Ai Ai 0^ Tl 1 m 4 3 1 LIB RAR ^^^= ■< 9 9 ILIT 1 3T< ^ iilfijsummcr Xigljt's iBrtam. y-^^*- r 101 'i II ^*» A Pomp, and Feast, and Revelry, And Masque, and antique Pageantry ; Such sights as youthful poets dream, On Summer Eves by haunted biream. iUII.TON'. LITERARY AND GRAPHICAL illustrations OF SHAKSPEARE, AND THE BRITISH DRAMA: COMPRISING AN HISTOmCAL VIEW OF THE ORIGIN AND IMPROVEMENT OF C&e englis^I) ^tnge. AKD A SERIES OF CRITICAL AND DESCRIPTIVE NOTICCS OF UPWARDS OF ONE HUNDRED OF THE MOST CELEBRATED TRAGEDIES, COMEDIES, OPERAS, AND FARCES. EMBELLISHED \nTH HIORE THAN TWO HUNDRED ENGRAVINGS ON \VOOD, BY EMINENT ARTISTS. ^43'^^C^'.3S?f"^-,'i"- ^- LONDON: PRINTED BY AND FOR MAURICE AND CO., FENCIIURCH STREET; AND PUBLISHED BY EFFINGHAM WILSON, 88, ROYAL EXCHANGE; AND HURST, CHANCE, AND CO., ST. PAUL'S CHURCH-YARD. MUCCCXX.M. UNTVERSTTY OF CALIFORNIA TABLE OF CONTENTS. Pages. Historical view of the Origin and Iiiprovement op the English Stage •• •• •• ■• ■• •• •• •• viii to xvi. DRAMAS BY SHAKSPEARE, Accwding to the Order of the First Folio of his Works, 1623. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. IG. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. ^lagg anD ©omclitcs. The Tempest The Two Gentlemen of Verona The Merry Wives of Windsor Measure for Measure • • The Comedy of Errors Much Ado about Nothing Love's Labour's Lost •• A Midsummer Night's Dream The Merchant of Venice As Vou Like It The Taming of the Shrew All's Well that Ends Well Twelfth Night ■ • The Winter's Tale Supposed Dates. Malone. Chalmers. 1612 1613 1595 1601 1603 1593 1600 1594 1592 1598 1600 1594 1598 1614 1604 King John 1596 King Richard the Second ■ • • . 1596 King Henry the Fourth — First Part • • 1597 King Henry the Fourth — Second Part 1598 King Henry the Fifth •■ •■ 1599 King Henry the Sixth — First Part • . 1589 King Henry the Sixth — Second Part 1591 King Henry the Sixth — Third Part •• 1591 King Richard the Third •• ■■ 1597 King Henry the Eighth ■. •■ 1601 CtagcUicg. Troilus and Cressida Coriolanus Titus Andronicus Romeo and Juliet 1602 1610 1589 1595 1595 1596 1604 1591 1599 1592 1598 1597 1599 1598 1599 1613 1601 1598 1597 1596 1597 1597 1593 1595 1595 1595 1G13 1600 1609 1589 1592 Drake. 1611 1595 1601 1603 1591 1599 1591 1593 1597 1600 1594 1598 1613 1610 1598 1596 1596 1596 1599 1592 1592 1592 1595 1602 1601 1609 1589 1593 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 -H-^S^B-H^i TP^i* ■Hl#c§2wfl>^ ?4!^-HI#4l^-4^#'^-^#4?i-^ TABLE OF CONTENTS. 2'J, Tiinon of Athens 30. Julius Ciesar •• 31. Macbeth '32. Hamlet 33. King Lear 34. Othello "33. Antony and Cleopatra 3G. Cymbeline 37. Pericles, Prince of Tyre Supposed Dates. iVlalone. Chalmers. 1609 1601 1607 LC06 1596 1605 1611 1608 1605 1590 I6O7 leoc 1597 1605 1614 1608 1606 Drake. 1G02 I6O7 1606 1597 1604 1612 1608 1605 1590 Pages. 58 60 62 64 66 68 70 72 74 All the Plays of Shakspeare appear to have been performed at the Globe or Black-Friars' Theatres. Pieces. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47- 40. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 69. 60. 61. 62. 63. 64. A New Way to Pay Old Debt; The Orphan Venice Preserved Oroonoko The Inconstant • • The Fair Penitent The Beaux' Stratagem ■ • Cato Jane Shore The Wonder A Bold Stroke for a Wife The Revenge The Beggar's Opera Tom Thumb George Barnwell The Devil to Pay The Mock Doctor Fatal Curiosity Gustavus Vasa • • The Lying Valet • • Miss in her Teens The Suspicious Husband • • The Gamester . . Barbarossa The Apprentice Douglas Isabella Authors. ;.Philip Massinger • • Thomas Otway Thomas Otway Thomas Southerne . George Farquhar • • Nicholas Rowe .■ • . George Farquhar . . Joseph Addison Nicholas Rowe . • • • Susanna Centlivre • • Susanna Centlivre • • Dr. Edward Young . John Gay Henry Fielding George Lillo • • Charles Coffey • • • - Henry Fielding George Lillo . • Henry Brooke • • • • David Garrick • ■ • • David Garrick • . . • Dr. Benjamin Hoadly Edward Moore • • . • Dr. John Brown Arthur Murphy Rev. John Home • • Southerne & Garrick. First Performed. Pages. Phoenix, Drury Lane • • 76 Duke's Theatre, 1680 ■ . 78 Duke's Theatre, 1682 • • 80 Drury Lane, 1696 •. 82 Drury Lane, 1702 • • 84 Lincoln's Inn Fields, 1703 86 Haymarket, 1707 •• 88 Drury Lane^ 1713 • • 90 Drury Lane, 1714 • • 92 Drury Lane, 1714 •• 94 Lincoln's Inn Fields, 1718. 9G Drury Lane, 1721 .• 98 Lincoln's Inn Fields, 1728. 100 1730 1731 1731 1732 1736 1739 HaymarUet, Drury Lane, Drury Lane, Drury Lane, Haymarket, Printed only. Goodman's Fields, 1/41 Covent Garden, 1747 Covent Garden, 1747 Drury Lane, 1753 • Drury Lane, 1754 Drury Lane, 1756 • Covent Garden, 1757 • Drury Lane, 1757 • 102 104 106 108 110 112 114 116 118 120 122 124 126 128 TABLE OF CONTENTS. Pieces. Authors. First Performed. 65. The Guardian David Garrick • • • • Drury Lane, 1759 06. High Life Below Stairs • ■ Rev.Jaraes Townley. Drury Lane, 1759 C7. Love k la Mode • . Charles Macklin Drury Lane, 1759 63. The Jealous Wife George Colman, Sen. Drury Lane, 1761 69. The Liar Samuel Foote • • Covent Garden, 1762 70. Love in a Village Isaac Bickerstaffe • • Coven t Garden, 1762 71. The Mayor of Garratt Samuel Foote • • . • Haytnarket, 1763 72. The Deuce is in Him George Colman, Sen. Drury Lane, 1763 73. Midas Kane O'Hara • • . • Covent Garden, 1764 74. The Clandestine Marriage Colman and Garrick. Drury Lane, 1766 75. The Country Girl Wycherley&Garrick. Drury Lane, 1766 76. Lionel and Clarissa Isaac Bickerstaffe • • Covent Garden, 1768 77. The Padlock Isaac Bickerstaffe • . Drury Lane, 1768 78. The Hypocrite . . . . Isaac Bickerstaffe • • Drury Lane, 1768 79. The West Indian . . Richard Cumberland Drury Lane, 1771 80. The Grecian Daughter . . Arthur Murphy Drury Lane, 1772 81. The Irish Widow David Garrick . • • . Drury Lane, 1772 82. She Stoops to Conquer • • Dr.Oliver Goldsmith Covent Garden, 1773 83. Bon Ton David Garrick- • Drury Lane, 1775 84. The Rivals R. B. Sheridan .... Covent Garden 1775 85. Three Weeks After Marriage.Arthur Murphy Covent Garden 1776 86. All the World's a Stage Isaac Jackman • • • • Drury Lane, 1777 87. The Quaker Charles Dibdin, Sen. Drury Lane, 1777 88. Percy • • Hannah More • • • • Covent Garden, 1777 89. Who's the Dupe Hannah Cowley Drury Lane, 1779 90. The Critic R. B. Sheridan Drury Lane, 1779 91. The Belle's Stratagem . . Hannah Cowley . . Covent Garden, 1780 92. The Man of the World . . Charles Macklin • . Covent Garden, 1781 93. Rosina • • Frances Brooke • • . • Covent Garden, 1782 94. He Would be a Soldier • • Frederick Pilon Covent Garden, 1786 95. The First Floor James Cobb • . Drury Lane, 1787 96. Inkle and Yarico George Colman, Jun. Ilaymarket, 1787 97. Ways and Means George Colman, Jun. Haymarket, 1788 98. The Doctor & the Apothecary.James Cobb • • . . Drury Lane, 1788 99. Arden of Faversham • • Lillo & Dr. Hoadly. • Covent Garden, 1790 100. Honest Thieves Thomas Knight Covent Garden, 1797 101. Fortune's Frolic J. T. Allingham . . Covent Garden, 1799 130 132 134 136 138 140 142 144 146 148 150 152 154 156 158 160 162 164 166 168 170 172 174 17G 178 180 182 184 186 188 190 192 194 190 198 200 202 ru^M<^-^^§<^ HISTORICAL VIEW OF THE ORIGIN AND IMPROVEMENT OF THE €ugli5f) ^tage* However deficient may be the materials for compiling a perfect His- tory of the Drama in England, the illustrations of it, recovered by modern research, are far too numerous to be contained in the space here allotted to the subject : so that the reader will be presented with onlv some of the leading features of the ancient national Stage, and of the principal points of it's rise and improvement. The old Greek Drama appears to have flourished at Constantinople, until the fourth century of the Christian Era ; about which time Gre- gory of Nazianzen, the Patriarch of that city, a poet, and one of the Fathers of the Church, banished the pagan plays of Sophocles and Euri- pides from the stage, and introduced those Scripture histories which appear to have been the earliest dramatic entertainments in every part of Europe. In these the Grecian chorusses were turned into Christian hymns, the pieces being arranged on the plan of the more ancient trage- dies ; and one of the oldest religious dramas written by Gregorj^ is j^et extant, called Clirisfs Passion, the prologue to which states, that the Virgin ^Nlary was then for the first time brought upon the stage. The early commercial intercourse between Constantinople and Italy, soon introduced these performances into Europe ; in which country the Italian Thentre is aflirmed to be the most ancient. The period of it's earliest religious Drama, is, nevertheless, assigned to the year 1243, when a spiritual comedy was performed at Padua ; and in 1264, the Fraternitate del Gonfalo'ne was established, part of whose occupation was to represent the sutierings of Christ during Passion- Week. The origin of the French Theatre cannot be traced higher than 1398, when The Mystery of the Passion was represented at Saint-Maur. In England, however, the first spectacle of the kind was probably the Miracle-Play of Sahit Catherine, mentioned by ]Matthew Paris as having been written ORIGIN OF THE ENGLISH STAGE. by Geoffrey, a Norman, afterwards Abbot of St. Alban's, and performed at Dunstaple Abbey in the year 1110. It is also stated in the Description of the most noble City of London^ composed by William Fitz-Stephen, a monk of Canterbury, about 1174, in treating of the ordinary diversions of the inhabitants of the metropolis, — that "instead of the common in- terludes belonging to theatres, they have plays of a more holy sub- ject ; representations of those sacred miracles which the holy confessors wrought, or of those sujfferings wherein the glorious constancy of the martyrs did appear." It will be hence observed that the ancient religious Dramas were distinguished by the names of AIysteries, properly so called, wherein were exhibited' some of the mysteries or events of Scripture-story ; and Miracles, which were of the nature of tragedy, representing the acts or martyrdom of a Saint of the Church. The introduction of this species of amusement into England, has been attributed to the pilgrims who went to the Holy-land ; and the very general custom of performing such pieces at festivals, to the sacred plays at those ancient national marts, by which the commerce of Europe was principally sup- ported. To these, the merchants who frequented them used every art to draw the people, employing jugglers, buffoons, and minstrels, to attract and entertain them. By degrees, however, the clergy observ- ing the disposition to idleness and festivity which was thus introduced, substituted their dramatic legends and histories from the Scriptures, for the ordinary profane amusements ; causing them to be acted by monks in the principal churches and cathedrals at certain seasons, with all the attraction and state of choral chaunting, playing upon organs, and ecclesiastical dresses and ornaments. The duration of the exhibition appears to have been regulated partly by the length of time appointed for the fair or festival ; for though some pieces consisted of a single sub- ject only, as The Conversion of St Paul, or The Casting Out of the Evil Spirits from Mary Magdalene, — others comprised a long series of Scrip- tural histories, which were presented for several days successively. The principal of these religious plays appear to have been derived from two very celebrated series of them, annually performed at Cnester, at "Whitsuntide, and, sometimes, at Midsummer; and at Coventry at the feast of Corpus-Christi, or June 14th. The Whitsuntide plays are com- monly called " the Chester JMj'-steries," both because they were trans- lated' b}^ Handle Higden, a monk of that city, about 1. 327-28, and were originally played there on the Monday, Tuesda3^ and "Wednesday, in the "Whitsun-week, so early as 12G.'J. They were 24 in number, and com- menced with I'he FaUinge of Lucifer and The Creation of the World ; and ended with Antichrist and Domesday. There was considerable difficulty in procuring the Pope's permission that they might be performed in English, and hence it has been presumed that all the previous AIysteries were in Latin, which gives to these pieces the merit of having been the first interludes in the national language. A manuscript specimen of a Corjms-Christi Pageant instituted at York, early in the thirteenth century, yet exists in the records of that city ; but the most popular dramas exhibited on this day were generally entitled Ludus Coventrice, or the Coventry Play, because they were i)erformed there at that time, as early as 1416, before Henry V., under the direction of the Franciscan Friars of the city, to which fraternity their original composition has been attributed. A transcript of them of the fifteenth century is in the ix A 2 HISTOUICAL VIEW OF THE ORIGIN Cottonian Library, consisting of 40 pageants, or plays, also extending from tlie Creation to the Judgement of the World. At the times of these i)erformances, great multitudes were drawn from all parts of England to Chester and Coventry, to the great benefit of those cities ; and, as learning increased, and was more Avidely dissemi- nated from the monasteries, the acting of sacred plays extended from them to the jjublic schools and universities, when choristers, school- boys, parish-clerks, and trading-companies, were enijiloyed in their re- presentation. The IMysteries, both of Chester and Coventry, were per- formed by, and at the expense of, the members of the trading-guilds of those cities; each society retaining to itself a particular portion of the sacred history. Thus at Chester, the Tanners represented The Fall of Lucifer, the Drapers The Creation, the Dyers The Deluge, ^c. ; and at Coventry the Shearmen played The Nativity, and the Cappers The Resurrection and Descent into Hell. The Parish-Clerks of London were also accustomed yearly to perform a long series of sacred IVIysteries near West-Smithfield, at Skinners' Well ; the name of which has been for so many centuries altered to their own. On July 18th, 19th, and 20th, 1390, they played at Clerkenwell before Richard II., his Queen, and several of the nobility ; and in 1409 they presented a drama ex- tending from the Creation of the world till Doomsday, — supposed to be one of the Chester or Coventr\' Mysteries, — which lasted for eight days, in the presence of some of the principal personages of the king, dom. DoM^i to this time it does not positively appear that a drama upon any profane subject, either ti-agic or comic, had been produced in England ; and even the emblematical and decorative pageants pre- sented to a Sovereign were almost entirely scriptural. In 1487, after the birth of Prince Arthur, Henry VII. was entertained at Winchester Castle, on a Sunday during dinner, with a drama called The Harroiviiig of Hell, or the triumphant entry of Christ into the infernal world, and delivering thence the souls of the faithful departed. It was performed by the charity, or choir, boys of Hyde Abbey and St. Swithin's Priory, two large monasteries of Winchester ; and was one of both the Chester and Coventry Mysteries, sometimes entitled Lucius PuschaHs, or the Easter Play, the subject having been taken from the spurious Gospel of Nicodemus, as peculiarly proper to the festival. These performances, however, had not become common to all persons without some opposi- tion ; since in, 1378, the scholars or choristers of St. Paul's School, pre- sented a petition to Richard II., praying him to prohibit some ignorant and inexpert persons from acting the History of the Old Testament, to the great prejudice of the clergy of that church, who had prepared it with considerable cost for representation at the ensuing Christmas. Such of the ancient English Mysteries as are yet extant, are written in long stanzas of alternate rhyme, having the actors' names and stage- directions in Latin prose, with many occasional Latin phrases. At the commencement of the Coventry Mysteries is a very long Prologue, spo- ken by three Vexillatores, or banner-men, alternately, announcing the subject of the ensuing pageants ; and prefixed to the Chester Plays are " the Bannes which are reade before their beginning," which declare their origin and author, also in metre, and contain directions to the seve- ral Companies of the scenes they are to exhibit. Notwithstanding the mA seriousness of the subject, the jNIysteries were not without a considerable ■vv" portion of coarse jests and strange absurdities, both in the language and i>> AND IMPROVEMENT OF THE ENGLISH STAGE. action. The part o? Beelzebub was also full of the broadest mirth, and, with his inferior demons, he used to excite the laughter of the audience by a variety of voices, and strange gestures, and contortions of the body. He was represented with horns, cloven-feet, and a tail, and wore a mask with a very wide mouth, staring eyes, a large nose, and a red beard ; and his constant attendant was the Vice^ or buffoon of the piece, whose part was to leap upon his shoulders, and beat him with his wooden dag- ger till he made him roar. The stages of the ancient INIysteries, called Pageant-houses, con- sisted of large and high frame-carriages, mounted on six wheels, and formed like dwellings containing two stories; in the lower of which the performers dressed, and played upon the upper, which was either surmounted by arches, battlements, vanes, &c., or left open to the top. Rushes were strewed upon the stage, and the lower room was enclosed with cloths, which are supposed to have been painted with the subject, or emblems, of the performance. A decoration, or Pageant, represent- ing the general scene of the piece, was erected on the stage ; some of which remaining in 1563 are described, as " the City of Jei-usalem with towers and pinnacles, — Old Tobye's House, — A Fyrmament with a fyry cloud, and a double cloud," &c. Numerous records are also extant of the dresses and properties used in these performances, which appear occasionally to have been extremely rich and costly. The Mystery, actors had their faces painted, and the Plays of Chester and Coventry Avere attended by "Waits and Minstrels : the Theatres were drawn from one street to another in appointed order, as each piece concluded ; the whole being in performance at the same time, which divided the crowd and gave all an opportunity of seeing the entire series. The time of action was about six in the morning, and nine separate Pageants were exhibited in one day. As both the Miracle-Plays and Mysteries included the personification of allegorical characters, as Sin, Death, &c., and the poetry of the times improved, a different kind of Drama was devised, consisting entirely of such abstract personifications, which were thence called Mouahties. They probably did not appear before the reign of Edward IV., (1461) and the splendid pageants presented to Henry VI. being the first which were enlivened by the introdviction of speaking allegorical personages properly habited, naturally assisted in exciting a taste for them. Seve- ral Moralities are yet extant, bearing the remarkable titles of Every J\lan^ composed in the reign of Henry VIII.; Muf/mficence ; Impatient Poverty^ 1560 ; The Marriage of Wit and Science, 1570 ; The Longer Thou Livest, the More Fool thou art ; The Conflict of Conscience, 1581 ; &c Mysteries did not, however, cease to be exhibited, though they were probably seldom represented after 1542-43, when a Statute was passed by Henry VIII. to purify the kingdom from all religious plays, ballads, and songs ; as being " equally pestiferous and noisome to tiie common- weal :" i)ermitting them only for the rebuking and rej)roaching of vices, and setting forth of virtue, if they meddled not with Scripture contrary to the declared doctrine. Mysteries and IVIoralities were thus made the vehicles of religious controversy ; .John Bales' Comedy of the Three Luirs of Nature, 1538, — in reality a IVIystery, — being a disguised satire against Popery, as was also VVeever's Morality "of Lusty Juventtis, written in the reign of Edward VI. The performance of Mysteries was slightly revived with the Catholic religion under Queen Marv ; and ■tc Ti' ii> HISTORICAL VIEW OF THE ORIGIN in 1550 and 1577, " a goodly stage-play of The Passion of C/n-ist" was represented at the Grey-Friars in I^ondon, on Corpus-Christi day, be- foi'e the Lord 3Iayor, Privy-Council, &c. In the time of Elizabeth these pieces were probably performed only occasionally and privately, by Catholics, in her earlier years : the Chester Plays, revived in 1533, wholly ceased in IGOO; and the last Mystery performed in England is supposed to have been that of Christ's Passion, in the reign of James I., at Ely-House, Holborn, on Good-Friday at night, before Count Gon- damar, when thousands were present. JNIoralities continued to be ex- hibited throughout the reigns of Elizabeth and James I., but about 1570 they began to lose their attraction. In this interval appeared that species of Drama called Interludes, or facetious and satirical dialogues, which were commonly played at the festivals held at the Inns of Court. After various alterations and im- provements they became Masques, the serious parts of which were divided by a ridiculous Interlude, called the ^-inti or Antic-Masque. The first English piece which appears like a regular Comedy, was produced in 1552, by John Still, afterwards Bishop of Bath and Wells. It was acted at Christ's College, Cambridge, is entitled Gammar Gurton''s ]Veedle, and abounds in familiar humour and grotesque dialogue. In 15G1-G2, Thomas Sackville, Lord Buckhurst, and Thomas Norton, wrote the Tragedy of Gorboduc, or Ferrex and Porrew, which was exhibited befoi-e Elizabeth by the students of the Inner-Temple, on January 18th, at AVhitehall. It is a specimen of strong old English eloquence, and is probably the first example in the language of an heroic tale in verse, divided into acts, and possessing the formalities of a tragedy. Neither of these dramas appears to have been acted at a public theatre, nor was there at the time any building in London solely appropriated to plays ; but the custom of performing them at universities, &c. greatly contributed to the Drama's improvement, since their members began to compose pieces on historical subjects, upon the classical model ; and it may also be observed that the principal early dramatic authors were all scholars. Their taste, however, between 1570 and 1590, produced a number of those sanguinary and bombastic heroical pieces which were afterwards so much ridiculed : whilst the plot of Gorloduc having been dei'ived from the ancient British annals, similar sources were immedi- ately resorted to, and those dramas propei'ly called Histories, were brought upon the stage. They consisted of a series of events taken from the English Chronicles, represented simply in order of time, but without any artful conduct of the fable : their introduction has been erroneously attributed to Shakspeare, though the truth is, that every one of his historical subjects had been dramatised and performed before his time. With more probability their origin has been assigned to the celebrated JMirrour for Magistrates, first published in 1503, in which the most distinguished characters of the Engiish annals are introduced, giv- ing poetical narratives of their own misfortunes. Ilomance was also now made the subject of dramatic performances ; and T/ie Palace of Plea- sure, and various other collections of novels, to which Shakspeare after- wards had recourse, as well as Comedies, in English and other languages, were carefully examined, to furnish matter for the stage. The precursors of Shakspeare, who were most famous as dramatic authors, were Ilobert Greene and Thomas Lodge, remarkable for their humorous satire; George Peele, a fiowery and most ingenious poet; #^f§^-HI'#'^=4T|#c^^ AND IMPROVEMENT OF THE ENGLISH STAGE. Christopher Marlow, a fine tragic writer, of gi'eat state and sweetness in his verses ; Tliomas Naslie, a comic author and satirist, John Lyly, the Euphuist ; and Thomas Kyd, whose works contain passages not un- worthy of the best of his successors. These all contributed greatly to advance the improvement and perfection of the English Stage, and though there be many blemishes to be found in their productions, and much affectation and }jedantry, an unfettered spirit of true poetry runs through them all, with language often dignified and harmonious, and always nervous. At length, about lo91, the great luminary of the dra- matic world blazed out upon England, and began to produce that inimi- table series of plays, which, for more than two centuries, have been the delight, the admiration, and the boast, of his countrymen. His excel- lencies are numerous and varied, but the charms of his versification, the beauty of his descriptions, the sublimity of his language, his irresis- tible humour, and the exquisite nature wliich pervades the whole of his writings, — are perhaps the most striking features of his splendid genius. His time, too, formed the Golden Age of the Drama ; since the vigour- ous language and learning of Ben Jonson, the wit and sweetness of Dekker, the thought of Marston, the gravity of the classical Chapman, the grace and comic vein of Beaumont and Fletcher, the copious genius of Middleton, the ])athos of Webster, and the easy mirth of Heywood, — formed an assemblage of more dramatic talent than has ever been witnessed in all the years that have since elapsed. At this time the Players of London began to act in temporary thea- tres and on scaffolds in Inn-j^ards, on account of the convenience of their spacious areas, galleries, and private passages, — and the general form of modern theatres has been attributed to these models ; — but one or more regular playhouses, at the Black and White Friars, were cer- tainly erected before 1580, when they were suppressed for their immo- rality, together with all the temporary stages of liondon. Between 1570" and 1G29 seventeen Theatres had been erected, including five inns, converted into playhouses, and the singing-school of St. Paul's. The Black-Friars Theatre, was situate in Play house- Yard, near Apotheca- ries' Hall, and was built about 1570 ; the White-Friars Theatre, was built in Salisbury Street, or the Court beyond it, before 1580; and the Cockpit, or Phccnix Theatre, stood in Drury-Lane, and was erected about l(il7- These were all smaller than the others, and considered as pri- vate Playhouses, which were opened in the winter only, the perform- ances being by candle-light ; their audiences were of a superior order, and a part occupied seats on the stage at a higher charge. The Fortune Theatre, stood between AVhitecross Street and Golden-Lane, Cripple- gate ; and was partly rebuilt and altered into a playhouse in 159!) by Edward Alleyn. This large edifice was burned down in 1G21, and was rebuilt of still greater capacity. The Globe Theatre, one of the most famous in London, was situate on the Bankside, nearly opposite the end of Friday Street; it was of considerable size, the performances always took place in summer, and by daylight, and it was erected about 15y(j, and was burned down June Siith, 1G13. The Curfnbi T'heatre, so called from a striped curtain which hung outside, was built in the vicinity of Shoreditch, or, perhaps, near the Curtain-lioad, and was open in HilO. The Red Bull Theatre stood on a piece of groimd formerly called lied Bull Yard, near the upper end of St. John's Street, Clerkenwell. I^pon removing fi'om the last-named house, the King's Company performed HISTORICAL VIEW OF THE ORIGIN in anew building erected in Gibbon's Tennis Court near Clai-e-Market ; and Ajiril 8th, IGG3, opened a more convenient edifice in Dmry-Lane^ which Theatre was first destroyed by fire 1G72, and was last rebuilt in 1809. The Duke's Company performed first at the Cockpit, then at a new house in Lincoln's Inn Fields, and, in November 1G71, at another new and splendid building called the Duke^s Theatre in Dorset-Gardens, Fleet- Sti'eet. This was abandoned upon the opening of the grand Opera- House in the Haymarket, April 9th, 1705, but in 1720 the Little Theatre was built in the same part of London, to remedy it's inconveni- ences. Covent Garden Theatre was originally erected in 1733, and occu- I)ied by John Rich's company from Lincoln's Inn Fields ; and it was ast rebuilt in 1809 after the fire of the preceding year. The engravings at the commencement and conclusion of this sketch will furnish some notion of the interiors of the old English Theatres. They appear to have been hung with tapestry, and lighted by cressets, lanthorns, or wax-lights about 1661, in branches or circular wooden frames : but after Garrick's retui'n from France in 1765, the present in- visible side-lamps were adopted. Curtains of silk or woollen, parting in the middle, hung in the rear of the stage, through which the performers entered ; and above was a balcony, or upper stage, eight or nine feet from the lower, which was frequently required in various performances, as for the Court during the play in Hamlet, or the Citizens of Angiers above the gate in King John, &c. The old stages were separated from the audience by pales or a ballustrade, which is particularly shewn in the wood-cut on page xvi, taken from 'the title-page to Dr. William Alabaster's Latin Tragedy of Jioxana, printed in 1632. It does not appear that there were any painted scenes previously to 1605, when Inigo Jones exhibited them in three plays before James I. at Oxford ; but the name of the place supposed, seems to have been written on a suspended board, and during the representation of tragedies the stage was hung with black. Female parts were originally played by boys or young men, the first woman on the English Stage probably appearing at the Theatre in Vere Street, near Clare Market, as Desdemona, on Saturday, December 8th, 1660, and tradition reports her name to have been Saunderson ; but Kynaston still remained celebrated for similar parts. The price of admission at the ancient principal Theatres to the pit and galleries, or scaffolds, was generall}' 6(/., though in some inferior it was only one penny or two-pence ; yet even in Shakspeare's time the best rooms or boxes were Is., and at the Duke's Theatre in Lincoln's Inn Fields, thej' were 2s. Gd. Plays commenced at one o'clock in the afternoon, and usually occupied about two hours ; but in the time of Charles II. they did not begin till four, and lasted longer, the practice of performing two pieces together having been introduced after the Restoration. The time cannot now be ascertained, when the profession of a Player became common and established ; but Stow remarks that when Edward IV. sliewed himself in state, he went to his palace at St. John's, to see " the City Actors." In the Exchequer are several entries proving that both French and English actors were attached to the Court of Henry VII., and licenses were granted to comedians by Henry VIII., Edward VI., and INIai'v ; the latter of whom I'etained " eight players of inter- ludes " in her household, at 66s. 8d. each yearly. In 1574, Queen Eli- zabeth gave authority to Thomas Burbage and four others, servants to XIV UC^TlKf J»iV" AXD IMPROVEMENT OF THE ENGLISH STAGE. the Earl of Leicester, to exhibit all kinds of stage-plays, during plea- sure, in any part of England. In January 1583-84, soon after the puri- tans had made a violent attack upon the stage, twelve performers were selected from the principal Companies then existing, under the pro- tection of various noblemen, and were sworn her Majesty's servants. There were then eight principal Companies in London, each performing twice or thrice in the week ; but about the latter part of Shakspeare's life, there were five only, the chief being the performers of the Globe and Black-Friars Theatres, to whom James I. gave a license in 1603, when they received the name of " the King's Servants." The other companies were the Prince's Servants, who played at the Curtain ; the Palsgrave's Servants, at the Fortune ; the Players of the Revels at the Red J3ull ; and the Lady Elizabeth's, or Queen of Bohemia's Ser- vants, at the Cockpit. In this state the players continued until Fe- bruary 11th, 1647, when the Parliament issued an ordinance declaring them rogues and vagrants, liable to the ordinary penalties : the Thea- tres, also, were ordered to be destroA^ed, and a fine of 5s. was imposed on every person present at a play. The greater part of the performers, therefore, took up arms for the King ; and though in the winter of 1648 some of them ventured to act at the Cockpit, they were soon inter- rupted by the soldiers, who took them into custody in the middle of a performance, and committed them to prison. By connivance or bri- bery of the commanding officer at Whitehall, they privately represented a few plays at a short distance from town, and occasionally entertained some of the nobility at their country-seats ; especially acting at Hol- land-House, Kensington, private information being given to the friends of the Drama. They were sometimes also permitted to play publicly at the Red Bull, though not always without interruption, since the soldiers stripped and fined them at pleasure, seized upon their wardrobes, and reduced them to perform in suits of painted cloth. In their distress they were often obliged to publish several of those excellent manuscript pieces, which had till then remained tlie sole property of their respec- tive Companies ; and fifty of these dramas appeared in one year. At the worst period of their persecution, the humorous Robert Cox devised a new dramatic entertainment, blended with rope-dancing, &c. to disguise the acting; which entirely filled the capacious Red Bull Theatre. His performance was chiefly a combination of the richest comic scenes of Marston, Shirley, Shakspeare, &c. into single pieces, called Humours, or Drolleeies, which were printed in 1662 for the use of performers at fairs. An engraving attached to this very rare and curious work, is supposed to represent the interior of the Red Bull Theatre ; and a part of it is copied in the cut at the commencement of the present Introduction, as giving some notion of the features of an old English Playhouse. In 1656, Sir William Davenant made another effort for the Drama at Rutland House, where he exhibited entertain- ments of declamation and music, in tlie manner of the ancients ; re- moving two years after to the Cockpit in Drury-Lane, where he re- mained until the eve of the Restoration. About the time that General Monk led the Scots' ai'my to London, in 1659, a bookseller named Rhodes, formerly wardrobe-keeper at the Black- Friars Theatre, fitted up the Cockpit ; and the other actors re-assembled at the Red Bull. After the Restoration two new patents were issued, one to Sir William Davenant, a renewal of that given him by Charles I., and the other to ESTABLISHMENT OF THE ENGLISH STAGE. Thomas Killegrew : the former company was joined by the Eed Bull actors, and was called the King's Servants ; and the latter included the old performers, under the protection of the Duke of York. The subse- quent alterations of these Patents, is the most intricate, and the least generally interesting, part of theatrical history ; and it will therefore not be consistent with either the space or character of this Introduction to enter into any detail of them. A brief retrospect of the Origin and Improvement of the English Stage has now been given ; and the present sketch shall be concluded with a very few remarks upon the spirit and genius of the Drama at it's prin- cipal eras. The most illustrious of these was during the reign of Eli- zabeth, when Literature was advancing under the influence of the lleformation, and the works of the British Dramatists began to be stamped with that boldness and energy, that graceful simplicity and exquisite nature, which were so entirely their own. This is the cha- racter of " the best words of the best authors " ; whilst the coarse jests and gross language which frequently deform some of their finest and most serious scenes, must be attributed to the imperfection of manners, the slow advance of general civilisation, and the remains of that rude humour, which introduced it's dissolute and profane merriment into even the sacred stories of the Scripture-Mysteries. Much of the old poetical spirit remained until the Civil W^ars, when the Drama was overthown in the confusion and violence which ravaged the country ; and the Restoration brought over that French taste which had been so long familiar to the English exiles. The tide of foreign extravagance and obscenity, of unnatural declamation and unmeaning frivolity, was too powerful for opposition, and even Dryden's splendid talents yielded to the vicious fashion ; though their lustre continually breaks forth, not- withstanding their prostitution. With more or less of the same charac- teristics, the English Drama was supported by Otway, Southerne, and Rowe ; and afterwards by the many excellent Comic and Tragic authors of the last century. Slowly and gradually it became purified from it's dissolute and profane wit, and if at present the talents of the olden time be no longer evident, the immorality attending them has also departed. LITERARY AND GRAPHICAL OP SHAKSPEARE AND THE BRITISH DRAMA. THE TEMPEST: A PLAY, BY WILLIAM SIIAKSPEARE. The learning and research so long employed upon the illustration of Shakspeare, have hitlierto failed in discovering all the original materials of the present drama : the magical portion of it being said to belong to some old Italian Novel, the name of which was forgotten by those who had read it. JNIr. Douce and Mr. Malone have attributed tlie outlines of the storm and the Enchanted Island, to Silvester Jourdan's Discovery of the Burmiidas, otherwise called the Island of Divels, 1610, 4to., which also contains an account of the shipwreck of Sir George Somers; and to William Strachey's Laws, J Proapp.ro. — Here cease more questions ; Thou art inclin'd to sleep ; 'tis a good dulness, And give it way ; I know thou can'st not choose. \_Miranda sUeps. Come away, servant, come : I am ready now ; Approach, my Ariel, come. Act 1. Sf. 2. Sometime am I All wound with adders, who, with cloven tongues, Do hiss me into madness. Act 2. Sc. 2. THE TWO GENTLEMEN OF VERONA : A COMEDY, BY WILLIAM SHAKSPEARE. Several indications, both in the historical allusions and style of this play, are supposed to prove it one of the author's earliest productions ; if not, as Malone conjectures, his very first, written in 1595. Of the former marks, is that passage descriptive of the emplojinent of young men of rank at the period, in the 3rd Scene of the 1st Act ; — " Some to the wars, to seek their fortunes there; Some to discover islands far away :" which have been referred to the militar}- preparations against the Spaniards, and for the assistance of Henry IV. of France, at the time above-mentioned; and to Sir Walter Raleigh's voyage to the Island of Trinidado, and up the River Oronooko, to discover Guiana, in 1595, or to Sir Humphrey Gilbert's expedition of the preceding year. Speed, also, in enumerating the sj-mptoms of love. Act ii. Scene 1, mentions "to walk alone, like one that had the pestilence;" which has been considered an allusion to the plague of 1593, when nearl}- 11,000 persons died near London. IMost of the original mate- rials of the story seem likewise to point to the same period, as an imitation of a passage in the old play of King John, 1591, 4to. ; the incident of T a/e/itiHg joining the robbers, probably taken from that of Pyrocles and the Helots, in Sir Philip Sidney's Arcadia, published in "1590 ; some allusions to Marlow's poem of Hero and Leander, entered at Stationers' Hall in 1593 ; and the story of Proteus and Julia, which has been compared to one in George of Montemayor's Diana, also translated in the time of Shakspeare. The style of this piece is considered to be less figurative and more natural than any of the author's dramas; which, with it's abrupt conclusion, has been considered a proof of it's early composition. Sir Thomas Hanmer, Upton, &c. have doubted if Shakspeare did more than supply some speeches and lines, but Dr. Johnson found his sentiments and language in both the serious and comic parts; and few plays, he adds, " have more lines and pas- sages, which, singly considered, are emiuently beautiful." There is no edition of this Comedy earlier than that of 1623, though it is mentioned by Francis Meres in his Wits' Treasury, 1598, It was produced at Drury-Lane, in 1763, with alterations and additions by Benjamin Victor, but performed five nights only ; was again adapted to the modem stage by J. P. Kemble, at Covent-Garden, April 21st, 1808; and on November 29th, 1821, was again revived with great splendour of scenery, and an introduced Masque and Songs, selected from Shakspeare's Poems and Plays. nc"'-^'^5I5^'rcc^r?^*^j7= ''TiZ^'^^'^jr'-^iTZ^rf^'^jjt^ ==?rc^^-'^5J>^'=trt'^^'3)T='g^ €\)t Cbjo Gentlemen oi Wtvoiu. Julia. Lo, here in oue line is his name twice writ, — Poor forlorn Proteus, passionate Proteus, To the sweet Julia ; — that I'll tear away : And yet I will not, sith so prettily He couples it to his complaining names : Thus will I fold them one upon another ; Now kiss, embrace, contend, do what you will. Aitl. Sc. 2. Speed, Come, fool, come: try me in thy paper. Launce. There; and Saint Nicholas be thy speed! Speed. Imprimis, She can milk. Launce. Ay, that she can. Speed. Item, She brews good ale. Launce. And thereof comes the proverb, — Blessing of your heart ! you brew good ale. Act 3. Sc.l. %-^i !^ -.«fCo4jUr,^>> g-. tfC-,j;Slt^?7'_^<:fC^^'SUr'?>'.= -±f*^^'^r7'>'^ ^ff-l'-S^f^^'^ ^ff-l-i-S^n^^'g THE JNIERRY WIVES OF WINDSOR: A COMEDY, BY WILLIAM SUAKSPEARE. The events of tliis play are certainly supposed to take place between the First and Second parts of Henry IV., wliilst Fulstaff is 3-et in favour at Court ; and in some credit for Prince Henry's report of his services at Shrewsbury', on whicli " warlike, courtlike, and learned, preparations," he is complimented by Ford, Dennis, on the information of Dryden derived from Davenant, and thence from the author himself, states that the drama was written by command of Queen Elizabeth, to continue the character of Falstaff] and exhibit him in love : a passion, however, which Sliakspeare protected from so vile a habitation, and substituted avarice in it's stead. It is also recorded, that the Queen was so desirous of seeing the Comedy acted, that she ordered it to be finished in fourteen days ; and was very well pleased with the repre- sentation. The time when this was done, is believed to be in 1600 or 1601, the plav being entered on the books of Stationers' Hall, January 13th in the latter 3"ear. There was, however, no perfect and entire edition of it until the folio of 1623 ; the quartos of 1602 and 1619 having possibly been printed from a corrupt copy, surreptitiously procured, as they contain many profane and gross expressions, afterwards omitted, and many chasms occur in the dialogue. A few incidents in this Comedy were perhaps taken from an old trans- lation of the Dunce, or II Pecorone, of Giovanni Fiorentino ; and the same are to be met with in the Fortunate, the Deceived, and the Unforianate, Lovers. The adventures of Fahtaff appear to have been taken from The Lovers of Pisa, a story in Tarleton's Keu-es out of Purgatorie, black-letter, 4to., no date, but entered on the Stationers' books in 1590 : and the character of Justice Shallow is generally received and well known as a satire upon Sir Thomas Luc}-. Tlie most remarkable feature of this drama, is the number, variety, and discrimination, of the characters ; but the action is often broken and not naturally successive, j-et the whole is full of wit, and in the highest degree entertaining. The scene is laid in "Windsor and the adjacent parts, and the action is supposed to extend from the dinner at Page's house, about twelve at noon, to midnight on the third day after. This drama was adapted to the modem stage by J. P. Kemble, and pro- duced b3' him at Drury-Lane, November 9th, 1797, and at Covent-Garden, April 18th, 1804: and, February 20th, 1824, it was again brought out at Drury-Lane as a jMusical Plaj', by the addition of songs taken from the author's own works, with original and selected music by H. R. Bishop. COt iMtrrp OTibes of aEHiirtsior. Mm. Prti^e. Come, mother Prat, come; give me your hand. Ford. I'll prat her; out of my door, you witch !—[6ea^« him.'] you rag, you baggage, you polecat, you ronyon ! out ! out ! I'll conjure you, I'll fortune-tell you. Act 4. Sc: 2. Fijr#c^# A MIDSUMMER NIGHT'S DREAM: A COMEDY, BY WILLIAM SHAKSPEARE. This beautiful creation of the fancy of the great Poet, is distinguished by the ordinary characteristic of his early plays, — the introduction of whole passages and scenes in rhyme. From this circumstance, added to the glow- ing poetry which it contains, the sliglitness of the fable, and the want of discrimination in the higher personages of the drama, — JNIalone is inclined to attribute it to a youthful hand, and to think that it was written in 1592. It does not, however, appear entered on the Stationers' Hall books until October 8th, 1600, in which year it was also twice printed in quarto, as " acted by the Lord Chamberlain's servants." The original hint of the plot has been referred to Chaucer's Knights Tale ; and Tj-rwhitt remarks that Pluto and Proserpina, in the Marchante's Tale of the same Poet, appear to have been the true progenitors of Shakspeare's Oberon and Titania: but both personages had been made familiar in a ]Masque, presented to Elizabeth at Lord Hertford's, in 1591, 4tot Perhaps, from the fanciful nature of the ethereal essences with which this drama is filled, and the many sweet and beautiful descriptions it contains, it's scenes, in their original form, are fitted rather for perusal than performance ; yet different portions have been separately made use of in the formation of separate pieces. The Interlude of Fyramus and Thisbe was produced as a Comic IMasque at Lincoln's Inn Fields Theatre in 1716, and as a Mock-Opera at Covent Garden in 1745. The men-y-conceited humours of Bottom the Weaver, is one of Robert Cox's Drolls, which used to be performed at Bartholomew, aud other Fairs, by the strolling companies: and the parts of Obero7i and Titania formed the foundation of the Fairy Queen, acted at the Haj'market in 1692; and of the elder Colman's and Garrick's Fairies and Fairy Tale, pro- duced at Drurj'-Lane in 1763, 1764, and 1777 ; the first of which pieces was acted but twice only, to a very thin house, which it sent to sleep. The Midsummer Night's Dream, was the first of that series of Shakspeare's Dramas which were with happier effect converted into Musical Plays by the addition of songs, &c. from the Author's own works, united to some of the richest melodies of Bishop ; and it was thus produced, with considerable splendour, at Covent-Garden, January 17th, 1816, The scene of this Play is " Athens, and a wood not far from it ;" and the action is supposed to be comprised within the four days before the Di/Ae's marriage, mentioned in Scene 1. From Act ii., however, to the beginning of Act iv., the incidents all take place on the second night. 16 ■jtC, 91 iBitrdummcr B\0)V^ Bream* Bottom. Why do they run away ? this is a knavery of them, to make me afeard. Re-enter Snout. S>iout. O, Bottom, thou art changed ! what do I see on thee ? Bottom. What do you see? you see an ass's head of your own ; do you ? Act 3. Sf. 1. f^ & Oberon. Then, my queen, iu silence sad. Trip we after the night's shade : We the globe can compass soon. Swifter than the wand'ring moon. Act 4. Sc. J . ^^^f^-HI^^^B-^H ^^-^^ ^§ii-HI^#iii 17 c 2 THE MERCHANT OF VENICE : A COMKDY, BY WILLIAM SHAKSPKARR. A PASSAGE in Stephen Gosson's School of Abuse, 1579, wherein he speaks of " The Jew shewn at the Bull, representing the greediness of worldly choosers, and the bloody minds of usurers," has been supposed to refer to a drama, com- prehending all the plots of the present, exhibited long before Sliakspeare commenced author : though the words may be equally well applied to JMarlow's Jeiv of Malta, acted in 1591 and 1594. The Merchant of Venice is supposed by Chalmers to have been written in 1597, but Malone places it in 1594; his chief arguments, however, being a manuscript notice that the " Venesyan Comedy" was then acted, and a supposed allusion to an account of the Co- ronation of Henry IV. of France, published in that year. The Play was entered at Stationers' Hall, July 22nd, 1598, and it is mentioned by Meres in his list of Shakspeare's works ; though the first known edition of it is the quarto of 1600. The principal features of the plot have been traced to several sources : as a story in II Pecorone of Ser Govanni Fiorentini, a novelist who wrote in 1378 ; the 32nd history in Wynkyn de Worde's old English edition of the Gesta Romanorum, which furnished the incidents of the caskets; a transla- tion of Alex. Silwayn's Orator, 1596, for the Jew's speech before the Senate ; and two old ballads of Gernutus the Jew of Venice, and the Rich Jew of Malta, published about 1594. The story of the Jew and the Christian is, however, stated to have actually occurred in Italy ; only the cruelty was really on the part of the latter, and the Hebrew debtor died beneath it's effects. The strength of character and dialogue exhibited in the part of Shylock, prove it to have been intended by the Author as tragic ; but in 1701, Gran- ville, Lord Lansdowne, produced an alteration of this play at Lincoln's Inn Fields, in which the celebrated Dogget performed the Jew as broad farce. This piece caused the original to be neglected until Macklin found it, saw it's fine tragic capabilities, and appeared in it at Drury-Lane, February 14th, 1741, with the most triumphant success ; though when he first announced his intention of performing Shylock seriously, he was assailed with raillery and entreaties to make him abandon it. — Since his time perhaps Kean has played it with the most congenial talent. The Merchant of Fenice was adapted to the modern stage, by J. P. Kemble, and produced at Drury-Lane, March 10th, 1795 ; and in 1825 a series of the most accurate historical costumes was prepared for it by Mr. J. R. Planche, for the Theatre Royal Covent-Garden. 18 Bi--lH-#-ii^-ff|-#-^^Sc^off|3^c|2^i^ €l)t iBerrftant of Venice. Launcelot. I know not what I shall think of that; but I am Launcelot, the Jew's man; and I am sure, Margery, your wife, is my mother. Gobbo. Her name is Margery, indeed : I'll be sworn, if thou be Launcelot, thou art mine own flesh and blood. Lord worshipped might he be ! what a beard hast thou got ! thou hast got more hair on thy chin, than Dobbin, my thill-horse, has on his tail. Launcelot. It should seem then, that Dobbin's tail grows backward ; I am sure he had more hair on his tail, than 1 have on my face, when I last saw him. Act 2. Sc. 2. Portia. -7his bond is forfeit I And lawfully by this the Jew may claim A pound of flesh, to be by him cut off Nearest the merchant's heart Act 4. Sc. 1. ^-^#^i5^-f^# 19 AS YOU LIKE IT : A COMEDY, BY WILLIAM 5HAKSPKARE. The Forest of Ardenne, in which the principal scenes of tliis beautiful play- are laid, is an extensive woody district in French Flanders, near the Meuse, between Charlemont and Rocroj'. As a sovereign Duke of France is one of the characters, tlie action may be supposed to take place before the union of the great fiefs to the crown ; or not later than the reign of Louis XII., whose marriage with Anne of Bretagne in 1499, incorporated that last, and most independent. Duchy to the royal dominions. In this Comedy, Jaqiies, Tmich- stone, and Aiulreii, are allowed to be original characters ; but the plot of the play has been traced by Stevens to Thomas Lodge's Novel of Rosalynde, or Euphues' Golden Legacie, London, 1590, 4to., which Shakspeare has followed rather more closely than usual. Dr. Grey and Mr. Upton attributed the drama to The Coke's Tale of Gamelyyi, erroneously called Chaucer's ; but there existed no printed edition of it until 1721. The first publication of ^s You Like It appears to have been the folio of 1623, yet it is supposed to have been written after 1596 and before 1600. Rosalind'i expression of " Diana in the Fountain," Act iv. Sc. 1, — though sufficiently general and intelligible, — has been referred to the figure of Diana, which. Stow relates, was set up as a fountain on the East of the Cross in Cheapside, in 1598 ; and which, in 1603, he speaks of as being then decayed. There is also an allusion to Marlow's Hero and Leander, printed in 1598, or probably earlier ; and in an entry in the Stationers' Hall books of August 4tli, 1600, there is a caveat against publishing Shakspeare's Henry V., Much ado about Nothing, and the present Comedy. The two former, however, appeared within the month, but no such early edition of this has been discovered. Shakspeare himself is said to have performed Adam in this Comedy. Dr. Johnson has praised all the features of this play ; calling the fable wild and pleasing, the character of Jaques natural and well preserved, the comic dialogue sprightly, with less of low humour than is usual witli Shak- speare, and the graver parts elegant and harmonious The modern revisal of As You Like It was produced by J. P. Kemble at Covent-Garden in 1810; and November, 25th, 1824, it was brought out at Drury-Lane, with songs, composed by Bishop, selected from the poetical works of the Author. In 1825, the researches of Mr. J. R. Planche supplied it with a series of accurate historical costume, expressly for the proprietors of Covent-Garden Theatre. 20 g^ gou %\kt 3U ^I*^ •T Rosalind. Gentleman, [Giuing- ftim a chain from her neck.'] Wear this for me ; one, out of suits with fortune. That could give more, but that her hand lacks means. Act 1. Sc. 2. '1- Jaques. Then he drew a dial from his poke ; And, looking on it with lack-lustre eye. Says, very wisely, Jt i.i ten o'clock : Thus ma!/ we see, quoth he, how the world wags; 'Tis but an hour ago since it was nine; And after an hour more 'twill be eleven ,• And so, from hour to hour, we ripe and ripe. And then, from hour to hour, we rot and rot. And thereby hangs a tale. Act 2. Sc. 7- 21 '?it:^^''5j»^i THE TAMING OF THE SHREW: A COMEDY, BY WILLIAM SHAKSPKARE. On the Stationers' Hall books of INIay 24th, 1594, is entered a Pleasant con- ceyted Histone, called the Taming of A Shrew, — sundry times acted by the Earl of Pembroke, his servants; which is commonly attributed to George Peele, or Robert Greene : and Sir John Harington is supposed to allude to it in his Metamorphosis of Ajax, 1596, in saying "read the booke of Taming of a Shrew, which hath made a number of us so perfect, that now every one can rule a shrew in our country, — save he that hath her!" Upon this very inferior production, erroneously attributed to Shakspeare, the present drama is supposed to have been founded : since it was not an uncommon practice in his age for authors, booksellers, and actors, to avail themselves of the titles of elder popular works ; and the name of even the old play mentioned above, was probably adopted from that of the more ancient story called A Wyf wrapped in Morell's skin, or the Taming of a Shrew. Some further confusion also appears to have arisen, from the remains of the Earl of Pem- broke's company reproducing the old play, in consequence of the popularity of Shakspeare's piece, performing at the same time at the Globe or Black- friars. The outline of the Induction has been traced to an old ballad in the Pepysian Library, called The Frolicksome Duke, or the Tinker's good- fortune; a collection of short comic prose stories, " sett forth by Maister Richard Edwards, Mayster of her JMajesties Revels," 1570, black-letter; and finally to the Arabian tale of The Sleeper Awakened. It is supposed to have been written in 1596. Though the present drama has seldom appeared upon the modern stage, it has formed the foundation of several later pieces. In 1698, the famous mimic, John Lacy, brought out Sawney the Scot, or the Taming of the Shrew, at Drury-Lane ; in 1716 was produced Charles Johnson's Cobbler of Preston, at the same house, whilst another piece of a similar name was played at the same time at Lincoln's Inn Fields ; but the most regular adaptation of it was Garrick's well-known Catherine and Petruchio, acted at Drury-Lane in 1756. The oldest edition of this Comedy is the folio of 1623, but a quarto impression appeared iu 1631. In 1647, Beaumont and Fletcher published a sequel to it, called The Woman's Prize, or the Tamer Tamed ; wherein a character called Petruchio is subdued by a second wife. The scene of the Induction to this Comedy is Wincot-Heath, in Warwickshire, and the action of it is supposed to be but a few hours. The scene of the presented play is in Padua, and the country near it, and it's incidents occur within a fortnight. _t<^4<£*rH CI)e Cammg of tl)e ^I)rftD* Petruchio. I tell thee, I, that thou hast marr'd her gown Tailor. Vour worship is deceiv'd ; the gown is made Just as my master had direction : Grumio gave order how it should be done. Grumio, I gave him no order, I gave him the stuff. Act 4. Sc. 3. Petruchio. Will it not be ? 'Faith, sirrah, an you'll not knock, I'll wring it ; I'll try how you can sol, fa, and sing it. [H« wrings Grumio by the ears.'] Grumio. Help, masters, help ! my master is mad. Act I. Sc. 2. '-J^*45i-HI«^^^i--^#'i^^--^#^^-^*^^* 23 i^§!i--H^*^IB--I^S4>-^«^if^^ ALL'S WELL THAT ENDS WELL : A COMEDY, BY WILLIAM SHAKSPKABE. The Remidie of Love, translated from Ovid, 1600, has a passage which shews the antiquity of the title of this Comedy as a sententious expression : " You may take the old proverb, with a right application, for my just excuse, AWs well that ends well, and so end I." The story of the plot was originally taken from Boccaccio ; but came immediately to Shakspeare from the tale of Giletta of Narboiine, in the first volume of William Painter's Palace of Pleasure, Loudon, 1566, 4to. To this novel, however, Shakspeare is in- debted for only a few leading circumstances of the more serious parts of his drama ; the comic scenes, and especially Parolles, appearing to be entirely of his formation. It is supposed by INIalone, that this Comedy was written in 1606 ; but the many passages of rhyme scattered tlirough it, seem to mark it as an earlier production. In 1598, Meres refers to a play of Shakspeare's, called Love's Labour Wonne, which title singularly well applies to the present, though to no other of his writings ; and it's date may therefore be placed a year or two before that period. A circumstance of much earlier date is alluded to by the Clown in Act i. Scene 3., since he refers to the objection of the Puritans to wearing the surplice ; but tliis dispute, though it com- menced in 1589, was much agitated throughout the whole reign of Elizabeth. Of this play there is no earlier edition than the first folio. The story of the drama is conducted with great spirit, and it's several incidents are supported by an equal degree of vivacity in the delineation of character. Parolles, says Dr. Johnson, " has many of the lineaments of Falstaff, and seems to be the character which Shakspeare delighted to draw ; a fellow having more wit than virtue." Helena is all constancy, modesty, and devoted, yet unpretending, love ; whilst Bertram, whom Johnson has censured, is defended by Schlegel on the principle that Shakspeare intended to leave him the same brave, gay, and hardy, nobleman, distinguished only by his valour ; which was more in accordance with a knowledge of human nature, than if his previous character had been softened, in the conclusion, into contrition and fondness. The scene of this piece lies in France and Tuscany, A modem adaptation of All's Well that Ends Well was produced by F. Pilon at the Haymarket in 1785, and by J. P. Kemble at Drurj'-Lane in 179S, and Covent-Garden in 1811: though it has never maintained long possession of the stage. «4 m'^ Mell mt entrg mAtlh Helena. Then I confess. Here, on my knee, before high heaven and you, That, before you, and next unto high heaven, I love your son. Act 1. 1 Lord. I have told your lordship already ; the stocks carry him. But, to answer you as you would be understood ; he weeps, like a wench that had shed her milk : he hath confessed himself to Morgan, whom he supposes to be a friar, from the time of his remembrance, to this very instant disaster of his setting i'the stocks. Act 4. Sc. 3. 25 T^^TLFTH-NIGHT ; OR, WHAT YOU WILL: A COMEDYj BY WILLIAM SHAKSPEARE. Steevens derives the serious part of this play from some old translation of Belleforest's Histoires Tragiqnes, and supposes that the incident of the Duke sending his page to court for him a lady, who becomes enamoured of the messenger, might have been taken from some verses in the 5th of the Eclogues of Barnaby Googe, published in 1563. The comic scenes and characters appear to have been entirely of Shakspeare's invention ; and the second title of What you will, is supposed to have been adopted from a play so named, by Marston, published in 1607. ]\Ialoue considered that Twelfth-Night was written at leisure, in 1614, when the author had retired from the Theatre, the very last of his plaj^s, and about tliree years before his death ; and there are in it several allusions which refer it to about that period of time. In Act iii. Scene 4, Sir Toby Belch uses the phrase " if you be an Undertaker, I am for you;" which Tyrwhitt conjectures refers to certain agents so called in the Journals of the House of Commons of the above j'ear, who undertook to manage the election of Knights and Burgesses to Parliament, so as to secure a majority for the Court. Maria, in speaking of MalvoUo, mentions "the new map with the augmentation of the Indies ;" which, however, Steevens assigns to one engraven for Linschoten's Voyages, published in English in 1598, being the first in which the Eastern Islands are included. " Mrs. Mall's picture" pro- bably alludes to the portrait of the notorious Moll Cutpurse, well known in London in 1611 ; and the mention of "the Sophy" is thought to refer to Sir Robert Shirlej-, Ambassador from the Sophy of Persia in 1612. Some expressions in Act iii. of Ben Jonson's Every Man out of his Humonr, have been considered as intended to ridicule this drama ; but the passage is not in point, and was probably written at the least twelve years previous. This play was adapted to the modern stage by J. P. Kemble, and produced by him at Covent-Garden ; and on November 8th, 1820, it was brought out at the same Theatre with songs selected from the author's works, and the music composed by H.R. Bishop. It is said that Charles I., whose admiration of Shakspeare was a crime with the Puritans, gave this play the title of MalvoUo ; had he seen IMrs. Jordan perform in it he would perhaps rather have called it Viola. The effect of it's performance must have been greatly heightened, when INIrs. Henry Siddous, and her brother, Mr. W. Murray, gave their fine and remarkably personal likeness to the brother and sister of the drama. 26 CU)dftf)-'BigJ)t; cir,raf)at you S^UIL Duke, [to Viola."] Boy, thou hast said to me a thousand times, Thou never should'st love woman like to me. Viola. And all those sayings will 1 over-swear; And all those swearings keep as true in soul. As doth that orbed continent the fire That severs day from night. Duke. Give me thy hand; And let me see thee in thy woman's weeds. Act 5. Sc. I. Sir Andrew. Here's the challenge, read it; I warrant, there's vinegar and pepper in't. Fabian. Is't so saucy ? Sir And. Ay, is it, I warrant him: do but read. Sir Toby. Give me. [^Reads.'] Youth, whatsoever thou art, thou art but a scurvy fellow. Act 3. Sc. 4. 27 THE WINTERS TALE: A PLAY, BY WILLIAM SUAKSPEARE. ScHLEGEL has observed of this beautiful drama, that it's title is happily adapted to it's subject ; it being one of those histories which appear framed to delight the leisure of a long evening. It is founded on Robert Greene's Pleasant aiid delightful History of Dorastus and Faunia, 1588, which is still to be met with under other titles as a juvenile tale. Shakspeare has, liowever, changed the names of the characters, and added the interesting parts of Antigonus and Paulina, and also that of the immortal Autolycus. The earliest edition of The Winter s Tale is that of the folio in 1623 ; tliough on the Stationers' Hall books, ]May 22nd, 1.594, appears the entry of A Wynter Kyght's Pastyme, It is stated, however, in the office-book of Sir Henry Herbert, that it was licensed by Sir George Buck ; and, as he did not get possession of his place of Master of the Revels until 1610, it is argued that the play was not written before that year, and of course not after 1613, when it was performed at Court. In 1619, Ben Jonson, without any ill-nature, pointed out the error of this drama representing Bohemia as a maritime country, which has " no sea near by a hundred miles," but that defect is to be found in the original story, and Sir Philip Sidney, Drj-den, and Pope, condemn the impossibility of the incidents. Lord Orford has an extraordinary conjectare tliat the play was intended to gratify Queen Elizabeth, by making it an allegorical second part of Henry VIII. ; Leontes representing the monarch jealous of Hermione, or Anne Bolejii, Mamillius a young prince who died in his infancy, and the beautiful Perdita was intended for Elizabeth. It is most certain, however, that the piece was wi'itten at least seven years after the Queen's death. About 175-i, The Winter s Tale was produced at Covent-Garden for Barry's benefit, being reduced into a pastoral Comedy by Captain Morgan, and called Florizel and Perdita, or the Sheep-Shearing ; another similar alteration was brought out at Drury-Lane by Garrick, in 1756 ; and a third appeared at the Haymarket, by Colman, in 1777, which was played but one night. In 1811, the entire play was best adapted to the modern stage by J. P, Kemble, and performed at Covent-Garden ; in which Mrs. Siddons standing for tlie statue of Hermione, was an exhibition grand beyond any conception. This piece concludes the series of the Plays and Comedies of Shakspeare, according to the arrangement of his Dramas in the first collection of 1623, tlie classification of which has been adopte^ in the present pages. 28 CJ)e WiinUv'^ €nlt. Hermione. You gods, look down. And from your sacred vials pour your graces Cpou my daughter's head ! — Antigonus. Thy mother Appear'd to me last night: for ne'er was dream So like a waking. To me comes a creature, Sometimes her head on one side, some another ; I never saw a vessel of like sorrow So fill'd, and so becoming : in pure white robes. Like very sanctity, she did approach My cabin where I lay. 29 D 2 £12 4 t^ KING JOHN: AN HISTORICAL TRAGEDY, BY WILLIAJI SHAKSPEAKE. The dramatic clironicles of this author pre-eminently deserve the title of the Histories of England ; since it is certain that such parts of it's annals as he has formed into scenes, are more extensively and more perfectly fa- miliar to the nation, than any other portions of British storj-. The mate- rials of the present play, are to be found in the Chronicles of Harding and Holinshed ; but it was formed cliiefly out of an older Drama, in two parts, printed in 1591, entitled The troublesome Raigne of John, King of Eng- land, icilh the discoveiie of King Richard Cordelion's base son, vulgarly called the Bastard Fawconliridge ; aho the Death of King John at Swinestead Abbeij. As it was sujidry times pnblikely acted by the Queene's Majesties Players in the honourable Cittie of London. Pope attributes this anonymous piece to Shakspeare and Rowlej', though without stating his authority ; and tliere are two editions of it, 1611 and 1622, in which Uie name of the former is placed upon the title-page. In the present drama, Shakspeare has pre- served the greater part of the arrangement of the original, as well as some of the lines: though he has not adopted the classical quotations, rhj'ming Latin, and ballad-metre, which are scattered through it, nor the humour of Falconbridge at the plunder of a monastery. The scene of this Tragedy lies both in England and France, and it's action begins in June, 1199, when John first invaded Normandy in his own right; and occupies the whole of his reign, — nearly eighteen years, — terminating with liis supposed poisoning at Swineshead Abbey, October 19th, 1216 : in all which scenes there occur many historical errors and anachronisms. This Tragedy appears to have been written in 1596, though it was not printed until 1623, and is the only play by Shakspeare, which is not entered at Stationers' Hall. As the author lost his only son Hammet, twelve years of age, in the former year, it has been supposed that the eloquent grief of Constance, in Act iii. Scene 4, was but a copy of liis own. The modern adaptation of this play, was produced at Drury-Lane, in 1800, and at Covent-Garden, in 1804, by the late J. P. Kemble, whose genius gleamed terrifically through the gloomy Jo/m ; whilst his brother and Mrs. Siddons were equally eminent in the parts of Falconbridge and Constance, for which Gan-ick and JNIrs. Gibber liad been before so celebrated. On April 5th, 1824, King John was revived at Covent-Garden, with an attention to propriety of costume, &c. never before attempted, under the superiutend- ance of j\lr. J. R. Planche. T 30 ^ ^mg Sol^n^ Bastard. Oh ! I am scalded with my violent motion. And spleen of speed, to see your majesty. K. John. Oh, cousin ! thou art come to set mine eye: The tackle of my heart is crack'd and burn'd ; And all the shrouds, wherewith my life should sail. Are turned to one thread, one little hair: My heart hath one poor string to stay it by. Which holds but till thy news be uttered; And then, all this thou see'st, is but a clod. And module of confounded royalty. Act 5. #=^#^ Arthur. Alas! what need you be so boist'rous- rough ? I will not struggle, I will stand stone still. For heaven's sake, Hubert, let me not be bound ! Nay, hear me, Hubert ! drive these men away. And I will sit as quiet as a lamb; I will not stir, nor wince, nor speak a word. Nor look upon the iron angerly: Thrust but these men away, and I'll forgive you, AVliatever torment you do put me to. Alt 4. 31 ^=41^^^ KING RICHARD THE SECOND: AX HISTORICAL TRAGEDY, BY WILLIAM SHAKSPEARE. ScHLEGEL observes, that this drama appears to be the first of a series in- tended to form one great whole, constituting an historical heroic poem, the separate plays being considered as rhapsodies. The authority used for the ])resent one was Holinshed's Chronicle, some passages of which, especially the Bishop of Carlisle's speech iu Act iv. Scene 1, in defence of the King, — were adopted with very little alteration. It was supposed, however, by Dr. Farmer, that there was a piece upon this point of history anterior to Shakspeare, called The Play of Henry IV., which he adopted and altered, and that the rhyming parts of the present were taken from it. The chief reason for this belief is that, in the rebellion of the Earl of Essex, in 1601, Sir Gillie Merrick and others concerned in that affair, " procured the play of deposing of King Richard the Second," or Henry IV., to be performed before them ; and when it was objected that the players would lose by it, for the piece being old, would not draw an audience, there were forty shillings extraordinary given to Augustine Phillips, the comedian, as a compen- sation, " and so thereupon played it was." This anecdote, however, does not certainly imply a drama before that by Shakspeare ; since it's production being assigned to 1593, the players would naturally consider it out of date in eight years afterwards, and no longer likely to attract spectators. Eichaj-d the Second was printed four times during the author's life ; the first editions appearing in 1397 and 1598, without the scene of the Deposi- tion, which was originally published iu 1608. The next impression was that of 1615. The scene of this play is laid " dispersedly in England and Wales," and the action comprises the events of something more than three years ; com- mencing with Henry of Boliugbroke's Appeal against Thomas Mowbray, Duke of Norfolk, for High-treason, and their prevented Trial by Battle at Coventrj', September 16th, 1398 ; and closing with the murder of Richard II., at Pomfret Castle, Februarj- 14th, 1400. In 1681, Nahum Tate's alteration of this play, afterwards called The Sicilian Usurper, appeared at Drury-Lane ; iu 1720, another version by Lewis Theobald, was perfonncd at the Theatre in Lincoln's Inn Fields ; and on March 9th, 1815, an adaptation by R. Wroughton, was produced at Drury-Lane for Mr. Kean, with considerable accuracy and splendour in the costume. 32 ^^%i^^ lima: iatd^artr II. Aiimerle. For ever may my knees grow to the earth, IKneels. My tongue cleave to my roof within my mouth. Unless a pardon, ere 1 rise, or speak. Bolingbrtike. Intended, or committed, was this fault? If but the first, how heinous ere it be. To win thy after-love, I pardon thee. Act 5. Sc. 3. K. Richard. Within the hollow crown. That rounds the mortal temples of a king. Keeps Death his court : and there the antic sits Scoffing his state, and grinning at his pomp ; Allowing him a breath, a little scene To monarchise, be fear'd, and kill with looks; Infusing him with self and vain conceit, — As if this flesh, which walls about our life, Were brass impregnable; and, humour'd thus. Comes at the last, and with a little ])in Bores through his castle wall, and — farewell, king .' Act 3. Sc. 2. "557= 33 KING HENRY THE FOURTH— THE FIRST PART: AN HISTORICAL PLAY, BY WILLIAM SHAKSPEARE. FnoM the connection between tlie commencement of this fine drama, and the last act of Richard the Second, wherein Henrif Bolingbroke declares his purpose of visiting the Holy Land, and the wildness of his son is men- tioned, — Dr. Johnson observed, that Shakspeare apparently designed a regular succession of these histories, the reader being thus prepared for the character and frolics whicli the present play exhibits. The latter feature, however, is historically inaccurate, since the Prince was only twelve years old in 1399, when the conspiracy of Edward Plantagenet, Duke of Aumerle, was discovered ; and, therefore, as yet too young to be a daily frequenter of the taverns of London. It is also extremely likely that the dissolute life attributed to him by the Chroniclers who wrote in English in the sixteenth century is fictitious. The production of the First Part of Henry IV. is assigned to 1596 or 1597. It appears entered at Stationers' Hall, February 25th, in the latter year, and five editions of it in quarto, were published in the author's life ; namely, in 1598, 1599, 1604, 1608, and 1613. The scene is laid in various parts of England, and the action embraces the events of about ten months : commencing with the arrival of tlie tidings of Hotspurs defeat of the Scots at Holmedon, or Halidown-Hill, on Holy-Rood day, September 14th, 1402 ; and ending with Percy's defeat at Shrewsbury, on the Eve of St. Mary Magdalene, July 21st, 1403. King Henry IV., with the Humours of Sir John Falstaff, as altered by Bet- tertou, was acted at Lincoln's Inn Fields Theatre in 1700 ; and the original Play adapted by J. P. Kemble, was produced at Covent-Garden in 1803. It was also again revived at that house JNIay 6th, 1824, with the same laud- able attention to the historical costume, as that bestowed upon King John, under the superintendance of Mr. J. R. Planche. Rowe has stated from tradition, that Falstaff in this piece was originally called Oldcastle; and it is affirmed that in the older Englisli plays produced by Papists, Sir Jolm Oldcastle, who suffered as a Lollard in 1418, was frequently represented with the person and follies of Falstaff. From these Shakspeare adopted the name and character, but from the advance of Protestantism, or Elizabeth's command that the former should be altered out of regard to some of the martyr's descendants, the present appellation was given ; which has, however, been confounded w-ith that of Sir John Fastolfe, a valiant aud pious knight under Henry V. 34 mmg ^mv^ iv. |3art I. Prince Henry. Your money ! ^Rushing out upon them. Poins. Villains ! [_As they are sharing, the Prince and Poins set upon them. Falstaff, after a blow or ttvo, and the rest, run away, leaving their booty behind them. Prince Henry. Got with much ease. Now, merrily to horse; The thieves are scaltdi-'d, and possess'd with fear So strongly, that they dare not meet each other ; Each takes his fellow for an officer. Away, good Ned. Falstaff sweats to death. And lards the lean earth as he walks along: Wer't not for laughing, I should pity him. Act 2. Sc. 2. Falstnjf. I'll follow, as they say, for reward. He that rewards me, God reward him! If I do grow great, I'll grow less; for I'll purge, and leave sack, and live cleanly, as a nobleman should do. lExit, bearing off the body. Act 5. Sc. 4. 35 KING HENRY THE FOURTH— THE SECOND PART : AN HISTORICAL PLAY, BY WILLIAM SHAKSPEARE. Though the fine chorus by Rumour, witli which this piece commences, be said bv Dr. Johnson to give no information which " the first scene does not clearly ami naturally' discover," — it is nevertheless important in connecting the past action with that which now opens ; by preparing the reader or auditor, who has already seen the real issue of the battle of Shrewsbury, for those perfectly contrary reports of it which were spread " through the pea- sant toiNTis," between the place of conflict and Warkworth Castle, in Northumberland. The second part of this Sovereign's reign thus com- mences within a very few days of the close of the former, July 21st, 1403 ; and the subsequent action embraces a period of almost nine years, since it tenninates with the death of Henry IV. in the Jerusalem Chamber at West- minster, INIarch 20th, 1412-13, and the Coronation of Henry V. at the Abbey there, on Passion-Sunday, April 9th, 1413. The scene of this play is laid in different parts of England, London, Westminster, &c. Malone refers it's production to the year 1598, and Chalmers to 1597. That it was certainly written after 1596, is argued from a speech of Henrt/Y. in Act V. Scene 2nd ; which is supposed to allude to the barbarity of the Turkish Emperor Mohammed, who, after the death of his father Amurath III. in February, 1596, invited his unsuspecting brothers to a feast at Con- stantinople, and caused them all to be strangled. The play of Henry IV. is also mentioned in the list of Shakspeare's works in JMeres' Wits' Treasuri), in 1598 ; and, by the Epilogue to the drama, it appears to have been WTitten before that of Henry V., which is fixed with some accuracy to 1599. It was entered at Stationers' Hall, August 23rd, 1600, and the first two editions of it in quarto were published in the same year. The materials of both parts of this piece were derived chiefly from Holin- shed's Chronicle of England, and an old play anterior to Shakspeare, pub- lished by Nich.ols, which also includes the reign of Henrj' V. The Second Part of Henry IV. was adapted to the modem stage by J. P. Kemble, and produced at Covent Garden, January 17th, 1804; and on June 25th, 1821, it was again revived at the same Theatre, for the purpose of introducing three additional scenes, exhibiting the Procession, Ceremonies, Banquet, and Challenge of the King's Champion, at a Royal Coronation. Dr. Johnson observes, that none of Shakspeare's plays are read more than these two parts of Henry IV. ; and that perhaps no author has ever in two pieces aflbrded so much delisrht. 36 4f^i^4^-^^#-i^^-^-#4!^-Hi-S-li^-4^S4^#-^-ii» # J!. # ¥L mmg Benri) iv. ^aart ll. FaUtaff. Give me my rapier, boy. J)o;?. 1 pray thee. Jack, I pray thee, do not draw. Falstaff. Get you down stairs. ^Drawing, and driving Pistol out. Hostess. Here's a goodly tumult ! I'll forswear keeping house, afore I'll be in these tirrits and frights. So; murder, I warrant now !~ Alas ' alas ! put up your naked weapons, put up your naked weapons. Act 2. Sc. 4. m^ 37 KING HENRY THE FIFTH : AN HISTORICAL PLAY, BY WILLIAM SIIAKSPEARE. A CON VERS ATioN mentioning this Sovereign's design of invading France, concludes the Second Part of Henry IV., and commences the dramatic chro- nicle of tlie reign of liis son ; the former scene being supposed to take place immediately after the coronation of the new king, and the latter about July 1414, the middle of his first year. From his famous expedition forming the chief feature of this piece, it has sometimes appeared with the second title of The Conquest of France ; and the scene is accordingly laid entirely in that country after the Third Scene of the Second Act, the previous events having passed in London and Southampton. The whole action is supposed to occupy about six years : in which are comprised the treason of the Earl of Cam- bridge, Henry Lord Scrope of Masham, and Sir Thomas Grey, in July 1415 ; the King's departure from Southampton, August 11th ; the siege and capture of Harfleur, September 22nd ; the advance of the English into l*i- cardj' ; and the Battle of Agincourt, on October the 25th; — all whicli extend to the close of Act iv. The ensuing Chorus briefly sums up Henry's trium- phant entry into London ; and the next scene recommences tlie history with the Treaty of Troyes, April 1st, 1420, wherein it was agreed that the King of England should maiTy the Princess Katherine of France. By the same Chorus it is ascertained that this play must have been pro- duced between April I5th and September 28th, 1599, whilst the Earl of Essex was General in Ireland for Queen Elizabeth ; tliose being the times of his departure and return : and it is also shewn by the Epilogue to Henry IV., Part II., to have been written aftei- that piece. It was entered at Stationers' Hall, August 14th, 1600, and three editions in quarto were pub- lished during the autlior's life, namely, in 1600, 1602, and 1608 ; all of which arc witliout the Choruses, and commence with the fourth speech of Act ii. The materials of tliese scenes were derived from Holinshed's Chronicle, and an older play entitled The famous Victories of Henry the Fift containing the honourable Battle of Agincourt, which also includes part of the reign of Henry IV'. There are several editions of this piece, which is verj' short, not divided into Acts, and thought to be that " displeasing play" men- tioned in the Epilogue to Henry IV., Part II. ; since the Fahtnff of it is called Oldcastle, and made a despicable character, full of ribaldry and impiety. King Henry V. was adapted to the modern stage by J. P. Kemble and J. Wrigliten, and was produced at Drury-Lane Theatre, October Ist, 1789, and again in 1801 ; and at Covent-Garden in 1806. 38 ^=4r|: 2^mg fmm v. K. Henry. Touching our person, seek we no revenge; But we our kingdom's safety must so tender, Whose ruin you three sought, that to her laws We do dehver you. Get you therefore hence. Poor miserable wretches, to your death : The taste whereof, God, of his mercy, give you Patience to endure, and true repentance Of all your dear offences ! — Bear them hence. lExeunt Conspirators, guarded. Act 2. Sc. 2. 39 KING HENRY THE SIXTH— PART THE FIRST: AN HISTORICAL PLAY, ASCRIBED TO WILLIAM SHAKSPKARE. Ma LONE, in a most curious, elaborate, and ingenious, Essay, Las all but proved that tlie present part of this drama has been improperly attributed to the above author: his principal arguments being, that it is destitute of those Shaksperianisms, which abound in the other two parts ; that it has more classical allusions, and is more correct in language, than the works of Shakspeare, corresponding more with those of the authors who preceded him ; and that his historical events are more accurately related, and were taken from Holinshed's Chronicle, and not from that of Hall, which is known to have been here used. Rlalone presumes that Shakspeare did not com- mence writing for the stage before 1590, but that the present play was pro- duced in 1588 or 1589, being originally called The Historical Play of Henry the Sixth; and in the MSS. accounts of Henslowe, proprietor of the Rose Theatre, Bankside, the drama is recorded by that name, the first entry of it being i\Iarch 3rd, 1591 ; but as Shakspeare never appeared to have any con- nection with that house, or company, the circumstance is considered to be an additional argument against attributing this piece to him. It was, however, very successful, being played thirteen times in one season ; and Tliomas Nashe, in liis Supplication of Pierce Pennilesse, 1592, says of part of it's action, — " IIow would it have joyed brave Talbot, the terror of the French, to think that, after he had lain two hundred years in his tomb, he should triumph again on the stage, and have his bones new embalmed with teares of ten thousand spectators, at least, at several times ; who, iu tlie tra- gedian that represents his person, imagine they behold him fresh bleeding." Tliere was no printed edition of this play before the folio collection of the L)ram;is of Shakspeare published in 1623; in which it appears to have been inserted partly to make up the series, and partlj' because he made some slight alterations in it, or wrote some lines. It evidently stands properly in order of time after Henry V,; though in the Epilogue-Chorus to that play, the minority of Henry VI. and the loss of France, are mentioned as having been already exhibited on the stage. 1'lie scene of this dramatic history is of course partly in England and partly in France, and the events contained in it begin with the burial of Henry V., in November, 1422, and conclude with the Earl of Suffolk being sent to France for IMargaret of Anjou, in the close of 1-143. There is, however, little attention shewn to dates, since Lord Talbot is slain at the end of Act iv., who did not really fall until July 13th, 1453. 40 . j = = ^— l\m iKuri? VL ^3ait I. Pucelle. Dauphin, I am by birth a shepherd's daughter, My wit untraiii'd in any kind of art. Heaven, and our Lady gracious, hath it pleas'd To sliine on my contemptible estate: Lo, whilst I waited on my tender lambs. And the sun's parching heat display'd my cheeks, God's mother deigned to appear to me ; And, in a vision full of majesty, Will'd me to leave my base vocation. And free my country from calamity. Act 1. Sc Mnrtimer. Direct mine arms, I may embrace his neck. And in his bosom spend my latter gasp : Oh ! tell me, when my lips do touch his cheeks. That I may kindly give one fainting kiss — And now declare, sweet stem from York's great stock. Why didst thou say — of late thou wert despis'd ? Plantaifenet. First lean tlunc aged back against mine arm ; And, in that ease, I'll tell thee my disease. Act 2. Sf. . 41 E 2 KING HENRY THE SIXTH— PART THE SECOND : AX HISTORICAL TRAGEDY, BY WILLIAM SIIAKSPEARE. An old play in two parts, originally published iu 1594 and 1595, is the foundation of this and the ensuing drama ; tliat containing the materials of the present, being called The Contention of the Two famous Houses of York and Lancaster. To both Shakspeare wrote new beginnings for the Acts, and re-versified, modelled, and transposed, many parts ; as well as greatly am- plified and improved the whole. In 1619, long after these alterations had been made, and much longer before tliey were printed, — one Pavier brought out a mere re-impression of both the old plays, and, calling them The Second and Third Parts of Henry the Sixth, substituted the words " newly corrected and enlarged by W. Shakspeare," for those which stood on the original title : from which circumstance they were erroneously attributed to him. That he did not write them, however, Malone argues from the absence of his name in the entries of them at Stationers' Hall, and in the title-pages to the editions of 1594, 1595, and 1600. He ascribes them to some authors who preceded Sliaksjieare, and wrote about 1590; and it appears probable from a passage iu Robert Greene's Groat's north of Wit, 1592, that they were produced by Greene, Christopher Marlowe, and George Feele, The former of these writers addressing the latter, and speaking of the players, says, " Trust them not ; for there is an upstart crowe beautified witli our feathers, that, with ' his tygre's head wrapt in a player's hyde,' supposes he is as well able to bombaste out a blauke verse as the best of you ; and, being Johannes factotum, is, in his own conceit, the onely Shake-scene in a countrey." The allusion liere is, doubtless, to Shakspeare, and his alteration of tliese plays ; Greene not being able to conceal his mortification at their improvement by another. The quotation is a parody upon a line in the Duke of York's speech to Margaret, Henry VI. Part III. Act I. Sc. 4., which was adopted from the old play. From tliis passage jNIalone conjectured that Shakspeare altered the old play about 1591 ; but, from the praise of it in the Epilogue to Henry V., and the silence of Meres, he afterwards supposed it might be as late as 1600. There is no earlier edition of this revisal than the folio of 1623. The scene of this piece is laid dispersedly in various parts of England ; and the action, embracing ten years, commences with the conclusion of Henry's marriage ■with Margaret of Aujou, in May, 1444; and terminates witli tlie first battle fought and won at St, Albans, for tlie House of York, 22nd May, 1455. iS!L-,^^c^!J^^=^^=i^Sa-^(222^^sl£^-^^22.i^.^jS£^'^^22i^^il£^-^-r 3>i-.-ilS,,,a^ J2i-4 42 4 # f pop f ?a^- iitns ^mri? VI. ^art ll. Duchees. Come you, my lord, to see my open shame ? Now thou dost penance too. Look, how they gaze ! See how the giddy multitude do point. And nod their heads, and throw their eyes on thee ! Ah ! Gloster, hide thee from their hateful looks; And, in thy closet pent up, rue my shame, And ban thine enemies, both mine and thine. Glostet-. Be patient, gentle Nell ; forget this grief. Act 2. g. Margaret. Oft liave I heard— that grief softens the mind, And makes it fearful and degenerate; Think tlicrefore on revenge, and cease to weep ! Hut who can cease to weej), and look on this? Here may his head lie on my throbbing breast: But Where's the body that 1 should embrace ? Act 4. Sc. 4. fin iU f 43 KING HENRY THE SIXTH— PART THE THIRD : AX HISTORICAL TRAGEDY, BY WILLIAM SIIAKSPEARE. That portion of the old dramatic historj- on wliicli tlie present piece was founded, originally appeared in 1595, and is entitled The true Tragedy of Richard Duke of York, and the Death of good King Henry the Sht, uith the uhole Contention between the Tao Homes of Lancaster and Yorke ; as it was sun- dry times acted by the Right Honourable the Earl of Pembroke his servants. — Both this and the former plaj'- were reprinted together in 1600 ; which Malone mentions as an additional argument that they were never considered to be written by the author of the first part of the reign of this Sovereign. The scene is laid in various parts of England, excepting the Third Scene of the Third Act, which passes in France ; and the action comprises the space of full sixteen j^ears. It commences immediately after the first battle at St. Albans, in 1455, with which the last play closed ; and terminates with the supposed murder of Henry VI., by Richard, Duke of Gloucester, ]May 22ud, 1471, and the birth of Prince Edward, afterwards Edward V., Novem- ber 4th, in the same year. Two Tragedies by J. Crowue, in great part taken from the present and the preceding plaj's, were produced at the Duke's Theatre in Dorset-Gai'dens, in 1680 and 1681 ; one being called Henry the Sij:th, the Second Part, or the Misery of Civil War, The other was entitled The First Part of the same, or the Murder of Humphrey, Duke of Gloucester ; which was represented with much applause, until the Romish interest at Court opposed it, and procured it's suppression. The works of the original author, however, appear to have been but little known at this time, since the prologue of Crowne declared the piece to be entirely his own ; though the first scene was that of Jack Cade, literally copied from the Second Part of Henry TV., and several others were taken from the present drama with but little variation. In 1720 appeared another alteration of this play by Theophilus Gibber, " as a sequel to the Tragedy of Humphrey, Duke of Gloucester, and an introduction to the tragical history of King Richard III." It was, however, acted but once only at Drury-Lane in the same year ; and the name of Savage the Poet appears in the list of performers, for the part of the Duke of York. Dr. Johnson considered the second of tliis series of plays to be the best ; whilst Schlegel observes of the scene of Beaufort's death, that it is the height of sublimity, awful without being horrible, and that it exhibits the piety of Henry in contrast with the Cardinal's guilt, and leads the mind from the judgement of man to the contemplation of the mercy of Heaven. 44 liing Senri) VI. yait ill. K. Henry, Here on this mole-hill will I sit me down. To whom God will, there be the victory ! For Margaret my queen, and Clitford too, Have chid me from the battle; swearing both. They prosper best of all when I am thence. 'Would I were dead ! if God's good will were so : For what is in this world, but grief and woe.' O God! methinks, it were a happy life. To be no better than a homely swain ; To sit upon a hill, as I do now. To carve out dials quaintly, point by point. Thereby to see the minutes, how they run ; How many make the hour full complete. How many hours bring about the day, How many days will finish up the year. How many years a mortal man may live. Act 2. Sc 45 il^= 51 CORIOLANUS : A TRAGEDY, BY WILLIAM SHAKSPEARE. The materials of this inimitable drama were derived chiefly from the memoirs of Coriolanus contained in The Lives of the Koble Grecians and Romanes compared together, by that graue learned Philosopher and Historiographer, Plutarke of Chttronea ; translated hy Thomas North, Esq. Comptroller of the Household to Queen Elizabeth, London, 1579, folio : and from this book many of the speeches were also adopted, with such alterations on\j as were required to form them into blank verse. The scene is laid in Rome, and partly in the territories of the Volscians and Antiates ; and the action commences with the secession to the jMons Sacer, in the Year of Rome 262, — 492 Before Christ, — and ends with the death of Coriolanus, Y. R. 266. There is no entry nor edition of this play, earlier tliaa that of the iblio 1623 ; but, from a slight resemblance between the language of the fable told by Menenius in the First Scene, and that of the same apologue in Camden's Remains, published in 1605, — Malone supposes the passage to have been imitated from that volume. He assigns the production, however, to 1609 or 1610 : partly because most of the other plays of Shakspeare have been rea- sonably referred to other years, and therefore the present might be most naturally ascribed to a time when he had not ceased to write, and was pro- bably otheiTvise unemployed ; — and partly from Volumnia mentioning the mul- berry, the white species of which was brought into England in great quanti- ties in 1609, though possibly other sorts had been already planted here. A Trag-edy of the same name and subject as the present, by James Thomson, was produced at Covent-Garden in 1748, for the benefit of the Author's family, by the zeal of Sir George Lyttleton ; which raised a con- siderable sum, though it added nothing to the Poet's fame. In 1755 Thomas Sheridan brought out Coriolanus, or the Roman Matron, at the same Theatre, composed from both Shakspeare and Thomson ; which had some success, being assisted by a splendid ovation. The best revisal, however, was that also taken from both authors by J. P. Kemble, produced originally at Drury- Lane in February, 1789, sometimes ascribed to Wrighteu, the Prompter. It was again brought out by the same excellent performer, with some additions from Thomson, at Covent-Garden, November 3rd, 1806 ; in which his Coriolanus, and the Volumnia of JMrs. Siddons, formed the proudest display of even their magnificent histrionic powers. It was in the part of the Roman General that Mr. Kemble took leave of the stage, at the above Theatre, on JMondav, June 23rd, 1817. 53 •ft^S'^ Conolanus. Coriolamts. I'll enter: if he slay me, He does fair justice; if he give me way, I'll do his country service. Acti. S<:. 4. Coriolanus. Despising, For you, the city, thus I turn my back : — There is a world elsewhere. 53 2>2^4i£ TITUS ANDROMCUS: A TRAGEDY, ASCRIBED TO AVILLIAM SIIAKSPEARE. It is supposed that the present play was admitted into the original complete edition of Shakspeare's works, onl}' because he had written a few lines in it, assisted in it's revisal, or produced it upon the stage. A tradition to this effect is mentioned by Edward Ravenscroft in the preface to his alteration of this Trag-edj', called Titus Andronicus, or the Rape of Lavinia, acted at Drury- Lane in 1687 ; since he sa^^s " I have been told, by some anciently conversant witli the stage, that it was not originally Shakspeare's, but was brought by a private author to be acted, and he gave only some master-touches to one or two of the principal parts," — Gerard Langbaine, who alone appears to have seen the first edition of this piece, states that it was published in lo9-4 ; and, therefore, the entry at Stationers' Hall, February 26th, 1593-94, of " A booke entitled A noble Roman Historie of Titus Andronicus," — is concluded to have been this very piece. It was again reprinted in 1600 and 1611, but both times anonymously, though Shakspeare was then in his highest reputa- tion ; and it is recorded to have been perfonned by the servants of the Earls of Pembroke, Derby, and Sussex, who acted the old plaj-s attributed to Sliakspeare, but not one of his undisputed dramas. The arguments advanced in favour of it's being genuine, are, that jXIeres enumerates it as Shakspeare's, in the list of his works printed in the Second Part of Wits' Commomcealth, 1598 ; the insertion of it as such, in the folio collection of Dramas published by the pla3'ers in 1623; and even it's inferiority, as marking it the first, or one of the earliest of the author's pieces, written in youth and in accordance with tlie taste of the time. It has been also objected to Ravenscroft's tradi- tion, that Shakspeare would not have been sought out as a theatrical patron by any author, because, at the time this play was produced, he was but about twenty years of age, without literary reputation or influence, and had pro- bably not left Warwickshire : for, iu the Induction to Ben Jonson's Bartho- lomew Fair, 1614, this Tragedy is stated to have been " five-and-twenty or thirty years on the stage;" which bring it's original appearance to 1589, 1587, or, perhaps, even yet earlier. Tlie composition seems most to resemble the stj-le of Christopher jMarlow ; and the plot might have been taken from an old ballad originally published in 1594, and reprinted by Percy, called " The Lamentable and Tragical History of Titus Andronicus ;" though the story appears to have been well known under some other form of narrative. The scene is laid iu Rome and the country round it. 54 Citiis! 9[ittironicud» Aaron. The empress, the midwife, and yourself: Two may keep counsel, wlien the third's away: Go to the empress; tell her, this I said: — Weke, wekel — so cries a pig prepared to the spit. Act 4 [_Stabbinic her. Sc. 2. Aaron. Now to the Goths, as swift as swallow flies ; There to dispose this treasure in mine arms. And secretly to greet the empress' frietuls. — Come on, you thick lipp'd slave, I'll bear you hence ; For it is you that puts us to our shifts: I'll make you feed on berries, and on roots. And feed on curds and whey, and suck the goat. And cabin in a cave; and bring you up To be a warrior, and command a camp. Act i. Sc. 2. 55 ROMEO AND JULIET : A TRAGKDY, BY WILLIAM SHAKSPEARE. The earlier annalists of Verona are silent upon tlie narrative of these lovers ; but Girolamo della Corte, a later author of less credit, relates it circumstan- tially for a true event, occurring in 1303. It's remote original and varieties have been traced to the tale of Pyramns and Thisbe ; the Ephesiacs of Xeno- phon of Ephesus, in the middle ages ; the story of Mariotto di Giannozza, in the Xovelino of IMasuccio Salemitano, 1476 ; La Guiletta, of Luigi da Porto, a gentleman of Vicenza, who died in 1529 ; and the Novels of JNIatteo Baudello, 1554. The tale, however, seems to have been popularly received into the traditions of Verona, since the last two authors appear to have derived it from the same person : Porto stating that it was related to him bv one of his archers, named Peregrino, a native of Verona, upon the solitary road between Gradisca and Udine; and Bandello mentioning as his origiual reciter, one Captain Alessandro Peregrino, a native of Verona, whom he met at the baths of Caldera. Bandello's narrative was translated into French by Pierre Boisteau, and into English in Painter's Palace of Pleasure, Volume ii. Novel 38, and a long poem by ArtJiur Brookes, published in 1562 and 1587. From these versions, especially the latter, Shakspeare derived his materials ; but it is supposed that there was also an old play upon the same subject. ^Nlalone imagined that the present piece was designed in 1591, and finished in 1596 ; but Chalmers refers it to 1592, and Dr. Drake to 1593. There are four earl}- editious of it in quarto, namely, those of 1597, 1599, 1609, and one without date ; the first of which is less copious than the others, since Shakspeare revised the play by additions to particular passages. The scene, during the greater part of the piece, is at Verona, but Scene 1. Act v. is at Mantua ; and the action commences on Sunday morning, and ends on the following Friday or Saturday, about midnight. In Sir William Davenaut's Theatre this piece was converted into a Tragi- comedy, by James Howard, who preserved the lovers alive ; and for several davs together the original and the alteration were performed alternately ; but the best version was that produced by Garrick at Drury-Lane in 1750. Barry was probably the finest Romeo which ever appeared ; and a famous contest between him and Garrick in the part, took place in October 1749, continuing for twelve nights without intermission. The two most admirable performers of Juliet have been reserved for the modem stage of Covent- Garden ; namely', jNIiss O'Neill, who first appeared October 6th, 1814, and INIiss Fannv Kemble, who also came out in the character, October 5th, 1829. 56 "if .iKi. — ^ ^ ^ — 'X 3Aomeo autr Suliet* Nurse. Lord, how tny head aches I what a head have 1! It beats as it would fall in twenty pieces ! My back o' t'other side, — Oh ! my back, my back ! Juliet. I'faith, I am sorry that thou art not well: Sweet, sweet, sweet nurse, tell me, what says my love? Act 2. Sc. 5. Juliet. What if it be a poison, which the friar Subtly hath minister'd to have mc dead ; Lest in this marriage he should be dishonour'd. Because he married me before to llomeo ? I fear it is.— Act 4. Sc. 3. >^ _<«X^<>t-', J'ij^ -JJ."^ >s«>r JLii- #■' TIMON OF ATHENS : A TRAGEDY, BY WILLIAM SIIAKSPEARE. The original materials of this fine ai)d interesting- drama, were derived from a very slight notice of the above celebrated misanthrope in the life of Antony, in North's translation of Plutarch ; and the 28th Novel in Volume I. of William Painter's Palace of Pleasure. Joseph Strutt, the engraver, had however, a manuscript play upon this subject, which appeared to have been written or transcribed about the year 1600, in which was a scene resembling Timon's feast, in Act iii. Scene 6. of the present Tragedy ; though, instead of warm water, the guests are served with stones painted like artichokes, with whicli they are driven out of the room : which incident Shakspeare is sup- posed to have had in memory or design, when he made his Fourth Lard say, " One day he gives us diamonds, next day, stones." In the old play Timon then retires to the woods, attended by his faithful steward Laches, who disguises himself that he may continue his services to his lord ; and this character is thought to have suggested to Shakspeare tlie similar part of Flavins. In the last act the recluse is followed by his incon- stant mistress, Callimela, and others, upon the report that he had discovered a treasure in digging, a feature likewise adopted in the present Tragedj' ; in which, however, all these hints have been incomparably improved and expanded, the original being a very inferior production, though, from the Greek frequently'- introduced in it, apparently the work of a scholar. There were neither entry nor printed edition of Shakspeare's play until those of the folio in 1623, but jNIalone supposes that it was written in 1610, chiefly upon the reasons which led him to assign Coriolanus to the preceding year. It is also possible that this Tragedy has some allusion to the Plague of London in 1609, especially in Timon's speech to Alcibiades, in Act iv. Scene 3, — " Be as a planetary plague," &c. The scene of this drama is Athens, and the woods adjoining ; and Spon states that a building near the city is yet remaining, called "Timon's Tower.'^ The period of history lies about the retirement of Alcibiades to Sparta, Year of Rome, 339, Before Christ, 415; and previous to his recall, Y. E.. 317, B.C. 407.— In 1678 this piece was altered by Thomas Shadwell, being, as he expressed it, " made into a play ;" and was acted at the Duke's Theatre, Dorset-Gardens. Richard Cumberland produced another alteration, from Shakspeare only, at Drury-Lane, in 1771 ; and Thomas Hull tried another with as little success, for his own benefit at Covent-Garden, May 13th, 1786, with a new character of Timon's mistress. 58 Cimon of W)tm. Tlavius. Oh ! you gods ! Is yon despis'd and ruinous man my lord ? Full of decay and failing ? Oh ! monument And wonder of good deeds evilly bestow'd 1 What an alteration of honour has Desperate want made ! Act 4. Sc. 3. — What is here ? Gold ? yellow, glittering, ))recious, gold : i& _£l£,ii£i, 5> ■, cc,.aju^7>> 60 tec rm^JST' Suliu^ CaesJar* Titiniits. Why didst thou send me forth, brave Cassius? Did I not meet thy friends ? and did not they Put on my brows this wreath of victory, And bid me give't thee ? Didst thou not hear their shouts? Alas ! thou hast misconstrued every thing. But hold thee, take this garland on thy brow; Thy Brutus bid me give it thee, and I Will do his bidding. Act 5. Sc. 3. 1 -'-'.- Bi-iitus. .Speak no more of her. — Give me a bowl of wine; — In this I bury all unkindness, Cassius. Act 4. Sc. 3. '^m^^-^W^ 61 ^ll'^^^^-H MACBETH : A TRAGEDY, BY WILLIAM SHAKSPEARE. Propriety of fiction, solemnitj', grandeur, and variety of action, are the chief features of this sublime and deservedly-celebrated play; which lias been pronounced in the Theatre " the highest of all dramatic enjoj-- ments." It's general scene is in various parts of Scotland, and, chiefly, at Macbeth's Castle near Inverness ; but the third scene of Act iv, passes in England. The progress of the action is fearfully rapid, and seems to include but a few days : yet, though it's precise historical duration cannot be ascertained, Boethius and Buchanan state that Duncan was murdered by his cousin-german, Macbeth, about A.D. 1040, or 1045; and that the latter was slain by Macduff in A.D. 1057 or 1061. The original narrative of these events is contained in the Scotorum Historic of Hector Boethius ; whence it was translated into Scottish by John Bellenden, and afterwards into English by Raphael Holinshed, from whose Chronicles Shakspeare closely copied it. IMalone placed the composition of the drama in 1606, and it has been regarded as the medium of dextrous and graceful flattery to James I., who was of the issue of Banquo, and first united the three kingdoms of Britain; at the same time that it adopted his well-known notions on the subject of Demonology. Dr. Johnson introduced this Tragedy by an admirable review of the origin, progress, and character, of witchcraft, with the design of defending the author from the censure of having adopted a puerile romance : of which, however, there is but little danger. It was once supposed that Shakspeare derived much of his incantations from a manuscript Tragi-Comedy, without date, by Thomas jNIiddleton, called The Witcit, privately printed by Reed in 1778 ; but Malone has shewn that it was probably written several years subsequently to Macbeth. In 1674, an alteration of this Tragedy by Sir William Davenant, with " new songs," and the celebrated music of INIatthew Locke, was performed with great splendour at the Duke's Theatre, Dorset-Gardens. The modem revisal was produced at Drury-Lane in 1789, by J. P. Kemble, and published in 1803, as performed at Covent-Garden. The part of Macbeth was one of this great actor's most admirable efforts, as it had also been of Garrick's, with difi'ereat features of excellence. But however worthy iNIrs. Pritchard was of perfonning with such talents, by far the most perfect Lady Macbeth appeared on February 2nd, 1785, when JMrs. Siddons first plaj'ed the character at Drury-Lane. After an unequalled triumph in that part, she also closed her noble dramatic career in it at Covent-Garden, June 29th, 1812. 62 iBacbetf)* Macbeth. How now, you secret, black, and midnight hags ? What is't you do ? All. . A deed without a name. Ai;t 4. Sf. 1. Macbeth. Is this a dagger, which I see before me. The liandle toward my hand ? Come, let me clutch thee : — I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling, as to sight ? or art thou but A dagger of the mind ; a false creation, Proceeding from the heat-oppressed brain ? Act 2. So. 1. 63 & 3£l£3^J-(j?2i- 3Ji£o^o2L'Je-=iiSo^^o22 ?£°t?ff*=^T5*'*T7^^«>3ir= 4!^-^#4^i HAMLET, PRINCE OF DENMARK : A TRAGEDY, BY WILLIAM SHAKSPEARE. A DRAMA of tJie same name and subject as tlie present, is supposed to have been exhibited before the year 1589 ; and Rlalone imagined tliat Shakspeare only altered it, using- likewise the black-letter Historie of Hamblett. The story itself was originally derived from the Historic^ DuniciE of Saxo Grammati- cus ; translated by Belleforest in his Novels, and rendered into English in the above narrative. Dr. Percy's copy of Speght's edition of Chaucer, once belonged to Gabriel Harvey, who had written his name at both the commencement and conclu- sion, with the date of 1598, and several notes between ; one of which was " Tlie younger sort take much delight in Sliakspeare's Venus and Adorns, but his Lucrece, and his Tragedy of Hamlet, Prince of Denmarke, have it in them to please the wiser sort." The original composition of Hamlet is therefore placed in 1597, with revisions and additions to 1600. The earliest entry of it at Stationers' Hall is July 26th, 1602, and a copy of Ihe play in it's imperfect state, dated 1603, and supposed to have been printed from a spurious original, was first discovered in the beginning of 1825. Another edition appeared in 1604, "newly imprinted and enlarged, to almost as much again as it was" ; the variations in which are both numerous and striking. The scene of Hamlet is at the Castle and Court of Elsineur, and the action apparently occupies some months. The story is entirely fabulous, and is placed by Saxo at an impossible period of antiquity ; but perhaps it may be safely referred to the end of the 10th, or the beginning of the 11th century, during the invasions of England by the Danes ; to which period Mr. Planche has adapted tlie series of historical costumes prepared for it for Covent-Garden Theatre, in 1825. The original Hamlets were Joseph Taylor and John Lowin, from the former of whom, taught by Shakspeare, Davenant is said to have instructed Betterton to perform so admirably as he did. His most eminent succes- sors have been Garrick, Henderson, J. P. Kemble, Young, and Kean; whilst Booth appears to have surpassed all others as the Ghost, unless it were Shakspeare himself, who is recorded to have performed it. In 1771, Garrick produced this Tragedy at Drury-Lane, all the parts being sacrificed to that of Hamlet, but after his death the original was restored ; and the modern adaptation is that by J. P. Kemble, brought out at Drury-Lane in 1800, and at Covent-Garden in 1804. 64 fmnkt Hamlet. Alas ! poor Yorick ! — I knew him, Horatio ; a fellow of infinite jest, of most excellent fancy : he hath borne me on his back a thousand times ; and now, how abhorred in my imagination it is ! my gorge rises at it. Here hung those lips, that I have kissed I know not how oft. Where be your gibes now ? your gambols ? your songs ? your flashes of merriment, that were wont to set the table on a roar ? Not one now, to mock your own grinning ? quite chap- fallen ? Act 5. Sc. 1. Huratio. O yes, my lord ; he wore his beaver up. Hamlet. What, look'd he frowningly ? Horatio. A countenance more In sorrow, than in anger. Hamlet. Pale, or red ? Horatio. Nay, very pale. Hamlet. And fix'd his eyes upon you ? Horatio. Most constantly. Act 1. Sc. 2. It 65 o 2 <<£ T7P iJ> t(C T r22i- KING LEAR: A TRAGEDY, BY WILLIAM SHAKSPEARE. The story of this sovereign was originally related by GeofFrej' of Monmouth ; and thence translated in Holinshed's Chronicle, whence Shakspeare certainly derived it, though he seems to have been more indebted to an anonymous plaAS entered at Stationers' Hall May 14th, 1594. Cordelias answer to Lear in the first scene, and the conduct of Goneril's steward, have been referred to Jolm Higgins' poem of " Qveene Cordila," in part I. of the Mirror for Magis- trates, 1587 ; and the episode of Gloucester and his sons, to the narrative of the blind king of Paphlagonia, in Sir Philip Sidney's Arcadia, no traces of it occurring in the other sources of the fable. The whole of this Tragedy could not have been composed until after i603, because it contains several singular names of spirits, taken from Samuel Harsnet's Declaration of Popish Impostors, then first published. IMalone con- fidently thought that the substitution of " British man" for " English man," in Edgar's repetition of the old verse, Act iii. Scene 4. proved the piece to have been written after James I. had been proclaimed the first sovereign of Great Britain, October 1st, 1604. He therefore referred the play to 1605, and Dr. Drake to 1604. It was first entered at Stationers' Hall, November 26th, 1607, and in 1608 was thrice printed in quarto, the contents of each edition varying, though the title pages correspond ; it was played before the King at Whitehall in 1606, and at the Globe Theatre, Bankside. The scene of Lear is in various parts of Britain, and the time towards the end of his reign. He is stated to have been the eldest son of Bladud, to to have " nobly governed his country for sixty years," and to have died about 800 years Before Christ. In the wise-speeches preserved in Camden's Bemains, 1605, a reply like that of Cordelia, is attributed to a daughter of Ina, King of the West-Saxons, who reigned A. D. 688-726; which is perhaps the real origin of the fable. In 1681, Nahum Tate's alteration of this Tragedy appeared at the Duke's Theatre; in which the Fool was omitted, Edgar and Cordelia made enamoured, and the conclusion rendered happy. This was always favourably received, whilst Colman's version from Shakspeare and Tate, acted at Covent-Garden in 1768, was presented but a few nights only. Betterton and Booth were famous for their performance of Lear, though they were far exceeded by Garrick, who appeared in the part in 1742, and by J. P. Kemble, who pro- duced his adaptation of the Tragedy at Drury-Lane, January 3rd, 1801, and at Covent-Garden in 1808. 66 ■Afg^ i^mcj: iiCeai% Physician. Be comforted, good madam : the great rage. You see, is cur'd in him : and yet it is danger To make him even o'er the time he has lost. Desire him to go in ; trouble him no more. Till further settling. Cordelia. Will't please your highness walk ? hear. You must bear with me : Pray now, forget and forgive : I am old, and foolish Act 4. Sc. Cordelia. Oh ! my dear father ! Restoration, hang Thy medicine on my lips ; and let this kiss Repair those violent harms, that my two sisters Have in thy reverence made ! Act 4. Sc. 7. 07 OTHELLO, THE MOOR OF VENICE: A TRAGEDY, BY WILLIAM SIIAKSPEARE. Giovanni Giraldi Cynthio's Hecatommithi, contaius tlie original story of this drama, but no English version of that work of the time of Shakspeare has been yet discovered ; though an imperfect French translation by Gabriel Chappuys, was published at Paris in 1584. Malone originally assigned 1611, Chalmers 1614, and Dr. Drake 1612, as the date of the composition of this Tragedy, upon Warburton's supposition that Othello' swords in Act iii. Scene 4., " our 7iew heraldry is hands, not hearts," refeiTed to the order and badge of Baronets instituted in 1611. Malone afterwards altered his time to 1604, affirming that the play was acted that j'ear. Vertue's MSS. shew, Jiowever, that it was performed at Court before James I. in 1613 : but it is supposed that Shakspeare derived Othello's simile of the never-ebbing cur- rent of the Pontick Sea, Act iii. Scene 3., from Dr. Philemon Holland's translation of Pliny's Natural History, London : 1601, folio, book ii. chap. 97. Othello was entered at Stationers' Hall, October 16th, 1621, and appeared in quarto in the year following ; but there are many minute differences between that edition and the folio of 1623. For the first act of this play, the scene lies in Venice, but during the remainder at a sea-port in the Isle of Cyprus ; and a few days appear to include all the action. For the historical period, Selymus II. formed his design against Cyprus in 1569, and captured it in 1571 ; wliicli, being the only attempt that the Turks ever made upon the Island after it came into the Venetian power in 1473, the circumstances must be placed in some part of the interval. The play relates — Act i. Scene 3 — that there was a junction of the Turkish fleet at Rhodes, for the invasion of Cyprus, to which it was first sailing ; then it returned to Rhodes, and then, meeting another squadron, resumed it's way to Cyprus. The real date, therefore, is May 1570, when Mustapha, the general of Selymus, attacked the island. This Tragedy was originally performed at the Globe and Black-Friars' Theatres, Othello and lago being played by Burbage and Taylor. Spranger BaiTy is said to have made tlie finest Rloor on the stage ; and he was also admirably supported by his wife, formerly Mrs. Dancer, whom he taught to perform Desdeinona. The other most eminent actors in the principal parts, have been Betterton, Booth, Garrick, Henderson, Cooke, Young, and Kean ; and Mr. C. Kemble as Cassio. The modern alteration of Othello was pro- duced by J. P. Kemble at Covent-Garden in 1804 ; for wliich liouse jNIr. J, R. Planche published a series of accurate historical costume in 1825. 68 4{|^#<^-4||^#4ii--4ff^#4!^-^#-^-!i--4||#c^^^#4!^ a^tI)eIIo. \<'l') Othello. Set you down this : \_Stahs himself. And say, besides,- — that in Aleppo once, Where a malignant and a turban'd Turk Beat a Venetian, and traduc'd the state, I took by the throat the circumcised dog. And smote him — thus. Lodovtco. Oh ! bloody period ! Grntiano. All that's spoke, is marr'd. Othello. I kiss'd thee, ere I kill'd thee ; — No way but this, l_Falls upon Desdemona. Killing myself, to die upon a kiss. Act 5. Sc. 2. lago. I will in Cassio's lodging lose this napkin. And let him find it : Trifles, light as air, Are, to the jealous, confirmations strong As proofs of holy writ. This may do something. The Moor already changes with my poison. Wi^ 69 ^-^»l!^-l^^ ANTONY AND CLEOPATRA : A TRAGEDY, BY WILLIAM SHAKSPEARE. Malone has placed tlie composition of this drama in 1608, in which year a volume of the same title appears entered at Stationers' Hall ; but no edition of it earlier than the folio of 1 623, has been hitherto discovered. Another entry in 1593 mentions a " booke entituled The Tragedie of Cleopatra," but this has been considered as most probably the production of Samuel Daniel ; whose poem so called passed through several editions, one appearing in 1594. The materials used by Sliakspeare were derived from North's translation of Plutarch, and he appears to have been desirous of introducing every incident and person which he found recorded ; for when the historian mentions his grandfather Lamprias, as his authority for his account of the entertainments o£ AntO)iy at Alexandria, — in the old copy of this plaj', in a stage-direction in Act i. Scene 2., Lamprias, Ramnus, and Lucilius, enter with the rest, but have no part in the dialogue. The scene of the Tragedy is as diversified, and full of vivacity, as the incidents; being laid at Alexandria, Rome, Messina, near Misenum, on board Pompey's galley there, on a plain in Syria, at Athens, Antony's camp near Actium, and Caesar's camp in diflerent parts of Egypt. Expectation is kept always engaged, and the passions always interested ; whilst the continual hurry of the action, the variety of the incidents, and the quick succession of one personage to another, call the mind forward from the first act to the last. These, as Dr. Johnson observes, form it's principal powers of delighting- ; for, excepting- the feminine arts, some of which are too low, which distinguish Cleopatra, no character is very strongly discriminated. If Ben Jonson really alluded to this drama in his Silent Woma7i, 1609, he has certainly not unaptly, though, perhaps, somewhat ill-naturedly, cha- racterised it, as "a pla}' that is nothing but fights at sea, drum, trumpet, and target." The principal events are described according to historj-, though without anj^ art of connection or care of disposition ; and they appear to extend the action from near the death of Fulvia, the wife of Antony, about 40 years Before Christ, until the battle of Alexandria, and the death of himself and Cleopatra, B. C. 30. In 1758, this Tragedy was altered by Edward Capell, with the assistance of Garrick, and produced at Drury-Lane, with new scenery, dresses, and decorations, when it was received with considerable applause ; but Garrick had not sufficient personal qualifications to render him a proper representative of Marcus Antonius, 70 -^^ Jh Antony antr Cleopatra* Cleopatra. Is not this buckled well ? Antony. Rarely, rarely: He that unbuckles this, till we do please To doff 't for our repose, shall hear a storm. — Thou fumblest, Eros; and my queen's a squire More tight at this, than thou. Acti. Sc. 4. Charmian, So, fare thee well. Now boast thee. Death ! in thy possession lies A lass unparallel'd. — Downy windows, close; And golden Phoebus never be beheld Of eyes again so royal ! Your crown's awry ; I 'II mend it, and then play. Act 5. Sc. 2. T 71 CYMBELINE : A TRAGEDY, BY WILLIAM SHAKSPEARE. All the historical materials and references of this drama were taken from Holinshed's Chronicles; hut the plot is to he found chiefly in the 9th Novel of the second day of Boccaccio's Decameron. Shakspeare derived it, how- ever, from an inferior and altered translation of that particular story, printed in 1518, entitled This matter treateth of a Merchnxintes Wife, that afterwardes nente like a man, and became a greate lorde, and was called Frederyke of Jennen, The events of Imogen wandering after Pisanio in the forest, and heing taken as a page hy the Roman general, are attributed to the second tale in a hook published in 1603, named Westuard for Smelts. IVIalone believed this drama to have been composed in 1609, after Lear and Macbeth ; because all the stories are found together in Holinshed. In the Scottish part of those chronicles, is the narrative of Hay and his two sons rallying the flying Scots against the Danes ; which, perhaps, furnished the incident of Belarius and the Princes turning the retreating Britons in Act v. Scene 2. The name of Leonattis was adopted from that of the legiti- mate son of the blind King of Paphlagonia, in Sir Philip Sidney's Arcadia, wliich Shakspeare had been recently' using in Lear ; and the many Roman features introduced in this piece, shew it to be probable that about the same time lie had been reading North's Plutarch. Cymbeline was neither entered nor printed before 1623. The scene is laid dispersedly in Britain and Italj'. According to Holinshed, Cymbeline began to reign in the 19th year of Augustus C„^ Imogen. lAwaking] Yes, sir, to Milford-Haven; Which is the way ? — I thank you. — By yon bush ? — Pray, how far thither ? Ods pittikins! — can it be six miles yet ? I have gone all night ; — 'Faith, I'll lie down and tieep. But, soft ! no bed-fellow. Act 4. Sc. 2. Jm •T» 73 4£i -ilL^^^rUX ^^4^^ PERICLES, PRINCE OF TYRE : A TRAGEDY, BY WILLIAM SIIAKSPEARE. The original story of this play is Apolhnius, King of Tyre; one of the most ancient and celebrated of all antiquity. Some affirm it to have been first written in Greek, and translated into Latin by a Christian, about the decline of the Roman empire ; and others attribute it to Symposius, in the eighth century. It appears also in the Gesta Romananitn, chap. 153 ; in Gower's Con- fessio Amantis, book vii. ; and Dr. Farmer possessed a MS. poem of it, probably yet older. In 1310, Wynkyn de Worde printed a romance called Kynge Appolyn of Thyre, translated from the French by Robert Copland ; in 1376, William Howe had a license for publishing The most excellent, pleasant, and variable, Historie of the straitge Adientures of Prince Appolonius, Lucine, his uife, and Tliarsa, his daughter; and in 1607 appeared, "translated into English by T. Twine, Gent." The patterne of painful adventures, containing the most excellent, &c. as in the title to the last-mentioned book, of which it was perhaps a re-impression. As Gower is made Chorus and interpreter all through the present drama, it is probable that it was derived chiefly from his poem. The name of Pericles is supposed to have been corrupted from Pyrocles, the hero of Sir Philip Sidney's Arcadia, After considerable doubt whether this play were the genuine work of Shakspeare, it has been decided from the internal evidence, that he--«ither improved some older imperfect production, or wrote in connection with some other author ; that it contains more of his language than any of his doubted dramas ; that many scenes throughout the whole piece are his, and especially the greater part of the last three acts ; and that what he did compose, was his earliest dramatic effort, being assigned to the year 1390. — The external evidences are, that Edward Blount, one of the printers of the first folio Shakspeare, entered Pericles at Stationers' Hall, JMay 20th, 1608, though it appeared the next j'ear from another publisher, with Shakspeare's name upon the title ; that it was acted at Shakspeare's own Theatre, the Globe ; and that it is ascribed to Shakspeare bj' several authors near liis time. This play is not to be found in the folio of 1623, the Editors having probably forgotten it until the book was printed, as they did Troilus and Cressida ; which is inserted in the volume, but not in the Table of Contents. The quarto editions of this piece are dated 1609, 1611, 1619, 1630, and 1635, in which it is called the " much admired" play of Pericles ; and many old English authors mention it's very great popularity ; yet it is the only drama by Shakspeare, which has never been once altered for the modern stage. |3ericle£{* Marina. Vou will not do't for all the world, I hope. You are well-favour'd, and your looks foreshow You have a gentle heart. I saw you lately, When you caught hurt in parting two that fought : Good sooth, it show'd well in you ; do so now : Your lady seeks my life ; come you between, And save poor me, the weaker. Leonine. I am sworn. And will despatch. ^''^ •^• Sc. 1. Cerlmon. The music there ! — I pray you, give her air: — Gentlemen, This queen will live; nature awakes; a warmth Breathes out of her; she hath not been entranc'd Above five hours. .See, how she 'gins to blow Into life's flower again ! Act 3. Sv. 2. m T7& M^ '-m^W^^^^ 75 \^r ^4§^-HI-#4B--^S4!»-4^#-^'^S A NEW WAY TO PAY OLD DEBTS : A COMEDY, BY PHILIP MASSINGER. As this drama has been considered one of the finest of the ancient stage, and possesses so many features of merit, it is well qualified to succeed even the splendid series of plays by Shakspeare ; to which, in the present selec- tion, it properly follows in chronological order. Whilst it is full of enter- tainment, nature, and humour, it presents a lively picture of old English manners ; and no work of it's author is more distinguished by variety and seriousness of moral. A New Way to Pay Old Debts does not appear in the Office-book of Sir Henry Herbert, Master of the Revels, which extends from August, 1623, to the commencement of the Rebellion, 1641 ; — yet it is certain that it must have been produced before the j'ear 1633, when it was first printed in quarto : the title-page stating it to have been " oft acted at the Phoenix in Drurie- lane by tlie Queen's Majesty's servants." There are also several allusions in it to the kingdom being in a state of war, but in 1629 a peace had been con- cluded with France and Spain ; so that it possibly was written still earlier. The scene of this Comedy is laid in the country near Nottingham, and the time of it's action may be supposed to occupy about five days. — The powerful character of Sir Giles Overreach, is shewn by GifFord to have been probably copied from nature, together with the parts of Justice Greedy and Marrall ; the originals being called Sir Giles Mompesson, one Michel, a poor mean Justice, and his Clerk. About 1621, James I. had granted to the two former a patent for the manufacture of gold and silver lace, which they perverted by adulterating the metals " with copper, and other sophis- tical materials," which produced the most deadly effects. — " Sir Giles," continues Wilson, in his Life and Reign of James I., " had fortune enough in tlie country to make him happy, if that sphere could have contained him, but the vulgar and universal error of satiety with present enjoyments, made him too big for a rusticall condition, and wlien he came to Court he was too little for that ; so that some novelty must be taken up to set him in requilibrio to the place he was in, no matter what it was, let it be never so pestilent and mischievous to others, he cared not, so he benefited by it." This Comedy was revived at Drury-Lane in 1748, and in 1781, Hen- derson appeared in Sir Giles Overreach at Covent-Garden, and excited great applause. Cooke and J. P. Kemble also sustained the part with very con- siderable talent ; but, perhaps, Kean first performed it with absolute perfec- tion at Drury-Lane, September 21st, 1816. 76 g[ ^eU) 2map to ^ap #Itr mm^. Lady AUworth. I come to meet you, and langiiish'd till I saw you. This first kiss for form : I allow a second As token of my friendship. Wellborn. I am wholly yours. Act 2. Sc. 2. Sir Giles Overreach. I am o'erwhelm'd with wonder 1 What prodigy is this ? what subtle devil Hath razed out the inscription ? the wax Turn'd into dust ! — the rest of my deeds whole As when they were deliver'd ; and this only Made nothing ! Act 5. Sc ^=4?|^^«Bi*4|f i^iii-'HI'*^!^* 77 I 2 THE ORPHAN ; OR, THE UNHAPPY MARRIAGE : A TRAGEDY, BY THOMAS OTWAY, To the natural and domestic cliaractev which this piece exhibits, and to the powerful interest which it excites in the affections, Dr. Johnson attributes entirely it's long and successful possession of the stage ; since he observes tliat " it is not written with much comprehension of thought, or elegance of expression." The melancholy plot was founded on the history of Brandon, in a Novel entitled English Adventures, published in 1667 ; and the scene of the play is stated to be in Bohemia, though the names of the characters are all Italian : one day, a night, and the following morning, comprise the time supposed to be occupied by the action. This Tragedy was originally produced at the Duke's Theatre, Dorset- Gardens, previously to the return of James, Duke of York, from Bruxelles, in October, 1679, as it is implied in the Author's dedication to the Duchess, which was printed with the piece in 1680, quarto. The Prologue, bow- ever, was composed after the Duke bad come back, or the lines in it refer- ring to that event, were subsequently inserted. Otway is said to have gained an hundred pounds by the performance of The Orphan. Davies supposed that many features in the character of Acasto, in the pre- sent drama, were taken from the life of James Butler, Duke of Ormond ; the old, neglected, and faithful, servant of Charles II. The resemblance he considers will be found in Acasto's devotion to his King, who has abandoned the old nobleman ; and in the discourse of Paulino and Ernesto in the original first scene, wherein his unmerited disgrace is related. The " canker-worm of peace," by whom he is said to have been supplanted, Davies supposed to refer to Slieffield, Duke of Buckingham, to gratify whom Ormond was recalled from the government of Ireland, and slighted at Court. The principal original actors in The Orphan, were Betterton in Castalio, Williams in Polydore, Smith iu Chamont, and Mrs. BaiTy, who raised her reputation to the higliest degree, as Monimia, After these. Mills was once particularly celebrated in Chamont, and Booth unequalled iu Polydore, tliough the part was also well sustained by Walker, his pupil : but for two winters only the piece was cast with the greatest combination of talent, when Gar- rick was Chamont, Barry Castalio, and Mrs. Cibber Monimia. To tliose who had not seen Mrs. Barry, her performance was said to be inimitable ; and to such as witnessed Miss O'Neill's delineation of the same part, on the revival of this Tragedy at Covent-Garden, December 2nd, 1815, there could be little regret that tliey were no longer upon the stage. ^'^'^# 7S liS^^ ^-^ '^^^i Cf)e a^rpl)an* Castalio. Vanish, I charge thee ! or — [Draws a dagger. Chamont. Thou canst not kill me ! That would be kindness, and against thy nature ! Acasto. What means Castalio? Sure thou wilt not pull More sorrows on thy aged father's head ! Tell me, I beg you, tell me the sad cause Of all this ruin. Act 5. Sc. 2. Florella. [At the tvindoiv'] Who's there. That comes thus rudely to disturb our rest ? Castalio. 'Tis I. Florella. Who are you ? wliat's your name ? Castalio. Suppose the lord Castalio. Florella. I know you not. The lord Castalio has no business here. Act 3. Sc. 1. 5Tl-»f^#4^^ 79 -tfg^^.t„J>>> 'CC #4B-=HI^#^4^i VENICE PRESERVED ; OR, A PLOT DISCOVERED : A TRAGEDY BY THOMAS OTWAY. The original of this piece is tlie Abbe Cajsar Vichard de St. Real's iiiterestiug Histoire de In Conjuration des Espagnoh conti-^ laRepublique de Venise, en 1618, by the Marcjuis de Bedmar and the Duke d'Ossuna, published at Paris in 1674, 12mo. : though it is considerably altered to connect the action with Jaffier, Priuli, and Belvidera ; the last of whom is a fictitious character. Voltaire has naturally enough asserted, that the Abbe's work is equal to the wi'itings of Sallust, and far superior to either Venice Preserved or MaiiUus, a French Tragedy on the same subject, wherein the characters are disguised under Roman names; but, though the narrative be well told, and the principal characters effectively delineated, the graphic force and language of the pre- sent drama are almost entirely wanting. Venice Preserved was first performed at the Duke's Theatre, in Dorset- Gardens ; and a passage in the Epilogue, in praise of James, Duke of York, shews that it was before his return from Scotland, April 8th, 1682, and after the mutilation of his picture at Guildhall, the Corporation's order con- cerning which is dated .January STth in the same year. The second title of A Plot Discovered, is said to have been adopted from the Popish Conspiracy ao-ainst Charles II. The whole scene of this piece is, of course, laid in Venice ; and the action passes on part of one daj', the ensuing two nights, and part of the third day. This drama was written the last but one of the theatrical works of Otwaj', when his imagination had become stronger, and his language more energetic ; the Tragedy is undoubtedly it's author's master-piece, and still remains one of the grea.test favourites of the public. It is now purified from the disgusting character of Antonio, who was originally introduced to stigmatise the follies and vices of Anthony, first Earl of Sliaftesbury, in some despicable comic scenes ; and it is also farther improved by Barry's omission of the appearance of the Ghosts of Jaffier and Pietre. Some of the greatest ornaments of the stage who have appeared in Venice Preserved have been Betterton, the original Pierre, succeeded by Mossop, Wilks, J. P. Kemble, and Young ; William Smith, the first Jaffier, by Booth, Garrick, Bany, and Charles Kemble ; and JNIrs. Barry, the primary Bel- videra, by JNIrs. (abber, Mrs. Siddons, Miss O'Neill, who first appeared in the character at Covent-Garden, October 13th, 1814, and Rliss Fanny Kem- ble, who came out in the part at the same house, December 9th, 1829, and ranks second to none in her delineation of the character. 80 Wmitt ^re^erbetr* Belvidera. My lord, my love, my refuge ! Happy my eyes, when they behoW thy face ! My heavy heart will leave it's doleful beating At sight of thee, and bound with sprightly joys. Oh smile ! as when our loves were in their spring. And cheer my fainting soul. Act 1 . k Pierre. Here we embrace, and I'll imlock my heart. A council's held hard by, where the destruction Of this great empire's hatching : there I'll lead thee. But be a man ! lor thou'rt to mix with men Fit to disturb the peace of all the world. And rule it when 'tis wildest ! Act 2. #-^#^i^-i^#^i^'^#4^i-HI«#4B--^#4^*-HI-§!i=-^ 81 OROONOKO : A TRAGEDY, BV THOMAS SOUTHERXE. A Novel by the celebrated Mrs. Aphora Belin, entitled Oroonoko, or The American Prince, published -nathout a date, contains the principal features of this once-popular Drama ; the circumstances of which are said to have really occurred in the reign of diaries II. The scene is laid in the Island of Surinam, a colony in the AV est Indies, at the time it was in the possession of the Eng- lish. This was but for a short period only, since the French vacated the Colon}' in 1660, on account of the numerous invasions of the Carribean Indians, who were irritated by their cruelties ; and Francis, Lord Wil- loughby, of Parham, received permission to send vessels thither to take possession of it in the king's name. In 1662, it was granted to him by charter; but in 1667, the Dutch, who Jiad been driven from the Brazils, captured Surinam from the English, and in 1669, had the possession finallj' ceded to them. In the dedication of this piece to William Cavendish, Duke of Devonsliire, after acknowledging his former and present obligations to the works of Mrs. Behn, Southerne observes that he had " often wondered that she should bury her favourite hero in a novel, when she might have revived him upon the stage, of which she had so great command. But she thought," he continues, " that no actor could represent him properly, or she could not bear to see him represented : and I believe the last, when I remember what I have heard from a friend of her's, that she told his story more feelingly than she had WTitten it." Southerne, however, was advised by his patron to give the part to Verbruggen, who played it in a very admirable manner ; and the piece met with great success : it was first performed at Drury-Lane, in 1696. The tragic parts of this drama have been always applauded, being manly, tender, and undepraved. The loose vulgarity of the comic scenes can be palliated only by the corrupt taste of the age when the author first attempted dramatic comjiosition ; which he is said in his latter days heartily to have regretted having ever complied with, especially in the present instance, where he considered that the objectionable parts were unnaturally attached to the principal plot. After Verbi-uggeu, Thomas Elrington was most emi- nent in his performance of Oroonoko, adding to his imitation of the original a rough dignity which wonderfully became him ; and INIr. Kean appeared in the princely slave at Drury-Lane, with considerable effect, January 20th, 1817. In 1759, Dr. Hawkesworth altered Oroonoko by omitting all the comic parts, and in 1760, Fi-ancis Gentleman produced another alteration at Edinburgh. m- 82 a^rocinolto* Oroonoko. So fate must be by this. [Going- to stab her, he stops short ; she lays her hatid on his, in order to give the blow. Imoinda. Nay, then I must assist you. And since it is the common cause of both, 'Tis just that both should be employed in it. Thus ! thus! 'tis finish'd ! and I bless my fate, IStabs herself. That, where I liv'd, I die, in these lov'd arms ! \_Dies. Act 5. Sc. 4. OroonoTco. I cannot bear it. Oh ! let me dash against the rock of fate, Dig up this earth, and tear her bowels out. To make a grave, deep as the centre down. To swallow wide and bury us together ! It wo'not be. Oh ! then some pitying god, (If there be one a friend to innocence) Find yet a way to lay her beauties down Gently in death, and save me from her blood. B^-HI>#4^=HI^#'^B-^l'#^^-^l>#'i^^ 83 THE INCONSTANT 3 OR, THE ^V AY TO WIN HIM : A COMEDY, BY GEORGE FARQUHAR. It was admitted by the author of this drama in his Preface, and by Rowe in his Epilogue, tliat the hint of it's plot was taken from The Wild Goose Chase of Beaumont and Fletcher, The truth is, however, that not only it's distin- guishing features were adopted from thence, but that several of the names of the characters were copied ; with the language of whole scenes, altered only from blank-verse into prose, and tlie fashionable conversation and follies of the middle of the seventeenth century, modernised into those of the eigli- teenth. In particular the opening scene will be found most closely imitated, together with that of the heroine's feigned madness, Act iv. Scene 3. Oriana and Mirabell also retain their names, Dugard is substituted for the original De Gard, and that of Petit the servant, was probably suggested by the same character in the old Comedy being a boy. The catastrophe of the last Act, however, where Young Mirabell is in danger of being murdered at the house of Lamorce, and is delivered by Oriana in the disguise of his page, — belongs to the present piece only ; and is said to have been derived from a similar circumstance which had happened to Farquhar himself when he was on military duty abroad. The scene of both the old and modern drama is laid in Paris. The Inconstant was the fourth of the plays written by Farquhar, and was originally produced at Drury-Lane about May, 1702.; but though it's in- trinsic merit is far superior to that of his Sir Henry Wildair, which was brought out in the year previous, it's success was not by any means equal. At the time of it's appearance the country was inundated with foreign enter- tainments of music, singing, dancing, &c. which appeared to swallow up all taste for native productions, to prevent their encouragement, and to cause their total neglect ; to which the failure of this Comedy is attributed. The performance of The Inconstant has frequently been supported by very considerable comic talent, and those of JMrs. Jordan in Bisarre, and John Bannister in Duretete, will long be remembered with delight by all who were acquainted with them. 'William Smith, usually called " Gentleman Smith," was one of the best performers of Young Mirabel ; though in the well-bred vivacity of the part, Mr. C. Kemble has probably never been exceeded. An alteration of this Comedy was produced for his benefit at Covent-Garden, June 6th, and at the Haymarket, July 19th, 1820, under the title of Wine does Wonders ; and in January-, 1825, the original was re- vived for a short time at Covent-Garden. 84 122«-ii?^'S£^r22i:^=li£o'^olU=>-iJfo'^,f^i^c= =J^^^^-c?22e J?^^ CJje inconsitant* Mirabel. I scorn to beg my life ; but to be butchered thus ! [_Knocking.'\ Oh ! there's the wine ! this moment for my life or death ! Enter Oriana. Lost ! for ever lost ! — Where's the wine, child ? [_Faintl!/. Oriana. Coming up, sir. Act 5. Sc. 4. Oriana. No, holy father : who can be miser in another's wealth, that's prodigal of his own ? His heart was open, shared to all he knew ; and what, alas ! must then become of mine ? but the same eyes tliat drew this passion in, shall send it out in tears, to which now hear my vow — Mirabel, [Discoreri»f( himself.'] No, my fair angel, but let me repent; here, on my knees, behold the criminal that vows re- pentance his. Act 4. Sf. 2. f o )-^^ 85 THE FAIR PENITENT: A TRAGEDY, BY NICHOLAS ROWE. As tlie autlior of this very popular drama had revised all the plays of ]Mas- singer, and was engaged, even to the very last year of his life, in preparing an edition of them for publication, — it is not surprising that he should have drawn from them some of his o-(\ti materials. At all events, it is admitted that the present piece was taken from The Fatal Dowry ; and the relative merits of both were excellently discussed in 1785 by Cumberland, in Nos. 77, 78, and 79 of The Observer. In those papers it is considered that the latter Tragedy has the advantage in a wider compass of fable ; in the supe- riority of C/iara^ois, to Rowe's parallel character of Altamont ; and in the catastrophe, where Massinger's heroine is suddenly stabbed by her injured husband, instead of being persuaded to suicide by her father. It is allowed, however, that Rowo has far exceeded his original in the striking part of Lothario, and, occasionally, in the glowing language in which some of the speeches are clothed ; but though INIassinger be less elegant, he has cer- tainly not less regard to decency than his imitator. The whole of The Fair Penitent has received a very high commendation from Dr. Johnson ; since he saj-s of it that " it is one of the most pleasing tragedies on the stage, where it still keeps it's turns of appearing, and, probably, will long keep them, since there is scarcely any work of any poet, at once so interesting in the fable, and so delightful in the language." This drama seems to have been produced at Drury-lane early in 1703, though Chetwood, the Prompter, who is known to have been neither faithful nor accurate, refers it to 1699 : but the first edition of it was published iu 4to. iu the former year, the copy in the British Museum having a manuscript date of jMarch 27th ; the music composed for it in four parts by Lenton, appeared on INIarch 29th, 1703 ; and an advertisement for the benefit of jMvs. Prince, on the following June 7th, announces " the last new tragedy, called Tlte Fair Penitent." The scene is laid ia Genoa, iu S«o/(o's mansion and garden, and part of the adjoining street ; and the action comprises about two or three days, commencing with Act iii. of Massinger's Tragedy. The most eminent performers of Lothario, have been Powell, the original, Garrick, and Barry, and, at the present time, INIr. C. Kemble ; Betterton was the first Horatio, and Verbruggen the first Altamont ; and the part of Calista has been excellently sustained by Mrs. Oldfield, Mrs. Barry, ]Mrs. Siddons, in October, 1782 ; and, lastly, by Miss Fanny Kemble, who first performed it at Coveut-Garden, December 8th, 1830. 86 CI)e Jfair ^3enitent* Calista. • Here's a sight is terrible indeed ! Is this that haughty, gallant, gay, Lothario ? That dear, perfidious — Ah ! — how pale he looks ! How grim with clotted blood, and those dead eyes ! Ascend, ye ghosts, fantastic forms of night. In all your different, dreadful, shapes, ascend, And match the present horror, if ye can ! Act 5. Sc. 1. Horatio. What paper's this ? ^Opening it. Ha ! To Lothario ! — Sdeath ! Calista's name ! [Reading. Your cruelty has at length determined me : and I have resolved this morning to yield a pertiect obedience to my father, and to give my hand to Altamont, in spite of my weakness for the false Lothario. I could almost wish 1 had that heart and that honour to bestow with it, which you have robbed me of ; Damnation ! To the rest — [Reading-. But, Oh ! I fear, could I retrieve them, I should again be undone by the too faith- less, yet too lovely Lothario. This is the last weakness of my pen, and to-mor- row shall be the last in which I will indulge my eyes. Lucilla shall t-onduct you, if you are kind enough to let me see you ; it shall be the last trouble you shall meet with from the lost CAI.IST-\. Act 1. Sc. 1. ^^m^ S^^^i-4||^#^-^#4B-# sr THE BEAUX' STRATAGE]\I : A COMEDYj BY GEORGE FARQUHAR. It is generally related as an iuterestiug circumstance connected with the present drama, that it was the last literary production of it's author ; it having been conceived, commenced, and concluded, within six weeks, during most of which he was suffering under that settled disease which brought him to his death. As he was fully sensible of his approaching end, and even foretold, that which actually happened, that he should expire before the first run of his play was over, — his last employment does anything but credit to even the moral character of Farquhar ; however it may prove the undimi- nished power of his talents and imagination. He lived long enough to learn the decided success of his piece, and, in a short advertisement to the first edition of it, to ascribe much of that favour to the friendship and talents of Wilks, who performed Archer. Such, however, are the intrinsic merits of this most entertaining Comedy, that, notwithstanding it's licentiousness, from tlie frequency of it's representations, the place which it still retains upon the stage, and the applause which it still excites, — it must ever hold a high rank in the national drama, independently of the aid of any actor. Wilks was nevertheless a sincere frieud to Farquhar, and proved it in a manner far more evident, than by well performing a character which would be of nearly as much advantage to himself as to his author; — for on the decease of the latter, about the end of April, 1707, the following affecting letter was found with his papers addressed to the actor. " Dear Bob, I have not any thing to leave thee to perpetuate my memory, but two help- less girls : — look upon them sometimes ; and think of him who was to the last liour of his life thine — George Farquhar." Wilks accepted this be- quest, and brought up his charge with the kindest attention and liberality. This Comedy was originally produced at the Haymarket Theatre, jNIarch 8th, 1707, under the title of Tlie Stratagem, which it retained in the play- bills as late as 1787, though it was printed with the modern name. It ap- pears to have been played about ten nights only for the first season, from the interruption of benefits, but subsequently was performed very often. The story and characters were probably partly copied from life, according to Farquhar's reported custom ; the scene is laid at Lichfield, and the time of action commences in the evening and ends about midnight the day after. The most eminent performers of Archer have been Wilks, Ryan, and Gan-ick ; Mills was the original Aimwell ; Norris played Scrub; and Mrs. Oldfield and JMrs. Porter were much admired in Mrs. Sullen, and Dorinda, 88 €l)t Beauv ^tratagtm* Enter Aimwell in a chair, carried by Archer and Scrub, hady Boimtiftil, and Gipsey. Aimwell counterfeiting a swoon. Lad;/ B. Here, here, let's see — the hartshorn drops — Gip- sey, a glass of fair water ; his fit's very strong. Bless me, how his hands are clenched ! Archer. For shame, ladies ! what d'ye do ? why don't you help us? Pray, madam, [To Dnrinda.} take his hand, and open it, if you can, whilst I hold his head. Act A. Sc. 1. Archer. What footman, pray, mistress, is so happy as to be the subject of your contemiilation ? Cherry. Whoever he is, friend, he'll be but little the better for it. Arcfier, I hope so, for I'm sure you did not think of me. Cherry. Suppose I had ? Act 1. Sc. 1. m^i ^-^s^^ii-^#4^-^i 89 K 2 I f ! 4^ CATO : A TRAGEDY, BY JOSEPH ADDISOX. The author is said to have planned this drama when he was on his travels, though for several years only the first four acts were finished, which he used to shew to such persons as were likelj^ to spread their admiration. It was probahly with a little insincerity that he requested Hughes to add the re- mainder, for when some scenes were brouglit him a few days after, Addison had written half an act ; which he at last completed alone, to prevent any dispute concerning the rest. When the piece was taken to the theatre, the author read it once, but his strong feelings of diffidence induced him then to resign it to Gibber, who delivered it so much to his satisfaction, that he soli- cited him to perform Cato. With all his vanity. Gibber knew his own powers better, and preferred the part of Syphax ; Wilks took Juba ; and both agreed that Booth would best personify the virtuous Roman in voice, figure, and judgment. As this performer was then young, and might possibly think him- self injured in being cast for so venerable a character, Wilks himself carried the part to his residence to point out it's importance, and persuade him to accept it ; and all were delighted with his consenting and manner of playing it. Neither Addison nor Booth had acquired their greatest eminence until the appearance of Cato, but their reputation was then established ; and Booth received so many presents, that Dr. Garth said, " It is probable that Cato may have something to live on after he dies." The hero of this Tragedy was also repeatedly performed with transcendent excellence by the late J. P. Kemble. This Tragedy was produced at Drury-Lane, April ]4th, 1713, when Steele relates that he undertook to pack an audience, as the author became anxious and fearful as the time of performance approached. There was, however, but little danger, for so much was Cato considered as a party-play, that both sides were emulous in applauding it ; and their shouts at length reached and relieved Addison in the green-room. The piece was played twenty nights the first season, with only three interruptions of benefits ; and the third edition of it was published only ten days after it's first appearance. Pope furnished the Prologue, Dr. Garth the Epilogue, and the Queen wished to have the dedication, but the author published his play without one. The historical materials of Cato are taken from his life by Plutarch ; the scene is " a hall in the governor's palace in Utica ;" and the time appears to be about one day ; February 5th, — Year of Rome, 708, Before Christ, 46, — when Cato stabbed himself after reading Plato's Immortality of tlie Soul. ^ m- 90 Cato. 1 Jt(6a. Hail, charming maid ! how does thy beauty sraoothe The face of war, and make ev'n horror smile ! At sight of thee my heart shalics off it's sorrows; I feel a dawn of joy break in upon me. And, for awhile, forget the approach of Casar. Marcia. I should be grieved, young prince, to think my presence Unbent your thoughts, and slacken'd them to arms. While, warm with slaughter, our victorious foe Threatens aloud, and calls you to the field. Juba. Oh ! Marcia, let me hope thy kind concerns And gentle wishes follow me to battle ! The thought will give new vigour to my arm. And strength and weight to my descending sword. And drive it in a tempest on the foe ! Act I. Sc. 1. #^II^-I^#^iii--Hl^#^ii^# 91 JANE SHORE: A TRAGEDY, BY NICHOLAS ROWE. The dramatic adventures of this very celebrated personage, were derived from an unfaitliful naiTative iu A Select Collection of Novels and Histories, Lond. 1729, 6 volumes, 12mo., wherein she is made the victim of a cruel decree of Richard III.,— though Sir Thomas More saw her about 1513, — thirty years afterwards — in a field near the city, gathering herbs for lier food. She was then a beggar, " old, lean, withered, and dried up, nothing being left but shrivelled skin, and hard bone ; so that some deemed her to have been never well-visaged :" and perhaps tlie popular tradition of her dis- tressing death refers to her deserted and wretched old age, since she died in the 18th year of Henry VIII., 1526. The historical period of this interesting play is fixed to Friday, June 13th, 1483, when Earl Rivers and Lord Grey were beheaded at Pomfret ; and the Protector Gloucester suddenly accused Lord Hastings at the Tower of witchcraft, in conjunction with Jane Shore. Her penance is commanded Act iv. Scene i., before the death of Hastings, though it did not actuallj' take place until Sunday, the I5th, which agrees with the remark of Dr. Warton upon this Tragedy, that the unities of time are neglected in it. Jane S'hore, however, is one of Rowe's most interesting and affecting pieces, it's domestic scenes and private distresses lay hold upon the heart, and the interview between the heroine and Alicia in Act v., is extremely affecting; the madness of the latter being excellently well painted. Dr. Warton censures some of the speeches as being too florid, and inconsistent with the distresses and situations of the characters, j-et there is a strong nervous spirit in it resembling that of the old English dramatists, and the piece is said to have been written iu imitation of Shakspeare. This Tragedy was originally produced at Drury-Lane, February 2nd, 1714, with such strong expectations, that some days previously Tickets were advertised for the Author's nights, — the 3rd and 6th — " at the prin- cipal Coffee-houses ; the Pit and Boxes to be laid together, admittance lOs 6rf." The last benefit was the 9th night " at common prices," and the whole run was nineteen nights the first season. Cibber performed Gloucester, Booth Hastings, Mills Belmmir, and Wilks Shore ; j\Irs. Oldfield was Jane Shore, and Mrs. Porter Alicia. Mv. J. P. Kemble was one of the best per- formers of the Protector, and Mrs. Siddons of the heroine, whom she first personified at Drury-Lane, in October, 1782 ; though INIiss O'Neill also re- vived it with great excellence at Coveut-Garden, July 1st, 1815. 92 Bane M)ovt. Jane Shore. It was not always thus ; the time has been. When this unfriendly door, that bars my passage. Flew wide, and almost leap'd from off it's hinges. To give me entrance here ; when this good house Has pour'd forth all it's dwellers to receive me; When my approaches made a little holiday, And every face was dress'd in smiles to meet me : But now 'tis otherwise ; and those who bless'd me. Now curse me to my face. Why should I wander. Stray farther on, for I can die ev'n here? Act 5. St: 1. Belmont. Around her, numberless, the rabble flow'd, Should'ring each other, crowding for a view. A burning taper in her hand she bore. And on her shoulders, carelessly confus'd, With loose neglect, her lovely tresses hung ; Upon her cheek a faintish flush was spread ; Feeble she seem'd, and sorely smit with pain. ^*4^i-Hf^ 93 THE WONDER ! A WOMAN KEEPS A SECRET ! A COJIEDY, BY SUSANNA CENTLIVRE. Though this drama still retain possession of the stage, it would seem that originally there was but little expected from it's production, since it was brought out so late as April 27th, 1714, at Drury-Lane, and was acted only six times the first season in the intervals of benefits. It met, however, with very considerable applause, and the authoress in her original preface speaks with admiration of the performance of Wilks and INIrs. Oldfield, as Don Felix and Violante, especially in Act v. Scene 2 ; of which she rather extrava- gantly observes, that " if Nature herself were to paint a love-quarrel, she could only copy them." In this scene also, Garrick, and several actresses, as Gliss Macklin, Mrs. Yates, Mrs. Crawford, Mrs. Abingdon, Mrs. Pope, and, subsequently, Mrs. Jordan, were eminently successful. The Wonder had lain unacted for fourteen years, when it was revived by Garrick at Drur^'-Lane, November 6th, 1756, aud when he first assumed his very favourite part of Don Felix. He performed it with such success, that tlie Comedy was repeated ten times before the end of the year ; and to his retirement from the stage he continued to play it with the greatest vivacity and humour. It was in this character, also, that he closed his dramatic career at Drury-Lane, after performing a series of his most admired parts, June 10th, 1776, for the benefit of the Theatrical Fund belonging to that house, which had been recently established by himself. In the extremely interesting collection of the reliques of Garrick, announced for sale by Messrs. Longman and Co. in March 1814, now in the possession of IMr, Charles Mathews, are mentioned the Rosettes worn by the great actor in his final performance ; with an attestation that " These Roses were worn by the late David Garrick, Esq. in the character of Don Felix in the Wonder, the very last time he ever appeared on the stage : After taking his last farewell of the audience, he went to his dressing-room, where I attended him, and, hy his permission, took the above Roses out of his shoes ; as a memento of that very great man, for whom I had the highest respect. — William Davies, Theatre Roj^al, Drury-Lane." It is doubtful if all the merit of the intricate and ingenious plot of this Comedy belong to Mrs. Centlivre ; as some circumstances in Isabella's con- cealment, Violante's fidelitj', and the consequent perplexities, appear to resemble some parts of a play by George Digby, Earl of Bristol, pub- lished in 1667, and called Elvira, or The Tl'orsf not Ala-ays True, The scene in both instances is laid in Lisbon. 94 m WW CI)e 21lcintrei% # Felii;. Now would I give one of my eyes to be friends witli her ; for sometliing whispers to my soul she is not guilty. [^Aside ; he pauses, then pulls a chtiir, and sits by her at a little distance, looking at her some time ivithout speaking, then draws a little nearer to her.'] Give me your liand at parting, however, Violante, won't you ? [He lays his hand upon her knee several times.'] won't you — won't you — won't you ? Violante. \_Half regarding him.] Won't I do what ? Act b. Sc. 2. Violante. Oh ! exquisite trial of my friendship ! Vet not even this shall draw the secret from me. That I'll preserve, let fortune frown or smile; And trust to love, my love to reconcile. Act 2. Sc. 1. 95 =^-^^i!f-4^^ F^ A BOLD STROKE FOR A WIFE : A COMEDY, BY SUSANNA CENTLIVRE. A CLAIM is made to the public favour ou behalf of this drama in the Pro- logue, because " 'tis English humour all," and likewise because the " plot is new, and regularly clear. And not one single tittle from Mollere." The original hint of the piece, if there were one, has therefore not been traced. In it's composition the authoress is reported to have been assisted by John Mottley, who is said to have written a scene or two ; but when it was finished, Wilks in the broadest terms condemned both the Comedy and the writer, which is, perhaps, the reason that he did not originally perform in it. A Bold Stroke for a Wife was first produced at the Theatre in Lincoln's Inn Fields, Februarj' 3rd, 1718, and met with such applause as to be placed on the list of acting-plays, though it ran for but about six nights the first season. Even down to the present time it is still occasionally acted and seen with pleasure, notwithstanding the absurdity of it's plot, and the infe- riority of it's language ; so great is the variety of it's action and situation, to keep alive the attention of an audience. The original performer of Colonel Feignwell was Charles Bullock, an actor of great natural ease and vivacity ; the part of Periuinhte was played by the humourous Spiller, whose excellence was displayed chiefly in the delineation of eccentric old men ; and Mrs. Bullock was Anne Lovely. In 1768 Shuter performed Feignwell, though in 1776 he took tlie part of Obadiah Prim, which was much better suited to his talents, and King and Woodward acted the ingenious adventurer ; Quick was then the Antiquary, and Wewitzer " the real Simon Pure." The principal character in more modern times, has been excellently sustained by the Younger Bannister, Elliston, and Charles Kemble. In August 1823 this Comedy was reduced to two acts, and, with tlie addition of a few songs, converted into a piece for the English Opera House, called The Giiardians Outwitted ; for the exhibition of the versatile talents and rapid changes of character of INIr. Mathews, in the part of the enterprising lover : and certainly, if so preposterous a scheme of delusion could ever have succeeded, that performer was the most likely individual in existence to render it successful. The scene of A Bold Stroke for a Wife is London, and the time of action comprises only a very few days. INIuch of the original is now omitted in representation from various parts of the piece, which is greatly improved by the abridgement. 96 g Boltr mtokt for a OTite. Sackbut full east. Come, Mr. Periwinkle, we must turn [T/ifi!/ turn ; the Colonel sinks by the trap door. Colonel Feigmcell. 'Tis done ! now turn. [Thui/ turn. Periwinkle. Ha! meicy upon me! my flesh creeps upon my bones. — This must be a conjurer, Mr. Sackbut. Sackbut. He's the devil, I think. Periwinkle. Oh ! Mr. Sackbut, why do you name the devil, when, perhaps, he may be at your elbow ? Sackbut. At my elbow ! Marry, heaven forbid ! Act 3. Sc. 1. ^c 1^ JTr" 97 THE REVENGE : A TRAGEDY, BY THE REV. EDWARD YOUNG, D.D. Although the present piece be undoubtedly the best dramatic production of it's author, and will probably never cease to be admired, and occasionally represented, — it was originally much less successful than his earlier Tragedy of Busiris, King of Egypt, which is now entirely forgotten. The Revenge was brought out at Drury-Lane, April 18th, 1721, " all the persons being new drest ;" and on the author's first night the boxes and pit were joined together, at 10s. 6d. admission. It ran to a sixth night and a second benefit, the first season, but was very frequently performed afterwards. In plot, this Tragedy appears to have been taken partly from Shakspeare's Othello, and partly from Mrs. Aphora Behn's drama of Abdelazar, or the Moor's Revenge, produced in 1671 ; which was itself an alteration of Marlow's i?(sfs' Dominion, 1657. The actual story, however, is doubtless to be found in Hughes's fine critique on Othello, in No. 37 of The Guardian, published in 1713 ; at the close of which a narrative is given of a transaction said to have reallj^ occurred in Spain a few years before. When The Revenge was first printed, the author dedicated it to the infa- mous Philip, first Duke of Wharton, in whose family he had been a tutor, and to whom he was indebted for both presents and promises ; but as about this time his patron's character became known, and Pope began to describe him as " the scorn and wonder of his days," Dr. Young carefully suppressed tliis dedication in his collected Works. After taking Orders, he became also desirous of breaking off his connection with the stage, about 1725 withdrawing his Tragedy of The Brothers, when it was in actual rehearsal at Drury-Lane ; and even when it was brought out there, March 3rd, 1753, he made up tlie produce to the amount of ^1000, and presented it to the Society for Propagating the Gospel in Foreign Parts. The Revenge ma}' be fairly considered as standing in the very first rank of British Tragedy, both as it regards the language and the character of Zanga. Dark and malevolent as he is represented, some sympatliy is excited for him, by the remembrance that his lofty and impatient spirit has been irri- tated by his father's death, his own conquest, captivity, loss of his crown, and the indignity of a blow, — all from the same person ; against whom, an open and honourable atonement being impossible, he employs a subtle and a secret vengeance. Mossop represented this character to perfection ; and it was also excellently' performed by J. P. Kemble at Drury-Lane, Decem- ber 4th, 1801, and by Kean at the same TJieatre, JMay 2-lth, 1813. 98 Cf)e iiaebense^ Zanga. Oh ! my dear countrymen, look down, and see How I bestride your prostrate conqueror ! I tread on haughty Spain, and all her kings ! But this is mercy, this is my indulgence ; 'Tis peace, 'tis refuge from my indignation. I must awake him into horrors. Ho ! Alonzo, ho ! the Moor is at the gate ! Awake, invincible, omnipotent ! Thou, who dost all subdue ! Act 5. S:. 3. Zanga. Six ruffians overtook him on the road ; He fought as he was wont, and four he slew ; Then sank beneath an hundred wounds to death. His last breath bless'd Alonzo, and desired His bones might rest near your's. Act 5. ■i»» '^ 99 ^^^it^^^^tSSo THE BEGGARS' OPERA: BY JOHN GAY. Spence, in tlie words of Pope, relates, that this most celebrated piece origi- nated in a remark made by Swift, " what an odd, pretty, sort of a thing a Newgate pastoral might make ;" which Gay was for some time inclined to try, though he subsequently preferred a comedy on the same plan. Swift disliked the design, but Gay proceeded, shewing his work to both him and Pope, who occasionally suggested improvements, though they did not assist in the composition. When the piece was finished, neither Pope nor Swift thought it could succeed, and Gibber rejected it at Drury-Lane ; though when Congreve perused it, he declared it would prove either a complete failure or an astonishing triumph. It was then taken to Rich, at the Little Theatre in Lincoln's Inn Fields, where Quin was fixed upon for Mucheuth ; and, though he disliked the part, attended two rehearsals of it. At the close of the last, Walker was heard singing some of the airs with great spirit, when Quin pointed him out as far better qualified for the part, and he was immediately tried and adopted. Until almost the last reliearsal, it was intended to give the songs without music, and even when it was sug- gested by Rich, it was objected to ; but being tried the next time before the Duchess of Devonshire, it was universally approved of. The Beggars' Opera was produced on Monday, January 29th, 1728, and it's success remained doubtful until after the first Act ; though Pope stated that he overheard the penetrating Duke of Argyle in the next box, say " It will do, — it must do ; I see it in the eyes of them :" and after the chorus " Let us take the road," the audience became more and more favourable, until the house was at last in a clamour of applause. The success of the piece was so great that it ran 62 nights the first season, though the admirable Provoked Husband was in it's full career at Drury-Lane ; and it was also plaj'ed 30 and 40 times in several parts of the country, 24 times in Ireland, and 50 times at Bath and Bristol. The author's unsolicited profits were upwards of ^f (300, and, according to a jest of the time, " Rich became Gay, and Gay Eich." The most favourite songs and scenes of the piece were also engraven to decorate fans and screens, with the portrait of Laviuia Fenton, who per- formed Polly; whose pathetic style of singing "Oh! ponder well," first attracted the Duke of Bolton, to whom she was ultimately married. Since her time, the most eminent performers of the same part have been Mrs. Gibber, Miss Brent, Madame Mara, and Mrs. Billington ; whilst those of Macheath have been Beard, Lowe, Wilder, Vernon, and Incledon. cfC^^.^ m^m^^-^' 100 •^ Cf)e 33eg:ffar£{* O^pera* Po??y. Will not my dear husband look upon his Polly? Why hadst thou not flown to me for protection ? with me thou hadst been safe. PoUii, Hither, dear husband, turn your eyes ! Lucy. Bestow one glance to cheer me. Poliy. Think, with that look, thy Polly dies. Lttfy. Oh I shun me not, but hear me I Piillii. 'Tis PoUy sues. l.unf, 'Tis Lucy speaks, PoUy. Is thus true love requited ? Lucy, My heart is burstmg. Pntty. Mine, too, breaks. Lucy. Must I— PMy. Must I be slighted ? Macheath. What would you have me sdy, 'ladies ? You see the affair will soon be at an end, without my disobliging either of you. Act 3. Sc. 3. ^i^^^k^M^ ^ ii-4^? ^.^ f^^^ 4£> 101 L 2 ^, ~sS!L^'^^r21i^ _tfC TOM THUiSlB : A COMIC BURLKSQUEj ALTERED FROM HENKY FIELDING. Even to such as do not perceive the exquisite satire of this very favourite piece, it's broad humour and ludicrous costume generally render it irresisti- bly entertaining-. The hero and his fate are also extensively familiar, both in the popular legend and the ballad ; but whether he really lived " in Ar- thur's Court," early in the sixth century, or, as Hearne supposes, were a page to King Edgar late in the ninth, or were the ancient German Daumerling, — the usual costume of this piece is the full court-dress of the time of it's pro- duction ; with an opera suit of armour for Tom Thumb, and an Amazon's habit for Queen Glumdalca. The Duke of Buckingham's very celebrated Rehearsal was intended to expose and ridicule tliose showy and bustling plays, which in his time were so greatly admired, and the present burlesque embraces the absurdities of nearly all the subsequent tragic authors. The interview be- tween Queen Glumdalca and the Princess Huncamunca, in Act ii. Scene 7, is, in particular, a parody upon that between Cleopatra and Octavia in Dryden's All for Love, Act iii. Scene 1. ; and the several other imitations are pointed out in the witty and curious notes which Fielding attached to this piece at his last alteration of it, under the name of H. Scriblerus Secundus. Tom Thumb was originally produced at the Haymarket, April 24tli, 1730, in Two Acts only ; when it's success induced the author to add a third, and reproduce it at the same Theatre, March 20th, 1731, and at Drury-Lane, May 3rd, 1732. It was then entitled The Tragedy of Tragedies ; or the Life and Death of Tom Thumb the Great. In Three Acts : Containing, the Rise, Mar- riage, Victory, and Death, of Tom Thumb ; the lawful and unlawful Loves of King Arthur, Queen Dollallolla, Princess Huncamunca, Queen Glumdalcha, Lord Grizzle, S^c. ; the Rivalship, Dispute, and Rebellion, of Lord Grizzle ; the memorable Battles between Lord Grizzle and the Queen of the Giants i with the terrible Destruction of both Armies ; the doleful and tragical Apparition of Gaffer Thumb ; the Swallowing up of Tom Thumb by the Red Cow ; and the direful, terrible, tremendous, and fatal, Catastrophe of all the Noble Personages in that Heroick Piece. The representation was announced "with proper habits, scenes, machines, and other decorations ;" and the day before it took place were advertised " books of the Tragedy, with notes by way of key, will be published to-morrow at 5 in the evening." Tom Thumb was altered from Fielding by Kane O'Hara, with the addition of songs, and brought out at Covent-Garden as a Musical Burletta in Two Acts, October 3rd, 1780, when it was very successful. 102 Com Cl)timlj» Glumdalca. \_Falling] You've run me through the guts. Grizzle. Then there's an end of one. l^Going; is met by Tom Thumb, tvho runs liim through.'] Tom. An end of two, Thou hast it. [Exit. Grizzle. Oh! Tom Thumb I iFallsl thy soul beshrew ! 1 die — Ambition ! the Fates have made their tour, And tlie black cart is waiting at the door. Act 2. Sc. 3. Merlin. First, at my word, thou horned cannibal. Return again our England's Hannibal. IThiindi-r. [Thumb is thrown out of the Cow's mouth, and starts fim-crli/.] Act 2. Sc. i. 103 ^ii GEORGE BARNWELL: A TRAGEDY, BY GEORGE LILLO. XoTWiTiisTAXDiNG Dr. Joliiison's declaration that he could not regard a prose tragedy as dramatic, tlie merits of The Gamester and the present piece, appear almost to prove that, if the subject be of a domestic nature, metre is not essential to eitlier excellence or success. The language of this drama is sufficiently exalted for the expression of the sentiments of the several cha- racters, who are all designed from ordinary life : but by such as desire his- torical propriety, it will probably be censured as too modern ; because in Scene 1, the time is stated to be the year when Walsingham contrived to delay the sailing of the Spanish Armada for more than a twelvemonth, by procuring Sutton and other English merchants to have the King of Spain's bills protested at Genoa, about 1586. Though this Tragedy doubtless relates a fact which might then have occurred, the actual circumstances remain still undiscovered ; the author having taken his plot from a popular tale in verse, priuted as early as the middle of the seventeenth century, entitled Ati excellent Ballad of George BarntceU, an Apprentice of London, u-lio thrice rubbed his Master, and murdered his Uncle in Ludlow. — The Tune is The Mer- chant. Lillo's scene, however, is " London and an adjacent village," and tradition has long reported the spot to be Camberwell-Grove. This pathetic drama was first performed by the Summer-Company' of actors at Drury-Lane, June 22Dd, 1731 ; and, perhaps, the tune of the old ballad suggested the original announcement of A New Play called The Mer- chant, or the True Historij of George Barnwell: which, on the second night, the 2jth, was altered to The London Merchant, or the True Story of George Barnuell ; under which title it was plaj^ed 17 times almost without inter- mission, in a verj' hot season. It excited such universal attention, that on Friday, July 2nd, the Queen sent for the manuscript, which Wilks carried to Hampton-Court. jMrs. Cibber was the first performer of Maria, and delivered the Epilogue ; Mrs. Butler was Millwood, and Theophilus Cibber spake the Prologue, and was the original George Barnwell ; but though these were all highly admired, the most honourable applause was tliat given in 1752, to Ross and Mrs. Pritchard, whose impressive performance awakened and preserved a A'oung man in the same circumstances as Barnuell. The fact is related in a letter from the eccentric Dr. Barrowby to Ross ; who added, that for nine or ten years he regularly received at his benefit, a note with ten guineas sealed up, sent from one whom his excellent acting had saved from ruin. 104 (George BantluelL iiir" Barnwell. I groan, but murmur not. Just heaven ! I am your own ; do with me what you please. Maria. Why are your streaming eyes still fixed below, as thougli tliou'dst give the greedy earth thy sorrows, and rob me of my due ? Were happiness within your power, you should bestow it where you pleased ; but in your misery I must and will partake. Act 5. Sc. 2. Barnwell. Do I still breathe, and taint with my infectious breath the wholesome air? Let heaven from it's high throne, in justice or in mercy, now look down on that dear, murdered, saint, and me the mur- derer, and if his vengeance spare, let pity strike, and end my wretched being ! Act 3. Sv. 4. 105 THE DEVIL TO PAY: A BALLAD-FARCE, ALTERED FROM CHARLES COFFEY. It has been asserted that the original storj^ of this piece, and even some of the names, are to be found in a very ancient Danisli romance ; but the ordinary account of it's derivation is, that from the episode of Mopsa in Sir Philip Sidney's Arcadia, Thomas Jevon, assisted, perhaps, by Shadwell, wrote his Devil of a Wife, in Three Acts, performed at tlie Duke's Theatre in Dorset-Gardens in 1686, which was altered into the Ballad-Opera of The Devil to Fay by Coffey and John IMottley, by the addition of Songs, each undertaking an act and a half. Their version was produced by the Summer- Company at Drury-Lane, August 6th, 1731, as avowedty taken from Jevon's play, with a new Prologue : but the announcement that " tickets delivered out in the author's name, will be taken any night this Opera is performed," perhaps indicated that it's success was somewhat doubtful ; though it was added that printed books of it would be published on Tuesday, the 10th, and sold in the Theatre. Some parts of the performance, however, gave great offence, especialh* the character of a non-conforming clergj'man. Chap- lain to Lady Loverule ; some of whose speeches still retain a few puritanical sentences. The piece, therefore, appears to have been plaj'ed only three nights, the first season ; and the very evening on which it was advertised for publication, there was no ])erformance, the da.y of playing having been changed from Tuesday to Wednesday, " at the desire of several worthy citizens :" whilst the next pieces announced were George Barnwell, and a revival of Gay's What d'ye Call It? though it is added, that " tickets deli- vered out for the Devil to Pay will be taken at this play." Theophilus Cibber then reduced it to it's present form of One Act, omitting the objec- tionable character, and, adding one song by his father, Collej' Cibber, and another by Lord Rochester, written fifty years previous, — he gave it the mo- dern second title of The Wives Metamorphosed, and re-produced it at Drury- Lane, October 2nd, 1731, wlien it was acted 32 nights the same season. The original performer of Jobson v.as Harper, a coarse comedian of great humour, and leader of a strolling company' well kno^wni at the old English fairs, and his acting greatly advanced him both in reputation and salary. Nell was first played by IMiss Raflor, more famous as Kitty Clive, who was also indebted to her part for the rise of her notoriety, and for the doubling of her salary ; but the talents of the late IMrs. Jordan in the same character were certainly equal to those of any actress who preceded her. She first appeared in it at Drury-Lane, in October, 1788, for her own benefit. 103 CI)e ©fbil to ^a^ Jobsott. This is more than ever I saw by her, I never had an ill word from her before. Come, strap, I'll try your mettle ; I'll sober you, 1 warrant you, quean. [He straps her ; she flies at him. Lady hcveriile. I'll pull your throat out ! I'll tear out your eyes ! I am a lady, sirrah. Oh murder ! murder ! Sir John Loverule will hang you for this. Murder ! murder ! Scene 5. Nell, What pleasant dreams I have had to-night ! Methought I was in Paradise, upon a bed of violets and roses, and the sweetest husband by my side ! Ha ! bless me ! where am I now ? What sweets are these ? No garden in the spring can equal them. — Am I on a bed ? — The sheets are sarsenet, sure; no linen ever was so fine. — What a gay silken robe have I got — Oh heaven ! I dream ! — Vet, if this be a dream, I would not wish to wake again. Sure I died last night, and went to heaven, and this is it. Scene 0. 107 THE MOCK-DOCTOR j OR, THE DUMB LADY CURED : A FARCE, BY HENRY FIELDING. Though JNlrs. Centlivre boasted that her Bold Stroke for a Wife was entirely Euglisli humour, and was not in any part taken from the French, the acknow- ledged contrary' seems to have been no objection to the present piece ; since it was originally announced as " done from the French of RIoliere." It was first represented by the Summer actors at Drury-Lane, June '2jrd, 1732 ; and, as the Theatre had been closed from the 13th, the bills stated that " the com- pany being employed in rehearsing several new pieces, &cc. could not per- form till this day ; but will positively continue to act twice a week as usual." From the limited nature of the season, therefore, this entertainment could not be at first very frequently performed ; though it was perfectly successful, and it's repetition, even to the present time, is a proof of it's intrinsic merit and humour. Theophilus Cibber, Jun. was the original Gregonj, or Mock- Doctor, as the bills styled him, Stoppelaer was Lennder, and INIiss Raftor, afterwards INIrs. Clive, played Dorcas, whose rising talent is referred to b}- the author in his preface : in modern times the former part has been excellently sustained by j\Ir. Mathews. The scene is laid in a village in France, near a wood ; and the time of action is from the morning to the evening of one day. The well-known original of The Mock Doctor, is IMoliere's lively Mide- cin malgri lui; of which Fielding, with a congenial humour, has given a sprightly and happy translation, differing from the plot and action of the French piece only where the genius of his own nation required him to vary. Gregory's deception is, perhaps, after all, entirely foreign to English habits, though similar characters are to be found in Le Sage and other novelists, who most probably delineated them from the life. Fielding added to his Mock-Doctor nine airs adapted to popular tunes, and entitled it a ballad-farce, but these are now commonly reduced to one. In his preface. Fielding ob- serves that Moliere produced his piece in a very few daj-s, to be acted with The Misanthrope, an excellent play, but too grave for the French stage ; though together they proved extremely successful. In like manner The Mock-Doctor originated in the author's Comedy of The Old Debauchees not being of itself long enough for a night's entertainment; and, as it had met with great ap- plause from the town, he was unwilling, says an advertisement anterior to the performance of the Farce, that it should " suffer by the addition of old and worn-out entertainments, and has therefore permitted the production of the present at a more disadvantageous season than he at first intended." 10b -ii£^»-S2i,2'»« CI)e Motk Mottov. Harry. You are no physician ? Gregory. May I be hanged, if I am. [T/iey heat him.1 Oh ! — Oh ! — Dear gentlemen ! Oh ! for heaven's sake ; I am a physician, and an apothecary too, if you'll have me : I had rather be any thing, than be knocked o'the head. Act 1. Sc. 2. Sir Jasper. Why, this is punch, Doctor. Gregory. Punch, sir ! Aye, sir,- and what's better than punch, to make people talk ? — Never tell me of your juleps, your gruels, your — your — this, and that, and t'other, which are only arts to keep a patient in hand a long time. I love to do a business all at once. Act 2. Sc. I. 109 ^4i^^ FATAL CURIOSITY: A TRAGEDY, BY GEORGE LILLO. Most of the dramas of this author are derived from certain of those popular and domestic legends, which seldom fail of creating a more general and powerful interest, than the loftiest heroical tragedies. He had, however, to contend with the pompous taste of his time ; and, on the production of his George Barnuell, many of the theatrical critics formed a contemptuous notion of it hecause it was founded upon an old ballad : some thousands of which are said to have been used in one day, for making a degrading com- parison between the popular tale and the Tragedy. The story of the present drama was originally related in a pamphlet entitled Xews from Fenryn, in Cornwall, of a most bloody and unexampled Murther, very lately committed by a Father on his owne Sonne, (ir/io uas lately returned from the Indites) at the insti- gation of a merciless Stepmother. Together uith their several most u-retched endes: being all performed in the month of September last. Antio 1618. 4to. bluck-letter. The events here related are also said to have really occurred at Bohellan, a small manor, in the parish of Gluvias in Cornwall. Harris, in his Philo- logical Inquiries, Lond. 1781, gives an analysis of the story, and observes that it contains the model of a perfect tragic fable. Lillo derived his narrative from Dr. Thomas Frankland's Annals of the Reigyis of James I. and Charles I., Lond. 1681, folio, in which it follows an account of the unhappy fate of Sir Walter Raleigh ; whence the author was probably led to fix the date of this piece soon after the accomplished naviga- tor's return from Guiana and committal to the Tower, August 10th, 1617. The scene is Penryn, and the time of action a part of two days. This Tragedy was originally produced at the Haymarket, May 27th, 17.36, under the title of Guilt it's own Punishment, or Fatal Curiosity : being a true story in common life, and the incidents extremely affecting. Written by the Au- thor of George Barnwell. It ran for six nights the first season, the performers being, Roberts Old Wilmot, Davies Young Wilmot, and Agnes Mrs. Chai-ke ; but Bensley and Palmer, senior, were perhaps the best representatives of the unfortunate father and son. After this piece had lain unacted for fifty years, George Colman, senior, revived it, with several careful revisions and improvements, at the Haymarket, June 29th, 1782, when it was acted ele- ven times. The late Henry JMackenzie produced an unsuccessful alteration of it at Covent-Garden, February 10th, 1784, called The Shipwreck, or Fatal Cariosity, in 5 acts, and containing some new characters, and especially one of a "randson of Old Wilmot. 110 ^4^#4B-^S^ m-^i 4fatal Curwssitp* Old Wihnot. Die thou first ! I dare not trust thy weakness. Agnes. Ever kind. But most in this ! Old Wilniot. I will not long survive thee- IStabs Agnes. Arts. Sc.3. Agnes. Surprising ! My eyes are dazzled, and my ravish'd heart Leaps at the glorious sight — How bright's the lustre. How immense the worth, of these fair jewels ! Aye, such a treasure would expel for ever Base poverty, and all it's abject train ; Famine; the cold neglect of friends ; The galling scorn, or more provoking pity Of an insulting world. Act 3. Sc. I. 111 GUSTAVUS VASAj THE DELIVERER OF HIS COUNTRY : A TRAGKDY, BY HENRY BROOKE. Ix September 1737, the hostility between George II. and the Prince of Wales, produced a command from the King that the latter should leave St. James's ; and the Prince subsequently formed a separate Court at Leicester- House, to which the Whig- interest and it's followers resorted, and from which issued a continual opposition against the administration of Sir Robert Walpole. The party availed itself of all the powers of elegant literature, as well as of the ordinary political weapons of periodical journals, pam- phlets, and coarse satires ; for, though tlie prose writers in it's employ were the most numerous, it was from the poets that the greatest effects were expected. Thus Paul Wliitehead liad aided it's designs by bis poem of Maiuiers ; Fielding b}' various touches in his comedies and farces ; Glover by his Leonidas, which was supposed to allegorise a popular stand against tyranny ; and on Brooke's arrival in London in search of literary employ- ment, be was encouraged to strike another patriotic blow in the present most enthusiastic Tragedy : in which Trollio, the Swedish minister, was certainly intended for Walpole, however unjustly. The piece was accepted at Drury- Lane, but after it had been five weeks in rehearsal, when the performers were perfect in their parts, the day of representation was fixed for INIon- day, iNIarch 19th, 1739, and the author had disposed of many hundred tickets, — on the preceding Friday, the 16th, an Order was sent him from the Lord -Chamberlain to prohibit the performance. The piece was pub- lished, however, April 25th, 1739, at 5s. each copy, and on May 12th an inferior edition at Is. 6d., — both of which sold so extensively, that Victor declares that Brooke cleared more than ^1000 by it's sale. It may be curious to state that it was intended for Quin to have performed Gustavus, Cibber Trollio, Mills Anderson, Milward Arvida, Mrs. Giifard Christina, and Mrs. Butler Gustava. After some alterations this Tragedy was performed in Ireland, under the title of The Patriot ; and on December 28th, 1805, it was produced at Covent-Garden under it's own title, by license of the Lord- Chamberlain, to exhibit Master Betty, the Young Iloscius, in the principal character : when neither the piece nor the actor were very successful. The historical materials of Gustavus Vasa were probably taken from the Abbe Vertot's Histoire des Revolutions de Suede. Hague : 1729, 4to. The scene is Dalecarlia, a Northern province of Sweden ; and the time extends from six months after the escape of Gustavus from the fortress of Calo in Jut- land to the mines, about 1520, to his election as King of Sweden in 1521. 112 (iudtabus; ^as;a* WW T Gustavus. How, my friend ? ^fiiida. Some months are pass'd, since, in the Danish dungeon. With care emaciate, and unwholesome damps, Sick'ning I lay, chain'd to my flinty bed. And call'd on death to ease me — straight a light Shone round, as when the ministry of Heaven Descends to kneeling saints. But, Oh ! the form That pour'd upon my sight. — Ye angels, speak ! For ye alone are like her ; or present Such visions pictured to the nightly eye Of fancy tranced in bliss. She then approach'd. The softest pattern of embodied meekness. For pity had divinely touch'd her eye, .\nd harmonised her motions. — Ah ! she cry'd. Unhappy stranger, art not thou the man. Whose virtues have endear'd thee to Gustavus? Act 1. Sc. 1. "^e ^ f m^ f ^t^ ^ 113 M 2 THE LYING VALET : A FARCE, BY DAVID GARRICK. It is well-known that the celebrated author of this piece made his first appearance in London at the Theatre in Groat AylifFe Street, Goodman's- Fields, in the part of Richard III., on October 19th, 1741 ; and the present piece was produced at the same house, on the following November 30th. Garrick had that evening performed Chamont in The Orphan, to which he added the part of Sltarp in his own Farce, and the delivery of the original Epilogue. This entertainment was extremely successful at Goodman's- Fields, being played upwards of twenty nights the first season ; and upon the removal of the author to Drury-Lane, in 1743, he took his piece with him, improved it, and reproduced it there in nearly it's present form. It's success was so considerable as to cause it to be transmitted as a lasting and profitable performance to every theatre in England. AVhen the main princi- ple of this Farce is admitted, the incidents and persons are natural and well-designed. With all it's vivacitj'', however, it has been observed tliat it possesses but little attraction on the modern stage, which is attributable to either the change in taste, manners, and humour, since it's first production ; or to the want of a less censurable and more diverting talent in Sharp : for in comparison with many other dramatic characters of the same class he has but little wit or mirth, since mere lying can never be humour. It is probable that there is no trutli in the report which refers tlie original hint of The Lying Valet to tlie French Stage ; as well because the title of it's supposed prototype has never yet been mentioned, as because at the time when it appeared, the author had perhaps no means of availing him- self of the pieces of foreign theatres. It must be observed, however, that tliis Farce will be found, upon examination, to be an alteration of the second of the five short dramas which form the very curious entertainment of Peter Antony Motteux, called Novelty, or Every Act a Play ; originally perfonned at Lincoln's Inn Fields in 1697 : the part referred to is entitled All Without Moneu, " Scene, the Pall-JMall." The scene of the present piece is also laid in London, and the time of action the morning and evening of the same day. On the reproduction of The Lying Valet at Drurj'-Laue, the part of Kitty Pry was performed by Mrs. Clive, to whose well-known vivacity it was excellently adapted. Perhaps Garrick was never exceeded as Sharp, though even in his time Yates acted it very frequently and with great applause, and was succeeded hy Shuter ; and iNIr. JNIathews has also played the character witli irresistible comic talent. 114 €i)t ^m^ Wiiitt Re-enter Sharp before several persons ivith dishes in their hands, and a Cook, drunk. Sharp. This way, gentlemen, this way. Cook. I am afraid 1 have mistook the house. Is this Mr. Treatwell's ? Sharp. The same, the same. What, don't you know me ? Cook. Know you ! — Are you sure there was a supper bespoke here ? Sharp. Yes; upon my honour, Mr. Cook: the company is in the next •room, and must have gone without had you not brought it. Act 2. Sc. 1. Sharp. You see I'm reduced to my waistcoat already ; and when necessity has undressed me from top to toe, she must begin with you : and then we shall be forced to keep house and die by inches. Look you, sir, if you won't resolve to tiike my advice, while you have one coat left to your back, I must e'en take to my heels while I have strength to run, and something to cover me. Act 1. Sc. I. 115 MISS IN HER TEENS A FARCE, BY DAVID GARRICK. NoTM'iTusTANDiNG the extravagantlj-ludicrous character of this entertain- ment, Murphy, in his Life of the author, considers it to have effected a great moral benefit to society, in exposing and banishing two classes of persons ridiculed under the names of Fribble and Captain Flash. He states that at the time this piece was produced, the Coffee-houses of London were infested hy a number of young officers, who entered with a martial air, wearing fierce Kevenhuller-hats, and long swords ; and who paraded the rooms with fero- city, and were always ready to draw without provocatiou. In direct contrast to this race of braggarts, was a class of fashionable triflers who thought it most graceful to unsex themselves, and make a display of more than femi- nine softness. To expose both these to contempt and ridicule, was the design of Miss in her Teens ; and it's excellent acting effected a reformation. This very amusing Farce was originally produced at Covent-Garden, January 17th, 1747, with the second title of The Medley of Lovers ; and ran for fourteen nights, when it was stopped by the illness of Garrick. Upon it's fifteenth representation, that performer unexpectedly found his name announced for an additional benefit ; for Rich, the manager, declared that the piece had proved so profitable, and was so meritorious, that the acknow- ledgement would have been insufficient without such a recompense : to which the author replied that he valued the reward for that reason only. It is probable, however, that his own performance as the beau, and those of Woodward as Flash, Yates as Puff, and Mrs. Clive as Tag, were the chief attractions of the piece. That Garrick's appearance and acting were both surpassingly excellent, there are many testimonies ; but there are, perhaps, few stronger than CoUey Gibber's praise of him to a nobleman at White's, which was uttered solely with the view to degrade him : " See him, my Lord, by all means, he is the completest pretty little doll figure for a Fribble you ever saw in your life. An admirable Fribble ! such mincing, and am- bling ! — Well, he must be something of a clever fellow, too, to write up to his own character so well as he has done in this part." — Russell and R. Palmer were considered as the best Fribble and Flash on the modern stage. The original parts oi Sir Simon Loveit and the Aimt are now properly omitted. The first idea of Miss in her Teens is said to have been taken from La Pari- sienne of the French actor and dramatist, Florent-C'artou D'Ancourt ; and the hint of the celebrated fighting scene from one in an English Comedy by Charles Johnstone, produced in 170] . lie iBisJ^ m l)er €ttm* Tag. Go on, sir. \_Here they stand in fighting postures, while Biddy and Tag push them forward. Flash. Come on. Biddy. Go on. Fribble. Come nn, rascal. Tag. Go on, sir. Act 2. So. 1. I love these men of arm?, they know their trade : Let dastards sue, the sons of fire invade .' To dangers bred, and skilful in command, They storm the strongest fortress sword in hand. Epilogue. i^fe ! 117 #-HI'#4iW^#'i-!^-^#^-^: THE SUSPICIOUS HUSBAND : A COMEDY, BY BENJAMIN HOADLY, M.D, If tlie merit of a drama be estimated by it's success, the character of this piece must be of a very elevated standard ; for, though the first night pre- sented a considerable previous opposition, yet, from the time the curtain rose, the performance gradually overcame it, and elicited universal applause. Though The Suspicious Hushimd must be always regarded as an excellent Comedy, and is still acted with success, it's merits are, perhaps, pleasing rather than striking; and the vivacity of the plot and action prevents it's imperfections of design, character, and language, from being too rigidly noticed: yet the parts of Ranger, Mr. Strictland, and Clarinda, are lively, well-drawn, and expressive. The former is a perfect portrait of a thought- less, spirited, and undesigniug, rover, from whom it was originally intended to have called this piece The Rake ; and to Garrick's inimitable performance of the part may be chiefly attributed the success of the Comedy during it's first run. Strictland, from whom the play now derives it's name, is imi- tated from Ben Jonson's Kitely, and it was originally so excellently'played by Bridgewater, that, tliough he was otherwise an actor of no great talent, he received very considerable applause ; and on selecting the character for his benefit, assigned the public approval as his reason. The original Cla- rinda was ]Mrs. Pritchard. In modern times, the same parts have been most successfully performed by EUiston, Pope, and INIiss Duncan. The charac- ter of Jack Meggot, originally played by Woodward, is observed by Foote, to be intended as an experiment whether Italy would furnish a traveller, whose follies should prove as ridiculous and diverting as the numerous characters of a similar kind from France ; but, no sooner is the attention attracted to him, than he eludes it: and though "he does survive the loss of his monke}', Otho, he is never tolerable company afterwards." The scene of this piece is London, and the time of action about thirty-six hours. Dr. Hoadly's Suspicious Husband was first acted at Covent-Garden, Februarj' 12th, 1747, with "the characters all new dressed;" the Prologue being spoken by Ryan, and the Epilogue by Mrs. Pritchard. It's run was stopped after the twelftli night by the illness of Garrick, but the piece was re-pro- duced on INIarch 21st, with Chapman in the part of Ranger, until he could resume it. George II. is said to have been so well pleased with this Comedy that he sent the author <^100. He appears, however, to have had several envious censurers; to silence whom Macklin produced his Farce of The Suspicious Husband Criticised, or the Plague of Envy, at Drury-Lane. H^-^^ 118 #-^S-^-^^S4^-^#-il»-4i|o^42j.^^^4!^^ll^,^^^ 4^ f Cfte ^U£{puiou£i gusljantr* Mrs. Strictland. Whence came you ? How got you here ? Ranger. Dear madam, so long as I am Iiere, what signifies how I got here, or whence I came ? But that I may satisfy your curiosity, first, as to your " Whence came you ?" I answer, out of the street; and to your " How got you here ?" I say, in at the window ; it stood so invit- ingly open, it was irresistible. But, madam — you were going to undress. I beg I may not incommode you. Act 3. Sc. 2. Ranger. Ha ! a light, and a woman ! by all that's lucky, nei- ther old nor crooked ! I'll in — Ha ! she is gone again ! I will after her. [Gets in at the winctvw.^ And for fear of the squalls of virtue, and the pursuit of the family, I will make sure of the ladder. Now, fortune be my guide. Act 3. Sc. 1. 110 THE GAMESTER : A TRAGEDY, BY EDWARD MOORE. When the present most solemn and affecting drama was first perfonned, it was expected that the public would treat it with vindictive severity, the author's Comedy of Gil Bias having been forced upon the town several times after the strongest disapproval. The Rev. Joseph Spence, therefore, per- mitted TIte Gamester for the first four nights to be attributed to himself, and it was applauded accordingly ; but when the real author became knowTi, some of the most forward previous admirers of the Tragedy, were the very first to condemn it as Moore's. After all, however, they knew not whose compo- sition they censured, since the interview between Leicsnn and Stuhely in Act iv. Scene 1, is said to have been written by Garrick. The Gamester was first performed at Drury-Lane, Februarj-- 7th, 1753, after some delay, as the original bill states that " The Managers being engaged to act Two New Plays this winter, could not longer defer this Tragedy in waiting for Mr. Havard's recovery ; Mr. Davies, at a very short warning, has willingl}' undertaken the character which Mr. Havard was to have acted, and humbly hopes for the indulgence of the public." It is generally stated that the original success of this drama was but indifferent ; but on tlie Tenth niglit of it's performance, February 17th, the following notice is inserted in the bills of the day : " 'Tis hoped that the ladies and gentlemen who have taken places for this Play for Monday and Tuesday next, will not take it ill that it is deferred for a few days ; it being impossible to continue acting the principal character without some respite." That part was performed by Garrick, iMossop was Lewson, and Davies plaj-ed Stuhely instead of Havard; Mrs. Pritchard was Mrs, Beverley, and Miss Haughton was Charlotte. The pre- sent Tragedy was one of the earliest in which Mr. J. P. Kemble aad Mrs. Siddons appeared together, and their solemn and affecting performance was first exhibited at Drury-Lane in 1784. Mr. C. Kemble has also frequently played the Gamester with great ability ; whilst the part of his amiable wife was excellently sustained by Miss O'Neill, who first performed it at Covent- Garden, December 14th, 1815, and by Miss Fanny Kemble at the same Theatre, February 2oth, 1830. Cooke was also particularly excellent in Stuhell^, and it has been said that the character died with liim. The Gamester was originally censured too deep to be witnessed ; but when Dr. Young saw it in manuscript, he observed that gaming required as severe caustic as the last act ; and it was supposed that many persons were enraged chieflv at liaving their favourite vice so powerfully and openly attacked. 120 'tn^l Cf)e (gamedtn% Sttikehj, The marriage vow, once violated, is in the sight of heaven dissolved. — Start not, but hear me ! 'Tis now the summer of your youth. Time has not cropped the roses from your cheeli, though sorrow long has wash'd them — Then use your beauty wisely ; and, freed by inju- ries, fly from the cruellest of men, for shelter with the kindest. M)s. Beverley. And who is he ? Stukely. A friend to the unfortunate ; a bold one, too ; who, while the storm is bursting on your brow, and lightning flashing from your eyes, dares tell you that he loves you. Mrs. Beverley. 'Would that these eyes had heaven's own lightning, that with a look thus 1 might blast thee ! Am I then fallen so low ? Has poverty so humbled me, that I should listen to a hellish offer and sell my soul for bread ? Oh villain ! villain ! But now I know thee, and thank thee for the knowledge. Act 3. Sc. 4. Ye slaves of passion, and ye dupes of chance. Wake all your powers from this destructive trance! Shake off the shackles of this tyrant vice. Hear other calls than those of cards and dice. Garrick's Prologue. 1'21 BARBAROSSA : A TRAGEDY, BY THE REV. JOHN BROWN, D.D. Voltaire's Merope is generally supposed to have suggested tlie origiual design of this drama ; for though the distresses of Zaphira in the present piece fall far short of those of the heroine in the former, there is a verj' close jesemhlaiice between Eumenes being suspected as his own murderer, and Achmet declaring himself to be such. The history of the Tragedy is derived from the well-known adventures of the Greek Pirate Aruch Barharossa ; who, having been solicited to aid the Algcrines against Charles V. in 1516, made himself sovereign of their country by privately murdering Prince Selim Eu- temi, and seizing upon the person of his widow Zaphiva. She rejected him, and he was at length defeated and slain by her son and his allies, about the end of 1517, at whicli period the action of the Tragedy takes place ; the scene being laid in " the royal palace of Algiers, and the time being a few hours about midnight." Dr. Brown, perhaps, derived his account of these events, from tlie stately and romantic narrative of them in A Compleat His- tory of the Piratical States of Barharij. London : 1750. 12mo. The story is also to be found in The London Magazine for 1754, Vol. xxiii. page 531. The Traged}' of Barharossa was originally brought out at Drury-Lane, December 17th, 1754 ; when Garrick performed Achmet, Mossop the Usur- per, and Mrs. Gibber Zaphira. Garrick also furnished both the Prologue and Epilogue, the former of which lie spake in the character of a Country- boy ; the latter being delivered by Woodward as a Fine Gentleman. The excellent acting of this piece, however, supported it but about eleven nights only. It was in the character of Achmet in Barharossa, that William Henry West Betty, the Young Roscius, first appeared in London, at Covent-Garden, December 1st, 1804 ; after having excited the greatest interest and admi- ration in the country. As he was then 13 years old, and the Prince is sup- posed to be about 20, the character was well adapted to his appearance ; and he performed it with considerable talent, and with the most unbounded applause. The multitudes wliich followed him were so excessive, that tlicj' assembled round the Theatre by one o'clock on the day of his coming-out ; and the moment the liouse was opened it was literally overflowing. His first engagement was for 50 guineas each night, with a free benefit ; and he also jierformed at intervals at Drury-Lane upon the same terms, and with equal j)opularity and applause : but when he returned to the London Stage in December 1805, his attraction had declined, and soon passed entirely away. 122 ifC, ^arbaros^sia* 1 lUUi' Selim. Thy impious threats are lost ! I know that death And torments are my doom. Yet, ere I die, I'll strike thy soul with horror. Off, vile liabit ! If thou dar'st. Now view me ! — Hear me, tyrant ! — while, with voice More terrible than thunder, I proclaim, That he, whoaim'd the dagger at thy heart, Is Selim ! Act 4. Sr. I. Selim. I wrench'd the dagger from him ; and gave back- That death he meant to bring. The ruffian wore The tyrant's signet : — Take this ring, he cried. The sole return my dying hand can make thee For it's accurs'd attempt : this pledge restor'd. Will prove thee slain : Safe may'st thou see Algiers, Unknown to all. — This said, the assassin died. Act 2. Sc. r^^jf-m 123 THE APPRENTICE : A FARCE, BY ARTHUR MURPHY, The intention of this entertaining dramatic satire, was to expose and ridi- cule the absurd and prevalent passion of apprentices and other young per- sons, for uniting tliemselves into those mischievous societies called Spouting- Clubs ; in the ambition to become theatrical kings, lovers, and heros. Being in general without either the appropriate talents or education for the stage, these aspirants mistook noise and nonsense for energy, eloquence, and dra- matic genius ; and thus, whilst they mutilated and corrupted the works of the authoi-s whom they recited, they rejected common-sense, despised the ordinary duties of life, and too often fatally destroyed both their time and their reputation. The present attempt " To check these heros, and their laurels crop, To bring them back to reason, — and the shop," — contributed in some degree to restrain their folly, though it could not en- tirely suppress it ; and the entertainment received considerable applause. The Apprentice was the first dramatic work of JMurphy, and was produced at Drury-Lane, January 2nd, 1756, during the very short time he was on the stage, by the advice of his friend Foote ; and it is remarked in a con- temporary critique, that such a satire on actors would probably not have been brought forward, if the author himself had not been one of them. The principal original performers were Yates, who acted Wingate ; Vaughan, who played Simon, Gargle's servant, with a considerable degree of genuine natural simplicity, seldom met with on the stage ; and Woodward, who re- presented Dick, The Apprentice, with infinite humour, both in his action and manner of dressing him. Garrick wrote the Prologue, and the author himself delivered it, habited in a full suit of black, both as the usual dress for such speeches, and as mourning for the doubtful fate of himself and of the piece which was to come ; and 3Irs. Clive spake a very witty Epilogue, in her own person, as an actress not included in the performance. Tlie whole ori- ginal run of The Apprentice appears to have been but about eleven nights ; when it was interrupted by the production of Garrick's Florizel and Perdita, and Catherine and Fetriichio, from Sliakspeare's Winter's Tale and Taming nf the Shrew, which came out together on January 21st. After the original performer of Dick, the Younger Bannister has been the most celebrated and excellent actor of the character, and was particularly admired for his delivery of the original Prologue. The scene of The Appren- tice is London, and the time of action is within twenty-four hours. 124 f 4^ CI)e ^ppitutirc; Dick. ' Give me another horse! bind up my wounds !' This will do rarely And then I have a chance of getting well married Oh ! glorious thought ! By heaven ! I will enjoy it, though but in fancy. But what's o'clock ?^it must be almost nine. I'll av.ay at once this is club-night. — 'Egad I'll go to them for awhile. — The spoutersare all met — little they think I'm in town — they'll be surprised to see me. Off I go, and then for my assignation with my master Gargle's daughter poor Charlotte ! she's locked up, but I shall find means to settle matters for her escape : she's a pretty theatrical genius. — If she flies to my arms like a hawk to its perch, it will be so rare an adventi;re, an l^S Slsialiella, Biron. Isabella ! I came to fall before thee : I had died Happy, not to have found your Villeroy here : A long farewell, and a last parting kiss. [Kisses her. Villeroy. A kiss ! confusion ! it must be your last. Biron. I know it must — Here I give up that death Vou but delay'd : since what is past has been The work of fate, thus we must finish it. Thrust home! be sure! [Falls. Act 5. Sc. 4. Now to Villeroy- Ere this his friends, for he is much beloved, Crowd to his tiouse, and with their nuptial songs Awake the wedded pair: I'll join the throng. And, in my face, at least, bear joy and friendship. Act 3. Sc. ¥ f 4. 129 THE GUARDIAN: A COMEDY, BY DAVID GAUniCK. It is properly observed in a contemporary criticism upon this pleasing and elegant little drama, that it is not calculated to gratify by intricacy of in- trigue, or a succession of various events, but bj^ the interesting simplicity of single, but tender, incident, — the virtuous and grateful affection of a ward for her guardian; and the difficulties to which she is reduced by several unsuc- cessful attempts to disclose her passion. The comic part arises out of her supposed attachment to Young Clackitt, his own travelled conceit, and foreigii affectation, the humorous character of his testy uncle, and tlie forward lo- quacity of Lucy ; all which, however, are written with the most delicate pleasantry. The whole piece was a translation of La Pupille, or The Ward, one of the best and most celebrated of the Comedies of Christophe Barthelemi Fagan, produced June 5th, 1734, and which even yet remains upon the French stage. La Harpe, in his Cours de Litterature, attributes it's success to the tenderness and elegance of Mademoiselle Gaussin, who performed Julie, the Ward ; but the natural and simple plot, the easy and sentimental language, and the well-supported characters, possess a considei-able degree of intrinsic merit. A delicate and artless vivacity is the general characteristic of Fagan's dramas, and Garrick has most happily transferred the same spirit into the present piece, which he published as a translation only, with such alterations as another language and diff"erent manners required. Perhaps one of La Ilarpe's remarks on La Pupille is also expressive of the principal defect of The Guardian; since it states that "the piece is finished even in the early scenes of it, for unless the tutor had sworn to be deaf, blind, and stupid, he must have discovered his ward's passion for him, when she has told it to liim twenty times in the clearest manner, and written to him in terms it was impossible to miscomprehend." The Guardian was originally produced at Drury-Lane, February 3rd, 17.)9, for the benefit of the eccentric and unfortunate poet, Christopher Smart, then in confinement for debt. It's first run was only thirteen nights, though that success appeared to be beyond the author's expectations, and he returned his thanks " to the public for their kind indulgence, and to tlie performers for tlieir great care." The original cast of characters was very strong, for Garrick himself plaj'ed Heartly, Yates was Sir Charles Clachit, ]Miss Pritchard was Harriot, and I\Irs. Clive was Lucy. On the modern stage Mr. Murray has been the most celebrated performer of The Guardian. 130 4f|<> H!^# CI)e v§uartiiatt» ]i^!atliiJ':'i:k'i?i,!i!iSll,i(;,:*;'; Harriot. I have refused my hand to Sir Charles, and this young gen- tleman : the one accuses me of caprice, the other of singularity. — Should I refuse my hand a third time, [smiting] I might draw upon myself a more severe reproach — and therefore I accept your favour, sir, and will endeavour to deserve it. Heartily, And thus I seal my acknowledgements, and from henceforth devote my every thought, and all my services, to the author of my hap- piness. Act 2. Harriot. Therefore, before I declare my sentiments, it is proper that I disavow any engagement : — But at the same time must confess — tliat another, not you, sir, has gained a power over my heart. [To Yotaif: Clackit. Act 2. 131 ^»mo^>4B- HIGH LIFE BELOW STAIRS : A FARCEj BY THK REV. JAMES TOWNLEV. The materials of the present most excellent and entertainin<^ dramatic sa- tire, were doubtless easily to be found in real life, but a Lint for it was cer- tainly taken from Sir Richard Steele's amusing paper on the manners of servants, forming No. 88 of Tlie Spectator, published in 1711 ; in which a partj^ of footmen attending their masters at the House of Lords, are addressed bv the titles of the noblemen to whom they belong. Steele himself also ap- j)ears to have had an intention of dramatising the same folly; for in his Epistolary Correspondence published by Nichols in 1809, is the fragment of a play hy him, called The Gentleman, founded upon the same circumstance. High Life below Stairs was originally brought out at Drury-Lane, October 31st, 17.59, and met with considerable success, being performed twenty-one times before the close of the year ; but upon it's production at Edinburgh, January 16th, 1760, the manager Love received a letter, declaring vengeance upon the house and the performers if it were acted, and stating that upwards of seventy persons were engaged to prevent it. The Farce was nevertheless played, though a riot was attempted in " the Footman's Gallery," a part of the house to which servants attending parties to the Theatre, were admitted gratis ; but the place was cleared by force, and the manager directed to take away the privilege. Other letters were afterwards sent, and a reward for the discovery of the writers offered without success ; but the insolence of these persons was the cause of an almost general association of the nobility and gentry of Scotland, by which the mercenary system of vales was mutually abolished, to the giving of which the recent disorder was attributed. A farther account of these curious circumstances will be found in Volume xxii. of The Scots Magazine. It was most probably in consequence of this violent opposition, that the author of this Farce remained so long unknown. It was frequently attri- buted to Garrick, and Dibdiu referred it to Dr. Hoadly ; but Murphy was satisfied before his death that it was really written b}-- the Rev. James Town- ley, Head-Master of Merchant Ta^'lor's School, from the testimonials of liis surviving son. The principal original actors in this piece were O'Brien, as Lovel, Palmer as the Duke's Servant, Yates as Fhilip, King as Sir Harry, Mrs. Abington as Lady Bab, and Mrs. Clive as Kitty : and their most eminent successors have been Woodward, Listen, and Farley, in the parts of Sir Harry and " my Lord Dii/cc." 132 H--^S-§i4--^S-ii^# M0) ^iit Mohi stairs!* Kit ft/. Come here, do, and let me new mould you a little : — you must be a good boy, and wait upon the gentlefolks to night. [She ties atid powders his hair, hovel. Yes, an't please you, I'll do my best. Kitt;/. His best ! Oh the natural ! This is a strange head of hair of thine, boy, it is so coarse and so carrotty. LoveU All my brothers and sisters be red in the pole. Philip Sf Kitty. Ha, ha, ha ! [Loud laugh. Act 1. Sf. 3. Lovel. Stand off— here, Freeman— here's a barrel for business, with a brace of slugs, and well primed, as you see. Freeman — I'll hold you five to four— nay, I'll hold you two to one— I hit the cat through the key-hole of that pantry-door. Act g, Sc. ) , \-^^ m^-^m'^-^'%'^-^m^^^M'^-^%^-% 133 LOVE A LA MODE : A FARCE, BY CHARLES MACKLIN. Some time before the unsuccessful speculation of Barry and Macklin erect- ing- the Dublin Tlieatre in 1757, when they were passing an evening at a tavern near Covent-Garden ; — a tall, handsome, and well-formed, Irish sol- dier, took his seat in the same box, and entered into conversation with them with great familiarity and good humour. Barry was peculiarly possessed of the talents for drawing out his character, and the stranger frankly told them his liistory : how he was originally intended for the Church, and went to France with an uncle who was a priest, when, luckily, his relative died, and left him at liberty to enter the Army. He enlisted in the Prussian service, and was in most of the battles of Frederick, who made him a lieutenant ; and he was then come to England to receive the bequest of a relation. He also entertained them with several Irish songs, and an account of his gaieties abroad ; and when Macklin, who passed for an Englishman, pretended to at- tribute his successful gallantries to the charm of his having a tail behind, as common to all Irishmen, he actually offered to convince him of his mistake, and gravely assured him that an Hibernian, in that respect at least, was nothing better than another man. His good-natured simplicity led Macklin to think of bi-ingiug his character on the stage, and mentioning it to Barry the next day, he was so much pleased as to promise to perform the part ; and to encourage Macklin by a wager tliat he would not produce his drama in three months. In six weeks, however, great part of a five-act Comedy was ready, the treat was given, and the author engaged to complete his piece before the end of the season. When it was finished, he solicited the advice of INIurphy, who considered that the plot and character were insufficient for a Comedy, and would prove more successful in an after-piece. The author was offended, but the same decision was given by Chetwynd ; the alteration was made, and the piece was produced at Drury-Lane, December 12th, 1759, Macklin performing Sir Archy Mac Sarcasm, Moody Sir Callaghan O'Brul- laghan, King 'Squire Groom, and Miss Macklin Charlotte. It ran about ten nights ; but in 1762 it was played with great success in Dublin, when Barry personified the Irishman to perfection. The most eminent modern actors in this piece have been Cooke in Sir Archy, Lewis in 'Squire Groom, Simmons as Mordecai, and Waddy and Johnstone in Sir Callaghan. The above is the author's account of the origin of this piece, but the idea of the catastrophe has been referred to Theophilus Cibber's Comedy of The Lover, acted at Drury-Lane in 1730. X 134 i^i^^icm^^^m^-^m^^-^m^^-^*'^'^-^^>^^^ ilobe a la ilotre* Sir Archy. Ten thousand pardons, madam, I did na' observe ye ; I hope I see yere ladyship weel ; Ah ! ye looli like a deeveenity. \_Bowing awkwardly and low. Charlotte, Sir Archy, this is immensely gallant. Act 1. Sc. 1. ^^— It was a scheme devised to detect the illiberal selfish views of prodigals, who never address the fair but as the mercenary lure attracts ; a scheme to try and to reward your passion, which hath shewn itself proof against the time's infection. Act 2. Sc. 1. ^^^ 2^-ir^ ^^^^ \^-^r. 13t THE JEALOUS WIFE: A COMEDY, BY GEORGE COLMAN THE ELDER. At the time when this admired drama was first performed, there had been a very long lapse of comic novelty at both of the London Theatres, no new Comedy having been produced at either since JNIoore's Gil Bias in 1751. Ten years afterwards, however, the works of three eminent candidates for public favour appeared at almost the same time, and of almost the same cha- racter, in Murphy's Way to Keep Him, Macklin's Mairied Libertine, and the present piece of the Elder Colman ; of which the first and the last were the best and most successful. The Jealous Wife was originally acted at Drurj'- Lane, February 12th, 1761, and was played for 14 nights the first season in the intervals of benefits, with considerable applause. The dramatic talent employed in it was very great ; since Garrick performed Oakly, Yates the Major, Palmer Charles, King Sir Harry Beagle, JMoody Captain 0' Cutter, O'Brien Lord Trinket, Mrs. Pritchard Mrs. Oakly, ]Mrs. Clive Lady Freelove, and Miss Pritchard Harriot, On the modern stage Oakly has been excel- lently represented by Young, Charles by C. Kemble, Russet by Dowton and Munden, Sir Harry by Fawcett, the Irish Captain by Waddy and Johnstone, and Mrs. Oakly by Mrs. Davison, Mrs. C. Kemble, and Miss O'Neill. The underplot of Charles Oakly and Harriot in this Comedy, appears to have been imitated from Sophia Western taking refuge at Lady Bellastons in Book XV. of Fielding's Tom Jojies ; and the scene of Mrs. Oakly's hysterical fits has a very near resemblance to a similar situation in Shadwell's Squire of Alsatia. Colman, in his preface to this Comedy, also acknowledges to have taken some hints from the account of Mr. and Mrs. Freeman, in Nos. 212 and 216 of the Spectator ; the intoxication of Charles, from the conduct of Syrus, in a nearly similar situation, in the Adelphi of Terence ; and Mrs. Oakly, herself, from one of the latter papers in the Connoisseur. Though it cannot be doubted that The Jealous Wife be a drama of sterling merit, and must ever stand in the very first rank of the legitimate English Comedy, there were many objections made to it upon it's first appearance ; especially that Lady Freelove was too odious for the stage, that Captain O'Cutter was a disgrace to his profession, and that Mrs, Oakly had neither delicacy nor tenderness sufficient to constitute a genuine jealous wife. Her passions and her husband's vexations are both powerfully wrought up and supported, yet her disposition is almost too violent and imperious effectually to expose the absurdity of her conduct ; and Oakly himself is too timid and yielding for sympathy. 136 Cfte SeaIou£S OTife. Charles. Keep your distance, my lord I I have arms. IPrnduces a pistol.1 If you come a foot nearer, you have a brace of balls through your lord- ship's head. Lord Trinket. How ' what's this ? pistols ! Act 4. Sc. 2. Oakly. Dry up thy tears, my love, and be comforted ! You will find that I am not to blame in this matter. Come, let me see this letter ; nay, you shall not deny me. [Tates the letter. Mrs. Oahly. There ! take it ; you know the hand, I am sure. Act 1. Sf. 1. -j^#^§ii-'^#i^-Hl^S4ii-4^S'^ii-^^^^-^^^^i 137 o 2 THE LIAR: A COMEDY, BY SAMUEL FOOTE. Sir Richard Steele's Lying Lover, acted at Drury-Lane in 170-1, is considered to have beea the immediate original of this piece ; but that original was itself derived from The Mistaken Beauty, or the Lyar, performed at the same Theatre about 1661 ; which was a translation from Comeille's Menteur, pro- duced in 1642. This famous Comedy is, in it's turn, said to be an imitation of a Spanish piece called La Sospechosa Verdad, or The Suspicious Truth ; written by Pedro de Roxas, or Juan Alarcon. It is also frequently affirmed to have been one of the eighteen hundred plays of Lope de Vega, though this is denied by Lord Holland, who adds that there is no proof of such a piece being even extant ; but this remote original is mentioned in the Prologue to the present Comedy, and it is also positively attributed to tliis author. The English drama of The Liar was originally written in Three Acts, and was intended to liave been acted during the summer association of Foote and jMurphy at Druiy-Lane, in 1761 : but the run of the pieces which they had previously brought out, and the production of the Pantomime-Opera of Tlie Wishes, which the most powerful pati-onage obliged them to act, occupied the whole of their season, and the present Comedy was therefore first per- formed at Covent-Garden, January 12th, 1762. It met with but little suc- cess, since it appears to have been then acted four times only ; for though it contained several instances of the satire and humour of it's author, it was considered to be greatly inferior to the rest of his works. The character of Young Wilding, also, — beside being repulsive in it's distinguishing feature, — had neither originality, nor any peculiar novelty, to render it attractive on the English stage ; and the humour and interest were likewise too slight for so long a piece. It was, however, occasionally played as an afterpiece, commencing the Third Act with the second scene, and making some other omissions ; and about 1786 it was reduced to a Farce in Two Acts, in which form it has been frequently played with applause. Foote himself was the original Young Wilding, Sparks his father, Shuter Papillion, Mrs. Bellamy Miss Grantham, and Weston and Wewitzer, were admired performers of the ingenious valet. It has been observed, however, that human nature was perhaps never more perfectly represented on the stage, than it was in the Liar of John Palmer ; but EUiston and Charles Kemble have also acted it with considerable ability, and Farley and Gattie have often made an excellent Papillion, especially in the foreign part of the character. CfK ?Ciai% Enter Kitty as Miss Sybthorp. Kitty. Where is he ? — Oh ! let me throw my arms — my life, my — Young Wilding. Hey-day ! Kitty. And could you leave me? and for so long a space? Think how the tedious time has lagged along. Old finding. Madam ! Kitty. But we are met at last, and now will part no more. Act 3. Sc. 3. Young Wilding. With my sword I for some time made a gallant defence, and should have inevitably escapeil, but a raw-boned, over- grown, clumsy cook-wench, struck at my sword with a kitchen-poker, broke it in two, and compelled mo to surrender at discretion ; the con- sequence of which is obvious enough. Act 2, Sc. 3. ?^^i 139 LOVE IN A VILLAGE : A BALLAD-OPERA, BY ISAAC BICKERSTAFFE. The common original of all the older English musical pieces is considered to have been The Beggar's Opera, the success of which occasioned almost innumerable imitations, as well as the production of other entertainments composed upon the same plan. Beside this general resemblance, the cha- racter of the present drama appears to have been avowedly taken partly from Johnstone's Village Opera, acted at Drury-Lanein 1729; which, though pos- sessed of some merit, was performed but four nights only. Part of it was also compiled from Wycherley's Gentleman Dancing-Master, acted at the Duke's Theatre, Dorset-Gardens, in 1673, and from Les Jeux de V Amour et da Hasaid, of Pierre Carlet de Chamblain de Marivaux, produced in 1730; as well as from some other musical pieces. Love in a Village was originally acted at Covent-Garden, December 8th, 1762 ; and was received with so much applause that it w'as performed thirty- nine times the first season. The JNIusic consisted chiefly of old airs, com- posed by Dr. Arne, with one or two famous Opera tunes, six songs entirely new, and an excellent original overture by Abel. Shuter was tlie original Justice Woodcock, Mattocks Young Meadows, Beard Hauthorn, and Dunstall Hodge. Rosetta was performed by Miss Brent, who was eminent for her vocal talents, and particularly for her performance of Polly in The Beggars' Opera ; INIiss Hallam was Lucinda, and Miss Davies was Madge. The whole of the performance is spoken of with considerable praise in the contemporary criticisms, excepting the scene and dance of the Statute-Fair, Act i. Scene 6, which appear to have given very little enter- tainment or satisfaction ; but the acting is generally applauded, especially that of Beard, — who was considered to have condescended in taking the part of Hawthorn, — and of the principal females. It is added, however, that the distress of Miss Davies in Madge was too delicate ; and perhaps in the natural simplicity of this part, in appearance, and exquisite voice, Mrs. Bland was never equalled. Quick and Dowton as Justice Woodcock, Braham as Hawthorn, Emery and Knight as Hodge, and the very noted Miss Catley as Rosetta, have been the most eminent performers in this extremely popular Opera. The principal merits of Lore in a Village, are the simplicity and natural sentiment evinced in the dialogue and songs, the interest excited by the probable and domestic character of the storj', the vivacity of the action, and the inoftensive tendency of the whole piece. Hi^-H 140 ^obt in a Willn^t, Young Meadows. Let me see on the fifteenth of June, at half an hour past five in the morning — ITaking out a pocket-booh^ — I left my father's house, unknown to any one, having made free with a coat and jacket of our gardener's, which fitted me, by way of disguise— so says my pocket-book ; and chance directing me to this village, on the twen- tieth of the same month, I procured a recommendation to the worship- ful Justice Woodcock, to be the superintendant of his pumpkins and cabbages, because I would let my father see I chose to run any lengths, rather than submit to what his obstinacy would have forced me, a mar- riage, against my inclination, with a woman I never saw. — [Puts up the book, and takes up a watering-pot.'] — Here I have been three weeks, and in that time I am as much altered as if I had changed my nature with my habit. 'Sdeath ! to fall in love with a chambermaid ! And yet, if I could forget that I am the son and heir of Sir William Meadows : — but that's impossible. Ha ! who was it I had a glimpse of as I pass'd by that arbour ? Was it not she sat reading there ! the trembling of my heart tells me my eyes were not mistaken. Here she comes. Act 1. Sc. 2. 141 ^^^i THE MAYOR OF GARRATT : A COMEDY, BY SAMUEL FOOTE. About a mile South of Wandsworth, on the road to Lower-Tooting, is a hamlet by the side of a small common called Garrett ; a name supposed to have been derived from Garvett, a mansion-house of the Brodrick family, long since destroyed. A society of the inhabitants of that part of Wands- worth adjoining to the above road, or Garrett-lane, appears to have been formed so early as the close of the seventeenth century ; the object of which was not only conviviality, but the protection of their rights of common, and an action against some trespassers was conducted and gained by an at- torney of the vicinity, in the name of the president of the association, or, as the members called him, the Mayor of Garrett. As this event took place during the assembling of a new Parliament, it was agreed that a member for the Borough of Garrett should be returned at everj' general election. Some facetious members gradually made the ceremony a perfect burlesque, and about the middle of the last century it attracted great numbers by its extreme humour and conviviality, though it was also characterised by great disorder- Foote is said to have paid nine guineas for an apartment at Wandsworth, for himself and friends to witness the humours of this election ; and when party-spirit was highest, Wilkes, Garrick, and himself, are said to have written some of the speeches of tlie candidates, making them the vehicles of much wit, meiTiment, and political satire. These circumstances gave rise to the present Comedy, in which it is probable that every character was drawn from life ; it being admitted that Major Sturgeon was taken from a petty trad- ing juctice, named Lamb, a fishmonger at Acton. The Mayor of Ganatt was originally brought out at the Haymarket The- atre, June 20th, 1763, with very great success, as it was performed thirty- seven times during the season ; Foote himself acting Major Sturgeon and Matthew Mug, and Weston Jerry Sneak: they also performed the same parts when it was re-produced at Drury-Lane ; when Moody was Bruin, and Mrs. Clive plaj'ed Mrs. Sneak. Their most famous successors have been S. T. Russell, in the part of Sneafe, and Dowton as Major Sturgeon; both of whom have embodied the characters to absolute perfection. The humour of The Mayor of Garratt is extremely great, but the structure of some parts is perhaps less original than has been supposed, since the cha- racters of Bisket and Fribble, and their wives, in Thomas Shadwell's Comedy of Epsom Wells, acted at the Duke's Theatre in Dorset-Gardens, in 1673, probably suggested to Foote the hint of those oi Sneak and Bruin. 14^ Ctje Mm^' ^^ (^arratt A/)-s. Sneak. My last legs! — But I can rein in my passion no longer ; let me get at the villian. Bruin. Oh fie ! sister Sneak. Sneak. Hold her fast ! lApart. Mis. Sneak. Mr. Bruin, unhand me ! what, is it you that have stirred up these coals then ? He is set on by you to abuse me. Act 2. Sc. 1. Sneak. Where's brother Bruin ? Oh Lord ! brother, I have such a dis- mal story to tell you. Bruin. What's the matter ? Sneak. Why, you know I went into the garden to look for my vife and the major, and there I hunted and hunted as sharp as if it had been for one of my own minikins : but the deuce .1 major or madam could I see : at last, a thought came into my head to look for them up in the summer-house. Act 2. Sc. 1. r3±U '^> ^^^i 143 ^i^-HI'i THE DEUCE IS IN HIM : A FARCE, BY GEORGE COLMAxV, THE ELDER. The principal design of this elegant little drama, -vvas delicately to satirise the notion of a platonic attachment, independent of all external circum- stances and appearance ; as well as to ridicule that too sensitive intellect which desires to be loved for itself Alone, without regard to the ordinary gifts of nature, fortune, or education. It is acknowledged by the author in the original advertisement to this piece, that these features were suggested to him by the first and third tales in Marmontel's Contes Moraux, published in 1761 ; namely, Alcibiade, ou le Moi, and the episode of Lindor''s trial of Belisa in Le Scntpule. The part relating to Mademoiselle Florival, was taken from an article in The British Magazine for November, 1762, vol. iii. page 572, entitled the Copy of a Letter from a Sea-Officer at Portsmouth to his Friend in London, October 23rd. In that paper an account is given of the daughter of a considerable physician of Belle-Isle, having escaped from her home in male attire, to follow to England a Colonel T s, who had won her affections whilst he lay wounded at her father's house, after the Siege of the Island in 1761, and to whom she was privately married. She carried with her letters of recommendation from General Crawfurd, and several other officers of the British army ; but when she arrived at Portsmouth, her hus- band had embarked for tlie siege of the Havannah three days previously. Slie disposed of her jewels, ficc, and was reduced to great distress, which was considerably increased when she at length learned that the Colonel had fallen ; but it is stated, in a contemporary critique on this very piece, that she was present in the boxes on the first night of it's representation. Tlie Deuce is in Him was originally produced at Drury-Lane, November 4th, 1763, and, being greatly applauded by the public, was performed nineteen times in it's first run. O'Brien played Colonel Tamper, King Prattle, Miss Plym Mademoiselle Florival, and Miss Pope Emily. The first two parts were also excellently acted by Palmer and Baddeley. Tliough the present piece be both cheerful and entertaining, it's general character is somewhat serious, and the follies which it satirises are treated with the most delicate humom*. The dialogue is easy, the characters are well supported, and the incidents are natural ; and from the perfect absence of all coarse humour and wanton tendency, the performance was both admired and applauded by even the most strenuous advocates for dramatic morality. The scene is London, and the time of action is supi)osed to occupy but a few liours only. 144 Cfte Mtxitt 15 m i^i'm* Tamper. This is beyond all sufferance. I can contain no longer — Know then, madam, [To Emily,'] to your utter confusion, I am not that mangled thing which you imagine me — You may see, madam — [Resuming his natural manner. Emily, Bell, Florival. Ha, ha, ha, ha ! [Laughing violently. Emi'>j. A wonderful cure of lameness and blindness — Your ease is truly curious, sir ; — and attested by three credible witnesses — Will you give us leave to print it in the public papers ? Act 2. Sc. 1. Emily. Oh, Colonel ! [Bursts into tears, and leans upon Bell. Tamper. How 's this ? tears ! Bell. You should not have followed the Major so soon, Colonel ; she had scarce recovered the first shock from his intelligence. Act 1. Se. I. 145 MIDAS : AN ENGLISH BURLETTA, BY KANE o'hARA. 77(6 Golden Ass of Apuleius, and book ii. fable 5 of Ovid's Metamorphoses, contain the classical history upon which this very humorous performance is founded ; whilst the thought of treating such a subject in the broadest bur- lesque appears to hare been suggested by Charles Cotton's coarse poem of Scaroiddes, or Virgil Travestie, originally published in 1664. The first idea is said to have been conceived, and partly executed, by a gentleman in Dublin ; and the piece in Three Acts was first played at the Crow-street Theatre there, in 1762, when it was uncommonly successful for a long series of nights. Although Midas had already undergone some alteration, perhaps it's ori- ginal length was the principal reason that it was less favourably received in England, than even it's merits deserved ; since upon it's production at Covent-Garden, February 2'2nd, 1764, it was played for only nine nights in it's first run. Mattocks was the original Apollo, Beard was Sileno, a part utterly unworthy of his great talents, Dunstall was only respectable as Pan, and it is remarked of Dibdin, Baker, and Fawcett, who played Momus, Mercury, and Bamcetas, that they had neither voice nor humour. Shuter's Midas, however, was reported as most excellent ; as were also the Daphne and Nysa of JMiss Miller and JNliss Hallam. In more recent times, some of the best performers in this Burletta have been Kelly as Apollo, Suett as Midas, Dignum as Sileiio, and Mrs. Bland and Mrs. Mountain as Nysa and Daphne. By far the greatest success and best representation of the piece were, however, reserved for it's very splendid revival at Covent-Garden, September 17th, 1812, when it was received with the loudest applauses, and drew crowded and admiring houses for fifty-four nights the same sea- son. In this revival, Sinclair shewed himself probably the best Apollo which has ever appeared ; though Madame Yestris has also acted the part with very great vivacity and talent. Liston as Midas, and Emery as Pan, were likewise surpassingly excellent ; and perhaps the latter character has never been so well performed either before or since. The humour of this Burletta is very considerable, though the language, in it's original form, is quite upon the verge of decency and good manners. The whole is greatly improved by having been reduced to an after-piece : Apollo being " recalled to the sky," is now no longer shewn to the audience as it used to be during the symphony to Act iii., when " Mercury descended, and walked to and fro tolling a bell at intervals, as a public crier," and then at the close advertised the lost Phoebus in an irregular air. 146 i^^m iBitinsf^ Pan is discovered sitting at a table, with a tankard, pipes, and tobacco, before him ; his bagpipes tying by him. Pan. Jupiter wenches and drinks, He rules the roast in the sky; Yet he's a fool if he thinks That he's as happy as I. s Act 1. Sc. 8. Apollo, as cast from heaven, falls to the earth ivith a rude shock, and lies fur a while stunned : at length he begins to move, rises, advances, and, looking forward, speaks. Apollo. Zooks ! what a crush ! a pretty decent tumble ! Kind usage, Mr. Jove — sweet sir, your humble. Well, down I am ; — no bones broke, — though sore pepper'd ! Here doom'd to stay. — What can I do ? — turn shepherd. Act 1 . Sc. 2. •->&• W I mf SO, 4i Mi 147 i^^^^^i THE CLANDESTINE MARRIAGE: A COMEDY, BY GEORGE COLMAN THE ELDER, AND DAVID GARRICK. PIoGARTu's magnificent moral pictures of The Marriage d la Mode, are ac- knowledged in the Prologue to have furnished the original hint for the present most excellent drama. They appeared in 1745, and in 175-1 was published a Novel called The Marriage Act, taken from the same source, though it pursued a very different story. With respect to the parts of this Comedy written by each author, it was generally supposed that Garrick produced Lord Ogleby, and the courtlj' personages ; and that Colman wrote the parts of Sterling, and the city family. It is stated, however, in a volume of Fugitive Verse and Prose, published in 1801, by Mr. Roberdeau, who mar- ried a daughter of the Rev. James Towniey, — that Colman declared, that Garrick, having composed two acts of this piece, brought them to him, desir- ing him to put them together, or do what he would with them; to which Colman added that he did put them together, — into the fire, and wrote the play alone. He observes in his Preface, that though different parts of the piece were attributed to it's authors by both friends and enemies, each con- sidered himself responsible for the whole. An unprinted play by the same Mr. Townlej', called False Concord, is said to contain the matter of some scenes, copied almost literally into this Comedy, with tlie originals of Lord Ogleby, Sterling, and Brush. The Clandestine Marriage was first acted at Drury-Lane, February 20th, 1766, with great applause, and was performed nineteen times in it's first run. King, though he took the part with reluctance, was extremely admired as tlie original Lord Ogleby, and his peculiar style of playing is said by Tate \Vilkinson to have been adopted from a person then living at Exeter; but it is still carefully preserved and imitated. Yates was the original Sterling, Baddeley Canton, Palmer Brush, Mrs. Clive Mrs. Heidelberg, Miss Pope Miss Sterling, and Mrs. Abington Betty. On the modern stage the best actors in this Corned}'- have been Terry, Lovegrove, and W. Farren, as Lord Ogleby ; the last of whom first appeared in the part at Covent-Garden, Sep- tember 18th, 1818: Wewitzer and Farley as Canton: Mrs. Davenport as Mrs. Heidelberg, and Mrs. Gibbs and JMrs. Glover as Miss Sterling. The Epilogue to this Comedy was written by Garrick, and is of a very uncommon construction, being a scene representing a fashionable party at cards, and consisting of a mixture of singing and speaking, It was origi- nally performed by Dodd as Lord Minum, Vernon as Colonel Trill, ]Moody as Sir Patrick Mahony, and Mrs. Abington as Miss Crotchet. 148 # CI)e Clanitstiiw iHamast. Lovewell. [Rushing out of the chamber.'\ My Fanny in danger ! I can contain no longer ! Prudence were now a crime ; all other cares were lost in this ! Speak, speak, speak to me, my dearest Fanny ! let me but liear thy voice : open your eyes, and bless me with the smallest sign of life! Act 5. So. 2. iMid Ogleb'j. Very ingenious indeed ! For my part, I desire no finer prospect than this I see before me. \_Leers at the Women.'] Simple, yet varied; bounded, yet extensive Get away, Canton! [Pushes Canton aivHi/.} I want no assistance — I'll walk with the ladies. Sterling. This way, my lord ! Lord Ocleby. Lead on, sir ! — We young folks here, will follow you. — Madam ! — Miss Sterling! — Miss Fanny ! I attend you. \_Kxit after Sterling, gallanting the Ladies. Act 2. Sc. 2. 149 m Ju ^1'^ 'i'' f THE COUNTRY GIRL : A COMEDY, ALTERED FROM WYCHERLEY BY DAVID GARRICK. Next to bis Plain Dealer, the present is considered to be the best of Wy- cherley's dramas. It contains great wit, highly wrought characters, and manly and nervous language ; and yet on account of the excessively dis- solute conversation of Horner, and some of the other persons in it, the Comedy was most properly laid aside, and without alteration must always have remained so. The Country Wife, under which title this piece first ap- peared, was originally acted at Drury-Lane in 1675 ; when Hart played Horner, partly the Moody of this drama, Kynaston, so celebrated for his beauty and performance of women, was Harcoitrt, Haynes was Sparldsh, and JMohun was Pinchuife, whose character is now omitted, though it's chief features are incorporated with that of Moody ; and Quin was the last per- former who excelled in playing tlie original part. Mrs. Bowtell was Margery Pinchuife, the present Peggy, and Mrs. James Alithea ; and there were also several other characters which are now entirely omitted. The first alteration of this piece was by John Lee, a player, who reduced it into Two Acts, and brought it out at Drury-Lane under it's original name, April 26th, 1765 ; himself performing Pinchwife, King Sparkish, Parsons Harcourt, and Miss Plym Margery, This adaptation, however, was executed with very little talent, and was attended by as little success ; and the piece was not rendered worthy of the public encouragement, until Garrick pro- duced it at Drury-Lane, October 25th, 1766, under the present title of The Country Girl, for the purpose of introducii?g Miss Reynolds as Peggy, nearly half being re-written. The part of Moody was then supported by Holland, Palmer was Harcourt, Dodd was Sparkish, and it ran fourteen nights the first season; and still continues an excellent and popular comedy, whenever an actress of talent appears in it's principal character. JNIrs. Brown, Mrs. INIar- dyji, and Mrs. Alsop, have been at different periods the most favourite per- foi-mers of Peggy ; but the most eminent of all was certainly the late Mrs. Jordan, who made her first appearance on the London stage in this character at Drury-Lane, October 18th, 1785. Perhaps no actress ever excited so much mirth in the part : her delightful laugh was the happy ecstasy of the gay and innocent country maiden, and her graceful simplicity and excellent perfoiinance in the famous letter-scene, made it the most perfect of even her numerous and successful eftbrts. Of the other characters in this Comedy, the most celebrated have been King, Wroughton, and Fawcett, as Moody, Farley and Russell as Sparkish, and INIrs. Orger as Alithea. 150 CfK Couutri) 0ivh ^If'T^ f Lord! Moody. Come, where's the wax and seal ? Peggy. Lord! what shall I do? \_Aside.'\ Pray let me see it. you think I cannot seal a letter; I will do it, so 1 will. [_Snatches Vie letter from him, changes it fur the other, seals it, and delivers it to him. Act 4. Sc, 2. Moody. I am stupified with shame, rage, and astonishment — my fate has overcome me — 1 can struggle no more with it. \_Sighs,'] What is left me ? — I cannot bear to look, or be looked upon — I will hurry down to my old house, take a twelvemonths' provision into it — cut down my drawbridge, run wild about my garden, which shall grow as wild as my- self — then will I curse the world, and every individual in it — and when my rage and spirits fail me, I will be found dead among the nettles and thistles, a woeful example of the baseness and treachery of one sex, and the falsehood, lying, perjury, deceit, impudence, and damnation, of the other ! Act 5. Sc. 2. 4 ^[2 151 n^l 4 # LIONEL AND CLARISSA : A COMIC OPERA, BY ISAAC BICKERSTAFFE. In the advertisement which the author attached to this piece, he states that it was written witli unusual care and attention ; thnt it was considered the best of his productions; and that he had not adopted in it an expression, sentiment, or character, from any dramatic writer extant. Lionel and Clarissa was originally produced at Covent-Garden, March 25th, 1768, and was per- formed with applause for ten nights, when it was interrupted by benefits. At this time Shuter played Colonel Oldboy, Dyer Jessamy, INIattocks Lionel, Mrs. Baker Diana, and Miss Macklin Clarissa, The Elder Dibdin states that the original music was nearly two-thirds composed by himself. When Mrs. Wrighten was about to make her first appearance on the London stage as a vocalist, Garrick proposed to reproduce this Opera at Drury-Lane ; and for her greater convenience and exhibition, some new songs and airs were pro- vided. As the otlier singers also intended to perform in it had voices of a compass entirely different to those of the original actors, by far the greater '^^' part of tlie music was recomposed by Dibdiu. The entertainment was then dw introduced to the public a second time, February 7th, 1770, with the title of ' A School for Fathers, referring to Colonel Oldboy. That part was now per- formed by Parsons with great comic talent, though with less than had been displayed by Shuter ; Vernon was Lionel, Dodd was Jessamy, ISlrs, Badde- ley was Clarissa, and Mrs. Wrighten was Diana, The plot of this Opera is interesting, and the characters are entertain- ing ; but the dialogue is often licentious, and the songs are too numerous and unnaturally introduced. Uibdin remarks also, that " the perpetually going off with a song, and teaching the audience when to expect a bravura song, a comic song, a cavatina, a duetto, a quartetto, and a finale, began to grow intolerably tiresome." The last revival of Lionel and Clarissa was by the Drury-Lane Company at the Lyceum Theatre, November 14th, 1811 : when Philipps and Mrs. Dickons performed the principal parts, Dowton the Colonel, flliss Kelly his daughter, and Rlrs. Bland Jenny, Several of the airs were then recomposed, and tliere was also some additional new music. It was in the part of Lionel, tliat Mr. Johnstone first appeared upon the ^ London stage at Drury-Lane, October 7th, 179'2. For some time he conti- '' nued to perform tlie leading Operatic characters, but at length his Irish pronunciation and humour became noticed, and he commenced that line of acting in which he has never yet been equalled. 152 k ^ioml antr Clanigga* It M Mr. Jessamp. Antoine ! have you sent La Roque for the shoes and stockings ? Give me the glass out of your pocket — not a dust of powder left in my hair, and the frissure as flat as the foretop of an attorney's clerk — get your comb and pomatum ; you must borrow some powder : I suppose there's such a thing as a dressing-room in the house. Act 1. Sc. 3. 4 ^pn ^ Lionel. Command, dispose of me, as you please; angels take cognisance of the vows of innocence and virtue ; and I will believe that our's are already registered in heaven. Clariasa, I will believe so too. Go, and, on my tnilh i-elvinp. Comfort to your cares applying. Bid each doubt and sorrow tlying. Leave to peace and love your breast. Go, and may the Pow'rs that hear us, ' Still, as kind i)rotectors near us. Through our troubles safely steer us To a port of joy and rest. Act 2. Sc. 3. 153 THE PADLOCK: A COMIC OPERA, BY ISAAC BICKERSTAFFE. In the third number of The MontJdy Amusement, published in June 1709, is a translation by Ozell of the seventh of Cervantes' Novelas Eiemplares, called £/ Zeh'iso Estremefia, or The Jealous Estremadnran, upon which the present piece was founded. Bickerstaffe observes that " the characters remain un- touched from the inimitable pencil of the original designer ;" and the prin- cipal addition is the introduction of the Padlock, though Diego's barred and grated dwelling is particularly described in the novel. The source whence the author took the hint of the Padlock, he states to be indicated in the lust four lines of Leander's part in the finale to the Opera : — " Be to her virtues very kind ; Be to her faults a little blind ; Let all her ways be uncoiifined ; And clap your Padlock, on her mind :" — which verses form the conclusion of the moral to Prior's loose tale " ad- dressed to a young gentleman in love." In Cervantes' story the principal character is called Philip de Carizales, the musical lover Loaysa, the young bride Leonora, and the Negro Lewis ; but there is no name given to the Duenna. Upon discovering the infidelity of his wife, Carizales is suddenly death-stricken, and expires a week after he has made his will in her favour, recommending her to marry Loaysa ; but Leonora enters one of the most austere monasteries of the city, and her former gallant departs to the Indies. Much of the sentiment and language of the tale are preserved in the Opera, but the Negro in the latter is an entirely new creation ; for the original wants much of Mungo's humour, and all his droll peculiarity of speech. It had been intended to produce The Padlock during the summer-season at the Haymarket, when Moody was to have performed the Negro, and Mrs. Jewel Leonora; but this being prevented by Garrick, it was first acted at Drury-Lane, October 4th, 1768, when Bannister plaj'ed Diego, ^'ernon Leander, and Mrs. Arne Leonora. Dibdin was Miingo, and he acted the character in so capital and original a style, as to contribute greatly to tlie success of the piece, which was plaj-ed 53 times the first season. The music he composed for it was also equally popular, since he states that in thirteen years, nearly three sets of plates were worn-out, each being capable of work- ing 3500 impressions, though he received but o£-45. for liis labours. I'he other most eminent performers in The Padlock have been Quick, Munden, and Blanchard, as Mungo, and IMiss Catley as Leonora. 154 C!)e ^patiloclt* Enter Leonora, with a Bird on her finger, which she holds in the other hand by a string. Say, little, foolish, fluttering thing. Whither, ah ! whither, would you wing Vour airy flight ? Stay here and sing, Vour mistress to delis^ht. * No, no, no. Sweet Robin, you shall not go: Where, you wanton, could you be. Half so happy as with me ? Act 1. Sc. 1. Leander. Vou know I am no bad chanter, nor a very scurvy minstrel ; so, taking a guitar, clapping a black patch on my eye, and a swathe upon one of my legs, I soon scraped acquaintance with my friend Mungo. Act 1. Sc. 2. \-m>i 155 THE HYPOCRITE : A COMEDY, BY ISAAC BICKERSTAFFE. TMoliere's very celebrated drama Le Tartuffe, which appeared in 1667, was the foundation of CoUey Gibber's famous piece of The Nonjuror, first acted at Drury-Lane, December 6th, 1717 ; which formed the almost literal ori- ginal of The Hypocrite. The desig^n of the older Comedies was entirely poli- tical satire ; for Tartuffe is a rebel, and Gibber states that his Dr. Wolf was intended for an English popish priest, lurking under the doctrines of the reformed church, and endeavouring to raise his fortunes upon the ruin of a worthy gentleman, whom he seeks to engage in the restoration of the Stuarts. This character was performed by the author, who was warmly attached to the Hanoverian succession, and the piece ran with applause for eighteen nights ; whilst it's enemies, whose party had been so recently sub- dued in the insurrection of 1715, could not venture to express their dislike otherwise than by silent contempt. When the present Gomedy was produced the character of the times had entirely changed, all the former feelings had almost completely passed away, and the Jacobite party was neither feared, nor even in existence. Bicker- stafFe therefore altered the direction of it's satire on the political adven- turers, and levelled it at those hypocritical, enthusiastic, ignorant, and designing, persons, who at this time brought so much disrepute upon the sincere followers of Wesley and Whitefield. There was, however, but little originality in his labours, since Mawworm, written purposely for W^eston, was the only positively new character. The fable, too, was rendered defec- tive by this close adherence to the original ; and the diction was not only very imperfect, but manj'^ of Gibber's dissolute equivocal speeches were pre- •served even in the part of Charlotte. Thus altered. The Hypocrite was pro- duced at Drury-Lane, November 17th, 1768, and ran twelve nights; King performing Dr. Cantwell, Reddish Darnley, INIrs. Abington Charlotte, and Mrs. Bradshaw Old Lady Lambert. The most celebrated modern performers in this Gomedy, are ]Mr. Dowton as Cantwell, which he played on it's revival at Drury-Lane, and rendered one of the finest performances on the stage, and Oxberry as Mauicorm ; but the inconceivable merit and drollery of Liston in the same character, also at Drury-Lane, will probably be remembered whilst the name of The Hypocrite shall continue to exist. His admirable burlesque sermon intro- duced in the concluding scene, first received an unprecedented encore in the presence of George IV. at the same Theatre, December 1st, 1823. ^-lfl'*^lf^-^*^IB--H|-#§i^-H|-# :c^i4-<=^«o^c222^. s&^$j^"'f?r? 53^^ll>i ■^357= 156 ^-^w^ €l)t i^|)pcitn'te* Mawworm. I have made several sermons already; I does them ex- trumpery, because I can't write ; and now the devils in our alley says, as how my head 's turned. Old Lady Lambert. Aye, devils indeed ! — but don't you mind them. Mawivorm. No, I don't — I reoukes them, and preaches to them, whe- ther they will or not. We lets our house in lodgings to single men ; and sometimes I gets them together, with one or two of the neighbours, and makes them all cry. Old Lady Lambert. Did you ever preach in public ? Mawwmm. I got upon Kennington-common, the last review-day ; but the boys threw brickbats at me, and pinned crackers to my tail ; and I have been afraid to mount ever since. Act 2. Sc. 1. Villain ! monster! perfidious and ungrateful traitor! your hypocrisy, your false zeal, is discovered ; and I am sent here, by the hand of in- sulted heaven, to expose you to the world. Acts. Sc. 1. 157 ^S ^s THE WEST INDIAN : A COMEDY, BY RICHARD CUMBERLAND. The author of this admired drama states, that he studied in a place which offered as little distraction to the sight as possible ; and that the present piece was written during a visit to his father in 1770, in a little closet, at the hack of the Bishop's palace at Clonfert, having no prospect but a single turf-stack. He then engaged Garrick to produce it, and availed himself of some of his suggestions for it's improvement ; especially in Scenes 1 and 2, where Belcoiir's character is announced to the audience : for, said Garrick, " they will then say ' here he comes, with his colours flying ;' never let me see a hero step upon the stage without his trumpeters of some sort or other." The West Indian was first acted at Drury-Lane, January 19th, 1771, and succeeded so well as to be performed 33 nights the first season, and 28 with- out the support of an afterpiece ; which was then the custom with all new plays. A misconception of it's nature occasioned some little hostility at the opening of the prologue, which was begun twice ; but as the characters were described, all opposition was lost in applause. Some coutemporarj' cri- tiques, however, gave but an unfavourable report, particularly one in The St. James's Evening Post, from which Cumberland was defended by Garrick. It applauded the sentiments and language of the play, but condemned the dialogue as burlesque heroic iu the serious parts, and coarse in all the rest. The moral was considered good, but the manners very censurable, since the females court the men throughout the piece ; and Alajor O'Flahertii, with all his honour, forcibly seizes Sir Oliver's will, places himself secretly to over- hear a conversation, and openly avows, when he is courting Lady Rusport, that he. has married five wives alreadj', who are all living. The author afterwards inserted that " a good soldier must sometimes fight in ambush, as well as open field ;" and that the marriages were all " en militaire." Barry was desirous of acting O'Flahertii, though Garrick preferred Moody, who played it excellently, but the name of Johnstone is immortal in this character. King was an admirable Belcour, and Elliston and Jones have been his worthiest successors. INIrs. Abingtoii was the first Charlotte Bus- port, with some aifectation of condescension, as she considered the part a mere sketch, though she exalted it to a character by her acting ; and ^Irs. Davi- son and INIrs. C. Kemble were certainly her best modern followers. In Tlte Gentleman's Magazine for July and August, 1786, will be found some anecdotes of a Colonel O'Bume, of Bruxelles, an Irishman in the Prussian army, said to have been the original of Major 0' Flaherty. I ^ ?i;j^A 158 €i)t raesit Kntrian* M(Vi Ruspnrt, Hey day ! right, sir ! Why these are not nvj iliamonds ; these are quite different ; and, as it should seem, of much greater value. Belcoun Upon my life, I'm glad on' t ; for then I hope you value them more than your own. Act 3. Sc. 3. Louisa. - Coming from Miss Rusporl's, I met a young gen- tleman in the streets, who has beset me in the strangest manner. Charles. Insufferable ! was he rude to you ? Louisa. I cannot say he was absolutely rude to me, but he was very importunate to speak to me, and once or twice attempted to lift up my veil; he followed me to the corner of the street, and there I gave him the slip. Act 2. Sc. 1. T* I k :^^^ 159 THE GRECIAN DAUGHTER : A TRAGEDY, BY ARTHUR MURPHY. As the gay and graceful Barry advanced in life, he suffered greatly from hereditar3' gout, which frequently confined him with extreme pain, and at lengtli so much weakened his powers of exertion, that he was no longer capable of personifying the impassioned lover or the enthusiastic hero. It therefore became desirable that he should be provided with a character adapted to his declining strength, in which even the fading graces of his figure, and the breaking music of his voice, might yet be exhibited to advan- tage ; and he requested Murphy to turn his thoughts to some Tragedy of this description, upon which the present drama was written in 1769. The fable was derived from some anecdotes related by Valerius INIaximus, in his Memorable Acts and Speeches of the Romans, book v. chapter 4., " Conceniing piety towards Parents," section 7. Following the Roman examples, are some which occuiTed in other countries, and that related of the Athenian General Cimoyi and his daughter Pero, was the one selected by Murphy. He also appears to have been directed to it by seeing a picture of it, wherein the guard is bursting into tears on beholding the daughter relieving her dying father from her own breast. Cimon was really slain at the Siege of Citium, in Cyprus, B.C. 449 ; but the period of the present Tragedy is in the reign of the Younger Dionysius, when Timoleon laid siege to Syracuse, B. C. 343. The Scene is Syracuse, and the time of action is about thirty-six hours. TJie Grecian Daughter was originally performed at Drury-Lane, February 26th, 1772, with great applause, arising chiefly from the admirable acting of Barry and Mrs. Barry, as Evunder and Euphrasia ; and though it's run was only nine nights, the author's three benefits produced him ^789 : 16s : and it may be curious to notice that his expenses for the house were ^73 : 10s. It was in this Tragedy that Barry took leave of the stage, November 28th, 1776 ; soon after which he was confined entirely to his bed, and died Janu- ary 10th, 1777. Whilst it is allowed that the interview between Euphrasia and her fatlier, in Act ii. Scene 2, and the catastrophe, are extreme!}- beautiful, it is ac- knowledged that the great defect of this drama is the interest not keeping pace with the action, and that it is generally somewhat heavy. It neverthe- less excited both interest and applause when Mrs. Siddons first performed the principal part at Drury-Lane, October 30th, 1782, and when Miss Fanny Kemble and her father revived the piece at Covent-Garden, January' 18th, 1830. 160 o Cf)e Grecian 2BaugI)UCi Philotas. Oh ! I can hold uo more ; at such a sight Even the hard heart of tyranny would melt To infant softness. Areas, go, behold The pious fraud of charity and love ! Behold that unexampled goodness ! See the expedient sharp necessity has taught her; Thy heart will burn, will melt, will yearn, to view A child like her. Areas. Ha !— Say what mystery Wakes these emotions ! Philotas. Wonder-working virtue ! The father foster'd at his daughter's breast ! Oh, filial piety ! — The milk design'd For her own offspring, on the parent's lip Allays the parching fever. All her laws Inverted quite, great Nature triumphs still. Act 2. Sc, 2. 161 Q "i THE IRISH WIDOW : A FARCE, BY DAVID GARRICK. Moliere's Comedy of La Man-iage Forcte contains the original plot of this entertaining little piece, which was first acted at Drury-Lane, October 23rd, 1772, for the benefit of Mrs. Barry, whom it was intended to introduce in a novel style of character, and to recompense for the uncommon ability dis- played by her in The Grecian Daughter. At this time Moody acted Sir Pa- trick O'Neale, Parsons Old Whittle, Cautherley his Nephew, Baddeley Bates, Dodd Kecksey, and Weston Thomas. Mrs. Barry's excellent Widow Brady, with a few temporary allusions scattered throughout the piece, procured it to be favourably received: but, as -she was not a vocalist, her delivery of the original singing Epilogue caused it to be observed at the time, that it's novel humour " atoned for bad words and an indifferent voice." The remark, how- ever, was perliaps as much excited by the concluding speech of the Farce, — " I will add an Irish tune, that may carry off a bad voice and bad matter," — as by her want of vocal ability, or the real demerit of the address itself. The Irish Widow is not often seen upon the modern stage, but she was ex- cellently personified by Mrs. Jordan at Drury-Lane, July 28th, 1786, at her first London benefit ; when that admirable actress attracted an audience very seldom seen, and drew from the Whig Club a very handsome present as a tribute to her merit. Mrs. Litclifield also played the part with great ability at Covent-Garden, in 1807 ; and June 14th, 1816, the Farce was revived at Drury-Lane for Mrs. Mardyn. The other principal modern performers have been R. Palmer and Waddy as Sir Patrick, Emery as Old Whittle, Love- grove and Simmons as Kecksey, and Knight and Blanchard as Thomas. Although The Irish Widow was performed 17 nights the first season, it's general character is not of a very high standard ; and Murphy remarks that it may be said of the dialogue, as Cibber said of Congreve's Comedies, something very like wit is to be found in it. The situations are humourous, and some of the characters natural and lively ; but a contemporary critique condemns the latter as having been drawn from the common dramatic stock, without originality, variety, or taste ; the Elder Whittle is censured as " a wretch whose likeness is to be found no where," and the nephew as " one of those canting mad inamorati who are to be found every where." The moral of the whole is, however, both well-imagined and useful ; since it holds up a glass wherein those who have declined into the vale of years may see the absurdity of pretending to the passions of youth, and of professing them- selves to be still in the very bloom of life. I6'i €i)t M^i) Wixtio\\). Whittle. But, Captain, suppose I will marry your sister ? Widow, I have not the laste objection, if you recover of your wounds. Callaghan O'Connor lives very happy with my great aunt, Mrs. Deborah O'Neal, in the county of Galway ; except a small asthma he got by my running him through the lungs, at the Curragh ; he would have for- saken her, if I had not stopped his perfidy by a famous family styptic I have here: Oh, ho! my little old boy, but you shall get i^ IDraws. Act 2. Sc.l. Si)- Patrick. Fait ! what, are you wearing the breeches, Pat, to see how they become you when you are Mrs. Weezel ? Widow. I beg your pardon for that, sir ! I wear them before marriage, because I think they become a woman better than after. -^M^^-^i i^^-Hr? 163 SHE STOOPS TO CONQUER; OR, THE MISTAKES OF A NIGHT: A COMEDY, BY OLIVER GOLDSMITH, M.D. When this entertaining drama was first produced, the public taste was en- chanted by that species of composition called Sentimental Comedy, origi- nally derived from France, and introduced on the English stage by Hugh Kelly's False Delicacy, acted at Drury-Lane in 1768. The prevailing cha- racteristic of this style, was an unnatural affectation of polished language in the most ordinary affairs and ranks of life ; which the French authors for- merly considered as the proper distinction of the higher order of Comedy. For a few years Kelly's play continued to draw multitudes ; when it's sway was overthrown by an nnexpected blow of Foote's satire. This was the production of The Primitive Puppet-shew, including a piece called The Hand- some HoiLsemaid, or Piety in Pattens, at the Haymarket, February Ijth, 1773 ; which was excellently performed by Foote himself, and contained numerous imitations of well-known performers, &c. In the opening address he informed his auditors that they would not discover much wit or hu- mour in the piece ; for his brother-authors had all agreed that it was highly improper, and beneath the dignity of a mixed assembly, to shew any signs of joyful satisfaction : and that creating a laugh was forcing the higher order of an audience to a mean and vulgar use of the muscles ; for which cause he had resigned the sensual for the sentimental style. It was, however, only by the strongest interest of common friends, that the Elder Colman was induced to bring out Dr. Goldsmitii's Comedy ; whilst Smith and Woodward, who were intended for Young Marlow and 'Tony Lumpkin, declined their parts. Lee Lewes and Quick succeeded to them, and were indebted to their excellent performance for much of their celebrity. She Stoops to Conquer was produced at Covent-Garden, March 15th, 1773, and was received with great applause, being played 13 times the first season. Shuter acted Hardcastle, Mrs. Bulkeley his daughter, and Mrs. Green Mrs. Hardcastle. Fawcett, Munden, Dowton, and W. Farren, have been the best modern actors in the former part, and perhaps Mrs. Davenport was never exceeded in the latter : EUiston and C. Kemble were both excellent in Young Marlow ; and Bannister and Listou unequalled in 'Tony Lumpkin. The chief incident of this Comedy, that of mistaking a family mansion for an inn, is related to have occurred to Goldsmith himself; but it lias been also referred to the old play of Albumazar, revived by Garrick at Drury-Lane in 1773. From this circumstance Goldsmith originally in- tended to call his piece The Old House a New hin. n^-^i 164 ^f)e ^tcop£{ to Conqiiei% Scene, an Alehouse Room. — Several shabby Fellows with Punch and To- bacco, 'Tony at the head of the Table, a little higher than the rest ; a Mallet in his hand. All. Hurrea ! hurrea ! hurrea ! bravo ! First Fellow. Now, gentlemen, silence for a song ! the squire is going to knock himself down for a song. All. Aye, a song, a song ! 'Tony. Then I'll sing you, gentlemen, a song I made upon this ale- house, the Three Pigeons. Act 1. Sc. 2. . MI?;-- Maid. The young gentleman, as you passed by in your present dress, ask'd me if you were the bar-maid ? He mistook you for the bar-maid, madam ! Miss Hardcastle. Did he ? Then as I live I'm resolved to keep up the delusion. Tell me, Dolly, how do you like my present dress? Don't you think I look something like Cherry in the Beaux' Stratagem ? Act 3. Sc. 1. J&-it 165 fe-^^ BON TON ; OR, HIGH LIFE ABOVE STAIRS : A FARCE, BY DAVID GARRICK. FnoM tlie advertisement of the author attached to this piece, it appears to have been written long before it was produced ; since he says that " this little drama, which had been thrown aside for some years, was brought out last season, with some alterations, for the benefit of Mr. King ; in token of regard for one who, during a long engagement, was never known, unless confined by real illness, to disappoint the public or distress the managers." Garrick's gift, and testimonial to King's character, are perhaps the greatest praises which the professional morality of any actor can receive. The Farce of Bon Ton was originally produced at Drury-Lane, March 18th, 1775, with an excellent Prologue, by the Elder Colman, delivered by King, descriptive of the notions of bon-ton in various classes of society. It was received with some applause, but was not repeated until the 27th, and then was withdrawn for alteration until April 4th, when it re-appeared in it's present form, and was performed eight times the same season. It is allowed that this Farce possesses much greater merit than is com- monly seen in benefit-pieces ; that a more lively or agreeable entertainment can with difficulty be found upon the English stage ; that the characters are well drawn, and the satire against foreign folly, vice, and dissipation, is justly directed ; and that the moral is such as must be sanctioned by all. The contemporary critiques, however, observe of it, that though the profli- gate manners of the fashionable world may be accurately shewn in it, they have in themselves so much sameness, that the subject is opposed to any acute wit or lively humour. The names used by Garrick are also particu- larly forced and unnatural ; but his intimate knowledge of stage-eifect is visible through the whole piece, especially in the discovery at the end, which partakes of the character of the Spanish Drama. The part of David is also similar to that of the Spanish Coachman, in Bickerstaflfe's 'Tis Well it's No Worse ; and the general principle that vices are acquired by a residence in France and Italj"-, resembles General Burgoyne's Maid of the Oaks, which, however, was partly written by Garrick. When Bon Ton was originally produced. Lord Minikin was performed by Dodd, and subsequently best by R. Palmer ; King was Sir John Trotley, since excellently sustained by Dowton ; Brereton was Colonel Tivy, after- wards acted by Holland ; Parsons was Davy, Miss Pope Lady Minikin, and Mrs. Abington Miss Tittup, in which Mr. Mathews, Mrs. Dormer, and Miss Mellon, have also appeared to great advantage. 166 35on Com T Sir Jo/in. Why, how now ! — you are drunk too, sirrah. Bay?/. I am a little, your honour, — because I have been drinking. Sir Jolm. That is not all — but you hare been in bad company, sirrah ! Davy. Indeed your honour's mistaken, I never kept such good com- pany in all my life. Sir John. The fellow does not understand me — where have you been, you drunkard ? Davy. Drinking, to be sure, if I am a drunkard; and if you had been drinking too, as I have been, you would not be in such a passion with a body — it makes one so good-natured. Act 2. Sc. 2. Sir John. Thus, then, with the wife of one under this arm, and the mistress of another under this, I sally forth a Knight-errant, to rescue distressed damsels from those monsters, foreign vices, and Bon Ton, as they call it; and I trust that every English hand and heart here will assist me in so desperate an undertaking. Act 2. Sc. 2. 167 THE RIVALS: A COMEDY, BY THE RIGHT HON. RICHARD BRIXSLEY SHERIDAN. This Play affords one of the few instances in which a first night's condem- nation has been completely reversed, by the unanimous approval of all future audiences : and it is rather a remarkable coincidence, that the most recent example of similar good-fortune has occurred to the author's god- son and namesake, Mr. R. B. Peake ; whose Farce of The Hundred Pound Note has now become both popular and attractive, though it was originally very unfavourably received. The Comedy of T1)e Rivals was written when it's gifted author was only 23, and when sent to the Theatre was double the length of any acting-piece. After much curtailment it was produced at Covent-Gardeu, January 17th, 1775, when it's reception was particularly unfavourable, in consequence of it's extreme length, and the bad acting and and appearance of Lee as Sir Lucius 0' Trigger, which rendered the character very unpopular. The contemporary criticisms generally condemned the piece, allowing, however, that it evinced genius, that the dialogue was na- tural and pleasing, and in some scenes far superior to that of the modem dramatic writers. Though announced for a second night, the Comedj' was immediately withdrawn for alteration, which operated greatly in the author's favour ; and it was reproduced on January 28th with considerable applause. The redundancies of the dialogue were then skilfully removed, the objec- tionable passages omitted, and the improved part of Sir Lucius transferred to Clinch, who performed it with universal satisfaction, as Johnstone has done since. The Comedy was acted 1-1 times the same season, and thus at once rose into that distinguished public favour which it has ever since retained. Shuter was the original Sir Anthony Absolute, Woodward the Captain, Lewis Faulkland, Quick Acres, Lee Lewes Fag, Dunstall David, Mrs. Green Mrs. Malaprop, and Miss Barsanti Lydia. Their most eminent successors have been Munden, Dowton, and W. Farren, as Sir Anthony ; C. Kemble, Elliston, and Jones, as his son ; Young, whose excellence in Faulkland is altogether unrivalled ; Dodd, Bannister Jun., and Liston, as Acres ; and Mrs. Davenport as Mrs. Malaprop. The scene of The Rivals is Bath, the time of action five hours, and the fable, excepting where it was taken from real circumstances, was the inven- tion of the author. Faulkland's character, in most of it's features, is sup- posed to have been drawn from his own ; though the schemes for trying Julia's fidelity are to be found in stanzas 5, &c. of the old ballad of The Nut- Brown Maid, and in Smollett's Peregrine Pickle. 168 Cfte mibafe* Sir Anthony. Come, Mrs. Malaprop, we'll not disturb their tenderness — their's is the time of life for happiness ! YotitJi's the season made fur joy — [^Sings.~\ Hey! Odd's life! I'm in such spirits — I don't know what I could not do ! Permit me, ma'am — \^Gives his hand to Mrs, Malaprop.'] ISings.'] — Tol de rol — 'gad I should like to have a little fooling myself — Tul de rol ! de rol ! [Exit, singing, and handing Mrs. Malaprop off. — Lydia sits sullenly in her Chair. Captain Absolute. So much thouglit bodes me no good. lAside.] So grave, Lydia I Lydia. Sir ! Act 4. Sc, 2. Captain Absolute. He is a rival of mine — that is, of my other self's, for he does not think his friend. Captain Absolute, ever saw the lady in question ; and it is ridiculous enough to hear him complain to me of one Beverley, a conceited, skulking rival. Aet 2. Sc. 1. %-^^ 169 #-^#^-^#c|li.^-#c§2z.^Hf#4!^^|#4^^^^f#c^ THREE WEEKS AFTER I^IARRL\GE : A FARCE, BY ARTHUR MURPHY, In February' 1762, the author of this entertaining piece commenced the pub- lication of a weekly political paper entitled Tlf Auditor, avowedly in defence of the Earl of Bute, and in opposition to The North Briton of Wilkes. During the next year, MurpTiy wrote two pieces, each in Two Acts, enti- tled Ao One's Enemy but His Own, and What We must All come to ; which were produced together at Covent-Garden, January 9th, 176-1. Though the first was of little merit, it contained much amusing and spirited dialogue, and several well-supported characters ; but so great was the public animo- sity which had been excited by the author's opposition of Wilkes, that both pieces were received with the most violent hostility, by a party collected purposely for their condemnation, though neitJier of them contained a single political allusion. The former lived only to the author's third night, and the latter was immediately withdrawn : the scene which caused it's fai- lure appearing to be that of Sir Charles &nd Lady Rackett's second quarrel. This fate, however, was afterwards remarkably reversed ; for whilst Xo One's Enemy but His Oicn is almost entirely forgotten. What We must All come to, under the present name, continues on the stage : but the original title still forms the last words of the Farce, and the very censurable libel upon married life is still remaining. JMurphy's next productions were a serious satire entitled An Ode to the Naiads of Fleet Ditch, wherein he retaliated on Churchill, Lloyd, Colman, Shirley, Sec. ; and a successful alteration of his second piece, acted at Dub- lin, Edinburgh, Sec. with great success, under the name of Marriage a la ]\]ode. On jMarch 30th, 1776, the same Farce was re-produced at Covent- Garden for the benefit of Lewis, with the present title ; when it was suc- cessful, and was acted 15 nights the first season. In it's original form Shuter played Drugget, Dyer Sir Charles, and Mrs. Green Lady Rackett ; and the same parts were aftei-wards filled by Quick, Lewis, and Mrs. Mattocks. The best recent performers in this piece have been Munden and Mrs. Davenport, as Drugget and his Wife, and Mrs. Glover as Lady Rackett. The peculiar taste of the Citizen for the old Dutch style of gardening, appears to have been adopted from Pope's catalogue of evergreen effigies, in No. 173 of The Guardian, published in 1713 ; the Earl of Cork's account of a Londoner's rural retreat. No, 33 of The Connci^seur, printed in 1751 ; and Lloj'd's poem of "The Citizen's Country Box," No. 135 of the same paper, written in 1756. WW 170 Cfiree SiSHeeltsf after iHarn'age* Sir Charles. Death and confusion! \_Movcs his citair away. 1 — There's no bearing this. ILooks at her angrili/.'] It won't take a moment, if you will but listen. \_Moves towards her.'] Can't you see, that, by forcing the adversary's hand, Mr. Jenkins would be obliged to — Lady Rackett. \_Moving her chair away from him.'] Mr. Jenkins had the best club, and never a diamond left. Sir Charles. \_Rising.] Distraction ! Bedlam is not so mad. Be as wrong as you please, madam. May I never hold four by honours, may I lose every thing I play for, may fortune eternally forsake me, if I en- deavour to set you right again. Act 2. Sc. 2. Dimity. {^Latighing.] What do you think it was all about ? Ha ! ha ! the whole secret is come out, ha ! ha ! It was all about a game at cards. — Ho I ho ! ho ! — It was all about a club and a diamond ! Act 2. Sc. 2. ^-^ 'r<^-^^ ^^ 171 ALL THE WORLDS A STAGE : A FARCE, BY ISAAC JACKMAN. The contemporary critics observe of this amusing Afterpiece, that it's intent was not so much to ridicule the general passion for dramatic entertainments of inferior persons, as to expose the follies arising from those scenic exhibi- tions which took place in the country-mansions of those of higher rank, during the summer season and the Long- Vacation. It is added that this species of amusement was patronised by the beau-monde of the time, to pro- mote a more unrestrained intercourse between the sexes ; but that, whilst it rendered that advantage too common, it often utterly destroyed the respect, the distinction, and even the decencies, of ranks, and ridiculously suspended the ordinary duties of domestics. These evils were, doubtless, greatly ex- aggerated in the present Farce ; and it is to be hoped that the very coarse incident mentioned in Act the Second and Scene the Third, is altogether without foundation. But tliough the fable and character of tliis piece are both improbable and extravagant, the extreme drollery of many of the speeches and situations is almost irresistible. The tragic mania of Digger y is especially humourous, and tlirough the whole production are to be seen traits of genuine comic talent, united to a high degree of dramatic conception. After having been refused at all the London Theatres, the Farce of All the World's a Stage was produced for the benefit of the daughters of Hopkins the Prompter, at Drury-Lane, April 7th, 1777 ; and succeeded so well as to be played eleven nights even at that late period of the season. It was also bouglit from the author, and though it was originally refused by all the managers, yet it has since been frequently played by all ; and still remains a convenient and favourite Afterpiece, both on the London and on the pro- vincial stages. The original performers were Farren as Charles, or Captain Stanlei), Pal- mer as Harry, or Captain Stukely, Parsons as Diggery Ducklin, Baddeley as Sir Gilbert Fumkin, Mrs, Hopkins as Bridget, and Miss P. Hopkins as Kitty Sprightly. Some of their best successors have been Blancbard as Sir Gilbert, Mrs. Davenport as Bridget, and Liston, whose humour could never liave been exceeded, as Diggery. In the more modern representations of this piece an additional scene is occasionally performed, wherein Diggery is represented as drilling his fellow-servants for the intended performance. The general scene is laid at Shrewsbury, and Sir Gilbert's mansion near it ; and the time of action is within one day. fr,>A?>^?>' 173 m tl)e WiovW^ a ^tage. Harry. Ah, Miss Pumkin ! Miss Pumkin ! [Ktieels; takes out his handkerchief, and weeps. Biggery. Ah, Miss Pumkin ! Miss Pumkin ! \_Kneels by the side-sce^ie, and pulls the napkin out of his pocket ; part of which must be seen when he enters. Act 2. S>;.2. %K -^\i: Sir Gilbert. As for you. Miss Kitty, do you come with me ; the folks will be all here presently. [_Sir Gilbert puts her arm under his; she seizes Charles's hand, and imitates the scene in the Beggar's Opera, where Peachum drugs his daughter from Macheath. Kitty. " Do not tear him from me." Isn't that right, Charles ? Charles. Astonishing ! Sir Gilbert. What the devil's the matter now ? Kitty. {Sings.'i " Oil, oh, ray ! oh, Ambora ! Oh, Oh !" Act 2. Sc. 3. 173 H 2 ^-^#<^-^#4ii--^#' i^^^ THE QUAKER: A COMIC OPERA, BY CHARLRS DIBDIN THE ELDER. The continual disagreements wliicli existed between Garrick and the author of this entertainment, appear to have rendered the latter hopeless of bring- ing it on the stage by his own influence ; and lie therefore disposed of it to Brereton, the actor, for seventy pounds, though he states that the ordinary price for such a piece was an hundred. Garrick considered it impossible to succeed; but it was at length brought out at Drury-Lane, October 7th, 1777, and was received with such applause as to be performed 16 nights the first season, and become an established favourite. The contemporary criticisms riglitly observe of this Opera tliat few pieces liave had more musical merit, though the literary composition is certainly of the most trifling order. The piece was strongly cast, and is reported to have been excellently performed : Vernon acting Lubin, Parsons Solomon, Miss Walpole Gillian, Mrs. Wrighten Floretta, and Bannister Steady ; the last of whom sang " The Lads of Village" with a degree of taste and judge- ment seldom to be met with. On the modern stage Incledon's Quaker, C. Taylor's Lubin, Liston's Solomon, and Miss Bolton's Gillian, have been the most eminent performances in this Opera. But though Garrick had no previous expectation that The Qua/cer would be successful, the season following it's first appearance lie bought it of Brere- ton for of^lOO : not, as the author afiirms in his Professional Life, with a view to perform it, — for it did not make it's second appearance until after the Theatre had passed into other hands, — but to make use of the story in a design of his own ; as he copied much of it into his entertainment written to bring out Miss Abrams, called May-Day, or The Little Giipsey. There must, nevertheless, be some unaccountable error in this statement; since the latter piece was first acted October 28th, 1775, and it's asserted original not until nearly two years afterward. Any one who peruses the two pieces, however, will find that the amount of this premeditated imitation is, that in both a marriage-portion is to be given on May-Day ; which cannot be con- sidered a very uncommon or original thought. Garrick's Roger Dozeq, in liis formal manners and occasional use of proverbs, may, when these cir- cumstances are known, be fancied slightly to resemble Dibdin's Solomon; but the consanguinity, if it exist at all, is in the most distant degree ima- ginable. Dibdin, however, was prepared to retaliate upon Garrick in a kind of dramatic satire called May-Day, or the Little Chimney-Sweeper ; which, happily for his fame and his character, he never brought before the public. 174 ^^m" €i)t (Bmhn% Enter Cicely. Cicely, Well, what 's amiss? Who are you, making all this stir ? If to corae in you mean. You may as well be jogging, sir. While yet your boots are green. Luhin. I'm perfectly like one astound, I know not, I declare, Whether I'm walking on the ground, Or flying in the air. This usage is enough to quite Bereave one of one's wits. Cicely. Good lack-a-day ! and do you bite. Pray, ever, in these fits ? Luhin. But you are jesting- Cicely. Think so still. huUn. Where's Gillian ? Cicely. She's not here : She's gone abroad, sir, she is ill. She's dead, you cannot see her. She knows you not, did never see Your face in all her life : In short, to-morrow she's to be Another person's wife. ^VtBv , ^t ?4^-HI>#'^-HI>^ 175 =^i n21l PERCY : A TRAGKDY, BY HANNAH MOORE. AVhen this deeply-aSectiug drama was originally produced, Garrick had hut very recently retired from the stage, and heing still alive and attentive to it's fame and it's interests, as well as from having previously read and approved of Percy, he recommended it to Harris, was present at it's rehear- sals, wrote for it an extremely lively Prologue and Epilogue, and is said to have even assisted in it's composition. It was brought out at Covent-Gar- den, December 10th, 1777, and received so much applause, that it was per- formed twenty nights the first season. The principal original actors were Wroughton as Douglas, Aickin as Raby, Hull as Sir Hubert, Lewis as Percy, and Mrs. Barry as Elwina. The scene of this drama is Raby Castle, Durham, and the time of action appears to be about one day ; but it is difficult to ascertain to what period of English History the events belong. The fathers of Douglas and Percy are stated to have been the heros of the fatal hunting in Chevy-Chase ; but the date of that famous conflict lias never yet been accurately fixed. It is also stated, that the soldiers of a Crusade, including the King of England, are hourly expected, and arrive, during Act ii. of the Tragedy, and that they have taken Palestine from the infidels. The only Crusade, however, which was joined by an English Sovereign, was the Third, when Richard I. went to Palestine. Jerusalem was taken hy the Christians in 1099, but in 1187 it was re-conquered by Saladin ; the Crusaders won hack only Acre, Jafta, and CtEsarea ; and King Richard did not return with the English troops, hut remained upwards of a twelvemonth in captivity in Austria. It is ne- vertheless probable, that the historical period of Percy was intended for the time of Richard's return in 1194. In the autlior's advertisement prefixed to this Tragedy, it is stated that some circumstances in the early part of it were suggested by Pierre Laurent De Buirette Belloy's drama of Gabrielte de Vergy. That piece was founded on the famous French story of Raoul Chatelain de Coucy, whose Esquire, when conveying his heart to the Lady of Fayel, whom he loved, was sur- prised and captured by her husband : upon which event was founded the taking of Harcourt, in Act ii. of the present drama. The language of Percy is accurate, the events are highly wrought up, and the whole has great pathos and sensibility. Davies observes that the inter- view of Elwina and Percy in Act iv. is but little inferior to the celebrated parting of Castalio and Monimia in the last act of The Orphan. 17G ^-^fe!^-f^#-l^-^fl#-ili-^S-^-^S-iB-'4^#^^ '^.^..^. & Elwina. [Smiling.'] Oh ! 'twas a cordial draught— I drank it all. Raby. What means my child ? Douglas. The poison ! Oh, the poison ! Thou dear wrong'd innocence — Elwitia. Off — murderer, off ! Do not defile me with those crimson hands. This is his winding sheet — I'll wrap him in it — \_Shews the scarf. I wrought it for my love — Act 5. Sc. 1. i T Percy. Then, ere thou goest, if we indeed must part. To soothe the horrors of eternal exile. Say but — thou pity'st me ! Elwina, [Wefl/w.] O Percy — pity thee ! Imperious honour; — surely I may pity him. Yet, wherefore pity ? no, I envy thee : For thou hast still the liherty to weep. In thee 'twill be no crime: thy tears are guiltless. For they infringe no duty, stain no honour. And blot no vow ; but mine are criminal. Are drops of shame which wash the cheek of guilt. And every tear I shed dishonours Douglas. Act 4. Sc. 2. 177 WHO'S THE DUPE ? A FARCE, BY HANNAH COWLEY. The more usual employment of Mrs. Cowley was Comedj', the present being the only instance of her descending to farcical composition ; and she tlierefore adds, that it " disclaims the more exact attention to probability which a reg-ular play demands, and is but a relaxation of the mind that seeks it." The plots of her pieces, with the exception of that of TTie School for Greybeards, were derived from her own mind, and, as she was ac- customed to say, " grew under her pen ;" but the thought of the present was suggested by " reading a passage in which a sneer at the inferiority of women was carried to excess." Her dramatic retaliation, on the contrary, has nothing of this contemptuous nature : but whilst she indulges iu a woman's lively laugh at the mere dull student, in the character of Gradus, she exhibits Doiley to be quite as ridiculous from his absolute ignorance. Who's the Dupe was originally acted at Drury-Lane, April lOtli, 1779 ; and was performed with applause for fifteen nights the first season. Parsons acted Doiley, Aickiu Sandford, Palmer Granger, King Gradus, ]Mrs. Brereton Miss Doiley, and Mrs. Wrighten Charlotte. The principal performers in this piece on the modern stage, have been Quick and Dowton in Doiley, and Bannister Jun. in Gradus. The Prologue of the authoress had much of the manner and point of Gay's Fables, especially in the six concluding lines. As Richardson, in his Clarissa Harlowe, procured the aid of a friend for tlie classical quotations in the letter of the pedant Brand, Mrs. Cowley ac- knowledged that the Greek and Latin in the present piece were derived from " her father, her husband, or her brothers." The former of these had been educated for the church, and with him she had a lively correspondence to procure the fragment of Greek repeated by Gradus in the Second Act ; which probably caused the Farce to be attributed to Mr. and Mrs. Cowley. It consists of part of an Epigram upon the mixture of good and ill in all human things, published iu Grotius's Florilegium of Stobaeus, as anonymous, though in Brunck's Greek Anthology it is ascribed to Glycon. As the passage is never accurately printed, it is here given in the original words ; though, as Gradus says of it, that all " may be able to perceive how full it is of food for the mind," an English paraphrase is also subjoined : — TldvTa y(\oos, koI iravra k6vis, koI TravTa ro jxri'Siv' YldvTa yap e'l a\6yicv eri yivofxeva. All things of earth are laughter, dust, and nought ; For, out of senseless things, all things were wrought. 178 WiW^ t!)e IBupe Doilei/. Come, come ! I sha'n't have no browbeating — nobody offered for to contradict you — so begin. ITo Gianger.^ What said orator Zan- thus ? Granger, Yon lucid orb, in aether pensile, irradiates th' expanse. Refulgent scintillations, in th' ambient void opake, emit humid splen- dour. Chrysalic spheriods th' horizon vivify — astifarious constellations, nocturnal sporades, in refrangerated radii, illume our orb terrene. Act 2. Sc. 2. Charlotte. [^Leading Gradus to a glass-l In the first place, don't you think you are habited d la mode d'amour ? Did you ever see a Cupid in a grizzle wig, curled as stiffly as Sir Cloudsley Shovel's in tbe Abbey ? — A dingy brown coat, with vellum button holes, to be sure, speaks an excellent taste ! Act 1. Sf. 3. -Jfl^^'iii^ii 179 THE CRITIC 5 OR, A TRAGEDY REHEARSED : A COMIC DRAMA, BY THE RIGHT HON. R. B. SHERIDAN. The production of this most excellent and entertaining Afterpiece, embraced almost the two extremes of the literary life of it's gifted author : since it was the drama with which " Brinsley ceased to write" from his own original sources ; and Mr. Moore has shewn that several of it's features are to be traced in a burlesque pla}' in Three Acts, composed by Sheridan and his school-fellow Hallied, when their united ages did not exceed thirty-eight. This piece was written in the style of Midas, and was called Jupiter ; being founded upon the amours of Jov^e and Amphytrion, Ixion and Juno. Hal- lied furnished the burlesque scenes, and it is remarkable that Sheridan sug- gested the treating it in the form of a rehearsal, executed that part of the work himself, and gave in Simile, the poet, the prototype of Puff- The Critic, or a Tragedy Rehearsed, was originally acted at Drury-Lane, October 30th, 1779, during a great dearth of dramatic novelty ; and was received with such admiration and applause that it was performed 46 times the first season. Dodd, Palmer, and Parsons, were the original Dangle, Sneer, and Sir Fretful Plagiary ; Moody was Lord Burghley ; Mrs. Plopkins Mrs. Dangle, INIiss Pope Tilburina, and the Younger Bannister Don Ferolo Whiskerandos. The performance of the latter character discovered the true bent of the genius of the excellent actor who appeared in it ; as in 1778 he had been engaged at Drury-Lane as a tragedian, but he very soon after de- voted himself exclusively to Comedy. On the modem stage the most emi- nent actors in tliis piece have been Jones as Piiff ; W. Farren, Mathews, and Terry, as Sir Fretful, and Liston as Don Ferolo Whiskerandos. It has been supposed that the satire of The Critic was intended to prevent any offers of the ordinary modern Tragedies at Drury-Lane whilst it re- mained under the management of Sheridan ; and something of it's effect has been traced in the rejection of the Rev. William Hodson's Tragedy oiZoraida, produced at the same Theatre in 1780 ; the acting of which but eight times the author attributed to the speeches of Tilburina. The character of Dangle is said to have been taken from Mr. Thomas Yaughan, the author of some few dramas ; whose partiality for the stage and intimacy with Sheridan, exposed him to the continual solicitations of players and authors. Sir Fretful Plagiary is also supposed to have been designed from Cumberland. Part of the original second scene of this piece, introducing some Italian singers, was very soon omitted, though it has been sometimes occasionally performed. 180 C{)e Critic ISh- Christopher and Sir Walter come forward.'] Hold! we will avenge you. Whiskerandos. Hold ynu ! or see your nieces bleed ! [The two 'Nieces draw their two daggers to strike Whiskerandos : the Two Uncles at the instant, with their two swords drawn, catch their two Nieces' arms, and turn the points of their swords to Whiskerandos, who immediately draws two daggers and holds them to the two Nieces' bosoms. Enter Beefeater, with his halberd. Beefeater. In the Queen's name I charge you all to drop Your swords and daggers ! Act 3. Sc. 1. \_The curtain rises and discornrs Tilhiinj-Furt. Two Centinels asleep. Dangle. I'ray are the centinels to be aslee;) ? Puff. Fast as watchmen. Sneer. Is not that odd though, at such an alarming crisis ? Act 2. Sc. 2. 181 ■-^S^ii^-i!!^^ ^^^i THE BELLE'S STRATAGEM: A COMEDY, BY HANNAH COWLEY. At the first appearance of this excellent and amusing piece, the stage ex- perienced the steady encouragement of the public ; which induced Mrs. Cowley to bring forward her present fourth dramatic production, soon after the publication of her poem of The Maid of Arragon. The play was dedi- cated to the Queen, to the purity of whose Court a well-deserved and an elegant tribute is pronounced in a speech by Saville in the last scene ; and as long as the late Royal Family attended the Theatres, this piece continued a favourite with them, and was very frequently performed before them. The Belle's Stratagem was first acted at Covent-Garden, February 22nd, 1780; and was repeated 12 nights following, and 28 times the first season. Lewis played Doricourt, Quick Hardy, Wroughton Sir George Touchwood, Lee Lewes Flutter, Aickin Saville, INIrs. JMattocks Mrs. Rachett, and JNIiss Younge Letitia. It is said that the latter could never remove her mask in the last scene, without shedding tears of real anxiety for the success of her stratagem. On the modem stage the best performers in this Comedy have been Elliston and C. Kemble as Doricourt, Fawcett and Dowtott as Hardy, Jones and Harley as Flutter, Mrs. Davison, JMrs. Edwin, and Miss Foote, as Letitia, and Mrs. Glover and Mrs. Gibbs as the Widow Rackett. Davies, perhaps truly, observes that the adventures of Letitia Hardy could have occurred to a female only ; but a critic who was desirous of giving that character the highest praise possible, affirms that, to perform it to per- fection, requires the gifts of Venus and JMinerva to be united in the same person. The part is full of diversity, and is therefore a particular favourite with many female debutantes ; since the various assumptions of character, from the depth of ill-bred rusticity to the height of fashionable refinement, can scarcely fail of eliciting the talents of the actress in some of their gxada- tions ; and thus secure that applause which might probably be unattainable under almost any other circumstances. But though the character of Letitia require first-rate abilities to give equal effect to every scene, it is still too changear)le for the powers of her representative to be regarded with any continued scrutiny ; and an impression has freqiiently been made in it which was not sustained by any future performance. The prevailing tone of this piece is comic, but there are several passages of deeper thought and feeling : as Doricourt's half ironical excuse for employing foreign servants ; the cha- racters of a lady of fasliion, and Letitia's descriptions of her own feelings at the sight of her lover, and of a woman devoted to her husband. 18'2 ^»^#iB-=^^ Cf)e Beliefs? ^tratagem^ Enter Letitia, running. Letitia. La, cousin, do you know that our John. Oh, dear heart ! — I didn't see you, sir. [^Hanging down her head, and dropping behind Mrs. H. Mis. Rackett. Fie ! Letitia. — Mr. Doricourt thinks you a woman of elegant manners. Stand forward and confirm his opinion. Letitia. No, no; keep before me. — He's my sweetheart ; and 'tis im- pudent to look one's sweetheart in the face, you know. Act 3. Sc. 1. Nay, cease, and hear me ! — I am come to ask Why pleased at conquest gain'd behind a mask ? Is't strange ? — Why, pray, what Lady Bab or Grace E'er won a lover — in her natural face ? Epilogue. 183 4& THE MAN OF THE WORLD : A COMEDY, BY CHARLES MACKLIN. When this excellent drama was first produced, the author and actor of the principal character was known to be npivards of eighty years of age, and it has been supposed that he was even ten years older. The piece was chiefly written at an Inn at Tennyhinch, in the County of Wicklow, was originally in Three Acts, and called The True-Bom Scotsman. It was successfully brought out at the Crow-Street Theatre, Dublin, February 7th, 1766 ; when the excellent performance of Sir Pertinax 31acsycophant by IMacklin is said to have produced a note from a young Scots nobleman, in high favour at Dublin Castle, with a suit of laced clothes, requesting his acceptance of tliera as a small testimonial of the pleasure he had given in exhibiting so fine a portrait of the donor's grandfather. About 1775, the author attempted to reproduce this piece upon the English stage ; but the despicable cunning and duplicity originally attributed to the principal character as a Scots- man, caused the Licenser to reject it : Macklin, therefore, revised, softened, and extended it to Five Acts, and gave it the title of The Man of the World. It was then brought out at Covent-Garden, May 10th, 1781 ; and though some young Scotsmen opposed it as a libel on their country, it was gene- rally well received. As the season was so far advanced, it was performed only five nights ; but it has been ever since a standard acting-piece. Mack- lin again performed Sir Pertinax : Miss Younge, whom ho had tauglit to act Lady Rodolpha Lumbercourt in Ireland appeared in the same character ; Lewis was Egerton, Aickin Sydney, and Constantia INliss Satchell. On April 10th, 1802, Cooke first played Sir Pertinax in London, at Covent-Garden, and was considered as even superior to Macklin ; the latter being but very indifferently acquainted with the Scottish language, his look and manner constituting the principal cliarms of his acting. Mr. Young, too, performed the character with great ability on it's revival at Covent-Garden, in De- cember 1823. The other most eminent performers in this piece have been Mr. C. Kemble as Egerton, and Mrs. H. Johnstone as Lady Rodolpha. It was in performing Sir Pertitiax, November 28th, 1788, that Macklin first felt himself losing his recollection ; and he told the audience that he sliould not again solicit their attention, unless he found himself better qua- lified. He recovered, however, and even exhibited his wonted talents ; but on January lOtb, 1789, he took his final leave of the Stage in the part of Shylock, which he was unable to finish : he died July 11th, 1797, and was interred in the Church of St. Paul, Covent-Garden. 184 €i)t Mm oi tin SMorltr. Sir Pertina.T Macsycophant. Why ye see, sir, 1 hae ac- quired a noble fortune, a princely fortune, — and hoc do ye think I raised it ? Egerton, Doubtless, sir, by your abilities. Sir Pertinax Macsycophant. Dootless, sir, ye're a blockhead — nae, sir, I'll tell ye hoo I raised it, sir; I raised it by booing; by booing, sir; \_Bows ridiculously low.'] I naver in ray life could stond straight i' th' presence of a great mon ; but a'ways booed, and booed, and booed, as it were by instinct. ActZ. Sc, 1. Sir Pertinax Macsycophant. Noo, sir, this cracked creature used to pray, and sing, and sigh, and grane, and weep, and wail, and gnash her teeth, constantly, morning and evening, at the Tabernacle in Moorfields : and as soon as I found that she had the siller. Aha ! gude troth, I plumped me down upon my knees close by her, — cheek by jowl, — and prayed, and sighed, and sang, and graned, and gnashed my teeth, as vehemently as she could do for the life of her ; aye, and turned up the whites o' mine een till the strings a'maist cracked again. Act 3. Sc. 1. fe^tS^ 18^ ROSINA : A PASTORAL OPERA, BY FRANCES BROOKE. The foundation of this very pleasing entertainment, is referred by tlie authoress to the book of Ruth, the beautiful episode of Palemon and Lavinia, in Thomson's Seasons, and a pleasing Opera called Les Moissonrieurs, by Charles Simon Favart. The latter was produced at Paris in 1768 ; and in 1770 a free translation of it appeared in London, under the title of The Reapers, or the Englishman Out of Paris. For moral excellence this Opera was peculiarly fitted for being made the original of the present, since the licenser in Lis adverasement prefixed to it states, that "had no other entertainments been ever represented at our Theatres than such as this, the belief in the dange- rous tendency of frequenting them liad never been asserted ; but even the most rigid moralists would have employed the same zeal in exhorting us to resort thither, which they now evince to prevent our attending them." Mrs. Brooke, however, did not produce a literal translation of tlie French Opera in Rosina ; since she observes that the English are not easily satisfied with mere sentiment, and that therefore she added the comic characters of William and Phoebe to relieve it. Dorcas, also, in the present piece is an old servant ; but the corresponding character in all the above narratives is the heroine's mother or mother-in-law. The scene of this Opera is called " a Village in the North," and the time of action is witliin one day. Rosina was originally brought out at Covent-Garden, December 31st, 1782, and was received with such applause as to be performed 39 times the first season. The elder Bannister performed Belville ; Mrs. Kennedy, for- merly Miss FaiTell, so celebrated for her masculine voice and figure, and performance of Mucheath, was William ; Mahon the principal Irishman ; Miss Harper, afterwards Mrs. J. Bannister, Rosina; and Mrs. Martyr Phxbe. Some of the most eminent modern performers of the same characters have been Incledon as Belville, Duruset as William, INIiss IMatthews as Rosina, and Miss Stephens as Phcehe. J\Irs. Jordan was also celebrated for the pecu- liar elegance and simplicity with which she acted William. The dialogue of this Opera is natural and well-written, and the poetry of some of the songs has great merit. The music was chiefly composed by Shield, and was characterised by a pastoral simplicity which most happily harmonised with the rural story of the Opera itself, particularly in the Overture. There were, however, some other compositions introduced, as two airs from Sacchini and Nicolai, one from Rousseau in the finale, an old air in a chorus, and a strain from Paxton in a glee. 186 ^-^B'^-^^M'^-^i ^o^im. Captain Belvillc. Stay and hear me, Rosina. Why will you fatigue yourself thus ? Only homely girls are born to work. — Your obstinacy is vain ; you shall hear me. Rosina. Why do you stop me, sir ? My time is precious. When the gleaning season is over, will you make up my loss ? Captain Belville. Yes. Actl. Se, 1. ff> See, content, the humble gleaner. Take the scatter'd ears that fall ! Nature, all her children viewing. Kindly bounteous, cares for all. Rosina. See, my dear Dorcas, what we gleaned yesterday in Mr. Belville's fields. [^Coming forward, and shewing the corn at the door. Act 1. Sr. 1. 187 HE WOULD BE A SOLDIER! A COMEDY, BY FREDERICK PILON. With the ordinary irritated feelings of a disappointed dramatist, the eccen- tric author of this entertainment relates in his preface that the piece was first offered to Mr. Colman, who rejected it because " he did not like a line of it ;" and that " he did not know what could be done with it, or in what shape it could be produced, so as to contribute to the amusement of the public." Pilon adds that he then laid it aside in despair, until an intimate friend suggested to him that even Mr. Colman's judgment might be erro- neous, and induced him to shew the piece to Mr. Harris, who appears to have accepted it without hesitation, though acquainted with all the previous circumstances. He Would be a Soldier was therefore brought out at Covent-Garden, No- vember 18th, 1786 ; and one of the most impartial contemporary critiques states of it's reception, that " it gave general satisfaction in it's progress, and was crowned with universal applause at the conclusion." It was per- formed sixteen nights the first season ; and the original actors in it were Aickin Colonel Talbot, Lewis Captain Crevett, Quick Sir Oliver Oldstock, Wewitzer Coiait Pierpoint, Edwin Caleb, Mrs. Wells Harriot, and Mrs. Pope Charlotte : all of whom played with very gTeat excellence. In this Entertainment, also, Mr. John Fawcett, then called the Younger of his name, first appeared in London, from the York Company, in the part of Caleb, September 21st, 1791, at Covent-Garden, where he so long continued a most valuable member and ornament. The Prologue to this piece was originally recited by Mr. Farren, and the Epilogue by Miss Pope. The present Comedy was the twelfth dramatic production of it's author, and the most candid reports of it allow that it is considerably superior to all of his which had preceded it ; though still wanting in that finish and delicacy which a more elegant writer would have imparted before his piece was given to the public. The fable is to be traced to several sources, as Moliere's Bourgeois Gentilhomme, The Chapter of Accidents, She Stoops to Con- quer, and The West Indian ; but tlie plot is simple, and conducted with in- genuity to the Fourth Act. Several of the scenes with Caleb are truly hu- mourous and entertaining, but some of the more grave are rendered heavy from the profusion of sentiment which pervades them ; whilst the denoue- ment of the whole is easily to be discerned, even before the commencement of the concluding Act. — Some of the principal features of this Comedy were adopted in Theodore Hook's Three-Act Drama of Exchange is no Robbery. 188 i^e OTouin Ije a ^olUier* Mrs. Wilkins. But, dear sir, I beg ten thousand pardons for keeping my seat so long. [^Getting up, and curtsying very low. — Caleb keeps his seat, with a vacant stare, and chuckling laugh of joy.'] Caleb. I thought I'd come to something at last. Act 1. Sc. 2. Wilkins. His son continued with me till he was twelve years old, when I lost him. Mrs. Wilkins. In what manner did you lose him ? Wilkins. I cannot be certain : but, as he was a boy of great spirit, and ever prattling of being a soldier, I suspect he was inveigled off by a recruiting party, which at that time was beating up for men in the vil- lage. Act 1. Sc. 2. )-m^^ 189 THE FIRST FLOOR : A FARCE, BY JAMES COBB. Without aiming at any striking originality of character, the present very amusing piece undeniably presents a curious and natural picture from living manners ; with a plot ingeniously conducted, neither unpleasing nor impro- bable, and full of situations irresistibly laughable. The First Floor -was originally produced at Drury-Lane, January 13th, 1787, and being received with the greatest laughter and applause, was per- formed 26 nights the same season ; though, as it occupied an hour and a half at the first representation, it was afterwards considerably reduced. The original performers were Baddeley Old Whimseii, Whitefield Monford, Pal- mer Young Whimsey, Suett Furnish, Mrs. Hopkins Mrs. Pattypan, IMiss Collins Charlotte, Mrs. Wilson Nancy, and Mr. Bannister Tim Tartlett, The latter character was represented with surpassing excellence, and to it the public was partly indebted for the full discovery of that actor's excessively humourous powers in low Comed}-. After a long and meritorious career, he retired from the stage at Drurj^-Lane, June 1st, 1815, in the characters of Echo, in The World, and Walter in The Children in the Wood. ^Vhen this Farce was presented at the Haymarket Theatre, September 5th, 1818, the principal characters were performed with very considerable effect and humour ; Old Whimsey being acted by the late Mr. Terry, Tim Tartlett by Liston, Monford by Connor, Young Whimsey by Barnard, Furnish by Watkinson, Simon by Russell, Charlotte by Miss Blanchard, Nancy by Mrs. Gibbs, and Mrs. Pattypan by Mrs. Davenport. With all the intrinsic merit of the piece, added to the above strength of cast, it was, however, plaved but twice ; and is now very seldom acted, though it affords the most ample scope for the comic talents of the performers. The original performance of The First Floor was preceded by an excellent and humourous Prologue, also written by Mr. Cobb, characteristically ex- pressive of the various conjectures that would be formed of the nature of the piece from it's title ; which was delivered with great effect by the Younger Bannister. The general scene of this piece is London, and the time of action about six hours. It was the ninth of the author's dramatic productions, and a decided improvement on those which had preceded it. Tlie whole of the theatrical works of Mr. Cobb amount to twenty-four, some of which are still very popular. He died Secretary to the Hon. East India Company June 2nd, 1817, at the age of 62, and was buried at Old Windsor. 'fxT^S^ fl^^^§B-^#4^ 190 Cfje fiv^t #Ioon Namy. Vou seem in a fluster, sir. OW W/iimsei/. Yes, my love, I am in a fluster. [^Asicle.'] That spend- thrift ! What eyes she has ! He must have his wench, forsooth !— the dog has no excuse for his fault ! There is no resisting that girl, i'faith ! You?ig Whimsei/. [Aside.'i Well said, Philosophy at threescore. [_Just as Old Whimsey is going to take Nancy's hand. Furnish comes forward. Act 2. Sc. 1. Mrs. Pattypan. Oh ! your servant, sir ; ready dressed, I see, for going abroad ; you are always gadding, Tim Tartlett. Tim Tartlett. Laws, Mistress ! why you are always scolding one for taking a little harmless recreation : — you know I loves to see life, be- cause vy, 'tis so agreeable. Mrs. Pattypan. Well, sir, and is there nothing due to me for my at- tention to you ? What do you think made me take you from your poor relations, and place you in my own family ? Act 1 . Sc. 2. ^'^t^"^^-^ #'^^^^ l^^i 191 INKLE AND YARICO : A COMIC OPERA, BY GEORGE COLMAN, THE YOUNGER. A PAGE or two in the Spectator are acknowledged by the author of this ex- cellent entertainment, to have furnished all the materials of his story ; the paper referred to being that by Steele in defence of women, No. 11, pub- lished Tuesday March 13th, 1710-11 ; in the conclusion of which an ex- tract from Richard Ligon's Hiatory of the Island of Barbadoes, London, 1673, folio, page 55, relates the narrative of IiMe and Yarico. The first adaptation of that anecdote to the stage, was in 1742, when it formed the subject of a Tragedy in Three Acts, whicli was printed only ; though in- tended to be performed at Covent-Garden. The author was named Weddell, and was a journeyman-printer to Samuel Richardson ; in whose paper of The Free-Briton, he wrote all the letters signed Algernon Sidney. It is obvious, however, that there could not be the slightest resemblance between this drama and that by Mr. Colman, to whom, in all probability, the Tragedy was known by report only. His Opera was WTitten after his father had eutered him of the Inner-Temple, when he should have been entirely devoted to forensic studies ; it was the third of ]iis dramatic pieces, and exhibits a decided and considerable improvement on tlie two former. Excepting the hero and heroine, all the characters are original ; — the scenes are extremely amusing, the dialogue full of vivacity and humour, and the incident of Inkle offering to sell Yarico to his intended father-in-law without knowing him, is peculiarly happy and effective. This incident, however, Mr. Colman observes, occurred to him only when he arrived at that part of the piece where it is introduced, and arose out of the accidental turn given to the previous scenes, without having been originally designed. The Opera was first performed at the Ilaj-market, August 4th, 1787, and was acted 11 nights the first season. The Younger Bannister plaj'ed Inkle, Parsons Sir Christopher Curry, Baddeley Medium, Davies Campley, Edwin Trudge, JNIrs. Kemble Yarico, ]Mrs. Bannister Narcissa, Miss George Wouski, and Mrs. Forster Patty. The best performers since have been Quick, Mun- den, and Dowton, in Sir Christopher, Fawcett and Harley as Trudge, Mrs. Billington, Miss Stephens, and Miss Paton, as Yarico, and Mrs. Mountain and Mrs. Bland as Wouski. The scene of this piece is laid on the Main of America, and afterwards in Barbadoes ; and the time is only a few hours in each Act, though six weeks elapse between the first and second. The music was chiefly new, and was excellently composed by Dr. Arnold. 192 5uMe antr Banco* jHA:?e. Ill-founded precept too long has steeled my breast,— but still 'tis vulnerable ; — this trial was too much, — Nature, against habit, combat- ting within me, has penetrated to my heart : a heart, I own, long callous to the feelings of sensibility ; but now it bleeds, and bleeds for my poor Varico. Oh ! let me clasp her to it, while 'tis glowing, and mingle tears of love and penitence. lEmbmcmg her. Trudge, [capering aboutJ] Wows, give me a kiss ! [Wowski goes to Trudge. Act 3. Sc. 3. Inkle. My kind Varico ! what means, then, must be used for my safety ? Yarico. My cave must conceal you : none enter it, since my father was slain in battle. I will bring you food, by day; then lead you to our unfrequented groves, by moonlight, to listen to the nightingale. If you should sleep, I'll watch you, and wake you when there 's danger. Act 1. Sc. 3. 193 .4fo .fc ^ ?>, ,fC ;fc ?>, THE LIBRARY UNIVERSITY OF CALIFORNIA Santa Barbara STACK COLLECTION THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. 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