Chapter 20

FOOTNOTES:[1]The usual language of the Honourable Edward Howard, Esq., at the rehearsal of his plays.[2]He who writ this, not without pain and thought,From French and English theatres has broughtTh' exactest rules, by which a play is wrought.The unity of action, place, and time;The scenes unbroken; and a mingled chime,Of Johnson's humour, with Corneille's rhyme.Prologue to the Maiden Queen.[3]See the two prologues to the "Maiden Queen."[4]There were printed papers given the audience before the acting the "Indian Emperor;" telling them that it was the sequel of the "Indian Queen," part of which play was written by Mr. Bayes, &c.[5]"Persons, egad, I vow to Gad, and all that," is the constant style of Failer in the "Wild Gallant:" for which, take this short speech, instead of many:"Failer.Really, madam, I look upon you, as a person of such worth, and all that, that I vow to Gad, I honour you of all persons in the world; and tho' I am a person that am inconsiderable in the world, and all that, madam, yet for a person of your worth and excellency I would," &c.—"Wild Gallant," p. 8.[6]He contracted with the King's company of actors, in the year 1668, for a whole share, to write them four plays a year.[7]In ridicule of this:"So two kind turtles, when a storm is nigh,Look up, and see it gathering in the sky;Each calls his mate to shelter in the groves,Leaving, in murmurs, their unfinish'd loves;Perch'd on some dropping branch, they sit alone,And coo, and hearken to each other's moan.""Conquest of Granada," Part ii. p. 48.[8]"I am the evening dark as night."—"Slighted Maid," p. 49.[9]"Let the men 'ware the ditches.Maids look to their breeches,We'll scratch them with briars and thistles."—"Slighted Maid," p. 49.[10]Abraham Ivory had formerly been a considerable actor of women's parts; but afterwards stupefied himself so far, with drinking strong waters, that, before the first acting of this farce, he was fit for nothing but to go of errands; for which, and mere charity, the company allowed him a weekly salary.[11]Drake, Sen."Draw up our men;And in low whispers give our orders out.""Play House to be Let," p. 100.See the "Amorous Prince," pp. 20, 22, 39, 69, where all the chief commands, and directions, are given in whispers.[12]Mr. William Wintershull was a most excellent, judicious actor; and the best instructor of others; he died in July, 1679.[13]He was a great taker of snuff; and made most of it himself.[14]"The Lost Lady," by Sir Robert Stapleton.[15]Compare this with Prince Leonidas in "Marriage A-la-mode."[16]In imitation of this passage:—"As some fair tulip, by a storm opprest,Shrinks up, and folds its silken arms to rest;And, bending to the blast, all pale, and dead,Hears from within the wind sing round its head:So shrouded up your beauty disappears;Unveil, my love, and lay aside your fears:The storm, that caus'd your fright, is past and gone.""Conquest of Granada," Part i. p. 55.[17]Such easy turns of state are frequent in our modern plays; where we see princes dethroned, and governments changed, by very feeble means, and on slight occasions: particularly in "Marriage A-la-mode;" a play writ since the first publication of this farce. Where (to pass by the dulness of the state-part, the obscurity of the comic, the near resemblance Leonidas bears to our Prince Prettyman, being sometimes a king's son, sometimes a shepherd's; and not to question how Amalthea comes to be a princess, her brother, the king's great favourite, being but a lord) it is worth our while to observe, how easily the fierce and jealous usurper is deposed, and the right heir placed on the throne; and it is thus related by the said imaginary princess:—"Amalth.Oh, gentlemen! if you have loyalty,Or courage, show it now. Leonidas,Broke on a sudden from his guards, and snatchingA sword from one, his back against the scaffold,Bravely defends himself; and owns aloudHe is our long lost king, found for this moment;But, if your valours help not, lost for ever.Two of his guards mov'd by the sense of virtue,Are turn'd for him; and there they stand at bay,Against a host of foes."—"Marriage A-la-mode," p. 61.This shows Mr. Bayes to be a man of constancy, and firm to his resolution, and not to be laughed out of his own method; agreeable to what he says in the next act: "As long as I know my things are good, what care I what they say?"[18]"I know not what to say, or what to think!I know not when I sleep, or when I wake!"—"Love and Friendship," p. 46."My doubts and fears my reason do dismay:I know not what to do, or what to say."—"Pandora," p. 46.[19]Prince Prettyman and Tom Thimble; Failer, and Bibber his tailor, in the "Wild Gallant," pp. 5, 6.[20]"Nay, if that be all, there's no such haste. The courtiers are not so forward to pay their debts."—"Wild Gallant," p. 9.[21]"Take a little Bibber,And throw him in the river;And if he will trust never,Then there let him lie ever.Bibber.Then say I,Take a little Failer,And throw him to the jailer,And there let him lieTill he has paid his tailor."—"Wild Gallant," p. 12.[22]A great word with Mr. Edward Howard.[23]In imitation of this:—"On seas, and in battles, through bullets and fire,The danger is less, than in hopeless desire;My death's wound you gave me, tho' far off I bearMy fall from your sight, not to cost you a tear:But if the kind flood on a wave would convey,And under your window my body would lay;When the wound on my breast you happen to see,You'll say with a sigh, it was given by me."This is the latter part of a song, made by Mr. Bayes on the death of Captain Digby, son of George, Earl of Bristol, who was a passionate admirer of the Duchess Dowager of Richmond, called by the author Armida. He lost his life in a sea-fight against the Dutch, the 28th of May, 1672.[24]Mr. Edward Howard's words.[25]See the two kings in "The Conquest of Granada."[26]"Albert.Curtius. I've something to deliver to your ear.Cur.Anything from Alberto is welcome."—"Amorous Prince," p. 39.[27]See the Prince in "Marriage A-la-mode."[28]"Let my horses be brought ready to the door, for I'll go out of town this evening.Into the country I'll with speed,With hounds and hawks my fancy feed, &c.Now I'll away, a country lifeShall be my mistress, and my wife.""English Monsieur," pp. 36, 38, 39.[29]"And what's this maid's name?"—"English Monsieur," p. 40.[30]"I bring the morning pictur'd in a cloud."—"Siege of Rhodes," part i. p. 10.[31]"Mr. Comely in love."—"English Monsieur," p. 49.[32]Sir William D'Avenant's play of "Love and Honour."[33]"But honours says not so."—"Siege of Rhodes," part i. p. 19.[34]"Love in a Nunnery," p. 34.[35]Col. Henry Howard, son of Thomas, Earl of Berkshire, made a play called the "United Kingdoms," which began with a funeral; and had also two kings in it. This gave the duke a just occasion to set up two kings in Brentford, as it is generally believed; tho' others are of opinion, that his grace had our two brothers, King Charles and the Duke of York, in his thoughts. It was acted at the Cockpit, in Drury Lane, soon after the Restoration; but miscarrying on the stage, the author had the modesty not to print it; and therefore, the reader cannot reasonably expect any particular passages of it. Others say, that they are Boabdelin and Abdalla, the two contending kings of Granada; and Mr. Dryden has, in most of his serious plays, two contending kings of the same place.[36]"Conquest of Granada," in two parts.[37]"On seas I bore thee, and on seas I died,I died: and for a winding-sheet, a waveI had; and all the ocean for my grave.""Conquest of Granada," part ii. p. 113.[38]Almanzor in the "Conquest of Granada."[39]In ridicule of this:—"My earthly part,Which is my tyrant's right, death will remove;I'll come all soul and spirit to your love.With silent steps I'll follow you all day;Or else before you in the sunbeams play.I'll lead you hence to melancholy groves,And there repeat the scenes of our past loves;At night, I will within your curtains peep,With empty arms embrace you, while you sleep.In gentle dreams I often will be by,And sweep along before your closing eye.All dangers from your bed I will remove;But guard it most from any future love.And when at last in pity you will die,I'll watch your birth of immortality:Then, turtle like, I'll to my mate repair,And teach you your first flight in open air."—"Tyrannic Love," p. 25.[40]See the scene in the "Villain." Where the host furnishes his guests with a collation out of his clothes; a capon from his helmet, a tansey out of the lining of his cap, cream out of his scabbard, &c.[41]In ridicule of this:—"Almah.Who dares to interrupt my private walk?Alman.He who dares love, and for that love must die;And, knowing this, dares yet love on, am I.""Granada," part ii. pp. 114, 115.[42]It was at first, "dares die."—Ibid.[43]"Alman.I would not now, if thou wouldst beg me, stay;But I will take my Almahide away."—"Conquest of Granada," p. 32.[44]In ridicule of this:—"Alman.Thou dar'st not marry her, while I'm in sight;With a bent brow, thy priest and thee I'll fright:And, in that scene, which all thy hopes and wishes should content,The thoughts of me shall make thee impotent."—Ibid.p. 5.[45]"Spite of myself, I'll stay, fight, love, despair;And all this I can do, because I dare."—"Tyrannic Love," part ii. p. 89.[46]In ridicule of this:—"Max.Thou liest. There's not a god inhabits there,But, for this Christian, would all heaven forswear:Even Jove would try new shapes her love to win,And in new birds, and unknown beasts would sin;At least, if Jove could love like Maximin."—"Tyrannic Love," p. 17.[47]"Some god now, if he dare relate what pass'd;Say, but he's dead, that god shall mortal be."—Ibid.p. 7."Provoke my rage no farther, lest I beReveng'd at once upon the gods, and thee."—Ibid.p. 8."What had the gods to do with me, or mine."—Ibid.p. 57.[48]"Poets, like lovers, should be bold, and dare;They spoil their business with an over-care:And he, who servilely creeps after sense,Is safe; but ne'er can reach to excellence."—"Prologue to Tyrannic Love."[49]"What various noises do my ears invade;And have a concert of confusion made?"—"Siege of Rhodes," p. 4.[50]In ridicule of this:—"Naker.Hark, my Damilcar, we are call'd below.Dam.Let us go, let us go:Go to relieve the care,Of longing lovers in despair.Naker.Merry, merry, merry, we sail from the east,Half tippled at a rainbow feast.Dam.In the bright moonshine, while winds whistle loud,Tivy, tivy, tivy, we mount and we fly,All racking along in a downy white cloud;And lest our leap from the sky should prove too far,We slide on the back of a new-falling star.Naker.And drop from above,In a jelly of love.Dam.But now the sun's down, and the element's red,The spirits of fire against us make head.Naker.They muster, they muster, like gnats in the air:Alas! I must leave thee, my fair;And to my light-horsemen repair.Dam.O stay! for you need not to fear 'em to-night;The wind is for us, and blows full in their sight:And o'er the wide ocean we fight.Like leaves in the autumn, our foes will fall down,And hiss in the water....Both.And hiss in the water, and drown.Naker.But their men lie securely intrench'd in a cloud,And a trumpeter-hornet to battle sounds loud.Dam.Now mortals that spyHow we tilt in the sky,With wonder will gaze;And fear such events as will ne'er come to pass.Naker.Stay you to perform what the man will have done.Dam.Then call me again when the battle is won.Both.So ready and quick is a spirit of air,To pity the lover, and succour the fair,That silent and swift, that little soft god,Is here with a wish, and is gone with a nod."—"Tyrannic Love," pp. 24, 25.[51]See "Tyrannic Love," act iv. sc. 1.[52]In ridicule of this:—"What new misfortunes do these cries presage?1st Mess.Haste all you can, their fury to assuage:You are not safe from their rebellious rage.2nd Mess.This minute, if you grant not their desire,They'll seize your person, and your palace fire."—"Granada," part ii. p. 71.[53]"Aglaura," and the "Vestal Virgin," are so contrived by a little alteration towards the latter end of them, that they have been acted both ways, either as tragedies or comedies.[54]There needs nothing more to explain the meaning of this battle, than the perusal of the first part of the "Siege of Rhodes," which was performed in recitative music, by seven persons only: and the passage out of the "Playhouse to be Let."[55]The "Siege of Rhodes" begins thus:—"Admiral.Arm, arm, Valerius, arm."[56]The third entry thus:—"Solym.Pyrrhus, draw down our army wide;Then, from the gross, two strong reserves divide,And spread the wings,As if we were to fight,In the lost Rhodians' sight,With all the western kings.Each with Janizaries line;The right and left to Haly's sons assign;The gross, to Zangiban;The main artilleryTo Mustapha shall be:Bring thou the rear, we lead the van."[57]"More pikes! more pikes! to reinforceThat squadron, and repulse the horse."—"Playhouse to be Let," p. 72.[58]"Point all the cannon, and play fast;Their fury is too hot to last.That rampire shakes; they fly into the town.Pyr.March up with those reserves to that redoubt;Faint slaves, the Janizaries reel!They bend! they bend! and seem to feelThe terrors of a rout.Must.Old Zanger halts, and reinforcement lacks.Pyr.March on!Must.Advance those pikes, and charge their backs."—"Siege of Rhodes."[59]In ridicule of this:—"Phœb.Who calls the world's great light!Aur.Aurora, that abhors the night.Phœb.Why does Aurora, from her cloud,To drowsy Phœbus cry so loud?"—"Slighted Maid," p. 8.[60]"The burning mount Vesuvio."—"Slighted Maid," p. 81.[61]"Drink, drink wine, Lippara wine."—Ibid.[62]Valeria, daughter to Maximin, having killed herself for the love of Porphyrius; when she was to be carried off by the bearers, strikes one of them a box on the ear, and speaks to him thus:—"Hold, are you mad, confounded dog?I am to rise, and speak the epilogue."—"Tyrannic Love."[63]Two noted alehouses in Oxford, 1700.[64]The cat ran away with this part of the copy, on which the Author had unfortunately laid some of Mother Crump's sausages.[65]Corneille recommends some very remarkable day wherein to fix the action of a tragedy. This the best of our tragical writers have understood to mean a day remarkable for the serenity of the sky, or what we generally call a fine summer's day: so that, according to this their exposition, the same months are proper for tragedy which are proper for pastoral. Most of our celebrated English tragedies, as Cato, Mariamne, Tamerlane, &c., begin with their observations on the morning. Lee seems to have come the nearest to this beautiful description of our author's:—"The morning dawns with an unwonted crimson,The flowers all odorous seem, the garden birdsSing louder, and the laughing sun ascendsThe gaudy earth with an unusual brightness:All nature smiles."—"Cæs. Borg."Massinissa, in the new Sophonisba, is also a favourite of the sun:—"The sun too seemsAs conscious of my joy, with broader eyeTo look abroad the world, and all things smileLike Sophonisba."Memnon, in the Persian Princess, makes the sun decline rising, that he may not peep on objects which would profane his brightness:—"The morning rises slow,And all those ruddy streaks that used to paintThe day's approach are lost in clouds, as ifThe horrors of the night had sent 'em back,To warn the sun he should not leave the sea,To peep," &c.[66]This line is highly conformable to the beautiful simplicity of the ancients. It hath been copied by almost every modern:—"Not to be is not to be in woe."—"State of Innocence.""Love is not sin but where 'tis sinful love."—"Don Sebastian.""Nature is nature, Lælius."—"Sophonisba.""Men are but men, we did not make ourselves."—"Revenge."[67]Dr. B—y reads. The mighty Tall-mast Thumb. Mr. D—s, The mighty Thumbing Thumb. Mr. T—d reads, Thundering. I think Thomas more agreeable to the great simplicity so apparent in our author.[68]That learned historian Mr. S—n, in the third number of his criticism on our author, takes great pains to explode this passage. "It is," says he, "difficult to guess what giants are here meant, unless the giant Despair in the 'Pilgrim's Progress,' or the giant Greatness in the 'Royal Villain;' for I have heard of no other sort of giants in the reign of king Arthur." Petrus Burmannus makes three Tom Thumbs, one whereof he supposes to have been the same person whom the Greeks call Hercules; and that by these giants are to be understood the Centaurs slain by that hero. Another Tom Thumb he contends to have been no other than the Hermes Trismegistus of the ancients. The third Tom Thumb he places under the reign of king Arthur; to which third Tom Thumb, says he, the actions of the other two were attributed. Now, though I know that this opinion is supported by an assertion of Justus Lipsius, "Thomam illum Thumbum non alium quam Herculem fuisse satis constat," yet shall I venture to oppose one line of Mr. Midwinter against them all:"In Arthur's court Tom Thumb did live.""But then," says Dr. B—y, "if we place Tom Thumb in the court of king Arthur, it will be proper to place that court out of Britain, where no giants were ever heard of." Spenser, in his "Fairy Queen," is of another opinion, where, describing Albion, he says:—"Far within a savage nation dweltOf hideous gants."And in the same canto:—"Then Elfar, with two brethren giants hadThe one of which had two heads—The other three."Risum teneatis, amici.[69]"To whisper in books," says Mr. D—s, "is arrant nonsense." I am afraid this learned man does not sufficiently understand the extensive meaning of the word whisper. If he had rightly understood what is meant by the "senses whisp'ring the soul," in the Persian Princess, or what "whisp'ring like winds" is in Aurengzebe, or like thunder in another author, he would have understood this. Emmeline in Dryden sees a voice, but she was born blind, which is an excuse Panthea cannot plead in Cyrus, who hears a sight:"Your description will surpassAll fiction, painting, or dumb show of horror,That ever ears yet heard, or eyes beheld."When Mr. D—s understands these, he will understand whispering in books.[70]"Some ruffian stept into his father's place,And more than half begot him."—"Mary Queen of Scots."[71]"For Ulamar seems sent express from Heaven,To civilize this rugged Indian clime."—"Lib. Asserted."[72]"Omne majus continet in se minus, sed minus non in se majus continere potest," says Scaliger in Thumbo. I suppose he would have cavilled at these beautiful lines in the "Earl of Essex:""Thy most inveterate soul,That looks through the foul prison of thy body."And at those of Dryden:"The palace is without too well design'd;Conduct me in, for I will view thy mind."—"Aurengzebe."[73]Mr. Banks hath copied this almost verbatim:"It was enough to say, here's Essex come,And nurses still'd their children with the fright."—"Earl of Essex."[74]The trumpet in a tragedy is generally as much as to say: Enter king, which makes Mr. Banks, in one of his plays, call it the trumpet's formal sound.[75]Phraortes, in the Captives, seems to have been acquainted with king Arthur:"Proclaim a festival for seven days' space,Let the court shine in all its pomp and lustre,Let all our streets resound with shouts of joy;Let music's care-dispelling voice be heard;The sumptuous banquet and the flowing gobletShall warm the cheek and fill the heart with gladness.Astarbe shall sit mistress of the feast."[76]"Repentance frowns on thy contracted brow."—"Sophonisba.""Hung on his clouded brow, I mark'd despair."—Ibid."A sullen gloomScowls on his brow."—"Busiris."[77]Plato is of this opinion, and so is Mr. Banks:—"Behold these tears sprung from fresh pain and joy."—"Earl of Essex."[78]These floods are very frequent in the tragic authors:—"Near to some murmuring brook I'll lay me down,Whose waters, if they should too shallow flow,My tears shall swell them up till I will drown."—Lee's "Soph.""Pouring forth tears at such a lavish rate,That were the world on fire they might have drown'dThe wrath of heaven, and quench'd the mighty ruin."—"Mithridates."One author changes the waters of grief to those of joy:"These tears, that sprung from tides of grief,Are now augmented to a flood of joy."—"Cyrus the Great."Another:"Turns all the streams of heat, and makes them flowIn pity's channel."—"Royal Villain."One drowns himself:"Pity like a torrent pours me down,Now I am drowning all within a deluge."—"Anna Bullen."Cyrus drowns the whole world:"Our swelling griefShall melt into a deluge, and the worldShall drown in tears."—"Cyrus the Great."

[1]The usual language of the Honourable Edward Howard, Esq., at the rehearsal of his plays.

[2]He who writ this, not without pain and thought,From French and English theatres has broughtTh' exactest rules, by which a play is wrought.The unity of action, place, and time;The scenes unbroken; and a mingled chime,Of Johnson's humour, with Corneille's rhyme.Prologue to the Maiden Queen.

[2]

He who writ this, not without pain and thought,From French and English theatres has broughtTh' exactest rules, by which a play is wrought.The unity of action, place, and time;The scenes unbroken; and a mingled chime,Of Johnson's humour, with Corneille's rhyme.Prologue to the Maiden Queen.

He who writ this, not without pain and thought,

From French and English theatres has brought

Th' exactest rules, by which a play is wrought.

The unity of action, place, and time;

The scenes unbroken; and a mingled chime,

Of Johnson's humour, with Corneille's rhyme.

Prologue to the Maiden Queen.

[3]See the two prologues to the "Maiden Queen."

[4]There were printed papers given the audience before the acting the "Indian Emperor;" telling them that it was the sequel of the "Indian Queen," part of which play was written by Mr. Bayes, &c.

[5]"Persons, egad, I vow to Gad, and all that," is the constant style of Failer in the "Wild Gallant:" for which, take this short speech, instead of many:"Failer.Really, madam, I look upon you, as a person of such worth, and all that, that I vow to Gad, I honour you of all persons in the world; and tho' I am a person that am inconsiderable in the world, and all that, madam, yet for a person of your worth and excellency I would," &c.—"Wild Gallant," p. 8.

[5]"Persons, egad, I vow to Gad, and all that," is the constant style of Failer in the "Wild Gallant:" for which, take this short speech, instead of many:

"Failer.Really, madam, I look upon you, as a person of such worth, and all that, that I vow to Gad, I honour you of all persons in the world; and tho' I am a person that am inconsiderable in the world, and all that, madam, yet for a person of your worth and excellency I would," &c.—"Wild Gallant," p. 8.

[6]He contracted with the King's company of actors, in the year 1668, for a whole share, to write them four plays a year.

[7]In ridicule of this:"So two kind turtles, when a storm is nigh,Look up, and see it gathering in the sky;Each calls his mate to shelter in the groves,Leaving, in murmurs, their unfinish'd loves;Perch'd on some dropping branch, they sit alone,And coo, and hearken to each other's moan.""Conquest of Granada," Part ii. p. 48.

[7]In ridicule of this:

"So two kind turtles, when a storm is nigh,Look up, and see it gathering in the sky;Each calls his mate to shelter in the groves,Leaving, in murmurs, their unfinish'd loves;Perch'd on some dropping branch, they sit alone,And coo, and hearken to each other's moan.""Conquest of Granada," Part ii. p. 48.

"So two kind turtles, when a storm is nigh,

Look up, and see it gathering in the sky;

Each calls his mate to shelter in the groves,

Leaving, in murmurs, their unfinish'd loves;

Perch'd on some dropping branch, they sit alone,

And coo, and hearken to each other's moan."

"Conquest of Granada," Part ii. p. 48.

[8]"I am the evening dark as night."—"Slighted Maid," p. 49.

[9]"Let the men 'ware the ditches.Maids look to their breeches,We'll scratch them with briars and thistles."—"Slighted Maid," p. 49.

[9]

"Let the men 'ware the ditches.Maids look to their breeches,We'll scratch them with briars and thistles."—"Slighted Maid," p. 49.

"Let the men 'ware the ditches.

Maids look to their breeches,

We'll scratch them with briars and thistles."—"Slighted Maid," p. 49.

[10]Abraham Ivory had formerly been a considerable actor of women's parts; but afterwards stupefied himself so far, with drinking strong waters, that, before the first acting of this farce, he was fit for nothing but to go of errands; for which, and mere charity, the company allowed him a weekly salary.

[11]Drake, Sen."Draw up our men;And in low whispers give our orders out.""Play House to be Let," p. 100.See the "Amorous Prince," pp. 20, 22, 39, 69, where all the chief commands, and directions, are given in whispers.

[11]

Drake, Sen."Draw up our men;And in low whispers give our orders out.""Play House to be Let," p. 100.

Drake, Sen."Draw up our men;

And in low whispers give our orders out."

"Play House to be Let," p. 100.

See the "Amorous Prince," pp. 20, 22, 39, 69, where all the chief commands, and directions, are given in whispers.

[12]Mr. William Wintershull was a most excellent, judicious actor; and the best instructor of others; he died in July, 1679.

[13]He was a great taker of snuff; and made most of it himself.

[14]"The Lost Lady," by Sir Robert Stapleton.

[15]Compare this with Prince Leonidas in "Marriage A-la-mode."

[16]In imitation of this passage:—"As some fair tulip, by a storm opprest,Shrinks up, and folds its silken arms to rest;And, bending to the blast, all pale, and dead,Hears from within the wind sing round its head:So shrouded up your beauty disappears;Unveil, my love, and lay aside your fears:The storm, that caus'd your fright, is past and gone.""Conquest of Granada," Part i. p. 55.

[16]In imitation of this passage:—

"As some fair tulip, by a storm opprest,Shrinks up, and folds its silken arms to rest;And, bending to the blast, all pale, and dead,Hears from within the wind sing round its head:So shrouded up your beauty disappears;Unveil, my love, and lay aside your fears:The storm, that caus'd your fright, is past and gone.""Conquest of Granada," Part i. p. 55.

"As some fair tulip, by a storm opprest,

Shrinks up, and folds its silken arms to rest;

And, bending to the blast, all pale, and dead,

Hears from within the wind sing round its head:

So shrouded up your beauty disappears;

Unveil, my love, and lay aside your fears:

The storm, that caus'd your fright, is past and gone."

"Conquest of Granada," Part i. p. 55.

[17]Such easy turns of state are frequent in our modern plays; where we see princes dethroned, and governments changed, by very feeble means, and on slight occasions: particularly in "Marriage A-la-mode;" a play writ since the first publication of this farce. Where (to pass by the dulness of the state-part, the obscurity of the comic, the near resemblance Leonidas bears to our Prince Prettyman, being sometimes a king's son, sometimes a shepherd's; and not to question how Amalthea comes to be a princess, her brother, the king's great favourite, being but a lord) it is worth our while to observe, how easily the fierce and jealous usurper is deposed, and the right heir placed on the throne; and it is thus related by the said imaginary princess:—"Amalth.Oh, gentlemen! if you have loyalty,Or courage, show it now. Leonidas,Broke on a sudden from his guards, and snatchingA sword from one, his back against the scaffold,Bravely defends himself; and owns aloudHe is our long lost king, found for this moment;But, if your valours help not, lost for ever.Two of his guards mov'd by the sense of virtue,Are turn'd for him; and there they stand at bay,Against a host of foes."—"Marriage A-la-mode," p. 61.This shows Mr. Bayes to be a man of constancy, and firm to his resolution, and not to be laughed out of his own method; agreeable to what he says in the next act: "As long as I know my things are good, what care I what they say?"

"Amalth.Oh, gentlemen! if you have loyalty,Or courage, show it now. Leonidas,Broke on a sudden from his guards, and snatchingA sword from one, his back against the scaffold,Bravely defends himself; and owns aloudHe is our long lost king, found for this moment;But, if your valours help not, lost for ever.Two of his guards mov'd by the sense of virtue,Are turn'd for him; and there they stand at bay,Against a host of foes."—"Marriage A-la-mode," p. 61.

"Amalth.Oh, gentlemen! if you have loyalty,

Or courage, show it now. Leonidas,

Broke on a sudden from his guards, and snatching

A sword from one, his back against the scaffold,

Bravely defends himself; and owns aloud

He is our long lost king, found for this moment;

But, if your valours help not, lost for ever.

Two of his guards mov'd by the sense of virtue,

Are turn'd for him; and there they stand at bay,

Against a host of foes."—"Marriage A-la-mode," p. 61.

This shows Mr. Bayes to be a man of constancy, and firm to his resolution, and not to be laughed out of his own method; agreeable to what he says in the next act: "As long as I know my things are good, what care I what they say?"

[18]"I know not what to say, or what to think!I know not when I sleep, or when I wake!"—"Love and Friendship," p. 46."My doubts and fears my reason do dismay:I know not what to do, or what to say."—"Pandora," p. 46.

[18]

"I know not what to say, or what to think!I know not when I sleep, or when I wake!"—"Love and Friendship," p. 46."My doubts and fears my reason do dismay:I know not what to do, or what to say."—"Pandora," p. 46.

"I know not what to say, or what to think!I know not when I sleep, or when I wake!"—"Love and Friendship," p. 46.

"I know not what to say, or what to think!

I know not when I sleep, or when I wake!"—

"Love and Friendship," p. 46.

"My doubts and fears my reason do dismay:I know not what to do, or what to say."—"Pandora," p. 46.

"My doubts and fears my reason do dismay:

I know not what to do, or what to say."—"Pandora," p. 46.

[19]Prince Prettyman and Tom Thimble; Failer, and Bibber his tailor, in the "Wild Gallant," pp. 5, 6.

[20]"Nay, if that be all, there's no such haste. The courtiers are not so forward to pay their debts."—"Wild Gallant," p. 9.

[21]"Take a little Bibber,And throw him in the river;And if he will trust never,Then there let him lie ever.Bibber.Then say I,Take a little Failer,And throw him to the jailer,And there let him lieTill he has paid his tailor."—"Wild Gallant," p. 12.

[21]

"Take a little Bibber,And throw him in the river;And if he will trust never,Then there let him lie ever.Bibber.Then say I,Take a little Failer,And throw him to the jailer,And there let him lieTill he has paid his tailor."—"Wild Gallant," p. 12.

"Take a little Bibber,And throw him in the river;And if he will trust never,Then there let him lie ever.

"Take a little Bibber,

And throw him in the river;

And if he will trust never,

Then there let him lie ever.

Bibber.Then say I,Take a little Failer,And throw him to the jailer,And there let him lieTill he has paid his tailor."—"Wild Gallant," p. 12.

Bibber.Then say I,

Take a little Failer,

And throw him to the jailer,

And there let him lie

Till he has paid his tailor."—"Wild Gallant," p. 12.

[22]A great word with Mr. Edward Howard.

[23]In imitation of this:—"On seas, and in battles, through bullets and fire,The danger is less, than in hopeless desire;My death's wound you gave me, tho' far off I bearMy fall from your sight, not to cost you a tear:But if the kind flood on a wave would convey,And under your window my body would lay;When the wound on my breast you happen to see,You'll say with a sigh, it was given by me."This is the latter part of a song, made by Mr. Bayes on the death of Captain Digby, son of George, Earl of Bristol, who was a passionate admirer of the Duchess Dowager of Richmond, called by the author Armida. He lost his life in a sea-fight against the Dutch, the 28th of May, 1672.

[23]In imitation of this:—

"On seas, and in battles, through bullets and fire,The danger is less, than in hopeless desire;My death's wound you gave me, tho' far off I bearMy fall from your sight, not to cost you a tear:But if the kind flood on a wave would convey,And under your window my body would lay;When the wound on my breast you happen to see,You'll say with a sigh, it was given by me."

"On seas, and in battles, through bullets and fire,

The danger is less, than in hopeless desire;

My death's wound you gave me, tho' far off I bear

My fall from your sight, not to cost you a tear:

But if the kind flood on a wave would convey,

And under your window my body would lay;

When the wound on my breast you happen to see,

You'll say with a sigh, it was given by me."

This is the latter part of a song, made by Mr. Bayes on the death of Captain Digby, son of George, Earl of Bristol, who was a passionate admirer of the Duchess Dowager of Richmond, called by the author Armida. He lost his life in a sea-fight against the Dutch, the 28th of May, 1672.

[24]Mr. Edward Howard's words.

[25]See the two kings in "The Conquest of Granada."

[26]"Albert.Curtius. I've something to deliver to your ear.Cur.Anything from Alberto is welcome."—"Amorous Prince," p. 39.

[26]

"Albert.Curtius. I've something to deliver to your ear.Cur.Anything from Alberto is welcome."—"Amorous Prince," p. 39.

"Albert.Curtius. I've something to deliver to your ear.

Cur.Anything from Alberto is welcome."—"Amorous Prince," p. 39.

[27]See the Prince in "Marriage A-la-mode."

[28]"Let my horses be brought ready to the door, for I'll go out of town this evening.Into the country I'll with speed,With hounds and hawks my fancy feed, &c.Now I'll away, a country lifeShall be my mistress, and my wife.""English Monsieur," pp. 36, 38, 39.

[28]"Let my horses be brought ready to the door, for I'll go out of town this evening.

Into the country I'll with speed,With hounds and hawks my fancy feed, &c.Now I'll away, a country lifeShall be my mistress, and my wife.""English Monsieur," pp. 36, 38, 39.

Into the country I'll with speed,

With hounds and hawks my fancy feed, &c.

Now I'll away, a country life

Shall be my mistress, and my wife."

"English Monsieur," pp. 36, 38, 39.

[29]"And what's this maid's name?"—"English Monsieur," p. 40.

[30]"I bring the morning pictur'd in a cloud."—"Siege of Rhodes," part i. p. 10.

[31]"Mr. Comely in love."—"English Monsieur," p. 49.

[32]Sir William D'Avenant's play of "Love and Honour."

[33]"But honours says not so."—"Siege of Rhodes," part i. p. 19.

[34]"Love in a Nunnery," p. 34.

[35]Col. Henry Howard, son of Thomas, Earl of Berkshire, made a play called the "United Kingdoms," which began with a funeral; and had also two kings in it. This gave the duke a just occasion to set up two kings in Brentford, as it is generally believed; tho' others are of opinion, that his grace had our two brothers, King Charles and the Duke of York, in his thoughts. It was acted at the Cockpit, in Drury Lane, soon after the Restoration; but miscarrying on the stage, the author had the modesty not to print it; and therefore, the reader cannot reasonably expect any particular passages of it. Others say, that they are Boabdelin and Abdalla, the two contending kings of Granada; and Mr. Dryden has, in most of his serious plays, two contending kings of the same place.

[36]"Conquest of Granada," in two parts.

[37]"On seas I bore thee, and on seas I died,I died: and for a winding-sheet, a waveI had; and all the ocean for my grave.""Conquest of Granada," part ii. p. 113.

[37]

"On seas I bore thee, and on seas I died,I died: and for a winding-sheet, a waveI had; and all the ocean for my grave.""Conquest of Granada," part ii. p. 113.

"On seas I bore thee, and on seas I died,

I died: and for a winding-sheet, a wave

I had; and all the ocean for my grave."

"Conquest of Granada," part ii. p. 113.

[38]Almanzor in the "Conquest of Granada."

[39]In ridicule of this:—"My earthly part,Which is my tyrant's right, death will remove;I'll come all soul and spirit to your love.With silent steps I'll follow you all day;Or else before you in the sunbeams play.I'll lead you hence to melancholy groves,And there repeat the scenes of our past loves;At night, I will within your curtains peep,With empty arms embrace you, while you sleep.In gentle dreams I often will be by,And sweep along before your closing eye.All dangers from your bed I will remove;But guard it most from any future love.And when at last in pity you will die,I'll watch your birth of immortality:Then, turtle like, I'll to my mate repair,And teach you your first flight in open air."—"Tyrannic Love," p. 25.

[39]In ridicule of this:—

"My earthly part,Which is my tyrant's right, death will remove;I'll come all soul and spirit to your love.With silent steps I'll follow you all day;Or else before you in the sunbeams play.I'll lead you hence to melancholy groves,And there repeat the scenes of our past loves;At night, I will within your curtains peep,With empty arms embrace you, while you sleep.In gentle dreams I often will be by,And sweep along before your closing eye.All dangers from your bed I will remove;But guard it most from any future love.And when at last in pity you will die,I'll watch your birth of immortality:Then, turtle like, I'll to my mate repair,And teach you your first flight in open air."—"Tyrannic Love," p. 25.

"My earthly part,

Which is my tyrant's right, death will remove;

I'll come all soul and spirit to your love.

With silent steps I'll follow you all day;

Or else before you in the sunbeams play.

I'll lead you hence to melancholy groves,

And there repeat the scenes of our past loves;

At night, I will within your curtains peep,

With empty arms embrace you, while you sleep.

In gentle dreams I often will be by,

And sweep along before your closing eye.

All dangers from your bed I will remove;

But guard it most from any future love.

And when at last in pity you will die,

I'll watch your birth of immortality:

Then, turtle like, I'll to my mate repair,

And teach you your first flight in open air."—"Tyrannic Love," p. 25.

[40]See the scene in the "Villain." Where the host furnishes his guests with a collation out of his clothes; a capon from his helmet, a tansey out of the lining of his cap, cream out of his scabbard, &c.

[41]In ridicule of this:—"Almah.Who dares to interrupt my private walk?Alman.He who dares love, and for that love must die;And, knowing this, dares yet love on, am I.""Granada," part ii. pp. 114, 115.

[41]In ridicule of this:—

"Almah.Who dares to interrupt my private walk?Alman.He who dares love, and for that love must die;And, knowing this, dares yet love on, am I.""Granada," part ii. pp. 114, 115.

"Almah.Who dares to interrupt my private walk?

Alman.He who dares love, and for that love must die;And, knowing this, dares yet love on, am I.""Granada," part ii. pp. 114, 115.

Alman.He who dares love, and for that love must die;

And, knowing this, dares yet love on, am I."

"Granada," part ii. pp. 114, 115.

[42]It was at first, "dares die."—Ibid.

[43]"Alman.I would not now, if thou wouldst beg me, stay;But I will take my Almahide away."—"Conquest of Granada," p. 32.

[43]

"Alman.I would not now, if thou wouldst beg me, stay;But I will take my Almahide away."—"Conquest of Granada," p. 32.

"Alman.I would not now, if thou wouldst beg me, stay;

But I will take my Almahide away."—"Conquest of Granada," p. 32.

[44]In ridicule of this:—"Alman.Thou dar'st not marry her, while I'm in sight;With a bent brow, thy priest and thee I'll fright:And, in that scene, which all thy hopes and wishes should content,The thoughts of me shall make thee impotent."—Ibid.p. 5.

[44]In ridicule of this:—

"Alman.Thou dar'st not marry her, while I'm in sight;With a bent brow, thy priest and thee I'll fright:And, in that scene, which all thy hopes and wishes should content,The thoughts of me shall make thee impotent."—Ibid.p. 5.

"Alman.Thou dar'st not marry her, while I'm in sight;

With a bent brow, thy priest and thee I'll fright:

And, in that scene, which all thy hopes and wishes should content,

The thoughts of me shall make thee impotent."—Ibid.p. 5.

[45]"Spite of myself, I'll stay, fight, love, despair;And all this I can do, because I dare."—"Tyrannic Love," part ii. p. 89.

[45]

"Spite of myself, I'll stay, fight, love, despair;And all this I can do, because I dare."—"Tyrannic Love," part ii. p. 89.

"Spite of myself, I'll stay, fight, love, despair;

And all this I can do, because I dare."—"Tyrannic Love," part ii. p. 89.

[46]In ridicule of this:—"Max.Thou liest. There's not a god inhabits there,But, for this Christian, would all heaven forswear:Even Jove would try new shapes her love to win,And in new birds, and unknown beasts would sin;At least, if Jove could love like Maximin."—"Tyrannic Love," p. 17.

[46]In ridicule of this:—

"Max.Thou liest. There's not a god inhabits there,But, for this Christian, would all heaven forswear:Even Jove would try new shapes her love to win,And in new birds, and unknown beasts would sin;At least, if Jove could love like Maximin."—"Tyrannic Love," p. 17.

"Max.Thou liest. There's not a god inhabits there,

But, for this Christian, would all heaven forswear:

Even Jove would try new shapes her love to win,

And in new birds, and unknown beasts would sin;

At least, if Jove could love like Maximin."—

"Tyrannic Love," p. 17.

[47]"Some god now, if he dare relate what pass'd;Say, but he's dead, that god shall mortal be."—Ibid.p. 7."Provoke my rage no farther, lest I beReveng'd at once upon the gods, and thee."—Ibid.p. 8."What had the gods to do with me, or mine."—Ibid.p. 57.

[47]

"Some god now, if he dare relate what pass'd;Say, but he's dead, that god shall mortal be."—Ibid.p. 7."Provoke my rage no farther, lest I beReveng'd at once upon the gods, and thee."—Ibid.p. 8."What had the gods to do with me, or mine."—Ibid.p. 57.

"Some god now, if he dare relate what pass'd;

Say, but he's dead, that god shall mortal be."—Ibid.p. 7.

"Provoke my rage no farther, lest I be

Reveng'd at once upon the gods, and thee."—Ibid.p. 8.

"What had the gods to do with me, or mine."—Ibid.p. 57.

[48]"Poets, like lovers, should be bold, and dare;They spoil their business with an over-care:And he, who servilely creeps after sense,Is safe; but ne'er can reach to excellence."—"Prologue to Tyrannic Love."

[48]

"Poets, like lovers, should be bold, and dare;They spoil their business with an over-care:And he, who servilely creeps after sense,Is safe; but ne'er can reach to excellence."—"Prologue to Tyrannic Love."

"Poets, like lovers, should be bold, and dare;

They spoil their business with an over-care:

And he, who servilely creeps after sense,

Is safe; but ne'er can reach to excellence."—

"Prologue to Tyrannic Love."

[49]"What various noises do my ears invade;And have a concert of confusion made?"—"Siege of Rhodes," p. 4.

[49]

"What various noises do my ears invade;And have a concert of confusion made?"—"Siege of Rhodes," p. 4.

"What various noises do my ears invade;

And have a concert of confusion made?"—"Siege of Rhodes," p. 4.

[50]In ridicule of this:—"Naker.Hark, my Damilcar, we are call'd below.Dam.Let us go, let us go:Go to relieve the care,Of longing lovers in despair.Naker.Merry, merry, merry, we sail from the east,Half tippled at a rainbow feast.Dam.In the bright moonshine, while winds whistle loud,Tivy, tivy, tivy, we mount and we fly,All racking along in a downy white cloud;And lest our leap from the sky should prove too far,We slide on the back of a new-falling star.Naker.And drop from above,In a jelly of love.Dam.But now the sun's down, and the element's red,The spirits of fire against us make head.Naker.They muster, they muster, like gnats in the air:Alas! I must leave thee, my fair;And to my light-horsemen repair.Dam.O stay! for you need not to fear 'em to-night;The wind is for us, and blows full in their sight:And o'er the wide ocean we fight.Like leaves in the autumn, our foes will fall down,And hiss in the water....Both.And hiss in the water, and drown.Naker.But their men lie securely intrench'd in a cloud,And a trumpeter-hornet to battle sounds loud.Dam.Now mortals that spyHow we tilt in the sky,With wonder will gaze;And fear such events as will ne'er come to pass.Naker.Stay you to perform what the man will have done.Dam.Then call me again when the battle is won.Both.So ready and quick is a spirit of air,To pity the lover, and succour the fair,That silent and swift, that little soft god,Is here with a wish, and is gone with a nod."—"Tyrannic Love," pp. 24, 25.

[50]In ridicule of this:—

"Naker.Hark, my Damilcar, we are call'd below.Dam.Let us go, let us go:Go to relieve the care,Of longing lovers in despair.Naker.Merry, merry, merry, we sail from the east,Half tippled at a rainbow feast.Dam.In the bright moonshine, while winds whistle loud,Tivy, tivy, tivy, we mount and we fly,All racking along in a downy white cloud;And lest our leap from the sky should prove too far,We slide on the back of a new-falling star.Naker.And drop from above,In a jelly of love.Dam.But now the sun's down, and the element's red,The spirits of fire against us make head.Naker.They muster, they muster, like gnats in the air:Alas! I must leave thee, my fair;And to my light-horsemen repair.Dam.O stay! for you need not to fear 'em to-night;The wind is for us, and blows full in their sight:And o'er the wide ocean we fight.Like leaves in the autumn, our foes will fall down,And hiss in the water....Both.And hiss in the water, and drown.Naker.But their men lie securely intrench'd in a cloud,And a trumpeter-hornet to battle sounds loud.Dam.Now mortals that spyHow we tilt in the sky,With wonder will gaze;And fear such events as will ne'er come to pass.Naker.Stay you to perform what the man will have done.Dam.Then call me again when the battle is won.Both.So ready and quick is a spirit of air,To pity the lover, and succour the fair,That silent and swift, that little soft god,Is here with a wish, and is gone with a nod."—"Tyrannic Love," pp. 24, 25.

"Naker.Hark, my Damilcar, we are call'd below.

Dam.Let us go, let us go:Go to relieve the care,Of longing lovers in despair.

Dam.Let us go, let us go:

Go to relieve the care,

Of longing lovers in despair.

Naker.Merry, merry, merry, we sail from the east,Half tippled at a rainbow feast.

Naker.Merry, merry, merry, we sail from the east,

Half tippled at a rainbow feast.

Dam.In the bright moonshine, while winds whistle loud,Tivy, tivy, tivy, we mount and we fly,All racking along in a downy white cloud;And lest our leap from the sky should prove too far,We slide on the back of a new-falling star.

Dam.In the bright moonshine, while winds whistle loud,

Tivy, tivy, tivy, we mount and we fly,

All racking along in a downy white cloud;

And lest our leap from the sky should prove too far,

We slide on the back of a new-falling star.

Naker.And drop from above,In a jelly of love.

Naker.And drop from above,

In a jelly of love.

Dam.But now the sun's down, and the element's red,The spirits of fire against us make head.

Dam.But now the sun's down, and the element's red,

The spirits of fire against us make head.

Naker.They muster, they muster, like gnats in the air:Alas! I must leave thee, my fair;And to my light-horsemen repair.

Naker.They muster, they muster, like gnats in the air:

Alas! I must leave thee, my fair;

And to my light-horsemen repair.

Dam.O stay! for you need not to fear 'em to-night;The wind is for us, and blows full in their sight:And o'er the wide ocean we fight.Like leaves in the autumn, our foes will fall down,And hiss in the water....

Dam.O stay! for you need not to fear 'em to-night;

The wind is for us, and blows full in their sight:

And o'er the wide ocean we fight.

Like leaves in the autumn, our foes will fall down,

And hiss in the water....

Both.And hiss in the water, and drown.

Naker.But their men lie securely intrench'd in a cloud,And a trumpeter-hornet to battle sounds loud.

Naker.But their men lie securely intrench'd in a cloud,

And a trumpeter-hornet to battle sounds loud.

Dam.Now mortals that spyHow we tilt in the sky,With wonder will gaze;And fear such events as will ne'er come to pass.

Dam.Now mortals that spy

How we tilt in the sky,

With wonder will gaze;

And fear such events as will ne'er come to pass.

Naker.Stay you to perform what the man will have done.

Dam.Then call me again when the battle is won.

Both.So ready and quick is a spirit of air,To pity the lover, and succour the fair,That silent and swift, that little soft god,Is here with a wish, and is gone with a nod."—"Tyrannic Love," pp. 24, 25.

Both.So ready and quick is a spirit of air,

To pity the lover, and succour the fair,

That silent and swift, that little soft god,

Is here with a wish, and is gone with a nod."—

"Tyrannic Love," pp. 24, 25.

[51]See "Tyrannic Love," act iv. sc. 1.

[52]In ridicule of this:—"What new misfortunes do these cries presage?1st Mess.Haste all you can, their fury to assuage:You are not safe from their rebellious rage.2nd Mess.This minute, if you grant not their desire,They'll seize your person, and your palace fire."—"Granada," part ii. p. 71.

[52]In ridicule of this:—

"What new misfortunes do these cries presage?1st Mess.Haste all you can, their fury to assuage:You are not safe from their rebellious rage.2nd Mess.This minute, if you grant not their desire,They'll seize your person, and your palace fire."—"Granada," part ii. p. 71.

"What new misfortunes do these cries presage?

1st Mess.Haste all you can, their fury to assuage:You are not safe from their rebellious rage.

1st Mess.Haste all you can, their fury to assuage:

You are not safe from their rebellious rage.

2nd Mess.This minute, if you grant not their desire,They'll seize your person, and your palace fire."—"Granada," part ii. p. 71.

2nd Mess.This minute, if you grant not their desire,

They'll seize your person, and your palace fire."—

"Granada," part ii. p. 71.

[53]"Aglaura," and the "Vestal Virgin," are so contrived by a little alteration towards the latter end of them, that they have been acted both ways, either as tragedies or comedies.

[54]There needs nothing more to explain the meaning of this battle, than the perusal of the first part of the "Siege of Rhodes," which was performed in recitative music, by seven persons only: and the passage out of the "Playhouse to be Let."

[55]The "Siege of Rhodes" begins thus:—"Admiral.Arm, arm, Valerius, arm."

[55]The "Siege of Rhodes" begins thus:—

"Admiral.Arm, arm, Valerius, arm."

[56]The third entry thus:—"Solym.Pyrrhus, draw down our army wide;Then, from the gross, two strong reserves divide,And spread the wings,As if we were to fight,In the lost Rhodians' sight,With all the western kings.Each with Janizaries line;The right and left to Haly's sons assign;The gross, to Zangiban;The main artilleryTo Mustapha shall be:Bring thou the rear, we lead the van."

[56]The third entry thus:—

"Solym.Pyrrhus, draw down our army wide;Then, from the gross, two strong reserves divide,And spread the wings,As if we were to fight,In the lost Rhodians' sight,With all the western kings.Each with Janizaries line;The right and left to Haly's sons assign;The gross, to Zangiban;The main artilleryTo Mustapha shall be:Bring thou the rear, we lead the van."

"Solym.Pyrrhus, draw down our army wide;

Then, from the gross, two strong reserves divide,

And spread the wings,

As if we were to fight,

In the lost Rhodians' sight,

With all the western kings.

Each with Janizaries line;

The right and left to Haly's sons assign;

The gross, to Zangiban;

The main artillery

To Mustapha shall be:

Bring thou the rear, we lead the van."

[57]"More pikes! more pikes! to reinforceThat squadron, and repulse the horse."—"Playhouse to be Let," p. 72.

[57]

"More pikes! more pikes! to reinforceThat squadron, and repulse the horse."—"Playhouse to be Let," p. 72.

"More pikes! more pikes! to reinforce

That squadron, and repulse the horse."—"Playhouse to be Let," p. 72.

[58]"Point all the cannon, and play fast;Their fury is too hot to last.That rampire shakes; they fly into the town.Pyr.March up with those reserves to that redoubt;Faint slaves, the Janizaries reel!They bend! they bend! and seem to feelThe terrors of a rout.Must.Old Zanger halts, and reinforcement lacks.Pyr.March on!Must.Advance those pikes, and charge their backs."—"Siege of Rhodes."

[58]

"Point all the cannon, and play fast;Their fury is too hot to last.That rampire shakes; they fly into the town.Pyr.March up with those reserves to that redoubt;Faint slaves, the Janizaries reel!They bend! they bend! and seem to feelThe terrors of a rout.Must.Old Zanger halts, and reinforcement lacks.Pyr.March on!Must.Advance those pikes, and charge their backs."—"Siege of Rhodes."

"Point all the cannon, and play fast;Their fury is too hot to last.That rampire shakes; they fly into the town.

"Point all the cannon, and play fast;

Their fury is too hot to last.

That rampire shakes; they fly into the town.

Pyr.March up with those reserves to that redoubt;Faint slaves, the Janizaries reel!They bend! they bend! and seem to feelThe terrors of a rout.

Pyr.March up with those reserves to that redoubt;

Faint slaves, the Janizaries reel!

They bend! they bend! and seem to feel

The terrors of a rout.

Must.Old Zanger halts, and reinforcement lacks.

Pyr.March on!

Must.Advance those pikes, and charge their backs."—"Siege of Rhodes."

[59]In ridicule of this:—"Phœb.Who calls the world's great light!Aur.Aurora, that abhors the night.Phœb.Why does Aurora, from her cloud,To drowsy Phœbus cry so loud?"—"Slighted Maid," p. 8.

[59]In ridicule of this:—

"Phœb.Who calls the world's great light!Aur.Aurora, that abhors the night.Phœb.Why does Aurora, from her cloud,To drowsy Phœbus cry so loud?"—"Slighted Maid," p. 8.

"Phœb.Who calls the world's great light!

Aur.Aurora, that abhors the night.

Phœb.Why does Aurora, from her cloud,To drowsy Phœbus cry so loud?"—"Slighted Maid," p. 8.

Phœb.Why does Aurora, from her cloud,

To drowsy Phœbus cry so loud?"—

"Slighted Maid," p. 8.

[60]"The burning mount Vesuvio."—"Slighted Maid," p. 81.

[61]"Drink, drink wine, Lippara wine."—Ibid.

[62]Valeria, daughter to Maximin, having killed herself for the love of Porphyrius; when she was to be carried off by the bearers, strikes one of them a box on the ear, and speaks to him thus:—"Hold, are you mad, confounded dog?I am to rise, and speak the epilogue."—"Tyrannic Love."

[62]Valeria, daughter to Maximin, having killed herself for the love of Porphyrius; when she was to be carried off by the bearers, strikes one of them a box on the ear, and speaks to him thus:—

"Hold, are you mad, confounded dog?I am to rise, and speak the epilogue."—"Tyrannic Love."

"Hold, are you mad, confounded dog?

I am to rise, and speak the epilogue."—"Tyrannic Love."

[63]Two noted alehouses in Oxford, 1700.

[64]The cat ran away with this part of the copy, on which the Author had unfortunately laid some of Mother Crump's sausages.

[65]Corneille recommends some very remarkable day wherein to fix the action of a tragedy. This the best of our tragical writers have understood to mean a day remarkable for the serenity of the sky, or what we generally call a fine summer's day: so that, according to this their exposition, the same months are proper for tragedy which are proper for pastoral. Most of our celebrated English tragedies, as Cato, Mariamne, Tamerlane, &c., begin with their observations on the morning. Lee seems to have come the nearest to this beautiful description of our author's:—"The morning dawns with an unwonted crimson,The flowers all odorous seem, the garden birdsSing louder, and the laughing sun ascendsThe gaudy earth with an unusual brightness:All nature smiles."—"Cæs. Borg."Massinissa, in the new Sophonisba, is also a favourite of the sun:—"The sun too seemsAs conscious of my joy, with broader eyeTo look abroad the world, and all things smileLike Sophonisba."Memnon, in the Persian Princess, makes the sun decline rising, that he may not peep on objects which would profane his brightness:—"The morning rises slow,And all those ruddy streaks that used to paintThe day's approach are lost in clouds, as ifThe horrors of the night had sent 'em back,To warn the sun he should not leave the sea,To peep," &c.

"The morning dawns with an unwonted crimson,The flowers all odorous seem, the garden birdsSing louder, and the laughing sun ascendsThe gaudy earth with an unusual brightness:All nature smiles."—"Cæs. Borg."

"The morning dawns with an unwonted crimson,

The flowers all odorous seem, the garden birds

Sing louder, and the laughing sun ascends

The gaudy earth with an unusual brightness:

All nature smiles."—"Cæs. Borg."

Massinissa, in the new Sophonisba, is also a favourite of the sun:—

"The sun too seemsAs conscious of my joy, with broader eyeTo look abroad the world, and all things smileLike Sophonisba."

"The sun too seems

As conscious of my joy, with broader eye

To look abroad the world, and all things smile

Like Sophonisba."

Memnon, in the Persian Princess, makes the sun decline rising, that he may not peep on objects which would profane his brightness:—

"The morning rises slow,And all those ruddy streaks that used to paintThe day's approach are lost in clouds, as ifThe horrors of the night had sent 'em back,To warn the sun he should not leave the sea,To peep," &c.

"The morning rises slow,

And all those ruddy streaks that used to paint

The day's approach are lost in clouds, as if

The horrors of the night had sent 'em back,

To warn the sun he should not leave the sea,

To peep," &c.

[66]This line is highly conformable to the beautiful simplicity of the ancients. It hath been copied by almost every modern:—"Not to be is not to be in woe."—"State of Innocence.""Love is not sin but where 'tis sinful love."—"Don Sebastian.""Nature is nature, Lælius."—"Sophonisba.""Men are but men, we did not make ourselves."—"Revenge."

[66]This line is highly conformable to the beautiful simplicity of the ancients. It hath been copied by almost every modern:—

"Not to be is not to be in woe."—"State of Innocence.""Love is not sin but where 'tis sinful love."—"Don Sebastian.""Nature is nature, Lælius."—"Sophonisba.""Men are but men, we did not make ourselves."—"Revenge."

"Not to be is not to be in woe."—"State of Innocence."

"Love is not sin but where 'tis sinful love."—"Don Sebastian."

"Nature is nature, Lælius."—"Sophonisba."

"Men are but men, we did not make ourselves."—"Revenge."

[67]Dr. B—y reads. The mighty Tall-mast Thumb. Mr. D—s, The mighty Thumbing Thumb. Mr. T—d reads, Thundering. I think Thomas more agreeable to the great simplicity so apparent in our author.

[68]That learned historian Mr. S—n, in the third number of his criticism on our author, takes great pains to explode this passage. "It is," says he, "difficult to guess what giants are here meant, unless the giant Despair in the 'Pilgrim's Progress,' or the giant Greatness in the 'Royal Villain;' for I have heard of no other sort of giants in the reign of king Arthur." Petrus Burmannus makes three Tom Thumbs, one whereof he supposes to have been the same person whom the Greeks call Hercules; and that by these giants are to be understood the Centaurs slain by that hero. Another Tom Thumb he contends to have been no other than the Hermes Trismegistus of the ancients. The third Tom Thumb he places under the reign of king Arthur; to which third Tom Thumb, says he, the actions of the other two were attributed. Now, though I know that this opinion is supported by an assertion of Justus Lipsius, "Thomam illum Thumbum non alium quam Herculem fuisse satis constat," yet shall I venture to oppose one line of Mr. Midwinter against them all:"In Arthur's court Tom Thumb did live.""But then," says Dr. B—y, "if we place Tom Thumb in the court of king Arthur, it will be proper to place that court out of Britain, where no giants were ever heard of." Spenser, in his "Fairy Queen," is of another opinion, where, describing Albion, he says:—"Far within a savage nation dweltOf hideous gants."And in the same canto:—"Then Elfar, with two brethren giants hadThe one of which had two heads—The other three."Risum teneatis, amici.

"In Arthur's court Tom Thumb did live."

"But then," says Dr. B—y, "if we place Tom Thumb in the court of king Arthur, it will be proper to place that court out of Britain, where no giants were ever heard of." Spenser, in his "Fairy Queen," is of another opinion, where, describing Albion, he says:—

"Far within a savage nation dweltOf hideous gants."

"Far within a savage nation dwelt

Of hideous gants."

And in the same canto:—

"Then Elfar, with two brethren giants hadThe one of which had two heads—The other three."

"Then Elfar, with two brethren giants had

The one of which had two heads—

The other three."

Risum teneatis, amici.

[69]"To whisper in books," says Mr. D—s, "is arrant nonsense." I am afraid this learned man does not sufficiently understand the extensive meaning of the word whisper. If he had rightly understood what is meant by the "senses whisp'ring the soul," in the Persian Princess, or what "whisp'ring like winds" is in Aurengzebe, or like thunder in another author, he would have understood this. Emmeline in Dryden sees a voice, but she was born blind, which is an excuse Panthea cannot plead in Cyrus, who hears a sight:"Your description will surpassAll fiction, painting, or dumb show of horror,That ever ears yet heard, or eyes beheld."When Mr. D—s understands these, he will understand whispering in books.

"Your description will surpassAll fiction, painting, or dumb show of horror,That ever ears yet heard, or eyes beheld."

"Your description will surpass

All fiction, painting, or dumb show of horror,

That ever ears yet heard, or eyes beheld."

When Mr. D—s understands these, he will understand whispering in books.

[70]"Some ruffian stept into his father's place,And more than half begot him."—"Mary Queen of Scots."

[70]

"Some ruffian stept into his father's place,And more than half begot him."—"Mary Queen of Scots."

"Some ruffian stept into his father's place,

And more than half begot him."—"Mary Queen of Scots."

[71]"For Ulamar seems sent express from Heaven,To civilize this rugged Indian clime."—"Lib. Asserted."

[71]

"For Ulamar seems sent express from Heaven,To civilize this rugged Indian clime."—"Lib. Asserted."

"For Ulamar seems sent express from Heaven,

To civilize this rugged Indian clime."—"Lib. Asserted."

[72]"Omne majus continet in se minus, sed minus non in se majus continere potest," says Scaliger in Thumbo. I suppose he would have cavilled at these beautiful lines in the "Earl of Essex:""Thy most inveterate soul,That looks through the foul prison of thy body."And at those of Dryden:"The palace is without too well design'd;Conduct me in, for I will view thy mind."—"Aurengzebe."

[72]"Omne majus continet in se minus, sed minus non in se majus continere potest," says Scaliger in Thumbo. I suppose he would have cavilled at these beautiful lines in the "Earl of Essex:"

"Thy most inveterate soul,That looks through the foul prison of thy body."

"Thy most inveterate soul,

That looks through the foul prison of thy body."

And at those of Dryden:

"The palace is without too well design'd;Conduct me in, for I will view thy mind."—"Aurengzebe."

"The palace is without too well design'd;

Conduct me in, for I will view thy mind."—"Aurengzebe."

[73]Mr. Banks hath copied this almost verbatim:"It was enough to say, here's Essex come,And nurses still'd their children with the fright."—"Earl of Essex."

[73]Mr. Banks hath copied this almost verbatim:

"It was enough to say, here's Essex come,And nurses still'd their children with the fright."—"Earl of Essex."

"It was enough to say, here's Essex come,

And nurses still'd their children with the fright."—"Earl of Essex."

[74]The trumpet in a tragedy is generally as much as to say: Enter king, which makes Mr. Banks, in one of his plays, call it the trumpet's formal sound.

[75]Phraortes, in the Captives, seems to have been acquainted with king Arthur:"Proclaim a festival for seven days' space,Let the court shine in all its pomp and lustre,Let all our streets resound with shouts of joy;Let music's care-dispelling voice be heard;The sumptuous banquet and the flowing gobletShall warm the cheek and fill the heart with gladness.Astarbe shall sit mistress of the feast."

[75]Phraortes, in the Captives, seems to have been acquainted with king Arthur:

"Proclaim a festival for seven days' space,Let the court shine in all its pomp and lustre,Let all our streets resound with shouts of joy;Let music's care-dispelling voice be heard;The sumptuous banquet and the flowing gobletShall warm the cheek and fill the heart with gladness.Astarbe shall sit mistress of the feast."

"Proclaim a festival for seven days' space,

Let the court shine in all its pomp and lustre,

Let all our streets resound with shouts of joy;

Let music's care-dispelling voice be heard;

The sumptuous banquet and the flowing goblet

Shall warm the cheek and fill the heart with gladness.

Astarbe shall sit mistress of the feast."

[76]"Repentance frowns on thy contracted brow."—"Sophonisba.""Hung on his clouded brow, I mark'd despair."—Ibid."A sullen gloomScowls on his brow."—"Busiris."

[76]

"Repentance frowns on thy contracted brow."—"Sophonisba.""Hung on his clouded brow, I mark'd despair."—Ibid."A sullen gloomScowls on his brow."—"Busiris."

"Repentance frowns on thy contracted brow."—"Sophonisba.""Hung on his clouded brow, I mark'd despair."—Ibid.

"Repentance frowns on thy contracted brow."—"Sophonisba."

"Hung on his clouded brow, I mark'd despair."—Ibid.

"A sullen gloomScowls on his brow."—"Busiris."

"A sullen gloom

Scowls on his brow."—"Busiris."

[77]Plato is of this opinion, and so is Mr. Banks:—"Behold these tears sprung from fresh pain and joy."—"Earl of Essex."

[77]Plato is of this opinion, and so is Mr. Banks:—

"Behold these tears sprung from fresh pain and joy."—"Earl of Essex."

[78]These floods are very frequent in the tragic authors:—"Near to some murmuring brook I'll lay me down,Whose waters, if they should too shallow flow,My tears shall swell them up till I will drown."—Lee's "Soph.""Pouring forth tears at such a lavish rate,That were the world on fire they might have drown'dThe wrath of heaven, and quench'd the mighty ruin."—"Mithridates."One author changes the waters of grief to those of joy:"These tears, that sprung from tides of grief,Are now augmented to a flood of joy."—"Cyrus the Great."Another:"Turns all the streams of heat, and makes them flowIn pity's channel."—"Royal Villain."One drowns himself:"Pity like a torrent pours me down,Now I am drowning all within a deluge."—"Anna Bullen."Cyrus drowns the whole world:"Our swelling griefShall melt into a deluge, and the worldShall drown in tears."—"Cyrus the Great."

[78]These floods are very frequent in the tragic authors:—

"Near to some murmuring brook I'll lay me down,Whose waters, if they should too shallow flow,My tears shall swell them up till I will drown."—Lee's "Soph.""Pouring forth tears at such a lavish rate,That were the world on fire they might have drown'dThe wrath of heaven, and quench'd the mighty ruin."—"Mithridates."

"Near to some murmuring brook I'll lay me down,Whose waters, if they should too shallow flow,My tears shall swell them up till I will drown."—Lee's "Soph."

"Near to some murmuring brook I'll lay me down,

Whose waters, if they should too shallow flow,

My tears shall swell them up till I will drown."—Lee's "Soph."

"Pouring forth tears at such a lavish rate,That were the world on fire they might have drown'dThe wrath of heaven, and quench'd the mighty ruin."—"Mithridates."

"Pouring forth tears at such a lavish rate,

That were the world on fire they might have drown'd

The wrath of heaven, and quench'd the mighty ruin."—"Mithridates."

One author changes the waters of grief to those of joy:

"These tears, that sprung from tides of grief,Are now augmented to a flood of joy."—"Cyrus the Great."

"These tears, that sprung from tides of grief,

Are now augmented to a flood of joy."—"Cyrus the Great."

Another:

"Turns all the streams of heat, and makes them flowIn pity's channel."—"Royal Villain."

"Turns all the streams of heat, and makes them flow

In pity's channel."—"Royal Villain."

One drowns himself:

"Pity like a torrent pours me down,Now I am drowning all within a deluge."—"Anna Bullen."

"Pity like a torrent pours me down,

Now I am drowning all within a deluge."—"Anna Bullen."

Cyrus drowns the whole world:

"Our swelling griefShall melt into a deluge, and the worldShall drown in tears."—"Cyrus the Great."

"Our swelling grief

Shall melt into a deluge, and the world

Shall drown in tears."—"Cyrus the Great."

Back to Index Next