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PROLOGUES AND EPILOGUES.

Page
Prol and Epilogue to “The Wild, Epilogue to“ Mithridates, King of Pontus" 434

. . . . . . . . . . . 389 Prologue and Epilogue to “The Kind

Prologue to “The Rival Ladies " .. .1891 Keeper, or Limberham”. . . . . . 435

Prologue and Epilogue to “The Indian Prologue to “ The True Widow" ... 437

Emperor ". ..........392 Prologue and Epilogue to " (Edipus ". . 438

Prologue to “Seéret Love, or The Maiden Prologue and Epilogue to “Troilus and

Queen" ........... 393

Cressida, or Truth found Too Late" . 439

Prologue and Epilogue to “The Wild Prologue to “Cæsar Borgia, Son of Pope

Gallant,” when revived in 1667 ...

Alexander the Sixth ". . . . . . . 441

Prologue and Epilogue to “Sir Martin Prologue.to the University of Oxford . . 442

Mar-all, or the Feigned Innocence ". . 68 Prologue to “ The Loyal General"... 443

Prologue and Epilogue to “The Tempest "ade Prologue to “The Spanish Friar, or the

Prologue to “Albumazar ". . . . . . 401 Double Discovery"

Prologue and Epilogue to “An Evening's Epilogue to “Tamerlane the Great" .. 446

Love, or the Mock Astrologer " ... 403 A Prologue ........... ib.

Prologue and Epilogue to “Tyrannic Love, , Prologue and Epilogue to “The Princess

or the Royal Martyr" ..... 406 of Cleves " . . . . . . . . . 447

Prologue and Epilogue to "Almanzor and Prologue to the University of Oxford . . 449

Almahide, or the Conquest of Granada " 407 Prologue to the University of Oxford . . 450

Prologue and Epilogue to the Second Part Prologue to the University of Oxford . . 45*

of " Almanzor and Almahide, or the Con- , Epilogue to "The Unhappy Favourite, or

quest of Granada ".....409

the Earl of Essex ". . . . . . . . 452

Prologue spoken on the First Day of the Prologue and Epilogue to “The Loyal

King's House acting after the Fire . . 410

Brother, or the Persian Prince" ... 453

Prologue to "Arviragus and Philicia". ,411 Prologue and Epilogue to the King and

Prologue for the Women, when they acted

Queen . . . . . . . . . . . . 456

at the Old Theatre in Lincoln's Inn Fields 412 Prologue and Epilogue to “The Duke of

Prologue and Epilogue to “The Maiden

Guise". . . . . . . . . . 458

Queen, or Secret Love,” when acted by Epilogue to " Constantine the Great". . 462

the Women only . . . . . . · · · 413.

Prologue to '“Disappointment, or the

Prologue and Epilogue to "Marriage-à-la-

Mother in Fashion" ..... 463

Mode ". . . . . . . . . . . .414

Prologue and Epi!Tue to "Albion and Al-

Prologue and Epilogue to “The Assigna-

banius ". . . . . . . . . . . . 465

tion, or Love in a Nunnery" ... • 417 Prologue and Epilogue to “Don Sebartian" 467

Predogue and Epilogue to “Amboyna, or Prologue to "The Prophetess " , ... 469

the Cruelties of the Dutch to the English Prologue and Epilogue to “Amphitryon, or

Merchants " . . . . . . . . . . 418

I the Two Sosias". . . . . . . . . 470

Prologue and Epilogue to the University Prologue to “Mistakes, or the False Re-

of Oxford . . . . . . . . . . . 420

port" . . . . . . . . . . . . 472

Prologue and Epilogue spoken at the Prologue and Epilogue to “ King Arthur,

Opening of the New House ... · 423

or the British Worthy” ...... 473

Prologue and Epilogue to the University Prologue and Epilogue to “Cleomenes, or

of Oxford . . . . . . . . . . . 425

the Spartan Hero". ... ... · 475

Prologue and Epilogue to “Aureng-Zebe, Epilogue to “Henry II., King of England,

or the Great Mogul " ......427 with the Death of Rosamond ” ... 478

Epilogue to "Calisto, or the chaste Nymph" 429 Prologue and Epilogue to "Love Trium-

Epilogue to “The Man of Mode, or Sir

phant, or Nature will Prevail " ... 479

Fopling Flutter" ..430 Epilogue to “The Husband his own

Prologue to “Circe". ....... 431 Cuckold"..... ..... 481

Prologue and Epilogue to “All for Love, Prologue and Epilogue on the Occasion of

*or the World Well Lost" ..... 432 a Representation for Dryden's Benefit · 482

PREFACE.

This volume of Dryden's Poems does not contain his Plays or Translations from Roman and Greek poets. It comprises all his Prologues and Epilogues to his own Plays, with his other Prologues and Epilogues, and also his free versions from Chaucer and Boccaccio, best known as his Fables. Three translations of Latin hymns are also included in the volume.

The Translation of Boileau's "Art of Poetry,” which is printed in Scott's edition of Dryden's works, is not included in this volume : for, though revised and altered by Dryden, the translation is in the main Sir William Soame's work. The “Essay on Satire” is also excluded from this collection, as being unquestionably the work of Sheffield, Earl of Mulgrave, afterwards successively Marquis of Normanby and Duke of Buckinghamshire. Some smaller pieces which preceding editors have printed among Dryden's poems have been excluded : viz. the "Satire on the Dutch," said to have been written by Dryden in 1662, but in fact a bookseller's concoction from his Prologue and Epilogue to “Amboyna" of 1673; the Prologue and Epilogue to “ The Indian Queen,” assigned without any authority to Dryden, and doubtless Sir Robert Howard's, who wrote the play with some assistance from Dryden ; and a second Epilogue to Lee's “Mithridates," when acted in 1681, and the Epilogue to Southerne's “Disappointment," which have both been mistakenly printed by Scott as Dryden's.

It has been a principal object in this edition to correct and purify the text of Dryden's poetry, which in the course of time has suffered from very many misprints and small changes by successive editors. Most, but not all, of the corrections made of preceding editors' texts are mentioned in the notes. The whole number of these small corrections is very considerable. The importance of corrections of this sort will not be judged by the smallness of the change for the worse introduced by carelessness or design. The word epocha, which appears in all modern editions in a line of " Astræa Redux” (108),

“In story chasms, in epocha mistakes,"

and which has been cited by Archbishop Trench as a Dryden peculiarity," was not Dryden's word. He wrote epoches, the plural of epoche, the Greek word, and as:

"English, Past and Present," p. 60.

There is an instance of epoche (speit epochee) in Cleaveland's

proper as epitome. poetry :

“ Howe'er, since we're delivered, let there be

From this flood too another epochee."

The change of one letter deprives us of an old appropriate poetical word sheer, and substitutes the commonplace word steer, in a line of “Annus Mirabilis" (stanza 78):

“So thick, our navy scarce could sheer their way.”

All Dryden's modern editors have turned the following line (436) of “ Absalom and Achitophel” into a question :

" 'Tis after God's own heart to cheat his heir ;"

substituting Ist for Dryden's 'Tis, placing a note of interrogation at the end, and making the passage incoherent. It is Achitophel speaking wickedly, not the poet propounding truth.

The meaning of a line in “The Hind and the Panther" (part i, line 391), where herd's means cattle-keepers and not cattle, is altered to nonsense by editors who have turned the small word the at the beginning into their :

“The diligence of careful herds below.”

Distinction and meaning are completely lost by the editors' change of laughed into lashed in a line on the ancient Satirists, in an Address to Mr. Higden, translator of Juvenal :

"They durst not rail perhaps, they laughed at least.”

When Dryden apostrophizes the Marquis of Winchester in an epitaph as

" Ark of thy age's faith and loyalty,” the change of one letter in ark has turned the line into nonsense in every modern edition, in which is read

Ask of thy age's faith and loyalty.” In another epitaph, that of Mrs. Margaret Paston of Norfolk, the word fir has been changed to mix, to the spoiling of the following line, in all modern editions :

""Twas gold too fine to fix without allay.” In Dryden's Prologue to Shadwell's play “The True Widow," a line

“His cruse ne'er fails, for whatsoe'er he spends," is spoilt by changing cruse into cause.

An old word dop, used by Dryden in his Epilogue to Banks's play “ The Unhappy Favourite,” is not to be found in any of the editions, but pop has taken its place :

"We act by fits and starts, like drowning men,

But just peep up, and then dop down again,"

A classical phrase of Dryden, following Latin authors, in his Dedication of “ Palamon and Arcite” to the Duchess of Ormond, where he speaks of the devotion of the Irish to her husband's family (lines 58, 59),

“The sturdy kerns in due subjection stand,

Nor hear the reins in any foreign hand,"

is completely lost in all modern editions by the substitution of bear for hear. And yet Sir Walter Scott at least must have known that Horace placed the horse's ear in his mouth, and that Virgil made a chariot hear the reins.

These are a few instances of corruptions of Dryden's text rectified in this edition. Sir Walter Scott's is the last important edition of Dryden, as it is indeed still the only general collection of his works : and it is to be regretted that that distinguished man did not give as much pains to the purification of Dryden's text as he did to his excellent biography and to the notes which enrich the edition.

The text has been revised for this edition by a careful examination of the original and early editions of all the poems. These are generally very correctly printed : but misprints of course must sometimes occur ; and in one or two cases I may have been misled by an original misprint. There may be a difference af opinion as to the word courtier which I have printed in line 325 of "Eleonora,” following the original edition. It has been suggested to me by Mr. W. A. Wright, since p. 432 of this volume was printed, that the word stewed, for which editors have substituted rude, was an original misprint for starved ; and, as Dryden would probably have written sterved, as he has done elsewhere, it is probable that sterved is the correct reading.

The spelling adopted in this edition is generally modern spelling : but there are instances in which the spelling of Dryden's time is preserved, not only where it is needed for rhyme or metre, but also where the old spelling is recommended by etymological considerations, and where it is not altogether strange and repulsive : shipwrack, interessed, thrid, justle, just for joust, are a few such instances. Just reminds me of another striking instance of corruption of text by change of a single letter. The universal joy of Athens, when filled for the great combat between Palamon and Arcite, is described by Dryden in glowing language :

"'Twas justing all the day and love at night:”,

every editor turns justing into jesting (book 3, line 431).

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