ALBION AND ALBANIUS: AN OPERA.
Perform'd at the QUEENS Theatre, in Dorset Garden.
Written by Mr. Dryden.
LONDON, Printed for Iacob Tonson, at the Iudge's Head in Chancery-lane, near Fleet-street. 1685.
THE PREFACE.
IF Wit has truly been defin'd a propriety of Thoughts and Words, then that Definition will extend to all sorts of Poetry; and amongst the rest, to this present entertainment of an Opera. Propriety of thought is that Fancy which arises naturally from the Subject, or which the Poet adapts to it. Propriety of Words, is the cloathing of those thoughts with such Expressions, as are naturally proper to them: and from both these, if they are judiciously perform'd, the delight of Poetry results. An Opera is a poetical Tale or Fiction, represented by Vocal and Instrumental Musick, adorn'd with Scenes, Machines and Dancing. The suppos'd Persons of this musical Drama, are generally supernatural, as Gods and Goddesses, and Heroes, which at least are descended from them, and are in due time, to be adopted into their Number. The Subject therefore being extended beyond the Limits of Humane Nature, admits of that sort of marvellous and surprizing conduct, which is rejected in other Plays. Humane Impossibilities, are to be receiv'd, as they are in Faith; because where Gods are introduc'd, a Supreme Power is to be understood; and second Causes are out of doors. Yet propriety is to be observ'd even here. The Gods are all to manage their peculiar Provinces: and what was attributed by the Heathens to one Power, ought not to be perform'd by any other. Phoebus must foretel, Mercury must charm with his Caduceus, and Iuno must reconcile the Quarrels of the Marriage-bed. To conclude, they must all act according to their distinct and peculiar Characters▪ If the Persons represented were to speak upon the Stage, it wou'd follow of necessity, That the Expressions should be lofty, figurative and majestical: but the nature of an Opera denies the frequent use of those poetical Ornaments: for Vocal Musick, though it often admits a loftiness of sound: yet always exacts an harmonious sweetness; or to distinguish yet more justly, The recitative part of the Opera requires a more masculine Beauty of expression and sound: the other which (for want of a proper English Word) I must call, The Songish Part, must abound in the softness and variety of Numb [...]rs: its principal Intention, being to please the Hearing, rather than to gratify the understanding. It appears indeed, Preposterous at first sight, That Rhyme, on any consideration shou'd take place of Reason. But in order to resolve the Probleme, this fundamental proposition must be settled, That the first Inventors of any Art or Science, provided they have brought it to perfection, are, in reason, to give Laws to it; and according to their Model, all after Undertakers are to build. Thus in Epique Poetry, no Man ought to dispute the Authority of Homer, who gave the first being to that Master-piece of [Page] Art, and endued it with that form of Perfection in all its Parts, that nothing was wanting to its excellency. Virgil therefore, and those very few who have succeeded him, endeavour'd not to introduce or innovate any thing in a Design already perfected, but imitated the plan of the Inventor: and are only so far true Heroique Poets, as they have built on the Foundations of Homer. Thus Pindar, the Author of those Odes, (which are so admirably restor'd by Mr. Cowley in our Language,) ought for ever to be the Standard of them; and we are bound according to the practice of Horace and Mr. Cowley, to Copy him. Now, to apply this Axiom, to our present purpose, whosoever undertakes the writing of an Opera, (which is a modern Invention, though built indeed, on the foundations of Ethnique Worship,) is oblig'd to imitate the Design of the Italians, who have not only invented, but brought to perfection, this sort of Dramatique Musical Entertainment. I have not been able by any search, to get any light either of the time, when it began, or of the first Author. But I have probable Reasons, which induce me to believe, that some Italians having curiously observ'd the gallantries of the Spanish Moores at their Zambra's, or Royal Feasts, where Musick, Songs and Dancing were in perfection; together with their Machines, which are usual at their Sortiia's, or running at the Ring, and other Solemnities, may possibly have refin'd upon those Moresque Divertisements, and produc'd this delightful Entertainment, by leaving out the warlike Part of the Carousels, and forming a poetical Design for the use of the Machines, the Songs and Dances. But however it began, (for this is only conjectural,) we know that for some Centuries, the knowledge of Musick has flourish'd principally in Italy, the Mother of Learning and of Arts; that Poetry and Painting have been there restor'd, and so cultivated by Italian Masters, That all Europe has been enrich'd out of their Treasury: and the other Parts of it in relation to those delightful Arts, are still as much provincial to Italy, as they were in the time of the Roman Empire. Their first Opera's seem to have been intended for the Celebration of the Marriages of their Princes, or for the magnificence of some general time of Joy. Accordingly the Expences of them were from the Purse of the Soveraign, or of the Republick, as they are still practis'd at Venice, Rome, and other Places at their Carnivals. Savoy and Florence have often us'd them in their Courts, at the Weddings of their Dukes: And at Turin particularly, was perform'd the Pastor Fido, written by the famous Guarini, which is a Pastoral Opera made to solemnize the Marriage of a Duke of Savoy. The Prologue of it, has given the Design to all the French, which is a Complement to the Soveraign Power by some God or Goddesses: so that it looks no less than a kind of Embassy from Heaven to Earth. I said, in the beginning of this Preface, that the Persons represented in Opera's, are generally, Gods, Goddesses and Heroes descended from them, who are suppos'd to be their peculiar care: which hinders not, but that meaner Persons, may sometimes gracefully be introduc'd, especially if they have relation to those first times, which Poets call the Golden Age: wherein by reason of their Innocence, those happy Mort [...]ls, were suppos'd to have had a more familiar intercourse with Superiour Beings: and therefore Shepherds might reasonably be admitted, as of all Callings, the most innocent, the most happy, and who by reason of the spare time they had, in their almost idle Employment, had most leisure to make Verses, and to be in Love: without somewhat of which Passion, no Opera can possibly subsist.
[Page] 'Tis almost needless to speak any thing of that noble Language, in which this Musical Drama, was first invented and perform'd. All, who are conversant in the Italian, cannot but observe, that it is the softest, the sweetest, the most harmonious, not only of any modern Tongue, but even beyond any of the Learned. It seems indeed to have been invented for the sake of Poetry and Musick: the Vowels are so abounding in all Words, especially in the Terminations of them, that excepting some few Monosyllables, the whole Language ends in them. Then the Pronunciation is so manly and so sonorous, that their very speaking has more of Musick in it, than Dutch, Poetry and Song. It has withal deriv'd so much Copiousness and Eloquence from the Greek and Latin in the composition of Words, and the formation of them, that (if after all, we must call it barbarous) 'tis the most beautiful and most learned of any Barbarism in Modern Tongues. And we may, at least, as justly praise it, as Pyrrhus did the Roman Discipline, and Martial Order, that it was of Barbarians, (for so the Greeks call'd all other Nations) but had nothing in it of barbarity. This Language has in a manner been refin'd and purified from the Gothick, ever since the time of Dantè, which is above four hundred Years ago; and the French, who now cast a longing Eye to their Country, are not less ambitious to possess their Elegance in Poetry and Musick: in both which they labour at Impossibilities. 'Tis true indeed, they have reform'd their Tongue, and brought both their Prose and Poetry to a Standard: the Sweetness as well as the Purity is much improv'd, by throwing off the unnecessary Consonants, which made their Spelling tedious, and their pronunciation harsh: But after all, as nothing can be improv'd beyond its own Species, or farther than its original Nature will allow: as an ill Voice though never so thoroughly instructed in the Rules of Musick, can never be brought to sing harmoniously, nor many an honest Critick, ever arrive to be a good Poet, so neither can the natural harshness of the French or their perpetual ill Accent, be ever refin'd into perfect Harmony like the Italian. The English has yet more natural disadvantage than the French; our original Teutonique consisting most in Monosyllables, and those incumber'd with Consonants cannot possibly be freed from those Inconveniences. The rest of our Words, which are deriv'd from the Latin chiefly, and the French, with some small sprinklings of Greek, Italian and Spanish, are some relief in Poetry; and help us to soften our uncouth Numbers, which together with our English Genius, incomparably beyond the triffling of the French, in all the nobler Parts of Verse, will justly give us the Preheminence [...] But, on the other hand, the Effeminacy of our pronunciation, (a defect common to us, and to the Danes) and our scarcity of female Rhymes, have left the advantage of musical composition for Songs, though not for recitative, to our neighbors.
Through these Difficulties, I have made a shift to struggle, in my part of the performance of this Opera; which, as mean as it is, deserves at least a Pardon, because it has attempted a discovery beyond any former Undertaker of our Nation: only remember, that if there be no North-East Passage to be found, the fault is in Nature, and not in me. Or as Ben. Iohnson tells us in the Alchymist, when Projection had fail'd, and the Glasses were all broken, there was enough however in the Bottoms of them to cure the Itch; so I may thus far be positive, That if I have not succeeded, as I desire, yet there is somewhat still remaining, to satisfy the Curiosity or Itch of Sight and Hearing. [Page] so Wise as not to be impos'd upon, and fool'd out of their satisfaction. The newness of the undertaking is all the hazard: When Opera's were first set up in France, they were not follow'd over eagerly; but they gain'd daily upon their Hearers, till they grew to that heigth of Reputation which they now enjoy. The English I confess, are not altogether so Musical as the French, and yet they have been pleas'd already, with the Tempest, and some pieces that follow'd, which were neither much better Written, nor so well Compos'd as this. If it finds encouragement, I dare promise my self to mend my hand, by making a more pleasing Fable: In the mean time, every Loyal English-man, cannot but be satisfy'd with the Moral of this, which so plainly represents the double restoration of his Sacred Majesty.
POSTSCRIPT.
This Preface being wholly Written before the Death of my late Royal Master, (quem semper acerbum, semper honoratum, sic Dii voluistis, habebo,) I have now, lately, review'd it, as supposing I shou'd find many notions in it, that wou'd require correction on cooler thoughts. After four Months lying by me, I look'd on it as no longer mine, because I had wholly forgotten it; but, I confess, with some satisfaction, and perhaps a little vanity, that I found my self entertain'd by it; my own Iudgment was new to me, and pleas'd me when I look'd on it, as anoth [...]r Man's. I see no Opinion that I wou'd retract or alter, unless it be, that possibly the Italians went not so far as Spain, for the Invention of their Opera's. They might have it in their own Country; and that by gathering up the Shipwrecks of the Athenian and Roman Theaters; which we know were adorn'd with Scenes, Musick, Dances and Machines, especially the Grecian. But of this the Learned Monsieur Vossius, who has made our Nation his second Country, is the best, and perhaps the only Iudge now living: As for the Opera it self, it was all compos'd, and was just ready to have been perform'd when he, in Honor of whom it was principally made, was taken from us.
He had been pleas'd twice or thrice to command, that it shou'd be practis'd, before him, especially the first and third Acts of it; and public [...]ly declar'd more than once, That the compositio and Chorus's, were more Iust, and more Beautiful, than any he had heard in England. How nice an Ear he had in Musick is sufficiently known; his praise therefore has establish'd the Reputation of it, above censure, and made it in a manner Sacred. 'Tis therefore humbly and Religiously dedicated to his Memory.
It might reasonably have been expected, that his Death must have chang'd the whole Fabrick of the Opera; or at least a great part of it. But the design of it Originally, was so happy, that it needed no alteration, properly so call'd: for the addition of twenty or thirty lines, in the Apotheosis of Albion, has made it entirel [...] of a Piece. This was the only way which cou'd have been invented, to save it from a botch'd ending; and it fell luckily into my imagination▪ As if there were a kind of fatality, even in the most trivial things concerning the Succession; a change was made, and not for the worse, without the least confusion or disturbance: And those very causes which seem'd to threaten us with troubles, conspir'd to produce our lasting Happiness.
Names of the Persons Represented; in the same Order as they appear first upon the STAGE.
- Mercury.
- Augusta. London.
- Thamesis.
- Democracy.
- Zelota. Feign'd Zeal.
- Archon. The General.
- Iuno.
- Iris.
- Albion.
- Albanius.
- Pluto.
- Alecto.
- Apollo.
- Neptune.
- Nereids.
- Acacia. Innocence.
- Tyranny.
- Asebia. Atheism or Vngodliness.
- Proteus.
- Venus.
- Fame.
- A Chorus of Cities.
- A Chorus of Rivers.
- A Chorus of the People.
- A Chorus of Furies.
- A Chorus of Nereids and Tritons.
- A Grand Chorus of Hero's, Loves and
- Graces.
The FRONTISPIECE.
THe Curtain rises, and a new Frontispiece is seen, joyn'd to the great Pylasters, which are on each side of the Stage: On the flat of each Basis is a Shield, adorn'd with Gold: In the middle of the Shield on one side, are two Hearts, a small Scrowl of Gold over 'em, and an Imperial Crown over the Scrowl; on the other, in the Shield are two Quivers full of Arrows Saltyre, &c. Vpon each Basis stands a Figure bigger than the life; one represents Peace, with a Palm in one, and an Olive Branch in the other Hand; t' other Plenty, holding a Cornucopia, and resting on a Pillar. Behind these Figures are large Columns of the Corinthian Order adorn'd with Fruit and Flowers: over one of the Figures on the Trees is the King's Cypher; over the other the Queens: over the Capitals, on the Cornice sits a Figure on each side; one presents Poetry crown'd with Lawrel, holding a Scrowl in one Hand the other with a Pen in it, and resting on a Book; the other painting with a Pall [...] and Pencils, &c. On the sweep of [Page] the Arch lies one of the Muses, playing on a Base Voyal; another of the Muses, on the other side, holding a Trumpet in one Hand, and the other on a Harp. Between these Figures, in the middle of the Sweep of the Arch, is a very large Pannel in a frame of Gold; in this Pannel is painted on one side a Woman representing the City of London, leaning her Head on her Hand in a dejected Posture. (shewing her Sorrow and Penitence for her Offences;) the other Hand holds the Arms of the City, and a Mace lying under it: on the other side, is a Figure of the Thames with his Legs shakle'd and leaning on an empty Vin [...] behind these are two Imperial Figures; one representing his present Majesty; the other the Queen; by the King stands Pallas (or Wisdom, and Valor,) holding a Charter for the City, the King extending his Hand, as raising her drooping Head, and restoring her to her ancient Honor and Glory: over the City are the envious devouring Harpyes flying from the face of Majesty: by the Queen stand the three Graces holding Garlands of Flowers, and at her feet Cupids bound, with their Bows and Arrows broken, the Queen pointing with her Scepter to the River, and commanding the Graces to take off his Fetters: over the King in a Scrowl, is this Verse of Virgil,
ERRATA.
PAge 7th, Line 3d. for Hypocracy, read Hypocricy
Page 9. line the last, for the, read thy.
Page 11. line the third, for you, read yon.
Page 16 read the sixteenth line thus▪
With Pity Jove beholds thy State.
Page 17. the last line, read. And from her Mantle▪
Page 22. line the third, read it thus,
Sea-raceing Dolphins are train'd for our Motion.
Ibid. line the 7th, for unattended, read [...]attending.
PROLOGUE To the OPERA.
EPILOGUE To the OPERA.
ALBION, AND ALBANIUS; An OPERA.
Decorations of the Stage in the First Act.
THE Curtain rises, and there appears on either side of the Stage, next to the Frontispiece, a Statue on Horse-back, of Gold, on Pedestal's of Marble, enrich'd with Gold, and bearing the Imperial Armes of England: one of these Statues is taken from that of the late King, at Charing-Cross; the other, from that Figure of his present Majesty (done by that noble Artist Mr. Gibbons) at Windsor.
The Scene, is a Street of Palaces, which lead to the Front of the Royal Exchange; the great Arch is open, and the view is continued through the open part of the Exchange, to the Arch on the other side, and thence to as much of the Street beyond, as could, properly be teaken.
Mercury descends in a Chariot drawn by Ravens.
He comes to Augusta, and Thamesis. They lye on Couches, at a distance from each other, in dejected postures; She attended by Cities, He by Rivers.
On the side of Augusta's Couch are Painted Towers falling, a Scarlet Gown, and Gold Chaine, a Cap of Maintenance thrown [Page 2] down, and a Sword in a Velvet Scabbard thrust through it, the City Arms, a Mace with an old useless Charter, and all in disorder. Before Thamesis, are broken Reeds, Bull-rushes, Sedge, &c. with his Vrn Reverst.
ACT I.
ACT II.
ACT. III.
The Scene changes to a walk of very high Trees: At the end of the Walk is a view of that part of Windsor, which faces Eaton: In the midst of it is a row of small Trees, which lead to the Castle-hill: In the first Scene, part of the Town and part of the Hill: In the next the Terrace Walk, the King's Lodgings, and the upper part of St. George's Chappel, then the Keep; and lastly, that part of the Castle, beyond the Keep.
In the Air is a Vision of the Honors of the Garter; the Knights in Procession, and the King under a Canopy: Beyond this, the upper end of St. George's Hall.
Fame rises out of the middle of the Stage, standing on a Globe; on which is the Arms of England: The Globe rests on a Pedestal: On the Front of the Pedestal is drawn a Man with a [Page 30] long, lean, pale Face, with Fiends Wings, and Snakes twisted round his Body: He is incompast by several Phanatical Rebellious Heads, who suck poyson from him, which runs out of a Tap in his Side.
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