No More Learning

“Tarleton is not your part upon the stage: you are too
“blame that dissemble with the world, and have one part “for your frends pleasure, another for your owne. I am “ somewhat of Doctor Perne's religion, quoth he and “abruptlie tooke his leave. ” Tarlton died about 1589, and was buried at Shoreditch. On the 2d day of August, in that year, Henry Kyrkham had licensed unto “A sorowfull “newe sonnette, intitled Tarlton's Recantation upon this “theame, gyven him by a Gent at the Bel Savage without “Ludgate, (nowe or els never), beinge the laste theame he “songe. ” And on the 16th of October, there was licenced to Richard Jones, “Tarlton’s repentance, or his farewell to “his friends in his sicknes a little before his death, &c. ”— (See the Entries from the Books of the Stationers’ Com
pany. ) By Bishop Hall's Satires it appears, that Tarlton
was celebrated enough to have his head hung as a sign for ale-houses,
“To with Tarlton
Bucke’s “Stately moral the three Lords and
“three Ladies London,” 1590, Simplicity, sort pedlar-clown, represented carrying his basket pic
ale-post's signe! ”
is
of
as
of
on an
in
a
I. R.
of
In P.
sit
MR. Dodsley's PREFACE.
Tarleton, says Sir Richard Baker in his Chronicle, for the part of a clown, never had his match, nor ever will have. The Epitaph of
Burbage is preserved in Cambden's Remains, and is only Exit BURBAGE. The Epitaph of Tarleton is preserved by the same historian as follows:
Hic situs est, cujus Vox, Vultus, Actio possit Ex Heraclito redde Democritum. s
The next I shall mention is Edward Alleyn, the
lxx
And
Hospital; as famous for honesty, says Baker, for his acting and two such actors and Burbage, age must ever
founder of Dulwich
look see again. He's man, says Heywood
Malta,
Whoin may rank with (do more wrong)
weight, never was lightly bestowed:
Rome great, and her wisest age,
Fear'd not boast the glories her stage, As skilful Roscius, and grave AFsop, men, Yet crown'd with honours with riches then, Who had less trumpet their name
Than Cicero, whose very breath was fame:
tures of Tarlton. The date of Tarlton's death has been
ascertained have been shortly before the September,
his Prologue the Jew
Proteus for shapes, and Roscius for
Hear also Ben Jonson, whose praise more
1588, (not 1589, mentioned Mr. Reed) buried that day, appears the Register Leonard, Shoreditch.
was
tongue.
-
2
of
a
on
to
as it
we
as he
C. as
by by
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of a
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in
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;
no a
so to
to
of as
no
no
If
to
\
MR. DODSLEY’s PREFACE.
lxxi.
How can so great example die in me, -
That, Alleyn, I should pause to publish thee?
Who both their graces in thyself hast more Outstript, than they did that went before; And present worth all dost contract,
As others speak, but only thou dost act.
Wear this renown: 'Tis just that who did give So many poets life, one should live.
Thomas Green” was famous for performing the part clown with great propriety and humour;
and from his excellent performance the character Bubble, comedy written Mr. John Cooke, the author called after his name, Green's Tu quoque. “There was not actor, says Hey
“wood, his nature, his time, better ability “in his performance, more applauded the
“audience, greater grace court, “general love the city. ”
more
Hemmings and Condel “were two considerable
See vol. VII. for some account Green.
not known when these two performers died. Mr. Steevens, who searched for their wills the Commons,
could not find them, though 1641. See the first volume 1778, 198. Hemmings had
looked late the year
bably called compliment Shakspeare), who was born London, 1605, elected from Westminster School, student Christ Church, 1621, and completed his degree
arts 1628. He was the author two Plays, and Latin copy Verses, printed “Carolus Redus,” 1623.
the edition
son named William (pro
Shakspeare
of
inp. It* of ofis a
in
*
of
in
to a
p. 1,
of
at
so in
of
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it
by
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all
ofas in
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a by
By a in
as
or of
of
in
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by of
so
lxxii MR. DoDSLEY’s PREFACE.
actors in most of Shakspeare's, Jonson's, and
Fletcher's Plays; the first in tragedy, the last in comedy: but they are better known for being the first editors of Shakspeare's Works in folio, in the year 1623, seven years after his death.
Lowin Taylor, and Benfield, are mentioned
Massinger famous actors. Ben Jonson are these two lines:
Let Lowin cease, and Taylor scorn The loathed stage, for thou hast made
Satire against
touch such.
Lowin, though something later than Burbage, said have been the first actor Hamlet, and
an Advertisement one his Plays, appears that lived not long after the year 1650.
This account will receive some corrections the reader who refers Malone's Sh, by Boswell, III. 186, and where
also appears that “John Heminge (or Heminges) player” (for styled the parish register) died
the 10th October, 1630, and was buried two days afterwards the church-yard St. Mary, Aldermanbury.
See Historia Histrionica, this vol.
This seems said merely the credit Roberts the player his answer Pope’s Preface; but quotes
no authority, the truth may doubted. The Historia Histrionica speaks Lowin's performance Falstaffe, Morose, Wolpone, and Mammon; and Downes, his Roscius
Anglicanus, 24. mentions him King Henry VIII, but neither his ever being the representative
trary both them (see vol. xii.
the original actor them take any notice
Hamlet. On the con 341. and Downes, 21. )
of p.
in
to
tois as
3",
p. of
of as
be
on
I.
R. it
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p.
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to of
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it
|
MR. DoDSLEY's PREFACE.
lxxiii
also the original Henry VIII. from an observation
of whose acting it in later days, Sir William
Davenant conveyed his instruction Mr. Better ton.
And now the theatre seems have been
its height glory and reputation.
thors abounded, and every year produced
number new Plays: nay, great was the passion
this time for shew representation,
that was celebrate their wed dings, birth-days, and other occasions rejoicing,
with masques and interludes, which were exhibited with surprising expence; that great architect Inigo
the fashion for the nobility
The king and his lords, the queen and her ladies,
frequently performed
and the nobility their own private
Masque
Ludlow-castle.
eagerness after theatrical diversions continued du
ring the whole reign king James, and great part Charles the First, till Puritanism, which had
assert that Joseph Taylor was the original
and from Sir William Davenant's observation ner, Mr. Betterton received instructions (See also edition Shakspeare, 1778, vol.
Dramatic au
Jones being frequently employed rations with the magnificence
furnish deco his invention.
these masques court,
houses: short, public entertainment was thought com
plete without them; and owe, and perhaps 'tis
this humour we we owe the inimitable For the same universal
that character: his man
perform 408).
of
all
of x. to
it,
to
to
p. of
of
a it
I.
R. it.
at
at
ofin of all
at
no
of
of
to
in in
of to
or so to
all
his
it is
at
lxxiv. MR. DoDSLEY'S PREFACE.
now gathered great strength, more openly opposed
them as wicked and diabolical. If we may judge of this spirit from Prynne's famous Histrio-mastir,
or Players Scourge, it appears to have been a zeal
much without knowledge. This was a heavy load of dull abuse, published in 1633, against plays,
players, and who favoured them, William
Prynne? ', esq
barrister Lincoln’s-Inn. The
This very extraordinary man, whose severe punishment, and Roman constancy submitting had small effect upon the minds the people, and contributed more than
generally imagined the disasters the times, was born Swanswick, near Bath, Somersetshire, the
year 1600. He was educated the last-mentioned city; entered Oriel College 1616, and took the degree
B. A. Jan. 20, 1620. From thence he was removed Lin coln's Inn, where studied the Common Law, and be came successively Barrister, Bencher, and Reader, that
society. After the execution his sentence, account Histrio-mastir, printed other pieces which gave equal
offence, which occasioned his being again prosecuted. consequence which, was fined, branded, and impri soned, and each with equal more severity than he
fore. The place his confinement was Mount Orguiel, the island Jersey, where continued three years: the end that time, being chosen member for Newport Cornwall, he was released, and entered London tri umph; and soon had opportunity revenge the se
vere treatment had experienced from his inveterate foe, Archbishop Laud. He sat the long Parliament, and
was one the secluded Members who were imprisoned
at ofof of
on
in at in
In
in
he
of
in
an
he
to in
to
it, of
in
in to
in of
of
he
of a all in
or
in
of to
of
is
*
he of in
heof :
on
he
no
by
MR. DoDSLEY’s PREFACE. lxxv
best way the parties concerned thought an
swer this Work, was publish the best old
Plays that could then found that many that
had never yet seen the light were now brought
forth have observed myself more than fifty that were printed this year. short, the patrons
the stage for some short time prevailed; Prynne's
Book was deemed infamous libel both against the church and state, against the peers, prelates,
and magistrates; and particularly against the king
and queen, where says, that princes dancing
their own persons was the cause their untimely ends: that our English ladies, shorn and fizzled
madams, had lost their modesty; that plays were the chief delight the devil, and that frequent
account their zeal for peace with the King. From this time was avowed enemy Oliver Cromwell, and was by him imprisoned Dunster Castle Somersetshire. At the restoration became instrumental recalling the King, and was rewarded with being appointed keeper the records the Tower, and salary 300s. per annum. He was soon after named one the Commissioners for ap peals and regulating the excise, was elected Member for Bath, and embroiled himself with the House Com mons, which account was obliged make sub mission. He died his chambers Lincoln’s-Inn, Oct.
24, 1669; and was buried under the chapel there.
This note transferred this place from the introductory
matter, Shirley's Bird Cage, which not reprinted the present edition. C:
in
to on in is
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to
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; so
of
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of,
I. a
of
all
of
all
in
lxxvi MR. DoDSLEY'S PREFACE.
ed them were damned. As he knew the king and queen frequented them daily, this was thought to
reflect on their majesties. To music has
the choristers bellow the tenor they were oren, bark counter-point like kennel hounds, roar
treble they were bulls, and grunt out base like parcel hogs. For these and many other
utter antipathy, but church-music
which calls the bleating brute beasts; and says,
passages,
the common hangman: and his sentence was,
was ordered burnt the hands
‘be put from the bar, excluded the society Lin coln’s-Inn, and degraded the university Ox
ford stand the pillory Westminster and
lose ear each place, and paper his head, declaring
Cheapside,
fined 5000l. and suffer perpetual imprison ment. This sentence was executed on him with
great rigour. But Puritanism, from thousand concurrent causes every day gathering strength,
little time overturned the constitution; and
amongst their many Reformations this was one, the total suppression plays and play-houses. "
hoax was played off upon Prynne, some years after the printing his Histriomastix 1633, the publica tion tract, called “Mr. William Prynn, his Defence
stand with
offence
against both their majesties, and the government;
the publishing infamous libel
particular,
in 1
an
at at
all in
of
be a
on an
by
of if a by
*
a
to in
of
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of all
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to in
of
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to be
a of as
a
MR. DoDSLEY'S PREFACE. lxxvii
Thus I have brought down this imperfect essay on the rise and progress of the English stage, to
the period which I at first intended : to pursue it farther, and take it up again at the Restoration,
when a new” patent was granted to Sir William Lavenant, would be needless; because from that
time the affairs of the stage are tolerably well known. If what I have done shall give any satis faction to the curious, it is more than I have dared to promise myself, from my own sense of great imperfection; but hope will considered,
what slender materials either the ignorance those times, the injury the following, have afforded
former book his 1649, but the
Vindication William Prynne esquire from some scan dalous papers and imputations newly printed, and publish
Stage-plays;
called Histrio-mastix. ” answer Prynne dated Jan. 10, 1648,
Retractation
bears date
the shape
was most likely ante-dated. “The
ed, traduce and defame him his reputation,”
the exist:
British Museum, and other copies
declares the supposed defence forgery, and imposture” some players. ”
are known
may not amiss take notice clause this patent, which says, “That whereas the women's parts
plays have hitherto been acted by men the habits “women, which some have taken offence, we permit
and give leave, for the time come, that all women’s
parts acted by women. ” And from this time women began appear upon the stage.
posting bill
him
the “imprisoned stage
“a mere
“““
*It
he
to
to be
at
of
or
to D.
of in of it byof a
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to be
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it
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to is in
of
its
it to
it, It
of
I
or
lxxviii MR. DODSLEY'S PREFACE.
us. I am, as it were, the first adventurer on these
discoveries, and it is not reasonable to expect more perfection than is commonly found in the first attempts of this nature. All that I can say
that have thrown circumstances
together number curious
the subject, that the reader vain elsewhere. And the
would
seek for
novelty
person
leisure, make stricter enquiry into this matter,
would certainly oblige me, and perhaps
public. enough for me that have led the
way, and been the first, however imperfect, dis COWerer.
now only remains say something my un
dertaking, which shall endeavour comprize few words may be. My first end was
snatch some the best pieces our old dramatic
writers from total neglect and oblivion: things not only mere curiosity but use, far
elegant entertainment can use; several these being not unworthy the present, nor indeed
any stage. have generally preferred comedies
tragedies, not only these times afforded much better the kind, and would therefore this and other respects most entertaining the reader,
but they better serve shew the humour, fa shion, and genius the times which they were
written. Another end which thought such
them should excite the curiosity any greater abilities, better health, more
I in
be
of of
a
a
to
as of an
to in
the
is,
as It he
as I
to
to
be
as I
in on
of
as
to
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of
to
I of
in
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of
It is
to ofof a
as
as
of or of if
MR. DoDSLEY'S PREFACE. lxxix
collection might answer was, that it would serve very well to shew the progress and improvement
ofour taste and language. For this better pur
pose, in the six pieces 39 which compose the first
volume, and also in the remarkable tragedy of Gor boduc, I was even so scrupulous as to preserve their very original orthography. I did indeed, to
gratify the reader's curiosity, intend to have done the same in the rest; but this was plainly im
-
possible,
editions; every edition the orthography was
unless could have met with the first
that then use. also con sidered, that though this might have been enter taining the curious, the generality readers
would have been very disagreeable. To the first therefore have given sufficient specimen one volume, and the other have endeavoured
make the reading easy could the rest. farther inducement this undertaking was the hopes had being able these authors jus
tice more correct edition their Plays, than they hitherto had; for the greater part them,
seems carelessness and ignorance had
Mr. Dodsley, not knowing the first editions the se veral pieces which compose this collection, made wrong
arrangement them. This altered the present edi tion; but the orthography the first six pieces pre
served, though three the plays are printed from earlier and more correct copies.
generally adapted
I. R.
to II to as
to
of
as as to
to a
of is in
of do
in
is
a
of
of
in to
of
as
if of to
it *9
it
in I
a Ito
for all inI
in
of
I
A
lxxx MR. DoDSLEY’s PREFACE.
joined their efforts in rendering them unintelligible.
And not only so, but the pointing is at the same time so preposterous (which, like false guiding posts, are perpetually turning out of the high road
of common sense), that one would almost suspect there was as much malice as stupidity in these old editors. However, by the assistance of a little common sense, I think I have set a great number of these passages right. And if any one should be offended that some are left unintelligible in the state they were found, I desire he will be pleased to consider how many such still remain in Shaks peare”, after the best endeavours that have hitherto
* It should be remembered that this was written in the
year 1744, when the observation might be made with great truth and justice. How imperfectly Shakspeare was under
stood at that time, every reader conversant with his writ ings is now well informed. The same year in which the
former edition of this work appeared, the splendid, but conducted, design Sir Thomas Hanmer was made public. It, however, was generally disapproved of, and Dr. War
burton's attempt few years afterwards, from which great
expectations were formed, was not more successful. The failure these gentlemen probably excited Dr. Johnson undertake new edition, which would have precluded
every further effort, had executed the plan laid down his proposals. “The editor,” says he, “will endeavour
“read the books which the author read, trace his know “ledge the source, and compare his copies with their “originals. ” Again, “He hopes, that, comparing the
“works Shakespeare with those writers who lived
of
to
of
of
to
at
to in
ill
by
he
to
a
a
of
MR. DODSLEY'S PREFACE. lxxxi
Be
or discover the
been used to restore their original meaning. sides, I believe I may venture to say, it is more difficult to give a correct specimen of so many writers, than a correct edition of any one: be cause, when an Author's manner is once known, it
will very often help to rectify
meaning of corrupted or intricate passages: where
as the reading of so many different stiles and man
ners of writing will be apt, without great care, to confound and mislead the judgment. Add to this, that it is easier to correct the errors in a good au
thor than in a bad one; because not only the con struction of the language is generally better and less confused, but the sentiments are clearer and more striking. After all, I submit what I have
“ the same time, immediately preceded or immediately fol “lowed him, he shall be able to ascertain his ambiguities, “disentangle his intricacies, and recover the meaning of “words now lost in the darkness of antiquity. ” That Dr. Johnson was not possessed of the materials necessary to
accomplish his own excellent design would have been the subject of regret with every reader of Shakspeare, if the plan
he had delineated had been neglected on failure
hands. Fortunately for the public, was resumed by Mr. Steevens with unremitting attention and equal ability. The success which hath followed this gentleman’s researches,
joined the assistance Dr. Farmer, Mr. Tyrwhitt, Mr. Malone, Mr. Warton, Mr. Tollet, and few others, hath
left very little for the industry any future commentator
our ever unequalled bard. VOL.
-
his
g
on
to I.
to be
of of
it a
its
in
lxxxii MR. DoDSLEY'S PREFACE.
done to the judgment of the public, whose candour
I nature I
good
aiming
of a critic, that what corrections or emendations I
have made are bestowed on the public (as good
men do their alms) privately, and without ostenta
have often am
experienced,
I
and on whose
tend to. So far am
from
at the character
afraid I shall
have more oc
always
casion to rely, than on any merit I shall ever pre
tion. Yet however contemptibly I may think of
myself, I have the honour of keeping a critic in waiting for the publication of this collection, in
order to detect and expose the errors which may have escaped me, or which I may not have been able to correct. I heartily wish him success in his undertaking: I have pointed him out some few, and doubt not but, if he is truly industrious, he will be able to find many others, which I shall be
verIy glad to see amended.
ac knowledgments to those who have given me
begging my conclude with leave to return
the honour undertaking:
the conditions and neatness
their names”
hope have my proposal,
encourage this
least fairly fulfilled the elegance
account the stage, more than promised.
The first Edition scription.
trifle, also
the book; and
this short trifle more par
this Work was printed sub
I. R.
I
ofofI of
*
of
of
it
all
by
a
I
am be a
at as
in
a it
to as to
if I
to is
MR. DoDSLEY’s PREFACE. lxxxiii
ticular manner to acknowledge my obligations to
some generous and learned friends, from whose
advice and assistance I
my
derived more value and correctness than it could
am sensible
work has
ever have appeared with, had I been left alone to struggle with my own weak endeavours.
SUPPLEMENT To
MR. DODSLEY'S PREFACE*.
IN the foregoing Preface, Mr.
Dodsley hath
carried on his account of the stage to that period when the inroads of civil war, joined to the fana tical madness then prevailing, overthrew the stage,
and soon after effected the destruction of monarchy. In the present supplement it is intended, with as
much accuracy as the few materials remaining will permit, to take up the narrative of those revolu tions which the theatre hath since undergone to the
year 1776; a year which in the annals of the stage will be always deemed an important one, being the
time when the late Mr. Garrick terminated his theatrical life, and quitted the management of Drury-lane playhouse.
* The few additional notes to this Supplement, by Mr. Reed, are marked with his initials. The other notes unap propriated, were printed by him in the edition of 1780. C.
-
*
lxxxvi SUPPLEMENT TO
From the commencement of hostilities between
the king and his parliament, the performances of
the stage were intirely discontinued. Of the several actors then employed in the theatres, such as were not prevented" by age went immediately into the army, and, as it might be expected, took
part with their sovereign, whose affection for their
profession had been shewn by many instances previous to the open rupture between him and his
people.
monarchy, and to the stage. After a violent and
bloody contest of some years, they both fell to
gether, the king lost his life by the hands of an
The event of the war was alike fatal to
executioner,
the theatres were abandoned or
destroyed, and those by whom they used to be
occupied were either killed in the wars, worn out
with old age, or dispersed in different places,
fearful of assembling, lest they should give offence to the ruling powers.
* The fate of their royal master being determined, the surviving dependants on the drama were
midst of one of their performances, and committed ' Historia Histrionica, in this vol. 2 Ibid.
obliged again
to return to the exercise of their former profession. In the winter of the year 1648°, they ventured to act some plays at the Cockpit, but were soon interrupted and silenced by the soldiers, who took them into custody in the
MR. DoDSLEY's PREFACE. }:{xxvii
them to prison. After this ineffectual attempt to
settle at their former quarters, we hear no more of
any public exhibition for some time *. They still, however, kept together, and by connivance of the
commanding officer at Whitehall, sometimes repre sented privately a few plays at a short distance from town. They also were permitted to entertain
* In the Mercurius Antepragmaticus, No. 18, Jan. 27, 1648, mention is made of an order of the House of Commons in these words: “And that the disobedient of what rank
“soever may be regulated upon information given to the
“House, that many stage-plaies were acted in the several “ parts of the City and County of Middlesex, notwith “standing they were prohibited from their foppery by a “former ordinance, they ordered, that an ordinance should “be drawn up for suppressing all stage-plaices, and for
“the taking downe all their boxes, stages, and seats what “soever, that so there might be no more plaies acted: “ and indeed, these are no times to have publike interludes
“ permitted, when the hand of God lies so heavy upon us, “ and all the powers of hell in action against us; if those “proud parroting players cannot live, let them put their “hands to worke, they are most of them a sort of super
“bious ruffians given to all manner of wickednesse, and
“ because sometimes the asses are cloathed in lions skins,
“ the dolts imagine themselves somebody, walke in as great
“state as Caesar, and demeane themselves as loftily as
“any of the twelve noble spirited beasts of the wilder.
“nesse; away with them and their actions on the publike “stage.
“For since we have supprest our adjutators, “Let's part the actors and the rude spectators. ”
boxxviii SUPPLEMENT TO
some of the nobility at their country houses, where
they were paid by those under whose protection
they acted. They also obtained leave at particular
festivals to divert the public at the Red-Bull, but
this was not always without interruption. Those
at the head of affairs still continued their impla
cable rancour against who were connected with
polite letters, and the unfortunate actors who sur
vived this period felt the greatest distress.
slender and precarious support was the whole they were allowed. In this situation several of them
were obliged draw forth the manuscripts their contemporaries which they had their possession, and many plays were published which might other
wise have never seen the light.
But though the fury religious zeal seemed
threaten that the stage should never revive, and
every method was taken which might tend accomplish that design, the pleasure which had been received from dramatic entertainments was
too strong totally overcome. Amidst the gloom fanaticism, and whilst the royal cause was
considered desperate, Sir William Davenant, without molestation, exhibited entertainments declamation and music after the manner of the
ancients Rutland-house He began the
the upper end Aldersgate-street, says the title page some these performances. Oldys, his MS.
• of At
to to
of
of
as
to be
in
in
of
toto A
of at
*.
of
of
in
all
MR. DoDSLEY’s PREFACE. lxxxix
year 1656, and two years afterwards removed to the Cockpit, Drury-lane, where he performed until the eve of the Restoration.
On the appearance of that event's taking place,
the retainers of the theatre then remaining col
lected themselves together, and began to resume their former employment. In the year 1659,
about the time general Monk marched with his
army out of Scotland towards London, Mr. Rhodes",
a bookseller, who had formerly been wardrobe
keeper to the company which acted at Black Fryers, fitted up the Cockpit in Drury-lane. The
actors he procured were chiefly new to the stage, Notes on Langbaine, speaks of it as being situated in
Charter-house-yard.
Two of these entertainments are
mentioned in the List of Davenant's Works, vol. 8. To
them may be added the following: 1. The Cruelty of the
Spaniards in Peru; exprest by instrumental and vocal Music, and by art of perspective in Scenes, &c. repre
sented daily at the Cockpit in Drury-lane, at three in the
afternoon punctually. 4to, 1658. 2. The History of Sir
Francis Drake; exprest by instrumental and vocal Music, &c. 4to. 1659. At the end of the former of these is the ,
following advertisement: “Notwithstanding the great ex
“pense necessary to scenes and other ornaments in this “entertainment, there is good provision made of places
“for a shilling, and it shall begin certainly at three in
“ the afternoon. ”
>
* Roscius Anglicanus, p. 17. and Historia Histrionica.
XC SUPPLEMENT TO
and two of them had been his apprentices". About
the same time, the few performers who had be longed to the old companies assembled, and began to act at the Red-Bull", in Saint John's-street, and
from the eagerness with which two patents were soon afterwards obtained from the crown, it may be presumed that they met with a considerable
share of success. Sir William Davenant, before the civil wars broke out, had been favoured with a
patent" by Charles the First, and therefore his claim to a new one was warranted, as well by his former possession as by his services and sufferings
in the royal cause. The other candidate was 9Thomas Killegrew, Esq. a person who had ren
dered himself acceptable to his sovereign, as much
° Mr. Betterton and Mr. Kynaston. 7 Roscius Anglicanus, p. 1.
* This patent was granted 14 Car. I. 1639, and after wards exemplified 13 Car. 1661. Both are recited and both were surrendered up, by the letters patent
Jan. Car. piece
Car. 1662. appears by the patent of
that new playhouse was intended built ground behind the Three Kings’ Ordinary
Fleet-street. The public disturbances which began
that year seem design.
See account vol. XI.
have prevented the execution this
him prefixed The Parson's Wedding, wo
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MR. DoDSLEY’s PREFACE. xci
by his vices and follies as by his wit or attachment
to him in distress.
The actors who had been employed Rhodes
soon aftewards were taken under the protection
Sir William Davenant"; and the remains of the old companies were received Mr. Killegrew;
them were sworn the Lord Chamberlain
servants the crown: the former
being styled
the Duke York's company; and the latter that the King".
The King's company, after their removal from the Red-Bull, performed new built house
situated market”. for the use
Gibbons's Tennis-Court, near Clare
But this theatre being not well adapted which was appropriated, they were
erect more convenient one Drury
obliged
lane. This latter was finished and opened the 8th day April, 1662, with Beaumont and
Fletcher's Comedy The Humourous Lieutenant,
which was acted twelve nights successively. -
Roscius Anglicanus, 19.
Cibber says, “About ten the King's company were “on the royal household establishment, having each ten
“yards scarlet cloth, with proper quantity lace “allowed them for liveries; and, their warrants from the
“Lord Chamberlain, were styled Gentlemen the Great “Chamber: whether the like appointments were extended “to the Duke's company, am not certain. ”—Cibber's Apol.
75.
Roscius Anglicanus,
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During these removals of the King's company,
their rivals belonging to the Duke of York were shifting their places of performance, and were some
time before they were wholly settled. From the Cockpit they went to a new theatre built in Lin coln’s-Inn Fields, which was opened in the spring of the year 1662, after several of their plays had been rehearsed at Apothecaries-Hall". But this
playhouse was likewise soon discovered to be contrived and inconvenient, and Sir William Dave
nant found necessary search out new spot erect one more commodious. He fixed upon Dorset-Garden, Salisbury-Court, for this pur
pose, but did not live see the edifice made any use of. This theatre will be mentioned hereafter.
The two companies being now established Drury-lane and Lincoln’s-Inn Fields, they each
began
favour the town. The principal performers
the King's company" were the men, Hart, Mohun, Burt, Wintersel, Lacy, Cartwright, and Clun; whom, after the opening Drury-lane
theatre, were added, Joe Haines, Griffin, Good man, and some others. Among the women were Mrs. Corey, Mrs. Marshall, Mrs. Knep, and after wards Mrs. Boutel and Mrs. Eleanor Gwyn. Of
Roscius Anglicanus, 20. “Ibid.
exert their endeavours obtain the
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MR. DoDSLEY'S PREFACE. xciii
the Duke's company were Betterton, Sheppy, Kynaston, Nokes, Mosely, and Floyd, who had performed under Rhodes; Harris, Price,
Richards, and Blagden, were added Sir William
Davenant, who also about year after received Smith, Sandford, Medburn, and two others. The
actresses were Mrs. Davenport, Mrs. Saunderson (who afterwards married Mr. Betterton), Mrs.
Davies, and Mrs. Long whom boarded
the Patentee’s house. Besides these, were Mrs. Gibbs, Mrs. Norris, Mrs. Holden, and Mrs. Jen nings; and, any dependance may placed
the judgement those who then frequented plays,
there were more excellent performers each com pany than have ever been seen together any one time since that period.
The avidity the public for theatrical enter tainments sufficiently recompensed for consider
able time the assiduity the performers, and the expectations those who adventured their money building the theatres”. Their success was, however, soon interrupted national calamities.
1665, the plague broke out London" with great violence; and the succeeding year, the fire
which destroyed the metropolis put stop the further progress stage-performances.
See Historia Histrionica. Roscius Anglicanus, 26. *
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xciv SUPPLEMENT TO
After a discontinuance of eighteen months, both houses were again opened at Christmas, 1666".
The miseries occasioned by the plague and fire
were forgotten, and public diversions were again
followed with as much eagerness as they had been before their interruption. Both companies were
at first successful; but after the novelty of the
several performers was worn away, and their stock of plays had been repeated until they became fa
miliar, the Duke's company, excellent as they were
allowed to be, felt their inferiority by the slender
audiences they were able to draw together. This
consideration induced Sir William Davenant to try
the effects of a new theatre, built with greater
magnificence than that in Lincoln’s-Inn, and he
chose Dorset-Garden, probably where the old play
house in Salisbury-Court stood, as a proper place
for the purpose; but before this theatre was finished
he died, and on that event the management of
property therein came into the hands his widow Lady Davenant, Mr. Betterton, and Mr. Harris,
assisted Charles Davenant, afterwards well known politician and civil lawyer. This new house was opened November, 1671 notwith
Roscius Anglicanus, 26.
Reliquiæ Barteriana, fol. 1696, 89. 3d. There
seems have been playhouse standing the Restoration
the same spot. Tatham's Play, called The Rump, was acted Dorset-Court 1660.
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MR. DoDSLEY'S PREFACE. XCV
standing the opposition made to it by the city of
London. But the opinion of the publick still in clining to the King's company, Mr. Davenant was
obliged to have recourse to a new species of enter tainment. He determined to call in the assistance
of shew and sound, he increased the splendor of his scenery, and introduced music, singing, and dancing, into some of the pieces represented".
Dramatic Operas, with expensive decorations, soon came into fashion, and enabled the Duke's com pany to obtain an advantage over their competi
tors, which they were not intitled to* by their
merit.
-
Soon after the Duke's company began to act in their new theatre, an accident happened which must have disabled their antagonists from contend ing with them for a short time. In January,
1671-2, the play-house in Drury-lane took fire,
and was entirely demolished. The violence of
the conflagration was so great, that between
fifty and sixty adjoining houses were burnt or blown up”. Where the company belonging to
this house removed, I have not been able to dis
19 Macbeth, The Tempest, Psyche, Circe, The Empress of Morocco.
*o Cibber's Apology, p. 79. -
* Reliquia. Baxteriana, fol. 1696. p. 89, p. 8d. This
theatre, I believe, was sometimes called the theatre in
* xcvi SUPPLEMENT TO
cover, though I find they continued to act in the several years which intervened between the destru tion of the old house and being rebuilt; and from the series plays which they produced, seems probable that they immediately occupied some theatre which then remained unused The proprietors the old playhouse, after they had recovered the consternation which this accident
Jovent-Garden. (See Preface The Miser, Shadwell, 4to. 1672. ) Mr. Walpole, speaking Robert Aggas, com monly called Augus, observes, that Graham, his School
English Painting, makes him the painter scenes for
the playhouse Covent-Garden. Robert Aggas died London, 1679, aged about 60;-“but know not,” says
Mr. Walpole (Anecdotes Painting, vol. 157. ) “what
“the author quote means
“Garden before the year 1679; theatre Dorset-Gardens. ”
playhouse Covent
suppose should the From the above Preface
plainly appears,
house being sometimes spoken situate Drury-lane;
and other times Covent-Garden. Graham was, there
fore, right his account. find also Opera, called Ariadne, printed 4to. 1673-4, acted the Theatre
Covent-Garden.
that the mistake arose from the same
Royal
Or perhaps temporary playhouse was built. This
may conjectured from the following lines prologue, Dryden, spoken the first day the King's house acting
after the fire:
“But we with golden hopes are vainly fed,
“Talk high, and entertain you shed.
“Your presence here, for which we humbly sue,
“Will grace old theatres, and build new. ”
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MR. DoDSLEY's PREFACE. xcvii
had thrown them into, resolved to rebuild their
theatre with such improvements as might be suggested; and for that purpose, employed Sir
Christopher Wren, the most celebrated architect of his time, to draw the design, and superintend
the execution of the opinion
was such the advantage
The plan which produced,
those who were well able judge one was alike calculated for
the performers and spectators; and the several alterations afterwards made
far from being improvements, contributed only
to defeat the intention spoil the building”.
Mr. Cibber, speaking Hay-market theatre, built
the architect, and
the alterations made the Sir John Vanbrugh, says,
there are not many spectators who may remember
“what form the Drury-lane theatre stood about forty
“years ago, before the old patentee, make hold more
“money, took into his head alter were but jus “tice lay the original figure, which Sir Christopher
“Wren first gave and the alterations now standing, “in fair light; that equal spectators may see, they
“were their choice, which their structures would in “cline them preference. —It must observed then,
that the area platform the old stage projected about “four feet forwarder, semioval figure, parallel the
“benches the pit; and that the former lower doors entrance for the actors were brought down between the
“two foremost (and then only) pilasters; the place
“which doors, now the two stage-boxes are fixt. That
“where the doors entrance now are, there formerly WOL.
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xcviii SUPPLEMENT TO
The new theatre being finished, was opened on the 26th of March, 1674. On this occasion a Pro
“stood two additional side wings, in front to a full set of
“scenes, which had then almost a double effect, in their
“ loftiness and magnificence. By this original form the
“usual station of the actors, in almost every scene was ad
“vanced at least ten feet nearer to the audience, than they “ now can be ; because, not only from the stage’s being
“shortened in front, but likewise from the additional in “terposition of those stage-boxes, the actors (in respect to
“ the spectators, that fill them) are kept so much more “backward from the main audience, than they used to be: “but when the actors were in possession of that for “warder space, to advance upon, the voice was then more “in the centre of the house, so that the most distant ear “had scarce the least doubt, or difficulty, in hearing
“extended; every rich or fine coloured habit had a more
“lively lustre: nor was the minutest motion of a feature “ (properly changing with the passion, or humour, it suited)
“ever lost, as they frequently must be in the obscurity of
“too great a distance: and how valuable an advantage the “facility of hearing distinctly is to every well acted scene,
“every common spectator is a judge. A voice scarce raised “above the tone of a whisper, either in tenderness, resig “nation, innocent distress, or jealousy suppressed, often
“ have as much concern with the heart, as the clamorous “passions; and when, on any of these occasions, such af “fecting speeches are plainly heard or lost, how wide is “the difference, from the great or little satisfaction re “ceived from them *—Cibber's Apology, edit. 1750, p. 338.
“what fell from the weakest utterance: all
“were thus drawn nearer to the sense; every, painted “scene was stronger; every grand scene and dance more
objects
MR.