No More Learning

Summer's Last Will and Testament, by Thomas Nash, and
Edward I. by George Peele,
have been inserted. To the twelfth volume have
also been added two very early and rare dramatic specimens—the one an Interlude, called The
Worlde and the Chylde, printed by Wynkin de Worde, in 1522, and the other, The Tragicall Comedie of Apius and Virginia, published in 1575.
have been transferred from the 12th volume of the
last edition the 1st volume the present.
Although Mr. Reed bestowed great attention
his undertaking, and removed many the imper
fections Mr. Dodsley's original collection; and although might supposed from his preface, that
consulting earlier and better copies, and collating
the plays, had rendered the text sufficiently perfect, yet the fact that performed this
irksome part the duty Editor with less care than the rest. Neither do his later MS. notes shew
For the sake of more convenient
reference, by having the introductory matter together, the Dialogue Plays and Players, called Historia Histrionica, and Sir W. Davenant's Patent 1662,
is, an
of
he
of
all by
of
be
he
it of
to
all on
of
of
on
V
that he was conscious of the defectiveness of his labours in this particular; and excepting in a very
few instances, and as applied to a very few pages, Mr. Gilchrist did not attempt to remedy How
necessary
was that such collation should
made will apparent from the many instances which the variations are now marked. In seve
ral the plays gross errors this kind had crept into almost every page; and though others they were less numerous, still they were frequent
and important. Sometimes the words the old
copies were departed from without notice necessity, and several instances, dedications,
songs, and parts the dialogue were omitted, while whole speeches were assigned wrong characters. The Editor does not make this state
ment diminish the degree gratitude due Mr. Reed for what did accomplish, nor
attract credit himself for the performance tedious and generally thankless task: mentions
regulation the metre. The old printers,
well known, were often quite regardless the verse; either, because attention requiring
too much room, did not suit the price which play was published, because the manuscript, often
surreptitiously obtained, reached them very confused and imperfect state. several places
merely
matter fact.
He aware how much might yet done the
In
to at it, by
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or
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is ato or be
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vi
Mr. Gilchrist's suggestions in this respect have been adopted; and in general, wherever the measure could be distinctly ascertained, and restored without
violence to the text, the attempt has been made. It
has not unfrequently happened that the omission or insertion of a single unimportant word or syllable
would have accomplished the object; but the Editor preferred the observance of fidelity to any trifling
exercise of ingenuity. It may be added that Mr. Reed paid less attention to punctuation than importance the sense required.
The biographical and preliminary matter each
play has been rendered more complete than hitherto
by the improved state information regarding our
early poets and poetry: some instances has been re-written; others, entirely new, and
nearly cases, additional and perhaps useful notes have been appended. The conciseness
the plan established the outset prevented the introduction of critical remarks.
the notes generally, the Editor did not feel himself liberty make any change: they are
inserted they stood the edition 1780, while the farther MS. illustrations of Mr. Reed
and Mr. Gilchrist are given they left them. Of the printed notes, few might have been wholly omitted, some considerably abbreviated, and others advantageously altered; but under the circum
stances, was deemed prudent reprint them
it
as at
all
to
a to
in in
to all
of
it of
to
its
in as
it is
of in
in In
vii
entire. Those for which the Editor is responsible are marked with the letter C. He has been anxious
in them to avoid prolixity, and where verbal criti cism was necessary he has subjoined no more quo-
tations from contemporary writers than he thought
necessary for illustration. Perhaps the notes on
some of the plays now first re-printed would have been fewer had the Editor not been desirous to
make the whole work consistent. The new matter
by Mr. Reed and Mr. Gilchrist is distinguished by the initials of their names.
-
London, January, 1826.
C.
_---- --------------
MR. REED'S PREFACE.
THE Works of our ancient dramatic writers have suffered a very long, and, some few excepted, a very general neglect. Though possessed of innu
merable beauties, they have been known in so
imperfect a manner, that their very names have
almost escaped the readers of the present times.
The merits of writers are not always to be esti
mated from the reputation which they bear with
the public. Accident and caprice contribute to advance some authors above their due rank; and
the same causes as frequently depress below their proper stations, others who are entitled to a supe rior degree of regard. The truth of these obser vations might be illustrated by instances without number. Many productions have been at first coldly received,
which afterwards have met with the highest applause. Some have been praised and
neglected; while others, from a concurrence of circumstances in which excellence hath had no
concern, have for a time acquired a share of favour which they have been unable to retain. Such hath
X MR. REED's PREFACE.
been the revolution of taste, that not a few works
have been both applauded and condemned by the
same persons; and this will be esteemed the less
extraordinary, when it is considered how many,
who pronounce on the beauties or defects of authors, decide without any previous knowledge of
what they approve or censure, how many rely on the opinion of others, and how few are capable of exercising any judgment of their own.
To whatever cause it is to be ascribed, there can be no question but that the works of those who flourished in the reigns of Queen Elizabeth and her
successor were not until lately much studied; and
the dramatic poets were not less neglected than
their contemporary brethren. Even those who are
now held in the greatest reverence were not exempt from the same contemptuous treatment, and in
consequence of it were almost suffered to sink into oblivion and obscurity. Many parts of Shakspeare,
the God of our present idolatry, and some whole Plays, remained involved in the darkness which
change manners and customs the lapse near two centuries had occasioned; and the repu tation which our favourite author possessed de
some degree the frequent representa
very few his plays the theatres. How
was read may seen the example Sir Richard Steele, who does not appear have
pended
tion little
to
he a
in
of
be
on
at by
all in
of
of
a of
of
MR. REED's PREFACE. xi
been acquainted with so popular a play as The
Taming of a Shrew".
To account for so general a disregard towards
the early writers for the stage may not be an easy task, though it would not be difficult to prove the injustice of Many causes are assigned.
The fanaticism, which prevailed about the middle
the last century, had fatal influence over the
theatre for some time. The intemperance reli
gious zeal carried destruction along with wherever the works of taste were be met with and its
dominion continued long, that few the dra matic poets, who flourished when the civil wars broke out, remained the Restoration. The
convulsions the times, which had interrupted kind diversions, produced also change the
the people; and those who adhered their return from exile, brought home fondness for the French school, which soon superseded and sunk into disrepute the rude,
but nervous, productions their predecessors. Those who obtained the direction of dramatic
entertainments this period, had also been ba nished from their country, and had acquired the
same taste. Regularity therefore took place the wild native efforts genius, which were soon driven from the stage; the contemporaries and immediate successors Shakspeare became obso
See last Edition Shakspeare, vol. III. 586.
manners monarchy,
with them
*
of
of
of of
so
a
p.
of
at
of
to
a to
of on
a
of
it.
to
all
at
of ; in
it
be of
of
xii MR. REED's PREFACE
lete, the humour which they possessed was lost, and the allusions, which depended temporary circumstances, being forgotten, grew tasteless and insipid.
The refinements French manners also created disgust the coarseness which was com
mon the conversation our forefathers; and,
though there was improvement the morals the people, must acknowledged, that affec
tation delicacy reigned, totally inconsistent with those gross and vulgar modes expression
antiquary, than gratify taste rendered.
delicate being accustomed the improvements
which luxury and riches introduce. The polish
modern fashions agrees with the barbarity
ancient manners. The early efforts our ances tors the dramatic walk were therefore soon laid
aside: their pictures human life were exchanged
frequently
found ancient writers.
The first attempts any art are always rude and imperfect, more calculated exercise the sagacity
for scenes displaying the follies their turn, have submitted
the day; which, the same fate, being
little adapted the theatre,
evening's
this time
entertainment
gotten dramas
Vanbrugh, and Cibber, now exhibit characters almost obsolete those Ben Jonson,
Beaumont and Fletcher; and such names the latter cannot ensure continuance fame, the
the present volumes.
furnish many
the for Congreve,
a
as
to
of
a of
on
if
to to
of as of
to to
of in
as
or
of of
so
of
as
by to it be
as in at
ill
at
an of
an
at in of
bf
in in
be no
in an in of a
all
of of
MR. REED's PREFACE.
xiii
Dekkars, Middletons,
their contemporaries, must give up their claim to
Chapmans, and Marstons,
immortality
It is a misfortune which must attend all who write
for the stage, that their happiest exertions in deli
neating life and manners lose their force in the
course of a few years, and the more faithfully they
are painted, the sooner their colouring dies away.
The whimsical caprices of fashion are perpetually changing, and, as they pass daily before our eyes,
seldom leave any memorial of their existence. They sometimes are almost literally the children of a day; and, when they expire, so much of the
attraction as depends on such transient circum stances is necessarily lost. That no small stress is laid on what cannot be long relished, may be seen by the practice of modern writers. It may be asked, who has with more success than the late Mr.
Foote catched the fleeting Cynthia of a minute 2 whose dramatic pieces afforded more satisfaction on the stage 2 Yet, with that unequalled facility
transferring characters from life the theatre
which possessed, his works are already laid aside, and must, they are remembered century hence, indebted the industry some painful
searcher into antiquity for recovering lost allusions
and forgotten facts. The truth there are few \ but prefer the applause those they live with
the approbation succeeding times. Their repre
without a murmur.
of
if
to of
all
to
is,
a
be
of he
of
to
xiv MR. REED's PREFACE.
sentations therefore are often so closely connected with the fluctuations of fashion, that it has some
times been necessary for an author to be his own commentator. Cibber lived to see the characters
of his own coxcombs become obsolete ; and, not very late in life”, was obliged to point out the
distinction between the fops he had drawn, and the
new race of these insignificant beings which had
sprung up to succeed them. Can it then be won
dered at, that we no longer receive pleasure from
the exhibition of the Foppingtons and Fashions, which afforded so much entertainment to the fre
quenters of our theatres at the beginning of this
century? That the charm is now lost, must be felt
every time these characters appear on the stage. The humour of them is so interwoven with fashions now no longer familiar, that some late attempts to adapt them to modern manners have only contri
buted to destroy the remains of spirit and meaning which were left in them.
Ifthe works of writers so near our own days so
soon lose their effect, and the restoration of them
to the theatre is become a task of such difficulty, the exclusion of performances of a more remote
period will scarcely be considered as a very for midable objection to the merit of them. In fact, the same causes have had the same effects in both
cases; and at present the earliest pieces are likely. * See his Apology, p. 303. edit. 1750.
|
MR. REED's PR EFACE. XV
to be more read, and better understood, than even those of only fifty years standing. At a time when
destruction seemed to threaten most of the pro
ductions of the early stage, and after, it is to be feared, many of them were irrecoverably lost, the explanation of those writers, who may be esteemed
the classics of this country, began to engage the
attention of some of the ablest writers of the pre sent times. Struck with the absurd alterations and
wild conjectures of critics, who mangled and dis figured their authors, instead of elucidating their
obscurity, they determined to search into contem porary writers for a solution of such doubts as had been created chiefly by time. The success which attended their enquiries soon shewed the necessity
of an acquaintance with works which had until then been overlooked, to obtain a perfect knowledge of some of our most esteemed authors. It shewed
also, that many beauties had long remained un known and unnoticed; that fame had not always accompanied worth; and that those who wished for
information concerning ancient manners would not be able to obtain it so well from any other source. When the value of such kind of performances
became known, other difficulties arose; the ma terials, which were to answer these excellent pur
poses, were not to be obtained by those who were best able to make use of them. Works, which
cease to be popular, are in a short time destroyed; 3
xvi MR. REED's PREFACE.
the fugitive pieces of ages would soon perish, account the slender form their publication,
they were not from time time collected and
published manner more likely ensure their duration. As the use of such collections now
confessed on all hands, be lamented that
care was not taken sooner preserve such slight performances from the ravages time and acci
dent. What might have been accomplished with
the greatest ease the last century now become undertaking much difficulty. Many works
are totally lost; some are already become
valuable editions industry
manuscripts; and several, the best
are sought after vain. The few persons hath lately been employed,
with much credit themselves, forming collec
tions which have been singular advantage the public, may seen some late publications;
and the liberality the present age nothing
more remarkable, than the alacrity with which
the possessors such curiosities communicate them those who have occasion consult them.
The present volumes were originally compiled
exist, that Oxford.
This afterwards came into the possess
late Mr. Garrick; and, with great additions, hath
since been bequeathed him The British Museum. The mention this gentleman's name
from the only collection then known which had been formed the Earls
the
1
by by
to is
of to of
of
in inof
to to in of
it,
all
on of
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to
as
of a
as
of
be of
to
of in
to
to be
in a
as
an
if on of
to
MR. REED’S PREFACE. xvii
naturally reminds the Editor, that he should be
deficient in point of gratitude, if he omitted to notice the readiness with which he was allowed the
free use of whatever Mr. Garrick's library contained for the service of this work. It is no extravagant compliment to the memory of a man, who hath
contributed more to the public entertainment than any person of the present age; that in this parti
cular he had, as in many other parts of his character, no superior, and scarcely an equal. His wish to forward any literary undertaking is too well known, and hath been too often acknowledged by those who were obliged to him, to need any eulo gium on this subject at present; and his death
cannot but occasion a sigh to arise in the breast of every one who had the happiness of his acquaint
ance.
As the public hath long been in possession of the
present work, it will perhaps be deemed unneces
sary to take up the reader's time in pointing out
the value of what he is about to peruse. It may, however, be with decency asserted, that it is cal
culated to afford a great degree of entertainment to
those who would be acquainted from what slight beginnings the English theatre arose to present
state aprovement. will shew the progress
genius the course more than century; and will exhibit specimen almost every author
who contributed support the stage during that
to a
C
a
its
of it
of in
of It of
xviii MR. REED's PREFACE.
period. The vices and follies, the manners, cus toms, fashions, caprices, and pursuits of our ances tors, will here pass in review before us; and in so
lively a manner, that he who would draw a com parison between the modes of living of the present and former times, may be furnished with materials
to make his judgment from. If he should chance to find anything offensive to delicacy, he will recol
lect the times in which these Plays appeared are not to be commended for the observation of a strict
decorum. There are many proofs, that the courts of Elizabeth, and her two successors, were ex
tremely licentious in conversation; and it would be vain to expect a greater degree of chastity at the
public theatres, than was to be found where Royalty
resided, especially when it is known that each sovereign was in this particular highly censurable.
The first Edition of the present Volumes was one
of the many excellent plans produced by the late
Mr. Robert Dodsley, a man to whom literature is
under so many obligations, that it would be un
pardonable to neglect this opportunity of informing
those who may have received any pleasure from the
work, that they owe it to a person whose merit and abilities raised him from an obscure situation in life
to affluence and independence. Modest, sensible, and humane, he retained the virtues which first
brought him into notice, after he had obtained wealth sufficient to satisfy every wish which could
MR. REED's PREFACE. xix
arise from the possession of
friend, encourager men
quired the esteem and respect
acquainted with him. was his happiness pass
the greater part his life with those whose names will be revered posterity; most whom was loved much for the virtues his heart, he was admired on account of his excellent
writings. After life spent the exercise social duty, fell martyr the gout,
house friend", the year 1764, when nearly arrived the age years.
every
the had
He was generous genius; and ac
who were
From this digression, may called one,
us return what introduced the former edition this collection. hath been customary with
those who have given new editions works which
have exercised the abilities other persons,
very diffuse pointing out the defects their
predecessors, and dwell with great satisfaction
on mistakes, which the most careful editors cannot
avoid falling into. This practice the more condemned, every person who has had any
concern undertakings this kind, must con vinced the fallibility claims unerring
perfection. When Mr. Dodsley undertook the present publication,the duties editor English
works were not well understood they have been since. The collation copies had not
Mr. Spence, Durham.
of in
* as
an
at
of
of
it, 61
in
it.
at
let
as he
so
to
as
of
all
of a
ofof of all
if
it of
It of
to a
as in athe
a
by of
of
It
in a
by
an toof
ofto
of to be
he at of
be
to be
to
is be of of
of
XX
MR. REED's PREFACE.
that time been practised in any case that the editor is informed of (for it is certain neither Theobald, nor any other editor of Shakespeare, nor either of
the gentlemen who had published Chaucer or Spenser, had any claim to praise on this account), and a knowledge of the writings of contemporary
authors was still less deemed necessary. In con sequence of these false ideas of the requisites which
an editor ought to possess, there are some imper fections in the former edition, which would have
been avoided had the same person lived to super
intend a republication of his work. One of these
faults arose from his reliance on the first copy of a
play, sometimes the most erroneous one, which
chance put into his hand; but the most material
was from his want of acquaintance with the litera
ture of the last century. This latter circumstance
occasioned many words and phrases which were obscure, or not understood, to be changed for
others more familiar and intelligible. As fidelity in publishing any author is an indispensable quality in
an editor, the liberty which Mr. Dodsley ventured upon is certainly not to be defended or excused. His several innovations have therefore been silently removed, without burthening the page with an unnecessary note, except where the words restored required an explanation. The different copies by
which the present edition has been collated, are set down at the end of each play.
*. . . *
MR. REED's PREFACE. xxi
In printing the text, the Editor hath been
careful not to fall into the error of his predecessor,
and therefore hath scarcely ever indulged himself in alterations from conjecture. The many experi
ments of this kind which were made by the first editors of Shakespeare and other writers, and the futility of them all, as hath appeared from the enquiries of later commentators, have sufficiently
convinced him that such a mode of getting rid of the difficulties which occur in ancient writers, is more calculated to shew the boldness of the critic,
than to give credit to his knowledge, either of the authors, or the habits, fashions, humours, or customs,
of former times. He hath, therefore, in not more than two or three instances, departed from the
text, and never without noting the variation, that no
one who may choose the rejected words, or is able to explain them to his satisfaction, may be obliged
to quit the old copies, if they shall be deemed intitled to a preference.
In commenting on the several plays, the Editor hath generally had recourse to contemporary
writers, for the explanations of words or phrases which are peculiar to the times; and the same
practice hath been observed in elucidating the particular customs which are referred to in the several volumes. In the course of these remarks,
the reader will see how much the present collection hath been indebted to the late edition of Shake
xxii MR. REED's PREFACE.
speare. As it cannot be expected that many will become purchasers of these volumes who are not possessed of that work, it hath generally been
referred to in the course of the several notes. It would be some satisfaction to the Editor, if he
could say, that the obscurities which are
found were completely explained; and sorry acknowledge, that several remain unattempted.
They are, however, not very numerous, and will,
entitled the pardon every candid To throw light every difficult passage work the present, requires more reading than can expected from any one person.
was very soon after this collection went the press, that the Editor became convinced how im
perfectly the task which had entered upon would performed, was depend entirely
his own endeavours; and, very fortunately, that aid which he wished for was offered him, the
thinks,
reader. such
politest manner, gentleman
under many great obligations, besides his commu
nications this work. When known, that him the public are indebted for the notes signed with the letter the reader will regret that there
are not greater proportion the whole number
under that signature. From another gentleman, whose knowledge antiquarian subjects the world
hath been long acquainted with, the notes marked were received; and those which have the
whom
S. P.
on
in
a
if he
to
he a be a
of
all it
is to
to
to
be
S,
by
be as
all
he in to is
is
to
he
in It
to
of to
he
on
be
quarters,
MR. REED's PREFACE.
xxiii
letter N annexed to them, are such observations as occurred to the printer of the first six volumes, in reading the proof sheets. To these gentlemen the editor esteems himself much indebted for their kindness and attention. From them arises the
principal assistance hath boast very few notes marked with different letters he was
favoured with other friends, whom begs
here make his acknowledgments. And hath
many reasons flatter himself, that the commen
tary would have been much enlarged from other
There are two alterations the present edition from the former, which he believes will need no apology. These are, the arrangement the plays,
now changed according the chronological order
which they were published, and the removal some, which were formerly printed, for others
diffidence his abilities for the under taking had not deterred him from solicitation.
which seem have fairer claim served. Some
being pre these rejected pieces have been
complete edition one author;
lately published
and the others are such have been thrown out
the advice gentleman whose sentiments concerning them must confirmed every one
who will afford them
perusal".
The following list the rejected plays:
Mustapha,
The Shepherd's Holiday, Joseph Rutter.
Lord Brooke.
21
*
by
in
by
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to by
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be by
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to
of in
of
by
of
to
of
to
if a
of
to
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of. A
to
to
all
xxiv. MR. REED's PREFACE.
Besides the notes already mentioned, the prin
cipal additions are, a fuller account of the several
authors than Mr. Dodsley's plan allowed him to
give. The History of the Stage is also continued
from the Time of the Restoration to the year 1776; but, in this part of the undertaking, a want of
materials hath so often occurred, that the editor is convinced of the imperfect manner in which it is
3. The City Madam,
-
4. A New Way to pay old Debts, 5. The Guardian,
6. The Unnatural Combat, 7. The Picture,
by Massinger.
8. The Lost Lady, by Sir William Barclay. 9. The Marriage Night, by Lord Falkland.
Love will find out the Way,
This more than Shirley's Constant Maid.
11. All Mistaken; or, The Mad Couple, James Howard. 12. The Revenge; or, Match Newgate.
This Marston's Dutch Courtezan, altered Instead which are inserted,
Betterton.
Jeronymo.
The Second Part the Honest Whore,
The First Part
All Fools,
The Miseries
Ram Alley,
The Roaring Girl,
The Four Prentises The Jew Malta,
Tho. Dekkar. Geo. Wilkins.
George Chapman. Inforced Marriage,
Lodowick Barry.
Middleton and Dekker.
The Wits, Sir William Davenant. 10. Chichevache and Bycorne.
London, Thomas Heywood. Christopher Marlow.
byof by
of
A
by
•6 :
10.
byof by by of
is no
|
by
by
by by
of
of
is
in
by T. B.
MR. REED's PREFACE. XXV executed, without being able to make any im
surprized find little subject from which much the amusement life derived and, the slight sketch now given should tempt any person
who has more industry and better opportunities acquiring information complete what here left
undone, the editor will not think his time entirely mis-spent.
How far the present edition Mr. Dodsley's
provement in He
has been written on
calculated answer what the public have
health,
finish
such manner merit applause.
not been seduced vanity far not
ceive the many defects which will found
part these volumes. He truly sensible them; but can the same time declare, they have
not been caused any relaxation his endea vours render the performance perfect
was able. Whatever the determination con
cerning (though the subject what acknow
ledges himself feel some anxiety about), pro
fesses himself not have the slightest inclination dispute the propriety any censure which may
passed his labours, either part, the whole. Perfectly satisfied with the pleasure has
work right
demand, the editor afraid reflect was begun first merely for amusement;
on.
and hath been carried through much and with many real doubts his ability
He hath per
his
or he in
to
so so
be to
ina of
it on
to
to
it.
to
of
a
It
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at
tobybyasatto ofa
to to is ofis on
is soof is in is isof
as beas he of
;to
he as
in to
if
to ill he of it
is
of
xxvi MR. REED's PREFACE.
received in the course of this work, he hath no expectation or wish for fame, on account of his concern in The employment hath been very agreeable one him. hath soothed many hour when depressed sickness and pain; and
some measure, the happi the opportunity which hath
enjoyed becoming known several gentlemen, whose friendship and acquaint
ance esteems highly honourable him. To those who may dissatisfied with the manner
hath contributed, ness his life,
means
which this work conducted, the undertaking appeared
can only say, that him much easier be
fore engaged than found afterwards progress through the press. He might safely
rely the candour those who have experienced the trouble and difficulty attending such perform
ances the present; and those who have not,
could wish address himself the words one who had, says the gentleman who quotes him, long
laboured the province editorial drudgery; and who thus appeals the judgment and bene
volence of the reader: “If
editor such books, thou wilt have some com
“passion my failings, being sensible the toil such sort creatures; and, thou art not “yet editor, beg truce thee till thou art
“one before thou censurest my endeavours. ”
thou ever wert an
I
of
is be of
to
of
if
he
to
to
““ of
its
by
an
on of
as to
on
he
he
of it
of
to
in
of
it.
of
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a
in it,
by in
by It
-
DEDICATION To
THE FIRST ED IT IO N.
TO SIR CLEMENT COTTEREL DORMER, KNIGHT. SIR,
If there be anything in this Collection worthy of being preserved it is to you the public is indebted
for the benefit. Your obliging readiness to com municate the stores of which you were possessed, encouraged me to undertake the design, which otherwise I should have despaired of prosecuting with success. Under the sanction of your name,
therefore, I beg leave to shelter the remains of these old dramatic writers, which but for your
generosity I
had fallen with their authors into utter
I
have taken to give a tolerably correct edition of -
. . . them, and am with great respect, Sir,
Your most obliged, and obedient
humble Servant,
R, DoDSLEY.
oblivion. To your candour
submit the
pains
o
PREFACE 5
THE FIRST EDITION.
WHEN I first conceived the design of collecting
together the best and scarcest of our old Plays, I had no intention to do more than search out the
several authors, select what was good from each, and give as correct an edition of them as I could.
humours and manners of the times in which they lived. . But as the public has been so kind to
favour me with much greater encouragement than I expected, I thought it my duty to omit nothing
that might conduce either to the greater perfection of the work, or their better entertainment. It was
this consideration which led me to think of prefix ing to each Play, where any materials were to be had, a brief account of the life and writings of
*The Notes this Preface signed are those originally added Mr. Dodsley; those subscribed are by the late Mr. Reed; and the remainder with the initial
are the present Editor.
This Ithought
specimen of the different merits of the writers, and shew the
would at once serve as a
by
to
C.
its
it by
I. R.
to
D,
xxx MR. DoDSLEY'S PR EFACE.
author; and also, by way of Preface, a short his torical essay on the rise and progress of the English
stage, from earliest beginnings, the death king Charles the First, when play-houses were
suppressed. But the prosecution both these
have been crossed with want ma that am afraid what intended should
merit thanks, must barely hope for pardon.
designs terials,
proceed my principal design, may
Before
not unentertaining the reader just
view the great similarity that appears
take
the rise the prin
The Italian
theatres; nay, they pretend was never entirely
silent from the imperial times. But though there might some insipid buffooneries performed
idle people strolling about from town town, and acting open and public places the mob they gathered round them; yet they had poetry
and progress cipal countries
the modern stage Europe.
ITALIAN THEATRE.
the time
Bouche, poets began
the Provençals", nor any thing like
his History Provence, says, the Provençal esteemed throughout Europe the
perhaps the earliest
the modern
twelfth century, and were the height their credit
about the middle the fourteenth. Their poetry consisted Pastorals, Songs, Sonnets, Syrventes and Tensons,
Satires and Love-disputes. And the list their poets
of
•
of
to in be
in be of
I of of
to to
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in so
of of
no to of all a till by
of
i. e.
in
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of
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to in a
to
of be
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of
MR. DoDSLEY'S PREF Act. xxxi
theatre, till they began to exhibit the Mysteries of
Religion. And these, as is affirmed by Octavio Pancirolli, in his Tesoro Nascosto di Roma, begun
but with the establishment of the fraternity del
Gonfalone in the year 1264: from the statutes of which company he quotes the following paragraph: ‘The principal design of our fraternity, being to “represent the passion of Jesus Christ; we ordain,
‘ that when the mysteries of the said passion are “represented, our ancient orders be ever observed; ‘together with what shall be prescribed by the ‘general congregation. ' But Crescimbeni, in
History Poetry, says, the first piece this na
ture was written Francis Beliari the story Abraham and Isaac and acted Florence, the church St. Mary Magdalen, about 1449; and that about the same time, soon after, the His
tory Christ's Passion was first represented the
are found persons the first dignity: particular the Emperor Frederick the First, and our King Richard, sur
named Coeur Lion. This poetry received fatal stroke the death Joan the First, Queen Naples, and Coun
tess Provence; for neither Lewis the First, her adopted son, nor Lewis the Second, his successor, shewed any re
gard Le fin cette poesie fut commencement celle
des Italiens; for there before Danté were rather rhimers
than poets: and Petrarch were deur vrayes fontaines poésie Italienne; mais fontaines, qui prinent leurs sources
dans poésie Provençale. Pasquier RECH. 605.
D.
de
in
of in
de
in
la
la toof
of
of
he
of de
all de
of
; by
le les
of
its
or
at
it.
of
in
on
of
his
xxxii
MR. DoDSLEY’s PREFACE.
Coliseum at Rome. These two accounts I leave to be adjusted by the critics.
SPANISH THEATRE.
The Spanish Theatre boasts great antiquity;
but it is difficult to fix precise aera. Their first
theatrical pieces were small farces one Act called Entermises, Jordanas, which they per
formed thorough-fares, the most public places
the towns. The action the piece turned upon
some subject ridiculous and low life; which being heightened with strokes wit and satire,
and performed with antic gestures, made enter tainment not much unlike the Latin Mimes. To
these succeeded what they called the Autos Sacra mentales; being indeed mysteries, but more artifi
cial than those the rest Europe, which were simple representations, while these were always
allegorical. There are prodigious numbers
them Spain, but those Calderon are reckoned the best. *
strong resemblance exists many points between the origin, progress, and perfection the English and
Spanish stages, that has been thought subjoin fuller account, the latter, drawn from the best sources.
C.
-
Luzan, the author the Poetica, work much au
thority Spain, refers the Leyes partida Alonzo,
in
of
a it
of
of
to of 2
or
its
de a la
in
de
an
of
fit to
of
a
of
of
* So
in
of
in
of
of
of or of
MR. DODSLEY'S PREFACE. xxxiii
FRENCH THEATRE.
The French pretend to draw the original of their drama from the Provençal poets in the thir
to prove that dramatic representations commenced in Spain in the middle of the 13th century: one law expressly com mands that the clergy shall not act juegos de escarnios (plays of scoffing or ridicule) but permits them to represent mysteries of the birth, passion, and resurrection of Christ: it also ex pressly forbids the use of the religious habit in the former. Hence it is deduced that both religious and profane dramatic representations were then exhibited, and it has been also
asserted that actors by profession were known at the same time. There can be no doubt that acting mysteries formed part of the education of the ecclesiastics in the monasteries even to a comparatively late date. Blas Nasarre, the recent Editor of the Plays of Cervantes, states that it was the custom of the pilgrims of that age to act mysteries in the market places and even in the churches. The Autos Sacramentales had their origin in these Spanish mysteries which like our own were filled with absurd allegories, and
personifications, and the grossest anachronisms. The jesters and buffoons of that time were called Zahorrones and Reme
dadores, and were made infamous by the law of Alonzo the Wise: the Mayas and Diablillos (little devils) were not allowed to cross the threshold of a church. The Court
of Arragon began to patronize and cultivate poetry under the name of la gaya ciencia, towards the end of the 14th century; and the dramatic part of it con sisted of dialogues and fancies of various kinds. The colleges at Toulouse and Barcelona, for the cultivation of
poetry, were reformed and perfected by Don John Don
-
-
d
I. ,
xxxiv. MR. DoDSLEY’s PR EFACE,
teenth century. I suppose because one Nouez, who died in the year 1220, is mentioned by Nos
Martin, and Don Ferdinand the Honest, and the monarchs
themselves assisted in the representation of what were termed Ditados, Trolas, and Dialogos; John I. brought from
Provence for this purpose, the most celebrated poets, players,
and dancers. After the college of the Troubadours was re moved to Castille the dramatic art seems for some time to
have remained stationary. Cervantes, in the preface to plays, claims the first who personified the passions
the stage; but this pretension seems hardly consistent with the accounts of the Chroniclers and with what known of
the productions Juan Encina, who flourished circa 1480. The production about the year 1400, pastoral called Mingo Rebulgo, attributed Rodrigo Cota, con sidered epoch the history Spanish dramatic poetry:
also wrote piece less than twenty-one Acts en titled Calistus and Melilaea, which probably, therefore, was
never represented, and which many imitations were
published. Lope Rueda,
native Seville and
famous actor, deemed the first who his writings gave distinguishing character Spanish Comedy. Cervantes
(Preface his Plays) gives curious account the pro
divide plays into three acts, but Lope Vega his Arte
hacer Comedias, assigns this merit earlier author of the name of Virues: others attribute the invention
Nabarro. From this date the Spanish stage was inundated with plays divided into Jornadas acts, and Montalban says, that Lope Vega himself wrote 1800 them.
theatre before the time Rueda “all the
perties
“furniture and utensils of the actors were contained one “sack, consisting four beards and perriwigs, and four “pastoral crooks. ” He also mentions that was the first
*
of
a to
an
isa to
de
in
be
2
or
a
of to
an de of
de
: of
to
a
on his
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of
of
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of in
to ofno de a
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in of a
in
is is
MR. DoDSLEY'S PREFACE. XXXV
tradamus as a good actor. This man, by going about to the houses of the nobility, singing, danc ing, and making faces, gained not only a good livelihood, but much applause. He had, they tell
us, the art of speaking either in a man's or woman's key, and by changing his accent, gesture, and
countenance at pleasure, could himself personate two actors. These kinds of extempore farces, or dialogues, continued till they were displaced by
the exhibition of the mysteries. The first, of which we have any account, was the mystery of
the Passion, represented at St. Maur's in 1398.
Luzan separates the history of the Spanish stage into the four following epochs. 1. The ancient canciones, villanescas, and dialogos, which during the 14th century, were sung and acted by the authors, or by public jesters or players: no
material change occurred until the commencement of the 16th century. 2. Pastorals and humorous colloquies in which Lope de Rueda gained such reputation, and which
he himself improved: these continued for about 50 years.
3. Farces and pieces of comedy in three acts, invented by Virues, Cervantes, or Nabarro, and for writing which Juan de
la Cueva was also celebrated: this species of entertain ment was preserved until the close of the 16th century. 4. The perfection of the Spanish Drama in the latter end of the 16th and beginning of the 17th century, after Lope de Vega had produced his Jacinto, followed by the plays of Calderon and others.
It is evident that Luzan in this division does not profess
to go so far back as the age of mysteries, which preceded the canciones, villanescas, and dialogos of which he first speaks.
xxxvi MR. DoDSLEY'S PREFACE.
But the French Theatre, though it got as early rid of these barbarities as any other, yet continued
long very rude and imperfect, and destitute of good comedy till the time Corneille and Moliere; the former born 1606", the latter 1621
DUTCH THEATRE.
The Dutch Theatre had original from what they call that country Reden Rychkers Kameran,
that companies societies rhetoricians and
poets, not unlike the academies Italy. The members of these societies were the wits of the
place, who, when any one was married, buried, preferred office, &c. were applied for epithalamiums, elegies, panegyric. They also composed theatrical pieces, which they acted the society-room; from whence these old pieces
are called Society Plays, those Italy were called Academy Plays. Sometimes the Reden Rychkers, poets one village, went perform
their pieces fair times another; which,
turn, gave the first revenge. Sometimes again, the poets one village disputed the prize
wit with the poets another, extempore pieces. These kinds entertainments, they can properly called theatrical, are said
old the Provinces themselves; but the most
eminent piece their more reformed theatre He died 1684. He died 1673.
as be 7.
is, in
of
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of of 8
its in
or
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as
its of
MR. DODSLEY'S PREFACE. xxxvii
De Spiegel der Minne, the Mirror of Love; written by Colin Van Ryssele, and printed at Haerlen in 1561. The Dutch, like all other theatres in their
state of ignorance, had a great passion for the
marvellous. In one of their old tragedies a prin cess has her lover's head before her on a plate: to this she sits down and addresses herself, and re
ceives as pertinent answers as if it had been still
upon
now more refined; and these extravagances are
his shoulders. But the Dutch Theatre is
seldom represented but on some state-holiday, to please the common people.
GERMAN THEATRE.
The Germans deduce the first rise of their
theatre from the ancient bards, whoIused to sing
the eulogies of their heroes; and
just as much truth as the French do theirs from
the Provençals. To these bards, they tell us, suc ceeded their Master Sanger, that Master Singers; who formed themselves into societies
the principal cities Germany. One these merry societies actually subsisting Strasburg
day, composed shoemakers, tailors, weavers, millers, &c. who enjoy certain privileges,
which they pretend were granted them Otho the Great and Maximilian the First: but neither
did these attempt any thing dramatic till after the
this
believe with
s
by
of
in
to
all
is
of of
at
is,
xxxviii
M. R. DoDSLEY'S FREFACE.
fifteenth century”. About the middle of the six
teenth, a shoe-maker at Nuremburgh, named Haanssacks, composed many dramatic pieces, both
sacred and profane. Amongst the first are Adam and Eve, Jacob and Esau, Esther, Tobias, Job,
Judith, the Prodigal Son, and others; among the latter are, Jocasta,Charon, Griselda, the Judgment
of Paris, and many others. And this shoe-maker is now in as much honour amongst them for his Mysteries in Poetry, as Jacob Behman, another of
the same craft, for his Mysteries in Divinity. But these were very rude imperfect pieces; nor did
the German Theatre arrive any tolerable per fection after the year 1626, when company
Dutch players went ing some pieces
Mystery
better taste.
Hambourg, and, exhibit more perfect kind, led them
not forty years since the the Passion was exhibited Vienna.
consisted five Acts, and represented order the Terrestrial Paradise; the Creation of Adam and Eve, their Fall; the Death Abel; Moses
the Desert; the Travels Joseph, Mary, and
Dr. Percy quotes M. l'Enfant, the historian the Council Constance, shew that the English were the
first introduce plays into Germany
the Saviour, having been represented
fathers before the Emperor the 31st year.
1417; the Nativity the English January that
C.
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MR. DoDSLEY’s PREFACE. xxxix
the child Jesus, into Egypt. Jesus was repre
sented by a full-grown lad; but to shew that he was a child, they fed him on the stage with spoon
meat. Then you saw him disputing with the Doc tors in the Temple, his Prayer in the Garden, his Seizing, his Passion, his Death on the Cross, and his Burial, which closed the representation. Thus
the modern theatres Europe began with Singing, Dancing, and extempore Dialogues
Farces; from thence they proceeded the Mys
teries Religion; and till the sixteenth century
none them attempted exhibit either Tragedy Comedy.
ENGLISH THEATRE.
come now particularly consider the rise and progress the English stage, which was the prin
cipal design this Preface. generally, believe, imagined, that the English stage rose later
than the rest neighbours. Those this
opinion will, perhaps, wonder
cal entertainments almost early and yet nothing more certain,
told theatri the Conquest;
you will believe honest monk, one William Stephanides,
Fitz-Stephen, his Descriptio Nobilissimae Civi tatis Londonia, who writes thus: “9London, in
Lundonia pro spectaculis theatralibus, pro ludis sceni cis, ludos hadet sanctiones, representationes miraculorum,
quae sancti confessores operati sunt, seu representationes
*
an Iorall
in
of its
is
of
as
to
if to as be
It is
of
in
of of of
or I or
to
in
to
xl MR. DoDSLEY's PREFACE.
“stead of common interludes belonging to the “theatre, hath plays of a more holy subject; re
“presentations of those miracles which the holy
“confessors wrought, or of the sufferings wherein “the glorious constancy of the martyrs did ap
“pear. ” This author was a monk of Canterbury,
who wrote in the reign of Henry II. and died in that of Richard I. 1191: and as he does not men
tion these representations as novelties to the people (for he is describing the common diver sions use that time), we can hardly fix them lower than the Conquest". And this, believe,
earlier date than any other nation Europe can produce for their theatrical representations.
About 140 years after this, the reign Ed
passionum, quibus claruit constantia martyrum. The whole piece preserved Stow, and very curious.
This curious ancient description London was repub lished with Notes, 4to. 1772.
The author the dissertation, prefixed the edition 1772, conjectures that the work was written Fitzstephens,
about the year 1174, and all events before 1182. The
whole description London has been discovered only
part larger work, the Life Dr. Percy, his Essay
stage, establishes from Matthew
Play
Thomas Becket.
the origin the English
Paris, that the Miracle the year was
St. Catherine, was acted Geoffrey, Abbot
St. Albans, Norman. Paris calls quendam ludum Sancta Katerina,
written
Matthew
quem Miracula vulgariter appellamus,
I
it
in
in
of of by
C.
of à
de
1
by to
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a
1 0.
of
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be C.
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in
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