Ferrex and Porrex Sackville, &c.
Alexander and Campaspe Lyly.
Jew of Malta Marlowe.
Friar Bacon and Friar Bungay Greene.
Edward the First Peele
Edward the Second Marlowe.
Pinner of Wakefield Greene.
Four Prentices of London Heywood.
Mayor of Quinborough Middleton.
Malcontent Marston, &c.
All Fools Chapman.
Woman Killed with Kindness Heywood.
Honest Whore (two parts) Decker and Middleton.
The White Devil Webster.
Eastward Hoe Marston, &c.
A Mad World, my Masters Middleton.
The Roaring Girl Middleton.
The Widow's Tears Chapman.
The Widow Jonson, &c.
The Wits Davenant.
The Jovial Crew Brome.
The second and third characteristics of our book are the ADDITIONS, which, as we have stated, are of two kinds. In the first place, we may enumerate the dramas new to Dodsley's collection, though previously edited in a variety of forms:
Interlude of the Four Elements Anon.
Disobedient Child Ingelend.
Trial of Treasure Anon.
Youth Anon.
Lusty Juventus Wever.
Hickscorner, An Interlude Anon.
Everyman, An Interlude Anon.
Pardoner and Friar, An Interlude Heywood.
Jack Juggler | Anon.
Thersites | Interludes Anon.
Ralph Roister Doister Udall.
Cambyses Preston.
Conflict of Conscience Woodes.
Three Ladies of London Wilmot.
Three Lords and Three Ladies of London Wilmot.
Rare Triumphs of Love and Fortune Anon.
Knack to Know a Knave Anon.
Jeronimo (Part the First) Anon.
Two Angry Women of Abingdon Porter.
Spanish Tragedy Kyd.
Solyman and Perseda Anon.
How a Man may choose a Good Wife from a Bad Anon.
Englishmen for my Money Haughton.
Second Maiden's Tragedy Anon.
Wily Beguiled Anon.
Return from Parnassus Anon.
New Wonder Rowley.
Rebellion Rawlins.
Lust's Dominion Anon.
"The Lost Lady," by Sir William Berkley or Barkley; "The Marriage Night," by Lord Falkland; "The Shepherd's Holiday," by Joseph Butter; "Andromana," by J.S., and "All Mistaken, or the Mad Couple," which were given by Dodsley in 1744, but were omitted in the second and third impressions, have been restored to their places.
The remaining feature, recommending the undertaking to indulgent notice, is perhaps the most important and interesting. Subjoined is a list of the dramatic compositions which have never hitherto appeared in any series of Old English Plays, and of which the originals are of the utmost rarity:—
1. The Tragi-Comedy of Calisto and Melibaea, 1520. 2. Nice Wanton, An Interlude, 1560. 3. An Interlude, called Like Will to Like, by Ulpian Fulwell, 1568. 4. The History of Jacob and Esau, 1568. 5. The Marriage of Wit and Science, 1570.
A strictly chronological arrangement has been adopted. Such a plan appeared to be the most desirable and the most obvious, as it facilitates our appreciation of the gradual and progressive development of dramatic composition. If it may be thought to labour under any disadvantage, it is perhaps that it has the effect of throwing into a single consecutive series, without discrimination, pieces which are mere interludes, and others which are characterised by higher qualities, and aspire to belong to the regular drama. But the evil will be found not to be of a very serious kind, and it will disappear after the earlier volumes of the collection.
In fixing the order of sequence, the place of a production in the series has been occasionally determined by the date at which it is believed to have been written or presented, rather than by the date at which it left the printer's hands. Such is the case with Heywood's "Pardoner and Friar," and the anonymous interlude of "New Custom;" as well as with "Ralph Roister Doister," and "Gammer Gurton's Needle," all of which may be taken to belong to a period some time anterior to their publication.
A leading characteristic of the collection as now reconstructed is the great preponderance of pieces, of which the authors are not known, or by authors who have not left more than one or two dramatic productions. It was judged expedient, in the interest of purchasers, to give a preference to these single or anonymous plays, as it will probably not be long before the works of every voluminous writer are collected. Those of Jonson, Shirley, Peele, Greene, Ford, Massinger, Middleton, and Chapman, have already been edited, and Brome's, Deckers, Heywood's, and Glapthorne's will follow in due course. To all these the new DODSLEY will serve as a supplement and companion.
The editor felt himself in a position of somewhat special difficulty and delicacy, when it became necessary to consider the question of retaining or excluding the prefatory matter attached to the impressions of this work in 1744 and 1780. A careful and impartial perusal of that matter made it evident that the prudent course, on the whole, was to reject these prolegomena. There was no alternative but their entire preservation or their entire suppression; for any arbitrary alterations or curtailments would have been liable to objection or censure. In the first place, there was Dodsley's own preface, chiefly occupied by a sketch of the history of our stage, but based on the most imperfect information, and extremely unsatisfactory, if not misleading. Then there was, like Pelion heaped on Ossa, Isaac Reed's introduction, more elaborate and copious than Dodsley's, yet far from complete or systematic, and not improved by the presence of an appendix or sequel. Reed, of course, went over the same ground as Dodsley had already traversed with inferior ability and less ample resources at his command, and there were repetitions, as might be expected, of the same particulars. There seemed to be two forms of weakness—redundancy on the one hand and meagreness on the other. Again, all the information collected by Dodsley and Reed was to be found elsewhere, with innumerable improvements and corrections of mistakes, the subject itself more methodically handled, and the early annals of the English drama and theatre almost presented to the public view under a new aspect, by Mr Collier, in his well-known work printed in 1831, a publication heartily welcomed and appreciated at the time of its appearance and long after, and even now a literary monument, of which it may be said that, with whatever defects it may possess, it reflects as much credit on its author as a far more perfect performance brought to completion at the present day under more favourable auspices could reflect on any one else. It was a long advance on anything which had been attempted so far in the same direction; and to reproduce, in the face of Mr Collier's volumes, the obsolete and superseded labours of Dodsley and even Reed, seemed to be a waste of space which might be far more beneficially occupied by additional texts.