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Shakespeare Adaptations: the Tempest, the Mock Tempest, And PR Q^actteil Hmuetattg Slibt^t^ Stlfara. "^tra ^ork BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 DUE RR 9 72 AUa=^9I4 'S\CA1 ^ f £B 1 6 ''^^U' RESERVE smj\i^ ewi^Mai?B^5 ^T g | ^ PRrNTED IN U.S A. Ccrnell University Library PR 2877.S95 Shakespeare adaptations:The tempest, The 3 1924 013 144 724 Cornell University Library The original of tiiis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013144724 C This Edition of ^'Shakespeare Adaptations" is limited to looo numbered . copies only for sale. C Copy Ks- Shakespeare ^Adaptations ^ri^ve^^ tn^t^-. y" /^^''i/<i<Atjlujfi 'The Tempest ; or, the Snchanted Island From the izmo "Dryden {vol. ii), 1735 Shakespeare ^Adaptations The Tempest^ The J^ock Tempest^ and King Lear. With an Intro- duBion and U^tes by Montague Summers Jonathan Qape Eleven Qower Street London 3\dcmxxii 7:z 2^ o -o. V First Published 1922 d^// "Rights reser'ved A.^-XG'&O^ To EDMUND GOSSE A small and single recognition of many and great kindnesses Qontents Prefatory Note : Prefatory O^te three plays included in the present volume THEare here exactly given from the original editions Davenant and Dryden's The Tempest, or The Enchanted Island from the quarto of 1670 {The Term Catalogues, Hilary (17 February) 1670) ; Duffett's The Mock-Tempest : or The Enchanted Castle (also termed The New Tempest or The Enchanted Castle) from the quarto of 1675 {The Term Catalogues, Hilary (15 February) 1675) ; and Nahum Tate's The History of King Lear from the quarto of 1681 {The Term Cata- logues, Easter (May) 1681). Of these, Davenant and Dryden's The Tempest has only once been reprinted, in the folio Dryden (Tonson, two volumes) of 1701. The version that appears in all the collected editions of Dryden, and which is given by Scott, and again by Saintsbury in his recension of Scott, is none other than the book of Thomas Shadwell's opera. The Tempest, or The Inchanted Island, first printed quarto 1674 {The Term Catalogues, Michaelmas (25 November) 1674). It must be particularly noted that in his Variorum The Tempest, Furness unwarily presents this libretto (in a mutilated state) for the Davenant and Dryden comedy, and, moreover, he most " inaccurately heads this reprint (p. 389) Dryden's Version." His unscholarly comments upon the text and banal treatment of the whole matter are entirely negligible, and, indeed, thoroughly mistaken and mis- leading. ShadweU's version was re-issued quarto 1676, i690,';^i695, 1701, and frequently during the eighteenth xi ; xii Shakespeare Adaptations century. The edition of The Tempest {price 8^.) in the collection called " English Plays " [Neatly & correctly printed, in small volumes fit for the pocket, & sold by T. Johnson, Bookseller in the Hague), and advertised under Shakespeare's name, " altered by Davenant & Dryden," contains, it is true, more of the comedy than most editions supply, although even in this case Shadwell's elaborate scenic directions are freely interpolated throughout, and the text is very faulty, whole lines and speeches having been carelessly dropped. Of the 1670 quarto of the Davenant and Dryden comedy there are two issues. The first can be distin- guished by the following points, viz., in the first issue the name at the end of the preface is spelt Driden, in the second issue Dryden. In the preface, Davenant in first issue, D'avenant in second. Page 2, line 32, Vall's in first issue, corrected to Viall's in second. Page 3, line 16, sttar-board in first issue, corrected to star-board in second. In the first issue the pagination of page 7 is mis-printed 5. It would almost seem that the 1670 quarto can only have been most cursorily revised by Dryden, as many passages, which are manifestly blank verse, are printed as stark prose; e.g., Prospero's speech " Dull thing, I " say so ; (p. 20 of this edition : 4to, p. 10) ; and again the beginning of Act III, " Excuse it not, Miranda," in which case the quarto (p. 21) haphazardly alternates, frDm speech to speech, between a pell-mell jumble of prose and verse. In these exceptional instances I have not hesitated to set as verse. It is not impertinent here to notice a curious disposi- tion of lines which may be found in other plays, e.g., in Shadwell's The Sullen Lovers, 4to, 1668 ; and Etherege's The Man of Mode ; or. Sir Fopling Flutter, 4to, 1676 prose comedies, where the printed speeches are often cut up, as it were, into blank verse, although being pure Prefatory Note xiii prose they have neither the rhythm nor the scansion of poetry. This arrangement is varied, quite irregularly, with the normal setting of plain prose. So far as I know, no satisfactory explanation of these oddities has been yet suggested. Thomas Duffett's burlesque The Mock-Tempest ; or. The Enchanted Castle has never been before reprinted. The quarto, 1675, is of excessive rarity. It has not till now been recognized that of this quarto there are two issues which can be distinguished by the following points, viz., in the first issue we have at the conclusion of Act IV a misprint (4to, p. 42, 1. 5 ; of this edition, p. 158, 1. 21), The End of the Second Act, cor- rected in the second issue to The End of the Fourth Act. In the first issue again. Act V. scene I (4to, p. 42, 1. 26, and p. 43, 1. 13 ; of this edition, p. 159, 1. 12 and 1. 34), Ariel's two echoes "Thou art the very Devil" and "Alas poor Codshead," are clean omitted; whilst the last four words of Quakero's speech which begins, " ." " Nay, but I will not . are misprinted as Poo Cod said," corrected in the second issue to "as Poor Cod said." In Act V, scene i (4to, p. 44, 1. 15; of this edition, p. 161, 1. 3), the first issue reads "foUowe'd," the second "foUow'd": in Act V, scene 2 (4to, p. 44, 1. 27; of this edition, p. 161, 1. 14), the first issue has "the sneer," the second "thee sneer": in Act V, scene 2 (4to, p. 48, 1. 11 ; of this edition, p. 165, 1. 31), the first issue reads " that is to sayo be pacified," the " second, "that is to say, be pacified." In The Scene •of Bridewell," Act V, 2, both issues read as speech- prefix (4to, p. 50, 1. 17) to As big as thy Thumb (4to, " p. 51, 1. i) Foran," and to By thy Beard and thy Wigg " Faran." In Duffett's first draft of his burlesque Quakero was probably called by some name that closely resembled Ferdinand, the role in The Tempest which is parodied, and when our author rechristened the char- xiv Shakespeare Adaptations acter he, no doubt, forgot to alter the speech-prefix in these two instances. Both issues of the quarto supply- after the Persons Represented the list of nine errata. Nahum Tate's The History of King Lear was reprinted quarto 1699 (price is.), and again in 1712. There are also a number of later eighteenth century reprints, but most of these must be described as worthless. Many verbal changes have crept in, and sometimes considerable passages (and these none of the least important) are found to have disappeared. None of the pieces given in the present volume has before been edited. In each case very obvious misprints " —e.g. of this edition, p. 212, 1. 32, the poor old King bareheaded," where the quartos 1681 and 1699 read " " the poor old King beheaded —and turned letters are sUently corrected. I have not, however, in any instance beyond these ventured to tamper with the spelling, although Duffett's vagaries in this direction will often seem unnecessarily erratic. Nevertheless, I am con- vinced that by accommodating authors to modern norms and fashions something even more valuable than old-time flavour and atmosphere is irretrievably lost. It is once more my duty and my pleasure to express my most grateful thanks for the kindliest encourage- ment throughout, and continual help in dealing with many a difficult point to Mr. G. Thorn-Drury, K.C., our acknowledged authority on the Restoration period. He has again, with his wonted generosity, entrusted me with many a rare volume from his library. In particular did he lend me his fine copies of the Davenant and Dryden comedy The Tempest, quarto, 1670, and of that uncommonly scarce play The Mock-Tempest, quarto, 1675, a loan which materially facilitated my work upon these two difficult pieces. As Mr. W. J. Lawrence was the first to elucidate in print the crux concerning The Tempest in its post-Restora- Prefatory Note xv tion versions, so must all future workers, who have to dis- cuss these alterations of Shakespeare, base their records upon his article Did Thomas Shadwell write an Opera on " The Tempest " ? the scholarship of which is so ample and complete that it leaves nothing to be added thereto. In general with every writer on the theatre I am also deeply indebted to Mr. Lawrence's researches in many another direction, but I have yet further to make a personal and particular acknowledgement to our dis- tinguished stage historian for much valuable informa- tion with which he has ungrudgingly furnished me. The complicated story of the music to The Tempest, both as a comedy and as an opera, has been related in detail by Mr.
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