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Title: Momus Triamphans: or, the Plagiaries of the English Stage (1688[1687])
Author: Langbaine, Gerard, Rodes, David Stuart
Language: English
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*** Start of this LibraryBlog Digital Book "Momus Triamphans: or, the Plagiaries of the English Stage (1688[1687])" ***
THE AUGUSTAN REPRINT SOCIETY
GERARD LANGBAINE
Momus Triumphans:
THE PLAGIARIES OF THE ENGLISH STAGE
(1688 [1687])
_Introduction by_ DAVID STUART RODES
PUBLICATION NUMBER 150
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
UNIVERSITY OF CALIFORNIA, LOS ANGELES
1971
GENERAL EDITORS
William E. Conway, _William Andrews Clark Memorial Library_
George Robert Guffey, _University of California, Los Angeles_
Maximillian E. Novak, _University of California, Los Angeles_
ASSOCIATE EDITOR
David S. Rodes, _University of California, Los Angeles_
ADVISORY EDITORS
Richard C. Boys, _University of Michigan_
James L. Clifford, _Columbia University_
Ralph Cohen, _University of Virginia_
Vinton A. Dearing, _University of California, Los Angeles_
Arthur Friedman, _University of Chicago_
Louis A. Landa, _Princeton University_
Earl Miner, _University of California, Los Angeles_
Samuel H. Monk, _University of Minnesota_
Everett T. Moore, _University of California, Los Angeles_
Lawrence Clark Powell, _William Andrews Clark Memorial Library_
James Sutherland, _University College, London_
H. T. Swedenberg, Jr., _University of California, Los Angeles_
Robert Vosper, _William Andrews Clark Memorial Library_
Curt A. Zimansky, _State University of Iowa_
CORRESPONDING SECRETARY
Edna C. Davis, _William Andrews Clark Memorial Library_
EDITORIAL ASSISTANT
Jean T. Shebanek, _William Andrews Clark Memorial Library_
INTRODUCTION
Gerard Langbaine's _Momus Triumphans, Or the Plagiaries of the English
Stage_ (1687) is significant for a number of reasons. It is, first of
all, the most comprehensive catalogue of the English theatre to its
time, a list of surprising bibliographical competence and extent for
its subject and period and a source study which is still of some use
today. Secondly, it serves as the strong and carefully articulated
skeleton for Langbaine's elaborately expanded _Account of the English
Dramatick Poets_ published some three years later in 1691, and itself
a catalogue which remains "a major work of literary scholarship that
is immune from obsolescence."[1] Thirdly, and more privately, _Momus_
stands as both a partial record and efficient cause of a quarrel whose
claim to our attention is its connection with Dryden. It is a quarrel
minor in itself and of which few details are known. Indeed, to call it
a quarrel at all is to give a corporeality to Langbaine's adversaries
which facts will not directly support, but Langbaine's prejudices
against Dryden in _Momus_ and their resulting intensification in the
_Account_ suggest a matrix of literature, alliances of taste, politics
and religion interestingly characteristic of late seventeenth-century
England.
_Momus Triumphans_ is based on four prior literary catalogues:[2]
[Francis Kirkman,] _A True, perfect and exact Catalogue of all
the Comedies, Tragedies, Tragi-Comedies, Pastorals, Masques and
Interludes, that were ever yet Printed and Published, till this
present year 1671_ (London, 1671);
Edward Phillips, _Theatrum Poetarum, Or A Compleat Collection
of the Poets, Especially The most-Eminent, of all Ages_
(London, 1675);
[Gerard Langbaine,] _An Exact Catalogue of All All the
Comedies, Tragedies, Tragi-Comedies, Operas, Masks, Pastorals,
and Interludes That were ever yet Printed and Published, till
this present year 1680_ (Oxford, 1680); and William Winstanley,
_The Lives Of the most Famous English Poets, Or The Honour of
Parnassus_ (London, 1687).
In his Preface to _Momus_ Langbaine acknowledges his indebtedness to
these four earlier lists and asserts "_the general Use of_ Catalogues,
_and the esteem they are in at present_" (A2r). But he argues that
a new catalogue is needed because the former ones are out of print,
"_they were all of them full of gross Errours_," and they are not "_so
Methodical as this which I have now made_." Further, he proposes to add
"_all the Plays which have been Printed since 1680_" ([A2v]).
The catalogues of Phillips and Winstanley are, as their titles state,
not primarily play lists, and their importance to a discussion of
dramatic bibliographies resides solely in the use made of them by
Langbaine. Two hundred and fifty-two British poets are named in
Phillips' _Theatrum Poetarum_. Of these some one hundred and sixty-nine
were authors of plays. The titlepage of Winstanley's _Lives_ advertises
an account "of above Two Hundred" poets, but "147 are actually listed
in the catalogue, and only 168 are noted throughout."[3] Four hundred
and sixty-seven plays by sixty authors are included. From Phillips'
collection Winstanley omits the thirty-three Scottish poets and
sixty-eight English poets. William Riley Parker believes that most of
Winstanley's omissions were deliberate and that his "endeavor, unlike
Phillips', was to give a chronological survey of English poetry from
Robert of Gloucester down to Sir Roger L'Estrange."[4] Parker defines
the differing contributions of the two men in the following manner:
Phillips is more the bibliographer and cataloguer, collecting
names and titles; Winstanley is the amateur literary historian,
seeking out the verse itself, arranging it in chronological
order, and trying to pass judgment upon it.[5]
As a bibliographer Phillips was exceedingly inaccurate and "the
_Theatrum_ was a hasty, careless piece of hack work," whose convenience
was seriously damaged by a poor organization which alphabetizes the
poets in four sections by their first names, with no last name index.
His source materials were of the easiest and most superficial kind.[6]
Both Phillips and Winstanley misunderstood Kirkman's method of listing
anonymous plays and this, as Langbaine notes in the Preface to _Momus_,
led "_both these charitable kind Gentlemen_" to find "_Fathers for
them, by ranking each under the Authors Name that preceded them in the
former Catalogues_"([A3r]).[7]
Although he acknowledged all three men in his Preface and mentions
them each about thirty times in the _Account_, it was Kirkman who
was most admired by Langbaine and of most use to him. Kirkman's
_Catalogue_ of 1671, "_the_ first ... _printed of any worth_," was
the principal source of _Momus_, and it, in turn, was based on a
catalogue which Kirkman made and published ten years previously.[8]
The format of Kirkman's 1671 catalogue followed the general format
of his earlier catalogue and of several earlier play lists[9] by
arranging the plays alphabetically by title and with some haphazard
attempt at chronological order as well, but, as Langbaine described
it, "promiscuously _as to those of_ Authors" except for "Shakespeare,
Fletcher, Johnson, _and some others of the most voluminous Authors_,"
whose works were inserted in first place ([A3r]). The catalogue listed
eight hundred and eight plays, and its principal orientation was most
likely not scholarly but commercial, to list the books which Kirkman
had for sale.[10] Nevertheless, Kirkman argued for the completeness of
the second catalogue:
I really believe there are no more [plays], for I have been
these twenty years a Collector of them, and have conversed
with, and enquired of those that have been Collecting these
fifty years. These, I can assure you, are all in Print, for
I have seen them all within ten, and now have them all by me
within thirty.[11]
Langbaine's first catalogue, _An Exact Account_, was published
anonymously and his authorship of this work has been questioned.[12]
But he refers to it as his own at least three times (on pages 13,
395 and 409[13]) in the _Account_. Basically, in _An Exact Account_
Langbaine "_Reprinted_ Kirkman's [catalogue] _with emendations, but in
the same Form_" ([A3r]), with an added alphabetical list giving authors
publishing from 1675 to 1680. As James Osborn has shown, Langbaine
perpetuated most of Kirkman's errors, even where Dryden was concerned,
still mistakenly attributing to him _Love in a Wood_ and to his
brother-in-law, Sir Robert Howard, _The Maiden Queen_ and _Sir Martin
Mar-All_.[14]
_An Exact Catalogue_, in turn, formed the basis for _Momus_.[15] It
has been suggested that Langbaine worked for Kirkman and came into
possession of his collection, but the small evidence in _Momus_ is to
the contrary: Langbaine lists Kirkman's own play _Presbyterian Lash_
as anonymous, and in the play index he enters _The Wits_ (1672), a
collection of drolls Kirkman claimed to have compiled, as "By Sir W.
D." and then omits it from the main lists. In the _Account_, _Wits_ is
assigned anonymously.
At the time of _An Exact Catalogue_ it can only be assumed that
Langbaine's attitude toward Dryden was similar to Kirkman's:
And although I dare not be absolute in my Opinion, who is the
best of this Age, yet I should be very disingenuous if I should
not conclude that the _English_ Stage is much improved and
adorned with the several Writings of several persons of Honour;
but, in my Opinion chiefly with those of the most accomplished
Mr. _John Dryden_.[16]
For _Momus_ Langbaine did adopt many opinions and much information
from the earlier catalogues. In the seven years between his first
and second catalogues, however, he began to deal more carefully with
bibliographical matters, especially in his attributions to Dryden,
and he found a new format which would allow him to present his later
catalogues in a more accurate, useful and stimulating manner.
* * * * *
_Momus Triumphans_ was published in November, 1687 (although its
titlepage is dated 1688), under two different imprints: the one
reproduced here and another "Printed for N. C. and to be Sold by _Sam.
Holford_, at the Crown in the _Pall-Mall_. 1688." In both issues
there is a major press variant on page 7 under Dryden in which "[148]
Maximin--T. 4o" is deleted and the note correctly rekeyed to "Tyrannick
Love, or Royal Martyr" in the right-hand column. Where this variant
occurs both title and note for "[149]Mistaken Husband--C. 4o" are moved
from the top of the right-hand column to the bottom of the left-hand
column.
In addition to its Preface, _Momus_ is divided into four sections:
(1) Authors arranged alphabetically according to surnames, together
with their plays, including the genre and format of each (pp. 1-26);
(2) "_Supposed_ AUTHOURS" listed by initials with their plays,
genre and format (pp. 27-28); (3) "_Unknown_ AUTHOURS" with plays
divided alphabetically into groups by first initial of their titles
(pp. 29-32); and (4) an Index of plays arranged alphabetically [pp.
33-40]. The alphabetizing is not exact, but the careful and efficient
organization by format (with its handy, easily usable cross index)[17]
is one of Langbaine's chief contributions to modern catalogue making.
Furthermore, the format established in _Momus_ not only supports the
enormous expansion which Langbaine himself makes in the _Account_,
but it (in tandem with his marked prejudices) encouraged the copious
annotations of later commentators. In other words, Langbaine discovered
the form which was not only most useful to his contemporaries, but one
which was to make him, in Osborn's phrase, "the chief tool of compilers
for more than two generations."[18]
In _Momus_ Langbaine has entries for two hundred and thirty-two
authors, of whom twenty-six have "_discover_[ed] _themselves but by
halves_" ([A3v]) and are listed only by initials. Langbaine claims to
"_have been Master of above_ Nine Hundred _and_ Fourscore _English_
Plays _and_ Masques, _besides_ Drolls _and_ Interludes" (A2r), and
_Momus_ lists approximately one thousand and forty plays, though the
number may actually be slightly higher since a few of these entries
represent collections ("Terence's plays," for example) and in footnotes
many foreign plays are given as sources for the English ones. Of the
total, thirty-five are given to supposed authors and one hundred and
sixty-nine are listed alphabetically by title since their authors are
unknown to Langbaine even by initial. Although the _Account_ represents
a five-hundred page expansion (but in octavo), the enlargement is
accomplished within the basic arrangement and largely with the lists
of authors and plays established in _Momus_. Langbaine adds only ten
new authors,[19] while he deletes two,[20] and adds about fifty-one
new plays, while omitting three.[21] The expansion takes the form,
mainly, of added biographical, critical and source material, including
discussions of classical authors and of non-dramatic works. The
corrections take the form of deletion and reassignment, change of dates
and format, and, most interestingly, change of genre designation.
There are over one hundred and fifteen genre changes, of which at
least three-quarters involve tragi-comedy, and of these nearly one
half (about forty) represent a shift in description from comedy to
tragi-comedy. These changes suggest that Langbaine was reading or
re-reading the plays carefully between the end of 1687 and 1691 and
perhaps the critical commentary on genre by the Caroline dramatists
as well since many of the conversions occur in describing the works
of Beaumont and Fletcher, Massinger, and Shirley. For bibliographical
detail _Momus_ is not entirely superseded by the _Account_ since
over sixteen descriptions of format[22] and thirty of genre are not
incorporated in the later catalogue. Furthermore, about thirty-eight
plays are given sources in _Momus_ which are not carried over into
the _Account_. A large number of the source references in _Momus_,
especially those not transferred to the _Account_, are general in
nature, to national histories or to the compilations of Eusebius and
Heylin.
* * * * *
In addition to a history of previous catalogues, his abhorrence of
plagiarism and his attack on Dryden, the Preface contains statements
of Langbaine's own literary interests and critical principles. He had
an obvious "_relish of the_ Dramma" (A2r) which probably dated from
the time he was "bound an Apprentice to a Bookseller called Nevil
Simmons living in S. _Paul's_ Church Yard in _London_." This time
spent in London, from about 1667 to 1672 was probably his greatest
period of play-going.[23] His orientation, however, is not toward
the performed play. He sees drama as essentially the history of the
printed work and, unlike John Downes in _Roscius Anglicanus_ (1708), he
approaches the appreciation of plays through criticism ([a3v]). Like
his father, the sometime provost of Queen's College, Oxford, who left
behind him "rhapsodies of collections,"[24] he was an antiquarian and
bibliographer. He had the bibliographer's delight in the difficulty of
the search ([A3v]) and his pleasure in ordering. _Momus_ is designed
for those readers who "_may possibly be desirous, either to make a
Collection, or at least have the curiosity to know in_ general, _what
has been Publish't in our Language, as likewise to receive some Remarks
on the Writings of_ particular _Men_" (A2r-[A2v]). As this statement
suggests, his general literary principles are neo-classically sound
and standard: "it being nobler to contemplate the general History
of Nature, than a selected Diary of Fortune" ([A4v]), as is his
unprejudiced attitude toward borrowings and the need for models. For
Langbaine the end of literature is moral, "Decency _and_ Probability"
([A4v]), and there is a sense of balanced fairness which extends even
to Dryden:
Mr. _Dryden_ has many excellencies which far out-weigh his
Faults; he is an excellent _Critick_, and a good _Poet_, his
stile is smooth and fluent, and he has written well, both in
Verse and Prose. I own that I admire him, as much as any man
... ([a2v], italics reversed).
But, in the case of Dryden, the fairness is much a matter of strategy
and the balance is partly stylistic. Langbaine's praise has the
perfunctory quality of "Well, now that's out of the way," and,
characteristically, the praise is followed closely by an intensely
felt "but" clause which excoriates Dryden for his immodesty in debate
and his misuses of literature. Langbaine's language is often that of
theology, the "right Path to solid Glory" ([a2v-a3r]), and he intends
to show that many authors (and especially Dryden) "_have fallen into
very great Errours_" ([A3r]).
Langbaine's animadversions on "_crafty Booksellers_" ([A4r]) as well as
his attacks on Dryden may have caused an embarrassing bibliographical
trick to be played on him. Wood reports that _Momus_ was published
in November, 1687, and five hundred copies sold before Langbaine
"caused another title to be put to the rest of the copies (with an
advertisement against the first)."[25] This new titlepage, added early
in December, reads as follows:
A New Catalogue of English Plays, Containing All The Comedies,
Tragedies, Tragi-Comedies, Operas, Masques, Pastorals,
Interludes, Farces, &c. Both Ancient and Modern, that have ever
yet been Printed, to this present Year, 1688. To which, are
Added, The Volumes, and best Editions; with divers Remarks,
of the Originals of most Plays; and the Plagiaries of several
Authors. By Gerard Langbaine, Gent.... London, Printed for
Nicholas Cox, and are to be Sold by him in Oxford MDCLXXXVIII.
Langbaine's reaction to the trick is contained in the Advertisement in
which he compares this incident to one played on Oldham and decries
"the Heathenish Name of _Momus Triumphans_."
I wish I knew my obliging Gossips who nam'd it, that I might
thank them, as they deserv'd, for their signal Kindness. I
have endeavour'd to be inform'd, who these Friends were, from
my Bookseller; but he pleads _Ignoramus_.... Thus not being
able to trace it further, and which is worse, _Five Hundred_
Copies being got into _Hucksters Hands_, past my recovery, I am
forc'd to sit down with _Patience_, and must depend upon _this
Apology_, that my _Friends_ may not think me _Lunatic_ (as they
might with reason, were this Title my own) and my _Enemies_
have occasion to say, this just Revenge was inflicted on me
by _Apollo_, for abusing his Sons, the Poets. But _whoever_
the _Author_ was, I dare swear, he thought, he had infinitely
obliged me, in _dubbing_ me a _Squire_: a Title, no more my
due, than _that_ of _Doctor_, is to a _Mountebank_; and which,
I receive with the _same_ Kindness, as a _Crooked_ man would
_that_ of _My Lord_.[26]
Macdonald believes this account is fictive and that Langbaine invented
the story to cover an initial immodesty,[27] but Langbaine's style has
nothing of the biting playfulness of tone of the spurious title. He is
often righteous and sarcastic, but he is not given to direct immodesty
or to the burlesque, and _he_ does not consider plagiarism his
principal subject. Further, there is evidence in the Preface ([A3r])
that "New _Catalogue_" was at least his working title.
Nevertheless, the false title page is a clever and perceptive joke on
Langbaine's classical bias and on his fixation with plagiary. His
predecessor Kirkman has given an apt contemporary definition of a
_momus_:
As for such, as either rashly condemn without judgment, or
lavishly dislike without advice: I esteem them like feathers,
soone disperst with every blast, accounting their discontent my
content, not caring to please every _Momus_.[28]
If Langbaine was such a _momus_, he certainly dipped his feather into
ink, "the common Remedy" against attack (the Advertisement), giving the
lie to his enemies the Poets.
The third point of attack, that concerning the title of _esquire_, was
perhaps intended as an insult to the humble origins of Langbaine's
distinguished father and is certainly appropriate satire on a man
so concerned with borrowing and on one who had left the university
profligately to become "idle" and "a great jockey."[29] Langbaine
was entitled to style himself a gentleman[30] as he does in _A New
Catalogue_ (but not in the _Account_); ironically, Langbaine came to
the address of esquire by his elections in 1690 and 1691 as inferior
and then superior beadle of arts of Oxford University "in consideration
of his ingenuity and loss of part of his estate."[31]
Langbaine's reactions to the trick served to intensify his source
studies (though this was already promised in the Preface) and to
increase his attention and antagonism to Dryden. Moreover, in the
_Account_ he added titles very carefully, including that of esquire
to Dryden himself. This particular response to his satirists reaches
its most amusing dimension with the preciseness of the unknown author
listing of "R. A. _Gent_." (_Account_, p. 516).
It is probably impossible ever to know if Dryden was involved in the
trick played on Langbaine, and it is hard to imagine that Langbaine's
criticisms would have engaged even so ardent a controversialist as
Dryden, but whether the emotion is in any way mutual or not, Dryden is
at the center of Langbaine's thoughts:
Thus our _Laureat_ himself runs down the _French_ Wit in his
_Marriage a la Mode_, and steals from _Molliere_ in his _Mock
Astrologer_; and which makes it more observable, at the same
time he does so, pretends in his _Epistle_ to justifie himself
from the imputation of Theft ... [and] I cannot but blame
him for taxing others with stealing Characters from him, (as
he does _Settle_ in his _Notes on Morocco_) when he himself
does _the same_, almost in all the Plays he writes; and for
arraigning his Predecessours for stealing from the _Ancients_,
as he does _Johnson_; which tis evident that he himself is
guilty of the same (Preface, a2r-[a2v], italics reversed).
What is finally remarkable about Langbaine's work, especially in
the Preface to _Momus_ and throughout the _Account_, is his abiding
determination to insert himself into virtually every one of Dryden's
quarrels, no matter how passe. The quality which binds together
Langbaine's heros is not their talent, their common beliefs or their
rectitude in admitting sources, but their mutual fortunes in being
Dryden's adversaries. The list of support he marshals is a long one
and includes Sir Robert Howard and the debate over the rhymed heroic
drama; the group led by Clifford and known as the Rota;[32] _The
Empress of Morocco_ controversy with Settle;[33] Shadwell, Flecknoe and
_Mac Flecknoe_; the Ancients versus the Moderns; Rymer; and Dryden's
attitudes toward the classics, the French, and the English dramatists
of the earlier part of the century. The reiterations of these attacks
come from Langbaine at a time when Dryden was vulnerable to political
and religious charges, and Langbaine does not fail to include
those.[34] Langbaine's wholesale attacks seem, however, to have two
centers. The principal one concerns the charge of plagiarism, which,
as Osborn has shown, was an old one with Dryden, although Langbaine's
strictures against borrowing do not represent the most characteristic
attitude of his time.[35] More precisely, Langbaine focuses on
Dryden's (seeming) _arrogance_ toward the use of source material,
and he would "_desire our Laureat_ ... to shun this, Confidence and
Self-love, as the worst of Plagues" ([a2v]).[36] The second focus,
again one which is seemingly characterized by arrogance, is Dryden's
criticism of the three major pre-interregnum dramatists, "these three
Great Men" (_Account_, p. 136), Shakespeare,[37] Fletcher and Jonson.
Of these the attacks on Jonson and the "thefts" from him are seen
as the most disturbing. Well over a tenth of the Preface and of the
_Account_ are devoted to Dryden, but the next mentioned playwright,
at least in the _Account_, is Jonson. His "Excellencies ... are very
Great, Noble, and Various" (_Account_, p. 281). Everywhere his modesty
and his exemplary uses of the classics and of the English language
are vaunted as a rebuke to Dryden. His opinions on other dramatists
are quoted extensively and approvingly. Behind this admiration lie
Langbaine's love of ancient learning and the continuing affinity of
University men for Jonson. But there is a personal side, too (as there
may be with Dryden). Langbaine's father was a friend of Jonson, who
presented him with an inscribed copy of Vossius,[38] and Langbaine
concludes his article on Jonson with an encomium by his father's friend
Anthony Wood.
If Langbaine delights in exposing the antagonisms and contradictions
of Dryden's thirty years at the controversial center of London life,
he also inadvertently reveals to us a man on a hobby-horse riding
at full tilt with a motley pack. His obsession with Dryden, like
most obsessions, was, no doubt, a fault. It seems, however, to have
generated much of the energy required to accomplish so assiduously
such large tasks. Langbaine's attacks angered some contemporary
readers;[39] they seem, ineffectually, to have made no adverse
impression on at least one of Dryden's patrons: in the same year that
Langbaine dedicated the _Account_ to James, Earl of Abington, the Earl
commissioned Dryden to write a commemorative ode to his wife Eleanora.
For the modern reader, Langbaine's point of view happily supplies
the interest which raises his catalogues from any dullness inherent
in their genre. Langbaine is a writer one now appreciates not simply
for the extensive accuracy of his theatrical recording, but as a man
whose attitudes (and many of his inaccuracies) arise passionately out
of his interests and prejudices. To paraphrase Mirabell, _quite_ out
of context, we admire him "with all his faults, nay like him for his
faults."
University of California,
Los Angeles
NOTES TO THE INTRODUCTION
FOOTNOTES:
[1] John Loftis, "Introduction," Gerard Langbaine, _An Account of
the English Dramatick Poets_, The Augustan Reprint Society Special
Publication (Los Angeles, 1971), p. i.
[2] For a bibliographical study of play catalogues, see Carl J.
Stratman, _Dramatic Play Lists, 1591-1963_ (New York, 1966).
[3] William Riley Parker, "Winstanley's _Lives_: An Appraisal," _MLQ_,
VI (1945), 313.
[4] Parker, pp. 317, 315.
[5] Parker, pp. 317-318.
[6] "Just as Phillips copied all of the source citations from Vossius
for the ancients, so he took most of the scholarly references to the
moderns from Edward Leigh's _Treatise_" (Sanford Golding, "The Sources
of the _Theatrum Poetarum_," _PMLA_, LXXVI [1961], 51).
[7] Parker believed that only Winstanley used Kirkman directly, but
Golding shows that Phillips used both Kirkman's 1661 and 1671 lists
(Golding, p. 51).
[8] The 1671 _Catalogue_ is bound, bibliographically independent, with
John Dancer's _Nicomede_, which was published by Kirkman. Kirkman's
earlier list, _A True, Perfect, and Exact Catalogue_ (London, 1661)
contains 685 plays and is bound with _Tom Tyler and His Wife_.
[9] Specifically, the catalogues of Richard Rogers and William Ley and
of Archer, both published in 1656. See Stratman, pp. 7-8.
[10] See, for example, Kirkman, The Stationer to the Reader, in _The
Thracian Wonder_ (1661); this and similar advertisements are reprinted
in Strickland Gibson, _A Bibliography of Francis Kirkman_, Oxford
Bibliographical Society Publications, N. S., I (1949), 73.
[11] Gibson, pp. 93-94.
[12] Principally by W. W. Greg, "Additional Notes on Dramatic
Bibliographers," The Malone Society, _Collections_, II. 3 (1931),
235-236. Based on evidence in the _Account_ Greg later corrected his
attribution from Kirkman to Langbaine: "Gerard Langbaine the Younger
and Nicholas Cox," _The Library_, N. S., XXV. 1 & 2 (1944), 67-69.
[13] It is, however, impossible that Phillips, published in 1675, was
"led into [error] by my Catalogue printed 1680."
[14] _John Dryden: Some Biographical Facts and Problems_, revised
Edition (Gainesville, Fla., 1965), p. 235.
[15] About 30 plays which appear in _An Exact Catalogue_, usually
wrongly attributed, are not brought into _Momus_. These include such
plays as "Cruelty of the Spanish in Peru," "Hieronomo in two parts" and
"Gyles Goose-cap." There are several changes in assignment from _An
Exact Catalogue_ to _Momus_, including "Appius and Virginia" from B. R.
to John Webster. _An Exact Catalogue_ seems to attribute "Virtuoso" to
D'Urfey, but _Momus_ gives it correctly to Shadwell.
[16] This is Osborn's suggestion, p. 235.
[17] Fewer than 25 plays in _Momus_ are missing from the index. Of
these Shakespeare's _Henry VIII_ and Sir Robert Howard's _Committee_
are the most significant. The Index lists several plays which are
omitted from the main list, most interestingly "Revenger's Tragedy, By
C. T."
[18] Osborn, p. 240.
[19] Henry Burnel, _Esq._; James Carlile; _Sir_ John Denham; Joseph
Harris; Will. Mountford; George Powel; John Stephens; _Dr._ Robert
Wild; R. D.; J. W.
[20] "--_Peaps_" and "_J. Swallow_."
[21] Decker, _Wonder of the Kingdom_; Unknown, _Robin Conscience_; and
Unknown, _Woman Will Have Her Will_.
[22] Although Langbaine claims to use "_the best Edition of each
Book_" (Preface, [A3v]), one of his eighteenth-century annotators,
Bishop Percy, is right in saying that "Langbaine's Work would have
been more valuable if he had everywhere set down the First Editions,"
but "the editions referred to" are "such as he happened to have in
his possession." Oldys had earlier expressed the same bibliographical
regret more succinctly: "A woeful Chronologist art thou, Gerard
Langbaine." These opinions are quoted by Alun Watkin-Jones in his
survey of annotated copies of the _Account_: "Langbaine's _Account of
the English Dramatick Poets_ (1691)," _Essays and Studies by Members of
the English Association_, XXI (1936), 77.
[23] For his biography and that of his father, Gerard Langbaine the
Elder, see Anthony Wood, _Athenae Oxonienses_, ed. Philip Bliss
(London, 1813-1820), III, 446-468. There is a note recording an illicit
romance for the son in Andrew Clark, _The Life and Times of Anthony
Wood_ (Oxford, 1891), I, 237-238.
[24] Wood, III, 446.
[25] Wood, III, 366.
[26] The Advertisement is on the recto of a leaf added after [a4];
"The ERRATA for the Preface" appears on the verso. For an account of
Oldham's "A Satyr Against Vertue," published without his consent in
1679, see Wood, IV, 120.
[27] Hugh Macdonald, "The Attacks on Dryden," _Essays and Studies by
Members of the English Association_, XXI (1936), 67.
[28] The Translators Epistle to the Reader, _Amadis de Gaule_ (1652).
[29] Wood, III, 364.
[30] His father's coat of arms is described in Clark, I, 237. But
for a conservative attitude toward use of the address, see Edward
Chamberlayne, _Angliae Notitia: or the Present State of England_, the
First Part, the Fifteenth Edition (London, 1684), p. 344.
[31] Wood, III, 367.
[32] Clifford makes the same charge of plagiarism in equally virulent
language: "And next I will detect your Thefts, letting the World know
how great a Plagery you are ..." (_Notes upon Mr. Dryden's Poems_
[London, 1687], P. 3).
[33] Maximillian E. Novak, "Introduction," Settle, Dryden, Shadwell,
Crowne, Duffet, _The Empress of Morocco and Its Critics_, The Augustan
Reprint Society Special Series (Los Angeles, 1968), pp. i-xix. Novak
also discusses Dryden's quarrels with Howard and the Rota.
[34] _Account_, p. 140, gives new information, or gossip, about
Dryden's pre-Restoration activities.
[35] Loftis, pp. ix-xiii.
[36] This is a focus of Clifford's charges as well: "There is one of
your Virtues which I cannot forbear to animadvert upon, which is your
excess of Modesty; When you tell us in your Postscript to _Granada_,
That _Shakespeare is below the Dullest Writer of Ours, or any precedent
Age_" (p. 10).
[37] Although Shakespeare's "Learning was not extraordinary," Langbaine
"esteem[s] his Plays beyond any that have ever been published in our
Language" (_Account_, pp. 453-454). In both _Momus_ and the _Account_
Langbaine employed the 1685 folio edition of Shakespeare's works which
was printed for Herringman and others and dedicated to the Earls of
Pembroke and Montgomery (Wing 2915, 2916, 2917). He catalogues the
seven plays added in this edition to those of the earlier collected
editions, but contrary to its genre designation in the First Folio
and in this edition, Langbaine refers to _Merchant of Venice_ as
a tragi-comedy and, in _Momus_, lists two parts of "John King of
England." In the _Account_ he changes the designation of _Winter's
Tale_ from comedy to tragi-comedy, and in both catalogues appends
"Birth of Merlin," altering his description of its genre from pastoral
to tragi-comedy.
[38] Wood, III, 449.
[39] See, for example, a review in the _Moderator_, no. 3 (23 June
1692); quoted in Wood, III, 367.
BIBLIOGRAPHICAL NOTE
This facsimile of _Momus Triumphans_ (1688 [1687]) is reproduced from a
copy (*ZPR/640/L271m) in the William Andrews Clark Memorial Library.
Momus Triumphans:
OR, THE
PLAGIARIES
OF THE
English Stage;
Expos'd in a
CATALOGUE
OF ALL THE
_Comedies_,
_Tragi-Comedies_,
_Masques_,
_Tragedies_,
_Opera's_,
_Pastorals_,
_Interludes_, &c.
Both Ancient and Modern, that were ever yet Printed in
_English_. The Names of their Known and Supposed Authors.
Their several Volumes and Editions: With an Account of
the various Originals, as well _English_, _French_, and
_Italian_, as _Greek_ and _Latine_; from whence most of them
have Stole their Plots.
By _GERARD LANGBAINE_ Esq;
_Indice non opus est nostris, nec vindice Libris:
Stat contra dicitq; tibi tua Pagina, Fures._ Mart.
_LONDON_: Printed for _Nicholas Cox_, and are to be Sold by him in
_Oxford_. MDCLXXXVIII.
The Preface.
If it be true, what =Aristotle=[40] that great Philosopher, and Father
of Criticism, has own'd, =that the= Stage =might instruct Mankind
better than= Philosophy it self. If =Homer= was thought by =Horace=[41]
to exceed =Crantor= and =Chrystippus= in the Precepts of Morality; and
if =Sophocles= and =Euripides=, obtained the title of Wise, for their
=Dramatich= Writing, certainly it can be no discredit for any man to
own himself a lover of that sort of Poetry, which has been stiled, =The
School of Vertue and good Manners=? I know there have been many severe
=Cato's= who have endeavoured all they could, to decry the use of the
Stage; but those who please to consult the Writings of the Learned
Dr. =Gager=, =Albericus Gentiles=, Sir =Philip Sidney=, Sir =Richard
Baker=, =Heywood=, the Poet and Actor both in one; not to mention
several others, as the famous =Scaliger=, Monsieur =Hedelin=, =Rapin=,
&c. will find their Objections fully answered, and the Diversion of
the Theatre sufficiently vindicated. I shall therefore without any
Apology, publickly own, that my inclination to this kind of Poetry in
particular, has lead me not onely to the view of most of our Modern
Representations on the Stage, but also to the purchase of all the Plays
I could meet with, in the =English= Tongue; and indeed I have been
Master of above =Nine Hundred= and =Fourscore= English =Plays= and
=Masques=, besides =Drolls= and =Interludes=; and having read most of
them, I think am able to give some tollerable account of the greatest
part of our Dramatick Writers, and their Productions.
The general Use of =Catalogues=, and the esteem they are in at
present, is so well known, that it were to waste Paper to expatiate
on it: I shall therefore onely acquaint my =Reader=, that I designed
=this Catalogue= for their use, who may have the same relish of the
=Dramma= with my self; and may possibly be desirous, either to make
a Collection, or at least have the curiosity to know in =general=,
what has been Publish't in our Language, as likewise to receive some
Remarks on the Writings of =particular= Men.
The =Reasons= that induc'd me to the publishing this =Catalogue=,
were these: =First=, That the former =Catalogues= were out of Print.
=Secondly=, That they were all of them full of groß Errours. =Thirdly=,
That they were not, as I thought, so Methodical as this which I have
now made; wherein the Reader will find the Imperfections I observed in
the former Catalogues, amended; all the Plays which have been Printed
since 1680, to this present time, added; with several Remarks, which
whether or no observed, I cannot tell, but never published by any
Author till now.
To begin then =first= with the Errours of =former= Catalogues, they are
chiefly =Five=:
=First=, There were Plays inserted in all of them, which were never in
Print; as for Brevity's sake, to give =one= instance for many, =The
Amorous Widow, and Wanton Wife=, a Comedy. This is a =Stock-Play=, and
was written (if not Translated from =Mollieres George Dandin=) by Mr.
=Batterton=.
=Secondly=, Some Plays were omitted, which had been Printed very
long ago; as, =Cola's Fury, and Lirenda's Misery=. Written by =Henry
Burkhead=. =The Religious Rebel=; and several others.
=Thirdly=, =Two= Titles which belong'd to one and the same Play, were
frequently printed, as if they had been two =distinct= Plays; as =The
Constant Maid=, or =Love will find out the Way=. Written by =Shirley=.
=Ferex and Porex=, or the Tragedy of =Gorboduc=. Written by =Sackvile=
and =Norton=; with many others.
=Fourthly=, The same Title was often times printed twice, and that
seperately, as if writ by =two several= persons; and sometimes ascrib'd
to =different= Authors likewise; when it was onely a new Edition of the
same Play; as for Example, =Patient Grissel= was again repeated under
the Title of =Patient Grißel Old=. And =Appius= and =Virginia=, written
by =Webster=, is afterwards ascrib'd to =T. B.= though as the deceased
Comedian Mr. =Carthwright=, a Bookseller by Profession, told me, 'twas
onely the old Play Reprinted, and Corrected by the above-mentioned =Mr.
Batterton=; with several others.
=Fifthly=, Some plays are ascribed to =one= Author which were writ by
another; as =Celum Britanicum=, a Masque, is to Sir =William Davenant=,
though it was written by =Carew= and =Jones=. Which fault is rather
to be imputed to the Publishers of Sir =William Davenant='s Workes,
1673, in Folio, than to the Compilers of the former =Catalogue=; who
are more excusable than, Mr. =Phillips= in his =Catalogue= of Poets,
called, =Theatrum Poetarum=; and his Transcriber =Winstanley=, who
has follow'd him at a venture in his Characters of the =Drammatick=
Writers, even to a word, in his =Lives of the English Poets=. Both
these Authors through a mistake of the Method of former Catalogues, and
their Ignorance in what Pieces each =Drammatick= Author had published,
have fallen into very great Errours, as I am going to shew.
The =first= Catalogue that was printed of any worth, was that Collected
by =Kirkman=, a =London= Bookseller, whose chief dealing was in Plays;
which was published 1671, at the end of =Nicomede=, a Tragi-comedy,
Translated from the =French= of Monsieur =Corneille=. This Catalogue
was printed =Alphabetically=, as to the Names of the =Plays=,
but =promiscuously= as to those of the =Authors=, (=Shakspeare=,
=Fletcher=, =Johnson=, and some others of the most voluminous Authors
excepted) each Authors Name being placed over against each Play
that he writ, and still repeated with every several Play, till a
new Author came on. About =Nine= Years after, the Publisher of this
Catalogue, reprinted =Kirkman='s with emendations, but in the same
Form. Notwithstanding the =Anonimous= Plays, one would think easily
distinguishable by the want of an Authors Name before them; yet have
both these charitable kind Gentlemen found Fathers for them, by
ranking each under the Authors Name that preceded them in the former
Catalogues. Thus =Charles= the First is placed by them both to =Nabbs=;
because in both the former Catalogues it followed his =Covent-Garden=:
and for the same reason =Cupid's Whirligig= is ascribed by both of them
to =Goff=; because it follow'd his =Careless Shepherdess=; and so of
many others, too tedious to repeat.
To prevent the like mistake for the future, and to make the Catalogue
more useful, I wholly altered the form: And yet that I might please
those who delight in old Paths, I have Transcribed the same as a Second
Part, after the former way of =Alphabet=, though more Methodically than
formerly, as I shall shew presently.
In this =New= Catalogue the Reader will find the whole to be divided
into =Three= distinct =Classes=. In the first I have placed the
=Declared= Authours, Alphabetically, according to their =Sirnames=, in
=Italick= Characters: and placed the Plays each Authour has written,
underneath in =Roman= Letters, which are rank'd Alphabetically
likewise; so that the Reader may at one glance view each Authours
Labours. Over against each Play, is plac'd as formerly a Letter to
indicate the =nature= of the Dramma: as C. for =Comedy=. T. for
=Tragedy=. T. C. for =Tragi-comedy=. P. for =Pastoral=. O. for =Opera=.
I. for =Interlude=. F. for =Farce=.
And, for the better use of those who may design a Collection, I have
added to the =Letter= the Volume also, (according to the best Edition)
as =Fol. 40o. 8o.= against each Play that I have seen. And for their
further help; where a Play is not printed single, the Reader will be
directed by a Letter or Figure to the bottom of the Colume, where he
will meet with Instructions how it is to be found; I mean, with what
Poems or other Plays it is printed, the Year =when=, the Place =where=,
and the best Edition of each Book so mentioned.
This may seem superfluous at first sight, but may possibly be no longer
thought so, when I shall have acquainted my Reader, that when I was
making my Collection, I found several Plays and Masks, bound up with
other Poems, which by the name were scarce known to the generality
of Booksellers: as for instance, Sir =Robert Howard='s =Blind Lady=;
=Daniel's Philotas=; =Carew='s =Coelum Britanicum=; =Shirley='s
=Triumph of Beauty;= with infinite others. But two Plays I might
particularly mention, both taken notice of in former Catalogues, to
wit, =Gripus and Hegio=, a Pastoral; and =Deorum Dona=, a Masque; both
which were written by =Baron=, and were wholly unknown to all the
Booksellers of whom I happened to enquire, and which I could never
have found but by chance; they being printed in a Romance called, =The
Cyprian Academy=, in 8o. The same I might add of =The Clouds=, (a
Play which was never in any Catalogue before, and was translated from
=Aristophanes='s =Nubes= by =Stanley=, and printed with his =History
of Philosophy=, Fol. =Lond. 1655=, and now newly reprinted; and of
several others) but that I must hasten back to give an Account of the
two other Divisions of my Catalogue. The =one= of which contains those
Plays whose Authors discover themselves but by halves, and =that= to
their intimate Friends, by two Letters only in the =Title-Page=, or
the bottom of their =Epistle=; and in the last Degree are plac'd all
=Anonemous= Plays; and thus compleats the =Fifth= Part.
The =Second= Part contains the Catalogue =Reprinted= in an exact
=Alphabetical= manner, according to the forms of =Dictionaries=, the
Authors Names being here left out as superfluous; and against each Play
is a Figure to direct you to the Page where you may find it in the
First Part.
Thus much as to the Method and Alterations of this Catalogue: Now as to
the Remarks, which are of =three= sorts; the =first= of use, and the
other =two= conducing to Pleasure at least, if not to Profit likewise.
The =First= is to prevent my Readers being impos'd on by crafty
Booksellers, whose custom it is as frequently to vent =old= Plays with
=new= Titles, as it has been the use of the Theatres to dupe the Town,
by acting old Plays under new Names, as if newly writ, and never acted
before; as, =The Counterfeit Bridegroom=, an old Play of =Middleton='s;
=The Debauchee=, another of =Brome='s; =The Match in Newgate=, another
of =Marston='s; with many more, too tedious to repeat. By these Remarks
the Reader will find =The Fond Lady=, to be only the =Amorous Old
Woman=, with a new Title, =The Eunuch=, to be =The Fatal Contract=, a
Play printed above thirty years ago; with many the like.
The =Second= is an Essay towards a more large Account of the =Basis=
on which each Play is built, whether it be founded on any Story or
Passage either in =History=, =Chronicle=, =Romance=, or =Novel=. By
this means the curious Reader may be able to form a Judgment of the
Poets ability in working up a =Dramma=, by comparing his =Play= with
the =Original= Story. I have not been so large and full in this as I
intend hereafter, not having by me several =Chronicles= and =Novels=,
which might have been subservient to my Design, as the =Chronicles=
of =particular= Countries, and the =Novels= of =Cynthio Geraldi=,
=Loredano=, =Bandello=, =Sansorino Belleforreste=, &c. For this reason,
in the Notes on several Plays which I have taken notice of, I have
been forc'd to refer to the Chronicles of a Country in =general=, not
have had time or opportunity to make an exact search what Historian
the Author has =chiefly= follow'd, or what Author has most largely
treated on that particular Action which is the subject of the Dramma.
So in Novels I have been forc'd through Necessity to quote some which
have been printed since the Plays were written to which they are
referred: because I knew that they were extracted and collected from
the Originals, whence the Plot was taken, though I had them not by me:
of which I could produce many instances, were it material.
I would desire my Readers leave to make this Observation by the by,
that a =Drammatick Poet= is not ty'd up to the Rules of =Chronology=,
or =History=, but is at liberty to new-model a Story at his pleasure,
and to change not only the Circumstances of a true Story, but even
the principal Action it self. Of this opinion are most of our modern
Critics; and =Scaliger= observes, not only that 'tis the priviledge
of =Epick= Poets, but also of =Tragedians=.[42] =Quis nescit omnibus
Epicis Poetis Historiam esse pro argumento? quam illi aut adumbratam,
aut illustratam certe alia facie quam ostendunt ex Historia consiciunt,
Poema. Nam quid alius Homeras? Quid Tragicis ipsis faciemus. Sic multâ
Lucano ficta. Patriæ Imago quæ sese offerat Cæsari: excitam ab Interis
animam, atq; alia talia.=[43] This instance of =Lucan=, makes me call
to mind what Sir =William Davenant= says on account of the same Author,
whom he blames for making choice of an Argument so near his own time,
that such an Enterprize rather beseem'd an Historian, than a Poet.
=For= (says he) =wise Poets think it more worthy to seek out truth in
the Passions, than to record the truth of Actions; and practise to
describe mankind just as we are perswaded or guided by instinct, not
particular persons, as they are lifted, or levelled by the force of
Fate, it being nobler to contemplate the general History of Nature,
than a selected Diary of Fortune=. So that we see the busineß of a Poet
is to =refine= upon History; and Reformation of Manners is so much his
busineß, that he is not to represent things on the Stage, as he finds
them =recorded= in History, but as they =ought= to have been: and
therefore we are not to make =History= so much the Standard and Rule of
our Judgment, as =Decency= and =Probability=. For indeed, provided the
Author shew Judgment in the heightning and working up of his Story, it
matters not whether the Play be founded on =History=, or =Romance=, or
whether the Story be his own, or another's Invention.
The last sort of Remarks, relate to Thefts: for having read most of
our English Plays, as well ancient as those of latter date, I found
that our modern Writers had made Incursions into the deceas'd Authors
Labours, and robb'd them of their Fame. I am not a sufficient Casuist
to determine whether that severe Sentance of =Synesius= be true, =Magis
impium Mortuorum Lucubrationes quam vestes furari=; That 'tis a worse
sin to steal dead mens Writings, than their Clothes: but I know that
I cannot do a better service to their memory, than by taking notice
of the Plagiaries, who have been so free to borrow, and to endeavour
to vindicate the Fame of these ancient Authors from whom they took
their Spoiles. For this reason I have observ'd what Thefts I have met
with throughout the Catalogue, and have endeavour'd a restitution to
their right Owners, and a prevention of the Readers being impos'd on
by the Plagiary, as the Patrons of several of our Plays have been by
our Modern Poets. But none certainly has attempted it with greater
confidence, than he that stiles himself the Author of =The Country
Innocence=, or =The Chambermaid turn'd Quaker=: a Play which was acted
and printed in the year 1677, but first publish'd many years before by
its genuine Author =Ant. Brewer=.
It is not to those of our own Nation only, but to Forreigners also,
that I have endeavour'd to do Justice. For that reason I have remark'd
(as far as my knowledge would permit me) what has been translated or
stollen from =Tasso=, =Guarini=, =Bonarelli=, =Garnier=, =Scarron=,
both the =Corneilles=, =Molliere=, =Rucine=, =Quinault=, and others
both =French= and =Italians=. Neither have I omitted, to my power,
to do right likewise to the ancient =Greek= and =Latin= Poets, that
have written in this way, as =Sophocles=, =Euripides=, =Æschylus=,
=Aristophanes=, =Seneca=, =Plautus=, =Terence=, &c. I must acknowledge,
with regret, that these are not so well known to me as I could wish;
but yet as far as my power, I have endeavour'd to do right to their
Memories. But I dare assure my Reader, that for the future it shall be
more my busineß to obtain a more intimate acquaintance with all worthy
Strangers, as well as with my own Countrymen, so that if this Trifle
should have the fortune to appear abroad a second time, it shall be
more compleat and correct, than the shortneß of the time, and my small
acquaintance with Authors at present allow; the Catalogue being in the
Preß, and the first sheet of it set, before I thought of adding these
Remarks.
But before I quit this Paper, I desire my Readers leave to take a View
of =Plagiaries= in =general=, and that we may observe the different
proceedings between the =Ancients= and our =Modern= Writers. This
Art has reign'd in all Ages, and is as ancient almost as Learning
it self. If we take it in its general Acceptation, and according to
the extent of the word, we shall find the most Eminent Poets (not
to move excentrically and out of our present Sphere) are liable to
the charge and imputation of =Plagiary=. =Homer= himself is not free
from it, if we will give credit to =Suidas=, =Ælian=, and others: and
that the invention of the =Iliad= is not wholly due to him, seems to
be confirm'd by the Testimony of =Aristotle=, who mentions a =small
Iliad=,[44] which was written before his was produced. But whether
there be any ground, for this Opinion, or no, certain it is that the
most eminent Poets amongst the =Romans=, I mean =Virgil= and =Ovid=,
made use of the Grecian Magazines, to supply their Inventions. To
prove this, let us first consider =Virgil=, stil'd the King of Poets
by =Scaliger=, and in the opinion of =Propertius= exceeding =Homer=
himself, as appears by the following Lines[45] so well known amongst
all learned men,
=Cedite Romani Scriptores, cedite Graii,
Nescio, quid majus nascitur Æneade.=
Yet even this great man has borrow'd in all his Works; from
=Theocritus=, in his =Eclogues=; from =Hesiod= and =Aratus=, in his
=Georgicks=; and from =Homer= and =Pisander=, in his =Æneads=: besides
what he has borrow'd from =Parthenius Nicæus=, his Tutor in the =Greek=
Tongue, and from =Q. Ennius= an ancient =Latin= Poet; as you may read
more at large in =Macrobius=.[46] If we consider =Ovid=, the Flower
of the =Roman= Wit, we shall find him imitating at least, if not
borrowing from, the forementioned =Parthenius=: his =Metamorphosis=,
that Divine Poem, (as =Ant. Muretus=[47] stiles it in his Orations)
being built upon that Poem writ in the =Greek= Tongue, which bore the
same Name, and handled the same Subject, as we are told by =Plutarch=
and =Eustathius=. And if to these we add that worthy =Carthaginian
Terence=, who by the kindneß of the generous =Lucan=, was at once
made a free man and Citizen of =Rome=, and whom on the account of his
Comedies written in the =Latin= Tongue, we may number among the =Roman=
Writers: we shall find him likewise beholding, for his Productions, to
that eminent =Athenian= Poet =Menander=.
But let us now observe how these Eminent Men manage what they borrow'd;
and then compare them with those of our times. =First=, They propos'd
to themselves those Authors whose Works they borrow'd from, for
their Model. =Secondly=, They were cautious to borrow only what they
found beautiful in them, and rejected the rest. This is prov'd by
=Virgil='s Answer concerning =Ennius= his Works, when he was ask'd
by one who saw him reading, what he was about, reply'd, =Aurum se ex
Enii stercore colligere=. =Thirdly=, They plainly confess'd what they
borrow'd, and modestly ascrib'd the credit of it to the Author whence
'twas originally taken. Thus =Terence= owns his Translations in his
=Prologue= to =Eunuchus=.
=Qui bene vertendo, & eas discribendo malè
Ex Græcis bonis, Latinas fecit non bonas.=
This behaviour =Pliny=[48] commends in these words: =Est enim benignum
& plenum ingenium Pudoris, fateri per quos profeceris=: and after
having blam'd the Plagiaries of his time, he commends =Cicero= for
making mention of =Plato=, =Crantor=, and =Panætius=, whom he made
use of in his Works: and let it be observ'd by our =Modern= Poets,
that though our modest =Carthaginian= own'd his Translations, yet was
he not the leß esteem'd by the =Romans=, or his Poems leß valu'd for
it. Nay, even in =this= Age he is universally commended by learned
men, and the judicious =Rapin= gives =him= a Character, which I doubt
few of our Age will deserve. Terence[49] =a ecrit d'une Maniere, & si
naturelle, & si judicieuse, que de Copie qu'il estoit il est devenu
original: car jamais Auteur n'a eu un goust plus par de la Nature=.
=Lastly=, Whatsoever these ancient Poets (particularly =Virgil=) copyed
from =any= Author, they took care not only to alter it for their
purpose; but to add to the beauty of it: and afterwards to insert it
so =handsomly= into their Poems, (the body and Oeconomy of which was
generally their own) that what they =borrow'd=, seem'd of the same
Contexture with what was =originally= theirs. So that it might be truly
said of =them=; =Apparet unde sumptum sit, aliud tamen quam unde sit,
apparet=.
If we =now= on the =other side= examine the proceedings of our late
=English= Writers, we shall find them diametrically opposite in all
things. =Shakspear= and =Johnson= indeed imitated these Illustrious Men
I have cited; the =one= having borrow'd the Comedy of Errours from the
=Menechmi= of =Plautus=; the =other= has made use not only of him, but
of =Horace=, =Ovid=, =Juvenal=, =Salust=, and several others, according
to his occasions: for which he is commended by Mr. =Dryden=,[50]
=as having thereby beautified our Language=: and Mr. =Rymer=, whose
Judgment of him is this; =I cannot= (says he) =be displeas'd with
honest= Ben,[51] =when he chuses rather to borrow a Melon of his
Neighbour, than to treat us with a Pumpion of his own growth=. But for
the most part we are treated far otherwise; not with sound =Roman=
Wit, as in =Ben='s time, but with empty =French= Kickshaws, which yet
our Poetical Hosts serve up to us for Regales of their own Cookery;
and yet they themselves undervalue that very Nation to whom they are
oblig'd for the best share of their Treat. Thus our =Laureat= himself
runs down the =French= Wit in his =Marriage a la Mode=, and steals
from =Molliere= in his =Mock Astrologer=; and which makes it more
observable, at the same time he does so, pretends in his =Epistle=
to justifie himself from the imputation of Theft: =Not unlike the
Cunning of a Jugler= (to apply his own Simile to him) [Epistle to
the =Spanish= Fryer] =who is always staring us in the Face, and
overwhelming us with Gibberish, only that he may gain the opportunity
of making the cleanlier conveyance of his Trick.=[52] I will wave the
Epistle to this Play, which seems to be the Picture of Bays in little,
yet I cannot omit one Observation more, which is, that our =Laureat=
should borrow from =Old Flecknoe=, whom he so much despises: and yet
whoever pleases to read =Flecknoe's Damoyselles a la Mode=, will find
that they have furnisht Mr. =Dryden= with those =refin'd= Expressions
which his =Retrenching= Lady =Donna Aurelea= makes use of, as =the
Counsellor of the Graces=, and that =furious indigence of Ribons=. But
possibly he will own that he borrow'd them as =Father Flecknoe= did,
from =Mollieres Les Precieuses Ridicules=: however, I hope he will
allow that these Expressions better suit, with the =Spiritual= Temper
of those =French= Damsels, than with the known Gravity of the =Spanish=
Ladies. I hope Mr. =Dryden= will pardon me this Discovery, it being
absolutely necessary to my design of Restoring what I could to the true
Authors: and this Maxim I learnt from his own Father =Aldo=, Every one
must have their Own.[53] =Fiat Justitia, aut ruat Mundus.= In pursuance
to which, I own that Mr. =Dryden= has many Excellencies which far
out-weigh his Faults; he is an excellent =Critick=, and a good =Poet=,
his Stile is smooth and fluent, and he has written well, both in Verse
and Prose. I own that I admire him, as much as any man;
----=Neque ego illi detrahere ausim,
Hærentem Capiti multâ cum Laude Coronam.=[54]
But at the same time I cannot but blame him for taxing others with
stealing Characters from him, (as he does =Settle= in his =Notes on
Morocco=) when he himself does =the same=, almost in all the Plays he
writes; and for arraigning his Predecessours for stealing from the
=Ancients=, as he does =Johnson=; which tis evident that he himself
is guilty of the same. I would therefore desire our Laureat, that he
would follow that good Advice which the modest History Professor Mr.
=Wheare= gives to the young Academick in his =Antelogium, to shun this,
Confidence and Self-love, as the worst of Plagues; and to= consider
that =Modesty is it which becomes every Age, and leads all that follow
her in the streight, and right Path to solid= =Glory; without it we
are hurld down Precepices, and instead of acquiring Honour, become
the scorn of Men, and instead of a good Fame, we return loaden with
Ignominy and Contempt.=[55]
I have not time to examine the Thefts of other Plagiaries in
particular, both from the =French= and our =own= Language, and
therefore shall onely desire them to consider this Sentence of
=Pliny=:[56] =Obnoxii profecto animi, & infelicis ingenii est,
deprehendere infurto malle, quam mutuum reddere cum presertim sors fiat
ex usurâ=.
Althô I condemn =Plagiaries=, yet I would not be thought to reckon
as such either =Translators=, or those who =own= what they borrow
from other Authors: for as 'tis commendable in any man to advantage
the =Publick=; so it is manifest, that those Authors have done so,
who have contributed to the Knowledge of the =Unlearned=, by their
excellent =Versions=: Yet at the same time I cannot but esteem them as
the =worst= of Plagiaries, who steal from the Writings of those of our
own Nation. Because he that borrows from the worst =Forreign= Author,
may possibly import, even amongst a great deal of trash, =somewhat= of
value: whereas the former makes us pay extortion for =that= which was
our own before.
For this reason I must distinguish one of our best Comick-Writers,[57]
from the =common Herd= of =Translators=; since though proportionate
to his Writings, none of our =modern= Poets have borrow'd leß; yet
has he dealt ingenuously with the World, and if I mistake not, has
=publickly= own'd, either in his =Prefaces=, or =Prologues=, =all= that
he has borrow'd; which I the rather take notice of, because it is so
=little= practised in =this= Age. 'Tis true indeed, what is borrow'd
from =Shakspeare= or =Fletcher=, is usually own'd by our Poets,
because every one would be able to convict them of Theft, should they
endeavour to conceal it. But in what has been stolen from Authors not
so generally known, as =Murston=, =Middleton=, =Massenger=, &c. we find
our Poets playing the parts of =Bathyllus= to =Virgil=, and robbing
them of that Fame, which is as justly their due, as the Reward the
Emperour =Augustus= had promised to the Author of that known =Distich=
affixed on the Court Gate, was to =Virgil=.
Neither can this Imputation be laid at the doors of such who are
onely Imitators of the Works of others, amongst which, are admired
Sir =Charles Sidley=, and the inimitable M. =Wytcherley=: The last of
which, if I mistake not, has Copied =Mollieres le Misanthrope=, in
his Character of the =Plain Dealer=; and his =Celimene=, in that of
=Olivia=: but =so well=, that though the Character of the =Misanthrope=
be accounted by =Rapin=,[58] =Te Caractere le plus achevee=; The
compleatest Character, and the most singular that ever appeared on
the Stage: yet certainly =our Poet= has equaled, if not exceeded
his Copy. Imitation which =Longinus= commends in =Stesichorus=,
=Archilochus=, and =Herodotus=, all of them being imitators of =Homer=;
but particularly he says of =Plato=: #Pantôn de toutôn malista ho
Platôn, apo tou homêrikou ekeinou namatos eis hauton myrias hosas
paratropas apocheteusamenos#[59] =Sed omnium hujus Poetæ studiosissimus
imitator suit Plato, ab illis Homericis Laticibus ad se seductos vivos
quam-plurimos transferens.=
But to put an end to these =Observations=, which may prove =alike
troublesome= to the Reader, as well as to the Poets: I must say this
for our Countrymen, That notwithstanding our =Modern= Authors have
borrow'd =much= from the =French=, and other Nations, yet have we
several Pieces, if I may so say, of our =own= Manefacture, which
equal at least, any of our Neighbours productions. This is a truth
so =generally= known, that I need not bring instances to prove, that
in the =humour= of our =Comedies=, and in the =characters= of our
=Tragedies=, we do not yeild to =any other= Nation. 'Tis true the
=unities= of =Time=, =Place=, and =Action=, which are generally allowed
to be the Beauties of a Play, and which the =French= are so careful
to observe, add all lusture to their Plays; nevertheleß, several of
our Poets have given proof, that did our Nation more regard them,
they could practice them with equal succeß: But as a =correct Play=
is not so much understood, or at least regarded by the generality
of Spectators; and that few of our Poets now-a-days write so much
for =Honour= as =Profit=: they are therefore content to please at an
easier rate. But would some =great Man= appear here in the defence of
=Poetry=, and for the support of =good= Poets, as the great Cardinal
=Richlieu=, that Noble Patron of Arts and Sciences, did in =France=;
I doubt not but we should find =several= Authors, who would quickly
evince, that neither the Writings of =Aristotle=, or the practice of
those admirable Rules laid down by that =Father= of =Criticism=, and
his best Commentator, =Horace=; with the rest of those eminent Men,
that have written on the =Art of the Stage=, are unknown to them.
But in the mean time, would our =Nobility= and =Gentry=, who delight
in Plays, but allow themselves so much time, as to read over what is
extant on this Subject in =English=, as, =Ben Johnson's= Discoveries;
=Roscommon='s Translation of =Horace='s Art of Poetry; =Rapin='s
Reflections on =Aristotle='s Treatise of Poetry; =Longinus= of the
loftineß of Speech; =Boyleau='s Art of Poetry; =Hedelin='s Art of
the Stage; =Euremont='s Essays; =Rimer='s Tragedies of the last Age
considered; =Dryden='s Drammatick Essay; and several others; though
they understood none but their native Language, and consequently
could not read what =Vossius=, =Heinsius=, =Scaliger=, =Plutarch=,
=Athenæus=, =Titius Giraldus=, =Castelvetro=, =Lope de Vega=,
=Corneille=, =Menardiere=, and others which have written to the same
purpose in several Languages; yet those which are to be met with in
=English=, are sufficient to inform them, both in the =excellency= of
the Poetick Art, and the Rules which Poets follow, with the Reasons
of them: They would then find their Pleasure encrease with their
Knowledge; and they would have the greater satisfaction in seeing a
=correct Play=, by how much they were capable (by the help of these
Rules) to discern the =Beauties= of it; and the greater value for a
=good= Poet, by how much they were sensible of the Pains and Study
requisite to bring such a Poem to perfection. This would advance the
fame of =good= Poets, and procure them =Patrons= amongst the =Nobility=
and =Gentry=, and through their =Emulation= to exceed each other,
=Poetry= might in a few Years be advanced to the =same= Perfection that
it was in formerly, at =Rome= and =Athens=.
GERARD LANGBAINE.
ERRATA.
By reason of my great distance from the Preß, several confederate
=Errata's= are to be met with throughout; but the most material are
these which follow: Which the Reader is desired to Pardon and Correct.
=In the Catalogue it self.=
Page 6. =The Wits= is left out, a Play of Sir =W. Davenant=. p. 10.
=Courageous Turk=, &c. for 4o read 8o p. 11. =Play of Love=, &c. dele
4o, for I never saw but the first Play. p. 13. for =Hymenes= read
=Hymenæi=. p. 16. for =Antiquarary= read =Antiquary=. p. 17. =Heyre=
for 8o read 4o. p. 25. for =Loyal Brother= read =Revenger's Tragedy=.
=In the Notes.=
Page 7. and so throughout, for =in vitam= read =in vitâ=, and
=in vitas= read =in vitis=. p. 9. Note [177] for =Procopis= read
=Procopii=. p. 10. N. [196] add the Line of the next Page, =viz.= Plot
from =Guiciardine='s History of =Italy=, p. 11. dele and from =Poetical
History=, ibid. to N. [197] instead of what is Printed, read, These
three Plays are Translated from =Seneca=, and Printed with the rest,
=Lond.= 1581. p. 13. N. [220] for Book the Ninth, Satyr the first Part,
read, Book the First, Satyr 9. p. 17. N. [275] for =du Bee=, read =du
Bec=. p. 18. N. [288] for Fourteen, read Thirteen, and for Three, read
Five. p. 19. N. [300] belongs to =Cambyses=. p. 20. N. [313] for =Mons=
read =Monsieur=. p. 21. N. [324] for =Mænectrini=, read =Mænechmi=.
p. 22. N. [344] for 1581, read 1653. =ibid.=, to =Triumph of Beauty=,
add (=k=) with this Note, Printed with his Poems, =Lond.= 1646. p. 25.
N. [370] for Publish'd, read Reprinted. =ibid.= N. [372] for =Musæe
Erotoprgnion=, read =Musæi Erotopagnion=. p. 24. N. [368] for =K=.
read =Prince=. p. 25. N. [381] to =Observationum=, add =Medicarum
Volumen=. p. 27. N. [393] for Poem, read Play. =ibid.= N. [397] belongs
to =French Conjurer=, and N. [398] to =Witty Combat=. p. 28. N. [407]
belongs to =Thornby-Abby=: N. [408] to =Marriage Broker=, and the last
Line to =Menechmus=. p. 31. N. [447] belongs to =Rivals=.
FOOTNOTES:
[40] Poet. c. 10.
[41] Epist. 2. ad Lollium
[42] Poetices. Lib. 1,. c. 2.
[43] Pref. to _Gondibert_, p. 2.
[44] Poet. c. 23.
[45] =Poet. l. 3. cap. 15.=
[46] =Saturnalia, l. 5. c. 11. l. 6. c. 1.=
[47] =Vol. 2. Orat. 3.=
[48] =Epist. ad Tit. Vespar.=
[49] =Reflect. 26, part 2.=
[50] =Epist. to Mock Astrologer.=
[51] =Tragedies of the last Age=, p. 143.
[52] Ep. to the Spanish Fryer.
[53] Kind Keeper.
[54] Hor. Sat. 10. 1., 1.,
[55] Mr. _Bohun's_, translat.
[56] Ep. ad TY.
[57] Mr. =Shadwell=.
[58] =Reflect. 26.= part. 2
[59] #Peri hypssous# Sect. 11.
A
Catalogue of Plays,
WITH THEIR
_Known or Supposed_ AUTHORS, &c.
Will. Alexander, Lord Sterline.
{[60]Alexandrian Trag. Tr. Fol.
{[61]Croesus T. Fol.
[62] {[63]Darius T. Fol.
{[64]Julius Cæsar T. Fol.
Robert Armin.
Maids of Moorclack H.
Barnaby Barnes.
[65] Devil's Charter. T. 4o.
Samuel Brandon.
[66] Virtuous Octavia T. C. 8o.
Henry Burkhead.
Colas Fury, or Lyrindas Misery. T. 4o
Robert Baron.
[67] {Gripus & Hegio P. 8o
{Deorum Dona M. 8o
[68] Mirza T. 8o
Anthony Brewer.
Country Girl Com. 4o
[69] Love-sick King T. C. 4o
Nicholas Breton.
Old mans Lesson, and Young mans Love I. 4o
Dabridgecourt Belchier.
See me, and see me not C. 4o
Francis Beaumont, Vide Fletcher.
Richard Bernard.
Terence's Comedies, _viz._
Andræa. }
Adelphi. }
Evnuchus. }
Heautontimorumenos. } 4o
Hecyra. }
Phormio. }
Lodow. Barrey.
Ram-Alley, or Merry Tricks. C. 4o.
Richard Brome.
{Court Beggar C.}
{City Wit C.}
[70] {Damoyselle C.} 8o
{Mad couple well matcht. C.}
{Novella C.}
{Covent Garden weeded. C. 8o
{English Moor C. 8o
[71] {Love-sick Court C. 8o
{New Exchange C. 8o
{Queen and Concubine C. 8o
Antipodes C. 4o
[72] Jovial Crew C. 4o
[73] Northern Lass C. 4o
Queens Exchange C. 4o
Sparagus Garden C. 4o
Alexander Brome.
Cunning, Lover C. 4o
Fulk, =Lord= Brook.
[74] {Alaham T. Fo.
[75] {Mustapha T. Fo.
Abraham Baily.
Spightful Sister C. 4o
=Mrs.= Frances Boothby.
Marcelia T. C. 4o
John Bancroft.
Sertorius T. 4o
=Mrs.= Astrea Behn.
Amorous Prince T. C. 4o
[76] Abdellazar, or the Moors Revenge T. 4o
[77] City Heiress C. 4o
[78] Dutch Lover C. 4o
[79] Emperour of the Moon F. 4.o
Forc'd Marriage T. C. 4o
False Count C. 4o
Feign'd Courtezans C. 4o
Lucky Chance C. 4o
[80] Rover, two Parts C. 4o
[81] Roundheads C. 4o
[82] Sir Patient Fancy C. 4o
[83] Town-Fopp, or Sir Timothy Tawdry C. 4o
[84] Young King T. C. 4o
Capt. William Bedloe.
Excommunicated Prince T. C. Fo.
John Banks.
[85] Destruction of Troy T. 4o
[86] Rival Kings T. 4o
[87] Unhappy Favourite-_Essex_ T. 4o
[88] Mary, Queen of _Scotland_ T. 4o
[89] Virtue Betray'd-_An. Bullen._ T. 4o
George Chapman.
All Fools C. 4o
[90] Alphonsus, Emperor of Germany T. 4o
Blind Beggar of Alexandria C. 4o
[91] {Bussy D'Amboys T. 4o
{---- His Revenge T. 4o
[92] {Byron's Conspiracy T. 4o
{---- His Tragedy T. 4o
[93] Cæsar and Pompey T. 4o
Gentleman Usher C. 4o
Humorous Days Mirth C. 4o
May Day C. 4o
Monsieur D' Olive C. 4o
Masque of the Middle Temple. M. 4o
Revenge for Honour T. 4o
Temple M. 4o
Two Wise Men, and all the rest Fools C. 4o
[94] Widows tears C. 4o
[95] Eastward Hoe C. 4o
Robert Cox.
[96] Actæon and Diana I. 4o
John Cook.
Green's Tu Quoque C. 4o
Edward Cook.
[97] Loves Triumph T. C. 4o
Thomas Carew, and Inigo Jones.
[98] Coelum Britannicum M. 8o
Lady Eliz. Carew.
[99] Mariam T. 4o
Robert Chamberlain.
Swaggering Damoyselle C. 4o
William Chamberlain.
Loves Victory C. 4o
[100]Lodowick Carlell.
Arviragus and Philicia, two Parts T. C. 12o
Fool would be a Favourite T. C. 8o
Deserving Favourite T. C. 8o
[101]Osmond the Great Turk T. 8o
Passionate Lovers, two Parts. T. C. 8o
[102]Heraclius Emperour of the East T. 4o
Abraham Cowley.
[103]Cutter of Coleman-street C. 4o
Guardian C. 4o
[104]Loves Riddle P. Fol.
[105]William Carthwright.
Lady Errant T. C. 8o
Ordinary C. 8o
Royal Slave T. C. 8o
[106]Siege T. C. 8o
[107]Sir Aston Cockain.
Obstinate Lady C. 8o
[108]Ovid T. 8o
[109]Trapolin suppos'd a Prince. T. C. 8o
Richard Carpenter.
Pragmatical Jesuit C. 4o
Charles Cotton.
[110]Horrace T. 4o
John Corey.
[111]Generous Enemies C. 4o
John Crown.
[112]Andromache T. 4o
Ambitious States-man T. 4o
City Politiques C. 4o
[113]Country Wit C. 4o
[114]Charles the Eighth T. 4o
[115]Calisto M. 4o
[116]Destruct. of Jerusal. 2 Pts. T. 4o
[117]{Henry the sixth T. 4o
{----The second Part, or the Miseries of Civil War T. 4o
Juliana, Princess of Poland. T. C. 4o
[118]Sir Courtly Nice C. 4o
[119]Thiestes T. 4o
John Day.
Blind Beggar of Bednal Green. C. 4o
Humour out of Breath C.
[120]Isle of Gulls C. 4o
Law Tricks C. 4o
Parliament of Bees M. 4o
[121]Travels of three English Brothers H. 4o
Robert Dawbourn.
Christian turn'd Turk T. 4o
Poor Mans Comfort C. 4o
[122]Samuel Daniel.
[123]Cleopatra T. 4o
Hymens Triumph P. 4o
[124]Philotas T. 4o
Queens Arcadia P. 4o
Vision of the twelve Goddesses M. 4o
Robert Davenport.
[125]City Night-Cap C. 4o
[126]John and Matilda T. 4o
Thomas Decker.
Fortunatus C. 4o
Honest Whore, two Parts C. 4o
If this be'nt a good Play, the Devil's in't C. 4o
Match me in London C. 4o
{Northward Hoe C. 4o
[127]{Westward Hoe H. 4o
{Wyat's History H. 4o
Untrussing of the Humorous Poet C. 4o
Whore of Babylon C. 4o
Wonder of a Kingdom C. 4o
[128]Witch of Edmonton T. 4o
[129]Sir Will. D'Avenant.
[130]Albovine T. Fol.
Cruel Brother T. Fol.
Distresses C. Fol.
Fair Favourite T. C. Fol.
Just Italian T. C. Fol.
Love and Honour T. C. Fol.
[131]Law against Lovers T. C. Fol.
[132]Man's the Master C. Fol.
Platonick Lovers C. Fol.
[133]Play-House to be Lett C. Fol.
Siege T. C. Fol.
Siege of Rhodes, two Parts. T. C. Fo.
Temple of Love M. Fol.
Triumph of the Prince D'Amour M. Fol.
Unfortunate Lovers T. Fol.
[134]Coelum Britannicum. M. Fol.
News from Plymouth C. Fol.
Britannia Triumphans M. 4o
Dr. Charles D'Avenant.
Circe O. 4o
Tho. Denham.
[135]Sophy T. 8o
John Dancer.
[136]Aminta P. 8o
[137]Agrippa King of Alba. T. C. 4o
[138]Nicomede T. C. 4o
John Dryden.
[139]Amboyna T. 4o
[140]Assignation C. 4o
[141]----Auringzebe T. C. 4o
[142]All for Love T. 4o
Albion and Albanius O. Fol.
[143]Conquest of Granada, two Parts T. C. 4o
[144]Evenings Love, or Mock-Astrologer C. 4o
[145]Indian Emperour T. C. 4o
Kind Keeper, or Mr. Lymberham C. 4o
[146]Maiden Queen T. C. 4o
[147]Marriage A-la-mode C. 4o
[148]Maximin T. 4o
[149]Mistaken Husband C. 4o
Rival Ladies T. C. 4o
[150]Sir Martin Mar-all C. 4o
[151]State of Innocence C. 4o
[152]Spanish Fryar T. C. 4o
[153]Tempest C. 4o
Tyrannick Love, or Royal Martyr T. 4o
[154]Troylus and Cressida T. 4o
Wild Gallant C. 4o
[157]{[155]Duke of Guise T. 4o
{[156]Oedipus T. 4o
John Dover.
Roman Generals T. C. 4o
Thomas Durfey.
[158]Banditti C. 4o
[159]Common-wealth of Women T. C. 4o
Fool turn'd Critick C. 4o
Fond Husband C. 4o
[160]Injured Princess T. C. 4o
[161]Madam Fickle C. 4o
Siege of Memphis T. 4o
[162]Squire Old Sapp C. 4o
Royallist C. 4o
[163]Mr. Barnaby Whigg C. 4o
[164]Trick for Trick C. 4o
Virtuous Wife C. 4o
_Tho. Duffet._
Mock-Tempest F. 4o
Spanish Rogue C. 4o
_Sir George Etheridge._
Love in a Tub C. 4o
Man of Mode, or Sir Fopling Flutter C. 4o
She wou'd if she cou'd C. 4o
_Edward Eccleston._
[165]Noah's Flood O. 4o
[166]_John Fletcher, and Francis Beaumont._
Beggars Bush C. Fol.
[167]Bonduca T. Fol.
[168]Bloody Brother, or Rollo D. of Normandy. T. Fol.
Custom of the Country T. C. Fol.
[169]Chances C. Fol.
Captain C. Fol.
Coxcomb C. Fol.
Cupid's Revenge C. Fol.
Coronation T. C. Fol.
Double Marriage T. C. Fol.
Elder Brother C. Fol.
False One T. Fol.
Four Plays in One T. C. Fol.
Faithful Shepherdess P. Fol.
Fair Maid of the Inn C. Fol.
Honest Man's Fortune C. Fol.
Humerous Lieutenant T. C. Fol.
[170]Island Princess T. C. Fol.
King and no King T. C. Fol.
Knight of the Burning Pestle. C. Fol.
Knight of Malta T. C. Fol.
[171]Little French Lawyer C. Fol.
Loyal Subject T. C. Fol.
Laws of Candy C. Fol.
[172]Lovers Progress T. C. Fol
Loves Cure C. Fol.
[173]Loves Pilgrimage C. Fol
Mad Lover C. Fol.
[174]Maid in the Mill C. Fol.
Masque of Grays-Inn Gent. M. Fol.
Monsieur Thomas C. Fol.
Maids Tragedy T. Fol.
Noble Gentleman C. Fol.
Nice Valour T. C. Fol.
Night Walker C. Fol.
Prophetess T. C. Fol.
Pilgrim T. C. Fol.
Philaster T. C. Fol.
Queen of Corinth T. C. Fol.
Rule a Wife, and have a Wife C. Fol.
[175]Spanish Curate C. Fol.
Sea Voyage T. C. Fol.
Scornful Lady C. Fol.
[176]Thierry and Theodoret T. Fol. & 4o
Two Noble Kinsmen T. C. Fol.
[177]Valentinian T. Fol. & 4o
Womans Prize C. Fol.
Women pleas'd C. Fol.
Wife for a Month C. Fol.
Wit at several Weapons C. Fol.
Wild-goose Chase C. Fol.
Woman Hater C. Fol.
Wit without Money C. Fol.
_Nathaniel Field._
Amends for Ladies C. 4o
Womans a Weather-cock C. 4o
_John Ford. v. Decker._
Broken Heart T. 4o
Fancies C. 4o
Lovers Melancholy T. 4o
Loves Sacrifice T. 4o
Ladies Tryal T. 4o
[178]Perkin Warbeck H. 4o
Pity she's a Whore T. 4o
[179]Suns Darling C. 4o
_Thomas Ford._
[180]Loves Labyrinth T. C. 4o
_Abraham Fraunce._
Countess of Pembroke's Ivy Church, 2 Parts P. 4o
_Richard Flecknoe._
[181]Damoyselles a-la-mode C. 8o
Erminia T. C. 8o
[182]{Loves Kingdom T. C. 8o
{Loves Dominion P. 8o
Marriage of Oceanus and Britannia M.
_Ulpian Fulwell._
Like will to like, quoth the Devil to the Collier C. 4o
_J. Fountain._
Reward of Virtue C. 4o
_Sir Ralph Freeman._
Imperiale T. 4o
_Lord Viscount Faulkland._
Marriage Night T. 4o
_Sir Richard Fanshaw._
[183]Pastor Fido P. 8o
_Sir Francis Fane_, Jun.
[184]Love in the Dark T. C. 4o
Sacrifice T. 4o
_Henry Glapthorn._
Albertus Wallenstine T. 4o
[185]Argalus and Parthenia P. 4o
Hollander C. 4o
Ladies Priviledge C. 4o
Wit in a Constable C. 4o
_Tho. Goff._
Careless Shepherdess P. 4o
[186]Selimus T. 4o
{[187]Courageous Turk. }
[190]{[188]Orestes. }T. 4o
{[189]Raging Turk. }
_Robert Green._
[191]Fryer Bacon C. 4o
[192]Looking-glass for London H. 4o
_George Gerbyer._
False Favourite disgrac'd T. C. 8o
_George Gascoign._
Glass of Government T. C. 4o
[193]Jocasta T. 4o
[194]Supposes C. 4o
Pleasure at Kenelworth-Castle M.
_Francis Gouldsmith._
[195]Joseph T. C. 8o
_Robert Gomersall._
[196]Sforza Duke of Millain T. 8o
_Alexander Green._
Politician Cheated C. 4o
John Heywood.
Four P. P. I. 4o
Play of Love I. 4o
Play of the Weather I. 4o
Play between John the Husband, and Tib his Wife. I. 4o
Play between the Pardoner, Fryar, Curate, and Neighbour
Pratt. I. 4o
Play of Gentileness and Nobility, 2 Parts. I. 4o
[197]Jasper Heywood.
Hercules Furiens }
Thyestes }T. 4o
Troas }
Tho. Heywood, vide Ford.
{ {Golden Age }H. 4o
{[198]{Silver Age }
[200]{ {Brazen Age C. 4o
{[199]Iron Age, 2 Parts H. 4o
Challenge for Beauty C. 4o
[201]Dutchess of Suffolk H. 4o
English Traveller C. 4o
Edward the Fourth, 2 Parts H. 4o
[202]Elizabeth's Troubles, 2 Pts. H. 4o
[203]Fair Maid of the West, Two Parts. C. 4o
Four London-Prentices H. 4o
Fair Maid of the Exchange C. 4o
[204]Fortune by Land and Sea. H. 4o
[205]Lancashire Witches C. 4o
[206]Loves Mistress M. 4o
Maidenhead well lost C. 4o
[207]Rape of Lucrece T. 4o
[208]{Robert Earl of Huntingdon's Downfall. H. 4o
{--His Death T. 4o
Woman kill'd with Kindness C. 4o
Wise Woman of Hogsden C. 4o
William Habington.
Queen of Arragon Folio.
Charles Hool.
[209]Terence's Comedies C. 8o
Peter Hausted.
Rival Friends C. 4o
Barton Holiday.
Marriage of the Arts C. 4o
William Hemings.
[210]Fatal Contract T. 4o
[211]Jews Tragedy T. 4o
Richard Head.
Hic & ubique C. 4o
[212]Sir Robert Howard.
Indian Queen T.}
Committee C.} Fol.
Surprisal T. C.}
Vestal Virgins T. C.}
[213]Blind Lady C. 8o
Duke of Lerma T. 4o
James Howard.
All Mistaken, or the Mad Couple. C. 4o
English Monsieur C. 4o
Edward Howard.
Man of Newmarket C. 4o
Six Days Adventure C. 4o
Usurper T. 4o
Womans Conquest T. C. 4o
James Howel.
[214]Peleus and Thetis M. 4o
[215]Benj. Johnson.
Alchymist }C. Fol.
Bartholemew-Fair. }
Christmas's Masque }M. Fol.
Cloridia }
Cynthia's Revels C. Fol.
Challenge at Tilt M. Fol.
[216]Cataline's Conspiracy T. Fol.
Devil's an Ass C. Fol.
Every Man in his Humour }C. Fol.
Every Man out of his Humour. }
[217]Entertainment at K. _James_'s Coronation. E. Fol.
Entertainments of the Q. and Prince, at _Althrop_. E. Fol.
Entertainments of the King of _England_, and the King of
_Denmark_, at _Theobalds_. F. Fol.
Entertainment of K. _James_ and Q. _Ann_, at _Theobalds_. F. Fol.
Entertainment of the King and Queen, on _May_-Day, at Sir
_Wil. Cornwallis_'s House, at _High-gate_. E. Fol.
Fortunate Isles M. Fol.
Fox C. Fol.
Golden Age restored M. Fol.
Honour of Wales M. Fol.
[218]Hymenes M. Fol.
Irish Masque M. Fol.
King's Entertainment at _Welbeck_. M. Fol.
Loves Triumph M. Fol.
Love's Welcome M. Fol.
Love Restored M. Fol.
Magnetick Lady C. Fol.
Masque of Auguurs M. Fol.
Masque at the Lord _Hayes_'s House. M. Fol.
Masque at the Lord _Haddington_'s Marriage. M. Fol.
Masque of Owls M. Fol.
[218]Masque of Queens M. Fol.
Mercury Vindicated M. Fol.
Metamorphosed Gipsies M. Fol.
[219]Mortimer's Fall T. Fol.
News from the New World in the Moon. M. Fol.
Neptune's Triumph M. Fol.
[218]Oberon the Fairy-Queen M. Fol.
Pleasure reconciled to Virtue M. Fol.
Pan's Anniversary M. Fol.
[220]Poetaster C. Fol.
[218]Queen's Masque of Blackness. M. Fol.
[218]-- Her Masque of Beauty M. Fol.
Speeches at Pr. H. Barriers M. Fol.
Staple of News C. Fol.
[221]Silent Woman C. Fol.
[222]Sad Shepherd T. Fol.
[223]Sejanus T. Fol.
Tale of a Tub C. Fol.
Time Vindicated M. Fol.
Vision of Delight M. Fol.
Case is altered C. 4o
New-Inn C. 4o
[224]Eastward Hoe C. 4o
[225]Widow C. 4o
John Jones.
Adrasta C. 4o
Tho. Ingeland.
Disobedient Child I. 4o
Tho. Jordain.
Fancies Festivals M. 4o
Mony's an Ass C. 4o
Walks of Islington and Hogsden C. 4o
William Joyner.
[226]Roman Empress T. 4o
Tho. Jevorn.
Devil of a Wife F. 4o
Tho. Kyd.
[227]Cornelia T. 4o
Tho. Kirk.
[228]Seven Champions of Christendom. H. 4o
Ralph Knevet.
Rhodon & Iris P. 4o
[229]Sir William Killegrew.
Ormasdes T. C. Fol.
Pandora T. C. Fol.
Selindra T. C. Fol.
Siege of Urbin T. C. Fol.
Henry Killegrew.
[230]{Conspiracy T. 4o
{Pallantus and Eudora T. Fol.
[231]Tho. Killegrew.
Bellamira her Dream, 2 Parts. T. Fol.
Claracilla T. C. Fol.
Cicilia and Clorinda, 2 Parts. T. C. Fol.
Parsons Wedding C. Fol.
Prisoners T. C. Fol.
Princess T. C. Fol.
Pilgrim T. Fol.
Thomaso, or the Wanderer, 2 Parts. C. Fol.
[232]John Lilly.
[233]Alexander and Campaspe C. 8o
[234]Endimion C. 8o
Galathæa C. 8o
[235]Mydas C. 8o
Mother Bomby C. 8o
[236]Sapho and Phaon C. 8o
Loves Metamorphosis C. 4o
Maids Metamorphosis C. 4o
Woman in the Moon C. 4o
[237]Sir William Lower.
Amorous Phantasm P. 12o
Enchanted Lovers P. 12o
[238]Noble Ingratitude T. C. 12o
[239]Horatius T. 4o
[240]Martyr T. 4o
Tho. Lupon.
All for Mony T. 4o
Tho. Lodge.
[241]Marius and Scylla T. 4o
[242]Looking-glass for London H. 4o
John Lacey.
[243]Dumb Lady C. 4o
Old Troop C. 4o
Sir Hercules Buffoon C. 4o
Nat. Lee, v. Dryden.
[244]Cæsar Borgia T. 4o
[245]Constantine the Great T. 4o
[246]Gloriana T. 4o
[247]Lucius Junius Brutus T. 4o
[248]Mithridates T. 4o
[249]Nero T. 4o
[250]Rival Queens T. 4o
[251]Sophonisba T. 4o
[252]Theodosius T. 4o
J. Lenard.
[253]Country Innocence C. 4o
[254]Rambling Justice C. 4o
Tho. Middleton, v. Fletcher.
Any thing for a quiet Life C. 4o
Blurt Mr Constable C. 4o
Chast Maid in Cheapside C. 4o
Family of Love C. 4o
Game at Chess C. 4o
Inner-Temple Masque M. 4o
Mad World my Masters C. 4o
[255]Mayor of Quinborough C. 4o
Michaelmas-Term C. 4o
Phoenix C. 4o
Roaring Girl C. 4o
Trick to catch the old one C. 4o
Triumphs of Love and Antiquity. M. 4o
World toss'd at Tennis M. 4o
Your Five Gallants C. 4o
{More Dissemblers besides Women C. 8o
[257]{[256]Women beware Women T. 8o
{No {Wit }
{Help} like a Womans C. 8o
{[258]Changeling T. 4o
[261]{[259]Fair Quarrel T. C. 4o
{Old Law C. 4o
{[260]Spanish Gipsies C. 4o
Philip Massenger.
Bondman C. 4o
City Madam C. 4o
Duke of Millain T. 4o
[262]Emperour of the East T. C. 4o
Fatal Dowry T. 4o
Great Duke of Florence C. 4o
Maid of Honour C. 4o
New way to Pay old Debts C. 4o
[263]Picture C. 4o
Roman Actor T. 4o
Renegado C. 4o
Unnatural Combat T. 4o
[264]Virgin Martyr T. 4o
{Bashful Lady C. 8o
[266]{[265]Guardian C. 8o
{Very Woman T. 8o
[267]John Marston.
Antonio & Mellida, 2 Parts T. 8o
[268]Dutch Courtezan C. 8o
Fawn C. 8o
[269]Sophonisba T. 8o
What you will C. 8o
[270]Insatiate Countess T. 4o
Male-Content T. C. 4o
Shakerly Marmion.
Antiquarary C. 4o
Fine Companion C. 4o
Holland's Leaguer C. 4o
Christopher Marloe.
[271]Dr. Faustus T. 4o
[272]Dido Q. of Carthage T. 4o
[273]Edward the 2d T. 4o
Jew of Malta T. C. 4o
Lusts Dominion T. 8o
[274]Massacree at Paris T. 8o
[275]Tamberlain the Great, two Parts T. 8o
Thomas May.
[278]{[276]Agrippina T. 8o
{[277]Cleopatra T. 8o
[279]Antigone T. 8o
Heyre T. C. 8o
Old Couple T. 4o
Tho. Meriton.
Love and War T. 4o
Wandring Lover T. C. 4o
Lewis Machin.
Dumb Knight C. 4o
Cosmo Manuch.
Just General T. 4o
Loyal Lovers T. C. 4o
Gervase Markham.
[280]Herod and Antipater T. 4o
J. Milton.
Sampson Agonestes T. 8o
John Mason.
Muleasses the Turk T. 4o
Walter Montague.
Shepherds Paradice P. 8o
Robert Mead.
Combat of Love and Friendship C. 4o
Jasper Main.
[281]{Amorous War C. 4o & 8o
{City Match C. 4o & 8o
Mathew Medbourn.
[282]Tartuff C. 4o
L. Maidwel.
Loving Enemies C. 4o
Thomas Nabbs.
Bride C. 4o
Covent-Garden C. 4o
Entertainment on the Prince's Birth-Day F. 4o
[283]Hannibal and Scipio T. 4o
Microcosmus M. 4o
Spring's Glory M. 4o
Tottenham Court C. 4o
Unfortunate Mother T. 4o
Tho. Nash, v. Marloe.
Summers last Will and Testament C. 4o
Tho. Norton, and Sackvile.
[284]Ferex & Porex, or Gorboduc T. 4o
Thomas Nuce.
[285]Octavia T. 4o
Tho. Newton.
[286]Thebais T. 4o
Alex. Nevile.
[287]Oedipus T. 4o
Robert Nevile.
Poor Schollar C. 4o
Duke of Newcastle.
Humerous Lovers C. 4o
Triumphant Widow C. 4o
[288]Dutchess of Newcastle.
Apocryphal Ladies C. Fol.
Bell in Campo, 2 Parts C. Fol.
Female Academy C. Fol.
Loves Adventures, 2 Parts C. Fol.
Lady Contemplation, 2 Parts C. Fol.
Matrimonial Trouble, 2 Parts C. Fol.
Natures 3 Daughters, 2 Pts. C. Fol.
Publick Woing C. Fol.
Religions C. Fol.
Several Wits C. Fol.
Unnatural Tragedy T. Fol.
Wits Cabal, 2 Parts C. Fol.
Youth's Glory, and Death's Banquet C. Fol.
Blazing World C. Fol.
Bridals C. Fol.
Covent of Pleasure C. Fol.
Presence C. Fol.
Sociable Companions C. Fol.
Earl of Orrery.
[289]Black Prince H. Fol.
Tryphon T. Fol.
[290]Mustapha T. Fol.
[291]Henry the Fifth H. Fol.
Tho. Otway.
Athiest, or the Second Part of the Soldiers Fortune C. 4o
[292]Alcibiades T. 4o
[293]Cheats of Scapin F. 4o
[294]Caius Marius T. 4o
[295]Don-Carlos T. 4o
Friendship in Fashion C. 4o
[296]Orphan T. 4o
Soldiers Fortune C. 4o
[297]Titus and Berenice T. 4o
Venice preserv'd T. 4o
George Peele.
[298]David and Bethshabe T. C. 4o
[299]Edward the First H. 4o
Henry Porter.
Two angry Women of Abingdon C. 4o
Tho. Porter.
Carnival C. 4o
Villain T. 4o
Lady Pembrock.
Antonius T. 4o
Tho. Preston.
Cambyses King of Persia T. C. 4o
Edward Prestwick.
Hectors C. 4o
[300]Hippolitus T. 8o
Mrs. Katherine Phillips.
[301]Horrace T. Fol.
[302]Pompey T. Fol.
Samuel Pordage.
[303]Herod and Meriamne T. 4o
[304]Siege of Babylon T. 4o
---- Peaps.
Love in its Extasie P. 4o
John Palsgrave.
Acolastus C. 4o
Francis Quarles.
Virgin Widow C. 4o
William Rowley, v. Webster, Middleton, Day, and Shakespear.
[305]All's lost by Lust T. 4o
Match at Midnight T. 4o
[306]Shoemakers a Gentleman C. 4o
Wonder a Woman never vex'd C. 4o
Spanish Gipsies C. 4o
Samuel Rowley.
[307]When you see me you know me C. 4o
Joseph Rutter.
[308]Cid, 2 Parts T. C. 8o
Shepherds Holyday
Nath. Richards.
[309]Messalina T. 8o
Tho. Rawlins.
Rebellion T. 4o
Tho. Randolph.
{Aristippus T. 8o
[310]{Aminta T. C. 8o
{Jealous Lover T. C. 8o
{Muses Looking-glass P. 8o
[311]Hey for Honesty, down with Knavery C. 4o
William Rider.
Twins C. 4o
Edward Revett.
Town Shifts C. 4o
Edward Ravenscroft.
[312]Careless Lovers C. 4o
[313]Citizen turn'd Gentleman C. 4o
[314]Dame Dobson C. 4o
[315]English Lawyer C. 4o
[316]King Edgar and Alfreda T. 4o
[317]London Cuckolds C. 4o
[318]Scaramouch, &c. F. 4o
[319]Wrangling Lovers C. 4o
Tho. Rymer.
[320]Edgar T. 4o
[321]William Shakespear.
[322]All's well that ends well C. Fol.
[323]Anthony and Cleopatra T. Fol.
As you like it C. Fol.
[324]Comedy of Errours C. Fol.
[325]Coriolanus T. Fol.
[326]Cromwell's History H. Fol.
[327]Cymbeline T. Fol.
Gentleman of Verona C. Fol.
[328]Henry the 4th, 2 Parts H. Fol.
[328]Henry the 5th H. Fol.
[328]Henry the 6th 3 Parts H. Fol.
[328]Henry the 8th H. Fol.
Hamlet Prince of Denmark T. Fol.
[328]John K. of England, 2 Pts. H. Fol.
[329]Julius Cæsar T. Fol.
[328]Lears Tragedy T. Fol.
[328]Locrine's Tragedy C. Fol.
London Prodigal C. Fol.
Love's Labour lost C. Fol.
Merry Wives of Windsor C. Fol.
Measure for Measure C. Fol.
Merchant of Venice T. C. Fol.
[330]Mackbeth T. Fol.
Midsummers Nights-Dream C. Fol.
Much ado about nothing C. Fol.
[331]Old-Castle, Lord Cobham's Life and Death T. Fol.
[332]Othello Moor of Venice T. Fol.
Pericles Prince of Tyre H. Fol.
Puritan Widow C. Fol.
[328]Richard the Second H. Fol.
[328]Richard the Third H. Fol.
[333]Romeo & Juliet T. Fol.
Taming of the Shrew C. Fol.
Tempest C. Fol.
Titus Andronicus T. Fol.
[334]Timon of Athens T. Fol.
Troylus and Cressida T. Fol.
Twelfth Night C. Fol.
[335]Winter's Tale C. Fol.
Yorkshire Tragedy T. Fol.
Birth of Merlin P. 4o
J. Studley, v. Jaspar Heywood.
{Agamemnon T. 4o
[336]{Hippolitus T. 4o
{Hercules Oetus T. 4o
{Medea T. 4o
James Shirley.
[337]Arcadia P. 4o
Bird in a Cage C. 4o
Ball C. 4o
Changes, or Love in a Maze C. 4o
[338]Chabott, Admiral of France T. 4o
Constant Maid, or Love will find out the way C. 4o
Cupid and Death M. 4o
Contention for Honour and Riches M. 4o
Duke's Mistress T. C. 4o
Example T. 4o
[339]Gamester C. 4o
[340]Gentleman of Venice T. C. 4o
Grateful Servant C. 4o
Hyde-Park C. 4o
Humerous Courtier C. 4o
Loves Cruelty T. 4o
Lady of Pleasure C. 4o
[341]Maids Revenge T. 4o
Opportunity C. 4o
Politician C. 4o
Patrick for Ireland H. 4o
Royal Master C. 4o
School of Complements C. 4o
Traytor T. 4o
Triumph of Peace M. 4o
Wedding C. 4o
Witty Fair One C. 4o
Young Admiral C. 4o
[343]{Honoria and Mammon C. 8o
{[342]Contention of Ajax and Ulysses, for Achilles's Armour M. 8o
{Brothers C. 8o
{Sisters C. 8o
{Doubtful Heir }
[344]{Imposture }T. C. 8o
{Cardinal }
{Court Secret }
{Triumph of Beauty M. 8o
Henry Shirley.
Martyr'd Soldier T. 4o
Edward Sherbourn.
[345]{Medea T. 8o
{Troades T. 8o
---- Sheppard.
Committee-man Curryed C.
George Sandys.
[346]Christ's Passion T. 8o
J. Swallow.
Cynthia's Revenge T. 4o
Edward Sharpham.
Fleir C. 4o
William Sampson, v. Markham.
Vow Breaker T. 4o
Tho. Stanley.
[347]Clouds Fol.
William Smyth.
Hector of Germany H. 4o
William Strode.
Floating Island C. 4o
Gilbert Swinhoe.
[348]Fair Irene T. 4o
[349]Sir John Suckling.
Aglaura T. C. 8o
Brenoralt T. 8o
Goblins T. 8o
Sad one T. 8o
Lewis Sharp.
Noble Stranger C. 4o
John Smyth.
Cytherea C. 4o
Sir Robert Stapleton.
[350]Hero and Leander T. 4o
Slighted Maid C. 4o
Tho. St. Serf.
Tarugoes Wiles C. 4o
Tho. Shadwell.
Epsom Wells C. 4o
Humorists C. 4o
Lancashire Witches C. 4o
[351]Libertine C. 4o
[352]Miser C. 4o
[353]Psiche O. 4o
[354]Royal Shepherdess C. 4o
[355]Sullen Lovers C. 4o
[356]Timon of Athens T. 4o
True Widow C. 4o
Virtuoso C. 4o
Woman Captain C. 4o
Elkanah Settle.
[357]Cambyses K. of Persia T. 4o
[358]Conquest of China T. 4o
Empress of Morocco T. 4o
[359]Fatal Love T. 4o
[360]Female Prelate T. 4o
Heir of Morocco T. 4o
[361]Ibrahim T. 4o
[362]Love and Revenge T. C. 4o
[363]Pastor Fido P. 4o
Sir Charles Sidley.
[364]Anthony and Cleopatra T. 4o
[365]Bellamira C. 4o
Mulberry Garden C. 4o
Tho. Shipman.
[366]Henry the 3d. of France T. 4o
Charles Saunders.
[367]Tamerlane the Great T. 4o
Tho. Southern.
Disappointment C. 4o
[368]Loyal Brother T. C. 4o
Cyril Turneur.
Athiests Tragedy T. 4o
Loyal Brother T. C. 4o
John Tateham.
Distracted State T. 4o
[369]Rump C. 4o
Scotts Vagaries C. 4o
[370]Love Crowns the end C. 8o
Nich. Trott
Arthur T.
Robert Taylor.
Hog has lost his Pearl
Tho. Thompson.
English Rogue C. 4o
[371]Mother Shipton's Life and Death C. 4o
Nat. Tate.
[372]Brutus of Alba T. 4o
[373]Cuckolds Haven C. 4o
[374]Duke and no Duke F. 4o
[375]Ingratitude of a Common-wealth T. C. 4o
[376]Island Princess T. C. 4o
Loyal General T. 4o
[377]Lear and his 3 Daughters T. 4o
[378]Richard the Second H. 4o
S. Tuke.
Adventures of 5 Hours C. 4o
Richard Tuke.
Divine Comedian C. 4o
John Tutchin.
[379]Unfortunate Shepherd P. 8o
John Webster, v. Decker.
[380]Appius and Virginia T. 4o
[381]Devil's Law-Case T. C. 4o
Dutchess of Malfey T. 4o
White Devil T. 4o
[382]{Thracian Wonder H. 4o
{Cure for a Cuckold C. 4o
Lewis Wager.
Mary Magdalen's Repentance I. 4o
William Wayer.
The longer thou liv'st the more Fool thou art C.
George Wapul.
Tyde tarryeth for no man C.
Nat. Woods.
Conflict of Conscience P.
R. Weaver.
Lusty Juventus I.
Robert Wilson.
Cobler's Prophecie C. 4o
John Wilson.
[383]Andronicus Comenius T. 4o
Cheats C. 4o
Projectors C. 4o
J. Weston.
[384]Amazon Queen T. C. 4o
_Robert Wilmot._
[385]Tancred and Grismond T. 4o
_George Wilkins, v. Day._
Miseries of Inforc'd Marriage T. C. 4o
_John Wright._
[386]{Thyestes T. 8o
{Thyestes F. 8o
_Leonard Willan._
[387]Astræa P. 8o
_Edmund Waller._
[388]Pompey T. 4o
_William Wycherly._
Country Wife C. 4o
Gentleman Dancing Master C. 4o
Love in a Wood C. 4o
Plain Dealer C. 4o
---- _Whitaker._
Conspiracy T. 4o
_Robert Yarrington._
Two Tragedies in One T. 4o
Supposed =AUTHOURS=.
_R. A._
[389]Valiant Welchman T. C. 4o
_H. B._
[390]Landagartha C. 4o
_H. H. B._
[391]Plutus C. 8o
[392]_P. B._
Mock-Duellest C. 4o
_J. C._
Merry Milkmaids C. 4o
_R. C._
Alphonsus K. of Arragon C. 4o
[393]Ignoramus C. 4o
_J. D._
Hell's higher Court of Justice I. 4o
Mall C. 4o
_T. D._
Bloody Banquet T. 4o
[394]Fool turn'd Critick C. 4o
[395]Psiche Debauch'd F. 4o
_S. H._
Sicily and Naples T. 4o
_D. J._
Guy of Warwick T.
[396]_E. M._
St. Cecily,, or the Converted Twins T. 4o
_T. P._
[397]Witty Combat T. C. 4o
[398]French Conjurer C. 4o
_Monsieur P. P._
[399]Ariadne O. 4o
S. P.
[400]Troades T. 8o
T. R.
[401]Extravagant Shepherd P. 8o
W. R.
Three Lords and Ladies of Lond. C.
Mr. S. Master of Arts.
Gammer Gurton's Needle C. 4o
J. S.
Masquerade Du Cel M.
[402]Phillis of Syros P. 8o
[403]Andromana T. 4o
S. S.
Honest Lawyer C. 4o
J. T.
[404]Grim the Collier of Croyden C. 8o
[405]Troas T. 4o
C. W.
[406]Electra T. 8o
E. W.
Apollo Shroving C. 8o
L. W.
Orgula, or the Fatal Errour T. 4o
M. W. Master of Arts.
[407]Marriage Broker C. 8o
T. W.
[408]Thornby-Abby H. 8o
W. W.
Menechmus C. 4o
FOOTNOTES:
[60] Plot from =Justin='s Hist. Lib. 14.
[61] Plot from =Herodotus=, Lib. 1. =Plutarch= in =Solon='s Life.
[62] These of the Lord =Sterline= are all Bound with his Works (in
Folio) called, =Recreations with the Muses=. Printed at =London=, 1637.
[63] Plot from =Justin='s Hist. Lib., 11.
[64] Plot from =Suetonius= and =Plutarch=.
[65] Plot from =Guiciardine='s Hist. =of= Italy.
[66] Plot from =Plutarch='s Lives.
[67] These two of =R. Baron= are mentioned in former Catalogues, but
are part of a Romance writ by him, and called the =Cyprian Academy=.
Printed at =London=, 1647.
[68] Plot from =Herbert='s Travels, =Fol.=
[69] From an old =English= Chronicle, =Fol.=
[70] These five of =Richard Brome=, are Printed in one Volume,
=Octavo=, =London=, 1635.
[71] These five of =Brome=, are Printed in another Volume in =Octavo=,
=London=, 1659.
[72] Reprinted, =Lond. 1686=.
[73] Lately Reprinted.
[74] These two of the Lord =Brook='s are Printed with his Poetical
Works in =Folio=. =London=, 1633.
[75] Plot from the =Turkish= Chronicle.
[76] This is a play of =Christopher Marlo='s, call'd =Lusts Dominion=,
Printed in =Octavo=, =London=, 1661.
[77] Part of the =City Heiress=, from a Play of =Middleton='s,
call'd, =A Mad World my Masters=, Quarto; and part from another of
=Massenger='s, called, =The Guardian=, Octavo.
[78] Plot from =Don Fenise=, =Octavo=.
[79] Stollen from =Harlequin=, =Emperur dans le Monde de la Lune=.
[80] Taken from =Tho. Killegrew='s =Don Thomaso=, or =The Wanderer=,
Folio.
[81] A Play of =John Tateham='s, called, =The Rump=, altered, =Quarto=.
[82] Part of this Play taken from =Richard Brome='s Damoyselle, =Octa.=
and =Le malade imaginaire=.
[83] A great part of this Play borrowed from a Play, called, =The
Miseries of forc'd Marriage=, written by =George Wilkins=, Quarto.
[84] Plot from =Alcamenes= and =Menalippa=, in =Cleopatra=, Folio.
[85] Plot from the old Story so called.
[86] Plot from =Cassandra=, Folio.
[87] Plot from E. of =Essex= and Q. =E=. a =Nov.=
[88] Plot from =Causin='s =Holy Court=, Folio.
[89] Plot Q. =Eliz.= Novel, first Part 8o.
[90] Plot from Chron. =de Rebus Germanicis=.
[91] Plot from the =French= Chron. =Hen. 3=.
[92] Plot from the =French= Chronicles.
[93] Plot from =Lucan='s =Pharsalia=, =Suetonius=, in the Life of
=Julius Cæsar=.
[94] Plot from =Petronius Arbyter=.
[95] Written by =Chapman=, =Johnson=, and =Marston=.
[96] Plot from =Ovid='s =Metamorph.=
[97] Plot from =Cassandra=, Fol.
[98] Printed with =Carew='s Poems. =London=, 1670.
[99] Plot from =Josephus=, Folio.
[100] The first of =Carlell='s Plays, (=viz.=) in two Parts, bound in
one Volume, Twelves. The three next Printed in another Volume, Octavo.
=London=, 1657. And the next in Octavo. Printed 1659.
[101] Plot from =Knolls='s =Turkish= History, in the Reign of =Mahomet=
the First.
[102] From =Corneille=.
[103] This Play is the =Guardian=, corrected and enlarged.
[104] Bound with his Second Volume, Folio, =London, 1681=.
[105] All Printed with his Poems, =Lond. 1651=.
[106] Occasion in =Plutarch's= Life of =Cymon=, and Part from
=Boccaces= Novels, the Ninth Day, Novel the First.
[107] All Printed with his Poems, =Lond. 1669=.
[108] Plot from his Elegies.
[109] Plot from =Trapolen creduto Principe=.
[110] From =Corneille=.
[111] Part of this Play is borrowed from Sir =William Lower='s Noble
Ingratitude.
[112] Translated from the =French=.
[113] Part from =Molliere='s =Le Sicilien=.
[114] Plot from =Guiciardine='s Hist. and the =French= Chron. in the
Reign of =Charles 8=.
[115] The Foundation from =Ovidii Metam. Lib. 2=.
[116] Plot from =Josephus='s Hist. Book 6. 7.
[117] From =English= Chronicles, and part of the Language from
=Shakespear=.
[118] Plot, and part of the Play from a =Spanish= Play, called =No
Puedeser=.
[119] Plot from Poetical History.
[120] Plot from Sir =Phil. Sidney='s =Arcadia=.
[121] Writ by him, =Rowly=, and =Wilkins=.
[122] All Printed in one Volume, =London, 1623=.
[123] Plot from =Appian= of =Alexandria=.
[124] Plot from =Plutarch='s Life of =Alexander=, and =Quintus
Curtius=, Book the 6th.
[125] Plot from =Don Quixot='s Novel, of the =Curious Impertinent=, and
=Boccaces Novels, Day the 7th, Novel 7th=.
[126] =English= Chronicle.
[127] Writ by him and =Webster=.
[128] Writ by him, =Rowly=, and =Ford=.
[129] All, except the last, Printed with his Works, in Folio, =Lond.
1673=. The last writ by him, and =Inigo Jones=, the late King's
Surveyor.
[130] Plot from =Heylin='s Cosmographie, Book the First. Chronicle of
=Italy=.
[131] From =Measure= for =Measure=, and =Much adoe about Nothing=.
[132] From =Mollieres='s =Joddelet=, on =le Maitre valet=.
[133] Part from =Mollieres Sganarelle=.
[134] Not his, but =Carew='s, and Printed with his Poems, =Octavo=.
[135] Plot from =Herbert='s Travels, Life of =Abbas=. Printed with his
Poems, =London, 1670=.
[136] Translated from the =Italian= of =Tasso=, and Printed with
=Dancer='s Poems, =London, 1660=.
[137] Translated from Monsieur =Quinault=.
[138] Translated from =Corneille=.
[139] =Sanderson='s Hist. of K. =James= p. 577.
[140] Plot of the serious Part, from the =Annals of Love=: In the Story
of =Constance= the Fair =Nun=. The Part of =Aureleo=, from =Scarron='s
=Comical Romance=: In the Story of =Destiny= and Madam =Star=.
[141] Plot from =Tavernier='s Voyages into =India=, Volume the First,
Part the Second, Book the Second.
[142] =Plutarch='s Life of =Marcus Antonins=, and other =Roman=
Historians.
[143] Plot, =Almanzor= and =Almahide=, from =Cleopatra= in the Story
of =Artaban=: and =Almahide= the Romance. =Ozmyn= and =Benzaida=,
from =Osman= and =Alibech=, in =Ibrahim=. =Abdalla=, =Abdelmelech=,
=Lyndaraxa=, from Prince =Ariantes=, =Agathirses=, and =Elibesis=, in
the First Book of the Ninth Part of =Cyrus=.
[144] Part from =Corneilles De Pit Amoreuse=, part from =Le-feinte
Astrologue=, and part from the =Illustrious Bassa=, a Romance.
[145] Plot, =Heylin's= Cosmography, Book the Fourth. =Hen. Bonzonus
rerum ab Hispanis in India Occidentali gestarum=, Lib. 3. Octavo.
[146] Plot, from =Cleobuline=, Queen of =Corinth=, in the Second Book
of the Seventh Part of =Cyrus=: and the character of =Celadon= and
=Florimel=, from =Pisistrate= and =Cerinthe= in =Cyrus=, Part Ninth,
Book Third; and from the =French= Marquess in =Ibrahim=, Part Second,
Book the First.
[147] Plot of the serious Part, and the Characters from =Sesostris= and
=Timareta= in =Cyrus=, Part the Sixth, Book the Second: and =Palamedes=
from the Prince of =Salamis=, in the Story of =Timantes= and
=Parthenia=, Part Sixth, Book First, of =Cyrus=; and from =Nagaret=, in
the =Annals of Love=, Octavo.
[148] Plot from =Jul. Capitolinus in vitam Maximini=.
[149] Founded on =Plautus='s =Amphytruo=.
[150] Part from =Molliere='s =L'Etourdy=.
[151] Plot from =Milton='s =Paradise lost=. Octavo.
[152] Plot of the Comical Part from the =Pilgrim=, a Novel, =Twelves=.
[153] Originally =Shakespear='s.
[154] Part =Shakespear=.
[155] From =D'Avila='s History of =France=.
[156] From =Sophocles=, and the Poetical Histories.
[157] Joyn'd in these two last with =Nath. Lee=.
[158] Plot from =Don Fenise=, Octavo.
[159] Borrowed from =Fletcher='s =Sea-Voyage=.
[160] The Foundation =Shakespear='s.
[161] Part from the Antiquary, =Quarto=.
[162] Plot from =Francion='s Romance, =Fol.=
[163] Part of it from the =Fine Companion=, quarto. And Plot from the
Double-Cuckold, a =Novel=, Octavo.
[164] From Monsieur =Thomas=.
[165] Foundation on =Sacred Writ=.
[166] All =Beaumont= and =Fletcher='s Plays Printed together in one
Volume, Folio, =London, 1679=.
[167] Plot from =Tacitus='s =Annals=, Book 14.
[168] Plot from =Herodiani Historiæ=.
[169] Altered by the Duke of =Buckingham=, and Printed in Quarto.
=Lond. 1682=. The Plot from Lady =Cornelia=, in =Exemplary Novels=,
Folio.
[170] Lately Reprinted with Alterations, by =Nat. Tate. Lond. 1687=.
[171] Plot from =Gusman='s =Don Lewis de Castro=, and =Don Roderigo de
Montalvo=.
[172] Plot, =Lysander= and =Calista=.
[173] Part of it from =Johnson='s =New Inn=, Octavo, and the Plot from
=Exemplary Novels=, Two Damsels.
[174] Serious Plot from =Gerardo=, p. 350. 8o.
[175] From =Gerardo='s =Leandro=. p. 214. 8o.
[176] Plot from the =French= Chronicles, in the Reign of =Clotaire= the
Second. Imperfect in the Folio Edition, but right in the Quarto.
[177] Plot, =Procopis Cæsariensis Historiæ=: Altered by the Lord
=Rochester=. Printed Quarto, 1686.
[178] Plot from =Gainsford='s History, 4o.
[179] =Ford= and =Decker=.
[180] Printed with his Works, Octavo. =London, 1661=.
[181] Borrowed from =Molliere='s =Preceeuses Redicules=. Octavo.
[182] These two almost the same.
[183] Translated from =Guarini='s =Italian=, and Printed with his
Poems, =London=, 8o.
[184] Plot from the =Invisible Mistress=, in =Scarron='s Novels, 8o.
[185] Plot from Sir =Philip Sidney='s =Arcadia=, Folio.
[186] Plot from the =Turkish= History.
[187] Plot from the same.
[188] From =Euripides=.
[189] Plot from the =Turkish= History.
[190] Printed in one Volume.
[191] Plot from the =English= Chronicle.
[192] Plot, Story of =Jonas= in the =Holy Scripture=.
[193] From =Euripides=.
[194] From =Ariosto=.
[195] From =Hugo Grotius='s =Sophompaneas, Latin=.
[196] Printed with his Poems, =Lond. 1633=.
[197] Plot from =Guiciardine='s History of =Italy=, Folio, and from
=Poetical= History.
[198] Plot from =Poetical= History.
[199] Plot from =Virgil='s =Æneids=, Second Book, and =Homer='s
=Iliads=.
[200] These are usually Bound together.
[201] Plot from =English= Chronicle, and =Clark='s Martyrology.
[202] Plot from =English= Chronicle.
[203] Plot, =English Lovers=, 8o.
[204] By him and =Rowley=.
[205] By him and =Brome=.
[206] Plot from =Apuleius='s =Golden Ass=, 4o.
[207] Plot from =Titus Livius=.
[208] Plot, =Stow= and =Speed='s Chronicle.
[209] Castrated =Latin=, =English=.
[210] Plot, =French= Chronicles.
[211] Plot from =Josephus='s History of the =Jews=, Book Sixth and
Seventh.
[212] The four first of Sir =Robert Howard='s Plays, are usually Bound
together.
[213] Printed with his Poems in 8o.
[214] Translated from the =French=.
[215] All =Ben. Johnson='s except the four last, are Printed with other
Poems in two Volumes, Folio, =London=, 1640.
[216] Plot from =Salust='s History.
[217] From several Authours quoted in the Margin throughout.
[218] All marked with this A are in the first Volume, and Quotations
are Cited by the Authour in the Margin throughout.
[219] An Imperfect Piece just begun.
[220] From =Ovid='s Elegies; and from =Horrace='s =Satyrs=, Book the
Ninth, =Satyr= the first Part.
[221] Borrowed part of it from =Ovid de Arte Amandi=, and =Juvenal='s
Sixth =Satyr=.
[222] This Play left Imperfect.
[223] Plot, =Tacitus=, =Suetonius=, =Seneca=, &c. There is an Edition
of this Play, 4o, Printed =Lond.= 1605, by the Authour's own Orders,
with all the Quotations from whence he borrowed any thing of his Play.
[224] Joyn'd in this with =Chapman=.
[225] Joyn'd in this with =Fletcher= and =Middleton=.
[226] Plot, =Zosimi Historiæ=.
[227] Translated from the =French= of =Robert Garnier=.
[228] Plot, History of the =Seven Champions of Christendom=.
[229] All Printed in one Volume Folio, =Oxon.= 1666.
[230] These two in a manner the same.
[231] These all Printed in one Volume, Folio, =London=, 1664.
[232] The first Six Printed together in Octavo =London=, 1632.
[233] Plot, =Pliny='s =Natural History=, Lib. 35. Cap. 10.
[234] Plot, =Lucian='s =Dialogue= between =Venus= and the =Moon=.
[235] Plot, =Ovid='s =Metamorph.= Lib. 11.
[236] Plot, =Ovidii Epistolæ=.
[237] The three first of Sir =Wil. Lower='s Plays, printed together in
12o =London=, 1661.
[238] From the =French=.
[239] From =Corneille=.
[240] From =Corneille='s =Polyeucte=.
[241] Plot from =Plutarch= in =Vitas C. Marii & Syllæ=.
[242] By him and =Green=.
[243] Plot and Language from =Molliere='s =Le Medicine Malgre luy=.
[244] Plot from =Matchiavel=.
[245] Plot, =Eusebius de vitâ Constantini=.
[246] Plot from =Cleopatra=.
[247] Plot, =Clelia=, and =Livy='s History.
[248] Plot, =Historical Dictionary=, =Appian=, =Alexand. Romanæ=,
=Historiæ=.
[249] Plot from =Suetonius=, in =Vitam Neronis=.
[250] Plot, =Quintus Curtius=.
[251] Plot, Sir =Walter Raleigh='s =History of the World=, Book 5th,
Chap. 3d. Sect. 18th.
[252] Plot from =Pharamond=, Book 3d. Part 3d. Page 282, and =Eusebii
Hister=. =Ecclesiastica.=
[253] Taken from a Play called =The Country Girl=. C. 4o
[254] Part from =More Dissemblers besides Women=. C. 4o
[255] Plot from =Ranulph=, =Cestrensis Polychronicon=.
[256] Plot from =Hippolito= and =Isabella=, a Novel, 8o.
[257] These three in one Volume, 8o, =Lon.= 1657.
[258] Plot from =God's Revenge against Murther=, in =Alsemero= and
=Beatrice Joanna=, Folio.
[259] Plot from =Complaisant Companion=, 8o, page 280.
[260] Plot, =Cervantes='s =Exemplary Novels=, Folio. =Force of Blood.=
[261] These four were Writ by =Middleton= and =Rowley=.
[262] Plot, =Eufebii Hist=.
[263] Plot from =Fortunate, Deceiv'd, and Unfortunate Lovers=, 8o:
Novel the 4th of the =Deceived Lovers=.
[264] Plot, =Eusebii Hist.= Lib. 8. Cap. 17.
[265] Plot from the =Cimmerian Matron=, 8o.
[266] These three are Printed in one Volume, 8o. =Lond.= 1655.
[267] All except the two last are in one Volume, 8o. =Lond.= 1633.
[268] Plot from =Palace of Pleasure=, the last Novel.
[269] Plot from Sir =Walter Raleigh='s History, and =Livy='s History.
[270] Plot from =Montius='s History of =Naples=, in =The Life of= Joan
=Queen of= Naples.
[271] Plot, =Camerarii Opera Subsc. Cent. 1. Cap. 70=.
[272] Writ by him and =Nash=, Plot, =Virgil='s =Æneids=, Book 4.
[273] Plot, =English= Chronicles.
[274] Plot, =French= Chronicles.
[275] Plot, =Jean du Bee= =L'Histoire de Tamerlane=, 8o, and his Life
in =English=, 8o.
[276] Plot, =Taciti Annales=, =Lib. 12=.
[277] Plot, =Plutarchus in vitam=, =M. Antonii=.
[278] These two Printed together, 8o, =London=, 1639.
[279] Plot from =Sophocles=.
[280] Writ by him and =Sampson=. Plot from =Josephus='s History, Book
17.
[281] These two Printed together, and may be had either in 4o or 8o.
[282] Translated from =Molliere=.
[283] Plot from =Corn. Nepos in vitam Annibalis=.
[284] Plot from Old =British= Chronicles.
[285] Translated from =Seneca='s Tragedies.
[286] Translated from the same.
[287] Translated from the same.
[288] The first Fourteen of her Plays, are Printed together in one
Volume, Folio. The other Three are in another Volume, with other
Scenes, Printed =London= 1668.
[289] Plot, =English= Chronicle in K. =Edward= the Third.
[290] Plot, =Turkish= Chronicles.
[291] Plot, =English= Chronicles.
[292] Plot from =Plutarch=, and =Corn. Nepos= both in the Life of
=Alcibiades=.
[293] Plot from =Ravenscroft='s =Scaramouch=.
[294] Stollen part from =Shakespear='s =Romeo & Juliet=, Plot from
=Plutarch=, in his Life of =C. Marius=, and =Lucan='s =Pharsalia=, Book
2d.
[295] Plot from the Novel so called, 12o.
[296] Plot, =English= Adventures, a =Novel=, 8o.
[297] From Monsieur =Racine=.
[298] Plot from =Holy Scripture=.
[299] From =English= Chronicles.
[300] Plot =Justin. Hist. Lib. 1. Cap. 9=.
[301] Plot from =Livy=, Translated from =Corneille=.
[302] Plot from =Lucan='s =Pharsalia=, Translated from =Corneille=.
[303] Plot from =Joseph Hist.= and =Cleopatra= a Romance, in the Story
of =Tyridates=.
[304] Plot from =Cassandra=, a Romance, Fol.
[305] =Lipsii Monita, Lib. 1. Cap. 5.=
[306] Plot, =History of the Gentle Craft=.
[307] Plot from =English= Chron. =Hen. 8=th &c.
[308] Translated from =Corneille=.
[309] Plot, =Suetonius=, in =Claudio= and =Tacitus=, =Lib. 11=.
[310] These Four Printed with his Poems, 8o.
[311] Translated from =Aristophanes='s =Plutus=.
[312] Borrowed part from =De Molliere='s =Monsieur de Pourceaugnac=, 8o.
[313] Translated from =Molliere='s =Le Bourgeois Gentlehome=, & =Mons
de Pourceaugnac=.
[314] Translated from =La Divineresse=.
[315] Translated from the =Latin Ignoramus=.
[316] Plot from =English= Chronicles.
[317] Plot, part from =Scarron='s Novels, 8o, Novel first, =The
Fruitless Precaution=, part from =Les-Contes Du-Sieur D'Ouville=, 8o,
=2 de. pte.= page 121. And part from =Boccace='s Novels, Day 7th, Novel
6 and 7 of the 7th Day.
[318] Part from =Molliere='s =le Bourgeois Gentlehome=, & =la Mariage
Forcee=, 8o.
[319] Plot from =Deceptio visus=: or, =Seeing and Believing are two
Things=, a Romance in 8o.
[320] Plot, =English= Chronicles.
[321] All except the last, are Printed in one Volume, Fol. =Lond.= 1685.
[322] Plot from =Boccace='s Novels, 3d. Day, 9th Novel, =Juliet of
Narbona=.
[323] Plot from =Plutarch=, in =Vitam Antonii=.
[324] The Ground from =Plautus='s =Ampitruo=, and =Mænectrini=.
[325] Plot, =Plutarchus in vitam Coriolan=: and from =Livy='s =History=.
[326] Plot from =English= Chronicle.
[327] Plot from =Boccace='s Novels, 2d. Day, Ninth Novel.
[328] All so mark'd had their Plots from =English= Chronicles.
[329] Plot, =Livy='s History.
[330] Plot from =Scotch= Chronicles, and =Heylin='s Cosmography.
[331] Plot from =English= Chronicle.
[332] Plot from =Cynthio='s Novels.
[333] Plot from =Cynthio='s Novels.
[334] Plot from =Lucian='s Dialogue.
[335] Plot from =Dorastus= and =Fawnia=, 4o.
[336] All Translated from =Seneca='s Tragedies.
[337] Plot from Sir =Philip Sidney='s =Arcadia=, Folio.
[338] Plot from the =French= Chronicles.
[339] Plot from =The Unlucky Citizen=, 8o.
[340] Plot, Part from =Gayton='s Notes on =Don Quixot=, Book 4th, Chap.
6th.
[341] Plot from =Reynolds='s =God's Revenge against Murther=, Folio,
Book 2d. Hist. 7th.
[342] Plot from =Ovid='s =Metamorphosis=, Book 13th.
[343] These Printed together in Octavo, =Lon.= 1658.
[344] These are Printed together in 8o, =Lond.= 1581.
[345] Translated from =Seneca='s Tragedy.
[346] Translated from =Hugo Grotius=.
[347] Translated from =Aristophanes=, Printed with his =History of
Philosophy=, newly Publish'd, Folio.
[348] Plot from =Bandello='s Novels, =Turkish= Chronicles, =Life of
Mahomet the First=.
[349] All Printed with his Poems, 8o =Lond.= 1648.
[350] From =Ovid='s Epistles, and =Muses Erotopegnion Gr. Lat.=
[351] Plot from =Molliere='s =L'Athee Foudroye=.
[352] Plot from =Molliere='s =L'Avaree=.
[353] Plot, =Apuleii Aureus Asrinus=.
[354] From =Reward of Virtue=, 4o.
[355] Plot from =Molliere='s =Les Facheaux=.
[356] Part from =Shakspear=.
[357] Plot, =Justin='s =Hist. Lib. 1. Cap. 9.= =Amianus Marcellinus,
Lib. 23=.
[358] Plot, =Heylin='s =Cosmography=, Book 3d. and =Conquest of China=,
By =Senior Palafax=, Englished, 8o.
[359] Plot, =Achilles Tatius='s =Clitophon= and =Leucippe=, 8o Book 5th.
[360] Plot from =Platina=, &c. =Life and Death of Pope Joan=, 8o.
[361] Plot from =The Illustrious Bassa=, Fol.
[362] From =Fatal Contract=, 4o.
[363] From =Fanshaw='s Translation of =Guarini=.
[364] Plot, =Plutarch='s =Life of M. Anthony=.
[365] The Ground from =Terence='s =Eunuchus=.
[366] From the =French= Chronicles.
[367] Plot, =Asteria= and =Tamerlain=, a Novel, 8o.
[368] Plot, =Tachmas K. of Persia=, a Novel, 8o.
[369] Plot from =English= Chronicles.
[370] Printed with his Poems, =London=, 1651.
[371] Part of the Language from the =City Madam=; and Plot from a Book
so called in Prose, 4o.
[372] Plot, =Virgil='s =Æneids=, Book 4th.
[373] From =Eastward Hoe=.
[374] From =Trapolin= suppos'd a Prince, 8o.
[375] Part from =Shakspear='s =Coriolanus=.
[376] Reviv'd from =Shakspear=.
[377] Reviv'd from =Shakspear=.
[378] Reviv'd from =Shakspear=.
[379] Printed with his Poems, =Lond.= 1686.
[380] Plot, =Livy='s History.
[381] Part of the Plot in =Schenchii Rariorum Observationum=.
[382] By =Webster= and =Rowley=.
[383] Plot from =Heylin='s Cosmography in the Description of =Greece=.
[384] Plot from =Strabo, Lib. 11.= =Quintus Curtius, Lib. 6.=
[385] Plot from =Boccace='s Novels, 1st. Novel, 4th Day.
[386] Both in one Volume, 8o =Lond. 1674=. the former from =Seneca=.
[387] Plot from a Romance so called.
[388] From =Corneille=.
[389] Plot from =British= Chronicles.
[390] Written by =Henry Burnel=.
[391] Translated from =Aristophanes=.
[392] Supposed to be =Peter Bellon=.
[393] Translated from the =Latin= Poem so called.
[394] Ascrib'd to =Tho. Dunfey=.
[395] Said to be Writ by =Tho. Duffet=.
[396] Supposed to be =Mathew Medbourn=.
[397] Plot, part of it from =Gusman='s Fol. in the Story of =Dorido=
and =Cloridia=.
[398] Plot from the =German Princess=, a novel, 8o.
[399] Put into Musick, by Monsieur =Grabutt=.
[400] Supposed to be Writ by =Samuel Pordage=, being Printed with his
Poems, 8o =Lond.= 1660.
[401] Translated from =Corneille=.
[402] Translated from the =Italian= of =C. Guidubaldo di Bonarelli=.
[403] Plot from Sir =Philip Sidney='s =Arcadia=, in the Story of
=Plangus=, p. 155.
[404] In a book call'd =The Ternory of Plays=, 8o =Lond.= 1662. Plot
from =Matchiavil='s =Marriage of Belphegor=, a Novel, Folio: The same
is Printed with =Quevedo='s Novels, 8o.
[405] Translated from =Seneca=.
[406] From =Sophocles= by =Christoph. Wase=.
[407] In the =Ternary of Plays=, and Plot from =English= Chronicles, in
the Reign of =Sebert=, King of the =West-Saxons=.
[408] In the same =Ternary of Plays=, and Translated from =Plautus=.
_Unknown_ ~AUTHOURS~.
A.
Abraham's Sacrifice
[409]Alarm for London H. 4o
Albion I.
Albion's Triumph M. 4o
Albumazar C. 4o
[410]Aminta P. 4o
Amorous Gallant C. 4o
Amorous old Woman C. 4o
[411]Arden of Feversham T. 4o
Arraignment of Paris P.
B.
[412]Battle of Alcazar T. 4o
Band-Ruff and Cuff I.
Bastard T. 4o
C.
Cæsar's Revenge T.
[413]Charles the First T. 4o
Combat of Caps M.
Commons Conditions C.
Constant Nymph P. 4o
Costly Whore C. 4o
[414]Contention between York and Lancaster, 2 Parts
Counterfeits C. 4o
[415]Counterfeit Bridegroom C. 4o
[416]Country Captain C. 8o
Cromwell's Conspiracy T. C.
Cruel Debtor
Cupid's Whirligig C. 4o
Cyrus King of Persia T.
D.
Damon and Pythias H.
[417]Debauchee C. 4o
Destruction of Jerusalem
Dick Scorner
[418]Divine Masque M. 4o
Doctor Dodipol C. 4o
E.
[419]Edward the Third H. 4o
[420]Elvira T. C. 4o
[421]Empress of Morocco F. 4o
[422]English Princess T. 4o
Enough's as good as a Feast C.
Every Woman in her Humour C. 4o
F.
[423]Faithful Shepherd P. 4o
Fair Em C. 4o
Fair Maid of Bristol H. 4o
Factious Citizen C. 4o
Fatal Jealousie T. 4o
Fidele and Fortunatus
[424]Feign'd Astrologer C. 8o
Free-Will
[425]Flora's Vagaries C. 4o
[426]Fond Lady
Fulgius and Lucrelle
G.
Gentile-Craft C. 4o
Ghost C. 4o
H.
[427]Henry the Fifth, with the Battle of Agencourt H. 4o
[428]Hectors C. 4o
Histriomastix C. 4o
Hoffman T. 4o
How to chuse a good Wife from a bad one C. 4o
J.
Jacob and Esau C.
Jack Drum's Entertainment C. 4o
Jack Juggler
[429]Jack Straw's Life and Death H. 4o
James the Fourth H.
Jeronimo, 2 Parts T. 4o
Impatient Poverty
[430]Imperial Tragedy T. Fol.
Interlude of Youth I. 4o
John the Evangelist
Joseph's Afflictions
Jovial Crew I. 4o
K.
[429]King Edgar and Alfreda H. 4o
King and Queen's Entertainment at Richmond M. 4o
Knave in Grain C. 4o
Knack how to know an honest Man
[429]Knack how to know a Knave C. 4o
Knavery in all Trades C. 4o
Knight of the Golden Shield H. 4o
L.
Lady Alimony C. 4o
Laws of Nature C.
Levellers levell'd I.
Liberality and Prodigality C.
Lingua C. 4o
London Canticleers F. 4o
Look about you C. 4o
Lost Lady T. C. Fol.
Love A-la-mode C. Fol.
Loves Loadstone C. 4o
Lumenalia M. 4o
[431]Lyer C. 4o
M.
Manhood and Wisdom
[432]Marcus Tullius Cicero T. 4o
Marriage of Wit and Science I.
Masque of Flowers M. 4o
[433]Masque at Ludlow Castle M. 4o
[434]Massianello T. 8o
Mercurius Britannicus C. 4o
Merry Devil of Edmonton C. 4o
[435]Morning Ramble C. 4o
Mucedorus C. 4o
[436]Muse of Newmarket F. 4o
N.
[437]Nero's life and Death T. 4o
New Custom I. 4o
Newmarket Fair F. 4o
New Trick to cheat the Devil C. 4o
Nice Wanton C.
No-Body and Some-Body H. 4o
O.
Oldwives Tale
[438]Orlando Furioso H. 4o
P.
[439]Patient Grissle C.
Pedler's Prophecie C.
Philotus Scotch C. 4o
Pinder of Wakefield C. 4o
[440]Piso's Conspiracy T. 4o
Presbyterian Lash T. C.
[441]Prince of Priggs C. 4o
Promises of God manifested
Promus and Cassandra, 2 Parts
Q.
Queen T. C. 4o
R.
[442]Rambling Justice C. 4o
[443]Rampant Alderman F. 4o
[444]Revenge C. 4o
[445]Rehearsal F. 4o
[446]Reformation C. 4o
Religious Rebel T. C. 4o
[447]Return from Parnassus C. 4o
Rivals T. C. 4o
Robin Conscience
Robin Hood's Pastoral May-games
Rob. Hood and his Crew of Soldiers
Royal Masque at Hampton-Court M. 4o
[448]Romulus and Hersilia T. 4o
S.
Salmacida Spolia, M. 4o
[449]Siege of Constantinople T. 4o
Sicillides a Piscatory Drama P. 4o
Sir Gyles Goose-cap C. 4o
[450]Sir Solomon C. 4o
Solimon and Perseda T. 4o
Sophister C. 4o
[451]Sport upon Sport.--Drolls
Spanish Baud T. C. 4o
Step-mother T. C. 4o
[452]Strange Discovery T. C. 4o
Susanna's Tears
Swetnam the Woman-hater Arraigned C. 4o
T.
Tempe Restored M. 4o
Thersytes I.
[453]Tom Essence C. 4o
Tom Tyler and his Wife, I. 4o
Traytor to himself I. 4o
[454]True Trojans H. 4o
Tryal of Chivalry
Tryal of Treasure
[455]Tunbride-Wells C. 4o
Tyrannical Government
V.
Valiant Scot T. 4o
[456]Varieties C. 8o
[457]Unfortunate Usurper T. 4o
Ungrateful Favourite T. 4o
W.
Warning for Fair Women T. 4o
Wealth and Health
Weakest goes to the Wall C. 4o
Wily beguil'd C. 4o
Wine Beer Ale and Tobaco I. 4o
[458]Wits led by the Nose C. 4o
Wit of a Woman C. 4o
Woman turn'd Bully C. 4o
Woman will have her Will C. 4o
FOOTNOTES:
[409] Plot from the Tragical History of the City of =Antwerp=, 4o.
[410] Translated from =Tasso=, =Italian=.
[411] Plot from =Baker=, and other =English= Chronicles.
[412] Plot from =Heylin='s Cosmography, in the History of =Spain=. =De
Rebus Lusitan=: By =Andr. Schottum=,, Folio.
[413] Plot from =English= Chronicles.
[414] Plot from the Second Part of =Shakspear='s =Henry 6th=, Folio.
[415] From =No Wit like a Womans=, By =Middleton=.
[416] Bound with the Varieties, 8o.
[417] From =Brome='s =Mad Couple well Matcht=.
[418] Plot from =Holy Scripture=, =Jeroboam=, &c.
[419] Plot from =English= Chronicles.
[420] Ascrib'd to the Lord =Digby=.
[421] Said to be Writ by =Tho. Duffet=.
[422] Ascrib'd to =J. Carell=.
[423] From =Guarini='s =Il Pastor Fido=.
[424] Translated from the =French= of Monsieur =Corneille=, =Junior=.
[425] Ascrib'd to =Rhodes=.
[426] The Same with the =Amorous old Woman=, only a different Title.
[427] Plot from =English= Chronicles.
[428] Ascrib'd to =Edm. Prestwith=.
[429] Plots from =English= Chronicles.
[430] Ascrib'd to Sir =William Killegrew=, and Translated from the
=Latin=.
[431] From =Corneille='s =Le Menteur=.
[432] Plot from =Plutarch=. =in vitam Ciceronis=.
[433] Ascrib'd to =J. Milton=.
[434] Plot from =Giraffi='s History of =Naples=, =English'd= by =James
Howel=.
[435] Said to be Writ by Mr. =Pane=.
[436] Three Drolls stollen from several Plays.
[437] Plot from =Suetonius=.
[438] Play from =Ariosto='s Poem so call'd, Fol. =Englished= by Sir =J.
Harrington=.
[439] Plot from =Boccace='s Novels, Day 10, Novel 10. Folio.
[440] Plot from =Suetonius=, in =Vitam Neronis=.
[441] Plot from =Hyne='s Pranks, 8o.
[442] Ascrib'd to =J. Lenard=. Part from =Middleton='s =More
Dissemblers besides Women=, 8o.
[443] From the =Fine Companion=, and other Plays.
[444] Ascrib'd to Mrs. =Behn=, but Borrowed all from =Marston='s =Dutch
Courtezan=.
[445] Said to be Writ by the late Duke of =Buckingham=.
[446] By Mr. =Arrowsmith=.
[447] Ascrib'd to Sir =William D'Avenant=.
[448] Plot from =Livius, Lib 1: Ovidii Metamorph. Lib. 14.=
[449] Plot from =Heylin='s Cosmography, Book 2d. in the Description of
=Greece=, and =Constantinopolis à Mahammada, 2 da. expugnata=, Fol.
[450] Ascrib'd to =John Carrel=, from =Corneille='s =L'Escote des
Femmes=, 8o.
[451] A Collection of Drolls taken from Plays, Printed in 8o =Lond.=
1673.
[452] Plot from =Heliodorus Emissenus Æthiopicorum, Lib. 10.= The same
is in =English=, 8o 1687.
[453] Part from =Molliere='s =Le Cocu Imaginaire. C.= 8o.
[454] Plot from =Liv. Lib. 5. Cæsaris Coment.= =Lib. 4 & 5. Galfridus
ap Arthur Monumetensis.= =De Gestis Regum Brittanniæ, Lib. 4.=
[455] That and =Tom Essence= ascrib'd to Mr. =Rawlins=.
[456] Bound with the =Country Captain=, 8o.
[457] Plot from =Heylin='s Cosmography, in the Description of =Greece=.
[458] Part of it taken from =Chamberlain='s =Love's Victory=.
_The Alphabetical_ ~INDEX~ _of_ ~_PLAYS_~, _Referring to their
~AUTHOURS~_, &c.
A.
Abdellazar, 2
Abraham's Sacrifice, 29
Acolastus, 20
Actæon and Diana, 3
Adelphi, 2
Adrasta, 13
Adventures of 5 Hours, 25
Agamemnon, 22
Aglaura, 23
Agrippa King of Alba, 6
Agrippina, 17
All for Love, 6
All mistaken, 12
All Fools, 3
All for Mony, 15
All's lost by Lust, 20
All's well that ends well, 21
Alaham, 2
Alarum for London, 29
Albion, _ib._
Albion's Triumph, _ib._
Albion and Albanius, 6
Albertus Wallenstine, 10
Albovine, 6
Albumazar, 29
Alcibiades, 19
Alchimist, 12
Alexander and Campaspe, 14
Alexandrian Tragedy, 1
Alphonsus K. of Arragon, 27
Alphonsus Emp. of Germ., 30
Amazon Queen, 26
Ambitious States-man, 4
Amboyna, 5
Amends for Ladies, 9
Amorous Gallant, 29
Amorous old Woman, 29
Amorous War, 17
Amorous Prince, 2
Amorous Fantasm, 15
Amynta, 6, 20, 29.
Andræa, 2
Andromache, 5
Andromana, 28
Andronicus Comenius, 26
Anthony and Cleopatra, 21, 24.
Antigone, 17
Antipodes, 2
Antiquary, 16
Antonio and Mellida, 16
Antonius, 19
Any thing for a quiet Life, 15
Appius and Virginia, 25
Apocryphal Ladies, 18
Apollo Shroving, 28
Arcadia, 22
Arden of Feversham, 29
Argalus and Parthenia, 10
Ariadne, 27
Aristippus, 20
Arraignment of Paris, 29
Arthur, 25
Arviragus and Philitia, two Parts, 4
As you like it, 21
Assignation, 6
Astrea, 26
Athiests Tragedy, 25
Auringzebe, 6
B.
Ball, 22
Band-Ruff and Cuff, 29
Banditti, 7
Bartholomew-Fair, 12
Bashful Lover
Bashful Lady, 16
Bastard, 29
Battle of Alcazar, 29
Beggars Bush, 8
Bell in Campo, 18
Bellamira, her Dream, 14
Bellamira, the Mistress, 24
Bird in a Cage, 22
Birth of Merlin, 22
Black Prince, 19
Blazing World, 18
Blind Beggar of Alexandria, 3
-------- of Bednal Green, 5
Blind Lady, 12
Blurt Mr. Constable, 19
Bloody Brother, vide Rollo, 8
Bloody Banquet, 27
Bondman, 16
Bonduca, 8
Brazen Age, 11
Brenoralt, 23
Bridals, 18
Bride, 18
Britannia Triumphans, 6
Broken Heart, 9
Brothers, 22
Brutus of Alba, 25
Bussy D' Amboys's Revenge, 3
---- His Tragedy, _ib._
Byron's Conspiracy, _ib._
---- His Tragedy, _ib._
C.
Calisto, 5
Caius Marius's History and Fall, 19
Cambyses K. of Persia, 19, 24.
Captain, 8
Cardinal, 22
Careless Lovers, 20
Careless Shepherdess, 10
Carnival, 19
Case is altered, 13
Cataline's Conspiracy, 12
Cæsar Borgia, 15
Cæsar and Pompey, 3
Cæsar's Revenge, 29
Chabott Admiral of France, 22
Challenge at Tilt, 12
Challenge for Beauty, 11
Champions of Christendom, 14
Chances, 8
Changes, 22
Changeling, 16
Charles the First, 29
Charles the 8th of France, 5
Chast Maid in Cheapside, 15
Cheats, 26
Cheats of Scapin, 19
Christmas Masque, 12
Christ's Passion, 23
Christian turn'd Turk, 5
Cicilia and Clorinda, 14
Cid, 20
Circe, 5
City Heiress, 2
Citizen turn'd Gentleman, 20
City Madam, 16
City Match, 17
City Night-Cap, 5
City Politiques, 5
City Wit, 2
Claricilla, 14
Cleopatra, 5, 17
Cloridia, 12
Clouds, 23
Cobler's Prophecy, 26
Cælum Britannicum, 4, 6
Colas Fury, 1
Combat of Caps, 29
Combat of Love and Friendship, 17
Comedy of Errours, 21
Common-wealth of Women, 7
Committe-man Curried, 23
Commons Conditions, 29
Conflict of Conscience, 26
Conquest of China, 24
---- of Granada, 7
Conspiracy, 14, 26
Constant Maid, 22
Constant Nymph, 29
Constantine the Great, 15
Contention of Ajax and Ulisses, 22
Contention for Honour and Riches, 22
Contention between York and Lancaster, 29
Coriolanus, 21
Cornelia, 14
Coronation, 8
Costly Whore, 29
Covent-Garden, 18
Covent-Garden Weeded, 2
Covent of Pleasure, 18
Counterfeits, 29
Counterfeit Bridegroom, 29
Countess of Pembrook's Ivy-Church, 9
Country Captain, 29
Country Innocence, 15
Country Girl, 5
Country Wife, 26
Country Wit, 5
Couragious Turk, 10
Court Beggar, 2
Court Secret, 22
Coxcomb, 8
Cruel Brother, 6
Custom of the Country, 8
Cromwell's History, 21
Cunning Lover, 2
Cuckolds Haven, 25
Cupid and Death, 22
Cruel Debtor, 29
Croesus, 1
Cupid's Whirligig, 29
Cupid's Revenge, 8
Cure for a Cuckold, 25
Cutter of Coleman-street, 4
Cymbeline, 21
Cynthia's Revels, 12
Cynthia's Revenge, 23
Cytherea, 23
Cyrus King of Persia, 29
D.
Dame Dobson, 21
Damoiselle, 2
Damoiselle A-la-mode, 9
Damon and Pythias, 22
Darius's Tragedy, 1
David and Bethshabe, 19
Debauchee, 29
Deorum Dona, 1
Deserving Favourite, 4
Destruction of Jerusalem, 29, 5
Destruction of Troy, 3
Devil's an Ass, 12
Devil's Charter, 1
Devil's Law-Case, 25
Devil of a Wife, 14
Dick Scorner, 29
Dido Q. of Carthage, 17
Disappointment, 24
Disobedient Child, 13
Distresses, 6
Distracted State, 25
Divine Comedian, 25
Divine Masque, 29
Doctor Dodipol, 29
Doctor Faustus, 16
Don Carlos Prince of Spain, 19
Double Marriage, 8
Doubtful Heir, 22
Duke and no Duke, 25
Duke of Guise, 7
Duke of Lerma, 12
Duke of Millain, 16
Duke's Mistress, 22
Dumb Knight, 17
Dumb Lady, 15
Dutch Courtezan, 16
Dutch Lover, 3
Dutchess of Malfey, 25
Dutchess of Suffolk, 11
E.
Eastward Hoe, 3, 13
Edgar, 21
Edward the First, 19
Edward the Second, 17
Edward the Third, 29
Edward the Fourth, 11
Elder Brother, 8
Electra, 28
Elizabeth's Troubles, 11
Elvira, 29
Emperour of the East, 16
Emperour of the Moon, 3
Empress of Morocco T. & F., 24, 30.
Enchanted Lovers, 15
Endimion, 14
English Lawyer, 2
English Monsieur, 12
English Moor, 2
English Princess, 33
English Rogue, 25
English Traveller, 11
Enough's as good as a Feast
Entertainment at K. James's Coronation, 12
---- of K. James, and Q. Ann, at Theobalds, 12
---- of the K. of England, and the King of Denmark, at Theobalds, 12
---- on the Prince's Birth-Day, 17
---- of the Q. and Prince at Althrop, 12
---- of King and Queen at High-gate, 12
Epsom Wells, 24
Erminia, 9
Evening Love, 7
Every Man in his Humour, 12
Every Man out of his Humour, 12
Every Woman in her Humour, 30
Eunuchus, 2
Example, 22
Excommunicated Prince, 3
Extravagant Shepherd, 28
F.
Factious Citizen, 30
Fair Em, 30
Fair Favourite, 6
Fair Irene, 23
Fair Maid of Bristol, 30
---- Maid of the West, 11
---- of the Exchange, 11
---- of the Inn, 8
Fair Quarrel, 16
Faithful Shepherd, 30
Faithful Shepherdess, 8
False Favourite disgrac'd, 10
False Count, 3
False One, 8
Family of Love, 15
Fancies, 9
Fancies Festivals,, 13
Fatal Contract, 12
Fatal Dowry, 16
Fatal Love, 24
Fatal Jealousie, 30
Fawn, 16
Feign'd Astrologer, 30
Feign'd Courtezans, 3
Ferex and Porex, 18
Female Prelate, 24
Female Academy, 18
Fidele and Fortunatus, 36
Fine Companion, 16
Fleir, 23
Floating Island, 23
Flora's Vagaries, 30
Fond Lady, 33
Fond Husband, 7
Fool turn'd Critick, 7
Fool would be a Favorite, 4
Forc'd Marriage, 3
Fortunate Isles, 12
Fortune by Land and Sea, 11
Fortunatus, 5
Four P. P., 11
Four London Prentices, 11
Four Plays in One, 8
Fox, 12
Free Will, 30
Friendship in Fashion, 19
French Conjurer, 27
Fryer Bacon, 10
Fulgius and Lucrelle, 30
G.
Gallathea, 14
Game at Chess, 15
Gamester, 22
Gammer Gurton's Needle, 28
Generous Enemies, 5
Gentle Craft, 30
Gentleman Dancing-Master, 26
---- of Venice, 22
---- Usher, 13
---- of Verona, 21
Ghost, 30
Glass of Government, 10
Gloriana, 15
Goblins, 23
Golden Age, 11
Golden Age restored, 12
Grateful Servant, 22
Great Duke of Florence, 16
Green's Tu Quoque, 3
Grim the Collier of Croyden, 28
Gripus and Hegio, 1
Guardian, 4, 16
Guy of Warwick, 27
H.
Hamlet Pr. of Denmark, 21
Hannibal and Scipio, 18
Heautontimorumenos, 2
Hector of Germany, 25
Hectors, 19
Hecyra, 2
Heir of Morocco, 24
Heir, 17
Hell's higher Court of Justice, 27
Henry the 3d of France, 24
Henry the 4th, 21
Henry the 5th, 21, 19
---- _Item_, with the Battle of Agencourt, 30
Henry the 6th, 3 Parts _Shakspear_, 21
Henry the 8th, 2 Pts. _Crown_, 5
Heraclius Emp. of the East, 4
Hercules Furiens, 11
Hercules Oetus, 22
Hero and Leander, 23
Herod and Antipater, 17
Herod and Mariamne, 19
Hey for Honesty down with Knavery, 20
Hic & Ubique, 12
Hippolitus, 19, 22
Histrioma stix, 30
Hoffman, 30
Hog hath lost his Pearl, 25
Hollander, 10
Holland's Leaguer, 16
Honest Lawyer, 28
Honoria and Mammon, 22
Honest Man's Fortune, 8
Honest Whore, 5
Honour of Wales, 12
Horace, 4, 19
Horatius, 15
How to chuse a good Wife from a bad, 30
Humerous Lovers, 18
Humerous Courtier, 22
Humerous Days-Mirth, 3
Humerous Lieutenant, 8
Humorists, 24
Humour out of Breath, 5
Hyde Park, 22
Hymenæi,, 13
Hymens Triumph, 5
J.
Jack Drum's Entertainment, 30
Jack Jugler, _ib._
Jack Straw's Life and Death, _ib._
Jacob and Esau, _ib._
James the 4th, _ib._
Ibrahim, 24
Jealous Lovers, 20
Jeronymo, 30
Jew of Malta, 17
Jews Tragedy, 12
If this be'nt a good Play the Devil's in't., 5
Ignoramus, 27
Impatient Poverty, 30
Imperiale, 10
Imperial Tragedy, 30
Imposture, 22
Indian Emperour, 7
Indian Queen, 12
Ingratitude of a Common-wealth, 25
Injured Princess, 7
Inner-Temple Masque, 15
Insatiate Countess, 16
Interlude of Youth, 30
Jocasta, 10
John the Evangelist, 30
John King of England, 21
John and Matilda, 5
Joseph, 10
Joseph's Afflictions, 30
Jovial Crew, 2, 30
Irish Masque, 13
Iron Age, 11
Isle of Gulls, 5
Island Princess, 8
Juliana Princess of Poland, 5
Julius Cæsar, 1, 21
Just General, 17
Just Italian, 6
K.
Kind Keeper, 7
King and no King, 8
K. Edgar and Alfreda, 21, 3
King's Entertainment at Welbeck, 13
King and Queen's Entertainment at Richmond, 3
K. Lear, and his 3 Daughters, 25
Knack to know an honest Man, 30
Knack to know a Knave, 30
Knave in Grain, 30
Knavery in all Trades, 3
Knight of the Burning Pestle, 8
Knight of the Golden Shield, 30
Knight of Malta, 8
L.
Lady Alimony, 30
Lady Contemplation, 18
Lady Errant, 4
Lady of Pleasure, 22
Ladies Tryal, 9
Ladies Priviledge, 10
Lancashire Witches, 24, 11
Landagartha, 27
Laws of Candy, 8
Law against Lovers, 6
Laws of Nature, 30
Law Tricks, 5
Levellers Levell'd, 30
Lears Tragedy, 21
Liberality & Prodigality, 30
Libertine, 24
Like Will to like, quoth the Devil to the Collier, 9
Lingua, 30
Little French Lawyer, 8
Locrine, 21
London Canticleers, 30
London Prodigal, 21
Look about you, 30
Looking-Glass for Lond., 10
London Cuckolds, 21
Lost Lady, 31
Love A-la-mode, 31
Love Crowns the End, 25
Love in its Extasie, 20
Love freed from Ignorance, By _B. J._ _Omitted_
Love and Honour, 6
Love in the Dark, 10
Love lost in the Dark, _Omit-_
Love restored, 13
Love and Revenge, 24
Love-sick King, 1
Love-sick Court, 2
Love in a Tub, 8
Love and War, 17
Love in a Wood, 26
Loves Adventures, 18
Loves Cure, 8
Loves Cruelty, 22
Loves Dominion, 9
Loves Kingdom, 9
Loves labour lost, 21
Loves Labyrinth, 9
Loves Loadstone, 31
Lovers Melancholy, 9
Loves Metamorphosis, 14
Loves Mistress, 11
Loves Pilgrimage, 8
Lovers Progress, 8
Loves Riddle, 4
Loves Sacrifice, 9
Loves Triumph, 4, 13
Loves Victory, 4
Loves Welcome, 13
Love will find out the way
Loving Enemies, 17
Lucius Junius Brutus, 15
Luminalia, 31
Lusts Dominion, 17
Lusty Juventus, 26
Loyal Brother, 25
Loyal Gentleman, 25
Loyal Lovers, 17
Loyal Subject, 8
Lucky Chance, 3
Lyer, 31
M.
Mackbeth, 21
Mad Couple well Matcht, 2
Madam Fickle, 8
Mad Lover, 8
Mad World my Masters, 15
Magnetick Lady, 13
Maid of Honour, 16
Maid in the Mill, 8
Maids Metamorphosis, 14
Maids of Moorclack, 1
Maids Revenge, 22
Maiden Queen, 7
Maids Tragedy, 9
Maidenhead well lost, 11
Male-Content, 16
Mall, 27
Man of Mode, 8
Manhood and Wisdom, 31
Man's the Master, 6
Man of Newmarket, 12
Marriage A-la-mode, 7
Marriage Broker, 28
Marriage Night, 10
Marriage of the Arts, 11
Marriage of Oceanus and Britannica, 9
---- of Wit and Science, 31
Mariam, 4
Marcelia, 2
Marcus Tull. Cicero, 31
Marius and Scylla, 15
Martyr, 15
Martyr'd Soldier, 23
Mary Q. of Scotland, 3
Mary Magdalen's Repent., 2
Masque of Auguurs, 13
Masque at the L. Haddington's House, 13
Masque of Grays-Inn Gent., 8
Masque at Ludlow-Castle, 3
Masque of the Middle-Temp. and Lincolns-Inn Gent., 3
Masquerade Du Cel, 28
Massacree at Paris, 17
Massianello, 31
Masque of Owls, 13
Masque of Flowers, 31
Masque of Queens, 13
Match me in London, 5
Match at Midnight, 20
Matrimonial Trouble, 18
May-Day, 3
Mayor of Quinborough, 15
Measure for Measure, 21
Medea, 21, 23
Menechmus, 28
Merchant of Venice, 21
Mercurius Britannicus, 31
Mercury Vindicated, 13
Merry Devil of Edmonton, 31
Merry Milkmaids, 27
Merry Wives of Windsor, 21
Messalina, 20
Metamorphosed Gipsies, 13
Michaelmas-Term, 15
Microcosmus, 17
Midas, 14
Midsumer Nights Dream, 21
Mirza, 1
Miser, 24
Miseries of Civil War, 5
Miseries of inforc'd Marr., 29
Mistaken Husband, 7
Mithridates, 15
Mock Tempest, 8
Mock Duellest, 27
Mony is an Ass, 13
Monsieur Thomas, 8
Morning Ramble, 31
More Dissemblers besides Women, 16
Mortimer's Fall, 13
Monsieur D'Olive, 3
Mother Bomby, 14
Mother Shipton's L. & D., 25
Mucedorus, 31
Much adoe about nothing, 21
Mulberry Garden, 24
Muleasses the Turk, 17
Muses Looking-glass, 20
Muse of Newmarket, 31
Mustapha, 2, 19
N.
Natures 3 Daughters, 18
Neptune's Triumph, 13
Nero, newly Written, 15
Nero's Life and Death, 31
New Custom, 31
New Exchange, 2
New Inn, 13
Newmarket Fair, 3
New Trick to cheat the Devil, 31
New way to pay old debts, 16
News from the World in the Moon, 13
News from Plymouth, 6
Nice Valour, 9
Nice Wanton, 31
Nicomede, 5
Night-Walker, 9
Noah's Flood, 8
No-Body and Some-Body, 31
Noble Gentleman, 9
Noble Ingratitude, 15
Noble Spanish Soldier, _By_ S. R. _Omitted_.
Noble Stranger, 23
Northern Lass, 2
Northward Hoe, 5
Novella, 2
No Wit }
Help} like a Wom., 16
O.
Oberon, the Fairy Prince, 13
Obstinate Lady, 4
Octavia, 18
Oedipus, 7, 13
Old-Castle, 21
Old Couple, 17
Old Law, 16
Old Man's Lesson, and a young Man's Love, 1
Old Troop, 15
Old Wives Tale, 31
Opportunity, 22
Ordinary, 4
Orestes, 10
Orlando Furioso, 31
Orgula, 28
Ormazdes, 14
Orphan, 19
Othello, the Moor of Ven., 21
Ovid, 4
Osmond the Great Turk, _ib._
P.
Pallantus, and Eudora, 14
Pandora, 14
Pan's Anniversary, 13
Parliament of Bees, 5
Parson's Wedding, 14
Passionate Lovers, 4
Pastor Fido, 10, 24
Patient Grissle, 31
Patrick for Ireland, 22
Pedler's Prophesie, 31
Peleus and Thetis, 12
Perkin Warbeck, 9
Pericles Prince of Tyre, 21
Philaster, 9
Phillis of Syros, 28
Phoenix, 15
Phoenix in her Flames
Philotus, Scotch, 31
Philoras,, 5
Phormio, 2
Picture, 16
Pilgrim, 9, 14
Pinder of Wakefield, 31
Piso's Conspiracy, _ib._
Pity she's a Whore, 9
Platonick Lovers, 6
Play-House to be Lett, _ib._
Play of Gentileness and Nobility, 11
Play of Love, _ib._
Play between John the Husband, and Tib his Wife, _ib._
Play between the Pardoner, and the Fryer, the Curate, and
Neighb. Pratt, _ib._
Play of the Weather, _ib._
Plain Dealer, 26
Pleasure at Kenelworth-Castle, 10
Pleasure reconcil'd to Vir., 13
Plutus, 27
Poetaster, 13
Politician, 22
Politician Cheated, 10
Pompey, 19, 26
Pope Joan, _vide_ Fem. Prel.
Poor Man's Comfort, 5
Poor Schollar, 18
Pragmatical Jesuit, 4
Presbiterian Lash, 31
Presence, 18
Princess, 14
Prince of Priggs, 31
Prisoners, 14
Projectors, 26
Prophetess, 9
Promus and Cassandra, 31
Promises of God manifested, _ib._
Psiche, 27
Psiche Debauch'd, 27
Publick Woing, 18
Puritan Widow, 21
Q.
Queen, 31
Queen's Arcadia, 5
Queen of Arragon, 11
Queen and Concubine, 2
Queen of Corinth, 9
Queen's Exchange, 2
---- Masque of Blackness, 13
---- Masque of Beauty, 13
R.
Raging Turk, 10
Ram-Alley, 2
Rambling Justice, 15
Rampant Alderman, 31
Rape of Lucrece, 11
Rebellion, 20
Reformation, 31
Rehearsal, 31
Religions, 18
Religious Rebel, 31
Renegado, 16
Return from Parnassus, 31
Revenge, _ib._
Revenge for Honour, 3
Revenger's Tragedy, _By_ C. T. _Omitted_.
Reward of Virtue, 9
Rhodon and Iris, 14
Richard the Second, 21, 25
Richard the Third, 21
Rival Friends, 11
Rival Kings, 3
Rival Ladies, 7
Rival Queens, 15
Rivals, 32
Roaring Girl, 15
Robert Earl of Huntingdon's Downfall, 11
---- His Death, _ib._
Robin Hood's Pastoral May-games, 32
---- and his Crew of Sold., _ib._
Robin Conscience, _ib._
Rollo D. of Normandy, 8
Roman Actor, 16
Roman Empress, 13
Roman Generals, 7
Romeo & Juliet, 21
Romulus and Hersilia, 32
Roundheads, 3
Rover, 3
Royallist, 8
Royal Master, 22
Royal Masq. at Hampt. Court
Royal Slave, 4
Royal Shepherdess, 24
Rule a Wife and have a Wife, 9
Rump, 25
S.
Sacrifice, 10
Sad One, 23
Sad Shepherd, 13
St. Cicily, 27
Salmacida Spolia, 32
Sampson Agonestes, 17
Sapho and Phao, 14
Scaramouch, _&c._, 21
School of Complements, 22
Scornful Lady, 9
Scot's Figgaries, 25
Sea Voyage, 9
Seven Cham. of Christen., 14
See me and see me not, 1
Sejanus, 13
Selimus, 10
Selindra, 14
Sertorius, 2
Several Wits, 18
Sforza Duke of Millain, 10
She wou'd if she cou'd, 8
Shepherds Paradice, 17
Shepherds Holyday, 20
Shoomaker a Gentleman, 20
Sicelides, 32
Sicily and Naples, 27
Siege, 4, 6
---- of Babylon, 19
---- of Constantinople, 32
---- of Memphis, 8
---- of Rhodes, 6
---- of Urbin, 14
Silent Woman, 13
Silver Age, 11
Sir Courtly Nice, 5
Sir Barnaby Whigg, 8
Sir Giles Goose-cap, 32
Sir Hercules Buffoon, 15
Sir Martin Marr-all, 7
Sir Patient Fancy, 3
Sir Solomon, 32
Sisters, 22
Six Days Adventure, 12
Slighted Maid, 23
Sociable Companions, 18
Soliman and Perseda, 32
Sophister, _ib._
Sophonisba, 15, 16
Sophy, 6
Souldier's Fortune, 19
Spanish Bawd, 32
---- Curate, 9
---- Friar, 7
---- Gipsies, 16, 20.
---- Rogue, 8
Sparagus Garden, 2
Speeches at Pr. H. Barriers, 13
Spightful Sister, 2
Sport upon Sport, 32
Spring's Glory, 18
Squire Old-sap, 8
Staple of News, 13
Step-Mother, 2
State of Innocence, 7
Strange Discovery, 32
Stukeley's Life and Death, _vide_ Battle of Alcazar
Sullen Lovers, 24
Summers last Will and Testament, 18
Sun's Darling, 9
Supposes, 10
Surprizal, 12
Susanna's Tears, 32
Swaggering Damoysel, 4
Swetnam the Woman-hater arraigned, 32
T.
Tale of a Tub, 13
Tamberlain the Great, 17
Tamerlain the Great, 24
Tancred and Grismond, 26
Taming of the Shrew, 22
Tartuff, 17
Tarugo's Wiles, 24
Tempe restored, 32
Temple, 3
Temple of Love, 6
Tempest, 7, 22
The longer thou livest, the more Fool thou art, 25
Thebais, 18
Theodosius, 15
Thersytes, 32
Thomaso, 14
Thornby-Abby, 21
Thracian Wonder, 25
Three Lords and Ladies of London, 28
Thyestes T. & F., 5, 11. 20
Thyerry, and Theodoret, 9
Time Vindicated to himself, and to his Honour, 13
Timon of Athens, 22, 24
Titus Andronicus, 22
Titus and Berenice, 19
Tom Essence, 32
Tom Tyler, and his Wife, _ib._
Tottenham-Court, 18
Town-Fopp, 3
Town Shift, 20
Trapolin suppos'd a Prince, 4
Travels of 3 Eng. Broth., 5
Traytor, 22
Traytor to himself, 32
Trick to catch the old One, 15
Trick for Trick, 8
Triumph of Beauty, 22
---- of Love and Antiq., 15
---- of Peace, 22
---- of the Pr. D'Amour, 5
Triumphant Widow
Troades, 23, 28
Troas, 28, 11
Troylus and Cressida, 7, 22
True Trojans, 32
True Widow, 24
Tunbride-Wells, 32
Tryal of Chivalry, 32
Tryal of Treasure
Tryphon, 19
Twelfth-Night, 22
Twins, 20
Two Noble Kinsmen, 9
Two Tragedies in one, 26
Two angry Wom. of Ab., 19
Tyde tarryeth for no man, 26
Tyrannical Government, 32
Tyrannick Love, 7
Two wise Men, and all the rest Fools, 3
V.
Valentinian, 9
Valiant Scot, 32
Valiant Welchman, 27
Varieties, 32
Very Woman, 16
Unfortunate Lovers, 6
Unfortunate Shepherd, 25
Unfortunate Mother, 18
Unfortunate Usurper, 32
Ungrateful Favourite, 32
Unhappy Favourite, _Essex_, 3
Unnatural Combat, 16
Unnatural Tragedy, 18
Usurper, 12
Untrussing the Humerous Poet, 5
Venice preserved, 19
Virtue Betray'd, 3
Vestal Virgin, 12
Villain, 19
Virgin Martyr, 16
Virgin Widow, 20
Virtuous Octavia, 1
Virtuous Wife, 8
Virtuoso, 24
Vision of Delight, 13
Vision of the 12 Goddesses, 5
Vow Breaker, 23
W.
Walks of Islington & Hogsdon, 13
Wandring Lover, 17
Warning for fair Women, 32
Weakest goes to the Wall, _ib._
Wealth and Health, _ib._
Wedding, 32
Westward Hoe, 5
What you will, 16
When you see me, you know me, 20
White Devil, 25
Whore of Babylon, 5
Wiat's History, _ib._
Widow, 13
Widow's Tears, 3
Wife for a Month, 9
Wild Gallant, 7
Wild-Goose Chase, 9
Wily beguil'd, 32
Wine, Beer, Ale, & Tobac., _ib._
Winter's Tale, 22
Wise Woman of Hogsdon, 11
Witch of Edmonton, 5
Wit in a Constable, 10
Wit without money, 9
Wit of a Woman, 32
Wit at several Weapons, 9
Wits, _By Sir_ W. D. _Omitted_
Wits Cabal, 18
Wits led by the Nose, 32
Witty Combat, 27
Witty Fair, One, 22
Woman turn'd Bully, 32
---- Captain, 24
----'s Conquest, 12
---- kill'd, with kindness, 11
---- Hater, 9
---- in the Moon, 14
----'s Prize, 9
---- will have her Will, 32
----'s a Weather-Cock, 9
Women pleas'd, _ib._
Women beware Women, 16
Wonder, a Woman never vex'd, 20
Wonder of a Kingdom, 5
World toss'd at Tennis, 16
Wrangling Lovers, 21
Y.
Yorkshire Tragedy, 22
Young Admiral, _ib._
Your five Gallants, 16
Youth's Glory, and Death's Banquet, 18
Young King, 3
* * * * *
~ADVERTISEMENT~.
C. _Stands for Comedy_, T. _Tragedy_, T. C. _Tragy-Comedy_, O. _Opera_,
H. _History_, P. _Pastoral_, I. _Interlude_, _and_ E. _Entertainment_.
* * * * *
_~FINIS~._
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Transcriber's Notes:
Simple spelling, grammar, and typographical errors in the prose
were corrected.
Italics markup is enclosed in _underscores_.
Bold markup is enclosed in =equals=.
Gesperrt markup is enclosed in ~tildes~.
Greek text is transliterated and enclosed in #number signs#.
The Greek mispelling Footnote 59 was corrected.
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