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An annotated edition of three drolls from "The Strolers Pacquet Open'd" (1742), with notes on authorship, sources, derivations, and stage histories.

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An annotated edition of three drolls from "The Strolers Pacquet Open'd" (1742), with notes on authorship, sources, derivations, and stage histories.

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Content AH ANNOTATED EDITION OF THREE DROLLS H r FROM THE STROLERS PACQUET PEER'D (1742), WITH ROTES OR AUTHORSHIP,. SOURCES, DERIVATIONS, AND STAGE HISTORIES fey Heinrich Richard Falk IH A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment o-f the Requirements for the Degree DOCTOR OF PHILOSOPHY (Comnunication - Drama) June 1970 UMI Number: DP22313 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI DP22313 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Dissertation Publishing Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 © Copyright ty HENRICH ElCHARD FALK 1970 U N IVER SITY O F SO U I H E R N C A LIFO R N IA T H E G R A D U A T E S C H O O L U N IV E R S IT Y P A R K LO S A N G E L E S , C A L IF O R N IA 9 0 0 0 7 Ph-P. c m '70 Fill T h is dissertation, w ritte n by * Seiarifih.Eig.hsjr.d.Falk.......... u n d e r the d ire c tio n o f his..... D isse rta tio n C om m ittee, and a p p ro ve d by a ll its m em bers, has been presented to and accepted by T h e G ra d u ate S chool, in p a rtia l fu lfillm e n t o f re q u ire ments o f the degree o f D O C T O R O F P H IL O S O P H Y Dean D a te JuJie,..1 . 9 . 7 0 . DISSERTATION COMMITTE! Chair) ACKNOWLEDGMENT Permission was granted "by the Huntington Library, San Marino, California, to reproduce portions of its copy of The Strolers Pacquet Q-pen'd. TABLE OE CONTENTS Chapter Page I. INTRODUCTION .......................... 1 Statement of the Problem.......... 4 Significance of the Study .......... 6 Definition of Terms............... 8 Review of the Literature.......... 13 Editorial Methodology . ............ 18 Overview of Remaining Chapters ... 21 II. HISTORY OF THE DROLL AS A THEATRICAL F O R M .................... 23 English Commonwealth, 164-2-1660 ... 24- Restoration, 1660-1700 34 Eighteenth Century ................ 47 III. THE STROLERS PACQUET OPEN'D.......... 61 Dating........................... 61 Authorship....................... 71 Parent Plays............... 85 Drolls Annotated .................. 88 Performance of the Drolls.......... 90 IV. THE BILKER BILK'D; OR, A BANQUET OF WILES ......................... 93 Sources........................... 94 Related Plays............... . . . 101 Stage History..................... 105 Analysis as a Theatrical Piece ■. . . 108 T e x t ............................. 110 V. THE BRAGGADOCHIO: OR, HIS WORSHIP the Cully . . . ........... 144 Sources . ....................... 145 Related Plays ...................... 148 Stage History............... 151 Analysis as a Theatrical Piece . . . 155 T e x t ............................. 158 iii - Chapter. Page VI. THE GUARD IANS OVER-REACHED IN THEIR OWE HUMOUR; OR, THE LOVER METAMORPHOS'D . . . . ............ 195 Sources............... 195 Related Plays ...................... 199 Stage History...................... 203 Analysis as a Theatrical Piece . . . 206 T e x t ............................. 209 APPENDICES . . . . . . . ..................... 277 Appendix A ......................... 281 Appendix B . . ............................ 337 Appendix C ................................. 399 _ BIBLIOGRAPHY................................. 418 rv CHAPTER I INTRODUCTION Contemporary trends in scholarship in the field of . dramatic literature can be most succinctly characterized as turning away from an exclusive interest in the literary j i ’ genre of drama in favor of a more inclusive consideration : » i i of all theatrical literature, regardless of its literary 1 ' I I merit."*" The act of theatre, the confrontation of actor ( 'and audience, has come to be recognized as the logical ' j ! |focal point of the theatre scholar's investigation. The | i material for making theatre, the literature of the theatre, i ! has, consequently, assumed an adjunctive role to this act 2 of theatre. This changed focus for the theatre scholar's An example of this shift in scholarship is the great number of anthologies of nineteenth-century British drama which have recently been published. After a half century of relative neglect, primarily because of its negligible literary value, the nineteenth-century British drama has increasingly become the object of scholarly interest, presumably because of its theatrical importance. Allardyce Nicoll (A History of English Drama, 1660-1900- jVols. IV and V [Cambridge, 1966-67]) lists over thirty | thousand plays written and performed in England between : 1800 and 1900. This compilation reveals a degree of , theatrical activity which should not have been so generally! ■ ignored by scholars during the first half of the twentieth ; ; century. | i ! j 2 I Por a more complete discussion of the changing ! ! character of theatre research, see Conference on Theatre : Research, edited by Alan S. Downer, Educational Theatre I 2 1 i i ! investigation of the literature of the theatre has con- : siderably enlarged the scope of the materials which are both suitable for critical evaluation and, in fact, neces sary to an understanding of the theatre of a past age. [ Allardyce Rico11 has clearly shown that a full under standing of the theatre of an age must take into account ! ! the range and scope of all its theatrical entertainments i ! and be based not merely on a selective study of a few j ' • 5 I i literary giants. j Studies of eighteenth-century English drama have i !not been immune from this concentration on literary excellence at the expense of a balanced understanding of the theatre of the age. Although few scholars would sub scribe to the view that "Goldsmith and Sheridan are lonely !Journal, Vol. IX, No. 2A (June, 1967). This report points j |out that "as an academic discipline," and presumably also \ ias a scholarly discipline, "theatre has only recently come : jto be generally regarded as a 'performing' art, as opposed ; ito the older, traditional view of drama as a 'literary' j jart" (p. 250). See also the report of the Southwest ! Theatre Conference, Dallas, Texas, October 27-29, 1966, j"The Eew Research— Exploding Fallacies and Misconceptions," •7 PP*, mimeographed. This conference concluded that :"research in the Restoration and 18th century has become irespectable in theatrical terms," and that "interpreting ; jit as a product of and for the theatre, modified by the j nature of the stage and its actors" has become its ' objective (p. 5)- ^A History of English Drama, 1660-1900, 6 vols. (Cambridge, 1965-67). All subsequent references to this work are cited as English Drama, followed by the volume number. j 1 i stars, shining out of a darkness which envelopes [the ! English] . . . theatre not only during the eighteenth century, hut during the whole period from the decline of h. ■ Restoration comedy to the advent of Ibsen," prevailing scholarship still emphasizes a few playwrights and plays and ignores the majority of the works of the eighteenth : 5 . century. No single study can presume to rectify this 4 1 John Hampden, "Introduction" in Eighteenth Century ! Plays. "Everyman's Library" (London, 1928)7 p. v- ■ i 5 : LAn analysis of seven of the most widely used ; anthologies of Restoration and eighteenth-century English j ■ plays published between 1928 and 1967 illustrates this j ! tendency to focus on a few plays and playwrights of j 1 great literary merit. The anthologies analyzed are: ; | John Hampden, ed., Eighteenth Century Plays (London, I : 1928); Cecil A. Moore, ed., Twelve Pamous Plays of the ! I Restoration and Eighteenth Century (New York, 1953); j George H. Nettleton and Arthur E. Case, eds., British J Dramatists from Dryden to Sheridan (Boston, 1939); i ; Ricardo Quintana, ed., Eighteenth-Century Plays (New York, : 1952); Brooks Atkinson, ed., Pour Great Comedies of the Restoration and Eighteenth Century (New York, 1938); John Harold Wilson, ed., Six Restoration Plays (Boston, 1959); ard Joseph Wood Krutch, ed., Eighteenth-Century English Drama (New York, 1967)- Twenty-one playwrights are represented in these anthologies, eighteen of them more than once. Pour authors— Sheridan, Congreve, Gold- j smith, and Gay— are included five or more times. A total j of sixty-seven plays are included in these seven | anthologies, but after duplications are eliminated only ! I twenty-nine different plays remain. Thus, from a period : ! of 140 years of English theatre, a period which saw over : eight hundred authors write more than five thousand ! dramatic pieces (English Drama, I-III), the most popular anthologies in use include only about two and one-half , per cent of the authors of the period and approximately j six-tenths of one per cent of the plays written. This 1 is surely far from adequate if a comprehensive view of ! j the theatre of this period is to be presented. ! j imbalance in one stroke, but it may be possible to make : ' a small advance towards a more comprehensive understanding I ; | of the theatre of the eighteenth century through the study . ' I | of a minor type of theatrical entertainment, the droll- | Statement of the Problem i The only collection of drolls to survive from the j eighteenth century is a group of seven drolls published I in London in 174-2 under the title of The Strolers Pacquet 1 : 6 i | Open'd. No individuals responsible for abridging these i ! drolls or for compiling the collection are identified in : | the text. No scholar has ever attempted to associate the j I ! names of any individuals with this collection. No direct J • • j | evidence of performance of any of these drolls has sur vived, leading Sybil Eosenfeld, the major authority on i ] eighteenth-century drolls, to conclude that they were ; | never played and, consequently, to ignore this collection ' 7 1 ; . . . i n her study of drolls in the eighteenth century. This i ; | collection has apparently never been reprinted, and no j j scholarly edition has ever been prepared. , 1 6 , All subsequent references to this work are cited as Strolers Pacquet. 7 ^ ! 'The Theatre of the London Fairs in the 18th j ! Century (.Cambridge'," I960), p. 135- All subsequent refer- s I ences to this work are cited as London Pairs. For a ; I full discussion of the scholarly work on drolls, see j i infra, "Review of the Literature," pp. 13-18. j i ____________ _ _ . I i These facts can he taken as a point of departure | j for posing two interrelated questions: who is responsible ;for abridging these drolls and compiling them in this f !collection; and for what type of audience, a reading or a I ;theatre audience, was this collection intended? Neither of these questions can be answered directly. The likeli- ihood of ever discovering the name of the compiler in a ; chance reference or a heretofore undiscovered manuscript or text is very remote. The record of London theatrical ! I ! i productions in the eighteenth century is, for the most part, as complete as it is going to be. The possibility j I ;of still finding additional performance records in the ! i i jprovinces is greater, but the probability is still not very great. J The answers to these questions may, on the other j hand, be found by indirect means. A careful study of the i i i texts of the drolls and the manner in which they have | been abridged from their parent plays should reveal whetherj ; I or not these texts were intended to be performed. Although! 1 l ; intent of performance does not guarantee that a performance I I ever took place, this knowledge, when related to some |possible information about authorship, may help to build a 1 i stronger case for probable performance. If the texts and | the manner of their abridgment reveal that a reading audience seems to have been intended and that little or no i ! I i effort has been made to accommodate the drolls to I ! production requirements, then a stronger case for the | probability that they were not performed can be made. In either case, it would appear that the crucial evidence rests in the texts of the drolls. i An accurate annotated text of these drolls must, j !therefore, be the first step towards a more complete \ 1 ; 'understanding of their significance in the eighteenth- |century English theatre. The relationship of the texts i i I of the drolls and the texts of the plays from which they | 1 ;were abridged can be established most clearly by noting , I |the specific changes and interpolations introduced in the i drolls. Although it is not possible to include in this study the texts of all of the drolls in Strolers Pacquet, the three drolls selected should provide an adequate j jbasis for answering the major questions posed above. ' ■! Significance of the Study The importance of this study must be viewed in two i . ; ; contexts. The first context is that of the significance 1 | of drolls in any overall understanding of the theatre of I jthe seventeenth and eighteenth centuries. Secondly, the j i particular collection of drolls examined in this study * must be evaluated in terms of its contribution to our j i l jknowledge of drolls themselves. ! ! i I Eosenfeld states the problem of value in her j observation that "the drolls, . . . though of no literary i 7 i or intrinsic merit, are worth studying as an expression 1 ■ o ; j of popular taste." As we shift our focus towards a ' wider and more comprehensive understanding of the past ; ages of theatre, this measure of popular taste becomes ! i ! increasingly important. Drolls by the very nature of j ! ! . their origins are a perfect index of what was popular ; : in the theatre. The most popular and theatrically success ful portions of plays were extracted and made into drolls | during the seventeenth and eighteenth centuries. Many of I ! ■the plots and incidents of the drolls and many of the droll characters had a long history in the popular theatrical traditions of Western Europe. The links were j numerous between drolls and ballads, chapbooks, folk tales, puppet shows, and plays in the traditional theatre. i Drolls represented one facet of the unbroken folk tra ditions and in England they served as an important link j in the continuation of those traditions. Though most | i i \ often crude and unpolished, the drolls "are of interest i jbecause in form they preserved elements of an earlier age, ! whilst in content they helped to retain in the memory of j :the people the legends which were to fertilise the ; Q I literature of the romantic movement." j i t ' i 8 London Fairs, p. 135* ^Ibid., p. 149. The popular folk theatre has never left many records' i of its existence. Strolers Pacquet is the only extant col- i : lection of eighteenth-century drolls. Although a few other; » » ■ drolls of the period have survived, this collection repre- j | sents a substantial portion of our record of drolls in that! century. This part of the record has heretofore been I ignored and, consequently, needs to be examined and made ! | more readily available to researchers, i : Definition of Terms ; i i | The single most persistent problem in the study of drolls is the absence of a clear definition of the word ! i i "droll" and the total lack of precision in the usage of i I the term by scholars. The word "droll" and its related variant, "drollery," were used indiscriminately throughout | the seventeenth century to mean "a comic or farcical : ! composition or representation, a farce, an enacted piece J |of buffoonery, a puppet-show," and even "a puppet.I i i - Elson identifies the earliest use of the word "drollery" ! 1 in Thomas Dekker's The Belman of London (1608). where the . !term seems to imply a puppet performance."^ The earliest j j I 10 ' New English Dictionary. ! i j lltiTiie whole Roome shewed a farre off . . . like a | i Dutch piece of Drollery," John James Elson, ed., The Wits j lor, Sport upon Sport. Cornell Studies in English, Vol. j ;XVIII (Ithaca, New York, 1932), p. 21. All subsequent j [references to this work are cited_as Elson. _ | ' recorded instance in the New English Dictionary seems to 12 [ imply the same thing. All of the thirty-seven pieces m ! the first and second parts of The Wits are identified 13 ' under the general titles of "Select Pieces of Drollery" 1 L l and "Drols and Farces" and it is interesting to note I the range of types under which Elson classifies them: 1. Abridgments, consisting almost entirely of comic scenes, from known five-act pre-Commonwealth plays. 2. Non-comic playlets in verse, [generally of : unknown origin], on pastoral, mythological, j or Biblical themes. 3. Masque-like 'pastorals' in verse and prose. i j 4. Abridgments from masque-like 'pastorals.' i J 5- Abridgment from a known Court masque. i 6. Jigs— farcical playlets almost wholly in | verse, intended to be sung. i 7- Prose farces, possibly abridged from lost plays.15 :Over two-thirds of the plays are abridgments of the first 'type, but it is clear that many additional types of i ip "A living Drolerie," William Shakespeare, The 1 Tempest (ca. 1610], III, iii, 21. ~^The Wits, or Sport upon Sport, Part I (London, 1662). All subsequent references to this work are cited | as I Wits. : 14 ; Francis Kirkman, ed., The Wits, or Sport upon j Sport (London, 1673)- All subsequent references to this I work are cited as II Wits. ! [ ______ ^Elsonp_. 19. _______ _ _ _ ! io i ;theatrical entertainments seem to have been designated as drolls or drollery in the seventeenth century. Nor is the 'problem of definition any less acute in the eighteenth | 1 century. The plays advertised and described as drolls, ;although most often obvious abridgments from longer plays, fall into as wide a range of types as the plays in I Wits ■ and II Wits. In order to establish an accurate and workable 'definition of the droll for this study, two major factors are considered— the manner in which the term is used by i 'theatre scholars in the twentieth century and the most prevalent and consistent characteristics of the plays which were called drolls in the seventeenth and eighteenth centuries. The most consistent manner in which theatre jhistorians use the word "droll" is to denote a short ! I play abridged from a longer play. The three scholars i 1 who have done the greatest amount of work in the field ! j of drolls unfortunately do not attempt to give a precise | definition of the term. Elson does not go beyond his ! classification of types, observing that "we cannot : 16 | George Ereedley and John A. Reeves, A History of i the Theatre, rev. ed. (Hew York, 1955)? P* 160: Oscar G. jBrockett, History of the Theatre (Boston, 1968), pp. 254- ! 255; Kenneth Macgowan and William Melnitz. The Living j Stage (Englewood Cliffs, Hew Jersey, 1955), pp* 220-221; jVera Mowry Roberts, On Stage (Hew York, 19625, pp. 228- 1 230; Allardyce Hicoll, The Development of the Theatre, 4th ed. rev. (Hew York, 1957), p- 157* ~ I recognize the droll as a single dramatic type like the j 17 ' Imorality, the masque, or the jig." Nicoll designates i j numerous plays as drolls in his "Handlist of Plays" for !1660 to 1700 and 1700 to 1750, but nowhere does he attempt 18 ! |to define the word. Rosenfeld includes a chapter j 19 |entitled "Plays and Drolls" in her study of the drolls, y 1 but does not give a single hint as to how she distinguishes one from the other. Nevertheless, though the word is not used with any degree of precision by scholars in the i I twentieth century, the sense of a droll as an abridgment |of a longer play seems to be generally implied in the usage{ ; i 1 of the term. j ! i ; I When we examine the plays which have been designated as drolls in the seventeenth and eighteenth centuries we find the great majority of them having certain common characteristics. They tend to be almost without exception j jcomical, often very similar to farce. They are usually 1 !short, varying from five or ten minutes playing time to a I 20 .little under an hour. They are usually abridged from ; ! | i 1 _______________ I ! 17P. 18. 1 I ^English Drama, I and II. ! ' ' 19 I 1 London Pairs, pp. 135-1^9* : 20 In this respect several of the drolls in Strolers Pacquet are not typical, being slightly longer than the longer plays.^ ; I j In this study the term "droll" is used to desig nate a short comical play abridged from an earlier, longer ] i jplay. Where plays have been designated as drolls during j : i the seventeenth and eighteenth centuries in notices and ;advertisements, that designation has been accepted. Any ; iexception to this usage of the term is carefully noted. j I Two other terms are used throughout this study in j ! I very precise ways. The term "parent play" is used to designate the play from which a droll was directly abridged] I The origin of many drolls can be traced through a long I I succession of dramatic and non-dramatic materials, but in every case each droll has an immediate source from which; i it was abridged. This source is always identified as the "parent play." The term "droll author" is used throughout this study to designate the individual or individuals j j ,responsible for preparing the abridgment of the droll from | the parent play. Although not the author of the droll in 21 I The distinction between abridged and adapted :should be kept clearly in mind. A play which has been abridged from another play retains the dialogue and ■ wording of the earlier play, even though by cutting and transposing some speeches it considerably shortens |the original play. An adaptation of a play is a more ,radical alteration, generally borrowing only the plot |or incident and the characters of the earlier play and creating original speeches. Undoubtedly there are plays which fall somewhere between these two methods,-but most plays can be identified as abridgments or adaptations 1 with relative ease. •the strictest sense of the word, the term "droll author" i jseems preferable to "droll abridger" or "droll contriver." f i | Review of the Literature I ! j Considering the general absence of references to I drolls in studies of the eighteenth-century English ! theatre and drama, it is not surprising that Strolers . ' Pacquet remains virtually unknown to theatre scholars. I The only study of drolls of the eighteenth century, Rosenfeld's London fairs, dismisses this collection with a footnote reference stating that "there is no evidence that the drolls in The Strolers Pacquet Open'd (l?42) were 22 ever played." Rot another word is said about either the collection or the individual drolls in the collection. Eicoll, though not'dismissing the collection as peremp torily, hardly sheds more light on it. He includes a bibliographical reference to the collection in his 23 "Handlist of Plays" and makes two observations about it. |In a footnote to a discussion of the emergence of pro vincial theatres in the early eighteenth century and the i !"touring players and the lesser strollers" who utilized i |them with their drolls, he concludes that it is evident ’ 22 I ^P. 135. j ^^English Drama, II, 384-385- "that these drolls were still played,t. both in the provinces and the theatrical booths at the London Lairs," the proof being "the advertisements in the newspapers and . . . the collection of dramatic pieces called The Stroler's [sic] Oh Pacquet Open'd." Nicoll's second reference comes at the end of his discussion of "Farces" where he observes that "finallyy . . . might be noted the drolls contained in The Stroler's Pacquet Open'd (174-2), typical pieces performed at Bartholomew Fair and by strolling companies in pro- 25 vincial towns." v The discrepancy between Rosenfeld's and EicoH's evaluation of this collection is further sharpened by the absence of any reference whatsoever to Strolers Pacquet in Miss Rosenfeld's study of Strolling 26 Players & Drama in the Provinces: 1660-1765. Aside from scattered references to the title of the collection and one study of a series of related plays which includes 27 references to one of the drolls from the collection, ' no additional studies have been found. 2^Tbid. , p. 4-. 25Ibid., p. 216. 26 Cambridge, 1959* All subsequent references to this work are cited as Strolling Players. 27 'Leo Hughes and Arthur H. Scouten, "Some Theatrical Adaptations of a Picaresque Tale," University of Texas Studies in English, [XXVj (194-5-4-6)” 98-114-. See also: Leo Hughes, A Century-of English Farce (Princeton, 1956), 208-209; Leo Hughes and Arthur H. Scouten, Ten English Farces (Austin, Texas, 194-8), pp. 203-216. The amount of scholarship in the whole field of < I drolls is surprisingly meager when the importance of the 'droll as a theatrical and dramatic type is considered. ; ■Apart from the texts of the five extant collections of I 28 I {drolls, the largest tody of primary evidence concerning . i I ■ drolls is found in the first four parts of The London i 29 ; iStage. ^ Although this work— compiled from all of the | i i iavailable playbills, newspapers, and theatrical diaries ;of the period between 1660 and 1776— is exhaustive for i i London and its immediate environs, the hundreds of j 'theatres in the provinces are not included. This omission is rectified in part by Rosenfeld's Strolling Players, but that study does not attempt to compile a calendar of performances and, furthermore, is far from complete, having been confined to "those centres which produced early local SO I newspapers" and towns which were "considered to be the i 51 most productive centre for each point of the compass." I ; I I 28 Strolers Pacquet; I Wits; II Wits; Actaeon and ; j Diana (London, 1655); and The Muse of New Market (London, , !1680). ! ' 29 ! ] ^William van Lennep, Emmett L. Avery, Arthur H. j Scouten, and George Winchester Stone, Jr., eds. (Carbon- 1 ^ale, Illinois, 1960-65). All subsequent references to j this work are cited as London Stage, followed by the ( I part number. I r j ^ Strolling Players, p. 3- j ! 51Ibid. , p. 4 - . ' 16 1 i | Much of the information about drolls in the seventeenth ; I and eighteenth centuries is undoubtedly irretrievably lost, but much can probably still be uncovered through a ; i !careful search of provincial records. | i i The earliest discussion of drolls during the : j i Commonwealth period is Francis Kirkman's "Preface" to ! ! II Wits. This account, though in many respects possibly i . _____ | 52 :incorrect, has served as the basis for virtually all ' I j !subsequent statements about drolls in the seventeenth jcentury. In spite of Kirkman's account of the acting of ;drolls under the Commonwealth, the theatre in the period I ' :between 164-2 and 1660 has been surprisingly neglected. | | j Gerald Eades Bentley's seven volume study of The Jacobean 5-5 and Caroline Stage ends in 164-2 and The London Stage I does not begin until 1660. Pew historians of the stage 1 are as ill-informed about this period as Professor Sheldon ! | j I Cheney, who as late as 1952 suggested that "after the ; i suppression of stage-plays by Parliament in 164-2. . . . 1 [ and] until the Restoration in 1660 there was practically no activity on the London stages— if indeed they were not | ’ ^For a detailed discussion of Kirkman's "Preface" j and an evaluation of its accuracy see Chapter II. | ^Oxford, 194-1-68. All subsequent references to this work are cited as Bentley, followed by the volume number. I 17 | all pulled down. Sir William Davenant alone [my italics] j had the temerity to force an opening for dramatic pro- 1 34 . , ductions in the interim.' Most historians, however, t still tend to skip over the period with one or two short I paragraphs, particularly when dealing with those aspects 35 not related to the activities of William Davenant. ^ The first attempt at a comprehensive study of the Commonwealth period was made by Hyder E. Rollins in an article entitled "A Contribution to the History of the 56 English Commonwealth Drama, followed by "The Common- 57 wealth Drama: Miscellaneous Notes. Rollins' studies i ; were superseded by Leslie Hotson's The Commonwealth and I 53 Restoration Stage. the most complete study of the Commonwealth theatre to date. The Elizabethan Jig and 59 Related Song Drama by Charles Read Baskervill, though not dealing directly with drolls, is valuable for the The Theatre, rev. and enlarged ed. (New York, 1952), p.“2w r ^ Supra, n. 16. ^Studies in Philology, XVIII (1921), 267-333. 57Ibid., XX (1923), 52-69. ^Cambridge, Massachusetts, 1928. All subsequent references to this work are cited as Hotson. ^Chicago, 1929. ' ' IsH light it sheds on the seventeenth-century popular theatre 1 •in England. Elson's edition of I Wits and II Wits brings | i .together most of the material pertaining to drolls in the ; 'Commonwealth and Restoration periods. ; Studies of various aspects of eighteenth-century | .English theatre are plentiful, but the only work which ‘ ; i 'goes beyond a passing mention of the fact that drolls | I 'continued to be acted is Rosenfeld's London Eairs. She j 'has compiled a prodigious amount of information about all ! :aspects of theatre at the fairs, but, as pointed out above,! no attempt has been made to differentiate clearly between I l ;drolls and other types of entertainments. Furthermore, I |her dismissal of Strolers Pacquet seriously limits that work as a comprehensive study of the drolls in the j I ! ieighteenth century. [ ! ! j Editorial Methodology 1 | I : The texts of the drolls reproduced in Chapters IV j ;through VI of this study are exact transcriptions of the i ;texts in the 174-2 edition of The Strolers Pacquet Open'd. All of the drolls in this edition with the exception of ;the first droll, The Bilker Bilk'd, or, A Banquet of Wiles j ! (Chapter IV), have separate title pages dated 174-1. ho > ^ p j other editions or printings of this collection or of any j !of the individual drolls in this collection are known to I |have been prepared or published. The only changes [ I silently made and not recorded in the notes are the - i | elimination of running titles and catchwords and the , regular use of brackets [ ] to indicate stage directions. i i Most of the stage directions in the original text are ; : i ibracketed, but occasionally parentheses are used. Since j i there is no apparent reason for the distinction, brackets j j are substituted for parentheses where these occur. j i | j In every case all available editions of the parent ; 1 play published prior to 174-1 have been examined. In two ‘ ! ' t ! instances it was obvious that one specific edition had I ! been used as the copy text for the droll. In the third ! i instance no significant differences existed between j editions, so the latest edition prior to 174-1 was used for | i this study. In those cases where the change of a word or phrase in the droll is of particular significance, all earlier editions of this parent play have been examined i in order to ascertain that the change was actually made i ( j by the droll author and does not merely reflect a variation i in editions. Complete textual information is included in J j the introduction and notes to each droll. , i ' , Hie notes provided with the texts fall into three I i maoor categories. The first type are the textual notes j i , I discussed above. The second category of notes are those j I j which discuss and clarify the relationship of the droll j ! with the parent play and, in some cases, other closely j ! . I , related plays. Mo attempt is made to note every deviation I 20 | ! or change from the parent play. To do that would, in j i i some cases, merely clutter the notes with dozens of minor ; i , notations without appreciably enlarging our understanding ! i . ! i of the relationship between droll and parent play. , I : Instead, the nature and scope of the changes in a par- I ticular scene are discussed in a note at the beginning of that scene. Subsequent changes or differences between j : droll and parent play are identified only when they are of ' particular significance. The manner and extent of ,adap- ' i i I j tation by the droll author varies from droll to droll, j I | requiring minor variations in the system used to annotate i j each of these adaptations. The editorial principle is to ! t ; identify the changes made in such a way so as to provide j I the reader with the clearest possible understanding of the relationship between the droll and the parent play. | I ; I The third category of notes are those which explain : or clarify topical references, allusions, and obsolete or archaic words and phrases. Although the present edition j of these drolls must be considered a scholarly edition ! ; rather than a popular edition, it is thought better to j ! err on the side of too much rather-than too little ! ; i annotation in this category. The references, allusions, i words and phrases selected for annotation are those which ; * j a college freshman might reasonably be assumed to need to j have clarified. Thus, while many of the discussions of I | topical references to the eighteenth-century London life j I and times in the notes may he unnecessary for the scholar, j i I jthey are. included to make it possible for the average > ( ■ student of dramatic literature to read these drolls with ; maximum comprehension. : No attempt is made to retain the page form and page I numbering of the original text. In order to facilitate . the work of subsequent researchers, the page numbers from j the 174-2 edition of the collection are inserted in brackets j into the text at the point at which each page of the i | original text begins. The notes are included at the i bottom of, each page of text in order to provide the reader ! more ready access to the pertinent notes at any particular i I point in the text. Overview of Remaining Chapters ; The second chapter summarizes the history of the j droll as a theatrical form from its emergence in the ' Commonwealth period through its decline in popularity after the middle of the eighteenth century. Insofar as ' I is possible, this history is based on records of actual j ; I | droll performances and the extant texts of known drolls. The point of view maintained in this chapter is the | development of the droll in its theatrical setting, i.e., performance, not its development as a dramatic form. i i Chapter III discusses the collection of drolls, i ; . Strolers Pacquet, from which the subsequent texts are j 22 ! i ; itaken. The history of this collection is summarized and ; all pertinent evidence regarding its publication, author- j i ship, dating, and compilation is presented. The range and j :variety of drolls in this collection are analyzed and : evaluated in relationship to the range and variety of ;parent plays from which the drolls have been taken. A 1 rationale for selecting the three drolls for this study j i is given and evidence for their performance is summarized. ! Chapters four through six include annotated editionsJ i ! of the following three drolls: The Bilker Bilk'd: or, A i ; ! ,Banquet of Wiles from Christopher Bullock's The Woman's Revenge; The Braggadochio: or, His Worship the Cully from William Congreve1s The Old Batchelor; and The |Guardians Overreached in their own Humour: or. The Lover j Metamorphos'd from Susanna Centlivre's A Bold Stroke for a Wife. Introductory material for each droll includes a j discussion of the parent play and other possible sources of the droll, an analysis of the stage histories to 174-2 'of the parent play and any pertinent related plays, and a j i ;discussion of all significant derivations from the droll | j or the parent play after 174-2. Following this is a brief j !analysis of the droll as a theatrical piece. J i i , Appendices A through C include complete "Calendars ■ I 1 of Performances" through 174-2 of each of the three parent j jplays of the drolls included in this study. I CHAPTER II HISTORY OF THE DROLL AS A THEATRICAL FORM The history of the droll as a theatrical form can 1 ; j he traced through three distinct phases or periods. Hie j ! emergence of the droll as a unique theatrical form and : i ; its first period of development are closely linked with j ! the suppression of plays, players, and playhouses during : i i ! the years of the English Commonwealth, 1642 to 1660. The ! second period, during which drolls were occasionally i ! | presented as a part of the miscellaneous entertainments ! at the London fairs, coincides with the Restoration period of English theatre, 1660 to 1700. The third period,! when drolls made up 'a significant part of the repertoire of the players at the London fairs, extends from the j 1 [ beginning of the eighteenth century through the early i I I I seventeen-sixties, at which time summer theatrical I ! I 1 entertainments appear to have become centered at The Hew 1 ! or Little Theatre in the Haymarket. Although some of the q ; William van Lennep, Emmett L. Avery, Arthur H. j Scouten, and George Winchester Stone, Jr., eds., The | ! London Stage (Carbondale, Illinois, 1960-65), 4, pp. 947- 1 1993* in 1766 Samuel Foote received a patent "to perform j from 15 May to 15 September annually" at this theatre ! | (ibid., p. xliii), making it a center for summer theatrical I entertainments. One of the late notices of Bartholomew I Fair in 1762 observes that "several persons had provided ! L ______________ j ■ fairs continued to be held to the end of the century and ; |sporadic attempts were made to present theatrical enter- I t !tainments, the droll as a theatrical form had lost its 1 significance. | : English Commonwealth, 1642-1660 i | The origins of drolls, like all forms of popular ■ folk-entertainment, are lost to the historian by reason | of the fact that they were not considered to be of suf- i i ficient importance in their own time to warrant much attention. The years between 1642 and 1660, during which 1 2 ^ j the droll is generally acknowledged to have been developed J ! i ! 7 and come to be popularly acted, yield only two references to the performance of drolls. Anthony a Wood, writing about Oxford under the control of the Presbyterians and j (Independents, relates in December 1659 that "they [the authorities] would not suffer any common players to come ! iinto the Universitie, nor scholars to act in privat but j j ; ! j , , , ! booths in the Inns at Smithfield to perform Drolls and 'Interludes, as had been customary for many years, and were preparing to exhibit accordingly; but the City ; ’Marshall and other officers, by Order of the Lord Mayor joblig'd them to take down their Shew Cloths and decamp" | : (ibid. , p. 945). j < 2 • Leslie Hotson, The Commonwealth and Restoration j Stage (Cambridge, Massachusetts, 1928), p. 47. j I 7 : I I ^Gerald Eades Bentley, The Jacobean and Caroline ; |Stage, 7 Yols. (Oxford, 1941-68), VI, 233- : ■what they did by stelth; yet at Act times [the period of ; conferring degrees]^ they would permit dancing the rope, i 5 | drolles, or monstrous sights to be seen.It should be ' noted that even here it is not clear if this reference is to a stage performance or a play excerpted from an earlier ! 6 S play, or if Wood is referring to a puppet play. It is ; also interesting to observe that this evidence does not j refer to London. i The only other reference during this period to a i performance of a play which, with the clarification pro vided by the publication of I Wits, we can establish was ! a droll, is found in notices appearing in two June 1653 issues of the Mercurius Democritus. The first notice is an unexpected and, for the times, daring advertisement for a forthcoming performance. ■ At the Bed-Bull in St Johns street on Thurs- j day next, being the Ninth of June 1633 [1653]* ! There is a Prettie conceited fellow that hath Zl ' This interpolation is suggested by John James 1 Elson, ed., The Wits or. Sport upon Sport, Cornell Studies , ; in English, Vol. XVIII (Ithaca, New York, 1932), p. 23* < j "ibid. ! ■ 6 ! That puppet plays continued to be exhibited, at : | least at Bartholomew Bair, throughout the Commonwealth j ! period has been shown. For a more extensive discussion of : j these performances see Henry Morley, Memoirs of Bartholomew! ' Fair (London, 1859), pp. 222, 229-230. See also j jCornelius Walford, Fairs Past & Present (London, 1883), i i p. 202. challenged the Dromedary lately come out of ; Barbary, to dance with him Cap a Pee, on the Low-Rope . . . As also running up a board with Rapiers, and a new countrey Dance called the Horn-Dance, never before presented; per formed by the ablest Persons of that Civi11 ; quality in England. There will also appear I a merry conceited Eellow which hath formerly ' given content. 1 7 And you may come and return with safety. 1 The second notice, appearing three weeks later, identifies I i the "merry conceited Eellow" and the play which he was i i l ! performing. 1 There were in the Suburbs of the City of < Hodnollshire, two heavy Routs this last ; week, the one was of the Sodom Py-woman, j the other of the Dancers of the Ropes, both betrayed by some of their own Quality ... j The Rope dancers having imployed one Mr. Cox j an Actor . . . to present a modest ha[r]mlesse j Jigge, calle[d] Swobber, yet two of his own quality, envying their poor brother should i get a little bread for his Children, basely ! and unworthily betrayed him to the I Souldie[r]s. . . .8 j "modest ha[r]mlesse jigge, calle[d] Swobber" to which ( outraged writer of Mercurius Democritus makes reference; 1 appears to be the same as John Swabber, the Sea-man, one j of the pieces included in the 1655 and 1656 editions of i 9 : , Actaeon and Diana, advertised as being "for the use of ! The the 7l-8 June 1655, p. 463. 22-29 June 1653, p. 487- ^Actaeon and Diana (London, 1655). The title page : of what is generally acknowledged to be the "first 1 edition" (see Elson, p. 415) is not dated, but this J the Author Robert Cox"” ^ and as having been "acted at the 11 ' Red Bull with great applause." Although not specificallyi ; identified as a droll in either of these editions, it was J subsequently included in I Wits where it is designated as , „ 12 a droll. The scarcity of specific references to performances ' ; of drolls during the Commonwealth period is not unexpected when we consider the conditions under which this theatrical I inform came into being. On 2 September 1642 a resolution j originated in the House of Commons which, in order "to ! appease and avert the Wrath of God," decreed that j Basting and Prayer having bin often tryed to be very effectuall . . . are still enjoyned; and whereas publike Stage-playes doe not well agree with publike Calamities, nor publike Stage- , playes with the Seasons of Humiliation, this j being an Exercise of sad and pious solemnity, | and the other being Spectacles of pleasure, | too commonly expressing lacivious Mirth and j edition was presumably published during Cox's lifetime 1(his burial is recorded for 12 December 1655 [Bentley, ill, 4153) and probably after the performance recorded for June 1653• See also Hotson, pp. 49, 78; Bentley, VI, j '233; and Elson, p. 15- The second edition, dated 1656 ' ■on the title page, appears to be simply a re-issue of the ! i first with a new title page, although one additional , iplay is included. | f "^Title page of "first edition," supra, n. 9- j l 1 Title page of the 1656 edition, supra, n. 9- 1 ! ' 12 1 ! The Wits, or, Sport upon Sport, Part I (London, !l662). The title of the droll has been changed to The j Humour of John Swabber. , Levitie: It is therefore thought fit, and 1 ; Ordeined by the Lords and Commons in this j ! Parliament Assembled, that while these sad Causes I | and set times of Humiliation doe continue, pub- j ; like Stage-playes shall cease, and bee forborne.13 ' | Repeated violations of this ordinance during the subse- 1LL ! :quent five years resulted in the passage on 22 October j : 1647 of more severe legislation. Por the better Supression of Stage-plays, Inter- j ludes, and Common Players: It is this Day Ordered j ... [that] all such common Players, or Actors, | as they . . . [are found] to have acted or played i in such Playhouses or Places . . . [are to be j | committed] to any common Gaol or Prison; ... ; j there to be punished as Pogues, according to ' | Law.15 ! The players' continued violation of the laws caused j ; Parliament to take further steps on 9 February 1648. They j I ordered that the "Players shall be taken as.Rogues" and j punished, the lord mayor and sheriffs should "pull down and demolish all Stage-Galleries, Seats and Boxes," and every spectator caught at any play "shall for every time j j he shall be so present, Forfeit and Pay Five Shillings to i 16 ' | the Use of the Poor." This order, coupled with the ; | hiring on 13 September 1648 of a paid sleuth-hound, I i ! I 15 Hotson, pp. 5-6. 14Ibid., pp. 6-27. 15Ibid., p. 27. 16Ibid., p. 35- Francis Bethan, whose duties were "to apprehend and sur- j prise all . . . Persons as sell, sing, or publish, j I Ballads or Books, scandalous to the Parliament.,. . . and 17 ! to suppress Playhouses, and apprehend the Players," j I more or less put an end to the most flagrant instances of i 18 19 public performances of plays. Bentley and Hotson suggest that it was at this time, when the suppression ; and vigilance of the authorities had reached their peak, j that the practice of excising short scenes from longer , I plays was begun. The impracticability of long performances and the lack of adequate stage facilities for full length, complex productions led to the creation of the droll performances. When we consider the danger to players and playgoers attendant upon even these simple productions, the lack of advertisements comes as no surprise. Indeed, I the one extant notice of a London performance seems even j i more unusual and remarkable. | The second factor contributing to the lack of contemporary allusions to droll performances is the i I generally low esteem in which this form of theatrical i j production was held. Eobert Cox hints at this in his ; ^Ibifl. , p. 38. 18VI, 233- l9P. 47. jpreface to the reader in Actaeon and Diana which, even i ■ allowing for the traditional tone of humility found in .most seventeenth-century prefaces, seems to he overly i 'apologetic. i If your serious occasions will permit me so much honour, that this slight Book may he accepted and perused, I shall justly acknowledge the favour to he farre ahove either my hopes or | merit. And if you ever vouchsafed your Presence ! when it was presented on the Stage, I am confi- ; dent, your (no way erring) judgements will now | allow it as it then was intended, which was, j rather to provoke a laughter, then occasion ; a contemplation. It will likewise engage my gratefull service if I he not (in your worthy opinions) taxt of Arrogance to present my | unpolished lines, when daily those of excellence I are offered to your Eyes and Ears: But in the confidence of your clemency, I submit to the verdict of my grand Jury. And howsoever you are pleased to censure, will remain (as I ought) the humblest of your servants, ; Robert Cox It would almost seem from Cox's preface that performing drolls under the vigilant eyes of Erancis Bethan was not ; nearly as audacious as daring to dignify them by pub-1 i- |cation. ^ The most extensive discussion of the playing of | drolls during the Commonwealth period,- and the account |which has been the basis for all subsequent scholars, 21 |is Erancis Kirkman's "Preface" to II Wits. Although ! 20p. in. 21 The Wits, or, Sport upon Sport (London, 1673)- 1 22 I ;Kirkman's evidence is often unreliable, and comes ; i .thirteen to twenty-five years after the fact, belonging ! |more appropriately to the discussion of drolls in the 'Restoration period, the frequency with which his account I ;has been used as the authoritative evidence of droll i :performances between 164-2 and 1660 makes it necessary to I consider his statements here. Kirkman advises his readers : i i that the drolls in the collection come from another age : when the publique Theatres were shut up, and the | ' Actors forbidden to present us with any of their : ; Tragedies, because we had enough of that in earnest; | and Comedies, because the Vices of the Age were too j lively and smartly represented; then all that we ; could divert our■selves with were these humours and pieces of Plays, which passing under the Name of a merry conceited Fellow, called Bottom the Weaver, Simpleton the Smith, John Swabber, or some such Title, were only allowed us, and that but by stealth too, and under pretence of Rope- dancing, or the like.23 The "merry conceited Fellow" acting "John Swabber" under j the "pretence of Rope-dancing" appears to be a direct j reference to Robert Cox's performance of John Swabber, ! 24 the Sea-man at the Red Bull Theatre on 9 June 1633- i t ; We have no way of knowing whether or not Kirkman had more ; ! ' 1 I direct knowledge of this performance than the information | given in Mercurius Democritus. His use of similar wording ^Elson, pp. 1-39- ^11 Wits, pp. iii-iv. 24 Supra, ns. 7 and 8. ' may indicate that his information was derived from the > I 1 printed accounts of the performance. The naming of the I i | other two titles does not necessarily mean that Kirkman witnessed or had specific knowledge of performances of i these drolls. Both Bottom the Weaver and Simpleton the I .................... ... ..—.. —.■ ■ ■ ■ ■ ■ ' -- ----- ! Smith were included in the collection, and their enumer ation in the preface may have been simply for effect. | Kirkman continues his account of the performances of drolls "in this last Age," claiming that so "great was ; the confluence of the Auditors; and these small things I were as profitable, and as great get-pennies to the Actors I 25 ; as any of our late famed Plays." v He claims that he has "seen the Red Bull Play-House, which was a large one, so full, that as many went back for want of room as had 26 entred.. " It should be noted that the only playhouse to which Kirkman makes specific reference is the "Red i ; Bull Play-House," the same one which appears in the 27 advertisement for Robert Cox's performance. ' One is tempted to•accept Kirkman's statements at face value as evidence of a fairly active underground theatrical activity during the Commonwealth period. Okie thought of 25 "rl Wits, p. iv. 26Pbid. Supra, n. 7- ; a great "confluence of the Auditors" risking arrest and : 1 28 ! a fine of five shillings crowding into the least repu- I ■ 29 ; table of the Jacobean public theatres seems a fitting | l ; and justified response to the restrictive legislation of ; Parliament. The purpose of Kirkman's preface must, how- : I ever, be kept in mind. Somewhat further along he points 1 , out that there are some who might wish to purchase this : ; collection "for profit, such as are young Players, Fidlers, 1 ! i &c. As for those Players who intend to wander and go a j i | stroleing, this very Book, and a few ordinary properties is enough to set them up, and get money in any Town in I ZQ ; England." Claiming success for these drolls with the 1 ! audiences during the Commonwealth would, of course, en hance the value of the collection for players wishing to ! "get money in any Town" in 1673- I Kirkman also identifies Robert Cox as "not only the | 1 principal Actor, but also the Contriver and Author of most ! i 31 I of these Farces."^ Although Cox is the only actor who I i 28 ; Hotson, p. 35- I | ^Bentley, VI, 225; Edmund K. Chambers, The j Elizabethan Stage, 4 Vols. (Oxford, 1923), H, 447. All ! ; subsequent references to this work are cited as ! : Elizabethan Stage, followed by the volume number. | ^11 Wits, p. vi. | ' 31 ! i ^ Ibid., p. iv. 52 was definitely associated with the drolls, Elson has clearly proven that Cox's activity as a contriver and ' • - 55 author was negligible. ^ In spite of the meager amount of verified evidence of droll performances remaining from the Commonwealth < period, it can be seen that the practice of creating and ; i performing drolls was begun at this time and that Robert ; Cox was intimately associated with this theatrical form. j | It is difficult to assess the frequency and popularity | of these droll performances. Kirkman's account does not appear to be a particularly reliable source of information. The continued practice of droll-making in the Restoration period and the appearance of Kirkman's two collections of drolls in 1662 and 1675 attest to the fact that the droll tradition had, by 1660, been firmly established in the j English theatre. j Restoration, 1660-1700 ! I Differentiating between the various types of | theatrical entertainments and published scripts which I were identified as drolls in their own time or came to be identified as drolls by later commentators is no less 52Bentley, VI, 253- difficult in the Restoration period than during the I earlier Commonwealth period. In spite of the fact that ' i three of the five major collections of drolls were pub- I 3/ 4 . ■ . lished during these forty years, specific evidence of ; ! i ' performance often tends to be vague about the exact type ' ■ of entertainment which is being described as a droll. j ; Statements like Pepys1 of 29 August 1668 that he saw "a j ; ridiculous, obscene little stage-play, called 'Marry |Andrey'; a foolish thing, do not indicate whether he | j saw a play which had been abridged or excerpted from an ! earlier pre-Commonwealth play, a play abridged or excerpted, | from a Restoration play, a popular farce or interlude, or ; ! perhaps even a puppet play. The fact that the term I ! t t Merry Andrew" seems to have been used synonymously with 56 the players of drolls at the fairs by 1693 and 1696 does not help clarify the ambiguity. Allardyce Nicoll 37 includes the above play in his listing of drolls, ' but Wits; II Wits; and The Muse of New Market } (London, 1680). ^London Stage, 1, p. 141. 36Ibid., 1, pp. 422-423, 464. ^A History of English Drama, 1660-1900, 6 vols. 1 (Cambridge^ 1965-67), I, A47- In some cases Nicoll 1 cites J. 0. Halliwell-Ehillips, A Dictionary'of Old ; English Plays (London, 1860), as his authority, but his 1 designations seem to be as arbitrary as Nicoll's. ;unfortunately does not cite any evidence for this desig- I nation since Pepys did not even identify the piece as a droll. ' In order to accurately assess the droll as a theatrical form during the Restoration it is necessary • to begin with a compilation of all titles that were acted i between 1660 and 1700 and identified as drolls either in j their own advertisements or by contemporary viewers of !the performances. This list would include: 1. Bateman's Ghost, with the merry Conceits of the Little Pickle-herring (August 1699) See The XJnhaupy Marriage (infra) 2. The Devil of a Wife^ (August 1699) 3. The Dutch Cruelties at Amboyna: With the 39 Humours of the Valiant Welch-Man ^ (11 November 1672) 40 4. The Earthquake in Jamaica (ij September 1692) 5. The Exile of the Earl of Huntington. Commonly known by the Name of Robin Hood. With the I 38 I London Stage, 1, p. 312. 39 Ibid., 1, p. 201. Erroneously identified as a "puppet show" on p. ccxiv. _______40Ibid. ,_1 _ _ p _ . _410. _____ Merry Conceits of Little John, And the Humours of the Jolly Pindar of Wake- field.^1 (before December 1694) 6. Fryar Bacon; or, The Coimtry Justice: With the Humours of Tolfree the Miller, and his 4? Son Ralph (August 1699) 7* A New Wonder, A Woman never Vex'd; or The Blind Beggar of Bednal Green. With the 46 Humours of Tom Stroud, and his Man Gudgeon. (before December 1694) 44 8. The Unhappy Marriage (5 September 1694) 41 Sybil Eosenfeld, The Theatre of the London Fairs in the 18th Century (Cambridge, I960), p. 75* The playbill for this droll is reproduced by Eosen feld (ibid., facing p. 76). See also London Stage, 1, p. xlvi. The title of the droll is preceded by the following announcement: "At the Queens-Arms-Tavern, in Southwark, during a Fortnight, (the usual time of Fair) will be presented an excellent Droll, call'd, 42 London Stage, 1, p. 512. 46 London Fairs, p. 75; London Stage, 1, p'. xlvi. Ibid., 1, pp. 437, 512. : 38 4-5 46 Hicol.1 v and the London Stage list performances of The :History of Bateman; or, The Unhappy Marriage, with (The Comical Humours of Sparrow his Man for 1703, 1728, and 1733. This suggests that this droll may have been the ,same as Bateman's Ghost, with the merry Conceits of the ,Little Pickle-herring (supra) and that the latter could be legitimately included in the list of Restoration drolls. ! The above list of eight drolls represents a con- |siderable reduction from the sixteen titles listed by i 47 iNicoll. In fact, three of the above titles are not I 48 (included in Nicoll1s list, leaving eleven of his titles ,arbitrarily identified as drolls without contemporary designation as such. Of these remaining titles only 4 q eight y can be clearly identified as having been acted between 1660 and 1700, in no case being identified as a | ^English Drama. II, 366, lists this title as The !True and Ancient History of Bateman, or, The Unhappy- !Marriage. 1 i 46 ! London Stage, 2, pp. 41, 985; 3, pp. 310, 314. !Slight variations appear in the 1728 and 1733 advertise- ! ments of the droll. j ' ^English Drama, I, 446-447- : J\ C ? I Bateman's Ghost . . .; The Earthquake in Jamaica; |and The Unhappy Marriage. I 40 I ^London Stage. 1, pp. 5-532; English Drama, I, !446-447. ^ ; i I ■droll either in the advertisement, playbill, or by con- | I i ;temporary viewers. ; j To this list of eight drolls for which we can find ! !evidence of performance must, of course, be added the ! 1 i , thirty-seven drolls published in I Wits and II Wits and 1 I i I the three drolls published in The Muse of Hew Market. , i Although no evidence exists for London performances of j i ' any of the drolls in I Wits or II Wits in this period, one j !of the plays from the third collection, The Merry Milkmaids! | ; ol Islington; or, The Rambling Gallants Defeated, was ! performed at Oxford on 5 and 9 July 1661,^ and Edward | i ' Browne may have seen a performance of this play at the Red Bull Theatre in London sometime between 1661 and 51 1663* Sybil Rosenfeld also speculates that all three I drolls in The Muse of Hew Market may have been performed 52 in Norwich in 1680. Considering the lacunae which exist j ^London Stage, 1, p. 30. j I - ^Ibid. , pp. 35-36. : 52 i "It seems likely that it was [the] . . . Newmarket, i Company [under Robert Parker] which acted, before the ! iKing and Court at the races [in Norwich], those three j farces or drolls which were printed in 1680 as The Muse ; 1 oT New-Market." Strolling Players & Drama in the j ; Provinces, 16~60-1755 (.Cambridge, 1939), P* 4-0. Charles ! Read Baskervill (The Elizabethan Jig [Chicago, 1929], j pp. 4-28-4-31),, reprints a short dialogue by Thomas Jordan, i designating it as a droll. The dialogue is a portion of j the Lord Mayor's Day pageant of 30 October 1671 (see j ; London Stage, 1, p. 189) entitled London's Resurrection in the record of London performances during this period, particularly the records of the fairs, and the even greater! i lack of information about dramatic performances in the j ’provinces, the information which remains about the drolls i ■ I ,is not insubstantial. Forty-eight titles are clearly 1 f i : identified as drolls, either in published editions or t !records of performances, and nine of these, or slightly 1 i | under nineteen per cent are known to have been acted. j ! That many more of these forty-eight drolls were performed j <in London or in the provinces can be reasonably assumed, J i j 1 but at present not substantiated. That many more of the ' j 55 I 1 additional titles of performances at the fairs may also | have been drolls is probable, but in the absence of new evidence, this also cannot be proven. As will be seen in the survey of drolls during the I | eighteenth century, the principal place of performance for j j ! j drolls seems to have been at the London fairs. The major j i ! ifairs during the Restoration were: Bartholomew Fair, held ! ! I j at the end of August; Southwark Fair, held in early j : September; and May Fair, developed during the last decade { I I | ---------------------------------- i , i i to Joy and Triumph. Although in form it is similar to j | some of the drolls in I Wits and II Wits, there does not . ! appear to be any contemporary evidence to support its ! ! designation as a droll. Baskervill gives no reason for i calling it a droll. j i 55 I ’ ^See London Stage, 1. j 41 ; 54 ! of the seventeenth century and held in May. i Some idea of the changes which took place at the : i London fairs in the scope of the theatrical entertainments 1 I , ‘offered to the public, can he seen by comparing two ' ) descriptions of Bartholomew Fair. The first account of j the fair is given by Pepys in 1663. | And so carried her [Mrs. Pepys] to the fayre, and | showed her the monkeys dancing on the ropes, which | was strange, but such dirty sport that I was not | pleased with it. There was also a horse with ; hoofs like rams homes, a goose with four feet, ; and a cock with three. Thence to another place, j J and saw some German Clocke works, the Salutation j of the Virgin Mary, and several Scriptural stories; I ! but above all there was at last represented the J j sea, with Neptune, Venus, mermaids, and Ayrid on a ! dolphin, the sea rocking, so well done, that had | it been in a gaudy manner and place, and at a j little distance, it had been admirable.55 I | Tom Brown, writing to George Moult in August 1699, makes the following observations about Bartholomew Fair: As I have observ'd to you, this noble Fair is quite another thing than what it was in the last Age; it not only deals in the humble stories of ' Crispin and Crispianus, Whittington's Cat, i ! Bateman's Ghost, with the merry Conceits of the | Little Pickle-herring; but it produces Operas 1 of its own Growth, and is become a formidable 1 j Rival to both the Theatres. It beholds Gods ; 1 descending from Machines, who express themselves i ; in a language suitable to their dignity; it ! trafficks in Heroes; it raises Ghosts and ' | Apparitions; it has represented the Trojan Horse, j : the Workmanship of the divine Epeus; it has seen ; ^Infra, pp. 47-60. j i ^ London Stage, 1, p. 67. j St. George encounter the Dragon, and overcome him; In short, for Thunder and Lightening, for Songs and Dances, for sublime Fustian and magnificent Nonsense, it comes not short of Drury-Lane or LineoIns-Inn- Fields., 56 What is apparent from these two descriptions is not so much a difference in types of dramatic entertainments i offered, but rather in the scope and complexity of the ;offerings. Pepys' visit to Bartholomew Fair is reminis cent of the side show of a circus or the oddities found !at a provincial county fair. Nevertheless, "several i Scriptural stories" and the elaborate representation of |"the sea, with Neptune, Venus, mermaids, and Ayrid on a ; 57 dolphin"' suggest a well-established tradition of i I theatrical entertainments at the fairs already in the early i years of the Restoration. That drolls were a part of this |tradition at this time we can only surmise, the first |verified record of a droll performance at a London fair jbetween 1660 and 1700 not coming until 1692.^® The ; Ibid., 1, p. 512. For’a colorful account of Bar- ; ! tholomew Fair at the end of the seventeenth century see , Edward Ward, The London Spy, Part X (August, 1699), : 1 p p . 10-16. j 1 i cn j Pepys’ description brings to mind the Stuart j masques and some of the more extravagant presentations of , ! William Davenant. I CO j The Earthquake in Jamaica, Southwark Fair, 13 j September 1692 (London Stage, 1, p. -4-10): Although The ! ;Merry Milkmaids of Islington . . . and The Dutch Cruelties j at Amboyna . . . were both performed before 1692, neither” j performance is recorded at one of the London fairs. ! _ Supra.v_ns._9Q- and 39 • . . . . . . . . . . . . 1 'publication of I Wits and II Wits and of The Muse of Hew Market in the first twenty years of the Restoration period [would seem to support the view that drolls were known and enjoyed a certain degree of popularity at that time, j Tom Brown's suggestion in 1699 that the'entertain ment of the fair "comes not short of. Drury-Lane or Lincoln-Inns-DieIds" hints at a substantially enlarged scope and effort by the end of the century. Rot only do drolls appear to have been acted at the fairs with greater frequency in the last decade of the century (all of the recorded fair performances of drolls fall between 1692 and 1699), hut the productions themselves seem to have taken on a scope to make them "formidable Rival[s] to both the Theatres." Allowing for the possibility of exaggeration, we can nevertheless reasonably conclude that droll per formances had come a long way towards reaching theatrical respectability by the end of the century. That the London fairs were the most important out let for droll performances during the Restoration period ,cannot be disputed. But extant records of drolls per formed between 1660 and 1700 in other locations and the 59 references to drolls in Norwich in 1676 and 1691 are j ^"Robert Parker ... on October Id, 1676, 'had jlycence to act Peices of plaies and drolls'. On INovember 25, 1691, [John] Power had 'libertie to Act playes, drolles, ffarces and interludes'." Strolling Players, pp. 39-^0. extremely significant and raise the possibility of a much more wide-spread influence of the drolls. As noted before, I I The Merry Milkmaids of Islington was performed on 5 and 9 60 July 1661 at Oxford and may have been performed at the 61 'Red Bull theatre sometime between 1661 and 1663* The ; suggestion that the drolls made up a part of the repertoire ' 62 •of strolling players has frequently been made, but the j ••• jkinds of detailed records of the theatrical entertainments i which exist for London in this period are unfortunately * * 6 " 5 not as extensive for the provinces. Another instance of a droll performance outside of the theatrical offerings of the fairs was the per formance of The Dutch Cruelties at Amboyna: With the Humours of the Valiant Welch-Man in Hovember 1672. A playbill notes that at the Booth at Charing-Cross, every day in the Week will be presented variety of Farces Drolls, and Comical Entertainments by Mr Anthony Devo, His Majesties Servant. And this present Monday being the Eleventh of November, will be pre sented the Dutch cruelties at Amboyna, with the ^ London Stage, 1, p. 30. 61 j Ibid., 1, pp. 33-30* j ^E. g. , Elson, p. 39; English Drama, II, d; London Fairs, p. 169* ^ Supra, Chapter I, p. 13. humours of the Valiant Welch-Man. Acted by Men and Women. Beginning exactly at Two of the Clock in the Afternoon, and at Four Vivat Rex.^H We are fortunate that this performance was advertised with 1 a playbill and that the playbill has survived. The : i I question which, of course, comes to mind is the extent : I and frequency of this type of performance. Again, in the i ; absence of documentation we are reduced to speculation. ! i I ; ; It seems reasonable to assume that this kind of semi - ; I I i improvised, street-corner performing would leave few , i ! records behind, particularly in view of the relative \ i ' 1 scarcxty of records remaining even from the established j licensed theatres of the period. In view of the origin j ! i l of droll performances during the Commonwealth period as j I . ! j illegal, surreptitious activities, it is not unlikely that j these performances continued during the Restoration period, | 1 not in opposition to the government, as was the case i I 1 1 earlier, but in opposition to the holders of the two Royal , i | : patents for theatrical production. This supposition is | i I ; strengthened by the existence of a further document j ! ’ i relating to the above performance. It decrees "that j 1 I ; Antonio di Voto Doe sett forth Exercise &Play all Drolls and Interludes, He not receiving into his Company any t person belonging to his Ma[ges]tes or Royal Highnesse 54 London Stage, 1, p. 201. The reference to the performance being "acted by Men and Women" rules out the possibility that this jaight have been a^puppet play.___ ! Theatres Nor Act any Play usually acted at any of ye said Theatres Nor take peeces or Sceenes out of ye Playes I 0 C l ' Acted at ye said Theatres." ■ It is not clear if this i represents a defense on the part of Antonio di Voto for ; activities in the past or an agreement about activities j in the future, but the reference to taking "peeces or | Sceenes out of ye Playes Acted at ye said Theatres" clearly indicates that droll-making was neither unknown nor dormant during the Eestoration period. i [ In spite of the fact that the extant records do not yield a great deal of information about the theatrical history of the drolls between 1660 and 1700, a sufficient number of clues remain to show that the tradition of contriving drolls and acting them was maintained between the Commonwealth period and the eighteenth century. It 1 j can also be argued that the droll tradition which we noted i was becoming increasingly important at the fairs by the end of the seventeenth century, and-which we will see flourishing during the first half of the eighteenth ( | century, was a continuation of the tradition begun by the players under the Commonwealth, not a new tradition created out of new circumstances. 65Ibid. Eighteenth Century The stage history and literary development of the drolls during the eighteenth century has been recorded in i ,'Rosenfeld's study of The Theatre of the London Eairs in the 18th Century. That the London fairs served as the major location for the performances of drolls during this 66 time is borne out by a careful examination of the repertory of all London theatres compiled in Parts 2 through 4 of The London Stage. The following synopsis of the history of the droll theatre is based primarily on the information recorded in these two works. The principal London fair in the eighteenth century was Bartholomew Pair. Pounded in the twelfth century by the granting of a charter from Henry I to his former 67 jester, Rahere, ' this fair existed as a more or less annual event for about seven hundred years. Like all European fairs, its principal purpose was trade, but the entertainment of the fair-goer became an important element I 66 I Drolls were performed though, in other places as well. Peter Kolbe (The Present State of the Cape of Good Hope, 2 vols. [London, 1731]) mentions that "the crew [of the ship], to divert themselves, acted several Drolls" (I, 10). 67 'Walford, p. 165. See also Morley for a complete history of Bartholomew Pair. 68 [right from the start. Originally licensed to he held ifor three days (St. Bartholomew's eve, 23 August; St. Bartholomew's Day, 24- August; and the day following),^ [ [the fair had been extended to two weeks by the reign of I Charles II.^ Thereafter followed almost two centuries iof controversy over the length of time to be allowed for the fair between the inhabitants of Smithfield, where the 71 fair was held, and its promoters. ‘ During the eighteenth century the fair generally was held for about two weeks up to 1735 and after that time seems to have been limited 72 to three or four days. Bartholomew Bair was most I [important as a place for theatrical presentations between 1717 and 1762. Advertisements of or references to theatrical entertainments are extant for all but six years 73 of this forty-six year period. Sporadic records of 68 Ben Jonson's vivid portrayal of this fair m his play, Bartholomew Bair (1614;, provides an interesting picture of the fair in the early seventeenth century. The descriptions by Pepys (1663) and Brown (1699) show the [types of entertainments that could be found during the ; middle and end of the century. Supra, ns. 55 and 56. 6<5Walford, p. 168. j ^London Bairs, p. 1. I ^Walford, pp. 206-242. 72 Boadon Bairs, pp. 2-3- ^London Stage, 2, p. 459 through 4, p. 945- The years when there are no records of entertainments are 1718, 1744-45, and 1750-52. 'performances continue to the middle of the nineteenth ' 7 4 - century, hut never again with the gusto and vigor of the I earlier years. | Southwark Fair, though historically less important | ,than Bartholomew Fair, surpassed the latter in its I emphasis on theatrical entertainments during the eighteenth icentury. This fair, also known as Lady Fair, originated 75 in 14-62 with a charter from Edward IV. ^ Originally limited in duration to three days, from the seventh to the 76 ninth of September, ' advertisements for performances and records of warrants clearly indicate that the fair ex tended over two weeks during most of its existence after 77 1700. Southwark Fair was most important as a place for theatrical presentations between 1714- and 1761, per formances being advertised in all but three years of this forty-eight year period.' Entertainment appears to have overshadowed trade by 1720, when the fair is described as being noted "chiefly- for shows, as drolls, puppet-shows, i ^Walford, pp. 235-24-2. 75 London Fairs, p. 71- 76Ibid. ^London Stage, 2, p. 326 through 4-, p. 890. ^Ibid. The years when there are no records of entertainments are 1727 and 174-4—45. 50 79 rope-dancing, music booths and tippling houses."' Since most of the showmen had droll booths at both Bartholomew 'Bair and Southwark Bair and the latter always followed | the former by a few days, the entertainments tended to be quite similar at the two fairs. Often a droll would be 80 repeated with the same cast. Controversy between the citizens of Southwark and the promoters of the fair 81 finally resulted in its dissolution in 1762, the last 82 plays having been presented the preceeding year. The third fair at which theatrical entertainments were offered with any known degree of regularity was May Bair. Lasting fifteen days during May, the fair was 86 established by James II in 1688. Two periods of theatrical activity seem to have taken place. The first ranges from 1696 through 1707, during which mostly 84 rope-dancing and similar entertainments were presented. The second spurt of theatrical activity, during which 79 'yLondon Bairs, p. 71- j ^ London Stage, 2, p. 459 through 4, p. 890. See ifor example 25 August and 7 September 1749- 81 London Bairs, p. 74. 1 ftp London Stage, 4, p. 890. ^London Bairs, p. 108. ^ London Stage, 1, p. 462 through 2, p. 148. Q J ;plays were regularly presented, dates from 1743 to 1750. < 1 l 86 j The fair was abolished in 1764. i t ! Other fairs which at one time or another served [ j the players in the eighteenth century as performance | locations were: Totenham Court Pair, on the outskirts of i |London; Welsh Fair, Spa Fields, Clerkenwell; Mile End Fair; Bow Fair; Hounslow Fair; Moorfields Fair; Paddington Fair; Hampstead Fair; Highgate Fair; Acton Fair, Kensing ton; Sherking Fair, Kensington; Wandsworth Fair, South- f wark; Mitcham Fair, Southwark; and St. James's Fair, St. Martin in the Fields. The players frequenting these lesser fairs probably appeared with much less regularity than those at Bartholomew and Southwark fairs. They were also in all probability "impoverished strollers who have on left behind them no records of their performances." There is no problem in identifying titles of drolls in the eighteenth century. Although Nicoll and Eosenfeld do not specify what they mean by their designations of !"droll," playbills and advertisements are quite consistent i and clear in their designations. What does continue to be j a problem though, is the scarcity of extant texts of 8^Xbid. , 3, p- 1056 through 4, p. 201. 66 London Fairs, p. 120. 87Ibid., pp. 121-134. I drolls. Apart from the one collection of seven drolls Ipublished in 17-4-2, The Strolers Pacquet Open'd, only six I 88 [ o f the approximately sixty remaining drolls are available i in extant editions. Thus, only about twenty per cent of I 'the drolls of the eighteenth century can be examined as I |texts and over half of these, the seven in Strolers 89 Pacquet, are totally ignored by Rosenfeld. ' The six extant drolls and their recorded London performances are as follows: 1. Jeptha's Rash Vow, or. The Virgin's Sacrifice Publication: 1733^ Performances: Bartholomew Fair— August 1703 and August 1733; Southwark Fair— September 1718, September 1733, and September 1750.^ 2. The northern Heroes . . . Publication: 1748^ Performances: Bartholomew Fair— August ®®Nicoll (English Drama, II, 365-387) lists fifty-eight, but his designations are at times arbitrary and the compilation is slightly incomplete. 89 Supra, Chapter I, p. 13. ^QLondon Fairs, pp. 135, 173* ^ London Stage, 2, pp. 41, 503; 3, pp. 313-314; 4, pp. 205-206. ^English Drama, II, 380. 53 174-8; Southwark Pair— September 174-8.^ 3. The Adventures of Robin Hood, Earl of Hunting ton, and His Hate Little John | Publication: 1730^ i j Performances: Bartholomew Pair— August I I 1730; Southwark Pair— September 1724-, September 1730.^ 4-. The Siege of Troy Publication: 1707^ l j Performances: Bartholomew Pair— August 1707 (?),^ August 1726, and August 174-7; | Southwark Pair— September 1715, August and September 1724-, September 1726, September 1734-, September 1735, and. September 174-7.^ ^London Stage, 4 -, pp. 57-58, 62-64-. ^English Drama, II, 365- j ^London Stage, 2, p. 784-; 3, pp. 74—75 (the 1730 [performances are advertised under the title Bobin Hood and j Little John). | ^English Drama, II, 353-354-. Nicoll attributes |authorship to Elkanah Settle. j , 97 y (London Pairs, p. 19. Bosenfeld suggests a performance may have taken place at this time, but London 'stage does not list any entries for Bartholomew Pair during jl707. ^London Stage, 2, pp. 365, 784-, 877-878; 3, pp. 4-10, 506, 1315; .4-, pp. 7, 9. 5. The Unnatural Parents, or. The Fair Maid of the West j Publication: 1727 (?)^ i j Performances: Bartholomew Pair— August i 1727 and August 174-8; Southwark Pair— I ; September 1726, September 1735, and | September 1755; Tottenham Court Pair— ■ | August 1735. . 100 6. Wat Tyler and Jack Straw; or, The Mob Reformers Publication: 1730^^^ I Performances: Bartholomew Fair— August and September 1730; Dury Lane— 19 January- 1733 (as an afterpiece). Much can, of course, be learned about the plots and characters of the non-extant drolls from their inordinately long and discursive titles and from a comparison of this information with the parent plays, when these are still » available. Por example, the full advertisement for The 1 Northern Heroes, included in the above listing of extant 99 n London Pairs, pp. 135, 175* ^ ^London Stage, 2, pp. 878, 930; 3, PP- 503-504, 506; 4, pp. 58, 496-497. English Drama, II, 387* 1Q2London Stage, 3, pp. 74-75, 265 (advertised as Wat Tyler; or The State Menders). 55 drolls, runs as follows: i At Bridges, Cross, Burton and Vaughan's Great Theatrical Booth in the George Inn Yard, will he presented an Historical Drama never acted before : call'd The Horthern Heroes; or, The Bloody Contest ! between Charles XII, King of Sweden, and Peter the j Great, Czar of Muscovy, with the Loves of Count I Gillensternia, a Swedish General and the Pair i Elimira, a Russian Princess, Containing the most ' remarkable Events of that Time; and concluding with j the Memorable Battle of Pultowa, and Charles's Retreat into the Turkish Dominions. Interspers'd with a Comic Interlude (never perform'd before) called The Volunteers; or, the Adventures of Roderick Random and his Friend Strap. Also the I Comical Humours and Amours of Corporal Garbage • and Serjeant Slim, with Mrs. Vanspriggen the Swedish Sutler's Widow; the merry Pranks of her foolish son Janny, and several other diverting incidents.103 Even without a script or a parent play it would be possible to establish a cast of characters and a rough plot outline for this droll. What cannot be known from advertisements like the above is the manner and extent of abridgment from the parent plays nor the amount of original material inserted into the droll. For this information we must rely on the extant drolls, particularly those where the parent plays are known and available to us. It is i i especially in this respect that the seven drolls in Strolers Pacquet are so important. Although each of the j six drolls listed above have sources which can be traced | back to the sixteenth century, none has an extant parent play from which it can be said with certainty that the 103Ibid., 4, pp. 57-58. |contriver of the droll was working. Only in the case of ■ the drolls in Strolers Pacquet do we have this clearly established relationship between droll, and parent play. f ! The most significant innovation in the performances i of drolls in the eighteenth century was the involvement of some of the performers of the patent theatres in the droll 104 performances at the fairs. In the closing years of the seventeenth, century droll performing ceased to be the exclusive province of the poorer and itinerant strolling ! actors and began to attract established comedians from 105 Drury Lane and Lincoln's Inn Fields. ^ Highly skilled and reputable actors like William Penkethman, Sr. from Christopher Rich’s company at Drury Lane"*^8 and Thomas Dogget from Thomas Betterton's company at Lincoln's Inn 107 Fields began to appear at Bartholomew Fair as early as 1698 and 1699*108 Other players from the patent theatres associated with the droll performances during the i 104- j London Fairs, p. 9* 1Q8London Stage, 1, pp. 498-532. This is true, of course, only for the major fairs (Bartholomew Fair, Southwark Fair, and May Fair), the minor fairs continuing to be frequented only by the lesser actors. 106Ibid., 1, pp. 484, 501. 107Ibid., 1, p. 514. 108Ibid., 1, pp. 498, 512. 57 " eighteenth century included James Spiller, William Bulloch, Sr., Josias Miller, John Harper, John Hippisley, Tony 109 Aston, Lacy Ryan, and Thomas Chapman. That these actors Brought a kind of polish and respectability to droll per forming is attested to by the elaborate and non-apologetic tone of the advertisements and the accounts which have been preserved of specific performances. Mo records of seventeenth-century droll stages have survived,'*'22* nor would it be unusual if the eighteenth- century droll stages were equally unrecorded. Fortunately this is not the case. Rosenfeld has compiled pictorial and descriptive evidence which illustrates quite clearly both the exterior and interior of the droll booths.222 The booths were "barn-like buildings constructed of wooden 112 boards, tall and narrow in shape." Although the size 1Q9Ibid., 2-4. HOglgon pas demonstrated that the frontispiece of I Wits is not an accurate depiction of a droll per formance and that more than likely the engraver "gave his imagination free rein in devising both the figures and their setting" (Elson, pp. 424-427)* Most authorities now agree with Elson1s conclusions. 222London Fairs, pp. 150-169 and six plates reproducing drawings and engravings of: Bartholomew Fair in 1721; Southwark Fair in 1755; May Fair in 1716; A fair balcony; Richardson1s- booth at Greenwich Fair; and the Interior of a country fair booth. 112Ibid., p. 151. 58 j and refinement of the booths probably varied considerably, |great pride seems to have been taken in the degree of | ;resemblance to the patent theatres which could be achieved. i The advertisement of The Siege of Troy at Southwark Fair in August 1724 informs prospective attendees that the proprietor "has spared no Cost, but used her utmost Care, and most elaborate Industry in this Droll, . . . the Booth coming as near the Perfection of the Theatre as possible, 115 being adorned by the most ingenious Workmen." Descriptions of the booths in the advertisements must, of course, be read with caution. An advertisement in 1715 describes "the booth [as] the largest that ever was 114 built," but this apparently failed to impress Dudley Eyder who recorded in his diary that the whole affair was 115 "very mean and fit only to make us laugh. " ^ The booths were erected for the fair and dismantled when the players left, though there are occasional reports of booths 116 remaining after the closing of the fairs. It is I I apparent tliat wliereas these booths were undoubtedly more 1 1 ;substantial than the improvised stages of strolling 115 ^London Stage, 2, p. 784 114 London Fairs, P- 22. 115 ^London Stage, 2, p. 366 116 London Fairs, P- 152. 1 players, they were still far from "the Perfection of the j Theatre." j The most characteristic feature of the fair booths Jwas the parade or balcony on which the actors, dressed in |their costumes, paraded in order to attract an audience. Rosenfeld has shown that this balcony was also used in the players' booths at all of the European fairs, par- 117 ticularly those of Prance. ' All of the extant drawings and engravings of fair booth exteriors show these balconies. It is possible that some of the "humours" and "interludes" mentioned so frequently in the advertise ments may have been part of the pre-performance touting which took place on the balconies. Scenery was used, particularly in the larger booths, consistently throughout the eighteenth century. Despite the tendency of the notices to exaggerate the wonders to be seen at a particular droll booth, it is clear that complex scenes and machines were employed with increasing frequency as the century progressed. Costumes became more 118 expensive and elaborate at the bigger droll booths. In all aspects of the performances of drolls during the eighteenth century it must be kept in mind that a 117Ibid., p. 153- 118Ibid., pp. 168-169- ! great variety of entertainments existed side by side at ■the various fair booths and that they differed considerably 'in their resources. The oldest and crudest drolls were jperformed next to the newest and most elaborate. The best established comedians of the patent theatres performed their drolls beside the most.impoverished strolling players. And until their decline in the early seventeen- sixties, the drolls at the fairs continued to give pleasure to all sorts of classes of spectators. CHAPTER. Ill THE STROLERS PACQUET OPEN'D Dating It can be proven with certainty that the collection of seven drolls published as The Strolers Pacquet Open'd^ could not have been prepared earlier than February 1718, the date of the first performance of the latest parent 2 play for one of the drolls, nor after 174-2, the date on the title page of the collection. Thereafter, every attempt to narrow the span of years during which The Strolers may have come into being is attended by less and less certainty. In view of the fact that six of the seven drolls have individual title pages with a date of 174-1, the I ^London, 174-2. I 2 I Wednesday 3 February 1718, A Bold Stroke for a I Wife, "Hever Acted before" (William van Lennep, Emett L. !Avery, Arthur H. Scouten, and George Winchester Stone, | Jr., eds., The London Stage [Carbondale, Illinois, j1960-651, 2, p. 481). It can, of course, be argued I that since the copy text for The Bilker Bilk'd.; or, jA Banquet of Wiles was the 1728 edition of Christopher iBullock's Woman's Revenge: or, a Match in Newgate (London), that 1728 would be the earliest possible date for the preparation of the collection. 1 5 :exception being The Bilker Bilk'd; or, A Banquet of Wiles^ I ; which is placed first, immediately following the title J jpage of the whole collection, it can reasonably be assumed jthat all, or virtually all, of the collection came into I j being in 174-1 or earlier. It must be borne in mind that [publication at a specific time does not guarantee that the individual drolls were not prepared at some earlier date, nor is there any reason to assume that all seven drolls were prepared at the same time. More specific i i I indications of dating for the individual drolls must be j sought in the texts themselves and in the stage histories of the various parent plays. The final text for Bilker Bilk'd could not have been prepared prior to 1728, the date of the copy text of the parent play, although some version of the droll could have been written as early as 1715, the year of the first performance of the parent play. The inclusion < = , o f a quotation from Shakespeare 1s Twelfth Might^ which appears only in the droll version may have resulted from a revival of Twelfth Night in the Spring of 174-1, placing 1 5 ! Strolers Pacquet, pp. [l]-24-. All subsequent j references to this droll in this chapter are cited as I Bilker Bilk'd. See also infra, Chap. IV, n. 56. i ^London Stage, 2, p. 572. < 5 -'Tor a full discussion of this point see infra, Chap. IV, n. 68. tlie date of composition for this droll sometime between 15 January 1741 and 1742. An earlier version of this droll was certainly in existence in August 1734 when William Bullock, Sr., John Hippisley, and Master Hallam presented thirteen performances of The Imposter; or, The Biter Bit 6 as an afterpiece at a booth in Bartholomew Bair. The difference in the title and the different names given some 7 of the characters m the playbill' suggest that this was not the droll version, but the absence of the text of the 1734- version makes it impossible to be certain. g The Witchcraft of Love: or, Stratagem on Stratagem could have been abridged from its parent play, Mrs. Susanna Centlivre's The. Man's Bewitch'd; or, The Devil To Do About Her, any time after the initial performance of that play in December 1709. There are no changes in the text of the droll that indicate any more precise date. However, what must have been a shortened version of Mrs. Centlivre's q play was performed at Bartholomew and Southwark Bairs ^London Stage, 3, pp. 408-409- 7 'Balderdash, Face, Hardhead, Catgut. 8 Strolers Pacquet, pp. 25-66. All subsequent references to this droll in this chapter are cited as Witchcraft of Love. ^Performances lasting slightly less than one hour included this play and an afterpiece, The Country Wedding; or, The Roving Shepherd, to be played "from 1 to 11 P.M." (London Stage, 3, P. 726) and "10 A.M. to 11 P.M." (p. 727)• Bor a discussion of the length of performances I during late Summer 1738,^ suggest 1738 or 1739 as a | ■ i I possible date for preparation of the droll. The fact that ! no performances of The Man1s Bewitch1d had been given in ! |London during the seven years preceding this shortened | version and no performances took place afterwards prior I ! to the publication of the droll version, argues in favor of assigning a date of 1738 or 1739 to the composition of the droll. A revival of interest in a play at a certain time might very well stimulate the writing of more than i | one abridgment of that play, particularly if the abridger has an eye on what is popular with the audience. The copy text for The Braggadochio: or, His Worship the Cully,^ William Congreve's The Old Batchelor, 12 was available from 1693 on, but other evidence suggests a much later date for its preparation. The generalizing about the War of the Grand Alliance which we find in the 13 droll suggests a writer who is considerably removed m j at the fairs, see Sybil Eosenfeld, The Theatre of the I London Lairs in the 18th Century (Cambridge, I960), j pp. 39, 69 . 1QLondon Stage, 3, pp- 726-727- j ^ Strolers Pacquet, pp. 67-87- All subsequent I references to this droll in this chapter are cited as ! The Braggadochio. 12 See infra, Chap. V, n. 6. ■^See infra, Chap. V, ns. 148 and 149- |time from events which were topical in 1693- Most of the shortened versions of Congreve's play produced during the jeighteenth century can he identified with the Bondlewife- Laetitia subplot of the play and thus shed no light on [the dating of this droll which is an abridgment of a j ‘ different subplot. However, a 1727 Bartholomew Bair per- ! formance of Jane Shore is advertised as being interspersed "with the Comical Humours of Anthony Hoodie, His Man Weazle, 14 and Captain Blunderbuss." There is no way of ascertaining r the source of this comedy interlude, but the similarity of the three characters to the three principal characters in The Braggadochio is striking. Moreover, all three i actors listed in the cast of this performance were either previously or subsequently associated with Congreve's play, two of them in the same roles suggested by the title. Josias (or Joseph) Miller played Squire Noodle, the counterpart of Sir Joseph Wittol in The Old Batchelor, a role Miller had been performing at Drury Lane since 23 April 1717 and continued to perform there until 16 May 13 1738. Captain Blunderbuss, performed by John Hall, i |appears to be the same character as Captain Bluff in 'Congreve's play, a role which Hall performed at the I 14 London Stage, 2, p. 930. 13 ^See infra, Appendix B. Theatre in Lincoln's Inn Fields between 4 January 1715 16 jand 22 November 1732. John RayM the actor performing Veazel, later became associated with The Old Batchelor in 1730 at Lincoln's Inn Fields. If, as the evidence would suggest, this 1727 performance was based on Congreve's play, then the likelihood of the droll version having I been prepared sometime after 1726 or 1727 is greater. 17 The Feign'd Shipwreck, or, The Imaginary Heir ' presents the greatest difficulty in terms of establishing a date for its preparation. The parent play, Beaumont and Fletcher's The Scornful Lady, was entered into the Stationers' Register on 19 March 1616.^® It had, by 1662, served as the source of one droll version, The False Heire, and Formal Curate, included in Francis Kirkman's first 19 collection of drolls. No other abridgments or adap tations of The Scornful Lady, with the exception of Feign'd Shipwreck, appeared until 1783* Moreover, no performances at fairs or other locations that would indicate possible abridgment are recorded. The droll text sheds no light I 16ibid. 17 Strolers Pacquet, pp. 89-122. All subsequent references to this droll in this chapter are cited as Feign'd Shipwreck. 1 R Gerald Eades Bentley, The Jacobean and Caroline Stage (Oxford, 1941-1968), VII, 17* ~^The Wits, or Sport upon Sport, Part I (London, 1662), pp. 19-27- 67 I i j :on the dating because no significant changes'have been ! |introduced. The text is an almost verbatim transcript of ' 20 |the 1711 edition of the parent play, with only occasional i deletions of several speeches. This fidelity to the parent play text may indicate that the abridger had not been associated with performances of The Scornful Lady for Ja considerable period of time, suggesting a date of preparation closer to 174-1 than to 1711. This leaves a range of approximately thirty years during which the droll could have been prepared, with some possibility that it was closer to 174-1 than 1711. The Guardians Over-Reached in their Own Humour; 21 or, The hover Metamorphos'd is distinguished by being abridged from the most recent parent play, Susanna Centlivre1s A Bold Stroke for a Wife, first published in 22 1718. Several changes introduced into the text by the droll author help to restrict the range of years during which the droll could have been prepared. The reference to Jonathan Swift's Travels [ of Gulliver] into Several Remote ; 20 ! Francis Beaumont and John Fletcher, Works (London, 1711). ^ Strolers Pacquet, pp. 123-167. All subsequent j references to this droll in this chapter are cited as I The Guardians. j — ■ ................... - - 1 1 p p London. The first performance took place on 3 February 1718 (London Stage, 2, p. 4-81). I 2^5 i Nations of the World suggests 1726 as the earliest ipossible date of composition for the droll. The reference 24 to the Spanish siege of Georgia narrows the range of dates even further to between 1738 or 1739 and 1741. An t * earlier abridged version of Mrs. Centlivre's play may i j have been performed at Southwark in 1729 and again in 1731.25 The Sexes Mis-match'd; or A New Way to get a 26 Husband is abridged from Thomas Southerne1s late 27 Restoration play, Qroonoko, ' and includes a few excerpts p o from John Fletcher's Monsieur Thomas. Once again, as is the case with Feign'd Shipwreck, the text of the droll gives no clear indication as to when it was prepared. Only minor changes are made from the copy text, none of ^London, 1726. See infra. Chap. VI, n. 30. 24 See infra, Chap. VI, n. 171. 23 ^London Stage, 3, pp. 9, 139* See also Appendix C, pp. 402--403, 407. 26 Strolers Pacquet, pp. 169-202. All subsequent references to this droll in this chapter are cited as Sexes Mis-match'd. 27 London, 1696. The first performance took place , sometime in November 1695 at Drury Lane (London Stage, i 1, PP- 454-455). p O Allardyce Nicoll, A History of English Drama, 1660-1900 (Cambridge, 1965-1967), II, 385- 69 them introducing any topical allusions by which a date i lean be established. Performances of Oroonoko at Southwark on 18 February 1723,^ 18 October 1733,^ and 9 October 31 174-0, may indicate that some sort of abridgment was in 1 i 'existence at this time, although the complete play may have been performed. Performances on 10 March 1735 at York Buildings^ and 30 November 174-1 at James Street^ are equally inconclusive; but, at any rate, they indicate that the play was receiving attention in less regular places than the patent theatres between 1723 and 174-1. The last droll in Strolers Pacquet is The Litigious i 54 Suitor Defeated: or A New Trick to get a Wife. Its parent play is Christopher Bullock's comedy, Woman is a Riddle, first produced at Lincoln's Inn Fields on 35 4 - December 1716.^ -The droll author's copy text appears ^London Stage, 2, p. 711. 5°Ibid., 3, p. 327. 31Ibid., p. 853- : ^Ibid. , p. 467. I ! 55Ibid., p. 946. I 54 Strolers Pacquet, pp. 203-226. All subsequent references to this droll in this chapter are cited as Litigious Suitor. ^London Stage, 2, p. 424. !to have been the second edition of Bullock's play, ; 55 published in London in 1732. Neither the droll text | ,nor the stage history of the parent play helps to reduce l 'the range of dates within which the droll might have been prepared. Unlike many of the other parent plays of drolls in Strolers Pacquet, Woman is a Riddle was neither widely nor often performed between 1716 and 174-2. .It was ex clusively in the repertory of Lincoln's Inn fields until 1727, performed four times between October and December I 1731 at Odell's Theatre in Goodman's fields, and revived for seven performances between March and November 1735 at the New Theatre in Goodman's fields. The last per formance prior to 174-5 took place at Lincoln's Inn fields 37 on 9 february 1737 and may represent a revival of interest in the play at that time. As none of these performances give any indication of adaptation or abridging, the range of years during which the droll might have been prepared remains between 1732 and 174-1. In summary, two factors of dating can be established! i :first, the collection of seven drolls in Strolers Pacquet ^ could not have been put together in its present form prior I 1 to 1738, the earliest possible date for the composition , I ' ^6 ! v The first edition was also published in London |in 1717. 37 London Stage, 3, p. 637- 71 of The Guardians, nor later than 174-1* the date on six of the seven title pages. Second, the ranges of probable composition for each of the drolls can be established as follows: Bilker Bilk'd, 1734—174-1; Witchcraft of Love, ! _ ,'1738-174-1; The Braggadochio, 1727-1741; Feign'd Shipwreck, I 11711-1741; The Guardians, 1738-1741; Sexes Mis-match'd, i :1723-1741; and Litigious Suitor. 1732-1741. In seeking to establish the identity of the compiler of Strolers Pacquet and the abridger of the seven drolls, these dates serve as a point of reference and will help to limit the number of possibilities. Authorship Ueither the title page of Strolers Pacquet nor any other source reveals any information about the individual or individuals responsible for abridging the separate drolls from their several parent plays and bringing them i together in this collection. No attempt has heretofore been made by any scholar to associate any names with this I !collection of drolls. Apart from a natural historical I :curiosity and a desire to credit the proper person for a !particular literary achievement, determining the identity j ! jof the compiler of this collection has a much more practical |value. The question of the purpose for which'this volume i j of drolls was prepared— performing or reading— may be I j further clarified if we know who was responsible for its ;preparation. Due to the absence of direct information about the identity of the compiler and the unlikelihood of any new bibliographical evidence being discovered, it was deter- ' mined that indirect means would have to be followed in 1 38 ! this study. Certain specific criteria were established for the purpose of narrowing down the number of possible individuals. These criteria are as follows: 1. The person must have been living at the time I that the seven drolls were compiled into one collection. This time period has been established above as being between 1738 and 174-1. 2. The person must have been living at the times during which each of the drolls was probably abridged from its respective parent play. These time periods, also set forth above, range from 1711-174-1 for Deign'd Shipwreck to 1738-174-1 for Witchcraft of Love and The Guardians. 3- The person must have been directly involved in the theatre of the eighteenth century. As will be seen I in the discussion of the various abridgments and in the notes to the three drolls included in this study, many of the changes incorporated into the droll texts reveal an understanding of theatrical production techniques and i problems which would be possessed only by an individual ^See surra. Chap. I, pp. 5-6. ; 73 i ! 'who liad himself heen involved in the theatre, either as |an actor or actress, a manager, or in some other capacity. I i :The only name appearing in connection with Strolers Pacquet I • is that of the publisher on the title page of the whole i |collection and on each of the six individual title pages : of drolls two through seven, "Printed and Sold by A. 59 Jackson in Clare Court, Drury Lane. y The name of A. Jackson does not appear anywhere in the records of the eighteenth-century theatre, nor does he appear to have been associated with the publication and sale of plays, as was the case with Francis Kirkman, editor of I Wits and • 40 II Wits. 4. The person must have been in some way connected with the performances of each of the parent plays of the seven drolls. Given the fact that there were literally hundreds of plays available from which drolls could have been abridged, it only stands to reason that a person would select those with which he had some'familiarity or I |experience. Furthermore, because these drolls are clearly .designed for a popular audience, some experience with the 'effectiveness of the material with an audience can be i |presumed on the part of the abridger. 59 v^Strolers Pacquet, title page. ^The Wits, or. Sport upon Sport (London, 1675)* | 5- Ideally the person should have been directly [involved with the theatre of the London fairs. The title page of Strolers Pacquet identifies the "seven Jovial Drolls or Farces" as being "calculated for the Meridian |of Bartholomew and Southwark Fairs." Although this state ment does not necessarily connect the compiler to the London fairs, the drolls themselves are very much in line with the types of entertainments offered at the fairs. Someone who was not actively involved in the presentation of fair performances could have been sufficiently familiar with the droll form to have prepared this collection, but it would have been less likely that such a person would have done so. 6. The person in all probability ceased his active participation in the London theatre at about the time that the drolls were published. If such was the case, I (this would help account for the absence of any stage (history for any of the drolls in Strolers Pacquet in i [light of their apparent intended use at the London fairs. I !If the drolls represent the selection of an individual who t !intended to use them in performance, then the absence of t |performance records would indicate that the responsible |individual ceased to be active in theatre. Certainly the i scarcity of extant copies of Strolers Pacquet argues against the notion that the collection was readily avail able to anyone who might have been performing at the fairs. I 75 1 i I ; Although these criteria will not result in as : I positive identification as would the name of the compiler ;on the title page, they should, when carefully applied to i i jail possible cases, give us some clues to the identity of I |the compiler. j Over two hundred and fifty names of actors and j actresses were associated with performances of the seven hi parent plays between 1700 and 174-2. Allowing for performers who may have been in a cast for which playbills and newspaper advertisements are now missing, the total number of individuals associated at one time or another with the seven parent plays probably numbers around three hundred. Approximately thirty-five of the two hundred and fifty known actors and actresses had died prior to 1738, leaving about two hundred and fifteen names. It is at the point when the fourth criterion, some connection with the performances of each of the parent plays, is j applied that' the list of possible contenders is radically I reduced to one individual, William Bullock, Sr. ! | In order to take into account the possibility that j due to missing performance records the involvement of an !actor with a particular parent play may have been un- 1 j recorded, actors who can be associated with any six of the 1 I ^All information on performances was taken from London Stage, 1-4-. parent plays must also be considered. These include William Bullock, Jr., whose death in 1733 eliminates him from further consideration, William Penkethman, Jr., and William Giffard. A brief review of the career of each of the three possible compilers and an examination of the ■ evidence bearing on each will make it possible to suggest which of these actors was most probably the abridger of the seven drolls and the compiler of the collection. William Bullock, Sr. was probably born in 1667, a playbill dated 6 January 1739 listing "his great Age, 42 upwards of Threescore and Twelve." Nothing is known of Bullock, Sr. until 15 April 1695 when he signed Articles of Agreement with Sir Thomas Skipwith to act only with Christopher Rich's company at Drury Lane Theatre for a 43 weekly salary of twenty shillings. Bullock, Sr. con tinued to play in the Drury Lane company until 18 December 1714, with only two brief periods at the Queen's Theatre in the Haymarket from the beginning of the 1706-1707 season until 10 January 1708 and during the 1709-1710 season. During these nineteen and one-half years he became one of the principal, comic actors in the London theatre. He played comic roles in three of the seven 42 London Stage, 3, p. 752. D.N.B., presumably cal culating his age from the same information, incorrectly gives the year of his birth as 1657(?)* ^ English Drama, I, 384; London Stage, 1, p. cii. parent plays during this period: Sir Joseph in The Old Batchelor from 15 March 1708 until 28 May 1714; Morecraft in The Scornful Lady from 27 March 1708 until 9 November 1 |1714; and Roger in The Man's Bewitch'd from 12 through 1 15 December 1709. 1 During the next eighteen years of Bullock's career, he was exclusively associated with the company at Lincoln's Inn Fields theatre. Upon the. opening of this theatre under the management of John Rich on 18 December 1714, Bullock joined the group of actors who migrated from Drury Lane. From the very Beginning, and throughout his eighteen years at Lincoln's Inn Fields, he enjoyed the status of being one of the principal comic actors in the company. In addition to continuing to play the role of Sir Joseph (The Old Batchelor) from 4 January 1715 through 24 Septem ber 1729, roles in three additional parent plays were assigned to him: Thinkwell in Woman's Revenge: or, a Match in Newgate from 24 October 1715 until 23 October 1730; Vulture in Woman is a Riddle from 4 December 1716 iuntil 10 April 1727; and Tradelove in A Bold Stroke for I ia Wife from 3 February 1718 until 16 July 1728. 1 | The career of Bullock, Sr. during the last eight I to ten years of his life is not as clearly documented. i jDuring the 1732-1733 season he moved from Lincoln's Inn Fields to Covent Garden along with the rest of the company. He played at Covent Garden throughout the next j season (1733-1734-) said then did not reappear in a Covent 'Garden cast until a special benefit on 6 January 1739- j iThe playbill notes that he had "not appeared upon the i ■Stage these Six Years," and after explaining his great I [age, pleads "his Excuse, that he cannot pay his Duty to i |his Acquaintances and Eriends, whose Good Nature may ! engage them to assist him in this Decline of Life, in order to make the Remainder of his Days easy and com- )\ t\ fortable to him." The last record of him at Covent Garden is on 25 April 1739 when he played the role of 4-5 Host in The Merry Wives of Windsor. ^ Bullock, Sr. leaves his last mark on the eighteenth- century theatrical record in a newspaper advertisement for The Escapes of Harlequin by Sea and Land; or, Colom- bine Made Happy At Last, to be performed at Bartholomew Eair on 23 August 1739 "at Bullock's Booth, the largest 4-6 in the Eair." He is listed as playing the role of I Judge Ballance. The Dictionary of National Biography J gives the date of his death as 174-0(7) and Charles Beecher 1 4-7 j Hogan lists it as 174-2, ( neither citing any documentation i i------------------- j j ^London Stage, 3, p. 752. ^Ibid. , p. 770. 46Ibid., p. 781. i ^Shakespeare in the Theatre: 1701-1800, Vol. I (Oxford, l952), p. 4-71- i 79 I i ! : ) ifor it. : William Bullock, Sr. operated droll booths at the |various London fairs over a period of thirty-eight years, i !in some cases in partnership with other actors or i iactresses and in some cases alone. The first record of i I jhis involvement with fair entertainments dates from 1702 i when he operated a booth at May Bair jointly with John IlQ Mills. The following year Eullock made his first appearance at Bartholomew Bair in a joint venture with 4-9 William Penkethman, Sr. and Thomas Simpson, the acrobat. Most of the fair advertisements between 1704- and 1719 are missing, which probably explains why Bullock, Sr. does not reappear until 1715 when he is mentioned as having a booth in partnership with William Penkethman, Sr. at 50 Southwark Bair. Bullock, Sr. operated booths each year from 1718 through 1724-, with the exception of 1721, either at Bartholomew Bair or Southwark Bair or both. Brom 1728 through 173^ he appears as a booth proprietor at Bartholomew Bair every August. His last recorded I I attempt at the fairs is the booth in 1739 at Bartholomew 1 !Bair mentioned above. > I I Bairs, p. 110. 4-9 London Stage, 2, p. 4-1. 5°Ibid., p. 366. ^^London ! I ; The two other possible compilers of Strolers | Pacquet, William Giffard and William Penkethman, Jr. , had i | very similar professional careers. William Giffard was I I born ca. 1712^ and made his first appearance as a London i I actor during the 1729-1730 season at Odell's Theatre in I Goodman's Fields. William Penkethman, Jr., whose date of 7 7 i I birth is unknown, made his first appearance as an actor in the Lincoln's Inn Fields company during the 1728-1729 season and moved- to Goodman's Fields on 15 November of | the following season. Giffard continued to perform principally at Goodman's Fields through 1742 with short intermittent engagements at Lincoln's Inn Fields and the Little Theatre in the Haymarket. Penkethman, Jr. also played principally at Goodman's Fields through 1736 and then played for short periods at Lincoln's Inn Fields, 52 Covent Garden, and Drury Lane until his death in 1740. It was during their tenure at the Theatre in Goodman's Fields that both actors performed most of their roles in the parent plays. Giffard's roles were as follows: Prisoner in Woman's Revenge: or, a Match in j I j I Newgate on 5 January 1730; Manage in The Man's Bewitch'd ;from 28 April 1730 until 27 April 1731; Heartwell in The , ' i Hogan, p. 476. ^Ibid. , p. 486. I Old Batchelor from 17 November 1729 until 11 February I 11736; Bellmour in the same play between 5 January and ! 10 May 174-2; Simon Pure in A Bold Stroke for a Wife from I 115 November 1729 until 23 November 1732; Governor in i 1Oroonoko from 21 March 1730 until 18 November 1735; l -------------------------------- ! Blanford in the same play from 23 October 174-1 until J16 February 174-2; and Manly in Woman is a Riddle from 18 October 1731 until 7 November 1735* Giffard also per formed the roles of Bellmour, Governor, and Manly for brief engagements at Lincoln's Inn Fields and played the role of Prim in A Bold Stroke for A Wife for one per formance at this same theatre. Penkethman, Jr. played the following roles in the parent plays at Goodman's Fields: Mixum in Woman1 s Revenge or, a Match in Newgate on 5 January 1730; Sir David Watchum in The Man's Bewitch'd from 28 April 1730 until 22 July of the same year; Fondlewife in The Old Batchelor from 17 November 1729 until 11 February 1736; Bluff in |the same play for one performance on 19 December 1729; !Obadiah in A Bold Stroke for a Wife from 16 June 1730 i ‘until 11 March 1735; Sackbut in the same play from 27 |March through 1 October 1733; Daniel in Oroonoko from 23 lJanuary 1733 until 18 November 1735; and. Aspin in Woman is i i a Riddle from 10 March 1735 until 7 November of the same I year. Penkethman, Jr. also played several of these roles at various times at Lincoln's Inn Fields, Drury Lane, and 82 i ! i i ;Covent Garden. j Neither Giffard nor Penkethman, Jr. were active at the London fairs. Giffard's only appearance at the fairs I jwas in 1730. He was listed as an actor in a company per- !forming at Tottenham Court Pair at the beginning of | 55 August and at the end of August he and Penkethman, Jr. 5Zl operated a booth at Bartholomew Bair. Giffard's name was never again associated with any of the London fairs. Penkethman, Jr. followed the joint venture with Giffard with a booth at Southwark Pair during the first days of 55 September. ^ Although he occasionally appeared as an actor at the fairs during the 1730's, his only other attempt at setting up a booth was in 1738 at Bartholomew Bair.^8 Penkethman, Jr. died in 17A0^ and William Giffard died in 1807- All three of the possible compilers of Strolers Pacquet played roles in six of the seven parent plays. 55 -^London Stage, 3, P. 73. 54Ibid. , pp. 7-4—75. -^Ibid., P- 75- 56Ibid., p. 726. 57 Hogan, p. 486. 58Ibid., p. 476. ! 83 I j f ■ It remains to be examined what, if any, connection each j i I 1 of them may have had with the remaining parent play. : William Bullock, Sr. never appeared in any cast list of IOroonoko. If he ever played a role in this play, it was | a very minor, non-speaking role; however, there is no J doubt about his familiarity with this play in production. Prom the time of the play's initial performance during the 1695-1898 season at Drury Lane until Bullock's last full season at Covent Garden •(1733-17349, a total of thirty-seven theatrical seasons, the play was performed by a company of which he was a member in every season but 59 two. Thus, in spite of his probably not having acted in this play, a thorough knowledge of the play and its theatrical possibilities were surely gained from thirty- five seasons of association with it. Neither William Giffard nor William Penkethman, Jr. are recorded in any extant cast list of The Scornful Lady. This play was in performance for thirty-one seasons during the eighteenth century, at Drury Lane for all but |six of these seasons. Neither Giffard nor Penkethman, Jr. !ever played at any theatre in a season during which The jScornful Lady was being performed at that theatre. There i J is no possibility that they performed in the play and any 591718-1719 at Drury Lane and 1728-1729 at Drury Lane and the Little Theatre in the Haymarket. 84 I ! j knowledge of the play which they might have had probably | was confined to a reading knowledge. This assumption is j j substantiated by the fact that both Giffard and Penketh- i j man, Jr. can be shown to have been performing at another i j theatre on each of the thirteen nights that The Scornful jLady was*performed after 1727- Thus, not only were they i never connected with any performance of the play, but also, in all likelihood, they never even saw a performance of it. Summarizing the evidence, we have one actor, William Bullock, Sr., connected with all seven parent plays, in six of them as a performer of one of the roles. Two actors, William Giffard and William Penkethman, Jr., performed roles in six of the seven parent plays, but were definitely never associated with the seventh play. Bullock, Sr. was an active booth proprietor at the London fairs for a period covering thirty-eight years. Giffard's connection with the fairs was limited to one year and Penkethman, Jr. owned a booth on only one other occasion. Bullock, Sr., apparently destitute, made his last appear- i ance as a booth proprietor at Bartholomew Pair in 1739, | no longer a member of any London company, and then is i heard from no more. Giffard continued actively in the ! I 60 i London theatre through the 1760-1761 season. .Penketh- i I | man, Jr. was a member of the Drury Lane company during 1 I ^London Stage, 4, p. 809- his last season as an actor (1739-174-0) and died , some time during 174-0. Considering the criteria by which the compiler and abridger of the drolls in Strolers Pacquet could ;be identified, and considering' all of the possible | individuals meeting some of the specific criteria, i i it can be concluded that William Bullock, Sr. was probably responsible for abridging the drolls and compiling the collection entitled The Strolers Pacquet Open1d. Parent Plays The seven drolls in Strolers Pacquet are de rived from a variety of parent plays spanning over a hundred years of English theatre. The type of material abridged from these parent plays extends from one small subplot to the entire play, requiring casts as small as four and as large as eighteen. Some of the material excised from the parent plays is copied almost verbatim, |while in other instances considerable revision is in I evidence. * The parent plays fall into three almost equally |distributed categories: Pre-Commonwealth, two plays; Restoration, two plays; and eighteenth century,three ! 61 67 ; plays. Bilker Bilk1d and Feign'd Shipwreck are de- J 1 rived from Pre-Commonwealth plays, the earliest dating j t Q"Z I from 1605. The parent plays of The Braggadochio and 64 Sexes His-match'd are late Restoration plays. Witchcraft 65 66 67 i of Love, v The Guardians, and Litigious Suitor 1 all 1 — — — ~~T — — — I — I' i I have their parentage in the eighteenth century, the first ' two written by the same author, Mrs. Centlivre, and the J last representing a second involvement with the collection S of Christopher Bullock. This diversity of sources is not i only a reflection of the broad range of plays which were ! j performed in the London Theatres during the first half of the eighteenth century, but also the eclectic nature of the popular entertainments at the fairs. 61 The parent play of Bilker Bilk'd is technically Christopher Bullock's A Woman's Revenge; or, A Match in ; Ifewgate (1715)? but as the material abridged for the droll | is derived wholly from John Marston's The Dutch Courtezan ; (1605)? it is more appropriate to consider the parent play of this droll as a Pre-Commonwealth play. 62 Francis Beaumont and John Fletcher's The Scornful Lady (1616). 1 j ^William Congreve's The Old Batchelor (1693). ! ^Thomas Southerne's Oroonoko (1695)* ! ; f 6 5 ! i Susanna Centlivre's The Man's Bewitch'd: or, The i .Devil To Do About Her (1709). ^Susanna Centlivre's A Bold Stroke for a Wife (1718). ^Christopher Bullock's Woman is a Riddle (1716). 87 The one quality that all seven parent plays have in 68 common is that they are comedies. Furthermore, they 69 were all successful plays in their own time, y and, m 70 some cases, ’ well beyond their time. The structure of ithe parent plays are of two distinct types. All of the plays except the two by Mrs. Centlivre tend toward a loosely knit construction, with one or more subplots only partially integrated into the main action of the play. This loose structure makes the play ideally suited for being a parent play of a droll, as the process of excising a subplot in a more or less coherent form is made easier. The second type of structure is exemplified by. Mrs. Cent livre' s plays. Both of her plays have only one main action, which, although subdivided into a number of episodes, cannot be substantially altered or broken apart. The two drolls derived from Mrs. Centlivre's plays are 68 Qroonoko might be considered an exception to thxs, except that the subplot which has been abridged in Sexes 1 Mis-match'd is the comic subplot of the play. ' 69 | It is impossible to document the stage history of I Pre-Commonwealth plays in the same detail as can be done , for Restoration and eighteenth-century ones, and the suc- j cess of a play cannot be proven by the number of recorded jperformances; however, the fact that The Dutch Courtezan | and The Scornful Lady were both parent plays of drolls in I I Wits indicates a considerable measure of popularity i during the first half of the seventeenth century. 70 ' The two Restoration plays, The Old Batchelor and Qroonoko were among the most frequently performed plays j (except for the plays of Shakespeare) throughout the Lfirst half__of-the eighteenth, c e n t u r y . .. _____________ ! 88 71 the longest, most complex, and have the greatest number | of characters and scenes of any drolls in Strolers Pacquet. i ! Drolls Annotated. i i I The limitations of this study and the length of all ! I seven drolls in Strolers Pacquet made it necessary to select only three of them for annotation. It was deter mined that in order for any of the conclusions which might be drawn from the intensive study of only three of the seven drolls to have validity, the most representative examples, those which would exemplify as many different facets of the collection as possible, would have to be chosen. Each of the three periods of origin of the parent plays is represented in the annotated drolls. The earliest play, Marston's The Dutch Courtezan, not only represents the Pre-Commonwealth drama, but, through an involved series of adaptations and abridgments, mates it possible jto include an example of Christopher Bullock's contri- .bution to the collection, as well as one of the two i i !examples of a droll which had previously appeared in a ;different form in another droll collection. The latest I Iplay, Susanna Centlivre1s A Bold Stroke for a Wife, is an 71 ( They are, in fact, divided into two acts, with each act divided into several scenes. r 89 ! i i example of the eighteenth-century parent play and one of ! I I the two plays hy this author represented in the collection. ; The two drolls abridged from Mrs. Centlivre's plays make ‘up almost forty per cent of the collection. Congreve's l j j The Old Batchelor is the better example of Restoration | i |comedy and, although written and produced late in the |period,.reflects the characteristic tone and spirit of |the Restoration to a much greater degree than does Southerne's play. Other considerations affecting the selection of the 72 three drolls were as follows: the length of the droll;' 73 [the manner of abridgment from the parent play; the number of characters, scenes, and overall production 74 complexities; . the number of other adaptations of the i 7? j ' Longest— The Guardians (45 pages); shortest— The IBraggadochio (21 pages); although Bilker Bilk1d is only 26 pages in length, other factors argued for its inclusion rather than a droll representing a more average length iof 30 to 35 pages. ) i 75 I 'uiost radical alteration of the parent play text— ;The Guardians (whole play abridged, many changes in |speeches and wording); closest fidelity to the copy text— I The Braggadochio (almost exact transcript of one single I subplot from the parent play, few instances of rewriting); !moderate adaptation— Bilker Bilk'd (abridgment of the ;major subplot of the parent play, moderate adaptation and j rearrangement of speeches). | 74 J ' Largest cast, most scenes, and most complex— The 1 Guardians (eighteen characters, eight scenes in two acts, five different sets and stage machinery required); smallest cast, fewest scenes, and least complex— The I 75 ! parent play; and the overall popularity of the parent 1 V6 jplay during the first half of the eighteenth century. J In each case an attempt was made to choose the droll I I representing each extreme and the one characterizing the i I median. The three drolls selected for annotations are, las far as possible, representative of the entire col- i lection. Performance of the Drolls One of the central questions surrounding Strolers Pacquet is that of performance. In view of the fact that none of these drolls is recorded in the performance records of the eighteenth century, the question naturally arises whether they were prepared with the intention of performing Braggadochio (three to four characters, one scene, one platform set and no complex staging requirements); median complexity— Bilker Bilk'd (six to tep characters, seven scenes in two sets and one forestage street scene, moderate staging requirements). ntz '"most adaptations— Bilker Bilk'd (approximately i thirty related titles); fewest adaptations— The ' Braggadochio (no related titles identified); moderate ! adaptations— The Guardians (several eighteenth-and [ nineteenth-century adaptations). i I 75 j Greatest popularity— The Old Batchelor, parent , play of The Braggadochio; the parent plays of Bilker I Bilk1d and The Guardians both fall into the category of ,moderate popularity. The Scornful Lady, parent play of i Peign'd Shipwreck, had the fewest number of performances during the first half of the eighteenth century, but other considerations made the inclusion of Bilker Bilk'd and The Guardians preferable. them, and, if so, why they were apparently never performed. The answer to the question of intent is contained in the texts of the individual drolls. It is clear that the three drolls included in this study were prepared by the droll author for the purpose of performing them, probably at one of the London fairs. That this is also the case with the remaining four drolls can, at this point, only be assumed on the strength of the representativeness of the three drolls examined in detail. It is probable that what is true of these three drolls is true of the entire collection, but confirmation of this probability must await a detailed analysis of the remaining drolls. The evidence for intent of performance is cited and discussed in detail in the notes to Chapters IY through VI. It includes instances of eliminating scene changes,^ eliminating characters,^® and introducing 70 topical references familiar to London audiences. ( It is evident in the numerous instances of simplification introduced into the drolls, simplification which is only ^The Guardians, Chap. VI, n. 57* ^®The Braggadochio, Chap. V, n. 218. ^Bilker Bilk'd, Chap. IV, n. 116; The Guardians, Chap. VI, n. 50. 1 necessary if the droll is to be performed.^ The stage jhistories of the parent plays and related plays only J confirm the evidence that these were popular theatrical I . . . .... ipieces containing many production possibilities. I It is unfortunate that William Bullock, Sr. did : not remain active at the London fairs long enough to bring his drolls to life on a fair booth stage. It is equally unfortunate that The Strolers Pacquet Open'd did not come into the hands of some other booth proprietor in the waning years of the London fairs. The labor expended on these drolls certainly deserved, repayment in the form of the pleasure they would have given to an audience. 80 See, for example, The Guardians, Chap. VI, n. 59- CHAPTER IV THE BILKER BILK'D; OR, A BANQUET OP WILES | Of all of the drolls in The Strolers Pacquet I Open* d1 there is none that has a parentage that is as complex and multifaceted as The Bilker Bilk'd; or, A 2 Banquet of Wiles. No droll in the collection appears in the records of the eighteenth-century English-speaking stage in as many variations and adaptations. Thus, it may he said that this droll epitomizes some of the most characteristic qualities of the droll theatre: diverse and multiple sources; frequent adaptation; and a long life in the popular theatrical tradition.. ^London, 174-2. 2 Ibid., pp. [l]-24. All subsequent references to I this droll in this chapter are cited as Bilker Bilk'd. | Leo Hughes and Arthur H. Scouten have discussed various I aspects of the sources and stage histories of this tale i in their article "Some Theatrical Adaptations of a j Picaresque Tale," University of Texas Studies in English j[XXV] (1945-1946), pp. 98-114. Most of this material | was repeated in the introduction of their reprint of I The Bilker Bilk'd in Ten English Earces (Austin, Texas, I 1948), pp. 205-208. Leo Hughes followed this with a I discussion of a related variant of the play in "Trick I Upon Trick; or, Methodism Displayed," University of Texas Studies in English, XXXIX (1950), pp. 151-161. 94- ; Sources ; The parent play and immediate source of The Bilker !Bilk1d is the second edition of Christopher Bullock's i [Woman's Revenge: or, a Match in Newgate, published in I 3 ;1728. There does not appear to be any evidence of any other printed sources having been used by the droll author. The source of Bullock's play was The- Revenge: or, 4 - a Match in Newgate, a Restoration adaptation of an earlier 5 play by John Marston entitled The Dutch Courtezan.^ Marston's play also served as the parent play for one of London. All subsequent references to this edition of this play in this chapter will be cited as Ap. The first edition of Bullock's play was published in London in 1715 as A Woman's Revenge: or, A Match in Hewgate. All subsequent references to this edition of this play in this chapter will be cited as A-^. IL London, 1680. All subsequent references to this play in this chapter will be cited as D. The author- I ship of this play has been attributed to Aphra Behn j(Allardyce Nicoll, A History of English Drama, 1660-1900 , [ Cambridge, 1965-1967'] > I, p. 391) and Thomas Betterton 1(William van Lennep, Emmett L. Avery, Arthur H. Scouten, I and George Winchester Stone, Jr., eds., The London Stage ' ! [ Carbondale, Illinois, 1960-1965J, Part I, p. 287) • I The Huntington Library lists the play under Betterton, jbut it is impossible to determine with certainty which i of these authors was responsible for the adaptation. I I 3 i ^London, 1605. All subsequent references to this play in this chapter will be cited as B. : g 7 i the drolls in II Wits entitled The Cheater Cheated. ' i i ........................................................ ■ ' ..................... ..................... ..................... ■ ■ ■ 1 The Bilker Bilk'd is actually a series of more or I i less connected episodes, each of which can he ultimately ! traced to a separate source. In order to facilitate the | identification of the origins of these different plot I ' strands which finally come together to make up the droll, j it is necessary to enumerate the individual incidents. | These are as follows: j 1. Vizard steals serving dishes from Mixum and i | pays him with a forged hill. 2. Vizard shaves Mixum and steals a hag of 9 money from him.' 2A. Vizard tells story of white fox while shaving Mixum.^ i 1 t 6 Francis Kirkman, ed., The Wits, or Sport upon Sport (London, 1673)* 7 I Ihid., pp. 40-56. All subsequent references to . this play in this chapter will he cited as C. It | should he noted that there is no evidence to link ! the two droll versions in any way. It is nevertheless i noteworthy, and indicative of the enduring popularity j of the characters and episodes of this story, that ! two droll versions were made. t ■ 8 Strolers Pacquet, pp. [l]-3* i i ^Ihid., pp. 5-12. j 10Ihid., pp. 6-9* 96 I 2B. Vizard tells of travels in t r Popisli Countries" while shaving Mixum.^ 3. Vizard brings salmon to Mrs. Mixum and steals 12 punch-bowl. 13 4. Vizard tricks Mrs. Mixum out of the salmon. 3. Vizard steals cloak from the Pidler, which is then grabbed by Mixum, who is in turn 14 arrested. 6. Vizard, disguised as a parson, visits Mixum in prison. Vizard is un-masked and forgiven.^ The sources for each of these separate plot incidents will be traced individually. The earliest occurrence of the first plot incident 16 in approximately the same form is in The hutch Courtezan, although the payment with a forged bill is not included in this version. The Cheater Cheated copies this first ■j rp -j o version exactly ' and The Revenge; or, a Match in Newgate ■^Ibid. , pp. 9-11. 1 2 Ibid., pp. 13-16. 15Ibid., pp. 16-18 14 Ibid., pp* 18-19* ■^Ibid. , pp* 4 C M 1 0 C M 1SB., I, i. 17C., pp 1 0 4 • • 1 —1 1 18d., I, i. I 97 | ! | repeats the incident, hut still without the payment with 1 ' a forged hill. Woman's Revenge: or, a Match in Newgate I ]_Q ' includes the whole incident ^ in approximately the same i | form m which it appears m the droll. I have heen unahle i i | to find a specific source for the forged hill trick, I though Marco Cademosto uses a similar trick in a tale | published in 1544- and a second variation hy Piccolo t 20 ; Granucci is recorded in 1579- Bullock's familiarity | with either of these sources can he only conjectured, i | The second incident, the shaving trick, appears to have heen used for the first time in England by Richard 21 Edwards m Damon and Pithias in 1571 aud subsequently hy 22 George Whetstone in Promos and Cassandra in 1578. 25 Marston ^ revised the incident into approximately the form ■^2 ’ ’ ’ 20 D. P. Rotunda, Motif-Index of the Italian Novella in Prose (Bloomington, Indiana, l94£), p. 89- I 21 London, sigs, f, iii through g, ii. In this ' earliest version Mixum is called Grimme, the Colyer, and jVizard's function is carried out by two lackies, Will j : and Jacke. Instead of blinding Grimme with soap, the j i two cheats get him drunk on -wine before shaving him 1 and then steal his money. ! 22 ■ | London, sigs, f, ii through f, iv. In this version | Mixum is named Grymball and Vizard's function is fulfilled | hy two cheats, Rowke and Rosko. One shaves Grymball while the other cuts his purse. 25 B. , II, i and iii. 'in which it is repeated in C. , D. , A^. , and Bilker i d. ' Bilk'd.24 i j The story of the white fox appears to have no ' 25 |theatrical precedent Before Bullock. Even so, this t jmotif seems to have been a part of European folklore for a considerable time and have become widely diffused. i 26 'Through Das M£rchen vom dankbaren Toten it is recorded as a rescue tale among the Pasamaquoddy and Shuswap 27 Indians of North America. Bullock has, of course, jembellished the tale liberally from his own imagination. | Each of the shaving incidents contains some type [of diversion. As noted above, in Edwards' version the 28 victim is made drunk on wine and Whetstone uses one cheat to distract the victim while the other one robs 29 him. B. and C., although not including the story of oix j C* , pp. 43-4-8; D. , II, [iii]; , II [i-ii]. ! 25a2., ii, [iii. i t i 26 ✓ I Johannes Bolte and Georg Polivka, Anmerkungen zu 'den Kinder - U. Hausm&rchen der Brtider Grimm (.Leipzig, >1918), III, p. 494. 27 'Stith Thompson, "European Tales .Among the North lAmerican Indians: A Study in the Migration of Polk-Tales, ! Colorado College Publication, Language Series, II, 34 |(April-May, 1919), pp* 405-406. "The boy reaches the (mainland [after being marooned on an island] by swimming jand holding to the tail of the helpful fox" (p. 405). >"The fox tows the hero to land" (p. 406). 22Supra, n. 21. _______22Supra, n. 22.,. . _ __. j ~ ~~ 99 ' !the white fox, do have their equivalent of Vizard tell i I some fantastic tales to the victim in order to distract ! him. D. introduces the notion of "P’ opish" subjects I > 31 jinto the tales, and introduces the device of travels I in "Popish Countries" in the form in which it is repeated i in Bilker Bilk'd.^ I ---------------------------------------------------- t The third major incident in the droll, Vizard's sham gift of a salmon to Mrs. Mixum and his theft of the punch bowl, has its literary origin in Masuccio Salerni- 33 tano's II Novellino. This version served as the source 54 for William Painter's The Palace of Pleasure which in 30B., II, iii; C., p p . 45-47. ^D., II, [ iii] . ^ ^ 2* , II, [ ii] • ^(Milan, 1483)., Part II, Novel XVII, sigs, f, 5 ithrough f, 6. In this version two Roman rogues, Liello I de Cecco and Andreuccio di Vallemontone, cheat a Doctor [of Laws of Bologna, Messer Ploriano de Castel San Piero. ! ^(London, 1566), LX, foil. 339 through 341 |(erroneously numbered 345). Painter's source was [actually a French translation of Masuccio's work, Comptes |du Monde. A manuscript play, Cuck-Queanes and Cuckolds jErrants; or, The Bearing Down the Inne, by William Percy, :dated c. 1590 (published in London in 1824), uses the [incident found in Painter (II, i-vi; III, v-viii), but I there is no evidence to support the argument that Marston [may have known of this first dramatic version of this 'incident. 100 I 3 5 ' 'turn was Marston's source for B. ^ The incident is | 1 repeated without any significant variations in C., D. , j iA2-, and Bilker Bilk1d.38 j , The additional twist of having Vizard add insult 'to injury hy tricking Mrs. Mixum out of the salmon appears I 37 !to he original with Marston. ' One measure of its i !effectiveness is its retention in every subsequent version jof the story.38 i The cloak-stealing and arrest sequence can he 39 |traced to Ben Jonson's Every Man in His Humour. ^ Marston i [treats the incident slightly differently, having Mixum I steal Vizard's cloak and Vizard in turn calling the 40 Constable to arrest Mixum. This is the version in 41 which it is repeated in C. and D. Bullock is the 33B. , III, ii-iv. 36C., pp. 48-50; D., III, [ii-iii]; A2., II, I [iii, v]. j 37B. , III, iv. | 38C., pp. 50-52; D., III, [iii]; Ag. , II, [v]. ! ! 3<3(London, 1601), IV, vii, xi; V, iii, v. See also ] .James L. Jackson, "Sources of the Subplot of Marston's J ;The Dutch Courtezan," Philological Quarterly, XXXI, ' ;2 (April, 1952), p. 224. < 1 ^B. , IV, vi-vii. I 41C., pp. 52-54; D., IV, iv. 101 I ! first author to introduce the Pidler, and tlius cause ; z j _ 2 I Mixum to be falsely arrested. Some measure of the general popularity of this type of humour can be seen by 45 Bocaccio's use of a similar incident in The Decameron. I I The final incident in Newgate prison is the creation 44 of Marston. In this earliest version, also repeated in j C., ^ Vizard is disguised as an officer of the law. D. changes his disguise to that of a Parson, this being J the form retained in all subsequent versions of the 46 incident. Regardless of the type of disguise employed by Vizard, every version of the incident ends happily with Mixum's release from Newgate and Vizard's reformation. Related Plays It is difficult to narrow down and specify with any degree of accuracy the number of dramatic adaptations of this story. Approximately thirty titles have, been identified which appear to have some sort of relationship • , II, [ vi] . ^Rotunda, p. 90. 44^ ,r ... B. , V, in. 45Pp. 54-56. 46D., V., iii; k ^ . , III, Civ]. , , I 1 0 2 ; i |to The Bilker Bilk’d, though many of these are undoubtedly j j only variations of titles of the same play. All of these I titles are recorded under their respective performance j i data in Appendix A. The texts of four printed plays which can be con- ;sidered variants of The Bilker Bilk’d have survived from the eighteenth century. All of these versions are directly or indirectly based on the first (1715) or second (1728) edition of Christopher Bullock's A Woman1s Revenge: or, A Match in Newgate, the parent play of The Bilker Bilk'd. Unfortunately none of these versions show any evidence of their author's having any familiarity with the droll. Nevertheless, the numerous adaptations of Bullock's play are positive evidence of its great popular ity in the eighteenth-century theatre. The earliest adaptation of Bullock's play is a ballad opera version published in 1729 under the title , Love and Revenge; or, The Vintner Outwitted. The author I . 4 . 7 ; is unknown. This version follows m general the text 1 i of the second edition of Bullock's play with, of course, | the addition of approximately a dozen songs and airs. iThe music is not printed with the text and appears to be I j jlost. ! i ! 47 fLondon. All subsequent references to this play in this chapter will be cited as E. 1 The earliest abridgment of Bullock's play which 'resembles the droll version insofar as only the Vizard- jMixum subplot is used is Joseph Yarrow's Trick upon Trick: i 48 l or, The Vintner Out-witted. Nicoll's contention that "this is practically the same as The Bilker Bilk'd in The 49 Strolers Pacquet Open'd" is a slight overstatement of 'the case, but the two plays are quite similar. A com parison of Yarrow's play with both editions of Bullock's play reveals that Yarrow used the second (1728) edition jas his source. Based directly on Trick upon Trick: or, The Vintner Out-witted is a curious piece of anti-religious diatribe 50 entitled Methodism Display'd, written by T. Este. This version begins with the last scene in Newgate prison, Este explaining in the prologue that he has "omitted printing the first Act, or Trick upon Trick, because it 48York, 1742. All subsequent references to this play in this chapter will be cited as E. The title page (describes the play as "a Earce, As Performed by the York JCompany of Comedians." i 4 9 ; ^English Drama, II, 364. '< 50 Newcastle upon Tyne, [1744]. All subsequent (references to this play in this chapter will be cited Ias G. The title page states that "it was intended to jbe Perform'd at the Moot-Hall in Newcastle, Nov. 4, 1743." jEor an extended discussion of the circumstances surrounding (the writing and performance of this play, see Leo Hughes, ("Trick Upon Trick; or Methodism Displayed." i ' 104 1 :has lately been published for Mr. Yarrow, . . . and many !of them [copies of Yarrow's play] are in this Town. | I Although Este's intent is to satirize the Wesleyan move ment which was at that time gaining popularity in England, j his choice of a play must certainly have been dictated 'in part by the general popularity of this play in its several existing versions. Indeed, the success of his satire depended upon the audiences having some familiarity with the story. The last extant version of the Vizard-Mixum story is The Vintner Trick'd: or, the White Eox Chas'd by Henry Ward.^ This version is based on the first (1715) edition of Bullock's play and tends to follow it very closely in most respects. Ward apparently did not have any of the other adaptations and abridgments to work from. [ ! It is clear from the range of titles culled from the records of the eighteenth-century theatre that there were many more adaptations of this story. But it is equally apparent from a careful comparison of the nine I I available texts that the borrowings and adaptations j , pp. 8-9* j ^Belfast, 1753- This is the second edition of j this play. The first edition (London, 1746) could not be secured for this study. All subsequent references to the second edition of this play in this chapter will be cited as H. 'inevitably seemed to follow a general pattern and did not |significantly alter the main outlines of the story. [Furthermore, the droll version is clearly in every respect j similar to the other versions of the story, both in the |selection of incidents and in the manner in which they l I iare treated. This would tend to strengthen the assumption that the droll, like the other plays, was written to be performed for an audience. 55 Stage History^ The stage history of The Bilker Bilk'd is limited to one recorded performance on 19 April 174-2 in Sandwich, Kent. Even this performance cannot be established with total certainty as there is a possibility that it may have 54- been a puppet performance. Even this tentative and [uncertain record is unique insofar as it is the only direct and specific evidence for a performance of any of the drolls in The Strolers Facquet. 55 i complete "Calendar of Performances" for all 'versions of the play is compiled in Appendix A. The |following discussion of the several stage histories is 1 based on the information contained in this calendar. 1 As citations are given for each calendar entry, they are !not repeated in this section. i -^Sybil Rosenfeld, Strolling Players & Drama in the Provinces: 1660-1765 (Cambridge, 1959), P* 257- 1 Although, the evidence for a stage history of the ' [ I ;droll is practically non-existent, the parent play and ; ;the numerous related plays enjoyed a long life on English, j ■ j I Irish, Scotch, and American stages. Apparently The Dutch iCourtesan and its Restoration adaptation, The Revenge; or, I ‘A Match in Hewgate were not performed during the eighteenth I 55 century, ^ hut Bullock's version received a total of seventy-one London performances and one performance in Ireland between 24- October 1715 and 8 April 1740. One additional performance is recorded for Dublin in 1750 and thereafter none through 1776. Bullock's play was performed exclusively in London at Lincoln's Inn Fields from the time of its premier on 24 October 1715 through the end of 1729. One performance took place at Odell's Theatre in Ayliffe Street. Goodman's Fields and Drury Lane and Covent Garden performed the play several times during the 1750's, but it remained essentially a Lincoln's I Inn Fields play. London Stage (2, pp. 71 and 103), lists two - performances under the title of A Match in Newgate; or, i The Vintner Trick'd for 1 August 1704 and 8 October 11705. Hughes and Scouten ("Theatrical Adaptations," Ip. 108) believe this was the 1680 play, The Revenge: or, a I Match in Newgate. Although'these performances are listed !under that play in Appendix A, it is quite possible that this was an early adaptation, particularly in view of the rash of adaptations which appeared only a few years later. 107 j Of greater importance to the droll were the numerous jperformances of the adaptations of Bullock's play, both in I London and in the provinces. Beginning with the premier ! of the ballad opera version, Love and Revenge; or, The I Vintner Out-witted, on 12 November 1729, seventy-six i performances of twenty-one different titles were given in London through 13 July 1808.„ Only four of these per formances took place at Drury Lane and only one at Covent Garden. The remaining seventy-one performances were given at the less regular places like Bartholomew Bair, Southwark Bair, Tottenham Court Bair, May Bair, various theatres in Goodman's Bields, and at the New (or Little) i Theatre in the Haymarket. It is clear that the Yizard- Mixum story survived as a theatrical piece in the popular theatre of eighteenth-century London, rather than in the repertory of the established patent theatres. A survey of the stage history of the drolls, parent plays, and related plays outside of London is, J strictly speaking, outside of the limits of this study, ! j and no attempt has been made to provide this for the f (other drolls. But the numerous variations of The Bilker lBilk'd and the complexity of their relationships to the j (droll and to each other made such a survey necessary in r jthis instance. Bifty-eight performances of fourteen different versions have been recorded for the years from 1741 to 1797- These performances range throughout the r~ 108 1 f ! ! I English provinces, Ireland, Scotland, Wales, Jamaica, and j the American colonies and states. The widely diffused j i popularity of this piece is perhaps its strongest indi cation of universal popular appeal. Analysis as a Theatrical Piece i i | The Bilker Bilk1d would not have occasioned any insurmountable staging problems for a company of strolling players in the provinces or a group of actors performing at one of the London fairs. The production demands are, in fact, quite modest. The cast is relatively small and can be reduced or augmented as necessary. The scenic requirements are well within the range of a simple booth stage, and properties and costumes are very simple and minimal. A total of ten male characters and two female characters are named in the droll, but five men can easily be eliminated by having several of the minor characters ,played by three actors. One woman can be easily cut since she appears only momentarily as a,non-speaking character. i The droll revolves around Vizard, Mixum, and Mrs. Mixum, ; i and these are the only parts that require any real skill Ion the part of the actor. Thus, the droll could be j I ieasily performed by a company as small as two men and one I jwoman, augmented by two extra men for the bit parts. On I the other hand, as many as twelve or more players could be |given employment in the production. ! j The droll is divided into seven scenes, the first !six alternating between a tavern and a street. The seventh jscene is set in the interior of a prison. The change from 1 tavern to street does not involve any change of settings, ! jthe street simply being designated as the general area in front of the tavern. Only one change of setting is required, from the tavern to the prison interior. This [again would have been easily within the scope of most I .strolling companies and the companies which played at the i London fairs. The costumes worn by the actors were in all probability the contemporary dress of eighteenth-century England. The text does not call for any unusual or elaborate costumes. Furniture and properties are rela tively simple, consisting of two or three chairs, shaving [implements, a stage fish, and a punch bowl. ;[p. ii] PERSONS'^ who speak in the i BILEER BILK'D. 57 58 Ereeman, a Gent. 59 i Mixum, A Vintner. J ! I Vizard, a Sharper. i 60 1 Keeper of Newgate. Mrs. Mixum, the Vintner's Wife. 61 Drawers, Boys, &c. ^PERSONS . . . BILK'D. The Bilker Bilk'd, or, A Banquet of Wiles is the only droll i n Strolers Pacquet without a separate title page. As the six title pages to the remaining drolls are all dated 179-1 it is probably safe to assume that this is also the publication date for this droll. However, the title page for the whole col lection is dated 179-2 and it is possible that this droll was added to the other six at that time and therefore originally published in 179-2. I 57 j Ereeman, . . . &c. Ap. includes the following idescriptions for the characters: Ereeman--in Love with jCelia; Mixum— a Vintner; Vizard— a notorious Cheat; Mrs. iMixum— [no description]. Keeper of Newgate is not included j in the cast of characters of Ap., but he appears in the :play. The following characters, not listed in the cast jof characters, also appear in the droll: Solomon Smack— |the Barber's boy; Jervas— the Goldsmith's boy; Sam; Betty— 'Mrs. Mixum!s maid; Eidler; Constable; and Watch (character j !descriptions, where supplied, taken from Ap.). | ' ^Gent. Gentleman. ^ i 59 ! Vintner. Obsolete form for an innkeeper selling j wine. i 60 | Newgate. A famous prison in seventeenth and ;eighteenth century London. I 5]_ j Drawers. One who draws liquor, a tapster at a :tavern. However, no drawers appear in the droll. ,-p* 1] I BILKER BILK’D, OR, A Banquet of Wiles. I SCENE, ^ a Tavern. | Enter^ Ereeman and Mixum. | Free. Hey day! Here's a clutter of Curses against Rogues, and CHeats! wHy thou rails with as hot a Zeal against Villany, as a demure Whore against Lewdness. Mixum. 0, Sir, this is such a Piece of Roguery,--- i I not of my own, Sir, no, no, of Vizards, that Root and I " Branch of all Villany: Hear me, Sir, this same Vizard, 65 who I verily believe could cheat ^ a Jesuit, and make an jAss of the Devil, comes into my House last Night, with a I fine Female; says he, in a Whisper, Mixum, my Fortune is 62 ■ SCENE. No designation of the scene in Ap. i 65 ; <Enter. The eight speeches in Ap. have been I reduced to four in the droll. Mixum's account of Vizard's | i theft has been slightly abridged, but is told in sub- ! j stantially the same manner. | 64 , Freeman- and Mixum. A-. . and Ap. Freeman and Robin iMixum. B. Freevil and Maister Mulligrub. C. 2 Gentlemen ,and Master Mulligrub. D. Friendly and Dashit. E. Trueman j !and Robin Mulligrub. F. Freeman and Robin Mixum. G. j \Freeman and Mixum. H. Gentleman and Mixum. I | ^cheat a Jesuit. Ap. more Tricks than a Jesuit, jF. more Tricks than a Jugler. ! 112 I i i |made, this is a Lady of Hank and Riches, whom I have this i Day married; upon [p. 2]which I was full of Respect, jo'course;^ he bespoke an elegant Supper; in a trice the j 1 j jfable smoak'd with Wild Howl, they soon devour'd the first ! ' ’ 67 !and second Course, Wine in abundance drank, I was jocund; ! ithen he slips a twenty Pound Bill into my Hand, and bids me take my Reckoning; I suspecting nothing, return'd him full Change for his Bill, and retir'd to make mine; sends in a blind Harper to detain them longer, he cries, 'Musick is the Pood of Love, play 'on, 1^ the Harper tunes up, my 66 o'course . . . bespoke. Of course; he ordered. 67 jocund. Cheerful, gay or merry. 68 'Musick . . . on'. This quotation from Shake speare's Twelfth Eight (l,i) does not appear in any other version, A- , . through H. The first revival of Twelfth Right in the eighteenth century was for nine performances between 15 January and 20 April 174-1 (London Stage, 5, pp. 881-908). Although six editions of the play were published during the eighteenth century prior to 174-2 j (Rowe, 1709 and 1714-; Pope, 1723 and 1?28; Theobald, 1733 j and 174-0), and the line from Twelfth Right was quoted by I William Burnaby in Love Betray'd; or, the Agreable IDisapointment (London, 1703), which was performedtwice , between 1703 and 1705 (London Stage, 2, pp. 31, 89), ; i ^ reasonable to assume that the droll author either ;saw or was in some way connected with the performances , of Twelfth Right at Drury Lane in the Spring of 174-1.. j ■ If this were the case then it would establish 15 January j 1 174-1 as the earliest date for the composition of this _ : :droll. Admittedly this argument is based on the assumption! j that the droll author would not have been likely to pick j ,up this quotation from reading the play. It must be kept !in mind that this play had been for almost eighty years virtually ignored, particularly by the actors and managers of the London theatres. Also, the quotability of this 115 Drawer is beckon'd to withdraw, and you know when there 69 is a Woman in Company it is Sam1s Place to wink and vanish. Pree. Doubtless, Sir, that was but civil. Mix. Well, Sir, this precious Pair, being left in the Rooni with the Harper, whose Eyes Heaven had clos'd, from beholding such Villany, silently opens the back 70 Casement, quietly packs up my Plate, ' cleverly thrusts the Woman out of the Window, dextrously conveys himself after; the eyeless Harper plays on still, till Sam enters with, D'ye call, Sir? but out, alas, the Birds were flown, and Nest of Plate also; then Lamentations rent the Air, the Drawer made the House ring, my Wife bawls, I thunder and kick the Boys like a Pury, and all of us curse the blind Harper to the Devil: In this Confusion, I bethink myself of the twenty Pound Bill, and scour [p. 3] away line in.the twentieth century can hardly be an accurate measure of its popularity in the early eighteenth century. As Twelfth Night was not played after 20 April 179-1 until 15 April 179-6 (London Stage, 3, p'. 1232), it would make it likely that if the droll author was indeed in fluenced by the production of the play, then the composition of the droll probably occurred sometime during the spring of 179-1, at least while the quotation might have still been fresh in the mind of the droll author. 69 ySam's. The drawer. 70 Flate. Silver serving dishes. 114- !to the Bankers to secure the Cash., hut 0 ye cruel Fates, 'the Bill was forg'd, I was seiz'd, Vizard not to he found, i i ’ jI brought in guxlty of Forgery, and got villify'd and i 71 ! pillory'd and pelted with rotten Eggs, and all for I ibeing cheated; hut tho' he 'scapes me now, yet I still jcomfort myself with seeing him hang'd, in Hemp*^ of his |own heating. [Exeunt ' SCENE,^ the Street, 75 Enter Vizard. Viz. A plague confound all Gaming, I think the Devil's in the Dice, what I get like a Rogue, I lose like a Fool; let me see, this Nest of Plate.that I hilk'd 71 pillory'd . . . Eggs. It was customary to expose offenders to public derision (and flying garbage) hy placing them in a pillory, a wooden framework erected on a post, with holes for securing the head and hands. 72 Hemp. Hemp rope. 75 '^Exeunt. In Ap. only Mixum leaves the stage. Freeman remains and is met hy Vizard. The scene con- |tinues, hut concerns the main plot which has heen omitted j in the droll. I 7Zl SCENE, the Street. The droll jumps to Ap., II, i i, omitting the remainder of Ap., I. Ap. includes the » stage direction, "Scene changes to the Street. Enter ; Vizard." i ! 75 I ' ^Vizard. A-,, and Ap. Vizard. B. Cocledemoy. C. Cocledemoy. D. Trickweil. E. Brainworm. F.-H. Vizard. ! Mixum, tliat Rogue of a Vintner, of, fetch.'d me thirty 76 'Pounds, and lasted me just three Hours at Hazard, and i ! 77 ■this single Simon my whole Estate. 0 yonder comes a I ,Barber, his Implements may fetch me a Dinner. ! Enter Soloman.^ i I We11 met my Lad, where art going. | Sol. I am a going to shave Mr. Mixum, Sir. Viz. I am glad I met thee, I was just a going to thy Master's. Sol. I believe you mean my Lather's, Sir. Viz. Ay, Ay, thy Lather's, thou art a very pretty Boy, I have heard my Lriend Mixum commend thee. [p. 4-] Sol. He is my Godfather. 79 Viz. He is so, and'y thy Hame is— odso, that I should forget— 1 76 | Hazard. A gambling game. I 77 1'single . . . Estate. This single coin is all I ; own. j Soloman. A-, . and Ap. Solomon Smack. B. Holi- ; femes Rains-cure. 6. Holifernes Rain-scure. D. Jack ■(John) Scowre. E. Simon. L. and H. Solomon Smack. \ ' ; 79 ! and . . . forget. Ap. and what is thy Hame? iThe droll is more careful to maintain the logic of the ;deception. Two lines above Vizard says that he had iheard Mixum commend Soloman (also in Ap.), and therefore jthe pretense of having forgotten the name is more logical in this context than simply asking Soloman what his name is. Sol. Soloman, my Name, Sir, is Soloman Smack. ! Viz. Ay, Solomon, I knew it was some wise Name, I jl was Just going to my Eriend Smacks to borrow his l 81 Bason, Ball, and Razor, for I laid a Wager I could i [shave Mr.' Mixum, and he not know it; a Erolick, my i ,Lad, nothing but a Erolick, so I'll take thy Things, I and in the mean Time, prithee call a Coach; for thy Godfather, and I, shall go to receive some Money, as soon jas I have shav'd him; and here's Sixpence for thee to stay i with the Coach till we come. Sol. I thank you, Sir, but what shall I do for my Things? Viz. I will leave them at thy Godfather's. [Exit Sol.] This is lucky; if I could cheat this Rogue Mixum six i iDays in a Week, I should keep my Inclination wholly to op remember him on the seventh. If I don't shave him in o0 Ay, . . . Name. Ap. A wise Boy, I assure you; ■well Solomon. EG A wise Boy, I assure you. Sol. Wise! I iassure ye! they design'd me for a Parson; but they j I said I was too witty for that , and they wou'd put me to ! [an Attorney!' Only I would be a Barber. Viz. Well, j iSolomon. j 81 j Bason, . . . Razor. These are all shaving [implements. Shaving basin, soap ball for making the i 'lather, straight razor. I op i If . . . Razor. Ap. if I don't shave him now, I ishall say my Wit and my Razors are both very Blunt. r 117! 1 j ; more Senses than one, I shall think my Wit as dull as ' the Back of my Razor. ! [Exit.] I j j j SCEHE, a Tavern . j i Enter Mixum and his wife. | Wife. Here's the Money, I am sure it is right, I | Eorty two Pounds. [Lays down the Bag.] [p. 5] Mix. Well, I must go taste some Wines 8-5 that are gust landed, and I'll call at Mr. Burnish's, and send home the Punch-bowl. Wife. In truth Husband, I am tired of the Trade we drive, when I call to mind how abominably we cheat, truly it afflicts my Conscience. Mix. Conscience! what a devil have we to do with Conscience, don't we keep a Tavern, go, go, mind your 84 Business, you had best, and to mend the Matter, score double in the Devil's Uame; talk of Conscience when we have got an Estate--- Enter Vizard. Viz. Sir, I am come to shave you, I am Mr. Smack1s ^Mr. Burnish. A -, . Mr. Glisten. Ap. Mr. Burnish. B. Master Burnish. C. Mr. Garnish. D. ana H. Mr. Glis ten. E. and E. Mr. Burnish. 84 score . . . Name. Keep accounts falsely by doubling the amount owed. Ap. Score false with a Vengeance. ! Mix. But'where is my Godson, he us'd to shave me. i 35 j Viz. Sir, he's gone to shave Mr. Spintext the jLecturer, hut my Master thought you might he in Haste, j jso sent'me to shave you. Mix. What's your Name Friend? 86 | Viz. Timothy Perigrine, Sir— Will you please to |sit down. [He sits, Vizard puts the Cloth round his Neck.] I Mix. How long have you heen a Barher, Friend? Viz. Ahout a Year, Sir. Mix. What then you serv'd no time to it. Viz. No indeed Sir, I am glad to do anything for an honest Livelihood; a wag- [p. 6] ging Hand you know, Sir, is getting a Penny. [Raising a Lather.] Mix. What Business was you brought up to. Viz. The Sea, Sir, to plow the Ocean. i 85 | vMr. Spintext the Lecturer. A clergyman or parson, !especially one who preaches long or weak sermons (New I English Dictionary). The first use of this term cited hy i N. E-. D. and hy Eric Partridge, A Dictionary of Slang and I Unconventional English, 4th edi (New York" 1956), is hy William Congreve in The Old Bachelor (l,i). This play 1 is the parent play of one of the other drolls in Strolers ! Pacquet. A-,., Ap. , F. , and H. Mr. Grub, the Lecturer. .B. Master Quicquid, our parson. C. Mr. Quicquid, our iParson. D. Parson Cuffett. E. Parson Grub, the Curate. ' 86 | Timothy Perigrine. Perigrine is an obsolete !form for peregrine, denoting something foreign, out- J landish, strange, imported from abroad (N.E.D. ) • A-,., |Ap., E., F., and H. Timothy Truth.■ B. and C. Andrew jShark. D* Timothy Hazard. 1 119 ; ! Mix. And how came you to leave the Sea-faring Life?; ! Yiz. Ill fortune, Sir, that often attends the j j ;Industrious. j I Mix. What was it? let's hear; these Sea Voyages j i j ;are diverting. i Viz. Are they so? then faith I'll try if I can i |make one for you. [Aside.] I on I Why Sir, ' in my first unfortunate Voyage we was j Q Q ' chac'd by three Algerine Pirates, and being deep laden found it impossible to escape; now I having heard what a miserable thing it was to be a Slave, chose rather to venture the Sea than be took Prisoner; with this Resolution, I prevail'd on the Cooper of our Ship to barrel me up in a Cask, clap a sound Cork into the Bunghole, j and fling me overboard; no sooner said but done, there was jl in the vast Ocean toss'd about for nine Days successive- ! ly, till I was like to perish with Hunger, for I eat ' Why Sir. The story of the white fox is used in ; a play for the first time in A-,. The droll version is j based on Ap. and follows it closely, but adds one original I episode to the story (infra, n. 93;- E- copies Ap., ! but omits the portion about being brought on board I ship and biting off the thumb and finger of one of I the sailors. P. copies Ap. exactly with only several : minor variations in wording. H. follows A-^. without ,any changes. j O Q | Algerine. Algerian. | nothing all that time, but six Bisquets which I luckily i i had in my Pocket before we saw those terrible Pirates: (Well, while I was in this Condition, a Dutch Man of War^ j sail'd along, and spying a Barrel floating, they hoisted j out their Boat and [p. 7] brought me aboard, I was not j j able to speak, but I heard them disputing what it should I !be that was in the Barrel; one said it was Butter, another said Beef, and some said it was Oatmeal, but to qn be satisfied they call'd the Cooper"^ to strike out the iBung; when the Bung was out, there issued such a Fume, that they all agreed it stunk like the Devil: At length, one unfortunate Fellow more daring than the rest, thrust his Hand in to feel what it was, I snatch'd his Fore finger and Thumb in my Mouth, and whipt 'em clever off in an Instant, (for I was consumed hungry) with that the I Fellow bellow'd out, and swore it was the Devil, ram'd I !the Bung into the Barrel again, and toss'd me overboard. I Ql j Mix. Ods my Life, that was very ill Luck indeed!— how didst thou scape at last? | Viz. Providence preserv'd me, Sir; I roll'd upon i ' the Billows in this Barrel twelve Days longer-, and had i ' 89 , -\Man of War. Warship. i ! On j ' Cooper. Barrel maker. ! no Sustenance but the Dutchman' s Fore-finger and Thumb— i hold up your Head, Sir— I i Mix. Twelve Days, 0 the Devil, that could never jbe, Tim. i | Viz. 'Tis true, upon my honesty, well, at length i I !my faithful Barrel was flung ashore, so I pondering with |myself that I might as well be drown'd as famish'd (for !by this time I had not so much as a Nail of the [p. 8] jMan's Finger left) I burst out the Bung, and putting my Head out for the Benefit of fresh Air, I saw I was cast ashore in Greenland, for casting my Eyes round I spy'd ia huge white Fox, come scowering down the Sea-side, at a monstrous Bate; with that I skulk'd my Head into my Barrel again, knowing it to be a Beast of Prey— Mix. A huge white Fox! how big might this Fox be? Viz. Something bigger than a large Flanders Mare, Sir,— Well he came thundering down to the Barrel, and I |smelling me out, he began to roar like a Lion, but by | good Providence, that very Moment, a Fly as big as a I Partridge, stung him on the Buttocks, he whisks round I ito rub himself against the Barrel, his Tail got a-cross ithe Bung-hole, I clap't fast hold on't with both my Hands 92 Flanders Mare. The horses from Flanders were renowned for their large size and strength. ; 122 I 'the Fox in a terrible Fright, fell a galloping as if the ;Devil was at his Tail, and harried the Barrel with me in Jit, for three and twenty Miles over Hedges and Ditches, j through Marshes and Woods, overturning all before him; |till at last running full Speed between two Trees, that j Jstood pretty close together, the Barrel stav'd all to ! pieces. Mix. So, that was good Luck; then you got quit of the Fox. Viz. No, Sir, no; my Hands, with grasping the Fox’s Tail so violently all this long [p. 9] Journey, was clench'd so fast, I could not possibly open them. Well, away the Fox scower'd faster than ever, now he was lighten'd of the Barrel, and in an Instant dragg'd me twelve Miles and a half further. When he arrived at the Brink- of a vast deep Eiver, he plunges in directly, and fell a swimming with me at his Tail. Now a lucky Thought i came into my Head, to be revenged of him for leading me i j this Dance; so when he was just got to the middle of the l J Eiver, I suddenly plunged down to the very Bottom, and ; 94 i calmly sate^ me down at my Ease, with his Tail in my i you . . . Fox. The tale ends here in A0 . Like : most story-tellers, tHe droll author cannot resist J embellishing the story with one more episode. L ^sate . . . down. Sat down. 1 123 i I ! 'Hand. He pants and struggles to get loose, but all in J vain, I Held him down while there was any Signs of Life. j : 9 5 ! Mix. 0 Tim! this must be a Gun. i ; Viz. Every Word true, or may this Shaving be my 'last. So, Sir, up comes I, swims ashore, and gets to ! . ! |a Port, where I found an English Ship, and came over j : 96 I to England in her. Shut your Eyes, Sir, or my Ball i I will make 'em smart. J Mix. Ay, ay. Why, Tim, I find you have been ! 9 7 ja great Traveller: Was you never m the Popish Countries? Viz. Yes, Sir, I have, been in most Parts. In Italy I was once treated very handsomely, by a Monk'of 98 Loretto_, with a delicious Hasty-pudding, made of the 95 i this . . . Gun. Slang expression for "this ! must be a lie," in use ca. 1680-1770. Perhaps derived I from the loud voice characterizing a liar or a lie j (Partridge). 1 96 ; ^ Ball. Shaving soap. I 97 i 'Popish Countries. Countries where the Catholic church predominates, under the spiritual leadership of the Pope, i.e., Prance, Spain, Italy, Portugal, etc. ' B. and C. make no references to Catholicism. D. is the ; first to introduce the subject of the Catholic religion, ! but doesn’t introduce the idea of travel in Popish ; countries. A., is the first instance of this. Ap., i E., P., H., and the droll all follow identically. I ! ^^Monk of loretto. Lorefto is a town in Italy where i the house of the Virgin Mary was reputed to have come to | rest (see infra, n. 102). Ag. an old Monk. ; 124 ■ Milk^ of St. Luke ' s Cow, thicken'd with a Pound'of the Chao s. I , [p. 10] Mix. Psha! a pox Tim, you talk like a 1 Traveller now. I I Viz. Why, Sir, I hope you don't think I lye.---- | 0 dear, Sir, there are a Multitude of venerable Reliques t i in all their Churches.— I myself saw the very identical j Shoes1(^ in which St. Ignatius walk'd barefoot to Jeru salem. Nay, Sir, I saw the Horse-shoe that was wore by the Horse, that fed with the Mare, that foal'd the Poal, that became the Horse, that begot the Mare, that was Lam of the Colt, that grew the Steed, that brought the Boy, that knew the Woman, that had seen the Man, 1 OP that his Bather told, that he saw the Lady of Loretta1s Chappel fly from Judea into Italy. qq | y<Milk . . . Cow. In art, St. Luke is usually ; represented with an ox lying near him (Brewer's Dictionary , of Phrase & Pable, 8th rev. ed. [London] 1 9 6 3 J). The ! | reference here appears to be a distortion of this popular j imagery. ! Pound . . . Chaos. Chaos is the original sub- ; ■ stance from which the universe was believed to have been j , created. ! ; 101 . Shoes . . . Jerusalem. An obvious nonsense ' allusion. The St. Ignatius to which reference is made is j ! probably the first century A. D. bishop of Antioch rather i f than the sixteenth century founder of the Jesuit Order. | i i op 1 ! Lady . . . Italy. The reputed house of the j j Virgin Mary at Nazareth was said to have been translated__j Mix. Ha, Ha, ha, What a Bead-roll of Men, Horses, i i i .Mares, and Horse-shoes, hast though sputter'd forth! I t ! j | Viz. 0 Sir, I assure ye these are great Curi- | ' i losities. "Why, Sir, this was the very first Horse-shoe j 10S I .that ever kept Witches out of Houses; Take ^ Time by J i !his forelock of Hair, he is bald behind, says the wise jMan, I must leave the Vintner in the Suds [Aside, takes j i jthe Bag, and exit.] i i Mix. 0 plague, Tim, this must be a devilish Lie. jCome, make haste tho'; thou hast got a damn'd strong |Memory, sure, to retain such a Heap of Lies, and pour I j 'em forth off Hand so pat; Ha, ha, ha; there's thy Barrel and white fox, thy [p. 11] Hasty-pudding thicken'd with the Chaos, and blended with the Milk of St. Luke's Cow; and then the Genealogy of thy Horse shoe; Why what a JDevil, dost thou take me to be such an Ass to believe all 'this, Ha, ha, ha. -But come, why don't you shave | [to fiume in Illyria in 1291, thence to Recanati in 129^, j and finally to a plot of land belonging to a certain Lady i Lauretta, situated in Italy, round which the town of i iLoretto sprang up. The chapel contains bas-reliefs i ;showing incidents in the life of the Virgin, and a rough j 'image which is traditionally held to have been carved by | St. Luke (Brewer's Dictionary). , ~^^Take . . . Man. A proverbial expression derived ' from the representation of the Greek god of time, Occasio, with a full forelock. The earliest occurrence of this Iproverb in English literature is in 1578. It was seldom iused in the eighteenth century (Oxford Dictionary of I English Proverbs). i 126 me? Why Tim, I shall be blind with winking. Tim, why Tim, why dost not Speak.— 0 Lord! my Heart misgives me!— ; Gone! — 0 the Devil! my Money! — Wife! — Wife ! — why Wife!--- Enter Wife. , Wife. Hey day! What a Noise you make, Husband? i I 'What ail you? ; Mix. Where's, this curs'd Barber? | Wife. Why he's gust gone out.-Are you not !trim'd^^^ then? Mix. Trim'd! Yes, yes, I am trim'd, with a Vengeance:--- Did you take the Money off the Table? Wife. I take the Money? No, indeed, not I. Mix. 0 the Devil! I have wink'd to a fine Purpose. Enter Soloman. Sol. Give me your Blessing, pray Godfather. Mix. My Blessing! the Devil^^ broil thy Heart, Where's your Father's Man? Sol. My Father keeps no Man, Godfather. [p. 12] Mix. Godfather! thou Devil's Son! who was it trim'd me? 104 trim'd. A pun on the two senses of the word, shaven and cheated. i ^ ^Devil . . . Heart. Ap. The Devil choke you. ■ The form of the expression in the droll seems to be ; peculiarly strong. I 127 i i , Sol. Lord, Sir, I don't know the Gentleman; lie ; ;borrow'd my Bason and Razors, as lie said, for a Frolick. j ’ Mix. Frolick!----My Money, my two and Forty Pounds Jgone in a Frolick! It must he that cursed Vizard; Wao the Devil would have suspected him in a Barber's 'Skin? Zoons! if I catch him, I'll strangle him with my !own Hands.--- Wife. Hay, prithee Honey sweet Husband, have Patience. z\ , \ Mix. Patience, with a Vengeance! Plague i on you, you could cry Patience, sweet Honey, when I caught Jack Rakish* - ^ and your patient Ladyship upon the blue Squab Couch, in the red Room. Wife. Good Husband, take Heart; I'll play the 107 Devil, but I'll recover this Loss;. I'll score double ! |and trebble for a Month, with a good Conscience. i I Mix. Who the Plague could have suspected such ill ; 1 Oft I Luck to Day? I got out of Bed backward too this | I 8 ! - - - - - - - - - - - - - - - - - - - - - - - - - - - - j ■ i j ^^Jack Rakish. Ap. Alderman Standfast. These J ‘ names may have had some topical meaning in the eighteenth ■ century. Rakish derives from rake, a wild fellow. ! Standfast seems to imply a stubborn, but upright citizen. | iIt is interesting that the droll author has reversed the : meaning. 107 ! 'score . . . Month. Double and triple the I accounts, cheat the customers. f ! “ i no j got . . . Morning. Apparently an expression of I bad luck, like getting out of the wrong side of the bed. __ : 128 ! 109 Morning. : ¥ell, I'll cast y up my Accounts, make myself I 'merry, and then fairly go and hang myself. The Devil take the Barber, and his white Box together. | [Exeunt.] i 11 n ! Cp- 133 Scene the Street. ' Enter Vizard. ! 1 j Viz. Well, there is certainly a Eate attends those of my Profession: I that am so great a Master of the Art of Circumvention, am nevertheless bilk'd by every Bawd, and over-reach'd"*"^ by tawdry half-witted Whores. Enter Mixum, and a Goldsmith's Boy, with a Silver Punch-Bowl. I I P *1 1 Mix. Mow Jervas, besure you give this Bowl I into my Wife's own Hands; let no Trick, nor Wile, prevail j on you to part with it to any other. I am in continual 1 ' Hear of that confounded Vizard; but if ever I catch him, j | ! !Zoons! I'll play the Devil with him. ■ 109 1 cast . . . Accounts. Balance my books. [ j ^ ^Scene . . . Vizard. Droll omits several scenes 1 in A^. which deal with the main plot and jumps to II, [v], J ! ^~^over- reach' d. Cheated. ; Up ' ' I Jervas. A.., A~., E., and E. Jarvis. B. and | ; C. Lionel. D. Jervice. H. Jervis. I ! ! ^^besure. Be sure (printer's error). ! -,1 14 [Exit ambo.] Viz. Curses fattens tlie Fox. Friend Mixum, I III i I you want trimming again; my Mouth waters at that Punch- ■Bowl; to bite this Vintner, I hold meritorious, and will i 115 116 |proceed to plot for his Plate, ^ not having the Fear j :of Tyburn before my Eyes. [Exit.] Enter Mrs. Mixum, with the Punch-Bowl, i I and the Goldsmith's Boy. | Wife. 'Tis very well, Jervas; my profound Respects — to your Mistress; I acknowledge the Receipt of this.--- :Profound Respects! There's an Expression!— This 'tis I to have a fine Education, to be brought [p. 14] up in a Tavern: I let them see that I keep as good Company as any She"^^7 within London Walls. Fare thee well, Jervas. ! [Exit Jervas.] i I | ^^Exit ambo. Exit both. j | j ^ ^Plate. A-^. Punch-bowl. Plate. ! 116 Fear . . ♦ Eyes. Tyburn was the place for public; executions for London until 1783, when they were moved to j Newgate prison. This reference to a London landmark which ! :was probably not too well known outside of the city sug- ! gests that the droll may have been initially intended for ■ a London performance, possibly at one of the fairs. A^- | i Fear of a Halter before my Eyes. ! | I ^ ^She . . . Walls. Lady in London. J I 130 1 f 1 1 o , j Enter Vizard, like a Goldsmith.' s 'Prentice, ; 1 1 Q ' I : with, a Jole y of Salmon. I ; i I ' Viz. A fair Hour to you,' Madam. j ! i i I Wife. A fine Compliment that!— I'll set it down. j 1 i A beautiful Thought to you, Sir. j i ; Viz. Madam, Mr. Burnish, my Master, has sent you j | 120 ' ! a Jole of Salmon; and designs to come home with your j ■ -i |Husband, to Supper, to season your new Bowl; and your i j Husband, Madam, desires you would send the Bowl back by r | me, to have his Arms engraven on it, which he forgot i before. 1 99 Wife. By what Token, Friend?— Hay, I have a Wit--- Viz. By the Token he was left in the Suds this Morning. 118 1 Prentice. Apprentice. 119 'Jole. A variant of jowl, meaning the head and shoulders of certain fish, as the salmon, sturgeon, and ling. I ~^^de signs. Plans. j I 121 1 season . . . Bowl. Use it for the first time, ; initiate its use. I 122 ■ Token. A secret pass-word or an assurance. In earlier times it was customary to give royal messengers a ring or some other device which could not be counter feited to enable them to prove the legitimacy of their embassy. Verbal tokens were also sometimes used. Wife. An ill Token, but a true one.— Here, take I ;the Bowl, and tell them, I expect 'em with Impatience, j [Exit Viz.] i Sam, Sam, why Sam, are you deaf? i r " ' T ' i r " ; Enter Sam. I Sam. Here, here, Mistress. Wife. Quickly, quickly, lay the Cloth and Napkins, and bring the Knives and Eorks and Plates, and get ievery Thing [p. 15] ready. There, there, that's well; |the Company will soon be here. I [Enter Mixum.] i I 0 are you come, Husband? Where are they? Mix. Hey dey! Hey dey! What's here? a Feast going forward, and in my best Parlour? Whose Treat, Peg? i Whose Treat? i I Wife. Prithee leave fooling; Are they come? ; Mix. Come, who come? i ! Wife. Lord, how strange you make it. ' Mix. Strange! What's strange? Is the Woman mad? ! Wife. What, you know of no Body that sent us a Jole of Salmon, do you? and said, they'd come to Supper? ! Mix. Ha! Salmon! Hush, not I hush, they have mistaken the House; let's eat it up quickly, before they return; come, come, sit down, Wife;— some good Luck yet.— ; Faith, I never relish'd Salmon better in my life;— 'tis 1 07 idelicious Feeding, free-cost. ^ [Eating greedily.] I , Wife. Husband, are you mad? Won't you stay till iMr. Burnisb- comes? Don't you know lie sent the Fish? I | Mix.;, Ho, I say no [Still eats fast.]. I I Wife. And that his Man, who brought it, said he iwould be here to Supper? j Mix. I say, no, no, no, no. fEats greedily.1 I 124 | Wife. And hansel my new Bowl? j Mix. Ho, no, no. [Eats still.] | [p. 16] Wife. And did not you order him to fetch j the Bowl back? | Mix. [Starts, and lays down his Knife.] 1 jHa! back? j Wife. That your Arms might be engraved on't? | Mix. 0 Lord! ; Wife. By the Token you was left in the Suds this ! f Morning? i Mix. 0! 0! 01 : Wife. And so I sent it back.— Hay, if I bear I the Blame. i 123 Feeding, free-cost. Eating at someone else's expense. 124 ! hansel. Variant of handsel, meaning to I inaugurate the use of, to use for the first time, to be |the first to test, try, prove, or taste (H.E.D.). Used 'here in the same sense as "season'' (supra, n. 121). Mix. 0 I am shot! And is the Bowl gone, departed, : ; I 'defunct? ha? i ! ! ! Wife. Gone? yes sure, 'tis gone. I I j Mix. I will never pray more, abandon all Remorse; i on Horror's Head, Horrors accumulate. Hear me, thou t ' l i Plague to Mortal, thou Wife thou; if I have not my Bowl j again, I will send thee to Hell, and then go to a Con jurer, and if he fails to get it again, I'll have the Devil raised, before I lose it. ! j [Exit.] Wife. Bless me! how fearfully he talks.— j Enter Vizard. i j ■ Viz. I must have my Salmon again, I cannot afford ! this old Rogue so nice a Bit, 'twill season my Punch rarely. How for a Master-piece.---Pair Mistress.---- ! Wife. 0 Sir! have I caught you? Sam, fasten all f ! the Doors--- i i ! i [p. 171 Viz. Softly, softly, good Mistress, you 1 | f I 125 1 1 shall know all. A very good Jest, i'faith; I warrant i 1 -j I | you was sadly frighted; your Husband's a Wag; he's gone | | j , to our House, laughing till he's ready to burst. The ! j t 1 Bowl's safe enough, and brim full of Punch. Come away > 125j t fap-bh. -In faith. ^^Wag. Trickster. [" 134- Ipresently, and give me the Salmon, to carry before: You 127 'are to sup ' at our House. i I Wife. Praise the Powers 'tis no worse; hut he :did ill to fright me so; he has put every Part about me t 1 Pft I into a Constellation. Here take the Salmon. [Exit i ’Viz.] Well, I was never so fluster'd in my Life: How |my Heart beats yeti— Here, Sam, send Betty with my Hood I | and Scarf and Gloves, quickly, quickly. | Enter Betty, and puts on her Scarf and Hood, . &c. then enter Mixum. I I ! Mix. How now? ■ Whither are you jaunting, ha? Wife. Psha! pray leave your Pooling*, you might have made one miscarry. j Mix. What unaccountable Devil has posses'd this I Woman? | Wife. Come, pray Devil me no Devils; Will you go? j Mix. Whither must I go? Is the Woman indeed ■possess'd? { I Wife. Whither? why, to eat the Salmon at Mr. i :Burnish's; I hate this Boolery. 1 [p. 18] Mix. Your Meaning, he senseless Jade,1^ I I I _ 127 sup. Eat supper. 1 * Constellation. A malapropism for consternation. 129 yJade. An opprobrious term for a woman. iyour Meaning? i i Wife. Wow Heaven bless your Wits, what a shallow i , Memory you have got! Did not you send for me and the i .Salmon, by the same Fellow that fetch'd the Bowl? 1 Mix. 'Tis mighty well, 'tis wond'rous well; And I I have you your Senses, you Tunatick Jade? i j Wife. Way, if you think to make me an Ass, I'll I 150 |be sure to make ^ you an Ox, I'll tell you that for I jyour Comfort. | [ Exit.] Mix. Well, I'll never pray again, that's certain If Heaven prosper Knaves, the City's like to thrive. I |I'11 go hang myself out of Eevenge. I [Exit.] I ----- I Scene the Street. i ---------------- i Enter Vizard. I ' Viz. Ha, no Business stirring; sure the Devil's i i ivery busy; He used to give me Opportunity, as often as ;I had Inclination to be wicked. O’ yonder comes a 'Fellow, by his Cloak he should have Money in his Pockets 151 'I must knock ^ at his Pate, before I can enter his Breeches. 150 ; make . . . Ox. Oxen have horns, hence to make , man an ox is to give him horns and thereby make him. a ■cuckold. I I 1 XI : knock . . . Breeches. Hit him on the head ! (pate) before ' I can pick his pocket. n i 136 ! t Enter a Eidler Cloak'd;^^ Viz. knocks him ' down. : Eid. 0 Murther! Murther! Viz. [Searching his Pockets.] What a Devil Dave ■ 133 i we here? a Fidler, with his Rosin [p. 19] and Cat-gut? I Only a single Sixpence. Well, however, here’s a Cloak i | for my Knavery. [Exit.] Eid. Stop Thief! stop Thief! f Exit.1 Enter Mixum, meeting Vizard in a Cloak. Mix. So, that is the Eogue paramount, Vizard.— Have I caught you at last? Sirrah, you shall hang for’t. [Takes hold of the Cloak, Vizard slips it on his 134 Shoulders. J Odso, the Serpent has s'lipt ^ his Skin; I hut however, I have got a good Cloak by the Bargain. i i ! [He wraps himself in the Cloak.] ! Enter Eidler, Constable, and Watch. ! Eid. Stop Thief. 0 Mr. Constable, he has got my Cloak on his Back. ^^Cloak1 d. A£- with a Cloak on. 133 Bosin and Cat-gut. Rosin is used on the bow of the fiddle and catgut is what the strings of the fiddle are made from. ^^slipt. Shed. 133 -^Watch. Watchman. ' 137 I i Const. Seize him. ; Mix. How now, Gentlemen, what's the Matter? ( j Const. No Harm, Friend, only carry you to Newgate j I for a Street Robber. i ! ! Mix. Why sure the Fellow's a Fool. | Fid. No, Sir; but he's a Constable, and that's | all one. I'll take my Oath, that Cloak's mine:, and that | you came behind me, knock'd me down, and run away with it; 136 and so Mr. Constable, I charge you with him. Mix. Now shall I be hang'd^^ for that Villain's Roguery. f Exeunt.] [p. 20] Scene^^ Newgate. Enter Keeper, Mr. Mixum, Mrs. Mixum, and ! 1^9 | Vizard, like a Fanatick Parson. ^ 1 | Mix. Is there no Hopes of a Reprieve for me? i I Keep. No, Sir, no; but here's a Parson come to 136 ! I . . . him. I order you to take him into |custody. 137 'hang'd. Even minor thefts were punishable by i hanging in eighteenth-century England. ~ * ~ ^Scene Newgate. Droll skips to III, [ iv] of A^. G. begins at this point. 139 ^^Fanatick Parson. A fanatic was used to desig- Inate a religious maniac, an unreasoning enthusiast (N.E.D. ) . A-, . , Ap. , E. , F. , and H. Presbyterian Parson. B. Sergeant. IC. Serjeant. D. Parson. G. Methodist. !pr( epare you for t'other World. j : Mix. Alas! alass! then I'm in a had way indeed. j i j : Viz. Friend, I come from Zachariah Zealous, j i P 4 .0 I ;to he, as it were, a Staff to thee, whilst thou takest j I I I ■a great Leap as it were thou know'st not whither. ! 141 j Wife. Well ; Hushand, this is a Comforter,— this 142 iholy Man,— he is for the Soul. But,Friend, my Hushand ; owes his Goldsmith Forty Pounds; and suppose now, when he « i |is going to Execution, he should he so unneighhourly to set| I ! ;a Sergeant on his Back, might not that stay Execution? Yiz. I'll warrant his Back; hut as for his Neck, j Plinius'''^ Secundus, and Marcus Tullius Cicero^^ tell 140 takest . . . Leap. A leap from the scaffold, j hanging. 141 Wife. In Ap. this speech is given to Mixum. The I last question, "might not that stay Execution?" is not in |Ap. The humour of the speech is heightened hy giving it !tb Mrs. Mixum. I i h? i ■ Friend. A?. Mr. Sanctity. j ■ I ■ qqz ! | Plinius . . ♦ broken. "And if one prevail i I against him, two shall withstand him; and a threefold cord I |is not quickly broken" (Ecclesiastes 4:12). The reference j here is to the rope with which Mixum will he hanged. Ap. !Plinius Secundus, or Marcus Tullius Cicero, or some- ibody says, that a threefold Cord is hardly broken. i 1 J\ / | , Piinius Secundus. Pliny the Younger (61 or 62 ;A. D. -ca. 113)-A Roman orator and statesman. His name !(and that of Marcus Tullius Cicero) is used simply in the ; .sense of an ancient authority.. Neither man has any con- ; ,nection with the saying. j I ^^Marcus Tullius Cicero. (106-43 B. C.) Great j Roman orator, politician and philosopher. 139 us in their Works, that a threefold Cord is hardly broken. Mix. A very learned Man, this!— : Well, I am not the first honest Man that was hang'd, and I heartily pray to Heaven, I may not be the last. Wife. Ah, dear Husband, little did I think, when you swore"*" ^ the last Parson out [p. 21] of his Change, 'that you should have Occasion to think of Heaven so soon.— .Oh!— If you had been hang'd deservedly, it would never have vex'd me: Many an honest Man has been hang'd deservedly, but to be cast away for nothing, Oh! Oh! Viz. Comfort thyself, good Woman, grieve moderately, 'tis decent; you will shortly be a young ■Widow, I will visit you, and give you Christian Comfort. Wife. Thank you very kindly, Sir, you shall be heartily welcome to my House, by Day or by Night. [Turning to her Husband.] My Dear, do they, or we, the Halter"*"^ find? Mix. They, tq be sure; this Government is kind.--- 0 Woman! Woman!' Why dost thou ask such a Question? thou may'st be sure they find the Halter. 'Wife. Alas, I could not tell, and so I brought one along with me. 0 Eobin! thou hast been a dear, dear 146 swore . . . Change. Cheated the last parson. • * " ^Halter. Hangman's rope. I 140 1 148 : Husband to me, and I was not willing thou shouldst want i | any Thing I could help thee to. f Fulls a Halter out of i 'her Pocket.] I i Mix. Oh my Dear, I thank thee, thou art so kind ' now.--- j Wife. My Neighbour Thong put it into my Hands : upon his Word, and told me, he could not have made a 1 | stronger, if it had been for his own Wife. I Mix. I am mightily beholden to all my Friends; 149 how ready they are to serve me a this Time! [p. 22] Wife. 0 dear Husband! I can't bear the Loss of you, I shall break my Heart. -0! I wish I were to be hang'd^^ in your room. Mix. I wish you were with all my Heart, that would be a Happiness; but I poor Sinner can't expect such a i i j Mercy.— -Well, I am but a dead Man.— -And to die with a i I clear Conscience— If I owe any Man any thing, I here ! i ! ! heartily forgive him; and whoever owes me any thing, let | i 1 Si I 1 them pay my Wife. Here Peg, here are the Writings of i ! ■ that Rogue Vizard's Estate; he has brought me to this , 1 48 want. Need, lack. 1^a. At. 150 i hang'd . . . room. Hanged instead of you. i j 1 Si ^ Writings. Mortgage (see infra, n. 152). 141 untimely End; they are dear Writings to me. And now, dear Wife, take Leave of thy doleful Husband. Wife. Ho, no, my Dear, I'll stay and see thee hang'd, and please the Lord. 0 dear! if the Rope should break, I shall break my Heart. Viz. The Writings of my Estate! one Trick to 'recover them is worth all that ever I play'd. Good Woman, the Rope will prove a trusty Rope, trouble him not with thy Fears, in this his Hour of Tribulation. [Picks her Pocket of the Writings.] Mix. Wife, Wife, the sanctified Rogue has pick'd thy Pocket.— Some Com'fort yet,— the Parson will be hang'd with me.— Ha!— as I live, 'tis Vizard! 0 Rogue! Rogue! why thou Villain! Didst thou come here to let me be hang'd for thy own Roguery? [p. 23] Viz. Why faith, Mixum, thou hadst the 152 Conscience to put me into the Condition ^ of hanging or starving, and thou' art the Occasion of all the Tricks I have play'd; and it is Twenty to One, that I should rather have seen thee hang'd, than myself. ^^Condition . . . starving. In B. Mixum has gained control over Vizard's estate and this is in part the reason for Vizard's never-ending harassment of Mixum. This explanation is lost from later versions of the story because it occurs in the main plot and not the sub-plot. However, the return of the mortgage to Vizard remains a part of this last scene in all versions. Naturally it no longer makes any sense without the earlier explanation. Enter Keeper. 155 Keep. Mr. Mixum, here is a Pardon come at last j | |for you. I j Mix. Ah, Heaven he praised! How my Heart leaps i | j f for Joy! Well, Pogue, I shall not die this Time; and I am j ; I jso light-hearted, and over-joy'd, that I am resolved to J show the same Mercy I have received, and forgive this ! ! ! ! Rogue this Time; tho' I foresee he will he hang'd at last, j 1 Viz. Sir, I thank you, hut I shall disappoint you, ! :I hope; for I design to marry, as the lesser Evil of the two, and see what that will do. Mix. Say you so? Why then, to make you Amends for the Wrong I have done you, and encourage you to he honest, I'll give you my Daughter to Wife, and a Thousand Pounds ) 154 !to maintain her; and as Earnest, there's the Mortgage 'of your Estate, to hind the Bargain. i Viz. What, sweet Haney? A lovely Girl, faith! I j and Sir, I accept your Proposal, and thank you heartily. And now for Refor- [p. 24] mation, and a new Life. Come j ! !Eather, let's take our last Leave of this hellish Place. ' I ! ^^Mr. Mixum, . . . you. John Gay in The Beggar1 s ; Opera (London, 172$), makes good use of this device of :the last-minute reprieve from Hewgate prison. It is : prohahle that Gay took the suggestion for this scene from ’ ;Bullock's play. ' | ^Earnest. Security, show of good faith. 14-3 155 Farewell ^ ye Whores and Dice, and Follies all; Reason returns, and I attend her Call. [Exeunt omne s.]^ ^ FINIS 155 Farewell . . . Call. Ap. Farewell my Troubles, and my Follies all, / Reason returns, and I'll attend its Call. ^-^Exeunt omnes. Exit everyone. CHAPTER V THE BRAGGADOCHIO: OR, HIS WORSHIP, THE CULLY The droll as a dramatic genre grew in complexity j during the century between the closing of the public j theatres in 1642 and the publication of The Strolers j Pacquet Open'd^ in 1742. The Braggadochio: or, His ! 2 ■ Worship, the Cully is the only droll in the present j collection which retains the simplicity of most of the I 5 . 4 ; earliest drolls included in I Wits and II Wits. The 1 limited cast of characters, the single street setting, i r | the simple dramatic action confined to one incident, the ! awkward transitions from one portion of the excised ! , material to the next, and the almost verbatim transcription I of the parent play by the droll author, all mark The I Braggadochio as the most traditional droll in The Strolers. i . The diverse range of dramatic entertainments performed at "^London. 2 Ibid., pp. 67-87- All subsequent references to , this droll in this chapter are cited as The Braggadochio. 5 Erancis Kirkman, ed., The Wits, or Sport upon Sport, Part I (London, 1662). 4 Prancis Kirkman, ed., The^Wits, or Sport upon Sport (London, 1673). i the droll booths set up at the eighteenth-century London ' 5 j fairs^ is reflected in the diversity of drolls included ! in The Strolers, with The Braggadochio exemplifying the i i jleast complex end of that range. Sources I The parent play of The Braggadochio is William I 6 ; Congreve 1s The Old Batchelor. Wo other printed sources * were used by the droll author in preparing the text of | this droll version. Congreve's lack of experience in plot | construction— The Old Batchelor being his first attempt at I playwriting— was a fortuitous advantage for the droll theatre. , T The plot .. . is neither original nor ingenious," consisting "of five separate actions . . . j[which] run parallel to each other and are loosely con- 7 ■ nected., t r These are precisely the qualities which make a ; t I t ^See supra, Chap. II, p. 59- j i ' i 6 I ! London, 1693- All subsequent references to this : edition of this play in this chapter are cited as A. j , A variant issue of the same edition appeared in 1693 : ‘under the title of The Old Batchelour. Subsequent editions' 1 of this play published prior to 174-1 were issued in 1694 , ;(3 issues), 1697, 1707, 1710 (Quarto), 1710 (Works, Vol. ! :I), 1730 (Works, Vol. I), and 1735- All editions were ' published in London. A comparison of the droll with each ; . of the extant editions indicates that the droll author ' 1 was using the first (1693) edition for his copy text. | This edition has been used for this study. ^D. Crane Taylor, William Congreve (London, 1931), |pp. 31-32. i play suitable for adaptation as a droll. The lack of 1 originality in plot and characters assures some continuity 1 i j I with the popular theatrical tradition; the multiplicity I ; of subplots necessitates shorter and more limited plots i 1 which can more easily be adopted in full by the droll | : author; and the lack of integration of the several sub- i plots facilitates the excision of one without extensive adaptation or revision. The Old Batchelor is the only I parent play of any of the drolls in The Strolers from | Q I which more than one droll was derived, a result due in | large part to the manner of its original composition. i J The sources of Congreve's various plot strands can be traced immediately to the Elizabethan and Jacobean drama, and, in the case of the two farce subplots from which the drolls were derived, ultimately back to classical | antiquity. Although it is possible to "detect patches of ' 9 . Brome" and to "scent the influence of Marston, the most i ' 10 ; obvious model for Congreve was Every Man in His Humour. i Bluffe, the most colorful character and title character of j ! ! The Braggadochio, appears to have been modeled on Jonson's i 8 The Braggadochio and Eondlewife and Letitia (Dublin, 1767). See infra, "Related Plays," pp. 14-8-151. 9 * ^Bonamv Dobree, ed., Comedies by William Congreve ; (London, 1925), p. xvi. i 1 Ben Jonson (London, 1601). 'Bobadill. Eondlewife, the hero of another droll adap- | I | \tation, is clearly a reworking of Jonson's Kitely. In | I I Jspite of the unmistakable influence of Ben Jonson's play !on The Old Batchelor, it must be kept in mind that "the i J Wittol-Bluffe-Sharper farce is the stock device of a i idoddering knight being doubly duped by a braggadochio and a sharper,""^ and as such had enjoyed a long history in the popular theatre. The history of the "braggart soldier" in European 12 j drama has been established in great detail elsewhere and | need not be repeated here. The major English adaptations i of Plautus' Miles G-loriosus prior to Congreve were: Ralph j Roister-Doister (ca. 1553) hy Nicholas Udall; Mother Bombie (ca. 1587) by John Lyly; Don Armado in Shakespeare's hove's !Labour's Lost (ca. 1593-94-); Sir John'Ealstaff in 1 Henry ( r — — .ir — r “ ' i |IV (1596), 2 Henry IV (ca. 1596-97), and The Merry Vives of I Windsor (1597), all by Shakespeare; Captain Bobadill in j j 1 Ben Jonson's Every Man in His Humour (1598); and Parodies ! rminmnn r V ' ' I , I in Shakespeare's All's Veil That Ends Well (ca. 1602-03).^! , i \ i-------------------- | 1 ^Taylor, p. 32. ! I i 12 Daniel C. Boughner, The Braggart in Renaissance 1 i Comedy; A Study in Comparative Drama from Aristophanes ! ; to Shhkespeare (Minneapolis, 1954-). | i "^Gilbert Highet, The Classical Tradition: Greek ' and Roman Influences on Western Literature (iNew York, :1957)- See also Oscar James Campbell andEdward G. ! Quinn, eds. , The Reader's Encyclopedia of Shakespeare , (New York, 1966)". f ' ’ 1481 !Congreve, whose familiarity with many of these plays can ; he assumed, was adopting for his own play one of the most 1 established stock characters of the theatre, and may well i have created Captain Bluffe out of several of these ! I I ;examples rather than any one specifically. I Related Plays I | The most perplexing problem surrounding The ; i f Braggadochio is the absence of any adaptations or related iplays during the eighteenth century. Not only is there ino evidence of the droll having served as the source for i !additional plays, but the Wittol-Bluffe-Sharper plot of I Congreve1s play appears to have been totally ignored by 'all eighteenth-century adapters, with the exception of | jthe droll author. It would seem that the stock plot of ■the braggart warrior had run its course and lost its j jpopularity by the eighteenth century; but this is not the j |case, as the tremendous popularity of Congreve's play j iduring the first half of the eighteenth century clearly j 14 1 !shows. Purthermore, many of the earlier versions of j ithe braggart enjoyed great popularity throughout the j 'period. Shakespeare's The Merry Wives of Windsor was i performed during every season from its revival in 1720 j ; 1 Z t _ See infra, "Stage History," pp. 151-155* i ....................... .............. I 1 5 j > through 1750* Shakespeare's 1 Henry IV was performed ; ! IS I 1 in each year from 1704 through 1750. All1 s ¥ell That | ^ > 1 Ends Well (Shakespeare) was not revived until 1741, and I * then remained in the repertory of the London theatres j ! 1 7 I only sporadically, ' but Congreve's The Old Batchelor was ) 18 • ' performed during all but one year between 1700 and 1750. j ■ The lack of adaptations may be directly related to the j | popularity of the existing plays. With Shakespeare's and Congreve's plays continually on the stage there may 1 . i I have been no need to provide new or different versions. [ i j It must also be noted that numerous versions of the jbraggart character and the swindle plot did exist, versions [ which, though not directly derived from any of the above j plays, did help to maintain the popularity of this stock 1 [ character and plot. | One related play which deserves special mention | is the second droll which was derived from The Old I IQ ' j Batchelor, entitled Eond.lewife and Letitia. Allardyce j ! 1 1--------------- 1 ~j ci 1 ; -'william van Lennep, Emmett L. Avery, Arthur H. j Scouten, and George Winchester Stone, Jr., eds., The London; i Stage (Carbondale, Illinois, 1960-1965), Parts 2-4. j I 6 - 1 — 1 • -j Ibid. ; ^Ibid. , Parts 3-4. j 18Ibid., Parts 2-4. ■^Dublin, 1767. r 150 i 20 ,Nicoll designates this play as a farce, but an exami nation of the text shows that it falls clearly within the j 'proper designation of a droll. Eondlewife and Letitia !is simply an excision of the Bellmour-Laetitia-Eondlewife |plot of Congreve's play, another stock plot which "shows I jthe typical city merchant of advanced years and impaired 1 I .comprehension being tricked by his young and beautxful 1 - 21 'wife who carries on an affair with a courtier." This j j droll was performed on 14- August 1767 at the Little Theatre i 22 jin the Haymarket, and appears to have been performed on I 23 [three earlier occasions under the title of The Credulous ' 24 !Husband. Eondlewife's dramatic ancestry has been traced ^ A History of English Drama, 1660-1900 (Cambridge, 1965-1967), III, 114, 328. j ^Taylor, p. 32. | ^London Stage, 4, p. 1261. I 1 ^22 April 17^-7 and 21 August 1766, Little Theatre iin the Haymarket (London Stage, 3, p. 1306; 4, p. 1175); ■ 3 through 6 September 1754, Bartholomew Eair (London Stage, '4-, p. 433). 24 That both of these plays are the same cannot be established with certainty. Nicoll (English Drama, .II, I 369; III, 114, 323, 328) lists them separately and does ’ .not suggest any relationship between the two plays, but ;an examination of the casts of characters of the various ;performances would indicate that both plays are the same. :The text of The Credulous Husband, if it was printed, 1 is now lost. I L 151 : ' from Messer Nicia in Machiavelli's La Mandragola through * I iDryden's The Spanish Friar, Shadwell's The Woman-Captain, j 1 25 ! Ravenscroft's The London Cuckolds to Congreve's play. ! : i j Except for their derivation from the same parent play, no | i I . other connection exists between The Braggadochio and j I ! 1 Eondlewife and Letitia, hut the documented success of the i I - ; I I latter,as an eighteenth-century droll shows that The Old I 1 | I Batchelor was capable of contributing to the popular r [ i I ! theatre of the eighteenth century two different drolls, ' a feat not accomplished by any other parent play. I 26 ! Stage History I No direct evidence of any performances of The Braggadochio in London or elsewhere has come to light. In spite of some gaps in the records of London performances i during the eighteenth century, it is not very likely that j t I I the droll was ever performed under its own title in any ; j _ ' : London theatre. The possibility of performances outside of; i I , London is greater, but no records exist in proof of this. j ' As with all drolls and plays of the popular theatre, performances may have occurred under one or more alternate j ■ i ^Montague Summers, ed., William Congreve, Works ' ' (London, 1925), I, 157* ! ?6 I A complete "Calendar of Performances" for A. is ] compiled in Appendix B. The following discussion is based j | on the information contained in this calendar. As , citations are given for each calendar entry, they are Lno.t ..repeated, .in this section. __ ____ ______ ' titles, but no direct evidence of this is available. j I ; With The Old Batchelor the documentation of the j i I stage history is a completely different matter. This 'parent play enjoyed the greatest and most durable'popu- i larity of any of the parent plays of drolls in The I i Strolers. Its premier at Drury Lane sometime in March 27 ' j 1693 was followed by a probable performance at Court j , in 169-4--, another Drury Lane performance during the following season, and a possible revival during the 1696- i | 1697 season. Thereafter, beginning in 1700, it was j performed at some London theatre during every single year | p o except one until 1750. A total of 271 performances I | are recorded for the first half of the eighteenth century, an average of slightly less than five and one-half per formances each year. This is a phenomenal record for any . Restoration play. | S ! : The Old Batchelor was exclusively a Drury Lane j ] ! 1 play from its original production through the 1708-1709 j i season. Three performances during this period are particu-j larly significant. On 7 July 1703 only Act IV (which | : . I comprises the Bellmour-Laetitia-Eondlewife plot) was i ^Probably during Lent (London Stage, 1, p. 4-19)- p o : 1707- For additional information on the stage ! I history of The Old Batchelor between 1700 and 1789, see ! ■ Emmett L. Avery, Congreve1s Plays on the Eighteenth- ' ' Century Stage (New York, 1951), PP- 1?1-182. i 153 ; presented with a farce, The Comical Rivals; or, The School ! Box, H 16 last act of'Moliere's he Me dec in Malgre Buy [ ! under the title of The Angry Doctor and the Doubting; j I ’ 1 I Philosopher. The apparent success of this effort of i I droll-making is indicated by the presentation of one act ! | (probably Act IV again) of Congreve's play on 11 December ' 1705 along with the afterpiece, Arsinoe, Queen of Cyprus, ! and a repetition of the same bill in the same season on | 28 February 1706. Clearly, the possibilities for i excising material from The Old Batchelor had begun to be explored. Beginning in December 1709, the play began to be performed at other London theatres in addition to Drury Lane, first at the Queen's Theatre in the Haymarket and i 1 'next, in January 1715, at the Theatre in Lincoln's Inn ■ Fields. On 28 November 1720 Congreve's play was performed ! at "Mr. Hall's Booth in Bird-Cage Ally" at Southwark. i This was probably the same booth at which John Hall and John Leigh had presented The History of the Famous Fryer Bacon on 5 September 1720 during the time of Southwark 29 Fair. ^ Unfortunately no record of the cast of this performance survives, making it impossible to determine if the complete play was given or if one or more excerpts were made from the play. Nevertheless, the establishment ^See also infra, Chap. VI, pp. 209—205. ; of a connection between Hie Old Batchelor and the London ■ fairs is significant. j Anthony Aston, a comic actor who had performed the | role of Eondlewife in Congreve's play at the Theatre in I jLincoln's Inn fields from January through May’1722, began ! a series of independent performances of the Bellmour- , Laetitia-Eondlewife plot in November 1723- Assisted by i i 1 his wife and young son, he presented "Tony Aston's Medley," i a series of mostly comic excerpts from standard plays, at ! ; various taverns around London. Six "Medleys"' that I included The Old Batchelor excerpt were advertized between 1 November 1723 and 20 April 1724 at such places as Dog Tavern, King's Arms Tavern, Castle Tavern, Anchor and Vine I Tavern, Horshoe Tavern, and Palace Yard. A final "Medley" i , was performed ten years later at Bouffler's Tavern in Bloomsbury (16 January 1734). ! 1 i i The Old Batchelor became a standard piece at | i Odell's Theatre in Ayliffe Street, Goodman's fields : between 1729 and 1732, after which it became one of the 1 more frequently acted plays at The New Theatre in Ayliffe ; 'Street, Goodman's fields. It entered the Covent Garden ' Theatre repertory on 2 Pebruary 1733 and became a stock play at The New Theatre in the Haymarket in October of ! that same year. 'Its popularity can be gauged not only , 1 by the great number of performances recorded, but also jby the fact that it became established in the repertory 155 ' of every major London theatre between 1700 and 1750. ; No compilation of performance data for The Old ! Batchelor outside of London has been made, but'even a I [ cursory examination of the available records reveals that i i it was equally popular in other parts of the English- 50 i speaking world during the eighteenth century. | Analysis as a Theatrical Piece j | As noted before, The Braggadochio is in all respects | ^ the least complex of the'seven drolls included in The ' Strolers. Gibe cast of characters is the smallest, the j I number of scenes the fewest, and the staging requirements I i the simplest of any of the drolls in the collection. Even i t | the least sophisticated group of strolling performers could have presented this droll in virtually any available I performance location. , Only four male characters are named in the droll, 1 ! ! of which only three appear after the first scene. The i I ; droll revolves around Sir Joseph Wittoll, a foolish { I ; gentleman, his friend Captain Bluff, a cowardly braggart, ! and the efforts of Sharper, a fast-talking swindler, to 50 See: Sybil Eosenfeld, Strolling Players and Drama: , in the Provinces, 1660-1765 (Cambridge, 1939); William ; ■ Smith Clark, The Early Irish Stage: The Beginnings to | ' 1720 (Oxford, 1955); William'Smith Clark, The Irish Stage j ; in the County Towns: 1720 to 1800 (Oxford" 1965) ; and j ! James C. Dibdin, The Annals of the Edinburgh Stage j 1(Edinburgh, 1888). ! i 156 ! :cheat Sir Joseph and expose and humiliate Captain Bluff. ; I j There is some indication that the droll was arranged in j !such a way as to make it possible for the actor playing j iCaptain Bluff to double as Bellmour in the first scene, j ,thus reducing the number of actors needed for a perform- ! 1ance to three. The three major characters are stock ; i I ifarce types, requiring actors skilled in this form of i ’ * ! i comedy. An examination of the cast lists of fair per- ! , i |formances during the seventeenth and eighteenth centuries !reveals that the great majority of actors performing at | i ithe fairs were the low comedians from the London theatres. j jThis type of droll would, therefore, be perfectly suited I j to their special abilities. | | I j The Braggadochio is not divided into any separate |scenes, but the original divisions of the story on |Congreve's The Old Batchelor create a number of natural j 'divisions in the droll. The Wittoll-Bluff-Sharper subplot ! . i appears in three segments in Congreve's play (IE? i-II,i; ; i j ■III, i; V, i), all of them run together in the droll. I Each segment begins with an entrance of one or more ; .characters and ends with the exit of all characters. ! Although this kind of transition would seem rather crude ;and clumsy to the reader, no change of scene having taken 1 I iplace, it could be handled quite smoothly and believably j 'in performance. The one and only setting required for the I jdroll is a street, necessitating only a simple platform j or other raised playing space for performance. | Costume and property requirements for this droll j are practically nonexistent. Bellmour's and Sharper's costumes consist of contemporary dress. Sir Joseph's attire could be any combination of exaggerated finery, the more preposterous, the better. Captain Bluff needs : I some type of uniform, and, of course, a large sword. i f Nothing else in the way of technical assistance is [ ! necessary for staging this droll. I BRAGGADOCHIO: OR, His Worship, I the GULLY. 52 [Insignia] LOHDOU: Printed for A. Jackson, in Clare Court, Drurv-Lane. 174-1* | ^THE . 1741. A. The / Old Batchelor . / A / | Comedy, / As it is Acted at the / Theatre Royal, / By / : Their Majesties Servants. / Written hy Mr. Congreve. / [four-line quotation from Horace] / London, / Printed, and are to he Sold by the Booksellers. / 1693. ; ■ 32 I 1 CULLY. One easily deceived or taken in; a dupe, | gull, simpleton (Hew English Dictionary). I i 159 ! i j i i | I [p. 68] PERSOES^ who speak in the j : B R A G G A D 0 C H I 0 . ^ i I 55 ! Bellmour, p ) ! ) Eriends. ; Sharper, ) i Sir Joseph Wittoll,^ a foolish Knight. i 58 i Captain Bluff, a cowardly Bully. | ^ PERSONS . . . BULLY. A. lists the four characters | in the droll along with the remaining characters in the i play. Captain Bluff is listed' as "Capt. Bluffe" and Sir ! Joseph Wittoll is listed as "Sir Joseph Wittol." With the (exception of Bellmour, none of the characters are given any description in A. Bellmour is described as "in Love with Belinda," a reference to his involvement in one of the other plots of A. | ^BRAGGAhOGHIO. An empty, idle boaster; a j ; swaggerer (E. E. P.). 1 t 1 ■ - 1 55 ! s Bellmour. Prom the French belle (fair lady) and j 1 amour (love) . 3”lover of fair ladies. j I ! ^5 . ! Sharper. A cheat, swindler, rogue; one who lives i : by his wits and by taking advantage of the simplicity of ! ' others (E. E. h.). ; i 57 'Wittoll. One who has little sense; a half-witted , person; a fool (E. E. D.). | 58 i Bluff. Assume a bold, big, or boastful demeanour,: in order to inspire an opponent with an exaggerated | notion of one’s strength, determination to fight, etc. i (E. E. D.). ' L 160 [p. 69] THE BRAGGADOCHIO: ! I i OR, His Worship, the CHLLX. ; 30 | Enter^ Sharper and Bellmour. I 40 j Sir Joseph, and Bluff, crossing. i J Sharper. Who are them? they seem inseparable |Companions. i j Bel. What, don't you know that Eool, with a I tawdry^ Out-side, and a beggarly Lining? 'tis Sir ! 4_2 I Joseph Wittol, of Wittol1-Hal1, in Comitatu ^ Enter. A. Act I, scene i (p. 8). The eighteen |speeches in the portion of this scene between Sharper ‘and Bellmour have been reduced to eight in the droll, |but the scene has not been appreciably shortened or j altered. 40 j Sir . . . Crossing. A. Sir Joseph Wittal and •Capt. Bluffe, cross the Stage. 41 tawdry . . . Lining. Sir Joseph is compared to a cloak with tawdry (showy or gaudy without real ivalue) material and a beggarly (destitute of meaning ior intrinsic value) inner lining. ; 42of Wittoll . . . Acres. Hot in A. "of Wittoll- 'Hall in Comitatu Bucks;" is brought forward from Act II, scene i (p. 12) in A. and repeated here; "a Man of large ; Acres" is brought forward from the same scene, but a !different speech, and is repeated. The reading in A. is 1"you have large Acres." Zix 44 Eucks; a Man of large Acres. A little of thy 'Chymistry, Tom, may extract Gold from that Dirt. He may i jhe worth your Acquaintance. i [p. 70] Sharper. Say you so? Paith, I am as ;poor as a Chymist, and would he as industrious. But 1 il 5 iwhat's he that follow'd him? Is not he a Dragon, ^ ; that watches those Golden Pippins? ! j Bel. Hang him; no; he a Dragon! If he he, he's ! a very peaceful one; I can insure his Anger dormant:; I 46 ■Or should he seem to rouse, 'tis but well lashing him, i ; and he will sleep like a Top. i , Sharper. Ay! is he of that Kidney? 4S Comitatu Bucks. In the county of Buckingham (Herbert Davis, ed., The Complete Plays of William Congreve [Chicago, 1967J , P- 4-9) * ■ 44 A little . . . that Dirt. The reference is to alchemy, rather than chemistry, and the practice of j ; trying to turn various base substances into gold. ' ! 45 • ' i ^Dragon . . . Pippins■ The Hesperides, three j 1 sisters who guarded the golden apples which Hera received | as a marriage gift, were assisted by the dragon Ladon. ' Hercules slew the dragon as the last of his twelve labors 1 (Brewer's Dictionary of Phrase and Pable, p. 451). i 1 46 , 'tis but ... a Ton. When peg-tops are at the | : acme of their gyration they become so steady and quiet j ; that they do not seem to move; in this state they are said to "sleep.” Both the literal and figurative meaning are utilized by Congreve (Brewer’s, p. 838). ■ 47 'Kidney. Disposition, temperament; the kidneys ; were formerly thought to be the seat of the affec- 1 tions. : 48 Bel. Yet is adored by that Biggot, Sir Joseph, ; as the Image of Valour: He calls him his Back; and, J ! I indeed, they are never asunder. Yet, last Night, I j i ' ■ know.not by what Mischance, the Knight was alone, and had \ i zlq ! > fallen into the Hands of some Night-walkers, who, I | i 50 1 ; suppose, would have pillaged him; but I chanced to come , i ! by, and rescued him. Tho1 I believe he was heartily i i frighten'd; for as soon as ever he was loose, he ran away, i [ without ever staying to see who had help'd him. { Sharper. Is that Bully of his in the Army? t 5 1 Bel. No; but is a Pretender, and wears the Habit I ' 7 i of a Soldier; which, now-a-days, as often cloaks Cowardise, 52 } as a black Gown"^ does Atheism. You must know, he has | been abroad;— went purely to run away from a Campaign; — ; enrich'd himself with the Plunder of a few Oaths; is the I ! Drum of his own Praise; and, to pass more cur- [p. 71] > rent, is dignified by the Title of Captain Bluff.— But i ! hush; yonder goes the Knight. I have no Business with ! : ' I i ' _ _ _ _ _ ■ 48 I Biggot. Bigot. A person obstinately and ; : unreasonably wedded to a particular opinion. ; 49 ; GNight-walkers- Thieves. C_f. Pletcher's comedy, ; The Night-Walker; or, The Little Thief (1640). 50 pillaged. Robbed. : 51 j J Habit. Uniform. j : 52 : black Gown. The priest's black robe. him, tho' probably you may.— Farewell. I [Exit Bell.] | 53 ! Entervv Sir Joseph Wittoll, not seeing; Sharper.! .......................................................................................................................................................................................................................... i Sir Jo. Um. Ay, this, this is the very damn'd 54- Place: The inhuman^ Canibals, the bloody-minded Viliams, i would have butcher'd me last Night: No doubt, they would 55 have fley'd"^ me alive, have sold my Skin, and devour'd my Members.--- Sharp. How's this? fAside.]^ 57 Sir Jo. An ' it hadn't been for a civil Gentleman ,as^® came by, and frighten'd 'em away.— But agad, I durst not stay to give him Thanks. 59 Sharp. This must be Bellmour he means.— Hal ^Enter . . . Sharper. A. Act II, scene i (p. 10): Sir Joseph Wittoll, Sharper following. Sharper's first ; speech, "Sure that's he, and alone," has been cut in j the droll. | 5 4 j inhuman. A. inhumane. < i 55 1 fley'd. A.•flead., Obsolete form of flay, to | strip off the skin (N. E. D.). i i Aside.] Not in A. i 57An. If. ! ^as. That. j 59 ^Bellmour. A. Belmour. I C f) I I have a Thought.— [Aside.] i --------------------- ----- 61 Sir Jo. Zooks! would the Captain would come; 62 the very Remembrance makes me quake: Egad I shall. ! I never be reconciled to this Place heartily. i I Sharp. 'Tis but trying, and being where I am, i • at worst. Row Luck! [Aside.] Curs'd Fortune! this ] must be the Place; this damn'd unlucky Place.--- i 64 j Sir Jo. Egad, and so 'tis. .Why here has been i | more Mischief done, I perceive. ! Sharp. No; 'tis gone, 'tis lost.---- Ten Thousand I Devils on that Chance which drew me hither. Ay, here, l | just here; this [p. 72] Spot, to me, is Hell; nothing to i ! be found, but the Despair of what I've lost. [Looking i 1 about, as in Search.] 65 Sir Jo. Poor Gentleman!— By the Lord Harry, ^ I'll stay no longer; for I have found too. - Zooks. Shortened form of gadzooks (god's sokinges), an exclamation of impatience. 62 Egad. A. agad. 63fAside.1 Not in A. 64 Egad. A. Agad. 65- i 6QfAside.] Not in A. | Lord Harry. Devil (Brewer's p. 4-37)' , Sharp. Ha! Who's that has found? what have you i found? Restore it quickly; or by--- l ; ’ Sir Jo. Hot I, Sir; not I, as I've a Soul to be ! 66 1 saved; I have found nothing but what has been to my i I Loss, as I may say, and as you were saying, Sir. Sharp. 0! your Servant, Sir; you are safe then, | it seems; 'tis an ill Wind that blows no Body Good. 67 i Well, you may rejoice 1 over my ill Fortune, since it i ' 68 | paid the Price of your Ransom. j Sir Jo. I rejoice!^ egad,^ not I, Sir; I'm^ j sorry for your Loss, with all my Heart, Blood, and Guts, : Sir; and if you did but know me, you'd ne'er say I were ■ 72 j so ill-natured. 1 I Sharp. Know you! Why, can you be so ungrateful, ! to forget me? Sir Jo. 0 Lord! forget him!— no, no, Sir, I don't ■ ^saved. A. sav'd. : .............................................................................................................................................................................................................................................. j I ' 67 1 ‘rejoice. A. rejoyce. j J ^Ransom. A. ransome. i t i 69 ' ^rejoice. a . rejoyce. : 70 ' egad. A. agad. ; 'm. A. I'me. 72 i ' ill-natured. A. ill-natur'd. I . . . : ------ , _ . . 166 ! 73 Jforget you;— because I never saw your Face before, egad; iha, ha, ha. I ; Sharp. How! [Angrily.] i I I Sir Jo. Stay, stay, Sir; let me recollect.— He's I ja damn'd angry Fellow.— I believe I had better remember I !him, 'till I can get out [p. 73] of his Sight; but, out 1 74 |o1 Sight, out o'Mind, egad. j j Sharp. Methought the Service I did you last Night, I |Sir, in preserving you from those Ruffians, might have I taken better Root in your shallow Memory. i I 73 j Sir Jo. Gads-daggers, ^ Belts, Blades, and (Scabbards! this is the very Gentleman! How shall I make i ! him a Return, suitable to the Greatness of his Merit?--- ! 75 jI had a pretty Thing' to that Purpose, if he han't ! 77 j frighted it out of my Memory. Hem! hem! Sir, I most'' 1 j submissively implore your Pardon for my Trangression of i j n o ^Ingratitude and Omission; having my intire Dependence, 73 I egad. A. agad. O/i i egad. A. agad. [Aside.] I I 75 ' Gads-daggers . . . Scabbards. Sir Joseph strings : together several common oaths, all of them utilizing the ! gentleman's fighting equipment. 75 pretty Thing. Appropriate speech. 77 ! : most. A. must. I i j | no j [ _ Dependence. A. dependance. i 79 Sir, upon the Superfluity" of your Goodness, which, !like an Inundation, will, I hope, totally innnerge the 1 Recollection of my Error, and leave me floating in your JSight, upon the full-blown Bladders of Repentance;— Jby the Help of which, I shall once more hope to swim into : your favour. [.Rows. ] i ; Sharp. So-h— , 0 Sir! I am easily pacify'd; the ' 80 [ Acknowledgement of a Gentleman--- i j Sir Jo. Acknowledgment! Sir, I am all over i 81 j Acknowledgment, and will not stick to shew it m the j greatest Extremity; by Right, or by Day; in Sickness, or | in Health; Winter, or. Summer; all Seasons and Occasions shall testify the Reality and [p. 74] Gratitude of your 82 superabundant humble Servant, Sir Josenh Wittoll. , Knight. Hem! Hem! ! Sharp. Sir Joseph Wittoll! i ! Sir Jo. The same, Sir; of Wittol 1 -Ha 1.1, in l I : Comitatu Bucks. ^ i 7q : " Superfluity . . . favour. A preposterous, but ; highly effective series of metaphors. 0 OA Acknowledgement. A. Acknowledgment. on stick. Hesitate. 82Wittoll. A. Wittol. 83 Comitatu Bucks. See supra, n. 43. 168 ! i | Sharp. Is it possible! Then I am happy to have ! obliged the Mirror^" of Knighthood, and Pink^ of ! 86 | Courtesy in the Age. Let me embrace you. j I Sir Jo. 0 Lord, Sir! I ' j I Sharp. My Loss I esteem as a Trifle, repaid with 87 1 Interest; since it has purchased ‘ me the Friendship and | Acquaintance of the Person in the World, whose Character | I admire. I j Sir Jo. You are only pleased to say so, Sir.— But i ! pray, if I may be so bold, What is that Loss you mention? j j Sharp. 0! term it no longer so, Sir. In the i Scuffle, last Wight, I only dropt^® a Bill of a Hundred . . 89 Pound, which, I confess, I came half despairing ' to recover; but Thanks to my better Fortune.--- Sir Jo. You have found it, Sir, then it seems; 90 I profess I am heartily glad.--- 84- Mirror. A. Mirrour. ^Pink. The most perfect condition or degree of. 86 Courtesy. A. Courtesie. ^purchased. A. purchas'd. ^dropt. Dropped. 89 ^despairing. Wot expecting. ^ I am. A. I'me. , Sharp. Sir, your humble Servant. I don't question but you are; that you have so cheap’an Oppor- I ; tunity of expressing your Gratitude and Generosity; since I ' the refunding so trivial a Sum, will wholly acquit you, ! 1 and doubly engage me. ' [p. 75] Sir Jo. What‘ S a dickens does he mean by a trivial Sum? [ Aside. ] 92 j But han'ty you found it, Sir? 93 j Sharp. No otherwise, I vow to Gad, but in my | Hopes in you, Sir. Sir Jo. Humph. i Sharp. But that's sufficient. — '^Twere Injustice 94 to doubt the Honour of Sir Joseph^ Wittoll. | Sir Jo. 0 Lord, Sir! I 9 5 I Sharp. You are above, (I'm sure) a Thought so 1 96 97 ! low, to suffer me to lose what was ventured ' in your 1 91 y What a dickens. What the devil. An inter- j Jectional exclamation expressing impatience (N. E. P.). ^han' t. Havn't. 93 yyNo . . . Sir. Not except, I swear to God, insofar as you will reimburse me, Sir. 94 Joseph. A. Jo. 'm. A. I'me. ^suffer. Allow. 97 ! y'ventured. A. ventur'd. Risked. , Service*, nay, 'twas in a manner, paid down for your 'Deliverance; 'twas so much lent you; and you scorn, ! op ,I'11^ say that for you--- > i Sir Jo. Nay, I'll" say that for myself, (with ; your Leave, Sir) I do scorn a dirty Thing. But, egad,^" : I'm"^^ a little out of Pocket at present. 102 j Sharp. Pshaw! you can't want a Hundred 1 103 104 ; Pounds. Your Word is sufficient any where: ' Tis i ! but borrowing so much Dirt; you have large Acres, and can j soon repay it. Money is but Dirt, Sir Joseph;--- | meer Dirt. ' Sir Jo. But I profess, 'tis a Dirt I have wash'd i my Hands of, at. present; I have laid it all out upon my Back. "i'll. A. I'le. | I " i'll. A. I'le. j ^"egad. A. agad. J ~^^I1 m. A. I'me. I ^"want. Lack. ' ^"pounds. A. pound. ' 104 'Tis . . . Acres. Sir Joseph apparently owns a , large amount of property, rented out to farmers. Borrowing; against the anticipated income from this property is like "borrowing so much Dirt." 105 Sharp. Are you so extravagant in Cloaths, ^ Sir Joseph? [p. 76] Sir Jo. Ha, ha, ha; a very good Jest, I profess; ha, ha, ha, a very good Jest; and I did not know"'- ^ I had said it, and that's a tetter Jest than t'other. 'Tis a Sign you and I han't teen long acquainted; 107 you have lost ' a good Jest, for want of knowing me. — I only mean a Friend of mine, whom I call, my Back; he sticks as close to me, and follows me through all 1 OR Dangers.— He is, indeed, Back, Breast, and Head-piece, 109 as it were, to me.— Egad, ^ he's a trave Fellow. Pauh! I am quite another Thing, when I am with him: I don't fear the Devil (tless us!)^^ almost, if he be ty. Ah— had he teen with me last Night.--- Sharp. If he had, Sir, what then? he could have done no more, nor, perhaps, have suffer'd so much.— Had 105 Cloaths. A. Clothes. ~^^know I. A. know that I. 107 'lost . . ♦ me. Missed the Joke because you don't know me. ^Breast. A. Brest. ^^Egad. A. agad. ^^(bless us! ) . A. (God tless us). he a Hundred Pounds'^'*" to lose? [Angrily. 1 Sir Jo. 0 Lord, Sir! by no means. (But I might 11 ? have saved a Hundred Pounds.) I meant innocently, as 115 ✓ 114- N I hope to be saved, Sir. (A damn'd hot Pel low.) i Only, as I was saying, I let him have all my ready Money, 115 to redeem his great Sword from Limbo. — But Sir, I have a Letter of Credit to Alderman"^^ Pondlewife, as^^^ far as 1 118 1 a Hundred Pounds, and you shall see I am a Person, such , a one as you would wish to have met with. f Gives it Pounds. A. Pound. 112 saved . . . Pounds. A. sav'd a hundred Pound. 115 ^hope.to be saved. A. hop'd to be sav'd. 1 1 4_ hot. Angry. 1^^Limbo. Out of pawn (slang). Eefers to a region supposed to exist on the border of Hell as.the abode of the just who died before Christ's coming, and of unbaptizedi ■ infants. Eefers in popular usage to a condition of ; : impermanence between two states, such as an item in pawn, | ; belonging fully neither to the owner nor to the pawnbroker. | : I 116 ' Alderman. A magistrate in English cities and 1 ■ boroughs, next in dignity to the mayor; in London, the 1 ' chief officer of a ward. j i 1 no ] | ms far . . . Pounds. A. as far as two hundred 1 ; Pound. There appears to be no reason for changing the | amount. j ! 118 ' and . . . see. A. and this Afternoon you ■ shall see. 1 00 j Sharp. That you are, I'll he sworn. [Aside.] j Why that's great, and like yourself. | [p. 773 Enter'*'2' * ' Capt. Bluff. Sir Jo. Oh! here a''*'22 comes. Ah! my Hector' * ' 2^ i 124- 125 : of Troy! Welcome, my Bully, my Back; egad, my iHeart has gone a pit pat for thee. Bluff. How! how! my young Knight? not for Hear, I hope; he that knows me, must he a Stranger to Hear. 126 Sir Jo. Hay, egad, I hate Hear, ever since I 127 had like to have died of a Hright. But— Gives it him.] Not in A. 12QI'll. A. I'le. 1 21 Enter . . . Bluff. A. Enter Bluffe. ! 1 2 2 a l - H e . ! 125 ^Hector . . . Troy. Hector was the eldest son 1 of Priam, king of the Trojans, and, according to Homer's ■ Iliad, the nohlest and most magnanimous of all the Trojan ; chieftans. By the eighteenth century his name had ; somewhat deteriorated, generally denoting a swaggering hully. 124- Bully. A protector and exploiter of prostitutes (slang usage from c. 1690 to c. 1750^* 22^egad. A. agad. " 1 O C ~ \ egad. A. agad. ! ^2^died. A. dy'd. i ■ ■ ' “ y y ! i Bluff. But? Look you here, Boy, here's your j j 128 I ! Antidote; here's your Jesuit's Powder for a shaking j | Pit. But who hast thou got with thee? Is he of 1 PQ ! ; Metal? [Laying his Hand upon his Sword.] | I i 150 | Sir Jo. Ay, Bully; a devilish ^ smart Fellow; j j 'a will fight like a Cock. j * " 1 k . ~ 1 ’ ; Bluff. Say you so? then I honour him.— But has j ! he heen Abroad? for every Cock will fight upon his own | : Dunghill. ! ! Sir Jo. I don't know, hut I'll present you.--- i i I Bluff. I'll recommend myself.---Sir, I honour you; E I 152 I I understand you love fighting: Sir, I kiss your Hilts.133 128 Jesuit's . . . Pit. Quinine was known as ! Jesuit's powder during the eighteenth century. Jesuit I missionaries to Peru had discovered it as a cure for ! malaria and the ague, both diseases characterized by ; : violent tremors of the body. j 129 1 I ^Metal. A. mettle. Constantly courageous or ; ! energetic [slang). j 130 1 | devilish. A. devillish. \ 1 131 : I But . . . Abroad. But has he served in the ; icampaign on the continent? See infra, n. 148. i 132 t fighting: Sir. A. fighting, I reverence a Man j that loves fighting, Sir. 1 ; I 133 ' vHilts. Referring to the handle of a sword or ,dagger. Used often in the late seventeenth and early j jeighteenth centuries in combinations, e. g., "loose in j 'the hilts," meaning unreliable or unsteady. In the , 'present instance the meaning of the phrase "I kiss your I ;Hilts" appears to be an indication (grossly exaggerated) ; of respect to a soldier of great valor. See infra, n. 206.j 175 Sharp. Sir, your Servant; but you are misinform'd; for unless it be to serve my particular Friend, as Sir Joseph here; my Country, or my Religion; or in some very 1-54 Justifiable Cause, I'm not for it. [p. 78] Bluff. 0 Lord! I beg your Pardon, Sir; 1-55 I find you are not of my Palate; you can't relish a 1-56 Dish of Fighting, without sweet Sauce. ^ Now I think,— 157 158 Fighting 1 for Fighting's Sake's sufficient.Cause; Fighting, to me's Religion, and the Laws. 159 Sir Jo. Ay, well said, my Hero! Was not that Great, Sir? by^^ the Lord Harry, he says true; Fighting is Meat, Drink, and Cloth to him. But Back, this Gentleman^^ is one of the best Friends I have in the 'm. A. I'me. ^ ^Palate. A. Pallat. Taste. ^^Sauce. A. sawce. 157 Fighting . . . Laws. In A. these two lines are not set off as verse but merely included in Bluff's speech. ^Fighting1 s. A. fighting. •^^Ay. 140 by . . . Harry. A mild imprecation, the person referred to being the devil (Brewer1s, p. 437)• 141 Gentleman. A. Gentlemen. ' World, and saved my Life last Night. You know I told 1 you. ; Bluff. Ay! Then I honour him again.— Sir, may I ! crave your Name? ! 142 Sharp. Sir, my Name ' s Sharper. i 1 Sir Jo. Pray, Mr. Sharper, embrace my Back.--- i 1 Very well.— -By the Lord Harry, Mr. Sharper, he's as ' 143 144 ; brave a Fellow as Cannibel; Are you not, Bully' Back? ! 145 j Sharp. Hannibal, ^ I believe you mean, Sir Joseph. J Bluff. Undoubtedly he did, Sir. Faith, Hannibal i j was a very pretty Fellow. Bub, Sir Joseph, Comparisons | are' odious.— Hannibal was a very pretty Fellow in those j Days, it must be granted.— But, alas, Sir! were he alive I j now, he would be nothing, nothing in the Earth. Sharp. How, Sir! I make a Doubt, if there be at ■ this Day a greater General breathing. ! [p. 791 Bluff. Oh! excuse me, Sir; Have you 1 ^^Sir. A. Ay, Sir. 1 ^^Cannibel. A. Cannibal. i 9 J\ : you not. A. not you. i ^^Hannibal. Carthaginian general (247-182? , B. C.), the greatest opponent Pome ever met. He is remembered chiefly for crossing the Alps with elephants : and a full baggage train during the Second Punic War. I - " 177 1 i served1^ Abroad, Sir? i Sbarp. Not I, really Sir. i I Bluff. Ob! I tbougbt so.----Wby tben you can know 1 h fl 1 h.f\ inothing, Sir. I'm ' afraid you scarce know the History i i 149 i of the late Wars y in Flanders, with all its Particulars. i j Sharp. Not I, Sir; no more than publick Letters, j , or Gazettes,1^0 tell us. j I 7 | I i ! I i I i ; 145 1 served. A. serv'd. See infra, n. 148. I I i ^^I'm. A. I'me. 148 | Hxstory . . . Flanders. The War of the Grand I Alliance (1688-1697)5 known on the American continent as | King William's War, was fought between France and a J coalition of European powers including England. It was 1 brought to a conclusion through the Treaty of Eyswick | (1697)- The major battle in Flanders was the defeat of i William III at Namur in 1692. Other significant battles itook place at.Fleurus (1690), Steenkerke (1692), and I Neerwinder (1693). ; P49 ; Wars. A. War. Congreve undoubtedly was ireferring to a specific campaign in the war (see infra, ; n. 153). The droll writer, removed from the specific j battles and campaigns by almost half a century, made his ; reference "wars" apply to the whole conflict, not any specific battles. 150 Gazettes. A. Gazzets. A news-sheet or ' periodical giving an account of current events. The official journal, entitled The London Gazette, was issued twice a week beginning in 1665 (Nos. 1 through 21 were printed in Oxford under the title of The Oxford Gazette). By the middle of the eighteenth century the term was often applied to any regularly published news-sheet. ! 151 | Bluff. Gazettes! Why there again now.— Why, ; Sir, there are not three Words of Truth, the Year round, 152 i put into the Gazette. I'll ^ tell you a strange Thing jnow, as to that. You must know, Sir, I was resident in 155 Flanders, the last campaign; v had a small Post there; ; hut no matter for that.— Perhaps, Sir, there was scarce ; any Thing of Moment done, hut an humble Servant of yours, that'shall he nameless, was an Eyewitness of;— I won't say, had the greatest"''^ Share in't: Tho' I might say that too, since I name no Body you know. : Well, Mr. I Sharper, would you think it? In all this Time, as I 155 156 hope for a Truncheon, — this raskally Gazette-writer 151 Gazettes. A. Gazette. It is interesting to note that the droll author has changed the term to the ! plural, suggesting the general reference to news-sheets j rather than the specific reference to The London Gazette j (see surra, n. 150). 1^2I'll. A*. I'le. * 155 ; ^ campaign. A. Campagn. The campaign to which j Bluff makes reference is probably the loss of Namur and Steenkerke during the summer of 1692. See supra, n. 148. i ! 154 greatest. A. grertest. An obvious misprint in A. ; ^ ^Truncheon. A staff carried as a symbol of office, command, or authority. 156 raskally. A. rascally. I never so much, as mention'me,— not once, by"*-^ the i ! Wars;— took no more Notice, than^^ if Nol'l"^^ Bluff had l ' ! not been in the Land of the Living. | Sharp. Strange! | Sir Jo. Yet, by the Lord Harry, 'tis true, Mr. 161 Sharper; for I went every Lay to Coffee-Houses, to ; read the Gazette my self. j | [p. 80] Bluff. Ay, ay, no matter.— You see, Mr. I Sharper, after all, I am content to retire,— live a i 162 i private Person;— Scipio, and others, have done it. , Sharp. impudent Pogue! [Aside.] I Sir Jo. Ay, this damn'd Modesty of yours.--- | 166 164- I Egad, ^ If he would put in for't, he might be made a i I 157 i 'as mention'd. A. as once mention'd. . Wars. An oath or exclamation, ! particularly suited to military men. ^'^th.an . . . Bluff. A. than as if Hoi. Bluffe. i ' ' ' - - ■ v | ^^Noll. Referring to the head, often in | combination with dull or drunken; a simpleton. ' 161 I went . . . Gazette. Copies of weekly news- sheets were available m the coffee houses for the i perusal of the customers. 162 Scipio. Publius Cornelius Scipio Africanus ; (23A?-183 B7 CTJ, Roman general, renowned for defeating ■ Hannibal at Zama (202 B. C.). He returned home in : triumph and retired from public life. 1 ^^Egad. A. Agad. i ^^put . . . for't. Apply. ; igo I i i I j ;General himself, yet. j ! Bluff. Oh! fy! no, Sir Joseph; you know I ! hate this. I Sir Jo. Let me but"^^ tell Mr. Sharper a little, | how you eat1^ Fire once out of the Mouth of a Cannon; — ! 168 jegad he did! those impenetrable Whiskers of his have j confronted Flames! I Bluff. Death! What do you mean, Sir Joseph? I 169 j Sir Jo. Look ye ^ now; I tell you, he's so modest,! he 'li^?^ nothing. j 172 Bluff. Pish! you have put me out; I have forgot ! what I was about. Pray hold your Tongue, and give me Leave. [Angrily.] Sir Jo. I am dumb. Bluff. This Sword, I think, I was telling you of, i ^^but. hot in A. I i I ' ! ^^eat. A. let. ^^Cannon. A. Canon. j i } 168 « jq i egad. A. agad. : j 189 A i ye. A. you. ' i 17°he'll. A. he'1. : — ——— — i i 171 i own. Admit. I I i 172 ! put . . . out. Angered me. ! — — 1 8 1 ! i 175 Hr. Sharper.— ; — This Sword I'll maintain to he the best | I Divine, Antomist,^^ Lawyer, or Casuist, in Europe; I 177 ; it shall decide a Controversy, or split a Cause--- Sir Jo. Hay, now I must speak; it will split a i j Hair; by the Lord Harry, I have seen it. ; [p. 81] Bluff. Zoons,1^® Sir! it's a Lye;1^ you I I have not seen it, nor shan't see it:' Sir, I say you can't j | see; What d'ye^8^ say to that now? Sir Jo. I am blind. I i ' Bluff. Death! had any other Man interrupted me.---- Sir Jo. Good Mr. Sharper, speak to him; I dare not look that way. I 1^ I'll. A. I'le. i 1 n i l . i ' Divine. A person of more than human or ordinary I excellence, pre-eminently gifted. ! | I7I 5 ' ' - " Anatomist. A person who dissects anything, an ' analyzer. j 176 r Casuist. A person who studies or resolves cases 1 of conscience or doubtful questions regarding duty and 1 conduct, often with a sinister application. i 177 : ' 'Controversy. A. Controversie. ! 1 1 7 Pi \ ; ' Zoons. Variant of "zounds," a euphemistic i : abbreviation of "by God's wounds," generally used in oaths.1 179Lye. A. Lie. i 180d'ye. A. de'e. I L I I 182 i ! 181 Sharp. Captain, Sir Joseph. is penitent. “ j O p j Bluff. 0 I am calm, Sir; calm as a discharged I 18d , Culverin; — hut 'twas indiscreet, when you know what l I will provoke me.— Hay, come,, Sir Joseph; you know my 1 184 ; Heat's soon over. ! 188 Sir Jo. Well, I am a Bool sometimes.— But v i ! I am sorry. I | Bluff. Enough. ! Sir Jo. Come, we' 11^^ go take"^^ a Glass, to drown Animosities. Mr. Sharper, will you partake? Sharp. I wait on you, Sir. Nay, pray Captain,--- you are Sir Joseph's Back. [Exeunt.] ^ ^ Joseph is. A. Joseph's. I 1 o p discharged. A. discharg'd. ; 188 ^Culverin. A large cannon, very long m , proportion to its bore. ' 184 ; Heat1 s. Anger is. 185But_ I am sorry. . A. But I'me sorry, ^ w e ' 11. A. we'le. ^^take . . . Glass. Brink a glass of wine. r 183 Enter^^ Sir Joseph Wittol, and^^ Capt. Bluff. ' Bluff. And so, out of your unwonted'*"'^ ^ Generosity--- j j Sir Jo. And good Nature, Back; I am good-natur1d, I and I can't help it. | Bluff. You have given him a Note upon 1 Fondlewife^^ for a Hundred Pounds. ! [p. 82] Sir Jo. Ay, ay, poor Bellow, he ventur'd"*"'^ j fair for11. ! 194 ! Bluff. You have disobliged me in't--- Por I i 193 have Occasion for the Money; and if you would look me Enter. A. Act III, scene i (p. 27). All of the intervening scenes in A. are cut. They all concern ' the main plot of the play. There is an obvious lapse , of time between the preceding and present scenes of the ! droll. No provision is made to indicate this passage of time except for the exit of the three characters and the entry of two of them immediately following. See infra, n. 244. ~ * ~ ^and Capt. Bluff. A. Bluffe. ^^unwonted. Pare; undesirable. 191 Pondlewife. A. Pumblewife. 192 Pounds. A. pound. 193 ■ ^ventur'd . . ♦ for't. Earned it fairly. 194 ^ disobliged . . . in't. A. disoblig'd me m it. 195 •^Occasion. Need. iin the Pace again, and live, go, and force him to re-deliver jyou the Note;— go,— and bring it me hither. I'll stay j i there for you. t ; Sir Jo. You may stay 'till the Day of Judgment i 'then; by the Lord Harry, I know better Things, than to be Why 197 196 run through the Guts for a Hundred Pounds. Why I I gave that Hundred Pound for being saved, and d'ye" I 198 jthink, an y there were no Danger, I'll be so ungrateful j j to take it from the Gentleman again? | Bluff. Well, go to him from me.— Tell him, I say 1 199 the must refund;— or Bilbo's the Word, and Slaughter !will ensue. if he refuses,tell him,— but whisper ! 201 that;— tell him--- I'll pink his Soul; but whisper that softly to him. 1Q0 y Pounds. A. pound. 197d'ye. A. d'ee. 198an. If. ^99Bilbo's . . . Word. Bilbo was slang for a sword noted for the excellence of its temper and made originally in Bilbao, Spain. It came to be associated with the sword of a bully, the phrase (bilbo's the word) signifying a challenge more noted for its sound than its sincerity. ^refuses. A. refuse. 8^ ~ * "pink. Pierce or stab. ; 185 1 i • , Sir Jo. So softly, that he shall never hear : ! i ' 202 i jon't,---- I warrant you---Why, what a Devil's the Matter, ! Bully? Are you mad? Or d'ye^ think I'm mad? Egad,2^ i I for my Part, I don't love to be the Messenger of ill 205 ;News; 'tis an ungrateful Office, ^— so tell him yourself. i Bluff. By these Hilts,2<“ ^ I believe he frighted2^ j PO f t ' ;you into this Composition; I believe you gave it him j ! 209 ! I out of Pear, pure paltry ^ Pear,— confess. i \ i ; [p. 83] Sir Jo. Ho, no, hang't, I was not afraid j I i jneither;— tho' I confess he did, in a manner, snap me j j p i n 211 jup: Yet I can't say 'twas altogether out of Pear, ! jbut partly to prevent Mischief; for he was a devilish !___________________ i 202on’t. It. t ! 2(^d 'ye. * A. d'ee. | 2<" ^Egad. A. Agad. ! t ! 2^^0ffice. Duty, responsibility. j 2Q€>Hilts. gee n. 133- j ^ ^f righted. A.' frighten'd. 208 Composition. Condition, state. | 209 paltry. A. paultry. 210 ' up. Not in A. The expressions "snap me" and j ; "snap me ujn are slang for "frighten me." ; ( ! , 211 I 'twas. A. that it w[a]s. | i 212 21*5 i cliolerick Fellow: And if my Choler had “ been up too, 214- 215 jegad there would have been Mischief done, that's |flat. And yet, I believe, if you had been by, I would I 216 i as soon have let him ha' had a Hundred of my Teeth. 217 i Ad'sheart, if he should come just now, when I'm a*igM7» I1 < 3 - tell him Mum. Enter Sharper. Sharper. Sir Joseph, your Note, was accepted, 212 cholerick. Angry. Refers to bile, one of the "four humours" of early physiology, supposed to cause irascibility of temper. 215 Choler. A. choller. Anger; see supra, n. 212. Pi 4- egad. A. agad. 215 ^that's flat. That is certain. . 'a had. A. Adsheart. A variant of "God's 216ha' had. A 21hd' sheart. i heart." t ! 218 , Enter Sharper. A. Enter Sharper, Bellmour. The droll eliminates Bellmour's entrance at this point and deletes his three speeches. Each of these three ; speeches is in the nature of an aside to Sharper, and ; is therefore not necessary to the development of the ; conversation. The deletion of Bellmour in this scene ■ can only be explained in terms of production. This droll could be performed by three actors (Bluff playing Bellmour at the opening of the droll) if Bellmour is ; eliminated in this scene. If the droll were prepared ' for reading, there would be no reason to eliminate i Bellmour in this scene. The first line in the scene in ‘A. is Bellmour's: "Thou'rt a lucky Rogue; there's your I Benefactor, you ought to return him Thanks now you have ; receiv'd the Favour." 187 219 and the Money paid at y Sight; I'm come to return my Thanhs.--- j ; Sir Jo. They won't he accepted so readily as the ' X3 • n i a • 220 I Bill, Sir. ; 221 Sharp. This is double Generosity; do me a [ Kindness, and refuse my Thanks.— But I hope you are not | offended that I offer'd 'em. i | Sir Jo. May be I am, Sir; may be I am not, Sir; ! may be I am both, Sir: What then? I hope I may be I J offended, without any Offence to you, Sir. i \ Sharp. Hey day, Captain! What's the Matter? i You can tell. Bluff. Mr. Sharper, the Matter is plain.— Sir j Joseph has found out your Trick, and [p. 84] does not i J care to be put upon, being a Man of Honour. I j Sharp. Trick, Sir! I | Sir Jo. Ay, Trick, Sir; and won't be put upon, ; 222 Sir, being a Man of Honour. 219 yat Sight. Immediately. 220 Sir. Between Sir Joseph's and Sharper's speeches in A. the following line is spoken by Bellmour: ; "I doubt the Knight repents, Tom— He looks like the ; Knight of the sorrowful Face." This is a reference to Don Quixote, the hero of Cervantes' novel. i 221 is double. A. is a double. Honour. A. Honour, Sir, and so, Sir. ; 188 ' I 2.27) 1 Sharp. Heark'e, ^ Sir Joseph, a Word with ye. j 224- ' ;In Consideration of some favours lately received, I i ■ 225 'would not have you draw v yourself into a Premunire, by i 77^ 227 .trusting to that Sign of a Man there, that Potgun, ' 22 Pi ; charged with Wind. i t | Sir Jo. 0 Lord! 0 Lord! Captain, come justify | 229 230 I yourself.— I'll give ^ him the Lye, if you'll stand to * it. i Sharp. May then, I'll be before-hand2^ with you; | take that, Oaf.2^2 [Cuffs him.] I--------------- l I 223 ; - " lieark'e. A. Hearkee. Listen to me. i 1 PPM- i received. A. receiv'd. ! I 223 i draw . . . Premunire. Get yourself into a' fix. | ■ The word "premunire" is seventeenth-century legal jargon j denoting a writ granted for an offence against the royal j 1 prerogative. i I 1 226 1 ; Sign . . . Man. Poor excuse for a man. i i | ; 225?otgun. A boaster or braggart. Originally a j short cannon with a large bore, so called from its shape. j ! 228 i charged. A. charg'd. ! 229 i ^give . . . Lye. Accuse him to his face of telling a lie. i 25°to it. A. to't. 1 J 251 ' ; before-hand. Anticipate. I | 2520af. A. Oafe. j Sir Jo. Captain, will you see this? Won't you ; pink his Soul? ! p - 5 3 i Bluff. Hush! 'tis not so convenient now.— i | ' I shall find a Time. i ! ; Sharp. What do you mutter about a Time, Rascal? ; you were the Incendiary.— There's to put you in Mind i | of your Time.— :A Memorandum. fKicks him. 1 ! Bluff. Oh! - this is your Time, Sir, you had best i i 234 ‘make use on't. I | ! Sharp. Egad, and so I will: There's again for jyou. [Kicks him.] I ; Bluff. You are obliging, Sir; but this is too ! j publick a Place to thank you in: But in your Ear; you I j are to be seen again. | Cp- 85] Sharp. Ay thou inimitable Coward, and to I ; be felt— as for Example. [Kicks him and Exit.l2^ | Bluff. Very well very fine but 'tis no j i Matter is not this fine, Sir Joseph? Hush! A. Husht. ^on't. Of it. 255Egad. A. I Gad. 2^[Kicks him and Exit.]. A. [Kicks him.] Bell. Ha, ha, ha, prithee come away, 'tis scandalous to kick this Puppy without a Man were cold, and had no other way to get himself a heat. [Exit. Bell. Sharp.]. Sir Jo. Indifferent, agad in my Opinion very ! indifferent.— I'd rather go plain all my Life, than j wear such Finery. Bluff. Death and Hell to he affronted thus! I'll die2^ before I'll suffer it. [Draws.] 238 Sir Jo. 0 Lord his Anger was not raised before— : — nay, dear Captain, don't be in Passion now, he's gone— j 232 240' put up, J put up, dear Back, 'tis your Sir Joseph begs, come let me kiss thee, so, so, put up, put up. 241 i Bluff. By Heaven 'tis not to be put up. Sir Jo. What Bully? Bluff.. The Affront.242 Sir Jo. Ho agad no more 'tis, for that's put up already; thy Sword I mean. Bluff. Well Sir Joseph, at your Entreaty— but were not you my Friend, abus'd and cuff'd and kick'd. 2^die. A. dye. 238 raised. A. rais'd. 239 put up. Put away your sword. 240 begs. A. beggs. 241 put up. Accepted, borne. 949 The Affront. A. Th'Affront. I r n 24-"5 ' I [putting up. J y | Sir Jo. Ay, ay, so were you too; no Matter, 'tis j ! past. | Bluff. By the immortal Thunder of Great Guns, 'tis | false— He sucks not vital Air who dares affirm it to | this face. Flooks big.1 I Sir Jo. To that Face I grant you Captain— no, no, | I grant you— not to that [p. 86] Face by the Lord Harry j ; if you had put on your fighting Face before, you had ! done his Business— he durst as soon have kiss'd you, as | kick'd you to your Face— but a Man can no more help what's , ! done behind his Back, than what's said— come we'll think no more of what's past,. i | Bluff. I'll call a Council of War within, to con- ! !sider of my Revenge to come. I I [Exeunt.] ; | Enter^2 ^- Sir Joseph and Bluff. j ! : I - I i ' oy, 7; i Fputting up.1 A. [Putting up his Sword.] p/\i\ , - i Enter. A. Act V, scene i (p. 4-7). All inter- • , vening scenes in A. deal with the main plot. Again no j :adequate provision is made in the droll for the implied i ; passage of time (see supra, n-188). ' ^ ^Bluff. A. Bluffe. In A. Sharper and Setter are : :already on stage and overhear the whole scene. Hie first ■ (speech after Sir Joseph's and Bluffe's entrance (omitted i ;in the droll) is by Sharper: "Heh! Sure, Fortune has ! ; sent this Fool hither on purpose. Setter, stand close, ! !seem not to observe 'em; and Hark-ye. [Whispers]." j 192 Bluff. Bear him not I am prepar'd for him now; 246 and he shall find he might safer have rous'd a sleeping ’ Lion. Sir Jo. Hush, hush, don't you see him? Bluff. Shew him to me, where is he? Sir Jo. Hay, don't speak so loud -I don't jest, as I did a little while ago— look yonder:--- A-gad, if 247 he should hear the Lion ' roar, he'd cudgel him into an Ass, and his primitive braying. Don't you remember the 248 Story in AEsop's Babies, Bully? A-gad, there are good .Morals to be pick'd out of AEsop's Eables, let me tell 249 you that; and Reynard ^ the Eox too. 246 safer have. A. have safer. ^ ^Lion. . . .Ass. One of Aesop's Babies (see infra, n. 248) tells of an ass that put on a lion's hide in order to appear more courageous, but was betrayed when he began to bray. Brom this fable derives the expression, "an ass in a lion's skin," denoting a blustering coward, or a fool who pretends to be a wise man. 243 AEsop's Babies. Aesop was a Greek fabulist (c. sixth century B.C.?), whose fables were preserved principally through the works of Babrius, Ehaedrus, and Planndes Maximus. The fables are brief, allegorical narratives in verse or prose, illustrating a moral thesis or satirizing human nature. The characters of fables are usually animals who talk and act like human beings while retaining their animal traits. In England the fable tradition was continued in the seventeenth century by John Dryden and in the eighteenth century by John Gay. Reynard . . . Box. The reference is to one of Aesop's fables (see supra, n. 248), "The Box and the Lion." I Bluff. Damn your Morals. I j Sir Jo. Prith.ee, don't speak so loud. j 250 ! Bluff. Damn your Morals, I must revenge the i P ! Affront done to my Honour. [in a low ^ Voice.] i I [p. 871 Sir Jo. Ay; Do, do, Captain, if you think I ! fit you may dispose of your own flesh as you think i i fitting, d'ye see:--- But by the Lord Harry I'll leave ; 252 I you. f Stealing off on Tip-Toes.] Bluff. Prodigious! what will you forsake your 253 friend in his Extremity? You can't m Honour refuse to carry2-^- him a Challenge. [Almost whispering, and treading softly after him.] Sir Jo. Prithee, what do you see in my face, that 255 looks as if I could carry a Challenge? Honour is your 256 ! Province, Captain: take it.----All the World know me to | 25°the. A. th'. i | 251iow. a . lovd. I i 252[stealing . . . Tip-toes.1 A. [Stealing away upon his Tip toes.]. 253 ^ refuse to. A. to refuse to. 254 carry - - « Challenge. Act as a go-between m : an affair of honor; serve as a second. 255 ; - " ^could. A. would. j 2^to . . . Worship. A. to be a Knight, and a ; Man of Worship. I. e., not a fighter. i"be a Man of Worship. ! PB7 PSR !Pray give me Leave to keep my Carcase J whole, j But Huff^^ fight yourself with all my Soul. ! [Exeunt omnes.] i i ' J I I I S. ; ^^^Pray . . . Soul. Mot in A. I ! ^^Carcase. Carcass, body. I j ^^Huff. A pun on "Bluff," the captain's name, and "huff," idle boasting. | CHAPTER VI i ! THE GUARDIANS OVER-REACHED IN THEIR OMR HUMOUR; i OR, THE LOVER METAMORPEOS ' D | Two drolls in The Strolers Pacquet Open'd^ do not : i ( follow the conventional practice of selecting one or two i ! ! j plots from the parent play and forming an independent i ! play (droll) out of the excised material. The Witch- ' 2 : craft of Love; or. Stratagem on Stratagem and The J 1 J IGuardians Over-Reached in their Own Humour; or. The Lover | 5 I Metamorphos1d are abridgments of the whole of their !respective parent plays, both by Mrs. Susanna Centlivre. !The Guardians therefore provides an excellent opportunity j jto examine a different method of abridging plays, a method I j which came to be employed with increasing frequency during | the second half of the eighteenth century. I I 1 i • ! i i Sources j ; I i ! The parent play of The Guardians is Susanna " " r ----------------------------------------------------------------------------- i \ ^London, 174-2. j 2 Ibid., pp. 25-66. All subsequent references to 1 this droll in this chapter are cited as Witchcraft of Love.\ t ' * Ibid., pp. 123-167. All subsequent references to this droll in this chapter are cited as The Guardians. I ' " 196 j Centlivre's A Bold Stroke for a Wife.2 * - Remarkable in an | age of frequent borrowing of plots, characters, whole I ! scenes, and even whole plays, is the fact that A Bold I j Stroke for a Wife seems to be completely original. i i Mrs. Centlivre boasts in the prologue that j to Night we come upon a bold Design ' | To try to please without one borrow'd Line: 1 Our Plot is new, and regularly clear, | And not one single Tittle from Moliere.5 : The author had previously been criticized for being ! a | "engaged in translation"- and was determined to forestall i | any renewal of criticism with her new play. Apparently her claim of originality was correct, as no literary sources for the plot or characters have been discovered. It is unusual to find a droll whose parent play does not have at least some literary or theatrical precedents. I ! The case for Mrs. Centlivre's sole authorship of I !the play is not as clear. In A List of All the Dramatic i London, 1718. Subsequent editions of this play : published prior to 1741 were issued in 1719, 1724, 1727 i(Dublin), 1728, 1729, 1733, and 1735- All except the .1727 edition were published in London. There were no ;significant differences between these editions. The 'latest (1735) edition was used for this study. All sub sequent references to this edition of this play in this chapter are cited as A. ^A., p. [iii]. ! ^John Wilson Bowyer, The Celebrated Mrs. Centlivre j(Durham, North Carolina, 1952), p. 203- : Authors, with, some Account of their Lives; and of all the i ! i Dramatic Pieces ever -published in the English Language to j i i 1 7 l the Tear 174-7 it is asserted that "in this Play [A Bold i 1 Stroke for a Wife] she was assisted'by Mr. [John] Mottley, ! « ; who wrote one or two entire Scenes of it." 'This statement j is not recorded elsewhere, hut, if true, still would not i | diminish greatly Mrs. Centlivre’s claim of originality j for this play. ! | The plot is, of course, the most original aspect I of the play. The device of a reluctant guardian standing I ! between a suitor and an eligible young lady can be found in I : all periods of comedy from Soman times to the eighteenth j century, but nowhere in the history of dramatic literature I do we find a precedent for complicating this situation with three additional guardians. The apparently insur- | mountable series of obstacles posed for the hero by these ; four guardians serves as the basis for a fast-moving and j I i ! varied chain of disguises. The plot is, in one sense, i 1 i ! really a synthesis of four separate plots brought together j by the suitor and the young lady who is the object of his suit. ; i ^Appended to Thomas Whineop’s Scanderbeg: or, hove iand Liberty (London, 1747), pp* 87-320. O Ibid., p. 191. It has been determined that John i Mottley was probably chiefly responsible for writing the 1 List (Bowyer, p. 6). i The major characters, though, not copied directly j ; from earlier literary or dramatic sources, certainly have ' | their counterparts as theatrical types in the earlier I comedy. Moreover, each of the four guardians appears to I i ! he a reflection of eccentric types which could be readily j ; i ■ found in early eighteenth-century London. As will be [ ! | seen in the notes to the droll, much of the piece is ! I i ! based on the contemporary life of the times and the I characters are accurate, albeit exaggerated portrayals j ! • of that society. i ! I i The popularity of A Bold Stroke for a Wife is i j demonstrated not only by the eight editions published i 9 , during the first half of the eighteenth century, but ! j also by the appearance of a Trench translation in 1751, | | favorably reviewed by Gotthold Ephraim Lessing on 15 i October 1751, ‘ * ~ < “ > and a German translation, Die Vier ; i - - - - - - - - - - - - - - 1 ' 11 i j Vormdnder, published in 1791* It is reasonable to ; 9 ! Supra, n. d. ; ! 1 ; ^Sdmtliche Schriften, ed. by Karl Lachman and Eranz : j Muncker, 5rd ed. (Stuttgart, 1889), IT, 261-265* The ! title of the volume which Lessing was reviewing is given ! as follows: Melange de differentes pieces de vers’et de ! ■ Prose' traduites de l'Anglois, d'apres Mdmes. Elize Haywood, 1 et Suzanne Centlivre, Mrs. Pope, Southern et autres. . I 11 Bowyer, p. 217* Walter and Clare Jerrold (Eive j ' Queer Women [London, 1929], p. 551) state that it was j twice published in German, but they do not include any i more specific information about either publication. i ! assume that some performances of these translations i ' probably took place in France and Germany during the ! j eighteenth century. : Related Plays : It is difficult to understand why a play which ! obviously enjoyed as much popularity as did A Bold Stroke ; pp for a Wife was not more frequently adapted and copied j by other eighteenth-century playwrights. Possibly the l ;complexity of the plot and the necessity for retaining I i all of the incidents in order for the plot to work made | partial adaptations too difficult. Possibly the con- | tinued retention of Mrs. Centlivre's play in the repertory | | of the London theatres made adaptations unnecessary, j The only full-scale abridgment of the play during i ; the eighteenth century appears to have been The Guardians, -the droll version. One other play which may have been influenced by A Bold Stroke for a Wife was William 1 - 5 Chetwood's The Lover1s Opera which, according to Allar- I :dyce Nicoll, had as its most noticeable element "the 12 Its popularity is indicated by the unusually large number of editions published, its translation into French and German, and the great number of performances in London (see infra, Stage History). ^^London, 1729- I j satire of tlie Quakers in the person of Aminadab Prim, an ! j i ielement which, it has been suggested, Chetwood took from j jbtrs. Centlivre's A Bold Stroke for a Wife."^ The ap- 'parent relationship' between these two characters is | I strengthened by the fact that three of the four actors i |who played Aminadab Prim between 1729 and 1738 also !played Obadiah Prim between 1730 and 1739*"^ j j i Bowyer, quoting The Universal Magazine for January, j I ! j1764, "notes that the character of Sir Philip Pigurein ! ; [yin The Orphan of China by Arthur Murphy] was adapted ! 16 ifrom Sir Philip Modelove of A Bold Stroke for a Wife." j 17 IBowyer apparently did not examine The Orphan of China, as there is no character named Sir'Philip Piguerein nor any character who in any way resembles any character in l IA Bold'-Stroke for a Wife in Murphy's play. There seems to 'be no reason for the apparent error in The Universal 1 Magazine. : ! i ; Playwrights in the first three decades of the i I I 'nineteenth century appear to have discovered in A Bold J ' i ; _______ i “ ^A History of English Drama., 1660-1900 (Cambridge, ! .1965-1967), II, 241. See also Bowyer, p. 215- ! \ 15 ^Benjamin Griffin, William Penkethman, and Pobert ; Morgan. Por further details of performances see infra, : Appendix C. ; : I 16 ! Bowyer, p. Ill, n. 30. | ________^London, 1739 • ___ 201 j ! i \ j 'Stroke for a Wife a rick source for their own adaptations. ! 1 I ;The earliest version based on Mrs. Centlivre's play was 1 an anonymous play entitled The Guardians; or, the Man of ' 18 ' My Choice. This play is of particular interest, not in I the manner in which it follows the parent play but in the !original departures it makes from it. The device of four : . . I |guardians who must all give their consent in order for Jthe girl to marry and receive her full inheritance is ' I |maintained. The girl, however, does the scheming, trickingj |each guardian into giving her a deed allowing her to marry !the man of her choice, the guardian in each case thinking |that he is that man. Two of the four guardians have been I I jgiven different professions: Counsellor Quirk is a I |lawyer; General Touchhole is an ex-military man. The ! |other two, the merchant and the beau (in this case a I ’poet), are similar to their counterparts in the parent j I J iplay. ! \ ' Nicoll records a performance of a burletta adap- ! ^ | ;tation of A Bold Stroke for a Wife with the same title | ;for Monday 27 August 1810 at the Surrey Theatre in • ‘ 19 1 ;London. ' Mo copy of this version appears to have sur- j i vived, either in manuscript or in a printed edition. It ‘ is probable that this version was never published. j I i i -----------------------r- _ t ; ^Bath, 1808. See also English Drama, IV, 469« j ! l9Ibid., IV, 140 and 434. j i In the Huntington Library's Larpent Collection of i i 1 plays is a manuscript of an operatic farce adaptation of ' 20 j A Bold Stroke for a Wife entitled "Assumptions!" jNicoll records this play as having‘been performed on I 21 I 23 August 1823, but this is evidently incorrect as this i is the same date on which it was submitted for licensing. Another performance of this play under the title (The j 'Guardians Outwitted; or A Bold Stroke for a Wife, is • recorded by Nicoll for 1 September 1823, at the English i 22 •Opera House. This performance seems more likely to have I ■ . . . . 23 'taken place, but the change m title is curious. I .......... — I | - 20 i Larpent Manuscript No. 2364. All subsequent |references to this play in this chapter are cited as B. |The title page reads as follows: "Assumptions! / a musical jEntertainment / founded on Mrs. Centlivre's Comedy / iof / A Bold Stroke for a Wife / In Two Acts / Act 1st / •--- / Sir This Musical Entertainment is intended / for !Representation at the Theatre Royal English / Opera !House with the permission of the Right / Hon[oura]ble iLord Chamberlain— / I remain Sir / With the highest :Respect / Tours ObedCian]tly. / I Arnold / T. R. English I Opera / Aug. 23rd 1823-" The title page and the entire |manuscript are in the hand of I. Arnold. The sheets are ' Q1 / 2 by 10 inches, each act being numbered separately. !Act One covers twenty sheets, but the first sheet con taining the title page and the Dramatis Personae on the ;reverse side are not included in the page numbering. ^English Drama, IV, 428 and 626. 22Ibid., IV, 469. 23 -'At is aiso conceivable that Nicoll is in error I about the second performance being the same play as the_ 'first. However, no other manuscript exists and it is high- ily unlikely that two separate musical adaptations of the ■ same play would be prepared within nine days of each other. "Assumptions!"' is the only extant full-length adaptation ! i of Mrs. Centlivre's play in addition to the droll version, j Extensive comparisons of the two versions are recorded [ in the annotation. 24- Stage History I No direct evidence of any performances of The Guardians remains. It is improbable that the droll was performed in London under its own title. Performances outside of London may have taken place, but no records have to date been brought to light. It is, of course, possible that the droll version may have been played In London and elsewhere under one or more different titles. The stage history of the parent play, A Bold ! Stroke for a Wife, is more fully documented. The premier took place on Monday 3 February 1718, at the Theatre In 25 Lincoln's Inn Fields. The cast for this first per- i i formance was not listed in the newspaper advertisements J but is given in the edition of 1718. The play enjoyed ! l 24- ! A complete "Calendar of Performances" for A. is ' compiled in Appendix C. The following discussion is based ; on the information contained in this calendar. As J citations are given for each calendar entry, they are not j repeated In this section. , 25 1 "william van Lennep. Emmett L. Avery, Arthur H. Scouten, and George Winchester Stone, Jr., eds., The London! Stage (Carbondale, Illinois, 1960-1965), Part 2, p. 4-HP,--- j lists the day incorrectly as Wednesday. Robert Seibt, Die Komfldien der Mrs. Centlivre (Halle a. S., 1909), | p. 50, lists the theatre incorrectly as Drury Lane. ] a respectable run of six nights, through Monday 10 i ! February. Only on the last two nights were afterpieces ! ! j | included in the bill. j ' Considering the durable popularity of A Bold Stroke ; for a Wife throughout most of the eighteenth century, it ; is remarkable that the play was withdrawn from the I | Lincoln's Inn Fields repertory after the sixth performance j ! and not performed for over ten years. It was revived at j i i | the same theatre on Tuesday 23 April 1728, with the j ; I I 76 I ; announcement, "not Acted these Ten Years." Three more j i ! i performances were given at Lincoln's Inn Fields through ! ■ I j January 1729 and then the play began to be performed by j other companies. | Two of these performances are particularly note- I i ! worthy as they establish a connection between A Bold Stroke! I i I for a Wife and the London fairs. On Tuesday 14- October j i f j 1729, after the official closing of Southwark Fair for ; ! ! ! that year, a performance of A Bold Stroke for a Wife was i ..irn.i...nT .nm inn n.i.................. .....in i.r TiTrm-rr-nnr-1-n.TTr 1 27 i ' given "at Lee's Booth on the Bowling Green." This is j , clearly the same droll booth at which performances of ; I The Beggar1s Wedding had been advertised on Monday 15 i September 1729, during the time of the fair.28 This f ;_______________ I 28London Stage, 2, p. 971* 1 27Ibid., 3, P- 9- I 28Ibid., 2, p. 1044. I 205 i ipractice of maintaining one or more of the booths instead !of dismantling them after the last day of Southwark Fair i > |was begun in 1720 and appears to have continued through I J1733* A total of fifteen performances of eleven plays i 'are recorded, including a second performance of A Bold i : Stroke for a Wife on 28 September 1731*^ | On Friday 14 November 1729 the play had its first { | of seventeen performances at Odell's Theatre in Ayliffe i iStreet, Goodman's Fields. Thereafter the play was per- j formed at a variety of London theatres including Drury !Lane, Covent Garden, Lincoln's Inn Fields, the New I Theatre in the Haymarket, and The New Theatre in Ayliffe Street, Goodman's Fields. A total of sixty-three London performances are recorded for the period between 3 February 1718 and 30 September 1743, averaging slightly less than ! 50 j 2.5 performances per year. Between 1 October 1743 and .23 September 1776 a total of ninety-seven London perform- i Iances are recorded, averaging to slightly over 2.8 per- ; fomnances per year during this period. The performance data on the other related plays is limited to the information supplied by Nicoll discussed ^See Appendix C, 14 October 1729- I ^If the ten years between 1718 and 1728, when the |play was not being performed are eliminated, then the :yearly performance average for this period is slightly i under 4. 206 ! xi ! above. No attempt has been made to compile a stage i history of A Bold Stroke for a Wife outside of London, l but it is clear from the scattered performances which ' 32 ■ have been noted that the play enjoyed wide popularity I : throughout the English-speaking world. Analysis as a Theatrical Piece I The Guardians is the most complex in terms of‘ | staging requirements of all the drolls in The Strolers iPacquet Open'd. It requires the most number of actors, j the greatest number of separate scenes, and the most I i extensive technical support of any in the collection. I j Although The Guardians falls within the range of production j 1 capability of the fair-booth stages, it is unlikely that i I | any itinerant group of strolling players would have been l j capable of staging this droll. i : Eighteen characters appear in the droll, four of i i them women. With doubling of minor roles the cast could ^ Supra, pp. 203-204. ^Sybil Rosenfeld (Strolling Players and Drama in the Provinces, 1660-1763 [Cambridge, 1939 J) notes per- formances in Norwich (pp. 71-72), Margate (p. 221), Canterbury (pp. 231-232), Ipswich (p. 99), Bristol (p. • 207), and Bath (pp. 183 and 204). Bowyer records a ; performance in 1724 at the Playhouse on Epsom Walks . (p. 215), and Eola Willis (The Charleston Stage in the i XVIII Century [Columbia, South Carolina", 1924]), mentions | three performances in Charleston between 1754 and 1774 j^Cpp- 39, 69-70, and 73). j ~ ' ” ” ' ’ 2071 I be reduced to about nine men and three women, but any i i i i further reduction is not possible because most of the ! j characters appear together in the last scene of the play. j | The most demanding role, Col. Painwell, requires an actor j ' of considerable ability, particularly in farce-comedy. ! The four guardians must be played by actors capable of | I ; i sustaining a character role, but do not make any unusual !demands on the actors. I i The first act of the droll is divided into three i ; I ' scenes— two in a tavern and one exterior set in a park. i I The second act is in five scenes— a coffee house, two i tavern scenes, Periwinkle's house, and Prim's house. Thus a total of five different settings is required for the droll. Although none of these settings is particu larly complicated, their number would seriously limit i !the range of droll booths capable of performing the droll. f ! |The most restrictive demand made on the staging facilities | I I iis the trap door used in the tavern scene. Although a j : booth not having a trap could conceivably have eliminated { t ' I the episode wherein it is used, this cutting would rob \ i I ‘ ; the play of one of its most delightful touches of j j I farce-comedy. i Although many of the costumes could have been I | ( the contemporary dress of eighteenth-century London, the j .various disguises assumed by Col. Painwell are rather j elaborate and would have necessitated special costume construction for this droll, used in the play are not very of items necessary would have larger companies. Furniture and properties elaborate, but the quantity been available only to the ■r' ^ (VP. I CH i J7Q ;cp. 123] The33 F V h ' M . T > Guardians over-reached in their Own Humour;- or, The Lover Metamorphos'd. [insignia] London: Printed for A. Jackson,- in Clare Court, Drury-Lane. 174-1. 209 ^ Hie . . . 174-1. Title page of A Bold Stroke for ; ' ■ a Wife reads as follows: "A / Bold Stroke / for a / Wife. ■ / A / Comedy. / By the Author of the Busie-Body / and the ' Gamester. [Susanna Centlivre] / Omnia vincit Amor. / I [insignia] / Dublin: / Printed by William-Shaw Anburey, | in Abby Street, for / James Thompson, on Cork-Hill, near j jLucca's Coffee-House. / M,DCC,XXVII." The play is ! Sprinted in 12 mo. on 68 pages, but title page and followingS page with.Prologue and Dramatis Personae on reverse are not counted in numbering. The play is divided into five. ' : acts. • i UMI Number: DP22313 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Di ssert at i on Publ i shi ng UMI DP22313 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 210 , [p. 124] PERSONS5^ who speak in the i , ! GUARDIAN'S OVER-REACH’D. MEN. Colonel Eainwell. Ereeman. a Merchant. Sir Philj-p Modelove, a Bean. Periwinkle, a Virtuoso. Trade-Iove, a Broker. Obadia Prim, a Quaker. Simon Pure, a Quaker. Sackhut, a Vintner. WOMEN. Mrs. Lovely, a great Eortune. Mrs. Prim, Wife to Prim. . Servants, &c. SCENE,55 London. PERSONS . . . &c. A. Dramatis Personae. / Men. / ; I Sir Philip Modelove, an Old Beau. / Periwinkle, a kind i of silly Virtuoso. / Tradelove, a Change Broker, / 1 Obediah Prim, a Quaker, / Colonel Eainwell, in Love with i Mrs. Lovely. / Ereeman, his Eriends, a Merchant. / Simon I Pure, a Quaking Preacher. / Mr. Sackbut, a Tavern Keeper. / Women../ Mrs. Lovely, a Eortune of Thirty Thousand Pounds, ; j/ Mrs. Prim, Wife to Prim the Hosier, / Betty, Servant to j 1 Mrs. Lovely. /4Pootmen, Drawers, &c. The first four men ; are bracketed and designated "All Guardians to Mrs. j I Lovely." B. lists cast in same order as A., but elmini- : nates the character descriptions and "Eootmen, Drawers, : &c." , 55SCENE, London. Not in A. or B. L ![p. 1251 TEE I Guardians'over-reached. I ! IE THEIR ! OWE HUMOUR. i SCEEE,36 A Tavern. I f . Enter Ereeman, Col. Eainwell and Sackbut. ! ! * { I ^57 I Sack. Sir, { I am as glad to see you, as I should 1 58 I a Hundred Ton of Erench Claret Custom free; but methinks 1 j SCEEE . . . Sackbut. A. ACT I. SCEEE a Tavern; ] Colonel Eainwell and Freeman over a Bottle. B. Act 1st | Scene 1st Colonel Fainwell and Ereeman— discovered. 57 'Sir. Droll omits first twenty-one speeches of A., including an entrance and exit by a Drawer (not in cluded in Dramatis Personae of A. or B.) who is sent to summon Sackbut. B. copies these speeches with slight | variations. Fainwell tells Ereeman that he has fallen in i love with a Lady with four guardians and Ereeman recog- jnizes that the Lady is Anne Lovely. Ereeman summons Sack- ! but to help Eainwell. Droll has reduced the remainder of jthe scene from fifty-two speeches in A. to twenty speeches. | 1 The cutting has been very skillfully accomplished. Only ! j those speeches or portions of speeches having a direct j . bearing on the plot are retained, all extraneous material ; i having been eliminated. A character often begins at one j I speech and jumps to a portion of a later speech,. Some j 1 transposition of speeches takes place, but it is minimal, j B. reduces the fifty-two speeches in A. to twenty-four, ! mostly by cutting out extraneous material. B. tends to i 1 follow the wording of A. more precisely than does the . droll. ; i i 1 36Erench Claret. Red table wine imported from ! Bordeaux, France. "High tariffs maintained on French j : wines to encourage wine trade with other countries led to smuggling of claret"into England" (Thalia Stathas, ed., Susanna Centlivre's A Bold Stroke for a Wife [Lincoln, Eebraska, 1968], p. 11. j * I 211 j I 212 , j | 'you don't look merry, Colonel. ! ! Free. He has got a Woman in his Head, Landlord, i and is reduced to the miserable Condition of a Lover, i 5 9 4 0 j Sack. Pish;"^ push her home, Colonel, there's t . no parlying with that Sex. j ; Col. Were the Lady her own Mistress I have some ; i Reason to believe I should soon command in chief, you j 41 know Mrs. Ann Lovely, Mr. Sackbut. 42 [p. 126] Sack. Know her! Ay, poor Haney, I have carried her to School many a frosty Morning; alas, if . she be the Woman, I pity you Colonel: Her Father, my old Master, was such a whimsical-temper1d Man, that he hated Posterity, and wished the World might expire with himself, and if this his only Daughter had been a Boy he would have i I 45 qualified ^ him for the Opera. 59 yPish. An exclamation, expressing contempt, i impatience, or disgust (Hew English Dictionary). ! I Zj _0 push her home. An obvious sexual allusion. i 4 - 1 i Mrs. As in the cast of characters, Miss and Mrs. | are used interchangeably. See infra, n. 78. Ann Lovely ; ■is, of course, not married and technically should be called Miss Lovely. Unmarried actresses usually went j ' by the title of Mrs. during the eighteenth century. 42 Haney. A nickname for Ann. j i 45 I ! ^qualified . . . Opera. Made him impotent through j I castration. Italian castrati were popular in the opera ; of the early eighteenth century. 213 L \ . L l Col. A v e r y strange Humour in a Father. Sack. He died worth Thirty Thousand Pound, which !he gave by Will to his Daughter, provided she married with ! Z lR , the Consent of the four Guardians he appointed ^ her, i iwhose Tempers are as opposite as Light and Darkness, three ! Months'in the Year she is subject to each of their ! Humours;46 she is just come from the Bath.^ ! Col. 1Twas there I saw her. i I Sack. Ay, Sir, the last Quarter was her Beau ! Guardian's, she appears in all publick Places during his i Reign; he has May in his Fancy and Dress, but December in jhis Face and Heels, admires new French Fashions, Opera’s, Balls, Masquerades, and is always the most tawdry of the whole Circle on a Birth-day. 48 ! Free. The second is a 1 Change Broker, that will I i ;out-lie the Devil for the Advantage of Stock, and cheat the! 1 > \ t\ \ A . . . Father. A. 'Tis a very unnatural iResolution in a Father. The word "humour" is a favorite ; descriptive word with the droll writers. It is generally | used to designate a particular quirk of character or i personality. 45 j ^appointed her. Appointed for her. 46 Humours. See supra, n. 44. ^the Bath. A. the Bath. A . mistake for Bath, the ‘ reference being to the resort town in Southwest England. ' H -P ) I ’Change Broker. A broker on the London stock Lexchange.. See infra,, .n. .168., _ . . . .__ _____ I 214 ' i t leather that got him in a Bargain, a great Admirer of the j i[p. 137] Butch Management in Trade, and hates every Thing j I ; ithat wears a Sword. The third is a kind of a Virtuosi, | 1 !a silly, half-witted, positive, surly Bellow, fond of all I i ZiQ I !Things antique and foreign, wears his Cloaths ^ in the | 50 'last Century Fashion, dotes upon Travellers, and Believes j Gulliver, and keeps Cruso's steeple Hat among his |Rarities. ^Cloaths. Clothes. ' ' 50 j Believes . . . Hat. A. and Believes Sir John t Mandiville more than the BiBle. B. omits the phrase. This is one of the most revealing changes in the droll text. A. was written in 1718. The popular travel nar rative at this time was The Voyages and Travels of Sir John. Mandeville. No fewer than twelve editions had Been |published in English By 1?18, ten of them in the preceding lone hundred years, and four of them in the twenty-five iyears immediately preceding the writing of A. Three j |editions were published in the nine years following the j ; publication of A., the last in 1727* That the popularity | of Mandeville's Travels must have dropped off very sharply 1 j can Be seen By the absence of any editions after 1727, I until 1839* One of the factors which undoubtedly con- ! Itributed very substantially to the waning interest in j Mandeville was the growing popularity of new travel |literature. Daniel Defoe's The Life and Strange Sur- | prizing Adventures of Robinson Crusoe came out in 1719 j i(the year following the publication of A.), followed in i ; 1726 by Jonathan Swift's Travels [of Gulliver] into 1 Several Remote Nations of the World. Both of these works j enjoyed great popularity in the years immediately preceding' !the publication of the droll. Robinson Crusoe came out in i 1 five separate editions and Gulliver's Travels in four J editions prior to 1742. j The most important question is why did the droll i !author make the change? Obviously he wanted to use an example with which his audience would be most familiar, i But what kind of an audience was he writing for— a :reading or a theatre audience? If this droll were being i Col. This must be a rare Fellow. : Sack. And the fourth is a'very rigid Quaker, whose I j Quarter began this Day, 1 saw Mrs. Lovely go. in two Hours i ! ago, Sir Philip set her down. What think you Colonel, is 1 not the poorLady"^ to be pitied? | Col. Ay, and rescued too, Landlord. I Sack. In my Opinion that's impossible. ! | Col. There's nothing impossible to a Lover; she j bad me win her and wear her, I promised her to deliver | her, and my Fancy tells me, I shall come off with Glory. i You know all the Guardians Mr. Sackbut. 52 : Sack. Very well, Sir, they all use my House, j prepared for a reading audience, it would have been i important to delete or change references and words which ■ were unknown or obsolete. But the reference to Mandeville [ would not have been either unknown or obsolete, merely 1 less well-known than a reference to Defoe or Swift. It i.would seem unlikely that the droll author would have I bothered making the change for a reading audience; but I if we argue that he was writing for a theatre audience, I particularly the unsophisticated fair audience, then it would become very necessary for him to employ only the most recent and most widely known references or examples with which he had any familiarity. It is even possible j j that the droll author did not understand the reference to ; • Mandeville because he had not read him and therefore i substituted a reference to two travel adventures with which; I he was familiar. Here again, though, the change would 1 1 have been more likely if intended for a theatre audience : I rather than a reading audience. I ! j ! -^poorLady. - Printer's error; should be, poor Lady. ■ ! 1 52 ^ House. Tavern. 215~1 1 and I have so much Compassion for the Lady, I should be glad if I could assist you any Way. Free. And whatever I can serve you in you may depend on. But what do you intend to do? Col. Egad, I'll dress myself as fine as a Prince, and first attack my Beau Guardian. Where live's he? [p. 128] Sack. At St. James1 s^ any Chairman^ can tell you where Sir Philip Modelove lives, you'll find him in the Park at Eleven every Bay. Here's to your Success, Colonel. Col. Freeman I shall expect you'll leave Word with 55 Mr. Sackbut where one may find you upon Occasion. I ^ am resolved to lose no lime. [Exit.]^ 55 yySt. James's. A fashionable quarter of London, location of St. James Palace, the royal residence from 1698 until 1837- 54 Chairman. One whose occupation is to carrv persons in chairs or chair-like conveyances (W.E.B. j. Chairmen were common in eighteenth-century London. • ^1 . . . Time. Wot in A. or B. 56 Exit. Broil omits whole of nex:t scene in A. between Mrs. Lovely and her maid, Betty. This short scene of only twenty speeches, set in Prim's house, simply repeats the situation Ann Lovely is in and her hopes for rescue by Colonel Fainwell. B. includes the scene almost without changes, adding a three-verse song (sung by Mrs. Lovely) at the end of the scene. ! 21? ! ; SCEEE57 the Park. ‘ ;Sir Philip upon a Bench with a Woman mask'd. | | ' f | gj_r ptiii. Well, hut my Dear, are you really constant to your Keeper? i ! I Worn. Yes really, Sir hey, dey, who comes i Jyonder? He cuts a mighty Eigure. j 57SCENE . . . mask'd. A. Act II. Scene the Park. Enter Colonel finely drest, three Eootmen after Him. B. Scene 3rd. Sir Philip discovered sitting on a Bench I with a Woman mask'd. The changes introduced in the j beginning of this scene by the droll author are significant for their obvious attempt at simplifying the staging. In A. the scene opens as desribed above and Colonel Eainwell has one speech (a kind of.extended aside) and the stage j direction then shows that he and the three Eootmen exit. I Then follows the stage direction: "Scene draws, and dis covers Sir Philip upon the Bench with a Women [sic.] mask'd." The next six speeches are identical with the : first six speeches of the droll. At this point the droll | author places the entrance of Eainwell and his opening ! speech, clearly an aside until the last phrase, "may I jpresume, Sir," which is added in the droll and helps tie I the aside to the on-going action of the play. Of course, 1 the value of this transposition for the droll is that a I scene change, or at least a drop, is eliminated. This ; change is indicative of the preparation of this droll j text for a theatre rather than a reading audience. No 1 other purpose is served than to eliminate the need for a ; scene change. It is hardly likely that any author or ' adaptor would bother to do this unless production were i anticipated. B. has also eliminated the necessary scene I change. It opens the same way as the droll, but the direction for the Colonel's entrance is as follows: I "Enter Colonel, and seats himself upon the Bench by ■ Sir Philip." The entire aside is eliminated. The rest I of the scene is similar in the droll and A. The sixty- ;eight speeches in A. have been condensed to thirty-eight . speeches in the droll, but only extraneous material has 1 been eliminated, leaving the sense of the scene intact. ; B. condenses the scene to forty-five speeches and I introduces a song to be sung by Eainwell. ' 218 I i ! I 53 i Sir Phil. Ha! a Stranger, by his Equipage^ so i ; i |close at his Heels, -he has the Appearance of a Man of | Quality positively French by his dancing Air. f j Worn. He crosses as if he meant to sit down here. ; Sir Phil. He has a mind to make Love to thee, * ■ Child. ! Worn. 'It will be to no purpose if he does. I 59 'Enter Colonel finely dress'd, three Footmen^ after him. | Col. Methinks I cut as smart a Figure, and have ! 30 i as tawdry an Air as any French Marquiss of them all. Sure I shall know my Beau Knight again, ay, yonder he sits [p. 1293 making Love to a Mask,^ I'faith I'll accost him I with a French Grin and a Bow, and slip myself down by his i 58 ‘ ^ Equipage. Train of retainers or attendants, !retinue, following (H.E.D.). i 59 three Footmen. The three Footmen were possibly j 'not used in the droll. This stage direction is copied | ;from A., where their procurement is discussed in the first , 1 scene ("Col. Tho1 we must have three or four Fellows in [ ;tawdry Liveries . . ."). The droll has eliminated these I ‘references in the first scene. Also, when they appear in i A. it is only for the opening speech. They exit with the ' |Colonel and do not return. Reference to Footmen has also ] been eliminated from the Dramatis Personae of the droll. I The reference to a retinue (supra) is to an off-stage j group. 1 60 Marquiss. Marquess. See also infra, n. 69- 61 ; Mask. Masked woman. The association of masked ; women with prostitutes derived from the seventeenth century land was still frequently made in the mid-eighteenth [century. ! 219 ! I 50 ; :Side; may I presume, Sir. ; ! I I Sir Phil. Sir, you honour me. Are you resolv'd , i | i to he cruel then? > ! ! j Col. She must he very cruel indeed, if she can ! I |deny anything to so fine a Gentleman. i | Worn. I never mind the out-side of a Man. ! Col. Then I'm afraid thou art no judge of the j , j I inside. j Sir Phil. I am positively of your Mind, Sir, for ! 55 |Creatures ^ of her Function seldom dive deeper than the ! Pocket. ! Worn. Creatures of your Composition, have eternally I more in the Pockets than their Heads, [ aside.1 Sir Phil. Pray, Sir, how says your Watch? mine is mute-, [nulling out his Watch.] i j Col. It wants just 39 Minutes of Twelve, Sir. I[puts up his Watch, and nulls out, his Snuff-box.] | Sir Phil. If I may presume, Sir, j Col. You honour me. [presenting his Box.] j Sir Phil. This Snuff is excellent, and the Box . i :prodigious fine; the Work is French, I presume, Sir. | i i I i [p. 130] Col. Sir, I Bought it in Paris, and I ! j I 62 ; may . . . Sir. This is added by the droll author. .See supra, n. 57- | i 55 i creatures . - ■ Function. Prostitutes. L . . _________ 220 think the Workmanship is tolerable. Sir' Phil. Tolerable! 'tis exquisitely fine, Sir; pray, Sir, if I may presume so far— What Country has the Pelicity of exhibiting the finest Gentleman in the Universe? I presume you are of Prance, Sir? Col. Then you don't think me English? Sir Phil. No upon my Soul don't I. Pardon me Sir, 64 this foggy Island is incapable of producing a Person of such fine Qualities. Col. As this Mirror shall reflect Sir, [holds a Pocket-glass to Sir Philip 's Pace.] 65 Worn. I'm sick to hear these Coxcombs clawing one 66 another— one can seldom, even get so much Soop and Sallery, out of such Animals. [Aside exit.] Sir Phil.- Gad,^ Sir,----Will you leave us, Madam? ha, ha. SA foggy Island. England. 65 ^Coxcombs. A foolish, conceited, showy person; a fop (157571 a conceited fool (1706) [cockscomb] (U.E.D.). 66 Soop . . . Sallery. A. one seldom gets any thing by such Animals Lcoxcombs,fops], not even a Dinner, unless one can Dine upon Soop and Sallary. The meaning is clearer in A. Pops were notorious tight-wads, and their mistresses were lucky to get soup (Soop) and celery (Sallary) for dinner if the fop were paying. Stathas (p. 22) suggests that this is "a reference to"fashionable but unsubstantial Prench delicacies," a suggestion which is wholly irrelevant in the context of the whole speech. ^Gad. A minced form of "God," often used for stage oaths. See infra, n. 90. 221 Col. She fears 'twill he only losing time to stay 68 here.— I know not how to distinguish you, Sir, but your i Mien and Address speak you Eight Honourable. Sir Phil. Thus congenial Souls think of each other, 69 but I am only v adorn'd with Knighthood, I assure you, my Name is Sir Philip Modelove, descended from Count Modelove 70 of Pontainbleau. ' Col. One may plainly perceive it there is a peculiar Gaity that is inimitable [p. 13H in my Nation, (I own you judg'd rightly that I was a Frenchman) which 71 distinguishes us every where. ' A Person of your noble 72 Air and Figure would give Lustre to a Coronet. 68 distinguish you. Place you, make you out. 69 only . . . Knighthood. Sir Philip means that he ranks below a baronet, his distinctive title being Sir, and therefore not hereditary. Fainwell's suggestion that Sir Philip looked and sounded like a person who should be addressed as "Right Honourable" would make Sir Philip a peer below the rank of Marquess. This would be an hereditary title, considerably' more distinguished than "Sir." 70 ' Fontambleau. French royal residence m the sixteenth century, thirty-five miles from Paris. ^every where. Everywhere (printer's error). 72 ' Lustre . . . Coronet. A. a vast addition to a Coronet. The improvement of the phrasing by the droll author reveals a considerable skill and literary sense. Coronet - a crown denoting a dignity inferior to that of the sovereign, as for example, a peer of the realm, such as a Baron (infra). Sir Phil. I own-, Sir, I had the Offer of a Barony about .four Years ago, but I abhor'd the Fatigue of attending the House of Peers. Col. You're perfectly in the right, Sir Philip— 73 a fine Person should not imbark' himself m the slovenly Concerns of the Publick Dress and Pleasure are the only Objects proper for the Soul of a fine Gentleman. Sir Phil. And Love--- Col. Oh! that's involv'd in the Article of Pleasure. Sir Phil. Sir Your Sentiments are so agreeable to mine, we must have but one Soul I must embrace you— may I crave your Name, Sir? 74 Col. My Name is La Fainwell, Sir, at your Service. Sir Phil. The La Fainwells are French I know— I was sure you was French the Moment I beheld you alas, this 75 Island'"^ produces few such Ornaments. Col. Oh! Pardon me, Sir Philip, this Island produces the finest Women in the World, such Symmetry of 73 "lmbark himself. Become involved. 74 Ia Fainwell. A transparent attempt to give a French sound to a proper name, but one sometimes employed in the eighteenth century. 75 this Island. England. Shape, such Elegancy of Dress, such fine Features, such commanding Eyes and bewitching Smiles. [p. 132] Sir Phil. By my Soul there are fine Women every where, I must own I have felt their Power in all Countries— Col. I declare there is no Amusement, so agreeable to my Taste as the Conversation of a fine Woman,— are you marry'd, Sir Philip? Sir Phil. No, Sir, I have the Honour to be very well with the Ladies, I assure you; and I won't affront 76 a thousand' fine Women to make one happy. Col. Then I find I was very much. mistaken— I imagined you had been marry'd to that fine Lady which I saw in the Chariot with you this Morning in Grace-church- street. 77 Sir Phil. Who, Nancy' 1 Lovely? no, no, I'm quarter of a Guardian to that Lady, her Father joined me with three of the most preposterous Fellows; and here's the Mischief he that marries Miss^® Lovely must have the Consent 76 thousand. In A. the number is a million. Although both figures are an exaggeration, the joke seems to be more plausible when the lesser number is used. 77 Nancy. See supra, n. 42. ^^Miss. See supra, n. 41. 224 79 of us all four, or not one Penny' of Portion, I am for a Man of Figure, and I declare I prefer you to all Men I ever saw. Col. And I tier to all Women. I wish I had your Consent, Sir Philin. I would try my Fortune with the Lady and your three Brother Guardians. .Sir.. Phil. With all my Soul, Sir, hut do you really like Matrimony? [p. 133] Col. I believe I could endure it, with that young Lady Sir. Sir Phil. The only Point in which we differ— But you are Master of so many fine Qualifications, that I excuse one Fault in so accomplished a Gentleman, do but Q A step into St. James1s Coffee-house, where we may have Pen■and Ink, and I will not only give you my Consent under my Hand, but introduce you to the Lady and her Guardians whose Characters you shall hear as we go along 79 Fenny . . . Portion. A. Penny of her Portion. Hot a penny of the inheritance due Miss Lovely will be given to anyone who marries her without full consent. 80 St. James's Coffee-house. A London coffee house in "great vogue from the time of Queen Anne until late in the reign of George III" (Aytoun Ellis, The Penny Universities: A History of the Coffee-Houses [London, 1956], p- 139*). It was frequented by such men as Addison, Steele, Swfit, Goldsmith, Garrick, and Sir Joshua Reynolds during its long history. It was known as a "political" coffee-house (Ibid.). See also infra, n. 160. 225 f Exeunt.]8^ SCENE,82 the Tavern. Enter Sackbut and the Colonel in an Egyptian .Dress. Sack. A lucky Beginning, Colonel, the Beau Guardian has not only given you his Consent, v but recommended you to the rest, as a Person pick'd out of the whole Pace of Mankind for his Ward. 81 F Exeunt.1. Droll omits the following scene in A. The scene is set in the home of Prim and opens with Mrs. Prim scolding Ann Lovely for her improper dress and behavior. Obadiah Prim enters and joins in the scolding. Then the other three guardians and Fainwell enter and dis cuss Fainwell as a possible match for Ann. They reach an impasse and leave. The scolding of Ann does not further the plot in any way. It simply develops Mrs. Prim and Obadiah Prim more fully and gives us a better understanding of Ann's character. The droll eliminates this and all references to it entirely. The second part of the scene, the argument between the guardians over Fainwell, is very skillfully summarized by the droll author and inserted into the first two speeches of the following scene. See infra, n. 85- B. includes the whole scene. 82SCENE . . . Tavern. A. Act III. This scene, with minor variations and interpolations, is retained almost wholly from A. The 166 speeches in A. have been reduced to 109 speeches in the droll, but the reduction has been accomplished by eliminating only extraneous material and combining speeches. Nothing of the plot has been elimi nated and the droll follows A. almost word for word during most of the business with the disappearance through the trap door. The two major elements of this scene, duping a foolish person and mumbo jumbo' about magic, were favorite elements in most of the drolls of the seventeenth and. eighteenth centuries, and have been staple plots of the popular theatre of all ages. B. for some reason omits virtually the entire scene, up to the last entrance of Fainwell and Sackbut, and then follows A. to the end of the scene. 8^Consent . . . Gentleman should [in the following speech] . This’ "is original m the droll and represents a summary of the second part of the preceding scene in A. See supra, n. 81. 226 om Col. Xes, faith, and Prim advis'd him to shuffle 85 me again, and bring no more of his Apes, the Stockjobber ^ 86 enquir'd what Business I follow'd, and the Vertuoso desired to know if I had travelled; to these Questions I answer'd as a fine Gentleman should, but now I am going to accost my Virtuoso in another Manner, shall I pass upon him, think you? Egad in my Mind I look as antique DO as if I had been preserv'd in the Ark. [p. 154] Sack. Pass upon him! Ay, ay, I warrant if you have Assurance enough, can you lie with a good Grace? Col. I have no Apprehension from that Quarter, but 89 where about is the Trap Door you mentioned? Sack. There's the Conveyance, Sir, I hear him below, be ready. [Exit.] 84 shuffle . . . again. Get rid of me. 85 ^Stockjobber. Tradelove. A member of the Stock Exchange who deals in stocks on his own account (E.E.D.). 86 Vertuoso. Periwinkle. "Virtuoso" is a name given to an experimental scientist and collector of speci mens; often used in the eighteenth century as a disparaging name for a member of the Royal Society. ^shall ... him. Will my disguise fool him? ®^Ark. Eoah's ark. ^Trap Door. In order for this scene to work a trap is needed. London Fairs (pp. 161, 166) shows that traps were in use in some of the droll booths at the fairs. 227 Col. Now if I should cheat all these roguish qo Guardians, and carry off my Mistress in Triumph. Odsoy 91 here comes Periwinkle— A duce take this Beard, pray 92 Jupiter, it does not give me the slip and spoil all. Enter Sackbut with Vine, follow'd by Periwinkle. Sack. Sir, this Gentleman hearing you have been a great Traveller, and a Person of fine Speculation, begs 95 Leave to take a Glass with you; he is himself a Man of a curious Taste. Col. The Gentleman appears no less by his Habilliment;^ Sir, you are Wellcome. Per. Sir, I honour a Traveller, and Men of your enquiring Disposition; the Antiquity of your Habit is extreamly charming. 90 y Odso. A minced form of God, which came into vogue about 1600, when, to avoid overt profanation of sacred names, many minced and disguised equivalents became prevalent (N.E.D.). See supra, n. 67; infra, ns. 92, 142. 91 ^ duce. Obsolete form of deuce. An expression of impatience or emphasis. The personification or spirit of mischief, the devil (N.E.D.). 92 Jupiter. An exclamation, used as a substitute for God. Roman name for Greek god Zeus. See supra, n. 90. 95 y take. Drink. jlabilliment. A. Pace and Garb. Appearance, including the manner of dress. 228 Col. Sir you have a nice Discernment— This 95 individual Habit was worn by the famous Claudius Ptolomeus, who liv'd in the Year a Hundred and Thirty- four. [p. 1353 Sack. If the whole Crop match this 96 Sample, he shall lie with the Devil for a Beanstack, and win it every Straw. [Aside.] Per. A Hundred and Thirty-four! why that's prodigious now; why I am laugh'd at here for my Singularity— this Coat you must know, Sir, was formerly worn by that ingenious and very learned Person John Tradescant. 95 ^Claudius . . . Thirty-four. A. Year a Hundred and Thirty-five. There seems to be no apparent reason for the change in the year. Claudius Ptolemaeus (Ptolemy), fl. A.D. 140,celebrated Greco-Egyptian mathematician, astronomer, and geographer (Charles Singer, A Short History of Scientific Ideas to 1900. [ Oxford” i960]", p p . 8 9 - 9 7 ) . 96 lie . . . Straw. This expression, also used in A., does not appear in any of the standard indexes of proverbs, quotations, or figures of speech. The apparent reference is to the game, Jack Straw, which N.E.D. says was played by throwing down sticks and picking them up one by one without disturbing the pile. The sense of the whole phrase would then be: he shall play Jack Straw with the Devil and win every turn. Considering the Devil's supernatural abilities, this would appear to be a very great feat. Stathas (p. 38) gives the following gloss: "In Scottish witchcraft, the bean-stack functioned like a broomstick but was made from beanstalks, or bean- straw. Lie may be a pun, since witches won their powers by copulating with the devil." 229 97 Col.- John Tradescant! ' Let me embrace you, Sir, John Tradescant was my Uncle by my Mother's Side; and I am very much obliged to you for the Honour you do his Memory; he was indeed a very curious Man. Per. Your Uncle, Sir, no wonder your Taste is so refin'd, it runs in the Blood Sir, my humble Service 98 to you, to the immortal Memory of your transcendant 99 Uncle. A Person of your Curiositymust be possessed of many Parities. Col. I have some, Sir, as an AEgyptian^^ Idol, 101 a kind of Ape which they formerly worship'd in that 97 'John Tradescant. There were two men by this name in the seventeenth century. The father (d. 1637?) was a traveller, naturalist, and gardener. He was probably English, though he may have been of Flemish or Dutch origin. The son (1608-1662) was also a traveller and gardener. In 1637 he made a trip to Virginia to collect flowers and plants. His collected curiosities were the basis for the Ashmolean Museum at Oxford (Dictionary of Hational Biography). The reference in A. and in the droll is probably to the son. See also, Charles E. Raven, English Naturalists from Neckam to Ray (Cambridge, 194-7)* 98 transcendant. A play on the name Tradescant. 99 Curiosity. Breeding, background, taste. ^^AEgyptian. Egyptian. ~^~*~Ape . . . Dutch Poet. Most of the references in these five speeches had a specific satirical meaning in A. Mrs. Centlivre was striking out at Alexander Pope and his play Three Hours After Marriage (1717)* ?or a fuller discussion of the controversy between them see Bowyer, pp. 203-206, and Stathas, p. 4-0. 230 Country, I took it from the Breast of a Female Mummey. Per. Ha ha! our Women retain this part of their 102 Idolatry to this Day, many an Ape lies on a Lady's Breast, ha ha. Col. Then I have two Tusks of a Hippotarnus, two pair of Chinese Hut-crackers, [p. 136] one Egyptian Mummy, and a live Crocodile. Per. I should be very glad to see that Crocodile. 103 Col. Sir, touching at Rotterdam, and hearing it 104 was no Rarity in England, I sold it to a Dutch Poet. But my Genius led me to things more worthy of Regard. I have seen the utmost Limits of this globular World; I 105 have seen the Sun rise, and set; know in what Degree of Heat he is at Hoon, to the breadth of a Hair, and can tell 102 Ape. Alexander Pope, whose name was often abbreviated i ( A. P-pe" (Bowyer, p. 205). 103 ^Rotterdam. Largest port of the Netherlands and major trade center in the eighteenth century. ^^Dutch Poet. Probably Colley Cibber (Stathas, p. 40). 105 ^Degree . . . Hair. Many scxentists of the day, including Whiston, Hailey, and Keill were studying the sun's position and heat at various latitudes, seasons, and hours of the day (Ephraim Chambers, Cyclopedia; or An Universal Dictionary of Arts and Sciences, 2 vols. [London, 1728J). In 1686 Hailey published a map and a study of the trade winds and monsoons, the first study "to connect the general circulation of the atmosphere with [the] distribution of [the] sun's heat over the earth's surface" (Singer, p. 321). 231 the Quantity^^1 of Combustibles he consumes in a Day., how much of it is turn'd to Ashes, and how much to Cinders. Per. To Cinders? you amaze me, Sir; I never heard 107 that the Sun consumed any thing Des Cartes 1 tells us--- Col. Des Cartes was an Ass; and his Followers bray'd in the same Tone, and knew nothing of the Matter. I tell you, Sir, Nature"*- ^ continually decays, tho' imperceptible to vulgar Eyes, sometimes his Rays destroy below, sometimes above— you have heard of blazing 109 Comets, I suppose? 110 Per. Yes, Sir, I remember to have seen one. Quantity . . . Cinders. "In Le Monde, Descartes speculated about sun spots; he also discussed the relation of flames to cinders. Although he did not relate cinders to sun spots, Derham and Fontenelle termed the spots smoky particles emitted by the sun" (Stathas, p. 41). ~^^Des Cartes. Rene Descartes (1596-1650), a French philosopher and scientist. 1 OR Nature . . . above. In the contemporary debate over the superiority of the ancient scientists or the modern scientists, those favoring the ancients argued that nature was in a state of progressive decay (Chambers, Cyclopedia). ^^Comets. Edmond Ealley (1656-1742) began his study of the. orbits of comets in 1680. Great popular interest in comets continued well into the eighteenth century (Singer, pp. 305-306). ^ ^remember . . . one. A. adds "and our Astrologers tell us of another which shall happen very quickly." Hailey's comet of 1682 was expected to return in 1756 (Singer, pp. 305-306). ; 232 Col. Those Comets are small Islands, bordering on the Sun, which are sometimes kindled into a Flame, by that illustrious [p. 137] Body the Sun passing over them in its 'rapid Motion, which will at length occasion a general Conflagration. Sack. One need not doubt the Colonel's Capacity i'faith; he has it at his.Fingers Ends; he might keep a •School, and teach the. Art of Lying he has it so cleverly. ’[Aside.] 1 ' Per. Well, you Travellers see strange things; pray, Sir, have you any of those Cinders?^^^ Col. I have; among my Curiosities, and several I things beside worth your Attention: I have a Muff made of ' 112 'the Feathers of those Geese that sav'd the Capitol, and 113 I have an Indian Leaf, when open'd will cover an Acre of ^^Cinders. Comets. IIP Feathers . . . Capitol. A. Roman Capital. "The tradition is that when the Gauls invaded Rome a detachment in single file clambered up the hill of the Capitol so silently that the foremost man reached the top without being challenged; but while he was striding over the rampart, some sacred geese, disturbed by the noise, began to cackle, and awoke the garrison. Marcus Manlius rushed to the wall and hurled the fellow over the precipice. To commemorate this event, the Romans carried a golden goose in procession to the Capitol every year (390 B.C.)" (Brewer's Dictionary of Phrase & Fable, 8th rev. ed. [London, 1963J, p. 407). 113 • ^Indian leaf. The aromatic leaf of a species of Cinmamomum (W. E. 1)77. 233 Land, yet if you fold it up, you may put it into a Snuff-box. Sack. Humph! that1 ^ a Thunderer. Per. Amazing! Col. Ah mine's but a little one, I have seen some 115 of them that would conceal the Spanish ^ Plate Pleet, and preserve them from the fierce Valour of the English. 116 Per. I admire our Merchants don't make use of them to screen-themselves from the Spaniards, they would 117 certainly find ' their Account in't. Col. Look you, Sir, do you observe this little l 1 Q Vial; it is call'd Polusflosboio. Per. It has a rumbling Sound. [p.- 138] Col. Right, Sir, it proceeds from a 114 that's . . . Thunderer. Used vaguely m ex clamations"^ imprecations, and expletive or intensive phrases (U.. E. D.). 115 Spanish . . . Pleet. The fleet which annually brought the produce of the American silver mines to Spain (IT. E. D.). A. cover one of the Caribbean Islands. 116 Merchants. A. East India Company. 117 'find . . . in't. Make money by it. - ] i O Polusflosboio. "A Greek echoic word, 'loud roaring'; a humerous Homeric epithet for the sea" (Stathas, p. 4-3). 234- rumbling Nature— this Water was part of those Waves11^ that bore Cleopatra1s Vessel when she went to meet Mark Antony. Per. Well, of all that ever travell'd, none sure had a Taste like you. Col. But here's the Wonder, of the World This, 120 121 Sir, is call'd Zona, or Moros Musnhonon, the Virtues of this is inestimable. Per. Moros Musphonon! what in the name of Science can that be? to me it seems to be but a plain Belt. Col. Belt, Sir! this plain Belt has carried me all the World over. Per. You have carried it, you mean? Col. I mean as I say, Sir, when I am girded with this moros Musphonon, I am invisible, and by turning this 119 Waves . . . Antony. Water of the Nile river. 120 Zona. A girdle or belt, as a part of dress. Usually written: zone (N. E. D.). 121 Moros Musphonon. This is apparently a nonsense phrase, denoting something exotic from the Turkish or Moslem dominions. Stathas (p. 44) provides the following gloss, one that may shed some light on the phrase: "moros: Greek, 'foolish'; musphonon: esoteric Greek, 'mousebane,' an aconite herb. Perhaps a circumlocution, disregarding Greek inflections: 'mousetrap for a fool' or 'foolish mousetrap'; in cant 'mousetrap' meant 'a ruse to destroy or defeat someone.'" • 235 122 little Screw, can be in the Court of the Emperor of 123 China, Prester John, or at the F^yramids of Egypt, thence to Great-Britain in as little time as your Barber can trim you. Per. You must pardon me, Sir, I cannot believe you. Col. If my Landlord pleases, he shall try the Experiment immediately. Sack. I thank you very kindly, but I have no 124- inclination to ride Post to the Devil. Col. No, no, you shan't stir a Foot, I'll only make you invisible. [p. 1391 Sack. But how if you cannot make me visible again. Per. Come try it upon me, Sir, I am not afraid of 1 22 Court . . . you. A. Court of the Great Mogul, the Grand Seignior, and King George, in as little Time as your cook can poach an Egg. 123prester John. "I. e. John the Presbyter. A fabulous Christian king and priest, supposed in medieval times to have reigned somewhere in the heart of Asia in the 12th century." He is mentioned by Sir John Mandeville. ."So firm was the belief in his existence that Pope Alexander III (d. 1181) sent him letters by a special messenger. The messenger never returned" (Brewer's Dictionary, p. 722). ride . . . Devil. With speed or haste (N. E. D.). "For evil news rides post, while good news baits" (Milton, Samson Agonistes, 1. 1538;. 236 the Devil, nor all his Tricks rZbud"*"^ I'll stand them all. Col. There, Sir, put it on come Landlord, you and I must face the East [turns about] is it on, Sir. Per. Yes, 'tis on [they face about again.1 Sack. Heaven protect me I where is he? Per. Why here just where I was. Sack. Where, where, in the name of Virtue? Ah poor Mr. Periwinkle!— Egad look to't, you had hest, Sir, and let 126 him he forthcoming again, or I shall have you burnt for a Vizard. Col. Have Patience good Landlord. Per. But in Reality don't you see me now? Sack. Ho more than I see Prester John, or the Egyptian Pyramids. 127 Per. Are you sure you don't lye? ' I stand just where I did, and see you as plain as I did before. Sack. Ay, I wish 1 could see you! but this Wizard shall pay for it, if I live. 125 ^Zbud. Slang corruption and substitution for "God's blood.1 1 ^ ^burnt . . . Vizard. Burnt for being a wizard, i.e., a man who practices witchcraft, the masculine cor relative of Witch (H. E. D.). 12^lye. Lie. 237 Col. Take off the Girdle, Sir, and convince this Infidel128 you are here [.takes it off-1 Sack. Ay dear Mr. Periwinkle, I am glad to see you with all my Heart and Spirit. Per. This is odd; certainly there must he some Trick in't.— Pray, Sir, will you [p. 140] do me the Pavour to put it on yourself, hut first I'll secure the Door. Col. With all my Heart;— you know how to turn the Screw, Mr. Sackbut.? Sack. Yes, yes,— come Mr. Periwinkle. we must turn full East [ they turn, the Colonel sinks down a trap Door.] Col. 'Tis done, now turn. [they turn.] Per. Hal Mercy upon me, my Flesh creeps upon my Bones this must certainly he a Conjuror, Mr. Sackbut. Sack. He is the Devil, I believe. Per. Oh! Mr. Sackbut. do you name the Devil, 129 when, mayhap, he is at your Elbow. Sack. At my Elbow! where, where, oh save me Mr. Periwinkle. Col. [from below] Are you satisfied, Sir. 1 PR Tnfidel. One who does not believe in something specified; an unbeliever (H. E. P.). 129 "mayhap. Literally— it may happen that— . 9 238 1-50 Per. Yes, Sir, yes,— how hollow his Voice sounds! Sack. Yours sounded Just the same faith I wish this Girdle was mine, I'd sell Wine no more— hark Mr. Periwinkle, [takes him aside while the Colonel rises.] if he would sell this Girdle, you might" travel with great 131 Expedition. ^ Sir, what's the Price of your Girdle? Col. It is not to he parted with for Money, Sir. Per. I am sorry for it, Sir, because it is the greatest Curiosity I ever saw. [p. 14-1] Col. By the Advice of a learn'd 132 133 Gymnosophist at Indostan, ^ I return'd into England; 130 hollow . . . sounds 1 The voice is, of course, coming from beneath the stage and would, therefore, have a hollow tone to it. 131 Expedition. Speed; ease. 132 ^ Gymnosophist. A. Phisiognomist. One of a sect of ancient Hindu philosophers of ascetic habits (known to the Greeks through the reports of the companions of Alexander), who wore little or no clothing, denied them selves flesh meat, and gave themselves up to mystical con templation (U. E. P.). Physiognomist: One skilled in physiognomy, which is the art of Judging character and disposition or the foretelling of destiny or future fortune from the features and lines of the face or the form and .lineaments of the body generally (H. E. D.). 133 Indostan. A. Grand Cairo. Meaning Hindustan, the area of Upper India conquered by the Mohammedans (U. E. D.). The change of location from Egypt (Grand Cairo) to Hindustan is consistent with the change from Phisiognomist to Gymnosophist (supra, n. 132), the latter also pertaining to India. 239 where lie inform'd me I should hear of a Rarity in the keeping of four Men, which I was destin'd to possess, for the Utility of Mankind, and the first of the four that gave me his Consent, I should present him this Girdle.— 'till I have found this Jewel, I shall not part with my Per. What can this Rarity be, did he not name it to you? 133 Col. Yes, Sir, he call’d it a chast young Virgin. 136 Per. Pish? Women are no Rarities, I never had 137 any great Taste that Way, Women are the very Gewgaws of the Creation; what Women are there dress'd in all the Pride and Foppery of the times can boast of half the Beauty of one Box of Butterflies. Col. Ro, that must be allow'd for my Part, if it were not for the Benefit of Mankind, they are as indifferent 138 to me as a Sparrow or a Flesh Fly. ^ 134- Zona. See supra, n. 120. 133 ^"chast . . . Virgin. A. Chaste, Beautiful, Unaffected Woman. 136pjsh. gee supra, n. 39* 137 v' Gewgaws. A gaudy trifle, plaything, or ornament; a pretty thing of little value; a toy or bauble (R. E. P.). 138 Flesh Fly. A fly which deposits its eggs in dead flesh (R. E. P.). Used here in the sense of a predatory person. Per. Pray, Sir, what Benefit is the World to receive from this Lady. 139 Col. Why, Sir, she is to hear me a Son, who shall restore the Art of embalming, and the old"'"^ Roman Manner of burying their Dead; and for the Benefit of Posterity; 141 he is to find ■ the Longitude and perpetual Motion. 14-2 [p. 142] Per. Od these are curious things Mr. Sackbut. Sack. He pours 'em out in a full Stream; and t'other swallows 'em down like Sack"1 "^ and Sugar. [Aside. ] Certainly your Ward must be this Rarity, Sir, by her being under the Care of four Persons. 139 yshall . . . embalming. The Royal Society was en gaged in discovering the best method of embalming corpses. ^^old . . . Dead. Most funeral customs in the west are derived from the Romans. Corpses were generally cremated by the Romans (Brewer1s. Dictionary, p. 380). 141 find . . . Motion. A. discover the Longitude, so long sought in vain. Numerous projects for determining longitude at sea had been undertaken since the fifteenth century. Reliable instruments were still not available in the early eighteenth century. Perpetual motion has fascinated scientists and crackpots since ancient times. l 4? Od. See supra, n. 90. 143 vSack . . . Sugar. Sack: A general name for a class of white wines formerly imported from Spain and the Canary Islands. There are many references to the mixing of sack and sugar, e.g., 1596, Shakespeare, I Henry IV, II, iv, 516, "If sacke and sugar be a fault, God helpe the wicked" (N. E. D.). 241 Per. By all Tokens it should— Egad if I could get the Magick Girdle, I’d ride with the Sun, nay leave him a Semi-circle Behind, and traverse the whole Globe in Twelve Hours. fAside.1 And are you to give this Girdle to the first of her four Guardians that shall give his Consent for you to marry that Lady, say you? Col. I am so determined when I can find him. Per. I believe 1 know the very Lady, her Name is Ann Lovely. Col. He told me her first Name began with the first Letter, and her second with the eleventh of her native Alphabet. Per. Did he really, well ’tis perfectly amazing 144 that a Sage of Indostan should be so well acquainted with my Ward! Col. Your Ward, Sir? Per. To be plain with you, I am one of those four Guardians? Col. Are you really, Sir? I am transported to 145 find the Man who is to possess this Moros Musphonon ^ is a person of so exquisite a Taste— here is a Writing drawn 144 Sage . . . Indostan. A. a Person in Grand Cairo. Sage: philosopher or wise man. See supra, ns. 152, 153. 145 uMoros Musphonon. See supra, n. 121. 242 [p. 143] by that famous Gymnosophist, which if you will please to sign, you must turn your Face full North, and the Girdle is yours. Per. If I live till this Boy is' born, I’ll be 147 embalm'd and sent to the Royal Society ' when I die. Col. That you shall most certainly. Enter Drawer. 148 hraw. Here's Mr. Stay-tape the Taylor enquires for you, Colonel. Sack. Who do you speak to, you Son of a Whore? Draw. Why to Colonel-- Sack. Get you out, you Rascal. [Kicks him out and Exit.] Col. This Dog has ruin'd all my Scheme I see by Periwinkle's Looks. [Aside.] Per. Colonel! how finely I should have been 146 Gymnosophist. A. Egyptian. See supra, n. 132. 147 'Royal Society. Pounded in 1660 by a group of learned men in London who met to promote scientific discussion, concerned particularly with the physical sciences, the Royal Society was incorporated in 1662 as the Royal Society of London for Improving Natural Knowl edge. See: Sir Harold Hartley, ed., Royal Society: Its Origins and Pounders (London, I960). 148 Stay-tape. Slang phrase sometimes used for tailor, derived from "staytape," a staylace used in tailoring. 243 149 chous'd. y You'll pardon me noble Colonel, that I did not give your Title before.— 'twas pure Ignorance, no Design upon my Word— hem, hem, pray Colonel, what Post had this learned Gymnosophist in your Regiment. Col. A Pox1^ 0f your Sneer [Aside. ] I don't understand you, Sir. Per. No, that's strange, I understand you Colonel— the Girdle, ha, ha, why what a Pack of Trumpery^1 this 152 155 Rogue has pick'd up, his Pagod, ^ Poluflosboios, ^ his 154 Zonas, ^ and the Devil knows what ha! gone!— ay 'twas time to sneak of.1^ So ho, the [p. 144] House [Enter Sackbut.] where is this Trickster, I'll Indostan1-^ 149 chous'd. Slang for duped, tricked, cheated, swindled, or defrauded (N. E. D.;. ^^A . . . Sneer. Pox: used in imprecations, or exclamations of irritation or impatience. Derived from the pocks characterizing several diseases and often used vulgarly to denote syphilis (N. E. D.). 151 Trumpery. Deceit, fraud, imposture, trickery (N. E. D. ) . 152 Pagod. A. Paegod. Referring in this sense to a person superstitiously or extravagantly reverenced, or otherwise likened to a heathen deity (N. E. P.). The term is apparently used in this instance in reference to the Gymnosophist. 153 - ^Poluflosboios. See supra, n. 118. 154 Zonas. See supra, n. 120. 155of. Off. 156 Indostan. See supra, n. 133. 244 with a pox to him— I "believe you had a Hand in putting this Imposter upon me, Sackbut? Sack. Who I, no Mr. Periwinkle, I scorn it, I suspected he was a Cheat, and left the Room to call a Constable to secure him, I endeavour'd to stop him when he went out, but the Rogue made but one Step from the Stairs to the Door, call'd a Coach, leapt into it, and drove away like the Devil, as Mr. Freeman can testify, who is just come to Town and desires to speak with you. Per. Send him in. [Enter Freeman booted^^^ and spum'd. ] Mr. Freeman, your Dress commands your welcome; I had like to have been impos'd upon here by the veriest Rascal--- Free. Mr. Sackbut has told me the whole Story, Mr. Periwinkle; but I have something of more Importance to 1 tell you,— I lodg'd one Right at Coventry, and knowing your Uncle, I paid him a Visit, and to my great Surprize found him dying. Per. Dying! I hope he has made his Will, he always told me I should be his Heir. Free. I have heard you say as much, and therefore 157 'booted . . . spurr'd. Wearing boots and spurs, apparel denoting a riding habit. 158 Coventry. City in England, locale of the legend of Lady Godiva's ride and Peeping Tom. 245 15 Q gave you Notice, I‘should advise you to go down to Morrow Morning. Per. I'll think; upon it, in the mean time I give you many Thanhs, and should he glad of your Company to Dinner. [p. 1453 Free. I am oblig'd to be at Jonathans'*"^ at two, if I dispatch my Business I'll wait on you. 161 Per. You shall be very Wellcome. fExit.1 Enter’ *'^ Colonel and Sackbut. Free. Ha, ha, ha,— I have done your Business, Colonel. 159 go down. Coventry is located N. ¥. of London, but the phrase is used in the sense of going from a place of greater importance (London) to one of lesser importance (Coventry). Jonathans. A. Jonathan1 s Coffee-House. See also supra, n. 80. "A coffee house in Change Alley which was a favourite haunt of stock-jobbers and the cradle of the London Stock Exchange" (Ellis, The Penny Universities, p. 35)• "As The Tatler (No. 38) tells us, Jonathan's was 'the general mart of stock jobbers,' and 'Mr. Spectator.' in his first number, remarks that he 'sometimes passes for a Jew in the assembly of stock-jobbers at Jonathan's'" (ibid., p. 107). The London stockbrokers were in the habit of meeting daily at the Royal Exchange and neighboring places, principally at Jonathan's Coffee House. This practice continued until 1773 (ibid., p. 108). ^^wellcome. Welcome. 162 Enter . . . Sackbut. B. picks up this scene at this point and reduces the twelves speeches in A. to eight speeches. The droll condenses it even further to four speeches. See supra, n. 82. 246 Col. I overheard it all, tho' I am a little in the Dank. Free, ho Matter, I warrant we have him yet, but 165 now you must put on the Dutch Merchant. \ Col. A Duce1^ of this trading Plot^^^— by Jupiter I shall never go through it. 166 But when both Gold and Beauty ,join to fire us. The Devil's in't if Difficulties tire us. [Exit.] End of the First Act. SCENE,a Coffee House in 'Change Alley; a Crowd of People with Bolls of Paper and Parchment -in their Hands, a Bar and Coffee Boys waiting. 165 vput . . . Merchant. Disguise yourself as the Dutch Merchant. l 64 A Puce. Obsolete form of "deuce." Bad luck, plague, mischief; used in imprecations and exclamations. 165 trading Plot. Disguising. 166 But . . . tire us. A. Now must Bob Wig and Business come in Play, / And a fair Thirty Thousand Pounder leads the Way. 167SCENE, ... waiting. A. Act IV. B. Act I, Scene 6th. Droll eliminates most of the extra people in this scene by cutting the speeches of the stock-jobbers, Coffee Boys, Gabriel, etc. Although the stage direction for "a Crowd of People" remains, it is likely that this scene was performed with much less atmosphere and fewer extras. 168,change Alley. Exchange Alley, the center of London's stock exchange. Most or the actual business though was carried out at the coffee houses in the neighborhood. See supra, n. 48. 247 Enter Colonel disguis'd as a Dutch Merchant. afterwards Freeman and Tradewell. Trad. Who is that Gentleman, Mr. Freeman? . Free. A Dutch Merchant just come to England: hut hark you, Mr. Tradelove— I have a Piece of News will get 169 you as much Money as the French ' King's Death did, if you are expeditious, I receiv'd this Letter just now from one 170 that belongs to the Spanish Embassador, ' read it. [p. 146] Trad. [Beads] Sir, my Lord has this Moment 171 receiv'd a private Express, that the Spaniards ' have took Georgia; if this Advice peove^^^ advantageous to you, I ^French . . . Death. Louis XIV of France died in 1715, three years before A. was written. There was undoubtedly much wagering and speculating in London about his death. 170 Embassador. Ambassador. A. Emperor's Minister. 171 ' Spaniards . . . Georgia. A. Spaniards have raised their Siege from before Cagliari. Cagliari is the capital of Sardinia. In the Peace of Utrecht (1713) Spain ceded Sardinia to Austria, but in 1717- Cardinal Alberoni sent a Spanish force to occupy the island. The siege lasted until 1720, at which time a settlement was made. By 1741 (when the droll was written) Cagliari had no doubt lost its topicality. James Oglethorpe received a charter from George II in June 1732 to found a colony which became known as Georgia. The first colonists arrived in February 1733- The Spanish disputed some of the territorial claims of the colony. Oglethorpe's expedition against St. Augustine (1740) failed, and it was not until 7 July 1742 that he defeated the Spanish in the battle of Bloody Marsh and ended Spanish claims and the threat of Spanish intervention in the colony. See John Tate Banning, The Diplomatic History of Georgia: A Study of the Enoch of Jenkins' Ear (Chapel Hill, Forth Carolina, 1936), pp. 220-229. 172 1 peove. Prove. Printer's error. 248 shall rejoice in the Happiness of obliging you; in the Evening; the News will be publick. D. Diego"^^ de las Toras. Trad. May one depend on this, Mr. Freeman? Free. Ton may, this Gentleman never deceiv'd me yet. 174 Trad. Sir, you much oblige me, egad I'll ' fish for a Gudgeon. Free. [Whispers to two Gentlemen] 1st Gent. The Spaniards took Georgia? I don't believe one Word on't, Sir. [aloud.] 2nd Gent. Took Georgia! as much as we have took Madrid. Free. 'Tis true I'll assure you, Sir, there's an Express come to the Spanish Embassador. 175 'VD. Diego . . . Toras. A. Henericus Dusseldorp. Arent Duyvenvoorde was Dutch ambassador to London from the accession of George I until the summer of 1717- Dusseldorp may be a popular corruption of his name (Ragnhild Hatton, Diplomatic Relations Between Great Britain and the Dutch Republic, 1714-1721 [London, 1950], p. 27)• I am unable to find any reference to any Spanish ambassador or official in the diplomatic records of the 1730's and 1740's to whom the name in the droll might refer. 174 ' I'll . . . Gudgeon. A Gudgeon is a small European fresh-water fish, much used for bait. The word is used figuratively to designate one that will bite at any bait or swallow anything; hence, a credulous, gullible person. 249 1st Gent. Let it come where it will, I'll, hold you Fifty Pound 'tis false. Free. 'Tis done. 175 2d. Gent. I'll lay you a Brace of Hundreds on the s ame. Free. Done with you too. Trad. I'll lay any of you a.Brace of Thousands 'tis took. Free. The Dutch Merchant is your Man to take in [Aside to Trad.] Trad. Does he not know the .News? 176 Free. Not a Syllable; he's plaguy ' rich, and fond of Wagers. [p. 1473 Trad. Say you so, egad I'll bite him if possible. Game you from Holland, Sir? Col. Ya Mynheer.^77■ Trad. Had you the News of Georgia there. Col. Wat believe ye mynheer? Trad. What believe? why I believe the Spaniards 175 ■Brace . . . Hundreds. A pair; two hundred. 176 plaguy. Pertaining to the plague, something vexatious, troublesome, annoying. 177 Ya Mynheer. The Colonel's speech seems to be a sort of Anglicized u-erman which is to give the impression 'of Dutch. The German equivalent of the above would be "Ja, mein Herr." The English equivalent would, of course, be "Yes, Sir." 250 lias took Georgia. Col. What Duyvels'^8 Mews is dat? tis"^^ niet waer Mynheer, 'tis'no true Zir. Trad. 'Tis so true, Mynheer, that I will lay you 1 RO two thousand Pound on't You'r sure the Letter may he depended on, Mr. Preeman. [Aside.] Free. Do you think I would venture my Money, were I not certain of the Truth. [Aside to Trad.] 181 182 Col. Two Daysand Pond, Mynheer, 'tis gedaen, — dis Gentleman sal^8^ hold de Gelt. Trad. With all my Heart, this binds the Wager. 18Z j_ [Both give Money to Freeman.] Ha, ha, ha, I have snapt the Hogon-mogon, I faith, two thousand Pound, a good Days ^^Duyvels. Devils. 179 ^tis . . . waer. German: Das ist nicht wahr. English: That isn't true. 180You'r. You are. 181Two . . . Pond. Two thousand pounds. 182gedaen. Done. 185sal . . . Gelt. Shall hold the money "^^snapt . . . Hogon-mogon. A. spapt [snapt] the Dutchman. Variant form of Hogen Mogen, a popular cor ruption or perversion of the Dutch Hoogmogenheiden, "High Mightinesses," the title of members of the States-General of the United Provinces of the Netherlands. A contemptuous name for a Dutchman, one who is high and mighty. Snap: to secure, take, obtain without allowing due time for con sideration. Work. Pray may I crave your Paine, Mynheer? 185 Col. Myne Paem, Mynheer! myne Paem is, Jan van Timtamtarelereletta Heer van Fainwell. Trad. Zoons, 'tis a plaguy long Pame, I shall never remember it— Myn van leralet Tym Tym What the Devil is't. Free. 0 never mind his Pame, I know the Gentleman, and will pass my Word for twice [p. 148] that Sum: At present I must beg your Excuse, I am engaged at Sackbuts. f Exit Eree.] Trad. Sir your humble Servant, now I'll see what I can do upon Change with my Pews. [Exit.] SCEPE,^^ Sackbut' s Tavern. Enter Colonel, Freeman and Sackbut. Col. Ha, ha, ha, I have him, faith, he must either part with the Lady or two thousand Pound. Sack. Ha, Joy to the Colonel, the luckiest Adventure in the World; looking over our Post Letters, ^^Myne Paem. My name. 1 upon Change. On the stock exchange. ^^SCEPE . . . Tavern. This scene is one of the best examples of economy and compression in the droll. Fifty-six speeches in A. have been reduced to twelve in the droll with no loss of information. In fact, the compactness of the scene in the droll seems to be a con siderable improvement. B. has done some revision in the scene, reducing it to forty-three speeches and adding one song. 252 here's one directed to Prim, from Aminadab Holdfast, at Bristol, giving Account of one Simon Pure, a Leader of the X88 Paithful, arriv'd from Philadelphia and recommended to 189 Prim's House; now you can personate Simon Pure--- Col. Ha, I understand you, get me a Quaker's Dress, and, Freeman, suppose you watch the Bristol^^ Coach for the real Pure, and intercept him, or give me Notice; but first I'll dispatch old Periwinkle: let me see, his Uncle, Sir Toby, is an old Batchelor, 700 l.1^1 a Year in Abbey Lands, I Samuel Pillage, have been his steward above 30 Years. I have it pat enough, now my great Coat and Boots [puts on Boots and Coat] so, so, fare you well, Gentlemen. [Exit Col.] Free. Your Servant, Mr. Pillage, Success attend you. [p. 149] Enter Tradelove. Trad. 0, Mr. Freeman, I am ruin'd, Gabriel Skinflint has been at the Embassadors, and is assur'd your News is false. ^ ^Faithful. Quakers. 189 personate. Impersonate. 1 on y Bristol Coach. The coach from Bristol, a town in S. W. Gloucester, approximately 100 miles ¥. of London. 191 700 • » . Lands. An income of 700 pounds per year in rents from Abbey lands. 253 Free. I know it, I this Minute parted with my Friend, who protests he never sent me such a Letter; some roguish Stockjobber has put this Trick upon me,---- I have lost 300 Pound. Trad. What' signifies your 3001. I have lost 2000 to that Dutchman with the cursed long Dame,— the Devil, I could tear my Flesh,— for by my Soul I can't pay it. Free. Ha, I have a Thought come in my Head--- somebody told him you had a pretty Ward— he wished you had bet her, instead of your Money. Trad. Ay, but he'd be hanged before he'd take her instead of the Money;' the Dutch are too covetous for that, beside he don’t know we are three more of us. Freed So much the better, if he'll forgive you the Wager give him your Consent, 'tis not your Business to tell him it will do him no Service. Trad. That's right as you say, propose it to him, 192 extol her Beauty, double her Portion, lye heartily, and pray Heaven you prosper. Free: I'll use my greatest Skill, farewell and fear nothing. [Exeunt.] [p. 150] SCENE,^93 Periwincle1s House. l92lye. Lie. l9^SCENE . . . House. A. Act IV. B. Act II, Scene 1st. Enter Periwincle on one Side, and a Eootman. 194 Per. y A Gentleman from Coventry enquire for me, 199 Prom my Uncle I warrant, shew him in. This will save me the Trouble and Expenses of a Journey. Enter Colonel. Col. Sir, I presume you are Mr. Periwincle. Per. Sir, you are not mistaken. Col. Alas, Sir, my Grief for the best of Masters tells you what Message I bring. Per. I hope my Uncle, Sir Toby, is not dead. Col. Yes, he is, Sir, and has left you Heir to Seven Hundred a Year,— I wish you long to enjoy it; but my Tears will flow, I served him Eorty Years. Ay, he was a good Man; I was his Steward, my Name is Samuel Pillage, your Worship has heard of me, 'tis likely. Per. Ay, I do remember my Uncle call'd you Pillage. Pray, Sir, when did my Uncle die. Col. Monday last, about 4 in the Morning, he sign'd his Will about 2, and gave it me with a strict Charge to leave Coventry the Moment he expir'd, I have 194 Per. A Gentleman . . .me. In A. this speech is given to the Eootman. Since t-he stage direction in the ■droll calls for a footman there would appear to be no reason for giving the line to Periwinkle, unless it were to facilitate the elimination of the footman by making him an off-stage character. 199 shew. Show. 255 obey'd him Sir, and here is the Will.--- 0 my dear Master. [p. 151] Per. 'Tis very well, I'll lodge"^^ it in the Commons.— don't grieve so, Mr. Pillage.— you shall hold your Place and every Thing else you held under my Uncle.— I profess you make me'weep to see you so concern'd, alas, we are all mortal. Col. We are so, Sir, and therefore I must beg you to sign this Lease, you'll find Sir Toby has taken par ticular Notice of it in his Will. Per. A Lease for what? 197 Col. I rented an 1 Hundred a Tear of Sir Toby 198 upon Lease, which expir'd at Christmas, and I desire to renew it for Twenty Years, that's all Sir. Per. Very well, let's see what he says in his 199 Will about it; 0 hereit is, "The Farm lying now in Possession of Samuel Pillage -suffer^^ him to renew his 196 lodge . . . Commons. Register it (or deposit a copy of it) with the proper government agency. Similar to having a will recorded. 197 an . . . Year. A hundred acres of land each year. 198 Christmas. A. Lady-Lay. Lady day was a day kept in celebration of some event in the life of the Virgin Mary; now only March 25, the Feast of the Annunci ation; formerly also December 8, the Conception of the Virgin, September 8, the Nativity, and August 15, the Assumption. 199 hereit. Here it. Printer's error. ^^suffer him. Allow him. 256 Lease at the same Rent."- Very well, Mr. Pillage, I see my Uncle does mention it; and I'll fulfill his Will,— give me the Lease. Let me see,— --This Identure Samuel Pillage----to have and to hold— - — give me the Pen.---1 doubt this is but a sorry Pen [While he looks at the Pen, the Colonel changes the Lease and lays down the Contract] but it may serve to write my Marne [ signs it] there's your Lease Mr. Pillage. Will you dine with me? 201 Col. Sir, I had rather not, I must make Haste down, to take Care of every thing, [p. 152] you will give Orders about the Funeral. Per. I will send you full Instructions, Mr. Pillage, and give Orders for Mourning, but will detain you no longer now. [Exit Pillage] Seven Hundred a Year, I wish he had died Seventeen Tears ago. What a valuable Collection of Rarities might I have had by this Time. I could have travers'd the Globe, and my Closet should have 202 rival'd Sloane's. -Odso, I'll begin my Travels now,— I am but Sixty, my Rather, Grandfather, and Great Grand father reach'd Hinety, I have thirty Years good. Let 201 make . . . down. Go quickly back to Coventry. 202 Sloane’s. A. made my own Closet Rival the Vatican at Rome. Sir Hans Sloane (1660-1755) was a noted English physician and naturalist. His collection of botanical specimens, as well as over 50,000 books and manuscripts, formed the beginning of the British Museum (D. H. B. ). me see, what will Seven Hundred a Year amount to in— forty— no thirty Years. ‘I'll suppose the least, seven times thirty is just thirty times seven, that makes Twenty one Thousand Pound,— a vast Sum of Money; I can easily reserve Ten Thousand of it for such a Collection of Rarities'as shall make my Name famous,— and then when I dye, I bequeath them to one of our Universities, and be chronicled in the Pront in Gold Letters, and make my Name as immortal, as e 1 er a Radcliff or Voodward^^1 - of them all. f Exit. ] SCENE, a Tavern. Ereeman and Tradelove over a Bottle. Trad. Come,'Mr. Ereeman, here's Mynheer Jan, van tim, tarn tarn;.I shall never think of that Dutchman's Name. [p. 153] Mynheer Jan Van Timtamtirelereleta heer van Eainwell. Trad. Ay, ay, heer van Eainwell, I never heard Radcliff. Not in A. John Radcliffe (1650-1714) was a noted physician at Oxford and London. The bulk of his estate was left to Oxford University for the establish ment of the Radcliffe Library, Radcliffe Observatory and Radcliffe Infirmary (D. N. B.). ^^Voodward. Not in A. John Voodward (1665-1728) was a geologist and physician. He bequeathed his estate, including his collection of fossils, to Cambridge, where the collection formed the nucleus of the Voodwardian Museum (D. N. B.). 258 such a confounded. Name in my Life.— here's his Health however. Free. With all my Heart. Trad. Faith I never thought to find so generous an Action in a Dutchman. Free. Oh he has nothing of the Hollander in his Temper; hut here he comes. Enter Colonel drest as the Dutch Merchant. 205 Col. Ha, Mynheer Tradelove, Ik ^ hen sorry voor your Trouble, Ik sal you esie maeken, Ik vil de gelt niet hehhen. Trad. I shall forever acknowledge the Obligation, . Sir. Free. You know the Conditions, Mr. Tradelove, Mrs. Lovely. Col. Ya, de Juffrow^^ sal al te regt setten, Mynheer. Trad. With all my Soul, Mynheer, you shall have my Consent to marry her instantly. Free. Well since I am a Party concern'd, you Mynheer Jan van Timtamtirelereletta heer van Fainwell, shall give a Discharge of the Wager under your Hand, and 205 ^Ik . . . hehhen. I am sorry for your trouble, I shall make it easy for you, I do not want the money. de Juffrow . . . setten. The young lady (Ger. Jungfrau) will "put it all to right. 259 Mr. Tradelove shall give his Consent under his Hand to marry Mrs. Lovely, that's the Way to avoid rangling here after. Trad. Ay ay, so it is, Mr. Freeman, I'll give it under my Hand this Moment. [p. 154-] Col. And^^7 so sal Ik. Trad. Here, Mynheer is my Consent as ample as I can give it; you must insert your Fame, I know not how to spell it; I have left a long Blank for it. Col. Ya Ik sal dat wel doen.— Daer Mynheer Trade- love ben your Discharge to. -Well, Mynheer, ye must meer doen, ye most myn voorsprake to de Juffrow. Free. He means you must recommend him to the Lady. Trad. That I will, and to the rest of my Brother Guardians. 208 Col. Wat voor den Duyvel heb ye meer Guardians. Trad. Only three Mynheer. ha, ha, ha. 209 Col. Wat ^ sal Ik you laugh maeken,. myn betroken myheer, had Ik dat gewoeten, ik soud, eaven met you, geweest syn. ^^And ... Ik. And so shall I. p A O Wat . . . Guardians. What the devil, are there more guardians? 209 Wat . . . syn. Do you laugh at me because you cheated me"? if I had known that, I would have gotten even with you. Myheer. Mynheer. 260 Trad. I will say all that ever I can think on * to recommend you, Mynheer, and I'll introduce you to the Lady. Col. Well2"^ dat is waer. Trad. I'll go about it this Moment upon Honour. [Exit.] 211 Col. Ha, ha, he hugs himself with his good 212 Fortune, but little thinks the Lucks o'my Side. How for the Quaker. f Exeunt.] SCEHE,215 Prim's House. Mrs. Prim, and Miss Lovely meeting, in a Quaker's Press. Mrs. Prim. How Ann, I can look on thee, [p. 1551 I 2 1 4 - have work'd a good Work, and demolished thy heathenish Hoop, and spotted Face, if Heaven should mark thy Face 2^Well . . . waer. Well, that's fair. 211 hugs himself. Congratulates himself. 212 , n o my. On my. 2^ SCEHE . . . House. A. Act V. B. Act II, Scene 3rd. This scene has been reduced to almost half of the 238 speeches in A., the droll containing only 133 speeches. As with the other abridging, nothing is lost of the plot of the play. B. has left this scene almost intact, reducing the number of speeches from A. by only twenty-eight. 2 1 4 - Heathenish Hoop. The hoop skirt became fashion able in the early eighteenth century among ladies of good society. The Quakers, of course, rejected such fashions as being un-godly or heathenish. 261 215 with, immoveable black Spots, would it not fright thee Ann? Mrs. Lov. If Heaven should make visible the Spots of your Hypocrisy, it would fright me worse. Mrs. Pr. My Hypocrisy I I scorn thy Words, Ann, 2 1 6 I lay no Baits. Mrs. Love. If you did you'd catch no Pish. Mrs. Pr. But I tell thee, Ann, if fishing be thy Design, thou wilt catch.more in this plain Dress, than with all thy Pallals, and Pooltraps^"^ about thee. Mrs. Lov. 0 la, is that the Secret of your 219 Pormality, I always believ'd there was more y Policy than Piety in the plain Cap. 215 ^Immoveable . . . Spots. Women of fashion in the early eighteenth century painted black beauty marks on their faces. The Quakers rejected any manner of cosmetics which altered a person's appearance. 216 I . . . Baits. I am not trying to trick or entrap you. Mrs. Lovely intentionally misunderstands her meaning and interprets it as, "I am not looking for a husband." 217' Pallals. Pieces of finery or frippery, showy adornments in dress (N. E. P.). 218 Pooltraps. That which would trap a fool (into marriage). 219 more . . . Cap. Mrs. Lovely again intentionally misinterprets Mrs. Prim's meaning and insinuates that the plain Quaker dress was for the purpose of attracting men rather than because it was more proper and pious. 262 ' i 220 Mrs. Pr. Fye for Shame, thy Vessel is filled 221 with the Corruption of filthy Plays and Romances, and pop strongly scenteth of the Lees of Fornication. Ay, I ' 224 wish, Ann, thou art not too fond of the wicked Ones. Mrs. Lov. Too fond of the wicked Ones! How dare you use me thus, you, you, you, unworthy Woman you. [Bursts into Tears.] Enter Tradelove Trad. What in Tears, Haney, what have you done, Mrs. Prim, to make her weep. Mrs. Lov. Done! I admire I keep my Senses among you, hut don't think I'll he always your Fool; no I'll wear what I [p. 156] please, go where I’please, and keep Company with whom I please, and ask none of you Leave,— I will. ^ °Vessel. Mind. 221 filthy . . . Romances. A complaint of the Puritan and Quaker churchmen, which, goes hack to the sixteenth century, was that plays and romances (novels) corrupted people by showing corruption and vice. ^^scenteth. Smells. 226 ALees . . . Fornication. The basest parts, the dregs, the refuse of fornication. 224 • wicked Ones. Men. 263 Trad. Indeed I think you'r in the right, Mrs. Lovely, yon ought to have your Liberty,— and for that very Purpose I am come. Enter Periwincle and Obadiah Prim, with a Letter in his Hand. Ob. Ph. This Letter is from Aminadab Holdfast of Bristol, it recommendeth unto us Simon Pure, a Speaker of 225 the Faithful, peradventure ^ he will be here this Night, and therefore do thou Sarah provide for his Eeception. Mrs. Pr. Thine Handmaid shall obey thee Obadiah. [Exit.] 226 Ob. Pr. Wherefore art thou in the Pumps, Ann? Trad. We must marry her, Mr. Prim. Ob. Pr. Yea verily, if we could find a faithful 227 Yoke-mate, ' I should rejoice exceedingly. Trad. I can recommend a Man that will dress her in 228 all the Pride of Europe, Asia, Africa and America: A Dutch Merchant my Girl. Enter Sir Philip Modelove. 225 ^peradventure. By chance; by accident. 226 Wherefore . . . Pumps. Why are you sad? ^ ^Yoke-mate. Husband. ppo Pride . . . America. Clothes made of the best fabrics from Europe, Asia, Africa and America. 264 Sir. Eh.il. You recommend.; whenever she marries, 1111 recommend the Man. Per. No, Sir Philip, he shall "be none of your 222 Fops, with empty y Sculls, thatch'd [p. 157] over with white Hair; no, he shall he a Man famous for Travels and Curiosity, a Man who has search'd into the Profundity of Nature: When such a one demands my Consent, he shall have it. Oh. Pr. Look you, 'tis in vain to talk, when I meet with a Man that rightly deserveth her, he shall have the Maiden. Enter Servant. Ser. One Simon Pure enquireth for thee. Oh. Pr. I desire thee, Friend Phillip, thou would retire with thy Brother Guardians into that inner Room, Business requireth me here. Sir Phil. 0, Sir, we shan't trouble you. Pox 250 take him for a canting Clown.— Come Brothers. [Exit 5 Guardians.] Enter Colonel in a Quaker's Dress. Oh. Pr. Thou art welcome, Friend Pure, how doth 222 yempty . . . Hair. Empty heads .covered with white hair. ^ °canting Clown. Canting: the unreal or affected use of language, especially the formal use of religious or pietistic phrases, hypocritical talk (N. E. D.). 265 our Friend Holdfast, and Friend Keepfaith, and all Friends at Bristol?- Col. They are all rich in Grace, I thank thee for them. Oh. Pr. Friend Holdfast writeth me Word thou earnest lately from Pensylvania; how do all Friends there? Col. Friend, the Blessing of their good Works fall upon them. Enter Mrs. Prim. Oh. Pr. Sarah, hehold our Friend Pure. Mrs. Pr. Friend thou art welcome. [He salutes her.] [p. 158] Col. Here comes the Sum of all my Happiness, how charming she appears even in that Disguise. | ~ Aside. 1 Oh. Pr. Why dost thou so attentively gaze upon the Maiden, Friend? Col. I will tell it unto thee; in this my Travel, 262 when I sojourned in the Wight Season, I saw in Vision 266 this Maiden, attir'd in the Mode of Vanity, standing on the Brink of Perdition, and lo! I heard a Voice which 261 Disguise. The Quaker dress. 262 Wight Season. Wight time. ^^Mode . . . Vanity. Dressed in the fashion of the day. 266 called unto me, saying— Simon— Simon— put forth, thy Hand, and save her from the Pit, methought I stretch'd forth my Hand, and drew her from the Gulph, and behold the Damsel grew to my Side. Mrs. Pr. 0 wonderful! What doth this Vision foretel, Obadiah? Ob. Pr. It doth typifie the Conversion of the Maiden. Mrs. Lov. That's false I'm sure. [Aside.] 264- Ob. Pr. Wilt thou use the humane ^ Means, Friend Pure. Col. Means, what meanest thou, is she not thy Daughter, and one of the Flock^^ of the Faithful, already. Ob. Prim. Ho alas! She is neither, but 266 remaineth ^ in the Tents of the Ungodly. Mrs. Pr. Pray thee mind what this good Man will say unto thee, he will teach thee the Way thou should walk, Ann? Mrs. Lov. I know my Way without his Instructions, I thought you promised I [p. 1591 should be quiet, when I had put on this odious Dress. 264- ^ humane. Gentle or kindly. ^^Flock . . . Faithful. Quaker. 266 nemaineth . . . Ungodly. Is not a Quaker. 267 Col. Then thou wearest it against thy Inclination, I perceive, Friend. Mrs. Lov. Friend, thou hast said the Thing that is right. Mrs. Pr. Ay, Ann, art thou not asham'd to mimick the good Man. Col. Mind her not, she moveth not me.— if thou wilt leave her alone with me, I will try to soften her harden'd Heart. Ob. Pr. Content, I pray thee put it home to her, come, Sarah, let us go. Mrs. Lov. [Catching hold of Prim, he breaks loose and exit.] What do you mean, to leave me with this 257 canting Enthusiast. D'ye think, because I comply with 258 your ridiculous Dress, to impose your Quaking Doctrine upon me.. Col. I pray thee Maiden moderate thy Passion. Mrs. Lov. I pray thee follow thy Leaders— you will but lose Labour upon me. Col. I am of another Opinion— the Spirit telleth me, I shall convert thee Ann. Mrs. Lov. 'Tis a lying Spirit, I'll not believe it. 257 Enthusiast. One who is possessed or inspired by God. In the eighteenth century the word "enthusiasm" was applied disparagingly to emotional religion. 258 Quaking., Quaker. 268 Col. Say'st thou so? Why then thou shalt convert me, my Angel, [catching her in his Arms.] Mrs. Lov. [shrieks] Ah Monster1 stand off, or I'll tear thy Eyes out. [p. 160] Col. HushI for Heaven Sake, dost not ,know me, I am Fainwell. Mrs. Lov. Fainwell! Oh I'm undone [Enter Prim] ha, Prim here.— I wish with all my Soul I had been dumb. Ob. Pr. What's the Matter, Ann, why dost thee shriek out? Mrs. Lov. Shriek out! I'll shriek and shriek again, cry Murder or any Thing, to drown the Noise of this whining Babbler. Col. No Matter, I shall calm her, I warrant thee; leave us I pray thee. Ob. Prim. Pare thee well. [Exit.] Col. My dear charming Woman. [Embracing her.1 Mrs. Lov. What meanest thou by this Disguise, Fainwell. Col. To redeem thee from Captivity, if thou wilt perform thy Promise. Mrs. Lov. Make me Mistress of my Fortune, and make thy own Conditions. Col. This Night shall crown my Wishes,— See here, the Consent of three of thy Guardians already, 259 and only second me, Prim shall soon mate the Fourth. [Prim steals in and listens.] a Oh. Pr. I would gladly hear what Arguments our Friend useth to Ann. Mrs. Lov. Thy Words give new Life,, thou hest of Men, Heaven meant to bless me sure, when I first saw thee. [p. 161] Ob. Pr. Ha, what do I hear— he hath molify'd her— 0 Wonderful Conversion.' Ob. Pr. [coming forward] Oh what a prodigious Change is here— Anne, how dost thou like the Doctrine he hath preach'd? Mrs. Lov. So well, that I could talk to him always .methinks. Ob. Pr. Verily it rejoices me, come Friend Simon, take the Maiden by the Hand--- Enter Servant. Ser. There’s another Simon Pure enquireth for thee, Master. Col. The Devil there is. fAside.] Ob. Pr. Another Simon Pure? is he any Relation of thine ? Col. .Ho, Friend, I know him not. Ob. Pr. Bring him up?^^ 259 ^yand . . .me. And support me xn my scheme. ^^“up? This is apparently an error, as the speech of Prim is a command, not a question. Col. Then Impudence assist me, and if it fails me I'm mistaken. Enter Simon Pure. S. Pur. Didst not thou receive a Letter from Eriend Holdfast concerning Simon Pure? Oh. Pr. Yea, and here stands Simon Pare, Eriend. Col. And Simon Pure will stay here, Eriend, if possible. [Aside.] S. Pu. That's Untruth, for I am he. Col. Take thou heed Eriend, for I am [p. 162] Simon Pure, thou would not rob me of my Maine, sure? Sim. Pure. Thy Hamel I am astonish'd. Col. Thou may'st be at thy own Impudence, [ going up to him.] 241 Sim. Pure, Avant Sathan; I defy thee and all thy Works. 242 Mrs. Lov. Oh he'll out cant him, we're undone, ruin'd for ever. Ob. Pr. One of these must be a Counterfeit in Verity. Enter Servant, and gives a Letter to Prim who opens it. Ob. Pr. This Letter Saith, that thy Works are the ^^Avant Sathan. Go forth, Satan. 242 out . . . him. He will talk more hypocritically (lie more). See supra, n. 230. 271 Works of Sathan, read that I pray thee Simon, [gives it the Colonel.] Col. 'Tis Freeman1s Hand— [Reads] There is a Rogue designs to rob your House, and cut your Throat to Night, he is disguised like a Quaker, you will’know him from the real Quaker by the Mole on the Right Side of his Chin, make the right Use of this, Adieu. Ob. Pr. Dost thou hear this? S. Pu. Yea, but it moveth me not, that is the Imposter. Col. Yea, as it appeareth by the Mole upon my Chin. Ob. Pr. Verily, Friend, thou art the most impudent Villain I ever saw. [p. 163] Mrs. Lo. Nay then I'll have a fling at him. [Aside.] I remember this Fellow with the Mole on his Chin at Bath; Ay, this is he that pick'd my Lord Raffles Pocket— don't you remember how the Mob punish'd you, Friend? go Friend, I advise thee not to tempt thy Fate any farther. Ob. Pr. She advises thee well Friend, go about thy Business, and leave this wicked Course of Life, thou mayst not come off so favourably every where. S. Pu. Yea, I will go, and return with such Proof as shall show thee, Obadia, thou art impos'd upon [Exit.] Ob. Pr. What Works of Wickedness are in this World, Simon! 272 Mrs. Lov. What meaneth these Emotions within me, the Spirit and the Flesh fighteth, yea, they buffet, this good Man hath spoken Comfort to me, yea Comfort I say, he breathed into my outward Ears, and it sunk into my Heart, yea, verily I feel the Spirit doth love him ex ceedingly— hum. Enter Mrs. Prim. Ob. Prim. 0 wonderful! the Damsel is filled with the Spirit, Sarah. Mrs. Pr. I am greatly rejoic'd to see such a Change. Mrs. Lov. Something whispers in my Ears— yea, .it telleth me I am a chosen [p. 164] Vessel to raise up Seed to the‘Faithful1, and that thou, Obadia, must consent that I grow to his Side, and be one Flesh— hum. Ob. Prim. My Heart rejoiceth exceedingly, I say, to perceive the Spirit within thee, behold it moveth thee, yea, it moveth thee with natural Agitation towards this good Man, yea verily, I say, it stirreth up thy Inclination as one would stir a Pudding. Mrs. Lov. I see, I see, thee, good Obadia, lo he taketh up the Pen, and now behold he signeth his Con sent; and now my Friend and Brother Simon is become Bone of my Bone, and lo I embrace him in the Flesh, [She embraces him. ] Col. Lea, and I will take thee in all spiritual 273 Love, for the Wife of my Bosom;— and now I feel a longing— yea, I do long exceedingly. Mrs. Pr. The Spirit greatly moved them Both— Obadia give thy Consent, resist not the Spirit. Ob. Pr. Yea, the Light within sheweth me that I shall wrestle through those reprobate Friends thy other Guardians— thou art a chosen Lamb— the Spirit shall hedge thee into the Flock of the Righteous fetch me the Pen and Ink, Sarah, and my Hand shall be guided by the Spirit— So give me the Instrument— here Friend Pure, [p. 1653 write thou what the Spirit dictateth, and I will set my Fame thereunto. [Colonel writes] Col. There Friend [gives the Paper.] Enter Maid, running 'to Mrs. Lovely. 24-5 Maid. 0 Madam, here's the Quaking Man with two more. Mrs. Lov. All's ruin'd, undone. Col. Ho, hush, one Minute sooner would have done it, but now here's Company coming, Friend, give me the Paper [going to Prim hastily] Ob. Prim. Here it is Simon, and I wish thee happy with the Maiden. Enter Simon Pure, Coachman, &c. Sim. Pu. Look thee, Friend, these People will OllT) Quaking Man. Quaker, Simon Pure. 274 satisfy thee that I am no Imposter, this Man did drive the Cattle, that drew us from Bristol-- Col. Look you, Friend, you may save your Lungs,— I plead guilty. Enter the three Guardians and Freeman. Oh. Pr. How's this, is not thy Fame Simon Pure? 244- Col. No really, Sir, I have no farther Occasion for it. Ob. Pr. 0 the Wickedness of the Age, I am struck dumb with thy Impudence— I am asham'd to see these Men--- Trad. Hark ye Mrs. Lovely, one Word with you, [takes her Hand.] Col. This Maiden is my Wife, Friend, and thou hast no Business with her. [p. 166] Sir Phil. Married to a Quaker,— there's a Husband for a young Lady. Col. When I put on my Beau Cloaths, you'll like me better, Sir Philip. 246 Sir Phil. Thou wilt make a scurvy ^ Beau, Friend. Col. I have it under your Hand, you thought me a fine Gentleman 39 Minutes before 12 to Day, will you take a Pinch of Snuff, Sir, the Box is exquisitely fine. 244 Occasion. Use. 245 ^scurvy. Poor, ill-suited. 275 Trad. Did not you tell me, Mr. Freeman, the Dutch Merchant would meet me here. O 7 [ £1 Col. 0 Mr. Tradelove don't he impatient, heb ye Jan van Timtamtirelereleta heer van Fainwell, Vergeeten. Trad. Oh pox of the Name, what am I trick'd too. Col. Trick'd, Sir, I gave you Two Thousand Pound for your Consent fairly; and you have the Conscience to accuse a Gentleman of tricking you. 247 Per. Trick'd, quoth a, I don't know but this Fellow may be he that was sent to me from Indostan, by a Gymnosophist, ha, ha. Col. The very same, Sir. Per. Are you so, Sir? But your Trick would not pass upon me. Col. No not then, as you say, your Time was not come; but you may please to remember Samuel Pillage, you was so good to sign my Lease; I thank you; but it was mentioned in Sir Toby’s Will you know, ha, ha, ha. [p. 167] Per. Well, and what signifies that Lease, I'm sure it was a Lease I signed. Col. You read a Lease, indeed, but you signed this Lease for Life, [taking hold of Mrs. Lovely.] O li C - > . heb . . . Vergeeten. Have you forgotten . . .? 247 quoth a. Variant for quotha, meaning indeed!, forsooth!, etc. (N. E. D.). 276 Trad. Well, Sir, since you have outwitted us all; pray who are you? Sir Ehil. ■ The Gentleman is a fine Gentleman, and Col. Look you, Sir Philip. Let me give an Account 24-8 of myself. I have had the Honour to serve my King at the Head of a Regiment, and notwithstanding the Fortune this Lady “ brings me, whenever my Country wants my Aid, this Arm and a good Sword shall he at her Service. 249 In y Love, and War, how exquisite the Charms! When Beauty smiles, and Victory crowns our Arms. [Exeunt.] E I W 'I S. 24-8 to . . . Regiment. A. to serve his Majesty, and headed a Regiment of the "bravest Eellows that ever push'd Bayonet in the Throat of a Erenchman. B. copies A. exactly, but "a Erenchman" is crossed over and changed to "an Enemy." 2 4 - 9 yIn . . . Arms. A. ends in a ten-line poem, but the two lines in the droll are not copied from A. APPENDICES 277 278 APPENDICES The stage histories in the following appendices are arranged in chronological sequence for each play,'*' information being supplied in the following order: 1. Date of performance. 2. Location of performance. The full name of the theatre is given at the first occurrence. Thereafter the following abbreviations are used for theatres frequently cited: BP - Bartholomew Pair; CG - Covent Garden; DL - Drury Lane; HAY - The Little Theatre in the Haymarket; LIP-I - first theatre in Lincoln's Inn Pields; LIP-II - second theatre in Lincoln's Inn Pields; New GP - New Theatre in Goodman's Pields;.Odell's GP - Odell's Theatre in Goodman's Pields; Queen's - Queen's Theatre in the Haymarket; SP - Southwark Pair; SOU - Southwark. 3. Title. After the first entry the title is. included only if it differs significantly from normal usage. 4. Cast, as reported in playbills or advertisements. 5. Miscellaneous information about the performance. 6. Reference. The following abbreviations are used: ^The only exception is the group of plays in Appendix , A which are variants of the "Vintner" story. Their stage histories in London have been consolidated in chronological order. Each title is assigned a letter (A., B., etc.) which is continued throughout for that play. Bentley- 279 - Bentley, Gerald Eades. The Jacobean and Caroline Stage. Elizabethan Stage English Drama French Drama Genest Irish Stage L. S. London Eairs "Methodism Displayed" Chambers, Edmund E. The Eliza bethan Stage. Nicoll, Allardyce. A History of English Drama, 1660-1900. Waldo, Lewis P. The French Drama in America in the Eighteenth Century and its Influence on the American Drama of that Period, 1701-1800. Genest, John. Some Account ol the English Stage from the Restoration in 1660 to 1850. Clark, William Smith. The Irish Stage in the County Towns: 1720- 1800. van Lennep, William, et_ al. The London Stage. Eosenfeld, Sybil. The Theatre of the London Fairs in the 18th Century. Hughes, Leo. "Trick Upon Trick; or, Methodism Displayed." 280 Price Seilhamer Sheldon Strolling Players Ten English. Parces - Price, Cecil. The English. Theatre in Wales in the Eighteenth and Early Nineteenth Centuries. - Seilhamer, George 0. History of the American Theatre. - Sheldon, Esther K. Thomas Sheridan of Smock-Alley. - Eosenfeld, Sybil. Strolling Players and Drama in the Provinces: 1660-1768. - Hughes, Leo and Arthur H. Scouten. Ten English Farces. 7. Hotes. Where casts, theatre, or other information is not known, that portion of the entry has been omitted. APFE1DIX A THE BILKER BILK'D: OH, A BANQUET OP WILES 281 282 STAGE HISTORY (LOUDON) The Dutch. Courtesan 26 June 1605 - 25 September 1776 26 June 1605 The Dutch Courtesan entered into the Stationers' Register. "A booke called the Dutche Curtizan, as yt was latelie presented at the Blackeffryers. . . " Elizabethan Stage, III, 430. 25 February 1612/13 At Court Cockle de moye (The Dutch Courtesan) Cast not listed. Lady Elizabeth's Company. Elizabethan Stage, IV, 127, 180. 12 December 1613 At Court The Dutch Curtezan Cast not listed. Lady Elizabeth's Company. Elizabethan Stage, IV, 128, 182. 1619 or 1620 At Court The Dutch Courtesan - listed for performance, but cancelled. No cast listed. Probably in the repertory of Lady Elizabeth' Men. Bentley, I, 195- 284 STAGE HISTOEY (LONDON) The Bevenge; or, A Match in Newgate. (T. Betterton or A. BeT-rn) Late June 1680 - 23 September 1776 Late June 1680 Dorset Garden Theatre The Bevenge; or, A Match in Newgate No cast listed, but see edition of 1680. The Duke's Company. The date of the first performance is not known. L. S., 1, p. 287. English Drama, I, 391. Tuesday 1 August 1704 Lincoln's Inn Eields-I (LIE-I) A Match in Newgate; or. The Vintner Trick'd [ Anon.?; Betterton?; Behn?J Cast no listed. Hughes and Scouten ("Theatrical Adaptations," p. 108) think this was the Betterton (or Behn) version. L. S., 2, p. 71. Monday 8 October 1705 LIE-I A Match in Newgate; or, The Vintner Trick'd Cast not listed. L. S., 2, p. 103. 285 STAGE HISTORY (LONDON) A Woman's Revenge;; or A Match in Newgate 24 October 1715 - 23 September 1778 Monday 24 October 1715 Lincoln's Inn Pields II (LIP-II) A Woman's Revenge; or, A Matcb in Newgate Cast not listed. See cast listed in edition of 1715. [Mainpiece: The Lucky Prodigal; or, Wit at a Finch] Proglogue written by Theobald and spoken by Keene. Epilogue spoken by Mother Griffin, the Bawd. The Prince of Wales present. Receipts: L34 19s. L. S., 2, p. 372. 1. This is the first performance of this play. 2. This is the first performance of this play at Lincoln's Inn Pields II. (See 2 June 1732.) Tuesday 25 October 1715 LIP-II Cast not listed, but see edition of 1715- [Mainpiece: The Lucky Prodigal] With a New Prologue by Mr. Keene. Receipts: L30 19s. L. S., 2, p. 373. Wednesday 26 October 1715 LIP-II Cast not listed, but see edition of 1715* [Mainpiece: The Lucky Prodigal] Benefit the Author. Recepts: L86 3s. L. S., 2, p. 373. 286 Thursday 27 October 1715 LIF-II Cast not listed, but see edition of 1715* [Mainpiece: The Lucky Prodigal] Receipts:- L25 6s. L. S., 2, p. 373. Saturday 12 November 1715 LIP-II Cast not listed, but see edition of 1715. At the Desire of several Persons .of Quality. Receipts: L39 9s. 1. This is.the first time that this play was performed as the mainpiece. Thursday 24- November 1715 LIP-II Cast not listed, but see edition of 1715- [Afterpiece: Acis and Galatea] Receipts: L30 10s. L. S., 2, p. 377. Friday 16 December 1715 LIP-II Cast not listed, but see edition of 1715* [Afterpiece: Acis and Galatea] Receipts: L17 3s. 6d. L. S. , 2, p. 381. Thursday 29 December 1715 LIP-II Cast not listed, but see edition of 1715- 287 [Afterpiece: Hob] Receipts: L30 10s. 6d. L. S., 2, p. 382. Friday 3 February 1716 LIF-II Cast not listed, but see edition of 1715* [Afterpiece: The Cobler of Preston] Receipts: L15 13s. 6d. L. S., 2, p. 388. Saturday 14 April 1716 LIF-II Mixum - Pack; Mrs. Mixum - Mrs. Hunt. See also edition of 1715- [Afterpiece: Acis and Galatea. Second After- piece: THe Cobler of Preston] Benefit Mrs. Hunt. At the particular Desire of several Ladies of Quality. Receipts: money LI5 15s. 6d. and tickets L28 13s. L. S., 2, p. 397- Friday 19 October 1716 LIF-II Mixum - Pack. Receipts: L20 10s. L. S., 2, p. 417. Wednesday 30 October 1717 LIF-II Cast not listed. [Afterpiece: Hob; or. The Country Wake. Second Afterpiece: The Jealous Doctor] L.' S. , 2, p. 466. Thursday Thursday Thursday (Friday 9 Thursday Tuesday 288 12 December 1717 LIF-II Cast not listed. [Mainpiece: The Per,juror. Second Afterpiece: The Jealous DoctorJ At the particular Desire of several Ladies of Quality. L. S. , 2, pp. 473-W. 6 November 1718 LIF-II Cast not listed. L. S., 2, p. 513. 27 November 1718 LIF-II Cast not listed. L. S., 2, p. 516. January 1719 LIF-II Cast not listed. L. S., 2, p. 523. 14 May 1719 LIF-II Cast not listed. [Afterpiece: Hob] Benefit White, the Boxkeeper. L. S., 2, p. 540. 7 October 1719 LIF-II Cast not listed. [Afterpiece: The Cobler of Preston] L. S., 2, p. 552. Wednesday 25 November 1719 LIP-II Cast not listed. [Afterpiece: The Stage Coach] L. S., 2, p. 557- Wednesday 30 December 1719 LIP-II Mixem - Pack. [Afterpiece: The Cobler of Preston] L. S., 2, p. 561. Saturday 26 March 1720 LIP-II Mixem - Pack. [Afterpiece: The Stage Coach] L. S., 2, p. 574. Monday 6 June 1720 LIP-II Cast not listed. L. S., 2, p. 585. Wednesday 25 January 1721 LIP-II Mixem - Pack; Vizard - C. Bullick; Mother Griffin - Griffin; Tom - Spiller; Corinna Mrs. Cross; Mrs. Mixem - Mrs. Giffard. Monday Friday Monday Friday 290 [Afterpiece: The Chimera] Receipts: L26 16s. L. S., 2, p. 611. 13 February 1721 LIF-II Cast not listed, but see 25 January 1721. [Afterpiece: The Walking; Statue. Second Afterpiece: The Cheats; or. The Tavern Bilkers] Receipts: L23 7s. L. S., 2, p. 615- 13 April 1722 LIF-II Vizard - Egleton; Bevil - Walker; Freeman - Diggs; Thinkwell - Bullick Sr.; Mixem - Hall; Tom - Spiller; Corinna - Mrs. Seymour; Mrs. Mixem - Mrs. Egleton. [Afterpiece: The Magician] Receipts: LI7 Is. 6d. L. S., 2, p. 673- 7 May 1722 LIF—II Cast not listed, but see 13 April 1722. [Mainpiece: The Fatal Extravagance] Benefit Phipps, Rakestraw, and Miss Hutton. Receipts: money L3 19s.; tickets L99 3s. L. S., 2, p. 677- 12 October 1722 LIF-II Corinna - Mrs. Seymour; Bevil - Walker; Freeman - Hall; Vizard - Egleton; Tom - Spiller; Mrs. Mixem -Mrs. Egleton. ! ! j . « * * 291 [Afterpiece: Hob; or, The Country Wake] Receipts: L20 6s. L. S., 2, p. 689- Tuesday 22 October 1725 LIF-II Corinna - Mrs. Parker; Bevil - Walker; Freeman - Diggs; Thinkwell - Bullock Sr.; Mixem - Hall; Vizard - Egleton; Tom - Spiller; Mother Griffin - Hippisley; Mrs. Mixem - Mrs. Egleton. [Afterpiece: The Country House] Receipts: L25 13s. L. S., 2, p. 740. .Monday 9 December 1723 LIF-II Cast same as 22 October 1723, but: Tom - H. Bullock. [Afterpiece: Hob; or. The Country Wake] Receipts: L26 10s. 6d. L. S., 2, p. 749- Tuesday 21 January 1724 LIF-II A Match in Newgate Cast not listed, but see 9 December 1723. [Afterpiece: Hie Necromancer] Receipts: LI44 7s. L. S., 2, p. 756. Friday 31 January 1724 LIF-II Cast not listed, but see 9 December 1723. 292 [Afterpiece: (The Necromancer] By Their Royal Highnesses' Command. Receipts: L149 7s 6d. L. S., 2, p. 757. Monday 25 May 1724 LIF-II Cast not listed, but see 9 December 1723* [Afterpiece: Hob. Second Afterpiece: Jealous Doctor] Benefit Mackenzie, Mrs. Edzard, and Mrs. Spicer. Receipts: money L17 3s.; tickets L63 Us. L. S., 2, p. 778. Tuesday 2Q October 1724 LIF-II Cast not listed. [Afterpiece: Jupiter and Europa] Receipts: L83 7s. 6d. L. S., 2, p. 790. Monday 18 January 1725 LIF-II Cast not listed. [Afterpiece: Hob. Second Afterpiece: The Cheats] Receipts: L38 7s. L. S., 2, p. 805- Friday 22 October 1725 LIF-II Cast not listed. [Afterpiece: The Country House] Receipts: L21 3s. 6d. L. S., 2, p. 837- Tuesday 28 December 1725 LIF-II Cast not listed. [Afterpiece: The Necromancer] Receipts: L85 6s 6d. L. S., 2, p. 847. Friday 28 January 1726 LIF-II Cast not listed. [Afterpiece: Apollo and Daphne] Receipts L114 2s. L. S. , 2, p. 852. Thursday 9 March 1727 LIF-II Cast not listed. [Afterpiece: The Rape of Proserpine] Receipts: L188. L. S., 2, p. 912. Saturday 8 April 1727 LIF-II Cast not listed. [Afterpiece: The Rape of Proserpine] Receipts: LI59 4s. L. S., 2, p. 917- Saturday 22 April 1727 LIF-II Cast not listed. 294 [Afterpiece: The Rape of Proserpine] Receipts L47 4s. L. S., 2, p. 920. Tuesday 23 May 1727 LIS1 -II Cast not listed. [Afterpiece: Apollo and Daphne; or The Burgo- Master Trick'd] Receipts: L69 19s. 6d. L. S., 2, p. 928. Wednesday 22 November 1727 LIS-II Cast not listed. [Afterpiece: Apollo and Daphne; or, The Burg;o- Master Trick'dj Receipts: L45 6s. 6d. L. S., 2, p. 943. Wednesday 27 December 1727 LIS-II Cast not listed. [Afterpiece: Apollo and Daphne; or. The Burgo- Master Trick’dj Receipts: L64 10s. 6d. L. S., 2, pp. 951-952. Tuesday 29 October 1728 LIS-II Cast not ld^ed. [Afterpiece: The Necromancer; or. Harlequin Dr. Saustus] Receipts: L92 Is. L. S., 2, p. 995- 295 Friday 27 December 1728 LIF-II Cast not listed. [Afterpiece: Apollo and Daphne] Receipts: L47 L. S., 2, p. 1004. Monday 19 May 1729 LIF-II Cast not listed. [Afterpiece: The Country House. Second After- piece: Flora] Benefit Mines, Maine, and Keene's Widow. Receipts: money L20 14s.; tickets L120 12s. L. S., 2, p. 1035- Thursday 30 October 1729 LIF-II Old Mixem - Hall; Mrs. Mixem - Mrs. Egleton; Mother Griffin - Hippisley; Thinkwell - Bullock; Freeman - Milward; Bevil - Walker; Vizard - Chapman; Corinna - Mrs. Berriman; Celia - Mrs. Rice; Miranda - Miss Holiday; Prisoners - Ray, H. Bullock, W. Bullock. [Afterpiece: The lecromancer] Receipts: L41 13s. L. S., 3, p. 12. Saturday 27 December 1729 LIF-II Cast same as 30 October 1729, but: Prisoners - Ray, H. Bullock, Clark; Milward listed for both Bevil and Freeman but probably in error for Bevil - Walker. [Afterpiece: The Necromancer] Receipts: L76 4s. 6d. L. S., 3, p. 26. 296 Monday 5 January 1730 Odell's Theatre in Ayliffe Street, Goodman's Fields (Odell's GF) Thinkwell - Hallam; Freeman - Smith; Bevil - W. Williams; Mixem - Penkethman; Vizard - W. Bullock; Tom - Collet; Prisoners - W. Giffard, R. Williams, Eaton; Corinna - Mrs. Haughton; Celia - Mrs. Seal; Miranda - Mrs. Purden; Mrs. Mixem - Mrs. Thomas. [Afterpiece: Hob; or, The Country Wake] L. S. , 3, p. 29. 1. This is the only performance of this play at Odell's Theatre in Ayliffe Street, Goodman's Fields. • Tuesday 6 January 1730 LIF-II Cast not listed, but see 27 December 1729- [Afterpiece: Persens and Andromeda] Receipts: L89 Os. 6d. L. S. , 3, p- 29- Monday 23 February 1730 LIF-II Cast not listed, but see 27 December 1729- [Afterpiece: Persens and Andromeda] Receipts: L163 13s. 6d. L. S. , 3, p. 39. Monday 30 March 1730 LIF-II Cast not listed, but see 27 December 1729 [Afterpiece: Persens and Andromeda] Receipts: money L180; tickets L12 8s. L. S. , 3, p- 297 Tuesday 28 April 1730 LIF-II Cast not listed, but see 27 December 1729* [Afterpiece: Persens and Andromeda] Receipts: L128 13s. L. S., 3, p. 55- ■ Tuesday 26 May 1730 LIF-II Cast not listed, but see 27 December 1729- < [Afterpiece: Persens and Andromeda] Receipts: L44 7s. L. S., 3, p. 63. Friday 23 October 1730 LIF Old Mix'em - Hall; Mrs. Mix'em - Mrs. Egleton; Mother Griffin - Hippisley; Thinkwell - Bullock; Freeman - Milward; Bevil - Walker; Corinna - Mrs. Berriman; Caelia - Mrs. Rice; Miranda - Miss Holiday; Vizard - Chapman; Prisoners - Ray, H. Bullock, Clarke. [Afterpiece: Flora] Receipts: L54 14s. 6d. L. S., 3, p. 87- Thursday 19 November 1730 LIF-II Cast not listed, but see 23 October 1730. [Afterpiece: The Rape of Proserpine] Receipts: .L49 Is. L. S., 3, p. 94. Friday January 1731 Drury Lane Theatre (DL) Cast not listed. [This performance may be an erroneous duplication of the performance at LIP-II on the same day.] L. S., 3, p. 105- 1. This performance (if it took place) is the first performance of this play at the Drury Lane Theatre. Friday 1 January 1731 LIP-II Cast not listed, but see 23 October 1730. [Afterpiece: The Rape of Proserpine] Receipts: L53 Is. L. S., 3, p. 105- Thursday. 18 February 1731 LIF-II Cast not listed, but see 23 October 1730. [Afterpiece: Persens and Andromeda] Receipts: L 63 2s. 6d. L. S., 3, p. 117- Tuesday 23 March 1731 LIF-II Cast not listed, but see 23 October 1730. [Afterpiece: Apollo and Daphne] Receipts: L53 11s. 6d. At the Desire of several Persons of Quality. L. S., 3, p. 125- Tuesday 28 December 1731 LIF-II Cast not listed. Friday 2 Tuesday 5 Wednesday Monday 29 299 [Afterpiece: Apollo and Daphne] Receipts: L67 14s. 6d. L. S., 3, p. 179. June 1732 LIF-II Cast not listed. [Afterpiece: Persens and Andromeda] Receipts: L51 "17s* L. S., 3, p. 222 1. This is the last performance of this play at Lincoln's Inn Fields II. (See 24 October 1713-) February 1734 The Theatre Royal in Covent Garden (CG) Cast not listed. [Afterpiece: Persens and Andromeda] L. S., 3, p. 365- 1. This is the first performance of this play at the Theatre Royal in Covent Garden. 29 December 1736 CG Bevil - Walker; Vizard - Chapman; Corinna - Mrs. Hallam; Thinkwell - Mullart; Freeman - A. Hallam; Mixem - Fulford; Mrs. Mixem - Mrs. James; Mother Griffin - Hippisley. [Afterpiece: Perseus and Andromeda] L. S., 3, p. 626. October 1739 DL A Match in Newgate 300 Vizard - Chapman; Thinkwell - Turbutt; Freeman - Cashell; Bevil - Havard; Mixum - Martin; Tim - Woodward; Solomon - Yates; Padwell - Reed; Fidler - Raftor; Mother Griffin - Penkethman; Celia - Miss Bennet; Miranda - Mrs. Chetwood; Corinna - Mrs. Pritchard; Mrs. Mixem - Mrs. Grace [Afterpiece: The Fall of Phaeton] And proper Scenes, particularly a New View of St. Dunstan's Church, &c. L. S., 3, p. 797- Wednesday 31 October 1739 DL A Match in Newgate Cast same as 29 October 1739* [Afterpiece: The Fall of Phaeton] L. S., 3, p. 798. Saturday 1 March 174-0 CG Cast not listed. [Afterpiece: Orpheus and Burydice] L. S., 3, p. 823. Monday 3 March 174-0 CG Cast not listed. [Afterpiece: Orpheus and Eurydice] L. S., 3, p. 823* Thursday 6 March 174-0 CG Cast not listed. [Afterpiece: Orpheus and Eurydice] ____ ___ 301 L. S., 3, p. 823* Saturday 15 March 174-0 CG Cast not listed. [Afterpiece: Orpheus and Eurydice] L. S. , 3, p* 825- Tuesday 8 April 1740 CG Cast not listed. [Afterpiece: Qrpheus and Eurydice] L. S. , 3, p. 829* 1. No further performances of this play are recorded through 23 September 1776. 302 STAGE HISTORY (LONDON) Vintner, etc. 12 November 1729 - 13 July 1808 Wednesday 12 November 1729 The. New (or Little) Theatre in the Haymarket (HAY) A. Love and Revenge; or. The Vintner Outwitted Cast not listed, but see edition of 1729* Prologue spoken by Pielding. A new Dramatick Opera (author unknown). L. S., 3, p* 15* English Drama, II, 377* « Thursday 13 November 1729 HAY A. Cast not listed, but see edition of 1729* With a new Prologue. L. S., 3, p* 16. Priday 14 November- 1729 HAY A. Cast not listed, but see edition of 1729* With a new Prologue. Benefit the Author. L. S., 3, p* 16. Saturday 15 November 1729 HAY A. 303 Principal parts by Pielding, Mullart, Lacey, Wells, Stoplar, Reynolds, Mrs. Mullart, Mrs. Ward, Mrs. Mokes, Miss Wood. See also cast in edition of 1729. L. S., 3, p. 16. Tuesday 18 November 1729 HAT A. Cast same as 15 November 1729, but: Mrs. Rhodes replaces Mrs. Ward. [Afterpiece; Damon and Riillida] L. S. , 3, pv 17. Thursday 20 November 1729 HAT A. Cast same as 18 November 1729- [Afterpiece: Damon and Phillida] Benefit the Author. L. S., 3, p. 17* Friday 5 December 1729 HAT A. Cast same as 18 November 1729, but: Mrs. Newman replaces Mrs. Rhodes. [Afterpiece: The Humours of Harlequin] At the particular Desire of several Ladies of Quality. L. S., 3, P- 22. Monday 22 December 1729 HAT 304 A. Cast same as 5 December 1729 [Afterpiece: Damon and Phillida] L. S., 3, p. 26. Thursday 12 February 1730 HAY A. Cast same as 5 December 1729> but: Mrs. Martin replaces Mrs. Mewman. [Afterpiece: The Humours of Harlequin] Benefit Fielding. At the particular Desire of several Persons of Quality. L. S., 3, p. 37. Friday 20 March 1730 HAY A. Mulligrub - Stopler; Brainworm - Marshall; Mother Pearce - Reynolds; Rovewell - Mullart; Trueman - Lacy; Heartfree - Hallam; Brush - Wells Jr.; Bellamira - Mrs. Mullart; Charlotte - Mrs. Wewman; Lovisa - Miss Palms; Mrs. Mulli grub - Mrs. Hokes; Prisoners - Dove, Marshall, Hicks. [Afterpiece: Damon and Phillida] Benefit Mullart, Mrs. Mullart, Stopler. L. S., 3, p. 44. Wednesday 2 June 1731 Odell's Theatre in Ayliffe Street, Goodman's Fields (Odell's GF) B. The Biter Bit, or. The Humours of Harlequin and Scaramouch LAnonTj Cast not listed. 305 [Mainpiece: The Tempest. Second Afterpiece: The Throwsters OperaJ Benefit Havard and Boucher, Prompter. L. S., 3, p. 144. Friday 4 June 1731 Odell's GF B. Cast not listed. [Mainpiece: A Bold Stroke for a Wife] A hew Prologue addressed to the Town, written hy Mr. Odell, spoken by Barden. L.. S. , 3, p. 145. 1. See same date under #5 - A Bold Stroke for a Wife. Saturday 12 May 1733 HAY 0- The Vintner's Escape; or, Good luck at hast [Anon.j Cast not listed. [Mainpiece: The Beggar's Wedding] a Farce of one Act and a half [Apparently not published. Author unknown.] L. S., 3, P- 299- Friday 23 August 1734 Bartholomew Fair (BF) * D. The Imposter; or, the Biter Bit: With the Comical Humours of Vizard the Biter, Mixum the Vintner, and his Drawer Balderdash. Vizard - Hippisley; Mixum - Hulett; Balderdash - Bullock; Trueman - Berry; Face - Ester; Hard head - Clarke; Catgut - Smith; Squeez'em - Eainton; Solomon Smack - Master Hallam; Mrs. Mixum - Mrs. Herle; Betty - Miss Gerrard. 306 [Mainpiece: Pair Rosamond] At Hippisley- Bullock-Hallam Booth. Afterpiece: a new Ballad Opera. L. S., 3, pp. 408-409- 1. London Stage incorrectly lists first performance on 24 August 1734. Saturday 24 August 1734 BP D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409. Monday 26 August 1734 BP D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409- Tuesday 27 August 1734 BP D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409. 'Wednesday 28 August 1734 BF D. Thursday Friday Saturday Monday 2 Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 4-09. 29 August 1734- BF D. Same as 23 August 1734-. Same as 23 August 1734-. L. S., 3, P- 409. ) August 1734- BF D. Same as 23 August 1734-. Same as 23 August 1734-. L. S., 3, p. 409. 31 August 1734 BF D. ■Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409. September 1734 BF D. Same as 23 August 1734. Same as 23 August 1734. 308 L. S., 3, p- 409. Tuesday 3 September 1734 BF D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409• Wednesday 4 September 1734 BF D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p- 409. Thursday 5 September 1734 BF D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409* Friday 6 September 1734 BF D. Same as 23 August 1734. Same as 23 August 1734. L. S., 3, p. 409. 309 'Tuesday 5 September 1738 Southwark Pair (ST) E. The Country Tanner; or, Trick upon Trick [Anon.] Cast not listed. [Mainpiece: Merlin, the British Enchanter; or, St. George for EnglandJ To conclude with the Procession of the Lord Mayor's Show. At Lee's Booth, on the Bowling Green. 10 A.M. to 10 P.M. L. S., 3, p. 727* Monday 6 August 1739 Tottenham Court Pair Trick upon Trick; or, An Odd Affair between Harlequin, his Associates, and the Yintner of York LAnon.J ! Cast not listed. [Afterpiece: Poor Harle in the Sudds at Last. Second Afterpiece: A Ball; or, The Humours of a Masquerade] At the Great Booth in the Middle of Tottenham Court Pair. L. S., 3, p* 780. English Drama, II, 385* Priday 25 April 1740 Drury Lane Theatre (DL) G. The Yintner in the Suds [Anon.] Vizard - Chapman; Vintner - Marten; Solomon - Yates; Mrs. Mixum - Mrs. Macklin. [Mainpiece: Henry IV, Part 1] Benefit Peirson, Treasurer. At the Desire of several Persons of Quality. A Parce. [Author not known.] L. S., 3, P* 834. English Drama, II, 386. 1. Nicoll thinks this may be same as Joseph 310 Yarrow's Trick upon Trick; or, Hie Vintner Outwitted. Saturday 2.3 August 1740 BY H. Harlequin Scapin; or, The Old One Cauglit in a Sack Scapin - Hippisley; Trim - Chapman; Bounceabout - Arthur; Gripe - Pagett; Octavio - Marr; Slyboots - Yates; Solomon Smack - Cross; Lucia - Mrs. Gross; Medlar - Mrs. HaugHton; Loveit - Mrs. Talbot. [Afterpiece: The Parting Lovers; or, The Press Gang] At Hippisley-Chapman Booth. L. ,S., 3, p. 845. Monday 20 April 1741 Covent Garden’ I. Harlequin Barber [Anon.] Harlequin - Master Berg; Colombine - Mile. Mechal; Petit Maitre - Miss Woffington; Drawer - Little French Boy; Servant to Colombine - Miss Bellamy, who never appeared on any stage before; Pierot - Mechel Jr. [Mainpiece: The Double Gallant] Benefit Mechel, Mile. Mechel (the French Boy and Girl). Afterpiece: a new Pantomime Entertainment. L. S., 3, p. 909. Wednesday 25 August 1742 BF H. Scaramouch Scapin; or, The Old Miser Caught in a Sack: With the Comical Tricks and Cheats of Soapin's three Companions, Trim the Barber, Sly and Bully Bounceabout. Scapin - Hippisley; Trim - Chapman; Sly - Ben- croft; Bounceabout - Mullart; Gripe the Miser - Paget; Octavian - Johnson; Solomon Smack - Gray; 311 Lucia - Miss Thyn; Medlar - Mrs. Vallois; Loveit the Chambermaid - Mrs. Mullart. With a select Bazik of Musick. Hippisley and Chapman's Booth in the George Inn-Yard, Smithfield, during the short time of the Bair. L. S., 3, p. 998. 1. On the basis of the characters listed this appears to be a variation of The Bilker Bilk'd. Thursday 26 August 1742 BP H. Same as 25 August 1742. Same as 25 August 1742. L. S., 3, p. 998. Monday 9 May 1743 May Bair J. Trick Upon Trick [Anon.] Harlequin - Rosoman; Squire - Cushing; Clown - Warner; Colombine - Mrs. Cushing. [Mainpiece: Lover His Own Rival] Yeates, Warner, and Rosoman's Great Theatrical Booth, Upper End of Little Brookfield. At the Desire of Several Persons of Quality will be presented the Droll. Begin at Uoon and end at 10 P.M. The Booth founded after the Manner of an Amphitheatre, with Boxes on the Stage. L. S., 3, p. 1056. London Bairs, pp. 113-114. I. Eosenfeld lists title as Harlequin Triumphant; or, Trick upon Trick.■ Tuesday 23 August 1743 BB I f Harlequin - Rosoman; Clown - Warner; Colombine - Miss Rosoman. [Mainpiece: The Cruel Uncle; or. Usurping; Monarch] Yeates, Warner, and Rosoman!s Booth opposite the Greyhound in West Smithfield. Prices 2s. 6d., Is. 6d., Is., 6d. Mainpiece: a pompous Tragedy. L. S., 3, p. 1060. : Tuesday 23 August 174-3 ! BP i 1 K. Harlequin Dissected; or, The Biter Bit Harlequin - M. de Broke; Colombine - Mrs. Dove; J Gripe - Mrs. Smith; Clodpole - Dove. i [Mainpiece: The Glorious Queen of Hungary] Turbutt and Dove's Booth, end of Hosier Lane, West Smithfield, during the Time of the Pair. Ballance Master, Just arriv'd from Paris. L. S., 3, p* 1060. Wednesday 24- August 174-3 BP J. See- 23 August 174-3* See 23 August 174-3* L.. S., 3, p* 1060. Wednesday 24 August 174-3 BP K. Same as 23 August 174-3* Same as 23 August 174-3* L. S. , 31 p• 1060. Thursday 25 August 174-3 BIT J. See 23 August 174-3- See 23 August 174-3- L. S., 3, p- 1060. Thursday 25 August 1-74-3 BP K. Same as 23 August 174-3- Same as 23 August 174-3- L. S., 3, p- 1060. Friday 26 August 174-3 BP J. See 23 August 174-3- See 23 August '174-3- L. S., 3, p. 1060. Friday 26 August 174-3 BF . K. Same as 23 August 174-3- Same as 23 August 174-3- L. S., 3, p. 1060. Thursday 8 September 174-3 Southwark Fair (SF) L. Harlequin Triumphant 314 Harlequin - Rosoman; Clown - Warner; Squire - ' < Yeates; Colombine - Mrs. Rosoman. [Mainpiece: The Plotting Lovers; or, The Old One Tricked at LastJ Yeats, Warner, and Rosoman's ' Great Theatrical Rew Built Booth, opposite the old Til'd Booth . . . duping the Time of the Bair. L. S., 3, p. 1063. i London Fairs,-pp. 99-100. 1. Rosenfeld (and Hughes and Scouten) think this is the same play as Trick upon Trick (May Fair, 9 May 1743 and Bartholomew Fair, 23-26 August 1743). Friday 9 September 1743 SF L. Same as 8 September 1743. Same as 8 September 1743- Li S., 3, p. 1063. Saturday 10 September 1743 SF L. Same as 8 September 1743- Same as 8 September 1743. L. S., 3, P- 1063. 4 April 1745 New Wells, Lemon (Leman) Street, Hooper's Square, Goodman's Fields M. The Biter Bit; or, Vintner in the Suds [Anon.J [Mainpiece: Comus] Not played. Tickets for this performance taken on 17 April 1745* L. S.', 3, p* 1167- 1. This performance was scheduled but never took place. Wednesday 9 April 1746 I N. The Yintner Trick'd [by Henry Ward] Vizard - Sparkes; Mixum - I. Sparks; Padwell - Barrington; Smack - Collins; Mrs. Mixum - Mrs. Bridges. [Mainpiece: Othello] Benefit [Luke] Sparks. L. S., J, p. 1230. ' Monday 21 April 1746 DL H. Cast same as 9 April 174-6, but: Timothy, the I Lying Barber - Blakes. ! [Mainpiece: The -Sea Voyage; or, The Common- 1 wealth of Women] Benefit Bridges, Blakes, ; Cross (.Prompter). ; L. S., 3, p. 1234. Thursday 24 September 1747 SP 0. Trick upon Trick; or. Harlequin Statue Harlequin - Phillips; Colombine - Mrs. Phillips. [Mainpiece: Jane Shore] At the Hew Theatre, Bowling Green. Benefit for Morrill. L. S., A, p. 9* London Pairs, p. 101. i I. Taken from Joseph Yarrow's Trick upon Trick; or, The Vintner Outwitted. Thursday 26 January 1749 Southwark P. Trick upon Trick; or, Vintner in the Suds Cast not listed. [Mainpiece: The Committee] At the Great Tiled Booth, Bowling Green, Southwark. Benefit for Mrs. Morgan. A Concert, etc. L. S., 4, p. 93- __ 1. It is not clear if this is the same play as Trick upon Trick; or. Harlequin Statue (performed 24 October 1747), or The Vintner in the Suds (performed 25 April 174-0)'. Wednesday 23 August 174-9 BF Q. Trick upon Trick Cast not listed. [Mainpiece: The Intriguing Footman; or, Jack Spaniard Bit] At Harris and Godwin's Booth, next Duck Lane, West Smithfield. To begin at twelve every day of the Fair. Prices: Is. 6d., Is., 6d., 3d. Afterpiece: With the Escapes of Harlequin into a Quart Bottle. L. S. , 4 - , p. 131. London Fairs, p. 57* 1. It is not clear which version of the play this is. Friday 22 .September 1752 SF P. Harlequin Triumphant Pantaloon - M. Devesse; Servant - Smith; Clown - Hussey; Colombine - Mme. Grimaldi; .Harlequin - Gayward. [Mainpiece: The Intriguing Chambermaid; or. The Wanton Wife] During the short time of the Fair, at Bence's Booth, Bowling Green, Southwark. Boxes 2s. Pit Is. Gallery 6d. To begin at Twelve and end at Ten at night. L. S. , 4 - , p. 321. London Fairs, p. 103- 1. Hughes and Scouten seem to think this is the same play as Trick, upon Trick; or, Harlequin Statue (24- October 174-7). Rosenfeld adds subtitle, or Pantaloon Outwitted. Wednesday 18 September 1754- SF I. Harlequin Barber; or, Mezzetin in the Suds 317 [Anon. ] Cast not listed. [Mainpiece: The Tender Husband; or. The Artful Wife] At Yeates's Booth. Afterpiece: Never performed Before. Boxes 2s 6d. Pit Is 6d. Gallery Is. Upper Gallery 6d. Acted from 12 Noon to 10 P.M. L. S., A, p. 439- Thursday 19 September 1754 SP I. [ Mainpiece: The Tender Husband] L. S., 4, p. 439- Priday 20 September 1754 SP I. [Mainpiece: The Tender Husband] L. S., 4, p. 440. Saturday 21 September 1754 SP I. [Mainpiece: The Tender Husband] L. S., 4, p. 440. Saturday 21 September 1754 SP S. The Miser Outwitted; or Phelim in the Suds [Anon.J Cast not listed. By a company of comedians from the Theatre in Bath. At the Great Theatrical Booth, Bowling Green. Pit Is. 6d. First Gallery Is. Upper Gallery 6d. To begin each day at 12 Uoon. Comedy never performed before. L. S., 4, p. 441. Monday 23 September 1754- SF I. [Mainpiece: The Tender Husband] L. S., 4, p. 441. Monday 23 September 1754- SF S. [Afterpiece: Canning's Escape] L. S., 4, p. 441. , Tuesday 24 September 1754- SF I. [Mainpiece: The Tender Husband] L. S., 4, p. 441. Tuesday, 24 September 1754 SF S . [Afterpiece: Canning's Escape] L. S., 4, p. 442. Wednesday 7 June 1769 HAY N. Mixum - Sparks; Vizard - Hamilton; Solomon - Jacobs; Padwell - Eearny; Thieves - Summers, Wheeler; Mrs. Mixum - Mrs. Gardner. [Mainpiece: The Devil upon Two Sticks] Farce, not acted these Twenty Years. L. S., 4, p. 1413. Monday 12 June 1769 HAY N. Cast same as 7 June 1769* [Mainpiece: The Devil upon Two Sticks] L. S., 4, p. 1413. .Monday 19 June.1769 HAY N. Cast same as 7 June 1769. [Mainpiece: [Che Devil upon Two Sticks] L. S., 4, p. 1413- Wednesday 5 July 1769 HAY N. Cast same as 7 June 1769- [Mainpiece: The Devil upon Two Sticks] L. S., 4, p. 1414. Wednesday 12 July 1769 HAY H. Cast same as 7 June 1769- [Mainpiece: The Beggar's Opera] L. S., 4, p. 1414. 320 Friday 4 August 1769 HAY N. Cast same as 7 June 1769, but: Padwell and Thieves omitted. [Mainpiece: The Devil upon Two Sticks] L. S., 4, p. 1415- Wednesday 23 May 1770 HAY H. Mixum - Sparks; Wizard - Hamilton; Sol. Smack - Jacobs; Fidler - Wheeler; Gaoler - Pearce; Mrs. Mixum - Mrs. Gardner. [Mainpiece: Hamlet] L. S., 4, p. 1482. Friday 13 July 1770 HAY N. Cast same as 23 May 1770. [Mainpiece: ■The Fair Penitent] L. S., 4, p. 1487- Saturday 1 September 1770 HAY N. Cast same as 23 May 1770. [Mainpiece: The Fair Penitent] L. S., 4, p. 1492. 321 Thursday 20 September 1770 HAY N. Cast same as 23 May 1770, hut: Fidler and G-oaler omitted. [Mainpiece: Love in a Village] By Permission. Benefit for Du Bellamy. To begin at 6:30 P.M. L. S., 4, p. 1493- Thursday 27 October 1770 HAY W. Mixum - Brownsmith; Mrs. Mixum - Mrs. Gardner; Vizard - Vandermere; Solomon Smack - Dancer. [Mainpiece: The Beaux Stratagem] By Permission. Benefit Mrs. Gardner. L. S., 4, p. 1500. Friday 12 July 1771 HAY H. Mixum - Fearon; Sol Smack - Dancer; Vizard - Hamilton; Mrs. Mixum - Mrs. Gardner. [Mainpiece: The Maid of Bath] L. S., 4, p. 1557. Wednesday 8 July 1772 HAY N. Mixum - Parsons; Smack - Jacobs; Fidler - Vowel; Vizard - Fearon; Mrs. Mixum - Mrs. Gardner. [Mainpiece: The Habob] L. S., 4, p. 1647. 1. This is the last performance of The Vintner Trick1d by Henry Ward and any plays which are a variation of the "Vintner" story recorded through 23 September 1776. 22 December 1789 DL T. Trick upon Trick: A Farce taken from Woman1s Revenge Vizard - Bannister Jun.; Mixum - Hollingsworth; Mrs. Mixum - Mrs. Hopkins. First time. Genest, VI, 589- 13 July 1808 HAY U. Cheats of Scapin— with alterations and additions from the old Farce of Trick upon Trick, or the Vintner in the Suds. Scapin - Matthews [Mainpiece: Fatal Curiosity] Cheats of Scapin acted several times. Genest, VIII, 108. 323 STAGE HISTORY (OUTSIDE LONDON) Vintner, etc. 25 August 1740 - 5 April 1797 Monday 25 August 1740 Drogheda (Ireland) 1. Woman's Revenge; or, A Match in Newgate (by Christopher Bullock) Irish Stage, p. 298. c. 1741 Wales 2. The Vintner in the Suds (Anon.) Included In a list of plays performed by Mr. Jones Company in Wales c. 1741. Price, p. 164. Monday 19 April 1742 Sandwich, Kent 3. The Bilker Bilk'd Cast not listed. [Mainpiece: The Lewd Wife; or. The True and Antient History of Mr. Arden of Pavershamj Might have been puppets. Strolling Players, p. 237* Thursday 27 January 174-3 Dublin - Aungier Street 4. The Vintner Trick'd (by Henry Ward) Irish Stage, p. 337* 324 Friday 4 November 1743 Newcastle upon the Tyne - Moot-Hall 5- Trick upon Trick; or, Methodism Display'd (by Thomas Este) No cast listed. [Mainpiece: The Conscious hovers] The per formance did not take place. "Methodism Display'd," p. 155- 1746 Twickenham and Richmond 4. Several performances. Ten English Farces, p. 205- Thursday 17 April 1746 Dublin - Smock-Alley 4. The Vintner Tricked, or The White Fox Ghac'd (by.Henry Ward) No cast listed. [Mainpiece: Julius Caesar] Benefit Watson. Sheldon, pp. 472, 316. Wednesday 9 December 1747 Dublin - Smock-Alley 6. Trick Upon Trick, or The Adventures of Three Quarters of an Hour, or Harlequin Skeleton Harlequin - Woodward; Columbine - Madem. Mechel. [Mainpiece: Hamlet] Benefit Woodward. Sheldon, pp. 470, 325- 325 Friday 8 January 1748 Dublin - Smock-Alley 6. Harlequin - Woodward. [Mainpiece: The Squire of Alsatia] Sheldon, pp. 470, 325- Tuesday 26 January 1748 Dublin - Smock-Alley 6. Harlequin - Woodward; Columbine - Madem. Mechel. [Mainpiece: The Stratagem] Sheldon, pp. 470, 326. Monday 28 March 1748 Dublin - Smock-Alley 4. No cast listed. [Mainpiece: Love Makes a Man] Benefit Beamsley. Sheldon, pp. 472, 328. Wednesday 11 May 1748 Dublin - Smock-Alley 6. Harlequin - Woodward; Pierrot - Morris. [Mainpiece: The Twin Rivals] Sheldon, pp.- 470, 330. 326 Monday 16 May 174-8 Dublin - Smock-Alley 6. Mo cast listed. [Mainpiece: Richard III] Sheldon, pp. 470, 330. Wednesday 4 January 1749 Dublin - Smock-Alley 6. Mo cast listed. [Mainpiece: The Committeel Sheldon, pp. 470, 332. Tuesday 18 April 1749 Dublin - Smock-Alley 4. Vizard - Dyer; Vintner - Sparks. [Mainpiece: 1. King; Henry IV] Benefit Sparks. Sheldon, pp. 472, 335- Friday 21 April 1749 Dublin - Smock-Alley 6. Mo cast listed. [Mainpiece: The Twin Rivals] Benefit Harrington, and Mr. Edward Bate, Printer. Sheldon, pp. 470, 335- -Monday 22 May 1749 Dublin - Smock-Alley 7* Apollo and Daphne: Interspersed with some Comick Scenes of theEntertainment called, Trick upon Trick. Particularly the Escape of Harlequin into a Quart Bottle, and the Skeleton Scene. Pierot - Morris. [Mainpiece: Theodosius] Sheldon, pp. 337, 398. Monday 1 January 1750 Dublin - Smock-Alley 6. Columbine - Madem. Vandersluys; Pierrot - Sparks. [Mainpiece: hove Makes a Man] "In which will be introduced the wonderful Scene of Harlequin's Escape into a Quart Bottle." Sheldon, pp. 4-70, 340. Thursday 11 January 1750 4. Ho cast listed. [Mainpiece: Rule a Wife and Have a Wife] Sheldon, p. 4-72, 34-0. Priday 9 Pebruary 1750 Dublin - Smock-Alley 1. The Match in Hewgate (by Christopher Bullock) Ho cast listed. [Mainpiece: The Way of the World] By command of the Lord Lieutenant. Por the entertainment of the Lord Chancellor, the Chancellor of the 328 Exchequer, the Judges and the rest of the Society of King's Inns. Benefit Ralph Elrington. Sheldon, pp. 437, 341-342. Monday 23 April 1750 Dublin - Smock-Alley 4. No cast listed. [Mainpiece: Hie Beggar's Opera] Benefit Mile. Vandersluys. Sheldon, pp. 472, 345- Monday 20 January 1752 Dublin - Smock-Alley 4. Mixum (Vintner) - Sparks; Vizard - Stevens; Mrs. Mixum - Mrs. Kennedy. [Mainpiece: Venice Preserved] Sheldon, pp. 472, 359- Friday 22 June 1753 Belfast (Ireland) 2. Irish Stage, p. 341. Friday 1 March 1754 Dublin - Smock-Alley 4. Vizard - King; Mixum - Sparks; Padwell - Bayfield; Mrs. Mixum - Mrs. Mynitt. [Mainpiece: The Foundling] Sheldon, pp. 472, 377- 329 c. October 1755 Bury, Norwich 8. Trick upon Trick (by Joseph Yarrow) Strolling; Players, p. 87. Saturday 20 March 1756 Tralee (Ireland) 8. Trick upon Trick; or, The Vintner Outwitted (by Joseph Yarrow) Irish Stage, p. 338. c. March-May 1757 Canterbury, Kent 9- The White Fox Chace: or The Vintner in the Suds. Strolling; Players, p. 254-. Thursday 27 October 1757 Dublin - Smock-Alley 4. Vizard - King; Mixum - Sparks; Mrs. Mixum - Mrs. Parrell. [Mainpiece: The Pair Penitent] Sheldon, pp. 4-72, 386. Monday 26 December 1757 Edinburgh - Theatre Royal 10. Trick upon Trick Cast not listed. [Mainpiece: Macbeth] Pragmenta Scoto-Dramatica, p. 22. 330 Monday 23 January 1758 Dublin - Smock-Alley ♦ 4. Mo cast listed. [Mainpiece: King; John] By viceregal command. Sheldon, pp. 472, 388. Friday 3 February 1758 Edinburgh - Theatre Royal 10. The Vintner Trick'd Cast not listed. [Mainpiece: Douglas! Fragmenta Scoto-Dramatica, p. 23. Wednesday 22 February 1758 Edinburgh - Theatre Royal 10. Cast not listed. [Mainpiece: Macbeth] Fragmenta Scoto-Dramatica, p. 24. Wednesday 1 March 1758 Edinburgh - Theatre Royal 10. Cast not listed. [Mainpiece: 1. King Henry IV] Fragmenta Scoto-Dramatica, p. 25- Friday 10 March 1758 Dublin - Smock-Alley 331 Vizard - King; Mixum - Sparks; Mrs. Mixum - Mrs. Farrell. [Mainpiece: Douglas] Sheldon, pp. 472, 390. Friday 31 March 1758 Dublin - Smock-Alley 11. The Cheats of Scapin (adapted from Thomas Otway) Scapin - King; Thrifty - Lewis; Shift - Stayley; Sly - Hamilton; Leander - Hurst; Octavian - Preston; Gripe - Glover. [Mainpiece: The Mourning Bride] Afterpiece: Hot acted these 2 years. Sheldon, pp. 405, 390. Saturday 22 April 1758 Edinburgh - Theatre Royal 10. Cast not listed. [Mainpiece: Fair Penitent] Performance may not have been held. Fragmenta Scoto-Dramatica, p. 28. Saturday 13 May 1758 Dublin - Smock-Alley 11. Scapin - King. [Mainpiece: The Revenge] Sheldon, pp. 405, 393- 332 Friday 8 September 1758 Cork (Ireland) Irish. Stage, p. 337* Friday 31 July 1761 Belfast (Ireland) 4. Irish Stage, p. 337- Friday 1 November 1765 Belfast (Ireland) 4. Irish Stage, p. 337* Wednesday 4 December 1765 Belfast (Ireland) 12. The Vintner Tam'd (Anon.) Irish Stage, p. 341. Saturday 13 May 1769 Annapolis, Maryland (U.S.A.) 8. Vizard - Verling; Mrs. Mixune ~ Mrs. Jones. [Mainpiece: Othello] The New American Company, organized by Mr. Godwin. Seilhamer, I, 259-260, 266. Thursday 29 November 1770 Kilkenny (Ireland) 4. 333 Irish Stage, p. 337- Wednesday 1 January 1772 Belfast (Ireland) 13- Harlequin Skeleton (Pantomime) Irish Stage, p. 341. Monday 14 October 1770 Cork'(Ireland) 14. Harlequin's Statue (pantomime) Irish Stage, p. 344. 11 October 1777 Cork (Ireland) 14. Irish Stage, p. 341. 11 October 1780 Kilkenny (Ireland) 4. Irish Stage, p. 337* 6 February 1781 Kingston, Jamaica 8. Vintner Tricked (by Joseph Yarrow) [Mainpiece: Wonder (Centlivre); First After- piece: Deuce is in Him] The American Company under the management of Lewis Hallam. Seilhamer, II, 137* 28 December 1782 Baltimore, Maryland (U.S.A.) - Baltimore Theatre 334 8. The Vintner Trick'd; or, The Waite Fox Chas 1 d (Yarrow? ) Mixum - Heard; Vizard - Ryan; Solomon Smack - Wall; Mrs. Mixum - Mrs. Parson. [Mainpiece: Zara] Managers of the Company were Adam Lindsay and Thomas Wall. Seilhamer, II, 7o, 81. French Drama, p. 124 (reproduces playbill). 21 February 1783 Baltimore, Md. (U.S.A.) - Baltimore Theatre 8. [Mainpiece: Fair Penitent] Dennis Ryan manager of the company. Seilhamer, II, 86. 25 February 1783 Baltimore, Md. (U.S.A.) - Baltimore Theatre 8. [Mainpiece: West Indian] Dennis Ryan manager of the Company. Seilhamer, II, 86. 31 October 1786 Charleston, S. C. (U.S.A.) - Harmony Hall Theatre 8. [Mainpiece: Richard III] Company under Mr. Godwin's management. Seilhamer, II, 207- Charleston Stage, p. 120. 21 November 1787 Richmond, Va. (U.S.A.) - Richmond Theatre 8. Vintner Trick'd (Anon., Yarrow?) 335 [Mainpiece: Merchant of Venice] Old American Company. Seilhamer, II, 205- 25 October 1788 Philadelphia, Pa. (U.S.A.) - Concert Hall, Northern Liberties 2. [Mainpiece: George Barnwell] Seilhamer, II, 298. 6 February 1789 Wexford (Ireland) 4. Irish Stage, p. 337- 29 November 1791 Philadelphia, Pa. (U.S.A.) - Northern Liberties Theatre 15. Harlequin Barber (Anon.) [Mainpiece: Three Weeks After Marriage] The New American Company Seilhamer, II, 301. 7 May 1794 Newport, Rhode Island (U.S.A.) - Newport Theatre 8. Mixum - Kenna; Vizard - Harper; Freeman - Francis; Solomon Smack - Powers; Mrs. Mixum - Miss Smith. [Mainpiece: Citizen (Murphy)] Company under management of Joseph Harper. Seilhamer, III, 258, 260. 19 May 1794 New York (U.S.A.) - John Street Theatre 8. Cast not listed. [Mainpiece: Bold Stroke for a Husband; First Afterpiece: Bob in theWellJ Benefit Mr. Martin. Old American Company. Seilhamer, III, 82. 9 June 1794 New York (U.S.A.) - John Street Theatre 8. Cast not listed. [Mainpiece: Young Quaker; First Afterpiece: Midnight Hour] Benefit Mr. E^yan. Old American Company. Seilhamer, III, 82. Odell, I, 358. 5 April 1797 Newport, Rhode Island (U.S.A.) - Newport Theatre 8. Cast not listed. [Mainpiece: Love in a Village] Company under management of Joseph Harper. Seilhamer, III, 374. APPENDIX B TEE BRAGGADOCHIO: OB, HIS WORSHIP THE CULLY 337 338 STAGE HISTORY (LONDON) The Old'Batchelor March 1693 - 30 September 174-3 March 1693 Drury Lane (DL) The Old Batchelor Cast not known. See edition of 1693. United Company. L. S., 1:418-419- 1. Exact date of first performance is not known. 2. This is the first performance at Drury Lane. Monday 16 April 1694 At Court (?) Mrs. Barry. Order to pay Mrs. Barry L25 for The Old Batchelor. The date of the performance is not specified. L. S., 1:434. 1. First and only performance at Court. Late May 1695 DL Fondlewife - Colley Cibber. See "Comment" in L. S. L. S., 1:446. 1696-1697 Season Possibly revived during this season. L. S., 1:467- 339 Friday 8 November 1700 DL Capt. Griffin. Performance advertised but not played. L. S., 2:5- Tuesday 25 March 17OI DL Cast not listed. L. S., 2:9- Thursday 19 November 1702 DL Cast not listed. L. S., 2:28. Wednesday 7 Jnly 1703 DL ACT IV only (Fondlewife and Laetitia plot). Cast not listed. Other pieces played: . The Comical Rivals;'or The School Boy; The Angry Doctor and the Doubting; Philosopher (last Act of Le Medicin Malgre Luy). L. S., 2:40. 1. See also 11 December 1705 and 28 February 1706. Wednesday 13 October 1703 DL Cast not listed. L. S., 2:45. Thursday 18 November 1703 DL Old Batchelor [Heartwell] - Griffin. L. S., 2:48. Tuesday 26 September 1704 DL Cast not listed. L. S., 2:77- Thursday 26 October 1704 DL Bluff - Estcourt. At the Desire of several Persons of Quality. At 5=30 P.M. L. S., 2:78. Monday 13 January 1705 DL Bluff - Estcourt; Eondlewife - Dogget. L. S., 2:85- Monday 22 October 1705 DL Cast not listed. L. S., 2:104 Tuesday 11 December 1705 DL One Act only [Act IV?] Cast not listed. 341 [Afterpiece: Arsinoe, Queen of Cyprus] L. S., 2:109- 1. See also 7 July 1703 and 28 February 1706. Monday 14 January 1706 DL Cast not listed. L. S., 2:114. Thursday 28 February 1706 DL Act IV only. Cast not listed. [Afterpiece: Arsinoe, Queen of Cyprus] At the Desire of several Persons of Quality. L. S., 2:118. 1. See also 7 July 1703 and 11 December 1705* Monday 15 March. 1708 DL Fondlewife - Doggett; Hsartwell - Betterton; Bellmour - Wilks; Vainlove - Booth; Sharper - Mills; Sir Joseph - Bullock; Bluff - Estcourt; Setter - Fairbank; Belinda - Mrs. Rogers; Araminta - Mrs. Bradshaw; Laetitia - Mrs. Barry; Silvia - Mrs. Bicknell; Lucy - Mrs. Saunders. Benefit Dogget. L. S., 2:168. Thursday 30 December 1708 DL Old Batchelor [Heartwell] - Betterton, who has not Acted it these Ten Tears [but see 15 March 1708]; Vainlove - Booth; Belmour - Wilks; 342 Sharper - Mills; Sir Joseph - Bullock; Bluff - Johnson; Setter - Fairbank; Fondlewife - Cibber; Belinda - Mrs. Pogers; Araminta - Mrs. Bradshaw; Silvia - Mrs. Porter; Laetitia - Mrs. Knight; Lucy - Mrs. Saunders. L. S., 2:181. Thursday 28 April 1709 DL Cast same as 30 December 1708, but: Bluff - Estcourt; Belinda - Mrs. Cross; Sylvia - Mrs. Bicknell. Benefit Mrs. Cross (Genest, II, 418, lists as benefit for Cross). At the Desire of several Ladies of Quality. L. S., 2:191. Thursday 8 December 1709 Queen's (King's) Theatre in the Haymarket (Queen's) Old Batchelor [Heartwell] - Betterton; Kykin - Dogget. [Wykin - Fondlewife] L. S., 2:204 1. First performance at the Queen's (King's) Theatre in the Haymarket. Thursday 9 March 1710 Queen's Old Batchelor [Heartwell] - Betterton. At the Desire of several Persons of Quality. L. S., 2:215. Thursday 6 July 1710 Queen's Hykin [Fondlewife] - Dogget; Bellmour - Wilks; Laetitia - Mrs. Oldfield. 343 Benefit Dogget. At the Desire of several Persons of Quality. L. S., 2:226. Monday 27 November 1710 DL Fondlewife - Dogget; Heartwell - Keene; Bellmour - Wilks; Sharper - Mills; Sir Joseph - Bullock Bluff - Johnson; Belinda - Mrs. Rogers; Araminta - Mrs. Bradshaw; Laetitia - Mrs. Knight; Silvia - Mrs. Bicknell; Lucy - Mrs. Saunders. L. S., 2:237- Saturday 5 May 1711 DL Cast same as 27 November 1710, but: Laetitia - Mrs. Oldfield; Lucy omitted. L. S., 2:248. Wednesday 24 October 1711 DL Old Batchelor - Keene; Bellmour - Wilks; Vain- love - Booth; Sharper - Mills; Bluff - Estcourt; Sir Joseph - Bullock; Setter - Norris; Nykin [Pondlewife] - Dogget; Laetitia - Mrs. Oldfield; Belinda - Mrs. Rogers; Araminta - Mrs. Bradshaw; Silvia - Miss Willis; Lucy - Mrs. Saunders. L. S., 2:261. Tuesday 13 May 1712 DL Cast same as 24 October 1711, but: Old Batchelor, Laetitia, Belinda, Araminta, Sylvia, and Lucy omitted; Bluff - Johnson. [Afterpiece: The Stage Coach] Benefit Bullock. At the Desire of several Persons of Quality. L. S., 2:275. Friday 10 October 1712 DL Fondlewife- Dogget; Sir Joseph - Bullock; Bellmour - Wilks; Vainlove - Booth; Heartwell - Keen; Sharper - Mills; Bluff - Johnson; Setter - Morris; Belinda - Mrs. Rogers; Araminta - Mrs. Bradshaw; Laetitia - Mrs. Knight; Lucy - Mr s. Saunders. L. S., 2:285- Wednesday 17 December 1712 DL Cast same as 10 October 1712, but: Laetitia - Mrs. Oldfield; Belinda - Mrs. Mountfort. L. S., 2:290. Friday 10 April 1715 DL Cast same as 17 December 1712, but: Lucy omitted. L. S., 2:299. Monday 5 October 1713 DL L. S., 2:308. Wednesday 30 December 1713 DL L. S., 2:313- Friday 28 May 1714 DL Heartwell - Keene; Bellmour - Wilks; Vainlove - Booth; Sharper - Mills; Sir Joseph - Bullock; Bluff - Johnson; Fondlewife - Cibber; Setter - Morris; Laetitia - Mrs. Oldfield; Araminta - 345 Mrs. Bradshaw; Belinda - Mrs. Mountfort; Silvia - Miss Willis; Lucy - Mrs. Saunders. Benefit Leigh. L. S., 2:323- Thursday 23 September 1714 DL Laetitia - Mrs. Oldfield. L. S., 2:329. Thursday 11 November 1714 DL Cast same as 23 September 1714. L. S., 2:332. Tuesday 4 January 1715 Lincoln's Inn Fields II (LIF-II) Heartwell - Keene; Bellmour: - John Leigh; Fondlewife - Bullock Jr.; Sir Joseph - Bullock Sr.; Bluff - Hall; Vainlove - Husband; Setter - Spiller; Araminta - Mrs. Rogers; Belinda - Mrs. Cross; Laetitia - Mrs. Kent; Silvia - Miss Schoolding; Lucy - Mrs. Hunt. Receipts L50 19s. 6d. L. S., 2:336. 1. First performance at Lincoln's Inn Fields II. Saturday 8 January 1715 DL By His Royal Highness's Command [but the King's Theatre in the Haymarket advertised on this date that "Prince and Princess expected."] L. S., 2:337- 346 Friday 4 February 1713 LIF-II [Afterpiece: The Country Wahe] Receipts L36 18s. 6d. L. S., 2:341. Wednesday 16 February 1715 DL L. S., 2:343 Saturday 12 March 1715 LIF-II Heartwell - Keene. [Afterpiece: Hob] Benefit Keene. At the Desire of several Ladies of Quality. Receipts L170 Is. L. S.,. 2:347* Saturday 2 April 1715 LIF-II [Afterpiece: The Bean Demolished] Benefit de la Garde. Receipts L119 8s. L. S., 2:34-9-350. Friday 14 October 1715 DL L. S., 2:371. Monday 7 November 1715 LIF-II Old Batchelor - Keene. Receipts L12 10s. L. S., 2:375- Tuesday 8 Monday 23 Monday 27 Friday 20 dd.esday 5 Friday 12 34-7 November 1715 DL At the particular Desire of several Persons of Quality. L. S., 2:375- January 1716 LIF-II Performance announced, but dismissed. L. S., 2:386. February 1716 DL [Afterpiece: The Cobler of Preston] At the particular Desire of several Ladies of Quality. L. S., 2:391. April 1716 DL [Afterpiece: La Guinquette] Benefit Sorin and Baxter. L. S., 2:398. June 1716 LIF-II Old Batchelor - Keene. Benefit Lovelace and White, Boxkeepers. At the Desire of several Persons of Quality. Receipts: money L7 8s. 6d. and tickets L56 9s. L. S., 2:406. October 1716 DL 348 Bellmour - Wilks; Vainlove - Booth; Sharper - Mills; Sir Joseph - Bowen; Bluff - Johnson; Setter - Norris; Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Araminta - Mrs. Porter; Belinda - Mrs. Mountfort; Silvia - Miss Willis; Lucy - Mrs. Saunders. L. S., 2:415. Thursday 29 November 1716 LIF-II Receipts: L19 13s. 6d. L. S., 2:423-424. Monday 28 January 1717 DL Cast same as 12 October 1716, but: Heartwell- Bickerstaff. L. S., 2:433. Thursday 25 April 1717 DL Cast same as 28 January 1717, but: Sir Joseph - Miller. Benefit Miller. L. S., 2:447. Tuesday 15 October 1717 LIF-II Heartwell - Keene; Bellmour.- J. Leigh; Vainlove - Husband; Sharper - Corey; Sir Joseph - Bullock Sr.; Bluff - Hall; Fondlewife - Bullock Jr.; Setter - Spiller; Araminta - Mrs. Bullock; Belinda - Mrs. Rogers; Laetitia - Mrs. Thurmond; Silvia - Mrs. Schoolding. L. S., 2:464. 349 Friday 15 Saturday Thursday Monday 27 Wednesday November 1717 DL Laetitia - Mrs. Oldfield, being the first time of her performing this Season. L. S., 2:469. 53 November 1717 LIF-II Cast same as 15 October 1717? but: Sylvia - Mrs. Robertson. [Afterpiece: The Stage Coach] At the particular Desire of several Ladies of Quality. L. S., 2:470. 53 January 1718 LIF-II Heartwell - Keene. [Afterpiece: Pan and Syrinx] At the particular Desire of several Ladies of Quality. Benefit G-alliard. L. S., 2:479. January 1718 DL Heartwell - Bickerstaff; Bellmour - Wilks; Vainlove - Booth; Sir Joseph - Bowen; Sharper - Mills; Bluff - Johnson; Setter - Norris; Fondlewife - Cibber; Araminta - Mrs. Porter; Belinda - Mrs. Mountfort; Sylvia - Miss Willis; Lucy - Mrs. Saunders. L. S., 2:480. 30 April 1718 DL Performance advertised but deferred until 350 3 May 1718. L. S., 2:493 Saturday 3 May 1718 DL Cast same as 27 January 1718, but: Sir Joseph - Miller; Heartwell omitted. Benefit the Widow and Family of the late Mr. Bowen. L. S., 2:493- 1. Mr. Bowen [William Bowen] had previously played Sir Joseph in the premier performance (March 1693), for two performances in 1716 and 1717 (12 October 1716, 28 January 1717), and for the last time on 27 January 1718. Tuesday 28 October 1718 DL Heartwell - Bickerstaff; Bellmour - Wilks; Yainlove - Booth; Sharper - Mills; Setter - Norris; Sir Joseph - Miller; Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Belinda - Mrs. Bicknell; Sylvia - Miss Willis; Lucy - Mrs. Saunders. L. S. 2:511- Monday 26 January 1719 DL Cast same as 28 October 1718, but: Araminta - Mrs. Garnet; Sylvia omitted. L. S., 2:525- Tuesday 14 April .1719 DL Fondlewife - Norris; Laetitia - Mrs. Oldfield. [Afterpiece: The What D'ye Call It] 351 Benefit Norris. By His Royal Highness's Command. L. S., 2:535- Wednesday 29 April 1719 LIB-II Benefit* Ogden and Diggs L. S., 2:538. Tuesday 19 May 1719 DL Cast same as 26 January 1719, "but: Heartwell - Thurmond; Fondlewife - Norris; Setter omitted; Laetitia - Mrs. Thurmond. [Afterpiece: The Stage Coach] Benefit Mrs. Boman, Miss Purden, Hilton. L. S., 2:540. Thursday 1 October 1719 DL Laetitia - Mrs. Oldfield. [Afterpiece: Diana on Mount Latmos] L. S., 2:5^9. Thursday 10 December 1719 DL Cast same as 1 October 1719- [Afterpiece: Diana on Mount Latmos] L. S., 2:559- Tuesday 2 February 1720 DL Benefit Mrs. Robinson. Boxes and Pit by tickets 352 only at half a guinea. L. S. 2:566. Thursday 2 June 1720 DL Fondlewife - Cibber; Bellmour - Wilks; Vainlove - Booth; Heartwell - Thurmond; Sharper - Mills; Setter - Norris; Sir Joseph - Miller; Belinda - Mrs. Bibknell; Araminta - Mrs. Garnet; Lucy - Mrs. Saunders; Laetitia - Mrs. Oldfield. Benefit Cook and Wilkins, Boxkeepers. Being positively the last Time of the Company's Acting this Season. L. S., 2:585- Tuesday 13 September 1720 DL Heartwell - Bickerstaff; Fondlewife - Cibber; Bellmour - Wilks; Vainlove - Booth; Sharper - Mills; Setter - Norris; Sir Joseph - Miller; Laetitia - Mrs. Thurmond; Belinda - Mrs. Bick- nell; Araminta - Mrs. Garnet; Sylvia - Miss Willis; Lucy - Mrs. Saunders. L. S., 2:592-593. Tuesday 8 November 1720 DL Cast same as 13 September 1720. L. S., 2:598. Monday 28 November 1720 Southwark (SOU) Cast not listed. At Mr. Hall1s Booth in Bird-Cage Ally. At 6 P.M. L. S., 2:601. 353 1. First, performance at a "booth in Southwark. Wednesday 14 December 1720 DL Cast same as 13 September 1720, but: Heartwell - Thurmond; Bluff - Shepard. L. S., 2:603. Tuesday 7 March 1721 DL Cast same as 14 December 1720, but: Bluff - Johnson; Laetitia - Mrs. Oldfield; Sylvia - Miss Teno. L. S., 2:618. Saturday 29 April 1721 DL Cast same as 7 March 1721. Benefit Mrs. Garnet. L. S., 2:626. Thursday 12 October 1721 DL Heartwell - Thurmond; Bellmour - Wilks; Fondlewife - Cibber; Vainlove - Booth; Sharper - Mills; Sir Joseph - Miller; Bluff - Johnson; Setter - Horris; Laetitia - Mrs. Oldfield; Belinda - Mrs. Bicknell; Araminta - Mrs. Younger. L. S.,.2:641. Thursday 7 December 1721 DL Cast same as 12 October 1721, but: Vainlove - Watson. L. S., 2:650. Saturday 13 January 1722 LIF-II Heartwell - Quin; Bellmour - .Walker; Vainlove - Ryan; Fondlewife - Aston, who never appear'd upon this Stage before; Sir Joseph - Bullock Sr. Bluff - Hall; Setter - Spiller; Sharper - Egleton; Laetitia - Mrs. Seymour; Belinda - Mrs.- Bullock; Araminta - Mrs. Rogier; Sylvia - Miss Stone; Lucy - Mrs. Egleton; Betty - Miss Hutton. [Afterpiece: The Magician] Written by Mr. Con greve. Receipts: LA 3 10s. 6d. L. S., 2:638 Monday 15 January 1722 LIF-II Cast same as 13 January 1722. [Afterpiece: The Magician] Receipts: LAO 10s. 6d. L. S., 2:658. Thursday 18 January 1722 LIF-II Cast same as 13 January 1722. [Afterpiece: The Magician] Receipts: L29 6s. Mainpiece: Written by Mr. Congreve. L. S., 2:659- Wednesday 31 January 1722 LIF-II Cast same as 13 January 1722. Receipts: LI7 13s. 6d. L. S., 2:661. Tuesday 10 April 1722 355 LIF-II [Afterpiece: Amadis] Benefit Lally. Receipts: money L25 19s. 6d.; tickets L103 Is. L. S., 2:672. Wednesday 25 April 1722 DL Cast same as 7 December 1721, but: Lucy - Miss Tenoe; Heartwell omitted. Benefit Bickerstaff, who, by Lameness with the Gout, has not appeared on the Stage for above this Twelve Month. L. S., 2:674. Friday 18 May 1722 LIF-II Cast same as 13 January 1722, but: Sylvia - Mrs. Parlour. Benefit Coe. For the Entertainment of Kausan Abon Assaf and Nassar Junes, two Princes just arriv'd from Mount Labano in Syria. Receipts: money L10 7s. 6d.; tickets L57 14s. L. S., 2:678. Thursday 20 September 1722 DL Bellmour - Wilks; Fondlewife - Cibber; Sharper - Mills; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Norris; Laetitia - Mrs. Oldfield; Belinda - Mrs. Bick- nell; Araminta - Mrs. Younger; Lucy Miss Tenoe. L. S., 2:687. Wednesday 7 November 1722 LIF-II 556 Wednesday Wednesday Friday 19 Luesday 1 Heartwell - Quin; Bellmour - Walker; Fondlewife - Hippisley, his first on this stage; Sharper - Leigh; Bluff - Hall; Sir Joseph - Bullock Sr.; Setter - Morgan; Laetitia - Mrs. Seymour; Belinda - Mrs. Bullock; Araminta - Mrs. Cross; Sylvia - Miss Purden; Lucy - Mrs. Egleton; Betty - Miss Bullock; Vainlove - Ryan. Receipts: L59 13s. 6d. L. S., 2:69J- 19 December 1722 LIF-II Cast same as 7 November 1722. Receipts: LI3 5s. 6d. L. S., 2:701. 2 January 1723 DL Cast same as 20 September 1722, but: Araminta - Mrs. Horton. L. S., 2:702. April 1723 DL Cast same as 2 January 1723, but: Heartwell - Harper; Belinda - Mrs. Horton; Araminta - Mrs. Younger. Benefit Mrs. Horton. L. S., 2:719. October 1723 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Bellmour - Wilks; Sharper - Mills; Heartwell - Harper; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Norris; Belinda - 357 Mrs. Horton; Araminta - Mrs. Younger; Sylvia - Miss Lindar; Lucy - Miss Tenoe. Written by Mr. Congreve. L. S., 2:738. Friday 1 November 1723 Hog Tavern Medley [Tony Aston's Medley] Belmour, Fondlewife, and Laetitia in The Old Batchelor. By Tony Aston. [Other selections from the following plays: The Spanish Fryar; Aesop; The Yeoman of Kent; The Country Wake; Love's Contrivance.] At the Bog Tavern near Billingsgate. At 6 P.M. L. S., 2:7^2. 1. First performance at the Dog Tavern. Wednesday 4 December 1723 King's Arms Tavern Medley [Tony Aston's Medley]. Fondlewife, Laetitia, and Belmour in The Old Batchelor. By Tony Aston. [Other selections from the following plays: The Spanish Fryar; The Taming of_a Shrew; The Yeoman of Kent; Love's Contrivances.J Prologue. Epilogue. At the King's Arms Tavern near Temple Bar. At the Desire of several Gentlemen in the Neighbourhood. At 6 P.M. L. S., 2:748. 1. First performance at the King's Arms Tavern. Tuesday 10 December 1723 Castle Tavern Medley [Tony Aston's Medley]. Belmour, Fondle wife, and Laetitia in The Old Batchelor. By Tony Aston. 358 [Other selections from the following plays: The Taming of the Shrew; The Yeoman of Kent; Love's Contrivance; The Country Wake.] At the Castle Tavern without Cripplegate. At 6 P.M. L. S., -2:749. 1. Pirst performance at the Castle Tavern. Wednesday 18 December 1723 DL [Afterpiece: Harlequin Doctor Faustus] L. S., 2:751. Tuesday 31 December 1723 Anchor and Vine Tavern Medley [Tony Aston's Medley]. Belmour, Fondlewife, and Laetitia in The Old Batchelor. By Tony Aston. [Other selections from the following plays: The Spanish Fryar; The Taming of the Shrew; The Yeoman of Kent; Love's Contrivance.] At the Anchor and Vine Tavern in Chancery Lane. L. S., 2:753. 1. First performance at the Anchor and Vine Tavern. Monday 2 March 1724 DL [Afterpiece: Harlequin Doctor Faustus] L. S., 2:762. Friday 13 March 1724 Horshoe Tavern Medley [Tony Aston's Medley]. Fondlewife, Belmour, and Laetitia in The Old Batchelor, by Tony Aston. 559 [Other selections from the following plays: The Spanish Fryar; Sauney the Scot; The Yeoman of Kent; Love's Contrivance.J Prologue. Epilogue. At the Desire of several Families. At the Horshoe Tavern in Queen's Street by little Tower Hill. At 6 P.M. Admission Is. 6d. L. S., 2:764. 1. First performance at the Horshoe Tavern. Monday 23 March 1724 LIF-II Heartwell - Quin; Belmopr - Walker; Vainlove - Byan; Sir Joseph - Bullock Sr.; Bluff - Hall; Sharper - Leigh; Fondlewife - Hippisley; Setter - Spiller; Araminta - Mrs. Cross; Belinda - Mrs. Sterling; Laetitia - Mrs. Cantrell; Sylvia - Miss Purden; Lucy - Mrs. Egleton. Benefit Walker. Written by Mr. Congreve. Receipts: money L42 12s.; tickets L79 13s. L. S., 2:766. Monday 20 April 1724 Palace Yard Medley [Tony Aston's Medley]. Belmour, Fondlewife, and Laetitia in The Old Batchelor. By Tony Aston. [Other selections from the following plays: The, Spanish Fryar; The Taming of the Shrew; The Yeoman of Kent; Love's Contrivances.] Prologue. Epilogue. In Hell, alias the Exchequer Eating-House in the Palace Yard, Westminster. At 7 P.M. L. S., 2:771- 1. First performance at the Palace Yard. Wednesday 20 May 1724 DL 360 Cast same as 1 October 1723, but: Laetitia - Mrs. Thurmond; Lucy - Mrs. Wetherilt. [Afterpiece: The Stage Coach] Benefit Mrs. Wetherilt, Mrs. Boman, Miss Davison. L. S., 2:777. Thursday 28 May 1724 LIF-II Cast'same_as 23 March 1724, but: Sir Joseph - Will. Bullock; Sharper - Orfeur; Lucy - Mrs. Taylor. Benefit Keene's Widow, Mrs. Orfeur, Mrs. Taylor. Written by Mr. Contreve. Receipts: money Lll 16s. 6d.; tickets L92 13s. L. S., 2:779. Thursday 17 September 1724 DL. Heartwell Harper; Bellmour - Wilks; Fondle- wife - Cibber; Sharper - Mills; Laetitia - Mrs. Oldfield; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Morris; Belinda - Mrs. Horton; Araminta - Mrs. Heron; Silvia - Miss Lindar; Lucy - Miss Tenoe. L. S., 2:787- Friday 23 October 1724 DL [Afterpiece: Harlequin Doctor Faustus] By Their Royal Highnesses' Command. L. S. 2:791. Monday 4 January 1725 LIF-II Heartwell - Quin; Bellmour - Walker; Vainlove - Ryan; Sir Joseph - W. Bullock; Sharper - Leigh; Fondlewife - Hippisley; Bluff - Hall; Setter - 361 Monday 22 Monday 17 Wednesday Tuesday 7 Spiller; Laetitia - Mrs. Bullock; Belinda - Mrs. Butcher; Araminta - Mrs. Parker; Sylvia - Mrs. Legar; Lucy - Mrs. Egleton. Benefit Dennis. Receipts: money L43 19s. 6d.; tickets L36 3s. L. S., 2:803. February 1725 DL [Afterpiece: Apollo and Daphne] L. S., 2:811. May 1725 LIF-II Cast same as 4 January 1725, but: Sir Joseph - Morgan; Sharper - Egleton; Araminta - Mrs. Moffet. Benefit Morgan, Mrs. Cook, Mrs. Butcher. Written by Mr. Congreve. Receipts: money L9 Os. 6d.; tickets L98 5s. L. S., 2:826. 19 May 1725 DL Cast same as 17 September 1724, but: Laetitia - Mrs. Thurmond; Sylvia - Miss Tynte. [Afterpiece: Hob] Benefit Wright, Hallam, Miss Tynte. L. S., 2:826. September 1725 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Bellmour - Wilks; Sharper - Mills; Heartwell - Harper; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Oats; Belinda - Mrs. Horton; Araminta - Mrs. Heron; Sylvia - Miss Lindar; Lucy - Miss Tenoe. Written "by Mr. Congreve. L. S., 2:832. (Tuesday 16 November 1725 DL Cast same as 7 September 1725* At the Desire of several Persons of Quality. With a new Scene representing a Prospect of Covent-Garden Piazza. Written by Mr. Congreve. L. S., 2:841. Wednesday 1 December 1725 LIP-II [Afterpiece: The Necromancer] Receipts: L64 19s. L. S., 2:844. Monday 7 Pebruary 1726 LIP-II [Afterpiece: Apollo and Daphne] Receipts: L122 15s. L. S., 2:854. Monday 14 Pebruary 1726 DL [Afterpiece: Apollo and Daphne; or, Harlequin's Metamorphoses] L. S., 2:855. Tuesday 3 May 1726 DL Cast same as 7 September 1725? but: Araminta - Mrs. Porter. 363 Benefit Oates. Written by Mr. Congreve. L. S., 2:868. Wednesday 4 May 1726 LIF-II Heartwell - Quin; Bellmour - Walker; Vainlove - Ryan; Fondlewife - Hippisley; Sir Joseph - Egleton; Sharper - Diggs; Bluff - Hall; Setter - Spiller; Laetitia - Mrs. Bullock; Belinda - Mrs. Younger; Araminta - Mrs. Moffet; Sylvia - Mrs. Legar; Lucia - Mrs. Egleton. Benefit Wood, Treasurer. Written by Mr. Congreve. H.B. The Doors will not be open till Four o'Clock. Receipts: money L12 18s. 6d.; tickets L155 19s. L. S., 2:869. Thursday 26 May 1726 LIF-II Cast same as 4 May 1726, but: Sir Joseph - W. Bullock; Setter - Morris; Sylvia - Mrs. Rice. Benefit Wilcox, West Clarke, Mrs. Rice. Written by Mr. Congreve. Receipts: money L12 12s. 6d.; tickets L129 18s. L. S., 2:874. Saturday 10 September 1726 DL Heartwell - Harper; Fondlewife - Cibber; Bellmour - Wilks; Sharper - Mills; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Oates; Laetitia - Mrs. Oldfield; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Sylvia - Miss Lindar; Lucy - Miss Tenoe. Written by Mr. Congreve. L. S., 2:881. 364 Monday 7 November 1726 DL [Afterpiece: Apollo and Dapime; or, Harlequin's Metamorphoses] L. S., 2:890. Monday 7 November 1726 LIF-II [Afterpiece: The Necromancer] Receipts: L52 9s. L. S., 2:890. Tuesday 3 January 1727 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield. [Afterpiece: The Miser] L. S., 2:901, Tuesday 19 September 1727 DL Heartwell - Harper; Bellmour - Wilks; Sharper - Mills; Fondlewife - Cibber; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Oates; Laetitia - Mrs. Oldfield; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Silvia - Miss Lindar; Lucy - Miss Tenoe. L. S., 2:934. Monday 20 November 1727 LIF-II [Afterpiece: The Rape of Prosperpine] Receipts: L60 17s. 6d. L. S., 2:9^5. 365 Wednesday 6 December 1727 DL Cast same as 19 September 1727, but: Lucy - Mrs. Mills. With, the Coronation Scene. Written by Mr. Congreve. L. S., 2:948. Wednesday 21 February 1728 DL Cast same as 6 December .1727* Written by Mr. Congreve. L. S., 2:960. Tuesday 9 April 1728 DL Cast same as 6 December 1727- [Afterpiece: Harlequin Happy and Poor Pierrot Married] Mainpiece: Written by Mr. Congreve. L. S., 2:969. Saturday 11 May 1728 LIF-II Heartwell - Quin; Bellmour - Walker; Vainlove - Byan; Sharper - Milward; Fondlewife - Hippisley; Setter - Spiller; Bluff - Hall; Sir Joseph - Bullock; Laetitia - Mrs. Bullock; Araminta - Mrs. Berriman; Belinda - Mrs. Younger; Sylvia - Mrs. Legar; Lucy - Mrs. Egleton. Benefit Tom Crawford, who was lately burnt out from the Bear and Harrow Tavern, Butcher-Bow. L. S., 2:976. 366 Thursday 26 September 1728 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Bellmour - Wilks; Sharper - Mills; Heartwell - Harper; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Oates; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Sylvia - Miss Lindar; Lucy - Mrs. Mills. Written by Mr. Congreve. L. S., 2:990. Wednesday 27 November 1728 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield. [Afterpiece: Perseus and Andromeda] L. S., 2:1000. Tuesday 31 December 1728 LIF-II Old Batchelor [Heartwell] - Quin; Fondlewife - Hippisley; Belmour - Walker; Vainlove - Ryan; Sir Joseph - Bullock; Sharper - Milward; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Buchanan; Sylvia - Mrs. Legar; Lucia - Mrs. Egleton; Belinda - Mrs. Younger. Benefit Crokatt, Bookseller. Written by Mr. Con greve. Receipts: money L25 5s. 6d.; tickets L98 17s. L. S., 2:1005. Friday 24 January 1729 DL Cast same as 26 September 1728, but: Araminta - Mrs. Heron; Sylvia - Mrs. Cibber. 367 [Afterpiece: Perseus and. Andromeda] Mainpiece: Written Toy Mr. Congreve. L. S., 2:1010. Monday 17 March. 1729 DL Cast same as 24 January 1729, hut: Sir Joseph - Cibber, Jr.; Araminta - Mrs. Butler. [Afterpiece: Perseus and Andromeda] Main piece: Written by the.late Mr. Congreve. L. S., 2:1021. Monday 14 April 1729 LIF-II [Afterpiece: The Rape of Proserpine] Receipts: L44 17s. 6d. L. S., 2:1025- Wednesday 24 September 1729 LIF-II Old Batchelor [Heartwell] - Quin; Belmour - Walker; Vainlove - Ryan; Sharper - Milward; Sir Joseph - Bullock; Bluff - Hall; Fondlewife - Hippisley; Laetitia - Mrs. Bullock; Sylvia - Mrs. Laguerre; Lucy - Mrs. Egleton; Setter - Chapman; Araminta - Mrs. Berriman; Belinda - Mrs. Younger. [Afterpiece: Flora] Receipts: L58 8s. 6d. L. S., 3:7- Thursday 9 October 1729 DL Fondlewife - Cibber; Laetitia - Mrs. Oldfield; Bellmour - Wilks; Sharper - Mills; Heartwell - Harper; Vainlove - Watson; Sir Joseph - Miller; Bluff - Johnson; Setter - Oates; 368 Belinda - Mrs. Horton; Araminta - Mrs. Butler; Sylvia - Mrs. Cibber; Lucy - Mrs. Mills. [Afterpiece: The Contrivances] Mainpiece: Written by the late Mr. Congreve. L. S. , 3 ' • 8-9- Monday 17 November 1729 Odell's Theatre in Ayliffe Street, Goodman's Fields (Odell's GF) Old Batchelor [Heartwell] - W. Giffard; Bellmour - Giffard; Vainlove - Mynns; Sharper - W. Williams; Setter - Collet; Bluff - Pearce; Belinda - Mrs. Giffard; Laetitia - Mrs. Seal; Araminta - Mrs. Clark; Sylvia - Mrs. Mountfort; Lucy - Mrs. Thomas; Fondlewife - Penkethman; Sir Joseph - W. Bullock, both from LIF, their first appearances here. L.. S., 3:16. 1. This is the first performance of The Old Batchelor at Odell's Theatre in Ayliffe Street, Goodman's Fields (see 28 January 1732). Friday 12 December 1729 DL Cast same as 9 October 1729- Written by the late Mr. Congreve. L. S., 3:23- Friday 19 December 1729 Odell's GF Cast same as 17 November 1729, but: Vainlove - Huddy; Fondlewife - Burney; Bluff - Penkethman. At the particular Desire of several Persons of Quality from the other End of the Town. L. S., 3:23. 369 Monday 16 February 1730 Odell's GF Cast same as 19 December 1729, but: Fondlewife - Penkethman; Bluff - Pearce; Araminta - Mrs. Purden; Betty - Mrs. Palmer. [Afterpiece: Jealousy Deceiv'd] At the Desire of several Persons of Quality. L. S., 3:37- Monday 13 April 1730 LIF-II Cast same as 24- September 1729, but: Sir Joseph - Pay. [Afterpiece: The Cheats of Scapin] Benefit Hippisley and Mrs". Egleton. Mainpiece: Written by the late Mr. Congreve. Tickets for The Amorous Widow taken at this play. Receipts: money L26 17s.; tickets L143 5s. L. S., 3:4-9* Monday 1 June 1730 Odell's GF Cast same as 16 February 1730, but: Sir Joseph - R. Williams: Belmour - Smith; Laetitia - Mrs. Haughton; Araminta - Miss Vaughan her first on any stage; Betty omitted. L. S., 3:65. Thursday 17 September 1720 DL Fondlewife - Cibber; Laetitia - Mrs. Thurmond; Bellmour - Wilks; Sharper - Mills; Heartwell - Harper; Vainlove - Watson; Sir Joseph - Cibber Jr.; Bluff - Johnson; Setter - Oates; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Sylvia - Mrs. Cibber; Lucy - Mrs. Mills. Written by the late Mr. Congreve. 370 L. S. 3:79. Monday 9 November 1730 DL [Afterpiece: Cephalus and Procpis] L. S., 3:91- Tuesday 17 November 1730 LIF-II [Afterpiece: The Nape of Proserpine] Mainpiece: Written by the late Mr. Congreve. Receipts: L73 Is. L. S., 3:93. Tuesday 1 December 1730 Odell's GF Old Batchelor [Heartwell] - W. Giffard; Belmour - Giffard; Bluff - Huddy; Vainlove - Rosco; Sharper - W. Williams; Setter - Collet; Sir Joseph - Bullock; Fondlewife - Penkethman: •Belinda - Mrs. Giffard; Laetitia - Mrs. Haughton; Araminta - Miss Smith; Sylvia - Mrs. Mountfort; Lucy - Mrs. Thomas. [Afterpiece: Flora] L. S., 3:98. Tuesday 12 January 1731 DL Nikin [Fondlewife] - Cibber. [Afterpiece: Cephalus and Procris] L. S., 3:108. Tuesday 19 January 1731 Odell's GF 371 Cast same as 1 December 1730, but: Fondlewife - Morgan; Vainlove - Bowman, being the first Time of bis appearing on this Stage. [Afterpiece: Flora] L. S., 3:110. Tuesday 23 February 1731 LIF-II [Afterpiece: Perseus and Andromeda] Receipts: L66 9s. 6d. L. S. , 3:118. Wednesday 5 May 1731 LIF-II Old Batchelor [Heartwell] - Quin; Fondlewife - Hippisley; Bellmour - Walker; Vainlove - Ryan; Sharper - Milward; Sir Joseph - Ray; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Cantrell; Silvia - Mrs. Laguerre; Lucy - Mrs. Egleton; Belinda - Mrs. Younger; [Afterpiece: The School Boy] Benefit Dupre and Mrs. Pelling. Receipts: money LI7 10s.; tickets L91 12s. L. S., 3:136. Saturday 25 September 1731 DL Fondlewife - Cibber; Laetitia - Mrs. Thurmond; Bellmour - Wilks; Heartwell - Harper; Sharper - Mills; Vainlove - Watson; Sir Joseph - Cibber Jr.; Bluff - Johnson; Setter - Oates; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Silvia - Mrs. Cibber; Lucy - Mrs. Mills. [Afterpiece: The Jovial Crew; or. The Merry Beggars] Mainpiece: Written by the late Mr. Con greve. At Common Prices. L. S., 3:158. 372 Saturday 20 November 1731 LIF-II [Afterpiece: Perseus and Andromeda] Receipts: L73 13s. 6d. L. S., 3:170. Saturday 20 November 1731 Odell's GP Old Batchelor [Heartwell] - .¥. Giffard; Belmour - Giffard; Vainlove - Rosco; Sharper - Havard; Setter - Collett; Bluff - Morgan; Sir Joseph - Bullock; Fondlewife - Norris; Belinda - Mrs. Roberts; Laetitia - Mrs. Giffard; Araminta - Mrs. Haughton; Silvia - Mrs. Purden; Lucy - Mrs. Morgan; Betty - Mrs. Palmer. [Afterpiece: The Lovers Opera] L. S., 3:170. Thursday 25 November 1731 DL [Afterpiece: Perseus and Andromeda: With Pierrot Married] L. S., 3:171-172. Friday 7 January 1732 DL Fondlewife - Cibber; Bellmour - Wilks (Burney). [Afterpiece: The Lottery] L. S., 3:181. Thursday 27 January 1732 Odell's GF Cast same as 20 November 1731, but: Sir Joseph - Miller; Betty omitted. 373 [Afterpiece: Phoebe] L. S., 3:186. Friday 28 January 1732 Odell's GF Cast same as 27 January 1732. [Afterpiece: Phoebe] L. S., 3:186. 1. This was the last performance of The Old Batchelor at Odell's Theatre in Ayliffe Street, Goodman's Fields (see 17 November 1729). Thursday 24- February 1732 LIF-II [Afterpiece: Perseus and Andromeda] Receipts: L127 l?s. 6d. L. S., 3:192. Monday 20 March 1732 LIF-II [Afterpiece: Sequel to the Opera of Flora; or, Hob's Wedding] Benefit Nivelon. Mainpiece: Written by the late Mr. Congreve. Receipts: money L84 2s. 6d. ; tickets L53 8s. L. S., 3:199- Tuesday 9 May 1732 LIF-II Heartwell - Quin; Fondlewife - Hippisley; Bellmour - Walker; Sharper - Milward; Vainlove - Ryan; Sir Joseph - Ray; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Cantrell; Belinda - Mrs. Younger; Silvia - Miss Holliday; Lucy - Mrs. Egleton. 374 Benefit Short. Written by the late Mr. Congreve. Tickets at Short's House, Milman Street. Receipts: money L26 12s.; tickets L128 12s. L. S., 3=216. Tuesday 3 October 1732 DL Heartwell - Harper; Belmour - W. Mills; Hondlewife - Cibber; Sharper - Mills; Vainlove - Watson; Sir Joseph - Cibber Jr.; Bluff - Johnson; Setter - Oates; Laetitia - Mrs. Thurmond; Belinda - Mrs. Horton; Araminta - Mrs. Butler; Silvia - Miss Rafton; Lucy - Mrs. Mills. [Afterpiece: The Mock Doctor] L. S., 3:235. Friday 6 October 1732 The Hew Theatre in Ayliffe Street, Goodman;s Fields (Hew GF) Old Batchelor [Heartwell] - W. Giffard; Belmour Gifford; Vainlove - Rosco-; Sharper - Havard; Setter - Collet; Bluff - Morgan; Sir Joseph - Bullock; Fondlewife - Horris; Belinda - Mrs. Roberts; Laetitia - Mrs. Giffard; Araminta - Mrs. Christian; Sylvia - Mrs. Hamilton; Lucy - Mrs. Morgan. L. S., 3:236. 1. This was the first performance of The Old Batchelor at The Hew Theatre in Ayliffe Street, Goodman's Fields. Monday 13 Hovember 1732 Hew GF Cast same as 6 October 1732, but: Sir Joseph - R. Wetherilt, from DL, being the first Time of his appearance on this Stage; Laetitia - Mrs. Thurmond; Belinda - Mrs. Giffard. L. S.,-3:246. 375 Tuesday November 1732 New GF Cast same as 13 November 1732. L. S., 3:246. Monday 20 November 1732 New GF Cast same as 13 November 1732. At the particular Desire of several Ladies of Distinction. L. S., 3:249- .Wednesday 22 November 1732 LIF-II Heartwell - Quin; Bellmour - Walker; Fondlewife - Hippisley; Vainlove - Ryan; Sliarper - Milward; Sir Joseph - Neale; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Cantrell; Sylvia - Miss Holliday; Lucy - Mrs. Egleton; Belinda - Mrs. Younger. [Afterpiece: Apollo and Daphne] Mainpiece: Written by the late Mr. Congreve. Receipts: L29 13s. L. S., 3:249- Friday 8 December 1732 DL Cast same as 3 October 1732, but: Sir Joseph - Miller; Laetitia - Mrs. Heron. [Afterpiece: Betty] Mainpiece: Written by the late Mr. Congreve. L. S., 3:254. Friday 12 January 1733 New GF 376 Cast same as 13 November 1732, but: Sylvia - Mrs. Purden. [Afterpiece: The Amorous Sportsman] L. S., 3:263- Friday 2 February 1733 The Theatre Royal in Covent Garden (CG) Heartwell - Quin; Bellmour - Walker; Fondlewife - Hippisley; Vainlove - Ryan; Sharper - Milward; Sir Joseph - Neale; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Cantrell; Sylvia - Mrs. Laguerre; Lucy - Mrs. Egleton; Belinda - Mrs. Younger. Written by the late Mr. Congreve. Receipts: 151 19s. 6d. L. S., 3:268. 1. First performance of The Old Batchelor at The Theatre Royal in Covent Garden. Tuesday 6 February 1733 DL Cast [probably] same as 8 December 1732. [Afterpiece: The Judgment of Paris] L. S., 3:269. Friday 27 April 1733 DL Cast same as 8 December 1732, but: Sharper - Mills; Vainlove - Roberts; Lucy - Mrs. Grace. [Afterpiece: The Mock Doctor] Benefit Castelman, Treasurer. L. S., 3:293- Friday 27 April 1733 CG 377 Cast same as 2 February 1733- [Afterpiece: The Mock Lawyer] Benefit the Author of the Afterpiece [Edward Phillips]. Mainpiece: Written by the late Mr. Congreve. Receipts: money L44- 7s. 6d.; tickets L32 7s. L. S., 3:293- Thursday 10 May 1733 Hew GF Cast same as 12 January 1733, but: Sylvia - Mrs. Hamilton; Lucy - Miss Wherrit; Setter - Woodward. [Afterpiece: The Mock Doctor] Benefit Woodward, Miss Wherrit, Miss Sandham. At the Desire of several eminent Citizens. Mainpiece: Written by the late Mr. Congreve. L. S., 3:299. Monday 17 September 1733 Hew GF Laetitia - Mrs. Thurmond; Old Batchelor [Heartwell] - Hyde; Belmour - Giffard; Sir Joseph - R. Wetherilt; Vainlove ~ Rosco; Sharper - Havard; Setter - Collett; Bluff - Morgan; Fondlewife - Horris; Belinda - Mrs. Giffard; Araminta - Mrs. Haughton; Sylvia - Mrs. Hamilton; Lucy - Mrs. Morgan. At the particular Desire of several Persons of Quality. L. S.,-3:319. Tuesday 9 October 1733 CG Old Batchelor [Heartwell] - Quin; Fondlewife - Hippisley; Bellmour - Walker; Vainlove - Ryan; Sharper - Salway; Bluff - Hall; Setter - Chapman; Laetitia - Mrs. Bullock; Araminta - Mrs. Can trell; Sylvia - Mrs. Laguerre; Lucy - Mrs. ' Steveni^ Belinda - Mrs. Younger; Sir Joseph - Heale. 378 Written by the late Mr. Congreve L. S., 3:324-. Thursday 25 October 1733 The New Theatre in the Haymarket (HAY) Fondlewife - Griffin; Heartwell - Harper; Sir Joseph - Miller; Bluff - Johnson; Laetitia - Mrs. Heron; Belmour - W. Mills; Vainlove - A. Hallam; Sharper - Milward;.'Setter - Oates; Belinda - Mrs. Butler; Araminta - Mrs. Shireburn; Sylvia - Miss Oates; Lucy - Mrs. Grace. [Afterpiece: The Mock Doctor] At the Desire of several Persons of Quality. Mainpiece: Written by the late Mr. Congreve. 1. This was the first performance of The Old Batchelor at The New Theatre in the Hay market. Wednesday 16 January 1734- Bloomsbury Medley [Tony Aston's Medley]. Pondlewife and Laetitia (Old Batchelor). By Tony Aston. [Other selections from the following plays: Spanish Fryar; Stratagem; Committee; Country Wake; Love for Love; Plain Dealer; Drummer] Mr. Anthony Aston, commonly call'd Tony Aston . . . His Comical and Unparallelled Medley at the Bouffler's Tavern. 6 P.M. Tickets 2s. 6d. L. S., 3:359. 1. First performance at Bouffler's Tavern, Bloomsbury. Thursday 17 January 1734- CG Cast same' as 9 October 1733, b u t: A ram inta - Mrs. Templer. [Afterpiece: The Country House] 379 L. S., 3:359. Monday 28 January 1734- Hew GF Cast same as 17 September 1733, tout: Old Batchelor [Heartwell] - W. Giffard; Setter - Woodward; Bluff - Huddy; Fondlewife - Penkethman; Lucy - Mrs. Wetherilt. L. S., 3:363• Friday 8 February 1734- HAY Cast same as 25 October 1733. [Afterpiece: Dido and Aeneas; Second After- piece:. The Burgomaster Trick1d] At the Desire of several Persons of Quality. Mainpiece: Written toy the late Mr.. Congreve. L. S., 3:366. Thursday 3 October 1734- DL Old Batchelor [Heartwell] - Quin; Sir Joseph - Miller; Fondlewife - Griffin; Bluff - Johnson; Belmour - W. Mills;' Vainlove - Salway; Sharper - Milward; Setter - Oates; Laetitia - Mrs. Thur mond; Belinda - Miss Holliday; Araminta - Mrs. Cantrell; Sylvia - Mrs. Pritchard; Lucy - Mrs. Charke. [Afterpiece: The Burgomaster Trick'd] Mainpiece: Written toy the late Mr. Congreve. L. S., 3:4-19. Monday 16 December 1734- DL Cast same as 3 October 1734-, tout: Lucy - Mrs. Shiretourn. [Afterpiece: Merlin] Mainpiece: Written toy 380 the late Mr. Congreve. L. S., 3:4-42. Saturday 11 January 1735 Mew GF Belmour - Giffard; Laetitia - Mrs. Giffard; Heartwell - W. Giffard; Vainlove - Rosco; Sharper - Havard; Sir Joseph - Wetherilt; Bluff - Huddy; Setter - Hamilton; Araminta - Mrs. Haughton; Belinda - Mrs. Hamilton; Silvia - Miss Toilet; Lucy - Mrs. Woodward; fondlewife - Penkethman. [Afterpiece: The Chymical Counterfeits] L. S., 3 = 4-50. Tuesday 18 Behruary 1735 New GP Cast same as 11 January 1735- [Afterpiece: Jupiter and Io] L. S., 3:4-62. Wednesday 26 Pebruary 1735 DL Cast same as 16 December 1734-, but: Pondlewife - Cibber, Sr.; Vainlove, Setter, Araminta, Silvia, Lucy omitted. Benefit Swiny. Por the better Accomodation of the Ladies, Part of the Stage will be formed into Boxes; the Pit and Front Boxes to be put together (at the Desire of several Ladies of Quality). L. S., 3:464-. Thursday 1 May 1735 CG 381 Old Batchelor [Heartwell] - Bridgwater; Belmour - Walker; Vainlove — Ryan; Fondlewife - Hippisley; Sharper - Marshall; Bluff - Mullart; Sir Joseph - Neale; Setter - Chapman'; Araminta - Mrs. Templer; Belinda - Mrs. Horton: Laetitia - Mrs. Bullock; Sylvia - Miss Norsa; Lucy - Mrs. Stevens.' [Afterpiece: The Toy Shop] Benefit John Hervey, Architect Painter. By Command of their Royal Highnesses the Princesses Amelia and Caroline. L. S., 3:486. Thursday 25 September 1735 DL Heartwell - Quin; Fondlewife - Griffin; Sir Joseph - Miller; Belmour - W. Mills; Vainlove - Salway; Sharper - Milward; Setter - Oates; Bluff - Johnson;. Laetitia - Mrs. Thurmond; Belinda - Mrs. Holliday; Araminta - Mrs. Can trell; Sylvia - Mrs. Pritchard; Lucy - Mrs. Cross. [Afterpiece: The Devil to Pay] Mainpiece: Written by the late Mr. Congreve. L.S., 3:513- Friday 7 November 1735 CG Old Batchelor [Heartwell] - Bridgwater; Fondlewife - Hippisley; Belmour - Walker; Vainlove - Eyan; Sharper - Marshall; Sir Joseph - Neale; Bluff - Mullart; Setter - Chapman; Laetitia - Mrs. Horton; Belinda - Mrs. Bullock; Araminta - Mrs. Templer; Sylvia - Miss Norsa; Lucy - Mrs. Stevens. [Afterpiece: The Rape of Proserpine] Receipts: L49. L. S., 3:524. Friday 21 November 1735 New GF 382 Heartwell - W. Giffard; Belmour - Giffard; Sir Joseph. - Ray; Bluff - Lyon; Vainlove - Rosco; Sharper - Havard; Setter - Hamilton; Laetitia - Mrs. Giffard; Belinda - Mrs. Hamilton; Araminta - Mrs. Haughton; Sylvia - Miss Tollett; Lucy - Mrs. Woodward. [Afterpiece: The Hecromancer] L. S., 3:529- Tuesday 2 December 1735 DL Cast same as 25 September 1735- [Afterpiece: Harlequin Restor'd] Mainpiece: Written by the late Mr. Congreve. L. S., 3:532. Wednesday 28 January 1738 DL Cast same as 25 September 1735, but: Lucy - Mrs. Grace. [Afterpiece: Harlequin Restor'd] Mainpiece: Written by the late Mr. Congreve. L. S., 3:5^7- Wednesday 11 Pebruary 1736 Hew GP Cast same as 21 November 1735, but: fondlewife - Penkethman, with the Ceremony of Lying in State. [Afterpiece: The Lover His Own Rival] L. S., 3:551- Rriday 5 March 1736 DL Cast same as 28 January 1736. 383 [Afterpiece: The Fall of Phaeton] Mainpiece: Written by the late Mr. Congreve. L. S. 3:538. Monday 24- May 1736 CG Cast same as 7 November 1735 > but: Belinda - Mrs. Horton; Laetitia - Mrs. Bullick; Sylvia - Miss Bincks; Bluff omitted. [Afterpiece: The Cheats of Scanin] Benefit Neale and Vaughan. .Receipt's: money L8 13s. ; tickets L120 10s. L. S., 3:587- Wednesday 3 November 1736 DL Heartwell - Quin; Belmour - W. Mills; Pondlewife - Griffin; Sir Joseph - Miller; Bluff - Johnson; Sharper - Milward; Vainlove - Este; Setter - Oates; Laetitia - Mrs. Thurmond; Belinda - Mrs. Holliday; Araminta - Mrs. Cross; Sylvia - Mrs. Pritchard; Lucy - Mrs. Grace. [Afterpiece: The Burgomaster Trick1d] Mainpiece: Written by the late Mr. Congreve. L. S., 3:611-612. Wednesday 1 December 1736 York Buildings (YB) [Afterpiece: The Virgin Unmask'd] Benefit Noble. Admission: 5s., 3s., 2s. There are a Set of new Scenes and other Decorations proper for the Play. L. S., 3:620. 1. Pirst performance at the York Buildings. Monday 6 December 1736 DL 384 Cast same as 3 November 1736 [Afterpiece: Poor Fierot Married] Mainpiece: Written by the•late Mr. Congreve. L. S., 3:621. Tuesday 4 January 1737 LIP-IP [Afterpiece: The Beggar's Pantomime] L. S., 3:628. Monday 10 January 1737 CG Old Batchelor [Heartwell] - Bridgwater; Belmour - Walker; Pondlewife - Hippisley; Vainlove - Byan; Sharper - Marshall; Setter - Chapman; Sir Joseph - Neale; Bluff - Mullart; Laetitia - Mrs. Horton; Belinda - Mrs. Bellamy; Araminta - Mrs. Templer; Sylvia - Miss Bincks; Lucy - Mrs. Stevens. [Afterpiece: PIora] Benefit a Family under Misfortunes. At the Desire of several Ladies of Quality. Mainpiece: Written by the late Mr. Congreve. L. S., 3:629. Tuesday 22 February 1737 DL Cast same as 3 November 1736. [Afterpiece: The King and the Miller of Mansfield] Mainpiece: Written by the late Mr. Congreve. L. S., 3:641. Thursday 15 September 1737 DL -Old Batchelor [Heartwell] - Quin; Sir Joseph - Miller; Bluff - Johnson; Belmour - Mills; Pondlewife - Griffin; Vainlove - Havard; Sharper - 385 Wright; Setter - Mechlin; Belinda - Miss Holli day; Araminta - Mrs. Pritchard; Sylvia - Mrs. Brett; Lucy - Mrs. Marshall; Laetitia - Mrs. Clive. [Afterpiece: The Devil to Pay] Mainpiece: Written by the late Mr. Congreve. Receipts: L64. L. S., 3:682. Tuesday 16 May 1738 DL Cast same as 15 September 1737, but: Belinda - Mrs. Hamilton; Lucy - Mrs. Grace. [Afterpiece: The Dragon of Wantley] Benefit Mrs. Hamilton and the two Masters Hamilton. Tickets at Hamilton’s Lodgings, at Mr. Straw berry's in Russel-Court. L. S., 3:721. Thursday 18 May 1738 CG Old Batchelor [Heartwell] - Bridgwater; Belmour - Walker; Sir Joseph - Xates; Vainlove - Ryan; Sharper - Hale; Pondlewife -Hippisley; Bluff - Mullart; Setter - Chapman; Laetitia - Mrs. Horton; Belinda - Mrs. Bellamy; Araminta - Mrs. Elmy; Sylvia - Mrs. Vincent; Lucy - Mrs. Mullart. [Afterpiece: The Beggar's Wedding] Benefit Tates, Bowcker, Mrs. Elmy, Miss Oates. L. S., 3:721-722. Tuesday 17 October 1738 DL Old Batchelor [Heartwell] - Quin; Fondlewife - Griffin; Bluff - Johnson; Sir Joseph - Cibber; Belmour - Mills; Vainlove - Havard; Sharper - Wright; Setter - Macklin; Laetitia - Mrs. Clive; Belinda - Mrs. Pritchard; Sylvia - Mrs. Chetwood; 386 Lucy - Mrs. Grace. [Afterpiece: 001001131116 Courtezan] By Command of His Royal Highness the Luke. Mainpiece: Written by the late Mr. Congreve. L. S., 3:737. Tuesday 28 November 1738 CG Old Batchelor [Heartwell] - Bridgwater; Pondlewife - Hippisley; Belmour - Walker; Vainlove - Ryan; Sir Joseph - Neale; Bluff - Mullart; Sharper - Hale; Setter - Chapman; - Belinda - Mrs. Bellamy; Laetitia - Mrs. Horton; Sylvia - Mrs. Vincent; Lucy - Mrs. Mullart. [Afterpiece: The Rape of Proserpine] L. S., 3 = 74-5. Tuesday 16 January 1739 CG Cast same as 28 November 1738. [Afterpiece: The What L'ye Call It] Benefit Cooke, Dancing-Master. At the particular Desire of several Ladies of Quality. L. S., 3=754. Monday .17 September 1739 CG Bellmour - Gibson, the first time of his performance on a public theatre; Old Batchelor [Heartwell] - Bridgwater; Vainlove - Ryan; Sharper - Hale; Sir Joseph - Neale; Bluff - Rosco; Barnaby - Bencraft; Setter - James; Belinda - Mrs. Bellamy; Araminta - Mrs. Cross; Silvia - Mrs. Vincent; Lucy - Mrs. Mullart; Pondlwife - Hippisley; Laetitia - Mrs. Horton. [Afterpiece: The Mock Doctor] Mainpiece: Written by the late Mr. Congreve. 387 L. S., 3:787. Thursday 25 October 1739 DL Old Batchelor [Heartwell] - Quin; Belmour - Mills; Vainlove - Havard; Sharper - Wright; Sir Joseph - Woodward; Bluff - Johnson; Setter - Macklin; Belinda - Mrs. Mills; Araminta - Mrs. Pritchard; Silvia - Mrs. Chet- wood; Lucy - Mrs. Grace; Pondlewife - Griffin; Laetitia - Mrs. Clive. [Afterpiece: Harlequin Shipwreck'd] Possibly this performance was not given. See announce ment for 1 November 1739: Wot Acted this Season. L. S . 3:796. Thursday 1 November 1739 DL Cast same as 25 October 1739. [Afterpiece: The Pall of Phaeton] Mainpiece: Wot Acted this Season [but see 25 October 1739]• L. S., 3:798. Saturday 2 February 17*40 DL Cast same as 25 October 1739, but: Lucy - Mrs. Macklin. [Afterpiece: Robin Goodfellow] L. S., 3:818. Tuesday 18 March 174-0 DL Cast same as 2 February 174-0, but: Setter - Chapman; Pondlewife - Macklin. [Afterpiece: Rosamond] At the particular 388 Desire of several Persons of Quality. L. S., 3:826. Thursday 25 September 1740 DL Old Batchelor [Heartwell] - Quin; Bellmour - Mills; Bluff - Johnson; Pondlewife - Macklin; Sir Joseph - Woodward; Vainlove - Havard; Sharper - Wright; Setter - Chapman; Belinda - Mrs. Mills; Araminta - Mrs. Pritchard; Laetitia - Mrs. Clive. [Afterpiece: The Devil to Pay] L. S., 3:851. Tuesday 21 Octoher 1740 Hew GP Old Batchelor [Heartwell] - Pagett; Bellmour - Giffard; Vainlove - Crofts; Sharper - Blakes; . Bluff - Dunstall; Pondlewife - Julian; Setter - Lowder; Sir Joseph - Yates; Belinda - Mrs. Middleton; Laetitia - Mrs. Giffard. [Afterpiece: The Honest Yorkshireman] L. S., 3:856. Monday 17 November 1740 DL Cast same as 25 September 174-0, but: Sylvia - Mrs. Wright; Lucy - Mrs. Macklin. [Afterpiece: Harlequin Shipwreck'd] By Command of His Royal Highness the Prince of Wales. L. S., 3:864. Monday 12 January 174-1 CG Pondlewife - Cibber Sr.; Heartwell - Bridgwater; 389 Bellmour - Ryan; Vainlove - Rosco; Sharper - Hale; Setter -James; Sir Joseph - Neale; Bluff - Mullart; Belinda - Mrs. Bellamy; Araminta - Mrs. Hale; Sylvia - Mrs. Vincent; Laetitia - Mrs. Woffington. With an Occasional Epilogue upon Himself, spoke hy Mr. Cihber. Eor the Relief of Mr. Chetwood, late Prompter at the Theatre-Royal in Drury-Lane, and now a Prisoner in the King's Bench. L. S., 3:880. Tuesday 13 January 1741 CG Cast same as 12 January 1741. Epilogue, as 12 January 1741. By Command of His Royal Highness the Prince of Wales. L. S., 3:880. Wednesday 14 January 1741 CG Cast same as 12 January 1741. Epilogue, as 12 January 1741. L. S., 3:880. Monday 19 January 1741 CG Cast same as 12 January 1741, but: Vainlove - Gibson; Pondlewife - Hippisley; Barnaby - Beneraft. [Afterpiece: Orpheus and Eurydice] By particular Desire. L. S., 3:882. Tuesday 10 March 1741 CG Cast same as 19 January 1741, but: Heartwell - Rosco; Lucy - Mrs. Mullart. 390 With a new Epilogue made and spoke by Mr. Hippisley on Himself. [Afterpiece: The Tragedy of Tragedies; or, The Life and Death of lorn Thumb the Great] Benefit Hippisley. Eor the better Accomodation of the Ladies, the Stage will be enclosed into an Amphitheatre, and formed into Boxes. L. S., 3:896. Saturday 11 April 1741 CG Heartwell - Bridgwater; Laetitia - Mrs. Woffing ton; Bellmour - Ryan; Vainlove - Gibson; Sharper - Hale; Setter - Oates; Barnaby - Clarke; Sir Joseph - Weale; Bluff - Mullart; Belinda - Mrs. Bellamy; Araminta - Mrs. Hale; Sylvia - Mrs. Vincent; Lucy - Mrs. Mullart; Eondlewife - Hippisley [but see cast for 10 March 1741]• With a proper Prologue by Brother Hal lam. And an Epilogue by Mrs. Horton. Eor the Entertain ment of the Grand Master and the rest of the Brethren of . . . Eree and Accepted Masons. Benefit Bencraft. L. S. , 3:905.' Wednesday 15 April 1741 CG Heartwell - Bridgwater; Bellmour - Ryan; Eondlewife - Hippisley; Sharper - Hale; Laetitia - Mrs. Woffington [but see cast for 11 April 1741]. [Afterpiece: Orpheus and Eurydice] By Particular Desire. L. S., 3:906-907- Tuesday 28 April 1741 Hew GF Belmour - Giffard; Setter - Snow, his first appearance on this stage; Laetitia - Mrs. Giffard [but see cast for 21 October 1740]. 391 [Afterpiece: The Contrivances] At the particular Desire of several Ladies. Benefit the Office-Keeper. L. S., 3:912. Friday 25 September 174-1 CG Heartwell - Bridgwater; Bellmour - Ryan; Vainlove - Gibson; Sharper - Hale; Sir Joseph - . Woodward, 1st appearance; Bluff - Mullart; Setter - Chapman; Barnaby - Clarke; Fondlewife - Hippisley; Laetitia - Mrs. Horton; Belinda - Mrs. Pritchard;. Araminta - Mrs. James; Sylvia - Mrs. Vincent; Lucy - Mrs. Mullart. [Afterpiece: The Mock Doctor] Mainpiece: Written by the late-Mr. Congreve. L. S., 3:929- Monday 30 November 174-1 CG Cast same as 25 September 174-1, but: Bluff - Rosco; Setter - James; Araminta - Mrs. Hale. [Afterpiece: Damon and Fhillida] Benefit Richard Neale. L. S., 3:94-6. Tuesday 5 January 174-2 New GF Heartwell - Giffard; Bellmour - W. Giffard; Fondlewife - Garrick; Vainlove - Blakes; Sharper - Marshall; Bluff - Paget; Sir Joseph - Yates; Setter - Peterson; Barnaby - Clough; Pace - Pattenden; Laetitia - Mrs. Giffard; Belinda - Mrs. Bambridge; Araminta - Mrs. Dunstall; Sylvia - Miss Hippisley; Lucy - Mrs. Yates; Betty - Mrs. Vallois. [Afterpiece: Lethe] Written by the late Congreve. 392 L. S., 3:956-957. Wednesday 6 January 1742 New GF Cast same as 5 January 1742. [Afterpiece: Lethe] L. S., 3:957. Thursday 7 January 1742 New GF Cast same as 5 January 1742. [Afterpiece: Lethe] L. S., 3:957. Friday 8 January 1742 New GF Cast same as 5 January 1742. [Afterpiece: The Lying Valet] L. S., 3:958. Saturday 9 January 1742 New GF Cast same as 5 January 1742. [Afterpiece: The Lying Valet] L. S., 3:958. Monday 11 January 1742 CG Cast same as 30 November 1741, but: Setter - Chapman; Barnaby not listed. L. S., 3:958. ; 3 9 3 'Monday 11 January 174-2 Mew GF Cast same as 5 January 1742, but: Vainlove - Lighton; Sharper - Blabes. [Afterpiece: The hying Valet] L. S., 3:958. Tuesday 12 January 1742 Mew GF : Cast same as 11 January 1742. ; [Afterpiece: Lethe] ; L. S., 3:958. -Wednesday 13 January 1742 Mew GF Cast same as 11 January 1742. [Afterpiece: The Virgin Unmasked] L. S., 3:959- Wednesday 20 January 1742 Mew GF Cast same as 11 January 1742. [Afterpiece: The Virgin Unmask'd] Written by the late Mr. Congreve. L. S., 3:961. Wednesday 24 February 1742 Mew GF Cast same as 11 January 1742. [Afterpiece: The School Boy] L. S., 3:971- 394 Saturday 27 March 1742 DL Heartwell - Delane; Eondlewife - Macklin; Bellmour - Mills; Bluff - Johnson; Sir Joseph Wittol - Cibber Jun.; Vainlove - Havard; Laetitia - Mrs. Clive; '"Belinda - Mrs. Mills; Sharper - Ridout; Setter - Turbutt; Barnaby - Leigh; Araminta - Mrs. Cross; Silvia - Mrs. Ridout. [Afterpiece: The Devil to Pay] Benefit Johnson. Receipts: L150. L. S., 3 : 9 7 9 - Monday 10 May 1742 New GE Cast same as 11 January 1742, but: Sylvia - Miss E. Hippisley. [Afterpiece: The Lying Valet] Benefit Stitchbury, Phillips, Morris, and Levi and other door-keepers. L. S., 3 : 9 9 3 . Wednesday 6 October 1742 CG Heartwell - Quin; Belmour - Byan; Belinda - Mrs. Horton; Eondlewife - Hippisley; Sir Joseph - Woodward; Setter - Chapman; Sharper - Hale; Vainlove - Gibson; Araminta - Mrs. Hale; Silvia - Mrs. Vincent; Noll Bluff - Rosco; Barnaby - Bencraft; Lucy - Mrs. Mullart; Betty - Miss Hillyard; Laetitia - Mrs. Cibber. [Afterpiece: Old Man Taught Wisdom] Mainpiece: Written by the late Mr. Congreve. L. S., 3:1004. Monday 1 November 1742 DL 395 Fondlewife - Garrick; Bellmour - Mills; Heartwell - Delane; Sir Joseph Wittol - Neale; Noll Bluff - Macklin; Sharper - Hallam; Vain love - Havard; Setter - Tates; Laetitia - Mrs. Clive; Belinda - Mrs. Mills; Araminta - Mrs. Cross; Silvia - Mrs. Ridout; Lucy - Mrs. Bennett; Betty - Miss Minors; Barnaby - Leigh. [Afterpiece: Miss Lucy in Town] Written by the late Mr. Congreve L. S., 3:1010. Friday 12 November 174-2 CG Cast same as 6 October 174- 2. L. S., 3=1013. Saturday 13 November 174-2 DL Cast same as 1 November 174-2. By Command of His Majesty. L. S., 3:1013. Friday 3 December 174-2 DL Cast same as 1 November 174-2. [Anon.] to Mr. Garrick, 4 - December 174-2: "Sir, I saw you last night act Fondlewife, and . could not help thinking it a good deal overacted especially in that sort of feeble trot you seemed to affect so much. A part overacted makes the actor look foolish." (Boaden, Private Correspondence of Garrick, I, 27.) L. S., 3:1017- Thursday 9 December 174-2 CG 396 Cast same as 6 October 174-2. By Command of his Royal Highness the Prince of Wales. L. S., 3:1019- Thursday 30 December 174-2 LIP-II Fondlewife - Cibber; Old Batchelor [Heartwell] - * Giffard; Belmour - W. Giffard; Vainlove - Dighton; Sharper - Mozeen; Wittol [Sir Joseph] - Peterson; Setter - Julian; Bluff - Dunstall; Sylvia - Mrs. E. Giffard; Araminta - Mrs. Dun stall; Lucy - Mrs. Chetwood; Belinda - Mrs. Butler; Laetitia - Mrs. Giffard. [Afterpiece: Imprisonment of Harlequin] L. S., 3:1024-. Monday 17 January 174-3 LIF-II The Old Batchelor Cast same as 30' December 174-2. [ Mainpiece: Bickerstaff's Unburied Dead] L. S., 3:1028. 1. Performed as an afterpiece. See also 28 February 174-3- Monday 28 February 174-3 LIF-II Scenes from The Old Batchelor. Instead of a Farce, will be acted the Scenes of Fondlewife and Laetitia taken from the comedy of The. Old Batchelor. Cast same as 30 December 174-2, but: Giffard, Mozeen, Julian, Dunstall, Mrs. E. Giffard, Mrs. Dunstall, Mrs. Chetwood, Mrs. Butler omitted. 397 [Mainpiece: The Hont iuror] At the particular Desire of several Persons of Quality. Benefit Cibber.. The play being chang'd, by Desire, Tickets deliver'd out for the Man of Taste, or The Guardian, taken from Terence and Moliere, will be taken. L. S., 3:1037-1038. 1. See also 17 January 1743- Saturday 9 April 174-3 LIF-II Mrs. Tame had announced for her benefit this night The Old Batchelor, with Cibber as Fondle wife, Giffard as the Old Batchelor [Heartwell], and Mrs. Giffard as Laetitia, to be followed by Tom Thumb, with Mrs. Tame playing Tom Thumb, but a notice of 11 April 174-2 states that Mrs. Tame was ill and the performance has to be deferr'd. L. S., 3:104-8. 1. Ho performance held. Monday 11 April 174-3 DL Cast same as 1 November 174-2. [Afterpiece: The Virgin Unmask' d] Benefit Mills. L. S., 3:104-8. Friday 22 April 174-3 DL Cast same as 1 November 174-2, but: Sharper - Blakes; Belinda - Mrs. Pritchard. [Afterpiece: The Devil to Pay] Benefit Piantanida [musician]. L. S., 3:1052. 398 Monday 2 May 174-3 CG Cast same as 6 October 174-2, but: Bluff - Marten; Vainlove - Carr. [Afterpiece: The King and Miller of Mansfield] Benefit Marten and Carr. L. S., 3:1054. Monday 9 May 174-3 DL Cast same as 22 April 174-3, but: Fondlewife - Macklin; Bluff - Morgan; Old Batcbelor [Heart- well] - Bridges. [Afterpiece: The Virgin Unmask'd] Benefit Bridges L. S., 3:1056. APPENDIX C THE GUAEDIAN'S OVER-BEACHED IN THEIR OWN HtMOUR; OR, THE LOVER METAMORPHOS'D 399 400 STAGE HISTORY (LONDON) A Bold Stroke for a'Wife 5 February 1718 - 30 September 1743 Monday 3 February 1718 Lincoln's Inn Fields II (LIF-II) A Bold Stroke for a Wife Cast not listed. See edition of 1718. Never Acted before. L. S., 2:481. 1. L. S. incorrectly lists the day as Wednesday. 2. Seibt, Robert (see bibliograpby) incorrectly lists theatre as Drury Lane. 3. This was the first performance of this play anywhere. It was the first performance of this play at Lincoln's Inn Fields II. (See 29 January 1729; see 5 February 1737-) Tuesday 4 February 1718 LIF-II Written by the Author of The Busie Body. L. S., 2:481. Wednesday 5 February 1718 LIF-II Benefit the Author. Written by the Author of The. Busie Body. L. S., 2:481. Thursday 6 February 1718 LIF-II Written by the Author of The Busie Body. L. S., 2:481. Saturday 8 February 1718 LIF-II [Afterpiece: Pan and Syrinx] Written by tbe Author of The Busie Body. L. S., 2:482. Monday 10 February 1718 LIF - II [Afterpiece: The Per,juror] >Written by the Author of The Busie Body. L. S., 2:482. Tuesday 23 April 1728 LIF-II Colonel Feignwell - Milward; Obadiah Prim - Hippisley; Perriwinkle - Spiller; Tradelove - Bullock; Sir Philip - Chapman; Freeman - Ogden; Sackbut - Hall; Simon Pure - Morgan; Mrs. Prim - Mrs. Cook; Betty - Miss Fenton; Anne Lovely - Mrs. Younger. Benefit Milward and Mrs. Berriman. Hot Acted these Ten Years. At the particular Desire of several Ladies of Quality. Receipts: money L34 9s.; tickets L163 19s- Probable attendance: boxes, 26 by money and 290 by tickets; stage, 11 by money; pit, 32 by money and 429 "by tickets slips, 3 by money; first gallery, 73 "by money and 271 by tickets; second gallery, 143 by money L. S., 2:971- Friday 12 July 1728 LIF-II Cast as 23 April 1728, but: Obadiah - Berriman; Lovely - Mrs. Berriman; Perriwinkle, Sir Philip, Sackbut, Simon Pure, and Betty omitted. At the Desire of several Persons of Quality. At 6:30 P.M. Receipts: L21 11s. Probable, attendance: boxes, 25 paid and 41 orders; 402 stage, 2 paid; pit, 51 paid and 69 orders; slips, 5 paid and 2 orders; first gallery, 78 paid and 61 orders; second gallery, 35 paid and 3 orders. L. S. , 2:983. Tuesday 16 July 1728 LIF-II Cast as 12 July 1728. Receipts: L15 18s. Probable attendance: boxes, 22 paid and 42 orders; stage, 4 paid; pit, 40 paid and 44 orders; slips, 2 paid; first gallery, 42 paid and 44 orders; second gallery, 27 paid and 4 orders. L. S., 2:1012. Wednesday 29 January 1729 LIF-II Advertised but dismissed. L. S., 2:1012. 1. This was the last performance of this play in Lincoln's Inn Fields II until 5 February 1737* (See 3 February 1718.) Tuesday 14 October 1729 (See also 28 September 1731) Southwark The Parts to be perform'd by Comedians from both the Theatres. At the desire of several Gentlemen and Ladies. Benefit Charles the Merry Trumpeter, a Batchelor, who used to Sound with Mr. Bullock. At Lee's Booth on the Bowling Green. The Doors will be open'd at Five and begin precisely at Six. L. S., 3:9- 1. Plays seem to have been presented at one or more of the fair booths after the close of Southwark Fair with some degree of regularity. The duration of the fair was limited by law to three days (Rosenfeld, London Fairs, p. 71) and as early as 1690 efforts to limit the fair to the prescribed three days were made (ibid.). Until the final abolition of Southwark Lair in 1762, orders were issued relatively regularly for the containment of the players to the prescribed time (ibid. , pp. 71-74-) • Although this performance, and other similar performances after the official ending of the fair, do not fall strictly into the category of fair entertainments, there is some reason to believe that these may have been droll versions of the plays rather than the full play itself. Other plays presented in one of the droll-booths., after the ending of Southwark Fair were: 10 October 1720 28 November 1720 25 October 1722 26 October 1722 24- September 1725 25 September 1725 24- September 1724 27 September 1726 25 September 1729 14 October 1729 18 May 1750 8 October 1750 28 September 1751 12 October 1752 18 December 1752 26 December 1752 18 October 1735 Henry IV, Part I Hie Old Batchelor Valentine and Orson The School Boy; or, The Comical Rivals The Recruiting Officer The Uoble Stroller The Blind Beggar of Bednal Green Oedipus, King of Thebes The Busy Body The Recruiting Officer A Bold Stroke for a Wife The Perfidious Brother Love at First Sight The Recruiting Officer A Bold Stroke for a Wife (Rosenfeld, Fairs, pT 147, lists this performance as part of the fair performances for this year.) Love. Makes a Man (See comment) The Recruiting Officer Oroonoko (See also, L. S., 5*-xxxviii.) 404 Friday 14 November 1729 Odell's Theatre in Ayliffe Street, Goodman's Fields (Odell's GF) Fainwell - ¥. Williams; Sir Philip - Lacy; Perriwinkle - Hallam; Tradelove - Mynns; Obadiah - Collet; Anne - Mrs. Haughton; Mrs. Prim - Mrs. Thomas; Betty - Mrs. Palmer. L. S., 3:16. 1. This was the first performance of this play at Odell's Theatre in Ayliffe Street, Goodman's Fields. (See 2 February 1732.) Saturday 15 November 1729 Odell's GF Cast same as 14 November 1729 but: Sackbut - P. Williams; Simon Pure - W. Gifford. At the Desire of several Ladies. L. S., 3:16. Thursday 11 December 1729 Odell's GF Cast same as 14 November 1729 but: Freeman - Machen; Simon Pure - W. Gifford. L. S., 3:23. Thursday 8 January 1730 Odell's GF Cast same as 11 December 1729 but: Sackbut - R. Williams. [Afterpiece: Jealousy Deceived] L. S. , ' 3:29. Monday 11 May 1730 Odell's GF 405 And a New Prologue to the Town. L. S., 3:59. Tuesday 16 June 1730 Odell's GF Cast same as 8 January 1730 but: Sir Philip - Bardin; Perriwinkle - Collet; Obadiah. - Penketh- man; Simon Pure - Pearce. [Afterpiece: Flora] Benefit Miss Sandham and Miss Thornowets. L. S., 3:67. Friday 10 July 1730 Odell's GF Cast same as 16 June 1730. [Afterpiece: The Cobler of Preston] L. S., 3:71- Tuesday 20 October 1730 Odell's GF Colonel Fainwell - Williams; Sir Philip - Bullock; Perriwinkle - Collet; Obadiah - Penkethman; Tradelove - Pearce; Sackbut - E. Williams; Freeman - Barret; Simon - W. Gifford; Anne. Lovely - Mrs. Haughton; Mrs. Prim - Mrs. Thomas; Betty - Mrs. Palmer. [Afterpiece: Flora] Afterpiece: An Opera. L. S. , 3 : 86. Thursday 17 December 1730 Odell's GF Cast same as 20 October 1730 but: Freeman - Havard. [Afterpiece: The Jealous Clown] The Books of the Opera will be sold at the Theatre, and no where else. „ 406 L. S., 3:103. Saturday 23 January 1731 Odell's GF Cast same as 17 December 1730 but: Obadiab - Morgan. [Afterpiece: The Wedding] Li S., 3:111- Friday 5 February 1731 Odell's GF Cast same as 23 January 1731. [Afterpiece: The Country Wedding] At the Desire of several Persons of Quality. The Wedding is not called The Country Wedding. L. S., 3:114. Tuesday 20 April 1731 Odell's GF Cast same as 23 January 1731. [Afterpiece: The Cobler's Opera; or, The Humours of Billingsgate! Benefit W. Williams. At the particular Desire of several Gentlemen and Ladies. L. S., 3:130. Thursday 13 May 1731 Odell's GF Cast same as 23 January 1731 but: Sir Philip - Bardin; Simon - Giles. [Afterpiece: The Sailor's Wedding] Benefit Prelleur and Giles. L. S., 3:139. 407 Friday 4 June 1731 Odell’s GF Cast same as 13 May 1731 but: Simon Pure omitted. [Afterpiece: The Biter Bit] A New Prologue address'd to the Town, written by Mr. Odell, spoken by Barden. L. S., 3:145. 1. It is not clear whether this refers to the play or to the afterpiece. 2. See same date under Appendix A, Vintner, etc. Tuesday 28 September 1731 (See also 14 October 1729) Southwark Fainwell - Huddy; Sackbut - Penkethman; Obadiah Prim - Penkethman; Sir Philip - Jenkins; Perri winkle - Clarke; Tradelove - Mynns; Freeman - Machen; Mrs. Lovely - Miss Tollett; Mrs. Prim - Mrs. Thomas; Betty - Mrs. Tollett; Simon Pure - Jones; Prim's Boy - Young Woodward. At the Desire of several Gentlemen and Ladies. Benefit Charles, the Merry Trumpeter of Oxford. At Fielding's Great Booth. 6 P.M. And 'tis well if it takes/ If not the Trumpeter breaks. L. S., 3:159- 1. See note to 14 October 1729- Friday 29 October 1731 Odell's GF Fainwell - Huddy; Sir Phillip - Bullock; Prim - Morgan; Perriwinkle - Collett; Tradelove - Jenkins; Freeman - Havard; Sackbut - Williams; Simon Pure - ,W. Gifford; Anne -Mrs. Haughton; Mrs. Prim - Mrs. Morgan; Betty - Mrs. Palmer. [Afterpiece: Flora] L. S., 3:164. 4 0 8 Wednesday 15 December 1731 Odell's GF Cast same as 29 October 1731. [Afterpiece: The Devil to Pay] L. S., 3:177- Wednesday 2 February 1732 Odell's GF [Afterpiece: Father Girard the Sorcerer: or, The Amours of Harlequin and Miss Cadiere] Afterpiece: a Tragi-Comi-Farcical Opera. Admission: 3s., 2s., Is. N.B. None will be admitted under the full Price. L. S., 3:187. 1. This was the last performance of this play at Odell's Theatre in Ayliffe Street, Goodman's Fields. (See 14 November 1729.) Thursday 23 March 1732 The New Theatre in the Haymarket (HAY) Sir Philip - Giles; Periwinkle - Cross; Trade love - Mynns; Obadiah - Jones; Fainwell - Seynor; Freeman - Cole; Simon - Pullen; Sackbut - Jones; Mrs. Lovely - Mrs. Martin; Sarah - Mrs. Clarke; Betty - Miss Jones; Quaker Boy - Jenny Jones. Benefit Mrs. Waring. L. S., 3=200. 1. This is the first performance of this play at The New Theatre in the Haymarket. Tuesday 4 April 1732 HAY Cast same as 23 March 1732 but: Sir Philip - Giles; Mrs. Lovely - Miss Palms. 409 [Afterpiece: Damon and. Phillida] Benefit a Tradeswoman under Misfortunes. At the Desire of several Ladies of Quality. L. S., 5:203- Monday 30 October 1732 The New Theatre in Ayliffe Street, Goodman's Fields- (hew. GF) Fainwell - Huddy; Sir Philip - Bullock; Obadiah - Morgan; Periwinkle - Norris; Tradelove - Pearce; Freeman - Havard; Sackbut - Williams; Simon Pure - W. Gifford; Ann - Mrs. Hamilton; Mrs. Prim - Mrs. Morgan; Betty - Mrs. Christian. And a new Prologue by Gifford, on the Happy Occasion of the Anniversary of His Majesty's Birth Day. [The Prologue is in Daily Advertiser and Daily Post, 31 October 1732.1 L. S., 3:241-42. 1. This is the first performance of this play at The New Theatre in Ayliffe Street, Goodman's Fields. (See 16 October 1741.) Thursday 23 November 1732 New GF Cast same as 30 October 1732 but: Sir Philip - Bardin. L. S., 3:250. Tuesday 27 March 1733 New GF Cast same as 23 November 1732 but: Sir Philip - Bullock; Sackbut - Penkethman; Simon - James. [Afterpiece: The Devil to Pay] L. S., 3:281. 4-10 Monday 1 October 1733 New GF Fainwell - Huddy; Sir Philip - Bardin; Obadiah - Morgan; Periwinkle - Lyon; Tradelove - Pearce; Preeman - Havard; Sackbut - Penkethman; Simon - James; Ann - Mrs. Hamilton; Mrs. Prim - Mrs. Morgan; Betty - Miss Wherrit. [Afterpiece: Damon and Phillida] L. S., 3:322. Saturday 8 December 1733 New GF- Cast same as 1 October 1733 but: Obadiah - Penkethman; Sackbut - Wetherilt; Simon - Hamil ton; Mrs. Prim - Mrs. Wetherilt. [Afterpiece: • PIora] L. S., 3: 34-5* Thursday 26 February 1734- New GP [Afterpiece: Britannia] L. S., 3=371. Monday 15 April 1734- New GP [Afterpiece: Britannia] L. S., 3=385- Tuesday 29 October 1734- New GP [Afterpiece: The Necromancer] L. S., 3 = 4-26. 4-11 Wednesday 8 January 1735 New GF Fainwell - Huddy; Sir Philip - Bardin; Obadiah - Penkethman; Periwinkle - Lyon; Tradelove - Jenkins; Freeman - Havard; Sackbut - Wetherilt; Simon - Hamilton; Ann Lovely - Mrs. Hamilton; Mrs. Prim - Mrs. Wetherilt; Betty - Mrs. Wood ward. [Afterpiece: The Chymical Counterfeits] L. S., 3:4-49- Tuesday 11 March 1735 Hew GF Cast same as 8 January 1735 [Afterpiece: Jupiter and Io] L. S., 3:468. Wednesday 10 December 1735 HAT Benefit a Family in Great Distress. Written by the late Mrs. Centlivre. 5s., 3s., 2s. 6 P.M. L. S. 3:535. Wednesday 14 July 1736 HAY [Afterpiece: The Comical Disappointment; or. The Miser Outwitted] Benefit the Author of the Farce. Afterpiece: A Hew Farcical Ballad- Opera. 6:30 P.M. L. S., 3:593. Saturday 5 February 1737 Lincoln's Inn Fields II [Afterpiece: Hymen's Triumph] 412 L. S., 3:636. 1. This was the first performance of this play at Lincoln's Inn Fields II since 29 January 1729- (See 18 April 1737.) Thursday 10 February 1737 LIF-II [Afterpiece: Hymen’s Triumph] L. S., 3=637. Saturday 19 February 1737 LIF-II [Afterpiece: Hymen1s Triumph] L. S., 3:640. Monday 18 April 1737 LIF-II Fainwell - Wright; Prim - W. Gifford; Sir Philip - Bardin; Periwinkle - Norris; Freeman - Havard; Sackbut - Lyon; Tradelove - Richardson; Mrs. Anne - Mrs. Roberts; Simon Pure - Rosco. [Afterpiece: The Lover1s Opera] Benefit Rosco and Vallois. At the Desire of several Persons of Quality and Distinction. L. S., 3:659. 1. This was the last performance of this play at Lincoln's Inn Fields II. (See 5 February 1737.) Friday 7 Jnly 1738 The Theatre Royal in Covent Garden (CG) Fainwell - Hallam; Tradelove - Stephens; Sir Philip - Ware; Prim - Penkethman; Periwinkle - W. Hallam; Freeman - Stevens; Sackbut - Boaman; Mrs. Prim - Mrs. Marshall; Anne Lovely - Mrs. Vincent. 413 [Afterpiece: The Honest Yorkshireman] L. S., 3:724. 1. This was the first performance of this play at The Theatre Royal in Covent Garden. Saturday 13 January 1739 Theatre Royal, Drury Lane (DL) Reignwell - Milward; Obadiah Prim - Griffin; Anne Lovely - Mrs. Clive; Sir Philip - Macklin; Tradelove - Shepard; Preeman - Havard; Periwinkle - Turbutt; Simon Pure - Woodward; Sackbut - Winstone; Coachman - Gray; Mrs. Prim - Mrs. Grace; Pickup - Mrs. Cross; Betty - Mrs. Bennet. [Afterpiece: Colombine Courtezan] Mainpiece: Written by the late Mrs. Centlivre. L. S., 3:734. 1. This was the first performance of this play at the Theatre Royal, Drury Lane. Tuesday 16 January 1739 DL Cast same as 13 January 1739 but: Obadiah - Taswell. [Afterpiece: The King and the Miller of Mans field] Mainpiece: Written by the late Mrs. Centlivre. L. S., 3=754. Wednesday 17 January 1739 DL Cast same as 16 January 1739 [Afterpiece: The King and the Miller of Mans field] L. S., 3:754. 414 Thursday 18 January 1739 DL Cast same as 16 January 1739* [Afterpiece: The Lottery] By Command of Their Royal Highnesses the Prince and Princess of Wales. Mainpiece: Written by the late Mrs. Centlivre. L. S., 3:755* Wednesday 7 February 1739 DL Cast same as 16 January 1739 but: Prim - Griffin. [Afterpiece: Robin Goodfellow] Mainpiece: Written by the late Mrs. Centlivre. L. S., 3:758-59* Monday 15 October 1739 DL Feignwell - Milward; Obadiah Prim - Griffin; Anne Lovely - Mrs. Clive; Sir Philip - Macklin; Tradelove - Shepard; Freeman - Havard; Periwinkle - Turbutt; Simon - Woodward; Sackbut - Winstone; Coachman - Gray; Mrs. Prim - Mrs. Grace; Pickup - Mrs. Woodward; Betty - Mrs. Bennet. [Afterpiece: The Harlot's Progress] By Command of Their Royal Highnesses the Prince and Princess of Wales [who were present], Mainpiece: Written by the late Mrs. Centlivre. L. S., 3:794. Saturday 22 March 1740 DL Cast same as 15 October 1739 but: Obadiah - Taswell; Mrs. Prim - Mrs. Macklin; Coachman omitted. 415 [Afterpiece: The Mock Doctor] Benefit Desnoyer. By Command of Their Royal Highnesses the Prince and Princess of Wales. L. S., 3:82?. Priday 24 October 1740 Hew GP Peignwell - Linnet; Preeman - Crofts; Sir Philip - Yates; Tradelove - Dunstall; Obadiah Prim - Paget; Periwinkle - Julian; Sackbut - Vaughan; Anne Lovely - Mrs. Giffard. [Afterpiece:. The Mock Doctor] L. S., 3:857- Saturday 1 Hovember 1740 Hew .GP Cast same as 24 October 1740 but: Simon - Richards; Mrs. Prim - Mrs. Linnett; Betty - Miss Gerrard. [Afterpiece: Damon and Phillida] L. S., 3:860. Priday 7 Hovember 1740 DL Peignwell - Milward; Preeman - Havard; Sir Philip - Macklin; Tradelove - Shepard; Obadiah Prim - Taswell; Periwinkle - Turbutt; Sackbut - Winstone; Simon Pure - Woodward; Mrs. Prim - Mrs. Macklin; Betty - Miss Bennet; Pickup - Mrs. Woodburn; Anne Lovely - Mrs. Clive. [Afterpiece: The Virgin Unmask'd] L. S., 3:861-62. Priday 26 December 1740 Hew GP [Afterpiece: The Imprisonment . . . of 4-16 Harlequin] L. S., 3:876. Saturday 24- January 174-1 DL Cast same as 7 Hovember 174-0 but: Pickup - Miss Woodman. By Command of His Royal Highness tbe Duke, and tbe Princesses Amelia, Caroline, and Louisa. L. S. 3 • 884-. Thursday 5 March 174-1 DL Cast same as 24- January 174-1 By His Majesty's Command. L. S., 3:894-. Wednesday 1 April 174-1 Hew GP [Afterpiece: Harlequin Student] L. S., 3:901. Priday 16 October 1741 Hew GP Peignwell - Peterson; Sir Philip - Yates; Periwinkle - Julian; Trim - Paget; Tradelove - Dunstall; Sackbut - Vaughan; Preeman - Crofts; Simon Pure - Marr; Mrs. Prim - Mrs. Bishop; Betty - Mrs. Yates; Mrs. Pickup - Mrs. Dunstall; Mrs. Lovely - Mrs. Giffard. [Afterpiece: The Imprisonment, with Triumphs of Love] L. S., 3:934. 417 1. This was the last performance of this play until 10 December 1744 when it was presented at New Wells, Lemon [Leman] Street, Hooper's Square, Goodman's Fields. 2. This was the last performance of this play at The New Theatre in Ayliffe Street, Goodman's Fields. (See 30 October 1732.) BIBLI0GRAPH! 419 BIBLIOGRAPHY Plays Actaeon and Diana. London, 1655* "Assumptions!" Laxpent MS. 2364. Huntington Library. San Marino, California. Beaumont, Francis and John Fletcher. The Works of. London, 1711. [Betterton, Thomas or Aphra Behn, attributed to.] The Revenge: or, a Match in Newgate. London, 1680. Bullock, Christopher. Woman is a Riddle. London, 1717- __________. Woman is a.Riddle. London, 1732. _______ . A Woman's Revenge: or, A Match in Newgate. London, 1715* Woman's Revenge: or, a Match in Newgate. London, 1728. Burnaby, William. Love Betray'd; or, the Agreable Hi s ap o intment. London, 1703* Centlivre, Susanna. A Bold Stroke for a Wife. London, 1718. __________. A Bold Stroke for a Wife. London, 1735- __________. The Man's Bewitch'd; or, The Devil To Ho About Her. London, 1710. Chetwood, William. The Lover's Opera. London, 1729- Congreve, William. The Old Batchelor. London, 1693- Dryden, John. The Spanish Fryar or. The Double Discovery. London, 1681. Edwards, Richard. Damon and Pithias. London, 1571* Este, T. Methodism Display'd. Newcastle upon Tyne, [174477 420 Fletcher, John. Monsieur Thomas. London, 1639. __________. The Night-Walker; or, The Little Thief. London, 1640. Fondlewife and Letitia. Lublin, 1?67- Gay, John. The Beggar's Opera. London, 1728. The Guardians; or,'the Man of My Choice. Bath, 1808. Jonson, Ben. Bartholomew Fair. London, 1614. __________. Every Man in His Humour. London, 1601. [Eirkman, Francis, ed.] The Wits, or Sport upon Sport. Part 1. London, 1662. Eirkman, Francis, ed. The Wits, or Sport upon Sport. London, 1673- Love and Revenge; or, The Vintner Outwitted. London, Lyly, John. Mother Bombie. London, 1598. Machiavelli, Niccolo. Mandragola. Trans, by Stark Young. New York: The Macaulay Company, 1927 Marston, John. The hutch Courtezan. London, 1605- Murphy, Arthur. The Orphan of China. London, 1759- The Muse of New Market. London, 1680. Percy, William. Cuck-Queanes and Cuckolds Errants; or, The Bearing Down the InneJ London, 1824. Plautus, Titus Maccius. The Comedies of Plautus. Trans, by Henry Thomas Riley. Vol. I. London, 1852. Ravenscroft, Edward. The London Cuckolds. London, [1682]. Shadwell, Thomas. The Woman-Captain. London, 1680. Shakespeare, William. All's Well That Ends Well. London, 1734. 421 The History of Henrie The fourth. London, 1598. __________. Love's Labour's Lost. London, 1598. ______. The Merry Wives of Windsor. London, 1602. The Second Part of Henrie the fourth. London, 1600. Twelfth Night: or, What You Will. London, .1754. Southerne, Thomas. Qroonoko. London, 3696u The Strolers Pacquet Open'd. London, 1742. Udall, Nicholas. Balph Boister-Doister. London, 1847- Ward, Henry. The Vintner Trick'd: or, the White fox Chas1d. Belfast, 1755* Whetstone, George. Promos and Cassandra. London, 1578. Whineop, Thomas. Scanderbeg: or, Love and Liberty. London, 1747- Yarrow, Joseph. Trick upon Trick: or. The Vintner Out-witted. York, 1742. Other Sources Atkinson, Brooks, ed. four Great Comedies of the Bestoration and Eighteenth Century. New York: Bantam Books, 1958. Avery, Emmett L. Congreve's Plays on the Eighteenth- Century Stage. New York: The Modern Language Association of America, 1951- (MLA Monograph Series No. XVIII.) Baskervill, Charles Bead. The Elizabethan Jig and Belated Song Drama. Chicago: University of Chicago Press, 1929- Bateson, frederick Wilse. English Comic Drama: 1700-1750- Oxford: Clarendon Press, 1929- 422 Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon Press, 1941-1968. Bolte, Johannes and Georg Polivka. Anmerkungen zu den Kinder - U. Hausm£rchen der Brdder Grimm. 3 vols. Leipzig: Dieterich'sche Verlagsbuchhandlung, 1918. Boughner, Daniel G. The Braggart in Renaissance Comedy: A Study in Comparative Drama from Aristophanes to Shakespeare. Minneapolis: University of Minnesota Press, 1934. Bowyer, John Wilson. The Celebrated Mrs. Centlivre. Durham, North Carolina: Duke University Press, 1952. Brewer's Dictionary of Phrase and Pahle, 8th rev. ed. London: Cassell & Co., 1963• Brockett, Oscar G. History of the Theatre. Boston: Allyn and Bacon, 1968.' Campbell, Oscar James and Edward G. Quinn, eds. The Reader's Encyclopedia of Shakespeare. New York: Thomas Y. Crowell, 1966. Chambers, Edmund K. The Elizabethan Stage. Oxford: Clarendon Press, 1923• Chambers, Ephraim. Cyclopedia; or An Universal Dictionary of Arts and Sciences. * 2 vols. London, 1728. Cheney, Sheldon. The Theatre: Three Thousand .Years of Drama, Acting and Stagecraft, rev. and enlarged ed. New York: David McKay, 1952- Clark, William Smith. The Early Irish Stage: The Beginnings to 1720. Oxford: Clarendon Press, 1955- __________. The Irish Stage in the County Towns: 1720 to 1800. Oxford: Clarendon Press, 1965^ Davis, Herbert, ed. The Complete Plays of William Congreve. Chicago: The University of Chicago Press, 1967. Defoe, Daniel. The Life and Strange Surprizing Adventures of Robinson Crusoe. . . . London, 1719- 423 Dibdin, James C. The Annals of. the Edinburgh- Stage: With, an'Account of1 the Else and Progress of Dramatic Writing; in Scotland. Edinburgh, 1888. Dobree, Bonamy, ed. Comedies by William Congreve. London: Oxford University Press, 1923- Downer, Alan S., ed. Conference on Theatre Research, Special Issue of Educational Theatre Journal, IX, 2A (June,. 1967)- (A Report on the Princeton University Conference, Nov. 20, 1963; April 29-30, 1966; October 7-8, 1966.) Ellis, Aytoun. The Penny Universities: A History of. the Coffee-Houses. London: Seeker & Warburg, 1936. Elson, John James, ed. The Wits or, Sport upon Sport. Ithaca, H. X. : Cornell University Press, l93"2. (Cornell Studies in English, XVIII.) Pragmenta Scoto-Dramatica: 1713-1738. Edinburgh, 1835- Preedley, George and John A. Reeves. A History of the Theatre, rev. ed. Hew York: Crown Publishers, 1955- Genest, John. Some Account of the English Stage from the Restoration in 1660 to 1830- 10 vols. Bath, 1832. Hampden, John. "Introduction," Eighteenth Century Plays- London: J. M. Dent & Sons, 1928. (Everyman's Library.) Hartley, Harold, ed. The Royal Society: Its Origins and Pounders. London: Royal Society, I960. , Hatton, Ragnhild. Diplomatic Relations Between Great Britain and the Dutch Republic, 1714—1721. , London:. The Anglo-Hetherlands Society, 1950. Hazlitt, William. Lectures on the English Comic Writers. London, 1819- Highet, Gilbert. The Classical Tradition: Greek and Roman Influences on Western Literature. Hew York: Oxford University Press, 1'957- (Hirst published 1949-) Hogan, Charles Beecher. Shakespeare in the Theatre: 1701-1800. Vol. I. Oxford: Clarendon Press, 1952. 424 Hotson, Leslie. The Commonwealth, and Restoration Stage. Cambridge, Mass.: Harvard University Press, 1928. Hughes, Leo. A Century of English. Parce. Princeton, N. J.: Princeton University Press, 1956. __________. "Trick Upon Trick; or, Methodism Displayed," University of Texas Studies in English, XXXIX (1950), 151-161. Hughes, Leo and Arthur H. Scouten. "Some Theatrical Adaptations of a Picaresque Tale," University of Texas Studies in English, [XXV] (1945-46), 98-114. Ten English Earces. Austin: University of Texas Press, 1948. Jackson, James L. "Sources of the Subplot of Marston's The Dutch Courtezan," Philological Quarterly, XXXI (April, 1952), 225-224. Jerrold, Walter and Clare. Eive Queer Women. London: Brentana's, 1929• Kolbe, Peter. The Present State of the Cape of Good Hope. 2 vols. London, 1731. Krutch, Joseph Wood, ed. Eighteenth-Century English Drama. New York: Bantam Books, 1967- Banning, John Tate. The Diplomatic History of Georgia: A Study of the Epoch of Jenkins' Ear. Chapel Hill: University of North Carolina Press, 1936. Lessing, Gotthold Ephraim. Sglmtliche Schriften, ed. Karl Lachman and Eranz Muncker, 3rd ed. Vol. IV. Stuttgart, 1889- Macgowan, Kenneth and William Melnitz. The Living Stage: A History of the World Theatre. Englewood Cliffs, N. J.: Prentice Hall, 1955* Mandeville, John. The Voyages and Travels of Sir John Mandeville. London, 1727* Mercurius Democritus. 1-8 June 1653, 22-29 Jrne 1653* Moore, Cecil A., ed. Twelve Famous Plays of the Restoration and Eighteenth Century. New York: Modern Library, 1933- 4-25 Morley, Henry. Memoirs of Bartholomew Fair. London, 1859- Hettleton, George H. and Arthur E. Case, eds. British Dramatists from Dryden to Sheridan. Boston: Houghton Mifflin, 1939* Hew English Dictionary, ed. James A. H. Murray. Oxford: Clarendon Press, 1888-1928. Hicoll, Allardyce. The Development of the Theatre: . A Study of Theatrical Art from the Beginnings to the Present Day, 4-th ed. rev. Hew York: Harcourt, Brace & World, 1957- __________. A History of English Drama. 1660-1900. 6 vols. Cambridge: At the University Press, 1965-67- Odell, George C. D. Annals of the Hew York Stage. 15 vols. 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Asset Metadata

Creator Falk, Heinrich Richard (author)

Core Title An annotated edition of three drolls from "The Strolers Pacquet Open'd" (1742), with notes on authorship, sources, derivations, and stage histories.

Degree Doctor of Philosophy

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,theater history

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Stahl, M. (committee chair), [illegible] (committee member), Butler, James H. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c17-55866

Unique identifier UC11348791

Identifier DP22313.pdf (filename),usctheses-c17-55866 (legacy record id)

Legacy Identifier DP22313.pdf

Dmrecord 55866

Document Type Dissertation

Rights Falk, Heinrich Richard

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA