Part 3

I would desire my Readers leave to make this Observation by the by, that a =Drammatick Poet= is not ty'd up to the Rules of =Chronology=, or =History=, but is at liberty to new-model a Story at his pleasure, and to change not only the Circumstances of a true Story, but even the principal Action it self. Of this opinion are most of our modern Critics; and =Scaliger= observes, not only that 'tis the priviledge of =Epick= Poets, but also of =Tragedians=.[42] =Quis nescit omnibus Epicis Poetis Historiam esse pro argumento? quam illi aut adumbratam, aut illustratam certe alia facie quam ostendunt ex Historia consiciunt, Poema. Nam quid alius Homeras? Quid Tragicis ipsis faciemus. Sic multâ Lucano ficta. Patriæ Imago quæ sese offerat Cæsari: excitam ab Interis animam, atq; alia talia.=[43] This instance of =Lucan=, makes me call to mind what Sir =William Davenant= says on account of the same Author, whom he blames for making choice of an Argument so near his own time, that such an Enterprize rather beseem'd an Historian, than a Poet. =For= (says he) =wise Poets think it more worthy to seek out truth in the Passions, than to record the truth of Actions; and practise to describe mankind just as we are perswaded or guided by instinct, not particular persons, as they are lifted, or levelled by the force of Fate, it being nobler to contemplate the general History of Nature, than a selected Diary of Fortune=. So that we see the busineß of a Poet is to =refine= upon History; and Reformation of Manners is so much his busineß, that he is not to represent things on the Stage, as he finds them =recorded= in History, but as they =ought= to have been: and therefore we are not to make =History= so much the Standard and Rule of our Judgment, as =Decency= and =Probability=. For indeed, provided the Author shew Judgment in the heightning and working up of his Story, it matters not whether the Play be founded on =History=, or =Romance=, or whether the Story be his own, or another's Invention.

The last sort of Remarks, relate to Thefts: for having read most of 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.