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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.
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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
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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
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-
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
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to to
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in so
of of
no to of all a till by
of
i. e.
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in to a
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to in a
to
of be
I
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
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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
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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
in
of of 8
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or
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to
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as
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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
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of of by
C.
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MR. DoDSLEY'S PREFACE. xli
ward III. it was ordained by Act of Parliament,
that a company of men called Vagrants, who had made masquerades through the whole city, should be whipt out of London, because they represented
scandalous things in the little alehouses, and other places where the populace assembled. What the
nature of these scandalous things were, we are not told; whether lewd and obscene, or impious and
profane: but I should rather think the former, for the word Masquerades has an sound, and,
believe, they were better their infancy than present. 'Tis true, the Mysteries Religion
were soon after this period made very free with
over Europe, being represented
ridiculous manner, that the stories
Testament particular were thought
libertinism and infidelity. probability, there
fore, the actors last mentioned were that species called Mummers"; these were wont stroll about the country dressed antic manner, dancing, mimicking, and shewing postures. This custom still continued many parts England; but was formerly general, and drew the common people much from their business, that was deemed very pernicious custom; and these
"A word signifying one who masks and disguises himself play the fool, without speaking. Hence, perhaps, comes
our country word Mum; hold your tongue, say nothing.
stupid and the New encourage
to
at
a
so
in a
no
so in
of
all
in
in an
to of
D. itis allI
as it
In
in
ill
to of so
of
xhi MR. DoDSLEY’s PREFACE.
Mummers always went masked and disguised, they
but too frequently encouraged themselves to com
mit violent outrages, and were guilty of" many
lewd disorders. However, as bad as they were,
they seem to be the true original comedians of England; and their excellence altogether consisted,
as that of their successors does in part still, in mimicry and humour.
In an Act of Parliament made the 4th year of Henry IV. mention is made of certain Wastors, Master-Rimours, Minstrels, and other vagabonds,
who infested the land of Wales; And it is enacted, that no Master-Rimour, Minstrel, or other vaga
bond, be in any wise sustained in the land of Wales,
to make Commoiths or Gatherings upon the people there. What these Master-Rimours were, which
were so troublesome in Wales in particular, I eannot tell; possibly they might be the degenerate descendants of the ancient bards. It is also diffi
cult to determine what is meant by their making Commoiths. The word signifies in Welch, any
district, or part of a hundred or cantred, containing
villages; and might these Master-Rimours
much increased, that
the third year Henry VIII.
Mummers, which the penalty for selling visors, keep
ing them any house, was shillings each visor. Vide Statutes. D.
about one half of that
possibly
made use
These disorders afterwards
Act was made against
in in
of
be
20
an so
by is, 50
or
in
1.
it; of
MR. DODSLEY'S PREFACE. xliii
when they had fixed upon a place to act and gave intimation thereof for ten twelve miles round, which circuit that believe will take
about villages. And that this was
done, appears from Carew's
which was wrote Queen Elizabeth's time
Speaking the diversions the people, “The “Guary-Miracle (says he), English Miracle “Play, kind interlude compiled Cornish,
some Scripture-History. For represent
they raise amphitheatre some open field, having the diameter his inclosed plain, “some 40 50 foot. The country people flock
“from sides many miles off, see and hear it; “for they have therein devils and devices de “light well the eye the ear. ” Mr. Carew has not been exact give the time when
out “ing
Cornwall; but, by the manner the custom seems
these Guary–Miracles were exhibited
very ancient.
The year 1378 the earliest date can find,
which express mention made the representa
commonly Survey Cornwall,
mysteries England. this year the
tion
scholars Paul's school presented petition Richard praying his Majesty “to prohibit some
“unexpert people from presenting the History “the Old Testament, the great prejudice the
And printed 1602.
*
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to in
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to as
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to to in be
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of
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of II. of
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to
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of
in of
a of
xliv MR. DoDSLEY'S PREFACE.
“ said clergy, who have been at great expence in
“ order to represent it publicly at Christmas. ” About twelve years afterwards, viz. in 1390, the
Parish-clerks of London are said to have played
interludes at Skinners Well, July 18, 19, and 20th.
And again, in 1409, the tenth year of Henry IV.
they acted at Clerkenwell (which took name
from this custom the Parish-clerks acting plays there) for eight days successively, play concern
ing the Creation the World, which were present most the nobility and gentry the
kingdom. These instances are sufficient prove that we had the mysteries here very early, though perhaps not soon some our neighbours.
How long they continued exhibited amongst
us, cannot exactly determined. This period one might call the dead sleep the Muses. And when this was over, they did not presently awake,
but, kind morning dream, produced the
Moralities that followed".
ideas had some shadow teries only represented,
However, thesejumbled meaning. The mys
senseless manner, some miraculous History from the Old New
Testament: but these Moralities
something
Mr. Malone opinion his Historical Account
English Stage, that the earliest Morality was not produced
before 1460. They did not however any means super sede Mysteries.
an
C.
is of
be of
so
of
by
the *
in
of
of
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of of
or
to of
its
a
of
be of
at a
in a
o
MR. DODSLEY'S PREFACE. xlv.
design appeared, a fable and a moral; something also of poetry, the virtues, vices, and other affec
tions of the mind
being frequently personified".
* In an old Morality, entitled All Money, the Persons of the Drama are:
Theology. Science. Art. Money. Sin.
Adulation.
Mischievous Help. Pleasure.
Prest for Pleasure.
Gregory Graceless. Moneyless.
William with the two Wives. Nychol.
S. Lawrence. Mother Crooke. Judas.
Dives.
Godly Admonition. Virtue.
Humility. Charity. D.
Thomas Lupton, and printed
Swift Damnation. Satan.
Pride. Gluttony.
Learning with Money. Learning without Money. Money without Learning. Allfor Money.
Neither Money nor Learning.
Moneyless and Friendless. This Play was written
Sin.
4to. 1578.
this date Elizabeth had reigned years; but from
the subsequent lines the Epilogue, may perhaps in ferred, that the Morality was produced earlier her reign.
“Let praye for the Queenes Majestie, our soveraigne governour,
That she may raigne quietly according Gods will, Whereby she may suppresse vyce and foorth Gods
glorie and honour,
And she hath begon godly, continue still.
as
to
so to
set
20 in
us
B. L.
it to
for
be
in At
in
R.
I.
by
xlvi MR. DoDSLEY’s PREFAC e.
But the Moralities were also very often concerned wholly in religious matters. For religion then was
every one's concern, and it was no wonder if each party employed arts promote Had they
been use now, they would doubtless have turned much upon politics. Thus, the New Custom,
which have chosen specimen writing, was certainly intended
this kind promote the the reign early
partizans the old doctrines (and perhaps also the new) defend and illustrate their tenets
this way, that the 24th year Henry VIII.
Reformation, when
Queen Elizabeth. days the Reformation,
was revived And the
pro moting true religion, find clause restraining
Act Parliament made for the
rimors players from singing songs, playing interludes, any thing that should contra dict the established doctrines. was also cus
tomary this time act these moral and religious dramas private houses, for edification and im provement, well the diversion well-disposed
families; and for this purpose, the appearance
disposed,
The title curious, much
piece was written “plainly represent the manners “men, and fashion the world now-a-days. ”
Wide New Custom, vol.
the Persons the Drama was
more
was common for the
states that the
*
allin ofas
is
*of of
in at in
of
as or to
of in
all
in asto I itas
as a
to itto
a in as so
I. itsoofItof toof
it.
C.
of as of or
of
of
in
in
an
of Iin
that five or six actors personages.
might represent twenty
MR. DoDSLEY'S PREFACE. xlvii
What has been said of the Mysteries and Mora
lities, it is hoped, will be sufficient just to shew the reader what the nature of them was. I should have
been glad to be more particular; but where mate
rials are not to be had, the building must be deficient. And, to say the truth, a more particular
knowledge of these things, any farther than as it
serves to shew the turn and genius of our ancestors,
and the progressive refinement of our language,
was so little worth preserving, that the loss of it is scarce to be regretted. I proceed, therefore, with
my subject. The Muse might now be said to be
just awake, when she began to trifle in the old interludes,and aimed at something like wit and
humour. And for these “ John Heywood the epigrammatist undoubtedly claims earliest,
not the foremost place. He was jester king Henry VIII. but lived till the beginning queen
Elizabeth's reign. Gammer Gurton's Needle, which generally called our first comedy", and
What the nature and merit his interludes were, may guessed the specimen have preserved them
this collection. Tom Tyler and Wife, The Disobedient Child, and some others the same cast, were wrote some
thing later, but not better than Heywood.
The word comedy was very indefinitely employed
the early age the British Drama, and did not all
of
is by
it
the of to
at
*
be *
in
in
||
if A*f
at
all of
of D.
I
of his
xlviii MR. DoDSLEY’s PREFACE.
not undeservedly, appeared soon after the inter ludes: it indeed, altogether comic cast, and
wants not humour, though kind. And now dramatic
low and sordid writers, properly
called, began appear, and turn their talents the stage. Henry Parker, son Sir William
Parker, said have wrote several tragedies and comedies the reign Henry VIII, and one
John Hoker, 1535, wrote comedy called Pis cator, the Fisher caught. Mr. Richard Edwards,
who was born 1523, and the beginning queen Elizabeth's reign, was made one the gen tlemen her majesty's chapel, and master the
mean what we now understand Tragedy was even more licentiously used, and frequently had reference
whatever theatrical representation. Thus Markham's Poem the death Sir Richard Grenville, ealled
“a Tragedy. ”
The author of Historia Histrionica calls Gammer Gurton's
Needle the first production English “that looks like “regular comedy;” but was not acquainted with
piece, the name which only was until lately known— Ralph Roister Doister. Although the title-page the unique
copy recently discovered lost, yet termed “a comedie,or enterlude;” and into acts and scenes was written
the prologue regularly divided
Nicholas Udall, many years before Gammer Gurton’s Needle: died proba bility nine years before Gammer Gurton's Needle was
represented. See note vol. the present edition Dodsley's Old Plays.
of
on oforis
to
a of in
in
is, to
to
is
C. II. by
by it.
a
of of aa
p. he itin 3, is
in
of
in of no of
all
is
of
It
of
it
is aa
of
to so
he in
of
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to
of
\
MR. DoDSLEY’s PREFA C F.
xiix
children there, being both an excellent musician and a good poet, wrote two comedies, called one
Palæmon and Arcite, in which a cry of hounds in hunting was so well imitated, that the queen and
the audience were extremely delighted : the other
called Damon and Pithias, the two faithfullest Friends in the World. This last I have inserted.
After him came Thomas Sackville, Lord Buck
hurst and Thomas Norton", -bodac,” the first dramatic piece
tion English language. others, hear judgement
writers Gor any considera
these and some Puttenham,
Art Poetry, wrote the reign
queen Eliza
tragedy
beth
“I
think,” says he,
“that for
the
Ferrer and Porres, here called Gorboduc, was probably written earlier than Damon and Pithias. R.
does not appear where nor whom IRalph Rajster Doister was acted, but clear that neither Gammer
Gurton's Needle nor Gorboduc were represented upon public stages; the first having been played Christ's College,
Cambridge,
and the last the Students the Inner
Temple. this view the Tragical Comedie Apius and Virginia, well others pointed out the introductory
observations curious. C.
[See Vol. 12,] may looked upon
Puttenham (if such really were his name), printed his
the year 1589: excellent reprint 1811, and the merits the work are the prefatory matter. Brathwaite borrowed most the remarks upon English poets and
anonymous work was published
sufficiently discussed
poetry his English Gentleman from Puttenham.
it in
t* It
*
ofof in
of
in it, as in in
an e of
by
by
of
Of of the
C. \
of in
w
of
as
his
in
be in
at
I.
of
as
the the
In to
of of
it is
in
l MR. DoDSLEY'S PREFACE.
“Lord of Buckhurst, and Maister Edward Ferrys, “ for such doings as I have seen of theirs, do “ deserve the highest price: the Earl of Oxford, “ and Maister Edwards of her majesty's chapel,
“for comedy and interlude. ” And in another place he says—“ But the principal man in this “ profession (of poetry) at the same time, (viz. “Edward VI. ) was Maister Edward Ferrys, a “man of no less mirth and felicity than John “Heywood, but of much more skill and magni “ficence in his metre, and therefore wrote for the
“most part to the stage in tragedy, and sometimes “in comedy or interlude; wherein he gave the
“king so much good recreation, as he had thereby
“many good
so considerable a writer,
After these followed John Lillie, famous in his time for wit, and for having greatly improved the English
language, in a romance which he wrote, entitled,
Euphues and England",
rewards. ”
Of this Edward
Ferrys, remains,
can find no nor even the titles of any thing he wrote.
Wit;
Plays,
“English which taught them, Euphues and his
Lyly published “Euphues, The Anatomy Wit,
“4to. 1581;” and “Euphues and his England, 4to. 1582. ” They are two distinct works.
Mr. Blount, who published six his Plays the year 1632.
which said “Our nation are
his debt for new
I
The Anatomy the publisher his
D.
”*
of
of
or 17
in
of
a of
I. R.
in by
he
it his is
of
MR. DODSLEY’s PREFACE. li
“ England began first that language. All our
“ladies were then his scholars, and that beauty in “court who could not parle Euphuism, was as “little regarded as she which now there speaks not “French. ” This extraordinary romance, so famous
for its wit, so fashionable in the court of Queen Elizabeth, and which is said to have introduced so
remarkable a change in our language, I have seen and readio. It is an unnatural affected jargon, in
* A few sentences from will give its composition.
taste of the manner
“There must every triangle three lines; the first “beginneth, the second augmenteth, the third concludeth “it figure: love three virtues; affection, which
“draweth the heart; secresy, which encreaseth the hope; “constancy, which finisheth the work: without any these rules there can triangle; without any
these virtues, no love. ”
-
Again, “Fire cannot hidden
smoke, nor musk the bosom without smell, nor love
“in the breast without suspicion. ”
Once more. “She the flower courtesy, the picture
comeliness; one that shameth Venus, being somewhat “fairer, and much more virtuous; and staineth Diana,
“being chaste, but much more amiable: but the more “beauty she hath, the more pride; and the more virtue,
“the more preciseness. The peacock bird for none “but Juno the dove for none but Vesta; none must wear “Venus table but Alexander; none Pallas ring “but Ulysses: for there but one phoenix the world, “so there but one tree Arabia where she buildeth
the flax without
in ; is a
as
in is
be
be no
it,
;
of of
as
in
in
in a
is a
““““ of
of a
is
of
be
in
a
so
in in
lii MR. DoDSLEY’s PR EFACE.
which the perpetual use of metaphors, allusions, allegories, and analogies, is to pass for wit; and
stiff bombast for language. And with this nonsense the court of Queen Elizabeth (whose times afforded
better models for stile and composition, than almost any since) became miserably infected, and greatly helped to let in the vile pedantry language
the following reign. much mischief the most
ridiculous instrument may do, when proposes improve upon the simplicity nature.
Though tragedy and comedy began now lift
their heads, yet they could more for some time than bluster and quibble and how
imperfect they were
from excellent criticism
and there but one Camilla
“but one Caesar that she will like of. ” His Plays are the same strain, may w seen that have preserved.
D.
Our tragedies and comedies, says he, observe rules
neither honest civility, nor skilful poetry.