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=.
It is not to those of our own Nation only, but to Forreigners also,
that I have endeavour'd to do Justice. For that reason I have remark'd
(as far as my knowledge would permit me) what has been translated or
stollen from =Tasso=, =Guarini=, =Bonarelli=, =Garnier=, =Scarron=,
both the =Corneilles=, =Molliere=, =Rucine=, =Quinault=, and others
both =French= and =Italians=. Neither have I omitted, to my power,
to do right likewise to the ancient =Greek= and =Latin= Poets, that
have written in this way, as =Sophocles=, =Euripides=, =Æschylus=,
=Aristophanes=, =Seneca=, =Plautus=, =Terence=, &c. I must acknowledge,
with regret, that these are not so well known to me as I could wish;
but yet as far as my power, I have endeavour'd to do right to their
Memories. But I dare assure my Reader, that for the future it shall be
more my busineß to obtain a more intimate acquaintance with all worthy
Strangers, as well as with my own Countrymen, so that if this Trifle
should have the fortune to appear abroad a second time, it shall be
more compleat and correct, than the shortneß of the time, and my small
acquaintance with Authors at present allow; the Catalogue being in the
Preß, and the first sheet of it set, before I thought of adding these
Remarks.
But before I quit this Paper, I desire my Readers leave to take a View
of =Plagiaries= in =general=, and that we may observe the different
proceedings between the =Ancients= and our =Modern= Writers. This
Art has reign'd in all Ages, and is as ancient almost as Learning
it self. If we take it in its general Acceptation, and according to
the extent of the word, we shall find the most Eminent Poets (not
to move excentrically and out of our present Sphere) are liable to
the charge and imputation of =Plagiary=. =Homer= himself is not free
from it, if we will give credit to =Suidas=, =Ælian=, and others: and
that the invention of the =Iliad= is not wholly due to him, seems to
be confirm'd by the Testimony of =Aristotle=, who mentions a =small
Iliad=,[44] which was written before his was produced. But whether
there be any ground, for this Opinion, or no, certain it is that the
most eminent Poets amongst the =Romans=, I mean =Virgil= and =Ovid=,
made use of the Grecian Magazines, to supply their Inventions. To
prove this, let us first consider =Virgil=, stil'd the King of Poets
by =Scaliger=, and in the opinion of =Propertius= exceeding =Homer=
himself, as appears by the following Lines[45] so well known amongst
all learned men,
=Cedite Romani Scriptores, cedite Graii,
Nescio, quid majus nascitur Æneade.=
Yet even this great man has borrow'd in all his Works; from
=Theocritus=, in his =Eclogues=; from =Hesiod= and =Aratus=, in his
=Georgicks=; and from =Homer= and =Pisander=, in his =Æneads=: besides
what he has borrow'd from =Parthenius Nicæus=, his Tutor in the =Greek=
Tongue, and from =Q. Ennius= an ancient =Latin= Poet; as you may read
more at large in =Macrobius=.[46] If we consider =Ovid=, the Flower
of the =Roman= Wit, we shall find him imitating at least, if not
borrowing from, the forementioned =Parthenius=: his =Metamorphosis=,
that Divine Poem, (as =Ant. Muretus=[47] stiles it in his Orations)
being built upon that Poem writ in the =Greek= Tongue, which bore the
same Name, and handled the same Subject, as we are told by =Plutarch=
and =Eustathius=. And if to these we add that worthy =Carthaginian
Terence=, who by the kindneß of the generous =Lucan=, was at once
made a free man and Citizen of =Rome=, and whom on the account of his
Comedies written in the =Latin= Tongue, we may number among the =Roman=
Writers: we shall find him likewise beholding, for his Productions, to
that eminent =Athenian= Poet =Menander=.
But let us now observe how these Eminent Men manage what they borrow'd;
and then compare them with those of our times. =First=, They propos'd
to themselves those Authors whose Works they borrow'd from, for
their Model. =Secondly=, They were cautious to borrow only what they
found beautiful in them, and rejected the rest. This is prov'd by
=Virgil='s Answer concerning =Ennius= his Works, when he was ask'd
by one who saw him reading, what he was about, reply'd, =Aurum se ex
Enii stercore colligere=. =Thirdly=, They plainly confess'd what they
borrow'd, and modestly ascrib'd the credit of it to the Author whence
'twas originally taken. Thus =Terence= owns his Translations in his
=Prologue= to =Eunuchus=.
=Qui bene vertendo, & eas discribendo malè
Ex Græcis bonis, Latinas fecit non bonas.=
This behaviour =Pliny=[48] commends in these words: =Est enim benignum
& plenum ingenium Pudoris, fateri per quos profeceris=: and after
having blam'd the Plagiaries of his time, he commends =Cicero= for
making mention of =Plato=, =Crantor=, and =Panætius=, whom he made
use of in his Works: and let it be observ'd by our =Modern= Poets,
that though our modest =Carthaginian= own'd his Translations, yet was
he not the leß esteem'd by the =Romans=, or his Poems leß valu'd for
it. Nay, even in =this= Age he is universally commended by learned
men, and the judicious =Rapin= gives =him= a Character, which I doubt
few of our Age will deserve. Terence[49] =a ecrit d'une Maniere, & si
naturelle, & si judicieuse, que de Copie qu'il estoit il est devenu
original: car jamais Auteur n'a eu un goust plus par de la Nature=.
=Lastly=, Whatsoever these ancient Poets (particularly =Virgil=) copyed
from =any= Author, they took care not only to alter it for their
purpose; but to add to the beauty of it: and afterwards to insert it
so =handsomly= into their Poems, (the body and Oeconomy of which was
generally their own) that what they =borrow'd=, seem'd of the same
Contexture with what was =originally= theirs. So that it might be truly
said of =them=; =Apparet unde sumptum sit, aliud tamen quam unde sit,
apparet=.
If we =now= on the =other side= examine the proceedings of our late
=English= Writers, we shall find them diametrically opposite in all
things. =Shakspear= and =Johnson= indeed imitated these Illustrious Men
I have cited; the =one= having borrow'd the Comedy of Errours from the
=Menechmi= of =Plautus=; the =other= has made use not only of him, but
of =Horace=, =Ovid=, =Juvenal=, =Salust=, and several others, according
to his occasions: for which he is commended by Mr. =Dryden=,[50]
=as having thereby beautified our Language=: and Mr. =Rymer=, whose
Judgment of him is this; =I cannot= (says he) =be displeas'd with
honest= Ben,[51] =when he chuses rather to borrow a Melon of his
Neighbour, than to treat us with a Pumpion of his own growth=. But for
the most part we are treated far otherwise; not with sound =Roman=
Wit, as in =Ben='s time, but with empty =French= Kickshaws, which yet
our Poetical Hosts serve up to us for Regales of their own Cookery;
and yet they themselves undervalue that very Nation to whom they are
oblig'd for the best share of their Treat. Thus our =Laureat= himself
runs down the =French= Wit in his =Marriage a la Mode=, and steals
from =Molliere= in his =Mock Astrologer=; and which makes it more
observable, at the same time he does so, pretends in his =Epistle=
to justifie himself from the imputation of Theft: =Not unlike the
Cunning of a Jugler= (to apply his own Simile to him) [Epistle to
the =Spanish= Fryer] =who is always staring us in the Face, and
overwhelming us with Gibberish, only that he may gain the opportunity
of making the cleanlier conveyance of his Trick.=[52] I will wave the
Epistle to this Play, which seems to be the Picture of Bays in little,
yet I cannot omit one Observation more, which is, that our =Laureat=
should borrow from =Old Flecknoe=, whom he so much despises: and yet
whoever pleases to read =Flecknoe's Damoyselles a la Mode=, will find
that they have furnisht Mr. =Dryden= with those =refin'd= Expressions
which his =Retrenching= Lady =Donna Aurelea= makes use of, as =the
Counsellor of the Graces=, and that =furious indigence of Ribons=. But
possibly he will own that he borrow'd them as =Father Flecknoe= did,
from =Mollieres Les Precieuses Ridicules=: however, I hope he will
allow that these Expressions better suit, with the =Spiritual= Temper
of those =French= Damsels, than with the known Gravity of the =Spanish=
Ladies. I hope Mr. =Dryden= will pardon me this Discovery, it being
absolutely necessary to my design of Restoring what I could to the true
Authors: and this Maxim I learnt from his own Father =Aldo=, Every one
must have their Own.[53] =Fiat Justitia, aut ruat Mundus.= In pursuance
to which, I own that Mr. =Dryden= has many Excellencies which far
out-weigh his Faults; he is an excellent =Critick=, and a good =Poet=,
his Stile is smooth and fluent, and he has written well, both in Verse
and Prose. I own that I admire him, as much as any man;
----=Neque ego illi detrahere ausim,
Hærentem Capiti multâ cum Laude Coronam.=[54]
But at the same time I cannot but blame him for taxing others with
stealing Characters from him, (as he does =Settle= in his =Notes on
Morocco=) when he himself does =the same=, almost in all the Plays he
writes; and for arraigning his Predecessours for stealing from the
=Ancients=, as he does =Johnson=; which tis evident that he himself
is guilty of the same. I would therefore desire our Laureat, that he
would follow that good Advice which the modest History Professor Mr.
=Wheare= gives to the young Academick in his =Antelogium, to shun this,
Confidence and Self-love, as the worst of Plagues; and to= consider
that =Modesty is it which becomes every Age, and leads all that follow
her in the streight, and right Path to solid= =Glory; without it we
are hurld down Precepices, and instead of acquiring Honour, become
the scorn of Men, and instead of a good Fame, we return loaden with
Ignominy and Contempt.=[55]
I have not time to examine the Thefts of other Plagiaries in
particular, both from the =French= and our =own= Language, and
therefore shall onely desire them to consider this Sentence of
=Pliny=:[56] =Obnoxii profecto animi, & infelicis ingenii est,
deprehendere infurto malle, quam mutuum reddere cum presertim sors fiat
ex usurâ=.
Althô I condemn =Plagiaries=, yet I would not be thought to reckon
as such either =Translators=, or those who =own= what they borrow
from other Authors: for as 'tis commendable in any man to advantage
the =Publick=; so it is manifest, that those Authors have done so,
who have contributed to the Knowledge of the =Unlearned=, by their
excellent =Versions=: Yet at the same time I cannot but esteem them as
the =worst= of Plagiaries, who steal from the Writings of those of our
own Nation. Because he that borrows from the worst =Forreign= Author,
may possibly import, even amongst a great deal of trash, =somewhat= of
value: whereas the former makes us pay extortion for =that= which was
our own before.
For this reason I must distinguish one of our best Comick-Writers,[57]
from the =common Herd= of =Translators=; since though proportionate
to his Writings, none of our =modern= Poets have borrow'd leß; yet
has he dealt ingenuously with the World, and if I mistake not, has
=publickly= own'd, either in his =Prefaces=, or =Prologues=, =all= that
he has borrow'd; which I the rather take notice of, because it is so
=little= practised in =this= Age. 'Tis true indeed, what is borrow'd
from =Shakspeare= or =Fletcher=, is usually own'd by our Poets,
because every one would be able to convict them of Theft, should they
endeavour to conceal it. But in what has been stolen from Authors not
so generally known, as =Murston=, =Middleton=, =Massenger=, &c. we find
our Poets playing the parts of =Bathyllus= to =Virgil=, and robbing
them of that Fame, which is as justly their due, as the Reward the
Emperour =Augustus= had promised to the Author of that known =Distich=
affixed on the Court Gate, was to =Virgil=.
Neither can this Imputation be laid at the doors of such who are
onely Imitators of the Works of others, amongst which, are admired
Sir =Charles Sidley=, and the inimitable M. =Wytcherley=: The last of
which, if I mistake not, has Copied =Mollieres le Misanthrope=, in
his Character of the =Plain Dealer=; and his =Celimene=, in that of
=Olivia=: but =so well=, that though the Character of the =Misanthrope=
be accounted by =Rapin=,[58] =Te Caractere le plus achevee=; The
compleatest Character, and the most singular that ever appeared on
the Stage: yet certainly =our Poet= has equaled, if not exceeded
his Copy. Imitation which =Longinus= commends in =Stesichorus=,
=Archilochus=, and =Herodotus=, all of them being imitators of =Homer=;
but particularly he says of =Plato=: #Pantôn de toutôn malista ho
Platôn, apo tou homêrikou ekeinou namatos eis hauton myrias hosas
paratropas apocheteusamenos#[59] =Sed omnium hujus Poetæ studiosissimus
imitator suit Plato, ab illis Homericis Laticibus ad se seductos vivos
quam-plurimos transferens.=
But to put an end to these =Observations=, which may prove =alike
troublesome= to the Reader, as well as to the Poets: I must say this
for our Countrymen, That notwithstanding our =Modern= Authors have
borrow'd =much= from the =French=, and other Nations, yet have we
several Pieces, if I may so say, of our =own= Manefacture, which
equal at least, any of our Neighbours productions. This is a truth
so =generally= known, that I need not bring instances to prove, that
in the =humour= of our =Comedies=, and in the =characters= of our
=Tragedies=, we do not yeild to =any other= Nation. 'Tis true the
=unities= of =Time=, =Place=, and =Action=, which are generally allowed
to be the Beauties of a Play, and which the =French= are so careful
to observe, add all lusture to their Plays; nevertheleß, several of
our Poets have given proof, that did our Nation more regard them,
they could practice them with equal succeß: But as a =correct Play=
is not so much understood, or at least regarded by the generality
of Spectators; and that few of our Poets now-a-days write so much
for =Honour= as =Profit=: they are therefore content to please at an
easier rate. But would some =great Man= appear here in the defence of
=Poetry=, and for the support of =good= Poets, as the great Cardinal
=Richlieu=, that Noble Patron of Arts and Sciences, did in =France=;
I doubt not but we should find =several= Authors, who would quickly
evince, that neither the Writings of =Aristotle=, or the practice of
those admirable Rules laid down by that =Father= of =Criticism=, and
his best Commentator, =Horace=; with the rest of those eminent Men,
that have written on the =Art of the Stage=, are unknown to them.
But in the mean time, would our =Nobility= and =Gentry=, who delight
in Plays, but allow themselves so much time, as to read over what is
extant on this Subject in =English=, as, =Ben Johnson's= Discoveries;
=Roscommon='s Translation of =Horace='s Art of Poetry; =Rapin='s
Reflections on =Aristotle='s Treatise of Poetry; =Longinus= of the
loftineß of Speech; =Boyleau='s Art of Poetry; =Hedelin='s Art of
the Stage; =Euremont='s Essays; =Rimer='s Tragedies of the last Age
considered; =Dryden='s Drammatick Essay; and several others; though
they understood none but their native Language, and consequently
could not read what =Vossius=, =Heinsius=, =Scaliger=, =Plutarch=,
=Athenæus=, =Titius Giraldus=, =Castelvetro=, =Lope de Vega=,
=Corneille=, =Menardiere=, and others which have written to the same
purpose in several Languages; yet those which are to be met with in
=English=, are sufficient to inform them, both in the =excellency= of
the Poetick Art, and the Rules which Poets follow, with the Reasons
of them: They would then find their Pleasure encrease with their
Knowledge; and they would have the greater satisfaction in seeing a
=correct Play=, by how much they were capable (by the help of these
Rules) to discern the =Beauties= of it; and the greater value for a
=good= Poet, by how much they were sensible of the Pains and Study
requisite to bring such a Poem to perfection. This would advance the
fame of =good= Poets, and procure them =Patrons= amongst the =Nobility=
and =Gentry=, and through their =Emulation= to exceed each other,
=Poetry= might in a few Years be advanced to the =same= Perfection that
it was in formerly, at =Rome= and =Athens=.
GERARD LANGBAINE.
ERRATA.
By reason of my great distance from the Preß, several confederate
=Errata's= are to be met with throughout; but the most material are
these which follow: Which the Reader is desired to Pardon and Correct.
=In the Catalogue it self.=
Page 6. =The Wits= is left out, a Play of Sir =W. Davenant=. p. 10.
=Courageous Turk=, &c. for 4o read 8o p. 11. =Play of Love=, &c. dele
4o, for I never saw but the first Play. p. 13. for =Hymenes= read
=Hymenæi=. p. 16. for =Antiquarary= read =Antiquary=. p. 17. =Heyre=
for 8o read 4o. p. 25. for =Loyal Brother= read =Revenger's Tragedy=.
=In the Notes.=
Page 7. and so throughout, for =in vitam= read =in vitâ=, and
=in vitas= read =in vitis=. p. 9. Note [177] for =Procopis= read
=Procopii=. p. 10. N. [196] add the Line of the next Page, =viz.= Plot
from =Guiciardine='s History of =Italy=, p. 11. dele and from =Poetical
History=, ibid. to N. [197] instead of what is Printed, read, These
three Plays are Translated from =Seneca=, and Printed with the rest,
=Lond.= 1581. p. 13. N. [220] for Book the Ninth, Satyr the first Part,
read, Book the First, Satyr 9. p. 17. N. [275] for =du Bee=, read =du
Bec=. p. 18. N. [288] for Fourteen, read Thirteen, and for Three, read
Five. p. 19. N. [300] belongs to =Cambyses=. p. 20. N. [313] for =Mons=
read =Monsieur=. p. 21. N. [324] for =Mænectrini=, read =Mænechmi=.
p. 22. N. [344] for 1581, read 1653. =ibid.=, to =Triumph of Beauty=,
add (=k=) with this Note, Printed with his Poems, =Lond.= 1646. p. 25.
N. [370] for Publish'd, read Reprinted. =ibid.= N. [372] for =Musæe
Erotoprgnion=, read =Musæi Erotopagnion=. p. 24. N. [368] for =K=.
read =Prince=. p. 25. N. [381] to =Observationum=, add =Medicarum
Volumen=. p. 27. N. [393] for Poem, read Play. =ibid.= N. [397] belongs
to =French Conjurer=, and N. [398] to =Witty Combat=. p. 28. N. [407]
belongs to =Thornby-Abby=: N. [408] to =Marriage Broker=, and the last
Line to =Menechmus=. p. 31. N. [447] belongs to =Rivals=.
FOOTNOTES:
[40] Poet. c. 10.
[41] Epist. 2. ad Lollium
[42] Poetices. Lib. 1,. c. 2.
[43] Pref. to _Gondibert_, p. 2.
[44] Poet. c. 23.
[45] =Poet. l. 3. cap. 15.=
[46] =Saturnalia, l. 5. c. 11. l. 6. c. 1.=
[47] =Vol. 2. Orat. 3.=
[48] =Epist. ad Tit. Vespar.=
[49] =Reflect. 26, part 2.=
[50] =Epist. to Mock Astrologer.=
[51] =Tragedies of the last Age=, p. 143.
[52] Ep. to the Spanish Fryer.
[53] Kind Keeper.
[54] Hor. Sat. 10. 1., 1.,
[55] Mr. _Bohun's_, translat.
[56] Ep. ad TY.
[57] Mr. =Shadwell=.
[58] =Reflect. 26.= part. 2
[59] #Peri hypssous# Sect. 11.
A
Catalogue of Plays,
WITH THEIR
_Known or Supposed_ AUTHORS, &c.
Will. Alexander, Lord Sterline.
{[60]Alexandrian Trag. Tr. Fol.
{[61]Croesus T. Fol.
[62] {[63]Darius T. Fol.
{[64]Julius Cæsar T. Fol.
Robert Armin.
Maids of Moorclack H.
Barnaby Barnes.
[65] Devil's Charter. T. 4o.
Samuel Brandon.
[66] Virtuous Octavia T. C. 8o.
Henry Burkhead.
Colas Fury, or Lyrindas Misery. T. 4o
Robert Baron.
[67] {Gripus & Hegio P. 8o
{Deorum Dona M. 8o
[68] Mirza T. 8o
Anthony Brewer.
Country Girl Com. 4o
[69] Love-sick King T. C. 4o
Nicholas Breton.
Old mans Lesson, and Young mans Love I. 4o
Dabridgecourt Belchier.
See me, and see me not C. 4o
Francis Beaumont, Vide Fletcher.
Richard Bernard.
Terence's Comedies, _viz._
Andræa. }
Adelphi. }
Evnuchus. }
Heautontimorumenos. } 4o
Hecyra. }
Phormio. }
Lodow. Barrey.
Ram-Alley, or Merry Tricks. C. 4o.
Richard Brome.
{Court Beggar C.}
{City Wit C.}
[70] {Damoyselle C.} 8o
{Mad couple well matcht. C.}
{Novella C.}
{Covent Garden weeded. C. 8o
{English Moor C. 8o
[71] {Love-sick Court C. 8o
{New Exchange C. 8o
{Queen and Concubine C. 8o
Antipodes C. 4o
[72] Jovial Crew C. 4o
[73] Northern Lass C. 4o
Queens Exchange C. 4o
Sparagus Garden C. 4o
Alexander Brome.
Cunning, Lover C. 4o
Fulk, =Lord= Brook.
[74] {Alaham T. Fo.
[75] {Mustapha T. Fo.
Abraham Baily.
Spightful Sister C. 4o
=Mrs.= Frances Boothby.
Marcelia T. C. 4o
John Bancroft.
Sertorius T. 4o
=Mrs.= Astrea Behn.
Amorous Prince T. C. 4o
[76] Abdellazar, or the Moors Revenge T. 4o
[77] City Heiress C. 4o
[78] Dutch Lover C. 4o
[79] Emperour of the Moon F. 4.o
Forc'd Marriage T. C. 4o
False Count C. 4o
Feign'd Courtezans C. 4o
Lucky Chance C. 4o
[80] Rover, two Parts C. 4o
[81] Roundheads C. 4o
[82] Sir Patient Fancy C. 4o
[83] Town-Fopp, or Sir Timothy Tawdry C. 4o
[84] Young King T. C. 4o
Capt. William Bedloe.
Excommunicated Prince T. C. Fo.
John Banks.
[85] Destruction of Troy T. 4o
[86] Rival Kings T. 4o
[87] Unhappy Favourite-_Essex_ T. 4o
[88] Mary, Queen of _Scotland_ T. 4o
[89] Virtue Betray'd-_An. Bullen._ T. 4o
George Chapman.
All Fools C. 4o
[90] Alphonsus, Emperor of Germany T. 4o
Blind Beggar of Alexandria C. 4o
[91] {Bussy D'Amboys T. 4o
{---- His Revenge T. 4o
[92] {Byron's Conspiracy T. 4o
{---- His Tragedy T. 4o
[93] Cæsar and Pompey T. 4o
Gentleman Usher C. 4o
Humorous Days Mirth C. 4o
May Day C. 4o
Monsieur D' Olive C. 4o
Masque of the Middle Temple. M. 4o
Revenge for Honour T. 4o
Temple M. 4o
Two Wise Men, and all the rest Fools C. 4o
[94] Widows tears C. 4o
[95] Eastward Hoe C. 4o
Robert Cox.
[96] Actæon and Diana I. 4o
John Cook.
Green's Tu Quoque C. 4o
Edward Cook.
[97] Loves Triumph T. C. 4o
Thomas Carew, and Inigo Jones.
[98] Coelum Britannicum M. 8o
Lady Eliz. Carew.
[99] Mariam T. 4o
Robert Chamberlain.
Swaggering Damoyselle C. 4o
William Chamberlain.
Loves Victory C. 4o
[100]Lodowick Carlell.
Arviragus and Philicia, two Parts T. C. 12o
Fool would be a Favourite T. C. 8o
Deserving Favourite T. C. 8o
[101]Osmond the Great Turk T. 8o
Passionate Lovers, two Parts. T. C. 8o
[102]Heraclius Emperour of the East T. 4o
Abraham Cowley.
[103]Cutter of Coleman-street C. 4o
Guardian C. 4o
[104]Loves Riddle P. Fol.
[105]William Carthwright.
Lady Errant T. C. 8o
Ordinary C. 8o
Royal Slave T. C. 8o
[106]Siege T. C. 8o
[107]Sir Aston Cockain.
Obstinate Lady C. 8o
[108]Ovid T. 8o
[109]Trapolin suppos'd a Prince. T. C. 8o
Richard Carpenter.
Pragmatical Jesuit C. 4o
Charles Cotton.
[110]Horrace T. 4o
John Corey.
[111]Generous Enemies C. 4o
John Crown.
[112]Andromache T. 4o
Ambitious States-man T. 4o
City Politiques C. 4o
[113]Country Wit C. 4o
[114]Charles the Eighth T. 4o
[115]Calisto M. 4o
[116]Destruct. of Jerusal. 2 Pts. T. 4o
[117]{Henry the sixth T. 4o
{----The second Part, or the Miseries of Civil War T. 4o
Juliana, Princess of Poland. T. C. 4o
[118]Sir Courtly Nice C. 4o
[119]Thiestes T. 4o
John Day.
Blind Beggar of Bednal Green. C. 4o
Humour out of Breath C.
[120]Isle of Gulls C. 4o
Law Tricks C. 4o
Parliament of Bees M. 4o
[121]Travels of three English Brothers H. 4o
Robert Dawbourn.
Christian turn'd Turk T. 4o
Poor Mans Comfort C. 4o
[122]Samuel Daniel.
[123]Cleopatra T. 4o
Hymens Triumph P. 4o
[124]Philotas T. 4o
Queens Arcadia P. 4o
Vision of the twelve Goddesses M. 4o
Robert Davenport.
[125]City Night-Cap C. 4o
[126]John and Matilda T. 4o
Thomas Decker.
Fortunatus C. 4o
Honest Whore, two Parts C. 4o
If this be'nt a good Play, the Devil's in't C. 4o
Match me in London C. 4o
{Northward Hoe C. 4o
[127]{Westward Hoe H. 4o
{Wyat's History H. 4o
Untrussing of the Humorous Poet C. 4o
Whore of Babylon C. 4o
Wonder of a Kingdom C. 4o
[128]Witch of Edmonton T. 4o
[129]Sir Will. D'Avenant.