« PředchozíPokračovat »
ADDITIONS AND CORRECTIONS,
The length to which these Additions extend is mainly due to the publication, since parts of this work went through the press, of several plays not hitherto generally accessible. As my wish throughout this work has been to refer the reader wherever possible to books within every one's reach, I have thought it worth while to add here references to Mr. Hazlitt's new edition of Dodsley's Select Collection of Old English Plays, in those instances in which it was not previously possible to give them.
Pages 19 and 20. In Prynne's Histrio-Mastix (p. 113) a curious passage is quoted from Honorius Augustodunensis, de Antiquo Ritu Missarum, explaining in detail the dramatic action of the Mass.
Page 61, note 2. The Comedie or Enterlude, treating upon the Historie of Iacob and Esau (which has been recently printed in vol. ii. of Mr. Hazlitt's new edition of Dodsley) should not have been mentioned among the plays exhibiting a mixture of miracle and morality, there being in fact no element of the latter in it. Beyond all doubt this is, as Mr. Collier has already pointed out, one of the freshest and most effective productions of its kind. The characters are real characters; and though the author takes most delight in the comic side of the story, he has rather skilfully contrived to supply some dramatic justification of the success of Rebecca's ingenuity. The servants of the two brothers are pleasantly distinguished as a lout and a pert little page, and there is a touch of prettiness in Rebecca's little servingmaid Abra. The moral of the story is turned to account for the doctrine of predestination and election, so that no doubt can remain as to the religious creed of the author, who winds up with a brief sermon and a prayer for Church, Queen, nobility, and the Queen's subjects universal.'
Pages 62-64. The World and the Child, Hycke-Scorner, and Every-man are all printed in vol. i. of Mr. Hazlitt's Dodsley.
Page 65, note 1. Lusty Juventus' is used as a jocular form of address in Thomas Heywood's The Wise Woman of Hogsdon (act iv).
Page 77. To the generally accessible Elisabethan moralities has now been added The Contention betweene Liberalitie and Prodigalitie (printed by Mr. Hazlitt in
vol. viii. of his new edition of Dodsley). This production, which in its present form was performed before the Queen in 1600 (see v. 5), may be a revision of an earlier work-in any case the style is unequal, the incidental lyrics being in general superior to the dialogue. The action, in which several concrete personages take a subsidiary part, is upon the whole brisk, showing how after Prodigality had gained possession of Master Money, son of Dame Fortune, he lost his prize by his recklessness; how Money then fell into the hands of Tenacity (i. e. Avarice, who talks the usual peasant's dialect of the stage); how Prodigality then set upon Tenacity in the high-road and robbed him of Money; and how Money was finally delivered out of the hands of his tormentors and entrusted to the care of Liberality, while Prodigality (this is the effective bit of realism in the play) was tried in due form and sentenced, but in mercy forgiven part of the penalty. This morality, besides being written (or revised) by a scholar evidently desirous of showing his scholarship, is not devoid of a rude kind of merit; but it is not a little curious to find such a relic of the early drama performed before Queen Elisabeth at a time before which Shakspere had probably produced more than half of his plays.
Page 78. Tom Tiler and his wife are referred to in Fletcher's The Woman's Prize, or the Tamer Tamed (ii. 6).
Page 81, note 2. The date of Jonson's Mask of Owls, at Kenelworth is not, as stated here (and by Gifford), 1626, but 1624 (as given p. 594, note). It appears from The Academy of Jan. 10, 1873, that a play by Captain Cox bearing the title of Impacient Poverty has been discovered by Mr. Halliwell.
Pages III, 112, 115. The old Appius and Virginia, Cambyses, and R. Edwards' Damon and Pithias are all printed in vol. iv. of Mr. Hazlitt's Dodsley.
Page 117. Tancred and Gismunda is printed ib. vol. vii.
Page 117, note 3. According to M. Karl Blind (see The Examiner, June 13, 1874), Hans Sachs' Lisabetha treats the story of Keats' poem.
Page 120. T. Hughes' The Misfortunes of Arthur is printed in Mr. Hazlitt's Dodsley, vol. iv.
Page 139. For T. Ingelend's The Disobedient Child, see ib. vol. ii.
Page 142. For Gammer Gurton's Needle, ib. vol. iv.
Page 155, line 6 from top. For perpetuated read perpetrated.
Pages 170, 172. The Spanish Tragedy is printed in Hazlitt's Dodsley, vol. v; "Jeronimo,' ib. vol. iv; Solyman and Perseda and Cornelia, ib. vol. v.
Page 177, note 3. In Middleton's A Mad World, my Masters (i. 2) Harebrain couples Hero and Leander and Venus and Adonis as "wanton pamphlets.' Hero and Leander is also alluded to in Middleton's The Family of Love (iii. 2).
Page 179. The story of Tamerlane was dramatically treated by the Spaniard Luis Velez de Guevara (1570-1644) in his La nueva era de Dios y Tamorlan de Persia. See Klein, x. 725, note.
Page 182, line 8 from bottom. Middleton, in The Witch (iv. 2), has a passage resembling this:—
What makes the devil so greedy of a soul,
Page 203, line 8 from bottom. For borne read born.
Page 207, line 7 from bottom. Add as a note: The legend about Queen
Eleanor's movements is referred to by Middleton in The Witch (i. 1) :—
'Amsterdam swallow thee up for a puritan,
And Geneva cast thee up again! like she that sunk
Cf. also Anything for a Quiet Life (v. 3).
ADDITIONS AND CORRECTIONS.
Page 209, note 1. Stukeley and the battle of Alcazar are mentioned in Beaumont and Fletcher's Wit at Several Weapons (i. 2).
Page 212. This passage is imitated in Chapman and Shirley's Chabot (iv. 1). Pages 228, 229. The Wounds of Civil War is printed in Hazlitt's Dodsley, vol. vii; Summer's Last Will and Testament, ib. vol. viii.
Page 232, line 1 from bottom. The name of William Haughton (here mentioned as joint author of Patient Grissil) frequently occurs in Henslowe's Diary, on one occasion in conjunction with the entry of a loan of x to releace hime owt of the clyncke' (the Clink prison in Southwark). His Englishmen for my Money, or A Woman will have her Will (recently reprinted in vol. x. of the new edition of Dodsley), entered in 1598 by Henslowe under the second of the above titles, but not extant in an earlier edition than that of 1616, appears to have been a very popular play. It is a bustling and merry comedy of London life, showing how the three daughters of a Portingal' usurer and their three English lovers carried the day over their avaricious father (whose nose, like that of Barabas, betokens his style of trade) and the three benighted foreigners-a Frenchman, an Italian, and a Dutchman-favoured by him. Anthony, an intriguing schoolmaster, and Frisco, a bungling clown, help to carry on the action, which is extremely brisk.
Page 235. Both The Downfall and The Death of Robert Earl of Huntington have been reprinted in Hazlitt's Dodsley, vol. viii.
Page 189, line 14 from top. The earliest known edition of John Lacy's Sauny the Scot bears date 1698; but it was acted as early as 1667.
Page 313, line 17 from bottom. For began read begun.
Page 354, note. In stating that Cervantes and Shakspere died on the same day, I have fallen into an error already corrected by Ticknor, History of Spanish Literature, vol. ii. p. 132, note. The calendar not having yet been altered in England, there was a difference between it and the Spanish of ten days.
Page 390, lines 8-11 from top. Dele the words from entered to the close of the sentence, and read as follows: 'probably written before Shakspere's play, and derived (as it professes to be) directly from an Italian source.'
Page 415, line 17 from top. For Tanaguil read Tanaquil. Ib. it should have been stated that in the story of Grünewald, which ends with the incident of the moving wood, the besieged King's daughter does not tempt him to crime, but merely encourages him to resistance. No comparison between Lady Macbeth and the King's daughter is suggested by Simrock (who refers for the story to Schwarz and Grimm), but he compares her influence upon her father to that of the Witches upon Macbeth.
Page 427, line 1 from bottom. Dele the words 'an adaptation of this play.' (Cf. p. 288, note I ; and the account of All for Love in vol. ii. p. 515.)
Page 436. According to M. Ch. Louandre (Chefs d'Euvre des Conteurs Français avant La Fontaine, Introd. p. xv), the old French romance of Le Roi Flore et la Belle Jeanne furnished to Shakspere the type of Cymbeline.
Page 438, line 18 from top. For Hertzburg read Hertzberg.
Page 458. Mucedorus will also be found in Hazlitt's Dodsley, vol. vii.
Page 463. For The Merry Devil of Edmonton, see ib. vol. x.
Page 472, line 13 from top. For Shakspeare read Shakspere.
Page 536, note 1. This French proverb occurs in an English form in Suckling's Brennoralt (act i), where it is applied to the politic treatment of the common people, who, says Melidor,
' are a kind of flies;
Page 581, note 2. The Sicelides of Phineas Fletcher (printed 1631) should have been mentioned as an instance of an English 'piscatory' drama. This was doubtless the production exhibited before King James I, at King's College, Cambridge, in 1615. See vol. ii. p. 367.
Page 1. Since the pages on Chapman were in print, an interesting essay on this author has been published by Mr. Swinburne. I cannot here enter into any remarks on the criticisms contained in this essay; but it may be worth noticing that Mr. Swinburne finds it as difficult to discover any traces of Chapman in the comedy of The Ball as of Shirley in the tragedy of Chabot;' that he refuses to believe in Chapman's authorship of the 'comical moral' called Two Wise Men and all the rest Fools (printed with Chapman's name in 1619); but that he thinks there is some colour for the MS. correction which ascribed to Chapman the authorship of The Second Maiden's Tragedy, though he considers the style of this play 'unlike that of Chapman, Massinger, or Tourneur, but very like the style of Middleton.'
Page 4, note 2. For 505 read 525.
Page 40, note 2. Among Hans Sachs' dramatic productions (see vol. iii. of Dichtungen von Hans Sachs) is a 'tragedia' (mit zweiundzwanzig personen und hat fünf actus') entitled Der Fortunatus mit dem wunschseckel.
Page 59, line 3 from bottom. The figure and the description of Erictho are alike borrowed from Lucan (Pharsal. bk. vi), whose horrors might have sufficed for Marston.
Page 114, note I. The expression 'I could kill her with kindness' occurs in so late a play as Farquhar's Love and a Bottle (iii. 1).
Page 125, note 3. The student of the various cries, the popular ballads, and the humours in general of London street life, should notice an odd production of this period, called The London Chanticleers, which Mr. Halliwell thinks may perhaps have been originally presented out of London-possibly when the capital was 'ravaged by pestilence in 1636.' This one-act play, which can only by courtesy be allowed the name of a 'comedy,' will be found in vol. xii. of Mr. Hazlitt's Dodsley.
Page 135. William Rowley's A New Wonder, A Woman never Vext (recently reprinted in vol. xii. of Hazlitt's Dodsley) evidently appealed to the sympathies of the kind of audience for whom plays dealing with the traditions of London were usually intended. It is at the same time a noteworthy play, which would of itself prove its author to have been a dramatist wanting neither in skill nor in power. He has made a really dramatic use of the story of Sir Stephen Foster, who after having been himself a prisoner in Ludgate, was raised to wealth by marriage with a compassionate widow, and with his wife's consent became the benefactor of the prison in which he had formerly been confined. Rowley has invented the character of the son who against his father's wish helps his uncle in the times of his troubles, and who afterwards succours his father when he in his turn has been overtaken by calamity. The character of the widow, whose good fortune resembles that of Polycrates, except in so far that her kindness of heart disarms Nemesis, is likewise an original (though not a very striking) conception. The pathos is not very deep, and the humour the reverse of refined; while the change in the character of the scapegrace uncle is too sudden to create any moral impression. But the action is brisk, the tone healthy, and the writing vigorous, so that the whole furnishes a good