136

PERICLES.

however, has led to a conjecture concerning him,
which shall be stated with as much brevity as
possible. When Tarsia, the Marina of Pericles,
has finished the song which she addresses to her
unknown father Apollonius, she receives from
him a hundred pieces of gold, with a command
to leave him. Athenagoras, the Lysimachus of
Pericles, afterwards meets her, gives her two
hundred pieces, and prevails on her to make
another effort to sooth the melancholy of Apol-
lonius. She returns to him, requests permis-
sion to renew their conversation, and insists on
his taking back his money, unless he can expound
certain riddles which she proceeds to state. Now
these riddles, three in number, are to be found in a
work entitled *Symposii ænigmata*. The original
editor of this book, Pierre Pithou, thought fit,
without the smallest authority, to entitle the sup-
posed author Cælius Firmianus Symposius. Heu-
man, a subsequent editor, placing implicit con-
fidence in this name, maintained that this person
could be no other than the celebrated father of
the church Cælius Firmianus Lactantius; for
having found that he had written a work, now
lost, under the title of *Symposium*, he concluded
that the name of *Symposius*, which occurs at the
beginning of the ænigmas, was a mistake, and

MEMOIRS, &c.

Spaniards were put to the sword, and the rest obliged to retreat. On this occasion lord Southampton behaved with such gallantry that he was knighted in the field by lord Effex, "ere (says the writer above mentioned) he could dry the sweat from his brows, or put his sword up in the scabbard."

In 1598 he attended his noble friend to Ireland, as General of the horse; from which employment (after having greatly distinguished himself by overcoming the rebels in Munster,) he was dismissed by the peremptory orders of Queen Elizabeth, who was offended with him for having presumed to marry Miss Elizabeth Vernon, (in 1597,) without her majesty's consent; which in those days was deemed a heinous offence. This lady (of whom there is an original picture at Sherborne Castle in Dorsetshire, the seat of lord Digby,) was his cousin to lord Effex.

When that nobleman, for having returned from Ireland without the permission of the Queen, was confined at the lord keeper's house, lord Southampton withdrew from court. At this period a circumstance is mentioned by a writer of that time, which corresponds with the received account of his admiration of Shakespeare. "My lord Southampton and lord Rutland (says Rowland Whyte in a letter to Sir Robert Sydney, dated in the latter end of the year 1599, SYDNEY PAPERS, Vol. II. p. 132,) came not to the court [at Nonfuch]. The one doth but very seldom. They pass away the tyme in London, merely in going to plaies every day." At this time King Henry V. which had been produced in the play, spring of that year, and contains an elegant compliment to lord Effex, was probably exhibiting with applaufe. Roger earl of Rutland (to whom lord Effex addressed that pathetick letter which is printed in Howard's Collection, Vol. II. p. 521, where it is aburdly entitled "A letter to the earl of Southampton.") was married to the daughter of lady Effex by her first husband, Sir Philip Sydney.

Lord Southampton being condemned for having joined the earl of Effex in his wild project, that amiable nobleman generously supplicated the Lords for his unfortunate friend, declaring at the same time that he was himself not at all solicitous for life; and we are told by Camden, who was present at the trial, that lord Southampton requested the peers to intercede for her majesty's mercy, (against whom he protested that he had never any ill intention,) with such ingenuous modesty, and such sweet and perfuative elocution, as greatly affected all who heard him. Though even the treacherous enemies of Effex (as we learn from Osborne,) supplicated the inexorable Elizabeth, to spare the life of lord Southampton, he for some time remained doubtful

B 3

ful

6

MEMOIRS OF THE

ful of his fate, but at length was pardoned yet he was confined in the Tower during the remainder of the Queen's reign. Bacon mentions that on her death he was much visited there. On the first of April, 1603, six days only after her decease, King James sent a letter for his release; of which there is a copy in the Museum. It is dated at Holyrood House, and directed "to the nobility of England, and the right trufty and well beloved the counsel of state fitting at Whitehall."—On the tenth of the fame month lord Southampton was released, the king, at the fame time that he sent the order for his enlargement, honouring him so far as to desire him to meet him on his way to England. Soon afterwards his attainder was reversed, and he was installed a knight of the Garter. In the fame year he was constituted governor of the Isle of Wight, and of Caribbkeoke cattle; in which office, fays the hiftorian of that island, (from the manu-cript memoirs of Sir John Ogländer,) "hisuft, affable, and obliging deportment gained him the love of all ranks of people, and railed the island to a most flourishing state, many gentlemen refiding there in great affluence and hospitality."

By the machinations of lord Effex's great adversary, the earl of Salibury, (whose mind seems to have been as crooked as his body,) it is supposed King James was perfuaded, to believe that too great an intimacy fuppifted between lord Southampton and his queen; on which account, (though the charge was not avowed, disaffection to the king being the crime alleged,) he was apprehended in the latter end of June 1604; but there being no proof whatsoever of his difloyalty, he was immediately released. In the summer of 1614, as we are told by Rowland Whyte, he went to Spa, much difufted at not having obtained a feat in the council, his military ardour feems at no period of his life to have defeated him. In 1614 we find him with the romantick lord Herbert of Cherbury, at the fiege of Rees in the dutchy of Cleve. In 1619, he was at length appointed a privy counsellor. Two years afterwards, having joined the popular party, who were juſtly inflamed at the king'sSUPPINEELS and PUFFILLANITY, in suffering the Paltinate to be wrefted from his ſon-in-law, and, what was a ſtill more heinous offence, having rebuked the duke of Buckingham for a disorderly ſpeech that he had made in the Houſe of Lords, he was committed to the custody of the dean of W efftminſter, at the fame time that the earl of Oxford and Sir Edward Coke were ſent to the Tower; but he was ſoon enlarged.

On the rupture with Spain in 1624, he was appointed jointly with the young earl of Effex and the lords Oxford and Willoughby, to the command of six thousand men, who were ſent to the Low-countries, to act under prince Maurice againſt the

EARL OF SOUTHAMPTON.

7

the Spaniards; but was cut off by a fever at Berghen-op-zoom on the 10th of November in that year. The ignorance of the Dutch physicians, who bled him too copiously, is said to have occasioned his death. He left three daughters, (Penelope, who married William-lord Spencer of Wormleighton; Anne, who married Robert Wallop of Farley, in the county of Southampton, ſon of Sir Henry Wallop, knight; and Elizabeth, who married Sir Henry Eſtcourt, knight;) and one ſon, Thomas, who was lord high treasurer of England in the time of King Charles II. His eldest ſon James, who had accompanied him in this his laſt campaign, died a few days before, of the fame diſorder that proved fatal to his father.

W ilſon, the hiftorian, who attended Lord Eſſex in this expedition, is more particular. In his Hiftory of King James, he ſays, they were both feized with a fever at Rofendale, which put an end to the ſon's life; that lord Southampton, having recovered of the fever, departed from Rofendale with an intention to bring his ſon's body into England; but at Berghen-op-zoom " he died of a leſtergy, in the view and prefence of the relater;" and that the two bodies were brought in the fame bark to Southampton. He was buried at Tichfield in Hampshire.

Lady Southampton ſurvived her husband many years, King Charles I. having been concealed by her for some time in the manſion, house of Tichfield, (which Lord Clarendon calls "a noble ſeat,") after his eſcape from Hampton Court in Nov. 1647.

Their ſon Thomas, the fourth earl of Southampton, dying in May, 1667, without issue male, the title became extinct. He left three daughters. Magdalene, the youngeſt, died unmarried. Rachael, his ſecond daughter, married, first, Francis lord Vaughan, eldest ſon of Richard, earl of Carbery; and afterwards the illuſtrious William lord Ruffel, by whom he had Wriothesly, the ſecond duke of Bedford. Lady Elizabeth, the eldest daughter, married Edward Noel, (eldeſt ſon of Baptift Vifcount Campden,) who in 1680 was created Baron Noel of Tichfield, and in 1682 earl of Gainſborough. Their only ſon Wriothesly Baptift, earl of Gainſborough, died in 1690, leaving only two daughters; of whom Elizabeth, the elder, married Henry the first duke of Portland, and Rachael married Henry the ſecond duke of Beaufort. On a partition of the real and personal property between those two noble families, about the year 1725, lord Southampton's eſtate at Tichfield, which had belonged to a monafery of Cifercian monks in the time of King Henry VIII., was part of the share of the duke of Beaufort, and now belongs to Peter Delmé, eq. Beaulieu, in Hampshire, which at present belongs to the representatives of the late duke of Montagu, was, if I mistake not, formerly the property of our earl of Southampton.

B 4

From

## 8 MEMOIRS OF THE

From Rowland Whyte's letters lord Southampton seems to have been very fond of tennis, at which game he once loft 18000 crowns in Paris, on one match; [2250l. fterl.] and fir John Oglander, in his manucript memoirs of the Isle of Wight, relates as a proof of his affable deportment in his government, that he used to play at bowls twice a week on Saint George's Down, with the principal gentlemen of the island.

He is laid, on the authority of Sir William D'Avenant, to have given Shakspeare the sum of 1000l. to complete a purchase, which was at least equivalent to 500l. at this day. This alone will for ever immortalize his memory.

Of this amiable and accomplished nobleman there is an original portrait at Gorhambury, the feat of lord vicount Grimton, by Vanfomer, as I conceive; another at Woburn Abbey, by Miervelt; and two in the poesession of his grace the duke of Portland; one a whole length, when he was a young man, and the other a half length, when he was a prifoner in the Tower. Each of the noblesse of these pictures, in the moft obliging manner permitted drawings to be made from them for the use of the preſent work.

From the teftimony of Camden ⁵ and others, he appears to have been no lefs devoted to the mufes than to military atchievements. We find his name, as well as that of his friend Effex, prefixed to many publications of thofe times; and two poets have exprefly ſung his prafes. Their verſes, though of little merit, ſerving in ſome meaſure to illustrate his character, I ſhall subjoin them, a MALONE.

TO
HENRY WRIOTHESLY,
EARL OF SOUTHAMPTON.

By SAMUEL DANIEL, 1605.

Non fert illum iestum illæfa felicitas.

HE who hath never warr'd with mifery,
Nor ever tugg'd with Fortune, and diſtrefſ,
Hath had no occafion nor no field to try
The strength and forces of his worthineſs :

⁵ “Edwardus VI. eundem honorem anno ſuſregno primo Thomæ Wriothesley Angliæ Cancellario detulit, cujus filio Henrico nepos Henricus eodem hodie lætatur; qui in primo ætatis flore præſidio benarum literarum et rei militaris scientia nobilitatem communit, ut uberiorum fuerit, maturiore ætate patriæ et principi profunрат.” Camdeni Britannia, 8vo. 1600, p. 240.

The

EARL OF SOUTHAMPTON.

Thofe parts of judgment which felicity
Keeps as conceal'd, affliction muſt expreſſ;
And only men ſhew their abilities,
And what they are, in their extremities.

The world had never taken ſo full note
Of what thou art, hadst thou not been undone,
And only thy affliction hath begot
More fame than thy beſt fortunes could have done.
For ever by adversity are wrought
The greatest works of admiration,
And all the fair examples of renown
Out of diſtrefſ and mifery are grown.

Mutius the fire, the tortures Regulus,
Did make the miracles of faith and zeal;
Exile renown'd and grac'd Rutilius :
Imprifonment and poſſon did reveal
The worth of Socrates : Fabricius'
Poverty did grace that common-wealth
More than all Syllae riched got with ſtrife;
And Catoes death ⁶ did vie with Cæsar's life.

Not to be unhappy is unhappineſs,
And mifery not to have known mifery :
For the beſt way unto diſeetion is
The way that leads us by adversity :
And men are better ſhew'd what is amifs,
By the expert finger of calamity,
Than they can be with all that fortune brings,
Who never ſhews them the true face of things.

How could we know that thou could'ſt have endur'd
With a repofed cheer, wrong and diſgrace,
And with a heart and countenance affur'd
Have look'd ſtern death and horrour in the face?

⁶ I have in this and the preceding line preferved the old ſpelling, because it confirms an obſervation made in Vol. VII. p. 160, n. 2.

MALONE.
How

10

MEMOIRS OF THE

How should we know thy foul had been locust'd
In honest counsels, and in ways unbase,
Hadst thou not proof to show us what thou wert,
By thy affliction that defec't thy heart?

It is not but the tempest that doth show
The man's cunning: but the field that tries
The captain's courage: and we come to know
What men are, in their workt jeopardies:
For lo, how many have we seen to grow
To high renown from lowest miferies,
Out of the hands of death; and many a one
To have been undone, had they not been undone!

He that endures for what his confidence knows
Not to be ill, doth from a patience high
Look only on the cause where to he owes
Those sufferings, not on his mifery:
The more he endures, the more his glory grows,
Which never grows from imbecillity:
Only the best compos'd and worthiest hearts
God fets to act the hardest and constant it parts.

Upon the death of the most noble lord,
HENRY, EARL OF SOUTHAMPTON,

Written by Sir JOHN BEAUMONT, Bart. 1624:

Printed by his Son in 1629.

WHEN now the life of great SOUTHAMPTON ends,
His fainting ſervants and aſtonish'd friends
Stand like so many weeping marble ſtones,
No paffage left to utter ſighs, or groans:
And muſt I firſt diffolve the bonds of grief,
And ſtrain forth words, to give the reſt relief?
I will be bold my trembling voice to try,
That his dear name may not in ſilence die.

The

EARL OF SOUTHAMPTON.

11

The world muſt pardon, if my ſong be weak;
In such a cafe it is enough to speak.
My verſes are not for the preſent age;
For what man lives, or breathes on England's stage,
That knew not brave SOUTHAMPTON, in whole ſight
Moft place their day, and in his abſence night?
I ſtrive, that unborn children may conceive,
Of what a jewel angry fates bereave
This mournful kingdom; and, when heavy woes
Oppreſs their hearts, think ours as great as thofe.
In what eſtate ſhall I him firſt exprims?
In youth, or age, in joy, or in diſtrefs?
When he was young, no ornament of youth
Was wanting in him, acting that in truth
Which Cyrus did in ſhadow; and to men
Appear'd like Peleus' ſon from Chiron's den:
While through this illand Fame his prae reports;
As beſt in martial deeds, and courtly ſports.
When riper age with winged ſeet repairs,
Grave care adorns his head with filver hairs;
His valiant ſervour was not then decay'd,
But join'd with counsel, as a further aid.
Behold his conſtant and undaunted eye,
In greateſt danger, when condemn'd to die !
He ſcorns the infulting adverſary's breath,
And will admit no fear, though near to death.
But when our gracious ſovereign had regain'd
This light, with clouds obſcur'd, in walls detain'd;
And by his favour plac'd this ſtar on high,
Fix'd in the Garter, England's azure ſky;
He pride (which dimms ſuch change) as much did hate,
As bafe dejection in his former ſtate.
When he was call'd to fit, by Jove's command,
Among the demigods that rule this land,
No power, no ſtrong perſuafion, could him draw
From that, which he conceiv'd as right and law.
When ſhall we in this realm a father find
So truly ſweet, or hufband half so kind?

Thus

MEMOIRS, &c.

12

Thus he enjoyed'the best contents of life,
Obedient children, and a loving wife,
There were his parts in peace; but O, how far
This noble foul excelled itself in war!
He was directed by a natural vein,
True honour by this painful way to gain.
Let Ireland witness, where he first appears,
And to the fight his warlike ensigns bears,
And thou, O Belgia, wert in hope to see
The trophies of his conquests wrought in thee;
But Death, who durst not meet him in the field,
In private by close treachery made him yield.—
I keep that glory left, which is the best;
The love of learning, which he oft exprest
By conversation, and respect to those
Who had a name in arts, in verse or prose.
Shall ever I forget, with what delight,
He on my simple lines would cast his fight?
His only memory my poor work adorns,
He is a father to my crown of thorns.
Now since his death how can I ever look,
Without some tears, upon that orphan book?
Ye sacred Muses, if ye will admit
My name into the roll which ye have writ
Of all your servants, to my thoughts display
Some rich conceit, some unfrequented way,
Which may hereafter to the world commend
A picture fit for this my noble friend:
For this is nothing, all the rhimes I scorn;
Let pens be broken, and the paper torn;
And with his last breath let my musick cease,
Unless my lowly poem could increafe
In true description of immortal things;
And, rais'd above the earth with nimble wings,
Fly like an eagle from his funeral fire,
Admir'd by all, as all did him admire.

VENUS

OF THE ENGLISH STAGE.

165

I invocke and befeech to be prefont at the hour of my
death, that she and they may comfort me with their
desired prefence, and crave of sweet Jefus that he will
receive my foul into peace.

XI.

“ Item, In virtue of this prefont writing, I John Shak-
fpear do likewife moft willingly and with all humility
confitute and ordaine my good Angel, for Defender
and Proteetour of my foul in the dreadfull day of Judge-
ment, when the finall sentence of eternall life or death
shall be discuffed and given; befeeching him, that, as
my foule was appointed to his cuftody and protection
when I lived, even so he will vouchsafe to defend the
fame at that houre, and conduct it to eternall blifs.

XII.

“ Item, I John Shakfpear do in like manner pray and
befeech all my dear friends, parents, and kinsfolks, by
the bowels of our Saviour jefus Chrift, that fince it is
uncertain what lot will befall me, for fear notwith-
standing leaft by reafon of my finnes I be to pafs and
ftay a long while in purgatory, they will vouchsafe to
affift and succour me with their holy prayers and fatif-
factory workes, especially with the holy facrifice of the
maſſe, as being the moft effectuall meanes to deliver
foules from their torments and paines; from the which,
if I ſhall by gods gracious goodneſſe and by their vertu-
ous workes be delivered, I do promife that I will not be
ungratefull unto them, for ſo great a benefitt.

XIII.

“ Item, I John Shakfpear doe by this my laſt will and
teſtament bequeath my foul, as ſoon as it ſhall be deliver-
ed and loofened from the prifon of this my body, to be
entombed in the sweet and amorous coffin of the ſide of
jefus Chrift; and that in this life-giveing ſepulcher it
may reſt and live, perpetually incloſed in that eternall
habitation of ſepofel, there to bleſſe for ever and ever
that direfull iron of the launce, which, like a charge in
a cenſore, formes ſo sweet and pleafant a monument
within the ſacred breaſt of my lord and ſaviour.

M 3

XIV.

166 HISTORICAL ACCOUNT

XIV.

“ Item, laftly I John Shakſpear doe proteſt, that I will
willingly accept of death in what manner ſever it may
befall me, conforming my will unto the will of god; ac-
cepting of the fame in ſatisfaction for my finnes, and
giving thanks unto his divine majety for the life he
hath beſtowed upon me. And if it please him to pro-
long or ſhorten the fame, bleſſed be he alſo a thouſand
thouſand times; into whose moſt holy hands I commend
my ſoul and body, my life and death: and I beſeech
him above all things, that he never permit any change
to be made by me John Shakſpear of this my aforefaid
will and teſtament. Amen.

“ I John Shakſpear have made this preſent writing of
proteſtation, conſeſſion, and charter, in preſence of the
bleſſed virgin mary, my Angell guardian, and all the
Celestiall Court, as witneſſes hereunto: the which my
meaning is, that it be of full value now preſently and
for ever, with the force and vertue of teſtament, codi-
cill, and donation in cauſe of death; confirming it anew,
being in perſect health of ſoul and body, and ſigned
with mine own hand; carrying alſo the fame about me;
and for the better declaration hereof, my will and inten-
tion is that it be finally buried with me after my death.

“ Pater noſter, Ave maria Credo.

“ jefu, ſon of David, have ſnercy on me,
Amen.”

Since my remarks on the epitaph laid to have been
made by Shakspeare on John o'Comb, were printed, it
occurred to me, that the manuſcript papers of Mr. Au-
brey, preferred in the Aſhmoſlem Muſeum at Oxford,
might throw some light on one of his ſubjects. A Mr. Aubrey
was born in the year 1625, or 1626; and in 1642 was
entered a gentleman commoner of Trinity college in
Oxford. Four years afterwards he was admitted a
member of the Inner Temple, and in 1662 elected a
member of the Royal Society. He died about the year
1700. It is acknowledged, that his literary attain-
ments

OF THE ENGLISH STAGE.

167

ments were confiderable; that he was a man of good
parts, of much learning and great application; a good
Latin poet, an excellent naturaliſt, and, what is more
material to our preſent object, a great lover of and inde-
fatigable ſearcher into antiquities. That the greater
part of his life was devoted to literary puruſts, is afcer-
tained by the works which he has published, the cor-
respondence which he held with many eminent men, and
the collections which he left in manuſcript, and which
are now reſoſited in the Aſhmoſlem Muſeum. Among
theſe collections is a curious account of our English poets
and many other writers. While Wood was preparing
his *Athenæ Oxonienſes*, this manuſcript was lent to him,
as appears from many queries in his handwriting in the
margin; and his account of Milton, with whom Aubrey
was intimately acquainted, is (as has been obſerved by
Mr. Warton) literally tranſcribed from thence. Wood
afterwards quarreled with Mr. Aubrey, whom in the ſe-
cond volume of his *Faſti*, p. 262, he calls his *friend*,
and on whom in his Hiftory of the Univerſity of Ox-
ford he beſtows the higheſt encomium*; and, after
their quarrel, with his usual warmth, and in his looke
diction, he repreſented Aubrey as “ a pretender to
antiquities, roving, magotſie-headed, and little bet-
ter than craſed.” To Wood every lover of antiquity
and literary hiftory has very high obligations; and in
all matters of ſaſt he may be safely relied on; but
his opinion of men and things is of little value. Ac-
cording to his repreſentation, Dr. Ralph Bathurſt, a man
highly eſteemed by all his contemporaries, was “ a
moſt vile perſon,” and the celebrated John Locke, “ a
prating, clamorous, turbulent fellow.” The virtu-
ous and learned Dr. John Wallis, if we are to believe
Wood, was a man who could “ at any time make black
white, and white black, for his own ends, and who had

* “ Transſimilium autem nobis eſt illud epitaphium a viro perhu-
mano, Johanne Alberico; vulgo Aubrey, Armigero, hujus collegii
olim generoſo commenſali, jam vero é Regio Societate, Londini; viro
inquam, tam bono, tam benigno, ut publico ſolum commodo, nec fibi
omnino, natus eſſe videatur.” *Hift. et Antiq. Univ. Oxon.* l, ii. p. 297.

M 4

a ready

FROM SHAKSPEARE.

159

Merchant of Venice.

The Jew of Venice, a Comedy. As it is acted at the Theatre in Little Lincoln's Inn Fields, by his Majesty's Servants. By George Granville, Esq. (afterwards Lord Lançdowne.) 4to. 1701.

As you like it.

Love in a Forest, a Comedy. As it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. By C. Johnson. 8vo. 1723.

The Modern Receipt, or a Cure for Love. A Comedy, altered from Shakſpere. The Dedication is ſigned J. C. 12mo. 1739.

All's well that ends well.

All's well that ends well; a Comedy. Altered by Mr. Pilon, and reduced to three Acts. Performed at the Haymarket Theatre, 1785. Not printed.

All's well that ends well; a Comedy, altered by J. P. Kemble, acted at Drury Lane. 8vo.

Taming of the Shrew.

Sawny the Scott, or the Taming of the Shrew; a Comedy, as it is now acted at the Theatre Royal, and never before printed. By John Lacy, 4to. 1698.

The Cobler of Prefton, a Farce, as it is acted at the new Theatre in Lincoln's Inn Fields. By Christopher Bullock. 12mo. 1716.

The Cobler of Prefton, as it is acted at the

160

PLAYS ALTERED

Theatre Royal in Drury Lane, by his Majesty's
Servants. By C. Johnson. 8vo. 1716.

A Cure for a Scold, a Ballad Opera, by James
Worfdale. Taken from the Taming of the Shrew.
8vo. [1735.]

Katharine and Petruchio. By Mr. Garrick.
8vo. 1756.

Winter's Tale.

The Winter's Tale, a Play, altered from Shak-
speare. By Charles Marfh. 8vo. 1756.

Florizel and Perdita. By Mr. Garrick. 8vo.
1758.

Sheepf hearing, or Florizel and Perdita, by Mac-
namara Morgan, Dublin. 12mo. 1767.

The Sheep-hearing : a dramatick Pastoral. In
three Acts. Taken from Shakſpeare. As it is per-
formed at the Theatre Royal in the Haymarket.
8vo. 1777.

An alteration by J. P. Kemble, acted at Drury
Lane. 8vo. 1802.

Macbeth.

Macbeth, a Tragedy, with all the Alterations,
Amendments, Additions, and new Songs; as it is
now acted at the Duke's Theatre. By Sir William
D'Avenant. 4to. 1674.

The Hiftorical Tragedy of Macbeth (written
originally by Shakſpeare) newly adapted to the
ftage, with Alterations, as performed at the The-
atre in Edinburgh. 8vo. 1753. By Mr. Lee.

King, John.

Papal Tyranny in the Reign of King John, a
Tragedy; as it is acted at the Theatre Royal in

27

FROM SHAKSPEARE.

161

Covent Garden, by his Majefiy's Servants. By
Colley Cibber. 8vo. 1744.

An alteration by J. P. Kemble, acted at Drury
Lane, 8vo. 1801.

King Richard II.

The Hiftory of King Richard the Second. Acted
at the Theatre Royal under the title of the Sicilian
Uſurper : with a prefatory Epiftle in Vindication of
the Author, occafioned by the Prohibition of his
Play on the Stage. By N. Tate, 4to. 1681.

The Tragedy of King Richard II. altered from
Shakſpeare. By Lewis Theobald, 8vo. 1720.

King Richard II. a Tragedy, altered from Shak-
speare, and the Style imitated. By James Goodhall.
Printed at Manchester. 8vo. 1772.

King Henry IV. Part I.

King Henry IV. with the Humours of Sir John
Falstaff, a Tragi-comedy, as it is acted at the The-
atre in Little Lincoln's Inn Fields, by his Majesty's
Servants. Revived with Alterations. By Mr. Bet-
terton, 4to. 1700.

King Henry IV. Part II.

The Sequel of Henry IV. with the Humours of
Sir John Falstaff and Juitice Shallow; as it is
acted by his Majesty's Company of Comedians at
the Theatre Royal in Drury Lane. Altered from
Shakſpeare by the late Mr. Betterton. 8vo. No
date.

VOL. II. M

162

PLAYS ALTERED

King Henry V.

King Henry V. or the Conquest of France, a Tragedy, altered by J. P. Kemble, acted at Drury Lane, 8vo.

King Henry VI. Three Parts.

Henry the Sixth, the First Part, with the Murder of Humphrey Duke of Gloucester. As it was acted at the Duke's Theatre. By John Crowne. 4to. 1681.

Henry the Sixth, the Second Part, or the Mifery of Civil War. As it was acted at the Duke's Theatre. By John Crowne. 4to. 1681.

Humfrey Duke of Gloucester, a Tragedy, as it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. [A few speeches and lines only borrowed from Shakſpeare.] By Ambroſe Philips, 8vo. 1723.

An Hiftorical Tragedy of the Civil Wars in the Reign of King Henry VI. (being a ſequl to the Tragedy of Humſrey Duke of Glouceſter, and an Introduction to the Tragical Hiftory of King Richard III.) Altered from Shakſpeare in the year 1720. By Theo. Cibber. 8vo. No date. [1723.]

The Rofes; or King Henry the Sixth; an Hiftorical Tragedy. Reprefented at Reading School, Oct. 15, 16, and 17, 1795. Compiled principally from Shakſpeare. 8vo. Elmſky, &c. This compilaſion is ſaid to have been the work of the Rev. Dr. Valpy.

King Richard III.

The Tragical Hiftory of King Richard III.

163

FROM SHAKSPEARE.

163

Altered from Shakſpeare, 4to. 1700. By Colley Cibber.

Troilus and Creſida.

Troilus and Creffida, or Truth found too late. A Tragedy, as it is acted at the Duke's Theatre. By John Dryden. 4to. 1679.

Coriolanus.

The Ingratitude of a Commonwealth, or the Fall of Caius Martius Coriolanus. As it is acted at the Theatre Royal. By Nahum Tate. 4to. 1682.

The Invader of his Country, or the Fatal Refentment. As it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. By John Dennis. 8vo. 1720.

Coriolanus, or the Roman Matron, a Tragedy, taken from Shakſpeare and Thomſon. As it is acted at the Theatre Royal in Covent Garden : to which is added the Order of the Ovation. By Thomas Sheridan. 8vo. 1755.

Coriolanus, a Tragedy, altered by J. P. Kemble, acted at Drury Lane. 8vo. 1801.

Julius Cæſar.

The Tragedy of Julius Cæſar, with the Death of Brutus and Caffius: written originally by Shakſpeare, and ſince altered by Sir William D'Avenant and John Dryden, Poets Laureat; as it is now acted by his Majesty's Company of Comedians at the Theatre Royal. To which is prefixed the Life of Julius Cæſar, abſtracted from Plutarch and Suetonius. 12mo. 1719.

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164 PLAYS ALTERED

The Tragedy of Julius Cæsar, altered, with a
Prologue and Chorus. 4to. 1722.

The Tragedy of Marcus Brutus, with the Pro-
logue and the two last Choruses. 4to. 1722. Both
by John Sheffield, Duke of Buckingham.

Antony and Cleopatra.

Antony and Cleopatra, an Historical Play written
by William Shakſpeare, fitted for the Stage by
abridging only; and now acted at the Theatre Royal
in Drury Lane, by his Majefty's Servants. By Ed-
ward Capell. 12mo. 1758.

King Lear.

The Hiftory of King Lear, aſted at the Duke's
Theatre. Revived with Alterations. By Nahum
Tate. 4to. 1681.

The Hiftory of King Lear, as it is performed at
the Theatre Royal in Covent Garden. By George
Colman. 8vo. 1768.

Hamlet.

Hamlet, altered by Mr. Garrick. Acted at Drury
Lane, 1771. Not printed.

Cymbeline.

The Injured Princes, or the Fatal Wager. As
it was acted at the Theatre Royal, by his Majefty's
Servants. By Tho. Durfey. 4to. 1682.

Cymbeline, King of Great Britain, a Tragedy,
written by Shakſpeare, with ſome Alterations. By
Charles Marſh. 8vo. 1755.

Cymbeline, a Tragedy, altered from Shakſpeare.

FROM SHAKSPEARE.

165

As it is performed at the Theatre Royal in Covent
Garden. By W. Hawkins. 8vo. 1759.

Cymbeline, altered by Mr. Garrick. Acted at
Drury Lane, 1761. 12mo. 1762.

Timon of Athens.

The Hiftory of Timon of Athens, the Man-
hater. As it is acted at the Duke's Theatre; made
into a Play, by Thomas Shadwell. 4to. 1678.

Timon of Athens. As it is acted at the Theatre
Royal on Richmond Green. Altered from Shak-
ſpeare and Shadwell. By James Love. 8vo. 1768.

Timon of Athens, altered from Shakſpeare, a
Tragedy, as it is acted at the Theatre Royal in
Drury Lane. By Mr. Cumberland. 8vo. 1771.

Timon of Athens, altered from Shakſpeare and
Shadwell, by Mr. Hull, was acted at Covent Gar-
den, 1786. Not printed.

Romeo and Juliet.

Romeo and Juliet, altered into a Tragi-comedy,
by James Howard, Eſq. See Downes, p. 22.

Caius Marius, by Tho. Otway, 4to. 1680.

Romeo and Juliet, a Tragedy, revifed and al-
terod from Shakſpeare. By Theo. Cibber. 8vo. No
date. [1744.]

Romeo and Juliet, altered by Mr. Garrick.
12mo. 1750.

From the Preface to the Republication of Marſh's
Cymbeline in 1762, it appears that he had likewife
made an alteration of Romeo and Juliet.

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