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vable; this piece being the first that ever courted reader; and it is very possible that the like compliment with me may soon grow out of fashion.? A practice of which that I may avoid now, I commend to the continuance of your loves, the memory of his, who, without the protestation of a service, is readily your friend,

JOHN FORD.

? And it is very possible that the like compliment with me may soon grow out of fashion.] This, as the author says, is the first time of his appearing in print as a dramatic writer; and yet he comes before the reader with all the querulous cant of an old professor. Fortunately, this language of routine means nothing; and the present publication was, in course, followed by others, as leisure or opportunity offered.

DRAMATIS PERSONÆ,

PALADOR, Prince of Cyprus.
AMETHUS, Cousin to the Prince.
MELEANDER, an old Lord.
SOPHRONOS, Brother to MELEANDER.
MENAPHON, Son of SOPHRONOS.
ARETUS, Tutor to the Prince.
Corax, a Physician.
PELIAS,

Two foolish Courtiers.
CUCULUS,
RHEtias, (a reduced Courtier,) Servant to EROCLEA.
TROLLIO, servant to MELEANDER.
GRILLA, a Page of Cuculus, in Woman's dress.

THAMASTA, Sister of AMETHUS, and Cousin to the

Prince. EROCLEA, (as PARTHENOPHILL,)? Daughters of CLEOPHILA,

S MELEANDER, Kala, Waiting-Maid to THAMASTA.

Officers, Attendants, &c,

THE SCENE-Famagosta in Cyprus.

The Names of such as acted.

John Lowin, Joseph Taylor. Robert Benfield. John Shanck. Eylyardt Swanston, Anthony Smith. Richard Sharpe, Thomas Pollard, William Penn.

Curteise Grivill. George Vernon. Richard Barter, John Tomson. John Honyman. James Horne. William Trigg Alexander Gough.

For this list, see Massinger, vol. ii. p. 230. where references to several of the more celebrated names will be found.

(7)

PROLOGUE.

To tell you, gentlemen, in what true sense,
The writer, actors, or the audience
Should mould their judgments for a play, might draw
Truth into rules; but we have no such law.
Our writer, for himself, would have you know,
That, in his following scenes, he doth not owe
To others' fancies, nor hath lain in wait
For any stol'n invention, from whose height
He might commend his own, more than the right
A scholar claims, may warrant for delight."
It is art's scorn, that some of late have made
The noble use of poetry a trade.
For your parts, gentlemen, to quit his pains,
You yet will please, that as you meet with strains
Of lighter mixture, but to cast your eye
Rather upon the main, than on the bye,
His hopes stand firm, and, we shall find it true,
The Lover's MELANCHOLY cur'd by you.

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more than the right A scholar claims, &c.] Ford appears anxious, in this place, to anticipate the objections that might be raised against his plagiarisms. That he has borrowed largely there can be no doubt; but he has, certainly, no where abused the right of a scholar: had he been more familiar with the press, he would, perhaps, have scarcely thought that his freedom with his predecessors required much apology. The confession, however, was not unwise ; for Burton (to whom, among others, he alludes) was in every one's hand; and Strada's charining apologue was scarcely less familiar.

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