An account of the English dramatick poets, or, Some observations and remarks on the lives and writings of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces or opera's in the English tongue by Gerard Langbaine. — New catalogue of English plays

An account of the English dramatick poets, or, Some observations and remarks on the lives and writings of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces or opera's in the English tongue by Gerard Langbaine. — New catalogue of English plays

Table of contents

Title page

To The RIGHT HONOURABLE JAMES, EARL of ABINGTON, Baron NORREYS, of RICOTT: Their MAJESTIES Ld Lieutenant of OXFORDSHIRE.

The PREFACE.

The AUTHORS Names.

A.

B.

C.

D.

E.

F.

G.

H.

I.

K.

L.

M.

N.

O.

P.

Q.

R.

S.

T.

W.

Y.

The Names of the Authors in the APPENDIX.

AN ACCOUNT OF THE Dramatick Poets.

A.

William ALEXANDER, Earl of Sterline.

Robert ARMIN.

B.

Abraham BAILY.

John BANCROFT.

John BANKS.

Barnaby BARNES.

Robert BARON, Esq

Lodowick BARREY.

Francis BEAUMONT.

Captain William BEDLOE.

Mrs. Astraea BEHN.

Dawbridge-court BELCHIER.

Richard BERNARD.

Mrs. Frances BOOTHBY.

Roger BOYLE, Earl of Orrery.

Samuel BRANDON.

Anthony BREWER.

Alexander BROME.

Richard BROME.

Fulk Grevile Lord BROOK.

Henry BURKHEAD.

Henry BURNEL, Esq

C.

Lady Elizabeth CAREW.

Thomas CAREW.

Lodowick CARLELL, Esq

James CARLILE.

Richard CARPENTER.

William CARTHWRIGHT.

Robert CHAMBERLAIN.

William CHAMBERLAIN.

George CHAPMAN.

Sir Aston COKAIN.

Edward COOK Esq

John COOK.

John COREY.

Charles COTTON Esq

Abraham COWLEY.

Robert Cox.

John CROWN.

D.

John DANCER, alias DAUNCY.

Samuel DANIEL Esq

Sir William DAVENANT.

Dr. Charles DAVENANT.

Robert DAVENPORT.

Robert DABORN, alias DAUBORNE.

John DAY.

Thomas DECKER.

Sir John DENHAM, Knight of the BATH.

John DOVER.

John DRYDEN, Esq

Thomas DUFFET.

Thomas DURFEY.

E.

Edward ECCLESTON.

Sir George ETHERIDGE.

F.

Sir Francis FANE, Junior, Knight of the Bath.

The Honble Sir Richard FANSHAW.

Henry Ld Viscount FAULKLAND.

Nathaniel FIELD.

Richard FLECKNOE, Esq

John FLETCHER, and Francis BEAUMONT, Esq

John FORD.

Thomas FORD.

John FOUNTAIN.

Abraham FRAUNCE.

Sir Ralph FREEMAN.

Ulpian FULWEL.

G.

George GASCOIGNE, Esq

Henry GLAPTHORN.

Thomas GOFF.

Robert GOMERSAL.

Francis GOULDSMITH, Esq

Alexander GREEN.

Robert GREEN.

H.

William HABINGTON, Esq

Peter HAUSTEAD.

Richard HEAD.

William HEMMINGS.

Jasper HEYWOOD.

John HEYWOOD.

Thomas HEYWOOD.

Barten HOLLYDAY.

Charles HOOL.

Edward HOWARD, Esq

James HOWARD, Esq

Sir Robert HOWARD.

James HOWEL.

I.

Thomas JEVORN.

Thoms INGELAND.

John JONES.

Benjamin JOHNSON.

Thomas JORDAN.

William JOYNER.

K.

Henry KILLEGREW.

Thomas KILLEGREW.

Sir William KILLEGREW.

John KIRKE.

Ralph KNEVET.

Thomas KYD.

L.

John LACY.

John LEANARD.

Nathaniel LEE.

John LILLY.

Thomas LODGE.

Sir William LOWER.

Thomas LUPON.

M.

Lewis MACHIN.

John MAIDWEL.

Jasper MAIN.

Cosmo MANUCH.

Gervase MARKHAM.

Christopher MARLOE.

Shakerley MARMION.

John MARSTON.

John MASON.

Philip MASSINGER.

Thomas MAY.

Robert MEAD.

Matthew MEDBOURN.

Thomas MERITON.

Thomas MIDDLETON.

John MILTON.

Walter MOUNTAGUE, Esq

William MOUNTFORT.

N.

Thomas NABBES.

Thomas NASH.

Alexander NEVILE.

Robert NEVILE.

William, Duke of NEWCASTLE.

Margaret Dutchess of NEWCASTLE

Thomas NEWTON.

Thomas NUCE.

O.

Thomas OTWAY.

P.

John PALSGRAVE.

George PEEL.

Mary Countess of PEMBROKE.

Mrs. Katherine PHILIPS.

Sam. PORDAGE, Esq

Henry PORTER.

Thomas PORTER, Esq

George POWEL.

Thomas PRESTON.

Edmund PRESTWITH.

Q.

Francis QUARLES, Esq

R.

Thomas RANDOLPH.

Edward RAVENSCROFT.

Thomas RAWLINS.

Edward REVET.

Nathaniel RICHARDS.

William RIDER.

William ROWLY.

Samuel ROWLEY.

Joseph RUTTER.

Thomas RYMER, Esq

S.

Thomas St. SERF.

William SAMPSON.

George SANDYS, Esq

Charles SAUNDERS.

Elkanah SETTLE.

Tho. SHADWELL, Esq Poet Laureat to their present Majesties.

William SHAKESPEAR.

Lewis SHARPE.

Edward SHARPHAM.

S. SHEPHEARD.

Edward SHERBURN, Esq

Thomas SHIPMAN, Esq

Henry SHIRLEY.

James SHIRLEY.

Sir Charles SIDLEY.

John SMITH.

William SMITH.

Thomas SOUTHERN.

Thomas STANLEY, Esq

Sir Robert STAPLETON.

John STEPHENS.

William STRODE.

John STUDLEY.

Sir John SUCKLING.

Gilbert SWINHOE, Esq

T.

Nathaniel TATE.

John TATEHAM.

Robert TAYLOUR.

Thomas THOMSON.

Nicholas TROTT.

Richard TUKE.

S. TUKE.

Cyril TURNEUR.

John TUTCHIN.

W.

Lewis WAGER.

Edmund WALLER.

George WAPUL.

William WAYER.

R. WAVER.

John WEBSTER.

John WATSON, Esq

— WHITAKER.

Dr. Robert WILD.

Leonard WILLAN.

George WILKINS.

Robert WILMOT.

John WILSON.

Robert WILSON.

Nathaniel WOODS.

John WRIGHT.

William WYTCHERLEY.

Y.

Robert YARRINGTON.

Supposed Authors.

R. A. Gent.

H. H. B.

P. B. i. e. Peter BELON, Gent.

J. C.

R. C.

J. D.

R. D.

T. D.

S. H.

B. J.

E. M.

T. P.

Monsieur P. P.

S. P.

T. R.

W. R.

Mr. S. Mr. of Arts.

J. S.

S. S.

J. T.

C. W. i.e. Christopher WASE.

E. W.

J. W.

L. W.

M. W. Master of Arts.

T. W.

W. W.

Unknown Authors.

A.

B.

C.

D.

E.

F.

G.

H.

I.

K.

L.

M.

N.

O.

P.

Q.

R.

S.

T.

U.

W.

An Alphabetical INDEX of PLAYS, Referring to the AUTHORS, &c.

A

B

C

D

E

F

G

H

I

K

L

M

N

O

P

Q

R

S

T

V

W

Y

The Plays in the Appendix.

The APPENDIX.

Sir William DAVENANT.

Thomas DECKER.

John DRYDEN, Esq

Joseph HARRIS

Thomas MIDDLETON.

George POWELL.

William ROWLEY.

Tho. SACKVILE, & Tho. NORTON.

Elkanah SETTLE.

Thomas SHADWELL.

Thomas SOUTHERN.

Mr. WILSON.

Unknown Authors.

ERRATA.

§

[Page]

[Page]

AN ACCOUNT OF THE English Dramatick POETS.

OR, Some OBSERVATIONS And REMARKS

On the Lives and Writings, of all those that have Publish'd either Comedies, Tragedies, Tragi-Comedies, Pastorals, Masques, Interludes, Farces, or Opera's in the ENGLISH TONGUE.

By GERARD LANGBAINE.

OXFORD, Printed by L. L. for GEORGE WEST, and HENRY CLEMENTS.

An. Dom. 1691.

To The RIGHT HONOURABLE JAMES, EARL of ABINGTON, Baron NORREYS, of RICOTT: Their MAJESTIES Ld Lieutenant of OXFORDSHIRE.

[Page]

[Page]

MY LORD,

I Should not have presum'd to have prefix'd so Great a Name to so mean a Work, had I not been sufficiently assur'd that Candour and Goodness, are not the least of those Excellent Qualities, which have acquir'd You the Love and Esteem of all that have the Honour to know You. 'Tis this Consideration, joyn'd with the Experience of Your Lordship's former Favours, which rais'd me to the Confidence of expressing my Obligations to Your Honour, by dedicating [Page] not so much the following Sheets, as My Self, the Compiler of them, to Your Lordship's Service. But I am afraid both the Piece and its Author, are so inconsiderable in themselves, and so unworthy of Your Lordship's Eye & Regard; that my Offering will seem to most Men, to have more of Presumption than Gratitude in it. And truly, MY LORD, I am so sensible of the Objection, That tho' I would willingly shroud my self under Your Lordship's Patronage, yet I dare not in the least implore it for the Essay itself; which hath so many faults, that some may be apt to censure the whole Undertaking as an unpardonable One: and I am unwilling that Your Lordship's Name shoud be used, in the defence of a Trifle, which it might [Page] have been perhaps more for the Author's Credit to have conceal'd than publish'd.

And now having said thus much in Excuse of my self, I must confess I was never under a greater Temptation, to say something, according to the Modern Custome of Dedications, in Praise of Your LP; but that I fear I should need another kind of Apology, should I attempt to give a Character of Your Personal Worth and Excellency; or enlarge upon those Eminent Services, with which You have oblig'd both Your Prince and Country, in the most hazardous Tryals of Your Loyalty & Affection to each, when either the rights of the Crown, or the Liberties of the People call'd for your Assistance: Your Lordship being still one of the First, that was content to have these Your Obligations [Page] cancell'd and forgotten; and who never suffer'd either the Caresses of the Court, or the Applause of the Populace, to tempt You from Your Duty, or Your Post: But having adorn'd the Great Office You undertook, and nobly defended the Religion You profess'd, (by steering betwixt the hot blasts of Zeal, & the colder calms of Indifferency) You generously declin'd to make Your Services appear mercenary, or by raising Your Self to a higher Station, give the World occasion to suspect that You courted Virtue and Religion for any other than their own Rewards: Which that Your Lordship may happily enjoy is the Constant and Affectionate Wish of

YOUR LORDSHIP'S Most Oblig'd, Faithful and Humble Servant,

GERARD LANGBAINE.

The PREFACE.

[Page]

MY former Catalogue of Plays, in spite of the Malice and poor Designes of some of the Poets and their Agents, to destroy its Reputation, (by printing a Spurious Title-page, and an uncorrected Preface) has notwithstanding found so kind a Reception from the Generality of Unbyass'd Judges; that I thought my self oblig'd by Gratitude, as well as Promise, to revise it: tho' it were only to purge it of those Errata's contracted in the former Edition. I am so far from relenting what I have enterpris'd, (as some have been pleas'd to report) that I am only sorry that my Power is not equal to the Zeal I have for the Memory of those Illustrious Authors, the Classicks, as well as those later Writers of our own Nation, Mr Shakespear, Fletcher, Johnson, Cowley, &c. that I might be capable of doing them better Service, in vindicating Their Fame, and in exposing our Modern Plagiaries, by detecting Part of their Thefts. I say Part, because I cannot be suppos'd to have trac'd them [Page] in All: And having no Partners in my Discovery, it cannot be expected but that many things will escape my Observation. However, this may serve for a Hint to others; who being better vers'd in Books, may build upon the Foundation which is here laid. And who ever peruses the following Sheets, will find the Observation of Paulus Jovius, to be very applicable to most of the Poets of this Age; Castrant alios, ut Libros suos per se graciles, alieno adipe suffarciant.

But how just soever my Design may seem to unprejudic'd Readers, I must expect to be loudly exclaim'd against, is not openly assaulted by those Poets, who may think themselves injur'd in their Reputation by the following Remarks: But I am already prepar'd for the worst; having learnt from the Author of Absalom and Achitophel *, ‘That how honest soever the Design be, he who draws his Pen for One Party, must expect to make Enemies of the Other; and every Man is a Knave or an Ass to the contrary side.’ I shall therefore leave the Poets to their own Management, whilst I address my self to my disingag'd Reader; whom I hope to find [Page] Favourable, to One who aims only at his Diversion; and intends never to trouble the World again on this Subject.

I have endeavour'd to make this Piece as useful as the Subject would bear, or my Abilities reach; and I am almost confident, that they who were satisfied with my former Catalogue, will be much more favourable to This Account of the Dramatick Poets: since they will find This so different from That, both in Form and Matter, that it may justly be stil'd A New Book.

In the First place then I have given a succinct Account of the Time in which most of the Ancient Poets liv'd; the place of their Nativity, Quality, Death, Writings, &c. in a larger manner than either Mr. Philips or Mr. Winstanley; and have collected all the material Passages of their Lives, which I found scattered in Doctor Fuller, Lloydd, à Wood, &c. into One Volume, for the greater Ease of the Reader, and Advantage to the Work. I have not indeed always cited my Authorities, to avoid loading the Page; tho' I here once for all make my publick Acknowledgment to the Fore-mention'd, as well as other worthy Writers, to whom I [Page] have been oblig'd in the compiling this Treatise. Neither have I omitted to apply my self to several Persons now living for Information, some of which promis'd me great matters; which occasioned my deferring the Publication for some time: but I found that the Memoires I expected from London, were like to arrive with Cardinal Perron's Manuscripts from Rome, which he was to make use of in his Vindication of Henry le Grand: and that should I have stay'd for the completion of these Promises, the Louvre would have sooner been finisht than my Book.

Secondly, I have in this Edition, given the Reader a large Account of the Title-page of each Play which I have seen, as the Double Titles; the Place where acted, the Date when printed, and the Person to whom Dedicated; with other Observations, which might obiter occur or relate more immediately to each Play.

Thirdly, As to those Plays founded on History, instead of One or Two, (as formerly) I have cited most of the Historians that have treated on that Subject, that the Reader might compare the Play, with the Original Story. I have not mention'd so many Authors, out of hopes of being [Page] counted Industrious, or to beget an Opinion in the World of my Reading: Tho' as an Ingenious Author observes², ‘This Humor possesseth many Men, that brag of many Books Coming under their Discovery: as if not only with the Mice they had crept through the Crannies of all Libraries; but also with the Mothes, had got betwixt the Leaves of all Treatises therein.’ I am so far from affecting Title-Learning, in which every Bookseller would perhaps excel me, that I am willing to acknowledge to the Reader, that I am owing to the Compendious Collections of Historians and Chronologers, for their Directions, to find any Story or Action in the Original Author; and therefore shall account it no lessening to my Reputation to be trac'd in Calvisius, Spondanus, Lloyd, Moreri, and the like.

Fourthly, As to the Drammas, which are founded on Romances or Forreign Plays, I have much enlarg'd my Remarks; having employ'd a great part (if not too much) of my Time in reading Plays and Novels, in several Languages; by which means I have discovered many more Thefts than those in the former Catalogue; and have [Page] (for the Readers Ease, as well as my own Vindication) cited the particulars of each Plagiary, to obviate an Objection of a certain Poet, who professes he has not stollen half of what I then accused him of.

What Reception this Piece may find in the World, I am not very sollicitous, nor greatly concern'd: since (as the Judicious Sr. Robert Howard has observ'd*) ‘Things of this Nature, tho' never so Excellent, or never to Mean, have seldome prov'd the Foundation of Men's New-built Fortunes, or the Ruine of their Old.’ I am so far from valuing my self upon this Performance, that if there be any thing in it worth Commendation, the Poets are at liberty to father it upon whom they please, or claim it as their own, without my taking any offence at it: And if I can but be so happy as to obtain a Pardon from the more solid part of Mankind, for having mis-spent my Time in these Lighter Studies, I promise for the future, to imploy my self on Subjects of more Weight and Importance.

GER. LANGBAINE.

Notes

*

In the Epistle.

↵

2

Fuller's Chr. Hist. p. 43.

↵

*

Pref. to 4 Plays Fol.

↵

The AUTHORS Names.

[Page]

A.

WIlliam Alexander E. of Sterline.

1

Robert Armin.

6

B.

Abraham Baily.

6

John Banckroft.

6

John Banks.

7

Barnaby Barnes.

9

Robert Baron.

10

Lodowick Barrey.

14

Francis Beaumont.

14

Capt. Will. Bedloe.

15

Mrs. Astraea Behn.

17

Dabridgec. Belchier.

24

Richard Bernard.

24

R. Boyle E. Orrery.

27

Mrs. Fran. Boothby.

26

Samuel Brandon.

30

Anthony Brewer.

30

Alexander Brome.

31

Richard Brome.

33

Fulk Lord Brook.

38

Henry Burkhead.

41

Henry Burnel.

42

C.

Lady Eliz. Carew.

43

Thomas Carew.

43

Lodowick Carlell.

45

James Carlisle

49

Richard Carpenter.

50

Will. Carthwright.

51

Rob. Chamberlain.

56

Will. Chamberlain.

56

George Chapman.

57

Sir Aston Cockain.

67

Edward Cook.

71

John Cook.

72

John Corey.

73

Charles Cotton.

74

Abraham Cowley.

77

Robert Cox.

89

John Crown.

90

D.

John Dancer.

97

Samuel Daniel.

100

Dr. Ch. Davenant

116

Sr. Will. Davenant.

106

Robert Davenport.

116

Robert Dabourn

117

John Day.

118

Thomas Decker.

121

Sr. John Denham.

125

John Dover.

129

John Dryden.

130

Thomas Duffet.

177

Thomas Durfey.

179

E.

Edw. Eccleston.

185

Sr. Gec. Etheridge.

186

F.

[Page]

Sr. Fr. Fane, Jun.

188

Sr. Rich. Fanshaw.

190

L. Visc. Falkland.

197

Nathaniel Field.

198

Richard Fleknoe.

199

John Fletcher.

203

John Ford.

219

Thomas Ford.

222

John Fountain.

223

Abraham Fraunce.

223

Sr. Ralph Freeman.

226

Ulpian Fulwel.

227

G.

George Gascoigne.

228

Henry Glapthorn.

231

Thomas Goff.

233

Robert Gomersal.

237

Franc. Goldsmith.

238

Alex. Green.

241

Robert Green.

241

H.

Will. Habington.

243

Peter Haustead.

244

Richard Head.

246

Will. Hemmings.

247

Jasper Heywood.

248

John Heywood.

253

Thomas Heywood.

256

Barten Hollyday.

270

Charles Hool.

272

Edw. Howard.

274

James Howard.

275

Sr. Rob. Howard.

276

James Howel.

277

I.

Thomas Jevorn.

280

Thomas Ingeland.

280

Benjamin Johnson.

280

Thomas Jordan.

306

William Joyner.

308

K.

Henry Killegrew.

309

Thomas Killegrew.

311

Sr. Will. Killegrew.

314

Thomas Kirke.

315

Ralph Knevet.

316

Thomas Kyd.

316

L.

John Lacy.

317

John Leanard.

319

Nathaniel Lee.

320

John Lilly.

327

Thomas Lodge.

330

Sr. William Lower.

332

Thomas Lupon.

334.

M.

Lewis Machin.

334

John Maidwell.

335

Dr. Jasper Main.

336

Cosino Manuch.

338

Gervase Markham.

340

Christoph. Marloe.

342

Shakerley Marmion.

345

John Marston.

347

John Mason.

352

Phil. Massinger.

352

Thomas May.

360

[Page] Robert Mead.

365

Matth. Medhourn

366

Thomas Meriton.

367

Tho. Middleton

370

John Milton.

375

Walt. Mountague.

377

Will. Mountfort.

378

N.

Thomas Nabbes.

379

Thomas Nash.

382

Alex. Nevile.

Ib.

Robert Nevile.

384

Duke of Newcastle.

385

Dutch. Newcastle.

390

Thomas Newton.

394

Thomas Nuce.

395

O.

Thomas Otway.

395

P.

John Palsgrave.

400

George Peel.

401

Lady Pembroke.

402

Mrs. Kath. Philips.

403

Sam. Pordage.

406

Henry Porter.

Ib.

Thomas Porter.

407

George Powel.

Ib.

Thomas Preston.

408

Edm. Prestwith.

409

Q.

Francis Quarles.

409

R.

Thomas Randolph.

411

Edw. Ravenscroft.

417

Thomas Rawlins.

424

Edward Revet.

425

Nath. Richards.

426

William Rider.

427

William Rowley.

428

Samuel Rowley.

430

Joseph Rutter.

Ib.

Thomas Rymer.

433

S.

Tho. St. Serf.

434

William Sampson.

435

George Sandys.

436

Charles Saunders.

438

Elkanah Settle.

439

Tho. Shadwell.

442

Will. Shakespear.

453

Lewis Sharpe.

469

Edw. Sharpham.

470

S. Shepheard.

471

Ed. Sherbourn.

472

Tho. Shipman.

473

Hen. Shirley.

Ibid.

James Shirley.

474

Sir Charles Sidley.

485

John Smith.

488

Will. Smith.

Ibid.

Tho. Southern.

489

Tho. Stanley.

Ibid.

Sir Rob. Stapleton.

491

John Stephens.

492

Will. Strode.

Ibid.

John Studley.

494

Sir John Suckling.

496

Gilbert Swinhoe.

499

T.

[Page]

Nathaniel Tate.

500

John Tateham.

502

Robert Taylour.

503

Tho. Thomson.

Ibid.

Nich. Trott.

504

Rich. Tuke.

Ibid.

Coll. S. Tuke.

505

Cyril Turneur.

Ibid.

John Tutchin.

506

W.

Lewis Wager.

506

Edm. Waller.

507

Geo. Wapul.

508

Will. Wayer.

508

R. Weaver.

508

John Webster.

508

John Watson.

510

—Whitaker.

511

Dr. Rob. Wild.

Ib.

Leon. Willan.

Ib.

George Wilkins.

512

Rob. Wilmot.

Ibid.

John Wilson.

Ibid.

Rob. Wright

514

Will. Wytcherley.

Ib.

Y.

Rob. Yarrington.

516

The Names of the Authors in the APPENDIX.

Joseph Harris.

Tho. Sackvile, and Tho. Norton.

Mr. Wilson.

AN ACCOUNT OF THE Dramatick Poets.

A.

[Page]

William ALEXANDER, Earl of Sterline.

OUR Alphabet begins with this worthy Nobleman, who was a Scot by Birth; and liv'd in the Time of King James the First of England, and the Sixth of Scotland. All that I am able to acquaint my Readers with, concerning his private Affairs, or Family, is only this short account; that he was much in Favour with his Sovereign, and Father to the present Earl of Sterline.

The Occasion of his being mention'd in our Catalogue, is, from four Monarchick Tragedies, (as he stiles them,) which are in Print under his Name, viz. The Alexandraean Tragedy, Croesus, Darius, and Julius Caesar.

These Plays seem to be writ with great [Page] Judgment, and (if I mistake not) the Author has propos'd the Ancients, for his Pattern; by bringing in the Chorus between the Acts. They are grave, and sententious, throughout, like the Tragedies of Seneca; and yet where the softer, and more tender Passions are touch't, they seem as moving, as the Plays so much in vogue with the Ladies of this Age. The greatest objection that I know against them, is the Choice the Author has made of his Verse, which is alternate, like the Quatrains of the French Poet Pibrach; or Sr. William Davenant's Heroick Poem, call'd Gondibert. This measure of Verse has lately been found fault with by an Eminent Criticka notwithstanding what Sr. William b has urg'd in its Defence: I shall not pretend to decide the Controversy, but leave it to my Reader, to peruse both their Arguments at leisure. It may possibly be objected that his Stile is not pure, but as the Author has already pleaded his Country,c so he ought to be excus'd by all English Criticks, having given the preference to our Tongue, as exceeding the Scotch Dialect, both in Elegance and Perfection.

His Tragedies, are all of them founded on History, and he has so strictly ty'd himself to it, that even his Episodes, (which usually, are the sole Invention of every Author) are founded on Truth likewise.

The Alexandraean Tragedy is a proof of this [Page] for after the First Act, which is wholly employed by Alexander's Ghost (possibly in imitation of Seneca's Thyestes) the rest of the Play is wholly circumscrib'd by History. The The Play is built upon the Differences about the Succession, that arose between Alexander's Captains after his Decease. The Second Act begins with the Councel held by Perdiccas, Meleager, and the rest of the Commanders. The Author has chiefly followed Q. Curtius lib. 10. cap. 6. & seq. and Justin lib. 13. But there are other Authors that have toucht upon this Story, as well Annalists as Historians; which for the Reader's satisfaction I shall set down. Such are, Diodorus Siculus lib. 18. O [...]osius lib. 3. cap. 21. Josephus lib. 12, cap. 1 Appian de Bellis Syriacis. —Saliani Annales Ecclesiastici A. M. 3730. Num. 30. &c. Torniel A. M. 3730. N. 5. &c. Raleigh's Hist. lib. 4 c.3 Heylin 's Hist. of Greece, Howell, &c.

Croesus, is chiefly borrow'd from Herodotus, See lib. 1. sive Clio. You may consult likewise, Justin lib. 1. cap. 7. Plutarch's Life of Solon, [...]ee besides Salian. Torniel. A. M. 3510. In the fifth Act there is an Episode of Abradates, and [...]anthaea, which the Author has copied from Xenophon's Cyropaideia, Or the Life and Institution of Cyrus, Lib. 7. and the Ingenious [...]cudery has built upon this Foundation, in that diverting Romance, call'd Grand Cyrus, See Part 5. Book 1. I leave it to the Readers, which Romance is best, the Copy, or the original.

Darius, was the first Present our Author [Page] made the world, at which time he was Lord Menstrie. He printed this Tragedy at Edinborough, in quarto 1603. and dedicated it to K. James VI, by a Copy of three Stanzas. It was first compos'd in a mixt Dialect of English and Scoth, and even then, was commended by two Copies of Verses. The Author has since pollished and corrected much of his Native Language, and even the Play it self is alter'd, and 'tis now reprinted with the Rest of his Works. For the Plot of this Play, read Q. Curtius, lib. 3, 4, and 5. and Justin, lib. 11. cap. 5. &c. See besides Diodorus lib. 17 Arrian de Expeditione Alexandri lib. 2. Plutarch's Life of Alexander Salian. A. M. 2719. &c.

Julius Caesar is founded on History, and the Reader may find many Authors that give an account of his Actions, particularly Plutarch and Suetonius, each of which writ his Life See besides Appian de Bellis Civilibus, lib. 2 Florus lib. 4. cap. 2. Salian. Torniel &c.

Besides these Plays, he writ several other Poems, of a different Species, viz. Doomsday or the great day of the Lord's Judgment; Poem divided into Twelve Books which the Author calls Hours. A Paraenaesis to Prince Henry, who dying before it was publish'd, he dedicated it to Prince Charles, afterwards King and Martyr. Jonathan, an Heroick Poem intended; but the first Book only extant. He writ all these Poems in the Ottava Rima of Tasso, or, as Michael Drayton calls it,d A Stanza of Eight Lines; Six interwoven, and [Page]Couplet in Base. I shall leave their Excellency to the judgment of Criticks, who may view them at leisure; his Plays and Poems being all printed together in Folio, under the Title of Recreations with the Muses: printed at Lond. 1637, and dedicated to His Sacred Majesty K. Charles the First, of Blessed Memory.

This being all the Account I am able to give of our Author and his Works, I must have recourse to an old Copy of Verses stiled The Censure of the Poets, which tho' mean in themselves, shew the Opinion the unknown Author had of our Poet: Part of which Copy take as follows;

So Scotland sent us hither for our own:

That Man whose Name I even would have known

To stand by mine, that most ingenious Knight,

My Alexander; to whom in his right

I want extreamly, yet in speaking thus,

I do but shew that Love that was 'twixt us,

And not his Numbers, which were brave, & high,

So like his Mind was his clear Poesy.

I have likewise seen an Anagram, written by One Mr. William Quin, on our Author's Name, which being short I will transcribe.

GULIELMUS ALEXANDER,

Anagramma.

I, LARGUS MELLE EXUNDA.

Tetrasticon.

Cum tibi det Genius, Musa ingenium (que) Poesis

Floribus é variis Attica mella legas;

I, largus melle exunda. Mell ta (que) funde

Carmina: sic facias nomine fata jubent.

Robert ARMIN.

[Page]

The Author of a Play called The Maids of Moor-clack; stiled in former Catalogues, a History. I am able to give no Account either of the Author, or his Play, having no knowledge of either. All that I can say, is that I have seen a Book written by one of the same Name, called A Discourse of Elizabeth Caldwell, who with some other accomplices, attempted to poyson her husband. This Book is in quarto, printed in London 1604.

B.

Abraham BAILY.

A Gentleman of whom I can give no other Information, than that he has extant a Play called The Spightful Sister, printed in 4o; but where or when, I am not able to give an Account; the Title-page, Dedication and Preface (if there be any) being deficient in my Copy. But if I may be permitted to speak my Sentiments of the Play it self, I believe the Author has stollen neither his Characters nor Language from any other; and I presume, those that have read the Character of My Lord Occus in particular; Winifred, and the rest in general, will be of my opinion.

John BANCROFT.

A Gentleman, who is the Author of a Tragedy called Sertorius, acted at the Theatre-Royal [Page] by their Majesties Servants; printed in quarto Lond. 1679. 'Tis dedicated to Captain Richard Savage; and the Epilogue was writ by Mr. Ravenscroft. The Elder Corneille has writ a Play on the same subject, which I have read; but shall leave it to the decision of better judgments to determine which is best. Those who would read the foundation of this Play may consult Plutarch's Life of Sertorius: Velleius Paterculus lib. 2. Florus lib. 2. c. 22. &c.

John BANKS.

A Person now living, and if I mistake not, a Member of the Honourable Society of New-Inn: One whose Genius to Poetry led him to make several Attempts on the Stage, with different success: but of whom I may say with justice, that if he be not accounted a Poet of the first form, yet he bears up with his Contemporaries of the second. His Genius lays wholly to Tragedy; and he has had the Fortune to please the fair Sex in the Earl of Essex, and Anna Bullen. He has five Plays in print, of which in their Alphabetical Order.

Destruction of Troy, a Tragedy, acted at his Royal Highness the Duke's Theatre, printed in quarto Lond. 1679. and dedicated to the Right Honourable the Lady Katherine Roos. If this Play fall short of Shakspear's Troilus and Cressida, at least it surpasses Heywood's Iron Age; and how unkind soever the Criticks were to it, I believe they have seen worse Tragedies on the Stage. Various are the Authors that have toucht on this subject, as Homer, Virgil, [Page]Ovid, &c. but none more fully than Dares Phrygius, and Dictis Cretensis: though Learned Men suppose those pieces we have under their Names, to be spurious: yet Natalis Comes has turned Daxes into Latin Verse: and our Countryman Lydgate into old English Meetre.

Island Queens, or The Death of Mary Queen of Scotland, a Tragedy: published only in defence of the Author and the Play, against some mistaken Censures occasioned by its being prohibited the Stage, printed in Quarto Lond. 1684. and dedicated to the Illustrious Princess, Mary Dutchess of Norfolk. Most Historians of those Times have written her Story, as well Forreigners, as our own: See Buchanan, Speed, in the Reign of Q. Elizabeth, Camden, Du chesne, Brantome's Memoirs, Causin's Holy Court. Nay even Writers of Romances have thought her Story an ornament to their Work; witness the Princess Cloria, where part 2. her Story is succinctly related, and she pourtrayed under the title of Minerva Queen of Mysta.

Rival Kings, or The Loves of Oroondates and Statira; a Tragedy in Heroick Verse, acted at the Theatre-Royal; printed in quarto 1677. and dedicated to the Right Honourable the Lady Katherine Herbert. The Play is founded chiefly on Cassandra, a famed Romance in Fol. As to what concerns Alexander, I refer you to Curtius, and Justin.

Vertue betrayed, or Anna Bullen; a Tragedy, acted at his Royal Highness the Duke's Theatre; printed in quarto Lond. 1682. and dedicated to the Illustrious Princess Elizabeth Dutchess of [Page] Somerset. The Author has followed a little Novel translated from the French; and called The Novels of Elizabeth Queen of England, containing the History of Queen Ann Bullen. For the Story, most of our Chronicles relate it: See Speed's Chron. in the Reign of Hen. VIII. Ld. Herbert, Duchesne, Dr. Burnet's Hist. Reform Book the 2. &c.

Unhappy Favourite, or The Earl of Essex; a Tragedy, acted at the Theatre-Royal by their Majesties Servants; printed in quarto London 1682. and dedicated to the most High and most Illustrious Princess the Lady Ann, Daughter to his Royal-Highness (the present Princess of Denmark.) This Play was acted with good success: The Prologue and Epilogne were written by Mr. Dryden: and the play it self founded on a Novel called, The Secret History of the most Renowned Queen Elizabeth and the Earl of Essex, printed in 120. Lond. 1680. For the true Story; see Cambden's Elizabeth, Speed, Duchesne, Stow, Baker, &c. in the Reign of Queen Elizabeth. There have been two French Plays, one by Monsieur Calpranede; the other by the Younger Corneille; which I have read, and am of opinion, that the English play is not short of the French, notwithstanding the high commendations given it by the Mercury Gallant, January 1687.

Barnaby BARNES.

This Person lived in the Reign of K. James the First: and writ a Play called The Devil's [Page]Charter, a Tragedy, containing the Life, and Death of Pope Alexander the VI. play'd before the King's Majesty, upon Candlemas Night, by his Majesty's Servants; printed in quarto Lond. 1607. and dedicated to the Honourable and his very dear Friends, Sir W. Herbert, and Sir W. Pope Knights, Associates in the Noble Order of the Bath.

This Tragedy seems to be written in imitation of Shakspear's old Play of Pericles Prince of Tyre: for as Shakspear raises Gower, an old English Bard, for his Interlocutor or Introductor, in that Play; so this Author revives Guicciardine for the same design. This was the common practice of the Poets of the last Age, as Shakspear, Heywood, &c. at which time they frequently introduced dumb Shews, which took much with the Spectators of those times.

'Tis evident the Author followed Guicciardine, who has largly treated to this Pope, in his History of the Wars of Italy; see the first six Books. Other Authors have likewise treated of him, as Du Preau, Hist. de l'Estat & succes de l'Eglise, tom.2. p.293. & seq. Vollateranus, tit. 22. sub fine, Massonius de Gestis Pontificum Romanorum, &c.

This Author has extant besides, four Books of Offices about Princes, how they ought to be administred, printed fol. Lond. 1606.

Robert BARON, Esq

This Author was a young Gentleman, bred first at Cambridge, and afterwards brought up in the worthy Society of Grays-Inn: During his abode there, he writ a Romance called The Cyprian[Page]Academy, printed octavo Lond. 1647. He dedicated it to the famous Traveller Mr. James Howel, in particular, and to the Ladies and Gentlewomen of England, in general. In his Romance, are included two Dramaticks, which Mr. Kirkman has inserted in his Catalogue, tho' they are not entire Tracts of themselves, nor of any signal Eminence; but since they have been mention'd in former Catalogues, I shall not omit them.

Deorum Dona, a Masque presented before Flaminius and Clorinda, King and Queen of Cyprus, at their Regal Palace in Nicosia. Part of this piece is borrow'd from Mr. Waller's Poem to the King on his Navy.

Gripus and Hegio, or The Passionate Lovers; a Pastoral, acted by the Lady Julio's Servants, for the Entertainment of Flaminius. This Play consists but of three Acts, and is borrow'd very much from Waller's Poems, and Webster's Dutchess of Malsy; which is excusable only on the account of the Author's Youth, he being but 17 Years of age, when he compos'd that Romance, which was the reason that it was so highly commended by twelve Copies of Verses writ by his Friends, and printed with his Book.

Mirza, a Tragedy, really acted in Persia, in the last Age: Illustrated with Historical Annotations, printed octavo Lond.— and dedicated to his Majesty, by a Copy of Verses. This Play is much beyond either of the former, and has the repute of a good Play. It is commended by five Copies of Verses, written by the Author's Cambridge-Friends. On this very Subject, the [Page] famous Denham, had before writ a Play called The Sophy, ‘Tho' our Authora had finished three compleat Acts of this Tragedy, before he saw that; nor was he then discouraged, seeing the most Ingenious Author of that, has made his seem quite another Story from this.’ Mr. Baron has follow'd not only the Honourable Sr. Thomas Herbert's printed Account in his Travels, but likewise made use of a Manuscript Letter, which Sr. Dodmore Cotton, (Embassador to Abbas King of Persia, from King Charles the First in the Year 1626.) sent to a Friend of his in Cambridge, according to which Letter, he prosecuted the Story throughout.

The Author seems to have propos'd for his pattern the famous Catiline, writ by Ben Johnson: and has in several places not only hit the model of his Scenes: but even imitated the Language tolerably, for a young Writer. Whoever pleases to compare the Ghost of Emirhamze-mirza, with that of Scilla, may easily see his Imitation, but that being too long to transcribe, I shall set down the first words of Catiline, in that admirable Play; and afterwards those of Abbas, and then submit my opinion to my Reader's judgment.

Catiline, Act first.

It is decreed: Nor shall thy fate, O Rome

Resist my Vow. Though hills were set on hills,

And seas met seas, to guard thee; I would thro':

I'll plough up Rocks, steep as the Alpes, in dust:

And lave the Tyrhene waters into clouds;

But I would reach thy head, thy head, proud City.

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Mirza, Act first.

The vow is made, nor shall thy flattering Fate,

O Mirza, contradict it; though thy Troops

Stood like a wall about thee, nay tho' Jove

Press all the gods to guard thee, and should arm

Them every one with thunder, I would through:

I'll tear the groundsells of thy Towers up;

And make their nodding Spires kiss the centre,

But I will reach thy heart, thy heart, proud Victor.

This is the first Author taken notice of, either by Mr. Phillips b in his Theatrum Poetarum, or his Transcriber Mr. Winstanley, in his Lives of the English Poets: c and though neither of them give any other Account of our Author, but what they collected from my former Catalogue printed 1680. yet through a mistake in the method of that Catalogue, they have ascrib'd many Anonymous Plays to the foregoing Writers, which belonged not to them: and thus have committed mistakes in almost all the Dramatick Writers they have handled, To give an Instance in this Author: they both ascribe to him Don Quixote, or The Knight of the ill-favoured Countenance, a Comedy, I know not whence they had their Intelligence: but I never heard or read any such Play, nor do I believe there is any other Book which bears that title, except the fam'd Romance, written by the admirable Pen of that famous Spanish Author, Miguel de Cervantes. They have likewise ascribed several other Dramatick Pieces to this Author, which I dare be confident, are [Page] not of his Writing; as Dick Scorner, Destruction of Jerusalem, Marriage of Wit and Science, Masques, and Interludes; and have omitted two other Pieces written by him. viz. Poems, octavo, and a Book intituled, An Apology for Paris. Neither do I believe Mr. Phillips's Account, that any of his Pieces appear'd on the Stage. I shall conclude all with the following Anagram, written by his Friend Mr. John Quarles, sometimes of St. Peter's College in Cambridge.

Anagram

ROBERTUS BARONUS.

Anagram

RARUS AB ORBE NOTUS.

Rarus, haud cuiquam peperit Natura secundum. Notus es, & scriptis (Baron) ab orbe tuis.

Lodowick BARREY.

An Author that liv'd in the middle of the Reign of King James the First: who writ a Play call'd Ram-Alley, or Merry Tricks, a Comedy, divers times heretofore Acted: by the Children of the Kings Revels; and printed in quarto, Lond. 1611. The Plot of Will Smallshank's decoying the Widow Taffeta into Marriage, is borrow'd (as I suppose) from the same Author, from whence Kirkman took the Story which is to be found in the English Rogue, Part the IV, Chap. 19. and is an Incident in other Plays besides this; particularly in Killegrew's Parjon's Wedding.

Francis BEAUMONT.

See Fletcher.

Captain William BEDLOE.

[Page]

A Person so remarkable in this Nation not many years since, on the Account of the Popish Plot; that few are ignorant of his part of the discovery. I shall not pretend here, to give you an account of his Life, but refer you to that which was written by an Unknown Hand, intituled, The Life and Death of Captain William Bedloe, printed in octavo, Lond. 1681.

The Reason why we mention him in our Catalogue is, on account of a Play writ by him, called, The Excommunicated Prince: or, The false Relick: a Tragedy Acted by his Holiness's Servants: being The Popish Plot, in a Play, printed in folio, Lond. 1679. Dedicated to his Grace the Duke of Buckingham. I must confess, I was very desirous to read this Piece for the sake of the Title-page, and came to it with great expectations; but found them altogether frustrated, and only a Story which I had formerly read in Dr. Heylin's Geography, described in it. But afterwards when his Life came out, I was satisfied with the Account the Publisher gave of it: which for the Readers Information, and the Justification of the Deceased, I shall quote word for word.

d ‘In the next place, I desire leave to speak something of his Dramatick Poem, call'd The Excommunicated Prince, or, The False Relick. As to the worth of the Play, I do own my self so unskilful in Poetry, that I will not rashly pretend to give my opinion of it. [Page] But that which I know, let me assert in its vindication, viz. That it was both began and finisht in the space of two Months, which every one must needs acknowledge was but a very short time, considering the great business that then more earnestly imploy'd his thoughts, which must necessarily be a weighty clog to the ablest Muse. Whereas some of the chiefest Poets of this Age have thought it no disparagement to confess, that a correct Play to be perfected, will require at least twelve Months time. And I remember in some Prologue, I think in that to the Virtuoso, I have read this Distick to the same purpose.’

A Play, like Ground, must a Year Fallow lye,

E're it can ripen to good Comedy.

‘This consider'd, (and it being the first Essay he ever finish'd of this Nature) what few mistakes are found in his Play, may be easily excus'd. But besides its real faults, the errors of the Press, and what it suffers thro' the prejudice and malice of the Author's Adversaries, I do not at all wonder if even the most impartial Reader too, should look severely on it, seeing he is promis'd in the Title-page, what he can never find in the Book. It would fain cozen him to believe that he shall meet with the Popish Plot represented in that Play, though I have heard Mr. Bedloe often say he never intended any such thing. The History he designed, may, as I am inform'd, be read in several Authentick Authors; but in Heylin's Geography I remember I met with it my self. So may any [Page] that will peruse his History of Georgia. Mr. Bedloe well knew it was against his Interest so for to ridicule the Plot, as to compose a Play of it; and he had more judgment in Poetry, than to imagine that such a new thing would please in Tragedy. And least any one should suspect that his design did in the least incline that way, he writ an Epistle to assure his Reader of the contrary. Which the Stationer, (supposing under that pretence the Play would vend much better) thought it his interest to stifle, and added these words to the Title-page (Being the Popish Plot in a Play) without the Author's consent or knowledge.’

Mrs. Astraea BEHN.

A Person lately deceased, but whose Memory will be long fresh amongst the Lovers of Dramatick Poetry, as having been sufficiently Eminent not only for her Theatrical Performances, but several other Pieces both in Verse and Prose; which gain'd her an Esteem among the Wits, almost equal to that of the incomparable Orinda, Madam Katharine Phillips (of whom we shall speak hereafter). Her Plays are Sixteen in number, having therein exceeded any of the Poets of this Age, Sr. William Davenant, and Mr. Dryden, excepted. Most of her Comedies have had the good fortune to please: and tho' it must be confest that she has borrow'd very much, not only from her own Country Men, but likewise from the French Poets yet it may be said in her behalf, that she has [Page] often been forc'd to it through haft: and has borrow'd from others Stores, rather of Choice than for want of a fond of Wit of her own: it having been formerly her unhappiness to be necessitated to write for Bread, as she has publisht to the world.e 'Tis also to her Commendation, that whatever she borrows she improves for the better: a Plea which our late Laureat has not been asham'd to make use of. f If to this, her Sex may plead in her behalf, I doubt not but she will be allowed equal with several of our Poets her Contemporaries. I shall now give an Account of her Plays in an Alphabetical Order, as follows: viz.

Abdelazer, or The Moor's Revenge; a Tragedy Acted at his Royal Highness the Dukes Theatre, printed in quarto, Lond. 1671. This Play is originally an old Play of Marloes, call'd Lusts Dominion, or The Lascivious Queen, a Tragedy written above Forty years ago, tho' printed in octavo, Lond. 1661. She has much improv'd it throughout.

Amorous Prince, or The Curious Husband, a Comedy Acted at his Royal Highness the Duke of York's Theatre, printed in quarto, Lond. 1671. The Plot of Antonio, the curious Husband's trying his Wives Chastity by his Friend Alberto's means, is founded on a Novel in the Romance of Don Quixot, call'd The Curious Impertinent: See Part 4. Ch. 6, 7, 8. The City Night-Cap is founded on the same Story, tho' Mrs. Behn has much out-done that [Page] Play, and improv'd the Novel itself.

City-Heiress, or Sr. Timothy Treat-all, a Comedy Acted at his Royal Highness his Theatre, printed in quarto, Lond. 1682. and Dedicated to the Right Honourable henry Earl of Arundel, and Lord Mowbray. This Play had the luck to be well receiv'd in the Town: yet I cannot but take notice that most of the Characters are borrow'd; as those of Sir Timothy Treat-all and his Nephew, from Sir Bounteous Progress, and Folly-wit, in Middleton's Mad World my Masters: and those of Sir Anthony Merrywell, and his Nephew Sr. Charles, from Durazzo and Caldoro, in Massenger's Guardian. Part of the Language in each Play is likewise transcrib'd. As for the Plot of Sir Timothy's endeavouring to supplant his Nephew of his Mistress, 'tis the same Design with other Plays, as Ram-Alley, and Trick to Catch the Old One.

Dutch Lover, a Comedy Acted at the Duke's Theatre, printed in quarto, Lond. 1673. The Plot of this Play is founded on a Spanish Romance, written by the ingenious Don Francisco de las Coveras stiled Don Fenise, see the Stories of Eufemie, and Theodore, Don Jame, and Frederick.

Emperor of the Moon, a Farce, Acted by Their Majesty's Servants, at the Queen's Theatre, printed in quarto, Lond. 1687. and Dedicated to the Lord Marquess of Worcester. This Farce was originally Italian, and Acted in France Eighty odd times without intermission, under the Title of Harlequin l' Empereur[Page]dans le Monde de la Lune: but much alter'd, and adapted to our English Theatre.

Forc'd Marriage, or The Jealous Bridegroom, a Tragi-Comedy; Acted at his Highness the Duke of York's Theatre, and printed in quarto, Lond. 1671. This, if I mistake not, was the first Play that our Authress brought on the Stage.

False Count, or A New Way to play an Old Game, a Comedy Acted at the Duke's Theatre, and printed in quarto, Lond. 1682. The Hint of Isabella being deceiv'd by Guillaume the Chimney-sweeper, is borrow'd from Molliere's Les Precieuses Ridicules.

Feign'd Courtezmis, or a Nights Intrigue, a Comedy, acted at the Duke's Theatre, printed in quarto, Lond. 1679. and Dedicated to Mrs. Ellen Guin. This Comedy I take to be One of the best she has written.

Luckey Chance, or an Alderman's Bargain; a Comedy acted by Their Majesties Servants, printed 4o, Lond. 1687. and Dedicated to the Rt Honble Laurence Ld Hyde, E. of Rochester. Tho' some Criticks decry'd this Play, yet whoever will consult the Author's Preface, will find the Objections fully answer'd: however I must observe that the Incident of Gayman's enjoying the Lady Fulbanck, and taking her for the Devil, is copied from Mr. Alexander Kickshaw and the Lady Aretina, in the Lady of Pleasure.

Rover, or The Banisht Cavaleers, in two parts, both of them Comedies, Acted at the Duke's Theatre, and printed in quarto, Lond. 1677, and 1681. the Second Part being Dedicated to his Royal Highness the Duke. These [Page] are the only Comedies, for the Theft of which, I condemn this ingenious Authoress; they being so excellent in their Original, that 'tis pity they should have been alter'd: and notwithstanding her Apology in the Postscript to the first part; I cannot acquit her of prevarication, since Angelica is not the only stol'n Object, as she calls it: she having borrow'd largely throughout. The truth is, the better to disguise her Theft, she has (as the ingenious Scarron observes of the Writers of Romances,) g Flea'd the Eel by beginning at the Tail; yet notwithstanding, what she has omitted of worth in her first part, she has taken into the second; and therefore could not justly call these Plays her own.

Round-heads, or The good Old Cause, a Comedy acted at the Duke's Theatre, printed in quarto, Lond. 1682. and Dedicated to the Most Illustrious Prince, Henry Fitz-Roy, Duke of Grafton. A great part of the Language of this Play, is borrow'd from Tateham's Rump, or a Mirror of the Times; but yet she has a better Title to this Play, than the former, having much improv'd the Humor of the Round-heads.

Sr. Patient Fancy, a Comedy Acted at the Duke's Theatre; printed in quarto, Lond. 1678. The Hint of Sr. Patient Fancy, is borrow'd from a French Play called Le Malade imaginaire: and the Characters of Sr. Credulous Easy, and his Groom Curry, are stol'n from Sr. Amphilus the Cornish Knight, and his Man Trebasco in Brome's Play called The Damoseille.

[Page] Town Fop, or Sr. Timothy Tawdrey, a Comedy, acted at his Royal Highness the Duke's Theatre, printed in quarto, Lond. 1677. The foundation of this Play, is a Comedy writ by George Wilkins, call'd The Miseries of inforc'd Marriage; from which not only the Plot, but a great part of the Language is stol'n.

Widow Ranter, or The History of Bacon in Virginia, a Tragi-Comedy acted by Their Majesties Servants, printed in quarto, Lond. 1690. and dedicated to the Much Honored Madam Weldon by G. J. a Friend to the Authress, by whom this Play was publisht after her Decease. I refer the Reader to this Epistle for the Plays justification: only I cannot but observe, that the Prologue was written Ten years since, and publisht before Mr. Shadwell's True Widow: and if I mistake not the Epilogue is Old likewise. For the Story of Bacon I know no History that relates it, but his Catastrophe is founded on the known story of Cassius, who perished by the Hand of his freed-Man Dandorus, believing his Friend Brutus vanquished.

Young King, or The Mistake, a Tragi-Comedy acted at the Duke's Theatre, printed in quarto, Lond. 1683. and dedicated to some Gentleman her particular Friend, under the Name of Philaster. The Design of this Play is borrow'd from Monsieur Calpranede's Cleopatra, see the History of Alcamenes and Menalippa, Part VIII.

Besides these Plays this Ingenious Woman has publisht several other Works, both in Verse and Prose. As a Collection of Poems [Page] in octavo, Lond. 1684. and a Collection of several Others in octavo, Lond. 1685. Another Volume in octavo, Lond. 1688. amongst all which are many of her own Composures. Her several Versions from the French are commended by those who think themselves Judges of Wit; amongst which the chiefest are, A Voyage to the Island of Love; Lycidas, or The Lover in Fashion; and The Lover's Watch. These Pieces in the Original may be found in the second and third Tomes of Le Receueil des Pieces Gallantes, en Prose & en Vers, 8o Paris 1684. Those who will take the pains to compare them, will find the English rather Paraphrases, than just Translations: but which sufficiently shew the Fancy and excellent Abilities of our Authress.

She has written other Pieces in prose, which have had the fortune to please, as The Love Letters between a Nobleman and his Sister, in Three Volumes, octavo Lond. 1684. &c. Three Histories, printed in octavo, Lond. 1688. viz. Oroonoko, or The Royal Slave. The fair Jilt, or Tarquin and Miranda. Agnes de Castro, or The Force of Generous Love. There are two other small Novels under her Name, viz. History of the Nun, or The fair Vow-breaker, 120 London 1689. The Lucky Mistake, 120 Lond. 1689.

What Opinion the Wits of the Age had of her, may appear from several Copies of Verses written before her Translation of Monsieur Bonnecorse's La Montre, or The Watch: amongst whom Mr. Charles Cotton, who was no contemptible Poet, gives her the following Character.

[Page]

Some hands write some things well, are elsewhere lame:

But on all Theams your power is the same.

Of Buskin, and of Sock, you know the Pace;

And tread in both with equal Skill and Grace.

But when you write of Love, Astrea then

Love dips his Arrows, where you wet your Pen.

Such charming Lines did never Paper grace;

Soft as your Sex; and smooth as Beauty's Face.

Dawbridge-court BELCHIER.

An English-man, who liv'd in the Reign of King James the First, but one, who was an Inhabitant of the Town of Utreicht in the Low Countries; at the time of his writing an Interlude, called Hans Beer-pot, his invisible Comedy of See me, and see me not; acted by an honest Company of Health-Drinkers, printed in quarto, Lond. 1618. and dedicated to the Honourable Sr. John Ogle, Colonel of our English Regiment of Foot, under the Lords, the Estates General of the United Provinces, and Lord Governor of the Town and Garison of Utreicht. ‘This Pieceh is neither Comedy nor Tragedy, as wanting First the just number of Speakers; Secondly, those Parts or Acts it should have, which should be at the least Five; but a plain Conference of so many Persons, consisting of Three Acts, and no more.’

Richard BERNARD.

This Person flourish'd at Epworth in Lincoln-shire, in the time of Queen Elizabeth, and [Page] was (as I suppose) the first Translator of Terence's Comedies entire: which tho'not so well translated into English, as into French, by the famous Abbot de Villeloin, Monsieur de Marolles, or by Monsieur de Martignac; yet certainly it is passable for the time in which he liv'd. Besides the bare Translation of the whole Six Comedies, viz. Andraea, Adelphi, &c. he has taken notice in each Scene of the most remarkable forms of Speech, Theses, and moral Sentences, in imitation possibly of an old French Translation, printed at Paris in octavo, 1574. This Version is printed with the latine, 4o. Cambridge 1598. and dedicated to Mr. Christopher Wray, Son and Heir to Sr. William Wray, and his Brothers. Having given this short account of the Translator and his Work, give me leave to speak somewhat of the Author.

Publius Terentius, was a Native of Carthage; but being taken Prisoner, when he was very young he was sent to Rome. He was brought up in Literature, and all good Education, by his Patron Terentius Seneca, and afterwards freed by him, on account of his Wit, and good Meen. He luckily found the best way of writing Comedy, and he left some Pieces in that kind, that few Persons have been able to imitate. He was in great Esteem, not only with the People in general, by reason of his Dramatick Performances; but particularly belov'd and cherish'd by Men of the best Quality, as Publius Scipio, Laelius, and others. His purity of Stile, was so conspicuous, that his Adversaries endeavour'd to perswade the People, [Page] that he was assisted in his Plays by great Men, which he handsomely takes notice of, in his Prologue to the Adelphi.

Nam quod illi dicunt malevoli, homines nobiles

Eum adjutare, assiduéque unà scribere;

Quod illi maledictum vehemens esse existimant,

Eam laudē hic ducit maxumā; cùm illis placet,

Qui vobis universis, & populo placent;

Quorum operâ in bello, in otio, in negotio,

Suo quisque tempore usus est sine superbia.

The Plots of these Comedies he borrow'd from the Greeks, the Four first from the Comedies of Menander; and the Two last from Apollodorus. He was beholding to Menander likewise, for some other Comedies, which in his Return from Greece, by Sea, were lost with himself: in the Year of Rome, 595, and the second year of the 155th Olympiad. Some say that he Died in Arcadia; but the former Account is confirm'd by Volcatius, in the following Verses.

Sed ut Afer sex populo edidit Comoedias,

Iter hinc in Asiam fecit: navim cum semel'

Conscendit, visus nunquam est, sic vita vacat.

Consult further Crinitus de Poetis Latinis.

Scaliger in Poetic. Lilius Gyraldus Hist. Poet.

Vossius de Poetis Latinis, &c.

Mrs. Frances BOOTHBY.

The Authress of a Play called Marcelia, or The Treacherous Friend, a Tragi-Comedy acted at the Theatre-Royal, by His Majesties Servants, printed in quarto, Lond. 1670. and dedicated to the Honourable, and most Accomplisht [Page] Lady Yate, of Harvington in Worcester-shire: to whom she was related.

Roger BOYLE, Earl of Orrery.

An Irish Nobleman, whose Abilities in Arts and Arms, have render'd him better known to this Nation, than any Character I can give him, so that I may justly say of him with Madam Phillips; i

Of him I cannot which is hardest tell,

Or not to praise him, or to praise him well.

However I must observe, that he is not only a Poet himself, but a Patron of Poets likewise, as Mr. Dryden, and Mr. Crown must acknowledge: so that methinks his Lordship's Reputation, joyn'd with the Earl of Roscomon's, might be sufficient to attone for their Country's Character in point of Wit. He has publisht Four Plays in Heroick Verse; wherein not only the true English Courage is delineated to the Life: but likewise the very Infidels and Barbarians, are taught by his Pen, not only Humanity, but the Highest Morality and Virtue. But his Wit is as far above my Abilities to describe, as to imitate; and therefore I shall hasten to give an Account of his Plays, viz.

Black Prince, a Tragedy, acted at the Theatre Royal, printed at Lond. folio, 1672. Tho' this Play in the Title-page be call'd a Tragedy, yet it ends successfully: and therefore I presume was rather stiled so by the Author, from the Quality and Grandeur of the Persons in the Dramma, than from any unfortunate Catastrophe. [Page] For the foundation of this Play, as far as it concerns History consult Walsinghami Historia Angliae. Florentii Monarch. Wigorniensis Chronicon. Pol Vergilii Historiae Angliae. Froissard Croniques de France, & d'Angleterre. Du Chesne, Speed, and other English Historians in in Reign of Edward the Third.

Tryphon, a Tragedy acted by his Royal Highness the Duke of York's Servants, and printed in folio, Lond. 1672. Of this Usurper you have an account in Maccabees lib. 1. See besides Josephus lib. 13. Appian de Bellis Syriacis &c. These two Plays are printed together.

Henry the Fifth, a History, acted at his Highness the Duke of York's Theatre, printed in folio, Lond. 1677. For the Plot see the Chronicles of England in the Reign of that King such as Walsingham, Polydore Vergil, Hollingshead, Speed, &c. and the French Chronicles in the Reign of King Charles the Sixth, as Les Chroniques d'Enguerrand de Monstrelet. Jean Juvenal des Ursins, L'Histoire de Charles VI. F. de Belleforest, L'Histoire de neuf Roys Charles de France, Mezeray, &c.

Mustapha Son of Solyman the Magnificent, a Tragedy, acted at the Dukes Theatre, printed in folio, Lond. 1677. See Paulus Jovius lib. 40. Thuanus lib. 12. Tho. Artus la Continuation de l'Histoire des Turcs. Knolles's Turkish History.

Besides these Plays, there is a Comedy lately publisht, tho' writ as I suppose some years ago, under the Title of

Mr. Anthony, a Comedy acted by Their Majesties Servants, and printed in quarto, Lond. [Page] 1690. This Play I believe was acted formerly, at the Dukes Theatre in Lincolns-Inn-Fields, because I find Mr. Angel, and Mrs. Long amongst the Actors Names, who if I mistake not, have been dead some years. The Prologue to this Play, is the same with that of The Fool turn'd Critick: but whether it be borrow'd, or genuine, I know not.

Besides these Plays our Author has writ a Romance, called Parthenissa; which yields not either in Beauty, Language, or Design to the Works of the famous Scudery, or Calpranede, however Eminent they may be amongst the French, for Pieces of this Nature: and what Mr. Davis of Kidwelly says of Scarron's Comical Romance, may with more Justice be applied to our Illustrious Author, and this Work. ‘k 'Tis a thousand pities, That the Author (prevented by death) hath left the Work imperfect; so that we are, and ever shall beat a loss, to know, what period he might bring so many noble Adventures to.’ He his written a Treatise in Folio, call'd The Art of War. I have been told, it has been commended by many expert Captains, for the best Piece extant in English: but this I must leave to the judgment of others, more experienced in the Art Military.

I know not where, or when, our Noble Author Died: but those who would view his Character more at large, must read Sr. William Davenant's Poem to his Lordship,l which will make them regret the Loss of so great a Man.

Samuel BRANDON.

[Page]

This Author liv'd in the later part of Queen Elizabeths Reign, and publisht a Play called The Tragi-Comedy of the Virtuous Octavia, never acted, but printed 120. Lond. 1598. and dedicated by a Copy of Verses, to the Right Honourable, and truly Virtuous Lady, the Lady Lucia Audelay: accompanied with two other Copies in commendation of the Play. It is writ in alternate Verse, with a Chorus at the end of each Act. For the Ground of this Play read Suetonius's Life of Augustus. Plutarch's Life of M. Anthony. Dion. Cassius, &c. At the End of this Play are printed two Epistles between Octavia, and her Husband M. Anthony, in imitation of Ovid's Stile, but writ in long Alexandrins. They are dedicated to the Honourable, Virtuous and Excellent Mrs. Mary Thin. The Author had that good Opinion of his Play, that besides his Prosopopeia al Libro, at the beginning of his Book, he has concluded with this Italian Sentence.

L'aqua non temo de l' eterno oblio.

Anthony BREWER.

A Writer in the Reign of King Charles the First, to whom is ascrib'd by Mr. Kirkman, two Plays, viz. The Country Girl, and The Love-sick King: tho' I question whether the former belong to him, it being ascrib'd to T. B. in the Title-page. However I am sure Mr. Winstanley, is much mistaken in the Account that he gives [Page] of our Author,m ‘That he was One who in his time contributed much towards the English Stage by his Dramatick Writings, especially, in that noted One of his call'd Lingua:’ for neither was that Play writ by him, nor Love's Loadstone, Landagartha, or Love's Dominion, as he and Mr. Phillips affirm: Landagartha being writ by Henry Burnel Esq and Love's Dominion, by Flecknoe. But I shall proceed to give an Account of those Plays, which are ascrib'd to him by Mr. Kirkman, who was better vers'd in Writings of this Nature.

Country Girl, a Comedy often acted with much applause, and printed in quarto, Lond. 1647. This Play has been reviv'd on the Stage under the Title of Country Innocence, or The Chamber-maid turn'd Quaker.

Love-sick King, an English Tragical History, with the Life and Death of Cartesmunda the fair Nun of Winchester, printed in quarto, Lond. 1655. This Play was likewise reviv'd by the Actors of the King's House in the Year 168c. and acted by the Name of the Perjur'd Nun. The Historical part of the Plot is founded on the Invasion of the Danes, in the Reign of K. Ethelred, and Alfred; which the Author calls Etheldred and Alured. See the Writers of English Affairs, as Polydore, Vergil, Mathaeus Westmonasteriens. Gul. Malmsburiensis, Ingulsus, Ranulphus Higden, Du Chesne, Speed, &c.

Alexander BROME.

This Author flourisht in the Reign of King [Page] Charles the Martyr, and was an Attorney in the Lord Mayor's Court. He was Eminent in the worst of Times for Law, and Loyalty, and yet more for Poetry. Though his Genius led him rather to Lyrick than Dramatick Poetry, yet we have One Play of his extant, viz.

Cunning Lovers, a Comedy, acted with great applause, by Their Majesties Servants at the private House in Drury-lane, printed in quatro, Lond. 1654. Part of the Plot is borrow'd; as the Duke of Mantua's shutting up his Daughter in the Tower, and his being deceiv'd by her, and Prince Prospero, is taken from a Story in the Old Book of the Seven Wise Masters; but which the Reader may find better related in the Fortunate Deceiv'd, and Unfortunate Lovers: in the Fifth Novel of the Deceiv'd Lovers.

Although our Author, has himself made but one Attempt in this Kind, yet we are indebted to him for two Volumes of Mr. Richard Brome's Plays in octavo, especially One of them, since 'twas by his Care, that after the Author's Death they were preserv'd and publisht. On which account One T. S. n amongst other Commendations given our Author in Verse, says thus;

Nor can I tell to whom we are more bound,

Or to Brome's Wit, or You that have it found.

Our Poet is chiefly famous for his Odes, and Dithyrambs, which he compos'd during the late Troubles, together with his Epistles, and Epigrams translated from several Authors, all which were printed together at the King's Return in octavo, and Second Edition. Lond. [Page] 1664. Nor was he less eminent for his Version of Horace; which tho' not wholly his own, yet having supplied his Verse from the Stores of Sr. Richard Fanshaw, Dr. Holliday, Sr. Tho. Hawkins, the Ingenious Mr. Cowley, the Admirable Ben Johnson, from which great Master, he borrow'd the Version of the last Epistle, De Arte Poetica, to crown the rest (tho'it is since left out for a new Translation, done by S. P. Esq which I take to be Samuel Pordage) he has gain'd to himself a Reputation, which will not speedily decay: tho' the late Version of Mr. Creech, seems somewhat to obscure it Lustre. I cannot but inform the Reader, that he had once an Intention to translate Lucretius;o as I learn from an Epigram writ by Sr. Aston Cockain; but this great Work notwithstanding what he design'd, and Mr. Evelyn perform'd, was reserv'd for the management of a nobler Pen, that of the much Admired Mr. Creech.

Richard BROME.

This Author liv'd in the Reign of K. Charles the First, and tho'of mean Extraction (being Servant to the fam'd Ben Johnson) Writ himself into much credit. His Subject for the most part was Comedy, according to the usual Motto out of Martial, which he placed before most of his Plays.

Hic totus volo rideat Libellus.

As to his worth in Comick Writing, it is not only asserted by the Testimony of several Poets of that Age, in their commendatory [Page] Verses before many of his Plays, as Shirley, Decker, Ford, Chamberlain, Sr. Aston Cockain, Alexander Brome, and others: but even Ben Johnson himself (who was not over-lavish of of Praise) bestowed the following Copy on his Northern Lass, which will weigh against all the Calumnies of his Enemies.

To my Faithful Servant, and (by his continu'd Virtue) my Loving Friend the Author of this Work, Mr. Richard Brome.

I had you for a Servant, once, Dick Brome;

And you perform'd a Servants faithful parts,

Now you are got into a nearer Room

Of Fellowship, professing my old Arts.

And you do do them well, with good Applause,

Which you have justly gain'd from the Stage,

By observation of those Comick Laws

Which I, your Master, first did teach the Age.

You learnt it well, and for it serv'd your time

A Prentice-ship, which few do now a days:

Now each Court Hobbihorse will wince in Rime;

Both learned, and unlearned, all write Plays.

It was not so, of Old: Men took up Trades

That knew the Crafts they had bin bred in right;

An honest Bilboe-Smith would make good Blades,

And the Physitian teach men spue and sh—

The Cobler kept him to his Aul; but now

He'll be a Poet, scarce can guide a Plow.

Tho' the later part of this Copy be an imitation of the following Lines of Horace, yet I doubt not but the Reader will pardon Ben for his ingenious Application.

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Horatii Epistolarum, Lib. 2, Epist. 1.

Navem agere ignarus navis timet: abrotonum aegro

Non audet, nisi qui didicit, dare. Quod Medicorū est

Promittunt Medici: tractant fabilia fabri.

Scribimus indocti doctique Poemata passim.

In imitation of his Master Mr. Johnson, he studied Men and Humor, more than Books; and his Genius affecting Comedy, his Province was more observation than Study. His Plots were his own, and he forg'd all his various Characters from the Mint of his own Experience, and Judgment. 'Tis not therefore to be expected, that I should be able to trace him, who was so excellent an Imitator of his Master, that he might truly pass for an Original: so that all that I can inform my Reader of his Plays, is that he has Fifteen in print, most of which were acted with good Applause, and that several of them have been thought worthy to be revived by the Players, (to their own Profit, and the Author's Honor) in this Critical Age. Nor are several of his other Plays less worthy of Commendation: of which Alphabetically.

Antipodes, a Comedy acted in the year 1638. by the Queen's Majesties Servants, at Salisbury Court in Fleetstreet, printed in quarto 1640. and dedicated to the Right Honourable William Earl of Hertford.

City Wit, or The Woman wears the Breeches, a Comedy printed in octavo Lond. 1653.

Covent-Garden weeded, or The Middlesex Justice of Peace, printed in octavo Lond. 1658.

[Page] Court Beggar, a Comedy acted at the Cock-pit by His Majesties Servants, Anno 1632. and printed in octavo, Lond. 1653.

Damoiselle, or The New Ordinary, a Comedy printed in octavo Lond. 1653.

English Moor, or The Mock Marriage, a Comedy often acted with general applause, by her Majesties Servants, printed in octavo Lon. 1659.

Jovial Crew, or The Merry Beggars, a Comedy presented at the Cock-pit in Drury-lane, in the year 1641, printed in quarto Lond. 1652. and dedicated to the Right Noble, Ingenious and Judicious Gentleman Thomas Stanley Esq This Play was reviv'd by the Actors at the Duke's Theatre, and reprinted 1686.

Love-sick Court, or The Ambitious Politick, a Comedy printed in octavo Lond. 1658. What Opinion the Author himself had of this Comedy may be gathered by the following Distick, prefixt in his Title-page.

Nil mea, ceu mos est, comendes carmina curo,

Se nisi comendent carmina dispereant.

Mad Couple well Matcht; a Comedy printed in octavo Lond. 1653. This Play was reviv'd on the Stage by the Duke's Actors, under the Title of The Debaunchee, or The Credulous Cuckold; and reprinted in quarto Lond. 1677.

New Academy, or The New Exchange, a Comedy printed in octavo Lond. 1658.

Northern Lass, a Comedy acted with great Applause at the Theatre Royal, by His Majesties Servants, printed in quarto Lond. 1663. and dedicated to the Right Worthy, and no less Judicious than Ingenious Gentleman Rich. [Page]Holford Esquire. This Play is commended not only by the above-mentioned Ben Johnson, but by Five other Copies of Verses printed before the Play. This Play was reviv'd by the Players, since the Union of the Two Houses, and reprinted in quarto Lond. 1684. with a new Prologue and Epilogue, the former written by Jo. Haynes the Comedian.

Novella, a Comedy acted at the Black-friars, by His Majesties Servants Anno 1632. and printed in octavo Lond. 1653. This I take to exceed many of our modern Comedies.

Queen and Concubine, a Comedy printed in octavo Lond. 1659.

Queen's Exchange, a Comedy acted with general applause at the Black-fryars, by His Majesties Servants, and printed in quarto 1657.

Sparagus Garden, a Comedy acted in the year 1635. by the then Company of Revels, at Salisbury-Court, printed in quarto Lond. 1640. and dedicated to the Right Honourable William Earl of Newcastle, &c. Governor to the Prince his Highness. This Comedy is applauded by Two Copies of Verses writ by two of the Author's Friends.

He joyn'd with Thomas Heywood, in a Play called The late Lancashire Witches: an Account of which see in that Author.

Ten of these Plays are printed in two Volumes in octavo, each under the Title of Five New Plays by Richard Brome.

Mr. Phillips, p I know not for what Reason, has omitted several of our Authors Plays, viz. [Page] Damoyselle, New Academy, Queen and Concubine, Queen's Exchange, and Lancashire Witches.

Fulk Grevile Lord BROOK.

This Honourable Person was Son to Sr. Fulk Grevile the Elder, of Beauchamp-Court in Warwick-shire; and after having been Educated some time at Cambridge, he removed to Court in the Reign of Queen Elizabeth: and in the Seventeenth year of King James the First, he was made a Baron. He was eminently Famous for Learning and Courage. He was bred up with the Fam'd Sr. Philip Sidney, and in his youth writ several Poems of different Kinds, amongst which are two Dramatick Pieces, viz.

Alaham, a Tragedy printed in Folio 1633. This Play seems an Imitation of the Ancients. The Prologue is spoken by a Ghost, one of the Old Kings of Ormus, (an Island Scituate at the Entrance of the Persian Gulf) where the Scene of the Dramma lies. This Spectre gives an Account of each Character; which is possibly done in Imitation of Euripides, who usually introduced one of the chief Actors, as the Prologue: whose business was to explain all those Circumstances which preceded the opening of the Stage. The Author has been so careful in observing the Rules of Aristotle and Horace, that whereas Horace q says

—nec quarta loqui persona laboret.

He has in no Scene throughout introduc'd above two Speakers; except in the Chorus between [Page] each Act: and even there he observes all the Rules laid down by that great Master, in the Art of Poetry, part of whose Directions to the Chorus are as follows:r

Ille dapes laudet mensae brevis: ille salubrem

Justitiam, legesque, & apertis otia Portis.

For the Plot of this Tragedy I know not whence it is taken, neither can I find the Name of any such King as Alaham, amongst those Princes that Reigned there, which are enumerated by Mr. Herbert s in his Account of Ormus.

Mustapha, a Tragedy printed in Folio 1633. What I have spoken of the former, may be applied to this Play likewise, as to the Rules of the Ancients: since both seem to be built on their Model. All I have to say further is, that an imperfect Copy of this Play appeared in print in quarto Lond. 1609. tho' I suppose without his Lordship's Knowledge, since it may rather be stiled a Fragment, than a Tragedy. But those Imperfections are amended in the Folio Edition.

As to the Foundation of the Play, 'tis the same with that of my Lord Orrery's Tragedy: therefore I refer you to the same Authors, viz. Paulus Jovius, Thuanus, &c.

Both these Plays are printed together in Folio Lond. 1633. with several other Poems, as A Treatise of Humane Learning. An Inquisition upon Fame and Honour. A Treatise of Wars. All these are written in a Stanza of Six Lines; four interwoven, and a Couplet in [Page] Base; which the Italians call Sestine. Caelica containing One Hundred and Nine Sonnets of different Measures, on different Subjects. There are in this Volume two Letters, the One to an Honourable Lady; the Subject of which is, how to behave her self in a Married State: The other written to his Cosen Grevil Varney then in France; containing Directions for Travel.

His Lordship has other Pieces ascribed to him, besides these publisht under his Name; as the Life of his Friend and Companion, Sir Philip Sidney, printed at the beginning of the Arcadia, under the name of [...]. His Remains, or Poems of Monarchy and Religion, printed in octavo Lond. 1670. and other Pieces which because of their uncertainty I omit. Only, I cannot pass by a Mistake committed by Mr. Phillips, and Mr. Winstanley; who ascribe another Play to him called Marcus Tullius Cicero's Tragedy. This Play was not written, at least not printed, as I suppose, till long after his Lordships Death, who was unhappily kill'd by an ungrateful Servant, who afterwards to avoid the Sentence of the Law, made his own Hand the Executioner of Justice, making Death his Choice, which should have been his Punishment.

‘This Worthy Nobleman lies Buried (as Dr. Fuller t says) in Warwick Church, under a Monument of black and white Marble, whereon he is stiled, Servant to Queen Elizabeth, Councellor to King James, and Friend to[Page]Sr. Philip Sidney:’ Dying Anno 16— without Issue and unmarried. Those who would read his Character more at large, may have recourse to that excellent Author above-mentioned.

Henry BURKHEAD.

This Author liv'd in the Reign of K. Charles the Martyr, being a Merchant in Bristol. He writ a Play in the year 1645. called Cola's Furie, or Lirenda's Misery, a Tragedy, dedicated to the Right Honourable Edward Somerset, Lord Herbert. The Subject of this Play, is the Irish Rebellion, which broke out the twenty-third day of October 1641. 'Tis couch'd under feign'd Names; as Osirus for the late Duke of Ormond, Berosus, for Sr. John Borlace, &c. the other Characters are easily discovered by reading Sr. John Temple's History of the Irish Rebellion, printed Lond. 1646. and Sr. John Borlace his History on the same Subject, Folio Lond. 16—. This Play was never acted, but introduc'd into the world by two Recommendatory Copies of Verses, written by his Friends: both which may seem to the Reader, to be too partial in their Judgments; as may be judg'd by the following Lines, which are part of a Copy writ by Mr. Paul Aylward.

What tho' of Terence, Seneca, we hear,

And other modern Scenicks, in our Sphere;

You I prefer. Johnson for all his Wit

Could never paint out Times as you have hit

[Page]The Manners of our Age: The Fame declines

Of ne're enough prais'd Shakespear if thy lines

Come to be publisht: Beaum & Fletcher's skill

Submits to yours, and your more learned Quill.

Henry BURNEL, Esq

This Gentleman liv'd in Ireland in the Reign of King Charles the First. He writ a Play called Landgartha, a Tragi-Comedy, presented in the New Theatre in Dublin, with good applause, being an ancient Story, printed in quarto, Dublin 1641. and dedicated To all Fair, indifferent Fair, Virtuous that are not Fair, and magnanimous Ladies. This Play is usher'd into the world with Four Copies of Verses, three Latine and one English, but being guilty of the same partiality with the former, I shall omit to insert any. The Play it self was first acted on St. Patrick's-day 1639. with allowance of the Master of the Revels. The Author it seems, miscarried in a former Play, and therefore in imitation of Ben Johnson u (whom he stiles The Best of English Poets) he has introduc'd his Play, by a Prologue spoken by an Amazon, with a Battle-Ax in her Hand; which succeeded to the Author's satisfaction. The Plot is founded on the Conquest of Fro, (which the Author calls Frollo) King of Suevia, or Suethland, by Regner (or as the Author calls him Reyner) King of Denmark: with the Repudiation of Landgertha Queen to Regner, See Krantzius, lib. 4. c. 6. Saxo Grammaticus, lib. 9. Jo. Magnus, lib. 17. c. 4, 5. &c.

C.

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Lady Elizabeth CAREW.

A Lady that flourisht in the Reign of Qu: Elizabeth, of whom I am able to give no other Account, than what I collect from the Title-page of a Play, call'd Mariam the Fair Queen of Jewry, her Tragedy, written (says the Publisher) by that Learned, Virtuous, and truly Noble Lady, Elizabeth Carew, and printed in quarto Lond. 1613. The Play is writ in the same measure of Verse, with the Tragedies of the Earl of Sterline, viz. in Alternate Verse, and the Chorus is writ in Settines, or a Stanza of Six Lines, four interwoven and a Couplet in Base. For the Play itself, it is very well Pen'd, considering those Times, and the Lady's Sex: I leave it to the Readers to compare it with that modern Tragedy of Herod and Mariamne. Her Story is written at large in Josephus his History of the Jews. See lib. 14 and 15. Salian. Tom. 6. A.M. 4012. &c. Torniel. Tom. 2. A. M. 4026.

Thomas CAREW.

A Courtier much in Favour with K. Charles the First, being One of the Gentlemen of the Privy-Chamber; and Sewer in Ordinary. He was the Author of a Masque call'd Coelum Britanicum; which was performed at White-hall, in the Banqueting-house on Shrove-Tuesday [Page] Night, the Eighteenth of February 1633. by the King's Majesty, the Duke of Lenox, the Earls of Devonshire, Holland, Newport, &c. with several other Lords and Noblemen's Sons. He was assisted in the contrivance by Mr. Inigo Jones, that Famous Architect; and all the Songs were set by Mr. Henry Lawes, Gentleman of the King's Chappel, and one of the private Musick to King Charles the First. It being written by the King's express Command, our Author placed this Distick in the Front, when printed.

Non habet Ingenium; Caesar sed jussit: habebo;

Cur me posse negem, posse quod ille putat.

He writ besides, several Poems, Songs, and Sonnets which are received with good Esteem by the Wits of this Age, and are printed with the foregoing Masque. These Poems have been several times Reprinted, the Fourth Edition being printed in octavo Lond. 1670. This Masque is not mentioned by either Mr. Philips, or Mr. Winstanley, because it was formerly, through a mistake, ascrib'd to Sr. William Davenant.

Sr. John Suckling, that gay Wit, who delighted to Railly the best Poets, and spar'd not Ben Johnson himself, has thus play'd upon our Author in his Sessions of Poets. a

Tom Carew was next, but he had a Fault

That would not well stand with a Laureat;

His Muse was hide-bound, & the issue of's brain

Was seldome brought forth but with trouble and pain.

[Page]All that were there present did agree,

That a Laureat Muse should be easy and free,

Yet sure 'twas not that; but 'twas thought that His Grace,

Consider'd he was well, he had a Cup-bearer's Place.

But this is not to be taken for the real Judgment of that Excellent Poet: and he was too good a Judge of Wit to be ignorant of Mr. Carew's Worth, and his Talent in Poetry, and had he pleas'd he could have said as much in his Commendation, as Sr William D'Avenant in those Stanzas writ to him,b with part of which we shall conclude:

Not but thy Verses are as smooth and high

As Glory, Love, and Wine from Wit can raise;

But now the Devil take such Destiny!

What should commend them, turns to their dispraise.

Thy Wits chief Virtue, is become its Vice;

For every Beauty thou hast rais'd so high,

That now course Faces carry such a Price,

As must undo a Lover that would buy.

Lodowick CARLELL, Esq

This Gentleman flourisht in the Reigns of King Charles the First and Second. He was an Ancient Courtier, being Gentleman of the Bows to King Charles the First, Groom of the King and Queen's Privy-chamber, and served the Queen-Mother many years, His Plays [Page] (which are Eight in number) were well esteem'd of, and most of them appeared on the Stage, at the Private-house in Black-friars, notwithstanding the prohibition of the Stage in those days. The Names follow.

Arviragus and Philicia, a Tragi-Comedy in two parts, acted at the Private-house in Black Friars by his Majesties Servants, and printed in octavo Lond. 1639. This Play was since revived on our Stage, a new Prologue being writ by Mr. Dryden, and spoke by Mr. Hart. c there is another Prologue printed in London Drollery, pag. 10. Several of our Historians speak of the Actions of this Illustrious Prince. See Matth. Westmonast. A.D. 44. pag. 93. Galf. Monumentens. lib. 4. c. 16. Pol. Vergil. lib. 2. Grafton. Part 7. p. 77. These all agree, that he Reign'd in the time of Claudius Caesar, but Mr. Speed d will have it, that he liv'd in the time of Domitian Caesar, from Juvenal e who introduces Fabritius Vejento a Roman Senator flattering Domitian, at the Councel held about the Turbot, as follows,

Regem aliquem capies, aut de Temone Britanno

Excidet Arviragus, —

But in this he is mistaken, for Arviragus was dead before the Reign of Domitian, so that the Sycophant could not mean that he should overcome Him, but some British or Foreign Warrier, as stout as that Arviragus subdued by his his Father Vespasian.

[Page] Deserving Favourite, a Tragi-Comedy presented before the King and Queen's Majesties at White-hall, and very often at the Private House in Black-friars, with great Applause, by King Charles the First his Servants, printed in octavo Lond. 1659. and dedicated to his very Noble and Approved Friends Mr. Thomas Cary Son to the Earl of Monmouth; and Mr. William Murrey: both of the Bed-chamber to His Majesty.

Fool would be a Favourite, or The Discreet Lover, often acted by the Queen's Majesties Servants with great applause, and printed in octavo Lond. 1657.

Osmond the Great Turk, otherwise called The Noble Servant his Tragedy: acted by the Queens Servants with great applause, and printed with the former, octavo Lond. 1657. The Action of this Play, is the taking of Constantinople, in the year 1453. I know not why the Author has alter'd his Scene, from Greece, to Barbary; or the Names of Mahomet, and Irene, for Melchosus, and Despina: except in imitation of Beaumont, and Fletcher, who have transfer'd the Names of Rollo, and Otto, on Antoninus and Geta, and degraded those Emperors of Rome, by Creating them Dukes of Normandy. Many Authors have treated of this Story, in the Life of Mahomet the Second, consult Chalcocondylus lib. 8. cap. 6. Knolles's Turkish History. This Story is likewise in Bandello's Novels; see the French Translation by Belleforest, Tome 1. Hist. 2. See Painter's Palace of Pleasure, a Book of Novels, printed in [Page] quarto Lond. 1566. Nov. 4o. For the Underplot of Orcanes, Calibeus, and Ozaca, 'tis founded on the Story of Mustapha, Son to Mahomet the Second, Achmet Bassa, and his Wife. See Lipsii Monita. lib. 2. cap. 9. pag. 125. Artus le Contin. de l'Hist. des Turcs. L. 11. Knolles, &c.

Passionate Lover, a Tragi-Comedy in two parts, twice presented before the King and Queen's Majesties at Somerset-house, and very often at the Private-house in Black-friars, with great applause, by King Charles the First's Servants, printed in octavo Lond. 1655, and Dedicated to the Illustrious Princess Mary Dutchess of Richmond, and Lenox, by the Publisher Mr. Alexander Goughe. On this Play the ingenious Alexander Brome has writ a Copy of Verses, which seem to reflect on the Character of the Passionate Lover, and may be found by the Curious, in his Poems 8o. pag.256. Edition the Second.

Heraclius Emperor of the East, a Tragedy translated from the French of Monsieur P. Corneille, and printed in quarto Lond. 1664. This Play was never acted, tho' intended by the Translator for the Stage: but another Translation formerly design'd, (after this seem'd to be accepted) being perfected was prefer'd by the Players, and this not return'd to the Author until the very day the other was Acted. But notwithstanding the Preference given to the other, certainly this Version is not contemptible; at least if the Author's Reasons in the Prologue make take place:

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All things have proper Idioms of their own,

Their Elegance in Ours is hardly shown;

This, but a Copy, and all such go less,

Great Beauties may be altered by the Dress.

Having given you the Author's Excuse for his Translation, let me give you his Opinion of Translations in general in the following Distick.

Those who translate, hope but a Labourer's praise,

Who well invent, contrive; deserve the Bays.

In the design of this Play, the French Author follows Baronius's Ecclesiastical Annals, but does not (as he himself acknowledges in his Examen of this Play) strictly follow truth in many things. See Le Theatre de Corneille, tom. 3. Je n'ay conservé icy pour toute verité Historique que l'ordre de la Succession des Empereurs, Tibere, Maurice, Phocas, & Heraclius, &c. Many are the Historians that have treated on this Story, as Nicephorus Calistus Eccl. Hist. Cedreni Annal. Zonaras, Annal. Baronius &c.

Mr. Phillips has omitted Three of these Plays, viz. Deserving Favourite, Fool would be a Favourite, and Heraclius: the later is forgot likewise by Mr. Winstanley, who has in requital Father'd another Play on him, which belongs to Dr. Lodge, viz. Marius and Scylla.

James CARLILE.

A young Author now living, who has lately publisht a Play, call'd The Fortune Hunters, or Two Fools well met: a Comedy acted by his Majesties Servants, printed in quarto Lond. [Page] 1689. I know not how it succeeded on the Stage, but if it be consider'd as the First Play of a young Poet, I think it deserv'd Applause, and exceeds several Comedies printed in this Age. Only I think the Author's, as well as Mr. Spruce's Brains were a little Doz'd when he writ the end of the Second Act: where he mistakes young Wealthy's Hand for the Handle of the Pump, and the Orange-flower-for Pump-water.

* That he meant well is all he has to plead;

Faith then be kind, and let his Play succeed,

And take for once the Good-will, for the Deed.

Richard CARPENTER.

The Author of a Play, called The Pragmatical Jesuit new leaven'd; printed in quarto, but when, or where I know not through the defect of my Copy. All that I can acquaint the Reader with, is that it is a very instructive Play, chiefly tending to Morality; shewing the difference between true Religion, and Hypochrisy. The Author has made it his business to expose all the Subtleties and Inventions of the Romish Clergy to gain Proselites, and promote their Religion. I know not whether or no, it might not be writ by a Divine of that Name, the Author of several Sermons, particularly Three, of keeping a good Conscience, printed in quarto Lond. 1623.

William CARTHWRIGHT.

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A Person as Eminent for Loyaty and Learning, (his years consider'd) as any this Age has produc'd. One, whose Character has been written by several Pens; and therefore has afforded me, (who fetch my knowledge from Books, more than verbal Information) the larger subject to expatiate on.

The Place of this Author's Nativity, the time, and his Father's Name, are differently represented by those Authors that have mention'd him. Mr. Lloyd f says that he was the Son of Thomas Carthwright of Burford in Oxford-shire, and Born Aug. 16. in the year 1615. Mr. Wood. g says that he was the Son of William Carthwrigth, and Born at Northway near Tewskbury in Gloucester-shire, in Sept. 1611. and Christned the 26th day of the same Month. That his Father had dissipated a fair Inheritance, he knew not how, and as his last Refuge turn'd Inn-keeper at Cirencester. This Account contradicts the Publisher of his Poems, who says that he Died at Thirty. But however uncertain the place and time of his Birth be; certain it is, that he was bred a King's-Scholar under the Reverend and Learned Dr. Oldbaston: and in the year 1631 was chose Student of Christ-Church College in Oxford, and plac'd under the care of Mr. Terrent. He took his several Degrees, of Bachelor and Master of Arts, and afterwards was chosen by the House as [Page] Proctor, and admitted as Junior to Mr. Wake of Magdalen College by the University, the Twelfth of April 1643. and the same year, viz. on the 29th of November, he Died of a Malignant Feaver, which then raign'd, and was that year Fatal to others of his Contemporaries, as Mr. Masters of New-College, Mr. Diggs of All-Souls, and others both Men of the Gown and Sword. He was Buried the first of December in the South-Isle, being lamented not only by all good and learned Men, but even by Majesty it self: the King and Queen having anxiously enquir'd after him all the time of his Sickness, and shewed themselves much afflicted at his Death. On the Ninth of December Mr. Maplet of the same House, was chose to supply his Place the remaining part of the year.

He was extreamly remarkable both for his outward, and inward Endowments; his Body being as handsome as his Soul. He was an expert Linguist, understanding not only Greek and Latine, but French and Italian, as perfectly as his Mother-tongue. He was an excellent Orator, and yet an admirable Poet, a Quality which Cicero with all his pains could not attain to. Nor was Aristotle less known to him than Cicero and Virgil: and those who heard his Metaphysical Lectures, gave him the Preference to all his Predecessors, the present Bishop of Lincoln excepted. His Sermons were as much admired as his other Composures, and One fitly applied to our Author, that Saying of Aristotle concerning AEschron the Poet, that He could not tell what AEschron could not do.

[Page]In a word he was of so sweet a disposition, and so replete with all Virtues, that he was beloved by all Learned Men that knew him, and admired by all Strangers: and to close all with the Character the Reverend and Pious Dr. Fell (sometime Bishop of Oxford) gave of him, Carthwright was the utmost Man could come to.

To speak of his Poetry, there needs no other Character of it in general, then that the ablest Judge of Poetry at that time, I mean Ben Johnson, said with some Passion, My Son Carthwright writes all like a Man.

He writ Four Plays besides other Poems, all which were printed together in octavo, Lond. 1651. accompanied with above Fifty Copies of Verses writ by the most eminent Wits of the University, every One being desirous to appear in the Number of his Friends, and to give a publick Testimony to the world of the Value they had for his Memory.

Ordinary, a Comedy: I know not where this Play was acted, but I remember part of the second Scene of the first Act, between the Widow Pot-luck, Slicer, and Hear-say, is transcrib'd by the Composer of Wits Interpreter, in his Love-Dialogues, under the Title of the Old Widow. pag. 81.

Lady Errant, a Tragi-Comedy, of which I can give no Account where acted, only that it is esteem'd by some a good Comedy.

Royal Slave, a Tragi-Comedy; presented to the King and Queen by the Students of Christ Church in Oxford, Aug. 30. 1636. Presented [Page] since to both Their Majesties at Hampton-Court by the King's Servants. This Play gave such Content to Their Majesties, and the whole Court, as well for the stately Scenes, the Richness of the Persian. Habits, the excellency of the Songs, (which were set by that admirable Composer, Mr. Henry Lawes, Servant to his Majesty King Charles the First; in his publick and private Musick:) as for the noble Stile of the Play it self, and the ready Address and graceful Carriage of the Actors (amongst which Dr. Busby, the famous Master of Westminster School approv'd himself a second Roscius); that they unanimously acknowledged that it did exceed all things of that Nature which they had ever seen. The Queen in particular so much admired it, that in November following, she sent for the Habits and Scenes to Hampton-Court: she being desirous to see her own Servants represent the same Play, (whose profession it was) that she might the better judge of the several Performances, and to whom the Preference was due. The Sentence was universally given by all the Spectators in favour of the Gown: tho' nothing was wanting on Mr. Carthwright's side, to inform the Players as well as the Scholars, in what belong'd to the Action and Delivery of each Part.

Siege, or Love's Convert, a Tragi-Comedy; where acted I know not, but 'tis dedicated by the Author to King Charles the First, by an Epistle in Verse. The Story of Misander, and Leucatia, is founded on that of Pausanias and Cleonice, in Plutarch's Life of Cymon. The Injunction [Page] which the Rich Widow Pyle laid upon her Lovers is borrow'd from Boccace's Novels. Day 9th, Nov. 1.

Amongst his Poems, there are several concerning the Dramatick Poets and their Writings, which must not be forgot: as those two Copies which he writ on Mr. Thomas Killegrew's Plays, The Prisoner, and Claracilla; Two Copies on Fletcher, and One in Memory of Ben Johnson, which are so Excellent that the Publisher of Mr. Carthwright's Poems speaks as in a Rapture in the Preface; viz. ‘What had Ben said, had he read his own Eternity in that lasting Elegy given him by our Author.’

Besides these Poems, our Author has extant other Pieces on different Subjects, as a Sermon, printed Lond. 1652. and a Book which I never saw, but is mentioned by Mr. Wood g under this Title; Dies in Mense Novembri maxime notabiles Coronam nempe & familiam regiam spectantes. Lond. 1671.

'Tis not possible for me in this place, to enumerate all the Praises given him by the Learned of those Times in which he liv'd: only give me leave to insert part of one Copy, by which the Reader may judge of the Rest. The Lines were writ by John Leigh Esq to the Stationer (Mr. Mosely) on his printing Mr. Carthwright's Poems. After he has nam'd all the admirable Poems, set forth by the aforesaid Bookseller; with the just Commendation of each Author, he says thus of Mr. Carthwright;

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But after all thou bring'st up in the Rear,

One that fills every Eye, and every Ear,

Carthwright, rare Carthwrt to whom all must bow,

That was best Preacher, and best Poet too;

Whose Learned Fancy never was at rest,

But always labouring yet labour'd least:

His Wit's Immortal, and shall Honor haue,

While there's or Slavish Lord, or Royal Slave.

Robert CHAMBERLAIN.

A Gentleman that flourisht in the Reign of King Charles the First, the Author of a Play called The Swaggering Damsel, a Comedy printed in quarto Lond. 1640. I know not whether this Play was ever acted, but 'tis usher'd into the world by Three Copies of Verses, one of which was writ by Mr. Rawlins, in requital of a Copy writ by our Author, in praise of his Tragedy called The Rebellion. A Complement which has in this Age been practiced by Mr. Dryden, to Mr. Lee's Rival Queens, in Return of that, past by him, on Mr. Dryden's State of Innocence.

Mr. Phillips, and Winstanley have ascrib'd to our Author a Play call'd Sicellides, which they stile a Pastoral, tho'it is distinguish'd (by the Anonymous Author) by the Title of a Piscatory, the Dramatis Personae being most of them Fishermen.

William CHAMBERLAIN.

A Dorset-shire Gentleman, who in the Reign of King Charles the First, liv'd at Shaftsbury, a [Page] Market-town of sufficient Note for giving the Title to the famous Lord Cooper, first Earl of Shaftsbury. He writ a Play called Love's Victory, a Tragi-Comedy printed in quarto Lond. 1658. and dedicated to the Right Worshipful Sr. William Portman. He writ this Play during the late Troubles, and design'd to have it acted, but the Powers then in being having suppressed the Stage; he contented himself with Printing it: tho' it has since appeared, (at least a great part of it) upon the Stage in 1678. under the Title of Wits led by the Nose, or A Poet's Revenge.

This Author writ besides, an Heroick Poem called Pharonnida, in Five Books, printed in octavo Lond. 1659. and dedicated likewise to Sr. William Portman. This Poem tho' it hath nothing extraordinary to recommend it, yet appear'd abroad in Prose 1683. under the Title of a Novel called Eromena, or The Noble Stranger.

George CHAPMAN.

A Gentleman of no mean Repute for his Poetical Writings and Versions, amongst the Wits of the Age wherein he liv'd, to wit, in the later part of the Reign of Queen Elizabeth, and that of King James. I can give him no greater Commendation, than that he was so intimate with the famous Jhonson, as to engage in a Triumvirate with Him, and Marston in a Play called Eastward-Hoe: a Favour which the haughty Ben could seldome be perswaded to. I might add to this, that he was so much valued [Page] in his time, by the Gentlemen of the Middle-Temple and Lincoln's-Inn, that when those two Honourable Societies agreed to Present Their Majesties with a Masque at Whitehall, on the joyful Occasion of the Marriage between the Princess Elizabeth, only Daughter to King James the First, and Frederick the Fifth of that Name, Count Palatine of the Rhine, and afterwards King of Bohemia: they chose Mr. Chapman for their Poet, to suit Language to the Occasion, and Mr. Inigo Jones for their Ingineer, to order the Machines, and Decoration of the Scenes.

He has writ many Dramatick Pieces, to the number of Eighteen: besides several other Poems and Translations: of all which his Tragedy of Bussy d' Amboise has the Preference. I know not how Mr. Dryden h came to be so possest with Indignation against this Play, as to resolve to burn One annually to the Memory of Ben Johnson: but I know very well that there are some who allow it a just Commendation; and othersi that since have taken the liberty to promise a solemn annual Sacrifice of The Hind and Panther, to the Memory of Mr. Quarles, and John Bunyan: so that should this last Humour continue, The Hind and Panther would grow as scarce, as this Old Tragedy is at present. But I leave this Digression to give the Reader an Account of his Plays in order.

All Fools, a Comedy presented at the Black-friars, [Page] and afterwards before his Majesty King James the First, in the Begining of his Reign: and printed in quarto Lond. 1605. This was in those days accounted an Excellent Comedy, and will still bear Reading: it seems to be built in part upon the same Fabrick with Terence's Heautontimorumenos, as those who will compare the Characters of the two Fathers Gostanzo, and Mar. Antonio, with Chremes, and Menedemus; and their Sons Valerio, Fortunio, and Rynaldo, with Clinia, Antipho, and Syrus, may easily perceive. The Prologue and Epilogue (writ in Blank Verse) shew that in those days, Persons of Quality, and those that thought themselves Judges of Wit, instead of sitting in Boxes, as now in use, sat on the Stage: what influence those Sparks had on the meaner Auditors, may be seen by the following Lines;k

Great are the Gifts given to united Heads;

To Gifts, Attire, to fair Attire the Stage

Helps much; for if our other Audience see

You on the Stage depart before we end,

Our Wits go with you all, and we are Fools; &c

Alphonsus Emperor of Germany, a Tragedy, very often acted (with great Applause) at the Private-house in Black-friars, by the Servants to King Charles the First; printed in quarto Lond. 1654. This Play, tho' it bear the Name of Alphonsus, was writ (as I suppose) in Honor of the English Nation, in the Person of Richard Earl of Cornwal, Son to King John, and Brother [Page] to King Henry the Third. He was chosen King of the Romans in 1257. and Crown'd at Aix the Seventeenth day of May, being Ascension day. About this time Alphonsus the Tenth King of Castile, (the subject of this Tragedy) was chosen by other Electors. Tho'this King was accounted by some a Pious Prince, yet our Author represents his as a Bloody Tyrant, and contrary to other Historians brings him to an unfortunate End, he supposing him to be kill'd by Alexander, Son to Lorenzo de Cipres his Secretary: in revenge of his Father, who was poyson'd by him: and to compleat his Revenge he makes him first deny his Saviour in hopes of Life, and then stabs him, glorying that he had at once destroyed both Body and Soul. This Passage is related in several Authors, as Bolton's Four last Things, Reynolds of the Passions, Clark's Examples, Wanley's History of Man. For the true Story consult Mariana de Reb. Hisp. Lib.13. C.10. &c. Loüis de Mayerne Turquet. Hist. Generale d' Espagne Lib.12. Bzovius An. 1257, &c.

Blind Beggar of Alexandria, a Comedy, most pleasantly discoursing his variable Humours in disguised shapes full of Conceit and Pleasure: sundry times publickly Acted in London, by the Right Honourable the Earl of Notingham, Lord High Admiral his Servants, printed in quarto Lond. 1598. This Play is neither divided into Acts nor Scenes.

Bussy d' Amboise, a Tragedy often presented at Pauls, in the Reign of King James the First: and since the Restauration of King Charles the [Page] Second acted at the Theatre-Royal with good Applause. For the Plot see Thuanus, Jean De Serres, and Mezeray, in the Reign of King Henry the Third of France. The Intrigue between Bussy and Tamyra is related by Rosset in his Histoires Tragiques de nôtre temps, under the feign'd Names of Lysis & Silvie. Hist. 17. pag. 363.

Bussy d' Amboise, his Revenge, a Tragedy, often presented at the Private-house in the White-Friars, printed in quarto Lond. 1613. and dedicated to the Right Virtuous and Truly Noble Knight, Sr. Thomas Howard. This Play is far short in value to the former, and was not received on the Stage with that universal Applause, Neither is it so strictly founded on Truth as the other: tho' the Authorl calls them ‘poor Envious Souls that cavil at Truth's want in these natural Fictions: Material Instruction, elegant and sententious excitation to Virtue, and deflection from her contrary, being the Soul, limbs, and limits of an Authentical Tragedy.’

Conspiracy and Tragedy of Charles Duke of Byron Marshal of France, in two Plays, acted at the Black-friars in the Reign of King James the First, printed in quarto Lond. 1608. and Dedicated to his Honourable and constant Friend Sr. Thomas Walsingham, and to his much Loved from his Birth, the right Toward and Worthy Gentleman his son, Thomas Walsingham Esq This Play is founded on History in the Reign of Henry IV. of France: and many [Page] are the Authors that have mention'd the Marshal's Story. See Davila's Civil Wars of France, Montluc's Memoires, Mezeray's Chron. Pierre Mathiew's Contin of De Serres, Thuanus, Anselmus Gemblacensis, Scipion Du pleix, P. Mathiew, &c.

Caesar and Pompey, a Roman Tragedy declaring their Wars, out of whose Events is evicted this Proposition, Only a Just Man is a Freeman, printed in quarto Lond. 1631. and Dedicated to the Right Honourable, his exceeding good Lord, the Earl of Middlesex. I cannot pass by that our Author has here laid down the same Rule with Father Le Bossu, the Learned regular Canon of St. Genevieve, m That the Moral ought to be the foundation of a Play: Instruction being the chief design of a Poet. As he says; La premiere chose par où l'ou doit commencer pour fair une Fable, est de choisir l'Instruction & le point de Morale qui luy doit servir de fond, selon le dessein & la fin que l'on se propose. This is that Passage which Mr. Dryden hints at in his Grounds of Criticism in Tragedyn and tho' he takes the French for his Guide, I believe there have not been wanting those of our own Countrymen, who have been able to decide all Controversies in Dramatick Poetry, as well as Strangers. Many Authors have treated on this Story: See Suetonius's Life of Julius Caesar. Plutarch's Lives of Pompey, Caesar, and Cato, Velleius Paterculus, Florus, Dion, and Lucan, who by some is rather [Page] accounted an Historian than a Poet.

Gentleman Usher, a Comedy printed in quarto Lond. 1606. I know not whether ever this Play was acted, but I have heard it commended by some, for a good Comedy, though if I may presume to give my Opinion, 'tis but indifferent.

Humourous days Mirth, a Comedy printed as I am told in quarto, and a passable Play: but this I must leave to those who have read it.

Masque of the Two Honourable Houses or Inns of Court; the Middle-Temple and Lincolns Inn: Perform'd before the King at White-hall, on Shrove-monday at Night, being the fifteenth of February 1613: at the Princely Celebration of the Most Royal Nuptials of the Palsgrave, and his thrice Gracious Princess Elizabeth, &c. With a description of their whole Shew; in the manner of their March on Horse-back to the Court from the Master of the Rolls his House: with all their Right Noble Consorts, and shewful Attendants. Invented, and Fashion'd, with the ground and special structure of the whole Work-by our Kingdoms most Artfull and Ingenious Architect Inigo Jones. Supplied, applied, digested, and written by George Chapman, printed in quarto Lond. 1614. and dedicated to the most Noble and constant Combiner of Honor and Virtue, Sr. Edward Phillips, Master of the Rolls. At the end of the Masque is printed an Epithalamium called a Hymne to Hymen for the most time-fitted Nuptials of our Thrice Gracious Princess Elizabeth, &c. I leave it to their Judgments who have perus'd [Page] this Piece, to determine whether it answer the swelling Title-page, or whether the Authors Defence before the Masque, be just and solid.

May-day, a Witty Comedy, divers times acted at the Black-friars; and printed in quarto Lond. 1811.

Monsieur d'Olive, a Comedy sundry times acted by her Majesties Children at the Black Friars, printed in quarto Lond. 1606.

Revenge for Honor, a Tragedy printed in quarto Lond. 1654. This Play I have seen acted many years ago at the Nursery in Barbican.

Temple, a Masque which I never saw.

Two Wise Men, and all the rest Fools, or a Comical Moral, censuring the Follies of that Age, divers times acted, and printed in quarto Lond. 1619. The Prologue and Epilogue to this Play are writ in Prose, which was practic'd formerly by several of the Poets, as William Lilly, in his Court Comedies, and others. But there is One thing in this Play, far more remarkable; that it is extended to Seven Acts: a thing which I never saw in any other, either in our own, or Foreign Languages, and which is directly contrary to that Rule of Horace o

Néve minor, neu sit quinto, productior actu

Fabula, quae posci vult & spectata reponi.

But I suppose this might rather be the Printer's Ignorance, than the Poets Intention; for certainly Mr. Chapman better understood the Rules of the Dramma: tho'I am led only by Tradition to believe this Play to be his; since [Page] 'tis published without any mention of the Author, or the Place where 'twas printed.

Widow's Tears, a Comedy often presented in the Black and White-Friars: printed in quarto Lond. 1612. and dedicated to the right Virtuous and truly Noble Gentleman John Reed of Mitton, in the County of Gloucester, Esq. The Plot of Lysander and Cynthia is borrow'd from Petronius Arbyters Satyricon, being the Story of the Matron of Ephesus related by Eumolpus: a Story since handled by several other Pens, as Janus Dousa the Father, in his Notes on this Story, and Gabbema in the last Edition of Petronius: who observe, That it was translated into Latine Verse by Romulus, an Antique Gramarian; that it was translated from the German Language into Latine: and into French Rhime by Hebertus. We have it not only in the Seven Wife Masters, a Book vulgarly known, and which, if I may believe my Author, is a translation of Modius, who new modell'd the Story, and publisht his Version under this Title Ludus septem Sapientum, de Astrei regii adolescentis, educatione, periculis, &c. But also I have read the same Story with little alteration in the Cento Novelle Antiche di Carlo Gualteruzzi, Nov. 51. We have it likewise much improv'd, with a Philosophical Comment upon it, by a Countryman of our own, under the Title of the Ephesian Matron, printed in octavo Lond. 1668. and others.

These are all the Plays which I know of, that are publisht under our Authors name, except a Play which I have already mention'd, viz.

[Page] Eastward-Hoe, a Comedy play'd in the Black Friars, by the Children of her Majesties Revels: made by George Chapman, Ben Johnson, and John Marston, printed in quarto Lond. 1605. This Play was writ shortly after Decker's Westward Hoe, as you may see by the Prologue which is writ in Blank Verse. The Play it self hath lately appear'd on the present Stage, being reviv'd by Mr. Tate under the Title of Cuckold's Haven.

Mr. Phillips, I know not why, has omitted half this Authors Plays, as you may see in his Account of the Modern Poets, p. 53.

Having given an Account of his Plays, I am now to speak of his other Works which were not in those days accounted less eminent: particularly his Version of all Homer's Works; viz. His Illiads, Odysses, and what he calls The Crown of all his Works, his Batracomyomachia, or The Battle of Frogs and Mice, together with his Hymns and Epigrams. If it be urg'd by some that he has been since out-done by Mr. Ogleby in the Two former, it is chiefly to be ascrib'd to the ill choice of his measure of Verse, and the obsolete Expressions in use in his time, and besides Translation was then, as I may say, in its Infancy. However I think Mr. Ogleby himself has since been as far exceeded by the exact and curious Pen of Mr. Hobbs: and for for his Minor Poems, they have never been attempted by any other Pen that I know of. To these I must add his Translation of Hesiod; his finishing Musaeus his Erotopaenion, or The Loves of Hero and Leander, a Piece begun by [Page] Christopher Marloe; his Andromeda liberata with a Vindication of the same; all which speak his Industry at least, if not his Ingenuity: and how slight an Opinion soever this Age may entertain of his Translations, I find them highly extoll'd in an Old Copy call'd a Censure of the Poets: which having spoke of the Eminent Dramatick Poets, as Shakesprear, Johnson, Daniel, &c. it adds of Translators as follows, placing our Author in the first Rank.

Others again there lived in my days,

That have of us deserved no less Praise

For their Translations, than the daintiest Wit,

That on Parnassus thinks he high doth sit,

And for a Claim may 'mongst the Muses call,

As the most curious Maker of them all;

First reverend Chapman, who hath brought to us

Musaeus, Homer, and Hesiodus,

Out of the Greek; and by his skill hath rear'd

Them to that height, and to our tongue indear'd,

That were those Poets at this day alive;

To see their Books, that with us thus survive;

They'd think, having neglected them so long,

They had been written in the English Tongue.

Sir Aston COKAIN.

A Gentleman that in the Reign of K. Charles the Second, liv'd at Ashbourn, a Market-town An Darby-shire, (situate between the River Dove and Compton). He was of an Ancient Family, as Mr. Cambden observes in the Entrance of his Description of Darby-shire. Nay further Mr. John Cokain of Rushton (our Authors Kinsman [Page] and Cousin-German to the Lord Obrian Cokain, Viscount Cullen in Ireland) had an Ancient Evidence to prove that Sr.— Cokain their Predecessor was anciently allyed to King William the Conqueror, and in those days lived at Hemmingham-Castle in Essex. p But whether our Author fetcht his Pedigree from so Ancient a Stock or no; certain it is, that he was well descended, and had a Liberal Education bestowed on him, being in his youth bred in Trinity College, in Cambridge, and when he was about Four and Twenty years of Age, he was sent to make a Journey through France and Italy, which he compleated in a Twelve-months space, An. 1632. an Account of which he has writ to his Sonq. He was very much addicted to Books, and the study of Poetry; spending most of his time in the Muses company. Amongst his other Poetical Productions, he has written Three Plays, and a Masque which are in print; of which take the following Account.

Masque presented at Bretbie in Darby-shire, on Twelfth-Night 1639. This Entertainment has hitherto been omitted in all former Catalogues, as I suppose through an Over-sight, it being but short, and printed in the body of the Author's Poems,r amongst others of a different Nature. It was presented, (as I find upon perusal of it) before the Right Honourable Phillip the first Earl of Chesterfield, and his Countess, Two of their Sons acting in it. The diversion terminated in a Ball.

[Page] Obstinate Lady, a Comedy printed in octavo, Lond. 1658. This Play, with other Poems were left in the Custody of a Friend, at the Author's Removal from London, who dying, they were disperst into several Hands. One Mr. William Godbid, (a Bookseller as I suppose) got this Play into his Hands, and tho' he found it imperfect, the last Leaf being wanting, wherein were the Authors Conclusion and Epilogue: he procured some of his Acquaintance to supply that defect, and so printed it. And tho' this Comedy were very much of it writ in Number (as the Author calls it) he put it forth as if the most part of it were Prose. In this Edition you have that defect much amended, and the Authors own Conclusion, and Epilogue added. Sr. Aston's Obstinate Lady, seems to be Cousin-German to Massinger's Very Woman; as they that will compare Don John, Antonio, and Almira, with Carionil and Lucora in this Play, may easily perceive.

Ovid's Tragedy, printed in octavo Lond. 1669. This Play was printed since the rest of his Works, tho 'tis frequently bound with them. I know not why the Author gave this Play the Title of Ovid's Tragedy, except that he lays the Scene in Tomos, and brings him to fall down dead with grief at the News he received from Rome, in sight of the Audience: otherwise he has not much business on the Stage, and the Play ought rather to have taken the Name from Bassanes Jealousy, and the dismal effects thereof, the murther of his new Bride Clorina, and his Friend Pyrontus. But this is an Error [Page] which Beaumont and Fletcher have heretofore committed, (as Mr. Rimer s has observ'd.) in the King and no King, and therefore the more excusable in our Author. The passage of Captain Hannibal's inviting the dead Carcass of Helvidius to Supper, is possibly borrow'd from the Italian Play called Il Atheisto Fulminato, to which Language our Author was no Stranger; and on which Foundation the Catastrophe of the Libertine is built.

Trapolin creduto Principe, or Trapolin suppos'd a Prince, an Italian Tragi-comedy, printed in octavo Lond. 1658. The Design of this Play, the Author borrow'd from One which he saw, or rather heard, twice Acted in Venice during his abode in that City; since he built this on that Foundation: So that as he pleads in his Proloque it is no Translation. This Play was reviv'd on our Stage since the King's Return, and a new Prologue writ by Duffet, printed in his Poems pag. 82. and has since that, been alter'd by Mr. Tate, and acted at the Theatre in Dorset-Garden 1685.

Mr. Philips t and Mr. Winstanley u have committed mistakes in this Author, having omitted the Tragedy of Ovid, and plac'd two anonymous Plays to him, which I dare be confident are none of his; viz. Thersites, and Tyranical Government. All his Poems being collected, and publisht together, in octavo Lond. 1669, by Mr. Kirkman, who knew Plays far better than either of these Authors.

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Having given you this Account of his Plays, I am next to speak of his other Poems, and Pieces, but since the Author has reckon'd them up in Verse, in an Epigramx directed to his Honoured Friend, Major William Warner, I shall transcribe his own Lines, which may inform the Reader of his Stile, as well as his Poems.

Plays, Eclogues, Songs, a Satyr I have writ,

A Remedy for those i'th amorous Fit,

Love Elegies, and Funeral Elegies,

Letters of things of divers Qualities,

Encomiastick Lines to Works of some,

A Masque, and an Epithalamium,

Two Books of Epigrams: All which I mean

Shall (in this Volume) come upon the Scene;

Some Divine Poems, which when first I came

To Cambridge I writ there, I need not name;

Of Dianea, y neither my Translation,

Omitted here as of another Fashion.

For Heavens sake name no more you say, I cloy you,

I do obey you; Therefore (Friend) God b'wy you.

Edward COOK Esq

A Gentleman of whom I can give no other account, than that he has publisht a Play call'd Love's Triumph, or The Royal Union, a Tragedy in Heroick Verse, never acted, but printed in quarto Lond. 1678. and dedicated to her Highness, the Most Illustrious MARY Princess of [Page] Orange. This Play is founded on Cassandra, a fam'd Romance, as you will find by reading Part 5th, Book 4th, to the End.

John COOK.

The Author of a Play call'd Green's Tu Quoque, a Comedy printed in quarto Lond. — I cannot tell the Date, or the Place where 'twas first acted, the Title-page of my Copy being lost, tho' I suppose at the Red-Bull, by a Passage in the Play; but I can inform the Reader, that it is commended by Thomas Heywood, who ‘purposely writ an Epistle to gratulate (as he says) the Love and Memory of his Worthy Friend the Author, and his intirely beloved Friend the Actor.’ He says further, ‘That it past the Test of the Stage with general Applause:’ And I have seen it acted since the King's Return, at the Play-house (as I think) in little Lincolns-Inn-Fields with good success: tho' the printed Copy be not divided into Acts. The Plot of Spend-all's gaining the Widow Raysby, has a near resemblance with that of Will. Small shanks and Widow Taffety: tho' I think the Design is better wrought up in this Play, because the Widow by a Counter-plot frees her self from Spend-all, and after having made a Tryal of the Sincerity of his Love, consents of her own accord to Marry him.

This Play had its Title given it by the Author, in respect of the admirable Comedian, Thomas Green, who acted the part of Bubble, whose universal Repartee to all Complement [Page] is Tu Quoque; Mr. Heywood z gives him this Character, ‘That there was not an Actor of his Nature in his Time of better ability in performance of what he undertook, more applauded by the Audience, of greater Grace at the Court, or of more general Love in the City.’

At the Entrance of this Play is a Distick, which Mr. Winstanley applies to Mr. Robert Green, (of whom I shall give an account in his proper place:) tho' had he put on his Spectacles he would have found it printed thus;

Upon the Death of Thomas Green.

How fast bleak Autumn changeth Flora's dye,

What yesterday was (Green) now's sear and dry.

W. R.

John COREY.

A Gentleman who is pleas'd to stile himself the Author of a Play call'd The Generous Enemies, or The Ridiculous Lovers, a Comedy acted at the Theatre-Royal by his Majesties Servants, and printed in quarto Lond. 1672. Tho'he has so little share in it; that we may justly say of him, as Appolodorus the Athenian said of the Books of Chrysippus: If a Man should extract the things which he hath borrow'd from others, the Paper would be left blank. To prove this I am to acquaint the Reader, that this Play, like a Botcher's Cushion is made out of several Pieces; he having stollen from Four Eminent Poets; Fletcher, and Randolph; Th. Corneille, and Quinault. The chief Design of [Page] the Play, that of the Generous Enemies, is borrow'd from Quinault's La Genereuse Ingratitude, as will be evident to those who will compare the Characters of Don Alvarez, and Signior Flaminio, with those of the French Zegry and Abencerage; Semena in Disguise under the Name of Lisander, with Zelinda under the Name of Ormin, &c. For the Ridiculous Lovers; 'tis chiefly borrow'd from a Comedy of Th. Corneille's call'd D. Bertran de Cigarral, which Play is founded on a Spanish Comedy written by D. Francisco de Roxas, and stiled, Entre bobos anda el juego. The Quarrel between Bertran and Robatzy in the fifth Act, is stollen verbatim from Love's Pilgrimage, Act 2. Sc. 1. and Act 3. Sc. 3. The testy Humour of Bertran to his Servants in the third Act, is part of it taken from the Muses Looking-glass. Act 2. Sc. 1. Act 3. Sc. 3. and 4.

Charles COTTON Esq

An Ingenious Gentleman lately (as I am inform'd) Deceas'd, who sometimes dwelt at Beresford in the County of Stafford. He was an excellent Lyrick Poet, but particularly famous for Burlesque Verse: but mention'd here on account of a Translation of his call'd,

Horace, a French Tragedy of Monsieur Corneille, printed in quarto Lond. 1671. and dedicated to his Dear Sister Mrs. Stanhope Hutchinson. This Play was first finished in 1665.a ‘But neither at that time, nor of sevaral years [Page] after, was it intended for the publick view; it being writ for the private divertisement of a fair young Lady, and ever since it had the honor first to kiss her Hands, so intirely hers, that the Author did not reserve so much as the Broüillon to himself. However she being prevail'd upon tho' with some difficulty to give her consent, it was printed in Octo. 1670.’

I shall not extol, or particularise the Excellencies of this Play in the Original; 'tis sufficient to tell you, that the French Author thought it might pass for the best of his Productions if the three last Acts had been equal to the two First: and this he says was the general Opinion, as you may read in the beginning of his Examen of this Play.b As to the Performance of this our Countryman, notwithstanding his Modesty, and Generosity in giving the preference to Madam Phillips her Translation, I think it no ways inferior to it, at least, I dare aver that it far transcends that Version publisht by Sr. William Lower.

The Plot of this Play, as far as it is founded on History, may be read in several Authors. See Livy, lib. 1. Florus, lib. 1. c. 3. Dionysius Hallicarnassaeus, &c.

There are other Works of this Author's writing, which speak him a great Wit, and Master of an excellent Fancy and Judgment: Such as his Poem call'd The Wonders of the Peak, printed in octavo Lond. 1681. His Burlesque Poems call'd, Scarronides, or Virgil Travestie, a mock Poem, on the first and fourth [Page] Books of Virgil's AEneis, printed in octavo Lond. 1678. Tho' the Title seems to imply as if this Poem were an Imitation of Scarron, who has translated. Eight Books of Virgil in the same manner: yet those who will compare both these Pieces, will possibly find that he has not only exceeded the French, but all others that have attempted in that kind, to the reserve of the incomparable Butler, the fam'd Author of Hudibras: and I think we may with little variation apply the following Tetrastick written by Scarron's Uncle to this our Author.

Si punctum omne tulit, qui miscuit utile dulcis

Ludendo scribens seria, quid meruit?

Virgilii miranda legens, ridere jubetur

Hoc debet, Cotton, Anglica Musa tibi.

There are several of Lucian's Dialogues put into Burlesque Verse, printed in octavo Lond. 1675. under the Title of The Scoffer Scoft, which are said to be writ by our Author, but whether this be true, I must leave to those who were better acquainted with him. However I must acquaint the Reader, that there was not long since publisht a Volume of Poems on several Occasions, with his Name prefixt, which was printed in a large octavo, Lond. 1689. Amongst which is a Copy call'd The Anglers Ballad, which puts me in mind of another piece writ by him in Prose, call'd The Compleat Angler, being Instructions how to angle for a Trout or Grailing in a clear Stream, being a Second Part to Mr. Isaac Walton's Book on the same Subject, printed in octavo Lond. 1676. [Page]

[Page]

ABRAHAM COWLEY

[Page] and dedicated to that Virtuous Man, the common Father of all Anglers. This Book is not unworthy the perusal of the gravest Men that are Lovers of this innocent Recreation, and those who are not Anglers, but have a tast of Poetry, may find Mr. Cotton's Character better describ'd by himself, in a Copy of Verses (printed at the end of that Book) called The Retirement, than any that I might present the Reader taken either from Colonel Lovelace, Sr. Aston Cokain, Robert Herrick Esq or Mr. Alexander Brome; all which have writ Verses in our Author's praise, but in my poor judgment far short of these Stanzes Irreguliers, where (as Mr. Walton c truly says) the Reader may see so good a Picture of our Author's mind, that if he be blest with a generous Soul, it will cause him to love him, (and his Memory) the better.

Abraham COWLEY.

I have generally hitherto contented my self with giving a succinct Account of each Authors Affairs of Life, or Family: and chose rather to enlarge on their Works: but Mr. Cowley was a Person of so great Merit and Esteem in the world when Living; and his Memory so fresh in the minds of Learned Men, that I am oblig'd not to pass him slightly over. 'Tis true my Predecessors in this Work, I mean Mr. Phillips and Mr. Winstanley, have given but an imperfect account of Him, or his Writings: but as I [Page] propose not them for my Pattern in this Subject, so I must publickly own, that I have so great a Veneration for the Memory of this great Man, that methinks his very Name seems an Ornament to my Book, and deserves to be set in the best Light I can place it. Wherefore I shall be as careful in copying his Picture from his Writings, as an Artist would be in hitting the Features of his Sovereign.

To begin first with his Birth; the place of his Nativity was London, and the time which made his Virtuous Parents happy in him, was the year of our Lord 1618. Tho' his Mother had no prescience like Maia the Parent of the great Virgil, (who the Night before her delivery dreamt she brought forth a sprig of Lawrel, which upon the setting forthwith became a Tree;) yet it may be said, that this our English Maro, grew ripe with equal speed, as that famous Poplar Bough planted at the Roman Poets Birth, sprung up into a beautiful tall Tree, which overtopt several others of far riper Age. Virgil at Thirteen years of Age began his Studies at Millain; but this our Author writ his Tragical History of Pyramus and Thisbe, when he was but Ten years old; his Constantia and Philetus at Twelve; and at Thirteen had publisht not only these but several other Poetical Blossoms, d which sufficiently prov'd the pregnancy of his Wit: and all this, whilst he was yet but a Westminster Schollar; before he could say with Juvenal, e

Et nos ergo manum ferulae subduximus—

[Page]Nor is the Character he gives of himself less full of Admiration;f ‘That even when he was a very young Boy at School, instead of running about on Holidays, and playing with his Fellows, he was wont to steal from them, and walk into the Fields, either alone with a Book; or with some One Companion, if he could find any of the same Temper.’

His first Inclinations to Poetry, proceeded from his falling by chance on Spencer's Fairy Queen, g ‘With which he was so infinitely delighted, and which by degrees so fill'd his head with the tinkling of the Rhime, and dance of the Numbers, that he had read him all over before he was Twelve years old, and was thus made a Poet as immediately as a Child is made an Eunuch. Thus he gradualy grew up to that maturity both of Fancy and Judgment, that (in the opinion of a great Man now living,h Whoever would do him right, should not only equal him to the principal Ancient Writers of our own Nation, but should also rank his Name amongst the Authors of the true Antiquity, the best of the Greeks, and Romans.’ Nor is this the sence only of this Worthy Person, and Excellent Poet, but the general Opinion of the Wits of both Universities, and which will appear obvious to All that shall diligently read his Works: most of which were writ, or at least design'd whilst he was of Trinity Colledge in Cambridge, and of which I shall give a succinct Account, begining [Page] first with his English Plays, which are Three in Number, viz.

Guardian, a Comedy printed in quarto Lond. 1650. ‘Made (says the Authori) and acted before the Prince, or rather neither made nor acted, but rough-drawn only, and repeated; for the hast was so great, that it could neither be revised, or perfected by the Author, nor learned without Book by the Actors, nor set forth in any Measure tolerably by the Officers of the Colledge.’

This Mr. Cowley thought fit to acquaint the Prince with, in the Prologue which was spoken to him at that time: as the Reader may see by the following Lines, being part of it.

Accept our hasty Zeal; a thing that's play'd

E're 'tis a Play, and acted e're 'tis made.

Our Ignorance, but our Duty too, we show:

I would all ignorant People would do so.

At other times, expect our Wit and Art;

This Comedy is acted by the Heart.

‘After the Representation (the Author tells usk he began to look it over, and changed it very much, striking out some whole Parts, as that of the Poet, and the Souldier; but he having lost the Copy, durst not think it deserv'd the pains to write it again, which made him omit it in the publication of his Works in Folio; though (at that time he acknowledg'd) there were some things in it, which he was not asham'd of, taking the Excuse of his Age when he made it. But as it was he [Page] accounted it only the hasty first-sitting of a Picture, and therefore like to resemble him accordingly.’

This Comedy, notwithstanding Mr. Cowley's modest Opinion of it, was acted not only at Cambridge, but several times after thatprivately, during the prohibition of the Stage, and after the King's Return, publickly at Dublin, and never fail'd of Applause. This I suppose put our Author upon revising it; and there being many things in it which he dislik't; and finding himself at leisure in the Country, he fell upon altring it almost throughout; and then permitted it to appear publickly on the Stage, under a new Title, as indeed 'twas in a manner a new Play, calling it

Cutter of Coleman-street, acted at his Royal Highness's Theatre, printed in quarto Lond. 1663. This Play met with some Opposition, at its Representation under this new Name, from some who envyed the Authors unshaken Loyalty to the Prince, and the Royal Cause, in the worst of Times; but afterwards I suppose the Authors Preface (to which I refer the Reader) dispell'd all those Clouds rais'd by the Faction; and I have seen it acted with universal Applause: and I believe generally speaking, all unbyass'd Judges that have read, or seen it acted, will give it the Approbation of an excellent Comedy: and for those who are unsatisfied concerning his Fidelity to his King, I must refer them to that admirable Defence writ by the Reverend Bishop of Rochester l in [Page] behalf of this excellent Man, it being too copious to be inserted here.

Love's Riddle, a Pastoral Comedy, written at his time of being King's Scholar, in Westminster School; printed first with his Poetical Blossoms, in quarto Lond. 1633. but since printed in the Second Volume of his Works, in Fol. Lond. 1681. and dedicated by a Copy of Verses to the truly Worthy and Noble Sr. Kenelm Digby. If this Play be consider'd, according to the Authors years at that time, 'twill certainly be allow'd standard; or at least needs no other Apology then what the Author makes for it in his Dedication to his Patron:

Take it as early Fruits, which rare appear,

Though not half ripe, but worst of all the year,

And if it please your Taste, my Muse will say,

The Birch which crown'd her then, its grown a Bay.

It might be expected that I should give some Account either of the Plots of these Plays, or whence he has borrow'd: but let those that think so, be satisfied from the Famous Denham's Character, That he is no [...] an Author of that Stamp. I hope it will not be thought Foreign to my purpose, to transcribe part of that Copy which he writ on this Admirable Poets Death and Burial amongst the Ancient Poets. The whole Copy deserves to be engraved in Brass; but I shall here transcribe only what is to our purpose;m

[Page]

Old Mother Wit, and Nature gave

Shakespear, and Fletcher, all they have;

In Spencer, and in Johnson, Art,

Of slower Nature got the start;

But both in him so equal are,

None knows which bears the happy'st share;

To him no Author was unknown,

Yet what he wrote was all his own;

He melted not the ancient Gold,

Nor with Ben Johnson did make bold

To plunder all the Roman Stores

Of Poets, and of Orators:

Horace his Wit, and Virgil's State,

He did not steal, but emulate,

And when he would like them appear,

Their Garb, but not their Cloaths, did weas.

As to his other Works in English, they consist both of Verse and Prose: amongst which are his Love Verses, call'd The Mistress; which were first printed in octavo Lond. 1647. from a Correct Copy written by the Author himself, and since they are printed in Folio, with several of his other Pieces. These Poems are highly applauded by the generality of judicious Men, and notwithstanding the nice scruples of some, it is an undeniable Truth which the knowing Writer of his Life lays down,n ‘That never yet so much was written on a Subject so Delicate, that can less offend the severest rules of Morality.’

I dare not persume to give a particular Character of his Works: therefore I shall refer [Page] them to the large Account of his Life, written by the exact and ingenious Author above-mentioned, or to the Readers own judgment. They consist of Miscellanies, Anacreontiques, and Pindariques; or some Copies of Verses translated Paraphrastically out of Anacreon and Pindar: on the later he has writ Notes, as replete with Learning, as his Odes with Wit and Fancy, and which most admirably explain the most difficult and abstruse Passages.

Besides these he has publisht an Epique Poem call'd Davideis, a Sacred Poem of the Troubles of David, in Four Books: tho' design'd by the Author to be continu'd and extended to Twelve; not for the Tribes sake, but in imitation of Virgil. As it is a great grief to the Lovers of Poetry, that he liv'd not to finish the Work; so 'tis the Opinion of an eminent Critick,o ‘That as it may be lamented, that he carried not on the Work so far as he design'd, so it might he wisht that he had liv'd to Revise what he did leave us: I think the Troubles of David is neither Title nor Matter proper for an Heroick Poem; seeing it is rather the Actions than his Sufferings, that make an Heroe: nor can it be defended by Homer's Odysseis, since Ulysses's Sufferings conclude with one great and perfect Action.’ Yet notwithstanding, this judicious Author allows, ‘That in the Davideis (Fragment and imperfect as it is) there shines something of a more fine, more free, more new, and more noble air, than [Page] appears in the Hierusalem of Tasso, which for all his care, is scarce perfectly purg'd from Pedantry.’ And after all says, ‘That in the Lyrick way however Cowley far exceeds him, and all the rest of the Italians.’ Tho' Jacobus Philippus Tomasinus, Laur. Crasso, and other great Men give Tasso an extraordinary Character. But to return to our Author, whatever faults Mr. Cowley may have committed in the Oeconomy of his Poem, (as Mr. Rymer reckons up others) if it be consider'd, ‘That he writ the greatest part of it, (as the Author of his Life observes) whilst he was a young Student in Trinity College in Cambridge, and withal, reflect on the vastness: of the Argument, and his manner of Handling it, he may seem like one of the Miracles he there adorns, like a Boy attempting Goliah.’ The rest of his Verses are written on several Occasions, and for what remains unspoken of in his Second Volume, they are Verses which he made when he was a King's Scholar, and to which he gave the Title of Sylva.

As to his Pieces in English Prose, they are Discourses by way of Essays, upon grave and serious Subjects; where he gives the truest and best Character of himself, and his thoughts during his Retirement. These, with several others which he design'd to add; he intended had not Death prevented him, to have dedicated to his old Patron the Earl of St. Albans, ‘As a Testimony of his entire Respects to him: and a kind of Apology for having left humane Affairs in the strength of his Age, while [Page] he might still have been serviceable to his Country.’ But not withstanding his Death, his intentions are made good by his worthy Friend the careful Overseer to his Writings, who has paid in this Legacy according to the will and intention of the deceased Testator.

His Latine Works contain the two former Books of his Davideis; a Latine Comedy call'd Naufragium Joculare, which was acted before the University of Cambridge by the Members of Trinity Colledge, the second day of February 1638. and his Poemata Latina, printed in octavo 1668. consisting of Six Books of Plants, and One of Miscellanies; of whose several Character, you will find an account in his Life; where you may likewise find a description of his Temper, Conversation, &c. which would swell this Volume beyond its design'd Bulk, to relate. All that I shall acquaint you further with is, that this best of Poets, that ever our Nation produc'd, and a Man of so excellent a Temper, in the Opinion of King Charles the Second, that he was pleas'd to say of him upon the news of his death, that Mr. Cowley had not left a better Man behind him in England. This Excellent Man I say, Died after a Fortnights Sickness, of a Stoppage in his Breast and Throat, accompanied with a violent Defluction. He was Buried at Westminster Abby, near Two of our most eminent English Bards, Chaucer, and Spencer; his Corps being attended with a numerous Train of Persons of the most eminent Rank, both for Birth and Virtue, The late Duke of Buckingham his Noble Friend [Page] and Patron, has erected a Magnificent Monument over his Ashes in testimony of his Affection; whose Sculpture you may see at the beginning of his Second Volume. Tho' I take it for granted that every Lover of Poetry hath the Works of this Worthy Ornament of our Nation: (since in my weak judgment, what was said of d'Urffé's Astraea, by the great Cardinal Richlieu, may more truly be said of our Authors Works, That he was not fit to be admitted into the Academy, who had not been before well read in Astraea:) yet since his Epitaph may prove an Embellishment to this Work, I shall transcribe it.

ABRAHAMUS COWLEIUS,

Anglorum Pindarus, Flaccús, Maro,

Deliciae, Decus, Desiderium AEvi sui,

Hic juxta situs est.

Aurea dum volitant latè tua scripta per orbem

Et Famâ aeternùm vivis Divine Poeta,

Hic placidâ jaceas requie, Custodiat urnam

Cana fides vigilentque perenni lampade Musae;

Sit sacer iste Locus, Nec quis temerarius ausit

Sacrilegâ turbare manu Venerabile Bustum.

Intacti manèant, maneant per secula Dulcis

COULEI cineres, serventque immobile saxum.

Sic Vovet

Votum (que) suum apud Posteros sacratum esse voluit,

Qui viro Incomparabi possuit sepulcrale marmor:

GEORGIUS DUX BUCKINGHAMIAE

⁶⁴

[Page]I forgot to acquaint the Reader, that there have been two Pieces falsly ascrib'd to this Author, One a Poem call'd The Iron Age, which was publisht during our Authors residence in France, on which he himself has sharply reflected at the Entrance of his Preface to his Works. The other Poem is father'd upon him by Mr. Phillips and Mr. Winstanley, which they call Antonius and Mellida, which in truth is not a Poem, but a Play in Two Parts, written by John Marston. Tho' I can give no Account how Mr. Phillips fell into this mistake, yet I know very well, that the little Poem he speaks ofq is call'd Constantia and Philetus. As for Mr. Winstanley, he like blind Bayard boldly follows the former at a venture; but he may by this learn the truth of that old Proverb; Mali Corvi malum ovum, Like Carpenter, like Chips. There is an Ode written by Mr. Cowley for her Majesty, Queen to King Charles the First, printed in the begining of Mr. Tate's Collection of Poems on several Occasions, printed in octavo Lond. 1685. There was a New Edition of his Works with a Table, and the Verses that were made on his Death, by the Wits of the Age, printed in Fol. Lond. 1688. I shall close all with the Commendation given him by Mr. Evelyn, in his Imitation of Ovid's Elegy ad Invidos. r

So long shall Cowley be admir'd above

The Croud, as David's Troubles pity move,

Till Woman cease to charm, and Youth to love.

Robert Cox.

[Page]

An Excellent Comedian that liv'd in the Reign of King Charles the First, One, who when the Ring-leaders of the Rebellion, and Reformers of the Nation supprest the Stage, betook himself to making Drolls of Farces; such as were Actaeon and Diana; Oenone, with the Humours of Bumkin; Hobbinal; Singing Simkin; and Simpleton the Smith; which under the Colour of Rope-dancing, were allow'd to be acted at the Red-Bull Play house by stealth, and the connivance of those straight lac'd Governors. These Parts he usually acted himself, and so naturally, that once after he had play'd Young Simpleton at a Country Fair, a noted Smith in those parts, who saw him act, came to him, and offer'd to take him as his Journey-man, and to allow him Twelve-pence a Week more than the rest.

Nor was it in London only, but in the University likewise, that our Actor was applauded: insomuch that a Poetical Butler took such a Fancy to his Acting, that he was pleased to oblige him with a Prologue, that he might appear in form, as he had seen the Members of the Colledge he belonged to, at the Acting a Play in Christmass; part of which, for the Readers Diversion, and as a Sample of the Talent of this Chip of Pernassus, I have set down as follows:

Courteous Spectators, we are your Relators,

Neither Tylers, nor Slators, nor your Vexators:

But such as will strive to please, will you sit at

your Ease,

[Page]And speak such words as may be spoken,

And not by any be mistoken; &c.

These Drolls were printed in quarto Lond. 1656. Second Edition, but first printed by Tho. Newcomb for the use of the Author. They are since printed in a Collection of Drolls, call'd Spart upon Sport, for Kirkman, in octavo Lond. 1673.

John CROWN.

A Person now living, who has attempted all sorts of Dramatick Poetry, with different success. If I may be allow'd to speak my Sentiments, I think his Genius seems fittest for Comedy; tho' possibly his Tragedies are no ways contemptible; of all which, in my weak judgement, his Destruction of Jerusalem seems the best. He has written Fifteen Plays, of which Alphabetically.

Andromache, a Tragedy acted at the Duke's Theatre, and printed in quarto Lond. 1675. This Play Mr. Crown claims no farther share in, than the turning it into Prose, it being translated from the French of Monsieur Racine, by a young Gentleman, who had a great esteem for all French Plays, and particularly for this; but whose Genius in Verse, it seems was not very fortunate. In a word, Mr. Crown has written as Epistle to clear himself of the Scandal (as he terms it) of so poor a Translation. This Play tho well esteem'd in the Original, had not its expected success on our English Stage.

The French Author has followed Virgil, in [Page] his Story. See Lib. 3. He transcribes the Passage begining at Verse 292.

Littoraque Epiri legimus, portuque subimus

Chaonio, & celsum Buthroti ascendimus urbem. And then skipping seven Verses which relate to her Marriage with Hellenus, he ends with the death of Pyrrhus by Orestes at the Altar of Apollo, or as some would have it, One which he erected in memory of his Father Achilles. The Author has followed Euripides his A [...] in the Character of Hermione, and her jealous Transports: but in that of Andromache, he rather chuses to shew her on the Stage, as the Widow of Hector, than Pyrrhus, and sollicitous to preserve the Life of Astyanax, than Molossus: this being conformable to the general Idea which People have of Andromache.

Ambitious Statesman, or The Loyal Favorite, a Tragedy acted at the Theatre Royal, by his Majesties Servants, printed in quarto Lond. 1679. and dedicated to her Grace the Dutchess of Albermarle. This Play is in the Poets Opinion, the most vigorous of all his Labours, but born in a time so unhealthy to Poetry, that it met not with the Applause which some people thought it deserv'd. I know not what Author Mr. Crown has follow'd, or whence he hath taken his Plot: but I suppose by his Ambitious Statesman, he means Bernard d' Armagnac the seventh, Comte d' Armagnac, and Constable of France in the Reign of King Charles the Sixth. My Reason for this Conjecture is, that he speaks of Henry the Fifth's Landing in France, which was in the time of that King. [Page] Those Authors who have treated of his Reign, are J. de Laboureur, Hist. de Ch. VI. Enguerand de Monstrelet Chron. J. Froissard. Chron. de Fr. & de Angleterre. Memoires de Mart. du Bellay, Jean Juvenal des Ursins Hist. de Ch. VI. De Serres, Mezeray, &c. to which I refer the Reader for better satisfaction.

Calisto, or The Chast Nymph; a Masque at Court, frequently presented there by Persons of great Quality, with the Prologue, and the Songs between the Acts: printed in quarto Lond. 1675. and dedicated to her Highness, the Lady Mary, Eldest Daughter of his Royal Highness the Duke. This Masque was writ at the Command of her present Majesty: and was rehearsed near Thirty times, all the Representations being follow'd by throngs of Persons of the greatest Quality, and very often grac'd with their Majesties and Royal Highnesses Presence. The Play was alter'd by the Poet from what it was at first; that which remains of the first design, may be known by its being written in the Pindarick way: that which has been alter'd being in Heroick Verse. The Plot is founded on a Story in Ovid's Metamorphosis, see Lib. 2. Fab. 5, 6.

Charles the Eighth of France, or The Invasion of Naples by the French, a History writ in Heroick Verse, acted at his Highness the Duke of York's Theatre; printed in quarto Lond. 1680. and dedicated to the Right Honourable John Earl of Rochester. This Play notwithstanding the Patronage of his Lordship, could not escape his Railery; for in his Imitation [Page] of Boyleau's third Satyr he brings in Mr. Crown as follows;f

Kickum for Crown declar'd; said, in Romance,

He had out-done the very Wits of France.

Witness Pandion, and his Charles the Eight;

Where a young Monarch, careless of his Fate,

Tho foreign Troops and Rebels shock his State,

Complains another sight afflicts him more.

(viz.)t The Queens Galleys rowing from

the Shore,

Fitting their Oars and Tackling to be gone

Whilst sporting Waves smil'd on the rising

Sun.

Waves smiling on the Sun! I'm sure that's new,

And 'twas well thought on give the Devil his due.

For the Plot of this Play, as far as it concerns History, consult those who have written the Affairs of Charles VIII. as Philip de Commines's Memoires, Robertus Gaguinus Rer. Gal. Annal. Guillaume de Jaligny Hist. de Ch. VIII. F. de Belleforest l'Hist. de neuf Roys Charles de France, André de la Vigne, Guicciardine, Mezeray, &c.

City Politiques, a Comedy acted by his Majesties Servants; printed in quarto Lond. 1683. This Play (which I have seen acted with Applause) is a severe Satyr upon the Whiggish Faction: but tho' the Author was accus'd for abusing an Eminent Serjeant at Law, and his Wife, under the Characters of Bartoline, and Lucinda, and a certain Doctor under the Name of Panchy, yet he has sufficiently clear'd himself [Page] self in his Epistle to the Reader, to which I refer you.

Country Wit, a Comedy acted at the Duke's Theatre, printed in quarto Lond. 1675. and dedicated to the Right Honourable Charles Earl of Middlesex. This Comedy is of that Kind, which the French call Basse Comedie, or Low Comedy, one degree remov'd from Farce. This Play, notwithstanding the Faction against it, pass'd the Test, and was approv'd by his Majesty King Charles the Second, whom the judicious part of Mankind will readily acknowledge to be a sovereign Judge of Wit. Part of the design is borrow'd from a Comedy of Molliere's call'd Le Sicilien, ou l'Amour Peintre; and I must take the freedome to tell our English Author, that part of the Language, as well as the Plot is stollen from that Play. Witness Rambles turning Picture-drawer to gain an Opportunity to discourse Betty Frisque: which the Reader may be pleased to compare with the Intrigue between Adraste, and Isidore Act. 1. Sc. 10. &c. besides other places. I shall leave it to those, who understand French, to judge whether our Author has put in practice the Rule which he has laid down in his Epistle to the Destruction of Jerusalem; That all Forreign Coin must be melted down, and receive a new Stamp, if not addition of Mettal, before it will pass currant in England, and be judged Sterling.

Darius King of Persia; a Tragedy acted by their Majesties Servants, printed in quarto Lond. 1688. and dedicated to Sr. George Hewytt [Page] Baronet, One of the Lieutenants of his Majesties Horse-Guard. If I mistake not the Author has copyed, or at least imitated Euripides his Hippolitus, and Phaedra, in the Characters of Memnon and Barzana. For the Plot as far as it concerns Darius, I have already mention'd in the Account of the Earl of Sterline, pag.4. as Qu. Curtius, Justin, &c.

Destruction of Jerusalem by Titus Vespasian, in Two Parts; acted at the Theatre Royal; printed in quarto Lond. 1677. and dedicated to her Grace the Dutchess of Portsmouth. These Tragedies are written in Heroick Verse, and were acted with good Applause. As to the Authors Character of Phraartes, I leave it to the Criticks, and refer the Reader to his Epistle for satisfaction. The Historical part of these Plays, may be read at large in Josephus de Bello Judaico. Other Authors have likewise toucht upon it: as Baronius Annal. Tom. 1. A.C. 72. Eusebius l. 3. c. 6. Xiphilinus Epitome Hist. Dion. in Vit. Vespasiani, Suetonius Life of T. Vespas. Tacitus Hist. l. 5. &c.

English Friar, or The Town Sparks; a Comedy acted by their Majesties Servants, printed in quarto Lond. 1690. and dedicated to the Right Honourable William Earl of Devonshire. What Success this Play met with, the objections against it, and the Authors defence, the Preface will inform you.

Henry the Sixth the First Part, with the Death of the Duke of Gloucester; a Tragedy acted at the Duke's Theatre, printed in quarto Lond. 1681. and dedicated to Sr. Charles Sidley. [Page] This Play is (if I mistake not) very much borrow'd from the Second Part of Shakespear's Henry the Sixth; tho' Mr. Crown with a little too much assurance affirms, that he has no Title to the Fortieth part of it. This Play was oppos'd by the Popish Faction, who by their Power at Court got it supprest: however it was well receiv'd by the Rest of the Audience.

Henry the Sixth the Second Part, or the Misery of Civil-War; a Tragedy acted at the Duke's Theatre, printed in quarto Lond. 1681. Part of this Play likewise is borrow'd from Shakespear. For the Plot read the Chronicles of those Times, writ by Graston, Hollingshead, Trussel, Martin, Stow, Speed, Biondi, Du Chesne, &c.

Juliana, or The Princess of Poland; a Tragi-Comedy acted at his Royal Highness the Duke of York's Theatre: printed in quarto Lond. 1671. and dedicated to the Right Honourable Roger Earl of Orrery. This was the first Play this Author writ, which if it be not so well penn'd as several of his later Productions, it does but verify his own Observation,u ‘That there are few Authors but have had those slips from their Prune, which their riper Thoughts either were, or at least had reason to be asham'd of.’

Sr. Courtly Nice, or It cannot be, a Comedy acted by his Majesties Servants, printed in quarto Lond. 1685. and dedicated to his Grace the Duke of Ormond. This Play was written at the Command of his late Majesty K. Charles the Second, who gave Mr. Crown a Spanish Play [Page] No pued eser: or It cannot be; out of which he took part of the Name, and Design of this. This Comedy, or at least the Plot, as far as relates to the Spanish Plot, has formerly appear'd on the Stage, under the Title of Tarugo's Wiles. Sr. Courtly's Song of Stop Thief, is a Paraphrase of Mascarille's Au Voleur in Mollier's Les precieuses Ridicules. This Play is accounted an excellent Comedy, and has been frequently acted with good Applause.

Thyestes, a Tragedy acted at the Theatre Royal by their Majesties Servants; printed in quarto Lond. 1681. The Plot of this Play is founded on Seneca's Thyestes, and seems to be an Imitation of that Play. I know not whether our Author ever saw the Italian Play on this Subject, written by Ludovicus Dulcis, which is commended by Delrio; or the French Tragedies of Roland Brisset, and Benoist Bauduyn: but I doubt not but this Play may vie with either of them: at least the French Plays, which in the Opinion of some, are very mean.

I know nothing else of our Authors writing, except that Romance above-mention'd, which I never saw.

D.

John DANCER, alias DAUNCY.

AN Author of whose place of Nativity, or other passages of Life I am able to give no Account. All I know of him is, that he liv'd in [Page] the Reign of King Charles the Second; and that his Translations shew him well vers'd in the French, and Italian Tongue. He has oblig'd us with Three Dramatick Plays, translated from the Originals of three Eminent Poets, viz. Tasso, Corneille, and Quinault.

Agrippa King of Alba, or The False Tiberinus, a Tragi-Comedy in Heroick Verse; several times acted with great Applause, before his Grace the Duke of Ormond, then Lord Lieutenant of Ireland, at the Theatre Royal in Dublin; printed in quarto Lond. 1675. and dedicated to the Right Honourable the Lady Mary Cavendish, Daughter to the Duke of Ormond. This Play is traslated from the French of Monsieur Quinault, an Author well known amongst those that are conversant in French Poetry, several of whose Pieces have appear'd on the English Stage; as La Genereuse Ingratitude; L'Amant Indiscret; Le Fantosme amoureux; &c. I know not whether this Translation be equal to the Original, having never seen the later; neither can I give any account of the Plot, which I take to be fictitious.

Aminta, a Pastoral printed in octavo Lond. 1660. and dedicated to his much Honoured and truly Noble Friend Mr. R. B. Who is meant by those Letters I will not be so bold as to conjecture, because our Author has conceal'd his Patrons Name in obedience to his Commands. This Play, is a Translation of that famous Piece writ by that celebrated Wit, Signior Torquato Tasso, born at Sorrento, bred up at Padua, and the Favourite of Charles IX. of France. [Page] He was (as I may say) the Father of Pastorals; being the first that transferr'd them from the Eclogue, to Dramatick Poetry: and his Aminta is esteem'd by Forreigners, a Master-piece of Pastoral Comedy: and has been translated into the French, Spanish, English, German and Dutch Tongues. This was the Pattern which the admired Guarini propos'd for his Imitation, when he writ Il Pastor fido; and our Author has since endeavour'd to imitate his excellent Translator, the Lord Embassador Fanshaw. If it be objected by some that this Translation of Tasso, is far short of that of Guarini; we may however with justice affirm, that at least this Translation exceeds that printed in 1628, if we allow some consideration for his being clog'd with Rhime, which forces him more upon Paraphrase, and withal that it was his first attempt to Poetry. With this Play, are printed several Poems of different Subjects, amongst which are Love Verses, which seem as is they were writ in imitation of Mr. Cowley's Mistriss.

Nicomede, a Tragi-Comedy, acted at the Théatre Royal in Dublin; printed in quarto Lond. 1671. and dedicated to the Right Honourable Thomas Earl of Ossory. This Play is translated from the French Original of Monsieur Th. Corneille, and is One of those Pieces which he himself most valu'd. There are a great many Beauties in it which he enumerates in the Examen. He says the Story is taken from the Fourth Book of Justin, tho' I suppose this is an Errata of the Press, the Story being in the [Page] last Chapter of the Thirty-fourth Book.

He writ besides there, several other Pieces; as a Romance call'd the English Lovers, printed in octavo Lond.— which however commended by Mr. Winstanley, the Contrivance is due to Heywood's Play call'd The Fair Maid of the West in Two Parts: from whence our Author borrow'd the Story. Two other Pieces are mention'd by Mr. Winstanley, viz. A Compleat History of the late Times, and a Chronicle of the Kingdome of Portugal: neither of which I have ever seen.

Samuel DANIEL Esq

A Gentleman living in the Reigns of Queen Elizabeth, and King James the First: and One, whose Memory will ever be fresh in the minds of those who favour History, or Poetry. He was born near Taunton in Somerset-shire, and at Nineteen years of Age, in the year 1581. he was enter'd Commoner of St. Mary Magdalen Hall in Oxford: and after having three years exercised himself in History, and Poetry, he left the University. His own Merit, added to the Recommendation of his Brother in Law, the Resolute John Florio (so well known for his Italian Dictionary) prefer'd him to the Knowledge of Queen Ann; who was pleased to confer on him the Honour of being One of the Grooms of her most Honourable Privy-Chamber: which enabled him to rent a Garden-house near London, where in private he compos'd most of his Dramatick Pieces. At last [Page] being weary of the world, he retir'd into Wiltshire; where he rented a Farm near the Devises, according to Dr. Fuller, a tho' Mr. Wood b says that his retreat was to Beckington, near Phillips-Norton in Somerset-shire, where he Died in October 1619. being about Four-score years of Age, and was Buried in the same Parish-Church, where a Monument was erected at the sole Bounty of the Lady Ann Clifford, Heiress of George Earl of Cumberland, and afterwards Countess of Pembroke, Dorset, and Montgomery, whose Tutor he was.

Having given this Account of his Life, I am now to speak somewhat of his Writings; and it being at present my Subject, I shall speak first of his Dramatick Pieces, which consist of Two Pastorals; Two Tragedies; and a Masque, viz.

Cleopatra, a Tragedy printed in quarto Lond. 1623. and dedicated to the Right Honourable the Lady Mary Countess of Pembroke, by a Copy of Verses written in Stanzas of Eight Lines, which the Italians (from whence we took the Measure) call Ottava Rima. This Play was first printed in octavo Lond.. 1611. but this later Copy infinitly differs from the former, and far exceeds it; the Language being not only corrected, but it having another advantage in the Opinion of a Modern Poet,c since that which is only dully recited in the first Edition, is in the last represented. for the Foundation of the Story, consult Plutarch [Page] in the Lives of Pompey, and Anthony, Florus, lib. 4. c. 11. Appian de Bellis Civilibus, Lib. 5. and a new Book translated out of French by Mr. Otway, in octavo Lond. 1686. call'd The History of the Three Triumvirates, where the Story is related at large.

Hymen's Triumph, a Pastoral Tragi-Comedy, Presented at the Queens Court in the Strand, at her Majesties Magnificent Entertainment of the Kings most Excellent Majesty, being at the Nuptials of the Lord Roxborough, printed in quarto Lond. 1623. and dedicated by a Copy of Verses to the most Excellent Majesty of the Highest born Princess Ann of Denmark, Queen of England, &c. This Play is not printed in the Octavo Edition. 'Tis introduc'd by a pretty contriv'd Prologue; Hymen being oppos'd by Avarice, Envy, and Jealousy, the Disturbers of quiet Marriage.

Philotas, his Tragedy, printed in quarto Lond. 1623. and dedicated to the Prince afterwards King Charles the First. Both this Play, and Cleopatra were much esteem'd in their time; they are both written with the Chorus between each Act; according to the manner of the Ancients. This Play indeed found some Enemies, not on the score of the Wit, or Conduct of the Design; but because it was reported, that under the Character of Philotas, that Great but Unfortunate Favourite of Queen Elizabeth Robert d'Eureux Earl of Essex was portrayed: but the Author in his Apology at the End of the Play has sufficiently clear'd himself from that imputation. This was the first Play that [Page] our Author writ; as for the Plot it is founded on History. See Q. Curtius, lib. 6. c. 7. Justin, lib. 12. c. 5. Plut. in Vit. Alex. Arrian, &c.

Queens Arcadia, a Pastoral Tragi-Comedy, presented to her Majesty and her Ladies, by the University of Oxford in Christ-Church, in Aug. 1605. printed in quarto Lond. 1623. and dedicated by a Copy of Verses, to the Queens most Excellent Majesty. Whether the Scene d between Carinus and Amintas the Lovers of Cloris be borrow'd from any ancient Poet, I know not, but sure I am that in Monsieur Quinault's La Comedie sans Comedie there is a Scene betwixt Filene and Daphnis in a manner the samee. As the Two next Scenes between these Shepherds, and their Mrs. Clomire, exactly resemble the Scenef betwixt the Swains, Damon and Alexis, and the inconstant Nymph Laurinda; in Randolph's Amyntas.

Vision of the Twelve Goddesses, presented in a Masque the Eighth of January, at Hampton-Court, by the Queens most Excellent Majesty, and her Ladies, printed in 4o. Lond. 1623. and dedicated to the Right Honourable the Lady Lucy, Countess of Bedford. This was printed without the Authors leave, by the unmannerly presumption of an indiscreet Printer, without warrant; and so imperfect, that the Author to prevent the prejudice, which both the Masque, and the Invention suffer'd, publisht it from his own Copy. His Design under the shapes, and in the Persons of Twelve Goddesses, was to present the Figure of those Blessings, which [Page] this Nation enjoy'd in peace, under the happy Reign of King James the First: by Juno, was represented Power; by Pallas Wisdome and Defence; &c.

All these Pieces are printed together in 4o Lond. 1623. under the Title of The Whole Works of Samuel Daniel Esq in Poetry, by which I suppose his other Poetical Works, which were printed with his Plays in octavo Lond. 1611. are inserted in this later Edition, tho' that Volume I have by me, want them. The Names of them are, An Epistle from Octavia to M. Anthony in AEgypt; dedicated to the Lady Margaret Countess of Cumberland, and writ in Ottava Rima: Complaint of Rosomond; in Stanza's of Seven Lines. Musophilus, and containing a general Defence of all Learning, written Dialogue-wise, between Musophilus and Philocosmus; and dedicated to Sr. Fulk Grivel. A Funeral Poem upon the Death of the late Earl of Devonshire: Delia, containing Fifty Seven Love Sonnets. He writ besides, an Heroick Poem of the Civil Wars between the two Houses of York and Lancaster, in which he endeavour'd to imitate Lucan's Pharsalia, and Succeeded so well in the Opinion of Mr. Speed, that he is by him call'd the English Lucan.

These are all the Poems that our Author has publisht that ever I heard of: but however his Genius was qualified for Poetry, I take his History of England to be the Crown of all his Works: It was first printed about the year 1613. and was dedicated to Queen Ann. It reaches from the state of Brittain under the [Page] Romans, to the end of the Reign of King Edward the Third, An. Dom. 1376. Of this History a late Writerg has given this Character, ‘It is written with great Brevity and Politeness, and his Political and Moral Reflections are very fine, useful, and instructive.’ John Trussel continu'd this History with the like Brevity and Truth, but not with equal Elegance, till the end of the Reign of Richard III. A.D. 1484.

I have never seen any Copies made on the old Poets, but Mr. Daniel is therein mention'd with Honor. One Authorh stiles him in a Copy on the Time Poets,

The Pithy Daniel, whose Salt Lines afford,

A weighty Sentence in each little Word.

Another Author in a Copy call'd A Censure of the Poets i says thus;

Amongst these Samuel Daniel, whom I

May speak of, but to censure do deny.

Only have heard some Wise men him rehearse,

To be too much Historian in Verse;

His Rimes were smooth, his Meeters well did close,

But yet his Matters better fitted Prose.

Having given you the Sence of the Poets of those times, concerning this excellent Author, give me leave to transcribe an Epigram written in his Commendation by his Friend Mr. Charles Fitz-Geoffry k, with which I shall conclude.

Spenserum si quis nostrum velit esse Maronem,

Tu Daniele mihi Naso Brittannus eris.

[Page]Sin illum potius Phaebum velit esse Britannum,

Tum Daniele mihi tu Maro noster eris,

Nil Phaebo ulterius; si quid foret, illud haberet

Spenserus, Phaebus tu Daniele fores.

Quippe loqui Phaebus cuperet si more Britanno,

Haud scio quo poterat, ni velit ore suo.

Sir William DAVENANT.

A Person sufficiently known to all Lovers of Poetry, and One whose Works will preserve his Memory to Posterity. He was Born in the City of Oxford, in the Parish of St. Martins, vulgarly call'd Carfax, near the End of February in the year 1605. and was Christned on the Third of March following. He was the Mercurial Son of a Saturnine Father, Mr. John D' Avenant, a Vintner by Profession: who liv'd in the same House, which is now known by the Sign of the Crown. He was formerly of Lincoln College, and instructed in Logick and Physicks, by his Tutor Mr. Daniel Hough, Fellow of that Society; tho' his Genius rather inclin'd him to walk in the more flowry Fields of Poetry, in which he made a Prodigious discovery: advancing even without any Guide, but his own Wit, and Ingenuity, as far as the Herculean Pillars (if any such bounds are to be set) of Poetry. He was Poet Laureat to Two Kings, whose Memory will always be Sacred to all good, loyal, and witty Men; I mean King Charles the First, the Martyr for, and King Charles the Second, the Restorer of the Protestant Religion, according to the Church [Page] of England. During this Honour, of which his Wit and Parts render'd him Worthy, he writ (as I suppose) his Dramatick Pieces, of which I shall give some Account.

To speak of them in general, I need only say, that most of them have appear'd on the Stage with good applause, and been receiv'd with like success in Print: the greatest part publisht in the Authors Life time in Quarto, and all since his Death collected into one Volume, with his other Works, printed in Folio Lond. 1673. and dedicated by his Widow to his Royal Highness, the late King James.

Albovine King of the Lombards his Tragedy, printed first in quarto, and dedicated to the Right Honourable the Duke of Somerset. This Play is commended by Eight Copies of Verses. For the Design, it is founded on History. You may read the Story in several Historians: See Paulus Diaconus de Gestis Langobardorum, lib.2. c. 28. Gregorius Epise. Turonensis Hist. Francorum, lib. 2. c.28. Heylin's Cosinoraphy, Part 1. Book 1. p. 57. This Story is likewise related at large in a Novel by Bandello, which is translated by Belleforest; See Histoires Tragiques Tome 4. Nov. 19.

Cruel Brother, a Tragedy printed first in quarto, and dedicated to the Right Honourable the Lord Weston, Lord High Treasurer of England.

Distresses, a Tragi-Comedy printed in folio, Lond. 1673.

‘First-days Entertainment at Ruthland-house, by Declamation, and Musick, after the manner [Page] of the Ancients.’ The subject of the former of these Declamations is concerning Publick Entertainment by Moral Representations; the Disputants being Diogenes the Cynick, and Aristophanes the Poet. The later Dispute is between a Parisian, and a Londoner, who declaim concerning the Preheminence of Paris and London. The Vocal and Instrumental Musick was compos'd by Dr. Charles Coleman, Capt.Henry Cook, Mr. Henry Laws, and Mr. George Hudson.

Fair Favourite, a Tragi-Comedy printed in Folio, 1673.

Just Italian, a Tragi-Comedy printed first in quarto, and dedicated to the Right Honourable the Earl of Dorset, and commended by the Verses of his Friends, Mr. William Hopkins, and Mr. Thomas Carew.

Law against Lovers, a Tragi-Comedy made up of two Plays written by Mr. Shakespear, viz Measure for Measure, and Much Ado about Nothing. Tho' not only the Characters, but the Language of the whole Play almost, be borrow'd from Shakespear: yet where the Language is rough or obsolete, our Author has taken care to polish it: as to give, instead of many, one Instance. Shakespear's Duke of Vienna says thusl;

—I love the People;

But do not like to Stage me to their Eyes:

Though it do well, I do not relish well

Their loud Applause, and Aves vehement:

Nor do I think the Man of safe discretion,

That does affect it.

[Page]In Sr. William's Play the Duke speaks as followsm;

—I love the People;

But would not on the Stage salute the Croud.

I never relisht their Applause; nor think

The Prince has true discretion who affects it.

For the Plot, I refer you to the abovemention'd Plays, in the Account of Shakespear.

Love and Honour, a Tragi-Comedy which I have several times seen acted with good applause; first at the Play-house in Lincolns-Inn-Fields, and since at the Theatre in Dorset-Garden. This was first printed in quarto.

Man's the Master, a Comedy which I think I have seen acted at the Duke's House; however I am sure the Design, and part of the Language is borrow'd from Scarron's Jodelet, ou Le Maistre valet; and (as I remember) part from L'Heritier ridicule, a Comedy of the same Authors.

Platonick Lovers, a Tragi-Comedy, which was first printed in octavo with The Wits.

Play-house to be Let. I know not under what Species to place this Play, it consisting of several Pieces of different Kinds handsomely tackt together, several of which the Author writ in the Times of Oliver, and were acted separately by stealth; as the History of Sr. Francis Drake exprest by Instrumental, and Vocal Musick, and by Art of Perpective in Scenes, &c. The Cruelty of the Spaniards in Peru. These two Pieces were first printed in quarto. They make the third and fourth Acts of this Play. The second [Page] Act consists of a French Farce, translated from Molliere's Sganarelle, ou Le Cocu Imaginaire, and purposely by our Author put into a sort of Jargon common to French-men newly come over. The fifth Act consists of Tragedie travestie, or the Actions of Caesar Antony and Cleopatra in Verse Burlesque. This Farce I have seen acted at the Theatre in Dorset-garden some years ago, at the end of that excellent Tragedy of Pompey, translated by the incomparable Pen of the much admired Orinda.

Siege of Rhodes, in two Parts. These Plays were likewise in the times of the Civil Wars, acted with Stilo Recitativo, and printed in quarto, but afterwards enlarged by the Author, and acted with applause at the Duke of York's Theatre in Lincolns-Inn-Fields. It is dedicated to the Right Honourable the Earl of Clarendon Lord High Chancellor of England. For the Plot, as far as it is founded on History, there are several Historians have writ of it in the Life of Solyman the second, who took this City in the year 1522. See Thomas Artus Continuation de l'Histoire des Turcs. Giov. Bosio. L'Istoria della Sacra Religione & Illma Militia di San Giovanni Gierosolimitano, lib. 29. Boissardi Icones & Vitae Sultanorum Turcicorum, &c. in Vit. Solym. 2. Knolles History of the Turks, &c.

Siege, a Tragi-Comedy.

News from Plimouth; a Comedy formerly acted at the Globe with good success, and was printed (as I believe) in quarto.

Temple of Love, presented by the Queens Majesty, [Wife to King Charles the First] and [Page] her Ladies at Whitehall: viz. The Lady Marquess Hamilton; the Lady Mary Herbert; Countess of Oxford; Berkshire; Carnarvan; &c. The Lords, and others that represented the noble Persian Youths were, The Duke of Lenox; the Earls of Newport; Desmond; &c. ‘This Masque (says the Author) for the newness of the Invention, variety of Scenes, Apparitions, and richness of Habits, was generally approv'd to be one of the most Magnificent that hath been done in England.’

Triumphs of the Prince d'Amour, a Masque presented by his Highness at his Pallace in the Middle-Temple. This Masque, at the Request of that Honourable Society, was devis'd and written by our Author in Three days; and was presented by the Members thereof, as an Entertainment to the Prince Elector. A Lift of the Masquers Names, as they were rank'd by their Antiquity, in that noble Society, is to be found at the end of the Masque, to which I refer the curious Reader. The Musick of the Songs and Symphonies were excellently compos'd by Mr. Henry, and Mr. William Lawes his Majesties Servants.

Wits, a Comedy heretofore acted at the Black-friars, and since at the Duke's Theatre; printed both in octavo, and quarto, before this New Edition, and dedicated to the chiefly belov'd of all, that Ingenious and Noble, Endimion Porter, of his Majesties Bed-Chamber. This Play is commended by a Copy fo Verses written by Mr. Thomas Carew, and has often appear'd on the Stage with Applause

[Page]Having done with his Plays, I am now to speak of his other Works, which consist of Poems, of several sorts, and on several Occasions, amongst which Gondibert an Epick Poem has made the greatest noise. This Poem was design'd by the Author to be an Imitation of an English Dramma; it being to be divided into Five Books, as the other is into Five Acts; The Canto's to be the Parallel of the Scenes; with this difference, that this is deliver'd Narratively, the other Dialogue-wise. The Reader may find a long account of the Author's design, and his Reasons in the Preface, which is directed to his Friend, the so well known Mr. Hobbs; who not only approves his Design, but in the Close of his Letter fixes an extraordinary Complement upon him: viz. ‘The Virtues you distribute in your Poem, amongst so many Noble Persons, represent (in the Reading) the image but of One Man's Virtue to my fancy, which is your own.’ Nor was Mr. Hobbs the only Person that commended this Poem: for the first and second Books were usher'd into the world, by the Pens of two of our best Poets: viz. Mr. Waller, and Mr. Cowley; which One would have thought might have prov'd a sufficient Defence and Protection against the snarling Criticks. Notwithstanding which, Four Eminent Wits of that Age, (two of which were Sr. John Denham, and Mr. Donne,) publisht several Copies of Verses to Sr. William's discredit, under this Title, Certain Verses written by several of the Authors Friends, to be reprinted with the second Edition[Page]of Gondibert, in octavo Lond. 1653. These Verses were answer'd (as Mr. Wood saysn) by the Author himself, with as much, or rather more Wit, and little or no concern for their Raillery, rather seeming to sport at, and pity their want of Sence. The Title of his Answer is, The Incomparable Poem Gondibert vindicated from the Wit-Combats of Four Esquires; Clinias, Dametas, Sancho, and Jack Pudding, printed in octavo Lond. 1655. The Books being scarce, I shall for the Readers diversion, chuse one out of each of these, as a Sample of the rest: and amongst the former I shall pitch upon that Copy which reflects on the Commendations given by those great Men above-mention'do.

The Author upon Himself.

I am Old Davenant with my Fustian Quill;

Tho' skill I have not,

I must be writing still

On Gondibert,

That is not worth a Fart.

Waller, & Cowley, 'tis true, have prais'd my Book;

But how untruly

All they that read may look;

Nor can Old Hobbs.

Defend me from dry Bobbs.

Then no more I'll dabble, nor pump Fancy dry,

To compose a Fable,

Shall make Will. Crofts to cry,

O gentle Knight,

Thou writ'st to them that shite.

[Page]Sr. William's Answer p

The Author upon Himself.

False as Foolish! What turn felo de me?

Davenant kill Davenant!

No, the whole World does see

My Gondibert,

To be a piece of Art.

Waller and Cowley, true, have prais'd my Book,

And deservedly,

Nay I did for it look;

He both us robbs,

That blames for this Old Hobbs.

Write on (jeer'd Will) and write in Pantofle,

That's over Pump-ho,

And for Will Crofts his baffle,

Thou may'st long write,

That writ'st to them that shite.

Many other Railleries were broacht against him by his Enemies, as those Lines in Sr. John Sucklin's Session of the Poets; the Ballad entitled How Daphne pays his Debts q, and others which I might insert; but I think 'tis time to leave these trifles, and acquaint my Readers, who are delighted with Criticismes, that they may find more serious Animad versions on this Poem, in the English Preface written by that admirable Critick Mr. Rymer, to his Translation of Monsieur Rapin's Reflections on Aristotle's Treatise of Poesy, printed 8o Lond. 1674.

This great Man Died on the Seventh day of April 1668. Aged 63, and was Buried amongst [Page] the Poets in Westminster-Abby, near to his old Antagonist, and Rival for the Bays, Mr. Thomas May. 'Twas observ'd, that at his Funeral his Coffin wanted the Ornament of his Laureats Crown, which by the Law of Heraldry justly appertain'd to him: but this omission is sufficiently recompenc'd by an Eternal Fame, which will always accompany his Memory; he having been the first Introducer of all that is splendid in our English Opera's, and 'tis by his means and industry, that our Stage at present rivals the Italian Theatre. I shall conclude his Character, with that Account which Mr. Dryden has formerly given of him, which is the more valuable, because the commendation of his Predecessors is seldome the Subject of his Pen. ‘In the timer (says he) that I writ with Sr. William Davenant, I had the opportunity to observe somewhat more nearly of him, than I had formerly done, when I had only a bare acquaintance with him. I found him then of so quick a Fancy, that nothing was propos'd to him on which he could not suddenly produce a Thought extreamly pleasant and surprising: and those first Thoughts of his, contrary to the old Latine Proverb, Were not always the least happy. And as his Fancy was quick, so likewise were the Products of it remote and new. He borrow'd not of any other; and his Imaginations were such, as could not enter into any other Man. His Corrections were sober and judicious: and he corrected his own [Page] Writings much more severely than those of another Man; bestowing twice the labour and time in Polishing, which he us'd in Invention. Si sic omnia dixisset,—’

Dr. Charles DAVENANT.

This Gentleman (as I suppose) is now living: being Son of the above-mention'd Sr. William Davenant, and Dr. of Laws. He has (as I have been inform'd) a share in the present Theatre, in right of his Father; and is jointly impower'd with the Master of the Revels, to inspect the Plays design'd for the Stage, that no Immoralities may be presented. This Gentleman has writ a Play call'd

Circe, a Tragedy acted at his Royal Highness the Duke of York's Theatre, printed in quarto Lond. 1677. The Prologue was writ by Mr. Dryden, and the Epilogue by the late Earl of Rochester. This Play I have seen acted with good applause. The Plot is founded on Poetical History. See Ovid's Metamorph. lib. 14. See besides Boccace, Phil Bergomensis, Nat. Comes, &c. The Scenes and Machines may give it a Title to that Species of Dramatick Poetry, call'd an Opera.

Robert DAVENPORT.

The Author of Two Plays in the Reign of King Charles the Martyr; tho' not publisht till the Reign of King Charles the Second: viz.

City Night-Cap, or Crede quod habes, & habes. [Page] a Tragi-Comedy, acted with great applause, by her Majesties Servants at the Phoenix in Drury Lane; printed in quarto Lond. 1661. The Plot of Lorenzo, Philippo, and Abstemia, is borrow'd from the Novel of the Curious Impertinent in the Romance of Don Quixot, Part 4. Ch.6, 7, 8. and that of Lodovico, Francisco, and Dorothea, from Boccace's Novels, Day 7. Novel 7. on which likewise part of Mr. Ravenscroft's London Cuckolds is built.

King John, and Matilda, a Tragedy acted with great applause, by her Majesties Servants at the Cock-pit in Drury-lane, printed in quarto Lond. 1655. and dedicated to the Right Honourable Mountague Bertie Earl of Lindsey; by the Publisher Andrew Pennycuicke, who acted the part of Matilda, Women in those times not having appear'd on the Stage. For the Plot read the English Chronicles that have given an account of the Reign of King John; as Mathew Paris, Polydore Vergil, Hollingshead, Grafton, Danyel, Martin, Stow, Speed, Baker, Churchil, &c.

Robert DABORN, alias DAUBORNE.

This Gentleman liv'd in the Reign of King James the First, and was a Master of Arts, tho' of which University I am uncertain. He writ Two Plays, viz.

Christian turn'd Turk, or The Tragical Lives and Deaths of the two Famous Pirates Ward and Dansiker: a Tragedy printed in quarto Lond. 1612. For the Story I refer you to a [Page] Piece call'd Barker's Overthrow of Captain Ward and Dansiker, two Pirates: printed in quarto Lond. 1609. from which Narrative, I suppose our Author borrow'd the Story.

Poor Man's Comfort, a Tragi-Comedy divers times acted at the Cock-pit in Drury-lane, with great applause, and printed in 4o Lond. 1665.

Tho' this Author in his Epistle to his Christian turn'd Turk, speaks of his former Labours; It has not been my fortune to have seen any of them. There is a Sermon written by One Robert Daborn, on Zach. 11. 7. printed in octavo Lond. 1618. whether this were the same with our Author I know not, but 'tis probable it might be, and that he was a Divine, by this Distick which I find in an old Copy on the Time Poets;

Dawbourn I had forgot, and let it be,

He dy'd Amphibion by the Ministry.

John DAY.

This Author liv'd in the Reign of King James the First, and was sometime Student of Cains-Colleage in Cambridge. He has written Six Plays, if his Parliament of Bees may pass under that Species; as the Authors of all former Catalogues have plac'd it.

Blind Beggar of Bednal-Green, with the merry Humour of Tom Stroud the Norfolk Yeoman, divers times publickly acted by the Princes Servants, printed in quarto London 1659. For the Plot as far as it concerns History, consult the Writers on the Reign of [Page] King Henry the Sixth: as Fabian, Caxton, Du Chesne, Pol. Vergil, Grafton, Stow, Speed, &c.

Humour out of Breath, a Comedy said to be writ by our Author, but which I never saw, and therefore can say nothing of it.

Isle of Gulls, a Comedy often acted in the Black Fryars, by the Children of the Revels, printed in 4o Lond. 1633. This is a good Play, and is founded on the incomparable Sr. Philip Sidney's Arcadia: A Romance of that esteem, that besides the frequent Editions of it in English, I have seen it translated for the use of Forreigners, both in the French and Dutch Tongues.

Law Tricks, or Who would have thought it, a Comedy divers times acted by the Children of the Revels, and printed in quarto Lond. 1608.

Parliament of Bees, with their proper Characters, or A Bee-hive furnisht with Twelve Honey-combs, as pleasant as profitable: being an allegorical description of the Actions of good and bad men in these our days, printed in quarto Lond. 1641. and dedicated to the Worthy Gentleman Mr. George Butler, Professor of the Arts Liberal, and true Patron of neglected Poesy.

Travels of the Three English Brothers, Sr. Thomas, Sr. Anthony, and Mr. Robert Shirley; a History play'd by her Majesties Servants, printed in quarto Lond. 1607. and dedicated to Honors Favourites, and the intire Friends of the Family of the Shirleys. In the Composure of this Play our Author was assisted by Mr. William Rowley, and Mr. George Wilkins. The foundation of it may be read in several English Writers, and Chronicles; particularly I have [Page] seen it in Dr. Fuller's Worthies, in his Description of Sussex s. Where the Author speaking of the subject of this Comedy says thus: ‘As to the Performances of these Three Brethren, I know the Affidavit of a Poet carries but a small credit in the Court of History, and the Comedy made of them is but a Friendly Foe to their Memory, as suspected more accommodated to please the present Spectators, than to inform Posterity. However as the belief of Mitio (when an Inventory of his adopted Sons Misdemeanors was brought to him) embrac'd a middle and moderate way, nec omnia credere, nec nihil; neither to believe all things, nor nothing of what was told him: so in the List of their Atchievements, we may safely pitch on the same Proportion, and when abatement is made for Poetical Embelishments, the remainder will speak them worthy in their Generations.’

When our Author Died I know not, but I have read an Elegy written on him by his Friend Mr. Tateham t, which begins thus;

Don Phoebus now hath lost his Light,

And left his Rule unto the Night;

And Cynthia she hath overcome

The day, and darkned the Sun:

Whereby we now have lost our hope,

Of gaining Day in's Horoscope, &c.

At this jingling rate he runs on the end, much after the rate of a Gentleman of Lincolns Inn, who writ a more ingenious Poem, upon [Page] the Transactions between a Landlord and his Tenant Day, who privately departed from him by Night; printed in a single Sheet, Lond. 1684. To shew the Parallel give me leave to transcribe the first six Lines, by which the Reader may guess at the Rest.

Here Night, and Day conspire a secret flight;

For Day they say is gone away by Night.

The Day is past, but Landlord where's your Rent,

You might ha'seen, that Day was almost spent.

Day sold, and did put off what e're he might,

Tho' it was ne're so Dark, Day would be Light.

Thomas DECKER.

A Poet that liv'd in the Reign of King James the First, and was Contemporary with that admirable Laureat, Mr. Benjamin Johnson. He was more famous for the contention he had with him for the Bays, than for any great Reputation he had gain'd by his own Writings. Yet even in that Age, he wanted not his Admirers, nor his Friends amongst the Poets: in which number I reckon the Ingenious Mr. Richard Brome; who always stil'd him by the Title of Father. He clubb'd with Webster in writing Three Plays; and with Rowley and Ford in another: and I think I may venture to say, that these Plays as far exceed those of his own Brain, as a platted Whip-cord exceeds a single Thread in strength. Of those which he writ alone, I know none of much Esteem, except The Untrussing the Humourous Poet, and that [Page] chiefly on account of the Subject of it, which was the Witty Ben Johnson. He has had a Hand in Twelve Plays, Eight whereof were of his own Writing. Of all which I shall give an account, in their Alphabetical Order, as follows;

Fortunatus, a Comedy; of which I can give no other account than that I once barely saw it and is printed in quarto.

Honest Whore, the First Part; a Comedy, with the Humours of the Patient Man, and the longing Wife, acted by her Majesties Servants with great applause; printed in 4o Lond. 1635.

Honest Whore, the Second Part; a Comedy, with the Humours of the Patient Man, the Impatient Wife; the Honest Whore, perswaded by strong Arguments to turn Curtizan again: her brave refuting those Arguments; and lastly the Comical passage of an Italian Bridewel, where the Scene ends: printed in quarto Lond. 1630. This Play I believe was never acted, neither is it divided into Acts. The passage between the Patient Man, and his Impatient Wife's going to fight for the Breeches, with the happy Event, is exprest by Sr. John Harrington in Verse. See his Epigrams at the end of Orlando Furioso, Book 1. Epigr. 16.

If this be not a good Play, the Devil is in it, a Comedy acted with great applause, by the Queen's Majesties Servants, at the Red Bull; printed Lond. 16— and dedicated to his loving, and loved Friends and Fellows, the Queens Majesties Servants: by which he means the Actors. The beginning of his Play, seems to be writ in imitation of Matchiavel's Novel of [Page] Belphegor: where Pluto summons the Devils to Councel.

Match me in London, a Tragi-Comedy often presented, first at the Bull in St. John's Street, and lately at the Private-house in Drury-lane, call'd the Phoenix; printed in quarto Lond. 1631. and dedicated to the Noble Lover (and deservedly Beloved) of the Muses, Lodowick Carlel Esquire. Some account this a tolerable old Play.

Northward-Ho, a Comedy sundry times acted by the Children of Pauls, printed in quarto Lond. 1607. This Play was writ by our Author, and John Webster. The Plot of Greenshield and Featherstone's pretending to Mayberry that they had both lain with his Wife, and how they came to the knowledge of each other by her Ring, Act 1. Sc. 1. is founded on a Novel which is in the Ducento Novelle del Signior Celio Malespini, Par. 1. Nov. 2.

Satyromastix, or The Untrussing the Humourous Poet, a Comical Satyr presented publickly by the Right Honourable the Lord Chamberlain's Servants, and privately by the Children of Pauls, printed in quarto Lond. 1602. and dedicated to the World. This Play was writ on the occasion of Ben Johnson's Poetaster, where under the Title of Chrispinus, Ben lash'd our Author, which he endeavour'd to retaliate by Untrussing Ben under the Title of Horace Junior. This Play is far inferior to that of Mr. Johnson, as indeed his abilities in Poetry were no ways comparable to his: but this may be said in our Author's behalf, that [Page] 'twas not only lawful, but excusable for him to defend himself: pray therefore hear part of his Defense in his own language, and then censure as you please. ‘Horace (says heu) trail'd his Poetasters to the Bar, the Poetasters Untruss'd Horace; how worthily either, or how wrongfully, (World) leave it to the Jury: Horace (questionless) made himself believe that his Burgonian-wit might desperately challenge all Comers, and that none durst take up the Foyles against him. Its likely, if he had not so believ'd, he had not been so deceiv'd, for he was answer'd at his own Weapon: And if before Apollo himself (who is Coronator Poetarum) an Inquisition should be taken touching this lamentable merry murdering of Innocent Poetry: all Mount Hellicon to Bun-hill, would find it on the Poetasters side se defendando.’

Westward-Ho, a Comedy divers times acted by the Children of Pauls, and printed in quarto Lond. 1607. This was writ by our Author and Mr. Webster.

Whore of Babylon, an History, acted by the Prince's Servants, and printed in quarto Lond. 1607. The design of this Play is under feign'd Names to set forth the admirable Virtues of Queen Elizabeth, and the Dangers which she escap'd, by the happy discovery of those Designs against her Sacred Person by the Jesuites, and other Biggoted Papists. The Queen is shadow'd under the Title of Titania; Rome under that of Babylon; Campian the Jesuite is represented [Page] by the Name of Campeius; Dr. Parry by Parridel, &c.

Wyat's History, a Play said to be writ by Him and Webster, and printed in quarto. Tho' I never saw this Play, yet I suppose the subject of it is Sr. Thomas Wyat of Kent, who made an Insurrection in the First year of Queen Mary to prevent her Match with Philip of Spain: but as this is only conjecture, I must rest in suspence till I can see the Play.

Besides these Plays he joyn'd with Rowley and Ford in a Play call'd The Witch of Edmonton, of which you will find an account in William Rowley.

There are Four other Plays ascrib'd to our Author, in which he is said by Mr. Philips x and Mr. Winstanley y to be an Associate with John Webster; viz. Noble Stranger; New Trick to Cheat the Devil; Weakest goes to the Wall; Woman will have her Will. In all which they are mistaken; for the first was written by Lewis Sharp, and the other by anonymous Authors.

Sir John DENHAM, Knight of the BATH.

A Poet of the first Form, whose Virtue and Memory will ever be as dear to all Lovers of Poetry, as his Person was to Majesty it self; I mean, King Charles the First, and Second.

[Page]He was the only Son of Sir John Denham of little Horesly in Essex, but Born at Dublin in Ireland. His Father being at the time of his Nativity a Judge of that Kingdome, and Lord Chief Baron of the Exchequer. But before the Foggy Air of that Climate, could influence, or any way adulterate his Mind, he was brought from thence his Father being prefer'd to be One of the Barons of the Exchequer in England. At Sixteen years of Age, in the Year 1631. he was taken from School, and sent to the University of Oxford, where he became a Member of Trinity Colledge. In this Society he spent some years; after he was remov'd again to London, and follow'd the Study of the Civil Law.

The Civil War breaking out, this Honourable Person exerted his Loyalty so far, that upon the voluntary offer of his Service, he was intrusted by the Queen, to deliver a Message to his Majesty,z ‘Who at that time (viz. in 1647.) was in the hands of the Army. By Hugh Peters's Assistance he got admittance to the King, who was then at Causham, and having deliver'd his Instructions, his Majesty was pleased to discourse very freely with him of the whole state of Affairs; and at his departure from Hampton-Court, he was pleas'd to command him to stay privately in London, to send to him, and to receive from him all his Letters from and to all his Correspondents at Home and Abroad; and he was further furnisht with Nine Cyphers in order to it: which Trust he performed with great [Page] safety to the Persons with whom he corresponded; but about Nine Months after, being discover'd by their knowledge of Mr. Cowley's Hand, he happily escap'd beyond Sea both for himself, and those that held Correspondence with him. He got safe to His Majesty King Charles the Second, and during his Attendance on the King in Holland and France, His Majesty was pleas'd sometimes to give him Arguments, to divert and put off the evil Hours of their Banishment, which (as he modestly expresses himself) now and then fell not short of His Majesty's Expectation.’

At His Majesty's departure from St. Germains to Jersey, he was pleas'd without any sollicitation, to confer upon Sir John, the office of Surveyor General of all His Majesties Royal Buildings; and at his Coronation, created him Knight of the Bath. This Honor he enjoy'd Eight years, and then surrender'd up his Honor with his Soul, on the Tenth day of March in the Year 1668. at his House near White-hall, and was Buried the Twenty-third Instant at Westminster, amongst those Noble Poets, Chaucer, Spencer, and Cowley.

After this Abridgment of his Life, I am next to give you a Summary of his Works. They consist of Poems, part of which are Translations; as The Destruction of Troy, an Essay on the Second Book of Virgil's AEneis, The Passion of Dido for AEneas, being the later part of the Fourth Book; Sarpedon's Speech to Glaucus, being part of the Twelfth Book of Homer; Two Pieces from the Italian of Mancini, upon [Page] the two first Cardinal Virtues, Prudence, and Justice, &c. Others, are his own Productions, amongst which his Coopers Hill is most commended; A Poem, which (in the Opinion of Mr. Dryden a, who is without contradiction a very able Judge in Poetry) for the Majesty of the Stile, is, and ever will be, the exact Standard of good Writing. His Verses on Sir William Fanshaw's Translation of Il Pastor Fido, and his Preface to the Destruction of Troy, shew sufficiently his Judgment, and his Translations themselves his Genius, for Peformances of that nature: and admitting it true, that few Versions deserve praise; yet His are to be excepted from the general Rule. His Elegy on Mr. Cowley, (part of which we have transcribed already in the Account of that great Manb, will make his Name famous to Posterity: and there wants nothing to eternise his Name, but a Pen equal to his, (if any such were to be found) to perform the like Friendly office to his Manes.

He has writ but one Play, but by that Specimen we may judge of his ability in Dramatick, as well as Epick Poesy; this Play being generally commended. 'Tis call'd The Sophy, a Tragedy, acted at the Private-house in Black-friars with good applause: 'Twas first printed in quarto Lond. 1642. but since publisht with his Poems and Translations; all which are dedicated to King Charles the Second. The last Edition being printed in octavo Lond. 1671. For the Plot of this Play, it is the same with [Page] that of Baron's Mirza, (which Story you may find in Herberts Travels) tho' differently handled by each Poet: and tho' it has been objected by Mr. Baron, that our Author kills Abbas in this Tragedy, who really surviv'd some years after the Murther of his Son; it may be answer'd, That he did only Poetical Justice, and took no other Liberty than what is allow'd by Horace c:

—Pictoribus atque Poetis

Quidlihet audendi semper suit aequa Potestas.

John DOVER.

A Gentleman of whom I can give no other account than what I learn from a Play he has written; viz That he was of Grays-Inn; and that to divert himself after the Fatigue of the Law, he employ'd himself in Reading History, the Effects whereof produc'd The Roman Generals, or The Distressed Ladies, a Play written in Heroick Verse, printed in quarto Lond. 1677. and dedicated to the Right Honourable Robert Lord Brook. The Plot, as far as it concerns History, may be read in Plutarch's Lives of Caesar and Pompey; see besides Suetonius, Lucan, &c. ‘But the Author has not (as he himself ownsd altogether follow'd, nor yet declin'd History, least by the one, his Play might be took for a Piece translated out of Livy, or Lucan, or by the other for an idle Romance; but like the Traveller for Delight, he has sometimes follow'd and sometimes quitted his Rode.’ This Play, as I conjecture from the [Page] Prologue and Epilogue was never acted, they being rather address'd to the Stationers Customers, than the Audience.

John DRYDEN, Esq

A Person whose Writings have made him remarkable to all sorts of Men, as being for a long time much read, and in great Vogue. It is no wonder that the Characters given of him, by such as are, or would be thought Wits, are various; since even those, who are generally allow'd to be such, are not yet agreed in their Verdicts. And as their Judgments are different, as to his Writings; so are their Censures no less repugnant to the Managery of his Life, some excusing what these condemn, and some exploding what those commend. So that we can scarce find them agreed in any One thing, save this, That he was Poet Laureat and Historiographer to His late Majesty. For this, and other Reasons, I shall wave all Particularities of his Life; and let pass the Historiographer, that I may keep the closer to the Poet, toward whom I shall use my accustom'd Freedome; and having spoken my Sentiments of his Predecessors Writings, shall venture without partiality, to exercise my slender Judgment in giving a Censure of his Works.

Mr. Dryden is the most Voluminous Dramatick Writer of our Age, he having already extant above Twenty Plays of his own writing, as the Title-page of each would perswade the World; tho' some people have been so bold as to call the Truth of this in question, and to

[Page]

DRYDEN.

[Page] [Page] propogate in the world another Opinion.

His Genius seems to me to incline to Tragedy and Satyr, rather than Comedy: and methinks he writes much better in Heroicks, than in blank Verse. His very Enemies must grant that there his Numbers are sweet, and flowing; that he has with success practic'd the new way of Versifying introduc'd by his Predecessor Mr. Waller, and follow'd since with success, by Sr. John Denham, and others. But for Comedy, he is for the most part beholding to French Romances and Plays, not only for his Plots, but even a great part of his Language: tho' at the same time, he has the confidence to prevaricate, if not flatly deny the Accusation, and equivocally to vindicate himself; as in the Preface to the Mock Astrologer: where he mentions Thomas Corneille's le Feint Astrologue becaus'd 'twas translated, and the Theft prov'd upon him; but never says One word of Molliere's Depit amoreux, from whence the greatest part of Wild-blood and Jacinta, (which he owns are the chiefest parts of the Play) are stollen. I cannot pass by his Vanitye in saying, ‘That those who have called Virgil, Terence and Tasso, Plagiaries (tho' they much injur'd them) had yet a better Colour for their Accusation:’ nor his Confidence in sheltring himself under the protection of their great Names, by affirming, ‘That he is able to say the same for his Play, that he urges for their Poems; viz. That the Body of his Play is his own, and so are all the Ornaments of [Page] Language, and Elocution in them.’ I appeal only to those who are vers'd in the French Tongue, and will take the pains to compare this Comedy with the French Plays above-mention'd; if this be not somewhat more than Mental Reservation, or to use one of his own Expressions,f A Sophisticated Truth, with an allay of Lye in't.

Nor are his Characters less borrow'd in his Tragedies, and the serious parts of his Tragi-Comedies; as I shall observe in the sequel. It shall suffice me at present, to shew how Magisterially he huffs at, and domineers over, the French in his Preface to the Conquest of Granada. ‘I shall never (says he) subject my Characters to the French Standard; where Love and Honour are to be weigh'd by Drams and and Scruples: yet, where I have design'd the patterns of exact Virtue, such as in this Play are the Parts of Almahide, of Ozmyn, and Benzaida, I may safely challenge the best of theirs.’ Now the Reader is desir'd to observ, that all the Characters of that Play are stolle, from the French: so that Mr. Dryden took a secure way to Conquest, for having robb'd them of their Weapons, he might safely challenge them and beat them too, especially having gotten Ponce de Leon g on his side, in disguise, and under the Title of Almanzor: and should Monsieur de Voiture presume to lay claim to his own Song L'Amour sous sa Loy &c.h which Mr. Dryden has robb'd him of, and [Page] plac'd in the Play of Sr. Martin Marr-all, (being that Song which begins Blind Love to this Hour &c.) our Poet would go nigh to beat him with a Staff of his own Rimes, with as much ease, as Sr. Martin defeated the Bailiffs in rescue of his Rival.

But had he only extended his Conquests over the French Poets, I had not medled in this Affair, and he might have taken part with Achilles, and Rinaldo, against Cyrus, and Oroondates, without my engaging in this Forreign War: but when I found him flusht with his Victory over the great Scudery, and with Almanzor's assistance triumphing over the noble Kingdome of Granada; and not content with Conquests abroad, like another Julius Caesar, turning his Arms upon his own Country; and as if the proscription of his Contemporaries Reputation, were not sufficient to satiate his implacable thirst after Fame, endeavouring to demolish the Statues and Monuments of his Ancestors, the Works of those his Illustrious Predecessors, Shakespear, Fletcher, and Johnson: I was resolv'd to endeavour the rescue and preservation of those excellent Trophies of Wit, by raising the Posse-comitatus upon this Poetick Almanzor, to put a stop to his Spoils upon his own Country-men. Therefore I present my self a Champion in the Dead Poets Cause, to vindicate their Fame, with the same Courage, tho' I hope different Integrity than Almanzor engag'd in defence of Queen Almahide, when he bravely Swore like a Hero, that his Cause was right, and She was innocent; [Page] tho' just before the Combat, when alone, he own'd he knew her false:i

I have out-fac'd my self, and justify'd

What I knew false to all the World beside.

She was as Faithless as her Sex could be;

And now I am alone, she's so to me.

But to wave this digression, and proceed to the Vindication of the Ancients; which that I may the better perform, for the Readers Diversion, and that Mr. Dryden may not tell me, that what I have said, is but gratis dictum, I shall set down the Heads of his Depositions against our ancient English Poets, and then endeavour the Defence of those great Men, who certainly deserv'd much better of Posterity, than to be so disrespectively treated as he has used them.

Mr. Shakespear as first in Seniority I think ought to lead the Van, and therefore I shall give you his Account of him as followsk: ‘Shakespear who many times has written better than any Poet in any Language, is yet so far from writing Wit always, or expressing that Wit according to the dignity of the Subject, that he writes in many places below—the dullest Writers of ours, or any precedent Age. He is the very Janus of Poets; he wears almost every where two Faces: and you have scarce begun to admire the One, e're you despise the other. Speaking of Mr. Shakespear's Plots, he says they were lame,l and that [Page] many of them were made up of some ridiculous, incoherent Story, which in one Play, many times took up the business of an Age. I suppose (says he) I need not name Pericles Prince of Tyre, nor the Historical Plays of Shakespear; Besides many of the rest, as the Winters Tale, Love's Labour lost, Measure for Measure, which were either grounded on Impossibilities, or at least so meanly written, that the Comedy neither caused your Mirth, nor the serious part your Concernment.’ He says further,m ‘Most of Shakespear's Plays, I mean the Stories of them, are to be found in the Heccatomouthi, or Hundred Novels of Cinthio. I have my self read in his Italian, that of Romeo and Juliet; The Moor of Venice, and many others of them.’

He Characterises Mr. Fletcher, who writ after Mr. Shakespear n, ‘As a Person that neither understood correct Plotting, nor that which they call The Decorum of the Stage:’ of which he gives several Instances out of Philaster, Humourous Lieutenant, and Faithful Shepherdess; which are too long to be here inserted. In another place he speaks of Fletcher thuso; ‘Neither is the Luxuriance of Fletcher a less fault than the Carelesness of Shakespear. He does not well always, and when he does, he is a true English-man; he knows not when to give over. If he wakes in one Scene, he commonly slumbers in another: and if he pleases you in the first three Acts, he is frequently [Page] so tired with his Labour, that he goes heavily in the Fourth, and sinks under his Burthen in the Fifth. Speaking of his Plots, p he says, Beaumont and Fletcher had most of theirs from Spanish Novels: witness The Chances, The Spanish Curate, Rule a Wife and have a Wife, The little French Lawyer, and so many others of them as compose the greatest part of their Volume in Folio.’

As to the great Ben Johnson he deals not much better with him, though he would be thought to admire him; and if he praise him in one Page, he wipes it out in another: thus tho he calls him ‘The most Judicious of Poets q, and Inimitable Writer, yet, he says, his Excellency lay in the low Characters of Vice, and Folly. When at any time (says he) Ben aim'd at Wit in the stricter sence, that is sharpness of Conceit, he was forc'd to borrow from the Ancients, (as to my Knowledge he did very much from Plautus:) or when he trusted himself alone, often fell into meanness of expression. Nay he was not free from the lowest and most groveling Kind of Wit, which we call Clenobes; of which Every Man in his Humour is infinitely full, and which is worse, the wittiest Persons in the Dramma speak them.’

These are his own Words, and his Judgment of these three Great Men in particular, now take his Opinion of them all in general, which is as follows;r ‘But Mance and Partiality [Page] set apart, let any Man, who understands English, read diligently the Works of Shakespear and Fletcher; and I dare undertake that he will find in every Page, either some Solecisme in Speech, or some notorious flaw in Sence.’ In the next Page; speaking of their Sence and Language, he says, ‘I dare almost challenge any Man to shew me a Page together which is correct in both. As for Ben Johnson I am loath to name him, because he is a most judicious Author, yet he often falls into these Errors.’ Speaking of their Wit, he gives it this Characters, ‘I have always acknowledg'd the Wit of our Predecessors, with all the Veneration that becomes me; but I am sure, their Wit was not that of Gentlemen; there was ever somewhat that was Illbred and Clownish in it: and which confest the Conversation of the Authors.’ Speaking of the advantage which acrues to our Writing, from Conversation, he sayst, ‘In the Age wherein those Poets liv'd, there was less of Gallantry, than in ours; neither did they keep the best Company of theirs. Their Fortune has been much like that of Epicurus, in the Retirement of his Gardens: to live almost unknown, and to be Celebrated after their Decease. I cannot find that any of them were Conversant in Courts, except Ben Johnson: and his Genius lay not so much that way, as to make an Improvement by it.’ He gives this Character of their Audiencesu; ‘They knew no better, and therefore were satisfied [Page] with what they brought. Those who call theirs The Golden Age of Poetry, have only this Reason for it, that they were then content with Acorns, before they knew the use of Bread; or that [...] was become a Proverb.’

These are Errors which Mr. Dryden has found out in the most Correct Dramatick Poets of the last Age, and saysx in defence of our present Writers, That if they reach not some Excellencies of Ben Johnson, yet at least they are above that Meanness of Thought which he has tax'd, and which is so frequent in him.

After this he falls upon the Gentlemen of the last Age in a Character, which (as Bayes says) is sheer point and Satyr throughouty; for after having Droll'd upon them, calling them Old Fellows, Grave Gentlemen, &c. he summes up his Evidence, and sings an Io Triumphe; ascribing his Victory to the Gallantry and Civility of this Age, and to his own Knowledge of the Customs and Manners of it.

I must do Mr. Dryden this justice, to acquaint the World, that here, and there in this Postscript, he intersperses some faint Praises of these Authors; and beggs the Reader's Pardon for accusing themz, ‘Desiring him to consider that he lives in Age where his least faults are severely censur'd, and that he has no way left to extenuate his failings, but by shewing as great in those whom he admires.’

Whether this be a sufficient Excuse or no, I leave to the Criticks: but sure I am that this [Page] procedure seems exactly agreeable to the Character which an ingenious Person draws of a Malignant Wit,a ‘Who conscious of his own Vices, and studious to conceal them, endeavours by Detraction to make it appear that others also of greater Estimation in the world, are tainted with the same or greater: as Infamous Women generally excuse their personal Debaucheries, by incriminating upon their whole Sex, callumniating the most Chast and Virtuous, to palliate their own dishonour.’

But 'tis not the Poets only that Mr. Dryden attacks, for had I time, I could easily prove he has Almanzor-like fell foul upon almost all Religions, Parties, and Orders of Mankind; so that whilst he was Apollo's Substitute, he has play'd as odd Tricks, and been as Mad as his own Wild-Bull which he turn'd loose in Sierra Ronda b;

Whilst Monarch-like he rang'd the listed Field,

Some toss'd, some gor'd, some trampling down he kill'd.

And as if by being Laureat, he were as Infallible as St. Peter's Successor; and had as large a Despotick Power as Pope Stephanus the Sixth to damn his Predecessors; he has assaulted with all the Bitterness imaginable not only the Church of England, but also ridicul'd the several Professions of the Lutherans, Calvinists, Socinians, Presbyterians, Hugonots, Anabaptists, [Page]Independents, Quakers, &c. tho' I must observe by the way, that some people among the Perswasions here mention'd might justly have expected better usage from him on Account of old Acquaintance in the Year 1659. But this being at present Foreign to my Subject, I shall not after an Act of Oblivion revive forgotten Crimes, but go on with the Thing I have undertook, (to wit) The Defence of the Poets of the last Age.

Were Mr. Dryden really as great a Scholar, as he would have the World believe him to be; he would have call'd to mind, that Homer, whom he professeth to imitate, had set him a better pattern of Gratitude, who mentions with Respect and Kindness his Master Phemis, Mentor of Ithaca, and even Tychius, the honest Leather-dresser. Had he follow'd Virgil, whom he would be thought to esteem; instead of Reproaches, he had heap'd Panegyricks, on the Ashes of his Illustrious Predecessors: and rather than have tax'd them with their Errors in such a rude manner, would have endeavour'd to fix them in the Temple of Fame, as he did Musaeus, and the Ancient Poets, in Elisium, amongst the Magnanimous Heroes, and Teucer's Off-spring; stiling them,c

—Pii Vates, & Phoebo digna locuti.

Had he observ'd Ovid's Elegy ad Invidos d he might have found that good humour'd Gentleman, not only commending his Predecessors, but even his Cotemporaries. But it seems he has follow'd Horace, whom he boasts to have [Page] studiede, and whom he has imitated in his greatest Weakness, I mean his Ingratitude: if at least that excellent Wit could be guilty of a Crime, so much below his Breeding; for the very suspicion of which, Scaliger (who like Mr. Dryden seldome spares any man,) has term'd him Barbarousf. Ingratus Horatius, atque animo barbaro atque servili; qui ne à Mecenate quidem abstinere potuit: siquidem quod aiunt, verum est, Malthinum ab eo appellatum, cujus demissas notaret tunicas g Mr. Dryden having imitated the same Fact, certainly he deserves the same punishment: and if we may not with Scaliger call him Barbarous, yet all ingenious Men, that know how he has dealt with Shakespear, will count him ungrateful; who by furbishing up an Old Play, witness The Tempest, and Troilus and Cressida, has got more on the third Day, than its probable, ever Horace receiv'd from his Patron for any One Poem in all his Life. The like Debt he stands engag'd for to the French for several of the Plays, he has publisht; which if they exceed Mr. Shakespear in Oeconomy, and Contrivance, 'tis that Mr. Dryden's Plays owe their Advantage to his skill in the French Tongue, or to the Age, rather than his own Conduct, or Performances.

Honest Shakespear was not in those days acquainted with those great Wits, Scudery, Calpranede, Scarron, Corneille, &c. He was as much a Stranger to French as Latine, (in which, if we believe Ben Johnson, he was a very small [Page] Proficient;) and yet an humble Story of Dorastus and Fawnia, serv'd him for A Winter's Tale, as well as The Grand Cyrus, or The Captive Queen, could furnish out a Laureat for a Conquest of Granada. Shakespear's Measure for Measure, however despis'd by Mr. Dryden with his Much Ado about Nothing, were believ'd by Sr. William Davenant, (who I presume had as much judgment as Sir Positive At-all h) to have Wit enough in them to make one good Play.

To conclude, if Mr. Shakespear's Plots are more irregular than those of Mr. Dryden's (which by some will not be allow'd) 'tis because he never read Aristotle, or Rapin; and I think Tasso's Arguments to Apollo in defence of his Gierusalemme Liberata may be pleaded in our Author's behalf.i Che solo havea ubbidito al talento, che gli havea dato la Natura, & al inspiratione della sua serenissima Calliope; che per ciò li pareva di compitamente haver sodisfatto a gli obblighi tutti della Poetica, nella quale sua Maestà non havendo prescritto legge alcuna, non sapea veder con qual autorità Aristotile havesse publicato le Regole di essa: e ch' egli non mai havendo udito dire, che in Parnasso st [...]desse altro Signore, che sua Maestà, e le sue Serenissime Dive, il suo Peccato di non havere ubbidito a' commandamenti d' Aristotile era proceduto da mera ignoranza, non da malitia alcuna. The [Page] Sence of which is thus; That he had only observ'd the Talent which Nature had given him, and which his Calliope had inspired into him: Wherein he thought he had fulfill'd all the duties of Poetry, and that his Majesty having prescrib'd no Laws thereunto, he knew not with what Authority Aristotle had published any Rules to be observed in it: and that he never having heard that there was any other Lord in Parnassus but his Majesty, his fault in not having observ'd Aristotle's Rules, was, an Error of Ignorance, and not of any Malice.

As to Mr. Fletcher, should we grant that he understood not the Decorum of the Stage, as Mr. Dryden, and Mr. Flecknoe before him in his Discourse on the English Stage, observe; his Errors on that account, are more pardonaable than those of the former, who pretends so well to know it, and yet has offended against some of its most obvious and established Rules. Witness Porphirius k his attempt to kill the Emperor whose Subject he was, and who offer'd to adopt him his Son, and give him his Daughter in Marriage. Philocles l joining with Prince Lisimantes in taking the Queen Prisoner, who rais'd him to be her chief Favouritem. If to wound a Woman be an Indecency and contrary to the Character of Manhood, of which he accuses Philaster, * and Perigot: * than Mr. Dryden has equally offended with Mr. Fletcher, since he makes Abdelmelech [...] [Page] [...] [Page] [Page] kill Lyndaraxa n. If it be contrary to the Decorum of the Stage for Demetrius and Leontius to stay in the midst of a routed Army, to hear the cold Mirth of The Humourous Lieutenant o 'tis certainly no less, to stay the Queen and her Court, to hear the cold Mirth of Celadon and Florimel about their Marriage Covenants, whilst the main Action is dependingp. If Mr. Fletcher be tax'd by Mr. Dryden q for introducing Demetrius with a Pistol in his Hand (in the Humourous Lieutenant) in the next Age to Alexander the Great: I think Mr. Dryden committed as great a Blunder in his Zambra Dance r, where he brought in the Mahometans bowing to the Image of Jupiter. I could give you several other Instances, but these are enough to shew, that Mr. Dryden is no more Infallible than his Predecessors.

As to his failing in the two last Acts, (a fault Cicero sometimes alludes to, and blames in an Idle Poet;s) its more to be imputed to his Laziness, than his want of Judgment. I have either read, or been inform'd, (I know not well whether) that 'twas generally Mr. Fletcher's practice, after he had finish'd Three Acts [...]f a Play to shew them to the Actors, and when they had agreed on Terms, he huddled up the two last without that care that behoov'd him; which gave opportunity to such Friends as Mr. [Page] Dryden to traduce him. This, tho' no just excuse, yet I believe was known to Mr. Dryden before, and therefore ought not as an act of Ignorance, to have been urg'd so fiercely against him.

As to his Plots being borrow'd, 'tis what is allowed by Scaliger, and others; and what has been practic'd by Mr. Dryden, more than by any Poet that I know: so that He of all Men living had no Reason to throw the first Stone at him. But Mr. Dryden is of the nature of those Satyrists describ'd by Scaligert; Commune est omnibus profiteri sese omnium pene hostem; paucissimorum parcissimum laudatorem: Se quoque vulnerare ut alios interficere liceat; nam ne amicis quidem parcunt.

To come lastly to Ben Johnson, who (as Mr. Dryden affirmsu,) has borrow'd more from the Ancients than any: I crave leave to say in his behalf, that our late Laureat has far out-done him in Thefts, proportionable to his Writings: and therefore he is guilty of the highest Arrogance, to accuse another of a Crime, for which he is most of all men liable to be arraign'd.x

Quis tulerit Gracchos de seditione querenteis?

I must further alledge that Mr. Johnson in borrowing from the Ancients, has only follow'd the Pattern of the great Men of former Ages, Homer, Virgil, Ovid, Horace, Plautus, Terence, Seneca, &c. all which have imitated the Example of the industrious Bee, which [Page] sucks Honey from all sorts of Flowers, and lays it up in a general Repository. 'Twould be actum agere to repeat what is known to all Learned Men; that there was an Illiad written before that of Homer, which Aristotle mentions; and from which, (by Suidas, AElian, and others,) Homer is supposed to have borrow'd his Design. Virgil copied from Hesiod, Homer, Pisander, Euripides, Theocritus, Aratus, Ennius, Pacuvius, Lucretius, and others; as may be seen in Macrobius, and Fulvio Ursini, which last Author has writ a particular Treatise of his Thefts. Notwithstanding he accounted it no Diminution to his Worth, but rather gloried in his Imitation: for when some snarling Criticks had accus'd him for having borrow'd his Design from Homer, he reply'd; 'Tis the Act of an Hero, to wrest Hercules's Club out of his Hand. Besides he not only acknowledges in particular his making use of Hesiod, y

Ascraeumque cano Romana per oppida carmen: But extreamly glories in his being the first Latine Poet that had treated on Country Affairs:

—Juvat ire jugis, qua nulla priorum

Castaliam molli diducitur orbita clivo.

Ovid not only took the Design of his Metamorphosis, from the foremention'd Parthenius: but even Horace himself notwithstanding his Hypercritical Sentence against such as undertook that Province, and did not well acquit themselves, stiling themz.

—Imitatorum stultum pecus,—

[Page] Yet, I say, He himself not only imitated Lucilius in his Satyrs, and followed Aristotle in his Epistle De Arte Poetica: but also translated Verbatim those Fragments of the Greeks, which in some Editions are to be found at the End of Pindar's Works, and inserted them in his first Book of Odes, as might be easily made appear, were it not too long a Discursion.

For this Reason I shall only speak succinctly of the Latine Dramatick Poets, most of which were Imitators at least, if not wholly beholding to the Greek Poets for their Productions. Thus Seneca in his Tragedies imitated Euripides, and AEschylus; Terence borrow'd from Menander, and in his Prologue to Andria, quotes Naevius, Plautus, and Ennius for his Authority. I could enumerate more Instances, but these are sufficient Precedents to excuse Mr. Johnson.

Permit me to say farther in his behalf, That if in imitation of these illustrious Examples, and Models of Antiquity, he has borrow'd from them, as they from each other; yet that he attempted, and as some think, happily succeeded in his Endeavours of Surpassing them: insomuch that a certain Person of Qualitya makes a Question, ‘Whether any of the Wit of the Latine Poets be more Terse and Eloquent in their Tongue, than this Great and Learned Poet appears in ours.’

Whether Mr. Dryden, who has likewise succeeded to admiration in this way, or Mr. Johnson have most improv'd, and best advanc'd [Page] what they have borrow'd from the Ancients, I shall leave to the decision of the abler Criticks: only this I must say, in behalf of the later, that he has no ways endeavour'd to conceal what he has borrow'd, as the former has generally done. Nay, in his Play call'd Sejanus he has printed in the Margent throughout, the places from whence he borrow'd: the same he has practic'd in several of his Masques, (as the Reader may find in his Works;) a Pattern, which Mr. Dryden would have done well to have copied, and had thereby sav'd me the trouble of the following Annotations.

There is this difference between the Proceedings of these Poets, that Mr. Johnson has by Mr. Dryden's Confessionb Design'd his Plots himself; whereas I know not any One Play, whose Plot may be said to be the Product of Mr. Dryden's own Brain. When Mr. Johnson borrow'd, 'twas from the Treasury of the Ancients, which is so far from any diminution of his Worth, that I think it is to his Honor; it least-wise I am sure he is justified by his Son Carthwright, in the following Linesc:

What tho' thy searching Muse did rake the dust

Of Time, & purge old Mettals from their Rust?

Is it no Labour, no Art, think they, to

Snatch Shipwracks from the Deep, as Divers do?

And rescue Jewels from the covetous Sand,

Making the Seas hid Wealth adorn the Land?

What tho' thy culling Muse did rob the store

Of Greek and Latine Gardens, to bring o're

[Page]Plants to thy Native Soil? their Virtue were

Improv'd far more, by being planted here:

If thy Still to their Essence doth refine

So many Drugs, is not the Water thine?

Thefts thus become just Works; they and their

Grace

Are wholly thine; thus doth the Stamp and Face

Make that the King's that's ravish'd from the

Mine;

In others then 'tis Oar, in thee 'tis Coin.

On the contrary, tho' Mr. Dryden has likewise borrow'd from the Greek and Latine Poets, as Sophocles, Virgil, Horace, Seneca, &c. which I purposely omit to tax him with, as thinking what he has taken to be lawful prize: yet I cannot but observe withal; that he has plunder'd the chief Italian, Spanish, and French Wits for Forage, notwithstanding his pretended contempt of them: and not only so, but even his own Countrymen have been forc'd to pay him tribute, or to say better, have not been exempt from being Pillag'd. This I shall sufficiently make out in the Examen of his Plays; in the mean time, give me leave to say a word, or two, in Defence of Mr. Johnson's way of Wit, which Mr. Dryden calls Clenches.

There have been few great Poets which have not propos'd some Eminent Author for their Pattern, (Examples of this would be needless and endless.) Mr. Johnson propos'd Plautus for his Model, and not only borrow'd from him, but imitated his way of Wit in English. There are none who have read him, but [Page] are acquainted with his way of playing with Words: I will give one Example for all, which the Reader may find in the very entrance of his Works; I mean the Prologue to Amphitruo.

Justam rem & facilem oratum à vobis volo:

Nam juste ab justis justus sum Orator datus.

Nam injusta ab justis impetrare non decet:

Justa autem ab injustis petere insipientia'st.

Nor might this be the sole Reason for Mr. Johnson's Imitation, for possibly 'twas his Compliance with the Age that induc'd him to this way of writing, it being then as Mr. Dryden observesd the Mode of Wit, the Vice of the Age, and not Ben Johnson's: and besides Mr. Dryden's taxing Sir Philip Sidney for playing with his Words, I may add that I find it practis'd by several Dramatick Poets, who were Mr. Johnson's Cotemporaries: and notwithstanding the advantage which this Age claims over the last, we find Mr. Dryden himself as well as Mr. Johnson, not only given to Clinches; but sometimes a Carwichet, a Quarter-quibble, or a bare Pun serves his turn, as well as his Friend Bur in his Wild Gallant; and therefore he might have spar'd this Reflection, if he had given himself the liberty of Thinking.

As to his Reflections on this Triumvirate in general: I might easily prove, that his Improprieties in Grammar, are equal to theirs: and that He himself has been guilty of Solecisms in Speech, and Flaws in Sence, as well as Shakespear, Fletcher, and Johnson: but this [Page] would be to wast Paper and Time: and besides' I consider that Apollos Laws like those of our own Nation, allow no Man to be try'd twice for the same Crime: and Mr. Dryden having already been arraign'd before the Wits upon the Evidence of the Rota, and found Guilty by Mr. Clifford the Foreman of the Jury: I shall suppress my further Evidence, till I am serv'd with a Subpaena, by him, to appear before that Court, or have an Action clapp'd upon me by his Proctor, as guilty of a Scandalum Archi-Poetae; and then I shall readily give in my Depositions.

For these, and the like Reasons, I shall at present pass by his dis-obliging Reflections on several of his Patrons, as well as the Poets his Cotemporaries: his little Arts to set up himself, and decry others; his dexterity in altering other Mens Thoughts, so as to make them pass for his own; his Tautologies; his Petty-Larcenies, which notwithstanding his stiling of himself Saturnine, shew him sufficiently Mercurial, at least, if Plagiaries may be accounted under the Government of that Planet. In fine, (if Old Moody will allow me to borrow that word) he resembles Vulgar Painters, who can tolerably copy after a good Original, but either have not judgment, or will not take the pains themselves to design any thing of value. This will easily appear in the following Account of his Plays, of which I come now to speak. Viz.

Albion and Albanius, an Opera perform'd at the Queen's Theatre in Dorset-Garden, and [Page] printed in Folio, Lond. 1685. ‘The Subject of it (as the Author says) is wholly Allegorical; and the Allegory it self so very obvious, that it will no sooner be read, than understood.’ I need not therefore take the pains to acquaint my Reader, that by the Man on the Pedestal, who is drawn with a long, lean, pale Face, with Fiends Wings, and Snakes twisted round his Body: and incompast by several Phanatical Rebellious Heads, who suck Poyson from him, which runs out of a Tap in his Side, is meant the late Lord Shaftsbury, and his Adherents. I shall not pretend to pass my censure whether he deserv'd this usage from our Author, or no; but leave it to the judgments of Statesmen and Polititians. How well our Author has drawn his other Characters, I shall leave to the decision of the Criticks: as also whether Monsieur Grabut, or our Poet deserves the preference; or either of them merit those Applauses which Mr. Dryden in both their Names challenges as their due; since I find an Author of a different Opinion, who thus describes them.

Grabut his Yoke-mate ne're shall be forgot,

Whom th' God of Tunes upon a Muse begot.

Bays on a double score to him belongs:

As well for writing as for setting Songs.

For some have sworn, (th' Intrigue so od is laid)

That Bayes and He mistook each others Trade

Grabut the Lines, and He the Musick made.

All for Love, or The World well Lost; a Tragedy acted at the Theatre Royal; and written [Page] in imitation of Shakespear's stile, printed in quarto Lond. 1678. and dedicated to the Right Honourable Thomas Earl of Danby. That our Author has nearly imitated Shakespear is evident by the following Instance. In the Comedy call'd Much Ado about Nothing e the Bastard accuses Hero of Disloyalty before the Prince, and Claudio her Lover: who (as surpris'd at the News,) asks, Who! Hero? Bast. Even she, Leonato's Hero, your Hero, every Mans Hero. In this Play,f on the like occasion, where Ventidius accuses Cleopatra, Antony says, Not Cleopatra! Ven. Even she my Lord! Ant. My Cleopatra? Ven. Your Cleopatra; Dollabella's Cleopatra: Every Mans Cleopatra. Ex homine hunc natum dicas. Our Author with justice prefers the Scene betwixt Antonius and Ventidius in the first Act, to any thing he has written in that kind: but as to his defence of the Scene between Octavia and Cleopatra, in the end of the third Act, there are some Criticks who are not yet satisfied, that it is agreeable to the Rules of Decency and Decorum, to make Persons of their Character demean themselves contrary to the Modesty of their Sex. For the Plot see Plutarch in Vit. M. Ant. Suetonius in Aug. Dion Cassius, Lib. 48. 51. Orosius, Lib. 6. Cap. 7. Florus, L. 4. C. 11. Appian de Bellis Civilibus, L.5.

Amboyna, a Tragedy acted at the Theatre Royal; printed in quarto Lond. 1673. and dedicated to the Right Honourable the Lord Clifford of Chudleigh. The Plot of this Play is [Page] founded chiefly on History, being an Account of the Cruelty of the Dutch to our Country-Men in Amboyna, An.Dom. 1618. There was a Book publisht by the East-India Company, which I never saw, but I have read a Relation extracted from thence by Mr. Purchas, and printed in his Pilgrimage, Vol. II. L. 10. Ch. 16. There are several other Authors that have mention'd this Story, as Sanderson's History of King James, pag. 577. Stubb's Relation of the Dutch Cruelties to the English at Amboyna, printed in quarto Lond. 1632. Wanley's History of Man, Lib. 4. Ch. 10. Ex. 1. The Plot of the Rape of Isabinda, by Harman Junior, is founded on a Novel in Cynthio Gyraldi, Deca 5a. Nov. 10.

Assignation, or Love in a Nunnery, a Comedy acted at the Theatre Royal, printed in quarto Lond. 1678. and dedicated to his most Honour'd Friend Sir Charles Sidley Baronet. This Play was Damn'd on the Stage, or as the Author phrases itg, it succeeded-ill in the Representation. I shall not pretend to determine, any more than the Author, ‘Whether the fault was in the Play it self, or in the lameness of the Action, or in the number of its Enemies, who came resolv'd to damn it for the Title:’ but this I know, that his Reflections on Mr. Ravencrofts Play, call'd Mamamouchi, provok'd him to a retort in another Prologueh to a new Play of his acted the Vacation following, part of which as relating to this Play, I shall transcribe.

[Page]

An Author did to please you, let his Wit run

Of late, much on a Serving-man, and Cittern,

And yet you would not like the Serenade,

Nay, and you damn'd his Nuns in Masquerade.

You did his Spanish Sing-song too abhor,

Ah! que locura con tanto rigor.

In fine, the whole by you so much was blam'd,

To act their parts the Players were asham'd;

Ah! how severe your Malice was that Day;

To damn at once the Poet and his Play.

But why, was your Rage just at that time shown,

When what the Poet writ, was all his own?

Till then he borrow [...]d from Romance, and did translate,

And those Plays found a more indulgent Fate.

But in this Mr. Ravencroft is very much deceiv'd, for most of the Characters, as well as the Incidents are borrow'd from French Romances; as for instance, The Characters of the Duke of Mantua, Prince Frederick and Lucretia, are borrow'd from The Annals of Love, 8o in the Story of Constance the fair Nun, pag. 81. but as to the Scene of the Petticoat and Belly Ake i so much commended by Mr. Bayes k, I believe 'twas Mr. Dryden's own Contrivance. The Characters of Aurelian, Camillo, Laura, and Violetta, are taken from Scarron's Comical Romance, in the History of Destiny and Madam Star. See Ch. 13. pag. 43. The Humour of Benito's affecting Musick, to the prejudice of his Carcassl, is borrow'd from Quinault's Character of Jodolet, in the begining of his La Comedie, sans Comedie. The passage of Frontona's [Page] throwing water upon Laura and Violetta m is taken from Les Contes de M. de la Fontaine. premiere partie, Nov. 11. p. 74. There are other French Authors that have handled the same Story, as Les Cent Nouvelles Nouvelles. La Damoiselle à Coeur ouvert &c.

Aureng-zebe, a Tragedy acted at the Theatre Royal, printed in quarto Lond. 1676. and dedicated to the Right Honourable John Earl of Mulgrave. The Plot of this Play is related at large in Tavernier's Voyages into the Indies. Vol. I. Part 2. Ch.2. Our Author is not wholy free from Thefts in this Play, and those who have ever read Seneca's Hippolitus, will allow that Aureng-zebe has some resemblance with his Character, and that Nourmahal, is in part copied from Phaedra, which will the better appear, if the Reader will compare the following Lines.n

Hip.

—Thesei vultus amo

Illos priores, quos tulit quondam puer;

Cum prima puras barba signaret genas,

Aur.

Aurengzebe, Act 4. Sc. 1.

I am not chang'd, I love my Husband still;

But Love him as he was when youthful Grace

And the first bloom began to shade his Face.

Hip.

—Magne regnator Deûm,

Tam lentus audis scelera? tam lentus vides?

Ecquando Saeva fulmen emittes manu,

Si nunc serenum est?

— Me velox cremet

Transactus ignis. Sum nocens; merui mori;

Placui novercae.

[Page]Aur.

Heavens can you this without just vengeance hear,

When will you Thunder, if it now be clear!

Yet Her alone let not your Thunder seize:

I too deserve to dye, because I please.

I could cite other passages in this Play borrow'd from Seneca, but this is enough to convict our Author of borrowing from the Latine Poets, now give me leave to give you one Instance likewise of his borrowing from Mr. Milton's Sampson Agonistes. p

Dal.

I see thou art implacable, more deaf

To Prayers than winds and seas, yet winds to seas

Are reconcil'd at length, and sea to shore:

Thy anger unappeasable still rages,

Eternal Tempest never to be calm'd.

Emp.

* Unmov'd she stood & deaf to all my prayers,

As Seas and Winds to sinking Mariners;

But Seas grow Calm, and Winds are reconcil'd:

Her Tyrant Beauty never grows more mild.

There are many other Hints from this Poem, that are inserted in this Play by Mr. Dryden, and which I should not have laid to his Charge had he not accus'd Ben Johnson of the same Crime.

Conquest of Granada, by the Spaniards, in two Parts, acted at the Theatre-Royal, printed in quarto Lond. 1678.q and dedicated to his Royal Highness the Duke. These Plays I have seen acted with great Applause, which so pufft up our Author with vanity, that he could not [Page] refrain from abusing his Predecessors, not only in the Postscript already mention'd; but even in a detracting Epilogue to the second Part, which I shall leave to the Readers perusal. I have already hinted, that not only the Episodes, and main Plot, but even the Characters are all borrow'd from French and Spanish Romances, as Almahide, Grand Cyrus, Ibrahim, and Gusinan: so that Mr. Dryden may be said to have made a Rod for himself, in the following Lines;r

And may those drudges of the Stage, whose Fate

Is damn'd dull Farce more dully to Translate,

Fall under that Excise the State thinks fit

To set on all French Wares, whose worst is Wit.

French Farce worn out at home, is sent abroad;

And patcht up here is made our English Mode.

How much Mr. Dryden has borrow'd from the French in this Play, cannot be comprehended in the compass to which I confine my self; and therefore I shall only mention some of the most remarkable Passages which are stollen. I am therefore in the first place to begin with the Persons represented: The Character of Almanzor is chiefly taken from Ponce de Leon in Almahide; from Ozmin in Gusman, and Artaban in Cleopatra. His other Characters of Boabdelin, Almahide, Ferdinand and Isabella, Duke of Arcos, Ozmin, Hamet, Gomel, &c. are taken from Almahide. The Characters of Ozmin and Benzaida, are borrow'd from Ibrahim, in the Story of Ozmin and Alibech, and Lyndaraxa, [Page] are copied from Prince Ariantes, Agathirsis, and Elibesis; See Grand Cyrus, Part IX. Book I.

I am now to give some Instances that may make good my Assertion, That Mr. Dryden has borrow'd most of his Thoughts, as well as his Characters from those Authors abovemention'd, tho'he has new cloath'd them in Rime. In the beginning of the First Act, he has borrow'd the Description of his Bull-feast, from Guzman's Juego de Toros & Cannas: See the Story of Ozmin and Daraxa, part 1. pag. 82. and 85. The Description of the Factions pag. 4 is borrow'd from Almahide p. 1. The next four Lines spoken by the King is taken from Prince Mussa's advice in Almahide, p. 6. The King's Speech in going between the Factions, pag. 5. is borrow'd from Almhide, Part 3. Book 3. p. 63. The Description of the Quarrell between Tarifa and Ozmin, is founded on Abindarrays his Speech in Alm. p. 2. The Rise of the Families, p. 6. from the same. Almanzor's killing Gomel, from Alm. p. 64. His quelling the Factions, from Alm. p. 64, 65. In the second Act, Almanzor's Victory, and his taking the Duke of Arcos Prisoner, p, 12. is copied from Almahide, p. 65. The Scene between Abdalla and Lyndaraxa, p. 13. is stollen from Alm. p. 62. and from the Story of Elibesis in Cyrus, Part 9. Book 1. p. 20. Zulema's Plea for Abdalla's right to the Crown, p. 17. is copied from Alm. p. 62. His tempting him to Rebellion, from Cyrus in the place above-mention'd. In the Third Act, Almanzor's going over to Abdalla, on the Kings refusal to grant the Duke of Arcos his Liberty, [Page] pag. 18. is taken from Alm. p.55. &c. The Alarm after the Zambra Dance from the same page. The first meeting of Almanzor and Almahide, p. 27. from Alm. p. 69. Of Abdalla and Almanzor, p. 30. from Alm. p. 71. The Controversy between Almanzor and Zulema, p. 31. from the same Column. In the Fourth Act, Almanzor's going over to Boabdelin's Party, p. 34. is taken from Alm. p. 72. Abdelmelech his coming to visit Lyndaraxa in Disguise, p. 35. is stollen from the former Story of Elibesis in Cyrus, p. 25. &c. Abdalla visiting her, being Royally attended with Guards, p.39. from the same, p.67. Almanzor's freeing Almahide from Abdalla's Captivity, p. 45. is copied from Alm. p. 73. The beginning of the Fifth Act, viz. The Scene between Abdalla, and Lyndaraxa, under the Walls of the Albayzin, immediately after his Defeat, p. 48. is stollen from Cyrus in the Story aforesaid, p. 61. His flying to the Christians, p. 50. from Alm. p. 72. Ozmin and Benzaida's flight, p. 62. from Ibrahim, p. 8.

I might proceed through the Second Part, did I not fear the Reader to be already as tir'd as my self. I shall therefore only acquaint him, that most of that Play is borrow'd as well as the former: So that had our Author stollen from others, in none of his Labours, yet these Plays alone argue him guilty of the highest Confidence, that durst presume to arraign the Ancient English Poets as Plagiaries, in a Postscript to two Plays, whose Foundation and Language are in a great measure stollen from the Beginning to the End. I would therefore desire [Page] Mr. Dryden henceforth to ponder upon the following Epigram, which seems to give him better Advice.s

Cum fueris Censor, primum te crimine purga,

Nec tua te damnent facta ne sanda reum.

Ne tua contemnas aliena negotia curans;

An tibi te quisquam junctior esse potest.

There are several Authors that have given an Account of this famous Action, as Mariana, L. 25. C. 18. Mayerne Turquet, L. 23. Thuanus, L. 48. Guicciardine, L. 12. Luc. Marinaeus Sic. L. 20. Car. Verardus. Domingo Baltanas, &c.

Don Sebastian, King of Portugal: a Tragedy acted at the Theatre-Royal, printed in quarto, Lond. 1690. and dedicated to the Right Honourable Philip Earl of Leicester. This Play is accounted by several One of the best of Mr. Dryden's, and was as I have heard acted with great Applause. The Foundation of it is built upon a French Novel call'd Don Sebastian, How far our Author has followed the French-man, I leave to the Readers of both to judge. Only give me leave to take notice of that passage in his Epistle to this Play, where he endeavours to clear himself from the charge of Plagiarie. He says, ‘The Ancients were never accus'd of being Plagiaries, for building their Tragedies on known Fables.’ To prove this assertion he brings several Instances; ‘Thus (says he) Augustus Caesar wrote an Ajax, which was not less his own because Euripides had written a Play before him on that Subject. [Page] Thus of late years Corneille writ an Oedipus after Sophocles; and I have design'd one after him, which I wrote with Mr. Lee, yet neither the French Poet stole from the Greek, nor we from the French-man. 'Tis the Contrivance, the new turn, and new Characters which alter the Property, and make it ours.’

I have not that I know of, any where accus'd the Poets in general, or Mr. Dryden in particular, for borrowing their Plots; knowing that it is allow'd by Scaliger, M. Hedelin, and other Writers. 'Tis true I have shew'd whether they were founded on History, or Romance, and cited the Authors that treat on the Subject of each Dramma, that the Reader, by comparing them, might be able to judge the better of the Poets abilities, and his skill in Scenical Performances. But tho' the Poet be allow'd to borrow his Foundation from other Writers, I presume the Language ought to be his own; and when at any time we find a Poet translating whole Scenes from others Writings, I hope we may without offence call him a Plagiary: which if granted, I may accuse Mr. Dryden of Theft, notwithstanding this Defence, and inform the Reader, that he equivocates in this Instance of Oedipus: for tho' he stole not from Corneille in that Play, yet he has borrow'd very much from the Oedipus Tyrannus of Sophocles, as likewise from that of Seneca.

For the Plot read the French Novel call'd Don Sebastian Roy de Portugal translated into English. Vasconcellos his Anacephalaeosis, sive [Page]Summa Capita Actorum Regum Lusitaniae, Anacaeph. 20. See besides other Writers of the Affairs of Portugal about 1578, in which year Sebastian was kill'd.

Duke of Guise, a Tragedy acted by Their Majesties Servants, written by Mr. Dryden, and Mr. Lee, printed in quarto Lond. 1683. and dedicated to the Right Honourable Laurence Earl of Rochester. This Play found several Enemies at its first appearance on the Stage: the Nation at that time being in a ferment about the Succession, which occasion'd several Pamphlets, pro and con, to be publisht. The main Plot is borrow'd from Davila, Mezeray, and other Writers of the Affairs of Charles the Ninth, as P. Mathieu, Memoires de Castelnau. See besides Thuanus, L. 93. The Story of Malicorn the Conjurer may be read in Rosset's Histoires Tragiques en la Vie de Canope,80 p. 449.

Evening's Love, or The Mock Astrologer, a Comedy acted at the Theatre-Royal by His Majesties Servants, printed in quarto Lond. 1671. and dedicated to his Grace William Duke of Newcastle. This Play is in a manner wholly stollen from the French, being patcht up from Corneille's Le Feint Astrologue; Molliere's Depit amoreux, and his Les Precieuses Ridicules; and Quinault's L'Amant Indiscreet: not to mention little Hints borrow'd from Shakespear, Petronius Arbiter &c. The main Plot of this Play is built on that of Corneille's, or rather Calderon's Play call'd El Astrologo fingido, which Story is likewise copied by M. Scudery in his Romance call'd Ibrahim, or the Illustrious Bassa [Page] in the Story of the French Marquess. Aurelia's affectation in her Speech p. 31. is borrow'd from Molliere's Les Precieuses Ridicules. The Scene between Alonzo and Lopez p. 39. is translated from Molliere's Depit amoreux, Act 2.Sc.6. Camilla's begging a new Gown of Don Melchor p. 61. from the same. Act 1. Sc. 2. The Love Quarrel between Wild-blood and Jacinta; Mascal and Beatrix; Act 4. Sc. the last: is copied from the same Play, Act 4. Sc. 3, and 4. The Scene of Wild-blood, Jacinta, &c. being discover'd by Aurelia's falling into Alonzo's Arms, p. 73. &c. is borrow'd from Quinault's L'Amant Indiscreet, Act 5. Sc. 4.

Kind Keeper, or Mr. Limberham, a Comedy acted at the Duke's Theatre, by his Royal Highness's Servants; printed in quarto Lond. 1680. and dedicated to the Right Honourable John Lord Vaughan. In this Play, (which I take to be the best Comedy of his) he so much expos'd the keeping part of the Town, that the Play was stopt, when it had but thrice appear'd on the Stage; but the Author took a becoming Care, that the things that offended on the Stage were either alter'd or omitted in the Press. One of our modern Writers in a short Satyr against Keeping, concludes thus;t;

Dryden good Man thought Keepers to reclaim,

Writ a Kind Satyr, call'd it Limberham.

This all the Herd of Letchers straight alarms,

From Charing-Cross to Bow was up in Arms;

They damn'd the Play all at one fatal Blow,

And broke the Glass that did their Picture show.

[Page]In this Play he is not exempt from borrowing some Incidents from French and Italian Novels: Mrs: Saintlys discovery of Love-all in the Chest, Act 1. is borrow'd from the Novels of Cynthio Gyraldi; see prima parte Deca 3a. Nov. 3. The same Story is in The Fortunate Deceiv'd, and Unfortunate Lovers, see Nov. 7. Deceiv'd Lovers. Mrs. Brainsicks pricking and pinching him, Act 3. Sc. 2. is copied from the Triumph of Love over Fortune, a Novel writ by M. S. Bremond, or else from Zelotide of M. de Païs: but these are things not worthy to be urg'd against any One, but Mr. Dryden, whose Critical Pen spares no Man.

Indian Emperor, or The Conquest of Mexico by the Spaniards, being the Sequel of the Indian Queen, printed in quarto Lond. 1670. and dedicated to the Most Excellent and most Illustrious Princess Anne Dutchess of Monmouth and Bucclugh. This Play is writ in Heroick Verse, and has appear'd on the Stage with great Approbation, yet it is not wholly free from Plagiarie; but since they are only Hints, and much improv'd, I shall not mention the Particulars. 'Tis sufficient for me to observe in general that he has borrow'd from Plutarch, Seneca, Montagne, Fletcher, &c. Mr. Dryden in the Second Edition to this Play, prefixt a Piece intituled, A Defence of an Essay of Dramatick Poesy, being an Answer to the Preface of The Great Favourite, or The Duke of Lerma: but upon some considerations our Author was obliged to retract it. For the Plot of this Play 'tis founded chiefly on History. See Lopez de Gomara Hist. [Page]General de las Incas, & de Conquista de Mexico. De Bry Americae Pars 9. L. 7. Ogleby's America, Chap. 3. Sect. 10. Mariana de Reb. Hisp. L. 26. Cap. 3. Four Letters printed in several Languages.

Marriage A-la-mode, a Comedy acted at the Theatre-Royal by Their Majesties Servants; printed in quarto Lond. 1673. and dedicated to the Right Honourable the Earl of Rochester. This Play tho' stil'd in the Title-page a Comedy, is rather a Tragi-Comedy, and consists of two different Actions; the one Serious, the other Comick, both borrow'd from two Stories which the Author has tackt together. The Serious Part is founded on the Story of Sesostris and Timareta in the Grand Cyrus, Part 9. Book 3. and the Characters of Palamede and Rhodophil, from the same Romance, Par.6. Bk 1. See the History of Timantes and Parthenia. I might mention also the Story of Nogaret in The Annals of Love, from whence part of the Character of Doralice was possibly borrow'd: and Les Contes D Ouville partie premiere p. 13. from whence the Fancy of Melantha's making Court to her self in Rhodophil's Name is taken; but this is usual with our Poet.

Mistaken Husband, a Comedy acted by His Majesties Servants at the Theatre-Royal, and printed in quarto Lond. 1675. This Play Mr. Dryden was not the Author of, tho 'twas adopted by him, as an Orphan, which might well deserve the Charity of a Scene which he bestowed on it. It is of the nature of Farce, or as the French term it Basse Comedie, as Mr. [Page] Bentley the Bookseller has observ'd u. 'Tis writ on the Model of Plautus's Maenechmi: and I have read a Story somewhat like it in L'Amant Oysif. Tome 2. p. 297. Nouvelle intitulée D. Martin.

Oedipus, a Tragedy acted at his Royal Highness the Duke's Theatre, written by Mr. Dryden and Mr. Lee, printed in quarto Lond. 1679. This Play is certainly one of the best Tragedies we have extant; the Authors having borrow'd many Ornaments not only from Sophocles, but also from Seneca; though in requital Mr. Dryden has been pleas'd to arraign the Memory, of the later by taxing himx of ‘Running after Philosophical Notions more proper for the Study than the Stage.’ As for Corneille he has scouted him for failing in the Character of his Hero, which he calls an Error in the first Concoction: tho' possibly 'twas so in him to fall upon two such Great Men, without any provocation, and to whom he has been more than once oblig'd for beautiful Thoughts. As to the Plot 'tis founded on the Tragedies of Sophocles and Seneca.

Rival Ladies, a Tragi-Comedy, acted at the Theatre-Royal, printed in quarto Lond. 1679. and dedicated to the Right Honourable Roger Earl of Orrery. This Dedication is in the Nature of a Preface written in Defence of English Verse. The Authors Sentiments were afterwards controverted by Sr. Robert Howard, in the Preface to his Plays: to which Arguments Mr. Dryden reply'd, towards the end of his [Page] Dramatick Essay. Sr. Robert made a Rejoynder, when he publisht his Duke of Lerma: and Mr. Dryden answer'd him again in the Preface to his Indian Emperour, as I have already observ'd.

I beg leave of my Reader, to make one Remark on this Preface, to Rectify the following mistake committed by our Author. He says, ‘That The Tragedy of Queen Gorbuduc was written in English Verse; and consequently that Verse was not so much a new way amongst us, as an old way new reviv'd: and that this Play was written by the late Lord Buckhurst, afterwards Earl of Dorset.’

Mr. Dryden, as well as Sr. Fopling, notwithstanding his smattering in the Mathematicks, is out in his Judgment at Tennis: for first (tho' His Majesties late Historiographer) he is mistaken in the Title-page: and I must crave leave to tell him by the by, that I never heard of any such Queen of Brittain, any more than he, of any King that was in Rhodes. Nay further had he co [...] Milton's History of England, or any other Writers of Brute's History, nay, even the Argument of that very Play, he would have found Gorbuduc to have been the last King of that Race, at least the Father of Ferex and Porrex, in whom terminated the Line of Brute: and consequently would not have permitted so gross an Error to have escapt his Pen for Three Editions: tho' it may be Mr. Dryden's Printer was as much to blame to print Queen for King, as he ironically accuses Sr. Robert's for setting shut for open. There are other Errata's in History, which I might impute [Page] at least to Mr. Dryden's Negligence; but I shall at present wave them. In the mean time I must acquaint the Reader, that however Mr. Dryden alledges that this Play was writ by the Lord Buckhurst, I can assure him that the three first Acts were writ by Mr. Thomas Norton: and that the Play it self was not written in Rime, but blank Verse, or if he will have it, in prose mesurée, so that Mr. Shakespear notwithstanding our Author's Allegation, was not the first beginner of that way of Writing.

As to his Oeconomy, and working up of his Play, our Author is not wholly free from Pillage, witness the last Act; where the Dispute between Amideo, and Hippolito; with Gonsalvo's fighting with the Pirates, is borrow'd from Petronius Arbyter, as the Reader may see by reading the Story of Encolpius, Giton, Eumolpus, and Tryphaena, aboard Licas's Vessely To say nothing of the Resemblance of the Catastrophe with that of Scarron's Rival Brothers, Novel the Fifth.

Secret Love, or The Maiden Queen; a Tragi-Comedy acted by His Majesties Servants at the Theatre-Royal, printed in quarto Lond. 1679. I have already made some observation on this Preface, p. 143. and cannot pass by his making use of Bayes's Art of Transversing, as any One may observe by comparing the Fourth Stanza of his First Prologue, with the last Paragraph of the Preface to Ibrahim. As to the Contrivance of the Plot, the serious part of it is founded on the History of Cleobuline Queen of Corinth, [Page] Part 7. Book 2. The Characters of Celadon, Florimel, Olinda, and Sabina, are borrow'd from the Story of Pisistates and Cerintha in the Grand Cyrus, Part 9. Book 3. and from the Story of the French Marquess in Ibrahim, Part 2. Book 1.

Sir Martin Mar-all, or The Feign'd Innocence, a Comedy acted at His Highness the Duke of York's Theatre, printed in quarto Lond. 1678. This Play is generally ascrib'd to Mr. Dryden, tho' his Name be not affix'd to it. But in reality the Foundation of it is originally French: and whoever will compare it with M. Quinault's L'Amant Indiscret, and Molliere's L'Etourdy, ou le contre temps, will find not only the Plot, but a great part of the Language of Sr. Martin and his Man Warner borrow'd. There are several other Turns of the Plot copied from other Authors; as Warner's playing on the Lute instead of his Master, and his being surpriz'd by his Folly; See Francion written by M. Du Pare Lib. 7. Old Moody and Sr. John being hoisted up in their Altitudes, is taken (at least the hint of it) from Shakerly Marmion's Fine Companion, Act 4. Sc. 1. The Song of Blind Love to this Hour, (as I have already observ'd z) is translated from a Song made by M. de Voiture: tho' I must do Mr. Drydeu the Justice to acquaint the World, that he has kept to the Sense, and the same Measure of Verse.

Spanish Fryar, or The Double Discovery, a Tragi-Comedy acted at the Duke's Theatre; printed in quarto Lond. 1681. and dedicated to the Right Honourable John Lord Haughton. [Page] Whether Mr. Dryden intended his Character of Dominick as a Satyr on the Romish Priests only, or on the Clergy of all Opinions in general, I know not: but sure I am, that he might have spar'd his Reflecting Quotation in the Front of his Play:

Ut melius possis fallere sume togam.

But the truth is, ever since a certain Worthy Bishop refus'd Orders to a certain Poet, Mr. Dryden has declar'd open defiance against the whole Clergy; and since the Church began the War, he has thought it but Justice to make Reprisals on the Church. Mr. Dryden who is famous for collecting Observations, and Rules for Writing, has learnt this great Arcanum from his Brother Poet, the Tutor to Pacheco in the Comedy of the Reformation a; ‘That this one piece of Art of Reflecting in all he writes, on Religion and the Clergy, has set off many an indifferent Play, by the titilation it affords the Gallants, who are sure to get those Verses all by heart, and fill their Letters with them to their Country Friends.’ But whatever success this way of Writing may find from the Sparks, it can never be approv'd on by sober Men: and there are none who have any sense of Religion themselves, that can without concern suffer it to be abus'd; and none but Apostates or Atheists will be so impudent to attempt it: and the real cause of their Envy and Malice is the same with that of the Emperor to his Son Aureng-zebe b, which with Reference to the Clergy may be thus apply'd.

[Page]

Our Clergy's sacred Virtues shine too bright,

They flash too fierce: their foes like birds of night,

Shut their dull Eyes, and sicken at the sight.

The Comieal Parts of the Spanish Fryar, Lorenzo, and Elvira, are founded on Monsieur S. Bremond's Novel call'd the Pilgrim.

State of Innocence, or The Fall of Man, an Opera written in Heroick Verse, printed in quarto Lond. 1678. and dedicated to Her Royal Highness the Dutchess. Whether the Author has not been guilty of the highest Flattery in this Dedication, I leave to the Reader's Judgment; but I may presume to say, that there are some Expressions in it that seem strain'd, and a Note beyond Ela; as for Instance, ‘Your Person is so admirable that it can scarce receive addition, when it shall be glorified: and your Soul, which shines through it, finds it of a Substance so near her own, that she will be pleas'd to pass an Age within it, and to be confin'd to such a Pallace.’ This Dramma is commended by a Copy of Verses written by Mr. Lee; and the Author has prefixt an Apology for Heroick Poetry, and Poetick Licence. The foundation of this Opera is fetcht from Mr. Milton's Paradise Lost. How far our Author has transcrib'd him, I shall leave to the inquiry of the Curious, that will take the pains to compare the Copy with the Original.

Tempest, or The Inchanted Island, a Comedy acted at His Royal Highness the Duke of York's Theatre, and printed in quarto Lond. 1676. This Play is originally Shakespear's (being the [Page] first Play printed in the Folio Edition) and was revis'd by Sr. D'Avenant and Mr. Dryden. The Character of the Saylors were not only the Invention of the former, but for the most part of his Writing: as our Author ingeniously confesseth in his Preface. 'Tis likewise to his Praise, that he so much commends his deceas'd Predecessor. But as to his Reflections on Mr. Fletcher, and Sr. John Suckling for having copied, the One, his Sea Voyage, the other, his Goblins, from this Play; I believe were Mr. Dryden to be try'd by the same Standard, most of his Plays would appear Copies.

Troilus and Cressida, or Truth found out too late; a Tragedy acted at the Duke's Theatre, to which is prefixt a Preface containing the Grounds of Criticisme in Tragedy, printed in quarto Lond. 1679. and dedicated to the Right Honourable Thomas Earl of Sunderland. This Play was likewise first written by Shakespear, and revis'd by Mr. Dryden, to which he added several new Scenes, and even cultivated and improv'd what he borrow'd from the Original. The last Scene in the third Act is a Masterpiece, and whether it be copied from Shakespear, Fletcher, or Euripides, or all of them, I think it jnstly deserves Commendation. The Plot of this Play was taken by Mr. Shakespear from Chaucer's Troilus and Cressida; which was translated (according to Mr. Dryden) from the Original Story, written in Latine Verse, by One Lollius, a Lombard.

Tyranick Love, or The Royal Martyr, a Tragedy acted by His Majesties Servants at the [Page] Theatre-Royal, printed in quarto Lond. 1677. and dedicated to the Most Illustrious Prince James Duke of Monmouth and Bucclugh. This Tragedy is writ in Heroick Verse: and several Hints are borrow'd from other Authors, but much improv'd. Only I cannot but observe that whenever the Criticks pursue him, he withdraws for shelter under the Artillery of the Ancients; and thinks by the discharge of a Quotation from a Latine Author, to destroy their Criticisms. Thus in the Preface to his Play, he vindicates the following Line in his Prologue;

And he who servilely creeps after Sence

Is safe; —

By that Quotation of Horace,

Serpit humi tutus.

So he justifies the following Line in the end of the Fourth Act:

With Empty Arms embrace you whilst you sleep,

From this Expression in Virgil,

—Vacuis amplectitur Ulnis.

I could cite you other passages out of his Conquest of Granada, Indian Emperor, State of Innocence, &c. but these are sufficient to shew, how much Self-justification is an Article of our Author's Creed. As to the Plot of this Tragedy 'tis founded on History: see Zosimus, L.4. Socrates, L.5. C.14. Herodiani Hist. L.7. and 8. Jul. Capitolinus, in Vit. Max. Jun.

Wild Gallant, a Comedy acted at the Theatre Royal by Their Majesties Servants, and printed in quarto Lond. 1669. This Play tho' the last mention'd, by reason of the Alphabetical [Page] Order throughout observ'd, was yet the first attempt which our Author made in Dramatick Poetry; and met with but indifferent Success in the Action. The Plot he confesses was not originally his own, but however having so much alter'd and beautified it, we will do him the Honour to call him the Author of the Wild Gallant, as he has done Sr. Robert Howard, the Author of the Duke of LermaDefence of his Dramatick Essay, p. 5.: and by way of Excuse I shall transcribe his own Lines in behalf of a New Brother of Parnassus. Miscellany Poems, 8o. 1684. p. 292.

'Tis Miracle to see a first good Play,

All Hawthorns do not bloom on Christmass-day;

A slender Poet must have time to grow,

And spread and burnish as his Brothers do.

Who still looks lean, sure with some Pox is curst;

But no Man can be Falstaff Fat at first.

I am next to give the Reader an Account of his other Writings and Transactions, as far as they are come to my Knowledge, and I shall begin with those in Verse, because nearer ally'd to my present Subject. There are several pieces of this Nature said to be writ by him; as Heroick Stanzas on the late Usurper Oliver Cromwel, written after his Funeral, and printed in quarto Lond. 1659. Annus Mirahilis, The Year of Wonders 1666. An Historical Poem describing the Dutch War, and the Fire of London, printed in octavo Lond. 1667. Absalom and Achitophel, printed in quarto Lond. 1682. This last, with several other of his [Page] Poems, as the Medal, Mack Flecknoe, &c. are printed in A Collection of Poems, in octavo Lond. 1684. Sylva, or a Second Volume of Poetical Miscellanies, in octavo Lond. 1685. Religio Laici, printed in quarto Lond. 1682. Threnodia Augustalis, or a Funeral-Pindarique Poem on King Charles the Second, printed in quarto Lond. 1685. Hind and Panther, in quarto Lond. 1687. Britannia Rediviva: a Poem on the Birth of the Prince, in Fol. Lond. 1688.

In Prose he has writ An Essay of Dramatick Poetry, in quarto Lond. 1668. Vindication of the Duke of Guise, in quarto Lond. 1683. The Life of Plutarch, in octavo Lond. 1683. And some Theological Pieces which I have not by me at present. He has translated The History of the League. The Life of St. Xavier, &c.

Now that Mr. Dryden may not think himself slighted in not having some Verses inserted in his Commendation; I will present the Reader with a Copy written by Mr. Flecknoe, and leave him to Judge of his Wit, and Mr. Dryden's Gratitude, by comparing the Epistle Dedicatory to his Kind Keeper, and his Satyr call'd Mack Flecknoe, with the following Epigram.

To Mr. John Dryden.

Dryden, the Muses Darling and delight,

Than whom none ever flew so high a flight.

Some have their Vains so drossy, as from Earth,

Their Muses only seem to have ta'ne their Birth.

Other but Water-Poets are, have gone

No farther than to th'Fount of Helicon:

[Page]And they'r but airy Ones whose Muse soars up higher

No higher than to Mount Pernassus top;

Whilst thou with thine, dost seem to have mounted

Than he who fetcht from Heaven Celestial Fire:

And dost as far surpass all others, as

Fire does all other Elements surpass.

Thomas DUFFET.

An Author altogether unknown to me, but by his Writings; and by them I take him to be a Wit of the third Rate: and One whose Fancy leads him rather to Low-Comedy, and Farce, than Heroick Poetry. He has written three Plays; Two of which were purposely design'd in a Burlesque Stile: but are intermixt with so much Scurrility, that instead of Diverting, they offend the modest Mind. And I have heard that when one of his Plays, viz. The Mock Tempest was acted in Dublin, several Ladies, and Persons of the best Quality left the House: such Ribaldry pleasing none but the Rabble, as Horace says;e

Offenduntur enim, quibus est equus, & pater, & res:

Nec si quid fricti ciceris probat, & nucis emptor,

AEquis accipiunt animis, donant-ve coronâ.

Mock Tempest, or The Enchanted Castle, a Farce acted at the Theatre-Royal, printed in quarto Lond. 1675. The Design of this Play was to draw the Town from the Duke's Theatre, who for a considerable time had frequented that admirable reviv'd Comedy call'd The Tempest. [Page] What success it had may be learnt from the following Lines;f

The dull Burlesque appear'd with Impudence,

And pleas'd by Novelty for want of Sence.

Ali except trivial points, grew out of Date;

Parnassus spoke the Cant of Billingsgate:

Boundless and Mad, disorder'd Rime was seen;

Disguis'd Apollo chang'd to Harlequin.

This Plague which first in Country Towns began,

Cities and Kingdoms quickly over-ran;

The dullest Scriblers some Admirers found,

And the Mock-Tempest was a while renown'd;

But this low stuff the Town at last despis'd,

And scorn'd the Folly that they once had priz'd.

Psyche Debauch'd, a Comedy acted at the Theatre Royal, and printed 8o Lond. 1678. This Mock Opera was writ on purpose to Ridicule Mr. Shadwell's Psyche, and to spoil the Duke's House, which, as has been before observ'd, was then more frequented than the King's. This Play is as Scurrilous as the former.

Spanish Rogue, a Comedy acted by His Majesties Servants, printed in quarto Lond. 1674. and dedicated to Madam Ellen Guin. Tho' this Play far exceed either of the former, yet I cannot commend it, neither do I think Comedy a fit subject for Heroick Verse; few of them being writ in Rime, in our Language; and those few, scarce any of them have succeeded on the English Stage.

Our Author has writ nothing else that I know of, but a Book of Poems, Songs, Prologues, and Epilogues, printed in octavo Lond. 1676.

Thomas DURFEY.

[Page]

A Person now living, who was first bred to the Law, but left that rugged way, for the flowry Fields of Poetry. He is accounted by some for an Admirable Poet, but it is by those who are not acquainted much with Authors, and therefore are deceiv'd by Appearances, taking that for his own Wit, which he only borrows from Others: for Mr. Durfey like the Cuckow, makes it his business to suck other Birds Eggs. In my Opinion he is a much better Ballad-maker, than Play-wright: and those Comedies of his which are not borrow'd, are more ally'd to Farce, than the true Comedy of the Ancients. The Plays to which he lays claim, are Thirteen in Number; viz.

Banditti, or A Ladies Distress, a Comedy acted at the Theatre-Royal, printed in quarto Lond. 1686. This Play was affronted in the Acting by some who thought themselves Criticks, and others with Cat-calls, endeavour'd at once to stisle the Author's Profit, and Fame: which was the occasion, that through Revenge he dedicated it to a certain Knight under this Ironical Title. To the extream Witty and Judicious Gentleman, Sir Critick-Cat-call. The chief Plot of this Play is founded on a Romance, written by Don Francisco de las Coveras, call'd Don Fenise translated into English, in 8o. See the History of Don Antonio, Book 4. p. 250. The design of Don Diego's turning Banditti, and joining with them to rob his supposed Father; resembles that of Pipperollo in Shirley's Play call'd The Sisters.

[Page] Common-wealth of Women, a Tragi-Comedy acted at the Theatre-Royal, by Their Majesties Servants, printed in quarto Lond. 1686. and dedicated to the truly Noble and illustrious Prince Christopher Duke of Albermarle. This Play is Fletcher's Sea-Voyage reviv'd, with the Alteration of some few Scenes; tho' what is either alter'd or added may be as easily descern'd from the Original, as Patches on a Coat from the main Piece.

Fond Husband, or The Plotting Sisters; a Comedy acted at his Royal Highness the Duke's Theatre, printed in quarto Lond. 1678. and dedicated to his Grace the Duke of Ormond. This is One of his best Comedies, and has been frequently acted with good Applause: tho' methinks the business of Sneak, Cordelia, and Sir Roger Petulant, end but abruptly.

Fool turn'd Critick, a Comedy acted at the Theatre-Royal by His Majesties Servants, and printed in quarto Lond. 1678. The Prologue to this Play is the same with that of Mr. Anthony, and was I suppose borrow'd from thence. The Characters of Old Wine-love, Tim, and Small-wit, resemble those of Simo, Asotus, and Balio in the Jealous Lovers.

Fools Preferment, or The Three Dukes of Dunstable, a Comedy acted at the Queens Theatre in Dorset-Garden by their Majesties Servants, with the Songs and Notes to them, Composed by Mr. Henry Purcel, printed in quarto Lond. 1688. and dedicated to the Honourable Charles Lord Morpeth, with this familiar Title, My Dear Lord, and subscrib'd like a Person [Page] of Quality, only with his Sir-name D'Urfey. Nor is his Epistle less presumptuous, where he arrogates to himself a Play, which was writ by another, and owns only a hint from an old Comedy of Fletcher's, when the whole Play is in a manner trascrib'd from the Noble Gentleman, abating the Scene that relates to Basset, which is borrow'd from a late traslated Novel, call'd The Humours of Basset. As to part of the first Paragraph of his Dedication 'tis borrow'd from the translation of Horace's Tenth Satyr, by the Earl of Rochester: and any Man that understands French, and should read a Place he there quotes out of Montaigne, would be so far from taking him to be (as he stiles himselfg Nephew to the famous D'Urffee, the Author of the Excellent Astraea; that they would rather think he understood not the Language, or was extreamly negligent, in suffering such Errata to go uncorrected. For my part, I should rather take him to be lineally descended from the Roman Celsus, whom Horace makes mention of in his Epistle to his Friend Julius Florus h: at least I am sure the Character will fit our Author.

Quid mihi Celsus agit? monitus, multum (que), monendus,

Privatas ut quaerat opes, & tangere vitet

Scripta, Palatinus quaecun (que) recepit Apollo:

Ne, si fortè suas repetitum venerit olim

Grex avium plumas, moveat cornicula risum,

Furtivis nudata coloribus.—

[Page] Injur'd Princess, or The fatal Wager, a Tragi-Comedy acted at the Theatre-Royal by His Majesties Servants, printed in quarto Lond. 1682. The Design and the Language of this Play is borrow'd from a Play call'd the Tragedy of Cymbeline. In this Play he is not content with robbing Shakespear, but tops upon the Audience an old Epilogue to the Fool turn'd Critick, for a new Prologue to this Play. So that what Mr. Clifford said of Mr. Dryden i, is more justly applicable to our Author, ‘That he is a strange unconscionable Thief, that is not content to steal from others, but robbs his poor wretched Self too.’

Madam Fickle, or The Witty false One, a Comedy acted at his Royal Highness the Duke's Theatre, printed in quarto Lond. 1677. and dedicated to his Grace the Duke of Ormond. This Play is patch up from several other Comedies, as the Character of Sir Arthur Old Love, is borrow'd from Veterano in the Antiquary; Zechiel's creeping into the Tavern Bush, and Tilbury Drunk in the Street under it, with a Torch, Act 5. Sc. 2. is borrow'd from Sir Reverence Lamard, and Pimp-well in the Walks of Islington and Hogsden. There are other Hints likewise borrow'd from the Fawn: so that the Author did well to prefix that Verse of Horace before his Play,

Non cuivis Homini contingit adire Corinthum,

plainly implying, that he could not write a Play without stealing.

[Page] Royalist, a Comedy acted at the Duke's Theatre, and printed in quarto Lond. 1682. This Comedy was well receiv'd on the Stage, but patcht up from Novels, as the former from Plays. Witness the Tryals which Camilla put upon her Husband Sir Oliver Old-cut, for the Love of Sir Charles King-love; which the Author borrow'd from Boccace, Day 7. Nov.9. Les Contes de M. de la Fontaine pag. 47. and other Hints. Nay our Author who sets up himself for Madrigals, has stoln the Song of Hey Boys up go We, &c. in the fourth Act, from The Shepherds Oracle, an Eclogue printed in quarto Lond. 1644.

Siege of Memphis, or The Ambitious Queen, a Tragedy acted at the Theatre-Royal, printed in quarto Lond. 1676. This Play is writ in Heroick Verse, and dedicated to the Truly Generous Henry Chivers Esq who shew'd himself truly such, in defending a Play so full of Bombast, and Fustian. There goes more to the making of a Poet, than capping Verses, or taging Rimes, 'tis not enough concludere versum, as Horace k calls it, but a Poet must be such a One,

Ingenium cui sit, cui mens divinior, atque os

Magna sonaturum, des nominis hujus honorem.

I would therefore advise all these Poetasters in the words of a Modern Prologuel;

Rimesters, get Wit e're ye pretend to shew it,

Nor think a game at Crambo makes a Poet.

Squire Old-sap, or The Night Adventurers, a [Page] Comedy acted at his Royal Highness the Duke's Theatre, printed in quarto Lond. 1679. This Comedy is very much beholding to Romances for several Incidents; as the Character of Squire Old-sap, and Pimpo's tying him to a Tree, Act 1. is borrow'd from the begining of the Romance call'd the Comical History of Francion. Trick-love's cheating Old-sap with the Bell, and Pimpo's standing in Henry's place, Act 4. Sc. 3. is borrow'd from Boccace's Novels, Day 7. Nov. 8. The same is related in Les Contes de M. de la Fontaine in the Story intituled La Gageure des trois Commeres Tom. 1. pag. 47. Trick-love's contrivance with Welford, to have Old-sap beaten in her Habit, Act 4. Sc. the last, is borrow'd from Boccace Day 7. Nov. 7. tho' the same is an incident in other Plays, as in Fletcher's Women Pleas'd, London Cuckolds, &c. There are other passages borrow'd likewise, which I purposely omit to repeat.

Sir Barnaby Whig, or No Wit like a Womans, a Comedy acted by their Majesties Servants at the Theatre-Royal, printed in quarto Lond. 1681. and dedicated to the Right Honourable George Earl of Berkley. This Play is founded on a Novel of Monsieur S. Bremond, call'd The Double Cuckold; and the part of the Humor of Captain Porpuss is borrow'd from a Play called The Fine Companion.

Trick for Trick, or The Debauch'd Hypocrite, a Comedy acted at the Theatre-Royal by his Majesties Servants, printed in quarto Lond. 1678. This Play is only Fletcher's Monsieur Thomas reviv'd: tho' scarce at all acknowledg'd by our Author.

[Page] Virtuous Wife, or Good luck at last; a Comedy acted at the Dukes Theatre by His Royal Highness his Servants, printed 4o. Lond. 1680. This Comedy is one of the most entertaining of his; tho' there are many little hints borrow'd from other Comedies, as particularly the Fawn; and the Humor of Beaufort, is copy'd from Palamede, in Marriage A-la-mode.

Besides these Plays, he has written several Songs, which (if I mistake not) were collected into one entire Vol. and printed 8o. Lond. 1682. But I wou'd not have him ascribe all his Songs, any more than his Plays, to his own Genius, or Imagination; since he is equally beholding for some of them to other Mens pains; Witness the above-mention'd Song in the Royalist, And didst thou not promise me when thou ligst by me, &c. He has writ besides other pieces, as Butler's Ghost, printed 8o. Lond. 1682. Poems, 8o. Lond. 1690. Collin's Walk, 8o. Lond. 1690. &c.

E.

Edward ECCLESTON.

A Gentleman now living, the Author of an Opera, of the same Nature with Mr. Dryden's State of Innocence; but being publisht after it, it serv'd rather as a Foil to the excellent piece, than any ways rival'd its Reputation. This piece first bore the Title of ‘Noahs Flood, or The Destruction of the World,’ [Page] an Opera printed 4o. Lond. 1679. and dedicated to her Grace the Dutchess of Monmouth: This Play not going off, a new Title and Cuts were affix'd to it in Hillary-Term 1684. it then going under the Title of The Cataclism, or General Deluge of the World. Whether Mr. Holford was more successful than Mr. Took, in putting off the remainder of the Impression, or whether the various Sculptures took more with the Ladies of the Pal-mall, than the Sence did with those who frequent Paul's Church-Yard, I am not able to determine: but I doubt the Bookseller still wants Customers, since I again find it in the last Term Catalogue, under the Title of The Deluge, or The Destruction of the World. The Title shews the Foundation of it to be Scripture.

Sir George ETHERIDGE.

A Gentleman sufficiently eminent in the Town for his Wit and Parts, and One whose tallent in sound Sence, and the Knowledge of true Wit and Humour, are sufficiently conspicuous: and therefore I presume I may with justice, and without envy, apply Horace's Character of Fundanus, to this admirable Author;a

Argutâ meretrice potes, Davoque Chremeta

Eludente senem, comis garrire libellos,

Unus vivorum, Fundani.—

This Ingenious Author has oblig'd the World by publishing three Comedies, viz.

[Page] Comical Revenge, or Love in a Tub, a Comedy, acted at his Royal-Highness the Duke of York's Theatre in Lincolns-Inn-fields: printed quarto Lond. 1669. and dedicated to the Honourable Charles Lord Buckhurst. This Comedy tho' of a mixt nature, part of it being serious, and writ in Heroick Verse; yet has succeeded admirably on the Stage, it having always been acted with general approbation.

Man of Mode, or Sir Fopling Flutter, a Comedy acted at the Duke's Theatre printed 4o. Lond. 1676. and dedicated to her Royal Highness the Dutchess. This Play is written with great Art and Judgment, and is acknowledg'd by all, to be as true Comedy, and the Characters as well drawn to the Life, as any Play that has been Acted since the Restauration of the English Stage. Only I must observe, that the Song in the last Act written by C.S. is translated from part of an Elegy written in French by Madame la Comtesse de la Suze, in Le Recüeil des Pieces Gallantes, tom. 1. p. 42.

She wou'd if she cou'd, a Comedy Acted at his Highness the Duke of York's Theatre, and printed quarto Lond. 1671. This Comedy is likewise accounted one of the first Rank, by several who are known to be good Judges of Dramatick Poesy. Nay our present Laureat says,b 'Tis the best Comedy written since the Restauration of the Stage. I heartily wish for the publick satisfaction, that this great Master would oblidge the World with more of his Performances, which would put a stop to the [Page] crude and indigested Plays, which for want of better, cumber the Stage.

F.

Sir Francis FANE, Junior, Knight of the Bath.

A Gentleman now living at Fulbeck in Lincoln-shire, and Granson (as I suppose) to the Right Honourable the Earl of Westmorland. This Noble Person's Wit and Parts, are above my Capacity to describe; and therefore I must refer my Reader to his Works, which will afford him better satisfaction. He has obliged the World with two Plays, which are equall'd by very few of our modern Poets, and has shew'd that he can command his Genius, being able to write Comedy, or Tragedy, as he pleases.

Love in the dark, or The Man of business, a Comedy; acted at the Theatre Royal by his Majesties Servants: printed 4o. Lond. 1675. and dedicated to the Right Honourable John Earl of Rochester. The Plot of Count Sforza, and Parthelia Daughter to the Doge of Venice, is founded on a novel of Scarron's, call'd the Invisible Mistress. Bellinganna, Cornanto's Wife, sending Scrutinio to Trivultio, to check him for making Love to her, is founded on a Novel in Boccace, Day 3. Nov. 3. Hircanio's Wife catching him with Bellinganna, is built on the Story of Socrates and his Wife Mirto, in the Loves [Page] of Great Men p.59. Trivultio's seeming to beat Bellinganna, is grounded on a Story in Boccace, See Day 7. Nov. 7.

Sacrifice, a Tragedy printed 4o. Lond. 1686. and dedicated to the Right Honourable Charles Earl of Dorset and Middlesex. There are two Copies of Verses that I have seen writ in Commendation of this Play; one writ by Mr. Tate, to the Author, and printed with the Play; the other writ by the late Mrs. A. Behn; see the Miscellany Poems printed with Lycidas, or the Lover in Fashion 8o. p. 102. The Plot of this admirable Tragedy is founded on the Story of Tamerlane and Bajazet. Many are the Historians that have given an Account of the Affairs of these Great Men. Read Chalcocondylas lib.3. Leunclavius lib.6. The Life of Tamerlane by Mr. D'Assigny; the same by P. Perondini; Knolls his Turkish History, in the Life of Bajazet the First. This Play, the Authora (wanting patience to attend the leisure of the Stage) published without Action. How much all Lovers of Poetry are indebted to him for it, I must leave to those that are Poets to describe: I that am none, am glad to set my hand to an Address drawn up by Mr. Tate, in the following Lines.

Accept our Thanks, tho' you decline the Stage,

That yet you condescend the Press t' engage:

For while we, thus possess the precious store,

Our Benefits the same, your Glory more;

Thus for a Theatre the World you find,

And your Applauding Audience, All Mankind.

[Page]'Tis not in Dramatick Poetry alone that our Author is a Master, but his Talent is equal also in Lyricks: Witness three Copies of Verses printed in Mr. Tate's Collection of Poems 8o. One to the Earl of Rochester, upon the Report of his Sickness in Town,b in allusion to an Ode in Horace. A second to a great Lord inviting him to Court, or else to write a History in the Country:c being a Paraphrase upon Horace Lib. 2. Ode 12. A third to a perjur'd Mistress, d in imitation of another Ode of Horace Lib. 1. Ode 8.

The Honble Sir Richard FANSHAW.

This Excellent Man was Brother to the Right Honourable Thomas Lord Fanshaw, of Ware-Park in Hertfordshire. He had his Breeding in his younger Years in Cambridge: and was so good a Proficient in Latin, French, Italian, Spanish, and Portugese; that he understood them as well as his Mother-tongue. He removed from Cambridge to Court, where he serv'd his Majesty with all imaginable Fidelity, and Dutiful Affection. He was his Secretary in Holland, France, and Scotland; and at Worcester Fight was wounded, and taken prisoner in Defence of the Royal Cause. His Loyalty and Abilities, were so conspicuous to His Majesty King Charles the II. that at His happy Restauration, He preferr'd him to be one of the Masters of the Requests; and afterwards sent him into Portugal, with the worthy Title of Lord [Page] Embassador of Honour, to court the present Queen Dowager, for this Master; where he remain'd three Years, and discharg'd his Employment with Honour. In the Year 1644. he was sent Embassador into Spain, to compleat a Treaty of Commerce, and to strengthen the League between the two Crowns: which Affair he managed with great Prudence, and Integrity. He died at Madrid in July 1666. leaving behind him the Character of an able Statesman; a great Scholar; and a sincere, sweet natur'd, and pious Gentleman. At present we are only to consider his Scholarship, which will sufficiently appear by the several Translations which he has publisht, particularly those which are Dramatick: the first of which in Order, and the most Eminent, is stil'd

Il Pastor Fido, The Faithful Shepherd, a Pastoral, printed 4o. Lond. 1646. and dedicated to the Hope and Lustre of three Kingdoms, Charles Prince of Wales. This Piece is translated from the Italian of the Famous Guarini; of whose Life, by way of Digression, give me leave to speak succinctly. He was a Native of Ferrara, and Secretary to Alphonsus the II. Duke of that Principality; who sent him into Germany, Poland and Rome, in the time of Pope Gregory the XIII. After the death of Alphonsus, he was Secretary to Vincent de Gonzaga Duke of Mantua, to Ferdinand de Medicis Great Duke of Tuscany, who created him Knight of the Order of Saint Stephen, and to Francis Maria de la Rovera Duke of Urbin: in all these Stations, he was as much admir'd for his Politicks, as Poetry. How much [Page] he was esteem'd for this last, the several Academies of Italy are a sufficient proof; most of which elected him a Member into their several Societies; as Gli Humoristi of Rome, De la Crusca of Florence, Gli Olympici of Vicenza, and Gli Innominati of Parma, and Gli Elevati of Ferrara. He withdrew from pulick Affairs towards the latter end of his Life, and dwelt privately at Padua, afterwards at Venice, where being about seventy five Years of Age, he died in the Year 1613.

Having given you this Abridgment of Guarini's Life, I shall return to our English Author's Translation. Tho' in his Epistle to the Prince, ‘He speaks modestly of his Performance, as if this Dramatick Poem had lost much of the Life and Quickness, by being poured out of one Vessel, (that is one Language) into another; besides the unsteadiness of the Hand that pours it; and that a Translation at the best, is but a Mock-Rainbow in the Clouds, faintly imitating the true one; into which Apollo himself had a full and immediate Influence:’ I say, notwithstanding this modest Apology; yet Sir John Denham in his Verses on this Translation, infinitely commends it: and tho' he seems to assent to our Author's Notions, touching Translations in general: yet he shews that Sir Richard has admirably succeeded in this particular Attempt; as the Reader may see by the following Lines; where after having blam'd servile Translators, he goes on thus;

A new and nobler Way thou dost pursue

To make Translations, and Translators too.

[Page]They but preserve the Ashes, thou the Flame,

True to his Sense, but truer to his Fame.

Foording his Current, where thou find'st it low,

Let'st in thine own, to make it rise and flow.

Wisely restoring whatsoever grace

Is lost by change of Times, or Tongues, or Place,

Nor fetter'd to his Numbers, and his Times,

Betray'st his Musick to unhappy Rimes;

Nor are the Nerves of his compacted strength

Stretch'd and dissolv'd into unsinew'd length:

Yet after all (lest we should think it thine,)

Thy Spirit to his Circle dost confine.

I have already said, that Guarini imitated Tasso's Aminta, in this Pastoral;e and I may add, that by the unquestionable Verdict of all Italy, he outstript him: which rais'd Tasso's Anger so high, that he cry'd out in a great Passion, Se non havuto visto il mio Aminta, &c. If he had not seen my Aminta, he had not excell'd it. Give me leave to enlarge further, that this Pastoral was writ on the occasion of Charles Emmanuel, the Young Duke of Savoy's Marriage with the Infanta of Spain. The Author's Design is Allegorical and Instructive, under the Name of Carino, he personates himself, and his chief End was to instill into his Princely Pupil, under the disguise of a Dramatick Diversion, the Principles of Divine, Moral, and Political Virtues.

Querer por solo querer, To love only for Love's sake; a Dramatick Romance represented at Aranjuez before the King and Queen of Spain, to [Page] celebrate the Birth-day of that King, [Phil.IV.] by the Meninas; which are a Set of Ladies, in the Nature of Ladies of Honour in that Court, Children in Years, but Higher in Degree (being Daughters and Heirs to Grandees in Spain) than the Ladies of Honour, Attending likewise that Queen. This Play was written in Spanish, by Don Antonio de Mendoza 1623. and dedicated to the Queen of Spain: [which was Elizabeth Daughter to Henry the Great of France.] It was paraphras'd by our Author in English in 1654. during his Confinement to Tankersly Park in Yorkshire, by Oliver, after the Battle of Worcester; in which (as I have already observ'd) he was taken prisoner, serving his Majesty King Charles the Second, as Secretary of State. At that time he writ on this Dramatick Romance 3 Stanzas, both in Latin and English, which may give the Reader a Taste of his Vein in both these Languages; and therefore may not be improper for me to transcribe, or unpleasant to the Reader to perufe. I shall give the preference to the Latin Verses, Learning and Learned Men being to be preferr'd before Vulgar Readers.

Ille ego, qui (dubiis quondam jactatus in Undis,

Qui, dum nunc Aulae, nunc mibi Castra Strepunt)

Leni importunas mulceban Carmine Curas,

In quo PASTORIS Flamma FIDELIS erat.

At nunc & Castris, Aulis (que) ejectus & Undis,

(Nam mihi Naufragium Portus, & Ira Quies);

Altius insurgens, Regum haud intactus Amores,

Et Reginarum fervidus Arma Cano:

[Page]

Quae (vinclis Hymenaee tuis, spretis (que) Coronis)

Nec juga ferre virûm, nec dare Jur a velint.

Dulce prosellosos audire ex Litore fluctus!

E (que) truci Terram dulce videre Mari.

In English thus.

Time was when I, a Pilgrim of the Seas,

When I midst noise of Camps, & Courts disease;

Purloin'd some Hours, to charm rude Cares with Verse,

Which Flame of FAITHFUL SHEPHERD did rehearse:

But now restrain'd from Sea, from Camp, from Court,

And by a Tempest blown into a Port;

I raise my Thoughts to muse on higher things,

And Eccho Arms & Loves of Queens & Kings:

Which Queens (despising Crowns and Hymen's Band)

Would neither Men Obey, nor Men Command.

* Great Pleasure, from rough Seas, to see the Shore!

Or from firm Land to hear the Billows rore.

Tho' this Play was during the Author's Imprisonment translated, 'twas not printed till long after his Death, viz. 4o. Lond. 1671. to which is added, Fiestas de Aranjuez, Festivals represented at Aranjuez, written by the same Author, and on the same Occasion; and translated by the same Hand. The Play it self consists but of three Acts (which the Spaniards call Jornadas) according to the Spanish Custom: their Poets seldom or never exceeding that number.

[Page]As to his other Works, he writ several Poems in Latin, as a Copy on the Escurial; another on the Royal Sovereign; and a third on Mr. May's Translation of, and Supplement to Lucan. He translated other Pieces into that Learned Tongue, as two Poems written by Mr. Thomas Carew: Several Pieces he translated out of Latin into English, as the fourth Book of Virgil's AEneids, an Epigram out of Martial Lib. 10. Epig. 47. Two Odes out of Horace, relating to the Civil Wars of Rome, (the First, Carm. Lib. 3. Ode 24. The Second, Epod. 16.) with some Sonnets translated from the Spanish, and other Poems writ in his Native Language, with several Pieces, which you will find bound up with Pastor Fido, printed 8o. Lond. 1671.

Nor was it out of these Languages only that he translated what pleas'd him; but even so uncourted a Language as he terms that of Portugal, employ'd his Pen during his Confinement; For he translated Luis de Camoens (whom the Portugals call their Virgil) his Lusiad, or Portugal's Historical Poem. This Poem was printed fol. Lond. 1665. and dedicated to the Right Honourable William Earl of Strafford, Son and Heir to that Glorious Protomartyr of Monarchy, the Noble Thomas Earl of Strafford, Lord Deputy of Ireland; on whose Tryal our Author writ a Copy of Verses, printed amongst his Poems, p. 302.

Besides these Pieces, Mr. Philips f and Mr. Winstanley g attribute to him the Latin Version of Mr. Edmund Spencer's Shepherds Calendar, [Page] which I take to be a mistake of Mr. Philips' whose Errors Mr. Winstanley generally copies; not having heard of any other Translation than that done by Mr. Theodore Bathurst, sometime Fellow of Pembroke-Hall in Cambridge, and printed at the end of Mr. Spencer's Works in fol. Lond. 1679.

Henry Ld Viscount FAULKLAND.

This Worthy Person was (as I suppose) Father of the present Right Honourable Cary Viscount Faulkland. A Person Eminent for his Extraordinary Parts, and Heroick Spirit. He was well known and respected at Court, in the Parliament, and in Oxfordshire, his Country, of which he was Lord Lieutenant. When he was first elected to serve in Parliament, some of the House oppos'd his Admission, urging That he had not sow'd his Wild-oats: he reply'd If I have not, I may sow them in the House, where there are Geese enough to pick them up. And when Sir J. N. told him, That He was a little too wild for so grave a Service; he reply'd Alas! I am wild, and my Father was so before me, and I am no Bastard, as, &c. But what need I search for Wit, when it may be sufficiently seen in a Play which he writ, (the occasion of our making mention of him) call'd

The Marriage Night, a Tragedy, printed 4o Lond. 1664. I know not whether this Play ever appear'd on the Stage, or no.

He was cut off in the prime of his Years, as much miss'd when dead, as belov'd when living.

Nathaniel FIELD.

[Page]

An Author that liv'd in the Reigns of King James, and King Charles the First; who was not only a Lover of the Muses, but belov'd by them, and the Poets his Contemporaries. He was adopted by Mr. Chapman for his Son, and call'd in by Old Massinger, to his Assistance, in the Play call'd The Fatal Dowry, of which Play more hereafter. He writ himself two Plays, which will still bear Reading, viz.

Amends for Ladies; with the merry Pranks of Moll Cut-purse, or The Humour of Roaring; a Comedy full of honest Mirth and Wit. Acted at the Black-Friars, both by the Prince's Servants, and the Lady Elizabeth's; and printed 4o Lond. 1639. The Plot of Subtles tempting the married Wife, at her Husbands intreaty, seems to be founded on Don Quixote's Novel of the Curious Impertinent, and has been the Subject of many Plays, as The City Night-cap, Amourous Prince, of The Curious Husband, &c. This Play was writ by our Author as Amends to the Fair Sex, for a Play which he had writ some Years before, and whose very Title semm'd a Satyr on Womankind; viz.

Woman's Weather-cock, a Comedy acted before the King in White-hall, and several times privately at the White-Friars, by the Children of her Majesty's Revels, printed 4o. Lond. 1612. and dedicated to any Woman that hath been no Weather-cock. This Play is commended by a Copy of Verses writ by Mr. Chapman. There is one thing remarkable in this Play; and which for [Page] the Author's Credit, I must take notice of, that the Time of the Action is circumscrib'd within the compass of twelve Hours; as the Author himself observes in the Conclusion of his Play.

Nere was so much (what cannot Heavenly Powers)

Done and undone, and done in twelve short hours.

Richard FLECKNOE, Esq

This Gentleman liv'd in the Reigns of King Charles the First and Second; and was as Famous as any in his Age, for indifferent Metre. His Acquaintance with the Nobility, was more than with the Muses; and he had a greater propensity to Riming, then a Genius to Poetry. He never could arrive with all his Industry, to get but one Play to be acted, and yet he has printed several. He has publisht sundry Works, (as he stiles them) to continue his Name to Posterity; tho' possibly an Enemy has done that for him, which his own Endeavours would never have perfected: For whatever become of his own Pieces, his Name will continue whilst Mr. Dryden's Satyr call'd Mack Flecknoe, shall remain in Vogue. He has publisht several Pieces both in Prose and Verse, which I have seen; and he hath others in print, which I could never obtain a view of: as in particular, that Epistle Dedicatory, to a Nobleman, which Mr. Dryden raillys so severely in his Dedication of Limberham. As to what Works I have seen of his, I shall give the Reader a particular Account, beginning first with his Plays.

[Page] Damoiselles à la mode, a Comedy printed in octavo Lond. 1667. and dedicated to their Graces the Duke and Dutchess of Newcastle, more humbly than by way of Epistle. This Comedy was design'd by the Author to have been acted by the Kings Servants, as the Reader may see by the Scheme drawn by the Poet, shewing how he cast the several Parts: but I know not for what reason they refus'd it. The Poet indeed seems to give one, which whether true or false, is not much material; but methinks it will serve to shew the Reader his Humour. ‘For the acting this Comedy (says he)h those who have the Governing of the Stage, have their Humours, and would be intreated; and I have mine, and won't intreat them: and were all Dramatick Writers of my mind, they should wear their Old Plays Thread-bare, ere they should have any New, till they better understood their own Interest, and how to distinguish betwixt good and bad.’ I know not whether the late Duke of Buckingham thought of Mr. Flecknoe when he drew the Character of Mr. Bayes; but methinks there is some resemblance between his Anger at the Players being gone to Dinner without his leave, and Mr. Flecknoe's Indignation at their Refusing his Play: Mr. Bays seeming to me to talk much at the same rate. ‘How! are the Players gone to Dinner? If they are, I'll make them know what 'tis to injure a Person that does them the Honour to write for them; and all that, A Company of Proud, Conceited, Humorous, [Page] Cross-grain'd Persons; and all that I'll make them the most Contemptible, Despicable, Inconsiderable Persons, and all that, in the whole World for this Trick.’

This Play (as the Author in his Preface acknowledges) ‘is taken out of several Excellent Pieces of Molliere. The main Plot of the Damoiselles, out of his Les Precieuses Ridicules; the Counterplot of Sganarelle, out of his L'Escole des Femmes, and the Two Naturals, out of his L'Escole des Maris.’

Erminia, or The Chast Lady, printed 8o Lond. 1665. and dedicated to the Fair and Virtuous Lady, the Lady Southcot. This Play (tho' the Actors Names design'd by the Authors, be printed over against the Dramatis Personae) was never acted.

Love's Dominion, a Dramatick Piece, full of Excellent Morality; written as a Pattern for the Reformed Stage, printed 8o Lond. 1654. and dedicated to the Lady Elizabeth Claypole. In this Epistle, the Author insinuates the use of Plays, and begs her Mediation to gain License to act them. Whether the Play answer the Title-page, or whether Mr. Flecknoe have so regularly observ'd the three Unities, I shall leave to the Criticks.

Love's Kingdom, a Pastoral-Tragi-comedy; not as it was acted at the Theatre near Lincolns-Inn, but as it was written, and since corrected; printed 8o Lond. 1664. and dedicated to his Excellency William, Lord Marquess of Newcastle. This Play is but the former Play a little alter'd, with a new Title; and after the King's Return [Page] it seems, the Poet got leave to have it acted; but it had the misfortune to be damn'd by the Audience, (which Mr. Flecknoe stiles The people, and calls them Judges without Judgment) for want of its being rightly represented to them. He owns that it wants much of the Ornament of the Stage; but that (he says) by a lively Imagination may easily be supply'd. To the same purpose he says of his Damoiselles à la mode, i ‘That together with the Persons represented, he had set down the Comedians that he design'd should represent them; that the Reader might have half the pleasure of seeing it acted, and a lively Imagination might have the pleasure of it all entire.’

I fancy Mr. Flecknoe would have been much pleas'd with Readers of the Argive Gentleman's Humour describ'd by Horace, k

Qui se credebat miros audire Tragoedos,

In vàcuo laetus sessor, plausor (que) Theatro.

Who fancy'd he saw Plays acted in the empty Theatre; but to others in their right Sences, all his Rhetorick could not have been able to perswade them, that a Play Read, (notwithstanding the utmost force of Imagination) can afford half the pleasure with that of a Play Acted; since the former wants the Greatest Ornament to a Play, Gracefulness of Action. But Mr. Flecknoe was to make the best of a Bad-market; and since he could not get his Plays acted, he was to endeavour to get them to be read; by labouring [Page]

[Page]

Mr John Fletcher

[Page] to perswade people, that Imagination would supply the defect of Action.

Marriage of Oceanus and Britannia, a Masque, which I never saw, and therefore am not able to give any Account of it.

Whether our Author have any more Plays in print, I know not; but I remember a Prologue amongst his Epigrams, intended for a Play, call'd The Physician against his will, which I believe might be a Translation of Molliere's Le Medecin malgré luy; but it was never publisht that I know of. As to his other Works, they consist of Epigrams and Enigmatical Characters, which are usually bound up with his Love's Dominion; at the end of which is a short Discourse of the English Stage, which I take to be the best thing he has extant. There is another Book of his Writing, call'd Diarium, or The Journal, divided into twelve Jornadas, in Burlesque Verse; with some other Pieces, printed 120 Lond. 1656

John FLETCHER, and Francis BEAUMONT, Esq

I am now arriv'd at a brace of Authors, who like the Dioscuri, Castor and Pollux, succeeded in Conjunction more happily than any Poets of their own, or this Age, to the reserve of the Venerable Shakespear, and the Learned and Judicious Johnson. 'Tis impossible for me to reach their Characters; and therefore, as the Witty Dr. Fuller l cites Bale's saying of [Page] Randal Higden, m That 'tis no shame to crave aid in a Work too weighty for any ones back to bear; I must have recourse to others Assistance, for the Characters of this worthy pair of Authors. To speak first of Mr. Beaumont, he was Master of a good Wit, and a better Judgment; he so admirably well understood the Art of the Stage, that even Johnson himself thought it no disparagement to submit his Writings to his Correction. What a great Veneration Ben. had for him, is evident by those Verses he writ to him when livingn. Mr. Fletcher's Wit was equal to Mr. Beaumont's Judgment, and was so luxuriant, that like superfluous Branches, it was frequently prun'd by his Judicious Partner. These Poets perfectly understood Breeding, and therefore successfully copy'd the Conversation of Gentlemen. They knew how to describe the Manners of the Age; and Fletcher had a peculiar tallent 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 drest, that it rather pleas'd than disgusted the modest part of his Audience. In a word, Fletcher's Fancy, and Beaumont's Judgment combin'd, produc'd such Plays, as will remain Monuments of their Wit to all Posterity. Nay, Mr. Fletcher himself after Mr. Beaumont's Decease, compos'd several Dramatick Pieces, which were well worthy the Pen of so great a Master. Of this, the following Lines, writ by that Excellent Poet Mr. Carthwright, are a proof.

[Page]

Tho' when All-Fletcher writ, and the entire

Man was indulg'd unto that sacred fire,

His thoughts & his thoughts dress, appear'd both such,

That 'twas his happy fault to do too much;

Who therefore wisely did submit each Birth

To knowing Beaumont, e're it did come forth;

Working again, until he said 'twas fit,

And made him the sobriety of his Wit;

Tho' thus he call'd his Judge into his Fame,

And for that aid allow'd him half the Name,

'Tis known, that sometimes he did stand alone,

That both the spunge and pencil were his own;

That himself judg'd himself, could singly do,

And was at last Beaumont and Fletcher too.

Else we had lost his Shepherdess, a piece,

Even, and smooth, sprung from a finer fleece,

Where Softness reigns, where passions passions greet,

Gentle & high, as floods of Balsam meet:

Where, drest in white Expressions, sit bright Loves,

Drawn, like their fairest Queen, by milky Doves;

A Piece, which Johnson, in a Rapture bid,

Come up a glorify'd Work, and so it did.

They who would read more of these admirable Poets worth, may peruse at their leisure those excellent Copys of Verses printed with their Works, written by the prime Wits of the Age, as Waller, Denham, Sir John Berkenhead, Dr. Main, &c. I am extreamly sorry, that I am not able to give any Account of the Affairs of these Great Men; Mr. Beaumont's Parentage, Birth, County, Education, and Death, being wholly unknown to me: And as to Mr. Fletcher, all I know of him is, That he was Son to the [Page] Eminent Richard Fletcher, created Bishop of Bristol, by Queen Elizabeth An. 1559. and by her preferr'd to London, 1593. He died in London of the Plague in the First Year of King Charles the Martyr, 1625. being Nine and fourty Years of Age, and was bury'd in St. Mary Overies Church in Southwarke.

I beg my Reader's Leave to insert the Inscription, which I find writ under his Picture, by that well known Wit, Sir John Berkenhead; which will give the Reader a fuller Knowledge of his Abilities and Merit, than I am able to express.

Felicis aevi, ac Praesulis Natus; comes

Beaumontio; sic, quippe Parnassus, Biceps;

FLETCHERVS unam in Pyramida furcas agens.

Struxit chorum plùs simplicem Vates Duplex;

Plus Duplicem solus: nec ullum transtulit;

Nec transferrendus: Dramatum aeterni sales,

Anglo Theatro, Orbi, Sibi, superstitites.

FLETCHERE, facies absque vultu pingitur;

Quantus! vel umbram circuit nemo tuam.

Where, or when Mr. Beaumont died, I know not; but I have met with an Epitaph, writ by Dr. Corbet, immediately after his Death, that well deserves the Reader's perusal.

On Mr. Francis Beaumont. (Then newly dead.)

He that hath such Acuteness, and such Wit,

As would ask Ten good Heads to husband it;

[Page]He that can write so well, that no man dare

Refuse it for the best, let him beware:

BEAUMONT is dead, by whose sole Death appears,

Wit's a Disease consumes men in few years.

There are two and fifty Plays written by these worthy Authors; all which are now extant in one Volume, printed fol. Lond. 1679. each of which I shall mention Alphabetically.

Beggers Bush, a Comedy: This Play I have seen several times acted with applause.

Bonduca, a Tragedy. The plot of this Play, is borrow'd from Tacitus's Annals Lib. 14. See Milton's History of England, Book 2. Ubaldino de Vita delle Donne Illustri del Regno d' Inghelterra, & Scotia, pag. 7, &c.

Bloody Brother, or Rollo Duke of Normandy, a Tragedy much in request; and notwithstanding Mr. Rymer's Criticisms on it,o has still the good fortune to Please: it being frequently acted by the present Company of Actors, at the Queen's Play-House in Dorset-Garden. The Design of this Play is History: See Herodian. lib. 4. Xiphilini Epit. Dion. in Vit. Ant. Caracallae. Part of the Language is copy'd from Seneca's Thebais.

Captain, a Comedy.

Chances, a Comedy, reviv'd by the late Duke of Buckingham, and very much improv'd; being acted with extraordinary applause at the Theatre in Dorset-Garden, and printed with the Alterations Lond. 4o 1682. This Play is built on a Novel written by the Famous Spaniard[Page]Miguel de Cervantes, call'd The Lady Cornelia; which the Reader may read at large in a Fol. Vol. call'd Six Exemplary Novels.

Coronation, a Tragi-comedy.

Coxcomb, a Comedy, which was reviv'd at the Theatre-Royal, the Prologue being spoken by Jo. Hains.

Cupid's Revenge, a Tragedy.

Custome of the Country, a Tragi-comedy. This is accounted an excellent Play; the Plot of Rutilio, Duarte, and Guyomar, is founded on one of Malespini's Novels, Deca. 6. Nov. 6.

Double Marriage, a Tragedy, which has been reviv'd some years ago; as I learn from a new Prologue printed in Covent-Garden Drollexy, 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 Johnson, which the Reader may read at the end of the Play: See the last Edit. Fol. p. 233. When this Pastoral was first acted before their Majesties at Sommerset 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, pag. 86.

Fair Maid of the Inn, a Tragi-comedy. Mariana's disowning Caesario for her Son, and the Duke's Injunction to marry him, is related [Page] by Causin in his Holy Court, and is transcrib'd 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 Caesar in AEgypt, 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 appear'd 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, Deceiv'd, and Unfortunate Lovers, part 3. Nov. 3. See besides Palace of Pleasure, Nov. 4o. Belle-forest, &c. The Triumph of Time, as far as falls within my discovery, is wholly the Authors Invention.

Honest Man's Fortune, a Tragi-Comedy. As to the plot of Montaign's being prefer'd by Lamira to be her Husband, when he was in Adversity, and least expected: the like Story is related by Heywood in his History of Women, Book 9. pag. 641.

Humourous Lieutenant, a Tragi-Comedy which I have often seen acted with Applause. The Character of the Humourous Lieutenant refusing to fight after he was cured of his Wounds, resembles the Story of the Souldier belonging to Lucullus describ'd in the Epistles of Horace, lib. 2. Ep. 2. but the very Story is [Page] 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.

Island Princess, a Tragi-Comedy. This Play about three Years ago was reviv'd with Alterations by Mr. Tate, being acted at the Theatre Royal, printed in quarto Lond. 1687. and dedicated to the Right Honourable Henry Lord Walgrave.

King and No King, a Tragi-Comedy, which notwithstanding its Errors discover'd by Mr. Rymer in his; Criticisms, has always been acted with Applause, and has lately been reviv'd on our present Theatre with so great success, that we may justly say with Horace,

Haec placuit semel, haec decies repetita placebit.

Knight of the burning Pestle, a Comedy. This Play was in vogue some years since, it being reviv'd 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 Johnson's Staple of News, who has introduc'd on the Stage Four Gossips, Lady-like attir'd, 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 borrow'd from Gusman or The Spanish Roque, [Page] part 2. ch. 4. The Story of Dinant, Clerimont, and Lamira, being borrow'd 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, 8o 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 stoln from Ben Johnson's New Inn: which I may rather term borrow'd, 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 Romance written by M. Daudiguier, call'd Lisander 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 borrow'd from the Story of Mundus and Paulina, describe'd at large by Josephus Lib. 18. Cap. 4. This Play Sr. Aston Cockain has chiefly commended in his Copy of Verses on Mr. Fletcher's Plays. See the Verses before the old Edition, printed 1647. and Cockain's Poems, pag. 101.

Maid in the Mill, a Comedy. This Play amongst othershas likewise been reviv'd by the Duke's House. The Plot of Antonio, Ismenia, and Aminta, is borrowed from Gerardo, a [Page] Romance translated from the Spanish of Don Gonzalo de Cespides, and Moneces; see the Story of Don Jayme pag. 350. As to the Plot of Otrante's seizing Florimel the Millers supposed Daughter, and attempting her Chastity; tis borrow'd 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 temps, 8o. Tom. 1. p. 212.

Maids Tragedy, a Play which has always been acted with great Applause at the King's Theatre; and which had still continu'd 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 reviv'd by Mr. Waller, the last Act having been wholly alter'd to please the Court: as the Author of the Preface to the second part of his Poems informs us, and give us further the following Account: ‘Tis not to be doubted, who sat for the Two Brothers Characters. 'Twas agreeable to the Sweetness of Mr. Waller's Temper, to soften the Rigor of the Tragedy, as he expresses it; but whether it be agreeable to the Nature of Tragedy it self, to make every thing come off easily, I leave to the Criticks.’ This last Act is publisht in the Second Part of Mr. Waller's Poems, printed in quarto Lond. 1690.

Masque of Grays-Inn Gentlemen, and the Inner-Temple. This Masque was written by Mr. Beaumont alone, and presented before the [Page] 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 appear'd on the present Stage under the Name of Trick for Trick.

Nice Valour, or The Passionate Mad-man, 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 reviv'd by Mr. Durfey, under the Title of The Fools 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 Lincolns-Inn-Fields, when the Women acted alone. The Prologue and Epilogue were spoken by Mrs. Marshal, and printed in Covent-garden Drollery, pag. 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 octavo, p. 285.

Pilgrim, a Comedy which was reviv'd some years since, and a Prologue spoke, which the Reader may find in Covent-garden Dollery, p. 12.

[Page] Prophetess, a Tragical History, which has lately been reviv'd 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 Queens Theatre, and printed 4o Lond. 1690. For the Plot consult Eusebius Lib 8. Nicephorus Lib. 6. and 7. Vopisc. Car. & Carin. Aur. Victoris Epitome. Eutropius L. 9. Baronius An. 204. &c. Orosius L. 7. C. 16. Coeffeteau L. 20. &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 Queens Theatre in Dorset-Garden.

Scornful Lady, a Comedy acted with good Applause even in these times, at the Theatre in Dorset-Garden. Mr. Dryden has condemn'd the Conclusion of this Play in reference to the Conversion of Moor-craft the Usurerp; but whether this Catastrophe be excusable, I must leave to the Criticks.

Sea Voyage, a Comedy lately reviv'd by Mr. Durfey, under the Title of The Common-wealth of Women. This Play is supposed by Mr. Dryden, (as I have observ'd) to be copied from Shakespears's Tempest. q

The Storm which vanisht on the neighbring shore,

Was taught by Shakespears Tempest first to roar,

That Innocence and Beauty which did smile

In Fletcher, grew on this Enchanted Isle.

Spanish Curate, a Comedy frequently reviv'd [Page] with general Applause. The Plot of Don Henrique, Ascanio, Violante, and Jacintha, is borrow'd from Gerardo's History of Don John, pag. 202. and that of Leandro, Bartolus, Amarantha and Lopez, from the Spanish Curate of the same Author, pag. 214. &c.

Thirry and Theodoret, a Tragedy. This Play is accounted by some an excellent old Play; and therefore 'tis pitty the Compositor was so careless in this new Edition as to omit a great part of the last Act, which contains the King's behaviour during the Operation of the Poison given him by his Mother; and which is as moving as any part of the Play. This Imperfection may be supply'd from the Copy printed in quarto, and I hope the Proprietors of the Copy, will take care in the next Impression to do justice to these admirable Authors.

*`For Beaumont's Works and Fletcher's should come forth,

'With all the Right belonging to their Worth.

The Plot of this Play is founded on History. See the French Chronicles in the Reign of Clotaire the Second. See Fredegarius Scholasticus, Aimoinus Monachus Floriacensis, De Serres, Mezeray, Crispin, &c.

Two Noble Kinsmen, a Tragi-Comedy. This Play was written by Mr. Fletcher, and Mr. Shakespear.

Valentinian, a Tragedy reviv'd not long ago by that Great Wit, the Earl of Rochester; acted at the Theatre-Royal, and printed in quarto [Page] 1685. with a Preface concerning the Author and his Writings. For the Plot see the Writers of those Times; as Cassidori Chron.; Amm. Marcell. Hist. Evagrius Lib. 2. Procopius, &c.

Wife for a Month, a Tragi-Comedy. This Play is in my poor Judgment well worth reviving, and with the alternation of a judicious Pen, would be an excellent Dramma. The Character and Story of Alphonso, and his Brother Frederick's Carriage to him, much resembles the History of Sancho the Eighth, King of Leon. I leave the Reader to the perusal of his Story in Mariana, and Loüis de Mayerne Turquet.

Wild-Goose Chase, a Comedy valued by the best Judges of Poetry.

Wit at several Weapons, a Comedy which by some is thought very diverting; and possibly was the Model on which the Characters of the Elder Pallatine and Sr. Morglay Thwack were built by Sr. William D'Avenant, in his Comedy call'd The Wits.

Wit without Money, a Comedy which I have seen acted at the Old House in little Lincolns-Inn-Fields with very great Applause; the part of Valentine being play'd by that compleat Actor Major Mohun deceas'd. This was the first Play that was acted after the Burning the King's House in Drury-lane: a New Prologue being writ for them by Mr. Dryden, printed in his Miscellany Poems in octavo, p. 285.

Woman Hater, a Comedy. This Play was reviv'd by Sr. William D'Avenant, and a new Prologue (instead of the old One writ in prose) [Page] was spoken, which the Reader may peruse in Sir William's Works in Fol. p. 249. This Play was one of those writ by Fletcher alone.

Women pleas'd, a Trigo-comedy. The Comical parts of this Play throughout between Bartello, Lopez, Isabella, and Claudio, are founded on several of Boccace's Novels: See Day 7. Nov. 6. and 8. Day 8. Nov. 8.

Woman's Prize, or the Tamer tam'd, a Comedy, written on the same foundation with Shakespear's Taming of the Shrew; or which we may better call a Second part or counter-part to that admirable Comedy. This was writ by Mr. Fletcher's Pen likewise.

I wish I were able to give the Reader a perfect Account what Plays He writ alone; in what Plays he was assisted by the Judicious Beaumont, and which were the Plays in which Old Phil. Massinger had a hand: but Mr. Charles Cotton being dead, I know none but Sir Aston Cockain (if he be yet alive) that can satisfy the World in this particular: all that I can say, is that most of these Plays were acted at the Globe and Black-Friars, in the Time of those Actors Taylor, Lowin, Burbage, &c. This Account I receiv'd from Sir Aston Cockain's Poems, who writ an Epistle to his Cosen Charles Cotton, rconcerning these excellent Authors, part of which I shall transcribe for the Reader's better Satisfaction, and because his Poems are not very common.

[Page]'Tis true, Beaumont and Fletcher both were such

Sublime Wits, none could them admire too much;

They were our English Pole-Stars, and did bear

Between them all the World of Fancy clear:

But as two Suns when they do shine to us,

The Air is lighter, they prodigious;

So while they liv'd and writ together, we

Had Plays exceeded what we hop'd to see.

But they writ few; for youthful Beaumont soon

By Death eclipsed was at his high Noon.

Surviving Fletcher then did Penn alone

Equal to both, (pardon Comparison)

And suffer'd not the Globe & Black-Friar's Stage

T' envy the Glories of a former Age.

As we in Humane Bodies see that lose

An Eye, or Limb, the Vertue and the Use

Retreat into the other Eye or Limb,

And makes it double. So I say of him:

Fletcher was Beaumont's Heir, and did inherit

His searching Judgment, and unbounded Spirit.

His Plays were printed therefore, as they were

Of Beaumont too, because his Spirit's there.

I know no Poems writ by Mr. Fletcher; but Mr. Beaumont has a Poem extant call'd Salmacis & Hermaphroditus, printed Lond. 4o 1602. and which was again re-printed with his Elegy of Love; Elegies, Sonnets, and other Poems, 8o Lond. 1653. Our Author joyn'd with the Famous Johnson, and Middleton, in a Comedy called The Widow. Of this Play, see more under the Name of Ben. Johnson.

John FORD.

[Page]

A Gentleman of the Middle-Temple, who liv'd in the Reign of King Charles the First: Who was a Well-wisher to the Muses, and a Friend and Acquaintance of most of the Poets of his Time. He was not only a Partner with Rowly, and Decker in the Witch of Edmonton, (of which see an Account in Rowly) and with Decker, in The Sun's Darling, but writ likewise himself seven Plays; most of which were acted at the Phoenix, and the Black-Friars: and may be known by an Anagram instead of his Name, generally printed in the Title-page, viz.

FIDE HONOR.

He was more addicted to Tragedy, than Comedy; which occasion'd an Old Poet to write thus of him.

Deep in a Dump John Ford was alone got

With folded Arms, and melancholy Hat.

I shall give an Account of his Plays Alphabetically, and place The Sun's Darling in its order, because the greatest part of it was writ by our Author.

Broken Heart, a Tragedy acted by the Kings Majesties Servants, at the private House in Black-Fryars, printed 4o Lond. 1633. and dedicated to the most Worthy Deserver of the Noblest Titles in Honour, William Lord Craven, Baron of Hamstead Marshal. The Speakers Names are fitted to their Qualities; and most of them are deriv'd from Greek Etimologies.

[Page] Fancies Chast and Noble, a Tragi-comedy, presented by the Queen Majesties Servants, at the Phoenix in Drury Lane; printed 4o Lond. 1638. and dedicated to the Right Noble Lord, the Lord Randell Macdonell, Earl of Antrim in the Kingdom of Ireland. This Play is usher'd into the World by a Copy of Verses, written by Mr. Edward Greenfield.

Ladies Tryal, a Tragi-comedy acted by both their Majesties Servants, at the private House in Drury Lane; printed 4o Lond. 1639. and dedicated to his Deservingly Honoured John Wyrley Esq and to the Virtuous and Right worthy Gentlewoman Mrs. Mary Wyrley his Wife.

Lovers Melancholy, a Tragi-comedy acted at the private House in the Black-Fryars, and publickly at the Globe by the Kings Majesties Servants; printed 4o Lond. 1629. and dedicated to his most worthily Respected Friends, Nathaniel Finch, John Ford, Esquires; Mr. Henry Blunt, Mr. Robert Ellice, and all the rest of the Noble Society of Grays-Inn. This Play is commended by four of the Author's Friends; one of which who stiles himself [...], writ the following Tetrastick.

'Tis not the Language nor the fore-plac'd Rimes

Of Friends, that shall commend to after-times

The Lovers Malancholy: Its own Worth,

Without a borrow'd Praise, shall set it forth.

The Author has Embellisht this Play with several Fancies from other Writers, which he has appositely brought in; as the Story of the [Page] Contention between the Musician and the Nightingale; describ'd in Strada's Academical Prolusions, Lib. 2. Prol.6. which begins,

Jam Sol è medio pronus defluxerat Orbe, &c.

A Definition and Description of Melancholy, copied from the Ingenious Mr. Rob. Burton's Anatomy of Melancholy, &c.

Love's Sacrifice, a Tragedy, receiv'd generally well; acted by the Queens Majesties Servants, at the Phoenix in Drury Lane; printed 4o Lond. 1633. and dedicated to his truest Friend, his worthiest Kinsman, John Ford of Gray's-Inn Esquire. There is a Copy of Verses printed before this Play, written by that Dramatick Writer Mr. James Shirley.

Perkin Warbeck, a Chronicle History, and a Strange Truth, acted (sometimes) by the Queens Majesties Servants in Drury Lane; printed 4o Lond. 1634. and dedicated to the Rightly Honourable William Cavendish Earl of Newcastle. This Play as several of the former, is attended with Verses written by Four of the Author's Friends; one of which is his Kinsman above-mentioned. The Plot is founded on Truth, and may be read in most of the Chronicles that have writ of the Reign of King Henry the VII. See Caxton, Polidore Virgil, Hollingshead, Speed, Stow, Salmonet, Du Chesne, Martyn, Baker, Gaynsford's History of Perkin Warbeck, &c.

Sun's Darling, a Moral Mask, often presented by their Majesties Servants, at the Cock-pit in Drury Lane, with great applause; printed 4o Lond. 1657. and dedicated to the Right Honourable Thomas Wriathesley, Earl of Southampton. [Page] This Play was written (as I have said) by our Author and Decker, but not publisht till after their Decease. A Copy of Verses written by Mr. John Tateham, is the Introduction to the Masque; at the Entry whereof, the Reader will find an Explanation of the Design, alluding to the Four Seasons of the Year.

'Tis pity she's a whore, a Tragedy printed 4o I can give no further Account of the Title-page, or Dedication, mine being lost. All that I can say is, that it equalls any of our Author's Plays; and were to be commended, did not the Author paint the incestuous Love between Giovanni, and his Sister Annabella, in too beautiful Colours.

Mr. Winstanly says,s that this Author was very beneficial to the Red-Bull, and Fortune Play-Houses; as may appear by the Plays which he wrote; tho' the Reader may see by the fore-going Account that he takes his Information upon trust, or else the Plays he has seen are of different Editions from those I have by me: but I rather believe the former, since I have found him subject to several Mistakes of this Nature.

Thomas FORD.

An Author who liv'd in the Reign of King Charles the First, who publisht a Dramatick Poem, call'd

Love's Labyrinth, or The Royal Shepherdess, a Tragi-comedy, printed 8o Lond. 1660. This [Page] Play is commended by two Copies of Verses: but whether ever it appear'd on any Stage, I cannot determine; only this I know, that part of this Play is stollen from Gomersal's Tragedy of Sforza Duke of Millain. Mr. Philips thro' mistake ascribes this Play to the above-mention'd Mr. John Ford.

This Author has writ several other Pieces, Virtus Rediviva, a Panegyrick on King Charles the Martyr: A Theatre of Wits, being a Collection of Apothegms: Fenestra in Pectore; or a Century of Familiar Letters: Fragmenta Poetica; or Poetical Diversions: A Panegyrick on the Return of King Charles the Second. All these Pieces, with the fore-going Play, are printed together in 8o Lond. 1661.

John FOUNTAIN.

A Gentleman who flourish'd in Devonshire, at the time of his Majesty King Charles the Second his Return; and was the Author of a single Play nam'd,

Reward of Virtue, a Comedy, printed in 4o. Lond. 1661. This Play was not design'd for the Stage by the Author; but about eight Years after the first printing, Mr. Fountain being dead, it was reviv'd with Alterations, by Mr. Shadwell, and acted with good Applause, under the Title of The Royal Shepherdess.

Abraham FRAUNCE.

An Ancient Writer who liv'd in the time of Queen Elizabeth, and was the Author of a [Page] Book called, The Countess of Pembroke's Ivy Church; which Title in former Catalogues was set down as the Name of a Play in 2 Parts, tho' in reality, there is but one Dramatick Piece, call'd,

Amintas's Pastoral, being the first part of the Book, printed 4o Lond. 1591. and dedicated to the Right Excellent and most Honourable Lady, the Lady Mary, Countess of Pembroke. This Play is writ in English Hexameters, and is a Translation from Tasso's Aminta; which was done into Latin by one Mr. Watson, before this Version was undertaken by our Author. He owns that he has somewhat alter'dt Sigr. Tasso's Italian, and Mr. Watson's Latine Amintas, to make them both one English.

Notwithstanding Mr. Chapman in his Translation of Homer, and Sir Philip Sidney in his Eclogues, have practic'd this way of Writing; yet this way of Imitating the Latin Measures of Verse, particularly the Hexameter, is now laid aside, and the Verse of Ten Syllables, which we stile Heroick Verse, is most in use. If this Translation be allow'd grains for the time when 'twas writ, 'twill be excus'd by the more moderate Criticks; tho' if compar'd with the Translation which was afterwards printed in 1628. or that more Modern Version done by Dancer, at the King's Return, 'twill appear inferior to either in Value.

The Second Part goes under the Title of Phillis Funeral; and it is writ in the form of Eclogues, being divided by the Author into [Page] twelve Parts, which he stiles Days. This Poem is likewise writ in Hexameters; to which is annext in the same Measure, The Lamentation of Corydon for the Love of Alexis. This is a Translation of the second Eclogue of Virgil Verse for Verse. The Author added likewise the begining of The AEthiopick History of Heliodorus, in the same Species of Metre.

With these Pieces are commonly join'd another of our Authors Writing, call'd The Countess of Pembrokes Emanuel; Containing the Nativity, Passion, Burial, and Resurrection of Christ; together with certain Psalms of David, all in English Hexameters; printed in quarto Lond. 1591. and dedicated to the Right Excellent and most Honourable Lady, the Lady Mary, Countess of Pembroke; by the following Distick.

Mary the best Mother sends her best Babe to a

Mary,

Lord to a Ladies Sight, and Christ to a Christian

Hearing.

Mr. Phillips saysu, That he writ some other things in Hexameter, and Pentameter, and the same writes Mr. Winstanley x: tho' I doubt the former takes his Opinion upon Trust, and the later does not I believe know a Pentameter from an Asclepiade Verse. The truth is, there are no Pentameters throughout the Volume: but in the last Act, there is a Scene between Phillis and Amintas (which whether it be in the Original, I question) where this pair of Lovers sing [Page] some Asclepiades, which I suppose is the Occasion of the mistake: tho' I cannot but wonder at Mr. Winstanley's negligence, that when he copied out the begining of Heliodorus, he should not inform himself better; but I hope my small pains may be serviceable to his next Impression. Neither is his Conjecture less probable concerning the time of our Author's Death, which he supposes was about the former part of the Reign of Queen Elizabeth; this can not be, since our Author was alive at the publication of his Book, which was in the Year 1591. and in the Thirty-third Year of her Reign: tho' how long after he surviv'd I know not.

Sir Ralph FREEMAN.

A Gentleman who during the late Troubles busied himself in Poetry, and writ an excellent Tragedy call'd Imperiale, printed in quarto Lond. 1655. and dedicated to his Ancient and Learned Friend, John Morris Esquire. I know not whether ever this Play was acted; but certainly it far better deserv'd to have appear'd on the Theatre than many of our modern Farces that have usurp'd the Stage, and depos'd its lawful Monarch, Tragedy. The Compositor maim'd the last Act by setting the Sheet [I] false, so that 'tis pretty difficult to make out the five first Scenes: The Catastrophe of this Play is as moving as most Tragedies of this Age, and therefore our Author chose a proper Lemma for the Frontispiece of his Play, in that Verse of Ovid.

Omne Genus Scripti gravitate Tragoedia vincit.

[Page]The Story on which this Play is built is related by many Authors, as Pontanus, Budaeus's Treasury of Ancient and Modern Times; Beard's Theatre of Gods Judgments, part 1. p. 427. and part 2. p. 45. Wanley's History of Man, Book 4. Chap. 11. Goulart Histoires admirables de nôtre temps, tom. 1. p. 362. The Story is related at large in Bandello's Italian Novels, see the French Translation by Belleforest, Tom. 2. p. 242.

Ulpian FULWEL.

An Ancient Writer, of whom I can give no other Account, than that he lived in the Reign of Q. Elizab. and publisht a Dramatical Piece call'd

Like will to Like, qouth the Devil to the Collier, an Interlude, wherein is declared what punishments follow those that will rather live Licentiously, than esteem and follow good Counsel: And what Benefits they receive that apply themselves to virtuous Living, and good Exercises; printed in quarto Lond. 1587. This Interlude is so contriv'd that Five may easily play it. 'Tis printed in an old Black Letter; the Prologue is writ in Alternate Verse, and the whole Play is writ in Rime such as it is: however it might have suited with Mr. Dyrden's Designy to prove the Antiquity of Crambo, far better than the Tragedy of Gorbuduc, which was writ in Blank Verse; whereas this Play is tag'd with Rimes throughout, and is Three Years Older than the other, that not being printed till the Year 1590.

G.

[Page]

George GASCOIGNE, Esq

THis Gentleman I can give no further Account of, than that he flourisht in the begining of the Reign of Queen Elizabeth; that he was a Member of the Honourable Society of Gray's-Inn, and was the Parent of feveral Poetical Works, amongst which, are Four Dramatick Pieces, of which I shall first discourse.

Glass of Government, a Tragical Comedy, so intituled, because therein are handled as well the Rewards for Virtues, as also the Punishments for Vices. Seen and allowed, according to the Order appointed in the Queens Majesties Injunctions; printed in quarto Lond. 1575. At the begining of this Play I find the following Hexastick.

In Comoediam Gascoigni, Carmen B.C.

Haec nova, non vetus est, Angli Comoedia Vatis,

Christus adest, Sanctos nil nisi sancta decent.

Graecia vaniloquos genuit, turpes (que) Poetas,

Vix qui syncerè scriber at unus erat.

Idvereor nostro ne possit dicier aevo,

Vana precor valeant, ver a precor placeant.

This Play is printed in a Black Letter as are all his Works: 'tis writ in prose with a Chorus between each Act, which with the Prologue, are all in Verse.

Jocasta, a Tragedy written in Greek by Euripides, translated and digested into Acts by our [Page] Author, and Mr. Francis Kinwelmershe of Gray's Inn, and there presented, and printed in quarto Lond. 1556. Each Act of this Play is introduc'd by a Dumb shew, (which in those times was the mode in Tragedies) and concluded by a Chorus. The First, Fourth, and last Acts were translated by Mr. Kinwelmershe, the Second and Third by our Author: and the Epilogue was writ by Mr. Christopher Yelverton, in Alternate Rime.

This is the only Play of that ancient Tragedian, that to my Knowledge is translated into English: tho' our Language, and the Knowledge of this Age, be far more proper for Translations, now, than in that time our Author flourisht. That I may not be wanting in my Respect to those Worthy Ancients, which by any of my Country-men are Naturaliz'd, I shall give some Account of them and their Writings as opportunity shall offer it self; and therefore I crave leave to lay hold of this, to speak a word or Two of Euripides.

This Poet was stil'd the Tragick Philosopher, and was born at Phyla a Town in Attica, in the 75 Olympiade, and in the 274 Year after the Building of Rome. Prodius taught him Rhetorick, after which he made a Voyage to AEgypt, with Plato, to visit the Learned Men there, and to improve himself by their Conversation. He was also a Friend of Socrates, and some have believed that this Philosopher assisted him in the Composition of his Tragedies. He went from Athens dissatisfied with the People, for preferring the Comick Writers [Page] before him; and retir'd to the Court of Archelaus King of Macedonia about the year of Rome 338. This Prince confer'd many Favours on him, and had a great value for him. It happen'd at that time, that a certain person nam'd Decamnion, having raillied him about his Breath (which was not over agreeable) Archelaus sent him to Euripides, to be punisht at his pleasure. This so exasperated Decamnion both against the King and the Poet, that for the sake of Revenge he join'd with other Conspirators in the Assassination of the Former, and set Dogs upon the later, which soon devour'd the Object of his Hatred. Some say, that this Misfortune proceeded from the Brutality of those irrational Creatures, by accident, and not design. Others again relate, that he receiv'd his Death, from some inhumane Women, against whom he had somewhat too bitterly inveigh'd. I remember a pleasant Story in Ford's Apothegms; that Sophocles being once ask'd the Reason why in his Tragedies he always represented Women Good, and Euripides Wicked; answer'd, That Euripides describ'd them as they were, he, as they ought to be. But Digression apart; the time of his Death no more than the manner of it is agreed upon. Some say, he Dy'd about the 65 year of his Age, in the 93 Olympiade, and in the Year of Rome 348. being 406 years before the Incarnation of our Saviour. Others say, that he Dy'd not, till the Year of Rome 351. The Ancients mention Ninety odd Tragedies writ by him, of which at present we enjoy but Nineteen.

[Page] Supposes, a Comedy Englisht from the Italian of Ariosto a famous Poet; a Ferarese, and Favuorite of Alphonsus the First Duke of Ferrara, and of the Cardinal Hippolito d' Este, his Brother. He Dy'd the 13 of July, in the Year 1533. I purposely decline to give a larger Account of his Life, because it would swell my Book too much, and the English Reader may satisfy his Curiosity by perusing his Life at the End of Sr. John Harrington's Translation of Orlando Furioso. Those Vers'd in Italian, may read his Life writ by Gierolamo Poro of Padoua, Gierolamo Guarafola of Ferrara, Simon Fornari of Rheggio, &c.

This Play was presented at Gray's-Inn, and printed in quarto Lond. 1566. The Prologue as well as the Play is writ in prose. This Prologue I suppose gave the Grounds for that writ by Mr. Duffet to the Play call'd Trappolin suppos'd a Prince, as that did to the Epilogue of The Duke and No Duke.

Pleasure at Kenelworth Castle, a Masque, (as Mr. Kirkman informs us in his Catalogue) which I never saw.

Our Author has written several Poems of a Different Species which he calls Herbs, and which with his Plays make a considerable Vollume, and are printed together in quarto Lond. 1587.

Henry GLAPTHORN.

An Author that liv'd in the Reign of King Charles the First, who publisht several Plays which I presume in those days past with good [Page] Approbation at the Globe and Cock-pit Playhouses; tho' I cannot agree with Mr. Winstanley z, That he was One of the chiefest Dramatick Poets of this Age. He writ Five Plays, viz.

Albertus Wallenstein, Duke of Fridland, and General to the Emperor Ferdinand the Second, his Tragedy, acted with good Allowance at the Globe on the Bank-side, by His Majesties Servants, printed in quarto Lond. 1640. and dedicated to the Great Example of Virtue, and true Mecaenas's of Liberal Arts, Mr. William Murrey of His Majesties Bed-chamber. For the Plot see the Historians who have writ on the last German Wars, in the Reign of Ferdinand the Second. See besides M. Sarasins Walstein's Conspiracy translated into English, 8o Lond. 1678. Spondanus's Continuation of Baronius. Fierzen L'Hist. de Liege, &c.

Argalus and Parthenia, a Tragi-comedy acted at the Court before their Majesties: and at the Private-house in Drury-lane by their Majesties Servants; printed in quarto Lond. 1639. The Plot of this Play is founded on Sr. Philip Sidney's Arcadia, a Romance, in the Story of Argalus and Parthenia, see pag. 16. &c. Mr. Quarles has writ a pretty Poem on the same Foundation.

Hollander, a Comedy written in the Year 1635. and then acted at the Cock-pit in Drury-lane by their Majesties Servants, with good Allowance: and at the Court before Both their Majesties, printed in quarto Lond. 1640. and dedicated to the great Hope of growing Nobleness, [Page] his Honourable Friend Sir Thomas Fisher.

Lady's Priviledge, a Comedy, acted with good Allowance, at the Cock-pit in Drury Lane, and before Their Majesties at White-hall twice; printed 4o. Lond. 1640. and dedicated to the true Example of Heroick Virtue, and Favourer of Arts, Sir Frederick Cornwallis.

Wit in a Constable, a Comedy, writ in the Year 1639. and then acted at the Cock-pit in Drury Lane, by Their Majesties Servants with good Allowance, printed 4o. Lond. 1640. and dedicated to the Right Honourable his singular good Lord, Thomas Lord Wentworth.

Besides these Plays, he has a Book of Poems extant, in which are several Copies, directed to his Mistress, under the Name of Lucinda; printed 4o Lond. 1639.

Thomas GOFF.

A Gentleman that flourisht in the Reign of King James the First: He was born in Essex towards the latter end of Queen Elizabeth's Reign, about the Year 1592. In his Youth he was sent to Westminster-School, and at the Age of Eighteen he was brought in Student of Christ-Church Colledge in Oxford. Being an Industrious Scholar, he arrived to be a good Poet, a skilful Oratour, and an Excellent Preacher. In the Year 1623. he proceeded Batchelour of Divinity, and was preferr'd to a Living in Surrey, call'd East-Clandon: there he got him a Wife, which prov'd as great a plague to him, as a Shrew could be; and became a true Xantippe [Page] to our Ecclesiastical Socrates: insomuch that she gave him daily opportunities of exercising his Patience; and tis believ'd by some, that this Domestick-scourge shortned his days. He was buried at his own Parish-Church at Clandon, the 27. of July 1627.

He writ several Pieces on several Subjects, amongst which are reckon'd five Plays, viz.

Careless Shepherdess, a Tragi-comedy, acted before the King and Queen, at Salisbury-Court with great applause; printed 4o Lond. 1656. with an Alphabetical Catalogue of all such Plays that ever were till that time published. This Catalogue is very full of Errors throughout.

Couragious Turk, or Amurath the First, a Tragedy, acted by the Students of Christ-Church in Oxford; printed 8o Lond. 1656. and dedicated to the No less Honoured than Deserving Sir Walter Tichborn, by Mr. Rich. Meighen, who publish'd it after the Authors Decease. There is a Copy of Verses prefix'd to the Play, writ I suppose by the same Person, and directed to the Author; ‘In that, Transcribing his Book without his Knowledge, he was bound by promise to stand to his pleasure to keep it, or burn it.’ For the Plot, consult the Writers of the Turkish History in the Reign of Amurath, as Leunclacius, Chalcocondylas, Knolles, &c.

Orestes his Tragedy, acted by the Students of Christs Church in Oxford; printed 8o Lond. 1656. How far our Author has follow'd Sophocles in his Electra, or Euripides in Orestes, I shall leave to the search of the Learned Reader; only I cannot but observe, that when I first read it, I [Page] thought by the length it might vye with that Epick Poem of Orestes, which Juvenal complains of,a as being,

— Summi plenâjam margine libri

Scriptus, & in tergo nec dum finitus, Orestes.

Raging Turk, or Bajazet the Second, a Tragedy, acted by the Students of Christ-Church in Oxford; printed 8o Lond. 1656. This Play was writ (with the two foregoing Tragedies) when the Author was Master of Arts, and Student of Christ-Church; but not printed till after his decease; and then dedicated by Mr. Richard Meighen the Publisher, To the No less Ingenious than Zealous Favourer of Ingenuity, Sir Richard Tichborn, Brother to the above-nam'd Sir Walter. For the Plot, consult Chalcocondylas, Artus, Knolles, &c. These three last Plays are all printed together in 8o Lond. 1656.

Selimus Emperour of the Turks his Tragedy, printed 4o Lond. 1638. I question whether ever this Play were acted, because it is not divided into Acts. The Author calls this the First Part; and in his Conclusion, as he stiles it, or Epilogue, he promises a Second Part, saying,

If this First Part, Gentles, do like you well;

The Second Part shall greater Murthers tell.

But whether it was ever publisht, I am ignorant: tho' I am apt to believe not, since 'tis not mention'd in any Catalogue. The Plot is founded on the Turkish History; see the Writers of the Reign of Selimus the First, as Paulus Jovius, Mezeray, Knolles, &c.

[Page]Mr. Philips, and Mr. Winstanley, have father'd a Comedy on this Author, call'd Cupids Whirligig; tho' Democritus and Heraclius were not more different in their Temper, than his Genius was opposite to Comedy. Besides, the true Father was one Mr. E.S. who (as he says) ‘b being long Pregnant with Desire to bring forth something, and being afterwards brought a Bed, had chose his Friend Mr. Robert Hayman to be God-father, not doubting but his Child would be well maintain'd, seeing he could not live above an hour with him, and therefore, he entreated him when he was dead, that he might be buried deep enough in his good Opinion, and that he might deserve this Epitaph’;

Here lyes the Child that was born in Mirth,

Against the strict Rules of Child-birth:

And to be quit I gave him to my Friend,

Who laught him to death, and that was his End.

Yours, while he is his own.

I hope the Reader will forgive me this Digression, which I was forc'd to in Vindication of my Author, who was so far from this Ridiculous Stile, and affected Mirth, that nothing but Manly and Serious escap'd his Pen: and in his latter Time, he forsook the Stage, for the Pulpit, and instead of Plays, employ'd himself in writing Sermons; some of which have appear'd in Print in the Year 1627. To these I may add his Latin Funeral Oration, in the Divinity-School, [Page] at the Obsequies of Sr. Henry Savil, printed 4o Oxon. 1622. Another in Christ-Church Cathedral, at the Funeral of Dr. Goodwin, Cannon of that Church, printed Lond. 1627.

Robert GOMERSAL.

A Gentleman that lived in the Reign of King Charles the First, and was the Eldest Son of an Esquire. He was born at London, and was sent by his Father to the University of Oxon. 1616. being then 14 Years of Age. He was enter'd at Christ-Church, and in a little time was chose Student of that Royal-Foundation. Here he took his Batchelors and Masters Degrees, and in the Year 1627. he went out Batchelor of Divinity. I know not what Preferment he got, tho' I believe he was Minister of a place call'd Flower, in Northamptonshire; but this is only Conjecture, from some of his Poems, dated from thence. However I am assur'd he died in the Year 1646.

He is accounted by some no mean Preacher, or Poet: but this I leave to the Judgment of those who will peruse the Works which he has publisht, and tho' Divinity ought to claim the preference, yet Poetry being my immediate Subject, I crave the Readers pardon that I give Account of his Poetry in the first place, and begin with his Play call'd

Lodovick Sforza, Duke of Millain, his Tragedy, printed 8o Lond. 1632. and dedicated to his most Worthy Friend, Mr. Francis Hide, Student of Christ-Church, and Junior Proctor of the University [Page] in the Year 1627. I cannot satisfy the Readers whether ever this Play appear'd on any Stage: but I can inform him, that the Foundation of it may be read in Guicciardine lib. 1, 2, &c. Philip de Commines, Mezeray in the Reign of Charles the VIII. of France.

Besides this Play he has writ several other Poems, which are printed with it, as particularly The Levites Revenge containing Poetical Meditations upon the 19, and 20. Chapters of Judges; and is dedicated to his Worthily Respected Friend, Barten Holiday, Arch-Deacon of Oxford. This Poem is highly Commended, by a Copy of Verses, written by a Gentleman of the Middle-Temple: but I shall leave this and his other Poems, to the Readers perusal and Judgment.

He has several Sermons in print, on the I. Pet. Chap. 2. Verse 13, 14, 15, 16. printed 4o. Lond. 1663.

Francis GOULDSMITH, Esq

I am able to recover no other Memoires of this Gentleman, than that he liv'd in the Reign of King Charles the Martyr; and oblig'd the World with the Translation of a Play out of Latin, call'd

Sophompaneas, or The History of Joseph, with Annotations, a Tragedy, printed 4o Lond. 1640. and dedicated to the Right Honourable Henry Lord Marquess of Dochester. This Dramma was writ by the Admirable Hugo Grotius, publisht by him at Amsterdam 1635. and dedicated [Page] to Gerardus Vossius, Professor of History and Civil Arts, in the most flourishing City of Amsterdam. He stiles it a Tragedy, notwithstanding it ends successfully; and quotes for his Authority, AEschylus's Danaides, Euripides his Alcestes, Jon, Helena, Iphigenia among the Tauri, and even Vossius his own Art of Poetry: whether this Opinion be to be controverted or no, I leave to the Criticks. Some people make it a Question, whether it be lawful to make a Dramatick Poem of a Sacred Argument: and I have!heard some People of tender Consciences, speak against this Play, and Christ's Passion, writ by the same Author. But I think the following Opinion of the Great Vossius, c printed before this Play, may satisfy them in this point. ‘I am of Opinion (says he) 'tis better to chuse another Argument, than Sacred. For it agrees not with the Majesty of Sacred things to be made a Play and a Fable. It is also a Work of very dangerous Consequence, to mingle Humane Inventions with things sacred; because the Poet adds uncertainties of his own, sometimes falsities; which is not only to play with holy things, but also to ingraft in Mens Minds uncertain Opinions, and now and then false. These things have place especially, when we bring in God, or Christ speaking, or treating of the Mysteries of Religion. I will allow more where the History is taken out of the Sacred Scriptures, but yet in the Nature of the Argument is Civil. As if the Action be of [Page] David flying from his Son Absalon; or of Joseph sold by his Brethren, advanced by Pharoah to the Government of Egypt, and in that Dignity adored by, and made known unto his Brethren. Of which Argument is Sophompaneas, made by the most Illustrious and Incomparable Man Hugo Grotius, Embassador when he liv'd, of the most Gracious Queen and Kingdom of Sweden, to the most Christian King of France. Which Tragedy, I suppose, may be set for a Pattern to him that would handle an Argument from the Holy Scriptures.’

I shall say nothing of the Life of Hugo Grotius; only that he was an Honour to Delph, where he was born in the Year 1583. and will be famous to Posterity, in regard of those many Excellent Pieces that he has published. In some of his Writings he had defended Arminianism, for which he suffer'd Imprisonment in the Castle of Louverstein, in the Year 1618. (at which time his Associate Barnevelt lost his Head on the same Account): afterwards he escaped out of Prison, by means of Maria Reigersberg his Wife, and fled into Flanders; and thence into France, where he was kindly receiv'd by Lewis the XIII. He died at Rostoch in Meclebourg, Sept. the first 1645. His Life is writ at large by Melchior Adamus, in Latin; and in English by C. B. and printed 8o Lond. 1652.

[...] to our Author, and his Translation, (which is in Heroick Verse) I find it extreamly commended by the Verses of four of his Friends: and I doubt not but the candid Reader will assent to their Judgments. For the Plot, the Author [Page] has acquainted the Reader (before the Play) ‘That the History is recorded by Moses in Genesis, 44 and 45 Chapters, with the Contexts there adjoyning; Psal. 105. Acts 7. By Philo, in the Life of Josephus: By Josephus, in the 2d. Book of the Jewish Antiquities; and partly by Justin, out of Trogus Pompeius, the 36. Book. It is extant also in Astapanus, out of Alexander Polyhistor, and in Demetrius: the places you may see in Eusebius his Preparation to the Gospel.’

Alexander GREEN.

A Gentleman that liv'd in the Reign of King Charles the Second; who presently after the Restauration published a Play, call'd The Politician cheated, a Comedy, printed 4o Lond. 1663. I know not whether ever this Play appear'd on the Stage, or no; nor can I recover any thing else of this Author's Writing.

Robert GREEN.

This Author lived in the Reign of Queen Elizabeth, and was a Master of Arts of Cambridge: As to any further Account of him, I I can meet with none, except what I am forc'd to borrow from Mr. Winstanley. But the truth is I dare not trust too much to him, knowing how subject he is to take things upon Re [...] as I find, particularly in the Innumeration he makes of this Author's Plays: However, for once I will venture to transcribe the following passage upon his Authority; who tells us, [Page] That the Person we here treat of was married to a Deserving Gentlewoman, whom he ungratefully forsook, living above himself; and therefore was forc'd to make his Pen a slave to his Purse, to supply his Extravagancies: notwithstanding which he was reduc'd to extreme poverty towards the latter end of his Life; which through God's Mercy, led him to a sight of his former Follies, and to a Repentance of his evil Course of Life: especially his Unkindness and Disloyalty to his Virtuous Partner: which occasion'd a Letter, (published by Mr. Winstanley) which was directed to her by our Penitent, and found after his Death: which Epistle in my Opinion very much resembles the Stile of Dr. Reynolds in his God's Revenge against Murther. As to that Distich said by Mr. Winstanley to be writ on our Author, I have shew'd his mistake in the Account.

This Author has writ several Pieces, but especially one Play, (the occasion of his mention in this place) whose Title is,

The Honourable History of Fryar Bacon, and Fryar Bungy; play'd by the Prince Palatine's Servants, and printed Lond.—I know not whence the Author borrow'd his Plot; but this Famous Fryar Minor, liv'd in the Reign of King Henry the Third, and died in the Reign of Edward the First, in the Year 1284. Con [...] Bale, Script. Illustr. Majoris Britannae Ca [...] Pitseus Relationes Historicae. Wood. Antiq. Oxon. Dr. [...]lot Hist. Oxford, &c.

Mr. Philips, d and Mr. Winstanley e say, [Page] That he was an Associate with Dr. Lodge in writing several Comedies; namely, The Laws of Nature; Lady Alimony; Liberality and Prodigality; and a Masque called Lumenalia. Besides which he wrote alone, the Comedies of Fryar Bacon, and Fair Emme. But in this Assertion they are extreamly out; for he joyn'd with Dr. Lodge but in one Play, call'd A Looking-glass for London; of which hereafter: and as to the others (most of which I have by me) they are all Anonymous Plays.

As to his other Pieces, I have never seen but two; viz. Quip for an Upstart Courtier, and Dorastus and Fawnia; tho' Mr. Winstanley reckons up several others, as Euphues his Censure to Philautus; Tullies Love; Philomela, The Lady Fitzwaters Nightingale, Green's never too late, first and second part; Green's Arcadia; Green's Farewell to Folly; Green's Groats-worth of Wit, &c.

H.

William HABINGTON, Esq

A Gentleman that liv'd in the Time of the late Civil Wars; and slighting Bellona, gave himself up entirely to the Muses. He was equally famous for History, and Poetry, of which his Edward the Fourth, and Castara, are sufficient Testimonies. Mr. Kirkman (who was very knowing in Plays,) has ascribed a Dramatick Piece to him, which gives us occasion to speak of him; 'tis call'd,

[Page] Queen of Arragon, a Tragi-comedy, acted at Court, and the Black-Fryars; and printed fol. Lond. 1640. Tho' the Author's Name be not prefix'd to the Title-page, yet I have that confidence in Mr. Kirkman's Judgment as to believe this Play to be writ by him.

His other Poems are all printed together 8o. and go under the Title of Castara: they are divided into three parts, under a different Title suitable to their Subject. The first, which was writ when he was a Suitor to his Wife, is usher'd in, by a Character writ in Prose, of a Mistress: The second, being Copies writ to her after Marriage, by a Character of a Wife: After which is a Character of a Friend, before several Funeral Elegies. The third part consists of Divine Poems, some of which are Paraphrases on several Texts out of Job and the Book of Psalms: before which is the Portraict of a Holy Man. I know not when those Poems were first printed, but the last Edition which I have by me augmented and corrected, was printed 8o. Lond. 1640. and his Poetry is commended by his Friend and Kinsman, Mr. John Talbot.

I know nothing that he has writ in Prose, except his Chronicle of K. Edward the Fourth, printed fol. Lond. 1640. Of what esteem it is in the World, is well known to Historians.

Peter HAUSTEAD.

A Gentleman that was born at Oundle, a Market Town in Northamptonshire, and flourisht [Page] in the Reign of King Charles the First of Blessed Memory. He was after some Years sent to the University of Cambridge: where in Queens Colledge he took the Degree of Master of Arts. He challenges a Place in our Catalogue, on Account of his Play, call'd

Rival Friends, a Comedy, acted before the King and Queens Majesties, when out of their Princely Favour they were pleas'd to visit the University of Cambridge, upon the nineteenth day of March 1631. Cry'd down by Boys, Faction, Envy, and confident Ignorance, approv'd by the Judicious, and Expos'd to the publick Censure by the Author; printed 4o Lond. 1632. and dedicated by a Copy of Verses to the Right Honble, Right Reverend, Right Worshipful, or whatsoever he be, shall be, or whom he hereafter may call Patron. The Play is commended by a Copy of Latin Verses, and Two writ in English. The Prologue is a Dialogue betwixt Venus, Thetis, and Phoebus, sung by two Trebles, and a Base. Venus (being Phosphorus as well as Vesper) appearing at a window above, as risen, calling to Sol, who lay in Thetis Lap, at the East-side of the Stage, canopy'd with an Azure Curtain. Our Author seems to me to be much of the Humor of Ben Johnson, (whose greatest weakness was that he could not bear Censure;) and has so great a Value for Ben's Writings, that his Scene betwen Love-all, Mungrel, Hammershin, Act 3. Sc. 7. is copy'd from that (in Johnson's Play called The Silent Woman,) between True-wit, Daw, and La-fool, Act. 4. Sc. 5.

I know not whether our Author were in Orders [Page] when he writ this Play; but I know there are Eleven Sermons in print, under his Name, published 4o Lond. 1646.

Richard HEAD.

This Author liv'd in the Reigns of King Charles the First and Second. He was born in Ireland, of English Parents, being the Son of a Clergy-man, who was murther'd in the deplorable Massacre of Ireland; in the beginning of the Rebellion, which broke out there on the 2d day of October 1641. He was educated for some small time in the University of Oxford; and afterwards exchang'd his Study for a Booksellers Shop. I remember him a Bookseller, and Partner with Kirkman, (if I mistake not) in the Alley that fronts the North-gate of Pauls, call'd Cannon-Alley. He was a Man extreamly given to pleasure, and yet of excellent Natural Parts, had they been improv'd by Virtue, or fix'd by Solidity. He writ a Play call'd

Hic & ubique, or The Humour's of Dublin, a Comedy acted privately with good Applause; printed in quarto Lond. 1663. and dedicated to the Illustrious Charles, Duke of Monmouth and Orkney.

He has writ several other Pieces, of different Subjects tho' all of them trivial, and which betray'd his Conversation; as The first part of the English Rogue; Venus Cabinet unlock'd; The Art of Wheedling; The Floating Island, or A Voyage from Lambethania to Ram-allia; A Discovery of O Brasil; Jackson's Recantation; The Red-sea; [Page] and some Pieces against Dr. Wild; all which I have borrow'd from Mr. Winstanley, and shall be ready to return him Interest for it, in the Next Edition of his Book, if he pleases to command me.

Our Author (according to Mr. Winstanley) was cast away at Sea, in his passage to the Isle of Wight.

William HEMMINGS.

A Gentleman that liv'd in the Reign of King Charles the First, and was Master of Arts of the University of Oxford: tho' I cannot inform my self of what Colledge. He writ two Tragedies, which in his time were in some esteem; and one of them has appear'd on the Stage, since the Restitution of his late Majesty and the Muses, with Approbation. It is call'd

Fatal Contract, a Tragedy acted with good Applause, by Her Majesties Servants; and printed quarto Lond. 1653. This Play was published after the Author's Death, having pass'd thro' many Hands, as a Curiosity of Wit and Language;c and was dedicated to the Right Honourable James Compton Earl of Northampton,, and to Isabella his Virtuous Countess. It was reviv'd not many Years since under the Title of Love and Revenge, with some Alterations: the Old Play being out of print, it was about three Years ago reprinted as a New Play, under the Title of The Eunuch. For the Plot [Page] 'tis founded on the French Chronicle, in the Reigns of Chilperic the First, and Clotaire the Second: Consult Gregoire de Tours, Lib. 4, 5. &c. Aimoin, Fredegaire, Sigebert, Fortunat, Valois, De Serres, Mezeray, &c.

Jews Tragedy, or their fatal and final Overthrow by Vespasian, and Titus his Son, agreeable to the Authentick and Famous History of Josephus; printed 4o Lond. 1662. This Play was not published till some Years after the Author's Death. For the History consult Josephus Lib. 6, 7.

Jasper HEYWOOD.

This Author was Son to John Heywood, the Famous Epigramatist, (of which by and by) and was bred in his younger Years at Merton Colledge, and afterwards was a Member of All-Souls Colledge in Oxford. In some few Years, he changed the University for S. Omers; where he became a fierce Bigotted Jesuite, and was the first Jesuite that set foot in England. Dr. Fuller says,f He was executed in the Reign of Queen Elizabeth: but Sir Richard Baker tells us,g ‘That he was one of the Chief of those seventy Priests that were taken in the Year 1585. and when some of them were condemn'd, and the rest in danger of the Law, that Gracious Queen caus'd them all to be Ship'd away, and sent out of England.’

During his Residence in the University, he imploy'd part of his time, in translating three [Page] of Seneca's Tragedies, of which we shall give an Account: But first with the Readers permission, since an hansome Opportunity offers it self, we will present you with an Abridgment of the Life of this our Poetical-Stoick.

Lucius Annaeus Seneca was born at Cordoüa, in Spain, a little before the Death of Augustus Caesar. He bore his Father's Name, which Conformity has mis-led some Authors, causing them to ascribe to the Son, the Declamations collected by the Father. He gave himself to the Study of Philosophy and Rhetorick; and in the beginning of Caligula's Reign, he signaliz'd himself by a Cause which he pleaded in the Senate, under the protection of Cneus Domitius. But finding that Emperor, aiming at the Universal Monarchy of Eloquence, he pleaded no more in publick, for fear of giving Ombrage to this Ambitious Prince. He was banisht for two Years into the Isle of Corsa, upon suspition of too much Familiarity with the Relict of his Patron Domitius. Agripina being married to Claudius, she repeal'd his Banishment, and gave him the Honourable Station of Tutor to her Son Nero, who she design'd for the Empire. He acquitted himself of this Employ with universal Applause; and the first five Years of Nero's Reign, sufficiently testify'd the Diligence and Prudence of the Tutor, and the pregnant Temper of the Royal Pupil: who so well put in practice the Instructions that were given him, that the beginning of his Reign might serve as a Model to the best of Princes: But when once Poppaea and Tigillinus became Masters [Page] of his Temper, they soon destroy'd that Noble Foundation of Virtue, that Seneca had taken so much pains to erect; and he gave himself up to those abominable Crimes, that render'd him the shame of Mankind. Seneca's Virtue was a continual Check to his Vices; this render'd his Company at first disagreeable to him, afterwards intolerable. This occasion'd him to hire Cleonice, Seneca's Freed-man, to poyson him; which either through the Repentance of the Domestick or the Distrust of Seneca, was prevented. Nero some time after, hearing that Seneca was privy to Piso's Conspiracy, and being impatient of his Death, laid hold of that Opportunity to destroy him. All the Return this ungrateful Pupil made him for the Care of his Education, was to allow him the choice of his Death; which he accepted from the Tyrant, and causing his Veins to be open'd, he died in the twelfth Year of Nero's Reign, A.D. 65.

I could willingly enlarge upon his Life, but since my Subject confines me to speak obiter only of forreign Poets, I hope the Reader will excuse me, and seek in Tacitus, Suetonius, and other Roman Historians for the further Satisfaction: or in Justus Lipsius, who has Pen'd his Life more at large; whilst I return to my Translator, and those three Plays made English by him, which are Hercules Furens, Troas, and Thyestes.

Hercules Furens, tho' not allow'd by some who are Criticks in Stile, to be writ by Seneca, is yet thought by most Learned Men to be [Page] an Imitation of that Play of Euripides, which bears the same Name: and tho' in some things relating to Oeconomy and Contrivance, they differ, in others they agree; as has been observed by Scaliger, Apud Euripidem Tragoedia est huic assinis, & Argumento & Nomine: oeconomia, partim similis, partim dissimilis. An Instance of this, is in the Scene between Lycus and Amphitruo, where Seneca has observ'd the Decorum of the Stage in the person of Amphitruo, better than Euripides; so that Scaliger sticks not to prefer the Latin to the Greek Poet, In Decore personae Amphitrionis longè inferior Senecâ ut in multis aliis.

As to the Version of our Author, tho' I cannot much commend it, yet I believe it may vye with the Translations of Mr. Brisset, and Le Sieur Nouvelon. If Mr. Linage has outdone him, 'tis because the One is writ in Prose, and so is left at liberty to express his Thoughts; the Other is fetter'd in Rhime, and has taken an ill Measure of Verse; Lines of fourteen Syllables sounding harsh to the Ears of those that are used to Heroick Poetry. I must do my Author this Justice to acquaint the whole World, That he endeavours to keep to Seneca's Sence; and likewise to imitate his Verse, changing his Measure as often as the Author; the Chorus of each Act being different from the Act it self, as the Reader may observe by comparing the English Copy with the Latin Original.

Troas, is a Tragedy which is extreamly commended by the Learned Farnaby, and the Judicious Daniel Heinsius; the former stiling it A [Page] Divine Tragedy, in his Preface before these Tragedies, Divinam Tragoediam Troadas L. Annaeo Senecae Philosopho adscribo; the other preferring it before the Troadas of Euripides, both for the Language and Contrivance: But especially he says, It far exceeds it in the Chorus: so that those of Seneca are Divine in respect of these of Euripides. Etiam in Choris noster vincit quos ex paucis Graecis verbis, & quae sparsum leguntur fecit alios & planè divinos. I shall not dispute whether this Tragedy be nam'd Troas, or Troadas, according to Scaliger's Opinion: or whether it ought to be nam'd Hecuba, as Valerius Probus, and some others believe; but leave these Niceties to the Decision of the more Learned Criticks, whilst I proceed to give an Account of our Authors Version.

In this Tragedy the Author has taken the liberty of adding several things, and altering others, as thinking the Play imperfect; whether left so by Seneca, or whether part of it be lost, he pretends not to decide. First, as to his Additions; he has at the end of the Chorus after the first Act, added threescore Verses of his own Invention. In the beginning of the second Act, he has added a whole Scene, where he Introduces the Spectre of Achilles rising from Hell, to require the Sacrifice of Polyxena. To the Chorus of this Act, he has added three Stanzas. Secondly, as to his Alterations; Instead of translating the Chorus of the third Act, (which is wholly taken up with the Names of Forreign Countries, the Translation of which without Notes, he thought would be tiresome [Page] to the English Reader;) he has substituted in its stead, another Chorus of his own Invention. This Tragedy runs in Verses of fourteen Syllables, and for the most part his Chorus is writ in Verse of ten Syllables, which we call Heroick Verse. Whether his Translation excel, or be excell'd by those done by Robert Garnier, and the Sieur de Sallibray, I must leave to those who have read them to decide.

Thyestes, is a Tragedy in the Judgment of Heinsius not inferior to any of the other Dramatick Pieces writ by Seneca. Whether he made use of Lucius Varius or no, I must leave to the Inquiry of the Learned; whilst I Inform my Reader, That our Author translated this Play when he was Fellow of All-Souls Colledge in Oxford. This Tragedy, is writ in the same measure of Verse with the other; only the Chorus is writ in Alternate Rime. The Translator has added a Scene at the end of the fifth Act, spoken by Thyestes alone; in which he bewails his Misery, and implores Heaven's Vengeance on Atreus. These Plays are printed with the other seven in a Black Letter, in 4o Lond. 1581.

John HEYWOOD.

This Ancient Writer flourish'd in the Reigns of K. Edward the Sixth, and Queen Mary; and liv'd at North-mims in Hertfordshire, near St. Albans, He was most familiar with Sr. Thomas More, whose Neighbour he was, and by whom I suppose he was introduc'd to the knowledge of Queen Mary; in whose Favour he grew exceedingly. [Page] After her Death, he fled beyond Sea, on Account of his Religion, and Died an Exile at Mechlem, An. Dom. 1556.

He was I believe One of the first Dramatick Writers in our English Tongue, and publisht Seven Pieces, which he calls Interludes: and which according to Mr. Kirkman, were printed with the first of our English Printing. Notwithstanding his suffering for Religion, he has as much exploded the Vices of the Romish Clergy, as Nic. de Clemangiis. He says of his own Writings, `That he applied Mirth more than Thrift, `made mad Plays, and did few good Worksh

Of all his Plays, I never saw but one, which I have by me, in quarto; tho' I have been told that the rest of his Plays are printed in fol. of which in Order.

Four P's, a Merry Interlude, of a Palmer, a Pardoner, a Potycary, and a Pedler; Imprinted at London in Fleet-street, at the Sign of the George, by Will. Middleton in 4o. Take a Sample of his Stile, that you may judge of the rest.

Palmer;

Nowe God be here, who kepeth this Place

Now by my Faith, I crye you mercy

Of Reason I must sew for grace

My Rewdness sheweth me no so homely

Where of your pardon art, and wonne

I sew you as Curtesy doth me binde

To tell this which shall be begonne

In order as may come best in mindy

I am a Palmer as yee se, &c.

[Page]Play between John the Husband, and Tib his Wife.

Play between the Pardoner, the Fryar, the Curate, and Neighbour Prat.

Play of Gentleness and Nobility, 2 Parts.

Play of Love.

Play of the Weather.

Besides these Plays, he has written Three hundred Epigrams upon 300. Proverbs, printed in quarto London.

A Fourth hundred of Epigrams, printed in quarto Lond. 1598.

A Fifth hundred of Epigrams, printed in quarto Lond. 1598.

Dr. Fuller mentions a Book writ by our Author,i intituléd Monumenta Literaria, which are said to be Non tam labore condita, quàm lepore condita. The Author of The Art of English Poetry, speaking of several of our Old English Bards, says thus of this our Poet;k ‘John Heywood, who in King Edward the Sixth's time, for the Mirth and Quickness of his Conceits, more than for any good Learning that was in him, came to be well benefy'd by the King.’ That the Reader may judge of his Epigrams, to which certainly the forementioned Writer alludes, I will transcribe one, writ by him on himself.

Of Heywood's Fifth Hund. Numb. 100.

Art thou Heywood, with thy mad Merry Wit?

Yea, forsooth Master, that Name is even hit.

[Page]Art thou Heywood, that apply'st Mirth more

than Thrift?

Yes, Sir, I take merry Mirth, a Golden Gift.

Art thou Heywood, that hast made many mad

Plays?

Yea, many Plays, few good Works in my Days.

Art thou Heywood, that hath made Men merry long?

Yea, and will, if I be made merry among.

Art thou Heywood, that wouldst be made merry now.

Yes, Sir, help me to it now, I beseech you.

'Tis not unlikely that our Author may have more Plays in Print, than we have mention'd; but I am very confident that The Pinder of Wakefield, and Philotas Scotch, notwithstanding the Allegations of Mr. Philips and Mr. Winstanley, are not of that number: the One being written, as I suppose, at least printed, above Twenty, the Other more than Fourty Years after his Death.

Thomas HEYWOOD.

An Author that liv'd in the Time of Queen Elizabeth, and the Reign of King James the First. Tho' he were but an Actor, as is manifest by Mr. Kirkman's Testimony, and apparent from a Piece writ by him, call'd The Actors Vindication; yet his Plays were in those Days accounted of the Second-Rate. He was the most Voluminous Writer that ever handled Dramatick Poetry in our Language; and I know none but the Famous Spaniard, Lopez de Vega, that can vye with him; if at least we give Credit to his own Attestation, in the Preface [Page] to One of his Plays;l ‘This Tragi-comedy (as he says) being One reserv'd amongst two Hundred and Twenty, in which I have had either an entire Hand, or at the least a main Finger.’ Of this Number we have, that I know of, but Five and Twenty entire Plays remaining: the Reason of which the Author gives us in the same Epistle. ‘True it is, that my Plays are not exposed unto the world in Volumes, to bear the Title of Works, (as others) one Reason is, That many of them by shifting and change of Companies, have been negligently lost, Others of them are still retained in the Hands of some Actors, who think it against their peculiar profit to have them come in Print; and a third, That it was never any great Ambition in me to be Voluminously read.’

These seem to me, to be more plausible Reasons than what Mr. Winstanley gives for their Miscarriage; ‘'Tis saidm, that he not only acted himself almost every day, but also wrote each day a Sheet; and that he might loose no time, many of his Plays were compos'd in the Tavern, on the back-side of Tavern Bills; which may be the occasion that so many of them be lost.’ Certainly the Tavern Bills were very large, or Mr. Winstanley must think his Readers Credulity of the same extent with his own; who would subscribe to the belief of so ridiculous a Story. This Report Mr. Winstanley partly borrows from Mr. Kirkman's Advertisement at the End of his Catalogue, and as [Page] Stories lose nothing in the carriage, Mr. Winstanley had added the Contrivance of making use of Tavern Bills to save Paper. But tho' many of these Plays being written loosely in Taverns as Mr. Kirkman observes, might occasion their being so mean; yet it did not in probability much contribute to their loss, as Mr. Winstanley would have it.

To do our Author justice, I cannot allow that his Plays are so mean as Mr. Kirkman has represented them: for he was a general Scholar, and an indifferent Linguist, as his several Translations from Lucian, Erasmus, Textor, Beza, Buchanan, and other Latine and Italian Authors, sufficiently manifest. Nay, further in several of his Plays he has borrow'd many Ornaments from the Ancients; as more particularly in his Plays call'd The Ages, he has intersperst several Things, borrow'd from Homer, Virgil, Ovid, Seneca, Plautus, &c. which extreamly set them off. What Opinion the Wits of the last Age had of him may appear from the following Verses, extracted from a Copy of the Poets of those Times: viz.

The squibbing Middleton, and Heywood Sage,

Th' Apologetick Atlas of the Stage;

Well of the Golden Age, he could entreat,

But little of the Mettal, he could get;

Three score sweet Babes he fashion'd at a Lump,

For he was Christen'd in Parnassus Pump;

The Muses Gossip to Aurora's Bed,

And ever since that time his Face was Red.

I shall now give the Reader an Account of the [Page] Plays our Author has written; but crave his leave to begin first with those, which are usually stiled The Ages, because they are generally sold together, and depend upon each other: and on another score they deserve the Preference, as being accounted by most the Flower of all his Plays. I shall rank them in the same manner, as Ovid has describ'd them in his Divine Work, the Metamorphosis.

Golden Age, or The Lives of Jupiter and Saturn, with the Deifying of the Heathen Gods; a History sundry times acted at the Red-Bull, by the Queens Majesties Servants, and printed 4o Lond. 1611. This Play the Author stiles, n ‘The Eldest Brother of three Ages, that have adventur'd the Stage, but the only yet, that hath been judg'd to the Press.’ The Author in this Play, and the Two following introduces Homer as the Expositor of each Dumb shew, in imitation, as I suppose, of Shakespear's practice in Pericles Prince of Tyre, where Gower is suppos'd to do the same piece of Service to the Audience. I shall leave it to the Learned Readers Judgment how far our Poet has follow'd the Writers of Poetical History: whilst I refer my English Readers to Ross's Mistagogus Poeticus; and to Galtruchius's Poetical History for satisfaction: or, if they please, to the Historical Dictionaries of Gouldman, Littleton, &c.

Silver Age, a History including the Love of Jupiter to Alcmena; the Birth of Hercules; and the Rape of Proserpine: concluding with the [Page] Arraignment of the Moon; printed 4o Lond. 1613. The Author in this Epistles acquaints the Reader, ‘That tho' He began with Gold, follow with Silver, proceed with Brass, and purpose by God's Grace to end with Iron. He hopes the declining Titles shall no whit blemish the Reputation of the Works: but he rather trusts, that as those Mettals decrease in value, so è contrario, their Books shall increase in substance, weight, and estimation.’ Our Author in this Play has borrow'd several Passages from the Ancients: as the Intrigue of Jupiter and Alcmena, is translated from the Amphitruo of Plautus. The Rape of Proserpine is borrow'd from Ovid's Metamorphosis, lib. 3, with other places too many to repeat.

Brazen Age, a History; the First Act containing the Death of the Centaure Nessus; the Second, the Tragedy of Meleager; the Third, the Tragedy of Jason and Medea; the Fourth, Vulcan's Net; the Fifth, the Labours and Death of Hercules: printed 4o Lond. 1613. All these Stories are to be found in Ovid's Metamorphosis. For the Story of Nessus see Lib.9. Fab.2. Of Meleager, Lib.8. Fab.4.. Of Jason, Lib.7. Fab.1. Of Vulcan's Net, Lib.4. Fab.5. Of Hercules, Lib.9 Fab.3.

Iron Age, the first part, an History containing the Rape of Hellen; the Siege of Troy; the Combat between Hector and Ajax; Hector and Troilus slain by Achilles; Achilles slain by Paris; Ajax and Ulysses contend for the Armour of Achilles; the Death of Ajax &c. printed 4o Lond. 1632. and dedicated to his Worthy [Page] and Much Respected Friend, Mr. Thomas Hammond of Gray's Inn Esquire. The Author in his Epistle acquaints the Reader, ‘That this Iron Age, beginneth where the other left, holding on in a plain and direct course from the second Rape of Hellen, not only to the utter ruine and devastation of Troy; but it, with the second part, stretcheth to the Deaths of Hellen, and all those Kings of Greece, who were the undertakers of that Ten years bloody and fatal Siege.’ Lastly, he desires the Reader to take notice, ‘That these were the Plays often (and not with the least applause,) publickly acted by two Companies, upon One Stage at once, and have at sundry times thronged three several Theatres, with numerous and mighty Auditories.’ The Author has borrow'd in many places of this Play, as the Reader may see by comparing the Contention between Ajax and Ulysses with Ovid's Metamorphosis, Lib.13. and other the like, too numerous to particularise. For the main Plot consult Homer, Vigil, Dares Phrigius, &c. for the Episodes, Ovid's Epistles, Metamorphosis, Lucian's Dialogues, &c.

Iron Age, the second part, a History containing the Death of Penthesilea, Paris, Priam, and Hecuba: The burning of Troy: The Deaths of Agamemnon, Menelaus, Clitemnestra, Hellena, Orestes, Egistus, Pylades, King Diomed, Pyrbus, Cethus, Synon, Thersites, printed 4o Lond. 1632. and dedicated to his Worthy and much Respected Friend, Mr. Thomas Manwaring Esquire. For the Plot consult the foremention'd Authors.

[Page]Mr. Heywood design'd a new Edition of all these Ages together, ‘And to illustrate (as he sayso the whole Work, with an Explanation of the difficulties, and an Historical Comment upon every hard Name, which might appear obscure and intricate to such as were not frequent in Poetry:’ but design of his, I know not for what reason was laid aside.

Having given the Reader a full, if not too tedious Account of these Plays, I hasten to speak of the rest in our accustom'd order as follows.

Challenge for Beauty, a Tragi-comedy, sundry times acted by the Kings Majesties Servants at the Black fryars, and at the Globe on the Bank-side; printed 4o Lond. 1636.

Dutchess of Suffolk her Life; a History divers and sundry times acted with good Applause; printed 4o Lond. 1631. The PLot is built on History, see the Story at large in Fox's Martyrology in the Reign of Queen Mary, An. Dom. 1558. in the Story of Lady Katherine, Dutchess of Suffolk. See besides Clark's Martyrology, Chap. 11. pag. 521.

Edward the Fourth, a History in Two Parts, printed 4o Lond. 16—. The Foundation of this Play is built upon Chronicle. See the Story of this King writ by Polydore Virgil, Du Chesue, Speed, &c.

English Traveller, a Tragi-comedy publickly acted at the Cock-pit in Drury-lane, by her Majesties Servants; prited 4o Lond. 1633. and dedicated to the Right Worshipful Sir Henry Appleton, Knight Baronet. The Plot and Language [Page] of young Lyonel and Reginald, is stoln from Plautus's Mostellaria. The Story of old Wincote and his Wife, Geraldine, and Dalavil, the Author affirms to be true in his History of Women; where 'tis related at large lib. 4. pag. 269. 8o Edition.

Fair Maid of the Exchange, a Comedy, together with the merry Humours, and pleasant Passages of the Cripple of Fanchurch, furnisht with variety of delectable Mirth: printed 4o. Lond. 1637. The Parts are so cast by the Author, that tho' there are Twenty Actors, Eleven may easily act this Comedy: tho' in my opinion it is not worth reviving. Nay further, I question notwithstanding Mr. Kirkman has ascrib'd it to our Author, whether it be his, since his Name is not prefixt, neither does the Stile, or Oeconomy resemble the rest of his Labours.

Fair Maid of the West, or A Girlworth Gold, a Tragi-comedy the First Part: lately acted before the King and Queen, with approved liking, by the Queens Majesties Comedians; printed 4o Lond. 1631. and dedicated to his much Worthy, and his most Respected John Othow Esquire, Counsellor at Law, in the Noble Society of Gray's-Inn.

Our Author in the Epistle both to this Play, and The English Traveller, pleads Modesty, in not exposing his Plays to the publick view of the World, in numerous Sheets and a large Volume, under the Title of Works, as others: By which he would seem tacitly to arraign some of his Contemporaries for Ostentation, and [Page] want of Modesty. I am apt to believe, that our Author levell'd his Accusation at Ben Johnson: since no other Poet that I know of, in those day, gave his Plays, the pompous Title of Works; of which Sir John Suckling has taken notice in his Sessions of the Poets.

The first that broke silence was good Old Ben,

Prepar'd before with Canary Wine;

And he told them plainly that he deserv'd the Bays,

For his were call'd Works, where others were but Plays.

This puts me in mind of a Distick directed by some Poet of that Age, to Ben Johnson;

Pray, tell me Ben, where does the myst'ry lurk?

What others call a Play, you call a Work.

Which was thus answer'd by a Friend of his;

The Author's Friend thus for the Author say's,

Ben's Plays are Works, when others Works are Plays.

Fair Maid of the West, or A Girl worth Gold, the second Part; acted before the King and Queen, with approved Liking, by the Queens Majesties Comedians: printed 4o Lond. 1631. and dedicated to the true Favourer of the Muses, and all good Arts, Thomas Hammond, Esq of Grays-Inn. These Plays (as our Author acquaints his Patron)p `Not only past the `Censure of the Plebe, and Gentry, but of the Patricians and Pretextatae; as also of our Royal-Augustus, and Livia. I know not where our [Page] Poet met with this Story, but as Poets usually take the Foundation of a Play, from a History, or a Romance; so these two Plays have serv'd for the Subject of a Romance, which on this Model was writ by John Dancer, above-mentioned, to whom I refer youq

Fortune by Land and Sea, a Tragi-comedy, acted with great applause, by the Queen's Servants; written by our Author, and the Well-Esteem'd William Rowly; but not printed till after their Decease, 4o Lond. 1655.

Four Prentices of London, with the Conquest of Jerusalem; a History divers times acted at the Red-Bull, by the Queens Majesties Servants with good applause; printed 4o Lond. 1635. and dedicated to the Honest High-Spirited Prentices, the Readers. This Play was written (as the Author says) in his Infancy of Judgement, in this kind of Poetry, and his first Practice; and that as Plays were then, some sixteen Years before its Publication, it was in the Fashion. This Play is founded on the Exploits of the Famous Godfrey of Bulloign, who took Jerusalem from the Infidels the 15. of July A.D. 1099. For the Story, see Tasso's Il Gosredo, Dr. Fuller's Holy War. The late History of the Croïsades, &c.

If you know not me, you know no Body; or The Troubles of Queen Elizabeth: a History in two Parts, printed 4o Lond. 1623. This Play was printed without the Author's Knowledge or Consent, and that so corruptly, (it not being divided into Acts) that at the Reviving of it [Page] at the Cock-pit, after having been acted for the space of one and twenty Years, he writ a Prologue r, which particularly inveigh'd against this Imperfect Copy, as will appear by the following Lines.

—'Twas ill nurst,

And yet receiv'd as well perform'd at first,

Grac'd, and frequented for the Cradle-Age

Did throng the Seats, the Boxes, and the Stage,

So much; that some by Stenography drew

The Plot, put it in print; (scarce one word true:)

And in that lameness it has limpt so long;

The Author now to vindicate that wrong,

Hath took the pains, upright upon it's feet

To teach it walk; so please you sit, and see't.

For the Plot, see the Writers of the Life of Q. Elizabeth; as Cambden, Speed, Du Chesne, &c. And our Author had so great a Veneration for that Heroick Pricess, that he writ a little Historical Piece, call'd England's Elizabeth, printed 8o Lond. 1631.

Lancashire Witches, a well receiv'd Comedy, acted at the Globe on the Bank-side by the Kings Majesties Actors; written by our Author, and the Ingenious Rich.Brome, and printed 4o. Lond. 16—. I have read in my younger Days (if I mistake not) the Foundation of this Play, in an old English Quarto; but as to that part of the Plot, where Whetstone revenges himself by his Aunt's means, on Arthur, Shakstone, and Bantam, for calling him Bastard, Act 4. Sc. the last; 'tis founded on the Story of John [Page]Teutonicus of Holberstad, a place in High-Germany, who was a known Bastard, and a Magician. Our Author has related this Story in Verse, in his Hierarchy of Angels, Lib. 8. pag. 512, &c.

Loves Mistris, or The &Queen's Masque; three times acted before their Majesties, within the space of eight Days; in the presence of sundry Forreign Embassadours. Publickly acted by the Queen's Comedians, at the Phoenix in Drury-Lane. The Second Impression corrected by the Author, printed 4o Lond. 1640. and dedicated to the Right Honourable Edward Earl of Dorset. The Play is founded on Apuleius's Golden Ass: a kind of Romance in Latin; and English'd by W. Addington, 4o Lond. 1634.

Maidenhead well lost, a pleasant Comedy, publickly acted in Drury-Lane, with much applause by her Majesties Servants, printed 4o. Lond. 1634.

Rape of Lucrece, a true Roman Tragedy, with the several Songs in their appointed places, by Valerius the merry Lord among the Roman Peers. The Copy revis'd, and sundry Songs before omitted, now inserted in their right places; acted by the Majesties Servants at the Red-Bull, printed 4o Lond. 1638. For the Plot, see Livy Dec. 1. C. 58. Florus Lib. 1. C. 7. Val. Max. Lib. 6. C. 11. Ex. 1.

Robert Earl of Huntington's Downfall, afterwards call'd Robin Hood, of Merry Sherwoode; with his Love to Chaste Matilda, the Lord Fitz-water's Daughter, afterwards his Fair Maid Marian: acted by the Right Honourable [Page] the Earl of Nottingham, the Lord High Admiral of England his Servants, and printed 4o. Lond. 1601.

Robert Earl of Huntington's Death, otherwise call'd Robin Hood of Merry Sherwoode; with the Lamentable Tragedy of Chaste Matilda, his Fair Maid Marian, poyson'd at Dunmow by the King; and printed 4o. Lond. 1601. Both these Plays are printed in Black-Letter, but neither of them are divided into Acts. The first part is introduc'd by John Shelton, Poet Laureat to King Henry the Eighth; and the the second, by Fryar Tuck. For the Plot, see our English Chronicles in the Reign of King Richard the First, as Du Chesne, Speed, Baker, &c. See besides Fullers Worthies in the Account of Nottinghamshire, p.315. Drayton's Polyolbion, Song 26.

Royal King, and Loyal Subject; a Tragi-comedy, acted with great applause by the Queens Majesties Servants, and printed 4o. Lond. 1637. The Plot of this Play, extreamly resembles that of Fletcher's Loyal Subject.

Wise-Woman of Hogsden, a Comedy sundry times acted with good applause, printed quarto Lond. 1638. This Play is commended by a Copy of Verses, printed at the End, writ by his Friend Mr. Samuel King.

Woman kill'd with Kindness, a Comedy oftentimes acted by the Queens Majesties Servants; and printed quarto Lond. 1617.

These are all the Plays that our Author has extant, except we will reckon his Dialogues, under the Species of Dramatick Poetry; such [Page] as Jupiter and Io; Apollo and Daphne; Amphrise, or The Forsaken Shepherdess; &c. all which with several Translations above-mention'd the Reader may peruse in a Book intituled, Pleasant Dialogues and Drammas, collected out of Lucian, Erasmus, Textor, Ovid, &c. printed octavo Lond. 1637.

There may be another Reason added to those already mention'd, why no more of our Author's Plays have been published, which he himself gives us in his Epistle to The Rape of Lucrece; ‘That he used to sell his Copy to the Players, and therefore suppos'd he had no further right to print them, without their Consent; which is the Reason that so few are in print; and that some of these Plays that are so, have been copy'd by the Ear, and printed uncorrect without his Knowledge.’

As to his other Pieces, he has publisht several in Verse and Prose. In the former he has written a Poem, called The Hierarchy of the Blessed Angels, with Notes, printed fol. Lond. 1635. In reading over this Book, I find our Author informing the World,s ‘That he intended to commit to the publick View, the Lives of the Poets, Forreign and Modern, from the first before Homer, to the Novissimi and last, of what Nation or Language soever; so far as any History, or Chronology would give him warrant.’ But this Work, notwithstanding our Author's Intention, I presume was never compleated, or at least publisht.

His chief Pieces in Prose are, An Apology for [Page]Actors, printed 4o. Lond. 1612. which was highly commended by several Copies of Verses, written in Greek, Latin, and English. This piece was answer'd, or rather rail'd against by One J. G. in a Pamphlet call'd, A Refutation of the Apology for Actors; printed 4o. Lond. 1615. Whether Mr. Prynn's Piece call'd Histriomastix, printed 4o. Lond. 1633. were particularly levell'd against this Book, I cannot positively determine: but I think Sir Richard Baker, who answer'd it, (in a little Piece call'd The Theatre vindicated, printed 8o. Lond.) has sufficiently made out the Character he gives of it,t That all his Book is but a Bundle of Scolding Invectives, and Railing, instead of Reasoning. He has writ besides, The Life and Troubles of Queen Elizabeth, from her Cradle to her Crown, printed 8o. Lond. 1631. The Examplary Lives and Acts of Nine Women Worthies; three Jews, three Gentiles, and three Christians; printed 4o. 1640. The General History of Women of the most Holy, and Profane, the most Famous, and Infamous in all Ages; printed 8o. Lond. 1657.

The usual Motto which he prefix'd to most of his Works, and which shew'd the chief design of his Writing, was this of Horace,

Aut prodesse solent, aut delectare.—

Barten HOLLYDAY.

A Gentleman that flourisht in the Reigns of King Charles the First and Second. He was [Page] born about the latter End of Queen Elizabeths Reign, in Oxford, in the Parish of All-Saints. He was enter'd young at Christ-Church, in the time of Dr. Ravis, his Relation and Patron, by whom he was chose Student; and having taken his Degrees of Batchelor and Master of Arts, he at length became Arch-Deacon of Oxfordshire. He died soon after the King's Return, at Eifly, the Corps of his Arch-Deaconry, (near Oxford) in the Year 1661. and was buried in Christ-Church; having left behind him the Character of a general Scholar, a good Preacher, a skilful Philosopher, and an excellent Poet. As a proof of this, I must refer my Reader to his Works in general, it being my province at present only to enumerate his Writings, and make remarks on nothing, but what he has publisht in Dramatick Poetry; which is a Play call'd

TEXNOTAMIA, or The Marriages of the Arts, a Comedy, acted by the Students of Christ-Church in Oxford, before the University, at Shrove-tide; printed 4o. Lond. 1630. The Author has sufficiently shew'd his Learning in the Contexture of this Comedy, and has introduc'd several things from the Ancients; particularly two Odes from Anacreon, viz. Act 2. Sc. 2. Act 3. Sc. the last. He has shew'd how well he was able to imitate another Author, by this Play; as the Reader may see, by comparing the Challenge of Logicus, to Poeta, Act 2. Sc. 2. with that of Dametas to Clinias, drawn by the Pen of the Admirable Sir Philip Sidney.

He has several other Pieces of Poetry, which [Page] tho' Translations, have gain'd him a considerable Reputation, as the Translation of the Satyrs of Juvenal, and Persius; Illustrated with Notes and Sculptures, printed Fol. Oxon. 1673. His Version of the Odes of Horace, mention'd by Mr. Wood, u to have been printed Lond. 1652. He has likewise publisht several Sermons, as Three Sermons preach'd at Oxford, and two Sermons at St. Pauls-Cross, printed 1626. A Sermon of the Nature of Faith, printed 4o. Lond. 1654. Motives to a godly Life, printed 4o. Oxon. 1657. In Latin, he has printed two Pieces, viz. Philosophiae Politico-barbarae Specimen, de Animâ. 4o. Oxon. 1635. Orbis terrarum Inspectio, lib. 10. Oxon. 1661.

Charles HOOL.

A Gentleman living in the Reigns of King Charles the First and Second, and possibly still in Being. He was born at Wakefield in Yorkshire; and at eighteen Years of Age, came up to the University of Oxford, and was enter'd of Lincoln Colledge. After having taken his Degree of Master of Arts, he withdrew into his own Countrey, where he took upon him the Profession of a School Master: he taught in several places, particularly at Rotheram, (a Market-Town in the West Riding in Yorkshire;) and afterwards, being sent for up to London by several Eminent Citizens, he taught School in Red-Cross-street, near Alders-gate Parish; and afterwards remov'd to Arundel-Buildings, not [Page] far from the Royal-Exchange. At the King's Return, he left the City, and remov'd into Wales, where possibly he still follows that useful Profession. He has been very laborious, not only in Instructing Youth, but also in publishing many Books to their Advancement. One of which, is the Subject of his being mention'd in our Catalogue; viz.

Six Comedies of that Excellent Poet Publius Terentius, an African of Carthage, in English and Latin; for the use of Young Scholars, that they may the more readily obtain the purity of the Latin Tongue, for common Discourse; printed 8o. 1676. This Translation was undertaken by our Author, at the Request of the Company of Stationers, for whom it was printed; and was castrated in some places; as in particular, see Eunuchus Act 3. Sc. 4, 5. to spare the Modesty of the Youth under his Tuition. Those who would know more of Terence, and his Works, let them turn back to Richard Bernard.

The rest of his Works consist chiefly in Translations of Books for the use of young Scholars, as Corderius, Cato AEsop's Fables, Commenii Orbis pictus, &c. To which I may add his Edition of the Greek Testament, in which the Young Grecian will find all the Themes of Greek Words (according to Passor's Lexicon) plac'd in the Margin. He has publisht besides, An Entrance to the Latin Tongue, octavo Lond. 1659. An Explanation of the Accidence, octavo Lond. 1683. with other Books of the like Nature.

Edward HOWARD, Esq

[Page]

A Gentleman, (as I suppose) now living, who has addicted himself to the Study of Dramatick Poetry: how well he has succeeded therein, I shall leave to the Readers Judgment, who may find four Plays of his, under the Titles of

Man of New-Market, a Comedy acted at the Theatre-Royal, and printed 4o Lond. 1678.

Six Days Adventure, or The New Utopia, a Comedy acted at his Royal Highness the Duke of York's Theatre; printed 4o Lond. 1671. This Play miscarried in the Action, as the Author himself acknowledges in his Preface; and indeed that sharp Wit, the late Earl of Rochester, writ an Invective against itx; but the Ingenious Mrs. Behn, Mr. Ravenscroft, and other Poets of the Age, sent the Author Recommendatory Verses, which are printed with the Play: and in return he writ a Pindarick y to Mrs. Behn; which she gratefully publisht in a Collection of Poems, printed 8o Lond. 1685.

Usurper, a Tragedy, acted at the Theatre-Royal by his Majesties Servants, and printed 4o. Lond. 1668. Whether the Author design'd in the Caracter of Damocles, to personate Oliver Cromwel, and intended his Play, a paralel of those times, I leave to more discerning Judgments.

Womens Conquest, a Tragi-comedy, acted by his Royal Highness the Duke of York's Servants, and printed 4o. Lond. 1677. This I take to be the best Play our Author has publisht.

[Page]Besides these Plays Mr. Howard hath publisht an Epick Poem, in octavo, call'd The British Princess; which the late Earl of Rochester has likewise handled severely.z There is ascrib'd to him, another Book of Poems and Essays, with a Paraphrase on Cicero's Laelius, or Tract of Friendship, printed in octavo London 16—.

James HOWARD, Esq

I am not able to acquaint the Reader, whether or no this Gentleman be of the same Family with the former; but I am oblig'd to mention him, on Account of two Plays writ by him, viz.

All mistaken, or The Mad Couple, a Comedy, acted by his Majesties Servants, at the Theatre-Royal, and printed 4o Lond. 1672. This Play is commended by some for an excellent Comedy.

English Monsieur, a Comedy acted at the Theatre-Royal by his Majesties Servants, printed 4o Lond. 1674. Whether the late Duke of Buckingham in his Character of Prince Volscius's falling in Love with Parthenope, as he is pulling on his Boots to go out of Town, design'd to reflect on the Characters of Comely, and Elsbeth, I pretend not to determine: but I know there is a near Resemblance in the Characters.

Sir Robert HOWARD.

[Page]

This Ingenious Person is equally conspicuous for the Lustre of his Birth, and the Excellency of his Parts; being (as I suppose) Brother to the present Earl of Berkshire, and One whose Plays will remain Eternal Testimonies to Posterity, of his Skill in Dramatick Performances. His Committee, and Indian Queen, are deservedly admir'd by the best Judges of Dramatick Poetry: and even our late Laureat, in spite of Envy, must acknowledge his Worth, both as a Poet and Patron His Plays are six in number, viz.

Blind Lady, a Comedy, printed octavo Lond. 16—

Committee, a Comedy, printed fol. Lond. 1665. This is an admirable Comedy, and highly commended.

Great Favourite, or The Duke of Lerma, a Tragi-comedy, acted at the Theatre-Royal by his Majesties Servants; printed 4o. Lond. 1668. For the Plot, see the Historians of those Times, as Mariana, de Mayerne Turquet, &c. This Play (as I have before observ'd p. 165.) was reflected on by Mr. Dryden, tho' had he consulted Reason, Gratitude, or his own Reputation, he had otherwise imploy'd his time; it being a true Observation, which Sr. Robert has made, in his Prologue to the Vestal Virgin:

This doth a wretched Dearth of Wit betray,

When things of Kind on One another prey.

Indian Queen, a Tragedy, writ in Heroick [Page] Verse, and formerly acted with great applause at the Theatre-Royal, printed fol. Lond. 1665.

Surprisal, a Tragi-comedy, acted at the Theatre-Royal, and printed fol. Lond. 1665.

Vestal Virgin, or The Roman Ladies, a Tragedy acted by the King's Servants, and printed fol. Lond. 1665.

Some Readers, who are strangers to the Excellent Tallents of Sir Robert, might expect from me some Discoveries of what he has borrow'd; but I am to Inform them, That this Admirable Poet has too great a Stock of Wit of his own, to be necessitated to borrow from others. All that I can observe is, That The Vestal Virgin has a double Fifth Act; the One of which ends Tragically, the Other successfully; which possibly might be done, in Imitation of Sir John Suckling, the only Gentleman that I know, fit for his Imitation, who has done the same thing in his Aglaura.

He has writ besides some Poems, which are printed with his Blind Lady, in octavo; and four of his Plays, viz. Surprisal, Committee, Indian Queen and Vestal Virgin, are printed together in fol. Lond. 1665.

James HOWEL.

A Gentleman of Wales, born at Abernalies in the County of Caermarden, in the Year 1594. He was Bred up at the Free-School in Hereford; and at 16. Years of Age, sent to the University of Oxford, where he became a Member of Jesus Colledge. About March, in the [Page] Year 1618. he travelled beyond Sea, being sent on Buisiness, by Sir Robert Mansel, where he visited the Low-Countries, and afterwards made a Tour thro' France, and Italy; as appears by the Letters he has publisht. In which the Reader may not only be inform'd of the Chief Occurences of those Times, but of our Author's several Imployments; as, His being sent by King James into Spain, for the Recovery of a Vessel of great value, seiz'd on by the Vice-Roy of Sardinia, under pretence of being laden with prohibited Goods: His being chosen Fellow of Jesus Colledge, during his absence; His being Secretary to the Lord Scroop, when he was President of the Councel in the North; His being Imploy'd about the Clerks of the Councel, &c.

Notwithstanding his various Employs, and multiplicity of Business, he found leisure to publish abundance of Books, to the number of Fourty-nine: Many of them were Translations out of French, Italian, Spanish, Portuguese: Of which Nature is the Play, which occasions his mention in our Catalogue; viz.

Nuptials of Peleus and Thetis, consisting of a Masque, and a Comedy, or The Great Royal Ball acted in Paris, six times, by the King in person, the Duke of Anjou, the Duke of York, with divers other Noblemen. Also by the Princess Royal Henriette Marie, the Princess of Conty, &c. printed 4o. Lond. 1654. and dedicated to the most Excellent and High Born Lady, the Lady Katherine Marchioness of Dorchester. The Masque was extracted from an [Page] Italian Comedy, which the Author has made English, by a nearer adherence to the Original, than to the French Translation. For the Plot, 'tis founded on Ovid's Metamorphosis, lib. 11. See besides, Catulli Aurgonautica, sive Epithalamium.

'Tis not to be expected that I should spare room to give an Account of our Authors Works in particular, they being so numerous: I shall therefore only mention some of the most Emiment, and refer the Reader for further Satisfaction to the perusal of a Catalogue of them, published with a former Edition of his Letters, printed 8o. Lond. 1655. His chief Pieces are, Dodona's Grove, a Book much priz'd, and translated into French 1652. His Letters, which were formerly in four distinct Volumes, and are reduc'd into one; amongst which are several to Ben. Johnson, which speak their Intimacy. Besides these, he has writ a Book of the Precedency of Kings, printed Fol. Lond. 1664. Survey of the Seniorie of Venice. Fol. Lond. 1652. Life of Lewis the Thirteenth, and Cardinal Richelieu, Fol. Lond. 1646. Morphandra, or The Queen of the Enchanted Island, a Poem in Fol. The Vote, a Poem Royal, in 4o, &c.

He died about the beginning of November, 1666. and was buried on the North-side of the Temple-Church, with this Inscription fix'd upon the Wall; Jacobus Howell Cambro-Britannus, Regius Historiographus, in Anglia primus; qui post varias peregrinationes, tandem naturae cursum peregit, Satur Annorum, & Famae,[Page]domae, forisque huc usque erraticus, heic fixus 1666.

I.

Thomas JEVORN.

A Person lately dead, and one sufficiently known to all that frequent the Theatre, both for his Excellency in Dancing and Action. He has writ a Play, or rather a Farce, call'd

The Devil of a Wife, or A Comical Transformation; acted by their Majesties Servants at the Queen's Theatre in Dorset-Garden; printed 4o. Lond. 1686. and dedicated to his Friends, that frequent Locket's Ordinary. This Farce is founded on a Tale as well known as that of Mopsa, in Sir Philip Sidney's Arcadia; tho' I think if compar'd with our French Farces so frequent on our English Stage, it may deserve the Preheminence.

Thoms INGELAND.

A Student in Cambridge in the Reign of Queen Elizabeth: The Author of a Play, which he stiles, A Pretty and Merry Interlude, call'd The Disobedient Child. 'Tis writ in old Verse of Ten Syllables, and printed 4o. in an old Black Letter, (without any Date) by Thomas Colwell in Fleet-street.

John JONES.

[Page]

An Author who liv'd in the Reign of King Charles the First, and writ a Play nam'd

Adrasta, or The Womans Spleen, and Loves Conquest, a Tragi-comedy, printed 4o. Lond. 1635. and dedicated to Eugenius, by which Name he desires to comprehend all his Friends, subscribing himself Musophilus. This Play the Actors refus'd, and I think with Justice; it being very indifferently written. The Intrigue between Damasippus, Frail-ware, and their Wives, in the third Act, is borrow'd from Boccace's Novels Day 8. Nov.8. However the Author was of Opinion it deserved to appear in publick; and therefore prefix'd the following Saying of Horace, in his Title-page:

—volet haec sub luce videri,

Judicis argutum quae non formidat acumen.

Benjamin JOHNSON.

I have already drawn some strokes of this Great Man's Character, in my Defence of him against the Attempts of Mr. Dryden; and therefore shall less need to make a curious and exact Description of all his Excellencies; which otherwise are very Great, Noble, and Various; and have been remark'd in parcells by several Hands, but exceed my small Capacity to collect them into one full View. I shall therefore rather let them lye dispers'd, as Scaliger did Virgil's Praises, thro' his whole Book of Poetry; contenting my self at present [Page] with giving the Reader an Account of the private Occurrencies of his Life.

To begin then with his Nativity: He was born in the City of Westminster; and tho' he sprang from mean Parents, yet his Admirable Parts have made him more Famous than those of a more Conspicuous Extraction. Nor do I think it any Diminution to him, that he was Son-in-law to a Bricklayer, and work'd at that Trade; since if we take a Survey of the Records of Antiquity, we shall find the Greatest Poets of the meanest Birth; and most lyable to the Inconveniencies of Life. Witness Homer, who begg'd from door to door; Euripides, traded in Herbs with his Mother; Plautus was forc'd to serve a Baker; Naevius was a Captain's Man; Terence was a Slave to the Generous Lucan; Virgil, was the Son of a Basket-maker: and yet these thought the Obscurity of their Extraction no Diminution to their Worth; nor will any Man of Sence reflect on Ben. Johnson on this Account, if he seriously call to Mind that saying of Juvenal a.

—Nobilitas sola est, at (que) unica Virtus.

He was Bred first at a Private-School, in St. Martin's Church, then plac'd at Westminster, under the Famous Mr. Cambden, (to whom in Gratitude he dedicated his Fourteenth Epigram) afterwards he was sent to Saint John's Colledge in Cambridge; from thence he remov'd to Oxford, and was enter'd of Christ-Church Colledge; where in the Year 1619. (as Mr. [Page] Wood b says) he took his Master of Arts Degree: tho' Dr. Fuller says,c ‘He continu'd there but few Weeks, for want of Maintenance, being fain to return to the Trade of his Father-in-law;’ where he assisted in the New Building of Lincolns Inn, with a Trowel in his Hand, and a Book in his Pocket. But this English Maro, was not long before he found a Maecenas and a Varus, to manumit him from an Employment so painful, and furnisht him with means to enjoy his Muse at liberty, in private. 'Twas then that he writ his Excellent Plays, and grew into Reputation with the most Eminent of our Nobility and Gentry. 'Twas then, that Carthwright, Randolph, and others of both Universities, sought his Adoption; and gloried more in his Friendship, and the Title of his Sons, than in their own Well-deserv'd Characters. Neither did he less love, or was less belov'd by the Famous Poets of his Time, Shakspear, Beaumont, and Fletcher: witness his Copy which he writ on Shakspear, after his Death,d and his Verses to Fletcher when livinge.

He was a Man of a very free Temper, and withal blunt, and somewhat haughty to those, that were either Rivals in Fame, or Enemies to his Writings: (witness his Poetaster, wherein he falls upon Decker, and his answer to Dr. Gill, who writ against his Magnetick Lady,) otherwise of a good Sociable Humour, when amongst his Sons and Friends in the Apollo: [Page] from whose Laws the Reader may possibly better judge of his Temper; a Copy of which I have transcrib'd for the Learn'd Readers perusal.

Leges Convivales, quod foelix faustumque Convivis in Apolline sit.

Nemo asymbolus, nisi umbra huc venito,

Idiota, insultus, tristis, turpis abesto.

Eruditi, Urbani, Hilares, Modesti adsciscuntur,

Nec lectae Foeminae repudiantur.

In apparatu, quod convivis corruget nares nil esto,

Epulae delectu potius, quam sumptu parantur;

Obsonator, & Coquus convivarum gulae periti sunto;

De Discubitu non contenditur.

Ministri à Dapibus, oculati, & muti,

A poculis auriti, & celeres sunto.

Vina puris fontibus ministrantur, aut vapulet hospes,

Moderatis poculis provocare sodales fas esto,

At sabulis, magis quàm vino velitatio fiat,

Convivae nec muti, nec loquaces sunto.

De seriis aut sacris, poti, & saturine disserunto,

Fidicen nisi accersitus non venito.

Admisso risu, tripudiis, choreis, saltibus,

Omni gratiarum festivitate sacra celebrantur:

Joci sine felle sunto

Insipida Poemata nulla recitantur;

Versus scribere nullus cogitur;

Argumentationis totius strepitus abesto;

Amatoriis querelis, ac suspiriis liber angulus esto,

Lapitharum more, scyphis pugnare, vitrea collidere,

Fenestras excutere; supellectilem dilacerare ne

fas esto.

[Page]Qui foras dicta vel facta eliminet, eliminatur;

Neminem reum pocula jaciunto.

Focus perennis esto.

As to his Poetry, I dare not pretend to give a Judgment on it, it deserving somewhat above what my faint Praise can reach, or describe: therefore those who would be better satisfy'd must have recourse to his Character drawn by Dr. Fuller, and Mr. Anthony Wood in Prose, and by Mr. Carthwright, and the late Mr. Oldham in Verse; to the foregoing, I might add Mr. Dryden's Dramatick Essay, which had it been writ after his Postscript to Granada, might have aton'd for that unbecoming Character, and had serv'd for a Palinode; but since he has not that I know of thought fit to retract it, give me leave to insert an old Copy of Verses, which seems to wipe off the Accusations of Mr. Johnson's Enemies*.

Ad Benjaminum Johnsonum.

In jus te voco, Jonsoni venito:

Adsum, qui plagii & malae rapinae

Te ad Phoebi peragam reum tribunal,

Assidente choro NovemDearum.

Quaedam Dramata scilicet diserta,

Nuper quae Elysii roseti in umbrâ,

Faestivissimus omnium Poeta,

Plautus composuit, Diis (que) tandem

Stellato exhibuit poli in Theatro,

Movendo superis leves cachinnos,

Et risos tetrico Jovi ciendo,

Axe plausibus intonante utroque;

[Page]Haec tu Dramata scilicet diserta,

Clepsisti superis negotiosis,

Quae tu nunc tua venuitare pergis:

In jus te voco, Jonsoni venito.

En pro te Pater ipse, Rex (que) Phoebus

Assurgit modò, Jonsoni, palamque

Testatur, tua serio fuisse

Illa Dramata, te (que) condidisse

Sese non modò conscio, at juvante:

Unde ergò sibi Plautus illa tandem

Nactus exhibuit, Jovi Deisque?

Maiae Filius, & Nepos Atlantis,

Pennatus celeres Pedes, at ungues

Viscatus, volucer puer, vaferque,

Furto condere quidlibet jocoso,

Ut quondam facibus suis Amorem

Per ludos videavit, & Pharetrâ,

Sic nuper (siquidem solet frequenter

Tecum ludere, plaudere, & jocari)

Neglectas tibi ilepsit has papyrus

Secumque ad Superos abire jussit:

Jam victus taceo pudore, vincis

Phoebo Judice, Jonsoni, & Patrono.

I might here appositely enough bring in a pleasant Story or two of Ben. Jonson's, as Instances of his Debonaire Humor and Readiness at Repartee, did I not fear to be condemn'd by Mr. Dryden, and reckon'd by him and his Admirers, in the number of those grave Gentlemen, whose Memory (he saysf) is the only Plea for their being Wits: for this reason I shall forbear, and hasten to give an Account of his Works.

[Page]He has writ above fifty several Pieces, which we may rank under the Species of Dramatick Poetry; of which we shall give an Account in Order, beginning with one of his best Comedies, viz.

Alchymist, a Comedy, acted in the Year 1610. by the Kings Majesties Servants, with the Allowance of the Master of the Revels; printed fol. Lond. 1640. and dedicated to the Lady most deserving her Name and Blood, the Lady Mary Wroth, [the Author of the Urania]. Mr. Dryden supposes this Play was copy'd from the Comedy of Albumazer, as far as concerns the Alchymist's Character, as the Reader may observe from the following Lines, (being part of his Prologue, to Albumazer reviv'd;)

Subtle was got by our Albumazer,

That Alchymist by this Astrologer;

Here he was fashion'd, and we may suppose

He lik'd the Fashion well, who wore the Cloaths.

Whether this Accusation be true, I pretend not to determine; but sure I am, that this last Couplet is borrow'd from Mr. Dryden's Dramatick Essay;g where he says of Mr. Johnson thus; You will pardon me therefore if I presume he lov'd the Fashion, when he wore their Cloaths.

Bartholomew Fair, a Comedy, acted at the Hope on the Bank-side, Oct. 31. in the Year 1614. by the Lady Elizabeth's Servants, and then dedicated to King James the First, and printed fol. Lond. 1640. This Play has frequently [Page] appear'd on the Stage, since the Restauration, with great applause.

Cataline his Conspiracy, a Tragedy first acted in the Year 1611. by the Kings Majesties Servants, with Allowance from the Master of the Revels; printed fol. Lond. 1640. and dedicated to the great Example of Honour and Virtue, the most Noble William Earl of Pembroke. This Play is still in Vogue on the Stage, and always presented with success. It was so well approv'd of by the Judicious Beaumont, that he writ a Copy of Verses in praise of it, which the Reader may find before our Authors Works. Nevertheless I must take notice that Mr. Johnson has borrow'd very much from the Ancients in this Tragedy; as for Instance, part of Sylla's Ghost, in the very Entrance of the Play, is copy'd from the Ghost of Tantalus, in the beginning of Seneca's Thyestes. Thus our Author has translated a great part of Salust's History, (tho' with great Judgment and Elegance) and inserted it into his Play. For the Plot, see Salust. Plutarch in the Life of Cicero. Florus Lib. 4. C. 1.

Challenge at Tilt, at a Marriage, a Masque printed Fol. Lond. 1640.

Christmass his Masque, presented at Court 1516. printed Fol Lond. 1640.

Cloridia, or Rites to Cloris, and her Nymphs personated in a Masque at Court, by the Queens Majesty and her Ladies at Shrove-tide, 1630. printed Fol. Lond. 1640. The Inventors of this Masque were Mr. Johnson, and Mr. Inigo Jones.

[Page] Cynthia's Revels, or The Fountain of Self-love, a Comical Satyr, first acted in the Year 1600. by the then Children of Queen Elizabeth's Chappel, with the Allowance of the Master of the Revels, printed Folio, Lond. 1640. and dedicated to the Special Fountain of Manners, The Court.

Devil is an Ass, a Comedy acted in the Year 1616. by his Majesties Servants, and printed Fol. Lond. 1641. Tho' our Author seldome borrows any part of his Plot; yet in this Play, if I mistake not, Wittipol's giving his Cloak to Fitz-dotterel to court his Wife one quarter of an Hour, is founded on a Novel in Boccace, Day 3. Nov. 5.

Entertainment of King James, in passing to his Coronation, printed in Fol. Lond. 1640. This Entertainment was mention'd, I suppose by the Compilers of former Catalogues, because it consists of Speeches of Gratulation (as the Author stiles them) which were spoke to his Majesty at Fen-Church, Temple-Bar, and the Strand: and therefore besides the presidents of former Catalogues, which might in part justify me, I might be blam'd should I omit it. The Author has plac'd a Comment throughout to illustrate and authorise his Contrivance.

Entertainment in private of the King and Queen on May-day in the Morning, at Sir William Cornwallis's House at High-gate, 1604. printed Fol. Lond. 1640.

Entertainment of King James and Queen Anne at Theobalds, when the House was deliver'd up, with the possession, to the Queen, [Page] by the Earl of Salisbury, May 22. 1607. The Prince of Janvile, Brother to the Duke of Guise, being then present, printed Fol. Lond. 1640.

Entertainment in particular of the Queen and Prince, their Highnesses, at Althrope, at the Lord Spencer's, on Saturday being the Twenty-fifth of June 1603. as they came first into the Kingdome, printed Fol. Lond. 1640.

Entertainment of the Two Kings of Great Brittain, and Denmark, at Theobalds, July 24th 1606. printed Fol. Lond. 1640. This Entertainment is very short, and consists chiefly of Epigrams.

Every Man in his Humour, a Comedy acted in the Year 1598. by the then Lord Chamberlain's Servants, printed Fol. Lond. 1640. and dedicated to the Most Learned, and his Honour'd Friend Mr. Cambden, Clarencieux. This Play has been reviv'd since the Civil Wars, and was receiv'd with general Applause. There is a new Epilogue writ for this Play, the latter part of which is spoken by Ben Johnson's Ghost. The Reader may find it in a Collection of Poems on several Occasions, printed 8o. Lond. 1673. See pag. 29.

Every Man out of his Humour, a Comical Satyr; first acted in the Year 1599. by the then Lord Chamberlain's Servants; with allowance of the Master of the Revels: printed Fol. Lond. 1640. and dedicated to the Noblest Nurseries of Humanity, and Liberty in the Kingdome, The Inns of Court. This Play was reviv'd at the Theatre-Royal, in the Year 1675. at which time a new Prologue, and Epilogue were spoken [Page] by Jo. Heyns, which were writ by Mr. Duffet. See his Poems 8o. pag. 72. &c. This is accounted an excellent Old Comedy.

Fortunate Isles, and their Union celebrated in a Masque design'd for the Court, on the Twelfth-Night, 1626. printed Fol. Lond. 1641.

Golden Age restor'd, in a Masque at Court, 1615. by the Lords and Gentlemen the King's Servants, and printed Fol. Lond. 1641.

Hymenaei, or The Solemnities of a Masque and Barriers at a Marriage; printed Fol. Lond. 1640. To this Masque are annext, by the Author, Learned Notes in the Margin, for illustration of the Ancient Greek, and Roman Customs.

Irish Masque at Court, by Gentlemen the King's Servants; printed Fol. Lond. 1640.

King's Entertainment at Welbeck in Nottingham-shire, a House of the Right Honourable William Earl of Newcastle, at his going into Scotland, 1633. printed Fol. Lond. 1640.

Love free'd from Ignorance and Folly, a Masque of her Majesties, printed Fol. Lond. 1640.

Love Restor'd, in a Masque at Court, by Gentlemen the King's Servants, printed Fol. Lond. 1640.

Love's Triumph thro' Callipolis; perform'd in a Masque at Court, 1630. by his Majesty King Charles the First, with the Lords and Gentlemen Assisting: the Inventors being Mr. Johnson, and Mr. Inigo Jones: printed Fol. Lond. 1641.

Love's Welcome; the King and Queen's Entertainment at Bolsover, at the Earl of Newcastle's; the 30th of July, 1634. and printed Fol. Lond. 1641.

[Page] Magnetick Lady, or Humours Reconcil'd, a Comedy acted at the Black-fryars, and printed Fol. Lond. 1640. This Play is generally esteem'd an Excellent Play: tho' in those days it found some Enemies; amongst which Dr. Gill Master of Pauls School, or at least his Son, writ a Satyr against it: part of which (the whole being too long) I shall take the pains to transcribe.

But to advise thee Ben, in this strist Age,

A Brick-kill's better for thee than a Stage.

Thou better know'st a Groundsil for to lay,

Then lay the Plot or Ground-work of a Play,

And better can'st direct to Cap a Chimney,

Then to converse with Clio, or Polyhimny.

Fall then to work in thy old Age agen,

Take up thy Trug and Trowel, gentle Ben,

Let Plays alone: or if thou needs will write,

And thrust thy feeble Muse into the light;

Let Lowen cease, and Taylor scorn to touch

The loathed Stage, for thou hast made it such.

But to shew how fiercely Ben could repartee on any one that had abus'd him, I will present the Reader with his answer.

Shall the prosperity of a Pardon still

Secure thy railing Rhymes, infamous Gill,

At libelling? Shall no Star-Chamber Peers,

Pillory, nor Whip, nor want of Ears,

All which thou hast incurr'd deservedly:

Nor Degradation from the Ministry,

To be the Denis of thy Father's School,

Keep in thy bawling Wit, thou bawling Fool.

[Page]Thinking to stir me, thou hast lost thy End,

I'll laugh at thee poor wretched Tike, go send

Thy blotant Muse abroad, and teach it rather

A Tune to drown the Ballads of thy Father:

For thou hast nought to cure his Fame,

But Tune and Noise the Eccho of his Shame.

A Rogue by Statute, censur'd to be whipt,

Cropt, branded, slit, neck-stockt; go, you are stript.

Masque at the Lord Viscount Hadington's Marriage at Court, on Shrove-Tuesday at Night 1608. and printed fol. Lond. 1640.

Masque of Augurs, with several Antimasques, presented on Twelfth-night 1622. printed fol. Lond. 1640.

Masque of Owls at Kenelworth, presented by the Ghost of Captain Coxe, mounted on his Hobby-horse, 1626. printed fol. Lond. 1640.

Masque of Queens, celebrated from the House of Fame, by the Queen of Great Britain with her Ladies, at Whitehall, Febr. 2. 1609. This Masque is adorned with learned Notes, for the Explanation of the Author's Design. He was assisted in the Invention and Architecture of the Scenes throughout, by Mr. Inigo Jones.

Masque presented in the House of the Right Honourable the Lord Haye, by divers of Noble Quality his Friends; for the Entertainment of Monsieur Le Baron de Tour, Extraordinary Ambassador for the French King; on Saturday the 22. of Febr. 1617. printed fol. Lond. 1617.

Metamorphos'd Gypsies, a Masque thrice presented to King James: first at Burleigh on the [Page] Hill; next at Belvoyr; and lastly at Windsor, in August 1621. printed fol. Lond. 1641.

Mercury Vindicated from the Alchymists at Court, by Gentlemen the King's Servants, printed fol. Lond. 1640.

Mortimer's Fall, a Tragedy, or rather a Fragment, it being just begun, and left imperfect by his Death: tho' the Reader may see the Model of each Act, by the Argument publisht before it, printed fol. Lond. 1640.

Neptune's Triumph for the Return of Albion, celebrated in a Masque at Court, on the Twelfth-Night 1644. printed fol. Lond. 1641.

News from the New World discovered in the Moon, a Masque presented at Court before King James 1620. and printed fol. Lond. 1641.

Oberon, the Fairy Prince, a Masque of Prince Henries, printed fol. Lond. 1640. On this Play the Author has writ Annotations.

Pan's Anniversary, or The Shepherd's Holyday; a Masque presented at Court before King James 1625. and printed fol. Lond. 1641. In the Decorations our Author was assisted by the above mention'd Mr. Jones.

Pleasure reconcil'd to Virtue, a Masque presented at Court before King James, 1619. to which were made some Additions for the Honour of Wales. This in former Catalogues was mention'd as a Masque distinct from the other.

Poetaster, or His Arraignment, a Comical Satyr, first acted in the Year 1601. by the then Children of his Majesties Chappel, with the Allowance of the Master of the Revels; printed [Page] fol. Lond. 1640. and dedicated to the Vertuous and his Worthy Friend, Mr. Richard Martin. I have already spoken of this Play in the Account of Decker's Satyromastix; and I must further add, I heartily wish for our Author's Reputation, that he had not been the Agressor in this Quarrel; but being altogether ignorant of the Provocations given him, I must suspend my Judgment, and leave it to better Judges to determine the Controversy. Our Author has adorn'd this Play with several Translations from the Ancients, as Ovid. Amor. lib. 1. Eleg. 15. Horatii Sat. lib. 1. Sat. 9. lib. 2. Sat. 1. Virgilii AEneid. lib. 4. with others.

Queen's Masques; the first of Blackness, personated at the Court at Whitehall, on the Twelfth-Night 1605. the second of Beauty, was presented in the same Court at Whitehall, on the Sunday Night after the Twelfth-Night 1608. printed fol. Lond. 1640.

Sad Shepherd, or A Tale of Robin Hood; a Pastoral, printed fol. Lond. 1641. This Play is left imperfect, there being but two Acts, and part of the third finisht.

Sejanus's Fall, a Tragedy, first acted in the Year 1603. by the Kings Majesties Servants, with the Allowance of the Master of the Revells, printed fol. Lond. 1640. and dedicated to the No less Noble by Virtue than Blood, Esme Lord Aubigny. This Play is generally commended by all Lovers of Poetry; and usher'd into the World by nine Copys of Verses, one of which was writ by Mr. George Chapman. 'Tis founded on History; and the Author in a former Edition, [Page] published 4o. Lond. 1605. has printed Quotations throughout; the Reasons whereof take in his own Words, (being part of the Preface to that Edition)h ‘The next is, least in some nice Nostrils, the Quotations might favour affected, I do let you know, That I abhor nothing more; and have only done it to shew my Integrity in the Story, and save my self in those common Torturers, that bring all Wit to the Rack: whose Noses are ever like Swine, spoiling and rooting up the Muses Gardens; and their whole Bodies like Moles, as blindly working under Earth, to cast any, the least hills, upon Vertue.’ For the Story, the Reader may consult Tacitus's Annals, lib.3, 4, 5. Suetonius in the Life of Tiberius. Dion. &c.

Silent Woman, a Comedy first acted in the Year 1609. by the Children of her Majesties Revels, with the Allowance of the Master of the Revels; printed fol. Lond. 1640. and dedicated to the truly Noble, by all Titles, Sir Francis Stuart. Part of this Play is borrow'd from the Ancients, as Act 1. Sc. 1. part from Ovid de Arte Amandi. Act 2 Sc. 2. part from Juvenal. Sat. 6. Act 2. Sc. 5. part from Plautus's Aulularia Act 3. Sc. 5. with other passages. Notwithstanding which, this Play is Accounted by all, One of the best Comedies we have extant; and those who would know more, may be amply satisfied by the perusal of the judicious Examen of this Play made by Mr. Dryden i.

Speeches at Prince Henry's Barriers, printed fol. Lond. 1640. These Speeches being printed [Page] amongst his other Masques, and always reckoned under that Species of Poetry, by others, in former Catalogues, I could not omit their Mention in this place.

Staple of News, a Comedy acted in the Year 1625. by his Majesties Servants, and printed fol. Lond. 1631. The Author introduces four Gossips on the Stage, who continue during the Action, and criticise on the Play. This was practised more than once; witness, Every man out of his Humor, and Magnetick Lady: and herein he was follow'd by Fletcher, (as I have already observ'dk) in His Knight of the Burning-pestle.

Tale of a Tub, a Comedy, printed, fol. Lond. 1640.

Time vindicated to himself, and to his Honours; a Masque, presented at Court on Twelfth-Night 1623. and printed fol. Lond. 1641.

Vission of Delight, a Masque presented at Court, in Christmas 1617. and printed fol. Lond. 1641.

Vulpone, or The Fox, a Comedy; first acted in the Year 1605. by the Kings Majesties Servants, with the Allowance of the Master of the Revells; printed fol. Lond. 1640. and dedicated to both Universities in the following form: ‘To the most Noble and most Equal Sisters, the two Famous Universities; for their Love and Acceptance shewn to his Poem in the Presentation, Ben. Johnson the grateful Acknowledger, dedicates both it and himself.’ This Play is writ in Imitation of the Comedy of the [Page] Ancients, and the Argument is form'd into an Acrostick, like those of Plautus, which are said to be writ by Priscian, or some other Eminent Grammarian. It is still in vogue at the Theatre in Dorset-Garden, and its value is sufficiently manifested by the Verses of Mr. Beaumont, and Dr. Donne.

All these Plays with several other Poems and Translations, and an English Grammar, are printed together in two Volumes in Folio.

He has three other Plays, which are omitted in these Volumes, tho' for what reason, I know not; two of which are printed in 4o. and the third in 8o. of which we are now to speak.

Case is alter'd, a pleasant Comedy, sundry times acted by the Children of the Black-fryars, and printed 4o. Lond. 1609. In this Comedy our Author hath very much made use of Plautus, as the Learned Reader may observe by comparing His Aulularia, and Capteivei, with this Comedy.

Widow, a Comedy acted at the Private House in Black-fryars with great applause, by his late Majesties Servants, and printed 4o. Lond. 1652. This Play was writ by Mr. Johnson, Mr. Fletcher, and Mr. Middleton, and first publisht by Mr. Alexander Gough, a great lover of Plays, who helpt Mr. Mosely the Bookseller to this, and several other Dramatick Manuscripts, as the Passionate Lovers 2. parts; The Queen, or The Excellency of her Sex, &c. It was reviv'd not many Years ago, at the King's House, with a new Prologue and Epilogue, which the Reader may find in London Drollery, p. 11, 12.

[Page] New-Inn, or The Light Heart, a Comedy never acted, but most negligently play'd by some the Kings Servants; and more squeamishly beheld, and censured by others, the Kings Subjects 1629. Now at last set at liberty to the Readers, his Majesties Servants and Subjects, to be judg'd; printed 8o. Lond. 1631.

The Reader may see by this Title-page, that the Play succeeded not answerable to our Author's Expectation, and the just Merit (as he thought) of his Play: which may be conjectured, from the Ode which he publisht at the End of this Play; which as being pertinent to our purpose, I shall transcribe at large.

The just Indignation the Author took at the Vulgar Censure of his Play, begat this following Ode to himself.

Come, leave the loathed Stage,

And the more loathsome Age:

Where Pride and Impudence (in fashion knit)

Usurp the Chair of Wit!

Inditing and arraigning every day

Something they call a Play.

Let their fastidious, vaine

Commission of the Braine

Run on, and rage, sweat, censure, and condemn:

They were not made for thee, less thou for them.

Say that thou pour'st them Wheat,

And they will Acorns eat:

'Twere simple fury, still, thy self to waste

On such as have no taste!

To offer them a surfet of pure bread,

Whose appetites are dead!

[Page]No, give them Graines their fill,

Husks, Draff, to drink, and swill.

If they love Lees, and leave the lusty Wine,

Envy them not their palate, with the Swine.

No doubt some mouldy Tale,

Like Pericles l; and stale

As the Shrieve's Crusts, and nasty as his Fish—

scraps, out of every Dish,

Thrown forth, and rak't into the Common-tub,

May keep up the Play-Club:

There, Sweepings do as well

As the best order'd Meale.

For, who the Relish of these Guests will fit,

Needs set them, but The Almes-basket of Wit.

And much good do't you then:

Brave Plush, and Velvet Men;

Can feed on Orts: And safe in your Stage-clothes,

Dare Quit upon your Oathes,

The Stagers, & the Stage-wrights too (your Peers)

Of larding your large Ears

With their foul Comick Socks;

Wrought upon twenty Blocks:

Which, if they're torn, & turn'd & patcht enough,

The Gamesters share your guilt, & you their stuff.

Leave things so prostitute.

And take the Alcaeick Lute;

Or thine own Horace, or Anacreon's Lyre;

Warm thee by Pindar's fire:

And tho' thy Nerves be shrunk, and Blood be cold,

E're Years have made thee old;

Strike that disdainful Heat

Throughout, to their defeat:

[Page]

As curious Fools, and envious of thy Strain,

May, blushing, swear no Palsy's in thy Brain.

But when they hear thee sing

The Glories of thy King,

His zeal to God, and his just awe o're Men;

They may blood shaken then,

Feel such a Flesh-quake to possess their powers;

As they shall cry like ours

In sound of Peace, or Wars,

No Harp ere hit the Stars,

In tuning forth the Acts of his sweet raign:

And raising Charles his Chariot 'bove his Wain.

This Ode sufficiently shews what a high Opinion our Author has of his own Performances; and like Aristotle in Philosophy, and Peter Lombard, (The Master of the Sentences) in School-Divinity; our Ben. lookt upon himself as the only Master of Poetry; and thought it the Duty of the Age, rather to submit to, than dispute, much less oppose his Judgment. 'Twas great pity, that he that was so great a Master in Poetry, should not retain that old Axiom in Morality, Nosce Teipsum: a Sentence so highly admir'd by Juvenal m, that he seems to think it above the Conception of Chilon, saying,

—è coelo descendit, [...],

Figendum, & memori tractandum pectore.

He had then prevented that sharp Reply made by the Ingenious Mr. Feltham, to this Magisterial Ode; and which could not chuse but vex [Page] a Person of our Author's Haughty Temper: but he was a Man, and subject to Infirmities, as well as others; tho' abating for his too much abounding in his own Sence, (an Epidemical Distemper belonging to the Fraternity of Parnassus) he had not his Equal in his Time for Poetry.

Having presented the Reader with Mr. Johnson's Ode, it may not be improper for me perhaps to transcribe, nor unpleasant to him, to peruse Mr. Feltham's Answer.

An Answer to the Ode, Come leave the loathed Stage, &c.

Come leave this sawcy way

Of haiting those that pay

Dear for the sight of your declining Wit:

'Tis known it is not fit,

That a Sale Poet, just contempt once thrown,

Should cry up thus his own.

I wonder by what Dower,

Or Patent, you had power

From all to rape a judgment. Let't suffice,

Had you been modest, y'ad been granted wise.

'Tis known you can do well,

And that you do excell,

As a Translator: But when things require

A Genius, and Fire,

Not kindled heretofore by others pains;

As oft y' ave wanted Brains

And Art to strike the White,

As you have levell'd right:

Yet if Men vouch not things Apochryphal,

You bellow, rave, and spatter round your Gall.

[Page]

Jug, Pierce, Peek, Fly n, and all

Your Jests so nominal,

Are things so far beneath an able Brain,

As they do throw a Stain

Thro' all th unlikely Plot, and do displease

As deep as Pericles.

Where yet there is not laid

Before a Chamber-maid

Discourse so weigh'do as might have serv'd of old

For Schools, when they of Love and Valour told.

Why Rage then? when the Show

Should Judgment be and Know—p

ledge, there are in Plush who scorn to drudge

For Stages, yet can judge

Not only Poets looser Lines, but Wits,

And all their Perquisits.

A Gift as rich, as high

Is Noble Poesie:

Yet tho' in sport it be for Kings a Play,

'Tis next Mechanicks, when it works for pay.

Alcaeus Lute had none,

Nor loose Anacreon,

Ere taught so bold assuming of the Bays,

When they deserv'd no praise.

To rail Men into Approbation,

Is new to yours alone;

And prospers not: For know,

Fame is as coy, as you

Can be disdainful; and who dares to prove

A rape on her, shall gather scorn, not Love.

[Page]

Leave then this humour vain,

And this more humorous Strain,

Where Self-conceit, and Choler of the Blood

Eclipse what else is good:

Then if you please those Raptures high to touch,

Whereof you boast so much;

And but forbear your Crown,

Till the World puts it on:

No doubt from all you may amazement draw,

Since braver Theme no Phoebus ever saw.

This Haughty Humour of Mr. Johnson was blam'd, and carpt at by others, as well as Mr. Feltham: amongst the rest, Sir John Suckling, that Neat Facetious Wit, arraign'd him at the Sessions of Poetsq; and had a fling at this Play in particular: tho' we may say, compar'd to the former, He did only circum praecordia ludere; laught at, and railly his unreasonable Self-opinion; as you may see in the following Lines: the first Stanza of which tho' already mention'd in the Account of Heywood, I crave my Readers leave to repeat, that he may read our Author's Character entire:

The first that broke silence was good Old Ben,

Prepar'd before with Canary Wine;

And he told them plainly that he deserv'd the Bays,

For his were call'd Works, where others were but Plays.

And

Bid them remember how he had purg'd the Stage

Of Errors that had last many an Age:

[Page] r And he hop'd they did not think, the Silent Woman,

The Fox, and the Alchymist, out done by no Man.

Apollo stopt him there, and bid him not go on,

'Twas Merit, he said, and not Presumption

Must carry't; at which Ben. turn'd about,

And in great Choller offer'd to go out:

But,

Those that were there, thought it not fit

To discontent so ancient a Wit;

And therefore Apollo call'd him back agen,

And made him mine Host of his own New-Inn.

I know nothing else published by our Author; only I have read a Letters from Mr. James Howell to Dr. Duppa, (then Bishop of Chichester, and Tutor to King Charles the Second, when Prince of Wales) that he was publishing a Piece call'd, Johnsonus Verbius; to which Mr. Howell contributed a Decastick. I know not what Reception Mr. Howell's Verses met with in the World; but I am confident, he had willingly allowed Mr. Oldham's Ode (had he then liv'd) a place in the first Rank of Poets. The Title sufficiently explains the Design; and the Reader may find it commended by an Ingenious Copy of Verses addrest to the Bishop by Sir W. D'Avenant. See his Poems Fol. Edit. p. 253.

He died An. D. 1637. being aged 63. and was [Page] buried in St. Peter's Church in Westminster, on the West-side near the Belfry; having only a plain Stone over his Grave, with this Inscription;

O RARE BEN. JOHNSON.

'Tis manifest, that a better Monument was design'd him, by some Friends; but the Civil Wars breaking out, hindred their good Intentions: tho' it shall not prevent me from transcribing an Elegy written by a Studious Friend and Admirer of Ben. Johnson; which I wish were set upon his Grave.

Hic Johnsonus noster Lyricorum, Dramaticorum (que) Coryphaeus, qui Pallade auspice laurum à Graecia ipsa (que) Roma rapuit, & fausto Omine in Brittaniam transtulit nostram, nunc invidia major, fato, nec tamen aemulis cessit. An Dom. 1637. Id. Nov. *

Thomas JORDAN.

An Author that liv'd in the Reign of King Charles the First, who could both write and act Plays; as appears from three Drammas he has publisht, and from a Tragedy, call'd Messalina, in which he acted the part of Lepida, Mother to that shameless Empress. His Plays are two Comedies, and a Masque; viz.

Fancies Festivals, a Masque, printed 4o. Lond. 16— This, I have not at present, but have formerly read it with satisfaction, and still retain the following Lines spoken by a Souldier;

[Page]

God, and the Souldier, Men alike adore,

Just at the brink of danger, and no more:

The danger past both are alike requited,

God is forgotten, and the Souldier slighted.

Money is an Ass, a Comedy acted with good applause printed 4o. Lond. 1668. I suppose by the Stile, this was writ (and possibly publish'd) some Years before; it being a common thing with Mr. Kirkman, to publish old Plays; as, Any thing for a Quiet Life; Cure for a Cuckold; Gammer Gurton's Needle, and many others.

Walks of Islington, and Hogsdon, with the Humors of Woodstreet-Compter; a Comedy, publickly acted Nineteen Days together, with extraordinary applause; printed 4o. Lond. 1657. and dedicated to the true Lover of Ingenuity, the much Honour'd Richard Cheyny, of Hackney, Esq This Play in those days was commended by a Copy of Verses, written by R. C. Master of Arts; part of which are thus:

These Walks 'twixt Islington & Hogsdon, will

(Like those 'twixt Tempe and Parnassus Hill)

Show, how the Muses in their sportfull Rage,

Set all the Town a walking to your Stage,

With so much Wit, and Art, and Judgment laid,

That Nineteen dayes together they were play'd.

Now by the bounty of the Press we be

Possess'd of that which we before did see,

Not pleasing only Nineteen times read o're,

But Nineteen Ages, or till Times no more.

William JOYNER.

[Page]

A Gentleman born in Oxfordshire, and Educated in Magdalen Colledge, where he was sometime Fellow; but upon the Change of his Religion, or in order to it, he voluntarily quitted his Place, in the beginning of the Wars. After he left the Colledge, he betook himself to a retir'd Life, never intermedling with the Controversies of Religion, or the Affairs of State: which prudent Demeanor, joyned with the Sweetness of his Disposition, continued him in the Favour and Good-will of the Society; till the New-modelling of the Colledge, under the Ecclesiastical Commissioners; by whom he was re-placed in his former Station: but did not long enjoy it, the Colledge being shortly after again restored to its former Settlement. That he did not wholly bid Adieu to the Muses, when he first withdrew from the University, may appear by a Dramma that he publish'd under the Name of

The Roman Empress, a Tragedy acted at the Royal Theatre by his Majesties Servants; printed 4o. Lond. 1671. and dedicated to the Honourable Sir Charles Sidley. This Play in spight of a dead Vacation, and some other Impediments, found the applause and approbation of the Theatre, as oft as it appear'd. The Author has propos'd the Oedipus and Hippolitus for his pattern; and I think it may justly deserve to be observ'd, That his Tragedy is writ in a more Masculine, and lofty Stile than most Plays of this Age; and Terror and Compassion [Page] being the chief hinges on which he design'd his Tragedy should turn; he has judiciously rejected what he calls the Gingling Antitheses of Love and Honour. By the Advice of Friends, he tells us, that he hath disguis'd the Names: yet that this Emperour was One of the Greatest that ever Rome boasted. I am apt to believe, that under the Character of Valentius, the Author means Constantine the Great; and that Crispus, and his Mother-in-law Faustina, are shadow'd under the Characters of Florus and Fulvia: but this being only Conjecture, I must leave it to the Criticks Decision.

Our Author has nothing else in print that I know of, except a little Book entituled Some Observations on the Life of Cardinal Reginal dus Polus; where he disguises his Name under these two Letters, G. L. which I take to be Guilielmus Lyde, the Ancient Name of that Family: 'Tis printed 8o. Lond. 1686. In this Book, the Reader is made acquainted not only with the Authors Reading, Stile, and Judgment; but his skill in the French, and Italian, Languages.

K.

Henry KILLEGREW.

AN Author who liv'd in the Reign of King Charles the First, and writ a Play, call'd Conspiracy, a Tragedy printed 4o. Lond. 1638. This Play was design'd for an Entertainment of the King and Queen at York-House, at the Nuptials of the Lady Mary Villiers, and the [Page] Lord Charles Herbert. 'Twas afterwards acted on the Black-fryars Stage,a and found the approbation of the most Excellent Persons of this kind of Writing which were in that time, if there were ever better in any time; Ben Johnson, being then alive, who gave a Testimony of this Perce even to be envy'd. Some Cavillers at its first Representation at Blackfryars, exclaim'd against the Indecorum that appear'd in the part of Cleander, who being represented as a Person of seventeen years old, is made to speak words, that would better sute with the Age of Thirty; saying, It was monstrous and impossible: but the Author was sufficiently vindicated by the Lord Viscount Faulkland, who made the following Repartee, to One of these Hypercriticks; ‘Sir, 'tis not altogether so monstrous, and impossible, for One of Seventeen Years to speak at such a rate; when He that made him speak in that manner, and writ the whole Play, was Himself no Older.’ This Impression was printed without the Authors consent, from a false and an imperfect Transcript, the Original Copy being (with the Author) in Italy; so that it might rather be call'd the First Design, or Foul Draught, than a True Copy. This occasioned a new Edition, and the Publisher impos'd on it a New Title, that it might shew as little Affinity as possible, to (what he calls) its Anti-type; stiling it,

Pallantus and Eudora, a Tragedy, printed fol. Lond. 1653. To this Edition, I recommend the Reader, remembring that of Martial.

[Page]

Multum crede mihi, refert, à fonte bibatur

Quae stuit, an pigro quae stupet unda lacu.

Thomas KILLEGREW.

A Gentleman well known at Court, having been Page of Honour to King Charles the First, and Groom of the Bed-chamber to King Charles the Second, with whom he endur'd twenty Years Exile. During his abode beyond Sea, he took a view of France, Italy, and Spain; and was Honoured by his Majesty with the Creditable Employ of Resident at the State of Venice, whither he was sent in August 1651. During his Absence from his Country, he diverted himself with the Muses, writing several Playes, of which Sir John Denham (in a jocular way) takes notice in his Copy of Verses on our Author's Return from his Embassie from Venice b.

I.

Our Resident Tom,

From Venice is come,

And hath left the Statesman behind him:

Talks at the same pitch,

Is as wise, is as rich,

And just where you left him you find him.

II.

But who says he was not

A man of much Plot

May repent that false Accusation;

Having plotted and penn'd

Six Plays to attend

The Farce of his Negotiation.

[Page]Tho' Sir John Denham mentions but six, our Author writ nine Plays in his Travells, and two at London; amongst which his Don Thomaso, in two parts, and his Parson's Wedding, will always be valu'd by the best Judges and Admirers of Dramatick Poetry. Of these Eleven Plays, I shall speak in their Order.

Bellamira her Dream, or Love of Shadows, a Tragi-comedy, the first Part, printed fol. Lond. 1663. written in Venice, and dedicated to the Lady Mary Villiers, Dutchess of Richmond and Lenox.

Bellamira her Dream, the second Part, a Tragi-comedy, written in Venice; printed fol. Lond. 1663. and dedicated to the Lady Anne Villiers, Countess of Essex.

Cicilia and Clorinda, or Love in Arms, a Tragi-comedy, the first Part, printed fol. Lond. 1663. written in Turin, and dedicated to the Lady Anne Villiers, Countess of Morton.

Cicilia and Clorinda, the second Part, a Tragi-comedy printed fol. Lond. 1663. written in Florence in August 1651. and dedicated to the Lady Dorothy Sidney, Countess of Sunderland. The first Scene between Amadeo, Lucius, and Manlius, seems copied from the Characters of Aglatidas, Artabes, and Megabises, in the Grand Cyrus; see the History of Aglatidas and Amestris, Part 1. Book 3.

Claracilla, a Tragi-comedy, printed Folio Lond. 1663. written in Rome, and dedicated to his Dear Sister the Lady Shannon. On this Play, and The Prisoners, Mr. Carthwright has writ an ingenious Copy of Verses, which the [Page] Reader may find amongst his Poems, p. 258.

Parson's Wedding, a Comedy printed Folio Lond. 1663. written at Basil in Switzerland, and dedicated to the Lady Ursula Bartu, Widow. This Play was reviv'd at the Old Theatre, in little Lincolns-Inn-fields, and acted all by Women, a new Prologue and Epilogue being spoken by Mrs. Marshal in Man's Cloaths, which the Reader may find printed in Covent-Garden Drollery, 8o. pag. 3. &c. The Intrigue of Careless and Wild circumventing the Lady Wild, and Mrs. Pleasance into Marriage, is an Incident in several Plays, as Ram-Alley, Antiquary, &c. but in none so well manag'd as in this Play.

Pilgrim, a Tragedy printed Fol. Lond. 1663. written in Paris in the Year 1651. and dedicated to the Countess of Carnarvan.

Princess, or Love at first sight, a Tragi-comedy printed Fol. Lond. 1663. written in Naples, and dedicated to his Dear Neece, the Lady Anne Wentworth, Wife to the Lord Lovelace.

Prisoners, a Tragi-comedy printed Fol. Lond. 1663. written in London, and dedicated to his Dear Neece, the Lady Crompton.

Thomaso, or The Wanderer, a Comedy in two Parts, printed Fol. Lond. 1663. and dedicated to the Fair and Kind Friends of Prince Palatine Polexander. In the first part of this Play the Author has borrow'd several Ornaments, as the Song sung by Angelica Act 2. Sc. 3. is taken from Fletcher's Play call'd The Captain Act 4. He has made use of Ben Johnson considerably, for not only the Character of Lopus, but even the very Words are copied from Johnson's Fox, [Page] where Vulpone personates Scoto of Mantua: as the Reader will see by comparing Act 4. Sc. 2. of this Play, with that of the Fox, Act 2. Sc. 2. I do not believe that our Author design'd to conceal his Theft, since he is so just to acknowledge a Song against Jealousy, which he borrow'd, and was written by Mr. Thomas Carew, Cup-bearer to King Charles the First; and sung in a Masque at Whitehall, An. 1633. ‘This Chorus (says he) I presume to make use of here, because in the first design, 'twas writ at my request, upon a Dispute held betwixt Mrs. Cicilia Crofts and my self, where he was present; she being then Maid of Honor: this I have set down, lest any man should believe me so foolish as to steal such a Poem from so famous an Author; or so vain as to pretend to the making of it my self.’ Certainly therefore, if he scrupled to rob Mr. Carew, he would much more Mr. Johnson, whose Fame as much exceeded the others, as his Writings and Compositions are better known: However it be, I am sure he is not the only Poet that has imp'd his Wings with Mr. Johnson's Feathers, and if every Poet that borrows, knew as well as Mr. Killegrew how to dispose of it, 'twould certainly be very excusable. All these Plays are printed together in One Volume in Folio Lond. 1664.

Sir William KILLEGREW.

A Gentleman who by his Writings, and honourable Station in the Court (being Vice-Chamberlain to the Queen Dowager,) is well [Page] known. He is the Author of Four Plays, which have been applauded (whether with Justice or no I leave to the Criticks) by Men, who have themselves been reputed Eminent for Poetry, as Mr. Waller, Sr. Robert Stapleton, Mr. Lodowick Carlell, and others: I shall therefore only acquaint the Reader with their several Titles, and submit them to his further judgment.

Ormasdes, or Love and Friendship, a Tragi-Comedy.

Pandora, or The Converts, a Comedy.

Selindra, a Tragi-comedy.

Siege of Urbin, a Tragi-comedy.

All these Plays were printed together in Folio, Oxon 1666.

There is another Play ascrib'd to our Author call'd The Imperial Tragedy, printed Fol. Lond. 1669. the chief part was taken out of a Latine Play, and very much alter'd by him for his own diversion. But upon the Importunity of Friends, he was prevailed with to have it publisht; but without Name: because many do censure Plays according to their Opinions of the Author: The Plot is founded on the History of Zeno the Twelfth Emperor of Constantinople after Constantine. Several Authors have writ his Story, as Marcellinus, Cassiodorus, Cedrenus, Evagrius, Zonoras, Baronius, &c.

John KIRKE.

A Writer, in the Reign of King Charles the First, of a Play call'd The Seven Champions of Christendome: acted at the Cock-pit, and at the [Page] Red Bull in St. John's Street, with a general liking; printed 4o. Lond. 1638. and dedicated to his much respected and worthy Friend Mr. John Waite. This Play is written in a mixt stile, and founded on that well known Book in prose, which bears the same Title. See besides Dr. Heylin's History of St. George.

Ralph KNEVET.

An Author that liv'd about the same time with the former. He writ a Play call'd Rhodon and Iris, a Pastoral, presented at the Florists Feast in Norwich, May the Third 1631. printed 4o. Lond. 1631. and dedicated to the Right Worshipful Mr. Nicholas Bacon of Gillingham Esquire. This Pastoral is commended by Four Copies of Verses.

Thomas KYD.

An Ancient Writer, or rather Translator in the time of Queen Elizabeth, who publisht a Play call'd Pompey the Great his Fair Cornelia's Tragedy; effected by her Father and Husband's Down-cast, Death, and Fortune; printed 4o. Lond. 1595. and dedicated to the Virtuously Noble, and rightly Honour'd Lady, the Countess of Sussex. This Play is translated from the French of Robert Garnier, who in the Reigns of Charles the Ninth, Henry the Third, and Henry the Fourth, was accounted an Excellent Poet, tho' M. Rapin says, His Tragedies with those of Rotrou, Serre, and others of that time, are of a mean Character. 'Tis evident to [Page] any that have read his Tragedies, which are Nine in Number, that he propos'd Seneca for his Model, and he was thought in those days to have happily succeeded in his Design. This Translation is writ in blank Verse, only here and there, at the close of a Paragraph (if I may so speak) the Reader is presented with a Couplet. The Chorus's are writ in several Measures of Verse, and are very sententious.

L.

John LACY.

A Comedian whose Abilities in Action were sufficiently known to all that frequented the King's Theatre, where he was for many years an Actor, and perform'd all Parts that he undertook to a miracle: in so much that I am apt to believe, that as this Age never had, so the next never will have his Equal, at least not his Superiour. He was so well approv'd of by King Charles the Second, an undeniable Judge in Dramatick Arts, that he caus'd his Picture to be drawn, in three several Figures in the same Table. viz. That of Teague in the Committee, Mr. Scruple in The Cheats, and M. Galliard, in The Variety: which piece is still in being in Windsor-Castle. Nor did his Talent wholly ly in Acting, he knew both how to judge and write Plays: and if his Comedies are somewhat allied to French Farce, 'tis out of choice, rather than want of Ability to write [Page] true Comedy. We have Three Plays extant under his Name, viz.

Dumb Lady, or The Farriar made Physitian, a Comedy acted at the Theatre-Royal; printed 4o. Lond. 1672. and dedicated to the High-born and most Hopeful Prince, Charles, Lord Limrick, and Earl of Southampton. This Play is founded on a Comedy of Molliere's call'd Le Medecin malgré luy. If the Reader will take the pains to compare them together, he will easily see that our Author has much improv'd the French Play.

Old Troop, or Monsieur Ragou, a Comedy acted at the Theatre-Royal; printed 4o. Lond. 1672. and dedicated to the young Prince George Third Son to the Dutchess of Cleveland. I fancy by the stile, this Play likewise is founded on some French Original, tho' my small Acquaintance with French Poets makes me speak only on Conjecture. Both these Plays were acted with universal Applause.

Sir Hercules Buffoon, or The Poetical Squire, a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1684. This Play was brought upon the Stage, and publisht after the Author's Decease, the Prologue was writ by Mr. Durfey, the Epilogue by Jo. Heyns the Comedian, and both spoken by the later. I know not how this Play succeeded on the Theatre, but I am confident had the Author been alive to have grac'd it with his Action, it could not have fail'd of Applause. This Mr. Durfey has observ'd in the beginning of his Prologue;

[Page]

Ye Scribling Fops, (cry mercy if I wrong ye)

But without doubt there must be some among ye.

Know, that fam'd Lacy, Ornament o'th' Stage

That Standard of true Comedy in our Age,

Wrote this New Play:

And if it takes not, all that we can say on't,

Is, we've his Fiddle, not his Hands to play on't.

John LEANARD.

A confident Plagiary, whom I disdain to stile an Author: One, who tho' he would be esteem'd the Father, is at best but the Midwife to the Labour of others; I mean those Two Dramatick Pieces, which go under his Name. I know not how they were receiv'd on the Stage, but I am sure the Author deserv'd (tho' the Plays might not) to be damn'd for his vain-glorious Humour of re-printing another Man's Play, under his own Name, as he has done Mr. Brewer's Country Girl, under the Title of

Country Innocence, or The Chamber-maid turn'd Quaker, a Comedy acted at the Theatre Royal, printed 4o. Lond. 1677. and dedicated to his Honour'd Friend Sr. Francis Hinchman. Whether his Patrons Instructionsc rais'd him to that height of presumption as to publish another man's Play as his own, I pretend not to judge: but I am sure he has sufficiently made appear to the World that he is One of those Authors he speaks of, whose Arrogance and Impudence are their chief dependency. Had our Author been as well acquainted with Martial, as [Page] he pretends to be with Homer, he would have weigh'd his Opinion before he had made any progression as he calls it in his Thefts.d

Mutare dominum non potest liber notus.—

Aliena quisquis recitat, & petit famam;

Non emere Librum, sed silentium debet.

Rambling Justice, or The Jealous Husbands, with the Humours of Sir John Twiford, a Comedy acted at the Theatre-Royal; printed 4o. Lond. 1680. A great part of it is stoln from a Comedy of Middleton's call'd More Dissemblers besides Women. As the Scene between Sir Generall Amorous and Bramble Act 2. Sc. 1. is stoln from the Scene between Lactantio and Dondolo. Act 3. Sc. 1. Petulant Easy disguis'd like a Gipsy in the same Act, is borrow'd from Aurelia's Disguise in Middleton's Play, Act 4. Sc. 1. The Scene between Bramble and the Gipsies is stoln from the same Play; but since our Author is forc'd to strole like One of that Tribe for a Livelihood, with the Issue of other Men's Brains, I leave him to his hard Stars: tho' possibly Gipsy-like, he begs with stoln Children, that he may raise the more Compassion.

Nathaniel LEE.

An Author whose Plays have made him sufficiently remarkable to those who call themselves The Wits; and One whose Muse deserv'd a better Fate than Bedlam. How truly he has verified the Saying of the Philosopher, Nullum [Page]fit Magnum-Ingenium sine mixtur â dementiae even to the Regret and Pity of all that knew him, is manifest: I heartily wish his Madness had not exceeded that Divine Fury which Ovid mentions, and which usually accompanies the best Poet;

Est Deus in nobis agitante calescimus illo.

But alas! his Condition is far worse, as it has been describ'd in a Satyr on the Modern Poets.

Theree, in a Den remov'd from human Eyes

Possest with Muse, the Brain-sick-Poet lyes,

Too miserably wretched to be nam'd;

For Plays, for Heroes, and for Passion fam'd

Thoughtless he raves his sleepless Hours away,

In Chains all Nights, in darkness all the Day.

And if he gets some intervals from pain,

The Fit returns; he foams, and bites his Chain,

His Eye-balls rowl, and he grows mad again.

However, before this misfortune befel him, he writ several Dramatical Pieces, which gave him a Title to the First Rank of Poets; there being several of his Tragedies, as Mithridates, Theodosius, &:c. which have forc'd Tears from the fairest Eyes in the World: his Muse indeed seem'd destin'd for the Diversion of the Fair Sex; so soft and passionately moving, are his Scenes of Love written. He has publisht Eleven Plays, besides those two, in which he joyn'd with Mr. Dryden (and of which we have already spoken) viz.

Caesar Borgia, Son to Pope Alexander the VI. [Page] a Tragedy acted at the Duke's Theatre, by their Royal-Highnesses Servants; printed 4o. Lond. 1680. and dedicated to the Right Honourable Philip Earl of Pembroke and Montgomery. For the Plot, see Writers of those times, as Guicciardine, L. 5, 6. Mariana L. 27, 28. Sr. Paul Ricaut's Continuation of Platina, in the Reign of Pope Alexander the VI.

Constantine the Great, a Tragedy acted at the Theatre-Royal by their Majesties Servants; printed 4o. Lond. 1684. Many are the Authors that have writ the Actions of this Illustrious Emperor, as Socrates, Sozomen, Eusebius, Zonaras, Eutropius, Ruffinus, Baronius, &c. The Story of Crispus and Fausta, is particularly related (as I think) in Ammianus Marcellinus: See besides Beard's Theatre of God's Judgements, Ch. 13. p. 225.

Gloriana, the Court of Augustus Caesar, a Tragedy in Heroick Verse, acted at the Theatre-Royal by their Majesties Servants, printed 4o. Lond. 1676. and dedicated to her Grace the Dutchess of Portsmouth. The Plot I take to be rather founded on Romance than History, as the Reader will find by comparing the Play with the Romance of Cleopatra, in the several Stories of Caesario, Marcellus Julia; Part 1. Book 3. Part 5. Book 3. Ovid, Cypassis and Julia, Part 7. Book 3. A Modern Poet, in a Satyr writ in Imitation of Sir John Suckling's Session of the Poets, writes thus of our Author and this Playf:

[Page]

Nat Lee stept in next, in hopes of a Prize,

Apollo remember'd he had hit Once in Thrice;

By the Rubies in 's Face, he could not deny,

But he had as much Wit, as Wine could supply;

Confest that indeed he had a Musical Note,

But sometimes strain'd so hard, that it rattled

i' th' Throat;

Yet own'd he had Sense, t' encourage him for 't,

He made him his Ovid in Augustus's Court.

Lucius Junius Brutus, Father of his Country, a Tragedy, acted at the Duke's Theatre, by their Royal Highnesses Servants; printed 4o. Lond. 1681. and dedicated to the Right Honourable Charles, Earl of Dorset and Middlesex. This Play well deserv'd so great a Patron as his Lordship, few Plays that I know, being writ with more Manly Spirit, Force and Vigour. For the Plot our Author has partly follow'd History, partly Romance: For History, consult Floras Lib. 1. Ch. 9, 10. Livy Lib. 1. Dionysius Hallicarnassaeus, Eutropius, Sextus Rufus, Orosius, &c. For Fiction, read in the Romance called Clelia, The History of Junius Brutus, Part 2. Book 1. p. 170. Part 3. Book 1. p. 229.

Massacre of Paris, a Tragedy acted at the Theatre-Royal, by their Majesties Servants, printed 4o. Lond. 1690. This Play is founded on that Bloody Massacre which was acted on St. Bartholomew Day, in the Year 1572. For the Story, consult Thuanus, Davila, Lib. 5. Pierre Matthieu, or, (as some say) Monliard his Continuation of De Serres, Mezeray and other [Page] Historians in the Reign of Charles the IX. Several passages in the Duke of Guise, are borrow'd from this Play, as the Reader may find by comparing p. 6. of the former, with p. 4. of the latter; p. 11. with p. 5. p. 13. with p. 5. and 6, &c.

Mithridates Kings of Pontus, a Tragedy, acted at the Theatre-Royal, by their Majesties Servants: printed 4o. Lond. 1678. and dedicated to the Right Honourable Charles Earl of Dorset and Middlesex. This Play may be reckon'd amongst those of The First-Rank, and will always be a Favourite of the Tender-hearted Ladies. It is founded on History: See Appian de Bell. Mithrid. Florus l.3.c.5. Vell. Paterculus, l. 2. Plutarch in the Lives of Scylla, Lucullus and Pompey, &c.

Nero Emperor of Rome his Tragedy, acted at the Theatre-Royal by his Majesties Servants; printed 4o. Lond. 1675. and dedicated to the Right Honble the Earl of Rochester. This Play is writ in a mixt Stile, part in Prose, part in Rime, and part in Blank Verse. For the Plot, consult Suetonius in his Life; Aurelius Victor; Tacitus Ann. lib. 13, 14, &c. Sulpicius Severus, &c.

Princess of Cleve, a Tragi-comedy, acted at the Queen's Theatre in Dorset Garden; printed 4o. Lond. 1689. and dedicated to the Right Honourable Charles Earl of Dorset and Middlesex, Lord Chamberlain of his present Majesty's Houshold, and one of his Majesties most Honourable Privy Council. This Play is founded on a Romance call'd The Princess of Cleves, translated from the French. The Invective [Page] against Women, spoken by Poltrot Act 5. Sc. 1. is printed in several Books of Poetry, and may be read in a Romance call'd The French Rogue, 8o. ch. 21. p. 132. The Author tells his Patron, g That the Duke of Guise has wrested two Scenes from the Original; but which they are I have not time to enquire.

Rival Queens, or The Death of Alexander the Great, a Tragedy acted at the Theatre-Royal, by their Majesties Servants, printed Lond. 1677. and dedicated to the Right Honourable John, Earl of Mulgrave. This Play has always been applauded by the Spectators, and is acknowledg'd a Master-piece by Mr. Dryden himself, in that Copy of Verses prefix'd to it, which are a sufficient Testimony of its worth. The Prologue was written by Sir Car Scroop. For the Plot, as far as the Author has follow'd History, consult Arrian; Q. Curtius; Plutarch's Life of Alexander; Justin lib. 11, 12. Diodorus Siculus, lib. 17. & 18. Josephus lib. 11. cap. 8.

Sophonisba, or Hannibals Overthrow, a Tragedy, acted at the Theatre-Royal, by their Majesties Servants; printed 4o. Lond. 1676. and dedicated to her Grace the Dutchess of Portsmouth. This Play is writ in Heroick Verse, and hath always appear'd on the Stage with applause; especially from the Female Sex: and Envy it self must acknowledge, That the Passion between Massanissa, and Sophonisba, is well express't; tho' Hannibal and Scipio's Parts fall somewhat short of the Characters given them by Historians; as the Ingenious and Sharp Lord [Page] Rochester has observ'd, in his Allusion to Horace's Tenth Satyr of the First Book;

When Lee makes temperate Scipio, sret and rave;

And Hannibal, a whining Amorous Slave,

I laugh, and wish the Hot-brain'd Fustian-Fool,

In Busby's Hands to be well lasht at School.

As our Author has taken the Liberty in several Plays to follow Romances, so possibly he purposely err'd with the late Earl of Orrery, who in his first Part of Parthenissa, has represented the Warlike Hannibal as much in Love with Izadora, as Mr. Lee has describ'd him passionate of Rosalinda's Charms. Many Historians have writ the Actions of these Great Men: see Cornelius Nepos his Life of Hannibal; Plutarch's Life of Scipio; and that of Hannibal, father'd on him, tho' suppos'd to be writ by Donatus Acciajolus: Livy Dec. 3. Lib. 1. &c. Florus Lib. 2. C. 6. Justin, Orosius, Diodorus, Polybius, Appian, &c. Those who understand Italian, may read the Story of Massanissa, and Sophonisba, very neatly describ'd by the Excellent Pen of Petrarch, in his Il Trionfo d'Amore, C. 2.

Theodosius, or The Force of Love, a Tragedy acted by their Royal-Highness's Servants, at the Duke's Theatre; printed 4o. Lond. 1680. and dedicated to her Grace, the Dutchess of Richmond. The Passions are extreamly well drawn in this Play, and it met with its deserv'd Applause: and our Author has said with as much Truth as Modestyh, That such Characters [Page] Every Dawber cannot draw. This Play is founded on a Romance call'd Pharamond, translated from the French of Mr. Calpranede. See the History of Varannes, Part 3. Book 3. p. 282. Of Martian. Part 7. Book 1. p. 207. Of Theodosius Part 7. Book 3. p. 256.

I know nothing else that our Author has in Print; and therefore I shall conclude with that just Commendation given him and Mr. Otway, by Mr. Evelyn, in his Imitation of Ovid's Elegy ad Invidos i.

When the aspiring Grecian k in the East,

And haughty Philip l is forgot in the West,

Then Lee and Otway's Works shall be supprest.

John LILLY.

An Ancient Writer, living in the Reign of Queen Elizabeth: he was a Kentish Man, and in his younger Years brought up in St. Mary Magdalen Colledge in Oxon. where in the Year 1575. he took his Master of Arts Degree. He was a very close Student, and much addicted to Poetry; a Proof of which he has given the World in Nine Plays, he has bequeath'd to Posterity, and which in that Age, were well esteem'd both by the Court and the University. He was One of the first Writers, that in those Days attempted to reform our Language, and purge it from obsolete Expressions. Mr. Blount, a Gentleman, who has made himself known to the [Page] World, by the several Pieces of his own Writing, (as Horae Subsecivae, his Microcosmography, &c.) and who publisht fix of these Plays; in his Title-page stiles him, The only Rare Poet of that Time, The Witty, Comical, Facetiously-Quick, and Unparalell'd John Lilly.

'Tis not to be expected that I should any where trace this Author, if the Character Mr. Blount gives of him in his Epistle Dedicatory, be true; ‘That he sat at Apollo's Table; that Apollo gave him a Wreath of his own Bayes, without Snatching; and that the Lyre he play'd on, had no borrow'd Strings.’ The Reader therefore is only to expect a short Account of his Titles Alphabetically.

Alexander and Campaspe, a Tragical-Comedy play'd before the Queens Majesty, on Twelfth-day at Night, by her Majesties Children, and the Children of Paul's, and afterwards at the Black-fryars; printed 120. Lond. 1632. The Story of Alexander's bestowing Campaspe on the Enamour'd Apelles, is related by Pliny in his his Natural History, Lib. 35 L.10.

Endymion, a Comedy presented before Queen Elizabeth, by the Children of her Majesties Chappel, and the Children of Pauls; printed 120 Lond. 1632. For the Story of Endimion's being belov'd by the Moon, with Comments upon it, may be met with in most of the Mythologists: See Lucian's Dialogues between Venus and the Moon; Natalis Comes, Lib. 4. C 8. Hygini Poeticon Astronomicon; Fulgentii Mythologia; Galtruchius's History of the Heathen Gods, Lib. I. C. 9. M. Gombauld has writ a Romance, [Page] call'd Endymion, translated in English, printed octavo 1639.

Galathea, a Comedy play'd before the Queens Majesty at Greenwich, on New-Years Day at Night, by the Children of Paul's; printed 120. Lond. 1632. In the Characters of Galathea and Phillidia, the Poet has copy'd the Story of Iphis and Janthe, which the Reader may find at large In Ovid's Metamorphosis, Lib.9.Cap.12.

Love's Metamorphosis, a Witty and Courtly Pastoral, first play'd by the Children of Paul's, and now by the Children of the Chappel; printed 4o. Lond. 1601.

Maid's Metamorphosis, a Comedy, sundry times acted by the Children of Paul's; printed 4o. Lond. 1600. The first Act is wholy writ in Verse, and so is the greatest part of the Play.

Mother Bombie, a Pleasant Conceited Comedy, sundry times play'd by the Children of Paul's; printed 120. Lond. 1632.

Mydas, a Comedy, play'd before the Queens Majesty upon Twelfth-day at Night; printed 120. Lond. 1632. For the Story, see Ovid's Metamorphosis, Lib. II. Fab.4. Natalis Comes, Lib. 9. Cap. 15. Galtruchius, Book 2. Ch.5. Apuleius has writ the Story at large in his Aureus Asinus, &c.

Sapho and Phao, a Comedy, play'd before the Queens Majesty on Shrove-Tuesday, by her Majesties Children, and the Children of Paul's, and afterwards at the Black-fryars; printed 120. Lond. 1632. This Story the Reader may learn from Ovid's Epistle of Sapho, to Phaon, Ep. 21.

[Page] Woman in the Moon, a Comedy, presented before Her Highness, printed 4o. Lond. 1667.

Six of these Plays, viz. Alexander and Campaspe, Endymion, Galathea, Mother Bombie, Mydas, Sapho and Phao, are printed together, under the Title of Six Court Comedies, 120. Lond. 1632. and dedicated by the above mention'd Mr. Blount, to the Right Honourable Richard Lumley, Viscount Lumley of Waterford. The other three are printed single in 4o. By which it appears how and Mr. Philips m and his Transcriber Mr. Winstanley n are mistaken, in affirming, That all Mr. Lilly's Plays are printed together in a Volume: Not are they less mistaken in ascribing to him a Play call'd Warning for fair Women, it being writ by an Anonymous Author.

I presume our Author may have other Pieces in print, tho' I have not been so happy to see them: Mr. Blount seems to mention a Book stiled Euphues, o ‘Our Nation (says he) are in his Debt for a new English which he taught them; Euphues and his England began first, that Language: All our Ladies were then his Schollars; and that Beauty in Court, which could not Parley Eupheisme, was as little regarded, as She which now there, speaks not French.’

Thomas LODGE.

A Doctor of Physick in the Reign of Queen Elizabeth; who was not so entirely devoted to [Page] AEsculapius, but that during his Residence in the University of Cambridge, he sometimes sacrificed to Apollo, and the Nine Sisters. Mr. Philips saysp, ‘That he was One of the Writers of those pretty old Pastoral Songs and Madrigals, which were very much the Strain of those Times.’ But 'tis not in Lyrick Poetry alone that he exercis'd his Pen, but sometimes he exercis'd it in Dramatick likewise, in which way he has publish two Pieces, viz.

Looking-Glass for London and England, a Tragi-comedy, printed 4o. Lond. 1598. in an old Black-Letter. In this Play our Author was assisted by Mr. Robert Green, of whom we have given an Account p. 241. This Drama is founded on Holy Writ, being the History of Jonas and the Ninevites, form'd into a Play. I suppose they chose this Subject in Imitation of others who had writ Dramas on Sacred Subjects long before them; as Ezekiel, a Jewish Dramatick Poet, writ the Deliverance of the Israelites out of Egypt; Gregory Nazianzen, or as some say, Apollinaris of Laodicea, writ the Tragedy of Christ's Passion: as I learn from the Learned Vossiusq. To these I might add Hugo Grotius, Theodore Beza, Petavius, &c. all which have built upon the Foundation of Sacred History.

Wounds of Civil War, lively set forth in the true Tragedies of Marius and Silla, publickly Play'd in London, by the Right Honourable the Lord High Admiral his Servants; printed 4o. Lond. 1594. For the Plot, consult Plutarch in [Page] the Lives of Marius and Silla; Velleius Paterculus, Lib.2. Salust. de Bello Jugurth. T. Livius, Lib.66. Brev. Florus, Lib. 3. C. 3. Aurelius Vistor; Eutropius, &c.

This Author (as Mr. Winstanley says)r was an Eminent Writer of Pastoral Songs, Odes, and Madrigals; of which he cites a pretty Sonnet, which is said to be of his Composure: and he has transcrib'd another in praise of Rosalinde, out of his Euphue's Golden-Legacy. This Book I never saw; and know nothing else of our Author's Writing, except a Treatise of the Plague, printed 4o. Lond. 1600. As to the Plays ascrib'd to him by Mr. Philips and Mr. Winstanley, in which he is made an Associate with Mr. Robert Green, I have already shewed their mistakes in the Account of that Author, to which I refer the Reader.

Sir William LOWER.

A Gentleman that liv'd in the Reign of King Charles the First, who during the beat of our Civil Wars, took Sanctuary in Holland, where in peace and privacy he enjoy'd the Society of the Muses. He was a great Admirer of the French Poets, and bestowed some times and pains in dressing some Plays in an English Garb: besides what, he has writ himself in his Mother-Tongue. So that we are obliged to him for six Plays, viz.

Amorous Phantasin, a Tragi-comedy printed at the Hague 120. 1658. and dedicated to her [Page] Highness The Princess Royal. This Play is translated from the French of M. Quinault's Le Fantōme Amoureux, which appear'd with success on the French Stage.

Enchanted Lovers, a Pastoral; printed at the Hague 120. 1658.

Horatius, a Roman Tragedy ; printed 4o. Lond. 1656. This Play is Translated from the French of Mr. Corneille; and as it is the first Version we had of that Admirable Play, I think it ought to be excused, if it come short of the Excellent Translation of Mr. Cotton, and the Incomparable Orinda. For the Story, consult Livy, Lib. 1. Florus, Lib. 1. C.3. Dionysius Hallicarnassaeus, Cassiodorus, &c.

Noble Ingratitude, a Pastoral Tragi-comedy, printed at the Hague 120. 1658. and dedicated. to Her Majesty the Queen of Bohemia. Our Author is fully perswaded, that thiss Play is in the Original One of the best Dramatick Pieces, that has been presented on the French Stage: and undoubtedly M. Quinault is an Excellent Poet, notwithstanding the Raillery of the Sharp-witted Boileau t.

Si je pense exprimer un Auteur sans default,

La Raison dit Virgile, & la Rime Quinault.

Phoenix in her Flames, a Tragedy, printed 4o. Lond. 1639. and dedicated to the Right Worshipful, his most Honoured Cousin, Thomas Lower Esquire. This Play was written before our Author was Knighted, and I take it to be the first he writ.

[Page] Polyeuctes, a Tragedy; Printed 4o. Lond. 1655. For the true Story, consult Coeffeteau Hist. Rom. Surius de Vitis Sanctorum. As to the Incidents of the Dream of Paulina, the Love of Severus, the Effectual Baptism of Polyeuctes, the Sacrifice for the Emperours Victory, the Dignity of Felix, the Death of Nearchus, the Conversion of Felix and Paulina, they are all of them the Author's Invention.

Three of these Plays; viz. Amorous Phantasm, Enchanted Lovers, Noble Ingratitude, were printed together at the Hague, during the Author's Exile; and at His Majesty's Return, the Remainder of the Copies were purchas'd by Mr. Kirkman, who printed new Titles in the Year 1661.

Thomas LUPON.

I am able to recover nothing of this Author, either as to the time of his Birth, the Place where he liv'd, or any thing he writ, besides a Tragedy mention'd in former Catalogues, called

All for Money, which I never saw.

M.

Lewis MACHIN.

A Gentlemen that liv'd in the Reign of King Charles the Martyr; the Author of a single Play, called

Dumb Knight, an Historical Comedy, acted [Page] sundry times by the Children of his Majesties Revels; printed 4o. Lond. 1633. Our Author has borrow'd several Incidents from Novels; as the Story of Mariana her Swearing Prince Philocles to be Dumb, Act 2. is borrow'd from Bandello's Novells, as I have read the Story, translated by Belleforest Tom. 1. Nov. 13. The same Incident is in a Play, called The Queen, or The Excellency of her Sex. Alfonsos' Cuckolding Prate the Oratour, Act 3. and the latter appearing before the Council, and pleading in Alfonso's Cloathes, whilst he is brought before the King in the Orator's Habit, Act 5. is borrow'd (as I remember) from another of Bandello's Novels; and the English Reader may meet with the same Story in The Complaisant Companion, octavo p. 246.

John MAIDWEL.

An Ingenious Person, still living (as I suppose) in London; where some time ago he undertook the Care and Tuition of young Gentlemen, and kept a Private School; during which Employment, besides some other Performances, (with which he has obliged the World) he has borrow'd so much time as to write a Play, stiled

Loving Enemies, a Comedy acted at his Highness the Duke of York's Theatre; printed 4o. Lond. 1680. and dedicated to the Honourable Charles Fox Esquire. The part of Circumstantio, seems to me to resemble the Humor of Sir Formal Trifle; especially the Description of the Magpies sucking a Hen's Egg, [Page] Act 4. Sc. 1. is writ much after the same way with that of the Mouse taken in a Trap, See Virtuoso, Act 3. towards the End. The Epilogue to this Play, is writ by Mr. Shadwell.

Jasper MAIN.

A Person of Fame and Note, as well for Natural Parts, as acquired Learning. He was Born in the Reign of King James the First, at Hatherleigh, &c. His Education was at Westminster School; from whence be was transplanted to Christ-Church, and admitted Student A.D. 1624. In this Colledge he gradually advanced in the Study of Arts and Sciences, till he took both his Degrees, and enter'd into holy Orders, and was prefer'd to two Livings, both in the Gift of the Colledge, and one hardby Oxford. About this time the Civil Wars breaking out, and the Pious King being forc'd by wicked Subjects, to fly for shelter to this Seat of the Muses: our Author was made choice of amongst others deputed to Preach before His Majesty. Soon after which, Mr. Wood tells us, he was created Dr. of Divinity, and resided in Oxford till the time of the Mock Visitation sent to the University, when he, amongst other Worthies eminent for their Loyalty, was ejected not only from the Colledge, but both his Livings. During this Storm, he found an Asylum in the House of the Right Honourable the Earl of Devonshire, where for the most part he resided, till the Happy Return of King Charles the Second to his Kingdomes; [Page] at which time, he was not only restored to his Places, but made Canon of Christ-church, and Arch-deacon of Chichester; which Preferments he enjoy'd to his Death. He was a Person of a ready and facetious Wit, and yet withal, a sound, Orthodox Preacher. In his younger years, he was very much addicted to Poetry, in which time he writ two Plays, which are very much esteem'd by the generality of those who delight in Dramatick Poetry.

Amorous War a Tragi-comedy, printed 4o Oxon. 1658.

City Match, a Comedy acted before the King and Queen at Whitehall, and afterwards on the Stage at Black-friars, with general Applause, and printed 4o. Oxon. 1658. These two Plays, have been printed in Folio, 4o. and 8o. and are bound together.

Besides these Dramatick Pieces our Author writ a Poem, upon the Naval Victory over the Dutch by the Duke of York, printed 1665. and added some Dialogues to those of Lucian translated by Mr. Francis Hicks, printed Fol. Lond. 1638. He publisht likewise many serious Pieces, as several Sermons in 4o. 1646—47—52—62. Amongst which, none was so much talkt of, as that concerning false Prophets. It was, if I mistake not, writ against by Mr. Francis Cheynel, which occasion'd our Authors Vindication publisht 1647. He writ besides [...] or The Peoples War examined, according to the Principles of Scripture and Reason, in answer to a Letter, for the satisfation of a Person of Quality, printed 4o.—1647. with [Page] several other Pieces which I have not seen.

He Died on the Sixth day of December, An. 1672. and was Buried in Christ-Church on the North-side of the Quire: having in his Will left several Bequests to Pious uses. As Fifty Pounds to the Re-building of St.Pauls; A Hundred Pounds to be distributed by the Two Vicars of Cassington and Purton, for the use of the Poor of those Parishes, with many other Legacies: amongst which I cannot forget One, which has frequently occasion'd Mirth at the relation. He had a Servant who had long liv'd with him, to whom he bequeath'd a Trunk, and in it Somewhat (as he said) that would make him Drink after his Death. The Doctor being dead the Trunk, was speedily visited by his Servant with mighty Expectation, where he found this promising Legacy to be nothing but a Red-Herring: So that it may be said of him, that his propensity to innocent Raillery was so great, that it kept him Company even after Death.

Cosmo MANUCH.

A Gentleman that liv'd in the Reign of King Charles the First, and One that as I suppose took up Arms for his Majesty, under the Quality of a Major, tho' whether of Horse or Foot I am ignorant. Mr. Phillips a supposes him an Italian, stiling him Manuci; but whatever his Country be, he has writ Two Plays which shew him well vers'd in the English Language; viz.

[Page] Just General, a Tragi-comedy printed quarto Lond. 1650. and dedicated to the Right Honourable James Earl of Northampton, and Isabella, his most Virtuous Lady. This is the first Play our Author writ, and which was intended for the Stage, but never acted: not that it is any ways contemptible; and therefore the Major did not forfeit his Modesty when he said of it,b

In spite of Malice, venture I dare thus far,

Pack not a Jury, and I'll stand the Bar.

Loyal Lovers, a Tragi-comedy printed 4o. Lond. 1652. In this Play our Author lashes the old Committee-men, and their Informers, in the Persons of Gripeman and Sodom, and I believe he meant to expose Hugh Peters's Adventure with the Butcher's Wife of St. Sepulcher's, with his Revenge thereupon, under the Characters of Phanaticus and Fly-blow. If my Conjecture prove true I hope no sober man will be angry, that Peters should be personated on the Stage, who himself had ridicul'd others, when he acted the Clown's part in Shakespear's Company of Comedians, as I have read in Dr. Young's Relation of his Life.

If it be consider'd that our Author's Muse was travesté en Cavileer; that he made Writing his Diversion, and not his Business; that what he writ was not borrow'd but propriâ Minervâ, I hope the Criticks will allow his Plays to pass Muster amongst those of the third Rate.

Gervase MARKHAM.

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A Gentleman who flourisht under the Reigns of Queen Elizabeth, King James, and King Charles the First: for the later of whom he took up Arms, in the time of the Rebellion: being honour'd by His Majesty with a Captain's Commission. He was the Son of Robert Markham of Cotham, in the County of Nottingham Esq and was eminently Famous for his numerous Volumes of Husbandry, and Horsemanship: besides what he has writ on Rural Recreations, and Military Discipline. He understood the Practick as well as the Theory of the Art of War: and was esteem'd a good Scholar, and an excellent Linguist, understanding perfectly the French, Italian, and Spanish Languages, from all which he collected Notes of Husbandry. In the enumeration of his Works the Reader will be satisfied of his excellent Parts and Abilities: and that he was tàm Marti quàm Mercurio, vers'd in the Employments of War and Peace: and One piece of Dramatick Poetry which he has publisht, will shew that he Sacrific'd to Apollo, and the Muses, as well as to Mars and Pallas. This Play is extant under the Title of

Herod and Antipater, a Tragedy printed 4o. Lond. 1622. where, or when this Play was acted the imperfection of my Copy hinders my information. For the Foundation 'tis built on History. See Josephus Ant. Jud. Lib. 14, 15, 16, & 17. Torniel, Salian, Spondanus, Baronii Ann. &c

[Page]I shall now mention his Works, and first those which treat of Horsemanship, which have made him Famous all over England. Of these he has writ A Discourse of Horsemanship, printed 4o. without Date, and dedicated to Prince Henry Eldest Son to King James the First. Cure of all Diseases incident to Horses, 4o. 1610. English Farriar, 4o. 1649. Masterpiece, 4o. 1662. Faithful Farriar, 8o. 1667. Perfect Horseman, 120. 1671. For Husbandry he publisht Liebault's Le Maison Rustique, or The Country Farm, Fol. Lond. 1616. This Treatise (which was at first translated by Mr. Richard Surflet, a Physitian) our Author enlarg'd with several Additions from the French Books of Serres and Vinet, the Spanish of Albiterio, and the Italian of Grilli, and others. The Art of Husbandry, first translated from the Latine of Conr. Heresbachius, by Barnaby Googe, he revis'd and augmented, 4o. 1631. He writ besides, Farewel to Husbandry, 4o. 1620. Way to get Wealth, wherein is compris'd his Country Contentments, printed 4o. 1668. To this I may add Hungers Prevention, or his Art of Fowling, 8o. His Epitome, 120. &c. In Military Discipline, he has publisht The Souldiers Accidence, and Grammar, 4o. 1635. Besides these the second part of the First Book of The English Arcadia is said to be writ by him: insomuch that he may be accounted if not Unus in Omnibus, at least a Benefactor to the Publick, by those Works he left behind him, which will (without doubt) eternise his Memory.

Christopher MARLOE.

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An Author that was Cotemporary with the Incomparable Shakespear, and One who trod the Stage with Applause both from Queen Elizabeth, and King James. Nor was he accounted a less Excellent Poet by the Judicious Johnson: and Heywood his Fellow Actor, stiles him, the Best of Poets. In what esteem he was in his time may be gathered from part of a Copy of Verses writ in that Age, call'd a Censure of the Poets, where he is thus Characteriz'd.

Next Marlow bathed in the Thespian Springs,

Had in him those brave Sublunary things,

That your First-Poets had; his Raptures were

All Air and Fire, which made his Verses clear;

For that fine Madness still he did retain,

Which rightly should possess a Poet's Brain.

His Genius inclin'd him wholly to Tragedy, and he has obliged the world with Seven Plays of this kind, of his own Composure, besides One, in which he join'd with Nash, call'd Dido Queen of Carthage, which I never saw. Of the others take the following Account.

Dr. Faustus his Tragical History, printed 4o. Lond. 1661. There is an old Edition which I never saw, but this is printed with new Additions of several Scenes. The Plot, or the Foundation of this Play, may be read in several Authors, as Camerarei Hor. Subcisiv. Cent. 1. Wierus de Praestigiis Daemonum, Lib. 2. Cap. 4. Lonicerus, &c.

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Edward the Second, a Tragedy printed 4o. Lond.— I know not the Date, or the Stage where this Play was acted, thro' the defect of my Title-page. For the Plot consult the Historians, that have writ on those Times, as Ranulphus Higden, Walsingham, Math. Westminster. Especially those that have more particularly writ his Life, as Thomas de la More. Sr. Fr. Hubert, &c.

Jew of Malta, a Tragedy play'd before the King and Queen, in her Majesties Theatre, at Whitehall, and by her Majesties Servants at the Cock-pit, printed 4o. Lond. 1633. (after the Author's Decease) and dedicated (by Mr. Thomas Heywood the Publisher) To his Worthy Friend Mr. Thomas Hammon of Gray's-Inn. This Play was in much esteem, in those days the Jew's Part being play'd by Mr. Edward Allen, that Ornament both to Black-friars Stage, and to his Profession; to the One on Account of of his excellent Action, to the Other of his exemplary Piety in founding Dulwich Hospital in Surrey. What Opinion Mr. Heywood had of the Author and Actor, may be seen by the beginning of his Prologue spoke at the Cock-pit.

We know not how our Play may pass this Stage,

But by the best of Poets* in that Age

The Malta Jew had being, and was made:

And He, then by the best of* Actors play'd:

In Hero and Leander, c one did gain

A lasting Memory: in Tamberlain,

[Page] This Jew, with others many: th' other wan

The Attribute of peerless; being a Man

Whom we may rank with (doing no one wrong)

Proteus for Shapes, and Roscius for a Tongue.

Lust's Dominion, or The Lascivious Queen a Tragedy publisht by Mr. Kirkman 8o. Lond. 1661. and dedicated to his worthily honour'd Friend William Carpenter Esquire. This Play was alter'd by Mrs. Behn, and acted under the Title of Abdelazer, or The Moor's Revenge.

Massacre of Paris, with the Death of the Duke of Guise; a Tragedy, play'd by the Right Honourable the Lord Admiral's Servants, printed octavo Lond.— This Play is not divided into Acts; it begins with that fatal Marriage between the King of Navarre and Marguerite de Valois, Sister to King Charles the Ninth, the Occasion of the Massacre; and ends with the Death of Henry the Third of France. For the Plot, see the Writers of those times, in the Reigns of these two Kings, Ch. IX. and Henry III. Thuanus, Davila, Pierre Matthieu, Dupleix, Mezeray, &c.

Tamburlain the Great, or The Scythian Shepherd, a Tragedy in two parts; sundry times acted by the Lord Admiral's Servants, printed in an old Black-Letter octavo Lond. 1593. Had I not Mr. Heywood's Word for it, In the fore-mention'd Prologue, I should not believe this Play to be his; it being true, what an ingenious Author saidd, That whoever was the Author, he might ev'n keep it to himself, secure from Plagiary.

[Page]For the Story, see those that have writ his Life in particular, as Pietro Perondini, M. St. Sanctyon, Du Bec, &c. and those that have treated of the Affairs of Turks and Tartars in general, in the Reigns of Bajazet and Tamerlane, as Laonicus, Chalcocondylas, Pet. Bizarus, Knolles, &c.

He writ besides a Poem, call'd Hero and Leander; Whose mighty Lines (says Onee) Mr. Benjamin Johnson, a Man sensible enough of his own Abilities, was often heard to say, that they were Examples sitler for Admiration, than Paralel. This Poem being left imperfect by our our Author, who (according to Mr. Philips f) In some riotous Fray, came to an untimely and violent End; it was finished by Mr. Chapman, and printed octavo Lond. 1606.

Shakerley MARMION.

A Gentleman born in the Reign of King Charles the First, at Ainoe, (in Sutton Hundred) in the County of Northampton, about the beginning of January A. D. 1602. He was bred up at Thame-School, in Oxfordshire, and at fifteen Years of Age was sent to the University of Oxford, where he became a Member of Wadham Colledge, and in 1624. he took his Master of Arts Degree. What further became of him, I know not, all that I am able to inform the Reader, is, that he was the Author of three Comedies, which have formerly been well approv'd, viz.

[Page] Antiquary, a Comedy, acted by her Majesties Servants at the Cock-pit, and printed quarto Lond. 1641. Aurelio's declaring his Marriage to the Duke and Leonardo, from Lucretia's Lodging, where he got in by her Maid's Assistance, is an Incident (as I have already shew'd) in several Plays.

Fine Companion, a Comedy acted before the King and Queen at Whitehall, and sundry times with great applause at the Private House in Salisbury-court, by the Prince's Servants; printed quarto Lond. 1633. and dedicated to the truly Noble, and his worthy Kinsman in all respects, Sir Ralph Dutton. The Reader will find that Captain Porpuss, in Sir Barnaby Whig, is beholding to Captain Whibble in his Play, for some of his Expressions.

Holland's Leaguer, an Excellent Comedy, often acted with great Applause, by the High and Mighty Prince Charles his Servants, at the Private House in Salisbury-court, printed quarto Lond. 1632. The Author in this Play has shewed his Reading, having borrow'd several things from Juvenal, Petronius Arbyter, &c.

Mr. Winstanley has made no mention of our Author, and Mr. Philips g to prove his Character of him, that he is not an Obscure or Uncopious Writer of English Comedy, has ascrib'd two Comedies to him, which belong to other Men; the Fleire being writ by Edward Sharpham, and the Fair Maid of the Exchange (if we may believe Kirkman's Account) by Thomas Heywood.

John MARSTON.

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An Author that liv'd in the Reign of King James the First, who was a Contributor to the Stage in his Time, by Eight Plays which were approv'd by the Audience at the Black-fryars, and one of them, viz. Dutch Curtezan, was some few Years since, reviv'd with success on the present Stage, under the Title of The Revenge, or The Match in New-gate.

The place of our Author's Birth, and Family, are to me unknown, neither can I recover other Information of him, than what I learnt from the Testimony of his Booksellerh; ‘That he was free from all Obscene Speeches, which is the chief cause that makes Plays to be so odious unto most Men. That he abhorr'd such Writers and their Works, and profest himself an Enemy to all such as stufft their Scenes with Ribaldry, and larded their Lines with Scurrilous Taunts and Jests: So that whatsoever even in the Spring of his Years, he presented upon the private and publick Theatre, in his Autumn and Declining Age he needed not to be asham'd of.’ An Excellent Character! and fit for the Imitation of our Dramatists; most of whom would be thought to have throughly studyed Horace: I could wish therefore, that they which know him so well, would call to Mind and practice his Advice; which is thus expresti,

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Silvis deducti caveant, me judice, Fauni,—

Ne nimiū teneres juvenentur versibus unquam,

Aut immunda crepent, ignominiosa (que) dicta.

Offenduntur enim quibus est equus, & pater & res.

But leaving this, I shall give the Reader an Account of his Plays in their Accustom'd Order: having first inform'd him, that six of our Author's Plays are collected into one Volume, being publisht under the Title of The Works of Mr. John Marston, printed octavo Lond. 1633. and dedicated to the Right Honourable, the Lady Elizabeth Carie, Viscountess Faulkland. According to the Alphabet, I am to begin with, viz.

Antonio and Melida, a History acted by the Children of Paul's, printed octavo Lond. 1633.

Antonio's Revenge, or The Second part of Antonio and Melida; frequently acted by the Children of Paul's, printed in octavo. These two Plays were likewise printed in quarto above 30 Years before this new Edition, viz. 1602.

Dutch Curtezan, a Comedy divers times presented at the Black-fryars, by the Children of the Queens Majesties Revels; printed in octavo Lond. 1633. This Play was publisht long before in quarto viz. 1605. Cockledemoy's cheating Mrs. Mulligrub the Vintner's Wife, of the Goblet and the Salmon, is borrow'd from an old French Book called Les Contes du Monde: see the same Story in English, in a Book of Novels, call'd The Palace of Pleasure, in the last Novel.

Insatiate Countess, a Tragedy acted at the [Page] White-fryars, printed quarto Lond. 1603. It being a common custom with our Author to disguise his Story, and to personate real Persons, under feign'd Characters: I am perswaded that in this Play, under the Title of Isabella, the Insatiable Countess of Suevia; he meant Joane the First Queen of Jerusalem, Naples, and Sicily: and I doubt not but the Reader who will compare the Play with the History, will assent to my conjecture. Many are the Writers that have related her Life, as Collenuccio, Simmoneta, Villani, Montius, &c. but I refer my English Reader to Dr. Fuller's Prophane State. Ch. 2. That her Life has been the Subject not only of History, but of Poetry and Novels also, is manifest from this Play, and the Novels of Bandello, who has related her Story under the Title of The Inordinate Life of The Countess of Celant. This Novel is translated into French by Belleforest, Tom. 2. Nov. 20. and possibly our Author might build his Play on this Foundation. The like Story is related in God's Revenge against Adultery, under the Name of Anne of Werdenberg, Dutchess of Ulme: See Hist. 5.

Male Content, a Tragicomedy, the first Design being laid by Mr. Webster, was corrected and augmented by our Author, printed 4o. Lond. 1604. and dedicated in the following Stile to Ben Johnson: Benjamini Johnsonio, Poetae Elegantissimo, Gravissimo, Amico suo candido & cordato, Johannes Marston, Musarum Alumnus, asperam hanc suam Thaliam D. D. Notwithstanding our Authors profession of Friendship, he [Page] afterwards could not refrain from reflecting on Mr. Johnson, on Account of his Sejanus, and Catiline, as the Reader will find in the perusal of his Epistle to Sophonisba: ‘Know (says he) that I have not labour'd in this Poem to relate any thing as an Historian, but to enlarge every thing as a Poet. To transcribe Authors, quote Authorities, and translate Latin Prose Orations into English Blank-Verse, hath in this Subject been the least aim of my Studies.’ That Mr. Johnson is here meant, will I presume be evident to any that are acquainted with his Works, and will compare the Orations in Salust, with those in Catiline. On what provocations our Author thus censured his Friend I know not, but this Custom has been practic'd in all Ages; the Old Proverb being verify'd in Poets as well as Whores, Two of a Trade can never agree. 'Tis within the Memory of Man, that a Play has been dedicated to the late witty Earl of Rochester, and an Essay upon Satyr from the same Hand has bespatter'd his Reputation: So true it is that some Poets

Are still prepar'd to praise or to abhor us,

Satyr they have and Panegyrick for us.

But begging pardon for this Digression, I return to the Play, which I take to be an honest general Satyr, and not (as some malicious Enemies endeavour'd to perswade the World) design'd to strike at any particular Persons.

Parasitaster, or The Fawn, a Comedy divers times presented at the Black-fryars by the Children of the Queens Majesties Revels; printed [Page] 80. Lond. 1633. This Play was formerly printed in quarto 1606. The Plot of Dulcimel her cozening the Duke by a pretended Discovery of Tiberio's Love to her, is borrow'd from Boccace's Novels, Day 3. Nov. 3. This Novel is made use of as an Incident in several other Plays, as Flora's Vagaries, Souldiers Fortune; and Nymphadoro's Humour of Loving the whole Sex, Act. 3. Sc. 1. is copy'd from Ovid's Amor. Lib. 2. Eleg. 4.

What you will, a Comedy printed 8o. Lond. 1633. Francisco's zanying the Person and Humour of Albano, is an incident in several Plays, as Mr. Cowley's Guardian, Albumazer, &c. tho' I presume the Design was first copy'd from Plautus his Amphitruo. This I take to be one of our Authors best Plays.

Wonder of Women, or Sophonisba her Tragedy, sundry times acted at the Black-fryars, and printed in 8o. Lond. 1633. This Play is founded on History; see Livy, Dec. 3. Lib. 10. Corn. Nepos in Vit. Annibal. Polibius, Appian, Orosius. The English Reader may read this Story lively describ'd by the Judicious Sir W. Rawleigh, in his History of the World, Book the 5.

Mr. Phillips k, and Mr. Winstanley l have created him the Author of a Play call'd The Faithful Shepherd, which I am confident is none of his; and have ommitted his Satyrs, which render'd him more eminent than his Dramatick Poetry. The Title is The Scourge of Villany, in three Books of Satyrs, printed in 8o. Lond. 1598. Mr. Fitz-Geoffry above-mention'd, [Page] in the Account of Daniel and Johnson, writ in their Commendation the following Hexastickm.

Ad Johannem Marstonem.

Gloria Marstoni Satyrarum proxima primae,

Primaque, fas primas si numerare duas;

Sin primam duplicare nefas, tua gloria saltem

Marstoni primae proxima semper eris.

Nec te paeniteat stationis, Jane: secundus,

Cū duo sint tantùm, est neuter; at ambo pares.

John MASON.

I can give the Reader no Account of this Author, further, than he was a Master of Arts in the time of King James the First, about the middle of whose Reign he publisht a Play stil'd,

Muleasses the Turk, a Worthy Tragedy, divers times acted by the Children of his Majesties Revels, printed 4o. Lond. 1610. Whether this Play deserv'd the Title of Worthy, I shall not determine: but that the Author had a good Opinion of it, seems apparent from his Lemma in the Title-page, borrow'd from Horace;

Sume superbiam quaesitam meritis.

Philip MASSINGER.

This Author was Born at Salisbury, in the Reign of King Charles the First; being Son to Philip Massinger, a Gentleman belonging to the Earl of Montgomery, in whose service after having spent many years happily, he Died. He [Page]

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PHILIP MASSINGER.

[Page] bestow'd a liberal Education on our Author, sending him to the University of Oxford, at Eighteen years of Age viz. 1602. where he closely pursued his Studies in Alban-Hall, for Three or Four years space. How he spent his Life afterwards I know not: but 'tis evident that he dedicated a great part of his Studies to Poetry, from several Plays which he has publisht, and which were highly esteem'd of by the Wits of those times, for the purity of Stile, and the Oeconomy of their Plots; for which Excellency he is thus commended by an old Poet:

Ingenious Shakespear, Massinger, that knows

The Strength of Plot, to write in Verse, and Prose;

Whose Easy Pegasus will ramble o're

Some Threescore Miles of Fancy in an Hour.

He was extreamly belov'd by the Poets of that Age, and there were few but what took it as an Honour to club with him in a Play: witness Middleton, Rowley, Field, and Deckers: all which join'd with him in several Labours. Nay, further to shew his Excellency, the ingenious Fletcher, took him in as a Partner in several Plays, as I have already hinted, p. 217. He was a Man of much Modesty and extraordinary Parts, and were it not that I fear to draw Envy on our Poets Memory, I could produce several Testimonials in confirmation of this truth: however I will give the Reader one Instance for many, being the Testimony of a Worthy Gentleman, Sir Thomas Jay:

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You may remember, how you chid me, when

I rankt you equal those glorious Men

Beaumont and Fletcher: if you love not praise,

You must forbear the publishing of Plays.

The crafty Mazes of the cunning Plot;

The polisht Phrase; the sweet Expressions, got

Neither by theft, nor violence; The Conceipt

Fresh, and unsullied; All is of weight,

Able to make the Captive Reader know,

I did but Justice, when I plac'd you so.

Our Author has publisht Fourteen Plays of his own Writing, besides those in which he join'd with other Poets. We shall begin with a Play call'd

Bashful Lover, a Tragi-comedy often acted at the private House in Black-friars, by His Majesties Servants, with great Applause, printed 8o. 1655.

Bondman, an ancient Story, often acted with good allowance at the Cock-pit in Drury-lane, by the most Excellent Princess the Lady Elizabeth her Servants, printed 4o. Lond. 1638. and dedicated to the Right Honourable and his Singular good Lord Philip Earl of Montgomery. The Plot of the Slaves being seduc'd to Rebellion by Pisander, and reduc'd by Timoleon, and their flight at the sight of the Whips; is borrow'd from the Story of the Scythian Slaves Rebellion against their Master. See Justin L.1.C.5.

City Madam, a Comedy acted at the private House in Black-friars with great Applause, printed 4o. Lond. 1659. for Andrew Pennycuicke, One of the Actors, and dedicated by him [Page] to the truly Noble and Virtuous Lady, Anne, Countess of Oxford. This is an Excellent old Play.

Duke of Millain, a Tragedy printed in 4o. tho when, or where acted I know not, my Copy being imperfect. As to the Plot, I suppose Sforza's giving orders to his Favourite Francisco, to murther his beloved Wife the Dutchess Marcelia, was borrow'd from the History of Herod, who on the like occasion left orders with his Uncle Joseph to put his beloved Mariamne to Death; as the Reader may see in Josephus, Lib. 15. Cap. 4.

Emperor of the East, a Tragi-comedy divers times acted at the Black-friars, and Globe Playhouses, by the King's Majesties Servants, printed 4o. Lond. 1632. and dedicated to the Right Honourable, and his very good Lord, John Lord Mohune, Baron of Oke-hampton. This Play is commended by three Copies of Verses, One of which was writ by Sir Aston Cockain. For the Play, 'tis founded on the History of Theodosius the Younger. See Socrates L. 7. Theodoret L.5. Nicephorus L. 14. Baronius, Godeau, &c.

Fatal Dowry, a Tragedy often acted at the private House in Black-friars, by His Majesties Servants, printed 4o. Lond. 1632. This Play was writ by our Author and Mr. Nathaniel Field (of whom I have already spoken). The behaviour of Charalois in voluntarily choosing imprisonment to ransom his Fathers Corps, that it might receive Funeral Rights; is copied from the Athenian Cymon, that admirable Example of Piety so much celebrated by Valerius[Page]Maximus, Lib. 5. C.4. Ex.9. Plutarch and Cornelius Nepos notwithstanding make it a forc'd Action, and not voluntary.

Guardian, a Comical History often acted at the private House in Black-fryars by his late Majesties Servants, with great Applause, printed 8o. Lond. 1655. Severino's cutting off Calipso's Nose in the dark, taking her for his Wife Jolantre, is borrow'd from the Cimerian Matron a Romance 8o. the like Story is related in Boccace Day 8. Nov. 7.

Great Duke of Florence, a Comical History often presented with good allowance by her Majesties Servants at the Phoenix in Drury-lane, printed 4o. Lond. 1636. and dedicated to the truly Honoured and his noble Favourer, Sir Robert Wiseman of Thorrel's-Hall in Essex. This Play is commended by two Copies of Verses, One of which was writ by Mr. John Ford, of whom we have already spoken p. 219. The false Character given the Duke of the Beauty of Lidia, by Sanasarro, resembles the Story of King Edgar and Duke Ethelwolph in his Account of the Perfections of Alphreda. As the Reader may find the Story related in our English Chronicles that have writ the Reign of Edgar, as Speed, Stow, Baker, &c.

Maid of Honour, a Tragi-comedy often presented with good allowance, at the Phoenix in Drury-lane, by the Queen's Majesties Servants, printed 4o. Lond. 1632. and dedicated to his most Honoured Friends, Sir Francis Foliambe, and Sir Thomas Bland. A Copy of Verses is prefixt to the Play, writ by Sir Aston Cokain.

[Page] New way to pay Old Debts, a Comedy often acted at the Phoenix in Drury-lane, by the Queens Majesties Servants, printed 4o. Lond. 1633. and dedicated to the Right Honourable Robert Earl of Carnarvan. This Play is deservedly commended by the Pens of Sir Henry Moody, and Sir Thomas Jay, above-mention'd.

Old Law, or A new Way to please you, an excellent Comedy acted before the King and Queen at Salisbury-house, and at several other places with great applause, printed 4o. Lond. 1656. In this Play our Author was assisted by Mr. Middleton, and Mr. Rowley. At the End of it is printed a Catalogue of Plays, which tho' stil'd perfect in the Title-page, is far from it: for besides abundance of Typographical Faults, there are many other gross Errors: several pieces being mention'd under the Title of Plays which are of a different Species; for Instance Virgil's Eclogues are inserted under the Name of a Tragedy &c.

Picture, a Tragi-comedy, often presented with good allowance at the Globe and Black-Fryars Play-houses, by the King's Majesties Servants, printed 4o. Lond. 1636. and dedicated to his Honour'd, and Selected Friends of the Noble Society of the Inner-Temple. This Play was acted by those excellent Players of the last Age, Lowin, Taylor, Benfield, &c. and is commended by his true Friend, Sir Thomas Jay. The Plot of Sophia's decoying the two debaucht Courtiers Richardo and Ubaldo, who attempted her Chastity, is related in a Book of Novels in octavo, call'd The Fortunate, Deceiv'd, and Unfortunate[Page]Lovers, see Nov. 4. of the Deceiv'd Lovers: but this Story is I suppose originally Italian, this Book being a Collection from Italian Novels.

Renegado, a Tragi-comedy often acted by the Queens Majesties Servants, at the private Play-house in Drury-lane, printed 4o. Lond. 1630. and dedicated to the Right Honourable George Harding, Baron of Barkley of Barkley-Castle, and Knight of the Honourable Order of the Bath. This Play is likewise commended by two Copies of Verses; One of which was writ by Mr. James Shirley.

Roman Actor, a Tragedy acted divers times with good allowance at the private House in the Black-fryars, by the King's Majesties Servants, printed 4o. 1629. and dedicated to his much Honour'd, and most True Friends, Sir Philip Knivet, Sir Thomas Jay, and Thomas Bellingham of Newtimber in Sussex Esquire. This Play is commended by Six Copies of Verses writ by several Dramatick Poets of that Age, as May, Goss, Ford, &c. For the Plot read Suetonius in the Life of Domitian, Aurelius Victor, Eutropius, Lib. 7. Tacitus, Lib. 13. &c.

Very Woman, or The Prince of Tarent, a Tragi-comedy often acted at the private House in the Black-fryars, by His late Majesties Servants with great applause, printed 8o. Lond. 1655. Our Author ownsn this Play to be founded on a Subject which long before appear'd on the Stage: tho' what Play it was I know not. I have already acquainted the Readero with [Page] the Resemblance between the Plot of this Tragi-comedy, and The Obstinate Lady. This Play, with The Bashful Lover, and The Guardian, are printed together.

Virgin Martyr, a Tragedy acted by His Majesties Servants with great applause, printed 4o. Lond. 1661. In this Play our Author took in Mr. Thomas Decker for Partner. I presume the Story may be met with in the Martyrologies which have treated of the Tenth Persecution in the time of Dioclesian, and Maximian. See Rossweidus, Valesius, &c.

Unnatural Combat, a Tragedy presented by the King's Majesties Servants at the Globe, printed 4o. Lond. 1639. and dedicated to his much Honour'd Friend, Anthony Sentliger of Oukham in Kent, Esquire. ‘This Old Tragedy (as the Author tells his Patron) has neither Prologue nor Epilogue, it being composed in a time, when such By-ornaments, were not advanced above the Fabrick of the whole work.’

I know nothing else of our Authors Writings, and therefore must hasten to the last Act of his Life, his Death; which happen'd at London in March 1669. On the Seventeenth of the same Month he was Buried in St. Mary Overies Church in Southwark, in the same Grave with Mr. Fletcher. What Monument, or Inscription he has I know not; but shall close up our Account of this Ingenious Poet, with the following Epitaph writ by Sir Aston Cokain, p

[Page]An Epitaph on Mr. John Fletcher, and Mr. Philip Massinger, who lay both buried in one Grave, in St. Mary Overy's Church, in Southwark.

In the same Grave Fletcher was buried, here

Lies the Stage Poet, Philip Massinger:

Plays they did write together, were great

Friends,

And now one Grave includes them in their Ends.

So whom on Earth nothing did part, beneath

Here (in then Fame) they lie, in spight of Death.

Thomas MAY.

This Gentleman, was born in Sussex of an ancient but somewhat declining Family, in the Reign of Queen Elizabeth. He was for some Years bred a Scholar in the University of Cambridge, being Fellow-Commoner of Sidney Colledge. During his Abode there, he was a very close Student, and what Stock of Learning he then treasur'd up, is apparent from his Works, which are in print. He remov'd afterwards to London, following the Court, where he contracted Friendship with several Eminent Courtiers, amongst others with the accomplisht Endymion Porter, Esq One, of the Gentlemen of his Majesties Bedchamber; a Gentleman so dear to Sir William D'Avenant, that he stiled himq Lord of his Muse and Heart. Whilst he resided at Court, he writ the five Plays [Page] which are extant, and possibly his other Pieces. Dr. Fuller says of himr, ‘That some Disgust at Court was given to, or taken by him, (as some would have it) because his Bays were not guilded richly enough, and his Verses rewarded by King Charles, according to expectation.’ Mr. Philips s and Mr. Winstanley t insinuate, That being Candidate with Sir William D'Avenant, for the Honourable Title of the Queen's Poet, and being frustrate in his Expectations, out of meer Spleen, as it is thought, for his Repulse, he vented his Spite in his History of the late Civil Wars of England; wherein, Mr. Winstanley says, he shew'd all the Spleen of a Male-contented Poet, making thereby his Friends his Foes, and rendring his Name odious to Posterity. Whether this Accusation be true, or no, I know not; but I am sure his Enemies must allow him to be a good Poet, tho' possibly he fell short of Sir William D'Avenant: and tho' I no ways abet his self Opinion, yet I learn from Horace, that even Ill Poets, set a value on their Writings, tho' they are despis'd by others;

Ridentur mala qui componunt Carmina, verùm

Gaudent Scribentes, & se venerantur, & ultrò,

Si taceas, laudant, quicquid scripsere beati.

And therefore I hope the moderate Critick will bear with the Frailty of our Author: and I doubt not but if they will read his Works with Candor, and especially his Plays, they will find he had some Reason for his Opinion of what [Page] he writ. I shall first give the Reader a succinct Account of his Plays as follows:

Agrippina Empress of Rome, her Tragedy, printed 120. Lond. 1639. Our Author has follow'd Xiphilinus, Tacitus, and Suetonius, in the Designing his Tragedy: and besides has translated and inserted above 30. Lines from Petronius Arbyters Satyricon u, being a Translation of those Verses recited by Eumolpus, beginning

Orbemjam totum victor Romanus habebat, &c. and concluding with

—Siculo scarus aequore mersus

Ad mensam vivus perducitur,—

Now altho' this is patly enough apply'd by our Author, he having introduced Nero at a Banquet, commanding Petronius to write a Satyr against those Pleasures he us'd to commend; yet methinks Mr. May, having such a particular Value for Lucan, as to translate his Pharsalia, he should not have inserted what was purposely writ against this particular Work; as may be gather'd from the foregoing Speech, Ecce Belli Civilis ingens Opus, &c. but rather have left it to such a Man as Douza, who (as a French Author has observ'd) could no longer endure the Fire and Tempest of Lucan, when he read the* Taking of Troy; or that* little Essay of the War of Pharsalia, which he declar'd to love much better quam trecenta Cordubensis illius Pharsalicorum versuum Volumiua. The first Act of this Play has been ill corrected, four [Page] pages of it being printed twice over.

Antigone, the Thebane Princess her Tragedy, printed 8o. Lond. 1631. and dedicated to the most Worthily Honoured Endymion Porter Esquire. Our Author in the Contexture of this Tragedy has made use of the Antigone of Sophocles, and the Thebais of Seneca. The Reader may see besides Statius's Thebais, &c.

Cleopatra Queen of AEgypt her Tragedy, acted 1626. and printed 120. Lond. 1639. and dedicated to the Accomplish'd Sir Kenelme Digby. The Author has follow'd the Historians of those times, as Appian. de Bellis Civilibus lib. 5. Plutarch's Life of M. Anthony, Suetonius's Life of Augustus. Florus lib. 4. Dion, &c. He has borrow'd besides several other Embelishments, as Calimaccus's Epigram upon Timon the Misanthropist; an Account of the Ancient Lybian Psylls, so famous for curing the Venemous Bites of Serpents, by sucking the wound, related by Pliny, lib. 7. c. 2. and by Solinus, &c.

Heir, a Comedy acted by the Company of Revels 1620. printed 4o. Lond. 1633. This Comedy is extreamly commended by the already mention'd Mr. Thomas Carew, in a Copy of Verses affix'd to the Play; where amongst other Commendations bestow'd on the Stile, and the Natural working up of the Passions, he says thus of the Oeconomy of the Play:

The whole Plot doth alike it self disclose,

Thro' the Five Acts, as doth a Lock, that goes

With Letters, for till every one be known,

The Lock's as fast, as if you had found none.

[Page] I believe there are few Persons of Judgment that are true lovers of Innocent and inoffensive Comedy, but will allow this to be an Excellent Play.

Old Couple, a Comedy printed 4o. Lond. 1651. This Play is not much short of the former, and is chiefly design'd an Antidote against Covetousness.

Mr. Philips x and Mr. Winstanley y ascribe two other Plays to our Author, viz. The Old Wives Tale, and Orlando Furioso; the first of these I never saw, but for the latter, I assure my Reader, it was printed long before our Author was born, at least before he was able to guide a Pen, much less to write a Play, it being printed 4o. Lond. 1594.

But tho' he has no more Plays, he has other pieces extant in print; as the Translation of Lucan's Pharsalia 8o. Lond. 1635. which Poem our Author has continued down to the Death of Julius Caesar, in VII Books both in Latin and English Verse. I have already given you Douza's Character of this Poem, to which I might add that of Scaliger, Rapin, and other Criticks; but this being somewhat forreign to my present Subject, I shall wave it, and content my self with acquainting my Reader, That however pompous and splendid the French Version of Brebeuf has appear'd in France, our English Translation is little inferiour to it; and is extreamly commended by our Famous Johnson, in a Copy of Verses prefix'd before the Book well worth the Reader's perusal. He translated besides [Page] Virgil's Georgicks, printed with Annotations 8o. Lond. 1622. Mr. Philips mentions a History of Henry the Second, writ by him in Verse, and a History of the late Civil Wars of England in Prose; neither of which have I seen, and therefore pretend not to determine whether he were a partial Writer or no. Only give me leave to conclude in the Words of Dr. Fuller; ‘That if he were a byassed and partial Writer, yet that he lyeth buried near a good and true Historian indeed, viz. Mr. Cambden, in the West-side of the North-Isle of Westminster Abbey, dying suddenly in the Night, A.D. 1652. in the 55th Year of his Age.’ I know not how Mr. Winstanley happened to omit the Transcript of so memorable a passage, since he has elsewhere borrow'd so largely from this Worthy Author, as well as Mr. Philips, without either of them acknowledging the least obligation to him.

Robert MEAD.

An Author that liv'd in the Reigns of King James, and King Charles the First, and was sometime a Member of Christ-Church Colledge in Oxford, as I learn from the Title-page of a Play, call'd

Combat of Love and Friendship, a Comedy, formerly presented by the Gentlemen of Christ-Church in Oxford, and printed 4o. Lond. 1654. This Play was published after the Authors decease, at that time when the Muses were banish'd the Theatre. I wish I were able to give [Page] the Reader a better Account of our Author: But being destitute of other Information, this Gentleman having wholly escaped the Industry of Mr. Wood, I must be beholding for what I have borrow'd, to the Stationer's Epistle to the Reader; where he tells us, ‘That he had been a Person, whose Eminent and General Abilities, have left him a Character precious and honourable to our Nation; and therefore the Reader is not to look upon this Composition, but as at a stoop, when his youth was willing to descend from his then higher Contemplation. He tells us, that he could say more in his Honour, but that he was so great a lover of Humility in his Life, that he was almost afraid, being dead, he might be displeas'd to hear his own worth remembred.’

Mr. Philips thro' his old Mistake ascribes to him The Costly Whore; tho' I am almost confident the Play is not of his Writing: and that those that believe it so, have taken up their Opinion upon Conjecture.

Matthew MEDBOURN.

An Actor belonging to the Duke's Theatre, in the Reign of King Charles the Second. One, whose good parts deserv'd a better fate than to die in Prison, as he did in the time of the late Popish-Plot; thro' a too forward and indiscreet Zeal for a mistaken Religion. Ten Years before the Discovery of that Conspiracy, our Author publisht a Play, call'd

[Page] Tartuffe, or The French Puritan, acted at the Theatre-Royal, written in French by Molliere, and rendred into English, with much Addition and Advantage; printed 4o. Lond. 1670. and dedicated to the Right Honourable Henry, Lord Howard of Norfolk. This Play was recceiv'd with universal Applause on our English Stage, if we believe our Author, and is accounted by him the Master-piece of Molliere's Productions, or rather that of all French Comedy. I presume the Translator, (who was a great Bigot) esteem'd this Play the more, it being design'd as a Satyr against the French Hugonots, tho' at the same time it must be acknowledg'd, that the French Author has made an Admirable Defence for the Character of his Protagonist Tartuffe, in his Preface, to which I refer the Reader who is vers'd in the French Tongue.

Thomas MERITON.

A Gentleman that liv'd in the Reign of King Charles the Second, and is certainly the meanest Dramatick Writer that ever England produc'd. I may with Justice apply to his Stupidity what Menedemus the Eretriack Philosopher, said of Perseus's wickedness: He is indeed a Poet; but of all Men that are, were, or ever shall be, the dullest. Never any Man's Stile was more Bombast, so that undoubtedly he deserv'd to have been under Ben. Johnson's Hands; and had he liv'd in that Age, had without question underwent the trouble of a Vomit, as well as Crispinus in Poetaster, till he had (to borrow [Page] One of his losty Expressions) disgorg'd the obdure Faculty of his Sence. I pretend not to that Quickness of Apprehension, as to understand either of his Plays, and therefore the Reader will not expect that I should give any further Account of them, than that they are two in number, viz.

Love and War, a Tragedy, printed 4o. Lond. 1658. and dedicated to the Truly Noble, Judicious Gentleman, and his most Esteemed Brother, Mr. George Meriton. I am apt to believe these two Brothers acted the Counterpart of those German Brethren that dwelt at Rome, the Orator and the Rhetorician mentioned by Horace z, whose business it was,

— ut alter

Alterius sermone meros audiret honores:

Gracchus ut hic illi foret, hic ut Mutius illi.

Wandring Lover, a Tragi-comedy acted several times privately at sundry places by the Author and his Friends with great Applause; printed 4o. Lond. 1658. and dedicated to the Ingenious, Judicious, and much Honoured Gentleman, Francis Wright Esquire. This Author's Works being very scarce, and most of the Impression bought up by Chandlers and Grocers, I may possibly oblige my Reader, by giving him a Taste of his Stile, and justify my self from the Imputation of Scandal. I shall therefore transcribe part of his Epistle, which runs thus:

[Page]To the Ingenious, Judicious, and much Honoured Gentleman, Francis Wright Esq

Sir: My Intentions wandring upon the limits of vain Cogitations, was at the last arrived at the propicious brinks of an Anglicis of Performance; where seeing Diana and Venus in a Martial combat, and such rare Atchievements performed by two such Ininimate Goddesses, did lend to the Aspect of their Angelical Eyes, my self to be the sole Spectator of their foregoing Valour: where then their purpose was to choose me their Arbitrator; the which I perceiving, did with a mild Complection (knowing my self impotent) relent backwards, thinking thereby to lose less Credit, and gain more Honour, to set Pen to Paper, and to relate some certain and harmless Dialogues, that while I was present, betwixt them past, which is This Poem; &c.

By this time I suppose my Reader is sufficiently tired, and will take my Word that the Play is of the same piece, without giving himself the trouble to disprove me: and I assure him that His Love and War is yet more swelling and unintelligible, than this Play.

He tells his Patron above-mentioned, That certain it is he writ two Books of the same Nature, viz. The several Affairs, a Comedy, and The Chast Virgin, a Romance; but they were his Pocket-Companions, and but shewn to some private Friends. Happy certainly were those Men, who were not reckoned in the number of his Friends; since they were obliged to hear such an Author's ampullous Fustian, which like [Page] an empty Cask, makes a great Sound, but yields at best nothing but a few Lees. Tho' to all Men generally such Authors are troublesome, if not odious, and to be shunn'd by them, as Horace saysa:

Indoctum, doctum (que) sugat recitator acerbus.

Quem vero arripuit, tenet, occidit (que) legendo,

Non missura cutem nisi plena cruoris hirudo.

Thomas MIDDLETON.

An Author of good Esteem in the Reign of King Charles the First. He was Contemporary with those Famous Poets Johnson, Fletcher, Massinger and Rowley, in whose Friendship he had a large Share; and tho' he came short of the two former in parts, yet like the Ivy by the Assistance of the Oak, (being joyn'd with them in several Plays) he clim'd up to some considerable height of Reputation. He joyn'd with Fletcher and Johnson, in a Play called The Widow, of which we have already spoken, p. 298. in the Account of Johnson; and certainly most Men will allow, That he that was thought fit to be receiv'd into a Triumvirate, by two such Great Men, was no common Poet. He club'd with Massinger and Rowley in Writing the Old Law, as before I have remarked already: See pag. 352. He was likewise assisted by Rowley in three Plays, of which we shall presently give an Account; and in those Plays which he writ alone, there are several [Page] Comedies; as Michaelmass-Term, Mayor of Quinborough, &c. which speak him a Dramatick Poet of the Second Rank. The first Play we are to begin with, is call'd

Any thing for a Quiet Life, a Comedy formerly acted at the Black-fryars, by his late Majesties Servants; printed 4o. Lond. 1662. This Play being One of those Manuscripts published by Kirkman, I suppose was in Esteem on the Stage, before the Breaking out of the Civil Wars.

Blurt Mr. Constable, or The Spaniard's Night-walk; a Comedy sundry times privately acted by the Children of Paul's, printed Lond. 1602. There is no Name affix`d to this Play, and several others, which are ascribed to our Author by Mr. Kirkman; as The Phoenix, Game at Chess, and The Family of Love; but knowing his Acquaintance with Plays to have been very considerable, I have plac'd them to their Reputed Author.

Changling, a Tragedy, acted with great applause, at the Private-House in Drury-Lane, and Salisbury-Court; printed 4o. Lond. 1653. in this Play our Author was assisted by Mr. Rowley. The Foundation of the Play may be found in Reynold's God's Revenge against Murther. See the Story of Alsemero, and Beatrice Joanna, Book 1. Hist. 4.

Chast Maid in Cheap-side, a pleasant conceited Comedy, often acted at the Swan on the Bank-side, by the Lady Elizabeth her Servants; printed 4o. Lond. 1620.

Fair Quarrel, a Comedy, printed 4o. Lond. [Page] 1622. and dedicated to the Nobly dispos'd, and Faithful-breasted Robert Grey Esq one of the Grooms of his Highnesses Chamber. The Plot of Fitz-allen, Russel and Jane, is founded, as I suppose, on some Italian Novel, and may be read in English in the Complaisant Companion, octavo p. 280. That part of the Physitian tempting Jane, and then accusing her, is founded on a Novel of Cynthio Giraldi: See Dec. 4. Nov. 5. In this Play Mr. Rowley joyn'd with our Author.

Family of Love, a Comedy acted by the Children of his Majesties Revels; printed 4o. Lond. 1608. This Play is mentioned by Sir Thomas Bornwel, in The Lady of Pleasure, Act 1. Sc. 1.

Game at Chess; sundry times acted at the Globe on the Bank-side, printed 4o. Lond. 16— This Play is consonant to the Title, where the Game is play'd between the Church of England, and that of Rome; Ignatius Loyola being Spectator, the former in the End, gaining the Victory.

Inner-Temple Masque, or Masque of Heroes; presented (as an Entertainment for many worthy Ladies) by Gentlemen of the same Ancient and Noble House, printed 4o. Lond. 1640. This Play was writ twenty Years before it was printed; and yet so well esteem'd by Mrs. Behn, that she has taken part of it into the City Heiress.

Mayor of Quinborough, a Comedy often acted with much applause, by his Majesties Servants, printed 4o. Lond. 1661. In this Play are several Dumb Shews, explained by Rainulph Monk of Chester, and the Author has chiefly followed [Page] his Polychronicon: See besides Stow, Speed, Du Chesne, &c. in the Reign of Vortiger.

Michaelinass-Term, a Comedy, printed in quarto, but where or when, I know not, thro' the imperfection of my Copy.

More Dissemblers besides Women, a Comedy printed 8o. Lond. 1657.

No Wit, no Help, like a Woman's, a Comedy printed 8o. Lond. 1657.

Phoenix, a Tragi-comedy, sundry times acted by the Children of Paul's, and presented before his Majesty; printed 4o. Lond. 1607.

Roaring Girl, a Comedy which I never saw.

Spanish Gypsie, a Tragi-comedy acted (with great applause) at the Private-House in Drury-Lane, and Salisbury-Court, written by our Author and Mr. Rowley; printed 4o. Lond. 1661. The Story of Roderigo and Clara, has a near resemblance with (if it be not borrow'd from) a Spanish Novel, writ by Mignel de Cervantes, call'd The Force of Blood.

Trick to catch the Old One, a Comedy often in Action, both at Paul's, the Black-fryars, and before their Majesties; printed 4o. Lond. 1616. This is an Excellent Old Play.

Triumphs of Love and Antiquity, an Honourable Solemnity performed thro' the City, at the Confirmation and Establishment of the Right Honourable, Sir William Cockaine Kt. in the Office of His Majesties Lieutenant, the Lord Mayor of the Famous City of London: Taking beginning in the Morning at his Lordship's Going, and perfecting it self after his Return from Receiving the Oath of Mayoralty at [Page] Westminster, on the Morrow after Simon and Jude's Day, Octob. 29 1619. printed 4o. Lond. and dedicated to the Honour of him to whom the Noble Fraternity of Skinners, his Worthy Brothers have dedicated their Loves in Costly Triumphs, The Right Honourable Sir William Cockaine Knight, Lord Mayor of this Renowned City, and Lord General of his Military Forces. This Piece consists only of Speeches, addrest to his Lordship, at his Cavalcade thro' the City, and I think no ways deserv'd either the Title of a Masque, under which Species it has been hitherto rank'd; nor so pompous a Title, as the Author has prefix'd.

Women beware Women, a Tragedy, printed 8o. Lond. 1657. This Play with two others, viz. More Dissemblers besides Women, and, No Wit like a Woman's, are all in one Volume. The Foundation of this Play, is borrow'd from a Romance called Hyppolito and Isabella, octavo. This Drama, if we give Credit to Mr. Richards, a Poet of that Age, was acted with extraordinary applause, as he says in his Verses on that Play:

I that have see it, can say, having just cause,

Ne're Tragedy came off with more Applause.

World lost at Tennis, a Masque divers times presented to the Contentment of many Noble and Worthy Spectators, by the Princes Servants; printed 4o. Lond. 1620. and dedicated to the truly Noble Charles, Lord Howard, Baron of Effingham, and to his Virtuous and Worthy the Right Honourable Mary, Lady Effingham, [Page] Eldest Daughter of the truly Generous and Judicious Sir W. Cockain Knight, Ld. Mayor of the City of London, and Lord General of the Military Forces.

Your Five Gallants, a Comedy often in Action at the Black-fryars, and imprinted at London 4o. This Play has no Date, and I believe was One of the first that our Author publishd.

John MILTON.

An Author that liv'd in the Reign of King Charles the Martyr. Had his Principles been as good as his Parts, he had been an Excellent Person; but his demerits towards his Sovereign, has very much sullied his Reputation. He has writ several Pieces both in Verse and Prose: and amongst others two Dramas, of which we shall first give an Account, viz.

Samson Agonistes, a Dramatick Poem; printed 8o. Lond. 1680. Our Author has endeavour'd to imitate the Tragedy of the Ancient Greek Poets; 'tis writ in Blank Verse of ten Syllables, which the Author prefers to Rime. His Reasons are too long to be transcribed; but those who have the Curiosity, may read them at the Entrance of his Paradice lost. The Chorus is introduced after the Greek Manner, and (says my Author) ‘The Measure of its Verses is of all sorts, called by the Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, Antistrophe, or Epod, which were a kind of Stanza's fram'd only for the Musick, than used with the Chorus that sung; [Page] not essential to the Poem, and therefore not material: or being divided into Stanza's, or Pauses, they may be called Allaeostropha. Division into Act and Scene, referring chiefly to the Stage, (to which this Work never was intended) is here omitted.’ In this the Author seems to follow Sophocles, whose Plays are not divided into Acts. I take this to be an Excellent Piece; and as an Argument of its Excellency, I have before taken Notice, that Mr. Dryden has transferred several Thoughts to his Aurengzebe. The Foundation of the History is in Holy Writ: See Judges Ch. 13, &c. Josephus Antiq. l. 5. Torniel, Salian, &c.

Masque, presented at Ludlow Castle 1634. on Michaelmass Night, before the Right Honourable John, Earl of Bridgwater, Viscount Brackley, Ld. President of Wales, and One of his Majesties most Honourable Privy Council; printed 4o. Lond. 1637. and dedicated by Mr. Henry Laws the Publisher, to the Right Honourable John, Lord Viscount Brackley, Son and Heir Apparent to the Earl of Bridgwater, &c. The Publisher acquaints his Patron, that ‘Altho not openly acknowledged by the Author, yet it is a Legitimate Off-spring; so lovely, and so much desired, that the often copying of it hath tir'd his Pen, to give his several Friends Satisfaction, and brought him to a Necessity of producing it to the publick view. The principal Persons of this Masque, were the Lord Brackley, Mr. Thomas Egerton, the Lady Alice Egerton.’

Our Author's other Pieces in Verse, are his [Page] Paradice lost, an Heroick Poem, in twelve Books. I know not when it was first printed, but there came out not long since a very fair Edition in Fol. with Sculptures, printed Lond. 1689. His Paradice regain'd, a Poem in four Books, is fitted likewise to be bound with it. He publisht some other Poems in Latin and English, printed 8o. Lond. 1645. Nor was he less Famous for History than Poetry; witness his History of Brittain, from the first Traditional Beginning of the Norman Conquest; printed 4o. Lond. 1670. He writ several other Pieces, as a Latin Piece called, Pro populo Anglicano, Defensio contra Salmasium, 120. Lond. 1652. The Doctrine and Discipline of Divorce, in two Books, printed 4o. Lond. 1644 this being answered by an Anonymous Writer, was reply'd to by our Author, in a Book which he called Collasterion, printed 4o. Lond. 1645. He writ besides a Piece called Tetrachordon, or An Exposition on the Four Chief places of Scripture, concerning Marriage and Divorce; printed Lond. 1645. Sr. Robert Filmer (if I mistake not) writ against him, in his Observations concerning the Original of Government, printed 4o. Lond. 1652.

Walter MOUNTAGUE, Esq

A Gentleman, who liv'd at Court in the Reign of King Charles the First, and during the times of Peace, before the Muses were disturb'd by the Civil Wars, writ a Play, call'd

Shepheard's Oracle, a Pastoral, privately acted before King Charles, by the Queen's Majesty and [Page] Ladies of Honour, printed octavo Lond. 1649. I shall not be so presumptuous to criticise on a Play, which has been made Sacred by the Protection of Majesty it self: besides I am deterr'd from Criticism, by the Stationers Friend's Advice, in his Verses in Commendation of the Play:

— at least: good Manners sayes,

They first should understand it e're dispraise.

William MOUNTFORT.

One who from an Actor, sets up for an Author; and has attempted both Tragedy and Comedy, with what success, I leave to those who have seen his Plays to determine. Had I been of the number of his Friends, I should have endeavour'd to have perswaded him still to act Sir Courtly Nice, in bestowing only Garniture on a Play (as he calls it) as a Song or a Prologue, and let alone sine Language, as belonging only to Pedants and poor Fellows, that live by their Wits. He has publisht two Plays, viz.

Injur'd Lovers, or The Ambitious Father, a Tragedy, acted by their Majesties Servants at the Theatre-Royal; printed 4o. London 1688. and dedicated to the Right Honourable James Earl of Arran, Son to his Grace the Duke of Hamilton. There are some Surlyes, who think that in this Play, Sir Courtly writ for his Diversion, but never regarded Wit.

Successful Strangers, a Tragi-comedy, acted [Page] by their Majesties servants, at the Theatre-Royal; printed 4o. Lond. 1690. and dedicated to the Right Honourable Thomas Wharton, Comptroller of his Majesty's Houshold. This Play far exceeds the Other: tho' the Author as well as his predecessors, is beholding to others for part of his Plot; he having made use of Scarron's Novel, call'd The Rival Brothers, in working up the Catastrophe of his Comedy.

I have seen some Copies of Verses in Manuscript writ by our Author, but not being in print, that I know of, I forbear to mention them.

N.

Thomas NABBES.

A Writer in the Reign of Charles the First, who we may reckon amongst Poets of the Third-rate; and One who was pretty much respected by the Poets of those Times; Mr. Richard Brome, and Mr. Robert Chamberlain, (before mention'd) having publickly profest themselves his Friends; and Sir John Suckling being his Patron.

He has Seven Plays and Masques extant, besides other Poems: of which we may say, That if they are not to be compar'd with some Dramatick Pieces of this Age, at least wise what our Author has published is His own, and not borrow'd from others; and in that Respect deserves Pardon, if not Applause from the Candid [Page] Reader. This he averrs in his Prologue to Covent Garden, and which I believe may be urged for the rest of his Labours; viz.

He justifies that 'tis no borrow'd Strain,

From the Invention of another's Brain.

Nor did he steal the Fancy. 'Tis the same forth

He first intended by the Proper Name.

'Twas not a Toyl of Years; few Weeks brought

This Rugged Issue, might have been more worth

If he had lick'd it more. Nor doth he raise

From th' Imitation of Authentick Plays

Matter or Words to height: nor bundle up

Conceits at Taverns, where the Wits do sup.

His Muse is solitary, and alone

Doth practice her low Speculation, &c.

The Reader therefore is to expect little more from me, than a bare Account of the Titles of his Works, as followss.

Bride, a Comedy acted in the Year 1638. at the Private-House in Drury-Lane, by their Majesties Servants; printed 4o. Lond. 1640. and dedicated to the Generality of his Friends, Gentlemen of the several Honourable Houses of the Inns of Court.

Covent Garden, a pleasant Comedy, acted in the Year 1632. by the Queen's Majesty's Servants; and printed 4o. Lond. 1638. and dedicated to the Right Worthy of his Honour, Sir John Suckling.

Hannibal and Scipio, an Historical Tragedy, acted in the Year 1635. by the Queen's Majesties Servants at their Private-House in Drury-Lane; printed Lond. 1637. The Play is addrest [Page] in Verse by the Author, to the Ghosts of Hannibal and Scipio, with an Answer printed in their Names, directed to our Author. It was acted before Women came on the Stage; the part of Sophonisba being play'd by one Ezekiel Fenne. For the Plot, the Title-page speaks the Foundation to be History: see the Life of of Hannibal, writ by Cornelius Nepos; that of Scipio by Plutarch: see besides Livy, Florus, and other Authors mention'd p. 326.

Microcosmus, a Moral Masque, presented with general liking at the Private-House in Salisbury-Court, and here set down according to the Intention of the Author; printed 4o. Lond. 1637. and dedicated to the Service and Delight of all Truly Noble, Generous, and Honest Spirits. This Masque is introduc'd by two Copies, One of which was writ by Mr. Richard Brome.

Spring's Glory, vindicating Love by Temperance, against the Tenet, Sine Cerere & Baccho friget Venus; Moralized in a Masque with other Poems, Epigrams, Elegies, and Epithalamiums of the Author's; printed 4o. Lond. 1638. and dedicated to Peter Balle Esq At the end of these Poems is a piece call'd, A Presentation, intended for the Prince his Highness's Birth-day, the 29. of May 1638. annually celebrated: this in former Catalogues was stiled an Interlude. These Masques and Poems are commended by two Copies, one of which was penned by Mr. Robert Chamberlain.

Tottenham-Court, a pleasant Comedy, acted in the Year 1637. at the Private-House in Salisbury-Court; [Page] printed 4o. Lond. 1638. and dedicated to the Worshipful William Mills Esq

Unfortunate Lover, a Tragedy never acted but set down according to the Intention of the Author; printed 4o. Lond. 1640. and dedicated to the Right Worshipful Richard Brathwaite Esq This Play is attended by three Copies written in its Commendation, by several of our Author's Friends, and a Proeme in Verse by the Author, wherein he justifies it to be writ according to the Rules of Art.

A Constant Scene; the buisiness it intends,

The two Hours of Time of Action comprehends.

Mr. Philips b and Mr. Winstanley c, according to their old Custom, have ascrib'd two other Anonymous Plays to our Author, The Woman-Hater arraigned, a Comedy; and Charles the First, a Tragedy: the Reason of their Mistake, has been already given p. 13. and more at large, in the Preface to my former Catalogue.

Thomas NASH.

A Gentleman that liv'd about the time with the foremention'd Author, and was sometime educated in the University of Cambridge. His Genius was much addicted to Dramatick Poetry and Satyr; and he writ some things in Prose; all which gain'd him the Reputation of a Sharp Wit. In an Old Copy of Verses, I find His Character thus drawn.

[Page]

And surely Nash, tho' be a Proser were,

A Branch of Laurel yet deserves to bear.

Sharply Satyrick was he; and that way

He went, since that his being, to this day,

Few have attempted; and I surely think,

Those Words shall hardly be set down by Ink

Shall scorch, and blast, so as his could, when he

Would inflict Vengeance.—

As to his Plays, he has publisht only two that I have heard of, viz. Dido Queen of Carthage, in which he joyn'd with Marloe; and, Summer's last Will and Testament, a Comedy: I could never procure a Sight of either of these; but as to that Play call'd See me and see me not, ascribed to him by Mr. Philips and Mr. Winstanley, I have it by me, and have plac'd it to the right Author, Mr. Dawbridgecourt Belchier; see page 24.

He writ several other Pieces; some Satyrical, as Pierce Penniless his Supplication to the Devil; Have with ye to Safron-Walden; Four Letters Confuted: A Poem called The White-Herring and the Red; and another Piece in Prose, which I take to be the same Thomas Nash, called A Fourfold Way to a Happy Life, in a Dialogue between a Countryman, Citizen, Divine, and Lawyer, printed 4o. Lond. 1633.

Alexander NEVILE.

An Author in the Reign of Queen Elizabeth, that early addicted himself to Poetry, and was one of those that the Eminent Jasper Heywood made choice of to joyn with him and others, [Page] in the Translation of Seneca. Our Author undertook the Task, and at sixteen Years of Age he translated

Oedipus, a Tragedy, which he Englished in the Year 1560. and was printed with the rest 4o. Lond. 1581. and more immediately dedicated by the Author, To the Right Honourable Mr. Dr. Wotton, One of the Queens Majesties Privy Council. Many were the Authors of Antiquity that writ on this Subject; tho' but two Plays writ by Sophocles, viz. [...], and [...], have descended to our Times; from the which Seneca is said to have borrow'd part of this Play. Our Translator acknowledges in his Epistle to his Patron and God-Father, ‘That he has not been precise in following the Author word for word; but sometimes by Addition, sometimes by Substraction, to use the aptest Phrases, in giving the Sense, that he could invent.’

There are other Pieces which I suppose were writ by our Author, published in Latin; as Oratio in Obitium Sydnaei, printed 4o. Lond. 1587. De Furoribus Norfolciensium Ketto Duce, printed 4o. 1575. Norvicus, ibid. all which being printed about the time that he lived, make me imagine them to be his.

Robert NEVILE.

An Author that liv'd in the Reign of King Charles the First, and in his younger Years was educated in the University of Cambridge, where he became a fellow of King's Colledge. I know [Page] nothing that he has publisht, but a single Play, call'd

Poor Scholar, a Comedy, printed 4o. Lond. 1662. This Play was (as I suppose) writ some Years before, it being printed for Mr. Kirkman. I know not whether ever it was acted, but I may presume to say 'tis no contemptible Play for Plot and Language. It is commended for an excellent one, by three Copies of Verses prefix'd to it, writ by his Friends; One of which says thus in its praise:

Bees from a bruised Ox, says Maro, breed,

But thou drawest Honey from a tatter'd weed.

Seeing thy Wit's so pure, thy Phrase so clean,

Thy Sense so weighty, that each Line's a Scene;

We'll change the Songd, and cry as truly too,

Whither may not This thy Poor Scholar go?

This fault the Best-nos'd Criticks only smell,

That thy Poor Scholar is attir'd too well.

Ben's Auditors were once in such a mood,

That he was forc'd to swear his Play was good:

Thy Play than his, doth far more currant go,

For without Swearing, we'll believe thine so.

William, Duke of NEWCASTLE.

I am now arriv'd at a Nobleman, whose Heroick Actions, are too Copious and Illustrious for me to attempt the Description of; and are a fitter Subject for the Pen of a Modern Plutarch, if any such were to be found, than for mine: I shall leave therefore the Character of [Page] this Valiant Heroe, Careful Tutor, Wise Statesman, Exact Courtier, and Loyal Subject, to be describ'd by some Illustrious Historian; or else refer my Reader to his Life, already writ in Latin and English, by the Hand of his Incomparable Dutchess: who during his Life-time, describ'd all his Glorious Actions, in a Stile so Noble and Masculine, that she seems to have even antedated his Apotheosis. But tho' I dare not pretend to describe his Heroick Atchievements, or view him in the Field, as a General; yet I shall presume to look upon him in his Retirements, and consider him as a Poet, and an Author, it being my immediate Province.

To speak first of his Acquaintance with the Muses, and his affable Deportment to all their Votaries. No Person since the Time of Augustus better understood Dramatick Poetry, nor more generously encourag'd Poets; so that we may truly call him our English Mecaenas. He had a more particular kindness for that Great Matter of Dramatick Poesy, the Excellent Johnson; and 'twas from him that he attain'd to a perfect Knowledge of what was to be accounted True Humour in Comedy. How well he has copy'd his Master, I leave to the Criticks: but I am sure our late, as well as our present Laureat, have powerful Reasons to defend his Memory. He has writ four Comedies, which have always been acted with applause; viz.

Country Captain, a Comedy lately presented by his Majesties Servants at the Black-fryars; 8o. In's Grave van Hag. Ant. 1649. I believe this Play was writ during his Exile.

[Page] Humorous Lovers, a Comedy acted by his Royal Highness's Servants; printed 4o. Lond. 1677. This Play equals most Comedies of this Age.

Triumphant Widow, or The Medley of Humours, a Comedy acted by his Royal Highness's Servants; printed 4o. Lond. 1677. This was thought so excellent a Play by our present Laureat, that he has transcrib'd a great part of it in his Bury-Fair.

Variety, a Comedy presented by his Majesties Servants at the Black-fryars; printed 8o. Lond. 1649. This Play, and Country Captain, are always bound together: the Duke's Name is not prefix'd to them, but I am confident they are his, from several Testimonies; since Mr. Alexander Brome writ a Copy in praise of this Play, directed to his Grace, and printed before the Comedy, call'd Covent Garden weeded: and Mr. Leigh in a Copy directed to Mr. Mosely (the publisher of Mr. Carthwright's Works) in reckoning what Poetical Treatises he has presented the Publick with, names these two Plays, in the following Couplet:

Then fam'd Newcastle's choice Variety,

With his Brave Captain held up Poetry.

We have many other Pieces writ by this Ingenious Nobleman, scattered up and down in the Poems of his Dutchess: all which seem to confirm the Character given by Mr. Shadwell; That he was the greatest Master of Wit, the most exact Observer of Mankind, and the most acurate Judge of Humour, that ever he knew.

[Page]Besides what his Grace has writ in Dramatick Poetry, he published during his Honourable Exile at Antwerp, the most Magnificent, and withall the Best Book of Horsmanship, that was ever yet extant. How eminent his skill was in that Noble Art of Dressing Horses in the Manage, is well known not only to our Countrymen but to all Nations of Europe: Persons of all Countries, and those of the best Quality crouding to his Manage at Antwerp, to see him ride. Insomuch that Signior del Campo, One of the most knowing Riders of his Time, said to the Duke (upon his Dismounting) as it were in an Extasie, Il faut tirer la Planche; The Bridge must be drawn up: meaning that no Rider must presume to come in Horsemanship after him M. De Soleil, (one of the best Writers that I have met with amongst the French) when he enlarged his Le Parfaict Mareschal, borrowed the Art of Breeding from the Duke's Book, as he owns in his Avis au Lecteur; and stiles him Un des plus accomplis Cavaliers de nôtre temps. But having nam'd this Forreigner's borrowing from his Grace, I should justly deserve to be branded with Ingratitude, should I not own, That 'tis to the Work of this Great Man, that I am indebted for several Notions borrow'd from his Grace, in a little Essay of Horsemanship, printed 8o. Oxon. 1685. Nay, further, I think it no small Glory that I am the only Author that I know of, who has quoted him in English. He has written two Books of Horsemanship; the first in French, called La Methode nouvelle de Dresser les Chevaux,[Page]avec Figures, Fol. Ant. 1658. The other in English, stiled A New Method and Extraordinary Invention to dress Horses, and work them according to Nature, as also to perfect Nature by the Subtlety of Art, Fol. Lond. 1667. The first Book was writ by the Duke in English, and made French at his command, by a Wallon; and is extraordinary scarce and dear. The latter (as the Duke informs his Reader) ‘Is neither a Translation of the first, nor an absolutely necessary Addition to it, and may be of use without the other, as the other hath been hitherto, and still is without this; but both together will questionless do best.’

I beg my Reader's Pardon, if I have dwelt upon this Subject, to the tryal of his Patience: but I have so great a Value for the Art it self, and such a Respect for the Memory of the best of Horsemen, that I cannot refrain from trespassing yet further, by transcribing an Epigram writ to the Duke, on this Subject; but it being the production of the Immortal Johnson e I hope that alone will attone for the Digression.

An Epigram to William Duke of Newcastle.

When first, my Lord, I saw you back your Horse,

Provoke his Mettle, and command his force

To all the uses of the Field, and Race,

Methought I read the ancient Art of Thrace,

And saw a Centaure past those tales of Greece,

So seem'd your Horse, and you both of a piece!

[Page]You shew'd like Perseus, upon Pegasus;

Or Castor mounted on his Cyllarus:

Or what we hear our home-born Legend tell

Of bold Sir Bevis, and his Arundel:

Nay, so your Seat his Beauties did endorse,

As I began to wish my self a Horse:

And surely had I but your Stables seen

Before: I think my wish absolv'd had been.

For never saw I yet the Muses dwell,

Nor any of their Houshold, half so well.

So well! as when I saw the Floor, and Room,

I look'd for Hercules to be the Groom:

And cry'd, Away with the Caesarian Breed,

At these immortal Mangers Virgil fed.

Margaret Dutchess of NEWCASTLE

A Lady worthy the Mention and Esteem of all Lovers of Poetry and Learning. One, who was a fit Consort for so Great a Wit, as the Duke of Newcastle. Her soul sympathising with his in all things, especially in Dramatick Poetry; to which she had a more than ordinary propensity. She has publisht six and twenty Plays, besides several loose Scenes; nineteen of which are bound, and printed in one Volume in Fol. 1662. the others in Folio, Lond. 1668. under the Title of Plays never before printed.

I shall not presume to pass my Judgment on the Writings of this Admirable Dutchess; but rather imitate the Carriage of Julius Scalinger, to the Roman Sulpitia; by concluding [Page] with himf, Igitur ut tàm laudibilis Heroinae Ratio habeatur, non ausim objicere ei judicii severitatem. I know there are some that have but a mean Opinion of her Plays; but if it be consider'd that both the Language and Plots of them are all her own: I think she ought with Justice to be preferr'd to others of her Sex, which have built their Fame on other People's Foundations: sure I am, that whoever will consider well the several Epistles before her Books, and the General Prologue to all her Plays, if he have any spark of Generosity, or Good Breeding, will be favourable in his Censure. As a proof of my Assertion, it may be proper in this place, before I give an Account of her Plays, to transcribe part of that general Prologue, the whole being too long to be here inserted.

But Noble Readers, do not think my Plays

Are such as have been writ in former Days;

As Johnson, Shakespear, Beaumont, Fletcher

writ;

Mine want their Learning, Reading, Language, Wit;

The Latin Phrases I could never tell,

But Johnson could, which made him write so well.

Greek, Latin Poets, I could never read,

Nor their Historians, but our English Speed:

I could not steal their Wit, nor Plots out take;

All my Plays Plots, my own poor Brain did

make;

From Plutarch's Story, I nere took a Plot,

Nor from Romances, nor from Don Quixot,

[Page]As others have, for to assist their Wit,

But I upon my own Foundation writ; &c.

I hasten now to give an Account of the Titles of her Plays, according to our accustomed order; viz.

Apocryphal Ladies, a Comedy. This Play consists of three and twenty Scenes, but is not divided into Acts.

Bell in Campo, a Tragedy in two parts: In the second Play, are several Copies of Verses writ by the Duke of Newcastle.

Blasing World, a Comedy: Tho' this be stil'd a Play in former Catalogues, yet it is but a Fragment; the Authress before she had finisht the second Act desisted, not finding her Genius tend to the prosecution of it.

Bridals, a Comedy.

Comical Hash, a Comedy: This Play has not been in any Catalogue before.

Convent of Pleasure, a Comedy.

Female Academy, a Comedy.

Lady Contemplation, a Comedy in two parts. Three Scenes in the first, and two in the second part, were writ by the Duke.

Loves Adventures, in two parts, a Comedy. The Song, and the Epithalamium, in the last Scene in the second part, was likewise writ by the Duke.

Matrimonial Trouble, in two parts; the second being a Tragedy, or as the Authress stiles it, a Tragi-comedy.

Natures three Daughters, Beauty, Love, and Wit; a Comedy, in two parts.

[Page] Presence, a Comedy. To this are added twenty nine single Scenes, which the Dutchess design'd to have inserted into this Play, but finding it would too much lengthen it, she printed them separately.

Publick Wooing, a Comedy, in which the Duke writ several of the Suitors Speeches; as that of the Souldier, the Countryman, the Spokesman for the Bashful Suitor; besides two other Scenes, and the two Songs at the End of the Comedy.

Religious, a Tragi-comedy.

Several Wits, a Comedy.

Sociable Companions, or The Female Wits, a Comedy.

Unnatural Tragedy. The Prologue and Epigue, were of the Duke's making. Act 2. Sc. 3. the Dutchess inveighs against Mr. Cambden's Brittannia: tho' whether with Justice, I leave it to the Determination of others.

Wits Cabal, a Comedy in two parts: His Grace writ the Epilogue to the first part.

Youth's Glory, and Death's Banquet; a Tragedy in two parts. Two Scenes with the Speeches at the first part, in commendation of Mile Sans pareille, were writ by his Grace; so were all the Songs and Verses in the second part.

The Blazing World, Bridal, Convent of Pleasure, Presence, and Sociable Companions, are printed together in one Volume; and the rest in another.

As to her other Works, I shall only mention the Titles, and the Dates when printed; and I [Page] shall begin with the Crown of her Labours, The Life of the Duke of Newcastle, in English, printed Folio Lond. 1667. and in Latin Folio Lond. 1668 Nature's Picture drawn by Fancy's Pencil to the Life, printed Fol. Lond. 1656. at the End of it she has writ her own Life. Philosophical Fancies, printed Fol. Lond. 1653. Philosophical and Physical Opinions, Fol. Lond. 1655. Philosophical Letters, Fol. Lond. 1664. Two Hundred and Eleven Sociable Letters, Fol. Lond. 1664. Orations, Fol. 1662. Poems, Fol. 1653.

Thomas NEWTON.

An Author that liv'd in the Reign of Que [...] Elizabeth; and joyn'd with Jasper Heywood, and Alexander Nevil above-named and others, in the Translation of Seneca's Tragedies. Tho' our Author translated but one Play, yet he published all the Ten; and dedicated them to Sir Thomas Henage, Treasurer of her Majesties Chamber. The Play which our Author has render'd into English, is intituled

Thebais, a Tragedy. This by some is believed not to be Seneca's; because in this Tragedy Jocasta appears alive, and in Oedipus she is kill'd: and it is not likely that he would w [...]ite two Drammas, that should so very much differ in the Catastrophe. But if it be Seneca's, 'tis the shortest of his Tragedies, and has no Chorus; and is said by One,* to be Perpetuum Canticum, nullis diverbiis incorruptum.

I know not how Mr. Philips g came to [Page]

[Page]

THOMAS OTWAY.

[Page] ascribe Tamburlaine the Great to this Author; for tho' Marloe's Name be not printed in the Title-page, yet both in Mr. Kirkman's and my former Catalogue printed 1680. his Name is prefix'd.

Thomas NUCE.

An Author of the same Time, and joyn'd in the same Design with the former. We are owing to his pains for the Version of One Play of Seneca's, called

Octavia, a Tragedy. This is the only Tragedy of the Ancients that I know of, that is founded on History so near the time of the Author. I shall not pretend to determine, whether it was writ by Seneca, or no: tho' Delrio and others deny it. For the History, see Suetonius in Vit. Claud. Nero. Tacitus, L.12. C.14. Dion, &c.

O.

Thomas OTWAY.

AN Author who was well known to most Persons of this Age, who are famous for Wit and Breeding. He was formerly (as I have heard) bred for some time in Christ-Church Colledge in Oxford. From thence he removed to London, where he spent some time in Dramatick Poetry; and by degrees writ himself into Reputation with the Court. His Genius in Comedy [Page] lay a little too much to Libertinism, but in Tragedy he made it his business for the most part to observe the Decorum of the Stage. He was a man of Excellent parts and daily improved in his Writing: but yet sometimes fell into plagiary as well as his Contemporaries, and made use of Shakespear, to the advantage of his Purse, at least, if not his Reputation.

He has publisht ten Dramatick Pieces, (if we may be allow'd to reckon his Farces as Distinct Plays) of which we shall give the Reader a particular Account, beginning with

Alcibiades, a Tragedy acted at the Duke's Theatre, printed 4o. Lond. 1675. and dedicated to the Right Honourable Charles, Earl of Middlesex. This Play is writ in Heroick Verse, and was the first Fruits of our Author's Muse: He has made Alcibiades, a Person of true Honour, chusing rather to loose his Life, than wrong his Defender King Agis, or his betrothed wife Timandra: whereas Plutarch gives him a different Character; telling us that in the King's Absence he abused his Bed, and got his Queen Timaea with Child, and that Timandra was not his Wife, but his Mistress: and Justin sayesh That he was informed of the design of the Lacedmoonian Princes against his Life, by the Queen of King Agis, with whom he had committed Adultery.

Atheist, or the Second part of The Souldiers Fortune, a Comedy acted at the Duke's Theatre, printed 4o. Lond. 1684. and dedicated to the Lord Elande, Eldest Son to the Marquess [Page] of Hallifax. The Plot between Beaugard and Portia, is founded on Scarron's Novel of The Invisible Mistress.

Cheats of Scapin, a Farce acted at the Duke's Theatre, printed 4o. Lond. 1677. 'Tis printed with Titus and Berenice, and dedicated to the Right Honourable John, Earl of Rochester. This Play is translated from a French Comedy of Molliere; though 'tis not printed amongst his Plays of the Amsterdam Edition in 5 Tomes, which I have by me; yet that it is his, I collect from M. Boileau's Art of Poetry: where speaking of Molliere in the third Canto, he says thus:

Estudiez la Cour, & connoissez la Ville;

L'une & l'autre est toûjours en Modeles fertile.

C'est par là que Moliere illustrant ses Ecrits,

Peut-estre de son Art eust remporté le prix;

Si moins ami du Peuple en ses doctes peintures,

Il n'eust point fait souvent grimacer ses Figures,

Quittè pour le Bouffon, l'agreable & le fin,

Et sans honte à Terence allié Tabarin.

Dans ce sac ridicule, où Scapin s'enveloppe,

Je ne reconnois point l' Auteur du Misanthrope.

But notwithstanding the Farce in this Comedy, Molliere has borrow'd the Design from Terence his Phormio, as may be visible to those that will compare them.

Caius Marius his History and Fall, a Tragedy acted at the Duke's Theatre, printed 4o. Lond. 1680. and dedicated to the Ld Viscount Faulkland. A great part of this Play is borrow'd from Shakespear's Romeo and Juliet; as the Character [Page] of Marius Junior, and Lavinia the Nurse, and Sulpitius: which last is carried on by our Author to the End of the Play: though Mr. Dryden says in his Postscript to Granada, ‘That Shakespear said himself, that he was forc'd to kill Mercurio in the 3d. Act, to prevent being kill'd by him.’ For the true History of Marius Senior, see Plutarch's Life of C. Marius; Lucan's Pharsalia, lib. 2. Florus lib. 3. c. 21.

Don Carlos Prince of Spain, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1679. and dedicated to his Royal Highness the Duke. This Play is writ in Heroick Verse, as well as Alcibiades; that being the first, this the second that ever he writ or thought of writing. For the History, consult the Spanish Chronicles, as Loüis de Mayerne; Turquet's Chronicle of Spain; Cabrera's Life of Philip the Second; Thuanus; Brantome, &c. Tho' I believe our Author chiefly follow'd the Novel of Don Carlos, translated from the French, and printed 8o. Lond. 1674. which is the most perfect Account of that Tragical Story that I have met with.

Friendship in Fashion, a Comedy acted at his Royal Highness the Duke's Theatre; printed 4o. Lond. 1678. and dedicated to the Right Honourable Charles, Earl of Dorset and Middlesex. This is a very diverting Play, and was acted with general applause.

Orphan, or The Unhappy Marriage; a Tragedy acted at his Royal Highness the Duke's Theatre; printed 4o. Lond. 1680. and dedicated to her Royal Highness the Dutchess. This is a very moving Tragedy, and is founded on [Page] a Novel, call'd English Adventures: See the History of Brandon, p. 17.

Souldiers Fortune, a Comedy acted by their Royal Highness's Servants, at the Duke's Theatre; printed 4o. Lond. 1681. This Play is dedicated to Mr. Bentley his Stationer: and is (as he says) a sort of Acquittance for the Money receiv'd for the Copy. There are several passages in this Play, that have been touch'd before by others: As for Instance, the Plot of My Lady Dunce, making her Husband the Agent in the Intrigue between Beaugard and her, to convey the Ring and Letter, is the Subject of other Plays writ before this; as The Fawne, and Flora's Vagaries: and the Original Story is in Boccace's Novels, Day 3. Nov. 3. Sir Jolly boulting out of his Closet, and surprising his Lady and Beaugard kissing, and her Deportment thereupon; is borrow'd from Scarron's Comical Romance, in the Story of Millamant, or The Rampant Lady, p. 227. tho' by the way, that Story is not in the French Copy, and I suppose was not writ by Scarron; but was rather translated from Les Amours des Dames Illustres de nôtre Siecle. The Behaviour of Bloody-bones, is like the Bravo, in the Antiquary; and that of Courtine at Silvia's Balcony, like Monsieur Thomas his Carriage to his Mistress, in that Play of Fletcher's so called.

Titus and Berenice, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1677. and dedicated with the Cheats of Scapin, as aforesaid. This Play is translated from the French of Monsieur Racine: it consists of three Acts, [Page] and is written in Heroick Verse. For the Story of Titus and Berenice, see Suetonius in his Life, Ch. 7. See besides Josephus, Dion, &c.

Venice preserved, or A Plot discovered; a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1682. and dedicated to the Dutchess of Portsmouth. I have not at present any particular History of Venice by me, but suppose this Story may be found in some of the Writers on the Venetian Affairs; as Bembus, Sabellicus, Maurocenus, Paruta, &c.

Besides his Dramatick Poems, our Author writ a Stitcht Poem, call'd The Poet's Complaint to his Muse, printed 4o. Lond. 1680. and a Pastoral on King Charles the Second, printed with Mrs. Behn's Lycidas, 8o. p. 81. Add to these his Translation out of French, being a Book call'd The History of the Triumvirates, printed since his Decease 8o. Lond. 1686.

P.

John PALSGRAVE.

AN Author that liv'd in the Reign of King Henry the Eighth. He was Bachelor of Divinity, but of what University I know not, and was Chaplain to the King. He printed a Play in an Old English Character, call'd

Accolastus, a Comedy printed 4o. 1540. and dedicated to King Henry the Eighth. This Play was translated from the Latine Accolastus written by Gulielmus Fullonius, the English being [Page] printed after the Latine. The Plot is the Parable of the Prodigal Son in the Gospel, and the Author has endeavour'd to imitate Terence and Plautus in the Oeconomy: 'Twas set forth by the Author Fullonius, before the Burgesses of the Hague in Holland, An. Dom. 1529.

This Author publisht besides L'Eclaircissement de la Langue Francoise. —1530.

George PEEL.

An Author that liv'd in the Reign of Queen Elizabeth, and was formerly Student, and Mr. of Arts of Christ-Church Colledge in Oxford. He is the Author of Two Plays, which are in print; viz.

David and Bethsabe their Love, with the Tragedy of Absalom, divers times play'd on the Stage; and printed 4o. Lond. 1599. This Play is founded on Holy Scripture: See Samuel, Kings, &c.

Edward the First, Sirnamed Edward Longshanks, with his Return from the Holy Land. Also the Life of Llewellin Rebel in Wales. Lastly the sinking of Queen Elinor, who sunk at Charing-Cross, rose again at Potters Hithe, now named Queen-hithe; printed 4o. Lond. 1593. For the Story see the Authors that have writ of those times; as Walsingham, Fabian, Matth. Westm. Pol. Virgil, Grafton, Hollingshead, Stow, Speed, Martyn, Baker, &c.

I am not ignorant, that another Tragedy, to wit, Alphonsus Emperor of Germany, is ascribed to him in former Catalogues, which has [Page] occasion'd Mr. Winstanley's mistake: but I assure my Reader, that that Play was writ by Chapman, for I have it by me with his Name affixt to it.

Mr. Philips mentions some Remnants of his Poetry extant in a Book call'd England's Hellicon, which I never saw.

Mary Countess of PEMBROKE.

The belov'd Sister of the Admirable Sr. Philip Sidney (to whom he dedicated his Arcadia) and Patron to the Ingenious Daniel. A Lady whose Inclinations led her not only to the Patronage but love of the Muses: as appears by a Tragedy of Hers in print, call'd Antonius, which to my regret I never yet saw, though I have earnestly desired it; it is thus commended by Mr. Daniel, in his Dedication of Cleopatra.

I, who contented with an humble Song,

Made Musick to my self that pleas'd me best,

And only told of Delia, and her wrong,

And prais'd her Eyes, and plain'd mine own unrest,

A Text, from whence my Muse had not digrest,

Had I not seen thy well grac'd Anthony,

Adorn'd by thy sweet stile, in our fair Tongue,

Requir'd his Cleopatra's Company.

Mr. Philips through mistake (as formerly) has ascrib'd another Play to her, viz. Albion's Triumph, a Masque. I know nothing else of this Admirable Lady's Writing.

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KATHARINE PHILLIPS.

Mrs. Katherine PHILIPS.

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A Lady of that admirable Merit, and Reputation, that her Memory will be honour'd of all Men, that are Favourers of Poetry. One, who not only has equall'd all that is reported of the Poetesses of Antiquity, the Lesbian Sapho, and the Roman Sulpitia, but whose Merit has justly found her Admirers, amongst the greatest Poets of our Age: and though I will not presume to compare our Poets with Martial, who writ in praise of Sulpitia, or Horace, Ausonius, and Sydonius, who commended Sapho, least I offend their Modesty who are still living: yet I will be so far bold as to assert, that the Earls of Orrery and Roscommon, the Incomparable Cowley, and the Ingenious Flatman, with others (amongst whom I must not forget my much respected Countryman James Tyrrel Esq) would not have employ'd their Pens in praise of the Excellent Orinda, had she not justly deserv'd their Elogies, and possibly more than those Ladies of Antiquity: for as Mr. Cowley observes, in his third Stanza on her Death,

Of Female Poets, who had Names of old,

Nothing is shewn but only told,

And all we hear of them, perhaps may be

Male Flattery only, and Male Poetry;

Few Minutes did their Beauties Lightning waste,

The Thunder of their Voice did longer last,

But that too soon was past.

The certain proofs of our Orinda's Wit,

In her own lasting Characters are writ,

[Page]And they will long my Praise of them survive,

Tho' long perhaps that too may live.

The Trade of Glory manag'd by the Pen

Tho' great it be, and every where is found,

Does bring in but small profit to us Men,

'Tis by the numbers of the Sharers drown'd;

Orinda, in the Female Courts of Fame

Engrosses all the Goods of a Poetick Name,

She doth no Partner with her see;

Does all the buisiness there alone, Which we

Are forc'd to carry on by a whole Company.

The Occasion of our mention of this Excellent Person in this place, is on the Account of two Dramatick Pieces, which she has translated from the French of Monsieur Corneille; and that with such exquisite Art and Judgment, that the Copies of each seem to transcend the Original.

Horace, a Tragedy; which I suppose was left imperfect by the untimely Death of the Authress; and the fifth Act was afterwards supply'd by Sir John Denham. This Play acted at Court, by Persons of Quality; the Duke of Monmouth speaking the Prologue: Part of which being in Commendation of the Play, I shall transcribe.

This Martial Story, which thro' France did come,

And there was wrought in Great Corneille's

Loom;

Orinda's Matchless Muse to Brittain brought,

And Forreign Verse, our English Accents taught;

So soft that to our shame, we understand

They could not fall but from a Lady's Hand.

[Page]Thus while a Woman Horace did translate,

Horace did rise above a Roman Fate.

For the Plot of this Play, consult Livy's History, Lib. 1. Florus Lib. 1. C. 3. Dionysius Hallicarnassaeus, &c.

Pompey, a Tragedy, which I have seen acted with great applause, at the Duke's Theatre; and at the End was acted that Farce printed in the fifth Act of The Play-house to be Let. This Play was translated at the Request of the Earl of Orrery, and published in Obedience to the Commands of the Right Honourable the Countess of Corse; to whom it is dedicated. How great an Opinion My Ld Orrery had of this Play, may appear from the following Verses, being part of a Copy addrest to the Authress.

You English Corneille's Pompey with such

Flame,

That you both raise our wonder and his Fame;

If he could read it, he like us would call

The Copy greater than the Original:

You cannot mend what is already done,

Unless you'l finish what you have begun:

Who your Translation sees, cannot but say,

That 'tis Orinda's Work, and but his Play.

The French to learn our Language now will seek,

To hear their Greatest Wit more nobly speak;

Rome too would grant, were our Tongue to her

known,

Caesar speaks better in't, than in his own.

And all those Wreaths once circled Pompey's

Brow,

Exalt his Fame, less than your Verses now.

[Page]Both these Plays with the rest of her Poems, are printed in one Volume in Fol. Lond. 1678. This Lady to the Regret of all the Beau Monde in general, died of the Small-pox, on the 22d. of June 1664. being but One and Thirty Years of Age, having not left any of her Sex, her Equal in Poetry.

Sam. PORDAGE, Esq

A Gentleman who was lately (if he be not so at present) a Member of the Worthy Society of Lincolns-Inn. He has publisht two Plays in Heroick Verse, viz.

Herod and Mariamne, a Tragedy acted at the Duke's Theatre, and printed 4o. Lond. 1673. This Play was writ a dozen Years, before it was made publick, and given to Mr. Settle by a Gentleman, to use and form as he pleas'd: he preferr'd it to the Stage, and dedicated it to the Dutchess of Albermarle. For the Plot, I think the Author has follow'd Mr. Calpranede's Cleopatra, a Romance, in the Story of Tyridates: but for the true History, consult Josephus, Philo-Judaeus, Eberus, Egysippus, &c.

Siege of Babylon, a Tragi-comedy, acted at the Theatre; dedicated to her Royal Highness the Dutchess, and printed 4o. Lond. 1678. This Play is founded on the Romance of Cassandra.

Henry PORTER.

An Author in the Reign of Queen Elizabeth, who writ a pleasant History, called The two [Page]Angry Women of Abington, with the humorous Mirth of Dick Coomes, and Nicholas Proverbs, two Servingmen; play'd by the Right Honourable, the Earl of Nottingham, Ld High Admiral's Servants, and printed 4o. Lond. 1599.

Thomas PORTER, Esq

An Author that has writ in our Times two Plays, which are receiv'd with Candor, by all Judges of Wit; viz.

Carnival, a Comedy acted at the Theatre-Royal, by his Majesties Servants; printed 4o. Lond. 1664.

Villain, a Tragedy, which I have seen acted at the Duke's Theatre with great applause: the part of Malignii being incomparably play'd by Mr. Sandford.

What this Author may have writ besides, I know not; and am sorry I can give no better Account of One, whose Writings I love and admire.

George POWEL.

A Person now living, the Author of a Tragedy, call'd

The treacherous Brother, acted by their Majesties Servants, at the Theatre-Royal; and printed 4o. Lond. 1690. 'Tis dedicated to the Patentees, and Sharers of their Majesties Theatre; and commended by a Copy of Latin Verses, writ by his Fellow-Actor Mr. John Hudgson. For the Foundation of the Play, I take it to be borrow'd from a Romance in Fol. [Page] call'd The Wall Flower: and tho' they are not alike in all particulars, yet any One that will take the pains to read them both, will find the Soporifick Potion, given to Istocles and Semanthe, to be the same in quantity, with that given to Honoria, Amarissa and Hortensia, in the asoresaid Romance.

Thomas PRESTON.

A very ancient Author, who writ a Play in old fashion'd Metre; which he calls A Lamentable Tragedy, mixed full of pleasant Mirth; containing the Life of Cambises King of Persia, from the beginning of his Kingdom unto his Death, his one good deed of Execution, after the many wicked Deeds, and tyrannous Murders committed by and through him; and last of all his odious Death, by Gods Justice appointed. Done in such order as followeth; printed 4o. Lond.—by John Allde. In stead of naming more than Justin and Herodotus, for the true Story, I shall set down the beginning of this Play, spoke by King Cambises; not only to give our Reader a Taste of our Author's Poetry; but because I believe it was this Play Shakespear i meant, when he brought in Sir John Falstaff, speaking in K. Cambyses Vein.

My Counsaile grave and sapient,

with Lords of Legal Train:

Attentive eares towards us bend,

and mark what shall be sain.

[Page]So you likewise my valiant Knight

whose manly acts doth fly,

By brute of Fame the sounding trump

doth perse the azure Sky.

My sapient words I say perpend

and so your skill delate:

You know that Mors vanquished hath

Cyrus that King of state,

And I by due Inheritance

possess that Princely Crown:

Ruling by sword of mighty force

in place of great Renown.

Edmund PRESTWITH.

The Author of a Tragedy, called Hyppolitus, (which as I suppose is translated from Seneca) tho' I never saw it; but have heard 'twas printed in octavo. Mr. Philips and Mr. Winstanley, have placed another Play to his Account, viz. The Hectors: but it was a fault, which I suppose they were led into by my Catalogue, printed 1680. as I my self was; tho' I must now assure my Reader, That that Play has no Name to it, and in Mr. Kirkman's Catalogue is set down as an Anonymal Play.

Q.

Francis QUARLES, Esq

THis Gentleman was Son to James Quarles, Esq who was Clerk of the Green-Cloth, and Purveyor to Queen Elizabeth. He was [Page] Born at Stewards, in the Parish of Rumford in Essex. He was sent to Cambridge, and was bred for some time in Christ-Church Colledge: afterwards he became a Member of Lincolns-Inn, in London. He was sometime Cup-bearer to the Queen of Bohemia; Secretary to the Reverend James Usher, Archbishop of Armagh; and Chronologer to the Famous City of London. He was a Poet that mix'd Religion and Fancy together; and was very careful in all his Writings not to intrench upon Good Manners, by any Scurrility, in his Works; or any ways offending against his Duty to God, his Neighbour, and himself. The Occasion of our Mentioning him in this place, is from his being the Author of an Innocent, Innosfensive Play, called

The Virgin Widow, a Comedy, printed 4o. Lond. 1649.

As to his other Works, they are very numerous: those which I have seen, are his History of Sampson in Verse; Jonah, Esther, Job Militant. His Emblems, are reputed by some, a Copy of Hermannus Hugo's Pia Desideria; Anniversaries upon his Paranete. Pentalogia, or The Quintessence of Meditation; Argalus and Parthenia; being founded on a Story, in Sir Philip Sydney's Arcadia. Enchiridion of Meditations Divine and Moral. Nor must I forget his Loyal Convert, tho' I never saw it; being a Cause of his Persecution, by the Usurped Authority then in being.

The troubles of Ireland, forc'd him from thence; so that he dy'd in his Native Country, [Page] Sept. 8. 1644. being aged 52 Years, and the Father of eighteen Children, by one Wife; and was buried at St. Foster's Church, London.

R.

Thomas RANDOLPH.

HE Flourisht in the Reign of King Charles the First; and was Born at Houghton, in Northamptonshire; from whence he was sent for Education to Westminster School; and thence was remov'd to Cambridge, where he became Fellow of Trinity Colledge in that University. He was accounted one of the most pregnant Wits of his Time; and was not only admir'd by the Wits of Cambridge, but likewise belov'd and valu'd by the Poets, and Men of the Town in that Age. His Gay Humour, and Readiness at Repartee, begat Ben. Johnson's Love to that Degree, that he Adopted him his Son: on which Account Mr. Randolph writ a Gratulatory Poem to him, which is printed, these Lines being part of the Copy:

—When my Muse upon obedient knees

Asks not a Father's Blessing, let her leese

The Fame of this Adoption; 'tis a Curse

I wish her 'cause I cannot think a worse.

How true a Filial Love he pay'd to his Reputation, may appear from his Answer to that Ode, which Ben. writ in Defence of his New-Inn, and which Mr. Feltham reply'd [Page] upon so sharply. Having given you the two former, in my Account of Mr. Johnson; give me leave likewise to transcribe this in Honour of Mr. Randoph, whose Memory I reverence, for his Respect to that Great Man.

An Answer to Mr. Ben Johnson's Ode, to perswade him not to leave the Stage.

I.

Ben, do not leave the Stage,

'Cause 'tis a loathsome Age:

For Pride and Impudence will grow too bold,

When they shall hear it told

They frighted thee; stand high as is thy Cause,

Their Hiss is thy Applause:

More just were thy Disdain,

Had they approv'd thy Vein:

So thou for them, and they for thee were born;

They to incense, and thou as much to scorn.

II.

Will't thou engross thy Store

Of Wheat, and pour no more,

Because their Bacon-brains have such a tast,

As more delight in Mast:

No! set them forth a board of Dainties, full

As thy best Muse can cull;

Whilst they the while do pine

And thirst, midst all their Wine.

What greater plague can Hell it self devise,

Than to be willing thus to Tantalize?

III.

Thou can'st not find them stuff,

That will be bad enough

[Page]To please their Pallates: let 'em them refuse,

For some Pye-Corner Muse;

She is too fair an Hostess, 'twere a sin

For them to like thine Inn:

'Twas made to entertain

Guests of a Nobler Strain;

Yet if they will have any of thy Store,

Give them some scraps, and send them from thy dore.

IV.

And let those things in plush

Till they be taught to blush,

Like what they will, and more contented be

With what Brome a swept from thee.

I know thy worth, and that thy lofty Strains

Write not to Cloaths, but Brains:

But thy great Spleen doth rise,

'Cause Moles will have no Eyes:

This only in my Ben I faulty find,

He's angry, they'l not see him that are blind.

V.

Why should the Scene be mute,

Cause thou canst touch thy Lute,

And string thy Horace; let each Muse of Nine

Claim thee, and say, Th' art mine.

'T were fond to let all other Flames expire,

To sit by Pindar's Fire:

For by so strange Neglect,

I should my self suspect,

The Palsie b were as well thy Brains disease,

If they could shake thy Muse which way they please.

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VI.

And tho' thou well canst sing

The Glories of thy King;

And on the wings of Verse his Chariot bear

To Heaven, and fix it there;

Yet let thy Muse as well some Raptures raise,

To please him, as to praise.

I would not have thee chuse

Only a treble Muse;

But have this Envious, Ignorant Age to know,

Thou that canst sing so high, canst reach as low.

There was another Copy of Verses writ by Mr. Carew to Mr. Johnson, on occasion of his Ode of Defiance, annexed to his Play of the New-Inn: See his Poems, 8o. p. 90.

Having given you a taste of his Lyrick Poetry, I now proceed to his Dramatick Performance; of which (according to our Custom) I shall speak Alphabetically.

Amyntas, or The Impossible Dowry; a Pastoral, acted before the King and Queen at Whitehall.

Aristippus, or The Jovial Philosopher; presented in a private Shew; to which is added The Conceited Pedlar.

Jealous Lovers, a Comedy presented to their Gracious Majesties, at Cambridge, by the Students of Trinity Colledge; and dedicated to Dr. Comber, D. of Carlile. This Play I think to be the best of his, and was revived on the Stage, at London, in 1682. as may appear by an Epilogue written by Mrs. Behn, and printed in her Collection of Poems, published 8o. Lond. 1685. [Page] This Play was revised and printed by the Author, in his Life-time; being usher'd by the Chief Wits of both Universities to the Press. One of which saysc thus of it:

Tho' thou hast made it publick to the view

Of Self-love, Malice, and that other Crew:

It were more fit it should impaled lye

Within the walls of some great Library;

That if by chance through Injury of Time,

Plautus, and Terence, and thatd Fragrant Thyme

Of Attick-Wit should perish, we might see

All those reviv'd in this own Comedy.

The Jealous Lover, Pander, Gull, and Whore,

The Doting Father, Shark, and many more

Thy Scene doth represent unto the Life,

Besides the Character of a curst Wife;

So truly given in so proper Stile,

As if thy Active Soul had dwelt a while

In each Man's Body; and at length had seen

How in their Humors they themselves demean.

Muses Looking-Glass, a Comedy, which by the Author was first called The Entertainment; as I learn from Sir Aston Cockain's Works, who writ an Encomiastick Copy on it. See his Works, p. 98. As to this Play, it answers both the Designs of Poetry, Profit, and Delight: and what a Student of Christ-church, Mr. Rich. West, said of it, will be found true by every Reader.

Who looks within his clearer Glass, will say,

At once he writ an Ethick Track, and Play.

[Page]All these Dramatick Pieces, and his Poems, were published by his Brother, Mr. Thomas Randolph, of Christ-church Colledge in Oxon. and are now printed the 5th Edit. Oxon. 1668.

I know not when our Author died; tho' I presume he liv'd to no great Age, being too much addicted to the Principles of his Predecessor Aristippus, Pleasure, and Contempt of Wealth.

My Readers are not to expect any Discoveries of Thefts, for this Author had no occasion to practice Plagiary, having so large a Fond of Wit of his own, that he needed not to borrow from others; and therefore I may justly say, with a Friend of his,

With what an Extasie shall we behold

This Book? which is no Ghost of any old

Worm-eaten Author; here's no Jest, or Hint,

But had his Head both for its Oar, and Mint.

Wer't not for some Translations none could know

Whether he had e're look'd in Book or no.

Of this Nature, are not only his several Versions, as the Second Epod of Horace, several Pieces out of Claudian, &c. but likewise a Dramatick Piece from Aristophanes, called in the Original [...], but by our Translator,

Hey for Honesty, Down with Knavery; a pleasant Comedy, printed 4o. Lond. 1651. This Play was first translated by our Author; and afterwards augmented and published by F. J. I shall not pretend to determine, whether this Translation, for that published in octavo be better; but leave it to those more vers'd in the Original [Page] than I pretend to. Permit me therefore to conclude all with the following Lines, writ by One of St. John's, in Memory of our Author.

Immortal Ben is dead, and as that Ball

On Ida toss'd, so is his Crown, by all

The Infantry of Wit. Vain Priests! That Chair

Is only fit for his true Son and Hen.

Reach here thy Laurel: Randolph, 'tis thy praise:

Thy naked Skull shall well become the Bays.

See, Daphne courts thy Ghost: and spite of Fate,

Thy Poems shall be Poet Laureate.

Edward RAVENSCROFT.

A Gentleman now living, and One that was sometime a Member of the Middle-Temple. One who with the Vulgar passes for a Writer: tho' I hope he will pardon me, if I rather stile him in the Number of Wit-Collectors; for I cannot allow all the Wit in his Plays to be his own: I hope he will not be angry, for transcribing the Character which he has given of Mr. Dryden, and which mutato nomine belongs to himself. 'Tis not that I any ways abet Mr. Dryden for his falling upon his Mamamouchi; but that I may maintain the Character of Impartial, to which I pretend, I must pull off his Disguise, and discover the Politick Plagiary, that lurks under it. I know he has endeavoured to shew himself Master of the Art of Swift-writing; and would perswade the World, that what he writes is ex tempore Wit, and written currente calamo. But I doubt not to shew, That tho' he would be thought to imitate the Silkworm, that spins its Web from its own Bowels; [Page] yet I shall make him appear like the Leech, that lives upon the Blood of Men, drawn from the Gums; and when he is rubb'd with Salt, spues it up again. To prove this, I shall only give an Account of his Plays; and by that little of my own Knowledge which I shall discover, 'twill be manifest, that this Ricketty-Poet (tho' of so many Years) cannot go without others Assistance: For take this Prophecy, from your humble Servant, or Mr. Ravenscroft's Mamamouchi, which you please,

When once our Poets translating Vein is past,

From him you can't expect new Plays in hast.

To prove this, I need only give you an Account of what he has already publish'd; and from thence you may judge, according to the old Adage, Expede Herculem, what is like to follow.

Careless Lovers, a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1673. The Epistle to this Play was written against Mr. Dryden, and his Prologue levell'd against Almanzor; and his Play, call'd Love in Nunnery. The truth is, Mr. Dryden had fallen first upon his Mamamouchi, as we have said; and therefore on that Account, our Poet was excusable; but to accuse him for borrowing, and translating, as he faith:

Till then he borrowed from Romance, and did translate,

was unreasonable, when our Poet knew his own Guilt; for notwithstanding he writes in the same Prologue,

`That all that's in it is ex tempore Wit.

[Page] Yet I must take the Liberty to contradict him, and acquaint my Reader, That the Sham-Scene in the 4. Act, which is the most diverting in the Play; where Mrs. Breedwell, and Clapham bring in their Children, and challenge Marriage of the Ld De Boastado, is stollen from Molliere's M. De Pourceaugnac. Act 2. Sc. 7. and 8. As to the rest of the French Play, he has inserted it into his Mamamouchi. The Author in his Epistle acknowledges, That the Reason why there are such continual Picques amongst the Poets, is the same with that of Whores, Two of a Trade can never agree: and therefore Mr. Dryden and Mr. Ravenscroft, being profest Plagiaries, and having both laid claim to Molliere, no wonder if they fell out, like the two Travellers in AEsop about the Ass; tho' at the same time a third Poet ran away with the prize; at least the greatest part.

Dame Dobson, or The Cunning Woman; a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1684. This Play is translated from a French Comedy, call'd La Devineresse, ore Les faux Enchantements. Notwithstanding this Play was so followed and applauded in France, as the Epistle to the Original informs me; yet it was damned in its Action at the Theatre at London. I pretend not to give the Reason of it; only I have Mr. Dryaen'se Testimony, That Corneille's Le Menteur, (since published under the Title of The Mistaken Beauty, or The Lyer) was notwithstanding Mr. Hart's acting Dorant to Admiration, judg'd far Inferiour [Page] to many Plays writ by Fletcher, and Ben Johnson: and I question not but this last will obtain the preference from the other, if they are read by unbyass'd Judges.

English Lawyer, a Comedy acted at the Theatre-Royal, and printed 4o. Lond. 1678. This Play was written originally in Latin, by Mr. R. Ruggles, sometime Master of Arts in Clare Hall in Cambridge; and was acted several times with extraordinary applause, before King James the First by the Gentlemen of that University. There was a Version done by a Master of Arts of Magdalen Colledge in Oxford, printed near thirty Years ago, tho' translated some Years before: and I believe Mr. Ravenscroft made more use of that, than the Original; at leastwise they who understand not the Latin, and yet would see a true Copy, (this of our Author being drawn in Miniature) may read it, under the Title of Ignoramus.

King Edgar, and Alphreda; a Tragi-comedy acted at the Theatre-Royal, and printed 4o. Lond. 1677. This Play I suppose (if any) to be of the Author's own Minerva; tho' the Story of it be sufficiently Famous, not only in Novels both French and Italian: but in almost all the Historians of those Times. For Novels, see the Annals of Love octavo: For Historians, see W. Malmesbury, H. Huntingdon, Rog. Hoveden, Ingulfus, Ranulph Higden, M. Westminster, Pol. Virgil. Grafton, Stow, Speed, Baker, &c. Ubaldino Le Vite delle Donne Illustri, p. 28.

London Cuckolds, a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1683 [Page] This Play, tho' the most diverting of any that he has writ, is patcht up from several Novels. I may truly aver, that Wise-acre and Peggy, are borrowed from Scarron's Fruitless Precaution, Nov. first; at least that part of it where Peggy in Armour watcheth her Husband's Night-cap. Tho' possibly these two Characters were drawn from Arnolphe and Agnes, in Molliere's L'Escole des Femmes: Loveday's Discovering Eugenia's Intrigue, and pretending to conjure for a Supper, is borrowed from Les Contes d'Ouville, part. 2. pag. 235. Eugenia's Contrivance to have Jane lye in her place by her Husband, whilst she went to Ramble; is borrowed possibly from the Mescolanza dolce Cap. 16. at the End of Torriano's Grammar: or else from Scarron's Fruitless Precaution, where is such a like passage. The Contrivance of Eugenia to bring off Ramble, and Loveday, by obliging the former to draw his Sword, and counterfeit a Passion, is borrowed from Les Contes d'Ouville, 2. part. page 257. or from Boccace Day 7. Nov. 6. Doodle's Obliging his Wife Arabella to answer nothing but No in his Absence, and the Consequence of that Intrigue with Townly, is borrowed from Les Contes d'Ouville, 2. part. page 121 Eugenia's making a false Confidence to her Husband Dashwell, and sending him into the Garden to Loveday, in her Habit, where he is beaten by him, is borrowed from Les Contes d'Ouville, 2. part. page 250. The same Story is in Baccace, Day 7. Nov. 7. and in Les Contes de M. de la Fontaine, Nov. 2. p. 21. and is the Subject of several Plays; as City Night-cap, &c. This is sufficient [Page] to shew how much our Author borrows in his Plots, and that his own Genius is either lazy, or very barren of Invention.

Mamamouchi, or The Citizen turn'd Gentleman; a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1675. This Play is dedicated to his Highness Prince Rupert. Our Author had that good Opinion of Molliere's Monsieur de Pourceaugnac, that what he left untoucht in that Play when he writ The Careless Lovers, he has taken into this: So that his Sir Simon Soft-head, is M. de Pourceaugnac in an English Dress; and the rest of his Play is stollen from Le Bourgeois Gentilhomme, a Comedy writ by the same Author. So that here is a whole Play borrow'd, and yet nothing own'd by the Author; a procedure which savours of the highest Ingratitude, and which (as I have elsewhere observ'd) has been long ago thus inveigh'd against by the Excellent Pliny f, Obnoxii profecto Animi, & infelicis Ingenii est, deprehendi in furto malle, quam mutuum reddere, cum praesertim sors fiat ex usurâ.

Scaramouch a Philsopher, Harlequin a School-Boy, Bravo, Merchant, and Magician; a Comedy after the Italian Manner, acted at the Theatre-Royal, and printed 4o. Lond. 1677. This Play was fore-stall'd in the Action, by the Duke's House, they having brought upon the Stage the Cheats of Scapin; as the Author complains in the Prologue. Our Author would be thought to have taken a great deal of pains in [Page] this Play, and to have brought a new sort of Comedy on our Stage: as he says,

The Poet does a dang'rous tryal make,

And all the common ways of Plays forsake.

Upon the Actors it depends too much;

And who can hope ever to see two such,

As the fam'd Harlequin, and Scaramouch.

This he well knew—

Yet rather chose in New Attempts to fail,

Than in the Old indifferently prevail.

But notwithstanding our Author's Boasting, he is but a Dwarf drest up in a Giant's Coat stufft out with Straw: for I believe he cannot justly challenge any Part of a Scene as the Genuine Off-spring of his own Brain; and may rather be reckon'd the Midwife than the Parent of this Play. This Author has followed his old Custom of sweeping clean, and leaving nothing behind him; for what he left of Le Bourgeois Gentilhomme, he has taken into this Play; as will appear to them that will compare the first Act with that Dramma. Almost all Le Marriage forcé, is taken into this Play likewise; and for the Cheats of Scapin, I suppose our Author has not only seen that Play, but borrow'd from thence; I have already taken notice, that part of it resembles Terence's Phormio.

Wrangling Lovers, or The Invisible Mistress; a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1677. This Play is founded upon a Spanish Romance in 8o. translated and [Page] called Deceptio visûs, or Seeing and Believing are two things. Th. Corneille has a Play writ on the same Subject, called Les Engagements du Hazard.

I know nothing else of our Author's Writing, without I should reckon his Alteration of Titus Andronicus, of which I shall speak by and by, in the Account of Shakespear.

Thomas RAWLINS.

A Gentleman that liv'd in the Reign of King Charles the First, who was well acquainted with most of the Poets of his time. He was the Cheif Graver of the Mint to both King Charles the First and Second, and died in that Employment in 1670. He writ a Play for his Diversion only, not for profit; as he tells the Reader in his Preface: ‘Take no notice of my Name, for a second Work of this Nature shall hardly bear it. I have no desire to be known by a Thread-bare Cloak, having a Calling that will maintain it Woolly.’ His Play is called,

Rebellion, a Tragedy acted Nine Days together; and divers times since with good applause, by his Majesty's Company of Revels; and printed 4o. Lond. 1640. 'Tis dedicated to his Kinsman, Robert Ducie of Aston, in the County of Stafford Esq and is accompanied with Verses, to the number of eleven Copies; amongst which are several writ by the Dramatick Poets his Contemporaries. He was very young when he writ this Tragedy, as appears [Page] from the following Lines of Mr. Chamberlain, publisht with the Play.

To see a Springot of thy tender Age,

With such a lofty Straine to word a Stage;

To see a Tragedy from thee in Print,

With such a World of fine Meanders in't,

Pusles my wondring soul: for there appeares

Such disproportion 'twixt thy Lines, and Yeares:

That when I read thy Lines, methinks I see

The sweet tongu'd Ovid fall upon his Knee,

With Parce precor;—

The Scene of this Play lyes in Sevile; but I cannot direct you to any particular History, because I know not in what King of Spain's Reign this Action happened: All I can tell you is, That I believe this Taylor was fitted upon Crispin's Last; and that Webster's Shoomaker gave Birth to our Poet's Don Sebastiano.

Mr. Winstanley speaks of other small Pieces that he wrote, tho' I know of none, except some commendatory Verses, publisht with his Friends Plays; as with Mr. Chamberlain's Swaggering Damsel; Mr. Richards's Messalina, &c.

Edward REVET.

An Author of our Time, who published a Play, called

Town Shifts, or Suburb Justice; a Comedy Acted at his Royal Highness the Duke of York's Theatre, printed 4o. Lond. 1671. and dedicated to Stephen Mosedelf Esq Give me leave [Page] so far to commend this Comedy, to say that it is Instructive; and that the Author's Protagonist Lovewel, tho' reduced to poverty, yet entertains not only an Innate Principle of Honesty, but advises his two Comrades, Friendly and Faithful, to the practice of it; and it succeeds happily to them. I mention this, because few of our Modern Characters are so nicely drawn.

Nathaniel RICHARDS.

An Author that lived in the Reign of King Charles the First; of whom I can give no further Account, than that he writ one Tragedy, publisht in the beginning of our late Troubles; viz.

Messalina the Roman Empress, her Tragedy, acted with general applause divers times, by the Company of his Majesty's Revels, and printed 8o. Lond. 1640. This Play is dedicated to the Right Honourable John Cary, Viscount Rochsord: and is ushered into the Light by six Copies of Verses; two of which were writ by our Dramatick Authors, Davenport and Rawlins; two by two Actors in his Play, Robinson and Jordan; and a fifth Latin Copy, by One Thomas Combes, which may deserve a place in our Account: after having acquainted the Reader, that for the Story he may consult Tacitus, Suetonius, Pliny, Plutarch, and Juvenal; all which have given a Character of the Insatiate Messalina; as the following Verses do of her Vices, and the Virtues of her Mother Lepida.

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Carissimo Amico Auctori in eximiam Missalinae Tragoediam.

Ridentem Venerem veteres pinxere; sed ecce

Apparet Venus hic sanguinolenta; nigra.

Lascivos amplexa viros amplectitur ensem:

Effera quae vita, est baec furibunda nece.

Sic eadem Victrix, eadem (que) Libidinis Ultrix,

Messalina, altrix quae fuit, ipsa fuit,

Dū moritur mala pars, oritur pars conjungis illa,

Quae superat quamvis mors in utram (que) furit.

Casta parens toties, quoties fit adultera proles,

Pugnat, & adversa cum pie tate scelus:

Dum (que) scelus fugiens dat terga, stat altera lugēs,

Et nituit niveo pectore purus Honor,

Haec ubi sunt verbis aptata, Tragoedia digna

Illa est in primis Laudis, & illa tua est.

Thomas Combes.

William RIDER.

This Writer (as I suppose by the Date of his Play) flourish'd in the Reign of King Charles the Second; and was a Master of Arts, tho' of which University or Colledge, is to me unknown. All I can inform my Reader is, that he is the Author of a Play, called

Twins, a Tragi-comedy acted at the private House at Salisbury Court with general applause, printed 4o. Lond. 1655. This Play is not contemptible, either as to the Language, or Oeconomy of it, tho' I judge it older far than the the Date of it imports.

William ROWLY.

[Page]

An Author that flourish'd in the Reign of King Charles the First; and was sometime a Member of Pembroke Hall in Cambridge. I can say nothing further of his Life or Country; but as to his Poetry, and his intimate Acquaintance with the prime Poets of that Age, I can speak at large. He was not only beloved by those Great Men, Shakespear, Fletcher, and Johnson; but likewise writ with the former, The Birth of Merlin. Besides what he joyned in writing with Poets of the second Magnitude, as Heywood, Middleton, Day and Webster; as you may see under each of their Names; our Author has four Plays in print of his own Writing, of which take the following Account; viz.

All's lost by Lust, a Tragedy divers times acted by the Lady Elizabeth's Servants; and with great applause at the Phoenix in Drury-Lane, and printed 4o. Lond. 1633. This is a good old Play, and the Story it self may be read in the Spanish Histories: See Mariana Lib. 21, 22, 23. Suritta's Annales, &c. Lib. 1. C. 1. Turquet, L. 5. C. 30. As to Margaretta's Design'd Revenge on her Husband Antonio, read the Unfortunate Lovers, Novel the 3.

Match at Midnight, a pleasant Comedy, acted by the Children of the Revels; and printed 4o. Lond. 1633. The Plot of Alexander Bloodhound's being hid by Jarvis under the Widow's Bed, is founded on an old Story inserted in the English Rogue, part 4. Ch. 19.

[Page] Shoomaker's a Gentleman, a Comedy printed 4o. Lond. — Not having this Play by me at present, I cannot inform my Reader where It was acted, or when printed. But this I know, that it has not many Years since been revived at the Theatre in Dorset-Garden, and been formerly acted abroad in the Country: and the Comical part of it, is an usual Entertainment at Bartholomew and Southwarke Fairs; it being a Copy to which all Stroling Companies lay claim to. The Play is founded on a stitcht Pamphlet in quarto, called The History of the Gentle-Craft. The Reader may find an Epilogue printed in Duffet's Poems, p. 60. writ for this Play, when 'twas revived.

New Wonder, a Woman never vext; a pleasant Comedy, sundry times acted, and printed 4o. Lond. 1632. That passage of the Widows finding her Wedding-Ring, which she dropp'd in crossing the Thames, in the Belly of a Fish which her Maid bought accidentally in the Market, is founded either upon the Story of Polycrates of Samos, as the Author may read at large in Herodotus, Lib. 3. sive Thalia; or upon the like Story related of one Anderson of Newcastle, by Doctor Fuller, in his Worthies of England.

I know of nothing else written by our Author, neither can I tell the time of his Death, and therefore I must leave it to Persons of better Information to acquaint the World, with more particulars of his Life, whilst I hasten to an Account of his Names sake.

Samuel ROWLEY.

[Page]

Whether this Author was related to as well as Contemporary with the former, I know not: only this I know, that he writ himself a Servant to the Prince of Wales. He is the Author of two Historical Plays, of which we are to give an Account in their Alphabetical Order; viz.

Noble Spanish Souldier, or A Contract broken justly revenged; a Tragedy, printed 4o. Lond. 1634. This is a Posthumous Piece; and if we believe the Printer's Preface, has received applause in Action. Where it was acted, I know not, nor the Foundation of the Story, it not being mentioned what King of Spain it was, that committed that act of Perjury with Onaelia.

When you see me, you know me; or The Famous Chronical History of Henry the Eighth; with the Birth, and Virtuous Life of Edward Prince of Wales: being play'd by the High and Mighty Prince of Wale's Servants, and printed 4o. Lond. 1632. For the Plot, see the Ld Herbert's Life of Hen. the VIII. and other Writers of his Life, as Polydore Virgil, Hollingshead, Hall, Grafton, Stow, Speed, Martin, Baker, &c.

Joseph RUTTER.

An Author that liv'd in the Reign of King Charles the First. He belong'd to the Earl of Dorset's Family; and attended on his Son, the [Page] Father of the present Earl. At the Command of the Right Honourable Edward Earl of Dorset, and Lord Chamberlain to the Queen, he undertook the Translation of the Cid, out of French: and Mr. Kirkman ascribes another Play to him besides; of both which I shall speak in their Order.

Cid, a Tragi-comedy acted before their Majesties at Court, and on the Cock-pit Stage in Drury-Lane, by the Servants to both their Majesties, and printed 8o. Lond. 1637. This first Part is dedicated to Edward Earl of Dorset aforesaid, part of it being translated by the young Lord his Son, on whom our Author attended.

Cid, Part the second, printed 4o. Lond. 1640. and dedicated to the Lady Theophila Cook. This Part was undertaken by our Author, at his Majesties Command, who was pleas'd to think it worth the translating; and commanded it to be put into our Author's Hands. Both these Plays are usually bound together in actavo.

As to these Plays in the Original, they are much commended, tho' I never saw but the first Part in French. I shall not here transcribe the Author's own Sentiments of it; but leave it to those who understand the French to peruse the Examen of the Second Part; it being too long for this place. But what M. Boileau says of it, in his 9th Satyr, may be sufficient to shew the Sentiments of the publick in its Favour: His Words are these:

[Page]

En vain contre le Cid ung Ministre se ligue,

Tout Paris pourh Climene a les yeux de i Rodrigue.

k L'Academie en Corps a beau le censurer,

Le Public revolté s'obstine à l'admirer.

To speak of the Translation in general, I think, if the Time be considered when it was undertaken, it may pass muster with candid Readers: The Author having at least so far improv'd it, as to bring several things in Action, which in the Original are delivered in Narration; an Excellency commended by Horace, in those Lines so well known to all Scholars.

Aut agitur res in Scenis aut Acta refertur:

Segnius irritant animos demissa per aurem;

Quam quae sunt oculis subjecta fidelibus, & quae

Ipse sibi tradit spectator—

It is true our Author has altered in the Original, some places; but not many. Two Scenes he has left out, as being Soliloquies, and things little pertinent to the Business: and give me leave to observe by the by, That the French are much addicted to bring in these Monologues, in their serious Plays. Some [Page] things likewise our Author has added, but scarce discernable: and where M. Corneille would give him leave, he says he has follow'd close both his Sense and Words; tho', as he has observed, many things are received Wit in one Tongue, which are not in another. As to the Play, 'tis founded on true History; and the Author has follow'd Roderic de Tolede, and Mariana. The Reader may consult other Historians, that have writ of the Affairs of Don Fernando, the First King of Castille.

Shepherds Holyday, a Pastoral Tragi-comedy, acted before their Majesties, at Whitehall, by the Queen's Servants; and printed 8o. Lond. 1635. This Play is ascrib'd by Mr. Kirkman, to our Author; tho' only J.R. is affix'd to the Titlepage. This Play is of the Nobler sort of Pastorals; and is writ in Blank Verse: At the End is a Pastoral Elegy, on the Death of the Lady Venetia Digby, in the Person of Sir Kenelm Digby, her Husband; and a Latin Epigram on her Tomb.

I know nothing else of our Authors Writing.

Thomas RYMER, Esq

This Gentleman is now living, and was once (if he be not at present) a Member of the Honourable Society of Grays-Inn. He has excellent Talent towards Criticism; as appears by his Preface to the Translation of Rapin's Reflections on Aristotle's Treatise of Poetry 8o. and his Tragedies of the last Age consider'd: but I [Page] think for Dramatick Poetry, there are other Poets now alive, that at least equal that Tragedy which he has publisht, viz.

Edgar, or The English Monarch; an Heroick Tragedy, printed 4o. Lond. 1678. This Tragedy is dedicated to King Charles the Second, and written in Heroick Verse. If it be compared with Mr. Ravenscroft's King Edgar and Alfreda, it far exceeds it. For the Plot, see the Historians before mentioned; viz. Malmesbury, Huntingdon, Hoveden, Ingulfus, Higden, &c. Grafton, Stow, &c.

S.

Thomas St. SERF.

A Gentleman, who in the Reign of King Charles the Second writ a Play, call'd Tarugo's Wiles, or The Coffee-house; a Comedy acted at his Highnesses the Duke of York's Theatre, printed 4o. Lond. 1668. and dedicated to the Right Honourable George, Marquess of Huntley. This Comedy if not equal with those of the first Rank, yet exceeds several which pretend to the second; especially the third Act, which discovers the several Humours of a Coffee-house. As to the other part of the Play, 'tis founded (as I suppose) on the Spanish Play No puedeser, or It cannot be; but not having the Original, I cannot be positive: but this I know, That the Lord Bell-guard, and Crack in Sir Courtly Nice, extreamly resembles Don Patricio [Page] and Tarugo, in this Play: Nay more, the Plots of both are alike. I leave it to the Decision of Mr. Crown, or any other who have seen the Spanish Play. In the mean time, I desire no Man to rely upon my Judgment; but if what I have said cannot save him, excuse him upon his own Plea, in his own Words.

If this prevail not, he hopes he's safe from danger,

For Wit and Malice ought not to reach a Stranger.

William SAMPSON.

An Author that liv'd in the Reign of King Charles the First: He was sometimes a Retainer to the Family of Sir Henry Willoughby, of Richley in Derbyshire; and was the Author of a Play, call'd

Vow-breaker, or The Fair Maid of Clifton, in Nottinghamshire; divers times acted by several Companies with great applause, printed 4o. Lond. 1633. and dedicated to Mrs. Anne Willoughby, Daugther to Sir Henry: in which Epistle, the Author concludes thus; ‘Heaven keep you from Fawning Parasites, and busie Gossips, and send you a Husband, and a Good One; or else may you never make a Holyday for Hymen. As much Happiness as Tongue can speak, Pen can write, Heart think, or Thoughts imagine, ever attend on you, your Noble Father, and all his Noble Family; to whom I ever rest, as my bounden Duty, a Faithful Servant, Will. Sampson.’ This Play seems founded upon Truth; I have likewise, in [Page] my younger Years, read a Ballad compos'd upon the same Subject.

Our Author besides this Play, joyned with Mr. Markham in Herod and Antipater, which I forgot before. But as for the Valiant Scot, and How to chuse a Good Wife from a Bad, they are in my Judgment none of our Author's writing; tho' Mr. Philips and his Follower Mr. Winstanley, have ascribed them to him.

George SANDYS, Esq

A Gentleman who flourish'd in the Reign of King Charles the Martyr; if one may so say, of a Person, who sympathiz'd so deeply with his Prince and Country in their misfortunes. He was Son to his Grace Edwin, Arch-bish. of York: and was born in the Year 1577 at Bishops-Thorp, in the same County, being his Father's youngest Child. He was sent to the University that memorable Year 1588. being then eleven Years of Age; and was enter'd of St. Mary Hall in Oxford. how long he stay'd, I know not: but in the Year 1610. memorable for the Murder of that Great Hero Henry the Fourth of France, by that Villain Ravaillac, he began his Travels thro' France, Italy, Turky, AEgypt, Palestine, &c. an Account of which you may read in his Travels, printed Fol. Lond. 1658. But 'tis not on this Account, but his Poetry, that he is here mentioned; and therefore I shall hasten to speak of his Writings in that kind, and first of that excellent Piece of Dramatick Poetry, which he has left us; and chiefly in this Account challenges a particular place; viz.

[Page] Christ's Passion, a Tragedy, with Annotations, printed 8o. Lond. 1640. and dedicated to King Charles the First. This Play is translated from the Latin Original writ by Hugo Grotius. This Subject was handled before in Greek, by that Venerable Person, Apollinarius of Laodicea, Bishop of Hierapolis; and after him by Gregory Nazianzen: tho' this of Hugo Grotius, (in our Author's Opinion) transcends all on this Argument. As to the Translator, I doubt not but he will be allow'd an Excellent Artist, by Learned Judges; and as he has follow'd Horace's Advice of Avoiding a servile Translation,

Nec verbum verbo curabis reddere fidus

Interpres:

So he comes so near the Sence of the Author, that nothing is lost, no Spirits evaporate in the decanting of it into English; and if there be any Sediment, it is left behind. This Book was reprinted with Figures, 8o. Lond. 1688.

Nor are his other Translations less valu'd, especially Ovid's Metamorphosis, printed with Cuts, Fol. Oxon. 1632. This Translation was so much esteem'd in former times, that I find two old Copies of Verses, speaking in praise of our Author. In the first, called A Censure of the Poets, are these Lines:

Then dainty Sands, that hath to English done

Smooth sliding Ovid, and hath made him One,

With so much sweetness, and unusual Grace,

As tho' the neatness of the English Pace

[Page]Should tell your setting Latin, that it came

But slowly after, as though stiff or lame.

The other on the Time Poets, sayes thus,

Sands Metamorphos'd so into another,

We know not Sands, and Ovid from each other.

To this I may add the Translation of the first Book of Virgil's AEneis; by which Specimen, we may see how much he has excell'd Mr. Ogilby. For his other Divine Pieces, as his Paraphrase on the Psalms, Job, Ecclesiastes, Lamentatiöns of Jeremiah, &c. I have heard them much admired by Devout and Ingenious Persons, and I believe very deservingly.

Having done with his Translations, give me leave to conclude with His to another World, which happen'd at his Nephew, Mr. Wiat's House, at Boxley-Abbey in Kent: in the Chancel of which Parish-Church he lyes buried, tho' without a Monument; and therefore I shall follow my Author, from whence I collected this Account, by transcribing what deserves to be inscrib'd on a Monument; viz.

Georgius Sandys, Poetarum Anglorum sui saecult Princeps, sepultus fuit Martii 70 Stilo Anglico. A.D. 1643.

Charles SAUNDERS.

A Young Gentleman, whose Wit began to bud as early, as that of the Incomparable Cowley; and was like him a King's Scholar, when he writ a Play call'd

[Page] Tamberlane the Great, a Tragedy acted by their Majesties Servants, at the Theatre-Royal; as likewise at Oxford, before his late Majesty King Charles the Second, at his meeting the Parliament there. 'Twas printed in quarto Lond. 1681. and the Design was drawn (as the Author owns) from the Novel of Tamerlane and Asteria, in octavo: I have so great a value for this Author's Play, that I cannot but wish well to his Muse; but being no Poet, I must set my Hand to another Man's Wishes: I mean Mr. Banks, who has writ a Copy of Verses on this Play, part of which are as follow:

Launch out young Merchant, new set up of Wit,

The World's before thee, and thy stock is great,

Sail by thy Muse, but never let her guide,

Then without danger, you may safely glide

By happier Studies steer'd, and quickly gain

The promised Indies of a hopeful Brain,

Bring home a Man betimes, that may create

His Country's Glory in the Church, or State.

Elkanah SETTLE.

An Author now living, whose Muse is chiefly addicted to Tragedy; and has been tragically dealt withal by a Tyranical Laureat; which has somewhat eclips'd the glory he at first appeared in: But Time has her vicissitudes; and he has lived to see his Enemy humbled, if not justly punished; for this Reason, I shall not afresh animadvert upon his fault, but rather bury them in Oblivion; and without any Reflections on his Poetry, give a succinct Account [Page] of those Plays, which he has published, being Nine in Number; viz.

Cambyses King of Persia, a Tragedy acted at the Duke's Theatre; printed 4o. 3d Edit. Lond. 1675. and dedicated to the Illustrious Princess Anne, Dutchess of Monmouth. This Tragedy is written in Heroick Verse, and founded on History. For the Plot, see Justin, Herodotus, Ammianus Marcellinus, &c.

Conquest of China by the Tartars, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1676. and dedicated to the Lord Castle-Rizing. This is also writ in Heroick Verse, and founded on History. See Signior Palafax his History of China, translated in octavo; John Gonzales de Mendoza, Lewis de Guzman, &c.

Empress of Morocco, a Tragedy in Heroick Verse; acted at the Duke's Theatre, printed with Sculptures 4o. Lond. 1673. and dedicated to the Right Honourable Henry, Earl of Norwich, and Earl-Marshal of England. This Play Mr. Dryden writ particularly against, in a Pamphlet called, Notes and Observations on the Empress of Morocco; or some few Erratas to be printed instead of the Sculptures with the second Edition of that Play; printed 4o. Lond. 1674. This (as I have already observ'd) was answered by another Pamphlet, which shewed Mr. Dryden was not Infallible; but that notwithstanding his Bravadoes, he himself was as faulty as others: and that he had verified the Spanish Proverb, No es tan bravo el Leon come le pintan; The Lyon is not so fierce as they paint him.

[Page] Fatal Love, or The forc'd Inconstancy; a Tragedy acted at the Theatre-Royal; printed 4o. Lond. 1680. and dedicated to Sir Robert Owen. This Play is founded on Achilles Tatius his Romance, called Clitiphon and Leucippe; see Book the fifth. The English Reader may peruse it translated in octavo printed Oxon. 1638.

Female Prelate; being the History of the Life and Death of Pope Joan: a Tragedy acted at the Theatre-Royal, printed 4o. Lond. 1680. and dedicated to the Right Honourable, the late Earl of Shaftsbury. This Play being founded on History, see Marianus Scotus, Sigibert, Sabellicus: and for the English, he may read Platina translated in Fol. by Sir Paul Ricault; and the Life and Death of Pope Joan, written heretofore in a Dialogue, by Mr. Alexander Cooke, a Gentleman formerly a Fellow of University Colledge in Oxford: a Piece so much cry'd up, and admir'd in those Times, that it was translated into French by J. De la Montaigne. 'Tis now published in a set Discourse 8o. Lond. 1675. The Reader will find there a List of those Authors who affirm, and those who deny the truth of this Story.

Heir of Morocco, with the Death of Gayland; acted at the Theatre-Royal, printed 4o. Lond. 1682. and dedicated to the Lady Henrietta Wentworth, Baroness of Nettlested.

Ibraim, the Illustrious Bassa; a Tragedy in Heroick Verse, acted at the Duke's Theatre, printed 4o. Lond. 1677. and dedicated to the Dutchess of Albermarle. The Play is founded on M. Scudery's Romance so called.

[Page] Love and Revenge, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1675. and dedicated to the Late Duke of Newcastle. 'Tis a great part borrowed from a Play called The Fatal Contract; and is founded on the French Chronicles: see Mezeray, De Serres. &c. 'Tis pitty our Author was so little considerate, to fall upon Mr. Shadwell in his Postscript, when he lay so open to an Attaque himself: and if our Laureat reply'd too severely upon him in his Preface to the Libertine, 'twas but se defendendo; and he being the Aggressor, ought to forgive it.

Pastor Fido, or Faithful Shepherd; a Pastoral acted at the Duke's Theatre; printed 4o. Lond. 1677. and dedicated to the Right Honourable, the Lady Elizabeth Delaval. The Play was written in Italian by Guarini, and afterwards translated by Sir Ric. Fanshaw. This Translation our Author has follow'd, being a stranger to the Italian: tho' possibly it may by ill natur'd Criticks be thought a presumption, to attempt to improve either the Original, or the Copy.

Our Author I think has several Copies of Verses in print, besides Prose; but because some of them will not advance his Reputation; and of others, I know not exactly which he writ, I shall omit further mentioning of them in this place.

Tho. SHADWELL, Esq Poet Laureat to their present Majesties.

A Gentleman, whose Dramatick Works are sufficiently known to the World; but especially [Page] his Excellent Comedies; which in the Judgment of some Persons, have very deservedly advanced him to the Honour he now enjoys, under the Title of Poet Laureat to their present Majesties. An Advancement which he ingeniously consesses, is chiefly owing to the Patronage of the Noble Earl of Dorset, that Great Judge of Wit and Parts; in whose Favour it has been Mr. Shadwell's particular Happiness sor several Years, to have had an Eminent Share. Mr. Dryden, I dare presume, little imagined, when he writ that Satyr of Mack-Flecknoe, that the Subject he there so much exposes and ridicules, should have ever lived to have succeeded him in wearing the Bays.

But I am willing to say the less of Mr. Shadwell, because I have publickly profess'd a Friendship for him: and tho' it be not of so long date, as some former Intimacy with others; so neither is it blemished with some unhandsome Dealings, I have met with from Persons, where I least expected it. I shall therefore speak of him with the Impartiality that becomes a Critick; and own I like His Comedies better than Mr. Dryden's; as having more Variety of Characters, and those drawn from the Life; I mean Men's Converse and Manners, and not from other Mens Ideas, copyed out of their publick Writings: tho' indeed I cannot wholly acquit our Present Laureat from borrowing; his Plagiaries being in some places too bold and open to be disguised, of which I shall take Notice, as I go along; tho' with this Remark, That several of them [Page] are observed to my Hand, and in a great measure excused by himself, in the publick Acknowledgment he makes in his several Prefaces, to the Persons to whom he was obliged for what he borrowed.

That Mr. Shadwell has propos'd B. Johnson for his Model, I am very certain of; and those who will read the Preface to the Humorists, may be sufficiently satisfied what a value he has for that Great Man; but how far he has succeeded in his Design, I shall leave to the Reader's Examination. So far only give me leave to premise in our Laureat's Defence, that the Reader is not to measure his Merit by Mr. Dryden's Standard; since Socrates, never was more persecuted by the Inhumane Aristophanes, than Mr. Shadwell by Mr. Dryden's Pen; and with the same injustice: tho' I think, whoever shall peruse the Modest Defence of the former, in his Epistle to the tenth Satyr of Juvenal, will not only acquit him, but love him for his good Humour and gentle Temper, to One who endeavour'd to destroy his Reputation, so dear to All Men, but the very Darling of Poets; as Ovid saysk,

Quid petitur sacris, nisi tantum fama Poetis?

Hoc votum nostri summa laboris habet.

Mr. Shadwell has Fourteen Plays in print, which we shall give an Account of in the Order we have begun, viz. Alphabetically; tho' by this means his last Play comes first upon our Stage, viz.

[Page] Amorous Bigotte, with the Second Part of Tegue O Divelly; a Comedy acted by their Majesties Servants, printed 4o. Lond. 1690. and dedicated to the Right Honourable Charles, Earl of Shrewsbury.

Bury Fair, a Comedy acted by his present Majesties Servants, printed 4o. Lond. 1689. and dedicated to the Rt. Honourable Charles, Earl of Dorset and Middlesex, the present Lord Chamberlain of his Majesty's Houshold. How difficult it is for Poets to find a continual Supply of new Humour, this Poet has sufficiently shew'd in his Prologue; and therefore he ought to be excus'd, if Old Wit, and Sir Humphry Noddy, have some resemblance with Justice spoil Wit, and Sr. John Noddy; in the Triumphant Widow. Skilfull Poets resemble excellent Cooks, whose Art enables them to dress one Dish of Meat several ways; and by the Assistance of proper Sawces, to give each a different Relish, and yet all grateful to the Palate. Thus the Character of La Roche, tho' first drawn by Molliere, in Les' Precieuses ridicules, and afterwards copy'd by Sir W. D' Avenant, Mr. Betterton, and Mrs. Behn; yet in this Play has a more taking Air than in any other Play, and there is something in his Jargon, more diverting than in the Original it self.

Epsom Wells, a Comedy acted at the Duke's Theatre; printed 4o. Lond. 1676. and dedicated to his Grace the Duke of Newcastle. This is so diverting, and withal so true a Comedy, that even Forreigners, who are not generally the kindest to the Wit of our Nation, have extreamly [Page] commended it: and it is no small credit to our Author, that the Sieur De Saint Euvremont, speaking of our English Comedies in his Essays, has ranked this Play with Ben Johnson's Bartholmew Fair, as two of our most diverting Comedies. 'Tis true that some endeavoured to fix a Calumny upon our Author, alledging that this Play was not in Ingenious but this Stain was quickly wip'd off, by the Plea he makes for himself in the Prologue, spoken to the King and Queen at Whitehall, where he says,

If this for him had been by others done,

After this Honour, sure they'd claim their own.

Humorists, a Comedy acted by his Royal Highnesses Servants; printed 4o. Lond. 1671. and dedicated to the most Illustrious Margaret, Dutchess of Newcastle. The Design of this Play was, To reprehend some of the Vices and Follies of the Age, which is certainly the most proper and most useful way of writing Comedy. But notwithstanding the Author's good Design, it met with implacable Enemies, who resolv'd to damn it right or wrong; and the Author was forc'd to mutilate his Play, by expunging the chief Design, to prevent giving Offence. These and other Disadvantages (the particulars of which you may read in the Preface) the Poet met with: and yet I think a Candid Judge would let it pass without much Censure; and pardon the faults of the Play, for that Reparation that is made for it in the Preface.

Lancashire Witches, and Teague O Divelly, [Page]the Irish Priest; a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1682. This Play was written in the Times of Whig and Tory, therefore was opposed by Papists and their Adherents, for the sake of their Dear-Joy, Teague O Divelly: but nevertheless there appeared so numerous a party in the Play's Defence, that the Play lived in spight of all their Malice. However, I wish our Author for his own sake, had left out the Character of Smirk, notwithstanding and the Defence he makes for it in the Preface, and his Protestation of having a true value for the Church of England: for 'tis evident that her Sons, the Clergy, are abused in that Character; particularly in the first Scene of the second Act: and therefore Mr. Shadwell must allow me a little to distrust his sincerity, when he makes such large Professions of Respect to Gowns-men; to whom I believe his Obligations are greater than Kindness: otherwise, he would not have suffer'd such reflections to have passed his Pen, as are to be met with in his Squire of Alsatia, and the Epilogue to the Amorous Bigotte, &c. If Mr. Shadwell would therefore take a Friend's Counsel, I would advise him to treat serious things with due Respect; and not to make the Pulpit truckle to the Stage; or Preface a Play, with a a Treatise of Religion: every Man has his Province, and I think the Stating of Passive Obedience, and Non-Resistance, is none of Mr. Shadwell's: He may remember, that Mr. Dryden never miscarried more, than when he inter-meddled with Church Matters; and that all [Page] the Art and Beauty of his Absalom and Achitophel, will hardly make Amends for the Spots and Blemishes that are to be found in his Hind and Panther. But to return to our Subject: Mr. Heywood and Mr. Brome have writ a Play on the same Story with our Author; but how much this exceeds it, will be evident to unbyassed Judges. As to the Magick in the Play, our Author has given a very good Account in his Notes, from the Writings of Delrio, Bodinus, Wierus, &c. and I know nothing that we have in this Nature, in Dramatick Poetry, except Ben. Johnson's Masque of Queens, which is likewise explained by Annotations.

Libertine, a Tragedy acted by his Royal Highnesses Servants; printed 4o. Lond. 1676. and dedicated to William Duke of Newcastle. This Play, if not regular, is at least diverting: which according to the Opinion of some of our First-Rate Poets, is the End of Poetry. The Play is built upon a Subject which has been handled by Spanish, Italian, and French Authors: there being four Plays extant (says my Author) on this Story. I have never seen but one, viz. Molliere's L'Athée Foundroyé, which it appear'd our Author has read. There is a Character in Sir Aston Cockain's Ovid; I mean that of Captain Hannibal, whose Catastrophe is like that of Don John, which (as I have said) may possibly be borrowed from Il Atheisto fulminato.

Miser, a Comedy acted by his Majesties Servants, at the Theatre-Royal; printed 4o. Lond. 1672. and dedicated to the Right Honourable [Page] Charles, Ld Buckhurst, the present Earl of Dorset. This Play the Author confesses is founded on Molliere's L'Avare; which by the way is it self founded on Plautus his Autularia. 'Twas the last Play that was acted at the King's House, before the fatal Fire there: Whoever will peruse this Play, will find more than half writ by our Author, and the French part much improved.

Psyche, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1675. and dedicated to the late James, Duke of Monmouth. This was the first Play that our Author writ in Rhime; and on that Account he found most of the Crambo-Poets up in Arms against it, who look'd upon our Author, as an Incroacher on their Territories; and Were (as he says) very much offended with him, for leaving his own Province of Comedy, to invade their Dominion of Rhime: But as our Author never valu'd himself upon this Play, so his Design at that time, was to entertain the Town with variety of Musick, curious Dancing splendid Scenes, and Machines; and not with fine Poetry, the Audience being not at leisure to mind the Writing. The foundation of this Play, is Apuleius his Aureus Asinus; which the Reader may read in English, under the Title of The Golden Ass, translated by W. Adlington, printed 4o. Lond. 1639. How far he has borrow'd from the French Psyche, he tells you in the Preface, and I leave it to those which have seen it (which I have not) to give Judgment to whom the preference belongs. How much this Opera takes, every Body that [Page] is acquainted with the Theatre knows; and with reason, since the greatest Masters in Vocal Musick, Dancing, and Painting, were concern'd in it.

Royal Shepherdess, a Tragi-comedy acted by his Highness the Duke of York's Servants; and printed 4o. Lond. 1669. This Play (as our Poet owns) was originally Mr. Fountain's of Devonshire; and without descanting on the Play, I shall refer the Reader to the view of Mr. Shadwell's Epistle to the Reader, and the Comparison of both Plays, which are in print, for his satisfaction.

Squire of Alsatia, a Comedy acted by their Majesties Servants; printed 4o. Lond. 1688. and dedicated to the Earl of Dorset and Middlesex. The Ground of this Play, is from Terence his Adelphi; especially the two Characters of Mitio and Demea, which I think are improv'd. If he has not taken notice of having borrowed these Characters, 'tis because he is not beholding to the French, or English for his Model; and that those for whom he chiefly writes, are Persons that are well acquainted with Poets of Antiquity, and need not be informed. 'Tis sufficient for the vulgar Audience, that the Play is taking and divertive, without troubling their Heads whence 'tis borrowed: and all People must allow that no Comedy has found better success than this, since the Restauration of the Theatre.

Sullen Lovers, or The Impertinents; a Comedy acted by his Highness the Duke of York's Servants; printed 4o. Lond. 1670. and dedicated [Page] to the late Duke of Newcastle. The Author owns that he receiv'd a hint from the Report of Molliere's Les Fâcheux, upon which he wrote a great part of his Play, before he saw it. The Play is regular and diverting, and the Author himself has better defended it than I am able to do, nor doth he at any time need a Second; and therefore I refer you to his Preface for Satisfaction.

Timon of Athens, the Man-hater, his History, acted at the Duke's Theatre; made into a Play, printed 4o. Lond. 1678. and dedicated to the late Duke of Buckingham. The Play is originally Shakespear's; but so imperfectly printed, that 'tis not divided into Acts. How much our Author has added, or expung'd, I must leave to the Examination of the less busie Reader; I not having time at present to enquire into particulars.

True Widow, a Comedy acted at the Duke's Theatre; printed 4o. Lond. 1679. and dedicated to Sir Charles Sidley. This Play I take to be as true Comedy; and the Characters and Humours to be as well drawn, as any of this Age.

Virtuoso, a Comedy acted at the Duke's Theatre; printed 4o. Lond. 1676. and dedicated to his Grace the late Duke of Newcastle. I think there is no Body will deny this Play its due Applause; at least I know, that the University of Oxford, who may be allowed Competent Judges of Comedy, (especially of such Characters, as Sir Nicholas Gimcrack, and Sir Formal Trisle) applauded it: and as no Man ever undertook to discover the Frailties of such Pretenders [Page] tenders to this kind of Knowledge, before Mr. Shadwell; so none since Mr. Johnson's Time, ever drew so many different Characters of Humours, and with such Success.

Woman-Captain, a Comedy acted at his Royal Highnesses Servants; printed 4o. Lond. 167— and dedicated to Henry, Lord Ogle, Son to his Grace Henry, Duke of Newcastle. If this Play falls short of the former, at least it wants not variety of Characters, which have gained it a Reputation above what is written by pitiful Poets of the Fourth-Rate, our Author's perpetual Enemies, who are no more to be regarded, than the buzzing of Flies, and Insects in hot Weather; which tho' troublesome, are inoffensive, and without Stings: and for his greatest Enemy; he has imitated the Bee, that with his Malice, has left his Sting behind him. I hope now, our Author is advanced to a Station, wherein he will endeavour to exert his Muse; and having found Encouragement from Majesty it self, aim at writing Dramatick Pieces, equal to those of Antiquity: which however applauded, have been paralelled (I was about to say excelled) by the Comedies of the Admirable Johnson.

I must do Mr. Dryden so much Justice, as to acknowledge, that in Epick Poetry, he far exceeds not only Mr. Shadwell, but most, if not all the Poets of our Age: and I could wish our present Laureat, would not give his predecessor such frequent Advantages over him; but rather confine himself within his own Sphere of Comedy.

[Page]He has several Poems extant, but because his Name is not affix'd to them, I shall mention but Three; viz. The tenth Satyr of Juvenal, translated with Notes, printed 4o. Lond. 1687. A Congratulatory Poem on his Highness the Prince of Orange, coming into England: and another to the most Illustrious Q. Mary, upon her Arrival; both printed 4o. Lond. 1689.

William SHAKESPEAR.

One of the most Eminent Poets of his Time; he was born at Stratford upon Avon in Warwickshire; and flourished in the Reigns of Queen Elizabeth, and King James the First. His Natural Genius to Poetry was so excellent, that like those Diamondsl, which are found in Cornwall, Nature had little, or no occasion for the Assistance of Art to polish it. The Truth is, 'tis agreed on by most, that his Learning was not extraordinary; and I am apt to believe, that his Skill in the French and Italian Tongues, exceeded his Knowledge in the Roman Language: for we find him not only beholding to Cynthio Giraldi and Bandello, for his Plots, but likewise a Scene in Henry the Fifth, written in French, between the Princess Catherine and her Governante: Besides Italian Proverbs scatter'd up and down in his Writings. Few Persons that are acquainted with Dramatick Poetry, but are convinced of the Excellency of his Compositions, in all Kinds of it: and as it would be superfluous in me to endeavour [Page] to particularise what most deserves praise in him, after so many Great Men that have given him their several Testimonials of his Merit; so I should think I were guilty of an Injury beyond pardon to his Memory, should I so far disparage it, as to bring his Wit in competition with any of our Age. 'Tis true Mr. Dryden m has censured him very severely, in his Postscript to Granada; but in cool Blood, and when the Enthusiastick Fit was past, he has acknowledged him [in his Dramatick Essay] Equal at least, if not Superiour, to Mr. Johnson in Poesie. I shall not here repeat what has been before urged in his behalf; in that Common Defence of the Poets of that Time, against Mr. Dryden's Account of Ben. Johnson; but shall take the Liberty to speak my Opinion, as my predecessors have done, of his Works; which is this, That I esteem his Plays beyond any that have ever been published in our Language: and tho' I extreamly admire Johnson, and Fletcher; yet I must still aver, that when in competition with Shakespear, I must apply to them what Justus Lipsius writ in his Letter to Andraeas Schottus, concerning Terence and Plautus, when compar'd; Terentium amo, admiror, sed Plautum magis.

He has writ about Forty six Plays, all which except three, are bound in one Volume in Fol. printed Lond. 1685. The whole Book is dedicated to the Earls of Pembroke and Montgomery: being usher'd into the World with several Copies of Verses; but none more valued [Page] than those Lines made by Ben Johnson; which being too long to be here transcribed, I shall leave them to be perus'd by the Reader, with his Works, of which I shall give some Account as follows.

All's well, that ends well; a Comedy. This Play is founded on a Novel written by Jean Boccacio; see his Nov. Day the 3. Nov. the 9. concerning Juliet of Narbona, and Bertrand Count of Rossilion.

Anthony and Cleopatra, a Tragedy. The Ground of this Play is founded on History: see Plutarch's Life of Anthony; Appian, Dion Cassius, Diodorus, Florus, &c.

As you like it, a Comedy.

Comedy of Errors. This Play is founded on Plautus his Maenechmi: and if it be not a just Translation, 'tis at least a Paraphrase: and I think far beyond the Translation, call'd Menechmus, which was printed 4o. Lond. 1595.

Coriolanus, a Tragedy. This is founded on History: see Livy, Dionysius Hallicarnassaeus; Plutarch's Life of Coriolanus, &c. Part of this Play appear'd upon the Stage seven Years since, under the Title of Ingratitude of a Common-Wealth.

Cromwell, (Thomas Ld.) the History of his Life and Death. This Play is likewise founded on History: See Fox's Martyrology; Fuller's Church History; Stow, Speed, Hollingshead, Herbert, Baker, Dr. Burnet, &c. The Story of Cromwell, and Mr. Frescobald the Merchant, is related in Dr. Hakewell's Apology, and Wanley's History of Man, Book 3. Ch.20.

[Page] Cymbeline his Tragedy. This Play, tho' the Title bear the Name of a King of Brute's Linage; yet I think ows little to the Chronicles of those Times, as far as I can collect, from Graston, Stow, Milton, &c. But the Subject is rather built upon a Novel in Boccace, viz. Day 2. Nov. 9. This Play was reviv'd by Durfey about seven Years since, under the Title of The Injured Princess, or The Fatal Wager.

Henry the Fourth, the First part; with the Life of Henry Percy, sirnamed Hot-spur. This Play is built upon our English History: see the four former Years of his Reign, in Harding, Buchanan, Caxton, Walsingham, Fabian, Polydore Virgil, Hall, Grafton, Hollingshead, Heyward, Trussel, Martin, Stow, Speed, Baker, &c. As to the Comical part, 'tis certainly our Author's own Invention; and the Character of Sir John Falstaff, is owned by Mr. Dryden, to be the best of Comical Characters: and the Author himself had so good an Opinion of it, that he continued it in no less than four Plays. This part used to be play'd by Mr. Lacy, and never fail'd of universal applause.

Henry the Fourth, the Second part; containing his Death, and the Coronation of King Henry the Fifth. For the Historical part, consult the fore-mentioned Authors. The Epilogue to this Play is writ in Prose, and shews that 'twas writ in the Time of Q. Elizabeth.

Henry the Fifth his Life. This Play is likewise writ and founded on History, with a Mixture of Comedy. The Play is continued from the beginning of his Reign, to his Marriage [Page] with Katherine of France. For Historians, see as before, Harding, Caxton, Walsingham, &c. This Play was writ during the time that Essex was General in Ireland, as you may see in the beginning of the first Act; where our Poet by a pretty Turn, compliments Essex, and seems to foretell Victory to Her Majesties Forces against the Rebels.

Henry the Sixth, the First part.

Henry the Sixth, the Second part, with the Death of the Good Duke Humphrey.

Henry the Sixth, the Third part, with the Death of the Duke of York. These three Plays contain the whole length of this Kings Reign, viz. Thirty eight Years, six Weeks, and four Days. Altho' this be contrary to the strict Rules of Dramatick Poetry; yet it must be own'd, even by Mr. Dryden n himself, That this Picture in Miniature, has many Features, which excell even several of his more exact Strokes of Symmetry, and Proportion. For the Story, consult the Writers of those Times, viz. Caxton, Fabian, Pol. Virgil. Hall, Hollingshead, Grafton, Stow, Speed, &c.

Henry the Eighth, the Famous History of his Life. This Play frequently appears on the present Stage; the part of Henry being extreamly well acted by Mr. Betterton. This Play is founded on History likewise. Hollingsh. Hall, Grafton, Stow, Speed, Herbert, Martin, Baker, &c.

Hamlet, Prince of Denmark, his Tragedy. I know not whether this Story be true or false; but I cannot find in the List given by Dr. Heylin, [Page] such a King of Denmark, as Claudius. All that I can inform the Reader, is the Names of those Authors that have written of the Affairs of Denmark and Norway; and must leave it to their further search: such are Saxo-Grammaticus, Idacius, Crantzius, Pontanus, &c. This Play was not many Years ago printed in quarto; all being mark'd, according to the Custom of the Stage, which was cut out in the Action.

John King of England, his Life and Death. For the Plot, see Matth. Paris, R. Higden, Walsingham, Westminster, Fabian, Pol. Virgil, Hollingshead, Grafton, Stow, Speed, &c.

Julius Caesar his Tragedy. This Play is founded on History; see Livy, Plutarch, Suetonius, &c. This Play was reviv'd at the Theatre-Royal, about fifteen Years ago; and printed 4o. Lond. 1684. There is an Excellent Prologue to it, printed in Covent Garden Drollery, p. 9.

Lear King of England, his Tragedy. This Play is founded on History; see such Authors as have written concerning Brutes History, as Leland, Glocester, Huntingdon, Monmouth, &c. But the Subject of this Story may be read succinctly in Milton's History of England, 4o. Book 1. p. 17. &c. This Play about eight Years since was reviv'd with Alterations, by Mr. Tate.

Locrine Eldest Son to King Brutus, his Tragedy. This Tragedy contains his Reign, with the loss of Estrildis and Sabra; which according to Isaacson's Chronology, was twenty Years. For the Authors, consult those aforemention'd, [Page] particularly Milton, Book 1. p. 14. Supplement to Theatre of Gods Judgments, Ch.6. Ubaldino Le vite delle Donne Illustri, p. 7.

London Prodigal, a Comedy. This is One of the Seven Plays which are added to this Volume; which tho' printed all of them in 4o. were never in Folio, till 1685. Two of these, viz. Cromwell and Locrine, we have already handled; the Remaining four, viz. Old-castle, Pericles, Puritan Widow, and Yorkshire Tragedy, shall be treated in their order.

Loves Labour lost, a Comedy: the Story of which I can give no Account of.

Measure for Measure, a Comedy, founded on a Novel in Cynthio Giraldi: viz. Deca Ottava, Novella 51 The like Story is in Goulart's Histoires Admirables de nôtre temps, Tome 1. page 216. and in Lipsii Monita L.2. C.9. p. 125. This Play, as I have observed, was made use of with the Comedy Much ado about nothing, by Sir William D' Avenant, in his Law against Lovers.

Merchant of Venice, a Tragi-comedy.

Merry Wives of Windsor, a Comedy; which Mr. Dryden o allows to be exactly form'd; and it was regular before any of Ben. Johnson's. This is not wholly without the Assistance of Novels; witness Mrs. Ford's conveying out Sir John Falstaff in the Basket of Foul Clothes; and his declaring all the Intrigue to her Husband, under the Name of Mr. Broom; which Story is related in the first Novel of The Fortunate Deceived, and Unfortunate Lovers: which [Page] Book, tho' written since Shakespear's Time, I am able to prove several of those Novels are translated out of Cynthio Giraldi, others from Mallespini; and I believe the whole to be a Collection from old Novelists.

Mackbeth, a Tragedy; which was reviv'd by the Dukes Company, and re-printed with Alterations, and New Songs, 4o. Lond. 1674. The Play is founded on the History of Scotland. The Reader may consult these Writers for the Story: viz. Hector Boetius, Buchanan, Du chesne, Hollingshead, &c. The same Story is succinctly related in Verse, in Heywood's Hierarchy of Angels, B. 1. p. 508. and in Prose in Heylin's Cosmography, Book 1. in the Hist of Brittain, where he may read the Story at large. At the Acting of this Tragedy, on the Stage, I saw a real one acted in the Pit; I mean the Death of Mr. Scroop, who received his death's wound from the late Sir Thomas Armstrong, and died presently after he was remov'd to a House opposite to the Theatre, in Dorset-Garden.

Midsummer Nights Dream, a Comedy. The Comical part of this Play, is printed separately in 4o. and used to be acted at Bartholomew Fair, and other Markets in the Country by Strolers, under the Title of Bottom the Weaver.

Much ado about nothing, a Comedy. I have already spoke of Sir William D' Avenant's making use of this Comedy. All that I have to remark is, That the contrivance of Borachio, in behalf of John the Bastard to make Claudio jealous of Hero, by the Assistance of her Waiting-Woman Margaret, is borrowed from Ariosto's [Page] Orlando Furioso: see Book the fifth in the Story of Lurcanio, and Geneuza: the like Story is in Spencer's Fairy Queen, Book 2. Canto 4.

Oldcastle, the good Lord Cobham his History. The Protagonist in this Play, is Sir John Oldcastle, who was executed in the Reign of King Henry the Fifth: See his Life at large in Fox his Martyrology; Dr. Fuller, and other Writers of Church History, as well as Chronologers.

Othello, the Moor of Venice his Tragedy. This is reckoned an Admirable Tragedy; and was reprinted 4o. Lond. 1680. and is still an Entertainment at the Theatre-Royal. Our Author borrowed the Story from Cynthio's Novels, Dec. 3. Nov. 7. The truth is, Salustio Picolomini in his Letter to the Author, extreamly applauds these Novels, as being most of them fit Subjects for Tragedy; as you may see by the following Lines. ‘Gli Heccatomithi vostri, Signor Cynthio, mi sono maravigliosa mente piaciuti. Et fra le altre cose io ci ho veduti i più belli argomente di Tragedie, che si possano imaginare, & quanto a i nodi, & quanto alle solutioni, tanto felicemente ho viste legate le difficulta, che pure ano impossibili ad essere slegate.’ Mr. Dryden saysp, That most of Shakespear's Plots, he means the Story of them; are to be found in this Author. I must confess, that having with great difficulty obtained the Book from London, I have found but two of those mentioned by him, tho' I have read the Book carefully over.

[Page] Pericles Prince of Tyre; with the true-Relation of the whole History, Adventures, and Fortunes of the said Prince. This Play was publish'd in the Author's Life-time, under the Title of The much Admired Play of Pericles; by which you may guess the value the Auditors and Spectators of that Age had for it. I know not whence our Author fetch'd his Story, not meeting in History with any such Prince of Tyre; nor remembring any of that Name, except the Famous Athenian, whose Life is celebrated by Plutarch.

Puritan, or The Widow of Wattling-street; a Comedy sufficiently diverting.

Richard the Second his Life and Death; a Tragedy, which is extreamly commended even by Mr. Dryden, in his Grounds of Criticisme in Tragedy, printed before Troilus and Cressida: and Mr. Tate, who altered this Play in 1681. says, That there are some Master-touches in this Play, that will vye with the best Roman Poets. For the Plot, consult the Chronicles of Harding, Caxton, Walsingham, Fabian, Pol. Virgil, Grafton, Hollingshead, Stow, Speed, &c.

Richard the Third his Tragedy, with the landing of the Earl of Richmond, and the Battle of Bosworth Field. This Play is also founded on History. See Fabian, Caxton, Pol. Virgil, Hollingshead, Grafton, Trussel, stow, Speed, Baker, &c.

Romeo and Juliet, a Tragedy. This Play is accounted amongst the best of our Author's Works. Mr. Dryden says, That he has read the Story of it in the Novels of Cynthio; which [Page] as yet I cannot find, but set it down in my former Catalogue, relying upon his Knowledge. But I have since read it in French, translated by M. Pierre Boisteau, whose Sir-name was Launay; who says it was writ by Bandello; but not having as yet met with Bandello in the Original, I must acquiesce in his Word. The French Reader may peruse it in the first Tome of Les Histoires Tragicques, extraictes des oeuvres Italiennes de Bandello, imprimé 8o. à Turin 157c.

Taming of the Shrew, a very diverting Comedy. The Story of the Tinker, is related by Pontus Heuteras, Rerum Burdicarum, lib. 4. and by Goulart, in his Hist. Admirables, Tom. 1. p. 360

Tempest, a Comedy, How much this Play is now in Esteem, tho' the Foundation were Shakespear's, all People know. How it took at the Black-fryars, let Mr. Dryden's Preface speak. For his Opinion of Caliban, the Monster's Character, let his Preface to Troilus and Cressida explain. ‘No Man except Shakespear, ever drew so many Charactars, or generally distinguish'd them better from one another, except only Johnson: I will instance but in one, to shew the copiousness of his Invention; tis that of Caliban, or the Monster in the Tempest: He seems here to have created a Person, which was not in Nature; a boldness which at first sight would appear intolerable: For he makes him a species of himself begotten by an Incubus on a Witch; but this is not wholly beyond the bounds of Credibility; at least, the Vulgar (I suppose) still believe it.’ [Page] But this is not the only Character of this Nature that Mr. Shakespear has written; for Merlin, as he introduces him, is cozen-German to Caliban by Birth; as those may observe, who will read that Play. As to the Foundation of this Comedy, I am ignorant whether it be the Author's own Contrivance, or a Novel built up into a Play.

Titus Andronicus his Lamentable Tragedy: This Play was first printed 4o. Lond. 1594. and acted by the Earls of Derby, Pembroke, and Essex, their Servants. 'Twas about the time of the Popish-plot revived and altered by Mr. Ravenscroft. In his Preface to the Reader, he saysq, That he thinks it a greater theft to rob the Dead of their Praise, than the Living of their Money: Whether his Practice agree with his Protestation, I leave to the Comparison of his Works, with those of Molliere: and whether Mr. Shadwell's Opinion of Plagiaries, reach not Mr. Ravenscroft, I leave to the Reader. ‘I (says her ingeniously) freely confess my Theft, and am asham'd on't; tho' I have the Example of some that never yet wrote a Play, without stealing most of it; and (like Men that Lye so long, till they believe themselves) at length by continual Thieving, reckon their stollen Goods their own too: which is so Ignoble a thing, that I cannot but believe that he that makes a common practice of stealing other Men's Wit, would, if he could with the same Safety, steal any thing else. Mr. Ravenscroft, in the Epistle [Page] to Titus, says, That the Play was not originally Shakespear's, but brought by a private Author to be acted, and he only gave some Master-touches to one or two of the principal Parts or Characters: afterwards he boasts his own pains; and says, That if the Reader compare the Old Play with his Copy, he will find that none in all that Author's Works ever receiv'd greater Alterations, or Additions; the Language not only refined, but many Scenes entirely new: Besides most of the principal Characters heightened, and the Plot much encreased.’ I shall not engage in this Controversy; but leave it to his Rivals in the Wrack of that Great Man, Mr. Dryden, Shadwell, Crown, Tate, and Durfey. But to make Mr. Ravenscroft some Reparation, I will here furnish him with part of his Prologue, which he has lost; and if he desire it, send him the whole.

To day the Poet does not fear your Rage,

Shakespear by him reviv'd now treads the Stage:

Under his sacred Lawrels he sits down

Safe, form the blast of any Criticks Frown.

Like other Poets, he'll not proudly scorn

To own, that he but winnow'd Shakespear's Corn;

So far he was from robbing him of's Treasure,

That he did add his own, to make full Measure.

Timon of Athens his Life. This Play was thought fit to be presented on the Stage, with some Alterations by Mr. Shadwell, in the Year 1678. I shall say more of it in the Accounts of his Works. The Foundation of the Story [Page] may be read in Plutarch's Life of M. Anthony; see besides Lucian's Dialogues, &c.

Troilus and Cressida, a Tragedy. Of this Play I have already given an Account: see the Name, in the Remarks on Mr. Dryden, who altered this Play, in the Year 1679.

Twelfth-Night, or What you will; a comedy. I know not whence this Play was taken; but the Resemblance of Sebastian to his Sister Viola, and her change of Habit, occasioning so many mistakes, was doubtless first borrowed (not only by Shakespear, but all our succeeding Poets) from Plautus, who has made use of it in several Plays, as Amphitruo, Maenechmi, &c.

Two Gentlemen of Verona, a Comedy.

Winter's Tale, a Tragi-comedy. The Plot of this Play may be read in a little Stitcht-pamphlet, which is call'd, as I remember, The Delectable History of Dorastus and Fawnia; printed 4o. Lond.—

Yorkshire Tragedy, not so new, as lamentable and true. This may rather deserve the Old Title of an Interlude, than a Tragedy; it being not divided into Acts; and being far too short for a Play.

These are all that are in Folio; there rest yet three Plays to be taken notice of, which are printed in quarto, viz.

Birth of Merlin, or The Child has lost his Father; a Tragi-comedy several times acted with great applause, and printed quarto Lond. 1662. This Play was writ by our Author and Mr. W. Rowly; of which we have already spoken. For the Plot, consult the Authors of those times: [Page] such as Ethelwerd, Bede, G. Monmouth, Fabian, Pol. Virgil, & Stow, Speed, &c. Ubaldino, Le Vite delle Donne Illustri, p. 18.

John King of England his troublesome Reign; the First and Second Part, with Discovery of King Richard Coeur de lyon's Base Son, (vulgarly named the Bastard Fawconbridge.) Also the Death of King John at Swinstead Abbey. As they were sundry times acted by the Queens Majesties Players, printed quarto Lond. 1611. These Plays are not divided into Acts, neither are the same with that in Folio, I am apt to conjecture that these were first writ by our Author, and afterwards revised and reduced into one Play by him: that in the Folio, being far the better. For the Plot, I refer you to the Authors aforementioned, in that Play which bears the same Title.

Besides these Plays, I know Mr. Kirkman ascribes, another Pastoral to him; viz. The Arraignment of Paris: but having never seen it, I dare not determine whether it belongs to him or no. Certain I am, that our Author has writ two small Poems, viz. Venus and Adonis, printed 8o. Lond. 1602. and The Rape of Lucrece, printed 8o. Lond. 1655. publish'd by Mr. Quarles, with a little Poem annext of his own production, which bear the Title of Tarquin banished, or The Reward of Lust. Sr. John Sucklin had so great a Value for our Author, that (as Mr. Dryden observes in his Dramatick Essay) he preferred him to Iohnson: and what value he had for this small Piece of Lucrece, may appear from his Supplement which he writ, and [Page] which he has publisht in his Poems: which because it will give you a taste of both their Muses, I shall transcribe.

I.

One of her Hands, one of her Cheeks lay under,

Cozening the Pillow of a lawfull Kiss,

Which therefore swell'd, & seem'd to part asunder,

As angry to be robb'd of such a Bliss:

The One lookt pale, and for Revenge did long,

Whilst t' other blusht, 'cause it had done the wrong.

II.

Out of the Bed, the other fair Hand was

On a green Sattin Quilt, whose perfect white,

Lookt like a Dazie in a field of Grass,

s And shew'd like unmelt snow unto the sight:

There lay this pretty perdue: safe to keep

The rest o'th' Body that lay fast asleep.

III.

Her Eyes (and therefore it was Night) close laid,

Strove to imprison Beauty till the Morn:

But yet the Doors, were of such fine stuff made,

That it broke through & shew'd it self in scorn;

Throwing a kind of light about the place,

Which turn'd to smiles, still as't came near her Face.

I have now no more to do, but to close up all, with an Account of his Death; which was on the 23d of April, Anno Dom. 1616. He [Page] lyeth Buried in the Great Church in Strasford upon Avon, with his Wife and Daughter Susanna; the Wife of Mr. John Hall. In the North Wall of the Chancel, is a Monument fixed which represents his true Effigies, leaning upon a Cushion, with the following Inscription.

Ingenio Pylum, genio Socratem, arte Maronem,

Terra tegit, Populus moeret, Olympus habet.

Stay, Passenger, why dost thou go so fast?

Read, if thou canst, whom envious Death has plac't

Within this Monument, Shakespear, with whom

Quick Nature died, whose Name doth deck the Tomb

Far more than cost, since all that he hath writ

Leaves living Art, but Page, to serve his Wit.

Obiit An. Dom. 1616. AEt. 53. die 23. Apr.

Near the Wall where this Monument is Erected, lyeth a plain Free-stone, underneath which, his Body is Buried, with this Epitaph.

Good Friend, for Jesus sake, forbear

To dig the Dust enclosed here.

Blest be the Man that spares these Stones,

And curs'd be he that moves my Bones.

Lewis SHARPE.

An Author of a Play, in the Reign of King Charles the Martyr, stiled

[Page] Noble Stranger, acted at the private House in Salisbury Court, by her Majesties Servants; printed 4o. Lond. 1640. and dedicated to Sir Edmund Williams. 'Tis commended by a Copy of Verses, writ by Rich. Woolfall; of which these are part:

—Yet do not fear the danger

Of Critick Readers, since thy Noble Stranger,

With pleasing straines has smooth'd rugged Fate

Of oft-cramn'd Theaters, and prov'd Fortunate:

Smile at their frowns, for I dare boldly say,

Who ere dislikes it, cannot mend thy Play.

If this Play be look'd upon with mild Eyes, it will weigh against some Plays writ in our Time. There is somewhat in the Characters of Pupillus and Mercutio, which might take in this Age: and I believe old Lacy had read this Play, before he writ the Character of several Poets of his Poetical Squire Buffon. In the fourth Act, he has given the Characters of several Poets; particularly of Ben. Johnson, under the Title of a Confident Poetical Wit; as may be guessed from the Epilogue, to Cynthia's Revels;

This from our Author, I was bid to say,

By Jove 'tis good; and if you'l lik't you may.

But I leave this to the Judgment of the Curious Reader; and hasten to the next Poet.

Edward SHARPHAM.

A Gentleman of the Middle-Temple, who liv'd in the Reign of King James the First He writ a Play, called

[Page] Fleire, a Comedy often paly'd in the Black-fryars, by the Children of the Revels; and printed 4o. Lond. 1615. I take the Character of Antifront the Duke of Florence, to be a pattern taken from Hercules Duke of Ferrara: and Marston's Fawne, to be the Father of Sharpham's Fleire; but this I leave to the Judgment of others, to decide they please.

S. SHEPHEARD.

One who lived in the time of the late Unhappy Civil Wars; and whose Loyalty seems to have been far better than his Poetry. He writ in the time of the Prohibition of the Stage, two Pamphlets, which he stiles Comedies; but indeed are no longer than one single Act of a Play, that I have seen. His Comedies are stiled.

Committee-man curried; a Comedy, in two parts, represented to the View of all men. A piece discovering the Corruption of Committee-men, and Excise-men; the unjust Sufferings of the Royal-party; the devilish Hypocrisy of some Roundheads; the Revolt for Gain of some Ministers. Not without pleasant Mirth and Variety; and printed 4o. Lond. 1647. This Title-page led me to great Expectations; but I soon found Horace's Observation true,

Parturient Montes, nascetur ridiculus Mus.

The Author indeed has shew'd his Reading, if not his Fancy: for there is scrace a piece of Sir John Suckling that he has not plundered. [Page] His Aglaura, Goblins, Brenoralt, all have pay'd tribute to our Excise-Poet: neither his Verses, nor Prose have escaped him. This with what he has borrow'd from Sir Robert Stapleton's Translation of Juvenal Sat. 1. and 3. make up the greatest part of the two Comedies. But however I am so far oblig'd by my Charity, and Respect, and good Intention, of asserting Loyalty, to set down his own Apology, in the Prologue to the Second part.

The Author prays you, for to think the Store

Of Wit is wasted by those went before:

And that the Fatness of the Soil being spent,

Men's Brains grown barren, you'd not raise the Rent.

Edward SHERBURN, Esq

A Gentleman (as I suppose) still living, and Famous for his Versions, particularly of Manilius his Sphere, or Five Books of Astronomy, in Fol. Lond. 1675. Besides that famous Work, he has translated two of Seneca's Tragedies; viz.

Medea, a Tragedy, with Annotations; Printed octavo Lond. 1648. to which is added Seneca's Answer to Lucilius his Query, Why Good Men suffer misfortunes. On this Play, see Mr. Stanley's Vindication of the Author, in his Poems octavo, p. 75.

Troades. or The Royal Captives; a Tragedy, with Annotations; printed 4o. Lond. 1679.

These Tragedies I look upon as the best [Page] Versions we have extant, of any of Seneca's; and shew the Translator a Gentleman of Learning, and Judgment. What he writ besides, I know not; tho' there was the 16th Idillium of Theocritus, printed in Tate's Miscellanies, and ascribed to Sir Edw. Sherburn: whether the same Person, I know not.

Thomas SHIPMAN, Esq

A Gentleman not many Years since deceas'd, who (as a Friend of his sayst,) was a Man every way accomplish'd: To the advantage of his Birth, his Education had added whatsoever was necessary to fit him for Conversation, and render him (as he was) desirable by the best Wits of the Age. He was the Author of a Play, called

Henry the Third of France, stabb'd by a Fryar; with the Fall of the Guises; a Tragedy in Heroick Verse, acted at the Theatre-Royal, printed 4o. Lond. 1678. and dedicated to the Right Honourable Henry, Lord Marquess of Dorchester. For the Plot, see Davila, M. Girard D. of Espernon's Life, &c.

Besides this Play, he has a Book call'd Carolina, or Loyal Poems, printed octavo Lond. 1683. which sufficiently evince the Ingenuity and Parts of the Author.

Henry SHIRLEY.

A Gentleman who flourisht in the time of King Charles the Martyr: of whom I can give [Page] no further Account, than that he was the Author of One Play, call'd

Martyred Souldier, a Tragedy sundry times acted with great Applause, at the private House in Drury-lane, and at other publick Theatres, by Her Majesties Servants; printed 4o. Lond. 1638. and dedicated to the Famous Sir Kenelm Digby: by the Publisher J. K. who gave it to the Press, after the Author's Decease; and in his Epistle to the Reader, speaks thus of both. ‘For the Man, his Muse was much courted, but no common Mistress; and tho' but seldom abroad, yet ever much admired at. This Work not the meanest of his Labours, has much adorned not only One, but many Stages, with such general Applause; as it has drawn even the Rigid Stoicks of the Time; who tho' not for pleasure, yet for profit, have gathered something out of his plentiful Vineyard.’ This Play is founded on History, during the time of the Eighth Persecution; see Victor Episc. Uticensis de Vandalica, Persecutione, Isodorus Hispalensis, Baronius, &c.

James SHIRLEY.

A Gentleman, of the same Name and Age with the former; and was (if not Poet Laureat, yet) Servant to her Majesty. One of such Incomparable parts, that he was the Chief of the Second-rate Poets: and by some has been thought even equal to Fletcher himself. He had a great Veneration for his Predecessors, as may be seen by his Prologue to the Sisters; and particularly for Mr. Johnson, whom in an [Page] Epistle to the Earl of Rutland, he stiles, Our acknowledg'd Master, the Learned Johnson: and in all his Writings shews a Modesty unusual, seldom found in our Age; and in this, I cannot refrain from comparing his Carriage, to the Civil and Obliging Gentleman of Rome; I mean Ovid, who speaking of Virgil, in the first of his two Epigrams (if at least they are his which Heinsius questions) says thus:

Quantum Virgilius magno concessit Homero:

Tantum ego Virgilio Naso Poëta meo.

Nec me praelatum cupio tibi ferre poëtäm:

Ingenio si te subsequor, hoc satis est.

I need not take pains to shew his Intimacy, not only with the Poets of his Time; but even the Value and Admiration that Persons of the first Rank had for him; since the Verses before several of his Works, and his Epistles Dedicatory sufficiently shew it. He has writ several Dramatick Pieces, to the Number of 37. which are in print: besides others which are in Manuscript. Of these I have seen four since my Remembrance, two of which were acted at the King's House; and the other two presented at the Duke's Theatre, in Little Lincolns-Inn Fields: viz. Court Secret, Chances, Grateful Servant, School of Compliments: with what success, I leave it to the Players now in being. Permit me to bring you the Testimonium of an Old Writer on the Time-Poets, in behalf of our Author, who delivers this Distich in his praiseu.

[Page]

Shirley (the Morning Child) the Muses bred,

And sent him born with Bays upon his Head.

But I shall cease any further Enlargement on his Commendation, and leave you to the perusal of his Works, which will shew him in his Native Excellence, far better than I am able to describe him, or them: however, take the following Account, for want of a better; and first of those in Quarto, which are Twenty Nine.

Arcadia, a Pastoral acted by Her Majesties Servants, at the Phoenix in Drury-lane, printed 4o. Lond. 1640. This Play is founded on the incomparable Romance written by Sir Philip Sidney, and call'd The Arcadia.

Ball, a Comedy presented by Her Majesties Servants, in the private House in Drury-lane, printed 4o. Lond. 1539. In this Play our Author was assisted by Geo. Chapman, as likewise another (which in its Order) I forgot in his Account to take notice of.

Bird in a Cage, a Comedy presented at the Phoenix, in Drury-lane, and printed 4o. Lond. 16—. This Play is an Excellent Old Comedy, and is dedicated by an Ironical Epistle, to the Famous Mr. William Prinne, that Great Antagonist to Plays. Amongst other Sentences, give me leave to transcribe One, which may give the Reader a taste of the whole. ‘Proceed (Inimitable Mecaenas,) and having such convenient Leisure, and an indefatigable Pegasus, I mean your Prose (which scorneth the Road of Common Sence, and despiseth any [Page] Stile in his Way) travel still in the pursuit of New Discoveries; which you may publish, if you please, in your next Book of Digressions. If you do not happen presently to convert the Organs, you may in time confute the Steeple; and bring every Parish to one Bell.—’

Changes, or Love in a Maze; a Comedy presented at the private House in Salisbury Court, by the Company of His Majesty's Revels; printed 4o. Lond. 1632. This Play is dedicated to the Honourable the Lady Dorothy Shirley, by a Copy of Verses. The passage in the first Act, where Goldsworth examining his Daughters Chrysolina and Aurelia, find them both in Love with Gerard, is better manag'd in the Maiden-Queen: tho' this Play has been received with Success (as I said) in our Time; and as I remember, the deceas'd Mr. Lacy acted Jonny Thump, Sir Gervase Simple's Man, with general Applause.

Chabot (Philip) Admiral of France his Tragedy; presented by Her Majesties Servants, at the private House in Drury-lane; printed 4o. Lond. 1639. This is the Second Play in which Mr. Chapman joyn'd with our Author. For the Plot, see the French Chronologers, and Historians in the Reign of Francis the First; such as Paulus Jovius, Arnoldus his Continuation of Paulus AEmilius, Mart. Longeus, De serres, Mezeray, &c.

Constant Maid, or Love will find out the way; a Comedy acted at the New Play-house, called The Nursery, in Hatton-Garden; printed 4o. Lond. 1667. Hardwell Courting Mrs. Bellamy [Page] the Widow, by the Advice of his Friend Play-fair, is the Subject of several Plays Old and New; as I might instance, were it material: tho' I mention it here, because it occasions most of the business in the Play.

Contention for Honour and Riches; printed 4o. Lond. 1633. I know not what to call this, whether Interlude, or Entertainment; but I think I may call it A Useful Moral; and which being enlarged under the Title of Honoria and Mammon, I shall speak more of anon. 'Tis dedicated to Edward Golding, of Colston in Nottinghamshire, Esq

Coronation, a Comedy, which tho' printed in the Folio Edition of Fletcher's Works, was writ by Shirley; as the Reader may see by the Catalogue of his Six Plays, octavo Lond. 1653.

Cupid and Death, a private Entertainment, represented with Scenes and Musick, Vocal and Instrumental; printed 4o. Lond. 1659. I cannot call to Mind at present, whence the Poet took originally his History, which is the Changing of Arrows between them, which produce dismal Effects: but the English Reader may read the same Story in Ogilby's AEsop's Fables, Vol. 1. Fab. 39.

Dukes Mistress, a Tragi-comedy presented by Her Majesty's Servants, at the Private-house in Drury-lane; and printed 4o. Lond. 1638.

Example, a Tragi-comedy, presented by Her Majesty's Servants, at the Private-house in Drury-lane; and printed 4o. Lond. 1637.

Gamester, a Comedy presented by Her Majesty's [Page] Servants, at the Private-house in Drury-lane; and printed 4o. Lond. 1637. The Intrigue between Wilding and his Kinswoman, his Wife and Hazard, is borrow'd from Ducento Novelle del Signor Celio Malespini secunda parte, Nov. 96. The same Story in Q. Margaret's Novels Day first, Nov. 8. tho' manag'd to greater Advantage by our Poet; and I must do Mr. Shirley this Justice, to say in his behalf, That whatever he borrowes from Novels, Loses nothing in his Hands, any more than in in Mr. Dryden x; tho' our modest Author would never have said so much, were he living.

Gentleman of Venice, a Tragi-comedy, presented at the Private-house, in Salisbury Court, by Her Majesty's Servants; and printed quarto Lond. 1655. This Play is dedicated to the Honourable Sir Thomas Nightinghale, Baronet; and the Intrigue between Florelli, Cornari, and Claudiana, is borrowed (as I suppose) from a Novel out of Gayton's Festivous Notes on Don Quixote: see Book 4. Chap. 6, 7, 8.

Grateful Servant, a Comedy presented with good Applause, in the Private, house in Drury-lane, by Her Majesty's Servants. This Play is dedicated to the Right Honourable Francis, Earl of Rutland; and printed 4o. Lond.— Lodowik's Contrivance to have Piero, tempt his Wife Artella, that he might be Divorc'd, is the same with Contarini's Humour and Contrivance Giotto, in the Humorous Courtier.

Hide Park, a Comedy presented by Her Majesty's Servants, at the Private-house in Drury-lane; [Page] and printed 4o. Lond. 1637. This Play is dedicated to the Right Honourable Henry, Earl of Holland. This was the first Earl of that Name, created in 23. Jac. Apr. 3. and was Beheaded with Duke Hamilton, and the Lord Capel, March the ninth, dying a Martyr to retrive his former forfeited Loyalty to his Prince. To this Earl, I presume, Hide Park once might belong, since the Title was occasion'd by his Command to the Author.

Humorous Courtier, a Comedy presented with good Applause, at the Private-house in Drury-lane; and printed 4o. Lond. 1640.

Lady of Pleasure, a Comedy acted by Her Majesty's Servants, at the Private-house in Drury-lane; and printed 4o. Lond. 1637. This Play is dedicated to the Right Honourable Richard, Lord Lovelace of Hurley. The Plot of Alex. Kickshaw his Enjoying of Aretina, and thinking her the Devil, resembles Lodowick, in Grateful Servant.

Love Tricks, or The School of Compliments; acted by His Royal Highness the Duke of York's Servants, at the Theatre in Little Lincolns-Inn Fields; and printed 4o. Lond. 1667.

Love's Cruelty, a Tragedy presented by Her Majesty's Servants, at the Private-house in Drury-lane; printed 4o. Lond. 1640. and dedicated to Cornet George Porter, and Mr. Charles Porter. The Concealment of Hyppolito, and Chariana's Adultery from her Servant by her Husband Bellamente's Contrivance, is borrow'd from Queen Margaret's Novels, Day 4. Nov. 6. [Page] The like Story is related in Cynthio's Heccatomithi, Dec. terza, Novella sesta.

Maid's Revenge, a Tragedy acted with good Applause, at the Private-house in Drury-lane, by Her Majesty's Servants; printed 4o. Lond. 1639. and dedicated to Henry Osborn, Esquire. The Play is founded on a History, in Mr. Reynolds his God's Revenge against Murther; see Book 2. Hist. 7.

Opportunity, a Comedy presented by her Majesty's Servants, at the Private-house in Drury-lane; printed Lond. — and dedicated to Captain Richard Owen. The Resemblance of Aurelio to Borgia, is founded on the same, with Measure for measure, and other English Plays; all which, as I have observ'd, took their Original from Plautus.

Politician, a Tragedy presented at Salisbury Court, by Her Majesty's Servants; and printed 4o. Lond. 1655. This Play is dedicated to Walter Moyle, Esquire. A Story resembling this, I have read in the first Book of the Countess of Montgomery's Urania, concerning the King of Romania, the Prince Antissius, and his Mother-in-Law.

Royal Master; a Tragi-comedy acted in the New Theatre in Dublin; and before the Right Honourable the Lord Deputy of Ireland, in the Castle; and printed 4o. Lond. 1638. This Play is dedicated to the Right Honourable George, Earl of Kildare; and is accompanied with Ten Copies of Verses, in its Commendation.

Traytor, a Tragedy acted by Her Majesty's Servants; printed 4o. Lond. 1635. and dedicated [Page] to the Right Honourable William, Earl of Newcastle; afterwards Marquess, and Duke. This Play is recommended by a Copy of Verses, writ by Mr. William Atkins, a Gentleman of the Worthy Society of Grays-Inn.

Triumph of Peace, a Masque presented by the Four Honourable Houses, or Inns of Court, before the King and Queen's Majesties, in the Banquetting-house at Whitehal, Feb. the third 1633. The Scene and Ornament was the Contrivance of Mr. Inigo Jones: the Musick was Composed by Mr. William Laws, and Mr. Simon Ives. The Masque is dedicated to the Four Equal Honourable Societies of the Inns of Court; Mr. Shirley being at that time of Grays-Inn. The Masquers went in a Solemn Cavalcade, from Ely House to Whitehall, and the Author himself says, That this Masque, for the Variety of the Shews, and the Richness of the Habits, was the most Magnificent that hath been brought to Court in his Time. 'Tis printed 4o. Lond. 1633. I have a little Piece by me, call'd The Inns of Court Anagrammatist, or The Masquers masqued in Anagrammes; written by Mr. Francis Lenton, One of Her Majesty's Poets; and printed 4o. Lond. 1634. This Piece not only names the Masquers, and of what House they were; but commends each in an Epigram.

Saint Patrick for Ireland, the First part; printed 4o. Lond. 1640. Tho' our Title-page calls it the First part, I know not whether there was ever a Second part printed; tho' the Prologue seems to promise one, in the following Lines:

[Page]

Saint Patrick, whose large Story cannot be

Bound in the limits of One Play, if Ye

First welcome this, you'l grace our Poets Art,

And give him courage for a Second Part.

For the Story, see Bede's Life of St. Patrick; Sigebert, Baronius, Balaeus, Seven Champions of Christendom: His Life in English in Twelves, Lond. 16—

Wedding, a Tragi-comedy acted by Her Majesty's Servants, at the Phoenix in Drury-lane; printed 4o. Lond. 1690. and dedicated to William Gowre, Esquire. This is an Excellent Comedy, considering the Time in which 'twas writ.

Witty Fair One, a Comedy presented at the Private-house in Drury-lane; and printed 4o. Lond. 1633. This Play is dedicated to Sir Edmund Bushel.

Young Admiral, a Tragi-comedy presented by Her Majesty's Servants, at the Private-house in Drury-lane; printed 4o. Lond. 1637. and dedicated to the Right Honourable George, Lord Barkley, of Barkley-Castle.

These are all the Plays that our Author has in print in Quarto; we are now to give an Account of Nine Dramatick pieces printed in Octavo. We shall begin with Six Plays, which are printed together; viz.

Brothers, a Comedy acted at the Private-house in Black-fryars; printed 8o. Lond. 1652. and dedicated to his Noble Friend Thomas Stanley, Esq

Cardinal, a Tragedy acted at the Private-house [Page] in Black-fryars; printed 8o. Lond. 1652. and dedicated to his Friend G. B. Esq

Court Secret, a Tragi-comedy, prepared for the Scene at Black-fryars, but not acted till after it appeared in print; it being printed 8o. Lond. 1653. and dedicated to William, Earl of Strafford, Son and Heir to that Great Soul of Honour, Thomas Lord Lieutenant of Ireland, and the Proto-martyr for Religion and Loyalty, in the Year 1641.

Doubtful Heir, a Tragi-comedy, acted at the Private-house in Black-fryars; printed 8o. Lond. 1652. and dedicated to the Worthily Honoured Friend, Sir Edmund Bowyer. The Queen's Courting Rosania, under the Disguise of a Page, and the King's Surprizing them, has Resemblance to a Story in the English Adventures, 8o. part 3. between King Henry, Izabella, and Horatio.

Imposture, a Tragi-comedy acted at the Private-house in Black-fryars, and printed 8o. Lond. 1652. 'Tis dedicated to Sir Robert Bolles, Baronet.

Sisters, a Comedy acted at the Private-house in Black-fryars, and printed 8o. Lond. 1652. 'Tis dedicated to William Paulet, Esq

Having given an Account of these Six Plays, I am now to speak of Two others, which are printed together in 8o. Lond. 16—viz.

Honoria and Mammon, a Comedy, which is built upon that Entertainment before mentioned, called Contention for Honour and Riches. I shall refer my Reader to the Author's Epistle, for further Satisfaction of the Reason of his Undertakings.

[Page] Contention of Ajax and Ulysses, for the Armour of Achilles. This Interlude was nobly represented (says the Author) by Young Gentlemen of Quality, at a private Entertainment of some Persons of Honour. The Design is taken from Ovid's Metamorphosis, Book the 13. See the beginning.

There rests only his Poems to be spoken of, printed octavo Lond. 1646. to which is added a Masque, call'd

Triumph of Beauty, personated by some Young Gentlemen, for whom it was intended, at a private Recreation. The Subject of this Masque, is that known Story of the Judgment of Paris, upon the Golden-Ball; which you may read in Lucians Dialogues: But our Author has imitated Shakespear, in the Comical part of his Midsummer Nights Dream; and Shirley's Shepheard Bottle, is but a Copy of Shakespear's Bottom, the Weaver.

I shall conclude this Account, with Four Lines writ in our Author's Commendation, by One Mr. Hall; who in the Title of his Panegyrick stiles him, The Surviving Honour and Ornament of the English Scene: and in the End, concludes thus:

Yet this I dare assert, when Men have nam'd

Johnson (the Nations Laureat,) the fam'd

Beaumont, and Fletcher, he, that cannot see

Shirley, the fourth, must forfeit his best Eye.

Sir Charles SIDLEY.

A Gentleman whose Name speaks a greater [Page] Panegyrick, than I am able to express; and whose Wit is so well known to this Age, that I should but tarnish its Lustre, by my Endeavouring to deliver it over to the next: His Wit is too Noble a Subject to need any Herald to proclaim its Titles and Pedigree; or if it did, my Voice and Skill are too weak, to sound out his Praises in their due measures. I shall therefore only content my self, as the Vallys, that have no Voice of their own, to eccho out his Merits at the Second-hand; and give you part of his Character, from a Person whose Honour and Pride it is, to have a considerable share in his Friendship: I mean Mr. Shadwell, who in his Epistle Dedicatory to The True Widow, says, ‘That he has heard him speak more Wit at a Supper, than all his Adversaries, with their Heads joyn'd together, could write in a Year. That his Writings are not unequal to any Man's of this Age, (not to speak of Abundance of Excellent Copies of Verses). That he has in the Mulberry Garden, shown the true Wit, Humour, and Satyr of a Comedy; and in Anthony and Cleopatra, the true Spirit of a Tragedy.’ But least this might be thought Partiality or Flattery in our Laureat, give me leave to transcribe another part of his Character, from an Unquestionable Judge of Poetry, the great Ornament of the Muses, the Lord Rochester, in his Imitation of Horace's Tenth Satyr of the First Book.

Sidley, has that prevailing gentle Art,

That can with a resistless Charm impart,

The loosest Wishes, to the chastest Heart,

[Page]Raise such a Conflict, kindle such a Fire,

Betwixt declineing Virtue, and Desire;

Till the poor vanquisht Maid dissolves away,

In Dreams all Night, in sighs, and tears all Day.

The Plays this Great Wit has oblig'd the World with, are but three; all which appear to be writ with Design (at least they may serve to be) Patterns for succeeding Poets Imitation; which I shall only mention in their Alphabetical Order, viz.

Anthony and Cleopatra, a Tragedy acted at the Duke's Theatre; and printed 4o. Lond. 1677. For the History, see Plutarch's Life of Anthony, Appian, Dion Cassius, Diodorus, Florus, &c.

Bellamira, or The Mistress; a Comedy acted by their Majesties Servants, and printed Lond. 1687. This Play is an Imitation (as the Author informs us) of Terence's Eunucbus.

Mulberry Garden, a Comedy acted by his Majesty's Servants, at the Theatre-Royal; printed 4o. Lond. 1668. and dedicated to Her Grace, the Dutchess of Richmond and Lenox: which Epistle is not the least Ornament to the Play, and shews the Neatness of his Stile in Prose. I dare not say, that the Character of Sir John Everyoung, and Sir Samuel Fore-cast, are Copies of Sganarelle and Ariste, in Molliere's L'Escole des Maris; but I may say, that there is some Resemblance: tho' whoever understands both Languages, will readily, and with Justice give our English Wit the preference: and Sir Charles is not to learn to Copy Nature from the French.

[Page]Give me Leave to conclude, with what the Learned Mr. Evelyn has said, with no less Truth than Ingenuity, (in his Imitation of Ovid's Fifteenth Elegy) of this Excellent Poet, and his Friend Sir George Etheridge:

While Fathers are severe, and Servants cheat,

Till Bawds and Whores can live without deceit,

Sidley and easy Etheridge shall be Great.

John SMITH.

A Gentleman (as I suppose) now living at Snenton in Yorkshire, the Author of a Comedy, call'd Cytherea, or The Enamouring Girdle; printed 4o Lond. 1677. This Play was refused to be acted by the Players of the Duke's Theatre, as you may see by the Epistle Dedicatory to the Northern Gentry. I leave the Play to the Judgment of those that have read it.

William SMITH.

An Author that lived in the Reign of King James the First, who publish'd a Play, call'd

Hector of Germany, or The Palsgrave Prime Elector; an Honourable History, publickly acted at the Red-bull, and at the Curtain, by a Company of Young Men of this City; printed 4o. Lond. 1615. and dedicated to the Right Worshipful Sir John Swinnerton, Lord Mayor of London, in the Year 1611. This Play is not divided into Acts: I am not certain where this Story is to be found; tho' possibly [Page] Albertus Argentinensis, or Henry Monk of Rebdorf, may make some Mention of this Palatin.

Our Author writ another Play, called The Freeman's Honour, to dignify the Worthy Company of Taylors; but whether ever it was printed or no, I know not.

This Author joyned with One W. Webbe, in writing a Book, called The Description of the Counry Palatine of Chester, Lond. 1656. Hieronymo is ascribed by Mr. Philips and Winstanley, thro' their old Mistake, to our Author; it being an Anonymous Play.

Thomas SOUTHERN.

An Author of whom I can give no further Account, than that he has two Plays in print; viz.

Disappointment, or The Mother in Fashion; acted at the Theatre-Royal, printed 4o. Lond. 1684. and dedicated to the Right Honourable James, Earl of Ossory, the present Duke of Ormond. This has somewhat of the Story of The Curious Impertinent, in Don Quixot.

Loyal Brother, or The Persian Prince; a Tragedy acted at the Theatre-Royal, by their Majesties Servants; printed 4o. Lond. 1682. and dedicated to his Grace, the Duke of Richmond. The Play is founded on a Novel, called Tachmas Prince of Persia, octavo.

Thomas STANLEY, Esq

A Gentleman who flourish'd in the Reign of King Charles the First, at Camberloe-Green, in [Page] Hertfordshire. One, who is sufficiently known to all Learned Men, not only for his Skill in Languages, as appears by his several Versions; but by his Great Learning, Exquisite Fancy, and Admirable Judgment. For the One, to wit, his Fancy, he is here mention'd in Quality of a Poet; and the rather because we owe to him the Version of an Excellent Piece of Antiquity, which he calls

Clouds, a Comedy, which he translated from Aristophanes his [...]. This Play, as AElian observes, in his Various History, was writ at the Instigation of Anytas, purposely to abuse Socrates; and is subjoyn'd by our Author to the Life of that Excellent Philosopher, (not as a Comical Divertisement for the Reader, who can expect little in that Kind, from a Subject so ancient and particular; but) as a Necessary Supplement to the Life of Socrates. This Play is printed with Mr. Stanley's History of Philosophy, printed Fol. Lond. 1687. Second Edit. a Work which will always be valued by all Learned Men: In which the Reader will find also translated a Dramma of Ausonins, inscribed Ludus Septem Sapientum.

His Translation of AEschylus his Tragedies into Latin, with his Excellent Comment, printed Fol. Lond. 1664. deserves the highest Commendation: and for his Poems in English; not only those which are properly his own, sufficiently shew his Genius for Poetry: But even his various Translations from the Greek of Anacreon, Moschus; from the Latin of Ausonius, Catullus, Bion, Secundus, Barclaius, to which I may [Page] add Picus Mirandula his Discourse of Platonick Love; from the Spanish of Lope de Vega, Gongora, and Montalvan; the Italian of Guarini, Marino, Tasso, Petrarch, Cassone, Preti, Boscan, &c. the French of St. Amant, Tristan, Ronsard, Theophile, and De Voiture; shew how much he was vers'd in those Languages. His Poems receiv'd several Editions; that which I take to be the best was printed 8o. Lond. 1651.

Besides these Poems, he has in print two little Romances, or Novels, translated from the Spanish of Don Juan Perez de Montalvan, call'd Aurora, Ismenia, and The Prince; which with the Poem of Oronta, translated from the Italian of Signor Girolamo Preti, are printed octavo Lond. 1655.

Sir Robert STAPLETON.

A Gentleman, who I presume is still living. He was well known at Court, by the Honourable Station he was in, being One of the Gentlemen-Ushers of his Majesty King Charles the Second's most Honourable Privy-Chamber: But his Writings have made him not only Known, but Admired throughout all England; and whilst Musaeus and Juvenal are in Esteem with the Learned, Sir Robert's Fame will still survive: the Translation of those two Famous Authors, having plac'd his Name in the Temple of Immortality. As to Musaeus, he had so great a Value for him, that after he had translated him, he built the Story into a Dramatick Poem, call'd

[Page] Hero and Leander their Tragedy; printed 4o. Lond. 1669. and dedicated to the Dutchess of Monmouth. Whether this Play were ever acted or no, I know not, or where; tho' the Prologue and Epilogue, seem to imply that it had appeared on the Stage.

Slighted Maid, a Comedy, written likewise by our Author, and acted with great Applause, at the Theatre in Little Lincolns-Inn Fields, by his Highness the Duke of York's Servants; printed 8o. Lond. 1663. and dedicated to the late Duke of Monmouth. The Epitaph made by Decio upon Iberio and Pyramena, is borrowde from Arria and Petus; see Martial Epigr. L. 1. Ep. L. 4.

Stapleton's Juvenal, the best Edition with Cuts, is printed Fol. Lond. 1663. and his Musaeus, or Hero and Leander in Verse, is printed 8o. Lond. 1647. to which is added Leander's Letter to Hero, and her Answer translated from Ovid's Epistles. Besides these, he Englished Strada de Bello Belgich, printed Lond. 1650. Of these Pieces, Jo. Leigh Esq in his Verses on Carthwright, says thus;

Brave Stapleton translates Old Wit and New;

Musaeus, Juvenal, and Strada too.

I know nothing else that our Author has extant, but a Translation from the French of Mr. De Marmet, Ld of Valcroisant; call'd Entertainments of the Course, or Academical Conversations, printed 8o. Lond. 1658. and Mr. De Bergerac's History of the World in the Moon, in twelves Lond.—

John STEPHENS.

[Page]

An Author that liv'd in the Reign of King James the First, who has published a Play, called

Cynthia's Revenge, a Tragedy, printed 4o. Lond. 1613. This is One of the longest Plays that I ever read, and withall the most tedious. The Author seems to have a great Value for Lucan: for he not only makes King Menander repeat part in the Original, but in the Fourth Act he makes him speak a Speech containing the beginning of the First Book of Lucan, to the 24th Verse; but how far short he falls of Mr. May, I leave to the Readers Judgment. In the Fifth Act, the Poet introduces an Interlude of the Contention of Ajax and Ulysses, for the Armour of Achilles, which I take to be but Indifferent.

He has writ besides a Piece, called Satyrical Essays, in octavo Lond. 1615.

This Play was in former Catalogues ascrib'd to John Swallow; but I believe this to be the Genuine Author.

William STRODE.

A Gentleman that flourish'd in the Reign of King Charles the Martyr, of a Good Family in Devonshire; being Countryman and Collegiate with the Witty Dr. Main. He was enter'd in Christ-Church Colledge in Oxford, at Nineteen Years of Age; and soon after was elected Student. He took his several Degrees, and was [Page] chosen for his Excellent Parts, Oratour of the University. Tho' he was in Orders, he was sent for by the Dean and Chapter, to write a Play, for the Diversion and Entertainment of their Majesties, which was call'd

Floating Island, a Tragi-comedy acted before his Majesty at Oxf. Aug. 1639. by the Students of Christ-Church. The Airs and Songs, were set by Mr. Henry Laws, Servant to his Majesty, in publick and private Musick. This Play was not printed till Eleven Years after the Author's Death, and above Eighteen Years after 'twas acted; being printed Lond. 1655. and dedicated even in Manuscript, and in the Author's Life-time, to his most Honoured Patron Sir John Helle, by a Copy of Verses. This Play was too full of Morality, to please the Court; tho' at the same time 'twas commended by the King; as was apparent by his bestowing a Cannon's Dignity upon him, not long after; at which time he took the Degree of Doctor of Divinity.

'Twas then that he employ'd his Pen in more Serious Studies; and those Three Sermons of his which are extant, shew him a Solid Divine, as well as an Excellent Oratour.

He died the Eleventh of March 1644. and was Buried at Christ-Church.

John STUDLEY.

An Author that liv'd in the Reign of Queen Elizabeth, and who contributed with the other Four Translators already mention'd, (viz. Heywood,[Page]Nuce, Newton, and Nevile) to perfect the Version of Seneca's Tragedies. Our Author had the largest Share in the Work, he having rendred Four into English; viz.

Agamemnon, a Tragedy, of which says Heinsius, Est frugis bonae haec Tragoedia. I shall not pretend to determine of the oeconomy of this Tragedy, but leave it to the Criticks; nor take upon me to discover how much, or how little Seneca has borrowed from Ion and AEschylus; but refer the Reader to Delrio, and others. 'Tis sufficient for me to observe, That the Translator has taken upon him to add a whole Scene at the End of the Fifth Act: tho' upon what Reason I know not, except it be to give an Account of the Death of Cassandra, the Imprisonment of Electra, and the Flight of Orestes; all which was made known before. However, for this purpose the Translator makes choice of Euribates, who in the beginning of the Third Act, brings notice to Clitemnestra, of Agamemnon's Return; possibly to comply with the Poet, who throughout makes no use of a Nuntius in this Play; tho' the Death of Agamemnon be to be discovered by a Narration, but leaves it to Cassandra and Electra, in the Fifth Act.

Hippolytus, a Tragedy, that is extreamly regular in the Three Unities, of Place, Time and Action: and Heinsius, that great Critick, has not stuck to give it the Title of Divine: How near our Translator has approacht the Sense of the Author, I shall leave to others Determination.

[Page] Hercules Oetaeus, a Tragedy, which by some is thought to be an Imitation of Sophocles his TRAXINIAI.

Medea, a Tragedy, in which Seneca has imitated Euripides; and in the Opinion of some, even excelled his Copy. This Play is stiled by One, Alta Medea Senecae, and is likewise regular; as indeed are all Seneca's Tragedies, except his Thebais. Our English Translator, (I know not for what Reason) has alter'd the Chorus of the First Act: whether it was that he thought the Description of an Epithalamium, which the Corinthian Women sing, before the design'd Wedding of Jason and Creusa, were too light a Subject for a Tragedy, or what other Motive he had to substitute his own Thoughts instead of Seneca's, I know not; but must leave him and his Works to the Judgment and Censure of the Criticks.

Sir John SUCKLING.

A Gentleman, whose Admirable Parts made him sufficiently Famous, in the Reign of King Charles the First, to whom he was Comptroller. He was born at Witham, in the County of Middlesex in the Year 1631. and which was Extraordinary, (according to his Mother's Reckoning) in the beginning of the Eleventh Month. Nor was his Life less Remarkable, than his Birth: for he had so pregnant a Genius that he spoke Latin at Five Years Old, and writ it at Nine Years of Age. His Skill in Languages, and Musick, was Remarkable; but above all [Page] his Poetry, took with all the People, whose Souls were polished by the Charms of the Muses: And tho' War did not so well agree with his Constitution; yet in his Travels he made a Campaign under the Famous Gustavus, where he was present at three Battles, five Sieges, and as many Skirmishes: and if his Valour was not so Remarkable, in the North in the beginning of the Wars; yet his Loyalty was conspicuous, by his Expence in the Troop of Horse, which he rais'd, whose Equipage, viz. Horses, Arms and Clothes, were provided all at his own Charge, and stood him in 12000 l. But these passages being at present forreign to my Subject, I shall return to his Poetry; and begin with his Dramatick Pieces, which are Four in Number, viz.

Aglaura, presented at the Private-house in Black-fryars. This Play was first printed in Fol. upon which an Anonymous Satyrist (i. e. Mr. Rich. Brome, see at the Entrance of Covent Garden weeded) made a Copy of Verses; which being too large to be transcrib'd, I shall refer my Reader to a Small Book of Poems, call'd Musarum Deliciae, or The Muses Recreation, where he may find them in the 51st. page. Only by this we may observe the truth of that saying of Ovid y:

Pascitur in vivis livor: post fata quieseit,

Cum suus ex merito quemque tuetur Honos.

This Play is much priz'd at this Day, and has this Remarkable, That the last Act is so altered, [Page] that 'tis at the pleasure of the Actors, to make it a Tragedy, or Tragi-comedy: which was so well approv'd of by that Excellent Poet Sir Robert Howard, that he has followed this president, in his Vestal Virgin.

Brenoralt, or The Discontented Colonel; a Tragedy presented at the Private-house in Blackfryars, by His Majesty's Servants.

Goblings, a Tragi-comedy presented at the Private-house in Blackfryars, by His Majesty's Servants.

Sad One, a Tragedy. This Piece was never finish'd. 'Tis not to be expected that I should give any Account of the Plots, or Thefts in this Author's Works; for his Muse was Young, and Vigorous enough, had she not so soon been cut off by Death, to have brought forth many more Children, without any Assistance, but that of the proper Parent: All that I have further to say is, That these Plays, with the rest of his Works, are printed under the Title of Fragmenta Aurea; or A Collection of all the Incomparable Pieces, written by Sir John Suckling, 8o. There are several Editions of his Works: and the last (as I think) was printed 8O. Lond. 1676. to which are added several Poems, and other Pieces, which were by his Sisters Permission allowed to be published. I shall not pretend to give a Character of his Works, but subscribe to One already printed*; viz. That his Poems are Clean, Sprightly, and Natural; his Discourses Full and Convincing; his Plays well humor'd and Taking; his Letters Fragrant, [Page] and Sparking: only his Thoughts were not so loose as his Expression, witness his Excellent Discourse to My Lord Dorset, about Religion.

This Ingenious Gentleman died of a Feaver, A. D. 164— being about 29. Years of Age: What Excellent Advice he left to his Friends about him, may be read in Mr. Lloyd's Memoirs; nor can I forbear transcribing what that Author writ upon that Subject.

Ne hae zelantis animae sacriores

Scintillulae ipsum unde deciderant spirantes

Coelum, & Author magnus ipsa quam

Aliis dedit careret memoria; Interesse

Posteris putavimus brevem Honoratissimi

Viri Johannis Sucklingii vitam Historia

esse perennandam.

Utpote qui Nobilissima Sucklingiorum Familia Oriundus, cui tantum reddidit, quantum accepit honorem; Nat. Cal. Apr. 1613. Withamiae in Agro Middles. Renatus ibid. Maii 70. and Denatus 164— haud jam Trigessimus, & Scriptu dignissima fecit & factu dignissima scripsit. Calamo pariter & Gladio celebris, pacis artium gnarus & belli.

Gilbert SWINHOE, Esq

A Gentleman, who liv'd in the Reigns of King Charles the First and Second; a Northcountry Man by Birth, (being Born in Northumberland) the Author of a Play, call'd

Unhappy fair Irene her Tragedy; printed 4o. Lond. 1658. This Play is accompany'd with three Copies of Verses in its Commendation; [Page] tho' I think it scarce deserve them. The Play is founded on History: see Knolles his Turkish History, in the Life of Mahomet the First; which Story is the Subject of a Novel in Bandello, which is translated into French by Pierre Boisteau; see Histoires Tragicques, tome premier Nov. 2. The same is translated into English, by Wil. Painter in his Palace of Pleasure, in quarto, Nov. 4o.

T.

Nathaniel TATE.

AN Author now living; who tho' he be allow'd to be a Man of Wit and Parts, yet for Dramatick Poetry, he is not above the common Rank: What he has extant, for the most part is borrow'd; at least we may say, That generally he follows other Mens Models, and builds upon their Foundations: for of Eight Plays that are printed under his Name, Six of them owe their Original to other Pens; as we shall shew in the following Account.

Brutus of Alba, or The enchanted Lovers; a Tragedy acted at the Duke's Theatre, printed 4o. Lond. 1678. and dedicated to the Right Honourable Charles, Earl of Dorset and Middlesex. This Play is founded on Virgil's AEneids, Book the 4th; and was finished under the Names of Dido and AEneas, but by the Advice of some Friends, was transformed to the Dress it now wears.

[Page] Cuckold's Haven, or An Alderman no Conjurer; a Farce acted at the Queen's Theatre, in Dorset Garden; printed 4o. Lond. 1685. and dedicated to Colonel Edmund Ashton. This Play is borrow'd from Johnson's Eastward-hoe, and Devil is an Ass.

Duke and no Duke, a Farce acted by their Majesties Servants; with the several Songs set to Musick, with Thorough-Basses for the Theorbo, or Bass-Viol; printed 4o. Lond. 1685. and dedicated to the Right Honourable Sir George Hewyt. This Play is founded on Sir Aston Cockain's Trappolin suppos'd a Prince.

Ingratitude of a Common-wealth, or The Fall of Caius Martius Coriolanus; acted at the Theatre-Royal, printed 4o. Lond. 1682. and dedicated to the Right Honourable Charles, Lord Herbert, Marquess of Worcester. This Play is borrowed from Shakespear's Coriolanus.

Island Princess, a Tragi-comedy acted at the Theatre-Royal: revived with Alterations; printed 4o. Lond. 1687. and dedicated to the Right Honourable Henry, Lord Walgrave. This Play is Fletcher's Originally.

Loyal General, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1680. and dedicated to Edward Taylor Esquire.

Lear King of England his History; acted at the Dukes Theatre: revived with Alterations; printed 4o. Lond. 1687. and dedicated to Thomas Boteler Esq This Play in the Original, was writ by W. Shakespear.

Richard the Third, a History acted at the Theatre-Royal, under the Name of The Sicilian [Page]Usurper: with a Prefatory Epistle, in Vindication of the Author; occasioned by the Prohibition of this Play on the Stage: printed 4o. Lond. 1681. and dedicated to George Raynford, Esq This Play owns its Birth likewise to Shakespear.

Besides these Plays, our Author has two Volumes of Poems in print. One wholy writ by him, call'd Poems writ on several Occasions, second Edit enlarg'd printed 8o. Lond. 1684. The other call'd Poems by several Hands, and on several Occasions, collected by our Author, and printed octavo Lond. 1685.

John TATEHAM.

An Author that flourish'd in the Reign of King Charles the First; and was (says Mr. Winstanley) the City Poet. If he was not an Extraordinary Wit, at least he was Loyal in the highest Degree, as may appear by his Plays; and equally hated the Rump and the Scots. He has Four Plays in print; Three in quarto, and One printed with his Poems in octavo.

Distracted State, a Tragedy, written in the Year 1641. but not printed till 1651. 4o. and dedicated to John Sidley. This Play suited well with the Times; and his Hatred to the Scots appears in this Play, where he introduces a Scotch Mountebank (in the fourth Act) to poyson Archias the Elected King, at the Instigation of Cleander. This I take to be the best of our Author's Writings.

[Page] Rump, or The Mirrour of the late Times; a Comedy acted many times with great applause, at the Private-house in Dorset Court; printed (the second Edit.) 4o. Lond. 1661. and dedicated to Walter James, of Rambden-House, in Smarden, in the County of Kent, Esq This Play has lately been reviv'd on our Stage, under the Name of The Roundheads.

Scots Figaries, or A Knot of Knaves; a Comedy, printed 4o Lond. 1652. and dedicated to Robert Dormer, Esq Most of this Play is writ in the Scotch Dialect, and displays them to the Life.

Love crowns the End, a Tragi-comedy acted by the Scholars of Bingham, in the County of Nottingham. This Play is not divided into Acts, and is much shorter than most usually are; being fitted purposely, as I suppose, for those Youths than acted it. 'Tis printed with his Poems, call'd The Mirrour of Fancies, in octavo Lond. 1657. and dedicated to Sir John Winter, Secretary of State to his Majesty in his Exile.

Robert TAYLOUR.

An Author, to whose Person and Writings I am wholy a Stranger; only I find in former Catalogues a Comedy ascribed to him, call'd Hog-huth lost his Pearl.

Thomas THOMSON.

Another Author of the meanest Rank, and a great Plagiary; if One of the Plays be [Page] own'd by him, which Mr. Kirkman has ascribed to him; viz.

English Rogue, a Comedy acted before several Persons of Honour with great applause; printed 4o. Lond. 1668. and dedicated to Mrs. Alice Barret.

Mother Shipton her Life, acted Nine Days together with great applause; printed 4o. Lond. 16— I suppose the Occasion of the Success of this Play, was from what he stole; for all the Characters, except what relate to Shipton, are borrow'd; as the Characters of Shift-hose, Monylack, Sir Oliver, Whore-hound, David, &c. are stollen verbatim from Massinger's City Madam, and Middleton's Chast Maid in Cheapside. This Play has not the Author's Name to it, but the two first Letters: it may be he was asham'd to set his Name to other Mens Labours. As to the Story of Shipton, I know not how to direct the Reader, except to an old Book in quarto, call'd The Life and Death of Mother Shipton.

Nicholas TROTT.

An Author, who writ a Tragedy, call'd Arthur, which I never saw: neither can I give any Account of the Author himself, or the time he liv'd in.

Richard TUKE.

An Author, of whom I can give no further Account, than that he writ a Play, call'd

Divine Comedian, or The Right Use of Plays, [Page] improved in a Sacred Tragi-comedy; printed 4o. Lond. 1672. and dedicated to the Right Honourable, and no less Virtuous Mary, Countess of Warwick. This Play was call'd first by the Author, The Soul's Warfare; and is grounded on the Danger of the Soul in this World.

S. TUKE.

A Collonel now living (as I have been inform'd) in Sussex: the Author of One of the best Plays now extant, for Oeconomy and Contrivance; viz.

Adventures of five Hours, a Tragi-comedy, the second Edition; printed 4o. Lond. 1662. and dedicated to the Right Honourable, Henry Howard, of Norfolk: attended with Eight Copies of Verses, writ by very Eminent Persons; as Mr. Cowley, Evelyn, Carlisle, and others. This Play, I believe, ows its Foundation to one in Spanish.

Cyril TURNEUR.

This Author liv'd in the Reign of King James the First, and published Two Tragedies; viz.

Atheist's Tragedy: Of the Date of this Play, or to whom dedicated, I can give no Account, the Title-page and Epistle, (if there were any) of my Copy being lost. The Plot of Levidulcia, her Conveying Sebastian and Fresco out of her Chamber, when she was surpris'd by her Husband Belleforrest's Coming, is borrow'd from Boccace, Day the 7. Nov. the 6.

[Page] Revenger's Tragedy, sundry times acted by the Kings Majesties Servants; and printed 4o.

Of these two Plays, Mr. Winstanley quotes a Distich, I know not from what Author, as follows.

His Fame unto that pitch so only rais'd,

As not to be despis'd, nor too much prais'd.

John TUTCHIN.

An Author of our Times; who has a Pastoral extant, call'd

Unfortunate Shepherd, a Pastoral; printed 8o. Lond. 1685. This Play with the rest of his Poems on several Occasions, and a Piece in Prose, call'd A Discourse of Life, were all printed octavo Lond. 1685.

W.

Lewis WAGER.

A Learned Clerk, living in the begining of the Reign of Queen Elizabeth; who was the Author of an Interlude, call'd

Mary Magdalen, her Life and Repentance; printed in a Black Letter, 4o. Lond. 1567. This Interlude may easily be acted by Four Persons. For the Plot, take an Account from the following Lines; being part of the Prologue, and will give you a Taste of the Author's Stile.

Of the Gospel we shall rehearse a fruitful Story,

Written in the 7th of Luke with words plaine,

[Page]The Story of a Woman that was right sorry,

For that she had spent her Life in sinne vile

and vaine.

By Christ's preaching she was converted againe,

To be truly penitent by hir fruictes she declared,

And to shew hir self a sinner she never spared.

Edmund WALLER.

A Gentleman not many Years deceas'd: whose Name will ever be dear to all Lovers of the Muses. His Compositions are universally applauded; and they are thought fit to serve as a Standard, for all succeeding Poems. He was a Friend to the Ingenious Fletcher; as appears by his Verses, printed at the beginning of those Plays; and was so far a Lover of Dramatick Poetry, that he translated part of a Play, in which the Right Honourable the Earl of Dorset and Middlesex, was concerned; viz.

Pompey the Great, a Tragedy acted by the Servants of His Royal Highness the Duke of York; printed 4o. Lond. 1664.

Besides this Play, he has a Volume of Poems extant, which have been several times reprinted; the Fourth Edition, was printed octavo Lond. 1682. There is newly publish'd a Second part, containing his Alteration of The Maid's Tragedy, and whatsoever of his was left unprinted, publisht octavo Lond. 1690.

George WAPUL.

[Page]

An Author, whose Writings are as unknown as any of the former; to whom is ascribed a Comedy, call'd Tide tarrieth for no Man.

William WAYER.

An Author, of whose Time and Writings I can give no further Account, than that he is accounted the Author of a Comedy, which I never saw, called

The more thou liv'st, the more Fool thou art. There are two other Plays (whose Authors are unknown) ascribed by Mr. Philips and Winstanley, to our Author; viz. Tryal of Chivalry, and Tom Tyler and his Wife: tho' I believe they were never writ by him.

R. WAVER.

The Author of a Play, which I have never seen, call'd Lusty Juventus; who, or whence this Author was, I know not.

John WEBSTER.

An Author that liv'd in the Reign of King James the First; and was in those Days accounted an Excellent Poet. He joyn'd with Decker, Marston, and Rowley, in several Plays; and was likewise Author of others, which have even in our Age gain'd Applause: As for Instance, Appius and Virginia, Dutchess of Malfy, and Vittoria Corrombona; but I shall speak of these in their Order.

[Page] Appius and Virginia, a Tragedy, printed (according to my Copy) 4o. Lond. 1659. I suppose there may be an older Edition than mine; but this is that which was acted at the Duke's Theatre, and was alter'd (as I have heard by Mr. Carthwright) by Mr. Betterton: For the Plot, consult Livy, Florus, &c.

Devil's Law-case, or When Women go to Làw, the Devil is full of business; a Tragi-comedy, approvedly well acted by Her Majesty's Servants; printed 4o. Lond. 1623. and dedicated to Sir Thomas Finch. An Accident like that of Romelio's stabbing Contarino out of Malice, which turned to his preservation, is (if I mistake not) in Skenkius his Observations: At least I am sure, the like happened to Phaereus Jason, as you may see in Q. Val. Maximus, lib. 1. cap. 8. The like Story is related in Goulart's Histoires Admirables, tome 1. page 178.

Dutchess of Malfy, a Tragedy presented privately at the Black-fryars, and publickly at the Globe, by the King's Majesty's Servants; and I have seen it since acted at the Duke of York's Theatre. 'Twas first printed 4o. Lond. 1623. and dedicated to the Right Honourable George, Lord Barkeley, and since reprinted 4o. Lond. 1678. For the Plot, consult Bandello's Novels in French, by Belleforest, N. 19. Beard's Theatre of God's Judgments, Book 2. Ch. 24. The like Story is related by Goulart, in his Histoires admirables de nôtre temps, p. 226.

White Devil, or The Tragedy of Paulo Giordano Ursini, Duke of Brachiano; with the Life and Death of Vittoria Corombona, the Famous [Page] Venetian Curtezan: acted by the Queen's Majesty's Servants, at the Phoenix in Drury-lane; printed 4o. Lond. 1612. and since acted at the Theatre-Royal, and reprinted 1665.

Besides these Plays, our Author has been assisted by Mr. Rowley in two others; which because he had the least part in their Composition, I place to our Author; viz.

Cure for a Cuckold, a Comedy several times acted with great applause; printed 4o. Lond. 1661.

Thracian Wonder, a Comical History several times acted with great applause; printed quarto Lond. 1661.

Mr. Philips has committed a great Mistake, in ascribing several Plays to our Author, and his Associate Mr. Decker; One of which belong to another Writer, whose Name is annexed, and the rest are Anonymous: As for Instance, The Noble Stranger, was writ by Lewis Sharpe; and The New Trick to cheat the Devil, Weakest goes to the wall, and Woman will have her will, to unknown Authors.

John WATSON, Esq

An Author, who in the Reign of King Charles the Second, writ a Play in Heroick Verse, call'd

Amazon Queen, or The Amours of Thalestris to Alexander the Great; a Tragi-comedy in Heroick Verse; and printed 4o. Lond. 1667. The Story of Thalestris may be read in Q. Curtius, lib. 6. c. 5. Just. lib. 3. Strabo lib. 5. &c. Tho' our Author makes her somewhat nice in her [Page] Amours. This Play was never acted, by reason of the Author's hearing of two Plays besides on the same Subject, that were intended for the Stage.

— WHITAKER.

The Author of a Play, call'd Conspiracy, or The Change of Government; a Tragedy acted at His Royal Highness the Duke of York's Theatre; and printed 4o. Lond. 1680. This Play is written in Heroick Verse: as to its Character, I shall leave it to the Judgment of abler Criticks.

Dr. Robert WILD.

A Doctor of the Presbyterian Leven; but yet (who it seems) in his Juvenile Years, was the Author of a Comedy, call'd The Benefice; which was printed 4o. Lond. 1689. His Opinion of the Orthodox Clergy, may easily be collected from this Play; tho' he is beholding to another Play, call'd The Return from Pernassus, or The Scourge of Simony, for his Design. His Poems are well known, octavo 1605.

Leonard WILLAN.

A Gentleman that flourish'd in the Reign of King Charles the Second. This Author publish'd a Play, call'd

Astraea, or True Loves Mirrour; a Pastoral in Verse; printed 8o. Lond. 1651. and dedicated to the Illustrious Princess Mary, Dutchess of Richmond and Lenox. This Play is founded on [Page] the Romance of Astraea, writ by Mr. D'Urfé.

On this Author, Mr. Herrick has writ a Copy of Verses; which the Reader may peruse at leisure, p. 354. of his Poems in octavo.

George WILKINS.

An Author that liv'd in the Reign of King Charles the First, who was the Writer of a single Comedy; besides that in which he joyn'd with Day and Rowley; I mean The Travels of three English Brothers. The Play I am speaking of, is call'd

Miseries of Inforced Marriage, play'd by his Majesties Servants; printed 4o. Lond. 1637. This Comedy has been a great part of it reviv'd by Mrs. Behn, under the Title of The Town Fop, or Sir Timothy Tawdry.

Robert WILMOT.

An Author in the time of Queen Elizabeth, who at the desire of the Gentlemen of the Inner-Temple, compos'd a Play, call'd

Tancred and Gismund their Tragedy, acted before Her Majesty, by the Gentlemen of the Temple; printed 4o. Lond. 1592. and dedicated to the Right Worshipful and Vertuous Ladies, the Lady Mary Peter, and the Lady Anne Grey. This Play is founded on a Story in Boccace; see Day the fourth, Novel the first.

John WILSON.

A Gentleman that liv'd in the Reign of King Charles the Second, if not still alive; whose [Page] Muse has been applauded on the Stage. His Play call'd The Cheats, having the general Approbation of being an Excellent Comedy. He has writ three Plays; in Number of which take the following Account.

Andronicus Comnenus, a Tragedy; printed Lond. 1663. For the Plot, consult Glycas Leunclaius, Chorriates, Cantacusenus, &c.

Cheats, a Comedy written in the Year 1662. and printed 2d Edit. 4o. Lond. 1671. The Author has sufficiently Apologiz'd for this Play, in his Preface, to which I refer you.

Projectors, a Comedy; printed 40. Lond. 1665.

Robert WILSON.

A Gentleman that flourish'd in the time of Queen Elizabeth; and was the Author of a Comedy, call'd

The Coblers Prophecy, printed 4o. Lond. 1655.

Nathaniel WOODS.

An Author that was a Minister in Norwich, in the Reign of Queen Elizabeth; and who writ an Old Comedy, call'd

Conflict of Conscience; containing a most Lamentable Example of the doleful Desperation of a miserable Worldling, by the Name of Philologus; who forsook the Truth of God's Gospel, for fear of the Loss of Life, and worldly Goods. The Actors Names divided into six parts, most convenient for such as be dispos'd either to shew this Comedy in private Houses, or otherwise; printed 4o. Lond. 1581.

John WRIGHT.

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A Writer still living, who has publisht two Plays; the one being writ in Heroick Verse, and the other disguis'd En Travesty. They both bear the same Title, and are bound together; viz.

Thyestes, a Tragedy translated out of Seneca; printed in octavo Lond. 1674. and dedicated to Bennet, Lord Sherrard.

Mock Thyestes, a Farce in Burlesque Verse; and printed 4o. Lond. 1674. In commendation of these two Plays, there is a Copy of Verses, written by Mr. O. Salisbury; which begins thus:

Did Seneca now live, himself would say,

That your Translation has not wrong'd his Play;

But that in every Page, in every Line,

Your Language does with equal splendor shine, &c.

William WYTCHERLEY.

A Gentleman, whom I may boldly reckon amongst the Poets of the First Rank: no Man that I know, except the Excellent Johnson, having outdone him in Comedy; in which alone he has imploy'd his Pen, but with that Success, that few have before, or will hereafter match him. His Plays are four in Number; viz.

Country Wife, a Comedy acted at the Theatre-Royal, and printed 4o. Lond. 1683. This is reckon'd an Admirable Play.

Gentleman Dancing-Master, a Comedy acted [Page] at the Duke's Theatre; and printed in quarto Lond. 1673.

Love in a Wood, or Saint James's Park; a Comedy, acted at the Theatre-Royal, by His Majesty's Servants; printed 4o. Lond. 1672. and dedicated to the Dutchess of Cleveland.

Plain Dealer, a Comedy acted at the Theatre-Royal, by His Majesty's Servants; printed 4o. Lond. 1678. and dedicated to Madam B— Of this Play and its Author, Mr. Dryden says thus: ‘The Author of the Plain Dealer, whom I am proud to call My Friend, has oblig'd all Honest and Virtuous Men, by One of the most Bold, most General, and most Useful Satyrs, which has been presented on the English Theatre.’ But notwithstanding this Admirable Character, I must take the Freedom to alledge, That our Author has borrow'd his chief Characters of Manly and Olivia, from Molliere's Le Misanthrope; that of Major Old-fox, from Scarron's City Romance; and that of Vernish his seizing Fidelia, and discovering her Sex, may possibly be founded on Silvia Molliere's Memoires. But notwithstanding all this, the Play is Excellent in its kind; and the Author's Character is justly drawn by Mr. Evelyn:

As long as Men are false, and Women vain,

While Gold continues to be Virtues bane,

In pointed Satyr Wycherley shall Reign.

Y.

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Robert YARRINGTON.

An Ancient Writer in Queen Elizabeth's Time; who has publisht a Play, call'd Two Tragedies in One. The One, of the Murther of Mr. Beech a Chandler, in Thames-street, and his Boy; done by Thomas Mern: The Other, of a Young Child, murther'd in a Wood by two Ruffins, with the Consent of his Uncle; printed in quarto Lond. 1601.

Supposed Authors.

WE are now arriv'd at those Authors, whose Names are not certainly known, who discover themselves only to their Friends in private, and disguise themselves from the Knowledge of the World by Two Letters only: part of which we shall unriddle in the following Account.

R. A. Gent.

This Author writ a Play, call'd The Valiant Welchman; or The True Chronicle History of the Life and Valiant Deeds of Charadoc, the Great King of Cambria, now call'd Wales. This Play has been sundry times acted by the Prince of Wales his Servants; but printed 4o. Lond. 1663. For the Plot of this Play, 'tis founded on [Page] true History: see Tacitus Annals, Milton's History of England, &c. See besides Ubaldine, Le Vite delle Donne Illustre, p. 6.

H. H. B.

The Author of a Play, call'd The World's Idol, or Plutus; a Comedy, written in Greek by Aristophanes, and translated by our Author; together with his Notes, and a short Discourse upon it; printed octavo Lond. 1650.

P. B. i. e. Peter BELON, Gent.

An Author now living, who is supposed to write a Play, call'd The Mock Duellist, or The French Vallet; acted at the Theatre-Royal, by His Majesty's Servants; printed quarto Lond. 1675. and dedicated to the Virtuous Accomplisht Lady, Madam S. C.

J. C.

The Author of a pleasant Comedy, call'd The two Merry Milk-maids, or The best Words wear the Garland; acted before the King with General approbation, by the Company of the Revels; printed quarto Lond. 16— Part of the Plot of this Play, viz. Dorigene's promise to Dorillus, of Enjoyment when he presented her with a Garland that should contain all sorts of Flowers in January, and the Consequence, is founded on Boccace Day 10. N. 5. and is the Foundation of other Plays; as Fletcher's Four Plays in one, &c.

R. C.

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There are two Plays, which no otherwise discover the Author, than by these two Letters: The first call'd Alphonsus King of Arragon, a History which I never saw; the other nam'd Ignoramus, a Comedy several times acted with extraordinary applause, before the Majesty of King James; with a Supplement which (out of Respect to the Students of the Common Law) was hitherto wanting: Written in Latin by R. Ruggles, sometimes Master of Arts in Clare Hall in Cambridge, and translated by R. C. sometimes Master of Arts in Magdalen Colledge in Oxford; printed 4o. Lond. 1662.

J. D.

The Author of a Comedy, call'd The Mall, or The Modish Lovers; acted by his Majesty's Servants; printed 4o. Lond. 1674. and dedicated to William Whitcom Junior, Esq This Play is ascribed by Dr. Hyde (the Proto-Bibliothecarius to the University) to Mr. Dryden; tho' methinks the Stile of the Epistle Dedicatory, is not like the rest of his Writings.

R. D.

The Author of a Play, call'd New Trick to cheat the Devil, a Comedy, printed 4o. Lond. 1639. The Plot of Fryar John's Discovering the Constable and the Woman's Intrigue, and pretending to conjure for Victuals at the Husband's Return, Act 3. Sc. 1. is the same with [Page] that made use of in the London Cuckolds; and which is related since the Writing of this Play, by M. D'Ouville in his Tales, part. 2. page 257. Slight-all's teaching the Art of Love, to the two Gentlemen, in the second Scene of the first Act, is borrow'd from Ovid De Arte Amandi, Lib. 2.

T. D.

Under these Letters, is a Play in print, call'd The Bloody Banquet, a Tragedy; printed 1620. This Play by some old Catalogues, is ascrib'd to Thomas Basker.

S. H.

Concerning this Author was, I know no more, than that he was a Batchelor of Arts, of Exeter Colledge in Oxford; and writ a Play, call'd Sicily and Naples, or The Fatal Union; a Tragedy, printed 4o. Oxon. 1640. This Play is commended by Seven Copies of Verses, which are prefix'd, most of them being writ by Young Academics.

B. J.

The Author of a Tragedy, call'd Guy of Warwick, which I have once seen in quarto Lond.— and the Gentleman that shew'd it me, told me it was writ by Ben Johnson; tho' by that little I read, I guess'd it to be writ by a Pen far inferiour to that Great Master in Poetry.

E. M.

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The Author of a Tragedy, call'd Saint Cecilie, or The Converted Twins; printed quarto Lond. 1667. This Play was publish'd by Mr. Medbourn, the Comedian, and dedicated to Queen Katherine. For the Plot, consult Ecclesiastical Writers, as Epiphanius, Eusebius, Baronius, &c.

T. P.

Under these Letters, are printed two Plays; One of which is call'd The French Conjurer, a Comedy acted at the Duke of York's Theatre; and printed 4o. Lond. 1678. This Play is founded on two Stories in the Romance of Guzman, the Spanish Rogue; one call'd Dorido and Clorinia: the other, The Merchant of Sevil. The second Play is stiled, A witty Combat, or The Female Victor; a Tragi-comedy acted by Persons of Quality, in Whitson Week, with great applause; printed 4o. Lond. 1663. This Play is founded on the Story of Mary Carleton, the German Princess: See her Life in octavo.

Monsieur P. P.

The Author of an Opera, call'd Ariadne, or The Marriage of Bacchus: being a Vocal Representation, translated out of French, and put into Musick by Mr. Grabut, Master of his Majesty's Musick; and acted by the Royal-Academy of Musick, at the Theatre-Royal in Covent Garden; printed 4o. Lond. 1674. and dedicated to King Charles the Second

S. P.

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An Author, which I take to be Samuel Pordage, who publish'd a Play of Seneca's, with Notes, call'd Troades; to which is annex'd some Poems on several Occasions; all which are printed together octavo Lond. 1660.

T. R.

An Author that publisht a Play, call'd The Extravagant Shepheard; a Pastoral Comedy, translated from the French of M. Corneille Junior; printed 4o. Lond. 1654. and dedicated to Mrs. Thornhill, Wife to Coll. Rich. Thornhill, of Ollantigh in Kent. This Play is founded on a Romance, call'd Lysis, or The Extravagant Shepheard, in Folio.

W. R.

The Author of a Piece, which I never saw, call'd Three Lords and Ladies of London.

Mr. S. Mr. of Arts.

The Author of a Right, Pithy, Pleasant, and Merry Comedy, Entituled Gammer Gorton's Needle; play'd on the Stage near a hundred Year ago, in Christs Colledge in Cambridge; printed in a Black Letter 4o. Lond. 1661.

J. S.

Four Plays are printed under these Letters; viz. a Masque, call'd Masquarade du Ciel, presented to the Great Queen of the Little World; printed 4o. Lond. 1640. and dedicated to the [Page] Queen. A Pastoral, call'd Phillis of Scyros, translated from the Italian of C. Guidubaldo di Bonarelli; and printed 4o. Lond. 1655. A Tragedy, whose Name is Andromana, or The Merchant's Wife; printed 4o. Lond. 1660. This Play is founded on Sr. Phil. Sidney's Romance, call'd Arcadia, in Fol. see the Story of Plangus, p. 155. And a Comedy, call'd The Prince of Priggs Revels, or The Practices of that Grand Thief Captain James Hinde; printed 4o. Lond. 16—

S. S.

The Author of a Play, call'd The Honest Lawyer, a Comedy acted by the Queens Majesty's Servants, and printed 4o. Lond. 1616.

J. T.

Under these Letters, are two Plays; the first call'd Grim the Collier of Croyden, or The Devil and his Dame, with the Devil and St. Dunstan; printed octavo Lond. 1662. This Play is bound with two others, viz. Thorpy Abby, or Marriage Broker, under the Title of Gratiae Theatrales, or A Choice of Ternary of English Plays. The second Play is, L. Annaeus Seneca's Troas, a Tragedy translated from the Latin, and printed 4o. Lond. 1686.

C. W. i.e. Christopher WASE.

An Ingenious Person, lately deceas'd; being one of the Squire Bedles in the University of Oxford. His Skill in Languages, particularly in Latin and Greek, is sufficiently known to the [Page] Learned World. He translated out of Greek the Electra of Sophocles, and presented it to Her Highness the Lady Elizabeth; printed 120. at the Hague 1649. Several Translations besides he has publish'd, as Gratius his Cynegeticon, printed 8o. Lond. 1654. and Prioli's Hist. of France: some of Tully's Orations, and his Latin Dictionary, besides other School-Books; several of which have been often reprinted, and all of them shew his Great Industry and Parts.

E. W.

A Person who was (tho' not the Author, yet) the occasion of the Publication of a Comedy, call'd Apollo Shroving, compos'd for the Scholars of the Free-School of Hadleigh, in Suffolk, and acted by them on Shrove-Tuesday, Feb. 6. 1626. written by the School-Master of Hadleigh, and printed octavo 1627.

J. W.

The Author of a Play, call'd The Valiant Scot; which was printed 4o. Lond. 1637. and dedicated to the Right Honourable James, Marquess Hamilton, by the Publisher or Promoter of the Copy to the Press, Mr. William Bowyer.

L. W.

The Author of a Play, call'd Orgula, or The Fatal Error; a Tragedy, wherunto is annexed a Preface, discovering the true Nature of Poesie, with the proper use and Intention of such publick Divertisements; printed 4o. Lond. 1658. [Page] and dedicated to the most accomplish'd Lady, the Lady Frances Wildegoss.

M. W. Master of Arts.

Another Author, whose Play is bound in the Ternary of Plays: 'tis call'd The Marriage Broker, or The Pander, a Comedy printed 120. 1662.

T. W.

The third Author concern'd in that Volume, having writ a Tragedy, call'd Thornby-Abby, or The London Maid. All these Plays are dedicated to William Austin Esq by R. D. the Publisher.

W. W.

The Translator of a Comedy writ by Plausus, call'd Manaechmi, printed 4o. Lond. 1515. This Author had translated several others in Manuscript, tho' they were never permitted to come abroad in the World.

Unknown Authors.

WE are now come to the last Division of Authors, I mean those whose Modesty, or other Reasons, have hinder'd the publication of their Names: and as we have Decyphered some Authors in the foregoing Division, upon Conjecture, so we shall not pretermit to take Notice of such Plays, whose Authors we can any ways guess at in this. I shall Rank these, as I did the former, in an Alphabetical Method.

A.

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Abdicated Prince, or The Adventures of Four Years; a Tragi-comedy, lately acted at Alba-Regalis, by several Persons of Great Quality; and printed Lond. 4o 1690. This Play contains the Transactions of the Court and Nation, during the Reign of the late King James, under seigned Names: there needs no Clavis, the Persons, being obvious to all Intelligent Persons. The time of the Action is from the Coronation of King James, to the Landing of his present Majesty.

Abraham's Sacrifice, a Play which I never saw, but do believe that it may possibly be a Translation from Theodore Beza.

Alarum for London, or The Siege of Antwerpe; with the Venturous Acts, and Valiant Deeds of the Lame Souldier; play'd by the Right Honourable, the Lord Chamberlain his Servants, printed Lond. 1602.

Albion, an Interlude mention'd by Kirkman, which I never saw.

Albion's Triumph, personated in a Masque at Court, by the King and Queens Majesties, and the Lords, the Sunday after Twelfth-Night, 1631. printed 4o. Lond. 1631. Mr. Inigo Jones had a Share in the Contrivance of this Masque.

Albumazar, a Comedy presented before the King's Majesty at Cambridge, by the Gentlemen of Trinity Colledge; printed 4o. Lond. 1634. This was reviv'd at the King's House, and a Prologue writ by Mr. Dryden: see Miscellan Poems publish'd by him 8o. p. 279.

[Page] Aminta, a Pastoral, translated from the Italian of Torquato Tasso; to which is added Arriadne's Complaint, in Imitation of Anguilara, written by our Translator; both printed in quarto Lond. 1628.

Amorous Gallant, or Love in Fashion; a Comedy in Heroick Verse, as it was acted, and printed 4o. Lond. 1675. This Play has appeared abroad, under the Title of The Amorous Orontus: It is translated from a French Play, written by Th. Corneille, and call'd L'Amour à la mode. It is founded on a Spanish Play, writ by Ant. de Solis, call'd by the same Name, (towit) El Amor al uso.

Amorous Old Woman, or 'Tis well if it take; a Comedy acted by their Majesties Servants, and printed 4o. Lond. 1684. I have been told this Play was writ by Tho. Duffet: 'tis printed with a New Title-page, call'd The Fond Lady.

Arden of Feversham his True and Lamentable Tragedy, who was most wickedly murthered by the means of his disloyal Wife; who for the love she bare to one Mosebie, hired two desperate Ruffins, Black-will and Shak-bag, to kill him: printed 4o. Lond. 1599. in a Black Letter. The Story is to be found in the Reign of Edward the Sixth; see Hollingshead, Goodwin, Hayward, Baker, Beard's Theatre of God's Judgment, Book 2. Ch. 10. Edit. 4. and the second part Chap. 6. added by Dr. Tho. Taylour.

Arraignment of Paris, a Pastoral, which I never saw; but it is ascribed by Kirkman to Mr. W. Shakespear.

B.

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Battle of Aliazar, fought in Barbary, between Sebastian King of Portugal, and Abdelmelech King of Morocco; with the Death of Captain Stukeley: play'd sundry times by the Lord High Admiral's Servants, printed 4o. Lond. 1594. For the Plot, several Authors mention the Story: the English Reader may find it in Heylin's Cosmography, and Fuller's Worthies.

Band, Ruff, and Cuff; an Interlude, which other Catalogues mention, but which I never saw.

Bastard, a Tragedy; printed 4o. Lond. 1652. The Plot of this Tragedy, and part of the Language, concerning Clare, Rodriguez, Balthazar and Mariana, is borrow'd from the Loves of Schiarra and Florelia, in the English Lovers: and Catilina's Supplying her Mistress Mariana's Room on the Wedding Night, is founded on the Story of Roberto and Isdaura, in Gerardo the Unfortunate Spaniard, p. 87.

Bloody Duke, or The Adventures for a Crown; a Tragi-comedy, acted at the Court of Alba Regalis, by several Persons of Great Quality; by the Author of the Abdicated Prince, printed 4o Lond. 1690. This Play comprises the publick Affairs, from the first Discovery of the Popishplot, to the Death of King Charles the Second. The Persons are as easily known as in the former.

C.

Caesar's Revenge, a Tragedy which I never saw.

[Page] Charles the First King of England his Tragedy; printed 4o. Lond. 1649. and dedicated to King Charles the Second, commended by a Copy of Verses.

Combat of Caps, a Masque of which I can give no Account.

Commons Condition, a Comedy which I never saw.

Constant Nymph, or The Rambling Shepheard; a Pastoral acted at the Duke's Theatre, printed 4o. Lond. 1678.

Costly Whore, a Comical History acted by the Company of Revels; printed 4o. Lond. 1633.

Contention between York and Lancaster, with the Death of the Good Duke Humphrey, and the Banishment and Death of the Duke of Suffolk; and the tragical End of the proud Cardinal of Winchester; with the notable Rebellion of Jack Cade, and the Duke of York's first Claim to the Crown: printed 4o. Lond. 1600. This Play is only the Second part of Shakespear's Henry the Sixth, with little or no Variation.

Counterfeits, a Comedy acted at the Duke's Theatre; printed 4o. Lond. 1679. This Comedy is ascribed by some to Leanard; but I believe it too good to be his Writing: 'tis founded on a translated Spanish Novel, call'd The Trapanner trapann'd, octavo Lond. 1655. and I presume the Author may have seen a French Comedy, writ by Tho. Corneille, on the same Subject, call'd D. Caesar D'Avalos.

Counterfeit Bridegroom, or The Defeated Widow; a Comedy acted at His Royal Highness the Duke's Theatre, printed 4o. Lond. 1677. [Page] This Play is only an Old Play of Middleton's, call'd No Wit like a Woman's, printed octavo.

Cromwell's Conspiracy, a Tragi-comedy, which I never saw.

Cruel Debtor, a Play only nam'd by Mr. Kirkman.

Cupid's Whirligig, a Comedy sundry times acted by the Children of his Majesty's Revels; printed 4o. Lond. 1616. and dedicated by the Publisher, to Mr. Robert Hayman. This Play is part founded on Boccace; as for Instance, the Conveyance of the Captain, and Exhibition out of the Lady's Chamber, is founded on the Sixth Novel, of the Seventh Day; and is the Ground-work of many other Plays.

Cyrus King of Persia, a Tragedy mention'd by Kirkman, which I never saw.

D.

Damon and Pythias, a History, of which I can give no Account.

Debauchee, or The Credulous Cuckold; a Comedy acted at his Highness the Duke of York's Theatre, and printed 4o. Lond. 1677. This Play is by some ascrib'd to Mrs. Behn; but is indeed only a Play of Brome's reviv'd, call'd A mad Couple well matcht.

Destruction of Jerusalem, a Play which I never saw; but in the Catalogue printed with the Old Law, 'tis ascrib'd to one Thomas Legge.

Dick Scorner, a Play mention'd in Mr. Kirkman's Catalogue, but which I never saw; nor [Page] do I know what species of Dramatick Poetry it is.

Divine Masque, printed in quarto Lond.— The Title-page of mine is lost, but 'tis dedicated to General Monk, by One Anthony Sadler, who I take to be the Author.

E.

Edward the Third his Reign, a History sundry times play'd about the City of London; printed 4o. Lond. 1599. The Plot is founded on English Chronicles: See Walsingham, M. Westminster, Fabian, Froissart, Pol. Virgil, Hollingshead, Stow, Speed, &c. See besides AEschasius Major, and a Novel call'd The Countess of Salisbury octavo, translated from the French.

Elvira, or The worst not always true; a Comedy written by a Person of Quality, (suppos'd to be the Lord Digby) and printed 4o. Lond. 1667.

Empress of Morocco, a Farce acted by His Majesty's Servants; said to be writ by Thomas Duffet, and printed 4o. Lond. 1674.

English Princess, or The Death of Richard the Third; a Tragedy in Heroick Verse, ascribed to Mr. John Carel, and printed 4o. Lond. 1673. For the Plot, see Fabian, Pol. Virgil, Hollingshead, Grafton, Stow, Speed, Baker, &c.

English-men for Money, or A Woman will have her Will; a pleasant Comedy divers times acted with great applause; printed 4o. Lond. 1626.

Enough's as good as a Feast, a Comedy, which I never saw, but mentioned by Mr. Kirkman.

[Page] Every Woamn in her Humour, a Comedy, printed quarto Lond. 1609.

F.

Factious Citizen, or The Melancholy Visioner; a Comedy acted at the Duke's Theatre; and printed quarto Lond. 1685.

Fair Em, the Miller's Daughter of Manchester; with the Love of William the Conqueror; a pleasant Comedy sundry times publickly acted in the Honourable City of London, by the Right Honourable, the Lord Strange his Servants; printed quarto Lond. 1631.

Fair Maid of Bristow, a Comedy play'd at Hampton, before the King and Queen's most Excellent Majesties; printed quarto Lond. 1605. in a Black Letter.

False Favourite disgrac'd, and the Reward of Loyalty; a Tragi-comedy never acted, printed octavo Lond. 1657. This Play is ascribed to George Gerbier D'Ouvilly.

Fatal Jealousie, a Tragedy acted at the Duke's Theatre, and ascribed by some to Mr. Pane; printed quarto Lond. 1673. Part of the Plot is in Johannes Gigas's Postills: See besides Theatre of God's Judgments, 2d part p. 55. Unfortunate Lovers, Nov. 1.

Feigned Astrologer, a Comedy translated from the French of Monsieur Corneille; and printed 4o. Lond. 1668. The Plot of this Play [which is borrow'd from Calderon's El Astrologo fingido] is made use of in the Story of the French Marquess, in the Illustrious Bassa, when he play'd the part of the Feigned Astrologer.

[Page] Fidele and Fortunatus: I know not what sort of Play it is, whether Comedy or Tragedy, having never seen it; but in Old Catalogues 'tis ascribed to Thomas Barker.

Flora's Vagaries, a Comedy acted at the Theatre-Royal, by His Majesty's Servants: ascribed to Mr. Rhodes, and printed quarto Lond. 1670. This Plot of Orante's making use of the Fryar, to carry on her Intrigue with Ludovico, is founded on Boccace, Day 3. Nov. 3.

Free-Will, a Tragedy, which I know not where or when printed, the Title-page of Mine being lost. 'Twas written Originally in Italian by F. N. B. which I take to be Franciscus Niger Bassentinus, and was translated into English by H. C. that is Henry Cheek. 'Tis printed in an Old English Character.

Fulgius and Lucrelle, a Piece of which I can give no Account having never seen it.

G.

Ghost, or The Woman wears the Breeches; a Comedy writ in the Year 1640. and printed quarto Lond. 1650.

H.

Hell's Higher Court of Justice, or The Tryal of the Three Politick Ghosts, viz. Oliver Cromwell, King of Sweden, and Cardinal Mazarine; printed quarto Lond. 1661.

Histriomastix, or The Player whipt; printed quarto Lond. 1610. This Play was writ in the time of Queen Elizabeth, tho' not printed till afterwards; as appears by the last Speech, [Page] spoken by Peace to Astraea, under which Name the Queen is shadowed.

Henry the Fifth his Victories, containing the Honourable Battle of Agin-court; a History, acted by the Kings Majesties Servants, printed quarto Lond. 1617. For the Plot, see the English Chronicles, as Hollingshead, Stow, Speed, &c.

Hector, or The False Challenge; a Comedy written in the Year 1655. and printed quarto Lond. 1656. I know not the Author of this Play; but I think it may vye with many Comedies writ since the Restauration of the Stage.

Hyppolitus, a Tragedy, which (as I have been told) is printed in octavo, and translated from Seneca by Edmund Prestwith. For the Plot, see the Poets, as Ovid's Epistle of Phaedra to Hyppolitus: his Metamorphosis, Lib. 6. Virgil. AEn. Lib. 7. &c.

Hoffman his Tragedy, or A Revenge for a Father; acted divers times with great applause, at the Phoenix in Drury-lane; and printed 4o. Lond. 1631. This Play was adopted by One Hugh Perry, and by him sent to the Press, and dedicated to his Honoured Friend Mr. Richard Kilvert.

How a Man may chuse a Good Wife from a Bad; a pleasant conceited Comedy, sundry times acted by the Earl of Worcester's Servants; and printed 4o. Lond. 1634. The Story of Anselme's saving of Young Arthur's Wife, by taking her out of the Grave, and carrying her to his Mother's House, is the Subject of other [Page] Plays: and such a Story is related in several Novels; see the 9. Nov. of the Pleasant Companion (printed octavo Lond. 1684.) call'd Love in the Grave. But the Novel which I take to be the foundation of this Play, is in Cynthio Giraldi, Dec. 3. Nov. 5.

I.

Jacob and Esau, an Interlude mentioned in former Catalogues, which I never saw: tho' 'tis easy to guess that 'tis founded on Scripture Story; see Genesis Ch. 25, 26, &c. See besides Josephus Lib. 1. Tornelli Annals, &c.

Jack Drum's Entertainment, or The Comedy of Pasquil and Katherine; sundry times acted by the Children of Paul's, and printed 4o Lond. 1616. Mammon's poysoning Katherine's Face, resembles the Usage of Demagoras to Parthenia, in Argalus and Parthenia.

Jack Juggler, stiled a Comedy by Old Catalogues; of which (having never seen it) I can give no Account.

Jack Straw's Life and Death, a Notable Rebel in England; who was killed in Smith-fields by the Lord Mayor of London: printed quarto Lond. 1593. This Play, I know not for what reason, is divided into but four Acts. For the Plot, see the English Chronicles, as Pol. Virgil, Hollingshead, Stow, Speed, &c. in the Reign of King Richard the Second.

James the Fourth, a History mentioned in former Catalogues, which I never saw; but I suppose the Play is founded on the Story of the King of Scotland of that Name.

[Page] Jeronymo, the First part; with the Wars of Portugal, or The Spanish Tragedy; containing the Life and Death of Don Andraea: a Tragedy, printed 4o. Lond. 1605.

Jeronymo is mad again, or The Spanish Tragedy; containing the Lamentable End of D. Horatio, and Bellimperia; with the pittiful Death of Jeronymo: printed quarto Lond. 1623. This Play has been divers times acted, and several Lines have been quoted out of it, by several Authors; as those may see that will read over Every man in his Humour, Bird in a Cage, Love will find out the way, &c.

Impatient Poverty, stiled a Comedy by some Catalogues. This Play I never saw.

Imperial Tragedy; taken out of a Latin Play, and very much altered, by a Gentleman for his own Diversion; who on the importunity of Friends, consented to have it published, but without his Name: Because many (says he) do censure Plays according to their Opinion of the Author. This Play was printed Fol. Lond. 1669. and has been acted (if I mistake not) at the Nursery in Barbican. For the Story, see Marcellinus, and Cassiodorus, in their Chronicles concerning Zenon. See besides Zonaras, Baronius, Godeau, &c.

Interlude of Youth, an Old, Serious, Instructive Piece; written in Verse, and printed at London in quarto, in an Old Character: As to the Date hereof, or the Title-page, I am ignorant, mine being lost.

John the Evangelist, a Piece which I never saw.

[Page] Joseph's Afflictions, another: tho' the Title-page of both shew the Subject Divine.

Tovial Crew, or The Devil turned Ranter; an Interlude which I never saw; tho' being mentioned in Mr. Kirkman's Catalogue, I could not omit it.

K.

King and Queen's Entertainment at Richmond, after their Departure from Oxford; in a Masque presented by the most Illustrious Prince, Prince Charles, Sept. 12. 1636. printed 4o. Lond. 1636. and dedicated to the Majesty of the Queen of Great Britain, by a Copy of Verses of Ten Lines. The Occasion of the Masque was the Queen's Desire to see the Prince (not much above six Years of Age) dance. The Dances were compos'd by Simon Hopper; the Musick by Mr. Charles Hopper: and the parts of the Captain and Druyd, were acted so well by the then Ld. Buckhurst, and Mr. Edward Sackvile, that it proved that Genuine Action was not so much confined to the Stage, but that a Gentleman might reach it, if not transcend it.

Knack how to know an Honest Man, a Comedy which I could never meet with.

Knack how to know a Knave, a most pleasant and merry Comedy, sundry times play'd by Edw. Allen; with Kemp's Applauded Merriments of the Men of Goteham, in Receiving the King into Goteham: printed quarto Lond. 1594. The Serious part of this Play is the Story of King Edgar, Ethenwald and Alfreda. See Malmesbury, Pol. Virgil, Walsingham, Grafton, Stow, &c. [Page] The Play is printed in Old Black Letter, and lays open the Vices of the Age, being detected by Honesty.

Knave in grain, new vampt; a Comedy acted at the Fortune, many Days together, with great applause; and printed 4o. Lond. 1640. This Play has given Subject to the late Novels, as Julio's Cheating his Drunken Guests (Act 3d) is repeated by Kirkman, in the Third part of the English Rogue Ch. 13. His Cheating the Countryman of the piece of Gold, Act 5th is revived in the Account of the last Frost 1684. in octavo p. 46.

Knavery in all Trades, or The Coffee-House; a Comedy acted in the Christmas Holy-days, by several Apprentices with great Applause; printed quarto Lond. 1664. I know not with what Applause it might be acted privately; but I presume it would not meet with Success on the Stage in Dorset Garden, nay nor in the Nursery, for I can find no Plot in it.

L.

Lady Alimony, or The Alimony-Lady; an Excellent pleasant Comedy; duly authorised, daily acted, and frequently followed: printed 4o. Lond. 1659.

Late Revolution, or The Happy Ghange; a Tragi-comedy acted throughout the English Dominions, in the Year 1688. Written by a Person of Quality, and printed Lond. 1690. This Play begins from the Birth of the late Prince of Wales, to the Arrival of Our present [Page] Majesty at Exeter; and concludes the whole Catastrophe of our late Affairs.

Laws of Nature, a Play which I never saw.

Levellers levelled, or The Independents Conspiracy to root out Monarchy; an Interlude written by Mercurius Pragmaticus; printed quarto 1647. Who this Author is, under this Disguise, I know not: but 'tis easy to discover him a Royalist, by his Dedication to King Charles the Second; and an Enemy to Lilly, the Almanack-maker, whom he lashes under the Name of Orlotto.

Liberality and Prodigality, a Comedy which I can give no Account.

Lingua, or The Combat of the Tongue, and the Five Senses for Superiority; a pleasant Comedy, printed quarto Lond. — Mr. Winstanley says, That the late Usurper Oliver, acted the part of Tactus, in Cambridge, which first inspired him with Ambition: See his Account of Ant. Brewer, to whom (through mistake) he ascribes this Play,

London Chanticleers, a Witty Comedy, full of Various and Delightful Mirth; often acted with great applause, and printed quarto Lond. 1659. This Play, or rather Interlude, for 'tis not divided into Acts, is of the Basse Comedy, writ by the French; the Scene lying entirely amongst Persons of the lowest Rank.

Look about you, a pleasant Comedy, played by the Right Honourable, the Lord High Admiral's Servants, and printed 4o. Lond. 1600. For the Historical part, see the Chronicles in the Reign of King Henry the Second; viz. Pol. Virg. Speed, Baker, Daniel, &c.

[Page] Love in its Extasie, or The large Prerogative; a kind of Royal-Pastoral, written long since by a Gentleman [supposed by Mr. Kirkman, I know not on what ground, to be One Peaps] Student at Eaton; and printed quarto Lond. 1649. The Author was not seventeen Years of Age when this was writ; on which Account I think the Play may pass Muster, with others of those Times.

Lost Lady, a Tragi-comedy, which I never read, or saw but once, and which I remember was printed in Folio.

Love a-la-mode, a Comedy acted with great applause, at Middlesex House; written by a Person of Honour, and printed 4o. Lond. 1663. This Play is justified by the Author, in his Preface, and ushered into the World by three Copies of Verses; nor is the Play altogether undeserving Commendation.

Luminalia, or The Festival of Light; personated in a Masque at Court, by the Queen's Majesty and Her Ladies, on Shrove-Tuesday Night 1637. and printed 4o. Lond. 1637. The Famous Mr. Inigo Jones, Surveyor of Her Majesty's Works, had a Hand in the Contrivance of this Masque, by Her Majesty's Command. The Invention consisting of Darkness and Light: the Night presented the first Antimasque, and the Subject of the Main-masque, is Light. But for the clearer Information of the Reader, I refer him to the Masque it self.

M.

Manhood and Wisdom, a Play mentioned by [Page] other Authors, of which I can give no Account, never having seen it.

Marcus Tullius Cicero, that Famous Roman Orator, his Tragedy; printed quarto Lond. 1651. I know not whether even this Play was acted; but it seems to me to be written in Imitation of Ben. Johnson's Cataline. For the Plot, see Plutarch in his Life: See likewise his own Works, Hist. Ciceroniana, Lambin; as also Dion, Appian, &c.

Marriage of Wit and Science, an Interlude which I never saw.

Masque of Flowers; presented by the Gentlemen of Grays-Inn, at the Court at Whitehall, in the Banquetting-house upon Twelfth-Night 1631. Being the last of the Solemnities and Magnificences which were performed at the Marriage of the Right Honourable, the Earl of Sommerset, and the Lady Frances, Daughter of the Earl of Suffolk, Lord Chamberlain; printed 4o. Lond. 1614. This Masque is dedicated to Sir Francis Bacon, Attorney General to King James the First.

Massenello, (but rightly Tomaso Amello di Malfa, General of the Neopolitans) his Tragedy; or The Rebellion of Naples: printed in octavo Lond. 1631. This Play was written by a Gentleman, who was an Eye-witness where this was really acted, upon that Bloody Stage, the Streets of Naples, An. D. 1647. 'Tis dedicated to Iohn Caesar, of Hyde-Hall, in the County of Hertford Esquire, by his Kinsman T. B. the Publisher. For the Plot, or rather the History, read Alexander Giraffi's History of Naples, [Page] translated by J. Howell: See besides Du Verdier Histoire Universelle, &c.

Mercurius Britannicus, or The English Intelligencer; a Tragi-comedy acted at Paris with great applause, printed 1641. The Subject of this Play is about the Business of Ship-money; the Judges being arraign'd under feigned Names: as for Example, Justice Hutton, is called Hortensius; and Justice Cook, Corvus Acilius: Prin is also introduced under the Name of Prinner. There are but Four Acts, and of the Fifth, the Epilogue gives the following Account. ‘It is determined by the AEdils, the Mistress of publick Plays, that the next Day (by Jove's Permission) the Fifth Act shall be acted upon Tyber; I should say Tyburne, by a New Society of Abalamites. Vive le Roy.’

Merry Devil of Edmonton, a Comedy acted sundry times by his Majesty's Servants, at the Globe on the Bank-side, and printed 4o. Lond. 1655. This Play is said by Kirkman, to be writ by Shakespear; tho' finding no Name to it, I have plac'd it amongst those that are Anonymous. This Play is founded on the History of One Peter Fabel, of whom see Fuller's Worthies in Middlesex, p. 186. See other Chronicles in the Reign of Henry the Sixth.

Morning Ramble, or The Town Humours; a Comedy acted at the Duke's Theatre, printed 4o. Lond. 1673. This Play is said to be written by One Mr. Pane, and may be accounted a good Comedy.

Mucedorus, the King's Son of Valencia, and Amadine the King's Daughter of Arragon; with [Page]the Merry Conceits of Mouse: a Comedy acted by his Highness's Servants at the Globe, and before the King's Majesty at Whitehall on Shrove-Tuesday Night; printed 4o. 1668. This Play is said by former Catalogues to have been writ by Shakespear; and was, I presume, printed before this Edition. It has been frequently the Diversion of Country-people, in Christmas Time.

Muse of New-market, containing Three Drolls; viz. Merry Milk-maids of Islington, or The Rambling Gallants defeated: Love lost in the Dark, or The Drunken Couple: Politick Whore, or The Conceited Cuckold: acted at New-market, and printed quarto Lond. 1681. All these Three Drolls are stollen (as I remember) from Plays: but not having them by me, I cannot tell the particulars.

Mistaken Beauty, or The Lyar; a Comedy acted by their Majesties Servants, at the Theatre-Royal, printed quarto Lond. 1685. This Comedy is translated from a Play of P. Corneilles, call'd Le Menteur.

N.

Nero's Tragedy, printed Lond. in quarto. This Play was in former Catalogues call'd Nero newly written; because 'twas writ after that of Claudius Tiberius Nero; which through Kirkman's want of Knowledge in History, he call'd Nero's Life and Death: which led me into the same Mistake, till I came to read both Plays. I know not when either of them were printed or when printed, the Title-pages of [Page] both my Plays being wanting. For the History of Domitius Nero; consult Suetonius in Vit. Neronis Aurelius Victor. Tacitus, Sulpitius Severus, Augustinus de Civit. Dei, Eusebius, &c.

New Custom, an Interlude no less witty (if we believe the Title-page) than pleasant; printed in a Black Letter, quarto Lond. 1573. This Play is so contriv'd, that Four Persons may act it; and the Design of it is against Propery, and to justify Reformation, which then flourished in Queen Elizabeth's Reign. This Play consists of 3. Acts, but is written in Verse throughout: so that had Mr. Dryden a ever seen this Play, he might better have quoted it than Gondibert, (which besides being writ seventeen Years before this, is not in Rime) to prove the Antiquity of Verse.

New-market Fair, a Tragi-comedy in Two parts; the First of which I never saw: but the Second part I have by me, and the Title of it is, New-market Fair, or Mistress Parliaments New Figaries; written by the Man in the Moon, and printed at You may go look, in quarto 1649. The Design of it is to expose the Rebels then in power.

Nice Wanton, a Comedy, which I never saw.

No Body, and Some Body; with the true Chronicle History of Elydure, who was fortunately three several times crown'd King of England: acted by the Queen's Majesties Servants, and printed quarto Lond.— For the Historical part of this Play, consult Grafton, Hollingshead, Pol. Virgil, Lloyd, &c. 'Tis not devided into Acts.

O.

[Page]

Old Wives Tale, a Play of which I can say nothing, having never seen it.

Orlando Furioso, One of the Twelve Peers of France, his History: acted before the Queen's Majesty, and printed quarto Lond. 1594. This Play is not divided into Acts; but is founded upon the Epick Poem of Ariosto, so called, and translated into English by Sir John Harrington.

P.

Pastor Fido, or The Faithful Shepheard; a Pastoral, translated out of Italian into English, printed quarto Lond. 1602. This was the first Version of the Famous Guarini into English; and was Excellent for those Times. The Author, tho' his Name be unknown, was nearly related to Sir Edward Demock, Queen Elizabeth's Champion; to whom after the Author's Decease, the Bookseller dedicated it.

Pathomachia, or The Battle of Affections, shadowed by a Feigned Siege of the City Pathopolis: printed quarto Lond. 1630. This Play was written some Years before; and published by Fr. Constable, a Friend of the Deceas'd Author's, and by him dedicated to the Lord Hundsdon. This is the same Play with that called Love's Loadstone.

Patient Grissel, a Comedy, (say ancient Authors) which tho' I never saw, I presume is founded on that Famous Story in Boccacio, I mean the last Novel in his Book.

[Page] Pedlers Prophecy, a Comedy, mentioned in former Catalogues, of which I can give no Account.

Philotus, a very Excellent and Delectable Comedy (as we are told in the Preface) wherein we may perceive the great Inconveniencies that fall out in the Marriage between Old Age, and Youth. This Play is printed at Edinburgh, in an Old Black Letter, An. Dom. 1612. Some People have mistaken this Play for Daniel's Philotas; but this is of a different Subject, and kind of Verse, and is printed in Stanzas.

Pinder of Wakefield, a Comedy, which I have once seen; printed in 4o. (as I remember) Lond. 1632. or thereabouts.

Piso's Conspiracy, a Tragedy acted at the Duke's Theatre; printed 4o. Lond. 1676. This Play is only the Tragedy of Nero (before mention'd) Reviv'd, and printed verbatim. For the Plot, see Suetonius, Tacitus, &c.

Presbyterian Lash, or Noctroffe's Maid whipt; a Tragi-comedy, acted in the Great Room at the Pye Tavern at Algate, by Noctroff the Priest, and several of his Parishioners, at the Eating of a Chine of Beef. The First part printed for the use of Mr. Noctroffe's Friends. This Play is dedicated to Mr. Zach. Noctroffe, by F.K. which I take to be Fr. Kirkman. I know not whether ever there were a Second part extant, or no.

Promises of God manifested; this I never saw.

Promus and Cassandra, in Two parts. These are mention'd in other Catalogues, though I can give no Account of either.

Q.

[Page]

Queen, or The Excellency of her sex; an Excellent Old Play, found out by a Person of Honour, and given to the Publisher, Alexander Goughe; printed 4o. Lond. 1653. This Play is dedicated by him to the Lady Katherine Mohun, Wife to Lord Warwick Mohun, Baron of Oakehamton. This Publisher is applauded by two Copies of Verses before the Play. The Plot of Salassa's Swearing Velasco not to fight, is founded on a Novel, said to be Bandello's, which the Reader may peruse in Les Dixhuit Histoires Tragicques, par Fr. De Belleforest, 8o. Nov. 13, p. 285.

R.

Rampant Alderman, or News from the Exchange; a Farce, printed quarto Lond. 1685. This Farce is patcht up out of several Plays, as Fine Companion, &c.

Reformation, a Comedy acted at the Duke's Theatre, and printed 4o. Lond. 1673. This Play is ascribed to Mr. Arrowsmith; and is a very good Comedy.

Rehearsal, a Comedy acted at the Theatre-Royal; printed [4th Edit.] quarto Lond. 1683. This Play is ascribed to the Late Duke of Buckingham, and will ever be valued by Ingenious Men. There are some who pretend to furnish a Clavis to it; my Talent not lying to Politicks, I know no more of it, than that the Author lashes several Plays of Mr. Dryden; as [Page] Conquest of Granada, Tyranick Love, Love in a Nunnery; and some passages of other Plays; as The Siege of Rhodes, Virgin Widow, Slighted Maid, Villain, English Monsieur, &c.

Religious Rebel, a Tragi-comedy in quarto, which I have only once seen; but can give no Account of.

Return from Parnassus, or The Scourge of Simony; a Comedy publickly acted by the Students of St. John's Colledge in Cambridge, printed quarto Lond— In this Play, the Poets of those times are censured: and this is the Original of Dr. Wild's Benefice, which is now in print.

Revenge, or A Match in New-gate; a Comedy acted at the Duke's Theatre, and printed quarto Lond. 1680. This Play is ascribed to Mrs. Behn; but is indeed a Play of Marston's revived, and called The Dutch Curtezan.

Rivals, a Tragi-comedy in quarto, which at present I have not; but have heard Mr. Cademan, for whom (as I think) it was printed, say it was writ by Sir Will. D' Avenant.

Robin Hood's Pastoral May Games; which I know not.

Robin Hood, and his Crew of Souldiers; of the same Stamp, and which I never saw.

Romulus and Hersilia, or The Sabine War; a Tragedy acted at the Duke's Theatre, and printed quarto Lond. 1683. For the Plot, see Livy, lib. 1. Ovidii Met. lib. 14. Plut. in Vit. Romuli; Florus, Dionysius Hallicarnassaeus, Velleius Paterculus, Eutrop. &c.

Royal Masque at Hampton-Court, presented [Page] on Sunday Night, being the Eighth of January 1604. and personated by the Queen's Most Excellent Majesty, attended by Eleven Ladies of Honour; printed quarto Lond. 1604.

Royal Voyage, or The Irish Expedition; a Tragi-comedy, printed quarto Lond. 1690. The Subject of this Play is known by the Title.

S.

Salmacida Spolia, a Masque presented by the King and Queen's Majesties, at Whitehall on Tuesday, the 21st of January 1639. and printed quarto Lond. 1639. The Invention, Ornament, Scenes, and Machines, with their Descriptions, were made by Mr. Inigo Jones, Surveyor General of His Majesty's Works. What was spoken, or sung, by Sir Will. D'Avenant; and the Musick was compos'd by Mr. Lewis Richard, Master of Her Majesties Musick.

Sicelides, a Piscatory, acted in Kings Colledge in Cambridge; and printed quarto Lond. 1631. The Serious parts of this Play, are most writ in Verse; with Chorus's between the Acts. Perindus, telling to Armillus the Story of Glaucus, Scylla, and Circe, Act 1. Sc. 4. is taken from Ovid's Met. lib. 13. Atychus fighting with, and killing the Ork, that was to have devoured Olynda, is an Imitation of Perseus & Andromeda, Ovid, Met. lib. 4. or else Orlando Furioso, Book eleventh.

Shoomaker's Holyday, or The Gentle-Craft; with the Humorous Life of Simon Eyre, Shoomaker, and Lord Mayor of London: a Comedy [Page] acted before the Queen's most Excellent Majesty, on New-Year's Day at Night, by the Right Honourable the Earl of Nottingham, Lord High Admiral his Servants; printed 4o. Lond. 1657. This Play is dedicated, To all Good Fellows, Professors of the Gentle-Craft, of what Degree soever. For the Plot, I can direct you to no other but the Book of the Gentle-Craft, in Quarto.

Siege of Constantinople, a Tragedy acted at the Duke's Theatre; and printed quarto Lond. 1675. For the Plot see Chalcocondylas, Constantinopolis a Mahammada, Secund. Expugnata. Paulus Jovius, Hen. Pantaleon, Knolles, &c.

Sir Clyomon, Knight of the Goledn-shield, Son to the King of Denmark; and Clamydes, the White Knight, Son to the King of Swavia, (both Valiant Knights) their History: printed quarto Lond. 1599. This Play is written in Old Fashion'd Verse, and is very heavy in Reading.

Sir Gyles Goose-cappe, Knight; a Comedy acted with great applause, at the Private-house in Salisbury Court; printed quarto Lond. 636. and dedicated by the Publisher Hugh Perry, to Rich. Young Esq of Wooley-Farm, in the County of Berks.

Sir Salomon, or The Cautious Coxcomb; a Comedy acted at his Royal Highness the Duke of York's Theatre; printed 4o. Lond. 1671. This Play is Originally French, being a Translation from Moliere's L'Ecole des Femmes. It was translated (as I have heard) by John Carell; and own'd in the Epilogue as a Translation.

[Page]

What we have brought before you was not meant

For a New Play, but a new Precedent;

For we with modesty our Theft avow,

(There is some Conscience shewn in stealing too)

And openly declare, that if our Cheere

Doth hit your Palates, you must thank Molliere.

This Play was frown'd and pelted at, (to use the Author's own Expression) by many Persons, who thought themselves Criticks: but notwithstanding it met with Success in the Action: And the Author has sufficiently justified his Play, in his La Critique de L'Ecole des Femmes, to whom I refer the Reader.

Solyman and Perseda, their Tragedy; wherein is laid open Love's Constancy, Fortune's Inconstancy, and Death's Triumphs: printed quarto Lond. 1599. This Play, I presume was never acted, neither is it divided into Acts.

Sophister, a Comedy printed 4o. 1638. I know not where this was acted, or printed, the Title-page of my Play being lost.

Spanish Bawd, represented in Celestina; or Calisto and Melibea; a Tragi-comedy, wherein is contained, besides the Pleasantness and Sweetness of the Stile, many Philosophical Sentences, and profitable Instructions, fit for the Younger Sort: Shewing the Deceits and Subtilties housed in the Bosom of false Servants, and Cunny-catching Bawds: printed Fol. Lond. 1631. This Play is originally Spanish, and translated into English by a Spaniard, One Don Diego Puede-ser; and by him dedicated to Sir Thomas Richardson: the same Author translated [Page] Miguel de Cervantes his Exemplary Novels, Fol. Lond. 1664.

Step-mother, a Tragi-comedy acted with great applause, at the Theatre in Little Lincolns-Inn-Fields, by his Highness the Duke of York's Servants; printed quarto Lond. 1664.

Strange Discovery, a Tragi-comedy, printed in quarto. I know not when this Play was acted, or where printed, mine having not the Title-page: but I know very well that both the Plot and the Language is borrowed from Heliodorus his AEthiopick History; which I take to be One of the most Ancient (if not the first) Romances extant.

Susanna's Tears, a Play which I never saw.

Swetnam, the Woman-hater, arraign'd by Women; a Comedy acted at the Red-Bull, by the Queen's Servants; and printed quarto Lond. 1620. Tho' this Play seems designed chiefly as a Scourge for Joseph Swetnam's Scandalous Pamphlet against the Female Sex, called The Arraignment of lew'd, idle, froward, and unconstant Woman, printed quarto Lond. 1617. Yet the Play is founded on Story much elder, which I have read in Spanish in Twelves, and is Intitled, Historia de Aurelia, y Isabella Hija del Rey de Escotia, donde se disputa quien da mas occasion de peccar, el Hombe a la muger, o la muger al Homber.

T.

Tempe restored, a Masque presented by the Queen and Fourteen Ladies, to the King's Majesty [Page] at Whitehall; on Shrove-Tuesday 1631. and printed quarto Lond. 1631. This Masque is founded on the Story of [...]irce: see Ovid's Metamorphosis, Book 14. The Verses were writ by Mr. Aurelian To [...]nsend: The Subject and Allegory of the Masque, with the Descriptions and Apparatus of the Scenes, were invented by Mr. Inigo Jones, Surveyor of His Majesties Works.

Thersites. an Interlude, which I never saw.

Tom Essence, or The Modish Wife; a Comedy acted at the Duke's Theatre; printed 4o. Lond. 16—. This Play is founded on two French Plays, viz. Molliere's Sganarelle, ou Le Cocu Imaginaire; and Tho. Corneille's D. Caesar D'Avalos, in the part of Love-all's Intrigue with Luce: without the Reader will suppose that he follow'd a Spanish Novel, call'd The Trapanner trapann'd: and for the Business of Tom Essence and his Wife, copyed Sir William D'Avenant's Play-House to be Let, Act fifth, which is a Translation from the former. This Play is said to be writ by One Mr. Rawlins.

Tiberius (Claudius Nero) his Tragical Life and Death; a Tragedy in quarto. This Play used to be placed under the Title of Nero's Life and Death; which made People mistake it for the Life of Nero Caesar, who was the Sixth Emperour of Rome: this being the Third, I know not when this Play was printed, or where acted, mine wanting the Title-page: but for the Plot, read Suetonius, Tacitus, Dion, Victor, Eutropius, &c.

Tom Tyler, and his Wife; an Excellent Old [Page] Play acted about a Hundred and thirty Years ago, and printed quarto Lond. 1661. This Play is printed in an Old English Letter, and is writ in a kind of Burlesk Verse, where the Author affects an odd sort of Chiming, in the middle of each Line. The Design of the Play, is to represent a Shrew, and teach the way to humble her. The Plot of this Play has some Resemblance with Mr. Poisson's Le Sot vengé.

Traytor to himself, or Man's Heart his greatest Enemy; a Moral Interlude, in Heroick Verse; Representing the Careless, Hardned, Returning, Despairing, and Renewed Heart: with Intermasques at the Close of each several Act. Acted by the Boys of a Publick School at a Breaking-up; and published so as it may be useful, on the like Occasion: printed Oxon. 1678. I find nothing Remarkable in this Play, but that 'tis writ without Womens parts; which the Author says he never thought fit to put on Boys. I remember not any Play, but Plautus his Captivei, that is thus writ; and yet notwithstanding it is generally accounted an Admirable Play.

True Trojans, or Fuimus Troes; being a Story of the Britains Valour at the Romans first Invasion: publickly presented by the Gentlemen Students of Magdalen Colledge in Oxford; and printed quarto Lond. 1633. For the Plot or Story, the Author has follow'd Livy, lib. 3. Caesar's Commentaries, lib. 4. & 5, and Galfridus Monumetensis, lib. 4. as you may see by the perusal of the Drammatis Personae.

Tryal of Chivalry; a Play, of which I can [Page] give no Account, having never seen it.

Tryal of Treasure; a Play, to which I am as much a stranger.

Tunbridge Wells, or A Days Courtship; a Comedy acted at the Duke's Theatre, and printed quarto Lond. 1678. This is said (in the Title-page) to be writ by a Person of Quality: tho' I have been told it was writ by Mr. Rawlins: But whoever was the Author, 'tis certainly inferiour to Epsom Wells, in point of Humour and Repartee.

Tyrannical Government, another Play, which I never saw.

U.

Unfortunate Usurper, a Tragedy, printed 4o. Lond. 1663. This Play is dedicated by the Author (who ever he was) to his Honoured and Highly Esteemed Friend, Mr. Edward Umfreville. Fox the Plot, 'tis founded on History; being the Story of Andronicus Comnenus: See Glycas, Leunclaius, Choniates, Cantacusenus, Nicetas, Baronius, &c. This Play is short of that of Willson's on the same Subject: but in the Fifth Act Sc.3. there is a paralel between those Times and Ours, in Reference to the Late Rebellion; which I take to be the best thing in the Play.

Ungrateful Favourite, a Tragedy written by a Person of Honour; and printed quarto Lond. 1664. The Scene of this Play lies in Naples; but in what King's Reign this happened, I am not able to guess; so that whether it be founded on Romance or History, I leave to the Enquiry [Page] of those who have read Pandulphus Collenuctius, Jov. Pontanus, Guicciardine, or others Writers of the Affairs of Naples.

W.

Warning for Fair Women, a Tragedy, containing the most Tragical and Lamentable Murther of Mr. George Sanders, of London, Merchant, near Shooters Hill; consented unto by his own Wife; acted by Capt. George Brown, Mrs Drury, and Trusty Roger, Agents therein, with their several Ends. This Play was in Vogue in Queen Elizabeth's Time: and divers times acted by the Right Honourable, the Ld Chamberlain's Servants. 'Tis not divided into Acts, and full of Dumb-shews, according to the Mode of those Times; the Prologue and Epilogue, being spoken by Tragedy. 'Tis printed in a Black Letter 4o. Lond. 1599.

Wealth and Health, a Play of which I can give no Account.

Weakest goes to the Wall, a Tragi-comedy played sundry times by the Right Honourable the Earl of Oxenford, Lord Great Chamberlain of England's Servants; and printed 4o. Lond. 1618.

Wily beguiled, a pleasant Comedy; wherein the Chiefest Actors be these; a Poor Scholar, a Rich Fool, and a Knave at a Shift: printed quarto Lond. 16—

Wine, Beer, Ale, and Tobacco contending for Superiority; a Dialogue, (tho' in other Catalogues stiled an Interlude) printed 4o. Lond. 1658.

[Page] Wisdom of Dr. Dodipol, a Comedy acted by the Children of Pauls; and printed quarto Lond. 1600. The Earl Cassimeere's Friendship, in marrying Deformed Cornelia, and Sharing his Estate with her Father Flores, when he was in Affliction, and Arrested by the Duke's Order, is copy'd from Lucian's Story of Zenothemis and Menecrates.

Wits, or Sport upon Sport; a Collection of Drolls and Farces, presented at Fairs by Stroling Players; and printed last Edition octavo Lond. 1675. These are most of them taken out of the Plays of Shakespear, Fletcher, Shirley, Marston, &c. There is a former Edition, that has a Table prefixed, which shews from what Play each Droll is borrowed.

Wit of a Woman, a pleasant merry Comedy; printed quarto Lond. 1604. Tho' the Author stiles it so, I think it no ways answers the Title.

Wit led by the Nose, or A Poet's Revenge; a Tragi-comedy acted at the Theatre-Royal, and printed quarto Lond. 1678. The greatest part of this Play (except a Scene or two) is stollen from Chamberlain's Love's Victory.

Woman turn'd Bully, a Comedy acted at the Duke's Theatre; and printed quarto Lond. 1675. This I take to be a very Diverting Comedy.

FINIS.

Notes

a

Mr. Rymer's Pref. to Kapin's Reflections on Aristotle's Treatise of Poetry.

↵

b

Preface to Gondibert.

↵

c

Epistle to Darius 4o. Edin. Edingh. 1603.

↵

d

Epistle to Baron's Hars.

↵

a

Epistle to the Reader.

↵

b

pag. 16 [...].

↵

c

pag. 113.

↵

d

See his Life, pag. 110.

↵

e

Pref. to Sir Patient Fancy.

↵

f

Pref. to Mock Astrologer.

↵

g

City Romance, pag. 2.

↵

h

See Epistle Dedicatory.

↵

i

Poems, pag. 151.

↵

k

Pref. to Scarron's Novels.

↵

l

Davenants Poems p. 275.

↵

m

Lives of the Poets, p. 114.

↵

n

Volume the Second.

↵

o

Cockain's Poems, p. 204.

↵

p

Theatrum Poetarum, pag. 157.

↵

q

De Arte Poetica.

↵

r

De Arte Poetica.

↵

s

See his Travels, third Edit. p. 114.

↵

t

Worthies, Warwick-shire. pag. 127.

↵

u

See Prologue to Poetaster.

↵

a

Poems, pag. 8.

↵

b

See Davenant's Works.

↵

c

See Dryden's Misc. Poems, p. 281.

↵

d

L.5. c.6.

↵

e

Sat. 4.

↵

*

Epilogue to the Play.

↵

f

Memoires, pag. 422.

↵

g

Antiq. Oxoniens. p. 274.

↵

g

Antiq. Oxoniens. pag. 274.

↵

h

Pref. to Spanish Friar.

↵

i

Pref. to Reasons for Bays Changing his Religion.

↵

k

Prologue to the Play.

↵

l

Epistle Dedicatory.

↵

m

Trane du Poeme Epique, lib. 1. cap.7.

↵

n

Pref. to Troilus and Cressida.

↵

o

De Arte Poetica.

↵

p

See Cokain's Epigrams, l. 2. Ep. 7.

↵

q

See his Poems. p. 93.

↵

r

See pag. 118.

↵

s

Pag. 57.

↵

t

Pag. 13.

↵

u

Pag. 163.

↵

x

Epigr. L. 2. Ep. 124.

↵

y

A Romance Translated from the Italian of Giovanni Francisco Lovedano.

↵

z

Epistle to the Reader.

↵

a

See the Epistle to the Reader.

↵

b

See Theatre de Corneille. tom.2.

↵

c

See his Letter to Mr. Cotton, at the end of the Compleat Angler.

↵

d

The Title of his Book.

↵

e

Sat. 1.

↵

f

Essay of Himself, pag. 143.

↵

g

Idem p. 144.

↵

h

Dr. Sprat. See his Life; in the last page.

↵

i

Preface to his Works, Pag. 2.

↵

k

Idem.

↵

l

Life; pag. 6.

↵

m

Denham's Poems, p. 90.

↵

n

See his Life, p. 11.

↵

o

Mr. Rymer's Pref. to Aristotle's Treatie of Poesy.

↵

64

Excessit è vita An. AEt. 49. & honorifica pompa elatus ex AEd. Buckinghamianis, viris Illustribus omnium Ord. exsequias celibrantibus, sepultus est die 30. M. Aug. A.D. 1667.

↵

q

Modern Poets, p. 1.

↵

r

Tate's Collection of Poems, p. 45.

↵

f

Rochester's Poems, p. 109.

↵

t

See the Play, p. 16.

↵

u

Epistle Dedicatory.

↵

a

Fuller's Worthies. Somerset-shire, p. 28.

↵

b

Antiq. Oxon. p. 372.

↵

c

Mr. Crown's Epistle to Andromache.

↵

d

Act 1. Sc. 2.

↵

e

Act. 2. Sc. 4.

↵

f

Act. 2. Sc. 7.

↵

g

Mr. Bobun's Translation of Mr. Whear's Meth. Legendi. Hist. 8o. p. 171.

↵

h

Choice Drollery, 8o. Lond. 1656. p. 6.

↵

i

Sportive Wit, 8o. p. 70.

↵

k

Epigram, 8o. Oxon. 1601.

↵

l

Measure for Measure, Act. 1. Sc. 1.

↵

m

Law against Lovers, Act 1. Sc. 1.

↵

n

Antiq. Oxon. 2. 168.

↵

o

Pag. 5.

↵

p

Pag. 14.

↵

q

Wits Metriment, 8o. p. 20.

↵

r

Preface to Tempest.

↵

s

Pag. 107. &c.

↵

t

Fancy's Theatre.

↵

u

See Epistle Dedicatory.

↵

x

Modern Poets, p. 116.

↵

y

Lives of the Poets, p. 137.

↵

z

See his Epistle to King Charles the Second.

↵

a

Ep. Ded. to Rival Ladies.

↵

b

See Pag. 83.

↵

c

De Arte Poetica.

↵

d

Epistle Dedicatory.

↵

e

Preface to Mock Astrologer.

↵

f

Love in a Nunnery, p. 59.

↵

g

The Chief Hero in a Romance call'd Almatride.

↵

h

Poesies de M. de Voiture, p. 457.

↵

i

Act. 5. Sc. 1.

↵

k

Postscript to Granada, pag. 146.

↵

l

Ibid. pag. 143.

↵

m

Preface to Mock Astrologer. B. 4.

↵

n

Postscript, p. 144.

↵

o

Ibid. p. 146.

↵

p

Pres. Astrol. B. 4.

↵

q

Postscript, p. 146.

↵

r

Postscript, pag. 143.

↵

s

Ibid. p. 148.

↵

t

Ibid.

↵

u

Ibid. 144.

↵

x

Ibid. p. 148.

↵

y

Ibid. p. 144.

↵

z

Ibid. p. 149.

↵

a

Dr. Charleton's Different Wits of Men, p. 120.

↵

b

Conquest of Granada, part 1. Act. 1. Sc. 1.

↵

c

AEneid, hb. 6.

↵

d

Amorum, l. 1. El. 15.

↵

e

Pref. Relig. Laici. last Paragraph.

↵

f

Poet. L.3 C.97.

↵

g

Malthiaus tunicis d [...]missis ambulat: Satyrar. L.1. Sat.2.

↵

h

See Sullen Lovers, p. 5.

↵

i

I Ragguazli di Parnasso di Boccalini, Ragg. 28. Or Boccalini's Advertisements from Parnassus Advertis. 28.

↵

k

Tyranick Love.

↵

l

Maiden Queen.

↵

m

Postscript, pag. 144.

↵

*

Philaster.

↵

*

Faithful Shepherdess.

↵

n

Conquest of Granada, II. Part.

↵

o

Postscript, p. 144.

↵

p

Maiden Queen.

↵

q

Postscript, Ibid.

↵

r

Conquest of Granada, part 1.

↵

s

Tall. lib. de Senect. [non procul ab initio] a quâ sc. Naturâ non verisimile est, cum ce:erae partes aetitis bene descriptae sint, extremum actum, tanquam ab inerti Poetâ, esse neglectum.

↵

t

Poet. L.3 C.97.

↵

u

Pref. Mock Astrol.

↵

x

Juv. Sat 2.

↵

y

Geor. L. 3.

↵

z

Epist. L. 1. Ep. 19.

↵

a

Poems and Essays, By Mr Edw. Howard, p. 24.

↵

b

Pref. Mock Astrol.

↵

c

Carthwright's Poems, p. 315.

↵

d

Postscript to Granada; p. 148.

↵

e

Act 3. p. 101.

↵

f

Act 4. p. 54.

↵

g

Epistle Dedicatory.

↵

h

Careless Lovers.

↵

i

Act4. Sc.1.

↵

k

Rehearsal, Act.3. p. 33.

↵

l

Act.1. Sc.1.

↵

m

Act 3. p. 22.

↵

n

Hippolitus, Act 2. Sc. 3.

↵

p

Sampson Agonistes, p. 108.

↵

*

Aur. p. 8.

↵

q

Third Edit.

↵

r

Prologue, First part.

↵

s

Owens Disticha Ethica, & Politica; Ep. 31, p. [...]1.

↵

t

Cleve's Poems, p. 94.

↵

u

Epistle to the Reader.

↵

x

Preface.

↵

y

Nat. Var. p. 360. &c.

↵

z

Poestes de M. Voiture, p. 457.

↵

a

Act 4. p. 8.

↵

b

Aureng-zebe, Act 1. p.10.

↵

e

De Arte Poeticâ.

↵

f

Boylean's Art of Poetry, p. 5.

↵

g

Poem, in octavo, First Edition, pag. 61.

↵

h

Epist.Lib. 1. Ep. 3.

↵

i

Notes on Mr. Dryden's Poems, p. 7.

↵

k

Sat. L. 1. Sat. 4.

↵

l

Prol. to Atheist.

↵

a

Sat. Lib. 1. Sat. 10.

↵

b

Pref. Humorists.

↵

a

Epist. Dedic.

↵

b

Tate's Misc. p. 11.

↵

c

p. 13.

↵

d

p. 16.

↵

e

Pag. 99.

↵

*

Lucretius L. 2.

↵

f

Modern Poet., p. 156.

↵

g

Acc. of the Poets, p. 196.

↵

h

Preface to his Play.

↵

i

Preface.

↵

k

Epod. L.2. Ep.2.

↵

l

Cheshire, p. 181.

↵

m

Descript. Brit. Gent. 6.Nu.11.

↵

n

See before the last Edit.

↵

o

Tragedies of the last Age considered, p. 16, &c.

↵

p

Dram. Essay, p. 35.

↵

q

Prol. to the Tempest.

↵

*

Cockain's Epigr. L. 2. Ep. 35.

↵

r

Poems Octavo, p. 91.

↵

s

Lives of the Poets, p. 114.

↵

t

Epist. Ded.

↵

u

Modern Poets, p. 3.

↵

x

Lives of the Poets, p. 65.

↵

y

Pref. Rival Ladies.

↵

z

English Poets, pag. 115.

↵

a

Satyr. 1.

↵

b

Epist. Ded.

↵

c

In Addend. 1. 2. Instit. Poetic.

↵

d

Pag. 6 [...].

↵

e

Pag. 74.

↵

c

Epistle Dedic.

↵

f

Worthies London, p. 222.

↵

g

Q. Eliz. p. 364.

↵

h

500. Epigrams, Numb. 100.

↵

i

Worthies London, p. 221.

↵

k

Lib. 1. p. 49.

↵

l

English Traveller.

↵

m

Lives of the Poets, p. 96.

↵

n

Epistle to the Reader.

↵

o

Epistle to the Reader.

↵

p

Epistle Dedicatory.

↵

q

Pag. 100.

↵

r

Printed in his Dialogue and Dramas, p. 241.

↵

s

Notes on Lib. 5. p. 245.

↵

t

Pag. 17.

↵

u

Antiq. Lib. 2. p. 279.

↵

x

Poems, p. 90.

↵

y

Poems, p. 259.

↵

z

Poems, p. 88.

↵

a

Satyr. 8.

↵

b

Antiq. L. 2. p. 243.

↵

c

Worthies, Westminster, p. 243.

↵

d

See his Works at the beginning.

↵

e

See Fletcher's works.

↵

*

Fizts-geofridi Altaniarum, Lib. 2.

↵

f

Postscript to Granada.

↵

g

Pag. 46.

↵

h

Preface.

↵

i

Dramatick Essay, p. 50.

↵

k

See pag. 210.

↵

l

A Play writ by Shakespear.

↵

m

Satyr. 11.

↵

n

The Names of several Dramat. Person.

↵

o

New-Inn, Act 3. Sc. 2. Act 4. Sc.4.

↵

p

This Break was purposely design'd by the Poet, to ape that in Ben's third Stanza.

↵

q

Suckling's Poems, p. 7.

↵

r

I understand not this Couplet, without the Expression be taken after the Greek manner, where two Negatives make an Affirmative; and then they do vehementius negare.

↵

s

Familiar Letters, Vol. 1. Sec. 6. Let. 31.

↵

*

Wood, Antiq. Oxon.

↵

a

Preface.

↵

b

Denbam's Poems, p. 70.

↵

c

Epistle Dedicatory.

↵

d

Lib. 1. Epigr. 67.

↵

e

In Bedlam.

↵

f

Rochester's Poems, p. [...]11.

↵

g

Epist. Ded.

↵

h

Epist. Dedicat.

↵

i

Tate's Collection of Poems, 8o. p. 90.

↵

k

He alludes to The Rival Queens.

↵

l

To Don Carlos.

↵

m

Pag. 113.

↵

n

Pag. 97.

↵

o

Epistle to the Reader.

↵

p

Pag. 178.

↵

q

Addend Lib. 2 Inst. Poet.

↵

r

Pag. 72.

↵

s

Epist. Dedic.

↵

t

Sat. 2.

↵

a

Modern Poets, p. 29.

↵

b

Prologue to the Reader.

↵

*

Marloe.

↵

*

Allen.

↵

c

A Poem.

↵

d

Sander's Preface to Tamerlane.

↵

e

Bosworth's Poems, Pref.

↵

f

Modern Poet:, p. 24.

↵

g

Modern Poets, p. 170.

↵

h

Ep. Ded. to his Plays, 8o.

↵

i

De Arte Poeticâ.

↵

k

Modern Poets, p. 113.

↵

l

English Parnassus, p. 137.

↵

m

Affamarum, Lib. 2.

↵

n

See Prologue.

↵

o

Pag. 69.

↵

p

Epigrams, L. 1. Ep. 100.

↵

q

Poems, p. 233.

↵

r

Worthies Sussex, p. 110.

↵

s

Pag. 179.

↵

t

Pag. 164.

↵

u

Act. 4.

↵

*

I take the first to be spoke of Virgil's AEn.

↵

*

The second of Petronius his Poem above-mention'd.

↵

x

Pag. 179.

↵

y

Pag. 164.

↵

z

Epist. lib. 2. Ep. 2.

↵

a

De Arte Poetica.

↵

b

Pag. 181.

↵

c

Pag. 148.

↵

d

An Old Song, whose Burden was, Alas! Poor Scholar whither will thou go?

↵

e

Underwood, p. 223.

↵

f

Poet. L.6. C.6.

↵

*

Toysii Collect. Comm. in Trag. Senec.

↵

g

Pag. 182.

↵

h

Lib. 5. Cap. 2.

↵

i

Hen. IV. Act 2.

↵

a

His Man Rich Brome; See an Account of his Plays before.

↵

b

He had the Palsie at that time.

↵

c

Mr. Edw. Fraunce.

↵

d

Aristophanes.

↵

e

Dram. Essay p. 37.

↵

f

Epist. ad. T.V.

↵

g

Cardinal Richelieu.

↵

h

The Names of the Heroine, and

↵

i

Hero, in the Play.

↵

k

The Academy writ a Book against it, by the Cardinal's private order, entituled Sentimens de l'Academie Francoise sur la Tragi-comedie du Cid: tho' 'twas publickly so well approved of, that many places of France 'twas Proverbially said, Gela est beau comme le Gid.

↵

k

De Arte Amandi, Lib. 3.

↵

l

Dr. Fuller in his Account of Shakespear.

↵

m

See Mr. Dryden's Account.

↵

n

Drammar. Essay, p. 79.

↵

o

Dram. Ess. p. 47.

↵

p

Preface Mock-Astrol.

↵

q

Synesius his Opinion.

↵

r

Pref. Sullen Lovers.

↵

s

Thus far Mr. Shakespear.

↵

t

Mr. Flatman's Epistle to his Poems.

↵

u

Choice Drollery, p. 6.

↵

x

Pref. Mock Astrologer.

↵

y

Amorum, L. [...]. 19

↵

*

Lloyd's Memoires, p. 159.

↵

a

Rival Ladies Pref.

↵

An Alphabetical INDEX of PLAYS, Referring to the AUTHORS, &c.

[Page]

A

A.

ABdelazer.

18

Abdicated Prince.

525

Abrahams Sacrifice.

Ib.

Acolastus.

400

Actaeon and Diana.

89

Adelphi.

25, 273

Adrasta.

281

Adventures of 5 hours.

505

Agamemnon.

495

Aglaura.

497

Agrippa K. of Alba.

98

Alaham.

38

Alarum for Lond.

525

All Fools.

58

—for Love.

152

—for Money.

334

—mistaken.

276

All's lost by Lust.

428

All's well that ends well.

455

Albion.

525

Albion and Alban.

151

Albion's Triumph.

525

Albertus Wallenst.

232

Albovine.

107

Albumazar.

525

Alchimist.

287

Alcibiades.

396

Alexander and Campaspe.

328

Alexandrian Tragedy.

2

Alphonsus Emperour of Germany.

59

Alphonsus King of Arragon.

518

Amazon Queen.

510

Ambitious Statesm.

91

Amboyna.

153

Amends for Ladies.

198

Amorous Bigotte.

445

—Fantasm.

332

—Gallant.

526

—Old Woman.

Ib.

—Prince.

18

[Page]Amourous War.

337

Amynta.

98, 224

Andraea.

25, 273

Andromache.

91

Andromana.

522

Andronicus Comn.

513

Anthony and Cleopatra.

455, 487

Antigone.

363

Antipodes.

35

Antiquary.

346

Antonio & Melida.

348

Antonius.

402

Any thing for a quiet Life.

371

Apocryphal Ladies.

392

Apollo Shroving.

523

Appius and Virg.

509

Arcadia.

476

Arden of Feversh.

526

Argalus and Parthethenia.

232

Ariadne.

520

Aristippus.

414

Arraignment of Paris.

526

Arthur.

504

Arviragus and Phil.

46

As you like it.

455

Assignation.

154

Astraea.

511

Atheist.

505, 396

Atheist's Tragedy.

505

Aurengzebe.

156

B

B.

BAll.

476

Band, Ruff, and Cuff.

527

Banditti.

179

Bartholmew Fair.

287

Bashful Lover.

354

Bastard.

527

Battle of Alcazer.

Ib.

Begger's Bush.

207

Bell in Campo.

392

Bellamira her Dream.

312

Bellamira, or The Mistress.

487

Benefice.

511

Bird in a Cage.

476

Birth of Merlin.

466

Black Prince.

27

Blazing World.

392

Blind Begger of Alexandria.

60

Blind Begger of Bednal-Green.

118

Blind Lady.

276

Bloody Banquet.

519

—Brother.

207

—Duke.

527

Blurt Mr. Constab.

371

Bondman.

354

Bonduca.

207

Brazen Age.

260

Brenoralt.

498

Bridals.

392

[Page]Bride.

380

Broken Heart.

219

Brothers.

483

Brutus of Alba.

500

Bury Fair.

445

Bussy D'Amboyse.

60

Byron's Conspiracy and Tragedy.

61

C

C.

CAEsar Borgia.

321

Caesar & Pomp.

62

Caesar's Revenge.

527

Caius Marius.

397

Calisto.

92

Cambyses K. of Persia.

440

Captain.

207

Cardinal.

483

Careless Lovers.

418

—Shepheardess.

234

Carnival.

407

Case is alter'd.

298

Cataline's Conspiracy.

288

Chabot Admiral of France.

477

Challenge at Tilt.

288

—for Beauty.

262

Chances.

207

Changes.

477

Changling.

371

Charles the First.

528

—the Eighth of France.

92

Chast Maid in Cheapside.

371

Cheats.

513

—of Scapin.

397

Christ's Passion.

437

Christian turn'd Turk.

117

Christmass Masque.

288

Cicilia and Clorinda.

312

Cid.

431

Circe.

116

Citizen turn'd Gentleman.

422

City Heiress.

19

—Madam.

354

—Match.

337

—Night-cap.

116

—Politicks.

93

—Wit.

35

Claricilla.

312

Cleopatra.

101, 363

Cloridia.

288

Clouds.

490

Cobler's Prophecy.

513

Coelum Britannicū.

43

Colas Fury.

41

Combat of Caps.

528

—of Love and Friendship.

365

Comedy of Errors.

455

Committee.

276

Committee-man curried.

471

[Page]Commons condit.

528

Common-wealth of Women.

180

Conflict of Conscience.

513

Conquest of China.

440

—of Granada.

157

Conspiracy.

309, 511

Constant Maid.

477

—Nymph.

528

Constantine the Great.

322

Contention betw. York and Lancaster.

528

—of Ajax and Ulysses.

485

—for Honour and Riches.

478

Coriolanus.

455

Cornelia.

316

Coronation.

208, 478

Costly Whore.

528

Covent Garden.

380

Covent Garden weeded.

35

Covent of Pleas.

392

Coūterfeit Bridegr.

528

Counterfeits.

Ib.

Countess of Pembroke's Ivy-church.

224

Country Captain.

386

—Girl.

31

—Innocence.

319

—Wife.

514

—Wit.

94

Couragious Turk.

234

Court Beggar.

36

—Secret.

484

Coxcomb.

208

Croesus.

3

Cromwell's Hist.

529

Cruel Brother.

107

—Debtor.

529

Cuckolds Haven.

501

Cunning Lover.

32

Cupid and Death.

478

Cupid's Revenge.

208

—Whirligig.

529

Cure for a Cuckold.

510

Custom of the Country.

208

Cutter of Colemanstreet.

81

Cymbeline.

456

Cynthia's Revels.

289

—Revenge.

493

Cyrus K. of Persia.

529

Cytherea.

488

D

D.

DAme Dobson.

419

Damoiselle.

36

Damoiselles a-la-mode.

200

Damon & Pythias.

529

Darius his Tragedy

3

—K. of Persia.

94

David and Bethsabe.

401

[Page]Debauchee.

529

Deorum Dona.

11

Deserving Favourite.

47

Destruction of Jerusalem.

95, 529

Destruction of Troy.

7

Devil's an Ass.

289

Devil's Charter.

9

Devil's Law-case.

509

Devil of a Wife.

280

Dick Scorner.

529

Dido Q. of Carthage.

383

Disappointment.

489

Disobedient Child.

280

Distracted State.

502

Distresses.

107

Divine Comedian.

504

Divine Masque.

530

Doctor Dodipole.

556

Doctor Faustus.

342

Don Carlos.

398

Don Sebastian.

161

Double Marriage.

208

Doubtful Heir.

484

Duke & no Duke.

501

Duke of Guise.

163

Duke of Lerma.

276

Duke of Millain.

355

Duke's Mistress.

478

Dumb Knight.

334

Dumb Lady.

318

Dutch Courtezan.

348

Dutch Lover.

19

Dutchess of Malfy.

609

Dutchess of Suff.

262

E

E.

EAstward-hoe.

66

Edgar.

434

Edward the First.

401

—Second.

343

—Third.

530

—Fourth.

262

Elder Brother.

208

Electra.

522

Elizabeth's Troubles.

265

Elvira.

530

Emperor of the East.

355

—Moon.

440

Empress of Morocco.

530

Enchanted Lovers.

333

Endymion.

228

English Fryar.

95

—Lawyer.

420

—Monsieur.

276

—Moor.

36

—Princess.

530

—Rogue.

504

—Traveller.

262

Enough's as good as a Feast.

530

Entertainment at King James's Coronat.

289

—at RutlandH.

107

[Page]Entertainment of King James and Q. Anne at Theobalds.

289

—of the K. and Q. at High-gate.

Ibid.

—of the K. of Engl. and Denmark at Theobalds.

290

—of the Q. and Pr. at Althrop.

Ibid.

Epsom Wells.

445

Erminia.

201

Evening's Love.

163

Every man in his Humour.

290

—out of his Humour.

Ib.

—Woman in her Humour.

531

Eunuchus.

25, 273

Example.

478

Excommunicated Prin.

15

Extravagant Shepherd.

521

F

F.

FActious Citiz.

531

Fair Emm.

Ib.

—Favourite.

108

—Irene.

499

—Maid of Brist.

531

—of the Exchange.

262

—Inn.

208

—West.

263

Fair Quarrel.

371

Faithful Shepheardess.

208

False Favourite. disgrac'd.

531

—Count.

20

—One.

209

Family of Love.

372

Fancies.

320

Fancies Festivals.

306

Fatal Contract.

247

—Dowry.

355

—Jealousie.

531

—Love.

441

Fawn.

350

Feign'd Astrologer.

531

—Courtezans.

20

Female Academy.

392

—Prelate.

441

Fidele and Fortunatus.

532

Fine Companion.

346

Fleire.

471

Floating Island.

494

Flora's Vagaries.

532

Fond Husband.

180

Fool turn'd Critick.

Ib.

—would be a Favourite.

47

Fools Preferment.

Ib.

Forc'd Marriage.

20

Fortunate Isles.

291

Fortunatus.

122

[Page]Fortune by Land and Sea.

265

Fortune-Hunters.

49

Four Lond. Prentices.

265

—P's.

254

—Plays in one.

209

Fox.

297

Free-will.

532

French Conjurer.

520

Friendship in Fashion.

398

Fryar Bacon.

242

Fulgius and Lucrelle.

532

G

G.

GAlathea.

329

Game at Chess.

372

Gamester.

478

Gam. Gurton's Needle.

521

Generous Enemies.

73

Gentle-Craft.

548

Gentleman Dancing-Master.

514

—of Venice.

479

—of Verona

466

—Usher.

63

Ghost.

532

Glass of Government.

228

Gloriana.

322

Goblins.

498

Golden Age.

259

Golden Age restored.

291

Grateful Servant.

479

Great Duke of Florence.

356

Green's Tu quoque.

72

Grim the Colier of Croyden.

522

Gripus and Hegio.

11

Guardian.

80, 356

Guy of Warwick.

519

H

H.

HAmlet Prince of Denmark.

457

Hannibal and Scipio.

380

Heautontimorumenos.

25, 273

Hector of Germany.

488

Hectors.

533

Hecyra.

25, 273

Heir.

363

—of Morocco.

441

Hell's High Court of Justice.

533

Henry the Third of France.

473

Henry the Fourth.

456

—Fifth.

Ib.

—Sixth.

457

—Eighth.

Ib.

Heraclius.

48

Hercules Furens.

250

—Oetus.

496

[Page]Hero and Leander.

492

Herod and Antipater.

340

—and Mariamne.

406

Hey for Honesty.

416

Hic & Ubique.

246

Histriomastix.

532

Hoffman.

533

Hog hath lost his Pearl.

503

Hollander.

232

Holland's Leaguer.

349

Honest Lawyer.

522

—Man's Fortune.

209

—Whore.

122

Honoria and Mammon.

484

Honour of Wales.

294

Horace.

74, 404

Horatius.

333

How to chuse a Good Wife from a Bad.

533

Humorous Courtier.

480

—Days Mirth.

63

—Lieutenant.

209

—Lovers.

387

Humorists.

446

Humour out of Breath.

119

Hyde Park.

479

Hymenaei.

291

Hymen's Triumph.

102

Hyppolitus.

409, 495

I

I.

JAck Drum's Entertainment.

534

—Jugler.

Ib.

—Straw's Life and Death.

Ib.

Jacob and Esau.

534

James the Fourth.

Ib.

Ibrahim.

441

Jealous Lovers.

414

Jeronymo.

535

Jew of Malta.

343

Jew's Tragedy.

248

If this ben't a good Play, the Devil's in't.

122

Ignoramus.

518

Impatient Poverty.

533

Imperial Tragedy.

315

Imperiale.

226

Imposture.

484

Indian Emperor.

165

—Queen.

276

Ingratitude of a Common-wealth.

501

Injured Lovers.

378

—Princess.

182

Inner-Temple Masque.

372

Insatiate Countess.

348

Interlude of Youth.

44

Jocasta.

208

John the Evangel.

535

—K. of England.

458

[Page]John and Matilda.

117

Joseph.

238

Joseph's Afflictions.

536

Jovial Crew.

36

Irish Masque.

291

Iron Age.

260

Island Princess.

210

Isle of Gulls.

119

Juliana Princess of Poland.

96

Julius Caesar.

4, 458

Just General.

339

—Italian.

108

K

K.

KInd Keeper.

164

King and no King.

210

—Edgar and Alfreda.

420

—Lear and his three Daughters.

501

—and Queen's Entertainment at Richmond.

536

King's Entertainment at Welbeck.

261

Knack to know an Honest Man.

536

—a Knave.

Ib.

Knave in Grain.

537

Knavery in all Trades.

Ibid.

Knight of the Burning Pestle.

210

—Golden-shield.

594

—of Malta.

210

L

L.

LAdy Alimony.

573

—Contemplation.

392

—Errant.

53

—of Pleasure.

480

Ladies Priviledge.

233

—Tryal.

220

Lancash. Witches.

266

Landgartha.

42

Late Revolution.

537

Law against Lovers.

108

—Tricks.

119

Laws of Candy.

210

—Nature.

538

Lear's Tragedy.

458

Levellers levelled.

538

Liberality and Prodigality.

Ibid.

Libertine.

448

Like will to like, quoth the Devil to the Collier.

227

Lingua.

538

Little French Lawyer.

210

Locrine.

458

London Chanticleers.

538

—Cuckolds.

420

—Prodigal.

459

[Page]Look about you.

538

Looking-glass for London.

331

Lost Lady.

539

Love a-la-mode.

Ib.

Love and Honour.

109

—Revenge.

442

—War.

368

—Crowns the End.

503

—freed from Ignorance.

291

—in a Tub.

187

—in a Wood.

515

—in its Extasie.

539

—in the Dark.

188

—restored.

291

—sick Court.

36

—King.

31

—Tricks.

480

Love's Cruelty.

480

—Cure.

211

—Dominion.

201

—Kingdom.

Ib.

—Labour lost.

459

—Labyrinth.

222

—Loadstone.

544

Lover's Melancholy.

220

—Progress.

221

—Metamorphosis.

329

—Mistress.

267

—Pilgrimage.

211

—Riddle.

82

—Sacrifice.

221

—Triumph

71, 291

—Victory.

57

—Welcome.

291

Loving Enemies.

335

Loyal Brother.

489

—General.

501

—Lovers.

339

—Subject.

211

Lucius Junius Brutus.

323

Lucky Chance.

20

Luminalia.

539

Lusts Dominion.

344

Lusty Juventus.

508

Lyer.

542

M

M.

MAckbeth.

460

Mad Couple well matcht.

36

—Lover.

211

Madam Fickle.

102

Magnetick Lady.

292

Maid of Honour.

356

—in the Mill.

211

Maiden Queen.

169

—head well lost.

276

Maid's Metamorphosis.

329

—of Moorclack.

6

—Revenge.

481

[Page]Maid's Tragedy.

212

Male-content.

349

Mall.

518

Mamamouchi.

422

Manhood and Wisdom.

539

Man of Mode.

187

—Newmarket

274

Man's the Master.

109

Marriage a la mode

166

—Broker.

524

—Night.

197

—of Oceanus and Britannia.

203

—of the Arts.

271

—of Wit and Science.

540

Mariam.

43

Marcelia.

26

Marcus Tullius Cicero.

540

Marius and Scilla.

331

Martyr.

334

Martyred Souldier.

474

Mary Magdalen's Repentance.

506

—Q. of Scotland.

8

Masque at Bretbie.

68

—at the Ld Haddington's House.

293

—at Ludlow Castle.

376

—of Augurs.

293

—of Flowers.

540

Masque of Grays-Inn.

212

—of Owls.

293

—of Queens.

Ib.

—of the Middle-Temple and Lincoln's Inn.

63

Masquarade du Ciel.

531

Massacre at Paris.

323

—of Paris.

344

Massianello.

540

Master Anthony.

28

Match at Midnight.

428

—me in Lond.

123

Matrimonial Trouble.

392

May Day.

64

Mayor of Quinborough

372

Measure for Measure.

459

Medea.

472, 496

Menechmus.

524

Merchant of Venice.

459

Mercurius Britannicus.

541

Mercury vindicated.

294

Merry Devil of Edmonton.

541

—Milk-maids.

517

[Page]Merry Wives of Windsor.

459

Messalina.

426

Metamorphosed Gypsies.

293

Michaelmass Term.

373

Microcosmus.

381

Midas.

329

Midsummer Night's Dream.

460

Mirza.

11

Mizer.

448

Miseries of Civil War.

96

—Inforced Marriage.

512

Mistaken Husband.

166

Mithridates.

324

Mock Duellist.

517

—Tempest.

177

Monsieur D'Olive.

64

—Thomas.

213

Money is an Ass.

307

More Dissemblers besides Women.

373

Morning Ramble.

541

Mortimer's Fall.

294

Mother Bomby.

329

—Shipton's Life and Death.

504

Mucedorus.

541

Much ado about nothing.

460

Mulberry Garden.

487

Muleasses the Turk.

352

Muse of New-market.

542

Muses Looking-glass.

415

Mustapha.

28, 39

N

N.

NAtures 3 Daughters.

362

Neptune's Triumph.

294

Nero's Life and Death.

324

New Custom.

543

—Exchange.

36

—Inn.

299

—Trick to cheat the Devil.

518

—Market Fair.

543

—Way to pay Old Debts.

357

—Wonder.

429

News from Plymouth.

110

—the World in the Moon.

294

Nice Valour.

213

—Wanton.

543

Nicomede.

99

Night-walker.

213

Noah's Flood.

185

Noble Gentleman.

231

[Page]Noble Ingratitude.

333

—Spanish Souldier

430

—Stranger.

470

No body, and Some body.

543

No Wit No Help like a Woman's.

373

Northern Lass.

36

Northward-hoe.

123

Novella.

37

O

O.

OBeron the Fairy Prince.

294

Obstinate Lady.

69

Octavia.

395

Oedipus.

167, 384

Old Castle's History.

461

—Couple.

364

—Law.

357

—Troop.

318

—Wives Tale.

544

Opportunity.

481

Ordinary.

53

Orestes.

234

Orgula.

523

Orlando Furioso.

544

Ormasdes.

315

Orphan.

398

Osmond the Gr. Turk.

47

Othello.

461

Ovid.

69

P

P.

PAllantus and Eudora.

310

Pandora.

315

Pan's Anniversary.

294

Parliament of Bees.

119

Parson's Wedding.

313

Passionate Lover.

48

Pastor Fido.

191, 442

Patient Grissel.

544

Patrick for Ireland.

482

Pedlers Prophecy.

545

Peleus and Thetis.

278

Pericles Prince of Tyre

462

Perkin Warbeck.

221

Philaster.

213

Phillis of Scyros.

522

Philotas.

102

Philotus Scotch.

545

Phoenix.

373

—in her flames.

333

Phormio.

25, 273

Picture.

357

Pilgrim.

213

Pinder of Wakefield.

545

Piso's Conspiracy.

Ib.

Pity she's a Whore.

222

Platonick Lovers.

109

Play-house to be Lett.

Ibid.

Play between John the [Page] Husband, and Tib his Wife.

255

—betwixt the Pardoner and the Fryar, the Curate and Neighbour Prat.

Ibid.

—of Gentleness and Nobility.

Ib

—of Love.

Ib.

—of the Weather.

Ib.

Plain Dealer.

515

Pleasure at Kenelworth Castle.

231

—reconciled to Virtue.

294

Plutus.

292

Poetaster.

Ib.

Politician.

481

—cheated.

241

Pompey.

405, 507

Poor Man's Comf.

118

—Scholar.

385

Pragmatical Jesuite.

50

Presbyterian Lash.

545

Presence.

393

Prince of Prigg's Revels.

522

Princess.

313

—of Cleves.

324

Prisoners.

313

Projectors.

513

Promises of God manifested.

545

Promus & Cassandra.

Ib.

Prophetess.

214

Psyche.

449

—debauched.

178

Publick Wooing.

393

Puritan Widow.

462

Q

Q.

QUeen.

546

—and Concubine.

37

—of Arragon.

244

—of Corinth.

214

Queen's Arcadia.

103

—Exchange.

37

—Masque of Beauty.

295

—of Blackness.

Ib.

Querer per solo querer.

193

R

R.

RAging Turk.

235

Ram Alley.

14

Rambling Justice.

230

Rampant Alderman.

546

Rape of Lucrece.

267

Rebellion.

424

Reformation.

546

Rehearsal.

Ib.

Religious.

393

—Rebel.

547

Renegado.

358

Return from Parnassus.

547

Revenge.

Ibid.

[Page]Revengers Tragedy.

506

Reward of Virtue.

223

Rhodon and Iris.

316

Richard the Second.

462

Rival Friends.

245

—Kings.

8

—Ladies.

167

—Queens.

325

Rivals.

547

Roaring Girl.

373

Robert Earl of Huntingdon's Downfal and Death.

267

—Hood's Pastoral May-games.

547

—and his Crew of Souldiers.

Ibid.

Roman Actor.

358

—Empress.

308

—Generals.

129

Romeo and Juliet.

462

Romulus and Hersilia.

547

Roundheads.

21

Rover.

20

Royalist.

183

Royal King and Loyal Subject.

268

—Masque at Hampton-Court.

547

—Master.

481

—Shepherdess.

450

—Slave.

43

—Voyage.

548

Rule a Wife, and have a Wife.

214

Rump.

503

S

S.

SAcrifice.

184

Sad One.

498

—Shepheard.

295

Saint Cicely.

520

Salmacida Spolia.

548

Sampson Agonistes.

375

Sapho and Phaon.

329

Scaramouch, &c.

429

School of Complements.

480

Scornful Lady.

214

Scots Figaries

503

Sea Voyage.

214

Seven Champions of Christendom.

315

See me, and see me not.

24

Sejanus.

295

Selimus.

315

Sertorius.

6

Several Wits.

393

Sforza Duke of Millain

237

Shepheards Holyday.

433

—Paradice.

377

Shoomaker's a Gentleman.

429

[Page]Sicelides.

548

Sicily and Naples.

519

Siege.

54, 110

—of Babylon.

406

—of Constantinople.

549

—of Memphis.

183

—of Rhodes.

110

—of Urbin.

315

Silent Woman.

296

Silver Age.

259

Sir Barnaby Whig.

184

—Courtly Nice.

96

—Giles Goose-cap.

549

—Hercules Buffon.

318

—Martin Mar-all.

170

—Patient Fancy.

21

—Solomon.

549

Sister.

484

Six Days Adventure.

274

Slighted Maid.

492

Sociable Companions.

393

Soliman and Perseda.

550

Sophister.

Ibid.

Sophonisba.

325, 351

Sophy.

128

Souldiers Fortune.

399

Spanish Bawd.

550

—Curate.

214

—Fryar.

170

—Gypsies.

373

—Rogue.

178

Sparagus Garden.

37

Speeches at Pr. Henry's Barriers.

296

Spightful Sister.

6

Sport upon Sport.

90

Springs Glory.

381

Squire of Alsatia.

450

—Old Sap.

183

Staple of News.

296

State of Innocence.

172

Step-mother.

551

Strange Discovery.

Ib.

Successful Strangers.

378

Sullen Lovers.

450

Summers's last Will and Testament.

383

Sun's Darling.

221

Supposes.

231

Surprisal.

277

Susanna's Tears.

551

Swaggering Damois.

56

Sweetnam the Womanhater arraigned.

551

T

T.

TAle of a Tub.

297

Tamberlain the Great.

344

Taming of the Shrew.

463

Tancred and Gismond.

512

[Page]Tartuff.

367

Tarugo's Wiles.

434

Tempe restor'd.

551

Tempest.

172, 463

Temple.

64

—of Love.

110

The longer thou liv'st, the more fool thou art.

508

Thebais.

394

Theodosius.

326

Thersytes.

552

Thomaso.

313

Thornby Abby.

524

Thracian Wonder.

510

Three Lords and Ladies of London.

521

Thyerry and Theodoret.

215

Time vindicated to himself, and to his Honours.

297

Timon of Athens.

451

Titus Andronicus.

464

Titus and Berenice.

399

Tom Essence.

552

—Tyler and his Wife.

508

Tottenham Court.

381

Town Fop.

22

—Shifts.

425

Trapolin supposed a Prince.

70

Travels of 3 English Brothers.

119

Traytor.

481

—to himself.

553

Treacherous Brother.

407

Trick for Trick.

184

—to catch the Old One.

373

Triumph of Beauty.

485

—Love and Antiquity.

373

—Peace.

482

—the Prince D'Amour.

111

Triumphant Widdow

387

Troades.

472, 521

Troas.

251

Troylus and Cressida.

173

True Trojans.

553

—Widdow.

451

Tryal of Chivalry.

508

—Treasure.

554

Tryphon.

28

Tunbridge Wells.

554

Twelfth Night.

466

Twins.

427

Two Angry Women of Abington.

407

—Noble Kinsmen.

215

[Page]Two Tragedies in One.

516

—Wise Men and all the rest Fools.

64

Tide tarrieth for no Man.

508

Tyranical Government

554

Tyranick Love.

173

V

V.

VAlentinian.

215

Valiant Scot.

523

—Welchman.

516

Varieties.

387

Venice preserv'd.

400

Very Woman.

359

Vestal Virgin.

277

Vilain.

407

Virgin Martyr.

359

—Widow.

410

Virtuoso.

451

Virtuous Octavia.

30

—Wife.

185

Virtue betray'd.

8

Vision of Delight.

297

—the Twelve Goddesses.

103

Unfortunate Lovers.

112

—Mother.

382

—Shepheard.

506

—Usurper.

554

Ungrateful Favorite.

Ib.

Unhappy Fair One.

499

—Favorite.

9

Unnatural Combat.

359

—Tragedy.

393

Untrussing the Humorous Poet.

123

Vow-breaker.

437

Usurper.

274

W

W.

WAlks of Islington and Hogsden.

307

Wandring Lover.

368

Warning for fair Women.

555

Weakest goes to the wall.

Ib.

Wealth and Health.

Ib.

Wedding.

483

Westward-hoe.

124

What you will.

351

When you see me, you know me.

430

White Devil.

509

Whore of Babylon.

124

Wiat's History.

125

Widow.

298

—Ranter.

22

—'s Tears.

65

Wife for a Month.

216

Wild Gallant.

174

—Goose-chase.

216

Wily beguil'd.

555

[Page]Wine, Beer, Ale, and Tobacco.

555

Winters Tale.

466

Wise Women of Hogsden.

268

Wit at several Weapons.

216

—of a Woman.

556

—in a Constable.

233

—without Money

216

Wits.

111

—Cabal.

393

—led by the Nose

556

Witty Combat.

520

—Fair One.

483

Woman Captain.

452

—Hater.

216

—in the Moon

330

—kill'd with Kindness.

268

—turn'd Bully.

556

Woman's a Weathercock.

198

—Conquest.

374

—Prize.

217

Women beware Women.

374

—pleas'd.

217

Wonder a Woman never vex'd.

429

World lost at Tennis.

374

Wrangling Lovers.

423

Y

Y.

YOrkshire Tragedy.

466

Young Admiral.

483

—King.

22

Your five Gallants.

375

Youths Glory & Deaths Banquet.

393

The Plays in the Appendix.

[Page]

ALphonso King of Naples.

Amphytryon.

Banish'd Duke.

Belphegor.

Bragadocio.

Distressed Innocence.

Edward the Third.

Ferrex and Porrex.

Folly of Priestcraft.

Gorboduc.

Mad World my Masters.

Mistakes.

Robin Conscience.

Royal Flight.

Scowrers.

Sir Anthony Love.

Unfortunate Lovers.

Witch of Edmonton.

Woman will have her will.

Wonder of a Kingdom.

The APPENDIX.

[Page]

THe Occasion of adding this following Appendix, is to compleat the Account of all the Plays that have been printed as far as this present Time: since several new Ones have been publisht after the Fore-going Sheets were sent to the Press, and some others thro' oversight omitted in the Body of the Book; I have chose rather to place them here, than leave the whole imperfect. I shall follow the same Method, as before; beginning first with the Known Authors, in an Alphabetical Order; and afterwards mention those, whose Authors are conceal'd. I begin with

Sir William DAVENANT.

I have already given an Account of this Author, p. 106, &c. to which I refer my Reader; only beg his Pardon for the Omission of a Play to be found in the Body of his Works, nam'd

Unfortunate Lovers, a Tragedy, printed in Folio.

Thomas DECKER.

An Author already mention'd, p. 122. to have a hand in Twelve Plays; tho' thro' mistake, I have given an Account but of Ten of them. 'Tis true, I referr'd the Reader p. 125. [Page] to the Account of Will. Rowley, for The Witch of Edmonton; but quite forgot a Play, which was writ wholly by our Author, stil'd

Wonder of a Kingdom, a Tragi-comedy; printed 4o. Lond. 1636. This I take to be a very diverting old Play.

John DRYDEN, Esq

The Reader will find an Account of this Author's Writings, p. 130, &c. but he having lately publisht a new Play, I am here to give the Reader some Account of it.

Amphytryon, or The Two Socias; a Comedy acted at the Theatre-Royal, to which is added the Musick of the Songs, compos'd by Mr. Henry Purcel; printed 4o. Lond. 1691. and dedicated to the Honourable Sir Levison Gower, Baronet. This Play is founded on Plautus's Amphytruo, and Molliere's Amphytryon, as the Author himself acknowledges in his Epistle Dedicatory. The Reader that will take the pains to compare them, will find that Mr. Dryden has more closely followed the French, than the Latin Poet: but however it must with Justice be allowed, that what he has borrowed, he has improv'd throughout; and Molliere is as much exceeded by Mr. Dryden, as Rotrou is outdone by Molliere. The truth is, our Author so polishes and improves other Mens Thoughts, that tho' they are mean in themselves, yet by a New Turn which he gives them, they appear Beautiful and Sparkling: Herein resembling Skillful Lapidaries, that by [Page] their Art, make a Bristol Stone appear with almost the same Lustre, as a Natural Diamond.

Joseph HARRIS

A New Author, who being infected with the Contagion of Poetry, spread amongst his Fellow Actors, is setting up for an Author; but with what Success, I leave to those who frequent the Theatre to decide. He has lately publisht a Play, call'd

Mistakes, or The False Report; a Tragi-comedy, acted by their Majesties Servants; printed quarto Lond. 1690. and dedicated to Godfrey Kneller Esq This Young Author is beholding to the Poets to rig him out; Mr. Dryden having bestowed a Prologue on his Play, and Mr. Tate an Epilogue; and the ever Obliging and Compassionate Mr. Montford, (as the Author with Gratitude acknowledges) ‘Not only corrected the Tediousness of the Fifth Act, by cutting out a whole Scene; but to make the Plot more clear, has put in one of his own, which heightens his own Character, and was very pleasing to the Audience.’

This Play seems to me to be of the same Stamp with several others lately written by his Fellow-Comedians; tho' in my Opinion, they had better confine themselves within their own Sphere of Action.

Thomas MIDDLETON.

[Page]

An Author of several Plays already mentioned p. 370. but particularly One, which by chance was omitted, viz.

Mad World my Masters, a Comedy often acted at the Private-House in Salisbury Court, by her Majesty's Servants, and printed quarto Lond. 1640. This Play was writ twenty Years before 'twas publish'd, as the Printer and Stationer inform the Reader; and appeared with Applause on the Stage. The Language and Plot of this Comedy are very diverting; and the former is so little obsolete, that Mrs. Behn has transplanted part of it into her City Heiress.

George POWELL.

An Author and Poet already mention'd, p. 107. who has publisht a new Play, call'd

Alphonso King of Naples, a Tragedy, acted at the Theatre-Royal, printed quarto Lond. 1690. and dedicated to Her Grace the Dutchess of Ormond. The Prologue was written by Mr. John Haynes, and the Epilogue by Mr. Durfey.

William ROWLEY.

An Author of whom I have already given an Account, p. 428. but forgot to speak of a Play, in which he was chiefly concern'd, viz.

Witch of Edmonton, a Known True Story, compos'd into a Tragi-comedy, by divers well esteem'd Poets, William Rowley, Thomas Decker, [Page] and John Ford; acted by the Prince's Servants often at the Cock-pit in Drury-lane, and once at Court with singular Applause; printed quarto Lond. 1658.

Tho. SACKVILE, & Tho. NORTON.

Two Authors that liv'd in the Reign of Queen Elizabeth; the former of which was Ld Buckhurst, and in the first Year of K. James the First, viz. March 13. 1603. created Earl of Dorset: He was Ld Treasurer, and Chancellor of the University of Oxford. He joyn'd with Mr. Norton in writing a Tragedy, which in those Days was in much repute. It was thrice printed: the first Edition was published under the Title of

Ferrex and Porrex, printed 8o Lond. 1565. by W. G. This Edition was printed from a surreptitious Copy, when the Ld Buckhurst was beyond Sea, and Mr. Norton far distant from London. The second Edition was printed with Consent of the Authors; the Title-page being as follows:

‘The Tragedy of Ferrex and Porrex, set forth without Addition or Alteration, but altogether as the same was shewed on the Stage before the Queen's Majesty, about nine Years past, viz. the Eighteenth Day of January 1565. by the Gentlemen of the Inner-Temple; printed 8o Lond.—15—.’ The last Edition is stil'd

‘The Tragedy of Gorboduc, whereof three Acts were written by Thomas Norton; and [Page] the two last by Thomas Sackvile; set forth as the same was shewed before the Queen's most Excellent Majesty, in Her Highness's Court of the Inner-Temple; printed 4o Lond. 1590.’ I have already given some Account of this Play in Mr. Dryden's Character, p. 168. I shall here add the Opinion of that Great Judge of Wit, Sir Philip Sidney, in his Excellent Defence of Poesie: * ‘Our Tragedies and Comedies, are not without cause cry'd out against; observing Rules neither of Honest Civility, nor Skilful Poetry; excepting Gorboduc, (again I say of those I have seen) which notwithstanding, as it is full of slately Speeches, and well-sounding Phrases, climbing to the height of Seneca's Stile; and as full of notable Morality, which it does most delightfully teach, and so obtain the very End of Poesie: Yet in truth, it is detectuous in the Circumstances; which grieves me, because it might not remain an exact Model of all Tragedies.’ For the Plot, consult Nenius, Leland, R. of Gloucester, H. of Huntingdon Jeo. of Monmouth, Du Chesne, &c.

I know not whether My Lord Buckhurst writ any thing besides, or no ; but I have seen two little Pieces writ by Mr. Norton in octavo: One intituled, To the Queen's Majesties poor deceived Subjects in the North Conntry, drawn into Rebellion by the Earls of Northumberland and Westmorland: printed octavo Lond. 1569. A Second, stiled A Warning against the dangerous [Page]Practices of Papists, and especially the Partners of the late Rebellion: printed 8o Lond. 15—

Elkanah SETTLE.

An Author who has forsaken the Banners of Mars and Pallas, to return to the Theatre, the Seat of the Muses: One, (to use his own Expression) ‘Who after all his repented Follies, is resolv'd to quit all Pretentions to Statecraft, and honestly skulk into a Corner of the Stage, and there dye contented’. This Resosolution our Author has begun to put in Practice, by publishing a Play, whose Title is

Distressed Innocence, or The Princess of Persia; a Tragedy acted at the Theatre-Royal, by their Majesties Servants, printed Lond. 1690. and dedicated to the Right Honourable, John Lord Cutts, Baron of Gowran: This Tragedy was kindly receiv'd by the Audience, as the Poet gratefully acknowledges, and owns likewise his Obligations to Mr. Betterton, for his several extraordinary Hints, to the heightning of his best Characters; and to Mr. Montford, for the last Scene of his Play, which he was so kind to write for him: To which may be added the Epilogue. The Author likewise owns, That whatever Fiction he has elsewhere interwoven, the Distresses of Hormidas and Cleomira, are true History. I have not leisure at present to make Enquiry after this Passage; but possibly the Reader may find somewhat of it in Socrates, Zozomen, or Nicephorus, all which (if I mistake not) mention the Affairs of Isdegerdes King of Persia.

Thomas SHADWELL.

[Page]

Our present Laureat having publisht a New Play, I am bound to take Notice of it: viz.

Scowrers, a Comedy acted by Their Majesties Servants; printed 4o. Lond. 1690. How this Play succeeded on the Stage, I know not; but I think 'tis far from the worst of his Comedies: and I believe is wholy free from Plagiary.

Thomas SOUTHERN.

An Author that has contributed three Plays to the Stage, which have gain'd him no small Reputation: Two of them I have already mention'd, p. 489. This last Play is stil'd

Sir Anthony Love, or The Rambling Lady; a Comedy, acted at the Theatre-Royal, by their Majesties Servants, printed quarto Lond. 1690. and dedicated to his Friend, Thomas Skipwith Esq This Play was acted with extraordinary Applause; the Part of Sir Anthony Love being most Masterly play'd by Mrs. Montfort: and certainly, who ever reads it, will find it fraught with true Wit and Humour; and in the Characters of M. L'Abbé, and Palmer the Pilgrim, our Author has given us some Sketches of the Hypocrisie of those pretended Saints.

Mr. WILSON.

I am apt to believe this Writer is the same with the Author of the Cheats; I mean John [Page]Wilson, already mention'd, p. 512. Whoever he is, he has publisht a New Play, call'd

Belphegor, or The Marriage of the Devil; a Tragi-comedy, lately acted at the Queen's Theatre in Dorset Garden; printed quarto Lond. 1690. This Play notwithstanding it was decryed on the Stage, I think far surpasses many others, that have lately appear'd there. For the Foundation of the Play, the Author has directed the Reader to Matchiavel and Straparola, both which have played with the same Story: And I may add, That those who delight in French Poetry, may read it ingeniously translated in Les Contes de M. de la Fontaine, octavo, 1. partie, page 180. derniere Edit. and the English Reader may find it pleasantly related, not only in the Folio Translation of Matchiavel, but likewise at the end of Quevedo's Novels Engl. octavo.

Notes

*

Page 561.

↵

Unknown Authors.

I Am in the last place to give an Account of those Plays whose Authors are unknown; do in the former Method, beginning with a Play call'd

Banish'd Duke, or The Tragedy of Infortunatus; acted at the Theatre-Royal, printed 4o. Lond. 1690. The Reader will easily find that under the Character of Infortunatus, the Poet design'd to portray the late Unfortunate Duke of Monmouth: under that of Romanus and Papissa, the late King and Queen.

[Page] Braggadocio, or The Bawd turn'd Puritan, a New Comedy, by a Person of Quality, printed 4o. Lond. 1690. This Comedy I take to be instructive; and undoubtedly in the Character of Flush, he has hit some Features, which belong to some private Enemies of Universities.

Edward the Third, with the Fall of Mortimer, Earl of March; an Historical Play, acted at the Theatre-Royal, by their Majesties Servants; printed quarto Lond. 1690. and dedicated to the Right Honourable Henry, Lord Viscount Sidney, of Sheppey; by Mr. Mountfort to whom the Play was made a Present. This Play I take to exceed most of the Plays that have been lately publisht; and I think in the Characters of Tarleton, Chancellor of England, and Serjeant Etherside, he has somewhat detected the Misdemeanours of some Great Men in the last Reign. For the Plot, as far as concerns History, consult Harpsfield, Walsingham, Pol. Vigil, Froissard, Du Chesne, Math. Westminster, Hollingshead, Grafton, Stow, Daniel Speed, &c.

Englishmen for Money, or a pleasant Comedy, call'd A Woman will have her Will; divers times acted with great Applause; printed 4o. Lond. 1626. This Comedy is not divided into Acts.

Folly of Priestcraft, a Comedy printed quarto Lond. 1690. Though the Modesty, or Prudence of this Author, will not permit him to to be known; yet I think he deserves a place amongst the Eldest Sons of Apollo: and if I may presume to speak my Judgment, I believe no [Page] Satyr since The Plain Dealer, has been more judiciously or ingeniously penn'd: and I question not but it will deserve a good Character from all Readers, except the Priests and Bigots of the Romish Religion.

Robin Conscience, a Play which I never could obtain the sight of: tho finding it mentioned in former Catalogues, I was unwilling to omit it.

Royal Flight, or The Conquest of Ireland; a New Farce, printed quarto Lond. 1690. The Subject of this Play, is evident from its Title-page; and the Author has no ways disguised his Characters: Tho' had he treated some Persons in his Farce, with more Modestie, it had been no less for his Reputation.

Thus I have finish'd My ACCOUNT of Our English Dramatick Poets, and their Writings: and having laid a Foundation. I shall leave it to Others (who may think it worth their while) to perfect the Edifice: hoping those that will attempt it, will alter or supply what ever they dislike or find defective in the whole Essay.

FINIS.

ERRATA.

[Page]

[Page]

PAge 106 Line 6, for suo, read tuo. p. 158 l. 34 after Albibech, r. of Abdalla, Abdelmelech. p. 169 l. 26, for his, r. this. p. 215 l. 7. for Thirry, r. Thierry. p. 224 l. 15, for Walton's, r. Watson's. p. 242 l. 19 after Account, r. of J. Cook. p. 255 l. 24, for benefy'd, r. benefic'd. p. 260 l. 3, for I began, r. he began p. 274 l. 29, for Women's, r. Woman's. p. 304 l. the last, for last, r. lasted. p. 310 l. 3, for Person, r. Judges. p. 352 l. 2, for their, r. his. Id.l. 6 for eti, r. eris. p.376 l. 20, for 1687, r. 1637. p. 377 l. 1, for Oracle, r. Paradice. p. 382 l. 3, for Lover, r. Mother. p. 388 l. 18, for Soleil, r. Soleisel. p. 405 l. 13 for Corse, r. Cork. p. 415 l. 12, for his own, r. this One. p. 446 l. 8, for Ingenious, r. Genuine. p. 454 l. 16, for Ben Johnson, r. our Author. p. 492 l. 27, to the end belongs to Tho. St. Serf, p. 435. p. 508 l. 10 for more, r. longer. Id.l. 16, for Waver, r. Weaver. p. 514 l. 13, for Talisbury, r. Salisbury. p. 519 l. 12, for Basker, r. Barker. Id.l. 14, dele was. p. 522 l. 20, for Thorpy, r. Thorny. p. 527 l. 2, for Aliazer, r. Alcazer. Id. l. 14, for Chare, r. Clare. p. 534 l. 12. for Tornelli Annals, r. Tornielli Annales. p. 535 l. 7, for Bellimperin, r. Bellimperia. p. 538 l. 19, for Lactus, r. Tactus. p. 543 l. 15, for before, r. after.

Some other Literal faults not here inserted, the Reader is desired to correct.

Information about this book

Title statement

An account of the English dramatick poets, or, Some observations and remarks on the lives and writings of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces or opera's in the English tongue by Gerard Langbaine.New catalogue of English plays

Langbaine, Gerard, 1656-1692.

Edition statement

1691

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Publisher

Text Creation Partnership,

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Ann Arbor, MI ; Oxford (UK) :

Date

2003-01 (EEBO-TCP Phase 1).

ID [DLPS]

A49533

ID [STC]

Wing L373

ID [STC]

ESTC R20685

ID [EEBO-CITATION]

12403968

ID [OCLC]

ocm 12403968

ID [VID]

61334

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(EEBO-TCP ; phase 1, no. A49533)

Transcribed from: (Early English Books Online ; image set 61334)

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— An account of the English dramatick poets, or, Some observations and remarks on the lives and writings of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces or opera's in the English tongue by Gerard Langbaine., New catalogue of English plays, Langbaine, Gerard, 1656-1692..

Extent

[16], 556, [32], p., [5] leaves of plates : ports.

Printed by L.L. for George West and Henry Clements,. Oxford :: 1691.. (Based on: New catalogue of English plays, London, 1688 [Dec. 1687], an unauthorized ed. of which had appeared a month earlier under title: Momus triumphans, or, The plagiaries of the English stage.) (A new ed., revised by Charles Gildon, appeared as: The lives and characters of the English dramatick poets. 1699.) (Errata on p. [32] at end.) (Reproduction of original in Library of Congress.) (Includes index.) (Includes bibliographical references.)

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