The works of John Dryden, now first collected in eighteen volumes. Volume 10

Though actors cannot much of learning boast,

Of all who want it, we admire it most:

We love the praises of a learned pit,

As we remotely are allied to wit.

We speak our poet's wit, and trade in ore,

Like those who touch upon the golden shore;

Betwixt our judges can distinction make,

Discern how much, and why our poems take;

Mark if the fools, or men of sense, rejoice;

Whether the applause be only sound or voice.

When our fop gallants, or our city folly,

Clap over loud, it makes us melancholy:

We doubt that scene which does their wonder raise,

And, for their ignorance, contemn their praise.

Judge, then, if we who act, and they who write,

Should not be proud of giving you delight.

London likes grossly; but this nicer pit

Examines, fathoms, all the depths of wit;

The ready finger lays on every blot;

Knows what should justly please, and what should not.

Nature herself lies open to your view;

You judge, by her, what draught of her is true,

Where outlines false, and colours seem too faint,

Where bunglers daub, and where true poets paint.

But by the sacred genius of this place,

By every muse, by each domestic grace,

Be kind to wit, which but endeavours well,

And, where you judge, presumes not to excel!

Our poets hither for adoption come,

As nations sued to be made free of Rome:

Not in the suffragating tribes [380] to stand,

But in your utmost, last, provincial band.

If his ambition may those hopes pursue,

Who, with religion, loves your arts and you,

Oxford to him a dearer name shall be

Than his own mother-university.

Thebes [381] did his green, unknowing, youth engage;

He chooses Athens in his riper age.

EPILOGUE
TO
CONSTANTINE THE GREAT.
BY MR N. LEE, 1684.

The play, to which this is the prologue, is but a second-rate performance. It is founded on the story of Faustina and Crispus, which the learned will find in Ammianus Marcellinus, and the English reader in Gibbon. Arius, the heretic, is the villain of the piece, which concludes fortunately.

Our hero's happy in the play's conclusion;

The holy rogue at last has met confusion:

Though Arius all along appeared a saint,

The last act showed him a True Protestant.[382]

Eusebius,—for you know I read Greek authors,—

Reports, that, after all these plots and slaughters,

The court of Constantine was full of glory,

And every Trimmer turned addressing Tory.

They followed him in herds as they were mad:

When Clause was king, then all the world was glad.[383]

Whigs kept the places they possest before,

And most were in a way of getting more;

Which was as much as saying, Gentlemen,

Here's power and money to be rogues again.

Indeed, there were a sort of peaking tools,

Some call them modest, but I call them fools;

Men much more loyal, though not half so loud,

But these poor devils were cast behind the crowd;

For bold knaves thrive without one grain of sense,

But good men starve for want of impudence.

Besides all these, there were a sort of wights,

(I think my author calls them Tekelites,)

Such hearty rogues against the king and laws,

They favoured e'en a foreign rebel's cause,

When their own damned design was quashed and awed;

At least they gave it their good word abroad.

As many a man, who, for a quiet life,

Breeds out his bastard, not to noise his wife,

}

Thus, o'er their darling plot these Trimmers cry, }

And, though they cannot keep it in their eye, }

They bind it 'prentice to Count Tekely.[384] }

They believe not the last plot; may I be curst,

If I believe they e'er believed the first!

No wonder their own plot no plot they think,—

The man, that makes it, never smells the stink.

And, now it comes into my head, I'll tell

Why these damned Trimmers loved the Turks so well.

The original Trimmer,[385] though a friend to no man,

Yet in his heart adored a pretty woman;

He knew that Mahomet laid up for ever

Kind black-eyed rogues for every true believer;

And,—which was more than mortal man e'er tasted,—

One pleasure that for threescore twelvemonths lasted.

To turn for this, may surely be forgiven;

Who'd not be circumcised for such a heaven?

PROLOGUE
TO THE
DISAPPOINTMENT, OR THE MOTHER IN FASHION.
BY MR SOUTHERNE, 1684.
SPOKEN BY MR BETTERTON.

This play is founded on the novel of the Impertinent Curiosity, in Don Quixote. It possesses no extraordinary merit. The satire of the Prologue, though grossly broad, is very forcibly expressed; and describes what we may readily allow to have been the career of many, who set up for persons of wit and honour about town.

How comes it, gentlemen, that, now a-days,

When all of you so shrewdly judge of plays,

Our poets tax you still with want of sense?

All prologues treat you at your own expence.

Sharp citizens a wiser way can go;

They make you fools, but never call you so.

They in good manners seldom make a slip,

But treat a common whore with—ladyship:

But here each saucy wit at random writes,

And uses ladies as he uses knights.

Our author, young and grateful in his nature,

Vows, that from him no nymph deserves a satire:

Nor will he ever draw—I mean his rhime,

Against the sweet partaker of his crime;

Nor is he yet so bold an undertaker,

To call men fools—'tis railing at their Maker.

Besides, he fears to split upon that shelf;

He's young enough to be a fop himself:

And, if his praise can bring you all a-bed,

He swears such hopeful youth no nation ever bred.

}

Your nurses, we presume, in such a case, }

Your father chose, because he liked the face, }

And often they supplied your mother's place. }

The dry nurse was your mother's ancient maid,

Who knew some former slip she ne'er betrayed.

Betwixt them both, for milk and sugar-candy,

Your sucking bottles were well stored with brandy.

}

Your father, to initiate your discourse, }

Meant to have taught you first to swear and curse, }

But was prevented by each careful nurse. }

For, leaving dad and mam, as names too common,

They taught you certain parts of man and woman.

I pass your schools; for there, when first you came,

You would be sure to learn the Latin name.

In colleges, you scorned the art of thinking,

But learned all moods and figures of good drinking;

Thence come to town, you practise play, to know

The virtues of the high dice, and the low.[386]

Each thinks himself a sharper most profound:

He cheats by pence; is cheated by the pound.

}

With these perfections, and what else he gleans, }

The spark sets up for love behind our scenes, }

Hot in pursuit of princesses and queens. }

There, if they know their man, with cunning carriage,

Twenty to one but it concludes in marriage.

He hires some homely room, love's fruits to gather,

And, garret high, rebels against his father:

But, he once dead——

Brings her in triumph, with her portion, down—

A toilet, dressing-box, and half-a-crown.[387]

Some marry first, and then they fall to scowering,

Which is refining marriage into whoring.

Our women batten well on their good nature;

All they can rap and rend for the dear creature.

But while abroad so liberal the dolt is,

Poor spouse at home as ragged as a colt is.

Last, some there are, who take their first degrees

Of lewdness in our middle galleries;

The doughty bullies enter bloody drunk,

Invade and grubble one another's punk:

They caterwaul, and make a dismal rout,

Call sons of whores, and strike, but ne'er lug out:

Thus, while for paltry punk they roar and stickle,

They make it bawdier than a conventicle.

PROLOGUE
TO
THE KING AND QUEEN,
UPON THE
UNION OF THE TWO COMPANIES, IN 1686.

The two rival Companies, so long known by the names of the King's and the Duke's players, after exhausting every effort, both of poetry and machinery, to obtain a superiority over each other, were, at length, by the expence of these exertions, and the inconstancy of the public, reduced to the necessity of uniting their forces, in order to maintain their ground. "Taste and fashion," says Colley Cibber, "with us, have always had wings, and fly from one public spectacle to another so wantonly, that I have been informed, by those who remember it, that a famous puppet-show, in Salisbury-change, then standing where Cecil-street now is, so far distressed these two celebrated companies, that they were reduced to petition the king for relief against it. Nor ought we, perhaps, to think this strange, when, if I mistake not, Terence himself reproaches the Roman auditors of his time with the like fondness for the funambuli, the rope-dancers. Not to dwell too long, therefore, upon that part of my history, which I have only collected from oral tradition, I shall content myself with telling you, that Mohun and Hart now growing old, (for above thirty years before this time, they had severally borne the king's commission of major and captain in the civil wars,) and the younger actors, as Goodman, Clark, and others, being impatient to get into their parts, and growing intractable, the audiences too of both houses then falling off, the patentees of each, by the king's advice, (which, perhaps, amounted to a command,) united their interests, and both companies into one, exclusive of all others, in the year 1684. This union was, however, so much in favour of the Duke's company, that Hart left the stage upon it, and Mohun survived not long after."[388] Apology, p. 58.

It appears, that the king and queen honoured with their presence the first performance under the union they had recommended. Dryden's prologue abounds with those violent expressions of loyalty with which James loved to be greeted.

Since faction ebbs, and rogues grow out of fashion,

Their penny scribes take care t' inform the nation,

How well men thrive in this or that plantation:[389]

How Pennsylvania's air agrees with Quakers,

And Carolina's with Associators;

Both e'en too good for madmen and for traitors.[390]

Truth is, our land with saints is so run o'er,

And every age produces such a store,

That now there's need of two New Englands more.

What's this, you'll say, to us, and our vocation?

Only thus much, that we have left our station,

And made this theatre our new plantation.

The factious natives never could agree;

But aiming, as they called it, to be free,

Those play-house Whigs set up for property.[391]

Some say, they no obedience paid of late;

But would new tears and jealousies create,

Till topsy-turvy they had turned the state.

Plain sense, without the talent of foretelling,

Might guess 'twould end in downright knocks and quelling;

For seldom comes there better of rebelling.

When men will, needlessly, their freedom barter

For lawless power, sometimes they catch a Tartar;—

There's a damned word that rhimes to this, called Charter.[392]

But, since the victory with us remains,

You shall be called to twelve in all our gains,

If you'll not think us saucy for our pains.

Old men shall have good old plays to delight them;

And you, fair ladies and gallants, that slight them,

We'll treat with good new plays, if our new wits can write them.

We'll take no blundering verse, no fustain tumor,

No dribbling love, from this or that presumer;

No dull fat fool shammed on the stage for humour:[393]

For, faith, some of them such vile stuff have made,

As none but fools or fairies ever played;

But 'twas, as shopmen say, to force a trade.

We've given you tragedies, all sense defying,

And singing men, in woful metre dying;

This 'tis when heavy lubbers will be flying.

All these disasters we will hope to weather;

We bring you none of our old lumber hither;

Whig poets and Whig sheriffs [394] may hang together.

EPILOGUE
ON
THE SAME OCCASION.

New ministers, when first they get in place,

Must have a care to please; and that's our case:

Some laws for public welfare we design,

If you, the power supreme, will please to join.

There are a sort of prattlers in the pit,

Who either have, or who pretend to wit;

These noisy sirs so loud their parts rehearse,

That oft the play is silenced by the farce.

Let such be dumb, this penalty to shun,

Each to be thought my lady's eldest son.

But stay; methinks some vizard mask I see,

Cast out her lure from the mid gallery:

About her all the fluttering sparks are ranged;

The noise continues, though the scene is changed:

Now growling, sputtering, wauling, such a clutter!

'Tis just like puss defendant in a gutter:

Fine love, no doubt; but ere two days are o'er ye,

The surgeon will be told a woful story.

Let vizard mask her naked face expose,

On pain of being thought to want a nose:

Then for your lacqueys, and your train beside,

By whate'er name or title dignified,

They roar so loud, you'd think behind the stairs

Tom Dove,[395] and all the brotherhood of bears:

They're grown a nuisance, beyond all disasters;

We've none so great but—their unpaying masters.

We beg you, Sirs, to beg your men, that they

Would please to give you leave to hear the play.

Next, in the play-house, spare your precious lives;

Think, like good Christians, on your bearns and wives:

Think on your souls; but, by your lugging forth,[396]

It seems you know how little they are worth.

If none of these will move the warlike mind,

Think on the helpless whore you leave behind.

We beg you, last, our scene-room to forbear,

And leave our goods and chattels to our care.

Alas! our women are but washy toys,

And wholly taken up in stage employs:

Poor willing tits they are; but yet, I doubt,

This double duty soon will wear them out.

Then you are watched besides with jealous care;

What if my lady's page should find you there?

My lady knows t' a tittle what there's in ye;

No passing your gilt shilling for a guinea.

Thus, gentlemen, we have summed up in short

Our grievances, from country, town, and court:

Which humbly we submit to your good pleasure;

But first vote money, then redress at leisure.[397]

PROLOGUE
TO
THE PRINCESS OF CLEVES.
BY MR N. LEE, 1689.

This play is one of the coarsest which ever appeared upon the stage. The author himself seems to be ashamed of it, and gives, for the profligacy of his hero, the Duke of Nemours, the odd reason of a former play on the subject of the Paris massacre having been prohibited, at the request, I believe, of the French ambassador. See Vol. VII. p. 188.

Ladies! (I hope there's none behind to hear)

I long to whisper something in your ear:

A secret, which does much my mind perplex,—

There's treason in the play against our sex.

A man that's false to love, that vows and cheats,

And kisses every living thing he meets;

A rogue in mode,—I dare not speak too broad,—

One that—does something to the very bawd.

Out on him, traitor, for a filthy beast!

Nay, and he's like the pack of all the rest:

}

None of them stick at mark; they all deceive. }

Some Jew has changed the text, I half believe; }

There Adam cozened our poor grandame Eve. }

To hide their faults they rap out oaths, and tear;

Now, though we lie, we're too well-bred to swear.

So we compound for half the sin we owe,

But men are dipt for soul and body too;

And, when found out, excuse themselves, pox cant them,

With Latin stuff, Perjuria ridet Amantûm.

I'm not book-learned, to know that word in vogue,

But I suspect 'tis Latin for a rogue.

I'm sure, I never heard that screech-owl hollowed

In my poor ears, but separation followed.

How can such perjured villains e'er be saved?

Achitophel's not half so false to David.[398]

With vows and soft expressions to allure,

They stand, like foremen of a shop, demure:

No sooner out of sight, but they are gadding,

And for the next new face ride out a padding.

Yet, by their favour, when they have been kissing,

We can perceive the ready money missing.

Well! we may rail; but 'tis as good e'en wink;

Something we find, and something they will sink.

But, since they're at renouncing, 'tis our parts

To trump their diamonds, as they trump our hearts.

EPILOGUE
TO
THE SAME.

A qualm of conscience brings me back again,

To make amends to you bespattered men.

We women love like cats, that hide their joys,

By growling, squalling, and a hideous noise.

I railed at wild young sparks; but, without lying,

Never was man worse thought on for high-flying.

The prodigal of love gives each her part,

And, squandering, shows at least a noble heart.

I've heard of men, who, in some lewd lampoon,

Have hired a friend to make their valour known.

That accusation straight this question brings,—

What is the man that does such naughty things?

The spaniel lover, like a sneaking fop,

Lies at our feet:—he's scarce worth taking up.

'Tis true, such heroes in a play go far;

But chamber-practice is not like the bar.

When men such vile, such faint petitions make,

We fear to give, because they fear to take;

Since modesty's the virtue of our kind,

Pray let it be to our own sex confined.

When men usurp it from the female nation,

'Tis but a work of supererogation.

We shewed a princess in the play, 'tis true,

Who gave her Cæsar [399] more than all his due;

Told her own faults; but I should much abhor

To choose a husband for my confessor.

You see what fate followed the saint-like fool,

For telling tales from out the nuptial school.

Our play a merry comedy had proved,

Had she confessed so much to him she loved.

True Presbyterian wives the means would try;

But damned confessing is flat Popery.

PROLOGUE
TO
ARVIRAGUS AND PHILICIA.
BY LODOWICK CARLELL, ESQ.
SPOKEN BY MR HART.

Lodowick Carlell, according to Langbaine, was an ancient courtier, being gentleman of the bows to King Charles I., groom of the king and queen's privy chamber, and servant to the queen-mother many years. His plays, the same author adds, were well esteemed of, and acted chiefly at the private house in Blackfriars. They were seven in number. "Arviragus and Philicia" consisted of two parts, and was first printed in 8vo, 1639. The prologue, which was spoken upon the revival of the piece, turns upon the caprice of the town, in preferring, to the plays of their own poets, the performances of a troop of French comedians, who, it seems, were then acting both tragedies and comedies in their own language.

With sickly actors, and an old house too,

We're matched with glorious theatres, and new;

And with our alehouse scenes, and clothes bare worn,

Can neither raise old plays, nor new adorn.

If all these ills could not undo us quite,

A brisk French troop is grown your dear delight;

Who with broad bloody bills call you each day,

To laugh and break your buttons at their play;

Or see some serious piece, which, we presume,

Is fallen from some incomparable plume;

"And therefore, Messieurs, if you'll do us grace,

Send lacquies early to preserve your place."

We dare not on your privilege intrench,

Or ask you, why you like them?—they are French.

Therefore, some go with courtesy exceeding,

Neither to hear nor see, but show their breeding;

Each lady striving to outlaugh the rest,

To make it seem they understood the jest.

Their countrymen come in, and nothing pay,

To teach us English were to clap the play:

Civil, egad! our hospitable land

Bears all the charge for them to understand:

Mean time we languish, and neglected lie,

Like wives, while you keep better company;

And wish for your own sakes, without a satire,

You'd less good breeding, or had more good nature.

PROLOGUE
TO
THE PROPHETESS.
BY
BEAUMONT AND FLETCHER.
REVIVED
By DRYDEN.
SPOKEN BY MR BETTERTON.

"The Prophetess" of Beaumont and Fletcher, even in its original state, required a good deal of machinery; for it contains stage directions for thunder-bolts brandished from on high, and for a chariot drawn through mid air by flying dragons; but it was now altered into an opera, with the addition of songs and scenical decorations, by Betterton, in 1690. Our author wrote the following prologue, to introduce it upon the stage in its altered state. The music was by Henry Purcell, and is said to have merited applause. Rich, whose attachment to scenery and decoration is ridiculed by Pope, revived this piece, and piqued himself particularly upon a set of dancing chairs, which he devised for the nonce.

The prologue gave offence to the court, and was prohibited by the Earl of Dorset, Lord Chamberlain, after the first day's representation. It contains, Cibber remarks, some familiar metaphorical sneers at the Revolution itself; and as the poetry is good, the offence was less pardonable. King William was at this time prosecuting his campaigns in Ireland; and the author not only ridicules the warfare in which he was engaged, and the English volunteers who attended him, but even the government of Queen Mary in his absence.

What Nostradame, with all his art, can guess

The fate of our approaching Prophetess?

A play, which, like a perspective set right,

Presents our vast expences close to sight;

But turn the tube, and there we sadly view

Our distant gains, and those uncertain too;

A sweeping tax, which on ourselves we raise,

And all, like you, in hopes of better days.

When will our losses warn us to be wise?

Our wealth decreases, and our charges rise.

Money, the sweet allurer of our hopes,

Ebbs out in oceans, and comes in by drops.

We raise new objects to provoke delight,

But you grow sated ere the second sight.

False men, even so you serve your mistresses;

They rise three stories in their towering dress;

And, after all, you love not long enough

To pay the rigging, ere you leave them off.

Never content with what you had before,

But true to change, and Englishmen all o'er.

Now honour calls you hence; and all your care

Is to provide the horrid pomp of war.

In plume and scarf, jack-boots, and Bilbo blade,

Your silver goes, that should support our trade.

Go, unkind heroes! leave our stage to mourn,

Till rich from vanquished rebels you return;

And the fat spoils of Teague in triumph draw,

His firkin butter, and his usquebaugh.

Go, conquerors of your male and female foes;

Men without hearts, and women without hose.

Each bring his love a Bogland captive home;

Such proper pages will long trains become;

With copper collars, and with brawny backs,

Quite to put down the fashion of our blacks.[400]

Then shall the pious Muses pay their vows,

And furnish all their laurels for your brows;

Their tuneful voice shall raise for your delights;

We want not poets fit to sing your flights.

But you, bright beauties, for whose only sake

Those doughty knights such dangers undertake,

}

When they with happy gales are gone away, }

With your propitious presence grace our play, }

And with a sigh their empty seats survey; }

Then think,—On that bare bench my servant sat!

I see him ogle still, and hear him chat;

Selling facetious bargains, and propounding

That witty recreation, called dum-founding.[401]—

Their loss with patience we will try to bear,

And would do more, to see you often here;

That our dead stage, revived by your fair eyes,

Under a female regency may rise.

PROLOGUE
TO
THE MISTAKES.

This play was brought forward by Joseph Harris, a comedian, as his own, although it is said to have been chiefly written by another person. It was acted in 1690.

Enter Mr Bright.

Gentlemen, we must beg your pardon; here's no prologue to be had to-day. Our new play is like to come on, without a frontispiece; as bald as one of you young beaux without your periwig. I left our young poet, snivelling and sobbing behind the scenes, and cursing somebody that has deceived him.

Enter Mr Bowen.

Hold your prating to the audience; here's honest Mr Williams just come in, half mellow, from the Rose-Tavern.[402] He swears he is inspired with claret, and will come on, and that extempore too, either with a prologue of his own, or something like one. O here he comes to his trial, at all adventures; for my part, I wish him a good deliverance.

[Exeunt Mr Bright and Mr Bowen.

Enter Mr Williams.

}

Save ye, sirs, save ye! I am in a hopeful way. }

I should speak something, in rhyme, now, for the play }

But the deuce take me, if I know what to say. }

I'll stick to my friend the author, that I can tell ye,

To the last drop of claret in my belly.

So far I'm sure 'tis rhyme—that needs no granting;

And, if my verses' feet stumble—you see my own are wanting.

}

Our young poet has brought a piece of work, }

In which though much of art there does not lurk, }

It may hold out three days—and that's as long as Cork.[403] }

But, for this play—(which till I have done, we show not)

What may be its fortune—by the Lord—I know not.

This I dare swear, no malice here is writ;

'Tis innocent of all things——even of wit.

He's no high-flyer——he makes no sky-rockets,

His squibs are only levelled at your pockets;

And if his crackers light among your pelf,

You are blown up; if not, then he's blown up himself.

By this time, I'm something recovered of my flustered madness;

And now, a word or two in sober sadness.

Ours is a common play; and you pay down

A common harlot's price—just half a crown.

}

You'll say, I play the pimp, on my friend's score; }

But since 'tis for a friend your gibes give o'er, }

For many a mother has done that before. }

How's this? you cry: an actor write?—we know it;

But Shakespeare was an actor, and a poet.

Has not great Jonson's learning often failed?

But Shakespeare's greater genius still prevailed.

Have not some writing actors, in this age,

Deserved and found success upon the stage?

To tell the truth, when our old wits are tired,

Not one of us but means to be inspired.

}

Let your kind presence grace our homely cheer; }

Peace and the butt [404] is all our business here; }

So much for that—and the devil take small beer. }

EPILOGUE
TO
HENRY II.
BY JOHN BANCROFT,
AND PUBLISHED BY MR MOUNTFORT, 1693.
SPOKEN BY MRS BRACEGIRDLE.

This play is founded on the amours of Henry II. and the death of fair Rosamond. John Bancroft, the author, was a surgeon, and wrote another play called "Sertorius." He gave both the reputation and the profits of "Henry II." to Mountfort, the comedian; and probably made him no great compliment in the former particular, though, as the piece was well received, the latter might be of some consequence. Mountfort was an actor of great eminence. Cibber says, that he was the most affecting lover within his memory.

Thus you the sad catastrophe have seen,

Occasioned by a mistress and a queen.

Queen Eleanor the proud was French, they say;

But English manufacture got the day.

Jane Clifford was her name, as books aver;

Fair Rosamond was but her nom de guerre.

Now tell me, gallants, would you lead your life

With such a mistress, or with such a wife?

If one must be your choice, which d'ye approve,

The curtain lecture, or the curtain love?

Would ye be godly with perpetual strife,

Still drudging on with homely Joan, your wife

Or take your pleasure in a wicked way,

Like honest whoring Harry in the play?

I guess your minds; the mistress would be taken,

And nauseous matrimony sent a packing.

The devil's in you all; mankind's a rogue;

You love the bride, but you detest the clog.

After a year, poor spouse is left i'the lurch,

And you, like Haynes,[405] return to mother-church.

Or, if the name of Church comes cross your mind,

Chapels-of-ease behind our scenes you find.

The playhouse is a kind of market-place;

One chaffers for a voice, another for a face;

Nay, some of you,—I dare not say how many,—

Would buy of me a pen'worth for your penny.

}

E'en this poor face, which with my fan I hide, }

Would make a shift my portion to provide, }

With some small perquisites I have beside. }

Though for your love, perhaps, I should not care,

I could not hate a man that bids me fair.

}

What might ensue, 'tis hard for me to tell; }

But I was drenched to-day for loving well, }

And fear the poison that would make me swell. }

The works of John Dryden, now first collected in eighteen volumes. Volume 10

About This Book

EPILOGUE
TO
CONSTANTINE THE GREAT.
BY MR N. LEE, 1684.

PROLOGUE
TO THE
DISAPPOINTMENT, OR THE MOTHER IN FASHION.
BY MR SOUTHERNE, 1684.
SPOKEN BY MR BETTERTON.

PROLOGUE
TO
THE KING AND QUEEN,
UPON THE
UNION OF THE TWO COMPANIES, IN 1686.

EPILOGUE
ON
THE SAME OCCASION.

PROLOGUE
TO
THE PRINCESS OF CLEVES.
BY MR N. LEE, 1689.

EPILOGUE
TO
THE SAME.

PROLOGUE
TO
ARVIRAGUS AND PHILICIA.
BY LODOWICK CARLELL, ESQ.
SPOKEN BY MR HART.

PROLOGUE
TO
THE PROPHETESS.
BY
BEAUMONT AND FLETCHER.
REVIVED
By DRYDEN.
SPOKEN BY MR BETTERTON.

PROLOGUE
TO
THE MISTAKES.

EPILOGUE
TO
HENRY II.
BY JOHN BANCROFT,
AND PUBLISHED BY MR MOUNTFORT, 1693.
SPOKEN BY MRS BRACEGIRDLE.

A
PROLOGUE.

The works of John Dryden, now first collected in eighteen volumes. Volume 10

About This Book

EPILOGUE TO CONSTANTINE THE GREAT. BY MR N. LEE, 1684.

PROLOGUE TO THE DISAPPOINTMENT, OR THE MOTHER IN FASHION. BY MR SOUTHERNE, 1684. SPOKEN BY MR BETTERTON.

PROLOGUE TO THE KING AND QUEEN, UPON THE UNION OF THE TWO COMPANIES, IN 1686.

EPILOGUE ON THE SAME OCCASION.

PROLOGUE TO THE PRINCESS OF CLEVES. BY MR N. LEE, 1689.

EPILOGUE TO THE SAME.

PROLOGUE TO ARVIRAGUS AND PHILICIA. BY LODOWICK CARLELL, ESQ. SPOKEN BY MR HART.

PROLOGUE TO THE PROPHETESS. BY BEAUMONT AND FLETCHER. REVIVED By DRYDEN. SPOKEN BY MR BETTERTON.

PROLOGUE TO THE MISTAKES.

EPILOGUE TO HENRY II. BY JOHN BANCROFT, AND PUBLISHED BY MR MOUNTFORT, 1693. SPOKEN BY MRS BRACEGIRDLE.

A PROLOGUE.

EPILOGUE
TO
CONSTANTINE THE GREAT.
BY MR N. LEE, 1684.

PROLOGUE
TO THE
DISAPPOINTMENT, OR THE MOTHER IN FASHION.
BY MR SOUTHERNE, 1684.
SPOKEN BY MR BETTERTON.

PROLOGUE
TO
THE KING AND QUEEN,
UPON THE
UNION OF THE TWO COMPANIES, IN 1686.

EPILOGUE
ON
THE SAME OCCASION.

PROLOGUE
TO
THE PRINCESS OF CLEVES.
BY MR N. LEE, 1689.

EPILOGUE
TO
THE SAME.

PROLOGUE
TO
ARVIRAGUS AND PHILICIA.
BY LODOWICK CARLELL, ESQ.
SPOKEN BY MR HART.

PROLOGUE
TO
THE PROPHETESS.
BY
BEAUMONT AND FLETCHER.
REVIVED
By DRYDEN.
SPOKEN BY MR BETTERTON.

PROLOGUE
TO
THE MISTAKES.

EPILOGUE
TO
HENRY II.
BY JOHN BANCROFT,
AND PUBLISHED BY MR MOUNTFORT, 1693.
SPOKEN BY MRS BRACEGIRDLE.

A
PROLOGUE.