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THOMAS D’URFEY’S THE COMICAL HISTORY OF DON QUIXOTE (1694–1695): A CRITICAL EDITION Antonio María Rosso Ponce TESIS DOCTORAL Dirigida por la Dra. María José Mora Sena Departamento de Literatura Inglesa y Norteamericana UNIVERSIDAD DE SEVILLA Sevilla, 2018 CONTENTS Table of figures…………………………………………………………………………………… 3 Acknowledgements……………………………………………………………………………… 5 Abbreviations…………………………………………………………………………………… 7 A note on citations……………………………………………………………………………… 11 1. Introduction…………………………………………………………………………………… 13 2. The life of Thomas D’Urfey…………………………………………………………………… 19 3. The reception of Cervantes’s Don Quixote in 17th century England…………………………… 35 3.1. Translations and condensations……………………………………………………… 37 3.2. Influence and adaptations…………………………………………………………… 45 3.3. Allusions……………………………………………………………………………… 59 4. The stage history of The Comical History of Don Quixote………………………………………… 63 5. The text……………………………………………………………………………………… 73 5.1. Bibliographical description…………………………………………………………… 73 5.1.1. Bibliographical records…………………………………………………………… 79 5.1.2. List of copies examined………………………………………………………… 99 5.2. The text of the songs………………………………………………………………… 100 5.2.1. List of copies examined………………………………………………………… 107 5.3. Editorial procedure…………………………………………………………………… 108 5.3.1. Substantives and accidentals……………………………………………………… 109 5.3.2. Paraphernalia…………………………………………………………………… 114 5.4. Apparatus…………………………………………………………………………… 116 6. The Comical History of Don Quixote: a critical edition…………………………………………… 119 6.1. The Comical History of Don Quixote, Part 1……………………………………………… 121 6.2. The Comical History of Don Quixote, Part 2……………………………………………… 207 6.3. The Comical History of Don Quixote, Part 3……………………………………………… 309 7. D’Urfey’s stage version of Don Quixote………………………………………………………… 399 7.1. The theatrical context………………………………………………………………… 399 7.1.1. The United Company in 1694…………………………………………………… 399 7.1.2. The Patent Company in 1695……………………………………………………. 404 7.2. The adaptation………………………………………………………………………… 409 7.2.1. Source material and adaptation in Don Quixote, Part 1 and Part 2…………………. 415 7.2.2. Source material and adaptation in Don Quixote, Part 3……………………………. 424 7.3. The casts……………………………………………………………………………… 432 7.3.1. The cast of D’Urfey’s Don Quixote, Part 1 and Part 2……………………………… 433 7.3.2. The cast of D’Urfey’s Don Quixote, Part 3………………………………………… 465 8. Conclusions…………………………………………………………………………………… 479 Appendix A. Vocal music and dances in The Comical History of Don Quixote……………………… 481 Appendix B. Copies examined of New Songs in the Third Part of The Comical History of Don Quixote… 487 Appendix C. Song lyrics omitted in the playbooks……………………………………………… 489 Appendix D. The cast in the Dublin edition of The Comical History of Don Quixote……………… 497 Works cited……………………………………………………………………………………… 499 1 Table of Figures Figure 1: 1CHDQ, Q1 title-page…………………………………………………………… 81 Figure 2: 1CHDQ, Q2 title-page…………………………………………………………… 82 Figure 3: 1CHDQ, D1 title-page…………………………………………………………… 83 Figure 4: 1CHDQ, D2 title-page…………………………………………………………… 84 Figure 5: 2CHDQ, Q1a title-page………………………………………………………… 87 Figure 6: 2CHDQ, Q1b title-page………………………………………………………… 88 Figure 7: 2CHDQ, Q1c title-page………………………………………………………… 89 Figure 8: 2CHDQ, Q1d title-page………………………………………………………… 90 Figure 9: 2CHDQ, Q2 title-page…………………………………………………………… 93 Figure 10: 2CHDQ, D1 title-page………………………………………………………… 94 Figure 11: 2CHDQ, D2 title-page………………………………………………………… 95 Figure 12: 3CHDQ, Q title-page………………………………………………………… 97 Figure 13: 3CHDQ, D title-page………………………………………………………… 98 Figure 14: S1a title-page…………………………………………………………………… 103 Figure 15: S1b title-page…………………………………………………………………… 104 Figure 16: S2 title-page……………………………………………………………………… 105 Figure 17: S3 title-page……………………………………………………………………… 106 3 4 Acknowledgements My most sincere gratitude goes out to my supervisor Dr. María José Mora Sena, without whose guidance I would not have been able to complete this dissertation. Her undergraduate courses motivated me to pursue a PhD degree, and later the course on literary edition organised by her and Dr. Manuel Gómez-Lara further stimulated my interest in editing, particularly, the texts of Thomas D’Urfey’s Don Quixote. Her profound knowledge on Restoration drama and experience with editing has added considerably to my work, and her advice and patience helped me to keep going even in difficult periods. I am deeply grateful to Dr. Manuel Gómez-Lara for his great courses on textual analysis and on history of theatre, for his support, and for making our long work sessions on stage directions as enjoyable as possible. I would like to thank Dr. J.A.G. Ardila for his help arranging my research visit to the University of Edinburgh, Dr. Timothy Keenan and his family for their kindness during my visit to Brisbane, and Dr. Deborah C. Payne for making my stay in Washington DC amazing and memorable. A great thank you goes to the faculty staff and librarians of the University of Edinburgh, the University of Glasgow, the University of Queensland, the Folger Shakespeare Library, Duke University Library, and the Library of Congress for their help and patience. I would also like to express my gratitude to Dr. Mary Malcolm Gaylord for her fascinating seminar ‘Cervantes and the Early Modern Historical Imagination’ organised by the Folger Institute in Fall 2015, to my seminar colleagues, and to Dr. Anita Sherman and the American University for sponsoring my participation in it. I cannot fail to mention Ana Luisa Martín Bejarano, for her great help with administrative procedures and paperwork, María Covadonga Lucio-Villegas Menéndez for her many years of assistance and helpful advice at the Humanities Library, and my former colleagues Nora Rodríguez Loro, María José Sánchez de Nieva Mazón, and Vicente 5 Chacón Carmona for their companion and coffee breaks. Likewise, I am grateful to Dr. Antonio Hermosa Andújar for his invaluable friendship, Dr. Leonor Molero Alcaraz and Dr. Antonio Villarrubia Medina for their kindness and encouragement, and Dr. Mª Isabel Román Gutiérrez for her postgraduate course on Cervantes. A warm thank you to my friends for their extraordinary patience and love, particularly to Esther, Xío, and Álvaro for the great moments we have spent together, and to María Elena Carpintero Torres-Quevedo for her help and loving care when I most needed it. I would like to sincerely thank my parents for their support, my brother José Miguel and Almudena for their constant encouragement and support of all kind, and my aunt Alma, for her incredible generosity and for having sparked my interest in theatre ever since I was very little. Their achievements and remarkable resilience, even in the darkest of times, have always been an enormous inspiration for me. Finally, I dedicate this dissertation and everything it carries with it, to my forever missed brother Francisco. 6 Abbreviations A) General abbreviations 1CHDQ D’Urfey, The Comical History of Don Quixote, Part 1 2CHDQ D’Urfey, The Comical History of Don Quixote, Part 2 3CHDQ D’Urfey, The Comical History of Don Quixote, Part 3 Cervantes, Don Quixote, Part 1 1DQ Numerical references are to book and chapter(s). Cervantes, Don Quixote, Part 2 2DQ Numerical references are only to chapter(s). act. active adj. adjective adv. adverb anon. anonymous b. born bap. baptised BDA Highfill et al., A Biographical Dictionary of Actors ca. circa, approximately Canting Crew B. E., A New Dictionary … of the Canting Crew CE Mancing, The Cervantes Encyclopedia Day and Murrie, English Song-books, 1651–1702 D&M Numerical references are to the index of songs. d. deceased e.g. exempli gratia ed(s). editor(s), edited by EME Early Modern English et al. et alii fig. figure fl. flourished Fr. French i.e. id est Lat. Latin LE Weinreb, The London Encyclopaedia LS Van Lennep, ed., The London Stage, Part 1: 1660-1700 n.p. no pagination OE Old English OED Oxford English Dictionary Online. p(p). page(s) 7 prob. probably prov. proverbial, proverbially r recto (right page) s.d. stage direction SEP Stanford Encyclopedia of Philosophy sig. signature Sp. Spanish v verso (left page) v. verb vol(s). volume(s) B) Editorial abbreviations Q Quarto edition D Duodecimo edition S1 D’Urfey, Songs to … Don Quixote, Part 1 (1694) S2 D’Urfey, Songs to … Don Quixote, Part 2 (1694) S3 D’Urfey, New Songs in … Don Quixote, Part 3 (1696) TM Hudgebut, Thesaurus Musicus, Vol. 3 (1695) 1OB1 Purcell, Orpheus Britannicus, 1st ed. Vol. 1 (1698) 2OB1 Purcell, Orpheus Britannicus, 1st ed. Vol. 2 (1702) 1OB2 Purcell, Orpheus Britannicus, 2nd ed. Vol. 1 (1706) 2OB2 Purcell, Orpheus Britannicus, 2nd ed. Vol. 2 (1712) CP Preface to The Campaigners (1698) 2NSB D’Urfey, The Second Collection of New Songs and Ballads (1699) ECS Eccles, A Collection of Songs for One, Two, and Three Voices [1704] 1WM1 Playford, Wit and Mirth, 1st ed. Vol. 1 (1698) 2WM1 Playford, Wit and Mirth, 2nd ed. Vol. 1 (1705) 3WM1 Playford, Wit and Mirth, 3rd ed. Vol. 1 (1707) 4WM1 Playford, Wit and Mirth, 4th ed. Vol. 1 (1714) 1WM2 Playford, Wit and Mirth, 1st ed. Vol. 2 (1700) 2WM2 Playford, Wit and Mirth, 2nd ed. Vol. 2 (1707) 3WM2 Playford, Wit and Mirth, 3rd ed. Vol. 2 (1712) 2WM3 Playford, Wit and Mirth, 2nd ed. Vol. 3 (1707) 3WM3 Playford, Wit and Mirth, 3rd ed. Vol. 3 (1712) 1WM4 Playford, Wit and Mirth, 1st ed. Vol. 4 (1706) 1WM4 Playford, Wit and Mirth, 1st ed. Vol. 4 (1707) 8 2WM4 Playford, Wit and Mirth, 2nd ed. Vol. 4 (1709) SC1 Songs Compleat. Vol. 1 (1719) SC2 Songs Compleat. Vol. 2. (1719) SC5 Songs Compleat. Vol. 5. (1719) 9 10 A note on citations When a play is cited in the text, the year of performance followed by that of publication has been added within brackets, unless both dates coincide. For the rest of the texts, the date given is that of publication. Quotations from plays are followed by reference to act, scene and line number(s) within brackets, separated by dots (e.g., 1.2.104). When there is no line numbering, the page number has been added instead (e.g., 5.1, p. 43). Prefaces, dedications, prologues and epilogues are cited only by page number. In the case of multi-volume works, the number of volume is placed before the reference to act, scene, and page or line number (e.g.