batim out of Ben Jonson's New Inn, act iii. scene 1. which play was written long after Fletcher died, and transplanted into Love's Pilgrimage after the printing the New-Inn, which was in the year 1630. And two of the plays printed under the name of Fletcher, viz. the Coronation, and the Little Thief, have been claimed by Shirley to be his; 'tis probable they were left imperfect by one, and finished by the other. begets pity in the audience; though Aristotle, I confess, places tragedies of this kind in the second form. "And, if we should grant that the Greeks performed this better; perhaps it may admit a dispute whether pity and terror are either the prime, or at least the only ends of tragedy. "It is not enough that Aristotle has said so, for Aristotle drew his models of tragedy from Sophocles and Euripides; and if he had seen ours, might have changed his mind. "And chiefly we have to say (what I hinted on pity and terror in the last paragraph save one) that the punishment of vice and reward of virtue, are the most adequate ends of tragedy, because most conducing to good example of life; now pity is not so easily raised for a criminal (as the ancient tragedy always represents his chief person such) as it is for an innocent man and the suffering of innocence and punishment of the offender, is of the nature of English tragedy; contrary in the Greek, innocence is unhappy often, and the offender escapes. Then we are not touched with the sufferings of any sort of men so much as of lovers; and this was almost unknown to the ancients; so that they neither administered poetical justice (of which Mr. Rymer boasts) so well as we, neither knew they the best common-place of pity, which is love. "He therefore unjustly blames us for not building upon what the ancients left us, for it seems, upon consideration of the premises, that we have wholly finished what they begun. 66 My judgment on this piece is this; that it is extremely learned; but that the author of it is better read in the Greek than in the English Poets; that all writers ought to study this critic as the best account I have ever seen of the ancients; that the model of tragedy he has here given, is excellent, and extreme correct; but that it is not the only model of all iraegdy; because it is too much circumscribed in plot, characters, &c. and lastly, that we may be taught here justly to admire and imitate the ancients, without giving them the preference, with this author, in prejudice to our own country. "Want of method, in this excellent treatise, makes the thoughts of the author sometimes obscure. "His meaning, that pity and terror are to be moved, is that they are to be moved as the means conducing to the ends of tragedy, which are pleasure and instruction. "And these two ends may be thus distinguished. The chief ends of the poet is to please; for his immediate reputation depends on it. "The great end of the poem is to instruct, which is performed by making pleasure the vehicle of that instruction: for poetry is an art, and all arts are made to profit. "The pity which the poet is to labour for, is for the criminal, not for those, or him, whom he has murdered, or who have been the occasion of the tragedy: the terror is likewise in the punishment of the same criminal, who if he be represented too great an offender, will not be pitied; if altogether innocent, his punishment will be unjust. "Another obscurity is where he says, Sophocles perfected tragedy, by introducing the third actor; that is, he meant three kinds of action, one company singing, or speaking, another playing on the music, a third dancing. "Rapin attributes more to the dictio, that is, to the words and discourses of a tragedy, than Aristotle has done, who places them in the last rank of beauties; perhaps only last in order, because they are the last product of the design of the disposition or connexion of its parts, of the characters, of the manners of those characters, and of the thoughts of proceeding from those manners. 66 Rapin's words are remarkable : ""Tis not the admirable intrigue, the surprizing events, and extraordinary incidents that make the beauty of a tragedy, 'tis the discourses, when they are natural and passionate. "So are Shakespeare's.' "Here Mr. Dryden breaks off. "About a year after Mr. Rymer's publishing his criticism, he printed a tragedy written by himself in rhime, called Edgar; or, The English Monarch; an heroic tragedy, dedicated to King Charles the Second; this play never appeared on the stage, the players, not thinking it worth their while, nor has any one made any criticisms upon that." Mr. Mr. Langbaine, in his account of the Dramatic Poets, printed in the year 1691, is very particular upon the several plays of our authors, and therefore I shall conclude with transcribing from him, page 204, viz. "Mr. Beaumont was a master of a good wit, and a better judgment, that Mr. Jonson himself thought it no disparagement to submit his writings to his correction. Mr. Fletcher's wit was equal to Mr. Beaumont's judgment, and was so luxuriant, that like superfluous branches it was frequently pruned by his judicious partner. These poets perfectly understood breeding, and therefore successfully copied the conversation of gentlemen. They knew how to describe the manners of the age; and Fletcher had a peculiar talent in expressing all his thoughts with life and briskness. No man ever understood or drew the passions more lively than he; and his witty raillery was so dressed, that it rather pleased than disgusted the modest part of his audience. In a word, Fletcher's fancy and Beaumont's judgment combined, produced such plays, as will remain monuments of their wit to all posterity. Mr. Fletcher himself, after Mr. Beaumont's death, composed several dramatic pieces, which were worthy of the pen of so great a master." And this Mr. Cartwright alludes to, in his verses before the book. The following verses, put under his folio picture, were written by Sir John Berkenhead. Felicis ævi, ac Præsulis natus; comes BEAUMONTIO; sic, quippe Parnassus, biceps; There are fifty-two plays written by these authors, each of which I shall mention alphabetically. Beggars' Bush, a comedy. This play I have seen several times acted with applause. Bonduca, a tragedy. The plot of this play is borrowed from Tacitus's Annals, lib. 14. See Milton's History of England, book ii. Ubaldino de Fita delle Donne Illustri del Regno d' Inghelterra & Scotia, p. 7. &c. Bloody Brother, or Rollo Duke of Normandy, a tragedy much in request; and notwithstanding Mr. Rymer's criticisms on it, has still the good fortune to please: it being frequently acted by the present company of actors, at the Queen's Playhouse in Dorset-Garden. The design of this play is history: See Herodian, lib. 4. Xiphilini Epit. Dion. in Vit. Ant. Caracalla. Part of the language is copied from Seneca's Thebais. Captain, a comedy. Chances, a comedy, revived by the late Duke of Buckingham, and very much improved; being acted with extraordinary applause at the Theatre in Dorset-Garden, and printed with the alterations, London, 4to, 1682. This play is built on a novel written by the famous Spaniard Miguel de Cervantes, called The Lady Cornelia; which the reader may read at large in a folio volume called Six Exemplary Novels. Coronation, Coronation, a tragi-comedy. Coxcomb, a comedy, which was revived at the Theatre-Royal, the prologue being spoken by Joe Haines. Cupid's Revenge, a tragedy. Custom of the Country, a tragi-comedy. This is accounted an excellent play; the plot of Rutilio, Duarte, and Guiomar, is founded on one of Malespini's novels, deca. vi. nov. 6. Double Marriage, a tragedy, which has been revived some years ago; as I learn from a new prologue printed in Covent-Garden Drollery, p. 14. Elder Brother, a comedy, which has been acted with good applause. Faithful Shepherdess, a pastoral, writ by Mr. Fletcher, and commended by two copies written by the judicious Beaumont, and the learned Jonson, which are inserted among the Commendatory Poems at the beginning of this edition. When this pastoral was first acted before their majesties at Somerset-House on twelfth-night, 1633, instead of a prologue, there was a song in dialogue, sung between a priest and a nymph, which was writ by Sir William D'Avenant; and an epilogue was spoken by the Lady Mary Mordant, which the reader may read in Covent-Garden Drollery, P. 86. Fair Maid of the Inn, a tragi-comedy. Mariana's disowning Cæsario for her son, and the duke's injunction to marry him, is related by Causin in his Holy Court, and is transcribed by Wanley in his History of Man, fol. book 3. chap. 26. False One, a tragedy. This play is founded on the adventures of Julius Cæsar in Egypt, and his amours with Cleopatra. See Suetonius, Plutarch, Dion, Appian, Florus, Eutropius, Orosius, &c. Four plays, or Moral representations in One: viz. The Triumph of Honour; The Triumph of Love; The Triumph of Death; The Triumph of Time. I know not whether ever these representations appeared on the stage, or no. The Triumph of Honour is founded on Boccace his novels, day 10 nov. 5. The Triumph of Love, on the same author, day 5. nov. 8. The Triumph of Death, on a novel in The Fortunate, Deceived, and Unfortunate Lovers, part 3. nov. 3. See besides Palace of Pleasure, nov. 40. Belleforest, &c. The Triumph of Time, as far as falls within my discovery, is wholly the author's invention. Honest Man's Fortune, a tragi-comedy. As to the plot of Montague's being preferred by Lamira to be her husband, when he was in adversity, and least expected, the like story is related by Heywood, History of Women, b. 9. p. 641. Humorous Lieutenant, a tragi-comedy, which I have often seen acted with applause. The character of the Humorous Lieutenant refusing to fight after he was cured of his wounds, resembles the story of the soldier belonging to Lucullus, described in the Epistles of Horace, lib. 2. ep. 2. but the very story is related in Ford's Apothegms, p. 30. How near the poet keeps to the historian I must leave to those that will compare the play with the writers of the lives of Antigonus and Demetrius, the father and the son. See Plutarch's Life of Demetrius, Diodorus, Justin, Appian, &c. Ísland Princess, a tragi-comedy. This play about three years ago was revived with alterations by Mr. Tate, being acted at the Theatre Royal, printed in 4to. London, 1687, and dedicated to the Right Honourable Henry Lord Walgrave. King King and No King, a tragi-comedy, which notwithstanding its errors discovered by Mr. Rymer in his criticisms, has always been acted with applause, and has lately been revived on our present theatre with so great success, that we may justly say with Horace, "Hac placuit semel, hæc decis repetita placebit.” Knight of the Burning Pestle, a comedy. This play was in vogue some years since, it being revived by the King's House, and a new prologue (instead of the old one in prose) being spoken by Mrs. Ellen Guin. The bringing the Citizen and his Wife upon the stage, was possibly in imitation of Ben Jonson's Staple of News, who has introduced on the stage Four Gossips, lady-like attired, who remain during the whole action, and criticise upon each scene. Knight of Malta, a tragi-comedy. Laws of Candy, a tragi-comedy. Little French Lawyer, a comedy. The plot is borrowed from Gusman; or the Spanish Rogue, part ii. chap. 4. The story of Dinant, Cleremont, and Lamira, being borrowed from Don Lewis de Castro, and Don Roderigo de Montalva. The like story is in other novels; as in Scarron's Novel, called The Fruitless Precaution; and in The Complaisant Companion, 8vo. p. 263, which is copied from the above-mentioned original. Love's Cure, or The Martial Maid, a comedy. Love's Pilgrimage, a comedy. This I take to be an admirable comedy. The foundation of it is built on a novel of Miguel de Cervantes, called The Two Damsels. The scene in the first act, between Diego the host of Ossuna, and Lazaro his ostler, is stolen from Ben Jonson's New Inn; which I may rather term borrowed, for that play miscarrying in the action, I suppose they made use of it with Ben's consent. Lovers' Progress, a tragi-comedy. This play is built on a French ro mance written by Mr. Daudiguier, called Lysander and Calista. Loyal Subject, a tragi-comedy. Mad Lover, a tragi-comedy. The design of Cleanthe's suborning the Priestess to give a false oracle in favour of her brother Syphax, is borrowed from the story of Mundus and Paulina, described at large by Jo sephus, lib. xviii. chap. 4. This play Sir Aston Cokain has chiefly commended in his copy of verses on Mr. Fletcher's plays. See the verses before this edition; and Cokain's Poems, p. 101. Maid in the Mill, a comedy. This play, amongst others, has likewise been revived by the Duke's House. The plot of Antonio, Ismenia, and Aminta, is borrowed from Gerardo, a romance translated from the Spanish of Don Gonzalo de Cespides, and Moneces; see the story of Don Jayme, p. 350. As to the plot of Otrante's seizing Florimel the miller's supposed daughter, and attempting her chastity: Tis borrowed from an Italian novel writ by Bandello; a translation of which into French, the reader may find in Les Histoires Tragiques, par M. Belleforest, tom. 1. hist. 12. The same story is related by M.Goulart; see Les Histoires admirables de nôtre tems, 8vo. tom. 1. p. 212. Maid's Tragedy, a play which has always been acted with great applause at the King's Theatre; and which had still continued on the English stage, had not King Charles the Second, for some particular reasons, forbid its further appearance during his reign. It has since been revived by Mr. Waller, VOL. I d Waller, the last act having been wholly altered to please the court. This last act is published in Mr. Waller's Poems, printed 8vo. in London, 1711. Masque of Grays-Inn Gentlemen, and the Inner-Temple. This masque was written by Mr. Beaumont alone, and presented before the King and Queen in the Banqueting-House of Whitehall, at the marriage of the illustrious Frederick and Elizabeth, Prince and Princess Palatine of the Rhine. Monsieur Thomas, a comedy, which not long since appeared on the present stage under the name of Trick for Trick. Nice Valour; or The Passionate Madman, a comedy. Night-Walker; or The Little Thief, a comedy, which I have seen acted by the King's servants, with great applause, both in the city and country. Noble Gentleman, a comedy, which was lately revived by Mr. Durfey, under the title of The Fool's Preferment, or The Three Dukes of Dunstable. Philaster; or, Love Lies a-Bleeding, a tragi-comedy, which has always been acted with success, and has been the diversion of the stage, even in these days. This was the first play that brought these excellent authors in esteem; and this play was one of those that were represented at the old theatre in Lincoln's-Inn-Fields, when the women acted alone. The prologue and epilogue were spoken by Mrs. Marshal, and printed in Covent-Garden Drollery, p. 18. About this time there was a prologue written on purpose for the women by Mr. Dryden, and is printed in his Miscellany Poems in 8vo. p. 285. Pilgrim, a comedy, which was revived some years since, and a prologue spoke, which the reader may find in Covent-Garden Drollery, p. 12. Prophetess, a tragical history, which has lately been revived by Mr. Dryden, under the title of The Prophetess; or The History of Dioclesian, with alterations and additions, after the manner of an opera, represented at the Queen's Theatre, and printed 4to. London, 1690. For the plot. consult Eusebius, lib. viii. Nicephorus, lib. vi. and vii. Vopisc. Car. and Carin. Aur. Victoris Epitome. Eutropius, lib. 9. Baronius An. 204. &c. Orosius, l. vii. c. 16. Coeffeteau, l. xx. &c. Queen of Corinth, a tragi-comedy. Rule a Wife and have a Wife, a tragi-comedy, which within these few years has been acted with applause, at the Queen's Theatre in DorsetGarden. Scornful Lady, a comedy, acted with good applause, even in these times, at the theatre in Dorset-Garden. Mr. Dryden has condemned the conclusion of this play, in reference to the conversion of Moorcraft the usurer; but whether this catastrophe be excusable, I must leave to the critics. Sea-Voyage, a comedy lately revived by Mr. Durfey, under the title of The Commonwealth of Women. This play is supposed by Mr. Dryden, (as I have observed) to be copied from Shakespeare's Tempest. "The storm which vanish'd on the neighbouring shore, In Fletcher, grew on this enchanted isle." Spanish |