[1] Malone's "History of the Stage."
[2] [Although criticism of the purely literary kind has been as much as possible avoided in these notes, it seems necessary to say a few words here to put the reader on his guard. Scott's acquaintance with the English drama was extensive, but he was not equally well acquainted with the French, and (as almost all persons in France as well as in England were till recently) was all but ignorant of French drama before Corneille The attribution of the French classical drama to the Scudéry romance and the influence of Louis XIV. is entirely erroneous. That drama was introduced by Jodelle, the dramatic poet of the Pléiade in the middle of the sixteenth century, and was strictly fashioned on the model of Seneca. Successive improvements, culminating in those of Corneille, were introduced in it, but its main lines continued the same. Scott has also left out of sight a very important element in the constitution of the English heroic play. When Davenant before the Restoration obtained Cromwell's permission to reintroduce dramatic entertainments, if not plays, music necessarily formed the chief part of the performance. It was in fact an opera, and operatic peculiarities remained after all restriction had been taken off. Scott assigns on the whole far too much influence to the French drama and to the personal predilection of Charles. The subject is a large one, and has never been fully handled, but readers may be referred to the present editor's Dryden, pp. 18-20; and still more to an essay on Sir George Etherege by Mr. E.W. Gosse in the Cornhill Magazine for March 1881.—ED.]
[3] Haud inexperta loquitur. "I have," she continues, "(and yet I am still alive,) drudged through Le Grand Cyrus, in twelve huge volumes; Cleopatra, in eight or ten; Polexander, Ibrahim, Clélie, and some others, whose names, as well as all the rest of them, I have forgotten."—Letter of Mrs. Chapone to Mrs. Carter.
[4] Dedication to the "Indian Emperor."
[5] In this particular a watch was kept over the stage. "The Maid's Tragedy," which turns upon the seduction of Evadne by a licentious and profligate king, was prohibited during the reign of Charles II., as admitting certain unfavourable applications. The moral was not consolatory,—
"on lustful kings, Unlooked-for sudden deaths from heaven are sent."
See Cibber's Apology, p. 199. Waller, in compliment to the court, wrote a 5th Act, in which that admired drama is terminated less tragically.
[6] It was a part of the duty of the master of the revels to read over and correct the improprieties of such plays as were to be brought forward. Several instances occur, in Sir Henry Herbert's Office-book, of the exercise of his authority in this point. See Malone's History of the Stage.
[7] Lord Holland's "Life of Lope de Vega," p. 128.
[8] The "Wild Gallant," which Charles commanded to be performed before him more than once, was of the class of Spanish comedies. The "Maiden Queen," which the witty monarch honoured with the title of his play, is in the same division. Sir Samuel Tuke's "Adventures of Five Hours," and Crowne's "Sir Courtly Nice," were both translated from the Spanish by the king's express recommendation.