. G. Dec. 17 1744— D. L. Dec. 14 and 17
1750— D. L. Oct. 11 1759— D. L. Jan. 16 and Feb. 15
1770— D. L. April 19 1779— C. G. March 18 1780— D.L.
Nov. 8 1788— C. G. May 11 1791— D. L. C. April 10
1792— C. G. Feb. 6 1798— D. L. Jan. 20 1801— D. L.
March 29 1817.

Double Marriage — T. R. 1683.
Double Mistake — C. G. Jan. 9 1766.
Doubtful Heir — see vol. 9 p. 559.

Doubtful Son— Hay. July 3 1810 — Bath Jan. I 1811 — Bath
Jan. 4 1814.

Douglas— C. G. March 14 1757 — D. L. Jan. 11 1760 — D. L.
Dec. 1 1769— C. G. April 8 1775 — C. G.Jan. J5 1776 —
Hay. June 2 1780— D. L. Dec. 4 1780— D. L. Dec. 22 1783
— C. G. Nov. 13 1783— D. L. Jan. 2 1784 — C. G. Dec. 28
1787— C. G. Oct. 26 1796 — C. G. Oct. 23 1797 — C. G.
Oct. 6 1803 — D. L. May 6 1818 — C. G. June 2 1818 —

C. G. June 9 1819.

Downes — see end of Hay. 1705-1706.

Dowton made his 1st app. at D. L. Oct. 11 1796.

DoM'nfall of Robert Earl of Huntington — see vol. 9 p. 450.

Dragon of Wantley— C. G. Oct. 26 1737— D. L. Feb. 2 1743—

D. L. March 7 1747 — C. G. May 4 1762 — C. G. Nov. 18
1767— C. G. April 7 1774— C. G. March 18 1782.

Dramatic Puffers— C. G. Feb. 9 1782.

Dramatist— C. G. May 15 1789— D. L. May 4 1807.

INDEX. XXXV

Dream— see Miss Baillie 1811-181*.
Dreamer Awake— C. G. May 6 and 28 1791.

Drummer— D. L. March 10 1710— L. I. F. Feb. 2 1722— D. L.
Oct. 3 1738— C. G. Jan. 23 1745 — D. L. Oct. 25 1754 —
C.G.Jan. 28 1762— D. L. Jan. 29 1762— D L. Nov. 6 1771
—in 2 acts C. G. April 24 1786— Bath March 6 1790 — in
3 acts D. L. Dec. 13 1794.

Drunkard — see vol. 10 p. 220.

Drury Lane — in 1696 the Theatre Royal was called the T. R.
in D. L. — it was materially altered and enlarged in 1762-
1763 — it was pulled down in the summer of 1791 — the new
theatre was opened (for plays) April 21 1794 — it was burnt
Feb. 24 1809 — it was rebuilt, and opened Oct. 10 1812 — it
was kept open all the summer of 1821.

Drury Lane Committee — closed their management June 9 1810.

D. L. Company acted at Opera I louse in Hay. 1791-1792 — boxes
raised to 6s. — pit to 3s. and 6d.

D. L. Company at Hay June 10 1819.

Dryden — for his Essay of Dramatick Poesie, see 1608 — for the
assault on him in Rose Street, see Loving Enemies D. G.
1680 — for his Politics, see Don Sebastian 1690 — for the ser-
vility of his dedications, see Love Triumphant T. R. 1693 —
for his Religion, see Pilgrim D. L. 1700.

Duel by Obrien— D L. Dec. 8 1772.

Duellist— C. G. Nov. 20 1773.

Duel, or my Two Nephews— C. G. Feb. 18 1823.

Duenna— C. G. Nov. 21 1775— C. G. Oct. 31 1789— D. L. May
18 1795— D. L. Nov. 19 1801— Hay. Sep. 20 1820— D. L.
March 20 1821— C. G. Dec- 21 1825.

Duenna (political) — see vol. 10 p. 19 1.

Duke and no Duke— T. R. 1685— Hay. Nov. 10 1705 — C. G.
Feb. 5 1733 — D. L. Dec. 27 1749— C. G. Dec. 9 1775 —
D. L. May 3 1784— C. G. April 18 1786 — C. G- April 8
1797— Hay. Aug. 14 171)7.

Duke of Guise— T. R. 1682— see D. L. Aug. 9 1716.
Duke of Milan altered by Cumberland— C. G. Nov. 10 1779.

Duke of Milan altered by * * D. L. March 9 1816 — Bath July 5
1816.

Duke of Savoy— C. G. Sep. 29 1817.
Duke's Coat— see vol. 10 p. 233.
Duke's Mistress— see vol. 9 p. 550-
Dumb Girl of Genoa-Bath April 18 1823.
Dumb Knight— see 6 vol. of Dodsley 1744.

XXXVI INDEX.

Dumb Lady— T. R. 1669.

Dumb Savoyard and his Monkey_D. L. April 7 1828.

Dunstall-see Cv G. 1778-1779.

Dupe-D. L. Dec. 10 1763.

Dupes of Fancy — D. L. C. May 29 1792.

Duplicity— C. G. Oct. 13 I781_(see Mask'd Friend.)

D'Urfey-see D. L. June 15 1713.

Dutchess of Malfy— L. I. F. 1664— Hay. July 22 1707 - for the
original cast see vol. 10 p. 16.

Dutch Lover— D. G. 1673.
Dutchman— Hay. Sep. 8 1775.
Dutiful Deception— C. G. April 22 1778.
Dwarf of Naples— D. L. March 13 1819.
Dwyer— see end of D. L. 1803-1804.

E

Each for Himself— D. L. Oct. 24 1816.

Earl Goodwin — Bath Nov. 3 1789.

Earl of Essex, by Banks — see Unhappy Favourite.

Earl of Essex, by Brooke —D. L. Jan. 3 1761 — Hay. Sep. 3
1770.

Earl of Essex, by Jones — C. G. Feb. 21 1753 — D. L. Oct. 24
1755— D. L. April '27 1773— C. G. Dec. 26 1774 — D. L.
Feb. 12 1781— C. G. April 17 1782— C. G. Dec, 31 1790—
C. G. Nov. 10 1812— C. G. Dec. 30 1822.

Earl of Warwick, or British Exile— D. L. June 26 1719.

Earl of Warwick, by Dr. Franklin— D. L. Dec. 13 1766— C. G
March 22 1770— D. L. March 26 1774— C. G. April 5 1779
— D. L. Nov. 3 1784 — D. L. March 29 1806 — at Opera
House, see vol. 8 p. 240— C. G. Dec. 11 1818.

Earl of Warwick, in 3 acts— C. G. May 24 1796— C. G. Tec. 11
1818.

East Indian, by Lewis — D. L. April 22 1799.
East Indian, by Hay. July 16 1782.

Eastward Hoe — D. L. Oct. 29 1751 —altered to Old City Man-
ners—D. L. Nov. 9 1775 — for the plot see Cuckold's Haven
1685.

Eccentric Lover— C. G. April 30 1798.
Edgar and Alfredu— T. R. 1077.

Edgar and Emmeline— D. L. Jan. 31 1761— C. G. March 26 1768
— -D. L. April 27 1795— D. L. May 16 1808.

INDEX. XXXV11

Edgar, by Rymer — see vol. 1 p. 223.

Edgar, or Caledonian Feuds— C. G. May 9 180G.

Editha — see vol. 10 p. 194.

Edmead Miss— see D. L. Feb. 26 1799.

Education— C. G. April 27 1813.

Edniond, Orphan of the Castle — see vol. 10 p. 216.

Edward and Eleanora— see C. G. March 29 1739— C. G. March

18 1775— Bath Feb. 12 1780-D. L. Oct. 22 1796.
Edward the Black Prince — U. L. Jan. 6 1750 — C. G. May 15

1778— D. L. Oct. 20 1783— D. L. May 26 1803.

Edward the Black Prince, altered by Reynolds — D. L. Jan. 28

1828.

Edward 1st — see vol. 4 p. 132.
Edward 2d — see 2d vol. of Dodsley 1744.
Edward 3d (not acted) — see vol. 10 p. 232.
Edward 3d— T. R. 1691— Hay. March 11 1710.
Edward 4th — see vol. 9 p. 599— and vol. 10 p. 1.
Edwin T.— L. I. F. Feb. 24 1724.
Edwin and Angelina — see vol. 10 p. 204.
Edwin Mrs.— see Bath 1797-1798— and D. L. March 20 1821.
Edwin's characters — Hay. 1790.
Edwy— see vol. 10 p. 193.
Edwy and Elgiva— D. L. March 21 1795.

Egan Mrs Bath July 8 1813.

Egleton— see L. I. F. March 31 1722.

Egleton Mrs —her characters — C. G. 1732-1733.

Egyptian Festival-D. L. March 11 1800.

Elder Brother — see Love makes a Man D. L. 1701.

Elders— C. G. April 21 1780.

Eldred— Hay. July 7 1775— C. G. May 1 1776.

Election C.— see Miss Baillie end of 1811-1812.

Election, Interlude — D. L. Oct. 21 1774.

Election of the Managers — Hay. June 2 1784.

Electra by W. Shirley— see end of C. G. 1762-1763.

Electra from the Orestes of Voltaire — D. L. Oct. 15 1774.

Elephant at C. G. Dec. 26 1811.

Eleventh of June, or Daggerwoods at Dunstable — D. L. June 5

1798.
Elfrid— D. L. Jan. 3 1710.

XXXV111 INDEX.

Elfrida— C. G. Nov. 21 1772— C. G. Feb. 23 1779— C. G. April
5 1783— D. L. April 14 1785 — C. G. (in 4 acts) Nov. 24
1792.

Eliza — Opera — see D. L. Jan. 20 1757.

Ella Rosenberg— D. L. Nov. 19 1807 — D. L. May 10 1813—
D. L. Nov. 5 1819— C. G. July 6 1824— D. L. Oct. 6 1825.
Elliston's characters — D. L. 1825-1826.
Elmerick— D. L. Feb. 23 1740.
Elmy Mrs — see end of C. G. 1761-1762.
Eloisa— C. G. Dec. 23 1786.
Elopement, by Havard— D. L. April 6 1762-1763.
Elphi Bey— D. L. April 17 1817.
Elrington— see L. I. F. Oct. 6 1716.

Elvira, by Lord Bristol— see vol. 1 p. 63— for the plot, see 12th
vol. of Dodsley, 1744.

Elvira, by Mallet— D. L. Jan. 19 1763.

Embarcation — D. L. Oct. 3 1799.

Emery's characters — C. G. 1821-1822.

Emilia — see vol. 10 p. 187.

Emigrant in London — see vol. 10 p. 203.

Emilia Galotti—D. L. Oct. 28 1794.

Emperour of the East — see 3d vol. of Massinger 1805.

Emperour of the Moon— T. R. 1687—1). L. Sept. 18 1702— D. L.
Sept. 3 1708— L. I. F. June 28 1717— L. I. F. Feb. 6 and
Oct. 25 1721-L. I. F. Oct. 30 1731— C. G. Feb. 14 1739
— D. L. Dec. 26 1748 — C. G. Dec. 26 1748.

Empress of Morocco F. — see T. R. 1674.

Empress of Morocco T. — D. G. 1673-D. L. July 10 1708.

Enchanted Courser— D. L. Oct. 28 1824.

Enchanted Island (Ballet) — Hay. June 20 1804.

Enchanted Wood— Hay. July 25 1792.

Enchanter, or Love and Magic — D. L. Dec. 13 1760.

Endymion, by Lyly— see vol. 2 of Old Plays 1814-1815.

England Preserved— C. G. Feb. 21 1795.

England's Glory— C. G. Oct. 20 1797.

English Fleet in 1342— C. G. Dec. 13 1803— D. L.June 8 1815

English Friar— T. R. 1689.

English Lawyer— T. R. 1678,

Englishman from Paris, by Murphy — D. L. April 3 1750.

Englishman in Bordeaux — see vol. 10 p. 181.

INDEX. XXXIX

Englishman in Paris— C. G. March 24 1753— D.L. Oct. 20 1753

Englishman returned from Paris, by Foote — C. G. Feb. 3 I75()

— C. G. Nov. 17 1770.
Englishmen in India — D. L. Jan. 27 1827.

English Merchant— D. L. Feb. 21 1767— C. G. Oct. 5 1767—
—Hay. July 16 1779 _ Hay. July 18 1781 — Hay. June 2
1784— Hay. May 22 1789.

English Moor — see vol. 10 p. 41.

English Mounsieur— T. R. Dec. 8 1666— for the plot, see vol. 10
p. 253.

English Princess — L. I. F. March 7 1667.

English Readings— Hay. Aug. 7 1787.

English Tars in America — C. G. March 30 1761.

English Tavern at Berlin — see vol. 10 p. 198.

English Traveller— see vol. 6 of Old Plays 1814-1815.

Ensign— see vol. 10 p. 218.

Epaulette— Hay. Oct. 22 1825.

Ephesian Matron, attributed to C. Johnson — D. L. April 17 1732.

Ephesian Matron, by Bickerstaffe — Hay. .Aug. 31 1769 — D. L.

May 8 1771.

Epicaris— D. L. Oct. 14 1829.
Epiccene — see Silent Woman.
Eponina — see vol. 10 p. 182.
Epsom Wells— D. G. 1672— D. L. Dec. 18 1708— D. L. April 2

1715— L. I. F. July 22 1726.
Errors Excepted— Hay. Aug. 13 1807.
Escape into Prison — C. G. Nov. 14 1797.
Escape — Pantomime Interlude — D. L. May 21 1798.
Escapes, or Water Carrier— C. G. Oct. 14 1801.
Estcourt's characters — D. L. 1711-1712.

Esten Mrs her characters_C. G. 17931794.

Ethelred— see vol. 10 p. 231.

Esther — see vol. 10 p. 154.

Ethwald-see vol. 2 of Miss Baillie end of 1811-1812.

Etymologist — see vol 10 p. 194.

Eudora— C. G. Jan. 29 1790.

Eugenia, by Dr. Francis— D. L. Feb. 17 1752.

Eugenia, by Hayes and Carr— see vol. 10 p. 184.

Eunuch, or Darby Captain— D. L. May 17 1737.

Eunuch T. — see Love and Revenge D. G. 1675.

xl INDEX.

Eunuch, translated from Terence — D. L. July 9 1717.
Euripides — see end of 1781-1782.
Eurydice Hiss'd, or a Word to the Wise — Hay. 1737.
Eurydice, or the Devil Henpecked — D. L. Feb. 19 1737.

Eurydice T D. L. Feb. 22 1731— D. L. March 3 1759.

Evadne, or the Statue -C. G. Feb. 10 1819.

Evans Sir Hugh— see C. G. April 25 1804.

Evans— see C. G. Oct. 2 1822.

Evening's Love— T. R. 1668— D. L. Oct 18 1717.

Every Body Mistaken — L. I. P. March 10 1716.

Every Day Characters — see vol- 10 p. 226.

Every Man — see Hawkins 1773.

Every Man in his Humour — see T. R. 1682 — D. L. Nov. 29

1751 — C. G. Oct. 25 1762 — D. L. Oct. 9 1767 — D. L.

Feb. 9 1776— D. L. Jan. 2 1778— C. G. Oct. 1 1779— C. G.

May 15 1798— C. G. Dec. 17 1800— D. L. Dec. JO 1802—

Bath Feb. 10 1816 — D. L. June 5 1816 — see Ben Jonson's

works 1816— C. G. May 13 1825.
Every Man in his Humour, revived with alterations at L. I. F.

Jan. 11 1725.

Every Man out of his Humour — see T. R. 1682.
Every one has his Fault — C. G. Jan. 29 1793 — D. L. June 14

1805— C. G. May 22 1810 — Hay. Aug. 22 1810 — D. L.

April 2 1814— C. G. June 16 1819— D. L. June 19 1820—

Hay. Oct. 7 1823— C. G. June 7 1825— D L.Nov. C 1828.
Every Woman in her Humour — D. L. March 20 1760.
Example— see T. R. 1682.
Exchange no Robbery — Hay. Aug. 12 1820 — C. G. June 12

1821— D. L. Feb. 4 1823.
Exciseman— C. G. Nov. 4 1780.
Excommunicated Prince — see vol. 10 p. 143.
Exile acted by C. G. C. Nov. 10 1808 — C. G. Oct. 17 1821 —

C. G. June 9 1826.
Exit by Mistake— Hay. July 22 1816.
Experiment — see vol. 10 p. 192.
Eyre-see Hay. July 25 1810.

F

Factious Citizen — T. R. 1684.
Fair American— D. L. May 18 1782.
Fair Captive — L. I. F. March 4 1721.
Fair Cheating — D. L. June 15 1814.

INDEX Xll

Fair Circassian 1720 — see vol. 10 p. 156.
Fair Circassian — D. L. Nov. 27 1781.
Fair Deserter — Hay. Aug. 24 1816.

Fair Example— D. L. April 10 1703— L. I. F. Oct. 17 and Dec.
71717.

Fair Favourite — see vol. 10 p. 82.
Fair Fugitives — C. G. May 16 1803.
Fair Game— C. G. Dec. 21 1813.
Fairies — D. L. Feb. 3 1755.

Fair Maid of the Inn — see vol. 9 of Beaumont and Fletcher
1778.

Fair Maid of the West — see vol. 9 p. 590.

Fair of St. Germain— see end of L. I. F. 1718-1719.

Fair Orphan — see vol. 10 p. 187.

Fair Parricide — see vol. 10 p. 177.

Fair Penitent — L. I. F. 1703 — L. I. F. Jan. 11 1718 — D. L.
Nov. 12 1725— D. L.April 29 1738— D. L. March 24 1743
— C. G. Nov. 14 1746— D. L. Feb. 1 1748 — C. G. Jan. 19
1751— D. L. Nov. 8 1751 — C. G. Feb. 21 1757 — D. L.
Nov. 29 1760— D. L. March 15 1763 —C. G. Nov. 7 1766
— D. L. 'Nov. 11 1769—Hay. July 9 1770 — C. G. Nov. 10
1775— Hay. Aug. 26 1782— D. L. Nov. 29 1782 — C. G.
April 12 1785— C. G. Nov. 5 1803— Hay. Aug. 30 1811 —
D. L. Nov. 15 1814— C. G. March 2 1816— C. G. Dec. 20
1824.

Fair Quaker of Deal — D. L. Feb. 25 1710 — L. I. F. Nov. 12
1721— D. L. Oct. 20 1730 — C. G. April 13 1748 — D. L.
Oct. 7 1755 — C. G. April 15 1766 — altered as Fair Quaker
only D. L. Nov. 9 1773— C. G. April 21 1779— D. L. May
10 1781.

Fair Quarrel — see vol. 10 p. 14.

Fairy Favour — see vol. 10 p. 182.

Fairy Prince— C. G. Nov. 12 1771.

Fairy Queen— T. R. 1692.

Fairy Tale— D. L. Nov. 26 1763.

Fairy Tale— Hay. July 18 1777.

Faithful General— Hay. Jan. 3 170«.

Faithful Irishwoman — D. L. March 18 1765.

Faithful Shepherdess — see 3d vol. of Beaumont and Fletcher 1778.

Fall of Algiers— D. L.Jan. 19 1825.

Fall of Jerusalem — see vol. 10 p. 238.

Fall of Portugal — see vol. 10 p. 229.

y

xlii INDEX.

Fall of Saguntum— L. I. F. Jan. 16 1727.

Fall of the Earl of Essex— G. F. Feb. 1 1731.

Fall of the Mogul — see vol. 10 p. 227.

Falls of Clyde-D. L. Oct. 29 1817.

False Alarms, or My Cousin — D. L, Jan. 12 1807.

False and True — Hay. Aug. 11 1798— C. G. April 30 1799—
D. L. May 26 1806.

False Appearances — D. L. April 20 1789.

False Colours— by D. L. C. Aprils 1793.

False Concord — C. G. March 20 1764.

False Count— D. G. 1682— L. I. F. Aug. 11 1715.

False Delicacy— D. L. Jan. 23 1768— D.L. Oct. 14 1782.

False Delicacy — not acted — see vol. 10 p. 220.

False Demetrius — see vol. 2 of Cumberland 1812-1813.

False Favourite Disgraced — see vol. 10 p. 131.

False Friend, by Cross— Bath March 7 1812.

False Friend, by Mrs. Fix— L. I. F. 1699.

False Friend, by Vanburgh— D. L. 1702— L. I. F. Oct. 14 1724
— C. G. Jan. 28 1752— D. L. March 31 1767— D. L. Oct.
24 1789.

False Guardians Outwitted — see vol. 10 p. 168.
False Impressions — C. G. Nov. 23 1797.
False Shame — see vol. 10 p. 215.
False One — see vol. 6 p. 46.

Falstaff — for different'performers of the character, see Hay. 1777,
p. 596.

Falstaff originally called Oldcastle — see vol. 2 p. 533.

Falstaff 's Wedding — D. L. April 12 1766 — Liverpool Aug. 25
1777— D. L. May 11 1803.

Family Compact — Hay. Sep. 6 1792.

Family Distress — Hay. June 15 1799.

Family Jars— Hay. Aug. 26 1822.

Family Legend— D. L. May 29 1815— Bath March 19 1811.

Family Party— Hay. July 11 1789.

Family Quarrels— C. G. Dec. 18 1802.

Fancies Chaste and Noble — see vol. 2 of Ford's works 1811.

Fancy'd Queen — C. G. Summer of 1733.

Farce Writer— C. G. Oct. 5 1815-

Farmer -C. G. Oct. 31 1787— D. L. May 17 1814— Hay. Aug.
28 1820.

INDEX.

xliii

Farmer's Return from London — D. L. March 20 1762.

Farmer's Wife— C. G. Feb. 1 1814.

Farm House— D. L. May 2 1789— C. G. Oct. 16 1795.

Faro Table by Tobin — see Guardians D. L. Nov. 5 1816.

Farren— see C. G. 1794-1705.

Farren William — bis 1st app. at C. G. Sep. 10 1818.

Farren Miss — her characters D. L. 1796-1797.

Fashionable Friends — D. L. April 22 1802.

Fashionable Lady, or Harlequin's Opera — G. F. April 2 1730.

Fashionable Levities — C. G. April 2 1785 — in 3 acts C. G. March
31 1792— C. G. May 6 1797 — Hay. Jun 29 1801 — D. L.
May 31 1820.

Fashionable Lover by Cumberland — D. L. Jan. 20 1772 — C. G.
May 9 1786— C. G. April 9 1808 — Bath Dec. 8 1808 —
D. L. Oct. 14 1818.

Fashionable Lover, or Wit in Necessity — see end of D. L. 1705-
1706.

Fast and Slow— D. L. April 18 1827.
Fast Asleep— D. L. Nov. 28 1797.
Fatal Constancy — D. L. April 22 1723.

Fatal Contract by Hemmings — see Love and Revenge D. G.
1675.

Fatal Curiosity— Hay. 1736— Hay. Sep. 4 1755 —Hay. June 29
1782— D. L. May 1 1797— Hay. July 13 1808— Bath June
12 1813.

Fatal Dicovery by Home— D. L. Feb. 23 1769 — C. G. March 18
1776.

Fatal Discovery, or Love in Ruins — D. L. 1698 — for plot see
vol. 10 p. 185.

Fatal Dowry — see Fair Penitent L. I. F. 1703 — and Insolvent
Hay. 1758.

Fatal Dowry, altered— D. L. Jan. 5 1825— Bath Feb. 18 1825.
Fatal Error — see vol. 2 of Victor's works 1776.

Fatal Extravagance — L. I. F. April 21 1721 — L. I. F. Feb. 21
1730— C. G. May 14 1794.

Fatal Falsehood, by Hewitt — D. L. Feb. 11 1734.

Fatal Falsehood, by Miss More — C. G. May 6 1 779.

Fatal Interview — D. L. Nov. 16 1782.

Fatal Friendship — L. I. F. 1698.

Fatal Jealousy— D. G. 1672.

Fatal Legacy— -L. I. F. April 23 1723

I N D EX.

Fatal Love by Settle— T. R. 1680.

Fatal Love, or Degenerate Brother — Hay. 1730.

Fatal Marriage— T. R. 1694— D. L. Feb. 1 1709— D. L. June
18 1717— C. G. March 18 and May 4 1734— D. L. Jan. 23
1735— D. L. April 10 1744— D. L. March 13 1750— C. G.
April 18 1755— altered from Southern at D. L. Dec. 2 1757
— see Isabella.

Fatal Mistake, or the Plot Spoil'd — see end of D. L. 1701.

Fatal Retirement — D. L. Nov. 12 1739.

Fatal Secret— C. G. April 4 1733.

Fatal Sisters — see vol. 10 p. 205.

Fatal Vision-L. I. F. Feb. 7 1716.

Fatality-Hay. Sep. 1 1829.

Fate of Calas— Bath March 17 1821.

Fate of Capua— L. I. F. 1700.

Fate of Corsica — see vol. 10 p. 158.

Fate of Sparta— D. L. Jan. 31 1788.

Fate of Villany— G. F. Feb. 24 1730.

Father and his Children— C. G. Oct. 25 1817.

Father and Son— C. G. Feb. 28 1825.

Father of an only Child — see vol. 10 p. 196.

Fathers, or Good-natured Man — D. L. Nov. 30 1778.

Father's Revenge — see vol. 10 p. 193.

Faulkner— D. L. Dec.16 1807.

Faustus— D. L. May 16 1825.

Favourite — see vol. 10 p. 187.

Fazio— Bath Jan. 6 1818 — C. G. Feb. 5 1818 — D. L. Oct. 27

1823.

Feigned Courtezans— D. G. 1679— L. I. F. Aug. 8 1716.
Feign'd Friendship— L. I. F. 1698.
Female Adventure (or Pursuit) C. G. April 29 1790.
Female Advocates — D. L. Jan. 6 1713.
Female Chevalier — Hay. May 18 1778.
Female Duellist— by D. L. C. May 22 1793.
Female Fop — see vol. 3 p. 159.
Female Fortune-teller — L. I. F. Jan. 7 1726.
Female Jacobin Club — see vol. 10 p. 223.
Female Officer by Brooke — see his works 1778, vol. 4.
Female Parson— Hay. 1730.
Female Prelate— T. R- 1680— Hay. 1744-1745.

INDEX. Xv

Female Rake— Hay. 1736.

Female Virtuosoes — T. R. 1693 — revived at L. I. F. Jan. 10

172 I—as No Fools like Wits.
Female Wits— D. L. 1697.
Fennell— see end of C. G. 1787-1788.
Fenton Miss — see L. I. F. April 29 1728.
Ferrex and Porrex — see 2d vol. of Hawkins 1773.
Ferry of the Guiers— C. G. Nov. 13 1823.
Feudal Times— D. L. Jan. 19 1799.
Fickle Shepherdess — L. I. F. 1703.

Fielding's observations on Rich's Entertainments — see Tumble-
down Dick at Hay. 1737.

Field's Sale— see end of 1826-1827.

Fiesco — see vol. 10 p. 204.

Figure of Fun— C. G. Feb. 16 1821.

Fine Companion — see vol. 10 p. 52.

Fine Lady's Airs — D. L Dec. 14 1708— D. L. April 20 1747.

Fire and Water— Hay. July 8 1780.

First Come First Serv'd — Hay. Aug. 22 1808.

First Faults — D. L. May 3 1799.

First Floor— D. L. Jan. 13 1787— Hay. Sept. 5 1818.

First Impressions — D. L. Oct. 30 1813.

First Love— D. L. May 12 1795— D. L. May 27 1808.

First of April— Hay. Aug. 31 1830.

First of May— C. G. Oct. 10 1829.

Fisherman's Hut — D. L. Oct. 20 1819.

Fisher Miss Clara — D. L. Dec. 3 1822 — Bath June 6 1823.

Fish out of Water— Hay. Aug. 26 1823.

Five Miles Off— Hay. July 9 1806— C. G. May 19 1807.

Five Minutes too Late — D. L. July 5 1825.

live Thousand a Year — C. G. March 16 1799.

Flecknoe — for his short discourse on the English Stage, see vol
10 p. 249.

Fleetwood purchases the D. L. Patent of Highmore in 1733-1734
— sells it before Sept. 1745 — for the quarrel between him
and the actors, seethe beginning of 1743-1744.

Fleire — see vol. 10 p. 94.

Plitch of Bacon— Hay. Aug. 17 1778 — C. G. Jan. 7 1780— D. L
May 15 1781— C. G June 3 1806— D. L. June 22 1814.

Floating Beacon — Bath May 5 1826.

Xlvi INDEX.

Floating Island — see vol. 10 p. 107.

Flodden Field— D. L. Dec. 31 1818.

Flora, or Hob in the Well— D. L. April 11 and 20 1767.

Flora's Vagaries— T. R. Oct. 5 1667— and D. L. July 26 1715—
for the plot see vol. 10 p. 254

Florist's Wedding— D. L. April 3 1770.
Florizel and Perdita — see Sheep-shearing.
Flying Dutchman— Bath March 24 1829.

Follies of a Day— C. G. Dec. 14 1784 — Hay. Aug. 21 1787 —
D. L. May 27 1789— as Farce D. L. Nov. 7 1789 — Hay.
June 17 1790— Hay. Aug. 8 1796 — C. G. Oct. 23 1811—
D. L. Feb. 12 1817.

Follies of Fashion— 1>. L. Nov. 28 1829.

Folly as it Flies — C. G. Oct. 29 1801— C. G. May 13 1806 —
C. G. Nov. 27 1813— U. L Nov. 3 and 10 1821.

Folly of Priestcraft — see vol. 10 p. 148.

Fond Husband— D. G. 1G76 — Hay. June 20 1707 — L. I. F.

Oct. 28 1715— L. I. F. June 24 and Nov. 30 1726— L. I. F.

Feb. 14 1732— D. L. Nov. 29 1740.

Fontainbleau— C. G. Nov. 16 1784— D.L. June 1 1813— C. G.

May 31 1825— Hay. Sep. 28 1826— D. L. May 23 1827.
Fontainville Forest — C. G. March 25 1794 — in 4 acts C. G. Jan.

81796.

Fool— D. L. April 15 1785— C. G. Dec. 14 1785.
Fool's Preferment— T. R. 1688— D. L. July 16 1703.
Fool turned Critick— T. R. 1678.
Fool would be a Favourite — see vol. 10 p. 30.
Foote and Duchess of Kingston — see end of Hay. 1776.
Foote's characters, &c. — Hay. 1777.
Foote's Comic Theatre — see vol. 10 p. 259.
Foote Miss — see C. G. Sep. 14 1814 and Bath Feb. 13 and 14

1826.

Footman— G. F. March 7 1732.

Footman turned Gentleman — L. I. F. March 13 1717.
Forced Marriage by Mrs. Behn — D. G. 1672.
Force of Calumny — see vol. 10 p. 215.
Force of Fashion— C. G. Dec. 5 1789.
Force of Friendship — Hay. April 20 and May 1 1710.
Force of Nature— Hay . July 16 1830-
Force of Ridicule— D. L. Dec. 6 1796.
Ford's Works — a new Edition by Weber in 1811.

INDEX. xlvii

For England Ho ! — C. G. Dec. 15 1813.

Forester — see vol. 10 p. 205.

Forest of Bondy— C. G. Sep. 30 1814— C. G. Nov. 10 1823.

Forest of Hernianstadt— acted by C. G. C. Oct. 7 1808.

Forget and Forgive — D. L. Nov. 21 1827— altered to Frolicks in

France D. L. March 15 1828.
.Fortress — Hay. July 10 1807.
Fortunate Peasant — see Victor's works 1776.
Fortunate Prince — see vol. 10 p. 158.
Fortunatus and his Sons — C. G. April 12 1819.
Fortune by Land and Sea— see vol. 9 p. 595.
Fortune Hunters C. in 3 acts — Hay. July 23 1812.

Fortune Hunters, or Two Fools well met — T. R. 1689 — Hay.
June 10 1707— L. I. F. March 9 1728.

Fortune in her Wits — see vol. 10 p. 65.

Fortune of War— C. G. May 17 1815.

Fortune's Fool — C. G. Oct. 29 1796.

Fortune's Frolic— C. G. May 25 1799— Hay. June 20 1799.

Fortune's Tricks in Forty-Six — see vol. 10 p. 174.

Fortune's Wheel— by D. L. C. May 7 1793.

Fortunes of Nigel— Bath Dec. 7 1822.

Fortuneteller — D. L. Sept. 29 1808.

Forty Thieves — D. L.April 8 1806— C. G. June 14 1815.

Foscari— C. G. Nov. 4 1826.

Foul Deeds M-ill Rise — Hay. July 18 1804.

Foundling— D. L. Feb. 13 1748— D. L. April 10 1764 — D. L.
Feb. 7 1770 — Liverpool Sep. — 1773— D. L. March 21
1782— C. G. April 8 1786— C. G. Oct. 4 1786— C. G. Sep.
28 1787— D. L. C. Jan. 9 1793— D. L. Nov. 1 1804.

Foundling of the Forest — Hay. July 10 1809— C. G June 8 1810
— D. L. June 10 1815— D. L. June 16 1826.

Four Plays, or Moral Representations in one — see vol. 10 of
Beaumont and Fletcher 1778.

Four Prentices of London — see vol. 4 p. 125.

Four P's — see 1st vol. of Dodsley 1744.

Fox — see Volpone.

Fox Chase— see vol. 10 p. 228.

Frankenstein— C. G. July 9 1824.

Frederick Duke of Brunswick— L. I. F. March 4 1729.

Frederick the Great — see Bath Oct. 22 1814-

xlviii

INDEX.

Fredolfo— C. G. May 12 1819.

Free Knights, or Edict of Charlemagne — C. G. Feb. 8 1810 —
see Orphan of Castle Bath March 17 1814.

French Comedians at Hay. 1738 — not suffered to act by the
Public.

French Conjuror — D- G. 1677.

French Flogged — see English Tars in America C. G. March 30
1761.

Frenchified Lady— C. G. March 23 1756— D. L. April 11 1765
— D. L. March 24 1770.

French Libertine-C. G. Feb. 11 1826.

Frenchman in London — see vol. 10 p. 178.

Friend Indeed !— C. G. Nov. 5 1817.

Friend in Need— D. L. Feb. 11 1797.

Friend in Need is a Friend indeed — Hay. July 5 1783.

Friends — (T. by Meilan) — see vol. 10 p. 187.

Friendship Improved — L. I. F. 1699.

Friendship in Fashion— D. G. 1678— D. L. Jan. 22 1750.

Frighten'd to Death— D. L. Feb. 27 1817.

Frost and Thaw— C. G. Feb. 25 1812.

Frozen Lake— C. G. Nov. 26 1824.

Fryer Peg — returns to the stage at L. I. F. Jan. 11 1720 — she

had not acted since the time of Charles 2d.
Fugitive (partly from Czar)— C. G. Nov. 4 1790.
Fugitive (C.)— by D. L. C. April 20 1792— Bath Nov. 30 1822.
Fugitives — (not acted) see vol. 10 p. 199.
Fuimus Troes — see 3d vol. of Dodsley 1744.
Funeral— D. L.I 702— C. G. Feb. 16 1739— D. L. April 22 1740

— C. G. Nov. 11 and 20 1745— D. L. Jan. 13 1749— C. G.

April 21 1758— D. L. Feb. 8 1760— C. G. April 23 1773—

— C. G. April 30 1789— D. L. April 17 1799.

G.

Gallant Moriscoes— see vol. 10 p. 203.

Gallantry, or Adventures in Madrid — D. L. Jan. 15 1820.

Gallathea— see vol. 9 p. 572.

Gallery opened gratis to Footmen — see D. L. 1697.

Gallic Gratitude— C. G. April 30 1779.

Galigantus— D. L. Aprii;i4 1760.

Gambler's Fate— D. L. Oct. 15 1827.

Game at Chesse — see vol. 10 p. 11.

INDEX.

^.unester, by Mrs. Centlivre — L. I. F. Feb. 22 1705 — D. L.
March 18 1709— L. I. F. June 25 1717— L. I. F. Oct. 17
1727— D. L. Oct. 13 1750.

Gamester, by Moore— D. L. Feb. 7 1753— D. L. March 16 1771
— C. G. Jan. 4 1781— D L. Nov. 22 1783— C. G. Sep. 25
1786 — C. G. May 4 1797— C. G. Oct. 27 1803 — D. L.
March 20 1813— C. G. Dec, 14 1814— D. L. Nov. 21 1828.

Gamesters, altered from Shirley — D. L- Dec. 22 1757 — D L.
Oct. 30 1772— C. G.Jan. 22 1790— D. L. April 28 1806.

Gammer Gurtou's Needle — see 1st vol. of Dodsley 1744.
Gander Hall— Hay. Aug. 5 1799.

Garrick, his 1st app — G. F. Oct. 19 1741 — for the dispute be-
tween him and Macklin, see D. L. 1743-1744 — he becomes
joint Patentee of D. L. in 1747-1748 — leaves the stage in
June 1776.

Garrick in the Shades — see end of D. L. 1775-1776.

Garrick's Ode on Shakspeare — D. L. Sep. 30 1769.

Gaul, King of Ragah — see vol. 10 p. 232.

Gay Deceivers — Hay. Aug. 22 1804 — Hay. Sep. 4 1823.

Gazette Extraordinary — C. G. April 23 1811.

General Lover — see vol. 10 p. 175.

Generous Artifice — see vol. 10 p. 262.

Generous Attachment — see vol. 10 p. 204.

Generous Choice — L. I. F. 1700.

Generous Counterfeit — see vol. 1 0 p. 1 95.

Generous Conquerour — D. L. 1702.

Generous Enemies — T. R. 1671.

Generous Freemason — Hay. 1731.

Generous Husband — D. L. Jan. 20 1711.

Generous Impostor — O. L. Nov. 22 1780.

Genius of Nonsense — Hay. Sep. 2 1780.

Genlis Madame de — see 1786-1787.

Genoese Pirate — C. G. Oct. 15 1798-

Gentleman Cully— L. I. F. 1702.

Gentleman Dancing Master — D. G. 1672.

Gentleman Gardeaer — C. G. March 29 1749.

Gentleman of Venice — see vol. 9 p. 562.

Gentle Shepherd — D. L. May 9 1774 — D. L. May 27 1789 —
C. G.May 23 1794.

Gentle Shepherd, rendered into English — C. G. June 27 J817.
George a Greene — see 1st vol. of Dodsley 1744.

h

1 INDEX.

George Barnwell — (see London Merchant) Hay. Sep. 6 1804 —

Bath Jan. 29 1817 with last scene.
George Dandin— D. L. Nov. 25 1747.
Geraldi Duval— D. L. Sep. 8 1821.
German Hotel— C. G. Nov. 11 1790.
German Princess — L. I. F. April 15 1664.
Ghost— D. L. April 10 and Oct. 4 1769— C. G. April 23 1783—

Hay. Aug. 25 1786— D. L. C. Jan. 25 1793-C. G. Oct. 19

1795.

Ghost, or the Woman wears the Breeches — see vol. 10 p. 111.
Ghosts, by Holden — see L. I. F. 1665.
Gibralter— D. L. Feb. 16 1705.

Giffard opens his new theatre in G. F. Oct. 2 1732 — rents L.I.F.
of Rich in 1736-1737 — re-opens G. F. in 1740 — re-opens
L. I. F. in 1742-1743.

Gil Bias— D. L. Feb. 2 1751.

Gilderoy— Bath May 18 1829.

Gipsy Prince— Hay. July 24 1801.

Gipsies— Hay. Aug. 3 1778.

Girl in Style— C. G. Dec. 6 I1! 86.

Gloriana— T. R. 1676.

Glorious Revolution in 1688 — see vol. 10 p. 236.

Glory of Columbia — see vol. 10 p. 234.

Gnome-King — C. G. Oct. 6 1819.

Goblins — T. R. Jan 24 1667 — for the plot see 7th vol. of Dods-
ley 1744.

Godolphin— D. L. Oct. 12 1813.

God's Promises — see 1st vol. of Dodsley 1744.

Golden Glove— see vol. 10 p. 233.

Golden Pippin— C. G. Feb. 6 1773— C. G. May 11 1792.

Goldsmith — Hay. Aug. 2B 1827.

Gonzalo, or Spanish Bandit — see vol. 10 p. 236.

Goodman's Fields theatre opened by Odell in 1729.

Goodman's last app. — see T. R. 1688.

, Good-natured Man— C. G. Jan. 29 1768— Hay. Aug. 26 1783—
C. G. April 20 1789— C. G. April 22 1800 — Hay. July 11
1804— C. G. March 16 1826.

Gorboduc — see Ferrex and Porrex in Hawkins 1773.
Gortz of Berlingen — see vol. 10 p. 215.
Gospel Shop— see vol. 10 p. 192.

INDEX, 11

Gotham Election — see vol. 10 p. 154.

Go vernour of Cyprus— L. 1. F. 1703.

Granadier — see O'Keeffe's works 1798.

Grand Alliance — C. G. June 13 1814.

Grandpapa — D. L. May 25 1825.

Grand Tour, or Stopped at Rochester— C. G. May 22 1821.

Grateful Servant — see vol 9 p. 544.

Great Duke of Florence — see vol. 2 of Massinger 1804-1805.

Great Favourite — T. R. Feb. 20 1668.

Great Unknown ! — Hay. Sept. 9 1823.

Grecian Daughter— D. L. Feb. 26 1772— C. G. Oct. 31 1774—
Hay. June 14 1780 — C. G. Oct. 21 1782 — D. L. Oct. 30
1782— C. G. Nov. 12 1792 — C. G. Jan. 5 1798— C. G.
Feb. 16 1804— D. L. May 3 1813 — C. G. April 29 1815—
C. G. Jan. 18 1830.

Grecian Heroine — see vol. 10 p. 156.

Greek Family— D. L. Oct. 22 1829.

Greek Slave, or School for Cowards — D. L. March 22 1791.

Green — see Bath Jan. 31 1821.

Green-eyed Monster — by D. L. C. Oct. 14 1811.

Green-eyed Monster, by Planche — Hay. Aug. 18 1828 — D. L.
Oct. 28 1828.

Green Man— Hay. Aug. 15 1818— Hay. July 8 1826.

Green Mrs. — her characters— C. G. 1779-1780.

Green Room, a Prelude — Hay. Aug. 27 1783.

Green Room-C. G. Oct. 18 1826.

Green's Tu Quoque — L. I. F. 1665.

Greenwich Park— T. R. 1691— D.L. April 17 1708— D. L. Oct.

10 1730.

Greenwich — plays acted there in 1710.
Gretna Green— Hay. Aug. 28 1783 — Hay. July 30 1795.
Gretna Green, Operatic Farce — C. G. Oct. 13 1827.
Grieving is a Folly— D. L. C. April 21 1809.
Griffin Benjamin — his characters — D. L. 1739-1740.
Griffin Capt.— see D. L. 1706-1707.

Grim the Collier of Croydon — see 5th vol. of Dodsley 1744.
Grove, or Love's Paradise— D. L 1700.
Grub Street Opera— Hay. July — 1731.

Grumbler — D. L. April 30 1754 — probably altered from Sedley.
Grumbler, altered from Sedley— C. G. May 8 1773. (B.D.)

Hi INDEX. ",

Guardian, by Cowley — see L. 1. F. Dec. 16 1661 — see vol. 10 p.
63.

Guardian, by Massinger — see vol. 4 of Massinger 1804-1805.

Guardian, by Garrick— D. L. Feb. 3 1759— C. G. April 4 1769
— D. L. April 23 1771— C. G. Dec. 16 1775— Hay. July
12 1784— D. L. Feb. 2 1785— C. G. April 11 1787— C. G.
Nov. 25 1796— Hay. Sep. 13 1797— C. G June 16 1807.

Guardian Outwitted — C. G. Dec. 12 1764.

Guardians, by Tobin — D. L. Nov. 5 1816.

Guardians, or Man of my own Choice — see vol. 10 p. 228.

Gudgeons and Sharks — Hay. July 28 1827.

Guilty, or not Guilty — Hay. May. 26 1804 — C. G. May 30 1805.

Gunilda — see vol. 10 p. 224.

Gustavus Vasa, by Brooke — see end of D. L. 1738-1739— C. G.
Dec. 28 1805.

Gustavus Vasa (Hero of the North)— C. G. Nov. 29 1810.

Guy Fawkes — Hay. Nov. 5 1793.

Guy Mannering— C. G. March 12 1816— D. L. Oct. 7 1819.

Guzman — see end of D. G. 1671.

Gwyn Nell — see Union 1682.

H.

Hafed the Gheber— D. L. Nov. 29 1824.
Hail Fellow well met— C. G. May 8 1792.

Haines — for his Epilogue on an Ass — see vol. 2 p. 106 — his cha-
racters D. L. 1701.

Hale— see C. G. 1745-1746.

Half an Hour after Supper— Hay. May 25 1789.

Half an H our in England without Cozening! — see C. G. June
29 1819.

Half Pay Officers— L. I. F. Jan. 11 1720.

Halidon Hill — see vol. 10 p. 242.

Hallam Mrs. — her characters — C. G. 1739-1740.

Kamblin— see end of Bath 1822-1823.

Hamilton Mrs. — her characters — C. G. 1761-1762.

Hamlet— L. I. F. 1662— D. G. 1673— D. L. Jan. 15 1708—
D. L. Oct. 27 1711— L. I. F. Oct. 13 1722— D. L. Jan. 23
1738— D. L. Nov. 16 1742— C. G. June 13 1746— D. L.
March 24 1747— C- G. Oct. 24 1754— D. L. March 20
1755— D. L. April 4 1763— C. G. April 25 1768— -C. G.
Dec. 29 1775— Hay. Aug. 17 1780— Bristol June 27 1781
(see Bath bills) Mrs. Siddons acted Hamlet — D. L. Sept. 30

INDEX. liii

1783— D. L. May 15 17«0-Hay. May 18 1707— C. <;. Nov.
16 1789— Hay. Aug. 18 1795—1). L. April t>9 1796—
C. G. Sept. 27 1802— C. G. Nov. 27 1805— Hay. June 22
1807— D. L. Oct. 10 1812— D. L. March 12 1814— Hay.
Oct. 23 1824— Bath Feb. 1 1828.

I lamiet, mangled by Garrick — D. L. Dec. 18 1772 — D. L. May
30 1776— D. L. Sep. 30 1777— Shakspeare's play restored
at D. L.April 21 1780.

Hamlet Travestie — C. G. June 17 1813.

Hamlet's advice to the players by Mathews — Bath Jan. G 1816.

Hampstead Heath — D. L. Oct. SO 1705.

Hanging and Marriage — L. I. 1 '. March 15 1722.

Hannibal and Scipio — see vol. 10 p. 58.

Hannah Hewit, or Female Crusoe — D. L- May 7 1798.

Happiest Day of my Life — Hay. July 29 1829.

Happy Captive — see vol. 10 p. 169.

Happy Family — see vol. 10 p. 210.

Happy Lovers — see vol.10 p. 171.

Happy Prescription — see Hayley at the end of 1783-1784.

Harlequin Anna Bullen— L. I. F. Dec. 11 1727.

Harlequin Hoax — D. L. June 15 1815,

Harlequin Incendiary, or Columbine Cameron — D. L. March 3
1746.

Harlequin's Invasion — D. L. Dec. 31 1759 — D. L. Dec. 28 1786.
Harlequin a Sorcerer — L. I. F. Jan. 21 1725.

Harlequin Student, or the Fall of Pantomime with the Restoration
of the Drama— G. F. March 2 1741.

Harley's 1st app. at D. L. Sep. 16 1815.

Harlot's Progress — D. L. March 31 1733 — D. L. May 8 1738.

Harold— see D. L. Jan. 24 1778.

Haroun Alraschid (altered from ^Jthiop)— C. G. Jan. 11 1813.

Harper's Daughter — C. G. May 4 1803.

Harris — for his characters see Union 1682.

Harris and Colman — violent disputes between them — see end of
C. G. 1767-1768.

Harry, Le Roy— C. G. July 2 1813.
Hartford Bridge— C. G. Nov. 3 1792.
Hartley Mrs.— her characters C. G. 1779-1780.
Hart's last app. — see Union 1682.
Harvest Home — see end of Hay. 1787-
Haunted Inn— D. L. Jan. 31 1828.

Hv INDEX.

Haunted Tower— D. L. Nov. 24 1789.

Havard— his characters — D. L. 1768-1769.

Hay market (now Opera House) — opened April 9 1705.

Haymarket— new theatre opened in 1722 or 1723— second price

taken Sept. 1G 1811— not opened 1813.
Heathen Martyr, or Death of Socrates— see vol. 10 p. 172.
Hear both Sides — D. L. Jan. 29 1803.
Heart of Mid-Lothian, by Terry— C. G. April 17 1819.
Heart of Mid- Lothian, by Dibdin— see Bath Dec. 3 1819— D. L.

July 12 1821 and May 29 1822.
Heart of Mid-Lothian, by Dimond— Bath Dec. 3 1819— Bath

March 15 1828.

Hearts of Oak— D. L. Nov. 19 1803.
Hebrew— D. L. March 2 1820.
Hebrew Family— C. G. April 8 1825.
Hecuba, by Delap—D. L. Dec. 11 1761.
Hecuba, by West— D. L. Feb. 2 1726.
Hector — see vol. 10 p. 231.
Hector of Germany— see vol. 10 p. 95.
Hectors, or False Challenge — see vol. 10 p. 131.
Heigho for a Husband-Hay. July 14 1794— D. L. Fib. 5_1802.
Heir— see Stolen Heiress L. I. F. Dec. 31 1702.
Heir at Law— Hay. July 15 1797— C. G. Dec. 12 1797-D. L.

May 2 1808— D. L. Feb. 6 1823.

Heiress— D. L. Jau. 14 1786— Hay. Aug. 17 1786— C. G. May
14 1789— D. L. Dec. 11 1804.

Heiress, or Antigallican— D. L. May 21 1759.

Heir of Morocco— T. R. 1682— D. L. Aug, 9 1704.

Heir of Vironi— C. G. Feb. 27 1817.

Helpless Animals— C. G. Nov. 17 1819.

He " Lies like Truth"— Bath Nov. 8 1828.

Henderson's characters — C. G. 1785-1786.

Hen-Peck'd Captain— D. L. April 29 1749.

Henri Quatre— C. G. April 22 1820— D. L. June 21 1825.

Henriette, or Farm of Senange — C. G. Feb. 23 1821.

Henry and Emma— C. G. April 13 1774-D. L. April 20 1775

—Hay. Sep. 5 1780.

Henry and Rosamond— see CX G. May 1 1773.
Henry and Almeria — see vol. 10 p. 223.

INDEX. Iv

Henry 2d, by Hull— C. G. May 1 1773— Hay. July 25 1787—

D. L. Dec. S6 1787.
Henry 2d, by Mountfort — T. R. 1692.
Henry 2d, by Ireland — see vol. 10 p. 210.
Henry 3d of France-T. R. 1678.
Henry 4th of France— L. I. F. Nov. 7 1719.

Henry 4th part 1st— T. R. Nov. 2 1667— L. I. F. 1700— Hay.
Oct. 26 1706— D. L. March 3 1716-L. I. F. Oct. 20 1716
— L. I. F. Jan. 28 1721— D. L. Jan. 12 1738— C. G. Dec.
6 1746— D. L. Jan. 15 1747— D. L. Sep. 25 1762— C. G.
March 15 1774-Hay. July 24 1777— D. L. Oct. 17 1777—

C. G. Oct. 23 1779— Hay. July 21 1786— C. G. Nov. 22
1786— D. L. C. Nov. 7 1791 — Hay. Aug. 6 1792 — C. G.
Dec. 9 1795— Hay. May 18 1803— C. G. May 3 1824—

D. L. May 11 1826.

Henry 4th part 2d— D. L. Dec. 17 1720-D. L. May 19 1731—
G. F. Oct. 2 1732— D. L. Sep. 24 1734— D. L. March 11
1736— C. G. March 2 1749— C. G. April 10 1755— D. L.
March 13 1758-C. G. Dec. 11 1761— D. L. Jan. 18 1764
— C. G. April 27 1773— D. L. Nov. 24 1777— C. G. Oct. 30
1784— C. G. Jan. 17 1804— C. G. June 25 1821 with Co-
ronation.

Henry 5th, by Hill— D. L. Dec. 5 1723.

Henry 5th, by Lord Orrery — L. I. F. Aug. 13 1664.

Henry 5th, by Shakspeare— G. F. Nov. 26 1735— C. G. Feb. 23
1738 — C. G. Nov. 18 and Dec. 11 1745— D. L. Dec. 16
and 31 1747— C. G. Jan. 16 and Feb. 19 1750— C. G. Nov.

13 1761 with Coronation — C. G. Sep. 22 1769 with Cham-
pion—C. G. May 11 1778 — D. L. Oct. 1 1789— D. L. Dec.

14 1801 —Hay. Sep. 5 1803— C. G. Oct. 25 1803— C. G.
March 4 1811— C. G. Oct. 4 1819— D. L. June 2 1825.

Henry 6th part 1st, by Shakspeare — C. G. March 13 1738.
Henry 6th, altered by Theo. Gibber— D. L. July 5 1723.
Henry 6th 1st and2d parts, by Crowne — D. G. 1681.
Henry 7th— D. L. Jan. 18 1746.

Henry 8th— L. I. F. 1664— L. I. F. 1700— Hay. Feb. 15 1707
— D. L. May 21 1722— L. I. F. Oct. 30 and April 22 1725-
1726— with grand Coronation D. L. Oct. 31 1727— see Feb.
17 1728 for Coronation— D. L. Oct. 14 1734— C. G. Jan. 24
1744 — C. G. Nov. 6 1772— Hay. Aug. 29 1777— C. G. Oct.
30 1780— C. G. March 26 1787— D. L. Nov. 25 1788—
C. G. May 15 1799— C. G. April 23 1806— Bath Dec. 30
1820— D. L. May 20 1822— C. G. Jan. 15 1823— D. L.
June 9 1824.

Heraclius, by * *— see vol. 1 p. 73.
Heraclius, by Carlell — see vol. 10 p. 1 38.

Ivi INDEX.

Hermione— C. G. April 22 1800.
Herminius and Espatia — see vol. 7 p. 133.
Herod and Mariamne, by Pordage — D. G. 1674.
Herod the Great — see Lord Orrery 1739.
Hercules and Omphale— C. G. Nov. 21 1794.
Heroick Friendship — see vol. 10 p. 155.

Heroick Love— L. I. F. 1698— D. L. March 19 1713— D. L.

Oct. 21 1725 -D. L. March 18 1766.
Heroick Lover — see vol. 10 p. 136.
Heroine, by Phillips— D. L. Feb. 22 1819.
Heroine of Cambria — see Hayley 1784.

Heroine of the Cave— D. L. March 19 1774— C. G. March 22

1784.

Hero and Leander — see vol. 10 p. 142.
Hero of the North — D. L. Feb. 19 1803.
Heron Mrs.— D. L. 1735-1736.
He's much to blame— C. G. Feb. 13 1798.

He would be a Soldier — C. G. Nov. 18 1786 — in 3 acts C. G.
May 16 1794.

He wou'd if he cou'd, or an Old Fool worse than any — D. L.
April 12 1771.

Hey for Honesty, Down with Knavery — see vol. 10 p. 48.

Hibernia Freed-L. T. F. Feb. 13 1722.

Hide and Seek— C. G. Feb. 24 1789.

Hide and Seek— Hay. Oct. 22 1824.

Hide Park— T. R. July 11 1668— for the plot see vol. 9 p. 549.

Highland Fair— D. L. March 20 1731.

Highland Reel— C. G. Nov. 6 1788— D. L. May 12 1808— D. L.

May 27 1815.
Highmore exposes himself on the stage at D. L. Feb. 19 1730 —

purchases part of the D. L. Patent in 1732-1733 — deserted

by the performers, and sells the Patent to Fleetwood in

1733-1734.

High Life Below Stairs— D. L. Oct 31 1759 — D. L. March 18
1771— D. L. April 12 1785— C. G. April 27 1787 — C. G.
April 11 1791— C. G. March 14 1796- Hay. Aug. 5 1797—
C. G. April 27 1798— C. G. May 23 1810— C. G. Nov. 28
1820— D. L. Dec. 13 1827.

High Life in the City — Hay. July 25 1810.
High Road to Marriage— D. L. May 27 1803.
High Notions— D. L. Feb. 11 1819.

INDEX.

Ivii

Hill Aaron— see D. L. Feb. 9 1750.

Hint to Husbands — C. G. March 0 1806.

Hints for Painters I— C. G. May 10 1803.

Hippisley — see C. G. 1747-1748 for his characters.

Hippisley's Drunken Man — L. I. F. April 14 1732.

Historia Histrionica — see vol. 1 p. 11.

Historical Register for 1736 — see Hay. 1737.

Hit or Miss— D. L. C. Feb. 26 1810— C. G. Nov. 18 1812.

Hobbies — Mathews in imitation of the Amateur — C. G. June 9
1813— Bath May 28 1814.

Hobby Horse — D.L. April 16 1766.

Hob in the Well— C. G. May 26 1784— C. G. Dec. 13 1786—
D. L. June 3 1795 — C. G. June 21 1811— D. L. June 18
1823.

Hob's Wedding— L. I. F. Jan. 11 1720.

Hodgson, formerly of the King's Company, had bt. at D. L.
June 2 1721.

Hofer, the Tell of the Tyrol— D. L. May 1 1830.
Hog hath lost his Pearl — see vol. 3 of Dodsley 1744.
Hole in the Wall— D. L. June 23 1813.
Holiday Time— see Dash D. L. Oct. 20 1804.
Hollander — see vol. 10 p. 52.
Holland's Leaguer — see vol. 10 p. 51.
Holman's characters — Hay. 1811.

Home Sweet Home, or the Ranz Des Vaches — C. G. March 19
1829.

Honest Criminal — see vol. 10 p. 191.
Honest Frauds — Hay. July 29 1830.
Honest Man's Fortune — see 10th vol. of Beaumont and Fletcher

1778.

Honest Soldier—see vol. 10 p. 226.
Honest Lawyer — see vol. 10 p. 97.

Honest Thieves-C. G. May 9 1797— Hay. Aug. 3 1797— D- L.
Oct. 6 1803—C. G. May 13 1820.

Honest Whore — see Reed 1744.

Honest Yorkshireman— C. G- July 11 1735 — Hay. Aug. 1 1735
— G. F. Nov. 12 1735— C. G. March 14 1738— C. G.March
21 1757— Hay. Aug. 16 1785— D. L. June 3 1789— Hay.
Aug. 19 1805.

Honesty's the best Policy -D. L. May 31 1815.
Honey Moon C. Op.— D. L. Jan. 7 1797.

Iviii INDEX.

Honey Moon, by Tohin — D. L. Jan. 31 1805 — Hay. Aug. 17
1805— C. G. May 22 1806— C. G. May 31 1821.

Honour, or Arrivals from College — D. L. April 17 1819.

Hooly and Fairly— C. G. April 28 1798.

Horace, by Cotton — see vol. 10 p. 142.

Horatius, by Lower — see vol. 10 p. 68.

Horden — see Neglected Virtue D. L. 1696.

Horns— see Cuckold's Haven T. R. 1685.

Horse and Widow— C. G. May 30 1799.

Horton Mrs.— D. L. June 6 1715— D. L. April 5 1725— for her
characters, see C. G. 1749-1750.

Hospital for Fools— D. L. Nov. 15 1739.
Hotel, or Double Valet — D. L. Nov. 21 1776.
Hour before Marriage — C. G. Jan. 25 1772.
House out at Windows — D. L. May 10 1817.
House of Morville— D. L. C. Feb. 27 1812.
House to be Sold— D. L. Nov. 17 1802.
Hovel— D. L. May 23 1797.

How a man may choose a Good Wife from a Bad — see Old
Plays 1823-1824.

How to grow Rich— C. G. April 18 1793.

How to be Happy— Hay. Aug. 9 1794.

How to Teaze and How to Please — C. G. March 29 1810.

How to die for Love— D. L. C. May 21 1812.

How to try a Lover — see vol. 10 p. 234.

Hudibras, or Trulla's Triumph— L. I. F. March 9 1730.

Hue and Cry— D. L. May 11 1791.

Hugh Evans — (instead of Sir Hugh) — see C. G. April 25 1804.

Hughes Mrs. — see Nell Gwyn at Union 1682.

Huguenot— C. G. Dec. 11 1822.

Hulett— see G. F. 1735-1736.

Hull's characters— C. G. 1807-1808.

Humfrey Duke of Gloucester — D. L. Feb. 15 1723.

Humourists, by Shadwell— L. I. F. 1670.

Humorous Courtier— see vol. 9 p. 555.

Humorous Lieutenant— T. R. April 8 1663— D. L. 1697— D. L.
April 11 1709— D. L. April 18 1724— C. G. Dec. 10 1756
C. G. March 21 1767 — for the plot see vol. 6 p. 43.

Humorous Lieutenant, altered by Reynolds — C. G. Jan. 18
18! 7.

INDEX. x

Humorous Lovers — L. I. F. March 30 1667 — for the plot »ee
vol. 10 p. 74.

Humourist — see D. L. April 27 1785.
Humour of the Age — D. L. 1701.

Humours of an Election — C. G. Oct. 19 1780 — C. G. Nov. 4
1806.

Humours of Oxford — D. L. Jan. 9 1730.
Humours of Purgatory — L. I. F. April 3 1710.

Humours of the Army D. L Jan. 29 1713— D. L. April 23, 26
and 30 1746.

Humours of the Court — see vol. 10 p. 157.
Humours of the Road — see vol. 10 p. 166.
Humours of the Turf— D. L. April 25 1772.
Humours of Whist — see vol. 10 p. 171.
Huniades— D. L. C. Jan. 18 1792.

Hunter of the Alps — Hay. July 3 1804— C. G. May 27 1806—

C. G.March 30 1824.

Hunt the Slipper— Hay. Aug. 21 1784— Bath March 24 1795—

D. L. May 17 1804.

Hurlothrumbo — Hay. 1729.
Husband at Sight— Hay. Aug. 13 1830.
Husband his own Cuckold — L. L F. 1696.
Husbands and Wives— C. G. Dec. 3 1817.
Husband's Mistake — C. G. Jan. 5 1830.
Hycke-Scorner — see 1st vol. of Hawkins 1773.
Hyde Park in an Uproar-D. L. June 17 1813.
Hydrophobia — see vol. 10 p. 235.
Hymen's Triumph — see vol. 9 p. 582.
Hypermnestra, or Love in Tears — see vol. 10 p. 150.

Hypocrite— D. L. Nov. 17 1768— C. G. Oct. 9 1773— C. G. Oct.
6 1784— D. L. Dec. 2 1789— D. L. April 16 1804— D. L. C.
Jan. 23 1810— Bath Jan. 5 1816— Hay. Aug. 13 1822 —
D. L. May 7 1823.

I.

Ibrahim, by Mrs. Fix— D. L. 1696— D. L. Oct20 1702— L. I. F.
March 14 1715.

Ibrahim, by Settle— D. G. 1676.

Idiot Witness — Bath March 22 1827.

If you know not me, you know Nobody — see vol. 9 p. 587.

Ignez de Castro— see vol. 10 p. 222.

IX INDEX.

Ignoramus — see English Lawyer T. R. 1678 — D. L. June 19
1716— L. I. F. Nov. 29 1736.

II Bondocani— C. G. Nov. 15 1800.

Ill-natured Man — see vol. 10 p. 189.

I'll tell you what !— Hay. Aug. 4 1785— C. G. May 20 1786.

Illumination— C. G. April 12 1779.

Illusion, or Trances of Nourjahad — D. L. Nov. 25 1813.

Illustrious Stranger — D. L. Oct. 4 1827.

Illustrious Traveller— C. G. Feb. 3 1818.

Imaginary Cuckold — D. L. April 11 1733.

Imaginary Obstacle — see vol. 10 p. 260.

Imitation— D. L. May 12 1783.

Imperial Captives— L. I.F.Feb. 29 1720.

Imperiale — see vol. 10 p. 129.

Impertinent Lovers — D. L. Aug. 16 1723.

Impostor — see Brooke's works 1778.

Impostors by Reed — C. G. March 19 1776.

Impostors by Cumberland — D. L, Jan. 26 1789.

Imposture — see vol. 9 p. 561.

Imposture Defeated— D. L. 1698.

I'm Puzzled— Hay. July 31 1819.

Ina— D. L. April 22 1815.

In and out of Tune— D. L. March 1 1808.

Incog— D. L. June 11 1817.

Inconsolables — see vol. 10 p. 166.

Inconstant— D. L. 1702— D. L. Oct. 16 1723— G. F. March 22
1742— D. L. Oct. 11 1744 — D. L. March 12 1751— C. G.
Nov. 26 1753— D. L. March 26 1761— C. G. Feb. 1 1763
— C. G. Nov. 4 1779— D. L. April 3 1780— C. G. Dec. 10
1787— D. L. Nov. 5 1789 — C. G. Jan. 18 1811 — D. L.
Feb. 15 1817— Bath Jan. 16 1822— in 3 acts, D. L. May 7
1798.

Inconstant Lady — see end of 1813-1814.

Independence, or Trustee — acted by C. G. C. March 9 1809.

Independent Patriot— L. I. F. Feb. 12 1737.

Indian— D. L. Oct. 6 1800.

Indian Emperour— T- R. 1665— Hay. Jan. 25 1707— L. I. F.
Jan. 8 1717— D. L. Jan. 27 1731— G. F. Jan. 14 1734— for
the plot see Montezuma vol. 6 p. 67.

Indian Kings at Hay. April 24 1710.

Indian Princess, or La Belle Sauvage— see D. L. Dec. 15 1820.

INDEX.

Ixi

Icdian Queen— see T. R. 1605— D. L. July 10 1715.

Indians — see vol. 10 p. 198.

Indiscreet Lover — Hay. 1768.

Indiscretion — D. L. May 10 1800.

Inez — see vol. 10 p. 204.

Inflexible Captive — see vol. 10 p. 189.

Ingratitude of a Commonwealth — see T. R. 1682.

Injured Innocence — D. L. Feb. 3 1732.

Injured Love, or Cruel Husband— see vol. 10 p. 152-

Injured Love, or Lady's Satisfaction — D. L. April 7 1711 — L. 1. F.
Dec. 181721.

Injured Lovers, by Mountfort — T. R. 1688.

Injured Princess (Cymbeline altered by D'Urfey) — T. R. 1682
— L. I. F. Jan. 7 1720 — see Cymbeline by D'Urfey March
20 1738.

Injured Virtue, or Virgin Martyr — see vol. 7 p. 685.

Inkle and Yarico— Hay. Aug. 4 1787— C. G. March 26 1788 —
C. G. May 6 1789—D. L. May 28 1789— C. G. April 18
1798— D. L. April 13 1807— Hay. Aug. 26 i8l9— C. G.
Jan. 12 1825— Hay. Sept. 1 1825.

Innkeeper's Daughter — D. L. April 7 1817.

Innocence Distress'd— see vol. 10 p. 186.

Innocent Mistress— L. I. F. 1697— L. I. F. Nov. 24 1718.

Innocent Usurper — T. R. 1694.

Inoculator — see vol. 10 p. 184.

Inquisitor — Hay. June 23 1798.

Inquisitor (not acted) — see vol. 10 p. 209.

Insatiate Countess — see vol. 10 p. 9.

Insolvent, or Filial Piety— Hay. March 6 1758.

Institution of the Garter— D. L. Oct. 28 1771.

Integrity— C. G. Oct. 8 1801.

Intrigue— D. L. April 26 1814— Hay. Aug. 24 1824.

Intrigues at Versailles -L. I. F. 1697.

Intrigues of a Day — see vol. 10 p. 232.

Intrigues of a Morning — C. G. April 18 1792.

Intriguing Chambermaid— D. L. Jan. 15 1734 — C. G. Oct. 13
1762— D. L. April 3 1773 — D. L. April 1 1785 — C. G.
March 27 1787— D. L. Nov. 3 1790— C. G. Nov. 9 1798.

Intriguing Courtiers — see vol. 10 p. 158.

Intriguing Footman — see C. G. April 21 1792.

Intriguing Milliners and Attornies' Clerks — see vol. 10 p. 168.

Ixii INDEX.

Invader of his Country (altered by Dennis from Coriolanus) -^
D. L. Nov. 11 1719.

Invasion— C. G. Nov. 4 1778— C. G. April 8 1793— D. L. May
26 1804.

Invincibles— C. G. Feb. 28 1828.

Invisible Bridegroom — C. G. Nov. 10 1813.

Invisible Girl— D. L. April 28 1806.

Invisible Mistress (F. from Woman's a Riddle) — D. L. April 21
1788.

Iphigenia— L. I. F. 1699.

Iphigenia, or Victim — C. G. March 23 1778.

Irene, by Goring — D. L. Feb. 9 1708.

Irene, by Dr. Johnson— D. L. Feb. 6 1749.

Irish Fine Lady— C. G. Nov. 28 1767.

Irish Hospitality — D. L. March 15 1766.

Irish Legacy— Hay. June 26 1797.

Irishman in London— C. G. April 21 1792— D. L. Sep. 20 1803.

Irishman in Spain — see Hay. Aug. 3 1791.

Irish Mimic— C. G. April 23 1795.

Irish Tar— Hay. Aug. 24 1797.

Irish Tutor— C. G. Oct. 28 1822.

Irish Widow— D. L. Oct. 23 1772— C. G. April 27 1776— Hay.
July 24 1780— D. L. April 281786— C. G. Oct. 19 1787—
C. G. June 6 1795 — D. L. Oct. 21 1797 — D L. May 1 1
1814 — C.G. Sep. 26 1821.

Iron Age — see vol. 9 p. 596.

Iron Chest — D. L. March 12 1796— Hay. Aug. 29 1796— C. G.
April 23 1799— D. L. May 29 1801 — Hay. June 22 1803—
acted by C. G. C. Jan. 4 1809— D. L. Nov. 23 1816— C. G.
June 26 1822— C. G. May 10 1825— D. L. June 5 1826.

Iroquois, or Canadian Basket-Maker — C. G. Nov. 20 1820.

Isabella (see Fatal Marriage) — C. G. March 31 1770 — D. L.
Nov. 25 1774— C. G. March 30 1778— D. L. Oct. 10 1782
— C. G. March 20 1784— Hay. Aug. 5 1784— C. G. Feb. 11
1791— C. G. Sep. 27 1803 — C. G. Nov. 4 1814 — C. G.
April 28 1830.

Is he Alive ?— D. L. June 15 1818.

Is he a Prince ?— acted by C. G. C. Feb. 7 1809.

Is he Jealous ? — Bath Dec. 3 1816.

Isidore di Merida— D. L. Nov. 29 1827.

Islanders -C. G. Nov. 25 1780.

INDEX. Ixiii

Island of Slaves — D. L. March 26 1761.
Island of St. Marguerite— D. L. Nov. 13 1789.

Island Princess — T. R. 1669 — for the plot see the 8th vol. of
Beaumont and Fletcher 1778.

Island Princess, altered by Tate — T. R. 1687.

Island Princess, altered by Motteux — D. L. 1699 — C. G. Dec. 1 0
1739.

Island Queens — see T. R. 1684.

Isle of Gulls — see vol. 10 p. 18.

Israelites, or Pampered Nabob — C. G. April 1 1785.

Italian Husband— L. I. F. 1697.

Italian Lover — see Julia.

Italian Monk— Hay. Aug. 15 1797— D. L. May 30 1798.

Italian Villagers— C. G. April 25 1797.

Italians— D. L. April 3 1819.

It should have come sooner — D. L. July 30 1723.

Ivan — see vol. 10 p. 233.

Ivanhoe, or the Jewess, by Moncrieff — see C. G. March 2 1820.

Ivanhoe, or the Knight Templar — C. G. March 2 1820 — C. G.
June 1 1825.

Invisible Bridegroom — C. G. Nov. 10 1813.
Ivor, or Sighs of Ulla — see vol. 10 p. 229.
I will have a Wife— Bath Jan. 15 1827.

J.

Jack Drum's Entertainment — see vol. 10 p. 91.
Jack of Newbury— D. L. May 6 1795.
Jameson Miss — see Bath April 6 1813.

Jane Shore— D. L. Feb. 2 1714— C. G. Jan. 25^ 1735 — D. L.
March 3 1743— C. G. Jan. 2 1747— D. L.' Jan. 2 1748—
C. G. Nov. 1 1750 — D. L. March 21 1757 — D. L. Nov.
6 1773— D. L. Nov. 1 1774 — C. G. Dec. 17 1774 — C. G.
Feb. 10 1778— D. L. Nov. 8 1782— D. L. May 7 1787 —
— C. G. Nov. 30 1789— C. G. March 19 1798— C. G. Jan.
11 1804— C. G. Oct. 16 1805— Bath Feb. 4 1808 — D. L.
Jan. 8 1813 — C. G. June 29 1815 — C. G. Nov. 9 1818 —
— D. L. Dec. 14 1821.

Jane Shore 1602— see vol. 9 p. 452.
Jarman Miss— see Bath 1826-1827.
Jason — see vol. 10 p. 211.

Jealous Husband, altered from Spanish Fryar — C. G. April 7
1777.

I N DEX.

Jealous Husband, or Modern Gallantry — G. F. Feb. 21 1732.
Jealous Lovers — D. G. 1682.

Jealous Wife — D. L. Feb. 12 1761 — C. G. March 20 1762 —
C.G. Oct. 31 1767— D.L. Jan. 27 1776— Hay .June 18 1779
— D. L. May 5 1784— Hay. June 29 1785— C. G. April 23
1788— C. G. April 7 1794 — C. G. Nov. 14 1797 — Hay.
Dec. 17 1798 — D. L. Feb. 26 1799— Hay. June 22 1799—
— C. G. Feb. 17 1807— C. G. Jan. 7 1813 — C. G. May 4
1816— Hay. Aug. 11 1819— C. G. June 1 1822— D. L. May
27 1829.

Jean de Paris— D. L. Nov. 1 1814.
Jehu— D. L. Feb. 19 1779.
Jevon's characters — T. R. 1688.

Jew— D. L. May 8 1794— Hay. Sept. 3 1794 — C. G. Sep. 21
1796— Hay. May 16 1803— C. G. (in 3 acts) May 7 1814.

Jew and Doctor— C. G. Nov. 23 1798— D. L. May 31 1803.

Jewish Courtship — D. L. April 23 1787.

Jewish Education — D. L. April 19 1784.

Jew of Lubeck— D. L.May 11 1819.

Jew of Malta— D. L. April 24 1818.

Jew of Mogadore— D. L. May 3 1808.

Jew of Venice— L. I. F. 1701— D. L. Feb. 3 1711— L. I. F.
May 16 1717— C. G. Feb. 11 1735.

Joanna— C. G. Jan. 16 1800.

Joan of Arc — Bath March 10 1828.

Jocko, the Brazilian Monkey— C. G. Nov. 8 1825.

Joe Miller's Jests — see G. F. June 8 1730.

John Bon and Mast. Person — see vol. 10 p. 146.

John Brown— D. L. Feb. 21 1826.

John Bull— C. G. March 5 1803— Hay. Aug. 27 1803— D. L.
June 3 1805— Hay. Aug. 26 1811— D. L. May 18 1822—
C. G. Jan. 8 1824.

John Busby— Hay. July 3 1822.
John Du Bart— C. G. Oct. 25 1815.
Johnny Gilpin— D. L. April 28 1817.

John of Paris— C. G. Nov. 12 1814— Hay. Nov. 2 1826— C. G.

May 30 1827.

John of Paris, altered— Bath Dec. 10 1814.
Johnson Ben — his characters — D. L. 1741-1742.
Johnston H — his characters — D. L. 1820-1821.
Johnston Mrs.H. — her characters — 1814-1815.

INDEX, Ixr

Johnstone John— see end of C. <•. 1819-1820.
Jonson Hen — see end of 1815-1816 for his Works.
•23 John Street Adelphi— Bath Jan. 12 1828.
Jonathan in England — D. L. May 24 1826.

Jones — his 1st app. at C. G. Oct. 9 1807 — his Masquerade — C. G.
June 2 1815.

Jordan Mrs — her characters — C. G. 1813-1814.
Joseph Andrews — D. L. April 20 1778.

Journey to Bristol, or Honest Welchman — see L. I. F. April 23
1731.

Jovial Crew— T. R.Jan. 11 1609— D. L. Dec. 30 1707— Hay.
Jan. 1 1708 — turned into an Opera D. L. Feb. 8 1731 —
C. G. Feb. 14 1760— C. G. Nov. 1 1774— C. G. March 29
1780 — C- G. Dec. 15 1791— for plot see 6th vol. of Dodsley
1744.

Jovial Cobler — see vol. 10 p. 176.

Juan's Early Days— D. L. Feb. 18 1828.

Jubilee at Stratford — see beginning of D. L. 1769-1770.

Jubilee at D. L. Oct. 14 1769— C. G. April 4 1775— D. L. Nov.

18 1785— Bath Nov. 23 1797— D. L.— C. G and Bath

April 23 1816.

Judgment of Paris, Pant. — D. L. Feb. 6 1733.

Judgment of Paris, or Triumph of Beauty — L. I. F. May 6 1731.

Julia, by Hoare — see Such things were.

Julia, or Italian Lover — D. L. April 14 1787 — Bath Dec. 19
1815— C. G. Sep. 30 1816.

Julia de Roubigne — Bath Dec. 23 1790.
Julian and Agnes — D. L. April 25 1801.
Juliana, or the Princess of Poland — L. 1. F. 1671.
Julian T. by Miss Mitford— C. G. March 15 1823.

Julius Cffisar— T. R. 1682 — T. R. 1684— Hay. Jan. 14 1706—
D. L. Jan. 24 1715— L. I. F. March 1 1718— D. L. Nov. 8
1734— D. L. March 28 1747— C. G. Nov. 24 1750— C. G.
Jan. 28 1755— C. G. Jan. 31 1766 — C. G. May 4 1773 —
— D. L. Jan. 24 1780— C. G. Feb. 29 1812— C. G. June 8
1819— D. L. Dec. 7 1820— Bath Dec. 18 1820 — C. G. Sep.
26 1825.

Julius Cuesar, by Sheffield -see vol. 3 p. 89.

Julius Caesar, by Earl of Sterline— see vol. 10 p. 32.

Junius Brutus -D. L. Nov. 25 1734.

Jupiter and Alcmena— C. G. Oct. 27 1781.

Justice Busy — see vol. 2 p. 144.

k

INDEX.

Justice, or Caliph and Cobbler — D. L. Nov. 28 1820

Just in Time— C. G. May 10 1792. ]

Just Italian — see vol. 10 p. 78.

K.

Kais — D. L. Feb. 11 1808.

Kamtschatka— C. G. Oct. 16 1811.

Kean Edmund — his 1st app. at D. L. Jan. 26 1814.

Keen Theophilus— see L. LF. 1717-1718.

Kelly Miss — see vol. 9 p. 423.

Kelly's Reminiscences 1825-1826.

Kemble John Philip —his characters — C. G. 1816-1817.

Kemble Mrs. — see D. L. May 23 1796.

Kemble Charles— made his 1st app. at D. L. April 21 17J)4.

Kemble Mrs. C — her characters— C. G. 1818-1819.

Kemble Miss F. made her 1st app. at C. G. Oct. 5 1829.

Kemble Sen.— see Hay. Aug. 26 1788.

Kenilworth, in 2 acts— C. G. March 8 1821.

Kenil worth, in 4 acts — Bath Dec. 15 1821 — Bath March 26

1827.
Kenilworth, or the Days of Good Queen Bess, in 4 acts — D. L.

Jan. 5 1824.

Kensington Gardens, or the Pretenders — L. I. F. Nov. 26 1719.

Kentish Barons— Hay. June 25 1791.

Key to the Lock— Hay. Aug. 18 1788.

Killegrew Thomas — see vol. 1 p. 390.

Killing no Murder— Hay. July 1 1809— D. L. Feb. 5 1823.

Kind Keeper, or Mr. Limberham — D. G. 1678.

King and Miller of Mansfield — see Miller of Mansfield.

King and no King— T. R. 1682— T. R. 1683— D. L. June 15
1704— L. I. F. March 26 1724— C. G. Jan. 14 1788.

King and the Duke— C. G. Dec. 6 1814.

King Arthur— T. R. 1691— D. L. March 2 1706— G. F. Dec.
19 1735— D. L. Dec. 13 1770— D. L. Oct. 19 1781.

King Cambises — see vol. 1 of Hawkins 1773.
King in the Country — see vol. 10 p. 198.

King John by Shakspeare — C. G. Feb. 26 1737— C. G. Feb. 2
1738— D. L. Feb. 20 1745— D. L. March 16 1747— C. G.
Feb. 28 1751— D. L. Jan. 23 1754— C. G. April 17 1758
— D. L. Dec. 17 1760— D. L, March 20 1766— D. L. Feb.

INDEX. Ixvii

2 1774— C. G. Dec. 1 1775— D. L. Nor. 29 1777— C. G.

March 29 1783— D. L. Dec. 10 1783— D. L. C. March 1

1792— D. L. May 13 1801— C. G. Feb. 14 1804— D. L.

June 1 1818— C. G. March 3 1823— D. L. Dec. 6 1824.
King John and Matilda — see vol. 10 p. 72.
King John, by Valpy— C. G. May 20 1803.
King John, in 2 parts — see C. G. Feb. 26 1737.
King Lear — for the old play see vol. 1 p. 308.

King Lear, by Shakspeare, was acted at L. 1. F- between 1662
and 1665— see vol. 1 p. 62.

King Lear mangled by Tate— D. G. 1681 — Hay. Oct. 30 1706
— L. I. F. Oct. 15 1720— D. L. March 8 1739— G. F. March
18 1742 -D. L. May 28 1742— C. G. June 11 1746— C- G.
Feb. 26 1756 — D. L. Oct. 28 1756 (with restorations)—
D. L. Oct. 7 1769— C. G. Nov. 24 1774— C. G. Feb. 22
1776— D. L. March 22 1779— D. L. Jan. 21 1788— C. G.
Jan. 6 1794— C. G. May 18 1808— acted by C. G. C. Feb.
27 1809 as revised by Kemble— C. G. April 13 1820— D. L.
April 24 1820— Bath June 21 1822— D. L. March 30 1829.

King Lear as altered by Column compared with Tale's alteration
— C. G. Feb. 20 1768.

King Lear revived with the original catastrophe — D. L. Feb. 10
1823.

King Pepin's Campaign — D. L. April 15 1745.

King Saul — see vol. 10 p. 15'.

King Stephen— see vol. 10 p. 236.

King's characters — D. L. 1801-1802.

Kiss by D. L. C — Oct. 31 1811.

Knave in Grain new Vampt — see vol. 10 p. 115.

Knave or Not?— D. L. Jan. 25 1798.

Knight Edward — his characters— D. L. 1825-1826.

Knight Thomas — his characters — C. G. 1803-1804.

Knight Mrs. Frances — her characters — L. 1. F. 1723-1724.

Knight and Wood Daemon — Bath Jan. 7 1813.

Knight of Burning Pestle— T. R. 1682.

Knight of Malta— C. G. April 23 1783,

Knight of Snowdoun— C. G. Feb. 5 1811 — see Batli March 21
1812.

Knights— Hay. 1748-1749— D. L. Feb. 9 and 12 1754— C. G.
Jan. 14 1755 — C. G. March 29 1769.

Knights of the Cross — D. L. May 29 1826.
Knipp Mrs — her characters — T. R- 1678.

Ixviii INDEX.

Know your own Mind — C. G. Feb. 22 1777 — C. G. Dec. 13
1786— D.L. April 21 1789— Hay. Aug. 19 1811— Bath
Feb. 1 1819.

L.

Lacy became Majiager of D. L. in 1745 — and Patentee in 1747.

Lacy John — his characters — T. R. 1681.

Ladies at Home — Hay. Aug. 7 1819.

Ladies' Frolick-D. L. May 7 and Oct. 27 1770— D. L. May 12
1783— C. G. June 1 1790.

Ladies' Privilege— see Old Plays 1823-1824.

Ladies' Subscription — see vol- 10 p. 180.

Lad of the Hills— C. G. April 9 1796— see Wicklow Mountains.

Lady and the Devil— D. L. May 3 1820— Hay. May 12 1825.

Lady Errant — see vol. 10 p. 54.

Lady Jane Gray — D. L. April 20 1715— D. L. Oct. 12 1738—
D. L. Nov. 11 1745— C. G. Dec. 16 1749 — D. L. Feb. 6
1752— D.L Oct. 15 1762— C. G. May 7 1773.

Lady of the Lake— Bath March 211812.

Lady of the Manor— C. G. Nov. 23 1778— C. G. Jan. 28 1788—
— D. L. April 23 1818.

Lady of the Rock— D. L. Feb. 12 1805.

Lady of Pleasure — see vol. 9 p. 547.

Lady Pentweazel in Town— C. G. March 27 1787.

Lady's Choice— C. G. April 20 1759.

Lady's last Stake— Hay. Dec. 13 1707— D. L. Dec. 17 1715—
D. L. Oct. 3 1730— L. I. F. April 26 1732— D. L. March
13 1739— C. G. March 14 1745 — D. L. April 10 1746—
— D. L. March 27 1756 — D. L. April 29 1760 — D. L.
April 9 1771— C. G. March 14 1778-C- G. March 4 1786
—Bath Dec. 11 1813.

Lady's Lecture — see vol. 10 p. 174.1
Lady's Revenge — C. G. Jan. 9 1734.
Lady's Trial— L. I. F. March 3 1669.
Lady's Triumph — see vol. 2 p. 632.
Lady's Visiting Day — L. I. F. 1701.
Lakers — see vol. 10 p. 207.
Lame Lover— Hay. Aug. 27 1770.
L'Amour a-la-Mode — see vol. 10 p. 180.

Lancashire Witches — D. G 1681 — Hay. July 1 1707 — D.L.

June 4 1723.
Lancers— D. L. Dec. 1 1827.

INDEX.

Land we live in— D. L. Dec. 29 1804.

Langbaine — see end of T. R. 1691.

Last of the Family— D. L. May 8 1797.

Laugh when you can — C. G. Dec. 8 1798.

Law against Lovers -L. I. F. Feb. 18 1062.

Law of Java— C.G. May 11 1822.

Law of Lombardy— D. L. Feb. 8 1779— D. L. Feb. 10 1789.

Laws of Candy — see 4th vol. of Beaumont and Fletcher 1778.

Lawyers — see vol. 10 p. 216.

Lawyer's Feast— D. L. Dec. 12 1743.

Lawyer's Fortune — see vol. 10 p. 151.

Lawyers' Panic— C. G. May 7 1785.

Lee Lewes — for his characters, see D. L. 1784-1785.

Lee Lewes' Ultimatum — C. G. June 24 1803.

Lee Mrs. Mary — see Lady Slingsby.

Lee Nat. acted Duncan, &c — see Forced Marriage D. G. 1672 —

went mad in 1684 — see Princess of Cleve D. G. 1681.
Lee John — his characters— Bath 1779-1780.
Leicester — see vol. 10 p. 201.
Leigh Anthony— his characters T. R. 1692.
Leigh Francis-see end of D. L. 1718-1719.
Leigh John — see L. I. F. Dec. 18 1714— and April 14 1726.
Leigh Mrs.— her characters Hay. 1706-1707.
Leocadea— D. L. Dec- 17 1825.
Lesson for Lawyers (from Lame Lover) — D. L. May 5 1789.

Lethe— D. L. April 15 1740— G. F. April 15 1741— D. L. Jan.
2 1749— D. L. March 27 1750— C. G. April 18 1757— D. L.
Jan. 23 1766— D. L. April 24 1769—1). L. Jan. 16 1772—
Bath Feb. 12 1780 — C. G. May 4 1785 — D. L. Feb. 16
1789— D. L. May 18 1803— C. G. June 16 1819.

Letter Writers— Hay. 1731.

Levee— see vol. 10 p. 169.

Levellers Levell'd— see vol. 8 p. 329.

Lewis H— see C. G. Oct. 10 1805.

Lewis W. T — his characters C. G. 1808-1809.

Liberal Opinions— C. G. May 12 1800— see School for Prejudice.

Libertine by Shadwell— D. G. 1676 — D. L. July 3 1708— D. L.
June 11 1731— D. L. Feb. 13 1740.

Libertine by Pbcock— C. G. May 20 1817.
Libertine, or Hidden Treasure— see vol. 10 p. 261.

1XX INDEX*

Liberty Asserted— -L. I. F. Feb. 24 1704— C. G. April 23 and 25
1746.

Liberty Chastized— see vol. 10 p. 184.

Liberty Hall— D. L. Feb. 8 1785.

License granted to Betterton in 1695.

License granted to Gibber, &c. in 1709-1710.

License Renewed in 1714— and turned into a Patent in 1715.

Licensing Act — 1737.

Lick at the Town-D. L. March 16 1751-

Lie of the Day (altered from Toy)— C. G. March 19 1796— D. L.
May 19 1819.

Life— C. G. Nov. 1 1800.

Life in London — Bath Nov. 20 1822.

Life and Death of Common Sense — Hay. Aug. 13 1782.

Life of the Dutchess of Suffolk— see vol. 10 p. 102.

Life's Vagaries— C. G. March 19 1795— C. G. May 28 1799.

Like Master like Man (F. from Mistake) — D. L. April 12 1768
— D. L. March 30 1773.

Like to Like, or a Match well made up — L. I. F. Nov. 28 1723.

Lilla— C. G. Oct. 21 1825.

Lilliput— D. L. Dec. 3 1756— D. L. Dec. 10 1817.

L. I. F. built by Davenant and opened in 1661.

L. I. F. (i. e. Little L. I. F.) opened by Betterton, &c — April 30
1695.

L. I. F. built by C. Rich and opened by his son Dec. 18 1714.
Linco's Travels— D. L. April 6 1767— D. L. May 24 1797.
Lindor and Clara — see vol. 10 p. 199.
Lingua — see 5th vol. of Dodsley 1744.

Lionel and Clarissa— C. G. Feb. 25 1768— D. L. Feb. 8 1770—
— D. L. Jan. 8 1778— Hay. June 26 1781 — C. G. Oct. 2
1783— C. G. May 13 1790 — D. L. Dec- 12 1807 — C. G.
May 3 1814— C. G. May 22 1829— Hay. July 21 1830.

Listen's Epilogue on an Ass — C. G. June 9 1818 — his 1st app. at
Hay. June 10 1805.

Litchfield Mrs. — her characters C. G. 1805-1806.
Litigants — see vol 10 p. 154.

Little French Lawyer— D. L. Oct. 25 1717— D. L. June 30
1720— as Farce— D. L. Oct. 7, 9, 10, 1749— C. G. April 27
1778.

Little Freeholder— see vol. 10 p. 199.

INDEX.

Little Hunchback— C. G. April 14 1789— C. G. May 31 1815.

Little Offerings — C. 6. April 20 1828.

Little Red Riding Hood— Bath April 11 1820.

Live Lumber, or Unburied Dead — C. G. March 30 1796.

Liverpool Prize— C. G. Feb. 22 1779.

Livery Rake— Hay. Oct. 15 1733— D. L. Jan. 8 1734.

Living in London — Hay. Aug. 5 1815.

Llewellyn Prince of Wales and the Dog Gelert — Bath Oct. 16
1813.

Lock and Key— C. G. Feb. 2 1796— D. L. July 8 1814 D. L.

Oct. 23 1828.

Locrine — see end of D. L. 1713-1714.

Lodgings for Single Gentlemen — Hay. June 15 1829.

Lodoiska— D. L. June 9 1794— C. G.Oct. 15 1816.

Lofty Projects-C. G. April 22 1825.

London Apprentice — D. L. March 17 1755.

London Cuckolds— D. G. 1682— Hay. Dec. 27 1706 — L. I. F.
Dec. 11 1721— L. I. F. Nov. 12 1731— C. G. Jan. 1 1742—
D. L. Oct. 29 1748— as Farce C. G. April 10 1782.

London Hermit — Hay. June 29 1793 — Bath Nov. 19 1793 —
C. G. April 29 1794 — D. L. May 7 1804— revived in 2 acts
at C. G. Dec. 7 1822.

London Merchant— D. L. June 22 1731— G.F. Sep. 27 1731—
L. T. F. May 22 1732— C. G. May 23 1740— D. L. Sep. 22
1749— D. L. Nov. 28 1796— see George Barnwell.

London Prodigal — see end of D. L. 1713-1714.

London Stars — C. G. April 7 1821.

Long Mrs — her characters D. G. 1673.

Look at Home — Hay. Aug. 15 1812.

Look before you Leap — Hay. Aug. 22 1788 — C. G. March 31
1789.

Lord of the Manor— D. L. Dec. 27 1780— D. L. April 14 1789
— C. G. Oct. 24 1812— D. L. May 27 1823— Hay. Sep. 20
1823.

I ord Russel by Stratford— D. L. Aug. 20 1784.

Lord Russel by Hayley — Hay. Aug. 18 1784.

Lorenzo — C. G. April 5 1791.

Lose no Time — D. L. June 11 1813.

Lost and Found by D. L. C. Jan. 21811.

Lost I.ady — see 10th vol. of Dodsley 1744.

Ixxii

INDEX.

Lost Life— D. L. Nov. 13 182 i.
Lost Lover — D L. 1696.

Lottery by Fielding— D. L.Jan. 1 1732— D. L. Dec. 16 1745—
D. L. Sep. 10 1748— D. L. Feb. 29 1772— D. L. Dec. 10
1783.

Lottery C. by Hay. 1728.

Lottery Ticket— D. L. Dec. 13 1826.

Love a la-Mode— D.L. Dec. 12 1759— C.G. Dec. 19 1760— C.G.
April 13 1776— D. L. May 23 1794— C. G. Nov. 13 1800
—Bath May 28 1814— C. G. June 8 1814 — C. G. Dec. 10
1816— D L. Nov. 3 1817.

Love a-la Mode by T. S. 1663— see vol. 10 p. 137.
Love among the Roses — Bath March 18 1825.

Love and a Bottle— D. L. 1699— D. L. July 22 1712 — L. I. F.
Nov. 25 1724— C. G. March 30 1733.

Love and Duty— L. I. F. Jan. 22 1722.
Love and Friendship — D. L. April 8 1746.
Love and Glory — D. L. March 28 1734.

Love and Gout — Hay. Aug. 23 1814— C. G. June 2 1815— Hay.
Sep. 23 1824.

Love and Honour — L. I. F. 1662— for the plot see vol. 10 p. 81.

Love and Liberty — see vol. 10 p. 152.

Love and Madness — Hay. Sept. 21 1795.

Love and Money — Hay. Aug. 29 1795.

Love and Reason— C. G. May 22 1827.

Love and Revenge T. — D. G. 1675.

Love and Revenge Op. at Hay. 1729.

Love and the Tooth Ache — C. G. Dec. 13 1816.

Love and War— C. G. March 15 1787.

Love and War by Meriton — see vol. 10 p, 134.

Love at a Venture — see vol. 2 p. 389.

Love at First Sight by Crawford — L. I. F. March 25 1704.

Love at First Sight by King— D. L. Oct. 17 1763.

Love Betrayed— L. I. F. 1703.

Love Crowns the End — see vol. 10 p. 75.

Love finds the Way— C. G. Nov. 18 1777.

Love for Love — L. I. F. 1695 — acted by women at Hay. June
25 1705— D. L. Feb. 7 1708— D. L. Dec. 3 1709— D. L.
April 13 1738— C. G. May 2 1739— D. L. Jan. 16 1754—
C. G. May 9 1758— D.L. April 9 1760— D.L. Dec. 23 1769

INDIA. Ix.xiii

— C. G. May 6 1773—1). L Nov. 29 1770— Hay. Sept. 5
1780—'). L. Dec 11 1786— D. L. Oct. 15 1796 — D. L.
March 8 1800— C. G. Sep. 25 1812— D. L. March 1 1813
— C. G. Oct. 13 1819— D. L. Oct. 20 1825.

Love for Money— T. R. 1691— D. L. May 21 1708— D. L. July
11 1718.

Love gives the Alarm — C. G. Feb. 23 1804.

Love in a Camp— C. G. Feb. 17 1786— D. L. Feb. 15 1814.

Love in a Forest — D.L. Jan. 9 1723.

Love in a Maze — see vol. 1 p. 69.

Love in a Riddle— D. L. Jan. 7 1729.

Love in a Sack — L. I. F. June 14 1715.

Love in a Veil— D. L. June 17 and July 22 1718— D.L. April 19
1784.

Love in a Village— C. G. Dec. 8 1762— D. L. April 3 1769—
Hay. Aug. 12 1777— C. G. Feb. 13 1786— C. G. Nov. 15
1797— D. L. May 8 1822— C. G. March 18 1826.

Love in a Wood— T. R. 1672— D. L. Aug. 15 1718.

Love in Humble Life— D. L. Feb. 14 1822.

Love in its Extasie— see vol. 10 p. 122.

Love in Limbo— C. G. March 31 1815.

Love in Many Masks — D. L. March 8 1790.

Love in several Masques, by Fielding — D. L. Feb. 16 1728.

Love in the City-C. G. Feb. 21 1767.

Love in the Dark— T. R. 1675.

Love in the East— D. L. Feb. 25 1788.

Love in Wrinkles— D. L. Dec. 4 1828.

Love laughs at Locksmiths -Hay. July 25 1803 — C. G. Dec. 6
1803 — Bath Nov. 17 1803 — Hay. July 3 1823.

Love, Law, and Physic— C- G. Nov. 20 1812 — D. L. Feb. 25
1823.

Love Letters — Hay. June 24 1822.

Love makes a Man— D. L. 1701— L. I. F. April 30 1715— D.L.
Jan. 3 1738— C. G. April 7 1738— C. G. April 19 1776—
D. L.May 10 1784— C. G. Dec. 10 1790— D. L. C. Oct. 4
1792— Hay. July 10 1797— C. G. Feb. 5 1806— D. L. Nor.
13 1818— C. G. Nov. 6 1819— D. L. Oct. 30 1828.

Loves makes an Irishman — Bath May 3 1825.
Love Match— C. G. March 13 1762.
Lover— D. L. Jan. 20 1731.
Lover's Luck— L. I. F. 1696.

1XX1V INDEX.

Lover's Melancholy — D. L. April 28 1748.

Lover's Opera— D. L. May 14 1729.

Lovers' Progress — see vol. 5 of Beaumont and Fletcher, 1778.

Lovers' Quarrels (from Mistake)— C. G. Feb. 11 1790— C. G.
April 22 1796— D. L. May 11 1801— C. G. Nov. 27 1802.

Lovers' Resolutions — D. L. March 2 1802.

Lovers' Vows— C. G. Oct. 11 1798— D. L. Nov. 23 1802— Hay.

May 20 1803— by C. G. C. May 10 1809— D. L. Sept. 26

1815— D. L. Nov. 28 1827.

Love's a Jest— L. I. F. 1696— D. L. Aug. 31 1711.
Love's a Lottery and a Woman the Prize — L. I. F. 1699.
Love's characters — D. L. 1773-1774.

Love's Contrivance— D. L. June 4 1703— L. I. F. July 14 1724.
Love's Cruelty— T. R. 1682.

Love's Cure — see 7th vol. of Beaumont and Fletcher 1778.
Love's Dream — Bath Feb. 2 1822.
Love's Frailties— C. G. Feb. 5 1794.
Love-sick Court— see vol. 10 p. 41.
Love-sick King — T. R. 1680.
Love's Labour Lost — see Students vol. 10 p. 180,
Love's Kingdom — L. I. F. 1664 — for the plot, see vol. 10 p. 248.

Love's last Shift— D. L. 1696 — Hay. Oct. 18 1707 — L. I. F.
Oct. 12 1715— L. I. F. Oct. 23 1725— D. L. Nov. 21 1737

r. b D. L. Dec. 9 1749— D. L. Dec. 18 1752 — C. G. Oct.

29 1754— C. G. Feb. 14 1763.

Love's Mistress — see Psyche D. G. 1674.

Love's Metamorphoses — D. L. April 15 1776 (published as

Love's Vagaries.)

Love's Pilgrimage— see 7th vol. of Beaumont and Fletcher 1778.
Love's Revenge — see end of Hay. 1772.
Love's Revenge — Pastoral — see vol. 10 p. 166.
Love's Riddle — see vol. 10 p. 61.
Love's Sacrifice — see Ford's works 1811.
Love's Victim— L. I. F. 1701.
Love's Victory— C. G. Nov. 16 1825.
Love the Cause and Cure of Grief— D. L. Dec. 19 1743.
Love the Leveller-D. L. Jan. 26 1704.
Love Triumphant— T. R. 1693.

Love will find out the Way — see 12th vol. of Dodsley 1744.
Love without Interest— D. L. 1699.

JN'UEX. 1XXV

Loving Enemies — D. G. 1680.

Low Life above Stairs— see vol. 10 p. 179.

Loyal Brother— T. R. 1G82.

Loyal General— D. G. 1680.

Loyal Lovers — see vol. 10 p. 123.

Loyal Subject — D. L. July 25 1705.

Loyalty — see vol. 10 p. 231.

Lucius Junius Brutus by Lee — D. G> 1681.

Lucius Junius Brutus by Downtnan — see D. L. Dec. 3 1818.

Lucius King of Britain— D. L. May 11 1717.

Lucky Chance— T. R. 1687— L. I. F. July 24 1718.

Lucky Discovery, or Tanner of York — C. G. April 24 1738.

Lucky Escape C. by Linnecar— see vol. 10 p. 198.

Lucky Escape, by Mrs. Robinson — D. L. April 30 1778.

Lucky Prodigal, or Wit at a Pinch — L. I.F Oct. 24 1715.

Luke the Labourer — Bath March 24 1827.

Lunatick — see vol. 2 p. 334.

Lust's Dominion — see Abdelazer D. G. 1677.

Lusty Juventus — see vol. 1st of Hawkins 1773.

Lyar— C. G.Jan. 12 1762— D. L. April 15 1768 — C. G. April

22 1775— C. G. Nov. 16 1787.
Lyceum was opened as English Opera House — June 26 1809.
Lycidas— C. G. Nov. 4 1767.

Lying Lover— D. L. Dec. 2 1703— D. L. April 4 1746.
Lying made Easy — Bath March 15 1828.

Lying Valet— G. F. Nov. 30 1741— C. G. Oct. 11 1743— C. G.
May 2 1758— D. L. Sep. 19 1782 — C. G. Nov. 30 1784 —
D L. Oct. 2 1788.

£500— D. L. Aug. 28 1821.

£8 10s. Id — D. L. May 12 1823.

£100 Note— C. G. Feb. 7 1827.

M

Macaroni — Hay. Sep. — 1773.
Macauley Miss — see Bath April 22 1825.

Macbeth, altered by Davenant — D. G. 1672 — Hay. Dec. 27 1707
— D. L. Oct. 20 1711— D. L. Dec. 31 1717— L. I. F. Sept.
30 1723— D. L. Jan. 31 1738— C. G. April 14 1738.

I Macbeth, as written by Shakspeare — D. L. Jan. 7 1744 — C. G.
June 27 1746— D. L. Nov. 7 1746— D. L. March 19 1748
— C. G. Nov. 16 1754— D. L. April 24 1768— C. G. Jan

INDEX.

20 1768 — D. L. Jan. 4 1770— C. G. Oct. 23 1773 first time
with Scotch dresses — Hay. Sep. 7 1778— D. L. Dec 6 1780
—D. L. Feb. 2 1785— C. G. Nov. 16 1787— D. L. April

21 1794— C. G. Dec. 5 1800— Bath April 12 1803— C. G.
Nov. 28 1803— D. L. Nov. 5 1814— C. G. June 5 1817—
Bath Feb. 3 1823.

Macheath in the Shades— C. G. March 11 1735.

Macklin — for his first performance see L. I. F. Dec. 4 1730 — he
is engaged at D. L. Oct. 31 1733 — kills Hallam D. L. May
10 1735 — quarrels with Garrick D. L. 1743-1744 — opens
Hay. 1744 — returns to D. L. Dec. 19 1744 — leaves the stage
and opens a tavern D. L. Dec. 20 1753 — returns to D. L.
Dec. 12 1759 — for his wish to act Tragedy and prosecution
of the rioters, see end of C. G. 1773-1774 — for his charac-
ters see C. G. 1788-1789.

Macklin Miss— her characters — C. G. 1776-1777.
Macklin Mrs.— her characters— D. L. 1758-1759.
Macklin's Widow has a bt. at C. G. June 17 1805.
Maclaren — see vol. 9 p. 25.

Macready's 1st app. at Bath Dec. 29 1814 — at C. G. Sept. 16
1816.

Madam Fickle — D. G. 1676 — L. I. F. July 24 1704 no characters
— D.L. Sept. 29 1711.

Mad Captain— G. F. March 5 1733-

Mad Couple well Matched— see Debauchee D. G. 1677.

Mad-house— L. I. F. April 22 1737.

Mad Lover — see 3d vol. of Beaumont and Fletcher 1778.

Madrigal and Truletta — C. G. July 6 1758.

Mad World my Masters — see 5th vol. of Dodsley 1744.

Maggot— Ballad Farce— L. I. F. April 18 1732.

Magic Banner — Hay. June 22 1796.

Magic Bride— D. L. C. Dec. 26 1810.

Magic Picture— C. G. Nov. 8 1783.

Magician no Conjuror — C. G. Feb. 2 1792.

Magnetic Lady — see 6th vol. of Ben Jonson 1815-1816.

Magpie, or the Maid?— C. G. Sept. 15 1815.

Magpie, or the Maid of Palaiseau — D, L. Sep. 12 1815.

Maid and the Magpye — see vol. 8 p. 516.

Mahmoud, or Prince of Persia — D. L. April 30 1796.

Mahomet— D. L. April 25 1744— D. L. Nov. 25 1765— C. G.
Dec. 8 1767— D. L. April 19 1776— D. L. Nov. 11 1778
— C. G. April 4 1786— D. L. April 27 1795—C. G Oct. 13
1796-Bath April 8 1817.

INDEX. Ixxvii

Maidenhead well Lost — see vol. 9 p. 594.

Mai.l,'.. Whim— D.L. April 24 1756.

Maid in the Mill— D. G. 1682— D. L. March 23 1710.

Maid Marian— C. G. Dec. 3 1822.

Maid of Bath-Hay. June 26 1771— C. G. May 11 1787.

Maid of Bristol — Hay. Aug. 24 1803.

Maid of Honour— D. L. Jan. 27 1785.

Maid of Judah— C. G. March 7 1829.

Maid of Kent— D. L. May 17 1773.

Maid of Marienburg — see vol. 10 p. 206.

Maid of Normandy — see vol. 10 p. 201.

Maid of the Mill— C. G. Jan. 31 17(55— D. L. Sept. 27 1798—
C. G. June 19 1810— in 2 acts C. G. Oct. 20 1797.

Maid of the Oaks — D. L. Nov. 5 1774 — as F. D. L. Jan. 21
1782— Hay. Aug. 15 1782— C. G. April 25 1783— C. G.
March 28 1789— C. G. April 20 1796— D. L. May 28 1804.

Maid or Wife— D. L. Nov. 5 1821.

Maids and Bachelors — C. G. June 6 1806.

Maid's Last Prayer— T. R. 1692.

Maid's Revenge — see vol. 9 p. 551.

Maid's the Mistress — D. L. June 5 1708 — L. I. F. March 21
1737.

Maid's Tragedy— T. R. Dec. 7 1666— for the plot see T. R.
1682— D. L. Feb. 3 1704— Hay. Nov. 2 1706— Hay. April
13 1710— D. L. April 16 1716— D. L. Dec. 18 1725—
L. L F. Nov. 8 1729— C. G. Dec. 6 1744.

Mail Coach Adventures, by Mathews — Hay. Sep. 5 1814.

Mail Coach Passengers — D. L. Feb. 13 1816.

Majesty Misled — see vol. 10 p. 187.

Malcolm — see vol. 10 p. 192.

Malcontent — see 4th vol. of Dodsley 1744.

Male Coquette (originally Modern Fine Gentleman) — D. L.
March 24 1757— C. G. Jan. 21 1765— D. L. April 23 1773.

Mall— T. R. 1674.

Mallet— see D. L. Jan. 19 1763.

Malvina— D. L. Jan. 28 1826.

Management by Reynolds — C. G. Oct. 31 1799.

Management by Lunn — Hay. Sep. 29 1828.

Manager an Actor in Spite of Himself — see C. G. May 6 1785.

Manager in Distress — Hay. May 30 1780 — D. L. C. May 25

1809— Hay. Sep. 28 1812— C. G. Feb. 28 1820— C. G. June

6 1826.

Ixxviii INDEX.

Man and Wife by Colman— C. G. Oct. 7 1769 — C. G. Dec. 20
1777— Hay. June 1 1778.

Man and Wife by Arnold— D. L. Jan. 5 1809 — D. L. June 18
1824.

Manfred — see Lord Byron 1820-1821.

Mangora King of the Timbusians — L. I. F. Dec. 14 1717.

Man his own Master — D. L. June 12 and Oct. 1 1816.

Maniac, or Swiss Banditti by D. L. C. March 13 1810.

Man in the Moon— D. L. Dec. 8 1817.

Man Milliner— C. G.Jan. 27 1787.

Manoeuvring — Hay. July 1 1829.

Man of Business— C. G. Jan. 31 1774.

Man of Enterprise — see vol. 10 p. 198.

Man of Honour — -see vol. 10 p. 195.

Man of Newmarket— T. R. 1678.

Man of Quality— C. G. April 27 1773— D. L. March 15 1774—

Hay. Aug. 6 1784.
Man of Reason— C. G. Feb. 9 1776.
Man of Taste, or Guardians — D. L. March 6 1735 — as Farce

D. L. March 10 1752.

Man of Ten Thousand— D. L. Jan. 23 1796.
Man of the Mill— see vol. 10 p. 182.
Man of the Mode— D. G. 1676— Hay. Nov. 9 1706— D. L.April

4 1715— D. L. March 21 1738— C. G. Nov. 10 1739— C. G.

Feb. 6 1746— D.L. Nov. 26 1753— C. G. March 15 1766.

Man of the World— C. G. May 10 1781— C. G. May 16 1797—
C. G.April 10 1802— C. G. Dec. 6 1811— C. G. July 6 1816
— D. L. March 18 1822— Bath Feb. 8 1823— C. G. Dec. 5
1823.

Man's Bewitched— Hay. Dec. 12 1709— G. F. April 28 1730.

Man's the Master — L. T. F. March 26 1668 — L. I. F. July 15
1726 — for the plot see C. G. Nov. 3 1775.

Manuel— D. L. March 8 1817.

Marcelia— T. R. 1669.

Marcella-D. L. Nov. 7 1789— C. G. Nov. 10 1789.

Marcus Brutus— see vol. 3 p. 90.

Mardyn Mrs D. L. Sep. 26 1815— Bath Feb. 16 1816.

Marforio— C. G. April 10 1736.

Margaret of Anjou — D. L. March 11 1777 — C. G. March 18

1793.
Margery, or a Worse Plague than the Dragon— C. G. Dec. 9

1738.

INDEX,

Mariamne— L. I. F. Fob. 22 1723— C. G. April 13 1733— C. G.
March 11 1745— C.G. Jan. 27 1758— D. L. March 16 1765
— D. L. March 20 1770— C. G. March 14 1774— see Bath
Dec. 5 18 1C.

Marian— C. G. May 20 1788.
Marina— C. G. Aug. 1 1738.
Mariners — D. L. C. May 10 1793.

Marino Faliero, Doge of Venice — D. L. April 25 1821 — Bath
May 7 1821.

Marplot-D. L. Dec. 30 1710.

Marplot in Lisbon— D. L. March 20 1755— C. G. April 29 1762

— D. L. April 6 1772.

Marquis de Carabas — C. G. March 30 1818.
Marriage a-la-Mode— T. R. 1672— D. L. Feb. 1 1703.
Marriage a-la-Mode (new Farce) — D. L. March 24 1760.
Marriage a-la-Mode, or Conjugal Douceurs — D. L. April 22

1767.

Marriage Contract — see 4th vol. of Brooke's Works 1778.
Marriage-Hater Matched— T. R. 1692— D. L. March 8 1708.
Marriage Night — L. I. F. March 21 1667.

Marriage of Figaro — C. G. March 6 1819 — D. L. March 13
1823.

Marriage Promise — D. L. April 16 1803.
Married and Single— Hay. July 16 1824.
Married Beau— T. R. 1694.
Married Coquet — see vol. 10 p. 171.
Married Libertine— C. G. Jan. 28 1761.
Married Man— Hay. July 15 1789.
Married Philosopher — L. I. F. March 25 1732.
Married Unmarried — Hay. Sept. 1 1796.

Marry or do Worse — L. I. F. Nov. 1 1703 — D. L. March 30

1747.

Marshall Mrs, — her characters — see Union 1682.
Martyrdom of St. Ignatius — see vol. 10 p. 188.
Martyr'd Soldier — see vol. 10 p. 110.
Martyr Mrs. and Mrs. Pope — see C. G. May 5 1786.
Martyr of Antioch — see voL 10 p. 239.
Martyr by Miss Baillie — see vol. 8 p. 346.

Mary Queen of Scots — D. L. March 20 1789 — C. G. Jan. 13
1804.

1XXX INDEX.

Mary Queen of Scots — not acted — see vol. 10 p. 201.

Mary Stuart— C. G. Dec. 14 and 29 1819.

Mary Stuart (from the Abbot) — Bath Jan. 3 1827.

Masaniello by Soane— D. L. Feb. 17 1825.

Masaniello, by Milner — see D. L. Feb. 17 1825.

Masaniello, or the Dumb Girl of Portici— D. L. May 4 1829.

Mask'd Friend (altered from Duplicity)— C. G. May 6 1796—

C. G. May 10 1803.

Masquerade by C.Johnson — D. L. Jan. 16 1719.
Masquerade, or an Evening's Intrigue — L. I. F. May 16 1717.

Massacre of Paris, by Lee — T. R. 1690— C. G. Oct. 31 and

Nov. 1 1745.
Massacre of Paris, by Marloe — see vol. 9 p. 576.

Massaniello— D. L. 1699— L. I.F.July 31 1724.

Massinger — for Colman's remarks, see end of 1778-1779 — for the
plays, see 1804-1805.

Master Anthony — D. G. 1671.

Masters of the Revels — see end of D. L. 1719-1720.
Master's Rival— D. L. Feb. 12 1829— C. G. May 6 1829.
Match at Midnight — see 6th vol. of Dodsley 1744.
Match-Breaking—Hay. Sep. 20 1821.

Match in Newgate — (see Revenge D. G. 1680)— D. L. Oct. 29
1739.

Match-Making, by Kenney — Hay. Aug. 25 1821.

Match-Making, attributed to Mrs. C. Kemble — C. G. May 24
1808.

Match me in London— see vol. 10 p. 7.

Mathews made his 1st app. at Hay. May 16 1803.

Matilda by Franklin— D. L. Jan. 21 1775— C. G. March 7 1785.

Matilda by Delap — see vol. 10 p. 225.

Matrimony— D. L. Nov. 20 1804— C. G. May 13 1823.

Matrimony (from Sleep- Walker)— C. G. April 27 1798.

Mattocks Mrs. — her characters and last bt. C. G. 1807-1 808.

Mausoleum — see Hayley at end of 1783-1784.

May Day by Chapman — see vol. 4 of Old Plays 1814-1815.

May Day, or Little Gipsy — D. L. Oct. 28 1775 — C. G. May 1
1793— C. G. May 1 1798.

May Day, or Merry Milkmaid — D. L. May 2 1746.

Mayor of Garratt— Hay. July 1763— D. L. Nov. 30 1763—

D. L. April 2 1771— C. G. Jan. 15 1778— Hay, June 29

IN 1)1 X. l.XXXl

1780— D. L. May I 1788— C. G. April 21 1789— Hay.
June 22 1790— D. L. April 5 1791— C. G. Oct. 7 1791 —

C. G. Juno 25 1817— C. G. April 23 1828.

Mayor of Quinborough — Hay. April 29 1710 — for the plot see
llth vol. of Dodsley 1744.

Measure for Measure, by Shakspeare — L. I. F. Dec. 8 1720—

D. L.Jan. 26 1738— C. G. Nov. 25 1742— D. L. April 11
1746— C. G. Dec. 17 1746— D. L. Feb. 22 1755— C. G.
Feb. 12 1770— D. L. March 18 1775— C. G. Oct. 11 1780
— D. L. Nov. 3 1783— D. L. Dec. 30 1794— C. G. Nov. 21
1803— C. G. Feb. 8 1816— D. L. May 1 1824.

Measure for Measure, by Gildon— L. I. F. 1700.
Medsea, by C. Johnson— D. L. Dec. 11 1730.
Medbourne's last app. — see D. G. 1678.

Medea, by Glover— D. L. March 24 1767— C. G. March 17 1768
— D. L. March 1 1 1776— C. G. March 26 1792.

Meeting of the Company (Prelude) — D. L. Sept. 17 1774.

Meggett — Hay. July 19 1815.

Meg Murnoch— Bath March 10 1821.

Melite — see vol. 10 p. 191.

Mellon Miss — see cud of D. L. 1814-1815.

Merchant of Bruges — D. L. Dec. 14 1815.

Merchant of Venice— D. L. Feb. 14 1741— C. G. March 13 1744
— C. G. Oct. 30 1754— C. G- May 3 1759— D. L. March 24
1768— C. G. March 27 1770— D. L. Dec. 29 1775— C. G.
April 13 1776— Hay. June 11 1777— D. L. Oct. 14 1777
— C. G. May 12 1780— Hay. Aug. 24 1780— D. L.Jan. 22
1784 — D. L. April 6 1786— Hay. June 22 1790— C. G.
May 12 1796— Hay. Aug. 28 1797— C. G. Nov. 10 1800—
C. G. Nov. 19 1803— Hay. Aug. 16 1809— D. L. Oct. 5
1813 and Jan. 26 1814— C. G. May 13 1823— C. G. Oct.
15 1827.

Merchant of Venice altered by Valpy — see vol. 10 p. 223.

Merchant's Wedding— C. G. Feb. 5 1828.

Merlin, or the Devil at Stone-Henge — D. L. Dec. 14 1734.

Mermaid— C. G. March 26 1792.

Merope, by Jeffreys — L. I. F. Feb. 27 1731.

Merope, by Hill— D. L. April 15 1749— D. L. April 19 1770
— D. L. Jan. 13 1773— C. G. Jan. 17 1777— D. L. Jan.
22 1777— C. G. Jan. 15 1787— C. G. Nov. 29 1797—
D. L. March 1 1806— C. G. Feb. 22 1806— Bath June 1
1815.

Merry Cobler— D. L. May 6 1735.

Merry Counterfeit— C. G. March 29 1762— C. G. April 29 1771.

m

Ixxxii INDEX.

Merry Devil of Edmonton — T. R. 1682.

Merry Masqueraders, or Humorous Cuckold — Hay 1730.

Merry Midnight Mistake — see vol. 10 p. 182.

Merry Mrs — her characters — C. G. 1791-1792.

Merry Wives of Broad Street — D. L. June 9 1713.

Merry Wives of Windsor — T. R. Aug. 15 1667 — see L. I. F.
Feb. 1704— L. 1. F. Oct. 22 1720— D. L. Dec. 6 1734—
D. L. Nov. 29 1743— C. G. April 22 1758— Hay. Sept. 3
1777—D. L. Feb. 24 1778— C. G. Nov.13 1779— Hay. Aug.
24 1781— D. L. Jan. 10 1784— C. G. Nov. 29 1786— D. L.
May 21 1788— C. G. March 14 1796— C. G. April 25 1804
— C. G. Jan. 16 1811.

Merry Wives of Windsor as Opera — D. L. Feb. 20 1824—
Hay. Oct. 12, 1824.

Messallina — see vol. 10 p. 112.

Metamorphosis, or Old Lover — L. I. F. Oct. 2 1704.

Metamorphosis (C. Op. in 3 acts) — D. L. Dec. 5 1783.

Metamorphoses — Hay. Aug. 26 1775.

Methodist— see vol. 10 p. 180.

Michaelmas Term — see vol. 10 p. 13.

Microcosmus — see 5th vol. of Dodsley 1744.

Midas, by O'Hara— C. G. Feb. 22 1764— Hay. Aug. 15 1781—
C. G. March 19 1785— C. G. May 6 1791— C. G. Nov. 10
1794— Bath May 15 1798— D. L. Oct. 25 1802— C. G.
Sept. 17 1812 — D. L. June 15 1815— Hay. July 23 1825.

Midas, by Lyly— see 1st vol. of Old Plays 1814.1815.
Middle Dish, or Irishman in Turkey — D. L. April 16 1804.
Middleton's characters— D. L. 1798-1799.

Midnight Hour— C. G. May 22 1787— C. G. Oct. 5 1795— D. L.
May 9 1803— Hay. Sep. 1 1809— D. L. Nov. 12 1816.

Midnight Wanderers— C. G. Feb. 25 1793.

Midsummer Night's Dream with songs — D. L. Nov. 23 1763.

Midsummer Night's Dream, altered by Reynolds—C. G. Jan. 17
1816.

Milesian— D. L. March 20 1777.

Miller and his Men— C. G. Oct. 21 1813.

Miller of Mansfield— D. L. Feb. 1 1737— D. L June 1 1770—
C. G. Sept. 18 1769— Hay. Aug. 26 1788 D. L. Nov. 29
1788— acted by C. G C. May 1 1809— D. L. April 26 1820.

Miller's characters— D. L. 1737-1738.

Miller's Maid— Hay. Aug. 25 1804.

Miller's Maid— Melo-drame— Bath Nov. 21 1821.

INDEX. huutiii

Milliners— Hay. June 28 1828.

Mills John -his characters -D. f,. 1736-1737.

Mills William— see D. L. Feb. 22 1750.

Milton's Grandaughter — has abt. at D. L. April 5 1750.

Mil ward's characters — D. L. 1741-1742.

Mine — see D. L. March 19 1774.

Miniature Picture — D. L. May 24 1780.

Minor— Hay. 1760— D. L. Nov. 22 1760— C. G. Nov. 24 1760
— D. L. April 30 1770— D. L. May 1 1773— C. G. Jan. 19
1778— Hay. Sep. 8 1780— Hay. July 25 1786— D. L. Jan.
5 1788— D. L. May 27 1797— D. L. May 2 1808.

Mirandola— C. G. Jan. 9 1821.

Mirror, or Harlequin Every where — C. G. Nov. 30 1779.

Mirrour — see vol. 10 p. 178.

Mir/.; i — see vol. 10 p. 119.

Miser, by Shadwell— T. R. 1671— D. L. June 5 1704.

Miser, by Fielding— D. L. Feb. 17 1733— G.\F. March 16 1741
—D.L.Jan. 25 1749— C. G. Sep. 24 1750— D. L. Nov.
11 1771— C. G. Oct. 1 1777— D. L. Oct. 7 1779-C. G.
April 30 1787.

Miser, in 3 acts— C. G. March 24 1789— Haju May 25 1789—
J). L. May 9 1799-C. G. Oct. 14 1818.

Miseries of Human Life — C. G. May 19 1807.
Miseries of Inforced Marriage — see Reed 1774.
Misfortunes of Arthur— see Old Plays 1828.

Miss— applied only to young girls, or kept mistresses, till about
1727 — see Don Quixote D.L. 1696 and U.L.C. Feb. 3 1810.

Miss in her Teens— C. G. Jan. 17 1747— D. L. Oct. 24 1747—
C. G. Oct. 23 1754— D. L. March 6 1760— C. G. Nov. 12
1762— D. L. April 15 1773— C. G. Dec. 7 1775— C. G
Dec. 15 1787.

Mississippi — L. I. F. May 4 1720.

Mission from Rome — see vol. 10 p. 171.

Miss Lucy in Town — D. L. May 5 1742.

Mistake— Hay. Dec. 27 1705— D. L. Feb. 11 1710— L. I. F.
Oct. 24 1726— C. G. March 3 1752— D. L. March 13 1755
C. G. Feb. 6 1766— C. G. Oct. 12 1780.

Mistaken Beauty, or Lyar — see Vere Street 1662.
Mistaken Husband— T. R. 1675.
Mistake of a Minute— D. L. April 23 1787,
Mistakes, by Harris— T. R. 1690.

hxxxiv INDEX.

Mistakes, by Lord Cornbury — see vol. 4 p. 44.

Mister H . D. L. Dec. 10 1806.

Mr. Taste — see vol. 10 p. 157.

Mr. Tibbs— D. L. March 8 1821.

Mistress Smith — Hay. June 18 1823.

Mrs. Wiggins— Hay. May 27 1803— Hay. April 20 1826.

Mithridates— T. R. 1678— D. L. Feb. 14 1708— D. L. March 2
1721— C.G. Nov. 9 1738— see end of D. L. 1796-1797.

Mock Countess— D. L. April 30 1733— C. G. Nov. 11 1734.

Mock Doctor— D. L. Sept. 8 1732— D. L. Sept. 25 1759— C. G.
Dec. 4 1784— Hay. Dec. 10 1793— D. L. Nov. 25 1799.

Mock Duellist— T. R. 1675.

Mock Lawyer— C. G. April 27 1733— C. G. April 5 1738.

Mock Marriage— D. L. 1696.

Mock Orators_D. L. April 10 1756.

Mock Tempest-T. R. 1674.

Mock Thyestes — see vol. 10 p. 143.

Mode — see vol. 10 p. 195.

Modern Antiques — C. G. March 14 1791 — Hay. Aug. 2 1806.

Modern Breakfast — Hay. Aug. 1 1 1790.

Modern Comedy— see vol. 10 p. 200.

Modern Husband— D. L. Feb. 21 1732.

Modern Misses, or 16 and 63 — see vol. 10 p. 232.

Modern Prophets — D. L.May 3 1709.

Modern Wife, altered from Distressed Wife — C. G. April 27
1771.

Modern Wife, or Virgin her own Rival — sec vol. 4 p. 167.

Modish Couple— D. L.Jan. 10 1732.

Modish Husband— D. L. 1702.

Modish Wife— Hay. Sep. 18 1773.

Mogul Tale-Hay. July 6 1784.

Mohocks — see vol. 10 p. 153.

Mohun's characters — see Union 1682.

Momus turned Fabulist— L. I. F. Dec. 3 1729 — C. G. April 28

1737.

Money at a Pinch— C. G. April 25 1793.
Money is an Ass — see vol. 10 p. 118.
Money the Mistress— L. I. F. Feb. 19 1726.
Monody on Garrick— D. L. March 2 1779.

INDEX Ix.XXV

Monody on Sheridan — D. L. Sept. 7 1816.

Monsieur D'Olive— see vol. 3 of Old Plays 1814-1815.

Monsieur Thomas — see Trick for Trick T. R. 1678.

Monsieur Tonson — D. L. Sep. 20 1821.

Montalto— D. L. Jan. 8 1821.

Montezutna by Brooke— see his Works 1778.

Montoni, or the Phantom — C. G. May 3 1820.

Montrose, or Children of the Mist — C. G. Feb. 14 1822 — Bath
April 17 1822.

Moody's characters — D. L. 1795-1796.
Moral Quack — see vol. 10 p. 179.
Mordecai's Beard — D. L. April 20 1790.
More Blunders than One— C. G. Oct. 8 1828.

More Dissemblers besides Women — see 4th vol. of Old Plays
1814-1815.

More Miss — for her Sacred Dramas see 1781-1782.

More Ways than One— C. G. Dec. 6 1783— C. G. May 19 1789
— Bath March 17 1812.

Morning, Noon, and Night — -Hay. Sep. 9 1822.

Morning Post and Morning Herald — D. L. C. May 31 1811.

Morning Ramble— D. G. 1673.

Moscow — see vol. 10 p. 234.

Mossop — see Irish Stage.

Mother and Son — D. L. April 24 1821.

Mother Bombie — see 1st vol. of Old Plays 1814-1815.

Mother in Law— Hay. Feb. 12 1734.

Mountain Chief— D. L. April 30 1818.

Mountaineers — Hay. Aug. 3 1793— D. L. Nov. 24 1794— C. G.
Oct. 6 1796— Hay. May 19 1803 — C. G. March 24 1806—
— D.L.JuneS 1822.

Mountfort Mrs. — see Mrs. Verbruggen.

Mountfort's death and characters — T. R. 1692.

Mountfort Mrs. Susanna — her characters L. I. F. 1718-1719.

Mourning Bride— L. I. F. 1697— D. L. March 25 1708— D. L.
Jan. 18 1710— D. L. Oct. 5 1728 —C. G. May 17 1734 —
D. L. Feb. 24 1737 — C. .G. April 3 1750 — D. L. Dec. 3
1750— C. G. Feb. 20 1755— D. L. Nov. 1 1762— D. L. May
1 1775— C. G. Dec. 18 1776 — C. G. May 14 1781 — D. L.
March 18 1783— C. G. March 10 1788— C. G. Feb. 20 J804.

Mouth of the Nile— C. G. Nov. 6 1798.
M.P.-D. L. C. Sep. 30 1 81 1.

INDEX.

Mucedorus — see vol. 10 p. 89.

Much ado— L. I. F. Feb. 9 1721— C. G. May 25 1739— C. G.
March 13 1746— D. L- Nov. 14 1748— C. G. Nov. 8 1774
— D. L. Nov. 6 1775— D. L. Feb. 10 1778— C. G. Dec. 31
1779— C. G. Nov. 2 1785— C. G. April 11 1787— Hay.
May 25 1787— D. L. April 30 1788— C. G. Sept. 18 1793
— C. G. Oct. 6 1797— C G. Nov. 2 1803— C. G. Nov. 28
1817-

Mulberry Garden — T. R. 1668.

Muleasses the Turk — see vol. 10 p. 93.

Munden's characters — D. L. 1823-1824.

Murdered Guest — D. L. Dec. 27 1826.

Murphy published a corrected edition of his works in 1786.

Muse of Newmarket — see vol. 10 p. 146.

Muse's Looking Glass — C. G. March 14 1748 and March 9 1749.

Muses in Mourning — see vol. 8 p. 332.

Musical Lady — D. L. March 6 1762 — C. G. April 24 1765 —
C. G. May 10 1773 — C. G. Sep. 24 1784.

Music Mad-Hay. Aug. 27 1807— C. G. June 14 1815.

Mustapha — (not acted) — see vol. 10 p. 232.

Mustaphaby Lord Orrery— see L. T. F. 1665.

Mustapha by Mallet — D. L. Feb. 13 1739.

Mustapha by Lord Brooke — see 2d vol. of Dodsley 1774.

Mutius Scsevola — see vol. 10 p. 222.

My Aunt — Bath Oct. 21 1815.

My Best Friend— D. L. Jan. 23 1827.

My Country Cousin— D. L. May 29 1827.

My Grandmother— Hay. Dec. 16 1793— Hay. July 14 1823.

My Landlady's Gown— Hay. Aug. 10 1816.

My Night Gown and Slippers — D. L. April 28 1797.

My own Man— C- G. June 16 1824.

Myrtillo — see vol. 10 p. 257.

My Spouse and I— D. L. Dec. 7 1815.

Mysteries of the Castle— C. G. Jan. 31 1795— Bath Feb. 23 1815.

Mysterious Bride — D. L. June 1 1808.

Mysterious Husband — C. G. Jan. 28 1783 — reduced to 4 acts
— C. G. Jan. 4 1796— C. G. Jan. 4 1800.

Mysterious Marriage — see vol. 10 p. 209.
Mysterious Mother — see vol. 10 p. 185.
Mystification — D. L. April 7 1821.

INDEX. Ixxxvii

My Uncle Gabriel— D. L. Dec. 10 1824.

My Wife ! What Wife? C.by Barrett— Hay. July 25 1815.

My Wife ! What Wife ? (Farce)— D. L. April 2 1829.

N.

Nabob— Hay. June 29 1772— Hay. July 23 1781— D. L. March
28 1786.

Napoleon — Bath March 30 1830.

Narcotic — see vol. 10 p. 200.

Narensky — D. L. Jan. 11 1814.

Natalia and Menzikof — see vol. 10 p. 206.

National Guard— D. L. Feb. 4 1830.

National Prejudice F. — D. L. April 6 1768.

National Prejudice C — C. G. May 10 1791.

Native Land— C. G. Feb. 10 1824— C. G. Jan. 12 1828.

Natural Faults — see D. L. May 3 1799.

Natural Son — D. L. Dec. 22 1784 — in 4 acts D. L. June 10
1794

Nature will Prevail—Hay. June 10 1778— D. L. May 7 1788,
Naufragium Joculare — see vol. 10 p. 63.
Naval Pillar— C. G. Oct. 7 1799.
Neale— see end of D. L. 1749-1750.

Neck or Nothing— D. L. Nov. 18 1766— D. L. Feb. 15 1774—

— D. L. Feb. 10 1784.

Necromancer, or Dr. Faustus— L. 1. F. Dec. 20 1724.
Neglected Virtue — D. L. 1696.
Nelson's Glory— C. G. Nov. 7 1805.
Nero — T. R. 1675.
Nest of Plays-C. G. Jan. 25 1738.

Netley Abbey— C. G. April 10 1794 — D. L. Nov. 28 1812.
New Academy — see vol 10 p. 43.
New Brooms — D L. Sep. 21 1776.
Newcastle Duchess of — see vol. 1. p. 89.
New Custom — see 1st vol. of Dodsley 1744.
New Hay at the Old Market — Hay. June 9 1795.
New Hippocrates — D. L. April I 1761.
New Inn — see vol. 5 of Ben Jonson 1815-1816.
Newmarket— see Humours of the Turf.
New Peerage_D. L. Nov. 10 1787.
New Rehearsal — see vol. 10 p. 154.

Ixxxviii INDEX.

New Spain— Hay. July 16 1790.

New way to cheat the Devil — see vol. 10 p. 71.

New way to pay Old Debts— D- L. Oct. 19 1748— D. L. May
11 1759— D. L. Oct. 21 1769— C. G. April 18 1781— C. G.
Sep. 17 1781— D. L. Nov. 14 1783— C. G. April 19 1796
— C. G. March 28 1801— C. G. Dec. 29 1810— C. G. Nov.
15 1814— D. L. Jan. 12 1816— C. G. Dec. 14 1820— C. G.
Oct. 25 1827.

New Wonder, a Woman never Vext — see C. G. Nov. 9 1824.

News from Parnassus — C. G. Sep. 23 1776.

News from Plymouth — see vol. 10 p. 82.

News the Malady — see vol. 10 p. 194.

Next door Neighbours — Hay. July 9 1791.

Nice Valour — see 10th vol. of Beaumont and Fletcher 1778.

Nicodemus in Despair — Hay. Aug. 31 1803.

Nigel, or the Crown Jewels— C. G. Jan. 28 1823.

Night before the Wedding and the Wedding Night — C. G. Nov.
17 1829.

Night Walker— T, R. 1682— D. L. Oct. 18 1705.
Night's Adventures, or Road to Bath — see vol. 10 p. 235.
Nina— C. G. April 24 1787— D. L. May 11 1801.
Nine Points of the Law — Hay. July 18 1818.
Ninnetta— C. G. Feb. 4 1830.
Ninth Statue— D. L. Nov. 29 1814.
No— Bath May 16 1828.
Noah's Flood — see vol. 10 p. 145.

Noble Gentleman see Fool's Preferment 1688.

Noble Lie — see vol. 10 p. 216.
Noble Outlaw— C. G. April 7 1815.
Noble Peasant — Hay. Aug. 2 1784.
Noble Pedlar— D. L. May 13 1771.
Noble Slave— see vol. 10 p. 198.
Noble Stranger — see vol. 10 p. 117.
Nobody— D. L. Nov. 29 1794.
No Cure, No Pay — see vol. 10 p. 204.
No Fools like Wits— L. I. F. Jan. 10 1721.
Nokes — his characters T. R. 1692.
No Matter What-D. L. April 25 1758.
Nondescript— C. G. Oct. 5 1813.

INDEX. Ixxxix

Non-Juror— I). L. Dec. 0 1717— D. L, Oct. 22 1745— C. G.
Oct. 18 1745 — C. G. Jan. 4 1750 — D. L. Feb. 6 1753—
C. G. Oct. 22 1754.

No one's Enemy but his own— C. G. Jan. 9 1764 — C. G. Oct. 26
1774.

Nootka Sound— C. G. June 7 1790.

No Prelude— Hay. May 16 1803.

Norah, or the Girl of Erin— C. G. Feb. 1 1826.

Norris-his characters D. L. 1730-1731.

Northern Heiress— L. I. F.April 27 1716.

Northern Lass— T. R. 1684— Hay. Dec. 13 1706 — D. L. June
24 1717— C. G. Jan. 18 1738.

Northern Inn, or the Days of Good Queen Bess — Hay. Aug.

16 1791.

Northumberland — see vol. 10 p. 187.
Northward Hoe — see vol. 10 p. 8.
Norwood Gipsies — C. G. May 28 1799.
Nosegay of Weeds — D. L. June 6 1798.

No Song no Supper — D. L. April 16 1790 — C. G. April 26

1797.

Nota Bene — D. L. Dec. 12 1816.
Not at Home— D. L. C. Nov. 20 1809.
Note of Hand— D. L. Feb. 9 1774.
Nothing Superfluous — Hay. Aug. 5 1829.
Notoriety— C. G. Nov. 5 1791.
Nourjad — see D. L. Nov. 25 1813.
Novella — see vol. 10 p. 34.
Novelty— L I. F. 1697.
No Wit like a Woman's— D. L. March 28 and 31 1769.

No Wit, no Help, like a Woman's — see Counterfeit Bridegroom
D. G. 1677.

Noyades — Bath Nov. 19 1828.

Nunnery — C. G. April 12 1785.

Nuptials of Peleus and Thetis — see vol. 10 p. 127.

Nursery — for the King's and Duke's Companies — see vol. 1 pp.
152-153.

Nymph of the Grotto— C. G. Jan. 15 1829.

O.

Oaks, or the Beauties of Canterbury — see vol. 10 p. 193.
Oberon, or the Charmed Horn— D. L. March 27 1826.

XC INDEX.

Oberon, or the Elf King's Oath— C. G. April 12 1826.

Oberon's Oath, or Paladin and Princess— D. L. May 21 1816.

Obi— Hay. July 5 1800— D. L. March 14 1818.

Obstinate Lady — see vol. 10 p. 133.

Occasional Prelude at Hay. 1767.

Occasional Prelude at C. G. Sep. 21 1772. — for Miss Barsanti.

Occasional Prelude at C. G. Sep. 17 1792.

Oculist, by Dr. Bacon — see vol. 10 p. 179.

(Edipus — D. G. 1679 — D. L. Oct. 23 1708 — L. I. F. Nov. 8
1722— C. G. March 25 1738— D. L. Nov. 19 1740— D. L.
April 2 1744— C. G. Jan. 10 1755.

Of Age To-morrow— D. L. Feb. 1 1800— Bath March 30 1802
— C. G. Oct. 9 1807— Hay. Oct. 8 1825 — C. G. Nov. 24
1825.

Oil and Vinegar — Hay. July 10 1820.
O'Keeffe's bt.— C. G. June 12 1800.
O'Keeffe's Works — see vol. 7 p. 402.
O'Keeffe's Recollections — 1 825-1826.
Old and Young— D. L. Dec. 5 1822.

Old Batchelor— T. R. 1693 — D. L. March 15 1708— L. I.F.
Jan. 13 1722— D. L. Nov. 1 1742— C. G. Nov. 26 1746—
D. L. Oct. 24 and Nov. 2 1753 — C. G. April 29 1760 —
Hay. Aug. 25 1769— D. L. Nov. 19 1776 — D. L. Oct. 9
1777— C. G. March 5 1789.

Oldcastle Sir John— see end of D. L. 1713-1714.

Old City Manners— D. L. Nov. 9 1775.

Old Cloathsraan— C. G. April 3 1799.

Old Couple — see 7th vol. of Dodsley 1744.

Oldfield Mrs. — her characters D. L. 1729-1730.

Old Fortunatus — see C. G.April 12 1819.

Old Law — see vol. 4 of Massinger's works 1805.

Old Maid — D. L. July 2 1761 — C. G. March 15 1766 — D. L.

May 4 1795— C. G. May 27 1796 — D. L. Oct. 26 1797 —

C. G. June 21 1820.

Old Man taught Wisdom— see Virgin Unmasked.
Old Mode and New— D. L. March 11 1703.

Old Plays— see end of 1814-1815 — see end of 1823-1824 — see
end of 1827-1828— see particularly vol. 9 p. 572.

Old Robin Gray— Bath Dec. 18 1784.

Old Troop— T. R. 1665 —Hay. July 30 1707— D. L. July 27
1714— D. L. Aug. 61717.

INDEX. XC1

Old Women Weatherwise— see end of D. L 1769-1770.

Olindo and Sophronia_see vol. 10 p. 179.

Oliver Cromwell—see vol. 10 p. 176.

Olympia— see vol. 10 p. 236.

Olympus in an Uproar— C. G. Nov. 5 1790.

Omai— C. G. Dec. 20 1785.

Once a Lover and always a Lover — see She Gallants D. L. March
J3 1746.

One and All — see vol. 10 p. 195.

O'Neill Miss— her characters C. G. 1818-1819.

One, Two, Three, Four, Five by Advertisement —Bath May 21
1825.

Opera of Operas, or Tom Thumb the Great — D. L. Nov. 9 1733.
Opportunity- see T. R. 1682.

Opposition (Interlude from Sir Courtly Nice) — Hay. Aug. 6
1790.

Oracle— C. G. March 17 1752 — C. G. March 26 1765 — Bath
May 9 1823.

Oracle, or Interrupted Sacrifice — C. G. Feb. 20 1827.

Orange Boven— D. L. Dec. 8, 9 and 10 1813.

Orators— Hay. 1762— Hay. 1767.

Ordinary—see vol. 10 of Dodsley 1744.

Orestes by Goff— see vol. 10 p. 4.

Orestes by Theobald— L. 1. F. April 3 1731.

Orestes by Franklin — C. G. March 13 1769 — acted at D. L. as
Electra Oct. 15 1774.

Orestes in Argos — C. G. April 20 1825.
Ormasdes— see vol. 10 p. 139.

Oroonoko— D. L. 1696— D. L. April 19 1708— D. L. Feb. 1 1716
— L. I. F.March 24 1720— D. L. Jan. 3 1735 — D. L. Oct.
22 1751— D. L. Oct. 13 1755 — D. L. Dec. 1 1759 (as al-
tered by Hawkesworth) — D. L. Nov. 28 1769 — D. L. May
17 1781— C. G. Jan. 8 1785 — D. L. Oct. 31 1789 — C. G.
May 30 1792— C. G. Dec. 21 1795 — C. G. March 22 1806
— D. L. Jan. 20 1817— D. L. June 1 1829-

Orphan — D. G. 1680 — Hay. March 1 1707 — D. L. March 14
1715— L. I. F. Oct. 5 1721— D. L. March 15 1737— D. L.
Oct. 5 1742— D. L. Nov. 15 1746— C. G. Nov. 11 1746 —
D. L.Nov. 18 1747— D. L. April 14 1760 — C. G. Oct. 19
1767— D. L. Dec. 22 1772— C. G. March 31 1783 — C. G.
Feb. 4 1785— C. G. Oct. 13 1797— C. G. Dec. 2 1815.

Orphans, or Generous Lovers— see vol. 10 p. 217.

XC11 INDEX.

Orphan of China— D. L. April 21 1759—D. L. April 2 1764—
C. G. Nov. 6 1777.

Orphan of the Castle— Bath March 17 1814.

Orpheus and Eurydice, Pant.— C. G. Feb. 12 1740— C. G. Jan.
2 1745— C. G. Oct. 15 1787.

Orpheus and Eurydice (serious Opera)— C. G. Feb. 28 1792.

Orra— see Miss Baillie at end of 1811-1812.

Orrery Earl of— see end of D. G. 1671— and end of 1738-1739.

Oscar and Malvina— C. G. Oct. 20 1791 — (with Dr. Johnson's
opinion of Ossian.)

Ozmyn and Daraxa — D. L. C. March 7 1793.

Othello— T. R. Feb. 6 1669— Hay. Jan. 28 1707— D. L. Nov.

27 1711— L. I.F. Jan. 10 1722— D. L. Jan. 4 1738— D. L.
March 7 1745— C. G. June 20 1746— D. L. Oct. 4 1746—
D.L. March 9 1749 — Othello acted by Sir Francis Delaval,
&c. D. L. March 7 1751— C. G. Oct. 18 1754— D. L. March

28 1761— C. G. Oct. 12 1762— D. L.March 31 1764— Hay.
Aug. 80 1769— D. L. April 29 1773— C. G. Dec. 15 1774
Hay. July 24 1780— C. G. Nov. 10 1780— D. L. March 8
1785— C. G. April 23 1785— C. G. Oct. 12 1787— Hay.
Sept. 4 1797— C. G. Nov. 28 1800— C. G. Jan. 20 1804—
C. G. Nov. 7 1818— C. G. Dec. 21 1827.

Otto of Wittelsbach — see vol. 10 p. 218.

Otway acted in Forced Marriage D. G. 1672 — see also Don Car-
los D. G. 1676.

Ourselves— D. L. C. March 2 1811.

Outlaws — D. L. Oct. 18 1798.

Out of Place, or Lake of Lausanne— C. G. Feb. 28 1805.

Outside Passenger — Hay. July 4 1811.

Outwitted at Last — D. L. Dec. 131817.

Over the Water !— Hay. Sep. 23 1820.

Owen Prince of Powys— D. L. Jan. 28 1822.

Oxonian in Town — C. G. Nov. 7 1767.

P.

Packet Boat— C. G. May 13 1794.
Pack's characters— L. I. F. 1721-1722.
Pad— C. G. May 27 1793.

Padlock— D. L. Oct. 3 1768— C. G. Oct. 23 1770— C. G. Nov.
28 1786— Hay. Aug. 20 1793— D. L. June 8 1829.

Paetus and Arria — see vol. 10 p. 230.

Palladius and Irene — see vol. 10 p. 189

Palmer and Mrs. Palmer — their characters — D. L. 1767-1768.

INDEX. XC\\l

Palmer John—his characters — D. L. 1797-1798.
Pamela — G. F. Nov. 0 1741.
Pandora, or Converts — see L. I. F. 1665.

Pannel— D. L. Nov. 28 1788 — Hay. Aug. 24 1808 — C. G. April
8 1813 — D. L. Dec. 9 1825.

Panthea Queen of Susia — see vol. 10 p. 229.

Panthea, or Captive Bride — see vol. 10 p. 229.

Pantheonites— Hay. Sep. 3 1773— D. L. March 20 1774.

Pantomimes and Entertainments — see vol. 3 p. 154.

Papal Tyranny in the Reign of King John — C. G. Feb. 15 1745.

Paradox, or Maid, Wife, and Widow— C. G. April 30 1799.

Paragraph — C. G. March 10 1804.

Parasitaster — see vol.2 of Old Plays 1814-1815.

Pardoner and the Frere, the Curate and Neybour Pratte — see vol.
10 p. 85.

Parliament of Love — see 2d vol. of Massinger 1805.
Parricide, by Sterling — G. F. Jan. 29 1736.
Parricide, by W. Shirley— C. G. Jan. 17 1739.
Parricide, by Allen— Bath May 12 1824.
Parsons — his characters — D. L. 1794-1795.

Parson's Wedding — see T. R. Oct. 11 1664 — for the plot see
T. R. 1673.

Parthenia — see vol. 10 p. 181.

Parthian Exile — see vol. 10 p. 189.

Partizans— D. L. May 21 1829.

Partners— Hay. June 28 1805.

Pasquin— Hay. 1736— L. I. F. Jan. 24 1737.

Passion Week — Plays, &c. stopped — see end of D. L. 1752-1753

Passionate Lover — see vol. 10 p. 27.

Passive Husband — see Word for Nature D. L. Dec. 6 1798.

Past and Present — D. L. Feb. 23 1830.

Pastor Fido— D. G. 1G76 — acted by Women at D. G. Oct. 30

1706.
Past Ten o'Clock— D. L. March 11 1815.

Patents — Killegrew and Davenant had each of them a Patent
granted to him in 1660 — Wilkes, Cibber, Dogget and
Booth had a Patent granted to them jointly on Jan 19 1714
O. S. — this was for 21 years — Foote's Patent passed the
Great Seal in 'July 1766 for his life — Colman's Patent seems
to have been renewed every year.

XC1V INDEX.

Patent, &c. of C. G. purchased by Harris, Rutherford, Colman

and Powell in 1767.
Pathomachia — see vol. 10 p. 101.

Patie and Peggy (Gentle Shepherd altered) — D. L. May 31
1731.

Patriot — altered from L. J. Brutus — see end of D. L. 1703.

Patriot King, by Bicknell — see vol. 10 p. 198.

Patriot Prince — see vol. 10 p. 230.

Patriot T. — from Metastasio — see vol. 10 p. 194.

Patron by Foote — Hay. 1764 — Hay. Sept. 5 1774 — Hay. Aug.
1 1781— D. L. C. Dec. 28 1792.

Patron, or Statesman's Opera — Hay. 1729.

Paul and Virginia— C. G. May 1 1800— D. L. May 26 1817—
D. L. Jan. 26 1822— C. G. May 23 1823.

Paul Pry— Hay. Sep. 13 1825— D. L. June 13 1829.
Paul Pry on Horseback— Bath Nov. 15 1826.
Pausanias— D. L. 1696.
Pavilion —D. L. Oct. 16 1799.

Peasant Boy— D. L. C. Jan. 31 1811— D. L. June 3 1817— D. L.
May 31 1822.

Peasant of Lucern — see vol. 10 p. 233.

Peep behind the Curtain— D. L. Oct. 23 1767— D. L. March 25
1779— C. G. March 27 1790— Hay. Sept. 5 1796.

Peeping Tom— Hay. Sep. 6 1784— C. G. April 20 1789— D. L.
Oct. 29 1795— Hay. May 20 1803.

Peep into Elysium— Hay. Aug. 10 1784.
Peep into the Green Room — C. G. Sep. 20 1775.
Peer William — for humorous account of him from Guardian —
see end of D. L. 1712-1713.

Peevish Man— see vol. 10 p. 214.

Penelope — see Hay. 1728.

Percival Mrs.— see Mrs. Verbruggen.

Percy— C. G. Dec. 10 1777— Hay. July 6 1780— D. L. May 6
1786— D. L. Sep. 29 1787— C. G. Oct. 12 1797— D. L.
Oct. 6 1807— C. G. Jan. 7 1812— C. G. Nov. 11 1815.

Perfection— D. L. March 25 1830.

Perfidious Brother, by Theobald— L. I. F. Feb. 21 1716.

Periander— L. I. F.Jan. 13 1731.

Pericles— see Marina at C. G. Aug. 1 1738.

Perjured Devotee — see vol. 10 p. 168.

Perjured Husband— D. L. 1700.

INDEX. XCV

Perjurer— L. I. F.. Dec. 12 1717.

Perkin Warbeck— see D. L. Jan. 18 1746-G. F. Dec. 19 1745.

Perolla and Izadora — D. L. Dec. 3 1705.

Perouse — C. G. May 5 1801.

Perplexed Couple, or Mistake upon Mistake — L. I. F. Feb. 16
1715.

Perplexed Lovers — D. L. Jan. 19 1712.

Perplexities — C. G. Jan. 91 1767.

Perseverance — C. G. June 2 1789.

Persian Heroine — D. L. June 2 1819.

Persian Princess — D. L. May 31 1708.

Personation— D. L. April 29 1805— C. G. May 26 1807.

Peruvian— C. G. March 18 1786.

Peter and Paul— Hay. July 4 1821.

Peter Fin— Hay. July 11 1822.

Peters Hugh — see vol. 1 p. 16.

Peter Smink — Hay. Sep. 26 1826.

Peter the Great, or the Battle of Pultowa — D. L. Feb. 21 1829.

Peter the Great, or Wooden Walls — C. G. May 8 1807.

Peter Wilkins— C. G. April 16 1827.

Petticoat-Plotter — D. L. June 5 1712 — L. I. F. Nov. 17 1715.

Petticoat- Plotter, or More ways than one for a Wife — see vol.
10 p. 172.

Peveril of the Peak by Ball— Bath March 5 1823.
Peveril of the Peak Op. by * * — C. G. Oct. 21 1826.

Phaedra and Hippolitus — Hay. April 21 1707 — L. I. F. Jan. 22
1723 — D. L. Dec. 3 1726 — D. L. Nov. 28 1751 — C. G.
Nov. 7 1754 — D. L. March 24 1774 — C. G. Feb. 21 1775
—Hay. June 26 1780— C. G. March 3 1785.

Phaeton— D. L. 1698.

Phantoms, or Irishman in England — see vol. 10 p. 226.

Pharo Table— C. G. April 4 1789.

Phebe, or the Beggar's Wedding — D. L. July 4 1729.

Philandering— D. L. Jan. 13 1824.

Philanthropist — see vol. 10 p. 222.

Philaster — T. R. May 30 1668 — acted by the women at T. R.
1673— D. L. Oct. 13 1711 — D. L. Dec. 31 1715— D. L.
Oct. 8 1763 — C. G. Nov. 23 1767— D.L. May 6 1773 —
C. G. Oct. 20 1774— C. G. Oct. 3 1780— D. L. Dec. 1 1785
— C. G. Nov. 24 1796— Bath Dec. 1 1796 — JBath Dec. 12
1817.

XCV1 I N DEX.

Philaster, by Settle— T. R. 1695.

Philip of Macedon—L. I. F. April 29 1727-

Philoclea— C. G. Jan. 20 1754.

Philoctetes in Lemtios— see vol. 10 p. 201.

Philodamus— C. G. Dec. 14 1782.

Philotas, by Frowde— L. I. F. Feb. 3 1731.

Philotas, by Daniel — see vol. 9 p. 582.

Phoenix — see vol. 10 p. 10.

Phoenix in her Flames— see vol. 10 p. 69.

Phrenologists — C. G. Jan. 12 1830.

Picture, by Massinger — see Magic Picture C. G. Nov. 8 1783.

Picture, or Cuckold in Conceit — D. L. Feb. 11 1745.

Picture, or My own Choice — see vol. 10 p. 204.

Piety in Pattens — Hay. 1773 — Hay. July 4 1774 — Hay. June 11
1777 — C. G. May 15 1786 — D.L. May 19 1790 — Hay.
July 23 1810.

Pigeons and Crows — Hay. Aug. 28 1819.
Pilgrim by Killegrew — see vol. 1 p. 391.

Pilgrim, altered from Fletcher— D.L. 1700— D. L. July 19 1716
— L. I. F. Nov. 17 1719— D. L. Nov. 30 1738— D. L. Oct
30 1750— C. G. Feb. 15 1762— C. G. April 21 1780— D. L.
Oct. 26 1787— Bath May 9 1812.

Pilot— Bath Feb. 11 1829.

Pinkethman's characters — D. L. 1723-1724.

Pirate — D. L. Jan. 15 1822.

Pirates— D. L. C. Nov. 11 1792.

Piso's Conspiracy — D. G. 1676.

Pitt Mrs her characters C. G. 1791-1792.

Pizarro— D. L. May 24 1799— C. G. Oct. 17 1803— C. G. June
17 1816. j

Pizarro translated by Dutton — see vol. 7 p. 422.
Pizarro by Ainslie in blank verse — see vol. 7 p. 423.
Place Hunters— C. G. Feb. 12 1819.

Plague began about 1665 — ceased Nov. 20 1666 — theatres shut
in the interim.

Plague of Riches — see Hay. 1738.

Plain Dealer— T. R. 1674— T. R. 1683— L. I. F. Nov. 29 1715
— D. L. May 15 1723— C. G. Jan. 15 1733— D. L. Jan. 14
1738 — C. G. Jan. 18 1743 — revived with alterations atD. L.
Dec. 7 1765-D. L. Dec. 11 1775-C. G. April 18 1786—
D. L. June 1 1787— D. L. Feb. 27 1796.

INDEX. xcvii

Platonick Lady, by Mrs. Centlivre— Hay. Nov. 25 1706.

Platonick Lovers — see vol. 10 p. 79.

Platonick Wife— D. L. Jan. 24 1765.

Plautus— see end of 1760-1767.

Playhouse Computation— C. G. Dec. 26 1804 .

Playhouse to be Let — see L. I. F. 1665 — Hay. July 31 1700.

Play is the Plot — D. L. Feb. 19 1718.

Plays acted at Court — see L. I. F. Feb. 28 1704 and D. L. Sept.
24 1718.

Pleasures of the Town — (see Author's Farce) — Bath April 4
1774.

Plot— D. L. Jan. 22 1735.

Plot and Counterplot — Hay. June 30 1808.

Plot and no Plot — D. L. 1697— C. G. April 23 1746.

Plots, or the North Tower— see D. L. C. June 6 1811.

Plymouth in an Uproar— C. G. Oct. 20 1779.

Poachers— C. G. Feb. 6 1824.

Pocahontas, or Indian Princess — D. L. Dec. 15 1820.

Poetaster— see 2d vol. of Ben Jonson 1815-1816.

Poets Laureate — see end of Ben Jonson 1815-1816.

Point at Herqui — C. G. April 22 1796.

Point of Honour, by C. Kemble — Hay. July 15 1800— C. G.
April 28 1801 — D. L. Dec. 10 1801— D. L. Jan. 5 1807 —
Hay. Aug. 28 1809— C. G. Jan. 14 1818.

Point of Honour, in 2 acts — C. G. May 8 1792.

Policy— D. L. Oct. 15 1814.

Polite Conversation— D. L. April 23 1740.

Politician, by Shirley— see vol. 9 p. 561.

Politician Cheated — see vol. 10 p. 138.

Politician Reformed — see vol. 10 p. 189.

Politics systematically introduced on the stage — see vol. 1 p. 297.

Politicks on both Sides— C. G. July 30 1735.

Polly— see end of L. I. F. 1728-1729— Hay. June 19 1777—
Hay. June II 1782— D. L. June 16 1813.

Polly Honeycombe— D. L. Dec. 5 1760— C. G. Oct. 14 1762—
C. G. Nov. 19 1776— Hay. June 14 1780— D. L. Feb. 27
1790.

Polyeuctes — see vol. 10 p. 70.

Pong Wong— Hay. Sept. 13 1826.

Ponteach, or Savages of America — see vol. 10 p. 184.

XCVlll INDEX.

Poor Co vent Garden— see C. G. Sept. 17 1792.

Poor Gentleman — C. G. Feb. 11 1801 — Hay. June 2 1803 —

D. L. C. May 15 1809— D. L. June 4 1816— D. L. May

31 1824— D. L. March 1 1828.

Poor Old Drury— D. L. C. Sept. 22 1791.

Poor Old Hay market — Hay. June 15 1792.

Poor Relations — D. L. Feb. 25 1815 — acted but once.

Poor Relations — Hay. Aug. 14 1826— acted 17 times.

Poor Sailor, or Little Ben and Little Bob— C. G. May 29 1795.

Poor Scholar- — see vol. 10 p. 136.

Poor Soldier— C. G. Nov. 4 1783— C. G. Sept. 17 1790— D. L.
June 7 1797.

Poor Vulcan— C. G. Feb. 4 1778— C. G. May 27 1789— C. G.
May 7 1799— C. G. Feb. 8 1813.

Pope Miss — her characters D. L. 1807-1808.

Pope Mrs. (formerly Mrs. Spencer) — see D. L. June 10 1803.

Pope Mrs. (Miss Younge) — her characters C. G. 1796-1797.

Pope's characters— D. L. 1826-1827.

Popping the Question — D. L. March 23 1830.

Porsenna's Invasion — see vol. 10 p. 174.

Person— see vol. 1 p. 433— see vol. 5 p. 349— C. G. Dec. 23 1786
—see Vortigern at the end of D. L. 1795-1796— and vol. 10
p. 264.

'Porter Mrs. — for her accident see end of D. L. 1730-1731 — for
her characters see C. G. 1742-1743.

Portfolio, orD'Anglade Family — C. G. Feb. 1 1816.

Portrait— C. G. Nov. 22 1770.

Portrait of Cervantes — C. G. June 21 1808.

Portsmouth Heiress— see vol. 10 p. 151.

Positive Man— C. G. March 16 1782— C. G. May 20 1796.

Poverty and Wealth— see vol. 10 p. 209.

Powell George — see end of D. L. 1698 — taken up by a warrant
from the Lord Chamberlain's office, see end of D. L. 1703-
1704 — his bt. recommended by Tatler D. L. April 7 1712 —
his characters D. L. 1714-1715.

.Powell Mrs. — her characters C. G. 1815-1816.
Powell William — his characters C. G. 1768-1769.
Prabod'h Chandro'daya, or Rise of the Moon of Intellect — see

vol. 10 p. 232.

Practicable Jokes — Bath March 19 1825.
Pragmatical Jesuit New-Leven'd— see vol. 10 p. 142.

INDEXk

Preceptor— see vol. 10 p. 191.
Preciosa, or Spanish Gipsey — C. G. April 28 1825.
Preludioto Beggar's Opera — Kay. Aug. 8 1781.
Presumption, or the Fate of Frankenstein — C. G. July 9 18'2 1.
Presumptuous Love- see L. I. F. March 10 1716.
Presumptive Evidence— Bath March 16 1829.
Pretenders by Dilke— L. T. F- 1698.
Price Joseph — see end of L. 1. F. 1665.

Prices of Admission — see Squire of Alsatia and Darius T. R.
1680.

Pride shall have a Fall— C. G. March, 11 1824.
Primitive Puppetshow — Hay. Feb. 15 1773.
Primrose Green— C. G. May 24 1791.

Prince of Agra (altered from Aurenge-Zebe) — C. G. April 7
1774.

Prince of Tunis — see vol. 7 p. 133.
Princess — see vol. 1 p. 391.
Princess of Cleve— D. G. 1681.
Princess of Georgia — C. G. April 19 1799.
Princess of Parma — L. I. F. 1699.
Princess of Zanfara — see vol. 10. p. 198.
Prior Claim— D. L. Oct. 29 1805.
Prison-Breaker — see vol. 10 p. 156.
Prisoner— D. L. C. Oct. 18 1792.

Prisoner at Large— Hay. July 2 1788— C. G. Oct. 30 1792.
Pritchard Mrs — her characters D. L. 1767-1768.
Privateer— Bath July 10 1813.
Private Theatricals — see vol. 10 p. 201.
Prize— D. L. C. March 11 1793— C. G. May 15 1804— C. G.

May 31 1816.

Procrastination — Hay. Sept. 21 1829.
Procuresses — see Conspiracy D. G. 1680.

Prodigal (altered from Fatal Extravagance) — Hay. Dec. 2 1793.
Prodigal — Melo-dramatic Play in 3 acts — D. L. April 29 1816.

Prodigal, or Recruits for the Queen of Hungary (Woman Cap-
tain with a new name) — Hay. Oct. 10 1744.

Projectors by Wilson — see vol. 10 p. 139.
Projectors 1737— see vol. 10 p. 166.
Projects-D. L. Feb. 18 1786.

C INDEX.

Promissory Note— Bath March 18 1825.
Promos and Cassandra — see vol. 2 p. 2*21.
Proof Presumptive— C. G. Oct. 20 1818.
Prophet— C. G. Dec. 13 1788.

Prophetess— T. R. 1690— L. I. F. Dec. 3 1715— L. I. R Nor,
28 1724— L. I. F. May 20 1731— C. G. Feb. 1 1758— C. G.
May 17 1784.

Provoked Husband — D. L. Jan. 10 1728 — with account of what
part was written by Vanburgh and what by Gibber — L. I. F.
Nov. 2 1731— D. L. March 12 1744— C. G. Sept. 21 1744
— D. L. Jan. 3 1747— C. G. Oct. 28 1754— D. L. April 2
1757— D. L. April 3 1764— C. G. Nov. 29 1769— D. L.
Nov. 11 1774— C. G. Nov. 12 1774— Hay. Aug.21 1778—
D. L. Feb. 3 1784— C. G. Dec. 17 1790— D. L. Nov. 22
1796— C. G. Feb. 20 1797— Bath Feb. 23 1799— C. G.
Oct. 5 1803 — Hay. Aug. 27 1811— C. G. Nov. 22 1816 —

C. G. May ll 1821— Hay. July 5 1821— C. G. Oct. 4 1826
— D. L. March 21 1829.

Provoked Wife— L. I. F. 1697— Hay. Jan. 19 1706 with alte-
rations— L. I. F. Jan. 3 1716 — D. L. Jan. 11 1726 with
part of the original scene — L. I. F. March 19 1726 — D. L.
April 23 1735— D. L. Jan. 8 1742— D. L. Nov. 16 1744—

D. L. Nov. 26 1745— D. L. Nov. 10 1747— C. G. April 19
1762— D. L. Oct. 10 1766— Bristol July 11 1770— D. L.
Feb. 5 1776— Hay. Sep. 10 1777— C. G. Oct. 23 1777—
C. G. March 14 1780— D. L. May 17 1786— C. G. Oct. 25
1786— Hay. Aug. 8 1796.

Prunella— D. L. Feb. 12 1708.
Prynne's Histriomastix — see vol. 1 p. 9.
Psyche— D. G. 1674— D. L. June 10 1704.
Puritan, or Widow of Watling Street— D. L. June 25 1714.
Purse— Hay. Feb. 8 1794.

Pyramus and Thisbe— L. I. F. Oct. 29 1716— C. G. Jan. 25
1745.

Pyrrhus— L. I. F. 1695.

Q

Quacks — D. L. March 18 1705 — D. L. March 30 1745.
Quacks, or Credulous Man — D. L. April 19 1784.
Quadrille— Bath March 22 1820.
Quadrupeds of Quedlinburgh — Hay. July 26 1811.
Quadrupeds, or Manager's last Kick — D. L. C. April 10 1812.

Quaker— D. L. May 3 1775— D. L. Oct. 7 J777— C. G. May 6
1789.

J N I) EX. Cl

Quaker's Opera — see vol. 10 p. 166.

Quaker's Wedding— L. I. F. Oct. 22 1719— only Vice Reclaimed
with a new name.

Quarter of an Hour before Dinner — Hay. Aug. 5 1788.

Quavers and Capers altered from Virgin Unmasked — D. L. June
3 1817.

Queen, or the Excellency of her Sex— see vol. 10 p. 125.

Queen and Concubine — see vol. 10 p. 44.

Queen Catherine — L. I. F. 1698.

Queen Mab— D. L. Dec 26 1750.

Queen of Arragon — see 10th vol. of Dodsley 1744.

Queen of Corinth — see vol. 6 of Fletcher 1778.

Queen's Arcadia, by Daniel — see vol. 9 p. 582.

Queen's Exchange — see vol. 10 p. 45.

Querer por solo Querer — see vol. 10 p. 143.

Queen Tragedy Restored — see vol. 10 p. 175.

Quick's characters — C. G. 1797-1798.

Quin's characters — C. G. 1752-1753.

Quite Correct — Hay. July 29 1825.

R.

Race for a Dinner— C. G. April 15 1828.

Race for a Wife (Musical F not printed) — C. G. Oct. 20

1820.

Raft— C. G. March 31 1798.

Rage— C. G. Oct. 23 1794— C. G. April 30 1800— C. G. Oct.
21 1807.

Raging Turk — see vol. 10 p. 3.
Ragged Uproar — see vol. 10 p. 178.

Raising the Wind — C. G. Nov. 5 1803 — Hay. Aug. 4 1804 —
D. L. Sep. 30 1816.

Ralph Royster Doyster — see vol. 10 p. 86.

Ramah Droog— C. G. Nov. 12 1798— (in 2 acts C. G. May 14
1805)— D. L. Dec. 18 1816.

Ram Alley— see end of D. L. 1723-1724.
Rambling Justice — T. R. 1678.
Ramsbottoms at Rheims — C. G. July 11 1825.
Ransom of Manilla — see vol. 10 p. 201.

Rape, by Brady— T. R. 1692— revived with alterations at L. I. F.
Nov. 25 1729.

Rape of Helen— C. G. May 19 1733.

Cll • INDEX.

Rape of Lucrece — see Old Plays 1823-1824.

Raree Show — see vol. 10 p. 168.

Ravenna — C. G. Dec. 3 1824.

Ravens, or Force of Conscience — C. G. Jan. 28 1817.

Raymond and Agnes — C. G. June 1 1797.

Raymond de Percy — see vol. 10 p. 242.

Rayner — see Miss Baillie 1811-1812.

Reakstraw mortally wounded on the stage — see L. I. . April
16 1723.

Reapers — see vol. 10 p. 187.

Reasonable Animals — seethe end of Hay. 1780.

Rebellion — see vol. 10 p. 113.

Rebellion, or Norwich in 1549 — see vol. 10 p. 233.

Receipt Tax— Hay. Aug. 13 1783.

Recluse — D. L. June 14 1825.

Reconciliation — D. L. April 26 1813.

Recrimination, or a Curtain Lecture — D. L. April 22 1813.

Recruiting Officer— D. L. April 8 1706— L. 1. F.Jan. 22 1730
— C. G. Nov. 6 1740— G. F. Jan. 14 1742— D. L. Oct. 19
1742— C. G. April 1 1756— D. L. Oct. 3 1758 -C. G. Sep.
23 1763 — D. L. April 18 1781 — C. G. Sept. 19 1783 —
D. L. April 27 1791 — Hay. July 3 1797 — C. G. Nov. 13
1812— D. L. Oct. 20 1818— C. G. Feb. 14 1829.

Recruiting Serjeant — D. L. June 3 1789.
Red Cross Knights— Hay. Aug. 21 1799.
Reddish's characters— C. G. 1778-1779.
Redowald — see vol. 10 p. 184.
Reformation C.— D. G. 1672.

Reformation F C. G. June 28 1815.

Reformed in Time— C. G. May 23 1798.

Reformed Wife— D.L. 1700— and D. L. Oct. 31 1707.

Refusal— D. L. Feb. 14 1721— D. L. Nov. 28 1746— C. G. Oct.
31 1750— D. L. Dec. 20 1753— D. L. Dec. 19 1759— C. G.
Jan. 2 1761— C. G. Oct. 24 1775— D. L. Oct. 4 1817.

Regent— D. L. April 1 1788.
Regicide— see vol. 10 p. 175.

Register Office — D. L. April 25 1761 — with a new chara<*'
D. L. Feb. 12 1768— D. L. April 21 1806.

Regulus, by Crowne— T. R. 1692.
Regulus, by Havard— D. L. Feb. 21 1744.

INDEX. CHI

Rehearsal— T. It. 1671— Hay. Nov. 18 1709— C. G. Oct. 10
1739— D. L. Jan. 25 1742— G. F. Feb. 3 1742— D. L. Oct.
7 1742— C. G. Nov. 6 1740— C. G. Sept. 14 1767—D. L.
April 6 1771— C. G. Oct. 11 1774— Hay. Aug. 2 1776—
Hay. Aug. 25 1777— C. G. Jan. 20 1778— C. G. (in 3 acts)
Sep. 28 1785— ditto Hay. Aug. 9 1792 — C. G. (in one act)
June 22 1819.

Rehearsal at Goatham — see vol. 10 p. 178.

Rehearsal, or Bays in Petticoats — D. L. March 15 1750 — D. L.
March 12 1751.

Rejected Addresses — see vol. 10 p. 231.
Rejection — D. L. C. Nov. 20 1811.

Relapse— D. L. 1697— D. L. Nov. 13 1702-D. L. Dec. 12 1715
— C. G. Jan. 2 1745— D. L. Sep. 13 1748— D. L. Nov. 1
1758— C. G. April 25 1763 — C. G. March 20 1770— see
Trip to Scarborough.

Remorse— D. L. Jan. 23 1813— D. L. April 14 1817.

Rencountre— Hay. July 12 1827.

Rendezvous— Bath Dec. 18 1818— C.G. Nov. 1 1820.

Renegade— C. G. Dec. 2 1812.

Renegado — see 2d vol. of Massinger 1 805.

Reparation— D. L. Feb. 14 1784.

Reprisal— D. L. Jan. 22 1757— D. L. April 1 1771— C. G. Oct.
21 1777— C. G. April 24 1793— C. G. April 23 1801.

Restauration of King Charles 2d — see Hay. 1732.
Restauration (Philaster altered) — see vol. 10 p. 154.
Retaliation— C. G. May 7 1782.
Retribution — C. G. Jan. 1 1818.
Returned " Killed"— C. G. Oct. 31 1826.
Return from Parnassus — see Hawkins 1773,
Revenge, or Match in Newgate — D. G. 1680.

Revenge, by Young— D. L. April 18 1721— C, G. Nov. 12 1744
— D. L. Oct. 10 1751— C. G. Jan. 14 1755— C. G. April 21
1774— D. L. April 24 1783— C. G. April 26 178;}— D. L.
Jan. 19 1789 — C. G. Oct. 3 1788 — D. L. Oct. 2 1798—
— C. G. Jan. 4 1802— C. G. Sep. 30 1805— D. L. May 24
1815— Bath Dec. 30 1816— C.G. Oct. 30 1820.

Revenge, or Novice of San Martino— see vol. 10 p. 234.

Revengeful Queen— D. L. 1698.

Revenger's Tragedy — see 4th vol. of Dodsley 1744.

Review— Hay. Sep. 2 1800-C. G. April 28 1801— D. L. April
23 1804.

civ I N DEX.

Revolter — see vol. 10 p. 147.

Revolt of the Greeks — D. L. June 10 1824.

Revolution of Sweden — Hay. Feb. 7 1706.

Reynolds Miss (Mrs. Saunders) — D. L. Oct. 25 1766.

Reynolds' Life— 1825-1826.

Rhodon and Iris — see vol. 10 p. 101.

Rhyme and Reason — D. L. Nov. 11 1828.

Rich and Poor-D. L. June 23 1813.

Richard Coeur de Lion, by Burgoyne — D. L. Oct. 24 1786 —

D. L. Oct. 19 1796 — D. L. Oct. 6 1804 — C. G. May 24

1814.

Richard Coeur de Lion, by Mac Nally — C. G. Oct. 16 1786.
Richard Duke of York— D. L. Dec. 22 1817.
Richard in Cyprus — see vol. 10 p. 186.
Richard 2d, altered by Tate— T. R, 1681.
Richard 2d, altered by Theobald— L. I. F. Dec. 10 1719.

Richard 2d, altered by Wroughton — D. L. March 9 1815 — see

C. G. Jan. 12 1829.

Richard 2d, as written by Shakspeare — C; G. Feb. 6 1738 — Bath
Jan. 26 1815.

Richard 2d by Goodhall-see vol. 10 p. 187.

Richard 3d by Cibber— D. L. 1700— D. L. Dec. 6 1715— L. T. F.
March 11 1721— D. L. Oct. 26 1734— D. L. Jan. 31 1739
— G. F. Oct. 19 1741, Garrick's 1st app. — D. L. May 31
1742— C. G. Oct. 13 1742— C. G. June 16 1746— C. G. Jan.
27 1757— C. G. March 30 1761 — D. L. Sept. 22 1774 —

D. L. May 27 1776— C. G. Jan. 1 1776— D. L. Oct.. 7 1777
— D. L. Sep. 12 1789 — C. G. Oct. 31 1800, Cooke's 1st

app C. G. April 1 181 1— C. G. June 5 1812— D. L. Feb.

12 1814.

Richard 3d, by Shakspeare— C. G. March 12 1821.

Rich Christopher — see Comparison between 2 stages 1702 — be-
ginning of D. L. 1704-1705— end of D. L. 1708-1709 — be-
ginning of 1709-1710— beginning of L. I. F. 1714-1715.

Rich John— acts Essex at L. I. F. Oct. 22 1715— and Nov. 10—
for his death, &c. see C. G. 1761-1762.

Riches— D. L. C. Feb. 3 1810— D. L. May 25 1814— Bath Feb.
14 1815— D. L. Feb. 13 1822.

Richmond Heiress-T. R. 1693— D. L. March 21714.

Rienzi— D. L. Oct. 9 1828.

Right and Wrong— D. L. C. Jan. 2 18 12.

Rights of Women— C. G. May 8 1792.

1NDKX CV

Rinsiicloand Armida— L. I. F. 1699.

Ring (altered from Pavilion)— D. L. Jan. 21 1800.

Riots— see L. I. F. Feb. 3 1721— D. L Jan. 23 1740 — D. L. in
Doc. 1743 about Garrick and Macklin — D. L. Nov. 17 1744
on account of raised prices to old Entertainments — D. L.
Nov. 8 and 1H 1755 on account of Chinese Festival — D- L.
Jan. 25 1763 about half price— C. G. Feb. 24 1763 for ditto
— C. G. Nov. 18 1773 about Macklin, see vol. 5 p. 424 —
O. P. riots C. G. 1809-1810 and 1810-1811.

Rise and Fall— Hay. Aug. 4 1821.

Rival Brothers — see vol. 2 p. 311.

Rival Candidates— D. L, Feb. 1 1775.

Rival Fathers, or Death of Achilles — Hay. 1730.

Rival Fools— D. L. Jan. 11 1709— D. L. Jan. 4 1722.

Rival Friends — see vol. 10 p. 104.

Rival Kings— T. R. 1677.

Rival Knights— C. G. Oct. 9 1783.

Rival Ladies— T. R. 1664.

Rival Lovers — see vol. 10 p. 191.

Rival Modes— D. L. Jan. 27 1727.

Rival Priests — see vol. 10 p. 168.

Rival Queens, or Alexander the Great — T. R. 1677 — D. L. June

13 1704 — Hay. Dec. 30 1706— L I. F. Dec. 1 1722 —
G. F. Nov. 29 1733— D. L. Nov. 22 1736 — C. G. March

14 1749 — C. G. Jan. 15 1756 — D. L. March 20 1764 —
— D. L. March 15 1708 — C. G. April 9 1771 — see Alex-
ander the Great.

Rival Queens — Burlesque Tragedy — Hay. June 29 1710 — D. L.
May 17 1738— C. G. April 18 1765 — C. G. April 19 1780-

Rival Queens, or D. L. and C. G. —(Prelude) — C. G. Sep. 15
1794.

Rival Sisters by Gould— D. L. 1696.

Rival Sisters by Murphy— D. L. C. March 18 1793.

Rival Soldiers (altered from Sprigs of Laurel) — C. G. May 17
1797— D. L. July 8 1814.

Rival Valets-Hay. July 14 1825.
Rival Widows— C. G. Feb. 22 3735.
Rivals by Davenant_L. L F. 1664.

Rivals by Sheridan— C. G. Jan. 17 and 18 1775— D. L. Jan. 16
1777 — D. L. April 14 1790 — Hay. Aug. 2 1792 — C. G.
Oct. 30 1795— D. L. Nov. 8 1796 — Hay. Aug. 21 1809—
C. G. March 26 1811— C. G. Oct. 8 1818 — Hay. July 29
1819— D. L. Oct. 31 1820— Hay. July 1 1823.

CV1 INDEX.

Road to Ruin— C. G. Feb. 18 1792— Hay. Aug. 14 1798— C. G.
May 7 1799 — D. L. June 6 1803 — Hay. July 13 1811 —
C. G. Sep. 24 1813— D. L. May 31 1815 — Hay. Oct. 13

1824.

Robbers— see Red Cross Knights Hay. Aug. 21 1799.
Robber's Wife— C. G. Oct. 22 1829.
Robert the Devil— C. G. Feb. 2 1830.
Robin Hood Mus. Ent— D. L. Dec. 13 1750.

Robin Hood Op. by Mac Nally— C. G. April 17 1784— as
Farce D. L. June 6 1797— C. G. Oct. 8 1798— D. L. March
13 1813.

Robinson Crusoe by Pocock — C. G. April 7 1817.
Robinson Mrs. — her characters — D. L. 1779-1780.
Rob Roy the Gregarach — D. L. March 25 1818.

Rob Roy Macgregor— C. G. March 12 1818— Bath April 15
1818— D. L. July 3 1821.

Roger and Joan — see July 27 1714 and C. G. March 20 1739.

Rogers Mrs. — see Triumphs of Virtue D. L. 1697 — her characters
— L. I. F. 1718-1719.

Rogueries of Nicholas— D. L. May 12 1826.
Rogues All— D. L. Feb. 5 1814.
Rokeby— see vol. 10 p. 232.

Roland for an Oliver— C. G. April 29 1819— D. L. April 27
1826.

Rolla, or Virgin of the Sun, by Kotzebue — see C. G. Jan. 3 1
1812.

Rollo— T. R. 1685— Hay. Nov. 13 1705— D. L. Dec. 21 1708.

Roman Actor— L. I. F. June 13 1722— D. L. May 23 1796—

in one act D. L. June 3 1822.
Roman Bride's Revenge — D. L. 1697.

Romance of an Hour— C. G. Dec. 2 1774— C. G. April 26
1788.

Roman Empress— T. R. 1671.

Roman Father— D. L. Feb. 24 1750— D. L. Jan. 28 1758—
D. L. March 27 1764— C. G. Nov. 18 1767— C. G. Dec. 8
1775— D. L. Nov. 16 1776— C. G. Oct. 17 1785— D. L.
Nov. 15 1794— C. G. Nov. 27 1809.

Roman Maid— L. I. F. Aug. 11 1724.

Roman Revenge— see vol. 3 p. 94.

Roman Sacrifice— D. L. Dec. 18 1777.

Roman Virgin — see Unjust Judge — L. I. F. 1670.

Rome— not Room— see C. G. Feb. 29 1812.

INDEX. cvii

Romantick Lover — C. G. Jan. 11 1806.

Romeo and Juliet— L. I. F. March 1 1662 — Hay. Sep. ll 1744,
— D. L. Nov. 29 1748 — acted 12 nights successively at
D. L. and C. G. from Sep. 28 1750— C. G. Oct. 10 1753—
D. L. Oct. 9 1756— C. G. April 10 1761— D. L. Oct. 1
1772— C. G. Sep. 29 1777— D. L. May 11 1789— D. L.
April 25 1796— Hay. Sept. 7 1796— C. G. Nov. 2 1797—
D. L. Jan. 2 1815-C. G. Oct. 6 1814— Bath Dec. 29 1814
— C. G. Feb. 7 1827— D. L. Oec. 15 1828— C. G. Oct. 5
1829.

Rome's Follies — see vol. 10 p. 146.

Romp— C. G. March 28 1778— D. L. Nov. 21 1785— Hay. Aug.

3 1786— C. G. Sep. 25 1786^0. G. Sept. 30 1795— C. G.

June 27 1811 — D. L. May 22 1817.
Romulus and Hersilia — D. G. 1682.
Rosalie, or Father and Daughter — Hay. Oct. 7 1823.
Rosalinda — see vol. 10 p. 169.

Rosamond— D. L. March 4 1707— D. L. March 8 1740— D. L.

Jan. 9 1747— reduced to 2 acts C. G. April 21 1767.
Rosciad by Churchill— see end of C. G. 1760-1761.
Roscius Young— see D, L. Dec. 10 1804.
Rose— D. L. Dec. 2 177 2.
Rose and Colin— C. G- Sep. 18 1778.

Rose d' Amour, or Little Red Riding Hat — C. G. Dec. 3 1818.
Roses and Thorns — Hay. Aug. 24 1825— D. L. May 3 1828.
Roses, or King Henry 6th — see vol. 10 p. 203.
Rose Tavern — see Neglected Virtue D. L. 1696.
Rosina— C. G. Dec. 31 1782— D. L. April 21 1789.
Roundheads — D. G. 1682.
Round Robin— Hay. June 21 1811.
Rout— D L. Dec. 20 1758.

Rover 1st part— D. G. 1677— D. L. Feb. 18 1703— Hay. Jan.
20 1707— D. L. Dec. 30 1715 — L. I. F. April 5 1725 —
C. G. Feb. 19 1757.

Rover 2d part — D. G. 1681.

Royal Brunswick Theatre — see the end of 1827-1828.

Royal Captives— Hay. 1729.

Royal Convert— Hay. Nov. 25 1707— C. G. Jan. 4 1739— C. G.
Nov. 15 1762— C. G. Nov. 14 1776.

Royal Flight — see vol. 1 p. 468.
Royal Fugitive— C. G. Nov. 26 1829.
Royal Garland— see C. G. Oct. 1 1768.

CV111 J N DEX.

Royal Household — 10 of the King's Company put on it at the
Restoration — see end of D. L. 1703-1704.

Royalist— D. G. 1682.

Royal King and Loyal Subject — see vol. 6 of Old Plays 1814-
1815.

Royal Marriage — see vol. 10 p. 165.
Royal Martyr — see vol. 10 p. 152.
Royal Master — see vol. 9. p. 549.

Royal Merchant, or Beggar's Bush — D.L. June 12 1705 — L. I.F.
Jan. 4 1716 — C. G. April 4 1738— D. L. Oct. 29 1740—
C. G. March 20 1760.

Royal Merchant Op.— C. G. Dec. 14 1767.
Royal Mischief— L. I. F. 1696.
Royal Oak— Hay. June 10 1811.

Royal Shepherd Op D. L. Feb. 24 1764 — altered to Amintas

C. G. Dec. 15 1769.

Royal Shepherdess — L. I. F. 1669.
Royal Slave — see vol. 10 p. 53.
Royal Suppliants— D. L. Feb. 17 1781.
Royalty Theatre opened June 20 1787.
Rugantino— C. G. Oct. 18 1805— D. L. Oct. 9 1817.

Rule a Wife— T. R. 1663— T. R. 1683— Hay. Nov. 20 1706—
— L. I. F. Dec. 15 1731 — D. L. March 25 1756 — C. G.
March 25 1761— C. G. Oct. 26 1763— D. L- Feb. 14 1776
—Hay. July 15 1777— C. G. Jan. 25 1780— D. L. Jan. 15
1784— D. L. Nov. 5 1788— D. L. Feb. 4 1797— C. G. Oct.
11 1797 — C. G. Dec. 6 1803 — C. G. C. May 29 1809 —
Hay. June 19 1810 — C. G. June 12 1811 with Kemble's
Dons— D. L. June 20 1815— C. G. Oct. 25 1825.

Rumfuskin— Hay. Oct. 13 1822.
Rumfustian Inamorato — D. L. Feb. 24 1824.
Rump — see vol. 10 p. 76.
Runaway— D. L. Feb. 15 1776.
Runnamede — see vol. 10 p. 193.

Rushes — the stage formerly strewed with them — see Rollo T. R.
1685.

Russian (Melo-drame) — D. L. May 13 1813.
Ruth — see Brooke's Works 1778.

Ryan wounded — see C. G. March 15 1735 — his characters C. G.
1759-1760.

Ryder's characters— C. G. 1790-1791.

1

INDIA. C1X

llynier — see vol. 1 p. 210.

S
Sacrifice by Fane_see vol. 10 p. 147.

Sacrifice, or Cupid's Vagaries — see Victor's Works 1776.

Sadak and Kalastrade— C. G. April 11 1814.

Sad One - see vol. 10 p. 68.

Sad Shepherd-see vol. 6 of Ben Jonson 1815-1816.

Sailor's Daughter— D. L.. April 7 1804.

Sailor's Opera— D. L. May 12 1731.

Saint Cecilie— see vol. 10 p. 140.

Saint David's Day— C. G. March 31 1800.

Saint George — account of him — see C. G. Jan. 21 1778.

Saint George's Day— C. G. April 30 1789.

Saint Patrick for Ireland— see vol. 9 p. 555.

Saint Patrick's Day— C. G. May 2 1775 —C. G. April I 1796—
C. G. Jan. 28 1804 — C. OJ. June 11 1816 — C. G June 19
1821.

Salmacida Spolia — see vol. 10 p. 84.

Sampson Agonistes — see vol. 10 p. 142.

Sandford — his characters L. I. F. 1699.

Santlow Mrs. — see Mrs. Booth.

Sapho and Phao — see vol. 8 p. 327.

Saracen's Head— Hay. Sept. 10 1814.

Sardanapjilus — see Lord Byron 1820-1821.

Satiro-mastix — see Poetaster in 2d vol. of Jonson 1815-1816.

Saunders Mrs. — her characters — see D. L. 1720-1721.

Sauny the Scot — altered from Taming of the Shrew — for the al-
terations, see D. L. 1698 — see also T. R. April 9 1667 —
L. I. F. April 7 and May 18 1725.

Savage — see D. L. June 12 1723.
Scanderbeg by Havard— G. F. March 15 1733.
Scanderbeg by Whincop_see vol. 4 p. 227.
Scape Goat— C. G. Nov. 25 1825.
Scapin in Masquerade — D. L. Nov. 12 1803.
Scaramouch a Philosopher — T. R. 1677.
Schemers, or City Match— D. L. April 15 1755.
Schniederkins— C. G. Oct. 16 1812.

Schoolboy— D. L. Oct. 26 1702— L. T. F. Oct. 20 1731 — C. G.
Feb. 16 1742— D. L. March 21 1743— C. G. Oct. 15 1754—
— D. L. March 26 1763— D. L. March 30 1785.

Schoolboy's Mask — see vol. 10 p. 171.

CX INDEX.

School for Arrogance— C. G. Feb. 4 1791— in 3 acts C. G. Oct. 8
1793.

School for Authors — C. G. C. Dec. 5 1808— D. L. Oct. 21 1813.
School for Eloquence — D. L. April 4 1780.
School for Fathers — see Lionel and Clarissa.
School for Friends— D. L.. Dec. 10 1805.
School for Gallantry— D. L. May 3 1828.

School for Greybeards — D. L. Nov. 25 1786— Bath Oct. 28
1813.

School for Grown Children— C. G. Jan. 9 1827.

School for Guardians — C. G. Jan. 10 1767.

School for Honour — see Disbanded Officer Hay. July 23 1786.

School for Lovers— D. L. Feb. 10 1762— D. L. Oct. 24 1775—
D. L. Dec. 19 1794.

School for Prejudice— C. G. Jan. 3 1801— Hay. July 9 1805—
D. L. June 28 1814— C. G. June 10 1814.

School for Rakes— D. L. Feb. 4 1769— D. L. April 26 1776.

School for Scandal— D. L. May 8 1777— Hay. Sep. 2 1785—
D. L. April 8 1797— D. L. May 18 1798— C. G. March 31
1798— C. G. May 30 1810— C. G. March 23 1813— C. G
Sep. 10 1818— D. L. Dec. 1 1825.

School for Vanity— D. L. Jan. 29 1783.
School for Widows — C. G. May 8 1789.

School for Wives— D. L. Dec. 11 1773— C. G. May 2 1777—

C. G. May 11 1782— D. L. April 28 1788— C. G. Jan. 22
1794— C. G. May 10 1800 -D. L. April 26 1813.

School for Women F — C. G. March 19 1735.

School of Compliment — see vol. 1 p. 79 — for the plot see vol. 9 p.
545.

School of Reform— C. G. Jan. 15 1805— Hay. Sept. 11 1806.

School of Shakspeare— Hay. Aug 7 and 17 1781— Hay. Aug. 30
1796— D. L. May 31 1808.

Scipio Africanus— L. J.VF. Feb. 18 1718.

Scornful Lady— T. R. Dec. 27 1666— L. I. F. Dec. 10 1702—

D. L. March 27 1708— D. L. March 17 1746— for the plot
see Capricious Lady, C. G. Jan. 17 1783.

Scotch Figgaries — see vol. 10 p. 76.
Scottish Stage — see vol. 7 p. 119.
Scowrers— T. R. 1691— D. L. Aug. 22 1717.
Seaman's Return — see vol. 10 p. 203.
Search after Happiness— see vol. 10 p. 189.

INDEX. CXI

Sea-side Hero— see vol. 10 p. 226.
Sea-side Story— C. G- May 12 1801.

Sea Voyage (as Commonwealth of Women) — T. R. 1685 — D. L.
June 26 1708— L.I. F. March 19 1716— D. L. June 20 1721
— D. L. April 21 1746.

Sebastian — see vol. 10 p. 188.

Seceding Actors from D. L. opened Hay. in the latter part of
1733— as the Comedians of his Majesty's Revels.

Second Maiden's Tragedy— see Old Plays 1823-1824.
Second Marriage — see Miss Baillieend of 1811-1812.
Second Thought is best-D. L. March 30 1778.
Secret — D. L. March 2 1799.
Secret Expedition — see vol. 10 p. 179.

Secret Love, or Maiden Queen — T. R. March 2 1667 — D. L.
March 26 1706.

Secret Mine— C, G. April 24 1812.
Secret Tribunal — C. G. June 3 1795.

Secrets worth Knowing— C. G. Jan. 11 1798 — C. G. June 12
1807— Hay. Sep. 8 1815— Hay. July 17 1829.

Secular Masque, by Dryden — see Pilgrim D. L. 1700.

Sedley (or Sidley) — Sir Charles — see Mulberry Garden — T. R.
May 18 1668.

Seduction— D. L. March 12 1787.

See if you like it, or 'Tis all a Mistake — F. in 2 acts taken from
Comedy of Errors — C. G. Oct. 9 1734.

Seeing is Believing— Hay. Aug. 22 1783 — D. L. May 7 1788—
D. L. June 26 1813.

Sejanus — see T. R. 1682.

Self Sacrifice— see D. L. Feb. 22 1819.

Selima and Azor— D. L. Dec. 5 1776— D. L. Feb. 7 1788— C. G.
Oct. 6 1800.

Selindra — see vol. 1 p. 347.
Selmane— see vol. 10 p. 193.
Semiramis — D.L. Dec. 13 1776.
Seneca — see vol. 6 p. 245.

Sentimental Comedy — see D. L. May 12 1768 — and Hay. April
16 1773.

Sentimental Mother — see vol. 10 p. 198.

Separate Maintenance — Hay. Aug. 31 1779.

Separation and Reparation — Hay. July 1 1830.

Sequel to Flora, or Hob's Wedding— L. I. F. March 20 1732.

CX11 INDEX.

Seraglio, by Dibdin— C. G. Nov. 14 1776.

Seraglio, by Dimond — C. G. Nov. 24 1827.

Serf— C. G. Jan. 23 1828.

Serjeant's Wife — C. G. Oct. 19 1827.

Sertorius— T. R. 1679.

Sesostris-L. I. F. Jan. 17 1728.

Sethona— D. L. Feb. 19 1774.

Seven Champions of Christendom — see vol. 10 p 108.

Seventeen Hundred and Eighty One — C. G. April 28 1781.

Seymour Mrs. — her characters — L. I. F. 1722-1723.

Shadwell — see Epsom Wells D. G. 1672 — Vindication of him at
end of 1692.

Shaftesbury Earl of — see Siege of Constantinople D. G . 1674 —
Loyal Brother T. R. 1682— Venice Preserved D. G. 1682
— Albion and Albanius T. R. 1685.

Shakspeare — see vol. 9 p. 577.

Shakspeare Restored — Theobald had abt. at D. L. May 24 1727
— he was announced in the bill as author of Shakspeare
Restored.

Shakspeare's Early Days— C. G. Oct. 29 1829.

Shakspeare versus Harlequin — D. L. April 8 1820.

Sham Beggar — see vol. 10 p. 178.

Sham Fight — see vol. 10 p. 178.

Sham Lawyer by Drake — D. L. 1697.

Sharp and Flat— Bath March 21 1825.

Sharpset, or Village Hotel— D. L. C. May 15 1809.

Sheep-shearing, or Florizel and Perdita, by Morgan — C.G. March
25 1754— C. G. March 13 1758— D. L. April 12 1774—
C. G. Feb. 11 1790— C. G. May 12 1798.

Sheep-shearing (new alteration) — see end of Hay. 1777 — Hay.
Aug. 20 1783.

She Gallant— new Farce for Ross' bt. — C. G. March 1759.

She Gallants, by Granvile— L. I. F. 1696— D. L. March 13 and
April 5 1746.

Shepherd Charles — see end of D. L. 1743-1744.
Shepherd Boy— C. G. Oct. 11 1827.
Shepherdess of Cheapside— D. L. Feb. 20 1796.
Shepherdess of the Alps— C. G. Jan. 18 1780.
Shepherd of Derwent Vale— D. L. Feb. 12 1825.
Shepherd's Artifice— C. G. May 21 1764.
Shepherd's Holiday — see vol. 7 of Dodsley 1744-

1NDI.X. CX11I

Shepherd's Lottery — 1). L. Nov. i9 1751.
Sheridan's 1st app. in England— C. G. March 31 1744.
Sheridan K. B. — see vol. 8 p. 362.
She's Eloped— D. L. May 19 1798.

She Stoops to Conquer — C. G. March 15 1773 — Hay. June 9
1777_C. G. March fl 1785— D. L. May 26 171)0— C. G.
Sep. 24 1794— Hay. June 20 1797 — C. G- Sep. 19 1798—
D. L. May 2 1 1800— D. L. Dec. 30 1813— Hay. July 1
1814— C. G. Oct. 14 1817 — D. L. Jan. 28 1823— C. G.
March 12 1825.

She Ventures and he Wins — L. I. F. 1696.

She wou'd and she wou'd not — D. L. Nov. 26 1702 — D. L. May
20 1715— D. L. May 5 1727 — L. I. F. Nov. 25 1731—
D. L. Nov. 14 1738— D. L. Jan 18 1748— C. G. Dec. 10
1750— C. G. March 21 1763— D. L. Oct. 22 1764 -C. G.
Oct. 3 1769— D. I,. Nov. 23 1775— C. G. Feb. 0 1778—

C. G. Oct. 1 1783 — D. L. Feb. 27 1786— D. L. May 24
1797— D. L. May 12 1802— C. G. Nov. 6 1805— D. L. C.
Jan. 13 1812 — I). L. May 29 1817— C. G. Nov. 3 1818 —

D. L. Oct. 26 1825.

She wou'd if she cou'd — L. I. F. 1668 — Hay. Dec. 5 1706 —
D. L. Dec. 5 1716— L. I. F. March 21 1720— D. L. April
28 1732— C.G. Dec. 8 1733— C. G. Dec. 21 1750.

Ship and Plough— C. G. May 31 1804.

Ship Launch — D. L. May 17 1804.

Shipwreck (altered from the Tempest)— see vol. 10 p. 193.

Shipwreck, by Hyland — see vol. 10 p. 173.

Shipwreck Mus. Ent.— D. L. Dec. 20 1796.

Shipwreck TV- C. G. Feb. 10 1784.

Shirley James — see vol. 9 p. 541.

Shoemaker's a Gentleman— see vol. 10 p. 57.

Short Reign and a Merry one — C. G. Nov. 19 1819.

Shuter — his characters — C. G. 1775-1776.

Sibyl, or Elder Brutus — see — D. L. Dec. 3 1818.

Sicelides — see vol. 10 p. 103.

Sicilian Lover— see vol. 10 p. 204.

Sicilian Romance — C. G. May 28 1794.

Sicily and Naples — see vol. 10 p. 115.

Siddons Henry — his 1st app. C. G. Oct. 8 1801.

Siddons Mrs. — unjust attack on her, see D. L. Oct. 5 1784 — her
characters C.G. 1811-1812.

Siege, by Da veil ant — see vol. 10 p. 83.

CXI/ INDEX.

Siege — see Miss Baillie end of 1811-181 2.
Siege, or Love's Convert — see vol. 10 p. 54.
Siege and Surrender of Mons — see vol. 10 p. 150.
Siege of Aquileia— D. L. Feb. 21 1760.
Siege of Babylon— D. G. 1677.

Siege of Belgrade— D. L. Jan. 1 1791— C. G. March 15 1802—
C G.July 11 1815.

Siege of Berwick— C. G. Nov. 13 1793.
Siege of Calais — see vol. 10 p. 182.
Siege of Carthage — see vol. 10 p. 235.
Siege of Constantinople — D. G. 1674.
Siege of Curzola— Hay. Aug. 12 1786.
Siege of Cuzco— see vol. 10 p. 220.

Siege of Damascus— D. L. Feb. 17 1720— C. G. March 15 1733
— D. L. March 22 1735— C. G. Jan. 5 1743— C. G. Dec. 5
1751— D. L. Nov. 18 1758 — C. G. May 15 1765 — D. L.
Nov. 8 1766— D. L. Jan. 27 1770— C. G. March 24 1772—
C. G. Feb. 28 1785— C. G. Dec. 22 1812.

Siege of Gibraltar— C. G. April 25 1780,
Siege of Meaux— C. G. May 19 1794.
Siege of Memphis— T. R. 1676.

Siege of Rhodes — see L. I. F. July 2 1661 — for the plot see vol.
10 p. 81.

Siege of St. Quintin — D. L. Nov. 10 1808.
Siege of Sinope— C. G. Jan. 31 1781.
Siege of Tamor — see vol. 10 p. 189.
Siege of Urbin — see vol. 10 p. 140.
Sigesmar the Switzer — D. L. Sep. 26 1818.
Sighs— Hay. July 30 1799.

Silent Woman— T. R. June 1 1664— Hay. Jan. 1 1707 — D. L.
Oct. 9 1731— D. L. Feb. 18 1738— C. G. April 17 1745—
— D. L. Oct. 26 1752— D. L. Jan. 13 1776— C. G. April
26 1784— for the plot see D. L. Jan. 13 1776.

Silver Tankard— Hay. July 18 1781.

Silvia, or Country Burial— L. I. F. Nov. 10 1730— C. G. March

18 1736.

Simmons (Actor)— C. G. 1819-1820.
Simons (Irish Gentleman) — see D. L. April 16 1792— C. G.

April 19 1799.

Simpson and Co.— D. L. Jan. 4 1823— C. G. Jan. 9 1824.
Sir Anthony Love— T. R. 1691.

INDEX. CXV

Sir Barnaby Whigg— T. R. 1681.

Sir Courtly Nice — T. R. 1085 — Hay. Nov. 22 1706— D. L
Oct. 7 1718 — D. L. April 14 1740 — C. G. Jan. 25 1746—
D. L. Oct. 17 1751— C. G. March 27 1764— C. G. April 25
1770— C. G. April 28 1781.

Sir Gyles Goose-cappe — see vol. 10 p. 93.

Sir Harry Gaylove — see vol. 10 p. 188.

Sir Harry Wildair— D. L. 1701— L. I. F. Feb. 1 1737.

Sir Hercules Buffoon— T. R, 1684.

Sir John Cockle at Court— D. L. Feb. 23 1738 — Hay. Aug. 28
1787.

Sir John Oldcastle— see end of D. L. 1713-1714.

Sir Martin Marrall— L. I. F. Aug. 16 1667— Hay. July 26 1707
— D. L. Dec. 4 1710— D. L. July 2 1717.

Sir Patient Fancy— D. G. 1678.

Sir Roger de Coverly — D. L. Dec. 30 1746.

Sir Solomon— L. T. F. 1669— L. I. F. Feb.— 1704— D. L. March
11 1707— D. L. May 21 1714.

Sir Thomas More— see vol. 10 p. 199.

Sir Thomas Overbury— D. L. June 12 1723 — altered at C. G.
Feb. 1 1777.

Sir Walter Raleigh— L. I. F. Jan. 16 1719 — L. I. F. Sept. 17
1729— D. L. Sep. 24 1739— D. L. Dec. 14 1789.

Sister— C. G. Feb. 18 1769.

Sisters by Shirley — revived with alterations at L. I. F. Nov. 28
1723.

Sisters (translation) — see vol. 10 p. 261.
Six Physicians— C. G. Nov. 13 1818.
Sixty-third Letter— Hay. July 28 1802.

Sketch of a Fine Lady's Return from a Rout — D. L. March 21
1763.

Slanderer — see Hay. July 29 1825.

Slave— C. G. Nov. 12 1816— D. L. May 31 1825 — D.L. Feb.
18 1829.

Sleeping Beauty— D. L. Dec. 6 1805.

Sleeping Draught — D. L. April 1 1818.

Sleep Walker— Hay. June 15 1812.

Slighted Maid— L. I. F. 1663.

Slingsby Lady — her characters — T. R. 1 685.

Slip— L. I. F. Feb. 3 1715.

Small Talk, or Westminster Boy— C. G. May 11 1786.

CXV1 INDEX.

Smiles and Tears— C. G. Dec. 12 1815.
Smith William — his characters L. I. F. 1696.
Smith's characters — D. L. 1787-1788.
Smugglers — D. L. April 13 1796.
Snake in the Grass — see vol. 10 p. 180.
Snakes in the Grass — D. L. Nov. 3 1829.
Socrates by Becket — see vol. 10 p. 226.
Socrates by Voltaire — see vol. 6 p. 174.

Soldier's Daughter— D. L. Feb. 7 1804— Hay. July 4 1809— C. G.
July 2 1811— C. G. Jan. 8 1817— Hay. July 20 1819.

Soldier's Fortune— D. G. 1681— D. L. March 9 1708— D. L. Jan.
17 171G — L. I. F. Jan. 9 1722 — C. G. March 8 1748 as
Farce in 2 acts.

Soldier's Return— D. L. April 23 1805.
Soldier's Stratagems — C. G. Nov. 5 1828.
Soliman and Perseda — see Hawkins 1773.
Solon — see vol. 10 p. 15*2.
Something to do — D. L. Jan. 22 1808.
Somewhat— see vol. 10 p. 179.
Somnambulist — C. G. Feb. 19 1828.

Son in Law— Hay. Aug. 14 1779— C. G. April 30 1781— D. L.
Jan. 1 1796— C. G. April 30 1799— C. G. Oct. 22 1807—
Hay. July 18 1820.

Sons of Erin— D. L. C- April 11 and 18 1812.
Sons, or Family Feuds — see vol. 10 p. 230.
Sophhter — see vol. 10 p. 111.

Sophonisbaby Lee— T.R. 1676— Hay. Aug. 1 1707— D. L. Feb.
1 1725— L. I. F. April 11 1726— L. I. F. March 15 1735.

Sophonisba by Thomson — D. L. Feb. 28 1730.

Sophy — see vol. 10 p. 119.

Sorrows of Werter, or Love, Liquor, and Lunacy — Hay. Sep. 19

1825.

Sorrows of Werther— C. G. May 6 1818.
South Briton— C. G. April 12 1774.
Sowerby— Bath Dec- 21 1809— D. L. May 29 1813.
Spanish Barber— Hay, Aug. 30 1777 — D. L. April 21 1788 —

D. L. Nov. 16 1795.
Spanish Bonds — Hay. Aug. 2 1823.
Spanish Curate— L. I. F. Nov. 17 1722— as Farce D. L. Oct 19

1749— C. G. May 10 1783.
Spanish Dollars— C. G. May 9 1805.

INDEX. cxvii

Spanish Fryar— D. G. 1681— T. R. end of 1689— Hay. Nov. 7
1710— L. I. F. March 15 1722— D. L. Oct. 9 1731 — C. G.
April 17 1738— C. G. April 8 1755— D. L.Feb. 23 1757—

C. G. April 19 1774— D. L. Dec. 22 1778— Hay. (in 3 acts)
Aug 22 1780— C. G. Dec. 12 1780-Hay. May 23 1787.

Spanish Gipsy- see vol.4 of Old Plays 1814-1815.

Spanish Husband — D. L. May 25 1830.

Spanish Lady— C. G. May 2 1765— C. G. Dec. 11 1769-

Spanish Rogue— T. R. 1674.

Spanish Tragedy — see Reed at the end of 1743-1744.

Spanish Wives— D. G. 1696— D. L. July 14 1703— D. L. June
26 1711— L. I. F. Aug. 12 1726.

Sparagus Garden — see L. I. F. 1665 — for the plot see vol. 10
p. 40.

Sparks — his characters C. G. 1764-1765.
Spartan Dame — D. L. Dec. 11 1719.
Spectre Bridegroom — D. L. July 2 1821.
Speculation— C. G. Nov. 7 1795.
Speechless Wife— C. G. May 22 1794.

Speed the Plough— C. G. Feb. 8 1800— Hay. Aug. 4 1803—

D. L. Oct. 4 1813— D. L. Nov. 1 1819.

Spendthrift, by Draper — Hay. 1731.
Spendthrift from the French — see vol. 10 p. 259.

Spiller's Advertisement for his bt. — L. T. F. March 31 1720—
his characters L. I. F. 1729-1730.

Spirit of Contradiction — C. G. March 6 1760.

Spirits of the Moon — C. G.April 19 1824.

Spiritual Minor— see vol. 10 p. 180.

Spleen, or Islington Spa — D. L. March 7 1776.

Spoil'd Child— D. L. March 22 1790— C. G. Oct. 10 1798.

Spouter, or Double Revenge— see vol. 10 p. 178.

Spouter, or Triple Revenge— see end of D. L. 1755-1756.

Sprigs of Laurel— C. G. May 11 1793— see Rival Soldiers.

Spring and Autumn — Hay. Sep. 6 1827.

Spring (Pastoral)— D. L. Oct. 22 1762.

Squire Basinghall— C. G. July 23 1735.

Squire Brainless, or Trick upon Trick — D. L. April 27 1710.

Squire of Alsatia— T. R. 1688— D. L. April 26 1708— L. I. F.
Nov. 24 1719— D. L. Oct. 20 1720— D. L. Oct. 23 1736
— C. G. Feb. 28 1744— D. L. Dec. 28 1748— D. L. May 2
1758— C. G. Nov. 18 1763.

tXVlll INDEX.

Squire Oldsapp— D. G. 1678.

Squire Trelooby— L. I. F. March 30 1704 — with new 2d act
Hay. Jan. 28 1706.

Stage Beaux tossed in a Blanket — see vol. 10 p. 151.

Stage Coach— L. I. F. Feb. 2 1704— D. L. May. 17 1709— G.F.
Feb. 22 1731— D. L. Dec. 30 1745— D. L. May 11 1764—
C. G. April 16 1787.

Stage Mutineers — C. G. Oct. 31 1733— C. G. July 23 1735.

Stage Struck Hero — D. L. June 18 1813.

Stanley — see vol. 8 p. 693.

Staple of News— see vol. 5 of Ben Jonson 1815-1816.

State of Innocence by Dryden — see end of 1675.

State of Physick — see vol. 10 p. 171.

State Secrets — C. G. June 12 1821.

Statesman Foiled — Hay. July 8 1768.

Statute — see vol. 10 p. 191.

Steele joined in Licence and Patent with "Wilks, &c. in 1714-1715
— for Steele and Lord Chamberlain see end of D. L. 1719-
1720— for his death see D. L. 1729-1730.

Stella — see vol. 10 p. 207.
Stella and Leatherlungs — D. L. Oct. 1 1823.
Stephens the Button-maker — his 1st app. at C. G. Oct. 19 1734.
Step-mother, by Earl of Carlisle — see vol. 10. p. 221-
Step-mother (C. in one act) — C. G. Oct. 22 1828.
Steward— C. G. Sept. 15 1819.
Stolen Heiress— L. I. F. Dec. 31 1702.
Stone Eater— D. L. May 14 1788.
Strange Discovery — see vol. 8 p. 328.
Stranger (not acted) — see vol. 10 p. 207.

Stranger— D. L. March 24 1798— C. G. Jan. 27 1801— Hay.
Aug. 18 1803— C. G. Feb. 4 1815— D. L. Nov. 5 1828.

Strangers at Home — D. L. Dec. 8 1785 — D. L. March 9 1789 —
as Farce D. L. May 29 1800.

Stratagem altered from Farquhar — Hay. Aug. 26 1735.

Stratagem — see Beaux Stratagem.

Streanshall Abbey — see vol. 10 p. 215.

Strollers— D. L. July 16 1723.

Stroller's Pacquet Opened — see vol. 8 p. 331.

Students — altered from Love's Labour Lost — see vol. 10 p. 180.

Students of Salamanca— C. G. Jan. 23 1813.

INDEX. C.X1X

Sublime and Beautiful— C. G. Dec. 5 1828.
Successful Pirate— D. L. Nov. 7 1712.
Successful Strangers— T. R. 1090— D. L. July 20 1708.
Success no certain criterion of merit — see vol. 9 p. 564.

Such things are— C. G. Feb. 10 1787 — C. G. April 26 1804—
Hay. July 13 1812— Hay. July 17 1816— Hay. July 31 1824.

Such things have been— C. G. March 31 1789.

Such things were— Bath Jan. 1 1788— D. L. May 2 1796.

Sudden Arrivals — D. L. C. Dec. 19 1809.

Suett's characters — D. L. 1804-1805.

Suicide— Hay. July 11 1778— Hay. June 19 1790— D. L. Dec.
30 1795— Bath May 17 1800— Hay. Aug. 29 1820.

Sullen Lovers — L. I. F. May 5 1668— L. 1. F. Oct. 5 1703.
Sultan, or Love and Fame — Hay. 1769.

Sultan (F)— D. L. Dec. 12 1775— C. G. Dec. 20 1782— D. L.

June 2 1817-

Bultaness— D. L. Feb. 25 1717.
Summer Amusement — Hay. July 1 1779.
Summer Flies — Hay. June 16 1823.
Summers Mrs — see end of Bath 1819-1820.
Summer's Tale— C. G. Dec. 6 1765.
Sun's Darling — see Ford's works 1811.
Sunshine after Rain— C. G. April 16 1799-
Supposes — see Hawkins 1773.
Surprisal— T. R. 1665— D. L. Aug. 19 1715.

Surrender of Calais — Hay. July 30 1791— D. L. C. March 29
1792— C. G. May 16 1805 — D. L. May 30 1814— D. L.
June 5 1823.

Suspicious Husband— C. G. Feb. 12 1747 — D. L. Dec. 4 1747
— D. L. Aug. 18 1768— C. G. March 20 1775— D. L. May
23 1776— C. G. Nov. 7 1785— C. G. Sep. 20 1793— Bath
Jan. 11 1814 — D. L. Sept. 23 1817— D. L. Oct. 11 1819—
Bath April 25 1823— C. G. May 20 1829.

Suspicious Husband Criticized — D. L. March 24 1747.
Swaggering Damsell — see vol. 10 p. 116.
Swedish Patriotism— C. G. May 19 1819.
Sweethearts and Wives — Hay. July 7 1823.

Swetnam the Woman- Hater arraigned by Women — see vol. 10
p. 100.

Swindler— see vol. 10 p. 194.

Swindlers— D. L. April 25 1774— D. L. C. April 12 1792.

CXX I N DEX.

Swiney— see vol. 2 p 503.

Switzerland— D. L. Feb. 15 1819.

Sword of Peace— Hay. Aug. 9 1788— Bath March 23 1809.

Sylla— see vol. 10 p. 178.

Sylvester Daggerwood — D. L. April 13 1796.

Syrens— C. G. Feb. 26 1776.

T.

Tag in Tribulation— C. G. May 7 1799— Bath May 23 1812.
Tailors— Hay. July 2 1767— Hay. May 28 1777— Hay. July 29
1780— D. L. April 20 1785— Hay. Aug. 15 1805— Bath
April 6 1813.

Tale of a Tub— see vol. 6 of Ben Jonson 1815-1816.
Tale of Mystery— C. G. Nov. 13 1802— Hay. Aug. 23 1803—

— D. L. Dec. 4 1817— C. G. June 19 1821.
Tale of other Times— D. L. Dec. 19 1822.
Tale of Terror— C. G. May 12 1803.
Tamburlaine by Marlowe— see vol. 9 p. 574.
Tamerlane by Saunders — T. R. 1681.

Tamerlane by Rowe — L. I. F. 1702 — D. L. Dec. 27 1716 —
L. I. F. June 4 1730 — D. L. Nov. 5 1744 — D. L. Nov. 4
1747— D. L. Nov. 4 1772— C. G. Nov. 4 1775— C. G. May
1 1780— D. L. Nov. 4 1780 — C. G. Nov. 4 1790 — D. L.
Feb. 3 1797 — C. G. June 3 1802— D. L. Nov. 6 1815 —
— C. G. Nov. 9 1819.
Tamer Tamed— D. L. April 30 1757.
Taming of the Shrew (Catharine and Petruchio) — C. G. June 25

1810— C. G. Sept. 161812.

Taming of the Shrew as Opera —D L. May 14 1828.
Tancred and Gismunda — see llth vol. of Dodsley 1744.
Tancred and Sigismunda — D. L. March 18 1745 — D. L. March
7 1749— C. G. Oct. 14 1758— D. L. Oct. 14 1767— C. G.
April 14 1777— D. L. April 24 1784— C. G. March 1 1784
—Hay. July 12 1784— C. G. Jan. 10 1789— C. G. Dec. 21
1791— D. L. Feb. 23 1805— C. G. Nov. 26 1812— C. G.
May 24 1819.

Tanner of York— C. G. April 24 1738.
Tantara Rara Rogues All !— C. G. March 1 1788.
Tartuffe— T. R, 1670— L. I. F. June 20 1718.
Tarugo's Wiles— L. i. F. 1668.

Taste— D. L. Jan. 11 n52— C. G. April 3 and 23 1756.
Tatlers— C. G April 29 1797.

INDEX. CXX1

Tavern Bilkers— G. F. Jan. 13 1733.
Taxes— see vol. 10 p. 179.
Taylor Mrs— D. L. Sep. 29 1787.
Tea and Turn Out— C. G. May 28 1823.
Teasing made Easy-Hay. July 30 1817— Hay. Sept. 7 1824.
TEXNOFAMIA — see vol. 10 p. 23.
Teddy the Tiler— C. G. Feb. 8 1830.

Tekeli— D. L. Nov. 24 1806— C. G- July 11 1915— D. L, June
20 1817— D. L. March 8 1824.

Telegraph— C. G. April 8 1795.
Telemachus — by Graham — see vol. 10 p. 181.
Telemachus— Opera— L. I. F. April 28 1732.
Telemachus — Opera in 2 acts — C. G. June 7 1815.
Tell Truth and Shame the Devil— C. G. May 18 1799.
Temper, or Domestic Tyrant — D. L. May 1 1809.

Tempest, by Dryden and Davenant — L. I. F. Nov. 7 1667 —
— D. G. 1673— L. I. F. Oct. 13 1702-D. L. June 4 1714
— D. L. Jan. 2 1729— D. L. Dec. 26 1747.

Tempest by Shakspeare— D. L. Jan. 31 1746— D. L. Oct. 20
1757 — C. G. Dec. 27 1776 — D. L. Jan. 4 1777 — D. L.
March 7 1786.

Tempest as Opera— D. L. Feb. 1 1 1756.

Tempest altered by Kemble— D. L. Oct. 13 1789 — D. L. Feb.

22 1797 — D. L. May 4 1799-C. G. Dec. 8 180G — C. G.

Oct. 26 1812.

Tempest with additional music — C. G. May 15 1821.
Temple Beau— G. F. Jan. 26 1730— Hay. Sept. 21 1782.
Temple of Dulness — D. L. Jan. 17 1745.
Temple of Love — Opera — Hay. March 7 1706.

Tender Husband— D. L. April 23 1705— D. L. Nov. 25 1738—

C. G. Nov. 20 1738— D. L. Nov. 24 1750— C. G. March
17 1760 — D. L. April 24 1760 — D. L. March 27 1770—

D. L. April 28 1783 — C. G. Dec. 5 1787 — C. G. Oct. 13
1791— D. L. C. Oct. 20 1792— D. L. May 17 1802— Bath
May 26 1823.

Teraminta, by Carey — see vol. 3 p. 355.
Terence — see end of 1764-1765.
Teresa Tomkins— Bath Feb. 4 1822.
Terry's characters— D. L. 1828-1829.
Test of Love — Hay. Aug. 17 1787.

CXX11 INDEX.

Theatre — foi an account of a paper published under that name by
Steele, see vol. 3 p. 21.

Theatre— Farce so called — L. I. F. April 22 1720.

Theatre Royal was built by Killegrew, &c., and opened April 8
1663 — it was burnt in 1671-1672 — a new Theatre was
opened March 26 1674— in 1696 it was called the Theatre
Royal in Drury Lane.

Theatres opened gratis on the Coronation of George the 4th
—July 19 1821.

Theatrical Candidates— D. L. Sept 1775.

Theatrical Fund— see vol. 5 p. 509— C. G. June 7 1796— C. G.
May 2 1810— D. L. June 22 1813— C. G. May 25 1813—
D- L. July 4 1815.

Thelyphthora— C. G. March 8 1781— see Chit Chat C. G. April
20 1781.

Themistocles-L. I. F. Feb. 10 1729.
Theodorick King of Denmark — see vol. 10 p. 177.

Theodosius— D. G. 1680— L. I. F. March 11 1717— D. L. April
23 1722— C. G. March 16 1738— D. L. Dec. 15 1746—
— D. L. April 27 1768— D. L. Dec. 30 1772— C. G. April
22 1775— C. G. Nov. 24 1780— C. G. Feb. 23 1786— D. L.
Jan. 20 1797.

Therese, or Orphan of Geneva — D. L. Feb. 2 1821 — D. L. Dec.
5 1828.

Thespis — see vol. 5 p. 267.

The Two make a Pair — D. L. April 7 1827.

They've bit the Old One— C. G, May 1 1798.

Thierna-na-oge — D. L. April 20 1829.

Thierry and Theodoret — see 10th vol. of Fletcher 1778.

Thimble's Flight from his Shopboard — Hay. Aug. 25 1789.

Third Theatre intended in 1810-1811 — see vol. 8 p. 220.

Thirteen to the Dozen — Hay. July 28 1826.

Thirty Thousand— C. G. Dec. 10 1804.

Thomas and Sally— C. G. Nov. 28 1760.

Thomaso — see Rover D. G. 1677.

Tho' Strange 'tis True, or Love's Vagaries — L. 1. F. March 23
1732;

Thracian Wonder— see vol. 6 of Old Plays 1814-1815.

Three and Deuce— Hay. Sept. 2 1795— D. L. Oct. 8 1795—
Bath March 8 1803— Hay. Aug. 19 1805— D. L. March 14
1818.

Three Deep— C. G. May 2 1826.

INDEX. CXX111

Three Hours after Marriage — D. L. Jan. 16 1717 — D. L. March
15 17-ltf.

Three Miles from Paris — C. G. Jan. 15 1818.

Three per Cents C. G. Nov. 12 1803.

Three Strangers— C. G. Dec. 10 1825.

Three Weeks after Marriage— C. G- March 30 1776— C. G. Oct.
11 1797— D. L.May 11 1801— Hay. July 7 1809.

Throw Physic to the Dogs — Hay. July 6 1798.
Thurmond Mrs.— her characters D. L. 1736-1737.
Thyestes, by Wright — see vol. 10 p. 143.
Thyestes, by Crown — T. R. 1681.
Tiberius in Capreae — see Cumberland 1812-1813.

Timanthes— C. G. Feb. 24- 1770— D. L. March 21 1775— -Bath
Nov. 7 1780.

Times— D. L. Dec. 2 1779.

Time's a Tell-tale— D. L. Oct. 27 1807.

Times, or a Fig for Invasion — see vol. 10 p. 205.

Timoleon— D. L. Jan. 26 1730— G. F. Feb. 20 1733— D. L.
March 28 1772.

Timon in Love, or Innocent Theft — D. L. Dec. 5 1733 — C. G.
March 23 1736.

Timon of Athens, altered by Shadwell — D. G. 1678 — Hay. June
27 1707— D. L. Dec. 8 1720— C. G. May 1 1733— D. L.
March 20 1740— C. G. April 20 1745.

Timon of Athens altered by Cumberland — D. L. Dec. 4 1771.

Timon of Athens altered by Love_see D. L. Dec. 4 1771.

Timon of Athens altered by Hull— C. G. May 13 1786.

Timon of Athens, by Shakspeare — D. L. Oct. 28 1816.

Timour the Tartar— C. G. April 29 1811.

Tis all a Farce— Hay. June 17 1800— D. L. May 23 1803.

'Tis an ill wind blows nobody good — D. L. April 14 1788.

'Tis pity she's a Whore — see Ford's Works 1811.

'Tis well if it takes— L. I. F. Feb. 28 1719.

Tis well its no worse— D. L. Nov. 24 1770.

Tit for Tat— Hay. Aug. 29 1786 — D. L. May 7 1788 — C. G.
May 12 1788— Hay. July 19 1793.

Tittle Tattle — see vol. 10 p. 175.
Titus and Berenice— D. G. 1677.

Titus Andronicus — T. R. 1678 — D. L. Aug. 13 1717 — D. L.
June 27 1721— L. I. F. Dec- 21 1720.

(XXIV 1 N DEX.

TitusVespasian— see D. L. Nov. 15 1796.

Tobacconist — Hay. July 22 1771 — D. L. April 17 1773 — C. G.
Nov. 22 1798— D. L. May 24 1815.

Tokely — Hay. June 16 1814.

Tom and Jerry— Bath Nov. 20 1822— C. G. June 4 1828— D. L.
June 10 1829.

To Marry, or not to Marry — C. G. Feb. 16 1805.
Tombo Chiqui, or American Savage— see vol. 10 p. 179.
Tom Essence — D. G. 1676.
Tom Jones— C. G. Jan- 14 1769.

Tom Thumb— Hay. 1730— D. L. April 17 1740 — D. L. Oct. 9
1745.

Tom Thumb, Burlesque Opera — D. L. May 13 1775 — altered by
O'Hara C. G. Oct. 3 1780 — Hay. Aug. 22 1781 — D. L.
April 28 1784— Hay. July 27 1805— D. L. May 22 1806 —
C. G. May 16 1806— Bath April 11 1821 — C. G. Dec. 15
1828.

Ton— C. G. April 8 1788.

Tony Lumpkin in Town — Hay. July 2 1778.

Tony Lumpkin's Ramble to Town— C. G. April 10 1792.

Too Civil by Half-D. L. Nov. 5 1782.

Too Friendly by Half-C. G. Oct. 29 1807.

Too late for Dinner— C. G. Feb. 22 1820.

Too many Cooks— C. G. Feb. 12 1805.

Too much the Way of the World — see vol. 10 p. 234.

Torrendal — see Cumberland 1812-1813.

Tottenham Court — see vol. 10 p. 59.

Touch at the Times— C. G. July 6 1812.

Touchstone, or Harlequin Traveller — C. G. Jan. 4 1779.

Touchstone, or the World as it goes — D. L. May 3 1817.

Tournament — see vol. 10 p. 219.

Town and Country — C. G. March 10 1807 — D. L. Feb. 13 1815
—Hay. Sep. 6 1815— Hay. Nov. 6 1824.

Town before You— C. G. Dec. 6 1794.
Town Fop— D. G. 1676.
Town Shifts— L. I. F. 1671.
Toy— C. G. Feb. 3 1789.

Toyshop— C. G. Feb. 3 1735— D. L. May 9 and 14 1757— D. L.
April 25 1785— D. L. May ll 1789.

Tragedy a-la-Mode — Hay. 1764-

INDEX. CXXV

Tragedy of Ovid — see vol. 10 p. 141.

Traitor to Himself — see vol. 10 p. 143.

Transformation, or Love and Law— D. L. C. Nov. 30 1810.

Transformation, or Manager an Actor in spite of himself — D. L.

April "25 1787.

Travellers (not acted) — see vol. 10 p. 198.
Travellers Benighted— Hay. Sep. 30 1811.
Travellers in Switzerland — C. G. Feb. 22 1794— C. G. March

22 1808.
Travellers, or Music's Fascination — D. L. Jan. 22 1806 — D. L.

May 13 1823.

Traytor— T. R. 1692— altered at L. I. F. Oct. 11 1718.
Treacherous Brothers — T. R. 1691.
Tread Mill— Bath May 3 1823.

Trial by Jury— Hay. May 25 1811— C. G. Jan. 5 1816.
Trial of Abraham — see vol. 10 p. 199.
Trial of Love— D. L. March 1 1827.
Trials of the Heart — D. L. April 24 1799.
Tribulation — Hay. May 3 1825.
Trick for Trick, by D'Urfey— T. R. 1678.
Trick for Trick, by Fabian— D. L. May 10 1735.
Trick for Trick, or Admiral's Daughter — C. G. July 2 1812.
Tricking's Fair in Love — C. G. May 26 1814.

Trick to catch the old one— see L. I. F. 1665 — for the plot see
vol. 8 p. 509.

Trick upon Trick, from Woman's Revenge — D. L. Dec. 22
1789.

Triple Marriage — see vol. 10 p. 260.
Trip to Bengal— see vol. 10 p. 223.
Trip to Calais — see Hay. Aug. 17 1776.
Trip to Portsmouth — Hay. Aug. 11 1773.

Trip to Scarborough— D. L. Feb. 24 1777— D. L.Jan. 9 1786
— C. G. July 13 1811— D. L. Dec. 6 1815— see Relapse.

Trip to Scotland — D. L. Jan. 6 1770 — C. G. April 16 1773—
D.L.April 15 1782.

Trip to the Nore— D. L. Nov. 9 1797.
Trip to Wales— D. L. Nov. 10 1826.

Tristram Shandy— C. G. April 26 1783 — in one act C. G. April
12 1794.

Triumphant Widow— D. G. 1676.

CXXV1 INDEX.

Triumph of Honour — Hay. Aug. 13 1783.
Triumph of Peace— Masque— D. L. Feb. 21 1749.
Triumphs of Love and Honour — D. L. Aug. 18 1731.
Triumphs of Virtue— D. L. 1697.

Troilus and Cressida, by Dryden — D. G. 1679 — D. L. June 2
1709— L. I. F. Nov. 10 1720— L. I. F. May 3 1723-C. G.
Dec. 20 1733.

True-born Irishman — C. G. Nov. 28 1767 — Bath March 26
1801.

True Briton— D. L. April 17 1782.

True Friends— Mus. Ent — C. G. Feb. 19 1800.

True Patriotism — see vol. 10 p. 214.

True Widow— D. G. 1679.

Try Again — Hay. June 26 1790.

Tryal — see Miss Baillie 1811-1812.

Tryal of the Time-Killers— see vol. 10 p. 178.

Tryphon— L. I. F. Dec. 8 1668.

Tuckitomba — C. G. April 7 1828.

Tumble-down Dick, or Phaeton in the Suds — Hay. 1737.

Tunbridge Walks— D. L. Jan. 27 1703— D. L. Dec. 9 1738—
C. G. March 8 1748— D. L. March 24 1764— Hay. Aug.
13 1782, in 3 acts.

Tunbridge Wells— D. G. 1678.

Turk and no Turk— Hay. July 9 1785.

Turkish Lovers — D. L. May 1 1827.

Turn Out — D. L. C. March 7 1812— C. G. June 15 1821.

Turnpike Gate— C. G. Nov. 14 1799— D. L. Nov. 10 1813.

Turret Clock— D. L. Jan. 28 1818.

Tuscan Treaty, or Tarquin's Overthrow — C. G. Summer of 1733.

Tutor (a Burletta)-D. L. Dec. 14 1759.

Tutor (Farce)— D. L. Feb. 4 1765.

Tutor for the Beaus-L. I. F.Feb. 21 1737.

'Twas I— C. G. Dec. 3 1825.

Twelfth Night— L. I. F. 1663— D. L. Jan. 15 and 17 1741—

D. L. April 15 and 18 1746— D. L. Oct. 19 1763— D. L.

Dec. 10 and 13 1771— C. G. May 5 1772— C. G. March 17

1777— Hay. Aug. 15 1782— C. G. May 7 1783— D. L.

Nov. 11 1785— D. L. May 17 1797— C. G. June 9 1801—

C. G. Jan. 5 1811— D. L. Jan. 6 1813.
Twelfth Night as Opera— C. G. Nov. 8 1820— C. G. June 3

1825.

1NIJKX. CXXVil

Twelve Precisely— Hay. Oct. 11 IQ'1'2.

Twenty per Cent — D. L. Nov. 2 1815.

Twenty years ago — D. L. C. May 31 1811.

Twice Married and a Maid still — see vol. 2 p. 604.

Twin Adventurers, or Blundering Brothers — D. L. May 17 1710.

Twin Rivals— D. L. Dec. 14 1702— L. I. F. Nov. 3 1716— D. L.
Nov. 29 1725— D. L. Feb. 2 1736— C. G. April 12 1739—
C. G. Jan. 4 1755— D. L. Oct. 18 1758— C. G. Dec. 1
1769— D. L. April 5 1771— C. G. Oct. 21 1778— Bath
March 31 1812.

Twins — see vol. 10 p. 130.

Twins (F.)— D. L. April 8 1799.

'Twixt the Cup and the Lip— Hay. June 12 1826.

Two Connoisseurs— Hay. Sep. 2 1784.

Two Doctor Hobbs's— C. G.July 1 1815.

Two English Gentlemen— see vol. 10 p. 190.

Two Faces under a Hood -C. G. Nov. 17 1807.

TwoFoscari — see Lord Byron 1820-1821.

Two Friends (in 2 acts)— Hay. July 11 1828.

Two Friends, or Liverpool Merchant — see vol. 10 p. 220.

Two Galley Slaves, by * * — D. L. Nov. 6 1822.

Two Galley Slaves, by Payne— C. G. Nov. 6 1822.

Two Gentlemen of Verona (altered by Victor) — D. L. Dec. 22
1702.

Two Gentlemen of Verona, by Shakspeare — C. G. April 13 1784
— D. L. Jan. 15 1790— C. G. April 21 1808— Bath March
23 1822.

Two Gentlemen of Verona as Opera — C. G. Nov. 29 1821.

Two Gregories — D. L. June 14 1826.

Two Harlequins — see vol. 2 p. 654.

Two Houses of Granada — D. L. Oct. 31 1826.

Two Misers — C. G. Jan. 21 1775— C. G. May 5 1790— D. L.
April 6 1816.

Two Mr. Browns— Bath May 6 1825.

Two Noble Kinsmen— see Rivals at L. I. F. 1664— for the plot,
see vol. 10 p. 263.

Two Pages of Frederick the Great— C. G. Dec. 1 1821.
Two Queens of Brentford — see vol. 10 p. 156.
Two Sosias— Hay. Aug. 31 1792.

Two Strings to your Bow— C. G, Feb. 1C 1791— Hay. July 1
1824.

CXXVlll INDEX.

Two to One— Hay. June 19 1784— Hay. July 23 1792.
Two Wives— D. L. June 2 1824.

'Twould puzzle a Conjuror — Hay. Sep. 11 1824 — Bath Feb. 7
1825— D. L. June 13 1829.

Tyrannick Love — T. R. 1669.

Tyrant King of Crete — see vol. 10 p. 150.

Tyrer Miss — her 1st app. at D. L. May 21 1801 — her last at
C. G. May 31 1822— as Mrs. Liston.

U

Ugly Club— D. L. June 6 1798.

Ulysses— Hay. Nov. 23 1705— C. G. March 23 1756.

Unconscious Counterfeit — D. L. Feb. 9 1809.

Underbill — his bt. at D. L. June 3 1709, with the Tatler's recom-
mendation, &c. — his characters D. L. 1709-1710.

Undine, or Spirit of the Waters — C. G. April 23 1821.
Unfortunate Lovers — see L. I. F. Dec. 3 1668 — for the plot, see

vol. 10 p. 80.

Unfortunate Mother — see vol. 10 p. 60.
Unfortunate Usurper — see vol. 10 p. 138.
Unhappy Fair Irene — see vol. 10 p. 134.
Unhappy Favourite, or Earl of Fssex, by Banks — T. R. 1682 —

Hay. Nov. 29 1706— D. L. Nov. 25 1709— L. 1. F. Oct. 27

1730— C. G. Oct. 9 1734.

Unhappy Kindness— D. L. 1697.

Unhappy Penitent — D. L. 1701.

Union of the 2 Companies — see end of 1682.

Union, or St. Andrew's Day— C. G. May 18 1791.

Universal Gallant— D. L. Feb. 10 1735.

Universal Passion— D. L. Feb. 28 1737.

Unjust Judge, or Appius and Virginia — L. I. F. 1670.

Unknown Guest— D. L. March 29 1815.

Unnatural Brother— L. I. F. 1697.

Unnatural Combat — see 1st vol. of Massinger 1805.

Unnatural Mother— L. I. F. 1698.

Unnatural Parents— see vol. 10 p. 160.

Up all Night— D. L. C. Feb. 1 1810.

Upholsterer — D. L. March 30 1758 — D. L. April 11 1760 —

C. G. Oct. 26 1763 with alterations — C. G. Nov. 16 1775 -

C. G. Feb. 2 1791.
Ups and Downs— D. L. May 27 1828-

INDEX. CXX1X

Up to Town— C. G. Nov. 6 1811.
Urania— D. L. Jan. 22 1802.
Usurper, by Howard — T. R. 1G67.
Usurper, by Delap — see vol. 10 p. 224.
Utrum H urui 11 — see vol. 10 p. 205.

V

Valentine and Orson — C. G. April 3 1801— Hay. Oct. 11 1820

— D. L. Oct. 10 1825.

Valentia, or the Fatal Birthday — see vol. 10 p. 188.
Valentine's Day (not acted) — see vol. 10 p. 230.
Valentine's Day F — D. L. March 22 1776.

Valentinian— T. R. 1684- — Hay. Nov. 21 1706 — D. L.Jan. 28
1710.

Valeria— Hay. Sep. 15 1828,

Valiant Scot — see vol. 10 p. 107-

Valiant Welshman— L. L F. May 19 1727.

Valley of Diamonds— D. L. Dec. 26 1814.

Vampire— Bath Jan. 10 1821.

Vandenhoff— C. G, Dec. 9 1820.

Vanelia — see vol. 10 p. 157.

Variety, by Duke of Newcastle— T. R. 1682.

Variety, by D. L. Feb. 25 1782.

Venetian Outlaw— D. L. April 26 1804.
Venetian Vagaries — C. G. June 7 1816.

Venice Preserved— D. G. 1682 — Hay. May 9 1707 — L. I. F.
Pec. 2 1721— D. L. Jan. II 1738— D. L. March 14 1743—
C. G. Oct. 1 1742— D. L. Feb. 16 1747— D. L. Feb. 8 1748
— C. G. Dec. 21 1752— C. G. Nov. 23 1754— D. L. March
24 1759—1). L. March 17 1760— D. L. April 7 1770— C. G.
Oct.. 28 1775— D. L. Dec. 14 1782 — C. G. Jan. 19 1785—
C. G. Feb. 25 1786 — D. L. Oct. 21 1795 forced to be laid
aside — C. G. Nov. 17 1803 — Hay. Aug. 22 1811 — C. G.
Nov. 8 1811— D. L. April Q 1829.

Venison Pasty— C. G. Nov. 10 1821.

Venom— D. L. Dec. 1 1808.

Venus and Adonis — see vol. 10 p. 256.

Venus, Cupid and Hymen, Masque — D. L. May 21 1733.

Verbruggen — his characters Hay. 1706-1707.

Verbruggen Mrs. — originally Mrs. Percival — and then Mrs-
Mo unt tort — for her characters, see end of D. L. 1703.

CXXX INDEX.

Vertumnus and Pomona — C. G. Feb. 21 1782.
Very Good Wife— T. R. 1693.
Very Woman — see vol. 4 of Massinger 1805.
Vespers of Palermo— C. G. Dec. 12 1823.
Vestal Virgin, by Howard — T. R. 1665.
Vestal Virgin, by Brooke — see his Works 1778.

Vestris Madame — see Bath April 11 1828 — for her 1st app. at
D. L. see Feb. 19 1820.

Veteran, or Farmer's Sons — D. L. Feb. 23 1822.
Veteran Tar— D. L. Jan. 29 1801.
Vicar of Wakefield— Hay. Sept. 27 1823.

Vice Reclaimed — D. L. June 23 1703 — revived as Quaker's
Wedding at L. I. F. Oct. 22 1719.

Viceroy— see Hayley 1784.

Victim— D. L. Jan. 5 1714.

Victorious Love — D. L. 1698.

Victor's Works — see end of 1776.

Victory and Death of Lord Nelson — D. L. Nov. 11 1805.

Village Coquette — D. L. C. April 16 1792.

Village Doctor (altered from World in a Village) — Hay. Aug.
14 1815.

Village Fete— C. G. May 19 1797.

Village Lawyer— Hay. Aug. 28 1787— Hay. July 22 1790— D. L.
Oct. 6 1795— C. G. Feb. 11 1804.

Village Maid — see vol. 10 p. 200.

Village Opera— D. L. Feb. 6 1729.

Village, or World's Epitome— Hay. July 18 1805.

Villagers F.— D. L. March 23 1756.

Village Wedding — see vol. 10 p. 184.

Villain — see L. I. F. Oct. 20 1662 — for the plot, see vol. 10 p.

246.

Vimonda-Hay. Sep. 5 1787.
Vindictive Man — D. L. Nov. 20 1806.
Vintagers -Hay. Aug. 1 1809.

Vintner in the Suds-D. L. April 25 1740 (only Woman's Re-
venge.)

Vintner Tricked (the same piece) — D. L. April 9 1746.
Virginia, by Crisp — D. L. Feb. 25 1754.
Virginia, Opera, by Mrs Plowden — D. L. Oct. 30 1800.
Virginias, or Fall of the Decemviri — D. L. May 29 1820.

INDEX. CXXX1

Virginia, by Knowles— C. G. May. 17 1820— D. L. Oct. 13
1823— C. G. Dec. 15 1828.

Virgin Martyr — T. U. Feb. 27 1068 — for tbo plot see 1st vol. of
.Massinger 1804-1805.

Virgin of the Sun, by Reynolds— C. G. Jan. 31 1812.
Virgin Prophetess — D. L. 1701.
Virgin Queen, by Barford— L. I. F. Dec. 7 1728.
Virgin Queen, by Waldron — see vol. 10 p. 205.

Virgin Unmasked (originally Old Man taught Wisdom) — D. L.
Jan. 6 1735— C. G. Sep. 30 1743— D. L. Oct. 6 1759 —

C. G. April 29 1768 — Hay. May 19 1775— D. L. March

2 1786— C. G. Jan. 31 1786— C. G. Dec. 18 1810.
Virgin Widow — see vol. 8 p. 330.

Virtue Betrayed— D. G. 1682— D. L. June 9 1703— D. L. Dec.

3 1711— D. L. Jan. 9 1725— C. G. March 17 1750— C. G.
April 10 1758 — C. G. April 1 1766.

Virtuoso-D. G. 1676— L. [. F.March 31 1705.

Virtuous Wife— D. G. 1680— Hay. June 18 1705.

Vision of the Sun, or Orphan of Peru — C. G. March 31 1823.

Vizard Masks — Queen Anne's command against wearing them in

the Theatres — see D.L. Jan. 24 1704 — see also L. I. F. June

1 1704.

Voice of Nature — Hay. July 31 1802— Hay. Sep. 8 1809.

Volpone, or the Fox— T. R. Jan 14 1665— Hay. Dec. 3 1706
— L. I. F. Nov. 15 1727— D.L. March 13 1735— C. G
Oct. 23 1738— C. G. Nov. 26 177 I—Hay. Sep. 12 1783-

D. L. Feb. 21 1785.

Voltaire-see end of 1 779-1780.

Voluntary Contributions — C. G. May 12 1798.

Volunteers, by Shadwell — T. R. 1692— D. L. July 27 1711.

Vortigern — D. L. April 2 1796 — see end of the season.

Vortimer — see vol. 10 p. 204.

Votary of Wealth— C. G. Jan. 12 1799.

W

Wager, or Midnight Hour— D. L. Nov. 23 1825.

Walking Statue, or Devil in the Wine Cellar— D. L. Jan. 9 1710

— L. I. F. April 11 1726— C. G. March 28 1769— see Devil

in the Wine Cellar.

Walker's characters— G. F. 1741-1742.
Walks of Islington and Hogsdon — see vol. 10 p. 118.

CXXX11 I N DEX.

Wallace, by Walker— C. G. Nov. 14 1820.
Wallace, by * * Bath March 10 1823.

Wallack seems to have made his 1st app. at D. L- Oct. 10
1812.

Wallis Miss— her characters— C. G. 1796 1797.
Walloons— C. G. April 20 1782.
Waltz-see vol. 8 p. 361.
Wanderer— C. G. Jan. 12 1808.
Wandering Boys— C. G. Feb. 24 1814.
Wandering Jew — D. L. May 31 1797.
Wanted a Governess — see D. L. June 3 1818.

Wanted a Wife — D. L. May 3 1819 — cut down to 2 acts Aug.
13 1821.

Wanton Countess — see vol. 10 p. 158.
Wanton Jesuit — Hay. 1731.

Warde's 1st app. at Bath Dec. 28 1813 — at C. G. Sept. 26
1825.

Warlock of the Glen— C. G. Dec. 2 1820.
Wary Widow— T. R. 1693, and vol. 10 p. 255.
Watch-Word, or Quito Gate— D. L. Oct. 19 1816.

Waterman— Hay. Aug. 17 1774— D. L. Dec. 6 1786— C. G.
June 5 1797— D. L. June 3 1822— D. L. June 8 1829.

Wat Tyler— D. L. Jan. 19 1733.

Wat Tyler, by Southey— see vol. 10 p. 233.

Way of the World— L. I. F. 1700— D. L. Jan. 8 and Feb. 14
1718— C. G. Dec. 7 1732— D. L.March 17 1740— G. F.
Jan. 27 1742— D. L. Nov. 15 and 17 1750— D. L. March
16 1758— C. G. Nov. 24 1764— D. L. March 18 1771—
C. G. Nov. 2 1776— D. L. Dec. 31 1776— C. G. Dec. 6
1782— C. G. Nov. 11 1784 — D. L. May 23 1787 —
C. G. Dec. 18 1789— C. G. Nov. 7 1797— D. L. Nov. 22
1800.

Ways and Means— Hay. July 10 1788— D. L. June 12 1798—
C. G. Oct. 22 1819— C. G. April 26 1826.

Way to get Married— C. G. Jan. 23 1796— D. L. June 17
1805— Hay. Aug. 28 1812— D. L. Oct. 19 1813— D. L.
Oct. 26 1819.

Way to get Unmarried— C. G. March 30 1796.
Way to keep him, in 3 acts — D. L. Jan. 24 1760.

Way to keep him, in 5 acts — D. L. Jan. 1.0 1761 — C. G. March
24 1768— D. L. Oct. 31 1771— D. L. March 20 1776—

INDEX. CJCXXU1

C. G. Jan. 24 1776— C. O. March 5 1785—!). L. May 1H
1780—C. O. Dec. 1 1 1789— O. G. Dec. 8 17U7— D. L. May
10 1802— C. G. Feb. 5 1807— Hay. June 23 1810— C. G.
July 1 1 181 1— C. G. Oct. 1 1818.

Weakest goes to the Wall -see vol. 10 p. 90

Wealthy Widow— D. L. Oct. 29 1827.

Weathercock, Mus. Ent.— C G. Oct. 17 1775.

Weathercock F — D. L. Nov. 18 1805.

Webb Mrs — her characters— C. G. 1793-1794.

Wedding, by Hawker-L. I. F. May 6 1729.

Wedding, by Shirley — see vol. 9 p. 543.

Wedding Day, by Fielding— D. L. Feb. 17 1743.

Wedding Day, by Mrs. Inchbald— D. L. Nov. 4 1794— C. G.
Oct. 12 1807.

Wedding Night — Mus. Ent. — see end of Hay. 1780.

Wedding, or Country Housewife —see vol. 10 p 158.

Wedding Present— D. L. Oct. 28 1825.

Wedding Ring— D. L. Feb. 1 1773.

Weeding of Covent Garden — see vol 10 p. 42.

We Fly by Night— C. G. Jan. 28 1806— C. G. April 29 1817.

Welch Heiress— D. L. April 17 1795.

Welch Opera — see Hay. July — 1731.

Wells Mrs her Imitations, C. G. April 25 1788 — her charac-
ters 1792-1793.
Werner — see Lord Byron 1820-1821 and Bath Feb. 10 1830.

Werter— Bath Dec. 3 1785— C. G. March 14 1786— C. G. Dec.
23 1795.

West Indian— D. L. Jan. 19 1771— C. G. Oct. 15 1773— C. G

Feb. 22 1786— C. G. Oct. 21 1797— C. G. Dec. 23 1807.
Westmeon Village — see vol. 10 p. 193.
Westminster Hall in an Uproar — Hay. Aug. 16 1785.
Weston's characters — D. L. 1775-1776.

Weston's return from the Universities of Parnassus — D. L. April
19 1775.

West Wind— Bath May 20 1815.

Wet Weather— Hay. July 20 1819.

What a Blunder !— Hay. Aug. 14 1800— C. G. May 31 1803.

What d'ye call it?— D. L. Feb. 23 1715— L. I. F. April 2 1 30
— D. L. April 14 1738— C. G. April 28 1775— C. G. May
6 1782— Hay. Aug. 10 1784—0. G. April 19 1797.

What is She ?— C. G. April 27 1799.

CXXXIV INDEX.

What Next ?— D. L. Feb. 29 1816.

What's a Man of Fashion ?— C. G. Nov. 27 1815.

What we must all come to — C. G. Jan. 9 17«4 — see Three
Weeks after Marriage— C. G. March 30 1776

What will the World say ? — see vol. 10 p. 195.
What would the Man be at?— C. G. May 8 1801.
What you Will— see vol. 2 of Old Plays 1814-1815.

Wheel of Fortune— D. L. Feb. 28 1795— C. G. March 10 1804
— D. L. April 29 1815— D. L. June 17 1817.

When it takes place 1 shall keep my seat and get a Peep — C. G.
July 7 1820.

When you see me, You know me — see vol. 10 p. 92.
Where shall I Dine ?— C. G. June 18 1819.

Where to find a Friend— D. L. C. May 20 1811— D. L. Nov.
23 1815.

Whetstone's Park — see the end of Princess of Cleve D. G. 1681.
Which is my Cousin? — Hay. Sept. 29 1825.

Which is the Man?— C. G. Feb. 9 1782— D. L. May 12 1808—
C. G. Dec. 17 1829.

Which is the Master (from Castle of Andalusia)— C. G- May 15
1807.

Whig and Tory— L. I. F. Jan. 26 1720— D. L. July 25 1729.
Whim— see vol. 10 p. 201.

Whincop's List of Dramatic Poets — see end of 1746-1747.
Whistle for it— C. G. April 10 1807.
White Devil— see T. R, 1682.
White Lady--D. L. Oct. 9 1826.
White Lies— D. L. Dec. 2 1826.
White Maid— C. G.Jan. 2 1827.
White Plume— C. G. April 10 1806.
Who can I be ?— C. G. July 6 1818.
Who'd have thought it?— C. G. April 28 1781.
Who pays the Reckoning ? — Hay. July 16 1795.
Who's Afraid? by Jodrell — see vol. 10 p. 195.
Who's Afraid ? Ha ! Ha ! Ha !-Hay. Sep. 12 1805.
Who's my Father ?— C. G. April 13 1818— Hay. Sep. 3 1818.
Who's the Dupe ?— D. L. May 10 1779 — C. G. May 8 1795 —
C. G. Feb. 3 1819— Hay. July 17 1828.

Who's the Rogue ?— C. G. May 15 1801.
Who's to have her ?— D. L. Nov. 22 1813.

I N DEX. CXXXV

Who's Who?— D. L. Nov. 15 1815.

Who wants a Guinea?— C. G. April 18 1805— Hay. Sep 5 1812
— C. G. June 15 1814— D. L. May 28 1828.

Who wants a Wife ?— C. G. April 16 1816.
Who Wins, or Widow's Choice— C. G. Feb. 25 1808.
Wicklow Mountains (altered from Lad of the Hills) — C. G. Oct.
10 17U6 — Hay. Aug. 28 1810.

Widow— see T. R. 1682.

Widow and no Widow— Hay. July 17 1779.

Widow Bewitched— G. F. June 8 1730— D. L. April 26 1786.

Widow'd Wife— D. L. Dec. 5 1767.

Widow of Delphi— C. G. Feh. 1 1780.

Widow of Malahar-0. G. May 5 1790— C. G. May 23 1798.

Widow of Wallingford— see vol. 10 p. 190.

Widow Ranter— T. R. 1690.

Widows Betwitched— C. G. Feb. 3 1829.

Widow's only Son— C. G. June 7 1810.

Widow's Tears — see 4th vol. of Dodsley 1744.

Widow's Vow — Hay. June 20 1786.

Widow's Wish— see vol. 10 p. 172.

Wife for a Month — see Unhappy Kindness — D. L. 1697.

Wife in the Right— C. G. March 5 1772.

Wife of Bath — D.L.May 12 1713 — revived with alterations at
L. I. F.Jan. 19 1730.

Wife of a Million— see vol. 10 p. 226.

Wife of Two Husbands — D. L. Nov. 1 1803— Bath Jan. 29 1823.

Wife's Relief— D. L. Nov. 12 1711 — L. I. F. Oct. 7 1715—
D. L. Oct. 13 1736— C, G. March 26 1761 — C- G. April
10 1782.

Wife's Stratagem— C. G. March 13 1827.
Wife to be Lett — D. L. Aug. 12 1723.

Wife well Managed — see end of D. L. 1714-1715 — Hay. Aug.
27 1789.

Wigwam— C. G. April 12 1830.

Wild Gallant— see Vere Street 1662, and T. R. 1667.

Wild-Goose Chase — T. R. Jan. 11 1668— for the plot, see D. L.
March 7 and 9 1747.

Wild-Goose Chace by Dunlap— see D. L. Feb. 1 1800.
Wild-Goose Chase by Jameson — D. L. Nov. 21 1820.
Wild Oats— C. G- April 16 1791— Hay. Aug. 13 1805— D. L.

CXXXV1 INDEX.

Jan. 31 1814— Hay. July 22 1817 — D. L. Oct. 4 1819 —

C. G. Oct. 4 1827.

Wilkinson— see York Stage end of 1787-1788.

Wilks Robert — see end of D. L. 1698 — for his characters, see

D. L. 1731- 1732.

Wilks William— D. L. Oct. 17 1715 discouraged by his Uncle
from going on the stage.

Will— D. L. April 19 1797— D. L. Dec. 2 1799— C. G. June 28
1815— D. L. Oct. 17 1815— Hay. July 11 1820.

Will and no Will— D. L. April 23 1746— D. L. March 22 1748.

Will for the Deed— C. G. March 24 1804— Hay. Aug. 25 1806.

William and Nanny— C. G. Nov. 12 1779.

Williams Joseph — his characters L. I. F. 1699.

Williams Charles — see D. L. May 31 1731.

William Tell— D. L. May 11 1825.

William Thompson— Hay. Sep. 11 1829.

Wilmore Castle— D. L. Oct. 21 1800.

Wilson Mrs. — her characters — C. G. 1785-1786-

Wily Beguiled — see Hawkins 1773.

Windsor Castle— C. G. April 6 1795.

Wine does Wonders — Hay, July 19 1820.

Win her and take her— T. R. 1691.

Wintershall's last app.— -T. R. 1679.

Winter's Tale, by Shakspeare— G. F. Jan. 15 1741— C. G. Nov.
11 1741 and Jan. 21 1742— C. G. April 24 1771 — D. L.
March 25 1802— C. G. Nov. 11 1807— C. G. Nov. 28 1811
—Bath April 27 1813— C. G. Jan. 7 1819— D. L. Nov. 3
1823— C. G. Dec. 5 1827.

Winter's Tale, altered by Garrick— D. L. Jan. 21 1756— D. L.
Jan. 27 1762— C. G. March 12 1774— D. L. Nov. 20 1779
— C. G. May 19 1783— D. L. May 1 1788— C. G. May 11
1792— C. G. Dec. 22 1795.

Wise Man of the East— C. G. Nov. 30 1799.

Wise Woman of Hogsdon — see vol. 9 p. 589.

Wish— Mus. Ent.— D. L. May 2 1775.

Wishes— D. L. July 27 and 28 1761— C. G. Oct. 3 1782.

Wit at a Pinch — see Lucky Prodigal.

Wit at several Weapons — see D. L. Jan. 11 1709.

Wit in a Constable — see L. I. F. 1665.

Wit of a Woman (F.)— L. I. F. June 24 1704.

INDEX. CXXXV11

Wit without Money — T. R. 1672— Hay. Jan. 4 and May 25
1707—D. L. Oct. 8 1730 — C. G. April 11 1738 — C. G.
April 11 1748— -C. G. Jan. 28 1757.

Wit's last Stake— D. L. April 14 1768— D. L. April 24 1799.

Wits— L. I. F. Aug. 15 1661— for the plot see Reed 1744.

Wits led by the Nose— T. R. 1677.

Witch — see vol. 6 p. 72.

Witch of Derncleugh— Bath Jan. 30 1822.

Witch of Edmonton — see Ford's Works 1811.

Witch of the Wood (F.)_C. G. May 10 1796.

Witches (Pantomime) — D. L. Dec. 27 1762.

Witch-Finder_D. L. Dec. 19 1829.

Witness — see vol- 7 p. 135.

Witty Combat — see German Princess L. I. F. April 15 1664.

Witty Fair One — see vol. 1 p. 79.

Wives as they were, and Maids as they are — C. G. March 4 1797
—Hay. Aug. 24 1810— C. G. March 19 1825.

Wives Excuse— T. R. 1692.

Wives in Plenty, altered from Coquet — Hay. Nov. 23 1793.

Wives Revenged— C. G. Sept. 18 1778— C. G. May 11 1790—

C. G.Nov. 5 1795.

Woffington Mrs — her characters — C. G. ] 756-1757.

Woman Captain— D. G. 1680— D. L. March 21 1710— L. I. F.
June 29 1716 — revived as Prodigal Hay. Oct. 10 1744.

Woman Hater — see 10th vol. of Fletcher 1778-

Woman made a Justice — L. I. F. 1670.

Woman killed with Kindness — see vol. 4th of Dodsley 1744.

Woman never Vext-C. G. Nov. 9 1824.

Woman's a Riddle _L. I. F. Dec. 4 1716— C. G. Jan. 19 1748—

D. L. Nov. 9 1759— D. L. March 12 1776— C. G. April
3 1780.

Woman's a Weathercock — see L. I. F. 1667 — for the plot, see
vol. 10 p. 21.

Woman's Love— C. G. Dec. 17 1828.

Woman's Prize, or Tamer Tamed — D. L. April 30 1757.

Woman's Revenge, or Match in Newgate — L. I. F. Oct. 24 1715
— L. I. F. Oct. 23 1730 — see Match in Newgate.

Woman's Wit— D. L. 1697.
Woman turned Bully— D. G. 1675.

Woman will have her Will — see vol, 10 p. 98.

I

CXXXV111 INDEX.

Women Beware Women — see vol. 5 of Old Plays 1814-1815.
Women Pleased— D. L. Nov. 8 1743.
Women's Conquest — L. I. F. 1671.

Wonder— D. L. April 27 1714— G. F. Nov. 14 1733 — C. G.
Nov. 1 1734— U. L. Jan. 1*2 1744— C. G. April 15 1748—

C. G. March 25 1756 — D. L. Nov. 6 1756 — C. G. Feb.
17 1761— C. G. Nov. 27 1767 — D. L. April 24 1769 —

D. L. Jan. 20 1775 — C. G. Oct. 20 1775— C. G. Dec. 3
1784 — D. L. Jan. 3 1787 — D. L. Jan. iO 1797 — C. G.
June 7 1808— Hay. Aug 5 18 1 9— C. G. Oct. 22 1822.

Wonder of a Kingdom — see vol. 3 of Old Plays 1814-1815.

Wonders in the Sun — Hay. April 5 1706.

Wood Daemon — D L. April 1 1807 — Bath Jan. 7 1813.

Woodman— C. G. Feb. 26 1791.

Woodman's Hut— D. L. April 12 1814.

Woodstock— C. G. May 20 1826.

Woodward's characters — C. G. 1776-1777.

Wool Gathering— D. L. Jan. 6 1826.

Word for Nature— D. L. Dec. 5 1798.

Word for the Ladies— C. G. Dec. 17 1818.

Word of Honour— C. G. May 26 1802.

Word to the Wise — D. L. March 3 1770 — C. G. May 13 1777
—Bath Feb. 18 1796.

World — D. L. March 31 1808— D. L. June 1 1815.
World as it goes— C. G. Feb. 24 1781.
World and the Child— see Collier 1744.
World in a Village— C. G. Nov. 23 1793.
World in the Moon — D. L. 1697.
Wounds of Civil War — see Collier 1744.
Wrangling Lovers — D. G. 1676.
Wroughton's characters — D. L. 1814-1815.

X
Xerxes — L. I. F. 1699.

Ximena, or Heroick Daughter — D. L. Nov 28 1712 — D. L.
Nov. 1 1718 — C. G.JMarch 21 1772.

Ximenes — see vol. 10 p. 195.

X. Y. Z.— C. G. Dec. 11 1810 — C. G. June 13 1818 — Hay.
July 25 1818— D. L. March 3 1827.

Y

Yard-arm and Yard-arm (Interlude taken from Netley Abbey) —
Hay. Sep. 8 1806.

INDEX. CXXX1X

Yates Richard — his characters C. G. 1782-1783.
Yates Mrs. — her characters D. L. 1784-1785.
Yelva, or the Orphan of Russia— C. G. Feb. 5 1829.

Yes or No ? Hay. Aug. 31 1808.

Yorkshire Tragedy — see end of D. L. 1713-1714.

York Stage— see end of 1787-1788.

You must be Buried— Hay, Aug. 11 1827.

Young Charles — his 1st app. at Hay. June 22 1807— see Bath
March— 1830.

Young Mrs.— late Miss Biggs— see end of D. L. 1803-1804.

Young Admiral— see vol. 9 p. 548.

Young Couple (F. from Discovery) — D. L. April 21 1767.

Young Hussar— D. L. March 12 1807.

Young Hypocrite — see vol. 10 p. 259.

Young King— D. G. 1679.

Young Men and Old Women— Hay. June 30 1792.

Young Quaker Hay. July 26 1783— Hay. Aug. 21 1795—

D. L. Nov. 22 175)8 — Hay. Aug. 8 1800— Hay. Aug. 23
1809— C. G. June 14 1811— Hay. Aug. 16 1819— Hay.
Aug. 14 1823.

Young Widow— Bath Dec. 1 1827.

Younge Miss— see Mrs. Pope.

Younger Mrs.— her characters— C. G. 1733-1734.

Younger Brother, by Mrs. Behn— D. L. 1696.

Younger Brother, or Sham Marquis — L. I. F. Feb. 7 1719.

Yours or Mine — C. G. Sept. 2.3 1816.

Youth, Love, and Folly— D. L. May 24 1805— Hay. April 27
1825.

Youth's Comedy — see vol. 10 p. 145.

Youthful Days of Frederick the Great— C. G. Oct. 2 1817.
Youthful Days of Mr. Mathews— Bath Nov. 9 1825.
Youthful Queen — D. L. Oct. 24 1828.

Zapphira — see vol. 10 p. 200.

Zara — D. L. Jan. 12 1736 — C. G. March 16 1751 — D. L.
March 25 1754— C. G. Oct. 30 1755— C. G. Dec. 3 1774
— D. L. March 7 1776— D. L. Dec. 15 1780— D. L. Oct. 10
1781— C. G. Jan. 10 1782— D. L. Nov. 17 1784— C. G.
Dec. 19 1796.

Cxi INDEX.

Zelma— C. G. April 17 1792.
Zelmane— see end of L. I. F. 1704-1705.
Zembuca— C. G, March 27 1815.

Zenobia— D. L. Feb. 27 1768— C. G. Nov. 21 1776— C. G. May
5 1786— Bath April 4 1815.

Zingis— D. L. Dec. 17 1768.
Zobeide— C. G. Dec. 11 1771.
Zoraida— D. L. Dec. 13 1779.

Zorinski— Hay. June 20 1795— C. G. April 26 1790— Hay. Sep.
3 1808— Hay. Sep. 2 1811.

Zulieman — Bath March 12 1814.

Zuma T — see vol. 10 p. 220.

Zuma, or Tree of Health— C. G. Feb. 21 1818.

A SHORT ACCOUNT

THE STAGE PREVIOUSLY TO 1(>60.

THE first dramatic exhibitions were on religious
subjects, tbey were acted by persons connected with
the Church.

Geoffrey was invited to preside over the school at
St. Alban's ; but he not corning in time, another per-
son was appointed to the situation, and Geoffrey in
consequence read lectures at Dunstable. During the
time he was there, he made a play on the story of
St. Katharine: for the puqiose of exhibiting it, he
borrowed certain copes from the Abbey of St. Alban.
On the night after the play, his house was burnt,
with his books and the aforesaid copes. Geoffrey,
not knowing how to make Heaven and St. Alban
amends for this loss, thought the best way would be
to turn monk, which he did at St. Alban's : in 1119
he became Abbot. (Matthew Paris.) The play was
acted several years before, and seems to have been
the first ever acted in England.

VOL. I. B

Before the suppression of the monasteries, Co-
ventry was famous for the pageants that were played
there on Corpus Christi day : they were acted with
great state and reverence by the Grey Friars, who
had theatres for the several scenes, very large and
high, placed upon wheels, and drawn to all the prin-
cipal parts of the city, for the better advantage of the
spectators. (Historia Histrionica.)

Hawkins and Dodsley have reprinted some of our
earliest dramas. The scriptural and religious plays
were called Mysteries, the moral plays were called
Moralities.

Malone says, " The time is not exactly fixed at
" which Moralities gave way to the introduction of
" regular Tragedies and Comedies. Perhaps this
" change was not effected on a sudden, but the
" audiences were to be gradually weaned from their
" accustomed modes of amusement."

Gammer Gurton's Needle used to be considered
as our first regular Comedy, but it now appears that
Ralph Royster Doyster was written before it.

Malone says, " There are but 34 regular plays
" now extant, which were printed before 1592, when
" there is good reason to believe Shakspeare had
" commenced dramatic writer. Between 1592 and
" 1600, 24 more plays were published or exhibited,
" some of which were probably written before any
" of Shakspeare's."

The prologue to Dryden's alteration of Troilus
and Cressida was spoken by Betterton, as repre-
senting the Ghost of Shakspeare. Dryden makes
him say,

" I found not, but created first the Stage."

Dr. Johnson observes, " The greater part of
" Shakspeare's excellence was the product of his
" own genius. He found the English stage in a
" state of the utmost rudeness ; neither character
" nor dialogue were yet understood. Shakspeare
" may be said to have introduced them both among
" us, and in some of his happier scenes to have
" carried them both to their utmost height."

Dr. Johnson was probably but little acquainted
with the plays written before those of Shakspeare.
Dryden's assertion is certainly wrong. Shakspeare
did not create the stage ; he only improved what he
found. Some of the 34 plays enumerated by Malone
as written before 1592, are as regular plays as those
of Shakspeare, whatever difference there may be
between them in other points.

Most, if not all, of Shakspeare's plays were per-
formed at the Globe, or the Theatre in Blackfriars.
It appears that they both belonged to the same
company of comedians, viz. .his Majesty's servants;
which title they assumed after a license had been
granted them by James the 1st in 1603, having been
before that time called the servants of the Lord
Chamberlain.

The Theatre in Blackfriars was a private house.
What were the peculiar and distinguishing marks of
a private playhouse it is not easy to ascertain ; we
only know that it was very small.

The Globe, which was on the southern side of the
Thames, was partly open to the weather, and partly
covered M'ith reeds : it was a public Theatre, and of
a considerable size.

Many of our ancient dramatic pieces were per-

B2

4

formed in the yards of Carriers' Inns, in which, in
the beginning of Queen Elizabeth's reign, the come-
dians, who then first united themselves into compa-
nies, erected an occasional stage. The galleries were,
as in our modern theatres, ranged over each other,
on three sides of the building. The small rooms,
under the lowest of the galleries, answer to our pre-
sent boxes; and these, even after regular theatres
were built, still retained their old name, and are fre-
quently called rooms by our ancient writers. The
yard bore a sufficient resemblance to the pit as at
present in use; and we may suppose the stage to
have been raised in this area, with its back to the
gateway of the inn, at which the money for admis-
sion was taken. Thus, in fine weather, a playhouse,
riot incommodious, might have been formed. Hence
in the middle of the Globe, and probably in- other
public theatres in the time of Shakspeare, there was
an open yard, or area, where the common people
stood to see the exhibition ; from which circumstance
they are called by Shakspeare, groundlings ; and by
Ben Jonson, the understanding gentlemen of the
ground. In 1646, it appears that there were seats
in the pit of the private playhouses.

The galleries, or scaffolds, as they are sometimes
called, and that part of the house which in private
theatres was named the pit, seem to have been of
the same price ; and, probably, in houses of reputa-
tion, such as the Globe and Blackfriars, the price of
admission into those parts of the theatre was six-
pence, while in some meaner playhouses it was only
a penny, and in others two-pence, The price of
admission into the best rooms, or boxes, was seem-

ingly, in Shakspeare's time, a shilling, though after-
wards it appears to have risen to two shillings and
half-a-crown.

Malone supposes that the Globe was capable of
containing as many persons as would produce some-
what more than £35 ; but that £20 was probably
esteemed a considerable receipt, as the whole com-
pany received but half that sum for the exhibition
of a play at Court.

From several passages in our old plays, we learn
that spectators were admitted on the stage, and that
the critics and wits of the time usually sat there ;
some were placed on the ground, others sat on stools,
the price of which was either sixpence or a shilling,
probably according to the commodiousness of the
situation ; and they were attended by pages with
pipes and tobacco, which was smoked here as well
as in other parts of the house. Yet it should seem
that persons were suffered to sit on the stage only in
private playhouses, (such as Blackfriars, &c.) where
the audience was more select, and of a higher class ;
and that at the Globe, and other public theatres, no
such licence was permitted.

This custom of sitting arid lying on the stage
accounts for Shakspeare's placing Hamlet at Ophelia's
feet during the representation of the play. What some
did from oecoiiomy, others might choose from gal-
lantry. The stage was strewed with rushes, which,
at that time, was the usual covering of floors in
England. The curtain was not drawn up by lines
and pullies, but opened in the middle, and was drawn
backward arid forward on an iron rod. (Malone.)

It has been doubted whether, in our ancient

theatres, there were side and other scenes. Steevens
is of opinion that they were not unfurnished with
scenes, and assigns his reasons for so thinking ; but
Gifford wonders how he could so strenuously contend
for a most hopeless cause. Malone is inclined to be-
lieve that the mechanism of the ancient stage seldom
went beyond a painted chair or a trap-door ; that
few, if any, theatres had any moveable scenes ; and
that, in general, they were only furnished with cur-
tains, and a single scene composed of tapestiy. In
the early part of dramatic exhibitions, the want of
scenery seems to have been supplied by the simple
expedient of wilting the names of the different places
where the scene was laid in the progress of the play,
which were disposed in such a manner as to be visible
to the audience.

How little the imagination of the spectators was
assisted by scenical deception, and how much ne-
cessity Shakspeare had to call on them to " piece
" out imperfections with their thoughts," may be
collected from what Sir Philip Sidney says of the
stage in his time. " Now you shall see three ladies
" walk to gather flowers, and then we must believe
" the stage to be a garden. By and bye we hear
" news of a shipwreck in the same place, and then
" we are to blame if we accept it not for a rock.
" Upon the back of that comes out a hideous mon-
" ster, with fire and smoke, and then the miserable
" beholders are bound to take it for a cave j while,
" in the mean time, two armies fly in, represented
" with four swords and bucklers, and then what
" hard heart will not receive it for a pitched field ? "
(Malone.)

Mulone tells us, that towards the rear of the stage
ihriv appears to have been a balcony, the platform
of which seems to have been eight or ten feet from
the ground, and probably supported by pillars. From
hence, in many of our old plays, part of the dialogue
was spoken ; and in the front of this balcony curtains
were likewise hung. In many of the old plays there
is a stage direction for such and such characters to
enter above.

The old writers sometimes make use of this upper
stage in a most absurd manner ; for instance, Shak-
speare makes the Ghosts first address Richard the
Third, and then Richmond, as if it had been possible
for them to have been both within hearing at the
same time.

The stage dresses, it is reasonable to suppose,
were much more costly at some theatres than others,
yet the wardrobe even at the Globe and Blackfriars
was but scantily furnished. In Ben Jonson's Staple
of News, acted by the King's servants in 1 625, it is
said, " O Curiosity ! you come to see who wears the
" new suit to day j whose cloaths are best pen'd,
" whatever the part be; which actor has the best leg
" and foot ; what king plays without cuffs, and his
" queen without gloves ; who rides post in stockings,
" and dances in boots.

It was a general practice in the time of Shakspeare
to sell the copy of the play to the theatre, in which
case it usually remained for several years unpub-
lished. (Malone.)

Thomas Heywood, who was an author and actor,
assigns as a reason why more of his plays had not
been published, that some of them were still retained

8

in the hands of the actors, who thought it against
their profit to have them come into print. (Lany-
baine.) Even in 1668, Sir Charles Sidley says, in
the Mulberry Garden, " few plays gain audience by
" being in print."

But when the author did not sell his piece to the
theatre, he printed it for sale : the customary price
of the copy of a play in the time of Shakspeare
appears to have been 20 nobles, or £6 : 13 : 4. The
play when printed was sold for sixpence; and the
usual present from a patron, in return for a dedica-
tion, was 40 shillings.

On the first day of exhibiting a new play, the prices
appear to have been raised : and this seems to have
been occasionally practised on the benefit nights of
authors to the end of the lyth century.

Dramatic poets in those times, as at present, were
admitted gratis into the theatre.

Both the prompter, or book-holder as he is some-
times called, and the property-man appear to have
been regular appendages to our ancient theatres.

The principal actors formerly played on shares, as
it is called ; that is, they divided the profits of the
exhibition daily in various proportions among them,
as is yet the practice of itinerant companies in the
country — their inferiour actors were retained by the
name of hirelings at a weekly salary that was paid
by the sharers. Each sharer was entitled to have
a boy, who played either young or female characters,
and for whose services he received a certain sum.
The sharers were usually riot more than twelve.
(Malone.)

When Gosson wrote his " School of Abuse," in

1579, it seems that plays were usually acted on
Sundays — afterwards they were performed on that
and other days indiscriminately. Gosson says, " The
" players, because they are allowed to play every
" Sunday, make 4 or 5 Sundays at least in every
" week." (Malone.)

Malone observes, " From the silence of Prynnc
" on this subject, it has been supposed that the
" practice of exhibiting plays on the Lord's day was
"discontinued in 1633; but I doubt whether this
" conjecture be well founded, for it appears from a
" contemporary writer, that it had not been abo-
" lished in the 3d year of King Charles the 1st.

" And seldom have they leisure for a play
" Or masque, except upon God's holiday."

But if plays had been commonly allowed on Sun-
days, Prynrie would doubtless have made that his
chief argument against the stage — besides, Prynue
himself allows (p. 642) that there were seldom any
plays or masques at Court even upon Saturday nights.

PRYNNE.

In 1633, Prynne published his famous book. It is
a quarto of 1.006 pages. The title-page contains a
good Epitome of what follows. " Histrio mastix. The
" Player's Scourge, or Actor's Tragedy. * * Wherein
" is largely evidenced, by divers arguments, by the
" authorities of sundry texts of scripture, * * of 55
" Synods, of 71 Fathers, &c. &c. that stage plays are
" sinful, heathenish, lewd, ungodly spectacles, and
" most pernicious corruptions ; condemned, in all

10

" ages, as intolerable mischiefs to Churches, to Re-
" publics, to the manners, minds, and souls of men ;
" and that the profession of play-poets, of stage-
" players, together with the penning, acting, and
" frequenting of stage-plays, are unlawful, infamous,
" arid misbecoming Christians. * * * Besides sundry
" other particulars concerning Dancing, Dicing,
" Health-drinking, &c. By William Prynne, an
" Utter Barrester of Lincoln's Inn."

Prynne, instead of dividing his book into chapters,
hath divided it into what he is pleased to call acts
and scenes. He usually begins each scene with a
syllogism. The essence of his own book may be
comprised in one syllogism.

Whatever has been condemned by the Fathers and
Councils ought not to be tolerated in a Christian
country.

But the Stage has been condemned by the Fathers
and Councils.

Therefore the Stage ought not to be tolerated.

To this there is a short answer — true Protestants
are bound by no authority but that of reason and the
scriptures.

It is evident from Prynne's book that he was a man
of great learning, but little judgment — of sour and
austere principles, without one atom of candour — of
the perverseness of his understanding there can be
no doubt — he gravely argues, that players are by their
profession hypocrites, and that all acting is hypocrisy :
— he is so absurd as to attribute the fall of the scaffolds
in Paris Garden, not to the crowd of persons who
were on them, but to the miraculous interposition of
heaven.

11

Prynue was cited in the Star Chamber, Feb. 7»
!'. Mr. Attorney Noy stated, that although
Prynne knew very well that the Queen, the Lords
of the Council, &c., were sometimes spectators of
masques, dances, &c., yet he had railed, not only
against stage-plays, dancing, &c. but against all such
as behold them ; that in his libel he had made use
of infamous terms against his Majesty ; had cast an
aspersion orithe Queen; and railing and uncharitable
censures against all Christian people.

It appears that Prynne was so far from conceiving
his book to be a libel, that he had presented a copy
to Noy himself.

Prynne was sentenced to*stand in the pillory in
two places, to lose both his ears, to pay a heavy fine,
and to be imprisoned for life.

Neale, in his History of the Puritans, says very
properly, " Prynne's book is a very tedious and heavy
" performance, so that it was not calculated to in-
" vite many to read it. This circumstance shows
" the weakness, as the severity of the punishment
" does the wickedness, of those who treated him
" with such barbarity."

ACTORS.

" Historia Histrionica : an Historical Account of
the English Stage ; Shewing the ancient Use, Im-
provement, and Perfection of Dramatick Repre-

12

" seritations in this Nation. In a Dialogue of Plays
" and Players.

" Olim meminissejuvabit.

" London 1699."

Malone says this small tract was written by
Wright.

Johnson and Steevens published their edition of
Shakspeare in 1778 — Malone in 1780 published 2
vols. as a Supplement to it — he has given us a most
valuable account of the old Actors and Theatres.

Chalmers has collected some information about
the old actors, but it relates chiefly to their private
transactions, and is consequently of no great im-
portance.

The Licence for acting granted by James the 1st to
the Company at the Globe is in substance as follows.

James, by the grace of God &c., to all Justices,
Mayors &c. greeting — know ye that we have of our
special grace licenced and authorized these our ser-
vants, Laurence Fletcher, William Shakspeare,
Richard Burbage, Augustine Philippes, John He-
mings, Henry Condel, William Sly, Robert Armin,
Richard Cowley, and the rest of their associates, to
act Comedies &c. at their usual house the Globe, or
at any other convenient place whatsoever within our
realms — willing and commanding you, not only to
permit them therein without any molestation, during
our pleasure, but also to aid and assist them, if any
wrong be to them offered ; and to allow them such
courtesies, as have been given to men of their place
and quality ; and also what farther favour you shall
show to these our servants for our sake, we shall

13

take it hi tulli/ at your hands — May 19th, 1603.
(Shakspeare, Vol. 1st.)

Of the old actors much has not been recorded.

Sir Richard Baker says of Tarlton, that for
Clown's parts he never had his equal, nor ever will.

Heywood tells us that Kempe succeeded Tarlton
in the favour and good thoughts of the audience — in
the Return from Parnassus he is made one of the
D. P., and represented as grossly illiterate.

Burbage was the original Richard the 3d— Flecknoe
in his Short Discourse of the English stage 1664,
says of him — " He was a delightful Proteus, so wholly
" transforming himself into his part, and putting off
" himself with his cloaths, as he never (not so much
" as in the tyring-house) assumed himself again,
" until the play was done — he had all the parts of
" an excellent orator, animating his words with
" speaking, and speech with action: his auditors
" being never more delighted than when he spake,
" nor more sorry than when he held his peace : yet
" even then he was an excellent actor still, never
" falling in his part, when he had done speaking, but
" with his looks and gesture maintaining it still unto
" the height."

Shakspeare is generally considered as having been
a much better poet than a player — Hemings is said
to have been a Tragedian — and Condel a Comedian.
Edward Alleyn was Master of a Company of his
own, for whom he built the Fortune playhouse from
the ground, a large round brick building — he grew so
rich that he purchased a great estate in Surrey and
elsewhere ; and having no issue he built and largely
endowed Dulwich College in 1619, for a master,

14

warden, 4 fellows, 12 aged poor people, and 12 poor
boys. (H. H.)

On the revival of the Jew of Malta at the Cockpit,
the Prologue says that the Jew was originally acted
by Alleyn, the best actor of his time —

" Whom we may rank with (doing no one wrong)
" Proteus for shapes, and Roscius for a tongue."

Green, who belonged to- the Red Butt, was an ex-
cellent Clown — see Green's Tu quoque L. I. F. 1665.

On the death of Burbage in 1619, and the retire-
ment of Hemings and Condell in or about 1623,
Lowin and Taylor became the principal performers
in the King's Company — Taylor is mentioned in the
Parson's Wedding, p. 138.

Richard Robinson was a Comedian — he had acted
female parts originally — he is particularly mentioned
in the Devil is an Ass — Cowley in the dedication of
Love's Riddle, 1638, says —

" Nor has't a part for Robinson, whom they
" At school account essential to a play."

Stephen Hamerton acted Amintor to Lowin's
Melantius ; he was at first a most noted and beau-
ful woman actor, but afterwards performed with
equal grace and applause a young lover's part.
(H. H.)

In the Parson's Wedding p. 154, it is said—
" Stephen is as handsome when the play is done,
«' as Mr. Wild was in the scene * * * if you refuse,
" Stephen misses the Wench, and then you cannot
"justly blame the poet, for you know they say that

15

" alone is enough to spoil the play" — and in the
Epilogue to the Gohlins —

" Oh if Stephen should be killed !

" Or miss the Lady, how the plot is spilled ! "

Swanston used to play Othello — (H. H.) — in the
Virtuoso, Snarl says — " I have seen plays at Black-
" friars ; I have seen Joseph Taylor and Lowen and
" Swanstead : Oh a brave roaring fellow ! would
" make the house shake again."

Pollard was a good actor in Comedy at Blackfriars
— Perkins, Bowyer, Sumner, William Allen and
Bird, eminent actors, and Robins, a Comedian, be-
longed to the Cockpit. (H. H.)

William Rowley was an actor and an author — he
seems to have belonged, first to the Lady Elizabeth's
company at the Swan, and then to the Cockpit — see
the title-page to All is lost by Lust — he acted Jaques
in that play — a comic character.

Hart and Clun were bred up boys at Blackfriars,
and acted women's parts — Hart was Robinson's boy,
or apprentice — he acted the Duchess in the Tragedy
of the Cardinal, which was the first part that give
him reputation — Cartwright and Wintershal belonged
to the private house in Salisbury Court — Burt was a
boy, first under Shanke at Blackfriars and then
under Beeston at the Cockpit — Mohun and Shatterel
were in the same condition with him at the last place
—there Burt used to play the principal female parts,
particularly Clariana in Love's Cruelty ; and at the
same time Mohun acted Bellamante, which part he
retained after the Restoration. (H. H.)

Neither Malone, nor Wright, nor Chalmers, men-

16

tions Hugh Peters as an actor — Granger says, that
he was for some time a member of the University of
Cambridge, and that he afterwards betook himself
to the stage, where he acquired that gesticulation
and buffoonery which he practised in the pulpit.

In the Unfortunate Usurper 1663 — act 5, scene 3
—a Daemon gives a prophetic and long description of
Hugh Peters' preaching.

Langbaine observes — " I believe the author of the
" Loyal Lovers meant to expose Hugh Peters' ad-
" venture with the butcher's wife of St. Sepulcre,
" with his revenge thereupon, under the characters
" of Phanaticus and Fly-blow — if my conjecture
" prove true, I hope no sober man will be angry,
" that Peters should be personated on the stage,
" who himself had ridiculed others, when he acted
" the Clown's part in Shakspeare's company of co-
" medians, as I have read in Dr. Young's relation of
" his life."

In the Loyal Lovers, Mettle personates Phana-
ticus, arid Symphronio, Fly-blow — Phanaticus is dis-
covered casting up the money he has received from
various women — Fly-blow makes him refund what
his wife had given him, and bestows on him a severe
beating with an instrument that must not be men-
tioned— the scene is a very good one — Langbaine is
certainly right in supposing that it was meant as a
cut on Hugh Peters — in Levellers Levell'd 1647,
one of the characters says — " The world knows
" Peters ever loved a whore * * * * him that durst
" once affront me, yea, bang me back and side, for
" that 1 tasted of his wife and mutton, his mutton
" and his wife shall amply taste of sorrow."

17

The principal reason why so little is known of the
actors before the Restoration is, that at that time
it was not customary to print the names of the actors
to the D. P. — the author of the Historia Histrio-
nica says — " Some few old plays there are that have
" the names set against the parts, as the Dutchess
" of Malfy, the Picture, the Roman Actor, the De-
" serving Favourite, the Wild Goose Chase, at the
" Blackfriars — the Wedding, the Renegado, the Fair
" Maid of the West, Hannibal and Scipio, King
" John and Matilda, at the Cockpit — and Holland's
" Leaguer at Salisbury Court" — to this list may be
added Messalina and Money is an Ass.

THEATRES.

Malone says — " The most ancient English play-
" houses of which I have met any accounts, are the
" Curtain in Shore-ditch, and the Theatre — in the
" time of Shakspeare, there were no less than 10
" theatres open — 4 private houses, viz. that mBlack-
" friars, the Cockpit or Phoenix in D. L., a theatre
" in WJiite-friars, and one in Salisbury Court — and
" 6 that were public theatres; viz. the Globe, the
" Swan, the Rose and the Hope, on the Bank-side ;
" the Red Bull and the Fortune" — Malone is incor-
rect in supposing WJiite-friars and Salisbury Court
to have been two distinct theatres — besides, White-
friars was not built till after Shakspeare's death.

VOL. I. C

18

The Swan — in 1809 a print of this theatre was
published as it appeared in 1614 — it was taken from
the Antwerp view of London.

The Rose Theatre was built by Philip Henslowe —
the total cost of it was £103 : 2 : 7 — it was thatched
and, from the price it cost, was probably very slight
— it fell into decay about the middle of King James'
reign — there is no trace of it in the map of London
in 1629. (Malone.)

Alleyn the actor married Joan Woodward, the
daughter of Henslowe's wife : this fact explains how
the account books of Henslowe, which have illus-
trated so many obscure points, in theatrical history,
came to Dulwich College. (Chalmers.)

The Hope — Bartholemew Fair came out at this
theatre Oct. 31, 1614 — Ben Jonson in his Induction
says — " Though the Fair be not kept in the same
" region, that some here, perhaps, would have it ;
" yet think that therein the author has observed a
" special decorum, the place being as dirty as Smith-
" field, and as stinking every whit."

Chalmers says that the Swan, the Rose, and the
Hope were not much frequented, and fell into disuse
early in the reign of James the 1st — this is evidently
incorrect.

The Globe was situated in Southwark nearly oppo-
site to Queen Street, Cheapside — it was burnt on St.
Peter's day 1613 — but rebuilt in the following year.

The theatre in Black-friars was situated some
where near the present Apothecaries-Hall. (Malone.)

Little or nothing is said of the Globe and Black-
friars theatres after the Restoration ; they were

19

probably pulled down, or converted to other pur-
poses, during the time that the stage was sup-
pressed.

The Fortune was situated in Golden Lane — it was
built by Alleyn — Chalmers says it was burnt in 1617
—but it was afterwards rebuilt.

The Red Bull was situated in St. John Street —
Davenant (probably in 1663) says — " the Red Bull
" stands empty for fencers."

The Cockpit, or Phoenix, was situated in Drury
Lane — it was re-opened after the Restoration — Pepys
saw the Cardinal at the Cockpit Oct. 2, 1 662 — after
which time we hear no more of it.

White-friars — Chalmers says (from Howe's Chro-
nicle) that this theatre was established in 1629 —
Langbaine says that Bussy D'Ambois his Revenge
was printed in 1613, and had often been presented
at the private house in IVTiite-friars — the Widow's
Tears, printed in 1612, is said to have been often
acted at Slack and White-friars — but Prynne, in
his epistle dedicatory 1633, expressly calls White-
friars a new theatre.

Salisbury Court — Isaac Reed supposes that the
theatre in White-friars, and that in Salisbury Court
were the same theatre — he does not confirm his
opinion by any argument, but there is a passage in
Prynne which puts the matter beyond all reasonable
doubt — in the dedication of his Histriomastix he
says — " Two old playhouses (the Fortune and Red
" Bull) have lately been re- edified and enlarged,
" and one new one (White-friars) erected — the
" multitude of our London play-haunters being so

c 2

20

" augmented now, that all the ancient Devil's cha-
** pels, (for so the Fathers stile all playhouses) being
" five in number, are not sufficient to contain their
" troupes, whence we see a sixth added to them."
— On the supposition that Whitefrlars and Salisbury
Court were distinct theatres, there would have been
not only 6, but 7 theatres in 1633 when Prynne pub-
lished his book — Maitland in his Survey of London
does not define how far Whitefrlars extended, but he
says sufficient to show that the theatre in Salisbury
Court might be called the theatre in Whitefriars
with little or no impropriety — his words are (vol.
2. p. 993)—" The Priory of the Carmelites, or
" White Friars, stood on the south side of Fleet
" Street, between the New Temple and Salisbury
" Court." — This theatre was most commonly called
Salisbury Court — but Pepys tells us, in 166 1, that
he saw Betterton act at Whitefriars.

Wright says that before the civil wars, there were
five companies and six playhouses — the Black-friars
and the Globe belonging to the same company called
the King's Servants — the Cockpit or Phmnix in D.
L. called the Queen's Servants — the private house
in Salisbury Court, called the Prince's Servants —
the Fortune — and the Red Bull — the two last were
mostly frequented by citizens, and the meaner sort
of people.

The Black-friars, Cockpit, and Salisbury Court
were small, and were all three built almost exactly
alike for form and bigness— here they had pits for
the gentry, and acted by candlelight — the Globe,
Fortune, and Bull were large houses, and lay partly

open to the weather, arid there they always acted
by daylight. (H. H.)

Wright says all these companies got money and
lived in reputation. (ff. H.) — Randolph in his
Muse's Looking-glass mentions 5 of the 0 play-
houses, in a dialogue between Mrs. Flowerdew and
Bird, two Puritans, who serve the Theatre with
their wares.

Flow. It was a zealous prayer
I heard a brother make concerning playhouses.

Bird. For charity, what is't.

Flow. That the Globe

Wherein (quoth he) reigns a whole world of vice,
Had been consum'd ; the Phoenix burnt to ashes j
The Fortune whipt for a blind whore : Black-Fryers
He wonders how it 'scaped demolishing
I* th* time of reformation : lastly, he wish'd
The Bull might cross the Thames to the Bear Garden,
And there be soundly baited.

Bird. A good prayer.

Flow. Indeed it sometimes pricks my conscience,
I come to sell them pins and looking-glasses.

Bird. I have their custom too for all their feathers,
'Tis fit that we which are sincere professors
Should gain by Infidels.

The Puritans having the ascendancy in Parlia-
ment, an Act was passed Feb. 11. 164-7 O. S. "that
" all Stage Galleries seats and boxes should be pulled
" down by warrant of two Justices of the Peace —
" that all Actors of plays for the time to come,
" being convicted, should be publickly whipped :

22

" and all spectators of plays for every offence should
" pay five shillings." (Neale.)

This was literally putting Prynrie's Histriomastix
into execution.

When the Civil wars began, most of the players,
except Lowin, Taylor, and Pollard, (who were super-
annuated) went into the King's Army — Robinson
was killed by the well known Enthusiast Harrison,
who refused him quarter, and shot him in the head
after he had laid down his arms, saying at the same
time — " Cursed is he that doth the work of the Lord
" negligently" — Mohun was a Captain, and after the
Civil wars were over, served in Flanders, where he
received pay as a Major — Hart was a Lieutenant
of Horse in Prince Rupert's Regiment — Burt was
Cornet in the same troop, and Shatterel quarter-
master— Allen of the Cockpit was a Major, and quar-
ter-master-general at Oxford — Swanston is said to
be the only player of any note who sided with the
other party ; he was a Presbyterian, and took up
the trade of a Jeweller. (H. H.}

Chalmers, after mentioning the story which
Wright relates of Robinson, says — " The fact, which
" is more creditable than the story, is that Richard
" Robinson died quietly at London in 1647 — as the
" Parish Register of St. Anne's Blackfriars ex-
" pressly records, that Richard Robinson, a Player,
" was buried on the 23d of March 1646-7, there
" can be little doubt about the identity of the per-
" son" — William Robins of the Cockpit seems to
have been called William Robinson in the D. P. of
the Fair Maid of the West— John Robinson's name

23

in 1640 stands to a part in Messallina — it was per-
haps one of these actors whom Harrison killed, and
whom Wright supposed to be Richard Robinson —
the story may not be true, but it certainly wears a
strong appearance of probability.

When the wars were over and the royalists totally
subdued, most of the actors who survived, made up
one company out of the wreck of several ; arid in the
winter of 1648 they ventured to act some plays, with
as much caution and privacy as could be, at the Cock-
pit : they continued undisturbed for 3 or 4 days, but
at last as they were acting the Bloody Brother (Rollo
Duke of Normandy) — in which Lowin played Aubrey,
Taylor Rollo, Pollard the Cook, Burt La- torch, and
Hart (probably) Otto — a party of soldiers beset the
house, surprised them about the middle of the play,
and carried them away to prison dressed as they
were ; where having detained them some time and
plundered them of their cloaths, they set them at
liberty — afterwards in Oliver's time they used to act
privately, 3 or 4 miles or more out of town, some-
times at one place and sometimes at another — occa-
sionally at Noblemen's houses, in particular at Hol-
land House Kensington, where the Nobility and
Gentry who met (but in no great numbers) made a
collection for them : Alexander Goffe, the woman
actor at Black Friars, used to be the person to give
notice of time and place — at Christmas and Bartho-
lomew Fair they generally bribed the Officer who
commanded at Whitehall, and were thereupon con-
nived at to act for a few days at the Red Butt ; but
were sometimes notwithstanding disturbed by sol-

dier8 — Some picked up a little money by publishing
copies of plays never before printed, for instance in
1652 Beaumont and Fletcher's Wild Goose Chase
was printed for the public use of all the ingenious,
as the title page says, and the private benefit of
John Lowin and Joseph Taylor, and by them dedi-
cated to the honoured few lovers of dramatic poesy;
wherein they modestly intimated their wants ; and
that with sufficient cause, for they were now reduced
to a necessitous condition — Lowin in his latter days
kept the Three Pigeons at Brentford, where he died
very old and very poor — Taylor died at Richmond
and was there buried — Pollard, who lived single and
had a competent estate, retired to some relations he
had in the country — Perkins and Sumner of the
Cockpit kept house together at Clerkenwell and
were there buried — these all died some years before
the Restoration. (Hist. Hist.)

While the stage was suppressed, one Robert Cox,
who was an excellent Comedian, betook himself to
make certain drolls or farces ; these he found means
to get performed by stealth under the pretence of
rope dancing — in these drolls he used to perform the
principal parts himself, and was a great favourite,
both in London and the Country — he was so natural
a performer, that after he had been playing the part of
Simpleton the Smith at a Country Fair, a real smith
of some eminence in those parts, who saw him act,
came to him and offered to take him as his journey-
man, and even to allow him twelve pence per week
more than the customary wages. (Langbaine^}
In 1809 was published a print of the inside of the

25

Red Bull Theatre — it was taken from the frontis-
piece to a collection of Drolls printed by Kirkmari
in 1672: the figures brought together on the stage,
are intended as portraits of the leading actors in
each Droll : the one playing Simpleton is Cox—
this print may be considered not only as highly
curious for the place it represents, but as an unique
specimen of the interior ceconomy of our ancient
English theatres.

SOME ACCOUNT

OF THE

Staoc from tfjc Restoration

IN 1660 TO 1830.

DOWNES, in his Roscius Anglicanus, gives us
a history of the stage from 1660 to 1706 — he had
been from the first conversant with the plays and
actors of the original Company under Davenant's
Patent — he continued to be Prompter till Oct. 1706,
but it does not appear at what time he became
Prompter — the Roscius Anglicanus is a pamphlet
of 52 pages in small Octavo — it consists chiefly
of playbills, and is the most valuable work of the
sort that was ever printed — without it we should
know very little of the theatrical transactions in the
time of Charles the 2d and James the 2d.

Downes is sometimes confused, sometimes inac-
curate and sometimes certainly wrong ; but the
manner in which Davies speaks of the Roscius An-
glicanus (after having made great use of it) is abo-
minable—in the 3d vol. of his Dramatic Miscellanies

28

— p. 385 — he says " some valuable matter may,
" with curious searching, be picked out of Dowries'
" pamphlet" — and, at p.' 154, he talks of Dowries*
fragment — which is nonsense, for we have Downes'
little work entire.

In Egerton's sale catalogue of Henderson's library,
there was a manuscript copy of " Davies* additions
" to Downes' Roscius Anglicanus" — this was claimed
as the property of the Honourable Mr. Byng, who
had purchased it of Davies' widow j and by whom
it had been lent to Henderson — it was restored to
that Gentleman, and by him entrusted to Waldron,
with permission to make whatever use of it he
might think proper.

Waldron published a new edition of the Roscius
Anglicanus in 1789, with Davies' notes and some by
himself — the manner in which Waldron executed his
undertaking was greatly to his discredit — his prin-
cipal blunders will be pointed out in their proper
places.

Samuel Pepys, who was Secretary to the Navy in
the latter part of the reign of Charles the 2d, and
in that of his brother, began a Diary on the 1st of
January 1659-1660 — he continued it to May 3 1st
1669. — He left his library to Magdalen College Cam-
bridge— his Diary remained in Manuscript till 1825,

29

when it was published (but not entire) under the
superintendence of Lord Braybrooke — the theatrical
intelligence contained in two large 4to. Vols. is not
very great in quantity, but it is highly valuable, on
account of the dates — arid because Pepys mentions
the revival of several old plays, not noticed by
Dowries or Langbaine as having been revived.

Gibber says but little of the stage before 1690.

N. B — The criticisms on plays are given merely
as a matter of opinion, in which every body has a
right to think for himself and to say what he thinks ;
ubi sentire qua velis, et quce sentias dicere licet. —
Tacitus.

30

In 1659-1660 General Monck marching from
Scotland with his army to London, Rhodes, a book-
seller, who is said to have been wardrobe-keeper to
the Black Friars company, obtained a License for
acting from the then governing powers — in a short
time he completed his company, who seem all to
have been new actors — their names were — Thomas
Betterton — Sheppy — Lovel — Lilliston — Underbill-
Turner — Dixon— Robert Nokes — with six others who
commonly played female parts — Kynaston — James
Nokes — Angel — William Betterton — Mosely — Floid.
(Dowries.}

It appears from Pepys that Monk arrived in Lon-
don on the 2d or 3d of February — Downes and
Wright say that Rhodes' Company acted at the
Cockpit in Drury Lane — Downes seems to have
copied Wright — and they are probably both wrong
—it is certain, from Pepys, that the Old Actors
were in possession of the Cockpit in August 1660—
and that Rhodes' Company were acting at White
Friars (or Salisbury Court as it is more usually
called) in March 1661 — previously to the publica-
tion of Pepys' Diary, it was certain that Salisbury
Court had been re-opened soon after the Restora-
tion, as the Rump, which was acted and printed in
1660, is said in the title page to have been acted at
the private house in Dorset Court — Dorset Court
and Salisbury Court were undoubtedly the same
place — see Dorset Garden 1671.

Betterton and Kynaston are said to have been
apprentices to Rhodes — (Gildon') — it does riot appear
at what precise time Kynaston left Rhodes' Com-

31

pany, but it is certain that he had joined the Old
Actors before the 18th of August 16 60.

The plays acted by Rhodes' Company were — the
Loyal Subject— Maid in the Mill—Wild Goose Chase

—Spanish Curate — Mad Lover — Pericles — Wife for
a Month — Rule a Wife and have a Wife — Woman's
Prize — Unfortunate Lovers — Aglaura — Changeling

—Bondman — with divers others.

Betterton being then about 22 years old (or 25
according to Southerne) was highly applauded for
his acting in all these plays, but especially for the
Loyal Subject, the Mad Lover, Pericles, the Bond-
man, and Deflores in the Changeling ; his voice was
then as strong, full, and articulate as in the meridian
of his acting — (IDownes] — even at that time he gave
a proof of the versatility of his talents — Deflores is a
part which requires a first-rate actor, but it seems
badly calculated for a young man — for the Change-
ling, see D. L. Nov. 7 1789.

Sheppy performed Theodore in the Loyal Subject,
Duke Altophil in the Unfortunate Lovers, Asotus in
the Bondman, and several other parts very well ; but
above all the Changeling with general satisfaction.

Kynaston acted Arthiope in the Unfortunate
Lovers, the Princess in the Mad Lover, Aglaura,
Ismenia in the Maid in the Mill, and several other
female parts : he being then very young made a com-
plete stage beauty, and performed some characters so
well, especially Arthiope and Aglaura, that it was
disputed among the judicious, whether any woman
that succeeded him, touched the audience so sensibly
as he had done.

32

The Maid in the Mill (Florimel) was acted first by
James Nokes, and then by Angel : Aminta in the
same play was acted by William Betterton, who not
long after was drowned — they acted several other
female characters in a manner very acceptable to
the audience — Mosely and Floid commonly acted
women of the lowest description. (Downes.)

Rhodes' Company probably continued to act till
they were engaged by Davenant in June 1661.

THE OLD ACTORS FROM 1660 TO 1663.

Downes says — " At the Restoration, the surviving
" old actors were collected into a company — they
" performed at the Red Bull in St. John Street and
" at the Tennis Court in Clare Market, till a new
" Theatre was built; when they removed thither,
" and called themselves his Majesty's Comedians,
" Mr. Thomas Killegrew having obtained a Patent
" for that purpose."

Downes is perhaps incorrect in saying that the old
actors began to act at the Red Bull — he seems to
have copied Wright, as in the former instance — it is
improbable that they should have begun to act at a
place so far distant from the Court as St. John street
— and it is certain that they acted at the Cockpit in
Drury Lane, both before and after that they had fitted
up the Theatre in Vere street Clare Market.

33

Killegrew and Davcnaut had a Patent granted to
them, in August 1660, to empower each of them to
build a new theatre, to collect a company &c. — A
fresh Patent was granted to each of them in 1662.

Chalmers says that the theatre in Vere Street was
opened on the 8th of November 1660 — on the suppo-
sition that the old actors began to act at the Red
Bull, they must have acted at three different theatres
in the course of some few months, which is very
unlikely.

Dowries gives a list of the performers in Kille-
grew's company, but he does not tell us the precise
time at which they engaged under Killegrew — the
men were — Theophilus Bird — Hart — Mohun — Lacy
— Burt — Cartwright — Clun — Baxter — Robert Shat-
terel — William Shatterel — Duke — Hancock — Kynas-
ton— Wintersel — Bateman — Blagden — all or most of
these performers probably acted at the Cockpit and
at the theatre in Vere Street — Downes adds — " the
" following came not into the Company till after they
"had begun in the new theatre in 1 663 — Hains — Griffin
" — Goodman — Lyddoll — Charleton — Sherly — Bee-
" ston — these four were bred up from boys, under the
" Master Actors — Bell — Reeves — Hughs — Harris—
" the women were — Mrs. Corey — Mrs. Ann Marshall
" — Mrs. Eastland — Mrs. Weaver — Mrs. Uphill — Mrs.
"Knep — Mrs. Hughs — Mrs. Rebecca Marshall — Mrs.
"Rutter — note, these following came into the Com-
"pariy some few years after — Mrs. Boutel — Mrs. Ellin
" Gwin — Mrs. James — Mrs. Verjuice — Mrs. Reeves."

It appears from Pepys that Kynaston continued to
act female parts till the 7th of Jan. 1661 — and per-

VOL. I. D

haps longer — Pepys saw the Beggar's Bush on the
20th of Novemher 1660 — at which time the play was
acted entirely by male performers — he was at the
same play again on the 3d of Jan. 1661, and then,
for the first time, he saw women come upon the stage
— Davenant's actresses have generally been considered
as the first English female performers, but it now
appears from Pepys, that Killegrew had female per-
formers some months before Davenant opened his
theatre.

Downes is incorrect with regard to Mrs. Boutell,
she was certainly on the stage in 1663 or 1664 — Mrs.
Ann Marshall was the elder sister, and the great
actress — previously to the publication of Pepys' Diary,
little was known of Mrs. Rebecca Marshall — Robert
Shatterel was a performer of repute — William Shat-
terel seems to have been an actor of the lowest rank.

Some few plays seem to have been brought out by
this company, at the theatre in Vere Street.

The Mistaken Beauty or the Lyar was printed in
1685, but the editor of the Biographia Dramatica
says, that there was an earlier edition in 1661
under the latter title only — we are certain it was
acted before 1667, as Dryden in his Essay on Dra-
matick Poesie greatly commends Hart for his per-
formance of Dorante, the same character as Young
Wilding in Foote's Lyar — the Mistaken Beauty is
little more than a translation of le Menteur by Cor-
rieille.

Cheats. Scruple = Lacy : Mopus = Mohun: White-
broth = Cartwright : Afterwit = Burt : Jolly = Hart :
Runter = Wintersal : Bilboe and Tityre Tu (two bul-
lies) = Clun and Shatterel : Mrs. Whitebroth — Mrs.

35

Covey : — (probably Corey) — there are no performers'
names to the other characters — the principal Cheats
are Scruple, a Non-conformist — Alderman White-
broth — and Mopus, a pretender to physic and astro-
logy— this C. was written by Wilson — some parts of
it are very dull, but on the whole it is a good play
—it was written in 1662 and printed in 1663 — in the
4th edition there is a short Prologue on the revival of
it, after it had been suppressed by a faction — Lacy
had perhaps imitated some well known Non-con-
formist—

" Sad news my Masters ; and too true, I fear,

" For us — Scruple's a silenc'd Minister.

" Would ye the cause? the Brethren snivle and

" say,
" 'Tis scandalous that any cheat but they."

Wild Gallant — this C. was written by Dryden—
Pepys saw it Feb. C23 1663 — it appears from the
Prologue that it came out on Feb. 5 — and that the
play began at half past three — it was unsuccessful at
this time, and was brought out again in 1667.

Pepys saw the following plays between August
1660 and April 1663.

Aug. 18 1660. Pepys says — " I saw the Loyal
" Subject at the Cockpit, where one Kynaston, a
" boy, acted the Duke's sister, (Olympia) but made
" the loveliest lady that I ever saw in my life."

Oct. 11. Burt acted Othello at the Cockpit.
30. The Tamer Tamed at ditto.

Dec. 31. Henry 4th at the new theatre.

Jan. 3 1661. Beggar's Bush at the new theatre —
the female parts were acted by women.

D2

36

Jan. 7' Kynaston acted the Silent Woman.

31. Argalus and Parthenia at the new theatre.

Feb. 12. The Scornful Lady was acted by a
woman.

23. The Changeling— probably at Salisbury
Court.

March 1. Betterton acted the Bondman at White
Friars.

2 and 11. Pepys saw Love's Mistress, or
the Queen's Masque at S. C., and in Vere Street.
23. All's Lost by Lust at the Red Bull.

July 4. Claricilla at the new theatre.

Aug. 27. Jovial Crew at ditto.

Sep. 7- Bartholomew Fair at ditto.

May 7 1662. Knight of the Burning Pestle.

Aug. 24 — Pepys says — " They tell me there has
" been a disturbance in a church in Friday Street;
" a great many young people knotting together and
" crying out Porridge often and seditiously in the
" church, and they took the Common Prayer Book,
" they say, away ; and, some say, did tear it." —
Porridge seems to have been the nickname which
the Dissenters gave to the Common Prayer Book-
in the City Heiress, Sir Anthony says to Sir Ti-
mothy, " You came from Church too" — Sir Timothy
replies — " Ay, needs must, when the Devil drives
" — I go to save my bacon, as they say, once a
" month, and that too after the Porridge is served
" up."

Sep. 29- Midsummer Night's Dream at the King's
Theatre.

Oct. 2. Cardinal at Cockpit.

Feb. 6 1663. Pepys says — " I walked up and

37

" down, and looked upon the new theatre in Co-
" vent Garden, which will be very fine."

LINCOLN'S INN FIELDS 1661 and 1662.

Sir William Daveriant engaged Betterton and the
rest of Rhodes' Company, who were sworn by the
Lord Chamberlain to serve the Duke of York at
the Theatre in Lincoln's Inn Fields — to these were
added — Harris — Price — Richards and Blagden — the
5 following did not join the company till about a year
after they had begun — Smith — Sandford — Medbourn
— Young — Norris — the Women were Mrs. Daven-
port— Mrs. Saunderson — Mrs. Davies — Mrs. Long
— Mrs. Gibbs — Mrs. Norris — Mrs. Holden — Mrs.
Jennings.

Davenant boarded the four first, who were his
principal actresses, in his own house. (Downes.}

From the first establishment of the stage till after
the Restoration, the female characters were played
by boys — there may however have been some excep-
tions to the general rule — the Court Beggar was acted
at the Cockpit in 1632 — in the last act Lady Strange-
love says — " if you have a short speech or two, the
"boy's a pretty actor, and his mother can play her pail
" — women-actors now grow in request"

Prynnesays in 1633 — "they have now their female-
" players in Italy, and other foreign parts — and in

38

" Michaelmas 1629 they had French women-actors
" in a play personated at Black-friars, to which there
" was a great resort."

In the Ball 1639, Freshwater, speaking of the plays
at Paris, says—

"Yet the women are the best actors, they play
"Their own parts, a thing muehdesir'd in England."

In Davenant's patent (and doubtless in Killegrew's)
there was a clause to this effect — " Whereas the wo-
" men's parts in plays have hitherto been acted by
" men in the habits of women, at which some have
" taken offence, we do permit and give leave for the
" time to corne, that all women's parts be acted by
"women." (JDram. Censor 1811.)

According to Downes, Davenant having completed
his company and finished his new Theatre in L. I. F.,
began to act in the Spring of 1662, with new scenes
and decorations, which were the first introduced in
England on a public stage — but it appears fromPepys,
that Davenant began to act in the last week of June
1661.

Scenes had been before used in private exhibitions
— and Davenant had introduced them, probably in a
less perfect state, about 4 years before, not indeed in
a play, but in an entertainment entitled " the cruelty
" of the Spaniards in Peru, expressed by vocal and
" instrumental music and by art of perspective in
" scenes — represented daily at the Cockpit in D. L.
" 1658" — a performance which Cromwell from his
hatred to the Spaniards permitted, tho' he prohibited
all other theatrical exhibitions. (Malone.}

39

Davenarit began with 2 or 3 of his own plays, which
had I MICH previously rehearsed at Apothecaries' Hall.
(Dowries.)

Davenant having acted musical pieces before the
Restoration, Pepys for some time calls his theatre the
Opera, notwithstanding that regular Tragedies and
Comedies were acted there.

July 2 1661 . Pepys says — " I went to Sir William
" Davenant's Opera ; this being the 4<th day that it
" has begun, and the first that I have seen it. To-day
"was acted the second part of * The Siege of Rhodes/"

Siege of Rhodes in 2 parts — Solyman the Magni-
ficent = Betterton : Alphonso = Harris : Villerius (the
Grand Master) = Lilliston : the Admiral = Blagden :
Roxalana = Mrs. Davenport : lanthe = Mrs. Saunder-
son : all the parts were justly and excellently per-
formed, and the play was acted 12 days together
without interruption, and with great applause.
(Downes.)

These tragedies are written in rhyme — they were
well calculated to please when Love and Honour
were the order of the day — they are however but
moderate productions.

July 4>. Pepys says — " I went to the theatre, but
" strange to see this house, that used to be so thronged,
" now empty since the Opera began ; and so will
" continue for a while, I believe."

Aug. 15. Pepys says — " To the Opera, which
" begins again to day with the Wits, never yet acted."

Wits. Elder Pallatine = Betterton : Younger Pal-
latine = Harris : Sir Morglay Thwack = Underbill :
Lady Ample = Mrs. Davenport : — this C. was well
acted in the other parts, and performed 8 days succes-

40

sively — (Downes] — it is a good play — it had been
acted originally at Black Friars, and was now revived
with alterations — these alterations are not material
— but the dialogue is considerably improved, and
two short scenes are added — the Wits was revived
at L. I. F. Aug. 19 1726.

Nov. 4. Betterton acted the Bondman.

Dec. 16. Pepys says — " To the Opera, where
" there was a new play — Cutter of Coleman Street
" — it being the first time, the pay was doubled."

Cutter of Coleman Street. Col. Jolly = Betterton :
Cutter — Underbill : Worm = Sandford : Puny =
Nokes : Truman Senior = Lovel : Truman Junior =
Harris : Parson Soaker = Dacres : Will=Price :
Mrs. Aurelia=Mrs. Betterton : Mrs. Lucia=Mrs.
Gibbs : Jane=Mrs. Long : — (Downes] — the scene
lies in London in the year 1658, and the Fanatics of
the time are ridiculed with a good deal of humour —
the serious scenes of this C. are dull, but on the
whole it is a good play — it was without reason con-
sidered as a satire on the Cavaliers : on which Cow-
ley in his preface observes, that having belonged to
that party all the time of their misfortunes, he must
be a madman to choose that of their restitution to
quarrel with them — Dennis, in his dedication of the
Comical Gallant, says that Dryden informed him, he
was present on the first day, when this play was bar-
barously treated — Dennis adds that it had been since
acted with general applause — and Downes tells us
that it was performed a whole week with a full audi-
ence.

Cutter in old language means a swaggerer — hence
the title of this play — (Malone — see London Prodigal

41

l>. 1,74) — it was originally called the Guardian — in
Hi 11-2 as the Prince passed through Cambridge in
his way to York, he was entertained with the repre-
sentation of the Guardian, which Cowley says was
neither written nor acted, but rough-drawn by him,
and repeated by the scholars. {Dr. Johnson.'}

Cutter is a much better play than the Guardian—
great part of the dialogue was written afresh — the
plot was improved, but not very materially altered.

Hamlet and Love and Honour were certainly re-
vived soon after Davenant opened his theatre — as
Dowries does not exactly say when a revived play was
performed, it is impossible to ascertain the point
precisely.

Hamlet. — Hamlet=Betterton : Ghost= Richards :
King=Lilliston : Horatio= Harris : Polonius=Lovel :
1st Grave digger= Underbill : Queen=Mrs. Daven-
port : Ophelia=Mrs. Saunderson : — no succeeding T.
for many years gained more money and reputation to
the company than this — (Downes) — Hamlet was one
of Better-ton's best parts.

Love and Honour was written by Davenant—
Alvaro (Prince of Savoy )=Betterton : Count Pros-
pero=Harris : Leonel (Prince of Parma)=Price :
Evandra (daughter of the Duke of Milan)=Mrs.
Davenport : — this play had a great run, and produced
to the company much gain and estimation from the
town — it was richly dressed, as on this occasion the
King, the Duke of York, and the Earl of Oxford,
gave their Coronation suits to Betterton, Harris, and
Price. (Downes.)

The most extravagant notions of Love and Hon-
our were in fashion for several years after the Resto-

ration of the stage — they had however begun to
prevail before the civil wars, as this play was printed
in 1649, and had been acted at Black Friars.

Feb. 18 1662. The Law against Lovers — this
play was written by Davenant — it is a bad alteration
of Measure for Measure, with the characters of Bene-
dick and Beatrice added to it, the greater part how-
ever of what they say is not from Shakspeare—
Davenant has added a good deal of his own, most of
which, particularly the serious part, is poor stuff in
comparison with the original — enough however of
Shakspeare is retained to make this a good play on
the whole — Davenant makes many unnecessary
changes, merely from caprice — thus — " Maiden no
remedy" is changed to " Virgin no remedy."

March 1. Romeo and Juliet was revived —
Romeo=Harris: Mercutio=Betterton : Count Paris=
Price: Friar Lawrence= Richards : Sampson= Sand-
ford: Gregory = Underbill: Juliet=Mrs. Saunderson:
Count Paris' Wife=Mrs. Holden : — this play was,
after some time, altered by James Howard, so as to
preserve Romeo and Juliet alive, and to end happily
— it was played alternately, as a Tragedy one day,
and as a Tragi-Cornedy another, for several times
together — (Downes} — it is not easy to conceive what
Downes means by Count Paris' Wife ; nor how the
ludicrous story, which he relates of Mrs. Holden
(and which must not be quoted) could have happened
— Count Paris Wife might possibly be introduced in
the altered play.

Oct. 20. Villain. Malignii (the Villain)= Sand-
ford: Brisac=Betterton: Beaupres= Harris: Boute-
feu= Young : Governour of Tours =Lilliston : Co-

T. R. 1663. 43

lignii (a young scrivener)= Price : Belmont=Mrs.
Betterton, late Saunderson : — Downes does not tell
us who acted the other characters — most of the prin-
cipal characters are officers of a regiment quartered
at Tours — this T. was written by Porter — it is a
good play — the language is easy and natural, seldom
rising above serious Comedy — the plot is probably
taken from some French play or story — the Villain
succeeded 10 days with a full house to the last.

THEATRE ROYAL 1663.

Killegrew, and the principal actors in his company,
obtained from the Earl of Bedford a lease for 41
years, of a piece of ground, lying in the parishes of
St. Martin in the Fields, and St. Paul's Covent Gar-
den, known by the name of the Riding Yard — the
lessees according to a condition of the lease, ex-
pended £1500 in erecting a Theatre, and were to
pay a rent of £50 for the ground — the Theatre was
112 feet in length from east to west, and 59 feet in
breadth from north to south. (Dramatic Censor
far 1811.)

Downes calls this theatre from the first the theatre
in Drury Lane — but it was not so called originally

the usual appellation of it was the Theatre Itoyal

simply — ShadwelPs Miser was printed 1672 — he
say8 — « it was the last play acted at the King's
" Theatre in Covent Garden before the fatal fire

44 T. R. 1663.

" there" — a new theatre was opened by the King's
Company in 1674 — each of these theatres was built
on the site where the modern theatre, called Drury
Lane, now stands — in the Epilogue to the Disap-
pointment, it is said—

" In Comedy, your little selves you meet,

" 'Tis Covent Garden* drawn in Bridges Street."

And in that to Sir Courtly Nice —

" Our Bridges Street is grown a strumpet fair."

Ariadne was printed in 1674 — it is said to have
been acted at the T. R. in Covent Garden.

I have not met with any play, which is expressly
said in the title page to have been acted in the Thea-
tre Royal in Drury Lane till after the division of the
Company in 1695 — nor am I aware that the Theatre
is called Drury Lane in any preface — even in 1704
Love the Leveller is said in the title page to have
been acted at the Theatre Royal in Bridges Street,
Covent Garden— On the £5th of Jan. 1719-20, an
Order for Silence was issued from the Chamber-
lain's Office — it is directed to the Managers of the
Theatre in Drury Lane in Covent Garden.

The new Theatre was opened April 8th with the
Humorous Lieutenant. Demetrius = Hart : Lieu-
tenant = Clun : Leontius = Mohun : Antigonus = Win-
tersel: Seleucus = Burt : Celia = Mrs. Marshall:—
this play was acted 12 days successively. (Downes.}

* In several Comedies the scene is said to lie in Covent Gar-
den— it appears to have been formerly a place of fashionable
resort.

L. i. F. 1663. 45

— It is one of the best of Beaumont and Fletcher's
plays — it is founded on history — most of the princi-
pal male characters really existed — even the Hu-
morous Lieutenant is not a fictitious character-
see the beginning of Plutarch's life of Pelopidas.

Rule a Wife and have a Wife. Leon = Mohun :
Michael Perez = Hart : Cacafogo = Clun : Don Juan
= Burt: Estifania = Mrs. Boutel : Margarita = Mrs.
Marshal : — (Dawnes) — this cast must be that of 1663,
or 1664 — as Clun's and Mrs. BoutePs names appear
in it.

As Downes is much less circumstantial as to the
performances at the Theatre Royal than he is as to
those of the other Theatre, the account of T. R.
must of course be more defective — he says in his
preface — " As to the actors of the King's company,
" I have the account from Charles Booth, sometimes
" Book-keeper there ; if I a little deviate, as to the
" successive order and exact time of their plays per-
" formances, I beg pardon of the reader."

L. I. F. 1663.

Jan. between 5 and 12. Adventures of Five Hours
—first time — Don Henrique = Betterton : Don An-
tonio = Harris : Don Octavio = Young : Diego = Un -
derhill: Ernesto = Sandford : Silvio = Price : Corri-
gidor= Smith : Camilla = Mrs. Davenport : Porcia =
Mrs. Betterton: Flora = Mrs. Long: — {Downes}—

46 L. i. F. 1663.

this T. C. was written by Sir Samuel Tuke — it is
taken from Calderon, whose piece was recommended
to the author by Charles the 2d — the plot is very
good, but the dialogue, which is in blank verse arid
rhyme, is not capital — it was well dressed and well
acted, and performed 13 days successively.

Twelfth Night. Malvolio=Lovel: Sir Andrew
Aguecheek= Harris: Sir Toby Belch = Betterton :
Clown= Underbill: Viola is omitted: Olivia=Mrs.
Gibbs : — this play was revived with very great suc-
cess, all the parts being justly acted — it was brought
out on Twelfth Night. (Downes.)

May 28. Slighted Maid — not first time — Iberio=
Bettertzm : Salerno =Harris : Peralta= Underbill :
Arviedo=Cademan : Filomarini=Medburn : Lugo=
Smith: Corbulo= Young: Vindex= Sandford : Gio-
seppe=Noke the elder: Decio= Mrs. Gibbs: Pyra-
mena=Mrs. Bettertwn: Diacelia=Mrs. Long: Lean-
dra=Mrs. Williams: Menanthe=Noke the younger :
Joan=Mr. Turner : — this is a pretty good C. by Sir
Robert Stapleton — Dryden, in the preface to Troilus
and Cressida, speaking of the Slighted Maid, says—
" there is no scene in the 1st act, which might not
" by as good reason be in the 5th" — Dryden's asser-
tion is utterly void of foundation — the plot is com-
plicated, but regularly conducted. — As James Noke
(the celebrated actor) began with playing female
parts, he was no doubt the younger brother, and
Robert Noke the elder — Dowries calls them from the
first Noke*, but it is certain that their name was at this
time Noke — see Nokes at the end of T. R. 1692.

Stepmother. Filamor=Bettertwn : Adolph= Young:
Fromund =Price : Tetrick = Underbill : Crispus=

L. I. F. 1663. 47

Smith: Sylvanus= Sandford : Capito=Medburn :
Gracchus=Lovell : Sergius=Robert Noke : Pontia
= Mrs. Williams : Brianella=Mrs. Long: Csesarina
=Mrs. Bettertwn : Violinda=Mrs. Davies : — the scene
lies in Britain, at the time when it was just aban-
doned by the Romans on the downfall of the West-
ern Empire — this T. C. was written by Sir Robert
Stapleton — the serious scenes of it are bad — the pom-
pous manner in which the two principalities of Ve-
rulam and Maiden are spoken of, seems to be ridi-
culed by the Duke of Buckingham when he makes
two Kings of such a place as Brentford — the Step-
mother was licensed Dec. 26, 1663.

Many of the plays in the time of Charles the 2d
are said to have been licensed by Sir Roger L'Es-
trange — that is licensed for printing, not for acting —
Sir R. L'Estrange seems to have had the superin-
tendence of the press in general, but to have had no
connexion with the stage in particular — Burnet says
— " The act that restrained the press was to last
" only to the end of the first session of the next par-
" liament, that should meet after that was dissolved :
" so now, upon the end of the session, the act not
" being revived, the press was open" — that is in
1679.

Mustapha — there is some little difficulty in ascer-
taining when this play was first acted — Downes says
that Mrs. Davenport acted Roxalana originally — and
there is good reason to suppose that she did not act
after 1663 — when Pepys saw Mustapha in 1665, Mrs.
Betterton was Roxalana — he does not mention Mus-
tapha as a new play — Downes places Mustapha as
the last new play in 1665 — but the order in which

48 L. i. F. 1663.

he places the plays is not always to be relied on—
on the whole it seems most probable, that Mustapha
was brought out in 1663 — that it was laid aside when
Mrs. Davenport left the stage— and revived in 1665.
Mrs. Davenport's name does not occur after this
year — the story which Cur 11 and Davies tell of Mrs.
Marshal was probably true of Mrs. Davenport — the
Memoirs of the Count de Grammont were translated
by Boyer in 1714 — at p. 246, we have a story, which
is briefly as follows — The Earl of Oxford fell in love
with a handsome Player, belonging to the Duke's
Theatre, who acted to perfection, particularly the
part of Roxana in the Rival Queens, insomuch that
she was afterwards called by that name — the Earl,
not having succeeded in his attempts to seduce her,
had recourse to the stratagem of marrying her by a
sham Parson — when the cheat was discovered, she
threw herself in vain at the King's feet, to demand
justice — she was fain to rise up again without redress,
and to be contented with an annuity of £300 — Curll,
in his History of the Stage 1741, says Mrs. Marshall
was more known by the name of Roxalana from her
acting that part — he then gives an account of her
sham marriage with the Earl of Oxford — it does not
however appear that Mrs. Marshall acted Roxalana
in any play — Davies in his Miscellanies, vol. 3. p. 278,
repeats the story of Mrs. Marshall and Lord Oxford
— Malone supposes that Roxalana was Mrs. Daven-
port, who acted Roxalana in the Siege of Rhodes at
L. I. F. in 1661, and Roxalana in Mustapha in 1663
— this is highly probable — in a new translation of the
Memoirs which was published in 1818, we find a
material difference from Boyer's translation — we

T. R. 1664. 4-9

there read that the actress, of whom the story is told,
had acted — "Roxana in a very fashionable new play"

— Boyer appears to have falsified the text in a most
unjustifiable manner — he ought to have translated
the words as he found them, and then have given his
supposed information, as to the name of the play in
a note — the author of the Memoirs had evidently
forgotten the name of the play — he seems to have
called the actress Roxana, by mistake, instead of
Roxalana — the name of Roxana does not occur in
any play that came out between the Restoration and
1667, when the Rival Queens was printed — an
actress in the Duke's Theatre could not possibly have
acted Roxana in the Rival Queens, as that play came
out at the King's Theatre — besides the Rival Queens
was not written till some years after the pretended
marriage — so that there seems no reason whatever
for supposing that the actress mentioned in the Me-
moirs was Mrs. Marshall — and there is the strongest
reason for concluding that she was Mrs. Davenport

— Downes expressly says that Mrs. Davenport was
crept the stage by love — she was probably decoyed into
a sham marriage — and, as she had an annuity of
£300 a year, she did not return to the stage — the
very fashionable play was, in all probability, Mustapha.

T. R. 1664.

June 1. Pepys saw the Silent Woman — the cast
which Downes gives us was probably the cast of this

VOL. I. E

50 T. R 1664.

day — Morose=Cartwright : Truewit=Mohun : Sir
Amorous La Foole=Wintershall : Sir John Daw=
Shatterel : Capt. Otter = Lacy : Clerimont=Burt :
Sir Dauphine Eugenie=Kynaston : Epicoene=Mrs.
Knep : Mrs. Otter=Mrs. Corey : Lady Haughty=
Mrs. Rutter.

Aug. 2. Pepys saw Bartholomew Fair.

3. Pepys saw the Alchemist — the cast which
Downes gives us was probably the cast of this day—
Face=Mohuri: Subtle=Wintershall: Ananias=Lacy:
Sir Epicure Mammon=Cartwright : Tribulation =
Bateman: Surly=Burt: Dol. Common = Mrs. Corey:
Dame Pliant=Mrs. Rutter : — Downes omits Love-
wit, Dapper, Drugger and Kastril — Pepys says that
Cluri acted the Alchemist — perhaps he ought to have
said in the Alchemist — Clun was murdered on this
night — he had been drinking, and was going home
with his mistress — he was killed near Kentish Town,
and thrown into a ditch — Pepys considered him as
one of the best actors in the King's Company, and
his part in the Alchemist as one of his best parts.

4. Rival Ladies — not first time — this is a mode-
rate play by Dryden — it is printed without the names
of the performers — there is some resemblance between
this play and Love's Pilgrimage — Dryden perhaps
borrowed some hints from the novel of Cervantes, on
which Fletcher's play is founded — in this piece, as
Dr. Johnson observes, Dryden made his first essay in
rhyme — however some few scenes only are thus
written — in the Prologue Dryden says of himself—

" He's bound to please, not to write well, and
knows

" There is a mode in plays, as well as clothes."

LI. F. 1664. 51

To this maxim he adhered pretty steadily.

Carnival — this is a good C. by Porter— it is printed
without the names of the performers.

Oct. 1 1 . Pepys says—" I am told that the Par-
" son's Wedding is acted by nothing but women at
" the King's house."

L. I. F. 1664.

Jan. 1. Pepys saw Henry the 8th — it seems to
have been revived in Dec. — King=Betterton : Wol-
sey= Harris: Buckingham = Smith: Nor folk =Nokes:
Suffolk= Lilliston : Campeius and Crarimer=Med-
bourne : Gardiner= Underbill : Surrey = Young :
Lord Sands = Price : Queen Katharine= Mrs. Bet-
terton : — this play was revived with great care, the
scenes and dresses were new, every part was well
acted, particularly the King and Cardinal — it was
performed 15 days together with general applause.
(Dowries.)

April 15. The German Princess — this play was
no doubt the Witty Combat, which was printed in
1663 with the following title — " A Witty Combat, or
" the Female Victor, a Trage-Comedy, as it was
" acted by persons of quality in Whitsun-week with
" great applause — written by T. P. Gent." — the
quality of the persons who acted was not very great
— the heroine was tried for bigamy in June 1663,
and acquitted for want of evidence — she seems to
have published her case soon after her acquittal— of

E2

52 L. i. F. 1664.

course she told her story as much to her own advan-
tage as she could — it was briefly as follows — She took
up her abode at the Exchange Tavern in March 1663
—she gradually intimated, that she was a person of
greater rank and fortune than she appeared to be—
the woman of the house, at last believing her to be
a German Princess, introduced her brother, John
Carleton, to her — he was a lawyer's clerk, but he
afterwards pretended to be a Lord, and that he had
made his first appearance to her in disguise — on
Easter Monday they were married.

T. P. has dramatized the story, adding some few
characters of no importance — Madam Moders, alias
Mary Carleton, concludes the play with an address
to the audience — this is after her trial — the author
evidently considered her as a swindler. A second
edition of her life was published without a date, but
doubtless soon after her execution on Jan. 22 1678
—an Appendix is added — the writer of which says
— " She was so famous, that, I believe, had she been
" exposed to public view for profit, she might have
" raised £500 of those that would have given six-
" pence and a shilling a piece to see her ; it was the
" only talk for all the places of public resort in and
" near London."

From the time of her acquittal, she seems to have
chiefly supported herself by swindling — she was
hanged for stealing a piece of plate — the writer of
the Appendix adds — " She appeared for a short time
" upon the Duke's Theatre, and once performed in a
" play, after her own name the German Princess ;
" there was a great confluence of people to behold
" her, yet she did not perform so well as was ex-

L. 1. 1?. 1664. 53

" pected, but there was great applause bestowed upon
" her."

Pepys says — " To the Duke's house, and there saw
" the German Princess, acted by the woman herself;
" but never was any thing so well done in earnest,
" worse performed in jest upon the stage."

Aug. 13. Henry 5th — this play was written by
the Earl of Orrery — it was printed in 1668 with the
following cast — King Henry = Harris: Owen Tudor=
Betterton : Duke of Burgundy = Smith : Duke of
Bedford= Underbill : Count of Blamount=Med-
bourne : Dauphin= Young : Constable of Frarice=
James Noke : Queen of France=Mrs. Long : Prin-
cess Katherine=Mrs. Betterton : Anne of Burgundy
=Mrs. Davis : — Downes by mistake states this play
as not coming out till 1667, when the theatre was re-
opened after the plague — at which time it was only
revived — he represents Medbourne as acting Cler-
mont — and says, the play was excellently performed,
and acted 10 days successively — Lord Orrery's piece
is written in rhyme — it has not the least resemblance
to Shakspeare's Henry the 5th, except in the histori-
cal part of it — the King and Owen Tudor are sworn
friends — they are both in love with the Princess
Katherine — the love scenes, so far as the King is con-
cerned, are absurd to the last degree.

Nov. 5. Macbeth — Betterton acted Macbeth.
(Dates from Pepys.)

Love's Kingdom — this Pastoral Tragi-Comedy
was written by Flecknoe —Downes says it was acted
3 times —Flecknoe printed it in 1664 — he has annexed
to it a short discourse on the English Stage — Fleck-
noe's observations were published before Dryden

54 L. i. F. 1664.

began his Essay on Dramatic Poesie, and they per-
haps suggested to him the thought of writing more
fully on the same subject — if we may judge of Fleck-
noe's abilities from his Short Discourse and from
Love's Kingdom, he was not so dull a writer as
Dryden has represented him to be.

Comical Revenge, or Love in a Tub. Sir Frederick
Frolic= Harris : Dufoy= Price : Lord Beaufort =
Betterton : Col. Bruce = Smith : Sir Nicholas Cully
(one of Oliver's Knights) = Nokes : Palmer = Under-
bill : Wheadle = Sandford : Louis =Norris: Widow
Rich = Mrs. Long : Graci aria = Mrs. Betterton : Au-
relia = Mrs. Davis : — this play brought £1000 to the
house in the course of a month, and gained the com-
pany more reputation than any preceding Comedy —
(Dowries^) — it was written by Etheredge, and licensed
for printing July 8 1664 — the serious scenes are in
rhyme and dull — the comic characters are good.

The Rivals was acted about this time, but not
printed till 1668 — this play is the Two Noble Kins-
men materially altered by Davenant — Theocles (Ar-
cite) = Harris : Philander (Palamon) = Betterton :
Arcon the Prince of Arcadia (Theseus) = Young :
Provost = Sandford : Polynices = Smith : Cunopes
the Jailor = Underbill : Celania = Mrs. Davis : He-
raclia (Emilia) = Mrs. Shadwell : Leucippe (Cela-
nia's maid) = Mrs. Long.

The Two Noble Kinsmen was written by Fletcher
— there are many beautiful scenes in it, but there is
a most absurd mixture of Gothic manners with a
Grecian story — the plot is taken from Chaucer, but
that part of it which concerns the Three Queens
comes originally from the Supplicants of Euripides.

L. i. F. 1664. 55

Davenant's alteration is on the whole a bad one
— he has judiciously omitted the worst parts of
Fletcher's play — but his language is very inferiour to
that of Fletcher, and the character of Celania is less
interesting than that of the Jailor's Daughter in the
original — the Rivals was excellently performed, and
acted for 9 days without interruption — Price intro-
duced the Morris dance by a short comical Prologue,
which gained him the universal applause of the town

—Mrs. Davis sang several songs, particularly " My
" lodging it is on the cold ground :" — Downes says

— " She performed that song so charmingly, that not
" long after, it raised her from her bed on the cold
" ground, to a bed royal." — Downes is not correct

—Charles the 2d did not take Mrs. Davis into keep-
ing till 1668.

The Dutchess of Malfy, by Webster, was revived
about this time — Bosola = Betterton : Duke Ferdi-
nand = Harris : Antonio = Smith : Cardinal (brother
to Duke Ferdinand and the Dutchess) = Young :
Dutchess = Mrs. Betterton: Julia (the Cardinal's
mistress) = Mrs. Gibbs: — this play was excellently
acted in all its parts — particularly Bosola and Ferdi-
nand— it filled the house 8 days successively, and
proved one of the best stock Tragedies — (Downes)
— it is on the whole a good play— many parts of it
are well written — some parts of it very poorly — the
Dutchess, who is a widow, marries Antonio, the
steward of her household — her brothers are so en-
raged at this, that they employ Bosola to murder her
and her children— the Editor of the B. D. says that
the scene lies at Madrid — he would not have said
this, if he had read the play — the scene really lies at

56 T. R. 1665.

Malfy, Rome, arid other places in Italy— in the edi-
tion of 1678 Mrs. ShadwelPs name stands to the
part of Julia.

T. R. 1665.

Jan. 14. — Pepys saw the Fox — the cast was pro-
bably that which Dowries gives us — Volpone =
Mohun : Mosca = Hart : Corbaccio — Cartwright :
Voltore =Shatterel : Corvino = Burt : Sir Politick
Would-be = Lacy : Peregrine = Kynaston : Lady
Would-be = Mrs. Corey : Celia = Mrs. Marshal.

In 1665 Sir Robert Howard published 4 of his
plays — they had all of them been acted at this
theatre, but none of them have the names of the
performers to the characters.

1. Surprisal — as two ladies are going to a nun-
nery, they are surprised, and placed in confinement

—hence the title of the play—it is on the whole a
moderate piece — the scene lies at Sienna — the Sur-
prisal was revived at D. L. Aug. 19, 1715.

2. Committee. Teague = Lacy : — this is very su-
periour to the rest of Howard's plays— the political
part of it, which no doubt contributed to its popu-
larity originally, now hangs as a dead weight upon it,
as the greater part of an audience is not acquainted
with the history and manners of the time a little
preceding the Restoration— the characters of Teague
and Obediah have singular merit, and this C. kept

T. R. 1665. 57

possession of the stage for many years — Pepys saw
the Committee June 12 1663.

3. Indian Queen — this is completely a Heroick
Tragedy — unnatural, but never dull — Zempoalla,
the Indian Queen, is a good acting character —
Howard makes her give a good definition of Ho-
nour, as it was then understood—

" Honour is but an itch in youthful blood
" Of doing acts extravagantly good."

When the Ynca asks Montezuma what reward he
shall give him, Montezuma replies—

" I beg not empires, those my sword can gain ;

******

" I only ask from fair Orazia's eyes
" To reap the fruit of all my victories."

Fielding makes Tom Thumb say—

" I ask not kingdoms, I can conquer those,

* * * * I ask but this,

" To sun myself in Huncamunca's eyes."

Zempoalla, when her son has stabbed himself,
exclaims—

" Some water there — Not one stirs from his place;
" I'll use my tears to sprinkle on his face."

Many passages however are well written.

Mrs. Behn, in her history of Oronooko, describes
the country of Surinam, where she resided for some
time — she says — " We trade with the natives for
" feathers, which they order into all shapes, make
" themselves little short habits of 'em, and glorious
" wreaths for their heads, necks, arms and legs,

58 T. R. 1665.

" whose tinctures are unconceivable. I had a set
" of these presented to me, and I gave 'em to the
" King's Theatre ; it was the dress of the Indian
" Queen, infinitely admir'd by persons of quality;
" and was inimitable."

The Indian Queen came out in Jan. 1664 — Mrs.
Marshall acted the Indian Queen. (Pepys.)

4. Vestal Virgin, or the Roman Ladies.— this is
a poor T.— Howard seems to have been superlatively
ignorant of Roman manners — in this play as origi-
nally written all the principal characters but two are
killed, and just as the Tag is spoken, Lacy entered
abruptly to speak the Epilogue —

" By your leave Gentlemen

" After a sad and dismal Tragedy,
" I do suppose that few expected me."

An alteration was afterwards made in the con-
clusion of the 4th act, and almost all the 5th was
written afresh— according to this change, only one
of the characters dies — Lacy came on as before, but
finding most of them alive, he said, there was no
use for him ; and that the Poet had spoilt his Epi-
logue.

Old Troop, or Monsieur Raggou — this Farce in 5
acts was written by Lacy, who no doubt acted Rag-
gou— the piece however is printed without the names
of the performers — most of the characters are officers
or privates in a Troop of Horse, in the service of
Charles the 1st, at the time of the civil wars — some
Roundheads are also introduced — it is remarkable
that Lacy should represent the subalterns in this
Troop, as plundering the country in a shameful man-

T. R. 1665. 59

rier — Raggou is one of the Troopers — he commits
such depredations at his quarters that he is afraid of
hoing hanged — he puts on various disguises, and at
last obtains a pardon on condition of marrying Dol
Troop, that is Dol Common to the whole troop —
the humour of this piece is low, and professedly
adapted to the taste of the gallery rather than the
pit — Lacy says in the Prologue —

" Defend me, O friends of th' upper region
" From the hard censure of this lower legion ;
" I was in hope that I should only see
" My worthy crew of th' upper Gallerie :
" What made you Wits so spightfully to come?
" To tell you true, I'd rather had your room."

Old Troop was not published till 1672, but it is
sufficiently clear that it was acted before the Vestal
Virgin, as in the first Epilogue to that play Lacy
speaks of himself as having been once a Poet — in
the second he says —

" Well — if nothing pleases but variety,

" I'll turn Rageu into a Tragedy.

" When Lacy, like a whining Lover, dies,

" Tho* you hate Tragedies, 'twill wet your eyes.

" Letters of Marque are granted every where —

********

" Which makes poets and Dutchmen certain prize.
" All that I wish is, that the Dutch may fight
" With as ill fortune, as we poets write."

These lines must have been written soon after the
declaration of war against the Dutch, which was
made the beginning of 1065 N. S.

60 T. R. 1665.

Indian Emperour, or the Conquest of Mexico.—
Indians— Montezuma — Mohun : Odmar and Guyo-
raar (his sons)=Wintersel and Kynaston: High
Priest = Cartwright : Almeria = Mrs. Marshal : Cy-
daria (Montezuma's daughter) = Mrs. Gwyn: — Spa-
niards— Cortes = Hart : Vasquez = Burt : — Downes
does not tell us who acted the other characters — this
T. was not published till 1667, but it was entered on
the stationers' books May 26 1665 — (Malone) — be-
fore which time it had certainly been acted — Dryden
meant it as a sort of Sequel to the Indian Queen, of
which he had written a part — the Indian Emperour
is in rhyme — the plot arid language are unnatural,
but not dull — the description of night and of the first
appearance of the Spanish fleet, with some other
passages, are well written — when Vasquez has killed
Odmar he offers his friendship to Guyomar, who
replies —

" Friendship with him whose hand did Odmar kill!
" Base as he was, he was my brother still."

Quin made a parody on the last line, and perhaps
spoke it on the stage—

" Tho' he was odd, yet thou art odder still."

Odmar mentions his having killed a horse soldier —

" I kill'd a double man; the one half lay
" Upon the ground, the other ran away."

These lines are quoted in the Married Beau, of
course as a quiz.

Dryden says in the Prologue, alluding to the Indian
Queen —

L. i. F. 1665. 61

" The scenes are old, the habits are the same
" We wore last year, before the Spaniards came."

He means before the Spaniards arrived in America.

Dryden's advertisement pointing out the connexion
between this play and the Indian Queen, seems to
have been printed and distributed to the audience—
it is supposed that Bayes means to ridicule this cir-
cumstance, when he says — " I have printed above a
" hundred sheets to insinuate the plot into the
" boxes."

Dryden tells us in his Essay on Dramatick Poesie,
that no serious plays since the Restoration had been
more successful than the Siege of Rhodes — Mustapha
— the Indian Queen and Indian Emperour.

L. I. F. 1665.

April 3. Pepys says — " To a play of my Lord
" Orrery's, called Mustapha" — the cast was — Soly-
man the Magnificent — Betterton : Mustapha and
Zanger (his sons) Harris and Smith : Cardinal =
Young : Roxalana = Mrs. Betterton : Queen of Hun-
gary = Mrs. Davis : — Mustapha was gotten up with
great care, and produced vast profit to the company
—(Dmuws) — it is written in rhyme, and on the
whole is far from a bad play — Mustapha and Zanger
are not only brothers, but sworn friends — they fall in
love with the Queen of Hungary — Solyman is jealous

62 L. i. F. 1665.

of Mustapha's popularity, and causes him to be put
to death — Zanger convinces his father of Mustapha's
innocence, and then stabs himself — Solyman is di-
vorced from Roxalana — and she is sent into banish
ment — Dry den properly observes, that this T. should
have ended with the death of Zanger — the last scene
is flat.

The theatre was closed in May, at which time the
Plague began to rage — the last play acted was Mus-
tapha — Downes says, that besides the plays already
mentioned by him, several others, both old and new,
were acted at L. I. F. between 1662 and 1665 — as a
Trick to catch the old one — the Sparagus Garden-
Wit in a Constable — Green's Tu quoque — King Lear
as written by Shakspeare, before Tate altered it—
the Slighted Maid — the Stepmother — the Law against
Lovers — 'Tis better than it was — Worse and Worse
—the Ghosts— Pandora.

A Trick to catch the old one is said to have been
printed in 1608 — it is a very good C. by Middletori
— the resemblance between this play and a New way
to'pay old debts is more than accidental — Massinger
has however greatly improved what he has borrowed
— in both the plays the kindness of the Uncle is
shown with a sinister view.

Sparagus Garden — this is a good C. by Brome—
it was printed in 1640 — the scene in the 3d act lies
in the Sparagus Garden — the Gardener's wife keeps
a house of accommodation.

Wit in a Constable — this is a good C. by Glap-
thorne — it was printed in 1640 — Busie, who is a
linen draper and Constable, sets up for a Wit — the
conclusion is brought about by his contrivance.

L. i. F. 1665. 63

Green's Tu quoque — this is a good C. by Cooke — it
appears from a passage in the play itself that it came
out at the Red Bull — it was originally called the
City Gallant, but the inimitable acting of Green in
the part of Bubble, whose answer to every compli-
ment is Tu quoque, occasioned the present title to be
added — it was printed with a figure of Green in the
titlepage, and with a label out of his mouth — Tu
quoque to you Sir. — (Biographia Dramatica) —
Green speaks of himself.

Scattergood. Let's go and see a play at the Globe.

Bubble. I care not, any whither, so the Clown have
a part ; for i' faith I am nobody without a fool.

Geraldine. Why then we'll to the Red Bull : they
say Green's a good Clown.

Bubble. Green ! Green's an ass.

Scattergood. Wherefore do you say so ?

Bubble. Indeed I ha' no reason, for they say he
is as like me as he can look.

'Tis better than it was — Worse and Worse-
Do wnes says — " these two Comedies were made out
" of the Spanish by the Earl of Bristol " — the Editor
of the B. D. tells us that neither of them is printed,
unless one of them should be Elvira, or the Worst
not always true, with a different title — this conjec-
ture is not improbable — but, as a considerable part
of the plot of Elvira takes place before the play be-
gins, it seems more probable that Lord Bristol con-
solidated his two plays, and printed them as Elvira —
Elvira is a very good C. — it abounds in intrigue and
bustle ; and the language is very fair.

64 L. i. F. 1665.

Ghosts — Dowries says that this play was written
by Holden — it is supposed not to have been printed.

Pandora, or the Converts — this C., by Sir William
Killegrew, is very well written, but it wants incident
— Pandora declares for a single life, but is prevailed
on to suffer Clearchus to make love to her in jest — the
jest is continued so long that it turns to earnest —
Pandora is converted from her determination against
marriage, and Clearchus from his wild courses.

Playhouse to be let, by Davenant — among the
other plays which Downes does not mention by
name, this was one. — It was certainly acted after
the opening of the Theatre Royal, and probably be-
fore the Step-mother, as the Prologue to that play
says—

" What's here ? so many noble persons met ?
" Nay then I see, this house will not be let."

Act 1st is an Introduction.

Act 2d is the Cocu Imaginaire supposed to be
acted by French performers in broken English — it
comprehends the principal incidents in All in the
Wrong.

Act 3d is the History of Sir Francis Drake — pro-
bably represented before the Restoration.

Act 4th is the Cruelty of the Spaniards in Peru—
certainly represented before the Restoration.

Act 5th is a short Burlesque Tragedy between
Caesar, Anthony, Cleopatra, &c.

The 1st act is by far the best — in the course of it,
it is said that the theatre in Vere Street is to be let
— the Epilogue concludes thus—

T. n. 1666. (J5

" Therefore be pleas'd to think, that you are all
" Behind the Row, which men stile Portugal.
" The title at our doors was that which drew
" You hither, by the charm of being new.
" You'll spoil the jest, unless the play succeed ;
" For then we may — e'en let our house indeed"

The 2d line points out the side of Lincoln's Inn
Fields on which the theatre was built — this theatre,
in the title-pages of the Slighted Maid and the Step-
mother, is called the theatre in Little Lincoln's Inn
Fields — it is so called by Langbaine also.

Joseph Price's name does not occur after this
year — Downes calls him an inimitable sprightly
actor, and speaks highly of him in Colignii in the
Villain, and Dufoy in the Comical Revenge.

T. R. 1666.

Nov. 20. Pepys says — " To Church, it being
" thanksgiving day for the cessation of the plague ;
" but the town do say that it is hastened before
" the plague is quite over, there being some people
" still ill of it, but only to get ground of plays to be
" publickly acted, which the Bishops would not suffer
" till the plague was over."

Dec. 7- Maid's Tragedy — Pepys says that the
Younger Mrs. Marshal acted — probably Aspatia—

VOL. I. F

66 L. i. F. 1666.

the usual cast was — Amintor = Hart : Melantius =
Mohun : King = Wintershall : Calianax = Shatterel :
Evadne = Mrs. Marshal: Aspatia=Mrs. Boutel :—
(Downes) — Rymer particularly praises Hart and
Mohun in Amintor and Melantius — " there," says
he, " we have our Roscius and jEsopus both on the
" stage together."

8. English Mounsieur — this is a tolerable C. by
the Hon. James Howard — it was not printed till
1674, and then without the names of the performers
to the D. P. — Pepys says that the women acted very
well, but above all, little Nelly — she doubtless acted
Lady Wealthy — Lacy and Hart probably Frenchlove
and Wellbred.

27. Scornful Lady — the cast of the Scornful
Lady, which Downes gives us, was probably the
cast of this day — Elder Loveless = Burt : Younger
Loveless =Kynaston : Welford=Hart: Sir Roger
= Lacy: Savil is omitted: the Lady=Mrs. Mar-
shal: Abigail = Mrs. Corey: Martha = Mrs. Rutter:
— this is a very good C. by Beaumont and Fletcher-
it seems to have been frequently acted from the time
of the Restoration till Mrs. Oldfield's death.

L. I. F. 1666.

Downes says — " The company had discontinued to
" act for a year and half— they, by command, began
" to play again, and acted Mustapha at Court the

T. R. 1667. 67

" Christmas after the fire in 16G6 — and from that
" time they continued to perform at the theatre"
Downes is not correct — Pepys says, on the 7th of
Dec., that both houses had acted about 14 days.

T. R. 1667.

Jan. 2. Custom of the Country revived.

24. Goblins revived — this is a good C. and very
superiour to Suckling's other plays, both as to plot and
language.

Feb. 5. Chances — the Chances was written by
Beaumont and Fletcher — it was in all probability
revived at this time with the alterations made in it
by Villiers Duke of Buckingham — the first three acts
of the original are excellent, but the last two are very
inferiour — the Duke, by extending the small parts of
the 2d Constantia and her mother, has added two
acts quite equal to the first three — this is perhaps the
happiest material alteration of any old play ever
made — the Chances on its revival was acted with
extraordinary applause — (Langbaine) — Don John
was one of Hart's best characters. (Downes.)

March 2. Secret Love, or the Maiden Queen.
Philocles= Major Mohun: Lysimantes=Burt: Cela-
don=Hart : Queen of Sicily =Mrs. Marshal : Flo-
rimel=Mrs. Gwyn : Flavia=Mrs. F. Davenport :
Asteria=Mrs. Knep : Candiope~-Mrs. Quin : Melissa=
Mrs. Cory : Olinda=Mrs. Rutter : Sabina=Mrs. E.
Davenport : — this T. C. was written by Dryden — the

F2

68 T. R. 1 667.

serious scenes have little to recommend them either
in the plot or language — the comic scenes are very
good — Pepys speaks in the highest terms of Nell
Gwyn's acting.

Wild Gallant was acted in its improved state — it
was still but a moderate C. — in the course of it, Lord
Nonsuch is made to believe, that he himself with the
Coachman and Man Cook are all with child — this
appears at first too absurd even for Farce — the ab-
surdity however is considerably diminished by a fact,
which Steevens relates in a note on the 5th scene of
the Yorkshire Tragedy — " Dr. Felling, Chaplain to
" Charles the 2d, having studied himself into the
" disorder of mind vulgarly called the hyp (for he
" rarely quitted his study except during dinner time)
" between the age of 40 and 50 imagined himself to
" be pregnant, and forbore all manner of exercise,
" lest motion should prove injurious to his ideal
" burden — nor did the whim evaporate, till his wife
" assured him she was really in his supposed condi-
" tion — this lady was masculine and large boned in
" the extreme, and Charles the 2d, being informed
" of the strange conceit adopted by his chaplain, de-
" sired to see her — he did— and as she quitted his
" presence, he exclaimed with a good round oath,
" that * if any woman could get her husband with
" child, it must be Mrs. Felling ' —the precise time
of Dr. Felling's supposed pregnancy does not appear
—but if it happened before 1667, Dryden no doubt
availed himself of a circumstance, which must have
been the subject of general conversation at the time
— -Steevens does not seem to have been aware that
Dryden had introduced a similar incident in one of

T. R. 1667. 69

his plays — the Prologue, on the revival of this play,
begins with a most curious Simile, apologizes for not
having given a sufficient quantity of indecency in the
play as acted originally, and promises to give more
in future— it would be doing Dryden great injustice
not to acknowledge he was as good as his word.

April 9. Taming of the Shrew, or Sauny the
Scot— this was Lacy's alteration of Shakspeare's
play — Lacy acted Sauny.

15. Change of Crowns — this play is not printed
—it seems to have been a T. C. by E. Howard—
Pepys says — " Lacy acted a country gentleman, who
" abused the Court with all imaginable wit and plain-
" ness, about selling of places and doing every thing
" for money — the play took very well, but the King
" was very angry, and Lacy was committed to the
" Porter's Lodge " —it appears from several plays
that the Porter's Lodge was a sort of prison.

May 1. Love in a Maze revived — Pepys says that
Lacy acted the Clown's part admirably — and on
April 28 1668, he tells us that Wintershall acted Sir
Gervase Simple.

Barker, in his complete list of plays, represents
this play as not printed, and as written by an anony-
mous author — both the Editors of the B. D. say—
"this C. was acted at the King's Theatre about 1672
" — not printed, but mentioned by Do wnes" — Downes
by mentioning this C. by its second name has com-
pletely puzzled them ; yet they had all mentioned the
Changes or Love in a Maze — if they had looked into
Langbaine with a little more attention, they would
have found their mistake — the Changes is a tolerably
good C. — Langbaine, who had seen it acted, says —

70 T. R. 1667.

" this play has been received with success in our
" time ; Lacy acted Jonny Thump, Sir Gervase
" Simple's man, with general applause" — Downes
also mentions Jonny Thump as one of Lacy's best
parts — Thump however speaks but 41 lines, and they
do not seem to afford scope for capital acting — Lacy
might possibly make some addition to the character
—some few words must have been added, as it does
not appear from Shirley that Thump's name was
Jonny.

Aug. 15. Merry Wives of Windsor.

Oct. 5. Flora's Vagaries. Ludovico=Beeston :
Alberto=Mohun: Francisco=Burt: Grimani=Cart-
wright : Prospero=Bird : Friar=Loveday : Flora
Mrs. Gwyn : Otrante=Mrs. Nepp : — this C. is attri-
buted to Rhodes — it is a very good one — revived at
D. L. July 26 1715.

19. Black Prince — first time — Lord Delaware=
Hart : Edward the 3d=Moon : (Mohun) Black
Prince=Kynaston : John King of France= Winter-
shall : Count Guesclin=Burt : Plantagenet=Mrs.
Marshal : Alizia = Mrs. Gwyn : Sevina=Mrs. Napp :
—notwithstanding the great names of the D. P., yet
Love is the whole business of this play — it can hardly
be called a Tragedy, and it is a poor production—
Langbaine and the Editors of the B. D. refer us for
the plot to the English historians— but the play has
little to do with history, and in that little Lord Orrery
has been incorrect — Plantagenet, commonly called
Jane the Fair, was daughter to the Earl of Kent, and
widow to the Earl of Holland — but his lordship has
made her the widow of the Earl of Kent.

T. R. 1667. 71

A Prince of a royal house undertook a pilgrimage
to Jerusalem, under the humble name of Planta Ge-
nistee, which his illustrious successors afterwards
assumed for their surname, and were proud to be
called Plantagenet, (Gentleman's Magazine for Nov.
1734) or, as the name is spelt in old French, Planta-
genest.

The Prologue concludes with saying, that by the
defeat of the French all the world shall learn—

" Our Charles, not theirs, deserves the name of
Great."

Lockhart told Burnet, that when he was Embas-
sadour in France from Charles the 2d, he found
nothing of that regard, which was paid him in Crom-
well's time, when he was in the same situation.

When Charles the 2d in J672 was seeking some
colour for the Dutch War, he complained to Borel
their Embassadour, that they suffered his rebels to
live in their Provinces — Borel answered that it was
a maxim with the Dutch not to molest strangers,
who lived quietly in their country — The King put
him in mind how they had used both himself
and his Brother ; Borel in great simplicity replied,
" Ah, Sir, that was a different affair : Cromwell
" was a great man, and made himself feared, both
" by land and sea " —this was not very polite — the
King's answer was — " I will make myself feared in
" my turn " —but he was hardly as good as his word.
(Burnet) — Charles Fox observes — " his ambition
" was directed solely against his subjects, while he
" was completely indifferent concerning the figure
" which he or they might make in the general affairs

72 T. R. 1667.

" of Europe — his desire of power was more unmixed
" with the love of glory than that of any man whom
" history has recorded."

Nov. 2. Henry 4th. — the cast which Downes gives
us was probably the cast of this day — Fal staff = Cart-
wright: Hotspur — Hart : King = Wintershall : Prince
of Wales =. Burt : Poins = Shatterel.

Dec. 28. All Mistaken, or the Mad Couple — this
Comedy, or more properly Tragi-Comedy, was written
by the Hon. James Howard — it was not printed till
1672, and then without the names of the performers
to the D. P. — it appears from Pepys that Hart and
Nell Gwyn acted Philidor and Mirida, the Mad
Couple — Lacy probably acted Pinguister — the serious
scenes of this play are contemptible, both as to plot
and language — the comic scenes are very good.

Usurper, (licensed Aug. C2 1667) — this is an in-
different T. by the Hon. Edward Howard — it is
printed without the names of the performers — the
scene lies in Sicily — Langbaine hints that the cha-
racter of Damocles (the Usurper) is meant for Oliver
Cromwell — he might have added, that Hugo de Petra
was certainly meant for Hugh Peters, and Cleomenes
probably for General Monck.

July 13. Pepys says — " Mr. Pierce tells us that
" my Lord Buckhurst hath got Nell away from the
" King's house, and gives her £100 a year, so as she
" has sent her parts to the house, and will act no
" more."

Aug. 22. Pepys says — " To the King's house,
" where I find Nell come again, which I am glad of."

Oct. 26. Pepys says — " Mrs. Pierce tells me that
" the two Marshalls, at the King's house, are Stephen

L. i. F. 1667. 73

" Marshall's, the great Presbyterian's daughters : and
" that Nelly and Beck Marshall falling out the other
" day, the latter called the other my Lord Buckhurst's
" mistress : Nell answered her, « 1 was but one man's
" mistress, though I was brought up in a brothel to
" fill strong water to the gentlemen ; and you are a
" mistress to three or four, though a Presbyter's
" praying daughter ! ' J

L. I. F. 1667.

The first new play, after the theatre was re-opened,
was Cambyses. — Prexaspes = Harris : Cambyses =
Betterton : Smerdis=Young: Mandana = Mrs. Bet-
terton : — all the parts were well acted, and the play
was performed 6 days together with a full audience
—(Dmvnes) — this is a poor T. in rhyme — Settle has
founded it on Herodotus, making however great
alterations and additions — the bulk of the play con-
sists of love scenes.

Feb. 4. Pepys saw Heraclius — this was not Car-
lell's play, but another translation from Corneille by
an unknown author — Carlell expressly says, that he
expected his play to have been acted, but that it was
returned to him on this very day.

March 7- English Princess, or the Death of
Richard the 3d — this T., by Caryl, was excellently
acted in every part, particularly by Betterton in King
Richard, Harris in the Earl of Richmond, and Smith

74 L. i. F. 1667.

in Sir William Stanly ; they gained additional esti-
mation to themselves, as well as profit to the whole
company — Downes does not tell us who acted the
other characters — the scene lies at the head-quarters
of the King, arid of Richmond, when they are in
sight of one another — the author in his Prologue
says that he has founded his play on " plain Hollin-
" shead and down-right Stow" — the greater part of
it however consists of fictitious love scenes — the Eng-
lish Princess is Elizabeth the eldest daughter of
Edward the 4th — the character of Richard is flat —
and the play on the whole a poor one — not however
without some good lines in it — it is written in rhyme
—nothing is taken from Shakspeare.

Shakspeare, we know, formed 7 or 8 plays on
fables that had been unsuccessfully managed by other
poets, but no contemporary writer was daring enough
to enter the lists with him in his life time, or to
model into a drama a subject that had already em-
ployed his pen — (Malone) — Caryl seems to have
been one of the first, who ventured (as Dr. Warbur-
ton expresses it) to break a lance with Shakspeare
— for which he is not to be blamed too severely, as
he only exposed his own weakness, without doing
Shakspeare the slightest injury — the persons to be
reprobated are they who mangle one of Shakspeare's
plays, put in a good deal of their own trash, and
then have the effrontery to present the whole to the
public, as an improvement of the original — the Duke
of Buckingham, in the Prologue to the Chances as
altered by himself from Fletcher, very properly ob-
serves—

L. i. F. 1667. 75

" For if ill writing be a folly thought,
" Correcting ill is sure a greater fault."

March 21. Marriage Night — Pepys says — " the
" young men and women of the house having liberty
" to act for their own profit, on Wednesdays and
" Fridays in Lent, acted this play yesterday — it was
" so well taken, that they ventured to act it pub-
" lickly to day" — this T. was written by Lord Falk-
land, and printed in 1664 — there is nothing impro-
bable in the plot of this play, but it does not please
—there is no one character, which interests one
much, either for him or against him — the scene lies
in Castile — yet the Powder Plot and Lilly the Astro-
loger are mentioned.

30. Pepys saw the Humorous Lovers — this is a
moderate C. by the Duke of Newcastle — it has no
particular fault, but there is a want of plot and inci-
dent— it was not printed till 1677 — and then with-
out the names of the performers.

Aug. 16. Sir Martin Marr-all, or Feigned Inno-
cence— second time — Sir Martin =Nokes : Warner
= Harris: Moody— Underbill : Sir John Swallow =
Smith: Lord Dartmouth = Young : Mrs. Milliserit
= Mrs. Davis: Lady Dupe = Mrs. Norris : — Downes
does not tell us who acted the other characters — this
is a good C. — it is founded on the Blunderer of
Moliere, which was acted at Paris in 1658 — the
Duke of Newcastle gave Dryden a bare translation
of the French play — Dryden purposely adapted Sir
Martin to Nokes* manner of acting, and it proved
his best part — the rest of the play being well acted,
it gained the company more money than any pre-

76 L. i. F. 1667.

ceding Comedy, except the Comical Revenge—
(Dowries] — Dryden is greatly indebted to Moliere,
but he has made considerable alterations, and added
the underplot of Feigned Innocence — Sir Martin is a
better character than the Blunderer, and the best in-
cident in the play is not in the French piece-
Warner, who is a clever fellow, is servant to Sir
Martin — Sir Martin undertakes to give Millisent a
serenade — he holds a lute and pretends to play-
Warner plays and sings, but out of sight — after he
has done, Sir Martin continues to fumble on the
lute, and Millisent discovers the trick.

Sir Martin's fumbling with the lute, after Warner
has done playing, is alluded to by Warburton in his
Alliance of Church and State, and by Porson in his
Letters to Travis.

Nov. 7- The Tempest was revived on this day
with alterations and additions by Davenant and Dry-
den — their alteration on the whole was a very bad
one — the play was now called the Tempest, or the
Enchanted Island — it was printed in 1670 without
the names of the performers — but Underbill acted
Trincalo originally— see L. I. F. Oct. 13 1702— Da-
venant and Dryden, not content with Caliban and
Miranda, have introduced Sycorax, a Sister-Monster
— Hippolito, a man who has never seen a woman—
and Dorinda, a second daughter to Prospero — Trin-
calo is turned into the Boatswain, and speaks a good
deal of what belongs to Stephano — Stephano is re-
duced to a character of no great consequence, and
two other sailors, Ventoso and Mustacho, are added
— in the 4th act Hippolito is wounded — Ariel says
of him —

L. T. F. 1667. 77

" His soul stood almost at life's door, all bare
" And naked, shivering like boys upon a river's
" Bank, and loth to tempt the cold air, but I took
" Her, and stop'd her in."

Dorinda asks — " What is the soul ?"

Hip. " A small blue thing that runs about within

" us.

Dor. " Then I have seen it in a frosty morning run
" Smoaking from my mouth."

Such is the stuff thrust into Shakspeare's play—
Hippolito's cure is effected by anointing Ferdinand's
sword with weapon-salve — a Paradox was at one
time vented that wounds might be cured by applying
a certain salve to the weapon which did the mischief
—the famous John Hales of Eaton being asked his
opinion of this absurd notion, after seriously refuting
it, in a letter written in 1630, mentions a Neapoli-
tan Gentleman's nose which was cut out of his man's
arm, and observes that the change of one letter would
make the story pleasanter — he then speaks of a Jew
who laboured to persuade a Duke of Saxony that he
could perform strange cures by certain Hebrew words
taken out of the Psalms, and written on parchment;
the Duke suddenly drew his sword and wounded the
Jew, telling him to try the experiment on himself :
the poor Jew could find no help in his Hebrew cha-
racters, and was forced to betake himself to more
real surgery.

Hales concludes with saying, that if the advocates
for the weapon-salve were to meet with a Duke of
Saxony he would go near to cure them of their

78 L. i. F. 1667.

errors, however they might shift to cure their
wounds.

This wonderful salve is mentioned in the 2d act
of the Unfortunate Lovers — in the last scene of the
Young King — and more particularly in the Hollander
— Kemble in his alteration of the Tempest, at D.
L. Oct. 13 1789, retained the weapon-salve, tho*
probably few of the audience knew what was meant
by it.

Congreve, in the Way of the World, says of Sir
Wilful — " When he is drunk, he's as loving as the
" monster in the Tempest, and much after the same
" manner'* — the allusion is to Sycorax, not to Ca-
liban.

Downes, after mentioning Cambyses, says —
" After this the Company revived three of Shirley's
" Comedies, and also a Woman's a Weathercock —
" these plays were perfectly well acted, and proved
" beneficial to the company — Mrs. Long was parti-
" cularly approved of in Dulcino, when she appeared
" for the first time in man's habit." The words and
also are not in Downes as they ought to have been —
the want of them makes at first sight a slight diffi-
culty— Davies does not notice it, and Waldron solves
it in a dashing manner, by pi-'mtingfour for three, as
if Shirley had been the author of Woman's a Wea-
thercock— Waldron in his advertisement says — " the
" original edition is faithfully followed, evident errors
" excepted" — Waldroii's mistake is inexcusable, as
if he had looked into Langbaine, or the B. D., he
would have seen that Woman's a Weathercock was
not written by Shirley.

L.I.F. 1667. 79

Shirley's 3 plays were the Grateful Servant — the
Witty Fair One — and the School of Compliment.

1. Grateful Servant — Dulcino, who gives the title
to it, is in reality the Princess of Milan, but dis-
guised as a Page — the play is a good one.

2. Witty Fair One — Fowler is in love with Pene-
lope— she likes him, but does not like his wild dispo-
sition— in the 5th act, she affects to consider him as
dead — she receives him in mourning with a hearse
in the room — he says he is alive — she insists that he
is dead to virtue — he promises to reform — she con-
sents to marry him.

3. School of Compliment — Pepys saw this play
Aug. 5th — it was on the revival called Love Tricks,
or the School of Compliments — a School of Com-
pliment is opened in the 3d act — this was the first
play which Shirley wrote, but not the first which he
published — the Prologue says —

This play is

" The first fruits of a muse, that before this
" Never saluted audience, nor doth mean
" To swear himself a factor for the scene."

The success however which Shirley met with, in-
duced him to deal in the Drama to a large amount.

4. A Woman's a Weathercock — this is a pretty
good C. by Field — it seems to have given some
offence — and Field wrote another play, which he
called Amends for Ladies.

80 T. R. 1668.

T. R. 1668.

Jan. 1 1 . Pepys saw the Wild-Goose Chase.

Feb. 20. Great Favourite, or the Duke of Lerma,
This T. was written by Sir Robert Howard — it is
far from a bad play — the scene in which the Duke
appears as a Cardinal is a very good one — the plot
is taken from the Spanish Historians — there are no
performers' names to the D. P. — Howard is so un-
courtly as to make the Duke say—

" The memories of Princes are but graves,
" Where * * * merit lies forgotten."

Guy Patin defines a Cardinal to be — " Animal
" rubrum, callidum, et rapax — capax et vorax om-
" ilium beneficiorum." (Jortin.}

27. Virgin Martyr revived — this T. was written
by Massinger and Dekker — it is on the whole a good
play — some parts of it are very finely written — others
badly — the comic characters of Hircius and Spungius
have but little humour — the scene lies at Csesarea, in
the time of Diocletian's persecution — Pepys says that
Mrs. Marshal played very finely — she no doubt acted
the Virgin Martyr.

March 5. Brennoralt, or the Discontented Colonel
revived— this is a moderate T. by Suckling — the
scene lies in Poland — Suckling is very loyal —when
subjects complain of grievances they must be kept
under by force, or as Brennoralt expresses it — " what
" can be used but swords?"

Almerin in the last act says—

" Kill me, if't be, but to preserve my wits."

T. R. 1668. 81

May 16. Sea Voyage — Mrs. Knipp acted Aminta.
18. Never acted, the Mulberry Garden by
Sir Charles Sidley — this C. is printed without the
names of the performers — it is on the whole a poor
play — there is one pretty good scene — the play is sup-
posed to take place in London just before the Resto-
ration— in the 5th act, the General (Monck) is said
to have declared for the King—

" For in the General's breast (the noblest scene)
" The fate of England has transacted been :
" On Albion's throne he will our Monarch place,
" Our neighbour's terror and our nation's grace."

Monck, a very short time before the Restoration,
repeatedly declared, that he would live and die for
a commonwealth — see the end of the 2d vol. of
Ludlow's Memoirs — Pepys tells us (Nov. 4 1666)
that Monck had become mighty low in all people's
opinion — that he had received several slurs from
the King and the Duke of York— and that he was
grown a drunken sot.

Sidley was very clever in conversation, but as a
dramatic writer he does not shine — he was a hand-
some man and very like Kynaston, who was so proud
of the resemblance, that he got a suit of laced clothes
made exactly after one that Sir Charles had worn ;
and appeared in it in public — in order to punish his
vanity, Sidley hired a bravo, who accosting Kynaston
in St. James' Park in his fine suit, pretended to
mistake him for the Baronet, and caned him soundly
— Malone who relates this anecdote, was not aware
that Sidley had made it an incident in this play — it

VOL. I. G

82 T. R. 1668.

was perhaps meant by Sidley as a hint to Kynaston
— Kynaston was however so far from taking the hint,
that he seems to have proceeded to greater liberties
with Sir Charles— see T. R. Feb. 1 1669.

In 1663 when drunkenness was quite the fashion,
Sir Charles Sidley, Sir Thomas Ogle, and Lord
Buckhurst got so intoxicated at the Cock in Bow
Street, that they exhibited themselves in the Balcony
in very indecent postures, and gave great offence to
passengers by very unmannerly discharges upon them
—Sir Charles at last showed himself in his birth-day
suit, and adapted his conversation to his appearance
— in consequence of all this, a riot ensued — Sir
Charles was indicted in Westminster Hall and fined
—on which occasion he said, that he thought he was
the first man that had ever paid for easing himself a
posteriori. ( Biographia Britannica.)

Siderfin's reports (as quoted in the Gentleman's
Magazine for 1785) inform us, that in consideration
of Sidley's ancient family and incumbered estate, and
because the Court sought his reformation and not his
ruin, he was fined 2000 marks, (£1333 : 6s. : 8d.)
imprisoned one week without bail, and bound to good
behaviour for 3 years — Keble says one year.

Pepys says July 1 1663 — " After dinner we fell a
" talking, Mr. Batten telling us of a late triall of Sir
" Charles Sedley, before my Lord Chief Justice
" Foster and the whole bench, for his debauchery a
" little while since at Oxford Kates" — the Editor of
the Memoirs says in a note — " the details in the ori-
" ginal are too gross to print."

May 30. Philaster, or Love lies a Bleeding — Hart
and Nell Gwyn acted Philaster and Bellario—

T. R. 1668. 83

Horden, who speaks the Prologue to Settle's Philaster
in 1695, says—

" That good old play Philaster ne're can fail
" But we young actors how shall we prevail ?
" Philaster and Bellario, let me tell ye,
" For these bold parts we have no Hart, no Nelly,
" Those darlings of the stage."

This has always been considered as a very good
play — but Col man well observes, that Philaster's
wounding of his mistress hurts the delicacy of most ;
and his maiming of Bellario sleeping, in order to
save himself from his pursuers, offends the generosity
of all — for Colman's alteration of Philaster see D. L.
Oct. 8 1768 — the scene lies in Sicily — both the
Editors of the B. D. say in Cilicia.

June 22. Evening's Love, or the Mock Astrologer.
Wildblood and Bellamy (two English Gentlemen) =
Hart and Mohun : Maskal (their servant) = Shatterel :
Don Alonzo (father to Theodosia and Jacinta) =
Wintershall : Don Lopez = Burt : Don Melchor =
Lydal : Jacinta = Mrs. Ellen Gwynn : Theodosia =
Mrs. Bowtel : Aurelia = Mrs. Quin and afterwards
Mrs. Marshall : Beatrix = Mrs. Knepp : — Scene
Madrid in 1665 — Time, the last evening of the Car-
nival— such is the cast in the first edition of this play,
which was not printed till 1671— Dowries represents
Mrs. Hughes as having played Theodosia originally,
which is not improbable — this C. was written by
Dry den — it is on the whole a good play — Langbaine
says, it is in a manner wholly taken from the French.

July 1 1 . Hide Parke revived — this is a good C. by
Shirley — in the 3d and 4-th acts the scene lies in the

84 T. R. 1668.

Park — there is a foot and horse race— the first passes
over the stage.

Sept. 28. City Match revived— this C. was written
by Maine — in the 3d act Timothy is made very drunk
— a dress is put on him — and he is shown for a
strange fish — this is too farcical — the rest of the play
is good — particularly the 5th act.

Oct 12. Faithful Shepherdess revived — this beau-
tiful Pastoral was written by Fletcher without the
assistance of Beaumont.

Dec. 19. Catiline revived— Catiline — Hart :
Cethegus = Mohun : Cicero = Burt : Sempronia =
Mrs. Corey : — Gifford observes — " The number of
" writers whom Jonson has consulted, can only be
" conceived by those who have occasion to search
" after his authorities " — Jonson was quite right in
borrowing from Sallust and Cicero, but he should
have borrowed only the most striking passages, and
have omitted the rest — even Gifford allows that Ci-
cero's long harangue, in the 4th act, would fatigue the
lungs of any actor, and exercise the patience of any
audience.

Cicero in the 4th act says — " My virtue

" Shall glad me doing well, though I hear ill."

This literal translation of male audio is pedantic
and absurd to the last degree ; as no person that does
not understand Latin, can conceive that Cicero means
to say, that his virtue shall console him, tho' he is
evil spoken of.*

* About 1784 one of the Fellows of Trinity College Cam-
bridge, who was a man of a very bad character, complained to
the Vice Master that his hearing was bad, to which the latter re-
plied, " Ay, Sir, as we say in Latin male audis."

L. i. F. 1668. 85

L. I. F. 1668.

Feb. 6. She wou'd if she cou'd. Sir Oliver
Cockwood = Nokes : Sir Joslin Jolly = Harris : Court-
all = Smith : Freeman = Young : Lady Cockwood =
Mrs. Shadwell: Gatty = Mrs. Davies : Ariana = Mrs.
Jennings: — (Dawnes) — this is a good C. by Etherege
—Lady Cockwood is very desirous of cuckolding
her husband with the assistance of Courtall, but is
continually disappointed — this gives the title to the
play.

Feb. 2. Albumazar revived — Pepys says that
Angel acted Trincalo — that part of the plot which
concerns Trincalo's transformation is improbable — in
other respects this is a very good C. — it was written
by Tomkis of Trinity College Cambridge, and acted
before James the 1st on his visit to that Univer-
sity in March 1614-15 — on the revival of it in 1668
Dryden wrote a new Prologue, in which he said that
Jonson had borrowed the character of Subtle in the
Alchemist from Albumazar — but the Alchemist was
acted in 1610 — and printed in 1612 — see Gifford's
1st note on the Alchemist.

March 26. Man's the Master — Harris acted Don
John and Underbill Jodelet — Harris and Sandford
sang the Epilogue as two Ballad Singers — (Dowries]
—this is a good C. by Davenant — it was revived at
L. I. F. July 15 1726— and at C. G. Nov. 3 1775—
it is the only one of Davenant's 16 plays which has
been acted for many years.

May 5. Sullen Lovers, or the Impertinents—
Stanford = Smith : Sir Positive At-all — Hams : Ninny

86 L. i. F. 1668.

= Nokes : Woodcock = Angel : Emilia = Mrs. Shad-
well : — Dowries does not tell us who acted the other
characters — Shadwell in this C. is very happy in his
representation of Humours, or, as we should now
call them Characters, but his play is sadly deficient
in plot and incident — he has borrowed the foundation
of it from Moliere— the Sullen Lovers are Stanford
and Emilia, each of whom is equally tormented with
the impertinence of people, and resolved to leave the
world to be quit of them— the Impertinents are Sir
Positive &c.

In Roscius Anglicanus as reprinted by Waldron,
Dowries is made to say — " The Impertinents had
" wonderful success, being acted 12 days together,
" when our Company were commanded to Dover, in
" May 1670. The King with all his Court meeting
" his sister, the Dutchess of Orleans there. This
" Comedy and Sir Solomon pleas'd Madam the Dut-
" chess, and the whole Court extremely" — Waldron
has copied the original edition exactly ; but he ought
to have corrected the passage in this manner — " The
" Impertinents had wonderful success, being acted
"12 days together — When our Company were com-
" manded to Dover in May 1670, the King with all
"his Court meeting his sister, the Dutchess of Orleans
"there, this Comedy and Sir Solomon pleased Madam
" the Dutchess arid the whole Court extremely "
according to Waldron's punctuation the play was
acted 12 days together at Dover, which is manifestly
absurd — Rapin says the Dutchess stayed but 15.

Oct. 19. Queen of Arragon revived — this T. C.
was written by Habington— it is on the whole a good
play, but the serious part of the plot is improbable.

L. i. F. 1668. 87

Dec. 3. Unfortunate Lovers — this seems to have
been a stock play — it was written by Davenarit and
printed in 1643 — it is on the whole a good T.

8. Never acted, Tryphon — this T. is not
only very unnatural, but very dull — Lord Orrery's
chief object seems to have been to involve his prin-
cipal characters in contradictory obligations — Love
and Honour constitute nearly the whole of the play
— Tryphon really usurped the throne of Syria — every
thing else is so manifestly fiction, that it is ridiculous
for Laiigbaine and the Editors of the B. D. to refer
us to the Maccabees, Josephus, and Appian for an
account of Tryphon — this play is printed without the
names of the performers to the D. P.

Tarugo's Wiles, or the Coffeehouse — this C. was
written by St. Serle — it is printed without the names
of the performers — Downes says that it was acted but
3 times — it is however, on the whole, a good play
— the 3d act consists of a long scene at a Coffee-
house— the scene is not badly written, but, like Bayes'
Prologue, it would serve for any other play as well as
for this — there is a great resemblance between this
play and Sir Courtly Nice, both of them being taken
from the same Spanish Comedy.

Cupid's Revenge was revived about this time—
(Downes') — it was written by Beaumont and Fletcher,
and is on the whole a good T., but nothing can be
more ridiculous than Cupid and his Revenge — the
Princess instigates her father to throw down Cupid's
Images, and Cupid in return makes her die for the
love of a Dwarf — the language is particularly good
—that part of the plot, in which Cupid is not con-
cerned, is unexceptionable — it has a striking resem-

88 L. i. F. 1668.

blance to the plot of Andromana — they seem both
of them to have been taken from Sir Philip Sidney's
Arcadia.

Jan. 11 1668 — Pepys says — " To the play — Knipp
" came and sat by us, and her talk pleased me a
" little, she telling me how Mrs. Davis is for certain
" going away from the Duke's house, the King being
" in love with her ; and a house is taken for her
" and furnishing ; and she has a ring given her
" already worth £600 — that the King did send se-
" veral times for Nelly, and she was with him" — on
the 31st of May, Pepys says, that Mrs. Davis had
quite left the Duke's house — he mentions her for
the last time on Feb. 15th 1669.

Burnet tells us that Mrs. Davis' reign at Court
was not long — seemingly owing to the following cir-
cumstance, which is quoted in the notes to Wal-
dron's edition of Downes.

Nell Gwyn, having notice that Mrs. Davis was to
sleep with the King, invited her to a collation of
sweetmeats, which being made up with physical in-
gredients, the Lady became at night—

Non tantum Veneris quantum studiosa cacandi.

This caused her Royal Master to turn her off with
the small pension of £1000 per Ann. in considera-
tion of former services.

SIR WILLIAM DAVENANT DUCHESS OF NEWCASTLE. 89

SIR WILLIAM DAVENANT.

Davenant died in April 1668 — he was buried in
Westminster Abbey, the whole company attending
the funeral — in 1673 his works were printed in one
folio volume — for the share which he is absurdly
said to have had in altering Julius Caesar, see C. G.
Jan. 31 1766.

DUCHESS OF NEWCASTLE.

Langbaine says that the Duchess in 1662 published
a folio containing 19 plays — in 1668 her Grace pub-
lished a thin folio containing 5 plays — if we may
judge of all her plays by these 5, they were very bad
—the Duchess in general writes sensibly, but her
scenes are so insipid, so dull, so deficient in the
essence of a drama, that one is almost tempted to
say—

" Of Comedies Pve seen enough,
" Most vile and execrable stuff,
" But none so bad as thine, I vow to heav'n."

It may, perhaps, be worth while to observe, that
the Duchess (who had lived a great while abroad)
spells her title without a t, contrary to the usual
practice in England for many years after her death.

90 DRYDEN'S ESSAY OF DRAMATICK POESIE.

DRYDEN's ESSAY OF DRAMATICK POESIE.

Dryden says he wrote this Essay in the country,
at the time of the Plague, and that his drift in
writing it, was chiefly to vindicate the honour of
our English writers from the censure of those, who
unjustly prefer the French before them — it was pub-
lished with the date of 1668.

This Essay is an elegant and instructive dialogue
— the Colloquists are 4 real persons, tho* concealed
under feigned names — Eugenius, Prior has informed
us, was meant to represent Lord Buckhurst, better
known afterwards as Earl of Dorset — Crites was in-
disputably Sir Robert Howard — arid Neander Dryden
himself— by Lisideius was probably meant Sir Charles
Sidley. (Malon.e.)

Dryden, as Neander, gives a character of our best
dramatic authors.

Beaumont and Fletcher had great natural gifts
improved by study — Beaumont especially, being so
accurate a judge of plays, that Ben Jonson, while he
lived, submitted all his writings to his censure ; and
it is thought used his judgment in correcting, if not
in contriving, all his plots — the first play which
brought Beaumont and Fletcher into esteem was
Philaster — their plots are generally more regular than
Shakspeare's — they understood and imitated the con-
versation of Gentlemen much better; whose wild
debaucheries and quickness of wit in repartees, no
poet can ever paint as they have done — they repre-
sented all the passions very lively, but above all,
Love — their plays are now the most frequent and

DRYDEN'S ESSAY OF DIIAMATICK POESIE. 91

pleasant entertainments of the stage — two of theirs
being acted through the year for one of Shakspeare's
or Jonson's.

As for Jorison, if we look upon him while he was
himself, (for his last plays were but his dotages) I
think him the most learned and judicious writer that
any theatre ever had — he was a most severe judge of
himself as well as others — one cannot say he wanted
wit; but rather that he was frugal of it — in his
works you will find little to retrench or alter — Wit,
and Language, and Humour also in some measure,
we had before him ; but something of Art was want-
ing to the Drama till he came — he managed his
strength to more advantage than any that preceded
him — you seldom find him making love in any of
his scenes, or endeavouring to move the passions —
his genius was too sullen to do it gracefully — humour
was his proper sphere — he invaded the Ancients, both
Greek and Latin, like a monarch, and what would
have been theft in other poets, is only victory in him.
Shakspeare was the man, who of all Modern, and
perhaps Ancient Poets, had the largest and most com-
prehensive soul — all the images of nature were still
present to him, arid he drew them, not laboriously,
but luckily — when he describes any thing, you more
than see it, you feel it too — those who accuse him to
have wanted learning, give him the greater commen-
dation— he was naturally learned — he needed not the
spectacles of books to read nature — he looked in-
wards and found her there — I cannot say he is every
where alike; were he so, I should do him injury to
compare him with the greatest of mankind — he is
many times flat, insipid ; his cornic wit degenerating

92 DRYDEN'S ESSAY or DRAMATICK POESIE.

into clenches, his serious swelling into bombast — but
he is always great, when some great occasion is pre-
sented to him — no man can say he ever had a fit
subject for his wit, and did not raise himself, as high
above the rest of poets —

" Quantum lenta solent inter viburna cupressi"

If I would compare Jonson with Shakspeare, I
must acknowledge him the more correct Poet, but
Shakspeare the greater Wit — Shakspeare was the
Homer, or father of our Dramatick Poets — Jorison
was the Virgil, the pattern of elaborate writing — I
admire him, but I love Shakspeare.

Dr. Johnson in his life of Dryden says — " This
" account of Shakspeare may stand as a perpetual
" model of encomiastick criticism — exact without
" minuteness, and lofty without exaggeration — in a
" few lines is exhibited a "character so extensive in
" comprehension, and so curious in its limitations,
" that nothing can be added, diminished, or reformed
" — nor can the editors and admirers of Shakspeare
" in all their emulation of reverence, boast of much
" more than of having diffused and paraphrased this
" epitome of excellence — of having changed Dry den's
" gold for baser metal, of lower value tho' of greater
« bulk."

Dr. Johnson's own preface to Shakspeare is ex-
cellent.

T. n. 1669. 93

T. R. 1669.

Jan. 7. Island Princess — this play was written by
Fletcher — it was now revived as the Island Princess,
or the Generous Portugal — Islanders — King of Ti-
dore = Kynaston : Governour of Ternata — Cartrite :
(Cartwright) Quisara (the Island Princess) = Mrs.
Marshal : Panura = Mrs. Hughes : Quisana = Mrs.
Corey : — Portuguese — Armusia = Hart : Ruy Dias
= Moon : Pymero (originally Piniero) = Shotterel :
Sozar:Burt : — some alterations were made, but they
were not material — the scene lies in the Molucca
Islands — Fletcher's play is a very good one.

11. Jovial Crew — Pepys says that this play was
not so well acted as in Clun's time, and when Lacy
could dance — the Jovial Crew, or the Merry Beg-
gars, is a very good C. by Brome — it was originally
acted in 1641 — it continued on the acting list, more
or less, for many years — in 1731 it was degraded
to an Opera — see D. L. Feb. 8.

Feb. 1. Pepys says — " To the King's house,
" thinking to have seen the Heyresse, first acted on
" Saturday, but when we come thither we find no
" play there ; Kynaston, that did act a part therein
" in abuse to Sir Charles Sedley, being last night
" exceedingly beaten with sticks by two or three
" that saluted him, so as he is mightily bruised, and
" forced to keep his bed."

6. Othello — Downes gives us the following cast-
Othello = Burt : lago — Mohun : Cassio — Hart : Bra-
bantio = Cartwright : Roderigo = Beeston : Desde-
mona = Mrs. Hughes : ^Emilia = Mrs. Rutter : — but

94 T. R. 1669.

Pepys says that Clun used to act lago, and that
Hart had given up Cassio.

9. Pepys says that Kynaston was well enough
to act again.

Tyrannick Love, or the Royal Martyr. Maxim in
= Major Mohun: Porphyrius = Hart : Placidius =
Kynaston : Apollonius = Cartwright : St. Catharine
= Mrs. Bowtell : Bereni ce = Mrs. Marshall : Valeria
= Mrs. Ellen Gwyn : Felicia — Mrs. Knepp : — Ma-
lone says — " this play was entered on the stationers'
" books July 14. 1669, and therefore made part of
" the theatrical entertainment of the preceding win-
" ter" — it is clear from the Epilogue that it came
out in the spring, Nell Gwyn complains of heing
killed

" in the prime

" Of Easter Term, in tart and cheese-cake time."

This T. is founded on history — the scene lies in
Maximin's camp before Aquileia— the love scenes
are of course fictitious — for Maximin see Gibbon
Ch. 7 — for St. Catharine see Wheatley on the Com-
mon Prayer Nov. 25.

Tyrannick Love is in rhyme — Dryden says it was
contrived and written in 7 weeks — some parts of it
have considerable merit, but on the whole it is a
poor play both as to plot and language — when Va-
leria dies, her attendant says the Gods have taken
her to themselves — Maximin exclaims —

" What had the Gods to do with me or mine?
" Did I molest your heaven ?
" Why should you then make Maximin your foe,
" Who paid you tribute which he need not do?

T. R. 1669. 95

**********

" And you for this these plagues on me have sent ;

" But by the Gods (by Maximin I meant)

" Henceforth I and my world

" Hostility with you and yours declare :

" Look to it, Gods, for you th' aggressors are."

When Maximin is dying, he says —

" I will shove back this earth on which I sit,
" Pll mount — and scatter all the Gods I hit."

He had before said—

" Some God now, if he dares, relate what's past:
" Say but he's dead, that God mortal shall be."

and " I have now decreed,

" That Maximin shall Maximin succeed."

Maximin however is not the only person who talks
nonsense — Porphyrius, when he is sentenced to be
beheaded, says to Maximin—

" Where e'er thou standest, I'll level at that place
" My gushing blood, and spout it at thy face.
" Thus, not by marriage, we our blood will join:
" Nay, more, my arms shall throw my head at
" thine"

Dryden professes that his design in writing this
play was to recommend piety, " for to leave that
" employment altogether to the Clergy, were to for-
*' get that religion was first taught in verse ; which
" the laziness or dulness of succeeding Priesthood
" turned afterwards into prose" — thus foolishly (says

96 T. H. 1669.

Dr. Johnson) could Dryden write, rather than not
show his malice to the Parsons.

At the end of the play, Nell Gwyn lay dead on
the stage as Valeria — when the bearers came to carry
her off, she said to one of them —

«

JL

«

Hold, are you mad? you damn'd confounded

dog,
" I am to rise and speak the Epilogue."

Then to the audience —

" I come, kind Gentlemen, strange news to tell ye,
" I am the Ghost of poor departed Nelly.
" Sweet Ladies, be not frighted I'll be civil,

" I'm what I was, a little harmless devil.

***********

" To tell you true, I walk because I die

" Out of my calling in a Tragedy.

" O Poet! damn'd dull Poet, who could prove,

" So senseless to make Nelly die for love.

" As for my Epitaph, when I am gone,
" I'll trust no poet, but will write my own.
" Here Nelly lies, who tho' she liv'd a Slatern,
" Yet di'd a Princess acting in St. Cathar'n,"

Curll says, that the King was so captivated by the
humorous manner in which she spoke this Epilogue,
that when she had done, he went behind the scenes
arid carried her off that night — what Curll says is
not unlikely to be true, as Nell Gwyn's son, the
Duke of St. Alban's, was born May 8th 1670.

Dumb Lady, or the Farrier made a Physician—
this Farce in 5 acts was put together by Lacy — the

L. i. F. 1669. 97

main plot is taken from Moliere's Mock Doctor, the
catastrophe is borrowed from Moliere's Love's the
best Doctor — the Dumb Lady was not printed till
1672, but it was probably acted about this time, as
Softhead, in the 1st act, says — " I'll die a Virgin
" Martyr " — Massinger's Virgin Martyr had been re-
vived in 1668 — Lacy concludes his Epistle to the
Reader, with hoping that his play will prove as bene-
ficial to the printer, as it had formerly been to him-
self— there are no performers' names to the D. P.,
but Lacy no doubt acted Drench, the Farrier.

Marcelia, or the Treacherous Friend — licensed
Oct. 9 1669— this is an indifferent T. C. by Mrs.
Boothby — there are no performers' names to the D. P.

L. I. F. 1669.

Jan. 27. Pepys says — " To the Duke's house,
" and there saw the Five Hours' Adventure, which
" had not been acted a good while before, but once"
—a third edition of the Adventures of Five Hours
was printed in 1671 — it had been revised and corrected
by the author.

Feb. 25. Royal Shepherdess— this T. C. was
acted 6 times — it is printed without the names of the
performers — it was written by Fountain, and fitted
for the stage by Shadwell — the plot is unnatural, and
probably borrowed from some Romance — there are

VOL. I. H

L. i. F. 1669.

3 good comic characters — the serious scenes are in-
different— but some good lines occur — particularly —

The mighty are

"Like mighty mountains, high, but seldom fertile."

The authors introduce the Salii in Arcadia, not
knowing, or forgetting, that the Salii were Priests
instituted by Numa at Rome — Langbaine says, that
Fountain's play was printed in 1661, as the Reward
of Virtue.

March 3. Lady's Trial — Pepys says— " acted only
" by the young people of the house, but the house
" very full" — this play was written by Ford — it was
printed in 1639, and had been acted at the Cockpit
— the scene lies at Genoa — in the last act the Lady
is put on her Trial, and her husband is fully convinced
of her innocence — that part of the play which con-
cerns the Lady is very good — the other parts of it
have but little to recommend them.

Sir Solomon, or the Cautious Coxcomb. Sir
Arthur Addel = Nokes : Sir Solomon Single = Bet-
terton : Peregrine Woodland = Harris : Young Single
= Smith : Wary = Sandford : Timothy = Underbill :
Mrs. Betty = Mrs. Johnson: Mrs. Julia = Mrs. Bet.
terton : — this play was singularly well acted, and
performed for 12 days together — ( Dowries'} — that
part of it which concerns Sir Solomon— Peregrine
-Timothy and Mrs. Betty — is professedly taken
from Moliere's School for Wives — there is an im-
portant underplot — this C. was written by Caryl —
it is on the whole a good play — it was not printed
till 1671, but it was certainly acted in the season of
1669-1670 at the latest — Sir Solomon is a part quite

SIR JOHN COVENTRY AND CHARLES THE 2D. , 99

out of Betterton's usual line of acting, and a proof
of the versatility of his talents — it is a character that
would have suited Dowton or Munden.

SIR JOHN COVENTRY AND CHARLES THE 2o.

In 1669 it was proposed in the House of Commons
to lay a tax on the playhouses — this was opposed by
the Court — it was said that the players were the
King's Servants, and a part of his pleasure — Sir John
Coventry asked, whether did the King's pleasure lie
among the men or women that acted ? — as the King
loved a joke ; and as his connexion with Mrs. Davis
and Nell Gwyn was notorious, it might have been
supposed that this pleasantry would have passed with-
out any particular notice ; but the King was deter-
mined to take a severe revenge ; and accordingly
some of the Guards waylaid Sir John as he was going
home — he defended himself with great bravery, but
was soon disarmed — they then cut his nose to the
bone, arid so left him — that matter was executed by
orders from the Duke of Monmouth, for which he
was severely censured, because he then lived in habits
of friendship with Coventry, so that his subjection
to the King was not thought an excuse, for directing
so vile an attempt on his friend, without sending him
secret notice of what was designed — the Duke of
York told Burnet that he said all he could to divert
the King from his resolution — Coventry had his nose
so well sewed up, that the scar was scarce to be dis-

H2

100 SIR JOHN COVENTRY AND CHARLES THE 2D.

cerned — but the House of Commons were in a furious
uproar, and passed a bill of banishment against the
persons who had assaulted Sir John, putting in it a
clause, that it should not be in the King's power to
pardon them — this affair gave great advantages to all
those who opposed the Court — (Burnet) — Andrew
Marvell in his poem called Royal Resolutions makes
the King say—

" I'll have a rare son, in marrying, tho' marr'd,
" Shall govern (if not my kingdom) my Guard,
" And shall be successor to me or Gerrard.

" And whate'er it cost me, I'll have a French whore,
" As bold as Alice Pierce, and as fair as Jane Shore;
" And when I am weary of her, I'll have more.

" Which if any bold Commoner dare to oppose,
" I'll order my Bravos to cut off his nose,
" Tho' for't I a branch of Prerogative lose.

" I'll wholly abandon all public affairs
" And pass all my time with buffoons and players,
" And saunter to Nelly, when I should be at
" prayers."

Burnet says that the King never forgave any thing
that was done personally against himself— and Charles
Fox observes that it is not conceivable on what pre-
tence the partizans of Charles the 2d have given him
the praise of clemency and forgiveness.

Marvell in one of his epistles gives a particular
account of the attack on Sir John Coventry, and of
the persons concerned in it.

T. u. 1670. 101

T. R. 1670,

Conquest of Granada in 2 parts — Moors — Alman-
zor =. Hart : Abdelrnelech = Mohun : Boabdelin (King
of Grenada) = Kynaston : Osmyn = Beeston : Abena-
mar — Cartwright : Selin = Wintershal : Almahide =
Mrs. Ellen Gwyn : Lyndaraxa = Mrs. Marshal :
Benzaida=:Mrs. Bowtel :•• — Spaniards — Ferdinand
(King of Spain) = Littlewood : Duke of Arcos —
Bell : Isabel (Queen of Spain) = Mrs. James : — The
Moors are besieged in Granada — Alrnanzor, who is
a stranger from Africa, performs prodigies of valour —
he persists in his love for Almahide, notwithstanding
that she is married to Boabdelin — at the conclusion,
Boabdelin being killed, there is no longer any obsta-
cle to the union of Almanzor and Almahide — Dryden
in the preface to Tyrannick Love says — " the unities
" of time and place are more exactly kept, than
" I have since preserved them in the Conquest
" of Granada " —from these expressions Malone
thinks it probable that the 2 parts of the Conquest of
Granada were produced in the autumn of 1669, and
the spring of 1 670 — he adds — " they were not entered
" on the stationers' books till Feb. 1670-71, norpub-
" lished till 1672 " — the Conquest of Granada is one
play in 2 parts — not 2 distinct plays — for this reason
it is not improbable that the 2d part might be brought
out on the night after the 1st part— they who had
seen the 1st part would naturally be inclined to see
the 2d — and they who had not seen the 1st, would
not easily understand the 2d — it could hardly have
been put off so long as Malone supposes —Nell Gwyn

102 T. R. 1670.

was brought to bed on the 8th of May, and her ap-
pearance in any part of the spring must have disqua-
lified her for acting Almahide with propriety.

The 2 parts of the Conquest of Granada are written
in rhyme; they were very successful — Dr. Johnson
says — "they are written with a seeming determina-
" tion to glut the public with dramatic wonders ; to
" exhibit in its highest elevation a theatrical meteor
" of incredible love and impossible valour, and to
" leave no room for a wilder flight to the extrava-
" gance of posterity. All the rays of romantick
" heat, whether amorous or warlike, glow in Al-
" manzor by a kind of concentration. He is above
" all laws ; he is exempt from all restraints ; he ranges
" the world at will and governs wherever he appears.
" He fights without inquiring the cause, and loves in
" spite of the obligations of justice, of rejection by
" his mistress, and of prohibition from the dead.
" Yet the scenes are for the most part delightful ;
" they exhibit a kind of illustrious depravity and ma-
" jestic madness."

Dr. Johnson's partiality to Dryden seems here to
have warped his judgment — if any other person had
written these two Tragedies, he would probably have
spoken of them in a less favourable manner — Dryden
himself in his preface to the Spanish Fryar acknow-
ledges, that Maximin and Almanzor cry vengeance on
him for their extravagance — and he elsewhere ob-
serves— " A play is an imitation of nature; we
" know we are deceived and we desire to be so, but
" no one was ever deceived, but with a probability
" of truth — nothing is truly sublime, but what is just
" and proper."

T. n. 1670. 103

Those Tragedies however are never flat and dull
they have much hustle and incident, with many good
linos —some passages are beneath the dignity of Tra-
gedy— and others are absolute nonsense—

Lindaraxa says—

" Two IPs, scarce make one Possibility "-
and again —

" My lieart to yours, but upon liking came."

Almanzor, in the last scene of the 1st part, ad-
dresses a lino to Boabdelin which is truly comic —
but it must not be quoted — he says of the scarf which
Almahide had given him—

" And, if thou tak'st it after I am slain,

" I'll semi my Ghost to fetch it back again."

Boahdeliii tells Almahide, after they are married,
and he is become jealous of Almanzor—

" You Wives still have one way ;

" When e'er your husbands are oblig'd, you pay."

Abdalla, when he is dying, says —
" My soul is packing up, and just on wing."

Alman/or says to Almahide

" If not a subject, then a Ghost I'll be;

" And from a Ghost, you know, no place is free.

**********

" When in your lover's arms you sleep at night,
" I'll glide in cold betwixt, and seize rny right."

When the Guards attack Almanzor, he exclaims —

104. T. R 1670.

" Cut piece-meal in this cause,

" From every wound I should new vigour take :
" And every limb should new Almanzor's make."

Abdalla says of Almanzor —

" Fate after him below with pain did move."
Almanzor says—

" Would heav'n had quite forgot me this one day,

" But Fate's yet hot —

" I'll make it take a bent another way."

Boabdelin says to Almanzor —
" Fate listens to your voice, and then decrees."

The Duke of Buckingham in the Rehearsal is very
severe on these plays — but his satire is not more
severe than just.

Almanzor says—

" Spite of myself, I'll stay, fight, love, despair,
" And I can do all this, because I dare."

Drawcansir —

" I drink, I huff, I strut, look big and stare ;
" And all this I can do, because I dare."

Aim. " But I would give a crown in open day,

" And when the Spaniards their assault begin
" At once beat those without and those within."

Draw. " Others may boast a single man to kill,
" But I the blood of thousands daily spill.
" Let petty kings the names of parties know,
" Where'er I come, I slay both friend and foe."

T. R. 1670. 105

More might be cited, but it is unnecessary, as the
short part of Drawcansir is palpably a burlesque on
that of Almanzor—

Almahide says—

" So two kind Turtles when a storm is nigh,
" Look up and see it gath'ring in the sky,
" Each calls his mate to shelter in the groves,
" Leaving in murmur their unfinish'd loves,
" Perch'd on some drooping branch they sit alone,
" And coo and hearken to each other's moan"-

This is most happily imitated—
" So boar and sow, when any storm is nigh,
" Snuff up, and smell it gath'ring in the sky,
" Boar beckons sow to trot in chesnut groves,
" And there consummate their unfinish'd loves,
" Pensive in mud they wallow all alone,
"And snort and gr untie to each other's moan."

Dryden in the 2d part has a wipe at the House of
Commons, which was rather unfair, as they had
granted Charles the 2d large supplies, notwithstand-
ing that it was notorious that the pretences on which
he asked for them were false, and that he had squan-
dered very great sums on his Mistresses &c.

The Moorish King says—

" See what the many headed beast demands,
" Curst is that King whose Honour's in their

" hands.

" In Senates, either they too slowly grant,
" Or sawcily refuse to aid my want :
" And when their thrift has ruin'd me in war,
" They call their insolence~my want of care."

106 T. R. 1670.

Dryden could speak a very different language, if
the Song published in his poems, be really his—

" The King shall pass his honest word
" The Chancellor make a speech,

" The pawn'd revenue sums afford,
" And then, come kiss my br — ch."

The Prologue to the 1st part was spoken by Nell
Gwyn in a broad-brim'd hat and waist-belt —

" This jest was first of t'other house's making,
" And five times try'd has never fail'd of taking,
" This is that Hat whose very sight did win ye,
" To laugh and clap as tho' the Devil were in ye.
" As then for Nokes, so now I hope you'll be
" So dull, to laugh once more for love of me."

Nokes (in some play or Prologue) had appeared
in an enormous hat which pleased the audience so
much, as to help off a bad play merely by the effect
of it — Dryden caused a hat to be made of the cir-*
cumference of a coach wheel, and when Nell Gwyn
appeared in that strange dress, the house was imme-
diately in convulsions— the King wanted but little
of being suffocated with laughter. (Appendix to
Downes.)

Tartuffe, or the French Puritan — this C. is said
in the title page to have been " written in French by
" Moliere, and rendered into English, with much
" addition and advantage, by M. Medbourne servant
" to his Royal Highness" — in the dedication Med-
bourne says — " how successful it has proved in the
" action, the advantages made by the actors, and
" the satisfaction received by so many audiences,

L. i. F. 1670. 107

"have sufficiently proclaimed" — from the last 2
lines of the Prologue, it is clear that the play did
not come out till after May —

" The Cobler swapp'd old shoes for plays at Dover,
" And now he sings, the Monsieur's new come
" over."

Moliere's play has been 3 times adapted to the
English stage — first by Medbourne — then by Gibber
—see Non-Juror D. L. Dec. 6. 1717 — and lastly by
Bickerstaffe — see Hypocrite D. L. Nov. 17« 1768.

L. I. F. 1670.

In May, the King and the Court being at Dover,
(as was mentioned before) they were extremely
pleased with the Sullen Lovers and Sir Solomon—
the French Court at this time wore laced coats, some
scarlet, some blue, excessively short, with broad
waistbelts — Nokes had one shorter than the French
fashion to act Sir Arthur Addel in Sir Solomon —
the Duke of Monmouth gave him his sword and belt
from his side, and buckled it on himself, on purpose
that he might ape the French — his appearance was
so ridiculous, that at his first entrance he put the
King arid Court into an excessive laughter ; and the
French were much chagrined to see themselves aped
by such a buffoon as Sir Arthur — Nokes kept the
Duke's sword to his dying day. (Dowries.)

Downes mentions 3 plays by Betterton as acted at

108 L. i. F.

L. I. F. before the company removed to the new
Theatre.

1. Woman made a Justice — this C. is not printed
—Mrs. Long acted the Justice charmingly — the other

parts were well performed, and the play was repeated
for 14 days together — the Prologue being spoken each
day.

2. Amorous Widow, or Wanton Wife. Barnaby
Brittle = Nokes : Lovemore = Betterton : Cunning-
ham = Smith : Lady Laycock — Mrs. Betterton : Mrs.
Brittle = Mrs. Long : she performed the part so well,
that no one equalled her, except Mrs. Bracegirdle—
(Dowries) — this C. continued on the acting list for
many years ; that part of it which is taken from
George Daridin is very good, the other part of it is
indifferent— Moliere's piece was acted for the 1st
time in 1668 — as it is only in 3 acts Betterton added
an underplot — Lady Laycock, the Amorous Widow,
is vastly " prone to an iteration of nuptials," of which
she gives broad hints both to Cunningham and Love-
more — her last resource is the Viscount Sans-Terre,
but even with him she only experiences another dis-
appointment— the Viscount is Merryman, Cunning-
ham's Falconer, in disguise — Cunningham is in love
with Philadelphia, and Lovemore has an intrigue
with Mrs. Brittle — in the last scene, when Barnaby
Brittle has shut his wife out of the house, and sent
for her parents, Mrs. Brittle pretends to kill herself
— Brittle enters with a light — she slips by him, gets
into the house and locks the door — this stratagem
comes originally from Boccace day 7- novel 4.

Waldron in his edition of Roscius Anglicanus
omits the words — " Mrs. Brittle = Mrs. Long"— this

L i. F. 1670. 109

makes strange confusion, as it implies that Mrs.
Bracegirdle acted the Widow, which we are sure she
did not — besides the omission of a principal character
is in itself of importance.

3. Unjust Judge, or Appius and Virginia. Vir-
ginius = Betterton : Appius — Harris : Virginia 3= Mrs.
Betterton : this T. lasted 8 days successively, and
was very frequently acted afterwards — (Downes)—
it is only an alteration of Appius and Virginia, which
was printed in 1654 — Webster's T. cannot on the
whole be called a good play, but there are several
passages in it, superiour to any in the plays written
by subsequent authors on the same subject — see Livy
book 3. chap. 44.

The precise year, in which each of Betterton's 3
plays came out, cannot be ascertained — the point
however is not very material, as at this part of the
history of the stage, it would be difficult, or rather
impossible, to state the time at which every play came
out with any degree of exactness — Downes has cer-
tainly not arranged the plays in strict chronological
order — he rarely states the exact time of their repre-
sentation ; and he is sometimes so vague in his ex-
pressions, that no stress can be laid on what he says
—yet as he is probably right in most cases, he has
been followed, when no reason has appeared to the
contrary — in many instances there is nothing to guide
one, but the date of publication ; and all that one
learns from that date with certainty, is, that the play
had, wholly or in part, lost its attraction on the stage,
and was therefore committed to the press— the time
that intervened between the representation and pub-
lication varied according to circumstances — Tyran-

1 10 L. i. F. 1670.

nick Love came out at Easter 1669, and was entered
in the stationers' books the July following — the Duke
of Buckingham's alteration of the Chances came out
in Feb. 1667 — but was not printed till 1682.

Malone, when he was writing his life of Dryden,
took the pains to examine the stationers' books, in
order to ascertain when each of Dryden's plays had
been entered in them — it was extremely absurd in
him not to transcribe the entry of all the plays printed
at that time, as with very little additional trouble to
himself, he might have given us much useful informa
tion.

Many plays in the titlepage state the date of their
being licensed for printing ; which is a much better
guide than the date of publication — not merely because
the publication was sometimes delayed, but because
the month as well as the year of the license is stated
— the first edition of a play is not always to be met
with — and in the second, the date of the license is
frequently omitted.

Even in modern times, when plays are generally
published soon after they are acted, it would be im-
possible to class them exactly according to the time
of their representation, without the assistance of the
play bills, or of some magazine containing a monthly
list of the plays which had been acted.

Humourists — this is a good C. by Shadwell— it is
printed without the names of the performers— the
scene lies in London in 1670 — in the course of which
year it was no doubt produced — Crazy is the best
character— there is more said in this play about a
certain disorder than in any other — Crazy is so called
from the crazy state of his health — the Editors of the

T. R. 1671. Ill

B. D., by a strange mistake, represent this play as
acted at D. L.

Downes says — " about the year 1670, Mrs. Al-
" dridge, afterwards Mrs. Lee, afterwards Lady
" Slingsby; also Mrs. Leigh, wife of Anthony Leigh,
" Mr. Crosby and Mrs. Johnson were entertained in
" the Duke's house."

Mrs. Lee is sometimes called Mrs. Mary Lee, and
once or twice Mrs. Leigh — it is sufficiently clear that
Mrs. Leigh was in the Duke's Company before An-
thony Leigh joined it — Downes does not tell us what
her maiden name was — she was perhaps Mrs. Dixon,
and the daughter of Dixon, who had been one of
Rhodes' Company — Mrs. Dixon's name appears for
the last time in the first play acted at Dorset Garden
—Mrs. Leigh's name appears in the second play acted
at that theatre — this play however was not printed
till 1672 ; and in that year Anthony Leigh had joined
the Duke's Company.

T. R. 1671.

Roman Empress. Valentius (the Roman Empe-
rour) = Major Mohun : Florus (his son, but supposed
to be the son of Arsenius) = Kynaston : Honorius =
Bell: Hostilius (Tyrant of Rome) = Watson : Arse-
nius = Cartwright : Fulvia (the Roman Empress) =
Young Mrs. Marshal : Aurelia = Mrs. Boutell : So-
phronia = Mrs. Corey : — this T. came out in the Va-

112 T. R. 1671.

cation — the scene lies on the banks of the Tiber—
Valentius is besieging Hostilius in Rome — War how-
ever has but little to do with this play— some parts of
it are bad — others are good — particularly those taken
from Euripides and Lucretius — Honor ius is an Epi-
curean, on the principles really professed by Epicu-
rus, and not on those which are sometimes attributed
to him — this character seems to be new, and not to
have been copied by any subsequent writer — Joyner,
by the advice of his friends, disguised the names—
—but by Valentius he meant Constantine the Great
— the tyrant, whom Constantine besieged in Rome,
was Maxentius — see Gibbon chap. 14.

This is the only play in which the Younger Mrs.
Marshal is expressly mentioned — it is not improbable
that she might act some of the less important parts
to which the name of Mrs. Marshal stands — she was
perhaps the actress whom we find at D. G. in 1676
as acting Maria in the Fond Husband.

Generous Enemies, or the Ridiculous Lovers,
(licensed Aug. 30 1671) Don Bertran — Cartwright :
Don Alvarez = Major Mohun : Flaminio = Kyriaston :
Robatzy = Wintershall : Jaccinta = Mrs. Marshal : Se-
mena = Mrs. Bowtell : — this is an indifferent C. by
Corye — the 2d title of it should have been in the
singular number, as Bertran is the only lover who
is ridiculous — he is by far the best character in the
play — the scene lies at Seville.

The Rehearsal, begun in 1663, and ready for re-
presentation before the plague in 1665, came out this
year on the 7th of December — (Malone) — Villiers
Duke of Buckingham is said to have written it with
the assistance of Butler the author of Hudibras,

T. R. 1671. 113

Martin Clifford of the Charter-house, and Dr. Sprat
—Dr. Johnson observes — " Dryden and his friends
" laughed at the length of time, and the number of
" hands employed upon this performance ; in which,
" tho* by some artifice of action it yet keeps posses-
" sion of the stage, it is not possible to find any
" thing, that might not have been written without so
" long delay, or a confederacy so numerous."

But whatever excellence this piece might possess
originally, it is become obsolete, few persons being
acquainted with the Tragedies it was designed to ri-
dicule— the admirable Simile of the Boar and Sow
will however be always read with pleasure.

The Prologue is very good—

" We might well call this short mock-play of ours,
" A Posy made of weeds, instead of flowers ;
" Yet such have been presented to your noses,
" And there are such, I fear, who thought them

" roses.
" Would some of them were here, to see this

" night
" What stuff it is, in which they took delight 1"

It concludes with saying, that if the burlesque Tra-
gedy should produce the desired effect, John Lacy
will boast that he had reformed the stage.
The Epilogue concludes with—

" May this prodigious way of writing cease ;
" Let's have, at least once in our lives, a time,
" When we may hear some reason, not all rhyme.
" We have these ten years felt its influence ;
" Pray let this prove a year of prose and sense."

VOL. I.

114 T. n. 1671.

Much of the success, which the Rehearsal met
with, was, doubtless, owing to the mimickry em-
ployed— Dryden's dress and manner, and usual ex-
pressions, were all minutely copied, and the Duke
of Buckingham took incredible pains in teaching
Lacy to speak some passages in the part of Bayes —
in these he probably imitated Dryden's mode of re-
citation, which was by no means excellent. (Malone^)

It is said that this Satirical Farce was originally
intended against Davenant — and likewise that Sir
Robert Howard was once meant — the design was
probably to ridicule the reigning poet, whoever he
might be — there is still one passage which seems to
relate to Davenant — Bayes hurts his nose and comes
in with brown paper applied to the bruise — how this
affected Dryden does not appear — Davenant's nose
had suffered such diminution by mishaps among
the women, that a patch upon that part evidently
denoted him — ( Dr. Johnson) — one of the characters
in Albovine says — " shortly you'll see him wear a
" curtain 'fore his nose, that's now the newest fashion
" that came from Paris" — when Davenant wrote
this, he probably did not think it would be his own
case.

Sir John Suckling in his Session of the Poets
says—

" Will D'Avenant asham'd of a foolish mischance,
" That he had got lately travelling in France,
" Modestly hop'd the handsomeness of 's Muse
" Might any deformity about him excuse."

— and —

T. R.I 671. 115

•« Surely the company would have been content,
" If they could have found any precedent,
" But in all their records in verse and in prose,
" There was not one Laureat without a nose."

As Davenant was one day walking through the
Meuse, a woman followed him asking for charity and
repeatedly saying " Heaven bless your eye-sight "-
he had the curiosity to ask her what she meant by
that wish — " Why Sir," says she, " if you should lose
" your eye-sight, you have no nose to put your spec-
" tacles on."

Another time as Sir William was passing a fish-
monger's stall, the boy in watering his fish besprin-
kled him — of which he complained to the master,
who in consequence was going to correct the boy—
when he cried out, it was very hard he should be
corrected for his cleanliness, " the Gentleman blew
" his nose on my fish, and I was washing it off—
" that's all "- —Davenant was so pleased with the jest,
that he gave the boy a piece of money, and went
away delighted. (Chelwood.)

Dr. Johnson has observed that the Rehearsal is
represented as ridiculing passages in plays, which
were not published till after the Rehearsal — " these
" contradictions" (says he) " show how rashly satire
" is applied" —Dr. Johnson was not aware, that
some of these plays, though not published till after
the Rehearsal, were yet acted before it — and that
alterations and additions were made to the Rehearsal
after its original publication.

Act 1. When Bayes, Johnson and Smith are

i2

116 T. R. 1671.

come to the playhouse, Bayes sends the actors off to
get ready, and then tells his friends a good story
about a certain French word, adding that he is in
keeping — this takes up about a page, not one syllable
of which is in the first edition.

Act 2. Before the two kings enter, Bayes relates
his mode of preparation for writing — this is about
another new page — the Gentleman Usher and Phy-
sician have a new page — the observation on Shirley's
part is new.

Act 3. A Song is added with some little dialogue,
and particularly the cuts on Dryden's Assignation,
which fill up near a page.

Acts 4 and 5. After the coffin is opened a new
dance is introduced — some few lines are added at dif-
ferent places — but the additions made to the first edi-
tion are slight — very little or no alteration was made
in Bayes' play after the first representation, but ma-
terial alterations must have been made between 1665
and 1671.

Malone observes — " Dryden made no reply to the
" Rehearsal, for which he assigned his reasons in
" the dedication of Juvenal" — the reasons which
Dryden assigns are futile — his true reason probably
was, that in 1671 the Duke of Buckingham was
a favourite at Court — when Dryden did attack the
Duke, he knew that he should please the King by so
doing- Malone adds — " whatever might have been
" the success of the Rehearsal, it did not for some
" years banish rhyme from the stage, several heroick
" tragedies have been acted between 1672 and
" 1677" — plays in rhyme were not totally banished
from the stage till after 1706.

T. R. 1671. 117

In a dramatic point of view, the Duke of Bucking-
ham's reputation is considerable, both as an author
and a critic — he saw the absurdity of most of the
Tragedies which were acted in his time, arid pointed
his satire at them, while they were quite in fashion
—Dr. Johnson says, that Dryden and his friends
laughed at the length of time employed upon the
Rehearsal — but that play was ready for representa-
tion in May 1(565, tho' not begun till 1663 — it was
laid aside, as the theatre was shut up on account of
the plague — and not brought out till 167! — yet it
does not follow that the Duke bestowed much of the
intermediate time upon it — it is more likely that he
did not revise it, till within some few months of the
representation — men of pleasure, like the Duke, ge-
nerally write by fits and starts.

The Duke of Buckingham was sometimes very
happy in his expressions — speaking of Charles the 2d
and his brother, he said — " the King could see things,
" if he would — the Duke would see things, if he
" could" —Instead of cursing a dog that had bitten
him, he wished him married and settled in the
country.

Malone says — " He was reckoned the most accom-
" plished man of the age, in riding, dancing, and
" fencing — when he came into the presence-cham-
" ber, it was impossible for any one not to follow him
" with his eye, he moved so gracefully — of his ready
" wit, the following is an instance — in one of Dry-
" den's plays, there was this line, which the actress
" endeavoured to speak in as moving and affecting a
" tone as she could —

* My wound is great — because it is so small*

118 T. R. 1671.

" And then she paused arid looked very distressed —
" the Duke, who was in one of the boxes, rose im-
" mediately from his seat, and added in a loud ridi-
" culing voice —

' Then 'twould be greater, were it none at all.'

" Which had such an effect on the audience, who
" before were not well pleased with the play, that
" they hissed the poor woman off the stage, and
" would never bear her appearance in the rest of her
" parts — as this was only the second night that the
" play was performed, Dryden lost his benefit night."
This is a very good story — as far as the Duke is
concerned it has every appearance of being true^but
it is not likely that the audience should show a last-
ing displeasure to an actress for having spoken a
foolish line in a foolish manner — we should have
been much obliged to Malone, if he had told us the
name of the play and the name of the actress — some
of Dryden's plays were unsuccessful, but it is by no
means clear that he ever lost his benefit night — in
the 3d act of the Rival Ladies, Julia is slightly
wounded — her situation is such, that it is not im-
probable that she might have originally spoken the
unfortunate line — her brother says of her—

" her hurt's so small

" 'Twill scarce disturb the ceremony."

That is the marriage, to which he was forcing Julia
much against her will.

The Duke's parliamentary conduct at one time
did him credit; and Baxter said of him, that he

L.I.F. 1671. 119

had sounder principles of humanity than the rest
of the Court. (NeaU's History of the Puritans.)

The Miser seems to have come out after the Re-
hearsal— it is a pretty good C. — there are no per-
formers' names to the D. P. — Shadwell founded his
play on the Miser of Moliere — but as the French
piece had too little action for an English theatre, he
added above 8 new characters— the Miser was the
last play acted at T. R. before that theatre was burnt.

L. I. F. 1671.

Women's Conquest. Tysamnes = Harris : Foscaris
— Smith : Bassanes = Young : Andrages — Crosby :
Toxaris — Sandford : Parisatis = Mrs. Betterton :
Mandana = Mrs. Long : Statyra — Mrs. Johnson :
Clarina = Mrs. Shadwell : Melvissa = Mrs. Dixon :
Daranthe — Mrs. Lee : — acted 6 times — this T. C.
was written by Edward Howard — the scene lies in
Scythia — the serious part of the plot is romantic and
absurd to the last degree — the improprieties, which
occur in the language, are innumerable — the comic
scenes are good — a law exists that any man may di-
vorce his wife at pleasure — Foscaris, having divorced
his wife Clariria, from caprice, falls in love with her,
and is re-united to her — Melvissa manages her hus-
band Andrages with so much skill, that he has no
inclination to avail himself of the law, tho' she seems
to provoke him to it — Mrs. Inchbald, in Every one

120 L. i. F. 1671.

has his Fault, has borrowed the outlines of Sir Robert
Ramble — Miss Wooburri — Placid and his wife, from
this piece — the very judicious use she has made of a
play which could never be revived, would have done
her great credit, if she had not attempted to conceal
her plagiarism.

Town-Shifts, or the Suburb-Justice. Lovewell =
Cademan : Leftwell = Angel : Justice Frump = Sand-
ford : Goody Fells = Mrs. Norris : Leticia = Mrs. Lee :
Fickle = Mrs. Long : Betty = Mrs. Dixon : — this C. is
attributed to Revet — it has no particular fault, but
the plot is slight, and the dialogue insipid — it was
licensed May 2 167! — arid had perhaps been acted at
the Nursery in the preceding Lent.

Amorous Prince, or the Curious Husband — this
is a pretty good C. by Mrs. Behn — it is printed with-
out the names of the performers— one part of the
plot is borrowed from the novel of the Curious Im-
pertinent in Don Quixote — in the other part of the
plot, Frederick, the Amorous Prince, debauches
Cloris under a promise of marriage — the scene lies
at Florence.

Juliana, or the Princess of Poland. Ladislaus =
Betterton : Demetrius = Young : Cardinal = Harris :
Sharnofsky = Smith : Cassonofsky = Sandford : Land-
lord = Angel : Juliana = Mrs. Betterton : Paulina =
Mrs. Long : — this T. C. was written by Crown — the
scene lies at Warsaw at the time of the election of a
King — it is on the whole a poor play — the plot is
confused, and the language frequently bad — the
Landlord is a good comic character — Crown says his
piece came out just before the Dog days — it was li-
censed Sep. 8 1671.

D. G. 1671. 121

Dowries says — " The Man's the Master was the
" last new play acted at L. I. F., yet there were
" sundry others done there, from 1662 till the time
" they left that house : as Love's Kingdom by Fleck-
" noe, the Royal Shepherdess by Shadwell, Two
"Fools well met byLodwick Carlile,the Coffee-House
" by Sincerf, All Plot or the Disguises by Stroude :
" all which expired the third day, save the Royal
" Shepherdess, which lived six."

The Fortune Hunters, or Two Fools well met by
James Carlile was printed in 1689, and does not seem
to have been acted before that time — the Editor of
the lives of the English Poets in 1698 says it was
written by Carlile the actor — but Carlile the actor
could not possibly have written a play acted at L. I. F.

The Man's the Master was probably the last play
acted at L. I. F. — but it certainly was not the last new
brought out at that theatre.

All Flpt seems not to have been printed.

acted

piuy b

DORSET GARDEN 1671.

A new Theatre]] for the Duke's company was
finished this year — it was situated in Salisbury Court
Fleet Street, and was perhaps built on the site of the
old one which stood there before the civil wars — this
spot, Chetwood says, had been part of the Earl of
Dorset's Garden in Queen Elizabeth's time — the new
Theatre appears to have been built near the place

122 D G.. 1671.

which is now called Salisbury Square — the situation
of it is alluded to in the Prologue to the Gentleman
Dancing Master—

" Our author (like us) finding 'twou'd scarce do,

" At t'other end o' th' town, is come to you ;

" And since 'tis his last tryal, has the wit

" To throw himself on a substantial Pit ;

" Where needy Wit, or Critick dare not come,

" Lest neighbour i' the cloak with looks so gruin,

" Shou'd prove a Dun ;

" Where Punk in visor dare not rant and tear,

" To put us out, since Bridewell is so near."

The new Theatre in Dorset Garden seems to have
been built by subscription, and at an unusual expense
—the subscribers were called Adventurers — it appears
to have been larger not only than L. I. F., but than
the new Theatre built for the King's company in
1674 — it was opened with an occasional Prologue by
Sir George Etheredge — the Adventurers are said to
be in a greater fright about the success of the theatre
than ever poet was about the success of his play.

Settle's Empress of Morocco was published in
1673 with prints, one of which represented the out-
side, and another the inside of this Theatre — these
prints were re-published in 1809, but the inside print
was at that time said to represent L. I. F. — this is
evidently a mistake of the modern publisher — Settle
doubtless meant to give a representation of the The-
atre in which his play was acted — besides the Prosce-
nium, or Frontispiece, is so handsome, that it must
have been that of Dorset Garden.

After the union of the two companies in 1682, they

D. G. 1671. 123

still performed occasionally at D. G. — operas, arid
other plays which required a good deal of stage-room,
were usually brought out at that theatre — this con-
tinued to be the case after the secession of Betterton
and his friends in 1695 — but in 1699 D. G. was let
to the strong Kentish man — see Tom Brown's letter
in 1699 — Joe Hairies in the Prologue to the Constant
Couple says—

" Ah, friends! poor Dorset Garden house is gone j
" Our merry meetings there ave all undone :
" Quite lost to us, sure for some strange misdeeds,
" That strong dog Sampson's pull'd it o'er our
heads."

Dorset Garden was again in the possession of the
actors on April 30 1703 — on the 13th of May in the
same year, it is said in the bills (see D. L.) that
Dorset Garden is fitting up for an opera, and will be
ready in June — at the bottom of the bill for Nov. 27
1?04, D. G. is said to be repaired from the damage
done by the late great winds — on the 6th of Dec., the
Company intended to have acted at D. G., but defer-
red the performance on account of the bad weather
—they acted at D. G. from the 23d of Oct. 1706 to
the 28th — this seems to be the last mention of Dorset
Garden theatre.

In 1671 the Duke's company were under the ma-
nagement of Lady Davenant, (her son Mr. Charles
Davenant acting for her) Betterton, and Harris —
they removed from L. I. F. and opened their new
Theatre Nov. 9th with Sir Martin Man-all, which
was repeated 3 days together, with a full audience
each day, notwithstanding it had been acted 30 times
before at L. I. F., and above 4 times at Court.

124 D. G. 1671.

The Comical Revenge was next acted for 2 days
together to a full audience. (Downes.}

Charles the 8th, or the Invasion of Naples by the
French — this was the first new play brought out at
this theatre — Charles, King of France = Batterton :
Ferdinand = Harris : Prince of Sal erne = Smith :
Alphonso = Melbourne : Trivultio = Sandford : As-
canio = Young : Ghost = Cademari : Isabella — Mrs.
Batterton : Julia = Mrs. Dixon : Cornelia = Mrs.
Slaughter : Irene = Mrs. Shadwell : — Dowries says,
this T. was acted 6 days together, and now and then
afterwards — it is founded on history, but most of the
incidents have the appearance of being fiction — the
play is written in rhyme — the language is frequently
unnatural — arid the conduct of the principal charac-
ters romantic— one of them says—

" Whilst sporting waves smil'd on the rising sun.'*

Lord Rochester observed—

" Waves smiling on the Sun! I'm sure that's new,

" And 'twas well thought on, give the Devil his

due." (Langbaine^)

In this T. Crown begins his career of loyalty.

" But make him know it is a safer thing,

" To blaspheme heav'n than to depose a King.

####**#*

" Subjects or kingdoms are but trifling things,
" When laid together in the scale with Kings."

This play is dedicated to John Earl of Rochester,
one of the Gentlemen of his Majesty's bedchamber-
Gibbon observes — " Augustus, or Trajan, would have

D. G. 1671. 125

" blushed at employing the meanest of the Romans
" in those menial offices, which in the household and
" bedchamber of a limited monarch, are so eagerly
" solicited by the proudest nobles of Britain."

Citizen turn'd Gentleman, or Mamamouchi. Old
Jorden — Nokes : Sir Simon Softhead = Underbill :
Trickmore = Harris : Cureal = Sandford : Cleverwit
= Crosby : Young Jorden = Cademan : French Mas-
ter = Angel: Lucia = Mrs. Bttterton: Betty Trick-
more — Mrs. Leigh : Marina = Mrs. Burroughs : — this
play is taken by Ravenscroft from Moliere's Monsieur
De Pourceaugnac, and his Citizen turned Gentle-
man.

Mons. de Pourceaugnac was acted at Paris in
Nov. 1669 — it is a very good Farce in 3 acts — Eras-
tus and Julia are mutually in love — her father,
Orontes, had promised her to Mons. de Pourceaug-
nac— Erastus engages Sbrigani, a man of intrigue,
to assist in breaking off the match — as Pourceaugnac
is going to the house of his intended father in law,
Sbrigani waylays him, and scrapes an acquaintance
with him — Erastus affects to be an old friend of
Pourceaugnac, and insists that he should take up
his abode with him — Erastus puts Pourceaugnac
under the care of an apothecary and two physicians,
under the pretence that he is mad — they consult
about the case, and attempt to give him a glister —
he forces his way out of the house — Sbrigani, dressed
as a Flemish merchant, tells Orontes that Pour-
ceaugnac is in debt, and had assigned to his creditors
the portion he was to receive with Julia — Sbrigani
next tells Pourceaugnac that Julia is a woman of alight
character — when Orontes and Pourceaugnac meet,

D. G. 1671.

they quarrel — Julia pretends to fall in love with
Pourceaugnac — Two women attack him, as being
each of them married to him — they bring in several
children whom they say they have had by him — Sbri-
gani recommends Pourceaugnac to two Counsellors,
who tell him that the laws decree hanging as the
punishment for polygamy — Pourceaugnac is so fright-
ened, that he attempts to get off in woman's clothes
— an officer of the police seizes him — Pourceaugnac
bribes the officer to connive at his escape— Sbrigani
tells Orontes that Julia is so mad for the love of
Pourceaugnac, that she has run away with him—
Erastus enters with Julia whom he pretends to have
taken by force from Pourceaugnac— Orontes is so
pleased that he gives his daughter to Erastus.

Citizen turned Gentleman was acted at Paris in
1670 — Jordain, who is by birth a Citizen, turns Gen-
tleman— in order to qualify himself for his new situ-
ation, he entertains a Dancing, Music, Fencing, and
Philosophy Master — Cleontes and Jordain's daughter
are mutually in love — Jordain is made to believe that
the son of the Great Turk wants to marry his daugh-
ter— and that he means to raise Jordain to the dig-
nity of a Mamamouchi, which is the same as that of
a Paladine — Cleontes enters as the son of the Great
Turk — the Mufti &c. makes Jordain a Mamamouchi
— Jordain insists that his daughter should marry the
supposed Turk — this is a laughable Farce— but the
plot is too simple for five acts — Moliere should have

written it in three.

•

Ravenscroft is in general a dexterous plagiary — in
this instance he has rather failed — Moliere's two
pieces appear to disadvantage by being jumbled toge-

D. G. 1671. 127

ther — Raveriscroft has however produced a pretty
good Farce in 5 acts — Dowries says — " this play was
" looked upon by the critics as a foolish one, yet it
" was acted 9 days together with a full house — Nokes
" in old Jorden pleased the King and Court better
" than in any character, except Sir Martin Marr-all."
Downes says that Haines acted the French Tutor
in this play, adding that Haines, having affronted
Hart, was discharged by him, and joined the Duke's
company — as Angel's name stands to the part in the
first edition of Mamamouchi, and as Haines spoke
the Prologue to Assignation at the Theatre Royal,
in which Mamamouchi is severely handled, it appears
at first that Downes must have made a mistake — he
may however be quite correct, and the cast of Mr.
Anthony is a strong argument of his being so — no
time can be assigned so probable for Haines to have
acted in a play with Angel, Mrs. Long and Mrs. Jen-
nings, as the precise time which Downes mentions
—Mrs. Jennings left the stage in 1673 at the latest
—the names of Angel and Mrs. Long do not appear
after that year — the supposition that Haines was in
the Duke's company for some few months only, will
solve the difficulty — he might have come to D. G.
about Christmas 1671 — have acted in Mamamouchi
and Mr. Anthony — and have left D. G. before the
close of the season — Angel might have succeeded to
the part of the French Master before Aug. 9 1672,
when Mamamouchi was licensed for printing —
Haines might have danced in the Rehearsal origi-
nally, and yet have acted in Mamamouchi — or he
might not have danced in the Rehearsal originally,
and yet have danced in it, before it was entered on

128 D. G. 1671.

the stationers' books in June 1672 — as Haines' name
does not appear in any play acted by the Duke's
company, except Mr. Anthony, it is sufficiently clear
that he was not at D. G. for more than a short time
— from the plays acted by the King's company it is
certain, that if Haines joined the Duke's company as
Downes says, the quarrel between Haines and Hart
could not have been of any long continuance.

In the Prologue to the Rival Kings in 1677 it is
said—

" Jo Haines himself that shew'd us this dog trick,
" Has left us all, of our displeasure sick."

These lines seem at first to point out the time at
which Haines left the T. R. — but it must be remem-
bered that the Rival Kings was acted by the young
company — it is consequently more probable that the
Prologue should refer to some quarrel between them
and Haines, than to the quarrel between him and
Hart — Mr. Anthony could not possibly have come
out so late as 1677«

Mr. Anthony — Mr. Anthony = Nokes : Cudden =
Angel : Pedagog = Underbill : Art = Batterton : Plot
= Haines: Sir Timothy — ***: Trick =. Samford :
Mrs. Nell = Mrs. Long : Mrs. Philadelphia = Mrs. Jen-
nings: Mrs. Isabella = Mrs. Batterton: Mrs. Nan —
Mrs.***: Sir Timothy's Lady = Mrs. ***: Goody
Winifred — Mr. (probably Mrs.) Norris: — Sandford's
name stands to a small part — seemingly by mistake
—in all probability he played Sir Timothy — Mrs.
Nell is in the play generally called Mrs. Betty — Mr.
Anthony was not printed till 1690— this accounts for
the imperfect state in which we have the cast — such

D. G. 1671. 129

however as it is, it makes us nearly certain that the
play came out in the season of 1671-1672 — in the
latter end of 1672 Haines had certainly returned to
the King's company — Mr. Anthony is a tolerahly
good C. by the Earl of Orrery — Sir Timothy wants
to marry his wards, Mrs. Philadelphia and Mrs. Isa-
bella, to his son Mr. Anthony and his nephew Cud-
den, who are two great fools — in the 3d act Mr.
Anthony and Cudden have a ludicrous duel, the
former being armed with a bow and arrows, and the
latter with two cudgels — Dowries, by mistake, says
Cudden has a blunderbuss — in the 4th act Mr. An-
thony and Cudden are robbed, and stript to their
shirts by three men whom they had mistaken for
fiddlers — in the last scene Sir Timothy gets into
Mrs. Betty's bedchamber, and begins to be rude to
her — he is discovered, and obliged to consent that
his wards should be at their own disposal, and that
Mr. Anthony and Cudden should marry Mrs. Betty
and Mrs. Nan, his Lady's nieces — Mrs. Philadelphia
and Mrs. Isabella marry Art and Plot — this play is
supposed to take place at the time when Oliver
Cromwell was Protector — Pedagog in the 1st act
says—" I charge you in the Protector's name" &c.—
in the last scene, after Sir Timothy is discovered,
his Lady says — " Run, Winifred, and call the three
" Chastizers of the Parish— let them worry him"-
Winifred returns soon after and tells her Lady—
" Oh, Madam, by the happiest chance in the world,
" I met in the street, just at the door, the three
" Chastizers of the Parish, newly risen from sitting
" in judgment on a young fornicator, who they have

VOL. I. K

D. G. 1671.

" handled without mittings, arid therefore will feague
" an old adulterer" — the three Chastizers turn out
to be Mr. Anthony, Cudden and Pedagog in disguise
—Lord Orrery has probably here given a faithful
representation of the manners of the Puritans — it
appears from Burnet, that his Lordship was in Lon-
don during part of the time when Cromwell was
Protector — the Puritans, after they gained an ascen-
dency in Parliament, seem to have passed " some
" Act against fornication " &c — In the Parson's Wed-
ding, Jolly says — " A whore drest in verse and set
" speeches, tempts me no more to that sweet sin,
" than the Statute of Whipping can keep me from
" it" — the Parson is carried before a Justice on a
charge of having committed adultery — In the City
Heiress, Sir Timothy says — " Well fare, I say, the
" days of old Oliver; he by a wholesome Act made it
" death to boast ; so that then a man might whore
" his heart out, and nobody the wiser" — In the
Roundheads, Lady Makeshift petitions that the Act
against Fornication and Adultery may be repealed —
this act is said to have been passed on the 24th of
June, but the year is not specified — the petition is
said to be signed by many thousand women.

Downeo, after mentioning Henry the 5th in 1667,
adds — " After this my Lord Orrery writ 2 Come-
" dies ; the first called Guzman, the other Mr. An-
" thony; Guzman took very well, the other but
" indifferent"-— Wai dron has printed this in a man-
ner that is highly disgraceful to him; but by the
assistance of a friend he corrected the passage in
a note.

Guzman — from what Downes says it is sufficiently

D. G. 1671. 131

clear that Guzman was acted between 1667 and 1672
—the precise year cannot he determined — it was not
printed till 1693 — and then without the cast, and
without the Prologue and Epilogue — it is far from
a bad play, but it might be greatly improved by being
shortened.

Lord Orrery was evidently not deficient in abilities

—he seems to have possessed great copiousness of

diction — he is sometimes pathetic, and always easy

—but his Tragedies are written in rhyme, and with

all the extravagant notions of Love and Honour,

which prevailed in his time.

Charles the 2d in Sep. 1660 made Lord Broghill
Earl of Orrery — his Lordship in return introduced
such sentiments into his plays as he knew would be
most agreeable to his Majesty— thus in Henry the
5th—

" No King can make a forfeit of his crown."

In Tryphon—

" We ought when HeavVs Vicegerent does a

" crime,

" To leave to Heav'n the right to punish him.
" Those who for wrongs their Monarch's murder

" act,
" Worse sins than they can punish, they con-

" tract."

In Herod the Great — Herod says—

" 'Tis harder, when Kings are not absolute.

" He of a throne should be unworthy held,

" Who to his will makes not his subjects yield."

K2

132 T. R. 1672.

The Earl of Orrery died in 1679 — Dodsley pub-
lished his works in 1739.

T. R. 1672.
The King's Company acted at L. I. F.

The Theatre Royal was burnt in January 1671-2
— the King's Company in this distress removed to
L. I. F., which had been vacant since Nov. last—
they opened on February 26 1671-2 — the play was
Wit without Money — Mohun acted Valentine. ('Ma-
lone and Langbaine.)

Dryden wrote a Prologue for the first performance.

" From that hard climate we must wait for bread,
" Whence e'en the natives, forc'd by hunger,

" fled.

" Our stage does human chance present to view,
" But ne'er before was seen so sadly true :
" You are chang'd too, and your pretence to see
" Is but a nobler name for charity."

Wit without Money is one of Beaumont and
Fletcher's best plays.

Arviragus and Philicia was revived with a Pro-
logue, written by Dryden and spoken by Hart — the
first 4 lines of it show that this revival took place
during the time that the King's Company acted at
L. I. F.

r. ii. 1672. I'U

" With sickly actors and an old house too,

" We're match'd with glorious theatres and new,

" And with our alehouse scenes, and cloaths

«* bare worn,
" Can neither raise old plays, nor new adorn."

Arviragus and Philicia was written by Lodowick
Carlell in C2 parts — these plays have on the whole
considerable merit — but the plot is romantic — it is
probably taken from some monkish historian, as Car-
lell in the Epilogue to the 1st part says—

" Our author found it so, for having read
" Thus far the story &c."

Arviragus the Prince of Pickland and Philicia the
Princess of the Saxons are mutually in love — Car-
tandes the Queen of the Danes is an important
character in the second part — Langbaine in his
account of Arviragus and Philicia says — " several of
" our historians speak of this illustrious prince, they
" all agree that he lived in the time of Claudius
" Caesar " — both the Editors of the B. D. repeat what
Langbaine says — if any one of them had read these
plays, he would have seen that the actions represented
in them, could not possibly have taken place in the
time of Claudius Ceesar.

Marriage A-la-Mode — Tragic characters — Leoni-
das = Kynaston : Polydamas = Wintershall : Hermo-
genes = Cartwright : Argaleon — Lydall : Eubulus —
Watson : Palmyra = Mrs, Cox : Amalthea — Mrs.
James — Comic characters — Palamede — Hart : Rho
dophil = Mohun : Melantha = Mrs. Bowtell : Doralice
= Mrs. Marshall : Philotis = Mrs. Reeve : -Downes

134 T. R. 1672.

says that Burt acted Palamede — this T. C. consists
of two distinct plots awkwardly united — the serious
scenes are bad — the comic scenes are excellent — in
the 4th act there is a song which is remarkably in-
decent, but very well written — the Prologue is very
good.

Love in a Wood, or St. James' Park. Ranger (in
love with Lydia) = Hart : Dapper wit = Mohun : Al-
derman Gripe n Lacy : Sir Simon Addleplot = Win-
tersell : Valentine (in love with Christina) = Km-
riaston : Vincent = Bell : Lady Flippant = Mrs.
Knepp : Christina = Mrs. Boutel : Lydia (in love with
Ranger) = Mrs. Betty Cox : Mrs. Joyner = Mrs. Cory:
Mrs. Crossbite = Mrs. Rutter : Lucy (her daughter —
a jilt) =. Mrs. Betty Slade : Martha (Gripe's daughter)
— Mrs. Farlowe : — Ranger follows Lydia from the
Park in the dusk of the evening — Lydia comes to
Christina's lodgings, and particularly requests her to
see Ranger, and pretend that she was the person
whom he had followed— Ranger goes from Christina's
to Vincent's to inquire who the lady, that he had
seen, is — Valentine overhears their conversation, and
becomes jealous — much confusion about the two
ladies ensues —this gives the first title to the play—
at the conclusion Ranger and Valentine marry Lydia
and Christina — Gripe and Mrs. Joyner are great
pretenders to sanctity — he employs her to procure
Lucy for him — she joins with Mrs. Crossbite and
Lucy in a plot against Gripe — Lucy pretends that he
has ravished her, and Gripe is swindled out of £500
— Lady Flippant rails against matrimony, but is in
reality very desirous of a husband, or a gallant — this
is a very good C. — it was printed in 1672, and it is

T. R 1672.

pivtty clear that it was riot brought out till after the;
King's Company had removed to L. I. F . — Lady
Flippant asks Gripe to set her down near the play-
house— Gripe replies — " The playhouse ! do you
" think I will be seen near the playhouse?" — Lady
Flippant — " You shall set me down in Lincolns Inn
" Fields then " —the word " wretch," as a term of
pity or affection, occurs 3 or 4 times, just in the same
sense, in which Othello says of Desdemona — "excel-
" lent wretch " -Wycherley has dedicated his play to
the Duchess of Cleveland — Granger tells us that she
began her acquaintance with Wycherley by calling
him " a son of a whore " —this she meant as a com-
pliment, and as such it was understood by him — Lady
Flippant in the first act of this play sings a song in
dispraise of matrimony — it concludes thus —

" Great wits and great braves

" Have always a punk to their mother."

Assignation, or Love in a Nunnery. Aurelian •=.
Hart : Benito (his servant) = Haynes : Duke of
Mantoua = Mohun : Prince Frederick (his son) = Ky-
naston : Camillo = Burt : Ascanio (page to the Prince)
= Mrs. Reeve : Mario = Cartwright : Lucretia (a pro-
bationary nun) = Mrs. Marshal : Laura arid Violetta
(sisters, and nieces to Mario) = Mrs. Bowtel and Mrs.
Cox: Hippolita fa nun) — Mrs. Knep : Sophronia
(abbess of the nunnery) •=. Mrs. James : — scene Rome
— Dryden, in the dedication, tells us that this C. suc-
ceeded ill in the representation, against the opinion
of many of the best judges — there are CZ or 3 dull
scenes in blank verse, but on the whole this play
has great merit, particularly in the character of

136 D. G. 1672.

Benito — Dryden seems to have written the part pur-
posely for Haynes — Benito, instead of promoting his
master's schemes, is a very Marplot, but without de-
signing to be so — in the 4th act, the Duke comes into
his son's dressing room — two masking habits lie in a
chair — Frederick has a particular reason for wishing
his father not to see them — he throws himself into
the chair, and pretends to be taken very ill — his
father runs to call for assistance, and Ascanio carries
away the dresses — the Duke of Buckingham, in the
second edition of the Rehearsal, introduces a sneer
at this stage trick, which is certainly not a bad one
—his Grace makes Bayes say—" I once set off a
" scene beyond expectation, only with a petticoat and
" the belly ach" — lucky would it have been for Dry-
den, if he had given the Duke's satirical talents no
greater handle against him, than he has done in the
scene alluded to.

The Epilogue concludes with—

" His Nuns are good which on the stage are shown,
" And sure behind our scenes you'll look for none."

This C. was entered at stationers' hall March 18
1672-3 — and probably acted the latter end of this
year.

D. G.

Gentleman Dancing Master. Mr. Formal, or Don
Diego, is a Span;sh Merchant, who had resided so

i). & 1672. 137

long ill Spain, that he had adopted the mariners of
that nation — Mr. Paris, or Monsieur De Paris had
been some few months in France, and had returned
completely an English Monsieur — Gerrard and Hip-
polita are mutually in love — Formal and his sister
Mrs. Caution surprise them together — Gerrard, at
Hippolita's suggestion, pretends to be a Dancing
Master — this is the worst of Wycherley's Comedies,
but on the whole a good play — it was not much liked,
and was acted only 6 times — it is printed without
the names of the performers — but there is reason to
think that Nokes acted Monsieur De Paris, as that
character 4 times mentions Nokes, in which there
would have been no fun, unless Nokes had acted the
part himself — Angel likewise is 3 times spoken of by
Paris —he probably acted Formal — Downes tells us
that the Gentleman Dancing Master was the 3d new
play acted at this Theatre, and that several of the
old stock plays were acted between each of the new
ones.

Epsom Wells. Raines = Harris : Bevil = Better-
ton : Woodly = Smith : Justice Clodpate = Under-
bill : Bisket = Nokes : Fribble = Angel : Carolina =
Mrs. Johnson : Lucia = M rs. Gibbs : M rs. Jilt = M rs.
Betterton : — Downes does not tell us who acted the
other characters — he says Mrs. Johnson danced a Jig
so charmingly, that Love's power soon after coerced
her to dance elsewhere— this is one of ShadwelPs
best plays — it was very successful at first, and con-
tinued on the stage till 1726 — Dryden in Mac Fleck-
noe says—

" But let no alien Sedley interpose,

" To lard with wit thy hungry Epsom prose."

138 D. G. 1672.

Sir Charles Sedley was a Wit, but if we may judge
from his writings, Shadwell was much more able to
assist him in composition, than he was to assist Shad-
well — Shadwell in the dedication of Psyche says—
" some of my enemies endeavour to persuade the
" King that 1 do not write the plays I own, or at
" least that the best part of them are written for me ;
" which is so malicious an aspersion, that I am cer-
" tain they themselves believe it not — and I am sure
" (though I may want wit to write a play) I have
" more honesty than to own what another man
" writes."

Reformation. Pisauro = Smith : Pacheco = An-
thony Leigh : Antonio = Harris : Tutor to Pacheco
(an Englishman) = Underbill : Pedro = Cademan :
Lysander = Medbourne : Camillo = Samford : Lean-
dro = Crosby : Juliana = Mrs. Batterton : Ismena =
Mrs. Johnson : Nurse = Mrs. Norris : ^Emilia = Mrs.
Lee : (perhaps Leigh) Lelia = Mrs. Osborn :-
Downes says this C. was written by a Master of Arts
at Cambridge — (Arrowsmith) — he adds — " the Re-
" formation in the play being the reverse to the laws
" of morality and virtue, it quickly made its exit to
"make way for a moral one"— viz. Macbeth—
Downes says this from an imperfect recollection, and
not from an actual perusal of this Comedy — there
are some few indecent expressions in it, but not more
than occur in almost every Comedy written at this
time — the Reformation proposed is simply to give
the Ladies in Venice the same privileges as they have
in England — this is a good C. — Arrowsmith has in-
troduced some excellent observations on the bad taste
of that time — they are applicable to many, or rather

D. o. 1672. 139

most, of the Tragedies then written— some of them
seem to be pointed at Dryden in particular.

Macbeth, in the nature of an Opera, was the next
play — (Dmvnes) — Gibber says that the two Compa-
nies were both prosperous for some years, till their
variety of plays began to be exhausted — then of
course the better actors (which the King's seems to
have been allowed) could riot fail of drawing the
greater audiences — the Duke's Company to make
head against their success introduced a new species
of plays, called Operas — Dryden defines an Opera
to be a poetical tale or fiction, represented by vocal
and instrumental music, and adorned with scenes,
machines, and dancing — and this is precisely the
sense in which Dowries uses the word — Dryden, in
his definition of an Opera, does not mention Dialogue
as a constituent part of it, but he certainly does not
mean to imply that an Opera might consist without
Dialogue — Dowries considers Machinery so essential
to an Opera, that he calls the Lancashire Witches a
kind of Opera, because there were Machines for the
Witches.

Macbeth had been acted at L. I. F. as written by
Shakspeare — it was now brought forward with Ma-
chines for the witches, with dancing, and with all
that singing, which still continues to disgrace this
admirable Tragedy — in this shape it was very suc-
cessful, and proved a lasting play — it was published
in 1674 with all the alterations, amendments, addi-
tions and new songs, as acted at the Duke's Theatre
— Downes expressly attributes it to Sir William Da-
venant, but his name does not stand in the titlepage
— Macbeth — Batterton : MacdufT= Harris : Banquo

140 D. G. 1672.

= Smith: Lenox — Medbourae : Malcolm ~ Norris :
Donalbain =: Cademan : Duncan = Lee: Lady Mac-
beth = Mrs. Batterton : Lady MacduffmMrs. Long:
Banquo's Ghost = Sandford : — it is remarkable that
Smith should act Banquo, and Sandford, his Ghost,
especially as there is strong reason to believe that
Smith was a fine figure, whereas Sandford was de-
formed.

Rosse's name stands in the D. P., tho' every line
of the part is given to some other character — the
part of Seyton is strangely enlarged — when Lady
Macbeth enters for the first time, Lady Macduff
enters with her — Lady Macbeth is impatient to read
her letter, and prevails on her guest to retire — she
tells us that she has had a former letter from Mac-
beth about the Witches, and then proceeds to read
the letter in her hand— this lame apology was neces-
sary, as " they met me in the day of success" &c. is
clearly not the beginning, but the conclusion of a
letter, and Shakspeare evidently supposes her to have
read the first part before she enters — the absurdity
of making Macbeth relate what passed between him
and the Witches, partly in one letter, and partly in
another, is so glaring, that one wonders how Dave-
nant could have been guilty of it — and this is done
merely for the sake of introducing an insipid scene
between the Ladies — it seems to have been Dave-
nant's particular wish to lengthen the parts of Mac-
duff and his wife.

In the 3d act, Shakspeare makes Macbeth say to
the 1st Murderer —

" always thought,

" That I require a clearness."

D. G. 1672. 141

Davenant changes this to —

" always remernber'd,

" Tfiat you keep secrecy with the Described
" Fattier."

In the 4th act, Malcolm and Macduff meet at Bir-
nam Wood instead of meeting in England — the first
part of the original scene is shortened, and the last
part transposed — Lady Macbeth says that Duncan's
Ghost haunts her continually, and endeavours to per-
suade her husband to resign the crown — the Ghost
appears once or twice — but as at the Banquet she
could not see Banquo, so here Macbeth cannot see
Duncan — then comes the latter half of the scene be-
tween Malcolm and Macduff — Lenox (instead of
Rosse) gives the account of the murder of Lady Mac-
duff and her children.

In the 5th act, Lady Macbeth's last, two speeches
are most injudiciously omitted — what passes between
Macbeth and the Doctor is shamefully mutilated —
— " My May of life &c" is omitted — Lenox (instead
of young Si ward) fights with Macbeth and is killed
— he very politely begs pardon of his countiy for
dying — Macbeth has one line given him by way of
a dying speech ; and the marginal observation is (not
Macbeth but) Ambition dies — Davenant has added
a good deal of his own to this act.

Steevens says " almost every original beauty is
" either awkwardly disguised, or arbitrarily omitted"
— this censure is perhaps too severe — Daveriant's
alteration is certainly a very bad one — he has omitted
some fine speeches, and introduced a considerable
quantity of insipid stuff, but still he has retained by

142 D. G. 1672.

far the greater part of the original play — his grand
fault is, that there are scarcely six lines together in
which he has not made some unnecessary and wan-
ton change — at the time when Davenant made this
alteration of Macbeth, he had in his possession a
copy of Middleton's Witch, which till 1778 existed
only in manuscript — from it he has taken the names
of the Witches, and a considerable part of the cho-
ruses which are still sung on the modern stage when
Macbeth is acted — in the 5th act of the Witch there
is " a charme song, about a vessell" —

" Black spirits and white, red spirits and gray;
" Mingle, mingle, mingle, you that mingle may."

In the cauldron scene of Shakspeare's Macbeth,
we have — " Musick and a Song.'*

" Black spirits and white,
" Blue spirits and grey ;
" Mingle, mingle, mingle,
" You that mingle may."

Steevens in a note says — " of this song only the
" two first words are found in the old copy of the
" play, the rest was supplied from Davenant's alte-
" ration of it."*

The author of the Tatler, having occasion to quote
some few lines out of Macbeth, was content to re-
ceive them from Davenant's alteration — so little was
Shakspeare at that time read. (Steevens. ,)

In Shakspeare's Macbeth at the close of the 4th

* N. B. Johnson's and Steevens' Shakspeare 1778 is the edi-
tion always referred to in this account of the stage.

D. G. 1672. 143

act, when the scene lies in England, a Doctor enters
and tells us that Edward the Confessor was in the
habit of curing the evil miraculously — Malcolm
clenches the lie, and adds that the King intends to
leave this strange virtue to his successors — Shak-
speare wrote this to please James the 1st — Davenant
was too good a courtier totally to omit it — as he had
changed the scene to Birnam Wood he could not in-
troduce the Doctor, but he takes care to mention the
cures — for this miracle was still in fashion in his time
—Charles the 2d is said to have touched many thou-
sand persons for the evil—

" How this good King solicited heaven

" Himself best knew: but strangely- visited people,

" The mere despair of surgery, he cured,

" Hanging a golden stamp about their necks,

" Put on with holy prayers."

This stamp was a coin called an Angel, of the value
of 10 shillings — it had the impression of St. Michael
the Archangel on one side, and a ship in full sail on
the other — (Hawkins) — Tom Thimble in the Re-
hearsal says " I shall see you come home, like an
" Angel for the King's evil, with a hole bored through
" you" — Dr. Johnson, when a child, is said to have
been touched the last time Queen Anne performed
the office. (Hawkins.*)

The form of prayer used on this occasion may be
seen in Sparrow's Collection — it is called the King's
Healing, for it would have been considered as pro-
fane to have doubted of the reality of the cures — the
learned Bp. Bull in his 5th sermon says — " That
" divers persons, desperately labouring under the

144 D. G. 1672.

" King's Evil, have been cured by the mere touch
" of the Royal Hand, assisted with the prayers of
" the priests of our church, is unquestionable."

Dr. Percy observes— " Our Kings of the Planta-
" genet line were humbly content to cure the cramp,
" the miraculous gift of curing the evil was left to be
" claimed by the Stuarts" — Dr. Percy is wrong — he
had seen the form of Healing used by our kings after
they were Protestants, but was not aware that there
was a form for the healing of the king's evil used by
Henry the 7th— this was printed in 1686, and again
in 1789— the Protestant form does not differ mate-
rially from the old one, except that a short prayer to
the Virgin Mary and all the saints is omitted — in the
old form, the last clause of the Gospel was to be re-
peated so long as the King should be crossing the
sore of the sick person with an Angel of gold ; this
done, the chirurgeon was to lead away the sick per-
son, and the chaplain was to finish the service — the
sick person was to have the Angel hanged about his
neck, and was to wear it until he should be full
whole.

The Cramp rings were blessed on Good Friday by
the Catholick Kings of England — they were to lie in
one bason or more — the King was to rub them with
his hands and say a prayer — then holy water was to
be cast on the rings.

Fatal Jealousy (licensed Nov. 22 1672) Jasper =
Sandford: Don Antonio = Smith : Don Gerardo =
Medbourne : Don Francisco — Young : Don Sebas-
tian = Crosby : Captain of the Watch = Nath. Lee :
(the poet) — CseliarrMrs. Shadwell : Eugenia = Mrs.
Betterton : Nurse = Mr. Nokes : Florae Mrs. Os-

D. G. 1672. 145

born : Witch = Mrs. Norris : — the scene lies at Naples
— Antonio is jealous of his wife, Ceelia, whom he had
lately married — his servant Jasper is a consummate
villain — at the conclusion, he boasts of what he has
done, and stabs himself — this Tragedy is very bloody,
but no one of the murders is committed without a
sufficient motive — Downes by mistake calls it Love's
Jealousy — he attributes it to Nevil Payne — in one
respect it is superiour to the generality of Tragedies
written at this time, as being free from bombast and
unnatural sentiments — the plot is good — the Nurse
is a character of importance, and no doubt contri-
buted to obtain Nokes the appellation of Nurse Nokes,
which he evidently had before he played the Nurse in
Romeo and Juliet as altered to Caius Marius.

Forced Marriage, or Jealous Bridegroom. Alcip-
pus = Betterton : Philander = Smith : King = Otway
and then Westwood : Falatius = Angel : Erminia =
Mrs. Betterton : Gallatea = Mrs. Jennings : Olinda =
Mrs. Lee: — this is an indifferent T. C. by Mrs. Behn
— it is written partly in rhyme, and partly in blank
verse — Downes says it was acted 6 times — the scene
lies in France.

Otway having an inclination to turn actor, Mrs.
Behn gave him the part of the king in this play, but
he, not being used to the stage, was put into a tre-
mendous agony and spoilt for an actor — Nat. Lee
attempted to play Duncan and one or two other
parts, but with not much better success — Downes
adds that he himself was cast for Haly in the Siege
of Rhodes the first day that L. I. F. was opened,
but the sight of the King, the Duke of York, and
many of the Nobility, ruined him also for an actor—

VOL. I. L

146 T. R 1673.

he considered his own disgrace as less for being in
such good company.

The Editors of the B. D. say that the Forced Mar-
riage was acted at the Queen's Theatre — there was
no Queen's Theatre from the Restoration till the
accession of James the 2d to the crown — in the se-
cond edition of the play in 1688, it is said to have
heen acted at the Queen's Theatre, as in that year
Dorset Garden became the Queen's Theatre.

T. R. 1673.
The King's Company acted at L. I. F.

The Women acted Philaster and the Parson's
Wedding without the assistance of the men — but it
does not appear whether they did so in 1672 or 1673

—Mrs. Marshall on both occasions spoke the Pro-
logue and Epilogue in man's clothes.

Parson's Wedding was written by Thomas Kille-
grew — the Parson is a profligate — he marries Mrs.
Wanton who had been kept by the Captain — on the
wedding day he is made drunk, and put to bed to a
dirty old hag, who is a married woman — the Captain
and Jolly, disguised as a Constable and Watchman,
take him up for adultery, and carry him to Wild's

—Wild, tho' a gay young man, is represented as a
magistrate — they find Mrs. Wanton sitting on Wild's
knee — the Captain and Jolly discover themselves —

T. R. 1673. 147

the Parson is obliged to submit to hard conditions,
and threatened with cuckoldom in the most barefaced
manner — Lady Wild, a youngish widow, and Mrs.
Pleasant go to the play — on their return home, they
find the coachman dead of the plague, and a guard
placed before the house — they go to Wild's, who is
her ladyship's nephew, and desire to be accommo-
dated with beds — this is readily granted — Careless
and Wild get into the room before they are awake —
their friends salute them with fiddles in the morning,
as if they had stolen a wedding — the ladies are
obliged to marry Careless and Wild to save their
reputations — Langbaine observes that this incident
occurs in several other plays, as Ram Alley, the
Antiquary &c, but is no where so well managed as
in this —the Parson's Wedding is a good C. — it is
of an enormous length, and was probably shortened
in representation.

Amboyna, or the Cruelties of the Dutch to the
English Merchants, (entered on the stationers' books
June 26 1673) Captain Towerson = Hart : Harman
Sen ior = Cart wright : Harman Junior = Kynaston :
The Fiscal = Wintershall : Perez (a Spanish Captain)
= Burt : Beamont = Mohun : Ysabinda = Mrs. Mar-
shall : Julia = Mrs. James : — the Dutch have posses-
sion of all the forts in Amboyna, but the English
merchants have a part of the trade — in the 5th act,
the Dutch falsely accuse the English of a plot to
murder them and seize the fort — the scene opens, and
discovers the English tortured and the Dutch tor-
turing them— the cruelties, which the Dutch really
committed, seem to have beenjsuch, that Dryden
could not exaggerate them — Guthrie says — " they

L2

148 T. R. 1673.

" must be transmitted as a memorial of Dutch infamy
" to all posterity — this tragical event happened in
" 1622, and is still unrevenged" — Amboyna is a mo-
derate play — the principal incidents are very tragical
—but the dialogue is more like Comedy than Tragedy
— when Harman jun. has ravished Ysabinda, the
Fiscal recommends him to kill her to prevent disco-
very— Harman demurs — the Fiscal then says — "these
" fits of conscience in another might be excusable ;
" but in you, a Dutchman, who are of a race that are
" born rebels, and live every where on rapine ; wou'd
" you degenerate and have remorse?" — Dryden in
his malice to the Dutch forgets all propriety of cha-
racter ; for what can be more absurd than to make
one Dutchman say this to another ? — Dryden's play
was a temporary production, designed to inflame the
nation against the Dutch, who (as he says in the
Prologue and Epilogue)

" Were bred ere manners were in fashion."

and " Who have no more religion, faith — than

you."

The injustice of the first Dutch war was in a
manner absorbed in the superiour infamy of the
second, which Dryden so zealously defends.

Dr. Johnson says, this play is a tissue of mingled
dialogue in verse and prose — the Editor of the B. D.
copies this, and adds, it is as Dr. Johnson observes
— Malorie says, the greater part of this play is
written in prose, and what is not prose is blank verse
— " Mark now a plain tale " —besides the tags and
two songs, there are precisely two lines in rhyme, and

r. ii. 1673. 14!)

two in blank verse — Dr. Johnson adds — " it was nor-
" haps writ ton in less time than the Virgin (Royal)
" Martyr, tho' the author thought not fit, either osteri-
" tatiously or mournfully, to tell how little labour it
" cost him, or at how short a warning he produced
" it" — Dryden in the dedication expressly says it was
contrived and written in a month.

Dr. Johnson, when writing the life of Dryden, felt
himself compelled to say something about his plays,
but he had no inclination to read them, he therefore
for the more part expressed himself in vague and
general terms, but here he has committed himself
sadly.

Malone, on a similar occasion, has well observed
— " when I mention these slight inaccuracies of Dr.
" Johnson, for whom personally when living, I had
" the greatest respect and veneration, and for whose
" writings I have the highest admiration, I hope not
" to be misunderstood— such trivial errours can
" diminish little from the value of his incomparable
" Lives of the Poets, and are merely specks in the
" finest body of criticism extant in any language."

Country Wife. This C. was not printed till 1675,
but it was probably acted in 1672 or 1673, as the
Prologue alludes to the ill success of the Gentleman
Dancing Master, and Wycherley's last play was acted
in 1674 — Horner = Hart : Pinchwife=:Mohun: Har-
court = Keniston : Sparkish = Haynes : Sir Jasper
Fidget — Cartwright : Dorilant = Lydal : Quack =
Shotterel : Mrs. Pinchwife = Mrs. Bowtel : Lady
Fidget — Mrs. Knep : Mrs. Alithea = Mrs. James :
Mrs. Dainty Fidget = Mrs. Corbet : Lucy — Mrs.
Cory: Mrs. Squeamish — Mrs. Wyatt: Old Lady

150 D. G. 1673.

Squeamish — Mrs. Rutter : — this is an excellent Co-
medy, but very indecent — Horner's strategem is as
good an one as is to be met with in the whole com-
pass "of the Drama —in the 5th act Mrs. Pinchwife
tells her husband that Alithea is in love with Hor-
ner — she puts on a mask, and dresses herself in
Alithea's clothes — Pinchwife carries her to Horner's
lodgings, supposing her to be his sister — Wycherley
has borrowed this part of his plot from Moliere's
School for Husbands — but he has improved what
he has borrowed — when Pinchwife, in the 4th act
says — " there will be danger in making me a cuck-
" old " —Horner's reply, is very happy — there is no-
thing that tells better on the stage, than when one
person wilfully perverts another's meaning, provided
it is done neatly — in this species of wit Aristophanes
excels.

D. G. 1673.

Morning Ramble, or Town Humours, by Nevil
Payne. (Downes.) Merry = Harris : Townlove =
Betterton : Ruffle = Smith : Muchland = Medbourne :
Fullam = Underbill : Rash = Crosby : Rose = Mrs.
Shadwell: Honour Muchland = Mrs. Johnson : Betty
Rash = Mrs. Long : Lady Turnup = Mrs. Osborn :—
this is far from a bad Comedy — it has not much plot,
but the dialogue is natural and easy — Merry begins
this piece with giving Honour Muchland a serenade

i). G. 1673. 151

about two in the Morning — he prevails on Townlove,
Muchland, and Rash to accompany him in his Ram-
ble—the play ends about eight in the Morning — the
last Editor of the B. D. says — "Langbaine and all
" the compilers after him, have given a second title
" to this play, (The Town Humours) but there is no
" such addition to the title in the edition of 16J3
" now before us" — Langbaine and his followers in
this instance are perfectly correct — in a copy of the
edition of 167 3 now before me, the titlepage calls
this C. the Morning Ramble or the Town Humours
—the running title is only the Morning Ramble.

Careless Lovers. Careless — Smith : De Boastado
(a foolish Lord) — Angell : Lovell (in love with Ja-
cinta) = Cademan : Toby = Sherwood : Much worth
(an old Alderman) = Norrice : Hillaria (his niece) =
Mrs. Clough: Jacinta (his daughter — in love with
Lovell) = Mrs. Burroughs : Beatrice (their maid) =
Mrs. Leigh : Mrs. Clappam and Mrs. Breedwell (two
women of the town) = Mrs. Osborn and Mrs. Norm:
— Muchworth insists that Lovell should break off his
addresses to Jacinta — he means to give her to De
Boastado — Lovell and Careless engage Mrs. Breed-
well and Mrs. Clappam in their interest — each of
them says she is married to De Boastado — they make
their children call him father — the scene is a very
good one, but De Boastado on the whole is not a
good character — he is made to believe that a great
heiress is in love with him — he marries her as he
supposes — she turns out to be Beatrice — Lovell
marries Jacinta, and Muchworth is reconciled to them
— Careless and Hillaria are very good characters —he
is a town gallant and very averse from matrimony—

1,52 D. G. 1673.

she is of a gay disposition — at the conclusion they
agree to marry — Careless declares he has entered
into matrimony, but not into bondage — Hillaria adds
-^" he has as it were but one mistress more—

" Whilst other Wives and Husbands scold and

" rant,
" We two will live like Mistress and Gallant."

Ravenscroft in writing Mamamouchi borrowed
largely from Monsieur de Pourceaugnac, but having
omitted the women and children he introduces them
here — notwithstanding that the Careless Lovers was
written in a great hurry, yet it is far from a bad play
—Ravenscroft says — " by way of excuse let me
" acquaint you, that it was written at the desire of
" the Young men of the stage, and given them for a
" Lenten-play— they asked it not above a week be-
" fore Shrove Tuesday — in 3 days time the 3 first
" acts were made, transcribed, and given them to
" to write out into parts — the 2 last acts took me
" up just so much time — one week compleated it"
— he allows that shortness of time ought not to be
pleaded in excuse of ill plays, unless on the like
occasion.

It appears from Pepys (see L. I. F. March 21
1667) that the young actors of the Duke's Company
were allowed to act for their own advantage on Wed-
nesdays and Fridays in Lent — and from the Epilogue
to the Rival Kings that the young performers of the
King's Theatre had a similar privilege.*

* Even so late as 1743, Woodward and some other performers
acted two plays at a Booth in Southwark on two Fridays in Lent,
when D. L. and C. G. were closed.

D. G. 1673. 1,53

Bayes in the Rehearsal declares, that he has been so
highly disobliged by the peremptoriness of the actors,
that he is resolved hereafter to bend all his thoughts
for the service of the Nursery, and mump the proud
players— Langbaine tells us, that he had seen Re-
venge for Honour many years ago at the Nursery in
Barbican — Dryderi in Mac Flecknoe says—

" Close to the walls which fair Augusta* bind,
" An ancient fabric raised t' inform the sight,
" There stood of yore, and Barbican it hight :
" A watch-tower once; but now, so fate ordains
" Of all the pile an empty name remains :

" From its old ruins, brothel-houses rise—

***********

" Near these a Nursery erects its head,

" Where queens are form'd, and future heroes

" bred;.

" Where unfledg'd actors learn to laugh arid cry, -v
" Where infant punks their tender voices try, >
" And little Maximins the gods defy." J

Dryden, in his Prologue to Assignation, having
attacked Ravenscroft's Mamamouchi, he retorts on
Dryden and his plays in his Prologue to this C. — in
his Epistle to the Reader he says of Dryden — " Isesit
" prius, but devils of wit are not very dangerous, so
" we both sleep in whole skins — if the reader is

* London was called Augusta Trinobantum — Ammianus Mar-
cellinus b. 27. ch. 8. calls Lundinium, vetus oppidum quod Au-
gustam posteritas appellavit — Tacitus, Ann. b. 14. ch. 33, in
speaking of London in the time of Nero, says — Londinium,
cognomento quidem colonise non insigne, sed copia negotiato-
rum et commeatuum maxime celebre.

154 D. G. 1673.

" inquisitive to know why there are such continual
" piques among the Poets, I can give no other reason
" than what one whore told the other — two of a trade
" can seldom agree."

Dutch Lover — this is on the whole a pretty good
play — it was written by Mrs. Behn, and printed
M'ithout the names of the performers — the comic
scenes are much better than the serious ones — Lang-
bairie says the plot is founded on a Spanish Ronaance
— the incidents are complicated, but all is well
cleared up at the last.

Empress of Morocco. Crimalhaz (the paramour
of the Empress) = Batterton : Muley Hamet (in love
with Mariamne) = Smith : Muly Labas (son to the
Emperour) = Harris : Hametalhaz (the confidant and
creature of Crimalhaz) = Medbourne : Laula (Em-
press of Morocco — and mother of Muly Labas and
Mariamne) = Mrs. B«tterton: Mariamne (in love
with Muly Hamet) — Mrs. Mary Lee : Morena =
Mrs. Johnson :— the Empress of Morocco is written
in rhyme — it has a good deal of bombast — the Em-
press says—

" I'll crowd up Hell, till there's no room for me."

On the whole this Tragedy has considerable merit
— it is never dull, and the plot is well managed—
the mask contributes most happily to the main design
—but Orpheus and Eurydice are introduced with
much impropriety at Morocco— Settle in his dedi-
cation to the Earl of Norwich says — " I owe the
" story of my play to your hands, and your honour-
" able embassy into Africa."

The Empress of Morocco is said to have been the

D. G. 1673. 155

first play that was ever sold in England for two shil-
lings, and the first that was ever printed with cuts
—{Dennis} — these cuts were 6 in number — the 1st,
or frontispiece, represents the outside of D. G. — in
the 2d Muly Lahas and Morcua appear in chains,
with a representation of the interiour of the Theatre
—in the 3d the fleet appears at the back of the stage
—the 4th represents Pluto &c as in the Mask — the
5th exhibits the dance by the infernal spirits — the
6th represents the bodies of Crimalhaz &c hanging
on spikes of iron.

The success of this T. excited the envy of Settle's
contemporaries— some critical remarks were written
on it — Dennis (as quoted by Malone) attributes them
to Dry den, Shadwell, and Crown — Dr. Johnson
ascribes the whole of them to Dryden — but Crown,
in his preface to Caligula, says — " in my notes on a
" play called the Empress of Morocco (I call them
" mine, because above three parts of four were written
" by me) I gave vent to more ill nature in me than I
" will do again."

The Tempest or the Enchanted Island was turned
into an Opera, and brought out in 1673 with new
scenes, machines &c. — this was effected by Shadwell
— Downes says that every thing was admirably
managed, and no succeeding Opera brought more
money.

Hamlet — Hamlet = Betterton : Ghost = Med-
bourne : Horatio = Smith : King = Crosby : Polo-
nius = Noake : Osfrick = Jevan : Laertes = Young :
Guilderistern = Cademan : Fortinbras = Percival :
Marcellus = Lee : Francisco = Floyd : 1st Gravedig-
ger = UndnY : 2d Graved igger = Williams : Ophelia

156 D. G. 1673.

= Mrs. Betterton : Queen = Mrs. Shadwell : — from
what Dowries says of Cademan, Floid, Percival and
Williams, it seems pretty clear that this was the cast
of the characters about this time ; it is copied from
an edition of Hamlet published in 1703, which pro-
fesses to mark the passages omitted in the represen-
tation— if it be correct, Hamlet's first speech to the
Ghost was strangely mutilated —

" Angels and ministers of grace defend us !"
— then comes — " what may this mean,

" That thou dead corse again in complete steel"
-&c.

The advice to the Players is marked as omitted.

About this time the Company was very much re-
cruited— they had lost by death — Price — Lovel—
Lilliston — Robert Nokes — Mosely — Floid &c — Mrs.
Davenport — Mrs. Davis and Mrs. Jennings were (as
Downes expresses it) crept the stage by force of
Love — in their places came — Anthony Leigh — Gil-
low — Jevon — Percival — Williams, who came in a
boy, and served Harris — and Boman, who entered
as a boy likewise — Mrs. Barry — Mrs. Currer — Mrs.
Butler— Mrs. Slaughter — Mrs. Knapper and Mrs.
Twiford — Mrs. Slaughter had acted in the first new
play at this theatre — after which her name does
not occur, unless we suppose her to have become
Mrs. Osborn, which is not improbable.

The account of Mrs. Barry, which Curll has in-
serted in his History of the Stage 1741, is briefly as
follows — she was the daughter of Col. Barry, and had
been educated under the protection of Lady Dave-
nant — she made three unsuccessful attempts on the

D. G. 1678. 15?

stage — and several persons, who were considered as
judges, pronounced that she would never play any
part decently — the Earl of Rochester, to show that
he had a superi our judgment, undertook to make her
a good actress in less than six months — he took ex-
traordinary pains with her — the first parts he chose
to teach her were, Hellena in the Rover, and the
Queen of Hungary in Mustapha — when she appeared
in the latter part, her reputation as an actress was
established — Lord Rochester had brought the King
with the Duke and Duchess of York to the play.

Anthony Aston says — " Mrs. Barry was woman to
" Lady Shelton of Norfolk (my godmother) when
" Lord Rochester took her on the stage, where for
" some time they could make nothing of her — she
" could neither sing nor dance, no, not in a country
" dance."

Aston's account of her original situation has more
the appearance of truth than Curll's — Aston came on
the stage before Mrs. Barry had left it.

The Duke of York's second wife arrived in Eng-
land Nov. 21st 1673— Mrs. Barry's first successful
attempt on the stage was perhaps in 1674 — her name
appears to a small part in Alcibiades which was
printed in 1675 — Hellena could hardly have been one
of her first characters — It is remarkable that Mrs.
Bariy is called Mrs. Barrer in the D. P. of the Rover
— Abdelazer — Madam Fickle and Fond Husband —
—in the Counterfeits, her name stands in the D. P.
as Mrs. Barrer, and in the Epilogue as Mrs. Barry.

Not long after the Company had removed to D. G.
Cademan, who had to fight with Harris in the
Man's the Master, was unfortunately pierced with a

158 T. R. 1674.

sharp foil near the eye, which so maimed his hand
and his speech, that he could make but little use of
either — in consequence of this mischance he had re-
ceived a pension for 35 years when Downes pub-
lished his Roscius Anglicanus — that is from 1673 to
1708— Cademan was perhaps a bookseller as well as
an actor — the Rivals and some other plays were
printed for William Cademan.

Angel's name does not occur after this year — he
originally played female parts, and became in time
an actor of consequence — In the Prologue to the
Amorous Prince it is said—

" Now for the rest,

" Who swear they had rather hear a smutty jest
" Spoken by Nokes or Angel, than a scene
" Of the admir'd and well-penn'd Catiline."

Mrs. Long's name does not occur after this year—
Downes commends her greatly in Widow Rich — in
Dulcedo — in Woman made a Justice — and Mrs.
Brittle.

T. R. 1674.

In Dryden's Poems there is a Prologue, which is
said to have been spoken at the opening of the new
house on the 26th of March 1674.

" A plain built house, after so long a stay,
" Will send you half unsatisfy'd away.

T. R. 1674. 159

• ***#**#*

" Our Royal Master will'd it should be so ;
" Whate'er he's pleased to own, can need no

" show :

" 'Twere folly now a stately pile to raise,
" To build a playhouse while you throw down

" plays,
" While scenes, machines, and empty Operas

" reign,

" And for the pencil, you the pen disdain :

**********

" I would not prophesy our house's fate :

" But while vain shows and scenes you over-rate,

" 'Tis to be fear'd

" That as a fire the former house o'erthrew,
" Machines and tempests will destroy the new."

The Epilogue, also by Dryden, was no doubt
spoken by a woman.

" Tho* what our Prologue said was sadly true
" Yet Gentlemen, our homely house is new,
" A charm that seldom fails with wicked you.

•ue -v

m."J

Malone observes that this Epilogue exhibits a curi-
ous picture of a part of London at that time, through
which it was necessary to pass in going to Dorset
Garden.

" Our house relieves the ladies from the frights
" Of ill-paved streets, and long dark winter

" nights ;

" The Flanders horses from a cold bleak road,
" Where bears in furs dare scarcely look abroad."

160 T. R. 1674.

The now populous Strand and Fleet Street formed
the cold bleak road here described. (Malone.')

Even in 1696 Powellr in the Prologue to Bonduca
revived, says that they are bringing their machines
scenes &c. from Dorset Garden to Brydges Street—

" from the chiller, bleaker Strand,

" To your sweet Covent Garden's warmer land."

In a petition presented to Queen Anne in 1709 it
is stated that this new Theatre cost near £4000—
and that the old Theatre with that in Dorset Garden
cost above £10,000. (Dramatic Censor 181 1.)

The last line of the Prologue of course refers to
the success of the Tempest at D. G., which was so
great that it was thought worth while to bring out at
the T. R. a Farce called

The Mock Tempest, or the Enchanted Castle :—
this piece was not printed till 1675, but it was doubt-
less brought out not very long after the other Tem-
pest—there are no performers' names to the D. P.—
this Farce was written byDuffet — it is in 5 acts, and
has some fun, but riot much.

Ariel's song — "Where the bee sucks, there suck I"
—is very happily imitated — it is by far the best thing
in the piece —

" Where good ale is, there suck I,

" In a Cobler's stall I lie,

" While the Watch are passing by ;

" Then about the streets I fly,

" After Cullies merrily :

" And I merrily, merrily take up my clo'se,

" Under the Watch, and the Constable's nose."

T. n. 1674. 161

Langbaine quotes some verses, in which it is said —

" The dullest scriblers some admirers found,
" And the Mock Tempest was a while renown'd ;
" But this low stuff the Town at last despis'd,
" And scorn'd the folly that they once had priz'd."

Duffet wrote two other burlesque pieces — the Em-
press of Morocco, and Psyche Debauched — they were
both brought out at this Theatre.

Plain Dealer. This C. was not printed till 1677>
but it must have been acted in 1674, as it is men-
tioned by Dryden in the preface to his State of Inno-
cence, which was registered at Stationers' Hall April
17 1674 — Manly=Hart : Jerry Blackacre rr Charlton:
Freeman = Kynaston : Novel = Clark : Lord Plausible
rrHaines: Major Oldfox== Cart wright: Vernish =
Griffin : Fidelia = Mrs. Boutell : Widow Blackacre
= Mrs. Cory : Olivia = Mrs. Marshall : Eliza = Mrs.
Knep : Lettice = Mrs. Knight : — this has always been
considered as an excellent Comedy — Dryden says of
it — " the author, whom I am proud to call my friend,
" has obliged all honest and virtuous men, by one of
" the most bold, most general, and moist useful Satires,
" which has been presented on the English Theatre"
— the outlines of Manly's character and some other
circumstances are taken from the Misanthrope of
Molicre — Wycherley's play is better than Moliere's,
particularly in point of plot — the Plain Dealer was
revived with alterations at D. L. Dec. 7 1765.

Tho* Wycherley lived till 1715 and was sometimes
much in want of money, yet he never wrote another
play — he told Pope and other of his friends, that he
would marry when his life was despaired of — this he

VOL. I. M

162 T. R. 1674.

did a few days before his death, partly to enable him-
self to pay his debts with his wife's small fortune, and
partly to show his resentment of the ill usage he had
received from his heir, by encumbering an entailed
estate with a jointure of £400 a year to a young
woman — his humour continued with him to the last
— the evening before he died, he desired his wife not
to deny him one request — on her promising to comply
with it, he said, " it is only this, that you will never
" marry an old man again." (Pope's Letters.)

Spanish Rogue. Mingo = Cash : Don Fenise =
Harris : Don Alonzo — Lyddal : Larasco — Powell :
Don Manuel = Watson : Sanchez = Griffin : Alcirida
= Mrs. Boutell : Rosella — Mrs. Uphill : Leonella =
Mrs. Kneppe : Teresa = Mrs. Corye : this is a poor
play in rhyme — from the names of the performers it
seems probable that it came out at a nursery for the
King's Company — Duffet, in his dedication to Madam
Ellen Gwyn, says he is the first that has taken the
boldness to tell her in print, that next to her beauty
her virtues are the greatest miracle of the age — the
Epilogue was spoken by Mrs. Knepp— it contains 3
lines which one would hardly have expected from the
mouth of a woman — at p. 25 Larasco says —

" A silent noise methinks invades my ear."

Mall, or the Modish Lovers C. by J. D. — there are
no performers' names to the characters — Lovechange
is secretly married to Mrs. Woodbee, a rich widow
—he neglects her, and is in love with Mrs. Easy-
Mrs. Easy, having no suspicion of the private mar-
riage, shows Mrs. Woodbee a letter from Lovechange,
in which he requests her to meet him at night in the

D. o. 1674. 163

Mall in St. James' Park — Mrs. Woodbee sends her
husband a note as from Mrs. Easy, to tell him that
she had changed her mind, and would wait for him
at the duckpond — Lovechange finds from Peg, Mrs.
Easy's woman, that the note was a forgery — he meets
Mrs. Easy in the Mall as originally intended — Mrs.
Woodbee goes to the duckpond, and mistaking Court-
well in the dark for her husband, she makes no scruple
of complying with all that he desires — at the conclu-
sion, Lovechange finds out what had passed between
his wife and Courtwell — they agree to conceal their
marriage, and to part — Lovechange retaining one half
of her fortune — Easy is convinced that his wife has
made him a cuckold — he gives her up to Lovechange

—she observes that "it is no disgrace to be a Mistress
" as the world goes " — this part of the play is good

—the other part is bad.

D. G. 1674.

Psyche — Downes says this long expected Opera
came out in Feb. 1678, that is in Feb. 1673-4.

To Apuleius alone we are indebted for the story of
Psyche, which he relates in the 4th, 5th and 6th
books — in the 4th he tells us how he was metamor-
phosed into an ass, and in the llth how he reco-
vered his shape by the eating of some roses — Apu-
leius has borrowed a considerable part of his Ass

164 D.G. 1674.

from Luciari's Ass — but he has omitted the very
ludicrous circumstance with which Lucian concludes
his story — Apuleius' work is frequently called the
Golden Ass — but the Delphine Editor says that the
proper title is the Metamorphosis of Apuleius, or the
Tale of the Ass.

The story of Psyche has been dramatized by Hey-
wood, Moliere and Shadwell — Heywood's play is
called Love's Mistress, or the Queen's Masque — it
was printed in 1636, and reprinted in 1792 — the
2d title is added from its having been acted at Court.

Moliere's Psyche was acted at Paris in 1671 — an
Oracle is given that Psyche should be exposed on
the top of a mountain, and there wait for a poisonous
serpent, who is to be her husband — Zephyrus flies
away with her, and carries her to the palace, which
Cupid had caused to be built for her— Cupid makes
love to Psyche — she falls in love with him — Psyche
desires to see her sisters — they envy her, and per-
suade her to find out who her lover is — she asks a
favour of Cupid — he swears by Styx to grant it — she
explains her request — Cupid wishes her to wave his
promise — curiosity makes her persist — Cupid tells
her who he is — but is offended and leaves her.

In Apuleius Psyche does not see Cupid — he comes
to her at night and leaves her in the morning — her
two sisters persuade her that her husband is, accord-
ing to the Oracle, a serpent ; and advise her to pre-
pare a lamp, and a razor to cut off his head, as he
sleeps — by the light of the lamp Psyche finds Cupid's
bow and arrows — as she is looking at Cupid with
rapture, a drop of hot oil from the lamp falls on

D. G. 1674. 1 < i. >

Cupid's shoulder, and he wakes with the pain — in
all these particulars Heywood nearly follows the
original story — in the first interview between Cupid
and Psyche, Cupid's hand only is seen with a wed-
ding ring on it — the words are spoken from behind
the scenes — Moliere's alteration is for the worse—
in Apuleius Psyche's motives for curiosity are almost
irresistible — in the French piece, she sees Cupid and
loves him, yet she sacrifices all her happiness for the
sake of gratifying her curiosity in a point, compa-
ratively speaking, of no great moment.

ShadwelPs play is chiefly taken from the French
piece, but with some additions — Moliere's Psyche is
pleasing — Shadwell's is dull — Heywood's play is by
far the best of the three, as he has made some happy
additions to the story — Psyche is the Greek word
for the Soul — Dr. Jortin observes that this elegant
story is undoubtedly mystical arid allegorical — and as
such Heywood has treated it — in his first scene Apu-
leius asks Midas the way to the temple of the Muses

—Midas speaks of the Muses with contempt, but is
prevailed on by Apuleius to stay and see the story of
Cupid and Psyche represented — as the play proceeds,
Apuleius explains to Midas that by Psyche is meant
the soul — by Venus intemperate lust — by Cupid true
desire, &c.

Heywood has likewise introduced the contention
between Apollo and Pan — they contend by deputies

—Apollo's deputy sings a serious song in his praise,
the Clown a ludicrous one in praise of Pan—

" Thou that art called the bright Hyperion,

********

" Compare not with our great god Pan.

166 D. G 1674.

" They call thee son of bright Latona,
" But girt thee in thy torrid zona,
" Sweat, haste and broil, as best thou can,
" Thou art not like our Dripping Pan.

" Then thou that art the heaven's bright eye,
" Or burn, or scorch, or boil, or fry,
" Be thou a god, or be thou man,
" Thou art not like our Frying Pan.

" They call thee Phoebus, god of day,

" Years, months, weeks, hours of March and

" May ;

" Bring up thy army in the van,
" We'll meet thee with our Pudding Pan.

" Thyself in thy bright chariot settle,
" With skillet arm'd, brass pot or kettle,
" With jug, black-pot, with glass or can,
" No talking to our Warming Pan."

Midas adjudges the victory to Pan—

" Thy Harp to Pan's Pipe, yield good Phoebus,
" For 'tis not now as in Diebus
" Ittis, Pan all the year we follow,
" But semel in anno ridet Apollo?

It was probably the perusal of this play which
induced Langbaine (by a gross mistake) to refer his
readers to Apuleius for the story of Midas.

Shad well's Psyche is printed without the names of
the performers — it was splendidly set out with new
scenes, machines, dresses, and French dances — the
charge of the scenes amounted to above £800 — it had

D. o. 1674. 1(>7

a continuance of performance for about 8 days, and
proved very beneficial to the company; but it did
not bring them so much money as the Tempest —
(Downes) — Langbaine says, that in consequence of
Psyche's being written in rhyme, most of the Crambo-
Poets were up in arms against it, and looked upon
Shad well as an encroacher on their territories — from
the dedication it appears that Shadwell was edu-
cated at Cambridge — a circumstance not noticed in
the B. D.

Siege of Constantinople, this T. was printed in
1675, but without the names of the performers—
Downes attributes it to Nevil Payne, and says it
came out soon after the Tempest — from several pas-
sages in it, it seems more probable that it came out
after Psyche — this is a poor play, but it claims par-
ticular attention, as it seems to have been written
with a view to the state of politics in England in
1673 and 1674 — Payne, who in his other plays is a
sensible writer, would hardly have introduced an
Alderman and the Chancellor at Constantinople with-
out a particular reason for so doing — the Chancellor
is a subtle politician and a complete traitor — this
character seems to have been intended as a cut on
Lord Shaftesbury, who in 1673 joined the popular
party against the Court — In the second act the
Chancellor says—

" That is a certain method to confound things ;
" And 'tis the way I'll take ; for I perceive
" I've lost some ground i' th' Emperor's affections,
" And now must keep my powY more by the

" vogue
" O' th' Senate, than his love."

168 D. G. 1674.

Lord Shaftesbury had been the leading member of
the Cabal, and had thoroughly entered into^the mea-
sures for making the King absolute ; but when he
found that the King had not the firmness to support
his ministers against the Parliament, he thought it
advisable to secure a retreat — Lord Clifford, the Great
Treasurer, went to Lord Shaftesbury one evening,
and read to him a speech, which he meant to make in
the House of Lords the next day — Lord Shaftesbury
appeared to be charmed with it, and desired to hear
it a second time — when the speech was spoken, Lord
Shaftesbury rose immediately, and refuted it point
by point — the house was astonished to hear him de-
clare himself so openly against the King— on the pro-
rogation of the Parliament to the 7th of Jan. 1673-4,
Lord Shaftesbury was dismissed from his office of
Chancellor — (Rapin) — Lord Shaftesbury's speech
seems to have been delivered in March, but the seals
were not taken from him till Nov. 1673 — in the 3d
act of the play, Theophilus says—

" This Chancellor, your Majesty does find,

" Disturbs, if not betrays, your weightiest councils.

Emp. " He plainly does them both; yet at this

" juncture

" It is not safe to take the Seals away,
" For fear the Senate think their love to him
" Does move me to it.

Thomazo. " Let him keep them,

" Without the Prince's favour those are useless."

In Oct. 1673 the King demanded large supplies
from the Commons — to this they demurred — and the
Parliament was prorogued, after having sitten only

D. G. 1674. 169

9 days— in the play the Emperour attributes the Fall
of Constantinople, in great measure, to fhhis want of
supplies—

" My subjects obstinate to all entreaties,
" Deny me their supplies. * * *
" Blinded they are, and blinded let them be,
" Since they love gold beyond themselves and
" me."

In the 4th act an Alderman enters, the Emperour
wants to boiTow money of him, but the Alderman
refuses — the Emperour observes —

" Princes may

" By me be warn'd of too much lenity,

" The rabble is a jade must feel her rider."

In the 5th act Thomazo says—

" Ha! Sir, I am no traitor ! I'm your brother,
" Ask Dorello if the damn'd Chancellor
" Be not the mighty traitor of your state."

When the city is on the point of being taken, the
Chancellor and two of his dependants hang out a ban-
ner, which the Turks have given him for the pro-
tection of his house — Thomazo requests admission
for the Emperour, which the Chancellor refuses — a
Cardinal begs to be admitted, and the Chancellor
jeers him with a good deal of humour.

In the 2d act the Chancellor says—

" Lorenzo, I am resolv'd to laugh to night,
" And spend some hours with frolick woman-
" kind.

170 D. G. 1674.

Lor. " My Lord, you know your old house,

" Mother Somelie's,
" You know she always fits you with fresh girls."

At the close of the act the Chancellor enters in
disguise with 3 friends and 4 wenches — an extraor-
dinary scene ensues, but the particulars of it must
not be described — it is by no means impossible that
Lord Shaftesbury, even when Chancellor, might have
indulged in such a frolic as this — at all events Lord
Shaftesbury's character was such, that the imputation
of such a frolic would not appear a very improbable
circumstance — by Mother Somelie was probably
meant Mother Mosely.

Charles Fox, at the time he was writing his histo-
rical work, said in a letter to a friend — •" I am quite
" glad I have little to do with Shaftesbury ; for as
" to making him a real patriot, or a friend to our
" ideas of liberty, it is impossible, at least in my
" opinion : on the other hand, he is very far from
" being the devil he is described."

Conquest of China by the Tartars — Tartars — King
of Tartary = Gillow : Zungteus (his son) = Harris:
—Chinese — King of China = Medbourne : Quitazo
and Lycungus (Princes of China) = Smith and Sand-
ford : Orunda (only child to the King) = Mrs. B«t-
terton : Amavanga = Mrs. Mary Lee : Alcinda = Mrs.
Corer: Vangona = Mrs. Spencer: — this T. was not
printed^till 1676 — Downes says it came out soon after
the Siege of Constantinople — it is a poor T. in
rhyme — the plot (with the exception of the historical
part) is romantic, and the dialogue badly written—
Settle in the dedication tells us that his play met with

D. G. 1674. 1?1

ill success — Downes says that Jevon acted a Chinese
Prince who kills himself that he may not be taken
prisoner by the Tartars — Jevon, instead of falling on
the point of his sword, laid it in the scabbard at
length on the ground, and fell upon it saying " now
" I am dead" — this put the author into a violent
passion — Jevon's answer was — " did riot you bid me
" fall upon my sword?" — this was probably at re-
hearsal, he would hardly have taken such a liberty
with the audience — Jevon seems to have acted Le-
gozun — but in the D. P. there is no name to the
character — this play puts it past a doubt that Mrs.
Lee and Mrs. Mary Lee are the same person — in the
D. P. she is called Mrs. Mary Lee, in the Epilogue,
which she speaks in the dress of Amavanga, she is
called Mrs. Lee.

Herod and Mariamne. Tyridates — Smith : He-
rod — Medbourne : Pheroras = Crosby : Sosius = Gil-
low: Polites = Anthony Leigh: Alexas = John Lee:
Mariamne — Mrs. Spencer : Salome (Herod's sister)
= Mrs. Mary Lee: Alexandra (Mariamne's mother)
= Mrs. Osborne : — the Prologue says this play had
been written 12 years; it is attributed to Pordage,
but was brought on the stage by Settle, to whom it
had been given — (Langbaine) — Pordage, Lord Or-
rery, and Fenton, in their several plays, make Herod
die soon after Mariamne — this gross violation of his-
tory is hardly excusable — Pordage's T. is written in
rhyme — it is a poor play, but not a veiy bad one — it
was printed in 1674 — it is only said in the titlepage
to have been acted at the Duke's Theatre — but the
Prologue is expressly said to have been spoken at
L. I. F. — the names of the performers make it clear

172 T. R. 1675.

that it did not come out at L. I. F. before the Duke's
company had left that theatre — it was probably a
Lenten play.

T. R. 1675.

Nero — Nero = Hart: Britannicus = Mehun : Petro-
nius (Nero's favourite) = Burt : Otho (husband to
Poppeea) = Wmtersal : Piso '(her brother) = Lydal :
Seneca = Cartwrife : Caligula's Ghost =: Griffin : Cy-
ara (a Parthian Princess) = Mrs. Bowtell : Poppsea =
Mrs. Marshall : Octavia (wife to Nero arid sister to
Britannicus) = Mrs. Cox : Agrippina (Nero's mother)
= Mrs. Cory : — Langbaine and his followers say this
T. is written, partly in prose, partly in rhyme, and
partly in blank verse — this is strictly true, but the
remark might well have been spared, as the prose is less
than a page, and the quantity of blank verse is not
great — Langbaine &c. refer us for the plot to Sueto-
nius, Tacitus &c. — this is quite a joke — the play is
founded on history, but almost every thing is repre-
sented contrary to the real fact — for instance, Nero
openly orders his mother to be killed — he stabs Octa-
via with his own hand, &c.— a considerable part of
the piece consists of an underplot between Britanni-
cus and Cyara — Britannicus had been dead several
years before that part of Nero's reign in which the
play begins — Lee seems almost to have taken pains
to misrepresent historical facts—this is a very poor

T. R. 1675. 1?3

T. — but now and then we have some few good lines
—the dying speech of Petronius is suited to the cha-
racter— some passages are ridiculous — Nero describes
Mount Ida as a place —

"Where the Gods meet and dance in Masquerade?

He says of Poppeea — after she is dead—

" If she were dead, I would restore her breath,

" And she should live,

" Spight of herself, spight of the Gods, and Death."

Haines concludes the Prologue with observing—

" All Tragedies egad to me sound oddly,
" I can no more be serious, than you godly."

The Epilogue is good, but it must not be quoted—
it is said to have been spoken by Harris, who was a
very insignificant performer — it was evidently written
and spoken by Haines.

Mock Duellist, or the French Valet — (licensed
May 27 1675)— this is an indifferent C. by P. B.—
Champagne is the Mock Duellist and French Valet
—he pretends to be fond of fighting, but is really a
coward — there are no performers' names to the D. P.
—Lacy probably acted Champagne — it is one of those
parts which, in the hands of such an actor as Lacy,
tell on the stage, but have little to recommend them
in perusal.

Love in the Dark, or the Man of Business. In-
trigo (the Man of Business) = Lacy : Trivultio, Count
Sforza, and Visconti (three Gentlemen of Milan) =
Major Mohun, Kynaston, and Hayns : Cornanti =
Wintershal : Circumstantio (Intrigo's man) = Shot-

174 T. R. 1675.

terell : Hircanio — Cartwright : Grimani = Griffin :
Cardinal Colonna = Burt : Doge of Venice = Lydal :
Parhelia (his daughter) = Mrs. Uphill : Bellinganna
=2 Mrs. Bowtel : Aurana = Mrs. James : — the scene
lies at Venice in the time of the Carnival — this C.
was written by Sir Francis Fane — the scenes between
Sforza and Parhelia are dull, but the play on the
whole is a tolerably good one — the Editor of the B. D.
says, Mrs. Centlivre seems to have borrowed the hint
of her Marplot from Scrutinio in this play — it is In-
trigo and not Scrutinio that he means — Scrutinio is
so small a part, that he is not mentioned in the D. P.
—in B. D. for Parthella and Hircania, read Parhelia
and Hircanio.

Mistaken Husband — this C. is printed without the
names of the performers — it is on the whole an in-
different play — it is founded on the Stichus and Am-
phytrion of Plautus — it appears from the preface,
that it was left in Dryden's hands for 12 years, but
never reclaimed — he added one scene and gave it to
the players.

Aurenge-Zebe, or the Great Mogul. Aurenge-
Zebe (in love with Indamora) = Hart : Old Emperour
(in love with Indamora) = Mohun : Morat (son of the
Emperour and Nourmahal) = Kynaston : Arimant
(in love with Indamora) = Wintershall : Nourmahal
(the Emperour's wife) = Mrs. Marshall : Indamora
(a captive queen — in love with Aurenge-Zebe) = Mrs.
Cox : Melisinda (wife to Morat) = Mrs. Corbet :—
Scene Agra in the year 1660 — this T. was entered
on the stationers' books Nov. 29 1675, and had pro-
bably been acted in the spring of that year. (Mafone.}
The Emperour, who is 70 years of age, had been

T. R. 1675. 175

so ill, that his death was expected — his four sons had
taken up arms to contend for the empire — Aurenge-
Zebe, who remains loyal to his father, defeats two of
his brothers — and enters Agra, but without his forces
—the Emperour endeavours to persuade Aurenge-
Zebe to resign Indamora to him — he refuses — and
the Emperour admits Morat and his troops into the
City — Aurenge-Zebe is placed in confinement — Morat
falls in love with Indamora — Nourmahal makes love
to Aurenge-Zebe — he rejects her advances with hor-
ror— she, in revenge, summons her mutes and offers
him a cup of poison — Morat enters and takes away
the cup.

Naur. " 'Twill not be safe to let him live an

" hour."
Morat. " I'll do't to show my arbitrary pow'r."

Morat and his father quarrel — the Emperour recon-
ciles himself to Aurenge-Zebe — the latter defeats the
forces of Morat — Nourmahal is going to stab Inda-
mora, but is prevented by Morat — Morat dies of his
wounds — Melisinda determines to burn herself on his
funeral pile — Nourmahal poisons herself, and dies
mad — the Emperour resigns Indamora to Aurenge-
Zebe.

In this play we have Love and War with a ven-
geance— it is however the best of Dryden's Heroick
plays — the personages are imperial ; but the dialogue
is often domestic, and therefore susceptible of senti-
ments accommodated to familiar incidents — the com-
plaint of life is celebrated, and there are many other
passages that may be read with pleasure — (Dr.

176 D. G. 1675.

Johnson) — the best scene is that in the 4th act be-
tween Aurenge-Zebe and Nourmahal.

Dry den, with manifest impropriety, makes Aurenge-
Zebe say, when the poison is presented to him—

" This first I pour — like dying Socrates."

Some of the other characters talk of Bellerophon
—Proteus— Semele &c.
In the Prologue, Dryden speaking of himself says—

" And to confess a truth (though out of time)
" Grows weary of his long-lov'd Mistress,
" Rhyme."

This play however is written in rhyme.

It appears from Maurice's .Indian Antiquities that
Dryden has represented the character of Aureng-
Zebein amuchmore favourable light than he deserved.

D. G. 1675.

Country Wit — Sir Thomas Rash had entered into
a contract with Lady Faddle, for the marriage of his
daughter Christina with Lady Faddle's nephew Sir
Mannerly Shallow — Christina is in love with Ramble
—he is seriously in love with her — but this does not
prevent him from having an intrigue with Betty
Frisque — Betty Frisque is kept by an old debauched
Lord — in the 4th act Ramble visits her as a painter
— his man Merry, in the disguise of an Attorney,
diverts Lord Drybone's attention, and gives Ramble

D. G. 1675. 177

an opportunity of talking to Betty Frisque — this is
borrowed from Moliere's Sicilian — Sir Mannerly
Shallow is the Country Wit — he had never been out
of Cumberland — on his arrival in town, he mistakes
Tom Rash the Porter for Sir Thomas Rash, and
marries his daughter — this part of the plot is highly
improbable — the C. was written by Crowne— on the
whole it is a good play — it was printed without the
performers' names — Nokes and Underbill probably
acted Sir Mannerly and his man Booby — the scene
lies in the Pail-Mall in 1675.

Alcibiades — Alcibiades = Batterton : Tissaphernes
= Sandford: Theramnes = Harris : Agis (King of
Sparta) = Medbourne : Patroclus = Crosby : Deidamia
(Queen of Sparta) = Mrs. Mary Lee : Timandra =
Mrs. Batterton: Draxilla (her confidant) = Mrs.
Barry: — the 1st scene is at Athens — Alcibiades is
condemned to death, but escapes — Theramnes is
made General in his room — they are both in love
with Timandra — she is in love with Alcibiades, and
follows him in disguise — the remainder of the play
passes in the Spartan camp — the Queen makes love
to Alcibiades — he is coy, and talks about virtue &c —
the Queen poisons Timandra — Alcibiades kills him-
self— this is a poor T. in rhyme — it was Ot way's
first attempt — the portrait that he has drawn of Al-
cibiades puts one in mind of the Greek Epigram, in
which Diodorus is said to have made the picture of
Menodotus more like to any body than Menodotus
himself — Alcibiades was " framed to make women
" false" — in fact, Tima3a the wife of Agis (whom
Otway calls Deidamia) had an intrigue with Alci-

VOL. I. N

178 D. G. 1675.

blades, and was generally supposed to have had a
son by him — Alcibiades boasted that he had no par-
ticular love for Timsea, but that he wished the Lace-
demonian Kings to be descended from him. ( Plu-
tarch.)

Otway in the preface to Don Carlos says — " my
" Hero, to do him right, was none of that squeamish
" Gentleman I make him, but would as little have
" boggled at obliging the passion of a young and
" beautiful Lady, as I should myself, had I the same
" opportunities which I have given him."

Otway was so ignorant of Spartan manners, that
he makes Agis in the 5th act say — " My Lords, no
" more, we have drank too deep" — in the last scene
Patroclus is elected king, tho* he does not at all ap-
pear to be of the royal family — Sir — Madam — and
various other improper expressions occur.

Woman turned Bully — (licensed July 5 1675)—
this C. is printed without the names of the perform-
ers, or the author — Madam Goodfield, a rich Der-
byshire widow, comes up to town on business — Betty
Goodfield follows her mother, disguised as a man-
she gives her brother a challenge, and Truman ano-
ther— hence the title of the play — at the conclusion
she marries Truman — this is on the whole a pretty
good C.

Andromache. This T. is a bald translation from
Racine — partly by Crowne — the first part is in prose,
the last in verse — in one scene, some of the speeches
have a scrap of verse and then prose again, in the
most ridiculous way in the world — this play was
evidently patched up in a hurry — it is a contemptible
production — it came out in the long vacation, and

D. <;. 1675. 179

differs little from the Distressed Mother, except that
Pyrrhus is killed on the stage.

Love and Revenge. Clotair (Heir of France and
afterwards King) = Smith : Lewis (his brother) =
Crosby : Clarmount (the Queen's Paramour) = Med-
bourn : Chlotilda (disguised as Nigrello) — Mrs. Mary
Lee : Aphelia = Mrs. Betterton : Fredigond (the
Queen, and mother to Clotair and Lewis) = Mrs.
Osborn : — this T. is professedly founded on the Fatal
Contract by Hemmings 1653 — in the first two acts
there is much of the original — in the last three Settle
has made a material alteration in the plot, and has
written most of the dialogue afresh — the Fatal Con-
tract, with all its faults, is on the whole more ani-
mated and interesting than the altered play — Hem-
mings' language is much better than Settle's — the
original play was reprinted in 1687 under the title of
the Eunuch,* but it does not seem to have been
acted at that time.

Settle in his dedication to the Duke of Newcastle
says, that Providence had lengthened his Grace's
life to see the prosperous reign of a great and pious
monarch — viz. Charles the 2d.

* They who are so refined as to consider this word as inde-
cent, would do well to consult the 19th chapter of Matthew,
where they will find it not only used, but commented on, by a
person to whose authority they will hardly object.

180 DRYDEN AND CROWNE.

DRYDEN AND CROWNE.

Dryden and Crowne wrote two dramatic pieces
about this time ; one of them was not acted at all,
and the other seems to have been only acted at
Court.

Dryden's State of Innocence and Fall of Man was
registered at stationers' hall April 17 1674— it was
not however published, as appears from the preface,
till after the death of Milton, which happened on
Nov. 8 1674 — Dryden had asked Milton's permission
to put his poem into rhyme — " ay, (said Milton)
" you may tag my verses if you will." (Malone.)

This Opera (for so Dryden calls it) is taken from
Paradise Lost, and is not fit for representation ori
the stage — it is written in rhyme — there are many
beautiful lines in it, but Dryden sometimes intro-
duces expressions and sentiments not suited to the
characters — in which respect (as well as others) Mil-
ton is vastly superiour to him.

Calisto, or the Chaste Nymph was published in
1675 — this Masque was written by command — it was
publickly rehearsed and acted at Court from 20 to
30 times — the D. P. were —Calisto = Her Highness
the Lady Mary : Nyphe — Her Highness the Lady
Anne : Jupiter = Lady Henrietta Wentworth : Juno
= the Countess of Sussex : Psecas = Lady Mary
Mordaunt: Diana = Mrs. Blagge, late Maid of Ho-
nour to the Queen : Mercury = Mrs. Jennings, Maid
of Honour to the Duchess : — the Duke of Monmouth,
some other Noblemen and Gentlemen, with some
Ladies of Quality, danced— Mrs. Davis, Mrs. Knight,

I) II V 1)1. N AND CROWNE. 181

Mrs. Butler, and others sang in the Prologue arid
Choruses.

This piece on the whole does Crowne credit rather
than otherwise — the principal fault of it is its length
—for it extends to 3 acts — it is founded on the 2d
book of Ovid's Metamorphoses — from line 400 to
500 — Jupiter, as in Ovid, courts Calisto under the
form of Diana — the catastrophe is altered — Crowne
says he was reduced to the dilemma of deviating from
the story, or of writing what would have been unfit
for Princesses and Ladies to speak.

In the 2d Act — Crown says—

" How useful and of what delight
" Is Sovereign power: 'tis that determines right.
" Nothing is truly good, but what is great"

The conclusion of the Epilogue is addressed to
the King —

" You, Sir, such blessings to the world dispense,
" We scarce perceive the use of Providence."

Dr. Johnson says of Dryden — " in the meanness
" and servility of hyperbolical adulation, I know not
" whether, since the days in which the Roman Em-
" perours were deified, he has been ever equalled,
" except by Aphra Behn in an address to Eleanor
" Gwyn" — it is plain Dr. Johnson had not seen
these lines of Crown — if he had, he would probably
have pronounced them blasphemous, and worse than
any thing Dryden had written.

Gibber, with his usual accuracy as to dates, sup-
poses that Crowne was selected to write a masque
for the Court in preference to Dryden, through the

182 T. R. 1676.

influence of the Duke of Buckingham, who was
offended at what Dryden had said of him in Absa-
lom and Achitophel — Dryden's poem was not written
till 1681 — Lord Rochester was the person who re-
commended Crowne.

T. R. 1676.

Gloriana, or the Court of Augustus Caesar. Cse-
sario = Hart : Augustus Csesar =. Mohun : Marcellus
(his adopted son and the husband of Julia) = Kenas-
ton : Tiberius = Lydall : Agrippa = Cartwright : Me-
csenas = Griffin : Ovid = Clarke : Gloriana — Mrs.
Marshall : Julia (daughter to Augustus) = Mrs. James:
Narcissa (sister to Marcellus) — Mrs. Corbet: — Ceesa-
rio is the son of Julius Csesar and Cleopatra, but
passes under the name of Plangus — he and Marcellus
are sworn friends — Gloriana is the daughter of Pom-
pey — Augustus is in love with her, and confines her
in a bower— Csesario gets access to her— they fall
in love with each other — he carries her off, and
places her under the care of Julia — Augustus enters,
and orders his guards to fall on Csesario — Gloriana
resigns herself to Augustus to save Csesario's life-
she afterwards pretends love to the Emperour, and
places herself in his bed with an intent to Jdll him
— Csesario finds her there, and believes her false to
him — she kills herself — Csesario fights with the guards
and is killed — Ovid is banished in the 2d act — Nar-

T. R. 1676. 183

cissa dies for love of Ceesario — this is Lee's worst
Tragedy — it is quite contrary to history, and abounds
with bombast — there are several lines so absurd, that
Fielding might have put them into Tom Thumb with-
out changing a sy liable -^at the close of the 4th act
there are two good lines—

" Sweeter

" Than blue-eyed violets, or the damask rose,
" When in her hottest fragrancy she glows."

Gloriana is written in rhyme — Joe Hairies con-
cludes the Epilogue with a happy stroke of humour,
but it must not be quoted.

Siege of Memphis, or the Ambitious Queen — this
T. is written in rhyme — the plot is romantic, and
the language bombast — Zelmura however is a spi-
rited character, and the play, tho' a very bad one, is
not dull — many absurdities occur in the dialogue—
Moaron, in the 1st act, says — " I'll rip my breast,
" and drown thee with my blood."

D'Urfey, in the dedication, says his T. was played
to the worst advantage — there are no performers'
names to the D. P. — the conclusion of the Epilogue
is good, but must not be quoted.

Sophoriisba, or Hannibal's Overthrow. Massi-
nissa = Hart : Hannibal = Mohun : Maherbal =: Burt :
Bomilcar = Wintershall : Scipio = Kynaston : Mas-
sina = Clark : Lelius — Lydall : Menander = Griffin :
Rosalinda — Mrs. Boutell : Sophonisba = Mrs. Cox :
Priestesses of Bellona — Mrs. Knep and Mrs. Corey :
—Hannibal and Rosalinda are mutually in love — she
is a lady of Capua, and at the opening of the play a
prisoner in the Roman Camp — Massina, who is a

184 T. R 1676.

youth, and the nephew of Massinissa, falls in love
with her — she charges Scipio to set her free —

" When beauty pleads like mine,

" 'Tis fit you strait my liberty enjoin."

Scipio is smitten with her charms, but gives her her
liberty — Massina attends her — Hannibal is jealous of
Massina, and orders him to be put into chains -
Massina kills himself— in the 5th act Hannibal and
Scipio have an interview, as in Livy — the battle of
Zama follows — Rosalinda enters in boy's clothes, and
is killed — Hannibal finds her as she is dying, and
vows vengeance on the Romans — in the 3d act, Mas-
sinissa defeats Syphax, and takes Sophonisba pri-
soner— she pleads that she was forced by her father
to wed Syphax — Massinissa renews his love for her,
and marries her — he promises to protect her from
the Romans — in the 5th act Scipio insists on having
Sophonisba delivered to him — Massinissa causes two
bowls of poison to be mixed — he drinks one, and
gives Sophonisba the other — Massinissa's death is
contrary to history, but it seems no more than a fair
poetical license, and it greatly encreases the interest
— this is on the whole a moderate play — Sir, Madam,
and other improper expressions occur, particularly
Cards — in the 3d act Lee displays his loyalty —

" Kings, though they err, should never be ar-
" raign'd."

Larigbaine says — " this T. is writ in heroick verse,
" and has always appeared on the stage with ap-
" plause, especially from the fair sex" — it has been
frequently revived, arid it certainly contains some

IK G. 1676. 185

passages which are very finely written ; but Lord
Rochester has justly observed—

" When Lee makes temperate Scipio fret and

" rave,

" And Hannibal a whining amorous slave,
" I laugh, and wish the hot-brain'd fustian fool,
" In Busby's hands to be well lasht at school."

For the history see Livy book 30th — Langbaine
refers us to Plutarch's life of Scipio — the editors of
the B. D. say — " the histories of Scipio and Hanni-
" bal are to be found by perusing Plutarch and Cor-
" nelius Nepos" — Plutarch certainly wrote the life
of Scipio, but it happens to be lost — Thomson's So-
phonisba came out at D. L. Feb. 28 1730— Thom-
son has none of Lee's faults — his play is well written,
but cold, declamatory, and deficient in incident — if
Lee had had Thomson's correctness, or Thomson,
Lee's fire — they might either of them have written a
good T. on the subject.

No one of these three Tragedies has the date of
the license in the titlepage of the first edition — the
case is the same with some other plays.

D. G. 16?6.

Piso's Conspiracy — this T. is printed without the
names of the performers — it is on the whole an in-
different play — some parts of it have considerable

186 D. G. 1676.

merit — Langbaine says it is only the Tragedy of
Nero reprinted verbatim — the author in the first 4
acts has chiefly followed Tacitus in the 15th book of
his Annals, and in the 5th, Suetonius — of the many
persons concerned in the conspiracy, he has selected
Piso, Scevinus, Lucan, Flavius and Seneca, as cha-
racters for his drama — the conspiracy is discovered
by Milichus — at the conclusion Nero kills himself,
and Galba is proclaimed Emperour — a good deal is
introduced about Nero's singing and acting — two or
three passages are translated from Juvenal, and one
from Persius — that in which he quotes an absurd
rhapsody supposed to be written by Nero.

Libertine — the Libertine is Don John — Don An-
tonio and Don Lopez are his companions and followers
in all mariner of iniquity — Jacomo is his servant and
a coward — Don John had seduced Leonora and de-
serted her — he had killed Don Pedro, the Governour
of Seville ; and even caused his own father to be
murdered — at the close of the 4th act, the scene
changes to a Church with the Statue of Don Pedro
on horseback in it — Don John forces Jacomo to invite
the Statue to supper — the Statue nods his head —
Jacomo falls down and roars — the Statue comes to
supper, and invites Don John in return — in the last
scene the Ghosts of those whom Don John has mur-
dered appear — the Statue descends from his horse —
Don John insists on having some wine — the Statue
gives him and his friends glasses full of blood — Don
John and his friends are carried away by Devils—
Jacomo runs off — as there is a superabundance of
murder in this play it is called a Tragedy, but the
dialogue is in a great measure Comic — there are no

D. G. 1676. 187

performers names to the D. P. — Dowries says, Bet-
terton's performance of Don John crowned the play
— Underhill seems to have acted Jacomo — (Anthony
Aston) — Common Sense is set at defiance by the in-
troduction of Devils, Ghosts, the nodding and speak-
ing of the Statue &c. — yet on the whole this play has
considerable merit, and might have been made a very
good one, if the author had allowed himself more
time — Don John is a highly finished character—
Jacomo is a very good one — Shad well in the preface
says — " there are an Italian, a Spanish, and four
" French plays on the story — the character of the
" Libertine, and consequently those of his friends are
" borrowed ; but all the plot till the latter end of the
" 4th act is new" — Shad well was perhaps not aware
that the invitation of the Statue to supper had been
introduced (with some variation) by Sir Aston Cokain
in his Tragedy of Ovid 1669 — Shadwell seems to
have borrowed the business of the Statue from Mo-
liere — but he has managed it better — Moliere's Don
John, or the Feast of the Statue was acted at Paris
in Feb. 1665 — Shad well adds — " I have no reason to
" complain of the success of this play, since it pleased;
" and I must applaud my good fortune to have pleased
" with so little pains, there being no act in it, which
" cost me above five days writing, and the two last
" (the playhouse having great occasion for a play)
" were both written in four days."

Ibrahim, the Illustrious Bassa. (licensed May 4
1676) Solyman the Magnificent = B«tterton : Ibra-
him (the Vizier Bassa) = Smith : Ulama (son of the
Sophy of Persia) — Harris : Morat = Medbourne :
Roxalana (wife to Solyman) = Mrs. Mary Lee : Isa-

188 D. G. 1676.

bella (a Christian Princess) = Mrs. Batterton : Aste-
ria (Solyman's daughter) = Mrs. Corar : — Solyman
on his return from the Persian war, offers Asteria to
Ibrahim for his wife — Ibrahim declines the offer,
being in love with Isabella — Solyman falls in love
with Isabella — at the conclusion, he resigns her to
Ibrahim, and determines to dedicate the remainder
of his life to war — this is a poor T. in rhyme by Settle,
but the characters are not badly drawn — it consists
of love scenes from beginning to end — Langbaine
says it is founded on Scudery's Romance called
Ibrahim.

Virtuoso— (licensed May 31 1676)— this C. is
printed without the names of the performers, and
Downes only tells us that Leigh acted Sir Formal-
Sir Nicholas Gimcrack, the Virtuoso, . who piques
himself on never inventing any thing that is of use,
is certainly a very good character, but the scenes, in
which he explains his experiments, must be very
heavy in representation — Snarl [and Lady Gimcrack
are much more entertaining ; he is an old fellow who
is continually railing against the vices of the age,
and yet privately keeps a wench ; she talks much of
her honour, yet she keeps Hazard, and in the last
act goes out from the Masquerade first with Bruce
and then with Longvil — in the 4th act there is a very
good scene — Snarl and Mrs. Figgup first enter — on
hearing a noise they go into a closet — next come
Hazard and Lady Gimcrack, and then Sir Nicholas
and Mrs. Flirt— they are all discovered, and Hazard
says to Snarl — " but what are these rods which I
" drew out with you ? what do they mean ? " — Snarl
pretends that the woman of the house is a school-

D. G. 1676. 189

mistress — at the conclusion Bruce and Longvil marry
Miranda and Clarinda — Downes says that this play
and the Libertine were both very well acted, and got
the company great reputation — Dryden, in his Mac
Flecknoe, has 8 or 9 lines which it is impossible to
understand rightly without having read this play — he
makes Flecknoe say to Shadwell —

" But write thy best, and top ; and in each line
" Sir FormaPs oratory will be thine :
" Sir Formal, tho* unsought, attends thy quill,
" And does thy northern dedications fill."

Sir Formal is a pretender to oratory, who is very
well ridiculed by Shadwell — the play is dedicated to
the Duke of Newcastle.

#* ****

"Where sold he bargains, whip-stich, kiss

" Promis'd a play, and dwindled to a farce ? "

These lines allude to the character of Sir Samuel
Hearty — Shadwell had very deservedly ridiculed the
persons, who, by the help of humorous nonsensical
by-words, take themselves to be great wits.

" He said, but his last words were scarcely

heard : I

" For Bruce and Longvil had a trap prepaid, C
" And down they sent the yet declaiming bard."'

In the 3d act, Clarinda and Miranda contrive to
let Sir Formal, while he is declaiming, down into a
a vault, by means of a trap — Bruce and Longvil are
on the stage, but the ladies manage the business of
the trap.

Man of the Mode, or Sir Fopling Flutter C. by

190 D. G. 1676.

Etherege— (licensed June 3 1676) — Dorimant = Bet-
terton : Sir Fopling = Smith : Medley = Harris : Old
Bellair = Leigh : Young Bellair = Jevon : Mrs. Loveit
= Mrs. Barry : Bellinda = Mrs. Betterton : Harriet
is omitted : Lady Wood vil = Mrs. Leigh : Emilia —
Mrs. Twyford: — this play was well acted, and brought
a good deal of money — (Dowries) — Dorimant is an
excellent character — the dialogue is good, but there
is too much mere conversation, and too little plot—
Dorimant has had an intimacy with Mrs. Loveit so
long, tfiat he wants a fair pretence for breaking with
her — she is a woman of a violent temper, who has
much given her to say, but who is not an entertaining
character — Bellinda, tho' she knows Dorimant's na-
tural inconstancy, and his usage of Mrs. Loveit in
particular, is yet so fascinated with him that she
makes him a visit at 5 o'clock in the morning — Lady
Woodvil brings up her daughter Harriet to town to
be married to Young Bellair — he is in love with
Emilia — Harriet falls in love with Dorimant — Lady
Woodvil has heard of Dorimant's character, and has
the greatest dread that her daughter should see him
—he is introduced to her as Mr. Courtage, and she
is much pleased with him — at the conclusion Dori-
mant and Harriet are likely to be married.

Don Carlos Prince of Spain — (licensed June 15
1676)— King Philip the 2d = Batterton : Don Carlos
= Smith : Don John of Austria = Harris : Rui-Gomez
= Medbourne : Queen of Spain = Mrs. Mary Lee :
Dutchess of Eboli^Mrs. Shadwell : Henrietta =
Mrs. Gibbs : — the Prince arid Queen avow their love
for each other, but without any criminal intentions—
Rui-Gomez stimulates the King ^against his wife and

D. G. 1676. 191

son — the Dutchess of Eboli, who is married to Rui-
Gomez, poisons the Queen by the King's command
—she is killed herself, and then she acknowledges
the innocence of the Queen and Don Carlos — the
death of Don Carlos is partly occasioned by himself,
and partly by Rui- Gomez — the King is reconciled to
his son, and stabs Rui-Gomez — this is an indifferent
T. in rhyme — love is nearly the whole business of it
—the King is almost as much in love with the Queen
as his son — Langbaine first refers us for the plot to the
Spanish Chronicles, and then adds — "I believe Otway
" chiefly followed the French novel of Don Carlos,
" which is the most perfect account of that tragical
" story that I have met with " — Booth in a letter to
Aaron Hill says, that Betterton told him that Don
Carlos was infinitely more applauded, and better fol-
lowed for many years, than either the Orphan, or
Venice Preserved.

Lord Rochester mentions this T. in his Session of
the Poets.

" Tom Otway came next, Tom Shadwell's dear

" zany,

" And swears, for Heroicks, he writes best of any.
" Don Carlos his pockets so amply had filled,
" That his mange was quite cur'd and his lice

" were all killed.

" But Apollo had seen his face on the stage,
" And prudently did not think fit to engage,
" The scum of a playhouse for the prop of an age.

1 }

ae:e."-J

Fond Husband, or the Plotting Sisters — (licensed
June 15 1676) — Bubble (a credulous cuckold) =
Nokes: Fumble — Leigh : Rashley = Smith : Ranger

192 D. G. 1676.

— Harris : Sir Roger Petulant (a jolly old knight) =
Sandford: Sneak (his nephew) — Je von : Emilia
(Bubble's wife) = Mrs. Barrer: Maria (Bubble's sis-
ter) = Mrs. Marshall : Cordelia (Bubble's niece) =
Mrs. Hughes: Betty (Emilia's woman) = Mrs. Nap-
per : — Emilia has an intrigue with Rashley — Maria,
who is in love with Rashley, and Ranger, who is in
love with Emilia, lay their heads together to detect
Rashley and Emilia — Rashley and Emilia escape de-
tection till the last act — Emilia is then left without
any excuse — and Rashley has no resource but to tell
Bubble that he wears a sword — Fumble is an amo-
rous old fellow, who is nearly blind, and so deaf that
he answers quite contrary to what is said to him—
this C. was written by D'Urfey — it is on the whole a
good play, but there is too much of Ranger arid
Maria.

Town Fop, or Sir Timothy Tawdry — (licensed
Sep. 20 1676) — there are no performers' names to
the D. P. — this C. is borrowed in a great degree from
the Miseries of Inforced Marriage.

The Miseries of Inforced Marriage was written by
Wilkins, and printed in 1607 — it was reprinted in the
second edition of Dodsley's old plays — Mrs. Behn, in
the Prologue to the Town Fop, gives a hint that her
play was borrowed — she has judiciously altered the
catastrophe of the old play, and greatly improved the
conduct of the plot— but she has some dull scenes in
blank verse — Sir Timothy Tawdry says and does
some things the same as Sir Francis Ilford in the old
play, but he may fairly be considered as a new cha-
racter—the Prologue begins with a good simile, which

D. G. 1676.

must not be quoted — in the 3d act there is a very in-
decent, but a very good song.

Wrangling Lovers, or the Invisible Mistress—
(licensed Sep. 25 1676)— Don Diego = Smith: Don
Guzman = Harris : Sanco (his servant) = Underbill :
Count de Benevent (father to Octavia) = Leigh : Don
Ruis (in love with Octavia) = Medbourne : Ordgano
(servant to Don Diego) = Percival : Octavia = Mrs.
Hughes : Elvira (sister to Don Ruis) = Mrs. Barry :
Beatrice (woman to Octavia) = Mrs. Gibbs : Jacinta
(woman to Elvira) = Mrs. Gillow: — scene Toledo—
this is a good C. by Ravenscroft — it appears from the
Epilogue that it came out in the summer — Langbaine
says the plot is borrowed from a Spanish Romance
—as the Count is said in the D. P. to be a little old
Spaniard, it is probable that this description suited
Leigh's figure — the Wrangling Lovers are Don Diego
and Octavia, who are perpetually quarrelling and
making up their quarrels —the Invisible Mistress is
Elvira— it is impossible to give a concise account of
the plot — Mrs. Centlivre in the Wonder is greatly
indebted to this play — she has even borrowed some
part of the dialogue —

Diego. All you can do for the future shall be indif-
ferent to me ; I will abandon your empire with a
facility that shall sufficiently discover, that your chains
are not so difficult to be broken, as your vanity does
make you believe.

Octavia. I find you very full of temerity in pre-
suming to say you abandon me — You whom I have
so often ordairi'd never to see more, but have no

VOL. I. O

194 D. G. 1676.

sooner banisht you my presence, but I have seen you
at my feet imploring my grace * * — if my chains, as
you scornfully say, are so easy to be broken, why
have you not done it twenty times before ? either
they are more powerful than your malice will allow,
or you are a very weak man, Don Diego!

Felix. All you do shall be indifferent to me for
the future j and you shall find me abandon your em-
pire with so little difficulty, that I'll convince the
world your chains are not so hard to break, as your
vanity would tempt you to believe.

Violante. Insolent! you abandon! You! whom I
have so often forbad ever to see me more ! have you
not fallen at my feet? implor'd my favour and forgive-
ness ? * * — if my chains are so easily broke, as you
pretend, then you are the silliest coxcomb living,
you did not break 'em long ago.

Tom Essence, or the Modish Wife — (licensed
Nov. 4 1676) — Tom Essence (a perfumer) = Leigh :
Monylove = Percival : Stanley = Gillow : Loveall —
Norris : Laurence — Richards : Courtly = Crosby :
Mrs. Monylove — Mrs. Hughes : Mrs. Essence = Mrs.
Gibbs : Theodocia = Mrs. Barry : Luce = Mrs. Os-
born : Betty = Mrs. Napper : — this C. consists of
two plots — one of which is borrowed from Moliere's
Imaginary Cuckold — In the other plot Mrs. Mony-
love is a young woman married to an old man — she
has a liking for Stanly, but is determined to preserve
her honour as long as she can — in the course of the
play she meets with an irresistible temptation — this
is on the whole a good C. — Langbaine attributes it
to Rawlins.

D. G. 1676. 195

Madam Fickle, or the Witty False One — (licensed
Nov. 20 1676)— Lord Bellamour = Betterton : Man-
ley = Smith : Sir Arthur Oldlove = Sandford : Capt.
Tilbury = Medbourne : Zechiel and Toby (his sons)
= Leigh and Nokes : Old Jollyman = Underbill :
Harry Jollyman = Jevon : Dorrel = Norris : Madam
Fickle = Mrs. Mary Lee : Constantia = Mrs. Barrer :
Arbella = Mrs. Gibbs : Silvia n Mrs. Napper : — this
is a pretty good C. by D'Urfey — Madam Fickle had
been deserted by Friendlove to whom she was mar-
ried— she had vowed to revenge herself on the whole
sex — Lord Bellamour, Manley, and Young Jollyman
are in love with Madam Fickle— she pretends love
to them all, and jilts them — Dorrel turns out to be
Friendlove — he and Madam Fickle are reconciled—
Lord Bellamour and Manley marry Arbella and Con-
stantia—Zechiel is a Temple Spark, and his brother
a young man brought up in the country — in the last
act, Zechiel hides himself in the Tavern Bush, and
Toby gets into an empty butt — Capt Tilbury enters
drunk, and offers to burn the bush — this is taken
from the Walks of Islington and Hogsden — D'Urfey
has adopted a line of Horace for his Motto—

" Non cuivis homini ccmtingit adire Corinthum"

— plainly implying (as Langbaine humorously ob-
serves) that he could not write a play without steal-
ing— Madam Fickle was revived at D. L. Sept. 2D
1711.

The Humorous Lovers, and the Triumphant Wi-
dow— two Comedies by the Duke of Newcastle —
were licensed Nov. 27 1676 — they are both said to
have been acted by his Royal Highness* Servants,

o2

196 D. G. 1676.

but neither of them has any performers' names to
the D. P. — Pepys saw the Humorous Lovers March
30 1667 — it is impossible to say at what precise time
the other Comedy was brought out.

Triumphant Widow, or the Medley of Humours
—this is a good C. — the Triumphant Widow is Lady
Haughty — the 2d title is very appropriate, as the play
has little or no plot, and consists of well drawn cha-
racters— the Widow is young, handsome, and rich-
she has 4 suitors — viz. — Col. Bounce — Sir John
Noddy — Justice Spoilwit — and Codshead — Col.
Bounce is a blunt soldier — at the conclusion he
marries Isabella — the widow gives her a fortune-
Sir John Noddy delights in clinches and practical
jokes — Spoilwit is ready to die with laughter at
Noddy's supposed cleverness — Codshead is much
addicted to swearing — Crambo observes — " there's
" not so foolish and impertinent a sin as swearing —
" it is not natural — there is no pleasure in it — tho*
" the rest of the deadly sins are pleasant" — Footpad
is a very laughable character — in the 1st act he
comes on disguised as a pedlar — he puts one strongly
in mind of Autolycus in the Winter's Tale.

Pastor Fido, or the Faithful Shepherd — (licensed
Dec. 26 1676) Mirtillo (the faithful shepherd, in love
with Amaryllis) = Smith : Sylvano (a discontented
shepherd) = Batterton : Montano (Priest of Diana)
= Medbourne : Sylvio (his son) = Crosby : Corisca
(in love with Mirtillo) = Mrs. Mary Lee : Amaryllis
= Mrs. Btftterton : Dorinda (a young nymph, in love
with Sylvio) = Mrs. Petty : — scene Arcadia — this is a
moderate Pastoral — it is written in rhyme — the
Oracle had decreed that a Maid or Wife, above 15

D. o. 1676. 197

and under 20, was to be sacrificed every year, till
two of a divine race should love each other—

" And for a faithless Nymph's apostate state,
" A faithful Shepherd supererrogate."

As Sylvio and Amaryllis are supposed to be the
only persons descended from the gods, their union is
intended — but Sylvio is averse from love, and devoted
to rural sports — and Amaryllis is secretly in love with
Mirtillo — by the artifices of Corisca, Amaryllis is un-
justly condemned to death as being guilty of inconti-
nence— Corisca offers to save the life of Amaryllis,
if Mirtillo will marry her — Amaryllis requests him
not to consent — Mirtillo is discovered to be the son
of Montano, and consequently to be descended from
Alcides — as he is thus equal in blood to Amaryllis,
he claims the favour of the law, and offers himself
as a victim in exchange for her — the Oracle is ful-
filled by this offer — Montano and Amaryllis are united
—in the 4th act Sylvio wounds Dorinda with an
arrow, mistaking her for a wild beast — this is from
Ovid's story of Cephalus and Procris — Dorinda re-
covers, and Sylvio marries her — Settle in the dedi-
cation says — " I confess I have taken a great deal of
" liberty in the characters of Sylvano and Corisca,
" because they were not kept up by Guarini : the
" first of which, in the translated Pastor Fido (for I
" am a stranger to the Italian) flag'd in the 2d act,
" and was wholly lost in the two last."

198 T.R. 1677.

T. R. 1677.

Rival Queens, or the Death of Alexander the Great.
Alexander =r Hart : Clytus (properly CKtus — in Greek
the first syllable is spelt with a diphthong) = Mohun :
Lysimachus = Griffin : Hephestion =. Clarke : Cassan-
der =. Kynaston : Polyperchon (properly Polysper-
chon) — Goodman : Thessalus = Wiltshire : Statira =:
Mrs. Boutell : Roxana — Mrs. Marshall : Parisatis
(properly Parisatis) = Mrs. Baker : Sysigambis =.
Mrs. Corey : — this is Lee's best T. — the banquet and
mad scene in particular have great merit — but what
Clytus says about wishing to hear the groans of dying
persons, and the cries of matrons in sacked towns,
is not only disgusting, but quite out of character, and
fit only for the mouth of a savage — Lee abounds in
false quantities — he makes the last syllable but one
in Parysatis, Eumenes, and Craterus long, and the
last syllable but one in Granicus short — as he was
educated at Westminster school and at Trinity Col-
lege Cambridge, he ought to have known better.

This play is with great propriety now called by
the 2d title, as the love concerns are the worst part
of it — Alexander was not much of a lover — nor were
two Eastern women very likely to act as Statira and
Roxana do in this play — the modern alteration of it
is an improvement, as the Ghost of Philip, and some
extravagant passages are omitted, arid many speeches
improved.

Dryden addressed a very good copy of verses to
Lee on this occasion —

r. u. 1677. 199

" Such praise is yours, while you the passions

" move,

" That 'tis no longer feign'd, 'tis real love ;
" Where nature triumphs over wretched art ;
" We only warm the head, but you the heart.
" Always you warm ; and if the rising year,
" As in hot regions, bring the sun too near,
" 'Tis but to make your fragrant spices blow,
" Which in our colder climates will not grow.
" They only think you animate your Theme
" With too much fire, who are themselves all

" phlegm."

Lee neither follows History exactly, nor deviates
greatly from it — in the 1st act he speaks of Crater us
and Hephestion as adoring Alexander, a baseness of
which Craterus was not guilty — it was he, and not
Lysimachus, who fought with Hephestion — Roxana
caused Statira to be killed, but it was after the death
of Alexander — Quintus Curtius (book 8th chap. 1st)
tells us that the story of Lysimachus being given to
a Lion is not true, arid relates the circumstance
which gave occasion to the fiction.

Many years after the death of Alexander, when
Onesicratus was reading a part of his history to Ly-
simachus, .in which he had inserted an incredible
account of an Amazon, who came to Alexander ;
Lysimachus gave him a neat reproof, by saying with
a smile, " where was I when that happened ?" (Plu-
tarch.)

In the Banquet Lee follows Plutarch very closely,
only he has omitted the principal thing that Clytus
did to irritate Alexander- — after his friends had with

200 T. R. 1677.

difficulty forced him out of the room, he came back
again, repeating the following lines from the Andro-
mache of Euripides — " Ah ! what a bad custom pre-
" vails in Greece — when an Army gains a victory over
"an enemy, the work is not attributed to those who do
" it, but the General reaps the glory — who, with many
"others, brandishing a single spear, and doing nothing
" more than a single man, has greater praise" — this
was " wormwood " to Alexander, who immediately
snatched a spear from one of the guards, and killed
Clytus— it is a great pity that Lee did not translate
these lines, and insert them in his play — as it is,
Clytus' last speech, before he is stabbed, is the least
offensive of any thing he says during the whole scene.

Country Innocence, or the Chambermaid turn'd
Quaker. Sir Oliver Bellingham = Lydell : Sir Robert
Malory = Coysh : Gregory Dwindle — Haynes : Capt.
Mullineux = Goodman : Plush — Wiltshire : Rash =
Griffin : Mr. William (servant to Lady Lovely —
Powel: Old Thrash ard = Watson: Abraham (his son)
= Styles : Lady Lovely (a widow) = Mrs. Marshall :
Barbara (her maid) = Mrs. Knepp : Margaret and
Gillian (daughters to Thrash ard) = Mrs. Baker and
Sarah Cook : Lady Malory = Mrs. Rutter : Old Gen-
tlewoman rr Mr. Perrin : — this is an indifferent C.
— Leanard calls himself the author of it, but Lang-
baine says it is only Brewer's Country Girl with a
new title — it was licensed April 6 1677 — it seems to
have been acted by the younger part of the Company
in Lent — Leanard tells us that it was printed soon
after it came out.

Rival Kings, or the Loves of Oroondates and Sta-
tira — this T. is printed without the names of the

T.R.I 677. 201

performers — the Rival Kings are Alexander the
Great and Oroondates the King of Scythia — the lat-
ter character is taken from the romance of Cassandra,
as Banks himself tells us — Love is the business of
this T., which is written in rhyme — it is a very poor
piece both as to plot and language — it appears from
the Epilogue that it was acted by the younger part
of the company — there is a considerable resemblance
between the Rival Kings and the Rival Queens.

In both these plays Alexander is represented as
poisoned, which, as there was a suspicion of that
sort, is very fair on the stage, tho* in all probability
not historically true — the poison was of so cold a
nature that nothing could hold it but an Ass' hoof
—Banks mentions this circumstance which has ma-
nifestly the air of a fable — see the end of Plutarch's
Life of Alexander.

King Edgar and Alfreda. Edgar = Mohun : Alder-
nald (a young Admiral) = Clark : Ethelwold = Good-
man : Ruthin (father to the Queen) = Burt : Durzo
(a blunt sea captain) = Griffin : Oswald = Wiltshire :
Alfreda = Mrs. Frances Baker : Matilda (the Prin-
cess) = Mrs. Bowtell : Queen = Mrs. Knight: Hil-
laria = Mrs. Katherine Baker: — this Tragi-Comedy
was written by Ravenscroft — Ethelwold marries Al-
freda as in the real story — the King is prevailed on
to forgive him, but makes love to Alfreda — at the
conclusion, Ethelwold is killed — before his death he
bequeaths Alfreda to the King — there is a love Epi-
sode between Aldernald and Matilda — and another
between Durzo and Hillaria — the latter are comic
characters — on the whole this is not a bad play.

202 T. R. 1677.

Scaramouch a Philosopher, Harlequin a School-
boy, Bravo, Merchant, and Magician, a Comedy
after the Italian manner by Ravenscroft — Harlequin
— Haynes : Plautino = Goodman : Spitzaferro = Cart-
wright : Scaramouch — Griffin : Pancrace = Powell :
Octavio = Clark : Cynthio =. Wiltshire : Aurelia =
Mrs. Vincent : to Zerbinetta there is no performer's
name — this is a laughable Farce in 5 acts — much
better calculated for representation than perusal —
the greater part of it is taken from the Forced Mar-
riage and Scapin of Moliere — some of the scenes in
which Harlequin is concerned, seemed to have been
borrowed from an Italian piece — Ravenscroft has
put his materials very well together — he complains in
the Prologue, that while the actors were dilatory in
getting up his play, Dorset Garden had forestalled it
by bringing out Scapin — he adds—

" The poet does a dang'rous trial make,

" And all the common roads of plays forsake.

" Upon the actors it depends too much.

###**##**#

" He rather chose in new attempts to fail,
" Than in the old indifferently prevail."

Langbaine observes — " notwithstanding our author's
" boasting, I believe, he cannot justly challenge any
" part of a scene as the genuine offspring of his own
" brain" — notwithstanding all that Langbaine says,
Ravenscroft is perfectly correct— he does not pretend
to have invented a new sort of Comedy, but only to
have been the first who had brought such a sort of
drama on the English stage — he is so far from boast-
ing, that he says —

T. R. 1677. 203

" Like but the play, let others have the name, -v
" Let both French arid Italians share the fame, >
" But if 't be bad, let them too bear the blame." J

Wits led by the Nose, or a Poet's Revenge, (li-
censed Aug. 16 1677) Oroandes = Lydell : Antellus
= Goodman: Zannazarro = Perrin : Sir Simon Cre-
dulous = Haynes : Sir Jasper Sympleton = Stiles :
Jack Drayner = Nathaniel Q : Dick Sly wit = Coysh :
Glorianda = Mrs. Bowtell: Amasia=:Mrs. Baker:
Heroina = Mrs. Baker Junior : Theocrine = Mrs. F :
—from the names of the performers it is pretty clear
that this Tragi-Comedy was acted at the Nursery for
the King's Company — the serious scenes are con-
temptible, the comic ones are mere Farce — the
serious characters are Pagans, yet the comic ones
are, by a strange jumble, Englishmen travelling in
Sicily — Sir Simon and Sir Jasper make some pre-
tences to poetry — in the 5th act they enter led by
the Nose by their servants Drayner and Slywit . in
disguise — this circumstance gives the title to the play
—the author is unknown.

Langbaine says — " the greatest part of this play
(except a scene or two) is stolen from Chamberlaine's
Love's Victory" —this is not correct — Wits led by the
Nose is an alteration of Love's Victory, but with con-
siderable omissions and additions — each of the plays
has a comic underplot, which differs materially from
the other.

Destruction of Jerusalem by Titus Vespasian in 2
parts — Phraartes = Hart : Matthias (the High Priest)
= Mohun : John = Cartwright : Titus Vespasian =

204 T. R. 1677.

Kynaston : Berenice = Mrs. Marshall : Clarona =
Mrs. Boutell : (Doivnes) — in these plays there is
much less about the Jews than might have been ex-
pected— John is scarcely so prominent a character
as he ought to have been, and Simon, the other
Jewish leader, is not even mentioned — the loves of
Phraartes and Clarona, of Titus and Berenice, oc-
cupy the greater part of these plays — Phraartes is a
Parthian King, who is driven from his country, and
who stays at Jerusalem for the love of the High
Priest's daughter — the 1st part ends previously to
the siege.

The 2d part begins after the siege is far advanced
—at the end of the 3d act Phraartes receives intelli-
gence that he is restored to the crown of Parthia — he
goes off to join his army which is said to be near the
town — during his absence John kills Matthias, and
gives Clarona a wound, which proves mortal — Phra-
artes however returns before her death — Jerusalem
is taken, and the Temple is seen on lire — the play
ends with the parting of Titus and Berenice.

When Clarona dies, Phraartes exclaims —

" Where is Clarona gone ?

" Aloft! — I see her mounting to the Sun!
" Let the hot planet touch her if he dares !—
" Touch her, and I will cut him into stars,
" And the bright chips into the ocean throw."

Both these Tragedies are in rhyme ; and it is riot
easy to say whether the plan, or the execution of them
is the worse — they were however well received by
the town, and the 2d part was revived at D. L.

D. G. 1677. 205

July 1 1712— In the dedication Crowne says to the
Duchess of Portsmouth — " I fix your Grace's image
" at this Jewish temple-gate, to render the building
" sacred."

D. G. 1677-

Titus and Berenice, with the Cheats of Scapin —
both these pieces were written by Otway — they were
licensed Feb. 19 1676-7— as Titus and Berenice is
only in 3 acts, the Cheats of Scapin was brought out
at the same time to make up the entertainment.

Titus and Berenice — Titus (Emperour of Rome)
= Betterton : Paulinus (his confidant) = Medbourne :
Antiochus (King of Comagene) = Smith : Arsaces
(his confidant) = Crosby : Berenice (Queen of Pa-
lestine) = Mrs. Lee : Phoenicia (her confidant) = Mrs.
Barry : — this is a dull T. in rhyme — taken from Ra-
cine— Titus is in love with Berenice, but out of re-
spect for the Roman people he is forced to part from
her — the conflict between his love and his duty
occupies the greater part of the play — Antiochus is
also in love with Berenice.

Cheats of Scapin. Scapin = Leigh : Gripe =
Noakes : Thrifty = Sandford : Octavian = Norris :
Leander = Percivall : Shift = Richards : Lucia = Mrs.
Barry : Clara = Mrs. Gibbs : — this is an excellent
Farce — it is taken from Moliere, but great part of
it comes originally from the Phormio of Terence—

206 D. G 1677.

Thrifty on going abroad had left his son, Octavian,
under the care of Shift— Gripe had left his son,
Leander, under the care of Scapin — Octavian and
Leander, during their fathers' absence, had married
Clara and Lucia — the old men return — the young
men put their cause into Scapin's hands — money is
much wanted — Scapin begins with Thrifty — he tells
him that the brother of his son's wife is a dreadful
bully, but that he will disannul the marriage for £200

—Thrifty refuses to advance the money — Shift enters
disguised as the bully — Thrifty is frightened, and
pays the £200 — Scapin next attacks Gripe, and gets
the same sum out of him, by telling him that his son
had gone aboard a ship, and that the master of it
would not release him under £200 — in the last act,
he makes Gripe believe that the brother of his son's
wife is the captain of a privateer — that he and seve-
ral of his crew had landed with a determination to
kill Gripe — for wanting to null the marriage — Gripe
conceals himself in a sack — Scapin counterfeits with
his voice 5 different sailors — and in each of his cha-
racters beats the sack — Gripe at last looks out — and
Scapin runs off — Clara and Lucia turn out to be the
daughters of Gripe and Thrifty — the old men are
reconciled — Scapin enters with his head tied up, as
if a great stone had broken his skull — Gripe and
Thrifty, supposing him to be dying, forgive him —

Scapin pulls off his cap, and appears to be quite well
— Scapin is a capital part, but it requires a first rate
actor — in Moliere's and Ravenscroft's pieces, the
young men are not married, but only in love.

Debauchee, or the Credulous Cuckold — (licensed

D. o. 1677. 207

Feb. 23 1676-7) —this C. is printed without the
names of the performers — it is little more than
Brome's Mad Couple well Matched.

A Mad Couple well Matched was published in
1653 — Careless is a debauched young fellow — his
uncle, Sir Anthony Thrivewell, considering him as
incorrigible, had at last married, in the hope to get
an heir to his estate — in the 1st act Sir Anthony
once more receives Careless into favour, and pro-
mises to pay his debts — Careless writes two letters
—one to Phoebe, whom he had seduced and kept—
the other to the widow Crostill — he puts the wrong
direction to the letters — Mrs. Crostill gets the letter
which was meant for Phoebe — Saveall is highly of-
fended at having been made the bearer of such a
letter — Mrs. Crostill, whojs actuated by the spirit of
contradiction, desires to see Careless — when he visits
her, she treats him with incivility — Careless pretends
that he will many Phoebe — the more he slights Mrs.
Crostill, the more she is determined to marry him —
she gives Phoebe £200, and carries her point with
Careless— he promises to reform — there is an impor-
tant underplot — Lord Lovely has an intrigue with
Mrs. Saleware — she falls in love with Bellamy — Bel-
lamy turns out to be a young woman who had been
seduced by Lord Lovely, and who had been disguised
as his page.

The Debauchee is a good alteration of a good play
—the original is said to have been revised by Mrs.
Behn — Mrs. Behn has made some improvements,
but no very material change — Tom Saleware, the
Credulous Cuckold, is a good part — for a cast of
this play see D. L. Aug. 4 1708.

208 u. G. 1677.

Antony and Cleopatra— (licensed April 24 1677)
- — Antony = Betterton : Csesar =. Smith : Photinus
= Sandford : Mecsenas = Harris : Canidius = Med-
bourne: Thyreus — Crosby : Agrippa = Jevon : Cleo-
patra = Mrs. Mary Lee : Octavia = Mrs. Betterton :
Iras = Mrs. Gibhs : Charmion — Mrs. Hughes : — this
is a moderate T. in rhyme — it was written by Sir
Charles Sedley, for so he then wrote his name — he has
not borrowed any thing from Shakspeare — the scene
lies in and near Alexandria — Photinus is an intriguing
statesman and a great villain — Sedley seems to have
written this part purposely for Sandford — he has
grossly misrepresented the character of Thyreus—
Thyreus is in love with Cleopatra — Antony is jea-
lous, and orders him to be whipt — Canidius remon-
strates against this order — it being contrary to the
law of nations to treat an Embassadour in such a
manner — the Roman Soldiers mutiny in defence of
Thyreus, and conduct him in safety out of the town
—in the next battle, Thyreus and Antony fight — the
former is killed — the real fact was simply this —
Caesar sent his freedman Thyreus on a private mes-
sage to Cleopatra— she conversed with him so long,
and treated him with so much honour, that Antony
suspected him, and caused him to be whipt — Shak-
speare has represented the affair as it really was—
Sedley has made a mountain out of a molehill.

Circe by Dr. Davenant — (licensed June 18 1677)
— Orestes = Betterton : Pylades = Williams : Ithacus
= Smith: Thoas — Harris : Circe = Mrs. Lee: Iphi-
genia = Mrs. Betterton : Osmida=:Mrs. Tvvyford : —
(IDownes) — to these characters we must add Pluto,
and the Ghost of Clytemnestra — this play is styled a

D. G. 1677. 209

Tragedy in the titlepage, but Dowries more pro-
perly calls it an Opera — it was well performed, and
answered the expectation of the company — Dowries
puts Lady Slingsb/s name to the character of Circe
—but Mrs. Lee did not become Lady Slingsby till
some years after this time — the plot of Circe is founded
on the Iphigenia in Tauris of Euripides, but with
material alterations — Circe, the Enchantress, is, by
an outrageous poetical license, introduced as the
wife of Thoas the King of Scythia — Ithacus is her
son by Ulysses — the whole of the plot is a blessed
jumble — the dialogue is in rhyme, and but mode-
rately written — Pylades says—

" For Indian-like, I to the shades below

" Would with the richest of my treasures go."

As the Greeks knew nothing of India in the time
of Pylades, this is bad enough ; but a trifling absur-
dity in comparison with what Circe says —

" As Churches whom no Heretics oppose.*'

Langbaine and the Editor of the B. D. refer us for
the plot to the 14th book of Ovid's Metamorphoses,
merely because Circe is mentioned there — in the
12th book there are some few lines about Iphigenia,
but they have little, or rather nothing to do with this
play — Ovid says—

" Flentilws ante aram stetit Iphigenia ministris"

And thus the name is always pronounced in Greek
and Latin — the English writers shorten the last syl-
lable but one, contrary to every rule of propriety.
Rover, or the Banished Cavaliers — (licensed

VOL. I. P

210 D.G. 1677.

July 2 1677)— Willmore (the Rover) = Smith:
Blunt = Underbill : Belvile = Betterton : Frederick
= Crosby : Don Antonio = Jevon : Don Pedro =
Medbourne : Hellena = Mrs. Barm- ; Angellica Bi-
anca — Mrs. Gwin : Florinda = Mrs. Betterton : Va-
leria = Mrs. Hughes : Moretta = Mrs. Leigh : Callis
= Mrs. Norris : Lucetta = Mrs. Gillow : — this is an
excellent Comedy, and Mrs. Behn's best play — she
is however vastly indebted to Killegrew's Thomaso,
or the Wanderer— she has added the parts of Hel-
lena and Belvile ; and improved what she has bor-
rowed, except the character of the Rover, which was
so good in the original, it could hardly be improved
— Blunt's falling into the common shore is taken
from Boccace, Day 2. Novel 5.

It was at this time very unusual for a performer
to go from one theatre to the other — in the Patents
of Killegrew and Davenant there was a clause to this
effect — " and the better to preserve amity betwixt
" the said companies, and that one may not incroach
" upon the other by any indirect means, we will
" and ordain, that no actor, or other person, em-
" ployed about either of the said theatres, shall be
" received by the other company, without the written
" consent of the Governor of the company, whereof
" the said person, ejected or deserting, was a mem-
" ber" — (Dramatic Censor, 1811) — Downes parti-
cularly notices that Haines joined the Duke's com-
pany, but he does not give any intimation that Mrs.
Gwyn did the same — it is however certain, that she
was at D. G. for one season — and probably for two.

French Conjuror — (licensed Aug. 2 1677) — Mon-
sieur = Anthony Leigh: Avaritio = Jevon : Claudio =

D. G. 1677. 21 1

Crosby : Dorido r: Gillow : Horatio = Nome : Truro
= Percival : Pedro = John Lee : Clorinia = Mrs.
Barry: Leonora = Mrs. Hughes : Sabina = Mrs. Nor-
ris : Scintillia = Mrs. Eliz. Leigh : — this is a good C.
by T. P. — Clorinia is in love with Dorido — Horatio
is in love with her — but knowing he has no chance
to succeed with her but by treachery, he comes to
her window at the time she was expecting Dorido—
she, supposing him to be Dorido, gives him a letter
through the casement — he takes it and stabs her in
the arm — he then contrives to have the letter and
dagger conveyed into Dorido's pocket — Dorido is
consequently taken up for the assault — a quarrel
ensues — but Clorinia is afterwards convinced of his
innocence — her father Avaritio, having lost a valu-
able necklace, is persuaded by Claudio to come to
his house and consult the French Conjuror, who is
only Monsieur in disguise — while he pretends to con-
jure, Dorido arid Clorinia are married — Claudio is in
love with Pedro's wife, Leonora — by the stratagems
of Sabina and Monsieur he accomplishes his wishes
— scene Seville — Langbaine says this play is founded
on two stories in the romance of Guzman the Spa-
nish Rogue — the author of the Comedy has improved
what he has borrowed.

Constant Nymph, or the Rambling Shepherd —
(licensed Aug. 13 1677) — Astatius (the Rambling
Shepherd) = Mrs. Mary Lee : Philisides (disguised as
Euplaste) = Mrs. Barry : Clinias (a merry shepherd
and servant to Astatius) = Richards : Sylvanus (father
to Traumatius and Astrea) = Sandford : Traumatius
= Medbourne : Alveria (the Constant Nymph) = Mrs.
B#tterton : Astrea — Mrs. Wyn : (probably Gwyn)

p2

D. G. 1677.

— Traumatius is supposed to be dead, and to have
been killed in a fray by Philisides — he is disguised as
a Priest, and assumes the name of Evander — Asta-
tius is on the point of being married to Astrea — he
meets Euplaste, and falls in love with her — he after-
wards transfers his love to Alveria— and speaks
slightingly of Astrea to Euplaste — Euplaste re-enters
as Philisides, and resents the affront put on Astrea

—with whom he was in love, and who had only con-
sented to marry Astatius, on the supposition that
Philisides had killed her brother — Astatius and Phi-
lisides fight — Astatius falls — he is carried to the
temple of Esculapius, and recovers — Philisides is
about to be sacrificed to the shade of Thaumatius—
Thaumatius discovers himself, and is united to Alveria
— she had been inconsolable for his supposed death
— Philisides is united to Astrea — Astatius turns Priest

—this is a moderate Pastoral — it came out in the
summer vacation — the scene lies at Lycea in Arcadia
— in the play there is said to be an inveterate hate
between the Lyceans and Dipeans — Pausanias in
his Arcadica does not mention either Lycea or Dipea
— the Constant Nymph is written in rhyme.

Counterfeit Bridegroom, or the Defeated Widow —
(licensed Oct. 4 1677) — Sir Oliver Santlow = A.
Leigh : Peter Santlow (his son) = Bowman : Sam =
Richards : Noble (brother to Mrs. Hadland) = Crosby:
Sanders =. Gillow : Hadland = Williams : Sir Gregory
Lovemuch = Percival : Gazer = Norris : Noddy =
John Leigh : Mrs. Hadland = Mrs. Currar : Widow
Landwell = Mrs. Osborne : Clarina = Mrs. Gibbs :
Lady Santlow — Mrs. Norris : Eugenia = Mrs. Le
Grand : — this C. came out in the Vacation — it is only

D. G. 1677. 213

an alteration of Middleton's No Wit, no Help, like a
Woman's — the names of all the characters are changed
—the play consists of two plots — in the first Sir
Oliver had sent his son to the continent to fetch home
his mother, who had been absent several years-
Young Santlow had fallen in love with Clarina, and
brought her home as his sister, pretending that his
mother was dead — in the other plot, Mrs. Landwell
is a rich widow — she is possessed of an estate, of
which her husband had cozened Mrs. Hadland's father
—Mrs. Hadland, disguised as a man, gains her affec-
tions and marries her — on the wedding night she
sends Noble into the Widow's bedroom — the widow,
to save her reputation, agrees to marry Noble — Mrs.
Hadland discovers herself — she had previously reco-
vered the writings of her father's estate — it does not
appear* who altered Middleton's play — but it is so
much improved, that it seems probable that Mrs.
Behn was the person who made the alteration — 2 or
3 new scenes are added — and the Widow's marriage
with Noble is much better managed than in the origi-
nal play.

No Wit, no Help, like a Woman's was printed in
1657 — but evidently written in 1638 — Weatherwise,
at the close of the 3d act, says — " If I, that have
" proceeded in 25 such books of astronomy, should
" riot be able to put clown a scholar now in 1638, I
" stood for a goose."

The characters of Mrs. Hadland and the Widow
have been introduced in more plays than one — see
Oronooko — Artful Husband &c.

Siege of Babylon — (licensed Nov. 2 1677) — Orontes
= Betterton : Cassander = Harris : Perdicas (Perdic-

D. G. 1677.

cas) = Smith : Lysimachus = Medbourne : Ptolemy
= Crossby : Eumenes = Jevon : Roxana = Mrs. Lee :
Statira = Mrs. Betterton : Thalestris = Mrs. Gwyn :
Parisatis = Mrs. Seymour : — this is a wretched T. in
rhyme — it was written by Pordage — the Siege is sup-
posed to take place in the time of Alexander's suc-
cessors, but the whole of the play is fiction.

Abdelazer, or the Moor's Revenge. Abdelazer =:
Betterton : Ferdinand (the young King of Spain) =
Harris : Philip (his brother) = Smith : Mendozo
(Prince Cardinal) = Medbourne : Alonzo (in love with
Leonora) = Crosby : Osmiri = Percival : Roderigo =
Norris : Queen of Spain = Mrs. Lee: Florella (sister
to Alonzo, arid wife to Abdelazer) = Mrs. Betterton :
Leonora (sister to Ferdinand and Philip — in love
with Alonzo) = Mrs. Barrer: — the King of Spain,
several years before the play begins, had conquered
Fez, and killed the King — he had taken the King's
young son, Abdelazer, under his protection ; and, in
process of time, had made him his general — in this
situation Abdelazar had behaved with great courage
— notwithstanding the favours he had received, the
desire of revenge was always uppermost in his mind
— for this purpose, rather than from any love to the
Queen, he had become her paramour — she is a lasci-
vious woman, who sticks at nothing to gratify the
Moor — they join in poisoning the King — in the first
scene his death is announced — Philip returns victo-
rious from some expedition, leaving his army at a
little distance — being of an impetuous temper, he
publickly accuses his mother of a criminal intercourse
with Abdelazer — she is highly incensed — Mendozo,
as the young King's guardian, passes a sentence of

D. G. 1677. 215

banishment on Abdelazer — the young King, to oblige
Florella, with whom he is in love, revokes the sen-
tence— Abdelazer orders Osmin, who is a Moor, and
one of his officers, to kill Philip and the Cardinal—
they make their escape to Philip's camp, disguised as
friars — Abdelazer in the night alarms the Court with
the cry of treason — he tells the King that Philip and
the Cardinal had laid a plot to murder him — the King
orders Abdelazer to pursue them — he does this with
a view to visit Florella in his absence — Abdelazer has
no particular regard for his wife, but he is a man of
too high a spirit to suffer any person to solicit her
embraces with impunity— he gives Florella a dagger,
and tells her to kill the King, if he should persevere
in his addresses to her — as soon as tranquillity is
restored in the Palace, the King goes to Florella's
chamber, but not without being observed — Florella
rejects his solicitations — draws the dagger, arid
threatens to stab herself — at that instant the Queen
enters, and kills Florella, under pretence that she was
going to kill the King, but in reality from jealousy—
the King kneels at Florella's feet — in that situation
Abdelazer finds him — they fight, and the King is killed
—the Queen detaches the Cardinal, who is in love
with her, from Philip's party — some fighting ensues
—after which Philip is taken prisoner by the Cardi-
nal's treachery — in the 5th act, the Nobles are assem-
bled to decide about the succession to the crown—
the Queen denounces Philip as a bastard — she tells
a plausible tale, tending to vindicate herself, and to
show that the Cardinal had gotten into her bed by
strategem — the Cardinal will not acknowledge him-
self to be Philip's father, and is sent to prison—

216 D. G. 1677.

Leonora is saluted as Queen, chiefly by the influence
of Abdelazer — Roderigo, at the instigation of Abde-
lazer, kills the Queen-Mother — Abdelazer, to skreen
himself from suspicion, kills Roderigo — he makes
love to Leonora — just as he is going to force her,
Osmin enters — Abdelazer stabs Osmin in the arm—
the wound is not of much consequence, but Osmin
is enraged at having received a blow — Abdelazer
begs his pardon — Osmin affects to be satisfied, but in
revenge he sets Philip at liberty, and joins him against
Abdelazer — Abdelazer, finding himself betrayed,
avows his crimes — Philip and his party rush on Abde-
lazer— Abdelazer kills Osmin, and falls dead — this is
a good T. — it is only an alteration of Marlowe's
Lust's Dominion, or the Lascivious Queen — Mrs.
Behn has however made some considerable changes
in the 5th act, and improved the whole play — Abde-
lazer is a striking character — the outlines of Zanga
are evidently borrowed from it ; but the two parts
differ in this, Zanga has one object only in view,
Revenge ; whereas Abdelazer is instituted not only
by the desire of Revenge, but also by Jealousy, Am-
bition, and Love — the part of Zanga is admirably
written, and uniformly supported throughout ; but
after all Abdelazer is the more spirited character of
the two, we detest him, but cannot despise him; and
must feel some sort of respect for his courage : he
does not descend to the low arts that Zanga does —
Abdelazer's avowal of his guilt in the last scene is an
addition by Mrs. Behn, in which she is followed by
Dr. Young — in Marlowe the Lascivious Queen sur-
vives— she and the Cardinal are pardoned by Philip
—Mrs. Behn's play is very loyal—

n. G. 1677.

" What, kill a King 1— forbid it Heav'n !

" Angels stand like his guards about his person.

***********

" But Kings are sacred, and the Gods alone
" Their crimes must judge, arid punish too, or
" none."

The Queen Mother says — " 'tis indeed the King."

Alonzo replies — " Then I'm disarmed,
" For Heaven alone can punish him."

Florella says to the King — " All the divinity
" About your sacred person, could not guard you;
" You, tho' a King, cannot divine your fate ;
" Kings only differ from the Gods in that."

In the 5th act Abdelazer says — "a King's a Deity!"
The last Editor of the B. D. represents this play
as printed in 1671 — a mistake seemingly copied from
Langbaine — Barker says 1677 — in 1671 Mrs. Behn
had but just begun to write plays — Percival and Mrs.
Barry were not on the stage.

In Lust's Dominion the Cardinal says —

" I'll satisfy with trentals, dirges, prayers."

The Editor of the Old Plays in 1814-1815 tells
us, that trentals are 30 masses on the same account
—but 30 masses said at any time would not be tren-
tals— Burnet in his History of the Reformation-
Part 2d — Book 1st — says — " That which brought in
" most custom was, Trentals, which was a method of
" delivering souls out of Purgatory, by saying 30
" masses a year for them : and whereas it was observed,
" that Men, on the Anniversaries of their Birth-days,

218 RYMER.

" Wedding, or other happy accidents of their lives,
" were commonly in better humour, so that favours
" were more easily obtained ; they seemed to have
" had the same opinion of God and Christ : so they
" ordered it, that 3 of these should be said on Christ-
" mas day, 3 on Epiphany, 3 on the Purification of
" the Blessed Virgin, 3 on the Annunciation, 3 on
" the Resurrection, 3 on the Ascension, 3 on Whit-
" Sunday, 3 on Trinity-sunday, 3 on the Assumption
" of the Blessed Virgin, and 3 on her Birthday ;
" hoping that these days would be the mollia tempora,
" when God and Christ, or the Blessed Virgin, would
" be of easier access, and more ready to grant their
" desires."

RYMER.

A critical work by Rymer was licensed July 17
1677» and published in 1678 — it consists of 144 pages
in small 8vo. — it is called — " The Tragedies of the
" last Age considered and examined by the Practice
" of the Ancients, and by the Common sense of all
" Ages ; in a letter to Fleetwood Shepheard Esq.
" By Thomas Rymer of Grays-Inn Esquire."

Rymer begins with saying that he had purchased
and perused Rollo — King and no King — Maid's Tra-
gedy— Othello — Julius Caesar and Catiline.

He adds—" I have chiefly considered the Fable or
" Plot, which all conclude to be the soul of a Tra-
" gedy ; which, with the Ancients, is always found

IlYMEIl. 219

" to be a reasonable soul ; but with us, for the most
" part, a brutish, and often worse than brutish."

Hollo — Rymer has not made a single observation
which deserves any particular notice.

King and no King — Rymer points out some impro-
babilities in the plot arid conduct of this play — he
concludes his remarks with a dissertation of more
than 20 pages on the Hippolitus of Euripides and
Seneca — Rymer observes (p. 61) — " We are to pre-
" surne the greatest vertues, where we find the highest
" of rewards j and though it is not necessary that all
" Heroes should be Kings, yet undoubtedly all crown'd
" heads by Poetical right are Heroes. This character
" is a flower, a prerogative, so certain, so insepa-
" rably annex'd to the Crown, as by no Poet, no
" Parliament of Poets, ever to be invaded" —this is
exquisite loyalty, but contemptible criticism.

Maid's Tragedy — The King in this play is a most
worthless fellow, but Rymer observes — " There-
" fore, I say, the King was not to blame ; or how-
" ever not so far, as in any wise to render his life
" obnoxious * * * as for Melantius, he had no
" reason to be angry at any but at his sister Evadne"
— If Charles the 2d had made Rymer's own sister a
whore, he would perhaps have thought differently.

Rymer adds (p. 141) — " Othello comes next to
" hand, but laying my papers together without more
" scribbling, I find a volumn, * * * if the characters
" I have examined are the same I take them for, I
" send you Monsters enough for one Bartholemew
« Fair * * * ^th the remaining Tragedies I shall
" also send you some reflections on that Paradise
" lost of Milton's, which some are pleased to call a

220 RYMER.

" Poem * * * Let me only anticipate a little in
" behalf of Catiline, and now tell you my thoughts,
" that though the contrivance and ceconomy* is faulty
" enough, yet we there find more of Poetry and of
" good thought, more of nature and Tragedy, than
" perad venture can be scrap't together from all those
" other Plays."

Rymer seems to have deferred his remarks on
Othello, Julius Csesar, and Catiline till 1693, in
which year he published " A short view of Tragedy ;
" its original, excellency, and corruption : with some
" reflections on Shakespear, and other practitioners
" for the stage" — it consists of 182 pages in small
8vo. — at p. 4 and p. 5 he has a cut at Othello — his
regular attack on it begins at p. 86, and ends at p.
146 — he says — " the fable of this T. is drawn from
" an Italian novel — Shakespear alters it from the
" original in several particulars, but always, unfor-
" tunately, for the worse * * * nothing is more
" odious in nature than an improbable lye; and,
" certainly, never was any play fraught, like this of
" Othello, with improbabilities * * * in the neigh-
" ing of an horse, or in the growling of a mastiff,
" there is a meaning, there is as lively expression, and,
" may I say, more humanity, than many times in the
" tragical flights of Shakespear * * * never, sure,
" was form of pleading so tedious, and so heavy as
" that of Othello — take his own words — * Most po-

* Dr. Johnson spells this word as economy, thereby destroying
the etymology of it — Bailey and Ainsworth spell it as oeconomy
— Dr. Johnson's authority is very great in most cases — but not
where Greek is concerned.

RYMER. 221

" tent, grave, and reverend Signiors &c* in

" the 3d act comes the wonderful scene, where lago
" by shrugs, half words, and ambiguous reflections,
" works Othello up to be jealous * * * whence
" comes it, that this is the top scene that raises
" Othello above all other tragedies in our theatres?
" it is purely from the Action; from the mops, and
" mows, the grimace, the grins and gesticulation :
" such scenes as this have made all the world run
" after Harlequin and Scaramuccio * * * the foun-
" dation of the play is monstrous, and the constitu-
" tion, foul disproportion, which instead of moving
" pity, or any passion tragical and reasonable, can
" produce nothing but horror and aversion * * *
" Desdemona says — * O good lago, what shall I do
" to win my lord agen?' No woman bred out of a
" pig-stye, cou'd talk so meanly * * * there is in
" this play, some burlesk, some humour and ramble
" of comical wit, some show, and some mimickry to
*' divert the spectators : but the tragical part is,
" plainly none other, than a bloody Farce, without
" salt or savour."

Rymer is much more concise in his remarks on
Julius Caesar and Catiline — he says — " Shakspear
" might be familiar with Othello and lago, as his
" own natural acquaintance : but CaBsar and Brutus
" were above his conversation: to put them into
" fools' coats, and make them Jack-puddens is Sacri-
" legde : the truth is, the authors head was full of
" villainous, unnatural images, and history has only
" furnish'd him with great names, thereby to recom-
" mend them to the world * * * but to pass to the
" famous scene, where Brutus and Cassius are by

RYMEB.

" the poet represented acting the parts of Mimicks
" * * * they are made to play a prize, a tryal of skill
" in huffing and swaggering, like two drunken Hec-
" tors, for a two-penny reckoning * * * Shakespears
" genius lay for comedy and humour : in tragedy he
" appears quite out of his element ; his brains are
" turn'd, he raves and rambles, without any cohe-
" rence, any spark of reason, or any rule to controul
" him, or set bounds to his phrenzy * * * Ben
" Johnson knew to distinguish men and manners at
" another rate : in Catiline we find ourselves in
" Europe, we are no longer in the land of savages,
" amongst blackamoors, barbarians, and monsters
" * * * one would riot talk of rules, or what is re-
" gular, with Shakspear, or any followers in the
" gang of the strouling fraternity * * * when some
" trifling tale, as that of Othello, or some mangl'd,
" abus'd, undigested, interlarded history on our stage
" impiously assumes the sacred name of Tragedy,
"it is no wonder if the Theatre grow corrupt and
" scandalous, and poetry from its ancient reputa-
" tion and dignity, is sunk to the utmost contempt
" and derision."

Dr. Johnson, after mentioning that Dryden accom-
panied his plays with a preface of criticism, observes,
that this was a kind of learning then almost new in
the English language — according to the Proverb, in
the country of the blind, a man with one eye is a
king — it was perhaps owing to this circumstance
that Rymer acquired a reputation as a critic, to
which he seems very little entitled — Rymer ought
to have known, that it is as much the business of a
critic to praise as to find fault.

RYMER. 223

Rymer talks a good deal about the practice of the
Ancients — some of their rules were excellent — others
were merely founded on custom — Horace says —

" Nee guarta loqui persona laboret "

but he does not give any reason for this capricious
restriction — he knew that such was the practice of the
Greek Tragedians, and therefore he considered it as
right — most of the Greek Tragedies are opened in a
very inartificial manner — an actor dressed in cha-
racter comes forward and says " I am A. or B" —
he then proceeds to detail to the audience such cir-
cumstances, as the Poet wished them to be acquainted
with.

The Greek tragedies have, on the whole, very
great merit — and in some points they cannot be fol-
lowed too closely — the laws of nature and good sense
are permanent and universal — but an Englishman is
no more bound to observe the particular laws of the
Athenian stage, than he is bound to observe the laws
of Solon.

For Dr. Johnson's excellent observations on the
unities of time and place, on which the Ancients laid,
and their followers continue to lay, so great a stress,
see C. G. Jan. 26 1811.

Edgar, or the English Monarch, an Heroick Tra-
gedy by Rymer, was licensed Sep. 13 1677> and pub-
lished in 1678 — as the author has represented Edgar
as a Hero, this play is properly called heroick, but
at this time any Tragedy written in rhyme was con-
sidered as a heroick play — Rymer, as well as Ra-
venscroft, makes Ethelwold bring his wife to Court,
which is not only contrary to the real fact, (see

RYMER.

Rapin) bat to common sense, as Ethelwold's object
must have been to conceal Alfrid from the King's
view — as Ravenscroft has two love Episodes, so has
Rymer.

In the 1st act Alfrid says that she will at Ethel-
wold's^ request discard her ornaments — the margin
directs her to pull of 'her patches — in the 4th act we
have a Masque — thus according to Rymer patches
were in fashion, and masques acted in King Edgar's
time — the play abounds in bombast, and unnatural
expressions — Editha says in the 1 st speech —

" Honour doth us draw

" To barren rocks, there on lean hopes to gnaw"

Edgar appears in a triumphant barge rowed by 8
kings, one of whom says to Edgar—

" The strongest winds fall dead, their last breath

" spent,

" E're they attain your empire's vast extent.
4ffh King. " The spacious heaven, and nature's care

" scarce stretch
" So far, as your immense dominions reach."

In the 3d act, Alfrid mingles poison — the King
takes it from her, and says—

" What plagues, what seas, did this small glass
" contain."

Some passages are ludicrous — the Queen says—

« I

" In both your ears, the Law — the Law — will cry."

Alfrid's woman assures her that the Gownmen
agree she is the lawful Queen — she replies—

T. R. 1678.

" Riches and honour glaring in their sight,
" The Doctours squint, and rarely see aright."

Rymer had lately published his critical work called
— " The Tragedies of the last age considered and
" examined hy the practice of the ancients, and the
" common sense of all ages" — when he published
this play, he should have adopted a line from Persius
for his motto—

" Ccedimus, inque vicem pr&bemus crura sagittis"

No play could well differ more from " the practice of
"the ancients and the common sense of all ages"
than his own Tragedy — In Reformation, Leandro
says of the Tutor — " Does he ever write himself?"
—Antonio replies — " Yes, yes ; but as all your pro-
" fest Criticks do, damnably ill"

T. R. 16?8.

All for Love, or the World well Lost — (entered at
Stationers' hall Jan. 31 1677-8)— Anthony = Hart :
Ventidius = Mohun : Dolabella — Clarke : Alexas =
Goodman : Serapion = Griffin : Cleopatra = Mrs.
Boutell : Octavia — Mrs. Corey : — this T. as Dryden
tells us, is the only play which he wrote for himself,
the rest were given to the people — it is by universal
consent accounted the work in which he has admitted
the fewest improprieties of style or character ; but it

VOL. I. 0

226 T. R. 1678.

has one fault equal to many, though rather moral
than critical, that by admitting the romantick omni-
potence of Love, he has recommended as laudible
and worthy of imitation that conduct which, through
all ages, the good have censured as vitious, and the
bad despised as foolish (Dr. Johnson) — this T. is
very inferiour to Shakspeare's on the same subject,
(more especially in the character of Cleopatra) yet
on the whole it is a good play — Dryden says he
prefers the scene between Anthony and Ventidius in
the 1st act to any thing he has written of the kind.

Rambling Justice, or the Jealous Husbands, with
the Humours of Sir John Twiford — (licensed March
13 1678) — Sir Generall Amorous — Wiltshire : Sir
Arthur Twilight = Powell : John Twiford (a luna-
tick) = Powre : Contentious Surley — Disney : Sir
Geoffry Jolt (the Rambling Justice) = Perrin : Spy-
well = Mr. Q : Bramble — Coysh : Eudoria =. Mrs.
Farlee : Petulant Easy — Mrs. Merchant: Emilia
and Flora = Mrs. Bates and Mrs. Cook: — this C. is
attributed to Leanard — it is clear from the names of
the performers, that it was a Nursery play — Lang-
baine correctly observes, that the scene in the 2d
act between Sir Generall and Bramble— and the
scene with the Gipsies — are stolen from More Dis-
semblers besides Women — probably more of the
Rambling Justice is stolen from other plays — the
incidents are not bad, but they are badly put together
—this is on the whole a poor C.— Langbaine calls
Leanard a confident plagiary, whom he disdains to
style an author.

Mithradates, King of Pontus — (licensed March 28
1678) — Mithradates = Mohun : Ziphares and Phar-

r. u. 1678.

naces (his sons) — Hart and Goodman: Archilaus
(general under Ziphares):= Griffin: Pelopidas and
Andravar (friends to Pharnaces) = Wintershwl and
Powell: Aquilius (a Roman captive) = Clark: Se-
inandra (daughter to Archilaus) = Mrs. Boutel: Mo-
nima (contracted to Mithradates) = Mrs. Corbet: —
the scene chiefly lies in Sinope — Ziphares and Se-
mandra are mutually in love — Mithradates is on the
point of being married to Monima — the Gods mani-
fest their disapprobation — Ziphares presents Seman-
dra to Mithradates — he falls in love with her — in the
2d act Mithradates gets the better of his passion for
a time — he promises to give Semandra to Ziphares,
if he should return victorious over the Romans — in
the 3d act Mithradates' resolution foils him, and he
renews his love to Semandra — Ziphares returns in
triumph — Mithradates tells Semandra, that if she
does not slight Ziphares, he shall be put to death
before her eyes — she receives her lover coolly — he
thinks her false — Mithradates compels Semandra to
marry him, and consummates the marriage by force
—in the 4th act Semandra explains to Ziphares what
had happened — he is convinced of her innocence—
in the 5th act Pharnaces, Pelopidas, and Andravar
join the Romans — Mithradates is stung with remorse
for his cruelty to Semandra — Ziphares in the dark
stabs Semandra, supposing her to be one of the
villains that had assaulted him — Ziphares poisons
himself— when they are dead — Mithradates enters
with Pharnaces, Pelopidas, and Andravar as pri-
soners— he condemns them to death, and dies him-
self of his wounds — Lee has paid but little attention
to history — Ziphares (properly Xiphares) was killed

Q2

T. R. 1678-

by Mithradates out of revenge, because his Mother
had given up a rich Castle to Pompey — see Appian

—towards the end of his book on the Mithradatic
war — Pharnaces survived his father — Mithradates
did not die in the way Lee represents him as dying

— Monima was really one of his wives — see Plu-
tarch's Life of Lucullus — Semandra is a feigned
character, introduced for the sake of the love scenes,
which occupy nearly the whole of the play— the
character of Mithradates is misrepresented — this is on
the whole a moderate T. — many parts of it are well
written — some passages are mere bombast — and
others ridiculous — Pharnaces describes a sacrifice
which was so great, that—

"Were almost chok'd with the prodigious odours."

Archilaus says " Every shining altar

" Dissolved to yellow puddle, which anon

" A flash of thirsty lightning quite lick'd up.*'

Semandra tells Ziphares that they will be wedded
in the other world—

" Who knows but there our joys may be com-

" pleat ?

" A happy father thou ; and I, perhaps,
" The smiling mother of some little Gods?"

Ziphares at the close of the first act says—

" By Heaven, I think it greatest happiness
" Never to have been born; and next to that,
« To die."

T. R, 1678. 229

This sentiment is borrowed from Sophocles — see
(Ediptis Coloneus 1. 1289 — the second syllable of
Pharnaces is short — Lee makes it long.

Man of Newmarket— (licensed April 13 1678)—
Swiftspur (a Gentleman-Racer):^ Clark: Trainsted
(another Gentleman of Newmarket) — Goodman :
Breakbond = Major Moon : Passal = Wiltshire : Mal-
drin = Birt : Whiffler = Haines : Bowser = Griffin :
Jocalin = Mrs. Baker : Quickthrift = Mrs. Corey :
Clevly = Mrs. Corbzt: — Scene London — this is a very
poor C. by the Hon. E. Howard — it has neither plot,
nor incident — nor has the dialogue any thing in it to
make up for the deficiency in other respects.

Henry the 3d of France — (the dedication is dated
Aug. 30 1678) — this T. is printed without the names
of the performers — it is founded on history, but the
chief business of it is love— the Duke of Guise—
Grillon — and the King of Navarre, fall in love with
Gabriel — the King of France deserts Chateauneuf,
and falls in love with Gabriel — in the 3d act the
Duke of Guise is killed — in the 5th act, the forces
of the League attack the King — he is in danger — but
is rescued by the King of Navarre — the King resigns
Gabriel to Navarre — he is stabbed by James Clement
—Clement is killed — the King dies, and is succeeded
by the King of Navarre, who becomes Henry the 4th
of France — this T. is in rhyme — it was written by
Shipman — the first 4 acts of it are bad— the last is
tolerable.

Fool turned Critick— this is an indifferent C. by
D'Urfey — my copy wants the D. P. — the whole edi-
tion is perhaps in that state — Tim is the Fool turned

230 T. R. 1678.

Critick — D'Urfey wrote this part as a satire on play-
house cri ticks, and pretended town wits.

English Lawyer by Ravenscroft — this C. is taken
from the celebrated Latin play of Ignoramus, written
by Ruggle of Clare Hall Cambridge, and acted be-
fore James the 1st on his visit to that University in
March 1614-1,5— the Hall of Trinity College was
fitted up for the purpose, so as to contain 2000
spectators — the effect this C. had on the King was
thus described—

" Spectando et ridendo rex tantum non cacatus."

He was so much delighted with it, that before the
month was out, he wished to see it again, and en-
deavoured to prevail on the Members, of the Univer-
sity to come to London arid act it there — this of
course they would not do — so the King was obliged
to go to Cambridge a second time, when Ignoramus
was acted again on the 18th of May, with some addi-
tions and corrections— at one of these exhibitions, the
King called out — Treason — Treason — and said he
believed the author and actors had laid a scheme to
make him laugh himself to death— on the 2d repre-
sentation there was a new Prologue — a scholar entered
as a Postboy, and said Ignoramus could not be acted
as no one of the Lawyers would lend him a gown—
the King is said to have been deceived by this passage,
and imagining that a prohibition to prevent the per-
formance had actually been received, he grew very
angry, and peremptorily commanded the actors to
proceed. (Hawkins and Dr. Peckard)

The Comedy is a very good one — Theodore, a

T. n. 1678. 231

merchant of Bourdeaux, orders his son Antonio to
embark for England — Antonio is much distressed,
as he is in love with Rosabella — she is supposed to
be the niece of Torcol, who has promised her to Ig-
noramus, the English Lawyer — Antonio makes his
father believe that he is set out on his voyage — he
puts himself under the direction of his arch servant
Trico, and by his advice engages Cupes in his ser-
vice— Trico and Cupes frighten Ignoramus —Cupes
personates Torcol — Dulman, Ignoramus' clerk, gives
him the money and the private token agreed on be-
tween Ignoramus and Torcol — Dulman carries off
Polla, the wife of Cupes, as Rosabella — Cupes re-
enters dressed like Dulman — he gives Torcol the
money and the token — in return Torcol gives him
Rosabella — Cupes carries her to his house — but
Polla takes her for a strumpet, and turns her out of
doors — Antonio and Rosabella meet by accident-
Antonio has had a mole painted on his cheek to make
him pass for his twin-brother Antonine, who was in
England — his father is deceived, and receives Rosa-
bella as Antonine's wife — Ignoramus and Torcol see
Rosabella with Antonio and Theodore — Cupes has
Ignoramus and Torcol carried off by force — Cupes
and Trico pretend that Ignoramus is possessed by the
Devil — they dress themselves like AJonks, and pro-
ceed to exorcise him — after a good scene he runs off

-Theodore's wife returns from England — Antonio's
trick is discovered — and Rosabella turns out to be
the person whom his father wished him to marry—
Cupes, Trico, and Ignoramus are excellent characters

—a good deal of the fun consists in the balderdash
Latin spoken by Ignoramus — Ravenscroft has trans-

T. R. 1678.

lated this very well on the whole, but one joke could
not be translated — when Ignoramus catches his clerk,
who had run away, he says, " you thought T could
" not gignere te iterum — get you again."

In 1787 Hawkins published a new edition of the
Latin play, and in his preface he gives an entertain-
ing account of the King's reception at Cambridge, &c.

The Latin play has been sometimes acted by the
King's Scholars at Westminster.

Hawkins calls Raveriscroft's play a bad translation
—but Ravenscroft never meant to give a literal trans-
lation of Ignoramus — his object was to adapt it to
the English stage, with such alterations as he thought
proper — and this he has done very judiciously — his
play is printed without the names of the performers.

Titus Amlronicus, or the Rape of Lavinia, altered
from Shakspeare by Ravenscroft, was not published
till 1687, but it is clear that it was acted in the
latter part of this year — there are no performers'
names to the D. P. — Ravenscroft has added and
omitted a good deal, but his play does not differ
very materially from the original — on the whole he
has improved Titus Andronicus — he has altered some
things for the better, and he has certainly transposed
several passages very judiciously — his additions are
in general bad — Steevens quotes some of the worst
of them, arid adds — t* that justice and cookery may
" go hand in hand, Aaron is at once racked and
" roasted on the stage" — Titus cooks a part of the
dead bodies of Chiron and Demetrius, but as his
cookery does not extend to Aaron, Steevens' attempt
at pleasantry is ill-placed — Aaron is racked, and then
burnt— what is there unnatural or ludicrous in this ?

T. n. 1678. 233

Titus Andronicus was printed in the first folio
edition of Shakspeare's plays, but it is now generally
allowed that it was not written by him — the doubt
is whether he wrote any part of it, or not — Dr. Percy
says — " there is reason to conclude that this play
" was rather improved by Shakspeare than originally
" writ by him" — Theobald considers it as incontest-
ible that he gave it the addition of his own masterly
touches — Dr. Johnson does not find these touches
very discernible — and Steevens treats the play with
contempt — Gifford in his preface to Massinger ob-
serves— " the players who were usually the proprie-
" tors of the plays, exerted the privilege of interlard-
" ing such pieces as were once in vogue, from time
" to time, with new matter — who will say that Shak-
" speare's claim to many dramas which formerly
" passed under his name, and probably with no intent,
" on the part of the publishers to deceive, had not
" this or a similar foundation ?" — Gifford's judicious
observation is applicable to Titus Andronicus — there
are some parts of Aaron's character, which it would
not have done Shakspeare any discredit to have
written — and the comic part of the Clown bears a
strong resemblance to similar parts written by him
— it is strange that Steevens, among other reasons
for not believing this play to be Shakspeare's, should
allege, that it presents no struggles to introduce the
vein of humour so constantly interwoven with the
business of his serious dramas.

Chalmers is of the same opinion as Gifford — he
says — " Of the company which usually acted at the
" Globe theatre, Shakspeare was no doubt the reviser
" of the plays, which were offered for representation,

234 T. R. 1678.

" and the person certainly who made additions and
" curtailments : to this cause we must attribute the
" circumstance of so many despicable dramas being
" attributed to him, which he never wrote, but which
" may have been altered by additions or curtailments,
" during the time in which he had the whole of the dra-
" mas, acted at the Globe, compleatly in his power."

Malone supposes Titus Andronicus to have been
acted in 1587 or 1589 — it was not printed till 1594
— it seems probable that Shakspeare's company re-
vived it in the interim, and that Shakspeare revised
it. with additions.

Green's Groat's worth of Wit (published in 1592)
contains the earliest mention of Shakspeare as a
writer for the theatre— Greene there addresses (ac-
cording to Malorie's opinion) Mario w, Lodge, and
Peele — he terms Shakspeare " an upstart crow,
" beautified with our feathers" — these words are
supposed to allude to the use Shakspeare had made
of some plays by Greene, Marlow, Lodge, or Peele,
when he altered them for the Globe — see Collier's
Old Plays, vol. 8 p. 169-

In the \ st Act of Titus Andronicus as originally
written Demetrius says—

" The self- same gods that arm'd the queen of

" Troy,

" With opportunity of sharp revenge
" Upon the Thracian tyrant in his tent " &c.

Theobald observes — " I read against the authority
" of all the copies — in her tent — i. e. in the tent
" where she and the other captive women were kept
" — this we learn from the Hecuba of Euripides "•

i. ». 1678.

to this Steevens replie8— " Theobald should first
" have proved to us that our author understood Greek,
" or else that this play of Euripides had been trans-
" latcd — in the mean time, because neither of these
** particulars are verified, we may as well suppose he
" took it from the old story-book of the Trojan war,
" or the old translation of Ovid — see Metam. xiii."
-Theobald was certainly right — it could never come
into the mind of any man, who had only read Ovid's
account, that Polymnestor's eyes were put out in a
tent at all.

Steevens sometimes takes a delight in contradicting
Theobald — after affecting to doubt whether the author
of Titus Andronicus could read Euripides in Greek,
he observes in his last note but one on the same
scene — " I am convinced that the play before us was
" the work of one who was conversant with the
" Greek Tragedies in the original language : we have
" here a plain allusion to the Ajax of Sophocles, of
" which no translation was extant in the time of
" Shakspeare."

Ravenscroft in his address to the reader says — " I
" have been told by some anciently conversant with
" the stage, that Titus Andronicus was not originally
" Shakspeare's, but brought by a private author to
" be acted, and he only gave some master-touches to
" one or two of the principal characters * * * *
" the success answered my labour, for tho' it first ap-
" peared upon the stage at the beginning of the pre-
" tended Popish Plot, when neither wit nor honesty
" had any encouragement * * * * yet it bore up
" against the faction, and is confirm'd a stock-play—
" in the hurry of those distracted times the Prologue

236 T. R. 1678.

" and Epilogue were lost, but to let the buyer have
" his penny-worths, I furnish you with others, which
" were written by me to other persons' labours."

Langbaine quotes a part of the Prologue to Titus
Andronicus, and offers to send Ravenscroft the whole,
if he should desire it — Langbaine had doubtless
bought the Prologue at the door of the theatre, where
Prologues and Epilogues (as Malone says) were usu-
ally sold on the first day of a new play.

Trick for Trick, or the Debauched Hypocrite.
Monsieur Thomas r= Hart : Sir Wilding Frolick =
Mohun : Valentine — Griffin : Frank rr Clark : Hylas
= Goodman : Sir Peregrine = Powell : Launce =
Haines: Cellida — Mrs. Bowtell: Sabiria^ Mrs. Cor-
bet : Lucilla = Mrs. Merchant : Mrs. Dorothy = Mrs.
Knepp : — this C. is taken from Fletcher; but D'Urfey
has reduced the blank verse to prose, and made very
considerable alterations — his play is rather scarce.

Monsieur Thomas was published in 1639 — Thomas,
or Monsieur Thomas, returns from his travels as wild
as he was before he set out, but to vex his father,
Sebastian, he affects to be grown serious — Sebastian
is offended, and threatens to marry again — Mary is
in love with Monsieur Thomas, but has heard such
an account of his pranks abroad, that she refuses to
see him — when they meet, he pretends to be penitent
—she finds out the trick — Monsieur Thomas makes
his twin sister, Dorothea, dress him in her clothes-
she privately puts Mary on her guard — Monsieur
Thomas, as Dorothea, gets into Mary's chamber, and
finds her, as he supposes, asleep —he brings a candle
to look at her, ami sees a black woman in the bed-
Monsieur Thomas, in his disguise, knocks down his

T.R.I 678. 237

father, and marries Hylas — Hylas claims Dorothea
for his wife — at the conclusion he really marries her
— Monsieur Thomas marries Mary — Sebastian is
quite delighted at his son's behaviour — there is a
serious underplot — Valentine, an elderly gentleman,
returns from travel with Francis, to whom he has
shown great kindness — he had brought up Cellide,
and meant to marry her on his return — Francis and
Cellide fall mutually in love — Francis conceals his
passion, but suffers it to prey on his mind — Cellide,
in the 3d act, acknowledges her regard for him, but
they both determine not to act with ingratitude to-
wards Valentine — Francis runs away — Cellide goes
into a nunnery — Francis turns out to be Valentine's
son, and marries Cellide with his father's approbation
— Fletcher seems to have written this C. without the
assistance of Beaumont — it is a very good play.

The name of Mrs. Knipp, or Knep, does not occur
after this year — little was known of her before the
publication of Pepys* Memoirs, in which she makes
a conspicuous figure — a note by the Editor (vol. 1 .
p. 391) is so bad that it deserves to be quoted — " Of
" Mrs. Knipp's history, nothing seems known; except
" that she was a married Actress belonging to the
" King's house, and continued on the stage till 1677,
" when her name appears among the performers in
" the 'Wily False One' " — There is not the slightest
reason for supposing that Mrs. Knipp was a married
woman— it is curious that the Editor of Pepys' Me-
moirs should not have discovered, that formerly every
woman, whether married or single, was called Mis-
tress— there is no such play as the Wily False One
—Madam Fickle, or the Witty False One was printed

238 T. R. 1678.

in 1677 — it had been acted by the Duke's Company
— Mrs. Napper's name stands to the part of Sylvia
— she was doubtless a different actress from Mrs.
Knipp.

Malone, in the 1st Vol. of Dryden's prose works,
has published a curious paper, the original of which
is still extant — the superscription is lost, but he sup-
poses it was addressed to the Lord Chamberlain in
1678.

" Whereas upon Mr. Dryden's binding himself to
" write three plays a year, he was admitted and con-
" tinned a Sharer in the King's Playhouse, for divers
" years, and received for his share and a quarter
" £300 or £400 communibus annis ; but tho' he re-
" ceived the money, we received not the plays, not
" one in a year. After which the house being burnt,
" the Company in building another contracted great
" debts, so that the Shares fell much short of what
" they were formerly : thereupon Mr. Dryden com-
" plaining of his want of profit, the Company was
" so kind to him, that they not only did not press him
" for the plays, which he so engaged to write for
" them, and for which he was paid beforehand, but
" they did also at his earnest request, give him a third
" day for his last new play, called All for Love ; and
" at the receipt of the money, he acknowledged it as
" a gift. Yet notwithstanding this kind proceeding,
" Mr. Dryden has now jointly with Mr. Lee (who
" was in pension with us to the last day of our play-
" ing, and shall continue) written a play called CEdi-
" pus and given it to the Duke's Company, contrary
" to his said agreement, his promise, and all gratitude,
" to the great prejudice and almost undoing of the

T. R. 1678. 239

" company, they being the only poets remaining to us
" — Mr. Crowne, being under the like agreement to
" the Duke's House, writ a play called the Destruc-
" tion of Jerusalem, and being forced, by their refusal
" of it, to bring it to us, the said Company compelled
" us after the studying of it and a vast expence in
" scenes and clothes, to buy off their claim, by paying
" all the pension he had received from them ; amount-
" ing to £112 paid by the King's Company, besides
" near £40 paid by Mr. Crowne out of his own
" pocket.

" If notwithstanding * * * this play be judged
" away from us, we must submit — (signed) — Charles
" Killigrew — Charles Hart— Rich. Burt — Cardell
" Goodman — Mic. Mohun."

Malone quotes an indenture tripartite dated Dec.
31 1666, from which it appears that the profits of
the T. R. were, by agreement between the Actors
and Thomas Killigrew, divided into 12 shares and 3
quarters of a share — and that Thomas Killigrew was
to have 2 full shares and 3 quarters.

Malone says — " From the emoluments which
" Dryden is said in the above statement to have re-
" ceived by his share and a quarter, the total profits
" of the T. R. antecedent to its being burnt down
" should seem to have been about £4000 per Ann. :
" so that Wright who in his Historia Histrionica
" asserts that every whole sharer in Killigrew's com-
" pany, for many years received £1000 a year, was
" undoubtedly mistaken."

Wright was perhaps mistaken — but his words are —
" several years next after the Restoration " — whereas
Malone himself supposes Dryden not to have entered

240 T. R. 1678.

into his contract with the Players till the latter part
of 1667, at which time the profits were diminished
— see Pepys.

Malone says that Lord Orrery, Shadwell, Ravens-
croft &c. were all attached to the Duke's house —
some of them gratuitously, and some of them pro-
bably by contract — the Poets of the T. R. were
Wycherley, D'Urfey &c.

This remark is not made with Malone's usual ac-
curacy— Lord Orrery's Black Prince was acted at
T. R.— Shadwell's Miser at T. R.— Ravenscroft's
Edgar and Alfreda— Scaramouch a Philosopher-
English Lawyer, and Titus Andronicus were all
acted at T. R. — Wycherley's Gentleman Dancing
Master — D'Urfey's Fond Husband and Madam Fickle
were acted at D. G.

Dry den's 6 plays acted by the Duke's Company
were, the Tempest, Sir Martin Marrall, Limberham,
OEdipus, Troilus and Cressida and Spanish Fryar—
but two of these plays being written in conjunction
with other poets, he probably thought they had as
good a right as himself to determine at what theatre
they should come out — about the time that Limber-
ham, QEdipus, and Troilus and Cressida were pro-
duced, Dryden's contract with the King's Company
seems to have ceased ; and when the Spanish Fryar
was exhibited, it was certainly at an end. (Malone.)

D. o. 1078.

D. G. 16?8.

Destruction of Troy. Grecians — Achilles = Bet-
terton : Ulysses = Smith : Agamemnon — Medbourne :
Diomedes = Gillow : Patroclus = Bowman : Menelaus

= Norri8 : Aj ax = Underbill : — Trojans — Hector =
Harris : Paris = Crosby : Troilus = J. Williams :
Priamus — Sandford : Polyxena rr Mrs. Barry : Cas-
sandra — Mrs. Lee : Andromache = Mrs. Betterton :
Helena = Mrs. Price : — this T. was written by Bankes

—it is a poor play both as to plot and language-
some of the speeches set burlesque at defiance — Cas-
sandra says —

" I lay last night

" Piercing the Parian stones with my loud cries."

Hector says — if Achilles stood on the other side
of Styx, or Acheron—

"Fde swim the brimstone-lake to meet him there."

Troilus lies dead on the stage, with Polyxena
lamenting over him — Achilles to appease her says—

" Now all ye Gods assist me from the skies,
" Draw all your dropping clouds into my eyes j
" Neptune lend me the sea to bathe in here :
" For whole great rivers will not wash me clear —
" Here by thy side for ever Pie remain
" Close, till I've hatch'd thee into life again."

He lies down by Troilus.

Bankes says in the Prologue—
" Yet we're in hopes you will be kind to hear
" The lives of those whose successors you are :

VOL. I. K

242 D. G 1678.

" For when Troy fell, its remnant here did plant,
" And built this place, and calPd it Troy-novant."

This play was licensed Jan. 29 1678-9— as Med
bourne played in it, it must have been acted in Nov.
1678 at the latest.

Sir Patient Fancy — Sir Patient Fancy (an old rich
Alderman) = Leigh : Sir Credulous Easy (a foolish
Devonshire Knight) = Nokes : Wittmore = Betterton :
Lodwick Knowell (in love with Isabella) = Smith :
Leander Fancy (nephew to Sir Patient— in love with
Lucretia) = Crosby : Curry = Richards : Lady Fancy
= Mrs. Corrar : Lady Knowell (an affected learned
woman — mother to Lodwick and Lucretia) = Mrs.
Gwyn : Isabella (daughter to Sir Patient) — in love
with Lodwick) r= Mrs. Betterton : Lucretia (designed
to marry Sir Credulous — but in love with Leander)
= Mrs. Price : Maundy (Lady Fancy's woman) =
Mrs. Gibbs : — the outlines of Sir Patient's character,
so far as he fancies himself a great invalid, are taken
from Moliere's Malade Imaginare — Lady Fancy is
his second wife — she pretends to be very fond of her
husband, but has an intrigue with Wittmore — in the
3d act, Isabella agrees to admit Lodwick at night, on
his promise to conduct himself with propriety — Lady
Fancy has an assignation with Wittmore — in the dark
Maundy brings Lodwick to Lady Fancy's chamber
instead of Wittmore — Lodwick is at first surprised at
the freedom of Lady Fancy's behaviour, supposing
her to be Isabella — he finds out who she really is,
and has not the grace to resist the temptation which
chance has thrown in his way — Wittmore meets
Isabella in the garden, and treats her with familiarity,

D. G. 1678. 243

supposing her to be Lady Fancy — she gets from him
—Lady Fancy and Lodwick are discovered in the
dark — Isabella enters, mistaking the room for her
own — on the approach of Sir Patient, Lodwick gets
into the bed — Isabella hides herself behind the curtain
—Sir Patient enters with lights — Lodwick and Isa-
bella are discovered — Isabella is enraged at finding
Lodwick in Lady Fancy's chamber — Lady Fancy is
confounded at finding her gallant not to be Wittmore
—at the close of the 4th act Lady Fancy and Witt-
more are discovered together — Maundy tells them
Sir Patient is coming up — Wittmore runs behind the
bed — Sir Patient sees Wittmore's hat and sword on
the table — Lady Fancy invents an excuse — Sir Pa-
tient lies down on the bed — Wittmore on coming
forward throws down a chair — Sir Patient flings open
the curtain — Wittmore gets under the bed— in his
next attempt to escape, he pulls down the things on
the dressing table — Sir Patient leaps up — Lady Fancy
sits on Wittmore's back, as he lies on his hands and
knees — she covers him with her gown, and pretends
to faint — Sir Patient comes to her assistance — she
takes him about the neck, and raises herself up—
Wittmore gets out — in the 5th act there is a consul-
tation of physicians— one of them is Sir Credulous
in disguise — Leander persuades Sir Patient to pre-
tend to be dead — he discovers his wife's intrigue with
Wittmore — she only laughs at him, as she has gotten
possession of £8000 of his money — Lodwick and
Leander marry Isabella and Lucretia —a great portion
of the 5th act is taken from Moliere — as also the part
of Fanny — a forward girl 7 years old— this is on the
whole a very good C. — but the character of Sir Cre-

R2

244 D. G. 1678.

dulous Easy is a caricature — Mrs. Behn is more than
usually indecent, she takes care to inform the audi-
ence of what is supposed to have passed behind the
scenes without giving them the trouble of guessing
— the day was divided in 1678 very differently from
what it is at present — Lodwick, in describing how a
married woman of quality ought to live, says — "from
" 8 till 12 you ought to employ in dressing, till 2 at
" dinner, till 5 in visits, till 7 at the play, till 9 in the
" park, at ten at supper with your lover " —Sir Pa-
tient Fancy was licensed Jan. 28 1678.

Friendship in Fashion— (licensed May 31 1678)—
Goodvile = Betterton : Malagene = Leigh : Truman
= Smith : Sir Noble Clumsey — Underbill : Valentine
= Harris: Caper = Jevon : Saunter — Bowman : Mrs.
Goodvile — Mrs. Barry : Lady Squeamish — Mrs.
Gwyn : Victoria = Mrs. Gibbs : Camilla — Mrs. Price :
Lettice = Mrs. Seymour: — Goodvile and Truman are
fashionable friends — Goodvile had not been married
a full year — in the course of that time he had seduced
Victoria — he wishes to promote a match between her
and Truman — Truman was in love with Victoria,
but on discovering what had passed between her and
Goodvile, he gives up all thoughts of marriage, and
determines to meet the overtures which Mrs. Good-
vile had made him — Goodvile makes love to Camilla
— she tells Valentine, that she had made an appoint-
ment with Goodvile, but did not mean to keep it-
Lady Squeamish overhears the conversation — in the
4th act the scene lies in Goodvile's garden at night-
Truman and Mrs. Goodvile retire together — Good-
vile, in the dark, mistakes Lady Squeamish for
Camilla — she mistakes him for Valentine — when they

D. G. 1678. 245

discover one another, Lady Squeamish's behaviour is
exquisite — Goodvile learns from Malagene what had
passed between his wife and Truman — Mrs. Goodvile
and Truman find out that they are discovered — Tru-
man threatens to cut Malagene's throat, unless he
will deny all that he had said to Goodvile — he does
so — and Goodvile is not quite certain whether he is
a cuckold, or not — Mrs. Goodvile makes her exit in a
pretended rage — Sir Noble marries Victoria — Valen-
tine marries Camilla — he had had an intimacy with
Lady Squeamish, but had broken it off, before the
play begins — from that time she became his enemy
—this is a very good C. by Otway — Langbaine says
it was acted with general applause.

Squire Oldsapp, or the Night- Ad venturers — (licen-
sed June 28 1678)— Squire Oldsapp = Nokes : Wei-
ford = Betterton : Henry Raymond = Smith : Pimpo
— Underbill : Sir Frederick Banter = Leigh : Col.
BufF= Sandford : Lovell = Crosby : Madam Tricklove
= Mrs. Currer : Sophia (niece to Christina)=:Mrs.
Banw : Christina (wife to Henry) = Mrs. Price:
Cornet (woman to Tricklove) = Mrs. Norrice: Lucin-
da (woman to Christina) = Mrs. Seymour : — Oldsapp
is a debauched old fool, who keeps Tricklove — Wei-
ford and Tricklove are on terms of intimacy — Old-
sapp suspects this — but at the conclusion, he declares
Tricklove to be the most constant woman in Chris-
tendom— Welford marries Sophia — this is on the
whole a good C. — it was written by D'Urfey — there
is so much stage business in the 3d and 4th acts of
this play, that it must appear to more advantage in
representation than perusal.

Brutus of Alba, or the Enchanted Lovers — (licen-

246 D. G. 1678.

sed July 15 1678) — there are no performers' names
to the D. P. — this is a poor T., professedly founded
on the 4th JSneid — it was originally written with the
names of JEneas and Dido — these characters Tate
afterwards changed to Brutus and a Queen of Syra-
cuse— lie has embellished his play with three Ghosts
— a Sorceress and her four attendants, who are a
sort of Witches.

Geoffrey of Mon mouth gives an account of the
descent of the Welch Princes from Brutus the Trojan
—and Matthew of Westminster quotes a letter from
Edward the 1st to Pope Boniface, in which he hoasts
that after the destruction of Troy, Brutus arid other
Trojans came to an Island called Albion, at that time
inhabited by giants— that they killed those giants,
called the country Britain, and built London. (Hayley.}

On this ridiculous story this Tragedy is partly
built.

The storm, which drives Brutus and the Queen to
the cave, is raised by the enchantment of the Sor-
ceress, Ragusa —they had previously drunk from a
bowl, in which a Philter from Ragusa had been in-
fused—these circumstances seem to have occasioned
the 2d title — Tate says little, or nothing, of Alba —
Brutus, according to Geoffrey of Monmouth, was the
great grandson of ^Eneas. (Malone.)

Counterfeits — (licensed Aug. 29 1678) — Peralta
= Smith : Don Gomez = Leigh : Vitelli = Betterton :
Fabio (servant to Peralta) = Underbill : Antonio (bro-
ther to Elvira) — Harris : Carlos = Medbourne : Don
Luis = Gillow : Dormilon = Percival : Boy = Young
Mumford: Elvira = Mrs. Lee: Clara (her woman)
= Mrs. Barrer : Violante = Mrs. Price : Flora (her

i). G. 1678. 247

woman) = Mrs. Gibbs : — Peralta, during his residence
at Valentia, had assumed the name of Vitelli — he had
seduced Elvira and deserted her — Vitelli is come from
Mexico for the purpose of marrying Violante, the
daughter of Don Gomez — Don Gomez and Vitelli's
father are particular friends — Peralta and Vitelli, on
their road to Madrid, slept at the same inn — their
portmanteaus were exchanged by mistake — Peralta,
on opening Vitelli's portmanteau, determines to pass
himself on Don Gomez as Vitelli — his attempt is suc-
cessful— and when Vitelli explains to Don Gomez in
what manner he has lost his credentials, he is treated
as an impostor — Elvira had come to Madrid disguised
as a Knight of Malta — with Clara disguised as a man
— Don Luis, the uncle of Peralta, does not know him
personally, as not having seen him since he was a
boy — in the course of the play much confusion occurs
— in the last scene, Peralta acknowledges the deceit
of which he had been guilty, and agrees to many El-
vira— this is a pretty good C — the plot is better than
the language— Langbaine says - " this play is by some
" ascribed to Leanard, but I believe it too good for
" his writing : it is founded on a translated Spanish
" novel called the Trapannertrapann'd" — Gibber, in
She wou'd and she wou'd riot, has founded his play
on the same novel — or else he has borrowed consi-
derably from this Comedy — Don Gomez — Vitelli—
Fabio —Clara and Flora, bear a strong resemblance
to Don Manuel — Don Philip — Trappanti — Flora and
Viletta — and Hypolita, tho' a woman, does several
things the same as Peralta.

Timon of Athens, or the Man-Hater, altered from
Shakspeare by Shad well. Timon = Betterton : Ape-

248 D. G. 1678.

rnantus — Harris : Alcibiades = Smith : Demetrius
(Flavius) — Medbourne : Nicias — Stendford : Phseax
= Underbill : ./Elius = Leigh : Poet — Jevon : Evan-
dra = Mrs. Betterton : Melissa = Mrs. Shadwell :
Chloe = Mrs. Gibbs: Thais arid Phrinias (Timandra
and Phrynia) = Mrs. Seymour and Mrs. Le Grand :
—In the original play the characters of Timon and
Apemantus are strongly drawn, and there is some-
thing very pleasing in that of Flavius — the rest of
that Tragedy has not much to recommend to it—
Alcibiades has little or nothing to do with the
main plot — he is not represented according to his-
tory— and the interest falls off sadly in the last act—
ShadwelPs alteration is bad enough, but not con-
temptible— he introduces two ladies — the one, with
whom Timori was on the point of marriage, deserts
him in his adversity — the other, whom he had him-
self deserted, sticks to him to the last — this love
business is far from an improvement — Shadwell has
likewise spoilt the character of Flavins, and made
him desert his master — he has judiciously given some
of the characters Grecian names instead of the ori-
ginal Roman ones — considerable additions are made
to the part of Apemantus, but on the whole it is
altered for the worse — in the 2d act, he is called a
snarling Stoick — he was rather a Cynick than a
Stoick, and as such he is represented in both the
plays — Plutarch tells us that one evening when
Timon and Apemantus were supping by themselves,
Apemantus said, " what a good supper!" and Timon
replied, " it would be, if you were away."

Act 1st begins with a soliloquy by Demetrius, and
a scene between him arid the Poet — when Timon

D. G. 1678. 249

enters a good deal of the original is retained — the
act concludes with a scene between Timon and
Kvandra, in which he professes a regard for her on
account of former favours, but says he is so much
in love with Melissa that he cannot live happily
without her.

Act 2d begins with Melissa and her maid Cloe —
then comes a love scene between her and Timon —
when the scene changes to Timon's house, the Poet
enters with Apemantus — Shadwell here, as well as
in the 1st act, introduces some proper observations
on bad poetry, applicable to his own times — then
comes the Banquet — the Masque is quite different
from Shakspeare's — the act concludes with another
scene between Timon and Evandra.

Act 3d begins with Timon and Demetrius — Timon
sends to his friends to borrow money, which they re-
fuse— the original is a good deal shortened—
Melissa, having heard of Timon's distress, orders
her servants not to admit him, or any body
from him — Alcibiades enters, and she professes the
strongest attachment to him, as he does to her—
Timon, in the next scene, is attacked by his credi-
tors, and slighted by his friends, who pass by him
with only speaking some few words — Melissa does
the same — Evandra enters, and consoles him — then
comes the Banquet of warm water, or as Shadwell
calls it of toads and snakes.

Act 4th begins with Timon's soliloquy, and then
follows the scene between Alcibiades and the Senate
materially altered — Alcibiades says —

" I thought the images of Mercury had only been
" The favourites of the rabble, and the rites

250 D. G. 1678.

" Of Proserpine : these things are mockery to

" men
" Of sense — what folly 'tis to worship statues,

" when
" You'd kick the rogues that made them ! "

All this is true enough, but it is grossly out of cha-
racter, and what no man would have dared to say
publickly at Athens — when Timon re-enters his soli-
loquy is badly altered — there is a scene between him
and Evandra — she retires to his cave on the approach
of Apemantus — the scene between Timon and Ape-
mantus is shortened — that with the thieves is omitted,
with all the remainder of Flavius' part — the Poet and
Painter enter — Timon and Evandra return — after-
wards Melissa comes in, who, having heard that
Timon had found abundance of gold, endeavours
to be reconciled to him — he scouts her, and pro-
fesses his attachment to Evandra.

Act 5th. Timon and Evandra enter — then comes
the scene with the Athenian Senators, and afterwards
that with Alcibiades and the Courtezans — the Sena-
tors enter on the walls, and surrender themselves to
Alcibiades — this scene is considerably altered — Ti-
mon and Evandra enter from the cave — he dies,
and she stabs herself — Alcibiades enters — Melissa
courts him, and is rejected — then comes a short scene
between Alcibiades and Apemantus — the Senators
enter with halters about their necks — Alcibiades
makes a harangue to them, and concludes the play
with lamenting the death of Timon and Evandra.

In the dedication Shadwell says he has made the
history of Timon into a play — some Frenchified de-

D. G. 1678. 251

fin it ion of a play seems to have prevailed at this time,
and for many years after, (see Papal Tyranny C. G.
Feb. 15 1745) according to which Shakspeare's
pieces were non-descripts, and required to he licked
into shape to entitle them to the appellation of plays.
In the Epilogue Shadwell properly says—

" With English judges this may bear the test,
" Who will, for Shakspeare's part, forgive the
" rest."

It should seem from the Epilogue to the Jew of
Venice that this alteration was not successful —

" How was the scene forlorn, and how despis'd,
" When Timon, without Music, moralized ?
" Shakspeare's sublime in vain entic'd the throng,
" Without the charm of Purcel's Syren Song."

It was afterwards revived, and continued on the
acting list for many years — Downes indeed says it
pleased the Court and City originally.

In Shakspeare's play, Timon, in his last speech
but one, says he is going to cut down a tree, but that
his friends in Athens may come and hang themselves
upon it first, if they choose — Steevens supposes that
Shakspeare was indebted for this thought to Chaucer,
or to Painter's Palace of Pleasure — he no doubt took
it from Plutarch — as Steevens refers us for Timon's
Epitaph to the life of Antony, it is very strange that
he should not have seen that the story of the tree
immediately preceded the Epitaph — there is a good
dialogue in Lucian on the subject of Timon.

See D. L. Dec. 4 1771 for Cumberland's and
Love's alteration of Timon.

D. G. 1678.

Limberham, or the Kind Keeper — this play is ge-
nerally said not to have been printed till 1680—
Malone says it was published in 1678, but that he
could not find any entry of it in the stationers' re-
gister— Langbaine considers this as Dryden's best
Comedy, and adds that it so much exposed the keep-
ing part of the town, that the play was stopt, when
it had but thrice appeared on the stage — he then
quotes the following lines—

" Dryden, good man, thought Keepers to reclaim,
" Writ a kind Satire, calPd it Limberham.
" This all the herd of Keepers strait alarms,
" From Charing Cross to Bow was up in arms;
" They damn'd the play all at one fatal blow,
" And broke the Glass that did their picture
" show."

Diyden in his dedication to Lord Vaughan says —
" I cannot easily excuse the printing of a play at so
" unseasonable a time, when the Great Plot of the
" Nation, like one of Pharoah's lean kine, has de-
" voured its younger brethren of the stage * * * *
" your Lordship has never seen this C. because it
" was written and acted in your absence, at your
" government of Jamaica * * * the crime for which
" it suffered was that, which is objected to the Sa-
" tires of Juvenal and the Epigrams of Catullus, that
" it expressed too much of the vice which it decryed
" — your Lordship knows what answer was returned
" by Catullus to his accusers—

« Castum esse decet pium Poetam
< Ipsum. Versiculos nihil necesse est :
* Qui turn denique habent salem ac leporem,
' Cum sint molliculi et parum pudici'

D. G. 1678. 253

" But I dare not make this apology for myself, and
" therefore I have taken care, that those things which
" offended on the stage should either be altered, or
" omitted in the press — I will he hold enough to say
" that this Comedy is of the first rank of those that
" I have written, and that Posterity will be of my
" opinion" — this is certainly a very good C., but more
indecent than the generality of plays, even at this
time — Father Aldo (as he is called) is a debauched
old gentleman, and a kind patron to the women of
the town — his son has been abroad several years — on
his return he assumes the name of Woodall — his
father does not know him, but takes a vast fancy to
him from the congeniality of their dispositions — he
puts himself so much in Woodall's power, that when
he discovers him to be his son, he cannot for shame
give him a jobation — Woodall has an intrigue with
Mrs. Tricksy and Mrs. Brainsick — the first is disco-
vered, the other is not — Limberham is a dupe to Mrs.
Tricksy — on his unexpected return, in the 2d act, she
conceals Woodall in a chest — in the 3d act, Mrs.
Tricksy and Woodall are seated on the bed in his
chamber — Mrs. Brainsick, who is under the bed,
pinches and pricks Woodall — on Mrs. Saintly's ap-
proach, Mrs. Tricksy gets into the bed — Mrs. Saintly
pretends to be taken ill and throws herself on the bed
— Mrs. Tricksy and Mrs. Brainsick come out of their
hiding places, not fearing Mrs. Saintly, whose con-
versation they have overheard — in the 5th act, Mrs.
Brainsick gives her husband the slip — she goes into
Mrs. Tricksy's room, and puts on one of her gowns
— Brainsick gets a glimpse of her back, and fancies
her to be Mrs. Tricksy — he stands at the door, with

254 D. G. 1678.

his sword drawn, while Woodall is shut up with his
wife — arid will not suffer Limberharn to enter — Lim-
berharn finds Woodall in Mrs. Tricksy's closet — she,
having in the course of the play, coaxed him out of
a settlement of £400 a year, is quite easy as to the
result — he, to make up the quarrel, agrees to marry
her— the scene lies at a boarding house in London,
which is kept by Mrs. Saintly — Woodall has an assign-
ation with her, but having other business on his hands,
he sends his man Gervase as his proxy— at the con-
clusion Woodall marries Mrs. Pleasance, the supposed
daughter of Mrs. Saintly, but in reality an heiress
with £1200 a year.

This play was published without the names of the
performers — but Limberham was no doubt acted by
Nokes, and Aldo by Leigh — Woodall was probably
acted by Smith — as it is said of him " Before George
" a proper fellow ! and a Swinger he should be by
"his make" — this play is also published with the
Epilogue but without the Prologue — the reason of
which, perhaps, was, that one would serve for another
occasion, and that the other would not, as being
spoken by Limberham — that is by Nokes, who acted
Limberham — Nokes is represented by Tom Brown as
keeping a nicknackatory in the shades below, as he
had before done on earth — Curll says he was a toy-
man in Cornhill — a circumstance which seems to be
alluded to in this Epilogue—

" Well, I ne'er acted part in all my life,
" But still I was fobb'd off with such a wife :
" 1 find the trick ; these poets take no pity
" Of one that is a member of the city.

D. G. 1678. 255

" We cheat you lawfully, and in our trades,

" You cheat us basely with your common jades."

Derrick says the character of Limberham was ap-
plied by the generality of people to the Duke of Lau-
derdale, and that this was the true reason of the
play's being discontinued — Dryderi denies that it was
meant for any particular person, but this proves
nothing — the Duke was so powerful, that Dryden
would not dare to avow any such intention on his
part, or allow the justice of the application when
made by others — The Countess of Dysert, a woman
of great beauty, but of far greater parts, had such
power over the Duke of Lauderdale, that he deli-
vered himself up to all her humours and passions —
she made him fall out with all his friends one after
another ; she took upon her to determine every thing,
she sold all places, and was wanting in no methods
that could bring her money — about 1672 she was
married to the Duke of Lauderdale (Burnet) which
tends to confirm what Derrick says — the Duke was
very unpopular, but his ready compliance with every
thing that he thought would please the King, and his
bold offering at the most desperate counsels, gained
him such an interest in the King, that no attempt
against him, nor complaint of him, could ever shake
it — when, about this time, the charges of mal- admi-
nistration were brought against him, and proved past
denial, May of the privy purse, who was in the habit
of talking familiarly with the King, asked him what
he now thought of his Lauderdale — the King's answer
was (as May himself told Burnet) that they had ob-
jected many damned things that he had done against

£56 T. R. 1679.

them, but there was nothing objected that was against
his service.

Andrew Marvell in his State Poems, has 13 strong
lines on the Duke of Lauderdale— the last 2 of which
are—

" Of all the miscreants e'er went to hell,

" This Villain Rampant bears away the bell."

Tun bridge Wells, or a Day's Courtship — this C.
is attributed to Rawlins — it is printed without the
names of the performers — and is an indifferent play
—the first 4 acts are mere conversation.

Matthew Medbourne was committed to Newgate
Nov. 26 1678 on account of the Popish plot — he died
there on the 19th of March following— f#. D.)—
Langbaine says that he had too forward and indis-
creet a zeal for his religion, but that his good parts
deserved a better fate — Medbourne seems to have
been a respectable second or third rate actor.

T. R. 1679-

Sertorius— (licensed March 10 1678-9)— this T.
is printed without the names of the performers to
the D. P. — Bancroft does not differ materially from
history, except as to the death of Perpenna — Te-
rentia, the wife of Sertorius, and Fulvia, the wife of
Perpenna, are fictitious characters, and introduced
for the sake of the love scenes — this is on the whole

T. R. 1679. 257

a poor play — the great fault of it is this — it is
impossible to read Plutarch's life of Sertorius with-
out feeling an interest in his favour — but this inte-
rest is not excited in the play — besides Sertorius is
made to say several things not suited to his real cha-
racter— the language of this T. is frequently unna-
tural— several improper expressions occur — Paradise
is mentioned 3 times — in the last scene, Bebricius
says of Sertorius — " Forgive me, Oh thou Manes"

Plutarch tells us, that Perpenna promised to show
Pompey the letters of some Romans of high rank,
who had invited Sertorius to come into Italy, and
excite a change of affairs there — Pompey burnt all
these letters, without reading them himself, or suffer-
ing any other person to do so — he likewise put Per-
penna to death without loss of time, that he might
not divulge the names of the persons who had corres-
ponded with Sertorius — Bp. Hurd, in one of his ser-
mons, observes, that nothing is mentioned so much
to the honour of Pompey as his conduct on this
occasion.

The Editor of the B. D. says — " Bancroft was by
" profession a surgeon, and happening to have a
" good deal of practice among the young wits and
" frequenters of the theatres * * * he acquired a
*• passion for the muses."

Ambitious Statesman, or the Loyal Favourite—
this T. is printed without the names of the perform-
ers to the D. P. — the Ambitious Statesman is the
Constable of France — his son, the Duke of Ven-
dosme, is the King's Favourite, and very loyal — the
Constable is utterly void of any good principle, and

VOL. I. S

258 T. R. 1679.

stops at nothing to gratify his ambition — Vendosme
is a man of great honour and integrity — Vendosme
and Louize de Guise were mutually in love and con-
tracted— during his absence in Germany, the Con-
stable had forged letters in his son's name, in which
he requested Louize to release him from his vows —
she was highly offended — and, in consequence of
these letters, was prevailed on to marry the Dauphin
privately — La Guard, Louize's confidant, had be-
trayed her secrets to the Constable — in the 4th act
Vendosme and Louize come to an explanation — she
is convinced of his innocence, and falls into his arms
— the Constable brings in the Dauphin, and shows
them to him — the Dauphin wounds Louize — she falls
— Vendosme and the Dauphin fight — the latter is
disarmed — the King enters — the Dauphin accuses
Vendosme of having abused his bed — Vendosme is
carried off by the guards — in the 5th act Louize gains
admission into the prison where Vendosme is confined
— she dies — Vendosme is put to the rack — his troops
come to his assistance — he enjoins them to preserve
their loyalty — the King enters — La Guard confesses
her own and the Constable's guilt— the Dauphin is
convinced that he had suspected his wife unjustly—
the Constable is led off as a prisoner — the King says
to Vendosme —

" Noble youth

" Hast thou had such great wrongs, yet give my

" son
" His life, arid me my crown ?

Vendosme. " Princes are sacred, * * * no sa-
" crilege is

T. n. 1679. 259

" Greater, than when a rebel with his sword
" Dares cut the hand of Heaven from Kings*

" commissions.

**********

" I lifted up my arm against the Dauphin,
" It ought to have dy'd, and rotted in the air.
Dauphin. " I fully pardon you.
Vendosme. " Then I dye joyfully."

Vendosme requests to be buried with Louize, which
the Dauphin agrees to — the plot of this T. may have
some slight foundation in history, but it seems to
have been invented by Crowne.

The Epilogue was written by the author and spoken
by Hames, who acted La Marre — he is hanged in the
play, and wishes to be hanged in earnest—

" For I've three plagues no flesh and blood can
" bear,

" I am a Poet, Married, and a Player.

**********

" But till of late a Player was a toy,
" That either sex lik'd well enough to enjoy j
" Happy the Spark that cou'd a night carouse
" With a whole Sharer once of either house.
" Nay Women once in our acquaintance crept ;
" You hardly will believe me 1 was kept."

William Wintershall died in July — he is mentioned
by name in the Rehearsal, and in the Key he is said
to have been a very judicious actor and the best in-
structor of others — Downes says he was a good per-
former in Tragedy and Comedy, and that in Cokes,

s2

260 D. G. 1679.

in Bartholemew Fair, Nokes came short of him—
Dennis speaks highly of his Master Slender.

D. G. 1679.

CEdipus — QEdipus = Betterton : Adrastus = Smith :
Creon = Sandford : Tiresias = Harris : Ghost of
Laius = Williams : Phorbas = Gillow : Jocasta = Mrs.
Betterton : Eurydice = Mrs. Lee : Manto = Mrs.
Evans : — Malone could not find any notice of this
play in the Stationers' Register — it was published in
1679 — the time at which it came out might be nearly
ascertained by the time in which the Act for burying
in woollen was passed— the Prologue concludes thus —

" Record it, in memorial of the fact,

" The first play buried since the Woollen Act."

CEdipus Tyrannus was the most celebrated play of
all antiquity, it was the master-piece, not only of
the 7 plays of Sophocles which still remain, but also
of the greater number that are lost — the other Tra-
gedies written on the same subject are miserably
inferiour to it — Seneca has some few good lines, but
his play on the whole is a very bad one, both as to
the management of the plot, and as to the language
— Dryden says that Corn ei lie fills up a great part of
his piece with the Episode of Theseus and Dirce,
and that he totally fails in the character of CEdipus.

Of the English play Dryden is said to have formed

D. G. 1679. 261

the general scheme, and to have written the 1st and
3d acts — the remainder was Lee's — there are some
good speeches in it, but on the whole it is a poor
production.

Act 1st. Eurydice is absurdly said to be the
daughter of Laius — whereas he never had but one
child — Creon is made a very different character from
what he is represented in the Greek Tragedies.

Act 3d — the scene lies in the Grove of the Furies —
Tiresias and the Priests perform certain rites — the
Ghost of Laius rises — he says that CEdipus had killed
him, and committed incest with Jocasta — this is bor-
rowed from Seneca — a tolerable scene ensues be-
tween CEdipus and Jocasta.

Act 4th — the two shepherds of Sophocles are fool-
ishly transformed into persons of some rank — all
that they say in Sophocles is natural to the last
degree — in this play the scene is very bad in com-
parison with what it might have been made with
the greatest ease.

Act 5th — (Edipus enters after having pulled out
his eyes — a wretched and disgusting scene ensues
between him and Jocasta—

Joe. " O my lov'd lord — for you are still my
" husband.

(Edipus. " Swear I am,
" And I'll believe thee, steal into thy arms,
" Renew endearments, think 'em no pollutions."

The Ghost of Laius ascends, and calls on CEdipus
and Jocasta — Dryden and Lee have no where shown
their want of judgment so much as in this scene—
whereas in Sophocles, as soon as Jocasta finds out

i). G. 1679.

that OEdipus is her son, she leaves the stage without
acquainting him with the circumstance, and puts an
end to her life— after CEdipus and Jocasta have gone
off severally, Creon kills Eurydice— Adrastus kills
Creon — and is killed by Creon's soldiers — Jocasta
kills herself arid her children — CEdipus is destroyed
by throwing himself purposely from a window — here
we have a gross perversion of the original story —
of the 33 Greek Tragedies which still remain, one
relates to CEdipus in his banishment — two to the
contention between his sons — Eteocles and Polynices
— and a fourth to his daughters — Antigone and Is-
mene — the love Episode between Adrastus and Eury-
dice is bad — people are not very amorous in the time
of a plague — Eurydice, in the 1st act, after describing
the dreadful state in which Thebes was, asks very
properly — " if these be hours of courtship ?" — the
moral which Dryden and Lee deduce from the story
of Laius is—

<{ How sacred ought

" Kings' lives be held, when but the death of one
" Demands an empire's blood for expiation."

Dryden in the preface says — " Sophocles is admi-
" rable every where, and therefore we have followed
" him as close as possibly we could" — this is so far
from being true, that one is astonished they could
write so bad a play with the CEdipus Tyrannus be-
fore them.

Lord Lansdown, in his preface to Heroick Love,
censures the audiences for suffering the noble and
sublime thoughts and expressions of Dryden to pass

D. G. 1679. 263

unnoticed ; and for applauding the rants and fustian
of Lee.

His Lordship is so far right, as Lee has some things
only fit for Tom Thumb — thus in the 2d act

" Fate has torn

" The lock of Time off, and his head is now

" The ghastly ball of round eternity !

* * * * * « The tapers of the Gods,

" The Sun and Moon, run down like waxen

" globes,
" And shooting stars end all in purple jellies."

Tiresias says — " Each trembling Ghost shall rise,
" And leave their grisly king without a waiter."

At the close of the 4th act, GEdipus wishes for
everlasting night —

" May there not be a glimpse, one starry spark,
" But Gods meet Gods, and justle in the dark."

He had just before said—

" O that, as oft I have at Athens seen

" The stage arise, and the big clouds descend."

There was no stage at Athens till about 700 years
after the death of CEdipus.

Addison facetiously finishes the 1st act of the
Drummer with the tag of the 2d act of this play.

But tho' Lee is worse than Dryden, yet Dryden at
times is bad enough — in the 1st act he says—

" The Sun's sick too ; shortly he'll be an earth."

again " This Creon shook for fear,

" The blood of Laius curdled in his veins."

264 D. G. 1679.

Creori had not a drop of the blood of Laius — he
was only brother to the wife of Laius — Laius was
lineally descended from Cadmus — Creon was de-
scended from one of those who sprang from the
Dragon's teeth.

In act 3d — Manto. " O what laments are those ?
Tir. " The groans of Ghosts that cleave the earth

" with pain ;
" And heave it up : they pant and stick halfway."

QEdipus says — " Did I kill Laius ? •>
" Then I walk'd sleeping in some frightful dream,
" My soul then stole my body out by night ;
" And brought me back to bed e're morning wake."

In the Epilogue the Authors intimate that they had
rather consulted the taste of the town, than their own
judgment.

" Their treat is what your palates relish most,
" Charm ! Song ! and Show ! a Murder and a
« Ghost."

Downes says this play was admirably well acted,
especially in the parts of CEdipus and Jocasta — it
took prodigiously being acted 10 days together.

QEdipus by Voltaire came out in 1718 — some parts
of this T. are very well written, but on the whole it
is very far from a good play — Voltaire has omitted
the character of Creon, and turned Tiresias into the
High Priest — this is a manifest absurdity, as Tiresias
had the gift of prophecy, but the High Priest had not
— the two Shepherds of Sophocles are, with much
impropriety, turned — one of them into the counsellor
of Laius, and the other into the counsellor of Poly bus

D. G. 1679. 265

— (Edipus in some few words explains to Jocasta that
the Oracle is fulfilled in all its parts, and then makes
his final exit — this is judiciously managed — Jocasta
stabs herself— Phi loctetes occupies a considerable
portion of this play — his character is a most vile
botch.

If any person in future should be inclined to dra-
matize the story of CEdipus, his best plan would be,
to adhere pretty closely to Sophocles, and to write
his play in 3 acts.

True Widow — from two of Lump's speeches in
the 1st act, it seems highly probable that this C. came
out on the 21st of March 1678 — the dedication is
dated Feb. 16 1678-9 — the play is printed without
the names of the performers — it is on the whole a
good C., but it did not meet with the success which it
deserved — the True Widow is Lady Cheatly, who
comes up to town with her daughters — Isabella arid
Gartrude — she pretends to have a large fortune —
several persons desire her to take their monies — she
gives them securities written in fading ink — her
Steward, who has assisted her in cheating, threatens
to disclose her practices, unless she will marry him
—she feels herself obliged to do so, but takes care
to have the ceremony performed by Prigg, in the dis-
guise of a parson — she endeavours to have the Steward
sent off to the Indies — he returns in the last scene
with some of her creditors — she gets the Steward
arrested — and, with the assistance of her friends,
drives the creditors off the stage — this play is deficient
in plot and incident — but Shadwell has introduced a
variety of humours — Lady Busy is a very good cha-
racter— she is a great matchmaker, and little better

266 D. G. 1679.

than a procuress — Shadwell piques himself on the
scene in the 2d act in which she would persuade Isa-
bella to go into keeping with a Lord — Lump is another
very good character — he is methodical to the last
degree, and a pretender to sanctity — Young Maggot
affects to be a wit and a poet — his uncle, Old Maggot,
is a great enemy to wit, and a lover of business, for
business' sake — at the conclusion he marries the
widow — Prigg never talks, or thinks of any thing,
but dogs, horses, and gaming — Bellamour is in love
with Isabella — she rejects his offer of a settlement
without marriage — and acknowledges her want of
fortune, before she will accept his honourable propo-
sals— her sister Gartrude is very foolish and wanton

-Young Maggot is taken in to marry her — the scene
in the 4th act lies in the playhouse, behind the curtain

—part of a play is acted, or rehearsed — two mock
devils descend, and fly away with Lump — Prigg and
Young Maggot are carried up in their chairs, and
hang in the air — when they are let down, they sink
through a trap.

Troilus and Cressida, or Truth found too late—
(entered on the stationers' books April 14 1679)—
this is Shakspeare's play altered by Dryden — Greeks
— Agamemnon — Gillow : Achilles = David Williams :
Ulysses •=. Harris : Ajax = Bright : Nestor = Norris :
Diomedes = Crosby: Patroclus = Bowman : Menelaus
— Richards : Thersites — Underbill : — Trojans-
Hector = Smith : Troil us = Betterton : Mneas =
Joseph Williams: Priam and Calchas = Percival :
Pandarus = Leigh : Cressida = Mrs. Mary Lee :
Andromache = Mrs. Betterton : — the Prologue was
spoken by Betterton as the Ghost of Shakspeare.

D.G. 1679. 267

Act 1 st begins with the Grecian Camp — this scene
is chiefly from Shakspeare, but greatly shortened —
then follow the original 1st and 2d scenes without
any material alteration.

Act 2d — Priarn &c. are discovered — this scene is
altered from Shakspeare — when Andromache enters,
the whole is Dryden's till Hector sends ./Eneas with
the challenge — in the ensuing scenes between Pan-
darus and Cressida — and Pandarus and Troilus —
about 20 lines are Shakspeare's, and the rest Dryden's
—when Ulysses and Nestor enter — the first part is
from Shakspeare — the remainder of the act is chiefly
Dryden's.

Act 3d is slightly and judiciously altered from
Shakspeare, till the concluding scene between Troilus
and Hector — which Langbaine calls a masterpiece,
and on which Dryden evidently valued himself not a
little — he says the hint was suggested by Betterton ;
the contrivance and working were his own, in imita-
tation of the quarrel between Agamemnon and Mene-
laus in t^e Iphigenia in Aulis of Euripides — perhaps
this scene would have been better, if the Antithesis
between Brother and Friend had not been so much
dwelt on.

Act 4th — Pandarus and Cressida enter, and then
Troilus — the conclusion of the scene is Dryden's—
when the Grecians come on he only makes slight
alterations — Shakspeare represents Cressida as false
to Troilus— this Dryden alters, to please the Ladies
rather than the Critics — Calchas recommends Cres-
sida to pretend love to Diomed — this she does — and
Troilus in consequence supposes her false — this scene
is in part from Shakspeare — but the conclusion of the

268 D. G. 1679.

act between Pandarus and Troilus — with the quarrel
between Troilus and Diomed, is entirely Dryden's.

Act 5th contains very little of Shakspeare — Andro-
mache prevails on Hector not to fight that day, but
Troilus enters, and carries him off to the battle-
there is a good deal of fighting — Troilus strikes down
Diomed — Cressida interposes in his favour — this
makes Troilus jealous — Cressida, to convince him of
her truth, stabs herself — Troilus kills Diorned, and is
killed by Achilles.

The original play is inferiour to most of Shak-
speare's Tragedies— the characters (Hector excepted)
are well drawn, particularly the Comic ones ; and
there are several fine speeches, but the language is
often inflated and obscure — mention is absurdly made
of Aristotle, Milo, and the Olympian wrestling — and
the Catastrophe is lame to the last degree — Tyrwhitt
observes that there are more hard, bombastical phrases
in the serious scenes of this play than can be picked
out of any other 6 plays of Shakspeare.

This Tragedy could not have been made fit for re-
presentation without material changes, and Dryden's
alteration is on the whole a good one ; but not near
so good as a man of his abilities might have made it
—if he had been inclined to exert his energies, instead
of omitting the character of Cassandra, he might
have improved it in imitation of JEschylus and Euri-
pedes — he has retained the best parts of the original
play, and left out the worst, but there are some lines
by Diomed, Act 4. Scene 1st, which should not on
any account have been omitted ; and there are others
in the part of Ulysses, that might have been retained
to advantage.

D. G. 1679. 269

Dryden's additions in general do him credit, but
sometimes they are poor enough — he has considerably
improved the character of Hector, but he ought to
have made him fight with Achilles on the stage, in-
stead of relating his death in the very tame way that
he does — he makes Troilus kill Diomed, contrary to
what every schoolboy knows to be fact — he would
have done better to have omitted all mention of
Polyxena — but his great fault is — that he has followed
Shakspeare in Hector's challenge, and the fight be-
tween him and Ajax ; instead of reforming that part
of the play in conformity with Homer — the ridiculous
challenge, in the 1st act of Shakspeare, and the 2d
of Dryden, is (as Steevens observes) more suited to
the Heroes of Romance than to Hector.

Dryden 3 times uses the word Knight — Shakspeare
also uses it — Steevens remarks that the word, as often
as it occurs, is sure to bring with it the idea of Chi-
valry, and revives the memory of Amadis and his
fantastic followers, rather than of the Greeks and
Trojans — he wishes eques and armiger could have
been translated by any other words than Knight and
Squire.

For the story of this play see Douce's Illustrations
of Shakspeare — he observes — " What Dryden has
" said of Lollius is entirely destitute of proof * * *
" such part of the play as relates to the loves of Troilus
"and Cressidawas most probably taken from Chaucer,
" as no other work, accessible to Shakspeare, could
" have supplied him with what was necessary " — even
the name of Cressida is not once mentioned by the
Ancients.

Feigned Courtezans, or a Night's Intrigue. Gal-

270 i). G. 1679.

liard = Betterton : Petro = Leigh : Sir Signal Buf-
foon = Nokes : Tickletext (his tutor) — Underhill :
Sir Harry Fillamour — Smith : Julio = Crosby : Oc-
tavio = Gillow : Morisini — Norris : Cornelia — Mrs.
Barry : Marcella = Mrs. Currer : Laura Lucretia =
Mrs. Lee : — the scene lies at Rome — Marcella and
Cornelia are nieces to Morisini and sisters to Julio
—Marcella is contracted to Octavio, but in love with
Sir Harry Fillamour — Marcella and Cornelia elope
from their uncle — they feign themselves to be Cour-
tezans, and assume the names of Euphemia and Sil-
vianetta — Julio and Laura are contracted, but do not
know one another personally — Laura falls in love
with Galliard — she occupies the next house to that
in which Marcella and Cornelia are — and wishes to
be mistaken for Silvianetta — Julio had been in Eng-
land, but returns at the beginning of the play — Sir
Harry Fillamour is struck with the likeness between
Marcella and Euphemia, but still thinks them to be
different women — he visits Marcella as Euphemia,
and endeavours to persuade her to be virtuous — she
laughs at him — Galliard visits Cornelia as Silvia-
netta— but on her saying that she is virtuous and
of quality, he is much disappointed and leaves her
— at the conclusion Galliard, Sir Harry, and Julio
marry Cornelia, Marcella, and Laura— Petro, Sir
Signal, and Tickletext are very good characters —
Petro is the supposed pimp to Euphemia and Silvia-
netta— but in reality their confidential servant — he
assumes various disguises— gets money of Sir Signal
and Tickletext — and pretends to each of them that he
will procure Silvianetta for him — this is a very good
C., and Mrs. Behn's best play next to the 1st part of

D. G. 1679. 271

the Rover — the incidents are so numerous that it is
impossible to give a concise account of them — In
the Prologue, Mrs. Currer complains that the Popish
plot &c—

" Do so employ the busy fearful town,

" Our honest calling here is useless grown.

*********

" To what a wretched pass will poor plays come,
" This must be damn'd, the plot is laid in Rome j

" 'Tis hard yet

" Not one among you all I'll undertake

" E're thought that we should suffer for Reli-

" gion's sake.

*********

" For my own principles faith let me tell ye,

" I'm still of the religion of my Cully.

*********

" Who says this age a Reformation wants,

" When Betty Curror's lovers all turn saints.

*********

" Who could have thought such hellish times to

" have seen,
" When I should be neglected at Eighteen ?"

— Feigned Courtezans was revived at L. I. F. Aug.
8 1716.

Young King, or the Mistake — this play was written
by Mrs. Behn — it is printed without the names of
the performers — Orsames, the Young King, had been
kept from his infancy in a castle on a lake, and had
never seen any person but his old tutor — this was
done, as the Oracle had foretold great mischiefs, if he
should be allowed to reign — the Queen Mother de-

D. G. 1679.

signing her daughter, Cleomena, for her successor,
gives her a masculine education — Thersander, Prince
ofScythia, had joined the Dacians under the assumed
name of Clemanthis — he falls in love with the Prin-
cess, and the Princess with him — the Scythians are
at war with the Dacians — in the 3d act, a battle takes
place — the Scythians gain the victory by means of
Thersander — some of the Dacian chiefs determine
to challenge Thersander to single combat — it is
agreed that their combatant should be chosen by lot
— the lot falls on Thersander, who had again j oined
the Dacians, as Clefanthis — Thersander gives Amin-
tas the dress which he wears as Clean this, and directs
him how to manage the combat — Amintas is nearly
killed by some assassins — when he is found lying on
the ground, he is only able to pronounce the name of
Thersander — Cleomena concludes that Clemanthis
has been killed by Thersander — she assumes the dress
of Clemanthis and fights Thersander — she is wounded
by him, and her person is discovered — at the end of
the 4th act, she goes to the Scythian camp in dis-
guise, and stabs Thersander — he recovers and an
explanation takes place — in the 3d act, Orsarnes is
seated on a throne asleep, and dressed in royal robes
— he is treated as a king for a short time — a sleeping
potion is then administered to him, and he is made
to believe, that all which had passed was a dream — at
the conclusion of the play he is restored to his crown
— Amintas is cured of his wounds by a Druid —
Langbaine says that this T. C. was founded on the
romance of Cleopatra — the plot is contemptible, but
Mrs. Behn has introduced so much bustle and inci-
dent that her play is never dull — the scene lies in

T. R. 1680. 273

Dacia -in the edition of 1698 the scene is said to lie
in Daca — this obvious typographical mistake is re-
peated in both the editions of the B. D. — the thing
is of no importance in itself, but it shows what little
attention has been paid by the editors of that work
to the correction of mistakes.

The Young King was not published till 1683, but
it must have come out in the latter end of 1679, as
the Epilogue is said to have been spoken at the Duke
of York's second exile into Flanders — the Duke of
York set off for Holland and Brussels March 3 1679
—in the latter end of August 1679 the King was so
ill that the Duke was sent for — he arrived at Wind-
sor Sept. 2, and having prevailed on the King to allow
him to reside in Scotland, he returned to Brussels to
fetch the Duchess and his family. (Rapin.)

T. R. 1680.

Female Prelate, being the History of the Life and
Death of Pope Joan — Joanna Anglica was a noble
lady born at Mentz — she had great beauty and learn-
ing— she was the mistress of the Duke of Saxony for
two years — after which time he slighted her, and she
vowed revenge — she assumed the habit of a man —
became a Benedictine Monk — arid the Confessor and
Secretary to the Duke — at the opening of the play
she is the Cardinal of Rhemes — the young Duke of
Saxony is very desirous of revenging his father's

VOL. I. T

274 T. R. 1680.

murder — he accuses the Cardinal of Rhemes before
the Conclave of having poisoned his father — the Car-
dinal acknowledges the fact, but says it was com-
mitted in consequence of the Duke's being an arch-
heretic — the Conclave consider this as so meritorious
an action, that they elevate the Cardinal of Rhemes
to the Popedom — Pope Joan (as she is called) takes
the name of John the 8th — Lorenzo is Pope Joan's
Paramour — Amiran, who is a woman, is her page,
and privy to their amours — the Duke of Saxony and
Angeline, to whom he is just married, are confined
in separate prisons — Pope Joan falls in love with the
Duke — and Lorenzo with Angeline — Pope Joan and
Lorenzo agree to assist each other in obtaining their
wishes — Lorenzo pretends a friendship for the Duke,
and promises to bring his wife to him at night — he
cautions him to be silent for fear of a discovery-
Pope Joan passes the night with the Duke — the
Duchess is brought to Lorenzo's apartment, instead
of her husband's — on Pope Joan's second visit to
the Duke, some heretics set the prison on fire, in
the hope of making their escape — Pope Joan gets
out of the Duke's chamber with difficulty, but not
without being discovered by the Duke — Pope Joan
and Lorenzo agree, that it is necessary for their
safety, that the Duke should be poisoned — Amiran
is employed for that purpose — she is touched with
remorse, and sets the Duke at liberty — Angeline
dies — the Duke kills Lorenzo — and publickly declares
Pope Joan to be a woman — he is condemned to the
stake for his supposed blasphemies — in the last
scene, one of the Cardinals announces to his brethren
that Pope Joan has miscarried in the street — he sen-

T.n. 1680. >>~,:>

tences her body to be thrown into the Tyber — and
adds, that he has formed a scheme to prevent the
possibility of a woman ever being Pope again — the
Devils may cheat if they can — but —

" Rome's mitred head henceforth shall be a Man."

It has been jocosely said, that since the time of
Pope Joan, in order to prevent a similar mistake, the
Pope elect sits, with merely his robes on, upon a
chair with a hole in it — it is the duty of the youngest
Cardinal to peep under this chair, and if he finds the
Pope duly qualified for his office, he exclaims — " Mas
" est — Gloria sit ccelo"

The Epilogue to Caesar Borgia says, that the
author could not have given more offence, if he had
done so and so—

" Nay conjur'd up Pope Joan to please the age,
" And had her breeches search'd upon the stage."

The Female Prelate was printed without the names
of the performers to the D. P. — it was written by
Settle — it is very far from a bad T. — the plot and
incidents are good — but the invectives against the
see of Rome, put into the mouth of the Duke of
Saxony, are such as no man would have ventured to
utter in the 9th Century.

As to the story on which this play is founded,
Gibbon says, that a Woman was supposed to have
been elevated to the Pontificate in 857 — till the Re-
formation the tale was repeated and believed without
offence, and Joan's female statue long occupied her
place among the Popes in the Cathedral of Sienna-
She has been annihilated by two learned Protestants,

T2

276 T. R. 1680.

Blondel and Bayle, but some of their brethren were
scandalized by this equitable and generous criticism.
Fatal Love, or Forc'd Inconstancy — there are no
performers' names to the D. P. — this is a poor T.
by Settle — it is founded on the romance of Clitophori
and Leucippe — the story, in the Greek, is very in-
teresting and entertaining — Settle has completely
spoilt it.

The Love-sick King, a Tragical History, with the
Life and Death of Cartesmunda, the fair Nun of Win-
chester, written by Anth. Brewer, Gent.— the author
is said to have lived in the reign of James the 1st,
but this play was not printed till 1655 — Canutus, the
King of Denmark, takes Winchester — he falls despe-
rately in love with Cartesmunda— she breaks her
vow of chastity — he is so enamoured of her, that he
neglects all military operations — one of the Danish
officers kills Cartesmunda — Alured, the brother of
the late English King, recovers the North of England
from the Danes so far as York — there is an important
underplot — Thornton, a pedlar, comes to Newcastle
on Tyne — he writes on a tile that he entered that
place — with hope, a halfpenny, and a lamb-skin — in
the course of the play he grows very rich — when
Alured comes to Newcastle, Thornton arms 700
colliers, with Grim, the superintendent of the coal
pits, at their head — Grim and his colliers take Ca-
nutus prisoner — he requests Alured that he may
supply him with coals — and that the Newcastle col-
liers may take place of the colliers of Croydon —
Grim's requests are granted — the colliers of Croy-
don seem only to have made charcoal — Langbaine
says that this play was revived by the King's Com-

D. G. 1680. 277

pany in 1680, as the Perjured Nun— the tragic scenes
of it are not bad —the comic ones are very good.

D. G. 1680.

Csesar Borgia — Ca3sar Borgia — Betterton : Machi-
avel (Secretary of Florence) — Smith: Duke of Gan-
dia = Williams: Orsino = Gillow : Ascanio Sforza (a
buffoon Cardinal) — Leigh : Bellamira (daughter to
Orsino) = Mrs. Lee: Adorna (her confidant) — Mrs.
Price : — Cffisar Borgia and the Duke of Gandia are
the sons of Pope Alexander the 6th — they are both
in love with Bellamira — she is in love with Gandia,
but compelled by her father to marry Borgia — Ma-
chiavel is an artful villain — he is in the confidence
both of Borgia and Gandia — Adorna is in love with
Gandia — Machiavel makes her the instrument of his
schemes by promising to induce Gandia to marry her
— in the 3d act Borgia and Gandia fight — each of
them is slightly wounded, and Gandia is disarmed —
he had sworn, if he should be vanquished, to absent
himself for ever from Bellamira — Machiavel prevails
on Adorna to give him Gandia's letters to Bellamira,
which were in her custody — he makes use of them
to excite Borgia's jealousy — he obtains from Adorna
the key of Bellamira's chamber, and poisons her with
a pair of gloves — Borgia pretends to go to Sinigallia
—he threatens Bellamira to destroy her father and
all her family, if she should prove false to him — Ma-
chiavel tells Bellamira, that the Duke of Gandia will,

278 D.G 1680.

with her permission, explain to her the only way to
save the lives of her relations — Bellamira reluctantly
consents to see him — Machiavel gives Gandia the key
of her chamber — Borgia surprises Gandia and Bella-
mira together — Gandia is tortured to death — a curtain
is drawn — Orsino &c. appear as murdered — Bella-
mira is strangled — she dies protesting her innocence
—Borgia at a banquet strictly charges his butler that
none should taste the wine in the golden flask, except
such as he should particularly direct — the butler, sup-
posing that he had received this order on account of
the excellence of the wine, gives a part of it to Asca-
nio Sforza, and to Borgia himself— as he had previ-
ously done to the Pope — they are all poisoned — but
the Pope does not appear on the stage — Machiavel is
taken into custody by the Cardinals — this is on the
vhole a good play, with little bombast — it is founded
on history — there are two lives of Alexander the 6th,
but as they were not written in 1680, Lee has proba-
bly consulted the Italian writers — Mosheim in his
Ecclesiastical History says — " Alexander the 6th had
" 4 sons by a concubine — among whom was the infa-
" mous Caesar Borgia — he had also a daughter named
" Lucretia — the Pope's tenderness for them was
" excessive beyond all expression, his only aim was
" to load them with riches and honours, and in the
" execution of this purpose he trampled with con-
" tempt upon every obstacle, which justice, reason
" and religion laid in his way — he was even regardless
" of decency, and hardened against the very feeling of
" shame — thus he went on till 1503, when the poison,
" which he and his son Cassar had mingled for others,
" cut short, by a happy mistake, his own days."

D. G. 1680. 279

Orphan, or the Unhappy Marriage. Castalio =
Betterton : Chamont = Smith : Polydore = Joseph
Williams : Acasto = Gillow : Chaplain = Percival :
Page = the little Girl : Monimia = Mrs. Barry : Serina
= Mrs. Bofcler : Florella = Mrs. Osborn : — Downes
by mistake says that Mrs. Mountfort acted Serina—
she probably played the part afterwards — Curll tells
us that Mrs. Bracegirdle acted the Page to the admi-
ration of all spectators before she was 6 years old.

Langbaine says that Otway founded this T. on a
novel called English Adventures — see the history of
Brandon p. 17 — Cooke, in his Memoirs of Foote,
vol. 3 p. 1, gives a long extract from the novel — the
extract begins with telling us, that the father of
Charles Brandon, who was afterwards the Duke of
Suffolk, and married to the sister of Henry the 8th,
had two sons and an adopted daughter — then follows
a story which is nearly the same as the plot of the
Orphan — but in the Life of Lady Jane Grey (printed
in 1822) it is expressly said that Charles Brandon,
afterwards Duke of Suffolk, was an only son — Novels
are not unfrequently written with such a mixture of
truth and fiction, that without some investigation, it
is impossible to separate them.

In Jan. 1680 the King prorogued the Parliament
—two days after, he declared in Council that he had
ordered the Duke of York to return to Court — the
Duke accordingly arrived from Scotland in Feb
(Rapin) — the Orphan was probably brought out soon
after, as Otway says in the Prologue —
" Now happiness again begins to dawn,
" Since back with joy and triumph he is come,
" That always drove fears hence, ne're brought
" 'em home.

280 D. G. 1680.

##*#***##

" Receive him ! oh receive him as his friends ;

#"=* # # # # * # *

" Shake off your fears, and clap your hands for
"joy."

Before the meeting of Parliament in Oct., the Duke
was forced to return to Scotland.

Conspiracy, or the Change of Government — there
are no performers' names to the D. P. — this is a poor
T. by Whitaker — it is written in rhyme, and came
out in Lent — Kiosem, the Sultan's mother, plots the
destruction of her son — he is murdered — in the 5th
act, his Ghost appears, leading Death by the hand-
he passes the stage, beckoning to the conspirators
severally.

The latter part of the Prologue (which was written
by Ravenscroft, and printed with Titus Andronicus)
is very loyal — in the former part the writer of it says —

" Leave coming here, when you do not intend

" To see the play, but pick up a She friend.

" Leave sharping for yourselves, and pay your

" Guiney,
" For procuration there- to Honest Jenny."

Honest Jenny was in all probability Jenny Crom-
well, who, with Betty Buly, is mentioned in the last
line of the Epilogue to Gloriana — Granger, who gives
some account of the most celebrated Procuresses in
the time of Charles the 2d, does not mention Jenny
Cromwell, but he tells us, that Betty Buly, or Beaulie,
was a woman of figure in her line, and lived in Dur-
ham Yard in the Strand — In Squire Oldsapp, Henry

D. G. 1680. 281

says — " I warrant you mistook my house for your
" Ordinary in Durham Yard."

Mother Mosely, who is mentioned by Granger, is
also mentioned in Squire Oldsapp — Pimpo says—
" I have made up more wanton matches than ever
" Mosely did " —She is alluded to in the Siege of
Constantinople, and mentioned in the Epilogue to the
Mall — in Tunbridge Wells, Ovvmuch says — " You
" will find her no theatre visor-mask, nor one of
" Mosely's persons of quality" —in Tom Essence,
Loveall observes — " Mosely's damsels were nuns to
" her."

Mother Gifford is mentioned in She wou'd if she
cou'd — in Shad well's Miser, Theodore says — " Were
"la poet, I would invoke Cresswell or Gifford before
" any muse in Christendom."

Mother Bennet — Granger says — " The dedication
" of the Plain Dealer, which is an admirable piece
" of raillery on women of this character, is addressed
" to Madam B , i. e. Bennet"- — Wycherley how-
ever calls her My Lady B. — the dedication is of con-
siderable length — Dryden, in Sir Martin Marrall
mentions Mothers Temple, Bennet, and Gifford—
the Bailers, whom Pepys describes, (May 30 1668)
exhibited themselves at Lady Bennet's — In the Epi-
logue to the Mock Empress of Morocco 1674, there
is a song in which Mothers Cromwell, Gifford,
Temple and Buly are mentioned — of the last it is
said —

" A health, a health to Betty Buly,

" Tho* she began the trade but newly."

The preference is given to Mother Mosely.

D. G. 1680.

Mother Cresswell is mentioned in the Prologue to
Venice Preserved, and in the Epilogue to the Atheist
— She desired by Will to have a Sermon preached at
her Funeral, for which the Preacher was to receive
£10, but upon this express condition, that he was to
say nothing but what was well of her — with some
difficulty a Preacher was found — he concluded his
Sermon with saying — " She was born well, she lived
" well and she died well / for she was born with the
" name of Cresswell, she lived in Clerkenwell, and
" she died in Bridewell." (Granger.)

Among Tom Brown's letters from the Dead to the
Living, there is a very good one from Madam Cress-
well of pious memory to her sister in iniquity Moll
Quarles of known integrity.

Granger adds — " The daughters of iniquity were
" much more numerous than the mothers — they were
" dispersed through every quarter of the town, but
" Moor-fields, Whetstone's Park, Lukener's Lane,
" and Dog and Bitch Yard, were their capital
" seraglios."

Loyal General. Theocrin = Betterton : King of
Greece = Harris : Escalus = Jev<ra : Abardanes = Jo.
Williams : Pisander = Bowman : Arviola = Mrs. Lee :
Queen — Mrs. Currer : Edraste = Mrs. Price : — this
T. was written by Tate — it is a poor play with some
good lines in it — the plot was perhaps borrowed from
some romance — we seldom or never meet with a
King of Greece, except in a romance, or on the stage
— Dry den wrote the Prologue, which is a very good
one.

Woman Captain by Shadwell — this is a very good
Comedy — there are no Performers names, but Mrs.

D. G. 1680. 283

Barry acted the Woman Captain and spoke the Epi-
logue— Leigh no doubt acted Gripe, as in the Pro-
logue he says—

" I'll hang, if I don't make you laugh to day."-

Sir Humphrey Scattergood is a prodigal — Gripe
is an usurer, who denies himself necessaries, and is
very jealous of his wife — Sir Humphrey and his com-
panions go to Gripe's house and kick up a riot — Mrs.
Gripe desires Sir Humphrey to extinguish the candles
—she puts a loose gown over Richard, Gripe's man
— Gripe leads him into the chamber for his wife — she
makes her escape — Gripe gets a warrant to search
Sir Humphrey's house for Mrs. Gripe — Sir Humphrey
&c. beat off the Constable and Watch — they take
Gripe and Richard prisoners — Mrs. Gripe dresses
herself in her brother's accoutrements, and pretends
to be a young officer — she forces Gripe and Richard
to enlist — she tells them to shoulder their muskets,
and canes them for doing it awkwardly — at the con-
clusion she obliges Gripe to give her a separate main-
tenance— in the course of the play three kept mis-
tresses fall in love with Mrs. Gripe — Sir Humphrey
is ruined by his extravagance, and reduced to marry
Phillis, whom he had kept — there are few better
breeches parts than Mrs. Gripe — the Woman Captain
was revived at D. L. March 21 1710— at L. I. F.
June 29 1716— and at Hay. Oct. 10 1744— as the
Prodigal.

The History and Fall of Caius Marius — Caius Ma-
rius = Betterton : Marius Junior = Smith : Metellus
= Gillow : Sylla = Williams : Granius = Percival :
Cinna = Jevon : Sulpitius = Underbill : Lavinia =

284 D. G. 1680.

Mrs. Barry : Nurse =. Mr. Nokes : — Otway acknow-
ledges in the Prologue that about half of this play is
taken from Romeo and Juliet — Marius Junior is in
love with Lavinia, and beloved by her — her father,
Metellus, who is of the other party, insists on her
marrying of Sylla — the greater part of the Nurse's
character is retained, and Sulpitius is a bad Mer-
cutio.

Act 1st. — The description of Queen Mab is altered
for the worse.

Act 2d. — Metellus expresses his wish to Lavinia
that she should marry, as Lady Capulet does to Ju-
liet— Sulpitius conjures for Marius Junior,' as Mer-
cutio does for Romeo— then follows the Garden
scene.

Act 3d. The nurse comes with a message to Ma-
rius Junior, and is quizzed by Sulpitius — Lavinia
speaks Juliet's soliloquy in the 3d act; and then fol-
lows the scene between her and the Nurse from
Shakspeare's 2d Act.

Act 4th. In the parting scene between Marius
Junior and Lavinia, there are about 20 lines from
Shakspeare — the Priest of Hymen gives Lavinia a
sleeping potion, which she takes after speaking Ju-
liet's soliloquy.

Act 5th. The Nurse finds Lavinia seemingly dead
—Marius Junior hears of her death, and buys the
poison of the Apothecary — at the monument he kills
the Priest, not knowing who he is— he drinks the
poison, but before he dies, Lavinia awakes — which
is certainly an improvement — the remainder of the
Tragedy is Otway's — some part of it is good and
some bad — in the scenes taken from Shakspeare

D. o. 1680. 285

there are alterations and additions made, but on the
whole they are not materially changed — this play
seems to have been acted not un frequently till the
revival of Romeo and Juliet at Hay. Sep. 11 1744
—For the history of Caius Marius see Plutarch—
Otway neither' follows history exactly, nor deviates
grossly from it — in the 5th act, Marius and Cinna
get possession of Rome — after the death of Young
Marius, his father enters with his guards driving in
Metellus— he orders them to kill Metellus, but treats
Lavinia with kindness — she kills herself — Marius has
a soliloquy — news are brought that Sylla is advancing
towards Rome — Marius is led off — Sulpitius enters
mortally wounded, and concludes the play partly in
the words of Mercutio — Sylla and Lavinia do not
exchange a syllable.

Mrs. Lenox, in her Shakspeare Illustrated, gives
us a correct translation of the Italian novel from
which Shakspeare took the plot of his Romeo and
Juliet — she tells us that Shakspeare had only seen
a bad translation, according to which Romeo dies
before Juliet wakes — whereas in the original Juliet
wakes before Romeo dies — Malone thinks that Shak-
speare took his plot from the poem of Romeus and
Juliet — in that poem Romeus dies before Juliet
wakes — Shakspeare dramatized the story nearly as
he found it — but with the addition of the character
of Mercutio.

Mrs. Barry in the Epilogue to Caius Marius says —

" And now for you who here come wrapt in

" cloaks,
" Only for love of Underbill and Nurse Nokes."

286 D. G. 1680.

And again — " the other day I was a Captain too."
This alludes to the preceding play.

Virtuous Wife, or Good Luck at Last. Beauford
= Smith: Beverly = Harris : Sir Lubberly Widgeon
= Leigh: Sir Frolick Whimsey = Jevcm: Crotchet
= Bowman : Lady Beardley = Mr. Nokes : Olivia =
Mrs. Barrer : Jenny Wheedle = Mrs. Currer : Lidia
= Mrs. Seymour: — Isabella, a part of some little
importance, is omitted in the D. P. — Underbill's
name stands to Amble, a very trifling part — he
doubtless acted Brain worm — Jenny Wheedle was
originally called Matilda — many of her speeches are
still given to Matilda, tho' the name had been
changed — at p. 48 a speech is given to Wheedle,
which evidently belongs to Olivia — D'Urfey was
particularly careless as to the printing of his plays
—Beverly had been 6 months married to Olivia — he
neglects her, and keeps Jenny Wheedle — Olivia is
much inclined to be revenged on him, but (as she
says) her virtue will not let her do it the right way
— in the 4th act, she disguises herself as a man—
— Jenny Wheedle falls in love with her, and pro-
mises her the money and jewels which she had
received from Beverly — Mrs. Cowley seems to have
borrowed these circumstances, and to have made
use of them in her Bold Stroke for a Husband — in
the last act, Beverly recovers his jewels — discards
Jenny Wheedle, and is reconciled to his wife —
Beauford is always engaging in intrigues, but never
prospers in any — at the conclusion, Lidia, Beverly's
sister, with a good fortune, offers to marry him— this
gives the 2d title to the play.

Revenge, or a Match in Newgate. Trickwell (a

D. G. 1680. 287

cheat) = Jevorn : Dashit (a vintner) = Leigh : Well-
man = Smith : Friendly (in love with Diana) = Wil-
liams : Shatter = Bowman : Glisten (a goldsmith)
= Bright : Jack (the Barber's boy) = Mumford :
(Mountfort) Corina = M rs. Barry: Mrs. Dashit =
Mrs. Leigh : Mrs. Dun well (a procuress) = Mrs. No-
rice : Marinda = Mrs. Butler: Diana = Mrs. Price :
—to Sir John Empty, a part of some importance,
there is no performer's name — this C. consists of
two plots — in the serious part, Wellman had se-
duced Corina — on being honourably in love with
Marinda, he becomes inattentive to Corina, but
does not drop her acquaintance — he introduces
Friendly to her — Friendly had made great protes-
tations of his hatred to immodest women — but he
is so struck with the beauty of Corina, that he
falls violently in love with her — she is very fond of
Wellman, but on finding he is going to be married,
she is so much enraged, that she promises to grant
Friendly all that he wishes, on condition that he will
kill Wellman — Wellman and Friendly form a scheme
for the gratification of the latter — they pretend to
have fought a duel, and that Wellman is killed —
Corina, instead of keeping her promise to Friendly,
causes him to be taken up for the murder of Well-
man— he is tried and condemned — this is owing to
Wellman, who, to punish Friendly for deserting
Diana, keeps himself concealed — the last scene lies
in Newgate — Wellman, who had previously disco-
vered himself to Marinda and Diana, now discovers
himself to Friendly — Diana forgives Friendly — he
and Wellman are married to Diana and Marinda—
Corina, by the contrivance of Wellman, is married

288 D. G. 1680.

to Sir John Empty — the under-plot is comic — the
play begins with Dashit in a rage — Trickwell had
just robbed him of his plate— in the 2d act, Trick-
well meets the barber's boy — he borrows his apron
&c— he pretends to shave Dashit — but leaves him in
the suds, and makes off with a bag of money, which
was on the table — Dashit buys a silver punchbowl
of Glisten — Trickwell, in the disguise of a pedlar,
sees the bowl sent to Dashit's by Glisten's man— he
enters to Mrs. Dashit dressed as an apprentice, and
with a jole of salmon — he tells Mrs. Dashit that his
master, Mr. Glisten, had sent the salmon, and desired
to have the bowl again to engrave Dashit's arms upon
it — Mrs. Dashit gives him the bowl — Trickwell by
another strategem gets back the salmon — at the end
of the 4th act, Dashit sees Trickwell in the street,
and lays hold of him — Trickwell leaves his cloak in
Dashit's hands, and runs off — Dashit is put into
Newgate for stealing the cloak — in the last scene
Trickwell comes on disguised as a Parson — he picks
the pockets of several persons, and particularly of
Mrs. Dashit — from whom he recovers the writings
of his estate— Langbaine says, " this play is ascribed
" to Mrs. Behn, but is indeed Marston's Dutch Cour-
" tezan revived."

The Revenge is a good C. — it has been several
times altered, but never for the better — it wasj re •
duced to 3 acts, and brought out at L. I. F. Oct. 24
17J5 as Woman's Revenge — Woman's Revenge was
turned into an Opera, arid brought out at Hay. about
1729, as Love and Revenge — Woman's Revenge, or
a Match in Newgate, was revived at D. L. Oct. 29
1739 — on April 25 it was cut down to one act, and

n. o. 1680.

called the Vintner in the Suds— on April 9. 17*6, it
was acted at D. L. as the Vintner Tricked — on Dec.
22. 1789, it was acted at D. L. as Trick upon
Trick.

Theodosius, or the Force of Love. Varanes = Bet-
terton : Theodosius = Williams : Marcian = Smith :
Leontine = Leitherfull : Atticus = Bowman : Lucius
= Wiltshire : Athanais — Mrs. Barry : Pulcheria =
Mrs. Betterton : — this T. was successful — it is very
unequally written, hut with all its faults it is prefer-
able to the more correct and cold productions of
modern authors— Massinger's Emperour of the East
is on the same subject — in Theodosius Lee has
very happily blended history with fiction — the cha-
racter of Varanes renders it more interesting than
Massinger's play — the death of Athanais is perhaps
no more than a fair poetical license — but Lee in
making Pulcheria in love with Marcian has been
guilty of the grossest perversion of truth — Massinger
has written Pulcheria's character in a very superiour
manner — see Gibbon ch. 32.

The Younger Theodosius was a weak Prince, he
used to wear a very dirty garment of a Bishop, who
was dead — as if Piety was like the Itch, and might
be caught by putting on a Monk's old clothes.
(Jortin.)

Lee in the second act has introduced a line and
half which are truly comic, but they must not be
quoted.

Loving Enemies. Circumstantio = Underbill : Mar-
cello — Smith : Lorenzo — Betterton : Antonio (in love
with Lucinda, but pretending to be in love with the
widow) = J. Williams: Paulo (a brisk old gentleman,

VOL. I. U

290 T. R. 1681.

in love with the widow) = Leigh : Albricio (servant
to Lorenzo) = Richards : Julia (sister to Lorenzo)
= Mrs. Mary Lee : Camilla (sister to Marcello) =
Mrs. Barry : Lucinda (Paulo's daughter, in love with
Antonio) = Mrs. Shadwell: Paulina (a rich widow)
= Mrs. Leigh: Nuarcha (an amorous old maid) =
Mrs. Norris : — this C. was written by Maidwell — it
has not a great deal to recommend it, except the
character of Circumstantio, which is a very good
one — he is described in the D. P. as a formal valet
de chambre, very troublesome with his impertinent
rhetorick — the serious scenes are dull — Lorenzo and
Marcello are hereditary enemies — each of them falls
in love with the other's sister, but without knowing
that she is so — this circumstance, after a good deal
of confusion, produces a happy catastrophe.
The Prologue begins thus—

" Who dares be witty now, and with just rage
" Disturb the vice and follies of the age ?
" With knaves and fools Satyr's a dang'rous fault,
" They will not let you rub their sores with salt.
" Else Rose Streets ambuscade shall break your

" head,

" And life in verse shall lay the Poet dead.
" Since therefore such unequal judges sit,
" WTho for suspicion punish men of wit,
" 'T'will be self preservation to be dull,
" It cracks the credit, but preserves the skull."

In 1679 an Essay on Satire was shown about in
Manuscript — Dryden was suspected to be the author ;
and the Duchess of Portsmouth and Lord Rochester
were supposed to have hired some ruffians to revenge

T. R. 1681. 291

tlu-ir quarrel on Drydeu — in a newspaper dated Dec.
23 1679 it was said—" On the 18th instant in the
" evening Mr. Dryden, the great Poet, was set upon
" in Rose Street Co vent Garden by three persons,
" who called him rogue and son of a whore, knocked
" him down and dangerously wounded hirn ; but
" upon his crying out murder, they made their es-
" cape : it is conceived that they had their pay be-
" fore hand and designed not to rob him ; but to
" execute on him Bome(/e0iffttf&, if not popish veri-
" geance." (Derrick.)

It was said of Dryden that he

" Was prais'd and beaten for another's rhymes."

Otway, in the Epilogue to Venice Preserved, says
that he fears " not a Rose-Alley cudgel ambuscade "
— alluding to what had happened to Dryden.

T. R. 1681.

Tamerlane the Great — this is an indifferent T.—
Saunders says that he took the design of it from a
novel called Tamerlane and Asteria — the play is
printed without the names of the performers —
Dryden wrote the Epilogue —

" Ladies the beardless author of this day,
" Commends to you the fortune of his play.
u2

292 T. R. 1681.

" A woman's wit has often grac'd the stage
" But he's the first boy-poet of our age.
" Thus Cowley blossom'd soon, yet flourish'd
" long."

The concluding lines are good, but must not be
quoted.

Thyestes — there are no performers' names to the
D. P. — Atreus and Thyestes, the sons of Pelops,
agreed to reign at Argos alternate years — Thyestes,
with the assistance of his brother's wife, with whom
he had committed adultery, carried away the golden
ram, on which the fate of the kingdom depended—
Atreus pretends to be reconciled to Thyestes — kills
his three sons, and serves them up as a banquet to
Thyestes — having partly roasted, and partly boiled
them — he gives Thyestes wine mixed with their
blood — when Thyestes has eaten and drunk suffi-
ciently, he desires to see his children — Atreus exhibits
their heads and hands— and insults over Thyestes.

Such is the argument of the Thyestes of Seneca,
on which Crown has founded this T. — a stranger
subject was surely never chosen for a modern play ;
Crown has however managed the story much better
than could have been expected, and vastly better
than Seneca — he makes Antigone, the daughter of
Atreus, in love with Philisthenes, the son of Thyestes
— he likewise makes Aerope, the wife of Atreus,
innocent — Thyestes having ravished her — Atreus
pretends to be reconciled to Thyestes and Aerope
— he gets Thyestes into his power by sending Philis-
thenes and Peneus to him — the latter had been the
tutor of Atreus and Thyestes — the business of the

T. n. 1681. 293

banquet is considerably softened — the dead body of
Philisthenes is exhibited — Antigone kills herself —
Aerope stabs Thyestes — she dies — on the whole this
is neither a good play, nor a bad one — Crown has
translated some passages from Seneca very well —
but he should not have retained Megsera and the
Ghost of Tantalus — especially as they answer no par-
ticular purpose — the circumstance of the golden ram
is so completely fabulous, that it should have been
omitted, instead of which Crown brings the ram on
the stage — he introduces a very indecent song, and
has some queer lines — Peneus says —

" Vengeance belongs to Gods, and they devour
" Their luscious morsels of revenge alone."

Atreus replies—
" I'll find their banquet out, and have my share."

Crown inserts a rare quantity of abuse on Priests
—probably by way of clap-traps — the Epilogue is in
the same strain — he tells us that he meant what he
had been saying as a cut on the Papists.

" Pagan and Popish Priests

"Are but two names for the same bloody beasts."

The scene is said to lie in the Court of Atreus —
which is incorrect, as it lies in several other places
besides.

Richard the 2d was revived, as altered from Shak-
speare by Tate — it was acted under the name of the
Sicilian Usurper — the D. P. were changed to Oswald
— Alcidore— Cleon, &c. — Tate in his dedication

294 T. R. 1681.

boasts, that he has heightened the character of Rich-
ard the 2d, and endeavoured to palliate his miscar-
riages, and in particular, that when he seizes Gaunt's
property, he has made him promise to restore it with
interest — that he has also softened the reproaches of
Gaunt, and the invectives of the nobles — he adds—
" the arbitrary courtiers of the reign here written,
" scarcely did more violence to the subjects of those
" times, than I have done to truth, in disguising their
" foul practices — every scene is full of respect to
" Majesty, ,and the dignity of Courts, not one altered
'* page, but what breathes loyalty."

" After this account it will be asked, why the play
" should be suppressed, first in its own name, and
" then in disguise? — all I can answer to this is, that
" it was silenced on the third day — I confess I ex-
" pected that it would have found protection from
" whence it received prohibition; and so question-
" less it would, could I have obtained my petition to
" have it perused, and dealt with according as the
" contents deserved, but a positive doom of sup-
" pression, without examination, was all that I could
" procure — for the two days in which it was acted,
" the change of the scene, names of persons, &c was
" a great disadvantage —I called my persons Sicilians,
" but might as well have made them inhabitants of
" the World in the Moon."

One cannot pity Tate for his disappointment, as
he had meanly disfigured Shakspeare's play, for the
sake of conciliating the persons in power ; but one
must execrate the persons who could prohibit a play
without reading it.

Act 1st — slight changes only are made in the first

i. iu 1681. 295

scene — the second is materially altered, as the Duke
of York is introduced — the scene at the Lists is
much the same as in Shakspeare till the King goes
out — the remainder of the original act is then omitted,
and Bolingbroke is made to express a wish of obtain-
ing the crown.

Act 2d. — the first two scenes are considerably
altered — York speaks the lines about Bolingbroke's
affectation of popularity — when Bolingbroke enters
the scene is shortened, and somewhat altered — then
comes some low Comedy — the Rabble enter — Bo-
lingbroke talks them over to join his party.

Act 3d. — Tate has divided Shakspeare's scene
before Berkley Castle into two — he begins this act
with a part of it — then comes the scene in the Gar-
den with the Queen &c — the King re-enters, and
the scene proceeds as in Shakspeare, till the Queen
enters, and then of course all is new — Bolingbroke
and his party enter before a Castle — the King and his
friends appear on the walls, and afterwards descend
— this scene is shortened, but not materially altered.

Act 4th begins with more than 4 pages by Tate,
the greater part of which is a conversation between
the King and Queen — the Parliament scene is con-
siderably shortened.

Act 5th begins with Aumerle and the Dutchess of
York — he describes the entrance of Richard the 2d
and Bolingbroke into London, as York does in the
original play — then follows the discovery of the con-
spiracy against Bolingbroke, as in Shakspeare—
some alterations and additions are made in the scene
between Richard and the Queen — that between Bo-
lingbroke and the Duke and Dutchess of York is

296 T. R. 1681.

shortened — some additions are made to the prison
scene, and the groom is omitted — the concluding
scene is slightly altered.

Tate's additions are insipid, but the far greater
part of the play is Shakspeare's — the most material
alteration is in the character of York, who is made
rather a comic than a serious part — in the 2d act he
says " he can scarce carry his own fat" &c — he is
meant by Tate as a pattern of loyalty — in the 2d act
Bolirigbroke commits him to the custody of his guards,
for persisting in his attachment to the King — when
the King enters at the end of the 3d act, he runs
over to his side — when the Parliament makes Boling-
broke King, York says—

" Well, my allegiance follows still the crown,
" True to the King I shall be—
" The King's sacred."

The Epilogue is not a bad one — Mrs. Cook con-
cludes it with—

" And for a last wish — what I'm sure you'll call
" The curse of curses — Marriage take ye all."

It appears from the dedication, that Tate had al-
tered King Lear before he altered Richard the 2d.

To give a minute account of the alterations made
in any one of Shakspeare's plays, would not be diffi-
cult— such an account however could hardly fail of
being tedious — to give a concise, and at the same
time a clear account, is by no means easy—

Brevis esse laboro,

Obscurus fio.

T. u. 1G81. 297

It is much to be regretted, that Politics should
ever find their way into a theatre, but as the Stage
about this time became the Echo to the Court, the
history of the former cannot be rightly understood
without considerable reference to the Politics of the
latter.

In 1680 Lord Shaftesbury, attended by several
persons of consequence, had denounced the Duke
of York in the Court of King's Bench, as a Popish
Recusant — the Exclusion bill was brought into the
House of Commons, and passed — Col. Titus in his
speech declared " that to accept of expedients for
" securing the Protestant religion, after the Duke of
" York should mount the throne, was as strange, as
" if there was a lion in the lobby, and they should
" vote, that they would rather secure themselves by
" letting him in and chaining him, than by keeping
" him out" — (Granger) — in March 1681 the King
dissolved the Parliament at Oxford — in July Lord
Shaftesbury was sent to the Tower — some few days
before his indictment appeared the poem of Absalom
and Achitophel ; Dryden meaning under these names
to represent Monmouth and Shaftesbury — this poern
was read with such avidity, that the first edition was
sold in about a month — a second was issued out
before the end of Dec. — two, if not three, other
editions were published in 1682 — on Nov. 24- 1681
a bill of Indictment was presented against Lord
Shaftesbury to the Grand Jury, consisting of 21 of
the principal citizens of London, who, not thinking
the accusation sufficiently proved, returned a Ver-
dict of Ignoramus — Hence we have in several Pro-
logues and Epilogues a cut at Ignoramus Juries — as

298 T. R. 1681.

in those to the Roundheads — Duke of Guise — Lon-
don Cuckolds — Romulus and Hersilia — Dame Dob-
son — and Royalist.

The Earl of Shaftesbury on his acquittal was taken
from the Old Bailey with shouts of applause, which
lasted for an hour : his adherents, to perpetuate
their triumph on this occasion, engraved a Medal—
this gave rise to another poem by Dryden, entitled
the Medal or a Satire against Sedition — this poem
was published in March 1681-2 — the King is said to
have suggested the subject — in Nov. 1682 Lord Shaf-
tesbury thought it prudent to retire to Holland, where
he died on Jan. 28th 1682-3.

Dryden, in the 2d edition of Absalom and Achi-
tophel, said of him —

" Yet fame deserved no enemy can grudge ;
" The Statesman we abhor, but praise the Judge.
" In Israel's Courts ne'er sat an Abethdin,
" With more discerning eyes, with hands more

" clean ;

" Unbribed, unsought, the wretched to redress,
" Swift of dispatch, and easy of access."

(Molone.)

When the King one day, either in jest, or out of
pique, said to Lord Shaftesbury, " Thou art the
" greatest rogue in my kingdom" — he answered
bowing " Of a subject, Sir, I believe I am" — and
when the Duke of York rated him in passionate
terms for one of his speeches in Parliament, he
returned answer, " I am glad your Royal Highness
has not also called me a Coward and a Papist."
(Mrs. Macauley.)

In 1682 the Sheriffs and Lord Mayor were forced

i. R. 1681. 299

on the City by the influence of the Crown — Mrs.
Macauley gives a particular account of the contest
which took place on this occasion — Rapin mentions
it slightly — in 1682 the King began his attack on the
Charters, which in 1683 was completely successful—
the Whig Sheriffs and the Charters are attacked in
several Prologues and Epilogues — see particularly
Dry den's Prologue on the Union — in the Prologue
to Romulus and Hersilia the Whig Sheriffs are called
Sham Sheriffs.

In 1682, and for some years after, there was a sort
of amicable contest between the Church and Stage
-each of them striving which should exalt the Royal
Prerogative the most— Rapin says, that " the Pulpits
" now resounded with the doctrine of passive obe-
" dience and non-resistance: the Clergy seemed to
" take pains to give up to the King all the liberties
" and privileges of the subject, and to make him as
" absolute as an Eastern Monarch — on July 21st
" 1688 the famous Oxford decree was passed" — but
tho* the palm of loyalty must be yielded to the supe-
riour merits of the Church, yet it would be doing
the Stage great injustice, not to acknowledge that it
contended stoutly for the victory — many zealous pas-
sages have been already quoted, but they were only
occasional effusions of loyalty, nothing was done on
the stage systematically till the latter end of 1681.

Sir Barnaby Whig, or No Wit like a Woman's.
Townly = Goodman : Wilding — Clark : Porpuss (a
blunt sea Captain) = Griffin : Sir Walter Wiseacre

300 T. R. 1681.

(in love with Livia) = Jermaine: Sir Barn aby Whig
= Powell : Benedick (in love with Winifrid) = Perin :
Livia(wife to Porpuss) = Mrs. Cook : Gratiana = Mrs.
Corbet : Millicent (wife to Sir Walter) = Mrs. Moyle :
Winifrid (a young Welsh Jilt) = Mrs. Percival : — this
is a pretty good C. by D'Urfey — it is professedly a
party play, but the merit of it consists chiefly in the
characters of Townly and Li via— the Prologue says
of the author —

" That he shall know both parties now he glories ;
" By hisses th' Whigs, and by their claps the
" Tories."

Sir Barnaby Whig is described in the D. P. as a
fanatick rascal, and one of Oliver's Knights — in the
1st act, he is with difficulty prevailed on to drink the
King's health — in the 3d, he is much alarmed at being
told that 20,000 men are in arms, who will not leave
a rebel in the land — in the 4th, he enters dressed as
an Officer, and sings a song against the Roundheads
— in the 5th he agrees first to turn Roman Catholic,*
and then to turn Mahometan — at last he is committed
to Newgate — in the 4th act, Sir Barnaby Whig is
called Rabbi Achitophel— the play therefore could
not have come out till about December— Mrs. Per-
cival, who acted Winifrid, was the daughter of Per-
cival of the Duke's Company — she was afterwards
married, first to Mountfort, and then to Verbruggen.

John Lacy died Sep. 17th — Langbaine says — " He
" was a Comedian whose abilities were sufficiently
" known to all that frequented the T. R., where for
" many years he performed all parts that he under-

* Milton says Roman Catholic is one of the Pope's Bulls — it
is particular universal, and catholic schismatic.

T. R. 1681. 301

" took to a miracle, insomuch that I am apt to believe,
" that as this age never had, so the next never will
" have, his Equal, at least not his Superiour — He
" was so well approved by Charles the 2d, that he
*' caused his picture to be drawn in 3 several figures
" in the same table, viz. that of Teague in the Com-
" mittee — Scruple in the Cheats — and Galliard in
" Variety — which piece is still in being in Windsor
" Castle — Nor did his talent wholly lie in acting, he
" knew both how to judge and write plays, and if his
" Comedies are somewhat allied to French Farce, it
" is out of choice, rather than want of ability to write
" true Comedy — we have three plays extant under
" his name."

The Dumb Lady— see T. R. 1669.

Old Troop— see T. R. 1665.

Sir Hercules Buffoon— see T. R. 1684.

Besides these three plays, a fourth is attributed to
him — Sauny the Scot — see T. R. 1698 — Langbaine
does not mention this play, but it was printed in
1698, with Lacy's name as the author of it.

In the Lives of the Dramatic Poets 1698, Lacy is
said to have been originally a dancing master— of a
rare shape of body, and good complexion.

Langbaine tells us, that Lacy in Falstaff never
failed of universal applause — he also particularly
notices his performance of Jonny Thump in the
Changes — Downes says of Lacy—

" For his just acting, all gave him due praise,
" His part in the Cheats, Jony Thump, Teg and

" Bayes,

" In these four excelling ; the Court gave him
" the Bays."

Teague in Howard's works is spelt Teg.

302 D. G. 1681.

Lacy's characters.

In Vere Street about 1662 * Scruple in the Cheats.
T. R. 1663 *Teague in Committee.

1664. Capt. Otter in Silent Woman — Ananias in
Alchemist.

1665. Sir Politick Would-be in Fox — *Monsieur
Raggou in Old Troop.

1666. Sir Roger in Scornful Lady.

1667. *Sauny the Scot — * Country Gentleman in
Change of Crowns— Johnny Thump in Changes.

1669. * Drench in Dumb Lady.

1671. *Bayes.

1672. *Alderman Gripe in Love in a Wood.
1675. *Intrigo in Love in the Dark.

He probably acted *Frenchlove in English Moun-
sieur — *Pinguister in All Mistaken — *Tartuffe—
* French Valet in Mock Duellist — * English Lawyer
-Bobadill.

* Originally.

D. G. 1681.

Henry 6th part 1st with the Murder of Humphrey
Duke of Gloucester — Duke of Gloucester — Better-
ton : Cardinal Beaufort = Harris : Duke of Suffolk =
Smith : Henry the 6th = Joseph Williams : (it was
Joseph who was the good actor) Duke of York=:D.
Williams : Queen Margaret = Lady Slingsby : Duchess
of Gloucester = Mrs. Batterton : — this play is chiefly

D. G. 1681. 303

made up of the first three acts of Shakspeare's Henry
the 6th — part 2d — it ends with a narration of Suffolk's
death, and with the breaking out of Cade's rebel-
lion— Crown has enlarged the parts of the Queen,
Suffolk, and the Cardinal — he sometimes uses Shak-
speare's own words, and sometimes alters them,
making large additions of his own — Dr. Johnson says
of the scene in which Cardinal Beaufort dies, that the
beauties of it rise out of nature and truth, the super-
ficial reader cannot miss them ; the profound can
imagine nothing beyond them — yet even in this scene
Crown has made insipid additions — it is preceded by
about 30 or 40 lines — Gloucester's Ghost appears to
the Cardinal — and he falls into a swoon— In the Pro-
logue Crown professes to have mended a good old play
— adding—

" To day we bring old gather'd herbs 'tis true,
" But such as in sweet Shakspeare's garden grew.
" And all his plants immortal you esteem,
" Your mouths are never out of taste with him."

And in the Epilogue—

" Not that a Barb that's come of Shakspeare's

" breed,
" Can e're want mettle, courage, shape, or speed."

He concludes the Prologue with saying that he had
sprinkled " A little vinegar against the Pope."

He should have said — not a little.

Langbaine tells us that this play was opposed by
the Popish Faction, who by their power at Court got
it supprest : however it was well received by the rest
of the audience — Crowne (in the dedication of the

304 n. G. 1681 .

English Friar) says " this play pleased the best men
" of England, but displeased the worst : for e're it
" lived long, it was stifled by command " — the next
editor of the B. D. should consult the dedication of
this play, of Caligula, and of the English Friar, as
Crowne gives an account of his family, which has
been strangely overlooked — The Editor of the B. D.
says — " Crowne was the son of an independent mi-
" nister in that part of America called Nova Scotia"
—Crowne in the dedication of this play says — " My
" father, and by consequence myself, his heir, was
" stript long since (by the advice of some ill great
" men, who sacrifice both private and publick interest
" to their own) of the moiety of a province so con-
" siderable, the French crown thought it worth con-
" tending for many years."

In the dedication of the English Friar 1690 he says
— " I had much bread from the princely bounty of
" King Charles, and claims to more from his justice,
" for a great province of vast value given in his reign
" to the French ; half of which was my father's
" rightful property, and mine as his heir — this fixt
" me in a dependance on that court, for I could have
" my compensation no where else " — In the dedica-
tion of Caligula 1698 he says — " The favour, or rather
" authority, which a mighty neighbouring kingdom
" had in our court some years ago, got my inheritance,
" which, tho' it lay in the desarts of America,
" would have enabled me (if I could have kept it) to
" have lived at my ease in England."

Crowne sometimes spells his name with an e at the
end, and sometimes without it.

Henry 6th part 2d, or the Misery of Civil War.

D. G. 1681. 305

Earl of Warwick = Batterton : Henry (>th = Joseph
Williams : Duke of York = David Williams : Edward
Plantagenet = Smith : George Plantagenet = Bow-
man : Richard Plantagenet = Gillow : Old Lord
Clifford = Percival : Young Clifford = Wiltshire :
Queen Margaret = Mrs. Lee : Lady Grey = Mrs. Bat-
terton : Lady Eleanor Butler = Mrs. Currer : — In this
play a good deal is taken verbatim, or with slight alte-
ration* from Shakspeare, but much less is borrowed
than in the former part — Crowne in the Prologue
says —

" The Divine Shakspeare did not lay one stone.'*

Which is as impudent a lie as ever was broached
— Steevens observes, that surely Shakspeare's works
could have been but little read at a period, when
Crown could venture such an assertion.

Act 1st — Jack Cade opens the play with the scenes
in Shakspeare's 2d part not very materially altered—
Young Clifford kills him instead of Iden — but not on
the stage — the Duke of York claims the Crown — he
is supported by Warwick, and opposed by Clifford.

Act 2d begins with the battle of St. Albans — not
materially altered — Edward Plantagenet says —

" I fought with more dispatch,

" 'Cause had the battle lasted, 'twould have spoil'd
" An Assignation that I have to night."

Warwick sees Lady Grey weeping over her hus-
band's dead body, and falls in love with her — Edward
enters pulling in Lady Eleanor Butler — he makes
violent love to her, but is obliged to leave her just as
she is about to capitulate — the King and the Duke of

VOL. I. X

306 D. G. 1681.

York make the same agreement about the Crown, as
they do in the 1st scene of Shakspeare's 3d part.

Act the 3d begins with the scene at Sandal Castle
badly altered — Lady Eleanor Butler enters, to Edward,
in a riding dress — Edward protests he will not lose
a second opportunity — then follow two scenes by
Crown — in one of them — " The scene is drawn, and
" there appears Houses and Towns burning, Men and
" Women hang'd upon Trees, and Children on the
" tops of Pikes."

Act 4th — Clifford begins with saying to King Henry
— " Damn your unlucky planets " — and a little after
— " Oh ! Damn all this — come let us to the battle."

After he has received his mortal wound — Edward,
Warwick &c. jeer him, (as in Shakspeare) and con-
clude he must be dead as he does not swear — Crown
makes him recover for a moment just to say — "Dam-
" nation on you all " — Lady Grey is discovered-
Warwick renews his love, and is again rejected — She
is married to King Edward, and as soon as the cere-
mony is over, Lady Eleanor Butler enters, and
reproaches the King for deserting her — Warwick
takes Edward prisoner.

Act 5th — King Henry is restored — Edward makes
his escape — then comes the battle at Barnet — Ladj
Eleanor Butler enters in boy's clothes, and is killed
by King Edward, who did not know who she was —
he next kills Warwick — Queen Margaret and her Son
are brought in prisoners, as in Shakspeare — the scene
changes to the Tower — the Ghost of Richard the 2d
and a good Spirit appear to Henry the 6th — Richarc
Plantagenet kills him— and King Edward concludes
the play.

D. G. 1681. 307

Both these altoraiions of Shakapearc are very bad,
lnit still they have enough of the original to make
them better than the generality of Tragedies written
about this time.

Crown's 2d part is said to have been published in
1680, and his 1st part in 1681, but they were pro-
bably written in their natural order, as the 2d part
begins precisely where the 1st leaves off — Mrs. Lee
seems to have become Lady Slingsby in the interval
between the publication of the two plays.

Crown as usual is very loyal—

" A Monarch's right is an unshaken rock."

again — " If Kings may lose their rights for want of

" virtue
" Then Kings are subjects.*' again—

" The Crown of England is the gift of heaven,
" Therefore to heaven only can be forfeited."

And lastly " The greatest Tyrant

" Is to be chose before the least rebellion."

Crown understood his trade, arid knew what would
please his Royal Patron as well as any body — but
little did he think, when he said so much against the
•Papists, that Charles the 2d had reconciled himself
to the Church of Rome.

In 1661 some few additions were made to the
Liturgy, one of them was the Prayer for the Parlia-
ment, in which a new Epithet was added to the
King's title, that gave great offence to serious men,
and occasioned much raillery among the jokers — those
who were in the habit of taking liberties with, the

x2

308 D. G. 1681.

King often asked him, what all people must think
when they heard him prayed for as their most religi-
ous King — in fact he seemed to have no sense of
religion — both at prayers and sacrament, he as it
were took pains to satisfy people that he did not
attend to what he was about. (Burnet.)

King Lear as altered by Tate from Shakspeare.
King Lear = Betterton : Edgar = Smith : Kent =
Wiltshire : Bastard — Jo. Williams : Gloster = Gillow :
Albany = Bowman : Cornwell — Norris : Gentleman
Usher = Jevon : Cordelia — Mrs. Barry : Goneril —
Mrs. Shadwell : Regan = Lady Slingsby :— for the
comparison between this alteration and Colman's,
see C. G. Feb. 20 1768— Downes tells us that King
Lear, as written by Shakspeare, had been acted at
L. I. F.

There is an old play on the story of King Lear, to
which Shakspeare is considerably indebted for the
conduct of his piece — the principal points in which
the two plays differ are, that in the old play there are
no characters similar to Gloster, Edgar, Edmund
and the Fool — Perillus (Kent) attends on Lear in his
misfortunes, without having been previously banished
— Lear does not grow mad— R#gan hires a fellow to
murder Lear and Perillus, but they prevail on him
to spare their lives — they make their escape to France,
where they are kindly received by Corde//«, and the
King her husband — he invades Britain, and restores
Lear to the throne — the play ends happily — Shak-
speare totally omits Mumford, who is a French Noble-
man, a man of spirit, and rather a Comic character
— Steevens says that Shakspeare has borrowed the
episode of Gloster and his sons from Sidney's Arcadia.

D. G. 1681.

" The true chronicle history of King Leir arid his
" Three Daughters " was printed in 1605, and re-
printed in 1779 — it is said in the titlepage to have
I MTU acted sundry times, but it is not said at what
place — why may not this be the King Lear, which the
Editor of the B. D. says (perhaps on the authority of
Henslowe's account books) was acted at the Rose
Theatre April 6 1593 ? — and which he conceives to
l)ii no longer in existence.

Rover part 2d. Willmore = Smith: Beaumondrr
Williams : Blunt = Underbill : Fetherfool = Nokes :
Don Carlo = Norris : Shift = Wiltshire : Hunt =
Richards: La Nuche — Mrs. Barry : Ariadne — Mrs.
Corror : Petronella = Mrs. Norris : — Wiltshire origi-
nally belonged to the King's Company — in all proba-
bility he came to D. G. with Killegrew's consent,
which according to the terms of the Patents was
necessary.

This is a good C., but too farcical, and on the
whole considerably inferiour to the first part — the
character of the Rover however is supported with
great spirit — the success of the 1st part induced Mrs.
Behn to write the 2d part — she had again recourse to
Killegrew, but she now could pillage only those scenes
about the monsters, the mountebank &c., which in
the first instance she had properly rejected — one good
scene still remained — this she has inserted towards
the close of the 4th act — it is the scene between
Fetherfool and Carlo — Mrs. Behn has added, to what
she borrowed from Killegrew, the characters of La
Nuche, Ariadne, and Beaumond — and so far as these
characters are concerned, this C. is unexceptionable
- La Nuche is a Spanish Courtezan — she is in love

310 D.G. 1681.

with Willmore, but protests she will not hate a ducat
of the price which she has set upon herself — at last
her love gets the better of her pride — Beaumond is
contracted to Ariadne, but in love with La Nuche—
Ariadne falls in love with Willmore — in the course
of the play, a good deal of intrigue takes place—
Beaumond discovers that Ariadne had an assignation
with Willmore — and Ariadne, disguised as a boy, sees
Beaumond with La Nuche — at the conclusion they
talk of being married— La Nuche and Willmore agree
to live together — in the 3d act, Mrs. Behn has intro-
duced a stage trick, which tho' contemptible in a regu-
lar play, might produce a good effect in a Pantomime
— Hunt, disguised as a Giant, desires to pay his
addresses to the Giantess — he tries to get in at the
door, but cannot — Willmore, as the Mountebank, says
he will have the door broken down — Hunt replies
that he can go in at twice — Hunt, being all doublet,
leaps off from another man who is all breeches — and
goes out — the Breeches follow stalking.

Lucius Junius Brutus, the Father of his Country.
Brutus = Betterton : Titus and Tiberius (his sons) =:
Smith and Williams : Collatirms = Wiltshire : Vale-
rius = Gillow : Vindicius = Nokes : Fabritius = Jevon:
Teraminta (the daughter of Tarquin) = Mrs. Barrey :
Lucretia =r Mrs. Betterton: Sempronia (the wife of
Brutus) — Lady Slingsby :— Langbaine commends this
play highly — he tells us that the plot is partly taken
from history, and partly from a romance called Cle-
lia — in the 1st act Titus marries Teraminta — at the
conclusion, Valerius stabs Titus at his own request
— Teraminta kills herself — Vindicius, (who discovers
the conspiracy) and Fabritius, are comic characters

D. G. 1681. 311

—some parts of this T. are well written, but the sub-
ject is badly calculated for the stage — the love scenes
are a sad botch, and probably founded on the romance
— Brutus, in reproaching Titus for his marriage, uses
an expression so peculiarly indecent, that one would
hardly have supposed, it could have been spoken on
the stage, even at this time — in the Epilogue, Mrs.
Barry swears, with a good deal of humour, by a non-
entity, but the lines must not be quoted — this T. was
prohibited on the 3d night,* and what else could be
expected for a play in which so much is said about
liberty? Lee saw his errour when it was too late, arid
made amends in the Duke of Guise for what he had
done in this Tragedy — It can scarcely be supposed
that he meant to say any thing personally disrespect-
ful of Charles the 2d, but it was very unguarded in
him to make Teraminta observe, that when business
of state required attention, it was unbecoming a
man—

" To lie at home and languish for a Woman!
" No, Titus, he that makes himself thus vile
" Let him not dare pretend to aught that's
" princely."

Burnet says the King held as it were a Court in
the lodgings of his Mistresses, and all his Ministers
made applications to him there: only the Earls of
Clarendon and Southampton would never so much
as make a visit to them.

Soldier's Fortune. Capt. Beaugard = Betterton :
Sir David Dunce = Nokes : Sir Jolly Jumble = Leigh :

* This appears both from Cibber, and the preface to the Pa-
triot, or Italian Conspiracy.

312 D. G. 1681.

Courtirie = Smith : Fourbin = Jevon : Bloody-Bones
= Richards : Lady Dunce = Mrs. Barry : Sylvia =
Mrs. Price : — Beaugard and Courtine are officers who
had served abroad, and are returned home — Lady
Dunce wishes to renew her acquaintance with Beau-
gard— she determines to make her husband assist
in his own cuckoldom — she had procured Beaugard's
picture from Sir Jolly — she gives it to Sir David, and
desires him to secure her from Beaugard's solicita-
tions— Sir David tells Beaugard what his wife had
done — Beaugard at first thinks her a jilt, as Sir
David had forgotten to give Beaugard the ring, which
Lady Dunce had sent with the picture — when Sir
David gives him the ring, he understands Lady
Dunce's meaning — her ladyship next sends Sir David
to Beaugard with a letter, which had really been
written by herself to Beaugard, but which she says
was thrown into her chair — she insists on having it
returned without being opened — Fourbin is Beau-
gard's servant — he disguises himself, and gives Sir
David an invitation to supper as from the Lord
Mayor — Sir David sets off — but having forgotten his
medal and chain, he returns home for them—he
finds Beaugard and Lady Dunce together — Beaugard
runs off — Lady Dunce pretends that Beaugard had
attempted to ravish her — Sir David hires Fourbin
and Bloody-Bones to murder Beaugard — Sir Jolly
and Lady Dunce place Beaugard on a table, as if he
were dead — when Sir David enters, they tell him that
two ruffians had brought in Beaugard, and said that
they had killed him by Sir David's order — Sir David
is frightened — he desires Lady Dunce to put Beau-
gard into her bed, and try to recover him — he retires

D. G. 1681. 313

to his closet— Sir Jolly offers Sir David to have the
supposed corpse carried to his house, which is next
door — adding, that Lady Dunce must stay there for a
day till things are settled — Sir David readily assents —
when they are gone, Sir David thinks he can get out
of the scrape at Sir Jolly's expense — he sends for a
Constable and Watch, and directs them to search Sir
Jolly's for the dead body — Lady Dunce and Beau-
gard are discovered — Beaugard threatens to pro-
secute Sir David for having hired persons to murder
him — Sir David concludes the play with saying -
" If I should be laid in prison,

" I hope amongst all you, Sirs, I shan't fail,
" To find one Brother-Cuckold out for bail."

— Courtine marries Sylvia — Otway's merit as a Co-
mic writer has not, of late years, been sufficiently
attended to— this is an excellent play, but very inde-
cent, particularly in the character of Sir Jolly Jumble
—he almost outdoes his prototype " Sir Pandarus of
" Troy" — he is very zealous in bringing Lady Dunce
and Beaugard together, but refuses to assist Cour-
tine in obtaining Sylvia, as Courtine intends matri-
mony.

Spanish Fryar, or the Double Discovery. Torris-
mond — Betterton : Dominic (the Spanish Fryar) =
Leigh : Gomez = Nokes : Lorenzo = Smith : Bertrari
= Williams : Pedro — Underbill : Raymond = Gillow :
Alphonso = Wiltshire : Leonora (Queen of Arragon)
= Mrs. Barry : Elvira (wife to Gomez) =. Mrs. Bet-
terton : — this Tragi-Comedy was written by Dryden
—the Comic scenes are excellent, and the Tragic

314 D. G. 1681.

ones are riot bad — Dowries says it was admirably
acted, and produced vast profit to the Company.

In compiling an account of the stage, it is almost
impossible not to make mistakes — it is no small con-
solation to persons of inferiour abilities to find, that
a man of Malone's talents and indefatigable industry
could sometimes blunder as grossly as themselves—
in his edition of Dryden's prose works vol. 3. p. 53
he says, that the Spanish Fryar was acted by the
King's Company, and first printed in 1681 — at p. 59
he tells us that Betterton, Leigh, and Mrs. Barry
acted in it originally — it is odd, that when he wrote
his second note, it should not have occurred to him
that it flatly contradicted the first — in vol. 3. p. 240
Malone quotes 4 lines from the prologue to Mr. An-
thony, a comedy, as he says, by Southerne — he has
evidently confounded Mr. Anthony with Sir Antony
Love — in a note to the Vindication of the Duke of
Guise vol. 3. p. 79 he says that half a crown was the
price of the boxes at that time— in vol. 1. p. 454 he
repeats the assertion, and refers us to the Prologue
to the Mistakes — he might have referred us to many
other Prologues or Epilogues, which mention the
price of admission as half a crown — this however
was for admission to the pit, not to the boxes — see
Squire of Alsatia 1688.

Lancashire Witches and Tegue O Divelly the Irish
Priest — this C. was written by Shadwell, and printed
in 1682 — Downes says it came out in 1681 — he adds,
" it was a kind of Opera, having several Machines
" of flyings for the Witches, and other diverting con-
" trivances in it: all being well performed, it proved

D. G. 1681. 315

" beyond expectation very beneficial to the poet and
" actors" — there are no performers* names to the
D. P. — but it appears from the Epilogue that Leigh
acted Tegue — Sir Edward Harfort wishes his son to
marry Theodosia, the daughter of Sir Jeffery Shackle-
head — and his daughter, Isabella, to marry Sir Ti-
mothy Shacklehead — Young Harfort is a lout, who
loves nothing but ale and country sports — Sir Ti-
mothy is a pert fellow, bred at Oxford and the Inns
of Court — the two ladies are in love with Bellfort
and Doubty, to whom they are privately married in
the 5th act — Lady Shacklehead gives Doubty the
plainest hints that she wishes to be intimate with
him — he pretends not to understand her- — Tegue is
a good character — in the dark he takes hold of Lady
Shacklehead's hand, which she gives him at first,
supposing him to be Doubty — she finds her mistake,
and takes away her hand— one of the Witches puts
her hand into Tegue's, and he retires with her to his
chamber— this is on the whole a good C. — the suc-
cess of it was doubtless much owing to the tricks
played by the Witches — whereas the great fault of
it is, that Shadwell represents the actions of the
Witches as real ; tho' he says himself in the pre-
face, that, like Surly in the Alchemist, he is some-
what costive of belief — and all the sensible characters
in the play are the same.

The character of Smerk the Chaplain excited a
clamour against Shadwell — the Master of the Revels
at first struck out about a dozen lines and licensed
the rest, but he afterwards expunged the greater part
of it — Langbaine likewise was a good deal offended at
it — but without sufficient reason — Dry den, Crowne,

316 D. G. 1681.

&c were at this time in the habit of venting much
unqualified and unmannerly abuse on the Clergy in
general — whereas Shad well only attempts to expose
two unworthy characters — and in the 1st scene Sir
Edward Harfort (who evidently speaks the author's
own sentiments) makes some excellent remarks — he
reprimands Smerk for wanting to pry into the secrets
of his family instead of attending to the duties of
his profession.

(Scire volunt secreta domus, atque inde timeri.)

Smerk. " Consider, Sir, the dignity of my Function.
Sir Ed. " Your Father is my Taylor, you are my

" Servant,

" And do you think a Cassock and a girdle
" Can alter you so much, as to enable
" You (who before were but a Coxcomb,

" Sir)

" To teach me?
Smerk. " My Orders give me authority to speak,

" A power Legantine I have from Heaven.
Sir Ed. " Show your Credentials.

" The indiscretion of such paltry fellows
" Are scandals to the Church and cause

" they preach for;

" With furious zeal you press for discipline,
" With fire and blood maintain your great

" Diana,
" Foam at the mouth when a Dissenter's

" nam'd,
" And damn them if they do not love a

" Surplice.

D. G. 1681. 31?

Smerk. " Had I the power, I'd make them wear

" pitcht surplices.

Sir Ed. " Such firebrands as you but hurt the cause.
" The learnedst and the wisest of your tribe
" Strive by good life and meekness to o'er-
" come them."

City Heiress, or Sir Timothy Treat-all— Sir Ti-
mothy = Nokes: Tom Wilding = Betterton: Sir An-
thony Meriwill = Leigh : Sir Charles Meriwill (his
nephew— in love with Lady Galliard) = Williams :
Foppington = Jevon : Dresswell = Bowman : Lady
Galliard (a city widow — in love with Wilding) = Mrs.
Barry : Diana (kept by Wilding) — Mrs. Corror :
Chariot (the City Heiress) = Mrs. Butler : Closet
(Lady Galliard's woman) — Mrs. Leigh : Mrs. Clack-
et = Mrs. Norris : — this is a very good C. by Mrs.
Behn — Wilding is nearly discarded by his uncle, Sir
Timothy, for his extravagance and debauchery — in
the 3d act he introduces Diana to Sir Timothy as
the City Heiress — Sir Timothy endeavours to sup-
plant Wilding in her favour — Chariot is in love with
Wilding, and desirous of ascertaining how far he is
attached to Lady Galliard — she comes to Sir Timo-
thy's— Mrs. Clacket introduces her as her niece from
Scotland— at the conclusion, Sir Timothy, Wilding,
and Sir Charles marry Diana, Chariot, and Lady
Galliard — in this play Mrs. Behn is more indecent
than usual — a good deal passes between Wilding
and Lady Galliard on the stage — the audience are
not put to the trouble of guessing what passes behind
the scenes — in the 4th act, Sir Anthony and Sir
Charles enter in Lady Galliard's apartment at night

318 D. G. 1681.

— the latter is drunk — Sir Anthony excites his ne-
phew to push his addresses with vigour — he pulls
out Mrs. CJoset, and leaves Sir Charles alone with
Lady Galliard — Sir Charles nearly undresses him-
self, and at last extorts a promise of marriage from
Lady Galliard— Wilding forms a plan for robbing his
uncle, and getting possession of a deed, by which
Sir Timothy had settled his estate on his nephew,
but which he still retained in his own hands— Wild-
ing introduces himself to Sir Timothy as a foreign
nobleman — in the night, he and his associates bind
Sir Timothy and his family — Mrs. Sensure enters
from Sir Timothy's room half undressed, and with
Sir Timothy's coat on her shoulders, instead of her
own gown — Wilding, in his assumed character, is
discovered as bound — he had previously secured the
writings — the robbery is taken from Middletori's Mad
World my Masters — in this instance Mrs. Behn has
not improved what she has borrowed — she had so
much matter on her hands, that she was obliged to
ornit a material part of the robbery — the characters
of Sir Anthony and Sir Charles are founded on those
of Durazzo and Caldoro in Massinger's Guardian.

This play is quite political — in the dedication, Mrs.
Behn prides herself that her play is true Tory I
Loyal all over ! — she says Whigism is become a jest
—Sir Timothy is described in the D. P. as a seditious
old Knight, that keeps open house for Common-
wealthsmen and true blue Protestants — Sir Anthony,
Sir Charles, and Wilding are mentioned as Tories—
in the course of the play there are several cuts on
Ignoramus Juries — in the 3d act, Sir Timothy is
forced by Sir Charles &c. to drink the King's health,

D. G. 1681. ,S1Q

and confusion to his enemies — Wilding, when dis-
guised, instead of passing himself on his uncle for an
English Nobleman, (as the young man does in Mid-
dleton's play) pretends that he is an Ambassadour
from Poland, and that the Polanders design to elect
Sir Timothy for their next king — this is meant as a
sneer at Lord Shaftesbury — in the 4th act Sir Charles
says — " Damn the City " —Sir Anthony adds — " All
" the Whigs, Charles, all the Whigs " —this C. was
not printed till 1682, but in all probability it came
out in 1681, as Sir Timothy says, that the City has
been charged with reviving the sins of 41 in 81, with
additions and amendments.

Princess of Cleve. Duke Nemours — Betterton :
Prince of Cleve = Williams : Vidam of Chartres =
Gillow: St. Andre = Leigh : Poltrot — Nokes : Bella-
more — ***: Jacques — ***: Princess of Cleve = Mrs.
Barry : Marguerite = Lady Slingsby : Tournon = Mrs.
Leigh : Elianor (wife to St. Andre) = Mrs. Betterton :
Celia (wife to Poltrot) — ***-. Irene = * * * : La March

_*##. — jhjg p]ay wag not printed till 1689 — this
accounts for the deficiency in the names of the per-
formers— Langbaine says this Play is founded on a
Novel of the same name — the Princess of Cleve
acknowledges to her husband that she loves him, but
that she loves another better — she does not mention
the name, but the Prince discovers him to be Nemours

—the Prince dies — Nemours makes love to the Prin-
cess —but she determines never to see him again—
this part of the plot is serious, and somewhat dull—
the comic part is very good — St. Andre walks in his
sleep — Poltrot takes that opportunity to visit Elianor
— he finds a man in bed with her — he retreats to the

320 D. G. 1681.

room of his own wife — and there he finds another
gallant — Nemours is a spirited character — this play
contains the famous invective against women—

" What is this thing called Woman ? She is worse
" Than all ingredients ramm'd into a Curse :
" Were she a Witch, a Bawd, a noseless Whore,
" I cou'd forgive her, so she were no more :
"But She's far worse ; and will in time forestall
" The Devil, and be damning of us all."

Act 1st — Nemours. " Tell me now the business of

" the Court.
Vidam. " Hold it, Nemours, for ever at defiance,

" Since he that was the life, the soul of pleasure,

" Count Rosidore, is dead.
Nemours. " Then we may say

" Wit was, and Satire is a Carcase now.

" I thought his last debauch wou'd be his death.

*********

" He was the Spirit of Wit and had such an art

" in guilding his failures, that it was hard not to love
" his faults : He never spoke a witty thing twice, tho*
" to different persons ; his imperfections were catch-
" ing, and his Genius was so luxuriant, that he was
" forced to tame it with a hesitation in his speech to

" keep it in view But, oh, how awkward, how

" insipid, how poor arid how wretchedly dull is the
" imitation of those, who have all the affectation of

" his verse and none of his wit " What is here

said of Count Rosidore was doubtless meant of the
Earl of Rochester — Downes says that Lee wrote this
play for D. G., and before the Union of the Two

D. G. 1681.

Companies— Lord Rochester died in July 1(580— the
Two Companies were united in Nov. 1682 — the Prin-
cess of Cleve must have come out in the interval—
probably after Nov. 1681, as Dryderi in the Prologue
has an allusion to his poem on Absalom and Achito-

phel In Dryden's works there are a Prologue and

Epilogue written for this play, and so written, that
they could not be spoken to any other — in the play
as printed there is a quite different Prologue and
Epilogue — the former of which could not have been
written till 1689, as it contains a warm compliment
on King William — Dryden's Prologue is a very good
one.

Lee went mad, and was confined in Bedlam Nov.
11 1684, where he continued 4 years — (B. D.)—
the Massacre of Paris and the Princess of Cleve are
the only plays of his, that were published after he
was discharged from his confinement, and both of
them were certainly written before his illness.

Dryden in one of his letters says — " I remember
" poor Nat. Lee, who was then upon the verge of
" madness, yet made a sober and a witty answer to
" a bad poet, who told him, ' it was an easy matter
" to write like a madman' " — " ' No,' '* said he, " « it
" is very difficult to write like a madman, but it is
" very easy to write like a fool.'"

Lee professedly dedicated the Princess of Cleve to
the Earl of Dorset, who was Lord Chamberlain, for
the sake of " introducing the Massacre of Paris to
" his favour, and approving it to be played in its first
" figure " —Lee had before said, " this play, when it
" was acted, had in one of the characters a resem-
" blance to Marguerite in the Massacre of Paris :

VOL. I. Y

D. G 1681.

" what was borrowed in the action is left out in the
" print, and quite obliterated in the minds of men "
—he adds — " this Farce, Comedy, Tragedy, or mere
" Play, was a revenge for the refusal of the other :
" for when they expected the most polished Hero in
" Nemours, I gave 'em a Ruffian reeking from Whet-
" stone's Park — the 4th and 5th Act of the Chances,
" Marriage a la Mode, the Libertine, and Epsom
" Wells, are but copies of his villainy, he lays about
" him like the Gladiator* in the Park ; they may
" walk by and take no notice."

Whetstone's Park was on the Holborn side of
L. I. F. — it is mentioned in several old plays, and
seems to have been much frequented by women of
the town — the Country Wit, in Crowne's play 1675,
says " After I had gone a little way in a great broad
" street, I turned into a tavern hard by a place they
" call a park ; and just as our park is all trees, that
" park is all houses — I asked, if they had any deer
" in it, and they told me, not half so many as they
" used to have ; but that if I had a mind to a doe,
" they would put a doe to me."

In Sir Hercules Buffoon much is said about this
Park— a Judge seriously accepts an offer of two brace
of fat deer every season out of Whetstone's Park in
the County of Middlesex — when he finds out the trick
which has been put on him, he calls it a Park of
houses.

* The Gladiator is mentioned in the Fool's Preferment — In Sir
Harry Wildair, it is said " as impudent as the naked statue was
" in the Park."

T.n. 1082.

T. R. 1682.

Loyal Brother, or the Persian Prince. The Sophy
= Goodman : Ismael = Major Moon : Tachmas (bro-
ther to the Sophy) = Clark : Arbanes (a disaffected
general) — Griffin : Osman (a captain to Tachmas) =
Saunders : Sunamire (sister to Arbanes) = Mrs.
Gwyn : Semanthe = Mrs. Cooke : Begona (mother to
the Sophy and Tachmas) = Mrs. Cory : — The Sophy
and Tachmas are in love with Semanthe — she is in love
with Tachmas— the Sophy finds Tachmas in Semanthe's
apartment — he takes all Tachmas' offices from him —
and threatens to put him to death — in the last scene,
Tachmas is discovered in prison — Sunamire orders
Osman to mix poison, meaning it for Tachmas and
Semanthe — Osman returns with four bowls— -he gives
the two that are poisoned to Arbanes and Sunamire
— and the two that are not poisoned to Tachmas and
Semanthe — the Sophy resigns Semanthe to his bro-
ther, and sentences Ismael to death — the catastrophe
is brought about in a most bungling manner — that
Sunamire should entrust the management of the
poison to one of Tachmas' officers, merely because
he had put on a Slave's habit, is grossly improbable
—besides why four bowls ? — or why do Arbanes and
Sunamire drink at all ? — even supposing Osman to
have been strictly faithful to his employers, still as
two of the bowls are poisoned, Arbanes and Suna-
mire would naturally have refrained from drinking,
for fear of an accident — Southerne seems conscious
of the improbability of which he has been guilty, by

324 T. R. 1682.

making the Sophy tell Osman that he will hear an
explanation of the affair another time — the dramatic
merits of this Tragedy are but slender — the political
ones are considerable — Tachmas, the Loyal Brother,
is of course meant for the Duke of York — he is un-
justly arrested as a Traitor to the state — his Soldiers
want to rescue him, but he will not suffer it—

" I must not thus

" By disobedience to my King's command,

" Rashly forego my virtue ; if he think fit

" To take my life, or make it yet more wretched;

" My loyalty ties up my forward sword,

" And teaches silently to suffer all."

Ismael, an unprincipled Statesman, who is first in
the Sophy's confidence, and then excites the city to
rebellion, is meant for the Earl of Shaftesbury—
He says — " I look upon the Prince (Tachmas)

" As a black cloud that rises on my glory :

" I know it, and I hate him * * *

" The Court has been my sphere,

" Where with the music of my tongue in council

" I've charm'd opinion after me, been thought

" The voice of fate" &c.

Again " I've long

" March'd hand in hand with mischief, spent my

" days

" In courts; forsworn my conscience; studyMall
" The knotty arts and rules of policy—
" Now I'll grow popular — and into the city."

When Ismael is about to be led off to death, he
says —

T. R. 1682. 325

** I go ; but first I make this hearty wish :
" May lame ambition (for the public good,
" Halting upon the crutches of the crowd)
« Still fall.

" May treason ever need the people's swords,
" And may they valiantly compound for words ;
" And last, may all disturbers of the state
" Grow blindly popular, and meet my fate."

Nothing could be more absurd than to make Ismael
himself utter such sentiments — but Lord Shaftesbury
was to be abused at all hazards — even his amours
are plainly hinted at, (see the last page of the 1st
act) but the lines will hardly bear quotation — Dry-
den in the Medal says of him—

" His open lewdness he could ne'er disguise."

The Epilogue is a very good one — it was written
by Dryden, arid spoken by a woman.

" In one poor isle, why should two factions be?
" Small difference in your vices I can see
" In drink and drabs both sides too well agree.

oer\
ree. -J

»*»1F1FW»*FW

" Of this damn'd grievance every Whig complains ;
" They grunt like hogs, till they have got their

grams."

It begins thus—

" A Virgin poet was serv'd up to day,

" Who, till this hour, ne'er cackled for a play.

" He's neither yet a Whig nor Tory-boy ; " —

Then come 2 lines which must not be quoted.

326 T. R. 1682.

" Were I to play my callow author's game,

" The king's house would instruct me by the

" name.

" There's loyalty to one ; I wish no more :
" A commonwealth sounds like a common whore
" Let husband or gallant be what they will"-

In the next line Dryden pays the Tories so extra-
ordinary a compliment, that it is truly mortifying not
to be able to quote it.

The history of the stage from J 660 to 1700 might
be made vastly more entertaining without the slightest
difficulty; but to quote all the passages which ought
to be quoted, in order to show the real state of the
stage at that period, would be a service of danger—
we live in a refined age, when it is not always safe
to cite even grave authors in their own words.

Ingratitude of a Commonwealth, or the Fall of
Caius Martius Coriolanus — this is Shakspeare's Cori-
olanus altered by Tate —in the dedication he says—
" upon a close view of this story, there appeared in
" some passages no small resemblance with the busy
" faction of our own time ; and I confess, I chose
" rather to set the parallel nearer to sight, than to
" throw it off at farther distance."

There are no performers' names to the D. P.

Act 1st begins as in Shakspeare, and proceeds
with slight variations, till a Messenger enters, and
tells Caius Martius, that he is appointed substitute
to Cominius in the room of Lartius — after the scene
between the Ladies — Caius Martius enters before the
walls of Coiioles, for so Tate calls Corioli.

T. R. 1682.

Act 2d. Tate omits the whole till Coriolanus en-
ters— he addresses his Mother with " Oh Madam."

Act 3d. Tate very properly closes this act with the
parting hetween Coriolanus and his friends — Young
Martius is introduced, and a page and half added—
there is likewise a new scene between Volumnia and
Valeria— that between Volumnia and the Tribunes
(in the next act) is omitted.

Act 4th begins with Coriolanus, not at Antium,
but at Corioles — he makes a short speech, and the
scene changes to the house of Aufidius — when the
servants go out, Aufidius re-enters with Nigridius,
a villain discharged by Coriolanus, and received by
Aufidius — Nigridius speaks in part what belongs to
the Lieutenant — the discontent of Aufidius is made
very injudiciously to break out too soon — when the
Tribunes enter at Rome, the two scenes are conso-
lidated and shortened — Coriolanus is discovered sit-
ting in state — Menenius addresses some few lines to
him, by Tate — Volumnia, Virgilia &c enter — Valeria
does not enter, yet what is said of her in the original
is retained.

Act 5th is chiefly Tate's — Volumnia, Valeria &c
enter at Rome — Volumnia, hearing that Nigridius
has formed a plot against the life of Coriolanus, de-
termines to set off for Corioles with Virgilia and
young Martius — Aufidius and Nigridius enter — then
follows the scene with Coriolanus and the Volscians,
partly from Shakspeare — Coriolanus fights with Au-
fidius and his party — they are both mortally wounded
—Aufidius threatens to ravish Virgilia before her
husband's face— she is brought in wounded — Aufidius

328 T. R. 1682.

dies — and then Virgilia — Nigridius boasts that he
has racked young Martius — Coriolanus asks—

" Well, Cerberus, how then didst thou dispose

" him?
" Didst eat him ?"

Nigridius replies, that he threw him still alive, but
with all his limbs broken, into the arms of Volurnnia
— she enters mad with young Martius — she kills Ni-
gridius and runs off — the boy dies — Coriolanus con-
cludes the play with a dying speech.

Tate's alteration is on the whole a very bad one,
he omits a good deal of the original to make room
for the new 5th act— his own additions are insipid,
and he makes numberless unnecessary changes in
the dialogue, but the first 4 acts of his play do not
differ very materially from Shakspeare — he has been
guilty of a manifest absurdity in turning Valeria into
a talkative fantastical Lady — the new scenes which
he gives her are not bad in themselves, but they are
unsuitable, not only to the real character, but to the
time in which she lived — the part of Valeria, as
written by Tate, bears some resemblance to that of
Sempronia in Catiline — Volumnia's speeches, when
she is mad, are contemptible to the last degree.

In justice to Tate, it should be observed, that he
has made one considerable improvement — Shakspeare
has been guilty of a mistake in repeatedly saying that
Caius Marcius was alone, when he forced his way into
Corioli — Tate uniformly represents him as not being
quite alone on this occasion— Plutarch says he had
a very few friends with him — Livy and Dioriysius

T. R. 1682. 329

Halicarnassensis afford still less ground for the sup-
position that he was alone — Coriolanus was a man
of extraordinary courage, but it is absurd to make
him an absolute Almanzor — The Prologue says of
Tate-

" Yet he presumes he may be safe to day,

" Since Shakspeare gave foundation to the play.'*

It then tells us what Tate has done—

" He only ventures to make gold from ore,
" And turn to money , what lay dead before"

Heir of Morocco, or the Death of Gayland. Albu-
zeiden (King of Algiers) = Griffin : Altomar (his
admiral) — Goodman : Gayland (Emperour of Moroc-
co) — Clark: Artemira (the King's daughter) == Mrs.
Cox : — this is a sort of second part of the Empress
of Morocco — the Heir of Morocco is Altomar, who
is not conscious that he is so — Gayland is spoken of
in both the plays as an Usurper — it does not appear
how he got possession of the crown of Morocco—
Altomar and Artemira are mutually in love — the
King, on finding that Altomar had been concealed in
his daughter's chamber, suspects them of having been
too intimate — he spares Altomar's life, but sends him
to prison — Gayland attempts to kill Altomar — but is
killed himself— the King condemns Altomar to suffer
the death of a traitor — Altomar is put to the rack,
and cruelly tortured— a messenger tells the King
that Altomar is the true Heir to the Empire of
Morocco — Altomar dies of his wounds — Artemira
arid the King kill themselves — this is a poor T. by

330 T. R. 1682.

Settle — the language is frequently unnatural — Alto-
mar is said to die in tortures like poor Prometheus —

" For stealing fire from Artemira's eyes."

Malone says that the Heir of Morocco was acted
on the llth of March 1681-2, and that it was then
entitled the Emperor of Morocco — it was revived at
D. L. Jan. 19 1709.

It is clear from Settle's dedication of the Empress
of Morocco, (see D. G. 1673) arid from Pepys*
Diary, that both the Empress and Heir of Morocco
have some foundation on real facts — Pepys says Aug.
20 1662 — " I perceive there is yet good hopes of
" peace with Guyland, which is of great concernment
" to Tangier"— and Aug. 21 1663—" Mr. Creed told
" me, how my Lord Teviott hath received another
" attaque from Guyland at Tangier, with 10,000 men,
" and at last, as it is said, is come, after a personal
" treaty with him, to a good understanding and peace
" with him."

Unhappy Favourite, or the Earl of Essex — Essex
— Clarke : Southampton = Grz/ffin : Burleigh = Major
Mohun: Rawleigh = Disney : Queen Elizabeth = Mrs.
Quyn : (Gwyn) Countess of Rutland = Mrs. Cook :
Countess of Nottingham = Mrs. Corbet : — Essex ar-
rives from Ireland without the Queen's leave — she
admits him to her presence, but does not speak to
him — Burleigh in the Queen's name demands from
Essex his staff of office — he refuses to give it, and
appeals to the Queen— he vindicates his conduct,
and receives a blow from her — Essex is arrested —
the Queen gives him a ring, and promises that when-

T. R. 1682. 331

r In- shall return it, she will grant him whatever
lu- shall ask— Rutland tells the Queen that she is
marrird to Essex, and pleads for her husband's life
—Essex, after he is condemned, sends the ring to the
Queen by the Countess of Nottingham — the Coun-
tess denies to the Queen that she had received the
ring — Essex is beheaded — and Nottingham's trea-
chery is detected — this is a poor T. by Banks ; but
Jones and Brooke, in their plays on the same sub-
ject, are much indebted to it — the first line—

" Help me to rail prodigious minded Burleigh "
— is deservedly parodied in Tom Thumb—

" Teach me to scold prodigious minded Grizzle."

Fielding has imitated other passages — Banks' play
was successful — it is not clear whether it was printed
in 1682 or 1685 — but it was undoubtedly acted in,
or before, 1682 — Langbaine says it is founded on a
novel called the Secret History of Queen Elizabeth
and the Earl of Essex — Rapin observes — " the
" Queen's irresolution, with regard to the execution
" of the Earl of Essex, has furnished abundant mat-
" ter for romances and plays, in which Elizabeth is
" represented as fluctuating between love and anger
" — she was however of an age, when the emotions
" of love should not be very violent: but without
" stopping at these trifles, it is sufficient to say, that
" the Earl died as a good Christian," &c.

Injured Princess, or the Fatal Wager — there are
no performers' names to the characters — this is only
an alteration of Cyrnbeline by D'Urfey, with mate-
rial changes both as to the language and plot — the

332 T. R. 1682.

names of some of the D. P. are changed — thus we
have Ursaces for Posthumus — Shatilliori (a French-
man) for Jachimo, and Eugenia for Imogen — Pisanio
is still the friend of Ursaces, but he is turned into a
Lord, and made the father of Clarina, the Princess*
confidant — Bellarius is as before — but the part of
Guiderius is given to Arviragus, and the other young
prince is called Palladour — Cloten's part is much as
in the original, except as to the dialogue.

Act 1st begins with the parting of Ursaces and
Eugenia — only some few lines are from Shakspeare
—after Ursaces has made his exit, D'Urfey adds about
5 pages — the 2d scene lies in France — Ursaces enters,
and the Wager between him and Shatillion takes
place — this is mostly from Shakspeare.

Act 2d — in the 1st scene there are only some few
lines from Shakspeare — the 2d scene is between
Shatillion and Eugenia— about half of it is from
Shakspeare — the Queen gives Pisanio the supposed
poison — Eugenia is discovered in bed, and Shatillion
gets out of the chest — this scene is not materially
altered — Cloten enters with the musicians — and
Eugenia speaks some few lines from Shakspeare
about the loss of her bracelet.

Act 3d — Shatillion produces the bracelet, and Ur-
saces is convinced of his wife's infidelity — this s<3ene
is chiefly from Shakspeare — Bellarius &c. enter from
the cave— this scene is in part from Shakspeare—
Pisanio enters with Eugenia in man's clothes — he
believes her false to Ursaces, but spares her life — he
gives her the phial which he had received from the
Queen — this scene is almost all of it D'Urfey's.

Act 4th — the Queen is enraged at Eugenia's escape

T. K. 1682. 333

and orders Cloten's friend, Jachimo, to punish Cla-
rina for concealing it — Eugenia enters at the cave —
about a third of this scene is from Shakspeare —
scene 3d — Pisanio enters — and then Cloten — in Ur-
saces' clothes — Jachiino drags in Clarina — Pisanio
fights with Jachimo — Clarina runs off — Pisanio kills
Jachimo, but is wounded by Jachimo, and has his
eyes put out by Cloten — then follows the next scene
at the cave — chiefly from Shakspeare — Eugenia is
left on the stage as dead — she recovers soon after the
entrance of Lucius — the scene is said to shut upon
Cloten's dead body — but it had never been brought
in — Arviragus expressly says he had left it "in yonder
" thicket "- — D'Urfey closes the act with a new scene
between Bellarius, Arviragus, and Palladour.

Act 5th begins with a soliloquy by Ursaces — the
battle ensues, and Ursaces saves Cymbeline's life —
Shatillion enters disguised as a Briton — he is killed
by Ursaces, and acknowledges Eugenia's innocence
—Ursaces and Eugenia are reconciled — Cymbeline
discovers his sons — most of this act is D'Urfey's.

This is a vile alteration of Cymbeline — but still
enough of the original is retained to prevent the play
from being a very bad one — part of the soliloquy,
with which the last act begins, is so egregiously un-
suitable to the time of Cymbeline, that it deserves to
be quoted — Ursaces says, that if every woman that
forfeits honour should be deprived of life —
" The full fed city-dame would sin in fear ;
" The divine's daughter slight the amorous cringe
" Of her tall lover ; the close salacious Puritan
" Forget th' appointment with her canting bro-
" ther."

334 T. R. 1682.

In the 3d act Ursaces gives his servant a letter, and
says—

" Fly, Sirrah, with this to the packet-boat"

In justice to D'Urfey it must be added that some

of his additions are not despicable — in the Epilogue

D'Urfey calls his play a Comedy, and says it was

written 9 years ago — for a cast of this play see L. I. F.

[__Jan. 7 1720— and C. G. March 20 1738.

Malone tells us that in the 4to edition of Much ado
about Nothing, Kempe and Cowley are said to enter
instead of Dogberry and Verges — the 2d act of this
play begins thus — " Enter behind Cymbeline, Queen,
" a Purse, Pisanio, Doctor and Guards, a Viol, Mrs.
" Holten, Sue." — Mrs. Holten was perhaps Mrs.
Holden, one of the 8 original actresses of the Duke's
Company, of whom Downes relates the ludicrous
story.

Downes, as was before observed, does not give so
good an account of the theatrical transactions of the
King's Company as could be wished — he gives us in-
deed the cast of 15 of the principal old stock plays,
which were acted at the T. R. between 1663 and 1682,
but as he does not arrange them under any particular-

T. R. 1682. 835

year, it was impossible to insert them in their proper
places.

1. Humorous Lieutenant — see 1663.

2. Rule a Wife and have a Wife — see 1663 — this
has always been considered as an excellent Comedy

—there are very few plays indeed, in which two dis-
tinct plots are so happily united.

3. Fox— see T. R. Jan. 14 1665.

4. Silent Woman — see T. R. June 1 1664.

5. Alchemist — see T. R. Aug. 3 1664.

6. Maid's Tragedy — for the cast see T. R. Dec. 7.
1666 — this T. is one of Beaumont and Fletcher's best
plays — it was at this time very popular, but the plot
is unfortunately so indecent, that no alteration could
make it palatable to a modern audience — Aspatia,
who gives the title to the play, is the daughter of Ca-
lianax — she was betrothed to Amintor, but had been
deserted by him — at the opening of the play, Amintor
by the King's command had just married Evadne—
on the wedding night, she tells him that he must not
touch her, as she is the King's mistress ; and that
she only married him for her own convenience — he
is much offended at being treated in this manner, but
is too loyal to resent it — Melantius, the brother of
Evadne, and the particular friend of Amintor, is not
so scrupulous — he first brings his sister to a just
sense of her conduct, and then instigates her to kill
the King — in the last scene, Aspatia, in the disguise
of a man, and pretending to be her own brother,
with difficulty provokes Amintor to fight — she pur-
posely suffers herself to be killed — Amintor is sin-
cerely penitent for the injuries he has done to her—
Evadne and Amintor kill themselves — In the cha-

336 T. R. 1682.

racter of Amiritor, Fletcher has carried loyalty to its
utmost extent — in the 2d act he vows vengeance
against Evadne's paramour— but when he finds him
to be the King, he says —

" Oh, thou hast nam'd a word that wipes away
" All thoughts revengeful ! in that sacred name,
" The King, there lies a terror : what frail man
" Dares lift his hand against it ? let the gods
" Speak to him when they please : till then, let us
" Suffer and wait."

In the 3d act, the King taunts him in the grossest
manner — Amintor replies—

. " As you are mere man,

" I dare as easily kill you for this deed,
" As you dare think to do it : but there is
" Divinity about you, that strikes dead
" My rising passions : as you are my King,
" I fall before you, and present my sword
" To cut mine own flesh, if it be your will."

Melantius threatens to kill the King Amintor

observes—

« A curse will follow that — take heed,

" There's not the least limb growing to a King
«* But carries thunder in it."

In the 5th act, after Evadne has killed the King-
he says —

" Thou hast touch'd a life,

" The very name of which had pow'r to chain
" Up all my rage."

T. R. 1682.

Fletcher concludes the play with saying—

" On lustful Kings,

" Unlook'd-for, sudden deaths from Heav'n arc

" sent ;
" But curst is he that is their instrument."

In the 2d act Evadne laughs at Amintor for sup-
posing a person of her years to be a maid — Gibber
says, that this speech sometimes caused a smile at
the expense of the private character of the actress
who performed the part.

In the 5th act, the King is discovered in bed—
Evadne comes into his room, as she had been accus-
tomed to do — she wakes him and then stabs him —
this scene seems to have given offence to Charles the
2d, who was perhaps not without apprehensions, that
some woman, in a fit of jealousy or revenge, might
serve him the same trick.

Waller wrote a new fifth act to please the Court
—(Langbaine) — but he does not seem to have made
any alteration in the other parts of the play — this act
is in rhyme — and very inferiour to the original — the
plot is altered much for the worse — Evadne goes into
voluntary banishment — Amintor and Aspatia are kept
alive and married — the King lives and is reconciled
to Melantius — Waller concludes with a compliment
to the King and the Duke of York, the more elegant,
as it is indirect —

" Of all we offer to the powers above,

" The sweetest incense is fraternal love :

" Like the rich clouds that rise from melted gums,

" It spreads itself, and the whole Isle perfumes."

7. King and no King. Arbaces = Hart : Bessus

VOL. i. a

338 T. R. 1682.

= Shotterel : Mardonius = Mohun : Tigraries = Burt :
Gobrias = Wintershall : Lygones = Cartwright : Pan-
thea = Madam Gwyn : Arane = Mrs. Corey : — Arbaces,
King of Iberia, had taken Tigranes, King of Armenia,
prisoner — he offers him his sister Panthea in marriage
— Arbaces himself had not seen Panthea since she
was 9 years old — when he does see her, he falls des-
perately in love with her — she gradually entertains a
love for him, greater than that of a sister to a brother
— Arbaces turns out to be the son of Gobrias, and
consequently no relation to Panthea, who is the law-
ful queen — the plot is exceptionable, as being founded
on incest — but on the whole this is a very good play

— Bessus is a laughable character — Pepys does not
notice this play — but it must have been revived before
Nell Gwyn left the T. R. — it was acted for the last
time at C. G. Jan. 14 1788.

8. Hollo, Duke of Normandy. Rollo = Hart :
Aubrey = Mohun : Otto = Kynaston : La Torch =
Burt : Edith = Mrs. Marshall : Dutchess — Mrs. Corey :
—see T. R. 1685.

9. Scornful Lady — see Dec. 27 1666.

10. Elder Brother. Charles = Burt : Eustace =
Kynaston : Their Father = Loveday : The Uncle =
Gradwel : Charles' Man = Shotterel : Lady = Mrs.
Rutter : Lilia Bianca = Mrs. Boutel : — Downes is here
shamefully negligent, because he would not give him-
self the trouble of looking into Fletcher — the Father
is Brisac — the Uncle is Miramont — the Lady is An-
gellina — the Servant is Andrew, and his wife, Lilly
— Lilia Bianca is one of the principal characters in
the Wild-Goose Chase.

11. Othello — For Downes' cast see Feb. 6 1669 —

T. R. 1682. 339

there is an edition of Othello with the following cast
—which seems to have been the cast of 1672 — or
thereabouts — as the names of Beeston and Mrs. Cox
appear in it— Othello = Hart : lago = Mohun : Cassio
= Kynaston : Brabantio = Cartwright : Roderigo —
Beeston : Duke — Lydal : Gratiano = Griffin : Ludo-
vico = Harris : Clown = Haines : Desdemona = Mrs.
Cox: ^Emilia = Mrs. Rutter : Bianca^ Mrs. James.

12. Henry 4th part 1st— see T. R. Nov. 2 166?.

13 and 14. Maiden Queen and Mock Astrologer —
these were doubtless stock plays, but Downes should
not have reckoned them among the old ones.

15. Julius Caesar. Brutus = Hart : Antony = Ky-
naston : Cassius = Mohun : Julius Caesar — Bell :
Portia = Mrs. Corbet : Calphurnia=:Mr8. Marshall:
— as Bell acted in this play, it must have been revived
about 1671.

Downes next gives us a list of 21 old plays, which
were revived between 1663 and 1682.

1. Catiline— see Dec. 19 1668.

2. Merry Wives of Windsor — acted Aug. 15 1667.

3. Opportunity — this is a good C. by Shirley-
Borgia is said to have been from home for some few
years — Aurelio, a gentleman of Milan, arrives at Ur-
bino, and is accosted by every body as Borgia — the
personal likeness between them is supposed to be so
great, that even Borgia's father believes him to be his
son — Aurelio humours the mistake — the Dutchess of

z2

340 T. R. 1682.

Urbino, and Cornelia, fall in love with Aurelio — he
falls in love with Cornelia, but is yet greatly flattered by
the partiality of the Dutchess — she at last dictates to
him, as her Secretary, a love letter with a promise of
marriage, and directs him to give it to him that loves
her best — between his hopes of success, and his fears
that the Dutchess is not in earnest, he is much per-
plexed ; and gives the letter to the Duke of Ferrara —
thereby losing the golden Opportunity — the Dutchess
dissembles her disappointment, and marries the
Duke.

The manner, in which some of the articles in the
B. D. have been compiled, is truly ludicrous — Lang-
baine says of this play, " the resemblance of Aurelio
" to Borgia is founded on the same with Measure for
" Measure " —he should have said the Comedy of
Errors— both the editors of the B. D. repeat Lang-
baine's palpable blunder.

4. Example — this C. was written by Shirley — Sir
Walter Peregrine had gone abroad — on his return, he
finds that Lord Fitzavarice had made his wife some
valuable presents— he at first supposes that they have
been obtained by the loss of her virtue — but at the
conclusion every thing is cleared up to his satisfaction,
and Lady Peregrine is said to be the " Example " of
chaste honour — this part of the play is good — the
underplot has little to recommend it — the titlepage
of this play does not express of what description it is
— Langbaine and both the Editors of the B. D. call
it a Tragi-Comedy — which is a plain proof that no
one of them had read it.

,5. Jovial Crew— see T. R. Jan. 11 1669.

6. Philaster— see T. R. May 30 1668.

T. R. 1682. 341

7. Cardinal by Shirley — the King of Navarre forces
the Dutchess Rosaura to engage herself to the Cardi-
nal's nephew, Columbo — she requests Columbo by
letter to release her from her engagement — this he
apparently does — she then marries Alvarez, but on
the wedding day Columbo and his friends murder
Alvarez— the influence of the Cardinal with the King
is so great, that Columbo goes unpunished — but Her-
nando, to revenge his own wrongs and those of Alvarez,
kills Columbo — the Dutchess pretends to grow mad,
and is consigned by the King to the care of the Car-
dinal ; who, riot considering her death simply, as a
sufficient satisfaction for the loss of his nephew, de-
termines first to ravish and then to poison her —
Hernando comes to her assistance and wounds the
Cardinal — the King &c. enter — the Cardinal says
(falsely) that he has poisoned her, but that in proof
of his repentance, as a dying man, he will furnish her
with an antidote — he takes part of it himself, and
gives her the rest — she drinks it — the Cardinal then
avows that the pretended antidote was really poison,
which he did not scruple to take himself as his wounds
were mortal — the surgeon assures him they were not

—and the Cardinal acknowledges that he has caught
himself in his own snare — Miss Lee in her T. of Al-
meyda (see D. L. April 20 1796) has professedly
borrowed the circumstance of the antidote, but she
has not managed it quite so well ; as Abdallah is
knowingly the cause of his own death, whereas the
Cardinal considers himself as dying, and that his
taking of the poison is a matter of no importance —
the Cardinal is a very good T.

8. Bartholemew Fair — this is a very good play —

342 T. R. 1682.

the humour however is not only low, but somewhat
obsolete — there is very little plot — all the characters
are well supported — particularly Cokes — Rabbi Busy
— Waspe — and Ursula the pig-woman.

9. Chances— see Feb. 5 1667.

10. Widow — this C. was written by Jonson,
Fletcher, and Middleton — Langbaine says it was
revived with a new Prologue and Epilogue, for which
he refers us to London Drollery, a book or pamphlet
now become scarce — Francisco is in love with Phi-
lippa, the young wife of an old Justice, called Bran-
dino — she makes an assignation with him — on his
road to her house he is attacked by thieves and
wounded — this brings him to serious reflection, and
he determines to desist from his attempt on Phi-
lippa— the other part of the plot respects the Widow
— Ricardo, a decayed young gentleman, and two rich
old men, are suitors to her — she suspects that they
want to marry her for her money, and affects to have
made a deed of gift of her property to Brandino —
the old suitors fly off — but Ricardo persists in his
addresses — she accepts him— and the deed of gift
turns out to be a deed of trust — this is a very good
play.

11. Devil is an Ass — Satan and Pug (an inferiour
Devil) are two of the D. P. — the latter obtains leave
to come on earth, as he is very desirous to do the
commonwealth of hell some service — Pug is made an
Ass of on every possible occasion — he is at last put
into prison for stealing a suit of clothes — Satan orders
him to be carried off, as it would be a disgrace to
their state to have a devil hanged — this is on the
whole a good C — but there is a great deal about

T. R. 1682. 343

Projectors &c which is very dull — many parts of the
dialogue are well written — Pug's soliloquy, Act 5.
Scene 2, is excellent.

12. Argalus and Parthenia was written by Glap-
thorne — it was printed in 1639, arid had been acted
at the private house in D. L. — Langbaine tells us that
the story is taken from Sydney's Arcadia — the merit
of this play consists chiefly in the language, which is
very good — the plot is slight, and some of the inci-
dents unnatural — Argalus and Parthenia are mutu-
ally in love — Demagoras, a rough soldier, wants to
marry Parthenia — on her rejecting of him, he de-
stroys her beauty by a poisonous juice — her charms
are restored by the skill of the Queen of Corinth —
Argalus fights with Demagoras and kills him — he
afterwards fights with Amphialus and is killed — Par-
thenia dies — Some shepherds and shepherdesses sing,
dance, and deliver a considerable part of the dialogue

—scene Arcadia.

13. Every Man in his Humour — this C. was re-
vived with a good Epilogue — 2 of the lines are—

" Here's Mr. Matthew, our domestic Wit,

" Does promise one of the ten plays h' as writ."

Davies takes it for granted that by Master Matthew
is meant Matthew Medbourne, and considers the two
lines about him as a proof that this C. was revived
at the Duke's Theatre — his argument is plausible,
but not conclusive — it is by no means certain that
Medbourne was meant by Master Matthew — it is still
less certain that he had 10 manuscript plays by him
— as an author he is only known as the translator of

344 T. R. 1682.

one play — the testimony of Downes is express, and
cannot be set aside by conjecture — nor could the
play have been revived at both houses, as that would
have been a violation of an established rule.

14. Every Man out of his Humour was revived in
1675 with a new Prologue and Epilogue, written by
Duffet and spoken by Haines — (Langbaine) — Hurd
says, " Jonson has given us in this drama an unna-
" tural delineation of a group of passions wholly
" chimerical, and unlike any thing we observe in the
" commerce of human life" — Gifford attempts to re-
fute what Hurd says — he praises the play exceed-
ingly— but at last he allows that it is, as a whole,
very deficient in interest — it is so deficient in interest,
that it is somewhat of a labour to wade through it.

15. Carnival — Downes reckons this among the old
plays, but it was acted in 1664 — it is the first play in
which a Carnival had been exhibited on the English
stage.

16. Sejanus — this is on the whole a good T. — but
some parts of it are cold and void of interest — they
are well written, but not dramatic — Gifford observes —
" all the D. P. are marked with truth and vigour, but
" it is in the characters of Tiberius and Sejanus that
" the poet has put forth his strength — * * the volun-
" tary death of Silius in the senate-house is an inci-
" dent at once affecting and dramatical : nor is the
" justification of Cremutius Cordus, in the same
" scene, to be passed without praise" — Jonson has
borrowed a good deal from Tacitus and Juvenal.

1 7- Merry Devil of Edmonton — the author of this
C. is unknown — Jonson, in his Prologue to the Devil

T. R. 1682. 345

is an Ass, requests the audience to show his play the
same countenance, as they had shown to —

" Their dear delight, the Devil of Edmonton."

Gifford in a note tells us, that " when this was
" written, the Merry Devil had been several years
" on the stage, being incidently noticed as a popular
" piece in 1604" — it is short, and not divided into
acts — it has no great merit, but considering thejime
when it was written, it is far from a bad play — the
plot is simple — Sir Arthur Clare had promised his
daughter, Milliserit, to the son of Sir Richard Mount-
chensey — he afterwards wishes to marry her to the
son of Sir Ralph Jerningham — for this purpose he
breaks off the match with Young Mountchensey, and
places his daughter in the nunnery at Cheston—
Young Mountchensey, with the assistance of his
friends, Young Clare and Young Jerningham, gets
Millisent from the nunnery and marries her.

The Merry Devil is Peter Fabel, a renowned Scho-
lar of Peterhouse Cambridge — Weber says he lived
in the time of Henry the 7th — but Langbaine says
Henry the 6th, arid refers us to Fuller's Worthies in
Middlesex — the play opens with an Evil Spirit
coming to fetch away Fabel according to agreement
— Fabel persuades him to sit down in his chair —
when he is seated, he cannot get up again — Fabel
gives him his liberty on condition of receiving a
reprieve for 7 years — in the course of the piece,
Fabel assists his friend and pupil, Mountchensey, in
stealing away Millisent, but he uses no supernatural
means.

The Devil came a second time for Fabel — Fabel

346 T. u. 1682.

begged leave to live till the taper, then nearly finished,
was burnt out: this indulgence being granted to his
earnest entreaties, he seized the candle end, and
before the Devil was aware, plunged it into a vessel
of holy water — here he was secure from the Devil's
clutches, who vanished in great dudgeon, without
his errand — (Giffbrd) — this second trick is not in-
serted in the play — for a cast of this C. see the
end of 1691.

18. White Devil, or Vittoria Corombona — this T.
was written by Webster — it was printed in 1612—
the Duke of Brachiano is married to Isabella, the
sister of the Duke of Florence — but in love with
Vittoria, the wife of Camillo — the White Devil is
Flamineo — he assists Brachiano in debauching his
sister Vittoria — he kills Camillo and pretends that he
died by accident — Brachiano causes Isabella to be
poisoned — Vittoria is tried for adultery, and sen-
tenced to be confined in a house for penitent strum-
pets— Brachiano gets her from thence and marries
her — Flamineo kills his brother Marcello — the Duke
of Florence, disguised as a Moor, poisons Brachiano
— two of his friends kill Flamineo and Vittoria—
this is on the whole a good play — the plot is perhaps
taken in part from some of the Italian Historians, as
the election and annunciation of Cardinal Monti-
celso, as Pope Paul the 4th, is introduced in the 4th
act — a new edition of this play was printed in 167^
— it is said in the titlepage to have been acted at the
T. R. by his Majesty's Servants.

19- Beggars' Bush. Langbaine had seen this play
several times acted with applause — see Royal Mer-

T. n. 1682. 347

chant or Beggars' Bush D. L. June 12 1705— and
Merchant of Bruges D. L. Dec. 14 1815.

20. Traytor— see T. R. 1692.

21. Titus Andronicus— see T. R. 1678.
Downes says — " These being old plays, were acted

" but now and then ; yet being well performed, were
" very satisfactory to the Town."

Downes next enumerates the new plays — viz.—
Indian Emperour — Plain Dealer — Tyrannick Love —
Aureng-Zebe — Alexander the Great — All for Love-
Assignation — Mithradates — Destruction of Jerusalem
— Marriage a-la-Mode — Unhappy Favourite — Black
Prince — Conquest of Granada — Sophonisba — he
gives the cast of these plays and then adds — " all
" the foregoing, both old and modern plays, being
" the principal in their Stock, and most taking, yet
" they acted divers others, which to enumerate in
" order, would tire the patience of the reader : as
" the Country Wife, Love in a Wood, Amboyna,
" Cheats, Selindra, Surprisal, Vestal Virgin, Com-
" mittee, Love in a Maze, and Rehearsal, with many
" others" — all these plays have been noticed in their
proper places except Selindra — Selindra is a Tragi-
Comedy in prose by Sir William Killegrew — the
plot is romantic, but the play on the whole has
considerable merit.

Langbaine mentions some plays as acted by the
King's Company, which are not mentioned by
Downes.

Coxcomb by Beaumont and Fletcher — Langbaine
says this play was revived at the Theatre Royal,
(seemingly before the Union) the prologue being
spoken by Haines — it is a very good C. — Antonio,

348 T. R. 1682.

who gives the name to it, is so conceited and foolish,
that tho* his friend, Mercury, tells him he is in love
with his wife, yet he insists on his not leaving her,
and lays plans to facilitate their intimacy — the main
plot concerns Ricardo — he is in love with Viola and
persuades her to elope with him — when he comes to
the place of appointment, he is so drunk that he does
not know her — she runs off to avoid him — in her
distress she is met by a tinker and his trull — they
rob her and bind her to a tree — Valerio releases her,
but finding her modest he leaves her to take her
chance — she then hires herself as a servant to Mer-
cury's mother — Ricardo on recovering his senses is
truly penitent — he at last finds Viola, and they are
reconciled — see Fugitive D. L. C. Ap. 20 1792.

Knight of the Burning Pestle. Langbaine says—
" this play was in vogue some years since, it being
" revived by the King's house, with a new Prologue
" spoken by Mrs. Ellen Gwyn" — the revival must
have taken place before 1671 — Jasper, the appren-
tice of a Merchant, is in love with Luce, his master's
daughter — she is in love with him — the Merchant
turns Jasper out of his house — and designs his
daughter for Master Humphrey — Luce tells Hum-
phrey that she has sworn not to marry any one who
will not steal her from her father — Humphrey does
so — Jasper meets them, and takes her from him—
but the Merchant gets her from Jasper — he is told
that Jasper is dead, and that he had requested that
his body might be brought to Luce — the Merchant
consents — Jasper is brought in alive in a coffin — and
Luce is carried out in it — Jasper appears to the
Merchant as the Ghost of himself — the Merchant is

T. R. 1682. 349

frightened — and becomes reconciled to Jasper and
Luce — a Citizen and his wife sit on the stage and
make their remarks — their apprentice, Ralph, is dis-
covered in the first act — " like a grocer in his shop,
" with two apprentices, reading Palmerin of Eng-
" land " — he determines to sally forth in search of
adventures — he assumes the name of the Knight of
the Burning Pestle, and takes the two other appren-
tices, one for his squire, and the other for his dwarf
— nearly the whole of Ralph's character is a bur-
lesque on Knight-Errantry — Don Quixote is sup-
posed to have been published some few years before
this C. — the serious parts of this play are moderate
— the comic ones are very good.

Night Walker, or the Little Thief— this is a very
good C. — it was probably revived before 1682, as
Langbaine says, that he had seen it acted by the
King's Servants with great applause both in the city
and country — Justice Algripe, notwithstanding he
was contracted to Alathe, marries Maria — Maria is
in love with Heartlove, but forced by the Lady, who
is her mother, to marry Algripe — on the wedding
night she falls into a swoon, and is placed in a
coffin — the Little Thief is Alathe, who is disguised
as a boy — she assists her brother, Lurcher, in rob-
bing the Lady's house — Alathe puts on a turban, a
false beard and a long cloak — Lurcher takes her on
his shoulders — their strange appearance frightens the
nurse and coachman — in the dark they carry off
the coffin instead of a chest of plate — when they
find their mistake, they prepare to bury the coffin —
Maria groans — they leave her — and she recovers—
the Lady goes to Algripe's house to demand her

350 T. R. 1682.

daughter's body, and the repayment of her portion
—he refuses to admit her, but admits Lurcher and
Alathe who are disguised as hawkers of books — they
bind and gag Algripe— and rifle his desk — Lurcher
next disguises himself as a Constable — he inveigles
the Justice to a vault by a pretended discovery of the
persons who had robbed him — he gives him a sleep-
ing potion — when the Justice wakes, two persons, as
Furies, threaten to carry him to hell — Alathe, as an
Angel, exhorts him to repentance — this trick has so
good an effect on Algripe, that he forswears usury,
restores to Lurcher the mortgage of his estate, and
marries Alathe — Maria is introduced by her nurse
to the Lady as a Welsh girl — the Lady and Heartlove
are struck with the likeness — at the conclusion Heart-
love and Maria are united — Wildbrain the Lady's
nephew, and Toby her coachman are good characters,
but not much connected with the plot — this C. was
revived at D. L. Oct. 18 1705.

Love's Cruelty by Shirley must have been revived
by the King's Company, as Mohun played Bellamente
both before and after the Restoration — (Hist. Histri-
onica} — Bellamente and Hippolito are friends — the
former is going to marry Clariana — Hippolito, who
is of an amorous disposition, refuses to see Clariana
out of regard for his friend — this refusal excites the
curiosity of Clariana, and she makes Hippolito a visit
— the marriage takes place — in the 3d act Bellamente's
servant tells him, that he had just seen Clariana
and Hippolito in such a situation as to preclude all
doubt of their criminal intercourse — Bellamente enters
the chamber with a pistol — by a stratagem he con-
ceals their guilt from his servant — and at last is pre-

T. R. 1682. 351

vailed on to spare their lives— Hippolito becomes
sincerely penitent, and is on the point of marrying
Eubella — this excites Clariana's jealousy — by an artful
letter she prevails on Hippolito to visit her — Bella-
mente surprises them — Clariana kills Hippolito, and
he in return kills her — this is on the whole a very
good play — it is called a Tragedy as the catastrophe
is tragic, but the dialogue does not rise above serious
Comedy — the scene lies at Ferrara.

Double Marriage had probably been acted by the
King's Company, as it was revived by Betterton soon
after the Union.

Bussy D'Ambois had been revived — Hart acted
D'Ambois — see preface to Spanish Fryar — and
D'Urfey's D'Ambois T. R. 1691.

Variety, this C. is attributed to the Duke of New-
castle— it must have been revived by the King's Com-
pany, as Galliard was one of the characters in which
Lacy was painted by the order of Charles the 2d —
Galliard is a French Dancing Master — there is a sad
want of plot in this play, and but little incident till
the 5th act — the Duke, by the title which he has given
to his C., probably meant to imply that he had repre-
sented various humours — Variety and the Country
Captain were printed together in one small vol. in
1649 — the original price was doubtless not more than
2 shillings — in 1825 they were sold for £2 12s. 6d. —
the Country Captain is a better play than Variety.

Court Secret— this T. C. was written by Shirley

—it was printed in 1653, and had been intended for

representation at Black Friers before the suppression

of the stage — after the Restoration it was brought

out by the King's Company — Langbaine had seen it

352 D. G. 1682.

acted — the scene lies at Madrid — the Dutchess Men-
doza had been appointed governess to the Prince
Carlo in his infancy — Piracquo, a Spanish nobleman,
had been forced to leave the kingdom — he turned
pirate, and stole Don Carlo, in the hope that by re-
storing him, he might make his peace with the King
— in this he was disappointed, as the Dutchess had
substituted her own son, Julio, for Carlo — the Dut-
chess on her deathbed had confessed to her husband
what she had done — this is the Court Secret — Men-
doza, knowing that Pedro is acquainted with the
Secret, is perpetually afraid that he should make
a discovery of it — his distress is for the more part
ludicrous — Pedro is a comic character — the rest of
the play is serious — the plot is complicated, and not
so well cleared up in the 5th aet as it might have
been.

D. G. 1682.

Venice Preserved, or a Plot Discovered. Jaffier
= Betterton : Pierre — Smith : Renault = Wiltshire :
Priuli = Boman : Bedamar = Gillow : Duke = D. Wil-
liams : Antonio = Leigh : Belvidera = Mrs. Barry :
Aquilina = Mrs. Currer : — Otwayhas founded this T.
on the history of the Conspiracy of the Spaniards
against the Republick of Venice in the year 1618 —
he follows the history in all its material points—
nearly the whole of the D. P. are real persons — all

D. G. 1682. 353

that relates to Belvidera is fictitious — Jaffier cuts a
more conspicuous figure in the play than in the his-
tory — the Marquis of Bedamar is the leading cha-
racter in the history — Pierre was privately killed on
board of his own ship by the order of the Senate
—he was originally a pirate — Priuli was the Doge of
Venice at the time when the plot was discovered.

Otway wrote this play against the Whigs — he evi-
dently means to insinuate that the persons at this
time in opposition to the Court were as unprincipled
as the Conspirators in his Tragedy.

Pierre. " Friends! was not Brutus a gallant

" man ?
Renault. " Yes, and Catiline too ; his cause

" was good.

Bedamar. " And ours as much above it,
" As Renault thou'rt superiour to Cethegus,
" Or Pierre to Cassius."

This attempt to put Brutus and Cassius on a level
with Catiline and Cethegus was no doubt very
acceptable to the Court — when Elliot enters, Renault
says—

" You are an Englishman ; when treason's hatch-

" One would have thought, you'd not have been
" behind hand."

Davies supposes with the utmost probability that
Otway meant to ridicule Antony Earl of Shaftesbury
under the buffoon character of Antonio, and to attack
him seriously under that of Renault — Antonio is said
to be 61 — Malone observes that this was undoubtedly

VOL. I. A A

354 D. G. 1682.

meant for Lord Shaftesbury's age — but that in fact
he was not quite 60.

In the Prologue it is said—

" Here is a traitor too, that's very old,

" Turbulent, subtle, mischievous and bold,

" Bloody, revengeful, and— to crown his part

" Loves fumbling with a wench with all his heart :

" 'Till, after having many changes past,

" In spite of age (thanks t' heav'n) is hang'd at

" last :

" Next is a Senator that keeps a whore,
" In Venice none a higher office bore,
" To lewdness ev'ry night the leacher ran; -v
" Show me, all London, such another man,
" Match him at Mother CresswelPs, if you can. J
" O Poland ! Poland ! had it been thy lot
" T' have heard in time of this Venetian plot,
" Thou surely chosen hadst one king from thence,
" And honour'd them as thou hast England since."

All this was meant of Lord Shaftesbury — the last
lines allude to the hopes which he was said by his
enemies to have entertained, of being elected King
of Poland.

In the dedication to the Duchess of Portsmouth,
Otway tells her, by way of a compliment, that she is
the King's whore, and had had a bastard by him—
the Duchess of Cleveland was very rapacious — but
of all the King's mistresses, the one whom the nation
had the most reason to curse, was the Duchess of
Portsmouth.

Malone says that Venice Preserved came out in
1680-1681 — the Duke of York was at that time in

D. G. 1682. 355

a sort of honourable banishment at Edinburgh —
Dryden wrote a Prologue in compliment to the Duke,
on liis first appearance at the theatre, after his return
from Scotland — it was spoken before Venice Pre-
served April 21 1682. (Malone.)

Royalist. Sir Charles Kinglove (the Royalist) =
Smith : Heartall and Broom (his friends) = Williams
and Bowman : Sir Oliver Oldcut (Chairman to the
Committee of Sequestrations) = Leigh : Sir Paul
Eitherside (a Justice of Peace) — Jevon : Capt. Jonas
(a seditious rascal) = Percival : Copyhold and Slouch
(tenants to Sir Charles, and afterwards false wit-
nesses) = Underbill and Bright : Camilla (wife to
Oldcut) = Mrs. Betterton : Phillipa = Mrs. Petty :
Aurelia (married to Sir Paul between the 4th and
5th acts) = Mrs. Twyford : — this is a pretty good C.,
it was well received on the stage, as being expressly
written against the republicans and whigs — the cha-
racter of the Royalist is well drawn, but the dramatic
merits of this piece consist chiefly in the scenes which
are not political — the play begins with a view of the
Royal Oak in Boscobel — Sir Charles pays his ho-
mage to it in a very solemn manner, and then pro-
poses a health to Caesar — Sir Charles, tho* a man of
gallantry, had hated and contemned a beautiful and
rich young lady, because her father was a regicide —
she (Phillipa) follows him in all his troubles in man's
clothes — her disguise involves her in ludicrous dis-
tress at the end of the 2d act — the scene is a good
one, but Mrs. Behn in the Younger Brother has
introduced the same incident with much better effect
—in the 4th act Phillipa runs across the stage with
her breeches in her hand — in the 5th act Sir Charles

AA 2

356 p D. G. 1682.

says he will give the king £20,000 of Phillipa's
money — " Oh did he want as many drops of blood
" from my heart * * * * with my own hands I'd
" crush the trembling lump, until the noble loyal
" debt was paid" — this is such sad nonsense that
even loyalty can hardly excuse it — at the conclusion
D'Urfey administers poetical justice — in the 1st act
Sir Charles' estate was confiscated, but it is now
restored to him by an order from the Protector —
here our author's zeal for his hero carries him too
far — Cromwell was never fool enough to act as he is
here represented — Sir Paul Eitherside for his dis-
loyalty is rewarded with a noble pair of horns — Sir
Oliver deserved the same fate, but D'Urfey has
thought proper to describe Camilla in the D. P. as
virtuous and secretly loyal — however, notwithstand-
ing her virtue, she and Sir Charles are so intent
on embracing each other, that Oldcut takes off his
girdle, and buckles them both in it — the three
tricks which Camilla plays her husband, are bor-
rowed from Boccace day 7 novel 9 — in the preface
D'Urfey has the meanness to sneer at Lord Shaftes-
bury for a personal infirmity — he calls him " the
" new elected warpt monarch of Poland" — the Pro-
logue is very loyal— in the Epilogue Underbill says—

" For who are these among you here that have
" Not in your rambles heard of Tory Cave ?
" That rores in coffee-house, and wastes his

" wealth,
" Toping the Gentleman in Scotland's health"

Fiom the last line it is clear, that this play came
out before the Duke of York's return to England.

D. G. 1682. 357

False Count, or a New way to play an old game.
Francisco = Nokes : Guiliom (a chimney sweeper) =
Leigh : Don Carlos = Smith : Guzman (his servant)
= Underbill : Antonio — Wiltshire : Julia — Mrs. Da-
vis: Isabella = Mrs. Corror : Clara = Mrs. Petty: Ja-
cinta = Mrs. Osborn : — this is a laughable Farce in
5 acts by Mrs. Behn — the only fault of it is, that both
parts of the plot are very improbable — Julia was in
love with Carlos, but forced by her father to marry
Francisco, a rich old fellow, originally a shoemaker

—Isabella, his daughter, who is proud and vain to
the last degree, is taken in to marry Guiliom, sup-
posing him to be a Count — Francisco and his family
go to sea in a galley on a party of pleasure — they
are taken prisoners by Carlos and his servants dis-
guised as Turks — they are carried to a country
house belonging to Antonio — Francisco is made to
believe that it is one of the Grand Turk's Seraglios

-Francisco, to avoid the bow string, entreats his
wife to comply with every thing that Carlos wishes

—in the last scene the cheat that has been put on
Francisco is discovered; and Guiliom comes on to
claim his wife in his original dress of a chimney-
sweeper— Antonio marries Clara — revived at L. I. F.
Aug. 11 1715.

Virtue Betrayed, or Anna Bullen T. by Banks —
Piercy — Betterton : King Harry = Smith : Cardinal
Wolsey = Gillow : Northumberland — Wiltshire :
Rochford = Jos. Williams : Anna Bullen = Mrs. Barry:
Lady Diana Talbot = Mrs. Petty : — Banks has taken
strange liberties with the real story — he makes Piercy
and Anna Bullen retain their love for each other to
the last— when she is beheaded, Piercvdies of a broken

358 D. G. 1682.

heart — Cavendish* in his life of Wolsey, gives a par-
ticular account of the attachment between Piercy and
Anna Bullen, and of the manner in which it was
broken off — all connexion between them had ceased
before the King gave any intimation of his love for
Anna Bullen — Cavendish was present, when the Earl
of Northumberland gave his son a severe jobation on
Anna Bullen's account — Cavendish and Piercy were
at that time both living in the Cardinal's house.

This is a poor play, but it was acted with success
— the author, for the sake of abusing the City, turns
one of the principal scenes into Farce — when the
king has accused Anna Bullen of adultery with her
brother, Norris, and a musician, he adds —

" I have more horns than any forest yields ;
" Than Finsbury, or all the city-musters,
" Upon a training, or a Lord Mayor's Day."

He concludes the play thus—

" If subjects thus their Monarchs' wills restrain ;
" JTis they are kings, for them we idly reign :
" Then 1'le first break the yoke: this maxim still
" Shall be my guide — a Prince can do no ill!
" In spite of slaves, his genius let him trust ;
" For heav'n n'ere made a king, but made him
" just."

The Prologue and Epilogue both reprobate stage
politics — the Prologue says —

" Was't not enough, vain men of either side,
" Two Roses once the nation did divide ?
" But must it be in danger now again
" Betwixt our Scarlet and Green-ribbon men ?"

D. G. 1682. 359

And the Epilogue —

" Here's such a rout with Whigging and with

" Torying,

" That you neglect your dear-loved sin of whoring:
" The Visor-mask that ventured her half crown,
" Finding no hopes but here to be undone ;
" Turns godly streight " &c.

Roundheads, or the Good Old Cause — there are
no performers' names to the D. P. — the plot and dia-
logue of this C. are in a considerable degree taken
from Tatham's Rump — but Mrs. Behn has greatly im-
proved what she has borrowed — She has added four
new characters — viz. — Loveless and Freeman, two
Royalists — Ananias Goggle, a Lay Elder — and Lady
Desbro — a great deal of poor stuff in the Rump is
omitted — the Roundheads is a good C., but a very
extraordinary one, as most of the D. P. are persons
who made a figure in real life not many years before
— the play is supposed to take place a little before the
Restoration — Lady Lambert is represented as an im-
perious woman, who insists on being addressed by
the title of Highness, as she flatters herself that her
husband will be made King, or Protector — she falls
in love with Loveless — he detests her principles but
likes her person — Tatham in the Rump is very severe
on Lady Lambert, but as he does not impute any
gallantries to her, they are probably a fiction on the
part of Mrs. Behn — Granger does not notice Lady
Lambert — in the 4th act, Loveless and Lady Lambert
are discovered on a couch — Mrs. Behn sometimes
goes to strange lengths on the stage, but here she has
hit on a most extraordinary expedient for cooling the

360 D. G. 1682.

Gentleman's courage — Lady Lambert uncovers a
Crown and Scepter, which were placed on a table
behind — and Loveless says—

" 'Tis Sacrilege to dally where these are,

" for heaven's sake, Madam,

" Let us not be prophane in our delights,
" So near the sacred relicks of my King."

Freeman and Lady Desbro are mutually in love-
she is virtuous, but promises to marry him, if her
husband should die — an event of which she is very
desirous, and which is said to take place in the last
act — in the 4th act, Freeman and Lady Desbro are
together — on the approach of Desbro, Freeman hides
himself behind a curtain — Ananias assists him in
making his escape.

In the 4th act, Lambert, Fleetwood, Desbro, Hew-
son, Duckingfield, Wariston and Corbet, are disco-
vered half drunk — they fling cushions at one another,
and exeunt dancing— Lady Lambert, on hearing of
this, observes that they are at their Oliverian frolicks
—in Old Troop, Lacy introduces three Roundheads
—the Governour of a garrison, Capt. Holdforth, and
Capt. Tub-text.

Tub-text. But to the question ; how far may we
proceed in drink ?

Governour. As far as the innocent recreation of
knocking one another down with Cushions corne to j
it is the exercise of our superiour officers.

Holdforth. Ha, ha, ha, I have seen our Grandee
(Cromwell) throw a cushion at the man with the great
thumb (Hewson) and say, Colonel, wilt thou be a
Cobler again.

D. G. 1682. 361

The amusement of flinging cushions was not how-
ever confined to the Puritans, nor to the time of
Oliver— Pepys says Feb. 25 1666—" Then I with
" the young ladies and gentlemen, who played on the
" guittar, and mighty merry, and anon to supper ;
" and then my Lord going away to write, the young
" gentlemen to flinging of cushions, and other mad
" sports till towards twelve at night.'*

In the 5th act, Lady Lambert, Lady Cromwell,
Lady Fleetwood, Lady Desbro &c. are assembled in
Council — several women petition for a redress of
grievances — Loveless enters disguised as a woman—
the Council is broken up by the change which takes
place in public affairs — Loveless and Freeman protect
Lady Lambert and Lady Desbro from the Mob — the
play concludes with a great bonfire — the Mob roast
Rumps, and drink the King's health — drinking the
King's health was at the Restoration considered as a
matter of great importance* — it often ended in a de-
bauch— Ludlow says that on these occasions Monck
always drank to a beastly excess — and Burnet, speak-
ing of Scotland, tells us it was a mad roaring time,
full of extravagance — the persons who managed the
public business were almost perpetually drunk — In
the last scene, Wariston comes on disguised as a
Pedlar — he is discovered and placed on a staff — the

* Sir Matthew Hale, when a young student of the law, was at
a merry party, in which one of the company drank to such excess
as to fall down in all appearance dead — Hale was so affected at
this, that he made a solemn vow never to drink a health again —
with this vow he would never dispense — but at the Restoration he
was sometimes roughly treated for not drinking the King's health.
(Hales Life.)

362 D. G 1682.

Fiddlers play " Fortune's my Foe " — Theobald says
these words are the beginning of an old ballad, in
which are enumerated all the misfortunes that fall
upon mankind through the caprice of Fortune — this
ballad is either sung or alluded to in several old plays.

Wariston had been a sort of Idol among the Scotch
Presbyterians — he was Chairman of the Committee
of Safety &c. — for this he was hanged in 1663—
Burnet, who was his nephew, says he was at that
time so disordered both in body and mind, that it was
a disgrace to a government to proceed against him —
his faculties were so gone, that he did not even know
his own children — in the play he is a character of
some humour, and of course speaks in the Scotch
dialect.

The Prologue is spoken by the Ghost of Hewson
ascending from Hell, dressed as a Cobler — Granger
says — " Hewson from a mender of old shoes became
" a reformer of government and religion — he was,
" allowing for his education, a very extraordinary
" person — his behaviour in the army soon raised him
" to the rank of a colonel — at the Restoration he
" made his escape to Amsterdam, where he died in
" his original obscurity" — in the play he does not cut
any great figure — he makes a mistake or two in his
conversation, such as illiterate persons are apt to
make.

Whitlock is represented in this Comedy as a man
attached to nothing but his own interest — Granger
says — " he was a man of integrity, and of great know-
" ledge in the law— his candour was conspicuous in
" the warmest debates, and tho* he still adhered to
" the side that was uppermost, it appears to have

D. G. 1682.

" been more owing to his moderation, than the flexi-
" bility of his principles."

Lambert was taken Prisoner by Ingoldsby a little
before the Restoration, and brought to Northampton
—he put Ingoldsby in mind of what Cromwell said
to them near that place in 1650, when they, with a
body of Officers, were going to join the Army — the
people shouted and wished them success — which occa-
sioned Lambert to observe to Cromwell that he was
glad to see they had the nation on their side — Crom-
well answered, do not trust to that, for these very
people would shout as much, if you and I were going
to be hanged — Lambert said, he looked on himself in
a fair way to that, and began to think Cromwell
prophesied — (Burnet) — this however was not Lam-
bert's fate, he lived in prison to a great old age.

Ingoldsby had been one of Charles the first's Judges ;
but had changed sides and made his peace with
Charles the 2d, for which reason he was not brought
into this play — Richard Cromwell said of him, "Here's
" Dick Ingoldsby, who can neither preach nor pray,
" and yet I will trust him before you all. (Ludlow.}

London Cuckolds. Doodle and Wiseacre (two
Aldermen) = Nokes and Underbill: Dashwell (a City
Scrivener) = Leigh : Ramble = Smith : Townly = Wil-
liams: Loveday = Wiltshire : Arabella = Mrs. Barry:
Eugenia = Mrs. Corror : Peggy = Mrs. Petty : Engine
(woman to Arabella) = Mrs. Leigh : Jane (woman to
Eugenia) = Mrs. Osborn : Aunt (Governess to Peggy)
= Mrs. Norris : — Doodle, Dashwell and Wiseacre are
married to Arabella, Eugenia, and Peggy — Ramble
is a great designer on women, but unfortunate —
Townly is careless about women, but fortunate—

364 D. G. 1682.

Eugenia has an appointment with Ramble —Loveday
enters with letters for Dashwell — Eugenia and Jane
send him to bed — when Ramble comes, they sit down
to supper — a knocking is heard — Ramble and the
supper table are put into the closet — Dashwell returns
with Doodle— he wants something to eat — Eugenia
says she has nothing in the house — Loveday delivers
his letters — he pretends to conjure for a supper — Jane
brings back the table — Loveday says he will show
them his Familiar — Ramble takes the hint and crosses
the stage — when the family are gone to bed, Jane
comes into the street in search of Ramble — she finds
Townly and, mistaking him for Ramble, carries him
to her mistress — Eugenia, being in the dark, does not
discover the mistake — in the 4th act, Loveday, who
had formerly been a lover of Eugenia, discovers him-
self, and is kindly received by her — on the approach
of Dashwell, Loveday gets into the bed — Dashwell
makes his exit — and soon after Ramble enters—
Dashwell returns — Eugenia directs Ramble to draw
his sword, and to counterfeit a rage — Ramble disco-
vers Loveday in the bed — Eugenia pretends that she
and Jane had hid Loveday to prevent him from being
murdered by Ramble — this is from Boccace Day 7
Novel 6 — Eugenia tells her husband that Loveday had
made love to her, and was to meet her in the garden
—she dresses him in one of her gowns — directs him
to wait in the summer house for Loveday — arid to
cudgel him when he comes — in the 5th act, Loveday
enters with a hunting whip — he affects to take Dash-
well for Eugenia, and beats him soundly — this is from
Boccace Day 7 Novel 7 — Dashwell believes that
Loveday only meant to make trial of his wife's virtue

D. G. 1682. 365

—In the 3d act, Ramble visits Arabella late at night
—Doodle returns — Engine takes Ramble into her
chamber — an alarm of fire is given — Ramble says he
came into the house to offer his assistance — Doodle
makes Engine lock the doors, and give him the key
-Ramble is left in the street — he tries to get in at
the cellar window, but sticks fast — while he is in that
situation several tricks are played upon him— in the
4th act, Doodle, on going out of town, enjoins his
wife to answer nothing but No to the questions that
any Gentleman may ask her — Townly meets Arabella
— she observes her husband's directions — Townly
forms his questions in such a manner, .that by answer-
ing No, she fully consents to all that he proposes —
this is a very good scene — Arabella is sometimes in
the playbills called My Lady No — Wiseacre commands
Peggy, who is an innocent country girl, to watch his
nightcap till morning — the kitchen chimney takes fire
— Ramble gets into the house and promises to teach
Peggy the duty of a wife — at the conclusion, the
Cuckolds laugh at one another — the Epilogue is
spoken by 7 of the principal characters.

If it be the province of Comedy, not to retail mo-
rality to a yawning pit, but to make the audience
laugh, and to keep them in good humour, this play
must be allowed to be one of the best Comedies in
the English language — the first act is little more than
an introduction to the others — after that the atten-
tion is kept up incessantly — incident follows incident,
but without confusion — the dialogue makes no pre-
tensions to wit, but it is easy, natural, and sprightly
—it must be acknowledged, that an outcry was
made against this play from the first on the score of

366 D. G. 1682.

indecency— yet it continued a stock~piece for many
years — at one time it was customary to act it on
Lord Mayor's day, which before the change of Style
was on the 29th of Oct. — in 1751 Garrick was seized
with a fit of prudery, and laid it aside ; but it was
continued at C. G. for some years longer — it expired
on Quick's benefit at C. G. April 10. 1782.

Jealous Lovers. Langbaine says this C. was re-
vived in 1682 — it was written by Randolph, and
printed in 1632 — it was originally presented to their
Majesties at Cambridge by the Students of Trinity
College — the Jealous Lovers are Tyndarus, Pam-
philus, Evadne, and Techmessa — Tyndarus is in love
with Evadne, and Pamphilus with Techmessa — they
fall in and fall out in a childish and unnatural manner
— there is an important underplot — the principal
characters in which are — Simo an old doting father
— Asotus his prodigal son — and Ballio a pandar,
and tutor to Asotus — in these three characters con-
sists the merit of this C. — there is a strange mix-
ture of ancient and modern manners — the scene lies
at Thebes — yet — Sir — Madam — Countess — Knight
Errant — Paradise — Advowson — and other modern
expressions occur — Asotus dresses himself as Oberon
king of the Fairies — Thrasimachus speaks a scrap of
French — Asotus says his poets shall—

" Rhyme 'em to death, as they do rats in Ireland."

As the author was a fellow of Trinity College such
gross absurdities are inexcusable — the Epilogue, on
the revival, was written by Mrs. Behn — it concludes
thus —

D. o. 1682. 36?

" Here's Leigh and I brisk lavish keeping fools ;
" He's for mischief all, and carries it on
" With fawn and sneer, as jilting Whig has done,
" And like theirs too, his projects are o'rethrown."

From these lines it appears that Leigh played Bal-
lio — Mrs. Behn's Epilogue is printed in a collection
of poems 1685.

Maid in the Mill — Langbaine says this C. had been
revived by the Duke's Company — it seems to have
been written by Fletcher without the assistance of
Beaumont — it is a good play — the scene lies in Spain
— there are two distinct plots — Franio, the Miller, is
the father of Bustopha, and the supposed father of
Florimel — in the 2d act, a short play, on the story
of Paris and the three Goddesses, is begun — Bus-
topha acts Paris — Gerasto, the friend of Count
Otrante, enters as Mars, and carries off Florimel,
who represents Venus — Otrante takes great pains to
debauch Florimel — she resists his importunities, and
at last pretends to be a wanton — this disgusts Otrante
— Franio complains to the King of the injury he has
received — the King, who is on a Progress, goes to
Otrante's, and sets Florimel at liberty — she turns
out to be the daughter of a nobleman — Otrante
marries her — in the other plot, Antonio and Isme-
nia fall mutually in love — Martino, the friend of An-
tonio, falls in love with Ismenia — Aminta, the friend
of Ismenia, falls in love with Antonio — Martino runs
off with Aminta and marries her, supposing her to be
Ismenia — she supposes him to be Antonio — at the
conclusion, Antonio and Ismenia are united with the

368 D. G. 1682.

consent of their relations, who had been at variance
— Bustopha is a good comic character — for a cast of
this play see D. L. March 23 1710.

The last new play brought out at D. G., before the
Union of the two Companies, seems to have been
Romulus and Hersilia — in the titlepage it is said to
have been acted at the Duke's Theatre — it was not
printed till 1 683, but the author in the Prologue calls
the Whig Sheriffs Sham Sheriffs — it was in 1682 that
the contest between the City and the Court about the
election of Sheriffs took place — and it seems almost
certain that the Prologue was written in the summer
or autumn of 1682 — see Mrs. Macauley — it appears
from this Prologue, and from that to Virtue Betrayed,
that the Whigs distinguished themselves by wearing
Green ribbons, and the Tories by wearing Scarlet
ones — the Epilogue was written by Mrs. Behn — it has
no merit, but that of abusing the Whigs.

Romulus and Hersilia, or the Sabine War, is a
poor T. by an anonymous author — there are no per-
formers' names to the D. P. — this play is founded on
the 1st book of Livy, but most of the incidents are
fictitious — even the foundation of the plot is altered
—Hersilia says that she and Romulus despaired of
obtaining Tatius' approbation of their union, and
that the generous youth of Rome, by her consent,
forced her and the other Sabine Ladies from the
great feast of Consus — the author of this T. had so
little judgment, that he makes Romulus say (p. 7-)
that the Sabine Ladies were in all but 30 — Plutarch's
words are — " Some say that the number of the Sa-
" bine women seized on by the Romans was 30

UNION OF THE TWO COMPANIES IN 1682.

" only —but this is not probable— Valerius Antias
" says 527, and Juba 683" — Dionysius Halicarnas-
sensis also says 5 '27 — Livy does not mention any par-
ticular number — he only says in general terms, that
all the multitude of the Sabines came to Rome with
their wives and children.

UNION OF THE TWO COMPANIES IN 1682.

Memorandum Oct. 14 1681.

It was then agreed between Dr. Charles Davenant,
Thomas Betterton, Gent, and William Smith, Gent,
of the one part, and Charles Hart, Gent, and Ed-
ward Kynaston, Gent, on the other part —that the
said C. Davenant, T. Betterton and W. Smith do
pay, or cause to be paid, out of the profits of acting,
unto C. Hart and Ed. Kynaston five shillings a piece
for every day there shall be any Tragedies or Come-
dies, or other representations, acted at the Duke's
Theatre in Salisbury Court, or where-ever the Com-
pany shall act, during the respective lives of the said
C. Hart and Ed. Kynaston — excepting the days the
young men or young women play for their own profit
only — but this agreement to cease, if the said C.
Hart or Ed. Kynaston shall at any time play among,
or effectually assist, the King's Company of Actors ;

VOL. I. B B

370 UNION OF THE TWO COMPANIES IN 1682.

and for as long as this is paid, they both covenant
and promise not to play at the King's Theatre — if
Mr. Kynaston shall hereafter be free to act at the
Duke's Theatre, this agreement with him, as to his
pension, shall also cease — in consideration of this
pension, Mr. Hart and Mr. Kynaston do promise to
make over, within a month after the sealing of this,
unto C. Davenant, T. Betterton, and W. Smith, all
the right title and claim, which they or either of
them may have to any plays, books, clothes and
scenes in the King's playhouse — Mr. Hart and Mr.
Kynaston do both also promise, within a month
after the sealing hereof, to make over to the said
C. Davenant, T. Betterton and W. Smith, all the
title which they each of them have to six and three
pence a piece for every day there shall be any play-
ing at the King's Theatre — Mr. Hart and Mr. Kynas-
ton do both also promise to promote with all their
power and interest an agreement between both Play-
houses ; and Mr. Kynaston for himself promises to
endeavour as much as he can to get free, that he may
act at the Duke's playhouse, but he is not obliged
to play, unless he have ten shillings per day allowed
for his acting, and his pension then to cease — Mr.
Hart and Mr. Kynaston promise to go to law with
Mr. Killegrew to have these articles performed, and
are to be at the expense of the suit — In witness of
this agreement, all the parties have hereunto set their
hands this 14th of Oct. 1681. (Life of Betterton.)
Gibber says — " the audiences of both houses de-
" clining, an union of the two companies was pro-
" jected by the King's recommendation, which per-
" haps amounted to a command."

UNION OF THE TWO COMPANIES IN 1682.

In 1682 the King's company was much reduced —
Lacy and Wintershall were dead — Burt — Shatterel
and Mrs. Marshall seem either to have been dead, or
to have retired — Hart and Kynaston had left them
—the Heir of Morocco was evidently acted by the
Rump of the Company — their ill success is hinted at
in one or two Prologues, and plainly pointed out in
the Epilogue to the Earl of Essex — it seems probable
therefore that if the King's company had continued
to act by themselves, they would have been deserted
by the town — Smith and Betterton did not want Re-
cruits, but they naturally wished for an union, in
which they saw that the advantages would be on their
side.

Downes says that in 1682 the Patentees of each
Company united Patents, and by so incorporating,
the Duke's Company were made the King's Com-
pany, and immediately removed to the Theatre
Royal in D. L.

Gibber says the Union did not take place till 1684 —
but his inaccuracy as to dates is greater than a cur-
sory reader of his Apology would suppose possible
—yet even Dr. Burney was led astray by Gibber,
and had dated the Union in 1684.

Diyden wrote the Prologue and Epilogue on the
Union — the Prologue was doubtless spoken by one
of the Duke's Company — after a preface of nine
lines, it proceeds thus—

" What's this you'll say to us and our vocation ?
" Only thus much, that we have left our station,
" And made this theatre our new plantation.

B B 2

372 UNION OF THE TWO COMPANIES IN 1682.

" The factious natives never could agree,
" But aiming, as they call'd it, to be free,
" Those play-house Whigs set up for property.

" Some say they HO obedience paid of late,
" But would new fears and jealousies create,
" 'Till topsy-turvy they had turn'd the state.

" Plain sense, without the talent of foretelling,
" Might guess 'twould end in downright knocks

" and quelling,
" For seldom comes there better of rebelling.

" When men will needlessly their freedom barter
" For lawless power, sometimes they catch a

" Tartar,

" Therms a damn'd word that rhymes to this,
Charter.

" But since with us the Victory remains "-

It is clear from this Prologue, that the King's
Company opposed the Union for some time — pro-
bably from Oct. 1681 to the end of that season — all
opposition had certainly ceased in Nov. 1682.

Dryden concludes his Prologue with expre ssing a
wish that—

" Whig poets, and Whig sheriffs may hang to-
" gether."

The Epilogue on the Union is excellent.

" New ministers, when first they get in place,
" Must have a care to please ; arid that's our case :

UNION OF THE TWO COMPANIES IN 1682. '373

" Some laws for public welfare we design,
" If you, the power supreme, will please to join :
" There are a sort of prattlers in the pit
" Who either have, or who pretend to wit:
" These noisy sirs so loud their parts rehearse,
" That oft the play is silenc'd by the farce.
" Let such be dumb, this penalty to shun,
" Each to be thought my lady's eldest son."

Then follows some lines that must not be quoted.

" Next in the playhouse spare your precious lives,
" Think like good Christians, on your beams and

" wives,
" Think on your souls ; but by your lugging

" forth,

" It seems you know how little they are worth.
" If none of these will move the warlike mind,
" Think on the helpless whore you leave behind."

Langbaine says he one day saw a real Tragedy in
the pit, when Mr. Scroop received a mortal wound
from Sir Thomas Armstrong, and died presently
after he was removed to a house opposite the Thea-
tre in D. G.

" We beg you last our scene-room to forbear,
" And leave our goods and chattels to our care.
" Alas ! our women are but washy toys,
" And wholly taken up in stage employs:
" Poor willing tits they are : but yet I doubt
" This double duty soon will wear them out"

374 UNION OF THE TWO COMPANIES IN 1682.

Rymer says of Hart " the eyes of the audience are
" prepossessed and charmed by his action, before
" aught of the Poet can approach their ears ; and to
" the most wretched character he gives a lustre which
" so dazzles the sight, that the deformities of the poet
" cannot be perceived."

Downes says that Arbaces — Amintor — Othello—
Rollo — Brutus and Alexander were his best parts ;
and that towards the latter end of his acting, if he
acted one of these, especially if it was Alexander,
the house was filled as at a new play — in this last
part one of the Court said of him, that he might
teach any King on earth how to comport himself.

Downes adds that he was no less excellent in Co-
medy, as in Mosca — Don John — Wildblood &c — all
of which characters he performed with that exact-
ness, that not one of his successors had equalled
him.

He was much celebrated for his manner of acting
Catiline — this play seems to have been performed
after Hart's death, as Langbaine says it was still in
vogue on the stage and always presented with success.

Hart said, it was impossible that the Player should
ever act with grace, except he had forgotten that he
was before an audience — till he is arrived at that,
his motion, his air, his every step and gesture, have
something in them which discovers he is under re-
straint for fear of being ill received — or if he con-
siders himself, as being in the presence of those who
approve his behaviour, you see an affectation of that
pleasure run through his whole carriage. ( Tatler.)

Hart did not act after the Union on account of those
infirmities which obliged him to leave the stage — he

UNION OF THE TWO COMPANIES IN 1682.

received a salary of 30 shillings a week to the day of
his death according to agreement — Dowries says 40,
but this seems a mistake — Hart was buried at Stan-
more Magna Aug. 20th 1683.

Hart's characters.

He acted Female parts before the civil wars.

In Vere Street. *Dorante in Mistaken Beauty—
* Jolly in the Cheats.

T. R. 1663. Demetrius in Humorous Lieutenant
— Perez in Rule a Wife.

1665. *Cortez in Indian Emperour — Mosca in
Fox.

1666. Amiritor in Maid's Tragedy — probably
*Wellbred in English Mounsieur — Welford in Scorn-
ful Lady.

1667. Don John in Chances — *Lord Delaware in
Black Prince — Hotspur — *Philidor in All Mistaken
— * Celadon in Secret Love.

1668. Philaster — *Wildblood in Evening's Love
— Catiline.

1669. Armusia in Island Princess — *Porphyrius
in Tyrannick Love.

1670. *Almanzor in Conquest of Granada.

1672. * Ranger in Love in a Wood — *Aurelian in
Assignation.

1673. *Capt. Towerson in Amboyna — * Homer
in Country Wife.

1674. *Manly in Plain Dealer.

1675. *Nero — *Aureng-Zebe.

1676. *Ceesario in Gloriana — *Massanissa in So-
phonisba.

376 UNION OF THE TWO COMPANIES IN 1682.

1677- * Alexander the Great — *Phraartes in De-
struction of Jerusalem.

1678. * Antony in All for Love — *Ziphares in
Mithradates — *Monsieur Thomas in Trick for Trick.

He also acted Arbaces in King and no King — Hollo
— Cassio — Brutus — Bussy D'Ambois — Palamede in
Marriage a-la-Mode — Othello.

* Originally.

Michael Mohun, who had been a Major in the
Army, was an able second to Hart, and equally ad-
mired for his great and profound skill in his profession
— Downes tells us that he was eminent in Volpone
— Face — Mardonius — Clytus — Melantius— Cassius—
Mithradates &c. — and that in all his parts he was
most accurate and correct — Lee said, if he should
write a hundred plays, he would write a part for
Mohun— Powell, in his dedication of the Treacherous
Brothers observes, " as old Ben ended his grace with
" Heaven bless me, and Heaven bless Ralph, viz. the
" honest drawer that drew him good sack ; so some
" modern authors might, with the same equity, have
" furnished out one article of their prayers with
" Heaven bless Mohun and Heaven bless Hart, the
" good actors that got them their good third days ;
" and who were consequently more substantial Patrons
" than the greatest name in the frontispiece of a dedi-
" cation."

Mohun seems to have been subject to the Gout in
1675 — the Epilogue to Love in the Dark censures
those half Players who affected to imitate him —

UNION OF THE TWO COMPANIES IN 1682. 377

" Yet these are they, who durst expose the Age
" Of the great wonder of our English Stage.
" Whom Nature seem'd to form for your delight,
" And hid him speak, as she bid Shakspeare write.
" Those Blades indeed are cripples in their art,
" Mimick his foot, but not his speaking part.
" Let them the Traytor or Volpone try ?

" Could they

" Rage like Cethegus, or like Cassius die."

Mohun joined the Duke's Company — but probably
did not continue on the stage long after the Union —
in July 1793 a print of Mohun was published from
an original picture in the possession of the Duke of
Dorset — it represents him as a young man, with long
hair, and a sword erect in his hand.

Mohun's characters.

Before the civil wars he acted Bellamante in Love's
Cruelty — he retained the part after the Restoration.

In Vere Street — he acted in Beggar's Bush — pro-
bably Goswin — *Mopus in the Cheats.

T. R. 1663. Leontius in Humorous Lieutenant
— Leon.

1664. Truewit in Silent Woman — Face in Alche-
mist.

1665. Volpone in Fox — * Indian Emperour.

1666. Melantius in Maid's Tragedy.

1667. *Philocles in Secret Love — * Alberto in
Flora's Vagaries — * Ed ward the 3d in Black Prince.

1668. * Bellamy in Evening's Love — Cethegus in
Catiline.

378 UNION OF THE TWO COMPANIES IN 1682.

1669. Ruy Dias in Island Princess — *Maximin in
Tyrannick Love — lago.

1670. *Abdelmelech in Conquest of Granada.

1671. *Valentius in Roman Empress — Don Al-
varez in Generous Enemies.

1672. Valentine in Wit without Money — *Rho-
dophil in Marriage a-la-Mode— * Dapper wit in Love
in a Wood — *Duke of Mantua in Assignation.

1673. *Beamont in Amboyna — * Pinch wife in
Country Wife.

1675. *Britannicus in Nero — *Trivultio in Love
in the Dark — *Old Emperour in Aureng-Zebe.

1676. * Augustus Caesar in Gloriana — *Hannibal
in Sophonisba.

1677. *Clytus— *King Edgar— *Matthias in De-
struction of Jerusalem.

1678. *Ventidius — *Mithradates — *Breakbond in
Man of Newmarket — *Sir Wilding Frolick in Trick
for Trick.

1682. *Ismael in Loyal Brother — *Burleigh in
Unhappy Favourite.

He also acted Mardonius in King and no King —
Aubrey in Rollo — Cassius.

* Originally.

Downes says in general terms that Burt, Shatterel
and Cartwright were good actors — most of the cha-
racters, to which their names stand, are in obscure
plays.

Cartwright joined the Duke's Company, and acted
Cacafogo after the Union — in an edition of Rollo

UNION OF THE TWO COMPANIES IN 1682. 379

printed in 1686, his name stands to Baldwin — but it
does not exactly follow that he continued on the stage
till 1686.

Mrs. Ann Marshal was for many years the princi-
pal actress in the King's Company — but little is
recorded of her — for the story told about her and
Lord Oxford, see Mrs. Davenport at the end of L. I. F.
1663.

Mrs. Marshall's characters.

T. R. 1663. Celia in Humorous Lieutenant —
Margarita in Rule a Wife.

1664. *Indian Queen.

1665. Celia in Fox — *Almeria in Indian Empe-
rour.

1666. Evadne in Maid's Tragedy — Scornful Lady.

1667. * Queen of Sicily in Secret Love — *Plan-
tagenet in Black Prince.

1668. Virgin Martyr — Aurelia in Evening's Love
— not originally.

1669. Island Princess — *Berenice in Tyranriick
Love.

1670. *Lyndaraxa in Conquest of Granada.

1671. *Jaccinta in Generous Enemies.

1672. *Doralice in Marriage a-la-Mode — *Lucre-
tia in Assignation.

1673. *Ysabinda in Amboyna.

1674. * Olivia in Plain Dealer.

1675. *Poppoea in Nero — *Nourrnahal in Aureng-
Zebe.

1676. *Gloriana.

380 UNION OF THE TWO COMPANIES IN 1682.

1677' *Roxana — *Lady Lovely in Country In-
nocence— *Berenice in Destruction of Jerusalem.

She also acted Edith in Hollo — Calphurnia J. C.
— and probably Tamora in Titus Andronicus.

* Originally.

She appears to have spoken several Prologues and
Epilogues.

Clarke was, at the time of the Union, a rising
actor, and perhaps one of those who opposed it the
most — it does not appear what became of him, Mrs.
Cox, and Mrs. Corbet, after the Union.

Nell Gwyri certainly retired from the stage at the
Union — Granger says of her — " She was, at her first
" setting out in the world, in the lowest rank, and
" sold oranges in the playhouse — nature seemed to
" have qualified her for the stage : her person, tho'
" below the middle size, was well turned j she had a
" good natural air, and a sprightliness which promised
" every thing in Comedy — she was instructed by Hart
" and Lacy and in a short time became eminent in
" her profession — she acted the most spirited andfan-
" tastic parts, and spoke a Prologue and Epilogue
" with admirable address — her flow of spirits some-
" times carried her to extravagance, but even her
" highest flights rather provoked laughter than excited
" disgust."

Nell said of herself that she was brought up in a
brothel — she was probably like the woman in Petro-
nius Arbiter, who wishes herself ill luck "si unquam
" se meminerit virginem fuisse."

UNION OF THE TWO COMPANIES IN 1682. 381

Nell seems to have become regularly the King's
Mistress in 1669 — but it appears from Pepys, that
the King had sometimes sent for her before that time
—as she knew how to mimic every thing ridiculous
about the Court, she presently ingratiated herself
with the King, and retained a considerable place in
his affection to the time of his death — she continued
to .hang on her clothes with her usual negligence,
after she became the King's Mistress ; but whatever
she did became her — (Granger) — the Duke of Buck-
ingham told Burnet that when she was first brought
to the King she asked only £500 a year, and the
King refused it — the Duke added, that in the course
of about 4 years after, she had gotten out of the King
above sixty thousand pounds — she acted all persons
in so lively a manner, and was such a constant diver-
sion to the King, that even a new Mistress could not
put her out of favour. (Burnet.)

In one of Madame Sevigne's letters, there is a
lively description of Mademoiselle Queronaille (after-
wards Duchess of Portsmouth) and Nell Gwyn—
" Mademoiselle desired to be mistress to the King,
" and so she is — he lodges with her almost eveiy
" night, in the face of all the court : she has had a
" son, who has been acknowledged, and presented
" with two duchies : she amasses treasure ; and
" makes herself feared and respected by as many as
" she can — but she did not foresee that she should
" find a young actress in her way, whom the King
" dotes on ; and she has it not in her power to with-
" draw him from her — he divides his care, his time,
" and his health, between these two — the actress is
" as haughty as Mademoiselle : she insults her, she

382 UNION OF THE TWO COMPANIES IN 1682.

" makes grimaces at her, she attacks her, she fre-
" quently steals the King from her, and boasts when-
" ever he gives her the preference — she is young,
" indiscreet, confident, wild, and of an agreeable
" humour ; she sings, she dances, she acts her part
" with a good grace — she has a son by the King,
" and hopes to have him acknowledged — as to Ma-
" demoiselle, she reasons thus — this Lady, says she,
" pretends to be a person of quality : she says she is
" related to the best families in France : whenever
" any person of distinction dies, she puts herself into
" mourning — if she be a lady of such quality, why
" does she demean herself to be a courtezan ? she
" ought to die with shame — as for me, it is my pro-
" fession : I do not pretend to be any thing better —
" He has a son by me: I pretend that he ought to
" acknowledge him ; and I am well assured he will ;
" for he loves me as well as Mademoiselle." (Notes
to Grammont.)

The Earl of Burford and Lord Beauclaire were the
King's sons by Nell Gwyn — the former was created
Duke of St. Alban's in Jan. 1683-4 — it is said that
before he was ennobled, his mother calling to him
in the King's presence, said, " Come hither, you
" little bastard" — which the King in a gentle manner
reproved her for — she told him she had no better
name to call him by — he was soon after created
Baron of Hedington, and Earl of Burford. (Gran-
ger.)

Mrs. Behn, in the dedication of her Feigned Cour-
tezans to Nell Gwyn, says — " Besides all the charms
" and attractions and powers of your sex, you have
" beauties peculiar to yourself, an eternal sweetness,

UNION OF THE TWO COMPANIES IN 1682. 383

" youth and air, which never dwelt in any face but
" yours * * * you never appear, but you glad the
" hearts of all that have the happy fortune to see
" you, as if you were made on purpose to put the
" whole world into good humour * * * heaven has
" bestowed on you two noble branches, whom you
" have permitted to wear those glorious titles, which
" you yourself generously neglected."

Nell Gwyn was born at Hereford — such at least is

the tradition in the family of her noble descendants

one of whom, Lord James Beauclerk, was Bishop
of Hereford in the reign of George the 3d.

She gave a private Concert, at which were present
only the King, the Duke of York, and two or three
more — the King expressed himself highly pleased ;
then, said she, to show you do not speak like a cour-
tier, I hope you will make the performers a hand-
some present — the King said he had no money about
him, and asked the Duke if he had any ? — the Duke
replied, I believe, Sir, not above a Guinea or two —
upon this Nell, turning round and making free with
the King's common expression, said, Od's Fish, what
company am I gotten into ! — this was told to Gibber
by Boman, who was a youth at the time, and had
sung in the concert.

The story of her paying the debt of a worthy cler-
gyman, whom, as she was going through the city, she
saw some bailiffs hurrying to prison, is a known fact
—as also that of her being insulted in her coach at
Oxford by the mob, who mistook her for the Duchess
of Portsmouth (a French woman and a Papist) —
upon which she looked out of the window and said
with her usual good humour, " Pray good people, be

384 UNION OF THE TWO COMPANIES IN 1682.

" civil ; I am the Protestant Whore" — this laconic
speech drew upon her the blessings of the populace,
who suffered her to proceed without farther moles-
tation . ( Granger. )

Lord Rochester, one day when he was drunk, in-
tended to give the King a libel that he had written on
some ladies, but by mistake he gave him one written
on himself — (Burnef) — if he gave him the verses on
his Majesty and laborious Nelly, the King must have
been highly offended.

Charles the 2d on his death bed particularly recom-
mended her to his Brother's care — She had many
good qualities — Granger says she died in 1687—
others say in 1691 — Archbishop Tennison, then vicar
of St. Martin's, preached her Funeral Sermon.

Granger says she very rarely appeared in Tragedy
— which is a mistake — as even with the slender
information which we have of the transactions of the
King's Company, we know she acted 9 parts in Tra-
gedy— she tells us however herself, in the Epilogue
to the Duke of Lerma,'[that this was a line of acting
she was not fond of —

" I know you in your hearts

Hate serious plays, as I do serious parts."

Nell Gwyn's characters.

T. R. 1665. *Cydaria in Indian Emperour.

1666. *Lady Wealthy in English Mounsieur.

1667. *Florimel in Secret Love — * Flora in Flora's
Vagaries — *Alizia in Black Prince — *Mirida in All
Mistaken.

UNION OF THE TWO COMPANIES IN 1682.

1668. Bellario in Philaster — *Jacinta in Even-
ing's Love.

1669. * Valeria in Tyrannick Love.

1670. *Alrnahide in Conquest of Granada.

D. G. 1677' *Angellica Bianca in Rover — * Astraea
in Constant Nymph — *Thalestris in Siege of Babylon.

1678. *Lady Squeamish in Friendship in Fashion
— *Lady Knowell in Sir Patient Fancy.

T. R. 1682. *Sunamire in Loyal Brother — *Queen
Elizabeth in Unhappy Favourite.

* Originally.

She also acted Panthea in King and no King—
Pepys saw her act Celia in Humorous Lieutenant
Jan. 23 1667.

Mrs. Hughes was for some years aa actress in the
King's Company — Prince Rupert fell in love with her
and took her off the stage — probably in 1669 — by her
charms she softened his savage nature — he is said to
have bought for her the magnificent seat at Ham-
mersmith, which in modern times has been so
well known by the name of Brandenburgh House.
(Grammonfs Memoirs, 1818.)

Among Tom Brown's Letters from the Dead to
the Living, is one from Nell Gwyn to Peg Hughes.

Sister Peg,

Of all the concubines in Christendom,
that ever were happy in so kind a keeper, none sure
ever squandered away the fruits of her labour so in-
discreetly as yourself; whoring and gaming I acknow-
ledge are two very serviceable vices in a common-
wealth, because they make money circulate ; but for

VOL. I. C C

386 UNION OF THE TWO COMPANIES IN 1682.

a woman that has enriched herself by the one, to
impoverish herself by the other, is so great a fault,

that a harlot deserves correction for it.

**********

In a few years you have gamed away the large
estate given you by the good old gentleman ; fie
upon't, I am ashamed to think that a woman who
had wit enough to tickle a prince out of so fine an
estate, should at last prove such a fool as to be bub-
bled of it by a little spotted ivory and painted paper.

Peg Hughes's answer to Nell Gwyn.

Madam,

I am sorry a mistress of a king should
degenerate so much from that generosity which was

always applauded as a virtue in us ladies—

*##*******

Should I have plac'd an esteem upon the riches
that was left me, the world might have supposed it
was for the greediness of gain, that made me yield
my favours ; and what had I been better than Madam
James, or Mrs. Knight of Drury-lane ; had I expos'd
my honour for the lucre of base coin, and sinned on
for the sake only of advantage. Beauty's the reward
of great actions, and I generously bestow'd mine
upon a prince that deserved it, abstractly from the
thoughts of interest, but rather to shew my grati-
tude, in return of his noble passion for me ; and since
he had made me the object of his affections, I re-
solved thro* the true principle of love to surrender
the ultimate of my charms to make him happy :
my embraces was all he wanted, and the utmost I
could give, and if a prince would submit to take up

UNION OF THE TWO COMPANIES IN 1682. 387

with a player, I think on my side there was honour
enough, without interest, to induce me to a com-
pliance.

*********

I am so far from repenting the loss of my estate,
that I look upori't my glory, and the only piece of

carelessness I ever committed worth my boasting.

*********

— When I have lost all, perhaps I may take care to
save myself, which will be much better, than like you
to be damn'd with a full pocket.

Harris seems to have left the stage at the Union —
perhaps rather sooner.

Davies properly observes, that he was, like Better-
ton, a general actor, for to have acted the parts he
did, required various and opposite abilities.

Downes says his Wolsey was little inferiour to Bet-
terton's Henry the 8th — and, speaking of the plays in
which Harris acted, he frequently tells us, in general
terms, that they were admirably performed.

A print of Harris was published in 1793 from an
original picture in the possession of the Earl of Or-
ford — he is represented in some character with a
paper in his hand — in this print he is called Joseph
Harris — but his Christian name is probably unknown
—Joseph Harris was an inferiour actor in the King's
Company.

Little was known of Harris before the publication
of Pepys' Memoirs — we now know a good deal about
him, as he became intimate with Pepys — he played a
variety of parts, but his forte seems to have been in
gay Comedy — in which he was considered as supe-
riour to Betterton — he was so elated with the praises

o c 2

388 UNION OF THE TWO COMPANIES IN 1682.

bestowed upon him by the King and the public, that
he became very troublesome to Davenant — in July
1663 he had left Davenant — Davenant appealed to
the King — and in Dec. Harris had returned to his
duty.

Harris* characters.

L. I. F. 1661. Alphonso in Siege of Rhodes-
Younger Palatine in Wits — *Trueman Junior in
Cutter of Colman Street — Horatio in Hamlet — Count
Prospero in Love and Honour.

1662. Romeo — *Beaupres in Villain.

1663. *Don Antonio in Adventures of five Hours
— Sir Andrew Aguecheek — * Salerno in Slighted

Maid.

1664. *Theocles (with a regular song) in Rivals
— Wolsey — *Sir Frederick Frolick in Comical Re-
venge— Duke Ferdinand in Dutchess of Malfy—
*Henry the 5th in Lord Orrery's play.

1665. *Mustapha.

1667. *Prexaspes in Cambyses — *Richmond in
English Princess — * Warner in Sir Martin Marrall.

1668. *Sir Positive A tall in Sullen Lovers— * Sir
Joslin Jolly in She wou'd if she cou'd — *Don John
and a Ballad Singer in Man's the Master.

1669. *Peregrine Woodland in Sir Solomon.

1670. *Appius in Appius and Virginia.

1671. *Tysamnes in Women's Conquest — *Car-
dinal in Juliana.

D. G. 1671. *Ferdinand in Charles the 8th-
*Trickmore in Citizen turned Gentleman.

1672. *Raines in Epsom Wells — * Antonio in
Reform ation — Macduff.

UNION OF THE TWO COMPANIES IN 1682.

1673. *Meny in Morning Ramble — *Muly Labas
in Empress of Morocco.

1674. *Zungteus in Conquest of China.

1675. *Theramnes in Alcibiades.

1676. *Ulama in Ibrahim — *Medley in Man of
the Mode — *Don John of Austria in Don Carlos—
*Ranger in Fond Husband — *Don Guzman in
Wrangling Lovers.

1677- *Mecsenas in Sedley's Antony and Cleo-
patra— *Thoas in Circe — *Cassander in Siege of
Babylon — *Ferdinand in Abdelazer.

1678. * Hector in Destruction of Troy — * Valen-
tine in Friendship in Fashion — * Antonio in Coun-
terfeits— Apemaritus.

1679. *Tiresias in (Edipus — * Ulysses in Dry-
den's Troilus and Cressida.

1680. *King of Greece in Loyal General — *Be-
verly in Virtuous Wife.

1681. "Cardinal Beaufort in Crown's Henry 6th.

* Originally.

Mrs. ShadwelFs name does not occur after the
Union — she was certainly the wife of Shadwell the
Poet, and perhaps Mrs. Williams before her mar-
riage— the name of Mrs. Williams stands to the parts
of Leandra in the Slighted Maid, and Pontia in the
Stepmother in 1663 — after which we hear no more
of her — Mrs. Shadwell's name appears in 1664.

390 KILLEGREW.

KILLEGREW.

Thomas Killegrew the original Patentee of T. R.
died March 19 1682-3. (Chalvwrs) — he was page
of honour to Charles the 1st, and groom of the bed-
chamber to Charles the 2d — in 1651 he was appointed
resident at Venice — the Venetians were so much
scandalized at his irregularities that they compelled
him to leave the republic, and a complaint was pre-
ferred against him to Charles the 2d, at Paris, by
their ambassador — (Granger) — Sir John Denham
said of Killegrew on his return from Venice

1.

" Our resident Tom

" From Venice is come
" And has left all the Statesman behind him ;

" Talks at the same pitch

" Is as wise, is as rich,
" And just where you left him you find him.

2.

" But who says he is not
" A man of much plot
" May repent of his false accusation ;
" Having plotted and penned
" Six plays to attend
" The Farce of his negotiation."

Strictly speaking Killegrew wrote but 2 plays at
Venice, but the 4 written at Naples, Rome, Turin,

KILLEGREW.

and Florence, were probably written before his re-
turn to Paris.

Killegrew in 1664 published his 11 plays in one
vol. folio — Denhain said —

" Had Cowley ne'er spoke, Killegrew ne'er writ,
" Combin'd in one, they'd made a matchless wit."

—he is much too severe on Killegrew — Langbaine
properly observes, that his Thomaso and Parson's
Wedding will always be valued by the best judges of
dramatic poetry.

It might naturally have been supposed that Kil-
legrew on becoming Patentee of T. R. would have
brought out some of his own plays ; it does not how-
ever appear that any of them were ever acted, except
the Parson's Wedding and Claricilla — on the con-
trary, the silence of Langbaine and Downes does
not amount to a proof that none were acted ; as
Langbaine did not frequent the theatres till several
years after the Restoration, and Downes' account of
the Theatre Royal is very imperfect — Pepys saw
Claricilla July 4 1661 — the Pilgrim is a good T.—
with judicious alterations it might have been made
fit for representation.

Cicilia and Clorinda, Thomaso and Bellamira's
Dream are, each of them, rather one play in 10 acts
than two distinct plays — when a play is written in 2
parts, there ought to be some sort of a conclusion at
the end of the 5th act, but in these plays there is no
more conclusion at the end of the 5th act, than at
the end of the 1st — improprieties occur in numberless
plays — but perhaps no author ever made such strange
jumbles as Killegrew has made in the Princess, and

392 T. R. 1682.

Cicilia and Cloririda — all his plays are in prose — most
of them are of an enormous and tiresome length-
verbosity is his perpetual fault — there is scarcely a
scene in which the dialogue might not be shortened
to advantage.

Killegrew one day went to the King in his private
apartment, habited like a Pilgrim bent on a long
journey — the King asked him ". Whither he was
" going ?" — Killegrew answered — "To Hell, to fetch
" Oliver Cromwell to take care of England, as his
" Successor took none at all.". (Granger.)

Pepys mentions Killegrew several times — The
Duke of York was very complaisant to the Duchess
in every respect but one — the King said, " I will go
" no more abroad with this Tom Otter " (meaning
the Duke) " and his wife " — Killegrew replied, " Sir,
" which is the best for a man, to be a Tom Otter to
" his wife or his mistress ?"

Pepys says Feb 13 1668—" I am told that Tom
" Killegrew hath a fee out of the Wardrobe for cap
" and bells, under the title of the King's Foole or
" Jester ; and may revile or jeere any body, the
" greatest person, without offence, by the privilege of
" his place."

T. R. 1682.

The united companies opened the T. R. on Nov.
16th, 1682. (Mal&ne) — they did not however abandon
D. G. — several plays were brought out at that Theatre

T. n. 1682. 393

after the Union ; more especially such as required a
considerable quantity of Machinery.

Dowries says that the Duke's Company was joined
by the remnant of the King's Company, viz. Major
Mohun, Cartwright, Kynaston, Griffin, Goodman,
Duke Watson, Powell Senior, Wiltshire, Mrs. Corey,
Mrs. Bowtell, Mrs. Cooke, Mrs. Mountfort &c. — he
adds that Mountfort and Carlile were grown up to the
maturity of good actors — Downes is not quite correct
-Wiltshire came to Dorset Garden before the Union
—Mrs. Percival did not become Mrs. Mountfort till
some time after the Union — Powell Senior seems to
have been the father of George Powell.

Duke of Guise — Duke of Guise — Betterton : Gril-
lon = Smith : King of France — Kynaston : Duke of
Mayenne = Jevon : Cardinal of Guise — Wiltshire :
Alphonso Corso = Mountfort : Aumale = Carlile :
Archbishop of Lyons = Peri ri : Melanax (a Spirit) =
Gillow : Malicorne = Percival : Curate of Eustace =
Underbill : Sheriffs = Bright and Sandford : Marmou-
tier = Mrs. Barry : Queen Mother — Lady Slingsby :
—this historical Tragedy came out Dec. 4 1682—
(Malone) — it begins with the election of the Duke
of Guise to be the head of the League — he sets off
for Champagne, but returns to Court without leave
— at the end of the 4th act there is a fight between
the two factions — Grillon's party is worsted, and him-
self taken prisoner — the Duke of Guise gives him
his liberty — in the 5th act, the King is informed that
the Commons were about to vote the exclusion of the
King of Navarre from the succession to the crown of
France — and the appointment of the Duke of Guise
to be Lieutenant General — the King wants Grillon to

394 T. R. 1682.

assassinate Guise — he refuses — but offers to fight him
—in the last scene the Duke is murdered — the Car-
dinal of Guise &c. are taken prisoners — Marmoutier
is niece to Grillon, and a staunch Royalist — she is
beloved by the Duke of Guise and by the King — she
endeavours to bring over the Duke to her way of
hinking — and intercedes with the King for Guise's
life — in the 5th act she takes leave of Guise, and goes
into a convent — this is not a bad play, but it is sadly
disgraced by a story similar to that of Dr. Faustus —
Malicorne has sold himself to the Devil, who comes
and carries him away in a flash of lightning — this is
the more inexcusable as Malicorne does not contribute
to the plot — the principal merit of this Tragedy is in
the character of Grillon — Dryden wrote the 1st scene
— the whole 4th act, and the first half or somewhat
more of the 5th — the rest was Lee's — their styles
coalesce particularly well — this play is political from
beginning to end, and indeed professedly so.
The Prologue says —

" Our Play's a Parallel : the Holy League

" Begot our Covenant : Guisards got the Whig."

The Epilogue says that the Poets did not mean to
attack any one particular person,

" But, like bold boys, true to their Prince and

" hearty
" Huzza'd and fir'd broad-sides at the whole party."

Paris is called
" Ungrateful, perjured and disloyal town."

The Citizens, and particularly the Sheriffs, are
abused to the last degree — all this of course was meant

T. R. 1682. 395

to be applied to the Londoners — of the King it is
said —

" Such a King, so good, so just, so great,

" That at his birth, the heavenly Council paus'd,

" And then at last cry'd out, « This is a Man. ' "

When the King dissolved the Parliament at Oxford
in 1681, he made such haste to get to Windsor, that
it looked as if he were afraid of the crowds that that
meeting had brought to Oxford. (Burnett]

This is alluded to — Guise says -

" We miss'd surprizing of the King at Blois,
" When last the States were held ; 'twas oversight;
" Beware we make not such another blot."

The Exclusion bill is several times alluded to — and
in general what is said of the King of Navarre is meant
for the Duke of York—

Guise. " 'Twill starve him into reason,

" Till he exclude his Brother of Navarre,
" And graft succession on a worthier choice."

Again — " So let him reign my Tenant during life,
" His Brother of Navarre shut out for ever,
" Branded with heresy and barr'd from sway.
Guise. " Your Idol, Sir, you mean the great Navarre,

" But yet

Gritton. " No yet, my Lord of Guise, no yet—

" For never was his like, nor shall again
" Tho* voted from his right by your curs'd
" League."

The King says—

396 T. R. 1682.

" My Royal Brother of Navarre shall stand
" Secure by right, by merit and my love.
" God and good men will never fail his cause,
" And all the bad shall be constrained by laws."

Again — " I know my Brother's nature 'tis sincere.
Archbishop. " Some say revengeful.
King. " Some then libel him.

" He can forgive."

In 1687 Burnet had taken refuge in Holland — he
had published an account of a Tour he had made on
the Continent, in which his chief design was to expose
Popery and Tyranny : the book was well received and
much read : and it raised King James' displeasure

very high Some papers in single sheets were

printed in Holland reflecting on the proceedings in
England— many copies of them were sent into all
parts of that kingdom, and they seemed to have a
considerable effect on those who read them — all which
inflamed the King the more against Burnet, for he
believed they were written by him, as indeed most of
them were — he demanded the States to deliver him
up — but they refused.

Burnet received the following letter dated Hague
March 14th 1688. (N. S.)

" Dear Sir

" Though I have no acquaintance with
" you, yet the esteem I have for your character, and
" the benefit I have received by your works, obliges
" me to tell you the proceedings against you in Eng-
" land. I happened the other day to go into the

T. R. 1682. 397

" Secretary's Office, where I saw an order for three
" thousand pound, to be paid to the person that shall
" destroy you. I could hardly believe my eyes that
" I saw the paper, it seemed so strange to me : this
" I communicated in private to my Lord Ossory, who
" told me it was true, for he had it from Prince
" George. My Lord desired me to be private in the
" thing, till I came to Holland ; and then, if I pleased,
" to tell you of it — Sir I am your friend, and my
" advice to you is, to take an especial care of your-
" self, for no doubt but that great sum will meet with
" a mercenary hand."

At the time that Burnet's History was published,
the Editor had this letter in his hands, with the
Bishop's own memorandum how he came to the know-
ledge of the person who wrote it.

The Whigs resented the attack made on them in
this play — a letter was published containing " Some
" reflections on the intended Parallel in the Duke of
" Guise " — Dryden wrote a vindication of the Play,
and such a storm was raised against Hunt and Shad-
well, who were supposed to have written the reflec-
tions, that Hunt was forced to fly into Holland ; and
Shad well, in his dedication of Buiy Fair 1689, says,
that his life was sought ; and that he was for near 10
years kept from the exercise of that Profession, which
had afforded him a comfortable subsistence.

Dryden, in his Vindication of the Duke of Guise,
denies that he meant any Parallel between the Duke
of Monmouth and the Duke of Guise ; but he does
not attempt to say that any of the passages quoted
above were not meant as applicable to the politics of
1682 — he adds — " as for the parallel betwixt the

398 T. R. 1682.

*' King of Navarre, and any other prince now living"
&c — Malone in a note interprets this of Charles the
2d — if he had read the play, he would have seen that
it was meant of the Duke of York — it appears that
" the Duke of Guise" was originally called " the
" Parallel."

Malone observes, that " during the time in which
" the playhouses were applied to political purposes,
" Settle's Pope Joan and Shad well's Lancashire
" Witches were received with unbounded applause
"by the Whigs, while Dry den, Otway, D'Urfey and
" Crowne, who warmly supported the Tories, lashed
" their opponents in Prologues and Epilogues, as
" well as in the Duke of Guise and Venice Pre-
" served."

This passage is calculated to mislead — the contest
was on very unequal terms — the Tory Poets were
allowed to say just what they pleased — but no such
privilege was granted to the Whigs — from a passage
in the Vindication of the Duke of Guise, it seems
probable, that the Whigs showed their politics chiefly
by hissing. The Lancashire Witches is by no means
a political play — and if Malone had read Pope Joan,
he would have seen, that there were two passages
in it, which must have been very offensive to the
Whigs.

T. n. 1683. 399

T. R. 1683.

City Politics C. by Crown — there are no perform-
ers' names to the D. P. — but it appears from the
preface that Leigh acted Bartoline, an old toothless
lawyer — it will easily be supposed from the title that
this C. is written against the City and the Whigs —
the scene is said to lie at Naples, but that is mere
fudge ; every thing is written so as to be applicable
to the Londoners — the principal political characters
are, Lord Podesta, or chief Magistrate — Craffy, his
son — Bartoline — Dr. Panchy — and a Bricklayer —
there can scarcely be a doubt, but that 3 or 4 of these
characters were meant for particular persons — Crown
denies this in his preface — but such denials prove
nothing — the Bricklayer, whom the Governour (the
scene being in Naples) represents as calling himself
" the Catholick Bricklayer," was beyond a doubt
meant for College, who was called " the Protestant
" Joyner," and who (as Mrs. Macauly says) was
treated with peculiar contempt by the faction to
whose rancour he fell a victim.

Dr. Panchy was perhaps meant for Titus Gates —
Tom Brown speaking of Dr. Gates in 1693 says,
he was fat and pursy — this however might not be the
case in 1683 — Craffy says of Dr. Panchy — " He
" applies himself very much to the Bible, I mean
" to kiss it — he prays much, so help him the contents
" of the book ; and they have helped him to many a
" pound, though they and he scarce ever saw one
" another — the Bible is the only benefice he has,
" Sir."

400 T. R. 1683.

Dr. Panchy says to Craffy — " Sirrah, you are a
" traytorly rogue."

Craffy. " I'll call you as much out of your name,
" Sirrah, you are a Doctor of Divinity."

Bartoline was meant for some old Whig Lawyer,
who had married a young wife — possibly Serjeant
Maynard — whatever difficulty there may now be in
ascertaining the particular persons introduced in this
play, there could be none at the time it was written
—as a play, it is somewhat heavy, owing to the per-
petual political allusions — there are however some
characters, who have little to do with politics — Florio
pretends to be sick and dying, in order to prevent the
Podesta from suspecting him of a design on his wife
— Artall is in love with Bartoline's wife, Lucinda—
the Podesta and Bartoline are as well cuckolded as
any Tory could wish — Craffy is a good character —
he is in love with his mother in law — in the Epilogue
it is said, that boldly to rail is the prerogative of
Whigs —

" TITUS the first, who did that power attain,
" I take it — anno primo — of his reign."-

Burnet says of Gates — " I asked him, what pre-
" vailed on him to change his religion and go over to
" the church of Rome — he upon that stood up, and
" laid his hands upon his breast, and said, Heaven
" and the holy Angels knew, that he had never
" changed, but that he had gone among them to be-
" tray them — this gave me such a character of him,
" that I could have no regard to any thing he either
" said or swore after that."

Tom Brown gives a most happy description of Dr.

T. n. 1683. 4-01

Gates' marriage with a Muggletonian Widow in 1693
—he represents him, as " Thundering out You
" Rascal, as thick as hops " — this is just what Dr.
Panchy does in the play.

Egerton, in his Theatrical Remembrancer, says
this C. was acted at the Theatre Royal and printed
in 1675 — and in this he is followed by the last Editor
of the B. D. — but this is a gross mistake, and one
that no person could have fallen into that had read
the play — not simply because there was no quarrel
between the Court and the City in 1675, but because
almost every scene proves, that it was not written
before 1681 or 1682 — there are several cuts on Igno-
ramus Juries — Crafty says, he is writing an answer
to Absalom and Achitophel — and to the Medal — the
Prologue says —

" .The City Whiggs such cursed Poets choose,
" For that alone they should their Charter lose.
" He is a wretched coxcomb, who believes
" Muses, like Juries, will be packt by Sheriff's.
" But their ill palate no fine dressing needs,
" All stuff that any Whiggish fancy breeds,
" They swallow down, and live like ducks on

" weeds.

*********

" Heaven knows what sums the CAUSE has cost

" this town !
" Here you may have it all for half a crown.'*

Langbaine says this C. was acted by his Majesty's-
Servants — Leigh was not one of his Majesty's servants
till Nov. 1682.

Downes says — "The mixt company revived several

VOL. I. D D

402 T. R. 1683.

" old and modern plays that were the property of
" Killegrew, as Rule a Wife and have a Wife — Leon
" = Smith: Michael Perez =: Betterton: Cacafogorr:
" Cartwright : Estifania = Mrs. Cook : Margarita =
" Mrs. Barry."

" Next the Scornful Lady — Plain Dealer — Even-
" ing's Love — Jovial Crew — Beggar's Bush — Bartho-
" lemew Fair — Othello — Hollo — Humorous Lieute-
" nant — Double Marriage, with divers others."

Downes does not tell us in what year each of these
plays was revived.

Scornful Lady. Langbaine says this C. was acted
with good applause at D. G. in his time.

Plain Dealer. Gildon, in his Life of Betterton,
says he acted in this play, but he does not tell us in
what character — probably in that of the Plain Dealer.

Evening's Love. Gildon says Betterton acted in
this play — it is somewhere said that he acted Bellamy.

Jovial Crew. Langbaine says there was a new
edition of this play in 1686 — about which time it was
probably revived.

Bartholomew Fair. Downes tells us that Nokes
acted Cokes — doubtless at this revival.

Othello. Betterton doubtless acted Othello — Gil-
don mentions 73 plays in which he acted — it is
remarkable that he should have omitted Othello.

Humorous Lieutenant — Betterton probably acted
Leontius.

Double Marriage — Ferrand, the Tyrant of Naples,
had proscribed the Duke of Sesse — the Duke had
turned Pirate, and had taken Ascanio, Ferrand's
nephew, prisoner — Virolet, Brissonet and Camillo
are confederates in a deei^n to restore their country

T. R. 1683. 403

to liberty — the two latter foolishly admit to their
councils Ronvere —who is a villain, and only a pre-
tended enemy to Ferrand —Ronvere betrays them—
Juliana, the wife of Virolet, conceals him — She and
Pandulpho, Virolet's father, are taken into custody
— Ferrand causes Juliana to be severely racked, but
can extort no confession from her — he then changes
his plan, and promises that if Virolet will free Asca-
nio, he will not only pardon, but reward him — Virolet
attacks the Duke of Sesse, but is himself taken pri-
soner— Martia, the Duke's daughter, falls in love with
Virolet — she sets him and Ascanio free — and obtains
a promise from Virolet that he will marry her—
Virolet divorces Juliana on the scandalous pretence
that her sufferings on the rack have made her inca-
pable of child-bearing — he marries Martia, but refuses
to consummate the marriage — Martia, in order to be
revenged on him, becomes the Tyrant's mistress — in
the last act, Virolet enters disguised as Ronvere—
Juliana stabs him — he forgives her— she dies on his
dead body — Ferrand and Martia are killed — the cha-
racter of Ferrand is well drawn— the scenes in which
Virolet, Juliana, and Martia are concerned, have great
merit — the rest of the play has little to recommend
it, arid the plot is far from a pleasing one — Langbaine
says that the Prologue, which was spoken at the re-
vival of this T., is printed in Covent Garden Drollery
— a book or pamphlet, which is now become very
scarce.

King and no King. Arbaces = Betterton : Bessus
= Leigh : Mardonius = Mohun : Tigranes = Kynaston :
Bacurius = Wiltshire : Swordsman = Jevon : Panthea
= Mrs. Barrer: (Barry) Spaconia = Mrs. Cook: —

DD 2

404 T. R. 1683.

this cast was written in a copy of the play printed in
1676 — it has every appearance of being correct ; and
it must have been the cast soon after the Union as
Mohun acted in it.

Powell in his preface to the Treacherous Brothers
says — " Upon the uniting of the two theatres, the
" revival of old plays so engrossed the study of the
" house, that the Poets lay dormant, and a new play
" could hardly get admittance " — Betterton would
naturally be anxious to play Othello, and several other
capital parts, which before this time he was precluded
from playing.

Gibber says — " Before the union they had a private
" rule or agreement, that no play acted at one house
" should ever be attempted at the other : all the capi-
" tal plays therefore of Shakspeare, Fletcher arid
" Jonson were divided between them, by the appro-
" bation of the Court, and their own alternate choice"
—Gibber is not correct— such a division of the plays
of Shakspeare and Fletcher might possibly have taken
place — but it seems more probable, that each com-
pany selected what plays they pleased, subject to the
approbation of the higher powers — be this as it may
—we are certain, that there never was such a divi-
sion of Jonson's plays — all the best of them were
acted at the Theatre Royal, and it does not appear
that any one of them was ever acted by the Duke's
company — it appears from Downes and Langbaine
that the King's Company revived about 18 of Fletcher's
best plays, whereas they mention only 3 or 4 of
Fletcher's plays as acted by the Duke's company-
doubtless they acted more — but supposing them to
have made the best selection they could of such of

T. R. 1683. 405

Fletcher's plays, as had not been pre-occupied by the
other company, still the advantage must have been
vastly in favour of the Theatre Royal with regard to
Fletcher's plays.

Nothing is more certain than that Gibber is not to
be depended on as to things which happened before
his own time — at p. 75 of the Octavo edition of his
Apology, he says " Charles the 2d granted a Patent
" to Sir William Davenant, and another to Henry
" Killegrew — the King's Servants acted at the Theatre
" Royal in Drury Lane — the Duke's Servants at the
" Theatre in Dorset Garden " —for Henry read
Thomas, and for Dorset Garden read Lincoln's Inn
Fields.

The regulation, by which a play revived at one
house could not be acted at the other, might be very
proper at the first restoration of the stage ; but as a
perpetual rule it was absurd — Gibber approves of it,
not considering that Betterton could never have acted
Othello, Brutus, or Hotspur, (the very parts for which
Gibber praises him so much) if there had not been a
junction of the companies.

There is a most silly note by Waldron on Downes'
calling of Othello the property of Killegrew — by which
he evidently meant no more than that according to
the established rule, the Duke's company were not at
liberty to act Othello before the Union.

Waldron in reprinting the Roscius Anglicanus has
exposed himself most woefully in some of his obser-
vations— p. 55. Downes by mistake speaks of Valen-
tinian as coming out in Lord Rochester's life time—
Davies saw the blunder and directed 8 or 9 words to
be left out— Waldron retains the words very properly, as

406 T. R. 1684.

they ought not to have been omitted, but corrected in
a note — but Waldron gravely comments on what
Dowries says, without seeing the mistake, or Davies'
reason for what he suggested— in the same page he
represents what Downes says of Griffin as unintelli-
gible— Downes' meaning is very plain, only he does
not express himself correctly.

Tom Brown wrote a Prologue and Epilogue which
were spoken at Oxford in 1683 — he calls the advo-
cates for Magna Charta, Sots ; and compliments the
University on its loyalty to Csesar in the worst of
times—

" Here God-like Charles did a safe harbour win."

T. R. 1684.

Dame Dobson, or the Cunning Woman — acted at
D. G. — Gillet = Jevon : Heartwell = Mountfort : Colo-
nel = Kynaston : Jenkin = Leigh : Decoy = Saunders :
Gerrard = Wiltshire : Farmer = Bright : Dame Dob-
son = Mrs. Corey : Lady Noble = Lady Slingsby :
Susan and Mrs. Jenkin — Mrs. Percival : Lady Rich
= Mrs. Petty: Mrs. Featly^Mrs. Currer: Mrs.
Clerimont = Mrs. Butler : Beatrice = Mrs. Twiford :
Prudence = Mrs. Leigh : Frances = Mrs. Baker :
Hellen = Mrs. Osborn : — the Countess, a part of some
importance, is omitted in the D. P. — this C. by

T.R/1684. 407

Ravenscroft is professedly taken from the French —
Langbaine says that tho' it was followed and applauded
in France, yet it was damned on the English stage-
he might have added, most undeservedly — for the
play is certainly a good one — Decoy, Beatrice, Fran-
ces, Prudence and Hellen are in confederacy with
1 )ame Dobson — the last two betray their ladies' secrets
to her — Lady Noble bribes Dame Dobson to break off
the intended match between the Countess and the
Colonel — she has an old husband whom she expects
soon to die — she wishes to keep the Colonel single in
the hope of marrying him herself— the Countess has
great faith in Dame Dobson's skill — and dreads the
evils which she is told would result from her marriage

with the Colonel the Colonel considers Dame Dobson

as an impostor — but all his schemes to detect her are
counteracted till the last scene — Gillet is a credulous
young citizen — Dame Dobson sells him a charm to
make him invulnerable— she artfully contrives a mar-
riage between him and Mrs. Clerimont — Lady Rich
is a young widow — she consults Dame Dobson as to
Heart well's regard for her — Heartwell and Dame Dob-
son are in a league together — she promises to show
Heartwell to Lady Rich in a glass — Heartwell enters
behind — and she of course sees his reflection in the
glass — he is supposed to be at Tunbridge — Jenkin,
a Welsh Gentleman, comes to Dame Dobson to con-
sult her about his wife, who had eloped from him—
Mrs. Jenkin enters soon after, dressed as a man-
Dame Dobson pretends to have discovered Mrs.
Jenkin's sex by her art — Mrs Featly consults Dame
Dobson — Dame Dobson says that the head of Abel-
anecus shall answer her — Beatrice acts the head — her

408 T. R. 1684.

body is concealed by the table on which the head is
supposed to stand — in the last scene the Colonel insists
that Darne Dobson should perform her promise of
showing him the Devil^the Colonel seizes the Devil
— he turns out to be Dame Dobson's brother — Dame
Dobson is taken into custody by a constable — Heart-
well, having been successful with Lady Rich by Dame
Dobson's means, interferes in her favour — she is let
off on easy terms — -two stage tricks are introduced
—which, if well executed, must have had a good
effect in representation — Frances pretends to have a
tympany — Dame Dobson undertakes to transfer it
from her to Decoy — this is effected in the presence
of Lady Rich — in the last scene of the 4th act, the
different parts of a human body fall down the chimney
— the body is re-united, walks to the middle of the stage,
and then vanishes — Mrs. Currer in the Prologue says
that the London. Cuckolds pleased the town and di-
verted the Court, but because some squeamish females
had taken offence at it, Raven scroft had made this
play dull and civil.

" In you, chaste ladies, then we hope to day,
" This is the poet's Recantation play.
" Come often to't that he at length may see
" 'Tis more than a pretended modesty :
" Stick by him now, for if he finds you falter,
" He quickly will his way of writing alter ;
" And every play shall send you blushing home,
" For, tho' you rail, yet then we're sure you'll
" come.

* #

A naughty play was never counted dull —
Nor modest Comedy e're pleased you much"-

T. R. 1684. 409

The Epilogue is a violent invective against the
Whigs —

"Who won't allow a Mayor may choose his Sheriff."

The last line makes it probable, that this play, tho*
not printed till 1684, came out in 1683.

Valentinian altered from Fletcher by Wilmot Earl
of Rochester — ^Ecius =: Betterton : Valentinian =
Goodman : Maximus = Kyriaston : Pontius = Griffin :
Lucina = Madam Barry: — (JDownes) — Downes says
this play was very successful, owing to its being well
acted, and the vast interest made by the author — he
should have said by the author's friends, for Lord
Rochester died in July 1680, and did not even live
to finish the play to his satisfaction.

Fletcher seems to have written his play without
the assistance of Beaumont. Valentinian is in love
with Lucina the wife of Maximus — having in vain
attempted the chastity of Lucina, by means of his
pandars, he engages Maximus in deep play — he wins
his money, and at last exacts a ring from him — this
ring he sends to Lucina as from Maximus, with an
injunction to come to Court — she does so, and is
ravished by Valentinian — she determines not to sur-
vive her disgrace — Maximus meditates revenge — the
Emperour suspecting .ZEcius, most unjustly, of trea-
son, hires Pontius to kill him — JEcius, being a per-
fect pattern of loyalty, says he dares not defend him-
self against any person sent from Caesar — Pontius,
who is an honest man, blabs himself — JEcius follows
his example, not thinking it right to live as the Em-
perour had condemned him — one of ^Ecius' friends
poisons Valentinian — Maximus is elected Emperour

410 T. R. 1684.

by the Soldiers — Eudoxia, the wife of the late Em-
perour, causes his death — the principal incidents of
this T. are historically true, or immaterially altered—
Gibbon says — (Ch. 35) — " The feeble and dissolute
" Valentinian, who had reached his 35th year, with-
" out attaining the age of reason or courage, under-
" mined the foundations of his own throne, by the
" murder of the patrician ^Etius * * * drawing his
" sword, the first sword he had ever drawn, he
" plunged it in the breast of a general who had saved
" his empire" — Gibbon next relates the ravishment
of Lucina, with the circumstance of the ring, just
as represented by Fletcher — Valentinian was not
poisoned, but stabbed by two of ^Etius' followers —
this is on the whole a good play — but the 5th act is
flat — many passages are finely written — in the 1st
scene, one of the pandars says, that he asked Lucina
what she would do, if the Emperour should force
her—

" She pointed to a Lucrece, that hung by,
" And with an angry look, that from her eyes
" Shot vestal fire against me, she departed."

Lord Rochester's alteration was not published till
1685 — but was probably acted sooner, as the first
Prologue contains an allusion to Blanket Fair, which
was holden on the Thames in the great frost, that
lasted from the beginning of Dec. to the 15th of
Feb. 1683 O. S.

Act 1st consists of the original scenes between
^Ecius and Maximus — and ^Ecius and Valentinian—
with a new one between Velentinian and Lucina.

Act 2d consists of 2 scenes from the original first

T. R. 1684. 411

act — and one new one between Valentinian and his
Pandars — the editor of the B. D. with good reason
reprobates the last speech of this scene, but takes no
notice of a similar one in the 5th act — they both
allude in plain terms to a vice, which ought never to
be mentioned on the stage.

Act 3d. — the scene between Maximus and Valen-
tinian— and that between Maximus, ^Ecius and Pon-
tius are not greatly altered from Fletcher — the original
short scene, in which Lucina appears in her own
house, is spun out to a tiresome length.

Act 4th. — Lucina comes to Court and is ravished
—this is chiefly from Fletcher, but with additions
and alterations — Maximus arid JEcius enter to Lu-
cina as in the original.

Act 5th is uncommonly long-^Ecius' Soliloquy
and the following short scene is Lord Rochester's
—what follows to the death of Pontius is chiefly
Fletcher's — the remainder of the play is his Lord-
ship's— Valentinian is killed by the soldiers — Lord
Rochester and Fletcher both make the characters
Pagans, which is wrong — these plays should by all
means be called Valentinian the 3d.

Lord Rochester plainly saw what parts of the ori-
ginal ought to be omitted, and has very properly
ended his play with the death of Valentinian — but
he has not been fortunate in his additions, his lan-
guage being very inferiour to Fletcher's.

Nothing could be more a-propos than the revival
of this Tragedy at this time ; as no Court Chaplain
ever carried the doctrine of Passive obedience and
Non-resistance to greater lengths than Fletcher does
in the Maid's Tragedy — the Loyal Subject — Rollo,

T. R. 1684.

and this play — his father, who was Bishop of Lon-
don, had probably instilled good principles into him
at an early age — Lord Rochester has added some
similar sentiments of his own.
^Ecius says —

" For when 'tis Caesar does the injury
" Sorrow is all the remedy I know."

And again — " Faith to Princes broke is Sacrilege,
" An Injury to the Gods —
" Judge him yourselves ye mighty Gods—
" My duty's my religion and ho we're
" The great account may rise 'twixt him and you
" Through all his crimes I see your Image on
« him."

The Emperour afterwards says to J3cius —

" Did not my will, the world's most sacred law,

" Doom thee to die ?

" And darest thou in rebellion be alive?"

The Prologue intended for Mrs. Barry alludes to
the complete triumph of the Court at this time —

" Now would you have me rail, swell and look big
" Like rampant Tory over couchant Whig" —

and speaking of Lord Rochester she says —

" Some beauties here I see—
" Though now demure have felt his powerful

" charms,
" And languish'd in the circle of his arms."

The Epilogue was really spoker by Mrs. Barry

T. H. 1684. 413

and turns entirely on the accident which had hap-
pened to Lucina — a thing which she says is no
where to be seen but on the stage.

Constantino the Great. Crispus = Betterton : Con-
stantine = Smith : Dalmatius = Griffin : Annibal =
Goodman : Arius = Gillow : Lycinius = Wiltshire :
Fausta = Mrs. Barry : Serena = Mrs. Cook : — this is
a tolerably good Tragedy — Lee has deviated grossly
from histoiy, or to speak more correctly, almost
every thing in the play is fiction, except that the
principal characters are real persons — Constantino is
represented as in love with Fausta, and contracted
to her — Crispus, his son, not knowing this, marries
her — Constantino threatens Crispus and Fausta with
death ; but at last and with great difficulty, he gets
the better of his love, and resigns Fausta to his son
—In reality Fausta was married to Constantino — the
Emperour being jealous of his son's popularity, or,
as Zosimus says, (book 2 chapter 29) suspecting
Crispus of an improper intimacy with his mother in
law, put him to death.

Gibbon remarks with a sneer — " The courtly
" bishop, (Eusebius) who has celebrated in an ela-
" borate work the virtues and piety of Constantino,

observes a prudent silence on this tragic event."

Eusebius, in the llth chapter of the 1st book of his
Life of Constantino, expressly says, that his purpose
was, to pass over in silence the military and political
actions of Constantino, as being known to all per-
sons, and to relate merely such things as pertained to
religion.

It is odd, that this important passage should not
only have escaped the notice of Gibbon, but also of

414 T. R. 1684.

Paley — the latter, in his Evidences of Christianity
part 1st ch. 7th, says—" Josephus, perhaps, did not
" know how to represent the business, and disposed
" of his difficulties by passing it over in silence—
" Eusebius wrote the life of Constantine, yet he
" omits entirely the most remarkable circumstance in
" that life, the death of his son Crispus ; undoubt-
" edly for the reason here given"

Lee in his Tragedy is very orthodox — he makes
Arius as black as Newgate — what his real character
was we do not exactly know, as Philostorgius is the
only Arian historian who still exists ; and he, as Gib-
bon happily expresses it, " has been strained through
" an orthodox sieve "*— rarely does it chance to the
best writers to say so much in such few words.

We have here a striking instance of the accuracy
with which the Biographia Dramatica has been com-
piled— Langbaine says — " the story of Crispus and
" Fausta is particularly related (as I think) in Am-
" mianus Marcellinus" — Both the Editors of the
B. D. say — " See particularly Ammianus Marcelli-
" nus, by whom the story of Crispus and Fausta is
" very circumstantially related" — Ammianus Marcel-
linus wrote the life of Constantine, but the first 13
books of his history are lost, and the 14th book begins
in the reign of Constantine's son, Constantius—
Langbaine's mistake may be excused, but the teme-
rity of the Editors of the B. D. in omitting Lang-
baine's qualifying expression, as if they had ascer-
tained the truth of his assertion is inexcusable.

The Epilogue was written by Dryden and spoken

* Abridged by Photius.

T. R. 1684. 415

by Mrs. Cook — it is entirely political — it is composed
with much ability, and equal acrimony, against the
persons who were in opposition to the Court — the
last two lines are very good, but must not be quoted
—Lee in the Prologue seems to speak very feel-
ingly-

" Therefore all you who have male issue born,
" Under the starving sign of Capricorn ;
" Prevent the malice of their Stars in time,
" And warn them early from the sin of rhyme ;
" Tell 'em how Spencer starved, how Cowley

" mourn'd,
" How Butler's faith and service were returned."

He had before said in the Prologue to Theodo-
sius —

" On Poets only no kind Star e'er smiPd
" Curst Fate has damn'd 'em, ev'ry mother's
" child."

Otway, by the motto which he adopts for the Or-
phan, makes a similar complaint of the little encou-
ragement given to Genius.

Crown in the dedication of his Married Beau 1694
says — " How many Kings and Queens have I had
" the honour to divertise ? and how fruitless have
" been my labours? — a maker of fires at Court has
" made himself a better fortune" — Crown does not
complain without reason — Charles the 2d should
have provided for him ; for Paley in his Moral Phi-
losophy determines, that the wages of prostitution
ought to be paid.

416 T. R. 1684.

On a pension granted to a French Writer by Louis
15th.

" At reading this great Walpole shook his head ;
" How ! wit and genius help a man to bread!
" With better skill we pension and promote,
" None eat with us who cannot give a vote."

(Belsham.)

Hath Literature been thy choice and thy occupa-
tion (says a certain author) and hast thou food and
raiment ? be contented, be thankful, be amazed at
thy good fortune — Art thou dissatisfied and desirous
of other things, go and make 12 votes at an Election
— It shall do thee more service, than to make a
Commentary on the 12 Minor Prophets. (Jortin.}

Atheist, or the 2d part of the Soldier's Fortune.
Beaugard = Betterton : Beaugard's Father = Leigh :
Courtine — Smith : Daredevil = Underbill : Theodo-
ret = Wiltshire : Gratian = Perin : Porcia = Mrs.
Barry: Lucretia = Mrs. Butler: Sylvia (Courtine's
wife) = Mrs. Currer : Phillis = Mrs. Percival : this C.
came out at D. G. — it is not a bad play, but very in-
feriour to the Soldier's Fortune — Beaugard's Father
an old Debauchee, Daredevil the Atheist, and Beau-
gard himself, -are good characters — the rest of the
play has not much to recommend it — Otway says in
the Prologue —

" 'Tis said Astrologers strange wonders find
" To come, in two great Planets lately join'd :
" From our two Houses joining, most will hold,
" Vast deluges of Dulness were foretold."

The Epilogue is a cut on the City and the Whigs

T. R. 1684. 417

—this was Otway's last play — he died in 1685 in
great poverty — Dr. Johnson says — " Otway had not
" much cultivated versification, nor much replenished
" his mind with general knowledge : his principal
" power was in moving the passions — but if the heart
" is interested, many other beauties may be wanting,
" yet not be missed."

Sir Hercules Buffoon, or the Poetical Squire.
This is a posthumous C. by Lacy— it was acted at
D. G. — D'Urfey says in the Prologue—

" Know that fam'd Lacy, ornament o* th* stage,
" That standard of true Comedy in our age,
" Wrote this new play :

" And if it takes not, all that we can say on't,
" Is, we have his fiddle, not his hands to play
" on't."

The comic scenes of this play are mere dialogue
and have not much to recommend them — Sir Her-
cules Buffoon is described in the D. P. as a lover of
wit and lying — his son is bound prentice to a poet —
they are not bad characters — the serious scenes are
contemptible — a guardian engages a man to destroy
his two nieces, who are great heiresses — he does this
with a view to pass off his own daughters for his
nieces — as this play is a Comedy, the poor girls are
of course saved — Lacy's friends should have buried
his fiddle with him.

Disappointment, or the Mother in Fashion. Al-
phonso =: Betterton : Lorenzo (his friend) = Smith :
Alberto = Wiltshire : Lesbino (his friend) = Carlisle :
Rogero (an honest blunt soldier) = Leigh : Erminia
(wife to Alphonso) = Mrs. Cook : Juliana (Alberto's

V OL. I. E E

418 T. R. 1684.

slighted mistress) rr Mrs. Percival : Rogero's Concu
bine — supposed to be his wife = Mrs. Cory : Clan
(Erminia's woman) — Mrs. Leigh : Angelline (daugh
ter to Rogero) = Mrs. Knight: — Scene Florence-
Alberto is styled in the D. P. a general undertaker
that is an universal gallant — he wishes to debaucl:
Erminia and Angelline — he has reason to think him
self successful with both of them, but in reality he
only experiences a Disappointment — Clara is bribec
by Alberto, and in his interest — Erminia being chaste
Clara is prevailed on by Juliana to bring Alberto int(
the room where she is — Alberto in the dark believes
her to be Erminia — Alberto is assisted in his desigr
on Angelline by her supposed Mother — Juliana takes
Angelline's veil— and Alberto is a second time de

ceived the love letter, which Alberto had writter

to Erminia, had fallen into her husband's hands — Al
phonso becomes very jealous — Lorenzo had seer
Alberto on his return from Alphonso's house — h(
taxes Erminia with incontinence — she convinces hin
of her innocence — and he convinces Alphonso—
Alphonso makes Erminia write to Alberto — he comes
to her in consequence of her letter — Alphonso over
hears their conversation, and is again jealous — he
attacks Alberto and wounds him — Juliana explains
what she had done — Alberto repents of his wile
courses, and is reconciled to Juliana — Lorenzo mar
ries Angelline — this play was written by Southern*
—the serious scenes are not bad — the comic ones
are very good — Juliana's passing of herself on Al
berto for Erminia and Angelline is taken from what
Mariana does in Measure for Measure — a hint or twc
is likewise borrowed from Othello— there are twc

T. R. 1684. 419

lines in the Prologue and two in the Epilogue more
than usually indecent — the Epilogue is a good one—
but what is very odd, in the play it is attributed to
the Hon. John Stafford ; and yet it is printed in
Dryden's poerns; but without being appropriated to
any particular play.

Factious Citizen, or the Melancholy Visioner.
Timothy Turbulent = Underbill : Abednego Suck-
Tlmmh (the Melancholy Visioner) = Leigh : Cringe
(a balderdash poet) = Nokes : Furnish (nephew to
Turbulent) = Je von : Rabsheka Sly (a pretender to
sanctity, but a private sinner) := Bowman: Fairlove
= Williams : Friendly = Wiltshire : Dr. Quibus =
Percival : Pollux (Turbulent's man — but in the inte-
rest of Lucia) = Richards : Hangby = Gillow : Sneak
rrNorris: Mrs. Turbulent = Mrs. Norris : Lucia
(Turbulent's niece) = Lady Slingsby : Lady Medlar
= Mrs. Currer : Mrs. Sly =. Mrs. Osborn : Priscilla
(daughter to Turbulent) = Mrs. Price : —this C. was
written by an anonymous author — it was printed in
1685, but probably acted sooner, as it is said to have
come out at the Duke's Theatre — in 1685 the Duke's
Theatre became the Queen's Theatre — this play is
somewhat deficient in plot and incident, but on the
whole it is far from a bad one — Fairlove and Lucia
are mutually in love — she is to forfeit her portion, if
she should marry without Turbulent's consent, pro-
vided he should be alive and compos mentis — Turbu-
lent is afraid of being taken into custody for having
railed against the government — Lucia persuades him
to pretend to be mad — he does so — but when he says
that he only counterfeited madness, his friends insist
that he is really mad, and send him to Bedlam — Tur-

E E 2

420 T. R. 1684.

bulent being declared non compos, Lucia obtains he
portion from the persons in whose hands it had bee
deposited — Turbulent hates all sorts of governmei;
and governours, and is always railing at the times
but the play contains no allusion to the state of politic
in 1685 — the Fanatics are well ridiculed — Abedneg
Suck-Thumb is an excellent character — it is a shoi
part, but Leigh no doubt made a great deal of it-
when he is told that Turbulent has lost his reasor
he observes — " Then is he purified — reason is th
" filth and scum of the carnal brain : it is the su
" and fume of hell ; it is the froth of a corrupte
" mind, it is the carnal weapon of the wicked, learne
" men — it is that which causes the rulers of the eart
" to impose laws on us; it is that which causes tl
" outward worship, and the congregating in ston
" churches — it is that which causes the schools ai
" universities — it is the very root of all evil — if br
" ther Turbulent has lost his reason, he is becom
" perfect" — the scene in the last act, is in Bedlam-
just before the conclusion a noise of fiddles is hear
— Dryderi in Secret Love twice mentions a noise
fiddles — the same phrase occurs in many of our ol
plays — they formerly expressed themselves with mor
accuracy than we do now.

Northern Lass. Sir Philip Luckless = Kynaston
Sir Paul Squelch — Leigh : Tridewell (friend to Si
Philip) = Wiltshire : Widgine — Jevon : Capt. Anvi
- Griffin : Bulfinch — Haines : Nonsense = Moun
fort: Pate (Sir Philip's man) •=. Lisle: Howdee =
Bright : Mrs. Fitchow — Mrs. Barry : Constance =
Mrs. Butler: Constance Holdup = Mrs. Percival
Mrs. Train well (governess to Constance) = Mr
Cory: — in the early part of the play, Sir Phili

T. R. 1684. 421

marries Mrs. Fitchew, a City Widow— the Northern
Lass is Constance, the niece of Sir Paul— Sir Philip
had seen her once, and been pleased with her, but,
being at that time contracted to Mrs. Fitchow, he had
thought no more of Constance — she had fallen des-
perately in love with him — the Northern Lass sends
him a love letter signed Constance — Sir Philip, not
knowing her name, supposes the letter to come from
Constance Holdup, a woman of the town, with whom
he had been intimate — he treats the letter accord-
ingly— when he finds from whom it really came, he
repents of his hasty marriage — in the 2d act, he and
Mrs. Fitchow have a little difference — in the 3d act,
he is told that she has fortified her chamber with bars
and bolts, and that he is to have no entrance at night
—this is just what he wished — at last they come to a
complete quarrel — Sir Philip entertains hopes of a
divorce, as it seems the Canon law allows a mar-
riage to be set aside by the consent of both parties,
provided the marriage has not been consummated—
Mrs. Fitchow consents to the divorce — Constance falls
into a fit of melancholy — she is placed under the care
of Pate, who pretends to be a Doctor — Sir Philip
runs away with her — in the last scene, Sir Paul tells
Sir Philip that if he can find means to make Con-
stance his lawful wife, he shall have her with half his
estate — Mrs. Fitchow insists, that tho' Sir Philip and
she are divorced, yet neither of them can marry
again while they both live — Tridewell settles the
matter by discovering that the marriage ceremony
between Sir Philip and Mrs. Fitchow had been
performed by Pate in the disguise of a Parson — Mrs.
Fitchow agrees to marry Tridewell — Widgine, her

422 T. R. 1684.

brother, had contracted himself to Constance Holdup,
on the supposition that she was the Northern Lass-
Holdup lets him off for £100 — Widgine is a foolish
fellow, who allows Capt. Anvile a maintenance as his
governour — Anvile is a bully and a coward — Tride-
well beats him with a rope's end, and insists that
Anvile should keep the rope's end in his pocket, that
he may always have an instrument at hand, in case
Anvile should deserve another beating — Congreve in
the Old Batchelor has borrowed the characters of Sir
Joseph Wittol and Capt. Bluff from Widgine and
Anvile — the Northern Lass is a very good C. — it was
written by Brome — and printed in 1632 — it had been
acted at the Globe and Black Friars — a new edition
was published in 1684, about which time it was
doubtless revived — on the revival a new Prologue
was written and spoken by Joe Haines — the Epilogue
was spoken by Mrs. Butler — in each of them there
are some good lines — but they must not be quoted.
Julius Caesar was revived. Brutus = Betterton :
Antony = Kynaston : Cassius rr Smith : Julius Caesar
= Goodman: Caska rr Griffin : — Casca was at this
time stupidly spelt with a k — the mistake was con-
tinued in the playbills for many years — Octavius =
Perin : Ligarius^: Bowman : Decius Brutus = Wil-
liams : Metellus Cimber = Mountfort : Messala =
Wiltshire : Titinius = Gillow : Trebonius = Saunders :
Artemidorus = Percival : Cinna the Poet = Jevon :
Plebeians = Underbill, Leigh, and Bright : Portia =
Mrs. Cook: Calphurnia =. Lady Slingsby: — the edi-
tion from which this cast is copied is without a date
— Langbaine says that Julius Caesar was re-printed
in 1684, and that there is in Covent Garden Drol-

T. n. 1684. 423

lery an excellent Prologue spoken at the revival of
that play — this edition professes to be printed as
acted at the T. R. — but it differs very little from the
original play, except that the part of Marullus is given
to Casca, and that of Cicero to Trebonius.

Island Queens — this T. by Banks was printed,
but not acted — it is a poor play, particularly in point
of language — the scene, in which Queen Mary takes
leave of her attendants, is not bad — the story is bet-
ter calculated for the historian than the poet — in
such well known facts very little poetical license
can be admitted, and Banks has thought proper to
make the Queens have two personal interviews, tho*
it is notorious that they never saw each other — Nor-
folk says — " Kings are like divinities on earth" — but
even this sentiment could not save this T. from being
prohibited — for what reason this prohibition took
place it is not easy to conjecture — Banks very pro-
perly published his play in his own defence — it was
brought out at D. L. March 6. 1704 as the Albion
Queens.

The original Epilogue was written by Joe Haines,
and intended to have been spoken by him —

" Who cou'd have ever thought to have seen me

" Tack'd to the end of a deep Tragedy ?

" Yet I am forc'd to come ; for say my masters,

" Your Phiz will bring us off from all disasters.

" So, nolens volens, Pricky must appear,

" And - what am I to say, now I'm come here ?"

— he adds, the players and poet will be ruined—
" Unless you're pleased to smile upon Count
" Haines."

424- CHARLES THE 2o.

He addresses the Boxes and Pit, and then says-

" My middle-gallery friends will sure assist me,
" And for the upper-tier, they never mist me."

CHARLES THE 2D.

His Majesty died Feb. 6th 1684. O. S.— there was
some suspicion of his being poisoned, but no good
grounds for thinking so — Rapin and Burnet both say
that the Duke of York was never taxed with being
concerned in his Brother's death — which is not cor-
rect— for in one of the songs of the Calf's head Club,
he was directly accused of it — tho' no doubt un-
justly-

" Old Rowley did succeed his Dad,
" Such a King was never seen-a,

" He'd lie with any nasty drab,
" But seldom with his Queen-a.

" At last he died, we know not why,
" But most think by his Brother"

The same thing is plainly hinted in the Abdicated
Prince, and the Bloody Duke.

Charles the 2d is frequently ridiculed under the
nick-name of Old Rowley, which was an ill favoured
Stallion kept in the Meuse, that was remarkable for
getting fine colts — Mrs. Holford, a young lady much
admired by Charles, was sitting in her apartment

CHARLES THE 2D. 425

and singing a satirical ballad upon " Old Rowley the
" King," when he knocked at the door — upon her
asking who was there ? he with his usual good
humour replied " Old Rowley himself, Madam."
(Granger.)

Charles the 2d was gay and affable — free from
haughtiness and insolence — the praise of politeness
has never been denied him — and he had in an emi-
nent degree that facility of temper, which, as it con-
tributes greatly to the happiness of those around us,
is, in itself, not only an engaging, but an estimable
quality — (G. Fox) — even his indolent amusement of
playing with his dogs, and feeding his ducks in St.
James* Park, made the common people adore him,
and consequently overlook in him, what in a prince
of a different temper, they might have been out of
humour at — (Gibber) — it appears from a passage in
Sir Hercules Buffoon (p. 34.) that the king had also
some fine cranes in the park.

Charles the 2d was a good friend to the stage —
both the Theatres were so much the delight and con-
cern of the Court, that their particular differences,
pretensions, or complaints, were generally ended by
the King's or Duke's personal decision or command —
(Gibber) — the King is said to have suggested sub-
jects and furnished hints to several dramatic writers
— Langbaine speaks highly of his judgment in thea-
tricals— and in Comedy one feels no inclination to
dispute this — but never did so vile a taste prevail

with respect to Tragedy as in his time Shakspeare

was by no means a favourite — it is not quite clear
when this neglect of Shakspeare began — Dryden in
his Essay of Drauiatick Poesie says, " However

426 CHARLES THE 2D.

" others are now generally prefer'd before him, yet
" the age wherein he lived, which had Contempora-
" ries with him Fletcher and Jonson, never equalled
"them in their esteem: and in Charles the Ist's
" Court, when Ben's reputation was at the highest,
" Sir John Suckling, and with him the greater part of
" the Courtiers, set our Shakspeare far above him"
— On the other hand in the Prologue to the Sisters,
which was probably acted in 1640, tho' not printed
till 1652, Shirley complains—

" You see

" What audience we have, what company

" To Shakspeare comes ? whose mirth did once

" beguile
" Dull hours, and buskin'd made even sorrow

" smile,
" So lovely were the wounds, that men would

" say

" They could endure the bleeding a whole day :
" He has but few friends lately"

See the Prologue to Shirley's Love Tricks in 1667.

" In our old plays the humour love and passion,
" Like doublet hose and cloak, are out of fashion;
" That which the world called wit in Shakspeare's

" age,
" Is laugh'd at, as improper for our Stage."

(Malone.)

In a Satire 1680 it is said—

" At every shop while Shakspeare's lofty stile
" Neglected lies, to mice and worms a spoil,

CHARLES THE 2o. 427

" Gilt on the back, just smoking from the press
" The apprentice shews you D'Urfey's Hudibras,
" Crown's Mask, bound up with Settle's choicest

" labours,

" And promises some new essay of Babor's."

(Malone.)

The neglect of Shakspeare was not the only thing
censurable in these times ; Charles the second's good
sense, and even the good taste, for which he has
been so much extolled, seemed wholly to desert him,
when Tragedy was concerned — he had formed his
judgment on the French Theatre, and it was solely,
or chiefly, owing to him that Traged es in rhyme
were introduced on the English Stage — the Earl of
Orrery says in a letter to one of his friends — " /
'* have now finished a play in the French manner •
" because I heard the King declare himself more in
"favour of their way of writing than ours : my poor
" attempt cannot please his Majesty, but my ex-
" ample may excite others who can : Sir William
" Davenarit will have it acted about Easter: and as
" it is written in a new way, he may possibly take
" confidence to invite the King to see it ; which if
" his Majesty should condescend to, and if you at
" the same time should wait on him thither, I in-
" treat you do not let him know who is the author of
" the play, unless you have double assurances, that
"he does not dislike it" — (Dodsley) — his Lordship's
example was followed by Settle — Lee — Otway —
Crown &c. — Dryden who wrote, and made no diffi-
culty in declaring that he wrote, only to please, and
who perhaps knew that by his dexterity of versifica-

428 CHARLES THE 2D.

tion he was more likely to excel others in rhyme
than without it, very readily adopted his master's
preference. He therefore made rhyming Tragedies,
till, by the prevalence of manifest propriety, he
seemed to have grown ashamed of making them any
longer. (Dr. Johnson.}

Nor was Rhyme the only, or chief, fault of the
Tragedies of this time — Love, Honour, and Valour
were carried to a ridiculous height ; nature and com-
mon sense seemed in a manner banished from the
stage — Lee and Dryderi gradually corrected them-
selves, and their latter plays have less rant, bom-
bast, and nonsense than their former ones — Dryden
in the preface to the Spanish Friar says, that some
of his verses cry vengeance on him for their extra-
vagance, but that he knew they were bad enough to
please even when he wrote them — Dr. Johnson ob-
serves, " There is reason to suspect, that he pleased
" himself as well as his audience, and that these
" bursts of extravagance, which he calls the Dalilahs
" of the Theatre, like.^the harlots of other men, had
" his love, tho* not his approbation."

With the exception of the Villain, Abdelazer, and
some very few more plays, All for Love in 1 678 and
the Orphan in 1680 were the first rational Trage-
dies written since the Restoration — even the Rival
Queens has many passages in it, which, if they were
not omitted, would certainly be hissed in the pre-
sent times.

The Comedies of this period were vastly supe-
riour to the Tragedies — and Sheridan might well
say—

CHARLES THE 2D. 429

In those gay days of wickedness arid wit
" When Villiers critic! z'd what Dryden writ"-

But even in the Comedies, the serious parts were
sometimes very dull, and they were frequently written
in rhyme, or blank verse — nor was this practice to-
tally laid aside even in Gibber's time — Lady Easy in
the Careless Husband, when she finds Sir Charles
and Edging asleep, thinks to make what she has to
say more impressive, by delivering her sentiments in
blank verse.

Crown tells us (no doubt from the King himself)
that the greatest pleasure Charles the 2d had from
the Stage was in Comedy.

Andrew Marvell wrote a Historical Poem, in which
he says of Charles the 2d —

" Of a tall stature, and of sable hue ;
" Much like the son of Kish, that lofty Jew ;
" Twelve years compleat he suffer'd in exile,
" And kept his Father's Asses all the while.*
" At length, by wonderful impulse of fate,
" The people call him home to help the state ;
" And what is more, they send him money too,
" And cloath him all, from head to foot, anew.t

* Or rather — his father's Asses kept him.

f Pepys on the 16th of May 1660 was on board of a ship off
the Hague, with his patron Admiral Montague who had gone
over to the King's party — he says — " This afternoon Pickering
'• told me in what a sad, poor condition for clothes and money the
•• King was, and all his attendants, when he came to him first,
" their clothes not being worth forty shillings the best of them.
" And how overjoyed the King was when Sir J. Greenville

430 CHARLES THE 2D.

" Nor did he such small favours then disdain,
" Who in his thirtieth year began his reign.
" In a slash'd doublet then he came ashore,
" And dub'd poor Palmer's wife his royal whore.
" Bishops, and Deans, Peers, Pimps, and Knights

"he made ;

" Things highly fitting for a Monarch's trade !
" With Women, wine, and viands of delight,
" His jolly vassals feast him day and night."

Marvel has another poem called " A Dialogue be-
" tween two Horses, 1674."

As the equestrian statue at Charing Cross was
erected in honour of Charles the 1st, so it seems a
marble statue had been erected at Wool-Church in
honour of Charles the 2d — Marvel supposes the two
horses to meet at night — the marble horse at Wool
Church begins thus—

" It would make a stone speak "-

Charing.

" My brass is provoked as much as thy stone,
" To see Church and State bow down to a whore,
" And the king's chief minister holding the door.

Wool- Church.

" To see Dei Gratia writ on the throne,
" And the king's wicked life say, God there is
" none.

Charing.

" That he should be stil'd Defender of the Faith,
" Who believes not a word what the word of God
" saith.

" brought him some money ; so joyful, that he called the Princess
" Royal and Duke of York to look upon it as it lay in the port-
" manteau before it was taken out."

CHARLES THE 2l>. 431

" That a king should consume three kingdoms*
" estates,

" And yet all the court be as poor as church rats.

*********

" If the bastards you add,

" What a number of rascally Lords have been made.

Charing.
" But thanks to the whores who made the king

" dogged,
" For giving no more the rogues are prorogued.

Wool-Church.
" That the king should send for another French

" whore,
" When one already had made him so poor.

Charing.
" The Misses take place, each advanc'd to be

" Dutchess,
" With pomp great as queens in their coach and

" six horses :
" Their bastards made Dukes, Earls, Viscounts,

" and Lords,
" And all the high titles that honour affords.

Wool- Church.
" While these brats and their mothers do live in

" such plenty,
" The nation's empoverish'd, and the Chequer

" quite empty :
" And tho* war was pretended, when the money

" was lent,
" More on whores, than in ships, or in war, hath

" been spent.

*********

" Where is thy king gone ?

432 CHARLES THE 2o.

Charing.
" To see Bishop Laud.

Wool- Church.

" To cuckold a scrivener, mine's in masquerade ;
" For on such occasions he oft steals away,
" And returns to remount me about break of day;
" In very dark nights sometimes you may find him,
" With a harlot got up on the crupper behind him.

Charing.

" Pause brother awhile, and calmly consider
" What thou hast to say against my royal rider.

Wool- Church.

" Thy priest-ridden king turn'd desperate fighter
" For the Surplice, Lawn-sleeves, the Cross, and
" the Mitre.

Charing.
" Thy king will ne'er fight except for his Queans.

Wool- Church.
" He that dys for ceremonies, dys like a fool.

Charing.
" The king on thy back is a lamentable tool.

Wool- Church.

" The Goat and the Lyon I equally hate,
" And freemen alike value life and estate :
" Tho* the Father and Son be different rods,
" Between the two scourges we find little odds ;
" Both infamous stand in three kingdoms' votes
" This for picking our pockets, that for cutting our
" throats.

Charing.

" More tolerable are the Lyon king's slaughters,
" Than the Goat making whores of our wives and
" our daughters.

CHARLES THE 2o. 433

" The debauched and cruel, since they equally gall

" us,
" I had rather bear Nero than Sardanapalus.

Wool- Church.

" One of the two tyrants must still be our case,
" Under all who shall reign of the false Stuart race.
" De Wit and Cromwell had each a brave soul,
" I freely declare it, I am for old Noll ;
" Though his government did a tyrant resemble,

" He made England great, and his enemies tremble.

*********

" But what's thy opinion of James Duke of York?

Charing.

" The same that the frogs had of Jupiter's stork.
" With the Turk in his head, and the Pope in his

" heart,
" Father Patrick's disciples will make England

" smart.

" If e'er he be king, I know Britain's doom,
" We must all to a stake, or be converts to Rome.
" Ah ! Tudor, ah ! Tudor, of Stuarts enough ;
" None ever reign'd like old Bess in the ruff.

Wool- Church.
" But can'st thou devise when things will be

" mended ?

Charing.
" When the reign of the line of the Stuarts is

" ended."

On May 29th 1784 Porson, who was afterwards
Greek Professor at Cambridge, but at that time Ba-
chelor Fellow of Trinity College, was desired to make

VOL. I. T F

434 T. H. 1685.

the usual Latin Oration, in the Hall, about the Res-
toration— this, as he could not very well refuse, he
consented to do — he drew a very black picture of
Charles the 2d, and concluded with —

" His saltern accumulem donis " — from Virgil-
meaning his hearers to supply in their own minds the
remainder of the verse

" et fungar inani

" Munere."
He was to get nothing by what he had been doing.

T. R. 1685.

Albion and Albanius was brought out at D. G., and
with an extraordinary expense — it was meant by
Dryden as a Satire on the Whigs and Republicans, and
as a Panegyrick on Charles the 2d and his Brother,
who are represented under the characters of Albion
and Albanius — Augusta, or the City of London, is
discovered in a dejected posture, with an old useless
Charter &c., so as to show her sorrow and penitence
for her offences this Opera is in 3 acts.

Act 1st represents the Restoration of Charles the
2d — Augusta and Thamesis repent of their disloyalty

T. R. 1685. 435

— Archon (General Monck) tells Augusta, that he is
come from the Caledonian shore to save her and to
restore Albion — " Juno appears in a machine drawn
" by Peacocks ; while a symphony is playing, it moves
" gently forward, and as it descends, it opens and
" discovers the Tail of the Peacock, which is so large,
" that it almost fills the opening of the stage between
" scene and scene " — after which " the 4 Triumphal
" Arches erected at his Majesty's Coronation are seen
" — Albion appears, Albanius by his side, preceded
" by Archon, followed by a Train " &c.

Act 2d begins with a scene in Hell as described by
the poets — Pluto appears with the Furies &c. — the
scene changes to the banks of the Thames — Dryden
here brings us, per saltum, to the latter end of Charles
the second's reign — Albion and Albanius enter —
Albion says —

" Then Zeal and Commonwealth infest

" My land again ;

" The fumes of madness that possest

" The people's giddy brain,

" Once more disturb the nation's rest,

" And dye rebellion in a deeper stain."

Mercury advises Albion to preserve Albanius by
letting him go into banishment —

Albion. " Shall I, t' assuage

" Their brutal rage,

" The regal stem destroy ?
AH)anius. " Oh Albion ! hear the Gods and me !

" Well am I lost in saving thee.

F F 2

436 T. R. 1685.

Albion. " Since then the Gods and Thou wilt have

" it so ;
" Go, guiltless victim of a guilty state " &c.

Apollo, Neptune &c. finish the act.

Act 3d begins with a view of Dover from the sea
— Albanius returns in triumph — Apollo tells Albion
that he must change his seat, as he is adopted in
heaven — Albion mounts a machine which moves up-
ward slowly — Apollo says

" The Just, August, and peaceful shade

" Shall shine in heav'n with beams display'd,

" While great Albanius is on earth obey'd."

At the conclusion, " a Pedestal rises, on the front
" of which is drawn a Man with a long, lean, pale
" face, with Fiend's wings and Snakes twisted round
" his body: he is encompassed by several Phanatical
" Rebellious Heads, who suck poison from him, which
" runs out of a Top in his side"— this Langbaine
says was meant for Lord Shaftesbury and his adhe-
rents— his Lordship in his journey to Breda previous
to the Restoration, had been overturned, and received
a contusion in his side, that occasioned some years
afterwards an abscess, which was opened or tapped
— with allusion to this circumstance, and his being
supposed to have had thoughts of attaining the crown
of Poland, in the lampoons of the time he is some-
times called Tapsky. (Malone.)

Dr. Johnson in the Prologue to the Word of the
Wise, after Kelly's death says—

" For English vengeance wars not with the dead."

T. R. 1685. 437

Dryden however made no scruple of bringing Lord
Shaftesbury on the stage after his death ; yet when
he had a fair opportunity of speaking his sentiments,
he declines doing it, and says in the Vindication of
the Duke of Guise 1683— " I have no quarrel to his
" memory ; let it sleep : he is now before another
"judge."

Tate in the Prologue to Cuckold's Haven says —

" But now the Monster has her final rout
" The very dregs of treason's tap are out."

This was doubtless meant of Lord Shaftesbury,
whom he had just before called the old serpent of
associations.

It so happened, that between the writing and the
performance of this piece, that Charles the 2d slipt
his wind — this apparently untoward accident Dryden
has most dexterously turned to his advantage, by
adding to his original design the Apotheosis of Albion,
that is, his late Royal Master ; who may reasonably
be supposed to have descended into heaven, as Juvenal
says of Claudius.

Downes says — " This play was performed on a
" very unlucky day, being the day the Duke of Mon-
" mouth landed in the West — the nation being in
" great consternation, it was performed but six times,
" which not answering half the charge they were at,
" involved the Company very much in debt" — Malone
thinks that the first performance of Albion and Alba-
nius was on the 3d or 6th of June, and the last on
the 13th — the Duke landed on the llth, but his land-
ing was not known in London till the 13th.

Dryden in the Epilogue says of James the 2d—

438 T. R. 1685.

" His subjects know him now and trust him more,
" Than all their Kings and all their laws before.
" What safety could their public acts afford ?
" Those he can break ; but cannot break his
" word."

James the 2d, immediately after his Proclamation,
made a speech to the Privy Council, in which he
promised to maintain the government in Church and
State, as it was established by law — this speech was
soon published ; it was magnified as a greater secu-
rity than any that laws could give — the common
phrase was " We have now the word of a King, and
" a word never yet broken " —the Pulpits were full
of the King's declaration, (Burnet) and it was re-
echoed by Dryden from the Stage.

Francis the 1st of France said " On the word of
" a King " to one of his Courtiers, who did not seem
to believe him — he then said " On the word of a Gen-
"tleman" — which satisfied him — Catharine of Medicis
asked a Huguenot Deputy, if a King's word was not
sufficient security ? — " No," said he, " by St. Bar-
" tholemew."- (Probably Belsham.)

Sir Courtly Nice, or It cannot be. Sir Courtly =
Mountford : Crack = Leigh : Hothead — Underbill :
Testimony = Gillow : Lord Bellguard = Kynaston :
Surly = Griffin : Leonora = Mrs. Barry : — Downes
does not tell us who acted the other characters — the
Prologue compliments the late and the present King—

" What nation upon earth besides our own,
" But by a loss like ours had been undone ?
" Ten ages scarce such Royal Worths display,
" As England lost, and found in one strange day."

T. R. 1685. 439

Crown tells us in the dedication, that this C. was
written by the command of Charles the 2d of ever
blessed and beloved memory — the King gave Crown
a Spanish play called " It cannot be " —this Spanish
play had been adapted to the English stage, and acted
at L. I. F. in 1668, as Tarugo's Wiles— Crown has
however vastly improved the original piece by adding
to it the characters of Sir Courtly Nice — Hothead—
Testimony — and Surly — his play is a very good one;
and, as he tells us in his preface to Caligula, was as
fortunate a Comedy as had been written in that age
—both Dowries and Gibber speak in the highest terms
of Mountford's acting in Sir Courtly — the characters
of Hothead and Testimony — a hot Cavalier and a
Fanatic — are still very entertaining, and must have
been exquisitely so in 1685 — Testimony in the 1st
act says — " Suppose I see not many vices, morality
" is not the thing ; the Heathens had morality, and
" forsooth would you have your Coachman or your
" Footman to be no better men than Seneca ?" — in
the 4th act, Testimony is asked what o'clock it is ? -
" Truly I do believe it is about 4, I cannot say it
" positively, for I wou'd not tell a lie for the whole
" world."

There are half a dozen good lines in the Epilogue,
but they must not be quoted ; they allude to a house
of ill fame kept by a Jew close to the theatre — the
song of Stop Thief is taken from Moliere's Romantick
Ladies.

Duke and no Duke. Trappolin = Leigh : Lavinio
= Wiltshire: Brunetto — Carlile : Alberto = Williams:
Barberino = Gillow : M ago == Percival : Flarnetta =
Mrs. Twyford: Isabella — Mrs. Currer: Prudentia =

440 T. R. 1685.

Mrs. Percival : — this Farce in 8 acts was written by
Tate — it was printed in 1685, but probably acted
sooner — it is said to have diverted the King — the
design of it is absurd — but as a broad Farce, it is
certainly laughable — Trappolin's judicial decisions
are good — the serious part of the plot seems to be
taken from and the title suggested by, King and no
King — Scene Florence.

Langbaine, in speaking of Trappolin supposed a
Prince, says — "The design of this play was borrowed
" from one which Sir Aston Cokain saw twice acted
" at Venice — it was revived on our stage since the
" King's return, with a new Prologue by Duffet—
" it has since been altered by Tate."

Cuckold's Haven, or an Alderman no Conjuror.
Alderman Touchstone intended for Nokes, but acted
by Percival : Quicksilver = Jevon : Sir Petronell
Flash = Williams : Security = Leigh : Bramble =
Haines : Golding = Baker : Capt. Seagull = Gillow :
Girtred = Mrs. Percival : Mrs. Touchstone = Mrs.
Cory: Mildred = Mrs. Twiford : Winifred (Security's
wife) = Mrs. Price : — this Farce in 3 acts was brought
out atD. G. — it was written by Tate — it is only a
bad alteration of Eastward Hoe — Touchstone's cha-
racter in the last scene is altered much for the worse—
the 2d scene in the 1st act, and Security's pretending
to be bewitched in the 3d act, are taken from the
Devil's an Ass — Cuckold's Haven is not a fictitious
name — the place is twice mentioned in the Mistaken
Husband — it retained the same name in 1787> and
perhaps retains it still.

Tate in the Prologue is so mean as to insult the
Duke of Monmouth.

T. R. 1685. 441

" Our Trincalo and TrappTm were undone
" When Lyme's more Farcy Monarchy begun."

The Duke landed at Lyme.

Eastward Hoe was written by Chapman, Jonson,
and Marston — it was printed in 1605, and reprinted
by Dodsley in 1744 — Touchstone, a goldsmith in the
city, has two apprentices, Quicksilver and Golding

—the former is dissolute in his conduct, the latter is
sober — Touchstone's elder daughter, Girtred, marries
Sir Petronel Flash — his younger daughter, Mildred,
marries Golding — Sir Petronel persuades his wife to
put her name to the sale of an estate which her grand-
mother had left her — he gets the money from Security,
and means to set off for Virginia, without his wife —
Sir Petronel and Quicksilver are overset in a boat on
the Thames, and nearly drowned — Golding is ap-
pointed deputy to the Alderman of the ward — Sir Petro-
nel and Quicksilver are brought before him — Touch-
stone charges Quicksilver with having embezzled £500
of his money, and Sir Petronel with having cheated his
daughter — they are committed to prison — Quicksilver
becomes sincerely penitent — Girtred, who is proud
and affected, is deservedly punished for her insolence
to her father and sister —but at the conclusion Touch-
stone forgives her and Sir Petronel — in the 3d act
Sir Petronel and his friends are assembled at a
tavern — Quicksilver brings Security's wife disguised

—Security believes her to be Bramble's wife — on
returning home and not finding his wife, he pursues
her in a boat — he also is overset, and landed at
Cuckold's Haven — in the last scene Touchstone
wishes the jailor to lend Quicksilver some better

442 T. R. 1685.

clothes than those he has on — but Quicksilver protests
he will walk home in those he has, as an example to
the children of Cheapside — Tate injudiciously omits
all that Quicksilver says in this scene, and leaves his
repentance doubtful — Eastward Hoe is a good C.—
it was revived at D. L. Oct. 29 1751 — arid altered to
Old City Manners Nov. 9 1775.

In Eastward Hoe, a Butcher's Apprentice enters
with a pair of ox-horns, which he sets up, in a famous
tree, in honour of St. Luke, who seems to have been
considered as the Patron of Cuckolds — in Northern
Hoe, one of the characters says — " like the tree in
" Cuckold's Haven in a great snow " —in the Parson's
Wedding, the Parson says — " to a man that has read
" Seneca, a Cuckold ought to be no grief; especially
" in this parish, where I see such droves of St. Luke's

" cloathing " in the 2d part of Henry the 4th, Fal-

staff says " he hath the horn of abundance, and the
" lightness of his wife shines through it " &c. — on
this passage Dr. Warburton has a note, which is very
far from doing him credit — " This joke seems evi-
" dently borrowed from that of Plautus — Quo ambu-
" las til, qui Vulcanum in cornu conclusum geris ?"
— we need not doubt that a joke was here intended
by Plautus ; for the term of horns for cuckoldom is
very ancient, as appears by Artemidorus, who says—
" his wife will cuckold him, and, according to the
" Proverb, give him horns " — Dr. Warburton is the
first, and probably the only person, who ever thought
that Plautus intended a joke about horns — the Vari-
orum Edition of Plautus supposes Mercury to say to
Sosia simply — " You who carry a light in a horn

T. R. 1685. 443

•

" Ian thorn " — Artemidorus lived in the time of the
Emperour Adrian.

Commonwealth of Women. Capt. Marine = Wil-
liams : Du Pier (his Lieutenant) — Griffin : Franvil
= Jevon : Frugal = Leigh : Hazard = Haines : Bold-
sprite (the Ship's master) = Percival : Surgeon of the
Ship = Sanders : Don Sebastian = Gillow : Nicusa
(his son) = Bowman : La Mure (a French Pirate) =
Norris : Bourcher (his friend) = Harris : Roselia =
Mrs. Cory: Clarinda = Lady Slingsby : Aminta =
Mrs. Cook — Amazonians — Menalippe = Mrs. Twiford:
Juliette = Mrs. Percival: Hippolita = Mrs. Price:
Ariadne = Mrs. Oshorn : Aglaura — Mrs. Knight :
Clita = Miss Nanny : — this play is only an alteration
of the Sea Voyage — it was licensed Sep. 11 1685—
the restriction on the press seems to have been re-
newed.

The Sea Voyage was written by Fletcher — the
scene lies in an Island — one part of which is a mere
desert — the other part is fruitful — the two parts are
separated by a deep and dangerous river — several
years before the play begins, the Portugueze had been
so molested in one of their settlements by some
French Pirates, that they had embarked themselves
and their wealth in two ships — the ships were sepa-
rated in a storm — the one which conveyed Sebastian,
his nephew Nicusa &c. was carried to the desert part
of the Island — the crew mutinied — fought for Sebas-
tian's treasures — and were all killed — Sebastian and
Nicusa survived : — the other ship, which conveyed
Rosellia, the wife of Sebastian, and the other women,
was driven to the pleasant part of the Island — the
men, who had navigated it, died — the women, remem-

444 T. R. 1685.

I

beririg what they had suffered from the French, took
a solemn oath never to admit the society of men—
Rosellia became their governess — the two principal
French Pirates were the fathers of Raymond and
Albert — they had quarrelled and killed one another
—Albert had forced away the sister of Raymond,
Aminta — but had treated her with kindness and re-
spect—the play begins aboard Albert's ship — there is
a violent storm — the ship gets to the desert part of
the Island — Albert — Tibalt du Pont his friend — La-
mure an usurious merchant — Franville a gallant—
Morillat a shallow-brained gentleman — the Master of
the ship — Aminta &c. — land — they find Sebastian and
Nicusa nearly starved — Sebastian and Nicusa entreat
to be conveyed away — they show the French their
gold and jewels — some of the French quarrel for the
spoil — in the mean time Sebastian and Nicusa make
off with the ship — the French become nearly starved
—Albert swims the river to get provisions for Aminta
—the Amazons find him exhausted and lying on the
ground — Clarinda, the daughter of Rosellia, falls in
love with Albert — Albert says Aminta is his sister—
Lamure, Franville, Morillat and the Surgeon of the
ship are^on^the point of killing Aminta]with"a view
to eat her — Tibalt and the Master rescue her — Albert
returns with provisions — Rosellia agrees to save the
lives of the French — they show her the jewels which
they had found on the Island — she and'] thej other
women recollect them to have been their own — they
conclude the French to be the Pirates who had robbed
and killed Sebastian — they take the French prisoners,
and convey them over the river — Raymond had met
Sebastian and Nicusa at sea, and had taken them on

T. R. 1685. 445

board his ship — he returns with them to the desert
part of the Island— but not being able to find either
the men or the treasures, which they had spoken of,
he considers them as impostors and leaves them with
some provisions — Raymond lands in the pleasant part
of the Island and is taken prisoner by the Amazons
— Raymond and Albert are reconciled — Crocale
having discovered from their conversation, that Sebas-
tian and Nicusa were in the other part of the Island,
goes for them — in the mean time Rosellia resolves to
sacrifice her prisoners to the manes of her husband
— Crocale enters with Sebastian and Nicusa — and
all ends happily — Albert is united to Aminta — and
Sebastian gives Clarinda to Raymond — the plot is
romantic — in other respects the play is a very good
one — Tibalt du Pont, a merry gentleman, is the best
character.

D'Urfey has materially altered Fletcher's play — he
represents Aminta as the daughter of Roselia — as
taken from her in her infancy by La Mure, the
French Pirate — and bred up by him — D'Urfey omits
the character of Raymond, and foolishly substitutes
La Mure for him in the 4th act — Hazard is in some
measure a new character in the room of Morillat—
—the names of Albert — du Pont — and Lamure, the
Usurer, are changed to Marine — Du Pier and Frugal
— the Amazonians are represented not as the com-
panions of Roselia when she landed on the Island,
but as warlike women whom she found there — the
1st act is new — the scene lies in Covent Garden-
Marine and Aminta are mutually in love — he carries
her off — Franvil, Frugal, and Hazard, embark on
board Marine's ship, being determined to ramble for

446 T. R. 1685.

3 years, in order to get rid of their wives — the last

4 acts are taken from Fletcher, but with additions,
omissions, and many changes in the dialogue — La
Mure speaks broken English — D'Urfey had not the
sense to see that for a Frenchman to speak bad JEng-
lish, and the Portuguese good, in the same play, was
an egregious absurdity — on the whole D'Urfey's alte-
ration is considerably for the worse, but still the
Commonwealth of Women is a good play — the ori-
ginal name was afterwards restored — the Prologue
was spoken by Haines with a Western Scythe in his
hand—

" From the West, as champion in defence

" wit

" I come, to mow you critics of the Pit,
"Who think we've not improved what Fletcher1

" writ.

" This godly weapon first invented was
" By Whigs, to cut down Monarchy like grass j
" But I know better how to use these tools,
" And have reserv'd my scythe to mow down

« fools."

— Haines afterwards mentions the Western war as
ended — the Duke of Monmouth landed in the West
on the llth of June, and was taken prisoner on the
8th of July — D'Urfey in the dedication says — " We
" cannot now doubt but that Almighty Providence
" has pronounced a long and happy reign to our
" great and glorious master."

Rollo, Duke of Normandy — a new edition of this
play was licensed for printing on Nov. 27 1685 — it
has sometimes been acted and printed as the Bloody

T. R. 1685. 44?

Brother — Rollo and Otto (brothers and joint-heirs to
the Dukedom) = Kynaston and Williams : Aubrey
(their kinsman) — Gillow : Gisbert (their Chancel-
lor) = Saunders : Baldwin (their Tutor) = Cartwright:
Latorch (a villain of Hollo's party) = Griffin : Hamond
=. Perin : Cook and other servants = Underbill &c. :
Edith (daughter to Baldwin) = Mrs. Cooke : Sophia
(the old Duchess) = Mrs. Corey : Matilda (her daugh-
ter) = Mrs. Percival : — this is on the whole a good T.
— Langbaine says — " notwithstanding Rymer's criti-
" cisms on it, it has still the good fortune to please—

" it being frequently acted at D. G." a deadly feud

subsists between Rollo and Otto — their mother uses
her utmost endeavours to reconcile them, but in the
3d act Rollo kills Otto — Gisbert and Baldwin are
ordered by Rollo to vindicate his conduct in an ora-
tion to the people — they refuse, and are sentenced
to immediate execution — in the 4th act Allan is put
to death for having buried Gisbert — this seems bor-
rowed from the Antigone of Sophocles — in the 5th
act, Edith admits Rollo to visit her, with an intent
to revenge herself on him for her father's death—
Rollo however is killed by Hamond — in the character
of Aubrey, Fletcher has exemplified the doctrine of
passive obedience and non-resistance — Aubrey is an
honest man, yet when he finds Otto murdered, he is
so loyal as to say—

"all that rests

" Is, to conform our wills to suffer freely
" What with our murmurs we can never master.
" Ladies, be pleas'd with what Heav'ns pleasure
" suffers."

448 T. R. 1685.

And in the last scene he condemns Edith to a cloyster
for her share in Hollo's death — Dryden, in his Essay
of Dramatick Poesie, says that Fletcher has repre-
sented the story of Bassianus and Geta in Herodian
under the name of Hollo — it is however more pro-
bable that Fletcher has borrowed his plot from the
story of Eteocles and Polynices — he evidently had his
eye on the Phoenissse of Euripides, or the Thebais of
Statius, when he wrote the first part of this Tragedy
— in either case it is difficult to conceive why Fletcher
should have transferred the scene to Normandy, as in
the old history of that country called Hypodeigma
Neustrise, there is no mention of the murder of Otto
by Rollo.

Hollo in the 1st scene of the 2d act says—

" And all the vows my weakness made, like this,
" Like this poor heartless rush, I rend a-pieces."

When the actor spoke these lines originally, he
doubtless took up one of the rushes with which the

stage was formerly strewed Wittipol, in the Devil

is an Ass, no doubt did the same, when he says —

" I'll not give this rush" in the Fair Favourite, a

Lady enters, sits on the rushes, and takes out a book
to read — in the Martyr'd Soldier, Eugenius says —
" before my blood shall wash these rushes" — he is
in the King's bedchamber — in the Dutchess of Malfy,
the Cardinal says — " he gave me these large wounds,
" as we were struggling here in the rushes" — the
scene lies in the Palace.

Unhappy Favourite — the King and Queen were
crowned April 23 1685. — Mrs. Barry is said to have
acted Queen Elizabeth in the Coronation robes of

T. R. 1685. 449

James the second's Queen, who had before made
her a present of her wedding suit — Mrs. Barry's per-
formance gave the audience a strong idea of Queen
Elizabeth. (CurJl.)

Lady Slingsby seems not to have acted after this
season— little is recorded of her, but she acted seve-
ral principal characters — most of them however in
obscure plays.

Dame Mary Slingsby, widow, from St. James' Pa-
rish, was buried at Pancras, March 1 1693-4.

Her characters — selection only.

D. G. 1675. As Mrs. Lee — *Nigrello in Love and
Revenge.

1676. * Queen in Don Carlos — *Roxalana in
Ibrahim — * Madam Fickle — *Corisca in Pastor Fido.

1677. *Berenice in Titus and Berenice — *Circe
— * Queen Mother in Abdelazer.

1679. *Eurydice in (Edipus — *Cressida — * Laura
Lucretia in Feigned Courtezans.

1680. *Bellamira in Csesar Borgia.

1681. As Lady Slingsby — * Queen Margaret in
Crowne's Henry the 6th — * Regan in Tate's Lear.

T. R. 1682. * Queen Mother in Duke of Guise.

1684. Calphurnia.

1685. *Clarinda in Commonwealth of Women.

* Originally.

VOL. i.

450 T. R. 1686.

T. R. 1686.

Devil of a Wife, or a Comical Transformation.
Jobson = Jevon : Sir Richard Lovemore = Griffin :
Rowland and Longmore (his friends) — Bowman and
Perin : Noddy (a Fanatick Parson and Chaplain to
Lady Lovemore) = Powell : Lady Lovemore's Father
= Norris: Doctor (a Magician) = Freeman : Butler
and other servants — Saunders &c : Nell = Mrs. Per-
cival : Lady Lovemore = Mrs. Cook : Jane = Mrs.
Price: Lettice = Mrs. Twyford: — this Farce in 3
acts was written by Jevon, and brought out at D. G.
— it seems to have been very popular — in 173.5 an
8th edition of it was published — it still continues on
the stage as " the Devil to Pay," which is in a great
degree taken from it — but the characters of Noddy
&c, and a considerable part of the dialogue, are
omitted — D'Urfey in the dedication of the Banditti
observes — " Jobson's wife is now a much better cha-
" racter than Sempronia or Abigail" — Jevon in the
Prologue says —

" Union and Catcalls have quite spoil'd the
" stage."

He adds — " My name's Mr. Jevon I'm known far
" and near."

Dr. Faustus — this Farce in 3 acts, by Mountfort,
was not published till 1697> but as it was acted at the
Queen's Theatre in D. G., it must have come out
between 1684, and 1688 when Jevon died— Jevon
and Leigh acted Harlequin and Scaramouch — Scara-

T. R. 1686. 451

mouch says — " My ears are as deaf to good counsel,
" as French Dragoons are to mercy" — this speech
makes it highly probable that Dr. Faustus was writ-
ten not long after the revocation of the Edict of
Nantes in Oct. 1685 — Mountfort has borrowed two
thirds of his piece from Marlowe's Dr. Faustus.

The Tragical History of the Life and Death of Dr.
Faustus was printed in 1604 — a 5th edition was

published in 1663 Faustus sells his soul and body

to Lucifer, the regent of tjie Devils — he cuts his arm
and writes the contract in his blood — Mephostophi-
lis, an inferiour devil, promises in return to be at the
command of Faustus for 24 years — Mephostophilis
conveys Faustus to Rome — the Pope enters with
Bruno, the Antipope, led in chains — Faustus sets
Bruno at liberty — the Pope entertains the King of
Hungary &c at a banquet — Mephostophilis makes
Faustus invisible — Faustus snatches away the meat
and drink from the Pope — the scene changes to Ger-
many— Faustus, at the Emperour's desire, raises the
shade of Alexander the Great — he plays several comic
tricks — he sells a horse to a horse-courser, caution-
ing him particularly not to ride him into the water—
the horse-courser purposely rides the horse into the
water, and the horse becomes a bottle of hay — the
horse-courser in return pulls off one of Faustus' legs —
Faustus recovers his leg — a Carter relates that Faus-
tus bargained with him for three farthings to have as
much hay as he could eat — and that Faustus ate up
the whole load — the horse-courser, carter &c abuse
Faustus — he charms them all dumb — Mephostophilis
re-animates Helen, and gives her to Faustus for his
paramour — Faustus' term being nearly expired, he is

oo 2

452 T. R. 1686.

reduced to despair — he desires two Scholars, who are
his friends, to pray for him, but not to come to him,
whatever they may hear, as nothing could rescue him
— the Devils carry away the soul of Faustus — the
Scholars find his body torn limb from limb — they

agree to bury his remains the Editor of the old

plays reprinted in 1814 and 181,5 observes of this
Tragedy that " the fury and madness of despair, as
" depicted in the last scene, is not perhaps exceeded
" in the language" — he tells us that Alleyn, the
founder of Dulwich College, used to act Faustus ;
and that a great deal of the plot is borrowed from
the writers on magic.

Marlowe has drawn the character of Faustus with
the hand of a master, and has written many pas-
sages very finely, but as he represents all that hap-
pens to Faustus as matter of fact, his play is of
course a strange one — Mountfort has more judiciously
represented the story as farcical — he has taken the
serious scenes almost word for word, with omissions
only — in the comic scenes he has made some imma-
terial changes — he has selected what he wanted with
judgment, and left out such parts as were too serious
for his purpose — he has added Harlequin and Scara-
mouch, two very good comic characters — Scara-
mouch is the Doctor's man — in the 2d act he is
discovered in the Doctor's gown, with a wand, and
in a circle — he raises Mephostophilis — Harlequin
desires to have meat, drink, and a handsome wench
—a giant rises — he divides himself into two, and
walks out separately — this is borrowed from Mrs.
Behn's Rover part 2d — Harlequin and Scaramouch
are discovered at supper — several stage tricks are

T. R. 1686. 453

played off — in the 3d act, Harlequin enters as a beg-
gar— he says that Scaramouch had left the Doctor,
and had become the Steward of a rich widow, whose
husband had died yesterday — Scaramouch distributes
money and bread to the poor — Harlequin steals all
the money and bread — Harlequin pretends to hang
himself — and contrives to put Scaramouch in his
place — at the conclusion, Faustus* limbs come toge-
ther again — this is borrowed from Dame Dobson—
the piece ends with a song and a dance.

Banditti, or a Lady's Distress — (licensed March 1
1685-6.) Don Antonio = Kynaston : Don Fernand
(supposed son to Leon and Megsera) — Williams :
Don Ariell (brother to Eugenia) = Leigh : Don Diego
(supposed son to Don Ariell) = Underbill : Leon
(Captain of the Banditti ) = Griffin : Frisco (a taylor,
and secretly one of the Banditti) = Jevon : Don Gar-
cia = Gillow : Lopez = Percival : Lawra (daughter to
Eugenia and in love with Antonio) = Mrs. Barrer :
Megsera (an old hag, wife to Leon) = Mr. James
Nokes : Donna Elvira = Mrs. Cooke : Eugenia = Mrs.
Corey : Lucia = Mrs. Percival : Christina — Mrs. Twy-
ford : — this is on the whole a good play — it was un-
successful— Don Antonio makes love to Lawra from
the street — on hearing a noise he retires — Fernand
enters, and Lawra, mistaking him for Don Antonio,
throws him out a key — he lets himself into the house
—Don Antonio follows — Fernand, in the dark, thinks
him a bravo, and stabs him — Don Antonio supposes
he has been wounded by Lawra's connivance, and
calls her a base infamous woman — she is frightened
and elopes from her mother — in her distress she puts
herself under the protection of Megaera — Leon robs

454 T. R. 1687.

her and intends to ravish her — Fernand comes to her
rescue, and wounds Leon who is masked — Leon on
his recovery acknowledges that Fernand is not his
son, but the son of Eugenia and the late Don Sebas-
tian—Don Antonio is reconciled to Lawra — Don
Diego turns out to be the son of Megsera.

T. R 168?.

Bellamira, or the Mistress — (licensed May 24 1687)
—there are no performers' names to the D. P. — this
C. is Terence's Eunuch adapted to modern times and
manners — on the whole Sir Charles Sedley has ma-
naged matters with considerable skill — many pas-
sages are well translated or altered — but unfortu-
nately the main incident could not be introduced in
London with any degree of propriety — the parts of
Lionel, Eustace, Pisquil and Silence correspond to
those of Choerea, Chremes, Dorus and Dorias—
Parmeno is omitted, but Merryman says and does
many things the same as Parmeno — Dangerfield and
Smoothly are Thraso and Gnatho — Phoedria is turned
into Keep well a comic character — this is by no means
an improvement — Sedley has very injudiciously omit-
ted the small part of Sanga with his dish-clout—
Marmion on the contrary has lugged them into his
Fine Companion, where there was no occasion for
them — in the part of Thais, as Bellamira, the author

T. R. 1687. 4-55

has made a considerable change — he represents her
as an imperious mistress, who governs and jilts her
keeper — in doing this, he seems to have had his eye
on the Duchess of Cleveland — Keepwell says to Bel-
lamira, " I saw no man indeed, but am much mis-
" taken, if I did not hear one leap out of your low
" window into a boat" — this has strongly the appear-
ance of being an allusion to the story told of the
Duchess and Young Churchill — Merryman says of
Bellamira — " she is not so handsome as she was,
" and begins to look something procurish" — Sedley
makes some additions to the original play — Merry-
man is very fat arid Cunningham very lean — they
rally one another on their personal appearance — they
both make love to Thisbe — Sedley seems here to have
borrowed a hint from " All Mistaken" — Bellamira
disguises herself as a man — she and Merryman rob

and beat Dangerfield this is by far the best of

Sedley's plays — it appears from the preface that he
gave his 3d night to a friend — Malone says that friend
was Shadwell.

Lucky Chance, or an Alderman's Bargain. Gay-
man = Betterton : Sir Feeble Fainwou'd = Leigh : Sir
Cautious Fulbank =. Nokes : Belmour = Kynaston :
Bearjest = Jevon : Bredwel = Bowman : Lady Ful-
bank = Mrs. Barry: Letitia = Mrs. Cook: Diana =
Mrs. Mountfort, late Mrs. Percival : Gammer Grime
= Mrs. Powell : — Belmour and Letitia were con-
tracted—Belmour in consequence of a duel had been
obliged to abscond — on his return he finds Letitia
just married to Sir Feeble — he passes himself on
Sir Feeble for his nephew, and is introduced by him
to Letitia — she is struck with his likeness to Bel-

456 T. R. 1687.

mour, whom she supposes to be dead — in the 2d act
they come to an explanation— when Sir Feeble is
undressing at night, Belmour by a stratagem gets
him out of the house, and marries Letitia — Sir

Feeble is forced to resign her the other part of

the plot concerns Lady Fulbank, who is married to
Sir Cautious, but in love with Gayman — he has spent
his estate and is obliged to lodge at Gammer Grime's
in Alsatia — Bred well, drest as a devil, brings him a
bag of gold, and introduces him into Lady Fulbank's
house at night — Gayman in the dark supposes her to
be some ugly old woman, who has sent him the money
—this, as Langbaine observes, is borrowed from Shir-
ley's Lady of Pleasure — Gayman afterwards finds
out that the supposed old woman was Lady Fulbank
- Gayman wins £300 of Sir Credulous &c at dice-
he and Sir Credulous throw for the whole sum — if
Gayman wins he is to pass the night with Lady Ful-
bank— Mrs. Behn was too fond of an intrigue not to
make the dice in his favour — the Alderman reluc-
tantly performs his Bargain — this is an excellent C.
but unusually indecent — see particularly the School
for Greybeards D. L. Nov. -25 1786— the Lucky
Chance was revived at L. I. F. July 24 IJ18.

Island Princess, or the Generous Portugals altered
by Tate from Fletcher — Islanders — King of Tedore
= Kynaston : Governour of Ternata = Gillow : King
of Bakam = Powell Senior : Prince of Syaria = Har-
ris : Quisara (the Island Princess) = Mrs. Cook : Pa-
nura =sMrs. Mountford : — Portuguese — Armusia —
Smith : Ruidias = Griffin : Pymero = Mountfort :
Em anuel = Powell Junior: — this alteration is a bad
one — Tate has not made any material change in the

T. R. 1687. 457

plot, but he has made many unnecessary changes in
the dialogue.

Emperor of the Moon. Harlequin = Jevmi : Sca-
ramouch = Leigh : Dr. Baliardo = Underbill : Don
Charmante = Mountfort : Don Cinthio = Powell Ju-
nior: Bellemante = Mrs. Mountfort: Elaria = Mrs.
Cooke : Mopsophil = Mrs. Cory : — Don Cinthia and
Don Charmante, the nephews of the Viceroy of
Naples, are in love with Elaria and Bellemante, the
daughter and niece of Dr. Baliardo — the Doctor is so
credulous, as not only to believe that there is a World
in the Moon, but to discourse gravely of the inhabi-
tants of it — Charmante, disguised as a Caballist or
Rosacrusian, helps to confirm him in his belief — the
Doctor is at last persuaded, that the Emperor of the
Moon and the Prince of Thunderland are in love
with Elaria and Bellemante — the lovers contrive,
with the assistance of Scaramouch, to have an old
room in the Doctor's house fitted up with scenes
properties &c suitable for their purpose — Cinthio
and Charmante descend in a chariot as the Emperor
and Prince — they marry Elaria and Bellemante — and
when they are married, they acknowledge the strata-
gem they made use of — this Farce in 3 acts was writ-
ten by Mrs. Behn — the plot is grossly improbable
—but in a professed Farce that may be excused — in
other respects the piece is a very good one — it pleases
in perusal, and must have pleased much more in re-
presentation, as it affords scope for good scenery,
singing, dancing &c. — Harlequin and Scaramouch
are excellent characters, but they require first rate
performers to do them justice— they play off several
good tricks — they are both in love with Mopsophil,

458 T. R. 1687.

the governess of the young ladies — Harlequin is ser-
vant to Cinthio — and Scaramouch to the Doctor—
the Emperor of the Moon might be revived as an ex-
cellent substitute for a Pantomime, but the experi-
ment would be hazardous, as it could not be revived
without considerable expense.
Jevori in the Prologue says—

" There's nothing lasting but the Puppet Show."

Gibber had been informed by those who remem-
bered it, that there was at one time a famous Puppet
Show in Salisbury Change, which so far distressed
the actors that they were reduced to petition against
it this Farce came out at D. G.

In the Epilogue to the Injured Lovers by Mount-
fort — Jevon tells the audience they must be kind to
the Poet—

" Else to stand by him, every man has swore.
" To Salisbury Court we'll hurry you next week
" Where not for whores, but coaches you may

" seek ;

" And more to plague you, there shall be no Play,
" But the Emperor of the Moon for every day."

Mrs. Cooke, in the Epilogue to this Farce, tells
the audience, that tho' they may dislike old plays, as
much as a dull wife—

" Yet the pall'd pleasure you must still pursue,
" You give so small encouragement for new ;
" And who wou'd drudge for such a wretched age,
" Who want the bravery to support one Stage ?"

Mrs. Cooke probably left the stage about this time.

T. R. 1688. 459

T. R. 1688.

Squire of Alsatia. Sir William Belfond = Leigh :
Younger Belfond = Mountfort : Sir Edward Belfond
= Griffin: Lolpoop = Underhill : Truman = Bowman:
Cheatly = Samford : (Sandford) Sham well = Powell
Junior : Capt. Hackum = Bright : Attorney = Powell
Senior : Termagant = Alexander : Mrs. Termagant
= Mrs. Bowtell : Isabella = Mrs. Mountfort : Teresia
= Mrs. Knight : Lucia = Mrs. Bracegirdle : — in the
1st Edition of this play, Ruth, a part of importance,
is omitted in the D. P. — in Shadwell's works Mrs.
Cory's name stands to the character, which is proba-
bly correct — Nokes at first acted Elder Belfond, the
Squire of Alsatia, but afterwards resigned the part to
Jevon — (Dowries) — it does not seem to have been at
all in Nokes' line — Alexander's real name was Ver-
bruggen, he is said to have been called Alexander
from a passion he had to act that part. (Laureat.)
This is one of Shadwell's best plays — it is princi-
pally founded on the Adelphi of Terence — but the
character of Lolpoop is from the Truculentus of
Plautus — Sir William Belfond had bred up his elder
son in the country — he had given his younger son,
in his childhood, to his brother Sir Edward — Sir
Edward had educated his nephew as a Gentleman-
Elder Belfond becomes intimate with the Alsatians
—Sir William, on his return from abroad, hears the
Alsatians talk of being acquainted with Squire Bel-
fond — he believes that they mean his younger son ;
at last he finds Belfond Senior with the Alsatians —

460 T. R. 1688.

Belfond Senior sets his father at defiance, the estate
being entailed — Sir William makes his exit in a fury

—he returns with a Tipstaff, Constable &c. — the
Alsatians rise in a body — beat the officers of the law

—and take Sir William prisoner — Belfond Junior,
with the assistance of some Gentlemen, rescues his
father — at the conclusion, Belfond Junior and Tru-
man marry Isabella and Teresia — Belfond Senior is
penitent, and his father forgives him — Shadwell has
prefixed to his play an explanation of the Cant of
Alsatia — Alsatia is the Cant name for White Friars,
a place which was considered as being privileged from
arrest, and which was consequently inhabited by per-
sons liable to that misfortune — the situation of Alsatia
is sufficiently ascertained by what is still called White
Friars Wharf near the Temple — one gate of the
Temple seems to have opened into Alsatia — the
disorders of the place became so great, that Parlia-
ment found it necessary to put a stop to them — this
was done by a statute passed in the 9th and 10th of
William the 3d.

Downes says this play was excellently well acted,
and being often honoured with the presence of Chan-
cellour Jefferies and other great persons, had an unin-
terrupted run of 13 days — Shadwell received for his
3d day £130, which was the greatest receipt they had
ever had at the T. R. at single prices — it appears
from the dedication that vast numbers went away,
who could not be admitted.

Numberless Prologues and Epilogues speak of half
a crown as the price of admission, without distinguish-
ing whether this was meant for the boxes or the pit
— thus in the Prologue to the Mistakes Dryden says—

T.R. 1688. 461

" Ours is a common play ; and you pay down
" A common harlot's price— just half a crown."

But Mrs. Behn's Epilogue to the Dutch Lover
makes the matter clear—

" She never gull'd you Gallants of the town

" Of sum, above four shillings, or half a crown"

There were 2 Galleries at Is. — and Is. and 6d.—
the Is. and 6d. Gallery seems to have been much
frequented by women of the town Dryden says—

" But stay : methinks some vizard mask I see,
" Cast out her lure from the mid gallery :
" About her all the flutt'ring sparks are rang'd :
" The noise continues, tho' the scene is chang'd :
" Now growling, sputt'ring, wauling, such a clutter
" 'Tis just like puss defendant in a gutter."

That a shilling was the price of the Upper Gallery
is clear from the Prologue to the Loyal General — in
the 2d act of the Sullen Lovers 4s. is mentioned as
the price of admission to the Theatre for Ladies—
see also the Epilogue to Darius.

Darius, King of Persia — this is a tolerable T. by
Crown — it is printed without the names of the per-
formers to the D. P. — the play begins some few
hours before the battle of Gausamela — Darius is
defeated, and retreats to Arbela — Bessus, the Gover-
nour of Bactria, and Nabarzanes, the Governour of
Hyrcania, conspire against Darius, and put him
under a guard — they wound Darius, but do not kill
him — Polystratus, and some Persians find Darius as
he is dying — Artabasus, the chief Persian General,

462 T. R. 1688.

and Patron, the Commander of the Grecian auxili-
aries, enter with Bessus and Nabarzanes as prisoners
—at the conclusion, " the scene is drawn, and the
" carcasses of Bessus and Nabarzanes are seen, hung
" in chains, and stuck with darts — at another part of
" the stage, is seen the Ghost of Darius brighly ha-
"bited" — Crown has deviated but little from history,
except as to the death of Bessus and Nabarzanes—
the Ghost of Darius would have been much better
omitted — Crown has added a love Episode, which
suits very well with the original story — Memnon is
the son of Bessus by an Amazon — he is valiant and
loyal — he had fallen in love with Barzana, without
knowing who she was — she had fallen in love with
him, but had been forced to marry Bessus — they do
not meet till the 4th act — Barzana tells Memnon that
she is married, but she does not tell him that she is
married to his father — in the 5th act she acknow-
ledges that Bessus is her husband — Memnon faints
— Barzana supports him — Bessus enters — he sus-
pects them of incest and kills Memnon— Barzana
kills herself — the last scene of the 2d act is well
written, and borrowed in good measure from the
Hippolitus of Euripides, in which Phsedra at first
endeavours to conceal her passion for her husband's
son, and afterwards discloses it — it appears from the
dedication, that on the first night, a little before the
play began, Mrs. Barry, who was to act Barzana,
was struck with a very violent fever, that took all
spirit from her, and by consequence from the play :
the scenes she acted fell dead from her ; and in the
4th Act, her distemper grew so much upon her, she
could go no farther, but all her part in that act was

T. R. 1688.

wholly cut out, and neither spoken nor read this

threw a damp upon the play, from which it seems not
to have recovered — the King however attended on
the Author's night.

Barzana in the Epilogue says—

" The Ladies nobly pay the house their due,
" Why shou'd they give four shillings to see
" you?"

Fool's Preferment, or the Three Dukes of Dun-
stable, (licensed May 21 1688) Cocklebrain = Nokes:
Toby (his servant) = Jevon : Justice Grub = Leigh :
Lyonel (a mad part with songs) = Mountfort : Cler-
mont = Kynaston : Longovile — Powell Junior : Bew-
ford = Bowman : Aurelia (wife to Cocklebrain) = Mrs.
Bowtel : Celia (in love with Lyonel) — Mrs. Jordain : —
this C. is only an alteration of the Noble Gentleman
— in the original play Marine spends several years in
dancing attendance at Court in hopes of preferment

—his wife and her friends persuade him that the
King has made him a Duke — they afterwards tell
him that the King has taken his dukedom from him

—the plot is contemptible ; but Shattilion, the mad-
man is a good character — D'Urfey is more to be
blamed for selecting one of Fletcher's worst plays for
alteration, than for the alteration itself— when Cockle-
brain is divested of his dukedom, it is conferred first
on Grub, and then on Toby — this accounts for the
second title — D'Urfey has turned the blank verse
into prose — he has altered some things for the better;
in particular he has made the principal character less
serious than it was — in Fletcher's play Marine acts
like a fool, and in general talks like a man of sense

T. R. 1688.

— D'Urfey's worst fault is, that he has nearly spoilt
the character of the madman — the scene which re-
lates to Basset would have been better omitted, as
the play is supposed to take place in the reign of

Henry the 4th on the whole this is very far from

a good C., but it by no means deserves the harsh
censure passed on it by Sir George Etherege — see
B. D> — it came out at D. G. — and was revived at
D. L. July 16 1703.

Injured Lovers, or the Ambitious Father. Rheu-
sanes = Betterton : Dorenalus = Mountfort : King of
Sicily = Williams : Ghinotto = Griffin : Colonel =
Sanford : Soldiers — Leigh : Jevon : Underbill &c.
— Oryala = Mrs. Bariy : Antelina = Mrs. Bracegirdle :
—this is an indifferent T. by Mountfort — in the last
scene, all the principal characters being dead, the
Colonel concludes the play — Rheusanes and Antelina
are mutually in love — the King ravishes Antelina—
in the 5th act, Antelina tells Rheusanes that she has
poisoned the King —

Rheusanes. "I wish thy sufferings

" may quit
" Thy crimes, for Heaven has great regard to

" Princes.
Ant. " And has it none for injur'd subjects

" think you ?
Rheus. " Not when they offer to revenge them-

" selves."

Mountfort was at this time under the Patronage of
Lord Chancellor Jefferies — it is said that he left the
stage — but that can hardly have been the case, as his
name appears to several plays.

T. R. 1688. 465

Mountfort spoke the Prologue himself—

" Joe Haines* fate is now become my share,
'« For I'm a Poet, marri'd and a Player:
" The greatest of these curses is the first,

" As for the latter two I know the worst.

####**#***

" However, I must still my play maintain,

" Damn it who will, Damn me, I'll write again ;

" And thoj my heart should burst to see your

" spite,
" True Tallboy to the last, I'll cry and write."

Tallboy in the Jovial Crew is said to have been one
of the first parts in which Mountfort distinguished
himself.

Thomas Jevon died Dec. 24 1688— aged 36 (B.D.)
— Langbaine says he was sufficiently known to all
who frequented the Theatre for his excellency in
dancing and action — in the Lives of the Dramatic
Poets 1698 he is said to have been a man of uncom-
mon activity — in the Egotist 1743, Colley Gibber is
made to say — " My modesty is like that of Jevon the
" Comedian, who coming into a club of his acquaint-
" ance with dirty shoes, contentedly took a clean nap-
" kin from the table to wipe them ; when the waiter
" desiring him to stay till he could fetch him a coarse
" cloth, Jevon gently replied, * No! No! thank you,
" my good lad ; this will serve me well enough.' "

Jevon9 s characters — selection only.

D.G. 1673. Osrick.

1676. * Young Bellair in Man of the Mode—

VOL. I. H H

466 T. H. 1688.

* Sneak in Fond Husband — * Young Jollyman in
Madam Fickle.

1677- *Avaritio (an old man) in French Con-
juror.

1678. *Caper in Friendship in Fashion — *Poet
in ShadwelPs Timon of Athens.

1680. *Escalus in Loyal General — Jevon's name
stands to 5 or 6 trifling parts in Tragedy — Escalus is
a part of some importance.

1681. *Fourbin in Soldier's Fortune — * Gentle-
man Usher in Tate's King Lear — *Foppington in City
Heiress.

1682. *Sir Paul Eitherside in Royalist.

1683. Swordman in King and No King.

1684. *Gillet in Dame Dobson — Cinna, the Poet,
in Julius Csesar — Widgine in Northern Lass*.

1685. * Quicksilver in Cuckold's Haven.

1686. *Jobson in Devil of a Wife — * Frisco in
Banditti — * Harlequin in Dr. Faustus.

1687. *Harlequin in Emperor of the Moon.

1688. Squire of Alsatia— *Toby in Fool's Pre-
ferment.

* Originally.

Goodman had left the stage before Gibber came on
it in 1690 — and had probably left it by this time-
Gibber says that several years after Goodman had
left the stage, he had from him an account of some
passages of his younger life, which he told him with-
out disguise, or sparing himself — he was expelled
Cambridge for being concerned in cutting and de-
facing the picture of the Duke of Monmouth, at that
time Chancellor of the University — he afterwards

JAMES THE 2D. 467

went on the stage and soon grew into reputation —
but his pay was so small, that he was forced, it
seems, to take the air (as he called it) and borrow
what money, the first man he met with, had about
him — for this, he was tried and condemned, but as
it was his first exploit of the kind, King James was
prevailed on to pardon him.

He and Griffin were compelled by their small sa-
laries to the oeconomy of lying in the same bed and
having but one whole shirt between them — one of
them, having an assignation with a Lady, insisted on
wearing it out of his turn, which occasioned so high
a dispute, that a battle ensued.

Goodman is said to have acted the mad scene of
Alexander with all the force the part required, but
without' making half the noise thtf, some did who

succeeded him Davies tells us that Goodman was

kept by the famous Duchess of Cleveland, and that he
would only play Alexander, when his Duchess, as he
called her, was to be at the theatre.

JAMES THE 2D.

The Prince of Orange landed Nov. 5th 1(588 — the
King took himself off the latter end of Dec.

When Serjeant Maynard, who was near 90, waited
on the Prince, the Prince said, he supposed he had
outlived all the men of the Law of his time, Maynard

H H 2

4-68 JAMES THE 2l>.

replied, he should have outlived the Law itself, if
his Highness had not come over. (Burnett)

James the 2d, like his Brother, seems to have
been a friend to the stage — his interference in favour
of Smith does him credit, tho' it turned out unfor-
tunately for the actor — (see L. I. F. 1696) — he paid
Wycherley's debts, but Wycherley from modesty did
not give in a true statement of them.

It does not appear that James the 2d took any
actress from the stage — at the time when he was
King, he kept Sir Charles Sedley's daughter and
made her Countess of Dorchester — Sir Charles Sed-
ley, tho' he had been a gay man himself, was so far
from being pleased with what had happened, that
he assigned that, as one reason among others for
joining the Prince of Orange — he said he detested
ingratitude, and as the King had made his daughter
a Countess, he would do his best to make the King's
daughter a Queen.

Four political pamphlets in a dramatic shape were
published in 1690 — viz. — the Abdicated Prince, or
the Adventures of Four Years — the Bloody Duke,
or the Adventures for a Crown — the Banished Duke,
or the Tragedy of Infortunatus — the Royal Flight,
or the Conquest of Ireland — all these pieces were
meant to set the character of James the 2d in the
worst point of view — they are written with more
scurrility than wit — by Infortunatus is meant the
Duke of Monmouth — in the Abdicated Prince, one
of the characters very properly remarks of James the
2d — " Certainly never man took such pains to win a
"kingdom, as this unhappy prince does to lose one"
the Tories have been unjustly accused of deserting

T. R. 1689. 469

their principles when they joined in the Revolution —
the order in which Church and King are placed in
their favourite sentiment is not accidental ; and when
they found themselves compelled to make an option,
they prefer'd, without any degree of inconsistency,
their first idol to their second — when they could not
preserve both Church and King, they declared for
the former. (Charles Fox.)

T. R. 1689.

Dr. Johnson says — " Soon after the accession of
" James the 2d, when the design of reconciling the
" nation to the Church of Rome became apparent,
" and the religion of the Court gave the only effica-
" cious title to its favours, Dryden declared himself

" a convert to Popery at the Revolution a Papist

" could be no longer Laureat — the revenue which he
" had enjoyed with so much pride and praise, was
" transferred to Shadwell, an old enemy, whom he
" had stigmatized as Og, and against whom he had
" written a poem exquisitely satirical, called Mac
" Flecknoe."

Few persons have complained with less reason
than Dryden — for setting his religion out of the ques-
tion, with what face could he complain of being
turned out of office by the Whigs, after the virulent
invectives he had written against them ? — every per-
son who enters warmly into the interests of a political

470 T. R. 1689.

party must stand or fall with his friends — yet if
Dryden had continued a Protestant, it is by no means
improbable, that the respect due to his splendid talents,
and the patronage of the Earl of Dorset, who was
himself Lord Chamberlain, would have prevented him
from being turned out of a situation, for which no
man in the kingdom was so well qualified as himself
—that Shad well succeeded him was certainly an addi-
tional mortification ; but still he had no right to be
outrageously angry at his successor, for no one pre-
tended to say that Shadwell was as good a Poet as
Dryden — and as Shadwell had been persecuted in the
last reign, it was but fair, that he should meet with
some mark of favour at the turn of the tide.

Dryden published his Mac Flecknoe in Oct. 1682
—at which time ShadwelPs reputation, as a dramatic
writer, was too well established to be much hurt by
any thing that Dryden could say of him — Now that
Shadwell's plays are laid aside at the theatres, and
consequently but little known, a superficial reader of
Mac Flecknoe might naturally conclude that Shad-
well was a blockhead— even in 1760, Derrick, in a
note on Mac Flecknoe, gravely says — " It does not
" however appear that Shadwell was so very con-
" temptible a genius as he is here represented "-
Derrick might have observed, that it was hardly pos-
sible that Dryden could really have thought Shadwell
so stupid as he has represented him to be — Dry den's
object was to display his own wit, and depreciate
Shadwell — truth was a thing about which he did not
much concern himself.

English Friar, or the Town Sparks. Father Fini-
cal (a Friar, and made a Bishop in partibus infide-

T. R. 1689. 471

Hum) = Bowman : Lord Stately = Leigh : Lord
Wiseman = Kynaston : Young Ranter (a debauchee)
= Williams : Old Ranter = Underbill : Sir Thomas
Credulous = Sandford : Bellamour = Powell Junior :
Coachman = Bowen : Dullman (a companion of the
Ranters) = Bright : Laura and Julia (Lord Stately's
daughters) = Mrs. Jordan and Mrs. Bracegirdle :
Lady Credulous = Mrs. Bowtell : Airy (a young gay
beauty, privately debauched, and kept by Lord Wise-
man) = Mrs. Butler : Lady Pinchgut = Mrs. Leigh : —
this play was not printed till 1690, but it must have
been acted this year, as Crowne says of himself in
the Prologue—

" To day he does make bold a Farce to show
" Priests made and acted here some months ago."

Crowne, who in several of his plays had preached
up Passive Obedience and Non resistance, and who
had written City Politics on purpose to expose the
Whigs, in his dedication of this play censures the
late times " when treachery to our country was called
" fidelity to our King, and betraying the laws was
" called loyalty " — in the Prologue he speaks of
those

" Who are so mad they'd give up England's glory,
" Only to keep the wretched name of Tory."

The play is a tolerable C. — Lord Wiseman and
Bellamour marry Laura and Julia — Young Ranter is
prevailed on to marry Airy — Lord Stately gives
Father Finical £3000 to procure him a blue ribbon
—and is swindled out of his money — Lady Credulous,
Lady Pinchgut and several other ladies are bigots in

4/72 T. n. 1689.

favour of Father Finical — in the 4<th act he enters as
a Bishop — he assumes great consequence — all the
ladies make him presents — in the last scene he is de-
tected in an intrigue with Lady Credulous* woman
— Lady Credulous and the other ladies threaten to
tear him to pieces — Crowne wrote this play solely for
the sake of exposing the Romish Priests and the late
Court — for which the stage was an improper place.

Bury Fair. La Roch = Leigh : Wildish = Mount-
fort : Lord Bellamy = Betterton : Oldwit = Underbill :
Sir Humphrey Noddy = Nokes : Trim (a Gentleman
who piques himself much on his good breeding) —
Bowman : Valet = Bowen : Page, or Philadelphia =
Mrs. Butler : Mrs. Fantast (Lady Fantast's daughter
by a former husband) = Mrs. Boutell : Mrs. Gertrude
= Mrs. Mountfort : Lady Fantast (Oldwit's wife) =
Mrs. Corey : — Mrs. Fantast is handsome, but proud
and affected — Wildish dresses up La Roch, a periwig-
maker, as a French Count — Mrs. Fantast falls in love
with him — she discards Sir Humphrey and Trim —
the latter of whom had been much in her favour —
she is contracted to the Count, and means to marry
him the next morning — Wildish, not wishing the joke
to go too far, discovers La Roch— Lady Fantast is
nearly as absurd as her daughter — at the conclusion,
they go off severely mortified — Lord Bellamy and
Wildish marry Philadelphia and Gertrude — Shadwell
has borrowed the characters of Oldwit and Sir Hum-
phrey Noddy, with a considerable part of the dialogue
in which they are concerned, from the Triumphant
Widow — La Roch is borrowed from Mrs. Behn's
False Count — on the whole this is a tolerable C.—
Shadwell has inserted in it a political remark or two

T. R. 1689. 473

which would have been better omitted — it is however
but justice to the Whigs to observe that they did not
often bring their politics on the stage, and that when
they did, their retorts were mild in comparison with
the attacks they had sustained from their adversaries
—this is not a matter of opinion, but a matter of
fact, which must be evident to any one who reads the
plays written about this time.

Fortune Hunters, or Two Fools well met. Younger
Wealthy = Mountfort : Sir William Wealthy = Leigh :
Elder Wealthy = Kynaston : Spruce (a perfumer) =
Nokes : Shamtown = Baker : Littlegad = Bowman :
Lady Sly = Mrs. Leigh : Maria = Mrs. Mountfort :
Sophia (engaged to Elder Wealthy) = Mrs. Butler :
Mrs. Spruce = Mrs. Knight : — this is a tolerably good
C. by Carlile the actor — the Fortune Hunters are
Shamtown and Littlegad, two parts of 110 great im-
portance— Young Wealthy should have given the title
to the play — he is at variance with his father, is kept
by Lady Sly, and intrigues with Mrs. Spruce — at last
he is married to Maria, and promises to reform-
Lady Sly and Sir William want to marry Young
Wealthy and Maria — Shamtown is married to Little-
gad in woman's clothes, and Sir William says " Two
" Fools well met " — he is reconciled to his son-
Do wnes makes a great mistake with respect to this
play — see L. I. F. 1671.

In June the Queen commanded the Spanish Friar,
it being the first play she went to see — the late King
had forbidden it to be acted — the Box for the Royal
Family was at this time in the centre of the house —
several passages were applied by the Jacobites to the
Queen, which disconcerted her so much that she was

474 T. R. 1689.

frequently obliged to have recourse to her fan — while
the people in the pit were continually turning their
heads to see how she bore the application.

The passages thus applied were — when the Queen
of Arragon is going to Church in Procession — Pedro
says — " Very good : She usurps the throne, keeps
" the old king in prison, and at the same time is
" praying for a blessing."

In Act 4th Alphonso says — "'Tis observed at Court
" Who weeps and who wears black ; and your

" return

" Will fix all eyes on every act of yours
" To see how you resent King Sancho's death"
Raymond replies —

" What generous man can live with that constraint
" Upon his soul, to bear, much less to flatter
" A Court like this ! can I sooth Tyranny ?
" Seem pleas'd to see my Royal Master murder' d,
" His crown usurp'd, a Distaff on the Throne."

Pedro adds—

" What title has this Queen but lawless force ?
11 And force must pull her down."

This story about the Queen is derived from an ori-
ginal letter written by the Earl of Nottingham — but
neither in the letter — nor in Malone, nor in the B. D.
are the passages cited correctly as they stand in the
play, and as they were doubtless spoken.

T. R. 1690. 475

T. R. 1690.

Massacre of Paris. Admiral of France — Betterton :
Duke of Guise — Williams : King Charles the 9th —
Mountfort : Cardinal of Lorrain = Kynaston : Duke
of Anjou = Pruet : Queen Mother = Mrs. Betterton :
Marguerite — Mrs. Barry : Queen Dowager of Na-
varre = Mrs. Knight: Antramont (wife to the Admiral)
= Mrs. Jorden : — this is far from a bad T. — it is
written in a more simple and natural style than the
generality of Lee's plays — in the dedication to the
Princess of Cleve, he says that he had inserted in the
Duke of Guise 2 scenes, which originally belonged to
the Massacre of Paris, and which he means to restore
to their proper place — these 2 scenes are in the 2d
act of the Duke of Guise, and in the 1st and 4th acts
of the Massacre of Paris — the Epilogue mentions
that this Tragedy had been long imprisoned, and
banished from the light.

Sully in his Memoirs gives a very good account of
the Massacre — he was at Paris at the time, and
narrowly escaped with his life — the Huguenots were
decoyed to Paris by the most artful promises on the
part of the King and the Queen Mother — nothing
could be more kind than the reception they met with
— the young King of Navarre was married to Mar-
guerite, the French King's Sister — the Queen Dowa-
ger of Navarre died — not without strong suspicions
of poison — an attempt was made to assassinate the
Admiral — on the 24th of August 1572 — St. Bartho-
lomew's day — the Massacre took place — it was followed

476 T. it. 1690.

by similar massacres in different parts of the kingdom

—70,000 Huguenots were murdered — in 1574 the

King died — the Massacre of St. Bartholemew was

always in his mind, and he continued to the last by

his tears and agonies to show his remorse for it

Lee has deviated but little from history — in the play,
as well as in the real Tragedy, the Duke of Guise is
the great enemy of the Huguenots — the love Episode
between him and Marguerite seems to be entirely
fiction, except that he at one time aspired to her hand.
Amorous Bigot with the 2d part of Tegue O'Divelly.
(the dedication is dated May 5th 1690) — Tegue
O'Divelly = Leigh : Bernardo (a vapouring Colonel)
= Underbill: Luscindo (his son) = Williams: Doristeo
= Bowman : Hernando = Bowen : Finardo = Alex-
ander : Diego = Young Leigh : Elvira = Mrs. Jordan :
Rosaria = Mrs. Bracegirdle : Belliza = Mrs. Cory :
Levia (a fine courtezan) = Mrs. Butler : Gremia (her
aunt) = Mr. Nokes : — scene Madrid — Belliza is a
Bigot while she expects to continue a widow — when
she has any hopes of getting a husband, her religion
gives way to her love — Tegue's influence over her
varies according to circumstances — Bernardo makes
his addresses to Belliza — she accepts them — he sees
her daughter Elvira, and transfers his love to her —
Belliza submits, and pleases herself with the hope of
gaining the affections of Luscindo — Levia does her
utmost to prejudice Elvira against Luscindo — and
Bernardo against Elvira — a quarrel ensues between
Luscindo and Elvira — they are reconciled, and get
Tegue to marry them privately — Belliza, finding she
has no chance of gaining Luscindo, determines to
spend the remainder of her life in a cloister — Ber-

T. R. 1690. 477

nardo renews his proposals, and she gives up all
thoughts of a cloister — Doristeo marries Rosaria—
Tegue, the Irish Friar, is a good character — in the 3d
act, he attempts to ravish Rosaria, and is throughout
the play a worthless fellow — this is on the whole a
good C. — there are several severe hits at the Papists,
which must at this time have, been sure clap-traps;
but the stage is not the proper place for such things
— Shadwell was aware that these strokes might give
offence to part of the audience, and makes Mrs. Butler
say in the Prologue —

" He d'at is after Hishing in dish plaash,
" I'll shing Lilli-burlero in his faash."

In 1688 a foolish ballad was made, treating the

Papists and chiefly the Irish, in a very ridiculous

manner, which had a burden said to be Irish words

— " lero lero lili burlero," that made an impression

on the Army, that cannot be well imagined by those

who saw it not — the whole Army and at last all people,

both in city and country were singing it perpetually

—and perhaps never had so slight a thing so great an

effect. (Burnet.)

This song was reprinted in a historical T. called
the Glorious Revolution.

It concludes thus—

" Dare was an old Phrophesy found in a bog,
" Ireland shall be rul'd by an Ass and a Dog :
" And now dis Phrophesy is come to pass,
" For Talbot's de dog and James is the ass."

Don Sebastian King of Portugal. Sebastian =
Williams : Dorax = Betterton : Don Antonio =

478 T. n. 1690.

Mountfort : Mufti = Underbill : Mustapha (captain
of the rabble) =r Leigh : Muley Moluch (Emperour oi
Barbary) = Kynaston : Benducar (his chief minister)
= Sandford : Muley Zeydan (the Emperour's bro-
ther) = Powell Junior : Don Alvarez (an old coun-
sellor to Sebastian) — Bowman : Almeyda = Mrs.
Barry: Morayma = Mrs. Mountfort : Johayma =
Mrs. Leigh : — During the short reign of King James,
Dryden had written nothing for the stage, being in
his opinion more profitably employed in controversy
and flattery — of praise he might perhaps have been less
lavish without inconvenience, for James was never
said to have much regard for poetry — he was only to
be flattered by adopting his religion — times were now
changed — Dryden was no longer the Court-poet, and
was to look back for support to his former trade—
(Dr. Johnson) — in his preface, he speaks of himself
as an author, whose misfortunes have once more
brought him, against his will upon the stage — he adds
— " the plot is purely fiction, for I take it up, where
"history has laid it down — Sebastian, a young prince
" of great courage, undertook a war against the
" Africans, partly upon a religious account* and
" partly at the solicitation of Muley- Mahomet, who
" had been driven out of his dominions — Sebastian's
" body was never found in the field of battle, so that
" I was only obliged not to make him return to Por-
" tugal — in other respects I had him at my own
" disposal."

Don Alonzo had been the friend of Sebastian — but
on thinking himself injured, he had turned Rene-
gade, and assumed the name of Dorax — at the open-
ing of the play he is governour of Alcazar — Don

T. R. 1690. 479

Sebastian and Almeyda are taken prisoners — the
Emperour wants to marry Almeyda — she is in love
with Sebastian — in the 3d act they enter as married
— Muley Moluch is killed — Almeyda proclaims her-
self to the Africans as the daughter of the late Em-
perour — Dorax espouses her cause — he discovers
himself to Sebastian, and reproaches him with in-
gratitude— Sebastian vindicates himself — and a re-
conciliation takes place — Alvarez declares Almeyda
to be Sebastian's sister — his father having had a cri-
minal intercourse with her mother — Sebastian deter-
mines to turn hermit — and Almeyda, to turn nun

there is a good comic underplot — Don Antonio

becomes a slave to the Mufti — Johayma, the Mufti's
wife, and Morayma, his daughter, fall in love with
Antonio — he is in love with Morayma — this is one
of Dry den's best plays — it is not without sallies of
frantic dignity and more noise than meaning, but it
contains some passages of excellence universally
acknowledged — the dispute and reconciliation of
Dorax and Sebastian has always been admired —
(Dr. Johnson) — there are some passages which do
Dryden no credit, particularly that in which Sebas-
tian says he is as much surprised as the dead will
be at the last day, when they wake in their graves,
and " fumble for their limbs"— it is difficult to say
whether the profaneness or absurdity of this passage
be the greater.

480 T. R. 1690.

Dorax in the grand scene says—

" This is not Lisbon, nor the circle this,

" Where, like a Statue, thou hast stood besieg'd

'^By Sycophants and Fools, the growth of Courts,

" Where thy gulFd eyes, in all the gawdy round,

" Met nothing but a lie in every face;

" And the gross flattery of a gaping crowd,

" Envious who first shou'd catch and first applaud,

" The Stuff or Royal Nonsense''

In the last Scene Alvarez says —

" Were Kings e'er known in this degenerate age

" So passionately fond of noble acts,

" Where interest shar'd not more than half with

" honour."
Don. S. — " The secret pleasure of a generous

"act
" Is the great mind's great bribe."

Alv. " Show me that King and I'll believe the
" Phoenix."

In Cleomenes, Sosibius says —

" But you must love your King and Country"
Ckanthes. — «« Yes when I have a King and

" Country

" That can deserve my love I
" ^Egypt, as ^Egypt is, deserves it not."

Dryden says of King Arthur —

" His worth divides him from the crowd of
" Kings

T. R. 1690. 481

" So born, without desert to be so born.

" Men, set aloft, to be the scourge of /leaven,

" And with long arms to lash the under world."

In Love Triumphant — Alphonso says —

" What have the people done ? the sheep of

" Princes,
" That they should perish for the Shepherd's

" fault ?
" They bring their yearly wool to cloath their

" owners,
" And yet, when bare themselves, are cull'd for

" slaughter."

Dryden began his political life with complimenting
Cromwell — he continued it with grossly flattering
Charles and James the 2d — he ended it with sport-
ing sentiments which some persons would consider
as democratical.

Dryden in his Heroic Stanzas on the death of
Oliver Cromwell says —

" His ashes in a peaceful urn shall rest,

" His name a great example stands, to show
" How strangely high endeavours may be blest,

" Where piety and valour jointly go.

********

" And yet dominion was not his design ;

" We owe that blessing, not to him, but heav'n.

********

" He fought to end our fighting, and essay'd
" To staunch the blood by breathing of the vein"

VOL. I. I I

482 T. R. 1690.

In the Medal of John Bayes 1682 it is said of
Dryden—

" Your loyalty you learned in Cromwell's Court,
" Where first your Muse did make her great

" effort :

" On him you first shew'd your poetick strain,
" And prais'd his opening the basilick vein ;
" And were it possible to come again,
" Thou on that side would draw thy slavish pen."

In the Laureate 1687.

" Had Dick still kept the regal diadem

" Thou hadst been Poet Laureate unto him ;

" And long ere now in lofty verse proclaim'd

" His high extraction among princes fam'd;

" Nay, had our Charles by heaven's severe decree,

" Been found and murder Jd in the royal tree,

" Even thou had'st prais'd the fact — his father

" slain

" Thou call'dst but gently breathing of a vein."

(Malone.)

Cromwell died in 1658 — Dry den's poem was entered
on the Stationers' Register in Jan. 1658-9 — Dryden
begins his Vindication of the Duke of Guise with say-
ing— " In the year of his Majesty's happy Restora-
" tion (1660) the first play I undertook was the Duke
" of Guise, as the fairest way which the Act of In-
" demnity had then left us of setting forth the rise
" of the late rebellion ; and by exploding the villanies
" of it upon the stage, to precaution posterity against
" the like errours" — So much for Dryden's politics

T. R. 1690. 483

\\v shall presently see of what stuff his religion
\v;i> made.

Dryderi in his preface to Don Sebastian observes
that Augustus Caesar wrote an Ajax, which was not
the less his, because Euripides had written a play
on the same subject — he should have said Sophocles
—this mistake, as well as one in the preface to Cleo-
menes, Malone passes over without any notice.

Augustus began his play with great spirit, but not
finishing it to his own satisfaction he destroyed it—
when his friends asked him what was become of his
Ajax, his answer was " He is fallen on a Sponge" —
(Suetonius.)

Successful Strangers. Don Lopez — Nokes : Don
Francisco = Leigh : Silvio = Mouritfort : Antonio =:
Powell Jun. : Don Carlos (son to Francisco) r= Wil-
liams: Guzman (his servant) = Underbill : Sancho
(servant to Silvio) = Bowen: Don Pedro (father to
Biancha) = Bright : Dorothea and Feliciana (daugh-
ters to Don Lopez) — Mrs. Knight and Mrs. Mount-
fort: Farmosa (woman to Dorothea) = Mrs. Cory:
Biancha (in love with Carlos) = Mrs. Bracegirdle :
-the Successful Strangers are Silvio and Antonio —
they are the sons of Don Frederick of Peru — Silvio
had been 6 years on his travels — the father had died
18 months before the play begins — Antonio had em-
ployed his time in searching for his brother — they
arrive at Seville, but separately — Don Lopez had
promised Dorothea to Carlos — She and Silvio fall

ii 2

484 T. R. 1690.

mutually in love — Carlos hires some bravoes to mur-
der Silvio — Antonio comes to his assistance, but with-
out knowing who he is — Carlos is severely wounded,
but recovers— at the conclusion he marries Biancha —
Silvio and Antonio marry Dorothea and Feliciana —
in the 4th act, Farmosa asks Sancho, if he was born
in England — he makes a very comic reply — this play
was written by Mountfort — it is called in the title-
page a Tragi-Comedy — but it is rather a serious
Comedy — partly in prose, and partly in verse — the
serious scenes are moderate — the comic ones are
very good — in the preface Mountfort says, " I have
" a natural inclination to Poetry, which was born
" arid not bred in me * * — I know I have many
" enemies, but why they are so, is more than they
" know ; I cannot remember any person I ever in-
" jured willingly" — he appears to have been a friend
to the Revolution, and on that account disliked by
the Jacobites — perhaps the more for his having been
under the Patronage of Jefferies.

In the Prologue Mrs. Bracegirdle says of Mount-
fort—

" Some are resolv'd (he hears) it shall be damn'd

" Only because 'tis from a Player's hand.

" Cou'd but the Females see, how very sad

" He looks, they'd pity such a likely Lad,

" But hang him slave, he's marry'd, there's the

" curse,
" Ah Devil for this better and this worse."

Widow Ranter, or the History of Bacon in Vir-
ginia— Bacon (General of the English) = Williams :
Timerous = Underbill : Dareing (Lieutenant General

T. R. 1690. 485

to Bacon) = Sandford : Friendly = Powell Junior:
Hazard = Alexander : Whimsey — Trefusis : Whiff =
Bowen: Indian King - Bowman : Col. Wellman
(Deputy Governour of the Colony) = Freeman : Col.
Downright = Harris : Dullman = Bright : Parson
Dunce = Baker : Widow Ranter = Mrs. Currer : In-
dian Queen = Mrs. Bracegirdle: Madam Surelove =
Mrs. Knight : Mrs. Chrisante = Mrs. Jordon : Mrs.
Flirt = Mrs. Cory: — Bacon had defeated the Indians,
but without lawful authority — the Council think him
aspiring and are afraid of him — they invite him
home in a friendly manner, hut with an intention
of making him a prisoner — he appears before the
Council — Col. Wellman orders the guards to seize
him — Bacon is rescued — the Council offer £300 to
any person, who will bring him in alive or dead — at
the conclusion, Bacon, supposing his troops to be
defeated, takes poison — Dareing enters victorious—
Bacon dies — the greater part of the play is comic
-Widow Ranter is a good character— she drinks,
smokes, and allows herself great latitude in conver-
sation— but is good-natured and generous — she is in
love with Dareing — she fights by his side in the dis-
guise of a man— and is at last married to him— this
T. C. has considerable merit — it was a posthumous
play by Mrs. Behri — the Prologue had been written
by Dryden for Shadwell's True Widow — in conse-
quence of its having been used a second time, and of
the enmity between Dryden and Shad well, it appears
in Dryden's Miscellanies as the Prologue to the Wi-
dow Ranter, without any notice of its having been
spoken to the True Widow. (Malone.)

Langbaine says " for the story of Bacon I know

486 T. R. 1690.

" no History that relates it, but his catastrophe is
" founded on the known story of Cassius, who pe-
" rished by the hand of his freedman Dandorus, be-

" lieving his friend Brutus vanquished" Plutarch

tells us that this man's name was Pindarus, arid he
is followed by Shakspeare — Langbaine's mistake is
copied by Baker and Jones in their several editions
of the B. D. — it is really curious that Langbaine
should mistake the name of a character in Julius
Caesar, and that so gross and palpable a blunder
should not have been corrected by Baker or Jones
— Bacon is a real person— Guthrie says " soon after
" the Restoration a young gentleman, named Bacon,
" a lawyer, availed himself of some discontents in
" Virginia, on account of restraints on trade ; be-
" came very popular, and set every thing in confu-
" sion : his natural death however restored peace and
" unanimity to the inhabitants of the colony" — in the
play the order of Council, with a reward for bringing
in Bacon, is dated May 10 1670— Mrs. Behri repre-
sents Bacon as a man of great honour and courage.
In the time of James the 1st the colony of Vir-
ginia was in a flourishing state ; the Spaniards were
jealous of this, and their Embassador, Gondomar,
had such an absolute influence over the king, that
he prevailed on him to take away the charter of the
Virginia company — thus did the king, notwithstand-
ing his royal word and honour pledged to the con-
trary, notwithstanding the grant under the great seal
of England, notwithstanding all that should bind
the conscience and direct the conduct of an honest
man, give the death blow to a prosperous and thriving
company— the House of Commons took up the busi-

T. R. 1690. 487

ness, but they were stopt in their proceedings by a
message from the king, in which he promised to take
the affair of the late Virginia company into his most
serious care — no care however was taken, but all was
left to go to ruin — the violence and injustice and
other miseries, consequent upon this falsehood and
repeated breach of honour in the king, would supply

a large story thus Dr. Peckard, who, in his life

of Nicholas Ferrar, has given a circumstantial and
highly interesting account of this business.

The Prophetess, as altered from Fletcher by Bet-
terton, after the manner of an Opera, was brought
out at D. G. — it is printed without the names of the
performers — but Leigh acted Geta — the Prophetess
is Delphia — she had foretold to Diocletian that he
should be Emperour, when he had killed a great Boar
— Diocletian had in consequence employed his time in
hunting boars — he, with Maximian and Geta, enters
with a dead boar — Arrius Aper (whom Fletcher calls
Volutius Aper) is suspected of having killed the Em-
perour Numerian — the other Emperour Charinus
promises half the empire, and his sister Aurelia, to
the person who should kill Aper — Diocletian kills
him, thereby accomplishing the prophecy — Aper
being the Latin word for a boar — Fletcher has bor-
rowed this story from Vopiscus, one of the writers of
the Augustan History — Gibbon observes — " the rea-
" son why Diocletian killed Aper with his own hand
" was founded on a prophecy and a pun, as foolish as
" they are well known" -Diocletian becomes Empe-
rour— but at the close of the 4th act he resigns his
share of the empire to Maximian, and retires to a
private life with Drusilla, the niece of Delphia,

488 T. R. 1690.

whom he had married — Maximian whose ambition is
extreme, determines to destroy Diocletion, for fear
he should attempt to resume the empire — Aurelia,
who had married Maximian, approves of the design—
they come, with a party of soldiers, to the place of
Diocletian's retreat — Delphia by her magic defeats
Maximian's intention — Maximian implores pardon—
and Diocletian forgives him — this is on the whole a
good play — many passages are finely written — but
Delphia's magic is more suited to a Pantomime, than
to a serious piece — as Fletcher calls his play a Tra-
gical History, he should not have made Delphia's
magic the main spring of almost all the important in-
cidents in it — Fletcher has deviated from history in
several respects — Diocletian was raised to the empire
in 284— Carinus was killed in 285, without having
seen Diocletian, or taken any part against Aper — in
305 Diocletian abdicated the empire, and prevailed
on Maximian to follow his example — Aurelia seems
to be a fictitious character — Geta, Diocletian's ser-
vant, is a good comic part.

Betterton has not made any material alterations in
the play — but he has added a good deal of singing and
machinery to it — in the 3d act, some figures come
out of the hangings and dance — they go to sit down
on some chairs — the chairs slip from them, and after-
wards join in the dance with them.

The Prologue (which is not printed with the play)
was after the first day suppressed by Lord Dorset —
Dryden had inserted two lines which could not fail to
give offence at this time—

" Never content with what you had before

" But true to change, and Englishmen all o'er."

•r. it. 1690. 489

Belphegor, or the Marriage of the Devil — this T. C.
\\-as written by Wilson, and brought out at D. G.—
it is printed without the names of the performers to
the D. P.— it was licensed Oct. 13 1690— the plot is
professedly taken from a novel by Machiavel, who
says — " It having been observed in hell, that the souls
" of such as came there generally complained that
" their wives sent them, the Devils agreed, that one
" of them should assume a human shape — be subject
" to all the conditions of humanity — marry a wife,
" and live with her (if possible) 10 years — and then

" return, and make a true report " Belphegor, a

principal Devil, is introduced in the play as Roderigo

—he marries Imperia, and is at first dotingly fond of
her — but at last, finding himself completely hen-peckt,
he becomes tired of her — she ruins his fortune — and

he absconds for fear of being arrested Fieschi and

Imperia had been intimate — they quarrel — Fieschi
bribes Imperia's woman to admit him into her cham-
ber at night — but instead of going himself he sends

the common hangman in the last scene, Roderigo

or Belphegor sinks on the stage — Wilson has added
an underplot, which is rather dull — the comic scenes
are good — the plot being so much out of the common
road, some explanation of it should have been made
in the Prologue, it was perhaps for want of this that
the play was unsuccessful — it appears from the Pro-
logue, that Belphegor was the next new play after the
Prophetess.

Amphitryon, or the Two Sosias — Jupiter = Better-
tori : Sosia = Nokes : Mercury rr Leigh : Amphitryon

= Williams : Gripus = Sandford : Phoebus = Bowman:
Alcmena = Mrs. Barry : Phaedra = Mrs. Mountfort :

490 T. R. 1690.

Night — Mrs. Butler : Bromia = Mrs. Corey : — this is
a good laughable Comedy, and deserves to be more
frequently acted than it is — the far greater part of it
is taken from Plautus and Moliere Moliere's Am-
phitryon was acted at Paris in 1668 — the character
of Cleanthis, Alcmena's woman and Sosia's wife, is
a happy addition to the original play — but Moliere is
inexcusable in not having given her a suitable name
— Dryden has made a still greater improvement, by
representing Phssdra as Alcmena's woman, arid
Bromia as Sosia's wife — there is no character similar
to Gripus either in Plautus or Moliere — nearly the
whole of the underplot between Mercury, Phaedra,
and Gripus is Dryden's — Plautus ends his play seri-
ously— Moliere and Dryden with a joke — Moliere's
Prologue opens his play more happily than either
Plautus' or Dryden's — this play cannot now be acted
with propriety, unless the figures of the Performers
who play Sosia and Mercury have a tolerable degree
of resemblance — originally the difficulty lay on the
other side, and as the Romans acted in Masks,
Plautus makes Mercury say in the Prologue, that in
order to distinguish himself from the real Sosia he
means to have some feathers in his cap — this last cir-
cumstance is mentioned by the famous John Hales in
one of his Sermons.

Mistakes, or the False Report. Ricardo = Mount-
fort : Alberto = Powell Junior : Antonio = Alexander :
Viceroy of Naples = Hodgson : Lopez (servant to
Alberto) = Bowen : Bernardo = Trefusis : Miranda
(daughter to the Viceroy) = Mrs. Bracegirdle : Astella
— Mrs. Butler : — this T. C. was written by Joseph
Harris the actor — it is a poor play both as to plot and

T. R. 1690. 491

language — Dryden wrote the Prologue, which is out
of the common way.

The name of Mrs. Currer, or Corror, does not
occur after this season.

Gibber says he joined the united company this year
and was admitted into the lowest rank of it ; he was

at that time about 19 Cross the Prompter told

Davies, that he was for some time known only by the
name of Master Colley, and that after waiting impa-
tiently a long time for the Prompter's notice, by good
fortune he obtained the honour of carrying a message
in some play to Betterton — whatever was the cause
Master Colley was so terrified that the scene was dis-
concerted by him — Betterton asked in some anger
who the young fellow was that had committed the
blunder— Do wnes replied " Master Colley"—" Master
" Colley ! then forfeit him "— " Why Sir," said
Downes, "he has no Salary" — "No," said Betterton,
" why then put him down 10s. a week and forfeit him
"5s." — to this good-natured adjustment of reward and
punishment Gibber owed the first money he ever
received from the theatre — (Davies) — he derived his
name of Colley from his mother who was a woman
of good family in Rutlandshire.

Gibber himself says — " the privilege of every day
" seeing plays for nothing, I thought was a sufficient
'« consideration for the best of my services — so that
«« it was no pain to my patience that I waited full 3

492 T. R. 1690.

" quarters of a year before I was taken into a salary
" of ten shillings per week."

Gibber gives us a critical account of all the princi-
pal Performers at this time.

Betterton was an actor, as Shakspeare was an
author, both without competitors, formed for the
mutual assistance and illustration of each other's
Genius— to say that all the Othellos, Hamlets, Mac-
beths, and Brutus's who succeeded him, fell far
short of him, would still give no idea of his peculiar
excellence.

Betterton had so just an apprehension of what was
true or false applause, that Gibber had heard him say,
he never thought any kind of it equal to an attentive
silence ; that there were many ways of deceiving an
audience into a loud one ; but to keep them husht
and quiet was an applause, which only truth and
merit could arrive at — of which art there never was
an equal master with himself — Gibber never heard a
line in Tragedy come from Betterton, wherein his
judgment, his ear, and his imagination were not fully
satisfied — Betterton's voice was more suited to the
rage of Othello than to the tenderness of Castalio
—his person was suitable to his voice, more manly
than sweet — in speaking a Prologue he was superiour
to any performer Gibber ever saw.

Kynaston, who about 30 years before had been
very beautiful and acted female characters, was now
remarkable for a piercing eye and a quick impetuous
vivacity in his voice, which painted the Tyrant truly
terrible — particularly in Morat in Aureng Zebe, and

Muley Moloch in Henry 4th when he whispered

to Hotspur—

T. R. 1690. 493

" Send us your Prisoners, or you'll hear of it "
He conveyed a more terrible menace than the loudest
intemperance of voice could swell to —he was likewise
very great in the scene with the Prince.

Mountfort was at this time in his highest reputation
—in his person he was tall, well made, fair and of an
agreeable aspect —his voice was clear full and melo-
dious— in Tragedy he was a most affecting lover — his
addresses had an irresistible recommendation from
the very tone of his voice — Alexander was his great
character — In Comedy he was the fine Gentleman
and man of spirit — the agreeable was quite natural to
him — in scenes of gaiety he surpassed in true and
masterly strokes of nature — he had a particular talent
in giving life to Bon Mots and Repartees, the wit of
the Poet seemed to come from him extempore — but
he never laughed at his own jest, unless the point of
his raillery upon another required it — he was excel-
lent in the Rover — he had besides all this a variety in
his Genius, and could at once throw off the man of
sense for the brisk coxcomb or pretender to wit, of
which he gave a delightful specimen in Sparkish — in
Sir Courtly Nice his excellence was still greater, there
the whole man, voice, mien arid gesture was no longer
Mountfort, but another person.

Sandford was an excellent actor in disagreeable
characters, such as Creon, Malignii, lago, and Machi-
avel — into this line of acting he was thrown rather
by necessity than choice, as having a low crooked
person — Gibber had often lamented that Sandford's
masterly performance was not rewarded with that
applause, which inferiour actors met with, merely
because they stood in more amiable characters —

494 T. R. 1690.

whereas no distinction should be made as to the
excellence of the actor, whether he is in a good or a
wicked character, since neither the vice nor the
virtue of it is his own, but given him by the poet
—in this disadvantageous light stood Sandford as
an actor — from the parts he played, disliked by the
multitude, but admired by the judicious.

Nokes was an actor of a quite different Genius from
any Gibber had ever read, heard of, or seen, since
or before his time — and yet his general excellence
may be comprehended in one article — viz. a plain
and palpable simplicity — he was of so singular a
species, and so formed by nature for the stage, that
perhaps (beyond the trouble of getting words by
heart) it never cost him an hour's labour to arrive
at that high reputation he acquired — he scarce ever
made his first appearance in a play, but he was re-
ceived with an involuntary applause of general laugh-
ter, which the very sight of him provoked, and nature
could not resist — yet the louder the laugh the graver
was his look upon it — in the ludicrous distresses in
which he was involved on the stage, he sunk into
such a mixture of piteous pusillanimity and a con-
sternation so ruefully ridiculous and inconsolable,
that when he had shaken you to a fatigue of laughter,
it became a moot point, whether you ought not to
have pitied him — his person was of the middle size,
his voice clear and audible ; his natural countenance
grave and sober, but the moment he spoke, the set-
tled seriousness of his features was discharged, and
a dry drolling or laughing levity took full possession
of him — in some of his low characters that became
it, he had a shuffling shamble in his gait, with so

T. R. 1690. 495

contented an ignorance in his aspect, and an awk-
ward absurdity in his gesture, that had you not
known him, you could not have believed that he had
a grain of common sense — to tell us how Nokes
acted, Gibber says is beyond the reach of criticism —
to tell what effect his acting had upon the spectator
is not impossible — and that he has attempted to do.
Leigh was of the Mercurial kind — and though
not a strict observer of nature, yet never so wanton
in his performance as to be wholly out of her sight
—in humour he loved to take a full career but was
careful enough to stop when just upon the preci-
pice— he had great variety in his manner, and was
famous in very different characters — he would excite
the loudest laughter by the Scrivener's booby son in
the Villain, and by Ralph, a stupid staring servant in
Sir Solomon — quite opposite to these were Sir Jolly
Jumble in the Soldier's Fortune and old Belfond in
the Squire of Alsatia — in Sir Jolly Jumble he was
all life and laughing humour, and when Nokes acted
with him in the same play, every scene between them
was one continued excellence — in Sir William Bel-
fond, he showed a more spirited variety, than Gibber
ever saw any actor, in any one character, ever come
up to — Leigh also excelled in the dotage and follies of
extreme old age, in the characters of Fumble in the
Fond Husband, and the toothless Lawyer, Bartoline,
in City Politics — he was also excellent in Geta in
the Prophetess — and Crack in Sir Courtly Nice — his
judgment always guarded the sallies of his fancy
from the least hazard of disapprobation — he seemed
riot to court but to attack your applause, and always

496 T. R. 1690.

came off victorious — he was much admired by Charles
the 2d, who used to call him his actor.

Underbill was a correct and natural Comedian—
his peculiar excellence was in stiff, heavy, and stupid
characters, in some of which he looked as if it were
not in human passions to alter a feature in him — in
Obediah in the Committee, and Lolpoop in the
Squire of Alsatia, he seemed the immoveable log he
stood for ; a countenance of wood could not be more
fixed than his, when the stupidity of the character
required it — not but that at times he could be wakened
into spirit equally ridiculous — as in Sir Sampson
Legend, and Justice Clodpole in Epsom Wells — he
was also particularly admired in the Gravedigger in
Hamlet.

Mrs. Barry was at this time in possession of almost
all the chief parts in Tragedy — and tho' she was then
not a little past her youth, yet she was not till then
arrived at her maturity of power and judgment — in
characters of greatness she had an elevated dignity ;
her mien and motion were gracefully majestick—
her voice was full, clear, and strong, so that no violence
of passion could be too much for her— and when
distress and tenderness possessed her, she subsided
into the most affecting melody and softness — in the
art of exciting pity she had a power beyond all the
actresses that Gibber ever saw, and beyond what can
be conceived by those who had not seen her- in
scenes of anger, defiance, and resentment, she was
impetuous and terrible, as in Cassandra in Cleomenes,
and Roxana.

Mrs. Betterton, tho' far advanced in years, was yet

T. R. 1690. 497

so great a mistress of nature, that even Mrs. Barry,
who acted Lady Macbeth after her, could not in that
part, with all her superiour strength and melody of
voice, throw out those quick and careless strokes of
terror, from the disorder of a guilty mind, which the
other gave the audience, with a facility in her manner,
that rendered them at once tremendous and delightful
— time could not impair her skill tho' it had brought
her person to decay — she was to the last the admira-
tion of all true judges of nature and lovers of Shak-
speare, in whose plays she chiefly excelled — when she
quitted the stage several good actresses were the better
for her instruction.

Mrs. Leigh had a good deal of humour, and knew
how to infuse it into affected Mothers, Aunts, and
stale old Maids, that had missed their market, such
as the Mother in law in the Chances, the Aunt in Sir
Courtly Nice, and Lady Wishfort in the Way of the
World — in all these parts, with many others, she was
extremely entertaining.

Mrs. Butler was a good actress — she sang and
danced to perfection — in speaking she had a sweet
toned voice, which, with her naturally genteel air, and
sensible pronunciation, rendered her very interesting
in many serious characters — nor was she deficient
in humour — Cibber particularly commends her
acting in Philadel in King Arthur, and the 2d Con-
stantia — the Managers having refused to raise her
salary of 40s. a week to 50s., she was induced to
go to Dublin in 1692, where she was offered her
own conditions — She had her Christian name of
Charlotte given her by Charles the 2d, and was

K K

498 T. R. 1690.

recommended by him to the Theatre, which was a
proper restitution in kind for what he had sometimes
taken from it.

Mrs. Mountfort was mistress of more variety of
humour than Gibber ever knew in any female per-
former— this variety was attended with an equal
vivacity, which both together made her excellent in
characters extremely different — she was naturally a
pleasing Mimic and had the skill to make that talent
useful on the stage — her elocution was round, dis-
tinct, voluble arid various — nothing tho* ever so bar-
ren, if within the bounds of nature, could be flat
in her hands — she was so fond of humour, in what
low part soever she found it, that she would make
no scruple of defacing her fair form to come heartily
into it— nor was her skill^ limited to her sex, for
while her shape permitted, she was a more adroit
pretty fellow than is usually seen upon the stage-
people were so fond of seeing] her as a man, that
when the part of Bayes had for some time lain dor-
mant, she was desired to take it up ; and she acted
it with true spirit and humour — Melantha in Mar-
riage a la Mode was her grand part, of which Gibber
gives a particular account.

Mrs. Bracegirdle was at" this time just blooming
to her maturity, her reputation as an actress gra-
dually rising with that of her person — never any
woman was in such general favour with her spec-
tators— which to the last scene of her dramatic
life she maintained, by not being unguarded in her
private character — scarce an audience saw her that
were not half of them her Lovers, without a sus-

T. R. 1690. 499

pected favourite among them — she was a Brunette,
but she had such a lively aspect, and such a glow of
health and cheerfulness in her countenance, that
she inspired every body, that was not past it, with
desire — Gibber particularly commends her in Statira
and Millamarit. (Gibber.)

Anthony Aston wrote a Supplement to Gibber's
observations — see L. L F. Jan. 13. 1722.

END OF VOL. I.

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. CHRONICLE OFFICE, BATH.

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