In this New Catalogue the Reader will find the whole to be divided into Three distinct Classes. In the first I have placed the Declared Authours, Alphabetically, according to their Sirnames, in Italick Characters: and placed the Plays each Authour has written, underneath in Roman Letters, which are rank'd Alphabetically likewise; so that the Reader may at one glance view each Authours Labours. Over against each Play, is plac'd as formerly a Letter to indicate the nature of the Dramma: as C. for Comedy. T. for Tragedy. T. C. for Tragi-comedy. P. for Pastoral. O. for Opera. I. for Interlude. F. for Farce.
And, for the better use of those who may design a Collection, I have added to the Letter the Volume also, (according to the best Edition) as Fol. 40o. 8o. against each Play that I have seen. And for their further help; where a Play is not printed single, the Reader will be directed by a Letter or Figure to the bottom of the Colume, where he will meet with Instructions how it is to be found; I mean, with what Poems or other Plays it is printed, the Year when, the Place where, and the best Edition of each Book so mentioned.
This may seem superfluous at first sight, but may possibly be no longer thought so, when I shall have acquainted my Reader, that when I was making my Collection, I found several Plays and Masks, bound up with other Poems, which by the name were scarce known to the generality of Booksellers: as for instance, Sir Robert Howard's Blind Lady; Daniel's Philotas; Carew's Cœlum Britanicum; Shirley's Triumph of Beauty; with infinite others. But two Plays I might particularly mention, both taken notice of in former Catalogues, to wit, Gripus and Hegio, a Pastoral; and Deorum Dona, a Masque; both which were written by Baron, and were wholly unknown to all the Booksellers of whom I happened to enquire, and which I could never have found but by chance; they being printed in a Romance called, The Cyprian Academy, in 8o. The same I might add of The Clouds, (a Play which was never in any Catalogue before, and was translated from Aristophanes's Nubes by Stanley, and printed with his History of Philosophy, Fol. Lond. 1655, and now newly reprinted; and of several others) but that I must hasten back to give an Account of the two other Divisions of my Catalogue. The one of which contains those Plays whose Authors discover themselves but by halves, and that to their intimate Friends, by two Letters only in the Title-Page, or the bottom of their Epistle; and in the last Degree are plac'd all Anonemous Plays; and thus compleats the Fifth Part.
The Second Part contains the Catalogue Reprinted in an exact Alphabetical manner, according to the forms of Dictionaries, the Authors Names being here left out as superfluous; and against each Play is a Figure to direct you to the Page where you may find it in the First Part.
Thus much as to the Method and Alterations of this Catalogue: Now as to the Remarks, which are of three sorts; the first of use, and the other two conducing to Pleasure at least, if not to Profit likewise.
The First is to prevent my Readers being impos'd on by crafty Booksellers, whose custom it is as frequently to vent old Plays with new Titles, as it has been the use of the Theatres to dupe the Town, by acting old Plays under new Names, as if newly writ, and never acted before; as, The Counterfeit Bridegroom, an old Play of Middleton's; The Debauchee, another of Brome's; The Match in Newgate, another of Marston's; with many more, too tedious to repeat. By these Remarks the Reader will find The Fond Lady, to be only the Amorous Old Woman, with a new Title, The Eunuch, to be The Fatal Contract, a Play printed above thirty years ago; with many the like.
The Second is an Essay towards a more large Account of the Basis on which each Play is built, whether it be founded on any Story or Passage either in History, Chronicle, Romance, or Novel. By this means the curious Reader may be able to form a Judgment of the Poets ability in working up a Dramma, by comparing his Play with the Original Story. I have not been so large and full in this as I intend hereafter, not having by me several Chronicles and Novels, which might have been subservient to my Design, as the Chronicles of particular Countries, and the Novels of Cynthio Geraldi, Loredano, Bandello, Sansorino Belleforreste, &c. For this reason, in the Notes on several Plays which I have taken notice of, I have been forc'd to refer to the Chronicles of a Country in general, not have had time or opportunity to make an exact search what Historian the Author has chiefly follow'd, or what Author has most largely treated on that particular Action which is the subject of the Dramma. So in Novels I have been forc'd through Necessity to quote some which have been printed since the Plays were written to which they are referred: because I knew that they were extracted and collected from the Originals, whence the Plot was taken, though I had them not by me: of which I could produce many instances, were it material.
I would desire my Readers leave to make this Observation by the by, that a Drammatick Poet is not ty'd up to the Rules of Chronology, or History, but is at liberty to new-model a Story at his pleasure, and to change not only the Circumstances of a true Story, but even the principal Action it self. Of this opinion are most of our modern Critics; and Scaliger observes, not only that 'tis the priviledge of Epick Poets, but also of Tragedians.[42] Quis nescit omnibus Epicis Poetis Historiam esse pro argumento? quam illi aut adumbratam, aut illustratam certe alia facie quam ostendunt ex Historia consiciunt, Poema. Nam quid alius Homeras? Quid Tragicis ipsis faciemus. Sic multâ Lucano ficta. Patriæ Imago quæ sese offerat Cæsari: excitam ab Interis animam, atq; alia talia.[43] This instance of Lucan, makes me call to mind what Sir William Davenant says on account of the same Author, whom he blames for making choice of an Argument so near his own time, that such an Enterprize rather beseem'd an Historian, than a Poet. For (says he) wise Poets think it more worthy to seek out truth in the Passions, than to record the truth of Actions; and practise to describe mankind just as we are perswaded or guided by instinct, not particular persons, as they are lifted, or levelled by the force of Fate, it being nobler to contemplate the general History of Nature, than a selected Diary of Fortune. So that we see the busineß of a Poet is to refine upon History; and Reformation of Manners is so much his busineß, that he is not to represent things on the Stage, as he finds them recorded in History, but as they ought to have been: and therefore we are not to make History so much the Standard and Rule of our Judgment, as Decency and Probability. For indeed, provided the Author shew Judgment in the heightning and working up of his Story, it matters not whether the Play be founded on History, or Romance, or whether the Story be his own, or another's Invention.
The last sort of Remarks, relate to Thefts: for having read most of our English Plays, as well ancient as those of latter date, I found that our modern Writers had made Incursions into the deceas'd Authors Labours, and robb'd them of their Fame. I am not a sufficient Casuist to determine whether that severe Sentance of Synesius be true, Magis impium Mortuorum Lucubrationes quam vestes furari; That 'tis a worse sin to steal dead mens Writings, than their Clothes: but I know that I cannot do a better service to their memory, than by taking notice of the Plagiaries, who have been so free to borrow, and to endeavour to vindicate the Fame of these ancient Authors from whom they took their Spoiles. For this reason I have observ'd what Thefts I have met with throughout the Catalogue, and have endeavour'd a restitution to their right Owners, and a prevention of the Readers being impos'd on by the Plagiary, as the Patrons of several of our Plays have been by our Modern Poets. But none certainly has attempted it with greater confidence, than he that stiles himself the Author of The Country Innocence, or The Chambermaid turn'd Quaker: a Play which was acted and printed in the year 1677, but first publish'd many years before by its genuine Author Ant. Brewer.