Anthony Aston's "Brief Supplement to Colley Cibber, Esq; his Lives of the late famous Actors and Actresses," of which a reprint is given with this edition, is almost, if not quite, the rarest of theatrical books. Isaac Reed, says Genest, "wrote his name in his copy of Aston's little book, with the date of 1769—he says—'this Pamphlet contains several circumstances concerning the Performers of the last century, which are no where else to be found—it seems never to have been published'—he adds-'Easter Monday, 1795—though I have now possessed this pamphlet 26 years, it is remarkable that I never have seen another copy of it.'" Of Aston himself, little is known. According to his own account he came on the stage about 1700, and we know that he was a noted stroller; but as to when he was born, or when he died, there is no information. He is supposed, and probably with justice, to be the "trusty Anthony, who has so often adorned both the theatres in England and Ireland," mentioned in Estcourt's advertisement of his opening of the Bumper Tavern, in the "Spectator" of 28th and 29th December, 1711; and he was no doubt a well-known character among actors and theatre-goers. He would thus be well qualified for his undertaking as biographer of the actors of his time; and, indeed, his work bears every mark of being the production of a writer thoroughly well acquainted with his subject. This valuable pamphlet has been, until now practically a sealed book to theatrical students.
The three works which make up this edition—Cibber's "Apology," Wright's "Historia Histrionica," and Aston's "Brief Supplement"—are reprinted verbatim et literatim; the only alterations made being the correction of obvious errors. Among obvious errors I include the avalanche of commas with which Cibber's printers overwhelmed his text. A more grotesque misuse of punctuation I do not know, and I have struck out a large number of these points, not only because they were unmeaning, but also because, to a modern reader, they were irritating in the highest degree. The rest of the punctuation I have not interfered with, and with the single exception of these commas the present edition reproduces not only the matter of the works reprinted, but the very manner in which they originally appeared, the use of italics and capitals having especially been carefully observed.
The "Apology" of Cibber has gone through six editions. I have reprinted the text of the second, because it was certainly revised by the author, and many corrections made. But I have carefully compared my text with that of the first edition, and, wherever the correction is more than merely verbal, I have indicated the fact in a note (e. g. vol. i. p. 72). The only edition which has been annotated is that published in 1822, under the editorship of Edmund Bellchambers. Whether the Notes were written by the Editor or by Jacob Henry Burn, who annotated Dickens's "Grimaldi," is a point which I have raised in my "Bibliographical Account of English Theatrical Literature" (p. 373). I have been unable to obtain any authentic information on the subject, so give Burn's claim for what it is worth. The statement as to the latter's authorship was made in his own handwriting on the back of the title-page of a copy of the book, sold by a well-known bookseller some years ago. It was in the following terms:—
"In 1821, while residing at No. 28, Maiden Lane, Covent Garden, the elder Oxberry, who frequently called in as he passed, found me one day adding notes in MS. to Cibber's 'Apology.' Taking it up, he said he should like to reprint it; he wanted something to employ the spare time of his hands, and proferred to buy my copy, thus annotated. I think it was two pounds I said he should have it for; this sum he instantly paid, and the notes throughout are mine, not Bellchambers's, who having seen it through the press or corrected the proofs whilst printing, added his name as the editor.—J. H. Burn."
Whether Burn or Bellchambers be the author, the notes, I find, are by no means faultlessly accurate. I have made little use of them, except that the Biographies, which are by far the most valuable of the annotations, are reprinted at the end of my second volume. Even in these, it will be seen, I have corrected many blunders. Some of the memoirs I have condensed slightly; and, as the Biographies of Booth, Dogget, and Wilks were in all essential points merely a repetition of Cibber's narrative, I have not reprinted them. In all cases where I have made any use of Bellchambers's edition, or have had a reference suggested to me by it, I have carefully acknowledged my indebtedness.
Among the works of contemporary writers which I have quoted, either in illustration, in criticism, or in contradiction of Cibber, it will be noticed that I make large drafts upon the anonymous pamphlet entitled "The Laureat: or, the right side of Colley Cibber, Esq;" (1740). I have done this because it furnishes the keenest criticism upon Cibber's statements, and gives, in an undeniably clever style, the views of Cibber's enemies upon himself and his works. I am unable even to guess who was the author of this work, but he must have been a man well acquainted with theatrical matters.
Another pamphlet from which I quote, "The Egotist: or, Colley upon Cibber" (1743), is interesting as being, I think without doubt, the work of Cibber himself, although not acknowledged by him.
Many of the works which I quote in my notes have gone through only one edition, and my quotations from these are easily traced; but, for the convenience of those who may wish to follow up any of my references to books which have been more than once issued, I may mention that in the case of Davies's "Dramatic Miscellanies" I have referred throughout to the edition of 1785; that Dr. Birkbeck Hill's magnificent edition of Boswell's "Life of Johnson" is that which I have quoted; and that the references to Nichols's reprint of Steele's "Theatre," the "Anti-Theatre," &c., are to the scarce and valuable edition in 2 vols. 12mo, 1791. My quotations from the "Tatler" have been made from a set of the original folio numbers, which I am fortunate enough to possess; and I have made my extracts from the "Roscius Anglicanus" from Mr. Joseph Knight's beautiful facsimile edition. The index, which will be found at the end of the second volume, has been the object of my special attention, and I have spared no pains to make it clear and exhaustive.