L I BIOGRAPHIA DRAMATICA; Oil, A COMPANION TO THE PLAYHOUSE: CONTAINING Historical and crilical Memoirs, and original j^necdotes^ OF BRIilSH AND IRISH Dramatic OTriters, FROM THE COMMENCEMENT OF OUR THEATRICAL EXHIBITIONS; AMONG WHOM ARE SOME OF THE MOST CELEBRATED ACTORS: ALSO iN ALPHABETICAL ACCOUNT, AND CHEONOLOGICAL LISTS, OF THEIR WORKS, THE DATES WHEN PUINTED, AND OBSERVATIONS OK THEIH MERITS : TOGETHER WITH JN fNTRODUCTORY FIEIV OF THE RISE AND PROGRESS OP THE BRITISH STAGE • RIGINALLY COMPILED, TO THE YEAR I764, BT DAVID ERSKINE BAKER. /:ONTINUED THENCE TO I/Sz, BY ISAAC REED, E.A. S. ^nd brought down to tht End of No'vember 181 1, •with -very comUerahh Additions and Impnyvements throughout^ by STEPHEN JONES. IN THREE VOLUMES. VOL. II. LONDON ; fRINTED FOR LONGMAN, HURST, REES, ORME, AND BROWN, T.PAYNE, G. AND W, NICOL, NICHOLS AND SON, SCATCHERD AND LETTERMAN, J. BARKER, W. MILLER, R. H. EVANS, i. HARBING, J. fAULDER, AND GAifi AND CURTIS. N A ^'5. ^« i V z 20/ V IS IX BIOGRAPHIA DRAMATICA. A B D 1. A-iis^hhiKO, the Great Bandit. Play, translated from the German, and adapted to the New York theatre, by William Dunlap, Esq. l2mo. iS02. Printed at New York. 2. Abdalla. Trag. byJ.Delap, D. D. Printed at Lew-s. 8vo. 1803. Never acted. If the dic- tion of this piece be not of the highest c'der, the construction of the fable is certainly interesting. S.Abdelazau; or, The Moor s Revenge. Trag. by Mrs. Aphra, or Afra, Behn. Acted at the Duke of York's theatre, in 10"71. 4to. 1O77. This play is no more than an alteration of Marloe's Lust's Dominion, or The Lascivious Queen, of which see more in its place. From it, however. Dr. Young took the hint of his admirable tragedy of The Revenge ; the death of a father, and loss of a crown, being the prime motives of resent- ment equally in Abdelazar and Zanga. A similar reluctance ap- pears in both at the descending to acts of villainy for the gratification of it, and both alike declare the sum of their crimes at the com- pletion of their revenge. The plot i-s intricate, much intertarded with TOL. ir. A B D trivial circumstances, and the ca- tastrophe on the whole too bloody ; yet with a little alteration this tra- gedy might be rendered fit for the present stage. 4. AbdicatedPkincej or, The Adventures of four Years. Tragi- Com. Anon. Acted at Alba Regalis, by several persons of great quality. 4to. \6qO. This piece is entirely political, and seems not to have been intended for the stage : it contains, under feigned names, the transac- tions of the English court and na- tion during the reign of James II. with the abdication of that prince, but written with great partiality; the Duke of Monmouth being made the hero ; and personal abuse proceeding to so extravagant a length in it, as to charge the King- with the death of his brother, Charles II. This play needs no key 3 Alia Regalis Q\\diQi\i\y being meant for the English court, and the very names of the personages SQ closely pointed to real history, as to be obvious to any one ever so slightly acquainted with the public transactions of that period. 5. The Abdication of Ferdi- nand 5 or. Napoleon at Bayonne, Historical Play, in five acts, Anon^ A B R Svo. I8O9. The profits ariiir.g from the sale of tiiis play (which, of course, was n(;t intended for re- presentation) tlie author generous- ly devoted to the fund raised in England for the assistance of the Spanish patriots. 6. Aboukit. Bay; or, The glorious First of Ju^ust. M. D, by Ri- chard Sicklemore. Acted at Brigh- ton. Svo. 1799. 7. AbKA DATES AND PaNTHEA, Trag. by John Pldvvardo. Svo. 1808. Tliis play In founded on a very affecting story in Xenijplion's Cyropaedia. Never acted. 8. Abradates and Panthea. Trag. Acted by tlie scholars of St. Paul's school in 1770. Not printed. The story from Xeno- phon. It was written by Mr. Ro- berts, brother of the present High Master of St. Paul's school. 9. Abraham's Faith. A divine Dialogue, drawn by George Les- ley. Svo. 1675, 16"S4. 10. ATbagedie of Abraham's Sacrifice, written in French, by Theodore Beza, and translated into English, by A[rthur] G[old- ingl j finished at Powles Belchamp, in Essex, the 11th day of August, 1575, with wood cuts. Printed by Vantrowllier. IBmo. 15/7 . This piece, which is rarely met ■Vt'ith, scJd for 20 guineas, at a sale in King's auction-room, a few years ago. 11. Aerame^ndT.ox. fnllens- lowe's list of plays acted by the Earl of Sussex's servants, 1593. 12. Aera-Mule; or, Luvc and Empire. Trag. by Dr. Jos. Trapp. Acted at the new theatre in Lin- coln's Inn Fields. 4to. 1704. The scene lies in Constantinople, alid the plot of it may be mora fully seen in a book called Alra-Mule, or. The true History of the De- throncRien; of Mahomet IV. by A B S M. Le Noble } translated by S. P. I'he language of this play is in many places either prosaic or bom-, bast; yet the incidents are in them- selves so aflecting, and the plot is so interesting, that it has generally met with applause in the perform- .ince. The two lines which con- clude the f.vit act of this traeedy, deserve remembrance, for the sake of a happy parody on them, said to have been produced extempore during the first night of repre- sentation : Our wide ck>miuions shall the world ^er- riin, And my pale crtictnt brighten to a.i«/). Suecess and laurels shall attend la^ sword. And turn my harp into a harpslchtrd^ 13. Abroad and at Home. Com. Op. Acted at Coven t Garden, and very well received. Byo. Songs only, 179^- Second edi- tion, 1796. Written by J. G. Hoi- man. This piece was originally named " The King's Bench;" but that title is said to have been dis- approved of by the Lord Cham- berlain. It is a very diverting per- formance. 14. The Absent Man. Farce, by Thomas Hull. Acted at Covent Garden the 28th of April 17G4, for the benefit of the author and Miss Miller. N. P. 15. The Absent Man. Farce, by Is. Bickerstafle. Acted at Drury Lane. Svo. 1768. The hint of this piece, and that only, the au- thor says, was taken from the character of Menalcas, in La Brw- yete, translated by the Spectator. It met with applause. 16. The Absent Ny.mph ; or, TheDoating Swain. Musical Inter- lude, by Messrs Daniel Bellamy, sen, and jun, 8v«. 1739} 2d edit. A C H 2'imo. 1/41. pLiblishcd in a col- "iec'lioii or' ^Mibfellanies. 17. The Acadkmik; or. The Camlrid^'eDuns. Com. by J. Barnes. This p].!} has never hi-cn published, but still remains in ?/IS, in the li- brary ol KtmiKiiuiel Cullcge, Cam- bridge. It appears to have been written about the year 1675 ; and iVouj circumstances it may be con- jectured to have been acted son)e- "where in ti:e university. It is, however, wretched ribaldry,\vhich, for the credit of the present times, would not be endured. 18. The Acco.MrLisuED M.\id. Com. Oj). by Mr. Toms. Acted at Covent Garden. 8vo, 1766, 1767. A tran.slation of La Buoria Figliuola. It was very coolly re- ceived. ip. The Accomplished Rake. A MS. Comedy, under this title, stood for sale in Mr. Barker's Ca- talogue of Plays, 1 7gg. 20. AcHiLLEsj or, J phi gi^nia in Aulis. Trag. byAbelBoyer. Acted at Drury Lane. 4to. 1700. This is a translation from the Ipluireida tof Racine. It vas acted without any success. On ihe appearance of the Viclini, by Charle.s Johnson, in 1/14, Mr. Boyer republished this play, under the title of The Victim, or ylcliillcs and Iphiyciiia in ylulis^ 12mo.; and in tlie preface to it says, that it passed the cor- rection and approbation of Mr. Dryden. On the 23d of March 177'^y it was revived at Covent Garden, under the title of Iphi- genia, for the benefit of Mrs. Barry. 21. Achilles. Opera, by John Gay. Bvo. 1733. This piece, which is in the manner of the Beygar's Opera, is a ludicrous relation of the discovery of Achilles by Ulys- ses, The scene lies in the court of Lycomedes. Achillea is in wo- A C O man's clothes through the whole play, and it concludes by his mar- riage with Deidamia. It was acted in 1733, at Covent Garden, eigh- teen nights. 22. AcHiLr.Es IN Petticoats. Opera, altered from Gay, by Geo. Colman. Acted at Covent Garden. Svo. 1774. This alteration met with little success. 23. Achilles in Scykos. Op. translated from Metastasio, by John Hoole. Svo. ISOO. 24.7VCIS andGalatea. Masque, by P. Motteux, from Ovid's Metam. book xiii. set to music by John Eccles, and performed at the The- atre Royal, in DrUry-Laue, by His Majesty's servants. 4to. 17OI. Performed at Lincoln's Inn Fields. Svo. N. D. The scene Sicily. With this Masque are published the rest of the musical entertain- ments, in an Opera called The Mad Lover. 25. Acts AND Galatea. An Entertainment of dancing per- formed at Drury Lane, I72S. 26. Acts AND Galatea. An English Pastoral Opera, in three acts, by John Gay. It is in recitative and air ; the story taken from the 13th book of Ovid's Mctanior- p hoses ', the music composed by Handel ; and was performed at the Hay market, 1732, with scenes and dresses ; Galatea being repre- sented by Miss Arne, afterwards the celebrated Mrs. Gibber, Svo. 1732. 27. Acis AND Galatea. A Dance, performed at Drury Lane, 1749- In this dance Sig. Campion! first appeared on the English stage. 28. Acis AND Galatea. Ser. by John Gay. Bvo. 1782. 2c;. Acolastus. This play is no more than a translation, for the use of children, of a Latin play of the same name, written by Guil. B 2 A C O Fullonius, on the story of tlie Pro- iligal Son. It is printed in the old black letter, 4lo. and dedi- cated to the King. " Joannis Pal-igravii Londoni- " ensis, Ecphrasis Anglica in Co- " median) Acolasti. ** The comedye of Acolastus, " translated into oure englyshe " tongue, af(er such maner as ** chylderne are taught in the " grammarschole; fyrst,\vordefor " worde, as the latyne lyeth ; and " alterwarde, accordynge to the " sense and raeanyng oi the Latin " sentences : by shewing wliat " they do value and countervayle " in our tongue, with admoni- " tions set forth in the margyn, *' so often as any such phrase, tiiat " is to say, kynde of spckyng used " of the Latyns, which we use " not in our tonge, but by other *' wordes cxpresse the said Latyn " maners of speakingc, and also " adages, metaphores, sentences, " or other fygures, poeticail or *■* rhetoricall do require, for the " more perfyte instructynge of the " lerjiers, and to leade theym " more easilye to see liowe the cx- " posytion gothe ; ar.d afore the " seconde sceane of tlie fyrst acte, " is a brcfe introductory to have " some general knowledge oi the " dyvcrs sortes of meters used of " our auctour in this comedy. " And afore Acolastus balade is " shewed of what ky rides of me- " ters his balade is made of. And " afore the syxte sceane of the " fourthe acte, is a monition of *' the rhetorycall composytion used " in that sceane, and certayne other *' after it ensuyinge. *<• Interpreted by John Palsgrave, *' Anno M. n.XL. ^'Wylliam Fullonius, the maker " of this pre.sente cnmcdy, aid set " It fgrtlie. Infurc the bouroeses A D E " of Hagen in Holand. Anno " M.D.XXIX." 30. Action axd Diana. An Interlude, by Mr. Robert Cox, with a pastoral story of the nymph Q'^^none, followed by the sevejal conceited humours of Bumpkin the huntsman, Hobbinal the shepherd. Singing Simkin, and John Swab- ber the seaman. 4to. No date. The story is taken from Ovid's Mctuvnirphoscs. In the 2d edition, 8v(). l65(3, it is said to have been acted with great applause at the ■Red Bull. In this edition was also the addition of Simpleton the Smith, not before extant. These Drolls were afterwards published in Kirkman's collection, called The jy Us, ox Sport uponSport; which see. 31. Act at Oxford, Com. by Thomas Baker. 4to, 1704. This author, in his dedication to Lord Dudley andWard, informs us, that it was forbid to be represented; and at the same time disclaims any in- tention of treating the university of Oxford with rudeness, as it had been reported. It was afterwards altered, and brought out under the title of Hampstead Heath. 32. Adlla. Trag. by Mrs. West. Never acted ; but primed in the first volume of her Poems andPloys. 8vo. 1799- It possesses consider- able merit,- the language is highly poetical, and the characters are well discriminated: it was, how- ever, ofl'ered in vain to the ruana- gers of the -winter theatres. 33. AnKLAiDE. Trag. by Miss Alderson (now Mrs. Opie), acted at Mr. Plumtre's private theatre at Norwich, on the 4th and 6'th of Jan. 1791. the part of Adelaide by the author. Not printed, we believe, TJie fable, though simple, was in- teresting, and the whole perform- ance did credit to the fair writer. 34. Adelaide. Trag, by Henrjf A D E J-ames Pye. Acted at Drury Lane. Svo. 1600. There is some fine writing in this piece, which will please in the closet; but it had no interest upon the stage. The story is drawn. from the latter part of the reign of Henry II. whose last days were so much embittered by the disobedient and unnatural con- duct of his sons. 35. Adelaide deEhaban'T; or. The Triumph of i'irlue. Dram. Romance. Pertbrnied at Covcnt Garden, for the benetit of some dancers, 1784. This was, we be- lieve, only a ballet. 36. Adelaide de Fontiiieu. Ballet. Performed at Covcnt Gar- den, 1/84, for the benefit of Mons. Le Beuf and ]Nfad. Bithmere. 37. Adelaide OFWi'LriNcjKN. Trag. in four acts, from tlie Ger- man of Kotzebue, by B.Thomp- son. Svo. 1801. Never acted. This tragedy is unnatural and dis- gusting in the highest degree. Like the greater part of the Ger- man dramas, too, it is of an im- moral tendency; for, under the specious disguise of attacking su- perstition and intolerance, religion is, in almost every page, expo.sed to ridicule. 38.ADELFRID. Hist, Drama, in- terspersed with songs, by Joseph Moser. Written in I8O7. Nei- ther acted nor printed. 39. Adelgith a; o\,TheFruils of a si.ng/e Error. Play, in five acts, by M. G. Lewis. Acted at Drury Lane, April 1807, hut previously printed. Svo. I8O6. It was in- teresting in the performance, and very well received. 40. Adrlinda. Com. bv Miss Hannah Brand. This piec-e, which was never acted, we believe, is an alteration from La Force du Naturcl of Destouchcs, and was printed at Norwich in a volume of ADO plays and poems by the same au- thor. Svo. 1798. 41. Adelmokk the Outlaw. Ron)antic Drama, in three acts, by M. G. Lewis. Svo. 1801, This ))iece, which is romantic enough in all conscience, was performed at Drury Lane theatre; but with very little success, notwithstand- ing it had the aid of some charm- ing music by Kelly. The dialogue is inflated and incorrect; and the construction of the piece is better suited to a ballet, or pantomime, than to a regular drama. 42. Adelphi ; or. The Brothers. Com. translated from Terence, by Richard Bernard. 4to. I598. 43. Adiilpki. Com, The same play, translated by Charles Hoole. Svo. 1663. 44. Adelphi. Com. translated by Laurence Echard. Svo. 1694. 45. Adelphi. Com. translated by T. Cook. ]2mo. 173-4. 40. Adelphi, Com. translated by S.Patrick. Svo. 1745. 47. Adklphi. Com. translated by Gordon. 12mo. I752, 48. Adelphi. Com. translated by G. Colman. 4to. 1765. 'J9. A new translation of the Adelphi of Terence into blank ver^e. Svo. 1774. None of these translations were ever intendedfor,nor are they by any means adapted to, the English staQ;e. 50.' AlJMIKABLE CrICHTON. Trag. liy (t. Galloway. Svo. ] 802. Printed in a volume with poems;. 51. AnoLPHus AND Clara; or, 77/ 1' Tivn Prisoners. Com. in one act, translated from the French of J. B. Alarsoliier, by Eleanor H — . Printed in Tlie Lady's Magazine for 1804. This is a translation of the drama from which Mr Kenney took his Opera of Matrimony. 52. 1'he Adopted Child. Mus. Drama, in two actsj by Samuel B 3 6 ADR Birch. Acted with sr.ccess at Drury Lane. 8vo. 179-5. 53.The Adopted Son. In the first volume of the Poetical Works of William Preston, Esq. Dublin, 8vo. 1793, we find a song from a tragedy with the above title; but whether it was printed, or still remains in MS. we know not. 54. Ad R.^ ST A ; or, Tke IVovian's Splet'ti and Love's Coru/ucsL Tragi- Com. by John Jones, never acred, but printed in 4to. it)35 P.ut of it is taken from Boccacc, Day S, Novel. 8. It has very little me- rit. 55. AnraAN- .^noOrrila; or, y/ Mother's Fengeance. Piay, in five acts, by William Diraond. Per- formed at Covent Ganlen. Svo. ISO6. Of this piece the plot is simple, and some of the situations are favourable to stage effect : still, liowever, there is room for objec- tion, even as to the management of the plot. The whole is spun out to too great a length ; by which means the incidents tlf not follow each other with sufficient rapidity to keep the interest fully alive. The language and action are more strained than the occasion seems to warrant : from the words and actions of Matilda one should have supposed that she had mur- dered, instead of stolen, a child ; and the figurative speeches of the lovers are sometimes even mcjre than romantic. Persons under the influence of passion do not de- scribe it : they feel it, and leave the description to others who see it in its etfects. A person labour- ing under a strong delirium does not tell us that he is mad. In the above respect there is some objec- tionable matter in the piece. At the same time, tliere is much In the dialogue that is natural and praise- worthy. 56. Adrian in Syria. Op. trans- A D V lafed from Metastasio, by John Koole. Svo. 1800. 57.THB Adventurers. Dram. Piece, of two acts. Svo. 1777. Printed at Canterbury. There i* much good satire in this piece; but, as the principal characters are swindlers, it would hardly be en- dured on the stage. 5S. I'uE ADVENTUKEKi. F. by E. Morris. Acted at Drury Lane. 8vo. 1790. This is a pleasing enter- tainment, and was wtil received. 59. Adventures iv Madrid. Com. by Mrs. Pix. Acted ac the Queen's theatre in the Haymarket. 4to. No date. [1709.] 60. The Adventures of a Night. F. by Mr. Hodson. Acted at Drury Lane. Svo. I7S3. Taken from Fielding's Cofjec/ionse Politic dan, without acknowledgment, and acted without much succe.ss. 61. Adveniures of five Hours. Tragi-Com. by Sir Samuel Tuke, Bart, Acted at Court. Fol. 1003; 4to. 16()4, 1671, 1704. D.C — Downes, in his Rosc'ws yin- glicanus, says, it was written by that gentleman and the Earl of Bristol. It is translated from a Spanish play, recommended by KingCharles II. was acted thirteen days successively with great ap- plause, and has several copies of verses prefixed to it by Mr. Cow- ley, and other eminent poets of that time. Echard, in the preface to his translation of Terence, says, " Ihis is one of the pleasantest ** stories that ever appeared upon " our stage, and has as much va- " riefy of plots and intrigues, ** without any thing being preci- " pitated, improper, or unnatural, " as to the main action." 62. Adventures of half an Hour. Farce, by Christopher Bullock. Acted, without success, at Lincoln's Inn Fi.elds. 12mo. 1716. 5 th edit. 12mo. 17G7. A F F 63. The Adventures of Tom Trip ; or. The Jf'uunded Sailor. A naval Farce, by Henry Siddons. Performed for his benefit at New- CJstle, 1798. Not printed, we be- lieve. d-l.THEAovERTisEMENT; or, A Bold Stroke for a Husl-and. Com. bj Mrs. Gardner. Acted one night, Aug. 9, 1777, at the Haym?.rket, for the benefit of the authoress. Kot printed. 65.^LLA. ATragycal Enterlnde, or DiscoorseyngeTragedie. Wro- temi bie Thomas Rowleie; plaiedd before Mastre Canynge, atte hys howse nempte the Uodde Lodge (also before the duke of Norfolck, Johan Howard). 8vo, 1777- One of those pieces printed as perform- ances of the 15th century, but now generally acknowledged to have been the forgeries of I'homas Chatterton. Oo. ^Eneas's Revenge, M'i//i the Tragedy of Polyphemus, h\ Heury Chettlc. Acted 1598. 67. AEROSTATION ; oY,ThcTevt' play's Stratagem. Farce, by F. Pilon. Acted at Covent Garden, with tolerable success Printed in 8vo. 1/84, with a humorous kind of dedication to Lord Grnntley, as Chief Justice in Eyre. From the title, it is evidently a satire on the balloon mania. 68. iExius. Op. translated from Mctastasio, by John Hoole. 8vo. ISOO. 69. The Affected Tadies. Com. by John Ozell. This p]:iy is only a literal translation of the Precieuses liidicules of Moliere. 70. Tkk Affectionate Fa- ther. Sentim.Com.byJamesNel- sou. 8vo. 1786. It is published in a volume, with F^ssays on va- rious Subjects, and is better suited to the closet than the stage. The sentiments are just, and the mor^l A G A is good ; but the characters want novelty, and the dialogue seldom rises above mediocrity. Never performed. 71. 1'he Affectionate Son. See Theatrical Rf.coudek. 72. The Ai-KiCANs ; or, /Far, Lm'e, and Duty. P. by George Colman the Younger. Acted, with great success, at the Hay market, bvo. 1808. The plot is from Les Nouve/les du Florinn, and is really interesting. The characters of Mug aiidSuttn, however, bear too near a resemblance to the Trudge and Wowski of the author in his Inkle and Yai'uo. 73. Against Momus's and ZoiLus's. A Dramatic Piece, by John Bale, Bishop of Ossorj', one of the first English dramatic wri- ters. Of this piece we have no remains but the bare mention of it by himself, in his account of the writers of Britain. 74. Against those who a- BI7LTERATE THE WoilD OF GoD. A. Dramatic Piece, by the last- mentioned author; and of which v.'c have exactly the same kind of knowledge. Neither of them were ever acted or even printed, but iu all probability they were written between 1530 and 15-JO. 75. Agamemnon. Ti';ig. trans- lated from Seneca, by JohnStudlv, in Queen Elizabeth's reign, lie has, however, added a whole scene in the fifth act. 4to. 158 J, In I\Ir. Kembie's collection. 76. Agamemnon. P. ascribed to Henry Chettle and I'homas Dekker. Acted 1509. 77> Agamemnon, Trag. by James I'homson. Acted at Drury Lane. 8vo. 1738. This tragedy, as Dr. Johnson observes, was much shortened in the representation- It had the fate which most com- monly attends mrthologicalstories, B 4 A G A and was only endured, but not fa- voured. It struggled with such difficulties through the first night, that Thomson, coming late to his friends with whom he was to sup, excused his delay, by telling ihem how the sweat of his distress had so disordered his wig, that he could not come till he had been refitted by a barber. He had so interested himself in his own drama, that, we have been told, as he sat in the upper gallery, he accompa- nied the players by audible reci- tation, till a friendly hint frighted him to silence. Pope countenanced Ai<,amemnon, by coming to it the first night. 78. Ag.\memnon. Trag. trans- lated from yEschvlus, by K. Potter. 4to. 1777; 8vo.'l779. " In this ** tragedy the reader will find the '* strongest traces of the genius of " jEschylus, and the most dis- *' tinguishing proofs of his skill. *' Great in his conceptions, bold *' and daring in his metaphors, " strong in his passions, he here " touches the heart with uncom- *' mon emotions. The odes are *' particularly sublime, and the " oracular spirit that breathes '* through them adds a wonderful *' elevation and dignity to them. *■' Short as the part of Agamemnon *' is, the poet has the address to " throw such an amiable dignity " around him, that we soon be- " come interested in his favour, *' and are predisposed to lament *' his fate. The character of Cly- *' temnestra is finely marked ; a *' high-spirited, artful, close, de- *' termined, dangerous woman. " But the poet has no where ex- " erted such efforts of his genius *' as in the scene where Cassandra " appears: as a prophetess, she ** gives every mark of the divine V inspiration, from the dark and A G I " distant hint, through all the " noble imagery of the prophetic " enthusiasm ; till, as the cata- " strophe advances, she more and " more plainly declares it. As a " suffering princess, her grief is " plaintive, lively, and piercing ; " yet she goes to meet her death, " which she clearly foretels, with " a f.r.iiness worthy the daughter " of Priam and I he sister of Hec- " tor. Nothing can be more ani- " mated or more interesting than " this Fcene. The conduct of the " poet through this play is exqui- " sitcly judicious ; every scene " gives us some obscure hint or " ominous presage, enough to keep •' our attention always raised, and '' to prepare Ms for the event j " even the studied caution of Cly- " temnestra is finely managed to " produce that effect; whilst the "" secrecy with which she conducts " her design keeps us in suspense, " and prevents a discovery, till " we hear the dying groans of her " murdered husband. The scene " of tliis play is at Argos, before the " palace of Aganiemnon." Potter. 7p. Aggression; or. The He- roine of Yucatan. Ballet of Action [by Mr. Farley]. Acted, with ap- plause, at Covent Garden, April 1805; but certainly not the best thing of the kind that we have seen. 80. Agis. Trag. by John Home. Performed at Drury Lane. 8vo. 1758. This play is founded on a story in the Spartan history. W'he- ther the author was only warmed by the spirit of a particular party, or that he chose in this piece to give vent to his resentments against his counftymen for the rigour wherewith they had persecuted him on account of his former tra- gedy of Douglas, it is difficult to determine; but it is at least ai)pa- 9 A G M rent, that throughout the whole of the piece he has kept up a figura- tive retrospect of the conduct of the Scots in regard to King Charles I. and that, in the cha- racter of his Agis, he has never lost sight of the idea of that unfortunate prince. It was performed with tolerable success, being strongly supported, not only by a party zeal in the author's favour, but also by the additional advantages of very fine acting, and two pompous and solemn musical processions. — Without these assistances, how- ever, it is somewhat doubtful whe- ther it might have met with the same success. On this tragedy Mr. Gray, in a letter to Dr. V/ar- ton (see Mason's Memoirs of the former, 4to. edit. p. 26l), has the following remark : "I cry to " think that it should be by the " author of Douglas : why, it is '• all modern Greek ; the story is "■ an antique statue painted while " and red, frized, and dressed in " a negligee made by a Yorkshire " mantua-maker." Jgis is said to have been written before Doug- las, though acted after it. 81. Aglaura. I'ragi-Com. by Sir John Suckling. Acted at the private house in Black PVyars. Fol. 1638; 8vo. 1646. The au- thor has so contrived this play, by means of an alteration in the last act, that it may be acted either as a tragi-comedy, or a perfect tra- gedy : a plan which was followed by Sir Robert Howard in his rcs- tal Firgin. The scene lies in Persia. 82. Agmunda. Trag. by Hm- nah Brand. Her play of Huniades, which did not succeed on the stage, at Drury Lane, was soon after re- produced at the Haymarket un- der this title (the character of Huniades being omitted .') j but. A G R after a candid hearing, it was f]Liietly dismi.ised, as not suited to stiige representation. 8;;. Agnks dk Castro. Trag. by Islrs. Cath. lYotter, afterward* Cockburne. 4to. Acted at the Theatre Royal, lO'yfi. Jt is built on a French novel of the .'iama name, translated by Mrs. Behn, and dcher\ edly met with very good success. 84. The Agreeable Separa- tion. Com. Entertainment, by Dr. Collingwood, Never acted. PrintedatBeiwick. 12mo. Nodate. 85. The Agreeable Surprise. Com. of one act, tran.slated from Marivaux. 12mo. 1/66. Perform- ed by the scholars of Mr. Rule's academy at Lslington, Printed in Poetical Blossoms, or, The Sports of Genius. 86. The Agreeable Surprize. Musical Farce, by John O'Kcefe. Acted at the Haymarket, 178I. Not printed by the author (but often spuriously). It is, certainly, inferior to his previous perform- ances, and exceptionable for in- decency of allusion in some parts of it. The character of Lingo, however, was represented by Mr. Kdwin with so much real humour, that the audience forgot the ab- surdity both of the fable itself, and the conduct of it ; and by the merits of Messrs. Bannister, Faw- cett, and other popular actors, in the same part, the piece has con- tinued a favourite ever since. It was originally brought out in Dub- lin, under tl)e title of The Secret Enlarged, and it had then no suc- cess. 87. Agrippa King of Alba ; or, The False Tilcrinus. Tragi- Com. by John Dancer. This is a translation from M. Quinault; it is in heroic verse, was performed se- veral times with great applause at 10 A J A the Theatre Royal in Dublin, and was printed at London in 4to. 1675. S8. Agrippina, byThos. May. See Julia Agrippina. 89. Agrippina. Trag. inrhyme, by John Lord Hervey. Not printed. This performance siill remains un- pviblished in the possession of the Bristol family, bee Walpulc's Anecdores, vol. ii. p. 14(}. GO. Agrippina, byThos. Gray. 4to. 1775. This piece consists' only of two scenes of a tragedy, so adniirablv executed as to make one lament that ihe autliordid not complete it according to his origi- nal design. The story was in- tended to be taken from the 13th and I4lh books of Tacitus. The language of this production, though far from wanting ornament, is by no means overloaded with it ; and, had our author lived to complete his undertaking, it could not fail to have proved the noblest pattern for the style of imperial tragedy. Dr. Johnson, however, observes, " it w.!S no loss to the English " stage that jigrippina was never " finished." The fable, indeed, could not possibly admit of any good character, and therefore only terror could have been excited by it. The loss of the reader never- theless may have been consider- able; for, to use the critic's own sentiments concerning our author, " a man like him, of great learn- " ing and great industry, could " not but produce somewhat va- ♦' luable.'' 91. King Ahasuerus and Queen Esther. A''' Interlude, attributed to Robert Cox, come- «^ian, and is published in the second part of Sport upon Sport, 1672. 92. Ajax. Trag. 12mo. 1/14. This is only a translation from the Greek of Sophocles by a ^'Iv. ALA Jackson, but revised by Mr. Rowe, gs. Aja.x. Trag. translated by George Adams. 8vo. 1729. 94. Ajax. Trag. translated by Thomas Franklin. 4to. I759; 8vo. 1/88. Q5. Ajax. Trag. translated from Sophocles by R. Potter. 4to. J 788. '* The contest for the arms " of Achilles, the decision in fa- " vour of Ulysses, the indignation, " madness, and death of Ajax, " are circumstances well known : " on these Sophocles formed the " tragedy now before ns, which " has ever been esteemed one of " his greatest works. — The scene " is before the tent of Ajax, the " last in station ; so that it has the " camp and tieet of the Grecians " stretching along the shore to the " west, a valley terminated by " mount Ida lying to the cast. " The simplicity of the ancient '*" drama generally contined the " whole representation to one " place, from which the chorus " was not allowed to depart. So- " phocles has here ventured ta " vary the scene, and to disperse '• the chorus, whom he brings to- " gcther again in a wood at the " foot of Ida, where Ajax had " fallen upon his sword. The " reader of taste will rise with the " poet superior to the rules of " criticism, and ;;cki2i)wledge,that " even the single speech of Ajax " over his sword is of more value " than all the unities." Potter. g6. The Air-Balloon. M.p. Svo. J784. Of this piece we know nothing but the name. g7- Aladdin ; or. The Won-, derj'ul Lamp. Pant. Performed at CoventGarden, 1 7 88 . The ground- work of this pantomime is from ih^ Arallan Nights Entertainments; The music by islr. Shield. 98. Al.*.ham. Trag. by Enlka 11 ALB GrevUe, Lord Brook. Fol l633. The scene of this play is laid in Ormus, at the moiilh ot" the Per- sian Gulf, and the , plot taken from some incidents in Hprl^crl's- Travels. The author h:is followed the model of the ancients ; the Prologue is spoken by a Ghost, who gives an account of every character} and so sttictly has he adhered to the rules of the drama, that he has not throughout intro- duced more than two speakers at a time, excepting in the choruses between the acta. gg. Alarbas. Dram. Opera, written by a gentleman of quality. 4to. 1709. I'he scene lies in Ar- cadia in Greece. From the Pre- face it appears not to have been acted, 100, The Alarm. By J, M, Swiney, Printed at Cork. We know nothing of this piece but the name, 101. ThbAlarmi5T; or, Cheer- ful Opinions. Int. by J. P. R;)ber- deau. This is merely a dialogue btetween a patron-hunting player and a rich monopolist. It was lirst recited by the author as a mo- nodrama, at " An Attic Evening's " Entertainment ;" got up, under his management, in the town of Lewes, for the benetit of the poor, in 1800, but was afterwards al- tered and transferred to the thea- tre. It is printed in the author's " Fui^itive Prose and Verse," Chi- chester, Svo. 1S03. lOi. Alakum J"or London; or, The Siege of Antwerft : with the ventrous Ac.tes and valorous Jjeeds of the lame Soldier. Tragi- Com. Acted by the Lord Ch.iui- berlain's Servants. 4to. l602. 'Phis play is not divided into acts; the plot is taken from The Tragical History of the City of Antwerp. 103. Albeke Gau-as. p. by ALB Thomas Heywood and Wentwortb Smith. Acted l60i. N. P. 104. Alpeut ani> Adelaide I or, 77a' Vutimof Constancy. Rom. [by Samuel Birch]. Acted, with success, at Covent Gardeti, 179S. Not printed. Tiiis heroic romance is founded on a story by Madame Genlis, which was more closely translated by Mr. Hoare, under the title of The Captive of Spils^ L-urg. This piece has usually, but erroneously, been ascribed to the pen of Mr. Cobb. 105. Al.Uf.IlT AND RosAi.jr,. See Dkamatic Appellant, lOti, Albfuta, Trag, by .1. Carter, bvo. 1787. Never per- formed. 107. Albkrtus VVallexstei?^, late Duke of Fridlarid, and General to the Emperor Ferdinand II. Trag. by Henry Glapthorne. It was acted at the Globe by the Bank Side. 4to. 1()34. 1640, The scene lies at Egers, ami the plot h merely historical, being built on facts not very distant from the time of writing it. The diction is good. 108. Albina, Counters Rainiond. Trag. by Mrs. Cowley. Acted at the Haymarket, 1779. ^^-o. In a Preface, which is suppressed in a second edition of this play, are many complaints against the ma- nagers of Drury Lane and Covent Garden, and sonie insinuations of unfair practices towards the au- thor while the play was m their hands. The charges of plagiarism from this piece seem to have no other foundation than in the fancy of the author. The language of Mrs. Cowley's play is harmonious, and sometimes forcible ; the ima- gery m general just, and the sen- timents are moral and important ; yet it had little Success, being acted only six times. It, bpuwever. 12 ALB gave rise to a paper war between its autlior and Miss Hannah More. 109. Albion. Interl. u:en- tioned by Kirkman only, and pro- bably tiie same as is entered, by TboniasColwell, in the Stationers' Company's books of the years 1565 to 1566, under the title of " A Mery Playe, bothe pythy and " pleasaunt, or Albyon Knight." 110. Albion; or, T/w Comt of Neptune. A ]Ma.sque, by T, Cooke. 8vo. 1724. The scene laid on the Briti.sh seas. 111. Albion and Albanius. Opera, by J. Dryden. Acted at the Thca'tre Royal. Ful. l6S5 ; 4to. 100,1. Set to music by Lewis Grabue, Esq. The subject of this piece is wholly allegorical, being intended to expose the fanciful doctrines of Lord Shaftesbury and his adherents. Dowiies tells us, that, happening to be first per- formed at an unlucky time, being (he very day on which the Duke of iVjonmouth lauded in the west, and the kingdom in a great con- eternation, it ran but six nights ; which, not answering half the charge the company had been at in getting it up, involved them very deeply in debt. 112. Albiok Queens. See Island Queens. 113. Albion Restor'd j or, Time turn'd Oculist. A Masque. Never acted. 8vo. 1757. 114. Albion's Triumph, per- sonated in a lilaske at Court, iy the King's Majesty and /lis Lords (nil whose namc\s are at the end), the Sunday after Twelfth Nii^ht, 1631. 4to. The scene is Albi- polis, the chief city of Albion. Inigo Jones had a share in the in- vention of this masque. The words by Aurelian Townsend. 115. Albovine, Kins of the Lomlards. Trag. by Sir W. Da- A L C venant. 4to. 1639. The story is found in Bundelio, the Histoirpx Tiagi([ues, torn. iv. Nov. 19, and some of tlie historians of the Francs and Lombards. The scene lies in Verona. This, which was Davetiant's lirst play, is dedicated to the unfortunate Karl ot Somer- set, and the Dedication is followed by eight copies of commendatory verses. It contains a fretjuent sprinkling of bombast and obsce- nity. 1 Id. " Albu.mazar. Com. pre- " sentcd before theKing'sMajestie " at Cambridge, the 9th of March " ]6l4, by the gentlemen of Tri- " nity College. 4to.l6l5, l(i34." In Dudsley's Collect. This play was written by Mr. Tomkis, of Trinity College ; and acted before King James on the day above men- tioned. Dryden, in a Prologue composed by him for the revival of it, considers it as the original of the Jkhymist, and charges Ben Jonson, in very positive terms, with plagiarism, but without any foundation, as this play was nei- ther acted nor printed until four years after The J I thy mist. 117. Albcmazar. Com. by David Garrick. Acted -at Drury Lane. 8vo. 1773. This is an al- teiaiion of the above play. Though it had the advantjige of the best performers, yet neither on this, nor a former revival of it in 1748, did it meet with much success. 118 Alcamenes and Mena- LippA. Trag. Mears, in his Ca- talogue, ascribes this play to Wil- liam Philips. Chetwood, we be- lieve, with his usual want of fide- lity, has given it the date of 1668. 1 19. Alcanor. a Play, by Mr. Cumberland, with this title, is advertising, as being one of a col- lection intended fer publication by subscriptiun. Never performed. 13 A L C 120. Alcestis. Trng. trnn?- lated from Euripides, by K. Putter. 4to. l/Sl. Apollo, who had been kindly received by Adnietus when banished from heaven, prevails upon the Fates to spare the life of his benefactor, on condition that some near relation would consent to die for him j but neither his father, nor his motlier, nor any of" his friends, are willing to pay this ransom. Alcestis, hearing this, creneruusly devotes her own life to save her husband's. Upon this fable the poet has built his drama. With a beautiful simplicity which characterizes the compositions of the ancients, and with a tender- ness of which his own heart was peculiarly susceptible, he has gi- ven these scenes of domestic sen- sibility and distress their full effect. The design of this tragedy is, to recommend the virtue of hospi- tality 5 as well as to keep alive a generous and social benevolence. The scene is in the vestibule of the house of Admetus, 121. Alcestis. Trag. trans- lated from Euripides, byM.Wod- hull. Svo. 17S2. 122.TnEALCHY;.iisT. C.byBen Jonson. Acted by the King's Ser- vants. 4to. iGlO; Svo. 1/56. This play is too well known and admired to need any comment on, or account of", it. Let it suffice to say, that the design of it was to lash the then prevailing passion for Alchymy, and point out how easy il is for mankind to be im- posed on where some darling folly lends its aid to the imposture. SirRichardSieeler7a/^^r,No.!4.) says, " This comedy is an ex- ** ample of Ben Jonson's extensive " genius and penetration into the " passions and follies of mankind. *' The scene in the fourth act, " where all the chanted people " oppose the man that would ALE "■ open their eyes, has something " in it so inimitably excellent, " that it is certainly as great a " masterpiece as has ever appeared " by any hand. The author's " great address, in showing co- " vetousness the motive of the " actions of the puritan, the epi- " cure, the gamester, and tlie " trader ; and that all their endea- " vours, how differently soever " they seem to tend, centre only " in that one point of gain; shows " he had, to a great perfection, " that discernment of spirit which " constitutes a genius for comedy." • — See Albumazak. 123. The Alchymist, by Ben Jonson. An additional scene to this play, w ritten by Mr. Moser, was printed in The European Ma- gazine, vol. Iv. ISOp. 124. Alcibiades. Trag. hj Thomas Otway. Ac/ed at the Tlieatre Royal.' 4to. 1675,168/. The story of this play is taken from Corn. Nepos and Plutarch. The author has, however, consi- derably departed from the history, making his hero, Alcibiades, a man of the strictest honour, who chooses rather to lose his life than wrong his defender. King Agis, or abuse his bed; wiiercas PlutarcU gives him a quite different cha- racter. It was Otway's first play, and is written in heroic verse. 125. Alcibiades. Trag. by William Shirley. This play has not yet been printed. It was pro- mised, hov, ever, in a collection of the author's dramatic woiks, and appears to have been refused by both Mr. Garrick and Mr. Harris. 126. ALiXANDER. Op. by An- thony Henley, Esq. The writer of Mr. Henley's life says, he al- most finished an Opera with this title at the time of his death, and that it was to be set by Pur- cell. 14 ALE 127. Alexandkr ANb Cam- PASPE. Com. by John Lyly. Vlayed before Queen Elizubeth, on Tweltth-Night, by the chil- dren of Paul's. 4to. \5S4, I5(jl ■ I2mo. I(i32. In Dodsley's Col- lection, l/bO. Plot from Pliny's JVa^ Hist, book xxxv. ch. 10. 128. Alexaxdek and I.odo- wyke. Play, by Martin Slangb- * ter. Acted in ligs. N. P. 12p. Alexander AXoSrATiK a; or. Tin: Death of Buccplur/us. A Tn'gedy for warm Weatlier. writ- ten by a Gentleman (Dr. George Wallis), and acted at York, Leeds, and Edinburgh. Whether it was ever printed, we know not. J.30. Alexander AND tueKixg OK Egypt. A mock Play, as it i.s acted by the mummers every Christmas, -^to. Printed at New- castle, l/SS. J31. Alexander the Great, by T. Ozell. Itanslated from Fva- cine. 12mo. 1714 132. Alexanbsk the Griat. Op. performed at Lincoln's Inn Fields, bvo. 1715. 133. Alexander the Great. Trag. altered Irom Lee's Rival Quty?]S, and acted at Drurv Lane and Covent Garden. 8vo. 1770> 13-1. Alexander the Great; or. The Conquest of Persia. He- roic Pantomime, composed by J. D'Egville. Perfu.med at Drury Lane. Svo. l^ijf)- Music by Kra- zinski Miller. In this b.Tllet were exhibited the general incidents of Alexander's progre.ss in Persia ; his difficulties in surmounting the apprehensions and reluctance of hi<^ army; his allimce with the celebrated Amazon ; the furious impetuosity of his couruge at the storming of Gaza ; the battle of Arbela; his treatment of Darius and his family, and his entrance liito Babylon and marriage with ALE Statira. The scenery of this per- foriiiance surpassed e^ierv thing before exhibited on the English stage. The history of the action of this pantomime was written by Mr. Kemble, and distributed gra- tis at the theatre. 135. The AlexandrvEanTra- gedy. By William Alexander, Karl of Sterling. 4lo. H;05, ]()07 ; fol. l(J37. The groundwork of this play is laid on the differences which aro.se among Alexander's captains, after his decease, about the succe.ision. Jacob contradicts Lingbaine for saying that it is v.-ritten after the model of the ancients, yet condemns the play for those very faults which could oni y arise from the author's having followed that model, and conse- quently must be mistaken either Oil one side of the question or the other, 'ihe noble author has un- doubtedly kept the ancient tragic writers perpetually in his eye, and even borrowed freely from their thoughts; several whole .speeches being apparently little more thsn translations from Virgil, Seneca, and others. He has kept close to historical fact, even in his episodes, yet has neglected the very essence of t:.e drama, viz. action; the first act being wholly employed by the ghost of Aiexi'.nder (probably in imitation of Seneca's ThyeslesJ ; the second having but little to do with the main business of the play, beginning with the council held by Perdiccas, Meleager, and the rest of the commanders ; and through the whole remainder of the piece scarce one action is per- formed in the view of the audi- ence ; the whole being little more than a narration, thrown into the mouths of the several characters, of adventures achieved by them- selves and others. The scene li« u A L F In Babylon, and the plot is to be found in Quintus Curtius, Diodo- ruji Siculus, Orosius, &:c. 136. Alf.xas ; or, The Chaste Gal/a/it. By Philip Massinger. Ky this title Massinger's Baaliful Lover seems sometimes to have been called. 13/. Alexis axd Dorixda. Musical Piece. Acted at Lincoln's Inn Fields, 1/25. N. P. 13S. Alexis's Paradise. D. 0;». 1080. 13(). Alexis's Paradise; or, -■/ Trif} to the Garden of Love at fuuxhall ; as privately acted by the Ladies of Honour. Com. by •lames Newton, Esq. 8vo. 1/22, 1/32, and N. D. 1401. Alfred. A Masque, by James Thomson and David Mal- let. 8vo. 1740. The scene of this play lies in Britain ; and the story from the English history at the time of the Danish invasion. It was performed the 1st of Au- gust 1/40, in the gardens of Clief- den, in commemoration of the accession of George L and in ho- nour of the birth-day of the Prin- cess of Brunswick ; the Prince and Princess of Wales, and all their court, "being present, l^ke Judg- ment of Paris, a Masque, and al.'io several scenes out of Rich's pantomimes, were performed at the same time. 141. Alfred. An Opera, as altered from the above play. Acted at Covent Garden. 4to. 17-i5. The principal vocal parts by Mr. Lowe, Mrs. Arne, Miss Young, and Mrs. Sybilla. 142. Alfred the Great. Mu- sical Drama, acted at Drury Lane, J745. 143. Alfreu. a Masque, by David Mallet. Acted at Drury Lane. 8vo, 1/31. This is the play of Messrs. Thomson and Mallet, A L F entirely new-modelled by the lat- ter ; no part of the first being re- tained, except a few lines. 1 hoiieh excellently performed, it was not very successful. The Prologue was written by the Earl of Corke. — It has been said, that Mallet procured Alfred to be performed at Drury Lane, by insinuating to Garrick, that, in his intended Life of the Duke of Marlborough, he should, by an ingenious device, find a niche for the Roscius of the age. " My dear friend," said Garrick, " have you quite left off *' writing for the stage .'" The hint was taken, and Alfred was produced. 144. Alfred the Great, De- liverer OF HIS Country. Trag. 8vo. 1753. This is a despicable performance, written, as the title- page declares, by the author of The Friend 1 1/ Rivals. 145. Alfred. Trag. altered from Mallet, by David Garrick. Acted at Drury Lane, Svo. 1773. The alterations in this piece are but trifling, and its success was not greater than on its original per- formance. *" 146. Alfred. Trag. by John Home. Acted at Covent Garden. Svo. 1778. This play, which is the last produciion of its author, was so coldly received by the pub- lic, that it was performed only three nights. 147. Alfred. An Historical Trag. Svo. 17S9. Printed in a Collection of Miscellaneous Poems at Sheffield ; in which town it had been acted. 148. Alfred; or. The A-Iai(ic Banner. Drama, in three acts, by J. O'Keefe. Acted at the Haymarket, 1796. Svo. I798. 149. Alfoi^so, King of Cas» TILE. Trag. by M. G. Lewis. Acted at Covent Garden, Jan. 15, la ALL IS02, but previously published in 8vo. ISOl. Many parts of this piece arc sketched with ability and judgment, and it is not wanting in interest ; the language, how- ever, is unequal, being often elo- quent and impressive, and not un- frequently turgid and bombastic j and there are some inconsistencies in the conduct of the drama. It wan, nevertheless, well received, And is the best play that this au- thor Jias produced. 150. Tju; Algerixk Slavics. Mas. Ent. by James Cobb. Acted, without success, at the Opera House in the Haymarket, 1/92. This was merely an abridgment of The Strangers at Home, and has nut been printed. 151. Aloonah. Com. Opera, by James Cobb. Acted at Drury Lane, for Mrs. Billington's bene- fit, April 30, ISO'i, but not printed. It is an alteration from The Chtrnhct', with some new music by Kelly. Songs only pub- lished. Svo.'lSOi. 15'2.x\livf. and Merry. Farce. Acted at Drurj- Lane, May 179(5, and ascribed to a Mr. Brown. It contained some broad humour, but had little other merit> and was performed four or live nights. We liave heard Mr. Grubb (one of the proprietors of the theatre) mentioned as the author. Not printed. 153. All alive axd merry. Com. by S. Johnson (the dancing- master). This piece was acted at Lincoln's Inn Fields, about tlie year IT^/j w'ithout any success, aiid has never been printed. For some juv'.gment of this gentleman's writiiigs in gt;neral, see Hurlo- THRUMBO. 154. All at Hctme ; or. The Irish Nieces. Com. printed at Dublin. 12mo. 1804. Never per- formed. ALL 155. All bedevilled ; or, IVie House in an Uproar. A Farce, by Moses Browne. 8vo. 1723. See Polidus. 156. An Allegorical Moral Dramatic Musical Entertain'- MENT, by way of Eplthalamium. 12mo. 1770. Printed in a no%'el, entitled Constantia; or. The Dis' tressed Friend. 157. All Fools. Com. by George Chapman. 4to. 1005. In Dodsley's Collection, 17SO. The plot is founded on Terence's Hcuu- ton-tiinorumcnns. It was accomited an excellent play in tho^,e times, and was acted at the Black Friars with considerable applause. 158. All for Fame; or, A Peep at the Times. Comic Sketch, by Andrew Cherry. This was per- formed, or rather recited, for Mrs. Mountain's benetit at Drury Lane, May 15, 1805, and pleasantly ri- diculed the rage for infantine ac- tors. 15g. All for Love; or, The IForld Well Lost. Trag. by John Dryden, written in imitation of Shakspeare's style, and acted at the Theatre Royal. 4to. 1678, lQg2, 1/03. This is generally considered by the critics as the most complete dramatic piece of that justly-admired author. There^ needs, perhaps, no other reason to be assigned for its being so, thaa that it \vas the only one (amongst a very large number) which he was permitted to bring to that per- fection which leisure and appli- cation, added to a great degree of genius, might be expected to attain. The plot and general design of it are undoubtedly bor- rowed from Shakspeare's yhitony and Cleopatra; yet justice and ciindour require this confession at least from us, that as much as he has fallen short of his first model 17 ALL in fire and originality, he has efjnally surpassed him in point of regularity and poetic harmony ; and it may perhaps stand hereafter as a matter of contest, whether tliis tragedy is, or is not, to be esteemed as an inviiicible master- piece of the power of English poetry. Dryden indeed tells us, that it is the only play he wrote fur himself; the rest were given to the people. It is by universal consent (as Dr. Johnson observes) accounted the work in which he has admitted the fewest improprieties of style or character ; but it has one fault equal to many, though rather mo- ral than critical, that, by admit- ting the romantic omnipotence of love, he has recommended as laud- able and worthy of imitation that conduct which, through all ages, the good have censured ;is vicious, and the bad despised as foolish. 160. " Amoral andpitieful Co- " medie, intitled All for Mo- *' NEY, plainly representing . the " manners of men and fashicjn of •' the world, now-a-dayes." Com- piled by Tho;u3s Lupton. 4to. E. L. 1578. Ihe characters of tliis piece are, Theology, Science, Art, Money, Adulation, Godly Admonition, Alibchievous Help, Pleasure, Pressed for Pleasure, Sin, Swift to Sin, Virtue, Humility, Charity, All for ]>.Ioney, Damna- tion, S.Ttan, Pride, Gkittony, Learn- ing vviih IMoney, Learning with- out Money, Mor.ey without Learn- ing', Neither Money nor LearninLC, Moneyless, Moneyless and Friend- less, Nychol, Gregory, Graceless, Mother Crook, Judas, Dives, Wil- liam, and the two Wives ; but, as not more than two of these characters, or at most three, were ever on the stage at once, and ge- . nerally, when they disappeared, VOL. II. ALL were seen no more, several parts were performed by one person, and thus perhaps four or five ac- tors "served \'or the whole. 161. All for the bettee ; or, The Infallible Cure. Com. by F. Manning. Acted at the Thea- tre Royal, Drury Lane, 1703. 4to. N. D. The scene lies iu Madrid, and the Prologue was written by Farquhar. 162. All IN A Bustle. Com. [by Francis Lathom] . Printed at Norwich. Svo. 17Q5. London, 1 800. Never acted. 163. All in Good Humour. Dram. Piece, in one act, by W. C. Oulton. Acted at the Hay- market. Svo. 1792. It is a slight piece, but is not unamusing, and is still performed occasionally. 164. All in the Right. F. translated from Destouches, by Thomas Hull, and acted at Co- vent Garden Theatre, the 26th of April 1766, for the translator's be- nefit. Not printed. 165. All in the Right 5 or. The Cuckold in good Earnest. F. Svo. 1762. A low, stupid, and indecent piece. 166. All in the Wrong?. Com. by Arthur Murphy. Svo. 1761. This comedy made its first appearance in the summer season, at the Theatre Royal in Drury Lane, under the conduct of Mr. Foote and the author. It met witli success, and deservedly. The intention of it is to bring to- getli^r into one piece, and repre- sent at one view, the various ef- fects of the passion of jealousy in domestic life, acting on different dispositions and different tempers, and under the different circum- stances of husband and wife, lover and mistress. The author con- fesses, in his advertisement pre- fixed to the piece, that some of c 18 ALL hi3 hints have been borrowed from the Cocu Imagbi'dire of Moliere. The plot and conduct in general, however, must be allowed his own, and to have great merit. The cha- racters are not ill drawn, though perhaps not perfectly finished; the misunderstandings and perplexities produced among them by the wrong-hcadedness of this absurd passion, are natural and unforced ; and the incidents are so happily contrived, that, although the au- dience seem from time to time to have some insight into what should follow, yet something new and unexpected is perpetually start- ing up to surprise and entertain them. In a word, it is one of the busiest plays we are acquainted with ; and, if we may be allowed to hint at a fault in it, it appears to be, that, in consequence of the variety of incidents and number of characters, the denouement seems rather too much hurried on, and to want somewhat of that disthict- ^less which the author, with a little more pains, might have rendered it capable oi. On the whole, how- ever, it is a very entertaining co- medy; and we cannot help think- ing the Lady Restless in ihis play more truly a Jealous Wife, and, for the importance of the scenes she is introduced into, more high- ly finished, than the Mrs. Oakley of Mr. Colman's comedy ; for our sentiments in regard to which, see Je.\lous Wiie. It was after- wards brought again on this same stage by Mr. Garrick for the win- ter season, and met with the s;mie ;ipprobation as in the sunimor. iQj. All is not Gold that GLISTERS. Play, by Henry Chet- tle and Sam. Rowley, Acted ItiOO. 1 (is. All is True. Wottonsays, under date July 2, l6"13, "■ I will " entertain you at the present with 2 A L L " what hath happened thi.s week " at the Bank's Side. The King's " players had a new play, called " All is tkue, representing some " principal pieces of the reign of " Henrv^ the Eiglith, which was " set forth with many cxtraordi- " nary circumstances of pomp and " majesty, even lo the matting of " the stage, the knights of the " order with their Georges and " garter, the guards with their " embroidered coats, and the like, *' sufficient in truth with a while " to make greatness very familiar, "if not ridiculous. Now King " Henry making a masque at the *« Cardinal Wolsey's house, and " certain cannons beuig shot off ** at his entry, some of the paper "■ or other stuff wherewith one of " them was stopped, did light on " the thatch, where, being thought '• at first but an idle smoke, and *' their eyes more attentive to the " show, it kindled inwardly, and " ran round like a train, consum- " ing, within less than an hour, " the whole house to the very " ground. This was the fatal pe- " riod of that virtuous fabrique, " wherein nothing did perish but " wood and straw, and a few for- " safcen cloaks ; only one man *' had his breeches set on fire, " that would perhaps have broiled " him, if he had not, by the be- " nefit of a provident w it, put it " out with bottled ale." Of this piece there is no other account on record. 169. All mistaken ; or. The. Mad Couple. Com. by the Hon. James Howard, Esq. acted at the Iheatre Royal. 4to. I672 ; 4to. 1710. The scene lies in Italy. ThiJ is a pleasant piece. 170. All mistaken. Com. by William Sl.irley. This is an al- teraiioa of Shakspeare's Comedy ALL of Errors, with great additions. It- has neither been prhited nor acted. 171. All on a SumiMer's Day. Com. by Eliz. Inc-hbald. Acted at Covent Garden, Dec. 15, 1/8/; 'but it was disapproved, and has not been printed. In a letter, which the lady published at the time, this piece was declared to have been " given to the theatre *' contrary to her inclination, and " even contrary to her inost ear- •' nest entreaties," by the mis- taken frierid'^hip of the manager. It possessed some of the merits of Mrs. I.'s other dramas, but did not seem to have been finished with sutficient care. 172. All pleas'd at last. Com. 8vo. 1783. Anon. This piece was acted and printed in Dublin. 173. All Plot; or. The Dis- guises. Com. by Mr. Stroude. Acted at Lincoln's Inn Fields, be- tween 1663 and 1671. This play is mentioned by Downes as having been performed only three times. It seems not to have been printed, 174. All puzzled. F. Anon. 1702. Whether such a j/iece ex- ists is uncertain. Neitherjacob nor Whincop mention it ; and it hrst appears in that doubtful authority, Chetwood's British Theatre. 1/5. All the World's a Stagk. Farce, by Isaac Jackman. Acted at Drury Lane. Svo. 1777. This farce has some humour, and is still represented. 17O. All Vows kept. Com. Acted at Smock Alley. 12mo. 1733. Printed at Dublin. Scene Verona. This comedy was writ- ten by Captain Downes, nephew and aid-du-camp of Primate Hoad- ley, when he was one of the lords justices of Ireland. It was, we Id ALL have heard, condemned on its first e.x.liibition. 177. All UP AT Stockwell; or. The Ghost no Conjuror. Int. Acted atDrury Lane, for Mr. Wes- ton's benefit, April 1772. Not printed, J 78. All without Money. Com. See The Novelty. 179. All's fair in Love ; or, ^ Match for the Lawyers. Farce. Acted at Covent Garden, April 29, 1803, for Mr. Munden's benefit, and well received. Not printed. 180. All's lost by Lust. Trag. by William Rowley. Acted at the Phoenix, 1633. 4to. This play was well esteemed. Its plot is chiefly from Novel 3, of the Un- furtiinate Lovers. The tragic parts are affecting, and the comic witty. 181. All's One; or. One of the foure Piaies in One, called A Yorkshire Tragedy, played by the King's Players. 4to. 16O8 ; 4to. 1619. This is one of the spurious plays ascribed to Shakspeare. 182. All's well that ends WELL. Com. by Shakspeare. Fol. 1623. This play, which is sup- posed to have been sometimes call- ed Love's Labour JVonne, was ori- ginally taken from Boccace, but came immediately to Shakspeare from Painter's Gilletta of Narbon, in the first volume of The Palace of Pleasure, 4to. 1566, p. 88. Dr. Johnson says, it " has many de- " lightful scen?-s though not suf- " ficiently probable, and some hap- " py characters though not new, " nor produced by any deep know- " ledge of human nature. Pa- " rolles is a boaster and a coward, " such as has always been the " sport of the stage, but perhaps " never raised more laughter or " contempt than in the hands of " Shakspeare. c 2 20 A L M '* I cannot reconcile iv.y heart ^' to Bertram, a man noble with- " out generosity, and young witli- '' out truth ; who niarrles Helen " as a coward, and leaves her as *' a profligate : when slie is dead " by his un kindness, sneaks home *' to a second marriage, is ac- " cused by a woman whom he has " wronged, defends himself by " falsehood, and is dismissed to " happiness." J83. All's well that ends ■WELL, with alterations by J. P. Kemble. Performed at Drury I^ane Theatre. 8vo. 1/93. 184. Alls Perce (^'llicc Pierce). A play with this title is mentioned in Henslowe's list, as belonging to the stock of the Rose Theatre near Bank Side, 185. Almahide and Hamet, Trag. by Benjamin Heath Malkin. 8vo. 1804, Never acted. Tliis play is preceded by a very sensible discourse on our dramatic writers (something in the manner of Dry- den's dedications), inscribed to Mr. Kemble. The tragedy is fpunded on Dryden's Cov72; 4to. 1687. See CoNaVKST OF Granada. 18/. Ar.MEDA; or, The Neapo- litan Revenge. Trag. Dram. N.A. -8vo. ISOl. 'J'liii piece is .^aid to be written bv a Laily. It is taken from the well-known romance of The Life of Rozeili ; and, though horrid, borders on tlie ludicrous. A dying, but unrepentant, adul- A h u teress, procures her lover, to whose inconstancy she owes her last ill- ness, to be locked up in a chesr, intending him to be buried alive with her. The revenge, liowever, is frustrated; and the lover. Count Casalia, is restored to liberty aud the arms of Zelector, the object of his honourable jKiseion. ISS.Almena. Op. by Richard Rolt. Acted six nights at Drury Lane, Svo, ljG4. The music by Arne, jun. and Battishill, The story taken from the Persian his- tory. 189. Almeyda ; or. The Rival Kings. Trag, by Gorges Edmund Howard, 12mo. 1769. Printed at Dublin. 3d edit. London. Svo. 1709. Tl)e story of this play is taken from Almoran and Hamet by Dr. Hawkes\vorth> andit i& de- dicated to the queen. 190. Almeyda, Queen of Granada. Irag. by Sophia Lee. Acted at Drury Lane. Svo. 1796. This piece is possessed of botli poetry and pathos, and was well acted ; yet it had not much suc- cess, being performed only font nights. 191. Almida, Trag. by Mrs. Celisia. Acted at Drury Lane, Svo. 177L From the excellent performance, of Mrs. Barry (now Crawford), this play, though a very poor one, liad a considerable run. Tlic outlines of the fable, and several other parts of it, are. taken from Voltaire's Tancrede. 1C)2. Almikixa. a mockTrag. Performed at the Royalty Theatre, Sept, 10, 1787- This piece was acted by one person (Mr. John Palmer, with the aid of wooden or pasteboard tigures), on the plan of Whitehead's Fatal Constan- cy. The idea had been also put in practice before by Foote, in his TKAUE'DY-A-i,A-Moii£. TIlC prC->, 21 ALP sent piece, which had no great merit, has been ascribed to Mr. Jackman. Not printed. 193. Almyna ; or, Tltc /irnb'tan Vow. Trag. by Mrs. Manley. Acted at the Theatre Royal in the Haymarket, 1707. ^to. The scene Hes in the capital of Arabia, and the fable is taken from the life of Caliph Valid Anianzor, with some hints from the Aralian Nights' Entertainments. The cha- racter of Almyna is drawn from Dennis's Essay on Operas, wherein is given a view of what heroic vir- tue ought to attempt, not what it naturally is. 194. Alonzo. Trag, by John Home. Acted at Drury Lane. 8vo. 1773. By the assistance of ' Mrs. Barry's excellent acting, this piece obtained a nine nights' hear- ing, and then sunk, as it deserved, into oblivion. 195. Alphonso, King OF Na- ples. Trag. by George Powell. Acted at the Theatre Royal, l6g\. 4to. I'he scene lies Jn Naples, and the story is founded on Nea- politan history. This play, how- ever, is taken from the Young ytd- wiraZ of Shirley. Frologue by Joe Haines 3 Epil. Durfey. 'IQQ. Alfuonsus, Emperor of Ger M ANY . Trag. by George Chap- "man, often acted with great ap- plause in Black Fryars. Printed in 4to. \654. This play seems to have been written in honour of the Eng- lish nation, in the person of Ri- chard, Earl of Cornwall, son to K-ingJohn,andbr()ther lollen. IIL who was chosen King of the Ro- mans in 1257, at the same time that Alphonsus, the 1 0th King of Castile, was chosen by other elec- tors. In order to cast an oppro- brium on this })rince, our author represents him as a bloody tyrant, jind, contrarj' to other historians. A L T brings him to an untimely end j supjiosing him to be killed by his own secretary, in resentment for the death of his father, who had been poisoned by him : and, to complete his revenge, he makes him first deny his Saviour in hopes of life, and then stabs him, glory- ing that he had at once destroyed both soul and body. This passage is indeed related in Clark's Exam- ples, and some other authors ; but for the true story consult Ma- riana de Rel-. Hispan. lib. xiii, c. 10, and other Spanish historians. Theie is a good deal of German interspersed throughout this play, which is certainly not one of its author's best productions. 197- Alphonsus, King of AuRAtiON. Hist. Play, by R. G. Acted with applause, and publibh- ed in 4to. 1599. 198. Altamira. Trag. byBenj. Victor. Svo. 1770. This play was written fifty years before the pub- lication of it, and had been in re- hearsal at Drury Lane, but was preveiUed being acted by an ac- cident. The hint of the plot was taken from a volume of Letters, called Philander and Silvia, written by Mrs. Manley, on the unhappy fate of Lord Grey, who married the eldest daughter of E-^rl Berkeley, and afterwards debauched her younger sister ; but, for the prin- cipal subject of it, the author was oljliged to a similar story in the history of Italv, between the ducal houses of Milan and Bologna. H)9-Altem IRA. Trag. in rhyme, by Roger Boyle, Earl of Orrery. Acted in Lincoln's Inn Fields, J702. Svo. 1730. The scene is Sicily. This play being left un- finished by his grandfather, Roger, Earl of Orrery, the Hon. Charles Boyle, afterwards Earl of Orrery, was pleased to revise it, and to c 3 22 A L Z separate, from a vast variety of wit, and redundance of moral thoughts, which made the whole of an extreme length, the most beautiful and instructive turns of both, so as to reduce the poem ■within a reasonable compass. The Prologue was written by Lord Bo- lingbroke ; the Epilogue by Charles Boyle, Esq. It was published by Francis Manning. 200. The Alternative. Com. Acted at Dublin, 1796. 201. Alzira; or, Spamsh In- sult repented. Trag. by Aaron Hill. Acted at Lincoln's Inn Fields. Svo. 1737, 1760. This play is a translation from Voltaire ; and, al- though Hill's language is very nervous and forcible, yet a strict adherence to the rules of the drama, and that passion for long- winded declamation so prevalent among the French writers, throw a heaviness into the piece, which, however strongly it may be sup- ported, render it ever tedious and insipid to the taste of an English audience. It met, however, with the early approbation of the great King of Prussia, who, in a letter to Voltaire, dated Sth of August 1736, writes, " To the graces of ** novelty, Alzira joins a happy *' contrast between the savage and " European mamiers. In the cha- " racter of Gusman you show " that Christianity, ill understood, **■ and under the guidance of mis- " taken zeal, inspires the heart " with more barbarous ferocity " than Paganism itself. Corneille, "■ the great Corneille, who at- *' tracted the universal admira- " tion of his age, were he to rise " from the dead in our days, " would behold with wonder, and *' perhaps not without a mixture *' of envy, the goddess lavish those *• favours upon you which she be- A IVI A " stowed on him with a sparing " haftd." 262. Alzira. Trag. translated from Voltaire, by William Somer- vile, Esq. This was never pub- lished or acted. It is, however, mentioned by Lady Luxborough to be in her possession in 1750. See her Letters, p. 211, 203. Alzira. Trag. translated from Vo'.taire. Printed in Vol- taire's Works, l2mo. under the name of Dr. Franklin. 204.ALZUMA. Trag. by Arthur Murphy, Acted at Covent Gar- den. Svo. 1773. In this play our author has striven to unite the chief incidents of the Iphigenia in Tauris, yihira, and Semiramis ; but with little success. It was de- signed for representation during the Spanish war, and from thence would have derived some temporary advantages. It is by far inferior to the Orphan of Chma, Zenohia, and The Grecian Daugh- ter, by the same hand, and was received with coldness throughout its nine nights' existence on the stage. 205. Amadis, Op. Mr. Oul- ton mentions a piece of this name and description, but without date, author's name, or where acted. That gentleman, we conclude, had not seen it ; nor does it be- long to a collection of English dramas, being an Italian Opera, performed at the King's Theatre. Printed (uith an English trans- lation as usual) in Svo. 1715, and dedicated to the Earl of Burling- ton by Heidegger, who might be the translator of it. The title is Amadis of Gaul. 206. Amadis ; or. The Loves of Harlequin and Columbine. Pant. Acted at Lincoln's Inn Fields, 1718. This was an entertainment of a mijed kind, part serious an4 A M B part grotesque. It was composed by Mr. Lun, i. e. Rich. 207. Amalasoxt, Queen of THE Goths. Tragedy, by John Hughes. This, behig a juvenile production of the author, whose age when he wrote it was only nineteen, is deemed too imperfect for publication, though some of the speeches and scenes have evi- dent marks of genius. It was written in l6g6, and was in MS. in the possession of the late Rev. Mr. John Buncombe, author of The Feminead, &-c. &c. 208. Amana. Dramatic Poem, by Mrs. Elizabeth Griffith. 4to. 1764. The story of this piece is taken from The Advp.nUtrer , Nos.72 and 73. It was never acted. 209. Amasis, KiVG ofEgypt. Trag. by Charles Marsh. Whin- cop says, that this play was nc\ cr performed ; but that is a mistake j for it was acted one night a: the Little Theatre in the Hnymarket. Svo. 1/38. Scene Memphis. 210. Amazon Queex ^ or. The Amours cf Thalestrb to Alexander the Great. A Tragi-Com. in he- roic verse, by J. Weston. 4to. 1667. The story from Q. Cnrtius and Strabo. This play was never acted, by reason of the author's hearing of two plays besides oi; the same subject intended for the stage. 211. The Amber Box. Com. Op. Printed at Dublin. 12mo. 1800. 212. The Ambiguous Lovfr. Farce, by Miss Sheridan. Acted at Crow Street Theatre in Dublin, I7SI ; but not printe:!. 213. The Ambitious Slave ; or, A Generous Revenge. Trag. by Elkanah Settle. Acted at the Theatre Royal. 4to. 10'94. The scene is the frontiers of Persia. ■This play, as appears by The Muses' 23 A M B Mercury, met with but ill siu> cess. 214. The Ambitious States- MAX 5 or, The Loyai Favourite. Trag. by J. Crowne. Acted at the Theatre Royal. 4to, 1679. This play, though esteemed by tlie au- thor as one of his be«t perform- ances, met with very indifferent: success. I'he scene lies in Paris j and for the plot, see De Serres, Mezeray, &c. 215. The Ambitious Step- mother. Trag. by Nicholas Rov/e. 4to. 1700 3 4to, 1702, with the addition of a new scene. Acted, with success, at Lincoln's Jnn Fields. Tlie scene lies in Perse- polis, and the characters are made Persian ; but the design of the play seems to have been taken from the establishing of Solomon on the throne of David, by Bath- sheba, Zadock the Priest, and Na- than the Prophet. See 1 Kings, ch. i. from ver. 5. Perhaps none of cur author's pieces e.\lnbit so manly a dialogue as that which passes between Mem- non and Magas, at the beginning of the second act. The majestic honesty of the old Persian general by far outweighs the tempestuous ravings of Bajazet, or the philo- sophic etTu>:ipns of Tamerlane and Liysse^. This play was revived by Mr. Gat rick, at Drury Lane, in the year 1758; the principal charac- ters being performed by Messrs. Mossoi;). Fleetwood, Holland, Mrs. Cibbcr, Mrs. Pritchard, and Miss M'.cklin J but it had not so muc't success as it deserved. 2\l(i. Ambitious Vengeance. Trag. Dram, of three acts, by Delia Crusca [Mr. Robert Merry], This is printed in the iirst volume of Bell's British AH urn. Small Svo. 1 790. Never performed, The y 4 24 A M E scene is laid in Milan, aiul the story wild and improbable. The plot appears to have been sug- gested by Macbeth, and Romeo and Juliet. Some of the charac- ters are also derived from the same source. 217. The AMEiTioits Widow. Comic Entertainment. By Wil- liam Woty. 8vo. 178Q. Printed at Nottingham, at the end of a volume oi'^ Poetical Ajiiuscmeiits." The hint of the piece is taken from a circumstance related in Chrysal ; or. The Advetitures of a Guinea, vol. ii. 218. Amboyna 5 or. The Cruel- ties of the Dutch to the English Merchants. Trag. by J. Dryden. Acted at the Theatre Royal. 4to. 1673; 4to. 1691. Scene Am- boyna. The plot of this play is chiefly founded on history. See Wanley's History of Man, lib. iv. c. 10 ; and Purchas's Pilgrimage, vol. iv. book 10, ch. 16. The Rape of Isahinda, by Harman, is built on a novel of Giraldi, Decad. 5, Nov. 10. It is, as Dr. Johnson observes, a tissue of mingled dia- logue in verse and prose. It was a temporary performance, written in the time of the Dutch war, to inflame the nation against their enemies 5 to whom he hopes, as he declares in his Epilogue, to make his poetry not less destruc- tive than that by which Tyrtaeus of old animated theSpartans. This play was written in the second Dutch war in 16/3. 219. Amelia. Op. after tlie Italian manner, by Henry Carey, set to music by J. F. Lampe, and performed at the French Theatre in the Haymarket. 8vo. 1732. 220. Amelia. A Musical En- tertainment, by Richard Cumber- land. Acted at Covent Garden. 8vo, 176s. This was taken from A M E The Summer's Tale of the s.irne author. 221. Amelia. A Musical En- tertainment, by Richard Cumber- land. Acted at Drury Lane. 8vo. 1 77 1 • The same piece, with .some slight alterations. 222. Ami- LI A ; or, The Duke of Fnix. Translated from Voltaire, in vol. ii. of Dr. Franklin's edition, 12mo. Tlie original play was acted December 1752. 223. Amends tor Laciks j with the merry Pranks of Moll Cutpurse ; or. The Humours of Roaring. Com. by Nat. Field. 4to. 1618; 4to. 1C39. Scene Lon- don. The plot of Subtle's ternpt- ing the wife at the request of the husband, seems founded on the novel of the Curious Impertinent in Don Quixote. Tliis play was written by our author, by way of making the ladies amends for a comedy, called IFoman's a JVea- thcrcock, which he had written sonie years before, and whose very title seemed to be a satire on their sex. 224 The AmkricanHeroine J or. Ingratitude Punished. Pant. Performed at the Haymarket, 19th March 1792, for the benefit of Mr. Palmer. I'his performance met with a considerable degree of disapprobation. It was founded on the story of Incle and Yarico. 225. The Amehican Indian; or, Virtues of Nature. A Play, in three acts, with notes^ founded on an Indian tale. By James Bacon. 8vo. 1795. This play is founded on a poem printed in America, entitled Oudbi ; or, The Virtues of Nature, an Indian tale, in four cantos, by Mrs. Morton, a lady of Boston in New England. It appears to have been offered to the managers of Drury Lane The- atre, but rejected by them j and A M O the author with candour acknow- Jcdges his opinion now to be, that it is not written with sufficient knowledge ofthejVu de theatre to have succeeded on the stage with- out considerable alterations. The scene lies in America, chiefly in the country of the Illinois, liut in the last act in that of the Hnrons. 22b'. American Slaves ; or. Love and Lilcrli/. Com. Op. per- fonred at DunifVi^s 1/92, for the bene-tit of Mr. Maclaren, and most probably written by liimself. We are not certain that this was the earliest date of its performance. 227. Aminta. a Pastoral. 4to. 1628. Translated [supposed b^ John Reynolds] from the Italian ofTasso.withAriadne'sComplaint, In imitation oi Angidlara. 228. Aminta, the famous Pas- toral byTorquatoTasso, translated by John Dancer. 8vo. U)(iO. 12Q. Aminta. Past. Com. by Tasso, in Italian and English. Translated by P. B. Du Bois, B. A. of St. Mary Hall. 12mo. \'J2Q. 230. Amintas. Pastoral, by John Oldmixon. See Amyntas. 231. Amintas. Dram. Past. Translated from Tasso, by William Ayre. 8vo. Xo date. [l/S;.] 232. Amintas. An Eng. Op. Performed at Covent Grarden. 8vo. 1709- This was an alteration from Rolt's Royal Shepherd, made by Signer Tenducci, who performed the part of Amintas. 233. The Amorous Adven- ture ; or. The Plague of a wan- ton Wife. Pant. Performed at the Hay market 1730. 234. Amorous Bigot, with the second part of Teagiie O'Di- velly. Com. by Thomas Shadwell. Acted by their Majesties' Servants. 4to. 1690. It is very mferior to the first part, called The Lanca- shire Witches. A M O 235. Amorous Fantasme. Tragi-Com. by Sir William Lower. 12mo. 1660. This play is tran^- lattd from the Fantome Amonreux of C-iuinault, which appeared with great suitess on the French stage. 230. Amorous Gaixant ; or. Love in Fashion. Corn, in heroic verse. As it was acted. 4to. 16/5. Miserable poetry. See Amorous Okontus. 237. The Amorous Goddess; or. Harlequin Married. Pant. Acted at Drury Lane 1744, 23S. Amorous Miser ; or. The Younger the JFiser. Com. by P. Motteux. 4to. 1705. The scene lies in Spain. In 1707 it was reprinted ; and the first title altered to Farewell Folly; or, &c. The scene a country towji near London. 239. Amorous old Woman; or, "/tf well if it tale. Com. by a person of honour (attributed by Langbaine to Thomas Duflfet). Acted at the Theatre Royal. 4to. 1674. It was afterwards (l684) republished, with anew title-page, by the name of The Fond Lady. 240. Amorous Orqntus ; or. Love in Fashion. Com. in heroic verse, by J. Bulteel, Gent. 4to. 1665. It is a translation of the Amour a, la Mode of T. Corneille, the original plot of which is bor- rowed from a Spanish play, called El Amor al Uso, by Ant. de Sol is. This play has sometimes the title of The Amorous Gallant, and the date of 1675. 241. Amorous Prince; or. The Curious Husband. Com. by Mrs. Betin. Acted at the Duke's Theatre, 4to. 1671. The plot of this play is built on the novel of the Curious [mpcrtinent, and on Davenport's City Night-cap. Mrs. Behn has, however, greatly ex- celled that play, and ewa improved 26 AMP rn the novel itself. Scene the court of Florence. 242. Amorous Quarrel. C. by Ozell. Translated from Mo- liere's Dep'U Amourenx. From this playDryden's MockAstrologcr. and the greater part of Ravens- croft's IFrangling Lovers, are ap- parently borrowed. 243. The Amorous Quarrkl. Com. Translated from IMoIiere, and printed in Foote's Comic The- atre, vol. iv. l2mo. 1762. 244. Amorous War. Tragi- Com.by Jasper Maine, D.D. 4to. J 64s ; Svo, 1659. 245. The Amorous Widow ; cr. The Wanton Wife. By Bet- tevton. 4to. l/OG. This is no more than a translation ad libitum of Moliere's George Danciin. Ex- clusive of some little deticiencies in point of delicacy, this may be esteemed a play which has had its full share of applause. It former- ly was frequently acted, and with success ; but of late years has been laid aside. A farce, how- ever, called Barnaby Britti e, taken from it, is still often per- formed. 246. L' Amour a la Mode ; or. Love a la Mode. Farce, in three acts. Svo. 1760. This is merely a translation from the French, and said to be the work of Hugh Kelly. It is one of those pieces which generally are pro- duced by a successful performance. This was published at the time wlu'U Macklin's Love a la Mode was acting with great success. 247. Amphrisa ; or. The For- saken Shepherdesse. Past. Drama, by Thomas Heywood. Printed in his " Pleasant Dialogues and Dia- mas," bcc. 12mo. 1637. 248. Amphytrion 5 or, The Two Sosias. Com. by J. Dryden. Acted at the Theatre Royal. 4to. AM? 1690. This play is founded on the Two Jmphi/trions of Piautus and Moliere. The scene lies in Thebes, and the music of the songs is composed by Puict^iL Our author, as j\Ir. Thornton observes, " has thought proper to distin- " gaish the serious from the co- " mic parts, by giving tht tirsr in " verse and the other in prose, " which it may be feared in the " latter part has too often led him *' into such low and farcical stuft* " as neither his Latin nor his " French original betrayed him "• into." 249. Amphytrion. Comedy, translated from PLiutus, by L. Echard. Svo. lGp4. The Romans believed that this play made much for the honour of Jupiter j there- fore it was commonly acted in times of public troubles and cala- mities, to appease his anger. 250. Amphytkion. Comedy, translated from Moliere, by Ozell, 251. Amphytrion. Translated from Piautus, by Thomas Cooke. 12nio. 1746; 12mo. 1754. Dedi- cated to the Earl of Chesterfield. Printed as a specimen of a trans- lation of piautus, which the au^ thor never finished. 252. Amphytrion } or. The Two Sosias. Com. altered from Dryden, with Moliere's Dialogue- Prologue between Mercury and Night, introduced into the first scene, and the addition of some new music. Acted at the Theatre Royal in Drury Lane. Svo. 1/56. This alteration was made by Dr. Hawkeswovih, at Mr. Garrick's desire. 253. Amphytrion. Comedy, translated from Piautus, by Bon-, nell Thornton. Svo. 1767. " Iq " the Prologue to this play is the " only mention made," says Mr. Thorntop, " in any ancieqt aa« 17 AMY " thor, of that mixed kind of play " which is called tragi-comedy, " or rather tragico-cnmedy j and " the reason given for that appel- ** lation is, that the highest cha- " raccers, even of gods, as well as " the lowest, were inircKluced in *' it (perhaps indeed this is the *' only play of the kind that was *' ever produced) : but without " this reason, the distresses of " Amphytrion and Alcniena, with " the comical humours of Sosia " and Mercury, might give it a " fair title to this appellation, even " according to the modern accept- " ation of the term; as it is not " necessary that a tragedy should " end unhappily, or that any of '' the characters should come to " an untimely end. From this " play, Moliere and Dryden have " each formed a drama, in which " are many excellent additions, "■ absolutely necessary for the mo- " dern taste. The former deserves " to be admired on the French " stage ; and Dryden's, since it " has been purged of its licen- *• tiousness by Dr. Hawkesworth, " can never fail of meeting with " approbation from an English " audience." 254. Amyntas. a translation in hexameter verse, by Abraham Fraunce. 4to. lopi. 255. Amyntas. The very same work, by Oldmixon. 4to. l6c)S. The before-mentioned translations were not intended for the stage. This, however, was brought out at the Theatre Royal j but, as the preface informs us, with ill suc- cess. Prologue by Dennis. 25G. Amyntas ; or. The Ira.' possible Doury. Past, by Thomas Randolph. Acted before the King and Queen at Whitehaii. 4 to. 1638 ; 12mo. 1668. This is one pf the finest speciraens of pastoral AND poetry in our language ; it partakes of the best properties of Guarini's and Tnsso's poetry, without beincr a servile imitation of either : its style is at once simple and ele- vated, natural and dignified. 25/. Amyntas of Tasso. Translated from the original Ita- lian, by Percival Slockdale. 8vo. 17/0. 258. The Anacreontics Re- vived. Interlude of Songs, Acted at Covent Garden, 1800. 259. The Anatomist ; or. The Sham Doctor. Com. by Ed- ward Ravenscroft. 4 to. IQQJ. It was afterwards published in 12mo. 1722. To both editions a musical mas()3. 'l6g. Ani^ria, Translated by L. Echard. Bvo. 10.04, 270. Andria. Translated by T. Cooke, 12mo. 1/34. 271. Awdkia. Translated by S. Patrick. Bvo. 1745. 272. Andria. Cum. translated from lereuce, by Mr. Gurdoii. 12mo. 1752. 273. Andria. Translated by George Colman, 4to. 17^5, 274. The Axdkian of Te* RENCi--, Latin and Engli'^h, 8vo. No date. Printed at Sherborne about 1772. 'I'/o. Androboros. a biogra- phical Farce in three acts, viz. the Senate, the Consistory, and the Apotheusis, printed at ^loropolis (i.e. M-i;|;cf tt&ak), since August, 4to. 170 , The Dedication toDon Com, Fiz. Scene, long Gallery in Moor- fields. In a copy of this whimsi- cal piece, which is now in the possession of Mr, Kcmble, there is a MS, declaring it to be w-ritten by Governor Hunter, 276, Andromache, Trag, by J, Crowne. Acted at the Duke's Theatre. 4to. 1075, This play is only a translation of Racine's j;/^-. dronwque, by a young gentleman, chiefly in prose, and published with some alterations by Crowne. It was brought on the stage without success, 277- Andromache, Tragedy, translated from Euripides, by Mi- ch.nd Wodliull, 8vo. 1782. w A N D 273. Andromache. Trngedy, ti;iusi;i(L'd from Euripides, by R. roller. -l!o. l/S'i. Andromache, die iicroiiie. of this piece, is here intrcdiieed as a slave, by whom Pyrrhus, the son of Achilles, had a sou born. She and her son be- come the objects of jealousy and hatred to Hermione, and her fa- ther Menelaus, who are about to nuirder iheni in tl:e absence of Pyrriius. Tliey are preserved by Peleus ; and Hermlune, dreading the anger of her hr^sband, is per- siv'ided to abandon him, with Orestes, son of Agamemnon. A messenger soon afterwards brings the news, that Pyrrhus was slain at Delphos by the means of Ores- tes. In this piece Menehuis acts the same base j)art as in Orestes ; and Hormione, who there was all gentleness, is here insolent and cr;,iel: but, as Mr. Potter observes, " they were Spartans, and of " course to receive their colour- " ing from the political interests *♦ of the t%vo states." The scene is before the temple of Thetis, adjoining to the palace of Neopto- iemus, ni-.-ar Phtlila. 27(7. Andromas.v; or. The Merchants Wife. Trag, -ito. iGO'O. byJ. S. (i.e. James Shirley). I'he plot \i found'-d on the story of PJangus, in Sir P. Sidney's Arca- dia. The title in the first page is. The Tragedy of Andnrmana ; or. The fatal En do) Dishj/alty andAin- lition. In Dodsley's Collection. 2S0. Andkonicus. Trag. Im- piefio's long Succe-;se, or Heaven's late Revenge. 8vo. iGSl. Scene Const .ntinople. For the plot, see the Life of Andronicus in Fuller's H(dy State. 281. An-duonicus Comne- Nius. Trag. by J. Wilson. 4to. IS64. Scene Constantinople. For the story, see Heylin's Cosmo- A N N grctphy, in the description of Greece. 282. Angelica ; or, Quixote in Petticoats. Com. in two acts. 8vo. 175s. This piece, taken from Mrs. Lenox's Female Quixote, was refused by Mr.Garrick ; not owing, if we may believe the author, to any want of merit in it, but ra- ther to the elegant manner in which Sir Richard Steele has han- dled the same iubject, in his co- medy of The Tender Husland. An author's opinion of his own work is seldom well founded. 2S3. Anoelin.\. Com. Op. by Mary Goldsmith. Acted at a provincial theatre, for the benefit of Mrs. Henry, in 1804. It was a pleasing little pastoral piece, with som;^ very pretty songs, but with- out much novelty either in the story or the dialogue. Not printed, we believe. 284. Ani.mal Magnetism, F. in three acis, by Eliz. Inchbald. Acted at Covent Garden 1788. It is a translation somewhat al- tered from the French, and in- tended to ridicule the absurd re- veries of Animal MagnelihUi. It was well acted, received great ap- plause, and is still frequently per- formed. Not printed, except in the way of piracy. 285. Anna. Com. Acted, by tlie Drury Lane company, at the Opera House in the Haymarker, Feb. 1793, and deservedly con- demned. The dialogue was mean j and there was no ingemiity in the construction of the play to make amends for it. It has been -as- cribed to a Miss Cuthbertsou. Not printed. 2Sd. Annette and Lubtn. Com. Op. of one act, by C. Dib- din. Acted at Covent Garden. 8vo. 1778. This is taken from a French piece with the same title. 30 ANT 287- The Antichristian Opera ; or. Mass Uinnask'd. By George Paul. A piece with this title was advertised as published in January 1755 j but, not having met with it, we can give no ac- count of it. We should suppose h to be of a religio-poliiical na- ture. 2S8.The AvTiGALLiCAN. See The Heiress. 2S9. Antigone, the The- BANE Princess. Trag. by Thos. May. 8VO.1031. Scene in Thebes, The plot from the Jntigone of Sophocles, Seneca's Thebais, &c. There is merit in the writing of this piece ; but it is litter for the closet than the stage. 2pO. Antigone. Trag. trans- lated from Sophocles, by George Adams. 8vo. IJ'^^Q. 291, Antigone. Trag. trans- lated from Sophocles, by T. Frank- lin. 4to. 1759 ; 8vo. i/bS. 292. Antigone. Trag. trans- lated from Sophocles, by R. Pot- ter. 4to. 1/88. " After the de- " feat of the Argive army, and " the death of the contending " brothers, Creon,who succeeded " to the throne of Thebes, al- " lowed funeral honours to Eteo- •* cles, but commanded the body " of Polynices to be cast out un- " buried, a prey to dogs and ra- *' venous birds, denouncing death **■ to any persons who should pre- " sume to disobey his edict and " inter the corse. The tender ♦' and virtuous Antigone, so il- *•■ lustrious for her filial piety, " shines forth on iliis occasion a " blight example of atTecriou to " her brother and reverence to ** the gods : animated with a sense " of duty, and unterrined l)y the " menaces of a relentless tyrant, " she pays tlic last sad offices to *• the unhappy Polynices. This, A X T " with its dreadful consequences, " is the subject of this very inte- " resting tragedy. " yEschylus gave a slight sketch " of this subject, which Sophocles " has here tilled up with a mas- " terly hand. Euripides, in his " tragedy of TJic Supplicants, has ".shown us, that the rights of "■ sepulture were considered as the " most sacred of laws : we de- " spise their superstition, but we " must approve their wisdom in " this respect, and reverence their " humanity ; indeed, the feelings *' of our common nature are nearly " the same in ail ages and all " countries. " The scene is at Thebes, bc- " fore the gates of the palace." Potter. 293. Antiochus. Trag. by John Mottley. 8vo. 1721. Acted at the Theatre Royal in Lincoln's Inn Fields. By the Dedication to Washington, Earl of Ferrers, it appears that the author was nearly related to that nobleman. The plot is built on the well-known story of Seleucus Nicanor giving up his wife Stratonice to his son Antiochus, on being informed by his physician that his dangerous illness was occasioned by his love for her, and would be incurable without possession of the object. The scene lies in Antioch. 294. Antiochus. Trag. on the same story, by Charles Shuck- borough, Esq. of Longborough, Gloucestershire. Never acted, but printed in 8vo. 1740. 2Q5. Antiochus the Gkeat; •or, The Fatal Relapse. Trag. by Air.". Jane Wiseman. Acted at Lincoln's Inn Fields. 4to. 17OS. 296. Antipodes. Com. by Richard Brome. The scene Lon- don. Acted, with great applause, by the Q,ueen's Servants, at S.^.lia- 31 ANT bury Court, in Fleet Street, lG38. Publibhed, 4to. 16-JO. 2()7. The ANimuARY. Com. by Sh;ikerly Marmion. Acted at the Cock-pit. 4to. 1641. In Dods- ley's Collection, I7SO. Tins is a very plea>.ing play. Anrelio's deol.iring his marriage to the Duke and Leonardo, froin his mistress Lucietia's lodgings, to which he had got sdmittance through the Lissislauce of her maid, is an incl- deat that has been made use of in 'several plays, particularly in Ram- Alky, The Parsons Wedding, and If'ojnan's a Riddle. The charac- ter of the Antiquary, who cannot eudure any thing but what is old, is an admirable hint, original in its execution, and might, under the pen of an able writer, be turned to very great advantage. 298. AsTiauiTy. Farce, in two acts. Written upon the dra- matic principles inculcated by the author of th^ late theatrical criti- cisms in the weekly paper called The Neivs (now of those in The Examiner) , to whom it is dedi- cated. It is a lively jeu d'csprit; the object of which is, to detach, by ridicule, a young man from the folly of despising every thing that is modern, and of apeing the man- ners and customs of the 15th cen- tury. A scene in which, in the character of FalstafF, the hero meets his friends at a supper at the Boar's Head tavern, is by no means destitute of humour. The passion for old English literature is also ridiculed with some ingenuity. Not acted, Svo. 1803. 299. The Tr-^gedie of An- TONIE. Done into English from the French, by Mary, Countess of Pembroke. l2mo. and 4to. 1595. At the end of the play is this date — At Rnmsbury, 20 of November, I59O, Daniel^ in his ANT Dedication of Cleopatra, thus ad- dresses the Countess on this play : 1, whii Ccontented with an bumble song) Made music to myselt that pleas'd me best, And only told of Delia, and her wrong. And prais'd hei eyes, and plain'd mine own unrest, A text from whence my Muse had not digiess'd. Madam, had not thy wcU-grac'd An- thony (Who all ^lone having remained long) Ilcquir'd his Cleopatra's company. 300. Antonio; or. The Sol- diers Return. Trag. by William. Godwin. Acted at Drury Lane. Svo. 1800. This play w::s too de- clamatory in its style, and too bar- ren of incident, to please on the stage ; and it was dismissed thence after one performance. The ca- tastrophe may be foreseen in the second act; of course, with that act all expectation and interest ceases. 301. Antonio and Mellida. An historical Piay, in two parts, by John Marston. 4lo. l603; ^vo. 1633. 302. Antonio and Vallia. Com. by Philip Massinger. Not printed. This play was entered on the books of the Stationers' Compan}% and was one of those destroyed by Mr. Warburton's servant. In Henslowe's Hsi of plays acted in 1595 (.Tune 20), we fuid one with this title; but as Mas.singer could at that time be only eleven years of age, it could not possibly be his play ; or else all his biographers must be mis- taken in the time of his birth. As all Henslowe's orthography, how- ever, is extremely corrupt, it is more probable that he meant Mar- ston's play oi Antonio and MclUdn. 303. Antonio's Revenge; or. The Second Part of Antonio and Mellida. Trag. These tv/o plays were written bv J. Marston, Bc-iis S2 ANT were acted by the children of St. Paul's, and both printed in 4to. 1602 ; 8vo. 1033. 304. Antony andCi-eotatra. Trag. by Shakspeare. Fol. 1023. Of this phiy Dr. Johnson say.s, " It keeps curiosity always busy, *• and the passions always inte- *' rested. The continual hurry of " the action, the variety of inci- " dents, and the quick succession •' of one per.sonage to another, " call the naind forward, without " intermission, from the first act *' to the last. But the power of " delighting is derived principally *' from the frequent changes of the *' scene ; for, except the feminine " arts, some of which are too low, " which distinguish Cleopatra, no "■ character is very strongfy dis- " criminated. Upton, who did " not easily miss what he desired " to find, has discovered that the " language -of Antony is, with *' great skill and learning, made "■ pompous and superb, according " to his real practice. But I think " Ifis diction not distinguishable *' from that of others : the most *' tumid speech in the play is that "^ which Qt\sar makes to Octavia. *' l"he events, of which the prin- '■' cipal are de-scribed according to ** history, are produced without " any art of connexion or care of '* dispo'jtion." 30.). Antony andClkopatra. Trag. by Sir Charles Sedley. 4to. It)//. A.cted at the Duke's Thea- tre, As this play is founded on the same story with the last-men- tioned one, there can be no room to say any thing furll-.er concern- ing it, than that, aiiliough far from a bad piece, it is not deserv- ing the least notice if compared with either Shakspeare's or Dry- den's tragedy, 306. Antony and Cleopatra. An historical Play, fitted for the A P O stage by abridging only,_ Acted at Drury Lane. 8vo. l/oS. T^ii-s alteration was made by Mr. Ca- pell, with the assistance of Mr> Garrick, and was acted with con- siderable applause. 307. Antony andClkopatra. Trag. by Henry Brooke, Esq. Svo. 1778. Notacled. Printed in the au- thor's works, 4 vols.Svo. 17783 but omitted inhisd.:ughier'.>> edit. 1 792, SOS. Any Tminc; iou a auiKx Life. Com. by Thomas Middle- ton. Acted at Black Fryavs. Print- ed in 4to. I(j(j2. 309. Apocryphal Ladies. Com. by Mitrgaret, Duchess of Newcastle. Fi>l. 1062, This play is one of tho.se \\ liich help 10 swell the bulk of writing of this volumi- nous titled authoress. It is, like many others of her pieces, irregular and unfinished, and is divided into twenty-three scenes, but not re- duced to the form of acts. 310. Apollo and Daphne. Dr. by Thomas Heywood. Printed in liis •' Pleasant Dialogues and " Dramas." 12mo. 10'37. 311. Apollo and Daphne. A Masque, by J. Hughes. 4to, 1716. The story from which it is taken i.s too wcW known to need any further notice in this place. The scene lies in the valley of Tempe in Thessaly, It was set to music by Dr. Pepusch, and pet- formed at the Theatre Royal iu Drury Lane, with success, 312. Apollo and Daphne; or, Harle(]idn's AJttanir.rlihoscs. Pant, by John Thurmond. Acted at Drury Lane, 1725, 12mo. This pantomime was al>;o published with the following title : 313. Apollo and Daphne :-or, Harlequin Mtrcurj/. Dram. Ent. after the manner of the ancient pantomimes, by John Thurmond. Acted at Drury Lane. Svo. 1 725, 314. Apollo and Daphne j or. 33 A P P The Burgo-vmster tricked. Pant, composed by Mr. Rich. The uords by Lewis Theobald. Per- formed at Lip.cohi's Inn Fields. 8vo. 172(5. 315. Apollo and D.vphne. Op. 4to. 1734. 3l0. AroLLo Shrovixg. Com. Svo. 1027. The letters E. W, prefixed to it, are initials of the name of a person who, though not the author, occasioned the pub- lication of this piece, which was written by William Hawkins, the schoolmaster, of Hadleigli in Suf- folk, for the use of his scholars, and acted by them on Shrove- Tuesdav", Feb. 0", 1020. 317. Apollo turn'd Strol- tER ; or, Thereiy hangs a Tale. Mus. Pasticcio. Svo. 17^7- This was written by Sir John Oldmixon, and performed at the Royalty Theatre. 318. Apollo's Holiday; or, A Pctifion to the Muses. Prelude, consisting of dialogue, songs. Sec. by James Cawdell. It was per- formed at the opening of a new theatre at Durham, 179^, and was probably the same piece as is men- tioned by the title of An Appeal TO THE r>IuSES. 319. The Apotheosis of Punch. A satirical Masque, with a Monody on the Death of the Jate Master Punch. Acted at the Pa- tagonian Theatre, Exeter Change, bvo. 1779. This is an attempt to ridicule Mr. Sheridan's jMonody on Mr. Garrick's Death. Malignant without merit. Its author, we be- lieve, was Leonard M'Xally. 320. The Apparition; or. The Sha77i J redding. Com. Acted at Drury Lane. 4ro. 1714. Writ- ten by a gentleman of Christchurch College. Oxford. 321. The Apparition. Com. trar.slated from Pl.iutus by Richard \6L. II, A P P Warner. Svo. 1772. This comedy is called in the original Mostel- LARiA, a word, as Mr. Warner ob- serves, formed from nwnstra, thingi 2V07iderful, softened into vwstra, thence mostella and inostcllaria, m the same manner as cnstellum, from cmtrum, a castle. On this play is founded The Intriguing Chamler- ■maid, by Henry Fielding. 322. The Apparition. Mus« Dram. Romance, by J. C. Cross* Acted at the Haymarket with suc- cess. Svo. 1794. 323. An Appeal to the Muses; or , Apollo's Decree. D. Piece, by James Cawdell. Svo* 177s. This prelude was performed at the opening of a new theatre at Sunderland, and was published ia a Collection of miscellaneous Po- ems, by the author, who was manager of the theatres of Dur- ham, Scarborough, Shields, and Sunderland. In I792, the same piece, we believe, though per- haps a little altered, was served up under the title of Apollo's Holiday. 324. Appearance is against THEM. Farce, by Elizabeth Inch- bald. Acted at Covent Garden, Oct. 1735. Svo. 17S0. This is a pleasant trifle, and was well re- ceived. It was revived in 1S04, under the title of Mistake upon Mistake; or, Appeuranceis against them . 325. Appni-s. Trag. by John Moncreiil". Acted at Covent Gar- den, with no success. Svo. 1755. Mr. Crimp's tragedy of Virginia, though a play of little more merit than tlic present, had, by the ad- mirable performance of the actors at Drury Lane, been received with great applause. Tlie present tragedy was brought forward under the auspices of the author's friend, Mr, Sheridan, who was 34 A P P permitted by the writer to make such alterations in it as were agree- able to himbclf; and among others, as he related many years after- wards, he entirely lopped off the fifth act. It was performed only six nights. 32t). ApPIUS and ViRGINtA. Trag. Com. by R. P. 4to. IS/O, in bl.ick letter, and not divided into acts, wherein (as it is said in the title-page) is livel'j expressed a rare exam pie of the vertue of chasti- ty, in wishing rather to be slai/ie at her owne father s hands, than to be defloured of the tvicked judge Afypiiis. This seems to be the same Tragedy of Appius and Virginia as was entered on the books of the Stationers' Company, between the years 15/7 and 1578, by Rycharde Jonnes. 327. Appius and Virginia. Trag. by J. Webster. 4to. 1C>54. The scene lies in Rome, and the story is taken from Livy, Florus, &c. This play was afterwards re- vived and altered by Betterton. See Roman Virgin. 328. Appius and Virginia. Trag. by J. Dennis. Acted at Drury Lane. 4to. N. D. [I7O9.] We cannot, on the present occa- sion, well avoid relating a humo- rous anecdote of this author, whose opinionated and testy disposition is well known j as it is strongly cha- racteristic of that disposition. It is as follows : Mr. Dennis had for the advantage, as I:e expected, of his play, invented a new kind of thunder, which the actors indeed approved of, and is the very sort made use of to this day in the theatre. Notwithstanding such as- sistance, however, the tragedy fail- ed ; but some nights after, the author being in the pit at the re- presentation of Macbeth, and hear- ing the thunder made use of, he APR arose, In a violent passion, and exclaiming with an oath, that that was his thunder. See, said he, how these rascals use me ; they will not let my play run, and yet they steal my thunder. 32Q. Apprentice. Farce, of two acts, by Arthur Murphy. Act- ed at Drury Lane. Svo, 1750". The intention of this farce is en- tirely to expose the absurd passion so prevalent amongst apprentices, and other young people, who, with no talents or education, as- semble themselves in bodies com- posed of noise and nonsense, under the title of Spouting Clubs, where, w ithout the gait or accent of Turk, Christian, or man, they unite in committing the most horrible mur- ders on common sense, and the works of poor departed authors, who, could they rise again, would by no means be able to lay claim to the very offspring of their own brains, thus defaced as they are by these pitiful retailers of their rem- nants of remnants ; and all this to the loss and destruction of some- what still more invaluable, their time and reputations. It met with considerable applause, and contri- buted in some measure, though it could not effectually carry the point, to drive this pernicious folly out of doors. 330. The Apprentice's Vrizk, 8cc. A Play, by Richard Brome and Thomas Heywood. Entered on the books of the Stationers' Coinpany, April S, l654 ; but not printed. 331. April Day. ABurletta, of three acts, by Mr. O'Hara, Acted at the Haymarket. Svo. 1777- This was afterwards re- duced to two acts, and performed as an afterpiece. 332. April Fool; or, The Follies of a Night. Farce, by Leo- 35 ARC nard Mac Nally. Acted at Co- vent Garden, April 1, 1/86, and to- lerably well received. Not printed. The story was used by Middleton in his A/ad JForld, my Masters ; at'terwards by Johnson, in his Country Lasses ; again by Bullock, in The Slip ; and in 1778 by Ken- rick, in The Spendthrift. 333. Thk Arab. Trag. by Richard Cumberland. Performed at Covent Garden in 1785, for Mr. Henderson's benefit ; but ne- ver revived since. Not printed. 334. Arabella; or, The Banks of the Leven ; with the Interlude of The Caledonian Witches. Ilo- mantic Drama, in three acts, by Jo.seph iSioser. Written in 1808. Neither acted nor printed. 335. Arbanes; or. The Ena- moured Piince. A Pastoral. A MS. under this title was men- tioned in the catalogue of the li- brary of the late Mr. Macklin. 330. Arbitration ; or, Free and Easy. Farce, said to be by Mr. Reynolds. Acted with good success at Covent Garden, 180d-^. It was a very amusing piece ; but certainly was much indebted to the excellent acting of Mr. LeVis, in Jack Familiar. 337. Arcades. A kind of Masque, by J. Milton. This is only part of an entertainment pre- sented to the Countess-dowager of Derby at Haretield, by some noble persons of her ianiily. It is very short and incomplete ; yet as it is the work of that first-rare poet, and is published among his poeti- cal pieces, we could not here pass it over unnoticed. 338. Arcadia. Past, by James Shirley. Acted at the Phoenix in Drury Lane. 4to. lO^^O. The plot of this play is founded on Sir Ph. Sidney's ./Arcadia, and is itself the A R D foundation of a modern tragedy, called Philoclea. 33g Arcadia; or. The Shep- herd's IFedding. A Dram. Past. Svo. 1701. This little piece was brougiit on the stage at Drury Lane Theatre^, and was performed several nights, though with no very extraordinary approbation or .suc- cess. It is extremely short and simple, being only a compliment to tiieir present Majesties on their nuptials. The words are by Mr. Robert Lloyd, and the music com- posed by Mr. Stanley. 310.ThkArcadianNuptials. Masque, introduced into Perseus and Andromeda. Acted at Covent Gruden, 17d4. 24 1. Tk E Arc ADi AN Pastoral, Mas. Piece, in five acts, oy Lady Craven. Performed by the chil- dren of Lords Craven, Spencer, Paget, and Southampton, at a house belonging to the late Duke of Queensberry, in Burlington Gar- dens, 1782. 342. The Arcadian Virgin. Play, by William Haughton and He-,ry Chettle. Acted in 1599, 343. The Archers ; or, Mowi' taineers of Switzerland. An Op. in three acts. Performed by the old American company in New York. To which is added, a brief historical account of Switzerland, from the dissolution of the Roman empire to the final estab.ishment of the Helvetic confederacy, by the battle of Sempach. [By W. Dunlap.] This piece is founded on the play called Helvetic Liberty. Printed at New York. Svo. 1 796. 344. The Architect. Dram. Sketch, in two acts, by the late Nicholas Gypsum, Esq. and edited by his nephew. 8vo. IS07. Per- sonal satire under a feigned name. 345. ArDEN of FliVERSHAM., V 2 36 A R G The full title of this play is, " The lamentable and true Tra- '• gedieofM. Aidenof Fevershain, " in Kent, who was most wicked- " lye murdered by the means of " his disloyall and wanton wyfe, *' who, for the Idve she bare to " one Mosbie, hyred two desperat " rufilns, Blackwill and Shagbag, "■ to kill him." Anon. 4to. 1592; 4to. 1509, black letter; 4to. 1033 ; and reprinted by Edward Jacob, 8vo. 1770, with a ridiculous pre- face imputing it to Shakspeare. The plan of this play is formed on a true history, then pretty re- cent, of one Arden, a gentleman of Feversham, in the reign of Edward VI. who was murdered as he was playing a game at tables with the said Mosbie. The fact is related by Hollingshed, Baker, in Beard's Theatre, and Jacob's History of Faversham. 346. Arden of Feversham. Trag. by George Lillo. Acted at Drury Lane. Lillo has not un- frequently copied whole lines, and more than once several lines to- gether, from the preceding ^\^y. This piece was left imperfect by Mr. Lillo, and finished by Dr. John Hoadly. 347. Arden of Feversham. Trag. altered from the foregoing, and acted at Covent Garden, J 79O, for Mr. Holman's benefit. N. P. 348. Argai.us and Parthe- iiiA, Tragi-Com. by H. Glap- thorne. Acted at Drury Lane. 4to. 1639, The plot of this play is also founded on the story of those two lovers in Sir P, Sidney's Arcadia, see p. 16, &c. 349. Argentina strega per Amore ; or. Harlequin multiplied ■iy Argentina's JFitchcraft for Love ; ^V^th their wonderful flights and apparitions ; and the ningic iraiis- A R I formation of Silvio, Cittio, and Brighella. Com. 8vo. 1726. Act- ed at the King's Theatre in the Haymarket, by the company of Italian comedians. This is only a pantomime in five acts. 350. Ariadne ; or. The Mar- riage of Bacchus. Opera, by P. P. 1674. 4to. This piece is a trans- lation from the French, and was presented at the Theatre Royal in Covent Garden, by the gentlemen of the academy of music. 351 . Ariadne ; or, ThcTriumphs of Bacchus. An Opera, by Thomas Durfey. Svo. 1721. This piece was never performed, but is printed with a collection of poems in the year above mentioned. The scene Naxos, an island in the Archi- pelago. 352. Aristippus ; or. The Jovial Philosopher. By T.Randolph. De- monstrativelieproveing that quartcsr pointes, and pottles, are sometimes necessary authors in a scholar's li- Irary : presented in a private sheiv \ to which is added, The Conceited Pedler, presented in a strange shew. 4to. Id31 ; l2mo. 1698. Aristippui would appear, from thequaintness of its title, to have been written humorously, to excuse those ex- cesses to wiiich its author was too fatally attached, for they killed him at the age of twenty-nine. It is not very likely that this piece, was ever performed. The Cun- ceited Pedler is a mere trifle. 353. Aristodemus. A Mono- drama. Printed in The Poetical Register for 1802. 354. Aristomkkes ; or, TJie Royal She-pherd. Trag. by Anne, Countess of Winchelsea. Svo.I/JS. The story of this play i^^ founded on theLaccdafmonian history; and the general :enes are in Arislo- nienes's camp before tlie walls of 31 A r. R Phserea, sometimes the town of I'haerea, and sometimes the plains among theshepherds. Never acted. 353. The Armkd Bkitonj or. The Invaders Fanquished. Play, in four acts, by W. Burke. 8vo. 1800'. Never performed. 356. Arminius. Trag. by Wil- liam Paterson. 8vo. 1/40. This j)lay was intended for representa- tion at Drury Lane ; but the au- thor, being unluckily acquainted with Mr. Thomson, used to write out fair copies of his friend's pieces for the stage or the press. It happened that the copy oi Edward arid E/eatiora, which had been re- fused a license, was read by the censor from one in Mr. Pateison's liand-writing J and this circum- stance alone occasioned the pre- sent performance sharing the like fate. 357. Arminius ; or. The Cham- pion of Liberty. Trag. by Arthur Murphy. 8vo. 17.98. This may be considered as a political tragedy. Prefixed is a Dissertation on the question, " Which party was the aggressor in the war between Great Britain and France?" Its literary merits are not equal to those of most of Mr. Murphy's other plays. Not acted. 358. The Armourer. Com. Opera, by Richard Cumberland. Acted at Covent Garden, April 1793. Songs only printed, 8vo. l'/Q3. It was received with ap- plause, but repeated only three nights. The music, we believe, by Capt.Warner, an amateur com- poser. 359. The Arraignment of Paris. A Dram. Pastoral, pre- sented before the Queen's Majesty, by the children of her chapel ; and printed in 4to. 1584. Kirk- man attributes this piece to Shak- Bpeare j but on no foundation, i A R S being the work of George Peele; as is certain from the following passage in Thomas Nash's Addresg prefixed to Merwphon (1589) •' " I dare commend George Peele " unto all that know him, as the " chief supporter of pleasance now " living, the Atlas of poetry, and " primumverborum artij'ex; whose " first increase. The Arraignvient " of Paris, might pleade to your " opinions his pregnant dexteritie " of wit, and manifold dexteritie " of invention, wherein, ?nc ju- " dice, he goeth a step beyond all " that write." 3C)0.Arrived atCrow-street; or, Thespian from Tanderagee I A new occasional Drama, in one act. Performed at Dublin for Mr. Cherry's benefit, 1796. 301. Arrived atPortsmouth. M. E. by W. Pearce. Acted at Covent Garden, Oct. 30, 17g4. This was a temporary trifle, in- tended to celebrate Lord Howe's glorious victory of the First of June. With much loyalty and some humour, it answered the purpose for which it was produced. Music by Shield. Songs only printed, 8vo. 1794. 362. The Arrogant Boy. Dram. Afterpiece, in verse, in- tended for representation by chil- dren. 8vo. 1802. This is sub- joined to Juvenile Friendship; which see. 363. Arsaces. Trag. by Wil- liam Hodson. 8vo. 1775. Not acted. This tragedy is founded on the Ezio of Metastasioj but, as the author asserts, has no more than its foundation on that opera, since but a small number of scenes are borrowed from thence in the whole piece ; of the greater part of which a portion only had been employed, and even that por- tion very much altered. It wa& D 3 3S ART offered to Mr. Colman, and re- fused by him. In tlie Preface the author enters into a disquisition on the metre of tragedy. 304. Arsinoe ; or. The Incestu- ous Miirriase. 1 rag. by Andrew Henderson. 6vo. No date. [1752.] Thi> play was never acted, nor indeed ever deserved sucli an ho- nour. I'he story is Egyptian ; the t^xecution of it truly wretched. 305. Arsinoe, Queen of Cy- prus. An Opera, after the Ita- lian manner, by Peter Motteux, performed at the Theatre Royal in Drurv Lane, 17O5. 4to. It was published by Thomas Clayton. 3ot). Art and Nature. Com. by the Rev. Mr. Miller. Svo. Acted at Drury Lane, 1/33. The priiuipil scenes in this play are founded on the Arlequin Sauvage of M. De ITsle, and Le F/ateur of Rousseau 3 but it met with no success. 3O7. Aktaxerxes. Oper. 8vo. 1761 • This piece is set to music in the manner of the Italian operas, and was lirsr performed, Feb. 170'2, at Covent Garden Theatre, partly by English, and partly by Italian singers. It met v\'ith good success during the run ; which, however, •was not a very long one. Both the words and iDUsic are by that celebrated composer. Dr. Thomas Augustine Arne. The former, however, was no more than a most wretclied mangled translation of that excellent piece. The Arta- serse, of the Abbe Metastnsio ; in which Dr. Arne has at least shown, that, however close an alliance poetry and music may have wiih each other, they are far from be- ing constant companions; since, in this performance, the former is fis contemptible as the latter is iinmitable. 36s. Aktaxerxes. Op. trans- A R T Jaled from Metastasio, by John Hoole. Svo. 1767; Svo. ISOO. 369. The Arti ul Husband. Ct)m.byW.7'averner. 4to. N.D.; 12mo. 3d edit. 1721. Acted with great applause at the Theatre in Lincoln's Iim Fields. Whincop tells us, that the success of this play almost tur;ied the author's head, of whose vanity upon the occasion (snys he), I remember, a hundred ridiculous stories were told at the time. Mr. Coxeter, however, mentions his having been informed that this play wa-s chiefly written by Dr. Joseph Browne. 370. TheArtfulWiie. Com. also by W. Taverner. Acted in the same place. Svo. 17I8. Yet, although it is in every respect far superior to the former, it had not the fortune to meet with the saiue success. 371. Arthur. Trag. See The Misfortunes of Arthur. 372. Arthur andEmmeline. Dram. Entertainment, Acted at Drury Lane, Nov. 22, 1784. Printed in 12iTio. 1784. This was a musical afterpiece, formed from Drvden's King Arthur. The two principal characters were support- ed by Mr. Kemble and Miss Far- ren, and the piece was very suc- cessful. 373. The Life of Arthur, King of England. Play, by- Richard Flalhwaye. Acted by the Lord Admiral's servants, ISpS. 374. King Arthur; or, The British Worthy. A dramatic Ope- ra, by John Dryden. Acted at the Queen's Theatre. 4to. 1691. This play is a kind of sequel to the AlLiori andAtianius of the same author, and seems to Ijave been written rather for the sake oi the singing and machinery^ than with any view to the more intrinsic ART beauties of the drama ; the inci- dents being all extravagant, and many of them very puerile. The whole affair of the Enchanted Wood, and the other wonders of Osmond's art, are borrowed from Tasso, who has made his Rinaldo perform every thing tliat Arthur does in this play. The fabulous history of this prince is to be met with in GeotiVey of Alon mouth, as also in the rirst volume of Tyrrel's History of England. The scene lies in Kent. The genius of Dry- den, however, struggles through the puerilities with which the story of our legendary prince is encumbeied. The contrast of cha- racter between Philidel, a gentle aerial spirit, friendly to the Chris- tians, andGrimbald, a fierce earthy goblin, engaged on the ad\erse party, is not only well designed, but executed with the hand of a master. 375. KiNfj Arthur ; or. The British Worthy. Dramatic Opera, altered by David Garrick. Acted at Drury Lane. Svo. 1/70. By the assistance of splendid scenery, this alteration was very success- ful. 376. Arthur, Monarch of THE Britons. Trag. by William Hilton. Svo. 1770. Not acted; but printed in the second volume of this author's poetical works at Newcastle. The scene near Ca- melford, in Cornwall. 377. Arthur's Show. This was probably an interlude, or masque,which actually existed, and was very popular in Shakspeare's age ; and seems to have been com- piled from MaWoyj^ Morte Arthur.. It is mentioned by Justice Shallow, in the Second Part of King Henry the Fourth. 37s. Artifice. Com. by Su- sanna Ceiitliyre. Act Nov. 6. This play possesses much interest, and is in several parts written with great energy of thought. 407. Athelstan. Trag'. by Dr. Hrowne. Acted at Drury Lane. Svo. J 7-5(3. This tragedy is found- ed on thj British history, and has great merit; yet seen)ed not to meet with the success that merit claimed, having been scarcely heard or thought of since its first run. The struggles and conflicts of various passion, which Athelstaii is made to undergo before his pa- ternal and domestic affectioas get ihe better of a resentment which had led him into an act of treason against his prince and countiy, are finely supported, and perhaps scarcely excelled in any of our mo- dern tragedies. 403. Athelwold. Trag. by Aaron Hill, Esq. x\cted at Drury Lnne. Svo. 1/31 ; Svo. 1759. A play on the same subject by this 43 A T H author had made its appearance at the same theatre in 1 7 10, under the title of ELtRin ; or, Tke Fair Inconstant ; and had met w ith dis- approbation. The author has, however, made great aherations for the better in the present piece. The plot is founded on the well- known story of Athclwold's mar- rying the fair Elfrida, whom he had been sent, by King Edgar, to see and make his report of, with a view to her beconjing his mis- tress. The poet has greatly height- ened the infidelity of Athelwold, by making him, previous to his having seen Elfrida, to have se- duced, under the most solemn pro- mises of marriage, a worthy mai- den, and her too the object of adoration of his dearest friend Leolyn ; thus making him trebly false, to friendship, love, and loy- alty. The consciousness of this ill-fated error, blended with the honour, courage, and tenderness, which constitute the other pans of Athelwold's character, afford great opportunities to theauthorof paint- ing the movements of the human heart ; nor has he lost those op- portunities. The language is po- etical and spirited, the characters chaste and genuine, and the de- scriptions affecting and piciuiesqne. This was the author's favourite tragedy, and deserved a better re- ception than it met with. It was acted only three nights. The fol- lowing six lines, with which it concludes, have been noticed for theiF spirit and propriety : Oh, Leolyn! be ob.'tinately just ; Inc!u!g2 no passicm, and dfceive no trust : Let never man be bold enough to say, Thus, and no further, shall my passion stray: The Rrstcrime past compels usinto more, And guilf grows fiile that was but c/ich-e bcfoic. A U L 40g. The Athenian CoFFEB- HOUSE. Cora. This play stands in Mr. Whihcop's • Catalogue, among the anonymous pieces written since the Restoration. In Mr. Coxeter's MS. notes, it is said to be printed in 4to. and the scene to lie in an upper coffee- room. We suspect it to be the same play with that which in the British Theatre is called The New Athenian Comedy, and is said to be a satire oa a particular society, i. e, the au- thors of The Athe?nan Oracle. 410. AvAKicE A^fD Ostenta- tion. See Theatkical Re- corder. 411. The Auction. Farce, by Tbeophilus Gibber. Acted at Ihellaymarket. yvo. 1757. This is no oilier than a few scenes taken from Fielding's Historical Register. 412. An AuctionofPictures. Dram, Piece, by Samuel Foote. Acted by hiinself at the Little Theatre in the Haymarket, 1/48. Not printed. 413. Augustus. Trag. [i. e. the tirst act], by Edward Biddle, Gent. 8vo. 1717. Published with a Poem on the young Prince born at the Royal Palace of St. Jaines's, Nov. 2, 1717 5 t^iid a very curious Preface, containing the titles of five other pieces by the same in- genious author. 414. Augustus and Guliel- Mus ; or. The Villagers. Melo- Dram. by W. A. Holland. Acted in March I8O6, at the Haymarket, for a benefit. Not printed. 415. The auld Man and his "Wife. One of the eight Inter- ludes by Sir David Lindesay. Pub- lished by John Pinkerton, 1792. 41(3. Auld Robin Gray. M.E. by Samuel James Arnold. Acted at the Haymarket. 8vo. 1794. This piece had the assistance of 44 A U R A U T some good music from the an- of a gi'c-nt prince then reigning. thor's father J but met with little success on the stage. 417. AURELIO AND MfKANDA. Drama, in five acts, with music, by James Boaden. Acted at Drury but over nations not likely to em- ploy their critics upon the trans- actions of the Engliih stage. If he had known and not liked his character, our trade was not in X,ane. 8vo. 1799- This piece is those times secure from his resent- founded on Mr. Lewis's novel, ment. His country is at such a called The Monk ; the eft'ect of it, distance, that the manners might how'ever, was not interesting} and be safely falsified, and the acci- some strange improbabilities in it dents feigned ; for remoteness of could not escape the notice of the place is remarked, by Racine, to audience. Notwithstanding the afford the same conveniencies to a inimitable acting of Mr. Kemble in Aurelio, it was laid aside after the sixth night. AVe have been told, that after Mr. Boaden had poet as length of time. This play is in rhyme, and iias the appearance of being the most elaborate of all the dramas of Dry- read this play in the green-room, den. The personages are impe- he observed, that he knew nothing rial j but the dialogue is often so terrible as reading a piece be- domestic, and therefore susceptible fore such a critical audience. Mrs. Powell, the actress, remarked, that she knew one thing much more terrible. " What can that be?" demanded the author. " To be ** obliged," said she, " to sit and •' hear it." This may, however, be only green-room scandal. 418. Aurenge-Zebe 3 or. The Great Mo^uL Trag. by J. Drv- of sentiments accomniodated to fa- miliar incidents. The complaint of life is celebrated, and there are many other passages that may b? read with pleasure. 419. Aurora's Nuptials. A dramatic performance, occasioned by the nuptials of William, Prince of Orange, and Anne, Princess Royal of England. Acted at Drury Lane. 4to. 1/34. The music by den. Acted at the Theatre Royal. 4to. iQjQ; 4to. 1692. This play John Frederic Lampe. is far from being the worst of the 420. The Author. Com. of writings of our great poet. The two acts, by S. Foote, Esq. Act- scene lies at Agra, the capital of ed at Drury Lane. Svo. 1757- This the Mogul's territories in India, piece was written only for the sake and the plot may be found in Ta- vernier's Foyages, vol. i. part 2, chap. 2. Langbaine accuses the author of having borrowed his characters of Aurenge-zebe and of affording to the writer of it an opportunity of exerting his talents of mimicry, at the expense of a gentleman of family and fortune^ Mr. Aprice; whose particularities Nourmahal from the Hippolytus of character, although entirely in- and Phaedra of Seneca, and also offensive, were rendered the butt of having stolen several hints of public ridicule in the part of from Milton's Sampson Agojiktes. Cadwallader. The eager fondness From the first of these charges, which the world will ever show to however, Jacob takes some pains personal slander, added to the ini- to vind'icate him. mitable humour of this writer and This tragedy, as Dr. Johnson performer in the representation, ©bscrves, is founded on the actions for some time brought crowded 45 AUt housfs to it ; till at length the re- semblance appearing too strong, and the ridicule too pungent, not to be seen and felt by the gentle- man thus pointed out, occasioned 2n application for the suppression of the piece, which was therefore forbidden to be any more per- formed. Of late years, however, it has been occasionally revived. We should observe, that at the time when the further represent- ation of this piece was interdicted (Foote's benefit at Drury Lane, i)ec. 1/58), an additional scene was intended to have been intro- duced, which is printed in The Monthly Mirror, vol. vii. p. 39 — 41. 421. The Author and the Bookseller. Dram. Piece, by Charlotte IM'Carthy. 8vo. N. D. [17^5.] This was merely designed -as an introduction to proposals for printing a book, entitled " Justice "■ and Reason faithful Guides to " Truth. A Treatise under thirty- " seven Heads." 422. The Author's Farce. Cora, of three acts, by H. Field- ing, Esq. Svo. 1730. This co- medy contains a supposed rehear- sal of another piece, entitled The Pleasures of the Town, designed principally to ridicule the then pre- vailing fondness for the Italian singers. It was first acted at the Little Theatre in the H.iyniarket with very considerable succes'^, and afterwards revised and al- tered. 423. The Author's Triumph; or. The Managers mannged. A AUT Farce, which the title-page sars should have been acted at Lincoln's Inn Fields, April 14, l/S". Anon. Svo. This is plainly the work of some disappointed author, v.-ho, his piece having been refused a re- ception into a theatre royal, had, however, interest or money enouoh to procure one night's represent- ation of this little squib of ven- geance at one of the s:nal!er theti- tres. It seems to have met with the contempt its total want of merit rendered it liable io; yet even this was not sufficient to cure the author's vanity ; for, in a pre- face to his piece, he attributes its failure entirely to the faalt of the actors, and want of judgment in the towTi. How severe is the fate of a manager, who, whilst lie with unwearied diligence watches over the public sources of entertain- ment, carefully keeping away all the rubbish which aims at pollut- ing the stream, finds his own re- ward, the lying open to every at- tack on his repulation, his under- standing, and even his property, froni the unlia\iied abuse of each, petty scribbler, who tiiinks him- self aggrieved, by not being per- mitted to abuse the judgment of tlie town, and bring contempt en the very name of dramatic per- formances ! rl24. Tme Authors. Dran-s. S.:,ire, in tvvo acts, by Lindesius Jones, as it has been acred with great applau^.e in. this and the other end of the* town by the Piib- lic's Company of Dunces. Svo, 1755. This is miicrable stu5". 46 B. BAG 1. 1 HE Babi er. Com. trans- lated from Voltaire, and printed in Dr. Franklin's edition, 12mo. 2. The Kacch^. Trag. trans- lated from Euripides, by R. Potter. 4to. I78I. " This tragedy," says the translator, " is of a singular *' naiure, and very different from " any thing that remains to ns of " the Athenian theatre: tlie best "■ critics have ranked it among the ♦' finest tragedies of Euripides, and " in respect of its composition it •* is so ; but to us it is the least •• interesting of any of them j for " we cannot so far assume the " prejudices and sentiments of a •* Grecian audience, as to be af- " fected with a story of their Bac- " chus and his frantic IMgcnades; " yet we can be sensible to fine " writing; and the distress of Cad- " mus and Agave, iu the last " scene, is touclied with a mas- " terly band. But it is peculiarly " valuable for its learning, as it " gives the best account now ex- " tant of the orgies of Bacchus ; " those rites, even to the dress and ** manners of the Bacchae, are .so *' particularly described, that later " and even contemporary wriiers *' seem to have taken their ac- '• counts from hence. The first ** choral ode is truly tragic in the *' original acceptation of the word, " and not only remarkable for the '/ elegance of its composition, but ** precious a* a religioils relic; all '•' that remains to us of those songs *' in honour of Bacchus, from *' whence tragedy derived its ori- " gin and its name: the religious " air with which it is prefaced B A N *' gives it a solemnity, and in a " manner hallows the whole dra- " ma. " P.Brumoy is inclined to think " that this tragedy partakes sorae- " thing of the satiric piece, if it " be not altogether one, as well "as the Cyck-ps; but without " reason : he judges better, when, " from the subject and the turn of *' most of the scenes, he conjec- " tnres it to be a sacred tragedy, " and to have been exhibited during " tl;e jollity of the feast of Bac- " chus. " The scene is at Thebes, be- " fore the vestibule of the palace " of Pentheus." 3. I'he Bacchanalians. Trag. transl.ittd from Euripides, by Mi- chael Wodhull. Svo. I7S2. 4. The Ball. Com. by James Shirley. Acted in Drury Lane. 4to. IO39. Chapman assisted Shir- ley in this comedy. 5. Rand, Ruif, and Cuff. See Exchange Ware. (i. The Banditti; or, A Lady's Distress. A Play, by T. Durfey. Acted ?t the Theatre Royal. 4to. \QSQ. 1 he scene lies in Madrid, and a part ot the plot is taken from Shirley's Sisttrs. This play met with soine opposition in the performance, from persons with catcalls ; on which account Dur- fey hc!s prefixed to it a humorous dedication ; in which he seems to aim at some particular character, under the title of Sir Critic Cat- call. 7. The Banditti ; or. Love's Lah/riiilh. Com. Op. by John O'Keefe. Acted at Covenl Gar- 47 B A N den, 1/81. Music by Dr. Ar- nold. It was condemned tiie first night. Songs only printed. 8vo. 1/81. See Ci^sTLE OF Anda- lusia. 8. Banish'd Duke ; or. The Tragedy of Infortunaius. Acted at the Theatre'lloyal. 4to. Ifipo. The scene lies iu a village in Bel- gium ; the character of Infortu- natus is drawn for the Duke of ^lonmouth, and those of Roma- nus and Papissa for King James II. and his Queen. 9. The Banishment of Ci- cero. Trag. by Richard Cum- berland. 4to. 1761. This play was never acted, having been refused by Mr. Garrick, to whom it was offered. The plot of it is founded, on history, and on the enmity and machinations of Cal- phurnius Piso, and the family of Clodius, against the flunous father lii his country, Tully. The lan- guage of the piece in general is nervous, sentimental, and poetical, and the characters are well drawn : yet we cannot help thir.king those of Ciodius and his sister too vi- cious and shocking to come with- in the decent clothing of tlie tra- gic muse ; or, if they did, tlie pu- nishment of their crimes is not sufficiently striking ; especially that of Clodius himself, who has not •only apparently had an incestuous correspondence with his sister, but is moreover an atheist of that tiuie ; a character v.hich, by the way, we do not remember meeting with in iincient history, but rather seems a refinement in wickedness reserv- ed for the politeness of our more enlightened age. The expecta- tions of the readers, moreover, are raised in one place concerning the consequences of some fact, for ■which Clodius makes the most Jiorrid preparations before ihey are BAN informed of what it is; but wlilcSi, when they come to be acquainted with it, does not appear to hav^e the least connexion with the present business of the drama, and con- sequently to be only an act of vice perpetrated for its own sake mere- ly, viz. the debauching of the wife of Pompey, even in the very temple of Juno. This is one fault in the conduct of the design, yet not the only one ; Cicero himself, who ought assuredly to be the hero of tlie piece, being of mncli less consequence, and his charac- ter more carelessly touched, than those of several others in the play, and the catastrophe itself being too hastily brought on, nor suffi- ciently prepared for by a train of previous incidents ; and, if we mistake not, far from being au- tliorized by the testimony of his- tory. On the whole, however, though the piece might perhaps hnve given some little scope to the ill-nature of the critics, had it ap- peared on the stage, yet for the closet it is far from wanting meriL 10. The Bank, Note ; or, Les' sons fur Ladies. Com. by Wil- liam Maeready. Acted at Coveat Garden. Svo. IJQS. This comedy, which is founded on Taverner'is Artful H us b and, was received with approbation. 1 1. The Bankrupt. Com.bv Samuel Foote. Acted, with good success, at the H:tymarket, 1773- Printed in Svo. 1771). This per- formance, like the rest by the same author, contains little else than detached scenes without any plot. It exhibits, however, some strong delineations of character, and is" far from the worst perform- ance which Mr. Foote, catching the manners Iivin<^ as they rose, gave to the public. It appeared at the time of the unexpected failure o^ 48 BAR B A ft a Baronet well known Tn the mer- 17. Barbara Allen. B. 5. cantile world, whose suec-ulalinns by Charles Dibdin, jun. Songs in East India stock, ^c. are hardly only printed. 8vo. No date. yet forgotten, and was said to have some reference to him. It, how- ever, justly exposes those nefarious members of society, so numerous in. our days, who manufacture ar- tificial failures, and systematically evade the bankrupt laws. 12. Bannian Day, Mas. Ent. in two acts, by George Brewer. Performed at the Haymarket. 8vo. 179D. This piece was fa- vourably received. Though al- 18. Bakbauossa. Trag. byDn Browne. Acted at Drury Lane. bvo. 1755. This play is by no means so good a one as the Jlhct- Stan of the san^e author, before mentioned. The design seems bor- rowed from the tragedy of Me- rope. Zaphira's distress and her re- solutions greatly resemble, though they fall far short of, I\Ierope's. Aclniiet's declaring himself, and Eumenes being suspected, the most destitute of plot, and with murderers of themselves respective- little novelty of character, the ly, are too much alike to allow a merit of the performers was suf- claim to much invention in the ficient to procm-e it success. author of this play ; and the cha- 13. Baxtry Bay. Occasional racter of Barbarossa seems to be Mus. Int. of one act. Performed drawn after Poliphontes, with some at Covent Garden. Svo. 1707. ^^^^ strokes of Bajazet and the The subject, as may be supposed, blustering monarch in the jlloiini- v.-as the spirited and loyal conduct ing Bride. Yet did this tragedy of the peasantry on occasion of the meet with more success than French attempting an invasion on Aihehtan, from the advantages it that part of Ireland. It is as- appeared under, by the perfovm- cribed to a Mr. Reynolds, as a first ances of Mr. Garrick and Mr. dramatic attempt, and was well Mt)ssop, in the parts of Achmet received. and Barbarossa. The Prologue and 14. Of Baptism AND Temtta- Epilogue by Mr. Garrick: with TioN, two Comedies, by Bisliop the following passage in the latter Eale. Of these we know no more of these. than the name, as mentioned by himself in the list of liis own works. 15. Baptistf.s. a sacred dra- matic Poem. See Tyrannical Government, &c. " Lee tlie poor devil eat, allov.- \\\m that, &c." the author was much disgusted, as it represented him in the light of an indigent person. Vanity v.'as 10". Barvtakia; or, Sanchn undoubtedly one of the most pro- tunid Governor. Farce, by Fie- deric Pilon. Svo. 17S5 ; Svo. 1793. This was acted first at Covent Garden, for the benefit of Mr. Quick ; but afterwards be- came a stock-piece, and was fre- quently performed. Its origin will be found m Dnrfey's three plays oa the subject of Don Quixote ; feut chiefly the second part. minent features in Dr. Browne's character. 19. The Barber of Pera. Melo-drama, in two acts, by Jo- seph Closer. V\'ritten in ISUtJ. Not acted, nor printed. 20. The Barber of Seville ; or, The Useless Precaution. Cum. of four acts. Svo. 177^. This is meicjy a traiisilation (by Mri., 49 BAR Griffiths) of Beaumarchais' cele- brated piece with the same title, and was not acted, 21. Barnaby Brittle J or, ^ Wife at h'ir limit's End. Farce. Acted at C'jvent Garden, April 18, 17S1, tor Mr. Quick's benefit. It is merely an alteration from Betterton's Aiuurous iFidaw ; of wiiich the George Dandiii of Mo- liere was the original. This farce is still occasionally performed, bat its huinoar is xcry low. 8vo. 1/82; 8vo. 1788. 22. Baknakdo and Fiamata. Mentioned by Henslow, as having been acted at the Rose Theatre, Oct. 29, ]jpj. 23. The Barox. Cora. See Theatrical Rf.cokder. 24. The Baron Kixkvervan- kotsdorspraivengatchoern. Musical Com. by Miles Peier An- drews. Acted at the Haymarket. Svo. 1/81. This piece was taken from a novel, written by Lady Craven'. It was performed only once, thoui^h twice afterwards it was attempted to be forced on the public. 25. The Barons of Ellen- berg. Trag. See Dramatic Ap- pellant. 2(5. Bartholomew Fair. Com. by Ben Jonson. 4to. I6 14 ; 8vo. I75i3. This play, which was first acted at the Hope Theatre, Bank Side, Oct. 31, 1614, has an in- finite deal of humoLir in it; and is, perhaps, the greatest assemblage of characters that ever was brought together within the compass of one single piece. Same of the characters, and indeed the greater part of the humour in them, may be looked on as extremely low ; but the intention of the author, jn rendering them so, was to sa- tirize the taste of the times he lived in (not greatly different from VOL. ri. B A S that of our own age), by pointing out how exalted a degree of ap- plause might be obtained by this light and low manner oi writing ; at the same time that his Catiline, a long-laboured and learned piece, although tolerably received, had not obtained that applause which he, and every other judicious cri- tic, was and must be convinced its merit had a title to. — Among other instances of Ben's ingrati- tude, and envy of others' fame, we are told, that in this play of Barthnlomew Fair, Inigo Jones (to whose decorations Jonson's INlasques were principally indebt- ed for their attraction) was de- signed to be ridiculed under the name of Lanthem Lcatherhead. 27. A Bartholomew Fair- ing, new, new, new, sent from the, raised siege before Dublin, as a pre' paratory present to the great thanks- giving day. To be communicated only to Independants. This piece is a mere party affair, and never was performed, but printed in 4to. in five short acts, 1649. 23. The Bashful Lovee. Tragl-Com. by P. Massinger. Acted at the private house in Black Friars. Svo. l655. There are many beauties scattered through this piece ; but, as a whole, it is neither so correct in its construc- tion, nor so interesting in its plot, as some others of Massinger's dra- mas. 29. The Bashful Lovers. Jacob, and after him Whincop, mention a Tragi->Cora. with this title, to which are prefixed the letters B. J. whence they seem to infer Ben Jonson to have been the author : but as the othei catalogues take no notice of this play, and as the date, size of edition, and place of performance, are all the same as in the last- 50 .B A S mentioned piece, we cannot help conjecturing that it niny be the same, with only the difference of a spurious title-page, to pass it on the world as a work of Ben Jon- son's. 30. TheBaskkt-makeh. Mas. Ent. by John O'Keefe. Acted at the Haymarket, Sept. 4, 1/90, and three other nights ; but not well received. Printed in 8vo. 1798. 31. The Basset Table. Com. by Mrs. Centlivre. Acted at Drury Lane. 4to. 1/06. The scene in Covent Garden. This play, like most of this lady's writings, con- tains a great deal of plot and busi- ness, without much either of sen- timent or delicacy. 32. The Bastard. Trag. 4to. l652. Some part, both of the plot and language, is borrowed from the loves of Schiarra and Florelia in the English Lovers, and the incident of Catalina's supply- ing her mistress Mariana's room on the wedding-night, from the story of Roberto and Isidaura, in Gerardo, the Unfortunate Spaniard, p. 8/. Scene in Seville. Mr.Coxe- ter attributes this play to Cosmo Manuche. 33. The Bastard. Trag. by Robert Lovett, Esq. This play, if it was ever acted, appeared only on the Irish stage. It has not been printed, but is praised in some verses by Mr. Sterling, published in Concanen's Poems, 8vo. 1724, p. 261. 34. The Bastard Child ; or, ^ Feast for the Churchirardens. A Dram. Satire of two acts; acted every day within the bills of mor- tality. By Daniel Downright. 8vo. 1768. This is mere ribaldry. 35. The Bastille. Ent. by John Dent. Performed at the IloyalCircus. 8vo. N.D.[17S9.] BAT Dedicated to the Duke of Or- leans. 36. The Batchelors. Play, translated from the German of Itlland. 6vo. 1799. Not acted. 37. The Bath ; or. The IVestern Lass. Com. by T. Durfey. Acted at Drury Lane. 4to. 1701. 38. The Bath Unmask'd. Com. by Mr. Odingsells. Acted at Lincoln's Inn Fields. 8vo. 1725. This play was acted only nine or ten times. 39. The Bathing Machine ; or. The Fishermen Caught. Mus. Int. This piece was performed for a benefit at Brighton, 1790. 40. Battered Batavians; or, Down with the Dutch. An Enter- tainment, partly compiled, and partly written, by James CawdelL Performed at Scarborough, 179^- 41. The Battle of Alca- zar, with Capt. Stukeley's death. Trag. Anon. Acted by the Lord High Admiral's Servants, 1594. 4 to. 'I'he story relates to Sebas- tian, King of Portugal, and Ab- delmelechi. King of Morocco. The plot is taken from Pleylin's CoS' vwgraphy, in the History of Spain, &c. Shakspeare has pointed his ridicule at this play, in a parody on the words. Feed, and le fat, &;c. See Henry IF. part ii. act 2, scene 4. It is probable that Dry- den might take the hint of his Don Seiastian from the present tragedy. 42. The Battle ofAughrim; or. The Fall of St. Ruth. Trag. by Robert Ashton. 8vo. 1777- I'his play is little more than a bombastic narrative of the trans- actions of the celebrated 11th of July 1691 ; when the Irish rebels, under the French general St. Ruth, met with a thorough defeat from the army belonging to King Wil- liam, under the command of Ge- SI BAT aeral (linkle, on tlie plains near Aughrim, in Counatight. The writer has shown great warmth and zeal to the cause lie espouses; but would have done better to have confined himself within the trammels of a pro:ie narrative, than to have attempted the fliglits of poetry, which appear to be en- tirely out of his reach. It was origi- nally published abouttheyearl 727, being dedicated to the then Lord Lieutenant of Ireland. The scene lies in and before the town of Aughrim. 43. The Battle of Edding- TON : or, British Liherty. Trag. [by John Penn]. 8vo. 1792; 8vo. 1790. The argument of this piece is taken from the history of Alfred ; and the autijor has en- deavoured to adhere to the model of the Greek drama in particular instances ; but with no better suc- cess than his predecessors. The dialogue is frequently spirited ; and the tendency of the piece, both morally and politically, praise- worthy. It was acted (once we believe) at the Haymarket, and often at provincial theatres. 44. The Battle of Hastings. Trag. by Richard Cumberland. Acted at Drury Lane. 8vo, 1778. The coat of Joseph, and the dress of Harlequin, were never composed of patchwork more ge- neral than is the style of this per- formance. An injudicious appli- cation of Shakspeare's phraseology throughout all parts of it, con- tinually provokes a comparison unfavourable to our present au- tlior. Add to this, that he has grossly violated the truth of his- tory, in his representations of Ed- gar Atheling and Harold. Under his hand tlicy may be said to have exchanged characters. He has even neglected to make the name BAT of his play correspond with its subject ; for, except from the title- page, we hear nothing of a haltle. It was very coolly received. 45. The Battle of Hexham ; or. Days of old. Mus. Dram, by George Col man, jun. Acted at the Haymarket, 1789. The mix- ture of history and romance in this piece is judiciously managed. Margaret, queen of Henry VI, resolving to drive Edward IV. from the throne, and restore her hus- band, raises an army of adven- turers in Scotland, but is de- feated at the battle of Hexham. After this she flies into the forest with her son, and is despoiled by robbers ; one of whom, however, on discovering her rank, relents, and becomes her protector. The remaining incidents are invented. Tke play was very well received, and is still frequently performed. The music by Dr. Arnold. 8vo. 1808. 46. The Battle ofLuncarty. Hist. Play, by George Galloway. Published in a volume of poems. Edinburgh. 12mo. I8O6. Never performed. 47. TheBattlr ofPoictiers; or. The English Prince. See Ed- ward the Black Prince,, by Mrs. Hoper. 48. Battle of Sedgmoor. A Farce of one short act, said by Coxeter to have been rehearsed at Whitehall. It was never acted, but injuriously fathered on the Duke of Buckingham, and printed among his works, in 2 vols, 8vo. 1707, 1714. The scene lies in a drawing-room at Whitehall. 49. The Battle ok the Nile. Dram. Poem. 8vo. 1799. This piece is written on the model of the Greek tragedy ; and the idea is taken from the Persce of iEs- chylus. Never acted. E 2 52 BAY 50. Battlk of the Poets; or. The Conicntlon Jnr the Laurel. By Scriblerus Tertius. Acted at the Little Theatre in the Ilay- market, 1730. Svo. 1731. It is no more thnn a few hiose scenes to be introduced into the tragedy of Tom Tliunih, inlended to throw abuse not only on Mr. Gibber, who was made iaureat at that time, but also on Aaron Hill, Lewis Theobald, James ilalph, Stepiien Duck, and other supposed com- petitors for the laurel ; whom the writer has introduced under the cha- racters of Sulky Bathos, Comment Profund, Noclifer, Flaile, &c. as he has done the Iaureat under that of Fopling Fribble. The piece con- tains much scurrility with very little wit. Li a copy which we have seen, the name of Thomas Cooke was put in MS. as the au- thor of it. 51. The Battle Royal. Farce. This was a whimsical piece, al- tered from Sir John Vanbrugh, and performed at the Haymarket (not in the regular season), l^BS. The advertisement did not state whether this was the first time of its being acted. 5'2. The Bawdyhouse School; or, -The Rake Demolish' d. Farce. 12mo. 1744. We want words to express our detestation of this m- famously obscene production. 53. Baxtek's Tragedy. A play of tliis name was acted in 16023 but has not been heard of since. 54. Bayes in Petticoats. Farce. See Tuk PiEHeahsal. 55. Bayes's Opf.KA. Bv Gab. Odingsells. Svo. 1730. This is one of the many musical pieces which the Bf^gar's Opera gave birth to. It was acted at Drury Lane without success, being per- formed only three nights. B E A 56. Bear a Brain. Play, by Thomas Dekker. Acted in 15Qg. N. P. 57. Beard's Night, at the Long Boom in Hampstead. 12mo. 1760. This consists of Dryden's Secular Masque, set by Boyce, and other pieces. 58. The Beau Defeated ; or. The Lucky younger Brother. Com. Acted at Lincoln's Inn Fields. 4to. without a date. [17OO.] The dedication to this play is signed by Mrs. Pix, as the au- thor of it. Some of the cata- logues ascribe it to a Mr. Barker. It is partly a translation from the French. 5g. The Beau Merchant. Com. 4to. 1714. Written, ac- cording to Coxeter, by one Mr. Blanch, a gentleman near Glou- cester, but was never acted. The scene lies in a coffeehouse in Stock-jobbing Alley. 60. The Beau's Adventures. Farce, by Phil. Bennet, Esq. Svo. 1733. AVe cannot suppose that this silly piece was ever acted. 61. The Beau's Duel ; or, A Soldier for the Ladies. Com. by Mrs. Centlivre. 4to. 1702. This is one of the most indifferent among that lady's pieces ; it was little noticed at first, and is now never acted. 62. The Beautiful Armenia; or, The Energy and Force of Love. Com. by Edmund Ball, of C'hes- ham. Printed atChesham, Bucks, rimo. 1778. A miserable hash of The Eimuch of Terence, adapt- ed to English manners, without any acknowledgment of the theft. Never acted. 63. Beauty and good Pro- perties OF Women. See Tnt Craft of Rhrtoric. 64. The Beauty and the Monster. Com. translated from I 53 B E A the French of the Countess of Genlis. Svo. I78I ; 12mo. I7S7, 65. Beauty and Virtue. Se- renata. Performed at Drury Lane, 170"2. 66. Beauty in a Trance. A Play, probably a Trag. by John Ford, entered on the Iwoks of the Stationers' Con^pany, Septem- ber 9, 1653, and was among those destroyed by Mr. Warburton's servant. 67. Beauty in Distress. Trag. by P. Motteux. Acted at Lincoln's Inn Fields. 4to. iGQS. There are many fine lines in this drama, and a great variety of in- cidents J indeed, so many, that Drydeii, who wrote the Prologue, and has complimented the author with a poetical epistle, says. Thy incidents perhaps too thick are sown; But too much plenty i.s thy tuuit done: At least but two can that good crime commit, Thou in design, and Wycherley in wit. He also apolauds him for the preservation of time, action, nnd place, which Corneille himself might see with envy. The scene is Lisbon, and the time of action from five to eight in the evening. This tragedy had considerable suc- cess j and the author in his pie- face acknowledges the receipt of a present from the Princcis Pioyal, afterwards Queen Anne, outweigh- ing the benefit of a sixth repre- sentation. With proper curtail- ments, we tb.ink this piece might be made fit for the present stage. Prefixed to it is, " A Discourse of *"' the lawfulness and unlawJulness " of plays, lately written in French, " by the learned Father Callaro, " divinity professor at I'aiis, sent *' in a letter to the author by a " divine of the church, of England," 6B. Beauty's Triumph. A Masque, by Thomas Dulict, Pie- B E G sentcd by the scholars of Messrs, Hart and Banister, at their board- ing-school at Chelsea, and printed in 4to. I6j6. Op. Bkauty thf; Coxai'F.ROKj or, The Death ' by Miles Peter Andrews. Acted at Drury Lane. Svo. [ 1 790] . By the great exertions of Mr. Kemble and Mrs. Jordan, this play was carried through with some success ; but it never became po- pular. Prologue by the Duke of Leeds. 109. Betty 3 or. The Country 58 B I R Sumpkins. A Ballad Farce, by H. Carey. This was acted with very little success at Drur)' Lane 1739, and is not included in the collection of his works, 4to. 1/43. 110. BiANCA. Trag. by R. Shepherd. Not acted. Printed at Oxford. 8vo. 1772. 111. BiANCA Capello. Dram, Narrative, translated from theGer- n-an of Meissner, by A. Thomson. 12mo. 1796. Printed at Perth, in a volume entitled The German Miscellamj. Mr. Thomson has published only the introductory scenes of this piece, with a pro- mise, that, if they should please, the continuation shall appear in a subsequent volume. We have not heard of any such subsequent pub- lication. 112.ABicker5taff'sBuryixgj or, Work for the Uphnlders. Farce, of three long scenes, by Mrs. Cent- livre. Acted at the PLivmarl;et, and dedicated to the ma^uificent Company of Upholders. 4to. No date. It was acted with applause, at Drury Lane, in 1717, and af- terwards revived under the title of The Custom, of the Country. 1 13. Bickerstaff's uneuried Dead. A moral Drama. Acted at Lincoln's Inn Fields, 1743. 8vo. This piece was revived as a prelude, under the title of " Live " Lumber ; or, The nnhiried " Dead;" at Covent Garden, for Mr. Quick's benefit, 17.06. 114. The Bilker Bilk'd. See Strollers Packet. 115. The Billet Master; or, The Forgery. Svo. 1787. Mr. Oulton mentions a drama of this name, and ascribes it to a Mr. W. Ward j but we have not seen it. 116. The Bird iv a Cage. Com. by James Shirley. Acted, with great success, at the Phoenix, B I R Drury Lane. 4to. Id33. In Dods- ley's Collection. Scene in Man- tua. This is a good piece, and has prefi.^led to it an ironical dedi- cation to the famous William Pryuue, Esq. who had been a most furious antagonist to plays, but was at that time a state pri- soner for high misdemeanors. It was acted at Covent Garden a few years ago for Mr. Quick's benelit. 1 17. The Birth-day. Enter- tainment of three acts, by Airs. Penny. Printed .it the end of a quarto volume of Poems, 1771' The groundwork of this drama is taken from The Spectator, No. 123, already mentioned under the ar- ticle of The Agreealle Surprise. 1 IS The Birth-d\y j or. The Prince of Arragon. Dram. Piece, with songs, by J. O'Keefe. Acted at the Haymarkft. Svo. 1783, 1798. This is a translation of a petit piece of St. Foix, with the addition of a few songs, and a .speech or two, calculated to con- vert the story into a compliment to the Prince of Wales on his coming of age. It was repre- sented for the first tiir.e on tliC anniversary of His Royal High- ness's birth-day, Aug. 12, 1783. The conduct of the story was too simple, and the humour too fee- ble, to render this piece very suc- cessful. 1 19. The Birth-day ; or, Ar- cndian Contest. Mus. Past. Per- formed, with success, at the Roy- alty Theatre. Songs only printed. Svo. 1757. 120. The Birth-day. Com. by T. Dibdin. Acted at Covent Garden. Svo. 1799- This is an alteration from n drama of Kotze- bue's, called Fraternal Enmity. It met with great success, and deserves it. The incidents are well managed; tiie sentiments 59 B I T chaste and instructive ; and the cliaractersjifnotoriginal^are drawn with spirit and elFect. 121. A Birth-day Tribute. Int. by Richard Sickelmore. Act- ed at the Brighton Theatre, Aug. 12, 1805 [the Prince's birth-day]. This was a mere nocturnal play- thing for the balnean misses and masters at Brighton, of which can- dour and criticism would say in unison, " Sufficient to the day is " the evil thereof." N.P. 122. The Birth of Hercules. ^lasque, by William Shirley, set to music by Dr. Arne, and in- tended for representation at Co- vent Garden. 4to. 1765. Tliis masque was written in honour of the Prince of Wales's birth, and rehearsed in 1/63, but afterwards laid aside on account of the dis- turbances in the theatre about ad- mission at half price. 123. The Birth or Merlin; or, Tke Child has lost a Father. Tragi-Com. by William Rowley. The scene lies in Britain, and the story is taken from GeotFrey of Monmouth. Shakspeare, as the title-page informs us, assisted in this play, which is not very pro- bable from the poorness of the composition. It was frequently acted with great applause, and was published in 4to. 1(562. 3 34. The Birth-night; or. Modem Frendi Reformation. Com . Op. in three acts. 12mo. 17p6. 125. The Biter. ^C. by Nich. Rowe. 4to. 1705. Acted at Lin- coln's Inn Fields. This was the only attempt of our author in the comic way, and met with no suc- cess. Yet it is not without soiDe share of merit, and was meant to expose the Biters, a sort of cha- racter at that period of time, not much unlike the Hoaxers of this age. Dr. Johnson observes. B L A that though this piece was unfa- vourably treated by the audience, the author himself was delighted with it ; for he is said to have sat in the house, laughing with great vehemence, whenever he had in his own opinion produced a jest. But finding that he and the pub- lic had no sympathy of mirth, he tried at lighter scenes no more. The circumstance of Rowe's laughing in the midst of a groaning audience reminds us of an anec- dote connected with the history of the French stage. The author of a piece that was highly disapproved, had bestowed orders very liberally among his friends to support his ricketty production. Seeing, how- ever, that it was impossible to allow any share of commendation to the piece, they by degrees all deserted him, except one ; who, faithful to his promise, and yet open to conviction, was reduced, at last, to applaud and hiss at the same time. " Is it possible," said a spectator, " that you can approve " and disapprove at the same " time V — " No, no," said he, " that is not the case ; I know " this play is the most execrable " thing that ever was performed ; " but I came in with an order, " and have a great regard for the "author; and so, that I may " neither wrong him nor my own " judgment, I have alused the " piece out of justice to mysetfuW " I am hoarse, and clapped it to " oblige /ti/w till myliands are sore." 1 26.TheBlackamoor wash'd white. Com. Op. by Henry Bate. Acted at Diury Lane, 1776. The songs only printed. This piece was highly disapproved of the first night. The author, how- ever, having promised (says Mr. Oulton) that every thing objec- tionable should be expunged, it 60 B L A Was repeated. The opposition tliat it met with on the second night was pretended to have proceeded from a factious spleen^ occasioned by a personal dishke to the author. On tiie third night, the theatre was turned into a bear-garden ; and the leading part of the audi- ence were ranged on either side, marshalled, and arrayed as so many well-instructed boxers : accord- ingly, when the curtain was drawn up, the signal of battle was given by hissing, clapping, crying Off! off! and On ! on 1 The combat- ants at length engaged with equal confidence of success (the field of battle being mostly behind the scenes) ; and the cors were drub- bed most heartily by the pTos into an entire and hearty approbation of the piece. Apollo at last brought over Mars to his side ; and the late victorious boxers were beaten out of the field on the fourth night of representation, when the poor Blackamoor (who, notwithstanding the four attempts to be Hashed white, remained as Hack as ever) was ultim.ately con- demned. Mr. Garrick appeared twice, and Mr. King once, be- fore the audience could be paci- fied by an assurance of the piece being withdrawn. 127. Black Batman of the North. A Play. Acted by the Lord Admiral's Servants, ]5Q8, and ascribed to Henry Chettle. The same year was acted a second part of the same piece ; in which Chettle was assisted by Robert ^Vllson. 128. BiACK Beard; or, llie Captive Princess. B. P. by J. C. Cross. Acted at the Royal Circus, and published in Circusiana. 1 2mo. 1809. 129. The Black Dog of New- gate. Play, by Richard Hath- B L A wave, assisted by John Day and W' Smith. Acted 1(>02. A se- cond part of this piece was pro- duced the same year, in which Hathwaye, Y)Ay, and Smithy were assisted by a fourth author, who is unknown. Not printed. 130. Black Joxne. A play with this title is mentioned by Henslowe as belonging to the stock of the Rose Theatre. 131. The Black Max. An Interlude, attributed to Cox the comedian, and printed in the se- cond part of Syort upon Sport, 16J9 ; also in 4to. 132. The Black Prixce. Trag. by Roger, Earl of Orrery. Acted at the Duke of York's Theatre. Fol. l66'9 'i"d 1O72; Svo, 1739. The story is taken from the Eng- li:sh historians. Though called a tragedy, this tedious play termi- nates happily. 133. The Blacksmith of Ant- werp. Farce, by John O'Keefe. Svo. 1798. It was acted at Co- vent Garden in 17S5, butwithoot success. 134. The Black Wedding. A play with this title was entered on the books of the Stationers* Company, Nov. 29, 1653, but does not appear to have been printed. 135. The Blade Bone. Int. Acted at the Haymarket, Aug. 20, 178S ; but never repeated, nor printed. \36. The Blazing Comet; The Mnd Lovers:; or. The Beauties of the Poets. A Play, by Samuel Johnson, author oi' Hurlothrumlo, Acted at the Haymarket. Svo. 1732. Tiiis is, like his other writings, a farrago of madness, absurdity, and bombast, intermin- gled with some strokes of genius and imagination. A curious fron-^ tispiece is prefixed. 61 B L I 137. The Blazing Worlel Com. by the Dutchess of Newcastle. Fol. 166s. There are no more than two acts of this play, the au- thor having never tinished it ; but it is printed with her other works, 138. TheBLEssiNGs ofP*** AND A Scotch Excise; or. The Humlug Fifsignation. Farce, as it was lately performed (says the title-page) at the New Theatre in S— A— y Street, by His M— company of comedians. Svo. 1/63. Despicable abuse of Lord Bute. 139. The Blind Bargain ; or, Hear it out. Com. by Frederick Reynolds. Acted at Covent Gar- den with great success. Svo. 1805. 140. The Blind Beggar of Alexandria. Com. most plea- santly discoursing his i^arious hu- mours in disguised sJiapei, full of conceit and pleasure, hy George Chapman. It was published in 4to. 1 5t)8,was the ant hor's first play, and is neither divided into acts nor scenes j but had been '■' sundry ''.times publicly acted in London, " by the Lord High Admiral's *' servants," 141. The Blind Beggar of Bethnal Green, irith the merry Humour of Tom Slrotrd, the Nor- fo Ik Yeom an. C 0 m . by J oh n D a y . Divers times publicly acted (I6OO) by the Prince's servants. 4to. 1659- For the plot, as far as it concerns history, considt the wri- ters on the reign of Henry VL Chettle assisted in this play. 142. The Blind Beggar of Eethnal Green. A Ballad F. by Robert Dodsley. Svo. 1/41. This is on the same story witli the foregoing. It was acted at Drury Lane, but without much success, in 1739, and is to be found in a collection of the author's works, published under the modest title of Trifles, Svo. 1748. E L O 143. The Blind Boy. M. D. [by W. B. Hewetson]. Acted at Covent Garden with great success. This is a very interesting perform- ance, and bears marks of a fo- reign extraction. Svo. 1808. 144. The Blind eat .many a Fly. a Play, by Thomas Hey- wood. Acted 1602. Not in print. 145. The Blind Girl ; or, A Receipt for Beauty. Com. Opera, by Thomas Morton. Acted, with considerable success, at Covent Garden. Songs only printed. 8vo. 1801. Scene, Lima, in South America. It abounds in whimsi- cal incident and sprightly equi- voque, and is not deficient in laudable sentiments. 146. The Blind Lady. Cora, by Sir Robert Howard. Svo. I66O. I'he scene lies in Poland, and the plot is taken from Heylin's Cos- mography, lib. ii. This play is printed with divers other poems ot the same author, in a volume; which afterwards had a new title- page printed, with thedate of I696. 147. The Blind Woman of Spa. Com, translated from the French of Madame Genlis. Svo. 1781 ; 12mo. I787. 148. The Blockheads ; or^ The Fortunate Contractor. Op. as it is performed at New York. Svo. 1783. 149. The Bloody BANauET, Trag. printed in 4to. 1620, and 4to. 1639, with the letters T.D.^ but is, in some of the old Cata- logues, ascribed to Tho Barker. It was liowever probably written by Robert Davenport, being enu- merated with some other of his pieces in a list of plays that for- merly belonged to the Cockpit theatre. The letters T. D. were perhaps printed by mistake in the title-page instead of R.D. See B L U Mr.Malone's Supplement to Shak- speare, vol.i. p. 392. 150. The Bloody Brother. See Hollo Dukr of Normandy. 151. The Bloody Duke ; or, TheAdveJituresfor a Crnvn. Tragi- Com. Acted at the court of Alba Regalis, by several persons of great quality. 4to. 1C9O. This is a po- litical piece, exposing the Popish plot, &c. and is written by the author of The Abdicated Prince, of which see in its place. The real characters may be easily dis- covered. 152. A Bloody" Plot disco- \'F,RED. Trag. 8vo. l/SOj ascribed to a Mr. Ball : probably the au- thor of The Beautiful Armenia. 153. Blue Beard; or. The Flight of Harlequin. Pant. Act- ed at Covent Garden, l/.Ql- 154. Blue Beard; or, Feinale Curiosity. M. E. by George Col- man, jun. Acted at Drury Lane with extraordinary success. Svo. 1798. It is partly founded on a French piece of the same name (Barle-BleuJ. This celebrated personage, who has, during our childhood, so frequently alarmed us in a dark night, is here exhi- bited with great splendour, and in a ver)^ territic light. Mr. Colman has made him a bashaw of three tails; presuming, we may suppose, that the mur- derer of seven wives must have been 3 very Turk indeed. The original Bine Beard, however, wr.5 no other than Gilles, Marquis de Laval, a miirshal of France, a ge- neral of great iutrei);dity, who distinguished himself greatly in the reigns of Charles VL and VIL by hi.-: courage, especially against the English, when they invaded France. The services that he rendered his country might have immortalized his name, had he not B L U for ever blotted his glory by the most terrible murders, impieties, and debaucheries. His revenues were princely j but his prodiga- lities might have made an empe- ror a bankrupt. Wherever he went, he had in his suite a seraglio, a company of actors, a band of musicians, a society of sorcerers, a great number of cooks, packs of dogs of various kinds, and above 200 led horses. Mezeray (who gives a very satisfactory account of him) says, that he encouraged and maintained sorcerers to disco- ver hidden treasures, and corrupted young persons of both sexes, that he .might attach them to him ; and afterwards killed them for the sake of their Wood, which was necessary to form his charms and incantations. Such horrid excesses are credible, when we recollect the- age of ignorance and barbarity hx which they were practised. He was at length (for some state crime against the Duke of Brittany) sen- te::ced to be burnt alive in a field at Xantes in 1440; but the duke, who witnessed the execution, so far mitigated the sentence, thai he was first strangled, then burnt, and his ashes interred. He con- fessed before his death, " that all " his excesses were derived from •■' his wretched education;" though, descended from one of the most illustrious families in the king- dom. 155. Blue Devils. Farce, of one act, taken from the French of Mons. Patrat (said to be by Mr. Colman, jun.). Acted at Covent Garden, 179^". for the benefit of Mr. Fawcett; and since occasion- ally performed as a Prelude, at tlie Haymarket theatre. It is an amusing trifle. Svo. 1808, 156. The Blunderer. Com. translated from Moliere. Printed 63 EGA in Foote's Com'u Theatre, vol. iv. 12mo. 1/62. 15/. Blurt, Master Con- stable; or, The Spaniard's Night Walk. Com, by Tiiomas Middle- ton. Acted by the children of Paul's. 4to. 1002. 15S. BoADiCEA, Queen ofBri- TAiM. I'nig. by Charles Hop- kins. Acted at Lincoln's Inn Fields. Inscribed to Mr. Con- greve, 4to. 1697. I'he stoiy of this queen (who is the same with BnnducdJ is to be found in Tacitus, and in the English historians, and is very well conducted in the play before us, more especially the dis- covery of Camilla's rape, in the first scene of the fourth act. By the dedication to Friendship Im- proved, we find that Boadicca was well received. 159. BoADicEA. .Trag. by Ri- chard Glover. Acted at Drury Lane. Svo. 1/53. This gentle- man's poem of Leonidas, and his known great abilities, occasioned the most sanguine expectations to be formed with respect to this play, which had been many years written before it was brought on the stage. It did not, however, perfectly answer tiiose expecta- tions ; there being rather a defi- ciency both as to incident and characters ; yet the language is very poetical, and the descriptions are beautiful. In a word, it seems much better adapted to give plea- sure in the closet than the theatre. It will so seldom happen, in the course of these volumes, that we shall be able to give the senti- ments of a critic in lawn sleeves on any dramatic performance, that we cannot resist the opportunity of exhibiting Archbishop Herring's opinion of this play — " To the " most material objections the au- " thor would say (as Shakspeare BOA " must in some instances), that "■ lie did not make the story, but " told it as he found it. The first " page of the play shocked me, " and the sudden and heated an- " swer of the queen to the Ro- *•' man ambassador's gentle address, " is arrant madness ; it is, indeed, " unnatural. It is another objec- " tion, in my opinion, that Boa- "■ dicea is really not the object of " crime and punishment, so much " as of pity; and, notwithstanding " the strong paintings of her sa- " vageuess, I cannot help wishing " she had got the better. She " had been most unjustly and out- " rageously injured by those uni- " versal tyrants, who ought never " to be mentioned without horror. " However, I admire the play in ** many passages, and think the *' two last acts admirable. In the " fifth, particularly, I hardly ever " found myself so strongly touch- " ed." It was acted nine or teu nights with applause. loO. The Boarding School; or. The Sham Captain. Opera, by C. Cotfey. Acted at Drury Lane. Svo. 1733. This is taken from a play of Durfey's, entitled Love for Money ; which being in itself but a very poor original, it is scarcely to be expected that this cold se- cond-hand service of it should be very palatable, and it consequently met with no success. \Q\. The Boakding-school Miss. Com. ascribed to Dr. Paul Joddrell. Svo. l/S/- Never acted. 162. The Board of Coxvi- vxality; or. Fun and Harmony, Inl. Acted for Mr. Munden's b«- nefit at Covent Garden, May 13, IS06. This was little more than a selection of favourite songs, catches, and glees, connected by dialogue. Not printed. iQ'i. The Boast of Bit lings- 64 BON sATC. Play, by Richard Hath- waye, assisted by John Day. Act- ed 1602. Not printed. 164. The Bold Brauchamps. An ancient play, probably not now extant, but mentioned in The Knight of the Burning Pestle, l6l3. See also Dodsley's Collccllun of Old Plays, edit. l/SO, vol. x. p. 1/2. J 65. A Bold Stroke for a Husband. Com. by Mrs. Cow- ley. Acted at Covent Garden, Feb. 1/83, and well received. Printed in Svo. 17S3, 1/3-1. The dialogue is lively and sensible; there is mystery enough in the plot, without perplexing the at- tention ; and the situations are very "Well managed. Idt). A Bold Stroke I'ou a Wife. Com, by Mrs. Centiivre. Acted at Lincoln's Inn Fields. Svo. 1/18. In thi^ plnv she was as- sisted by Mr. Mottley, who wrote a scene or two entirely. It met with very good success ; and in- deed, notwithstanding the absur- dity and impossibility of the plot, and the poorness ol" the language, there is so much business and va- riety in it to keep up the atten- tion of an audience, that it is still frequently acted and seen with pleasure. iC"- TiiF, Bondman. An an- cient stnry.byP. .Massinger. Acted at the Cockpit, Drury Lane. 4to. Iti24; 'Itu. 10\1S. This is a very excellent tragedy. The scene lies at Syracuse. The plot, of the slaves being seduced to rebellion by Pisander, and reduced byTimo- leon, and their flight nt the sight of the whips, is l)orrowcd from the story of the Scythinn slaves' rebel- lion against their masters, in Jus- tin, lib. i. cap. 5. lbs. Thf. E ON" dm AN; or. Love and Liberty. Trag. Com. Acted at Drury Lane. 8vo. l/J^). This BON is only a revival, by BetteKou, with alterations, of the foregoing play. iQq. The Bondman. Tragi- Com. altered from Massinger, by Richard Cumberland. Acted at Covent Garden, 1/79. Not print- ed. This alteration was very coldly received, being acted only about six nights. 170. Il Bondocani ; or. The Caliph Roller. Com. Op. by T. Dibdin. Svo. 1801. II Bonducani was a name assumed by theCaliph Haroun Al Raschid when he took his rair.bles in disguise. From this circumstance arise several lu- dicrous mistakes and whimsical situations, which compose a plea- sant operatic afterpiece. It wa5 acted at Covent Garden with great success. 171. The Bond Woman. This play was entered on the books of the Stationers' Company, Sept. 23, l(i53, but does not appear to have been printed. 172. Bonds without Judg- ment ; or. The Loves of Bengal. Farce [by Edward Topham], Acted four nights at Covent Gar- den, May l/S/- Not printed. 173. BoNDUCA. Trag. by Beau- mont and Fletcher. Fol. l647; Svo. 1778. This play is upon the story of a queen of Britain, who is indifferently styled by the histo- rians Boadicea, and Bonduca. It is esteemed a very good play. 17*^. Bonduca J or. The British Heroine. Trag. Acted at the Theatre rv.oyal. 4to. 1696. This was published by George Powell, who says it was given him by a friend, and that it was revised and studied in one fortnight. It is a mere alteration from the foregoing play. 175. Bonduca. Trag. altered from Beaumcnt and Fletcher, by BON George Colman. Acted at tlie Haymarket. 8vo. 1778. A ju- dicious alteration from Benumoi.t and Fletcher's piece with the same title. — The style of this play often rises to the most picturesque sublimity : the following lines are added as examples of it. See act ii. sc. 1 . Goon in full assurance! draw vourswords As daring and as confident a> justice ! The Gods of Rome figlit for ye ; icud Fame calls ye, Pitch'd on the top ess Apennine, where the snow dwells, And blows to all the under-world, all nations, The seas and unfrequented deserts ; wa- kens The ruin'd monuments ; and there, where nothing But eternal death and sleep is, informs again The dead bones wi;h your viitues. Fight and conquer. Up to your troops, and let your drums beat thunder ; March sudden, like a tempest, &c. Again : See that huge battle, moving from the mountains ! Their gilt coats shine like dragons' scales, their march Like a rough tumbling storm : say they fail, look, Look where the armed carts stand ; a new array I Look how they hang like falling rocks ! As murdering Death rides in triumph, Curius, fell De- struction Lashes his fieryhorse,and round about him His many thousand ways to let out souls. Let us to where they charge, and where the mountains Melt under their hot wheels, and from their ax'-trecs Huge claps of thunder plough the ground before 'em ! We must do Mr. Colman the justice to suppose, that he would have retained more of his authors, liut that he was constrained to cut TOL. U. B O K them down to the ability of hi» performers. 1/6. BoNDUCA. With consi- derable alterations, additions, &c. as it is now performed at the The- atre Royal, Coven t Garden. Svo. 180S. 177- Bonifacio and Bridg- ETiNA ; or. The Knight of the Hermitage ; . or, The IViiulniill Turret ; or. The Spectre of the North-east Gallery. With a Trc- lude. Performed at the Theatre Royal, Covent Garden. Altered from the French of M. Martain- ville, and adapted to the Er.glish stage, by T. Dibdin. Svo. 1808. This mock performance seems to have been intended to cure the rage for melo-dramas ; but it did not possess the wit and satire ne- cessary for so salutary a work. Unless V'jiy well executed, these are dangerous experinicnts. On the stage the piece ran several nights, but was never popular. 178. The Bonny Lass of Teith ; or. The Haviouis of Bu- gold M'Eickqr. Mus. Int. by a Gentieman of Edinburgh. Per- formed for a benefit at Edinburgh, 1703. 179- Bonos NocHios. An In- terlude. Entered in the books of the Stationers' Company, by J"fFery Chariton, Jan. 27, iGo'S) but, we believe, not printed. 180. Bon Ton ; or. High Life above Stairs. Farce, by David Garrick. Acted at Drury Lane, Svo. 1775. This was first repre- sented for the benefit ofMr. King. A more lively, pleasant, or agree- able petite piece is hardly to be pointed out on the English stage. The characters are well drawn, the satire is properly pointed against vice and dissipation, a .d the moral such as must be approved. 66 BOX li^l. ■'The BooKSELXER. Com. transliUed from The Tkealie of Education of the Cotintess de Gen« •lis. 8vo. I/SI. 12mo. 17S7. 182. Botheration ; or, A Ten Years' Blunder. Fai'cej by WallejChamberlalnOulton. Act- ed at Covent Garden. 9vo. l/pS. The blunder arises from the mis- take of an adventurer, in reading a matrimonial advertisement in a newspaper of ten years old, fcr one of the present day. It af- forded good scope for the humour of ]\Ir. Johnstone in an Irish cha- racter, and was well received. 183. Upon Both Makkiages OF the King. Play, by John Bale, Bishop of Ossory. N. P. 181. The merry-conceited Hu- mours of Bottom the Weaver. 4{o. N. D. An interlude taken from The Midsummer Night's Dream, printed with other pieces ascribed to Robert Cox, comedian. 185. Bourbon. A play of this name was acted at the Rose The- atre, Nov. 2, 1597. N. P. 186. TheBow-street Opera, in three acts. 8\^o. 1/73. Abuse of Sir John Fielding" and Mr, Wilkes. 187. The Box-lobby Chal- 'lenge. Com. by Richard Cum- berland. Acted attheHaymarket. Svo. No date. [179-4.] There is in this piece a barrenness of in- cident; and as to the circumstance of the box-lobby challenge, it rnight, without any injury to the plan, be omitted. The dialogue, however, is neat, animated, and pregnant with humour and well- managed equivoque ; the satire is ■well-directed, and the moral pure. This piece was well received 3 but not afterwards revived. ISS. The Box-lobby Loung- EKs. Prelude^ by Charles Stuart, BRA Acted at Drury Lane for a benefit, 1737. Not printed, IS9. The Braggard Captain. Com. translated from Plautus by Bonnell Thornton. 8vo. 1767- " This play abounds with most "■ lively incidents, "saysMr.Thorn- ton, that " naturally carry on " the main design ; which is, the " recovery of Philocomasium, and " the mortification of the vain- *' glorious, self-conceited Captain. " It concludes with a most admi- " rable moral, and is in that par- *' ticular far superior to the Eu- " nuch of Terence, who is neither " punished nor reformed." 190. The Braggadochio, See Stroller's Packet. 191. The Braggadocio; or. Bawd Tui 71 d Puritan. Com. writ- ten by a person of quality, 4to. 1691. Scene London, This is not an unentertaining play ; and the partof Flush, who, through dis- content, rails against his univer- sity, is supposed to have been drawn from some living character of the time. There is both in- struction and good satire in the piece, 192. Braganza, Trag. by Ro- bert Jcphson. Acted at Drurj Lane, Svo. 1775. A very suc- cessful tragedy on its original ap- pearance, but one that has fallen into neglect since the first season. The general plot of it too nearly resemble.* some parts of Venice Preservd. 193. Brandtmer. a play with this title was acted at tlie Rose Theatre, April 6, 1591. N. P. 194. The Brave Irishman. See Captain O'Blundek. 195. Bravo turn'd Bully 5 or. The Depredators. A Dram. Ent. founded on some then late trans- actions in America, Svo. 1740. G9 B II E ]Q6. The Buazen Age. A History, by Tluimas Ik'yvvood, in 4to. 1613. The first act ani- taiiis the death ot'lhe centaur Nes- sus} the second, the tragedy of Mel eager ; the third, the tragedy of Jasini and Medea; the fourth, Vulcan's Net ; the fifth, the La- bours and Death of Hercules; .being all of them stories taken from 0\id's Aletamoi Jj/iosei, lib.iv. vii. viii. and ix. l()7. Brazen ^I^.Iask ; or, Jl- lerto and Rosal-c/la. Bal. Pant, invented by John Fawcett. The poetry by T. Dibdin. Acted at Covent Garden. 8vo. 1S02. The bcene lies in PoLind ; and the hero is Brazen Mask, the leader of a band of robbers. He had com- mitted various outrages, and par- ticularly upon Alberto, a wealthy farmer, whom he at length gels into his power. Great rewards are ottered for his apprehension ; and particular zeal is shown by Baron Sigismund, Alberto's feudal lord. AftT many adventures, it turns out that Sigismund and Bra- zen Mask are the same person ; .and that an illicit love for the wife of Alberto was the grand reason of the persecution which the farmer underwent. There is a degree of mystery aboutBrazen Mask,which keeps the attention awake to the -tli'opping of the curtain. He seems -to be a supernatural being, who can enter any apartment, the most iirml}^ secured, and who can be- come invisible at pleasure. The part was admirably sustained by Mr. Henry Johnston ; and the piece had great success. 19s. ABreezf, in the Baltic; .or. The Danes in the Dianps. This was a petite piece, in one act, writ- ten in honour of Sir Hyde Parker's and Lord Nelson's victory over the Danes^ by a gentleman of Edin- B R r burgh, and was performed at Edin- burgh, ISOl. igg. Bkexnokalt; or. The Discontented Colonel. Trag. by Sir John Suckling. Acted at the private house. Black Fryars. This piece appears to have been writ- ten about the time of the Scotch rebellion in lt)39 ; as is proved by the continual satire on rebels, under the name of Lithuanians. It was first printed among -his works in 8vo. l64(5. 200. Bribeky on both Sides. Farce, acted at Covent Garden one night, May 4, 1784. N. P. 201. Bridals. Com. by the Duchess of Newcastle. Published among her works, fol. l66"8. 202. The Bride. Com. by Thon^as Nabbes. 4to. ] 640. Act- ed in the year l63S, at Drury Lane. 203. The Brilliants. Int. Acted at Covent Garden, 1799- Not printed. 204. The Bristol Tragedy. By John Day. Acted by the Lord Adaiirars Servant*, l002. N. P. 205. Britain's Brave Tars j or. All for St. Paul's. Occasional Ent. Acted at Drury Lane, I797. 20G. Britain's DEtENDEKS. Ballet. 1797. 207. Britain's Glory ; or, ^ Tri[) to Portsmouth. Mus. Ent. Acted at the Haymarket. By -r- Benson. 8vo. 1794. This was a slight piece, but rather favourably received. 208. Britain's Happiness. A musical Interlude, by P. Motteux. Performed at both the theatres. .4to. 1704. The scene, a prospect of Dover castle and the sea. This interlude had long before been in- tended only for an introduction to an opera, which, if ever finished^ was to have been called The Loves of Europe, every act showing the f 2 Gs B R I a different manner of a different nation m their adilress to the tair sex. 209. Britain's Jubilee. Mas. Piece, by 8. J. Arnold. Acted by the Drury I.ane Company, at the Lyceum, on the 2oth Oct. I8O9, being the Jubilee, celebrating tie entrance of the King en the 50th year of his reign. It was not wholly without humour, and was repeated a few nights wiih ap- plause. '210. Britannia. An English Opera, by Thomas I.ediard. Acted at tlie new theatre in the Hay- market. 4to. 1732. 211. Britannia. A Masque, by David Mallet. 8vo. 1755. This piece was set to music by Dr. Arne, and performed with succeFS at the Theatre Royal in Drury Lane. Prefixed to it is a Prologue, in the character of a drunken sailor reading a play-bill, written, in conjunction, by Messrs. Mallet and Garrick, and spoken by the latter with universal applause ; and w4iich, the subject being extreme- ly popular, as a French war had not been long declared, was called for, and insisted on, by the audience many nights in the season when the piece itself was not per- formed. 212. Britannia; or. The Royal Lovers. With a comic Interlude, called. The Beggar s Pantomime; or. The Contending Columbines. Acted at Lincoln's Inn Fields. J2mo. 1730. 213. Britannia and Bata- via. Masque, by George Lillo. 8vo. 1/40. Written on the mar- riage of tlie Prince of Orange and the Princess Royal of England. 21 J.Britannia and theGods inCounoil. Dram. Poem, where- in felicity is predicted to Britain, the causes of the present disputes in Europe and America are de- B R I bated, and their issue prophetically determined, by Robert Averay. 4to. 175G. Of this piece, the fol- lowing, which is part of a speech of Minerva to Jupiter, will afford a specimen : O thou supreme I unlimited in pow'r I Who I'ormdst and' ro-u'hf in the unbound abys'-. From nothing vli/t'rinf; the cek'Siinl orbs, And this thv fav'rite terrestrial world. Where Britain's lovely isle unshaken stands, By thee well-peopled with a godlike race. In council sage, in worship most sincere. In war inirepui, merciful, and bra-ve, ET:tending commerce to the distant shore. Bearing the enipire of the extensive deep, Thy pow'r, and laws to the barbarians viWd, UrisiiH'ti in i-c\tnce,3iil'',SLnd manners ruJe, Most justly learning as thyself hast taught. To their obedience citilizd have brought, 215. Britannia Rediviva ; or. Courage and Liberty. An al- legorical Masque. Perfonued at the New Wells, Clerkenwell. 12mo. 1746. The music by John Dunn. 21(3. Britannia Triumphans. A Masque, by Sir W. Davenant and Inigo Jones. It was presented at Whitehall, by King Charles I. and his lords, on the Sunday after Twelfth-night, 16375 ^nd was printed in 4to. 1637, but is not inserted in the folio edition of Sir William's works. The au- thor of The Stage Cojidemned, pub- lished in 1698, gives a very parti- cular account of it (p. 12 to 31), as being then " very rare, and " scarcely to be had j and being " extraordinary, because of its " having been acted on a Sabbath- " day." 217. Britannicus, Trag. by J. Ozell. 12mo. 1714. This is only a translation of a French play of the same name by M. Racine. 218. Britannicus. Trag. by Sir Brooke Boothb/j Bart. 8v«. 6g B R I 1SG3. I>ke t-he foregoing, this is avowedly a translation from Ra- cine ; but it is very superior in merit. Sir Brooke's critical Pre- face does credit to his taste and judgment. 2]y. The British ENCiiANX- ERs ; or, A^o Magic like Love. Dram. Poem, by LordLansdownc. It was first called a tragedy, and was acted at the Queen's Theatre in the Haymarket. 4to. 17CX>. The author, who took an early dislike to the French and Italian operas, seems in (his attempt to have aimed at reconciling the va- riety and raagniticence essential to operas to a more rational model, by introducing somewhat more substantial than the mere gratifi- cation of eye and ear. Its .success was great, but was put a stop to by the division of llie theatre, and a prohibition of musical pieces. Dr. Johnson says of this piece, that the author has bidden detiance to all chronology, by confound- B R r The subject is the suppo.sed siege of a place in Wales called Har- lech. This piece had been acted in Dublin the preceding year, for Mrs. J.'s beneht, under tiie title of GiUALDA ; cr. The Siei^c of Harlech. 222. British Kings. Trag. by James Mylne. Printed in a volume with poems, 8vo. l/QO. Never acted. 223:-' Ekitish Loyalty ; or. Long live the King. A dramatic Effusion, in two acts, with songs. By Joseph Moser. Svo. I8O9. Though this piece did not make its way to the stage, it has more intrinsic merit in its composition than some that did. It was writ- ten on occasion of the Jubilee. 224. The British Oihphan. Trag. [by Mariana Starke]. Acted at Mrs Crespigny's private Thea- tre at Camberwe'l, April 7, l/pO, by amateur performers This is said to have been a very interest- ing piece ; but we believe it has ing the inconsistent manners of not been printed. The scene was diiferent ases; but the dialotrue laid in Snain. has often the air of Dryden's rhyming plays; and tlie songs are lively,, but not correct. " This is," he adds, " I think far the best of " his works ; for if it has many " faults, it has likewise passages " which are at least pretty, though " they do noi rise to any high de- " gree of excellence." 220. British Fortitude and Hibernian Friendship ; or, yjii Eicapefroiii France. Mus.Dram. in one act, by J C. Cross. Act- ed at Covent Garden. 8vo. 1/94, This agreeable trifle has been fre- quently performed with approba- tion. 221. The British Heroine. Trag. by Jolm Jackson. Acted at Covent Garden, May 5, 1778, fur ih« benetit of ibe author's wjfe.N-P.' 225. The British Recruit; or, fy/io's a/raid? Int. Acted at Covent Girden. Svo. iJQ^- 220. The BtxItish Sailor ; or. The Fourth of June. Mus. Int. Acted at Covent Garden, 1789, for the benefit of Mr. Bernard. Not printed. 227. The British Soldier ; or. Life's Campaign. A play with this title was performed on the 16th of March 1805, at the Nor- wich theatre. 228. Tnv. British Stage ; or. The Exploits of Harlequin . Farce, Svo. 1724. The title-page of this piece declares it to have been per- formed by a company of wonder- ful comedians at both theatres with universal applause; and that it was designed as an after-entertainment 70 B R O for the audiences of Harlcqn'm Doctor Fauslui and The Nccro- mancer. 229. The Briton. Trag. by Ambrose Philips. Acted with con B R O A Farce, as lately a-cfed in Ex- change Alley. 8vo. 172O. 235. The Broker eevvitch'6. Comic F. of two acts. 8vo. N. D. 230. The Brothers. Com, siderable succe-s at the Theatre by J. Shirky. Acied at Black FrvHis. 8vo. 1652. Scene lies in Madrid. 237. The Erotheks. Trag. by Dr. Young. Acted at Dtuiy Lane. 8vo. l/oJ. The scene of this play lies in Macedc-n, and the plot is from the history of Macedonia in the reign of the last Pl)ilip. Tlie two char.-'.cters of Demetrius and Perseus are admi- last of which was tor the author's rably drawn ; and their contest be- benefit, fore their father, in the third act, 230. Britons strike home ; is perhaps the fnest piece of orn- or. The Sailors' Rehearsal. A Bal- lory in the English language. But lad Farce, by Fdward Philips, per- there is one particular circum- formed, but without success, at stance relating to this play, which Drury Lane. S\o. 1739. does as much honour to the heart, 231, Bkitons to Arms ; or, as the piny itself does to the nbi- Royal in Drury Lan'?. Svo. 1722. Whatever was the reception of this tragedy, says Dr. Johuson, it is now neglected ; though one of the scenes, between Vanoc the British prince and Valens the Ro- man general, is confessed to be written with great dramatic skill, animated by a spirit truly poetical. It was acted only eight night«; the The Consul in England. Musical D.ama, by Archibald Maclaren. J2mo. 1603. 232. The Broken GoLr> Bal. Op. by Charles Dibdin. Acted, without success, -U CoveiitGarden, Feb. 8, I8O6. la rhis piece there was neither in'^ident to surprise, nor plot to excite interest. A na- val officer and his mistress break gold at th. ir parting, as a pledge of their constancy ; and, in liis absence, a irivolous coxcomb in vahi attempts to win the lady's litics of the author ; which is his having not only given up the entire protits of three benetits arising from it, but also even made up the amount of them to the sum of 1000/. ard generously bestowed it to the noble>t ofall purposes; viz, the propagation of the Gospel in foreign parts, Tt)e original compiler of this work might have added, that the speeches of the contending bro- thers are in great measure trans- lations fi-om Livy, and that the affections. This comp- liends the play itself was but coldly received. whole story. The disapp'obntion commenced early, and increased with the progress of the piece un- til the conclusion. With a be- coming deference to the public opinion, the author withdrew it. being undramatical in its con- duct, and imperfect in its cata- strophe. Tliis latter defect indeed is acknowledged in the Doctor's own epilogue, which was never used, the place of it being sup- 23.-5, The Broken Heart, plied b) a sample of Scottish hu- Trag, by Mr, John Ford. Acted mour, in which Mr. Mallet ex- at Blac'' Friars. 4to. l633. presses himself of our author and 234, The Broken Stockjob- his charity in the following very BERS ; or^ Work for the Baililjs, delicate terms ; 71 S R U " A sclieme forsooth to benefit the iiutiun, *' Some queer odJ whhn of pious /ro- pagnt-.on ! " Loid I talk so, !/n from a French ♦' play called Pcrsee et Demc- " trius ;" and quotes some pas- sages of each, which go strongly to corroborate his assertion. 23S. The Brotheks. A Co- medy, by Richard Cumberland. Acted at Covent Garden. 8vo. 1769. This play (a promising forerunner of the West Indian) was received with no inconsider- able applause. 239. The Brothers. Com. in MS. This was sold as part oi' the library of the late Mr. Murphy. 240. Brunhowele. A play of this name is mentioned by Henslowe, as a part of the stock of the Rose theatre 241. Brutus of Ai,ba ; or. The EnchanttJ Lovers. Trag. by Nahum Tate. Acted at the Duke's Theatre. 4to. lo'/S. The plan of BUD this play is taken from the fourth book of Virgil's yEntid. 242. Brutus of Alba ; or, Aui^uslas Triumph. An Opera. Acted at the Tlieatre in Dorset Gardens. 4to. 1697. The seen* of this piece lies mostly on the Thames, and the plot is taken entirely from the last-mentioned play, and some of the old dra- matic writers. It was published by George Powell and John Ver- bruggen. 243. Brutus. Trag. trans- lated from Voltaire. Printed in Dr. Franklin's edition of that au- thor's works, 12mo. 214. The Bubbles ; or, Thi Matrimonial Office. Com. in three acts, by Joseph Moser. Printed in Thu European Magazine y vol.liii, 1808. Never acted. 245. Buckram in Armoue. See The Disappointed Gal- lant. 24(5. Buckingham. A Play, Acted at the Rose Theatre, by the Earl of Sussex's Servants^ Dec. 30, 1593. Not printed. 247. The Buck is a Thief. Acted at Wliitehall by the King's Company, 1023. Not printed. 2-18. The Bucks' Lodge. Int. Performed at'Drury Lane, for Mr. Robert Palmer's benefit, 179O, N. P. 249. ABudget OF Blunders. Farce, Acted, with some success, at Covent Garden, Feb. IS 10. Not printed. The incidents that arose in this farce were of a laugh- able description ; of their proba- bility we shall say nothing : it is the province of farce, in dramatic writing, to exhibit such objects as present themselves to the painter, in caricature. The merely possible outline of nature is only- had in view, and sometimes not even that. We have been told, f4 72 B U O that this piece was the production of a commercial gentleman in the city, who is also the author of Is he a Prince? and The Portrait of Cervantes. 250. The Bugbears. Com. by John GefFiey. This anciei.t play was in MS. in the library of the late Marquis of Lansdowne, and appeared to be a free transla- tion from some Italian drama. 251. TheBulse. Dram. Piece, of one act. Svo. l/S;. This is 43ne of the anonymous colhction ascribed to Dr. joddrell. Never acted. 252.TheBumbkusher. Farce, intended to be translated into La- •tin, and performed before the Maslers and Fellows of Colleges of the University of Cambridge. Svo. 1/80. This piece has the appearance of a personal attack on some schoolmaster, whose ac- quaintance witJi mathematics, and ignorance of real life, expose him to ridicule in his courtship of a lady for his wife. Dr. Rhombus is probably a real character. This piece is not without humour, though rather too highly seasoned with double entendre. 253. ABuNDLE ofPrologues, Prel. [Supposed byD. Garrick.] Performed at Drnry Lane, for the benefit of tiie Theatrical Fund, April 28, 1777. It was a trifle hastily produced to answer a be- nevolent purpose, and, as such, •was not thought a subject for cri- tical severity. 254. Buonaparte ; or. The Freebooter, Drama, in three acts, by John Scott Ripon. Svo. 1803, This piece, which does not ap- pear to have been designed for the stage, exhibits more signs of good intention than of ability. The name of Ripon we believe to be Actitious, and that the author^s Xeal name was Byerley. :b U S 255. The Burning of John Huss. Trag. by Ralph RadclitT. Not printed. 256. The BuRNiNCr of Sodom. Trag. by Ralph Radclitf. Not printed. 257. BuKY Fair. Com. by Thomas Shadwell. 4to.lt)89. The characters of . Old Wit and Sir Humphry Noddle, in this play, are apparently borrowed trora Jus- tice Spoilvvit and Sir John Noddy, in the Duke of Newcastle's Tri- umpiiant Jf^idow ; and that of La Roche, from the Precieuscs Ridi- cuh-s of Moliere. In the dedica- tion to the Earl of Dorset, the author says that this pl.y '■ was " written daring eight months " painful sickness; wherein all the " several days, in wliich I was able " to write any part of a scene, " amounted not to one month, '^ except some few which were " employed in indispensable busi- " ness." 258. BusiRis, King of Eijypt. Trag. by Dr. Edward Young. 8vo. 1719- It appeared with success on the stage atDrury Lane; but is written in a glaring ambitious style, like that which we probably should have met with in the dramas of Statius, had any of them escaped the wreck of Roman literature. The haughty message sent by Busiris to the Persian ambassador is copied from that returned by the iiithiopian prince to Cambyses in the third book of Herodotus. The pl)t of this play we believe to be of the author's contrivance. The dialogue contains many strik- ing beauties of sentiment and de- scription, but is wanting in that power wiiich not only plays with imagination, hut seizes on the heart. Dr. Johnson somewhere ob- serves, " that of Congreve's four •' comedies, two are concluded bjr 75 BUS *' a marriage in a mask." With equal ju.-.tice we may add, that the three tragedies of Dr. Young are concKided by suicides in three pairs, Memnon and Mandane, Alonzo and Leonora, Demetrius and the Thracian princess. That our poet, who never wanted words, was poor in other dramatic stores, is evident from this cloying repe- tition of the most hncknied inci- dent that occurs in modern tra- gedy. " The dagger and the " bowl," says Dryden, " are al- " ways at h;ind to butcher a hero, " when a poet wants the brains to *' save him." 259. BussY d'Ambois. Trag. by G. Chapman. 4to. lO'O/ ; 4to. 16035 4to. 1616; 4to. 1641; 4to. 1657. This play was often presented at Paul's, in the reign of James I. and after the Restoration was revived with success at the Theatre Royal. The plot of it is taken from the French historians in the reign of Henry III. of France. Mr. Dryden has spoken of this play in terms of uncom- mon severity : "I have sometimes " wondered," he says, " in the " reading, what was become of '*^ those glaring colours which " amazed me in Bussy d'Amlois " upon the theatre ; but when I " had taken up what I supposed a " fallen star, I found I had been " cozened with a jelly : nothing " but a cold dull mass, which *' glittered no longer than it .*' was shooting a dwarlish thought *' dressed up in gigantic words, " repetition in abundance, loose- *' rless of expression, and gross " hyperboles ; the sense of one '' line expmded prodigiously into " ten : and, to sum up all, un- ^' correct English, and a hideous " mingle of false poetry and true " neiigwnse; ©r, at b«st, a scant- B U S " ling of wit, which lay gasp- " ing for life, and groaning be- " neath a heap of rubbish. A " famous modern poet used to " sacrifice every year a Statins to *' Virgi! s manes; and I have in- " dignalion enough to burn a " D' Amhni-t annually to the nie- *' mory of JouK)n." 260. Bussv d'Ambois ; or, The Husband's Ri'venge. Trag. by T. Durfcy. Acted at the Theatre Royal. 4 to. 1691. This is no more than a revival of Chapman's play, with some improvement oil the character of Tamyra For the intrigue of Bussy and Tamyra see Ros.sec's His'oires Tragiques, Hist, xvii. p. 363, under the feigned names of Lvsis and Silvie. The scene lies at Paris. 2'JI. The Busy Body. Com. by M;s. Centlivre. Acted at the Theatre Royal in Drnry Lane. 4to. 1709. This comedy, when lirst offered to the players, was received very coolly ; and it was with great difficulty that the au- thor could prevail upon them to think of acting it., which was not till very late in the season. At ihe rehearsal of it, Mr. Wilks had so mean an opinion of his part [Sir George Airy], that one morning in a passion he threw it off the stage into the pit, and swore that nobody would sit to hear such stuff. The poor frighted poetess begt:;ed him with tears to take it up again, which he did mutteringly ; and about the latter end of April the play was acted for the first time There had been scarcely any thing mentioned ot it in the town before it came out} but those vsho had heard of it, were told it was a silly thing written by a woman ; that the players had no opinlcm o"f it, *c.; and on the tiiit daj there waj a ?4 BUS B U X very poor house, scarcely charges, both borrowed from Ben Jonson's Under these circumstances it can- comedy of Tlie Devil 's an ylss. pot be supposed th?.t the play ap- This play was dedicated to Lord peared to much advantage; the Somers. Sir Richard Steele, speak- ^udience only came there for want ing of it, says, " The plot and the of another place to go to; but •' incidents are laid with that sub- " lilty of spirit which is peculiar " to females of wit, and is very " seldom well pt-rformed by those " of the other sex, in whom craft " in love is an act of invention, " and not, as with women, the ef- " feci of nature and Instinct." 2(i2. The Busy Body. Com. transliteJ from The Theatre of Educaiion of Madame de Genlis. Svo 1781 ; 12mo. 1787. 263. BuTHRED. Trag, Acted at Covent Garden. Svo. 177S, 1 7'/ 9- Butliied (or, as it was called without auy expeciation of being much diverted. They were yawn- ing at the beginning of it, but •were agreeably surprised, more and more every act, till at last the house rung with as much applause as was possible to be given by so thin an audience. The next day there was a better house, and the third crowded for the benefit of the author, and so it continued till the thirteenth. The next year (a strong proof of this play having greatly pleased), upon the com- pany's dividing, and one part of in Scotland, Blue-thread, and iu them going to the Haymarket, it was acted at both houses together for six nigiits running, in opposi- tion to one another; Pack, who did it first, playing the part of Marplot at Drury Lane, and Dog- get the same part in the Hay- market. To do justice lo the au- thor, it must be confessed, that although the language of it is very indifferent, and the plot mingled L'eland Biitter-hcad) is an anony- mous tragedy, acted four nights to very patient audiences. Surely the reception of such pieces is more injurious to managers than all the abuse that disappointed au- thors could throw out against them. It is said to have been the work of Mr. Johnstone, who wrote The Reverie, Ckrysal, and other pieces of merit. We relate this with some improbabiiiiies, yet the hearsay circumstance, but do not amusing sprightliness of business, believe it. 2O4. BuxoM Joan. and the natural impertinence in the character of Marplot, make considerable amends for the above- mentioned deficiencies, and render it even to this hour an entertaining performance. The dumb scene of Burletta, by Thomas Willet. Acted at the H:iymarket. 4to. 1778.. Taken from the song of " A Soldier and "a Sailor," in Love for Love', and, considered as a light summer Sir George with Miranda, and the vehicle for a number of pretty airs, history of tlie garden-gate, are has «ome merit. ?« c. C A E c ^^ s ]. 1 HE Cabal. As acted in i-Ieoi-ge Street. 8vo. 1/63. A ik'spicable performance, occasion- e.l bv the apprehensiou of ]\Ir, AVilkes. 2. Cabal and Love. Tn^g. translated from the German of Schiller. Svo. 1/95. Never acted ; but if the speeches were carefully curtailed, it might be well adapted lor performance. 3. TiiE Cabixet. Com. Op. by Thomas Dibdin. Acted at Covent Garden, 1802, with very great success. The music, by Reeve, Moorhead, Davy, Corri, and Braham, possessed irresistible attractions ; and the piece still con- tinues very popular. Printed, Svo. 1805. 4. The Cady of Bagdad. Com. Opera, of three acts, by Abraham Portal. Performed at Drary Lane, 1/78. The songs only published. This piece had iio success. 5. Ghj:lia ; or. The Perjured Lover. A play, by Charles John- son. Acted at Drury Lane. Svo. 1/33. This play is on a domestic and familiar subject, has much pathos in it, and is very far from a bad piece ; yet in the represent- ation it met with no success. Epilogue by Henry Fielding. 6. CvELiNA ; or, A Tale of Mifstcry. A Drama, in tuo acts, by John Wallace. Svo. 1802. This is taken from a French play, called Cceiina ; ou, U Enfant du Mystirc. 7 . Cafrnarvox Castle ; or. The- Birth of the Prince (f JVales. Musical Ent. by John Rose. Act- ed at the Haymarket, August 12, 1793. Printed Svo. 1793. Tha; fable is grounded on the old story of subjecting Wales to tl;e sove- reignty of England, by the death of Llewellyn, and giving it a Prince by the Queen's lying-in at the castle of Caernarvon. It is evi- dently a hasty composilion, rather intended as a compliment to the Prince on his birth-day, than with any idea cf constituting a finished drama. It was, however, received M'ith approbation. Music by Att- wood. S. KixG Ctesar ; or. The Negro Slaves, G. S. by J. C, Cro^s. Svo. 1801. Q. The Tragedy of C^.sar AND PoMPEV; or, Casars Re-' venge. Acted by the students of Trinity College, in Oxford. 4to. 10^07. Of this play there \yas another edition, apparently an ear- lier one, without a date, and with no mention of its having been act- ed by the students of I'rinity Col- lege : of this edition a copy is in the possession ot Mr. Kemble, There was also a very ancient play on this sul)ject, entitled The His- tory of Ccaar and Povipcy, exhi- bited before 15S0. See Gosson's School of Abuse. 10. C>^:SAH AND POMPEY. A RomaA Tragedy, declaring their wars, out of whose events i« evict- ed this proposition, nnhi ajii'ii man is a free man. By Geo. Chapman. 4to. 1607; 4to. 1631. Acted at the Black Friars. The plot of this play is taken from the Komati history. Scene Rome and Piiar- salia. In the second edition, the title-page rmis thus : " The IFarres 76 C A F " of Pompeij and Cce&ar. Out of ** wliose events," Sec. 11. C^SAR Borgia, 5')« tnPope Alexander FI. Trag. by Nat. Lc-e. Acted at the Duke's Theatre. 4to. 1680. The scene lies in Rome, and the plot is built on the histories of Guicciardini and Marina, and Rrcaut's Lives of the Popes. The play, like many others by this au- tlior, has great beauties, mingled with many strokes of rant, bom- bast, and absurdity, and therefore does not now stand in the list of acting dramas. It met, however, with good success at first. The foliov^ ing description of madness, in this play, is very accurate and striking : To my charm 'd cars no mere of •a'yrnn tell, Name not a ivoman, and I shall be well : Like a poor lunatic, that makes his mxaii, And for a while beguiles his lookcrs-or. ; He reasoas well, his eyes their wiidness lose, He vovv's. the keepers his wrong'd sense abuse : But if you hit the diuse that hurt his brain, j Then his teeth gnash, he foams, he V shakes bis chain, | His eyeballs roll, and he is mad again. '^ 12. CiJSAR IN Egypt. Trag. by C. Gibber. Acted at Druiy Lane. 8vo. 1725. CoUey Gib- ber's genius, however pleasing in comedy, is very far from being admired in a tragic cast of writing, nor is this play even considered as Ills tragic master-piece. T!)e scene of it lies in Alexandria, and tlie plan is borrowed from \he Pompee of P. Corneille ; but hou' far it falls short of the merit of that ce- lebrated author, we shall leave to the judgment of those who choose to be ?.t the pains of comparing the two pieces. 13. The Gaifres ; or. Buried Jlu'c. ikius. Ent. of two acts, 4 C A L ascribed to Mr. Eyre. Acted at Govent Garden, June 2, 1S02, for the benefit of Mr. ITill ; but never repeated, nor printed. In truth, it was completely condemned, and scarcely heard through. 1-1. The Gaitiff uf GonsicA ; or. The Universal Banditlo. His- torical Drama, in five acts ; exhi- biting the characters, moral and political, of the principal person- ages thioaghout the French revo- luiion; with their portraits, re- duced from the original oil paint- ings, in the museum at Pans. 8vo. IS07. Abuse of Buonaparte. Ne- ver acted. 15. Gaius Gracchus Trag. by John Joshua, Earl of Garys- fort. Svo. IS 10. Scene Rome. 16. 77/ (? History ami Fall of Gaius Marius. Trag. by T. Ot- way. Acted at the Duke's Theatre. 4to. lt)SO; 1692. The scene of this play lies at Rome ; and the characters of Marius, jun. and La- vinia, are taken, and that even in many places verbatim, from those of Ilomeo and Juliet. The plot, into which the story of their love is tlms interwoven, may be found in Plutarch's Life of Cains Marina, and in Lucan's Pharsalia. This play was acted much about the time of the Popish plot, the au- thor having introduced the dissen- sions of Marius and Sylla, and applied them to the factions ia the reign of Gharles II. ]/. TheGaldkon. Pant. Olio, performed at Drury Lane 1/85. This was no more than a collec- tion of incidents and surprises from old pantomimes, and had but in- different success. 18. Galeb Quotem and his Wife; or. Paint, Poetry, and Putty. Opera, in three acts ; to which is added, a postscript, includiiijj the scene always pUycii C A L in The Review, or U'ligs of IV'ind- soT ; but omitted in the edition lately published by G. Colman, Esq. with prei'atory remarks, &:c. Embellished with an engraving of Mr. Fawcett in the charncier of Cale'i) Qnotem, as performed at the Haymarket. By Henry Lee, manager of the theatres, Taunton, Barnsta;ile, \Yells, Dorchester^ Bridgwater, Sec. Svo. I8O9. 19. Caledonia ; or, l^ke Ped- lar turned Merchant. Tragi-Coni. -4 to. 1700. 20. Caledon's Tears ; or, Wallace. Trag. by G. Nesbit, 12mo. 17>33. This play was print- ed at Edinburgh, and is said in the title-page to be collected from ehronicies and records. 21. Cai-igula, Emperor of Rome. Trag. by J. Crowne. Acted at the Theatre Royal. 4to. I0"t)8. The scene lies in the imperial pa- lace in Rome, and ihe plot is taken from Suetonius's Life of that prince. 22. Calista. Op. Svo. 1731. Dedicated to the Dutchess .of Queensberry. In the title-pnge it is said to be designed for one of the theatres ; but this is not probable, as it appears to be built entirely on some scandalous re- ports of the times. ^ 23. Calisto ; or. The Chaste . Nymph. A Masque, by J. Crowne, 4to. 1 dys. This was written by com- mand of King James IL's Queen, when Dutchess of York ; and was performed at court by persons of great' quality. It has songs be- tween the acts. The scene lies in Arcadia ; the duration of it is an artificial day ; and the plot is founded on Ovid's Metamorphoses, Lib. ii. Fab. 5, (3. It is dedicated to Lady Mary, afterwards Queen to William III. who, together with the Princess, afterwards Queen C A L Anne, tlie Duke of Monmouth, &;c. performed and danced in it. The dramatis personae, and the illustrious names of the performers, are prefixed. 24. Calypso. Masque. Svo. IJ?^- Printed in a volume of poems, intitled, " Miscellaneous " Poems, consisting of Elegies, " Odes, Pastorals," Sec. published by Newbery. This masque is closely traced from Fenelon, but varied from Mr. Hughes's on the same subject. 25. Calvpso. a Masque, hy Richard Cumberland. Acted at Covent Garden, gvo. 1779. The adventures of Telemachus, in dif- ferent shr;pes, have already sur- feited the world. Opera, masque, and tragedy, have all maintained this hero in a languishing kind of exinience. Mr. Cumberland's piecelasted butafew nights. Music by Mr Builer. The masque was ushered in by a prelude, in which the author treated the printers of nev/spapers as a set of infamous fellows. This w.'.s an imprudence which every frienn of the author's must have wished he had avoided. 26. Calypso. Com. Opera, by Robert Houlton. Acted at Smock Alley, Dubhn, 1785. N. P. 27. Calypso and Telema- CHUS. Opera, by John Hughes. Svo. 17123 12mo. 1735. Per- formed at the Queen's Theatre in the Ilaymarket. The music composed by Mr. Galliard. This opera was an essay for the im- provement of theatrical music in the English language, after the model of the Italians. The stor/ on which it is founded is in Homer, and improved in the ad- ventures of Telemachus by th« archbishop of Cambray. Our au- thor has changed some incidents, and added the character of Pre- fs CAM teas, to give it the greater va- riety. 2S. The Cambro-Briton's ; or, Fishgard in an Uproar. Mus. Int. Acted at Covcnt Garden for the benefit of Mr. Hull, ALiy 31, 1/97 ; '>^^t ""f repeated, nor printed. 29. CAMrjRO-ERlTONS. Hist. PJay, in three acts, by James Boaden. Acted with applause at the Hayinnrket. 8vo. 179S. This play is taken from the time when our Edward the First was at war with Llewellyn Piince of Wales, *' for breach of his accusto;i:ed " tribute." The plot sometimes deviates from historical fact ; but it is that sort of drama in which serious and comic scenes follow and relieve each other, and which has generally pleased tiie audiences of the present day. 30. Cambyses, King nf Persia. Play, in old metre, by Thomas Preston. 4to. vi'ithout a date. — Hawkins's Origin of the Evglis/i Drama. Its running title is, yl Comedie of King Candises ; and its fuller one as follows : "A la- " mentable tragedy, mixed ful of " pleasant mirth, contcvning the " Life of Cumbiie^, King of Per- *' sia, from the beginning of his *' kingdome unto his death; his *' one good deed of execution, '' after the many wicked deeds *' and tirannous murders commit- " ted by and through him. And " last ol all, his odious death, by •' God's justice appointed, doon "^ in such order as foloweih." The story is taken from Herodotus and Justin. See Vol. I. Pkeston, Thomas. 31. Cambyses, King of Persia. Trrg. by Elkanah SetUe, Acted at rhe Duke's Theatre. 4to. 1671. Tills play is on the same story with the foregoing, and is written in . keroic verse. The scene lies in CAM Suza, and Cainbyses's camp near the walls of Suza. In a post- script, the author acknowledges tliat his fellow-student had some hand in the beginning of this tragedy ; but dying six months before the finishing of the play, he did not see two acts completed, and not sixty lines of his remained. 32. Camilla. An Opera, by Owen Mac Swiny ; first performed at the Th.eatre Fioyal in Drury Lane, and afterwiivds in the Hay- market. 4to. 1706. 33. The Camp. Dramatic En- tertainment. Acted at Drury Lane, 1778. This piece had till lately been always considered as the production of Richard Brinsley Sheridan : Mr. Tate Wilkinson, however, in his TKandering Pa- tentee, vol. iv. p. 124, positively denies that Jllr. Sheridan ever wrote a line of it. In Mr. W.'s very harsh censure of the p-ece we do not coincide, and therefore retain our former character of it. Though the scenery is uncommonly various and characteristic, yet the drama itself must be allowed to possess a still higher degree of merit. All the shiJts, impositions, distresses, intrigues, manceuvrcs, &;c. pecu- liar to a camp, are described in the dialoguCj or exhibited in the dumb show ot this performance, which, throughout two seasons, was 4 great favourite with the pub- lic, being well attended, while the plays of Shakspeare were act- ing to almost empty benches. Such is the ;uccess of comic novelty, especially when assisted by the la- bours of the first scene-painter in Europe, the extent of whose skill was displayed in a most perfect representation of the then late encampment at Coxheath. Not printed, but in pirated editions, 34. The Campaign j or. Love 79 C A N in the Ease Indies. Com. Op. by Robert Jephson. Acted at Covent Garden, 1785. Not printed. Tiiis piece had been previously per- formed in Dublin, without appro- bation ; and it met with no better success in London, being r.cted only three nights. See Love and War. 35. The Campaigners; or, P/easani Jdventun-s at Brussels. Com. by T. Durfey. 4to. 1698. Part of the plot is taken from a novel called Fevia/e falsehood. Scene Brussels. Time thirty-five hours. Prefixed to this play is, " A familiar Preface upon a late " reformer of the stage [Collier]. " Ending with a satvrical fable of " the Dog and the Otter." 36. The Candidate. Farce, by John Dent. Acted at the Hay- market. 8vo. 1/82. This piece is founded on a reversal of the main incident in She Stoops to Conquer. An inn is here sup- posed to be a private house, and the mistakes arising from thence have an effect not unpleasant. 37. Candlemas Day; or. The Killing of the Children of Israel, by Ihan Parfre, written in 1512. Printed from a copy in the Bodleian library, in Plawkins's Origin of the English Drama, vol. i. 8vo. 1773. In the preceding year (i.e. 151 l,as Mr. Hawkins observes), "we learn " from the prologue to this piece, *■' the players had represented The " Appearance of the Angels to the " Shepherds, and The Adoration of **■ the Eastern Sages; a subject very " susceptible of poetical orna- " ment, and the writer promises " to entertain the public, in the *' next year, with The Disputation " among the Doctors : but we do " not find that either of these ''• pieces has been preserved. " Intl>is rude play, theHebrcTV CAN " soldiers swear by Mahound, or " Alahomet, who was not born till " six hundred years after: Herod'j " messenger is named Watkin, and " the knights are directed to walk " about the stage, while Mary and " the infant are conveyed into " Egypt. Yet, notwithstanding " these absurdities, there is some " kind of spirit in the character of '•' Herod; and the author (one can " hardly say, the poet) seems to " have distinguished his speeches "by^ peculiar elevation of lan- " guage." To these observations of Mr. Hawkins we may add, that in this mystery of the Massacre of the Holy Innocents, which is part of the sub- ject of a sacred drama given by the English Fathers at the famous Council of Constance, in the year 1417, a low buffoon of Herod's court is introduced, desiring of his lord to be dubbed a knight, that he may be properly qualified to go on the adventure of killing the mothers of the children of Bethle- hem. This tragical business is treated with the most ridiculoug levity. The good women of Beth- lehem attack our knight-erranl with their spinning-wheels, break his head with their distaffs, abuse him as a coward and a disgrace to chivalry, and send him home to Herod with much ignominy. It is certain, that our ancestors in- tended no sort of impiety by these monstrous and unnatural mixtures. Neither the writers nor tl;e spec- tators (says Mr. Warton) saw the impropriety, nor paid a separate attention to the comic and the se- rious parts of these motley scenes; at least they were persuaded, that the solemnity of the subject co- vered or excused all incongruities. 38. The Cantabs. Farce. Acted at Covent Garden, May 1787, for 80 CAP Mr. Wild's benefit, and very ill received ; for it neither interested oor encertained the audience. Not prin ed 30 A Play called Ca n terbur i k Bis Change of Diotj wh'v.h ■shtwetk vu, lety nf wil and mirth. Priv'.teiy acted near the palace- yard, at Westminster. 4\.o. 10J4. This piece, consisting of only four leaves, vi hardly entitled to rank as a drama. It contains some despicable abuse of Archbishop Laui : and the slightest notice is as much as it deserv es. 40. THKCANTtKBURY Guests J or, A Bargai/i Broken. Comedy, by E. Ravenscroft. Acted at the Theatre Royal. 4lo. iGgs. This IS a very inditlerent play, and met with very indillerent success. — ■ Scene Canterbury. 41. The Canvass ; or. The Child in the Suds. Com as it is now acting with great applause in the city of Wells. 8vo. 1765. As may be easily inferred, this was a mere local satire, wholly unenter- laining, and indeed unintelligible beyond the immediate vicinity. 42. Cape St. Vincent; or, Britiih Fiilour tiiumphaiit. Mus. Entert. Acted at Drury Lane, March 6, 1797. This was a re- vival, with a few alterations, of l^he Gloiioiis First of June., m comp iment to Sir John Jervis, now Eai) of St. Vincent ; and was received with great applause. Not primed. 43. Capochio and Dorinna. See The Happy Captive. 44. Capochio and Dorinna. Mus. Ent. 4co. Apiece with this title, buL without a date, is, in Mr. Barker's catalogue, ascribed to CoUty Cibber. It was probably an ah-idgment from The Temple • F DULNESS. 45. Ths Capricious J-adt. CAP Farce [by Mrs. Pye], Acted at Drury Lane, Mny 10, 1771^ for the benefit of Mr. Inchbald and Mrs. Morland. Not printed. 4ci. The Catricious Lady. Com. altered ivom The Scornful Ladij of Beaumont and Fletcher, by William Cooke. AcLed with success at Covent Garden. 8vo. 1733. The indelicacies of the ori- ginal are expunged ; some addi- tions are made to the dialogue ; the gross character of Sir Roger is omitted, and the catastrophe is improved. 47. The Capricious Lovers. Com. by Mr. Odingsells. Acted at Lincoln's Inn Fields theatre, 1726. 8vo. 48. The Cafkicious Lovers. Comic Opera, by Robert I-loyd. Acted at Drury Lane. 8vo. 176.k The music by Mr. Rush. The groundwork of this piece is the Caprices d' Amour, ou Ninette a la Cour, by Favart. it was performed nine nights. 49. The Capricious Lovers. A Musical Entertainment ; taken from the opera of that name written by the late Mr. R. Lloyd. Svo. 1765. This is an alteration (with some abridgments) of the preceding piece. 50. The Captain. Com. by Beaumont and Fletcher. Fol. 1647 ; 8vo. 177s. This is far from one of the most capital pieces of these luiited authors, and is now never performed. 51. The Comedie of Captaiu Mario. By Stephen Gosson. This was never printed. 52. Captain O'Blunder J or. The Brave Irishman. Farce, by Thos. Sheridan, Dublin, 12mo. about 1 754. This farce has always met with great approbation in Ire- land, on account of the favourabla light in which the Irish geatletoan. 81 CAP notwithstanding all his absurdities and frequently forced blunders, still appears to stand. One of the principjl, and indeed most enter- taining, scenes in it, is borrowed from the Sieur Pourceaugiiac of JVIoliere. It was written by Mr. Sheridan when a mere boy at col- lege ; but the original copy being lost, it was supplied from tlie me- mory of the actors, who added and altered in such a manner, that hardly any part of the original compositlun remains. It is now generally printed under the latter title only. 53. The Life and Death of Captaine Thomas Stukeley, ■with his Marriage to Alderman Cur teis Daughter, and valiant End- ing of his Life at the Batiailc of Alcazar. As it hath been acted. Printed for Tliomas Pavyer, and are to be sold at his 'shop at the entrance into the Exchange, 4to. 1605. b. 1. 54. The Captive, Com. Op. by Isaac Bickerstatfe. Acted at the Haymarket. Svo. l/dg. This is taken from the comic scenes of Don Scl-nstian. It was set to mu- sic by Mr. Dibdin, but was not acted with much applause. 55. The Captive. Mono- drama, by M. G. Lewis. Per- formed at Covent Garden, March 22, 1S03, It consisted only of one scene, acted by Mrs. Litch- field ; but the author had included in this single scene all the hor- rors of a madhouse ; imprison- ment, chains, starvation, fear, mad- ness, Sec. ; and many ladies were thrown into tits by the forcible and atfecling" manner of tht; actress. As a literary production it had little merit, and was never re- peated ; nor has it been printed. ■ 5Q. The Captive Monarch. Trag. by Richard Hey. Svo. 1794. VOL. II. CAP This play is on the subject of the unhappy Louis XVI, ; but the au- thor has been less careful of his- torical truth, than to develope the principles of that revolution which desolated France, and bathed her streets in blood. The King is made to live, and the Queen puts herself to death by a poniard. Never performed. 57. The Captive of Spils- 2URG. Mus.Ent. Acted at Drury Lane, J/QS. Printed in Svo. 1799. This piece is an alteration (as- cribed to Mr. Prince Hoare) from a French drama called Le SouteT" rain ; and is somewhat similar to the Adelaide and Theodore of Ma- dame Genlis. If we overlook the objection of the main incidents being too gloomy for an after- piece, it must bo acknowledged to possess considerable interest. It was well received. Music by Dussek. See Albert and Ade- laide. 58. The Captive Princess. Trag. by Dr. Smith. Not acted or printed. See the account of the Author. 5Q. The Captives. Trag. by John Gay. Acted at Drury Lane nine nights with great applause. 8vo. 1724. Mr. Victor gives the following anecdote relative to this play : Mr. Gay " had interest " enough with the late Queen " Caroline, then Princess of Wales, " to excite Her Royal Highness.^s " curiosity to hear the author read " his play to her at Leicester " Llouse. The day was fixed, a.nd " Mr. Gay was commanded to at- " tend. He waited soiae tin e in " a presence-chamber with his *' play in his hand ; but being a " very modest n:ian, and unequal " to the trial he was going to, " when the door of the drawing- " room, where tlie princess i^t^ SI. CAP *' with her ladies, was opened for *♦ his entrance, he was so much " confused and concerned about *' making his proper obeisance, " that he did not see a low foot- *•■ stool that happened to be near *' him, and, stumbling over it, he *' fell against a large skreen, which " he overset, and threw the ladies "■ into no small disorder." 60. The Captives. Com. trans- lated from Plautus, by Richard Warner, Esq. 8vo. I767. This play has considerable merit. A father, in order to redeem a son taken prisoner of war, is desirous of exchanging him for two cap- tives in his possession, and whom, with a view to that point, he had just purchased : one of these per- sonates the master, the other the servant ; which servant, making the old man believe that himself, who really was the master, is in fact the servant, persuades him to send this pretended servant to his master's father, in order to ex- change his son with one, who is afterwards discovered to be an- other son who had in his infancy been also stolen from him. The fraud is soon found out ; and the discovery naturally arises from the main subject; which incident, the only one of the play, i^ the whole plot of it. At the very time the old gentleman is in despair of ever seeing his son again, the young man who had put the change upon him returns himself v/ith this very son, delivers him to his despond- ing father, and claims his own servant, who had so faithfully carried on so hazardous an en- terprise. This return, accompa- nied with these circumstances, very naturally brings on the catastro- phe. 61. The Captives. Trag. by John Delap. First acted at Drury CAR Lane, March 9, 17S6; but, after dragging through three nights, was withdrawn. Svo. 1/8(5. 62. The Capuchin. Com. by Samuel Foote. Acted at the Hay- market. Svo. 1778. This was an alteration of The Trip to Calais, and was acted in 1770- The witty author of this piece, being pre- vented by the Chamberlain's man- date from exhibiting the Duchess of Kingston in the character of Lady Kitty Crocodile, substituted one of her emissaries, who had been active in defending the lady and annoying the author. The character of Viper was universally applied, on its first appearance, to the Rev. Mr. Jackson, who has since put an end to his existence, as is supposed, while on his trial at Dublin, in 1 795, for high treason. 63. Caractacus. a dramatic Poem, by Mr. Mason. 4to. and Svo. 1759- This piece is written after the manner of the Greek tragedy, with odes and choruses, and was never intended for the English stage. In the closet, how- ever, it must always give ineffable delight to every mind capable of judgment; as it lays the strongest claim to immortality, and is one among a few instances, that poeti- cal genius is so far from its decline at this time in these realms, that we have writers now living, some of whose works no British bard whatsoever, Shakspeare, Spenser, and Milton, not excepted, would have reason to blush at being re- puted the author of. 64. Caractacus. Dramatic Poem, by W. Mason. Acted at Covent Garden. Svo. \77Q, '^777- Music by Dr. Arne. This altera- tion was made by the author, and was received with applause. 6.5. Caractacus. Ballet of Action. Invented by Mr. D'Egr &3 CAR ville. Music by Mr. Rishop. This was a most splendid performance, and had a successful run at Drury Lane Theatre, 1 SOS. N. P. 66. The Caravan, or Cara- VANSERA. A musical Piece, men- tioned in an advertisement of the King's Theatre in the Haymarket, Sept. 2(3, 1791 (when the Drury Lane company performed there), as in preparation, and speedily to be produced. It was, however, ne- ver brought forward ; but was pro- bably a translation from a French opera of the same title. 67. The Caravan ; or, The Driver and his Dog. Serio-Comic Romance, by Frederic Reynolds. Acted at Drury Lane, 1803. Printed, 8vo. N. D. This after- piece was very attractive ; and will long be remembered, as hav- ing introduced, and rested its chief point of interest on, a performer of the canine race, to produce the catastrophe of the drama. The Marchioness of Cajatrava, with her infant son Julio, having fallen into the power of the governor of Barcelona, and the lady refusing to yield to his unlawful passion, a soldier seizes the boy, and plunges him frohi a precipice into the ri- ver below. A large piece of real water, with two liquid cascades tumbling into it, is actually exhi- bited on the stage. Into this Carlo (a dog belonging to the driver of the caravan) plunges fro.Ti the rock, lays hold of the boy, and swims with him on s'lore. Never did Garrick, Bet- terton, or, by way of climax, Mas- ter Betty, obtain louder plaudits, than this four-footed actor from Newfoundland, during a long run of the piece. 68. Cardexio. See The His- 4ery of Cardenio. This play was acted at court in the year l6l3. CAR 6Q. The Cardinal. Trag. by Ja. Shirley. 8vo. 1652. Acted in Black Friars. Scene Navarre. 70. Cardinal Wolsey. Play, ascribed to Henry Chcttle, and acted 1601. A second part was performed in 10"02 : both by the Earl of ^^'orcester's Servants. Not printed. Mr. Malone suspects that Chettle was not the oiiginal author, because he finds an ac- count of money paid to him for alterhig Cardinal IPohey. 71. The Careless Husband, Com. by C. Cibber. Acted at the Theatre Royal. 4to. 170.5. This comedy contains, perhaps, the most elegant dialogue, and the most perfect knowledge of the manners of persons in real high life, extant in any dramatic piece that has yet appeared in any lan- guage whatever. Yet such is the natural malevolence of mankind, and such our unwillingness to be- stow praise, at least on the living, that Mr. Cibber's contemporaries would not allow him to have been the author of it ; some attributing it to the Duke of Argyle, to whom it was dedicated, some to Mr. De- foe, some to Mr.Maynwaring, Ike. As, however, during a long course of years, in which it has constantly been performed with the greatest succes.s, no claim has been laid to any part of it, we surely may pay the deserved tribute of praise to him who, by this prescription, stands as the undoubted author of the whole, and to whom the Eng- lish stage is to this hour greatly obliged for a very considerable share of its comic entertainments daring the course of every season. When Mr. Cibber had written two acts of this play, he says, he threw them aside in despair of meeting with a performer capable of doing justice to the character of g2 84 CAR Lady Betty Modish, owing to the ill state of health cf Mrs. Ver- brnggen, and Mrs. Braccgirdle be- incr engaged at the other theatre. In this state of suspense, Mrs. Old- field, whose talents the author had but an indifferent opinion of, ex- hibited excellencies which he had no expectavion of seeing, and which encouraged him to complete bis work. Near forty years after the representation of this comedy he says, " Whatever favourable re- •' ception it met with, it would be " unjust in me not to place a large "■ share of it to the account of Mrs. <' Oldfieldj not only from the un- ^' common excellence of her ac- " tion, but even from her per- *' sonal manner of conversing. *' There are many sentiments in " the character of Lady Betty Mo- *' dish, that I may almost say were " originally her own, or only " dressed with a little more care *' than when they negligently fell '.' from her lively humour : had " her birth placed her in a higLer '' rank of life, she had certainly *' appeared, in reality, what in this " play she only excellently acted,, " an ;3greeab!y gay woman of " ([ualiiy, a little too conscious of *' lier naturi.1 attractions." ^pol. p. 24g. — Dr. Armstrong, dissent- ing from the general opinion con- cerning this play, says, " It does " not strike me as the best even " of the few modern English co- " medies with which I have any " acquaintance. Sir Charles, the " hero, the fine gentleman of the «' play, behaves rather brutally, (' and even with a needless, absurd " cruelty to poor Edging, in-.per- " tinept as she is. AVhat is still (' worse ; in the tender scene be- " tween him and Lady Easy,where " all art and insincerity ought to *' be generously thrown aside, he CAR " is disingenuous enough to make " a merit of parting with a mis- " tress he was tired of, and from " whom he had just disengaged "himself. That return of atrcc- " tion to a wife who was once " become indifferent to him, seems " hardly natural to a man at least " of Sir Charles's character ; and " Lady Easy has no great reason "■ to depend much upon it. As " to Lady Betty Modish, such. " a flippant coquet does not pro- " miac at all to be a happy match " for such an honest sincere ina- " morato as Lord Morelove. In " short. Sir Charles is no more " than a mere man of pleasure, " of 'great indifference and nori' " c/uilance, much such another as " CoUey was himself j for I had " the honour to be a little ac- " qr.ainted with Mr.Cibber, who, " besides his abilities as a writer, " and the singular variety of his " powers as an actor, was to the " last one of the must agreeable, " cheerfol, and best- humoured " men you would ever wish to " converse with. But to return " to Sir Charles : the tenderness " he expresses in the foremen- " tioned scene shows a change " of character too sudden and too " violent to be natural, and is " contrived only to serve a pur- " pose in the play." Armstrong's Works, vol. ii. p. 246. — Mr. Con- greve's opinion was not more fa- vourable: " Cibber (says he) has " produced a play, consisting of " iine gentlemen and fine ccn- " vcrsation all together, which the " ridiculous town for the most " part likes 5 but there are some " that know better." Litcimy Rp.lus, p. 343. 72. The Careless Lovers. Coin, by Edward Ravenscroft! This play was written after the 85 CAR time that Diyden had attacked our author's Mamamoucid ; and there- fore in the epistle and prologue he has endeavoured to revenge his cause, by an attack on Dryden's Almajizor and his Lave in a Nun- nery, and retorting back on him the charge of plagiarism, which, notwithstanding what Mr. Ravens- croft says in his prologue, he is far from being clear of in regard to this very piece ; as tlie sham scene in the fourth act, where Mrs. Breedwell and Clapham bring in their children, and challenge mar- riage of the Loi;(J de Boastago, is apparently stolen from ?>Ioliere's M. de Pourceaiignac, act ii. scene 7 and 8. Whatsoever of that co- medy moreover the author had not before made use of in h\s Ma- mamouchi, he has transplanted into this piece, which was acted at the Duke's Theatre. 4to. 16'73. In the epistle to the reader, the au- thor says, " that it was written at " the desire of the young men of *■' the stage, and given them for " a Lenten play ; they asked it not '*' above a week before Shrove- *' Tuesday. In three days time " the first three acts were made, " transcribed, and delivered to " then\ to write out in parts. The " two last acts took me up just so *' much time : one week com- *' pleted it." 73. The Careless Shepherd, Past. We never saw this piece ; but it is in all the Catalogues, with- out either author's name or date. 74, The Careless Shepherd- ess. A Pastoral Tragi-Com. by Thomas Goffe. 4 to. 165 J. This play was acted before the King and Queen at Sali>burv Court. The scene lies in Arcadia. It has, however, a preludium, whosescene is placed in Salisbury Court ; and to the play is aniiexed a cata- C A R logue, extremely defective and er- roneous, however, throughout, of all the dramas which had before that time been printed in the Eng- lish language. 75. The Cares op Love ; or, Jl I\lght's Adventure. A Com. by A. Chaves. Acted at Lincoln's Inn Fields. 4to. 1/05. Dedi- cated to Sir Wm. Read, the Ocu- list. The Prologue wiitten and spoken by Mr. Booth. Whincop calls this comedy The Lover's Cure; and Chetwood and Baker give it under the same title, with the date of 1700. 76". The Carmelite. Trag. by Richard Cumberland. Acted at. Covent Garden. Svo. 17S4. This piece was very well received. The scene is laid in a small island near the British coast ; the time about the accession of Henry I. to the throne of England ; and the play, though a tragedy, ends hap- pily. Mv. Cumberland dedicated it to Mrs. Siddons, whose great ta- lents have seldom been more ad- mired than in the character of Matilda, the lady of St. Valori. J/. The Carnival. Com. by Thomas Porter. Acted at the Theatre Royal. 4to. 1664. Scene Seville. 73. The Carnival; or, Har- lequln Blunderer. Com. by Char- hjtte Charke. Acted at Lincoln's Inn Fields, 1/35. Not printed. 79. The Carnival of VeStice. Com.O| . byRich.Tickell. Acted at Drury Lane, 17SI. The songs or.ly priijted. Svo. 17SI. This piece was very successful. SO. The Carthaginian. Com. translated from Plautus, by Ri- chard Warner. Svo. 1773. " It " seems to be agreed on all hands," says Mr. Warner, " that this " comedy was written during the " time of the second Punic war j 86 C A S " and that that circumstance gave " occasion to the writing of it. Yet " Hannothe Carthaginian is by no "■ means the principal character. " He does not appear till the open- *' ing of the fifth act. It is not call- " ed Pcenus the Carthaginian, but *' Poenulus the Little Carlhaiiinian. " Some have thought that it was •• done by way of ccntempt. But *■' it may be obser\ed that Plautus *' affects thcne diminutives, where " no such thing is intended." — •' The subject of the comedy is " fully explained in the prologue, *' which is a very long one." 81. The Carthusian Fkiar ; or. The Jge of Chivalry. Trag. by a Female Rrfugee. Svo.l/ps. The plot of this piece is interest- ing ; and it is said to be framed irom real facts, preserved in the ainials of a certain noble family in Trance. The language, if not often poetical, is correct and ani- mated } and though the unities of time and place are broken, the most important unity, that of ac- tion, is carefully preserved. It was written at the age of eigliteen, and is very creditable to the talents of the author. Never performed. 82. Cartouche ; or, The Robbers. A comedy. Anonym. This is a translation from the French, and was acted at the theatre in Lincoln's Inn Fields. 8vo. 1/22. The plot is founded nn some parts of the life of Cartouche, the celebrated French highway- man. 83. The Case is altek'd. Com. by Ben Jonson. Acted by the children of the Black Friars, 4to. IQQQ\ Svo. 1/56. This is not one of the most celebrated of this author's Avorks, nor is it at this time ever acted. It is partly Ijorrowed from Plautus, as will be apparent od acomparisou of seve- C A S ral scenes in it with the Aidularia and Captivi of that author. — There is a question, whether The Case is Alter'd was written by B. Jonson: although printed in 4to. with his name, yet there is no dedication or preface, wiiich are customarilj affixed to this author's plays, and it is omitted in all the folio editions printed in his lifelimej and the folio .1640. 64. 1'he Casket. Comedy, translated from Plautus, by Rich- ard Warner. Svo. 1772. Plautus has called this comedy Cistella- KiA : a word forftied from tista, a basket or casket ; thence cistella and cistellaria, the same as mos- tellaria. (See The Appari- tion.) This is much the shortest play of our author ; it consisting of only one single incident, the losing and finding a casket, which contained some toys, by means of which a girl, who had been ex- posed in her infancy, discovers her parents. 85. Cassandra; or. The Fir - gin Prophetess. Opera. Acted at the Theatre Pvoyal. 4 to. I692. 86. Cassandra Pseudomantis. By (Fra Gli Arcadi) Aurisco Ge-« resteo. In this rhapsody, the au- thor has brought together Buona- parte and the Marseillois, with Priam, Hector, Achilles, Helen, Hecuba, Cassandra, See. The only copy that we have seen of this strange piece has no title page ; we cannot therefore ascertain the date of it, hut suppose it to bo about 1S03. It was, probably, privately printed, and not intended for sale. — Scene Hell. 8". Castara; ox , Crnehy with- out Liist. A piny, entered on th©- book^of the Stationers' Company, Nov. 29, 16533 but probably ne- ver printed. 88. The Castle of AndalO- 87 CAS 8IA. Comic Op. by J. O'KeefFe. Acted at Covent Garden, 1/82. Printed 8vo. l/pS. This opera is an alteration from The Banditti; or, Love's Lalynnth, by tlie same author : was very successful, and is still occasionally performed. 89. The Castle of Avola. Opera, in three acts, by Olivia Serres. Svo. 1805. Printed in a volume of Poems, entitled "Flights " of Fancy." We wish we could in conscience praise any part of this volume besides the frontis- piece, which is the fair dramatist's portraiture. It is dedicated to the Earl of Warwick, and modestly deprecates the too rigid censure of the critic. 90. The Castlb of Moxtval. Tragedy, by the Rev. T. S. Whal- iey. Acted at Drury Lane. Svo. ^799- This piece seems to ovve its subject to a story in La Noiivdle Billiothique de Societe, called The Parricide punished; in wliicli a son imprisons an old count, his father, in a subterraneous dungeon of his own castle, for several years, that he may anticipate the en- joyment of the po'isesiions to M'hich he would be rightful heir at the father's death. The prin- x:ipal scene bears a sirong rfsein- blance to the dungeon scene in The Castle Spectre. It was tolc- lably well received. 91- The Castle of Sorkento. Comic Op. in two acts, altered from the French, and adapted to the English stage, by Henry Heart- well, Esq. Acted at the H.iy- market. 8vo. 1799. This piece, which is founJcd on Le Piiujurder, K)u, La Rcsstmllancey was very successful. 92. The Castle of Uoolpko. Sec Dramatic i\FP£LLA.N"T. 93. The Ckstle Spectre. Drama, io live acts, by 2vl. G. CAT Lewis. Acted at Drury Lane. Svo. 179s. The attraction of this piece was so very great, that the play- going part of the public would not thank us, perhaps, for giving our honest opinion of its merits. Ex- cept, perhaps, Pizarro and Blue Beard, this piece was, we believe, more productive of profit to the theatre than any other for twenty years preceding it. A story has been told, that, about the end of the season, Mr. Sheridan and Mr. Lewis, the author, had some dis- pute in the green-room ; when the latter offered, in confirmation of his arguments, to bet Mr. S. all the money which The Castle Spectre had brought, that he was right. " No," said Mr. Sheridan, " I cannot afford to bet so much ; " but I '11 tell you what I '11 do— " I '11 bet you alt it is worth .'" 94. Castle Walstenfueth. Dramatic Romance, in three acts. Printed in the sixth volume of the Lady's Monthly Museum. 12mo. 1801. 95. The Cataclysm. See Noah's Flood. oQ. Catch him who can. Musical Farce, by Theod. Edward Hook. Acted with success at the Haymarket. Svo. I8O6. Music by Mr Hook, sen. The plot turns on the schemes for the escape of a supposed murderer. The busi- ness is always alive, the dialogue is replete v/ith humour, the equi- voques are farcical, and the bustle is well kept up to the end. 07. Catharine and Petrit- CHio. Farce, by David Garr'ck. Acted at Drury Lane. Svo. 175D". This is nothing more than an alteration of Shakspeare's Ta^ viitig of the Shrau, 'oy inverting and transposing different parts of it, rejecting the superfluous scenes, and reduc.ng the whole iziio a oein in dialogue than S CAT iJrama ; rather a succession of just sentiments in elegant language, than a representation of natural affections, or of any state pro- bable or possible in human life. Nothing here excites or assuages emotion ; here is no magical power of raising fantah>tic terror and wild anxiety. The events are ex- pected without solicitude, and are remembered without joy or sor- row. Of the agents we have no care. Cato is a being above our solicitude ; a man of whom the gods take care, and whom we leave to their care with heedless confidence. To the rest, neither gods nor men can have raucii at- tention \ for thjre is not one amongst thenr that strongly at- tracts either atFection or estecii:i. But they are made the vehicles of such sentiments and such expres- sion, that there is scarcely a scene in the play which the rec-der does not wish to impress upon his me- mory. See also the reiiiarks of ■Dennis, as quoted by Dr. Johnson in his life of Addison. 104. Cato. Trag. by J. Ozell. Acted at the theatre in Lincoln's Inn Fields. 12mo. 1716. This is only a translation from a FreiiCh play of the same title, by M. Deschamps ; to which is added, a parallel between that play and the last mentioned one of Mr. Addi- son's. Prefixed to it is an address to Count de Volkra, the Impe.nal ambassador, representing the au- thor's ill success on his third night, owing to the preparations then mak ng for a isasquerade given by his Excellency on tlie Arch- dukf^'s birth. 105. Cato. Trag. 8vo. 1/04. This is Addison's Cato, wiiiiout the love scenes ; and is accompa- nied v/ith a translatioo into Latin Verse. C E L lOS. C.A.TO Major. Svo. \y'15. This is only Cicero de Si'fieciutd versified. 107. Cato of Utica. Tragedy, translated from Deschamps. 12mo. 1716- This is different from Ozell's translation, and does not appear to have been acted. 108. The Cave of Idra. Trag. by Henry Jones. This was left unfinished by the author. See The Heroine ofthe Cave. 109. The Cave of Neptune. Dramatic Poem, on the Victory gained by the English fleet under the commaiid of Lord Howe, m 1794. Scene Neptune's cave at the bottom of the sea. This is printed, with The Storm, a Drama, and other porms. Svo. 1799- From private infoim.ation we learn, that a iSIr. Holford was the author. 110. The Cave of Tropho- Nius. Musical Ent. by Prince Hoare. Acted at Drury Lane, Songs only printed. Svo. 179^- The cfive of lYophonius is sup- posed to have the effect of iir.me- diately changing the natureof every thing that enters it ; the wild be- come tame, and the tame wild, &c. Some of the incidents were whimsical and diverting, and tha music and scenery were ranch ad- mired. It was pretty well received, but soon laid aside. 3Jusic by Storace. 111. Cecilia; or. The Sncrifice ofFrieyidship. Com. translated from Mad. Genlis's Theatre of Educw tun. Svo. 1731 ; 12mo. 1787. 1 12. Celadon and FlokimeL; or. The Happy Counterplot. Com. Acted at Drury Lane, \7g^. This was an alteration from Cibber's Comical Lovers, and was ascribed, we believe justly, to Mr. Kembl>i. Not printed. 113. The Tragic Ccmedye. of Cecestina, wherdn arc disc^urs.'d 90 C E N in most phnsant style many pJdJo- sophicaU sentences and advertise- ments, X'ery necessarye for younge gentlemen, and discoveringe the sleights of treacherous servants, and the suLtle cariages of filthye hawdes. This title is entered on the books of the Stationers' Com- pany, October 5, ISpS, by Wil- liam Aspley ; but whether printed or not, we are unable to say. 1 14. Celestina ; or. The Spa- nish Bawd. T. C. 8vo. I/O/. This was written originally in Spanish, in twenty-one acts [see Spanish Bawd], and was translated near two hundred years ago, at the end of Gusman de Jlfarache, the Spanish Rogue. In the second vo- lume of the new translation, by J. Savage, it is reduced to five acts, under the present title, and said to be adapted to the English stage. 115. Cenia ; or, The Supposed Daughter. Trag.-Com. 8vo. 1752. This is a literal prose translation, by J. M. D. of Cenie, by Mad. Graffignyj which was afterwards brought on the English stage by Dr. Francis, under the title oi Eu- genia. Lord Chesterfield, speak- ing of the original, says, " I am ' charmed with Cenie, notwith- ' standing my dislike of tragi- ' comedy, or weeping plays. This ' piece, though affecting, is not *■ tragical. The situations are in- ' teresting but not horrid ; the ' sentiments are true; it is nature; ' we see ourselves in them, and ' they are not those refined senti- ' mental feelings that none ever ' felt : another recommendation ' to me is, that it is not in verse, * and consequently savours less of * the buskin. I cannot bear your *■ comedies in verse ; I am shock- ' ed to hear tlie nonsense of Fron- ' tin and Liseile, and the awk- ' ward simplicity of Lubin, in the C H A " finest verses in the world."— (Maty's edit, of Chesterfield, 4\.o. vol. ii. p. 26"2.) Il6. Cephalus and Procris. Dramatic Masque, ^\'ith a pan- tomime Interlude, called Harlc' quin Grand Volgi. Acted at Druiy Lane. Svo. 1733. 117- Cephisa; or, a Step over the Girdle. Cornic Opera, in three acts, by Joseph Moser. Written about 1804; but neither acted nor printed. lis. The Cestus. Serenata, by Chas. Dibdin. Acted at the Royal Circus. Svo. 17S3. 119. Chabot, Admiral ot France. Trag, by Geo. Chapmaii and James Shirley, ^cted at Drury Lane. 4to. 1639. The stor)- of it is taken from the French histo- rians, in their account of the reign of Francis J. 120. Chains of the Heart; or. The Slave by Choice. Opera, by Prince Hoare. The author confesses this to be a hasty pro- duction ; and, indeed, except a» " a vehicle for music," it has little claim to merit. It has few pre- tensions to either plot or character, but was several times jierformed at Covent Garden. Svo. 1S02. 121. A Challenge at Tilt at a Marriage. A Masque, by Ben Jonson. Fol. 1640; Svo.' 1756. 122. Challenge for Beauty. Tragi-Com. by Thornss Hey wood. 4to. 1636. Acted in Black Friars and the Globe. Scene P(jrtugnl. 123. The Chambermaid. Bal^ lad Opera, of one act, by Edward Philips, performed at the Theatre Iloyal in Drury t/ane, 1/30. Svo. Taken from the Village Opera, by C. Johnson. 124. Chance Medley. Play, by Wilson, Miindy, Drayton, and Dekker. Acted \5QS. Not printed. 91 C H A 125. The Chance of War; or. The Villahi Reclaimed. Mus. Drama, in two acts, by Archibald Maclaren.l 2rao.l SOI . Never acted. 126. The Chances. Com i by Beaumont and Fletcher. Fol. 164/ ; Svo. 1/78. The plot of this play is taken from a novel of Cervantes, called The Lady Cornelia, among a collection of Novels in 6 vols. 12mo. The scene lies in Bologna. 127- The Chances. Com. by the Duke of Buckingham. Acted at the Tlieatre Royal. 4to. 1082. This is only the preceding play altered and amended. It has been frequently performed with great applause ; and indeed the vast va- riety of business and hurry of in- trigue, which is happil}' produced by the confusion of mistaking two characters so extremely different as those of the Constantias , cannot avoid keeping up the attention of an audience, and making the piece appear, if one may so term il, en- tirely alive. Yet, notwithstanding the alterations made in it first by the Duke, and since that in the preparing it for some still later re- presentations, there runs a degree of indelicacy through a few scenes, and a libertinism through the whole character of Don John, which, to the honour Of the pre- sent age be it recorded, ha\"e for many years past experienced dis- approbation, whenever they have been attempted to be obtruded on the public. 128. Thk Chances. Comedy, with alterations by David Gar- rick. Acted at Drury Lane. Svo. lyyi- Even this alteration will not satisfy our minds ; for several licentious scenes and speeches are necessarily retained, in order to preserve connexion ; and, iifter all, no other inference can i)e drawn from the whole, than that C tt A it is less eligible to marry, than to keep a mistress. 129. The Changeling. Trag. by Thomas Middletoii. Acted at Drury Lane, and at Salisbury Court. 4to. IO53 ; 4 to. lO'OS. Rowley joined ^vith our author in this play, which met with very, great success. The scene is Ali- cant, and the principal foundation of the plot may be found in the story of Alsemero and Beatrice- Joanna, in Reynolds's God's Re- venge against Murder, book i. hist. iv. 130. The Changeling. Cora, ascribed to Matthew Heywood. Not acted. 1 31. The Change OF Crownes. A Play, by Edward Howard. En- tered on the books of the Stationers' Company, but not printed. 132. Changes ; or. Love in a Maze. Comedy, by James Shir- ley. Acted at the private house, Salisbury Court. 4to. 1032. Scene London. This play met with con- siderable success, not only during ihe author's life, but for a long time after, A scene in the first act, where Goldsworth, on exa- mining his two daughters, finds them both in love with the same person, has been made use of, al- though indeed considerably im- proved, by Dryden in his Secret Love. 133. Change vpns Change ; or, Tlie Yorkshire Lover. Fnrce, by a gentleman of Lreds. It was performed at Leeds, for a benefit, in 1S0.5. 134. The Chaplet. A Musi- cal Entertainment, by Moses Men- dez. Svo. ]74g; 1750. Acted ac Drury Lane. This piece had a considerable run, having tiie aid of some exquisite music, by Bo;,-ce. The poetry of it, on the whole, if not great, at lesst deserves the 0 C H A. praise of being very pleasinp^, and will, perh.ips, give pleasure, where works of more essential merit may- meet with a less kind reception, 135. The CiiArxER of Acci- dents, Comedy, by Miss Lee. Acted at tlie Hnymarket. 8vo. 1/80; J781. This play, which is built on Diderot's Fhe dc Fa- milk, without being a servile copy, posses-es considerable merit, and was acted with much applause. It has kept j)Ossession of the stage now thirty years. Improving upoa the model of Kelly, and the sen- timental trash of his day, it mixed the pathos of comedy with (he Lroaiiest farce, and, all together, proved one of the most successful pieces of this heterogeneous k'ud that had ever apjieared. The cha- racters of Jacob Gawkey and Bridget have been materials upon which many popular dramatists have worked, but without ap- proaching to the originils ; and the more serious parts of the piece have been a source of pillage and imitation with as little success. •.The author published it, with ah occasional preface, wherein she complains of the conduct of Mr. Harris respcctingthis piece, which, she insinuates, he had too long kept in his possession, and delayed bringing out. Prefaces cf this kind seldom do any good ; they generally result from a hasty and partial view of things, and oftencr discredit the v.-rilers than the ob- jects of them. 136. The Charitable Asso- ciation. Cora, of two acts, hy Henry Brooke. Svo. 1778. Not acted. I'he scene York. This is omitted in Miss Brooke's edition, .1/02. 137. The Charity Roy. Mus. Entertainment, by James C Cross. Acted at Drury Lane, 17CJ&3 but C H A condemned the first night. Not' printed. 138, The famous Tragedt OF King Chaelts I. basely but' chcred ly those ivho are Omne ncfas proni patrare, pudoris inanes,' Crudeles, violent!, iraportui.ique tyranni, IVJendaces, lal.>,i, psivtrsi, perfidiosi, Ficditragi, faisis verbis infanda loqutntes. 4to. I6-I9. This play seems to have been written by some very strong party man, who thought at so critical a juncture the de-» claration of his name would have been attended with hazard, perhaps even of life ; yet was hardy enoi:gh to declare his prin- ciples, under the p.otection and secrecy of the press, at a time, and in a manner, wherein he must, if known, have rendered himself lial)le to the most rigid ministerial resentment. Nor is this, perhaps, the only instance which might urge us to wish that warm iiuegrity and fertile genius were ever com- stanl companions. 139. King Charles I. Hist.Tr. by W. Havard. Svo. 1737. This piece was performed at the theatre in Lincoln's Inn Fields with very good success ; and indeed there are sorne parts of it which seem to approach as near to the style of Shaks;-^are, as any of the at- tempts that hf.ve been made to imitate him. Some of the cha- racters are well drav/n, and the ca- tastrophe is pathetic and afi'ecting. I,ord Chesterfield, in his speech on the Licensing Act, mentioning this play, says, ** the catastrophe " was too recent, too melancholy, " and of too solemn a nature, to " be heard of any where but in a " pulpit." 14t^. Charles VHI. o f F II A N r; E ; or, Th e Invasion of Na^ pies ly ihe French. An ni.storical Play, by J. Crowne. Acted at the 9S C H A BukeofYork'sTheatre. 4to. l572. The plot of this piny is taken from Guicciardini, and some of the French historiaus. Scene Naples. It is written in heroic verse, and is perhaps one of t'.ie most striking instances of the insatiable turn for satire which prevailed with the celebrated Earl ot Rochester; who, notu'ithstanding the compliment paid him by the writer, in dedi- cating this play to him, could not avoid ridiculing the piece and its author, in his imitation of the third of Buileau's Satirrs, m which he even mentions Mr. Crowne and his play by name : quotes a pe- culiar passage from it; and in a remark upon it points it out to that censure which otherwise it ri'iight perhaps have escaped. The satire ;dluded to is printed in the first volume of the works of Vil- liers Duke of Buckingham, under ^he title of " Timon, a satyr," Sec. by the Duke of Buckingham and the Earl of Rochester. In some collections of Rochester's poetry, it is printed as wholly his, under the title of " The Rehear- sal, a Satire." 141. Charlotte: or. One Thousand Seven Hundred and Se- venty three. A Play, by l\lrs. Cullum. 8vp. 1775. This drama was never intended for the stage ; being indeed destitute of plot, or any other quality necessary for theatrical representation. The au- thoress confesses that she had been guilty of an artifice to bespeak the favour of the reader, by givhig her play a name so justly beloved and respected by tiie whole nation. ■ M2, A Chaste Maid ix Cheapside. a pleasant conceited Comedy, by Thomas Middleton. Acted (Langbaine says often) at the Swan on the Bankside, by the C H E Lady Elizabeth's servants, 4to. lo'ao. 143. The Chaste Woman against her Will. Com. This piece was advertised with others at the end of ITit and Drollery, 12mo. 1661, as then printing. It seems, however, to have been .suppressed. A MS. play, without a title, is in Mr. Stephen Jones's possession, which, both from its apparent age, and its subject, seems very likely to be the one intended ior the press under the above title. 144. Chaubeet; or, The Mi- santJrrope. I'r.'igic Drama [by J. C. Viliiers]. Svo. 17S9. The Diary of Chaubert, in' Mr. Cum- berland's Olserver, is the ground- work of this drama, which the author acknowledges to be a piece by no means calculated for repre- sentation, " The nature of the " fable," he says, " rendered it " impracticable; it was with much " difficulty, and much additional " circumstance, that scenes of so " great a length of time could be " compressed, even into the stale '•' in which they now appear, '* Neither the unities of time or " place are preserved ; and the " deticiency in incident and effect, " arising from the constitution of " the story, prevents the thought " of its ever passing beyond the '* liir.its of the closet. It is too " shocking in its circumstances to " be acted on a stage." 145. Chaucer's Melibee. — • Comedy, by Ralph Radclifl-", Not printed. 146. Cheap Living. Comedy, by Fi'ederic Revn()lds. Acted at Drury Lane, \797- Printed Svo. 1797. Ihis was not one of Mr, Reynolds's most fortunate plays j beiwg acted, we think, only seven ^ CHE nights. The Cheap Liver is a man who, without invitation, break- fasts at one house, dines at ano- ther, and sups at a third; borrows a guinea of the landlord to pay a reckoning of twelve shillings at a tavern, by which he pockets nine, ice. His name is S[)ovge; and a numerous family he represents at the present day. Mr. Reynolds was charged by the author of The School for Ingrntilude with having mnde an unfair use of his play, while in MS. to furnish out his own cotr.edy of Cheap Living. 147- Cmeapside; or. All in the City. Conjedy, acted at the Haymarket, 1/83. Not printed. 148. The Cheat. Comedy, translated from Plautus, by Rich. Warner. 8vo. lyjl. Plautus calls this comedy Pseudolus, the name he has given to a servant, a prin- cipal character in it, and on whose tricks and contrivances all the in- cidents depend. Gruter says, " When Pseudolus is described, I " cannot but think Plautus in- " tended himself. For in what " play should he be more hkely to " be supposed to do it, than in one " of the most approved of by him- " .self.'" 149. The Cheat ; or. The Tavern Bilkrrs. Pant. Acted at Lncoln's Inn Fields, l/'iO. 150. The Cheater Cheated. Interlude. 4to. No date. Tliis piece is printed with some others, attributed to Robert Cox, come- dian. 151. The Cheats. Com. by John Wilson. Written in the year lC>ti2. 4to. 1664; 4to. 16/1; 4to. 1684; 4to. 1693. This play met with general approbation, and very deservedly ; notwithstanding which, the author's modesty in- duced hiiYi to make an apology for its faults, in a preface to the ear-r CHE lier editions. To the fourth editioih which was printed in 1693, thero is the addition of a new song, near the end of the fifth act. 152. The Cheats of Scapin. A Farce, by T. Otway. 4to. 1 677. This pleasant farce is printed at the end of the tragedy oi Titus and Berenice, which consists only of three acts, and was probably in- tended to be performed with it in the same manner as we have lately- seen some pieces of irregular length destined for a joint per- formance. It is not much more than a translation of Moliere's Fourleiies de Scapin ; the plot of which, moreover, is borrowed from the Phnrmio of Terence. The scene Dover. — It is still occa- sionally acted. 153. The Cheats of Scapin. Com. by Ozell. This, which is a mere translation of Moliere's play, was never acted, but is print- ed among the rest ofOzell's trans- lations from that author. 154. The Chelsea Pensioner. Com. Opera, by C. Dibdin. Act- ed at Coven t Garden. 8vo. 1779. The hint of this piece is taken from the story of Belisarius ; and it was pretty well received. 155. The Cherokee. Comic Op. by James Cobb. First acted at Driary Lane, Dec. 20, 1794. Songs only printed. Svo. 179'4. This piece was very well received. Music by Storace. There is a pirated edition, J2mo. 1795- See Algon'ah. 156. The Cheshire Comics. Com. by S. Johnson. Acted in 1730. This piece, written by the author of Hurlothrumlo, was, like that, full of madness and ab- surdity, yet, like that, had in it many strokes of wonderful ima- nation. It was acted without suc- cess, and has never been priuted. I 95 CHE ] 57. The Cheshire Huntress, and The old Fox caught at last. Dramatic Tale. Svo. 1744). This Is an amusinglittle piece, without any great pretensions to literary merit. 158. Chester Whitsun Plays. MS. Harl, 1013. in the British Museum. These mysteries are -said (perhaps truly) to have been written and exhibited in 1328 ; but the Harleian MS. represents them as they were played in lO'OO. There is a better copy of the same collection in the Bodl. Lib. E. N. 1 15, transcribed by one William Bedford, 1()04 ; but even in that we see (says Mr. Tyrwhitt) but small remains of the original dic- tion and orthography. Among the MSS. Harl. 2124 and 2125 are likewise two other copies. These dramas are taken from both the Old and New Testament, though abundantly disguised by butioonery. The different trading companies of Ciiester were em- ployed three days in the represent- ation of them. The Fall of Lucifer by the Tan- ners. The Creation by the Drapers. The Deluge by the Dyers. Abraham, Melchiicdeck, and Lot, by the Bar- bers. Moses, Balak, and Balaam, by the Cappers. The Salutation and Nativity by the Wrightes. The Shepherds feeding their Flocks by Night by the Painters and Glaziers. 2'he Three Kings by the Vintners. The Oblation of the Three Kings by the Mercers. The Killing of the Innocents, by the Goldsmiths. rAeP/.T/^tG/io/2 by the Blacksmiths. The Temptation by the Butchers. The Last Supper by the Bakers. The blind iXJen and Lazarus by the Glovers. Jesus and the Lepers by ihe Corvesarys. Christ's Passion by the Bowyers, Fletchers, and Ironmongers. Descent into Hell py the Cooks and Innkeej^w, CHE The Resurrection by the Skinners. 77/t' Ascension by tlie Taylors. The Election 0/ St. Mathias, Sending of the Holy Ghost, kc. by the Fishmongers. Antichrist by th« Clothiers. Day vf Judgment by the Websters. The reader, per- haps, will smile at some of these combinations. In the second of these pieces, Adam and Eve are exhibited on the stage naked, and conversing about their nakedness. This pertinentlj introduces the next scene, in which they have coverings of fig-leaves. So extraordinary a spectacle was beheld by a numerous assembly of both sexes with great composure : they had the authority of Scripture for such a representation, and they gave matters just as they found them in the third chapter of Ge- nesis. It would have been abso- lute heresy to have departed from the sacred text in personating the primitive appearance of our iirst parents, whom the spectators so nearly resembled in simplicity : and if this had not been the case, the dramatists were ignorant what to reject and what to retain.— The following is the substance and- order of the former part of the play. God enters creating the world : h« breathes life into Adam, leads him into Paradise, and opens his side while sleeping. Adam and Eve appear naked and not fl^/ifl/ncf/; and the old serpent enters, lamenting his fall. He converses with Eve. She eats of the for- bidden fruit, and gives part to Adam. They propi^se, according- to the stage direction, to make themselves subligacula nfoliis (/ui- bus tegamiis pudenda. Cover their nakedness with leaves, and con- verse with God. God's curse. The serpent exit hissing. They are driven from Paradise by four 93 CHE angels, and the cherubim with a flaming sword. Adam appears digging the ground, and Eve spin- ning. Their clnldren Cain and Abel enter. Ti)e former kills his brother. Adam's lamentation. Cain is banished, &-c. In the third, the prologue tells them, " that Noe shall goe into " the Arke, with all his Famylye, " his Wyfe excepte." After the long catalogue of birds, beasts, &c. which are suppos-ed to have entered the vessel, Noah thus calls to his spouse : XOYE *. Wyfe, come in ; whie stands thow there? I'hou art evtr fiowarci, that sure 1 sweaie; Come in on God's half, tyme it were. For feare lest that wee drownc. Novt's WlEF. You, Sir, s'.'tt up j'our sayle. And rowe forth wish evil hayle; For, withouten land fayle, ] will not out of this grove. But I have my gossopes evry ech one, One fote further I wjU not gone ; They sha'l not drown, by Saint John, And 1 may save ther lyvcs. They loved me full well by Christ ; But thou wiltlett them into thie chest, Ellis row forth mayc when thou hste, And get thee another wief. NOYE. Sem, srnne, novve thie mother is war o woe, By God la;th another I doe not knowe. S E \i . Father, I shall fetch htrin, 1 trow V\"i,houten anie faile, Wnther, my father after thee sends. And 1 i.ldc. thee into yoridei ship wends; Look upe and see the winds, For we bene readic to savle. Noye's VVlEF. Sonne, goagayne to hiui, and saje, 1 v\ill not come tbeiein to daye. NoYE. Conie in, wief, in twentie devill waye. Or allis stand there without. ClUM. Shall we all fetch her in ? * This is copied from the MS. in the Bodleian library. . • • CHE NoYE. Yea, sonncs,in Christ's blessing and mitic, I would ye hied yea be tyme ; For of thi' flood I stand in d'^.ubt. The Good Gossopes. The flood comes fleeting in apace, One every side it spredeth full fare; For feare of drowning 1 am agast. Good gossopes, let us draw nearc. And let us drink ere wt depart ; Foi oft t\ mes we liave done so : For at a draught thou druiks a quart, And so will I doe or I goe. Here is a pcttell, full of malmesay gooqi and strong ; It will rejoyce both hart and tong ; Though Noe think us never so long. Yet wee will drink a tyte. Jathet. Mother, we pray you altogether ; For we are here your owne children ; Come into the ship for feare of the wedder. For his love that you bought. Nove's ^^ I EF. That 1 will not for all your call. But I have my gossopes all. Sem. In faith, mother, yet you shall-. Whether you will or mongst. NoE. Well me wief into this boate. Noe's \Vvfe. Have you that for thie note. [Gives Noah a box in the ear.! Noe. Aha, Mary! thisiswhote: It i< good for to be still. A, children ! methink my boat remeves; Our tarrying here heughly me greves : On the land the water spreads: God doe as he will. The Descent into Hell concludes with our Saviour redeeming out of Pm-gatory all the saints, and leav- ing behind only one poor woman (probably a real character at the composition of this curious dramaj whose crirnps she confesses in a long speech : f omc time I was a tavernercj A gentel gossepp, and a lapstere Of wine and ale a trusty brewer. Which woe hath me bewrought. Of Cannes I kepe no true measure; Mv cuppes I solde at my pleasure, Deceavinge many a creature, Tho' my ale were noughte. ^7 CHI She is then welcomed by the De- vils ; which closes the piece. 159. Chichevache and Bv- CORNE. Published in Dodsley's Collection, 8vo. 1/80, vol. xii. 160. The Child of Nature. Dramatic Piece, by Mrs, Inchbald. Acted at Covent Garden. 8vo. J 788. This drama is in four acts. It is taken from the Zelie of Ma- dame Genlis, was acted with success, and still continues a stock- piece. The reader of this pro- duction will often be reminded of The School for Lovers. 161. Children ; or. Glue them their JFay. Comic Drama, by Prince Hoare. Acted at Drury Lane for Mr. Bannister's benefit. There was a good deal of whim in it, suited to display the abilities of Mrs. Jordan and Mr. Bannister ; but some of the actors had so ill studied their parts, that the re- presentation sustained material in- jury. Songs only printed. 8vo. 1800. Music by Kelly. 162. The Children in the Wood. Musical Jilntertainment, by Thomas Morton. Acted at the Haymarket, 1793, with great success. Yvlien it first appeared, it was ascribed to Mr. Rose ; but Mr. Morton's property in it is not now doubted. It is a very interesting piece ; in which the se- rious and comic are happily blended. The children (contrary to the old ballad story, on which the piece is founded) are here saved from de- struction ; a circumstance highly gratifying to the feelings of the audience. The character of Walter possesses those traits of excellence, which furnish an opportunity to the actor to seize and expand them to a perfection of which the author perhaps never dreamt. Read the character of Walter, and then see Mr. Bannister perform it ! You VOL, II. CHI are astonished at the effect pro- duced from such meagre materials ; it perhaps exceeds every other effort of the modern drama. Music by Dr. Arnold. Printed only in a pirated edition, Dublin, 12mo. 1794. 163. The Children of Her- cules. Translated from Euripides, by Michael Wodhull. Svo. 1782. 104. The Children's Ball; or. The Duel. Com. from Mad. Genlis's Theatre of Education. Svo. I78I ; ]2mo. 1787, 165. The Chimera. Com. by T. Odell. Acted at Lincoln's Inn Fields. 8vo. 1721. The date and title of this piece are sufRcient to point out the design of it ; which was, to expose the follies and ab- surdities that mankind were drawn into by the epidemical madness of that extraordinary year. 166. The Chimney Corner. Musical Ent. by Walsh Porter. Acted at Drury Lane, 1797, but with no success, though aided by some pretty music, the composi- tion of Mr. Kelly. We have heard that it was principally a translation from the French. Not printed. iGy. The Chimney Sweeper. Ballad Opera. Acted at Good- man's Fields, 1736. Not printed. 163. The Chinese Festival. A Ballet, or grand Entertainment of Dancing, composed by Mr. Noverre, 1755. This entertain- ment, being not in itself in any respect dramatic, could not pro- perly claim a place In this work, or indeed be thought deserving of any mention, were it not for its having been the cause of an extra- ordinary incident in theatrical history, which is one proof among many, how far an unreasonable prejudice, excited by the most tri- vial apparent cause, may misguide CHI CHI public judgment, and occasion It to London, the time taken up in to crush and overthrow in one point contriving and making up such a the very fabric which in some other numerous variety of suitable habits, it has been itself attempting to and thatrequired for repeated prac- rear. The town had for some sea- tices of the ballet itself before it sons been murmuring at the avari- could be sufficiently regular to make cious disposition, as it was styled, its appearance, took up a space of of the managers, in presuming on about eigliteen months ; during success with the public, on the which time England had come to lare merit of some trivial authors, an open rupture with France, and such as Shakspeare, Jonson, Rowe, war had been declared against that Otway, &c. and grudging the nation. Here then arose an op- expense attending on the viorc portunity for the private enemies jiecessary decorations of the stage, of the manager (and such every consisting of dancert of the looseness of their characters and expressions j COM wit seeming in this age not to be considered as a sufficient protec- tion for libertinism ; aj was too much the case at the period in which this author wrote. 2p0. The Commissary. Com. by Samuel Foote. Acted at the Haymarket. 8vo. 17^5. It was performed with good success. Be- sides some other persons who v/ere then living, the celebrated Dr. Arne (under the name of Dr. Cat- gut) is introduced and ridiculed in the present comedy. The idea of the principal character is evidently from Moliere's Bourgeois Gcntil- homme. Mrs. Mechlin's character is taken from D'Ancourt's Fevnnc d'Intrigue, &c. 291. The Committee. Com. by Sir Robert Howard. Fol. l6()5; 1(}Q2. This comedy, which has had the second title of The Faithful Irishman added to it, was written not long after the Restoration, and was intended to throw an idea of the utir.ost odium on the Round- head party and their proceedings. The piece has no great merit as to the writing ; yet from the drollery of the character of Teague, and the strong picture of absurd fanaticism mingled with indecent pride, drawn in those of Mr. Day, Mrs, Day, and Abel, it had, long after every spark of party fire, as to that part of the English history, was absolutely extinct, established it- self as a standard acting comedy, and always gave pleasure in the representation. The character of. Teague, we find, was taken from the life. The late Duke of Norfolk, in his Anecdotes of the Howard Fa- mily, p. Ill, says, "When Sir " Robert was in Ireland, his son " was imprisoned here by the Par- " liament, for some otience com- " mitted acainst them ^Vs soon 115 COM *' as Sir Robert heard of it, he " sent one of his domestics (nn " Irishman) to England, wiih dis- " patches to his friends, in order " to procure the enlargement of " his son. He waited u iih great " impatience for the rciurn of this ** messenger ; and when he at " length appeared, wiih the agree- *' able news that his son was at " hberty. Sir Robert, finding chat " he had been then several days " in Dublin, asked hlra the reason " of his not coming to him before. *' The honest Hibernian answered, " with great exultation, that he " had been all the time spread- " ing the news, and getting drunk " for joy among his friends. He, ♦* in fact, executed his business " with unco, mon fidelity and " dispatch; but the extraordinary *' effect, which the happy event of " his embassy had on poor Pad- " dy, was too great to suffer him " to think witn any degree of "■ prudence of any thing else. " The excess of his joy was such, " that he forgot the impatience * *' and anxiety of a tender parent ; " and until he gave that sufficient " vent among all his intimates, he '' never thought of imparting the " news there wliere it was most " wanted and desired. From this " Sir Robert took the first ifmt of " that odd composition of fidelity " and blunders which he has so " humorously worked up in the *» character of Teague." See Ho- nest Thieves. 292. The Committee M\n CURRIED. Com. in two parts, represented to the view of all men, by S. Shepp.ird. 4to. 1647. A Piece discovering the Corruption of Committee Men a«f^ Excise Menj the unjust Sufi'erings of the Royal Party ; the dcviUsk Hypocrisy of ^ozne Roundheads j /At? Revolt for COM Gain o/^cwz^ Ministers. Not with- out pleasant Mirth and Variety. These two plays have much more zeal than wit ; yet at the same time are most barefaced pieces of plagiarism ; there being scarcely any thing of Sir John Suckling's, either in prose or verse, which has escaped the plunder of this drama- tic pirate, exclusive of what he has borrowed frotn the first and third Satires of Juvenal, as trans- lated by Sir Robert Stapleton. — Though styled comedies, they are not mucHi longer each than one act of a play. . 293. The Commodity Ex- cis'd 3 or. The IVoinen in an Up- roar. A new Ballad Opera; as it will be privately acted in the secret apartments of Vintners and Tobac- conists. By TirnoihySaioke. 8vo. 1733. The occasion on which this piece was written, is snfficiendy evident from its tuie and date. It is, however, the dullest of dull performances. The matcldess ob- scenity of the last scene may piove agreeable to such readers as delight in iMeretriciads, Courts of Cupid, Sec. but will find no other admirers. It exhibits a frontispiece, repre- senting the Custom-house, Sir Robert Walpole riding on a tun, drawn by the English lion and Hanoverian horse, together with other circumstances too gross for description. 294. A Pleasant Comedie called Common Conditions. This play (of which the C(}py before us wants both the first and conclud- ing leaves) is to all appearance as ancient as Gam7ner Gurton, or any other comic piece in ttie English language. The original entry of it on the books of the Stationers' Company, is perhaps earlier thaa any part of their records now re- maining J and yet it is referred to I 2 115 Drifte. J S"'^ COM on a subsequent occasion, as fol- lows : "July 20, 1576. John " Hunter enters — A new and " pleasant comedie or plaie, after " the manner of Common Condy- '•' cyans." The scene lies in Arabia. The characters of the drama are— Unthrifty nrt,:.ves in the dis^ ise of Tinkers. Sedmond — a Knight. Clarisia — his Sister. Common Conditions — a clown or buffoon. Galiarbus — a Phrygian; father to Sedmond and Clarisia. Lamphedon — a Phrygian knt. Nomides — the same. gabia — a young Lady in love with him, and sometimes passing under the name of Metrea. Mountagos — father to Sabia. He seems designed for a French- roan. Cardolus — Governor of the Isle of Marofus. Lomia — a Naturall. Leosthenes — a Knight^ her master. Pirates, Mariners, Master, Boat- swain, Ship-boy, iicc. Between the acts of this piece there are no intervals, nor is there much connexion between the dif- ferent couples of lovers, except such as is brought about by the good and ill oftiees of Common Conditions, who assists the interests of some, and perplexes those of ethers. The present drama, how- ever, exhibits perhaps the earliest examples of naval dialogue on the stage, as well as of the English language distorted by foreign pro- nunciation. A copy of this piece was pur- chased at the sale of Dr. Wright's books, 1787, by Mr. Steeveus, for fi"e guineas. 2Q5. A Com:iionw£.\lth or COM Women. A Play, by Thomas Durfey. Acted at the Theatre Royal. 4to. 1686. This play is a mere alteration from Fletcher's Sea Voyage, and is very indifferently executed; for, as Langbaine ob- serves, " what is either altered or " added may be as easily discerned " from the original, as patches on " a coat from the main piece." — Scene Coven t Garden. 296. CoMCEDiA. A Work in Rhyme, &c. See Enteulude of Myndes. 2p7. CoMCEUYES and Pasto- RALLS with their Songs, as also one 'Eodkeoi Epigram riies, by W. P. Esq. MSS, containing the fol- lowing : 1. The Cuck-queans and Cuck- olds Errants ; or. The Bearing down the Inne. A Comoedy, 1601 . 2. Arabia Sitiens; or, A Dreame of a drye Yearc, a Tragy-co- moedye, 1 601. 3. The Faery Pastoral!; or, Forrest of Elves. , 4. A Country Tragoedye in Va- cuniam ; or, Cupid's Sacrijice, 1 602. 5. The Aphrodysial^ or. Sea Feast, 1602. 6. Necromantes ; or. The Two supposed Heds, acomical invention. With various alterations, addi- tional songs, &c. to be occasionally used, or omitted 3 accompanied with directions to tlie actors, throughout the several pieces. They appear to have been writ- ten for the children of the revels. After which follows. One sin- gular Booke of Epigrammes (in Kumber 357) concluding, " To shewe what you be, now gentle Sir Lun, " You may uncase you, for my playe is done." Finis, 1610. W. P. Esq. 29s. A Comparison betweek TiiE Two StaqeS;, >yith .19 eia-^ 117 COM mination of the Generous Con- queror, and some Critical Remarks «n the Funeral, or Grief Alamode, the False Friend, Tamerlane, and others, in Dialogue. Dramatic Critique, by Charles Gildon. 8vo. 1/02. 2gQ. Thk Compromise j or. Faults on loth Sides. Com. [by J. Sturmy]. 8vo, 1723. Acted three nights at the Theatre Royal in Lincoln's Inn Fields. 300. CoMus. Masque, by John Milton. See MAsauE presented AT Ludlow Castle. 301. CoMus. A Masque, by Dr. Dalton. Acted at Drury Lane, 8vo. 173s. This piece is a very judicious alteration, divided into scenes and acts, of Milton's Masque at Ludlow Castle j where- in it is rendered much more fit for the stage by the introduction of many additional songs, most of them Milton's own, of part of the Allegro of the same author, and otlier passages from his different works ; so that he has rather re- stored Milton to himself than al- tered him. It met with great applause on its first appearance. A contemporary writer says, " The " alteration was at first thought " an attempt that would never " answer in the success, as it was *' imagined the town would not " taste Milton's beauties, or at " least would think it too heavy "" an entertainment for a whele ♦' evening, to hear only fine poeli- " cal sentiments and moral in- " structions. But the event was " the very reverse. Every night it "■ was performed, the audience re- " ceived it with the utmost satis- "■ faction and delight, and were " no where more attentive than " in those scenes where there were *■' such excellent lessons of mo- '' rality." (Universal Spectator, COM No. 4»;4.) To the success of this alteration the exquisite music of Dr. Arne must have very much contributed. A very good judge, however, observes, that " whilst the musi- " cian's skill was applauded to the " skies, the poem itself was either " not attended to, or only occa- " sioned weariness and satiety, " It will be allowed by all, that, " had it not been for the ornament " of the songs, the dramatic part " could not have lived to a second " night : and the whole piece, " since the music has lost great " part of its champs with its no- "■ velty, is now scarcely able ta " hold up its head." 302. CoMus. Masque, altered from Milton, by George Colman. Acted at Covent Garden and the Haymarket. 8vo. 17723 8vo, 178O. This mutilation of Covins is adapted entirely for the singer, and cannot be approved ofj though Mr. Colman has assigned some reasons which are well calculated to soften censure. " Divine," says he, " as the arguments on tempe- " ranee and chastity, and the de- '' scriptive passages, are, the most •■' accomplished declaimers have " been embarrassed in the recita- " tionofthem. The speaker vainly ' ' laboured to prevent a coldness and " languor in the audience ; and it " cannot be dissembled, that the " masque of Comus, with all its " poetical beauties, not only raain- " taincd its place on the theatre " chiefly by the assistanceof music } " but the music itself, as if over- "■ n helmed by the weight of the " drama, almost sunk with it, and " became in a manner lost to the " stage." He further adds, '* that " the festivity of the cliaracter of " Comus is heightened by his as- " sisting in the vocal parts, as well I 3 116 CON " as in the dialogue ; and that "■ theatrical propriety is no longer " violated in the character of the " Lady, sv ho now in\ okes the echo *' in her own per-on, without " absurdly leaving the scene va- " cant, as heretorore, while ano- *' ther voice warbled out the song *'^,'which the La ly was to be sup- *;* posed to exrcute." ' 303. CoMus. A Mask, pre- sented at Ludlow Castle, l6o4, before the Earl of Biidgew;'ter, then President of Wales, i^y John JSIiiton. With nofes, critical and explanatory, by various commen- tators, and prelimin-ny iilurtra- tions : to which is added, a copy of the Mask from a MS. belonging to His Grace the Dwke of Bruige- water. By Henry Jolin Todd. Svo. 179s. Printed nt C:uiterbury. Mr. Todd gives a full account of Ludlow Castle, and of the Bridge- water family ; and adduces from the Italian poets several jiarailel passages, which had hitherto escaped notice, 304. The Conceited Duke. A Play, that tbriTjtrly belonged to the Cockpit Theatre, It i'^, how- ever, probably no other than The Nolle G«'«//t- /?!.'<« of Beaumont and Fletcher. 305. The CoNCEITfD I ADIES, Comedy, translated h-.yv Moiiere. Printed in Fonte's Cnnk Theatre, vol. iv. ; 12mo. 1/62. 300. The Conceited Pedlar. A Farce, by Tl-oni'.s R;;i.dolph. 4to. 1631. Sfe Amsiirpus.-^ Do"isley ack owledges having taken the hir.t of Iii< Toyshop fro^i The CoiiceiteA Ptdlnr. 307. TitP Conceits. APIay; entered on the books of the Sra- tione.s' Company, by R. Marriot, ISJov. 29, 16533 but probably not printed. 30s. Il Concl.'.ve del 177^' CON Drama per Musica. Italian and English, Svo. 1774. A Inirlesque on the election of the pope, 309. The Confederacy. Com. by Sir John V.,nbrugh. Acted at the H.ymarket. 4to, 1705, This is a very pleasing comedy, and full of bu^iiit-ss ; the characters are natural ; and although there n;ay seem somt-what improbable in the arfiir of Di'^k and Brass, yet, as many strange things are undoubt- edly done in the fortune-hunii.^g scheme, it can scarcely be deemed impossible ; the language is pleas- ing, and the plot of the two wives against their husbands well con- ceived and admirably executed. It is not, however, to be regarded as the chf d'auvre of this witty and ingenious author ; being in truth only a translation, something improved, of Les Bourgeoises a la Mode of Mons. D'Ancourt. On this drama. Lord Gardenstone is p.lrt'cularly severe. He says, " This is one of those phiys which " throw infamy on the English ** stage, and gesieral taste; though " it is not destitute of wit and " humour. A people must be in " the last degree depraved, among " whom such public entertain- " ments are produced and encou- " raged. In this symptom of de- " generate manuei-s we are, I be- " heve, unmatched by any nation '* that is or e\ er was in the world." 310. The Confederatfs, A Farce, by Joseph G.iy. Svo. 17^7- This piece is written in rhyme, and, although the name put to it is a fictitious one, contains a consi- derable share of humour. It is a very severe satire on a farce writ- ten, in confederacy, by t!ie three great geniuses, Pope. Gay, and Arhutlinoi, called Three Hours after Marriage, which met with diiapprobation. The real author lip CON of the present force (which was never acted) was Captain John Durant Breval : whom on this ac- count Mr. Pope has thought pro- per to lash, as he did every one whom he either disliked or feared, in the Dunciad. 311. The Confession. Com. in five acts, by Whyte. Per- formed at Edinburgh, 1/99. "We have not seen this piece in print. 312. Confined in Vain; or, A Double to do. Farce, by T. Jones. 8vo, 1805. This piece, which we believe was never acted, does not want for humour; and, if well performed, might probably be well received on the stage. It does not, however, exhibit much originality of character. 313. The Conflict ; or. Love, Honour, and Pride. Heroic Com. by Hannah Brind. This is an alteration from P. Corneille's Don Sanch.e d Aragon, and is printed In a volume of plays and poems, 8vo. 1/98; but was probably never acted, 314. An excellent new Comme- die, intituled The Conflict of Conscience. Contayningea most lamentable example of the dole- full desperation of a miserable worldliui^e, termed by the name of Philologus, who forsooke the truelh of God's Gospel, for feare of the losac of lyfe, and worldly goods. Compiled by Nathaniel Woodcs, minister in Norwich. The actors' names, devided into six partes, most convenient for such as be disposed, either to shew tliis c&medie in private houses, or otherwise. Prolo'jue Mathetes Conscience l-.cphinitias (or one Hypocrisie Theologas for one Satlian Tyrannye Spirit Horror Eusebius Caidinal CON Cacon for one Avarice Su^^estion Gi--bertus Vuntius Philologus for one for one for one At London. Printed by llicharde Bradocke, dwelling in Aldermen- burie, a little above the Conduct. Anno 1581. Bl. 1. This piece is in six acts. 315. The Congress of Cri- TICS, An Interlude, printed in The General Advertiser, and MorU' ing Intelligencer, 1/83. 316. The Congress of the Beasts. Under the Mediation of the Goat, for negotiating a Peace letiveen the Fox, the Ass wearing the Lion's skin, the Horse, the Ti- gress, and other Quadrupedes at war. Farce of two acts, now in rehearsal at a new grand Theatre in Geruiany. 8vo. 1/48. This is entirely political. 317. Conjugal Fidelity. Com. translated from Plautus, by Richard Warner. Svo. 17/2. Plau- tus has called this comedy Stichus, the name of a slave w ho is the principal character in it. " It " may be worihy of observation," says Mr. Warner, " that Plutarch, " in his life of LucuUus, when he " is observing upon the debauched " old age of thatPioman, compares " it to the old comedy." It is true, in LucuUus's life, as in the old co- medy, we meet with policy and action in tiie beginning, and good eating and drinking in the end ; and indeed scarce any thing but fe3stings,andrevellings,and sports. " T!iis is so much the case of this " comedy of Plautus, that the " senliment, ifnot the very words, " seems particularly applicable to " it." 318. The Conjuror. A Farce, . I 4 120 CON by Miles Peter Andrews., Esq. Acted April 29, l/Ji, at Drury Lane, for the benefit of Mr. Brere- ton. Not printed. 319. Thj; Coniuror; or. The Scotsma?2 in London. Farce of three acts, by Archibald M'Laren. 12mo. 17&I. Printed at Dundee 320. The Coxjurou ; or. The Enchanted Garden. A MS. sold as part of the library of the late Mr. Arthur Murphy. 321. Conn A n,Pkince OF Corn- wall. Play, by Mich el' Drayton, in conjunction with Thomas Dek- ker. Acted 1598. Not printed. 322. The Connaught Wife. Com. of two acts. Pevtbrmed at Smock Alley, Dublin. 8vo. 1767. Thi's is, without any acknowledg- ment, merely Hippisley's Jomnet/ to Bristol, altered in different parts, to adapt it to performance in Ireland. 323. The Connoisseur ; or. Every Man in his Folly. A Com. by ConoUy, Acted at Drury Lane. 8vo. l/SC. This piay is intended to ansv^er the same pur- poses of ridicule with Shadwell's Virtuoso, and Footc's farce of Taste. It is, however but inditfcently executed, and met \\\xh no success. 324.THsCoNarEsT oi Brute, with the first Finding (f the Bnth. Play, by John Singer, assisted by Driy and Chettle. Acted in 1.'598. Not printed. 325, The CoNauESX of Ca- nada ; or. The Siege cf Quclec. Historical Tragedy, of five acts, by Geoige Cockiiigs. Svo. 1/66. A miserable conr.poeition, neither prose nor verse. 326. The CoNauEST of Chi- na BY theTart.\rs Trag. by E. Settle. Ac'"d at fho Duke's Thea- tre. 4to. 1676, This pl;'y is writ- ten in heroic verse, ard the plot founded on history, which may be CON seen by referring to Heylin's Cos- mog. Palafox's Conquest of China, kc. 327. The CoxauEST of Chi- na. Trag. A play with this title appears to have been written by Sir Robert Howard, and was in- tended to be revised by Mr. Dry- den. It was, however, never either acted or printed, and is now probably lost. See Dr. Johnson's Life (f Dry den. 328. The Conguest of Cor- sica BY the French. Trag. by a Lady. 12mo. i77^- Not acted. 320. Conquest of Granada. Tragedy, in two parts, by J. Dryden. Acted at the Theatre Royal. 4to. IG72 ; 4to. I68I. These two plays met wiih great success when performed; on which account, as it should seem, Lang- baine, who is evfer strongly pre- judiced aeainst this prince of English poets, has taken amazing paint to point out how much he has borrowed for the forming of these pieces from the celebrated romances of Almahide, Grand Cy- ms, Ibrahim, and Gu/man. Yet surely this envy was entirely un- necessary ; since, as the plot of the piece is built on history, it should rather be esteemed as a merit, than a blemish, in the author, that he has, like an industrious bee, collected his honey from all the cho';; est flowers which adorned the field he was traversing, whether the more cultivated ones of Se- rious, or the wilder of romantic hist.iiy. They are, liowever, writ- ten in a manner so different from the present taste, that they have been long laid aside. Dr. Johnson, with his usual energy of style and propriety of criticism, observes, that these two plays are written with a seeming detenu i nation to glut the public 121 CON with dramatic wonders ; to exhi- bit in its highest elevation a thea- trical meteor of incredible love and impossible valour, and to leave no room for a wilder flight to the extravagance of posterity. All the rays of romanti:: heat, whether amorous or warlike, glow in Al- manzor by a kind of concentra- tion. He is above all law ; he is exempt from all restraints ; he ranges the world at will, and go- verns wherever he appears. He fights without inquiring the cause, and loves in sjjite of the obliga- tions of justice, of rejection by his mistress, and of prohibition from the dead. Yet the scenes are, for the most part, delightful ; they ex- hibit a kind of illustrious depra- ' vity and majestic madness : such as, if it is sometimes despised, is often reverenced, and in which the ridiculous is mingled with the astonishing. SeeALMAHiDE and Hamet. 330. The CoNGUEST of Spain BY John of Gaunt. By William Haughton, in conjunction with Hathwaye, Hawkins, and Day. Acted iGOl, but not printed. 331. The CoxauEST of Spain. Trag. 4 to. 1/05. Acted at the Queen's Theatre in the Hay- market. .Scene Spain. It was done by Mrs. Pix ; but the whole plot, and some of the language, is borrowed from Rowley's Alts Lost I'll Lust ; of which tlie comic part is omitted. Mrs. Pix, no doubt, was aware that some one would discover the plagiarism ; and therefore she did not put her name to the play, when it was printed ; as she did to her others. It was laiJ aside after the sixth performance. 332. The CoJiauEsr of St. pusTATiA. Int. Acted at Drury X^anej 17SI. Not printed. CON 333. The CoNauF.sT ©f the West Indies. Play, by Wil- liam Haughton, in conjunction with Wentworth Smith and John Day. Acted 1601. N. P. 334. Conscience. Trag. trans- lated from Iffland, by Benjamin Thompson. 8vo. 1800. Never acted. 335. The Conscientious Lo- vers. Com: by C. Shadwell. This play is included in Mears's Cata- logue ; but we are doubtful whe- ther it was ever printed. 330. The Conscious Loveus. Com. by Sir Richard Steele. Act- ed at Drury Lane. 8vo. 17^1 j Svo. 1723. The general design of this celebrated comedy, which had been written some years be- fore it was acted, and at first in-* tended to be called The Unfashion- able Lovers (or, as some say. The Fine Gentleman) , is ta-ken from the Andria of Terence ; but the author's principal intention in writing it was, as he himself in- forms us, to introduce the very Ane scene in the fourth act between ^oung Bevil and Myrtle, which sets forth, in a strong light, the folly of duelling, and tlie t:bsurdity of what 13 falsely called the point of honour; and in this particular merit the play would probabiy have ever stood forciuost, had not that subject been since more amply ar.d completely treated by the ad- mirable author of Sir Charles Gran- di'^on, in the affair between that truly accomplished gentleman ap.d Sir Plargrave Pollexfen. See Sir Charles Grandison, vols. i. and ii. This play was acted twenty-six nights the first season : yet, before it appeared, it excited the envy and '!i-humour of Dennis, who, while it was in rehearsal, published a pamphlet (alluding to Sir Ri- chard Steele's censure of Etherege's 123 CON Man c/ Mode, in The Spectator, No. -65), under the following ti- tle; " A Defence of Sir Fopling *' Flutter, written by Sir George ** Etheridge: in which Defence is " shown, that Sir Fophng, that " merry Knight, wns rightly com- *' posed by the Knight his Father, " to answer the Ends of Comedy; " and that he has been barbarously " and scurrilously att^kcd by the "■Knight his lirotlier in the 6.5lh ** Spect...or ; by which it appears, " that the Knight knows nothing ** of the Nature of* Comedy." The scurrility of this pamphlet (which was intended to prejudice the public against Steele's forth- coming play) is implied in the title-page ; and in the course of his writing he not only reflects illiberally on Steele for being an Irishman, but foolishly calls him a twoj)ennv author, because he wrote the Tatlcrs, Spectators, and Guardians ! In tine, he promised a criticism on The Conscious Lovers, when it should appear on the stage : which criticism (saysVictor),when it appeared, " was allowed by all " to be the most civil, and there- '' fore the dullest, of all his cri- " tical writings." This was the first play acted on the secession from Fleetwood, Sept. 20, 1743. 337. Co^-SEauENCEs; or, The School for Prejudice. Com. by Edmund John Eyre. Acted at Worcester, and other provincial theatres, 8vo, 17()4. 338. The Conspiracy. Trag. bv Henry Killigrew. Ito. 1(J3S. This piece was intended for the entertainment of the King and Gueen at York House, on occa- sion of the nuptials of Lord Charles Herbert with Lady Mary Villiers; and was afterwards acted on the Black Friers stage. It was written CON at seventeen years of age 3 and the commendation bestowed on it by Ben Jonson and Lord Falkland created the author some envy among his contemporaries. The edition above mentioned is a .sur- reptitious one, published while Kil- ligrew was abroad, and without his consent or knowledge. He after- wards, however, gave the world a iTiore genuine one, in fol. lGo3 ; but was so much ashamed of this first edition, that, to prevent its being known to be the same piece, he altered the name of it to Pal- lanlus and Einhra ; which therefore we would recommend to the reader. The scene lies in Crete. 339. The Conspiracy ; or. The ChaiinenfGovernmevt. Trag. by • W. Whitaker. Acted at the Duke's Theatre. 4to. lOSO. This play is written in rhyme, the PLpilogue composed by Ravenscroft, and the scene lies in Turkey. 340. The Conspiracy. Trag. by Robert Jephson. Acted at Drury Lane, 1796. This piece is taken from the Clemenzn dc Tito of Metastasio ; of which an en- larged translation was published by Mr. Cleland in 176O. It was acted but three nights. 8vo. 17g6. 341. Co^sriRACY and Tragedy of Charles D'jkf. of Byrox, Mar- shal of France. Two plays, by Geo. Chapman. Acted at Black Friers, 4to. 16O8; 4to. 1625. These pieces nw both founded on history ; and their plots may be seen in Mezerny,D'Avila, and other histo- rians on the reign of Henry IV. of France. 342. The Conspiracy Disco- vered ; or, French Policy De- feated. Hist. Dram, from Sliak- speare. Acted . at Drury Lane, 1746. Not printed. 343. The Conspiracy of 123 CON GowsiE. Trag. 8vo. 1800. Ne- ver performed ; but written with considerable spirit. o44. The Conspirators. A Tragi-comic Opera, as it was acted in England and Ireland without applause. 8vo. 1749. It was print- ed at Carrickfergus, as the title declares, and is a Idressed to the people of Great Britain and Ire- land, where the scenes are laid, by a much-injured pennon in the dra- ma. It is also said to be formed on an event sufficiently notorious. 345. The Constant Couple; or,. A Trilj to the Julllt-e. Cora. by G. Farquhar. Acted at Drury Lane. 4to. J/OO. This is a vf-ry genteel, l.veiy, and entertaining piece \ it met witli great success at its first appearance, being per- formed fi.fty-three nights, and is always well received v/henever it is represented, ft has been said, that the author, in his principal character, of Sir Harry Wildair, meant to present the public with his own portrait} but as the same has also been surmised with re- gard to his Captain Plume and his Young M.ribel, we cannot help making one remark on this opi- nion, which we think must do honour' to the author j viz. that such a general belief could arise from nothingbut that resemblance, which must have been apparent to thu-e who knew him, between him and these elegant and pleas- ing characters : for it is scarcely to be imagined, that a man of the generous, open, familiar, and dis- sipated cast of character that such a resemblance implies him to have been, could be so much of an egotist as intentionally to make himself the principal in every piece he sent into the world ; and yet it is, perhaps . scarcely possible for any writer^ who is to draw characters CON In real and familiar life, not to throw into that which he intends to render most amiable and im- portant, so much of his own prin- ciples, opinions, and rules ot ac- tion, as to render a resemblance very apparent to those who are familiar with his complexion of mind and general turn of character. Of this we have numerous in- stances, in writers of other kinds 1;han the dramatic; Joseph An- drews, Tom Jones, and Captain Booth, have been ever acknow- ledged as the characters of their ingenious author 3 nor can any one deny a similarity between Sir Charles Grandison and his esti- mable author : and, to conclude the observation, we cannot think it improbable, that, were we close- ly to examine the comedies of the latter half of the seventeenth cen- tury, we might find out in their heroes and heroines the genuine portraits of the Behns, Durfeys, Wycherleys, and Cenllivres, of those periods of gallantry and li- centiousness. The part we have been speaking of, is not in itself very elegant; but the peculiar me- rit of Mr. Wilks, in the perform- atice ot it, has certainly been hi- therto unequalled ; nor can there be a stronger proof of it, than its having been so frequently since performed by women, where a partiality to the sex might be urged to excuse some little defi- ciency in point of execution. The early writers of the English dra- ma appear to have made free, without scruple, with any mate- rials for their dr:»mas which fell in the wav. The present is a re- markalile instance. In the pre- ceding year, 1699, was published a small volurne, entitled " TIk " Adventures of Covent Garden, " ia Imitation of Scarion's City 124 CON " Romance," 12rr!o.a piece with- out the slightest degree of merit j yet from thence our author took the characters of L;idy Lurewell and Colonel Standard, and the in- cidents of Beau Clincher and Tom Errand's change of clothes, witli other circumstances. The character of Sir Harry Wildair, however, ttill remains -he property of the au- thor, and he is entitled to the cre- dit of the general conduct of the piece. Perhaps his only f ;ull may have been in not acknowledging the writer, contemptible as he is, to whom he had been obliged. S[r Richard Steele, in The Taller, iSo. 19, says, ♦' This performance *' is the greatest instance we can *' have of the irresistible force of " proper action. The dialogue in " itself has something too low to "■ bear a criticism upon it ; but " Mr. Wilks enters into the part /'with so much skill, that the *' gallantry, the youth, and gaiety, " of a young man of plentiful "" fortune, is looked upon with as *' much indulgence on the stage *' as in real life, without any of *' those intermixtures of wit and *' humour which usually prepos- *' scss fas in favour of such cha- " racters in other plays." 34(5. The Constant Lovers ; or. The Sailor s Returi:. P. by Ged Duncan. 8vo. I/pS. 347. The Constant Maid. Com. by James Shirley. Acted at the Nursery in Hatton Garden. 4to. ]C40. The greater part oi this play is borrowed frcjm ethers, particularly the circumstance of Hartwell's courting the widow Bellamy by the advice of his friend riayfair ; which, although the ba- sis of all the principal business of the piece, has been made use of in manv comedies bo'h anci^^nt and C O N modern. See Love will fino OUT THE Way, 348. The Constant Maid j or. Poll of Phjinouth. Mus.Ent. Performed at the Royalty Theatre, 8vo. l/S/. 349. The Constant Nymph j or. The RambUni^ Sh-.fhcrd. A Pastoral. Acted at the Duke's Theatre. Anonym. 4to. 16/8. This piece was written by a person of quality, who tells us (as most authors, whose pieces do not suc- ceed, are desirous of finding out any other cause for their failure, than want of merit) that it suf- fered much through the defects of setting it off when it came upon the stage. The scene is Lucia in Arcadia. 350. Constantia. Trag. in three acts, by Mrs. Hughes. 8vo. l/PO- Printed in a volume with tM'o other Moral Dramas intended for private Representation. 351. Constantine. Play, Act- ed at the Piose Theatre, March 21, 1591. N. P. 352. Constantine. Trag. by Philip Francis. Svo. 1/54. Acted . at Covent Garden. It met ■with veiy ill succes.-;, although not by many degrees the worst of the productions of that season. 353. Constantine Paleolo- Gus J or. The la-it nf the Ccesars. Trag. by Joanna Baillie. Svo. 1804. Never acted. This play is writ- ten with warmth and spirit, and abounds with noble sentiments. 354. Constantine theGreatj or. The Tragedy of Love, By N. Lee. Acted at the Theatre Royal. 4to. l6S4. The scene of this play is laid in Rome, and the plot founded on real historj-; for whicli see various historians of the life of tliat emperor, and particularly Am- mianas Marcellinus, by whom the 125 CON story of Crispus and Fausta is very circumstantially related. 353. The CoNsuLTATiow. F. Performed at the Haymarket, 1 705 . See Burney's History of Music, 4to. vol. iv. p. 200. '65Q. The Contending Bno- THERs. Con), by Henry Brooke, evo. 17/8. Not acted. This play is lormed on the plan oi Farquliar's Twin Rivals. 357. The Contented Cuc- kold; or. The Woman'' s Advocate. Com. by Reuben Bourne. 4to. 1692. Scene London. It was never acted. 358. The Contention be- TWEENE LiBETvALITIE AND PllO- DiGALiTiE. yl pleasant Comedie plriy'd before Her Mnjcstie. 4to. 1062. This piece is anonymous ; but, by a passage about the con- clusion of itj appears to have been written in the 43d year of Queen Elizabeth's reign, consequently about the time of Its publication. The original compiler of thepresent work (Mr. Baker) was deceived by thetwood, whom he followed, in asserting, that Liberalitie and Prodi- galitie, a Masque of much Moralitie, was printed in \55g. There is no such masque. Tlie drama above- mentioned is a comedy ; nor has any edition but that of l602 been hitherto discovered. 359. The whole Contention between the two famous Houses, Lancaster andYorke, with the tragicall Ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the Sixty divided into two parts. 4to. 1600. There is very little difference between this and Shak- speare's Second Part of Henry VI, as published in 1023 by Hemings and Condell. 360. Contention for Ho- \ouR AND RjcHES. A Ma'sque, CON by James Shirley. 4to. 1633. Thij was originally Uo more than an interlude or entertainment ; but was afterwards enlarged by the author to the bulk of a comedy, with the title of* Honoria and Mammon ; which see. 361. Contention of Ajax and Ulysses for the Armour of Achilles. An Interlude, by James Shirley. 8vo. 1659. The plan taken from the 13lh book of Ovid's Metamorphoses. 362. The Contest of Beauty AND Virtue. M. translated from Metastasio by Dr. Arne, for the celebration of the nuptials of the King and Queen. Performed at Covent Garden. 4to. 1773. 30'3. The Contract. Com. of t wo acts, by Dr. Thomas Franck- lin. Performed at the Haymarket. 8vo. 1776- This is a poor per- formance, founded on Destouchqs' V Amour Use, and met with no success ; being nearly condemned, notwithstanding the King and Royal Family were present.- Foote told his friends, that, when he lighted the King to his chair. His Majesty asked who the piece .was writlen by. " It was written (says " the wicked wit) by one of your "Majesty's chaplains; but it is. " dull enough to have been writ- " ten by a bisliop." 3(3-1. The Contract; or, Fe- viale Captain. Farce. Acted at Drury Lane, 1779; and after- wards, under the latter title, at the Haymarket, ] 7S0. N. P, It met with no success. 365. The Contract. Com. Op. by Robert Houlton. Acted at Dublin, 1783. This piece, we believe, has not been printed. 366. The Contrast; or, A tragical comical Rehearsal of two moderji Plays, and the Tragedy of Epaminojidas. This play was writ- 126 CON ten by Drs. Benjamin and John Hoadly ; and first acted at Lin- coln's Inn Fields, April 30, 1/31. Xt was performed three times, with no success, and was never printed. The plan of it \ias a rehearsal of two modern plays, a tragedy and a comedy, and was intended to ridicule the then living poets ; among whom we find, by The Grub Street Juurnal, Mr.Thomson, author of Tlie Seasons, w as to be numbered. At tlie desire of Bi- shop Hoadly it was suppressed, and every scrap of paper, copy, and pari, recalled by Mr. Rich, and restored to the authors. Mr. Fielding availed himself afterwards of the same design in his cele- brated and popular performance, called Pas&uin. 367. The Co.s'Th.vst. Dram. Past. 8vo. 1/52. This wa= printed in a periocicai work, called The General Rcvieir, No. 5. 363. The Contrast; or, The Jew and M irried CourtezajK F. by Mr.Yv^aldron. Acted one night atDruryLane, May 12, 1/75, for the benefit of himself and Mrs. Greville. Not printed. 369. The Contrast. Com. in five acts. Performed with ap- plause at New York, Philadelphia, and jNIaryland. 8vo. Philadelphia, 1790. This piece, the title-page says, was written by a citizen of the United States ; and the Pro- logue calls upon the audience to exult, that a piece was exhibited ■which they might fairly call their own, *' Wheie the proud titles of My Lord! Your Giace ! ** To humble Mr. and plain Sir, give place." It possesses liitle merit either in plot or cliaracter. The preface claims indulgence for the author ; as being tlie firit essay of American CON genius in a difiicult species of com" piosition, and as being written by one wlio never critically studied the rules ot the drama, and had seen but few exhibitions of the stage. In the former assertion there is a mistake. See The Pkince of PAhTiiiA, and The Patriot ChieI'". We are also in- formed, that it was underiaken and finished in the course of three weeks. 370. The Contrast. Com. in two acts, by Mr. Wilton. Per- lormed in Calcutta, Dec. 17^9, and said to be the first eitort of the dramatic Miise in that coun- try. Soaie circumstances might lead us to believe that this was the same as the foregoing. But in the first place, this had but two acts, the other five. The Pro- logue to this had no such hues as are above quoted 3 but the author asked, " Way he not hope that in the polish'd East '• His Muse, if chaste, shall be with plaudits bless'd ?" 371. The Contrast: or, The Mayoralty of Truelorou^li. Com. by E. Smith. Of this piece we know no more th.ni the name : it was probably a provincial pro- duction. 372. The Contretems ; or. Rival Queens. A small Farce, as it teas lately acted icith great ap- plause at H — d — rs private Th — re near the H — y M — /. Anonym. 4to. J 727- Ihis piece was never intended for public representation; but was written only in ridicule of the confusion which at that time reigned in the King's Theatre in the Haymarkct, in consequence of the contests for superiority be- tween the two celebrated Lalian singers, Signora Faustina and Sig- nora Cutzoni^ the divided opinions 1 12/ C O N of the public with regard to their respective merits, and the insolent airs of importance assumed by them in con'sequence of the public fa- vour shown to theni. In the Dra- matis Personse, which consists ch- tirely of the peisoiis belonging to that theatre, Heidegger, the ma- nager, is charriCterized as high priest of Discord; and that great com])Oser, Mr. Handel, is styled Professor of Harmony. Wecannoton thisocc.Tsion avoid taking notice of the careless man- ner in which new editions of some authors' works have been executed, from the ignorance of the persons to whose care they were intrusted. In a republication of Colley Gib- ber's plays, this piece is inserted, in- stead ot^rHERivALQuE AX s J which see in its place. We have heard, however, that: this blunder was occasioned by the late George Stee- vens, Esq. of Hampste.^d, a lover offu/j, who actually furnished the copy from whic'n The Con tre terns was printed in Gibber's works. 373. The Gontrivances ; or. More Ways than one. A Farce, by Harry Carey. Acted at Drury Lane. 12mo.'l7]5 ; Svo. 1729; 4to. 1743. This is a very enter- taining piece, and had good suc- cess, Arethusa, in this farce, used to be the probationary part for fe- male singers, before they were bold enough to venture upon cha- racters of more consequence : a mode of conduct which v\'ould be more serviceable to the stage, than beginning, as is usual now, with stepping on the top round of the ladder at once ; a circumstance which precludes ascension, and jiicrrases the danger of a fall. 374.TheGon-vent. M.D. by John Rannie. 8vo. No date. Ne- ver performed. 37''- The Convent of Ple v- • C O Q SURE. Com. by the Duchess of Newcastle. l6tiS. This is one among many of the pieces of this voluminous female author, which have never been perforn:ed, and perhaps very seldom read. 376. The Conversation op A Father with his Children 5 or. The Danger of disregarding the Laivs. Translated from Ges- ner, and printed at Edinburgh. 8vo. 1792. Never acted. 377- The Converted Courte- zan. The first part of Dekker's Honest Whore was originally print- ed under this title, but in what year is uncertain ; the only copy- that we have seen wanting the title-page. We suspect, however, that it was printed in 1004. 378. The Converts; or, The Folly of Priestcraft. Com. Anon. 4to. 1690. Langbaine gives this piece the highest commendation ; allotting it, in point of ingenious and judicious satire, the next place in rank to Wycherley's Plain Dealer; yet hints, that it may give umbrage to the priests and bigots of the Romish religion. 379. The Cooper. Musical Entertainment. Acted at the Hay- market. Svo, 1772. Set to music by Dr. Arne, who was also sus- pected to be the author of it. It appears, however, to be little more than a translation from a French piece called Le Tonnelier, the hint of which was originally taken from Boccace. Without possessing much merit, it was well received. 380. The CoauET; or, The English Chevalier. Com . by Charles Molloy. Svo. 171 8. Acted at the Theatre in Lincoln's Inn Fields, with applause. 381. The Coquet. Musical Entertainment, by Steph. Siorace, sung at ?,rarybone Gardens, Svo 1771. This is a iranshition from 12S COR the Italian of Goldoni, and adapted to the origin:d music of Galluppi. 3S2. The CfftUEx's Surren- der ; or. The Huvwrous Punster. Com. Anonym. 1733. TJiis play, when originally brought on tlie stage at tlie Haymarket, was called *' A sort of a thing (if yoa please " a Comedy), acted by the de- •■' sire of all well-disposed people " for the benefit of the author ;" nnd is the same as was published, in 1733, under the litle of The Court Lady ; or. The CuqueCs Surrender; which is said to have been written by a lady. See The Court Lady. 383. The Coquette. Burl. Acted at tlie Haymarket, l/Ol. N. P. 384. The CoauETXEj or, The Mistakes of the Heart. Coin, by Robert Hitchcock. Acted at York and Hull. 8vo. 1777. Printed at Bath. This piece is taken from Mrs. Heywood's novel of Betsij Thoughtless, and is not without merit, 385. The Cosuettesj or. The Gallant in the Closet. Com. by Lady Houston, sister to LordCath- cart. This piece was put into the hands of the late James Bo.swell, Esq. while he was at Edinburgh college, with a strict injunction that its author should be concealed. Mr. B. had it brought on the stage (probably in Scotland), and wrote the prologue to it, which was spoken by Mr. Parsons. But it was not successful ; being condemned the third night, and not unjuitly j for it was found U be rh-.efly a translation of one oi tiie bad plays of Thomas Corneill' . Not printed. 386. Cora 5 or. The yi gin of the Sun. B. F. by J. C. Cross, Acted at the Pioyal Circus, and published in Circusiaaa. 12mo, iSOp. COR 387. Cordelia. Trag. in five acts, by Mrs. Hughes. Printed in a volume with two other *3/ora^ Dramas intended for private Re- presentation. Svo. 1790, 3SS. C'jRiOLANUs. Trag. by AV. Shakspeare. Fol. l623. The plot of this play is taken from history, viz. from Plut^irch's Life of Coriolanus. The scene lies partly in Rome, and partly in the territories of the VoLscians, Dr. Johnson says, it is one of the mo.>5t amusing of our author's per- formances : " The old man's mer- '* riment in Mencpius; the lofty " lady's dignity in Volumnia ; the " bridal modesty in Virgilia ; the " patrician and niilitiry haughti- " ne?s in Coriolanus ; the plebeian " malignity and tribunitian inso- " lence in Brutus ;!nd Sicinius j " make a very pleasing and inte- " resting variety ; and the various " revolutions of the hero's fortune " fill the mind with anxious cu- " riosity. There is perhaps too " much bustle in the lirst act, and " too little in the last." 389. Coriolanus. Trag. by James Thomson. Acted atCovent Garden. Svo. 1748} Svo. 1749. Our pleasing poet's principal merit not lying in the dram.atic way ; and this, though the last, being far from the best of his wt>rks, even in that way ; we cannot pay any very exalted compliments to the piece. I'he style of it is, like the rest of the author's writings, ill calcu- lated to excite the passions. Dr. Johnson observes, this tragedy was, by ihe z.r'al of Sir George Lyttel- ton, brought upon the stage for the benelit of Thomson'? family > and recommended by a Prologue, which Quin, who hi?d long lived with him in fond intimacy, spoke iu such a manner as showed him. i2g COR tn le, on that occasion, no actor. The commencement of this be- nevolence is very honourable to (-iiiin ; who is reported to have delivered Thomson, then known to him only for his genius, from an arrest, by a very considerable present ; and its continuance is honourable to both ; for friend- ship is not always the sequel of obligation. Bv this tragedy a con- siderable sum was raised ; of which part discharged his debts, and the rest was remitted to his sisters ; whom, however removed from them by place or condition, he regarded with great tenderness. 3Q0. CoRioLANUS ; or. The Rotiuui Matron. Trag. by Thomas Sheridan. Acted at Covent Gar- den, gvo. 17.55. This piece was composed from the two former plays byShakspeare andThomson; and, being assisted by a splendid ovation, had some success. 391. CoRioLANUs ; or, The Roman Matron. Tragedy, altered irom Shakspeare and Thomson [by J.P.Kemhle]; and acted at Druiy Lane, Feb. l/SQ. This alteration has generally been ascribed to Mr. Wrighten, the prompter. It was well received. Mr. Kemble's per- formance of Coriolanus is allowed to be a masterpiece in the art of acting. 8vo. l/SQ. 392. Coriolanus ; or, The Roman Matron. H. P. adapted to the stage, with additions from Thoinson, by J. P. Kemble. Act- ed at Covent Garden. 8vo. I8O6. 393. Cornelia. T. 4to. 1594. D.C. See PoMPEY THE Great, &:c. 394. Cornelia. Play, by Sir W. Hartley. Acted in Gibbon's Tennis Court, Vere Street, Clare Market, \662. N. P. 395. Cordelia; or, A Roman Matron s Jewels. Dram. Anecd. by J. P. Roberdeau. Performed, TOL. II. COR in 1805, at the Chichester, Ports- mouth, and Southampton Thea- tres, with great applause. The foundation of this one act piece is the well-known story of Corne- lia (Scipio's daughter) showing her numerous progeny, as her richest ornaments, to a vain-glo- rious Roman lady Printed in The Spirit of the Public Journals, vd. xiii. 12mo. 1810, 395. The Cornish Comedy. Acted at the I'heatre in Dorset Gardens. 4to. 1596. Scene Corn- wall. This play was published by George Powell, who, in a dedica- tion to Christopher Rich, Esq. says, it was the conception of a few loose hours, and committed by the author to his handi to dispose of in the world. 397. Cornish Interludes, Of these there are three in the Bodleian library, written on parch- ment. B. 40. Art. In the same place is also another, written on paper in the year I6IJ. Arch. B. 31. Of the last there is a trans- lation intheBritishMnseum. MSS. Harl. 186'7. 2. It is entitled the Creation of the World, It is called a Cornish play or opera, and said to be written by Mr. William Jordan, The translation into English was made by John Keigwin, of Moushole, in Corn- wall, at the request of Trelawney, Bishop of Exeter, Of this William Jordan we can give no account. Of his translator it may be ob- served, that ainong the many va- luable MSS. in Lambeth library (80(3, 16), there is a very long poem, in stanzas of four lines, en- titled, " Mount Calvarie ; or, " The History of the Passion, " Death, and Resurrection, of our " Lord Jesus Christ, written in " Cornish (as it may be conjec- " tured) some Centuries past; in- J30 COR " terpreted in tlic English Tongue " by JcjIhi Ktisrwin, Gent." 3()8. 1'he Cofnish SttUiKE. Com. by Sir John Vanbnigh, Con- greve, and Walsh. Acted at the Hnymarket, 1706. This is founded almost entirely on the Siciir Fuiir- cenugnac ot Moliere. In the yeai' 1734,tliis piece \vas,byMr.R:dph, brought on the stage at Drury Lane, and published in Svo. In tlie preface he says, '• when it ** \V35 first played by sub-cription, " so great were the expectations " from it, that the pit and bo.xes " were laid together at half a gui- " nea, and the gallery at a crown: " that thovigh Sir John Vanbrugh " was by many reputed the sole ** author of it, yet it was currently " rept)rted, at the time of iis re- " presentation, tliat he wrote it in '• conjunction with ]Mr. Walsh and ■' Mr. Congreve ; each of tliem '' being supposed icj have done an " act a-piece." This account is conhrmeil by a letter of -Mr. Con- greve's lately published, dated May 20, I7O-I, in which he says, '■ The " translation you speak of is not " altogether mine; for Vanbrugh " and Walsh had a part in it. " Each did an act of a French " farce. !Mine, and I believe " theirs, was done in two morn- " iiigs ; so there can be no great " matter in it. It was a compli- " ment made to the people of "^ quality at their subscription mu- *' sic, withovit any design to have " it acted or printed further. It " made people laugh; and some- •' body thought it worth his while " to translate it again, and print " it as it was acted : but if you " meet sucli a thing, I assure you " it was none of ours; which I " don't think will appear again " after next week, when our *\ Bcip-hbour !!> to have it acted COR '' for her benefit." Literary Re- lics, Svo. 17^9, p. 337. — it ap- pears by Mr. Ralph's preface, that the copy came to him imperfect in some places, which imperfec- tions he had supplied in the best manner he could; that he hsd taken the liberty to set aside some incidental jokes, which v/ere merely tlie growth of the times, and could not then be understood without a glossary. He also pro- fesses to have altered some inele- gancies at the end of the first acr, which the then delicate taste of the age would hardly endure. See Monsieur de Pource.^u- GNAC ; or, Si/idra Trelooiy. 39y. CoRON.V MiNERV.E. A Masque. "Presented before Prince " Charles, his Highness the Duk© " of York his brother, and the " Lady Mary his sister, the 27th " of February, at the college of ** the Museum Minerv^ae." 4to. 1(335. Chetwood ascribes thit piece to I'homas Middleton ; but \Ae believe without foundation. It is very scarce. 400. The Coronation. Com. by J. Shirley. This play was printed in 4to. ]640; Svo. 1778; as John Fletcher's : but as Shir- lev laid claim to it, it is here re- stored to his name. Scene Epirus. 401. The Coronation of QuEf.x Elizabeth ; or. The Rt- sluraii'iii nf ike Frotesiant Fu'ligio//, and the Downjal nf the Pofn\ Ey W. R. 4ro. I6s6. This is no more than a droll of three acts, played at Bartholomew and South- war k Fairs. 402. The Coronation of DwiD. A Drama, written by Joseph Wise in 1763. Published at Lewes. Svo. 1766. 403., The Coronation. M. Entertain, 'oy Archibald Machreu. 12nriO. IS04. 131 COT 40-i. Thr Corpokal. Play, by Arthur Wilson. Entered on the books of the S'atioiiors' Com- pany, Sept. -1, lij'lO; but we be- lieve not printed. 405. CoRKUPTIONS OF THE DIVINE Laws. A dramatic Piece, mentioned by Bishop Bale in the catalo_i;"ue of his own works. 40(j. The Coksican Pirate; or. The Grand Master of Malta. JJ. by J. C. Cross. 8vo. 1S03. Acted at the Circus. 40/. Thk Corsicaks. Dram, in four acts, translated from the German of Kotzebue. 8vo. IJPy. Never acted. 408. Thk Corsicans. An un- fuiibhed Piay. By Charles Leftly. Choruses from this draai.i are in- serted at p. 151, ct seg. of The Poetical Register, and Repository of Fugitive Poetry, lor the year 1S02. 40Q. Cortes. In the title- page to The IFhim, a comedy, by Lady Wallace, there is a quotation from a MS. tragedy, by her lady- ship, w])ich, in the newspaper ad- vertisements of The IVhirn, was said to be under this title. 410. COKYDON AND CoCHRA- NiA. Pcist. by Ale.\3nder Penne- cuik. This was on the nuptials of James, Duke of Hamilton, 1723. 41 I. Cosmo. Com. Acted at tlie Rose Theatre, Jan. 12, 1592. Not printed. 412. Thk Costly Whore. A comical History. Acted by the Company of Revels. Anonym. 4to. 1(333. This piece is by Philips attributed to Robert Mead ; but without any foundation. The scene lies in Saxony, and the piny has considerable merit. 413. The Cottage. Operatic Farce, by James Smith. Svo. 1796. Printed at Tewkesbury, COT where also it appears to have been acted. It has but little merit, and is founded on the hackneyed story of a gentleman assuming the dis- guise of a servant for obtaining an easier access to the lady whom he courted. 414. The Cottage Festival. Opera, by Leonard Mac Nally, performed at Dublin, 1796. We have never seen any play-bill or advertisement of this piece j but it is mentioned in The Monthly Mirror for Decemoer 1 "/gQ. 415. The Cottage Maid ; or. The Customs of the Castle. Op. by P... Sicklemore. This was per- formed for a benefit at Brighton, 1/98.^ 4lG. The Cottage Maid. Mas. Ent. Acted for a benefit at Covent Garden, June 1791 ; but not repeated. 417. The Cottage of the Cliffs. M. D. by John Rannie. Svo. No date. Never acted. 418. The Cottagers. Opera, by George Savile Carey. Svo. 1766; 12mo. 1770. 419. The Cottagers. Mus. Entertainment. Acted at Covent Garden. Svo. 17c8. This piece, thougli said to be performed, was never represented under this title. It is the san.e performance as IFil- liuin and Nannu, by Mr. Good- enough; and, having been printed by a bookseller ten or eleven years before it appeared on the stage, was published by the person who had purchased the impression. 420. The Cottagers. Com. Op. in two acts, by Miss Anna Ross (aged 15 years). Svo. 1788. A very promising specimen indeed from an au'diorling of fifteen. The character of Charlotte, the heroine of the opera, has particular merit. That there are faults in the piece, it were folly to deny; but as a K 2 132 C (> V whole, it is very creditnble to the fair writer. Never acted. 421. CovENT Gafdev. Com. by Thomas Nr.bbes. -Ito. l63Sj 4to. 1639. This piece was first performtj in 1032, but was not printed till the time abave men- tioned. The title implies where the scene is laid, and it is a repre- sentation of the humoars of that place at the period when it was writ- ten. It is dedicated to Sir John Suckling. 422. CovENT Gakden Thea- THE ; or, Pasqidn turned Draw- cans'ir, D. S. By Charles Mack- iin. Acted atCovent Garden, 1752. Not printed. 423. Ths Covf.nt Garden Tragedy. Farce, by H. Fielding. Acted at Drury Lane. Svo. 1732. This is a burlesque on The Distrest Aloiher ; but not equal to some other pieces of the same author ; the humours of Covent Garden, with respect to w s, bawds, and bullies, being subjects too low for mock tragedy. 424. Covent Garden weed- ed ; or. The Middlesex Justice of Peace, See The Weeding of THE Covent Garden. 425. The Coventry Act. Com. [By J. Plumptrc, A. B.] Acted at Norwich. 8vo. 1/93. 425. Coventry Plays, inti- tuled, Ludus CoventriiB, sive Lu- dus Corporis Chris ti. They are now in tlie British Ivluseum, and may be found by the follovv^ing distinc- tions among the Cottonian MSB. Vesp. D. VIII. p. 113. Plut. iv. A. They are forty in number j nd their subiects, like those of imilar exhibitions at Chester al- ready described, are chiefly from the Old and New Testament. The language of them, having proba- bly uiuiergoiie no changes by tran- C O V scription, Is in many pl'xes almost as gross as that of son;e of the Scotcli dramatic writers before the year lOCX), who employed their talents for the entertainment of our future Solomon. Quotations from such parts of these mysteries as would best support ourassertion, might be accompanied by suspi- cion of profaneness, which of all other charges the editors of the present work have been studious to avoid. A sliglit extract, however, may serve to show the indelicacy of the poets, as well as the ancient audiences, of Coventry. In the pl:;y of the JFoman taken in Jdui- terif, the appearance of the guilty fair-one is preceded by this extra- ordinary stage direction and dia- logue. Pageant XXI. p. 121. " — Hie Juvenis quidam extra cur- " rit, caligis non (igatis et braccas " IN manu tenens, el dicat Ac- " cusator: *' /ecus A TOR. " Stow that harlot, some enhe'y wyght, " That in advowtrye her is fownde. " JUVENIS. " Gift any man stow me yis nyght, " 1 shal hym geve a dedly wowndc. " If any man my wey doth stoppe, " Or we dcparte, ded shal be be ; " I hhal yis dag^ar putt in his croppy " I shal hem kyile, or he shal me. ' " I'HARISEUS. " Grett Goddys curse mut go with ths, " With such a shrcwe wyll I not mellc. " JUVENMS. " That same blyssynge I gyff you thre, " And qvvheth you alle to y"* dcvyl of hel'e. " In fcyth I was so sor afFrayd *' Of yone thre shrewys, y' soth to say, " My breche be nott yett well upteyd, " I had such hast to renne aw ay. " Thei shal nevyr catche me in suck affray ; '* I am full glad y* 1 am gon. " Adewe, adewe, a .xx devyls way, " And Goddys curse have ye everj'chon. 133 C O U " SCRIDA. «« CoTD forth y" stotte, com forth y" SCDWtC, " Com forth y" bysmar S: hrothel bclde, " Com forth y" her, & stMikynge bych c'owte, '• Howloi.e; hast y" such harlotry hcUlc? "Com foith y" queue, com touh y" scolde, " Com forth y" sloveyii, com forth y" ■rluttc ; '* Wc shal the teche, with carjs coUle, •* A lylyl bcttyr tJ kepe y' Uutte." These performances began on .Corpus Chrisliday, which, accord- ing to Dugdale, was the com- mencement of the chief fair held in Coventry. They were acted by the Gray Friary, or Franciscans. The theatres were placed on wheels, and drawn to all the eminent parts of the cityj for the better advan- tage of the numerous spectators. [See Thoresby's Leedes, Fol. 1/15, page 517.] 427. Of the Councells of Bishops. A Com. by Bishop Bale. 42S. Count Basil. 1'rag. by Joanna Baillie. 8vo. 1798. 1'his is one of a series of plays, publish- ed by the same lady. It is in vol.i. and has considerable merit. Never acted. 429. Count Benyowsky ; or, The Conspiracy of Kamtstkatha. Tragi-Com.in five acts. Translated from the German by the Rev. W. Render. 8vo. 1798. The original author of this piece is Kotzebuc, President of the JMagistracy of Eastland, to whom the public are indebted for many other pieces. The hero of the present performance is a real person, whose adventures formerly made some noise in Eu- rope. These, in the year 170,0, were printed in London, in two volumes, 4to. M. Kotzebue has deviated little from the original story, which is rather retold in dialogue than meriting to be term- ed a fiew performance. \i is, C O U however, forcibly and pathetically written, well calcul.ited to arre.st attention, and to product' the erlects proposed by tragical representa- tions, 430. Coi.'NT Bkxyowsky ; or, The Conspiracy of Knnilichatka. Drama. lYi^nslated from Kotze- bue, by Benj. Thompson. Svo. 1800. ' Never acted. I'liis is a more clegnut translation than D\. Bender's. 431. Count df, Villeroi ; or. The Futeof ratriiitisw. Trag. Svo. 1794. The author of this piece, dt-testing the atrocious crimes per- petrated among the French at the time of his writing, has made the fact of a son denouncing his father the groundwork of his plot, and has interwoven allusions to other shocking circumstances, said to have occurred in France during that reign of terror. It is but an indifferent performance, and was never acted. 432. The Counterfeit. Farce, by Andrew Fianklin. Acted at Drury Lane, with good succcks, in lir'04. 433.THE Counterfeit Br I DE- GROOM ; or, Tnc Defeated If'idow. Com. 4to. 11)77. This is IMiddle- ton's No JVit, No Help, like a JFn- vian's, altered, and printed with a new title ; an artifice to give the appearance of novelty, which seems to havebecn frequently prac- tised in tliose times; but v.hicli would not by any means pass now, when the slightest plagiarism 13 inimediately discovered by the piercing eves of our stage-hunting critics; by whom resemblances aie evenfornied in their own imagina- tions only (to the prejudice of real merit), where no more than that general sympathy of conception which all v.'riters, who.se genius enables them to see nature as she K 3 134 c o u i?, must have with each other, can give ground for their accusations. 434. The Counterfeit Heir- ess. Farce, taken from Durfey's Love for Money. Acted at Coven t Garden, April 16, 1/62, for Airs. Vincent's benefit. Not printed. 435.TheCountfrfeits. Com. Acted at the Duke's Theatre. 4to. 1679. J. I/3anerd has been sup- posed to be the author of this p!ay, which is very fnr from being a bad one. The scene lies in IvL'.diid. The plot is taken from a Spanish novel, called The Trepanner tre- panned; and Mr. Cibber has made good use of it in his comedy of She tc'ould and She icoiild not. 436. The Countekfeits. Far. taken from ]Moore's Gil Bias. Acted at Drury Lane, for Mr. Yates's benefit, 1/(34. N. P. 437. The Counterplot. Com. of two acts, by Thonias Goodnll. Acted at Bath, for the benefit of Miss Stanton (who aftervvards married the author), about the year 1787. Not printed. 438. The Countess of Esca- BARGN.'is. Comedy, by J. Ozell. This is only a translation from Moliere, and was never intended for the stage. 439. The Coun'tess of Pem- broke's Ivy Church, by Abra- ham Fraunce. 4to. 159I. As this is in some of the eld catalogues set ,down as the name of a play in two parts, we could not omit a n^en- tion of it, although it contains nothing dram.atic, but one piece in English hexameters, called Amhi- tas's Pastoral, which is but a trans- lation of Tasso's Aminta. 440. Countess of Salisbury. Trag. by Hall Harfson. Svo. 1767. This play is taken from Dr. Leland's Romance, called Lon^'su'ord Earl nf Salislrury. It was first acted at Dublin, after- 4 ■ c o u wards at the Haymarket, and sub- sequently at Drury Lane. We have already hinted, in our brief account of Mr. Hartson, that he was supposed to have received nr.iterial assistance in this tragedy from the band of his tutor. Dr. Leland. That the composition was not his own, n}ay also be inferred from a circumstance that we shall now relate. An acquaintance com- plimented our ostensible author on the happy manner in which 3 speech from Homer is appropriated to the Countess of Salisbur}^ ^Mr. Hartson disclaimed all knowledge of this circumstance, and denied that the Greek poet had furnished any part of his materials. For the iiiformation of our readers, we subjoin both these passages. For ah \ no more Andromache shall come, Vi'ith joylul tears to welcome Hector home ; No more cir.cious, with enJeaiing cl.arrcs. From thy tir'd limbs unbrace Pelides' arms'. Book 17. v 241, &c. Never, oh, never more shall Ela run With throbbing bosom, at the trumpet's sound, To unlock his helmet conquest-plum'd, to strip The ciiisses from his manly thijh, or snatch Quick fiom his breast the plated armour, wont T' op])ose my fond embrace. — Sweet times, farewell. These ttr.der cffices return no more. The reader will perhaps allow that he who supplied the latter of these speeches, could not be im- acquainted with the former. In tliis piece, the unities of time, place, and action, are strictly ob- served ; the sentiments are natural, and the images striking ; but the numbers are sometimes harsh and unmusical. It was, howcyer, fa- vourably received. 136 c o u •441. Count Kof.nigsmark. Dtama, tranjilated iVom Reitzini- stein, by Benj. Thompson. 8\o. ISOO. Never acted. 4-12. The Count of Buk- cuNDY. Trpg. in four act.s, ttans- lated tVom the German of Kotze- bue, by Ann Plumptre. Svo. 17<)S. Nev»r acted. -t43. The Count of Rur- GUVDY. Trag. translated from the German by Charles Smith. Printed at New York. Svo. J 7p8. 444. The Count of Bur- gundy. Irag. altered from the translation of Miss Plumptre, by Alexander Pope^ and acted lor his own benefit at Covent Garden, ^799- Though the alterations made in this piece were generally for the better, yet the pruning- knife might have been farther em- ployed with good effect. The story is on the hacknej^ed subject of a child preserved from destruc- tion, and brought up unconscious of his rank, and without any knowledge of his real parents. N.P. 445.TheCountofNarbonne. Trag. by Robert Jephson. Acted at Covent Garden, with consider- able success, 1781 ; Svo. 1/81. This play is evidently founded on Horace Walpole's Gothic story of The Castle of Otraato. The cha- racters, language, and sentiment, are well drawn and supported, and sufficiently discriminated from each other. It has been thought, how- ever, that the catastrophe is tuo shocking. 44t).'i'HE Country Attorney. Com. by Richard Cumberland. Acted at the Haymarket, 1787- Not printed. Though we found in this piece that easy and gene- rally appropriate di.'ilogue which distinguishes the productionsof Mr. Cumberland, it was thought defi- cient iv^ novelty^ humour, and C o u cliaracter ; and was so coolly re- ceived by the audience, that, after ■ th'" fnurih performance, it was witlidrawn. See Sciioox. loi; Vv'inm^s. AA'. Tmf, Country Captain. Com. by the Duke of Newcastle. Acted with applause at Black Frii'.rs, and printed at the Hague. 12 mo. idJy. 448. 1"he Country CoeurT ; or, Mhs in her Breech"'. ]h\\-M' Opera. As it n)ay be acted at Diury Lane. Svo. 17^^. 449. 1'he Country- Election. Farce, in two acts. Svo. 170'S. This is supposed to have been written by Dr. Trusler. 450. The Country Fair. Prel. Acted at the opening of Covent Garden Theatre, Sept. 20, 1775, but without mucli appro- bation. Not printed. 45\. The Country Gambol. Comic Opera in three acts, MS. Sold as part of the library of the late Mr. Isaac Reed. 452. The Country Gentle- man ; or. Choice Spirits. A I^rama, by William Woty. Svo. 1786. Printed at Derby, in a volume, entitled Fugitive and Ori- ginal Pnems. This piece seems Mot 'to have been intended for the stage. It is destitute of plot; Ijut the character of a London larid- ]ord,and the humours of a club of choice spirits, are not ill drawp oj supported. 453. The Country- Girl. Com. by Anth. Brewer. 4 to. 1647. This play was frequently acted with great applause. The scenes in London and Edmonton. In the title-page of this piece are only the letters T. B. which were pro- bably inserted by the bookseller, who knew the author by the fa- miliar appellation of Tony Brewer. See Country Innocencr. K 4 I 13(5 C O U 434. The Country Girl. Com. by David Ganick. Acted at Drury Lane. Svo. 1766. This is an alteration of Wycherley's Country IFife ; it met with ap- plause,was revived forMrs.Jordan, and is still iVeijuenlly acted. 455. The Countky House. Farce, by Sir Jiohn Vanbrugh. i2mo. [1715.] This is nearly a verbal translation from D'Au- court's Maison de Cavipagne. 456. The Country Inn. Com. by Joanna Baillie. Svo. 1804. Never acted. This piece, we think, is the least meritorious of Miss Baillie's dramas. 457. Country Innocence; or. The Chamlermaid turn'd Quaker. Com. by John Leanerd. Acted at the Theatre Royal. 4to. I677. This is a most barefaced plagia- i"isiTi ; being only Brewer's Country Girl reprinted, with scarcely any difference but that of a new title. 458. The Country Lasses ; or, Tlie Custom of the Manor. Com. by Charles Johnson. Acted at Drury Lane. 12mo. 1715. This is a very busy and entertaining comedy, and consists of two sepa- rate and independent plots; one of •which is borrowed from Fletcher's Custom of the Country ; the other from Mrs. Behn's City Heiress, and what she stole it from, viz. Middleton's Mad IVorld, my Mas- ters. The character of Farmer Freehold, in particular,is admirably drawn. See The Lady of the Manor, and The Farm House. 45Q. The Country MAncAr. Farce. Acted at Covent Garden, 1772. This is only Fielding's Miss Lucy in Town, under a dif- ferent title. 460. The Countryman. A Play ; entered on the books of the Stationers' Company, Sept, Q, 1053 ; but probably not printed. c o u 4ol. The Country 'SauiRE; or, yl Christmas Gamlol. Com. in three acts, by Richard Gwin- net. It was perlbrmed by the author, and a number of his neigh- bours. Svo. 1732. See The Glo'stershire SeuiRE. 4d2. The Country Wake. Com. by Thomas Dpgget., 4to. \QgQ. This play was acted v/ith apphiuse at Lincoln's Inn Fields ; and has since been reduced into a ballad-farce, by the name oi' Flora, or. Hub in the Well. Sceiie Glou- cester. 40'3. The Country Wake. Farce, by T. Underwood. Svo. 1/82. Printed at Miidras. It does not appear to have ever been act- ed ; and is, as the modest motto in the title-page says, " A mere, " mere tritie." 464. The Country Wedding and Skimmington. a Tragi- comi-pastoral-farcical Opera, by Essex Hawker. Svo. 172p. Acted at Drury Lane. This piece is only one long scene, on a bank near the Thames' side, at Fulham, with twenty-five airs in it, after the tuanner of The Beggar s Opera, and was composed for the young coinpany to act in the summer. — See The Wedding. 4Q5. The Country Wedding ; or. The Cockney bit. Pastoral Ballad Farce. A^cted at the Hay- market. Svo. The same as the preceding. 4d6. The Country Wedding ; or, Love in a Dale. Pastoral Bal- lad Farce, of one act, by J. W. Svo. 1750. A country swain courts a rich farmers dautrhter, and is beloved by her. The fa- ther, however, is about to give her to a showy Londoner, whom he supposes wealthy. To prevent this match, the fond pair contrive, by a letter, to persuade the father 137 c o u that matters had gone so far be- tween the rustic nymph and swain, that the former is pregnant by the latter. This scheme succeeds to their wish ; the father, to save his daughter's credit, consents to their marriage, and is afterwards undeceived. It is said to have been performed at the New Theatre in the Haymarket ; but there are no actors' names to the dramatis persoiiae. See The De- ceit. 467- The Countey "Wife. Comedy, by William Wycherley. Acted at the Theatre Royal. 4to. 1675 ; 4to. idSS. This comedy is, next to T/ie Plain Dealer, the best of our author's pieces. It contains great wit, high character, and manly nervous language and sentiment ; yet on account of the looseness in the character of Hor- ner, and other of the personages, it was for some time, and, had it not been altered, must have been totally laid aside. The last per- former who excelled in the cha- racter of Pinch wife, was the late Mr. Quin. Mrs. Pinch wife seems in some measure borrowed from Moliere's Ecole des Femmes. 4t)8. TiiE Country Wife. A Comedy, in two acts, as it is per- formed at the Theatre Royal in Drury Lane. Altered from Wy- cherley. Svo. No date. [1765.] This alteration is Mr. John Lee's ; but since Shakspeare has suffered by the same hand, could Wycher- ley complain of mutilation ? 450. The Country Wit. Com. byJ.Crowne. Acted at the Duke's Theatre. 4to. 1675. This play contains a good deal of low hu- mour, and was a great favourite ■with King Charles II. Part both of the plot and language are bor- rowed from Moliere's Sicilien; ou, C o u r Amour Peivtre. Scene the Pall Mall, in the year ID'75. 470. The Coui' de Main' ; or. The Amerlcnn Advfnturtrs. M. E. by Archibald M'Laren. Acted at Dundee. Printed at Perth. 12mo. 1784. 471. Courage Rewarded; or. The English Volunteer. A politi- cal Drama, by Mr. A. L. G. Svo. 179y- Never acted. A well-timed performance ; but not well suited to representation. It is dedicated to the volunteer corps of the kingdoms of England, Scotland, and Ireland. 472. The Cour.\geous Turkj or, Amurath I. Trag. by Thomas Goff. 4to. 1632 ; Svo. lo'oD. The plot from the histories of the Turkish empire in the reign of Amurath. It was acted by the stu- dents of Christ Church, Oxford, where the author was a fellow. Compared with the ranting ab- surdities of this piece, the trao-e- dies of Lee are sober declamations. Out hero, on the appearance of a comet, addresses the following question to the stars : •' Why do you put on periwigs of fire V 473. The Coursin-g of the Hare; or. The Madcap. Com. bj William Heminges, 1032-3. This was never printed ; but tlie exist- ence of it is noticed by Mr. Chal- mers in his Apology for the Be- lievers in the Shakspeare Papers. It was probably acted at the For- tune Theatre. 474. C**** AND Country. A Play of seven acts ; in which will be revived the entertaining scene of The Blundering Brothers ; to which is added. The comical Hu- mours of Punch: the whole con- cluding with the grand masque called The Downfall of Sejanus, Written by a masquerader, and dedicated to those who were pre- 138 C O U sent at the last ball, on Thursday, Jan. lOlh. Folio, 1735. 475. CouKT AND Country ; or. The Chav^t-lings. Ballad Opera. 8vo. 1743. Thi-s piece was never intended for the stage 5 but i.s only a satire on the alteration.s made in the ministry, and the un.steadint.ss in some of the patriot i)arty, or, as they called theniselves, the counlry interest, about llk"t lime. 4jQ. CoUKT AND NO CoUXTKY. A Seri-tragi-comi-farcical Eiuer- tainment (acted but onqe these twenty years) ; wherein are occa- sionally exhibited t'le Groans of the barracks, or the History of Sir Arthur Van Tiype, &c. he. 8vo. 1753. 477- The Court Becgak. Com. by Richard Brome. Acted at the Cockpit in ]o32, and print- ed Svo. ]653. 47s. The Courtezans. Com. «f two acts, founded on truth, and acted every night at Drury Lane and Covent Garden, by Cliarles Townly, Esq. Svo. l/OO. The name of this author is a fictitious one. 479. The Courtezans. Com. translated from Plautus by Richard Warner. Svo. 177'i-' Plautus has called this comedy Bacchide.^ ; the names of two principal cha- racters, who are sisters, being each of them Bacchis. From the prologue we learn, that this play was taken from a Greek one, by Philemoi), called Evcnilidcs. It is not improbable that Moliere had his eye upon one scene of this play when he wrote Lcs Foiirlerk's de Scaphi . 480. The Courtezans. Com. of two acts. This piece, which is in MS. in the possession of Mr. Stephen Jones, is supposed to be the production of Cornelius Ar- nold, author of OsMAN ; being in the same handwritiui: and manner c o i: as a fiirce, in MS. without a title (ui tlie same collection), signed at the end C. AKNOLr^. -Ibl. Tut: Court Lapy -, or. The Cdij lift's Sun'ffidifr. Comedy, Aiionynioiis. Svo. 1730; 1733. This play, by the dramatis per- sonre prelixed, would appear to h.ive been acted, though we ima- gine without success. By the de- dication, however, which i.s a satirical one. To a great Lad?/ at Court, it seems to have aimed per- sonal reflection on some particular intrigue at that time pretty well known at court. Be this as it will, the piece in itself has very little merit, either in plot, language, or • cliaracter. The running-title of it is. The Coff net's Surrender ; or. The Humorous Punster ; which last title is derived from a princi- pal character in the piece, wIjo is perpetually running into the ab- surdity of pun and quibble ; but whom we may safely acquit of the charge either of humour, or even conuucn sense. SeeTuE Coeuer's sukrender. 482. The Court Legacy. Ballad Opera, of three acts. Svo. 1733. This obscene piece was never acted. It was advertised a.s being by the author of The Ata- lantis [i. e. Mrs. Manley]. 4S3. Court Medley ; -or Mar- riage ly Proxy. A Ballad Op. of three acts. Svo. 1/33. 484. CcuRTMAY', Earl or Dk- voNSHiUE ; or, 'The Troubles of Queen Elixaleth. Tragedy. 4to. Anonym. No date. This play is detiicated to the Duke of Devon- shire, but was never acted. 4 85. The Court of Alexan- der. Burlesque Opera of two acts, by George Alexander Stevens. Acted at Coveiit Garden. Svo. 17/0. The humour of this piece is verv low. 48(3. The Court of Nassau; 139 cox or, The Trinl of Humhug. Com. by George Stayley. Svo. 1753. Printed at Dublin. The drift of thispieceis, to censure a ridiculous practice, which at that period pre- vailed, of imposing upon people by telling a lie with a grave face, and afterwards laughing at the credulity of the person who be- lieved the story. This was called by the nonsensical name of Hum- bugging. The author, in his title-page, says his piece was not worth acting; and he seems to have been perfectly right in his judgment. 487. The Court Secret. Tragi-Comedy, by James Shirley, Svo. 1(553. This play was never acted, but was prepared for the stage at Black Friars; plays being at that time, viz. during the com- monwealth, entirely interdicted. The scene lies at Madrid. 488. CouiiTSHip A LA Mode. Com. by David Craufurd. Acted at Drury Lane. 4to. l/OO. It is dedicated to John Le Neve, Esq. ; by William Pinkethman the player, to whom the care of the publica- tion had been left. The prologue by Farquhar. In the j)reface, the play is said to have been written in ten mornings. 4S9. The Cow Doctor. Com. in three acts; with a prcfotory epistle to the readers, after the Pantagruelian style of Rabelais, illustrative of an unfortunate jour- ney to the Temple of Fame, and dedicated to the Rev. Thomas Pennington, A. M. author of Con- tiiiental Excursiovs, &c. and rec- tor of Thornley, Herts, and Kings- down, in Kent. 8vo. IS 10. This satire is addressed 7b tJie Friends of Faccination. 4CK). The Coxcomb. Comedy, by Beaumont and Fletcher. Fol. 1647; 8vo, 1778. This play has c o z at times been revived, and acted with success. 4i)l . The CoxcoMns, A Farce, by Francis Gentleman. Acted at the Haymarket, 177J- Not print- ed. This was an alteration of part of Ben Jonson's Epicirne, and was performed only one night at a benetit. 492. The Cozexers, Com. in three acts, by Samuel Foote. First acted at the Haymarket in 1774. Printed in Svo. 1/78. One character in the ])iece(thacof Mrs. Simony) was designed as a vehicle for satire on the late Dr. Dodd. As some apology for Mr. Foote's stage ridicule, we may observe, that lie rarely pointed it at any persons who either met with pub- lic respect, or deserved to meet with it. In 1775", Mr. Foote in- troduced an additional scene, com- mencing the third act, which greatly heightened the humour of the piece. This scene was levelled at a lady \vho had made more than one public appearance, and done considerable execution as well with her eyes as her pen. The story had been repeatedly told, though never with so much humour be- fore. She applied to a mercer, ordered a considerable quantity of silk, took him in her own coach to a mad doctor, there left him to settle with Esculapius, who, she said, would immediately satisfy him.' Mrs, R. departed, and left the mercer with the son of Galen, who, instead of giving a draft (as Mr. Prig expected) upon the doc- tor's banker, produced a large vial j and upon Prig's refusing to accept it, he had a strait waistcoat clapt on him, and was upon the point of being conveyed to the private madhouse at Chelsea ; when Prig- esclaimed, " Imprison a citizen, '^ tliatonly comes for his money I 140 C R A " D — me. Jack Vv'iJkes's affiir " will be biU a fleabite to this." 493. Crack Me this Nut. Play. Acted at the Fa)se Theatre, Sept. 5, ]5g5. -Not printed. 4g-L The Cradle of Secu- »IT1E. An Interlude, mentioned in the MS. tragedy of Sir Thomas More (MS. Harl. 73tiS), but not printed, nor now probj:bly in ex- istence. The date of this piece la-.iy be placed between the years 130'J and J 5/0. The following account cf it is extracted from a work by an eye-witness of the re- presentation : " In the city of " Gloucester the manner is (as I " think it i.^ in other like corpora- *' tions), that when players of " Enterludes come to to^'ce, they *' tirst attend the mayor, to informe '*■ him what nobleman's servants *' they are, and so to get licence " for their publicke playing; and " if the mayor like the actors, " or would shew respect to their *^ lord and master, he appoints " them to piny their first pjay *' before hlmselfe, and the alder- " men and common counsell of " the city; and that is called the " mayor's play, where every one " that will comes in without " money, the mayor giving tlie •" players a reward as hee thinks " fit, to shew respect unto them. *' At snch a play my father tooke " me with him, and made mee " stand between his leggs as he " sate upon one of the benches, " where wee .saw and heard very " well. The play was called The " Cradle oi-- Security, wherein " was personated a king, or some " great prince, with his courtiers " of severall kinds: amongst which ♦' three ladies were in speciall " grace with him ; and thej'', keep- " ing him in delights and plea- " sures. drew him from his grave C R A coun.^ellors, hearing of sefmons, listening to good cour.'^eli and adn;onitioi'iS, that in the end they got him to lye dounc in a cradle upon the stage, where these three ladies, jovning in a sweet song, rocked him asleep© that he snorted againe ; and in the meane time closely conveyed under the cloaths, wherewithal! he was covered, a vizard like a swine's snout, upon his face, with three wire chains fastened thereunto, the other end where- of being holden severally by those three ladies, v/ho fall to singing againe, and then disco- vered his face, that the specta- tors might see how they had transformed him, going on with their singing. Whilst all this v/as acting, there came forth of another doore, at the farthest end of the stage, two old n>cu, the one in blew, with a Ser- jeant at armes, his mace on his shoulder ; the other in red, with a drawn sword in his hand, and leaning with his other hand up- on the other's shoulder ; and so they two went along in a soft pace round aboilt the skirts of the stage, till at last they came to the cradle, when all the court was in the greatest jollity; and then the foremost old man with his mace stroke a fearful blow •jpon the cradle; whereat all the courtiers, with the three la- dies and the vizard, all vanish- ed ; and the desolate prince starting up barefaced, and find- ing himselfe thus sent for to judgement, made a lamentable complaint of his iniserable case, and so was carried away by v.'icked spirits. Theprinee did personate in the moral] tlie wicked of the world ; the three ladipting to poi- son him, her unknown son })ro- duces an incident which the Jesuit Force justly pronounced to be most truly theatrical. ' In spite,' says he, ' of all t^e faults, either real or apparent, which I have been led to find in this piece, nothing can be conceived more perfectly theatrical than the representation of a mother on the point of killing her un- known son, and, at the same lime, of dying unknown by his hands, when this double project of parricide serves to restore that son to his mother, and that mother to her son.' Our au- thor, by not admitting this dou- C R I " hie project into his plan, has, " in my opinion, decreased tlie " theatrical effect, of which (how- " ever inartificially) the Greek poet " had furnished him with the ex- " ample; and which, had he im- " proved upon it as he has on all " the other incidents in Ion, might " have made the last act much " more perfect. It is certain, how- " ever, that for this purpose tlie " preceding plot of the whole " piece must have been ditferently *' constituted." 503. Crime from Ambition. Play, translated from the German of Iflland, by Maria Geisweiler. Hvo. i;99i 8vo. ISOO. In this play, as is too common in the ge- nerality of the German dramas, vice, instead of meeting its just reward, is suffered to pass un- punished. The chief character of this piece is that of a young gam- bier, who is endeavouring to gain the artections of a lady of fortune and rank. His mother, to support his exiravag.->nce, and to supply the defects of his unsuccessful play, robs his father, who is a keeper of the public treasure, of a coU'^ider- able sum of juoney. Another person, who is in a high otiicial situation, becomes privy to the transaction; and, instead of bring- ing the criminals to justice, by mistaken benevolence advances the money. In his last speech he recommends the young gamester to the notice of his friends, and says that he. will become an ho- nest fellow ! 504. The Crisis ; or, Love and Fear. Cora. Opera, by Thomas Holcroft. Acted at Drury Lane, May 1, 17/8, for the beneht of Miss Hopkins. Not printed. 505. Crispin and Crispi anus. This play is not mentioned in ai>y of our Catalogues ; but is noticed^ 143 C R I anioiTg others (such as Grim the C 'oilier, and Gairimcr Giirton'i i\Ve- dlt'J, ill a (.lialoi^ue beiueen Dek- ker and Flecknoe, Dr. King's Works, by .Mr. Nichols, vol.^ i. p. IbO. 50(5. T^-.E Critic; or, ^:/ Tra- ged'j Rehrursed. Dram. Piece, in tliree acts, by Richard Brinsley Sheridan. Acted at Drury Line, 1779. Piinted in Svo. 17SI. The drift ot tliis perfurmance, which abaonds with easy wit, un- atiected humour, and judicious satire, is perhaps in general mis- understood. It might not have been written with the single view oi' procuring t'uU houses during its own run, but as a cnit'ty ex- pedient to banish empty ones on future occasions. In short, it was to be regarded in the light of an advertisement published by the manager of Drury Lane, signify- ing his wis.!) that no more modern tragedies might be offered for re- presentation at his theatre. It acted as a caustic on tlie auihorof Zoraida, whose piece immediately followed in the same season. We hear indeed that the Cambridge Quixote imputed all his sufferings to the magic of the fell enchantress Tillurina. Let not, however, this circumstance discourage writers of real genius and judgment. Ludi- crous parodies or imitations do no injury to originals of sterling merit. The most successful ridicule could never drive our Shakspeare's phan- tom from the stage, though the spectre raised by his would-be rival, Voltaire, is known to have faded long ago at the first crowing of the cocks of criticism. In this ai^'terpiece a well-known author is like'.vise supposed to be represented under the title of Sir Fretful Plagiary. How' he hap- pened to deserve such ridicule, in C R I preference to any other play wrielit of slu.ilar pretensions, it is not our present business to inquire. A literary thief, however, is the most tender and irascible of all beings, and, like his bretiiron who appear every six weeks at the Old Bailey, lives in perpetual hostility with tliose who are (jualiiied to detect his practices, and point out the objects of his plunder. To a dramatist of this description, a general reader, wiili a retentive memoiy, is as formidable as an empty house on a third night. The present age exhibits more than one Sir Fretful, more than one notorious plagiartf. The cha- racter of Dangle is said to have been drawn from Mr. Tiiomas Vaughan, author of Tiie Hotel, &:c. 507. The Critic Antici- p.\TiiD ; or. The Humours of the- Green Room. Farce, rehearsed be- hind the curtain of the Theatre in Dnny Lane. By R. B. S. Esq. Svo. 1/79- A despicable catch- penny. 50s. The Critic ; or, Tragedy Rehearsed. A literary calch/)e?niy by way of prelude to a dramatic afterpiece, by R. B. Sheridan, Esq. Svo. 17SO. 509. The Critic ; or, Trrgedy Rehearsed. A new dramatic Piece, in three acts, as perform.ed by His ALijesry's Servants, with the great- est applause. By the author of The Duemin. Svo. 178O. This is a third catchpenny produced by the success of Mr. Sheridan's piece. It is of a difft-reut kind from the former; being entirely paJitical. 510. CRnic rp-jN' Crhic. Dram. Medley, in three acts. Per- formed at Covent Garden. By Leonard Mac Nally. Svo. 179'^. 511. The Ckiticvl Minute. See The M.\iden Whim. 144 C R O C R U 512. Crcesus. Trag. by W. Alexander, Earl of Sterling. 4to. 1604, 1607; andfol. I637. This is the most affecting of all our author's pieces. The plot is bor- rowed from Herodotus, Justin, and Plutarch, with an episode in the fifih act from Xcnophon's Cyi-opaideia. The scene lies in Sardis. 513. Cromwell, Loro Tho- mas. Hist. Play. J to. l602 ; 4to. 1613. This drama is in all the Catalogues set down to Shakspeare ; but Theobald, and other editors of his works, have omitted it, to- gether Avith six pieces more, viz. The Puritan, Pericles Prince of Tyre, the tragedy of Locrine, The Yorkshire Tragedy, Sir John Old-' castle, and The London Prodigal. All whicbj though it is probable, from some beautiful passages, that Shakspeare may have had a hand in them, are on the whole too in- different to be received as the genuine and entire works of tliat inimitable genius. This play, in the title-page, is sa'^dto be written by W. S. The story of Cromwell and Friskiball is toid in Hakewill's jlpology. 514. Cromwell's Conspi- racy. Tragi-Com. relating to our latter times, beginning at the death of King Charles I. and end- ing with the happy restoration of King Charles II. Written by a person of quality. 4to. I66O. 515. Cross Partners. Com. by a Lady. Acted at the Hay- market. 8vo. 1792. This seems to be taken, partly from a novel called The Kentish Maid, and partly from a French piece of Destouches, wliich also furnished the subject of Dr. Francklin'.s Con- tract. Without, much merit, this piece was performed nine nights. *l6. Cross Purposes. Farce, by Mr. Obrien. Acted at Covent Garden. 8vo. 1/72; 2d.edit.no date. This piece, which had considerable success, is evidently founded on the Trois Frercs Ri- vaux of La Font. It coi" tains some happy touches of genuine humour, and many strokes of satire justly levelled at the follies of the time. 517. Crotchet Lodge. Farce, by Thomas Hurlstone. Acted at Covent Garden. Svo. 1795, This piece has all the properties of broad farce, strong caricature, and whim- sical situation. A hearty laugh had been the aim of the author,, and he succeeded. The character of the spouting landlord is perhaps carried a little too far. The whole , however, was well acted ; the farce had a considerable run, and is still occasionally performed. 518. The Cruel Brother. Trag, by Sir W, Davenant, 4to. 1 630. Presented at Black Friars. The scene Italy. 519. The Cruel Debtor, Int. This is only named in Kirk- man's and other lists. It is, how- ever, probably a republication, as it is entered on the books of the Stationers' Company, by Thomas CoKvell, in the years \5Q5-Q, " A ballet, intituled. An Inter- " lude, of The Cruell Better, " by Wayer." The date put by Chetwood (1669) is one of his forgeries. 520. The Cruel Gift; or. The Royal Resentment. Trag. by Mrs. Centlivre. Acted at Drury Lane. 12mo. 1717. It was the second attempt made by this lady in the tragedy walk, and is very far from being a bad one. The design is founded on the story of Sigiimundaand Guiscardo, which is to be met with in Boccace'? 145 CRY CUP riovels, and a poetical version of it very finely done by Dryden, and published ampng his Fables. 521. The Cruel War. Trag. Anonym. 4to. 1643. 522. The Cruelty of the Spaniards in Peru. Expressed by instrumental and vocal music, and by art of perspective in scenes, by Sir William Davenant, &c. re- presented daily at the Cockpit in Drury Lane, at three in the after- noon punctually. 4to. 1658. This exhibition, as well as The Siege of Rhodes (4to. 1656), was contrived in order to evade the then prose- cutions against acting and actors. The author of The British Theatre mentions a remarkable circum- stance in regard to it ; which is, that Oliver Cromwell, who had prohibited all theatrical represent- ations, not only allowed this piece to be performed) but even him- self actually read and approved of it ; the reason assigned for which •was, its strongly reflecting on the Spaniards, against whom he was supposed to have formed some very considerable designs. 523. The Crusade. Historical Romance, by Frederic Reynolds. Acted at Covent Garden, l/QO. Much praise could not be given either to the plot or composition of this drama. We have heard, how- ever, that it was constructed for the purpose of making use of some very splendid scenery and decora- tions previously prepared for a performance which had proved un- successful : we believe, Ricfuird C'a'ur dc Lion. 524. The Cry. Dram. Fable. 3 vols. 12mo. 1754. Thiij work had been hitlierto ascribed to Mrs. Sarah Fielding, author of David Simple ; and, as we have read, she claimed it : we have therefore continued it tinder her name ir. vol.. II, Vol I. In Mrs. Barbauld's Life of Richardson, however, prefixed to his recently-published Corre^ spondence {yo\. \. p, I95), it is stated, that it was written by Miss Patty Fielding, in conjunction with Miss Jane Collier. 525. The Cuckold in Con- ceit* Com. by Sir John Van^ brugh. This is little more than a translation of Moliere's Cocu Ima- ginaire. It was acted at the Queen's Theatre in the Hay- market, 17063 but not printed. 526. Cuckold's Haven; or, j4n Alderman no Conjuror. Farce, by N. Tate. Acted at Dorset Gardens. 4to. 1685. The plot of this piece is borrowed partly from Eastward Hoe, and partly from the Devil 's an Ass, of Ben Jonson. 52;^. The Cunning Lovers. Com. by Alexander Brome. 4to. 1654. This piece was acted at Drury Lane with considerable ap- plause, and was well esteemed. The scene lies in Verona. For the plot, see The Seven U^se Mas- ters of Rome, and a novel called The Fortunate Deceiv'd, and Un- fortunate Lovers. 528. The Cunning Man. A Musical Entertainment, by Dr. Burney. Acted at Drury Lane, 8vo. 1766. This is a translation of Rousseau's Devin. de Fillage. It was produced about the time when the original author came to England, and was adapted to his music; but, notwithstanding these advantages, and the elegance of the translation, it was coldly re- ceived. 529. Cupid and Death. A Masque, by James Shirley. 4to. 1659. This was pregented be- fore the Portuguese ambassador, on the 26lh of March 1653. For the design (which is^ to show th» 146 CUP dismal effect of their exchanging arrows), seeOg\lby's jEsop, vol. i. fob. 39. 530. Cupid and Hymen. A Pastoral Masque, by John Hughes. 12mo. 1735. 531. Cupid and Psyche. A . Play, by Thomas Hey wood. Ne- ver printed. See his Dialogues end Dramas, p. 238, edit. I637, 532. Cupid and Psyche; or, Colnmline Courtesan. Dramatic Pantomime Entertainment, Acted at Drury Lane. Svo. 1734. 533. Cupid and Psyche. M. by William Mason. The author of Elfricla, we have been inform- ed, wrote a masque under the above title, and actually had it set to music by Giardini 3 but it was never either acted or printed. 534. Cupid's Revenge. Trag. by Beaumont' and Fletcher. Acted by the children of the Rovels. 4to. I6l5; 4to. Id30j 4to. 16353 Svo. 1778. It has been observed, that the plot and machinery of this play are equally ridiculous ; and that it was a pity so much admir- able poetry should be bestov\-ed on so absurd a drama. It was entered on the Stationers' books, April 24, l6i5. 535. CuJ'Id's PiEVENGF. An Arcadiah Pastoral, by Francis Gen- tleman. Acted at the Haymarket. 8vo. 1772, Pleasing, and well re- ceived. 536. Cupid's Whirligig. C. Iby E. S. Acted by the cliildren of the Revels. 4to. I6O7 ; 4to, 1616; 4to. l03O. Coxeter relates, that he had been assured by an old bookseller, tn>it this play was en- tered at Stationers' Flail as Shak- speare's, but at that lime thought flilsely, in order to make it sell. We do not discover any such entry in the Stationers' books. 'I'be letters E. S. were probably CUR intended for Edward Sharpham, whose comedy of The Flcire was entered about the same time (1607). The conveyance of the captain out of the lady's chamber is founded on Boccace, Day 7, Nov. 6. It is too licentious to have been the work of Shakspeare. 537. A Cuke for a Coxcomb; or. The Beau BedevilVd. Dram. Piece. Acted at Coven t Garden, May 1792, for the benefit of Miss Collins. It was merely calculated for the purpose of introducing some songs of Mr. CoUins's and Mr. Dibdin's. 53S. A Cure for a Cuckold. Com. by John Webster and W. Rowley. 4to. 166I. This play was acted several times with ap- plause. 539. A Cure for a Scold. Ballad Opera, by James Wors- dale. Acted at Drury Lane. 8vo." Nodate. [l735.]Thisistakenfrom Shakspeare's Tamwg of the Shrew, but never met with any great suc- cess, although some of the songs are far from unentertaining. 540. A Cure for Dotage. Musical Ent. Sung at Marybone Gardens. Svo. 1771' 541. A Cure for Jealousy, Com. by John Corey. 4to. 17OI, Acted at Lincoln's Inn Fields The scene lies in Covent Garden. It met with no success, being per- fdrmed during the run of Far- quhdTs Constant Couple ; which the author in his preface calls a Jubilee Farce, and seems much offended that so great a degree of attention should be paid to it. 542. A Cure for the Heart- Ache. Com. by Tliomas Morton. Acted at Covent Garden. Svo- 1797. This comedy has interest, character, and humour, though in some instances bordering on farce^ I'he dialogue is neat^ often ele- U7 CUR gantj and contains many sprightly equivoques and admirable points. Being extremely well performed, this play had a very great run, and still continues a favourite piece. 543. The Curfew. Play, by John Tobin. Acted at Drury Lane. Svo. ISO/. This was one of the pobihumous works of its ingenious author, and possesses considerable merit; though its suc- cess on the stage was not equal to that of The Honey Moon. I'he scene is laid in feudal times. The incidents and characters do not lay claim to the merit of novelty; but the poetry is entitled to high praise. 544. Curiosity; ot, A Peep through the Keyhole. Com. by W. C. Oulton. Acted at Smock Alley, Dublin, 1/85. Not printed. 545. CuFxiosiTY. Play. Acted at Covent Garden, April l/CiS, for the benefit of Mr. Holman. This was a translation from a Ger- man play called Siri Brake ; or. The Dangers of Curiosity ; under- stood to have been written by the late unfortunate Gus'avus, King of Sweden, who fell by the hand of the assassin Ankerstrom. A banished nobleman returns clan- destinely to his native country, in order to see his wife and mother. The mysterious movements that he adopts to avoid discovery, ex- cite the curiosity of two young females, who succeed in finding out the place of his concealment, and, unaware of the consequences, betray him to his bitterest enemy. The progress of curiosity is weil described, and its mischievous na- ture properly eyiposed ; but the characters of the piece are rather made to tell the story, than repre- sent it ; hence it is rather u'anting in stage effect. It was well receiv- ed,, but not repeated^ nor printed. CUT 54(5. Curiosity. Com. in three acts, translated from the French of Madame Genlis, by Francis Lathom. This was performed at Norwich in ISOl, and printed in Svo. 547. The Custom of the Cot/NTRY. Tragi-Com. by Beau- mont and Fletcher. Fol. l6'47; Svo. 1778- This was accounted a good play. The plot is taken from Malespina's novels, Dec. 6, Nov. 6 ; and has been made consider- able use of by C. Johnson, in his Country Lasses, and C. Cibber, in his Love makes a Man. Its great fault is obscenity. The scene lies sometimes at Lisbon^ and some- times in Italy. Dryden, in the preface to his Tales, says, " There is more bau- " dry in one play of Fletcher's, " called The Custom of the Country, " than in all ours together. Yet " this has been often acted on the " stage in my remembrance." 548. The Custom of the Country. See A Bickeustaff's Burying. 549. Custom of the Manor. See Country Lasses. 550.Custom'sFallacy. Dram. Sketch, in three acts, by James M. Grant. Svo. 1805. This play was never acted ; nor could an attempt on the stage have been successful. Though called a 5/!:e/f^, its long and tedious scenes occupy near 100 pages. The object is-, to show the fallacy of the cus- tom of relations abandoning a young woman for a first faux- pas. 551. Cutlacke (thus spelt by Henslowe, perhaps for Good Lack '.) Performed by the Lord Admiral's men in 1594. Not printed. 552. The Cut Misee. For the use of private theatres. 8vo. 1788. Thii is the comedy of The L 2 149 CUT C Y M Miser, reduced to a farce by Edw. Tighe, Esq. 553. Cutter of Coleman Street. Com. by Abraham Cow- ley. 4to. 1663. At the beginning of the civil war (says Dr. Johnson), as the prince passed through Cam- bridge in his way to York, he was entertained with the representation of The Guardian, a comedy, which Cowley says was neither made Dor acted, but rough-drawn by him, and repeated by the scholars. That this comedy was printed du- ring his absence from his country, he appears to have considered as injurious to his reputation ; though, during the suppression of the thea- tres, it was sometimes privately acted with sufficient approbation. When the King was restored, the neglect of the court was not our author's only mortification : having by such alteration as he thought proper fitted his old co- medy of Tlie Guardian for the stage, he produced it at the Duke of York's theatre, under the title of Cutter of Coleman Street. It was treated on the stage with severity, and was afterwards censured as a .satire on the King's party. Mr. Dryden, who went with Mr. Sprat to the first exhibition, related to Mr. Dennis, " that when they " told Cowley how little favour '♦ had been shown him, he re- " ceived the news of his ill suc- *' cess, not witli so much firmness " as might have been expected "■ from so great a man." What firmness they expected, or what weakness Cowley discovered, can- not be known. It appears, how- ever, from the theatrical register of Downes the prompter, to have been popularly considered (in spite of the author's exculpation of him- self) as a satire on tlie royalists. It is an entertaining piece, and was revived about the year 1730, at the theatre in Lincoln's Inn Fields. 554. Cybele ; or. Harlequins Hour. Pant. Acted at the Royal Circus. By J. C.Cross. 8vo. 1804. 555. The Cyclopedia. Farce, by Mrs. Hoper. Acted at the Haymarket, 1/48. Not printed, 556. The Cyclops. Transla- tion from Euripides, by Michael Wodhull. Svo. 1782. 557. Ctmbeline. Trag. by W. Shakspeare. Fol. l623. The plot of this play is taken from an old story-book, entitled, IFestward for Smelts, 4io. l603. Dr. John- son observes, that it " has many " just sentiments, some natural " dialogtie, and some pleasing " scenes, but they are obtained " at the expense of much incon- " gruity. To remark the folly of " the fiction, the absurdity of the " conduct, the confusion of the " names and manners of dif- " ferent times, and the impossi- " bility of the events in any sys- " tern of life, were to waste cri- " ticism upon unresisting imbeci- •' lity, upon faults too evident for " detection, and too gross for ag- " gravation." The wager between Posthumus and Jachimo is taken from Boccace, Decameron, Day ii. Nov. 9. 558. Cymbeline, King of Great Britain. A Tragedy, written by Shakspeare, with some alterations by Charles Marsh. Svo. 1755. Though Mr. Marsh was not at that time a magistrate, the duh ness he displayed in the present undertaking, atforded strong pre- sumptions of his future rise to 3 seat on the bench at Guildhall, Westminster. 55g. Cymbeline. Trag. al- tered from Shakspeare, by W. Hawkins. Acted at Coveat Gar- 149 C Y M C Y N ^en. Svo. 1759. This is what the title implies, it being only fitted to the English stage, by removing some part of the absurdities ia point of time and place, which the rigid rules of dramatic law do not now admit with so much impunity as at the time when the original author of Cymbeline was living. — Thus far our predecessor ; but justice obliges us to add, that the play is entirely ruined by Mr. Hawkins's unpoetical additions and injudicious alterations. It had no success when performed for a night or two at Covent Garden ; the hand of the reformer having de- stroyed all its powers of entertain- ment, by discarding the part of Jachimo, delaying the appearance of Posthumus till the third act, Sec. &c. With a few trivial omis- sions, the original piece is still a favourite with the public. 560. Cymbeline. Trag. al- tered by David Garrick. Acted at Drury Lane. 12mo. I7dl. This alteration, being less violent, is less defective than many similar attempts on the dramas of Shak- speare. A material fault, how- ever, Occurs in it. By omitting the physician's soliloquy in the first act, we are u^. erly unprepared for the recovery of Imogen after she had swallowed the potion pre- pared by her stepmother. To save appearances, this speech was in- serted in the primed copy, but was never uttered on the stage. Use- less as it might be to those who are intimately acquainted with the piece, it is still necessary toward the information of a common au- ditor. 561. Cymbeline. Trag. by Henry Brooke. Svo. 177S. Not acted. This is on the same story as Shakspeare's play. 562. Cymbeline. Trag. 8vo. 1793. This is another alteration, by a Mr. Eccles. 503. Cymbeline. Trag. This was an alteration, by Mr. Kemble, for performance at Drury Lane. Svo. 1801. 5(34. Cymbeline, King of Bri- tain. Hist. Play, by Shakspeare. Revised by J. P. Kemble, and now first published as it is acted at the Theatre Koyal, Covent Garden. Svo. 1810. S65. Cymox. Dram. Romance, by David Garrick. Acted at Drury Lane. Svo. 1767. The hint of this piece was taken from Dryden's Poems. It is, however, a wretch- ed production, equally devoid of wit, humour, and poetry. To the scene-painter and the vocal performers it was indebted for its success, which (to the shame of taste and common sense) was con- siderable. It has since been re- duced to an after-piece. 5Q6. Cymon. a Dramatic Ro- mance, written originally by D. Garrick ; and first performed as an opera in five acts, &c. with additional airs and chorusses, &:c Svo. 1793. 567. Cynthia andEndymion; or. The Loves of the Deities. A Dramatic Opera, by T. Durfey. 4to. 1697. This piece was de- signed to be acted at court, before Queen Mary II. ; and, after her death, was performed at the Thea- tre Royal, where it met with good success. The story is taken from Ovid's Metamorphoses, ^nd Psyche, in Apuleius's Golden Ass. The scene lies in Ionia and on Mount Latmos.. But, although there are many lines in the piece greatly superior to the general cast of genius which appears in this au- thor's other works, yet he is in- 1.3 150 C Y R excusable in the perversion of the characters from what Ovid has represented them j Daphne, the chaste favourite of Diana, appear- ing in this play a w — e and a jilt j and the fair Syrinx being painted in the ignominious colouring of an envious, mercenary, and infamous woman. 568. Cynthia's Revels ; or. The Fountain of SelJ-love. A Co- mical Satire, by Ben Jonson. This piece was acted in 16OO, by the children of Queen Elizabeth's Chapel. 4to. l600j Svo. 1750. It has little or no plot 3 and the persons of the play are rather vices or passions personified, than cha- racters copied froai real life. The author's principal intention in this piece seems to have been, to com- pliment Queen Elizabeth, under the allegorical personage of the goddess Cynthia. In the epilogue, this couplet occurs ; so character- istic of the overweening vanity and self-sufficiency of old Ben : *' This from our author 1 was bid to say : " By Jove 't is good ; and if you '11 like 't, you may." 56Q. Cynthia's Revenge j or, Mivnander'' s Extmy. Trag. by John Stephens. 4to. l6l3. Thisplayruns mostly in verse, and is one of the longest dramatic pieces that ever was written (and, as Langbaine says, withal the most tedious). The plot is from Lucan'sP/mrio/ia, and Ovid's Metavwrpbyuses. 570. The Cyprian Conguer- OR 5 or. Faithless Relict. A Play, . now in the British Museum, MSS, Sloaiie, 3709. XXII B. 571. Cyrus. Trag. by John Hoole. Acted at Ccvent Garden! Svo. 1768. Though our author has founded this tragedy ou^-su opera, his good sense has ff^etl it from the romantic insipiditic^s with which these ridiculous eutertain- C Z A ments usually abound, Cyrus v/zi performed with great success. 572. Cyrus the Great > or. The Tragedy of Love. Trag. by J. Banks. Acted at Lincoln's Inn Fields. 4to. 1696. This play was at first forbidden to be acted 3 but afterwards came on, and met with very good success. Downes, the prompter, says, IVIr. Smith, having a long part in it, fell ill upon the fourth day, and died. This oc- casioned it to be laid aside, and it was not acted afterwards. The plot is from Scudery's Romance of The Grand Cyrus. The scene in the Camp near Babylon. .573. Cyrus the Great. A Tragedy, under this title, was mentioned in some of the news- papers of 1784, as having been otVered, by the Rev. Dr. Stratford, to the manager of Drury Lane ; but we know not what foundation there was for this report. It Was, probably, a mistake for Darius. 574. Cytherea j or, The Ena- mouring Girdle. Com. by J. Sniith. 4 to. 1()77' This play was never acted. Sfccne the city of York. 575. The Czar. A Play, un- der this title, written by Mr. Cradock, is still in MS. 576. The Cz.ar of Muscovy. Trag. by Mrs. Mary Pix. 4to. 1701. This play was acted in Lincoln's Inn Fields, and is found- ed on some of the incidents of the then recent history of the great Czar Peter. The scene Muscovy. It died, however, in obscurity, and has not been heard of since. b']'/ • The Czar Peter. Com. Opera, in three acts, by John O'KeefFe. Acted at Covent Gar- den, 1790 Cunder the title of The CxarJ. Printed Svo. 1798. It was first performed, March 8, for Mrs.Billington'sbenetit, and after- wards adopted by the house 3 but ^l p A M it met with little success. The subject is taken from the well- known fact of Peter the Great hav- jno: visited and worked in our -B A M dock-yards, incog, to acquire % knowledge of ship-building, it Avas afterwards reduced to a farce, and called The Fugitive. D. 1 . U^MON OF Daneswall. Trag. 8vo. 1802. Anonymous. 2. Dagobert King of the Franks. Trag. translated from the German of James Marcus Babo, by Benjamin Thompson. 8vo. 1800. This is printed in the fourth volume of The German Theatre, and is an interesting piece. 3. Dame Dobson ; or. The Cunning IVoman. Com. by E. Ravenscroft. Acted at the Duke's Theatre. 4to. l6S4. This is trans- lated from a French comedy, call- ed, La Devineresse ; ou, lesfaux Enchantemens ; yet although the original met with the highest ap- probation in France, and was eagerly followed, this copy of it was condemned in its representa- tion on the Loudon theatre. 4. Damnation ; or, Hissing hot. Interlude, by Charles Stuart. Acted at the Haymarket, for the benefit of Mr. Bannister, August 29, 1781. Not printed. 5. The Damoisellej or. The New Ordinary. Com. by Richard Brome. 8vo. l0"53. Scene Lon- don. 6. The Damoiselles a la Mode. Com. by R. Flecknoe. 12mo. 1667. The scene of this play is laid in Paris ; and the plot, as the author himself confesses, borrowed from tlie Precieuses Ridi- cules, the Ecole des Femmes, and the Ecole des Maris, of Moliere. It was never acted. 7. Damon and Daphne. Pas- toral, of two acts, ascribed to Theophilus Gibber. Acted at Drury Lane, May 1/33 ; but without success, as appears from Tht^ Grub Street Journal, May 24> of that year. 8. Damon and Phebe. Mu- sical Entertainment, by Thomas Horde, jun. Printed at Oxford. 8vo. 1774. g. Damon and Phillida. A Ballad Opera, by CoUey Gibber. Bvo. ]72c>; 1731. This little farce is entirely selected out of the Love in a Riddle, by the same author. Yet notwithstanding that piece fell to the ground on the second night of its appearance, this entertain- ment was extremely applauded. The words of the songs are hap- pily adapted to the music, the mu- sic to the words, and the whole mingled with a simplicity of man- ners and uniformity of conduct that render it most perfectly and truly pastoral. This, however, is an instance among many, how fer party prejudice will have an* in- fluence ou the behaviour of an audience, in overbearing its cool and candid jodgmeut. The scene Arcadia. 10. Damon and Phii.hda. L 4 152 DAN Altered from Gibber into a Comic Opera, by C. Dibdin. Acted at Drury Lane. 8vo. 1768. 11. ''The excellent Comedie " of two the raoste faithfullest " Freendes Pamon and Pithias. *' Newly imprinted as the same "■ was shewed before the Queenes " Majestie by the children of her " Grace's chappel J except thepro- *' logue, that is somewhat altered " to the pFoper use of them that •' hereafter shall have occasion to " plaie it, either in private or " open audience. Made by Mais- " terEd\wards, then beynge mais- '' ter of the children, 15/1. " Printed by Richd. Johnes." 4to. N. D. ; also 4to. 1582. B. L. This play is from the story in Va- lerius Maximus. It is reprinted in Dodsley's Collection of old Plays. Scene Syracuse. 12. Damon avd Pythias. Play, by Henry Chettle. Acted 1599. This was probably an al- teration of the foregoing piece. 13. The Dancing Devils ; or, The Roaring Dragon. A Dumb Farce : as it was lately acted at both houses, but particularly at one, with unaccountable success. This is a satirical piece, divided into three acts, ridiculing the town for the encouragement given to the pantomime of Harlet/uin Doc- tor Faustus, at the Theatres in Drury Lane and Lincoln's Inn Fields. Bvo. 172-i. It was writ- ten by Edward Ward, and is printed in the fourth volume of his Miscellanies. 14. Thr Dangers of the World. Cnm. translated from The Theatre of Education of Ma- dame Genlis. 8vo. 178I ; 12mo. 1787. 15. Daniel. Sacred Drama, |)y Miss H. More. 8vo, 1782; 1783. Printed with three other D A R pieces of the same kind ; not in- tended for the stage. 16. Daniel in the Lion's Den. This was an alteration of the foregoing piece, to adapt it to the stage, by a gentleman in the neighbourhood of Doncaster, and was performed in that town, 1793. 17- A Danish Tragedy. By Henry Chettle. Acted ]602. Not now extant. 18. Daphne and Amiktor, Com. Op. by Isaac Bickerstaffe. Acted at Drury Lane. 8vo. 1765. This, owing to the excellent acting of Miss Wright (afterwards Mrs. Arne), had great success. It is little more than The Oracle of Mrs. Cibber, with a few songs inter- spersed J but it ran twenty-three nights. 19. Daphnis AND Amaryllis. P.istoral. 8vo. 1766. Printed at Eyeter. This is Mr. Harris's piece, called The Spring, under a new title. 20. Daraxes. Pastoral Opera, by Aaron Hill. This little piece, which was to have consisted of two acts only, is to be found in Mr. Hill's posthumous works, published in two vols. 8vo. 176O. One act of it js entirely finished, and a regular plan laid down for the conduct of the other ; but whether the author wanted time or inclination to execute that plan, we knc-.' not ; the piece however remains incomplete; yet in such a state, that some able hand might easily put the concluding stroke to it, so as to render it perfectly wfeat the author himself intended it should be. 21. Darby's Return. 17S0. A piece, under this title, is ascrib- ed to an author of the name of Dunlop ; but, not having seen it, we can say nothing more abouf it. 153 D A R 22. Darius. Trag. by the Earl of Sterling. 4to. Edinburgh, 1603 ; 4to. l604. This was one ot his Lord- ship's first performances, and was originally written in a mixture of the Scotch and English dialects ; but the author afterwards not only polished the language, but even very considerably altered the play itself. The first London edition of this piece was with his Craesin, under the joint title of The Mo- varchick Trai^edies, together with the Aurora, containing the first fancies of the author's youth. 4to. 1604. Fol. 1637. 23. A Pretie neivEnterlude, loth pithie and pleasaunt, of the story of Kyng D,\ryus. Being taken out of the third and fourth Chapter of the thyrd Bookc of Esdras. The names of the Players. The Prolocutor. Iniquitie. Charytie. Importunitye. Parcyalytie. Equylie. Daryus Kinge. Agreable. Perplexitie. Ireparatus. Curyosytie. Juda. Persya. Medey. Aethyopia. Constancie Optymates. Anagnostes. Stipator primus. Stipatorsecundus.Zorobabell. Sixe persons may easely play it, Imprynted at London, in Fleet Street, beneath the Conduite, at the s)'gn€ of St. John Evangelyst, by Thomas Colwell. Anno Do- mini MDLxv. in October. 24. Darius King of Persia. Trag. by J. Crowne. Acted by their Majesties servants. 4to. 1(5S8, It is dedicated to Sir Geo. Hewytt, Bart, probably the person after- wards called Beau Hewit. The scene lies in the plains and town of Arbela in Persia ; and the plot of this play, as well as of Lord Sterling's, is borrowed from Quin- tus Curtius, Plutarchj and other DAY historians of the life of Alex- ander. 25. Darius. Tragedy, by the Rev, Dr. Stratford, This piece, we believe, was never acted nor printed. 26. Darthula. Trag. by James Mylne, printed in a volume with poems. 8vo. 1790- Scene the coast of Ulster, in Ireland. 27. The Dash ; or, IFho Int He? Musical Farce, ascribed to Francis Lathe; .i. Acted at Drury Lane, October 20, 1804, and deservedly condemned. It was a frivolous and uninteresting plagia- rism, from beginning to end, li we mistake not, this is the same piece as was originally brought out at Norwich, under the title of Holiday Time: or. The School- toy's Frolic, perhaps a little al- tered. 28. The Dash of the Day. Com. by Francis Lathom. Acted at Norwich, and printed there. 8vo, 1800. 29. Datamis. Trag. by An- thony Davidson. Never performed. 30. David and Goliah. Sa- cred Drama, by Miss H.More. Svo. 1782; 1/83. Printed with three other pieces of the same sp>ecies- 31. The Day after thf. Wedding ; or, A JFife's frst Lesson. Int. by Mrs. C. Kenible. Acted at Covent Garden. Svo, 1808. A pretty sprightly enter tainment. 32. A Day at Rome. Mu=. Ent. in two acts ; as it was d — d at Covent Garden. Svo. 179S. By Charles Smith. Worse pieces than this, however, have obtained more favour from the public. It contained some good satire on that indiscriminate attachment to the remains of anlicjuity, for which Englishmen are celebrated in their travels^ and by which they are 144 D E A exposed to the tricks and knavery of impostors who deal in tliose articles. 33. A Day IN LoNDov. Com. by Andrew Cherry. Acted at lirury Lane, April I8O7. This piece, thoug-h not without wit and point, had too many merely con- versation-scenes to give satisfaction to tlie audience ; and after the third night the author, with a pro- per degree of deference, withdrew it from the stage. Not printed, "vve believe. .'34. A Day in Turkey ; or. The Russian Slaves. Com, by Mrs. H, Cowley. Acted at Covent Garden, 1791; but not with so much success as most of this lady's other performances. 8vo. 1792. 33. The Days of Yore. Dr. in three acts, by Richard Cum- berland. Acted at Covent Garden. Svo. l/PO- The language of this piece is correct, spirited, and ele- gant; but the interest is not well supported after the first act ; the catastrophe being too soon disco- vered. The time is the reign -of Alfred. 36. The Days we Live In j or, yi Talc 0/ 1805. Dram. Piece, \S'ith songs, by Archibald Maclaren. 12mo. 1S05. 37. Tnr Dead Alive. Com. Op. by John O'Keeffe. Acted at ithe Haymarket, I'^'il. Not print- «d, but by piracy. Dublin, 12ino. 17''53. Tiie abilities of this writer B'.c- .(dmirably calculated for the jjpccies of entertaii)U)ent which he iias attempted. Tiie slight sketches of ch.nactcr which he has pror'.uced are strongly marked; the incidents, jbough extravagant, within the li- mits ot p. >ssibility ; and the humour, lbi>ugh not of the most delicate sort, yet .still restrained by the rules of ileccncy. The present porl'onn- m'.uc© was eiicellei-tlv acted, but DBA not so generally approved as Thu Son-in-Lau\ 3S. The Dead Alive Again. Tragi-ctimical Farce. Printed at Berwick. 12mo. No date. This was written by Dr. Collingwood ; but never acted. 39. The Dead Man's For- tune, Auon. Not printed; but the plot is preserved ; and it sold for a considerable price at the sale of Mr. George Steevens's library. See a copy of it in INIr, Reed's edition of Shakspeare, 1803, vol.iii, •40, The Deaf and Dumb; or, Al-hti de L'Epce. Historical Play. Translated from the French of J. N. Bouiily. To which is pretixed. Some Account of the Abbe de L'Epee, and of his Listitu- tion for the Relief and Instruction of the Deaf and Dumb. Svo. 1 801 . This translation was made with a view to its being acted at one of the London theatres ; but was out- stripped in point of time by tlie following article : 4 I. Deaf and Dumb ; or. The Orphan Protected. Hist. Drama. Acted at Drury Lane. Svo. 1 801 . This also is a translation from the French of M. Bouiily, but with many material additions and al- terations to adapt it to the English stage. The translator is said to be a Mr. Herbert Hill [we rather be- lieve, Thomas Holcroft], who ac- knowledges himself much indebt- ed to Mr. Kemble for a judicious revision of the piece. We know not what j\Ir, Kemble did in the literary department ; but his per- formance of the character of De L'Epce was admirable. At the same time, it would not be justice to pass over in silence the im- pressive effect produced on the audience by the Julio of Miss De- camp, and the Darlemoat of Mr. Wroujihton. 155 I) E A 42. Deaf and Dumb ; or, The 0r[)liaii. Hist. Drama, from the German of Kotzebue, by Benj. Thompson. Svo. 18.01. There is much good sentiment, with many very pleasing p-is^ages, in this dra- ma : wnich, however, is only a translatio:i from a translation ; Kotzebue's being only a derman version of M. BoailJy's play, men- tioned above. 43. Deaf Indeed ! Farce, by Edward Topham. Acted atDrnry Lane, Dec. j 780. Notprinled. Our author has avoided insulting the town, by the publication of this, which was perhaps the most stupid and. indecent performance ever permitted to disgrace a theatre royal. The good taste of the au- dience would not suffer so infa- ixjous an exhibition to be repre- sented throughout ; but very pro- perly condemned it in the middle oi the second act. 44. The DeaeT.over. Farce, by F. Pilon. Acted at Covent .Garden. Svo. 17SO, 1793. This is an alteration oi The Device after mentioned, was represented with a moderate share of applause, and is now frequently acted. 45. The Death of Adam. Trag. translated from the German of Mr.Klopstock, by Robert Lloyd. 12mo. 1763. Dr. Kenrick ob- serves, that Mr, Lloyd was not sufficiently acquainted with the original language of this play, to do justice either to it or himself. Part of the second act of this trans- lation was executed by Mr. Col- man, senior. See his Prose oti several Occasions. ' 46. The D^ath of Adam, •Sac. Drama, translated from the French of Mad.Genlis, by Thomas Holcroft, Svo. 1786. 47- The Death of the Black fniNCE. Trag. 4to. A MS. sold D E A as part of the library of the LUe Dr. Sharpe. 48. The Death oF Buce- phalus. A Burlesque Tragedy, in two acts, by Dr. R.dph Schom- berg. Acted at Edinburgh. Svo. 17()5. Probably some performer on one of the northern theatres came to Bath for the reco\ery of his health, and was attended there by Dr. Schomberg, who might re- fuse his fees, provided his patient, at his return, w^ould introduce Bucephalus on the stage in Scot- land. To some such accident it must have been indebted for re- presentation. It is not without humour, but it is also indecent. 49. The Deati^ of C^sak. Trag. translated from Voltaire, and published in Dr. Francklin's edi- tion, 12 mo, 50. The Death of Captai.v Cook. Serious Pant. Anon. Act- ed at Covent Garden, 1789, witlt great success. As a natural, in- teresting, and moreover true, story, it was exceedingly atfecting. Tears, fainting, and hysterics, frequently attended the treacherous and fatal stab in the back, by which the humane and generous circumna- vigator was slain. 51. Th'E Death of Captaix Faulkner; or, British Heroism. Mus. Int. Acted at Covent Gar- den, 1795. Not printed. 52. Death ofDido. A Masque, by R. C. 16'21. It may be ques- tioned, whether this piece was printed in 1621. If it had ap- peared at that time, it would pro- bably have been mentioned by either Kirkman, Langhain,e, or Gildcii; none of whom have taken notice of it. Jacob was the first who gave the title to it ; and for the date we have no authority, or, which is the same thing, only that of Clietwood. W6 DEB 53. The Death of Dido. Masque, by Barton Booth. Acted at Drury Lane. 8vo. 1/16. The music by Dr. Pepusch. 54. The Death of Dion. Trag. by Thomas Harwood, of University College, Oxford. Svo. 1787. This tragedy was never acted. 55. The Death of Hanni- bal. Trag. by Lewis Theobald. A play of this title Jacob, in hi.s Lives of the Dramatic Poets, p. 25g, informs us the above-mentioned author had prepared for the stage. But it never made its appearance there, nor was ever published. 56. The Death of Harle- quin. Pant. Acted at Drury Lane, 17 16. 5/. The Death of Herod. Trag. in imitation of Shakspeare, by a Gentleman of Hull. We believe th;it this was written about the year 17S5, and still remains in MS. 58. Thr Death of INIajor Andre'. Trag. imported from America. See Andue'. 59. The Death of Wallen- STEIN. See PlCCOLOMlNI. 60. The Debauchfe 3 or, The Credulous Cuckold. Com. Acted at the Duke's Theatre. 4to. 1 67 J. Anonym. Though there is no author's name to this comedy, yet whatever difference there is be- tween it arid Richard Brome's Mad C'lUfile li-dl matih'd (of which it is tittle more than a revival) is the work of Mrs. Bchn. The Pro- logue andEpiloguewerewritlen by Lorci Rccliester ; as we learn from an advertisement at the bottom of the title-page to The Triumphs nj Vtrtui;. til. The Debauchees; or, The Jesh.it Caught. Com. by H. Field- ing. Acted at Drury Lane. Svo. Ifj?), 1740", This play is built DEC on the story, so recent at that time, of Father Girard and Miss Cadiere; and in it the author has by no means spared the characters of the black-hooded gentlemen of that reverend tribe. There was an edition of this play printed the year before (i.e. Svo. 1"32) with the title of The Old Deiauchees. 62. The Debt of Honour. Com. by Elizabeth Ryves. Not printed, nor acted ; but we hare been told, that the manager of one of the theatres, when he returned this comedy, presented its fair au- thor with a bank-note of 100/. Quer}', Who was tliis generous benefactor ? 03. The Deceit. Farce, by Heniy Norris. 12mo. 1723. Of this no more is known than the name. 64. The Deceit ; or. The Old Fox Outwitted. Pastoral Farce, of one act, by J. W. As it was de- signed to have been acted.' Svo. 1743, Printed with a collection of poems, called The Poplar Grove; or. The j4muscments of a Rural Life. This piece was afterwards, with the addition of some new characters, published under the title ofTHE Country Wedding j or. Love in a Dale. 65. The Deceiver deceived. Com. by Mrs. M. Pix. 4to. l6()3. Acted at the Theatre in Lincoln's Inn Fields. There are two dia- logues in this play, one in the fourth act by DUrfey, and the other in the last by Motteux, both set to mu-iic by Eceles. Scene Venice. It bad little success. 06. Deception. Com. Acted at Drury Lane, Oct. 29, 1784. A«cril)ed to Mr. Vaughan. Not printed. It was a puerile and trite production ; the deception practised on two children being the same as that in O'Keeife* 157 DEM jtgreealle Surftrize. After the se- cond night it was witiidrawn. 0'7- The Deceptions. Com. by Mrs. Cornelys. Acted in Dub- lin 1731, but never repeated. 68. Decius and Paulina. A Masque, by L. Theobald. 8vo. 1/18 ; 4to. 1719. To this piece are added musical entertainments, as performed at the Theatre in Lincoln's Inn Fields, in the dra- matic opera of Circe, set to music by Galliard. 69. The Decoy. An Opera, by H. Potter. Acted at Good- man's Fields. 8vo. 1733, -fO. Delays and Blunders. Com. by Frederic Reynolds. Act- ed at Covent Garden. Svo. 1803. The author in this piece has endea- voured to unite the ludicrous and the pathetic; and his efforts have not been unsuccessful. It was very well received, though we do not think it one of the best of Mr. Reynolds's productions. 71. The DELiKauENT ; or. Seeing Companxj. Com. bv Fre- deric Reynolds. Acted at Covent Garden. Svo. 1S05. It was pei- formed with success j but not re- vived after the first run. 72. The Delivery of Susan- nah. Trag. by Ralph Radcliff. Not printed. 73. The Deluge. See Noah's Flood. 74. Demetrius. Opera, trans- lated from Metastasio, by John Hoole. 8vo. 1767, 1800. 75. Demetrius andMarsixaj or. The Imperial Impostor and un- happy Heroine. Trag. formerly in the possession of John Warburton, Esq. and sold by auction among his books and MSS. about the year 1759. This play has not been printed. 76. Demetrius, the Impostor. Trag. transjated from the Kussbc D E P of Alexander Soumarokove, by Eustaphiere. 8vo. I8OO. Never acted. Soumarokove was the fa- ther of the Russian theatre ; and this is said to be the first speci- men of the Russian drama ever given to the English reader. The author was born at Moscow ii> 1727, and died in 1777 • 77- Democratic Rage 3 or, Louis the Unfortunate. Trag. by "William Preston. Acted at Dub- lin with great success. Svo. l/fi'J. This play is not included in the collection of its aushor's poems, published at Dublin, in 2 vols. Svo. the same year. The author assigns, as one reason for the omis- sion, that he " did not think it " sufficiently correct." He de- clares, however, that it met with " a reception beyond his most san- " guine wishes j" and if he shall ever publish a third volume, " Democratic Rage will not be " forgotten." 78. De.mophoon. Ope-^a, trans- lated from Metastasio, by John Hoole. Svo. 1707, 1800. 79- Deoclesyan-. Play. Acted 1594, by the Lord Admiral's men. Not printed. SO.Deorum DoN'A. AMasque, by Robert Barcn. Svo. 1647. Per- formed before Flaminius and Clo- rinda. King and Queen of Cyprus, at their regal palace in Nicosia. The scene lies in Nicosia. Tfcis piece is part of a romance of this author's, called The Cyprian Aca^ demy ; but he has been in some measure guilty of piracy j the ditty which is sung by Neptane and hi* train being made up from Waller's poem To the King on his Kavy ; and part of act ii. scene 1, nearly transcribed from the same author^ on L?.dy Isabella playing on her lute. 81. Ta£ D^PEN'OAKT. Com. D E S by Richard Cumbeiluid. Acted at Diury Lane l~95, but con- demned the first night. Not printed. S2.The T?ei'osixg and Death OF Queen Gin'. An Heroic Co- mi-Tr;ig. Farce. Anonym. 8vo. }}o6. This little burlesque piece, which is not devoid of humour, was acted at tlie New Theatre in the Haymarket. Ihe design of it is founied on an act of parlia- ment, whereby an additional duty was laid on malt spirits, and the retailing of spirituous liquors of any kind prohibited to the dis- tillers J by which means the per- uicious practice that the common- alty of England, and more espe- cially of this great metropolis, liad been for some time infatuated with, of drinking great quantities of the worst and most pernicious kind of spirit distilled from malt, under the name of gin, was at once greatly checked, and at length, by means of ditJerent acts, entirely put an end to. The prin- cipal characters in the piece are. Queen Gin, the Duke of Pium, the Marquis of Nantz, and Lord Sugar-Cane. 83. The Derby Captain. See TxiE EUNUCK. 84. Dermot and Kathlane; or, The Irish JFcdding. Ballet, by jMr. Byrne. Performed at Co- vent Garden, 1/93. The charac- ters of this ballet were the same as those of The Poor Soldier. 85. The Desert Island. A Dramatic Poem, in three acts, by A. Murphy. 8vo. 176O. This little piece, which is allied to tra- gedy, although the catastrophe of it is a happy one, was first per- formed at tile Theatre Royal in Drury Lane, on the same night with T/ic Way to Keep Him, a fomedv of the same number of 139 D E S acts, by the same author. The plan ot this piece has its original, according to the author's own con- fession, in a little drama of a single act, called L hola di^aiilata; or. The unliihalitcd Island ; written by the Abbe Metastasio. Mr. Murphy has greatly extended the original; so tliat the language, in which there is a considerable share both of poetry and pathos, may properly be called his own. But the plan beir.g extremely simple^ even for one act, and that stretch- ed into three without the intro- duction of a single incident or episode, renders it somewhat too lieavy and declarnatory to give much pleasure in a public repre- sentation, though it will bear a close examen and critique in the closet. The success of it evinced the truth of this observation ; for notwithstanding the great appro- bation shown to the other piece brought on at the same time, yet even the sprightlinesa of that could not secure to this a run of many nights, after which The JVay to Keep Him continued an acting piece for the remainder of that season ; and, by the addition of two new acts afterwards, still stands on the stock-list of the theatre, while The Desert Hand became truly deserted, and has ne- ver since been represented. 80. Thb Deserted Daughter. Com. by Thomas Holcroft. Act- ed, with success, at Covent Gar- den. 8vo. 1795. This piece was at first supposed to be the produc- tion of Mrs. Inch bald ; the real author, for some reasons, having deemed secrecy expedient in the first instance. 8/. The Desei?ted Tower. M.D. by John Rannie. 8vo No date. Never acted. 88. The Deserter. Musical 5 16() b E s Drama, by C. Dibdin. Acted at Dairy Lane. 8vo. 1773- Taken from a French piece, entitled, Le Deserteur, and acted with consi- derable success. 89. The Dkserter or Naples. A grand Pantomimic Ballet, per- formed at the Royalty Theatre, 1/88. This piece, by means of the excellent actin<::; of Mr. Palmer, Mrs. Gibbs, and Mr. Delpini, was very successful. The story is the same as The Deserter by Mr. Dib- din. 90. The Deserts of Arabia. Grand Operatical Spectacle, by Fred. Ileynokis. Acted at Covent Garden. Music by G. Lanza, jun. [Songs, &c. only printed.] bvo. ISO6. The idea of this piece is taken from Campbell's Journey werlavd to India. 91. The Deserving Favour- ite. Tr^gi-Com. by Lodowick Carlell. Scene Spain. Tliis piece ipet with great applause, and was acted several limes before the King and Queen at Whitehall, and at Black Friars, It was lirgt printed in 4to. 16293 3f^d afterwards, 8vo. I659. 92. The Destruction- of Je- rusalem. By Thomas Legge. This piece, which was written in the time of Queen Elizabeth, is mentioned in Kirkman'sCatalogue, 10'6l. Probably it was in MS. arfd he had then thoughts of put- ting it to the press ; but, we be- lieve, it was never printed. 93. The Destruction of Je- rusalem BY Titus Vespasian", Trag. in two parts, by J. Crowne. Acted at the Theatre Royal. 4to. 1677- They are both written in heroic verse, and were acted v.ith , applause ; yet the author found it necessary to enter into some kiod of vindication of himself, with re- spect to his character of Thraartes. D E U The historical part of these plavS is to be itiet with in Josephus'sWars of the Jews, and some other au- thors. It is said to have been by these plays that Rochester's jea- lousy of Crowne's talents was ex- cited. 94. Destruction of Tkoy. Trag. by J. Banks. Acted at the Duke's Theatre. 4to. IO79. This is very tar from being a despicable piece, although it met with very indifferent treatment from the cri- tics. It is founded on history, and taken from Homer, Virgil^ &c. j and Langbaine observes of it, that although the language is not equal to that of Shakspeare's Troltus and Cressida, it at least surpasses Hey wood's Iron Age (which is built on the same plot), and many other tragedies that have met with. a more fa\ourable reception. <^5. The Detection j or, A Shclch of the Times. Com. Acted at the Haymarket, l/SO. Not printed. q6. The Deuce is in Him. Farce, by George Colman. Acted at Drury Lane. Svo. l/OS. The first iiint of this piece was taken from the Episode of Lindor, in Marmonters Tales; and that part of 'the fable which relates to Ma- dame P'lorival, from a story origi- oally published in The British Ma- gazine. It met with very great and deserved success from the pub- lic. The plan on which this de- licate satire on Platonic love is founded, has been approved by those v.ho are the strictest advo- cates for rhorality in dramatic ex- hibitions. The piece, though very serious in the main, is extremely laughable in many parts. The disea.?e, as an ingenious critic has observed, is exposed, but not ran- kled. The author acts like a re- gj'.lar physician, without making a iO^ D E V display of his great skill, bj wan- tonly adJing corrosives, that he might have the credit of curing the distemper in its last stage; a fault but too common with some of our best English dramatic wri- ters : and the avoiding it gave Moliere the character he so justly bears. gj. The Device ; or. The Mar- riage OJfhc C. O. by Mr- Ri- chards, Acted at Covent Garden, May d, 1/77 ; but with ill suc- cess. Not printed. 98. The Device ; or, The Deaf Doctor. Farce, by F. Pilon. Act- ed at Covent Garden, 1779. Not printed. This piece, which was taken from the French, had no success in its original state ; but was afterwards altered, and met with a better fate under the title of The Deaf Lover. 99. TuK DiiviL IS AN Ass. Com. by Ben Jonson. Acttd in 1016 J and printed in fol. 1641 j yvo. 1756. Jonson is certainly but little chargeable with borrow- ing any part of his plots; yet AVittipol's giving his cloak to Fitz- dotterel, for leave to court his wife for a quarter of an hour, seems founded on a circumstance of Boc- cace's Decameron, Day 3, Nov. 5. Mrs. Cenllivre has made her Sir George Airy do the same, only converting the cloak into a purse of an hundred guineas. 100. The Devil of a Lovek. Mus. Farce, by Moubray. Acted at Covent Garden, 1798. The plot was taken from a Ger- man novel called The Sorcerer, This piece was not destitute of wit and humour, but was injudiciously Conducted, and therefore did not succeed. Not printed. 101. The Devil of a Wife ; or, yt comicalTraiisformatiov . F. by Thomas Jevoq. Acted at the D E V Theatre, DorsetGarden. 4to.l6s6| 4to. J 693 ; 4to. 1695. This little piece met with much success in the representation. The plot, how- ever, is a very unnatural one, but is borrowed from the story of Mopsa, in Sir Philip Sidney's Av- cadia. It was imagined that Mr. Jevon had some assistance in it from his brother-in-law, Thomas Shadwell. However this be, Cof* fey has made use of the plan, and part of the conduct of it, in The Devil to pay ; or, IFives meia- morphoi'd. 102. The Devill of Dow= gate; or, Uiury put to Use. Com. by J. Fletcher. Acted by the King's Servants, Oct. 1 7, l623. This play is lost. 103. The Devil's Charter. Tr under the title of The Queen of Carthage ; the part of Dido be- ing performed by Mrs, Siddons. When the play was printed, the friends of the deceased author stopped it from publication ; as was also done by the friends of Mr. Glover, with his play of Jason 3 which see. 116. Dido. Comic Opera, by Thomas Bridges. Acted at the Haymarket. 8vo. 1771- Apiece of some humour ; but very low, undramatic, and unworthy of the burlesquer of Homer. 117. Dido. Opera, translated from Metastasio, by John Hoole. 8vo. ISOO. 118. Dido and ^"Eneas. Play. Acted by the Lord Admiral's ser- vants, 1597. This was probably Marlowe's Dido. 119. Dido and ^Eneas. An Opera, in three short acts, by N. Tate. This was written for, and performed at, Mr. Josiah Priest's Boarding-school, at Chelsea, by young gentlemen. The music composed by Henry Purcell. 120. The Tragedie of Dido, Queene of Carthage. Played by the children of Her Maiesties chappell. Written by Christopher Marlowe, and Thomas Nash, Gent. Actors. Jupiter. Ascanias. Ganimed. Dido. Venus. Anna. Cupid. Achates. Juno. Ilioneus. Mercuric, or larbas. Hermes. Cloanthes. iEneas. Sergestus. 163 D I O At London, printed by the Wid- dowe Orwin, tor Thomas ^Vood- cocke, and are to be solde at his shop, in Pauies Church-yeard, at the iigne of the Blacke Bearc. 4to. 1594. — This pkw is uncommonly scarce. Mr. Malone paid for a copy of it, at Dr. Wright's sale, 107. 16^. 121. Dido Queen of Car- thage ; with the Masque of Nep- tune s Prophecy. Op. written by Prince Hoare. [Music by Storace.] Acted by the Drury Lane Com- pany, while they were at theOpera House. 8vo. 1792. It was de- rived from Aletastasi© ; but neither the charms of music and scenery, nor the splendour of procession, could carry it on above three or four nights. Madame Mara per- formed Dido. 122. The Different Widows; or. Intrigue a la Mode. Comedy. 4to. No date. Aiionym. Acted at the New Theatre in Lincoln's Inn Fields. 123. DiocLESiAN ; or. The Prophetess. Dramatic Opera, by Thomas Betterton. 4to. I69O. This is only an alteration, with very little difference, of the Pro- phetess of Beaumont and Fletcher, with an addition of some musical entertainments and interludes to it. It appeared for the last time, during the theatrical administration of Mr. Rich, and was then repub- lished in 12mo. 124. Dion. We find, by a letter from Mr. Pope to Mr. Broome (inserted in the latter edi- tions of Johnson's Lives of the Poets), that Fenton had begun a tragedy under this name. 125. Dion. Trag. by George Ambrose Bhodes. Printed with miscellaneous poetry, small 8vo. 1806. 126. DioNE. Pastoral, by John D I S Gay, printed in his Poems. 4to. 1720. Ihis piece, says Dr. John- son, is a counterpart to Amynta and Pastor Fido, and other trifles of the same kind, easily imitated, and unworthy of imitation. What the Italians call comedies, from a happy conclusion, Gay calls a tra- gedy, from a mournful event ; but the style of the Italians and of Gay is equally tragical. There is some- thing in the poetical Arcadia so remote from known reality and speculative possibility, that we can never support its representation through a long work. A pastoral of a hundred lines may be endured ; but who will hear of sheep and goats, and myrtle bowers and purl- ing rivulets, through five acts? Such scenes please barbarians in the dawn cf literature, and chil- dren in the dawn of life ; but will be for the most part thrown awar, as men grow wise, and nations grow learned. 127. DioNE. Opera, Anon. 8vo. 1733. Acted at the New Theatre in the Haymarket. Set to music by Mr. Lampe. The plot and recitativo of this piece are for the most part taken, pro- fessedly, from Mr. Gay's drama, above mentioned. 12s. Atovv3-»a T^iiTVfiy.» ', OT, Harlequin Bacchus. Pant. Per- formed at the Royal Circus, April 15, 1805. 8vo. 1805. 129. DiPHILO AND GraNIDA. This is one of the six pieces which are published in the second part of Sport upon Sport, and are attri- buted to Robert Cox the come- dian. See Cox, Robert, in Vol. I. 130. The Disagreeable Sur- prise. Farce, in two acts, per- formed by the young gentlemen of Reading school, for the benefit of the widows and orphans of the M 2 1(34 D I S D 1 S men who fell in the action under Lord Nelson, in 1/98. 131. The Disappointed Cox- comb. Com. by Bartholomew Bourgeois. 8vo. lydS. 132. The Disappointed Gal- lant ; or. Buckram in Armour. Ballad Opera. Acted at the New Theatre, Edinburgh. Svo. 1738. Printed at Edinburgh 3 and, in the title-page, said to be written by a young Scots gentleman. [Adam Thomson] 133. Disappointed Villany. Ent. by Thos. Horde, Svo. 1775. 134. The Disappointment j or, The Mother in Fashmi. Com. by Thomas Southerne. Acted at the Theatre Boyal. 4to. ' 1(384. The scene lies in Florence ; and part of the plot is taken from the Curious Impertinent in Don Quix- cte. Prologue by Dryden. 135. The Disappointment. Com. by W. Taverner. 4to. 17O8. See The Maid the Mis- tress. 136. The Disappointment. Ballad Opera, by John Randal. Acted at the Haymarket. Svo. 1732. This is an alteration of Mrs. Centlivre's Farce, called A Wife well managed, with the ad- dition of songs. 137.TheDisbandedOfficee; or. Baroness of Bruchsal. Com. by James Johnstone. Acted at the Haymarket, 17S6. This play, which is simple and pleasing, is taken from the German of Les- sing; the language is spirited, with a happy mixture of humour and sentiment. It was well acted, and ran nine nights. Svo. 1786. The prologue recommended the play in these lines : " Lessing, a German bard of high re- nown, V Long on the continent has charm'd the town J " His plays asmuchapplaudedat Vienna, " As here the School jar Scandal, 0» Duenna." 138. The Discarded Secre- tary ; or. Mysterious Chorus. Hist. Play, in three acts, by Ed- mund John Eyre. Svo. 1799- The scene is laid in the time of Queen Elizabeth. Secretary Da- vison, in revenge for having been dismissed from his office, is sup- posed to connect himself with a set of Catholic priests, and to at- tempt the murder of the Queen at Tilbury Fort. The mysterious chorus proceeds from a subter- ranean apartment, in which the priests before mentioned meet (contrary to law) to celebrate the mass. The denouement is purely fanciful : Davison is pardoned and reforms. It is altogether a poor performance. 139. The Discontented Co- lonel. By Sir John Suckling. 4to. N. D. [1642.] The first sketch of Brennoralt J which see. 140. The Discontented Man. See Theatrical Recorder. 141. The Discovery. Com. Acted at the Theatre Royal in Drury Lane. 1763. Svo. 1763. [By Mrs. Frances Sheridan.] This original composition was received with uncommon applause. It is a very moral, sentimental, yet en- tertaining, performance. The cha- racters of Sir Harry Flutter and his Lady (young married people, both under age, and both ridicu- lously unhappy) are supported with wit and spirit. Sir Anthony Branville was a character entirely new to Mr. Garrick : as, in his other comic characters, he was remarkable for ease, spirit, and expression ; in this, he seemed utterly to have extinguished his natural talents, assuming a dry stifFmannerj with an imnaoveabl* 165 D I S face ; and thus extracted from this pedantic object (who assumed every passion, without showing a spark of any in his action or fea- tures) infinite entertainment : which, notwithstanding the length and languor of some of the scenes, effectually secured to this pky the approbation of the gayer part of the audience. 142. The Discovery. Com. translated from Plautus, by Rich- ard Warner. Svo. J772. The author of this comedy calls it Epidicus, the name of a slave, a principal character in it, and on whose rogueries most of the inci- dents depend. The subject of this comedy is double. At the same time that Periphanes finds his daughter; Stratippocles, in finding a sister, loses a mistress whom he was passionately in love with, and for whom he had deserted another, whom Ire is obliged at last to take again. The principal incidents are, the disbanding of the troops, the amour of the captain of Rhodes, and the arrival of Philippa. The time of the action does not exceed the morning ; and the unity of the place is perfectly well observed ; as the whole business is transacted in a street, in which the houses of the principal characters of the drama stood. The first act of this play was translated by Bonnel Thornton. 143. The Discovery of Jo- seph. Sac. Dram, translated from Metastasio, by John Hoole. Svo, ISOO. 144. The Disguise. A Dram. Novel, 2 vols. 12mo. 1771. The Disguis.e, from which this drama- tic novel takes its name, is that of a young man, of the age of nine- teen, brought up and educated, without discovery, as a female, until that period, He is addressed D I S by several sxiitors, and falls in love himself with one of his female friends. The motive for this dis- guise is a suspicion that the bro- ther of the lady's father had de- stroyed his former male children as they were born. The story is improbable and ill told, the situa- tions are unnatural, and the charac- ters such as are not to be found in real life. The authoress, as a reason for adopting the dramatic form for I>er novel, says, that epistolary correspondences were grown dull, that narratives were become te- dious, and journals heavy ; if so, she has not been lucky enough to remove the objections which lie against the usual modes of con- ducting this species of writing. 145. The Disguise. Comedy, Svo. 1787. Ascribed to Dr. Jod- drell. Never acted. 146. The Disguises. A Play. Acted at the Rose Theatre, Oct. 2, 1595. It is probable, that Stroude's play of All Plot ; or. The Dis- guises, was taken from this. Not printed. 147. Disinterested Love. Com. Acted at Covent Garden, May 30, 179S. This was an al- teration from Massinger's Bashful Lover, by Mr. Hull. It served the purpose of a benefit, but was not adopted by the house, 148. The Disobedient Child. A pretty and merry Interlude, by Thomas Ingeland. 4to. Without date. This author lived in the time of Queen Elizabeth ; and his piece is written in verse of ten syllables, and printed in the old black letter, by Thomas Colwell, in Fleet Street. 149. The Dispensary. Farce, by Thomas Brown. Printed in that author's works. 150. The Dissembled Wan- ton ; or. My Son, get Money. M 3 165 D I S Com. by Leonard Welsted, Acted at Lincoln's Inn Fields. 8vo. 1726", 1727. This is an entertaining comedy, and met witli tolerable success ; but it is probable it might have found a more favourable re- ception, bad it not unforiunr.tely made its appearance just at the time when the town was big with expectation of Smyth's R'nal Modes, and therefore paid the Jess attention to any other new piece. Steele may, probably, have alluded to this play of Welsted's in h'lsTat- ler, No. 182, where he says," I have "■ at present under my tutelage a " young poet, who I design shall " entertain the town the ensuing " winter. And as he does me the " honour to let me see his comedy *■'■ as he writes it, I shall endeavour " to make the parts fit the geniuses *•■ of the several actors, as exactly " as their habits can their bodies. " His drama at present has only *' the outlines drawn. There are, " I find, to be in it all the reve- " rend oflRces of life (such as re- " gard to parents, husbands, and " honourable lovers) preserved " with the utmost care ; and at " the same time that agreeableness " of behaviour, with tlie inter- "■ mixture of pleasing passions, "which arise from innocence and " virtue, interspersed in such a *' manner, as that to be charming ' and agreeable shall appear the " natural consequence of being " virtuous." It is true, Welsted's play was not printed till I726, ten years after the above Tutler was written; but the prologue to it says, *' Great though he be, he comes with reverence here ; *' His entrance long dclay'J, avows his fear." 151. Dissipation. Com. by Miles Peter Andrews. Acted at D I S Drury Lane. 8vo. 17SI. This play is borrowed from Garrick's Bon Ton, and several other pieces; and the reception it met with did great credit to the good-nature of the audiences before which it was represented. 152. The Distracted State. Trag. by J. Tatham, written in 1641, and printed, 4to. l65l. This ai:thor was a strong party man, and wrote for the distracted times he lived in, to which his present work was extremely suit- able. His hatred to the Scots is apparent throughout this play ; wherein he introduces a Scotch mountebank undertaking to poison Archias, the elected king, at the instigation of Cleander, The scene lies in Sicily. It is the best of our author's pieces, and is intro- duced by three copies of recom- mendatory verses. 153. The Distresses. Tragi- Com. by Sir W. Davenant. Fol. 1673. Scene Cordua. 154. Distress upon Distress; or. Tragedy in true Taste. An Heroi - comi - parodi - tragi -farcical Burlesque, in tv/o acts, by George Alexander Stevens. Svo. 1752. This piece was never performed nor intended for the stage, but is a banter on the bombast language and inextricable distress aimed at by some of our modern tragedy- writers. There is much true hu- mour and just satire in it. 155. The Distkessed Baro- net. Farce, by Charles Stuart. Acted at Drury Lane. Svo. 17S7. A young lady imposes on her lover by re])resenting her own sister. This farce has merit 3 but was acted only six nights. 156. The Distressed Family. A Drama, in four acts. Svo. 1787. This drama was translated from the French of Mons. Le Mercier, 167 D I S D I S and was read in Lisle Street^ by Mon.s. Le Texier. The translator appears, from a note, p. 2Q, to have been a female. The piece itself is a sentimental one, and, whatever pleasure it may afford in the closet, would give but little satisfaction on the stage, 157. Distressed Innocence J or, 7'A(? Princess of Persia. Trag. by Elk. Settle. Acted at the Thea- tre Royal. 4 to. l6gi. This play was received with great applause. The plot is founded on the Historv of Isdegerdes, king of Persia; and the author declares, that whatever ticiions he may elsewhere have in- terwoven, the distresses of his principal characters Hormidas and Cleomira are true history. He likewise acknowledges great as- sistances in it from Betterton and Mountford, the latter of whom wrote the last scene and the epi- logue. 1 58. The Distressed Kn'ight; or. The Enchanted Lady. Com. Op. Performed at Dublin, l/Pl- This was founded on The Wife of Bath's Tale, in the third volume of Dryden's Mi>cellaneons Works. 159. The Distrest jMother. Trag. by Ambrose Philips. Acted at Drury Lane. 4to. 1712. This play is little more than a transla- tion from the Andromaque of Ra- cine. It is, however, very well translated, the poetry pleasing, and the incidents of the story so affect- ing, that although it is, like all the French tragedies, rather too heavy and declamator)', yet it never fails bringing tears into the eyes of a sensible audience ; and will, per- haps, ever continue to be a stock play on the lists of the theatres. The original author, houever, has deviated from history, and Philips likewise followed his example, in making Hermione kill herself on the body of Pyirhus, who had been slain by her instigation ; whereas, on the contrary, she not only sur- vived, but became wife to Orestes. How far the licentia poetica will authorize such oppositions to well- known facts of history, is, how- ever, a point concerning which we have no time at present to enter into a disquisition. Dr. Johnson observes, that such a work requires no uncoinmon powers ; but that the friends of Philips exerted every art to pro- mote his interest. Before the ap- pearance of the play, a whole Spectator, none indeed of the best, was devoted to its praise 3 while it yet continued to be acted, another Spectator was written, to tell what impression.it made upon Sir Roger de Coverley J and on the lirst night a select audience, says Pope, was called together to applaud it. It was concluded wjth the most successful epilogue that was ever yet spoken on the English theatre. The first three nights it was recited twice ; and not only continued to be demanded tlirough the run, as it is termed, of the play 3 but when- ever it is recalled to the stage, where, by peculiar fortune, though a copy from the French, it yet keeps its place, the epilogue is still expected, and is still spoken. It was printed in the name of Budgel, but is known to have been the work of Addison. lOO. The Distressed Virgin. Trag. by John Maxwell, a blind person. 8vo. 1761. Printed at York, by subscription, for the benefit of the author. ]6l. The Distrest Wife.. Com. by J. Gay. 8vo. 1743. This piece was designed by its author for the stage, and entirely finished M 4 108 D I V before his death. It is, however, far from being equal to the gene- rality of his writings. 162. The Disteest Wife. Com. altered from Gay. Acted at Covent Garden, ]772, for the benefit of Mrs. Lessinghara. l63. The DivEKSioNS of the Morning. Farce, in two acts, by Samuel Foote. Acted at Drury Lane. 1758. The first act was compiled from his comedy of To-j/i?. There were two second acts ; one performed in 1758, at Drury Lane ; the other (in which Mr. Whitehead's Fatal Constancy, slightly altered, was introduced under the title of Tragedy a la Mode, was substituted in lieu of it) in 1762, at the Haymarket : these are both printed by Tate Wilkin- son, in his IVandcring Patentee, 1795, vol. i. p. 285 ; iv, p. 237. In the foi'mer of these second acts, the voices and manners of several of the performers, of that time, were mimicked 5 for which Woodward took his revenge against Foote in a poetical address, called Tiff or Tat, vhich he spoke on his own bene- fit night, at Drury Lane, after the corned}^ of The Beaux Stratagem. We believe it was never printed entire ; but it begnn thus : " Call'd forth to battle, see poor I nppear, " To try one fall with this fam'd auc- tioneer. ** Harry to Sammy shall, and front to front." Two other lines were on Foote's Othello : •' But when I play'd Othello, thousands swore " They never saw such tragedy before." ]64. The Diverttsement. Musical Ent. by James C. Cross. Acted at Covent Garden 179O. [The songs from Mr. Charles -Dibdin's Entertainments.] Not D O A printed. It was indeed a play without a plot, composed of cha- racters without connexion ; but was often repeated. 165. Dives and Lazarus. Comedy, by Ralph RadcIifF. Not printed. 166. Dives' Doom ; or. The Rich Man's Misery. By George Lesly. 8vo. 1675/ 167. The Divine Comedian; or. The Might Use of Plays, im- proved in a sacred Tragi -Com. by Richard Tuke. 4to. 1672. Dedi^ cated to the Countess of^ Warwick. This play is on a religious subject, and we imagine was never acted. It was first printed in the same year, by the title of The Soul's Warfare, and is intended to point out the danger the human soul in- curs in its probatlpriary state iii this world. 168. The Divorce. A Play^, entered on the books of the Sta- tioners' Company, Nov. 29, l653, but not printed. 169. The Divorce. Musical Entertainment, by Lady Dorothea Dubois. Sung at IMarybcne Gar- dens. 4to. 1771- 170. The Divorce. Musical Farce, by Isaac Jacknian. 8vo, 178I. This is a humorous and entertaining afterpiece, and has merit enough in other points to atone for some improbabilities. It was first performed at Drury Lane, Nov. 10, 1781, and very well received. The groundwork is a collusion between a virtuous and affectionate couple to procure a divorce ; on the sole principle of affectation, and from a desire of fashionable eclat. J7L The Doating Lovers; or, The Lileriine fam'd. Com. by Newburgh Hamilton. 12mo. 1715. Acted at Lincoln's Inn Fields. Scene London. The prologue by 169 DOC DON Bullock, jun. This play met with no approbation from the unbiassed part of the audience ; but was sup- ported by family influence to the third night} when, for the author's benefit, the boxes and pit were laid together at the extraordinary price of six shillings each ticket. — Some traits, however, in the cha- racter of Sir Butterfly, in this piece, may probably have furnish- ed hints for that of Lord Ogleby in The Clandestine Marriage. 172. The Doctor and the Apothecary. Farce, by James Cobb. Acted at Drury Lane. Svo. 1 788. Several former productions, particularly Animal Mciinetism, appear to. have been laid under contribution in the lormation of this drama, which by means of the very pleasing music of Ste- phen Storace, and excellent acting in the performers, was very suc- cessful on the stage. This piece, we think, first introduced Storace to the public as a composer. 173. Doctor Faustus's Tra- gical History, by Christopher Mar- low. 4to. 16045 4to. 1616 J 4to. 1624 J 4to. 1031; 4to. l063. Bl. Let. The last edition of this play had additions of several new scenes and the actors' names. The scene at Rhodes and Werteniberg, and the plot is founded on Came- rarius, Wierus, and other writers on magic. It was entered on the books of tl|e Stationers' Company, by Thomas Bushull, Jan. 7, I607. In this play, Edward Alleyn used to act the principal character ; as appears from the following passage in Rowland's Knave of Clubls, 1611 ; " The gull gets on a surplice, " With a crosse upon his breast, •* Like Allen playing Faustus, ?' In that manner was he drest." Sign. G, 2. 174. Doctor Faustus, Life and Death of, with the Humours of Harlequin and Scaramouch ; as they were acted by Mr. Lee and Mr. Jevon. Farce, by W. Mount- ford. Acted at the Queen's Thea- tre in Dorset Gardens, and revived at the Theatre in Lincoln's Inn Fields. 4to. 1 697. 175. Doctor Faustus. See The Necromancer. 176. Doctor Last is his Chariot. Com. by Isaac Bicker- staft'e. Acted at the Haymarket. Svo. 1769- This is a translation of Moliere's Malade Imaginaire. The authvir, in a preface, acknow- ledges himself indebted to Mr. Foote for a whole scene in the first act ; that of the consultation o£ physicians. It was performed only six nights. 177. TheDoldrum; or, 1903- Farce, by John OKeefFe. Acted at Covent Garden, April 23, ] 7g6. This extravagant farce is founded on the idea of a man's sleeping from 1796 to 1803, and on his surprise at the changes around him. A grave criticism on this piece would be as absurd as the farce itself. A part of the plot appears to be drawn from Seeing is Believing, in which a servant pretends to be the physician. It was acted about eight or nine nights. Printed in the author's y/orks, Svo. I79S. 178. Don Antonio; or. The Soldier's Jieturn. See Antonio. 179- Don Carlos Prince of Spain. Trag. by Thomas Otway. Acted at the Duke's Theatre. 4to. 1676. This play is written in heroic verse, was the second work of the author, and met with verjr great applause. The plot is taken from a novel of the same name, by S, Real, and also from the Spanish Chronicles in th« Life of Philip II. 1-0 DON In a letter from Mr. Booth to Aaron Hill, he says, "Mr. Better- " ton observed to me man)- years *' ago, that Don Carlos succeeded " much better than either Venice " Preserved, or The Orphan, and " was infinitely more applauded " and followed for many years." It is asserted to have been played thirty nights together j but this report, as Dr. Johnson observes, it is reasonable to doubt; as so long a continuance of one play upon the stags is a very wide deviation from the practice of that time ; when the ardour for theatrical entertain- ments was not yet ditiused through the whole people ; and the audi- ence, consisting of nearly the same persons, could be drawn together only by variety. Its success, how- ever, may be gathered from the following lampoon of Rochester, in his " Trial of the Poets for the Bays" : *• Tom Otway came next, Tom Shad- well's dear zany, *' And swears, for heroics, he writes best of any : " Don CarLs his pockets so amply had fill'd, " That his manje was quite cur'd, and his lice were all kill'd." 180. Don Carlos. Trag. trans- lated from Schiller. Svo. 17.Q5. 181. Don Carlos, Prince Royal of Spain. Hist. Drama, from the German of Frederic Schiller. By the translators of Fiesco [i. e. G. H. Noehden and J. Stoddart]. Svo. 1798. 182. Don Carlos, Infant of Spain. Trag. from the German of Schiller, by B. Thompson. Svo, 1801. The above tragedy is extremely interesting, but much too long and declamatory; and the author's liatred of kings and priests is vi- sible in almost every scene. DON Of the several translations we prefer Mr. Thompson's ; but not one of them has been acted. 1S3, Don Garcia of Na- varre ; or. The Jealous Prince. This is only a translation fromMo- liere by Ozell. 184. Don Horatio. Play, Acted at the Rose Theatre, Feb, 23, 1591. Now unknown. 155. Don Japhet of Arme- nia. Com. translated from Scar- ron in 1657, by Sir William Lower, Knt. Still in MS. 186. Don Jerome's Trip to England. Int. Acted at Covent Garden, 177S- Not printed. 137. Don Ignez de Castbo. Trag. by John Adamson, Svo, ISOS. This is a translation from the Portuguese of Nicola Luiz. 188. Don Juan ; or. The Li- bertine destroyed. A tragic panto- miraical Entertainment, in two acts. Performed at the Royalty Theatre. Svo, N. D. [1787.] This piece was composed by Mr, Delpuii, The songs, duets, and choruses, by Mr. Reeve, The music by Mr.'^Gluck, and the scenery by Mr. Dixon. IS9. Don Juan; or. The Li- bertine destroyed. Pant, Ballet. Acted at Drary Lane, Svo, 1790. These pieces are framed from Shadwell's Libertine, and have been very successful whenever per- formed, 190. Don Pedro. Drama, by Richard Cumberland. Acted at the Haymarket. Svo, 1 796, The hint of this piece seems to have been taken from The Robbers; but it appears to have been too hastily composed. The character of Pe- dro, hardened in villany and dead to remorse, was admirably acted by Mr, Palmer ; but the play only lived four nights. 191. Thk History of Don iri DON Cif ixoT ; or. The Knight of the ill -favoured Face. Com. This was never printed ; but is adver- tised as at the press in a list of books at the end of IVit and Drol- lery, 12mo. 1G61. Winstanle7 and Philips ascribe a play with this title to Robert Baron, but without any foundation whatever, merely because it happened in Kirkman's Catalogue to follow Baron's play, Deorum Dona. For the same rea- son they have attributed to him Tlie Destruction of Jerusalem, a play written before he was born. They have likewise made him the author of The Marriage of Wit and Science, printed in 1570, be- cause that piece followed his Mirza •in the same Catalogue. 192. The comical History OF Don Quixote. By Thomas Durfey. Acted, with success, at Dorset Gardens. 410.10945 12mo. 1729. ip3. The comical History OF Don Quixotk. By Thomas Durfey, Acted at Dorset Gardens. Part II. 4to. 1094} 12mo.I729. This also was well received. 194. The comical History ofDonQuixote. The thirdPart, with the Marriage of Mary the fiurome. By Thomas Durfey. 4to. I6g6; 12mo. 1729. This was not acted with the same success as the two former parts. The wiiole three were severely censured by Jeremy Collier, on account of their immorality: how justly, will be easily seen; particu- larly in the third part, in some scenes between Mary the Buxom and her clownish lover Jaques. 195. Don Quixote. Musical Entertainment, by D. J. Piguenit. Performed at Covent Garden. 8vo. 1 774. This was acted only one night, for the bciiefit of Mr. Rein- \>old. DON I9G. Don Quixote in Bar- celona; or. The Beautiful Moor. Ballad Farce, in two acts, by Jo- seph Aloser. Printed in The Spi- rit of the Public Journals for 1808. Never acted. 197' Don Quixote in Eng- land. Com. by H. Fielding. 8vo. 1733. Acted at the Little Theatre in the Haymarket, with success. 19s. Don Sancho; or. The Student's JFhim. Ballad Opera, of three acts ; with Minerva's Tri- umph, a Masque j by Elizabeth Boyd. 8vo. 1739. This piece has only the excuse of its being proba- bly the first and only attempt of a female Muse, to, secure it from our severest censure. The whole plot of it is the whim of a student at one of the xiniv^ersities, to have the ghosts of Shakspeare and Ben Jonson raised to their view ; but to what purpose it seems impossible to divine. Nor does the author's meaning appear more explicable as to the triumph ot Minerva in her masque. It does not seem to have bt-en ever acted} but the author, in an advertisement, returns her thanks to Mr. Clietwood, at ihat time prompterof Drury Lane thea- tre., for having obtained it a read- ing in the green-room of that playiiouie. 199. Don Saverio. Musical Drama. Acted at Drury Lane. 4to. 1750. The music by Dr. Arne, who also probably wrote the words. 200. Don Sebastian, King of Portugal. Trag. by J. Dryden. Acted at the Theatre Royal. 4to. 1690 } 4to. 1692. This is com- monly (as Dr. Johnson observes) esteemed either the first or second of Dryden's dramatic perform- ances. It is too long to be all ;u:ted, and has many characters 173 D O U and many incidents ; and though it is not without sallies of frantic dignity, and more noise than mean- ing, yet as it approaches to the possibilities of real life, and has some sentiments which make a strong impression, it continued long to attract attention. Amidst the distresses of princes, and the vicissitudes of empire, are inserted several scenes which the writer intended for comic ; but which, I suppose, that age did not much commend, and this would not en- dure. There are, however, pas- sages of excellence universally ac- knowledged ; the dispute and the reconciliation of Dorax and Se- bastian has been always admired, Addison has made some just and humorous remarks on certain in- consistencies of ciiaracter in this piece^ in The Guardian, No. 1 10. This tragedy was revived at Drury Lane in 1/53. 201. DoRVAL ; or, The Test nf Virtue. Com. translated from Di- derot. 8vo, 17^7- 202. The Double Amour. Farce, in two acts. Performed at the Haymarket, 179I (not in the regular season), for the benefit of a Mr. Walker. The advertise- ment did not express whether this was a new piece, or not. 203. The Double Dealer. Com. by W. Congreve. Acted at the Theatre Royal. 4to. 1694. This is the second play this author wrote ; the characters of it are strongly drawn, the wit is genuine 2nd original, the plot finely laid, and the conduct inimitable; yet such is, and ever has been, the cz- pricious disposition of audiences, that it met not equal encourage- ment with his Old Bachelor (in some respects a much more ex- ceptionable play), nor had it the D O U same success with his later per- formances. 204. The Double Dealer. Com. by W. Congreve. Revised by J. P. Kemble, and now first published as it is acted at Drury Lane. 8vo. No date. 205. The Double Deceit; or, A Cure for Jealousy. Com. by W. Popple. Acted at Covent Garden. 8vo. 1736. 20G. The Double Deceit; or. The Imppy Pair. A Comic Farce. Printed in Bvo. 1745, but never acted. 207. The Double Deception. Com. by Miss Richardson, Act- ed at Drury Lane, 1779, This play was brought on the stage to- wards the end of the season, and was peKformed only four nights. It has not been printed. 20s. The Double Disappoint- ment. Farce. Acted at Covent Garden, 1747- This has no great- share of merit, either as to plot or language ; yet it met with con- siderable success, from the delight that the majority of an audience ever take in the exposing of na- tional characters; which is here done in the young lady's two lovers, an Irishman and a Frenchman, both of them fortune-hunters; one of whom proves to have been a rubber in a stable, and the other a valet who has robbed his master. These two parts, during the run of the farce, were very well sup- ported by Messrs. Barrington and Blakes. The author of it was Moses Mendez, Esq. It was not printed until 1 76O, in 8vo, 209. The Double Disguise. Drama, in two acts, by John Mur- doch. Printed in " Pictures of " the Heart sentimentally deline- " ated," &c. 2 vols. l2mo. 1783. Never acted. 1/3 D O XJ D O U 210. The Double Disguise. >Ius. Ent. Acted at Drury Lane. 8vo. 17S4. This piece, which was well received, was said to be the production of Mrs. Hook, The music was the composition of her husband. ' 211. The Double Distress, Trag. by Mrs. Mary Pur. 4to. 1701. Acted at Lincoln's Inn Fields, Scene Persepolis. It had no success, 212. The Double Falshood; or. The Distrest Lovers. Play, by Lewis Theobald. Acted at Drury Lane. 8vo. I728. This piece Theobald endeavoured to persuade the world (but with little success) was written by Shakspeare. The play, however, was acted twelve nights with considerable applause, and was the last piece in which Mr. Booth appeared. Dr. Farmer was of opinion that it was a produc- tion of Shirley's, or, at least, not earlier than his time. Mr. Ma- lone inclines to believe it written by Massinger. It was revived at Covent Garden in 1767, The plot is from a novel in the first part of Don Quixote. 213. The Double Gallantj or. The Sick Lady's Cure. Com. by C. Gibber, Acted at the Hay- market, 4to. No date. [1707.] Part of this play is borrowed from Mrs. Centlivre's Love at a Venture, or the French comedy of Le Gal- lant Doul'le, and part from Bur- naby's Visiting Day. In a letter from Booth to A. Hill, we learn that thisplay, at its first appearance, was, as he expresses it, hounded in a most outrageous manner. Two years after, it was revived, met with most extravagant suc- cess, and has continued a stock play ever since, 214. The Double Marriage. Trag, by Beaumont and Fletcher. Fol, 1G47; Svo. 1778. Scene Naples. This is not one of their best plays ; and an attempt to revive it, early in the last century, failed of success, 215. The Double Mistake. Com. by Mrs. Elizabeth Griffith, Acted at Covent Garden. Svo, 1766. It was performed twelve- nights with applause. 216. Double Perplexity; or. The Mysterious Marriages. Com. in three acts. 12mo. 1796. Never acted. 217. The Double Strata- gem. Com. Op. by Robert Houl- ton. Acted at Capel Street, Dub- lin, 1784. This was The Contract of the same author altered. Not printed. 218. The Double Traitor roasted, a new Scots Opera. Acted by a select company of co- medians, near Westminster HalL Svo. 1748, 219. Doubt and Conviction. F. translated from the French, by James Wild. ]2mo. 1804. Never acted. It is from La Defiance et Malice of M. Dieulafoy, and acted at the Theatre Francois. See Per- sonation. 220. The Doubtful Heir. Tragi-Com. by James Shirley. Acted at the private house in Black Friars. Svo. l652. Part of the story on which this play is built may be found in the English Adr ventures, Part III. Scene lies in Murcia. 221. The Dove. Com. trans- lated from the French of Madame Genlis. Svo. 178I j 12mo. 1787. 222. Douglas. Trag. by John Home. Actpd at Covent Garden, Svo, 1757. This ti-agedy, the plot of which was suggesled by the pa- thetic old Scotch ballad of Gil (or Child) Morrice, reprinted in tho third volume of Percy's Rellque^ 174 U O U of Antient Poetry, is founded on the quarrels of the families of Douglas and other of the Scots clans. It has a great deal of patiios in it, some of the narratives aie pleasingly affecting, and the de- scriptions poetically beautiful. On its first appearance, Mr. David Hume gave his opinion, that it was one of the most interesting and pathetic pieces ever exhibited on any theatre. " Should I give " it the preference," sayshe^ " to " the Mcrope of Maftei, and to " that of Voltaire, which it re- " sembles in its subject, should I " affirm that it contained more " fire and spirit than the former, ** more tenderness and simplicity " than the latter, I might be ac- " cused of partiality." But not content with this eulogium, he proceeded to declare, that the au- thor possessed the true theatric genius of Shakspeare and Otway, refined from the unhappy barba- rism of the one, and the licen- tiousness of the other. Such ex- travagant praise requires no com- ment. The author was a Scots- man, and a clergyman of that church. The piece made its first appearance on the Edinburgh the- atre, at that time in no unflourish- ing condition. This, however, drew the resentment of the elders of the kirk, and many other rigid and ze.^lous members of that sect, not only on the author but the performers ) on whom, together with him, they freely denounced their anathemas in pamphlets and public papers. The latter, indeed, it was out of their power greatly to injure •, but their rod was near falling very heavy on the author, &c.whom the assembly repudiated, and cut off from his preferments. In England, however, he had the good fortune to meet with friends; D O U and being, through the interest of the Earl of Bute, and some other personsof distinction, recommend- ed to the notice of his present Ma- jesty, then Prince of Wales, his Royal Highness was pleased to be- stow a pension on him; andhispiece. was brought on the stage in Lon- don, and met with success. We may, however, add, that IVIr. Home's Muse cannot be said to have flourished beyond the time when she was rich enough to lend images to Ossian. Her stores of fancy were much exhausted, when afterwards, in Tke Fatal Discovery , she was compelled to supply the want of them by tumid language borrowed fromFingal. Mr.]\Iason (in a note on one of Mr. Gray's Letters, 4to. edit. p. 281) has the following observation relative to the originality of a passage in Mr. Home's first and happiest produc- tion : " It is remarkable, that the " manuscript [of one of the Erse " fragments] in the translator's " own hand, which I have in my " possession, varies considerably " from the printed copy. Some " images are omitted, and others " added. I will mention one " which is not in the manuscript, •< The spirit nf the vwuntain shrieks. " In the tragedy of Douglas, pub- " lished at least three years before, " I always admired this fine line, " The angry spirit nf the u-ater " shriek' d. Quere, DidMr. Home *' take this sublime image from " Ossian, or has the translator of " Ossian borrowed it from Mr. " Home?" Mr. Gray, however, had so high an opinion of this first drama of Mr. Home, that in a letter to a friend, dated Augixst 10, 1757. he says, " I am greatly struck with " the tragedy of Douglas, though " it has infinite faults : the author 175 DOW *' seems to me to have retrieved " the true language of the stage, " which had been lost tor these " hundred years ; and there is one " scene (between Matilda and the " Old Peasant) so masterl}', that *' it strikes me blind to all the de- *' fects in the Avorld." To this opinion every reader of taste will readily subscribe. Dr. Johnson blames Mr. Gray for concluding his celebrated ode with suicide ; a circumstance borrowed perhaps from Douglas, in which Lady Randolph, otherwise a blame- less character, precipitates herself, like the Bard, from a cliff, into eternity. When this tragedy was originally produced at Edinburgh, in 1/56, the title of the heroine was Lady Barnard : the alteration to Lady Randolph was made on its being transplanted to London. Jackson s Hist, of the Scottish Stage. — An alteration of this play, by which the termination is changed to a happy one, is said to have been performed on a private theatre. Fye's CommerUary , illustrating the Poetic of Aristotle, p. 268, Per- haps the alteration here alluded to may be one which was made by Mrs. Crespigny, and performed at her private theatre, 1789; to which see a Prologue in the Eu- ropean Magazine, vol. xv. p.4y2. 223.TheDowagek. By Tho- mas Chatterton. Two scenes of a tragedy so called, by this ex- traordinary young man, are still in MS. 224. The Downf.\l op the Association, Comic Trag. in five acts, 8vo. 1771. Printed at Winchester. The incidents of this little piece are well conducted, and the characters natural, 225.TheDownfall ofBkibe- RY J or. The honest Man of Taun- D R A ton. Ballad Opera, of three acts, by Mark Freeman, of Taunton, in Somersetshire. 8vo. 1/33. This was never intended for the stage, nor is the anthor's name appa- rently a genuine one. It there- fore seems to have been only a party-piece, written on a contested election for Somersetshire in the year 1/33, which was the time of a general election for parliament, 226. The Downfall of St. Stephen's. Political Burletta, printed in The General Advertiser and Morning Intelligencer, 17'84, 227. The Dragon of Want- ley. A Burlesque Opera, by H. Carey. Svo. 1/3/; 4to. 1743; 8vo. 1749. Acted at Govent Gar- den. This piece (of which a 14th edition was published in Septem- ber 173s) has a great deal of hu- mour in it, and was a very fine burlesque on the Italian operas, at that time so much the passion of the town. The plot, taken from the old ballad of Moore of Moorehall, is worked up into all the incidents of love, heroism, ri- valry, and fury, which most of the Italian operas indiscriminately were stufied with. To help this for- ward, the characters were dressed in the utmost extravagance of theatric parade: the machinery, truly burlesque, and the songs, though ludicrous to the highest degree, were set perfectly in the Italian taste. The composer was John Frederick Lampe 5 and it was acted Q'^ times the first sea- son. 228. The Dragoness. See Margery. 229. Dramatic Appellant. In a quarterly publication under this title (which, however, expired after the third number) the following pieces were printed. Svo. 1 808. [The intention of the work was, to ap- 176 D R A D R U peal to the public judgment, in print, from the veto of the thea- trical managers ; by whom these pieces had been returned as not likely to succeed on the stage.] The Barons of EUenbtirgh. Tr. by F. F. Weston. Albert and Rosalie. Mus, Dr. The Wagei-. Mus. Ent. William Tell. Tr. by E. Roche. The Invasion. P. by E. Roche. Look before you Leap. Aft. by T. D. W organ. The Villagers. CO. by the same. St. Aubert. T. by F. F. Weston . Two Old Maids of Florence. F, Anon. Castle of Udolpho. Op. Dram, Anon. 230. A Dramatic Dialogue between an English Sailor and a Frenchman, by J. S. Munnings. 8vo. 1803. Never acted. 231. Dramatic Dialogues for young Persons. 12mo. 1792. 232. Dramatic Love. Com. by ITiomas Horde. Printed at Oxford. 8vo. 1773. Never act- ed. It is dedicated to Mr. Gar- rick. 233. A Dramatic Pastoral. By a Lady. Occasioned by the collection at Gloucester on the co- ronation-day of George IIL for portioning young women of vir- tuous characters. Printed at Glou- cester. 4to. 1762. We learn, from Mr. Pegge's Anonymiana (published by Mr. Nichols, in I8O9), that the author was a Mrs. Thomas. 234. A Dramatic Piece. By the Charterhouse Scholars, in me- mory of the powder-plot. Per- formed at the Charterhouse, Nov. 6, 1732. 8vo. 235. The Dramatic Puffers. Prel. by Henry Bate. Acted at Covent Garden. Svo. 1783. 236. Dramatic Sketches of the Ancient Northern Mythology. By F. Sayers. 4to. ]789. See Frea, Moina, Starno. 237. The Dramatist; or, Stop him who cati. Com. by Frederic Reynolds. Acted at Covent Gar- den, 1789, with great success. 8vo. 1 793 . It is,however,much better on the stage than in the closet. The character of Vapid, in this piece, was one of the first of that nu- merous family, by which genteel and sprightly comedians have been converted into speaking harle- quins : Nominals, Tangents, Rapids^ have succeeded 3 " And the last fool is -wdcome as the for- mer," 238. The Dkeam. A Serio- Dramatic Piece, in two acts, by R. Sickelmore. Acted at Brigh- ton, August 1796. Printed at Lewes. 8vo. 1797. 239. TheDream ofSt. Cloud. Dram. Poem. 8vo. 1797. Print- ed at Edinburgh, in a volume en- titled Poetry, Miscellaneous and Dramatic, by an Artist. Never acted. 240. The Dream of Scipio. Op. translated from Metastasio, by John Hoole. 8vo. 1800. 241. The Dreamer Awake j or. The Pugilist Matched. Farce, by Edmund John Eyre. Acted at Covent Garden, May 1791. Print- ed at Shrewsbury. 8vo. 1791. Prologue by Peter Pindar. It was acted twice for benefits, but in- differently received 3 in some mea- sure, perhaps, owing to the pfer- forraers being imperfect in their parts. 242. The Druids. Pantomime Entertainment. Acted, with great success, at Covent Garden. 8vo. 1774. Songs only. 243. The Dbummer ; or^ The \7f D R U haunted House. Com. by Addison. Acted al Drury Lane. 4to. 17I.'), 17 If). Nothing perhaps can gi'. o a stronger proot of how vague and indecisive as to reil merit the judgment ui an audience is to be considered, and how frequently thai judgmeni is biassed by names alorie; than i)ie success of tJii'i co- medy ; whici), coming out at first without any known parent, not- withstanding it had all the ad- vantages of admirable acting, was so univeisaily dislikeii, that it was acted only three nights, and the juthor chose to keep himself C(M1- cealed till after his death ; when Mr. Tif kell having oinitted it in ids Collection of the author's works, it was republished by Sir Richard Steele, in 4 to. 1722 ; and asserted to be the production of iSIr. Addison, or at least written under Ids direction. It is observed, b}' Sir Richard that " The Drum - *' rmr made no tigure on the stage, " though excaisitely well acted ; *' and whet) I observe this," sa/s he, " I say a much harder thing '" of the stage than of the co- " mcdy.'' Dr. Warton (E'ysay on the Genius and Ulitir.gs of P'tpe, p. 2UC), speaking of this play, calls it " that excellent, and ne^r- '* lected comedy, that just pic- " tare of lite and real manners, '' where the poet never speaks in '• his own person, or totally drops *■' or forgets a character for the " sake of introducing a brilliant '* simile or acnre remark : u here " no train i-^ laid tor wit ; no Jc- " reni) s or Bens are suffered to ap- **■ peaf." JMr.Theobnld {^^ie Notes to Beaumo/it and Fletcher^ vol. i. p. 3J7, edit.. I77S) says, he was informed by Mr. Addison, that the character of Vellum was sketched oat by him from that of Savil in T!ie Scornful Lady. Sir Richard TTOL. H. DUE Steele dedicated his republication of this play to Mr. Congreve, and is very severe on Mr. Tickell for his omission of it, as well as for other circu instances relative to the publication of Mr. Addison's works. 244. The Drunken News- WRixER. Comic Interlude. Per- formed at the Haymarket. 8vo. 1771. This feeble attempt at hu- mour will be found in The Ox- Jord Magazine^ vol. vi. p. 101. 245. Ducks and Peas ; or. The Newcastle Rider. Farce, of one act, by John Lund. 8vo. 1777. Prii;t:d in a pamphlet en- titled, " A Collection of Original "■ Tales, in Verse. In the Man- " ner of Prior, &c." This poor piece was acied at Pontefract. 246. The Duel. A Play, by William Obrien. Acted at Drury Lane, 1772. 8vo. 1/73. This piece deserved more success than it met with. lt_was taken from Lc PhUosophe sans le Sf avoir of St'daine ; and was acted oidy one night. 247. Tut Duellist. Com. by William Kenrick. Acted at Covent Garden. 6vo. 1773. This was taken from Fielding's Amelia. It liad no success, and was acted only once. V/e do not, how- ever, think it had more defects than many other pieces that have enjoyed a nine nights' life on the stage. Yet the ancient custom of inmiediate condemnation is less in- jurious to malingers, than the lin- gering death by which several ino- dern pieces have been sulfered to expire. 248. The Duenna. Com. Op. by Richard Brinsley Sheridan. Acted at Covent Garden, \'i75. Svo. 1794. This piece (the plot of wliich seems borrowed from // Filosofo di Campagna, from Mo* N i;s D r ic iiere's SitU-ic'n, and from The Won- diT of Mis. CenUivre) was re- ceived with applause; by crowded audiences through j>^ 249. The Duknn'a. Comic Opera, in three acts, as acted by His Majesty's Servants. 8vo. Iz/O". This is a parody on Mr. Sheridan's celebrated performance, and is en- tirely political. The supposed au- thor of the present Grub Street piece (which is not the worst of its kind) was Israel Potlinger. 250. The Duke. A Play, by James Shirley. Licensed May ig, idol. Not now 'known. 251. A Duke and no Duke. Farce, by N.Tate. Acted by tlu^ir Majesties' Servants. 4to. 1085; 4to. 1693. The scene of this piece lies in Florence, and the plot is taken from Trappolin siippos'd a Prince. It has several songs in it, bat these are now omitted in the performance. Trappolin's judicial decisions are taken from \heCo?ites UOuvilU; but the whole design ie so absurd and inip(<.-bible, that it appears somewhat wonderful it should have been so often acted as it was, or met with so much a])- plause, even frorri the very cavaUlc. Prefixed to it i:-, " A Preface, con- " cern'.ng Farce. With an Ac- " count of the PcrsoncT and I,:uv.r, " Sec of the ancient Theatre." 252. The Duke AND NO Duke. Entertainment in grotesque cha- D U K racters, by Mr. Thurmond. Acted at Drury Lane, 172O. 253. Duke and no Duke. F. written originally by Sir Aston Cokaine, and since revived with considerable alterations. 8vo. \'J5'6. '154. Duke Humphrey. Tr. This play \\'as among those de- stroyed by INIr. ^^'arburton'b ser- vant. It was entered on the book of the Stationers' Company, June 29, l(i60, as the work of William Shakspeare. Could we believe it to have been really written by him, what a subject of regret would its ill fate be to every admirer of our immortal poet ! 255. The Duke of Florence. Trag. A MS. sold as part of the library of the late Mr. Arthur Murphy. 25t). The Duke of Guise. By Henry Shirley. This play has not been printed, but was entered on the book of the Stationer*' Company, Sept. 9, 1653. 257- The Duke of Guise, Trag. by Dryden and Lee. Acted by their Majesties' Servants. 4to. j'dSSj 4to. IGS". This play, al- though in many paits it is very line, met with several enemies at its first appearance upon the stage : the nation bcingatthattimeinafer- mont about the succession ; which occasioned several pamphlets to be written pro and co7i. Its object evidently was to serve the Duke of York, whose succession was opposed. The plot is taken from Da Vila, Mezeray, and other wri- ters on the reigns of Henry III. and Charles IX. ; and the story of Malieorn the conjurer, from Ros- set's Ulstoircs Tragiques, Dryden wrote only the first scene, the whole founh act, and the first half, or somewhat more, of the Ijfih. All the rest of the play is 179 D U K Lee's. Dryden was severely at- tacked fur this piece, which was considered as levelled at the then enemies of the English court ; on wliich l)e duciares, in his rindica- tion, that it was at Mr. Lee's ear- nest request that he joined him in writing it; nor was it in his thought to expose any person living. '' After the writing of GSdipus," says he, " I passtjd a promise to '•join with him in another; **■ and he happened to claim the " performance of that promise "just upon the finishing of a " poem, when I would have been *' glad of a little respite before " the undertaking of a second " task." Several passages in this pl.'iy are borrowed from Lee's Massacre of Paris. 258. The Duke of Milan. Trag. by P. Massinger. Acted with good success at Black Friars. 4to. IQTo; 4to. 1638. The plot partly from Guicciardini, book 8, and partly from Josephus's History of the Jews, book 15, ch. 4. where will be found the story of Herod's leaving orders with his uncle Joseph to put his beloved wife Mariamne to death ; from which the instructions given by Sforza to his iavourite Francisco, for the murder of the Duchess Marcelia his wife, seem evidently borrowed. Mr. Gilchrist, of Slam- ford, has a copy of this play in his possession (l623), corrected throughout by the author, and given by him to Sir Francis Fol- jumbe, with twelve verses prefixed, in token of the donation. 259. Thb Duke of Milan. Tragedy, by Richard Cumber- land. Acted at Covent Garden, 1779- Not printed. This piece consisted of Massinger's play, and Fenton's Maiiamue, incorporated. The works pf these two autiicrs D U M so ill coalesce, however, that the present performance was coldly re- ceived, and acted only three nights. 260. The Dl'ke of Roci;ford. Trag. from the* posthumous works of .i Lady of Quality. Performed at Edinburgh, J/py. 261. The Duke of Rothsay. Trag. This play was written in 1764, bySanjuel Macarthur ; and printed, after the author's dealli, by John Wood, at Edinburgh. 8vo. 17SO. Never acted. 262. The Duke's Mistress. Tragi-Comedy, by James Shirley. Acred at the private house, Drury Lane. 4to. J638. Scene Parma. 263. The Dumb Bawd. By Henry Shirley. Not printed ; but entered on the book of the Sta- tioners' Company, Sept. Q, l653. 264. The Dumb Cake ; or. The Regions of Fancy. Pant. Acted at Covent Garden, I787, 265. The Dumb Farce. En- tertainment, in grotesque charac- ters, by Mr. Thurmond. Acted at Drury Lane, J719. 200. The Dumb Knight. An historical Com. by Lewis Machin, Acted sundry times by the children of the Revels. 4to. I6OS; 4to. ]633. D. C. 1780. The scene of this play lies in Cyprus ; the most essential incidents of ihe plot are taken from Bandello's Novels, and a.'-e sinnlar to those in a play, called The Queen; or. The Excel- lency of her Sex. Thougli this play was acted several times, it tound many enemies, as we may perceive from the preface ; where the author says, the play was mis- construed. The only objection that appears in it is, the extreme looseness of the comic parts, which are particularly glaring and offen- sive to a modest ear ; yet we should suppose that this could not be the reason of its being neg- N 2 ISO D U P lected ; as it was so oust, niary, in most plays of those limes, to lard them with this .«ortof wit. 267. TiiK Dlmij Lady; or, The farrier ?/. ode Physician. Com . by John Larv. Acted with suc- cess at (he Theatre riO)al. 'Ito. 1672. The plot and much of the language ot' this play is from Mo- liere's Medecin vialgre lui. The scene is laid in London. 268. 1'he Dupe. Com. [by !Mrs. Frances Sheridan \ Acted at Drurv Lane. 8vo. 17(i4. Our fair dramati.st was less fortunate in the production of this, than in her former comedy. The Dupe w^9, con demned, on account of a few pas- sages which the audience thought too indelicate. Whether they were not, in this respect, them- sdves rather too delicate, is a point which must not be argued here. Certain it is, however, that the rigid sentence passed on this un- fortnniUe play redounds greatly to the honour of our modern au- diences, wlio,^ whether mistaken •r not in their judgments, have terein shown, that they will tole- rate nothing which has but the least appearance of being oflensive to the laws of decorum. 269 The Dupi£S of FantY) or, Every Man his Hol-ly. Farce. by George Saville Carey. Acted by the Drurv I,anc Company while they were at the Opera House. 8vo. 17y2. This piece was per- formed for the benefit of Mr. Dignum ; and though the titlc- ■^age declares it to have been acted *' "widi great applause," met, in truth, with a very inditT'erent re- ception, the only time it appear- ed on the stage. The Dupes of Fancy area florist and a butterfly- fancier j but the characters are -;t Drue. 4to. IbSl. The plot is founded on history, and the story may be .seen at large in Fox's Martyrolo^y, A. D. 1558, and in Clark's Martyrology, ch. 1 1 , p. 521. Scene London. The title page informs us, that this play was acted divers and sundry times, with good applause. Lang- bnine, by mistake, ascribes it to Thomas Hey wood. The entry in the Stationers' Company's book is in the above name. 278. The Dutchman. Mu- sical Entertainment, by Thomas Bridges. Acted, without success, at the Haymarket. 8vo. 1775. 279. The Dutiful Decep- tion. Comedy, of one act. Per- formed at Covent Garden, April 22, 1778, for the benefit of Mrs. Bulkeley. Not printed. 280. Dyccon of Bedlam. A. play of this title was entered on the book of the Stationers' Com- pany, by Thomas Colwell, in thq year 1502 to \5Qi. This play, I believe, was never published. It seems to have been the first sketch of Gammer Gur ton's Needle, which appeared in 1575, from the same printer ; qr perhaps is tlie play it- self. E 1. 1 HE Earl OF Douglas. A Dramatic Essay. 8vo. 17OO. The eubject of this piece is the murder of the Earl of Douglas and his younger brother, about tiie year 1440, a particular account of which piay be seen in Abercrombie's Scotch Atchievemenis^ vol. ii. p. 328. The author has kept close to the l^istory, having added little to the circumstances of the story, bpside a number of moral senti- ments, judiciously interspersed, and generally well ej;presaed. »3. 182 EAR 2. The Earl of Essex. Trag by Henrj' Jones. Svo. 1/53. Act ed at Covent Garden. 'I'his piece the town had been for some years in expectation of; and on its ap- pearance it met with great suc- cess, taking a ran for twelve nights, and bringing the author some very good benefits since in Dubhn. It has been said that he was assisted in fhe writing of it by the Earl of Chesterfield, and the late laureat C. Gibber. However that may be, the play can scarcely lay claim to any capital share of merit ; for although the language maybe an improvement on Banks's tragedy of the same name, yet the conduct of the piece is not so good, nor the incidents so affecting ; so that the latter has as much the advantage in pathos, as this has in poetry. On this subject, Madame Sillery says, Philip IV. King of Spain, composed a tragedy. 3. The Earl of Essex. Trag. by Hen. Brooke. Acted at Drury Lane. Svo. 1/61; l/ZS. As all the pieces of this title are founded on history, on that even of our o\yn country, and of a period the best known to every Englishman, very little liberty can be taken with the stor}'of them. Yet Brooke seems to have varied his conduct, from that of the former plays on the subject, so much as to give it som-^what the air of novelty ; and indeed not only from that, but from the spirit and energy of the language, this piece appears to bid the fairest for maintaining its ground, and, for a time at least, banishing its rivals from the stage. The representative of the Earl, during the run of the piece, being in conversation with Dr. Johnson, was loud in the praise of Mr. Brooke's sentiments and poetry. The Doctor, who had neither read EAR nor seen the work recommended, desired to be furnished with some specimen of its excellence. On this JNIr. Sheridan repeated the tag at the end of the first act, con- cluding with this line : " To rule o'er freemen, sliould them- selves be free." This mode of reasoning, observed the Doctor, is conclusive in such a degree, that it will lose nothing of its force, even though wc should apply it to a more familiar subject, as follows : " Who drives fat osen, should himself be fat." So happy a parody ought always to attend the cramle repetita of the Earl of Essex. Mr. Brooke indeed, when he repitblished his play, took care to change the line a* which the ridicule had beei pdinted. 4. The honourable Life of t) humorous Earl of Glostf with his Conquest of Portug Play, by Anthony Wadeson. A< ed by the Lord Admiral's servan l6oi. Not printed. 5. Earl Goodwin .\nd i THREE Sons. Play, by Rob Wilson, in conjunction with D. ton, Chettle, andDckker. A J598. A second part of the above ascribed wholly to Drayton, acted the same year by the Admiral's servants. Neitl them was ever printed. 6. Eafl Goodwin. An rical Tragedy, by Ann Yf Perlbrmed at Bath, 1 /Sp. " in -J to. 1791. The followi; conclude tlie advenisement . nouncing the publication of this. play : " From an original MS. will " also speedily be published, a " Comedy, called ' The Ode re- "jecied.' Principal performers. 183 EAR "■ very good men. I'ogether wilh " a farce called * The Petticoat " Knight.' Mrs. Yearsley thanks *' her anonymous friends, assures " them that the army now mus- " tering under the PetticoatKnight ** sh.iU not, on their dead march, " hang her up for a libel." We do not recollect that any pieces, under either of the above titles, have been published. The advertisement, no do\ibt, alludes to some circumstances known only at Bristol, where the play was priiued. We recollect that there was at one time a serious misunderstanding between this writer and Miss Hannah More. 7. The Eaui, of Mar marr'd, with the Humours of Jockey the Highlander. Tragi-comical Farce, by "j. Phillips. 8vo. 1715; 1716. This piece was never acted, being merely political, on the successes of the King's army against the rebels, headed by the Earl of Mar, ia the year 1715. See The Pke- tender's Flight, &c. 8. The Earl of Somerset. Trag. by Henry Lucas. 4to. 1779. This is on the same story as Sir Thomas Overbury, and was print- ed in a volume, entitled, " Poems " to Her Majesty." 9. The Earl of WAnwiCK ; or, British Exile. Tragedy, by Francis Tolson. Acted at Drury Lane. Svo. No date. [1719.J 10. The Earl of Warwick. Trag. by Dr. Thomas Franckliu. Acted at Drury Lane. Svo. 1 760'. This play, which was taken, with- out any acknowledgment, from another on the same subject, and with the same title, by Monsieur de la Harpe, was acted with ap- plause. The performance of Mrs. Yates, in Margaret of Anjou, was truly excellent. It ran ten nights. \l, The Earl of Warwick j E A S or, The King arid Subject. Trag. by Paul iliricrn.m. Svo. 17(34. A very indifrerent translation of Mon- sieur de la Harpe's play above mentioned. 12. The Eapl of Westmor- land. Trag. by Henry Brooke. Svo. 1/78. This was tirst acted at Dublin in the year 1741, under the title of The Betrayer of his Country; and aerain, 17-54, under that of Injured Honour. It is founded on the old English history of the first invasion of the Danes, and was favourably received. 13. Easter Monday; or. The Humours of the Forth. Farce, in three acls. Newcastle, Svo. No date. [About 178I.] This piece is said to have been written by a young gentleman of Newcastle. He has had the prudence to con- ceal his name; and on that account is entitled to more applause than he can claim from any merit in the present performance. 14. The East Indian. Com„ Acted at the Hay market, 1782. Not printed. This piece, though called a comedy, had very few comic situations ; nor were there any traits of East Indian manners in the character from which the play took its name. It was lan- guidly received, and laid aside after nine nights. It is said to have been a lady's production. 15. The East Indian. Com, translated from the German, by A.Thompson. 8vo. 1799. lo. The East Indian. Com, A translation, by an anor.yiTious hand, from the same original. 8vo. 1799- 17. The East Indian. Com. by M, G. Lewis. Acted at Drury Lane, April 1799, ^or Mrs, Jor- da'j's benefit. Thoug'a there was not much originality in the cha- racters or plot (in some parts re^ n4 164 E A S E D G svmhWng The Chapter nf Jccidcnts, of The 'Prentices, did not suc- ceed} but lifter that, another was n.ade by Mrs. I^cnox. See Old City INIanneks. An aheration was also made by Tate, under the title of Cuckold's Hi'Ven ; but not so good as the original. \{). 1'he Eccentric Lover. Com. by Richard Cumberland. Acted at Covent Garden, l/QS, only one night. It was given out for repetition ; but we believe that jMr. Quick's being taken ill pre- vented its re- appearance. It was, however, far from being equal in merit to many other of this geiv- tleman's dramatic pieces. Not printed. 20. Echo and Narcissus. Dramatic Pastoral, of three acts, by Richard Graves. 8vo. 1/80; 12mo. 1794. This piece was ori- ginally printed in the second ve- in others The School fur ScanclulJ, yet it was conducted with skill, and some of the scenes were very intesesting. It was repeated a few days afterwards, for anollier bene- tit. 8vo. 1800. 18. Eastward Hoe. Com. by G. Chnpman, Ben Jonson, and John Txlarston. Acted by the children of Her Majesties Revels, in the Black Friars. 4tn. ]60.5 ; in Dodsley's Collection, 17SO. It is said, that tor writing this co- medy, wherein the authors were accused of retiecting on the Scot>, they were committed to prison, and were in danger ot losing their ears and noses. I'hey, however, received pardons ; and Jonson, on his releasement from prison, gave an entertainment to his friends, among whom were Camden and Selden. In the midst of the en- teriaininent, his mother, more an lume of Euphrosyne ; or, Jmuse- antique Roman than a Briton, vients on the Road of Life. It was drank to him, and showed him a never acted, nor even set to music, paper of poison, which she intend- See The Coalition. ed to have given him in his li- 21. The Eclipse; or, Harle- ouor, having first taken a portion rp/in in China. Pant, by J.C.Cross. of it herself, if the sentence for 8vo. ISOl. his punishment had pas:^ed. This is the story which has come down to us. The offensive parts are omitted in all but a few copies. From it Hogarth took the plan of his set of prints, called The industrhms and idle Prentices. In the year 1751, it was re- vived, at Drury Lane, for the en- tertainment and instruction of the city youth, on Lord Mayor's night, in the stead ofTheLondon Cuckolds, which it had for many years been customary to perform on that nif^ht, to the insult of the citi- zens, and the disgrace of morality and good manners. This altera- tion, which was published (Timo 22. Edgar ; or, Caledonian Feuds. Trag. b)- George Manners. First acted for the benefit of Miss Smith, at Covent Garden. Svo. ISO6. The plot is from Mrs. RadclifFe's novel called The Castles of Athlin and Dunhayne. The characier of Edgar is rather too like Mr. Home's Douglas. The piece was not adopted by the house, though well received by Miss Smith's friends. 23. Edgar ; or. The English Monarch. An heroic Trag. b}' T. Rymer. 4to. 16/8 ; also in 4to, 1691, under the title of The Eng- lish Monarch. This play is writ- ten in heroic verse. "The scene is no date) with the additional title fixed in London ; the unity of time 195 E D I is so well preserved, that the whole action lies between twelve at noon and ten at night ; and the plot is from William of Mahnesbury, and other old English historians. It is a very inditferent phiy, though Langb:^ine calls it iiuich better than RavenscrotVs Kin^ Erf gar and Jlfreda. Hill's Atheta-old, and Mason's Eljrida, are excellent j>ieces on the same subject, 24. King Edgar and Al- 1 REDA. T. Com. by E. Ravens- rroft. Acted at the Theatre Royal. •4to. 1677. Ihis play is on the same story as tljC preceding one, but the plot of it seemingly bor- lowed from a novel called The Annnls of Love. The scene lies in Mercia, or Middle England ; and there is prefixed to it a life of Ed- gar, King of the West Saxons. 25. Edgar and Emmf.line. A Fairy Tale, by J. Hawkesworth. Acted at D.ury Lane. 8vo. 1 Jol . This little piece met with great success in the representation, and indeed deservedly. The exchange of sex in Edgar and Emmeline, by the command of the fairies, to enable them to receive the impres- sions of love unknown to them- selves, through the conveyance of friendship, is a new and pretty thought ; the conduct of it sen- sible, rational, and delicate, and the behaviour of those little ima- ginary beings the fairies, con- «istent with the ideas we have con- stantly formed of them. In a •word, all together it is a very pleasing entertainment, and is ren- dered still more so by the addition of the musical interludes, whereby the main action is broken in upon and relieved. 26. The Edinburgh Ball. Ballad Farce, by William White- head. Written about the year J74Jj and stiil reniainiug in MS. E D W See Mnson'is Memoirs nf the Life and IFritings uf IVIdtchead, pase 54. 27. EniTHA ; or, The Siege of Exeter. Trag. by Hugh Down- man, M. D. This was performed at Exeter (we understand, with great applause), l/St). Printed at Exeter. Svo. 17S4 ; 8vo. }792. 28. Edmond, Orphan of the Castle. Trag. Anon. 8vo. 17.^9, This play is founded on Miss Reeve's story of the Old English Baron. It is sent into the world without a line of introduction; and " the blank verse halts" most iDiserably. 29. Edmund, surnamed Iron- side. T. by Mrs. Jane West. Print- ed at York in a volume of Mis- cellaneous Poems, Svo. 1791,1805. This was a juvenile production ; but the fair writer need not be ashamed of it at riper years. 30. Edward I. An historical Play,byGeo.Peele. 4to 1593; 4to. 1599. Thetitleat length runsthusr The famous Chronicle of King Ed- ward the First, surnavied Long- shankes, u'ith his Returve froin thf Holy Land. Also the Life of Lleu- ellen, Relell in IVales. Lastly, the sinking of Queen Elinor, wlio sunck at Charing Crosse, and ro.'.e again at Potter shith, noiv named Queen- hith. For the storv, see Walsing- ham, and other English Chro- nicles. 31. Edward II. Trag. by C. Tslarlow. Acted by the Earl of Pembroke's Servants. 4to. 1508; 4to. 1012; 4to. 1622. It was en- teied on the book of the Sta- tioners' Company, July 6, 1503. This play is very far from a bad one, and contains the fall of Mor- timer, and the life and death of Piers Gaveston, Earl of Cornwall, and chief favourite of that unfor- tunate prince^ together with his ISiS E D W own death, and the troublesome events of his reign. The scene lies partly in England, and partly in France, and the story keeps very close to history. This play is in Dndsley's Collection. 32. Edward II. Tragedy by Theophilus Mac, of No Temple. Svo. ISO9. Never acted. 33. Edward III. his Reign. An History, sundry times played about the city of London. Anon. 4to. 15gdj 4to. 1599. This play was reprinted in a collection of old poetry (entitiedP?-o/tf5io7?^JasShak- speare's, in the )^ear 1760. The plot from our English Chronicles. 34. King Edward III. with the Fall of Mortimer, Ear lof March. Historical Play. 4to. 1(301. Anon. Coxeter, however, attributes it to John Bincrofr, who, as he says, made a present of it to Mountfort fhe actor. The scene lies at Not- tingham, and the plot is from the English history, and a novel called The Countess of Salisbury. It is far from a bad play. 35. Edward IV. An historical Play, in two parts, by Thomas Heywood, B. L. 4to. No date. [1599.] B. L. 4to. 1613. The third and fourth editions (notB.L.) are, 4to. 1619; 4to. 1626. 3(5. Edward VI. Play, by Edw. Barnard. Svo. 1757. Print- ed in a %'olume, entitled, " Virtue " the Source of Pleasure." 37. Edward and Egwixa. Dramatic Poem. 8vo. 177t>- — Anonymous. 38. Edward and Eleonora. Trng. by James Thomson. As it was to have been acted at Covent Garden. Svo. 1730. This play, after the parts of it had been cast, and the whole several times re- hearsed, was prohibited to be act- ed, by the Lord Chamberlain. It EDW is suspected from some passages in this play (u'hich are omitted in Murdoch's edition), that the au- thor rather wished to have it for- bid, than to avoid that sentence against it. By the favour of the Prince of Wales, who at that time was in opposition to the court, it is supposed the poet sustained no loss by this play beiug refused stage representation. The plot is built on the atfecting instance of conjugal love in Eleonora to Edward I. who, when her husband (at that time not king) received a wound with a poisoned arrow in the holy wars, cured the wound by sucking out the venom, al- though at the apparent hazard of her own life. 30. Edward and Eleonora. Trag. altered from Thomson, by Thomas Hull. Acted at Covent Garden. Svo. 17/5. 40. Edward the Black Prince ; or. The Batik nf Poic' tiers. Hist. Trag. by W. Shirley,: Svo. 1750. This tragedy was acted at Di ury Lane. It is said to be attempted after the manner of Shakspeare, and is founded on a very glorious circumstance of the English history. It is, however, poorly executed ; and consequent- ly, although strongly supported by the performance, met with very indifferent success. 41. Edvsard the Black Prince ; or. The Battle ofPoictiers. Trag. by Mrs. Hqper. This piece was performed at the playhouse in Goodman's Fields, about 1748, by a patched-up, wretched set of performers, excepting Miss Bud- gell, who acted the principal he« roine. The author being unused to writing, this play proved as bad as the last-mentioned one; and, being usherqd into the world uudqr sucjn 187 E D \V terrible disadvantages, died in the birth, and was entirely lost in its original obscurity. 42. Edwin. Trag. by Geo. Jeffreys. 8vo. 1/24; 4to. 1767. Acted in Lincoln's Inn Fields. The subject of this play is placed in the Saxon times, but is of pure invention. The author, in 'his pedication to the Duke of Mont- ague, says, that he ventured it on the stage at a conjuncture not the most favourable for acting trage- dies. It was performed six nights, and was well supported by his friends. On the first day the fol- lowing notice was printed in the playbills : " N. B. The author's "tickets, delivered out for the •* pit, will be taken every night ** during the run of this play^ his " friends having obliged him, on ** his third night, to lay pit and " boxes together." 43. EDn'iN AND Angelina ; or. The Banditti. Op. by E. H. Smith. Acted at New York, and printed there. 8vo. 179/. Tlie fable and some of the songs from Goldsmith. It is dedicated by the author to his patents, and is not an uninteresting piece. 44. Edwin and Catherine; or, The Distressed Lovers. Trag. by Thomas Scott. 8vo. 17P3. Printed at Paisley. It was also published (we believe, at Edin- burgh) in a volume with some poems. 45. Edwin, the banishkd Prince. Trag. by the Rev. Mr. Douglas. Svo. N.i). [1784.] Of this tragedy, which was never acted, a few copies only were printed. It is founded on an his- torical fact recorded in Bede and in the Saxon Chronicle, and partly on Goldsmith's ballad of Edwin and Angelina. 46". Edwy. Dramatic Poem ELD [by Thomas War wick, wc believe J . Svo. 1784. This is founded on the conduct of the Abbot Dunstan toward King Edwy and his bride Elgiva ; but has neither dramatic interest nor poetical merit. 47. Edavy and Elgiva. Trag. by Mrs. D'Arblay. Acted atDrury Lane, March 21, 179'5' ^ot printed. This piece was on the same subject as the preceding; but was not received with the ap- probation that we think- it merited ; and the fair author withdrew it. 48. The Ehects of Curi- osity. Com. from the French of Madame, Genlis. Svo. 1791 }■ 12mo. 1787. 49. The Egyptian Festival. Com. Op. by Andrew Franklini Acted at Drury Lane. Svo. 1800. This amusing piece was brought out with extraordinary splendour, and had some charming music, the composition of Florio. It was performed nine nights, with ap- plause. 50. Ehud. Sac. Drama, by JohnCollett. 12mo. I8O6. This, if not a very well written, is by no means an uninteresting, piece. It is founded on the story related in the third chapter of Judges, Never performed. 51. ElTHA and AiDALLO. Dram. Poem. Svo. 1 801. Not acted. This pastoral di'^rna is en- titled to considerable praise. It is inserted in a volume entitled " Dramatic Poems," containing also Leonora, a tragedy ; with some remarks on tragedy and pas- toral, that are worthy of atten- tion. 52. The Elder Brother. Com. bv John Fletcher. Acted at the Black Friars. 4to. 1637; 4to. l651 ; 4to. 1661 ; 4to. 1678 ; Svo. I77S. The first and third editions have the name of Fletcher alone. In 18S E L E the second, Be;mmont is joined with him. Gibber lias borrowed from this phiy in his comedy of Love Makes a Mun. 53. The Elders. Farce. [By Henry Man.] Acted at Covent Garden, April 21, 178O, for the benefit of Mr. Wilson. Not printed. This piece has been er- roneously ascribed to Mr. Cobb. 5-4. Eldred ; or, The Rrilisk Freeholder. Trag. by Juhn Jack- son. First acted at the Haymarket, July 7> I775. Printed at Edin- burgh. 8vo. 1 7&3. Though a strange heterogeneous compo-bition, this piece was received vith extra- ordinary applause. The simple circumstance ofa British freeholder triumphantly resisting the usurp- ation of a tyrant lord wa^; sure to be a passport with a British audi- ence. It was., however, acted only three nights in London ; but has also been performed at Edinburgh arid in Dublin. 55. The Election'. Com. of three acts. 12mo. 1749- ^6. The VLvcrion. A Musi- cal Interlude, by Miles Peter An- drews. Acted at Drury Lane.- 8vo, 177'*. What nauseous po- tions will not music wash down tlie throat of the public ! ^7. TiiE Election. Entertain- ment, of two acts, by Richard Cumberland. Not printed ; but privately perfonned at Mr. PLin- bury's, Kelmars!), Northampton- shire, in 1779. . 59. The Election. An In- terlude, written some years since. J2rno. 178H. This piece is said to be written by a clergyman in fhe neighbourhood of Yarmouth. It is wholly personal, and relates to circumstances which happened at an election of members for that town. J9. TnEEtEeTio!:i. Com. by E L E Joanna Eaillie. Svo. 1S02. Never acted 1 his is intended to exhi- bit the passion of hatred, in con- trast to the exhibition of that passion in her tragedy of De Mon- fort. It will remind ihe reader of some of Kotzebue's best perform- ances, being much iu that par- ticular style. do. The Election of Mana- GEK6. A Prelude, by George Co! man. Acted at the Haymarket, 1/8-1. N. P. TJiis piece was pro- duced at the time of a general election ; and obtained applause, mors by temporary allusions to the then election for Westminster, than by any merit in itself. It was at first refu-ed a license ; bi:t some exceptionable passages hav- ing been omitted, it passed the Lord Chamberlain, The character of the well-known SaiTi House was introduced, and well per- soiiated by iNIr. Edwin. 61. El'ectra. Trag. by C. W. [viz. Christopher W;.se. J Svo. l64y. This is only a translation from Sophocles. 62. ELECTR.'i. Trag. by Lewis Theobald. Translated from the Greek ot Sophocles, with notes. 12mo. 1714. t)3. Electr.\. Trag. from So» phocles. Anon. 12mo. 17M. De- dicated to Charles Lord Halifax. 04. Electka. Trag. translated from Sophocles, by George Adams. Svo. \72(). 65. Electra. Trag. translated from Sophocles, by Dr. Thomas Fratcklin. 4to. 1759; Svo. 1788. 6u. Electka. Trag. translated from Voltaire, by Dr. Thomas Francklin. 12mp. 1761. This piece w;;s acted at Covent Garden, for Mrs. Yates's benefit, I774i and afterwards at Drury Lane, but with little success. 07. EttcTRA. Trag. by W. 189 E L E Sliirley. 4to. 1/65. This piece is dedicated to the P>.irl of Ches- tertieid. It is no oiiier than liie Electra of Sophocles adapted to the staf!;e, and was written in the year 1745. But thou;Th there ap- pocr-i nothing in it liable to a per- sonal application, yet, after being rehearsed at Covent Garden, in January 1/63, it was denied a license at the Loid Chamberhiin's office. 0"8. Elkctka. Trag. translated from Kuripides, by JMichael \\'od- huU. 8vo. l/S'i.' (it). Elkctra. Trng translated from Euripides, by R. Potter. 4to. 1/83. " The subject of this dra- " ma," says the translator, " is the " same with that of the Ckoeplione '' of ^Eschylus ; tlie disposition *• of it is dirt'erent. as might be •' expected from the ditierent ge- *' nins of the poets. The reader *' who was struck with the snb- *♦ lime conception, the glowitig " imagery, and solemn magniii- " cence, of the Choephorae, will •' here find his' son! softened with " conjpassion for the high-born " Electra, forcibly wedded to a " p.^a-ritDt, dwelling in a sordid cot- " tagc. and compelled to the la- '•' horions otHces of a menial slave. " The gentleness of El.xtra in this " humble state, and her faithful " attention to the dotiiestic con- *' cerns of Auturgus, throw an " amiableness over her character, " which neither iEschylus nor " Soplnjcles upon their plans could " give her, and interest us warmly " in her favour; and this is but " a sotter shade of the samege- *' nerous miiid, the same virtuous "sense of duty, which shows '.t- " self so fierce and determined in •* encouraging and a^^sisting her " brother to revenge their father's '' murder. The three great poets E L E " have taken different method!} in " the discovery of Orestes to his "sister: in .^sciiylus this has "most dignity, in Sophocles it is " most atTecling, in Euripides most " natural." The scene is near the bounds ot the Argive territory, a mountain- ous country, and before the cottage of Auturgus. 70. Ei.r.cTRA. Trag. translated from Sophocles, by R. Potter. 4ro. 17S8. I'lie heroine of thi-i tragedy has been the suhject of a play by each ot the Grecian tra- gedians, yEschylns, Euripides, and .Sophocles. The second of these, yielding to the bokl and exalted genius of /Eschylns, pi-.rsued a plan more adapted to the exquisite ieeling of his own mind, and, by presenting his Electra in a rustic cottage, and patiently engaged in the laliorious offices of her humble station, he renders her amiable, before he displa^ys the noble ele-» vafion of her mind, Sopijocles has dared to dispute the palm with /f'Zschylus, even on his owii ground ; but he was too prudent to meet him. at rhe tombof Aga- memnon : Sophocles, therefore, presents his Electra before the gate'? of the palace, and has called forth all the niiigic powers of his poe- try in her soliloquy ; this, and her Hrst conference with the Chorus. are to a high degree affecting : she appears with all the dignity ot grief and virtuous resentment; but in iEschylus this derives an awful grandeur from the solemnity of the scene. iEsclr)'lus had seized the highest excellence of composition, the true sublime, and in this he. shines with unrivalled lustre; but in the judicious accommodation of these conceptions to the conduct of the drama, in the richness, uni- on, and harenoay of its parts, Sa- 1^0 ELF {)hocIes was never equalled. From the departure of Chrysothemes to the tomb, he draws from his own stores. The interview of Electra with her mother is a wonderful scene ; the narrative of the death of Orestes is well imagined j and the introduction of tb.e urn said to contain his ashes, show s the finest judgment ; not only as it produces circumstances which tend to exalt the character of Electra, but as it renders the discovery of Orestes pe- culiarly tender and interesting, and facilitates the dreadful catastrophe. 71. The Eleventh of June ; or. The Daggerwoods at Dunstable. Farce, by John O'Keefte. Acted at Drury Lane, l/ps. This se- quel to Sylvester D'jggerwood was brought out for the benefit of Mr. Bannister, junior ; but, being well received, was afterwards several times repeated. Not printed. 72. Elfkid; or. The Fair In- constant, Trag. by Aaron Hill. Acted at Drury Lane. 4to. No date. [1710.] 8vo. l/OO. The author, dissatisfied with this juve- nile production, which (in his pre- face \oAthelu-oldj he says was begun and ended in a week, afterwards entirely new-wrote it, and brought it out again at Drury I,ane in 1/3] , under the title of Athelwold. At the end of the preface he says, he had attempted a translation of Codfriy of hiilhdgji, and that he in- tended suddenly to publish a spe- cimen and proposal for printing it by subscription. \ye find that Mr. Hughes had }aid the gioundwork of a tragedy on this subject ; the plan and cha- racters of which will be found in The Gt-nflemans Mngaxine, vol. xlvii. p. 300. 73. Elfrida. Dram. Poem, by W.Mason. 4to.andSvo. 1/52. This piece was not designed for ELF the stage, but is written after the manner of the Greek tragedy. To attempt giving any character of a performance so well known, and deservedly celebrated, must be vain and unnecessarj'. We shall therefore only refer our readers to what we have said of this author's other piece, Caractacus, which will equally agree with this. In the dj ama before us, however, the bard has more strictly adhered to the rules of the ancient tragedy, than in his Caractacus; having here ad- mitted no more than thiee speak- ing characters, the rest being en- tirely ode and chorus. He has, moreover, agreed in point of ca- tastrophe with Hill and other dra- matic writers on the same story, bv making Elfrida devote herself to a monastic life, to avoid a marriage with Edgar ; to whom history, on the contrary, assures us she became queen, and survived, nor found- ed her monastery till after she had, in order to obtain the succession for her own son, procured the murder of her son-in-law Edward. 74. ELnuDA. Dram. Poem, by W. Mason. Acted at Covent Garden. 8vo. I772. By this al- teration of Elfrida, in which the lyric parts are both transposed and curtailed, the author is said to have been much offended, and to have designed an anerv address to Mr. Colman (tlien manager of Covent Garden Theatre) on the subject. But that gentleman threatening him with the introduction of a chorus of Grecian washerwomen in some future stage entertainment, the bard was silenced ; being per- haps of opinion, that his classical interlocutors w^ould have suffered by the comparison. Elfrida has since been altered by the author, new set by Giardini, and acted at Covent Garden, 177^* igi ELM 75. Eliza. Musical Entertain- ment, by Richard Rolt. 8vo. 1754; 4to. 1757. Set to music by Dr. Arne, and peribrmed at the Hay- market, where it was prohibited. It was afterwards acted at Drury Lane with success. 70'. Eliza. Serenata, in three nets. Altered from the opera of that name, by the late Dr. Arne. AVith additional choru'ses, taken from the Doctor's own manu- iicriptg. As performed at the Hay- market. 8vo. 17b4. The editor of this piece was Mr. Michael Arne, .son of the Doctor. 77- Ella. See /Ella. 7s. Ell.\ Rosen'eerg. Melo- drama, by James Kenney. Acted at Drury Lane with great success. Svo. ISO7. The serious nature of the subject precluded the intro- duction of any of those traits of broad humour which generally characterize an afterpiece. But what was wanting on the score of farcical effect, was compensated by the glow of feeling which per- x'aded the piece, and entitled it to rank among the best of the melo- dramatic productions on the st ige. 79- Ellinda : or, The- .H hi/ vf St. Auhcit. Dram. Romance, bv Mrs. Robertson. Performed at Newark, ISOO. N. P. 80. Elm E RICK ; or, Judid' Tri- 7iml)hant. Trag, by George l.illo. Acted at Drury Lane. Svo. 1 7 10. Scene the king's palace at Buda. This was a posthumous work, brought on the stage after the au- thor's death. Whincop and Vic- tor, by some mistake, set it down as having been acted in 1735. 81. Elmika. Dram. Poem, by Edward Stanley, B. A. Svo. 1796. Printed at Norwich. To The Tales of the Genii this author is in- debted for the present drama. The storv of Zadak and Kalasrade E L V suggested the idea of forming a drama on the same plan j but ir was found impossible to reconcile the princijial incidents of the fable to dramatic probability. This play was not intended for representa- tion ; and in a few passages the language of Mr. Ridley, the writer of the Tales, has been nearly ad- hered to. Subjoined are some thoughts on tragedy. 812. Eloisa. Trag. by Frederic Reynolds. Acted at Covent Gar- den, Dec. 1786. Not printed. It was performed but three times, and very coldly received. Taken from La Nniiuelle Ehise of Rous- seau. We have been told, that tlie author's profits from the performance amounted to eight pounds ! I'ragcdy certainly is not Mr. Revnolds'syo;7e. 83. Tme Elopement. Farce, by William Havard. Acted at Drury Lane, 17ti3, for tb.e bene- fit of the author. There was some good sentiment and sound moral in this piece, which, however, has n'.T been printed. S4. The Elopement. Panto- mimic Entertainment. Acted at Drurv Lane, 1767. The scenes were showy, and many parts of the piere.very hum.orous. 8.5. Elvira ; or. The JForst not ■ ahrojf^ true. Com. by a person of quality (supposed to be Lord Digby). 4to, I667, In Dodslev's Collection. The scene lies in Va- lencia. The plot is very intricate and busy ; and from some part of it Mrs. Ccntlivre seems to have borrowed The Jl'or.dcr ; or. A' JFnman keeps a Secret. 8t5. Elvira. Trag. by D. Mallet. Acted at Drury Lane. Svo. 1763. This being looked upon by many as a ministerial play, and the rather as it was? brought on at the critical time 192 E L V when onr political pack were in full cry, hunting down the Scotch peace, as they called it, Mr. Mal- let's performance was Ixtheld in a x'ery unpopular light. The pncihc icnliments, though in themselves unexceplionable, such as the idea ol a monarch who places his chief glorv, not in that military spirit which operates to the destruction of mankind, but in cultivating the arts, which flourisli only in peace- ful times; these were suflicient, at such a juncture, to stamp the play wit I) the character of a po- lirical piece. This, together with the author'^ being a North Briton by birth, proved very unfavour- nble circumstances to Elvira. It i.s confessedly an imitation of Mr. Dc la Motte's tragedy, founded on the same melancholy event, viz. a Portuguese story, t.iken from fbat excellent poem. The Lusiad of CaRioens, which has been so ad- n.irably translated by Mr. Mickle. J»efore this tragedy was rehearsed, Mrs. Priichard, who was appointed to iepresent the queen, objected against performing it, and gave the proliigacy of the character as the ostensible reason of her dislike to it. To this the author, with sin2.iilarmodest}, replied — "Why, " Madam, you have aKva)s play- ■" ed Lady Macbeth ; ju.^t such ♦' another part as this I designed ♦•' for you, and yet you never com- *' plained of the former." Mr. Gibbon, who assisted at a private rehearsal of this play in the green- room, mentions the su) prising ver- satility of tins lady's talents, who rehearsed almost at the same time the part of a furious queen in the irreen-roorn, and that of a coquet on the stage ; and passed several times from one to the other with the utmost ease and happiness. The same gentleman, who made E L V one of the audience the first night, has given his opinion, in the lol- lowing terms, of his friend's tra- gedy: " The plan is borrowed '• from De la Motte ; but the de- " tails and language have great " merit. A fine vein of dramatic " poetry runs through the piece. " The scenes between the father '• and son awaken almost every " sensation of the human breast ; " and the counsel would ha\e " equally moved, but for the in- *' convenience unavoidable* upon " all theatres, that of entrusting " iine speeches to indifi'erent actors. " The perplexity of the catastrophe " is much, and I believe justly, " criticised. But another defect " made a stronger impression un(;n *' me. When a poet venturts *' upon the dreadful situation of " a father who condemns bis son " to death, there is no medium ; " the father must either be a " monster or a hero. His obliga- " tions ©f justice, of the public " good, must be as binding, as ap- " parent, as perhaps those of the *' first Brutus. The cruel neces- " sity consecrates his actions, and " leaves no ropm for repentance. " T-lie thought is shocking if not " carried into action. In the " execution of Brutus's sons, I " am sensible of that fatal neces- *' sity. Without such an cxami)le, " the unsettled liberty of Kome " would have perished the instant " after its birth. But Alonzo " might have pardoned his son for " a rash attempt, the cause of" " which was a private injury, and " whose consequences could never " have disturbed an established go- *' vernment. He might have par- " doned such a crime in any other " subject; and as the laws could *' exact only an equal rigovir for a. *' son, a vain appetite for glory. ip3 E M I •* and a mad affectation of heroism, ** could alone have inflaenced him " to exert an unequal and superior " severity." Life of Gilhon, vol. i. p. 112. 87. Elwina. Tragedy, by M. Fitzgerald. Acted at the Theatre Royal, Dublin, 1792, with suc- cess ; but we have not seen it in print. 88. Elysium. A Prelude. Act- ed on Her Majesty's birth-day, at Hanover. Translated from the German. 12mo. l/Sp. This piece is an elegant trifle, representing the felicity of the good in Elysium. It is printed in a volume, entitled " Sentimental Love illustrated in " CharmidesandTheone,andAse- *' Neilha. Two ancient tales." 89- Embarkation. Mus. Ent. by Andrew Franklin. Acted at Drury Lane, Oct. 1799. This little piece was founded on the expedition to Holland, which took place about that time. It was well managed, and favourably received. Songs only printed. Bvo. 1799- Music by Reeve. 90. The Embarrassed Hus- band ; or. Love and Honour re- warded. Comedy, printed in The Lady's Magazine, for the years 1785, 1786, and 1787. 91.THE Emigrant IN London. Drama, in five acts, by an Emi- grant. 8vo. 1795. This piece, which was never acted, is printed in French on one side and English on the other, and seems a grateful tribute of respect and admiration, from some protected emigrant, to the English nation, in which he found an asylum. 92. Emilia. Tragi-com. 8vo. 1672. Dedicated to the only few. In this dedication the anonymous author confesses that the hint of iiis plot was taken from the Co- atanzn di Rosamondo of Aurelio TOl. 11. EMI Aureli. The scene lies in Micena; and the unity of place, besides that of time and persons, is sq exactly observed, that there is no breaking of the scene until the end of the act. 93. Emilia. Trag. by Mark Anthony Meilan. 8vo. No date. [1771.] The man who can keep his eyes open over this and the other dramatic pieces by our au- thor, might rival the watchfulness of Argus, and set the strongest dose of opium at defiance. When summing and writing masters would appear as poets, we may truly observe with Horace, Optat ephippia bos piger. — Though turn- spits are occasionally called Caesar and Pompey, we cannot help grudging the name of the gallant triumvir to this scribbler of dull plays and teacher of multiplication. The hint of his piece was taken from The Spectator, No, AQl. 94. Emilia Galotti. Trag. translated from the German of Lessing, and acted at Drury Lan6, October 1794. This piece was founded on a story similar to that of Appius and Virginia, and exhi- bits in a strong and forcible man- ner the horrors arising from the unrestrained exercise of power, as well as the inordinate indulgence of the passions. It did not suc- ceed, however, and has not been printed. 95. Emilia Galotti. Trag. translated from the German of Gotthold Ephraim Lessing, by B. Thompson. 8vo. 1800. Never performed. 96. Emilia Galotti. See Theatrical Recorder. 97' Emily ; or. Juvenile TndiS' cretion. Ballet. Performed at Drury Lane, in Feb. I8O7. The idea of this ballet appeared to be taken from The Spoil'd Child. It show- 194 E M P ed the talents of Mr. D'Egville's pupils to advantage, dispi-iyed the graces of Parisot, and exhibited some pretty scenery : neither was it without a moral. QS. Emma. Drama, on the model of the Greek theatre, by George Richards, M. A. Printed at Oxford, 12mo. 1801. Never acted. 99. The Emperor of the East. Tragi-Comedy, by P. Massinger. Acted with success at Black Friars and the Globe. 4to. l632. This is a good pl.iy ; the history from the life of the younger Theodosius, and the scene laid in Constanti- nople. Lee seems, in his Theodo- sius ; or, The Force of Love, to have borrowed some hints from the piece before us ; particularly that of Theodosius's negligence as to public affairs extending to such a length, as the giving his sister Pulcheria an absolute power even over the life of his beloved Athe- nais, by means of a blank signed and delivered to her, 100. The Emperor of the Moon. Farce, by Mrs. Behn. Acted at the Queen's Theatre. 4to. 1637; 168S. This piece is taken from Arlequin Empereur dans le Monde de la Lune, which was originally translated from the Ita- lian, and acted in France eighty times successively. Mrs. Behn, however, has made great altera- tions, and rendered it extremely full of whimsical and entertaining business. It is indeed, however absurd, many degrees more ra- tional than the dumb show of pantomimes, without either mean- ing or possibility, which so re- peatedly at this time bring crowded houses, to the utter discourage- ment of dramatic and theatrical genius. 101, The Emperor o? the E N C Moon. A Dialogue Pantomime, Written by Mrs. Behn, with alter- ations, in three acts. Performed at the Patagoniaa Theatre. Svo. 17/7. 102. The Empirick. Play, by Thomas Horde, jun. This piece we have not met with, 103. Tnii Empress of Mcmoc- co. Trag. by Elk. Settle. Acted at the Duke's Theatre, 4to. IO73. This play is written in heroic verse, and is the first that ever was adorned with cuts, of which there are five representing scenes in the tragedy, and a frontispiece,. It was republished in 1687, with- out the plates. It was in such high esteem, that it was acted at court, and the lords and ladies of the bedchamber performed in it. It however excited the envy of Dry- den, Shadwell, and Crowne, who all wrote against it; but. Settle's cause being warmly espoused by the Duke of Buckingham and Lord Rochester, who in their an- swers handled Dryden very rough- ly, the play stood its ground, and its opponents appeared to have the worst of the argument. This play is burlesqued in the following piece. 104. The Empress of ivIokoc- co. Farce. Acted at the Theatre Royal. 4to. 1(574. Said to be written by Thomas DuiFet ; the epilogue (spoken by Hecate and the three witches) being a new fancy, after the old and most sur- prising way of Macbeth (which had then lately been revived), per- formed with new and costly ma- chines, which were invented and managed by the most ingenious operator, Henry Wright, P. G. Q. 105. The Enchanted Harp } or. Harlequin Jar Ireland. Pant, by J. C. Cross. Acted at the Royal Circus. Svo. No date. 195 E N C 106. The Enchani cij Island. Mus. Ent. Acied at C'.{)A Street, Dublin, 1785. Nor jninted. 107. The Enchavi kd Island. Dram. Ballet, by Johi) Fawceir. Acted at the Haymarket, 1804, wiih great success. It was found- ed on Shtikspcare's Tempest, and exhibited in action those occur- rences, whicii in the play are only narrated as having previously oc- curred. 108. The Exchanted Lovers. A Pastoral, by Sir \Vm. Lower, 12mo. 1CJ5S. Scene in the Island of Erithrea in Portugal. Printed at the Hague. 109. The Exchanted Wood. I/egendary Dram, in three acts, by Mr. pTances. Acit-d at (he Hay- market. Svo. 179'i. The main incident in this piece is taken from Parneli's Fairy Tate, in the ancient Style. The author has al>.o bor- rowed pretty freely from The Tempest, The Midsummer Night's Dream, Ike. The piece was favour- ably received ; but not revived after the first season. 110. The Enchanter; or, Love and Magic. By David Garrick. A Musical Drama of two acts. Acted at Drury Lane. Svo. 1760. This piece was writ- ten to exhibit to advantage the fine voice of Leoni, a Jew boy, who long after continued a fa- vourite with the public. The mu- sic by Mr. Saiith. IH. TuE Enchanters J or, Harlequin Saltaun. Pant. Acted at Drury Lane, in the Christmas holidays of I8O6-7 ; but not with much approbation. Jt was found- ed on the story of Misnar, in The Tales of the Genii ; but was very impei-fectly made cut in the action. Not printed. 112. EyxuxAc^ofE»« ; or, i/fli- E N G versa! Motion, being part of that magnificent entertainment by the Noble Prince De la Grange, Lord Lieutenant of Lincoln's Inn. Pre- sented to the High and Mighty Charles II. Monarck of Great Bri- tain, France, and Ireland, on Fri- day, 3 of January 1662. 4to. 1602. 1 13. E.vDiMioN, and the Man in the Muo)ie. Com. by J. Lylly. 4to. 1591. Performed before Queen Elizabeth, at Greenwich, by the children of the Chapel and ot Paul's. The story from Lucian's Dialogue, between Venus and the- Moon, and other of the mytholcji gists. f» 114. Endymion, the Man lir the Mo'in. A Masque. 4 to!' 1698. This is printed at the end of a comedy, called Imposture D^'f fated; to which, therefore, we reter. 115. England Preserved. Historical Play, by Geo. Watson. Acted at Covent Garden. Svo, 179.5; Svo. 1S02. This play is founded on the expulsion of the French from England in the early part of the reign of Henry IlL It was but coldly received, being acted only six. nights. 116. England's Glory, A Poem. Performed in a musical entertainment before Her Majesty (Queen Anne) on her happy birth- day. Fol. 1706". Dedicated to the Queen, by James Krenjberg, who composed the musical parts to this poem, made in the Ibrm of an opera, 117- England's Gloky ; or, The British Tars at Spithead. Prel. Acted at Covent G-arden, May 16, 1795, and well received. Not printed. 118. England's Joy. A Play. Acted at the Swan, but probably 02 1CK5 E K G E N G never printed. See Dodsley's Col- lection of Old Flays, vol. x. p. I72. vol. xii. p. 425, edit. 1/80. 119. Englebkrt. By Joshua Barnes. MS. in the library of Emanuel College, Cambridge. This piece is in rhyme, and is part tragedy and part opera. From the prologue pretixed to it, it appears to have been, or at least intended to have been, acted. 120. The English Britons. Farce, of one act, inscribed to John Wilkes, Esq. Svo. 1/63. A mere paltry political squib. 121. The English Fleet in 1342. Hist. Com. Opera, in three acts, by Thomas Dibdin. Per- formed with great success at Co- vent Garden. Songs only, Svo. 1803. The whole piece was print- ed, Svo. 1805. 122. The English Fkiar j or, The Town Sparks. Com. by J. Crowne. Acted by their Majesties' servants. 4to. l6gO. Scene Lon- don. That this comedy did not meet with so much success as some other of this author's pieces, may be gathered from the account he himself gives of the objections against it, and his defence in the preface to the play. 123. The English Fugitives. Play, by William Haughton. Act- ed in 1600 3 but, we suppose, not printed. 124. The English Lawyer. Com. by E. Ravenscroft. Acted at the Theatre Royal. 4to. 1678. This is only a translation, with very little change, of Ruggles's Latin comedy, called Ignoramus. The scene Bourdeaux. 125. The Englishman from Paris. Farce, by Arthur Mur- phy. Acted at Drury Lane, for the benefit of the author, April 3, I75Q. Not printed. This piece, which was forestalled by Mr. Foote, was performed only one night. The prologue, spoken by Mr. Murphy, is preserved in tlxe Literary Magazine. 126. The Englishman in Bourdeaux. Comedy, translated from Favart. Svo. 1764. The translator is said to be an English lady, then residing at Paris. 127. The Englishman in Paris. Comedy, of two acts, by Sam. Foote. Acted at Covent Garden. Svo. 1/53. This little piece met with good success j its first appearance was for Mack- lin's benefit, when that performer acted the part of Buck, and Miss Macklin, Lucinda, which seemed written entirely to give her an opportunity of displaying her va- rious qualifications of music, sing- ing, and dancing, in all of which she obtained universal applause. The author himself afterwards re- peatedly performed the part of Buck } yet it is diflScult to say, which of tlie two did the charac- ter the greatest justice. The piece seems designed to expose the ab- surdity of sending our youth abroad to catch the vices and follies of our neighbour nations; yet there is somewhat of an inconsistency in the portrait of the Englishman, that scarcely renders the execution answerable to the intention. This little comedy was imagined to be a burlesque on M. de Boissy's Fraapis d, Londres. On a com- parison, however, there does not appear the slightest resemblance. 12s. The Englishman re- turn'd from Paris. Com. of two acts, by Sam. Foote. Acte4 at Covent Garden. Svo. 1/56. This is a sequel to the foregoing piece, wherein the Englishman, who before was a brute, is now become a coxcomb; from being absurdly averse to every thin§ fo- 197 E N G E N G reign, is grown into a detestation of every thing domestic ; and re- jects the very woman, now pos- sessed of every advantage, whom he before was rushing headlong into marriage with, when destitute of any. This piece is much more dramatic and complete than the other, and has a greater variety of characters in it ; two more es- pecially. Crab, and M'Ruthen, which are finely drawn ; but the circumstance of the catastrophe being brought about by Lucinda's pretending to have poisoned Sir John Buck, in a dish of tea, is stolen from Mrs. Centlivre's Ar- tifice. 129. Englishmen for my Money ; or, A IVuman will have her IVilL Com. 4io. 1616; 4to, 1626; 4to. Id31. Scene Portugal. This is said to have been acted divers times, with applause. The title- page of the edition of l631, is only, ^ IVoman will have her Will; the running-title is double, as above. ISO.The English Merchant. Comedy, by Geo. Colman. Acted at Drury Lane. 8vo. 1767- The plot asd personages of this play are happily adapted from the Ecos- saise of Voltaire. Mr. Colman's imitation, though well received, must have appeared to greater ad- vantage, could an actor like Mr. Quin have been found for the representative of the Merchant. There is a sober dignify in this character, that can only be sup- ported by a performer of weight and consequence. Being allotted, through necessity, to a comedian (Yates) not remarkable for his success in parts that require man- liness of deportment, gravity, and good-breeding, it lost its chief power on the stage. The epilogue ' this piece is dramatic. 131. The English Monarch. See Edgar. 132. The English Monsieur. Comedy, by James Howard. 4to. 1674. This play was acted at the Theatre Royal, with good success; and it is not improbable, from the resemblance of circumstances, that Prince Volscius's falling in lov« with Parthenope, at the instant he is pulling off his boots to go out of town (in The lie hears a Ij , may have been intended to glance at the characters ot Comely and Els- beth in this comedy (Act iv. Scene I). Scene lies in London. 133. The English Princess; or, The Death nf Richard the Third. Tragedy, by J 'Caryl, 4to. I667 ; 4to. 1674. Acted at the Duke of York's Theatre. The plot is from Holingshed, Speed, &:c. and the scenes are laid in the head-quarters of King Richard and the Earl of Richmond, while they are in ths sight of each other. The whole drama is written in rhyme, and is poor enough. 134. The English Moor ; or. The Mock Marriage. Comedy, by Rich. Brome. Svo. l65g. Scene London, 135. English Readings. A Comic Piece, in one act. Per- formed at the Haymarket. [By James Cobb.] Svo. 1787. The entertainment arising from the re- petition of the most beautiful pas- sages of English authors, both in verse and prose, begim with great ability and success, by Messrs. Sheridan, senior, and Henderson, had afterwards been continued hj persons very inadequate to the task, and by that means brought the practice into contempt. This piece is a ridicule on such preten- ders, and is conducted with some humour. 136. Th« Ef*GLisK Rogub. Q 3 19S E N G CoHQ. by Thomas Thompson. Act- ed (says the title-page) before se- veral persons of honour wiih great applause. 4to. l65S. Scene Venice. 137. The English Stage Itali.\xized, in a New Drama- tic Entertainmen*, called Dido and yEneas ; or , Harlequin a Butler, a Pimp, &c. Written by T.Durfey, Poet Lanreat de jure. Svo. 1727. This, of course, was a pcjsthu- mous piece; as the author died in 1723. 13S. The English Tavern AT Berlin. Com. Svo. J/Sf)- Never acted. This is a very ill written jjiece. Its main Incident is from an anecdote related of the Great Frederic's rewarding the filial piety of a page of his, to his distressed parent, by putting a rouleau of louis-d'ors in his pocket, while he is taking; a nap. 139. The English Travel- ler. Tragi-Com. by T!io. Hey- wood. Acted at ^ the Cockpit, Drury Lane. -^to. 1*633. The plot and lai guage of young Lionel and Eeginald are taken from the AIo- stcllaria of Plar.tus; but as to the .story of old W'inccte and his wif^ Geraldine and Delavil, the author, in his History oj iVovicn, lib. 4. p. 26.0, where he has related it more ?.t large, afErms it to be an abso- lute fact. Hey wood, in his epistle to the reader, pleads modesty in " not exposing his plays tn ilje " public view of the world in nu- " merous sheets and a large vo- " lume, under (he title of Works, " as others." By which he seems tacitly to arrsign some of his co- temporaries for ostentation. TJ>e stroke was most probably aimed at Ben Jonson, who gave his plays the pompous title of Works, as Sir John Suckling observes in his Session of the Poets : E N T " The first t!;r.t broke silence was good old Ben, " Prcpar'd before with Canary vine; " And he tcld ihem plainly that he de- serv'd the V)a\s, " For his were rall'd VVorks'vhere others vveie but Flays." Another poet of that age asks, " Fray tell me, Ben, where does the myst'ry lurk.' " What others call a Play, you call a Work." To which a friend of Jonson's answered : *' The author's friend thus for the author savs, " Ben's I'iajs are Works, when others Works are Piays." 140. The Enlisted Shep- herds. A pjsloral Drama, b_v W. Hawkins. Timo. I7S6. 'The scene of Cc.s'er Pearmain and I'hoiuas Appk'tree, put into very, contemptiuie verse. Jt forms part of a small volume of Poems. 141. Enol'gh 's as good as a Feast. Com. This piece is noen- tioned by Kirkman, but without either date or author's name. 142. The Ensign. Comedy, translated from Schroeder, by Benj. Tiiompson. Svo. 1800. Never acted. \AZ.A JVorke iriRuviv cnntaiining an Enter i.uDE ofMyni^es, uil- vessu.-g the Alan's Fall from God and Christ. Set fortli by H. N. (Harry Nicholas), and by him newly perused and amended. I'ranslaled out of Base Almayne into Englisli. No date. [1574.] 14-i. T«E Honourable E?<- T2.KTAINMENT gicuen to the QuL-enes Majestic in progresse, at Eleiieiham, in Hamp.shire, by the Right Honourable the Earle of Hertford. 4to. 1591. This very rare and curious piece is reprinted in the Gehtleiiians Matiuzine, vol. xlix. 81 — S5. 121 — 125. " Hev 199 E N T '' Majesty (Qvieen Elizabeth) dis- " mist tlie nctors with thankcs, " nndwith aoracious larges, which " of her exceeding gooducsse shee " bestowed vppoii tliem." 145. The Entertainment of THE Queen and Pkince at Lord Spencer's at Akhorpe, on Saturday, June 25, l603, as they came first into the kingdom, by Ben Jonson. 4 to 1603 J Svo. 1756. 146. Entertainment at King James the First's Coronation. By Ben Jonson. 4to. l603; tol. 1640 J Svo. 1756. This piece consists only of congratulatory speeches, spoken to His Majesty at Fenchnrch, Teniple Bar, and in the Strand, in his way to the coronation, with the author's com- ments to illustrate them. 147. The Entertainment of the King and Quten, on May Day in the morning, l604, at Sir W.Corn waliis's house-at Highgate, by Ben Jonson. 8vo. 1756. 149. The Entertainment of THE two Kings or Great Bri- tain AND Denmark at Theo- balds, July 24, 1G06, by Ben Jon- son. This entertainment is very short, and consists chiefly of epi- grams. Svo. 1756. 149- The Entertainment of King James and Qihen Anne at Theobalds, when the house was delivered up with the possession to the Queen by the Ear! of Salisbury, May 22, 1607; the Prince Janville, brother to the Duke of Guise, be- ing then present. By Ben Jonson. Svo. 1756. 150. The Entertainment given by the Right Hon. the Lord Knowles, at Cawsome Mouse near Reading, to our most gracious Queen Anne, in her progress to- ward the Bath, upon the 27th and 29th days of April, l6l3. Where- unto is annexed, the Description, E P H Speeches, and Songs of the Lords ALaske, presented in the Banquet- ing-house, on the marriage-night of the liigh and mightie Count Palatine and the royally descended Lady EHzabeth, by Thomas Cam- pion. 4to. I6i3. 151. The Entertainment of King Charles L coming into Edinburgh, June 15, 1633. 4to. Edinb. 1663. 152. The Entertainment at Richmond. A Masque ; present- ed by the most illustrious Prince Charles to their Majesties, 1634. 153. An Entertainment on THE Prince's Birth Day. By Thomas Nabbes. 4to. I639. 154. An Entertainment at Rutland House, by declama- tion and music, after the manner of the ancients, by Sir W. Dave- nant. 4to. l656. The vocal and instrumental music composed by Dr. Charles Coleman, Capt. Henry- Cook, Mr. Honry Lawes, and Mr.. George Hudson. 155. The Entertainments, set to music, for the comic dra- matic Opera, called The Lady's Triumph. Written by Mr. Theo- bald, and set to music by Mr. Galliard. Svo. 17I8. ' 156. An Entertainment, de- signed for Her Majesty's Birth- day, by R. Dodsley. Svo. 1732. 157. An Entertainment, de- signed for the wedding of Gover- nor Lowtherand Miss Pennington, by Robert Dodsley. Svo, 1732. B'jth these last are printed in a volume of Poems, called " A " Muse in Livery, or Tlie Foot- " min's Miscellany." 153. The Ephesian Matron. Farce, of one act, by Charles Johnson. Acted at Drury Lane, April 1/32, for the benefit of Mr. Bridgwater. J59. The Ef'HEsiAN Matkon. o4 200 E P I Comic Serenata, after the manner faf the Italian, bylsaac Bickerstaffe. Performed at Ranelagh House. Svo, J 769. 160. Epiccene J or. The Silent Woman. Comedy, by Ben Jonson. Acted by the King's servants. 4to. 1609 J Svo. 1756. This is ac- counted one of the best comedies extant, and is highly commended by Mr. Dryden j who, in his E$say on Dramatic Poesy, shows it to be perfectly agreeable to the dramatic unities which are so strongly insisted on by tlie French critics and comment aiors upon Aristotle. " The length of the " action," says he, " so far from *' exceeding the compass of a na- " tural day, does not take up an " artificial one ; but is all included " in the limits of three hours and " a half, which is no more than ." is required for the presentment *' on the stage. The scene of it " is laid in London : the latitude " of place is almost as little as you ''can imagine 5 for it lies all *' within the compass of two *' houses; and, after the first act, *' in one. The continuity of scenes " is observed more than in any of *' our plays, except his own Fox " and Alchymist. They are not " broken above twice or thrice at " mostin the whole comedy; and in *' the two best of Corneille's plays, " The CiJand Cinna, they are in- *' terrupted once. The action of " the play is entirely one : the end " or aim of which is the settling " Morose's estate on Dauphine. " The intrigue of it is the greatest *' and most noble of any pure un- '" mixed comedy in any language. " The conversation of gentlemen, " in the persons of True-wit and '' his friends, is described with " more gaiety, air, and freedom, ♦' than in the rest of Jonson'g EPS " comedies ; and the contrivance " of the whole is still the more to " be admired, because it is co- " medy where the persons are " only of common rank, and their " business private, not elevated by " passions or high concernments, " as in serious plays," Some critics of the last age imagined the character of Morose to be wholly out of nature j but Mr. Dryden tells us, from tradition, that Jon- son was really acquainted with a person of this whimsical tura of mind. It is, however, more pro* bable, that he adopted it froni Libanius, whose Declamatio Icpi- dissima de Moroso qui cum u^orem loquaccm duxisiet seipsum accusal. Gr. Lat. interpret. F. Morello ap. Morel, was published in 1597* The long speeches in the first act are translated from Ovid de Arte Amandi ; and a great deal in other places is borrowed from the sixth satire of Juvenal against women. 161. Epiccene; or, The Silent JFoman. Com. written by Ben Jop'* son. Acted at Drury Lane. Svo. '^77^- This alteration, which is a very judicious one, was made by Mr. Colmanj but had little suc- cess, owing, perhaps, to its being ver}' indlflerently performed iq some of its parts. 162. Epidicus. Com. translated from Plautus, by Lawr, Echard, with critical remarks ; but never intended for the stage. The scene of this piece lies at Athens. The time about five or six hours. 163. Eponin.\. Dram. Essay, by John Carr, addressed to the ladies. Svo. 1/65. The story of this feeble piece is taken from Dion Cassius and Tacitus. 164. ErsoM Wells. Com. by T. Shadwell. Acted at the Duke's Theatre. 4to. 1673, 1676, 1693, 1704. This piece has so much of 201 ESC the true vis comica about it, that it was greatly admired even by- foreigners ; the famous St. Evre- uiond, in particular, has made no scruple of ranking it, in point of merit, with Ben Jonson's Bartho- lomew Fair; yet it could not escape the malevolence and envy ',of some of the author's contem- poraries, who said that it was not Jiis. IQ5. Erastus, Dram. Piece, In one act. This is printed in the third volume of The JTorks of Solomon Gessner, translated from the German, 3 vols. 8vo. 1S02. 166". Erminia ; or, The Fair and Vertuous Lady. Tragi -Com. by Richard Flecknoe. 4to. 1661. This play was never acted; yet the author has inserted the names of the actors, whom he designed for the performance, opposite to the Dramatis Personae; in order, as he says, " that the reader might have *' half the pleasure of seeing them *' acted, by a lively imagination, " which would supply the place " of action." And indeed, as Ja- cob observes, this was by no means impolitic; since, as he could not get the play acted, it became his next business to endeavour to get it read. 167. Errors Excepted. Com. ita three acts, byT. Dibdin. Acted at the Haymarket Theatre, ISO/. This, though several times per- formed, was not one of its author's best productions ; and, we believe, has not been printed. 168. The Escape. Int. Per- formed at Drury Lane, l/PS, for the benefit of Mrs. Powell, but never repeated. It was a sort of pantomjniic representation of the escape of Sir .Sidney Smith (per- sonated by Mr. Palmer) from a French prison. Not printed. 469. An Escape into Prison. E s o Mus. Ent. by James C. Cross. Acted at Covent Garden, 1797. This was an alteration from Mrs. Inchbald's Hue and Cry ; but was dismissed after being twice per- formed. 170. The Escapes; or. The Water Carrier. A Musical Farce. Acted at Covent Garden, 1801 ; and so well received as to have become a stock-piece. The scene lies in France, and the events are supposed to take place during Car- dinal Mazarine's administration. Music byCherubini andAttwood, Not printed. 171. The Escapes of Harle- GuiN. Entertainment in grotesque characters, by Mr. Thurmond. Acted at Drury Lane. 172. Esop. Com. in two parts, by Sir J. Vanbrugh. Acted at Drury Lane. 41o. 1697. This play is taken from a comedy of Boursault's, written about six years before it ; but the scenes of Sir Polidorus Hogstye, the Players, the Senator, and the Beau, in a word, part of the fourth, and the whole of the fifth act, are entire originals. The play contains a great deal of genuine wit and use- ful satire; vet had not the succesi it deserved to meet with, especially on the first two nights ; nor did it run above a week together, notwithstanding that the French, which is not by many degrees so good a piece, held out for upward* of a month at Paris. Dr. Gold- smith, in his Life of Beau Nash, p. Ill, says, that the last act of this comedy was added to the French plot of Boursault, from a story told of this King of Bath of a like kind, in which he dis- played his generosity in a similar manner to a young lady attempted- to be forced to marry him. 173. Esop. Farce. Acted-, %t ^ EST Drury Lane, 1/73. The excel- lence of !Mr. Henderson's manner of reciting poetry occasioned this production, which was taken from Sir John Vanbriigh's play above rnentionedj with some slight altera- tions, as is supposed, by Mr. R.B. Sheridan. But though cleared from ranch of the grossness and obscenity it formerly abounded with, yet it was no. sufficiently refined for the nice ears of tlie present frequenters of the play- bouse. It was acted only one night, and is not printed. 174. Esop. Ey Sir John Van- brugh. Some additional scenes to this play, written by Mr. Moser, were printed in Tlie European Ma- gazine, vol. liii. ISOS. 175. Esther; or, Faith Tri- umphant. A Snored Tragedy, by Thomas Brereton. I2mo. 1715. This is only a translation at large of the Esther of Racine, by whom this pla}' was originally v ritten on E T Y 177- Ethelinda ; or. Love and- Dutij. Trag. by Matthew West, A. B. T. C. D. 12mo. 1769. Dublin. Never acted. In an ad- vertisement prefixed to this tra- gedy, the author says, thai from an aversion to intruding on the public, and diffidence of the piece's merit (being written merely to amuse a fev.- leisure hours at the age .f nineteen), he had declined bringing it on the stagf^. 173. Ethwald. Trag. by Jo- anna Baiilie. Svo. 1S02. There are two parts of this play, which is on the subject of ambition. They are contained in the second volume of Miss B.'s Series of Plays on the Passions, and are very in- teresting ; for distinctness of cha- racter, variety of situation, and force and energy of language, they are greatly distinguished. The fair writer has wiih success trod in the steps of Shakspeare, and attempted to emulate the terrible the foundation of the nunnery of alarms of Macbeth, and the cap- St. Cyr, and acted by the nuns tivating sorrows of Ophelia. She of that house in the presence of shows the horrible excesses to Louis XIV. In the characters of which minds naturally benevolent Ahasuerus and Esther, many very may be driven, and how little de- fine compliments are paid to Louis pendance can be placed on the XIV. and Madame De Mainte- best resolves, when encountered non, the founders of that con- vent; and the Prologue, in the rharncter of Piety, is, perhaps, one of the finest pieces of poetry of its length in the French language. Tliat this piece of Racine's might liave had a better tr?.nslator, how- ever, we conclude v.iil l.e admitted from the fol'.owing specimen : " Sure Wisdom's self has toolc her pcat in thfc ' " F.Tsacilv doe-, my thwu^ht with ibine ugree." l/G. Esther. Sac. Drama, by John Collett i2tao. UO6. Xe- \ whate'er is just and true : " Sure to those scenes some honour should be paid, " Which Camden patroniz'd, andShak- speare play'd. 4 205 EVE ** Nature was nature then, and still sur- vives : ** The garb may alter, but the substance lives ; '* Lives in this play — where each may find compleie " His pictur'd stlf.— Then favour the deceit — " Kindly forget the hundred years be- tween ; " Become old Britons, and admire Old Ben." Mr. Whalley observes, that, in this play, as originally written, •' the scene was at Florence, the " persons represented were Ita- " lians, and the manners in great '*' measure conformable to the ge- " nius of the place j but in this " very play, the humours of the " under characters are local, ex- " pressing not the manners of a " Florentine, but the gulls and " bullies of the times and country " in which the poet lived. And " as it was thus represented on the " stage, it was published in the "same manner in 4to. in 16OI. " When it was printed again in " the collection of his works, *' it had a more becoming and " consistent aspect. The scene " was transferred to London ; the " names of the persons were " changed to English ones ; and " the dialogue, incidents, and '* manners, were suited to the place *' of action. And thus we now *' have it in the folio edition of *' 1616, and in the several editions ■" that have been printed since." 192. Every Man out of his Humour. Com. Satire, by Ben Jonson. Acted I5§g. Printed in 4to. 1600 ; 8vo. 1756, This play is composed of a great variety of characters, interrupted and com- mented on in the manner of the ancient drama, by a Grex, or com- pany of persons, who, being on the •tage the whole time, have the ap- E V E pearance of auditors, but are in reality a set of interlocutors, who by their dialogue among them- selves explain the author's inten- tion to the real audience. This practice is now almost entirely left off; yet as the characters in this piece are most of them perfect ori- ginals, all painted in the strongest colours and apparent likenesses of several well-known existents in real life, we cannot help thinking that, with very little alteration more than an omission of the Grex, this play might be rendered extremely fit for the present stage. Bishop Hurd, however, says :— " If the reader would see the ex- " travagance of building dramatic " manners on abstract ideas in its " full light, he needs only turn to " Ben Jonson's Every Man out of " his Humour ; which, under the *' name of A Play of Character, " is in fact an unnatural, and, as " the painters call it, hard, deli- " neation of a group of simply ex- " is ting passions, wholly chimeri- " cal and unlike to any thing we " observe in the commerce of real " life. Yet this comedy has aU " ways had its admirers. And '' Randolph, in particular, was so " taken with the design, that he " seems to have formed his Muses' " Looking-glass in express imita- " tion of it." 193. Every one has his Fault. Com. by Eliz. Inchbald. Acted at Covent Garden with great success. 8vo. 1793. There is much both of humour and busi- ness in this piece ; the main in- cident of which, however, reminds us strongly of the same author's play, called / '// tell you what. Norland is evidently the character of Lord Elmwood, in her novel called A Simple Story. Harmony, a very pleasing character, and new 20(5 E V E to the stage, is from the snme source. An attack upon this piece produced the following letter to the printer of The Diarif (Mr. William Woodfall) : '■ Sir, after " the most laborious eftbrts to pro- " duce a dranialic work deserving " the approbation of the town ; *' afterexperiencing the most pain- " fid anxiety liil that approbation ■*' was secured ; a malicious false- " hood, aimed to destroy every " advantage arising from my in- " dustry, has been circulated in .♦. *' print called The True. Briton ; " in which I am accused of con- " veying seditious sentiments to " the public. This charge 1 con- ** sidered of little importance, *' while an impartial audience " were, every evening, to judge " of its truth ; — but my ac cuser '•' having, in this day's paper, taken " a different mode of persecution, " saying I have expunged th.ose " sentences which were of dan- " gerous tendency, the j)lay can, '* now, no longer be its own evi- " dence. I am therefore com- " polled to declare, in contra- *' diction to this assertion, that ■"■ not one line, or one word, has " been altered or omitted since " the first night of representation. *' As a further proof bC the in- " justice with which I have been " treated, had I been so unfortu- '* nate in my principles, or blind " to my own interest, as to have " written any thing of the nature " of which I am accused, 1 most " certainly should not have pre- "■ sented it for reception to the ** manager of Covent Garden thea- *' tre. E. Inchbald. " Leicester Sex, for pretending to the least share of it. The dispute ended by his turning the poor bricklayer out of the room where they were spending the evening together. It is but justice to add, that no man maintained his share in conversation more happily than David Mallet. His wife was either an infidel, or was ashamed to be thought a Christian. One night at Hampton Court, where both she and David Hume were visiting, she turned towards him, saying — " For you know, Mr. Hume, we *' Freethinkers, &-C." Hume turn- ed aside to a friend, and added, " D — n her; if I knew on what "■ side of any question she was, I " would take care never to be on " the same." 209- EuKiDicE. Farce, by Henry Fielding. As it was d d at the Tlientre Royal in Drury Lane. Svo. 1735. 210. EuRiDicE hiss'd; or, A W)rdto the IFise. Farce, by Henry Fielding. Svo. [1/37.] This very little piece is published, and, we suppose, was acted at the end of The Historical Registrir. It seems to be intended as a kind of ac- quiescence with the judgment of the public, in its condemnation of the last-mentioned farce j at the same time apologizing for it, as 208 E X C being only a mere lusus of his Muse, and not the employment of any of his more laborious or stu- dious hours. 211. Euroi'e's Revels ybr Me Peace, and His Majesty's happy Return. A Musical Interlude, by P. Motteux. 410.1697. This piece was written on occasion of the peace at Ryswick, and was per- formed at the Theatre in Lincoln's Inn Fields. Annexed to it is a Panegyric Poem, which was spoken by way of prologue to it. The music by J. Eccles. 212. The Example. Tragi- Com. by James Shirley, Acted at the private house, Drury Lane. 4to. 1637. We cannot rank this with the best of the author's works. 213. Exchange Alley; or. The Stock Johher turnd Gentle- man: with the Humours of our modern Projectors. Tragi-comical Farce. 8vo. 1/20. One of the mushroom productions occasioned by the South Sea bubble. 214. Exchange Ware at the Second Hand ; viz. Band, Riijfe, and Cujj'e, lately out, and now newly dearned up ; or, A Dialogue, acted in a Shew in the famous Universitie of Cambridge. 2d edit. 4lo. lb'I5. Mr. Kemble appears to be possessed of the first edition of this piece. It is of the same year's date ; but the title is, " A " Merry Dialogue between Band, " Cujj'e, and Ruffe : done by an " excellent Wit, and lately acted " in a Shew," &c. Neither Lang- baine, Gildon, Jacob, nor Whin- cop, had met with it. 215. Excise. A Tragi-comi- cal Ballad Opera, of three acts. 8vo. 1733. Not intended for the stage. 216. The ExcI8«man. Farce, E X r by Henry Knapp. Acted at Co- vent Garden, Nov. 4, 17SO. Not printed. A contemptible perform- ance, which met with its just fatei on the first night of exhibition. 217. The Excommunicated Prince ; or, The False Relick. Trag. by Captain William Bedloe. Fol. 1()79. To this play the pub- lisher (without the author's con- currence or knowledge) added in the title these words : " Being the " Popish Plot in a Play." This induced the public to imagine they should find the design of it to be a narrative of that plot which Capt. Bedloe had so considerable a hand in the discovering. They found themselves, however, disappoint- ed; the plan of this play being built on a story related by Heylin, in his Cosmography . The scene lies at Cremen in Georgia, and the play was wholly written in two months' time. Some ascribe it, or at least the greater part of it, to Thomas Walter, an Oxford scho- lar of Jesus College. 218. Execution; or, Moie frightened than hurt. Mus. Farce. Announced as to be performed at Coven t Garden, May 1/85, for the benefit of Mr. Wilson, but laid aside. This was, probably, the same piece as was performed at the Hay market for his benefit the same year, under the latter title only. 219. TheExilb. Com. by W. Duke of Newcastle. This play is mentioned in several Cata- logues ; yet we cannot but doubt the existence of it ; as no person pretends ever to have seen it, and it is not to be found in any one of the extensive Collections of Playa now existing. From Jacob's ac- count, it may be concluded, that he confounded Variety with a play 209 E X I EXT of this title, as he mentions its being printed with The Country Captain. See Variety. 220. The Exile. Melo-dra- matic Opera, by Frederick Rey- nolds. First acted by the Covent Garden Company, while they were at the Opera House, Nov. 10, 1808. With some improbability in the story, there is much inte- rest and stage-effect produced by this piece, which is founded on the novel of Elizabeth, by Mad. Cottin. Count Ulrick has been banished to Siberia by state in- trigues; and Alexina, his daughter, undertakes a journey to Moscow, in the hope of procuring his par- don. An Indian, named Daran, who, by representing himself to be the Exile's bitterest enemy, has caused himself to be intrusted with the guardianship of that unhappy man, throws himself in the way of Alexina during her dangerous journey, and delivers her from several immediate dangers. She arrives in Moscow, and, byacon- currence.of interesting events, pro- cures her father's pardon from the Empress Elizabeth. A mistake, however, arising among the offi- cers of the crown with regard to Ulrick's pardon, and which is pro- moted by the enemies of this exile, plunges Alexina into a marriage with the tawny Daran, to whom she feels rather gratitude than love } but the wedding is scarcely concluded before the Empress's formal pardon arrives, and over- whelms her with regret for her hasty nuptials. On a sudden Ro- manoff, her lover, enters, and dis- covers himself to have been the dusky Indian, who so long had watched and preserved her; but who, from politic motives, had forborne to disclose himself until VOL. li- the definitive liberation of Ulrick. This opera was very well recei /ed, and has been frequently acted with great applause. Not printed. Mu- sic by Mazzinghi. 221. The Exiles. M. D. by John Rannie. 8vo. No date. Ne- ver acted. • 222. The Experiment. Com. of two acts [we believe, by Charles Stuart]. Performed at Covent Garden, April l6, 1777, for Mrs. Lessingham's benefit. N. P. 223. The Experiment. Farce> by Charles Murray. 8vo. 177C). This piece, we believe, was acted at Norwich j of the company at which theatre the author was at that time a member. 224. The Exposure. Past. Licensed in 15gS; but not now* known. 225. The Expulsioii of the Danes from Britain. Trag. by Elk. Settle. This was brought to the managers of Drury Lane about the year 1/23-4 ; but the death of the author prevented its being acted or printed. 226. The Extravagant Jus- tice. Farce, by James Wors- dale. Of this we know nothing but the name. 227. The Extravagant Shep- herd. A Pastoral Comedy, by T. R. 4to. 1654. This piece is translated from the French of T. Corneille, and is founded on a ro- mance called Lysis ; or. The £x-- travagant Shepheard; in folio. 22s. The ExtravagantShep- HERD. The complete outline draught of a sort of Pastoral Co- medy, seemingly intended to b^ so entitled, and conjectured to bo the writing of Mr. Dodsley, is in MS. together with some Fables iii prose and verse, in the possessioa of Mr. Stephen Jones. ^IQ E 2 K 22g. EzEKiAS. A Play, by Ni- cholas Udal. Acted before Queen Elizabeth at Cambridge, 1564. " This day (Aug, 8) was nothing '«■ done publique, save that at Q of •' the clocke at ni£;ht an English E Z E *' play called Ezekias, made by " Mr. Udal, and handled by King's " College men onlye." Nichols's Progresses of Queen El'naleth, vol. iii. p. 177. F A I I.XhbFabii. An ancient Dra- ma. Performed before the year 1580. See Stephen Gosson's School of Abuse, 1579. 2. The Fabulist. Farce, from Vanbrugh's Esop. Acted at York, and, we suppose, abridged by Mr. Wilkinson, the manager. N. P. 3. The Factious Citizen j or, The Melancholy Fisioner. Com. Acted at the Duke's Theatre, 4to. 1685. Scene Moorfields. 4. The Faggot-Binder ; or. The Mock Doctor. Com. trans- lated from Moliere. Printed in Foote's Comic Theatre, vol. v. 12rao. 1762. 5. The Fair. A Pantomime Entertainment [by Mr. Rich]. Acted at Covent Garden, 1750. It was revived in 1752 5 whenMad- dox, the celebrated wire-dancer, was introduced ; and, from the no- velty of his performance, it met with great success. 6. The Fair American. Com. Opera, by F. Pilon. Acted at Brury Lane, May 1782. Printed in 8vo. 1785. Though this piece was rejected at Covent Garden, it met with great applause when brought out at Drury Lane : the season, however, being near clo- F A I sing, it was performed but seven nights. The music was very in- different, containing nothing strik- ing or original ; but Mr. Carter, the composer, suing Mr. Pilon for payment of his bill, the latter (who had not derived much emo- lument from the piece) was forced to abscond j and this laid the foundation of all his subsequent embarrassments. 7. Fair and foul Weather. [It has been discovered, since our last edition, that neither this, nor The Sculler (by Taylor the water-poet), are dramatic pieces, though called Plays in Hyde's Catalogue of the Bodleian library.] 8. The Fair Apostate. Trag. by A. M'Donald. 8vo. I791. This, with other dramatic pieces, is printed in a volume of his Mis- cellaneous JForhs. Scene Sicily. Never acted. g. The Fair Captive. Trag. by Elizabeth Haywood. Acted at Lincoln's Inn Fields. 8vo. 1721. This tragedy was originally writ- ten by Capt. Hurst, who sold it to Mr. Rich. It being thought unfit for representation without being altered, Mrs. Haywood was em- ployed to adapt it to the stage. 211 F A I She, however, so totally new- modelled it, that, except in the parts of Alphonso and Isabella, there remained not twenty lines of the original play. It was acted without success. 10. Thr Fair Circassian. A Dramatic Performance, said to be written by Dr. Samuel Croxall. •4 to. 1/20. This is merely a ver- siiication of the Srnig of Solomon. 11. The Fair Circassian. Trag. by S. J. Pratt. Acted at Drury Lnne. 8vo. 17S0. This play is founded on Dr. Hawkes- worth's tale of Almoran and Ha- viet, and had a run of twenty-six nights, with little intermission. 12. FairConstance of Rome. Play, in two parts, by Anthony Munday, in conjunction withHath- waye, Drayton, and Dekker. Act- ed 1000. Not printed. 13. Fair Emm, the Millers Daughter of Manchester, with the Love of JVilUam the Concjueror. A pleasant Corn. Acted by the Lord Strange's Servants. 4to. l63 1 . This piece is not divided into acts. 14. The Fair Example; or. The Modish Citizens. Com. by Richard Estcourt. 4to. 1706. Act- ed at Drury Lane, with applause. Scene London. 15. The Fair Favourite. Trag. Com. by Sir W. Davenant. Fol. 1673. 16. The Fair Fugitives. Mus, Ent. by Miss Anna Maria Porter. Acted at Covent Garden, May 1803 ; but witliout success. Music by Dr. Busby. Not printed. 17. The Fair Hibernian. Trag. by Anthony Davidson. Ne- ver performed. We know nothing of this piece, but by name. 18. The Fairies. Opera, by David Garrick. 8vo. 1755. The music was composed by Mr. Smith. This little entertainment was acted F A I at Drur)' Lane, with great ap- plause, the parts being mostly per- formed by children. The main design of it, and much of the language, is borrowed from Shak- speare's Midsummer Night's Dream; but several songs are introduced into it from many of our most ce- lebrated poetic writers. Garrick wrote and spoke the prologue. 19. Fairies' Revels ; or. Love in the Highlands. Burl. 8vo. 1802. 20. The Fair Lahy. Com. translated from La Dama Duende of Calderon. 8vo, I8O7. 21. The Fair Maid of Bris- tol. As it hath been played at Hampton before the King and Queen. Com. 4to. l605. la the old black letter. 22. The Fa:r Maid of the Exchange, with the merry Hu" vioiirs and pleasant Passages of the Cripple ofFaruhurch^furriisht with Variety of delectable Miith. Com. by Thomas Hey wood. 4to. 1O07, l625j 1637. 23. The Fair Maid of thb Inn. Tragi-Com, by Beaumont and Fletcher. Fcl. l647j 8vo. 1778- The plot oi Mariana's dis- owning Caesario for her son, and the duke's injunction to marry him, is related by Causin, in his Holy Court ; and is transcribed by Wanley, in his History of Man, fol. book iii. ch. 26. The scene lies in Florence. 24. The Fair Maid of Italy. Play. Acted by the Earl of Sus- sex's Men, Jan. 12, 1593. Not now known. 25. The Fair Maid of Lon- don. A play under this title was licensed in 1593 5 but we know no more of it. 26. The Fair Maid of the West ; or, ^ Girl worth Gold. Com. in two parts, by Thomas v2 ' " 212 F A I tteywood. 4to. 1()31. Both these pieces met with general approba- tion, and were favoured with the presence of the king and queen. The scene lies at Plymouth, and the plots are original. Nor can there be a much stronger proof of the estimation they were held in, than John Dancer's having formed from them a novel, called The Eng- lish Lovers. 27. The Fair of St. Germain. A translation, by Mr. Ozell, from Boursault's Foire de St. Germain ; and was acted at the Theatre in Little Lincoln's Inn Fields, by the French company of comedians from Paris. 8vo. 17 18. The Fair of St. Germain used to be one of the attractions of Paris. It lasted from the beginning of February till within a few days of Easter. It was an epitome of all the business, as well as of all the diversions, in Paris. Notwitlistanding the crowds that frequented it all day, and part of the night, it was attended with an orderliness and regularity the more admirable, as it was the con- tinual and well-known rendezvous of all the sharpers and ladies of pleasure in that licentious metro- polis. 2S. The Fair Orphan. Com. Opera, of tliree acts. Performed at Lynn, by G. A. Stevens's com- pany of comedians. 8vo. 1771' Stupid enough ! 29. The Fair Parricide. T. of three acts, founded on a late meljyicholy event. Anon. 8vo. [1752.] This piece was never acted, nor intended for the stage. It is written partly in prose and partly in verse, and very indif- ferently executed j but the plan of it is entirely founded on the un- fortunate affair of Miss Blandy, who was executed for the murder of her father, instjgated thereto. FAX as it appeared on the trial, by her lover Captain Cranstoun. 30. The Fair Penitent. T. by N. Rowe. 4to. 1/03. Acted at Lincoln's Inn Fields. This, as Dr. Johnson observes, is one of the most pleasing tragedies on the stage, where it still keeps its turns of appearing, and probably will long keep them 5 for there is scarce- ly any work of any poet at once so interesting by the fable, and so delightful by the language. The story is domestic, and therefore easily received by the imagination, and assimilated to common life ; the diction is exquisitely harmo- nious, and soft or sprightly as oc- casion requires. The character of Lothario seems to have been expanded by Richard- son into Lovelace ; but he has ex- celled his original in the moral effect of the fiction. Lothario, with gaiety which cannot be hated, and bravery which cannot be de- spised, retains too much of the spectator's kindness. It was in the power of Richardson alone to teach us at once esteem and detestation, to make virtuous resentment over- power all the benevolence which wit, and elegance, and courage, naturally excite ; and to lose at last the hero in the villain. The fifth act is not equal to the former ; the events of the drama are exhausted, and little remains but to talk of what is past. It has been observed, that the title of the play does not sufficiently corre- spond with the behaviour of Ca- lista, who at last shows no evident signs of repentance, but may be reasonably suspected of feeling pain from detection rather than from guilt, and expresses more shame than sorrow, and more rage than shame. This play is so well known, and is so frequently per- 213 F A I F A I formed, and always with the great- est applause, that little need be said of it, more than to hint that the groundwork of it is built on the Fatal Dowry of Massinger. [It appears, from an advertise- ment prefixed to The Bondman, printed in 1719, that Mr. Rowe had revised all Massinger's plays, and was preparing an edition of them for the press the very year he died.] Chetwood relates the following theatrical anecdote, as connected with this piece : " Ai accident that fell out at " this play, the first season it was " performed, in the year iGgg, I " gathered from that stage chro- " nicle, Mr. John Bowman. " Lothario, after he is killed by '" Altamont in the fourth act, lies " dead by proxy in the fifth, " raised on a bier covered with " black by the property-man, and '*■ the face whitened by the bar- " ber; the coat and periwig gene- " rally filled by one of the dressers. " Most of the capital actors in the " established theatres have gene- " rally a dresser to themselves, *' though they are paid by the *' manager, to be ready, on all *' occasions, for stage-guards, at- " tendants, &c. ** Mr. Powelk played Lothario ; " and one Warren, his dresser, " claimed a right of lying for his " master, and performing the dead " part of Lothario, which he pro- *' posed to act to the best ad- " vantage ; though Powell was " ignorant of the matter. The " fifth act began, and went on, "■ as usual, with applause j but, " about the middle of the dis- " tressful scene, Powell called " aloud for his man Warren, who " as loudly replied, from the bier "on the stage, * Here, Sir!' " Powell (who, as I said before, " was ignorant of the part his *' man was doing) repeated, with- *' out loss of time, ' Come here " this moment, you son of a " w — e ! or I '11 break all the " bones in your skin.' Warren " knew his hasty temper ; there- " fore, without any reply, jumped " off, with all his sables about " him, which, unfortunately, were *' tied fast to the handles of the " bier, and dragged it after him. *' But this was not all ; the laugh " and roar began in the audience, " till it frightened poor Warren so " much, that, with the bier at " his tail, he threw down Calista " (Mrs. Barry), and overwhelmed " her with the table, lamp, book, " bones, together with all the " lumber of the chnrnel-honse. " He tugged, till he broke off his " trammels, and made his escape; " and the play, at once, ended " with immoderate fits of laugh- " ter." 31. The Fair Quaker of Deal j or. The Humours of the Navy. Com. by Charles Shadwell. Acted at Drury Lane. 4to. 1 7 10 j 8vo. 1720. This play has no ex- traordinary merit in point of lan- guage ; yet the plot of it is busy and entertaining, and tlie contrast drawn between the rough brutish tar, and the still more disgustful sea-fop, in the characters of Com- modore Flip and Beau Mizen, is far from being a bad picture of the manners of some of the sea- faring gentlemen even of this age; at the same time that their ready reformation, on being convinced of their errors, is a just compli- ment to the understandings of a set of men, who are the greatest glory of Britain, and the tenor of all the rest of Europe. 32. The Fair Quaker; or^ ? 3 214 FA I The Hum rntrs of the Navy . Com . by Captain Edward Thcmpson. Acted at Dmry Lane. 8vo. 1/73. The foregoing play very poorly altered. As forecastle jests are current only on the spot where they are born, or among people to whom coarseness of language is familiar, the representation of ihis comedy should be confined to Portsmouth or Plymouth, which never fail to produce such au- diences as would applaud any per- formance like this cf Captain Thompson. 33. A Faike Quaurel. Cora. With new additions of Mr. Chaugh's and Trimtram's Roar- ing, and the Baud's Song. Never before printed. Acted before the King by the Prince's sen^ants ; ■written by Thomas Middleton and William Rowley, Gent. 4to. iSl? ; 4to. 1622. Dedicated to the nobly- disposed and faithful-breasted Ro- bert Grey, Esq, Part of the plot of which, viz. the story of Fitz- Allen, Russel and Jane, may be found in a book, called The Com- plaisant Compcnion ; and the in- cident of the physician tempting Jane, and afterwards accusing her, isborrowedfroir.Cynthio's Novels, Dec. 4. Nov. 5. Scene London. 34. The Fair Refugee ; or. The Rival Jeus. Com. Perform- ed at the Haymarket, 17S5 ; but not in the regular season. Not printed. 35. The Fair Rivals. Trag. of three acts. Acted at Bath, by the Duke of Grafton's company of comedians. By John Hewitt, Gent, 8vo. 1729. Printed at Bath. 36. The Fair Spanish Cap- tive. Iragi-Com. This play was advertised at tlie end of Wtt and Drollery, Jovial Poems, 12mo. 1661, as then in the press: we F A I however, it never ap- believe, peared. 37. The Fairy Renisox. Int. by the Rev. Samuel Bishop. Writ- ten in ] 766. Printed in the first volume of his poems, 4to. I/QS. It was designed to have been act- ed at Covent Garden Tlieatre, in compliment to the Royal Family, on the first appearance cf the Prince of Wales at the theatre ; but was reiected by the managers, who preferred ISlr. Hull's Fairy Favour. See Fairy Festival. 38. The Faiky Court. In- terlude, by Francis Gentleman. Not printed. This piece was per- formed by children at Chester, probably about the year 1/60, and was very successful ; having had a run of fifteen nights. 39. The Fairy Favour. Masque. Svo. 1767. This masque was written by Mr. Thomas Hull, for the entertainment of the Prince of Wales, the first time he came to the theatre. It was acted a few nights at Covent Garden. The design is simple and elegant, and the versification easy and harmo- nious. 40. The Fairy Favour 3 or, Harlef/uin Ani)nated. Pant. Per- formed at Drury Lane, l/gO. The songs, and a description of this compiled pantomime, were published in Svo. l/QO, by James Wrighten, prompter, on the first night of its being represented. 41. The Fairy Festival. Masque. Acted at Druiy Lane, May 13, 17P7- This was intend^ ed as a compliment on the ap- proaching nuptials of the Prince of Wirtemberg with the Princess Royal. It was magnificent, and did credit to the taste as well as liberality of the managers. The dialogue was chiefly the blapk. 215 F A 1 verse of Mr. Bishop's Fairy Beni- son, disguised under the semblance of prose. 42. Fairy Hill ; or. May Day. Past. Op. in three acts, by William Mansell. This was writ- ten for a private theatre, and printed in Svo. 17S4. 43. The Fairy of the Lake, by John Thelwall. Svo. 1801. 44. The Fairy Prince. Mas. by George Colnian. Acted at Covent Garden. Svo. 17;i. The greater part of this masque was borrowed from Ben Jonson, with the addition of a few passages from Shakspeare, Dryden, and Gilbert West. It was brought out only to introduce the ceremony of the installation. 45. The Fairy Queen. A Play, in the list of those destroyed by Mr. Warburton's servant. It was probably not printed. 46. The Fairy Queen. Op. Anon. Acted at the Haymarket. 4to. 16Q2. This piece is from Shakspeare's Midsummer Night's Dream. The music by Purcell. It pleased the town ; but, on ac- count of the great expense in dresses, decorations, and machi- nery, was not very profitable to those concerned. 47. The Fairy Tale. A Dra- matic Performance, by George Colman. Acted at Drury Lane, Svo. 17645 1777. On the ill success of the Midsummer Night's Dream, altered by this gentleman, the above drama was taken from it, and performed witli great ap- plause. 48. The Faithful Bride of Granada. A Play, by W. Ta- vemer. Acted at Drury Lane, 4to. 1701. Scene Granada. 49. The Faithful Friends. Com. by Francis Beaumont and John Fletcher. This play was FAX entered on the book of the Sta- tioners* Company, June 29, 166O, but was never printed. A MS. copy of it is in the possession ot the Rev. Henry Kett. See The Gentleman's Magazine, vol. Ixxx. p. 321. 50. The Faithful General. Tragedy, by a young lady, who signs herself M. N. Acted at the Haymarket. 4to. 1706. In an advertisement prefixed to it, tlie author says her first intention was only to revive The Loyal Subject of Beaumont and Fletcher ; but that she afterwards new-formed the episodes, altered the main de- sign, and put the whole into her own language j so that scarcely any part of Beaumont and Fletcher was retained. Scene the city of Byzantium in Greece. 51. The Faithful Irishwo- man. Farce, by Mrs. Clive. Act- ed at Drury Lane, 1765, for her benefit. Not printed. 52. The Faithful Pair; or. Virtue in Distress. Trag. " by " John Maxwell, being blind." Printed at York, by Thomas Gent, for the use of the author. Svo. 1740. This piece, which we had not met with in any preceding list, is in the collection of Isaac Swainson, Esq. As the author was poor and blind when he wrote it, let the critic be dumb as to its dements. It consists of only three short acts ; and the whole drama- tis personcB are, a king and his brother, a fatlier and daughter, and a female attendant on the latter. 53. The Faithful Shepherd. A Pastoral Com. from the Italian, by D. D. Gent. 12mo. 1633. This is taken from the Pastor Fido of Guarini. 54. The Faithful Shepherd. Past. Tragi-Com. 12rao. 1736, p4 216 F A L Wiih a plate to each act. In the preface this translation, from Guarini, is said to be chiefly that of Sir Richard Fanshaw, with great improvements, by an inge- nious gentlemnn, who would not permit his n rie to be mentioned. 55. The Faithful Shepherd. Dram. Past, translated from Gua- rini. Svo. 1/82. This is said to be attempted in the manner of the original. It is deserving of no notice. 56. The Faithful Shepher- dess. A Dramatic Pastoral, by ^. Fletcher. 4to. [N.D.] 2d edit. 4to. N. D. [1629.] 3d edit. 4to. 1634 i Svo. 1778. This is the production of Fletcher alone. On its first appearance it met with an ill reception ; but was after- wards represented before the King and Queen on Twelfth Night, 1633, and, as the title-page to the third edition says, divers times since with great applause, at the private house in Black Friars. It was introduced by a dialogue song, written by Sir W. Davenant, be- tween a priest and a nymph, and closed with an epilogue, which was spoken by the Lady Mary Mordaunt. 57' The Fall of Bob ; or. The Oracle of Gin. Trag. by Timothy Scru^, of Rag Fair, Esq, [John Kelly.] Acted at the Hay- market, It was occasioned by the gin-act, and was printed in 12mo. 1736. 58. The Fall of Carthage. An Historical Trag. by William Shirley. This play was never act- ed ; but was advertised as intend- ed to be printed in the author's dramatic works. sg. The Fall of Carthage. Tr&g. by William Watkins. Act- ed and printed at Whitby, Svo, 4802. F A L 60. The Fall of Carthage. Trag. by John Joshua, Earl of Carysfort. Svo, 1810. Scene Car- thage. This play is written on the Greek model, with chorus and semicborus. 61. The Fall of the Earl OF Essex. Trag. by Ja. Ralph. Svo. 1731. This play is only an alteration from Banks. It was re- presented at the Theatre in Good- man's Fields, a place too far out of the strong tide of the critical current, to put any piece to that public kind of test whereby merit ought to be determined ; yet even there it met with but middling success. 62. The Fall OF the French Monarchy 3 or, Louis the Six- ieenlk. Hist. Trag. by John Bar- tholomew. Svo. 1794. 63. The Fall of Harold. A Chaunt, obtained from a dramatic romance under this title, said to be at that time preparing for Co- vent Garden, by the author of Hartford Bridge, was printed in The Diary fa daily newspaper), Nov. 13, 1792. 64. The Fall of Martinicoj or, Britannia Trkemp/iant. Prel, Acted at Covent Garden, 1794, for the benefit of Mr. Bernard. Not printed. 65. The Fall of Milan. Trag. Acted at the Haymarket, 1724. Not printed. 66. The Fall of the Mogul. Trag. by the Rev. T. Maurice. Never performed. This play is well written, partly on the Greek model 5 and the plot is founded on the interesting event of Nadir Shah's invasion of India, in 1738. It is printed in a volume with oc- casional poems. Svo, 1800. 67. The Fall of Mortimer. An Historical Play. Acted at the Haymarket. Svo. 1731. This 217 F A L F A L performance is a completion of Ben Jonson's imperfect play of Mortimers Fall. In a presentment delivered in to the Court of King's Bench, by the Grand Jury for the county of Middlesex, July 7,1/31, this piece was described as ''a *' false, infamous, scandalous, se- " ditious, and treasonable libel, " written, acted, printed, and pub- ^' lished, against the peace of our " Sovereign Lord the King, his " crown and dignity." (See the presentment at large in The Gen- tleman's Magazine for 1731, page 286.) We do not know whether any prosecution followed in con- sequence of this presentment. 6S. The Fall of Mortimer; j4n Historical Play, dedicated to the Right Honourable the Earl of Bute. 8vo. 1763. This is only a repub- lication of the foregoing by Mr. "Wilkes, who was the author of the elegant but severe dedication prefixed. 6g. The Fall of Mortimer. Trag. by the Right Hon. Morris Lord Rokeby. 8vo. I8O6. Never performed. There is frequently force and spirit to be met with in the diction of ihis play ; but the incidents and conduct of it are not so managed, as to produce the necessary degree of inierest to have rendered it successful on the stage. 70, The Fall of Phaeton, intermixed with a pantomime, called Harlequifi restored; or, Taste a/aAfoc^e, by Mr. Pritchard. Act- ed at Drury Lane. 8vo. 173G. Music by Arne. • 71. The Fall of Portugal ; or. The Royal Exiles. Trag. 8vo. 1808, This play, which never was acted, nor was perhaps de- signed for performance, we have heard ascribed to Dr. Wolcot, usually called Peter Pindar. The incidents are too few, and the fourth and fifth acts too barren, to have given the piece any interest on the stage ; nor can we, on the whole, praise the diction very highly, tliough we occasionally meet with spirited passages. The scene is Lisbon ; and the subject the entrance of the French into that capital, at the moment of the court's embarkation for the Brazils. We hope the author will never fall into the hostile hands of the French Marshal Junot ; on whom he has thrown such contempt, as to con- fine his part in this piece (though Commander in Chief of the French army) to the delivery of four words : " Who guides our march ?" 72. The Fall of Public Spirit. Dramatic Satire in two acts. Svo. I757' 73. The Fall of Robespierre. Hist. Drama, by S. T. Coleridge, of Jesus College, Cambridge. Svo. 1794. The plot of this piece is a simple representation of a recent fact 3 and the diction seems an imitation of the impassioned lan- guage of the French orators. 74. The Fall of Saguntum. Trag. by Phil. Frowde. Svo. 1727. Acted at Lincoln's Inn Fields, with but indifferent success, notwith- standing it had considerable merit, and was highly commended by the critical journalists of that time. 75. Fall of TARauiN ; or. The Distressed Lovers. Tragedy, Acted by the Duke of Norfolk's servants, at Merchant Taylors' Hall, in York. Written by a gentleman of York. Printed at Newcastle upon Tyne. 4to. 1713. Dedicated to Lord Harvey, Baroi^ of Ick worth, by the booksellers. /C. The Fall of Tarsuik. Trag. by William Hunt. 12mQ. 1713. The name of this play (which is another edition of the foregoing) points out its story, an4 2lS F A L tii'e scene of it lies at Rome. It is a most wretched performance ; and was never acted or printed any where but at York, where the author was then stationed as collector of the excise. 77. Fallacy ; or. The TroulJes of Great Herincnia. In Harleian MSS. No. QS69. 78. Thb Falls of Clyde; or. The Fairies. Dramatic Past. Edinburgh. 8vo. I8O6. Not act- ed. This is a Scottish piece, in five acts ; to which are prefixed, three preHminary dissertations. 79. False Alarms; or. My Cousin. Comic Opera, by James Kenney. Acted at Drury Lane. 8vo. I8O7. This piece, of which the story and style of writing are superior to those of most of our musical dramas, was very well received. 80. False and True ; or. The Irishman in Italy. Com. by the Rev. Mr. Moultru. Acted at the Haymarket. Svo. l/t/S; Svo. 180l). The first edition was pub- lished anonymously, and without the second title. There is both humour and interest in this piece, which we conjecture to be of fo- reign origin, and it met with suc- cess. The music by Dr. Arnold. 81. False Appearances. Com. altered from the French, by the Right Hon. Henry Seymour Con- way. Acted six nights at Drnry Lane. 8vo. 1789. This play is an alteration of the Dehors Trom- petirs of Mons. Boi.ssey, and was originally perfoi-med at Richmond HoU'Je ; the characters being thus represented: — Tiie Baron, the Earl of Derby ; Mons. De Foiles, Captain Merry; Champagne, Cap- tain Howarth ; (lie Marquis, Lord Henry Fitzgerald ; the Countess, Mrs. Damer; Celi^, Miss Ha- milton j Li^fctte, Mrs. Bruce ; Lu- F A L cile. Miss Campbell. WJien pro- duced at Drury Lane, it received the additional character of the Abbe, and some other alterations from its original state. It is dedi- cated to Miss Farren, now Coun- tess of Derby, and has an epilogue, written by General Burgoyne. 82. False Colours. Com. by Edward ISIorris. Acted by the Drury Lane company, at the Opera House, in the Haymarket. 8vo. 1793. The dialogue is neat, if not highly pointed, and the plot is not unskilfully managed. Sir Paul and Lady Panic, and Lord Visage, are happy attempts at character, and the piece was well received. 83. False Concord. Farce. Acted at Covent Garden, March 20, 1764, for the benefit of Mr. Woodward. Not printed. The author of this piece was the Rev. James Townley, formerly master of Merchant Taylors' School. The application of the title to the story was rather quaint ; the plot being the marriage of a nobleman of shattered fortune into a plumb- fraught tradesman's family. It is worthy of remark, that in this farce were three characters (Lord Lavender, Mr. Sudley an enriched soap-boiler, and a pert valet) which were afterwards transplanted, with the dialogue of some scenes, nearly verlatim, into The Clandestine Marriage (brought out two years afterwards), under the names of Lord Ogleby, Mr. Sterling, and Brush. , These facts were first made public by Mr. Roberdeau, in his " Fugitive Verse and Prose" published in 1801; Mr. R. hav- ing married a daughter of the late Mr. Townley. The prologue to False Concord will be found in The London Magazine, vol. xxxiii, p. 209. 84. The False Count j or, 4 219 F A L New JFay to play an old Game. Com. by Mrs. Belin. Acted at the Duke's Theatre. 4to. lCiS2. The hiiit of the haughty Is;ibella's being readily imposed upon by the chimney-sweeper, whom her lover Carlos had equipped out as a count, is borrowed from tlie Precieuses Ridicules of Moliere. The hu- mour of this character, however, is somewhat too low and farcical. 85. False Delicacies. Com. in three acts. Printed in the 10th volume of The Lady's Monthly Museum. 12mo. 1803. It is a translation from the French, by J.T. SO, False Delicacy, Com. by Hugh Kelly. Acted at Drury Lane. 8vo. 1768. This play, which is supposed to have received some improvements from Mr. Garrick, ■was acted with considerable suc- cess on its original appearance. •' The sale of it (says the author *' of Mr. Kelly's life) was exceed- '•■ ingly rapid and great ; and it was " repeatedly performed through- " out Britain andlreland to crowd- " ed audiences. Nor was its re- " putation confined to the British " dominions. It was translated " into most of the modern lan- " guages ; viz. into Portuguese, " by command of the Marquis de " Pombal, and acted with great " applause at the public theatre " at Lisbon 3 into French by the " celebrated Madame Riccoboni ; *' into the same language by ano- ** ther hand, at the Hague 5 into " Italian at Paris, where it was '^ acted at the Theatre de la Co- " medie Ila/ienne ; and into Ger- *' man." 87. False "Oelicacy. Dram, translated from Kotzebue, by Ben- jamin Thompson. 8yo. 1800. Ne- ver acted. 88. The False Demetrius. Play, iij five act:sj announced as in F A L preparation at Drury Lane, in the early part of the year 1802. It has not yet been performed ; but Mr. Cumberland is its author. 89. The False Dervise. Int. by Charles Dibdin. Not printed. It was sent by its author from France to Mr. Harris, for per- formance at Covent Garden ; but never appeared. go. The False Favourite disgrac'd, and the Retvard of Loyalty. Tragi-Com. penned by George Gerbier D'Ouvilly. 12mo. 1657. This piece was never acted, but was printed for Robert Crofts, at the Crown, in Chancery Lane, under Sergeants' Inn. It consists of 1 12 pages, is a very scarce play, and not without considerable me- rit. The scene is laid in Florence, from whose history, in the time of the Medicis, the story is form- ed. The plot turns on the trea- chery of Hippolito, the False Fa- vourite, by whose unfounded ac- cusations, and perfidious intrigues, Pausanio is banished; the mutual attachment between Duke Cosmo and Lucebella, the daughter of Pausanio, nearly defeated (with a view to the Favourite's gaining her hand), and Martiano, her brother, driven into rebellion. These artifices are at length disco- vered, Hippolito is forgiven, and all terminates happily. The piece is dedicated to Aubrey de Vere, Earl of Oxford, &c. to William Lord Craven, Baron of Hamstead- Marshalj my nolle Lord and Co- lonel; and to John Lord Eellasis, Baron of Worlaby, and is dated Sept. 1, 1657. Then follow se- veral commendatory verses, by James Howell, E. Aldrick, Thos. Revel, A. Prissoe, and J. Cole, A specimen of this play is given in Censura Literaria, volume ii, p. ;6. 220 F A L 91. The False Friend; or. The Fate of Disoledience. I'rag. by Mary Pix. Acted at Little liincoln's Inn Fields. 4to. 1699. 92. The False Friend. Com. by Sir J. Vanbrugh. 4to. 1/02. Acted at Dmry Lane ; Whincop says, with good success. 93. The False Friend. Com. altered from Vanbrugh, by J. P. Kemblcy and acted at Drury Lane, 1789, but not with much success. The most material alterations are in tlie catastrophe. In the original, Don John is made to fall a victim to his treachery, being stabbed by his friend, Don Pedro, through mistake. In the alteration, he is struck with a sudden peni- tence, and, by a timely discovery, prevents the quarrel between Guz- man and Pedrc. Not printed. 94. The False Friend; or. Assassin of the Rocks. Mus. Dram, by J. C. Cross. Acted at the Circus. Published in Circusiana. I2mo. 160p. C)5. The False Friends. Com. translated from the PVench of Ma- dame Genlis, 8vo. 178I; 12mo. 1787. 96. The False Guardians outwitted. Ballad Opera, by William Goodall. 8vo. 1740. Printed in a collection, called, *' The true Englishm-an's Miscel- ** lany." It does not seem to have been ever acted. ()7- False Impressions. Com. by Richard Cumberland. Acted at Covent Garden. Svo. 1797. This is evidently dramatized from the author's own novel, called " Henry ;" and it appears from the prologue, that Mr. Cumber- land has rather given way to the present taste of the public for far- cical comedies, than approved of it. It was well received. 98.FALSE Indifference. Dram. F A M Piece. See Theatricai, Re- corder, 99. The False One. Trag. by Beaumont and Fletcher. Fol. 1647; 8vo. 1778. The story of this play is founded on the adven- tures of Julius Caesar while in Egypt, and his amours with Cleo- patra, as taken from Suetonius, Plutarch, and other historians of those times. Scene Egypt. 100. False Shame. Com. in four acts, translated from the German of Kotzebue. Svo. 1799. Never performed. 101. Falstaff's Wedding. Com. heing a Sequel to the Second Part of the Play of King Henry the Fourth. Written in Imitation of Shakespeare, by Dr. Kenrick. Svo. 1766. 102. Falstaff's Wedding. Com. by Dr. Kenrick. Acted at Drury Lane. Svo. 17663 Svo. 1 77"^ • This is an alteration of the former play, and was acted at Mr. Love's benefit, who repre- sented FalstafF, in 1766. When Shakspeare's FalstafF is forgotten. Dr. Kenrick's imitation of him may be received on the stage. In the foregoing performance were king, princes, and nobility among the dramatis personge ; all of whom Dr. Kenrick turned out of his pre- sent drama, with as little cere- mony as a French Jacobin would have used in reality. We should however add, that the present co- medy is no contemptible perform- ance. 103. Falstaff's Wedding. Farce, of two acts. Performed at Drury Lane, for Mr. Palmer's be- netit. May 11, 1803. The fore- going piece reduceu ; we know not by whom. Not printed. 104. The Family Compact. Farce,by the Rev. John Rose. Acted at the Hayraarket, 1 792 ; but with- 221 F A M out much success, being perform- ed only three nights. Not printed. 105. Family Distkess. Dram, altered from Kotzebue's Self-im- molation, and acted at the Hay- market, 1799, but not with much applause. The distress of a starving family is not well suited to repre- sentation on a British, whatever it may be on the German, stage. The piece, however, was moral and affecting. Not printed. lOO. Family Distress. Play, translated from the Self- Immola- tion of Kotzebue, by H. Neu- man. Svo. 1799. Never acted. 107. The Family Legend. Tragedy, by Joanna Bailiie. Svo. ISIO. This play, whicli is found- ed on a well-known Highland story, which lately furnished Mr. Campbell with the theme of his beautiful poem of Glcnara, was acted at the New Theatre Royal, Edinburgh, and well received. The prologue is by Mr. Walter Scott, the epilogue by Mr. Mac- kenzie. 108. The Family of Love. Comedy, by Thomas Middleton. Acted by the Children of the Revels. 4to. lO'OS. Scene London. This play is spoken of by Sir Thomas Barnwell, in Shirley's Ladrj of Pleasure, act i. scene 1. 109. The Family Party. Com. Svo, 1789. This afterpiece was acted at the Haymarket, and pretty well received. It is broad farce ; but there is considerable merit in .the character of Sir Toby Twad- dle. 110. Family Quarkels. Com. Op. by Thomas Dibdin. Acted at Covent Garden. Svo. 1S02; 1805. As a dramatic composition, this is inferior to many of the au- thor's productions ; but some charming music gave it success on the Btage, FAR 111. Fancies chaste and no- ble. T. C. by J. Ford. Actedatthe Phoenix, Drury Lane. 4to. 1638, 112. The Fancy'd Queen. An Opera, Anonymous. Svo. 1733. Acted at Covent Garden. This was written by Robert Drury. 1 13. Fancy's FESTiv.'iLS.Masq. in five acts, by Thomas Jordan. 4to. 1657. This piece is said ia the title-page to have been pri- vately presented by many civil persons of quality, and at their re- quest printed, with many various and delightful new songs, for the further illustration of every scene. In this play the following lines are spoken by a soldier, and have moral truth and poetical merit enough to claim a more general notice than they are likely to have in the drama itself: " Our GoJ and soldier, men alike adore, " Just at the brink of ruin, not I et'ore ; " '1 he danger jwst, both are alike le- quited, " Gcd is for^^otten, and the soUicr .slighted." 114. The Farewell and Re- turn, or. The Foiiioic of IFar, Ballad Farce, Anonymous. 12mo. What the date of this little piece is, wh en or where, or if even at all presentedon thestage,weknow not. But from the general tenourof the piece, which is no more than a few songs, put together into the form of a kind of iiT.terlude, represent- ing a sailor's farewell to his lass, and return after a .successful cruise, the plan seems boi rowed from a couple of prints, intitled, The Sailor's Farewell, and The Sailor s Return; and we should imagine it had been written about tiie begin- ning of the Spanish war in 1739, and probably performed by w.iy of an interlude or entertainment between the acts. In the only edition we have seen of it^ which appears , 222 PAR however, to be a spurious one, there is printed along with it ano- ther little piece of soniewhat the same nature, inlitlcd. The Press- Gavg, which see under its pro- per title. 115. Farewell, Folly; or. The Younger the Wiser. Com. by P. A. Motieux. -!io. I/O". This piece contains a musical in- terlude, called Th.e Moitntd-avik ; or. The Humours nf the Fair; and was acted at the Theatre Royal. It is little more than an alteration and enlargement of The Amorous Miser. lit). The Farmer. Musical Farce, by John O'Keeffe. 8vo. 1798. Acted at Covent Garden, 1737, with great applause. It still continues one of the most po- pular afterpieces that are exhiniied. 117. The Farm House. Com. in three acts, by John Philip Kemble. Acted at Drury Lane. 8vo. ]78(). This fiure is taken from jolmson's Country Lasses, and was received with applause. 118. The Farm House Story. Com. in three acts. Printed in the nth \ol. of The Lady's Monthly Museum. 12mo. Ib03. 119. The Farmer's Journey TO London. Farce, in three acts. Svo. 1769. Amiserableproduction. 120. The Farmer's Return FROM L-oNDOX. Interlude. 4to. 1702. This little piece was writ- ten by Mr, Garrick, and is pub- lished with a frontispiece designed bv Mr. Kogarth. The plan of it is a humorous description in rhyme given by a farmer to his wife and children on his return from Lon- don, of what he had seen extra- ordinary in that great metropolis ; in which, with much humour and satire, he touches on the generality ofthemost temporary and interest- ing topics of conversation, viz. FAS the illustrious royal pair, the coro- nation, the entertainments of the theatre, and the noted imposition of the Cock Lane ghost. It was originally wniten to do Mrs, Pritcbard a piece of service at her benefit ; but, meeting wi'Ji uni- versal applause, was repeated be- tween play and farce many times during the course of the season. 121. Farre fetched ani5 DEAR BOWGHT YS GOOD FOB La- DiES. A Fl-y, entered on the book of the Stationers' Company, by Thomas Hackett, 15(56, but we believe never printed. 122. The Faro Table. Com. Acted at Covent Garden, April 4, 1789. This was an alteration of JNlrs. Centlivre's Gamester, with the addition of some new charac- ters, j>articularly one of a pugilist, adapted to the present times. The alterations were not inferior to the original performance, and were very well connected with it ; but the piece, which was acted for Mr. Lewis's benefit, was never repeated, norprinted. 123. Fashion; or. The IP or Id as it goes. Mus. Ent. in two acts, by Archibald Maclaren. 12rao. 1802. Never acted. ]24.Fashiondisplayed. Com. by Mrs. Philippina Burton. Acted one night at the Haymarket, April 27, 1770, for the author^s benefit. Not printed, 125. The Fashionable Crop auizz'D ! ! ! Farce, performed at Dublin, for Mr. IVIoss's benefit, 1702. Noi printed. J2tJ. Thk Fashionabie Friends, Com. Acted at Drury Lane. Svo. 1802. The dialogue of this piece is sprightly, the situa- tions, in general, are well imagined, and the characters not ill drawn. It did not, however, meet with success : some reprehensible cqui- 223 FAS voques displeased the audience ; the Clitics pronounced it an im- moral play, and its second night's performance was its last. This comedy was said to have been found among the papers of the* late Horace Walpole, Earl of Or- ford, and had some months before been performed by ladies and gentlemen at Strawberry Hill ; whence (in an evil hour) it was transplanted to a Theatre Royal. It professes to present a picture (though we hope not a faithful resemblance) of fashionable friend- ship. Sir Dudley «Dorimant and Mr. Lovewell are two men of ton, brought up at the same school, educated at the same university, companions in the same tour ; and yet, though it might be ex- pected that this similarity of pur- suits would have linked them in the closest bonds of amity, they continually endeavour to under- mine each other. Sir Dudley at- tempts, under the cloak of senti- mental friendship, the seduction of Mrs. Lovewell ; and her hus- band, in revenge, uses every means to dissolve an intended matrimo- nial connexion between the Baro- net and Miss Racket, a young lady, though eminently accom- plished, yet consummately igno- rant, but whose fortune was ne- cessary to repair the breaches in the estate of her admirer. Sir Valentine Vapour is a schemer ; but the satire he is meant to con- vey is puerile and hacknied on the stage. Mrs. Racket is a motley character, indeed ; and, if she were minutely dissected, would be found to be composed of Field- ing's Miss Western, Sheridan's Mrs. Candour, with a taste of his Malapropj and the remainder made up of all the scandalous, ignorant, itaorous old gentlewomen who FAS have strutted their hour upon th^ stage for the last century. Lady Selina is held up to view as a woman of fashion, followed, co- pied, and admired j but conceal- ing, under an affected languor of constitution, and the most roman- tic professions of friendship, a head devoted to intrigue, a heart dead to every sensation of principle or honour, and desires the most looss and abandoned. I'he scenes were tediously protracted, and barren of entertainment. Though aided by the powerful talents of Mrs. Jordan, Miss Pope, and Mr. King, the piece was completely con- demned on the second perform- ance, and withdrawn. 127. Fashionable Friend- ship. Ballad Opera, by William Shirley. Not acted. This piece was promised in the author's dra- matic works. 12s. The Fashionable Lady ; or, Har/cf/uin's Opera, by J.Ralph. 8vo. 1730. This piece was per- formed at Goodman's Fields, and. is one of the many motley com- positions of speaking and singing, to which the great success of tho Bi'ggars Opera gave birth. It met, however, with tolerable success. 129. Fashionable Levities. Com. by Leonard M'Nally. Act- ed at Covent Garden, with good success. 8vo. 1/85. 130. The Fashionable Lo- ver J or, IFit in Necessity. Com. Anon3mous. 4to. 1706. Scene London. By the dramatis per- sonae, it appears to have been acted at Drury Lane. 13L The Fashionable Lo- vr.R. Com. by Richard Cumber- land. Acted at Drury Lane. 8vo. 1772. This piece followed The JFest Indian too soon to increase the reputation of its author. It was coldly received the first night ; 224 FAT but undergoing some judicious al- terations, improved in the public favour. 132. Fast an'D welcome. C. by Philip Massinger. Entered on the book of the Stationers' Com- pany, June 29, 1660 ; and was one of those destroyed by Mr. Warburton's servant. 133. Fast asleep. Mus. Ent. by Samuel Birch. Acted one night at Drury Lane, 1707 ; but con- demned. The main idea appeared to have been borrowed from The Narcotic, which had been pub- lished about ten years before. A lover, in the course of his amorous tale, swallows an opiate by mis- take, and falls fast asleep in the presence of his mistress. Not printed. 134. The Fatal ErotHecs. Trag. by Robert Davenport. En- tered on the book of the Sta- tioners* Company, June 2Q, 166O, but not printed. 135. The Fatal Constancy. Tragedy, by Hildebiand Jacob. Svo. 1723. This play was acted five times, at the theatre in Drury Lane. 13(5. Fatal Constancy ; or. Love in Tears. A sketch of a Tra- gedy, in the heroic taste, by Wil- liam Whitehead. Printed in 12mo. 1754, in a volume of Poems. This perfornjance afterwards made part of Mr. Foote's farce of The Diuer- sions of the Morning. 137. The Fatal Contract. A French Tragedy, by William Heminge. 4to. l653. This play met with great success at its first representation, and was revived twice after the Restoration, under different titles ; viz. first by that of Love and Revenge j and after- wards, in the year ]G87,under that of The Eunuch. The scene lies in France i and the plot is taken from F A T the French history, in the reign of Childeric L and Clotaire II. 138. The Fatal Curiosity. A true Tragedy, by George Lillo. , Acted at the Haymarket, 1736. Svo. 1737. This piece consists but of three acts. The story of it, however, is very simple and affecting, and is said to have been founded 0:1 a real fact, Avhich hap- pened atBohellan, a small barton in the parish of Gluvias, in Corn- wall. Mr. Harris, in his Philo- logical Inquiries, p. 154, says, that in this tragedy we find the model of a perfect fable, of which he gives the following analysis : " A " long-lost son, returning home ^' unexpectedly, finds his parents " alive, but perishing with indi- " gence. The young man, whom, " from his long absence, his pa- " rents never expected, discovers " himself first to an amiable friend, " his long- loved Charlotte, and " with her concerts the manner " how to discover himself to his " parents. It is agreed he should " go to their house, and there re- *' main unknown till Charlotte " should arrive and make the "■ happy discovery. He goes thi- " ther accordingly; and having, " by a letter of Charlotte's, been " admitted, converses, though un- " known, both with father and " mother, and beholds their mi- " sery with filial atlection 5 com- " plains at length he was fatigued ** (which in fact he really was), '•' and begs he may be admitted " for a while to repose. Retiring, " he delivers a casket to his mo- " ther, and tells her it is a deposit " she must guard till he wakes. " Curiosity tempts her to open " the casket, where she is daz- "■ zled with the splendour of in- " numerable jewels. Objects so " alluring suggest bad ideas, and 215 FAT ■** poverty soon gives to those ideas " *' a sanction. Black as they are, " ** she communicates them to her " *' husband, who, at first reluctant, " •' is at length persuaded, and, for " " the sake of the jewels, stabs " " the stranger while he sleeps. " • '* The fatal .niurder is perpetrating, " " or at least but barely perpetrated, " " when Charlotte arrives, full of " " joy, to inform them that the " " stranger within their walls was " " their long-lost .son." '* To this analysis Mr. Harris adds, " " It is no small praise to this af- " " fecting fable, that it so much " " resembles the CEdipus Tyrminus " " of Sophocles. In both trage- " " dies, that which apparently leads " *' to joy, leads in its completion " "to miseiyj both tragedies con- " '* cur in the horror of their dis- " " coveries ; and both in those " " great outlines of a truly tragic " " revolutiun, where (according to " " the nervous sentiment of Lillo " ** himself) we see the two ex- " " tremes Of life, " " The highest happiness and deepest woe, " *' With all the sharp and bitter aggra- «* vatior.s k ■" Of such a vast transition." ,j The story of this piece is taken " from a pamphlet entitled " News " " from Perin in Cornwall, of a " " most bloody and une.Kampled " *' Murther, very lately committed " " by a Father on his owne Sonne " " (who was lately returned from " ■** the Indyes), at the Instigation " " of a merciless Stepmother. To- " " gether with their several most " *' w retched Endes ; being all per- " " formed in the Month of Sep- " " tember last. Anno 16I8." 4to. , " B.L. The father, says an account be- fore us, " had been blessed with " VOL, II. FAT ample possessions and fruitful issue, unhappy only in a younger son ; who, taking liberty from his father's bounty, and with a crew of like condition, that were wearied on land, they went roving to sea ; and, in a small vessel, southward, took booty from all whom they could mas- ter, and so increasing force and wealth, ventured on a Turks- man in the Straits ; but by mis- chance their own powder tired themselves ; and our gallant, trusting to his skilful swimming, got ashore upon Rhodes, with the best of his jewels about him, where, otfering some to sale to a Jew, who knew them to be the governor's of Algier, he wa^ apprehended, and as a pirate sentenced to the gallies amongst other Christians, whose miser- able slavery made them all stu- dious of freedom ; and with wit and valour took opportunity and means to murder some officers, got aboard of an English ship, and came safe to London, where His Majesty and some skill made him servant to a surgeon, and sudden preferment to the East Indies ; there by this means he got money, with which return- ing back, he designed himself for his native county, Cornwall 3 and in a small ship from Lon- don, sailing to the west, was cast away upon the coast ; but his excellent skill in swimming, and former fate to boot, brought him snfe to shore ; where, since his fifteen years absence, his father's former fortunes much decayed, now retired him not far off to a country habitation, in debt and danger. " His sister he finds married to a mercer, a meaner match thaa 226 FAT FAT " her birth promised : to her at " lirst appears a poor stranger, but " in private reveals himself, and " withal what jewels and gold he " had concealed in a bow-case " about him ; and concluded, that •' the next day he intended to ap- '' pear to his parents, and to keep " bis disguise till she and her " husband should meet, and make *■* their common joy complete. *' Being come to his parents, *' his humble behaviour, suitable "■ to his suit of clothes, melted *' the old couple to so much com- *' passion, as to give him covering " from the cold season under their " outward roof > and by degrees " his travelling tales, told with *' passion to the aged people, made *' him their guest so long, by the " kitchen fire, that the husband " took leave and went to bed ; " and soon after his true stories " working compassion on the *■ weaker vessel, she wept, and " so did he ; but compassionate " of her tears, he comforted her *' with a piece of gold, which gave " assurance that he deserved a *' lodging, to which she brought " him } and being in bed, shewed " her his girdled wealth, which " he said was sufficient to relieve " her husband's wants, to. spare ''for himself j and being very " weary, fell fast asleep, " The wife, tempted with the *' golden bait of what she had, and '■• eager of enjoying all, awaked '• herhusbaiid with this news, and " her contrivance what to dof' " and, though with horrid appre- " hension he oft refused, yet her " puling fondness (Eve's enchant- " raents) moved him to coiisent, " and rise to be master of all, and " both of them to murder the " man ; which instantly they did^ " covering the corpse under the " clothes till opportunity to con- " \iey it out of the way. *' The early morning hastens "■ the sister to her father's house, " where she, with signs of joy, " inquires for a sailor that should " lodge there the last night : the " parents slightly denied to have " seen any such, until she told " them it was her brother, her " lost brother; by that assured " scar upon his arm, cut with a " sword in his youth, she knew " him, and were all resolved this ** morning i& meet there and be " merry. " The father hastily runs up, " finds the mark, and, with horrid " regret of this monstrous murder " of his own son, with the same " knife cut his own throat. " The wife went up to consult "■ with him, where in a most " strange manner beholding them " both in blood, wild and aghast, "■ with the instrument at hand, '*■ readily rips up her own belly " till the guts tumbled out. " The daughter, doubting the " delay of their absence, searches " for tliem all, whom she found " out too soon, with the sad sight " of this scene ; and being over- " come with horror and amaze of " this deluge of destruction, she " sank down and died : the fatal *' end of that family. " The truth of which was fre- " quently known, and flew to " court in this guise ^ but the im- " printed relation conceals their " names, in favour to some neigh- " hour of repute, and akin to that ** family. " Tlie same sense makes me " silent also." Frankland's An- nals, fol. l6Sl. 189. Fatal Curiosity. A true Tragedy. Altered by George Col- man, and revived at thcHaymaiket, 227 FAT FAT 1782. 8vo. 1783. The eulo- gium pronounced by Mr. Harris on this pla) seems t o have directed Mr. Colman's attention to it. That gentleman, with his accustomed ability, has here made some very judicious alterations. On Mr. Har- ris's comment he says, " it is in " general just ; yet he seems to " have given a sketch of the fable " from an imperfect recollection " of the circumstances, without " the book before him. He ap- " pears to have conceived, that *' the tragedy derived its title from " the curiosity of Agnes to know *' the contents of the casket ; but " that Lillo meant to mark, by " the title, the Fatal Curiosity of " young Wilmot, is evident from " the whole scene between him " and Randal, wherein be arranges ** the plan of his intended inter- *' view with his parents; which "arrangement Mr. Harris erro- *' neously attributes to his confer- *' ence with Charlotte, The prin- " ciple of curiosity is openly *' avowed and warmly sustained " by young Wilmot, and humbly " reprehended by Randal." The improvements made by Mr. Col- man consisted chiefly in removing the blemishes noticed by Mr. Har- ris, expunging the rhyming con- clusions of acts and scenes, cor- recting some minute inaccuracies of language, and mitigating the horror of the catastrophe, by omit- ting some expiessions rather too savage, and introducing one or two touches of remorse and ten- derness. In its altered state it met with success. See The Ship- wreck. 140. The Fa^al Discovery ; or , Love in Ruins . Trag. Anon. Acted at D.rury Lane. 4to. 1698. The scene of this play lies in Venice, but the original design of the plot srems taken from the old stor)^- of CEdipu'^ and Jocssta. The preface contains an answer to a copy of verses written by Dryden, and prefixed to the tragedy of Heroic Love. See Innocence Distress'!). J41. The Fatal Discovery, A Tragedy, by John Home. Act- ed at Drury Lane. 8vo. l/Sp. This play is a disgrace to the ta- lents that produced the beautiful tragedy of Douglas. It is indeed little better than Fingal in verse. The defects of it, however, were not superior to the ridiculous im- proprieties displayed in its repre- sentation. On the stage, we saw the youthful Ronan bounding with all the vigour and alacrity that age, -gout, and rheumatism, usu- ally inspire. The heroes of this truly Erse performance, — who never yet had being. Or, being, wore no breeches j were invested in gold and purple, whils a Grecian palace was allotted to the monarch of a rock. These circumstances sufficiently prove, that a manager ought to be con- versant with the customs, habits, arms, and architecture, peculiar to various countries ; that, when he supplies theatrical decorations, he may avoid anachronisms and ab- surdities. The Fatal Discovery raa a few nights without reputati'^n, and, as it is said, with very in- considerable emolument to the au- thor. Thi? play, however, was patro- nized by ^Ir. Gnrrick, who had refused Di>ug!as before it was of- fered to Mr. Rich, who received it. Surely a man-'ver should bring with him to his task a perspicrcity that will enable him to distinguish real merit, a liberality thai will permit him to reward it, and a spirit which bo faction can over- «k1 228 FAT avi'e, fir betray into partial deter- minations. The title under which this tra- gedy was originally intended to have been produced was " Ri- " viNEj" but to such a height had party-prejudice arisen against Mr. Home at the time when it was in preparation (on account of his enjoying the patronage of the Earl of Bute), that it was found expedient to substitute the one that it now bears ; and to prevail upon another gentleman to profess him- self the author. By some means the real author was discovered ; and, after the twelfth night, Mr. Garrick was threatened with hav- ing his house burnt down if he did not immediately suspend the performance of the play : an in- junction with which, however un- reasonable, he thought it advisa- ble to comply. 142. The Fatal Dowry. Tr. by Ph. Massinger and Nathaniel Field. Acted at Black Friars. 4to. ]632. The pious behaviour of Charolois, in voluntarily giving up himself to imprisonment as a ran- som for the corpse of his father, in order to obtain for it the rites of interment, is taken from the story of Cimon the Athenian, re- lated by Val. Maxim, lib. v. cap. 4. Mr. Rowe has made use of the same circumstance to heighten the amiableness of Altamont in his Fair Penitent ; the plot of which, as before observed, is in great measure borrowed from this play. Nerestan's behaviour also, in the tragedy of Zara, seems to owe its origin to this hint, though dif- ferent in some respect as to the particular situation -of the action. 143. The Fatal Errok. Tr. by Benjamin Victor. 8vo. 1/76. The subject of this play is taken FAT from Hey wood's JVoman Ulledwith Kindness. It was never acted. 144. The Fatal Extrava- gance. Trag. by Joseph Mitchell. 8vo. 1720. Dublin, 8vo. 1726 This play was originally written in one act, with only four characters, and was performed at the Theatre in Lincoln's Inn Fields. It was, however, afterwards enlarged into five acts, with two additional cha- racters, and presented at Drury Lane with success in 1/26. The groundwork of it is borrowed from The Yorkshire Tragedy, but the language is new. It is said, that the author had great assistances in it from Mr. Aaron Hill; nay, Victor, in his History of the Stage, vol. ii. p. 123, positively asserts, that the last - named gentleman wrote the play, got it acted, and supported it on the supposed au- thor's third night ; Mr. Mitchell being at that time in great distress. It is also inserted in the edition of Mr, Hill's works as one of his productions. 145. The Fatal Extrava- gance. Trag. by Joseph Mitchell. Acted at Lincoln's Inn Fields. 12mo. 1726. The foregoing play, enlarged to five acts. 14B. Fatal Falshood ; or, Distressed Innocence. Trag. in three . acts, by J. Hewitt. Acted .^t Drury Lane. 8vo. Nodate.[l734.] It was performed four nights, but has little merit. 147. Fatal Falshood. Trag. by Miss Hannah More. Acted only three nights at Covent Gar- den. Svo. 1779- 148. The Fatal Friendship A Play, by Mr. Burroughes ; en- tered on the book of the Sta- tioners' Company, Sept. 4, l64(>, but never printed. 149. Fatal Friendship. Tr •229 FAT FAT by Cath. Trotter, afterwards Cock- b'urne. 4 to. 1698. Acted at Lin- coln's Inn Fieldsj with great ap- plause. This play was reprinted in the Collection of Mrs. Cock- burne's Works published by Dr. Birch, 2 vols. 8vo. 1/51. It is the most perfect of her dramatic pieces. 150. The Fatal Jealousy. Trag. Acted at the Duke's Thea- tre. 4to. l6y3. Anonym. It is, however, ascribed by his contem- poraries to Nevil Payne. The scene of it is laid in Naples, and the plot borrowed from Beard's Theatre, The Unfortunate Lovers, &c. The character ot Jasper seems to be a bad copy of lago, in Othello ; and the author has ren- dered this a very bloody tragedy, without paying a due, or in- deed any, regard to poetic justice. Among the Dramatis Personae, we find Nat. Lee the poet, who performed the small part of the captain of the guard. J51. The Fatal Inconstancy; or. The Unhappy Rescue. Trag. by Mr. R. Phillips. 4to. 1/01. This piece and its author we find only mentioned by Coxeter in his MS. notes; who tells us moreover that the scene of it is laid near London, and th.it the prologue was written by Mr. Johnson. 152. The Fatal Interview. Trag. by Thomas Hull. Acted at Dvury Lane, 1/82. Not printed. This was a prose tragedy, in imi- tation of Lillo and Moore. It met with a very cold reception, and was performed only three nights. A part of the plot was taken from the third and fourth volumes of Richardson's Pamela, usually called Pamela in High Life. 153. The Fatal Legacy. Tr, Anonym. Svo. J 723. Acted at Lincoln's Inn Fields. This is a translation of Racine's Thehais. The author, as appears by the de- dication, was a young lady. It was coldly received on the stage, being acted only three tiiues. Mears's Catalogue calls her J. Robe. 154. Fatal Love. A French Tragedy, ly George Chapman. In this manner a play is entered on the book of the Stationers' Com- pany, June 29, iQQO; but it was not printed. 155. Fatal Love; or. The Fore d Inconstancy. Trag. by Elk. Settle. Acted at the Theatre Royal. 4to. I68O. The plot of this play may be traced to its ori- gin by reading the fifth book of Tatius's romance of Clitophon and Leucippe. It does not appear to have had any .success. \5Q. Fatal Love ; or. The De- generate Brother. Trag. by Os- borne Sidney Wanddsford. Svo. 1/30. This play was acted, as the author himself informs us, at the Haymarket, without success ; which failure, however, he in his preface atti ibutes to the perform ers, by whom it seems to have been curtailed, and negligently acted. Yet perhaps the reader may find a better reason for its want of appro- bation occur to him on the perusal of it. 157. The Fatal Marriage ; or, The Innocent Adultery. Trag. by Thomas Southerne. Acted at the Theatre Royal. 4to. 1694. This play met with great success at its first coming out, and has been often performed since with as great approbation, the tragical part of it being extremely fine and very affecting. It is, however, like his Oroonoko, interwoven with comic scenes, so much inferior in point of merit to the other partsj, a3 230 FAT FAT that it has frequently been laid aside for a considerable time. The scene lies in Brjssels ; the plot of the tragedy is, by the author's own Confession, taken from a novel of Mrs. Behn's, called The Nun -, or. The Fair Fbw-breaker ; and the incident of Fernando's being per- suaded to believe that he had been dead, buried, and in purgatory, is borrowed from Boccace, Deca- merwiy Dec. iii. Nov. 8. Mr. Gar- rick, however, has since purified this ore from its dross, by clearing the play of all the comic part, excepting so much of the cha- racters of the Nurse and Porter as are inseparable from the affairs of Isabella. That gentleman brought it on at the Theatre Royal in Drury Lane, in 1/58, by the title of Isabella ; or. The Fatal Marriage ; and it met with great success. 158. A Fatal Mistake j or. The Plot spoil d. Trag. by Joseph Haines, 4to. 1692; 4to. 1696. This play in the first edition is said to have been acted ; but we can hardly believe it ; nor is it certain that Haines was its author. 159. Fatal Necessity-, or. Liberty Regahid. Trag. as it was once acted in Rome for the sake of J'reedom and virtue. By Robert Morris. 8vo. 1742. This piece was published soon after the ge- neral election of representatives in parliament for the several shires, cities, and boroughs, in this king- dom, in 1742, and is dedicated by the author, under the chrracter of An Independmt Elector, to Chas. Edwin, Esq. one of the gentlemen cho.^en representatives for the city of Wes'.-nin^ter, after a consider- able congest, in which he '-id been supported by those of thf electors >yho took on themselves that title. The plot is built on the famous and well-known story of Appius and Virginia ; but it is not very ap- parent what deduction the author aims at in that event, with a refer- ence to the above-mentioned elec- tion. It was never represented on the stage. 160. The Fatal Prediction; or. Midnight Assassin, B. by J. C, Cross. 8vo. 1602. 161. The Fatal Prophecy. Dram. Poem, by Dr. John Lang- horne. Printed in his Poems, 12mo. 1766. This piece could hardly have been intended for the stage. The scene lies in Den- mark, and the story is as follows : Ostan and Berino, two Danish chiefs, being neglected to be in- vited to an entertainment given by Canute, fled to Norway, and be- came the subjects of Valdemar, king of that country. Lena, the queen, becomes enamoured of Ostan, and absconds with him. A challenge ensues between Ostan and Valdemar, and in the en- counter the former is slain. The queen destroys herself, and this produces from Valdemar the pro- phecy which gives the title to the play. " In the records of Norway still subsists " An ancient prophecy, that when her monarch " Espous'd the daugBter of a Prince of Denmark, " The crowi's should be united. — End- less discord " Between the rival kingdoms still pre. vented «* A friendly contract — but whate'er raj means, '« Ambition was my motive — great am- bition, " To reign o'er thee and Denmark. Yet, thou Prophet, " Thou false insidious Prophet ! could I find " Thy exfxrablc dust— rtife' rapid winds " Should rend each sleeping atom '." To this it is answered, that the prophecy was true, and that from 231 FAT FAT thenceforth the crowns of Den- mark and Norway should be united. Valdemar is then killed by Asmond, the Prince of Den- mark, and the conquest of Nor- way becomes complete. Berino is appointed viceroy, and has the Princess of Denmark given to him in marriage, 162. The Fatal Retirement, Trag. by Anth. Brown, Acted one night at Drury Lane. 8vo, 1739. This play would scarcely be worth any further notice than a mention of its name, were it not for a little theatrical anecdote, which, as it does honour to the proper spirit frequently shown by a cnpital veteran of the stage, we shall here relate : — When this play was first offered to the theatre, Mr, Quin refusing to act in it, the author's friends thought pro- per to attribute its want of success to his not appearing in it ; and in consequence of such supposition, repeatedly insulted him by hissing and hooting for several nights af- terwards in the pursuit of his pro- fession J till at length coming one night to play the part of Pierre in Venice Preserved, and being treat- ed in the same manner, he came forward, and told the audience, " That he had met with insults of " that kind for several nights " past ; and that he judged they " came from the friends of the " author of a play lately acted at " that house, called Fatal Retire- " ment: that the author of it de- " sired him to read it before it " was acted : which he did at his " request, and likewise, at his " request, gave him his sincere " opinion of it ; which was, that " it was the x)ery worst play he " ever read in his life, and for " that reason he had refused to ■" *ot in it." This, however^ turn- ed tlie tide so much in his favour, that his speech was received with a thundering clap; and the insults he had received were put an end to. 163. A Fatal Secret. See The Rival Brothers, 164. The Fatal Secret. Tr. by Lewis Theobald. 12mo, 1735. Acted at the Theatre Royal in Covent Garden, This plary is made up from Webster's Duchess of Malfy. Scene, the duchess's pa- lace in Malfy, 165. The Fatal Sisters; or. The Castle rf the Forest. Dram. Romance, by Edmund John Eyre. 8vo, 1797- This piece was re- jected by the managers ; and we cannot think that it would have answered the expenses that rniti^ have been incurred by its repre- sentation. It is printed in a vo- lume, with a variety of poetical Essays. 106. The Fatal Vision ; or, The Fall of Slum. Trag. by A. Hill. 4to. 1716; Svo. 1700, Act- ed at Lincoln's Inn Fields, with success. The scene is fixed in the city of Sofola in Siam ; but the author owns that the fable is ficti- tious, and the characters are imagi- nary. The moral is, to expose the dangerous consequences of giving way to rage and rashness of deter- mination. It is dedicated to the two critics, Dennis and Gildon. 167, The Fatal Wager. See Injured Princess. 16s. The Fate of Ambition; or. The Treacherous Favourite. Trag. This piece is mentioned in Hitchcock's Fiew of the Irish Stage, vol, i. as having been acted at the theatre in Rainsford Street, Dublin, 1733. 169. The Fate of Capua. Tr. by Thomas Southerne. Acted at Lincoln's Inn Fields. 4to. 17OO. a4 232 FAT Scene, Capua. The prologue by Charles Boyle; the epilogue by Col. Codringtcn. The domestic scenes of this tragedy have un- common power over the tender passions. The circumstance on which the distresses of" Virginius, Junius, and Favonia, depend, is original, neither has it been hack- neyed by imitators. The piece, however, on the whole, is op- pressed by a load, which, asWol- sey says, would sink a navy, too much patriotism. A patriot, to our modern apprehension?, is a dull declamatory being, as much out of nature as Caliban, and not quite so entertaining. Many of the long speeches of Magins, Pa- cuvius, &:c. are copies from Livy. The historian extinguishes the poet. This piece does not appear to have been successful in the re- presentation. 170. The Fate of Corsica ; or. The Female Politician. Com. written by a Lady of Quality, says the title-page. Svo. 1/32. Scene, the castle of Gallera. 171. The Fate of Sparta ; or. The Rival Ki>ig<:. Trag. by Mrs. Cowley. Acted nine nights atDruryLane. Svo. 17SS. The principal events are from Plutarch ; and the play is dedicated to the fair author's brother-in-law, The following Epigram was pro- duced extempore by Mr. Parsons, on seeing this tragedy acted : " Inaienious Cowley! while we view'd " Of Sparta's sans the lot severe, •* We caught the Spartan fortitude, " And saw their woes without a tear." For this anecdote we are in- debted to Mr. Kemble. 172. The Fate of Villany. A Play, by Thomas Walker. 8v(). 1730. This was acted at Good- man's Fields with very indifferent FAT See Love success, bee IjOve and Loy- alty. 1/3. The Father. Com. trans- lated from Diderot, by the trans- lator of Dorval. 4to. 1770. This is a translation of Le Pere de Fa- ■mille, and well executed. 174. The Father; or, Jme- riran Shandyism Com. Performed at the New York I'heatre, by the Old American Coin pany, and print- edat New York. Svo. 1789. This piece is adapted to the country which gave it birth. It is of little worth ; and the part which, if any, is deserving notice, is awk- wardly borrowed from my uncle Toby and'J'rim in Tristram Shandy. \J5. Father Girard the Sorcfrer ; or, The Jmonrs oj Harlerjvin and Misi Cadiere. Tra- gi-comic farcical Opera. Acted at Goodman's Fields, 1732. 17(3. The Father of a Fa- mily. Com. in three acts, by Carlo Goldoni. Svo. 1757. This is no more than the translation of a piece, entitled // Padre di Fa~ miglia, represented for the first time at Venice, during the carnival of 1750. But though it is entitled a comedy, it has nothing of hu- mour, or even an attempt towards wit, shown throughout the whole of it, and must have been extremely unentertaining in the representa- tion; being no more than a series of the common occurrences of a large family thrown into dialogue, in order to point out the different requisites for forming the cha- racter of an amiable father, and master of a family, and the errors frequently run into by some of th.e various relatives in domestic life. This piece is printed in English and Italian, the original page for page opposite to the translation, together with another comedy on the story of Pamela, of whidi t«r- 283 FAT thcY mention will be made here- after. See Pamela. 177. TheFathlu outwitted. Int. translated from the Spanish of Lopez de Veg.T. Printed in The I fit's Magazine, Oct. 1784. 178. The Father outwitted. See Theatrical Recorder. 179. The Father's own Son. A Play, formerly in the possession of the company performing at the Cockpit Theatre. SeeMr.Malone's Supplement to Shak'ipeare. 180. The Father's Revenge. Trag. by the Earl of Carlisle. 4to. 1/83; 8vo. ISOl. The plot of this play, which has never been acted, is taken from Boccaccio, and may be found also in Dryden's Works, under the title of Giiis- cardo and Sigismi/nda. I'he story is the same as Tancred and Gis- mufid, by Robert U'ilmot 3 and The Cruel Gift, by Mrs. Cent- livre. This play passed the examina- tion of Dr. Johnson, who has given his opinion of it in the fol- lowing terms : " The construction of the play " is not completely regular ; the '* stage is too often vacant, and the " scenes are not sufficiently con- " nectcd. This, however, would " be called by Dryden only a me- " chanical defect, which takes " away little from the power of " the poem, and which is seen " rather than felt. " A rigid examiner of the dic- " tion might, perhaps, wish some " words changed, and some lines " more vigorously terminated. Bat " from such petty imperfections " what writer was ever free .'' " The general form and force " of the dialogue is of more im- " portance. It seems to want " that quickne.ss of reciprocation " which characterizes the English FAT " drama, and is not always sufli- " ciently fervid or animated. " Of the sentiments, I remem- " ber not one that I wished omit- " ted. In the imagery I cannot " forbear to distinguish the com- *' parison of joy succeeding grief, '* to light rushing on the eye ac- " customed to darkness. It seems " to have all that can be desired " to make it please. It is new, " just, and delightful. " With the characters, either as " conceived or preserved^ I have " no fault to tind ; l)ut was much " inclined to congratulate a writer " who, in defiance of prejudice " and fashion, made the archbi- " shop a good man, and scorned all " the thoughtless applause which. " a vicious churchman would have " brought him. " The catastrophe is affecting. " The father and daughter, both " culpable, both wietched, and " both penitent, divide between " them our pity and our sorrow." The comparison which appears so much to have pleased Dr. John- son is the following ; " I couki have borne my woes ; that stranger, joy, '' Wounds while it smiles: — The long imprison'd wretch, " Emerginj^ from the night of his damp cell, " Shrinks from the sun's bright beams; and that which flings " Ghdness o'er all, to him is agony." 181. The Fathers; or, T/ie Good-v.atured Man. Com. by Hen- ry Fic-lding. Acted atDruryLane. 8vo. 1778. This comedy had but indifferent success in its repre- sentation. It was written many years before the author's death, being mentioned by him in the preface to his Miscellanies, pub- lished in 1743 under the title of The Good-natured Man. The cause of its not appearing sooner arose 23 i FE r from its being lent to Sir Chi^rlcs Hanbiuy Williams, v'ho mislaid it. It is said to have received some touches from the elegant pen of Mr. Sheridan ; but they are not very conspicuous. 1S3. Faulkner. Trag. by Wil- liam Godwin. Acted at Drivry Lane, Dec.] 807; but deservedly condemned after a few nights' pt- r- formance. It is founded on the novel of Roxana ; or. The Fortu- nate Mistress. The story wanted variety to make it interesting ; and as to the morality of the piece — the less we say, the better. In few words, it was unworthy of Mr. Godwin's undisputed talents. 8vo. 1S08. 183. A Fault i.v Friendship. Acted at the Curtain in 1623. Dr. Anderson informs us, that a play of this name was WTitten by Benjamin, the eldest son of the famous Ben Jonson, in conjunction with [Richard] Brome. N. P. 184. The Favourite. An Historical Tragedy. 8vo. 1/70. This is taken from Ben Jonson's Sejanus, and dedicated ironically to Lord Bute. 185. The Feast of Apollo. Int. Performed at Covent Garden, May 15, 1810, for the benefit of Mr. Incledon. Not printed. 186. Thk Feast ok Bacchus. Ballet. Performed at Covent Gar- den, 1758. 197. The Feast of Thalia. Int. Acted at Covent Garden, August 1731. A hodgepodge of various ingredients for the benefit of Mr. Wilson. Not printed. 188. The Feign'd Astrolo- ger. Com. Anonymous. 4to. 1693. This is translated from Cqrneille, who borrowed his piece from Calderon's El Astroloco Jin- gido. The same plot is made use ef by M. Scudery, in his novpj of F E I The Illustrious Bassa, where the French marquis takes on himself the fictitious character of an Astro- loger. I89. The Feign'd Courte- zans; ox, A Night's Intrigue. Cora, by Mrs. Behn. Acted at the Duke's Theatre. 4to. 1679. This play met with very good success, and was generally esteemed the best that she had written. The scene lies in Rome, and the play contains a vast deal of business and intrigue ; the contrivance of the two ladies to obtain their dif- ferently-disposed lovers, both by the same means, viz. by assuming the characters of courtezans, be- ing productive of great variety, whatever may be thought of its delicacy. Its dedication is to Mrs. Ellen Guin. The following pas- sage is extracted from it as a com- plete specimen of the meanness and servility of the author: " Your " permission. Madam, has en- " lightened me 5 and I with shame •' look back on my past ignorance, " which suffered me not to pay " an adoration long since, where " there was so very much due ; " yet even now, though secure " in my opinion, I make this sa- " crifice with infinite fear and " trembling : well knowing that " so excellent and perfect a crea* " ture as yourself differs only from " the divine powers in this : the " offerings made to you ought to " be worthy of you, whilst they " accept the will alone." J90. Feign'd Friendshii'; or. The Mad Reformer. Com. Anon. 4to. without a date. It was, how- ever, about the beginning of the 18th century, acted in Little Lin- coln's Inn Fields. Scene, the Park and houses adjoining. IQI.TheFeign'dShipwreck. See Stroller's Pack-et. 235 F E M 192. FatMF.LANEO. Play, by HetiryChettle, in conjunction with — Robinson. Acted l602; but not now known. 193. The Female Academy. Com. by the Duchess of New- castle. Fol. 1062, 194. The Female Adven- turer 3 or. Slop Her who can. Com. Acted at Covent Garden, 1790. Not printed. This was an alteration from Moore's Gil Bias, and was acted for the benefit of Mrs. Wells, but not repeated. 195. The Female Advocates; or, Ti'ie Frantic Stock jolber. Com. by W. Taverner. Acted at Drury Lane. 4to. 1713. The British Theatre and Whincop's Catalogue call the second title of this play the StockjoLbers only ; but, as it is probable they might neither of them have seen the piece itself, we have thus restored it. 196. The Female Captain-. Farce [by James Cobb]. Acted two nights at the tiaymarkct, 1/80. This piece was taken from the French of Marivaux, and had been once acted at Drury Lane, April 5, 1779, for Miss Pope's benefit, under the title of The Contract. 197-The Female Chevalier. Com. iu three acts, altered from Taverner, by George Colman. Acted at the Haymarket, J 7/5, with applause. This was taken from The Artful Hitsland, and was produced at the time when the Chevalier D'Eon was the topic of public conversation. Not print- ed. 198. The Female Club. Far. by John O'KeefFe. Of this piece x^-e know nothing, but that we find it mentioned in The Monthly Mirrbr for February 1810, p. 61 ; and that a part in it was written expressly to suit the juvenile ta- leats of Miss Richards, no^ ^^Trf. F E M Edwin, who was at that time per- forming at the Crow Street Thea- tre, in Dublin. 199. The Female Dramatist. Musical Farce [Mr. Egerton says, by Mrs. Gardner]. Acted at the Haymarket, for a benefit, Aug. 10, 1/82. Not printed. The principal character was borrowed from Mrs. Metaphor, in Rodcric Random. — We have heard this piece ascribed, to Mr. Colman, jun. 200. The Female Duellist. An Afterpiece. Acted at the King's Theatre, Haymarket. 8vo. 1793. The leading character and various incidents of this piece, the author acknowledges he was in- debted for to Loves Cure; or. The Martial Maid, by Beaumont and Fletcher. The songs were set to music by Mr. Suett; and it was performed ibr the benefit of Mr. Whitfield and Mrs. Ward. 201. The Female Fop j or. The False One fitted. Com. by Mr. Sandford. Acted at the New Theatre, over against the Opera House, Haymarket. Svo. 1/24, It was the first play acted at this theatre, by an entire set of performers who had never ap- peared on any stage before. The author, who speaks of his piece with great indifference, says, *' The whole groundwork of it '•' was written between four and " five years ago, when I was a " school-boy, and scarce turned of " fifteen years of age." It appears lo have been represented only three times, and with little ap- plause. The scene, Hertford town, Mr. Milward's first appearance on the stage was as Trueman in this comedy. 202. The Female Fortuke^ teller. Com. by Mr. Johnson. Acted at Lincoln's Inn Fields, Svo. 1726. What Mr. Johnson it ■■vas by whom Vhir oiece was writ- 236 F E IM ten we cniinot. come to any cer- tain^'about j as no Christian name is prefixed to the title-page; but see no reason to doubt that it was Mr. Chailes Johnson ; a tragedy bvM'hom, caWed Medea, has been, as well as this play, omitted by Whincop, Chetwond, and the edi- tor of Tlicatncal Records. This ts far from a bad play ; but was acted only seven nights. 203. The Femalk Gamester. Trag, by Gorges Edmond How- ard. 12rao. l//?' Printed at Dublin, 204. Female Heroism. Trag. in five acts. By the Rev. Matthew West. This piece is founded on the revolutionary events that oc- curred in France, in the sunimer and autumn of 1793. I'he cha- racters of the different republican tyrants are accurately delineated ; particularly that of Robes])ierre ; ajid the sorrows and persecutions of the widowed Queen and the Jloyal Family are pourtrayed in a very aticcting manner. Mr. West has misdated the capture of V.denciennes, by making the in- telligence of it arrive on the day of the Qucen"s trial, which was fivo months after it was publicly Known. It was published at Dub- lin, 8vo. 1803, and hrst acted in the same city. May 1(), 1804, 205. The Female J.acobin- Club. Political Com. in one act. Translated from Kolzebue, by J. C Siber. Printed at Liverpool, Small Svo. ISOl. 20f). Female Innocence ; or, .-/ School for a If-ijc, as it was acted at Mrs. Lee's Great Booth, on the Bowling Green, South- wark, by comedians from the thea- tre, Southwark. Printed and sold by G. Lee, in Blue Maid Alley, nearthe Marshalsca. Svo. No date. Scene 4 F E M London and Islington, This piece, which is supposed to have been printed about 1730, is divided into three acts ; the plot is similar to that of Wycherley's Country f^ij'e; but the language in some places is rather coarse. It is not mentioned in any former list of plays. 207. The Female Officer ; or, Humo}irs oj the Jrmy. Com, Svo, 1763. Anon. This is an al- teration of C. Shadwell's Hamoms of the ylrjny, and was acted and printed in Dublin. 208. The Female Officer. Comedy, of two acts, by Henry Brooke. Not acted. Scene, the British Camp in Portugal. Printed in the author's works, 4 vols. Svo. ■1778. 209. The Female Officer. F.irce, byJohnPhilipKemble. Per- formed at York, for Mrs. Hunter's benefit, 1/79. This is the piece which, in 1786, Mr. K. produced, with alterations, at Drury Lane, under the title of The Projects, Not printed, vye believe, under either title. 210. The Ff.malk Orators, Prel. Acted at Covent Garden, May 12, 17SO. This was a feeble attempt to ridicule the female de- bating assemblies, which at that lime tended to promote licen- tiousness, and dishonoured the sex. The evil, however, called for a more able satirist. 211. The Female Parlia- ment. J Seri-Tragi-Comi-Far- cical Enterlainment. Never acted in Ulojim before. IVherein arc oc^ casioualhj exhilited, the Hunioms of Fanny Bloom and Lady Nice Airs. Together with the Jviours of Sir Timothy Fopivell and Justice Fainlove. 12mo. 1754. 212. TiiE Female PARUiCiD£. 237 F E M Trag. by Edward Crane, of Man- chester. 8vo. 1761. This piece is founded on the story of Miss Blandy, and was printed at Man- chester. 213. The Female Pa k son ; or. The Beau 'in the Suds. An Opera, by C. Coffey. 8vo. 173O. This piece was brought on at the Little Theatre in the Haymarket, but was, with very good reason, condemned the first night. 214. The Female Pedant. Farce, by Thomas Horde, jun. at the grammar-school in Stow, Gloucestershire. Printed at Ox- ford. 8vo. 1782, 215. The Female Prelate, being the History of the Life and Death of Pope Joan. Tragedy, by Elk. Settle. Acted at the Theatre Royal. 4to. lOSO. The plot of this play, which is one of the best of its author's productions, is taken from Platina's Lives of the Popes ; and Cooke's Dialogue, en- titled. Pope Joan. It is dedicated to the Earl of Shaftesbury. The same play, with the same title, was printed 4to. l68t), except that it was there said to be written by a person of quality. 216. The Female Rake; or. Modern Fine Lady. A Ballad Co- medy. Acted at the Haymarket. 8vo. 1736. We cannot suppose that this coarse composition could long keep the stage. See The Woman of Taste. 217. The Female Virtuosoes. Com. by Thomas Wright. Acted at the Queen's Theatre. 4to. I693. This play was performed with great applause, but is no more than an improved translation of the Femmes s^avantes of Moliere ; an author to whom many of our play- writers have been greatly obliged, not only for their plots, but even for the very substance and wit of F E R their pieces. See No Fools like Wits. 218. The Female Volunteerj or. The Dawning (f Peace. Dram, in three acts, by Philo-Nauticus. [L. H. Halloran.] 8vo. 1801. The author says, in extenuation of the faults of his piece, that it was written in a week. It might have been as well written in a day. Never acted. 219. The Female Wits ; or. The Tiiunivirate of Poets at Re- hearsal. Com. 4to. 1697. With the letters W. M. in the title. This piece was acted at the The- atre Royal in Drury Lane, for several days successively, and with applause. It consists of three acts, is written in the manner of a re- hearsal, and was intended as a banter on Mrs. Manley, Mrs. Pix^ and Mrs. Trotter. 220. Fenelon ; or. The Nuns of Camhray. A serious Drama, in three acts, altered from the French by Robert Merry. 8vo. 1 79^' A lady, confined in chains tor seventeen years in the dungeon of a convent, finds her daughter and husband, and is restored to both by the interposition of the benevolent Fenelon, Archbishop of Cambray. Never acted. 221. Ferrex and Pokrex. Trag. set forth without addition or alteration, but altogether as the same was shewed on the stage before the Queenes Majestic about nine years past, viz. the 1 Sth day of January 1501, by the Gentle- men of the Inner Temple. The first three acts of this play were written by Thomas Norton ; the two last by Thomas Sackvijle, afterwards Lord Buckhurst. The plot is from the English chronicles. This may be truly styled the first play of any considcnition in tlie English liinguajre. it was ori- >38 F E R ginally acted at the Inner Temple, and afterwards before Queen Eli- zabeth. Its first appearance was at a grand ChristmaSj celebrated with unusual raagniticence, as may be seen by the description of it in Dugdale's Origlnes Judiciales, p. J 50. This piece has been highly praised by many writers. Sir Philip Sydney, in his Defence of Poesie, says, " Our tragedies and ' comedies, not Avithout cause ' cried out against, observing ' rules neither of honest civilitie ' nor skilfull poetrie. Excepting ' Gorboduck ; which, notwitii- ' standing as it is full of stately ' speeches and well - sounding ' phrases, climbing to the height ' of Seneca his style, and as full ■' of notable moralitie, which it *^ doth most delightfully teach, ' and so obtain the very end of ' poesie : yet, in truth, it is veiy ' defectious in the circumstances ; ' which grieves me, because it ' might not remaine as an exact ' model of all tragedies. For it ' isfaultie both in place and time, ' the two necessary companions ' of all corporall aclions." Mr. Rymer gives it as his opinion, that ' Gorboduc is a fable doubtless ' better turned for tragedy than *■ any on this side the Alps, in his ' time ; and might have been a ' better direction to Shakspeare ' and Ben Jonson, than any guide ' they have had the luck to fol- ' low." Mr. Pope observes, ' The writers of the succeeding *■ age might have improved as ' much in other respects, by ' copying from him a propriety ' in the sentiments and dignity in •■ the sentences, and an unaffected ' perspicuity of style, which are ' so essential to tragedy, and ' which all the succeeding poets, ' not excepting Shakspeare him- F I C " self, either little understood or " perpetually neglected." To which Mr. Spence adds, " That " 'tis no wonder if the language of " kings and statesmen should be " less happily imitated by a poet " than a privy counsellor." Of this play, the first edition was sur- reptitiously printed in 4to. [1565.] for William Griffith ; the second (genuine), in 8vo. [1571.] for John Dayej and the third, which was only a republication of the first spurious one in 4to. 159O, for Edward Allde. To this edition is appended a discourse entitled. The Serpent of Division. In 1/36, the spurious one was republished by Mr. Spence j and since, by jMr. Hawkins, in The Origin of the Drama, vol. ii. 1/73. The genuine copy, however, has been republished in the last edition of Dodsley's Collection of Old Plays. Pryden and Oldham, who have both written with contempt of this piece, appear never to have seen it, as they were ignorant even of the sex of Gorboduc, each of them supposing that person to have been a woman. 222. Ferrex and Porrex. Play, by William Haughton. Pro- bably an alteration of the forego- ing, and acted about 1600. N. P. 223. The Festival of Bac- chus. Bal. Performed at Covent Garden, 1S02. 224. Feudal Times J or. The Banquet Gallery. Drama, by G. Colman, jin. Acted at Drury Lane. 8vo. 1759- Considered as a spectacle, this piece is inferior to Blue Beard and Lodoiska ; yet it had a great run. As a literary composition, indeed, we cannot praise it very highly. 225. The Fickle Shepher- dess. A Pastoral. 4to. 1703. This is only an alteration of Randolph's 239 F I F Amyntas ; it was acted at the New Theatre in Lincoln's Inn Fields, and was played entirely by wo- men. The scene lies in Arcadia. 220. FiDELE AND FuRTUNA- Tus. Whether this piece is tra- gedy or comedy, what is its date, or whether it was ever acted, are particulars we are at a loss to dis- cover; the old catalogues only naming it, and ascribing it to Thomas Barker. The BriUsh Thea- tre, however, fixes its date about 1690. And Coxeter, in opposition to all the other writers, distin- guishes this Barker from the au- thor of The Beau defeated. It is probably much older than any of the before -mentioned lists suppose. In the book of the Stationers* Company, November 12, 15S4, is entered " Fidele and Fortuna- " tus. The Deceipts in Love dis- •■* coursed in a Comedie of two " Italyn(Tendemen,and translated '* into Englishe." 227. FiESco ; or. The Genoese Conspiracy. Trag. translated from the German of Schiller. 8vo. 1796. 229. FiESCO 3 or. The Genoese Conspiracy. Trag. translated from the German of Frederic Schiller, by G.H. Noehden and J. Stoddart. 8vo. 1798. Though inferior to The Rolbers of the same author, and not calculated for the stage, there are some fine passages in this play, that will afford pleasure in the closet. 229. Fiestas de Aranjuez ; festivals represented at Aranwhez, before the King and Queen of Spain, in the year 1623, to cele- brate the birth-day of that King, Philip IV. This is the description of a masque translated from the Spanish of Don Antonio de Men- iioza. Ey Sir Richard Fanshawe. 4to. 1670. 230. The Fifth of Novem- F I R BER. Dram, in three acts. Writ- ten for the use of schools. B^' Edmund Philip Bridel, LL. D. master of the academy, Islington. 12mo. ISO7. The subject is, the carrying about of a Guy Fawkesj and this moral is deduced from the piece : " that virtue is above " the reach of no age or rank in " life, when the heart is good." 231. FiLLi Di SciRoj or, PhiUis of Scyros. An excellent Pastorall, written in Italian by C. Giudubaldo de Bonarelli, and translated into English by J. S. (Jent. 4to. IQ55. By some vp.rses prefixed to this translation, it ap- pears to have been made near twenty years before. A translation v-^as at the same time madeof Pa^/or Fido, but both of them were laid aside. Coxeter imagines these translations were produced by Sir Edward Sherborne, who was then only seventeen years old. The ini- tial letters seem to point out James Shirley as the translator. 232. The Financier. Com. of one act, translated from St. Foix. 8vo. 1771. 233. A Fine Companion, Com. by Shakerley Marmion. 4to. 1633. Acted before the King and Queen at Whitehall, and at the Theatre in Salisbury Court. This play was greatly approved of 3 and it is evident on inspection, that Durfey's Captain Porpuss, in his Sir Barnahy Whig, is an imitation of Captain Whibble in this play. 234. The Fine Lady's Airs. Com. by Thomas Baker. 4to. No date. [1709.] It was acted at Drury Lane with success. The s-cene lies in London, and the prologue is written by Mr. Motteux. 235. Fire aNd Rrimstone j or. The Destruction of Sodtm. Drama, bv George Lesly. 8vo, 1675; i,6S4. 2-10 F I R 23(5. Fire and FRosr. Com. Op. in five acts, by S. J. Prait. Svo. 1S05. Printed in the second volume of the author's Harvest Home. Never performed. It is written, as we are told, " partly •* on the model of the hmgh-and- " be-merry, hurry-scurry, slap- '* dash (and it might properly " enough be added, helter-skelter, " harum-scarum) kind of farce- *'■ and-pantomime comedy, which " has been so much the rage, and ** partly in the style of the old •' school of the English theatre." There is considerable merit and much entertainment in this piece, which was accepted by the late Mr. Richardson, for Drury Lane Theatre ; but his death stopped its progress to the stage. 237. Fire and Water. Bal- lad Opera, by Miles Peter An- drews. Acted at the Haymarkc-t. 8vo. 1/80. There is more of the insipid than the aspiring element in this production, which the reader would naturally suppose, from the incendiary characters in- troduced into it, was written in consequence of the riots of the year J/SO ; but the author assures us, however singular it may ap- pear, that it was actually written and delivered to the manager long before any of the then late dis- turbances took place. It was se- veral times repeated during the first season ; but has since lain on the shelf. There is both whim and novelty in the character of Ambuscade. 238. The Fire King ; or, Jlbert and Rosalie. Bal. by J. C. Cross. Svo. 1801. 23.9. The First Attempt ; or, The JFhlm of the Moment. Comic Opera, by Miss Owenson. This piece was first performed in Dublin, March 4, I8O7, and at- F t R tended with great success ; hai we do not know whether it has been printed, or not. Music by Mr, T. Cooke. 240. The First Civil Wars iw France. Play, by Michael Drayton, in conjunction with Thomas Dekker, in three parts, all acted I.598 ; but neither of them printed. 241. First come First serv- ed. Mas. Ent. Svo. 1/97. 242. First come First serv- ed ; or, The Biter bit. Farce. Acted Aug. 22, 1808, at the Hay- market, for the benefit of Mr, Matihev.'s; but not repeated, nor, we believe, printed. 243. First Faults. Com. by Miss Decamp (now Mrs. C. Kem- ble). Acted for her own benefit, at Drury Lane, 1/99. This piece was interesting, and exhibited no small portion of dramatic skill in the writer. Not printed. See Natural Faults. 244. The First Floor. Far^ by James Cobb. Acted at Drury Lane. Svo. 1787- This piece met with great success. 245. First Love. Com. by Richard Cumberland. Acted at Drury Lane. Svo. 1/95. Of this play, which was very well received, the intention is to show, that parents should never cross the dictates of a first love; as it is the genuine eftusion of innocence and simplicity, and promises more than any other circumstance to secure conjugal felicity. In this piece, a great source of interest was the acting of JSIrs. Jordan, in the character of Sabina Rosni 3 a foreigner, young, amiable, and handsome, deserted by her hus- band, aud under the protection of a stranger, for whom she conceives the warmest friendship. The ten- der sorrows of Sabina Rosni, pour- 241 F I V Ing through thfe silvery sounds of this charming actress, sunk' into the heart, and excited the most pleasing emotions. 246. The First Nicht'sLodg- INO. Farce, by Archibald Mac- laren. 12mo. Printed at Edin- burgh, and perhaps performed there. We have not seen a copy of this piece, and therefore know not its date. 247. The First of Apr 11 j or. The Foots Errand. Mus. Ent. by Arch . Maclaren . 1 2 mo. 1 802 . This was performed by Mr. Ber- nard's company in the island of Guernsey. 248. The Fisbermek. Com. Op. in two acis, by James Field Stanfield. Written about the year 1/86; at which time the author vas a performer in the York com- pany. Not printed. Mr. Stan- field is at present, we believe, manager of a small company, which performs at various places in the north of England. 249. The Five Lovers. Com. Opera. First acted in Dublin, Feb. 22, I8O6. It is generally ascribed to the pen of a barrister of the name of Swift. Music by Mr. T. Cooke. The fable seems taken from a tale in The Arabian nights' Entertainments j and some of the characters are rather too like those in The Mountaineers j but the piece was well received. We know not whether it has been printed. 250. Five Miles off ; or. The Finger Post. Com. by Thomas Dibdin. Acted at the Haymarket. 8vo. I8O6. Full of pun, bustle, and whim, and very well re- ceived. 251. Five Plays iv One. Acted at the Rose Theatre, April 7, 1597 ; but not now known. 252. Five Thousand a Year. VOL. II. FLO Com. by T. Dibdin. Acted at Covent Garden. 8vo. [1 799. J There is both humour and senti- ment in this piece; whi(jh, how- ever, is not in the first .rank of its author's performances. 2J3. Flattery, DecPit, ano Falshood, mislead King Hu- manity. One of the eight In- terludes of Sir David Lindsay's, published by Pinkerton. 8vo. 1792. 254. The Fleire. Com. by Edward Sharpham. Acted at Black Friars, by the children of the Re- vels. 4to. 1610 ; 4to. 1615; 4tO, 163 1 . I'he scene of this play lies in London, and the plot seems in a great degree to be borrowed from Marston's Parasilaster. It is probably older than the year I61O; as it was entered by John Trundel, on the book of the Sta- tioners' Company, May 9, 16O6. 255. The Flitch of Bacon. Comic Opera, by the Rev. Henry Bate. Acted, with good success, at the Haymarket, 1778. Printed in Svo. 1779, and still continues a stock-piece. 256. The Floating Island. Tragi-Com. by William Strode. 4to. 1655 . This play was not pub- lished till many years after the au- thor's death, but was performed by the students of Chi ist Church, on the 29th of August 1C36, before the king, for whose diversion it was purposely written at the re- quest of the dean and c hnpter. It contained too much morality to suit the taste of the court ; yet it pleased the king so well, that he soon after bestow ed a canon's dig- nity on the author. Sc me grave persons, howexer, were scandal- ized at a stage being erected in the college, and the students perform- ing the parts of players thereon ; and a book soon after issued from the press, entitled, " The Over- 242 FLO " throw of Stage-Plays ; vherein *' is manifestly proved, that it is *' not only unlawful to be an Ac- *' tor, but a Beholder of these " Vanities." 25/. Fz-oRA. Opera. Acted at Lincoln's Inn Fields j being The Counti~y IFukc, altered [by John Hippislev] after the manner of The Beggars Opera. 8vo. 1/30 ; 12mo. 1768. 258. Flora's Vagakies. Com. by Richard Rhodes. This amusing play was written while the author was a student at Oxford j and after being publicly acted by his fellow- students in Christ Church, Jan. 8, 1663, and afterwards at the Thea- tre Royal, was printed in ^to. I67O, 1677. The scene lies in Verona ; and part of the plot, viz. the cir- cumstance of Otrante's making use of the friar in carrying on her in- trigues with Lodovico, is founded on Boccace's Decam. Day iii. Nov. 3. 259. Florazenej or, TheFatal Conquest. Trag. by James Good- hall. Not acted 5 but printed at Stamford, 8vo. [1754.] 260. TheFlorentine Friend. A Play, with this title, was entered on the book of the Stationers' Company, Nov. 29, l653 } but was not printed. 261.FLORIMENE. Pastoral, pre- sented by the Queen's command- ment before the King at White- hall. 4to, 1035. 262. Florizel and Perditaj or, Tlu S'ifepshcari?ig. Farce, by Macnamara Morgan. Svo. 1754. This piece is no more than an ex- tract from some scenes of Shak- soeare's Wijiter's Tale, so far as relates to the loves of Florizel and Perdita, formed into two acls, and enlivened with part of the humo- rous character of Autolicus. It was first performed, we believe. F O N in Dublin ; but soon after at Co- vent Garden Theatre, for the be- nefit of Mr. Barry J Miss Nossiter acting the part of Perdita, and Mr. Barr}' the counterpart of her lover. It has since, however, been frequently represented with success. 263. Florizel and Perdita. Dram. Pastoral, in three acts, al- tered from The JFinters Tale of Shakspeare, by David Garrick. Acted at Drur>' Lane, 1756. Print- ed in Svo. 1758. See The Win- ter's Tale. 204. The Flying Voice. A Play, by Ralph \\^ood. One of those destroyed by Mr. Warbur- ton's servant. 265. The Follies of a Day .; or. The Marriage oj Figaro. Com. by Thomas Holcroft. Acted, \fith good success, at Covent Garden. Svo. 1784, 1785. This was a translation from Beaumarchais' La Folle Jour nee (itself founded on a Spanish piece), with alterations to adapt it to the English stage. It was well received ; but has now dwindled into an afterpiece. It forms a kind of sequel to The Spa- nish Barber. 266. Folly AS IT Flies. Com. by Frederic Reynolds. Acted at Covent Garden. Svo. 1S02. Mr. Reynolds's chief aim has been to excite laughter, and he certainly is successful. There is no strong delineation of character in this piece, but much droller}-, and some ver)' good hits at the follies of the times. 267. The Folly of Age ; or. The Accomplished Lady. Panto- mime. Acted at Covent Garden, 2OS. The Fond Husband ; or, The Plotting Sisters. Com. by T. Dnrfcy. Acted at Drury Lane. 4to. 10763 410. I0S53 4to. 1711. 243 F O O This met with very great applause, and is certaiuly one ot Mr. Durfey's best plays. Steele tells us (Guar- dian, No. 82), that " this con)edy " was honoured with the presence " ofKing Charles the Second three " of its tirst five nights." 269. The Fond L.vdy. Com, by a Person of Honour. 'Ito. 1C>34. See Amokous old Woman. 270. FoNDLEWIIE AND Le- TiTiA. Com, of two acts. Per- formed at Crow Street, Dublin. 12mo. 1707. Taken from Tke Old Bachelor, and printed at Dub- lin. 271. FoNTAINELEAU J Or, Our JFay in France. Com Op. by John O'Keeffe. Acted at Covent Garden, 17S4. Printed in 8vo, 1798. This piece met with very good success } being well calcu- lated to excite a hearty laugh by the variety, oddity, and even the improbability, of the incidents. The then passion of the English for travelling or residing in France, was a proper subject of ridicule, and Mr. O'Keeffe chastised it with freedom and effect. 272. FONTTAINVILLE FoREST. Phy, bv James Eoaden. Acted at Covent Garden. Svo. 1794. This piece i« avowedly founded on Mrs. Radcliffe's Roruance of the Forest. Time, the beginning of the I,5th century. It was well received. 273. The Fool. Farce, in two acts. Performed at Covent Gar- den. By Edward Topham. Svo. lyhQ. This piece was well re- celvef.l ; but owed much of its applause to the excellent acting of Mrs. Wells in the part of Laura. 274. A Fool and iier Mai- DEt>!HEAD SOOK PAEXEl). A play under this title was entered on the book of the Stationers' Company, Nov. 29, Ibiid; but was not print- F O O ed. It was proi.ably written by- Robert Davenport ; being enume- rated, with the rest of his pieces, in the catalogue of dramas belong- ing to the Cockpit Theatre. 275.A Fool MADE WISE, Ope- ratical Com. by Sam. Johnson. Acted at the Kay market 1741, but not printed. 27Q. The Fool Transformed. Com. This play was advertised as being in the press, at the end of IFit and Drollery, Jovial Poems, 12mo, l(J6l, but was not pub- lished. 277. The Fool turn'd Cki- TiCK, Com. byT. Durfey. Act- ed at the Theatre Royal, 4to. 1678. This, like most of our au- thor's pieces, is full of plagiarisms J the characters of Old Winelove, Trim, and Small Wit, being taken from Simo, Asotus, and Balio, in Randolph's Jealous Lovers : nay, the very prologue is a theft, being the same with that to Lord Oi- rery's Master Anthony. 27s. The Foole without BooKE. A Play, by William Rowley. Entered on the book of the Stationers' Company, Sept. g, 1&'53 ; but not printed. 279. The Fool would be a Favourite J or, The Discreet Lo- ver. Trag. Com. by Lodowick. Carlell. Svo. 1657. Acted with great applause. The scene Mi- lan. 280. The Fool's Opera; or, The Taste of the Age. Written by Matthew Medley [perhaps Tony Aston], and performed by his company in Oxford. Svo, 1731. 2S1. A Fool's Fkefermentj or. The three Dukes of Dunstable. Com. by T. Durfey. Acted at the Qu.-en's Theatre, Dorset Gar- den. 4to. ]6S3. This play is lit- tle mere than a transcript of Fiet- chcM's iVoblcGeutli/nan,Qs.cspi one E 2 zu FOR scene relating to Basset, which is taken from a novel called The Humours of Basset. Sir George Etherege, in a letter to the Duke of Buckingham, says, " By my last packet from England " among a heap of nauseous trash, *' I receivfd The Three Dukes of " Dunstable ; which is really so " monstrous and insipid, that I " am sorry Lapland or Livonia " had not the honour of producing •* it J but if I did penance in read- " ing it, I rejoiced to hear that it " was so solemnly interred to the " tune of catcalls." 282. FooTE, Weston, and Shuter, in the Shades. Int. Acted at the Haymarket, 1784. Not printed. 283. The Footman. An Opera. 8vo. 1732. Performed at Good- man's Fields. 284. The Forc'd Marriage ; or. The Jealous Bridegroom. Tragi- Com. by Mrs. Behn. 4to. 1671 -, 4to. 1688. This play was acted at the Queen's Theatre, and is sup- posed by Langbaine to have been the first of this lady's production. Scene in the court of France. We are told, that Otway, the poet, having expressed an inclination to turn actor, Mrs. Behn gave him the King in this play as a proba- tion part ; but, not having been used to the stage, the appearance pf a full audience put him into such cunfusion as effectually spoil- ed him for an actor. 285. The Forced MarhIage. Trag. by Dr. John Armstrong. Svo. 1770. This was written in J 754, and is printed in the second volume of the author's Miscel- lanies. It is a performance which will not add to the reputation of the elegant author of The Art of prestTcing Heal:h. It had be'.-u FOR offered to Mr. Garrick, but waf refused by him. 286. The Forced Marriagk. Com. translated from Moliere. Printed in Foote's Coviic Theatre, vol. iv. 12mo. 1762. 287- The Forc'd Marriage. Com. by Ozell. This is only a translation of the Mariage ForcSe of Moliere, and was never intend- ed for the stage. 288. The Forc'p Physician. Com. by Ozell. This piece is un- der the same circumstance with the foregoing, being a translation only of Moliere's Medecin malgre lui. 289. The Force of Calumny. Play, translated from the German of Kotzebue, by Ann Plumptre. Svo. 1799. Never acted. 290. "The Force of Fashiow. Com. by H. Mackenzie. Acted at Covent Garden, 1789. This comedy was intended to ridicule those persons who affect fashion- able follies and vices, while in their hearts they despise them. The characters were not ill drawn j but the principal incidents wanted no- velty. The language was elegant ; but the piece had little dramatic effect, and was only performed once. Not printed. 291. Thb Force op Friend-; ship. Trag. by Charles Johnson. Acted at the Haymarket. 4to. 1710. Scene, Verona. At the end of this tragedy is subjoined a small farce, which was acted with it, called Love in a Chest. 292. The Force of Love. Trag. for the use of private thea- tres, by Edward Tighe. Printed at Dublin. 12mo. 1786. This it only an alteration of Lee's Theo» dosius. 293. The Force opRtDicuLi. Com. by Thomas Hol^oft. Acted 34S FOR at Drury Lane, Dec. 6, 1 /pC, and condemned. It was, we believe, derived from ihe French. Not printed. 294. Forecastle Fun ; or, Saturday Night at Sea. Mus. Ent. Acted at Covent Garden, 179S, for the benefit of Mr. Incledon. Not printed. It was, in fact, merely a collection of popular sea songs, introduced by loyal and patriotic toasts. 295. The Forest ofHerman*- STADT ; or. Princess and No Prin- cess. Melo-drama, in two acts. Performed at Covent Garden, with good success, 1808. It is an al- teration from a French drama, entitled La forel d' Hermans tadt ; ou, La Fausse Epouse ; which had a considerable degree of success at Paris. It was presented to the pro- prietors of Covent Garden by Capt. Hewetson, author of The Blind Boy, and ananged as a Melo- drama by Mr, Dibdin. The inci- dent on which the piece is found- ed happened to the mother of the Emperor Charlemagne, and is mentioned in the histories of France and Germany. On the same story is founded Mr. Skef- tington's Mysterious Bride. N. P. 2g6. The Forester; or, The Royal Sfat. Dram. byJohnBayley. 8vo. 179s. A strange random imi- tation of The Midsummer Mght's Dream. Never acted. 297. The Foresters ; a Pic- ture of Rural Manners. Play, trans- lated from the German of Iffland, by Bell Plumptre. 6vo. 1799. Though not suited to the English stage, this play will in the perusal be found to contain some good writing. An unjust magistrate, and a sort of " village Hamp- " den," who defends his neigh- bours against the oppressions and FOR encroachments of abused power, are the principal characters. 298. Forget AND Forgive; or. The Road to Happiness, Com. by Lindoe. Acted at Newcastle, 1804, for the benefit of the au- thor, who was a performer in the Newcastle company. 299- For the Honour of Wales. IMasque, by Ben Joiv- son. No date ; but placed be- tween those of 1019 and ld20. Fol. 1692; 8vo. 1755. 300. The Fortitude of Ju- niTH. Trag. by Ralph Radcliff. Not printed. 301. The Fortress. Melo- drama, in three acts, by T. E. Hook. Acted, with success, at the Haymnrket. 8vo. I8O7. 302. The Fortunate De- parture ; an historical account dramatized, as best suited to con- vey an idea of the horrid excesses committed by the French army, on their irruption into Portugal ; and the fortun-\te departure of the Prince Regent and family, on the eve of their entrance into Lisbon. With an address 10 the people of Great Britain, on their relative and comparative situation with the con- tinent ; and its possible subiugation by that scourge of human nature^ Bonaparte. Written during some months' confinement in Lisbon, under the marauders of France, \y an Englishman. 8vo. ISIO. 303. The Fortunate Gene- ral. A French history, by Ri- chard Hathwaye. Acted l602. Not printed. 304. The Fortuvate Isles, and their Union, celebrated in a Masque designed for the court on Twelfth Night, I626, by Ben Jonson. 8vo. 1/56. 305. The Fortunate Pea» SANT; or, Nature will prevail. R 3 246 FOR FOR Com. by Benjamin Victor. 8vo. by Charles Macklin. [1748.] This 1776. This is taken from the ^vas acted three or four times for Paysan Parvenu of Monsieur de the author's benefit, but is not Marivaux. It was never acted. printed. 300. The Fortunate Prince; 314. Fortune in heh Wits. or, AIarriai>e at Last. Ballad Op. Com. by Charles Johnson. 4to. in three acts. Svo. 1734. 307. The Fortunate Sailor. Op. by David Morison. 1/90- 17^5. This is but an inditferent translation of Cowley's Nai/fra- gium Joculare, and was never pre- Mentioned in Campbell's Hiatory sented on the stage. The scene. of Scottish Foetry. 308. FoRTUNATUS. See Old FoiiTUNATUS. 309. FoKTUNATUS. Pant, by Mr. Woodward. Acted at Drury Lane, 1753. This p-'intomime has been frequently revived, and al- ways with akerations and addi- tions. 310. FcRTL-NE BY Land and as it does in Cowley's piece, lies at Dunkirk. 315. Fortune Mends. Corn- See Theatrical Pi.ecorder. 316. Foftltne's Fool. Com. by Fred. Reynolds. Acted at Co- vent Garden. Svo. 17Q6. This is a lively piece, and succeeded well on the stage ; to which, in- deed, like most others of its au- Sea. Tragi-Com. by Thomas tlior's plays, it is much better suited Heywood. Acted by the Queen's than to th.e closet. Servants. 4t(). 1655. Our author was assisted by Rowley in the com- position of this play, which met with great applause in the per- formance, but was pot printed till after their decease. The scene lies in London. 311. TheFohtune-Huwters; or. Two Fools well met. Com. by Ja. Carlisle. Acted by His Ma- jesties Servants. 4to. l(iSp. This play is not without merit ; but Spruce's mistaking (though drunk) the hand of another for the handle of a pump, and orange-flower for pump-water, is too absurd. Downes tells us that it expired on its third day. The scene in Co- vent Garden. 312. The Fortune Hunters. Farce. To which is annexed, a 317 Fortune'sFrolic. Farce, by J. T. AUingham. Acted at Co- vent G:irden. Svo. 1799- There is both fun and morality in this entertainment 3 which, though ori- ginally produced for Mr. Whit- field's benefit, afterwards became, and still continues, a favourite stock-piece. The story turns on a peasant succeeding to the title and estate of a lord, and on the use that 1)6 makes of his unexpectedly- acquired wealth. 318. Fortune's Taske j or. The Fickle Fair One. P. in MS. 1084. By John Home, New Coll. M. A. June 30, 1677. 319. Fortune's Tricks in Forty-six. An allegorical Satire. Svo. 1747. 320. Fortune's Wheel. Mus. humorous new ballad, called The Ent. acted by the Drury Lane Female Combatants; or. Love in company, at the Opera House in a Jail. As it was acted at Mac the Hayn.arket, 1/03, for the be- L — n's Auiphitheatre with great nefit of Mr. Bannister ; but not applause. Svo. 175O. heard of afterwards. N. P. 313. The Fortune Hunters ; 321. Thl Fortune-! ellejr. or. The IVidow lewilcKd. Farce, Op. Farce. Acted at Drury. Lane, 247 FOR F O U Sept. 29, 1808} but, being re- ceived with considerable disappro- bation, was withdrawn after tlie first performance. Not printed. 322. The Fortune-Tellers. Pant. Acted at Drury Lane, 1740. 323. The Foktune-Tellers 5 or. The World Unmask'd. A Med- ley. Written by Abel Drugger [John Hardham]. 8vo. No date. This piece is creditable to the au- thor's talents ; but, though in a dramatic form, dues not appear to have been intended for the stage. 324. Fortune to know each ONE the CoNDICIONS AND GEN- TLE Manors, AS well of Women AS OF Men, &c. A play entered on the book, of the Stationers' Company, 1560} but not printed, unless it is, as it probably may be, the same play that has been dis- tinguished by the title of Com- mon Conditions. See an ac- count of that piece a?ite. 325. The Forty Thieves. Op. Romance. Acted at Drury Lane Theatre, in 1806, with very great success. Scene, Bagdad, and the adjacent forest. The story is taken from a tale in the fourth volume of The Arabian Nights' Entertain- ments. All Baba, a poor wood- cutter, while pursuing his avoca- tions in the forest, discovers a ca- vern belonging to a banditti, and overhears the magical words of " Open Sesame,'" by which he ob- tains admission, and returns to his humble habitation laden with wealth. His wife Cogia, having borrowed of her rich and proud sister a measure to ascertain her treasures, several pieces adhere to the bottom of the measure, and divulge their concealed wealth. Ali Baba is therefore compelled to disclose the secret to his rich bro- ther Cassim, who visits the ca- vern j but when he has enteredj forgetting the words " Open Se^ " same," he is unable to escape, and being found by the rotibers, is beheaded* and his body thrown into the forest, where it is found by his brother Ali, who succeeds to his house and possessions. To conceal the catastrophe, a cobter is led blindfold to sew the head to the body} and having mentioned this circumstance to the captain of the banditti, who comes to Bag- dad in search of the first spoiler of the cave, he is shown by the cobler to the house inhabited by Ali Baba. Pretending that he is a merchant trading in oil, he ob- tains admission into the garden for thirty-nine jars, in each of which a robber is concealed. Morgiana, the faithful slave of Ali, wanting some oil, goes to the jars, and, discovering the scheme, destroys the whole gang with some deadly liquid which had been given her master by a beneficent fairy. To effect the destruction of the cap- tain, Morgiana enters the ban- quetting-room as a dancing slave} and, while he is attempting to stab her master, wrests the dagger from his hand, and plunges it into his breast } for which she is rewarded by a marriage with Ganem, the son of Ali Baba. An episode is introduced, consisting of a benevo- lent fairy and a wicked genius, who is at length subdued by the power of virtue. The programme of this piece, we have been told, was sketched by Mr. Sheridan } the dialogue written by his bro- ther-in -la vv-, Mr. Ward; and some finishing touches are said to have been given by the pen of Mr. Col- man. Not printed. Music by Kelly. 326. Foul Deeds will rise. Mus. D. by S. J. Arnold. Acted at the Haymarket, July 1804. R 4 24lB F O U F O U The plot of this dismal drama is taken from The Traveller's Story, in Miss Lee's Canierlury Tales. It is a strange, and by no means judicious, mixture of opera, trage- dy, and farce, and met w ith little encouragement. The music was said to be from the posthumous works of Dr. Arnold, the author's father. 8vo. 1804. 327. The Foundling. Com. by Edward Moore. Acted at Drury Lane. Bvo. 1/48; Svo. 1755. This comedy was the first of Moore's dramatic pieces, but is far superior to his second comic attempt. It met with tolerable success durittg its run ; although, on the first night of us appearance, the character of Faddle (which it is said was intended for one Russel) gave great disgust, and was there- fore considerably curtailed in all the ensuing representation-s. Rus- sel was a young man, admired for his agreeable manner of imitating the opera singers. He was hand- some and elegant in his person, of most consummate assurance, and caressed for some years by several leading ladies of quality j and yet (so capricious is the fate of those beings) he was thrown into the Fleet prison, in his prime of life, for a debt not exceeding forty pounds, ran mad, and died there in a few months. This piece has not, however, since that time, been often acted, being generally considered as bearing too near a resemblance to The Conscious Lo- vers. Yet we cannol help think- ing it far preferable to il:at play ; as the intricacy of the plot is much more natural, the characters are of a more sprightly turn, and drawn in the general from higher life, un- mixed with the pertness of a cham- bermaid coquet, and kitchen cox- comb j on whichj however, the greater part of the liveliness of Sir R.Steele's play principally depends. 328. The Foundling of the Fo.HEST. Play, in three acts, by William Dimond. Acted at the Haymarket, with great success. This is one of those romantic dra- mas, which please more by the curiosity and interest which they excite, and the stage effect pro- duced, than by the delineation of character. Svo. I8O9. 329. The Fountain of new Fashions. Play, by G. Chapman. Acted in ISpS. Not printed. 330. The Fountain of Self Love. See Cynthia's Revels. 331. The Booke of the Four honoured Loves. Comedy, by William Rowley ; entered on the book of the Stationers' Company, June 29, 1660, but not printed. It was among those destroyed by Mr. Warburton's servant. 332. The Four Kings. A play of this name was acted by the Lord Admiral's servants, in IspS; but is now not known. 333. The Four P's. j4 merry Interlude of a Palmer, a Pardoner, a Potycary and a Pedlar, by John Hey wood 4to. no date, and 4to. 1509. T>.is is one of the first plays that appeared in the English language ; it is written in metre, and not divided into acts. The original edition is in the black letter, but it hns been republished in Dodslty's Collection, 17SO. 334. Four Plays IN One ; or. Moral R'ipresentaiions, by Beau- mont and Fletcher. Fol. 1(J-17> Bvo. 1778. These four pieces are entitled as follows, viz. L The Triumph of Honour. This is founded on Boccace, Day 10. Nov. 5. Scene near Athens, the Roman army lying there. IL The Triumph of Love. This is taken from the same author, Day 5. 249 FO U Nov. 8. and the scene laid in Mi- lan, m. The Triumph of Death. This is from Part 3. Nov. 3. of TJie Fortunate, Deceiv'd, and Un- fortunate Lovers. The scene, An- jou. IV. The Triumph of Time. The plot of this seems to be en- tirely the invention of the author. Whether this medley of dramatic pieces was ever performed or not, does not plainly appear. It is composed as if acted at Lisbon, before Manuel, King of Portu- gal, aad his Queen Isabella, at the celebration of their nuptials ; that court being introduced as spectators, and the King, Queen, &c. making remarks upon each representation. The first two may properly be called Tragi-Comedies, the third a Tragedy, and the last an Opera. 335. The Four Prektises of London, witk che Coai^uest of Jerusalem. An Historical Play, by Thomas Heywood. Divers times acted at the Red Bull. 4to. I6l5; 4to. 1632. Dedicated " to the " honest and high-spirited pren- " tises, the readers." This piece is inserted in Dodsley's Collection, second edition, J 780. The plot is founded on the exploits of the famous (rodfrey of Bulloigne, \vho released Jerusalen) out of the hands of the infidels in 10C)9 ; an ample account of which is to be seen in Tasso's Goffredo, and in Fuller's Holy War. 336. The Four Seasons ; or. Love in every Age. A Musical In- terlude, by P. A. Motteux. 4to. 1690. This little piece was set to music by Mr. Jeremy Clarke, and is printed with the musical enter- tainments in the opera of The Island Princess ; or. Generous Por- tuguese. It does not belong to that opera j having been designed (as is expressly said by the authgr) F R E " for another season, and another " occasion." It was, however, performed at the end of the last act of The Island Princess, and is printed with that piece. 337. The Four Sons of Amon. Play, by Robert Shawe. Acted 1602. Not printed. 338. The Fox uncas'd ; or, Robins Art of Money -catching. Ball. Op. as it is privately acted near St, James's. 8vo. 1/33. One of the despicable libels published at this period against Sir Robert Walpole. 33p. Frailty and Hypocrisy. Drama, by James Wild. 12mo. 1804. Never acted. It is taken from Beauraarchais' L Autre Toj- tuf'e ; ou. La Mere Coupatle ; and forms a sequel to The Spanish Barhcr, and The Follies of a Day. 340. Frea. This is one of three plays, published as Dramatic Sketches of the Ancient Northern Mythology, by F. Sayers, M. D. 4to. 1790. The subject is from a Gothic fiction. Balder, god of the sun, and the beloved of Frea, was slain by his brother Hoder, and hurled into the infernal re- gions. Hela, the goddess of fate, is entreated by Frea to release him ; which she engages to do, if all the gods deplore the loss of Balder. Frea applies, in turn, to each ; and each relents, except Lok, whose refusal seals the doom of Balder^ and terminates the piece. 341. Frederic and Basellers [or Basilea]. Play. Acted at the Rose Theatre, June 3, 159". Not printed. 342. Frederic Duke op Brunswick Lunenburg. Trag, by Elizabeth Haywood. Svo. 1729. Acted at Lincoln's Inn Fields, with no success. 343. The Freeholder. Dram, Interlude, by Joseph Moser, 250 F R E Printed in The European Maga- zine, vol.Ivii, ISIO. Never acted. 344. The Fhee Knights ; oi. The Edict of Charlemagne. Ope- ratic Drama, in three nets, by F. Reynolds. Acted at Cuvent Gar- den, 8vo. ISIO. I'he scene is Westphalia. Time the fourteenth century. 1 he piece is founded on the Inquisition. An uncle, who fancies he has destroyed his niece, the Princess Palatine, usurps her title and palatinate ; but she is pre.-:erv^ed by Count Manfredi, v.bo was C(;n)niissioned to destroy her ; and who, finding his life also sought by the usurper, as- sumes the name of Bellanuin, and becomes an inmate of Corbey Ab- bey, founded by Charlemagne, and endowed by him with the gift of sanctuary. The young Princess is brought up in the family of Earon Ravensberg, whose son falls in love with her ; and here she is recognised by the usurper, who has her brought before the Inquisi- tioUj and condemned to death up- on a fiilse charge. Her lover, however, efiects her escape, and she flies for protection to Corbey Abbey. The usurper, thus foiled, attacks the Abbey, forces its gales, commands the Princess to be dragged from, the sanctuary, and is on the point of sacriticirg her, when the Abbot proclaims her his lawful sovereign. The usurper, appalled, drops his sword, and, stung with ren^-orse of conscience, acknowledges his guilt. The Prin- cess accepts the hand of her lover, and the drama concludes with the ceremony of the installation of the Abbot. This was an interesting spectacle ; but has slender merit as a literary production. 3 \'i TiiK. Freeman's Honotth. Flay, l>y William Smith. It is FEE only mentioned in the epistle de« dicatory ot a subsequent one, writ- ten by the same author, and en- titled. The Hector of Germany. This play, however, is said to have been " acted by the servants of " the King's Majesty, to dignify " the worthy Company of Mer- " chant Taylors." 34S. Free Will. Trag. by Henry Cheeke. 4to. black letter. No date. [Supposed about 1589.] This is one oi the very old moral plays. Its full title runs as follows : A certnyne Tragedie, tvryttenfyrste in Italian, by F. N. B. (Franciscus Nigerl>assentinus),e7//i^///4;n^FREE- \\\l; and translated into Eng - iishe, hy Henry Cheeke, wherein is setfooitli, in manner of a tragedie, the deuylish Deuise of the Popish Religion, tsfc. In the public li- brary at Cambridge is a copy of the original Italian, entitled, Tra- gedia del Liheio Jrl-ilrio. 4to. J54t3; and also a Latin version, by the author himself: printed at Geneva, by John Crispin. 8vo. 1559. Niger is his name la- tinized. His Italian name being Nero, as it is printed in a copy at Trinity College library, 1547- 347. King Freewill. A MS. tragedy under this title, with the date of lti35, and translated from the French by Francis Bristowe, Gent, was in Mr. Barker's Cata- logue of Plays ( 179.0) for Sale. 348. The Fkench Comedy. Acted at the Ro-^e Theatre, by the Lord Admiral's servants, Feb. 1 1, 1595. Not now known. 349. The Fkexch Conjurfr Comedy, by T. P. Acted at the Duke of York's Theatre. 4to. 16/8. The plot of this play is composed from two stories in the Romance of Gusman de Alfa- racke, the. Spanish Rogue; the one 251 F R E called Dorido and Clorinia, the other The Merchant of Scril; and the scene is laid in Sevil. 350. The French Doctor. Acted by the Lord Admiral's ser- vants, at the Rose Theatre, Oct. 18, 1595. Not now known. 351. French Faith ; or. The Virtuous Individual. A Play, in three acts, translated from the French ; printed in the first vo- lume of The Devil, a periodical work, 12mo. 17S6". This piece is founded on the history of the Protestants of Lisieux, who, by the tinnness of Jean Hennuyer, bishop of that place, escaped the otherwise general massacre in France, in the year 1572. It is probably from the same French play as Jean Hennuyek ; which see. 352. The French flogged ; or. The British Sailors in America. Farce of two acts. Performed at Covent Garden. Svo. 17<^7- A piece written for, and acted at, Bartholomew Fair. It was also once represented at Covent Gar- den. I'he author is supposed to be Geo. Alex, Stevens. 353. The French hied Lady NEVER IN Paris. Com. of two acts, by Henry Dell. Acted at Covent Garden. Svo. 1757. Taken from Gibber's Comical Lovers ; which was borrowed from Dry- den's Maiden Queen, and Mar- riage a la Mode. This was com- piled for the use of Mrs. Wofhng- ton, and acted at her benefit. 354. Frenchman in London. A Comedy. Dedicated to Mr. Foote. Svo. 1755. This piece was never designed for the Eng- lish stage, being nothing but a li- teral translation of the Francois a liOndres, of M. de Boissy, from which it was said Mr. Foote had taken the hint of hig Englishman F R I in Paris. We can, however, per- ceive no kind of resemblance be- tween the two pieces, any farther than what arises from a similarity in their titles. In the dedication, the translator says to Mr. Foote, " You remember, when walking '' once in the Thuilleries, you (by " that art peculiar to your own " genius) represented a French- " man to himself; the coxcomb, " far from being struck with the " ridicule, declared you the only " well-bred Englishman he had " seen." 355. " The Honourable His- " torie of Friar Bacon and " Friar Bongay. As it was " plaiedbyHerMajestie'sservants. ** Made by Robert Greene maistev " of arts." 4t(\ 1594; 4to. l630; 4to. 1655. For the story of this piece, see Plot's History of Oxford- shire, and Wood's Antiq. Oxon. 350. Friau Bacon; or, Har- lef/uin's adventures in Lilliput, Brohdignag, t^c. ASpeaking Pan- tomime. Acted at Covent Gar- den, 1783. This pantomime is said to have been contrived by Mr. Bonnor. The words by Mr. O'KeefFe. N. P. 357. Friar Fox and Gilmm OF Brentford. Play, by Thos Downion, in conjunction v/itii Samuel Ridley. Acted 1598. N.P. 35S. Friar Francis. A Play. Acted at the Rose Theatre, by the Earl of Sussex's servants, Jan. J , 1593. Not now known. ' 359. Friar Spendi.eton. Act- ed at the Rose Theatre, Oct. 31, 1597. Not printed. 300. The Fkiknd of the Fa- mily. Com. by Henry Siddons. Acted at the New Theatre Royal, in Edinburgh, 1810, and received with great applause. The plot is simple, but judiciously connected ; the sentiments are moral, and well S52 F R I eipressed; and the characters, though not partaking much of no- velty, are well drawn. N. P. 361. A Friend in Need. Mus. Ent. by Prince Hoare. Acted at Prury Lnne, 1707- This is tr:ken from Le Comte D' Albert et sn SuitCy a musical entertainment, composed chieliy by Gluck. The music of the present was composed and selected by Mr. Kelly, and obtained considerable applause. Songs only printed, 8vo. 1797. 362. A Friend in Need is a Friend indeed. Com. by D. O'Brien. Acted at the Haymarket in 1783. Not printed. This play, •which in some respects resembled Goldsmith's Good-natured Man, was acted eight times, but not very cordially recei\ -jd ; and gave rise to a newspaper controversy between the autlior and Mr. Col- man. It was originally written in two acts; then enlarged to four, and ultimately reduced to three, in which form it was acted. 363. The Friendly Rivals ; or. Love the best Cont iver. Com. 8vo. 1752. This comedy was, with great propriety, refused by the managers. 304 The Friends. Trag. by Mark Anthony Mtilan. 8vo, No date. L'/'?^ i The story from which this play was taken, is printed in The Gentlcma7i's Maga- xine, January 1766. 3d5. The Friends ; or. The Bi^nevolent Planters. Mus. Int. by Thomas Bellamy. Acted at the Haymarket, August 17^9. It was intended to serve the cause of humanity, by ameliorating the condition of slaves ; and therefore deserves more indulgence than its literary character v/ould perhaps obtain from the critics. Printed Bvo. 1789, with the latter title only. FRO 366. Friendship a la Mode. Com. of two acts. Performed at Smock Alley, Dublin. Printed at Dublin. Svo. 1766. This is an alteration of Vanbrugh's False Friend. 307. Friendship Improved ; or. The Female Warrior. Trag. by Clia. Hopkins. Acted at Lin- coln's Inn Fields. 4to. 170O. To this play is prefixed a humorous prologue, on the subject of the author's commencing merchant, and accumulating wealth, if it may be in the power of a poet so to do. 368. Friendship in Fashion. Com. by Tho. Otv. ay. Acted at the Duke's Theatre. 4to. 1678. Though Langbaine tells us, that the piece before ns was acted with general applause, it is certain, that, upon its revival at Drury Lane, in 1749, it was deservedly hissed off the stage for immorality and obscenity. Yet it certainly is not so loose in its expressions as The Soldier's Fortune, or The Atheiit, of the same author. 3()p. Friendship op Titus and Gesippus. Com. by Ralph Radclirt". Not printed. 370. The Fkogs. Com. trans- lated from Aristophanes, by C. Dunster. 4to. 1785. 371. The Frohc. Pramatic Piece, in three acts, by James Brown. Printed at Edinburgh. Svo. 17S3. 372. The Frolic; or. The Romp in Disguise. Farce, being a sequel to The Romp, produced for the benefit of a Mr. Lee, at Dorchester, June I792. 373. The Frolics of an Hour. Mus. Int. in one act. Performed, for a benefit, June 16, 1795. at Covent Garden, but not adopted by the house. Svo. 179-5- 374. From Bad to Wobse. 253 F U L Com. See Theatrical Recor- der. 375. From Ixn to Inn. Op. Com. in three acts, by James Wild. 12mo. 1804. Never acted. This is a translation from the " D' Auher"e en Aulerge,' of M. Dupaty, and is very entertaining. The reader, however, will be of- ten reminded of She Stoops to Conquer. 3/6. The Fruitless Redress. Trag. written in the year 1728, This play is still in manuscript. See Ridley, Gloster, in Vol. I. 377- The Fugitive j or. The Happy Recess. Dram. Past, by Thomas Shrapter. Svo. 179O. A very poor production. Never acted. 378. The Fugitive. Mus. Ent. by John O'Keefte. Acted at Covent Garden, 179O. This was an alteration from the author's comic opera of The Czar; but without much success, being per- formed only four nights. N. P. 379. The Fugitive. Com. by Joseph Richardson. Acted by the Drury Lane company at the Opera House. Svo. 1792. This is a very good comedy, and was well received. 380. The Fugitives. Com. by William Roberts. Svo. 1791. There is considerable interest in this piece, blended with much improbability. Never acted. 381. Fuimus Troes, ^neid 2. The true Trojanbs, Being a story of the Britaines Valour at the Romanes Jirst Invasion : pub- likely represented iru the Gentlemen Students of Magdalen Co I ledge, in Oxford. 4to. 1633. The author pf this performance was Dr. Jasper Fisher. Dodsley's Collection. 382. FuLGius and Lucrella. By this name is a piece mentioned by Langbaine, Jacob, Gildon, and. FUN Whincop, none of whom pretend to have seen it, or to give any ac- count of it. But the author of The British Theatre is more parti- cular in his description of it ; and, but for his numerous forgeries, it would be reasonable to imagine he had met with the piece itself. He differs from them all in the spelling of the second name, call- ing it FuLGius and Lucrette, a Pastoral, from the Italian, 1676. It is mentioned byKirkman in his Catalogue, I661, and is probably very ancient. 383. Fun. A Parodi-tragi -co- mical Satire. Svo. 1752. This little piece is entirely burlesque, and was written by Dr. Kenrick, It contains some severe strokes of satire on H. Fielding, Dr. Hill, &c. and was intended to have been performed by a set of private persons at the Castle Tavern, in Paternoster Row. But although it was screened under the idea of a concert of mnsic, and a ball, Mr. Fielding, who had received some information of it, found means of putting a stop to it on the very night of performance, even when the audience were as- sembled. The piece, however, which is entirely inoffensive, other- wise than by satirizing some par- ticular works which were then re- cent, was soon after printed, and delivered gratis to such persons as had taken tickets for the concert. 3S4. Fux AND Frolic; or. The Sailor s Revels. Mus. Int- Acted at Covent Giirden, 1799, fer the benefit of Mr. Incledon. It was merely a vehicle for intro- ducing a few sea songs, and has not b-jen printed. 385. The Fun of Election ; or, The Patriotic Bal:.r. Per- formed at Covent Garden, May 15, I8O7, for the benefit of Mr. 254 FUN Munden. This was a new title given to Mr. Andrews's interlude, called Tlie Election. 380. The Funeral ; or. Grief a la Mode. Cora, by Sir Richard Steele. Acted at Drury Lane. 4to. 1702. It is, by some, thought the best of this author's pieces. The conduct of it is in- genious, the characters are pointed, the language is sprightly, and the satire strong and genuine. There is indeed somewhat improbable in the affair of conveying Lady Charlotte away in the coffin ; yet the reward which by that means is bestowed on the pious behaviour of young Lord Hardy, with re- spect to his father's body, makes some amends for it. We know not that the plot of this is borrow- ed from any other piece ; yet the hint of Lord Brumpton's feigning himself dead to try the disposition of his wife, may perhaps owe its origin to a scene in Moliere's Ma- lade Imaginaire. 337. The Funeral of Rich- ard CcEUR DE LioN'. By Robert Wilson, in conjunction withChet- tle, Mundy, and Drayton. Act- ed in 15f)8. Not printed. 388. The FuNTKAL Pile. Com. Op. by J. S. Dodd, M. D. Acted and printed in Dublin. ]2mo. 1799- This and Gallic Gratitude are the same piece, under different titles. FUR 389. FuRiBOND ; or, Harlequin Negro. Pant. Acted at Drury Lane, in the Christmas holidays, I8O7-8, and well received. 390. The Furies. Trag. trans- lated from iEschylus, by R. Potter. 4to. 1777 5 8vo. 1779. It is ob- served by the tralislator, " That " a very extraordinary clamour " has been excited against the aa- ♦' thor of this play for having " violated the unities, to which, " on every other occasion, he had " paid the strictest attention. " But here, where his manage- " ment of the subject led him " to treat them with less respect, " he has softened the violation by " a kind of magic power. Apollo " and the Furies must be allowed " the liberty to transport them- " selves \vhitl;er and when they " please ; and Mercury has the •■' charge of conducting Orestes ; '■'■ so that had Horace wrote, " Ille per extentum funem mihi posse virietur " Ire poeta, raeum qui pectus inaniter angit, " Irritat, mulcet, falsis tcrroribus implet " Ut magus, et modo me Deli-his, modo ponit Athenis — " the allusion would have added " a wonderful propriety to the " expression, and the lines have " conveyed a just character of " this tragedy." 255 G. GAL 1 . Vjalathfa. Com. by John Lyly. 4to. 1592. Played before Queen Elizabeth, at Greenwich, on New Year's Day at night. The characters of Galatliea and Philfida are borrowed from Iphis and lan- the, in the Qih book of Ovid's Metamorphoses. 2. Galiase. We find a play entered in this name, by Hen- slowe, as having been perfornjed at the Rose Theatre, June 29, 1594. (Perhaps for Julius.] 3. This Gallant Cavaliero, DicKE Bo'.vYER, newly acted. London : printed by Simon Staf- ford, for Nathaniel Butter, and are to be solde at his shope in Paules Church Yard, neere St. Austen's Gate. iCiOo. This piece, ■which is not in any former list of plays, we quote on the authority of Mr. Moser, European Magazine, vol. lii. p. 94. 4. The Gallant Moriscoes; or, Rollers of the Pyrenees. Dram. Performance. 8vo. 1/95. This piece, whicli is a mixture of blank verse and prose, and of serious and comic scenes, is founded on the circumstance, that among the Moors, driven by the Spaniards from their ancient settlements, were several who look refuge in the caverns of the Pyrenees, and there subsisted as banditti. They describe themselves in the follow- ing terms : — Our fathers, friends, Were brave VIoriscoes, whose industrious arts, Commerce, and patient labours, were to Spain Of h'gher value than the Western World. 6 km Thousai.-is er.rich'd with blood Granada's plains, Or weep out weary life in banishment. The Albigenses, and their perse- cution in that neiglibouHiood, are mentioned as if they made part of the same story. It is not an unenter- taining, though an irregular, drama. 5. The Gallant Schkmers. Com. A piece under this title is mentioned in The Grub Street Journal, of May 1/, 1/33. 6. Gallic Gratitude; or. Tlie Frenchman in India. Com. of two acts, by James Solas Dodd. Performed at Covcnt Garden. 8vo. 1779. The story of this piece is taken from a little French farce, of one act, called La N'aufrage, written by Mons. Lafont, and published in the year 17IO. It was acted for the benefit of Mrs. Jackson, on whose performance of Lady Randolph, in Douglas, there are some critical remarks appended. See Funeral Pile. 7. Galligantus. Musical En- tertainment. 8vo. 1758. This piece Vv^as taken from Mr. Brooke's Jack the Giant Queller. It was acted at the fiaymarket, and once at Drury Lane, for Mrs. Yates's benefit. 8. The Game at Chesse. Com. by Thomas Middleton, sun- dry times acted at the Globe, on the Bank Side. 4to. Two editions. No date, but printed 1624. It is a sort of religious controversy j the game being phyed between one of the church of Englarid andanoth*' of the cljurch of Rome, whereii the former in the end gets the 256 GAM GAM victory : Ignatius Loyola sitting by as a spectator. The scene lies in London. The performance of this play occasioned some trouble, both to the author and the actors, who were charged with having the boldness and presumption, in a rude and dishonourable fashion, to represent on the stage the persons of His Majesty the King of Spain, Count Gondomar, the Bishop of Spalato ; ai)d a complaint of which had been made by a foreign am- bassador (evidently Count Gondo- mar) to the King. The players were taken into custody, and, after a sound and sharp reproof, were dismissed with a command, that they should neither act that nor any other play until His Ma- jesty's pleasure should be furiher known. The licenser was repri- manded, and the author for some time absconded ; but afterwards appeared, and it is probable was committed to prison. See Chal- mers's y/po/o^y, p. 4g6. In a copy of this play, late in the possession of Thomas Pearson, Esq. is the following memorandum in an old hand : " After nine days, where- '* in I have heard some of the ** actors say they took fifteen " hundred pounds, the Spanish *' faction, being prevalent, got it " suppressed, and the author, Mr. " Thomas Middleton, committed " to prison, where he lay some " time, and at last got out upon " this petition to King James : " A harmless game, coyned only for delight, " Was played betwixt the black house and the white. *' The white house won. Yet still the black doth brag, *' They had the power to put me in the bag. -" Use but your royal hand, 't will set me free: •• 'Tis but removing of a man, that's inc. Thomas Middleton." 9- A Ga.me at Commerce; or. The Rooks pigeoned. Comedy, About the year 1/85, Mr. Dibdin tells us, he sent to the proprietors of Drury Lane, a comedy under this title, which was praised, but never returned, nor acted ; of course, not printed. He had pre- viously tried it at Covent Garden, under the title of The Two Houses ; but it was rejected. 10. The Gamester. Com. by James Shirley. Acted at Drury Lane. 4to. I637. Dodsley's Col- leclion, 178O. This is very far from being a bad play. The plot of it is intricate, yet natural ; the cha* I racters well drawn, and the cata- ■ strophe just and moral. It has been twice altered and brought oa the stage under different titles j first by Charles Johnson, who took his play of the Wifes Relief al- most entirely from it j and after- wards by Mr. Garrick, who brought it on at Drury Lane, by the name of The Gamesters, but - omitted two of the strongest writ- ten scenes in the whole play. For the plot, see (^. Margaret's Novels, Day 1. Nov. 8. and The Unlucky Citixen, 11. The Gamester. Com. by Mrs. Centlivre. Acted at Lincoln's InnFields. 4to. 1705; 1708, This is far from being the worst of this lady's pieces j although it is, like most of them, formed on mo- dels not her own ; the plot of it being almost entirely borrowed from a French comedy, called Le Dissipateur. It met with good suc- cess, and was, in the year 1758, revived at Drury Lane, The pro- logue was written by Mr. Rowe. 12. The Gamester. Trag. by Edward Moore. Acted at Drury Lane. 8vo. 1753. This tragedy is written in prose, and is the best drama that Mr. Moore produced.. 257 GAM The language is nervous, and yet pathetic; the plot is artful, yet clearly conducted ; the characters are highly marked, yet not un- natunil -, and the catastrophe is truiy tragic, yet not unjust. Still with all these merits it met with but middling success, the general cry against it being, that the dis- tress was too deep to be borne ; yet we are rather apt to imagine its want of p;Tfect approbation arose in one part, and that no inconsi- derable one, of the audience from a tenderness of another kind than that of compassion ; and that they were less hurt by the distress of Bevtrley, than by finding their darling vice, their favourite folly, thus vehemently attacked by the strong lance of reason and drama- tic execution. As the Gil Bias of this author had been forced upon the town several nights after the strongest public disapprobation of it had been expressed, it was thought by his friends that any piece acted under his name would be treated with vindictive severity. The Rev. Joseph Spence therefore permitted it, for the first four nights, to be imputed to him, but immediately afterwards threw aside the mask, as he supposed the suc- cess of the piece to be no longer doubtful ; when, strange to tell I some of the very persons, who had applauded it as his work, were among the foremost to condemn it as the performance of Mr. Mocre. Some part of this drama was originally composed in blank verse, of which several vestiges remain. Tlie fine acing of Mrs. Siddons and Mr. Kembie has restored this tragedy t<-> the public as a stock- play ; and it is always attractive. The character of Stukeley died with Mr. John Palmer. We have heard that the interview between. VOL. II. GAM Lewson and Stukeley, in the fourth act, was the production of Mr. Garrick's pen. When rlie play was shown in manuscript to Dr. Young, he lemarked, that ' Ga- " ming wanted such a caustic as " the concluding scene of the play " presented." 13 Thr Gamesters, Com. by David Garrick. Acted at Drury Lane. 8vo. 175S. . This is the piece mentioned above, as an al- teration of Shirley's Gamesttr. In this alteration the affair of the duel between the two friends, and-, the love-scenes between them and their mistresses, are very judi- ciously omitted ; yet we cannot help thinking that two very capital scenes, the one between Volatile and Riot, and the other between Riot and Aratjella, which stand in the last act of The JVifcs Reliof, have too much both of nature and judgment not to injure the piece by the loss of them ; and that there- fore the alteration of this play would have done more justice to the original author, had they been suti';-ri=d to remain in tlie same situation they before possess?d. 14. GammerGurtgn's Needle. Comedy, by Mr. S. master of arts, i. e. John Still, afterwards bishop of Bath and Wells. 4to. I575 ; 4to. 1601. H.O. It is one of the oldest of our dramatic pieces, and atfords an instance of the simpli- city which must ever prevail in the early dawnings of genius. The plot of this play, which is written in metre, and spun out into five regular acts, being no- thing more than Gammer Gurton"3 having mislaid the needle with which she was mending her man Hodge's breeches against the en- suing Sunday, and which, by way of catastrophe to the piece, is, after much search, great altercation, s 258 GAM GAS and some battles in its cause, at last tound sticking in the breeches themselves. The original title of it runs thus : A Ri/ghtFy thy, Plea- sant and merie Comedie: latyluled Gammer Gurton s Nedle ; played on the Stage not lorige ago in Christens Colledge in Cambridge, made by ]\Ir. S. Master of Arts : Imprynted at London in Fleele Streeate beneth the Conduit, at the Signe of St. John Evangelist, by Thomas Colwell. It is printed in the ancient black let- ter, but is republished in a more legible manner, yet still preserv- ing the ancient way of spelling, in Dodsley's Collection of Old Plays. It has sometimes happened that those who have been tempted to reprint specimens of the rude poetry of our early writers, have likewise persuaded themselves that these trifles were possessed of a further degree of merit than they may justly challenge as the records of fugitive customs, or the repo- sitories of ancient language. We therefore seize this opportunity to disclaim all pretension to the like partialities in favour of Bishop Still's performance. Could we de- ceive ourselves so far in respect to that, or the pieces of Hey wood^ as to imagine they exhibit any traits of the beautif ul simplicity , for which many an insipid ballad, like Chevy Chase, has been loudly celebrated, our wiser readers would detect our weakness, and punish it with the ridicule it deserved. When Rowe, in his prologue to Jane Shore, without exception, declared that These ■venerable ancient sang-enditers Soard many a pitch above our modern 'writers, he certainly said what he neither believed himself, nor could wish any part of his audience or his 4 readers to believe. Such literary falsehoods deserve to be exposed as often as they are noted. If the reader expresses astonishment that a piece so indelicate as this our first regular comedy should have been thrice reprinted within the space of five-and-thirty years, how much more forcibly must his won- der have been excited, when he discovered it to have been the pro- duction of one who was educated for the church, and died in the sacred character of a bishop ! The early example, however, of this reverend prelate may be fairly pleaded by all the numerous cler- gymen who, in times more chas- tised, have written for the stace, 15. Gander Hall, Farce, by Andrew Franklin. Acted at the Haymarket, for the benefit of Mrs. Gibbs, Aug. 1799, This piece contained much broad humour ; but was not very kindly received, and was never repeated. Not printed. 16. The Gardener of Sidok. Mus. Dram, in three acts. A MS. sold as part of the library of th« late Mr, Arthur Murphy. 17- Garrick IN THE Shades; or, A Peep into Elysium. Farce. Never oftered to the managers of the Theatres Royal. Svo. 1779. This seems to be the production of somedisappointed author, whose resentment extended beyond th» grave. 18. Garrick's Vagary; or, England run mad: with particu- lars of the Stratford Jubilee. Svo, 17^9. Sad stuff indeed ! 19. Gasconado the Great. A Tragi-comi-political-whimsical Opera. 4to. I759. This piece was written by James Worsdale, the painter, and is a burlesque on the affairs of the French nation during the then existing war j the 25p GEN GEN King of France and Madame de Pompadour being depicted under the characters of Gasconado and Pampelin. There is some humour in it, more especially in a few of the songs ; but it was rejected by the managers of both theatres. 20. The Gay Df.ceiveks ; or, Alore Laugh than Love. Farce, by George Colman, jun. Acted at the Haymarket, 1804. Printed in Svo. IboS. This laughable piece passed at first under the name of Arthur Gnffinboof, Esq. ; but this was pretty generally un- derstood to be a fictitious name assumed by Mr. Colman, jun. for his lighter dramatic pieces. A hint for the plot has confessedly been taken from an opera per- formed some years ago in Paris, called Les Eveneviens Imprevus; but the characters, dialogue, and incidents, are altered to suit an English audience. It was well received. 21. The Geser.^l. A Play, mentioned by James Shirley, in his Poems; but probably never printed. 22. The General. A Tragi- comedy in MS. under this title, was in the catalogue of the li- brary of the late Dr. Farmer. Query. Was this Shirley's play mentioned above? It wa§ pur- chased by Mr. Reed, and sold among his collection after his death. 23. The General cashier'^d. A Play. 4to. 1712. This play was never acted, but is printed as designed for the stage, and is de- dicated to Prince Eugene of Savoy. 24. The General Lover, C. by Theoph. Moss. Svo. 1749. This comedy not only was not acted, but is perhaps the worst composition in the dramatic way that was ever attempted even with- out any view to the stage. 25. The Generous Artifice; or. The Rcfon/ied Rake. Com- translated from the French ; print- ed in Foole's Comic Theatre, vol. iii. 12mo. 1/52. 26. The Ge.>f Age re- stor'd, in a Masque at Court, J6l5, by the Lords and Gentlemen the King's Servants, by Ben Jon- son. This piece was not printf^d till 1641. Foi. AlsoSvo. 1756. 102. The Golden Ass, and Cupid and Psyche. Play, by Henry Chet tie, in conjunction with T'lionias Dekker and John Day. G O L Acted in 16OO. Not now in ex- istence. 103. The Goloen Farmer ; or. Harlequin Ploughbny. Pant, by J. C.Cross, 8vo. 1802. Acted at the Circus. 104. The Golden Pippin. BurJetta, by Kane O'Hara, Acted at Covent Garden. 8vo. 1773. It was first produced in three acts^ as Midas had been before; but, like that performance, was not very successful in its original state. It was then reduced to an afterpiece, and was received with universal approbation. 105. The Golden Rump, This piece was never acted, never ap- peared in print, nor was it ever known who was the author of it. Yet we cannot avoid mentioning it here, as it was the real occasion of a very remarkable event in dra- matic history; viz. the act whereby all dramatic pieces are obliged to undergo the inspection and censure of tl>e Lord Chamberlain, before they can be admitted to a repre- sentation. The fact was as fol- lows: Daring the administration of a certain premier viinistrc, the late Mr. Fielding, whose genuine wit and turn for satire were too considerable to need our expatiat- ing on in this place, had in two or three of his comedies, parti- cularly those of Pasf/?iin and The Historical Register , thrown in some strokes which were too poignantly levelled at certain measures then pursuing by those at the head of atfairs, not to be severely felt, and their consequences, if not speedily put a check to, greatly dreaded by the minister. Open violence, however, was not the most e!i<7il;le method to proceed in for this pur- pose Not a restraint of liberty already made vse of, but a preven- tion of licentiousness to come, ^^% 263 G O N the proper weapon to employ in such a case. A piece, therefore, vritten ly somebody or other, was offered to Mr. Henry Giffard, the manager of Goodman's FieldsThe- atre, for representation. This piece was entitled The Golden Rump j in which, with a most unbounded freedom, abuse was vented not only against the parliament, the council, and ministry, but even against theperson of Majesty itself. Tiie honest manager, free from design himself, suspected none in others; but imagining thatalicense of this kind, if permitted to run to such enormous lengths, must be of the most pernicious consequences, quickly fell into the snare, and carried the piece to the minister, with a view of consulting him as to his manner of proceeding. The latter, commending highly his in- tegrity in this step, requested only the possession of the MS. but, at the same time, that the manager might be no loser by his zeal for the interests of his king and coun- try, ordered a gratuity, equal to what he might reasonably have expected from the profits of its representation, to be paid to him. Being now become master of the piece itself, together with the cor- i'oborating circumstance of the necessity of employing the public money to prevent even absolute treason from appearing" on the open stage, unless some authority of another kind could be found for stopping her mouth, he made such use of it, as immediately occasion-' cd the bringing into, and passing, in Parliament, the above-men- tioned bill. 106. GONDIBERT AND BeKTHA. Trag. by W. Thompson, M. A. Svo. 1751. This piece \vas never acted, nor, we believe, intended for the stagej but is published in GOO a volume with some poems of the same author. The subject from Davenant's Gondihert. 107. GoNSALvo DE Cokdova; or, The Conqiiest of Granada. Bal. by J.C. Cross. Svo. 1S02. 108. The Good Englishman. Ballad Opera, of two acts, by William Shirley. A piece not acted or printed. 109. The Good Mother. Com. translated from Madame Genlis' Theatre of Education. Svo. 178I. 12mo. 178/. 1 IO.The GooD-NATUEED Man. Com. by Oliver Goldsmith. Acted at Covent Garden. Svo. 176s. Many parts of this play exhibit the strongest indications of our author's comic talents. There is perhaps no character on the stage more happily imagined and more highly finished than Croaker's; nor do we recollect so original and successful an incident as that of the letter which he conceives to be the composition of an incendiary, and feels a thousand ridiculous horrors in consequence of his ab- surd apprehension. Our audiences, however, having been recently ex- alted on the sentimental stilts of False Delicacy, a comedy by Kelly, regarded a few scenes in Dr. Gold- sn:iith's piece as too low for their entertainment, and therefore treat- ed them with unjustifiable seve- rity. Nevertheless, The Good' natured Man succeeded, though in a degree inferior to its merit. The prologue to it, which is an excel- lent one, was written by Dr. Sa- muel Johnson, who declared the present to be the best comedy pro- duced since The Provoked Hush and, and that there had not been lately any such character on the stage as that of Croaker. Dr. Goldsmith seems to have taken the hint of the character from whom his play 2Qg G O R Is named from the lover of Miss Braddock, in his own Life of Beau J)»^ash, p. So. ] 11. The GoodnaturedMan. Acted at the Haymarket, July 1S04. Not printed. This was a reduction of the foregoing play to three acts 5 and (if the propriety GOV with a small variation in the name. See GoETz. 116, The Gospel Shop. Com, of five acts, with a new Prologue and Epilogue, by R. Hill, of Cambridge. 8vo. 1773- ^ This is a wretched attempt at satire on theMethodists. The author's name of making the abridgment be ad-" probably a fictitious one. mitted) was executed with judg raent. It was well received. 112, Goody Two Shoes; or. Harlequin Alabaster. Pant, by C. Dlbdin, jun. Acted at Sadler's Wells. 8vo. No date. 113. GoRBODuc. Trag. byT. Norton and Thomas Sackville, LordBuckhurst. B.L.4to.[150'5.] Reprinted with a preface by iVlr. Spence, 8vo. 1736'. These are only republications of an im- perfect copy of Fekkex and Por- SEX. H-I.The GoRDiAN KnotUn- r^'D. Cpm. 1691. This is not printed, but appears to have been acted in the before-mentioned year. Motteux, in The Gentle- man's Journal, Jan. l6()l-2, says, " You have often asked me who " was the author of The Gordian " KnqtUnty'd; and wondered with " many more why it was never •''■ printed. I hear that gentleman, "■ who writ lately a most ingenious " dialogue concerning women, " now translated into French, is " the author of that witty play ; " and it is almost a sin in him to " keep it and his name from the " world." 115. GORTZ OF BeRLINGF.N WITH THE Iron Hand. Hist.D; translated from the German of Goethe [by Miss Rose D'Aguilar].- The preface was written by Dr. James Currie, of Liverpool. Svo.- No date. [1790-] Never acted. Of this piece another translation '-ras about the same time published. 117- Gotham Election. F. of one long act, by Mrs. Cent- livre. 12mo. 1715, In this piece the fair author has shown great knowledge of mankind, and of the difi'erent occurrences of life. It was never acted, being looked on as a party affair, but was printed, with a "dedication to Secretary Craggs ; of whom it is recorded, greatly to his honour on this oc- casion, that being complimented on his liberality by Mrs. Brace- girdle, to whom he gave twenty guineas for the author, and told that his generosity appeared the more extraordinary as the farce had not been acted, lie replied, that he did not so m-ucli consider the merit of the piece, as what was becoming a Secretary of State to do. There is another edition (12mo. 1737); of which the title is The Humours of Elections, and the running-title Gotham Election. 118. The Governess. Com. Op. Acted at the Theatre, Crow Street, Dublin. 12mo. I777. This piece was imposed on the public as a true copy of Mr. Sheridan's Duenna, with only the alteration of the title and the names of (he characters. T!)e history of the piece, as Mr. Oulton tells us, is this : Mr. Ryder was manager of Crow Street Theatre'; and by liis opponents at the Fishamble Street Theatre Mr. Sheridan's favourite piece of The Duenna was got up at a great expense, immediately a.fter its representation in London. 270 G O W Mr.Ryder now employed sftmecwn- fidential persons to take down the dialogue in short-hand; and, be- coming thus master of the words, advertised it under the Ux\eoi'T/ie Governess (including the songs, &C. of The Duenna, which were pub- lished), and gave fresh names loall the dramatis person32; the Jew Isaac, wliich he performed himself, being called Enocii. A prosecution was the result; but Mr. Ryder succeeded as defendant ; it being the opinion of the Irish judges, that any person may make memo- randa of whatever is publicly ex- hibited, and to which he pays for bis admission. 119. The Governess; or, Boan/ing-School Dissected. Occ. Dram. 8vo. 1/85. Never per- formed. 120. The Govr.RNOH. Tnig. by Sir Cornelius Formido. I'liis pl.iy was among those destroyed by Mr. Warburton's servant. It was entered on the book of tl^e Stationers' Company, Sept. 9, 1 0.5:3. 121. The Goveun'or; or, Cre- olian Insurrection. P.int. B:illet. Acietl at Cowni Garden, March 179^. 122. The GovER>foR of Cy- FKus. Trag. by J. Oldmixon. 4lo. 1703. Acted at the Theatre in Lincoln's Inn Fields. Scene, tlie governor's palace in Cyprus, near the sea. riS.GowEY. Trag. 1604. N. P. The mention of this play we rind in the folli>wing extract of a letter from Mr. Chamberlaine to Mr. Win wood, dated Dec. 18, 1004: " The tragedy of Gou.'/-^, *' witli all action and actors, hath " been twice represented by the " King's players, with exceeding ** concourse of all sorts of people; ** but wliether the matter or man- " r.er be not \rell handled, or that G R A' " it be thought unfit that princes " sliould be played on the stage in " their lifetime, I hear that some " great councellors are much dis- " pleased with it, and so 't is " thought it shall be forbidden." 124. The Graces. Intermezzo, in one act [by C. Dibdin]. Per- formed at the Royal Circus. 8vo. 17^2. 125. The Graces. Y. in one :icx. A MS. sold as part of the library of the late I»Ir. Arthur Murphy. J 26. GrANDBY enticed I'UOM Elysium. Com. Op. by William Watson. 8vo. No date. [We believe, about 1/82.] 127. The Grateiul Fair ; or, A Tri/) to Camiridge. Cpm. by Chri.'^topher Smart. Acted at Pem- broke College, Cambridge. Tliis is the last instance of a custom which formerly prevailed in the universities, of acting plays at dit^crent colleges. This play is lost, except a soliloquy of the Princess Perriwinkle. preserved in Tke Old Bo/nan's .Magazine, and a few songs. The following ac- count of the plot and dram.atis per-.on« was given from memo- ry by Dr. Gordon, then one of the surviving actors in it: "The " business of the draina was laid *' in bringing up an old country " baronet, to odmit his nephew a " fellow-commoner at one of the " colleges ; in which expedition . " a daughter or niece attended. " In their approach to the seat of " the Muses, the waters, from a " heavy rain, happened to be out ♦* at Fen Stanton, which gave a *• young student of Emmanuel an " opportunity of showing his gal- " lantry, as he was riding out, by "jumping from his horse and " plunging into the flood to rescue " the distressed damsel, who was 271 G E A *' near perishing in the streanm " into wliich she had fallen from " her poney, as the party travelled *' on horseback. The swain, be- " ing lucky enough to effect his " purpose, of course gained an " interesc in the lady's heart, and ** an acquaintance with the rest of " the family, which he did not fail " to cultivate on their arrival at *' Cambridge, with success, as far " as the fair one was concerned. *' To bring about the consent of " the father, it was contrived to *' have a play acted, of which en- *' tertainment he was highly fond; " and the Norwich companylucki- *■' ly came to Cambridge just at " tJie time ; only one of the ac- "■ tors had been detained on the " road ; and they could not per- " form the play that night unless *' the baronet would consent to " take a part : which, rather than " be disappointed of his favourite " amusement, he was prevailed " upon to do J especially as he was *' assured that it would amount to " nothing more than silting at a " great table, and signing an instru- *' ment as a justice of peace might ''sign a warrant; and having " been some years of the quorun:, *' he felt himself quite equal to the *' undertaking. The under-play *' to be acted by the Norwich com- " pany on this occasion was Ttw " Bloody IFar of the Kin^ of Dia- " monds with the King of Spades ; " and the actors in it carne on " with their respective emblems " on their shoulders, taken from " the suits of the cards they re- " presented. The baronet was " the king of one of the parties ; " and in signing a declaration of " war, signed his consent to the " marriage of his niece or daugh- " ter, and a surrender of all her 5* fortune." G R E This piece was acted in the year 17-^7 ) ill Pembroke College Hall ; the parlour of which made the green-room. The Prologue, with the Soliloquy and Dramatis Per- sonae, are printed in the Life of Mr. Smart, prefixed to his works. 128. ThkGuateful Servant. Com. by James Shirley. Acted at the private house, Drury Lane. 4to. 1630; 'Ito. 1637 ; 4to. I66O, This play met with very great ap- plause when acted, and came forth ushered by eight copies of verses in English, and two in Latin, which the author says were " the •' free vote of his friends, which " he could not in civility refuse;" and indeed he must have very little of the poetical warmth about him, if he could be desirous so to do. Lodowick's contrivance to have his wife Artella tempted by Piero, in order that he may procure ati opportunity of divorcing her, is the same with Contarini's humour and contrivance in The Humorous Courtier. Scene, Savoy. 129. The Grave. Com. Acted at the Royal Kentish Bowmen's Lodge. The Prologue to this (by W. Spencer) only is printed. See TheMetricaLViicellari!/, 8\o.lS02, p. 164. 130. The Great Devil; or, Rdtier of Genoa. Serio-Com. Spectacle. By Charles Dibdin, jun. Acted at Sadlers' Wells. Svo. ISOl. 131. The Great Duke of FI:oRE^fCE. A Comical History, by P. Massinger. Acted at tlie Phoenix, Drury Lane. 4to. 163(5. This play met with very good suc- cess, and is recommended, in two copies of verses, by George Donne and John Ford. Sanasarro's giving the duke a false account of the ^eauty of Lidid, seems to be d near 272 G R E resemblance to tiie story of Edgar and EltVida. 132. The Great Favourite ; or. The Duke of Lervia. Trag. by Sir Robert Howard. Acted at the Thealre Royal. 4to. l6oS ; fol. 1692. Some scenes of this play are written in blank verse, and some in rhyme ; the scene lies at Madrid ; and the plot is taken fro m Al a ri a n a , Turqviet de May er n, and other historians of those times. 133. The Grfat Man. Trag. Anonyn;iou3. This was among those destroyed by Mr. Warbur- ton's servant. 134. The Grecian Daugh- ter Trag. by Arthur Murphy. Acted at I>rury Lane. 8vo. \77'^- This tragedy is founded on a pas- sage in Valerius Maxinms, lib. v. " c, 4. De PieUite in Parentcs. In a postscript, the author says, " he " does not wish to conceal that " the subject of this tragedy has " been touched in seme foreign " pieces ; but he thinks it has **■ been only iouclied. The Zd- " mire of Monsieur Belloy begins " atter the daughter has delivered " her father out of prison. The ••' play, indeed, has many beauties; '•' and if the sentin;ents and bu- '■' sinessof that piece had coincided -* vviih the design of 27?^? Grecian " Danghttr, the author would not " have blushed to tread in his " steps. But a new fable was ab- " solutcly necessary, and perhaps, '• in the present humour of the *' times, it is not unlucky that no *' rnore than three lines could be " adopted from Monsieur Bellny." It met with very great success, and was excellently performed in the principal .characters, by Mr. and j\Irs. Barry. The iirs't idea of writing this play is said to have boen suggested to Mr. Murphy by a picture, which he noticed as he 2 G R E was waiting in the room of a ce- lebrated painter. In this picture, the centinel, as he witnesses the interesting scene of the daughter suckling her parent, bursts into tears. 135. The Grecian Heroine; or, Tke Fate of Tyranny, A Trag. by T. Durfey. This piece was never acted, but was published with a collection of poems, in Svo. 1721. The title-page says it was written in I/IS; but the preface mentions it as a production of many years earlier; the characters of Timoleon and Belizaria beinj intended for Mr. Betterton and Mrs. Barry. 136. The Greek Slave ; or. The School for Cowards. Com. Acted at Drury Lane, l/Ql. Not printed. This alteration from The Humorous Lieutenant was pro- duced for Mrs. Jordan's benefit^ and by some ascribed to her pen. Not printed. 137. Greenock Fair. Mus. Int.byArchib.jVIaclaren. SeeTne Humours of Greenock Fair. 138. The Green Room. Prel. by Finney. Acted at the Haymarket, Aug. 37, 1783. Not printed. It was performed for a benefit, and well received, but not repeated. 139. Green R.00M Chit Chat. Frei. A MS. sold as part of the library of the late Mr. Isaac Reed. J40. Green's Tu QuoauE ; or. The City Gallant. Comedy, by John Cooke. 4to. No date j 4to. I5g,g; 4to. 10"14. We are- told, by I'homas Heywood, who was the editor of this play, that it" passed the test of the stage with general apjilause. It was at first" performed by the latter title only;' but the inimitable acting of Groen, a celebrated comedian of that time, in the part of Bubble the City Gal- 2f3 G R I Innr, who, in answer to every com- pliment, comes out with the words Tu (jurKjiw, occasioned the anlhor, out ot" regard to Jiini, in aild lo it the present first title. Eotli edi- tions of it had a figure of Green in the litle-page, with a hibel out of liis month, Tu (luoijuc, to you. Sir! The piece itself is repub- lislied among Dodsley's Old Plays. 141. GkeivNwich Park. Com. by W. Mountforl. -Ito. 16Q1. 1'iiis is a tolerable comedy, and met with ve.'"v good success. It was acted at Drury Lane. 14'i. The Gkinwdier. Inter- lude. Acted at S.idler's Wells, yvo. 1-13. Le Guenadier, in three part-, by John O'Keetfe, intended to h ivii been pi-rformed at Covent Garden, in 17''9- Printed in his works, Svo. 17pS. It is, after all, but a pantomime .vith songs, and is founded on the story of Dubois, the grenadier who lirst mounted the breach at the destruction of the Bastille, in the beginning of the French revolution. It is not like- ly, we think, that the Lord Cham- berlain's license would have been obtained for its being acted. J44. Gr[envi]lle Agonistes. Dram. Poem. Svo. I8O7. This is a political squib : of course, never acted. 145. Gretna Gkef.n. Musical Farce, by Charles Stuart. Per- formed at the Haymarket, with considerable applause, 1 783. Songs only printed. Svo. 17S3. 146. The Grey Mare tke BXTTER Horse. See The Welsh Ofeka, 147. Grieviwg 's A Folly. Com. by Richard Leigh. Acted by the late Drury lane Company at the Lyceum, in the Strand. The author generously gave this piece to the performers, who bad VOL.11. G R U been thrown out of employment I'y the destruction of Drury Lane Theatre; and it was acted many ni'jhts with great success. Svo. isoy. 148. Geim the Collier of Croydox ; or, Tke Duvil and his Dame, luitk the Devil and St. Dnnstan. Com. by J. T. 12iri0. 10"()2. D. C. The plot of this play is founded on M ichiaver.*; Novel of Tke Maningc of Bclphc- gor. The scene lies in England. This piece is one of those in the Ctn)ice Ternary of Plays. See Thorney Aebi;y. 14p. Guipus AXD Hegio ; or, Thi: Passiunale Lovers. Pastoral, by Robert Baron. Svo. 1O47. This play consists of no m>)re than tiiree acts, and is mostly burrowed frorri Waller's Poems, and We'nster's Duc/icss f Maljy. Thi.'?, however, may well be excu-..>d, when the reader is informed that the whole Romance, in which are this and the Dcuruni Dona, was composed when the author was no more than seventeen years of I'.ge. 150. The Giiove ; or. Love's Parmlisc. An Oper,'., by J. Qld- mixon. 4to. 1700. Performed at Drury Lane. The author, in hi or, The Fifth of Kovembi^r. Dram. Sketch. Acted at the Haymarket, Nov. 5, 1793. It was well received} but was not repeated, and has not been jjrinted. 171. The Tragedy of The GuYES. This is entered by Hen- slowe, as having been acted at the G U Z Hose Theatre, near Bankside, Jan, 30, loyi. It might perhaps he Marlow's Massacre iijfarh, with the Death of the Duke of Guhe. 172. Guzman. Com. by Roger, Earl of Orrery. Fol. lti()3 ; bvo. 173(). The scene of this phiy lies in Spain, and the phvt is from a romance of the same name. It was acted at the Duke of Yc;rk'i< Theatre many years betbre the time of its publication. H H A I 1. iJAGAit IN THE Desert. See Theatre of Education. 2. Hagah in the Wilder- ness, A translation of the fore- going sacred orama of JVludame Geniis, by Thos. Holcroft. Svo. 17S6. 3. Hail Fellow, Well met! Int. Acted at the Haymarket, Aug. 9, 1792, for Mx-. Wilson's, benefit. The subject was tempo- rary, and the piece afforded a laugh, but was never printed. 4. Hail Pellov/, Well met! A Drama, in five acts, by S. J. Pratt. Svo. 1805. This is said to have been " performed for some " years on the continent, with " univtrsnl applause 5" but we are net told on what part of the con- tinent. As, however, it here oc- cupies above 200 pages, we may presume, that if ever really acted elseickcre than on the Jacobini- cal stage of French revolution, it must have been much curtailed. Its object is, to exhibit the abfur- H A L dity and impracticability of the French system of equality. It 1.% printed in tl:e second volume of Mr. Pratt's Harvest Hume, and is an ingenious and interesting per- formance. • 5. Half an Hour after Sup- per. Interl. Acted at the Hay- market. 8vo. I7i3<^. The object of this piece is to expose the dan- gerous tendency to young women, of devoting their time and thoughts to the sentimental trash of the modern circulating library. (). The Half-pay Officers. Farce, of three acts, by Charlea Molloy. Acted at the Theatre iii Lincoln's Inn Fields, rimo. 172O. This is founded on Sir W. Dave- nant's Love and Honour, and some other old plays ; and Whincop relates an anecdote respecting it, which, besides its having some hu- mour in itself, has so much con- cern with theatrical history, that we cannot deny it a place here. There was, says that writer, one 277 II A L t^ing very renKirk;ible at the re- presentation ot" this firce; the part of an old grandmother was per- formed by JVIrs. Fr)'er, wlio was then ei<^Iity-ri\e years of age, and had cjiiitted the stage ever since the reign of King Charles JL It was put in the bills, " The Part of " Lady liichluve to tv performed " ly Peg Fri/cr, tuho has not a/)- " pcarcd upon, the stui^c these rifty " years;" wliich drew togeliier a ^reat liouse. 1'lie charaeter in the farce was suj)posed to be a very old woman, and Peg went through it very well, as if she had exert-ed her utmost abilities ; but, the farce being ended, she was brought again upon the stage to dance a jig, wliieh had been pro- mised in the bills. She came tot- tering in, as if ready to fall, and made two or three pretended ofters to go out again ; but all on a sud- (I'-u, the rnusic btdking up the Irish Trot, she danced and footed it al- most as nimbly as any wench of five-and-twcjity could have done. This woman afterwards set up a public-hcjuse at Tottenliani Courr, and great numbers frecjuently v.-ent To satisfy their curiosity In seeing so extraordinary a person. This story recalls to mind a very extraordinary particular, somewhat of the like kind, in the life of the celebrated M. Baron, the Garrick ox the Eetterton of the French nation. That j^rest actor having, on some occasion, taken disgust at tlie reception he had met with in the pursuance of hi-3 profession, quitted the stage, after having been on it for several years^ akhough at that time in the very height of his reputation. He continued in a private and retired manner for many years; afier which, at a time of life when most men would have »:onsidered themaelves as vetenuis^ H A M would have found their faculties abating, and been desirous of re- tiring, if possible, from the hurrv of public business, he returntd again to the stage with renewed vigour and improved abilities; rose to a higher rank of fame than even that which he had before ob- tained, playing the youngest and most spirited characters with un- abated vivacity ; and continuing so to do tor many years afterwards, till death snatchetl him away in a very advanced age. 7. Halloween ; or, Tlic Cas- tles 0/' ylthlin and Duiibaync. S. by J. C Cros-s. Acted" at the lioyal Circus ; and printed in the Cirrudana, 12mo. ISOp. S. Hamlet. A Play with this title was acted at Newington The- atre, by the Lord Admiral's and Lord Chamberlain's men, June p, •lJ(ji. Could this be Siiakspeare's, the lirst edition of which was not })rintcd till ten yeara, afterwards ? §. £Iamlet Pri\ce of Den- mark. Trag-edy, by Wm. Sliak- speare. 4to. \6ul, by J. II. for N. L.; 4to. ltt)5 ; "^lo. iGll ; 'ito. no date; 4to. lOli/. Dr. Johnson observes, that if " the " dramas of Shakspeare were to " be .characterized, each by the " particular excellence which dis- " tinguislves it from the rest, we " must allow to the tragedy of " Hanilet the praise of variety. " The incidents are so numerous, " that tl;e argument of the play " would make a long tale. The " scenes are interchangeably idi- " versified with merriment an-d so- " lemnily ; wiih merrimt'nt that " includes jvidiciotts and instruc- " tive observations ; and solem- " nity, not strained by poetical " violence above the natural sen- " tmients of man. New charac- '■' tcrs appear from time to time T 3 27S HAM *' in continual succession, exhi- " biting various forms ot life and •' particularmouesof conveisotion. ♦' The pretended madneisuf H:im- *•' let causes much mirlh ; the " mournful distraction of Ophelia " fills the heart with tenderness ; *' and every personage produces " the effect intended, front the *' apparition that, in the fir^t act, " chills the blood with horror, to " the fop, in the last, th:Lt exposes *' afi'ectation to just contenipt. " The conduct is perhaps not " wholly secure against objections. " The action is indeed for the " most part in continual progres- " sion ; but there are some scenes " which neither forward nor re- '•' tard it. Of the feigned mad- " nessof Hamlet there ap))ears no " adequate cause, for be does no- " thing which he might not have ^' done with the reputation of *' sanity. He plays the madman •■' most when he treats Ophelia " with so much rudeness, which " seems to be useless and wanton " cruelty. "Hamlet is, through the whole " piece, rather an instrument than " an agent. After he has, by the " stratagem of the play, convicted " the king, he make.-, no attempt " to punish him ; and his death is " at last effected b an incident " which Hamlet had no part in *' producing. " The catastrophe is not very *' happily produced; the exchange *' of weapons is rather an expe- " dient of necessity, than a stroke *•' of art. A scheme miglit easily " be f(»rmed to kill Hamlet with •' the dagger, and Laertes with *' the bowl. " The poet is accused of having <' showi; little regard to poetical " juslit e, and may be charged with '^ gijual neglect of poetical pro- H A M " babihty. The apparition left " the regions of the dead to little " purposf ; the revenge which he " demands is not obtained but by " the death of him that was re- " quired lo take it ; and the gra- " tihcation, which would arise " from the destruction of an usur- *"■' per and a murderer, is abated '•' by the untimely death of Ophe- " lia, the young, the beautiful, " the harmless, the pious." It is recorded of the author, that although his knowledge and ob' servation of nature rendered him the most accurate painter of the sensations of the human mind in his writings, yet so difierent are the talents requisite for acting from those required for dramatic writ- ing, that the part of the Ghost in tliis play (no very considerable character) was almost the only one, in w hich he was able to make any figure as a performer. Scene Elsinoor. 10. Hamlet. Altered by Mr. Garrick. Acted at Drury Lane, 1771' This alteration was made in the true spirit of Bottom the JVcaver, who wishes to play not only the part assigned Wm, but all the rest in the piece. INIr. Gar- rick, in short, had reduced the consequence of every character but that represented by himself; and thus, excluding Osric, the Grave-^ diggers, &:c. contrived to mono^ polize the attention of the an-, dience. Our poet had furnished Laertes withadying address, which afforded him a local advantage over the Prince of Denmark. I'his circnmstance was no sooner ob- served, than the speech was taken away from the former, and adopted by the latter. After the death of the player, the public, indeed, vindicated the rights of the poet, by starving the theatres into cpm-s ^79 II A N pliunce with their wishes to see Hamlet as originally meant for exhibition. Mr. Ganick hnd once designed to publish the changes he had made in it, and (as was usual vith him in tlie course of similar transactions) had accepted a com- pliment from the bookselknN, (X>n- sisting of a set of Olivet's edition of Tully ; bur, on second thoughts, with a laudable regard to his future credit, he rt-turned the acknow- ledgment, and suppressed the alter- ation. In short, no bribe but his own inimitable performance, could iiave prevailed on an English au- dience to sit patiently, and behold the martyrdom of their favourite author. 11. Hamlet Prince of Den- mark. I'ragedy. Altered iVom Shakspeare, by J. P. Kemble. Acted atDrury Lane. 8vo. 1800. 12. Hamlet Puince of Den- mark. Trag. by Shakspeare, re- vised by J. P. Kemble, and now drst published as it is acted at Covent Garden. 8vo. 1804. 13. Hampden. Trag. by Lord Dreghorne. 8vo. l/fKy, Mr. Oul- ton mentions this piece ; but we have never met with it. 14. Hampstead Hkath. Com. by Thomas Baker. Acted at Drury Lane. 4to. 1706. This play is little more than an altera- tion of the yjct at Oxford, written by the same author, and was not well received. The scene lies at Hampstead. 15. Hanging and Maukiage; or, Tke Dead Man's JFedding. Farce, by Henry Carey. Acted March 15, 1/22, at Lincoln's Inn Fields, for the benefit of Mr. Quin. 12mo. 1/22. It is not, however, included in the collec- tion of Carey's works. 4to. 17-J3. 16. Hannah Hewitt; or, TIk Female Crusoe. Mus, Ent. in H A i^ two acts, by Chas. Dibdin. Acted at Drury Lane, 17()8, for the be- nefit of Mr. Bannister, jun. This was taken from a novel of the same title, by the same author. It was acted but once, and has not been printed. 17- Hannibal and Hermes. Play, by Robert Wilson, in con- junction with Dekker and Drayton. Acted in l-Scjy, but not now in existence. 18. Hannibal and Scipio. Play, by William Ramkins, in conjunction with Richard Hath- waye. Acted ifiOO Not printed. 19. Hannibal and Scipio. Historical Trag. by Thos. Nabbes. Acted in 1635, at Drury Lane. 4lo. 1637. This play was acted before women appeared upon the stage ; the part of Sophonisba being performed by one Ezekiel Fenne. It is addressed, in verses by the author, to the ghosts of Hannibal and Scipio, with an an- swer in their names directed to him. The plot is founded on history, and may be traced in Cornelius Nepos and Plutarch ; but the unity of place is most ex- cessively broken in upon ; the scene of the first act lying in Capua, of the second at the court of Syphax, (5f the third at Utica, of the fourth at Carthage, and of the fifth in Bithynia. 20. Hans Beer Pot, his invi- sible comedy of See me, and see me 720/.' 4to. 161 8. This piece is, according to the author's own ac- count of it, neither comedy nor tragedy, as wanting first the just number of speakers, and secondly those parts or acts it should have> which ought to be at the least five, but is a plain conference of so m.iny persons, consisting of three acts and no more. It is said to have been acted by au honest compan/ 260 HAP «f health. drinkers. Phillips and Winstnnley have attributod the piece tt) Thomas Nash ; but it is certainly the prcdnclion of Da:r- Iridge- Court BeUk'ier, whose lume is; svibscribed to the dedication. 21. Hapfy at Last ; or, S'l^h no more, LaJies. Corned)'. Acted Jit the Mati^ile I'he.ifre, for the benefit of t lie manager, Mr. Wil- jnot We!l.s, Sept. 13, 18U5. Not printed. Thougli this author made three ladies sigh and Inngiiish througli- out the piece, he made only one of tlicm happy at laiih so little of order or arrangement, that no natural aHi;ince or coniiec- tlun between the several parts could be discovered. Nothing like a regul.ir dnimatic plot w:;s visible. Tiic absurdities scattered throughout ];roduced a good deal of laughter ; but toward the close, tlie audience became tired of it, HAP and hisses loud and general at- tended its conclusion. 22. The Hapi y Cai-tive. An English Opera, by Lewis Theo- b.dd. bvo. 17-41. The plot of this piece is taken from a novel, en- titled, The History of a Slave, whiih is to be met with in Don Qaijnli', part „i-.- hook iv. The ;iuthor has introduced into it an interlude in two comic scenes be- tween S'Sxn. Capoccio, a diiector frcm the Canary Lsles, and Sign. Dorinna, a \irtuoso, intended as a ruiicule on the Italian operas. 23. The Happy Choice. Past, in MS sold as part of the library of tlie late Mr. Arthur Murphy. 24. The Happy Constancy. See Nest of Plays. 25. The Happy Delusion. Com. Acted at the King's Theatre in ihc Haymarket, by the coni' pany of Jt;ilian comedians. 8vo. 1727. A Pai!ton)ime, in five acts. 26. The Happy Disguise 5 or, Love in a Meadoir. Com. Op. by "\V. C. Oulton. Acted at Ca- pel Street, Dublin. 12mo. 178^. 27. The Happy Family. A Drama, in five acts, from tho G-'rman of Korzebue, by Henj, Thomp&on. Svo. 179.Q; 1801. Never acted. ^Vmong the dramas of Kotzebue, tUis piece appears to be one of the most unexception- able in principle, and spirited in execution. The characters are drawn with force, the situations are drimatic, and the iriterest is support eil to tiie conclusion. 28. The Happv Islano. Com. translated from the French of Ma- dame Gcnlis. Bvo. 1/81 ; 12mo. 1/87. 2Q. The PIappy Lovers; or. The Beau AJctawnrphmeci. An Opera, by Henry Ward. Acted at Lincolu's Inn Fields, 8vo. 1/3(3, 281 H A R Printed al-o with other pieces, Svo. 17-10". 30. Thk Haii'Y Mahriagk; or, TUe Tutn of f ml uric. ActeJ at Lincoln's Inn Fields. Written by a young gentleman. Timo. 17-7- This young ^cf:th'rrin?i npjK'ars to Jiave v«ry niMcii niisenjployed his time} tor his comedy is without one grain ot" wit ; the language is extremely poor; and where hu- mour has !)een atteuipted, tlie coarse.->t ribaldry has 'generally been proJuced. The whole composi- tion is not above the ordinary ta- lents of a footman : which cha- racter, by the by. Is made the hero of the piece. It is said, in the titie-]ia,^e, to have been acted at tiie Theaire Royal in Lincoln's Jnn Fields ; but !!)ere are no per- formers' names atil.\ed to the dra- matis persoufe. 31. The Hati-y Prescrii'- TioN ; or, Tkf Lady relieved from her Lovers. Com. by William Hayley. -Ito. 1784. This is a comedy in rliyme, and a very pleasant one it is. The character of Sir Xicholas Oddfish is sketch- ed with great humour, and the pl(;t is ingeniously conducted to its catastrophe. Xot acted. 32. HAttDACNUTE. A Play with tliis title is recorded by Piiiiip Henslowe, as having been acted Oct. \g, 15.07- 33. Haulepiuin' Amui.f.t ; or. The Magic iif Jlnnn. Pantomime. Acted at Drury Lane. 3vo. 1800. 34. Harlehuix an'dFaustus; or. The Devil ivill hove hi\- Oicn. Z'ant. Acted at Covent Garden, 1793, and well received. Tiie greater part of this performance was new, the rest selected. 35. HARLEauiM andObfron; or. The Ch.ace lo Gretna. Pant. Acted at Covent Garden, 17.Q0'- 30\HAKL£aUIN AND QuiXO IK ; n A R or. The Magic Arm. Pant, hy J. C. Cross. Acted at Covent Gar- den, Dec. 20", 1797, and well re- ceived. 37.HARLEauiNBACCHus. Pant. Perti^rmed at the Royal Circus, April 15, 1805. Svo. 1805. 38. HARLEftuiN Barber. Pant. Acted at Covent Garden, April 20, 1741, for tlie benefit of Mons. and Madame JMichel, the French boy and girl. J.Q. HARLEftUiM Benedick; or. The Ghost of Mother Skipton. Pant, Acted at Sadler's Wells. Svo. IbOl. 40. EiARLEauiN Captive; or. The Magic Fire. Pant. Repre- sented at Drury Lane. Svo. 179S. 41. HARLEaiii.v Cartouche ; or. The French Robber. Pant. Acted at the Hnymarket, 1/33. 42. Harlfruix Doctor Faus- Tus, wiili the Masque of tiie Deities. CoiTiposcd by John Thur- mond, dancing-master. Svo. 1724. This was performed at Drury Lane. 43. HAKLcauiN Doctor Fai's- Tt's. Pant. Altered from The Necromafirer, b)' Mr. Woodward. Acted at Covent Garden, 17ot). 44. HAKi.Rauiv enchaxted. Pant. Acted at Drury Lane, April '2.5, \75i, for the benelit of Mons. Leviez. 45. HARLEauiN Englishmav; or, Tfi,c Frernhmnn J'it. P.iulom. Acted at Goodman's Fields, I742. 4(). HAnLEfiriN' executkd. Entertainment in grotesque cha- racters, by Mr. Rich. Acted at Lincoln's Inn Fields, 172O. 4'/. Harlequin* P'keemason. Pant. Acted at Covent Garden, 17BO. This splendid and very^ successful perforn:iance was .said to he the contrivance of Mr. Messink. Mr. Dibdin, however, was the writer of the songs, &:c. 43. ilAKL'iQUiN HArpYj or. 282 H A R Poor Pierrot t warrit-d. Pjntoni. Actt'dar Drury Lane, 1/28. 4Q. Harlesuiv Hydaspes ; or. The Greshamitt'. A Mock Opera [by Mrs. Auberi] . Acted at Lincoln's Jnn Fields. Svo. 1719- 50. Harleguin in China. See Proteus. 51. Harlequin in his Ele- ment; or. Fire, Water, Earth, and Air. Pant, by T. Dibdin. Acted at Cov. Garden. Svo. IbOS. 52. Harleguin ix the City; or. Columbine turned Elephant. Pant. Acted at Goodman's Fields, 1734. 53. Harleguin Incendia\vY; or, Columline Cameron. A Mu- sical Pantominjc. Anon. Svo. 17-46. Tins piece was peiforn :ed at the Tlieatre Royal in Drury Line, the season after the quelling of the rebellion in Scotland. The mu- sic was composed by Dr. Arne, bat it does not appear who was ihe contriver of the pantomime ; in which, as usual. Harlequin is the favoured lover of Columbine, who seems by no means to be dis- tinguished as Jenny C::meron, but by some part of the scene being laid in the Highlands of Scotland, and the defeat of the rebel army, which has really no connection with the rest of the piece, though it forms the catastrophe of the v,hole. 54. Harleguin' Invisirle ; or, The Emperor oj China's Court, Pantom. Acted at Lincoln's Lin Fields, .8th April 1724, for Mons. Dnpre's beneht, 55. Hahlfguin Junior ; or, Tlie Mogir. Cestus. Pant. Acted at Drury Lane, 1784. 56. Harleguin Mountebank. pant.. Acted at Drury Lane, May 11, 1756, for the benefit of Mr. Saunderson, machinist. 5"/ . Harleguin Multiplied. A piece with this title we i^nd in Mr H A R Bjtlioe's Catalogue, but know not either its date or dc^iign, not hav- ing been able to come at the sight of it. ■ We imagine it, however, to have been a pantomime, andconse- quently the produce of these last fif- ty or si xty years. — I'hus the preced- ing editions of this work, by the kindness of Mr. Kemble, however, we are enabled to state, that this is a pantomime ; and an account of it will be found under the title Argentina Streua. The piece is in the collection of the above- named gentleman. 5S. Harleguin Munco; or, A Peep into the Tower. Pantom. Performed at the Royalty Theatre. 5i) Harlequin onthe Stocks; or, A Pantomime luiinrhcd. A Comic, Satiric, Operatic, Panto- mimic Romance, by Andrew Cherry. Performed at the Hull Theatre, for his benefit, 1793. do. Harlequin Ohpheus ; or. The Magic Pipe. Pant, Acted at Drury Lane, 1735. 61. Harlequin PEASAJfT ; or, A Pantomime rehearsed. Pant. Acted at the Haymarket, I793. A collection of scenes from old pantomimes, except the first, which exhibited a winter view of the country, where a peasant rinds a frozen serpent, which he fi::.t puts in his bosom, and af- terwards places it by the fire, where it revives and turns tothege- liius of gratitude, who gives to the peasant the sword of Harlequin. 62. Haulecjt-in Peplar ; or. The Ilau'itcd Iflll. Pant, by T. Dibdin. Acied at Covcnt Garden with great success. ISG9-IO. 63. Harlequin Premier. Farce, as it is daily acted. Svo. 1760. This is a satire on the Ministry, and is pretty equally composed of pertness and stupidity. OLHaRLEGUIK QUICKSILVEKJ 283 H A R or. The. Gnome ar.d the Dentil. P:iut. by T. Dibdin. Acted at Covent Garden. 8vo. 1S05. Go. Harlesuin Rambler ; or. The Convent in an Uproar. Pant. Acted at Covent Garden, 1784. This w.n only an altera- tion o{F)-iar Baci.n. In this, a real balloon was for a few nights intro- duced ; but, being offensive to the audience, it was ■^non laiJ aside. do". ilAKLEauiN Ranger. Pant, by Henry Woodward. Acted at Drury Lane, 1/51-2, This was a very successful performance. 67. Harleguin restored ; or, Taste a la Alodc. Pantoni. Acted at Drury Lane. Songs only primed. Svo. No date. 08. Harlequix Sheppard. A Night Scene, in grotesque cha- racters, by John Thurmond. Act- ed at Drury Lane. 8vo. 1/24. It is built on the exploits of a notorious house-breaker at that period, who twice made his escape from Newgate. The managers, Wilks, Booth, and Gibber, were ridiculed as the contrivers of this piece, by Hogarth in one of his earliest performances. They are represented in the act of forming a pantomime. One of these person- ages [Mr. Wilks] is employed in drawing up the figure of Jack Sheppard out of the aperture in a forica ; and an engraved direc- tion gives us to understand, that when the projected piece was ex- hibited on the stage, the sub- stance with which this hero was to be covered, at his ascent, would be composed of chewed ginger- bread, to prevent offence. 69. Harlequin Shipwreck- ed : concluding with The Loves of Paris and Q^none, Pantom. Acted at Goodman's Fields, 1/36. 70 HARLEeuiN Sorcerer, with the Loves of Pluto and Pro- II A R serpine. pantom. the words by Lewis Tl^obald. Acted at Lin- C(Jn's Inn Fields. 8vo. 1725 ; Bvo. 1/52. This piece contains a great deal of very tine machi- nery, and brought crowded houses to the manager of Covent Garden Theatre, for several seasons, on its revival in 1/52. 71. Harlequin Stwdent; or. The Fall of Pantomime, with the Restoration (if the Drama. Enter- tainment. Acted at Goodman's Fields. The music by Mr. Prel- leur. Bvo. 1/41. 72. HAKLEftuiN Teague ; or. The Giant's Causeway. Speaking Pant. Acted at the Haymarket, 1/82. The songs only prir.red. Svo. The songs in this piece were by Mr. Colman, senior; nnd the whole of the pantomime deserved tlie applause it met with. K^tter- felto, a celebrated quack philoso- pher of that day, was admirably mimicked by Mr. Wewitzer, ia the character of Dr. Caterpillnr. it also satirized the absurdities of modern masquerades. 73. Harlequin the Phantom OF A Day. Pantom. by Charles Dibdin. Acted at the Royal Cir-. cus. Svo. 1783. 74. Harlequin's Almanack; or. The Four Seasons. Pantom. by T. Dibdin. Performed at Co- vent Garden. Svo. 1801. "Jo. Harlequin's Chaplet. Pantomime, selected from various former pantomimes. Acted at Co- vent Garden, 17S9. 76. Harlequin's Cr«NTRi- VANCE ; or. The Jealous Yeomaiti defeated. Pant. Acted at Good- man's Fields, April 21, 1732, fo^ the benefit of Mr. Burny, dancing- master. In this piece Mr. V\ ood- ward first exhibited his talents in the party-coloured jacket : the pi ay- bills announcing the part of 234 H A R Ilnrlequin to be attempted by young Woodward. "JT- Haklesuin's Frolick ; or, A Foyage to Prussia. Lilli- putian PaiUomime. Acted at the Haymarket, 1757, when und^jr the direction of Theophilus Cibber, and introduced in an entertain- ment called " An Injpromptu ct' " Whim, Novelty, and Amuse- " ment. " 73. Haei-equin's Fkoluks. Fant. Acted at Covent Garden, 1770. This was an alteration of Prometheus. 79, HAKLE-auiN'a Habeas ; or, The Hall of Speclrcs. Pant, by T. Dibdin. Acted at Covent Gar- den. Svo. 1S03. 50. HAKLEftuiN's Jacket ; or, 7^he JVeif Year's Gift. A P;:nto- mime. Performed at Drury Lane, 1775. 51. Harleciuin's Invasion. A Caristnias Gambol, 17^9- ili's pantomime was often perfornied at Drury Lane. Tlie plan of ii is a supposed invaMon made byl larle- quin and his train upon the fron- tiers and domain of Shakspeare. The characters are made to speak, juid the catastrophe is the defeat of Harlequin, and tlie restoration of King Shak.^^peare. Of Harlc- quins Invasion, all the diaIogn>-, inc. was furnished by INIr. Girrick, \\\\o originally wrote some parts of it to serve the interest of a fa- vourite performer at Bartholomew Fair, wlvere it passed under a title des^"'nrdiv ostentatious, conclud- jiig thus : Tiw Taylor vithont a Head ; o- , TU-: BcUi/e of the Gulden Uridyl'. 32. Harleuuin's JuniLE". A Pantoniime. Performed at Co- vent Garden, Svo. 17/0. This pantomime v^as contrived by Mr. Woodward, and v.'3s intended to ridicule The JuHUe, ucted the pre- H A R reding season at Drury Lane. It had, iiowever, little elfect. 53. HARLEaUIXsMAGNET; or, The Scandiuaviuii Sorcerer. Pant. by T. Dibdin. Acted at Covent Garden, ISOO". 54. HARLEauiK's Mouth open'd. See Wishes. 55. Harlep.uin's T'.IustUM ; or. Motlicr Shiptnn triumphant. iV.nt. Acted at Covent Garden, 'i79'-^- A selection from former pantomimes. Sij. HARLEftuiN's Otera. See Fashionable Lady. 57. Harleq-uin's Races ; or. Time beats AIL Pant. Acted at Covent Garden, 1S03. Not very, successful. 58. HARLEauix's Returv. Pant, by J. C. Cros-:. Acted at Covent Garden, lyyu. S(). IL\RLtftuiN's Tour ; or, 77/6' Dcniinion of Fancy. Pant. Acted at Covent Garden. Svo. ]800. yo. TlAP.LEauiN's Treasuhe; or, .Tcivels vcir set. Pant. Acted at C"i)vent Garden, 1 79^- i'\. Harlehuixs Tkiumth. A Pantomime, by JohnTliunnond. Acted at Drury Lane. Svo. \7-7- 92. The ilAKLEttuiNS. Com. Printed in the lirst volume of The Patriot Mi3. A political squib. 9?>. The Harlot's Progress; or, Tlie Ridotio at Fresco. A gro- tes(]ue Pantomivie Entertaiiunent, bv Theophilus Cibber. Acted at Drury Lane. 4to. 1733. This en- ter.Tiinment was adopted Irom the then popular engravings of The Harlot's Progress, by Mr. Hogarth. Li print it occupies very few pages; but is so rarely met with, that at the sale of Mr. Reed's books, it fetched S/. Mr. Kemble was the purchaser, f)i. Harold. Tiag. A MS 265 H A ll pVw, with this title, written by Henry Jones (the bricklayer), is, it is supposed, still in existence. See pMropcau Mn<^nt.inc, vol. xxv. p. 200. ()5. Harold. Trag. by Tho- mas Boyce. 4to. 17S6. I'his tra- gedy, we are told, was til)i^hed iu its present tbrm before I\Ir. Cnmberland's Battie of Hnst'nii^s was known to exist. Not desirin«^ to contend wiih an author whose dramatic character was then very high, Mr. Boyce did not produce his play; which, liowever, would not havesuttered much byaconiparison with Mr. Cumberland's. His table is plea-^ing; but tiie incidents do not sufficiently excite those sen- sations to which tragedy ought to give birth. q6. The Harpek'sDaughtek. Trag, by M. G. Lenis. Acted at Covent Garden, ior the benefit of Mr. H. Johnston, May 4, 1803. This was an alteration from Schil- ler's Minister, and possessed much o^ the extravagant horror of the German school. It was very well received. Not printed, 97. Harry ofCornwail. A piece with this title was acted, according to Henslowe, Feb. 25, 1591, at the Rose Theatre. 93. Harry thk Fifth. Acted, as Henslowe records, Nov. 2S, 1595. This was perhaps the play entitled " The Famous Fictorits of " Henry the Fifth, containing the " Honourable Battle ofAgincourt," reprinted in Mr. Nichols'i Col- lection, vol. ii. 99. Harry the Fifte Life AN'D Death. Acted, as Henslowe tells us. May 2ti, I597, This cannot have been the foregoing play J for Henry's death is not in that; nor could it beShakspeare's, for a similar reason. 100, Hartford Bridge ; or, H A U The SJnrls of the Camp. Oji. Faree, by \V. Pearce. Acted at Covent Garden, 1/92, and very well re- ceived. A prominent character in it is Peregrine Forester, an ego- tistical traveller, who can think and talk only (;f himself and hi- adventures. Songs only, 8vo. 1792. The wh.ole piece, Svo, 179S. 101. Harvest Home. C. O. by Charles Dibdin. Acted at the Haymarket. yvo. 17&7- This is a diverting piece, and was per- formed with tolerable .-•uccess. 102. TiiF, Hasty Wedding; or, The Intiiguing 'Sijuire. Com. by Cha. Shadwefl. 12mo. I720, Scene, Dublin. Time, eight hours. 103. Have at All ; or. The Jllidriight Adventures. Com. by- Joseph Williams. Acted at Drury Luie in May l6'9l. I'his piece is menlioncd in Motteux's Gen- tleman's Journal, but was never printed. 104. The Haunted Castle. M. E. by W. C. Ouhon. Acted in Dublin. 12mo. 1784. lOo. The Haunted Grove. M. E. by Lady Dorothea Dubois. Acted at'Dublin, 1772. N. P. 106. The Haunted Towek. Com. Op. by James Cobb. Acted at Drury L.^ne, 17t'9. Not printed (but piratically, Dublin, 12mo. na date). Stage etiect was duly con- sidered in this piece ; which, we tliink, introduced the celebrated Signora Storace to the English stage. This may be classed among the happiest eftorts of Mr. Cobb's dramatic Muse ; as it was a new species of English opera ; for hi- therto little had been done beyond the introduction of single airs, or duets, to relieve the dialog*. e ; but our author, aided by the ever- to-be-lamented Stephen Storace, formed the bold idea of telling the siory of the scene in music ; and 23(5 H E A it Is unnecessary to say how highly the unrivalled genius of the com- poser soared on the occasion ; as ■scarcely a season has passed with- •out ihis opera being frequently performed. It ran sixty nights successively the first season of its appearance. 107. The Haunted Village ; or. The Uay to be Hoppj/. Dram. Ent. by Young. Performed at Gainsborough, ISOO. T^ie au- !thor was at that time in the Gains- 'borough company. lOS. Hear both Sides. Com. by rhonias Holcrofi. Acted at Drury Lane. Svo. 1803. This play was received with coolness th»- first night, performed to in- different houses seven or eight times, and then laid aside. It will be better approved in the closet than it was on the stage. The sentiment which it inculcates is, that we should never condemn a person, howevei- guilty he may appear, befiire lie has been heard in his vindication. 109. Hearts of Oak. An In- terlude, 1702. This is indeed nothing more than a song and a dance of sailors, the former of which was written byMr. G. A. Stevens, and, being a temj)orary affair on the declaration of war with Spain, met with good success. 110. Hearts of Oak. Com. by John Till Allingham. Acted .at Drury Lane. Svo. 1S04. This piece was not so successful on the stage as most of its author's other productions ; and as to the ap- plicability of the title, any other would have suited as well the bu- siness of the play. 111. The Heathen* Mahtyr; or. The Death of Socrates. Hist. Trag. In which is shown, that the plague which infested the people of Athens was stayed by H E C the destruction of the enemies of that divine philosopher. By Geo. Adams. ^Ito. 1/46. 112. Heautontimorumenos. Com. by Terence, translated by Rich. Bernard. 4to. \5g8, 1629. 113. Heautontimorumenos. Com. translated from Terence by Charles Hoole. Svo. 10(53. 114. Hkauto^'timoroumenos. Com. translated from Terence, by Laurence Lachard. Svo. 10p4. 1 15. Hf.autoktimoroumenos, Com .translated by T. Cooke. 1 2mo. J 734. 110\ Heautontimoroumenos. Com. translated by S, Patrick. Svo. 174.5. 117. Heautontimoroumenos. Com. translated by Mr. Gordon. 12mo. 1752. 113. Heautontimoroumenos. The Prologue, Interludes, and Epi- logue, to this play, as acted at Beverly School, Christmas, 1/56. Fol, 1757 Tiiese were written by William Warde, the master. 119. Heautontimoroumenos. Com. translated by G. Colman. 4to. 1705. 120. Heautontimoroumenos, Com. Anon. Svo. 1777- 121. Hecate's Prophecy. A Drama, printed at the end of " Brief Remarks on the original " and present State of the Drama. *' Svo. 175s." This is a severe *itire on Mr. Garrick, and is sup- posed to be the production of Wil- liam Shirley. 122. Hector. Dramatic Poem, by Richard Shepherd. 4to. 1 770 j Svo. 1775, in the author's Mis- cellanies. This is a juvenile piece, which, says the author, " com- " posed without any view to the " stage, was foiTned on the plan '' of the Greek tragedy ; which " demands our attention, not by " intricacy of plot, or playing 287 H E C *' with the passions, much less by " refining tlicm and fritti'ring "them away: bin b\- a genu- '* ine unadulterated simplicity, by *' strength of tlioughr, and variety " of sentiment : and if, without " servilely coiiying the defects of *' the ancient drama, whose chief " business seems to have been " awkwardly to inform the audi- *' ence of circumstances which " might have been more aptly in- " troduced, the auihor hath been " happy enougli, in any degree, " to imitate its beauties ; if he " hath introduced the English '• reader to one new character, as " that of a Pvtiiian prophetess, ** though in the enthusiasm es- *' sential to that character he may " not have succeeded to his ut- *' most wishes ; in the attempt he " flatters himself with some share "■ of merit, and trusts " — si non bus, saltern vcnia detur." 123. Hector. Trag. trans- lated by Edward Mangin, A. M. from the French of J. C. J. Luce de Lancival. Svo. ISIO. Never acted in England. The moral inculcated is, command your passions, and obey the gods. The subject, of course, from the Iliad. 124. The Hectok of Geu- MANiBj or, The Palsgrave Prime Elector. An Honourable History, by William Smith. 4to. iGl'o. This play, which is not divided into acts, wai performed at the Red Bullj and at the Curtain, and was the last that we hear of as being acted at the latter theatre. 125. The Hectors. Trag. by Edmund Prest^vich, iGoO. A tra- gedy of this title is attributed to .our author by Phillips and Win- stanley ; and their authority is fol- lowed by Jacob and the author of The British Theatre, yet contra- dicted bpth by Langbaine and H EC Coxoterj the latter of whom re- fers the pb.y to ■ the anonymous one, called The Hectors ; or, The false Challeiti^e. But as the au- thor of The Brifuh Theatre ha? given it the above date (though without any authority), which is five years earlier than the publi- cation of that play, we are not en- titled toomit tlic mention ol it here. 126. The Hectors ; or. The False Challenge. Com. An(;n. 4to. IGjO". Langbaine gives this play a very good character. Scencj Loudon. I'J/- Hecuba. Trag. by Pu- chard West, Esq. Lord Chancellor of Ireland. Acted at Drury Lane. 4to. 17-0\ This is a translatioa from Euripides, and met with no success in the representation. The author in his preface says, " I " attepapted unsuccessfully, and " am not the first martyr to truth. " I shall offer but one reason more, " and I presume it will be allow- " ed a very solid one, wliy this " tragedy did not succeed ; and " that is, it tvas 7iot heard. A " rout of Vandals in the galleries " intimidated the young actresses, " disturbed the audience, and pre- " vented all attention ; and I be- " lieve, if the verses had been " repeated in the original Greek, " they would have been under- " stood and received in the same " manner." It, however, was acted three nights, by Booth, Yv^ilks, J.Irs. Oidfield, &c. ; the second and third time, to nearly empty benches. This play is at- tributed to the present author, on the authority of Whincop. 12S. Hecub.v. Trag. trans- lated from the Greek of Euripides, with annotations chiefly relating to antiquity, by Dr. Thomas Mo- rell. Svo. i;40. 129. Hecub.\. Trag. by Dr. Delap. Svo. 1762. Acted at 2S9 H E C Dmry Lane ; but met with very inditlerent success, its run conli- nuiiig only three nicli's: that is, just long enough to allbrd the au- thor one single benetii ; yet is not devoid ot merit. '1 he l.Tiiguuge is poetical and affectmg, ihe cha- racters not dnnvn greatly amiss, and the distre>ses of Ketuba in some parrs properly heightened, and pnthetically supported. But, in abatement ot" ihe>e n-ier.is, there is a deticienc_y of incident, and an indulgence ot" declanuition, which wearies the spirits of an auditor, at the same time that his heart remains almost totally uninterest- ed. These faults are besides ren- dered perhaps still niore open fo the discernment of the audience, by the author's having divided his play differently from the usual and established method : for though the ])iece is in reality as long as our modern tragedies at least are ac- customed to be, it ccjusists of no more than three acts, which, be- ing in consequence so much longer respectively than usual, sets the tediousness of the declamation, and the want of invention in the plot, in a more glaring liglit than they would otherwise perhaps have been viewed in j and therefore, although the author may be allowed all the merit he can be imagined to pos- sess, yet cannot the public be blamed ff)r their judgment; nor can wc avoid joining in the opi- nion, that the piece met with as much approbation as it had any right to claim. 130. Hecuba. Trag. trans- lated from the Greek of Euripides, by Michael Wodhull. 8vo. 1782. 131. Hi' CUBA. Trag. trans- lated irom Euripides, by R. Potter. 4to. 17S3. •' The tender and pa- " theticpoet hath a second timein- " troducod the afflicted Hecuba j H E I " and, writing from nature more *' th.in from art, again raises in •' us those jiassions which his own " heart so warmly felt. We see " the unhappy queen not only " over-.^-htlmed with nil the dis- " tresses so exquisitely painted in " I'heTrojan Dames, butdistract- "■ ed witli visions portending fur- " thcr miseries: these soon burst " upon her. 1 he devoted Po- " lyxcna iixcs our attention ; we " are struck with admiration at " her deliciite sensibilityand gene- " roi'.s spirit ; we melt with pity "at her unhappy fate; but we " are roused from tiiis sympa- '• thelic sorrow by scenes of a " difterent nature: the dissimu- " hvtion of the barbaroijs Poly- " niesfnr excites our abhcjrrence, " and the revenge of Hecuba fills " us with terror. Had nothing " of fjUiipides remained to us but " this drama, we must have al- " lowed the justice of Aristotle's " remark, that he is of all poets " the must Iragic." — Potter. The scene is before the Grecian tents on the coast of Thracian Chersone.=^. 132. Hecvr.\. Com. by Ri- chard Bernard. 4to. 15gS, KJIQ. This is another of Terence's co- medics ; for the several transla- tions of which, see Heautonti- mokumenos. 133. Heigho foh a Husband! Com. by F. G. Waldron ; altered from Imitation, by the same au- thor ; and acted at the Haymarket. 8vo. 1 794. This is 3 sort of coun- terpart of Farquhar's Beaux Stra- tagev}. Charlotte and Maria, two giddy girls of family, who quit the protection of their friends, and traverse the country in search of husbands, are the reverses of Ar- cher and Aimwell; Mrs. Mill- clack, the landlady, of Boniface ; H E I lier SOP Frank, of daughter CheiT}'; and so o . It :s very inicMior to its original j yet some of the cha- racters have considerable merit ; the dialogue is sprightly, and the incidents are entertaining. Though well received, it has not, however, been often repeated. 134. The Heir. Com. by Thomas May. Acted by the com- pany of Revels, 1020 4to. l622 ; second impression, 4to. 1633. The plot, language, and conduct of this play are all aduiivable, and many of the situations interesting: it met with great applause, and is highly commended in a copy cf versesby Mr. Carew. The Epilogue consists of only four lines. The piece itself will be found in Dods- ley's C'dlection. Scene, Syracuse. The demand of the king, that Leu- cothoe shall yield to his desires, as the sole condition upon which he would spare the life of her lover, appears to be borrowed from Shakspeare's Measure for Measure; as the constable and watch who seize Eugenio seem to have had their language and manners from those in the same author's Much ado about Nothing ; and the en- mity of the two houses reminds us of Romeo and Juliet. Having given due praise to this comedy as a whole, we must add, that much of the underplot between Shal- low, Lucy, &:c. is very gross. 135. The Heir AT Law. Com. by George Colmin, the younger. Acted at the Hay market, 1797. 8vo. 180S. This play was re- ceived with great applause, and still continues a stock-piece. The humour is founded upon the situa- tion of a low character, unex- pectedly advanced to an exalted rank; the effect, therefore, results from the incongruitiesof the man- ners, habits, and language, of one VOL. II. 289 H E I state of life v\ith those which are suitable, to the otiier. Mr. Col- man has managed this foundation v\itii much dexterity. The hu- mour is broad without caricature, and coarse without oftence. It has still another recommendation ; it is natural in itself; Lord Du- berly would please even in his na- tural situation, as an honest home- spun tradesman. The character of Dr. Pangloss, too, is very happily hit off: the worst of it is, that theappositeness of his Latin quo- tations is lost upon the far grealer part of the audience, who cannot be presumed to understand them. The scenes are skilfully varied, and the ludicrous and the pathetic happily mingled throughout. 136. The Heir of Morocco, 7i'ith the Death of Gay land. Trag. by Elk. Settle. Acted at the Thea- tre Royal. 4to. 1682 Scene, Algiers. The success of his Em- presa of Morocco probably set the aathoron writingthis piece ; which, however, we do not find had any run. 137. The Heiress; or. The Antigallican. Farce, by Thomas Mozeen. Acted at Drury Lane, for tlie joint benefit of the author and Mr. Ackman, a few years be- fore its appearance in print ; which was in " A Collection of Miscel- " laneous Essays," 8vo. I762. It was received with some approba- tion. 138. The Heiress. Com. [by Lieut. General John Burgoyne.j 8vo. 1786. This excellent, co- medy was first acted at Drury Lane, Jan. 14, 1786, and with deserved success. The plot is evidently founded on Diderot's Pere de Fa- mille. The dialogue" .-iffofN y neat turns and good points, and is altogether in a style of elegance which we do not frequeuuy n:ieet 290 H E L HEN with in the modern drama. Mr. Debrett (the publisher) gave 200/. for the copy-right of this play ; be- ing, we believe, the first instance known of such a price having been either obtained or required. 13p. Helen. Trag. translated from Euripides, by Michael Wod- hull. 8vo. 1/82. 140. Helena. Trag. translated from Euripides, by R. Potter. 4to. 1783. " The celebrated Helena, " whose fatal beauty and disloyalty *' to her husband occasioned the " destruction of Troy, and a long '' series of calamities to Greece, ** is here represented as an inno- *' cent and injured woman, a faith- " ful, affectionate, and generous " wife. This required manage- " ment. Herodotus relates, that " he had heard from the priests " in iEgypt, that Paris, returning " with his prize from Sparta to " Troy, was driven by a storm '* into Canopus, one of the mouths " of the Nile 5 that he was seized " there, and carried before Pro- " teus, then king of the country, ** and the most just of mortals ; " who severely rebuked him for " his perfidy and violation of the " law8 of hospitality, and com- *' manded him, with menaces, to " quit his dominions within three *' days ; but he detained Helena " and the treasures which they "■ had brought from Sparta, that *' he might restore them to the *' injured Menelaus, The Grecians '* sailed to Asia with a great arma- *' ment. Priam in vain protested *' that neither Helena nor the trea- " sures were brought to Troy : he *' was not believed J the city was *' besieged, taken, and destroyed. ** Mei^^aus, as he went aaihng " back to Greece, was driven to '* ^gypt ; there he found and re- " ceivedhis wife and tb« treasure. " [Herod. Euterpe.'] This story, " the contrivance probably of He- " lena and the iEgyptian priests, " was embellished by Stesichorus " with the poetical fiction which " Euripides has followed in this " tender and agreeable drama." Potter. The scene is in the island of Pharos, beside the tomb of Pro- teus, and before the palace of Theoclymenus. 141. The Life and Death of Heliogabalus. Int. Entered by John Danter, June \Q, 1594, on the book of the Stationers* Company j but not printed. 142. Hell's high Court of Justice j or. The Tryal if the three Politic Ghosts (viz. Oliver Cromwell, the King of Sweden, and Cardinal Mazarine). 4to. Ititil. This play was never acted, it be- ing entirely political. 143. The Helots. Trag. by the Rev. H. Boyd. Never acted. Printed at Dublin, in a volume of " Poems, chiefly dramatic and " lyric," 8VO.J793. 144. Helvetic Liberty ; or, The Lass of the Lakes. Op. 8vo. 1792. This piece was intended by its author (a Kentish bowman) to celebrate archery: and it is founded on the story of William Tell. It was rejected by the ma- nagers, to whom it was oli'ered for performance, as being too full of allusions to popular liberty. The language is heavy and un- harmonious, and it certainly would not have succeeded on the stage. 145.Henges. [Probably, Hen- gist.] Henslowe mentions this play as having been acted June 22, 1597- 146. The HEifPECK.'D Cap- tain; or. The Humours of the Militia, Farce, by Richard Cross, 1749. This piece was taken from 291 HEN Durfey's Campaigners, and was announced to be acted at Drury Lane, for the benefit of the al- terer and Mr. Burton, on the 29th of April in that year. By some accident it seems not to have been performed, but was advertised to be published in 8vo. 147. Henky and Almeria. Trag. by Andrew Birrel. 8vo. 1802. A very poor performance. The author, we suppose, intended to write blank verse; but most of his linos are either a foot too short or too long. The catastrophe, however, smacks of novelty ; for the heroine (reaks her neck ! 143. Henry and Emma; or. The Nut-hroiun Alaid. Musical Drama, taken from Prior. Acted at Covent Garden, 1749. The songs of this piece, which were set by Dr. Arne, were printed in Svo. 1749. 149. Henry and Emma. Past. Interlude, by Henry Bate. Al- tered from Prior, and acted at Covent Garden, April 13, 1774, for Mrs. Hartley's benefit. Not printed. 150. Henry and Rosamond. Trag. by William Hawkins. Svo. 1749. This play, though never acted, is not a bad piece. The plot is taken from the ancient story of Fair Rosamond, and an attempt to imitate Shakspeare's style is very apparent, 151 HtiKRY I. AND Henry H. By William Shakspeare and Robert Davenport. In the book of the Stationers' Company, the 9th of Sept. 1653, an entry is made of the above title ; but what species of the drama it was, or whether one or two performances, are facts not ascertained. Whatever it might be, it suffered in the general ha- vock made by Mr. Warburton's servant. HEN 152. Hbnry II. King of Eng- land, with the Death of Rosa- mond. Trag. by John Bancroft. 4to. 1693. This piece, which was published by Mount fort the player, is in general tragedy, but with a mixture of comedy ; it has not the author's name prefixed to it, yet it met with very good success, and is indeed truly deserving of it. The story of it may be found in the English historians, and repre- sents chiefly that part of this prince's life which relates to Rosa- mond. The scene lies in Oxford ; and the epilogue was written by Dryden. 153. King Henry II. An Historical Tragedy, by William Shirley. In two parts. The«e plays were never printed, 154. Henry II.; or. The Fall of Rosamond. IVag. by Thomas Hull. Acted at Covent Garden. Svo. 1774. Qucedam rnediocria. A whimsical anecdote, connected with this play, is related by Mr, Wilkinson, of a Mrs. Montague, an actress at Hull in 1777 : " Mrs, " Montague at Hull, 1 776, was " got into high favour, the which " did not lessen her indignation " rising against Mrs. Hudson; noj " did the spleen of the latter de- " crease against her rival oppo- " nent. Mrs. Hudson's benefit '* was appointed the last night in " the season at Hull, Friday, Jan. " 3, 1777. The play was Mr. " Hull's tragedy of Henri/ the " Second: Rosamond, Mrs.Hud- " son ; the Queen, Dame Mon- " tague. This was so repugnant " to that lady's inclination, that " she sulked, and would not study " the part. When the play was " to begin, an apology was made, " that ' illness had prevented Mrs. " Montague from studying the " part of Queen Eleanor, and she u 2 2^3 HEN '^begged (o read it." Hudson's " friends were instantly inflamed ; " indeed the whole audience said, " ' Mrs. INIontague must appear, " and account tor her conduct.' " At last, after a continued up- " roar and confusion, on went the " Queen Eleanor in a rage : — *' ' IFho's afraid r-^€\\c said she " ivould read it, she could vot " play the part : illness, study for " her own benefit, &:c. had prc- " vented her. They, with one " voice, unanimously told her, it " she did not do the part, as was " her duty, and of which she had " had timely notice, she raustdepart "that instant 5 for, rather than " submit to such intentional in- " suit and eftVontery, they would *' desire the cook-wcnch from the " first alehouse to rtad It: on •' which she placed herself in an " attitude of tragedy, and, having *' obtained a minute's truce, said *' aloud, ' So I may not be per- " mitted to read the Queen r' — «"No, no, no! Off, off, off!' " — ' Y/ell then,' says she, ' curse " you all ;' She then threw the •' book into the pit, and made " her exit amidst shouts of dis- " grace, but not entirely without " laughter from such as smiled at " the tumult and enjoyed the " storm." 155. Henry II. Hist. Dram, [by W. H. Ireland]. 8vo. lygg. Published with Voktigi;i;n', and pru'oably intended by its author to have been its successor on the stage, if the absurd attempt to establish it as a play of Shak- speare's had not f:uled. 156. Henry III. of Fkance, statLdd bu a Friar, with the Fall of the Guises. Trag. by Tiiomas Shipman. Acted at Drury Lane. 4to. 107b. The story of this play is borrowed from Diu^ila, and the HEN Life of the Duke of Espernon. The scene Blois, removed in the third act to the camp at St. Cloud before Paris. 15/. Henry IV. An old Flay ; in which was introduced the de- posing of King llichard II. This piece was prior to Shakspeare's King Ih'iiry IF. It was perform- ed at Lord Essex's House the night before his insurrection, and was even then considered as an ancient drama. See The Supplement to Shakspeare, vol. i. p. 381. 15S. Henry IV. An Historical Play, by W. Shakspeare, in two parts. The first containing the Life and Death of Henry, sur- named Flotspur j 4to. 159S ; Aio. ]5C)g; 4to. 1(304; 4to. lO'OSj 4to, 1013; 4to. 1622; 4to.l032; 4to. 1039: and the second the Death of Henry IV. and Coronation of Henry V. Acted by the Lord Chamberlain's Servants. 4to. 16OO, Jjoth these plays are perfect master- pieces in this kind of writing, tha tragedy and comedy parts of them being so finely com^ected with each other, as to render the whole regular and complete, and yet contrasted with such boldness and propriety, as to make the various beauties of each most perfectly conspicuous. The character of Falstaff is one of the greatest ori- ginals drav.'n by the pen of even this inimitable master ; and in the ch.aracter of the Prince of Wales the hero and the libertine are so finely blended, that the spectator cannot avoid perceiving, even in the greatest levity of the tavern rake, the most lively traces of the afterwards illustrious charac- ter of the conqueror of France. Dr. Johnson observes, *' None " of Shakspeare's plays are more " read than the first and second ♦' parts of //t'«/7/ the Fourth. Per- 293 HEN ** hnps no author has ever in two *' pkys afforded so much delight. **■ The great events are interest- " ing, for the fate of kingdoms " depends upon them; the slighter " occurrences are diverting, and, " except one or two, sufficiently " probable; the incidents are mul- " tiplied with wonderful fertility *' of invention ; and the ch.aracters " diversified with the utmost nice- " ty of discernment, and tiie pro- *' foundest skill in the nature of " man." 15Q. King Henry IV. with the Humours of Sir John Falstaff. Tragi-Com. [Altered by Tliomas Beiterton.] Acted at Little Lin- coln's Inn Fields. 4to. 17OO. 160. King Henky IV. the Second Part, altered from Shak- speare [by Dr. Valpy], as it was acted at Reading School. 8vo. 1801. The profits of the publica- tion were devoted to the Royal Humane Society. 161. King Henry IV. [First Parti. H. P. by Shakspeare. Re- vised by J. P. Kemble; and now first published, as it is acted at Covent Garden. 8vo. 1S03. 162. King Henry IV. [Se- cond Part]. H. P. by Shakspeare. Revised by J. P. Kemblej and now first published, as it is acted at Covent Garden. 8vo. 1804. lf)3. Henry IV. of France. Tragedy, by Charles Beckingham, Svo. 1720. The plot of this play is taken from the history of that great prince j the piece was writ- ten by the author at the age of nineteen, and acted in Lincoln's Inn Fields, but only four nights. 164. 'Fhe famous Victories of' Henry V, containing. The ho- nourable Battle of Agincourt. Act- ed by the King's servants. 4to. No date. This is different from Shakspeare's playj and is supposed HEN to ho one which he availed himself of in the coir.position of his own performance. It is reprinted in Mr. Nichols's Colhcllou if Six Old Plays. Tc'S. " The Chrnmclc History of " Henry V. ivUh hli Battel "fought at Agincourt, in France, " together 7i.'itk Antient Pistoll. As ** it hath bene sundry times pkiy- " cd by tlie Riglit Honourable the " Lord Chamberlaine his ser- " vants." [By W. Shakspeare.] 4to. ]6C0; 4to. \G01; 4to. lO'OS. This play has an intermixture of comedy, and is justly esteemed an admirable piece, insomuch that notwithstanding the several altera- tions that have been attempted to be mode in it, the original still stands its ground, and is constantly performed with universal applause. The character of Fluellen, the Welsh captain, in paiticular, is ad- mirably drawn. The scene in the beginning lies in England, and aftiTwards wholly in France. " This play (says Dr. Johnson) " has many scenes of high dig- " nity, and many of easy merri- " meat. The character of the " King is well supported, except " in his courtship, where he has " neither the vivacity of Hal, nor " the grandeur of Henry. The " humour of Pistol is very happily " continued : his character has " perhaps been the model of all the " bailies that have yet appeared " on the English stage. " Tlie lines given to the chorus " have many admirers ; but the " truth is, that in them a little '' may be praised, and much must " be forgiven ; nor can it be easily " discovered, why tlie intelligence " given by the chorus is more ne- '■' cessaryin this play than in many '• others where it is omitted. The *' great defect of this piece is the V 3 294 HEN *' emptiness and narrowness of " the )ast actj which a very little "■ diligence might have easily " avoided." It may not be a useless or un- thankful task to transcribe the fol- lowing passages from Mr. Jones's History of Brecknockshire, respect- ing the supposed original of the whimsical characler of Fiuellen : " In consequence of an affray, " in the High Street of Brcck- " nock, in which David [Gam] *■' unfortunately killed his kiiis- *' man, llitsiart fawr o'r Slwch, " he was compelled to fly inlo " England ; and, to avoid a *' threatened prosecution for the " murder, attached himself to the " Lancastrian party, to whose in- " terest he ever afterwards most " faithfully adhered. There can be " little doubt but that Shakspeare, " in his burlesque character of *' Fiuellen, intended David Gam; " though for obvious reasons, " as his descendants were tlien '• well known and i-espected in ** the English court, he chose to *' disguise his name. I have call- " ed Fiuellen a burlesque charac- *' ter, because his pribbles and " prabbles, which are generally " out-heroded, sound ludicrously " to an English as well as a Welsh *' ear ; yet after all Llewelyn is a " brave soldier and an honest fel- " low ; he is admitted into a " considerable degree of intimacy *' with the King, and stands high " in his good opinion ; which is " strong presumptive proof, not- " withstanding Shakspeare, the ♦♦ better to conceal his object, de- " scribes the death of Sir David " Gam, yet that he intended Da- " vid Llewelyn by this portrait of " the testy Welshman ; for there " was no other person of that *' country ia the English army. HEN " who could have been supposed " to have been on such terms of " familiarity with the King; and " it must be observed, that Lle- " welyn was the name by which " he was known in that army, and " not Gam, or Squinting; by " which epithet, though it was " afterwards assumed by his fa- " mily, he would probably have " knocked down any man who "■ dared to address him. By his " behaviour on this memorable " day, he, in some measure, made " amends for a life of violence and " rapine, and raised his posterity " into riches and respect ; but, " alas ! how weak, how idle is '•' family pride, how unstable " worldly wealth! At different pe- " riods between the years 1550 " and 1/00, I have seen the de- " scendants of this hero of Agin- " court (who lived like a wolf, " and died like a lion) in posses- " sion of every acre of ground in " the county of Brecon ; at the " commencement of the eigh- " teenth century, I find one of " them common bellman of the " town of Brecknock; and before *' the conclusion, two others sup- " ported by the inhabitants of the " parish where they resided, and " even the name of Games, in " the legitimate line, extinct." l(i(i. Henry V. Trag. by the Earl of Orrery. Fol. 1673; 8vo, 1739. This may be traced in the English chronicles of that prince's reign, and in the French ones of that of Charles VI. Scene, France. It was acted at the Duke of York's Theatre with great sui..-ess ; the characters being very splendidly dre^ssed, particularly those of King Henry, Owen Tudor, and the Duke of Burgundy ; which wore the coronation-suits of the Duke of York, King Clurles, and Lord 205 HEN HEN Oxford. The actors ^\ho per- formed them were, Harris, Bet- tertoii, and Smith. It is said to ha\e been in the part of Owen Tudor, in this play, that Bctterton laid the foundation of that great character which he afterwards ac- quired. 107. HenrvV. ; or. The Con- quest of France ly the English. Trag. by Aaron Hill. Acted at Drury Lane. 8vo. 1723; 176O. This is a very good play, though acted only four nights. The plot and language arc in some places borrowed from Shakspeare 5 yet on the whole it is greatly altered ; and a second plot is introduced, by the addition of a new female cha- racter, viz. Harriet, a niece to Lord Scroope, who has been for- merly seduced by the King. She appears in men's clothes through- out, and is made the means of discovering the conspiracy against him. Mr. Hill presented the ma- nagers of the theatre with sets of scenes for this piece, which cost him 200/. 1()S. King Henry Vth ; or. The Conquest of France. H. T. Svo. 17^9. Altered, by curtail- ment only, from Shakspeare, by J. P. Kemble, and acted at Drury Lane. Edited by James Wrighten, prompter. 169. Henry V. Altered from Shakspeare, by J. P. Kemble. Acted at Drury Lane. 8vo. 1801. 170. King Henry Vth. H.P. by W. Shakspeare. Revised by J. P. Kemble. Acted at Covent Garden. 8vo. 1S0(). 171. Henry VI. Historical Play, in three parts, by William Shakspeare. Two of these plays were printed in 4to. for T. P. No date; second part, 4to. _l600; third, part, 4to. 16OO; but the whole were not published toge» ther until the folio edition of ld23. These three plays contain the whole life and long unhappy reign of this prince. In conse- quence of which it is impossible but that all the unities of time, place, and action, must be greatly broken in upon ; yet has the au- thor made the most valuable u<;e of the incidents of real history, ta which he has very strictly adhered. " Ofthese three plays," says Dr. Johnson, " I think the second the ♦' best. The truth is, that they " have not sufficient variety of " action, for the incidents are too " often of the same kind ; yet ♦* many of the characters are well " discriminated. King Henry, and " his Queen, King Edward, the " Duke of Gloucester, and the " Earl of Warwick, are very " strongly and distinctly painted." Henslowe mentions a play, witii this title, as having been acted March 3, 1591. 172. Henry VI. the First Part, with the Murder of Humphrey Duke of Glocester. Trag. by J. Crowne. Acted at the Duke's Theatre. 4to. 168I. This play was at first re- presented with applause ; but at length the Romish faction opposed it ; and, by their interest at court, got it suppressed. Part of it is borrowed from Shakspeare's plays above mentioned. Scene, the court at Westminster. 173. Henry VI. the Second Part; or. The Misery of Civil JFar. Tragedy, by J. Crowne. Acted at the Duke's Theatre. 4to, 168 1. This play was written be- fore the last-named one, and was first printed by the last title only, 4to. l6S0. This is also in great mea- sure borrowed from Shakspeare. 174. Henry VI. byTheophilus Cibber, of which the following is the complete title : *' An Histoii^ u4 296 HEN " cal Tragedy of the Civil JVars in " the Reign 0/ King Henry VI. " Being a Sequel to the Tragedy of " Humfrey, Duke oj Gloucester, " and an Introduction to the tragi- " cal History of King Richard the " Third. Altered frojn Shakspcarc " in the Year 172O." 8vo. No date. [1723.] 2d edit. 8vo. 1/24. This alteration was only acted once ill the summer^ at Drury Lane ; but we may mention, that the name of Savage (the poet) is among the dramatis personce, as representative of the Duke of York. 175. King Henry VH. ; or. The Popish Impostor. Trag. by Charles Macklin. Acted at Drury Lane. 8vo. 17-16. This piece is built on the story of Perkin War- beck, but it met with general dis- approbation ; and indeed the very impropiiety in the title, of men- tioning a Popish impostor, in a period of time previous to the in- troduction of Protestantism in these kingdoms, had an air of absurdity, which seemed even before its ap- pearance to stand as a foretaste of no very elegant or judicious enter- tainment. When, however, it is considered that it was the six weeks labour only of an actor, who even in that short space was often called from it by his profession, and that the players, for the sake of dis- patch, had it to study act by act just as it was blotted; and that the only revisals it received from the rough copy to the press were at the rehearsals of it, no person will be disappointed on finding so many imperfections contained in it. 176. Henry VIIL The famous History 'F.. Trag, translated from Ei.ripidi's, by 11. Potter. 4to. 178I. "The opening ** of this tragely," sa.s the trans- lator. " is much like that of The " Supplicants. lolaus is repre- " sentet! as having pi iced himself " and the sons of Hercules at the " altar, before the Temple of Ju- " piter, at Marathon, whither he " had led ihe'n for refuge from " the violence of Eurystheus, who *' had driven them from Argos, ** and pursued them from state to " state throughout all Greece. " Aicmena and the daughters of " Hercules are in the Temple. *' The poet has here again an op- " portunity, which he never omit- *' ted, of doing honour to his " country, as always ready to take *' arms in the cause of virtue, and " to protect the injured. 1 he " glow of heroic virtue animates " every p:irt of this drama, and " shines with the brightest lustre " in Macaria. The character of **■ lolaus is not less generous : it is " recorded of him, that, just be- " fore the battle, he poured this " ardent prayer to the gods, ' Give " me back the strength of my " youth for this one day, then let *' me die :* so much dearer to him " was the protection of the chil- " dren of Hercules, than the con- *' tinuance of his own life : the " poet has judiciously omitted the " lattercircumstanceof the prayer, " because the joy for so glorious a " victory was not to be clouded " by the death of this illustrious *' and venerable hero. This tra- " gedy, considered in a political " view, has the same tendency as " The Supplicants, to show the " ingratitude of the Lacedemo- *' nians, who boasted of their de- *' scent from the Heraclidae, and " frorp the ancient oracles, to " ajiimate the Athenians with pre- H E R' " sages of victory." See Chil- dren OV HEuCULES. 182. Heuaclius Emperor op THE East. Trag. by Lodowick Carieil. 4to. Iw6'4. This is little more tlian a translation from the /-A'/Y/r/i/zv of Corneille. It was in- tended for the stage, but Vv'as never acted, another translation having been preferred before it by the performers, and this piece not returned to the author till the day that the other was acted. The plot of it is trom Baronius' Eccle- siastical Annals, but the author has not strictly tied himself down to historical truth. The scene lies in Constantinople. Who was the author of the other translation, we do not learn, nor where it was acted ; but, notwithstanding the preference shown to it, this is flir from being contemptible. 183. HtRCULEs. Play, in two parts, by Martin Slaughter Acted by the Lord Admiral's servants, 1598. Not now known. 184. Hercules. Musical Dra- ma, by Thomas Broughton ; set to music by Mr. Handel, and per- formed at the Hay market. 8vo. 1745 : 4to. 1749.' 135, Hercules, Trag, trans- lated from Euripides, by R. Pot- ter. 4to. 178I. The story of this play is too well known to need being recapitulated by us. Hercu- les is here drawn in his private character, as the most amiable of men : the pious son, the affec- tionate husband, and the tender father, wins our esteem as much as the unconquered hero raises our admiration. This tragedy may not be esteemed the most agree- able by the generality of readers, on account of the too dreadful ef- fects of the madness of Hercules ; yet the various turns of fortune are finely managed, the scenes of distress are highly wrought, and "25S. HER the passions of pity, terror, and grief, strongly touched. The scene is at Thebes, before the palace of Hercules. lS(j. Hercules and Omi'hale. Pant. Acted with great success at Covent Garden, 1/94. 187. Hercules distracted. Translated from Euripides, by Michael Wodhull. 8vo. 1752. 188. Hehcules Fukens. Trag. by Jasper Heywood. I'inio. IjO'I; and 4to. lo81. This is only a translation from Seneca. ISp. Hercules GixiEUS.Trag. translated fro:n Seneca, by J. Stud- ]y. 4to. J581. This is by some thought to be an imitation of the TRAXINIAI of Sophocles. IpO, Here and there and EVERY Whfke. Pant. Acted at the Haymarket, 1/85. 191. Heumini'js A\D Espasia. Tragedy [by ChLirles Hart]. 8vo. 1754. The author of this play was a Scotch gentl'.^man, and it made its lirst appearance on the Edinburgh stage, but without any great success. It is indeed a very dull and uninteresting perform- ance. In the third line of it, however, we are informed, that "friendship is t!)e trine of life." Espa.<;ia, speaking to her confidante Ardeiia, says, ♦' Frienfl^h:',!, Ardeiia, is the ■:£';«<• of life, '* 'ri'.at, minified with the gali of harsh affliction, " Sweetens the nauseous draught, and wins the wretched " To bear his lot of ^uff'rance here Le- luw." This k'.dy's wine must have been of ih'3 sweet sort indeed, to over- come the bitterness of gall : Fal- statf's .sack was nothing to it. Mr. Dennis long before had assured us that Ulerty was the best salt to life; and theauthorof T/it'T'?fl^''«/_y ftf Tragedies is of opinion, that Love is its most poignant mustard. HER Thus by degrees we might dis- cover all tlie articles- necessary to the feast of existence, were not poets too little versed in the doc- trine of banquets^ and therefore liable to mistakes in their adapta- tion of sauces. 102. The Hermione ; or. Va- lour Trillin fjiianf. Occ. Interl. by Tliomas Dibdin. Acted at Covent Garden, 1800. Tliis temporary piece, bfing founded on a then, re- cent glorious naval achievement, met with applause. X. P. 193. The Hermit; or, Har- leqitiv at Rhodes. By Mr. Love. [Dance.] A wretched pantomime. Acted at Drnry Lane, 1/66. N. P. 194. The Hermit converted; or, The Maid of Bath married. 8vo. No date. [1771.] This piece was written by a person who call- ed himself Adam Moses Emanuel Cooke. It is evib'9. Whether this piay was ever acted or not, seems to be a dubious point, although the pro- logue and epilogue carry an im- plication of the affirmative. The plot is taken from Ovid's Epistles, and Musseus's Erotopaigninn. The Scene, the towns and towers of Sestos and Abydos, the Hellespont flowing between them. 197- Hero and Leanoer. Burl, by Isaac Jackman. Acted at the Royalty Theatre. 8vo. 1/87. To this piece is prefixed avery long dedication, respecting the dispute between Mr. Palmer and the Win»' ter managers': 299 HER ipS.Tnn Hero of thf. Xorth. Hist. Play, by Mr. Dimond, jun, 8vo. 1S03. Tiiis was produced at Drury Lane, Feb. K), 1803, and is founded on the renowned Gus- tavus of Sweden emerging from the mines of Dalecarlia, to throw otf the yoke of the Danes. It does not, however, abound with interest, nor is there much inge- nuit}' in the cnnslniction of the piece, which was chiefly indebted to the music and scenery for the temporary success tliat it obtained on the stage. log. Hekod and Antipater, 7i'ith the Death of Fair- Mariam. Trag. by Gervase ^Markham and William Sampson, Acted at the Red Bull. -Ito. 1622, The phjt of this play is taken from Josephus's Antiquilies of the Jews, book xiv. and XV. 200. Herod avd Mariamne. Trag. by Samuel Pordage. 4to. 1673. Acted at the Duke's The- atre. This play was given by its author to Mr. Settle, to use and form as he pleased ; it was, how- ever, many years before it could be brought upon the stage ; but when it did appear, it met with very good success. The plot is from Josepiius, the story of Tyri- dates in Cleopatra, and the Unfor- tunate Politic, or The Life of He- rod, translated from the French. Svo. lO'St). 201 . Herod the Great. Trag. by the Earl of Orrery. This is on the same story with the two fore- going plays. It was never acted, but was printed in fol. 10'94 ; Svo. 1739. As ghosts were then in vogue, a brace of those airy beings appear to Mariamne, and a whole troop of them to Herod. 202. Herod THE GREAx.Dram, Poem, by Francis Peck. Printed with The Life o- lingbroke ; epilogue by Bevil Hig-r gons. Mr. Walpole's opinion of Lord Lansdowne's poetry is much less favourable than that of many other writers. He says, " It was *' fortunate for his Lordship, th.at " in an age when persecution " raged so liercely against luke- " warm authors, he had an " intimacy with tixe inquisitor^ 300 HER '*■ general : how else would such " lines as this have escaped the " Bathos? " when thy gods " Enlighten thee to speak their datk de- crees." Dr. Johnson observes, that this tragedy was written, and presented on the stage, before the death of Dryden. It is a mythological tra- gedy, upon the love of Agamem- non and Chrj'^seis, and therefore easily sunk into neglect, though praised in verse by Dryden, and in prose by Pope. It is concluded by the wise Ulysses with this speech : " Fate holds the strings, and men like children move " But as they 're led : success is from above." The following lines, by Dryden, upon this tragedy, deser^'e to be quoted, if not for their strict truth, yet for their great beauty : " Auspicious poet ! wert thou not my friend, " How could I envy what I must com- mend! *' But since 't is Nature's law, in love and wit, *' That youth thould reign, and with'ring age submit, " "With less regret those laurels I resign, " Which, dying on my brows, revive on thine." This play was acted for Mrs. Yates's benefit, at Drary Lane, I\Iarch 18, I7603 but was not re- peated. 206. The Heroic LovEK ; or, Tke Infanta of Spain. Trag. by George Cartwiight. 8vo. 1661. This play is not mentioned by Langbaine, and is, in all the later catalogues (which have copied from one another, and consequent- ly perpetuated instead of correct- ing mistakes), intitled Heroic Love. I'he scene lies in Poland ; and the author himself calls it a pcem. HEW consisting more of fatal truth than flying fancy: penned many years ago, but not published till now j and we imagine never acted. 207. The Hkboic Sisters. Trag. A MS. sold as part of the library of the late Mr. Arthur Murphy. 208. The IIekoike of Lovb. A Ivlusical Piece, in three acts. Svo. 177s. Printed at York. 209. The Heroine of the Cave. Trag. Acted at Drury Lane. Svo. 1775. This play was begun by Henry Jones, under the title of The Cave of Idra, from a narrative in the Annual Register. On the death of this unfortunate author, it fell into the hands of Mr. Reddish, for whose benefit it was performed, March 19, 17/4. Not being long enough for an evening's entertainment, as origin- ally left by its author, Mr, Red- dish put it into the hands of Dr. Hifternan, who extended the plan, and added some new characters. 210. He's much to Blame. Com. Acted at Covent Garden. Svo. 1793. This play received, as it deserved, great applause. The incidents are various, yet probable, and well connected ; and the con- clusion is skilfully brought about, It has been pretty generally ascrib- ed to Mr. Holcfoft 5 and we have not heard of any other claimant with a stronger title. 211. Hester and Ahasuerus. Acted by the Lord Admiral's men, June 3, 1594. — [Perhaps Queen Hester.] 212. He WOULD be A Soldier. Com. by F. Pilon. Acted at Co- vent Garden. 8vo. 1786. This piece met with a success more than equal to its merit, probably through the aid that it received from good acting. It had been rejected by Mr. Colmanj whoj as 301 H E Z the author candidly tells us^ " did " not like a line of it." 213. He wov'd if He cou'd ; or, Jn old Fool jforse than any. Burletta, by Isaac Bickerstatie. Acted at Drury Lane. 8vo. 177 ^• This piece was taken from La Serva Pcdrona ; but was acted only once. 214. Hewson keduc'd; or. The Shoemaker return' dto his Trade. " Being a show^ v/herein is repre- "■ sented the hf)nesly, inoftensive- " ness, and in9:;enviity of that pro- '' fession, when 'tis kept within its " own bounds, ?nd goes not be- *' yond the Last." 4to. I66l. 215. Hey FOR Honfsty, Down WITH Knaveky. Com. by Tho. Randolph. 4to. 1651. This is little more than a translation from the Phitiis of Aristophanes. It was augmented and published by F. J. The scene lies in London ; and it is introduced by a dialogue be- tween Aristophanes, the translator, and Cleon's ghost. It does not appear to have been ever per- formed. 216. Hezekiah, Kixg of Ju- DAH ; or. Invasion repulsed, and Peace restored. Sacred Drama. Svo. 179s. Dedicated to the Mar- chioness of Salisbury. The writer, in his preface, draws a striking parallel between tbe situation of t!ie Jews, when they were under the pressure of a cruel invasion, which was extinguished by Provi- dence, and peace obtained by He- zekiah's and his people's obedience to virtue and religion ; and that of our own country, when threat- ened with extermination by the French Directory in 1798. The language is chaste and correct, and in many parts highly poetical ; the characters are delineated with ac- .curacy ; and many happy allu- H I G sions to existing circumstances arc introduced. Never acted. 217. HiBERNIA FREiiD. Trag. byCapt. W. Phillips. Svo. I722. Acted at the Theatre in Lincoln's Inn Fields three nights. 218. Hieernia's Triumph. Masque, of two interludes. Writ- ten in honour of ILing Vv'illiam III. and performed at the Theatre Royal in Dublin on the anniver- sary of his birth. 4to. I748. 210. HicExUEiauEj or, The Huwoitrs of Dublin. Com. by Ri- chard Head. 4;o. l6o3. This ex- centric piece is said to have beea acted privately with general ap- plause. Scene, Dublin. 220. Hide and Seek. Mus. Ent. Acted at Covent Garden, 17'^9> with some success. IL was of the nature of the French pro- verbs, and had but one incident of any importance, which was that of a shoemaker's taking measure of his wife's foot, v/ithout know- ing that it was hers. It was very well acted; but has not been printed. 221. The Highland Drover. By Archibald M'Laren. This lit- tle piece was printed in Scotland, in which part of the kingdom it was many times performed with applause. We have not seen a copy of it, and therefore know not when it was published. 222. The Highland Fair; or. The Union of the Clans. An Opera, by Joseph Mitchell. 8vo. 1731. The plot of this piece is built on the fatal and bloody consequences which but too frequently used to happen at some of the highland fairs, from the quarrels which were apt to arise on the meeting of per- sons of the several clans, whose strong family connexi ons and party- attachments rendered each clan in 303 H I G some degree a separate nation, either in alliance, or in a state of warfare, with every other neigh- bouring one. This the author, being himself a Scotchman, was well acquainted with ; bat the subject being too local for the English stage, when brought on at the Theatre Royal in Drur}- Lane, it met with little or no success. Mr. Fielding, in The Covcrit Gar- den Junrnal, Nu. ip, relates the following anecdote : " — Here I " cannot omit a pleasant tact, to " which I was myself a witness. " A certain comic author pro- *' duced a piece on Drury Lane " stage, called The Highland Fair, " in which he intended to display " the comical humours of the " highlandersj the audience, who *■■ had for three nights together sat " staring at each other, scarce* " knowing what to make of their *■' entertainment, on the fourth "■ joined in an unanimous ex- " ploding laugh. This they had " continued through an act; when " the author, who unhappily mis- " took the peals of laughter which •' lie heard for applause, went up to *' Mr. Wilks, and, with an air of " triumph, said, Deel o' vty sal, " Sore, they beo'iii to tank the hu- " muur at last." 223. The Highland Lassie. See The Lowland Lassie. 22-1. The Highland Reel. Com. Op. by John O'Keeffe. Acted at Covent Garden, 178S, Avith great success. Printed in his works, 8vo. 1798. It is now per- formed, in a reduced state, as an afterpiece. 225. HkjhLife; or, Taste in the Upper Story. A petite Piece, in one act, by a Gentleman of York. Performed for a benefit at Hull, 1801. This was merely iJie story of Beau Tibbs (related H I G in the 10th and 11th of Gold- smith's Essays) dramalized. 22(J. HiOH Lii E BEL(;w Stairs. Farce [by the Rev. James. Town- ley]. Acted at Drury Lane. Svo. 1/50. This little piece seems ta aim at two points for the reforma- tion of morals. The first, to re- present, as in a mirror, to persons in high life, some of their owrt follies and fopperie<;, by clothing their very servaiits in them, and showing them to be contemptible and ridiculous even in them. The second and more principal aim is, to open the eyes of the great, and convince persons of fortune what impositions, even to the ravage and ruin pf their estates, they are li- able to, fr(;m the wastefulness and infidelity of their servants, for want of a proper inspection into their domestic affairs. It possesses a considerable sliare of nierit, and met with most amazing success in London. In Edinburgh, however, it found prodigious opposition from the gentlemen of the party-co- loured regiment, who raised re- peated riots in tlie playhouse when- ever it was acted, and even went so far as to threaten the lives of some of the performers. This insolence, however, in some degree brought about the very reforma- tion it meant to oppose, and in part the intention of the farce ; being the occasion of an association immediately entered into by al- most all the nobility and gentry of Scotland, and publicly subscribed to in the periodical papers, where- by tliey bound themselves mutu- ally to each other to put a stop to the absurd and scandalous custom of giving vails, prevalent no where but in these kingdoms. This piece has been often ascribed to JNIr. Garrick ; but, as we now know, without foundation. Mr, Dibdin, 303 H I G who professes some particular knowledge as to this subject, sa^'s, that Dr. Hoadly had a hand in it j and there were other communica- tions Irom persons who were in the secret, but who conceived the subject to be rather liclvlish. W'c believe that we have now, however, duly assigned the author- ship of this piece absolutely to Mr. Townleyj of which fact the late Mr. Murphy became satis- lied before his death, from the testimonials of James I'ownley, Esq. of Ramsgate and Doctors' Commons, the author's son ; and it was Mr. M.'s intention to have corrected the fact, in a second edition of his Life of Gtirrick. The farce has now remained a stock-piece in every company in the united kingdom for half a century, with constant and inva- riable applause, amid all the fluc- tuations and perversions of dra- matic taste; proving the sentiment of a celebrated critic, that " ge- ** nius and humour are eterne." The hint seems to have been taken from The Spectator, No. 88, where he says, " Falling-in the *' other day at a victualling-house " near the House of Peers, I heard " the maid come down and tell ** the landlady at the bar, that my " Lord Bishop swore he would " throw her out at window, if " she did not bring up more mild *' beer, and that my Lord Duke *' would have a double mug of ** purl. My surprise was increased, " in hearing loud and rustic voices *' speak and answer to each other " upon the public affairs, by the ** names of the most illustrious of " our nobility; till of a sudden " one came running in, and cried " the House was rising. Down " came all the company together, "■ and away ! The alehouse was H I N " immediately tilled with clamour, " and scoring one mug to the " Marquis of such a place, oil and " vinegar to such an Earl, three " quarts to my new Lord for wet- " ting his till;;, and so forth." The fragment of Steele's in- tended play, called The Gentle- man (see the article), which ha^ just been published, turns upon this very point. 227. Thr High Road to Mar- uiAGE. Comedy, by Lumley St. George Skeffington. Acted, with applause, at Drury Lane Theatre, May 2;, 1803, for the benefit of Mrs. Glover. This drama, though it was thought deficient in hu- mour and strength of character, comprised some good incidents and situations; blended with just sentiment well expressed. Not printed. 22s. A Hint to Husbands. Com. by Richard CumberJand. Acted at Covent Garden. Svo. ISOd. This comedy, which is written in blank verse, bears many marks of its author ; and its re- ception annexes it to the number of his successful dramatic efforts ; but its merits are certainly inferior to those of some other of the pro- ductions for which we are in- debted to the same pen. The plot is very simple, and is indeed almost developed at the com- mencement of the piece ; but the author has contrived, by some happy situations and incidents, to preserve a certain degree of inter- est to the conclusion. We disco- ver in this piece refinement of sentiment, correctness of moral, chasteness of dialogue, and terse- ness and elegance of diction ; but have to regret the absence of that wit, whim, and humour, which constitute the vh comica ; and without which dramatic produc- 304 H I P tions, however well written, will ever appear languid on the stage. Nor has this piece much cla'm to originaliry of character. Fairford resembles too much the portrait of Job Thornberry, in John hull; in which, under a rough exterior, are concealed the tenderest feel- ings and most benevolent senti- ments. Pliant is another Marplot, but not so amusing. As to Lord Transit, he is wicked enough to be disliked, but has not interest enough for the hero of a piece. 229. Hints for Painters. Farce. Acted at Coven t Garden, May 10, 1S03, for the benefit of Mr. Knight. It v. as well received. Not printed. 230. PIiPPOLYTUs. Trag. trans- lated from Seneca, by John Stud- ly. 4to. 1581. 231. HiPFOLYTUs. Trag. by E. Prestwich. 12rao. 1051. This is a translation from Seneca, made entirely in rhyme, with comments on every scene, and six copies of recommendatory verses by Shirley, Cotton, Sec. 232 HipPOLYTUs. Trag. trans- lated from Euripides, by R. Pot- ter. 4to. 1781. In this tragedy the author has been followed with unequal steps by Seneca, who has produced a play on the same sub- ject, in which the heroine has lost all delicacy, and is a shameless and abandoned woman, untouched with the feelings of female mo- desty, deaf to all remonstrances, and detenv.ined to indulge her guilty passion through all its con- sequences. Racine, who has writ- ten a play on this subject, seems to prefer Seneca to Euripides, and Mr. Smith has closely imitated him. Mr. Potter defends the au- thor from the censure thrown on him for anticipating the principal events in the prologue. The scene H I S is at TrcE2ene, in the vestibule of the palace of Pittheus. 233. HippoLYTUs Translated from Euripides, by Michael Wod- hull. Svo. 1/82. 234. HiPSiPiLE. Opera, trans- lated from Metastasio by John Hoole. Svo. 1767, ISOO. 235. HiREN ; or. The Fair Greek. Trag. by W. Barksted. Svo. 1611. Though this is no- ticed as a dramatic piece, we have some doubt of its being such. It appears, however, from Dr. Hyde's Catalogue, to be in the Bodleian library. 236. The Historical Re- gister, for the year 1/36. Com. by Henry Fielding. Acted at the H yniarket. Svo. [1/37], 1741. To some reflections on the mi- nistry, thrown out in this piece, and in the Pasquin of the same author, was owing an act of par- liament for laving a restraint on the staoe, by limiting the number of theatres, and submitting every new dramatic piece to the inspec- tion of the Lord Chamberlain, previous to its appearance on the stage. Mr. Cibber, in his " Apo- " logy," tells us, that " while " this law was in debate, a lively " spirit and uncommon eloquence " was employed against it. It " was said, that to bring the the- *' atre under the restraint of a li- " censer, was leading the way to " an attack ujjon the liberty of " the press. This amounts (says " he) but to a jealousy at best, " which I hppe and believe all " honest Englishmen haveas much " reason to think a groundless, as " to fear it is a just, jealousy : *' for the stage, and the press, I " shall endeavour to show, are " very different weapons to wound " with. If a great man could " be no more injured by being 305 H I S '" personally ridiculed, or made " contemptible, in a play, than *' by the same matter only printed " and read against him in a " pamphlet, or the strongest verse ; " then indeed the stage and the " press might pretend to be upon " an equal footing : but when the *' wide ditJ'erence between these "■ two liberties comes to be ex- " plained and considered, I dare " say we shall find the injuries " from one capable of being ten " times more severe and formi- " dable than from the other." He then quotes what Mr. Col- lier says on that subject. That mis;hty adversary of the stage says, " The satire of a comedian, and *' that of a poet, have a diflerent *' effect upon reputation. A cha- " racter of disadvantage upon the " stage makes a stronger impres- " sion than elsewhere : reading is " but hearing at second hand ; " now hearing, at best, is a more ** languid conveyance than sight ; " for the eye is much more affect- " ing, and strikes deeper into the *' memory, than the ear j besides, " upon the stage, both the senses " are in conjunction. The life " of the actor fortifies the object, " and awakens the mind to take " hold of it : thus a dramatic " abuse is riveted in the audience j " a jest is imj)roved into argu- " ment, and rallying grows up *' into reason : thus a character of " scandal becomes almost inde- " lible, a man goes for a block- " head upon consent, and he that is " made a fool in a play is often " made one for his life. It is true, " he passes for such only among " the prejudiced and vinthirking ; " but these are no inconsiderable " division of mankind. For these " reasons, I hu.mbly conceive, the " stage stands In need of a great VOi.. II. H I S " deal of discipline and restraint. " To give them an unlimited range " is, in effect, to make them " masters of all moral distinctions, " and to lay honour and religion " at their mercy. To show great- " ness ridiculous, is the way to " lose the use and abate the value " of the quality. Things made " little in jest will soon be so in "earnest; for laughing and es- " teem are seldom bestowed on " the same object." Thus far Mr. Collier; and the author of the Apology says, " If " this was truth and reason forty " years ago, will it not carry the " same conviction with it to these " days, when there came to be a " much stronger call for a reform- " ation of the stage than when " this author wrote against it, per- " haps than was ever known since " the English stage had a being ? " To conclude (continues he), " let us consider this law in a quite " different light ; let us leave the " political part of it quite out of " the question ; v/hat advantage " could either the spectator of " plays, or the masters of the play- " houses, have gained by its never " having been made ? How could " the same stock of plays supply " four theatres, which, without " such additional entertainments "■ as a nation of common sense " ought to be ashamed of, could " not well supply two ? Satiety " must have been the natural con- " sequence of the same plays bc- " ing twice as often repeated as " now they need be ; and satiety " puts an end to all tastes that the " mind of man can delight in. " Had therefore this law been " made nine years ago, I should - " not have parted with my share " in the patent under a thousand "■ pounds more than I recei-ve(^ for 30Q H 1 T '* it. So that, as far as I am able *' to judge, both the public as *' spectators, and the patentees as *' undertakers, are, or might be, " in a better way of being enter- " tained, and raore considerable " gainers by it.'' Mr. Gibber had as much reason as any body to complain of the li- centiousness of the stage at this time 3 since in the play of Pas- ,quin (act ii.) his own character • was alluded tOj in a very ridiculous light, as poet laureate ; and, what was shocking to every one who had the least sense of decency or good manners, tlie part (Lord Place) was performed by his own daugh- ter (Mrs. Charke) : *' Lord Place. You shall be poet-lau- reate. " zd Voter. Poet '. no, my lord, I am no poet, i can't make verses. " Lord PLiii. No matrer for that; you Will be able to make odes. " zd Voter. Oiies, my lord ! what are rfccsc 'i *' Lord Place. Faith, Sir, I can't tdl well what they are ; but I know you may be qualified for the place without i/cing a pcet." 237. The History of Car- BENio. A Play, by Mr, Fletcher and Shak;peare. Entered on the book of the Stationers' Company, Sept.9,1653 ; but we believe never printed. It has been suggested, that this play may possibly be ihe same as The Doidle Falsehood ; afterwards brought to light by Mr. Theobald. 238. HiSTRiOMASTix ; or, The ' Player u-hipp'd. Com, Anon. 4to. 1610. 239.H1T OR Miss, Mus. Farce, by J. Pocock. Acted at the Ly- ceum (by the Drury Lane Com- pany), and\;ery successful ; which may rather surprise those who only read it. 8vo. 1810. The . attraction of this piece lay al- H I T most wholly in the acting of Mfv Mathews, whose part (CypherJ is written in ridicule of the Four' in-Hand gentry of the present day. It is indeed lamentable to behold a train of young men, who were born to be patrons of virtue, the Macenasses of merit, and the ex- amples of valour, only emulous to drive a coach, and accomplish themselves in all the vulgarities of language and manners to be found in that class of men who practise driving as a calling by which they get their bread. But de- clamation on such a subject is not likely to produce much ef- fect. We find, in an old Spa- nish romance, an anecdote more to the purpose : A voluptuous no- bleman of Madrid was consigned to purgator)', and met in those regions of torment with the ghost of his own coachman ; who, on seeing his old master, exclaimed, " My Lord ! what could have " brought a grandee of Castille,, " like you, to this place ?" — " I " was hurried hither, Toraaso,'' replied the peer, " having in- " dulged my worthless son, Don *' Brusco, at the expense of ail " my dutiful children : but what, " in the name of St, Jago, could " have brought you here, Toma- '■' so?" continued the old Spaniard. " Don't ask me, master," rejoined Coachee.witb some hesitation. " I " insist upon knowing," added the peer, " Why then," muttered Tomaso, ^' I had the misfortune "■ to be kicked into these embar- " rassmenfs for begetting that same " Don Brusco i" — " 3y our La- *'dy!" said the old magnifico, " I can now account, very natu- " rally, for his always preferring " the love of the stable to the love " of his studies at Salamanca !" 240. Hit the Naile o' the 305 H O F Head. An Interlude, not no- ticed in any Catalogue, ancient or modern} but mentioned in the tragedy of Sir Thomas More, MSS. Harl. No. 7368. 241. Hob J or. The Country JFake. A Farce, by Mr. Gibber. Acted at Drary Lane. 12mo. 1/15, 1720. This is only Dogget's Country JFake, reduced to the size of a farce. It has since had the addition of some songs, by Hip- pi sley ; and was performed under the title of Flora ; or. Hob in the JVelL 242. Hob's Wedding. Farce, by John Leigh. Svo. 1720. This is partly taken from, and partly a continuation of, the same play with that from which the last-named piece is borrowed. 243. The Hoeby Horse. F. by Captain Edward Thompson. Acted once at Drury Lane, April 16, 1766, for the benefit of Mr. Bensley. We hope it proved be- neficial to the actor, though it would do no credit to any author that ever existed. It was, how- ever, preceded by a very good pro- logue, written by Mr. Colman, and printed in The Muses' Mir- rour. Not printed. 244. Hobby Horses. Farce. Acted at the Hay market, July 31, 1789; but never repeated, nor printed. 245. Hobson's Choice; or, Thespis in Distress. Burletta, pre- ceding the Pantomime, by W. C. Oulton. Acted at the Royalty Theatre, 1737- Not printed. 246. The Hodge Podge ; or, A Receipt to make a Benefit. Int. Acted at the Haymarket, 178I. N. P. 247. The Tragedy o/Hoffman' ; or, A Revenge for a Father. [By Henry Cheille.] Acted _divers HOG times [1602] at the Phoenix, Drury Lane, with g -eat applause. Dedicated by the publisher, Hugh Perry, to Master Richard Kilvert. 4to. 1631. It was entered in the book of the Stationers' Company, by John Grove, February 26, 1629. 248. The Hogge hath lost HIS Pearle. Com. by Robert Tailor, divers Times publikely acted by certaine London Prentices. 4to. 1614. In Dodsley's Collect. 178O The part of the plot from which the piece derives its name, is the elopement of the daughter of one Hogge, an usurer, who is one of the principal characters in the play. The scene lies in London. It was first atted in the beginning of 1613. Sir Henry Wotton, in a letter to Sir Edward Bacon, of that date, relates the following circumstances concerning it : " On " Sunday last, at night, and no " longer, some sixteen appren- " tices (of what sort you shall " guess by the rest of the story), *' having secretly learnt a new play " without book, intituled. The Hog " hath hst his Pearl, took up the " White Fryers for their Theatre; "■ and having invited thither (as it " should seem) rather their mrs- " tresses than their masters, who " were all to enter /)fr buletini, for " a note of distinction from ordi- " nary coniedians : towards the " end of the play, the sheriffs " (who by chance had heard of "it) came in, as they say, and " carried some six or seven to per- " form the last act at Bridewell ; " the rest are fled. Now it is "■ strange to hear how sharp-witted ** the city is ; for they will needs " have Sir John Swinert )n, the " lord mayor, be meant by the " Hog, and the late Lord Trea- 7i^ 303 HON " surer by the Pearl." — ReUqiiife IVottoniaiice , p. 402j 3d edition, 1672. 24g. Holiday Time ; or. The School-boy^ s Frolic. A Farce, by Francis Lathoni. 8vo. 1800, Act- ed and printed at Nor'A'icli. 250. The Hollander. Com, by Henry Glapthorne. Written and acted, l63o, at the Cockpit, Drury Lane, and at court before the King and Queen ; and printed in 4to. 1640. Scene, London. 251. Holland's LexVGUER. C. by Shakeriey Mannion. Acted at Court before the King and Queen, and also at the Private House in Sali^^bur)' Court. 4to. 1632. This piece met with great applause. The story was printed the same year in 4to.3 but there is no inci- dent in this play taken from it, except a detection of the sin of pandarism. The autiior has, how- ever, borrowed several circum- stances from Petronius Arbiter, Juvenal, and other of the classic writers. Scene, in Loudon. 252. The Representatmi for De- scent) of the HoLV Ghost. See THEATRICAL Recorder. 253. The Honest Criminal; or, FUial Piety. Drama, by G. L. &vo. 177s. This is a translation from the French. The piece is founded on the well-known ca- tastrophe of Calas, and abounds with pathetic and generous senti- ments, that do honour to the writer. The translation is spirited and elegant. 251. The Honest EtECTORS; or, The Courtiers sent lack u-itli their Bribes. Ballad Opera, of three acts 8vo. No date. [1/33.] 255. The Honest Electors; or, The Freeholder's Opera. 8vo. 1734, This is probabh the same piece as the above, with a new second title. HON 255. The Honest Farmer, Drama, in five acts, by M. Ber- quin, author of The Children's Friend. 12roo. 1791. This is a well-intended performance, and may be read with advantage by the lower ranks of the people. 257- The Honest Lawyer. Com. by S. S. Acted by the Queen's Majesties Servants. 4to. 1616. 258. The Honest Man's For- tune. Tragi-Com. by Beaumont and Fletcher. Fol. 1647 ; 8vo. 1778. The incident of Lamira's preferring IMontaigne to be her husband in the time of his greatest adversity, and when he had the least reason to expect it, seems borrowed from Heywood's History of Women, book ix. Scene, in Paris. 259. The Honest Soldier. Com. by J. H. Colls. 8vo. 1805. We conclude, from the length of this play, that it was never acted. The title too is scarcely borne out by the piece ; for though the sol- dier's feelings and intentions are meritorious, yet he uses fraudu- lent and deceptive means to obtain his end. There is nothing very attractive in the incidents, or no- vel in the characters. 260. The Honest Thieves. Farce. Altered from The Com- mittee, by T. Knight. First act- ed at Covent Garden, Mav 9, 1797, l2mo. 1797- The abridgment has been judiciously made ; and the farce is still^frequently performed. 261. The Honest Whore, Cora, by Thomas Dekker. 4to. 1604 ; 4to. 1615 ; 4to. 1616; 4to. 1635 In Dodsley's Collect. ] 78O. The first pii ; contains The Hu- mours of the Patient Man 'and the Longing JVif', snd was acted with great applause Th'^ «erond part, 4to. 1630, contains Tne Humours HON ef the Patient Man and the Im- patient IVife ; the Honest Whore persuaded by strong arguments to turn courtezan again ; her bravely refuting these arguments ; and, lastly, the comical passages of an Italian Bridewell, where the scene ends. This second part, it is be- lieved, was never acted. Thp incident of the patient man and his impatient wite going to fight for the breeches, may be found in Sir John Harrington's Epigrams, published at the end of his trans- lation of the Orlando Furioso, book i. epig. \Q. 26"2.TiiE Honest Yorkshire- man, See The Wonder. 2(53, Honesty in Distress, BUT reliev'd by no Party. Tr. as it is basely acted by ^-^r Majesty's Subjects upon God's Stage the [Fur Id. 8vo. 1705. This piece consists of three shnrt acts, the scene laid in London, and was written by Edward Ward, the author of The London Spy, but was never in- tended for the stage. 264, Honesty the best Po- licy. Farce. Announced as to be performed at Covent Garden, for Mr. Harley's benefit, I79I, but withdrawn, 263. The Honey Moon. Com. Op. by W. Linley. Acted at Drury Lane, Jan. 7, 1797. The author, who was also the com- poser of the music, appeared to have devoted his attention chiefly to the latter. The music was much applauded; but being unsupported by the dialogue, the piece was so unfavourably received, that it was withdrawn. Songs only printed, 8vo. 1797. 266. The Honey Moon, C. by John Tobin. Acted at Drury Lane. 8vo. I8O0. This play, which was remarkably successful, does honour to the English stage. 3Q9 H O O Just sentiments, expressed in ele- gant and energetic language, and forceful and happy images and allusions, are among its leading merits. The style of the piece is an imitation of that of Beaumont and Fletcher, Shirley, &c. ; and though there is little novelty either in the characters or the fable, its general merit lias established it as one of the most attractive speci- mens of the modern drama. Its author had died before the piece appeared on the stage, 267. HONORIA AND MaMMON. Com. 9vo. 1609. The scene of this piece lies at Metropolis, or New Troy, See further, under Contention for Honour and Riches, 268. Honour in the End, Com. This piece is advertised at the end of H^it andDrollery, 12mo. l6(;l, as in the press. It, how- ever, never appeared. 269. The Honour of Women. A play with this title, and ascribed to Massinger, was licensed May 6, 1628. Perhaps it was that which we now have by the title of The Maid ok Honour. 270. Honour rewarded; or. The Generous For tune- Hunter. F. of three acts, by John Dalton, of Clifton. Bvo, 1775. Printed at York. 271. Hooly and Fairly; or. The Highland Lad and the Low- land Lass. Mus. Int. Acted at Covent Garden, April 29, 1798. Not printed. 272. Hoops into Spinning- Wheels. Tragi - Com. by J, Blanch. 4to, 1725. Printed at Gloucester, It is impossible to conceive any thing more stupid and ridiculous than this performance, which nothing but the dotage of its author could have sulfered to be printed. X3 310 H O R 273. The Hop ; or, Jf^ho 's a/raid? A Sketch, in one act j in which was intended to be intro- duced Bunbuiy's Country Dance ; advertised for the benefit of Mr. E. Palnier, at Drury Lane, 1791 ; but, on some account, withdrawn. 274. The Hope of Britain; or. The Twelflhrif August. Interl. Performed at Brighton, in honour of the Prince of Wales's birth-day, 1802. 275. HoR.\CE. Trag. by Charles Cotton. 4to. 1671. This is only a translation of the Horace of P. Corneille, with additional songs jnd chorusses, by the translator. The plot of the original piece is taken from the several Roman his- torians of the story of the Horatii and Curiatii. It is a very good translation. 276. HoBACE. Trag. by Mrs. Cath.Phillips.Fol. 160"/; 167s. This is a translation of the same piece as tlie foregoing, and was very justly celebrated. The fifth act was added by Sir John Denham, and it was presented at court by persons of quality, the prologue being spoken by the Duke of Mon- mouth, and of which the follow- ing are a few lines : *' This martial story, which through France did come, ♦' And there was wrought in great Cor- neillc's loom, ** Orinda's matchless muse to Britain brought, ♦< And foreign verse pur English accents taught; " So soft, that, to our shame, we un- derstand " They could not fall but from a lady's hand. " Thus while a woman Horace did translate, « Horace did rise above a Roman fute." 277. HoRATius. Roman Trag. by Sir William Lower. 4to. 1656. This is also a translation from Corneille, but is not equal to either HOT of the preceding two. The scene is in Rome, in a hall of Horatius's house. 278. The Horse and the Widow. Farce, altered from the German of A. Von Kotzebue, and adapted to the English stage, by Thomas Dibdin. 8vo. 1799. This p'lece was acted eight nights at Covent Garden, and favourably received on the stage : in the closet it will be found a very trifle. 279- An Hospital for Fools. A Dram. Fable. Acted at Drury Lane, 8vo. 1739- The soiigs set by Arne. This play, being known to be Miller's, was condemned; the disturbance being so great, that not one word of it was heard the whole night. The reason of this partial prejudice against it may be traced under the account already given of The Cnjfe^-Hoiise. — This piece, probably, furnished Mr. Garrick with the hint for Lethe. 280. The Hospital of Lovers j or Love's Hospital. Comedy, by George Wilde. 1636. Not printed. 281. Hot Anger soon Cold. Play, by Henry Chettle, in con- junction with Henry Porter and Ben Jonson. Acted 1598. Not now in existence. 282. The Hotel ; or. The Doulle Valet. Farce, by Thomas Vaughan. Acted at Drury Lane. 8vo. 177'5. This piece is a trans- lation, partly from Goldoni's // Servitor di due Padroni, and partly from a piece frequently performed at the Comcdie liallenne, in Paris, under the title of Jrlcquin Valet de deux Maitres. By the assistance of excellent acting, it met with some success. 283. The Hotel; or, Servant with Tivo Masters. Farce, by Robert Jephson. Acted at Smock. Alley, Dublin. Printed at Cork. Sv'o, 1/83. This piecej as may 311 H 0 W be supposed, has the same founda- tion as the foregoing. See Two Strjngs to your Bow. 284. The Hovel. Bal, Op. Performed ooee at Drury Lane, for the benetit of Miss LeakCj May 23, 1/97; but not printed. 295. An Hour before Mar- KiAGE. Farce, .of two acts. As it was attempted to be acted at Co- vent Garden. Svo- 1772. This piece was ndl suffered to be heard throughout. What gave so much effence cannot be discovered ii) the perusal of it ; apd indeed it seems to have deserved a better fate. The prologue, a very good one, was spoken by Woodward, in the character of Harlequin, and jconcluded thu* : " Howe'er full of plot, wit, and humour, he cram it, " I, Harlequin, humbly beseech you to daniu it." The audience seem too literally to have understood this ludicrous ad- yice of the motley hero. 28(5. A House to be Sold, Musical Piece, in two acts, by James Cobb. Acted at Drury Lane. 8vo. 1802. Musjc by Kelly. This is an alteration and enlarge- ment of a French piece, in one act, called Alaison a Fendre. By the assistance of music and scenery, it is better calculated to please the spectator than the reader. It was well received, and still continues to \}e occasionally performed. 287. A House to be Sold. J'arce, translated from the French, byJ. Baylis. 12mo. 1804. Never acted. 288. yl pleasant conceited Come-' (fie. U-^kerein is shewed, How a Max may chuse a good Wife FROM a BAfx Com. Anonymous. 4to. 1602; 4to. l60o; 4to. l621 ; 4to. 1(J30; 4 to. 1634. Acted by {h§ Earl o|" Worcester's servants. HOW The foundation of this play is- taken from Cynthio's Novels- Dec. 3. Nov. 5. ; but the incident of Anselme's saving young Arthur's wife, by taking her out of the grave, and carrj-ing her to his mother's house, is related in a no- vel, called Love in the Grave, in The Pleasant Companion, and is the subject of several plays. The scene is in London. In Mr. Garrick's collection, this piece is ascribed, in manuscript, Jto a Joshua Cooke ; probably John, the author of Green's Tic quoque. 289. How TO BE Happy. Coni. by George Brewer. Acted three nights, at the Haymarket Theatre, in Aug. 1794. Not printed. 290. How TO GROW RiCHi Com. by Frederic Reynolds. Act- ed at Covent Garden. Svo. 1793. This piece met with good success. It contains much humour, some novelty of character, and many good situations ; and the language is sprightly and pointed. 201. How TO Tease, a.nd HOW TO Please. Comedy. First acted at Covent Garden, March 29, 1810; but with so httle ap- probation, that, after the third night, it was withdrawn. Not printed. It has been ascribed, by report, to three several authors, viz. Mrs. Inchbald, Mr. Morton, and Mr. T. Dibdin ; but, as it was so ill received, it is not likely that its author will be very for- ward in avowing it. Not printed. 292. How WILL IT End? Cum. by Mrs. West. Not acted; but published with a collection of her poems. Small Svo, 1799. Though refused a trial on the stage, we consider it as possessing strong" claims to praise. The characters are well conceived, and delineated; the sentiments are just, and the moral is pure. We can only sair, X4 ■ 312 HUM that its intrinsic merit far exceeds that of many of the successful act- ing plays of the time. 293. HuDiBRASso. Burlesque Opera, of two acts. Performed at the Theatre Royal at Voluptuaria. 8vo. 1741. Printed in an in- decent pamphlet, intitled, " A *' Voyage to Lethe, by Captain **■ Samuel Cock, some time com- " mander of the good ship the " Charming Sally." 294. The Hue and Cry. Far. by Mrs.Inchbald. Acted at Drury Lane, for a benefit. May 10, \TQ\. It was a translation from the French, and was condemned. Not printed. 295. HUMAN'ITIE AND SeN- 5T7ALITIE. One of the eight in- terludes by Sir David Lindsay. Published by Pinkerton. Svo. 1793- 296. The Humorous Cour- tier. Com. by James Shirley. Acted at the private house, Drury Lawe. 4to. 16IO. This play was acted with very good success. Scene, Mantua. 297. Humorous Day's Mirth. A Pleasant Comedy, by George Chapman. 4to. 1599. 298. The Humorous Lieu- tenant. Tragi-Com. by Beau- mont and Fletcher. Fol. 104/ j 4 to. 1697 (as then acted) ; Svo. 1778. This is an exceedingly good play. It was the first that was acted, and that for twelve nigbts successively, at the opening of the Theatre in Drury Lane, April S, l6d3. The plot in general is taken from Plutarch's Life of Demetrius, and other writers of the Lives of Antigonus and Demetrius ; and the incident of the Humorous Lieutenant refusing to fight after he has been cured of his wounds, seems borrowed from the story of LucuUus's soldier^ related by Ho- H U M race, in the second book of his Epistles, Ep. 2. Scene, Greece. 299. The Humorous Lovers. Com. by the Duke of Newcastle. Acted at the Duke's Theatre. 4to. l677- This comedy is said, by Langbaine, to equal most come- dies of the age. The scene lies in Covent Garden. 300. The Humorctus Quar- rel ; or. The Battle of the Grey- beards. Farce. [By Israel Pot lin- ger.] Acted at Southwark Fair. Svo. No date. [1701.] 301. The Hu.mour of the Age. Com. by Thomas Baker. Acted at Drury Lane. 4to. 17OI. This play was written in two months, and that when the author was but barely of age. The grand scene is in a boarding-house, and the time twelve hours, beginning at ten in the morning. 303. Humour out of Breath. Com. by John Day. Acted by the children of the Revels. 4to. 16O8. 303. The Humourist. Farce, by James Cobb. Acted at Drury Lane, 17S5, with good success. It still keeps its place on the stage j but has not been printed. The part of Dabble, in this piece, was performed by Mr. John Bannister, and was one of the most happy efforts of caricature acting ever attempted by him. The charac- ter itself, we have heard, was a good-humoured hit at Mr. Pa- tence, the dentistj and the picture is thought not to have been over- charged. The public may be said to be indebted to the late Right Hon. Edmund Burke, for the pro- duction of this farce ; as it was through his powerful influence with Mr. Sheridan, that it was brought before the public. 304. The Humourists. Com. by Thomas Shad well. Acted at Drury Lane. 4to, 167J, Jhp 313 HUM scene of this piece is laid In Lon- don ill the year ICi/O, and the intention of it was to ridicule some of the vices and follies of the age. Yet this very design, laud- able as it was, raised the author nianyenemies who were determin- ed to condemn it, right or wrong, and compelled him to mutilate his play, and expunge his main de- sign, lo avoid giving otience. The duration of the scene is twenty- tour hours. .'^05. The Humourists. Dram. £nt. Acted at Drury Lane, 1/54. Not printed. 306. The Comedy of Humours. Acted (according toHenslowe) at the Piose Theatre, Alay 1], 159/. INIr. Miilone supposes this to have been Ben Jonson's comedy of Every Man in his Huinour. 30/. The Humouks of a CoFFEE-HousE. Coni. as it is daily acted at most of the Cofiee- houses in London, by Edward Ward. It is printed in the second volume of his works, 8vo. 4th edition, 1709. SOS. The Humours of ax Election. Farce, by F. Pilon. Acted at Covent Garden. 8vo. I78O. It was at first acted with the title of The Close of the Pvll ; or. The Humours, &c. and was well received. In this farce, the profes- sions of a candidate are turned into ridicule. The bribery, corruption, and all the low tricks, usually practised at elections, are also .ex- hibited with point and effect, 309. The Humours of ax Irish Court OF Justice. Dram. Satire. 8vo> The dedication is signed a Freeman Barber, and dated London, Dec. 12, 1750. It was never acted. 310. The Humours of Brigh- ton; or. The Cliff', Stebie, and l,eveL A short Sketch, inter- H U M spersed with songs, &c. by J. C. Cross. Pertbrmed for a benefit at Brighton, 179'2. 311. The Humours of Elec- tions. See Gotham Election. 312. The Humours of Ex- CKAVGE AllSY. SecTilESTOCK Jobbers. 3 13. The Humours of Greex- OCK Fair ; or. The Tavlor wacU a Man. Mus. Int. by A. M'Laren. Acted at tireenoch, and printed at Paisley. 12mo. 1789. 314. The Hu.mouks of John Bull, An Operatical Faice, by Sylvester Otway [John Oswald]. 12mo. l/SO. This was published with a small collection of poems j and is a satire on the sing-song and raree-show insignificance of modern operas. 315. The Humours of 0.x- FORD. Comedy, by James Mil- ler. Acted at Drury Lane. 8vo. 1730, This was the first and the most original of all our author's dramatic pieces. It met with middling success on the Theatre ; bur drew on Air. Miller the re- sentment of some of the heads of the colleges in Oxford, who look- ed on themselves as satirized in it. Scene lies in Oxford. 31-Q. The Humottrs of Posts- Mouth ; or, JU is IVell that evcls IVell. Farce, of tliree acts. 8vo. No date [about 170OJ. 317. TuE Humours of Pur- GATOKY. Farce, by Benj. Grifiin. Acted at Lincoln's Inn Fields. 12mo, 1716. The plot of this farce, and the principal parts of it, are borrowed from the coniic part of Soutiierne's Ftilal Marriage. 31s. The Hum(jurs of the Army, Com. by Chas. Shadwell, >Vcted at Drury Lane. 4to. 1713 ; 8vo. 1720. This play (which is t.nken from DAnccurt's Les Cii' rleux de CampagneJ met with very 314 H U M grtci success. The scene lies in tiie camp, iiear Elvas. The time six hours. 319. The HuMcras of the Compter. Comedy, 12mo. We have never met with this play ; >vhich, however, is among a ca- tiilogue ot books, sold by Jonas Brown, at tlie Black Swan, with- out Tiimple Uar, 1717- It was, perhaps, Tl'<^- City Ramlle, of which the above is the second title. >320. The Huhcuks of the jCouRT ; or, Modern Gallantry. Ballad Opera. 8vo. 1/33. 32U The Humours qf the Ro.vd; or, A Ramble to O.vforcl. Comedy, Anonym. 9vo. 1/38. Tliougb it is not likely that this play was ever acted, there is a considerable degree of low humour in some of the scenes. It is de- dicated, in a style of sarcasm, to Mr. Pope, by "William Quaint, belJman of the parish ; and has a tolerable engraving, by Bickham, prehxed as a frontispiece. 322. The Humours of the Times J «r, IFhat A^ews now? Com. Op. )2mo. 1799. To this piece is prefixed 3 note from Mr. Daly, then manager of the Dublin Theatre, intin)ating his approba- tion of it. The management, fco-wevcr, devolved to other hands, gnd the piece was never acted. 323. 'I'iiE Humours of Wap- I»ING. Farce. 12roo. 17O3, This piect- v.-e never saw. Jt was ftrst ;iientloned bv Chelwood, 324. The Humijuks of Whist. Dramatic Satire, as it is acted every dav: ct ir kite's and other Cnff'ce- kouies and Jssemh lies. 8vo. 17-43. Anonym. This piece was never intended for the stage, but only tk-signed as a representation of the various characters which present theraselves to observation among the frequenters of the ganaing- H U N tables in the highest scene? of life, It is, however, very far from being veil executed. It was republish-; ed in 1753, with the additional title of Tke Polite Gamester; or, fititnours nf If "hist. 325. THEHu.Mouas of York.. See Xof.thern Heiress. 32t). HuMEHRFY Duke op Gloucester. Trag. by Ambrose Philip.s. Acted at Drury Lane. 8vo. 1 723. The plot of this play is founded on history ; and the piece itself met -vvith great ap- plause ; but at present, as Dr. Johnson observes, it is only re« membered hy its title. 327. Huniades ; or, Tie Siege of Belgrade. J. by H. Brand. Ac^ed gt the Haymarket, by the Drury Lane Company, Jan. IS, 179^. hut \vithout success. See Agmund^, The scene of action is Belgrade, besieged,, in \45(Ji, by the Turks, under Mahomet II. whose very fQrmidal")le attack was defeated by the heroi.sm of Huniades. There are marks of genius in this piece j but many of the scenes v/ere toj long for representation on the stage. It is printed in a volume of plays and poems, Svo. 179^- 32s. Huvt th£ Slipfer. Mus. F. by the Rev. Henry Knapp, Acted at the Haymarket, i7^4, \v\\h some applause. Not printed [l>ut in a piratical way, 12mo. 1792}. It is f;^r from a dull piece. 329. The HuKTfiR of th« Alps. Drama, by WilliaiTi Di- mond. Acted at the Haymarket^. with success, ] 804. Svo. No date. 33Q. The Huntincton Di* vertises^ent ; or. An Enterlude for the general Entertainment at the County Feast, held at Merchant Taylor's Hall, June 2Q, 167S. 4to. This piece has the letters W. M, and is dedicated to the nobility an4 gentf}' of the couoty. fiiP 315 H U R ^ccne lies in Hinchinbroke grove, tlelds, and meadows. 331. HUON OF BOURDEAUX. Acted by the Earl of Sussex's men, Dec. 2S, 1593. Not in existence. 332. HuRLOTHRUMBO; OX , The Supernatural. By Sam. Johnson. Svo. 1729. This piece was perform- ed at the Little Theatre in the Hay- market,nnd had a run of above thirty nights. The oddity, whimsicalness, and originality of it, was what occa- sioned this ama/ing success 3 the play itself being one of the most absurd cnmpages of wild extra- vagant incidents, incoherent sen- timents, and unconnected dia- logues. The author himself per- formed the principal part, viz. that of Lord Flame, sometimes in one key, sometimes in another ; sometimes fiddhng, soujetimes dan- cing, and sometimes walking in very high stilts. The celebrated Dr. Byrom, the inventor of a pe- culiar kind of short-hand, wrote an epilogue to it, in which his in- tention was to point out, by a friendly hint to the author, the absurdity of his play. Mr. John- son, however, so far from perceiv- ing the ridicule, looked on it as a compliment, and had it both spoken and printed to the piece. Yet, notwithstanding all that has here been said, it contains in some places certain strokes both of sen- timent and imagination that would do honour even to the greatest genius, and which speak the author, if a madman, at least a madman with more than ordinary abilities. — But, query, might not both play and epilogue be design- ed to exposa false taste, fustian, and bombast ? 333. HuRLY Burly; or, The Fairy of the Well. Pant. Acted ■with success at Drury Lane, in H Y D the Christmas holidays, 1/35-6. This was the joint production, we understood, ofMessrs. James Cobb, and Thomas King the comedian. 334. The Husband uis own Cuckold. Com. by John Dry- den, jun. Acted at Lincoln's Inn Fields. 4to. IdpO. The story on which this play is founded was an accident which happened at Eome. The author, however, has transferred the scene to England. The prologue is written by Con- greve, and the preface and epi- logue by Mr. Dryden, sen. ; but, with all this advantage, the play had little success. 335. HVCKE-SCORNER. 4to. black letter. No date. Emprynied Ly me IFi/nki/n de IForde. This piece, as Dr. Percy ob-;erves, be.^rs no distant resemblance to comedy. Its chief aim is, to exhibit charac- ters and manners. Bating a few moral and religious retlections, it is of a comic cast, and contains a humorous display of some of the vices and" follies of the age. In- deed, the author has generally been so little attentive to allegor)', that we need only substitute other names to his personages, and we have real characters and living manners. Tliis play has been re- printed by Hawkins, in his three volumes of Old Plays, intitled The Orvyin of the English Drama. 12mo. Oxford, 1/73. See vol. i. p. i5g. where the reader will like- wise meet with Dr. Percy's curious analysis of so e.\traordinary a per- formance. 336. Hyde Park. Corn, bv James Shirley. Acted at the pri- vate hou'^e, Drury Lane. 4to. 1637. Though not a perfect per- formance, being irregular and un- dramatic in its conduct, it contains some excellent sparks of humour. It is dedicated to Henry Lord 316 H Y IM Holland, who was afterwards be- headed. 537. Hymek. a New Occa- sional Interlude, in honour of the marriage of the Princess Royal of England to the Prince of Bruns- wick. [By a Mr. Allen ; who, we believe, was the author of Heze- KiAH.] Performed at Drury Lane, 1764. Not printed. Danchet, in his Dissertation sur Ceremonies Nuptiales, tells us, re- specting the deification of Hymen, that he was 3 young man of Athens, obscurely born, but ex- tremely beautilul. Falling in love with a young lady of distinction, he disguised himself in a female habit, in order to get access to her, and enjoy the pleasure of her company. As he happened to be one day in this disguise, with his mistress, and her female compa- nions, celebrating, on the sea- shore, the rites of Ceres Eleu^ina, a gang of pirates came upon them, hy surprise, and carried them all off". The pirates, having conveved them to a distant island, got drunk for joy, and fell asleep. Hvmen seized his opportunity ; armed the virgins, and dispatched the pirates : after which, leaving the ladies on the island, he went in haste to Athens, where he told his adventure to all the parents, and demanded her he loved in marriage, as her ransom. jFlii request \vas granted — and so fortunate was the marriasfe, that the name of Hymen was ever after invoked on all future nuptials. And, in progress of time, the ■Greeks enrolled him among their gods. b'.'58. HvMEN'.'Ei -, or. Thr Sn- ifnaiities of a 3Iasf/ue and Barriers at a Marriage, bv r>en Jnnson. 4 to. idOd; 8vo. 17.56. To this piece the author has annexed manv very curious aud learned marginal H Y M tiotes for the illustration of the an- cient Greek and Roman customs. 339. The Hymeneal Party j or. The Generous Friends. Com. 8vo. 178.9. Not acted. In the prologue to this piece, the author is. announced to be only in his nineteenth year; but, had he been in his twelfth, the play might not have been much worse than it is. 340. Hymen's Holiday; or, Cupid's Fagaries, by Samuel Row- ley. Revived before the King and Qaeen at Whitehall, 1633. Not printed. 341. Hymen's Triumph. Pas- toral Tragi-Com. by Sam. Daniel. 4to. 1623. This piece was pre- sented at an entertainment given to King James I. by his Queen at her court in the Strand, on the nuptials of Lord Eoxbonmgh, and is dedicated to the said Queen. It is introduced 'oy a very pretty pro- logue, in which Hymen is opposed by Avarice, Envy, and Jealousy, the three greate>.t disturbers of matrimonial happiness. It is en- tered on the Stationers' book, Jan. 13, 1614. Not many passages in our most admired plays can exceed the tenderness, passion, and dis- tres-!, of the si>eech of Thyrsis, in the first scene, where he is advised, by Pjlsemon, not to mourn for his l(;st Sylvia, from the consider- ation, that he might find another As lovelv, gnd as fair, and sweet as she. To which Thyrsis replies— A<, fair and sweet as slie ! Palaemon, peace : Ah, what can pictu'esbe unro the life? \Vh;U sweeinc-is can be foumi in imaaics Wliich all nymphs <:!se besides her seeiM to nie ? She onlv \v:ti a rr-.i/crcJtiue — she. Should I another Idvc, then I must have Another heart, fni this is full of her, And evermore shall be : hero is she dru'-vii 317 HYP At length, and whole; and more, this table is A story, and is all of her, and all Wr-ought in the liveliest colours of my blood ; And can there be a room for others here ? Should 1 disfigure such a piece, and blot The pcrfect'bt workmanship chat love e'er wrought ? Palsemon, no, uh no ! it cost too dear; Ir must remain entire, while lite remains. The monument of her and of my pains. 342. Hymen's Triumph,; or. Trick upon Trick. Pant. Acted at Lincoln's Inn Fields, 173^. 343. Hypermsestra; or. Love in Tears. Trag. by Robert Owen. 4to. 1/03 ; 12ncio. 1/22. The scene lies in Argos. The story is built on history, and the time the saine as that of the representation. The play, however, was never acted. 344. The Hypochondriac. Com. by Mr. Ozell. This is only a translation of MoJiere's Malade imoginai^e. HYP 345. The Hypochondri.^c. Farce, Anonym, borrowed from the foregoing ; but never acted. 346. The Hypochondei.vc. Mus. Ent. by Andrew Franklin. Acted at Smock Alley, Dublin, 1785. Not printed. 34/. The Hypocrite. Com. by Isaac BickerslafFe. Acted at Drury Lane. 8vo. I'jQ'S. This is an alteration of Gibber's Nonju- ror. Scarcely any thing more thaa the character of Maw-worm was written by the present author, who introduced it for the sake of Wtistou's comic talents. Few plays have had the advantage of better acting, and, in consequence^, few had a greater share of success. It is one of the most valuable cha- racteristics of this play, that while it severely satirizes hypocrisy, fana- ticism (as in Maw-worm), and out- rageous pretensions to sanctit}', it carefullv distinguishes betweea these and rational piety. I, 1 B H I - lEKiHiM, the Illustrious Bassa. Tragedy, in heroic verse, by Elk. Settle. Acted at the Duke's Theatre. 4to. lOjJ ; 4to. l6Q4. This play is written in heioic verse, the plot taken fiom Scu- dery's Romance of the same name, and the scene laid in Solyman's seraglio. 2. Ibrahim XII. Evrperor of the Turks. Trag. by Mary Fix. 4to. 3696. In the titk-page, he is, by some mistake, called Ibra- IDE him Xril. This play has not much sublimity of e,>:pression, or har- moiiy of numbers ; yet the dis- tress of Morena is truly affecting, and thec(/nduct of the playfar from contemptible. The plot is to be found in Sir Pinl Ricaut's Con- tinuation of the Turkish History. 3. Idelia ; or, The Feuds of Switzerland. Tragedy, by ■ Simeons, junior. This piece was acted at Liverpool, 1803, for the benefit of Mr. Hurit, formerly of 318 I F Y I>rary Lane ; but, we believe, has not been printed. 4. " If it be. not Good the ** DiVEi, IS IN IT. A new Play, " as it hath bin lately acted with " great applause by the Queene's *' Majesties servants, at the Red *' Bull ,; written by Thomas Dek- *' ker. 4to. l6l2." The principal plot of this piece is built on Ma- chiavel's Marriage of Belphegor, which is to be found in the select collection of Novels before men- tioned. Ttie name is founded on a quibl)le, the Devil being a prin- cipal character in the play. Scene, Naples. 5. If YOtJ KNOW NOT ME, YOU KNOW Nobody ; or. The Troubles of Qui'en Elizabeth, in two parts, by Thomas Hey wood. Part 1st, 4to. 1605} l606; 4t0. 1608 J -Ito. 1013 ; 4to. 1632. Part 2d, 4to. 1606} 4to. 1623} 4to. l633. The second part contains the building of the Royal Exchange, and the famous victory of Queen Elizabeth in the year 1588. The.se plays were printed without the author's consent or knowledge, and that so corruptly as not eveii to be divided into acts ; on which, at the revival of it at the Cockpit, one-and-twenty years after its hrst representation, he thought it ne- cessary to write a prologue to it ; in which he thus inveighs against, and disclaims, the imperfect copy : " 'T was ill nurst, *' And yet received 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 l(in2 ; *'The author uow,to vindicate that wrong, ILL " Hath took the pains upright upon it* feet, " To teach it walk; so please you sit, and see't." 6. Ignez de Castro. Trag. translated from the Portuguese of Don Domingo Quita, by Benj. Thompson. 12mo. 1800. Never acted. 7- Dona Ignez de Castbo. Tra. from the Portuguese of Ni- cola Luiz ; with remarks on the hi.story of that unfortunate Lady. By John Adamson. 12mo. 1308. Never acted. The play is deficient in almosr every requisite of dra- matic composition ; and !Mr. A.'s tran.slation of it is not calculated to cover any of its original detects. The Princess of Navarre is a very disgusting character. In his pre- face, the translator enumerates no less than nine tragedies founded on this story. Among these, he mentions two in Engli.sh ; but a third, and very good one, will be found in a subsequent article. .See Inez. 8. Ignokamus. Com. by R. C. 4to. 1662. This is a transla- tion of the I,alin play of the same name. The two annexed letter.^; are explained by Coxeter to stand for Rob. Codrington. p. Ignoramus ; or. The Eng- lish Lairyer. Comedy. Acted at Drury Lane. 12mo. 1/36. 10. An ill Beginning has a ^GOOD End, and a bad Begin- ning MAY HAVE A GOOD EnD. Comedy, by John Forde, entered on the book of the Stationers' Company, June 29, 166O. It was performed at court, in l6l3, and was among those destroyed by Mr, Warburton's servant. 11. The ill-natur'd Man. Comedy. Acted every day in this Metropolis. 8vo. 1773- 12. I'll tell you What Com. by Elizabeth Inchbald. 8vc.. 319 I M I 17B6. First acted at the Hay- market, Aug. 4, 178-5. and well received. A principal incident in this piece is derived from TJie English Merchant. JVIr. Coiman, Vm have been told, gave the name to this comedyj which possesses both humour and interest. 13. Illumination ; or. The Glaziers'' Conspiracy. A Prelude, by F. Pilon. Acted at Covent Garden. 8vo. 177.0. This trifle was produced by the rejoicin^^s on the acquittal ot" Admiral Keppel. The writer of it had a very happy talent at catching temporary sub- ject; for the exercise of his drama- tic powers. 14. The Imagk of Love. This is one of Bishop Bale's drama^ tic pieces, mentioned by himself in his Catalogue. 15. The IiMAGmARY Cuckold. Comedy, by Ozell. This is only a translation of Moliere's Cocu imaginaire. From this piece hints have been taken for the plots of several English comedies ; as shall be pointed out_, wherever they oc- cur. 16. THElMACiISARYOBST..\CLE. Com. translated from the French, and printed in Foote's Crntic The- aire, vol. ii. 12mo. 1/(52. 17. Imitation; or. The Female pur tune Hunters. Com. by F. G. Waldron. Acted at Drary Lane, 1/83 ; but coolly received. N. P. The characters were nearly those of The Beaux Stratagem , reversijng the sexes. The projogue^ spoken hy Mr. Bannister, jun. had the singularity of every line terminat- ing in ation. See Heigho for A Husband ! 13. Imitation" a la Mocs. interl. Performed at the Earl of Aldborongh's private theatre, Strat- ford Place, 17 Ql. A Mr. Simonds performed the part of a Theatrical IMP Candidate, and introduced imit>- tions of all the then principal p from Aristotle, &c. to manifest the va- lue which the writers of antiquity had for tragedy. 24. The Impertinent Lo- vers; or, A Cofjuet at her Ji^'it's End. Com. by a Citizen of Lon- don. Acted at Drury Lane. Svo. 1723. This is, probably, the same piece as is mentioned in Mears's Catalogue, as written by Francis Hawling. It was acted only one night, by the summer company ; and is introduced by a preface, and remarks upon its usage ; sub- mitted to Sir Richard Steele, and the three gentlemen concerned with him as patentees. 25. The Impektinexts. Com. by Ozell. Translation from tlie Fachettx: of JNIoliere. 26. The Impostor. Tragedy, by Henry Brooke. Svo. l/JS. This tragedy is on the same sub- ject as iV'illcr's Mahomet. It was not acted. 27. The Imi'ostor Detected; or. The I^intner's Triumph over E[rook]e ojid H[ellie}r. A Farce, occasioned by a Case lately ojjh-ed to the H — e of C- ns, by the said B ke and H r. 4to. 1712. The scene, London and Westmin- ster. This piece wris evidently never intended for the stage, but was only a political and party af- fair^ which may be known by look- ing into the proceedings of Parlia- ment of that year. 28. The Impostors ; or, yl Cure for Credulity. Farce. By Joseph Reed. Acted March ip, 1776, at Covent Garden Theaue, with an excellei't pro'o.^ue, for the benelit of Mr. Woodward. The 1 M P story of this piece was professedly taken from Gil Bias ; and, al- though we cannot give it much praise as to literary merit, it would be unjust not to say that it pro- voked many hearty peals of laugh- ter. It has not been printed. 29. The Impostors. Comedy, by I'ichard Cumberland. Acted at Drury Lane, with tolerable success. Svo. l/S.Q. The plot of this piece is fundamentally that of The Bciiux Stratagem, and some other late plays. Two impostors insinuate themselves intothe house of Sir Solomon Sapient, by the pretended title and name ot LorU Janus and Mr. Polycarp; and the one endeavours to marry Miss Dorothy, an old liquorish maid ; the other Miss Eleanor, a pre- tended simpleton, but in fact a young lady of sensibility and good sense. The detection of this im- posture, by Sir Charles Freemantle and Captain Sapient, forms the story; which is well wrought into pleasant scenes of lively dialogue. The repartees are neat, and the manners of tlie characters tolerably preserved. The first four acts, however, are the best. In the fifth, the interest falls off very much. The author appears to have exhau-.ted his strength in the former four, and has little or no- thing left for the fifth, but tedious dialogue, anti incidents for which the audience were prepared by an- ticipation. The morality is good. 30. The Imposture. Tragi- Cou). by James Shirley. Acted at the private house, Black Friars. Svo. ]652. Scene, Mantua. 31. The Imposture DF,FEATEr>; or, yl Trick to cheat the Devil. Com. by George Powell. 4to. l6i)8. The author himself says, that this trifle of a cometlv was only a slight piece of scribble for the introduc- 321 i N A tibn of a little music, being no " more than a short week's work, to " Serve the wants of a thin play- " house and long vacation. Scene, " Venice. At the end is a masque, " called, Endymion, The Man in " the Miioii. They vvere performed " at the Theatre in Drury t.ane. " 32. Of THE Impostures or " Thomas Becket. Ihis is ano- " ther piece on Bishop Bale's list. '* 33. The Impromptu of Ver- " SAiLLEs, bv Ozell, tran.'-lated from " Moliere's comedy of the same " name, " 34. In and Out of Tune. " ISIus. Afterpiece, written by D. •■' Lawler 5 and altered, it seems, by " Mr. Cherry. Acted at Drury Lane, " March 1808; but with indifferent " success. The blame of its failure, •' ihe original author publicly charg- " ed on Mr. Cherry, in a letter to " the editor of a morning paper, of " ■which the following is an extract : " " I must beg the favour of you *' to correct a mis-statement (cer- " *' lainly not an intentional one) in " "your paper; where, in criticising " " the new afterpiece, called, ' In " " and out of Tune,' you gi\e the " <' public to understand that the " *' piece was originally written by " " me, and has been recently " " adapted to the stage by Mr. " *' Cherry. •' If filling up a good outline " " with dull and insipid dialogue, '' " and slurring over incidents cal- " *' culaied to produce much farcical " *' etiect, be adapting a piece to •• the stage, Mr. Cherry has cer- " '* tainly done so much for the " " materials which I furnished for " " the composition of a farce, ori- " *' ginally intended to have been " ** called, ' The Musical Family.' " " I was applied to, about twelve " *' months age, by Mr Cw;ri, to " VOJL. II, I N A write the farce in question. It was agreed upon, that 1 should produce the skeleton of the piece, arranging the whole bu- siness dramatically, delineating the characters, and detailing the incidents, scene by scene, in order to decide quickly whether or not the managers would en- courage the undertaking. This I did, under an express stipula- tion, witnessed by Mr. Edward Williams, barrister. No. 8, Southampton Buildings, Hol- born, that, when once I had taken up my pen in it, the work should not be given to another person to complete. My ma- nuscript was submitted to Mr. Justice Graham, who highly approved of it ; and shortly after Mr. Corri put all my ideas into the hands of Mr. Cherry, to write from it the piece perform- ed last Tuesday at Drury Lane. " I wrote to Mr. Graham, on Sunday evening last, a letter, stating my intention to publish the incidents of my invention before the representation of the piece, to enable the public there- by to decide how far 1 had been unfairly treated. To this letter I received an answer in the course of an hour, requesting I would call on Mr. G. the next morning. I did so, and receiv- ed that gentleman's pledge, that I should have strict justice done me. " In consequence of Mr. G.'s having observed, in the course of our interview, that Mr. Cherry had not done justice to the mnierials I had furnished him with, I wrote in the course of Monday, requesting to see one rehearsal, previous to the performance of the piece ; to 322 I N C " this I received an answer, not " strictly consonant witli Mr. Gra- " ham's assurances to me. " I attended the representation " of * hi and out of Tune,' on " Tuesday night j and what I saw " served to convince me that the *' incidents had lecti cut and dis- " tor ted. " This business shall shortly be *' laid before the public more at " large ; at present I have only to " request, as it is certainly libel- '* ling a man's character to repre- " sent him, in an unqualified man- " ner, as the author of such a *' piece as that produced at Drury " Lane on Tuesday evening, that ** you will do me justice in the " estimation of the numerous " readers of your respectable pa- " per, by giving insertion to this " letter. " D. Lavvler. '♦ No. 15, Ryder s Court." 35. TuR Incas ; or, The Pe- ruvian Virgin. An Hist. Opera, by John Thelwall. The play of Columbw! being similar to this opera, it has been insinuated that Mr, Morton borrowed greatly from The Incas, while it was in the hajiids of Mr. Harris, the pro- prietor of Covent Garden Theatre, who declined performingMr.Thel- walls piece, as not likely to suc- ceed, but shortly after brought out Cohimlus ; during the run of ■which The Incas was advertised to be published. We are uncertain whether it has yet been printed complete ; but a specimen (of about a dozen pages) of it was printed in a periodical work in 1792. Mr. Harris positively de- clared, that neither Mr. Morton, nor any other person, but himself, had had a sight of Mr. Thelwall's play : the charge of plagiarism, therefore, was unfounded. I N D 36. The Inchanted Lovers. See Enchanted Lovers. 37. The Inconsolables ; or. The. Contented Cuckold. Dramatic Farce, of three acts. Anonym. Svo. 1738. This piece was never acted, and is indeed by no means deserving of representation. We imagine it to have a reference to, and to have been intended as an exposure of, some particular event in private life, which might have for some time supplied the favour- ite kind of scandal to the card and tea tables of this metropolis at that period. 38. The Inconstant ; or, The JFay to win Him. Com. by Geo, Farquhar. Acted at Drury Lane. 4to. 1702. This is a very lively and entertaining comedy, although there are some incidents in it which scarcely come within the limits of probability. The author in his Preface, and Rowe in the Epilogue, say the hint of the play only was taken from Beaumont and Fletcher's JFild Goose Chase, though, in fact, the main plot and whole scenes were borrowed trom thence ; but the catastrophe of the last act, where young Mi- rabel is in danger of his lite at a courtezan's house, and is delivered by the carefulness of his mistress Oriana disguised as his page, owes its origin, it is said, to an affair of the like nature, in which the au- thor had himself some concern when on military duty abroad. The scene lies in Paris. 30. The Inconstant LAi>y. Com. by Arthur Wilson. Entered on the book of the Stationers* Company, Sept. 0, ]t)53, but not printed. It was among those de- stroyed by Mr. Warburton's ser- vant. 40. Independence ,• or, The Trustee. Com. by J. T. Ailing- 323 1 N D ham. Acted at the Haymarket Theatre, by the Covent Garden Company, March ibOg. It was not well received, however, and after lingering through six nights was laid on the prompter's shelf. Not printed. 41. The Independent Pa- triot j or, Musical Folly. Com. by Fran. Lynch. Acted at Lin- coln's Inn Fields. Svo. 1/37. 42. The Indi.^n. Farce, by John Fenwick. Acted at Diury Lane, but with little success. 8vo. ISOO. The ground of this farce had been previously occupied by Mr. Miller, in Art and Nature, a comedy; which was itself derived from a French opera, called Arle- quin Sauvage. -JS. The Indian Captive ; or. The Death of Ducomar. Histo- rical Play, tak^n from the Tarish Mogulistan ; or. The History of the Mogul Tartars. Acted at Dub- lin, for Mr. Raymond's benefit, 1796. 44. The Indian Chief. M. E. by John Williams. This was an- nounced for performance at Capel Street, Dublin j but never acted, nor printed. 45. Indian Emperor ; or, The Coiiqiiest of Mexico by theSparfinrds. Tragi-Com. by J. Dryden. 4to. 1607 5 4to. l66S ; 4to. 1692 ; 4to. 1700. This play is a sequel to the Indian Queen. Of this connexion notice was given to the audience by printed bills, distributed at the door ; an expedient which may be supposed to be ridiculed in The Rehearsal, when Bayes says, that he shall take particular care to in- sinuate the plot into the boxes. It is written in heroic verse, the plot is taken from the several his- torians who have written on this affair, and met with great success' in the representation. The soefie I N D lies in Mexico, and two leagues about it. 46. The Indian Emperor ; or. The Conquest of Peru by the Spa~ niards. Trag. by Francis Haw- ling. This was acted in the year 1728, and was promised in a se- cond collection of this author's Poems, which never appeared. 47. The Indian Exiles. Com. translated fromKotzebue, by Banj, Thompson. Svo. 1800. Never acted. 48. Indian Queen. Trag. by Sir Robert Howard and Mr. Dry- den. Fol. IQ65, 1692. This is in heroic verse, and met with great applause. Scene, near Mexico. 49. The Indians. Trag. by Mr. Richardson, of Glasgow. Svo. 1790. This play was acted at Richmond. 'Without much no- velty of plot, character, or inci- dent, it is yet interesting and pa- thetic. 50. The Indians in England. Com. in three acts, translated from Kotzebue, by A. Thomson. Ne- ver acted ; hut printed at Perth, in a volume called The German Miscellany, 12 mo. 1796. 51. The Indiscreet Loves. Com. by Abraham Portal. Acted at the King's Theatre in the Hay- market, for the benefit of the Bri- tish Lying-in Hospital, in Brown- low Street. Svo. 176S. Charity covereth a multitude of failings ! 52. Indiscretion. Com. by Prince Hoare. Acted at Drury Lane. Svo. 1800. The design of this piece is very laudable : to in- dicate, that indiscretion is the door to guilt ; and that one false step may hurry us into irretriev- able misery. To quit the roof of a parent is the most alarming in- discretion of which a female can be guilty : she forfeits the regard of the author of her beii^g ; aiY4 T 3 324 I X G IS thus too apt to supply the loss, by acceptiujj; a protection which brings with it dishonour and ruin. This is the danger against which Mr. Honre olfers a warning to the sex. Tl)e piece, which has ^reat merit in other respects^ also affords a good lesson to fathers, not too rigorously to attempt to control the passions of their daughters, and force them into connubial ties wholly adverse to their inclina- tions. The comic business arises out of an advertisement for a wife. 53. Inez. Trag. [by the Rev. Charles Symmonds, D.D.] bvo. 1790. This is u drama of very considerable merit. The story is in- . teresting, the sentiments are noble, and conveyed in dialogue possess- ing the true graces of poetry. The plot is ingeniously conducted, and some of the situations are highly dramatic. Never acted. 54. The Inflexible Captive. Trag. by Miss Hannah More. Svo. 1774. This is founded on the story of Regulus, and was acted one night at Bath. 55. The Informers outwit- ted, A Tragi comical Farce. Anonym. I'liis piece was never acted, but printed in l/SS. Svo. 56. L'In'gaxno Fortun'ato; or. The Happy Delusion. Com. Acted at the King's Theatre in the Havmarket. by the company of Italian Comedians. 8vo. 1727- This comedy, as it is called, is only a pantomime in five acts. See The Happy Delusio:,;, 57. Ingkatii UDE ; or, Thti jdduUereis. A Tragic Drama, in thice acts, by Joseph Moser. This pLiy, which is lounded on Hey- wood's " If'oman killed with Kind- " Tiess,'' was printed In The Fm' ropean Mugaunn, vol. Iviii. Svo. .JSiO. I M J 58. The Ingratitude of a Common-wealth; or, The Fall of Caius Martins Coriolanus. Trag. by N. Tate. Acted at the Theatre Royal. 4!o. l6S2. This play is founded on Shakspeare's Coriola- nus, and was chosen by the au- thor, as he acknowledges, on ac- count of the resemblance between the busy faction of his own time and that of Coriolanus. Scene, the cities of Rome and CorioH. 59. The Inheritance. Amo- ral and dramatic Tale. This is a translation of a very pleasin<; little drama from the French of M.Biet, and is printed in the second vo- lume of "^ T^fl/ei-, Romances, ApO' " logucs," &c. 12mo. 1786. 60. Injured Honour. Trag. by Henry Brooke. See The Earl of Westmorland. 61. Injur'd Innocence. Tr, bv Fettiplace Sellers. Acted at Drury Lane. Svo. 1732. The scene of this plaj% which was acted only six nights, is laid at Naples, and the fable is a fiction ot' the author's invention. The most prominent character resem- bles that of lago. In a preface the author complains of the neg- lect of the managers of that pe- riod, in not affording the piece proper attention in the rehearsals, scenes, and dresses, and decrying it, by themselves and their emis- saries, in all places where their judgments would pass. 62. Injur'd Love; or, The Cruel Husland. Trag. by N. Tate. 4to. 1707- This tragedy was pre- pared for the stage, and designed to have been acted at the Theatre Roval ; but by some means or other, it was never performed. It is, however, onlyWebster'sWHiTB Devil, with some alterations, chietly curtailments. 63. Injur'd- LoVB} or. The 325 INK 'Lady's Satisfaction. Com. Acted aiDrurv Lane. 4to. N.D. [ 1/1 1.] (54. The Injur'd LovKRs 3 or, T'lc Ambitious Father. Trag. by W. Mountfort. Acted at Diary Lane. 4to. l6S8. Tliis phiy met v.ith but indifferent success, and indeed seems not to have merited belter. Langbaine charges the au- tlior witii having, like Sir Cour'Jy Ps ice, written for his diversion, but without regarding wit. Qs. The Injur'd Princess; or. The Fatal Wager. Tra^^ir Comedy, by T. Durfey. Acted 3t the Theatre RoyaL 4to. 1682. The foundation and great pnrt of the language of this play is faken from Shakspeare's Cymieline, and the scene lies at Lud'sTown, nHas London. The author has also made use of the epilogue to the Fool turn'd Critic (a play of his own), by way of prologue to thia piece ! Its running-title is, The Unequal Match ; or, The Fatal JVaaer. QQ. Injur'd Virtue ; or. The Kir gin Martyr. Trag. by Benj. Griffin. 12mo. 1715. Acted at Richmond by the Dukes of South- ampton and Cleveland's Servants. The scene, Caesarea, This piece i§ nothing more than an alteration of an old play with the latter title, written byMassinger andDekker. 67. Inkle AND Yarico. Trag. of three acts, by [Mr.Weddel] the author of The City Farce. Svo. 1/42. Not acted; but said, in the titJe-page, to have been in- tended to be performed at Covent Garden. The story from The Spectator, vol. i. No. 11. 68. Inkle and Yarico. Op. by George Colman, jun. Svo. No date. [17S7.] Acted, with great success, at the Haymarket Theatre. The whole of the cha- racters are of Mr. Colraan's cvea- I N-N tion, except those of the hero and heroine. The scenes are amusing; the (liah'gue is spirited; tind the incident of Inkle's happening to nicike the offer of Yarico for sale to the governor of Baibadoes, his intended father-in-law, without knowing him, is a very happy idea. Qq. In Love, in Debt, and IN LiauoR ; or, Our JVay in JVules. Mus. Dram, by J. C. Cross. Svo 1797- 70. The Inner T f m p l p M A s a u E ; or, Masqae of Heroes. By Thomas Middleton. 4to. l6ip; 4to. 1640. This was presented (as an entertainment for many worthy ladies) by the gentlemen of that ancient house. Mrs. Behn has borrowed very considerably from it in her City Heiress. 71. The Inner Temple Mas au e. By William Browne. Performed about the year IO2O. Printed from a manuscript in Ema- nuel college library 17/2, in Da- vjes's edition of this author's works, Mr. Warlon supposes this masque to have suggested the hint to Mil- ton of his Masque (f Cumus. See History of Poetry, vol. ii. 403. 72. Innocence Betkay'd ; or. The Royal hnftoslor. Dram. Ent. by Messrs. Daniel Bellam)', sen. and jun. 12mo. 1740. This piece was never acted, but is one of se- veral dramatic pieces written in concert by these two gentlemen, father and son, and published by them in a volume, together with some miscellanies in prose and verse. 73. Innocence Distress'd ; or, The Flm/al Penitent^'. Trag. by Robert Gould. Svo. 1737. This play is on the same incestuous sub- ject as The Fatal Discovery ; or. Love in Rnijis : and The Myste^ rious Mother, It was never acted, Y 3 326 I N a but was published by subscription for the benetit of the author's daughter, who dedicates it to the duchess of Beaufort. The scene is in the Great Duke's palace in Mosco. 74. The Innocent Mistress. Com. by Mrs. M. Pix. 4to. iQgj. This play was acted at the Theatre in Little Lincoln's Inn Fields, and in the summer season, yet met with very good success. It is not, however, original ; several incidents in it being borrowed from other plavs, particularly from Sir George Etherege's Alan of Mode. Scene, London. Prologue and epilogue by Mr. Motteux. 75. The Innocent UsuRPEK ; or, The Death of the Lady Jane Gray. Trag. by J. Banks. 4to. 1694. This play was prohibited the stage on account of some mis- taken censures and groundless in- sinuations that it reflected on the government. The author, in his dedication, however, has vindi- cated himself from that charge, by setting forth that it was written ten years before j so that it could not possibly have been meant to cast a reflection on the then present government. It is far from being the worst of his dramatic writings ; and although, in point of lan- guage and beauty of poetry, it falls short of Mr. Rowe's Tragedy on the same story, yet it excels it with respect to the pathos, anda strict ad- herence to historical fact. The plot is built on the sufferings of that fair unfortunate victim to the ambition of her relations j and the scene lies in the Tower. 76. The Inoculator. Com. by George Savilie Carey, ^vo. 1 76(3. yj. The iNauisiTioN. Farce, by J. Philips. 8vo. 1717. This piece was never performed, but is aupposed to be acted at Child's I N S Coffeehouse, and tjhe King's Arras Tavern in St. Paul's Churchyard. The subject of it is the controversy between the Bishop of Bangor and Dr. Snape, which controversy is here said to be fairly stated and set in a true light. As other pieces published about this time, with the same name, are ascribed to Dr. Sewel), we imagine this also to be by the same hand. See Pre- tender's Flight. 78. The Inguisitor. Trag. in Ave acts. By James Petit An- drews, and Henry James Pye. This was an alteration from the German, and was never acted. 8vo. 1798. The poetry of thi? play is simple and elegant ; but the piece would have had little at- traction on the stage. 79. The iNftuisiTOR. Play. Acted at the Haymarket, June 1798; but ill received. 8vo. 1798.. [Ascribed to Mr. Holcroft.] It was a free translation, in prose, from the German. Some ludi- crous passages which occurred (such as the heroine, in a very dis- tressing crisis, asking an algua- zile if he had a watch about him, &c.) set the risible muscles in mo- tion J and this marvellous, myste- rious, and terrific production was actually laughed down. It is but fair, however, to say, that it reads better than it acted. 80. The Insatiate Countess. Trag. by J. Marston. 4to. 1(313 ; 4to, 1631. As it was a common custom wiih this author to disguise his story, and represent real per- sonages under feigned characters, Langbaine conjectures that by Isa- bella, the insatiable Countess of Suevia, is meant Joan, the first Queen of Jerusalem, Naples, and Sicily. Nor is this writer the only one who has made use of her stor}' under a falsa title ; her tal« 327 I N S being related in Bandello's novels, and by Belleforest, torn. ii. Nov. 20, under the character of the Countess of Celant, as also in GocCs Revenge agabist .4dultery, Hist.5,by the title of Anne Duchess of Ulme. Though all the cata- logues ascribe this play to Mar- ston, and it is actually printed with his name to it, yet there is almost equal reason to assign it to William Barksted. In the collection of Mr. Kemble is a copy of it with Eark- sted's name in the title-page as the author. 81. The Insignificants, C. of five acts, by Dr. Bacon. Svo. 1757. In the argument the au- thor says, " In this piece all the tri- ♦* flers, upon whom the wholesome " prescriptions given in the pre- " ceding satires have not had their *' wished-for etTect, are considered " as dead persons, and proper *' care is taken to provide for their '* funerals." See Steele's Tatler, Nos. 96 and gg. 82. The Insolvevt; or. Filial Piety. Trag. by Aaron Hill. Acted at the Haymarket. Svo. 1758, 3760. This play was acted when that theatre was under the direc- tion of The. Gibber. It was al- tered by Mr. Hill from an old manuscript play, called, The Guilt- less Adultress ; or. Judge in his own Cause : which had long been in the hands of the managers of Drury Lane, and was supposed lo have been written by Sir William Davenant. The opening of the piece was palpably founded on Massinger's Fatal Dowry . 83. The Insolvents. Prel. Such a piece was announced as to be performed at Covent Garden, in May 1785, for Mr. Wilson's benefit ; but was laid aside. 84. The Institution of the Qkcer of the Garter. Dra- I N T matic Poem, by Gilb. West. 4to. 1742. This piece was never in- tended for the stage, yet is truly dramatic, and has many very fine things in it. It is republished in Dodsley's Colleclinn of Poems, in six vols. Svo. Dr. Johnson ob- serves, that this piece is writtt-n with suflScicnt knowledge of the manners that prevailed in the age to which it is referred, and with great elegance of diction; but, for want of a process of events, neither knowledge nor elegance preserves the reader from weari- ness. 65. The Institution of the Gartek; ox , Arthur s RouiidTalle restored. Masque. Acted at Drury Lane, 1771. Svo. 1771. This is an alteration, by Mr. Garrick, of the preceding, in honour of that ceremony at Windsor, and was in- tended to introduce a procession at the installation of Knights of the Garter. Garrick added a fool, and some other characters j and the piece ran twenty-six nights. 86. Integrity. Dram. Acted at Covent Garden, Oct. 1801. This piece was moral, but had lit- tle other merit. It was ill received on its first representation, and de- serted on its second and last. One circumstance attending it, how- ever, may be worth mentioning ; namely, that it first introduced Mr. Henry Siddons to a London audience. The piece, we believe, has not been printed. 87. An Interlude. By Ralph W^ood. Name and date unknown. Among those destroyed by Mr. Warburton's servant. 88. An Interlude between Jupiter, Juno, and jSIercury. By Henry Fielding. Svo. 1743. This piece was never performed, nor in- deed intended to be so by itself; it being only a beginning or intro- y 4 328 I N T duction to a projected comedy, en- titled Jupiter upon Earth. SQ. Interlude concerning THE Laws or Nature. See The Three Laws of Nature. 90. A Newe Interlude of Impacyente Poverte, neivlye Imprinted M.V.L.X. (We suppose 1560.) 4to. This piece is in metre, and in the old black letter ; and the title-page says, " Four " Men niny well and euselyc playe " this Interlude.^' 91. Interlude of the Four Elements. See Nature of the Four, &c. 92. An Interlude OF Welth and Helth, full of Sport and viery Pa.'ityvie. Printed in 8vo. in the old black letter, without date. The persons of the play are in the title-page, viz. Welth, Helth, Li- berty, Ilhvyll, Shroudwit, Hance, Remedy, in which also we are told that four may easily perform this play. This we have entirely from Coxeter's notes. 93.TheInterlude ofYouth. 4to. [N. D.] This is an old, se- riouSj moral, and instructive piece, written in v-wse, and printed in the black letter, by John Waley. Ames, on what authority does not appear, puts the date of 1557 to it. 94. Intrigue in a Cloister. F. byT. Horde, jun. 8vo. 17S3. Q5. The Intrigues at Ver- s AfLLES ; or, A Jilt in all Humours. Com. by T. Durfey. Acted at Lincoln's Inn Fields. 4to. l697- This play did not meet with so much success as the author ex- pected from it : and in his dedi- cation he condemns the taste of the town for preferring others of his plays before it. It is, how- ever, like most of his pieces, a complication of plagiarisms. Ton- iiere's disguising himself in wo- men's clothes, and his mistress's I N T husband (Count Brissac) falling in love with him in that habit, are borrowed from a novel called The Double Cuckold; and the character of Vandosnie appears to be a mix- ture of Wycherley's Olivia in The Plain Dealer, and Mrs. Behn's Myrtilla in The Amorous Jilt. The scene, Versailles. gd.THElNTRlGUES OF aMoRN- ing ; or, An Hour in Paris. F. by Mrs. Parsons. Svo. 1792. This piece was acted at Covent Garden, April 18, 1792, for the benefit of Mrs. Mattocks, and repeated fox Mr. Hull's benefit 3t the same theatre. It is chiefly an altera- tion from Moliere. 97. The Intriguing Cham- bermaid. Com. of two acts, by H. Fielding. 8vo. 1734. This piece is ** borrowed (says Mr. " Baker) almost entirely from the " Dissipateur ." But we may re- fer the reader to Le Retour Im- prevu of Mons. Regnard, first acted Feb. 170O; from which a great part of this farce is almost verbally translated. Dedicated to Mrs. Clive. It was performed a^ Drury Lane with good success, and still continues on the list of acting farces. 98. The Intriguing Cham- bermaid. R.F. Svo. 1790. This alternlion of Fielding's farce of the same name was acted at Drury Lane. gg. The Intriguing Cour- tiers j or. The Modish Gallants. Com. (after the manner of Shak- speare 1) Anonym. Svo. 1/32. Wherein, says the title-page, the secret histories of several persons are faithfully represented. In which is introduced an interlude (after the manner of a rehearsal), called TheMarriagePromise; or. The Disappointed Fir gin; consisting of variety of new songs, set to severalj 32^ I N V English, Irish, and Scotch ballad tunes, and countr)' dances. It was never performed any where ; but seems to have been occasioned by some pieces of gallantry in the amorous history of the English court at that time. 100. The Intkiguisg Foot- man j or, Tlie Humours of Harry Humlug. An Entertainment. Per- formed at Sheffield in l/yl, but not then new. This, we appre- hend, was the piece (written by James Whiteley, foi merly mana- ger of the Noiiiugham and some oihercountry theatres), from which Air. Macready partly took his farce of The Iriikiiian in London. 101. The Ixtriguing Milli- IJERS AND AtTORNIES ClEKKS. A Mock Tragedy, in two acts. As it was designed to be acted at the Theatre Royal, Drury Lnne. I'his burlesque, tlujugh anonymous, was written by Air. Robinson, of Ken- dal, and first printed at the be- ginning of a volume of Poems, in 12mo. 1738; but afterwards pub- lished separately, 12mo. 1740. The author tells us, that it was begun and perfected in a week 3 and irony the style of it we see no reason to disbelieve his a.-sertion. 102. The Intriguing Widow; or. Honest JFife. Com. Printed hi 4to. 17OJ, and dedicated to Lady divers, by i.'Q. 103. The Invader of his Country J or. The falal Resent- ment. Trag. by John Dennis. Acted at Drury Lane. 8vo. ] 7 20. Tins is an alterationof Shakspeare's Coriolanas, and v.as unsuccessful in its representation. The author, in a dedication to the Duke of Newcastle (then Lord Chamber- lain), makes a formal complaint against the managers for not do- ing him justice. First, in pro- ducing his play on a Wednesday, I X V which occasioned his benoSt to fall upon a Friday. " Now (says " he), my Lord, Friday is not " only the very worst day of the " week for an audience; but this " was tliat particular Friday when *' a hundred persons, who de- " signed to be there, were either " gone to meet the king, or pre- " paring liere in town to do that " duty which was expected from ^' them at his arrival." The epi- logue was written by Mr. Gibber, who is very heartily abused for it by Mr. Dennis in an advertise- ment, 104. The Invasion. Farce. Svo, 1759- This piece was never acted, nor intencjed for the stage ; but is only a ridicule f>n the un- necessary apprehensions which some persons entertained on ac- count of the threatened invasion of the flat-bottomed boats fronti France on the coast of England in that year. 105. The Invasion; or, A Trip to Brightfielmstone. Farce, by F. Pilon. Acted at Covent Gai-den. Svo. 1778, 1782. This was per- formed with considerable success, 10(3. The Invasion. See Dra- matic Appellant. 107. The Invasion of Eng- land. F. in three acts. Never performed. Svo. 1803. IOS.The Invisible Giul. A Petite Piece, in (uieact, byTheodore Edward Hook. First acted at Drury Lane, for Mr. Bannister's be. lefit, April 28,1806. The idea of this interlude was taken from the French: it waspregnant withwhim; and, as giving scope to the ver- satility of Mr. Bannister's histri- onic talents, in the ready personi- fication of diderent characters, was received with general approbation. Indeed, though various characters are mentioned in the dramatis per- 330 I P H sonae, scarcely one person spoke a word throughout the piece, but Mr. Bannister. Svo. 1806. 109. Ion. Trag. translated from Euripides, by R.Potter. 4to. 1/81 . Ion, the son of Apollo, an ex- posed infant, carried to the temple of Delphi, educated there till the .state of manhood, constantly em- ployed in the service of the god, and sequestered from the business of the world, is the subject of this tragedy. If we can so far adopt the spirit of ancient times, as to allow the love of Apollo for Crelisa, there is nothing exceptionable in this tragedy, but the commission of Creiisa to the old slave to poi- son Ion ; and even this may be palliated. The conduct of the dnima is admirable : from the mother's attempt to poison the son, and the son's attempt to put the mother to death, each unac- quainted with their mutual rela- tion, arises, by a natural train of incidents, a discovery which gives a kind oi' catastrophe to the tra- gedy, which is of the most pleas- ing kind; simple, tender, affept- mg. but abounding perhaps too much with beautiful description. 'I'he. scene is before the temple of Apollo at Delphi. 110. Ion. Trag. from Euri- pides, by Michael SVodhull. Svo. 17S2. 111. Iphigenia. Trag. by J. Dennis. 4to. 17OO This was brought on at Lincoln's Inn Fields, but was condemned, without pay ing the expense of the dresses. I'he scene is a wild country on the top of a mountain before the temple of Diana Taurica. 1 he Epilogue by Colonel Codrington. 112. Iphigenia; or, The Vic- tim. Trag. by Thomas Hull. Acted at Covent Garden, I778. Not priiited. This was the al- I P H teration alluded to under the ar-. tide Achilles. 1 13. Iphigenia IN AuLis. Op. translated from Algarotti. 12mo. 17()7. Printed in " An Essay on " the Opera." 1 14. Iphigenia IN AuLis. Tr. translated from Euripides [by Mr. James Banister]. Printed m Svo, 1/80, with three other pieces from the same author. 1 15. Iphigenia in Auljs. Tr. from Euripides, by M. Wodhull. Svo. 1782. 116. Iphigenia in Aulis. Tr. translated from Euripides, by R. Potter. 4to, 1783. 117. Iphigenia in Tauris. Trag. translated from Euripides, by Gilb. West. 4to. 1749. Print- ed with his translation of Pindar. lis. Iphigenia in Tauris. Trag. from Euripides, by M. Wod- hull. Svo. 1782. 119. Iphigenia in Tauris. Trag. translated from Euripides, by R. Potter. 4to. r;83. The heroine of this tragedy, having escaped from the altar of Diana at Aulis, was removed by that god- dess to her temple in the Taurjc Chersonese, a great peninsula in the Black . Sea, on the Maeotic lake, now called Crim Tartary, where she presided as priestess over thi? cniel and bloody rites there established. " Diodorus Stciilus, lib. iv. in- " forms us,* that it was the custom " of the barbarians, who inha- " bited that country, to sacritice *' such strangers as were driven " on that siiore to the Tauric " Diana. Iphigenia, they say, was " in after-times appointed the " priestess of this goddess, and " sacrificed sv^ch strangers as were " taken. In tracing the history " of these sacrifices, we find that " the Sun was father of iEetes and 331 I P H Perses. iEetes reigned at Col- chis, Perses in the Tauric Cher- sonese, both remarkable for their savage cruelty. Hecnte was the daughter of Perses, and exceed- ed her father in daring and atro- cious actions : she took great delight in hunting; and, when she failed of success in the chase, transfixed men with her arrows, instead of beasts. She was fond of preparing compositions of a poisonous nature, to try the force of which she mixed them with the food given to strangers. Having acquired great experi- ence in these things, she de- .stroyed her father with poison, and took possession of his king- dom : she then built the temple of Diana, and appointed that the strangers who arrived there should be sacrificed to the god- dess ; hence her name became terrible for her barbarity. She afterwards married ^Eetes, and was by him tlie mother of Circe and Medea.' Iphigenia had for some years, reluctantly indeed, but through necessity, presided over these inhuman rites, when Orestes, with his friend Pylades, arrived on this inhospitable coast, in obedience to the oracle of Apollo : they were seized and carried to the king, who sent them in chains to the priestess as victims to the god- dess j their death now seemed inevitable. The drama is con- ducted with exquisite skill, and the circumstances arise out of each other so naturally, that, as Pere Brumoy well observes, the piece has such an air of truth, that the spectator is persuaded that the event really passed as it is presented to him, and that it could not have passed in any other mannrr," Potter. I ll E The scene is in the court of the temple of Diana. 120. Iphigenia in Tauris. I'rag. translated from the German of Goethe. Printed at Norwich. 8vo. 1793. In The Edinlurgh Re- vh'iv, No. viii. this translation is ascribed to Mr. 'i'aylor, of Nor- wich. 121. Iphis and Ianthe ; or, A Marriage without a Ma??. Com. This piece was entered on the book of the Stationers' Company, .Tune 29, l(560, in the name of William Shnkspeare. It was ne- ver printed. We take this op- portunity of observing, that tlio several plays mentioned in the pre- sent work from the records of Stationers' Hall^ are set down with the hope that some of them may be yet exfsting. As it is known that manyancient manuscript plays are in being, the possessors of them would render an acceptable service to the public, if they caused a few copies of each to be printed for the perusal of such as are curious in dramatic history. 122. Ireland Pkeserv'd; or. The Siege of Londonderi'y . Tragi- Com. Written by a gentleman who was in the town during the whole siege. Printed at Dublin, 8vo. 1/38-0. This play was writ- ten by John Michel borne, one of the governors of Londonderry, during the siege of it. There was an earlier edition in 1707- ^('^ Vol.1, art. Michelborne, John. 123. I REN A. Trag. 4to. 1604. Neither Langbaine, Gildon, Jacob, Whincop, nor Chetwood, appear to have seen this piece, which none of the lists of plays acknowledge. It has a prologue and epilogue, but seems not to have been acted. It is indeed too worthless a per- formance, in every particular, to deserve representation. The sub- 332 I R E ject is the same as Dr. Jolin=on's Irene, and there are slight coin- cidences which would lend one to believe that the Docto; had seen it. 124. Irene ; or, Tie Fair Greek. Trag. by Cha. Goring. Acted at Drury Lnnc. 4to. 17OS. This play is founded on the celebrated story of the Snltrin Mahomet, who being reproved by his grandees for giving too indulgent a loose to his passion for a beautiful Greek named Irene, who was his favourite mi'itress, to the neglect of bis state affairs and the prejudice of his empire, took off her head with his own hand in their presence, as an atonement for his fault. The au- thor declares it to be only the pro- duct of a few leisure hours during his residence at the university. The scene lies in the Sieraglio at Constantinople, about three years after the conquest of that city. 12o. Irene. Trag. by Samuel Johnson. Acted at Drun,' Lane. 8vo. 1749. This is the only dra- matic piece among all the writings of this celebrated author. It is founded on the same story with the foregoing ; the author, how- ever, has taken .some trifling liber- ties with the history ; Irene being here made to be strangled by order of the emperor, instead of dying by his own hand. The unities of time, place, and action, are most rigidly keptnp. the whole coming Vv'ithin the time of performamre; and the scene, which is a garden of the Seragl'o, remaining un- moved through the whole play. The language of it is, like all the rest of Dr. Johnson's writings, nervous, sentimental, and poeti- cal. Yet, notwithstanding these perfection";, as-isted by the united powers of Mr. Garrick, Mr. Bariy, Mrs. Pritchard, and Mrs. Gibber, all together in owe play, it did not I R E meet with the success that it me- rited, A writer, of considerable eminence and respectability, be- tween whose (;p nions on various subjects and those cf Dr. Johnson there appears no small difference, endeavours, we think not unsuc- cessfully in one respect, to ac- count for the failure of this play on the stage. After distinguish- ing between dramatic verse, and that other species which is em- ployed either in narrative or pve-i ceptive poetry, he adds, " With *• the generality these tw.« kinds " go under one name, and are " thought to be the sarne thing, " though they differ, perhaps, in " more points between themselves " than they do in common with " rhyme. Yet this difference was "■ so little known to our late archr " critic, that when he wrote his " Irene (which no art, either at "first or afterwards used, could " make endurable either on the " stage or in the closet), he hardly " ever introduced a single pause " in the middle of a line, except, " indeed, when the speech hap- " pened to end in the hemistich. " This it is (exclusive of other " defects) which makes it so to- " tally unfit for declamation, and " so insufferable to a good ear in " private reading. And yet, if " you examine the lines separate-? " iy, you shall find them iambi- " cally just and duly accented. " But this, as 1 have already said, " caiinot constitute harmony in " blank verse, how much nearer " soever it may go towards it iu " rhyme. In the former, the har- "■ mony never results from lines, " but passages ,; and these of very " unequal extent. In the latter, " it is usually, <-:■. in Pope's versi- " fication, completed in a single- " couplet, or (as sometimes in 3^3 I R 1 " Dtyden's) in the middle of the *' third line. Yet, in comparison "■ of blank verse, this license (if ** what is a beauty may be called " so) is used even by him but " sparingly. Of all this I can- '♦ not help supposing the Doctor '* through life very ignorant j and, " therefore, succeeding so ill as " he did in this species of versifi- " cation, I am apt to think that •• he was thence led to decry blank " verse in the lump." Mason's Life of Whitehead, p. 6l. — Mr. Colman's opinion of this play was, that it was a work of great and just sentiment, of poetical though not dramatic language, tine ima- gery, and of the os magna sona- turum ; but the very soul of tra- gedy, pathos, is wanting, and, •without that, though we may ad- mire, our hearts will sleep in our bosoms. 12tJ. The Ikish Fine Lady. Farce, by Charles Macklin. Act- ed at Covent Garden, Nov. 28, 17G7. Not printed. It had ap- peared in Ireland (as The True- born JrishmanJ with considerable applause ; but the huinour of the piece being entirely local, it met with so cold a reception in Lon- don, that it was withdrawn after the first night. Macklin himself was so satisfied with the justice of this, that he said, in his strong manner, " I believe the audience " are right — there 's a geography *' in humour as well as in morals, " which I had not previously con- " sidered." 127. Ikish Hospitality; or, virtue rewarded. Com. by Cha. Shadwell. 12mo. I720. This is one of five plays by this autlior, which were written for the lati- tude of our sister island, and were all performed in Dublin with great applause. The scene of this lies r R I at Mount Worthy, in Fingall j and, we should apprehend, conveys a secret compliment to some per- son of distinction in that part of Ireland. The time eight hours. March 15, 1/06, this play was revived at Drury Lane, for the be- nefit of Mrs. Pritchard, but l>as never been repeated. 128. The Ikish Legacy. M. Farce, by S. J. Arnold. Acted at the Haymarket, 1797- Being dis- approved oi, it was v\ithdrawn for alteration ; but never repeated, nor printed. Music by Dr. Ax' nold. 129. The Irishman in Lon- don ; ox, The Happy JJrican. F. [by William Macready]. Acted at Covent Garden. 8vo. 1703, 1/99. This is an alteration from The In- triguing Footman, and was origi- nally produced for Mr. Johnstone's benefit ; but having been perform- ed io\' several succeeding benefits, with general applause, the ma- nager adopted it; and, notwith- standing his right to all benefit- pieces, liberally rewarded the au- thor. Mr. Johnstone's admirable performance of the Irishman oc- casions this farce to be still fre- quently acted. 130. The Irishman IN Spain. Farce, taken from the Spanish, by C. Stuart. Acted, with little suc- cess, at the Haymarket. 8vo. 1791. It was first called Shii tuould le n Duchess ; but, on ac^ count of some allusicm by name, it was prohibited under that title, at the request ot General Gunning. 131. The Irish Massue at Cdukt. By Ben Joiison. Fol. 1640; 8vo. 1756. This piece is said to have been presented by gentlemen, the King's servants. At what time, however, we cannot pretend to say; but it is printed amons? his otiier works. 354 I R ^ I S A 132. The Irish Mimic; or. Blunders at Brighton. Mus. Ent. by John O Keeffe. Acted at Co- vent Garden. 8vo. 1795} 8vo. 1798. 133. The Irish Rebellion. A Play with this title was acted about 1623 ; but is not now known, 134. The Irish Tar; or. Which is the Girl? ' Mus. Int. by W. C. Oulton. Acted at the Hay- market, Aug. 24, 1797, for the benefit of Mr. Johnstone. Not printed. 135. The Irish Widow. Com. of two acts, by David Garrick. Acted at Drury Lane. Svo. I772. The intention of this piece (which is taken from Moliere's Mariagc Force'eJ seems to have been chiefly to introduce Mrs. Barry to the public in a new light, and was very successfully executed. The several performers did great justice to their respective characters ; and Garrick dedicated the piece to Mrs. Barry, to whom it owed much of its success. 136. The Iron Age. An His- tory, in two parts, by Thos. Hey- wood. 4to. 1632. The first part contains the rape of Helen, the siege of Troy, the combat between Hector and Ajax, the deaths of Troilus and Hector, the death of Achilles, the contention of Ajax and Ulysses, the death of Ajax, 6ic. The second includes the deaths of Penthesilea, Paris, Priam, and He- cuba, tlie burning of Troy^ and the deaths of Agamemnon, Menelaus, Clyteninestra, Helen, Orestes, Egi.sthus, Pylades, King Diomed, Pyrrhus, Cethus, Synon, and Thersites. The plots and much of the language of both these plays are borrowed from the classical writers; and the whole is a com- pages of incidents and narratives, thrown together without thft least regard to any dramatic rules. Yet they met with very great success ; having been, as the author himself tells us, often publicly acted by two companies upon one stage at once, and at sundry times throng- ed three several theatres with nu- merous and mighty auditories, 137. The Iron Chest. Play, in three acts, by George Colman, the younger. Acted at Drury Lane. Svo. 1796, with a Pre- face. This piece was not at first successful ; and the author, no doubt erroneously, conceived an idea that the disappointment of his hopes was attributable to Mr. Kembie's (to whom the principal character was assigned) not acting towards him withsufficientcandour and cordiality; though, in truth, the audience had become greatly discontented with the then immo- derate length of the character of Adam Winterton (performed by Mr. Dodd), before Mr. Kemble appeared in the piece. Under this iiupression, however, Mr.C. hastily penned a most sarcastic and illi- beral preface : this, however, on cooler consideration, he suppressed after the first edition ; a circum- stance which has so enhanced the supposed value of that edition, that 30s. and even 40^. have been demanded and p^id for a copy of it ; such is the curiosity excited by wicked wit ! — As to the play itself, which is founded on a novel called " Caleb IVilliams," it after- wards rose into better reputation, and is still occasionally acted. The music, by Storace, has great me- rit. 133. Isabella ; or. The Fatal Marriage. Play, altered from Southerne, by David Garrick. Svo. 1758. A judicious alteration of The Fatal Marriage, leaving out the comic part. Jhe excellence 335 I S H of Mrs. Siddons, as the heroine of this piece, will never be fully con- ceived by our posterity. By her, the agony of the poor, distressed, yet innocent, Isabella is so feel- ingly expressed, as always to ex- cite the strongest emotions of sympathy ; which are evinced by tears and shrieks in the principal scenes of this affecting play. 139. Is HE A Prince ? Farce [ascribed to aMr.Grertulhe]. Act- ed by the Covent Garden Com- pany at the Haymarket, February I8O9, and favourably received. This, which still continues on the acting list, is a translation or al- teration from the French. By a strange mistake, a young officer passes for a prince, and, in that capacity, obtains the promise of a lady's hand. The mistake is clear- ed up by the arrival of the officer's uncle : and the lady's father, though undeceived as to the cap- tain's royalty, still consents to bless him with the object of his love. This arrangement a little dis- pleases another lover, who would willingly have yielded to a prince, but who sees no advantnge in sur- rendering his claims to a simple captain ; and the affair is decided in the captain's favour by the pre- ference of the lady. If that pre- ference, however, was sufficient to supersede the other lover in the father's good-will, it might as well have been demonstrated in the beginning of the lirst act, as at the end of the second j which, as has been well observed, would have removed the necessity for any farce at all upon this sub- ject } and if that preference was not sufficient, there ought to have been some incident in the plot, which should have given to the old gentleman a further motive for the adoption of this new scn- I S L in-law. — ^There are, nevertheless, some farcical situations, produc- tive of what is called stage-effect j and these, with the aid of excel- lent acting, rendered the piece acceptable. Injustice to the trans- lator, we must mention a report highly to his credit, viz. that on the occasion of his receiving one hundred pounds from the theatre, as his portion of the prolits, he generously presented it to the fund established for decayed actors. Not printed. 140. The Island of St. Mar- GUERiTE. Opera, by the Hon. Jolm St. John. Acted with great success at Drury Lane. 8vo. I789. This piece is founded on the story of the Iron Mask, related by Vol- taire. 141. The Islanders. Comic Opera, by Charles Dibdin. Acted at Covent Garden. 8vo. (songs, &c. only) l/SO. It seems to be founded on two French comedies of St. Foix, called L'Isk Sauvage and La Colonie ; and was favour- ably received. 142. The Island of Fools, Farce, of two acts. A MS. sold as part of the library of the lute Mr. Isaac Reed. 143. The Island of Slaves. Com. of two acts, 176I. This is little more than a literal translation of the Isle des Enclaves of M. Marivaux. It has not made its appearance in print, yet bad at least as much merit as many of the petites pieces which we see frequently performed on the stage. It was acted one night only, for the benefit of Mrs. Clive, and was the occasion of an epistolary dispute, in print, between her and Mr. Shuter, whose benefit hap- pened to fall on the same night. 144. The Inland Princess. Tragi - Comedy, by Beaumont 335 I S L and Fletcher, Folio, l647 -, 8vo. 1778. 145. The Island Princess. Tragi-Com. by Nab urn Tate^ al- tered from Beaumont and Fletcher, and acted at the Theatre Royal. 4to. 1687. 146. The Island Princess; or. The Gefn'ruus Portuguese. Op. by P. A. Molteux. 4lo. l6gg. Tliis is only the principal parts of Fletcher's Island Princess formed into an o})era, ap as he says, se(juestered from the wonted means of his maintenance, and obliged to conceal himself for near two years, part of which time he re- sided at Yarmouth, and there wrote the pamphlet above-men- tioned. 14.9. The Isle of Gulls. Com. by J. Daye. Acted at Black Friars, by the children of the Re- vels. 4to. ItiOei; 4to. l633. This is a very good play, and met with great success. The plot is taken from Sir Ph. Sidney's ^i'rcadia. 150. The Israelites ; or. The Pan/pered Xal-ob. Farce. Acted at Covent G.irden. April I, 1/85, for the benefit of Mr. Aickin. It has bt-en reported as a posthumous work of Dr. Smollett, and indeed contained some strokes of humour in his style ; yet it met with but a cold reception, and has not been printed. It was thought to have been brought upon the stage to ridicule a per£ou who had beea 33/ 1 T A then lately exhibited in caricature at the print-shop windows, as an insect. 151. The Italian. See Gif- FORD, William, in Vol. I. 152. The Italian Husband. Tragedy, by Edward Ravenscrott. 4to. 1093. Acted at Lincoln's Inn Fiirids. The story of this play is barbarous and bloody, iind the villany carried on in it, to bring about the catastrophe, deep and horrid ; but the piece itself has very little merit more than that of e.\citingthe passions of horror and terror. The scene lies at Radiano in Italy. Besides the prologue, there is prefixed to this play what tlie author calls a prelude, being a dialogue between the poet, a cri- tic, and a friend of the poet's. The epilogue written by Jo. Haines. The plot of this drama is taken from the history of Castruccio and Gloriana, in ? collection of stories, entitled, The Glory of God's Re- venge against the bloody and deles f- ahle Sim of Murther and yUlul- tery, expressed in Thirty modern tragical Histories. By Thomas Wright, M. A. of St. Peter's Col- lege, in Cambridge. 8vo. l685. 153. The Italian Husband; or, The violated Bed avenged. A moral Drama, by Edward Lewis, M.A. 8vo. 1754. It will be un- necessary to inform those who have read this unaccountable per- formance, that it was never acted ; for no theatre pastor present would have received it ; neither can We persuade ourselves that any future manager would suffer a line of it to be rehearsed within his wails. We subjoin the following speech, to justify our opinion of its de- serts : *' Fortin. You know his Lordship's bailiff, Giovanni, " Lives in a farm near to his castle gate. vol. II, I T A " Whilst he at dinnei sat, a favourite hen " Came cackling, and at's fee: lay'd a live chick, «' Perfect -vvith wings and claws, with eyes and voice, " Which ran without delay after it» mother. " But lo! a greater wonder justly fills " All hearts with horror and amazement dire: " Just underneath the table th* earth gap'u wide, " And did disclose a bubbling spring of blood, '• Whence drops resulting sprinkled all the board. " Fis'd in suspense at tlt^S, one, from the cellar, " Ran and declar'd the wine was in a ferment, " Though fin' 1 before, and boil'd in every vessel, " As if set o'er a fire intense and large. " Meanwhile a serpent's carcase they beheld " Dragg'd out of doors, with eager haste, by weasels ; " A shepherd's bitch came gaping, from whose jaws " Leap'd forth a lively, large, tunbelly'd toad : " A ram ran full against a dog sponta- neous, *' And at one fatal stroke brake the dog's neck." So much for the solemnity of our author's prodigies. At the con- clusion of his piece, however, not content, like Tancred, to present the lover's heart in a vase to his mistress ; or, like Albovine, to convert his skull into a drinking- cup for her use ; he has made an " electuary" of his hero's vitals, and compelled his heroine to swal- low it. Some hypochondriac may thank us for haviflg recorrwuended this tragedy to his perusal. Whe- ther it be the production of in- curable insanity, or absurdity in the extreme, let more sagacious critics determine. 154. The Italian Monk. Play, by James Eoaden. Acted at the Haymarket Svo- 1797. z Sss 1 T E This play, which is of the tragi- comic species, is founded on Mrs. Kadclifte's novel of the same title ; and the incidents introduced in it are very little varied from the source whence they were taken ; except that the character of Sche- doni is reclaimed and restored to domestic happiness. Mr. Boaden's merit, therefore, in the present performance, lies chiefly in the se- lection and in the language. The events follow one another in re- gular order, and the catastrophe is not disclosed too soon. The language is, for the most part, nervous and elegant. On the v/hole, the production does credit to Mr. Boaden's talents as a dra- matist, and met with good success on the stage. 155. The Italian- Night Piece; or. The Unfortunate Pie fy. By Philip Massinger. Entered on the book of the Stationers' Com- pany, Sept. g, 1653 : it was among those destroyed by Mr. Warburton's servant. 156. The Italian Patriot; or. The Florentine Conspiracy. Trag. by Cbas. Gildon. Acted at Drury Lane. 4to. 1/03. This is the same play as The Patriot, but published by a different book- seller, who says, in the preface, that he was excluded from his share in the other publication, although he had paid part of the copy-mouey for it; he also asserts, that there is one third more in this copy, which he styles the true original, than in the other. 157. The Italian Villagers. Comic Opera, by Prince Hoare. Acted at Covent Garden. Songs and Cho.usses only printed, 8vo. 1797. Music by Shield. 158. Ite in Vineam. Comedy, by John Bourchier, Lord Berners. Acted, as Wood says, at Calais,. 5 ■ 1 X I after vespers. It has not bee!! printed. 159. It should have come SOONER : Being the Historic, Sa- tiric, Tragic, Comic Humours of Exchange Alley. Farce, by Fras. Hawling. Acted at Drury Lane, July 30, 1723. 160. It was Right at the Last. Farce, by Thomas Horde, jun. Svo. No date. This piece is taken from The Twin Rivals of Farquhar, and was never acted. 161. IvAK. Trag. Svo. 17S5. Printed at Exeter. From the names of the characters in this piece, as Hengist, Alswold, Ofta, Handel, Ivar, and Matilda, it might be supposed that the scene was laid either in England, during the Saxon times, or in Germany, There is, however, nothing, either by description or allusion, to war- rant such an inference. The scene is only said to be near the palace > but what or whose palace we are not told. Ivar is represented as the prime minister of Hengist, a villain and a rebel. The conduct and language are equally ridicu- lous, the former confused and the latter bombastic ; in short, de- serving no further notice. 162. IvER AND Hengo ; Or, The Rival Brothers. Dramatic Ro- mance, by T. D. Rees. 4to. 1795. Never acted. 163. Ivok; or, The Sighs of Ulla. Trag. by W. H. Kitchener. Acted at Henley on Thames. Svo. ISOS. 1(J4. IxiON. Masque, by W. Taverner. This is only mentioned in Mears's Catalogue, and was, perhaps, never printed:' unless it be the masque which, under thaE name, is inserted near the begin- ning of the third act of Ravens- croft's Italian JIusbamL 339 J. J A C J A C 1- Jack Drum's Entertain- ment j or. The Pleasant Comedy of Pascjuil and Katharine. Anon. 4tQ. 1601 ; 4to. 1616; 4lo. 16I8. Acted by the children of Paul's. The incident of Mammon's poison- ing Katharine's face, seems bor- rowed from Demagoras's treat- ment of Parihenia in Argalui a7id Parthenia. 2. Jack Juggler, This is called a comedy in Jacob, Lang- baine, and all the old catalogues, whose authors do not pretend to have seen it, or to assign any date to it ; but in The Briiish Theatre it stands with the appearance of authority as follows, viz. ^ merrie Interlude of Jack Jugglere, 158/ ; but the authority of Chetwood is too slender to rely upon 5 and if this play was printed at all, we imagine it must have been earlier j as we find an interlude, intitled, " Jack Juggeler and Mrs. Bound- " grace," entered, by William Copland, in the Stationers' book, from the year 1562 to 1563. 3. Jack of Newbury. Op. in honour of the royal nuptials, by T. E. Hook. Acted at Drury Lane, May 6, 1/95. Songs only printed. Svo. J 795. This piece concluded with a masque, called. The Triumph of Hymen, in honour of the Prince and Pri:;cL'SS of Wales. Music by the :;u:hor*s father. 4. Jack Straw's Life and Death, a notable Rebel in Eng- land, who was killed in Smith- Field, by the Lord Mayor of Lon- dm. 4to. 1593. This play is di- vided very oddly, consisting of no tnore than four acts. The plot is taken from the English chronicles in their relation of this remarkable event, in the reign of Richard 11. It is entered 011 the book of the Stationers' Company, by John Danter, Oct. 23, I593. 5. Jack the Giant Killer. Comi-Tragical Farce, of one act. Performed at the Haymarket. Anon. Svo. 1730. 6. Jack the Giant QuBLLER. An Operatical Play, by Henry Brooke. This satirical and inge- nious piece was performed at the theatre in Dublin, in 1748; but there being in it two or tLree sa- tirical songs against bad governors, lord mayors, and aldermen, it was prohibited after the first night's representation. The songs, how- ever, in the words of which the greater part of its satire is contain- ed, were published by themselves in an Svo. pamphlet, 1749. In the year 1754 it was altered by the author, and brought again on the stage at Dublin, when it met with no success; it being per- formed the second night t© half a house, and the third, for the au- thor's benefit, to one not above three parts full. It was not pub- lished complete, until 1778; When it appeared in the author's works, under the title of Little John and the Giants. In Miss Brooke's edition, in 4 vols. Svo. Dublin, 1792. the title of Jack the Giant Queller is restored ; but many pas- sages (even whole pages) are cut out that were in the edition of 1 778 ; a liberty which we think hardly justifiable with the work of a deceased author, whose reputa- tion stands so high as Mr. Brooke's. z 2 340 f A M "the comedy of The Charitable Associatmi, and the tragedies of The Festal Virgin and Antony and Cleopatra, are wholly omitted in this edition : a circumstance of which the purchasers have some right to complain. /. Jacob and Esau. An In- terlude. 4to, 1568. This is a very early piece. It is written in metre, and printed in the old black letter. Its full title runs as fol- lows : A neir, merry and ivittie Comedie or Enteriude, neivlie im- -printed, treating upon the Historie o/" Jacob axd Esau, taken out of the 27th Chapter of the first Book of Moses, entituled Genesis. In the title-page are The Partes and Names of the players, who are to le considered to be Hebrews, and so should be apparailed ivith Attire. *' iZa^an the senant. Esau-Ayowvig " man, his maister. Ragan en- '* treth, v,'ith his horn at his back, *' and his huntyng staffe in hys " hande, and leadeth iij grey- " hounds, or one, as may be got- Tf ten. Here he counterfaiteth " how his maister calleth hym up ^' in the mornings, and of his an- " sweres." 8. The scottishe stoky of James IV. slaine at Floddon, in- termixed with a pleasant Comedie presented by Oberon King of the Fairies, By Robert Green. 4to. 1599, The design of this piece is taken from the history of that kinty, who lost his life in a battle with the English at Flodden Hill, in the beginning of the sixteenth century ; for farther particulars of which, see Buchanan and other Scots historians. There is, pro- bably, an earlier edition of this play, as we find it entered on the book of the Stationers' Company, by Thomas Creede, May 13, 1504. 9. King James his E.rxER- J A N" TAINMENT AT TheoBALES : witfl his Welcome to London. Toge- ther with a salutatorie Poeme. By John Saville. 4to. l603. 10. Jamie and Bess 5 or. The Laird in Disguise. A Scots Pasto- ral Comedy, in live acts, in imi- tation of The Gentle Shepherd. By Andrew Shirrefs, A. M. Per- formed at Edinburgh, by inhabit- ants of that city, for the author's benefit, 179(3. Printed at Aber- deen. 12mo. 1/8/. This pastoral had been frequently acted ai Aber- deen, Elgin, and Inverness, but never befor^e at Edinburgh. It ha« been also printed at Edinburgh, with the author's " Poems, chiefly " in the Scottish Dialect," in an Svo. volume, 1790j to which is prefixed the author's portrait. 11. Jane of Flanders; or. The Siege of Hennebonne. Dram, in two acts, by S. W. Printed in the 4th and 5th volumes of The Lady's Monthly Museum. 12mo. 1800-1. 12. Jane Shore. Play, by Henry Chettle, in conjunction with John Day. It was acted in l602, but is now lost. Though we have noted the date of this play's being acted as in l602; yet it would appear from the following passage in " Pymlico ; or. Run away Pied " Cap" (a pamphlet printed in 1596), to have been of earlier date on the stage : Amaz'd I stood, to see a crowd Of civil throats stretch'd out so loud: As at anew play, all the rooms Did swarm v.'iih gentles mix'd ■with •grooms ; So that I truly thought all these Canie to see Shoiu. or Pericles. 13, Jane Shore. Trag. by N, Rowe. Acted at Drury Lane. 4to, [1/13.] This is a very excellent tragedy, and is always acted with great applause. The scene lies in Loudon; and the author, in the 341 JAN plot of it, has, ill a great measure, followed the history of this un- happy fair-one, as related in a collection of Novels, in 6" vols. 12mo. which we have elsewhere also quoted. It is said to be writ- ten in imitation of Shakspeare's style. In what he thought him- self an imitator of Shakspeare, it is not (as Dr. Johnson observes) easy to conceive. The numbers, the diction, the sentiments, and the conduct, every thing in which imitation can consist, are remote in the utmost degree from the manner of Shakspeare, whose dramas it resembles only as it is an English story, and as some of the persons have their names in history. This play, consisting chiefly of domestic scenes and pri- vate distress, lays hold upon the heart. The wife is forgiven be- cause she repents ; and the hus- band is honoured, because he for- gives. This therefore is one of those pieces which we still wel- come on the stage. Pope, in his Art of Sinking in Poeliy, which was published after the death of Rowe, has the fol- lowing observation : *' I have seen " a play professedly writ in the '' style of Shakspeare, wherein the " resemblance lay in one single " line, " And so good morrow- {"ye, good mas- ter lieutenant." The satirist, however, M-as mista- ken. The line is not in Jane Shore, but in Ladt/ Jane Gray, which professes no imitation of Shak- speare ; nor is the quotation a fair one, being interpolated to render it ridiculous. " And so good morning, good master lieutenant," is the verse as printed by Rowe. pr. Warton says^ " Jane Shore is. J A S " I think, the most interesting and *' aftectii}g of any he (Rowe) has " given us : but probability is " sadly violated in it by the neg- " lect of the unity of time. For " a person to be supposed to be " starved, during the representa- " tion of five acts, is a striking " instance of the absurdity of this " violation. In this piece, as in " all of Rowe, are many florid " speeches utterly inconsistent " with the state and situation of " the distressful personages who " speak them." Of this charge the same writer produces several instances, and concludes by ob- serving, that " the interview be- " twixt Jane Shore and iUicia, in " the middle of the fifth act, is " very affecting : where the mad- " ness of Alicia is well painted." Essay on the Genius and Writings of Pope, p. 271. Curll, in 1714, advertised (price Is.) /' Poems on " several Occasions. By N. Rowe, " Esq. With part of a scene not \' permitted to be acted, and left " out of the printed copy of the " tragedy of Jane Shore." Query, to what part of the play did this scene belong > 14, J.\soN. Trag. by R. Glover, This posthumous piece, of which the public are unaware, was print- ed for Mr. Debrett, Svo. IJQQ ; but suppressed as soon as finished. This is to be regretted ; as it pos- sessed considerable poetical merit. That it never was acted, was thus accounted for in a prefatory ad- dress : " The following tragedy, which " is now offered to the public, " from the pen of Richard Glover, " Esq. author of Leonidas, is a " sequel to the Medea, which has " been performed at the Theatre " Royal, Drury Lane, with the '' greatest applause. This piece z3 342 J E A ** was presented by him, many " years previous to his death, to *' the celebrated Mrs. Yates, who *' passed the highest encomiums *' upon it ; but, owing to the " grandeur of the scenery, and the '^ expense required to bring it " forward, it was altogether laid *' aside; and it has since that pe- "■ riod been offered to the mana- " gers of both theatres, who still *' have the same objection. It is *' therefore only necessary to add, *' that the public, well knowing " the author's talents, have it in <' their power to judge of its me- *' rits or defects. "July 26, J 799. G. Y. B." It would not have done any dis- credit to the memory of Mr. Glo- ver J and as to the expense of get- ting it up. Blue Beard, Mother Goose, and The Forty Thieves, have proved the unbounded liberality of the managers of our theatres upon proper occasions. If justice were done to this piece in action and scenery, we think that it would be attractive. 15. The Jealous Clown j or. The Lucky Mistake. Opera, of one act, by Thomas Gataker. Perfornjed at Goodman's Fields. 8vo. 1730. 16. The Jealous Farmer outwitted; or, Harlefjuin Sta- tue. Pantom. Acted at Covent Garden. This formerly used to be acted on the benefit night of Mr. L.ilau ze , the celebrated Pierrot , 17. The Jealous Husband. Com. Acted at Covent Garden, 1777.. This was taken from the comic part of The Spanish Fryer. IJot printed. 18. The Jealous Husbands, See Rambling Justice. 19. The Jealous Lover cured. An Entertainment, in two acts. J E A Printed in The Lady's Magazine, for the year 178S. 20. The Jealous Lovers. Com. by Thomas Randolph. 4to. 1632; 4to. 1634; 12mo. l66S. Presented by the students of Tri- nity College, Cambridge. This play, which is esteemed the best of our author's works, is com- mended by no less than four copies of English, and six of Latin verses, from the most eminent wits of both universities ; and was revived with very great success in 1682. Scene in Thebes. Of the stvle of commendation which this play has received, our readers may judge from one of the panegyrics before alluded to. ; the substance of which is, that The Jealous Lovers ought to be preserved in some great library, that if by chance, through injury of time, the plays of Aristophanes, Plautus, and Terence, should be lost to the world, their united merits might be recoguised in this one play ; for, says the panegyrist, " thou " hast drawn to the life, the pan- " der, the gull, the jealous lover, " the doating father, the shark, "■ and the curst wife : " So truly given, in so proper style, " As if thy active soul had dwelt awhile " In each man's body ; aad at length had seen " How in their humours they them- selves demean." It appears from the preftce, that sixpence was at that time the price of a 4to. play, 21, Jealous Wife. Com, by Geo. Colman. Svo, 1761. This piece made its appearance at D.rury Lane Theatre with prodi- gious success. The groundwork of it is derived from Fielding's His- tory of Tom Jones, at the period of Sophia's taking refuge at lady 343 J E A J E R Bellaston's house. The characters borrowed from that work, how- ever, only serve as a kind of under- plot to introduce Mr. and Mrs. Oakley, viz. the Jealous JFife and her husband . 1 1 must be confessed, that the passions of the lady are here worked up to a very great height; and Mr. Oakley's vexation and domestic misery, in conse- quence of her behaviour, are very strongly supported. Yet, perhaps, the author would have better an- swered his purpose with respect to the passion he intended to expose the absurdity of, had he made her appear somewhat less of the virago, and Mr. Oakley not so much of the henpecked husband ; since she now appears rather a lady, who, from a consciousness of her own power, is desirous of supporting the appearance of jealousy, to pro- cure her an undue influence over her husband and family, than one, who, feeling the reality of that turbulent yet fluctuating passion, becomes equally absurd in the sud- denness of forming unjust suspi- cions, and in that hastiness of be- ing satisfied, which love, the only true basis of jealousy, will con- stantly occasion. When this play was originally acted, it was re- marked, that the scene of Mrs. Oakley's hysteric fits bore a near resemblance to the like situation ef Mrs. Termagant in The Squire of Alsatia. Mr. Colman has been accused of a misnomer in calling it The Jealous JFife ; IMrs. Oakley being totally destitute of that de- licacy, which some consider ne- cessary to constitute jealousy. Many exceptions might be taken to the characters in this piece — that of Lady Freelove is perhaps too odious for the stage, while that of Captain O'Cutter does little honour to the navy. The play, however, upon the whole, boasts more than an ordinary share of merit. 22. Jean Hennuyer, Bishop OF LiziEux ; or. The Massacre of St. Bartholomew. Dramatic En- tertainment, in three acts. Trans- lated from the French. 8vo. 1773. 23. Jehu. Farce. Acted at Drury Lane, Feb. 20, 1/79. Not printed. This piece was rot suf- fered to be represented through- out. It is said, however, by some who were present, to have merited less severity than it met with. The author has kept himself con- cealed. As this farce satirized the folly of noblemen and gentlemen taking upon themselves the cha- racter and appearance of coach- men, and dedicating the chief study of their lives to the driving of carnages, it might bear revival. The character of Lord Jehu, which was admirably sustained by Mr. King, was at that time thought personal ; but this could not be an objection in the present day. 24. Jenxy's Whimj or. The Roasted Emperor. Farce, by John O'Keeffe. Advertised for per- formance at the Haymarket, 17Q4, but withdrawn. Not printed. 25. Jephtha. Play, by Henry Chettle. Acted l602, but now lost. 20. Jephthah's Daughter, Dram. Poem, by Mrs. Ann Wil- son. Svo. 1783. A strange hete- rogeneous piece, neither prose nor verse. 27. Jeronymo; or. The Spa- nish Tragedy, with the Ifars of Portugal. Anonym. 4to. l605 ; Dodsley's Collection. Svo. 17SO. This play contains the life and death of Don Andrea. 28. Jerusalem. Acted March 22,1591. Perhaps this was Legg's Destruction of Jerusalem. z 4 344 JEW 29. The Jerusalem Infir- mary; or, A Journey to the Val- leii nf Jehnsaphat. Farce, as it will be acted next Souiliwark fair. Anonym. Venice, Svo. 1749- This thing never -was, nor erer is in- tended to be, acted. It is a piece of the most unintelligible, and at the same time abusive, jargon ever seen, and is written with a view to expose and calumniate a num- ber of private personal characters among the Jews, and some design, as it should seem, at that time on foot, by som« of that sort of people, towards the establishment of an infirmary, which place is made the scene of action, and the president (who is a monkey) the principal person in the dram.a. It refers to some public print at that time also put forth with the like design ; but as we do not imme- diately call to mind the particular event on which it turns, we shall conclude with only observing, that it is so execrably bad, as nei- ther to be worthy of a moment's loss of time spent in the perusal of it, or the waste of any farther notice of it in this place, 30, The Jew. Com, by Rich, Cumberland. Acted al Drury Lane. Svo. 1793. It is greatly to the credit of Mr. C, that he has taken mmch pains to do away illi- beral national prejudices from the minds of the million. In The West Indian and The Fashionalte Lover he had exhibited antidotes for the unwarrantable and cruel prejudice so prevalent among the lower classes of English against the Irish and Scotch : and, as Jews had scarcely ever been brought on our stage, but as bloodthirsty villains, stony-hearted usurers, or sly knaves, Mr. C. has here de- pic'.ed w^iih admirable ettect the character of an honest and bene- J E W volent Jew ; and it is but a just portrait of many originals of that nation in real life. The play is a great favourite with the public. 31. The Jew and Gentile. Burl, by J. C, Cross. Acted at the Circus. 32. The Jew anp the Doc- Tos. Farce, by T. Dibdin. Act- ed with great success at Covent Garden. Svo. 1800. This piece abounds with humour, w ell blend- ed witn just sentimint and pure pathos ; and is always acted with applause, 33. The Jew decoy'd ; or. The Progress of a?i Harlot. A Ballad Opera. Svo, 1753, This piece was never performed, bat is founded on the plan of Hogarth's celebrated prints of the Harlot's Proi^ress. 34. The rich Jew of Malta. Trag. by Christ, Marlowe, 4to. 1633; Dodsl, Coll. 17SO, This play was not published till many years after the author's death, when Heywood ushered it into the Court, and presented it before the King and Queen, at the Cock- pit, with the prologue and epilogue annexed to this edilion of it; at which time it met with very great and deserved applause. Scene, Malta. It was entered on the book of the Stationers' Company the 17th of May 1594^ by Nicholas Ling and Thomas Millington, This play was written before The Merchant nf Venice of Shakspeare, and the character of the Jew is even more diabolical than that of Shylock, Alleyn, the founder of Dulwich College, performed the part of the Jew, and is thus men- tioned with Marloe, by HeywoocJ in his prologue., at the Cockpit : " We know not how our play may pass this stage; •' But by ihe best ofpoeti in that age 3-45 JEW *' The Malta Jew had being, and wag made ; <' And he then by the best (factors p'lay'd. ** In ' Hero and LeanJfr^' oiie did gain <* A lasting meii.ory ■ in ' Tamerlane,' «* This ' Je-v,' with othcis many, 'ch' other wan *' The attribute o( peerless, being a mnn *' Whom \ve mav rank with Induing no one w.ong; *' Proteus tor shapes, and Roscius for a tongue." It was acted at the Rose Theatrej so early as Feb. 26, 15QI, and at the Newington Theatre, June 12, 1594. 35. The Jew of Malta. His- torical Tragedy. Reprinted, with notes. By W. Shone. Exhibiting the cruel policy of Popish govern- ments ; and that the error in sup- porting them of the ancient model is the occasion of war. Svo. ISIO. 36. The Jew of Mogadore. Opera, by Richard Cumberland. A-Cted at Drury Lane. Svo. 1808. Not very successful. The scene lies in Morocco, where a benevo- lent Jew resides, who denies him- self almost the necessaries of life, to amass riches, which he spends in ransoming Christians, and as- sisting the exigencies of his coun- try : he has a very lively Portu- guese slave, called Mimre, and a faithful Irish one called Rooney ; ■whose good humour contributes to the niirth of the scene, and who, at the close of the piece, are rewarded, by their kind master, with freedom, wealth, and mar^ nage. — Mr. Cumberland's reite- j-ated effort, in this piece, in behalf of a too much degraded and de- spised.people, was very laudable j ^ut the piece wanted dramatic in- terest to keep possession of the Stage. 37- Tke Jew of Venice. By Thomas Dekker. This play was entered on the book of the Sta- J E W tioners' Comp.iny, Sept. g, 1653, but has not been printed. 38. The Jew or Venice. Com. by Lord Lansdowne. Acted at Lincoln's Inn Fields. 4to. 1701. This plr.y is altered from Shak- speare's MenJuivt ofVanice, .ind in some respects v. iih judgment. The introduction of the feast, more par- ticularly where the Jew is placed at a separate table, and drinks to his money as his only mistress, is a happy thought ; yet, on the whole, his Lordship has greatly lessened both the beauty and effect of the original ; which, notwith- standing this modernized piece, aided by magnificence and music, still stands its ground, and will ever continue one of the darling representations of the theatre. The prologue was written by Bevil Higgons, in which the ghosts of Shakspeare and Dryden are made to rise crowned with laurel 5 and in the second act is introduced a musical masque, written by his Lordship, called Peleus and The- tis. In this play, as Rov.'e re- marks, the character of Sbyioolv (which was performed by Dogget) is made comic, and we are prompt- ed to laughter instead of detesta- tion. Tlie profits of this play were given to Dryden's family ; a fact which is alluded to in the last line of the prologue. 39. The Jews' Teagedy ; or. Their fatal and jiaal Overthrow, ly K'.ipasian and Titus his Son. By William Herainge. 4to. I662. This play was not printed till some years after the author's death. The plot is founded on the siege and destruction of Jerusalem, as related by Josephus, in the 6th. and /th Books of his JFars of the JcWS. 40. The Jeweller of Am- sterdam^ or. The Hague. A 346 J O A Piny, by Jo!)n Fletcher, Nathaniel Field, and Philip IMassinger. En- tered on the book of the Stationers' Connpany, April S, l£)54, but not printed. 41. The Jewish Gentlkmax. A Play, by Richard Brome. En- tered on the book, oi" the Stationei's' Company, with others, Aug. 4, l640, but not printed. 42. Joan as good as my Lady. Play, by Thomas Heywood. Act- ed in 1598 ; bat not printed. 43. Joan of Arc 5 or. The Maid nf Orleans. Hist. Bal. of Action [by J. C. Cross]. Per- formed at Covent Garden. Songs and chorusses, and a description of the ballet, Svo. 1798. 44. Joan of Hedington. Tra- gi-Com. in imitation of Shakspeare, by Dr. William King. This whim- sical trifle is printed in Mr. Ni- chols's collection of our poet's works, in three volumes Svo. 1/70. Prefixed is a humorous address from t!ie publisher to the reader, which is longer than the five acts of the piece itself. 45. Joanna of INIontfaucon. Dr. Rom. [by M^iria Geisvveiler]. The original translation of the MS. by Kotzebue, from which Mr. (Cumberland has formed his dra- ma, as performed at Covent Garden. Never acted. Svo. No " and that he (Mr. Cumberland) stood " re- '' sponsible for every sentence in " the drama, with the exception " of a very few periods indeed, " and those of no great import- " ance." 47. The HisTOKY of Jobe, by Robert Green. Entered at Sta- tioners'Hall, 1594; but not print- ed. This piece was among those destroyed by Mr. Wavburton's servant. 48. Job. S. D. by John Ran- nie. Svo. No date. Never perfoiTned. 49. Job's Afflictions. Tr. by Ralph Radcli.^. Not printed. 50. Jocasta. Trag. 4to. 1575; 4to. 1587- This is a translation from Euripides, by George Gas- coigneand Francis Kinwelmarshe. The scene lies at Thebes ; and the title says it was by them presented at Grayes Inne, in the year \56G. Mr. Wodhull asserts, that it often deviates widely from the original for whole scenes together, and every where abonnds with the grossest barbarisms of language. JFodhulfs Euripides, Preface. 51. Thl Tale of Jocondo AND AsTCLFO. Coui. by Thomas Dekker. Plntered on the book of the Stationers' Company the 29th of June 1000 3 but not printed. U7 J O H This was one of those destroyed by Mr. Warburton's servant. 5'J.. Of John King of Eng- land, ^i dramatic Piece, by Bishop Bale. This is one among the nu- ineron pieces of this prelate's works, of which he has given us a h'^t in his account of the writers of Britain. 53. The Troublesome R.igve of John King of England, with the Discoverie of King Richard Cor- delions base Son, vulgnrlij named the Bastard Faivconbridgc: also the Death of King John at Swinstead Abbey. As it was (sundry times) publikcly acted by the Queene's M;ijesties players in the honourable Citie of London, &c. I591. Bl. letter. From a circumstance in the pro- logue to this play (which is in two parts), it should seem to have been the production of Marlowe. It was repoblished in 4to. 161I and 1622, with the letters W. Sh. prefixed to it, that it might be mistaken for the work of Shak- speare. See Mr. Malone's Supple- ment to the edition of Shakspeare's JPlays published in 17/3, vol, i. p. 163. This spurious drama has been thrice republished : by the editor of Miscellaneous Pieces of ancient English Poesie, 12mo. 17(54; by Mr. Steevens as one of Twenty of the Plays of Shakspeare, 8vo. 1 "J 66 ; and by Mr. Nichols in Six Old Plays on tvhich Shakespeare found- ed, isfc. printed for S. Leacroft, crown 8vo. 1778. 54.KiNGJoHN. Trag. by Wil- liam Shakspeare. Fol. lCi23. This is the genuine work of our match- less bard. Tlie plot is from the English historians j and the scene lies sometimes in England, and sometimes in France. Dr. John- son observes^ that though it is not J O H written with the utmost power of Shakspeare, it is varied with a very pleasing interchange of incidents and characters. The lady's grief is very affecting ; and the charac- ter of the Bastard contains that mixture of greatness and levity which our author delighted to ex- hibit. .55. King John. Trag. altered from Shakspeare, by R. Valpy. Svo. 1800. This alteration, which, generally speaking, is executed with judgment, was acted at Read- ing School, by Dr. Valpy's scho- lars, for the subscription to the Naval Pillar to be erected in ho- nour of the naval victories of the present war. 56. King John. Trag. altered from Siiakspeare, by J. P. Kemble. Acted at Drury Lane. Svo. 1800. 57. King John. Hist. Trag. by Shakspeare, revised by J. P. Kemble, and now first published as it is acted at Covent Garden Theatre. Svo. 1804. 58. King John and Matilda. Trag. by Robt. Davenport. Acted at the Cockpit,Drury Lane. 4to.l 655. This play was performed with great applause, and was published by one Andrew Pennycuicke, who himself acted the part of Matilda; no women having at that time ever appeared on the stage. The plot is taken from some circumstances in the same reign with the fore- going play, and the scene laid in England. 59. John Bon and Mast Par-. SON. A Satire on the real Presence. This is a recent reprint of a rare interlude, originally from the press of John Daye and William Seves, 4to. 1548. 60. John Bull ; or, j^ji Eng- lishman's Fire-side. Com. by Geo, Colman, jun. Acted at Covent Garden. 8vo. N. D. [1805. J 348 J O H There is mirth, humour, interest, and pathos, in this piece, which met with extraordinary success on the stage, and still preserves its place in the public favour. The excellence of Mr. Johnstone, in the Irish innkeeper of Muckslush Heath, is too well known to need our praise : accident or necessity- have brought man}" actors before the public as Bruigruddery j but, without meaning to detract from the merits of other performers who have assumed this character^ we must be allowed to affirm, that by Mr. Johnstone alone has the meaning of the author been fully supported. It is the bow of Ulys- ses, which rione but Ulysses can manage with address. Among his competitors, some have been re- jected, others endured ; but he alone has been crowned with the meed of universal approbation. 61. John Bull and Buona- parte ; or, A Meeting at Dover, B. S. by J. C. Cross. Svo 1S03. 62. John Cox, of Colmistov. Trag. by William Hnughton (as- sisted by John Day) . Acted 1 5Qg ; but not printed. 6). John the Baptist. An Interlude, by Bishop Bale. Svo. 1538. Ti is is one of the earliest dramatic pieces printed in England ; It is in metre, and in the old hl.ick letter, atid the lull title is as fol- lows : j4 l-rcft Conu'die or Tntfrlndc ef Johan Baptysie's preachy ng in the Jfyidt-rni'ssc, opeiiynsethe craf- trje jssaultcs of the Hifpocrytcs, u'ljth tJic gti)ryouse Baptysme of the Lord Jesus Christc. It is reprinted in The Harlelan Miscellany , vol. i. p. P7- From Mr. Joseph Cooper Walker's Historical lissay on the Irish Stage (Transactions of the Royal Irish Academy, vol. ii.) we learn, that this piece was acted by young men at the Market Cross JOS in Kilkenny, on a Sunday, m 1552. 64. JoHNNE THE EvANGEI,ISTE. An Interlude. 4to. 15D6. Anony- mous. 65. John WooDviL. Trag. by C. Lamb. This drama, which was never acted, is published in a small Svo. volume, 1 802, containing also Fragments of Robert Burton, au-' thor of The Anatomy of Melan- choly. The tragedy is deficient both of plot and character, but is written in the kind of blank verse that was used by our old drama- tists. The first four acts, abound- ing in bad jokes by drunken mas- ters and drunken servants, inay be said to be, like the tragedy of KingCambyses, mixed full ofpleo' sunt mirth. The whole fifth act is taken up with a dialogue be- tween John and his sweetheart. Q6. The Jolly Crew ; or. Tars at Anclior. Int. Acted at Covent Garden, 1799. ^7- Jonas. Trng. by Ralph RadclifF. Not printed. 68. Joseph. A piece with this title is mentioned in all the Ca- talogues. It is Goldsmith's So- phovipaneas. 6g. Joseph. A sacred Drama, by W.T. Procter. Svo. 1802. A miserable production, of which the following is not the worst speci« men that we could produce : " Yonder my dear bretluen are coming. And, " Ah ! my brother Benjamin I spy : my " Own and youngest brother ; the fav'- rite ^on " Of my father; tender, affectionate, " And doating." — • 70. Joseph Andrews. Farce, by S. J. Pratt. Acted at Drury Lane, for Mr. Bensley's benefit, April 20, 177s. Not printed. /I. Joseph MADE known xcb ins Brethren. Sac. Dr. trans-^ 349 J 0 V lated from Madame Genlls, by- Thomas Holcroft. 8vo. 17S6. 72. Joseph's Afflictions. This is one of those dramas which Kirk- man (the first, we beheve, who mentions it) appears not to have seen. It is perhaps a misprint for JoV-i Jjflictionn ; a play written by Ralpli RadchfF, and probably never printed. See Wood's Athe- nce, i. 89. There was, however, an ancient poem, entitled " The "^ tragedj-ous Troubles of the most " chaste and innocent Joseph, son '' to the most innocent Patriarch " Jacob," written by William For- rest, which might have been mis- taken for a play. See Wood's A theme, i. 125. ' 73. Joseph sold byhisBreth- REN. Sac. Dram. Svo, 17^9- 74. Joshua. By Samuel Row- ley. Acted by the Lord Adaiiral's Servants, l602. Not now known. 75. The Jovial Coblek ; or, A Light Heart 'y letter than a Heavy Purse. Burletta. Svo. No date. [1749.1 2Q. The Joviall Crew; or. The Dcvill turned Ranter : being a Character of the roaring Banters of these Times, represented in a Comedie. Containing a true dis- covery of the cursed conversations, prodigious pranks, monstrous meet- ings, private performances, rude revellings, garrulous greetings, impious and incorrigible deporle- ments of a sect (lately sprung up amongst us) called Banters. Their names sorted to their several! na- tures, and both lively presented in action. 4to. I60I. Scene, London. 77. Ths Jovial Crew ; or. The Merry Beggar':. Com. by PJchard Brom.e. Acted at the Cockpit, Drury Lane, in the year 1641. 4to. !6j2. D.C. Dedi- cated to Thomas Stanley, Esq. This play met -wiih great success J o u. at its first appearance, and vi'ai* frequently revived and perlormed with the same applause. It was afterwaixis altered Into a Comic Opera, by the addition of several songs by Mr. Roome, Air. Concanen, and Sir William Yonge, and brought on the stage with its former title at Drury Lane Theatre in the year 1731 ; in which form it was since revived at Covent Garden, where it took a very suc- cessful run for several nights to- gether, and aftervvards brought many crowded houses, as well then as in succeeding seasons. Svo. 1731. With the music prefixed- to each song. It is far from an unentertaining piece, especially to those who are fond of the musical drama ; yet it is mingled with so many absurdities and indelicacies,- that the great approbation it met with cannot but be looked upon as a kind of reflection on the pub- lic taste. 78 A JouPvNEY TO Bristol; or, 7Vie Honest lp'elch?nan. Farce, by John Hippisley. Svo. [1731.] This is but an indifierent piece, and seems more calculated for the latitude of Bristol, to which place the author used annually to go at the head of a company of come- dians, than to that of London. It was performed at Lincoln's Inn. Fields Theatre, but with very little success. See The Connaughx WtFE. 7Q. A JouRN'EY TO London. Being part Df a Comedy, by Sir JohnVanbrugh. Svo. 1728. Thi.s piece was left unfinished by its autlior; and falling into the hands of Mr. C!bber,becan-)e the ground- work of his admirable play of The Provr^ked Husband. Prejudice against Cibber operated so vio- lently on the production of that play, i^nt the scenes writcen by J U B Vanbrugh, by mistake, fell under the particular censure of the au- dience, which rendered the pub- lication of this unfinished per- formance necessary to the justiti- cation of the alterer. Before the author died, he excused his not showing his performance to Mr. Gibber till he had reviewed it, con- fessing the scenes were yet undi- gested, too long, and irregular, particularly in the lower charac- ters. He appeared also to have intended a ditFerent catastrophe, proposing that the conduct of the fine lady should so effectually ir- ritate her husband, that she should be actually turned out of doors by him. It must be confessed, that the sudden reformation by Lady Townly has been deemed too pre- cipitate, and in some measure un- natural : yet, since the appearance of The Provoked Husband, there has been no comedy product i which is ofteuer acted, or affords more general satisfaction to an au- dience. 80. The Jubilee. Dram. En- tertainment, by David Garrick. Acted at Drury Lane, 176p. Not printed. A spectacle rendered in- teresting by mute representations of a principal scene in each of the plays of Shakspeare. These groups ■were originally designed to' form a part of the real Jubilee at Strat- ford. That attempt, however, having failed ridiculously, leaving Mr. Garrick (the steward and in- ventor of it) several hundred pounds out of pocket; hebyraeans, of the present exhibition (uhich was Mr. Wilson the portrait-paint- er's contriv;Tnce), at once reim- bursed himself, and mofe success- fully entertained the public for up- wards of niiiPty evenings in the first season of the piece.—^The mu- J TJ D sic by Charles Dibdin. Mr. Kern- ble possesses a copy of this piece in MS. 81. The Jubilee of 1802 ; or, Preston Guild. G. D. by J. C. Cross. 8vo. 1802. 82. The Jubilee. INIus. Sketch [ascribed to T. Dibdin]. First acted at Covent Garden, Oct. 25, iSOp, and several times repeated. It was a pleasing trifle, on occa- sion of the Jubilee to commemo- rate the entrance of the King on the 50th year of his reign. Mu- sic by Reeve. Not printed. S3. The Jubilee. A vocal patriotic Entertainment, by Joseph Kemp, Mu«. D. Acted at the Theatre Royal, Haymarket, on the same occasion, Oct. 25, IS09 [by permission]. Music by the au- thor and D. Corri. 8vo. ISOp. Part of the receipts of the liouse were appropriated to the poor of St. Martin's parish. 84. The Jubilee; or, John Bull in his Dotage. A grand Na- tional Pantomime, by the author of " Operations of tlie British " Army in Spain." As it was to have been acted by His Majesty's subjects, on the 25th of October I8O9. Svo. I8O9. Apolitical squib. 85. Judas. Play, by William Haughton, in conjunction with Samuel Rowley andWilliam Borne . Acted in 16OI. Not printed. 86. The Judge. Com. by Philip Massinger. Acted by the King's Company. Licensed June 6, 1627. One of those destroyed by Mr. Warburton's servant. 87. The Judgment of Her- cules. Masque, set byDr.Greene. 8vo. 1740. 88. The JuDGME-NT of Midas. Masque, by Christopher Smart. Printed in his " Poems on several " Occasions," 4to. 1752. This is 351 J U D a classical and elegant perform- ance. 89. The Judgment of Paris. A Masqae, by W. Congreve. 4to. 1701. This is a very pretty piece of poetry, and has been frequently performed to music, by way of an Oratorio. It was originally com- posed by John Eccles, Mr. Finger, yir. Purcell, and Mr. Weldon ; and performe Rome. 10b". Julius Cxsar. Trag. by W. Shakspeare. Fol. 1(323. The story of this tragedy is from history. What may be consider- ed as faulty in it we have hinted at in our mention of the last-named play, but the beauties of it are innumerable and inimitable. The speeches of Brutus and Antony over Caesar's body, are perhaps the finest pieces of oratory in the Eng- lish language ; the first appearing xmanswerable till the second comes to overthrow its effect ; nor can there be a finer scene of resent- ment and reconcihation between two friends, than that of Brutus and Cassius in the fourth act. The Duke of Buckingham, however, aware of the faults we took notice of in regard to the catastrophe, has divided the two revolutions in this piece, and formed out of them two plays ; the one called Julius C;esar, the other Mar- cus Bkutus. Under the account of the latter, the reader will find the reason why neither of them came on the stage. 107. The Tragedy of Julius 353 J U P C^sAR, Jcith the Deaths of Brutus and Cassiiti, u'rii'cn oriiiinaHy hy Shakspeare ; altcrc! iy Sir William Davenant ojid John Drydcn. Jcted at Driiry Lane. 12;^io. 17 ip, This seems to be a publirition of the pH.yhouse-opy, with aiierations for the sta^e, whieh perhaps were traditionally ascribed to Davenant and Dryden 5 how truly, let any person determine^ after n^ading the ff)i!o\ving ridiculous rant, which is added at the close of the fourth act, and was spoken by Mr. Wal- ker, when he perforrned the cha- racter of Brutus, at Covent Gar- den theatre : *' Sure they have rals'd some devil to liieir aid, " And think to frighten Brutus with a shade : " But ere the ni2;ht clo-.c'; this fa'al day, " 1 '11 send more ghosrs this visit to re- pay." lOS. Jui.ius CffiSAR. TrnCT. by J. Sheffield, Duke of Bucking- ham, with a prologue and choms. 4to. 1722. 109 JuLTUsC^SAK. Tr. trans- lated from Voltaire. See Death OF CjESAR. IIO.Thh JoNCTO. Farce. This is a poliiical and religious satire, forming Nos. 37. 3S, of The High German Doctor. 12!T10. I715. Dr. Sachevere!! , the Earl of Ox ford, and Lord Bohnghroke, are ciiaracter- ized, as Bungey,Herni.)dactyl, and Gambol. 111. Junius Brutus. See Lu- cius Justus Fjrutus. 112 The Junto; or, The in- terv'ir Cnf-in"t laid open. A state Farce, now acting on the most Cirpital Stage in Europe. 8vo. 1773. A despicable political catch- penny. 113 JuflTEK ANJ) AiCMENA A BurletUT, by Charles Dibdin. VOL. n. JUS Acted at Covent Garden, 178I. The songs only print^^d. This piece was taken froni Ijryden's Amphytrion, but met with no ap- probation on the stage. It was acted only two nights. 114. Jupiter ANnEuROPA; or. The Jntrioues n/ Harlequin. Pant. Acted at Lincoln's Inn Fields, 17:^3. Not printed. 115. Jupiter and Io, Drama, by Thomas Hey wood. 12mo, 1637. Printed in his " Pleasant " Dialogues and Dramas," &c 110. Jupiter and Io ; with a Comic Interlude, called Mother Shibto7i's Wish ; or, Harlequin's Origin. Acted at Goodman's Fields, 1735. Not pr-nted. 117. The Juror. Farce, by W. B. formerly of St. John's Col- lege, Cambridge. Svo. 17I8. Ne- ver acted. 11 8. The Just General. T.C. by Cosmo Manuche, 4to. 1(550. This piece was intended for the stage, but never acted. Yet, al- though it was a first attempt of the author's, it is far from contempt- ible. 1 ig. Just IN Time. Com. Op. by Thomas Hurlstone. Acted at Covent Garden. Svo. 1792. T' ere is a considerable degree of fat< ical humour in this piece, which was favourably received. 120. The JviT Italian. Tr. Com. bv Sir W. D'ven :nt. Acted at Black Friars. 4to. 1630 Scene, Florence. 121. Justice Busy. A Cora, by John Crovv'ne A( ted at Lin- coln's Inn Fi'lds about 1690. Not printed Df".vnes, the proujoter, who alone memions it, says it was " well acted, yet proved not a " living play : however, Mrs. " Bracegiri-lle, b^ pot n* and " naagnetic charm in pei forming A A 354 JUS J U V •* a song in it, caused the stones of then lately transacted in a village " the streets to Jiy in the inen's near London 'faces." It is not very easy to understand this. 122. Justice Triumph .a nt j «r. The Organ in the Suds. Farce of three acts. 6vo, 17-17- This piece relates to some proceedings 123. Juvenile Friendship; or. The Holidays, A Dramas in three acts. This was printed, with The Arrogant Boy, 8vo. 1S02. Nev«r acted. K. KEN or. Love in the Deserts. KEN ^ K.AIS ^pera, in four acts. Pcrtbrmcd at Drury Lane. With a few words by way of preface. By L Bran- don, author of Fragments after Sterne, &cc. Svo. "iSOS. This piece is founded on the Ln-ves of Mejnoun and Leila, a charming Persian romance, by ^Ir. D'lsra- eli. The dialogue is not ill writ- ten ; but it wanted enlivening ; and to the splendid pageantry, and delightful music (by Messrs. Bra- ham and Reeve), the piece was almost wholly indebted for its fa- vourable reception on the stage. 2. Keep youu own Secret. Com. translated from the Nadie Fie su Seer e to of Calderon. Svo. I8O7. Never acted. 3. The Keepbes distracted. Farce. This is only mentioned in Mears's Catalogue, and was probably never printed. 4. Kenneth, Xing of Scots j or. The Female Archers. jNIus. Dr. by Archib. M'Laren. Acted at the Theatre Royal, Edinburgh. 12mo. I8O7. This piece was also acted at Aberdeen, Dumfriesj Perth, Ber- wick, &CC. 5. Kensington Gardens; or. The Pretenders. Com. by John Leigh. Svo. 1/20. This was act- ed at Lincoln's Inn Fields Play- house, with some success, Dedi-« cated to Lord Brooke. 6. Kensington Gardens; or. The Jf'alking Jockey. Interlude, by James Cobb. Acted at the Haymarket,17Sl. N.P. This was produced for Mr. Wilson's bene- iit. The principal characters were those of a purblind old man, con- stantlv endeavouring to conceal his intirmitv, and thence making himself a subject for laughter; and a city smart parading about Lon- don always booted and spvxrred, though it is well known that he has no horse to ride. The ridi- cule was well directed, but rather feebly sustained, 7- The Kentish Barons. Op. by the Hon. Francis North. Act- ed at the Haymarket. Svo. 1791- This piece is well written, and was favourably received. 8. The Kentish Election. Com. by L. N. Svo. 1/35. An obscene catchpenny. K T N p. KeS'tish Fayre or. The Parliament sold to their lest IForth. Rochester printed. 4to. Id48. This is a satirical p!ay, written to expose Oliver Cromwell, &c. 10. A Key to the Lock. C. in two acts. Performed ut the llaymarket. 8vo. 1/88. In imi- tation of Fielding, and Dr. Drake in the l/th ceuiury, this author has announced, in the title-page, that his piece was d d. It is a translation from the Gagmre Imprijvne of Mons. Sedainej but the hinge on which the whole turns is too trifling and improbable to merit any attention. 1 1. The Key of the Garden. T. C. by Young. Never acted. 12mo. 1801. Printed at Dundee. 12. Killing no Muuder. F. by Theodore Edv\'ard Hook. Act- ed at the Haymai ket with great .success. Bvo. ISOp. The Lord Chamberlain having refused to license this piece as originally written, the author was compelled to write one of the scenes anew : at which being very indignant, he has told his tale in a long preface (which we think had been as well omitted) ; and has annexed the scene that was objected to, as ri- diculing the Methodists. 13. The Kind Keeper ; or, Mr. Liinlerham. A Comedy, by J. Dryden. Acted at the Duke's Theatre. 4to. l6S0. This play was intended as an honest satire against tlie crying sin of keepings but, in short, it exposed the keep- ing part of the town in so just a manner, and set them in so ri- diculous a light, that, unable to stand the lash of the poet's pen, aided by the force of comic re- presentation, they found means to stop the play after a run of only 355 K I N three nights j which gave rise to the following distich '* They damn'd the play all at one fatal blow, " And broke the glass that did their picture shovv." There are, however, several parts of it by much too loose for modest ears, or for a moral and well-re- gulated stage. The author has borrowed ,some of his incidents from French and Italian novels ; for instance, Mrs. Saintly's dis- covering Goodall in the chest, taken from Cynthio's Novels, part i. Dec. 3, i\ov. 3 ; and Mrs. Brainsick's pinching and pricking him, from M. S. Bremond's Tri- lunph of Love over Fortune. The scene lies at a boarding-house in London. 14. A King AND no King. Tr. Com. by Beaumont and Fletcher. 4to. 1619 ; 8vo. 177s. This play was very roughly handled by Ry- mer ; but, as he dealt no less se- verely with the works of the im- mortal Shakspeare, his censures ought to have but little influence over our opinions ; and this piece, amongst others, stands up in evi- dence against his judgu;ent; it having always met with success whenever acted or revived, unle.'js we e.Kcept its last appearance at Covent Garden, Jan. 13, 1788, when it was very coldly received. Dryden has defended this play from the severity of Rymer, and on such a subject he well deserves to be heard. Speaking of the plots of Beaumont and ,^letcher, he ob- serves, " The best of their designs, " the most approaching to anti- " quity, and the most conducing " to move pity, is The King and "no King; which, if the farce " of Bessus were thrown away^ A A 2 >55 K I N •■'■ is of that inferior sort of tiagc- " dies which end with a prosper- '' ous event. It is probably de- " rived from the story of Q^^dipus, " with the character of Alexander " the Great in his extravagancies *' given to Avbaces. The taking " of this play, amongst many " others, I cannot wholly ascribe " to the excellency of the action ; " for I find it moving when it " is read : 't is true, the faults " of the plot are so evidently " proved, that they can no longer •■' be denied. The beauties of it *' must, therefore, lie either in the " lively touches of the passion ; " or we must conclude, as I think " we may, that even in imperfect " plots, there are less degrees of "■ nature, by which some faint " emotions of pily and terror are " raised in us j as a less engine " will raise a less proportion of "■ weight, though not so much as *' one of Archimedes's making; •' for nothing can uiove our na- " ture, but by some naturnl rea- " son, which works upon passions. " And since we acknowledge the *' effect., there must be something *' in the cause." — Scene, for the most I'art of the play, in Iberia. The first edition says it was acted at the Globe, the others at Black Friars. 15. The King and Queen's Entertainment at Richmono, ajttir ihelr Departurefrnin OjcforJ-y. in a Alasfiiie pressnlcd by Oiti most illustrious Prince, Prince Charles (afterwards King Charles JI.J, Sept. 12th, iri34. 4to. 1030. The oc- casion of this masque was the Queen's desire ofseeinsj the Prince KIN were performed to the Druid greatest degree of excellency by the then Lord Buckhurst, and Mr. lidward Sackville. lO. The King and the Mil- ler or Mansfield. Dram. Tale, by 11. Dodsley. Acted at Drur/ Lane. bvo. 1/3/. The plot of this little piece is built on a traditional story in the reign of om* King Henry II. The author, however, has made a very pleasing use of it, and wrought it out into a truly dramatic conclusion. The dia- logue is nJtural, yet elegant ; the satire poignant, yet genteel ; the sentimental parts such as do ho- nour both to the head and heart of its oUthor ; and the catastrophe, though simple, yet atfecting, and perfectly just. The scene lies in and near the Miller's house in Sherwood Forest, near Notting- ham. It had great success. 1/. I'he King and the Sub- ject. Trag. by Philip Massinger. The title is thought to have been aftervvards altered to The Ty- rant. Licensed, June 5, lG38. The Tyrant was one of those destroyed by Mr. Warburton's servant. IS. The King cannotEkr,&:c. Com. I'imo. Nodate.[l702.] The title-page of this strange incohe- rent performance is too long to be here inserted. The author of it> who was evidentl)^ dis .ordered in his senses, dedicates to his Infeint Rmjal Highness the Prince oj Wales, on the eighth daij qf his birth, by way of desert to his Christening, who was born 07i the tivclfth day of the eighth inonth, in the twelfth year of the last Itvo hundred and dance, who was then not much ffty years, which make ike twenty^ above six years old. The dances fourth part of six thousand yems. were composed by Simon Hopper, He signs his name Ame [i. e. Adam the music by Charles Colman ; Moses Emanuel] Cooke, and the parts of tlie Captain and ig. King Charles, King ssy K I S Edward, King Henry, King Lear, King Richard, &c. — See Charles, Edward, Henry, Lear, Richard, &c. 20. The King in the Coun- try. A Dnimatic Piece, of two acts, by F. G. Waldron. Acted at Richmond nnd Windsor, I788. 8vo. 1789. This piece is Iriken from the under-plot in the first part of King Edward the Fourth ; written by Thos. Heywoou : the dialogue a little altered, to render it fit for modern representation, and a few passages added, for connexion and conclusion. It was first performed after His Majesty's return from Cheltenham. 21. The King's Bench. See Abroad and at Home. 23. The King's Entertain- ment AT Welbeck, in Notting- hamshire, a seat of the Earl of Newcastle, at his going to Scot- land in 1633, byBen Jonson. Fol. I6AO; 8vo. 1756. The Duchess of Newcastle, in the Life of her Lord, gives the following account of this entertainment : " When " His Majesty was going into *' Scotland to be crowned, he took " his way through Nottingham- " shire ; and lying at Worksop *' Manor, har41y two miles distant " frona Welbeck, where my Lord *' then was, my Lord invited His ♦' Majesty thither to a dinner, which " he was graciously pleased to ^' accept of. This entertainment *' cost my Lord between four and " five thousand pounds," Life of the Duke of Newcastle, p. 183. 23. The King's Mistress. This play was entered on the book qf the Stationers' Company, Sept. 9, 1653 } but seems not to have been printed. 24. The Kiss accepted and bbtukned. OperettHj by James K N A Ayre, Acted at the Hay market, 1/14. Not printed, 25. The New Jigg of the Kitchen Stufp Woman. l^y William Kempe. Entered in the book of the Stationers' Company, in 1595. 20. A Knacke how to knowe A Knave. Com. Anonym. 4to. 1594. This piece seems to have been like some of the drolls or medleys performed at our fairs. It is said to have been sundry times played by Edward Allen, with Kemp's apphuided merri- ments of the men of Goteham, in receiving the king into Goteham. The serious part of this play is the story of Edgar, Atlielwold, and Elfrida. It is printed in the old black letter, and exposes the vices of the age as detected by honesty. 27. A Knack hoav to knowe AN honkst Man. A pleasant conceited Comedie, several times acted. Anonym. 4to. 1596. The scene lies in Venice, and the piece is not divided into acts. It was entered on the book of the Sta- tioners' Company, Nov. 26, I5g6, by Cuthbert Burbye. 28. Knapschou, the Forest Fiend. Pant. Bal, Acted at the Lyceum, I8O9, with great success. Music by C. Smith. Not printed. 29. The Knave in Graine ; or. Jack Cottiiigton. A Play, en- tered on the book of the Stationers* Company, June 18, IO39, but probably not printed. — There is, however, a drama under the title of The Knave in Grain, in the List of Plays printed for Bentley and Magnes, who published a Collection of Lee's Plays, in one volume 4to, 168/. At the end of which volume their Catalogue is printed, a a 3 35d K N I 30. The Kkave ix Grain NEW VAMPT. Com. Acted with great success at the Fortune. 4to. 1640, by J. D. The incident of Julio's cheating his drunken guests, is repeated by Kirkman in his Eiiglhh Rogue, part iii. ch. 13. as is also that of his cheating the countryman of the piece of gold, in The Account of the hard Frost of 1684, in 8vo. p. 41. But, con- trary to the usual custom, these writers have stolen those incidents from the play, instead of the play being founded on their writings. Scene, Venice. 31. A Knave in Print; or. One fur Another. Com. by Wm. Rowley. Entered on the book of the Stationers' Company, Sept. Q, l653, but not printed. 32. Knave or Not. Com. by Thomas Holcroft. Acted at Drury Lane. Svo. 1798. Though we do not think this play the best of its author's dramatic productions, yet it certainly possesses consider- able merit ; and was driven from the stage, we think, from a spirit of party, more than of deli- berate judgment. 33. Knavery in all Trades; or. The Coffeehouse. Com. Anon. 4to. 1664 This play was acted by a company of London appren- tices in the Christmas holidays, and, as it is said in the title-page, W'ith great applause. This ap- plause, however, was probably no more than their own self-appro- bation : it being a very indifferent performance, and not entitled to success in any one of the regular theatres. 34. The Knaves. A Play. Acted in the year l6l3. Not printed. See I\Ir. Malone's At- tempt to ascertain the Order of Shakspcare's Plays, p. 331. 35. The Knight of Malta. K N t Tragl-Coraedy, by Beaumont and Fletcher. Fof. I647 j Svo. 177S. Scene, Malta. 36. The Knight of Malta. Tragi- Com. Altered from Beau- mont and Fletcher, and acted at Covent Garden, April 23, 1783. Not printed. It was jierformed for Mr. Quick's benefit, but not repeated. 37-TnE Knight or the Burn- ing Pestle. Com. by Beaumont andFIetcher. 4to. 1613': 4to.l635j Svo. 1778. From the dedication of the first edition of this play, it nppears to have been written in 1611, and not well received when acted on the stage. The names of Beaumont and Fletcher are not on the title-page of the first publication of it. See Sup- plement to Shakspcare, vol. i. p. 194. After the Restoration it was revived with a new prologue, spoken by Mrs Ellen Gwynn, in- stead of the old one in prose, which was taken verbatim from that before Lyly's Sapho and Phao. The citizen and his wife introduced on the stage in this play, are probably in imitation of the four gossips, lady-like attir-ed, in Ben Jonsou's Staple of News, who remain on the stage during the whole action, and criticise upon each scene, 38. The Knights. Com. of two acts, by Samuel Foote. 8yo. 1754. This piece made its first appearance at the Little Theatre in the liaymarket, about the year 17-17, and at that time terminated with a droll concert of vocal mu- sic between two cats, in burlesque of the Italian comic operas. As this, however, was only tempo- rary, the author, to adapt it more properly to true dramatic taste, and render it a more perfect farce, has wound up a conclusion for itj 359 K N I which, however, even as it now stands, is scarcely so conclusive or so natural as il could be wished. This f.iult, however, is amply made amends for, by its possessing in the highest degree a much more essential excellence of comedy, viz. great strength of character, and the most accurate and lively colour- ing of nature. His two knights, i>ir Penurious Trifle and Si iGregory Gazette (the first of which has the strongest passion for perpetually entertaining his friends with a l)arcel of stale, trite, insignificant stories; and the latter, wiio is pos- sessed with a most insatiable thirst for news, without even capacity iufHcient to comprehend the full meaning of the most familiar pa- ragraph in a public journnl), are rery strongly painted. The first of them received additional life from the admirable execution of the autlwr in his representation of the character, in which indeed it has been reported, that he mi- micked the manner of a certain gentleman in the west of Eng- land ; and the other seems to have aftbrded a hint to a writer since, viz. Mr. Murphy, in his Upholsterer, to expatiate still more largely on this extravagant and absurd kind of folly. His other characters of Tim and Miss Suck, with the scene of courtship intro- duced between them, though not absolutely new in the first con- ception, yet are managed after a new manner, and always gave great entertainment in the repre- sentation. It was acted at Drury Lane. 39. A new Scene for the Co- medy, called. The Knights ; or. Fresh Tea for Mr. Foote. A satire on some public speakers in tiie Houae of Commons of Ireland. K N O rrinted in Dublin. Reprinted in London, 8vo. 1/58. 40. The Knights of the Post ; or. The Blackmnor wnshed IFIiite. Farce, taken from the novel of Gil Bias. It was acted for Mr. Stephen Kemble's benefit, at Newcastle, l/P/. 41 . The Knot of Fools. Play. Acted in the year ltJ13. (See Mr. Malone's Alitmpf, p. 33 1 .) 42. Know Your own Mind. Com. by Arthur Murphy. Acted at Covent Garden, ITZ/j with considerable success. Printed 8vo. 177'^- This comedy is founded on the Irn'solu of Destouche^ ; but is by no means a translation, or servile copy of it. An original vein of English humour animates the dialogue ; and characters not in the Frencli jiiece, particularly those of Miss Neville and Dash- Avood, are happily introduced and faithfully ddineated. The latter is universally allowed to be intend- ed for the late Mr. Foote. The sentimental slander of JMalvil is judiciously opposed to the un- guarded pleasantry of Dash wood, and the whole deserves to be spoken of in the highest terms of approbation. Where Dashwood says, " I saw him, five times in " one winter, upon the fire, at " Bath, for cheating at cards," the author evidently had an eye to Baron Newman, at that time a notorious gambler, whom an mi- lucky incident, that happened at picquet, raised into great notoriety, A gentleman, with whom he was playing, suspecting that the Baron had concealed a card vmder his hand, which was extended on the table, seized a fork that happened to be near, and thrusting it at once through the Baron's hand, which he fastened to the table, be A A 4 360 K N O exclaimed, " Monsieur Baron, if '■'■ you have noi a card under your K N O 43. The K^fowING Ovfis tAKEst juii iidv^ iiui ^ laiu uiii-n^i _yuvii IN. A Musical Piece, in two acts. "■ hand, I beg your pardon." On This was taken from Hohiian's releasing the hand, a card was comic opera, called. Abroad and found. After this incident, the at Home, and performed at Edin- Baron generally wore a muff. burgh, 1797* L, LAD 1. 1 HE Labyrinth; or. The Fatal Eviharrnssment. Trag. from Corneille. Dublin printed, 8vo. 1795. 2. The Labyrinth ; or. The Mad Cap. Ball. Acted at Drury Lane. 8vo, I'gQ. 3. The Lad of the Hills ; or, IVicklow Gold Mines. Com. Op. by John O'Keeffe. Acted at Covent Garden, 1796. Subse- quently reduced to an afterpiece, and called IVuklow Gold Mines, Printed 8vo. 1798, under the title of The IVicklow Mountains. 4. The Ladies' Fkolick. Op. altered from The Jovial Crew, by James Love. [Dance.] Acted at Drury Lane, 17/0. Not printed, 5. The Ladies of Castile. Trag. in five acts, by M. Warren. 12mo, Boston (America), 1790- Taken from an ancient story, in the annals of Spain, in her last struggles for liberty, previous to the complete establishment of de- spotism, by the family of Ferdi- nand. 6. The Ladie."! of the Pa- i,ace; or. The New Court Legacy. Ballad Opera, of three acts. 8vo. 1735. Court scandaJ. LAD 7. The Ladies' Privilege. Com. by Hen. Glapthorne. Acted at Drury Lane, and twice at Whiteh;ill, before their Majesties. 4to. 1640. Scene, Genoa. This is an ingenious and interesting play. 8. The Ladies' Subscription. Dramatic Performance, designed for an introduction to a dance, by John Cleland. 8vo. 1755. Printed at the end of Titus Vespasian. 9. The Ladies' Trial. Tragi- comedy, by John Ford. Acted at Drury Lane. 4to. 1639. The scene lies in Genoa, and the pro- logue is subscribed by Mr. Birdj but whether it was written, or only spoken, by him, is not abso- lutely apparent. Ben Jonson, a bitter enemy of Ford's, charges the latter with having stolen a cha- racter in this play from him. *' Playwris;ht (i. e. FordJ, by chance, hearing toys I had ivrit, " Cry'd to my face, they were th* elixir of wit. " And I must now believe him ; for to- day <' five of my jests, then stolen, pass'd him a play." 10. The Ladle. Entertain' Kient of Music, altered from Prior 861 LAD [by Charles Dibdin]. Svo, 1773. One of" the interludes performed ai Sadler's Wells. 11. Lady Alimony; or, The j^iimonv Lady. Com. Anonymous. 4to \i):'>Q, Said in the title-page to be .Uily authorized, dnily actud, and trequentiy followed. 12. The Lady Contempla- Tiuv. Cc-m in two parts, by the Dach^'S of Newcastle. Fol. l602. Three- i>renes in the first, and two in the second part, were written by the D-.ke. 13. The Lady Errant. Tragi- Coni. by W. Cartwright. Svo, 1051. This was by some esteemed an t'xcellei.t comedy. The scene lies in C'. nrus. 14 Lady Jane. Play, in two parts, by Henrv Chettle, in con- junction with D'kker, Heywood, and Webster, Both parts acted in lt)02. Not printed. 1.5. Lady Jane Gray'. Trag. by N. Rowe. Acted at Drury Lane 4to. 1715. This is an ad- mirable piece, though not now on the acting list of plays, Mr. Ed- mund Smith had an Intention of Writing a tragedy on the subject of L.''.dy Jane Gray, according to the history which Mr.Banks followed} an I at his death left some loose hints of sentiments, and short sketches of scenes. From the last of these Mr. Rowe acknowledges he borrowed part of one which he has inserted in this play, viz. that between Lord Guilford and Lady Jane Gray in the third act. The quarrel and reconciliation between Lord Guilford and Lord Pembroke are very fine ; and the scene of Lady Jane, previous to her mount- ing the scatfold, has abundance of the pathos in it. On the whole, we may venture to pronounce it equal to any, and superior to most, of the dramatic pieces of this ad- L A D mirable author. The scene lies in London. Iti. The Lady of Pleasure. Com. by Ja. Shirley. Acted at the private house, Drury Lane. 4t(). 1637. The incident of Kick- shaw's enjoy ingArctina, and think- ing her the devil, is a circum- stance that this author has also introduced into his Grateful Ser^ vaiit, and Mrs. Eehn has copied it in her play of the Lucky Chance, Scene, the Strand. 17- The Lady of the Manor. Com. Op. by Dr. Kenrick. Acted atCovent Garden. Svo. 1778. This is taken from Charles Johnson's Country Lasses; or. The Custom of the Manor. 18. The Lady of the May. A Masque, by Sir Philip Sydney. This piece was presented to Queen Elizabeth, in the gardens at Wan-^ stead, in Essex, and is printed to- gether with some poems at the end of the Arcadia. 19. The Lady of the Rock. Melo-Drame, by Thos. Holcroft. Acted at Drury Lane. Svo. 1805. The circumstances of the story (which is derived from Mrs. Mur- ray's Companion to the Highlands) were more calculated to excite horror than pity j but the piece was several times acted, though it en- countered much opposition. 20. The Lady's Choice. Pe- tite Piece, of two acts, by Paul Hifternan. Performed at Coven t Garden. Svo, No date. [i75C).] It was acted a few nights, but with no success. The characters are not ill drawn ; but the piece is barren of incident. It is dedicat- ed to the Duchess of Hamilton. 21. The Lady's last Stake ; or. The Ififes Resentment. Com. by C. Cibber. Acted at the Hay- market. 4to. No date. [17O8.] This is very far from a bad comedy. 362 L A K Tlie plot of it seems Ib some measure borrowed from Burnaby's Rpformed Jfife; but the manners, the style, and many of the inci- dents, are origuial, and do lonour to tiieir author. 22. The Lady's Lfcturb. A theatrical Dialogue, between Sir Charles Easy and his marriageable Daughter. By C.Cibber. 8vo.l748. 23. The Ladt's Opera, witli a new Introduction. Performed at Covent Garden, 1781. This was only the Beggar's Opera, with the characters entirely personated ly females. The manager was probably induced to bring it for- ward in this manner, by the great success which attended the Beg- gar's Opera, with the characters reversed, at the Haymarket. 24. The Lady's Revenge j or. The Rover reclaimd. Com. by "William Popple. Acted at Co- vent Garden. Svo. 1734. 25. Ike Lady's TRiuMrn. Comic Op. by Elk. Settle. 12mo. 17 18. This piece was perforrned, by subscription, at the Theatre in Lincoln's Inn Fields. The enter- tainments set to music (amongst which was Decius and Paulina) were written by Mr. Lewis Theo- bald. 20. The Lady's Visiting DaY. Com. by Charles Burnaby. 4to. J 701. Acted, one night only, at Lincoln's Inn Fields. Scene, London. 27. The Lakers. Com. Op. cf three acts. Svo. 179S. Never performed. This is a lively bur- lesque on the fashionable propen- sity of lake-visiting. The several characters are humorously sustain- ed ; particularly that of a botanical aunt, called Miss Beccabunga Veronica, of Diandria Hall, in- tended for Mrs. Mattocks, if the piece had reached the stage. LAN 2S. The Lame Lover. Com. by Samuel Foote. Acted at the Haymarket. Svo. 177O. This piece, though little inferior to any performance of the same writer, did not meet with equal success. Sir Luke Limp, the Sergeant, and his son, are admirable portraits. 29.THELANrASHIRE WiTCHES, Comedy, by Thomas Hey wood. Acted at tlie Globe. 4to. l634. The author was assisted by Richard Brome in the composition of this play. The foundation of it in general is an old English novel ; but that part of it in which V/het- stone, through the means of his aunt, revenges himself on Arthur, Shakstone, and Bantam, tor their having called him Rmtard, is bor- rowed from the History of John Teutonicus, of Holberstadt, in High Germany, who was a known bastard, and a noted magician, and whose story is related at large by the author, in his Hierarchy of Angels, lib. viii, p. 512. — In the title-page it is called The Late Lancashire Witches; the running- title is. The l^itches nf Lancashire. SO.The Lancashire Winches, and Tenguc O'Diveliy the Lish Priest. Com. by Thomas Shadwell. Acted at the Duke's Theatre 4t«. 1(5S2. This play is in some mea- sure on the same foundation with the foregoing one. It was, how-, ever, written in the time of high contests between the Whig and Tory parties ; and therefore m?t with strong opposition from th«. Papists, on account of the charac- ter of League O'Diveliy. Its owrv merit, however, and a very strong party which was raised to support it, ena'nled the piere to stand its ground in spite of all enmity and ill-nature, 31 .TheLaNCAS.HIRE WiTCHESj or. The Distresses of Harlequin^ S63 LAN Pant, (we believe) by Charles Dibdin. Acted at the Circus. Songs, tfcc. only printed. 8vo. 1783. 32. Thk Land of Simplicity. By C. D.bdin. Acted at the Cir- cus. Not printed. 33. The Land we Live in. Com. by Francis Ludlow Holt. Acted at Drury Lane, one night only, Svo. 1805. The whole Goirir sirength of the house was called lorth in the service of this piece 3 but it was in itself so des- titute' of plot, and of stage effect, and so tedious in details that had neitner interest nor humour to re- commend them, that, although we cannot deny the author the me- rit of much good writing, sound morality, and just sentiment, it was, as an acting drama, deserv- edly condernned by as patient and candid an audience as we remem- ber to have seen on such an occa- sion. Instead of a prologue, it v?as introduced by a prelude ; in which Mr. Elliston, who per- sonated the author, was, by the accidental falling of a scene on the back part of his head, most onii- nously distressed almost as soon as he had announced to a friend that he had a play coming out. Mrs. Jordan was to have spoken the epilogue ; but sudden indisposition , for which it would not be ditficult to assign a cause, prevented her, and the epilogue was not delivered. ■ — The day following appeared this notice: " The Land we Live in. " On the various readings and re- "■ hearsals of this play, it was ho- " nonreu with the most distin- " guished and liberal commenda- ** tions ; but, from various causes, " it was not so fortunate as to " meet with general applause on " its first representation, on Sa- *' turday night. The author has y been advised by his friends to LAN *' submit it to thejudgment of the " public in general, who, by a *< perusal of it, may form their '* own opinions on its real or pre- " tended merits; it will be pub- " lished, therefore, on Saturday *' next ; to which will be annexed, <' the prelude, epilogue, and a "■ preface, by the author of the " play." In his preface, Mr. Holt states, " that his piece had not a " candid hearing." This, how- ever, we positively deny ; but, though there were insurmountable obstacles to its success on tha stage, it may afford some pleasure in the perusal. 34. LANncARTHA. Tragi-Com. by Henry Barnell. 4to. l641. Act- ed at Dublin in lOsy, with great applause. The aiuhor, havinfj failed in a former dramatic at- tempt, ensures the success of this by introducing it to the world with a prologue, spoken by an Amazon w^ith a battle-ax in her hand, in imitation of Ben Jonson's prologue to the Poetaster. The plot of the play is founded on the Swedish history, being the con- quest of Fro (or Frollo) King of Sweden, by Regner (or Revner) King of Denmark, with the repu- diation of Regner's Queen Land- gartha. The dedication has also somewhat very whimsical in it, being, Tn all fair, indifferent fair, virtuous that are not fair, and mag- nanimous ladies. Scene, Suevia, or Suethland. 35» Landg.\rtha ; or. The A)nazon Queen of Denmark and Nonray. An Entertainment, de- signed for their Royal Highnesses the Prince snd Princess of Den- mark, by Joshua Barnes, This piece is still in MS. in the library of Emanuel College, Cambridge. It is on a story from the same history as the former ; and the au- 364 L A ir thor has noted that it was finished May 2(), 1(583, almost a monlh betbre the nuptials of their Royal Highnesses. 36. The Languishing Lover; Of, y//i Invocation to Sleep. A Musical LiterludCj by D. Bellamy. 12mo. 1746. 37. Lannive's Festivals. Of this piece we can give no account. It is in none of the catalogues ; but we are assured that it exists. 38. Laoeudaimonos ; or, A People viade Happy. Masque. Acted at Drury Lane, May I9, 1/89, for the benefit of Mr. Wrighten. Not printed. 39. The Last of the Family. Comedy, by Richard Cumberland. Acted at Drury Lane, May 8, 1797, for the benefit of Mr. Iian- nister,jun. and well received. 8vo. 1797- 40. The Late Revolution ; €>r. The Happy Cha.nge. Tragi- Com. Acted throughout the Eng- lish dominions, in the year 1688. 4to. l6gO. It is said in the title- page to be written by a person of quality. From the time in which this piece was produced, St will readily ba concluded to be, as it really is, entirely political. 41. Laugh when you Can. Comedy, by Frederic Reynolds. Acted at Covent Garden. 8vo. 1799. Like most of its author's dramas, the success of this play on the stage was great, owing to the exertions of the performers for whoin the several parts were re- spectively written. It does not bring all its advantages with it into the closet. 42. The Laughable Lover. Comedy, in five acts, by Carol O'Caustic. Svo. 1805. Printed at Tetbury. 43. Laura; or, IFko's to have Her P Opera^ in three acts, by LAW John Sharpe, of Sheffield. Per- formed at the theatre in that town, 1 79^ • In the advertisement it was mentioned that it would shortly be published; but, as it was un- successful in the representation, M'e believe it was not printed. 44. Lavinia. Dram. Poem, in five acls, written on the model of the ancient Greek tragedv. A specimen of this piece, with pro- posals for its publication by sub- scription, were distributed with one of the numbers of TheMonthly Review, for 1 79 1 ; but we are doubt- ful whether it v.'as ever printed. 45. The Law against Lovers. Tnigi-Com. by Sir W. Davenant. Fol. 1673. This play, which met with great success, is a mixture of the two plots of Shakspeare's Measure for Measure, and Much ado ahout Nothing. The charac- ters, and almost the whole lan- guage of the piece, are borrowed from that divine author ; all that Sir William has done being to blend the circumstances of both plays together, so as to form soma connexion between the plots, and to soften and modernize those pas- sages of the language which ap- peared rough or obsolete, The scene, Turm. 40. The Law Case. A Play. Entered on the book of the Sta- tioners' Company, Nov, 29, 1653, but not printed. 47. The Law of Lombardy, Trag. by Robert Jephson. Acted at Drury Lane. Svo. I779. This play, which in its plot resembles Much ado about Nothing, was not so successful as tho fofmcr produc- tion of the same author. It waj> acted nine nights, and then laid aside. Dedicated to the King. 48. The Laws of Candy, Tragi-C medv, by Beaumont an^ Fletcher. Fol. 1647) 8vp. 1778, 365 LAW Ttiis is one of the most indifFercnt of" these authors' plays, and has not been acted for many years. The 6{:ene in Candia. 49. Law Tkicks; or, irho irnu/d have tlimi^kt it? Com. by John Day. Divers times act(?d by tiie children of the Revels. 4to. lO'OS. This is an ndmirable play. 50. The Lawyer. Com. of two acts, by Williamson. Acted at the Haymarket, 17S3. Not printed. There was consi- derable me^rit in this play, which was performed for Mrs. Bulkley's benetit, and was well received. It appeared, however, to disad- vantage ; being, as we iinderstoc^d, a five act piece reduced, for the occasion, to two. 51. The Lawyehs. Dr. trans- lated from the German of ItUand, byC. Ludger. Svo. l/Cjp. Never acted. This is not a bad play ; but we suspect, the translator to be a forL'igner not well versed in the English tongue. , 51. 1'he L.\wyeu"s Fe.\st. Farce, by Ja. Ralph. 8vo. 1/44. This little piece was periormed at the Theatre Koyal in Drury Lane, with small success. It is taken from Beaumont and Fletcher's SpoJii^h Curate. 53. The Lawyer's Foktune ; or, Lm'e in a Hollow Tree. Com. by William, I.rf)rd Vi-scGrimstone. 4to. 1/05. This piece was never acted, but by a strolling company of coir.ediins at Windsor, and is certainly full of absurdities j but some indulgence ought surely to be allowed it, when it shall be known that tlie author was only a schoolboy, and but thirteen years of age, at the time he wrote itj and so conscious did his modesty and good sense afterwards render him LEA of its numerous deficiencies, that, as far as wa.s in his power, he at- tempted to buy in the impression. In consequence of an election, however, at St. Albans, where his Lordship stood as a candidate, the old Duchess of Marlborough, who was a strong opponent to his in- terest, caused a new edition of it to be printed at her own expense, and dispersed among the electors, with a frontispiece, in which his Lordship was treated with the ut- most indecency and ill-maimer.s, being represented as an elephant dancing on a rope. This edition also he bought up as riearly as he was able, but could not succeed so fir as to prevent some of the copies from getting into the world. The scene lies in a country town. There are two later editions than the 4 to. (one in 8vo. and one in 12mo.), of the date of 1736- The 8vo. edition has a sarcastic dedica- tion to the Right Sensible the Lord Flame [Sainuel Johnson], and some ill-natured notes. 54. The Lawyers' Panic ; or, IVestminsttr Hall in an Uproar. Prel. by John Dent, Acted at Covent Garden, May 7, 17S5, for the benefit of Mr. Wilson j but not repeated. 8vo. 1/85. 55. Of Lazarus rais'd from TUB Dead. A Comedy, by Bi- shop Bale. This is one of those pieces mentioned in his own list of his writings. 56. Leander and Hero. Tr. 8vo. l/tiip. This tragedy is ano- nymoi^s,butwas produced by Tho- mas Horde, and seems to have been printed merely to gratify the vanity of its author, as it never was publicly sold. It is written in prose. 5^ . KixG Lear. Acted at the Rose Theatre, April 0", 1593, -by 365 LEA the Queen's men and Lord Sus- sex's together. Not now in ex- N istence. 59. King Lear. The full title of this play, in the original edition, 4to.l 60S, stands thus: "Mr.Wil- *' liam Shakspeare his true Chro- " nicle History of the Life and '• Death of King Leak and his '* three Daughters ; with the un- *' fortunate Life of Edgar, Sonne *' and Heire to the Earle of Giou- *' cester, and his sullen and as- " Slimed humour of Torn of Bed- *' lam. As it was plaid before " the King's Majesty at Whitehall " uppon S. Stephen's Night in " Christmas Hollidaies. By His " Majesties Servants, playinp usu- " ally at the Globe on the Banck " Side." 4to. 1008, by N. But- ter ; 4to. 1655. 1'iiere are two editions of this pl:iy, 4to. 16OS, both printed for Nathaniel Butter. This play is founded on the Eng- lish history, and is one of the chef (Tee uv re:; of this capital mas- ter. The di.itinction drawn be- tween the real madness of the king, and the feigned frenzy of Edgar, is such as no pen but his own was capable of. The quick, hasty, choleric disposition of Lear, supported in the midst of tender- ness, distress, and even lunacy, and the general tenour of his whole conversation, which even in all the wild extravagant ramblings of that lunacy still tend as to- wards a centre to the tirst great cause of it, the cruelty of his daughters, is painting only to be reached by Shakspeare's happy pencil. In a word, to attempt to enumerate all its beauties, would lake a larger portion of our work, than the destined limits of it would permit us to bestow on any single piece. The play, hpwever, as it is now acted, is only an alteration LEA of the original piece, made by . Tate. Dr. Johnson says, " this play is *' deservedly celebrated among the " dramas of Shakspeare. There is " perhaps no play which keep* " the attention so strongly fixed ; " which so much agitates our pas- " sions and int-^rests our curi- " osity. The artful irjVoluti>>ns of " distinct interests, the striking " opposition of contrary charac- " ters, the sudden changes uf for- " tune, and the quick succession " of events, fill the mind with h *' perpetual tumult of indignation, " pity, and hope. There is no " scene which does not contribute " to the aggravation of the distress " or conduct of the action, and "■ scarce a line which does not " conduce to the progress of the *•' scene. So powerful is the cur- " rent of the poet's imagination, " that the mind, which once ven- " tures within it, is hurried irre- " sistibly along, " Oil the seeming improbability " of Lear's conduct, it may be " observed, that he is represented " according to histories at that " time vulgarly received as true, " And, perhaps, if we turn our " thoughts upon the bar'oarity and '" ignorance of the age to which " this story is referred, it will ap- " pear not so unlikely as while we " estimate Lear's manirers by our " own. Such preference of one *' daughter to another, or resigna- " tion of douiinion on such condi- " tions, would be yet credible, if " told of a petty prince of Guinea ** or Madagascar. Shakspeare, in- " deed, by the mention of his earls "■ and dukes, has given us the " idea of times more civilized, and '* of life regulated by softer man- " ners ; and the truth is, that " though he so nicely discrimi- S67 LEA *' nates, and so minutely describes *' the characters of men, he coni- " monly neglects and confounds " the characters of ages, by min- " ?^'"g customs ancient and mo- " dern, English and foreign." An anonymous writer observes, "■ King Lear has always been con- " sidered as one of Shakspeare's " mtjst perfect plays. With heart- ^' felt sympathy for the aged mo- " narch, who, " — tumbled headlong from the height of life, •' Has furnUh'd matter for the Tragic Muse ; " there is yet excited by this tra- " gedy, that placid reflection upon " consequences, which ccnrem- " plates Lear, after all, as the " contriver of his own destruction. *' The folly of his conduct, in " re-,igning the management of *♦ his empire to the two elder of *' his daughters, and the crimi- " nality of it in discarding the " youngest, he himself bewails " more bitterly than any of his ♦' hearers could do : but the latter " cimnot help calling to mind, too, •' the want of ' meekness,' with " which he seemed * to bear his " faculties, in his great office,' " and are not very much capti- *' vated with the horror of his " curses. Neither Dr. Johnson, " Dr. Warton, nor indeed any " of the critics of this phy with "■ whose opinions we are ac- *' quainted, have hazarded these *' last extenuations of our sym- " pathy for the deserted king." 59. KixG Lear, Trag. bv N. Tate. Acted at the Duke's Thea- tre. 4to. 168I. This is only an alteration of Shakspeare's Lear. " I found (says Mr. Tate in his " dedication toTho.Bote!er,E3q.) " tJiat the new-modelling of this '' .story would force me sometimes 2 LEA " on the difficult task of making '*' the chiefest persons speak some- " thing like their character, on " matier whereof I had no ground " in my author. 1 found the " whole to answer your account " of it, a heap of jewels uu- "^ strung and unpolished, yet so • " dazzling in their disorder, that " I soon perceived I had seized a "' treasure. It was my good fof- "■ tune to light on one expedient " to rectify wliat was wanting in " the regularity and probability " of the tale, &c." Mr. Tate has, therefore, omitted entirely the cha- racter of the fool, but has inter- woven with the main business of the play an uiider-plot of the loves of Edgar and Cordelia. He has also altered the catastrophe of the play, by making Lear and Corde- lia survive with a fair prospect of becoming very happy. Yet, what- ever by this means he may gain with respect to poetical justice, ho certainly loses as to pathos. It was Mr. Addison's opinion, that more of our English tragedies have succeeded in which the f.uourites of the audience sunk under their calamities, than those in vxhich they recovered themselves out of them ; and he adds, " King Lear is an ad- " mirable tragedy of this kind, as " Shakspeai-e wrote it; but as it is " reformed, according to the chi- ** merical notion of poetical jus- '^ tice, in my humble opinicu it " has lost half its beauty." Spec- iator. No. 40. In spite, how- ever, of the sentiments of critics, this alteration still maintains its ground ; and it is far from cer- tainty, that the catastrophe, as ori- ginally petined by Shr.k-:peare, could be borne by a modern au- dience. Dr. Warton, indeed, has doubted " whether the cn'.ejty of " the daughters is tiGt pointed 36d t E 1 ** With circumstance'^ too savnge " and unnatural," even by Shak- speare. Adventurer, No. 122. And Dr. Johnson says, that in this instance the jmblic has decided la favcnir of Tate. 60. The Histoky ov King Lear. T. By G Colman. Acted at Covent Garden. Svo. l/GS, In this alteration it was Mr, Col- man's endeavour to reconcile the catastrophe of Tate to the story of Shakspeare. What he has at- templed he has executed with his usual judgment; yet the alteration has not superseded Tate's, which still retains possession of the thea- tre. The present was performed only a few nights. 61. King Leak. [Edited by J, Ambrose Eccles.J Dublin, Svo. 1703. 62. King Lear. Altered from Shakspeare, by J. P. Kemble ; and acted at Drnry Lane. Svo. 1800. (is. King Lear. By Shak- speare (with Nahum Tate's alter- ations). Revised by J. P. Kemble ; and now first published as it is acted at the Theatre Royal in Covent Garden. Svo. 1 SOS. 64. The Learned Ladies. Com. by Ozell. A translation only of the Femmes S^nvaiites of Mo- liere. 65. The Learned Lady. Com. in two acts, by R. Oliphant. Acted at Liverpool, l/Sp. Not printed. 66. The Legacy ; or, The For- tune Hunter. Com. translated from the French, and printed in Foote's Comic Theatre, rimo. 1/62. 67. "The true Chronicle History *' of King Leiu, and his three " Daughters, Gonorill, Ragan, " and Cordelia. As it hath bene " divers arid sundry times lately " acted." 4to. lG05. This play is on the same story as Shakspeare's LET celebrated tragedy, and is sup- posed to be the source fr(jm whence he drew his mateiials. It. is a very conteiuptlble performance, but lias been lately twice reprinted. See Steevens's Iwenty Plays of Shak- speare, and Mr. Nicholses Six Old Plays. 6"8. Leonidas. See The Pa- triot, by Joseph Simpson. 09, Leonora. Trag. Not act- ed. Svo. ISOl. If the characters in this piece be not very strongly marked, the fable is well con- structed, the interest is kept up throughout, the sentiments are ap- propriate, and the language is po- etical. In the same volnme is contained Eitha and Aidallo^ a drama! ic poem. 70 Lethe. Dramatic Satire, by David Garrick. Acted at Dniry Lane. Svo. I749, ^^Qy. This piece consists only of a number of separate characters, who, coming by Pluto's permission to drink of the waters of forgetfulness, relate to yEsop, who is appointed the distributor of these waters, the various particulars which constitute the distinguishing parts of their several dispositions. In the exe- cution of thi'.' design, there is scope given for very keen and poignant satire on the reigning follies of the age. Yet so true is it, that the stricken deer will ever weep, and the galled jade wince, that not- withstanding the wit and sensible manner in which this satire is conveyed, notwithstanding besides the admirable perfonnance of the piece, in which the author himself, during its first run, acted no less than threes of the characters, it met with considerable opposition j nor was it till some time after that it made its stand firmly, and be- came one of the constant and re- gular petite pieces of tlie English 309 LEV stage. It made it-, appearance at Brury Lane, in 17-10; the suc- ceeding year At Goodman's P^'clds; and v.as printed in 1/45, 12mo. under the tiile of Lethe; or, yEsop in the Shades. It is, how- ever, considerably altered by the dress it now appears in, and in the latter editions Mr. Garrick has added a new character, called Lo^-d Chalkstone ; first introduced at Mrs. Clive's benefit, in the year 1/56. In the year 1/77 > Mr. Gar- rick was desired to read a play be- fore the King and Queen at Buck- ingham House. He fixed upon his farce of Lethe; and on this occasion added an e.tceilent new character (which has never been acted or published"), of a Jew wish- ing to forget his gratitude to a be- nefactor in distress. 71. Lethe REHEARSED ; or, A critical Discussion of the Beauties and Blemishes of that Perform- ance: interspersed w'ith occasional Remarks upon dramatic Satires in general ; as well as on some that have been best received, in parti- cular. The whole in a free Con- versation amongst several Persons of Distinction. Svo. 1/49. 72. The Letter Writers; or, A New Way to keep a Wife at home. Farce, in three acts, by Henry Fielding. Svo. 1731. This was acted at the Little Theatre in the Haymarket with some suc- cess; but has never been revived since its first run. 73. The Levee. Farce,' by Jolui Kelly. Svo. 1741. This piece was never acted ; it was indeed offered to, and accepted for repre- sentation by, Fleetwood, the ma- nager of Drury Lane Theatre ; but was denied a license. 74. The Levee. Farce. Svo. 1744. Anon. We find raciilioQ vot. u. LEW mnde oi tliis piece in the Appen- dix to Mr. Oulton's List, but have never met with it. 75. The LEViLLERsLEVELL'o; or. The Independents Conspiracy to root out Monarchy. An Iii;cilude, written by Mercurius Pragmati- cns. 4to. 1647. The author of this piece was Marchmont Nedham. The very title of it implies him to have been a warm rov;ilist, as does his dedication, which is to King Charles II. He also ap- pears a strong enemy to Lilly the almannck-maker, whom he lashes severely under the name of Or- lotto. 76. Leucothoe. Dram. Poem, by Isaac Bickerstaffe. Svo. J 756. This little piece, whicli w.is n-ver acted, nor seems intended by the author for representation, is a kind of tragic opera, founded on the story of Apollo's love for Leucothoe, the daughter of Or- chamus, king of Persia, and her transformation into a tree of frankincense, in consequence of the discovery made to her father of their amour by Clytie, a former mistress of Phcebus. The story is related in OvkVs Melar?iorphnses ; but the author of this piece has deviated from the Latin poet in one particular, viz. that, instead of transforming the jealous Clytie in- to a sunflower, which always keeps its face towards the sun, the former object of her passion, he-has only made her, by the power of Piicebus, and at her own request, be con- verted into a statue. The poetry of this little piece is pleasing, and the conduct of it ingenious. 77- The Lewes Maid ; or, A Trip to Brighton. Musical Enter- tainment, hy — - Young. Per- formed for his benefit at Lewes, B B 3/0 L I B 1792. Probably this was the Mr. Young who wrote The Haunltd Village. 78. The History of Lewis XI. Ring of France. Tragi- Com. advertised at the end of IFit and Drollenj, 12 mo. 1001, as then printing, but which never ap- peared. /Q. Liberal Opinions. Com. in three acts, by Thomas Dibdin. Acted at Covent Garden, ISOO. Not printed. See The School FOR Prejudice. 80. The Libertine. Trag. by Thomas ShadwelL Acted by their Majesties Servants. 4to. 16/6; 4to. 1692. This play met with great success, and is by some es- teemed one of the best of this au- thor's writings. It is on a sub- ject which has employed the pens of the hrst-rate writers in diti'erent languages; there being besides this two French plays on the story (one by Corneille, the other by Mo- liere), one Italian, and one Spanish one. Yet the incidents are so crammed together in it, without any consideration of time or place, as to make it highly unnatural ; then the villany of Don John's character is worked up to such an height, as to exceed even the li- mits of possibility ; and the ca- tastrophe is so very horrid, as to render it little less than impiety to represent it on the stage. In- deed, it is now many years siiice it ha? been permitted to make its appearance there ; except, of late, as a pantomimic ballet of action, tinder the title of Don Juan } or. The Liter tin f Dcst rayed. 81. Tre Libertine. Trag. by Ozell. This is only a trans- lation of Moliere's play on the same subject. 82. The Libertine ; or. The Hidden Treasure, Com. translated LIB from the French, and printed iu Foote's CnmicTlieatre, 12nio. 1/02. 83. Liberty Asserted. Tr. by J. Dennis. 4to. 1704. This play was acted with great success at the Theatre in Lincoln's Inn Fields, and is dedicated to An- thony Henley, Esq. to whom the author owns himself indebted for the happy hint npnn which it ivas furvied. The scene is laid at Agnie (which name, he says, for the sake of a better sound, he has altered to Angle) in Canada ; and the plot an imagined one, from tiie wars carried on among the Indian nations. The extravagant and en- thusiastic opinion that Dennis him- self had of the merit and importance oi this piece, cannot be more pro- perly evinced than by the follow- ing anecdotes, which are related of him with regard to it. He imagined there were some strokes in it so severe upon the French nation, that they could ne- ver be forgiven, and consequently that Louis XIV. would not con- sent to a peace with England, un- less he was delivered up a sacririce to national resentment. Nay, .so far did he carry this apprehension, that when the congress for the peace of Utrecht was in agitation, lie waited on the Duke of Marl- borough (who had formerly been his patron) to entreat his interest wi til the plenipotentiaries, that they should not acquiesce to his being given up. The Dake told him, with great gravity, that he was sorry it was out of his power to serve him, as he really had no in- terest with any of tl>e ministers at that time, but added, that he fan- cied his case not to be quite so desperate as he seemed to imagine^ for that indeed he had taken no care to get himself exce^xed. in tl^e- articles of peace, and yet he could 371 L I C not help thinking that he h:id done the French almost as much da- mage as Mr. Dennis himself. Another eftect of this appre- hension prevailing with him is told as follows : that being invited down to a gentleman's house on the coast of Sussex, where he had been Very kindly entertained for some time, as he was one day walking near the beach, he saw a ship sail- ing, as he imagined, towards him. On which, taking it into his head that he was betrayed, he imme- diately made the best of his way to London, without even taking leave oi his host who had been so civil to him; but, on the contrary, pro- claiming him to every body as a traitor, who had decoyed him down to his house only in order to give notice to the French, who had fit- ted out a vessel on purpose to carry him oti", if he had not luckily dis- covered their design. So strange is the mixtureof vanity and suspi- cion, which is sometimes to be met with in men of understanding and genius ! 84. Liberty Chastised ; or, Pniriolisin in Ckains. Tragi-comi- political F.irce. As it was per- formed by H— M 's S ts in the year 1268. Modernized by Paul Tell-Tnuh, Esq. 8vo. 176S. This was the production of George Saville Carey. 85 LiBEKTY FIall ; or, The Test of Good Fellowship. A Mu- sical Piece, in two acts, by Charles Dibdin. Acted at Drury Lane, with good success. 8vo. 1785. Tiie hint of the plot seems to be from Fielding's iHtriginng Cham- lermuid; and the dialogue is Sprightly and humorous. It is cer- tainly superior to the generality of musical atVrpieces. 86. A Lick at the Town. pram. Prel. by Henry Woodward. L T K Acted at Drury Lane, 1/51. Not printed. 87- The Lie of the Day ; or, A Party at Hampton Cuuit. Com. by John O'Keetie. Acted at Co- vent Garden, i;g6. N. P. 7his was a reduction of The Toy to three acts. See The Toy. 88. Life. Com. by Frederic Reynolds. Acted at Covent Gar- den. 8vo. 1801. This we think one of the best of Mr. Reynolds's piays ; and in some parts it deeply interests the feelings ; yet, like many others of its author's, par- takes more of farce than of ge- nuine comedy. 89- The Life and Death op Common Sense. A Tragical Tra- gedy, with an Introduction (al- tered from Fieldmg's PasquinJ, Performed for Mr. Wilson s be- nefit, at the Haymarket, 1782. N. P. 90. Life, Death, and Reno- vation of Tom Thumb. Burl. 1785. 91. The Life and Death op Martyn SwARTE. P. Actcd at the Rose Theatre, June 30, \5g7. Not printed. 92. The famous Tragedie of the Life and Death of Mrs. RuMi*. [Polilical.] 4to. 1660. 93. Life's Vagaries 3 ox. The Neglected Son. Com. by John O'Keeffe. Acted, with success, at Covent Garden, 1795. Printed in 8vo. 1795; 8vo. i;p8. With all the irregularities of Mr. O'KeefFe's pieces in general, this displays many marks of genius, and will afford much pleasure in the peru- sal. 94. Like Master like Man. Com. of Iwo acts. P^^rfonaed at Smock Alley. Taken from Van- brugh's Mistake [by Thomas Ry- der], and printed at Dublin. 12mo. 1770. BB 2 37S L 1 L •for one. >for one. f)5 . An Eyiterhide, intituled, LiK£ wiL TO Like, quod the Devel to the Colter, very godly and Jul of plesant Mirth. Wherein is declared not onely the Punishment folloiveth those that will rather follozre licen- tious Living then to esteem a;;dfol- lowe good Councel ; andivimt great Benefits and Commcdities they re- ceive that apply them unto vertiious Living and good Exercises. Made by Ulpian Fvilwel. The Names of the Players, The Prologue, ~\ Tom Tospot, I r Tj 1 ■ TT >for one. Hankin Hangman, ( Tom Collier, J Chance, ^ Vertuous Life, God's Promises, Cutbert Cutpurse, Lucifer, Ralfe Roister, Good Fame, Severitie, Philip Fleming, Pierce Pickpurs, ^for another, Honour, Nichol Newfangle, the Vice, Imprinted at London, at the long shop adjoyning unto S. Mil- dred's Churche in the Pultrie, by John Allde. Anno Domini 156S. This is entirely a moral piece, intended to point out the benefits that attend on a virtuous, and the punishments that await on a li- centious, life. It is printed in the old black letter, the prologue writ- ten in alternate verse, and the whole piece in rhime ; and is con- trived so as to be easily performed by five persons, 96. LiLLiPUT, A dramatic En- tertainment, by David Garrick, Acted at Drury Lane. 8vo, 1757- This piece was planned, written, and got up, in a month, and given to Mr. Woodward for his benefit : it was acted by children. In the year 1777> it was revived at the 3, >for a; L I O Haymarket, when an additional scene was introduced into it. 97. LiNco's Travels. Inter!, by David Garrick. Performed at Drury Lane, for Mr. King's be- nefit, April 17C7, It is printed in the second volume of Garrick's Poetical Works, ]2mo. 17S5. 98. L1NDAMIKA3 or. Tragedy A-la-mode. Burlesque Tragic Ba- gatelle, by Samuel Foote. Pub- lished in Thespian Gleanings, by T. Meadows, comedian. Ulvers- ton, 8vo. 1805. See Tragedy A-LA-MODE. 99- Lindsay's Play. See Play. 100. LiNDOR AND Clara J or. The British Officer. Com. by — Fennell. 8vo. 179I, Though it has been frequently acted at pro- vincial theatres, there are many improbabilities in the conduct of this piece. It is not, however, barren either of wit or senti- ment. 101. The Linen Draper, C, translated from the French of the Countess of Genlis. 8vo. 178I; ]2mo. 1737. 102. Lingo in Love, Ballet, Performed at the Haymarket, with great applause, Aug. 1804, 103. Lingua; or. The Com- bat of the Tongue and the five Senses for Superiority. A pleasant Comedy, Anon, 4to. I6O7; 4to, N.D. ; 4to. 1617; 4to. 1622 J 4to. 1632; Svo. 1657; in Dods- ley's Collection, 178O. Winstan- ley has attributed it to Anthony Brewer; and tells us, moreover, that, on its being performed once at Trinity College, in Cambridge, Oliver Cromwell acted the part of Tactus in it, fi-om which he first imbibed his sentiments of ambi- tion. The scene is Microcosmus, in a grove. The time from morn- ing till night. See Brewer, An- thony, Vol. I. 104. Lionel and Clarissa, 573- LIT Com. Op. by Isaac BickerstafFe. Acted at Covent Garden. Svo. 1768. Ill this opera, which was acted with much approbation, the author boasts that lie had borrow- ed noticing. It was afterwards altered, and acted at Drury Lane, with the new title of The School for Fathers. 105. The Litigants. Com. by Mr. Ozell. 12mo. 1715. This is no more than a translation from the Plaideurs of Racine, which is itself borrowed from The JTasps of Aristophanes, and is an admir- oble satire on those persons who engage in, and pursue, long and expensive law-suils merely for the sake of litigation. The scene lies in a city of Lower Normandy. 106. The Litigious Suitor DEFEATED ; or, A Neil' Trick lo get a Wife. Farce. 12mo. 1/41. This is inserted in The Strol- ler's Packet broke open. 107. The Little Freeholder. Dramatic Entertainment [by Lord Hailes]. 12mo. 179O. Never acted. The humour is rather low. 108. The Little French Lawyer. Com. by Beaumont and Fletcher. Fol. 1647 ; Svo. 17/8. The plot of this play is taken from Gasman de J/farache; or. The Spanish Rogue, Part II. ch. 4; the story of Dinant, Cleremont, and Lamira, being borrowed from that of Bon Lewis de Castro, and Don Roderigo de Montalva. The scene lies in France. ]0p. The Little French Lawyer. Farce, from Beaumont and Fletcher. Acted at Drury Lane, 1/49. Not printed. 110. The Little French Lavv^yer, Comedy, of two acts, from Beaumont and Fletcher. Acted at Covent Garden, April 27, 1778, at Mr. Quick's beneht. This alteration is said to have been LOG made by Mrs. Booth, of Covent Garden Theatre. Not printed. 111. The Little Gamester. Oneof two shortdramas introduced in The Little Family ; written for the amusement and instruction of young persons, by Charlotte San- ders. 12mo. 1797. 112. The Little Hermit; or. The Rural Adventure. Drama, in three acts, by Mrs. Trimmer. Printed in The Juvenile Magazine, Svo. 17S8. IIS.The Little Hunchbackj or, A Fralic in Bagdad. Farce, by John O'KeefFe. Acted with success at Covent Garden, 1787- Printed, Svo. 1798. From The Arabian Nights Entertainments. 114. Little John and the Giants. By Henry Brooke. See Jack the Giant-Queller. 115. The Little Orphan of the House of Chao. A Chinese Tragedy. Translated from the French version of P. Du Halde's Description de I Empire de la Chine, by Dr. Percy. Printed in " Mis- " cellaneous Pieces relating to the " Chinese,", vol. i. 12rao. 1762. IID'. Little Peggy's Love. Scotch Bail. Performed at Drury Lane, 1796. 117. The Little Thief. Ad- vertised in Bentley's Catalogue of Plays, printed for him. Perhaps this was only Fletclier's Night Walker; or. Little Thief. . 1 18. Live Lumber. Prel. See BickerstafFe's Unburied Dead. 119. The Liverpool Prize. Farce, by F. Pilon.. Acted with success, at Covent Garden. Svo. 1779- 120. The Livery Rake and Country Lass. A Ballad Opera, by Edward Philips. Svo. 1733. This was performed at the Hay- market with some success. 121. Lock and Key. Musical E B 3 374 L O D Entertainment, by Prince Hoare. Acted with great success at Coven t Garden, and still a stock piece in the theatres. Svo. l/yS; 1797- As a literary production, however, it has no great merit. 122. " The lamentable Tragedie " of LocfiiNEj the eldest Sonne " of King Brutus, discoursing the *' warres of the Britaines and *' Hunnes, with their discomti- " ture; the Britnines victory, with " their accidents ; and the death " of Albanact. No lesse pleasant " then profitable. Nevilysetfoorth, *' overseene, and corrected by *'W. S." 4to, 1505. This play is one of those whicii have, by some, been considered as the production of Shakspectre, but more generally rejected. It is certain that, if any judgment can be formed from the style and mnnner, it is not to be ascribed to our great bard, and is indeed veryunworthy ofhim. The plot is founded on liistory, and in- cludes a space of twenty years. For farther particulars consult Mil- ton's History of England, book i. p. 14. 123. LoDoisKA. Mus. Rom. in three acts, by J. P. Kemble. Acted at Drury Lane, with great and deserved success. Svo. 1/04; second edition, no date. Ihis piece is principally taken from the French, and h:.d the aid of excel- lent music, by Storace. A bio- grapher'of Mrs. Crouch (l2ino. 1806, vol. ii.) says, " The last *' scene obtained a very natural *' and line effect, from the real *' danger <>f Mrs. Crouch, when " she apneared in the blazing " castle. The wind fanned the " flames rather too near the place " whpre she was stationed — she "felt them, but could not retire *■* without spoiling the scene ; " therefore, with true martial for- L O D " titude, she maintained her post " of danger, at the hazard ot her " lite, until Mr. Kelly, ahrmed " for her safety, flew hasiilv to " snatch her from dangei ; when " his foot slipped, and she beheld *■' him fall from a considerable " height, and then she uttered a " scream of terror. Providentially " he was not hurt by the fall, and " in a moment caught her in his " arms. Scarcely knowing what " he did, he hurried her to the " front of the stage with rnpidity " and ur.dissembled terror : she, " actually scorched by tlie flames, " and alari::ied, first by Mr Kelly's " fall, and then at his precipitan- " cy, was nearly insensible of her " situation ; bnt the loud plaudits, *' which thi.*y received from the *' audience, who thought their *' acting uncommonly excellent, " roused them from tlieir appre- " heiisions for each other, and at " the same time convinced them "■ of the ejfert ; which they found " was far superior to any studied " scene, as their danger and their "■ fears happened to be well-timed, " and perfectly in characti^r : they; " profited, therefore, ever after, "■ from that involuntary scene, by " imitating, as clo.se]y as pos- " sible, their real fears in those " they were obliged to feign. " These particulars were told to " the writer of them by Mrs, '' Crouch herself," 12}. LoDOisKA. Hist. Rom, Translated from the French, by John Baylis. 12mo. 1804. Neve'r acted. 125. LoDovicK Sronz.v, Duke OF MiLLAN. Trag. by Piobert Gomersal. l2mo. 1(532. The story of this play is to be found in Guic- ciardini, Phil'p de Comines, and Mezeray, in the reign of Charles "VIII. of France. Tiic scene. Mi- sys L O N tan. — It does not appear whether it was ever acted or not. 126. LoNDox Chanticleers. Comedy. Anunynious. 4io. I659. This piece is rather an interlude than a play, not even being di- vided into acts. It is entirely of the basse comcdie of the French, the scene lying whoily nmong persons of the lowest rank. Yet it has a good deal of humour in it ; answers the title, which calls it A /villi/ C'^mcdi/, full of various and dt/iiihfful Miitli ; and was of- ten acted with great applause. 127. The LoN"i>f n Cuckolds. Ct)niedy, by Edward Uavenscroft. Acted at the Duke's Theatre. 4to. i(J82. This play met with very great success, asid was, till the year 1/52, frequently presented on our stages ; particularly on Lord Mayors day, in contempt and to the disgrace of the city. Mr. Garrick set the example of deco- rum, by omitting to perform it on the 9th of November in the above year, though it was acted at Co- vent Garden that and the follow- ing year 3 but on the 9th of No- vember J 75 4, the King com- manded The Provch'd Husband at Covent Garden ; which, we be- lieve, gave the death-blow to this obscenity. Its sole ability of pleasing seems to consist in the great busde of business and variety ct incidents which are thrown into it J it being not only a very \m- raoral, l)ut a very ill-written piece. In short, it is little rnore than a collection of incidents taken from different novels, and jumbled to- gether at bold hazard, forming a connexion with each otiieras they may. The characters of Wiseacre and Peggy, and the scene of Peg- gy's watching her husband's night- cap in armour during his absence, afe from Scarron's fruitless Pre- L O N caution. Loveday'sdiscoverlngEu- genia's intrigue, and screening it by pretending to conjure for a sup- per, from the Conies d'Ouville, Part II. p. 235. Eugenia's con- trivance, to have Jane lie in her j)Iace by her husband while she goes to Ramble, from the Mescan- za dolce, at the end of Torriano's Grammar, ch. 16. her scheme for the bringing off Ramble and Loveday, by obliging the former to draw his sword and counterfeit a passion, from Boccace, Dec. /. Nov. 6. Doodle's obliging his wife Arabella to answer nothing but No to all questions during his absence, and the consequence of that in- trigue with Townl), from the Con/M d'Ouville, Part 11. p. 121. and Eugenia's making a false confi- dence to her husband Dashwell, and sending I'.im into the garden in lier clothes, to be beaten by Loveday, from the Conies de Fou' taine. In a word, it is no more than a long chain of thefts from beginning to end. Yet, furnished as it is by the amassing of all this plunder, it seems calculated only to please the upper galleries, being of a kind of humour too low for any thing above tl>e rank of a chambermaid or footboy to laugh at, and intermingled with a series of intrigue, libertinism, and lasci- viousness, that nothing more vir- tuous than a common prostitute could sit to see without a blush. It is, however, at letigth totally banished from the stage. See The Taller, No. 8. i2S. The London Floren- tine. Play, in two parts, by Henry Chetile (assisted by T. Hey wood.) Acted in l602. Not now known. 129. The London Gentle. MAN. Com. by Edward Howard. Entered on the book of the Star B B 4- 376 L O N tioners' Company, Aug. "J , 1667, but not printed. 130. The London Hermit; or, Piamhk's in Dorsetshire. Com. in three acis, by John O'Keeffe. Acted at the Hay market, 179^- Svo. 17933 17QS. This is an amusing play; but the author, to obtain his object of a hearty laugh, has professedly set at defiance all the rules of dramatic prc'priety. 13'1 . The London Mekchakt. Play, by J 'hn Foid. Entered on the book ot' the Stationers' Com- pany, June 29, l6(50 : it was among those destroyed by Mr. Warbarton's servant. 132. The London Merchant ; or. The Hiitory of Geort^e Barn- zvcll. Trag. by George Lillo. Svo. 1731 ; 17'J0. This play was acted at the Iheatre Eoyal in Drury Lane, with great success. In the newspapers of the time, we fnid, that, on Friday, the 2d of July 1731, " the Queen sent to the " playhouse in Drury Lane, for " the manuscript of Gtorge Barn- " well, to peruse it, which Mr, " Wilks calTied to Hampton " Court." It is written in prose; and although the language is con- sequently not so dignified as that of the buskin is usually expected to be, yet it is well adapted to the subject it is written on, and exalted enough to express the sentiments of tlie characters, vvhi/:h are all thrown into domestic life. The plot is ingenious, the catastrophe just, and the conduct of it affect- ing. And no lesson surely can be more proper, or indeed more neces- sary, to inculcate among that vaju- ablebody of youths, who are trained up to the branches of mercantile business^ so eminently estmiable in a land of commerce, such as Eng- land, and who must necessarily have large tfusts confided to their care^ L O N and consequently large temptations thrown in the way of their inte- grity, than the warning thera how much greater strength will be add- ed to these temptations, how al- most impossible it will be for them to avoid the snares of ruin, if they suffer themselves but once to be drawn aside into the paths of the harlot, or permit their eyes once to glance on the allurements of the wanton, where they will be sure to meet with the most insatiable avarice to cope with on one hand, and an unguarded sensibility pro- ceeding at first from the goodness of their ow^n hearts, on the other, w hich will excite the practice of the most abandoned artifices in the first, and render the last most liable to be imposed on by them, and plunge ; headlong into vice, infamy, and ruin. This warning is strongly, loudly given in this' play; and indeed we cannot help wishing that the performance of it were more frequent ; or at least that the managers would make it a rule constantly to have il acted once at least in each house dur- ing the course of every period of those holidays, in which the very youth, to whom this instructiop. is addressed, almost always form a considerable part of the audience. It has often been disputed, uhether plays, in which the plots are taken from domestic life, should be writ- ten in prose or metre; and the suc- cess of the present performance, and Mr. Moore's GaTrtestir, must incline one very strongly in favour of the former. A great author, however, appears to be of a dif- ferent opinion. Mr. Gorges Ed-r mond Howard says, that having communicated his play of The Fe- male Gamester lo Dr. Samuel John-- son, that gentleman observed, '"ttiat he ccukl Uardly cpnsider a- 377 L O N '■'' prose tragedy as dramatic ; that " it was ditticult for tlie performers " to speak it; that^ let it be either " in the iuidilling or in low life, " it may, though in metre and " spirited, be properly familiar "and colloquial 5 that many in " the middling rank are not wilh- " out erudition ; that they have "■ the feelings and sensations of '•■ nature, and every emotion in " consequence thereof, as well as " the great ; that even the lowest, " when impassioned, raise their ** language; and that the writing *' of prose is generally the plea " andexcuseof poverty of genius." George Barnwell was acted twenty nights, in the hottest season of the year, to crowded houses ; and that it was not performed in vain, will appear by the following ex- tract of a letter from Mr. Ross, the actor, to a friend : " In the year 1752, during the " Christmas holidays, I played " George Barnwell, and the late " Mrs. Pritchard played Milwood, *' Doctor Barrowb}', physician to " St. Bartholomew's Hospital, iold " me, he was sent for by a young "■ gentleman, in Great St. Helen's, " apprentice to a very capital mer- " chant. He found him very ill " with a slow fever, a heavy ham- " mer pulse, that no medicine " could touch. The nurse told " him he sighed at times so very '•' heavily, that she was sure some- " thing lay heavy on his mind. " The Doctor sent every one out " of the room, and told his patient " he was sure there was some- *' thing that oppressed his mind, '' and lay so heavy on his spirits, " that it would be in vain to order " him medicine, unless he would "■ open his mind freely. After " much solicitation on the part " of the Doctor, the youth con- L O N " fessed there was something lay " heavy at his heart j but that he " would sooner die than divulge " it, as it must be his ruin if it " was known. The Doctor assur- *' ed him, if he would make him " his confidant, he would by every " means in his power serve him, " and that the secret, if he desired " it, should remain so to all the " world, but to those who might be " necessary to relieve him. Aftsr " much conversation, he told the " Doctor, he was the second son " to a gentleman of good fortune " in Hertfordshire ; that he had " made an improper acquaintance " with a kept mistress of a captain " of an indiaraan, then abroad ; " that he v/as within a year of ■ " being out of his time, and had " been intrusted with cash, drafts, " and notes, which he had made " free with, to the amount of two " hundred pounds. That going " two or three nights before to " Drary Lane, to see Ross and " Mrs. Pritchard, Ln their charac- " ters of George Barnwell and " Milwood, he was so forcibly ** struck, he bad not enjoyed a " moment's peace since, and wish- " ed to die, to avoid the shame • " he sav/ hanging over him. The ' " Doctor asked where his father • " was ? He replied, he expected " him there every minute, as he " was sent for by his master upon " his being taken so very ill. The "■ Doctor desired the young gentle- " m.an to make himself perfectly '■'■ easy, as he would undertake his " fatiier should make all right; "and. to get his patient in a pro- '^ mising way, assured him, if his " father made the least hesitation, " he should have the money of '•' i)}rv. The father soon arrived., " The Doctor took hiin into fino~' " ther roonij and, after explaining 378 L O N " the whole cause of his son's ill- *' ncss, begged him to scive the " honour of his family, and the life " of his son. The father, with ** tears in his eyes, gave him a *f thousand thanks, said he would *■* step to his banker, and bring " the money. While the father ♦^ was gone. Doctor Barrowby *' went to his patient, and told *' him every thing would be settled " in a few minutes, to his ease " and satisfaction : that his father " was gone to his banker for the " money, and would soon return " with peace and forgiveness, and " never mention or even think of *' it more. What is very extraor- " dinar)', the Doctor told me, that *' in a few minutes after he com- ♦' municated this news to his pa- ♦' tient, upon feeling of his pulse, " without the help of any medi- " cine, he was quite anotlier crea- "■ ture. The father relurned witii *' notes to the amount of 200/. " which he put into the son's " liands — ^they wept, kissed, em- " braced. The son soon recover- *' ed, and lived to be a very emi- V nent merchant. Doctor Bar- ''■ rowby never told me tlie name ; " butthesto;-y he mentioned often " in the green-room of Drury " Lane Theatre ; and after telling " it one Jiight when I v/as stand- " ing by, he ;:.-iid to me, ' Yon " iiave done some good in your " profession, more, perhaps, than " many a clergynmn who preach- " ed last Sunday' — for the patient " told the Doctor, the j>lay raised " such horror and contrition in his " soul, that he would, if it would " please God to raise a friend to " extricate him out of that dis- " tress, dedicate the re^t of his " hfe to religion and virtue. " Though I never knew his name, *' or sav/ hini to my knowledge. L O N '' I had for nine or ten years, at " my benefit, a note sealed up " with ten guineas, and these " words, ' A tribute of gratitude "from one wlio was high/i/ obliged, " and saved from ruin, by seeing " Mr. Ross' s performance of Bar n- " well.' I am, dear Sir, " Yours truly, Hampstead, "David Ross. 20thJugiist 17S7." What will the virulent decriers of stage-plays say to this } 133. The London PiiENTiCE. English Operetta. Acted at Drury Lane, 1/54. Not printed. 134. The London Trodigal- Com. by W. Shakspeare, plaj-cd by the King's Majesties servant.-^, 4to. 1605. Upon this j)lay IMr. Malone observes, that one ktiows not which most to admire, tlie impudence of the printer in af- fixing our great poet's name to a comedy publicly acted at his own theatre, of v.'hich it is very impro- bable tiiat he should have written a single line; or Sliakspenre's neg- ligence of fame, in sulTering such a piece to be imputed to h.ini with- out taking the least notice of it. 135. London's Glouv ; London's TuiUMfiis ; &c. &c. — See Pag LA NTS. 136. The Long Odds. Sere- nata, by C. Dibdin. 8vn. l/.SJ. This was acted at tlie Rovol Circus. 137. Long Meg or Wkst- MiNSTEii. Acted at ihe Piose Theatre, by the Lord Admiral's men, Feb. 14, 15()5. Not printed. 138. " A very meiy and pythie " Commedie, called, The Lov- " GEK thou LIVEST, the MOXIE " FooLE TKOU AUT. A i\iyrrour " very necessarie for Youth, and " specially for such as are like to *■■ coiue to dignitie and proiuoiion : *' as it niaye well nppeare in the " matter folowynsie. Newlv coru- 379 LOO ♦* piled by W. Wager Imprinted *' at London, by Wyllyam How •' for Richarde Johnes, and are " to be solde at his shop under the *' Lotterie- house." 4to. Biack letter. No date. The Players Names. Prologue, Fortune, Moroi, Ignorance, Discipline, Crueltie, Exercitation, People, Idlene^se, Gods Judgment, Incontinency, Confusion. Fuure may playe it easely. The Pol'igiie, txerckatioii, "J W iith, Crueltie, > for one. GociJes Judgment, J Forune, }fox another. Discipline, Incon'mence,-» ^.^^ ^^^^^^^^ Iinpietie, Confusion, J Pietie, IdUnes.l , ,, , r> 1 ^ for another. Ignorance, People, j 13f). LoNGSHANK. Actcd at the Rose Theatte, Aug. 29, 1595. ■This was, perhaps, Peele's Ed- ward I. 140. Look ABOUT You. Com. Anonymous. Acted by the Lord HighAdaiiral's servants. 4to. lOOO. This is a very diverting play, and the plot of it is founded on the English historians of the reign of Henry II. 141. Look before you Leap. A Comedy, in two acts, under this title, was announced as to be performed at Coven t Garden, for Mrs. Martyr's benefit, 178S, It was advertised, with the charac- ters cast, in the newspapers pub- lished on the day immediately preceding that on which the per- formance was to have taken place; but it was laid aside, and has not vet been acted ; unless it was afteru'ards reduced to one act, and was the following article ; 142. Look before you Leap. Com. in one act, by Horatio Rob- son. Performed at the Haymarket. LOR 8vo. 1798. This is La Bonne Mere, of M. de Florian, with a few alterations, in an English dress; bvit a mother of thirty, the successful rival of her daughter, which is the priiicipal ii^oident, is neither probable nor striking enough to be interesting. 143. Look before you Leap. See Dramatic Appellant. 144. LOOKE TO THE LaDIE. Com. by James Shirley. Entered on the book of the Stationers' Company, March JO, 1639 ; but not printed. 145. A Looking-Glass foe London and England. Tragi- comedy, by Thomas Lodge and Robert Green. 4to. 1594; 4to. 1598; 4to, 1617. The plot is founded on the story of Jonah and the Ninevites in sacred history. 146. Lord Blunder's Con- fession; or, Gidlt inakes a CoW' ard. A Ballad Opera. Anonymous. 8vo. 1733. This p'ece was never acted, li was written by the au- thor of Fanelia, and apparently alludes to some recent transaction. 147. Lord Mayor's Day; or, A FUiilitfroni Lapland. A SpeaV:- ing Pantomime, with some excel- lent scenery ; particularly a repre- sentation of tlae Lord Mayor's show by water. Acted at Covent Garden, 1782. The songs and dialogue were by Mr. O Keetti?. A Pageant was added to it, repre- senting the different city compa- nies, with emblematical transpa- rent paintings, &c. 148. The Lord of theManok. Comic Op. [By John Burgovne.} Acted at DruryLane. Svo. 178I. Thi^ slight piece was well set to music by Mr. Jackson, and met with considerable success. The leading incident of the story is taken from the Silvain of Mar- montel. 3fgO L O II 149- Lord Russel. Trag. by the Rev. Dr. Stratford. Perform- ed by a party of the author's friends, at Drury Lane, • 1/84. This tragedy was advertised in The Dublin Morning Post, 1792, as to be published by subscription for the benefit of the author's sister, he being then dead ; but we are uncertain whether it was ever printed. It was, we remember, a wretched piece. 150. Lord Russel. Trag. by William Haylc-y. Acted at the Haymarket in 1 7S4, vvit^^ applause. '^to. 1/84. A periodical critic has very t.'-uiy said, " We cannot suf- " ficiently admire the art and na- ■"■ tm^al feeling of the writer, who *' has been able to render so equal " and serene a character as that of '• Lord Russel, so truly afiecting " and path'-tic. He has, in the " hands of Hayley, all the firra- " ness and resignation of Cato, " without his rigour anJ coldness. " A Christian hero has not the " apathy of a Stoic ; and the touch "■ of religion, at Russel's last part- " it:g with Cavendish, is both *' awful and affecting. The por- " trait of Lady Russel is most " delicate and amiable. Her in- " terviev.-s with her unhappy Lord, " as v.-ell as her applications to " York and Charles, are extremely "^ touching. In her last scene " with her condemned husband, "■ her behaviour, though perfectly "■ natural, is original on the stage, " and infinitely better calculated " to aflect the reader or spectator, " than the rant and exclamation " commonly assigned to tragical " heroines in similar circum- " stances." 151. Of the Lord's Supter, AXn WASHING THE FeET. A Ccrr.cly. This is cne of the many LOT religious dramas mentioned by Ei.-5hop Bale as his own. 152. LoREXziNo Di Medici. Drama, in five acts, by William Rough. Printed with poems. Small Svo. 1797. Never acted. The plot is good, and the sentiments are just J but the diction is defi- cient in force. 153. Lorenzo. Tragedy, by Robert Merry. Acted at Covent Garden. Svo. 1791. There are parts in this piece which remind us of similarities in Piomeo andJu- liet, Isabella, and other plays. It was, however, favourably received. 154. The Lost Lady. Tragi- Com. by Sir William Barclay. - Fob 163S. This was in the first edition of Dodsley's Collection ; but omitted in that of l/SO 155. The Lost Lover; or, The Jealous Husba?id. Com. by Mrs.. De la Riviere Manley. Acted at the Theatre Royal. 4to. 1696. Though tkis piece did not succeed on the stage, yet the dialogue of it is very genteel, and the incidents are not uninteresting ; and, indeed, if v/e make proper allowances for the sex of Its author, the time it was written in, and its being afirstessay in that arduous way of writing, it may very justly be confessed, that it deserved a much better fale than it met with. 156. The Lost Princess. Tr. by Murrough Boyle, Lord Vise. Blessington. Not printed, but be- longs to the writings of the 18th century. Some extracts from this wretched piece will be found in Dr. King's works, vol. iii. p. 2/0. Svo. 1776- 157. The Lots. Com. trans- lated from Plautus, by Richard Warner. Svo. 177-i- Plautus calk this comedy Casixa, the name of a female slave, who, though sh« 381 L O V does not once appear upon the stage, yet the whole business of the piece turns upon her. The subject of the comedy (in point of humour, at least, inferior t.o none in this author) is single ; the uni- ties of time and place are regularly observed. The time is about twenty-four hours ; and the place a street near the houses of the principal characters, from whence may be seen what passes within the house. Machiavel had un- doubtedly this comedy before him Avhen he wrote his Clizia. 153. The Lottery. Com.Svo. 1728. This play was acted at the New Theatre in the Haymarket, The scene, London. 159. The Lottery. A Ballad Farce, by Henry Fielding. Svo. 1731 3 1732, 3d edition, with the addition of a new scene. This is a lively and entertaining piece, and was acted at Drnry Lane with considerable success, especially near the time of drawing the state- lotteries, when tlie scene of the wheels, &c. in Guildhall, gave great pleasure to the nightly resi- dents of the upper regions of the theatre. 100. The Lottery Chance 5 or. The Drunkard reclaimed. Mus. Drama, by Archibald M'Laren. - 12mo. 1503. This piece was act- ed at Aberdeen, and most of the provincial theatres of Scotland. 161, Love a la Mode. Com. Anonym. 4to. l603. This play, which was acted at INIiddlesex. House with great applause, is said, in thetitle-page, tohave been writ- ten by a person of honour, and (according to his preface, which is signed T. S.) in the first year of the Restoration. Who this person of honour was, we have not been able to guess ; but it might possi- bly be known by tracing back the L O V alliances of the Colbrand family^ as the first of three recommendatory copies of verses, prefixed to this play, is subscribed R. Colbrand, baronet, and directed to his ho- noured brother, the author j who, bv the letters signed to the pre- face, appears to have been his brother-in-law, or half-brother, Jt2. Love a la Mode. Ffrce, byChas.Macklin.4to. 1793. This f;rce was brought out, in i/SO, at the Theatre Royal in Drnry Lane, where, after some struggles be- tween two parties, the one preiu- diced for, the other against, its author, it at length made its foot- ing good, and had a very great run, to the considerable emolument of the v/riter, who, not being paid as an actor, reserved to himself a port ion in the profits of every night it was acted. The piece does not want merit with respect to charac- ter and satire : yet has the writer's national partiality carried him into so devious a path from the man- ners of the drama, as among four hjvers, who are addressing a young lady of very great fortune, viz. an Irish ofiicer, a Scots baronet, a Jew broker, and an English coun- try squire, to have luade the first of them the only one who is to- tally disinterested with respect to the pecuniar}" advantages apparent from the match : a character so different from what experience has in general fixed on the gentlemen of that kingdom who make their addresses to our English ladies of fortune, that although there are undoubtedly many among the Irish gentlemen, possessed of minds ca- pable of great honour and gene- rosity, yet this exclusive compli- ment to them, in opposition to re- ceived opinion, seems to convey a degree of partiality which every dr^tmatic writer at least should be L O V ttudlously careful to avoid. The >Scotchman., and the Elnglish gen- tleman jockey, are, hou ever, ad- mirably drawn ; but the thought ot tlie catastropiic is borrowed IroQi Tlieophilus Gibber's comedy of The Lover ; and the character of the Irishman bears too much resemblance to Sheridan's Capt. O'Blunder, lo entitle its being- looked on as an entire original. One act of it was printed in T/ie Q^urt Misceltaini, April l^OC). The great success of this ])iece gave rise to a report, that it was not really written by Mr. Mack- lin ; and one gentleman, we have heard, e\>'n v.-.'iisjiered among his friends, that he was in fact tlje aiuioor of ir. The meannes^^ and disingenr.ity of siich a proceeding nre lov) obvious to need being en- larged upon. If the person to •whom we allude had any preten- sions to claim the credit of this per- formance, it would s;nvly have been more lionenirable to make them in a manner less clandestine, in order tiiat the ostensible^and, welelieve, real, autlior mlglu, have asserted his right in the face of the public. In the mean time, people in gciieral paid no regard to such unsupported insinuations; and Mr. Macklin might console liimself, that some of the best writers in the English language had sutiered in the same manner. Mr. Pope observes, that it was said Garth did not write his oww Dispensary; Denham likewise was charged with purchasing Coo- per s Hill; Gibber was frequently upbraided as incapable of pro- ducing such a piece as The Care- less Hiislnvd ; and even Mr Pope hiniself was suspected of not be- ing the author of The Essay on Criiiiism. In siich company Mr. Macklin needed not repine at his own fate, 582 L O V 163. Love and AMBiTio2f. Trag. by Ja Darcy. 8vo. 1732. This play was brought on the stag© in Dublin, and met with some success. J 04. Love and a Bottle. C. by Geo. Farquhar. Acted at Drury Lane. 4to. lOgg. This is a very- sprightly and entertaining playj yet, 01^. account of the looseness of the character of Roebuck (which, however, is perhaps the best drau n rake we have ever had on the stage), and some other strokes of licentiousness that run through the piece, it has not been acted for niany years past. The part of Mock mode seems to be borrowed Irom the Bourgeois Gt?itilhomme of Moliere. 165. Love and Duty ; or. The Distress'd Bride. Trag. by John Siurmy. 8vo. 1/22. Performed at the Theatre Royal in Lincoln's Inn Fields. 160'. Love and Duty. Trag.. by Joh.n Slade. bvo. 3/5(5. It was acted one night at the Hay- market, by the author and his friends. 107. Love and Folly. Sere- nata, in three interludes, set to music by Mr. Galliard. Acted at the King's Theatre in the Hay- market. Ato.iySQ. Between these interludeswere performed the cho- russes to the Duke of Bucking- ham's tragedy of Julius Ccesar. J 68. Love and Friendship; or. The Rival Passions. As it was acted before the three mock kings, Phyz, Trunk, and Ush. 8vo. 1723. Printed at the end of a pamphlet, entitled, " To Diaboloumenon ; " or. The Proceedings at theThe- *' atre Royal in Drury Lane." 109. Love and Friendship. Serenata, set to music by Mr. W. Defesch, 4io. 1744. •3S3 L O V \yo. Love and Friendship. Op. Acted ill Druiy Laiic Svo. 174(j. 171. LOVF. AND FRIENDSHIP 5 or, 77i'.' Lucky Recovery. Com. «vo. 1754. Never acted. This iloauicable piece wns by the author ci' The FiietuHy Rivals, &c. 172. Love and Glory. A Masque, by Thomas Philips. Set to music by T Arne, and acted at Dru:y Lane. bvo. 1734. 173. Love and Honour. Tragi- Com. by Sir W. Davenant. Acted at the Black Friars. 4to. lC4Q. This play deservedly met with very good success. The scene lies in Savoy. Downes tells us, that it was very richly clothed ; the King giving Mr. Beiterton his corona- tion si'.it, in which he acted the part of Prince Alvavo ; the Duke of York giving his to Mr. Harris, in which he performed Prince [Count] Prospero ; and Lord Ox- tord gave his to Jvlr. Price, who acted Leonel. In the folio edition are several omissions and altera- tions. Tliis play v/as originally called The Courage of Love, and was afterward"! named by Sir Henry Herbert, at Davcnant's jvquest, The Noripnrcilles ; or. The Match- less Maids. 174. Love and Honour. Dra- matic Poem, by Thomas Dela- mayne. 12mo. 1742. Though this piece was not intended for public representation, nor is even rendered in many particulars con- fcruiable to the rules of the thea- tre ; yet, as in other respects it is truly dramatic, wc cannot deny it a place in this collection. The de- sign of the author is to reduce all the circumstances of the iEneid, vhich have a reference to the loves of Dido and JEneas, into the li- mits of a drama somewhat more extensive tlian a cominon tragedy. LOT To this end he Ikts made it to con- sist of seven cantos, or more prc>- pcrly acts, in which he has intro- duced the principal {personages of th.eiEneid as interlocutors; and although he has added some cha- racters, and omitted others, en- larged upon certain passages, bor- rowed hints from some, and en- tirely suppre^^sed others, yet he has no where deviated froin the gene- ral tcnour of the poem. His piece opens v.ith the landing of yEneas, and the catastrophe closes with his departure and tlie death of Dido. In a word, he has formed it into a tragedy, though somewhat irre- gular, under the modest title oi^ a dramatic poem only. He has, throughout the whole, quoted the passages made u^e of from the ori- ginal, with gi"eat candour; and al- though his versificatioiv may not have all that nervous power and dignity which shines tlirough the works of some of our writers, yet it is far from contemptible, or the piece itself from being undeserving of notice and approbrition. 175. Love and Honour; or. The Privateer. Farce. Svo. l/oS. Printed ac Ipswich. 170. Love and Honour. Op. Piece. Acted at Covent Garden, May 9, 1794. Not printed. 177- Love and Innocence. Pastoral Serenata. Performed at Marybone. Svo. 17^9- 17s. Love AND LiBJERTY. Tr. by Charles Johnson. 4to. l/Op. I'his play was intt-nded for the Theatre Iloyal in Drury Lane, but was not acted. It is dedicated to the judicious cri ics throughout the town. The scene lies in Na- ples. 179. Love a.vd Loyalty. O. by A. MDonald. Never acted; but published with his Mrsceila- neous Works, Svo, 17^)1, 334 L O V 190. Love and Madness. An anlique dramntic Tale, by F. G. Waldron. Acted for his benefit at the Hayraarket, Sept. 21 , l/go. Not printed. It was founded on The Two Nolle Kinsmen. ]S1. Lovt; AND Magic 5 or, Harlccjubii Holiday. Pant. Acted at Drury Lane, Jh02-3, and \ery well received. N. P. 182. Love and Monrv ; or, The Fair Caledonian, M. V. in one act, by Ben.son. Acted at the Haymaiktt, 1795. ^ Svo. 179s. A very pleasant trifle. 183. Love and Nature. A musical Piece, in one act, by Geo. Monck Berkeley. Performed at Dublin, Mr.rch 1780, forMr.ilow- den's benefit. 4to. 1797. I'Jiis piece is the story of Prior's Henry and Emma, curtailed in stiff blank verse, for which the author seems to have had very slight talents. It it had any success, it must have been owing to the music of the composer, Mr. Shields. 1§4. Love and Rkvenge. Tr. by Elk. Settle. Acted at the Duke's Theatre. 4lo. 16/5. This play is in great measure borrowed from Heaiinge's Fatal Contract-, the plot of which, as well as of this piece, is founded on the Frerich chronicles of Mezeray, De Serres, &:c. Settle, in his postscript to this piece, very harshly attacks Shadvv'ell, who has answered him as severely in his preface to The Lilertim'. 18.5. Love and Revenge ; or, The Vintner outwitted. Ballad Op. Anonym. [1729.] This is little more tlian Tlie Match in Newgate, converted into an opera by the addition of some songs, Ii was acted with success at the Little Theatre in the Haymarket. Ibd. Love and Riches kl- L O \^ See Love coNCiLED. See Love '5 a Lot- teky. 187- Love and Valour ; or. The Two Nolle Kinsmen. Trag. Altered from Beaumont and Flet- cher. Acted at Richmond, IJ/Q. Not printed. 188. Love and War. Trag. by I'hoir.as Meriton. This is a very wretched piece, and was ne- ver acted 3 but printed in 4 to. 1058. IS9. Love and Wak. Mus. Ent. by Robert Jephson. This is an abridgment from The Cam- paign, and was better received, when performed at Covent Gar- den, JVIaich 1787- Not printed. 190. L(;vE AND Wine. Being a sequel to Love and Friend- ship. A Comedy. Svo. 1754. By the autbor of The Friendly liivah. 191- Love at a' Loss ; or, Most Fates carry it. Com. by Mrs. Cath. Trotter, afterwards Cockburne. Acted atDrury Lane. 'I to. 1701. This play was printed in so very incorrect and mutilated a manner, that the author wished to call in and suppress the edition. Many years after she reviewed this performance, and made great al- terations in it, intending to bring it again on the stage under the title of The Honouralle Deceivers ; or, JU Right at the Last. 192. Love at a Venture. Com. by Mrs. Centlivre. 4to. 1 706. This play was acted by the Duke of Grafton's Servants, at the New Theatre in Bath ; but never, that we find, in Loudon. It is taken from a French comedy, called Le Galant Double. This play she had offered at Drury Lane, where it was rejected ; but some time after Mr. Cibber brought out a play called TheDojd-l&GaUant; or. 385 L O V L O V The Sick Lady's Cure ; in which, as she used to complain, he had taken in the greater part of her play. But, Mr. Gibber under- standing the French language him- self, why may we not suppose, that he translated it from the same original as she had done ? 193. Love at a Venture ; or. The Rake reclaimed. Com. in five acts. Performed at the Haymarket {not in the regular season), 1/82. N. P. 194. Love at first Sight. Com. by David Craufurd. 4to. No date. [1/04.] This play was acted at the Theatre in Little Lin- coln's Inn Fields, but without suc- cess } and was not published till the above year, though written four years before. 195. Love at first Sight ; or. The IFit of a U'oman. Ballad Opera, of two acts, by Joseph Yar- row. Svo. 1742. This little piece was never acted any where but in the York company of comedians, in which the author was a per- former at the time of its publica- tion. The hint on which the whole plot of the piece turns, of the young lady's discovering her incli- nation to her lover, and making an assignation with him for an elopement, under the pretence of acquainting her father that he had formed such a design, is apparently borrowed from Miranda's appoint- ment with Sir George Airy for the garden-gate, at the hour of eight, in Mrs. Centlivre's Busy Body. 196. Love at first Sight. Ballad Farce, by Thomas King. Acted, with success, at Drury Lane. Svo. 1763. 197- Love betray'd^ or. The Agreeable Disappointment. Com. byMr.Burnaby. 4to.l703. Acted at Lincoln's Inn Fields. Tlie au- thor confesses that he borrisvved part of his plot, and about fifty lines of tills comedy, from Sliak • speare; whose play of Twelfth Night was that of which Mr. Bur- naby availed himself. 198. Love crowns the End. A Pastoral, by John Tatham. 12mo. 1640; 12mo. 1657. This was acted by, and, we suppose, written for, the scholars of Bing- ham in Nottinghamshire, in the year 1032. It was printed at the end of a volume, called Fancies Theatre, is very short, and not di- vided into acts. Prefixed to the volume are no less than thirteen copies of verses, byBrome, Nabbes, &c. Scene, a grove, wherein is Lover's Valley. In the edition of 1657 it is called a tragi-comedy. 190. Love dragoon'd. Farce, by Mr. Motteux. But when 6x where acted, or of what date the publication, we know not, but ima- gine it to have been about 170O. 200. Love finds the Way. Com. Op. by Thomas Hull. Acted at Covent Garden, Nov. 12, 1777. This was a mere abridgment of The School for Guardians, with songs, &c. and had little success. The songs only printed. 201. Love for Love. Com. by W. Congreve. 4to. 1695, This play is so extremely well known, and so frequently acted with the approbation it justly merits, that it would be unnecessary to say much of it. We shall therefore only just mention, that with this piece the new theatre and company opened at Lincoln's Inn Fields, at which, time it met with so much success, being acted thirteen days succes- sively, that Betterton and the other managers of that house made the author an offer, which he accepted, of a whole share with them in their profits, on condition of his furnishing them with a new play c c 3S6 J. O V everj' year. This comedy (as Dr. Johnson observes) is of nearer al- liance to life, and exhibits more real manners, than either The Old Bachelor or The Doidle Dealer. The character of Foresight was then common. Dry den calculated nativities; bothCrom well and King William had their lucky days; and Shaftsbury himself, though he had no religion., was said to regard pre- dictions. The sailor is not ac- counted very natural, but he is very pleasant. 202. Love for Moxey ; or. The Boarding- School. Com. by Tho. Durfey. Acted at the Thea- tre Royal. 4to.l6gi ; 4 to. i6q6. This play met with some opposi- tion in the first day's representa- tion ; but, gettieg the better of that, stood its ground, and had to- lerable success. The plot in ge- neral is original, yet the piece on the whole is very far from a good one. The scene lies at Chelsea, by the river's side. The time thirty-six hours. Coffey stole from this his farce called The Boarding- School. 203. Love freed from Igno- rance AND Folly. A Masque of Her ^Majesty's, by Ben Jonson. We know not on what occasion this piece v.as written, or at what time performed or first published. It is, however, to be found among Jonson's works^ fol. 16-10. Svo. 1756. 20^i. Love oivtz the Alarm. Ccm. by J. G. Holm-^n. Acted at Covent Garden, Feb. 23, 1804. It met with a very unfavourable reception, and was withdrav.-n af- ter the first night's performance. Not printed. 2O0. Love hath Pocnd out ilis Eyks. a Play, by Thomas Jordan. Entered on the book of L O V the Stationers' Company, June 29, 1 660. It was among those destroy- ed by Mr. Warburion's sei-vant. 200'. Love in a Blaze. Com. Op. by Joseph Atkinson. Acted at Crow Street, Dublin. 12mo. Dublin, ISOO. This piece, which had been offered in vain to the London managers, is said to have been received with applause in Dublin. The idea of it seems taken from the tragedy of The JVidoiu of IlJalalar ; which to render a comedy, the widow's cha- racter is converted into an Irish- man, who is to lurn for his mis- tress ! 207. Love in a Camp ; or, Patrick in Prussia. Mus. Farce, by John O'Keeffe. This is a se- quel to The Poor Soldier ; and was acted at Covent Garden in 1/85, with much applause. Its popu- larity, however, has not kept pace with that of the piece just men- tioned. Svo. 1798. 208. Love in a Chest. See Force of Friendship. 209. Love in a Convent. C, by the Margravine of Anspach. Performed at BrandenburghHouse, in July 1S05. Not printed. 210. Love in a Cottage, Past, by Joseph Waker. Printed at Dublin, Svo. 1785. 211. Love in a Forest. C. by Charles Johnson. Svo. 1723. Acted at Drury LaneTheatre. The plot and part of the language of this pb.y is from Shakspeare's .^Is You like It : yet, as it has gene- rally happened in every attemj^t at an amendment of that great author's works, it is so much in- jured by the alteration, that were he at pre>ent in existence, he might with great justice enter an indict- ment on the maiming-act, against these his pretended reformers. 387 L O V This alterntion was acted six nights, and is dedicated To the FrcUcDiity of Free Masons. 212. Love in a Hurry. C. by Anth. Aston. Acted at Smock Alley, Dublin. Chetwood says it was performed with no success, and dates it in l/Op. 213. Love in all Shapes. F. Anon. Svo. 1/39. It does not appear to have been ever acted. 214. Love in a AIaze. Com. Acted at the King's Theatre about 10/2. Not printed, but mention- ed by Downes, p. 25. 215. Love in a Mystery, F. by T. Horde. Svo. ];S(3. 210". Love in a Puddle. C. Anonymous, and without date ] but since 1/00. 217. Love in a Kiddle. A Pastoral, by C. Cibber. Acted at DruryLane. Svo. 1729. [Misprint- edi71() in the title-page.] This was the tirst piece written in iuiitation of The Beggar's Opera, and came out in the succeeding year. It met, however, with a most se- vere and undeserved reception ; there being a general disturbance throughout the whole first repre- sentation, excepting while Miss Raftor (the late Mrs. Ciive) was singing ; and on the second night the riot was still greater, notwithstanding the late Frederic, Prince of Wales, was present, and that for the first time after his ar- rival in these kingdoms; nor would it have been appeased, had not Mr. Cibber himself come forward, and assured the audier.ce, that if ihey would sutler the performance to go on quietly for that niglit, out of respect to the royal preser.ce, he would not insist on the piece being acted any more, although the ensuing night should in right have been his benelit : which promise he faithfully kept. Yet, as a L O V proof that it was party prejudice against the author, and not want of merit in the piece itself, which was the occasion of all this violent opposition, when some time after- wards the farce of Damon and PhiUida, taken entirely from this play, was bronglit on the stage ai a novelty, and not known to be Cibber's, it was very favourably received, and till of late years con- tinued to be acted, and constantly with great applause. 218. Love IN a Sack. Farce, by Benjamin GrifBn. 12mo. 1715. Acted at Lincoln's Inn Fields, Scene, Covent Garden. 219. Love in a Veil. Com. by Richard Savage. Acted at DruryLane. Svo. 1719. It met with no success, though much be- friended by Wilks and Steele. 220. Love in a Village. Com. Op. by Isaac Bickerstafle. Acted, 1762, at Covent Garden. Svo. 1763. This performance, though compiled from Charles Johnson's Fillage Opera, Wycher- ley's Gentleman Daiic'vig-riiaster, Marivaux's Jeu de I' Aviour et du Hazard, and other musical pieces, yet n)et with so much favour from the town, that it was acted the first season almost as n^any times as The Beggar s Opera had for- merly been, and nearly with as much success. It certiiinly has the merit of being incfr'ensive in its tendency, probable in its in- cidents, spirited in its action, agreeable for its ease and regu- larity, and natural in the delinea- tion of character. 221. Love in aAVood: or, St. James's Park. Com. by W. Wycherley. Acted at the Theatre Royal. 4to. 1672; 4to. 1694. , This play has been but seldom acted since its first run ; and in- deed, although there arc some c G 2 388 L O V fine things in it, it is by no means equal to the Country Wife and Plain Dealer of the same writer. Dedicated to the Duchess of Cleve- land. 222. Love in a Wood ; orj The Country Squire. Farce, by G.J. (Giles Jacob). 12mo. 1714. This piece was never acted, and was composed by the author in three or four days, and at a time when he was wholly unacquaint- ed with the stage or dramatic writings. 223. Love in Disguise. Op. by Henry Lucas, Acted at Dub- lin about 1 776. N. P. 224. Love in its Extasy j or, The Large Prerogative. Dra- matic Pastoral, by Wm.Peaps. 4to. 1649. This piece was composed by the author when a student at Eton, being then not seventeen years of age, but was never acted, and not printed till many years after. Scene, Lelybaeus. 225. Love in jiany Masks. Com. 8vo. 1790. This is an al- teration of the first part of Mrs. Behn's Rover, by J. P. Kemble ; and was acted at DruryLane, 17Sp. It was well performed, and well received. 226. Love in several MAsauEs. Com. by H. Field- ing. 8vo. 172s. Acted at the Theatre Royal, in Drury Lane. This play immediately succeeded The Provoked H/jslaiid ,wh\rh con- tinued to be acted twenty-eight nights with great and ju.st applause. Viewing this as a iirst attempt, it must be allowed to possess con- siderable merit. 227. Love in the City. Co- mic Opera, by Isaac Eickerstaffe. Acted at Covent Garden. 8vo. J 767- Whetlier this opera was disliked on account of its supposed iD.'juffici'ency in dramatic and mu- L O V sical merit, or whether it was con- demned by a party of Cheapside wits, who thought themselves re- flected on by its title, &c. we are unable to determine, nor is the matter of much importance. It was condemned on the sixth night. An annual representation of The London Cuckolds, formerly kept Messrs. Tape, Drugget, and Drip- ping, in a proper degree of awe, nor did they dare to offer them- selves as judges of theatrical per- formances. But, since the piece already mentioned has ceased to appear, no critics are more cla- morous on some occasions than our aldermen and common-council. Love in the City, however, in spite of its faults, contains one charac- ter that recommends itself by unusual warmth of colouring ; we mean Miss Priscilla Tomboy, an unmanageable Creole wench, brought to London, and placed in a grocer's family, for education. This piece has since been cut down to a farce, and called The Romp. 228. Love in the Darkj or. The Man of Business. Com. by Sir Fra. Fane. Acted at the Theatre Royal. 4to. 16' 5. This is a busy and entertaining comedy, yet is the plot borrowed from various novels : the afliiir of Count Sforza and Parlhella being from Scarron's Invisibli^ AJisfress : the atFair of Bell ing.Tnna,Cornanto's wife, send- ing Scriitinio Xd Trivultio to check him for making love to her, from Boccace, Day iii. Nov. 3j which has also been made use of b}' Ben Jonson, in his Devil's an Ass, and by Mrs. Centlivre, in her Busy Body. Hircania's wife catching him with Bellinganna, is built on the story of Socrates and his wife Mirto, in The Loves of great Men, p, 5g ; and Trivultio's seeming to zsg L o V L o V beat Bellin^anna, is grounded on Boccace, Day vii. Nov. 7> The scene lies in Venice. From the character of Scrutinio, Mrs. Cent- livre seems to have borrowed the hint of her Marplot, which, how- ever, she has greatly improved and heightened. The dedication to the Earl of Rochester is couched in terms of the basest adulation. 229. Love in the East; or. The Adventures of Twelve Hours. Com. Opera, by James Cobb. Acted at Drury Lane. 8vo. I78S. Well received on the stage. 230. Love is the CoNauERORj or. The Irish Hero. A MS. play under this title was mentioned in the catalogue of the library of the late Charles Macklin. We know not into whose hands this piece fell J but, from the title, we think it probable, that it might be either a rough draught of Love A-la- mode ; or a full piece, from which the last-mentioned farce might be a reduction. 231. Love is the Doctor. Com. in one act, from U Amour le Medecin of Moliere. Performed at Lincoln's Inn Fields, April 4, 1734, for the benefit of the au- thor; but, we believe, never printed. 232. Love laughs at Lock- smiths. Farce, by Geo. Colman, the younger, from the French of Bouilly's line Folie. Acted at the Haymarket, 1803, with great suc- cess. Svo. 1808. It is both hu- morous and interesting. 233. Love lost in the Dark ; or. The Drunken Couple. Farce, 4to. l6S0. See The Muse op Newmarket. 234. Love makes a Man ; or. The Fop's Fortune. Com. by C. Cibber. 4to.l701. Acted atDrury Lane with great success, and con- tinues still to give equal pleasure whenever it makes its appearance. The plot of it is taken partly from Beaumont and Fletcher's Ciistom of the Country, and partly from The Elder Brother of the same au- thors. There are numberless ab- surdities, and even impossibilities, in the conduct of the piece ; yet the sprightliness in the character of Ciodio, the manly tenderness and openness of Carlos, and the entertaining testiness of Don Cho- leric, form so pleasing a mixture of comic humour, as would atone for even greater faults than arc to be found in this drama. 235. The Love Marriage. Opera, by William Russel. Left unfinished in MS. 236. The Love Match. Farce. Anonym. 1762. This little piece made its appearance March 13, 1762, at Covent Garden Theatre, but without success. It was in- deed greatly deficient in some of the dramatic requisites, the plot being rather a congeries of uncon- nected episodes, and some of the incidents rather forced and unna- tural. Yet the language was far from being bad, and there were some of the characters not ill drawn, more particularly that of Lady Bellair, which, in all proba- bility, might of itself have pro- tected the piece, and even procured it a run, had it not unluckily made its appearance immediately after that of a much more finished cha- racter of the same kind, viz. that of Sophia, in The Musical Lady. The Love Match therefore expired after the second night ; nor has the author, who is entirely un- known, as yet thought proper to let it appear in print. 237. The Love of a Grecian Lady. Acted at the Rose Thea- tre, Oct. 4, 1594. Not printed. 238. " The Love of King c c3 ?90 L O V " David axd fair Bethsabe. " IVith the Tragcdie of Absalon. *' As it hath been divers Times " plaied on the Stage." Written by George Peele. 4to. 1599. Mr. Hawkins, who republished this play in his Origin oj the Drama, observes, that it abounds in luxu- riant descriptions and fine imagery, and that the author's genius seems to have been kindled by reading the Prophets and the Song of So- lomon . 239. Love parts Friendship. P. by Henry Chettle (assisted by Wentworth Smith). Acted 1001. Not now known. 240. Love Prevented. P. by Henry Porter. Acted logs. Not printed. 241. Love Hestor'd, in a Masque at Court. Acted by gen- tlemen the King's servants. By Ben Jonson. Folio, l640j Svo. 1/50. 242. Love the best Physi- cian. Com. by Ozell. A li- teral translation ot' Moliere's V Amour Medecin, not intended for the stage. 243. Love the Cause and Cure of Grief. A Tragedy, of three acts, by Thomas Cooke. Svo. 3744. Acted at Diury Lane The- atre, but justly condemned. The fable taken from an old legal story in one of our books of reports. Scene in the county of Kent. 244. Love the Cure of all Woes. See The Mournful Nuptials. 245. Love the Leveller ; or. The Pretty Purchase. By G.B. Gent, 4to. 1/04. The author says in his preface, that " it found so " favourable a reception, that the f best plays have hardiy ever met " with a fuller audience." It ap- pears by the epilogue (or at least peems ifliplied), in opposition lo L O V the author's assertion in the epistle to the reader, that it met with hut inditierent success : and indeed it seems astonishing, that it should ever have been performeil at all, that the managers should receive, the actors study, or the audience permit a thorough hearing to so execrable a piece. It is neither tragedy nor comedy ; the plot, if it de'^erves that title, is full of the most unnatural incidents, the cha- racters the most unmeaning, and the language the most trifling, bald, and insipid, ever met with : and its being at all endured might probably have l,een owing to what the author grievously complains of in his epistle, viz. some cor- recting friends having, with an un- sparing hand, lopped away, as he calls it, whole limbs, and mangled it into a barbarous deformity, that is to say, curtailed so much of it, as to leave scarcely any thing for the public severity to exercise it- self upon. The scene lies in Crete, and it is said in the title-page to have been acted at the Theatre Royal, in Bridges Street, Covent Garden (viz. the Theatre Royal, in Drury Lane). 246.LoveTricks. SeeScHooL OF Compliments. 247. Love Triumphant ; or. Nature will prevail. Tragi-Com. by J. Dryden. Acted at the The- atre Hoyal. 4to. 1694. This piece vvas the last thgt Drytjen wrote for the stage; and although it did not meetv.'ith the success that most of his plays had been indulged with, yet it must be acknowledged that, in several parts of it, the genius of ihnt great man breaks forth, especi.illy in the discovery of Al- phonso's victorious love, and in the v£ry last scene, the catastrophe of which is extremely affecting, notwithstandinor that it is brought 391 L O V about contrary to the rules of Aristotle, by a change of will in Vera road. The plot of it ap- pears to be founded on the story of Flctciier's King and no King ; at least on the corrections of the fable of that play, made by Rymer in his Reflvctions on the Tragedies of the last jJge. Thus, as Dr. Johnson observes, Dryden began and ended his drarpatic labours with ill success. 243. Love Triumphant ; or. The Rival Goddesses. A Pastoral Opera, by D. Bellamy, sen. Act- ed by the young ladies of Mrs. Bellamy's boarding-school. 1 2aio. 1740. The plot of it is founded on the Judgment of Paris. 249. Love will find out THE Way. Com. by T. B. 4to. iQdl. This is only Shirley's Con- stant Maid, with a new title. 250. Love without Lvtekest; or. The Man too hard for the Master. Com. 4to. 1699. Who was the author of this piece is un- known; but the dedication is sub- scribed by Penkethman, and is directed to si.x. lords, six knights, and twenty-four esquires ; yet, not- withstanding this splendid patron- age, it met with vi'-ry little success on its appearance at the Theatre Royal. 251. The Lover. Com. by Theo, Gibber. 8vo. 17.30. Acted at the Theatre in Drury Lane with no great success, yet it is far from being a bad play. It is de- dicated to his first wife Mrs. Cib- ber, to whose performance in it he modestly attributes what ap- probation it did meet with. A contemporary diurnal writer say.s, the acting of this piece " proved " a tragi-comcdy both in itself, " and in the ccr.se(|uences, it cc- ♦'■ cafeioning the drawing of blood L O V " in the pit. The success was so " dubious, that it was uncertain " whether the hisses or the claps " were more numerous. The epi- " logue was received with unl- " versal applause, either because " it was the conclusion, or be- *•' cause of the truths told him (the "■ author) in it by his wife." Grub Street Journal, No. 55. This play was acted six nights. 252. The Lover his owk Rival. Ballad Oj)era, by Abra- ham Langford. Acted at Good- man's fields. 8vo. 17363 Svo. 1753. One of the wretched per- formances in isiitation of The Beg- gar's Opera, and produced by the success of that piece. The inti- macy between the manager of Co- vent Garden (Mr. Rich), and the author, occasioned the public to be pestered every season with tliis opera, long after its original ap- pearance at Goodman's Fields. 253. The Loveu's Cure. See Th£ Cares of Love. 254. The Lovek's Luck. Corn, by Thomas Dilke. 4to. IU96. This was acted at Little Lincoln's Inn Fields with general applause, al- though most of the characters are but copies ; particularly Sir Ni- cholas Purflew, from The Jnli'iuary of Marrnion ; Goosandelo, from Cro wne's Sir Courtiey , and Sir Geo. Etherege's Sir Fopllng Flutter ; and Aldern;;an Whim from Sir Cornelius Credulous, in The Brag- gadocio. The .scene lies in London, 255. The Lovers Melancho- ly. Tragi-Com. by John I'orde. Acted at Black Friars and the Globe. 4to. IU29. This play is highly commended in four copies of verses 'oy friends of the author; and he has himself greatly embel- lished it by an apt introduction of several fancies from other writers, c c 4 392 L O V particularly the story of the con- tention between the musician and the nightingale^ from Strada's Pro- lusions, and the description and de- iiaition of melancholy, from Bur- ton's Anutornr/ of Melancholy . This play was acted in the same week, and by the same company, as Ben Jonson's comedy of The New Inn. The success of them, how- ever, was totally opposite to each other : Ford's play was received with great applause, while Ben's met with general disapprobation, Whoever will recollect the spleen which the latter is acknowledged to have possessed, will not be sur- prised to lind that he resented the fate of his performance in very warm terms ; and, to be revenged on Ford, who headed the support- ers of Shakspeare's fame, against Jonson's invectives, he charged him with having stolen The Lovers' Melancholy from Shakspeare's pa- pers, with the connivance of He- minge and Condel, who, with Ford, had the revisal of them. In this dispute the poets of the times took part with either party, as passion or interest directed them ; and^ among other pieces which the contest pro- duced, was a pamphlet, entitled *' Old Ben's Light Heart made *' heav)', by young John's Melan- " choly Lover;" a performance once in the possession of Mr. Macklin the player, but now lost. An account of it, as well as the other circumstances aitendirg this dispute, as far as tliey can at pre- sent be recovered, are printed in the last edition cf Shakspeare, in 21 vols. Svo. vol. ii. p. ISS, &c. note. This play was revived at Drury Lane in 1/47. 250", The Lovers of Lood- GATE. A Play, among those de- stroyed by Mr. Warburton's ser- vant. L O V 257. The Lover's Opera. By W. R. Chetwood. Svo. I72g, Svo. 1730. This piece was per- formed at the Theatre in Drury Lane, and met with some suc- cess. 258. The Lover's Progress. Tragi-Comedy, by Beaumont and Fletcher. Fol, 1647; Svo. 1778. The plot of this play, which is but an indifferent one, is founded on a French romance, called Lisander and Calista, written by Daudi- guierj and the scene is laid in France, 259. Lovers* Resolutions. Com. by Richard Cumberland. Acted March 2, 1802, at Drury Lane ; but so ill received, that the author, with a commendable deference to public opinion, with- drew it after the first representa- tion. Not printed. It was ad- vertised, however, I8O9-IO, as one of a collection to be published in 4to. by subscription. 260. Lovers' Vows, Play, in five acts, by Mrs. Inchbald. This alteration from Kotzebue's Natu- ral Son was acted at Covent Gar- den with great success. Svo. 17P8. 261. Lovers' Vows; or. The Child of Love. Play, in five acts, translated from Kotzebue, by Ste- phen Porter. Svo. I798. Never acted. 202. Lovers' Vows ; or. The Natural Son. D. translated from Kotzebue, by Benjamin Thomp- son. Svo. 1800. Never acted. After all its popularity, how- ever, we do not think this one of the best plays of M. Kotzebue. Of the literal translations, we pre- fer Mr. Thompson's. See Natu- ral Son. 263. Love's Adventures. Com. in two parts, bv the Duchess of Newcastle. Fol, 1662. 264. Love 's a Jest. Com. by 393 L O V P. Motteux.4to. 1696. This piece was acted with success at the The- atre in Little Lincoln's Inn Fields. In the two scenes in which love is made a jest, the author has intro- duced many passages from t])e Italian writers. The scene is laid in Hertfordshire. The tune of ac- tion from noon to nigiit. 265. Love 's a Lottery, and A Woman the Pkize. Com. by Jos. Harris. Acted at Lincoln's Inn Fields. -Ito. l£)C.y. The scene, London. To this uicce is annex- ed a masque, intitled, Love and Riches reconcitd, which was per- formed with it at tJie same theatre. 2(56. Love's Artifice ; or, The Perplex'd Sqrdre. Farce, of tw'o acts, by John Wignell. 8vo. 1762. This was intended for the com- piler's benefit at York, but never performed. It is merely an abridg- ment of Taverner's Maid the Mis- tress. 26y. Love's Contrivance ; or, Le Medecin malgre lui. Com. by Mrs. Centlivre. Acted at Drury Lane. 4to. 1/03. This is almost a translation of Moliere's comedy of the last of these two titles, with only an enlargement of the plot and characters. The scene, Lon- don. 26s. Love's Cruelty. Trag. by James Shirley. Acted at the private house, Drury Lane. 4to. 1640. The concealment of Hip- polito and Clariana's adultery from her servant, through the contri- vance of her husband Bellan:iente, is taken from Q.. Margaret's No- vels, Day 4. Nov. 6. and Cyn- thio's Hecatomithi, Dec. 3. Nov. 6. but is too revolting to human feelings. 209. Love's C^re ; or, The Martial Maid. Com. by Beaumont and Fletcher. Fol. 164/3 8vo. 1778. The scene, Seville, L O V 270. Love's Domixiont. A Dramatic Piece, by Richai d Fleck- noe. 12mo. 1654. It is said in the litle-page to have been " written ♦' as a pattern for the Reformed " Stage," and to be "' full of ex- " cellent morality." The scene lies at Amathante, in Cyprus. The time only from morning till night. At the end of this piece (which was never acted) is a Short Dis- course of the English Stage. See Love's Kingdom. 271. Love's Frailties. Com. by Thomas Hblcroft. Acted at Covent Garden. Svo. 1794. Thi^i play is taken from the German Hausvater ; which, in its turn, was borrowed, with such altera- tions as might serve 10 domesticate the incidents and characters, from Diderot's Pere de Fumiile. Some democratic sentiments incautious* ly, or, as it was believed, inten- tionally introduced, at a time when the general opinion was, that the encouragement of such sentiments might be attended with pernicious consequences, occasioned an op- position to this play, the exhibition of which lasted no longer than six nights. 272. The Love-sick. CofRT; or. The Amlilioiis Polilitjue. Com. by Richard Brome. Svo. 1 60S. Of this play a distich in the title shows us, that the author himself had a very modest and humble opinion. The scene lies in Thessaly. 273. The Love-sick King. An English Tragical history, trith the Life and Death ofCartcsvinnda, the Fair Nun of IVinchcster, by Anth. Brewer. 4to. 1055. The historical part of the plot is found- ed on the invasion of the Danes in the reigns of King Ethelrcd and Alfred, and which may be seen in the writer's on the English affairs of that time. The 'scene lies in 39-t L O V England. This piny was revived at the King's Tiiealre, and piint- ed again in }6S0, under the new title of The Pi'TJur'd Nun. 2/^4. The^ Love-sick Maid ; or. The Honour of Yoxwg Ladies. Cam. by Rich;ird Brmne. Entered oil the lx)ok. of Llic Stationers' Compaaj, Sept. 9) i(i53 ; but not printed. It was acted at Court, by John Heminge's Company, in 1029. The date of its license, by Sir Henry Herbert, is February 162S-Q. We find that it was acted \fcith extraordinary applause, and ■Vins so popiiinr, that the managers cf the King's Company, on the IGth of Miu-ch, ])resei-ited the Mas- ter of the Revels with the sum of iwQ pounds^ " on the good success '-' of Tkc Honour of Ladies, '' the only instance, perhaps, 10 be met vith of such a compliment being paid him. 275. Love's Kingdom. A Pastciral Tragi-Coinedy, by Ri- chard Fleckuoc. J2mo. 1674. Not as it was acted at the Theatre near Lincoln's Inn, but as it. ■was written and since correct- ed; with a Short Treatise of the, English Stage, &:c. Scene, Cyprus. — This is little more than Love's Dominion, altered by its author, wjtli the addition of a new title. It was brought on the stage, bat had the misfortune to miscarry in the representation, being acted only thrice ; yet it is so very re- gular, that the author boasts of *' all the rules of time atul place " being so exactly observed, as " whilst for time it is all compris- " ed in as few hours as there are " acts ; for -place, it never goes " o.ut of the- view or prospect of " Love's Temple." Tb.e author's account of this piece, in the ad- vertisement, is as follows ; "For " the plot, it is neat atid hand- L O V " some, and the language soft ant! " gentle, suitable to the persons "who speak, neither on the " ground nor in the clouds j but, " just like the stage, somewhat " elevated above the coivimon. In " neither, no stillness, and (I " hope) no impertinence nor ex- " travagance, into which your " young writers ai-e too apt to run, " who, whilst they know not well " what to do, and are anxious to " do enough, most commonly " overdo." 276. Love's Laeous's Lost, Com. by W. Siiakspeare. Acted at the Black Friars and the Globe, 4to. 15G8i 4to. 1631. This is one of those pieces which consist of such a mixture of irregularities and beauties, such a chequeru ork of faults and perfections, as have occasioned son:e to suspect it not to be the work of Shakspearej yet, as all the editors, through whose hands his works have passed, have thought proper to let it keep its place -among them, we have on that authority fixed his name to it in this catalogue. It is written for the most part ijirhymc} which, together with the turn fur quibble, that was so much the fashion of the time, that Shakspeare has him-, self hinted at it in one of his best plays, where he makes his Hamlet, say, " JVe vnist speak ly the card, " or equivocation will undo us,'' ai'Q its principal fauits ; yet througI> these the real spirit of dramatic genius seems to shine 5 the spright- liness of Biron's character being inimitably supported, and the con- duct of his two friends and their ivamoralas finely conducted for bringing on the principal design, and working np the plot to its height. The scene lies in the King of Navarre's palace, and the coun- try round it. Dr. Johnson says. 395 L O V that " in this play, which all the " editors have concurred to cen- " sure, and some have rejected as ^' unworthy of our poet, it must " be confessed that there are *' many passages mean, childish, " and vulgar ; and some which *' ought not to have been exhibit- " en to he inserted in Ravens- croft's Anatomist. See Anato- .MIST. 290. The Loves of Mars and Vex us. Dramatic Entertainment of Dancing, attempted in imita- tion of the pantomimes of t:he an- cient Greeks and Romans, by John Weaver. Acted at Drury Lane. 8vo. 1717. 2.Q1 . Love's Pilgrimage. Com. by Beaumont and Fletcher. Fol. L O V I6i7 ; 8vo. 1/78. The founda- tion of this play is laid on a novel of Cervantes, called The Two Damsels. The scene in the first act between Diego, the host of Ossuna, and Lazaro his ostler, is stolen, or rather borrowed, from Ben Jonson's New Inn; since it is not improbable, as that play mis- carried in the action, that Jonson might give them his consent to make use of it. 292. Love's Revenge. Dram. Pastoral. By Dr. John Hoadly. 4to. 1737; Svo. 1745. This piece was set to music by Dr. Green. The scene lies in Arcadia, and it is divided into two interludes or acts. The subject is a revenge vowed by Cupid for some slight received from Psyche, which he puts in execution by exciting a fit of jealousy between two lovers, whom he afterwards, however, on a return of Psj'che's kindness, re- conciles to each other. 293. Love's Riddle. A Pasto- ral Comedy, by Abraham Cowley, 12mo. 1638. The plot of this play, as well as of all our author's dramatic pieces, is entirely original and unborrowed ; and although perhaps it is not to be looked on as a first-rate performance, yet, when it is considered that it was written while the author was a king's scholar at Westminster school, and but fifteen years of age, candour may be allowed not only to let it pass uncensured, but even to be- stow some share of commendation on it, esj^ecially as the author himself in his dedication apolo- gizes for it as a puerile piece of work. This comedy (as Dr. John- son observes) is of the pastoral kind, which requires no acquaint- ance with the living worlds and therefore being composed while the author was yet at school, it 5 397 L O V adds little to the wonders of his minority. It was not published till he had been some years at Cambridge. 294. Love's Sacrifice. Trag. by John Forde. Acted at the Phoe- nix, Drury Lane. 4to. I(i33. This play was generally well received, and has a complimentary copy of verses prefixed to it by Mr. Jam.es Shirley. The scene lies in Pavia. 2Q5. Love's Systems. Play, by William Vone. Acted by per- sons of fashion, at Fobsey Magnus, the seat of Sir James Knowles, in Cornwall, Dec. 22, 180/. Not printed, we believe. 2q6. Love's Trials; or. The Triumphs of Constancy. Comic Op.byS.J.Pratt. 8vo. 180.5. The main plot of this piece, which has considerable merit, is founded on Prior's Nut-hrown Maid; with ■which is interwoven an underplot, taken from the ballad of Jrgentile and Curan, in The RcUques of An- tient Poetry. Never perfornned ; printed in the second volume of the author's Harvest Home. 297. Love's Triumph thro' Callipolis. Performed in a Masque at Court, 1630, by his Majesty King Charles L with the lords and gentlemen assisting. The words of this piece were by Ben Jonson, the decorations of the scene by Inigo Jones. It was printed in fol. 1640; Bvo. 1756. 298. Love's Triumph ; or. The Royal Union. Trag. by Edw. Cooke. 4to. 16/8. This play is written in heroic verse. The plot is from tiie celebrated romance of Cassandra, part v. book 4. and the scene placed in the Palace of Roxana at Babylon. It never ap- peared on the stage. 299. Love's Triumph. Opera, by P. Mottenx. Acted at the Haymarket. 4to. l/OS. L O V 300. Love's Vagaries; or. The JFhim of the Moment. Dram. Piece, of two acts, by T. Vaughan. 8vo. 1791. This piece was acted, two nights, in April 17/6, at Drury Lane, under the title of Love's Mktamorphoses, for the benefits of Mrs. Wrighten and Mr. Vernon ; and Mrs. Siddons, not then ripe for fame, performed in it. The plot is a young lady, dis- guising herself as her own servant, in order to discover the qualities of her intended lover; who, in his turn, introduces himself into the family as his own footman. In these low stations, they fall in love with each other. The same plot has since been more successfully introduced to the stage, in Tit FOR Tat. 301. Love's Victim; or, The Queen of Wales. Trag. by Chas. Gildon. 4to. 17OI. Acted at the Theatre in Lincoln's Inn Fields, but without success. — Scene, Ba- yonne. 302. Love's Victory. Tragi- Com. by William Chamberlaine. 4to. 1658. This play was writ- ten during the troubles of the civil wars, and iritended by the author to have been acted, had not the* powers then in being sup- pressed the stage; on which ac- count he was obliged to content himself with printing it. See Vv'its I.ED BY the Nose ; Or, A Pott's Revenge. Scene, Sicilia. 303. Love's Welcome, By Ben Jonsnn. Fol. lG40; 8vo. 1726. This is farther entitled. The King and Queen's Enterlain- ment at Bolsover, at the Earl of Newcastle'.^, the 30th of July 1634. From the Duchess of New- castle's Life of her Lord, it appears that the King (Charles J.) beinj^ pleased with hi> entertainment the preceding year, at V>^elbeck, sent Jp3 L O U the Duke word, that the Queen Viis resolved to make a progress inio tiie northern parts, aiiU uesir- inf^ him to prepare the like, enter- taiunient for her, as he had furmer- ]y done for him. (See The King's EnierUiini/ieut at IVtiteck, p. So/.) " \\'hich," says her Grace, "my *' Lord accorduiglv did, and en- " deavoured for it with all possible '• care and indnsiry, spating no- " thing that might add splendour " to that feast, which both their *' Ivlajcbties were pleased to ho- " nour with their pre.sence : Ben ♦' Jonson he employed in fitiing '* such scenes and speecljes as he " could best devine ; and sent fur " all the gentry of the coiintry to " come and wait on their Majes- *' ties ; and in short did all that " ever he could imagine to render *' it great and worthy their roj/al " acceptance. This entertainment " he made at Bolsover Ca^tle, in •' Derbyshire, some five miles d', - " t?.nt tVom Welbeck, and resig;;- " ed Welbeck for their 3Jajesties' " lodging i it cost him in all be- " tween fourteen and tifteen thou- '• sand pounds." Life oj the Duke of JS'c'iv castle, p. 1S4. 304. The Loving Enemies. Comedy, by Lawrence Maid well. Acted at the Duke of York's Theatre. 4to. 1(530. The epilogue of this play was written by Shad- well, from whose Virtuoso theorigi- nal hintofthecornedy seems lohave bcren derived; the part of Circum- slantio bearing a great resemblance to the hurnour of Sir Formal Trifle, as may be seen by comparing tke description of the magpie's suck- ing a hen's egg, in the fourth act ot tliis play, with that of the nxtiise taken in a trap towards the erid of the third act of The Virtuoso. The scene is laid in Florence. 305. Louis AN'D Antoinette. L O Y Trng, by Geo. M. Hunter. 8vo. 17,04. JKever acted, 30G. Louis in the Elysias Fields. A Drama. Printed in the fifth volume of the posthumous works of Frederic 11. King of Prussia. Translated from the Frenck), by I'hos. Holcroft. 8vo. 1 /Sy. Though called a drama in the Berlin edition, this is rather a dialogue of the dead. 30/. Louisa of Lombardy ; or, The Secret ?^uptia/s. G. S. by J. C. Cross. Svo. 1803. Per- formed at the Royal Circus. 303. The Lowland Lassie ; or, A Trip from Kinghorn. Mus. Drama, by John ilannie. Acted at Drury Lane, 1803, under the title of The Highland Lassie, for Mrs.Mountaui's benefit. Svo. No date, 303. Low Lite above Stairs, Farce. Anonymous. Svo. 1759; 12mo. 1/04. This was never acted, nor intended for the stage, but is a v/relched obscene catch- penny, without wit or humour, encouraged by the great success of High Life below Stairs 3 which see in its place. 310. The Loy>l Brother; or, Tke Persian Prince. Trag. by Thomas Southern. 4to. 1682. This was our author's first play, and had but inditferent success on the stage. The plot of it is taken from a novel, called Tachmas Prince oJ Persia. The prologue and epilogue are written by Dry- den. The scene lies at Ispahan in Persia. 31 L A Loyal Effusion. Dra- matic Entertainment, by Charles Dibdin. Acted at Covent Garden, 1797. Not printed, 312. The Loyal General, Trag. by N. Tate. 4to, 168O. Acted at the Duke's Theatre, 313. The Loyal Lovers. 399 L O Y Tragi-Ccm. by Cosmo Manuche. 4to. lt)52. The author in this play has severely lashed the old committee-men and their informers ill the persons of Gripcman and Sodom. And Langbaiue ventures a surmise, that under the characters of Phanaticus and Flyblow he has meant to expose an adventure of the famous Hugh Peters, with a butcher's wife of St. Sepulchre's, with his revenge thereon ; ob- serving at the same time, that, if his conjecture is right, it is but a piece of justice that Peters should lind himself personated on the btage, who had so fre<]uently ridi- culed others when he acted the clown's part in Shakspeare's com- pany of comedians. 314. The Loyal Pkasants. C. by J. Straycock, mariner. Svo. 1S04. Never acted. 313. The Loyal Salopian; or. The King in the Country. F. by J. H. Culls. Acted at Shrews- bury, ir9-5- Not printed. Slti. TiiK Loyal Shepherd; or, Tlie Rustic Heroine. Dramatic Pastoral Poem, in one act, by T. Goodwin, Svo. 1 779- Very stu- ■ pid .stuir'. 317- The Loyal Subject. Tragi-Comedy, by Beaumont and Fletcher. FoL 10-4/; Svo. 1778. The scene lies at Mosco ; and some parts of the plot and cha- racters are ingenious and well sup- ported ; yet on the whole we can- not esteem it as one of the best pieces of these authors. AL'. Sheridan, however, thought it worth while to revive it on his theritre at Dublin some years ago, with a fevv alterations of his own, but with the same title. 313. Loyalty; or. Invasion Defected. Hi.t. Trag. by John Charnock. Never acted; but print- ed, by subscription, after the au- 2 A por- vvith an writings. LUC ihnr's death, Svo. 1S!0. trait of jSIr. Charnock, account of his lite and are prefi.Kcd. 319. Lucinda. Dramatic En- tertainment, of three acts (with songs) , by Charles Jenner. Printed at tlie end of Letters from Lothario to Fenul-ipt:, two volumes, 12mo. 1770. 320. Lucius, the first Christian Ki.-ig of Britniti. Trag. by Mrs. Manley. Acted at Drury Lane. 4to. 1717- Ill's play is Ibunded on the legendary accounts of this monarch, given by ,the monkish writers, improved with a considet- ab!e share of agreeable fiction of her own. It was acted only three nights, and is dedicated to Sir Piichard Steele; who, although she had formerly abused him in The jitalnntis, was now so v/ell recon- ciled to her, that he wrote the Prologue to this piece, as Mr. Prior did tb.e Epilogue. The scene lies in the capital of Aquitaine. 321. Lucius Junius Brutus, Father of his Country. Trag. by Nathaniel Lee. Acted at the Duke's Theatre. 4to. l6Sl. This is a very fine play; being full of manly spiiit, force, and vigour, with less of the bombast than frequentlvruns through this author's works.- Ths plot of it is partly from the real histories of Fiorus, Livy, Dionys. Halic. &c, and partly fro'm the fictions in tl>e romance of Clelia. The scene between Vindicius and the elder Brutus seems to bear a great resemblance to that between HamletandPolonius.Thescenelies in Rome. Gildon, in his preface to The Patriot, says, tiiis play was forbid, after the third day's acting, by Lord Chamberlain Arlington, as an antiraonarchiral plav. 322. Lucius Junius Brutus. Trag. by Mr. Duncon-:be. Acted 400 LUC at Drury Lane, Nov. 1/34. 8vo. 1/35; 12mo. 1747. This play, which, though never popular, has much merit, is built upon Vol- taire's tragedy of Brutus. For a history of its progress to the stage, see Duncombe's Letters, vol. iii. p. 144 ; or The Correspondence of Mr. Hughes, vol. ii. p. 205, &:c. edit. 1772. It was acted six nights. To the edition of 1747 is prclixcd Voltaire's Essut/ on Tragedy. 323. Lucius Junius Brutus; or. The Expulsion of the Tar quins. Historical Play, by Hugh Down- man, M. D. 8vo. 1779, 1792. An attempt to restore the familiar blank verse which was used in the last century. This play was never acted, but possesses great merit. 324. The Lucky Chance; or. An Alder7nan''s Bargain. Com. by Mrs.Behn. Acted by theirMajesties Servants, 4to. I687. This play was greatly exclaimed against by the critics of that time, whose objections the author has endea- voured to obviate in her preface. The crime laid to her charge was indecency, and an intrigue border- ing, both in action and language, on obscenity. From this she has vindicated herself, if retorting the accusation on others, and proving herself only guilty in a lesser degree than others had been before her, may be esteemed a vindication. But, in short, the best excuse that can be made for her, is the fa- shionable licentiousness of the time she wrote in, when the barefaced intrigue of a court and nation of gallantry, rendered those things apparently chaste and decent, which would at this time be hissed off the stage as obscene and immo- ral. As to the plot, it is for the most part original, excepting only the incideni of Cayman's enjoying Lady Fuilbank, and taking her for L U D the devil, which is copied from Kickshaw and Aretina in The Lady of Pleasure, by Shirley, The scene, London. 325. The Lucky Discovery; or, TheTannerofYork. A Ballad Opera, by J. Arthur. Acted at Covent Garden. Svo. 1738, It was also performed at the same theatre about the year 1/54, for the benefit of Mr. Arthur. 326. The Lucky Escape. Musical Farce, by Mrs. Robinson. Acted at Drury Lane, April 30, 1773, for the benefit of the au- thoress. Songs only printed, 327. The Lucky Escape. Com. by Rich. Linnecar, Never acted. Printed at Leeds. Svo. 17S9, 328. The Lucky Hit; or. Love at a Venture. Farce, in MS. in the possession of Mr, Stephen Jones. Never acted or printed. 329. The Lucky Prodigal. See Wit at a Pinch. 330. Lucretia. Trag. by R. C, Dallas. Published in a volume of miscellaneous writings, 4to. 1797- Never acted. To this piece, which, though not without its de- fects, is moral and interesting in a high degree, there is an excel- lent preface. 331. Lucy, Dram. Poem, by Henry Jones, shoemaker. 8vo. No date. The running-title of this piece calls it a Masque. It consists chiefly of scenes between the person who gives name to the piece, and certainspirits and angels, and is a rhapsody of enthusiasm and nonsense. The author has, however, contrived to end it with a wedding. In a dedication to the Duchess of Devonshire, it is said to have been written when the author was unemployed ; we sup- pose, in the duties of his profes- sion. 332. King Lud. Acted at the 401 L U S Rose Theatre, Jan. 18, 1594. Not printed. 333. LuMiNALiA ; or. The Fes- tival of Light. 4to. 1637. Present- ed in a masque at court, by the Queen's Majesty and her liidies, on Shrove Tuesday night, l637. At Her Majesty's cojruliand, the celebrated Inigo .Tones, who was at that lime surveyc^r of tne hoard qf works, took on himself the contrivance of machinery for this masque, the invention of which consisted principillv in "h'" -.re- senting Light and Darknes:^ ; Night representing the arti-Tiasque or introduction, and the sub-eci; of the main masque being Light. This piece is ascribed, by VVin- stanley and Wood, to Thomas Lodge and Roberf Green ; but see Lodge, Thomas, Vol. L p 459. 334. The Lu.^atick. Com. Dedicated to the Three Rul'ng B— — s, at the new house in Lm- coln's Inn Fields. 4to. I705. 335. Lun's Ghost; or. The New Year's Gift. Vsrxt. Acted at Drury Lane, 1782. This per- formance gave very little satisfac- tion to the public. 1. was compiled from Harlequin s Jacket, and other things of the same kind ; but, meeting with small success, waS soon laid aside. 336. LupoNE ; or. The Inqiii' $itor. By Alexander Gordon. Com. Svo. 1731. 337. Lust's Dominion ; or. The Lastiuioiis Queen. Trag. by L Y A Frailtie of Youth : of Nature prone to Vyce: by Grace and good C nun- cell tray nab I e to Fertue. 4 to. Black, letter. N. D. The dramatis personne are : Messeni,^er [ Lusty Juventus | Good Counsaill j Kno'\ ledge i SiUiian the devyll I Hypocrisie j Folosvsiiyp | iVbhominable-i yving j An Harlot ] God's-mercifuU- promises. | The following is the printer's colophon : Finis, quod R. IFcaer. Imhrinted a' Lond-tn in Pauley Churche-yrard, t'j Ah>o.nam Fete, at the Signe of the Lumhe As in the ancient interlude of Every Man, occ-i'^ion is taken to inculcate great reverence for old mother church, so (asDr. Percy ob- serves) ou.- poet, iVIasterR'.Vever, with equal success, abac's both. In Lusty Juventus, chat rr and verse are every where q'Toled as formally as in a sernon. From this play we learn, that most of the yonng people were Neiv GoS' pellers, oi friends to the R.^for na- tion, and that the old wpre tena- cious of the doctrines imbibed in their youth. H«nce the Devil is introduced lamenting the downfal of Superstition ; and in another place Hypocrisy complains that the younger part of the world is growing too wise for his interests. This piec3 is in Hawkins's Origin of the English Drama. 339. Lusty London. Interl. by George Puttenham ; mentioned Christopher Marloti. 12mo. l657; «in his ylrte of English Poesie, but 12mo. l65l. This is very far never published. from being a bad play in itself; but was afterwards altered by Mrs. Behn, and acted u'lder the title of Aklelazar; or, The Moor's Me- vjenge; which see in its proper place. 338. An Enterlude calledhvsTY Juventus, lyvely descriling the VOL. U. 340. The Lyar. Com. 4to. 1661. See Mistaken Beauty. 341. The Lvar. Com. in Three Acts. Svo. 1/63. A catch- penny, intended to be imposed on the public for Mr. Focte'.s play of the same name. 3^2. The Lvar. Cou 4Qf3k L Y A Three Acts, by Samuel Foote, 1 762. Svo. 17(34; 1786. This piece was originally intended to have been represented during the summer partnershi;) between Mr. Murphy and the author 3 but the run of those pieci.-'S which they bad before brought on, and the urjexpected necessity of their perfonn'rng The Wishes, having exhausted the time limited for th«;ir representation, this was obliged to b^deferred till the ensuing winter, when it was represented for the tirst time at the Theatre in Covcnt Garden. Its success was but very indiffer- ent; and, indeed, it must be con- fessed, that it was in itself far from equal to the generality of this gentleman's works. As to the plot, it is almost entirely borrow ed from Sir Richard Steele's Lying Lover ; itself borrowed from The Mistaken Beauty ; which was founded on the Mt'nleur of Cor- neille 5 which was moreover little rnore than a translation from a dramatic piece, written by Lopez de Vega. It was not much to be ■wondered ait, therefore, if the dish, thus served up at a fifth hand, did not retain the whole of its original relish. And though there were here and ihere some strokes of humour, which were not un- "worthy of their author, and some few touches of temporary satire, yet the character of The Lijar had certainly neither sutTicien.t native originality in it to \Aense. as a no- velty, nor additional beauties cr.ough, either in his dress cr de- meanour, to excite a fresh atten- tion to him as a new acquaint- ance. And what seemed still more extraordinary, the author, who himself performed the p^trt, and therefore one would imagine might have had an eye to his own peculiar excellencies iu the writ- L Y r ing it, had not even aimed, as h« has moet usually done, at afford- ing himself any opportunity in if for exerting those amazing talents of mimicry, for which he had ever been so remarkable, and so inimitable. In short, on the whole, it was rather tedious and unentertaining ; having neither enough of the vis comica to keep up the attention of the audience through so many acts as a farce, nor a sutHciency of incident and sentiment to engage their hearts, if considered under the denomi- nation of a comedy. It has since been reduced to a farce, and in that state is frequently acted. — We ought not to close this article without recording the incom- parable actmg of" the late Mr. John Palmer. Human nature was never, perhaps, more perfectly represent- ed on the stage, than by his per- formance of the principal charac- ter in this piece. 343. Lycidas. Masque. Not acted. 4to. 17G2. The scene of this performance is laid in the Vale of Arno, on the north side of the Cheviot Hills, in Northum- berland. The inhabitants of the vale are poetically considered as a kind of republia of sliepherds. Pollio's principality is a district of the Picts, on the hither side of the same hills. To this drama are added two poems, which, like the masque itself, are of very littlfc value. 344. Lycidas. Musical En- tertainment, performed at Covent Garden. Svo. 1767- The words, altered by Mr. Jackson of Exeter, the composer, from Milton, ancl- intended as a dirge on the Duk« of York's death. It was acte4 only one night. 345. The Lying Lover ; or. The Ladiis' Friendship. Com. 4S$ t Yi by Sir Richard Steele. Acted at Driiry Lane. 4to. 1704. As this writer borrowed part of all his plots from other authors, it is not at all to be wondered at if we lind that to be the case with this piece among the rest, the main groundwork of the design being taken from the Menteur of P. Corneille ; the characters of Old and Young Bookwit from the Ge- ronte and Dorante of that play, and many of the incidents very closely copied. This comedy is in- ferior to the others of the same author, and was ill received, Steele says, it " was damned for " its piety." " I have carried ** (says he, in his Apobi^yfor him- " self and his IFrilingsJ my incli- '' nation to the advancement of " virtue so far, as to pursue it *' even in things the most indif- ** ferent, ^nd which, perhaps, *' have been thought foreign to it. " To give you an instance of this, "Sir, 1 must mention a comedy " called The Lying Lover, wh:.^h *' I writ some years ago ; the pre- " face to which says, *' * Though it ought to be the " care of all governments, that , " public representations should ■•" have nothing in them but what " is agreeable to the manners, " laws, religion, and policy of the ** place or nation wherein they "^ are exhibited ; yet it is the ge- " neral complaint of the more '' learned and virtuous amongst -*■' us, that the Engli-.h stage has " extremely oftisnded in this kind. ** I thought, therefore, it would " be an honest ambition to at- "' tempt a comedy, which might " be no improper entertainment *' in a Christian commonwealth.' " Mr. Collier had, about the " time wherein this was publish- " eA, v/ritten against the immora- L Y I " lity of the stage. I was (as far " as I durst for fear of witty men, " upon whom he had been too " severe) a great admirer of his " work, and took it into my head " to write a comedy in the seve- " rity he required. In this play I " make the spark or hero kill a " man in his drink ; and finding " himself in prison the next morn- " ing, I give him the conirition " which he ought to have on that " occasion. It is in allusion to " that circumstance that the pre- " face further say^ as follows : " ' The anguish he there ex- " presses, and the mutual sorrow *• between an only child and a ** tender father in that distress, " are perhaps an injury to the " rules of co^iedy, hut I am sure " they are a justice to those of " morality : and passages of such " a nature being so frequently " applauded on the stage, it is " high time that we should iro " longer draw occasions of mirth " from those images which th« " religion of our country tells us " we ought to tremble at with " horror. "'But Her Most Excellent " Majesty has taken the stage into " her consideration ; and we may " hope, from her gracious influ- " ence on the Muses, that wit " will recover from its apostacy^ " and that by being encouraged in " the interests of virtue, it will " strip vice of the gay habit in " v/hich ii has too long appeared, " and clothe it in its native dress " of shame, contempt, and dis- " honour.' " I cannot tell. Sir, what they " would have me do to prove me " a churchman ; but I think I " have appeared one even in sa " trifling a thing as a comedy : " and considering me as a comic 404 L Y f L Y $ *^'poet, I have been a martyr and " country; nor is the world much •' confessor for the church 3 for " less obliged to the person who "^this play was damned for its " favours it with a good transla- '* piety." " tion of a good author, than to 346. The Lying Valet. C. "" that author himself, or one of iti Two Acts, by David Garrick. " equal excellence at home. En- Svo. 1741 ; 1756. Tliis little " treating pardon, however, for piece made its first appearance at " this small digression, I shali the Theatre in Goodman's Fields ; " now proceed to the little dra- but the author, soon quitting that " matic work under consideration, place for the Theatre Royal in "which, whether original, tra.is- Drury Lane, brought his farce " lation, or copy, has undoubtedly with him, which was there acted " great merit, if character, plot, with gre.1t and deserved applause. " incident, and a rank of diction " Some of the nibblers in criticism " well adapted to those characters, " (says Baker) have charged this '^ can give it a just title to the " piece as being borrowed from " praise I have bestowed on it. " some French comedy ; but as I " Nor can there be stronger evi- " have never yet heard the title of " dence borne to its desc^is, than " the supposedoriginal mentioned, 'Mhat approbation which con- " I cannot avoid, as far as to the "■ stan'.ly attended on it through " extent of my own knowledge, " the numerous repetitions of it at " acquitting tlie author from this " both o ^r theatres." — We must, *' accusation : a charge, however, however, observe, that this farce " which, wherever laid, I am ever will be found, on exanv.nation, to be ** ;ipt to suspect as rather the ef- merely an alteration from the short '* feet of envy, than of a love of comedy of AIL without Money, *' justice or the public, as it has which forms the second of the live "ever been the practice of the pieces in rvj'otteux'siVbyfi//^j Every "very best writers, in all ages Act a Play. 4to. 1 697. " and nations, to make use of 347. Lynce and Pollidore. " valuable hints in the works of Past. Ent. Performed at Vyse's " their neighbours, for the use Academy, Mitcham, Surrey. Svo. " and advantage of those of their 178I. "countrymen, to vvhom those 348. A Lyric Ode on the Fai- " works may not be so familiar as ries, Aerial Beings, and Witches, " to themselves. No man in his of Shakspeare. 4to. 177*3. "senses would, I think, quarrel 349. LysandeTw AAIS.under " with a fine nosegay, because this title, which we suppose to "some of the most beautiful have been a drama, was mentioned " flowers in it happened to have in the Catalogue of the Library of " been gathered in a neighbouring the late Air. Charles Aladdin, THE END OF VOLUME IL S. Gws^jell, Printer, Little Queen Street, l.fend«r>v z Baker, David Erskine 2014 Biographia draraatica D7B2 1312 V.2 General Reference PLEASE DO NOT REMOVE CARDS OR SLIPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY