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Momus Triumphans: OR, THE PLAGIARIES OF THE Engliſh Stage; Expos'd in a CATALOGUE OF ALL THE

  • Comedies,
  • Tragi-Comedies,
  • Maſques,
  • Tragedies,
  • Opera's,
  • Paſtorals,
  • Interludes, &c.

Both Ancient and Modern, that were ever yet Printed in Eng­liſh. The Names of their Known and Suppoſed Authors. Their ſeveral Volumes and Editions: With an Account of the various Originals, as well Engliſh, French, and Italian, as Greek and Latine; from whence moſt of them have Stole their Plots.


Indice non opus eſt noſtris, nec vindice Libris:
Stat contra dicitquetibi tua Pagina, Fures.

LONDON: Printed for Nicholas Cox, and are to be Sold by him in Oxford. MDCLXXXVIII.

The Preface.

IF it be true, what Ariſtotle(a)(a)Poet. c. 10. that great Philoſopher, and Father of Criticiſm, has own'd, that the Stage might in­ſtruct Mankind better than Philoſophy it ſelf. If Homer was thought by Horace(b)(b)Eriſt. 2. ad Lol­lium. to exceed Crantor and Chry­ſtippus, in the Precepts of Morality; and if Sophocles and Euripides, obtained the title of Wiſe, for their Dramatich Writing, certainly it can be no diſcredit for any man to own himſelf a lover of that ſort of Poetry, which has been ſtiled, The School of Vertue and good Manners? I know there have been many ſevere Cato's who have endeavoured all they could, to decry the uſe of the Stage; but thoſe who pleaſe to conſult the Writings of the Learned Dr. Ga­ger, Albericus Gentiles, Sir Philip Sidney, Sir Richard Baker, Heywood, the Poet and Actor both in one; not to mention ſeveral o­thers, as the famous Scaliger, Monſieur Hedelin, Rapin, &c. will find their Objections fully anſwered, and the Diverſion of the Theatre ſufficiently vindicated. I ſhall therefore without any Apology, pub­lickly own, that my inclination to this kind of Poetry in particular, has lead me not onely to the view of most of our Modern Repreſen­tations on the Stage, but alſo to the purchaſe of all the Plays I could meet with, in the Engliſh Tongue; and indeed I have been Maſter of above Nine Hundred and Fourſcore Engliſh Plays and Maſques, beſides Drolls and Interludes; and having read most of them, I think am able to give ſome tollerable account of the greateſt part of our Dramatick Writers, and their Productions.

The general Uſe of Catalogues, and the eſteem they are in at pre­ſent, is ſo well known, that it were to waſte Paper to expatiate on it: I ſhall therefore onely acquaint my Reader, that I deſigned this Catalogue for their uſe, who may have the ſame reliſh of the Dram­ma with my ſelf; and may poſſibly be deſirous, either to make a Collection, or at leaſt have the curioſity to know in general, what has been Publiſh't in our Language, as likewiſe to receive ſome Re­marks on the Writings of particular Men.

The Reaſons that induc'd me to the publiſhing this Catalogue, were theſe: Firſt, That the former Catalogues were out of Print. Secondly, That they were all of them full of groſs Errours. Third­ly, That they were not, as I thought, ſo Methodical as this which I have now made; wherein the Reader will find the Imperfections I obſerved in the former Catalogues, amended; all the Plays which have been Printed ſince 1680, to this preſent time, added; with ſeveral Remarks, which whether or no obſerved, I cannot tell, but never pub­liſhed by any Author till now.

To begin then firſt with the Errours of former Catalogues, they are chiefly Five:

Firſt, There were Plays inſerted in all of them, which were never in Print; as for Brevity's ſake, to give one inſtance for many, The Amorous Widow, and Wanton Wife, a Comedy. This is a Stock-Play, and was written (if not Tranſlated from Mollieres George Dandin) by Mr. Batterton.

Secondly, Some Plays were omitted, which had been Printed ve­ry long ago; as, Cola's Fury, and Lirenda's Miſery. Written by Henry Burkhead. The Religious Rebel; and ſeveral others.

Thirdly, Two Titles which belong'd to one and the ſame Play, were frequently printed, as if they had been two diſtinct Plays; as The Conſtant Maid, or Love will find out the Way. Written by Shirly. Ferex and Porex, or the Tragedy of Gorboduc. Written by Sacvile and Norton; with many others.

Fourthly, The ſame Title was often times printed twice, and that ſeperately, as if writ by two ſeveral perſons; and ſometimes aſcrib'd to different Authors likewiſe; when it was onely a new Edition of the ſame Play; as for Example, Patient Griſſel was again re­peated under the Title of Patient Griſſel Old. And Appius and Virginia, written by Webſter, is afterwards aſcrib'd to T. B. though as the deceaſed Comedian Mr. Carthwright, a Bookſeller by Profeſſion, told me, 'twas onely the old Play Reprinted, and Corrected by the above-mentioned Mr. Batterton; with ſeveral others.

Fifthly, Some Plays are aſcribed to one Author which were writ by another; as Celum Britanicum, a Maſque, is to Sir William Davenant, though it was written by Carew and Jones. Which fault is rather to be imputed to the Publiſhers of Sir William Dave­nant's Workes, 1673, in Folio, than to the Compilers of the former Catalogue; who are more excuſable than Mr. Phillips in his Ca­talogue of Poets, called, Theatrum Poetarum; and his Tran­ſcriber Winſtanley, who has follow'd him at a venture in his Cha­racters of the Drammatick Writers, even to a word, in his Lives of the Engliſh Poets. Both theſe Authors through a miſtake of the Method of former Catalogues, and their Ignorance in what Pieces each Drammatick Author had publiſhed, have fallen into very great Er­rours, as I am going to ſhew.

The firſt Catalogue that was printed of any worth, was that Col­lected by Kirkman, a London Bookſeller, whoſe chief dealing was in Plays; which was publiſhed 1671, at the end of Nicomede, a Tragi-comedy, Tranſlated from the French of Monſieur Corneille. This Catalogue was printed Alphabetically, as to the Names of the Plays, but promiſcuouſly as to thoſe of the Authors, (Shakſpeare, Fletcher, Johnſon, and ſome others of the moſt voluminous Authors excepted) each Authors Name being placed over againſt each Play that he writ, and ſtill repeated with every ſeveral Play, till a new Author came on. About Nine Years after, the Publiſher of this Ca­talogue, Reprinted Kirkman's with emendations, but in the ſame Form. Notwithſtanding the Anonimous Plays, one would think eaſily diſtinguiſhable by the want of an Authors Name before them, yet have both theſe charitable kind Gentlemen found Fathers for them, by ranking each under the Authors Name that preceded them in the former Catalogues. Thus Charles the Firſt is placed by them both to Nabbs; becauſe in both the former Catalogues it followed his Co­vent-Garden: and for the ſame reaſon Cupid's Whirligig is aſcri­bed by both of them to Goff; becauſe it follow'd his Careleſs Shep­heardeſs; and ſo of many others, too tedious to repeat.

To prevent the like miſtake for the future, and to make the Cata­logue more uſeful, I wholly altered the form: And yet that I might pleaſe thoſe who delight in old Paths, I have Tranſcribed the ſame as a Second Part, after the former way of Alphabet, though more Me­thodically than formerly, as I ſhall ſhew preſently.

In this New Catalogue the Reader will find the whole to be di­vided into Three diſtinct Claſſes. In the firſt I have placed the Declared Authours, Alphabetically, according to their Sirnames, in Italick Characters: and placed the Plays each Authour has written, underneath in Roman Letters, which are rank'd Alphabetically like­wiſe; ſo that the Reader may at one glance view each Authours La­bours. Over againſt each Play, is plac'd as formerly a Letter to in­dicate the nature of the Dramma: as C. for Comedy. T. for Tra­gedy. T. C. for Tragi-comedy. P. for Paſtoral. O. for Opera. I. for Interlude. F. for Farce.

And for the better uſe of thoſe who may deſign a Collection, I have added to the Letter the Volume alſo, (according to the best Edition) as Fol. 4o. 8o. against each Play that I have ſeen. And for their further help; where a Play is not printed ſingle, the Reader will be directed by a Letter or Figure to the bottom of the Colume, where he will meet with Inſtructions how it is to be found; I mean, with what Poems or other Plays it is printed, the Year when, the Place where, and the best Edition of each Book ſo mentioned.

This may ſeem ſuperfluous at first ſight, but may poſſibly be no longer thought ſo, when I ſhall have acquainted my Reader, that when I was making my Collection, I found ſeveral Plays and Masks, bound up with other Poems, which by the name were ſcarce known to the generality of Bookſellers: as for inſtance, Sir Robert Howard's Blind Lady; Daniel's Philotas; Carew's Coelum Britanicum; Shirley's Triumph of Beauty; with infinite o­thers. But two Plays I might particularly mention, both taken no­tice of in former Catalogues, to wit, Gripus and Hegio, a Paſto­ral; and Deorum Dona, a Maſque; both which were written by Baron, and were wholly unknown to all the Bookſellers of whom I happened to enquire, and which I could never have found but by chance; they being printed in a Romance called, The Cyprian Academy, in 8o. The ſame I might add of The Clouds, (a Play which was never in any Catalogue before, and was tranſlated from Ariſtophanes's Nubes by Stanley, and printed with his Hiſtory of Philoſophy, Fol. Lond. 1655. and now newly re­printed; and of ſeveral others) but that I must haſten back to give an Account of the two other Diviſions of my Catalogue. The one of which contains thoſe Plays whoſe Authors diſcover themſelves but by halves, and that to their intimate Friends, by two Letters only in the Title-Page, or the bottom of their Epiſtle; and in the last Degree are plac'd all Anonemous Plays; and this compleats the Firſt Part.

The Second Part contains the Catalogue Reprinted in an exact Alphabetical manner, according to the forms of Dictionaries, the Authors Names being here left out as ſuperfluous; and againſt each Play is a Figure to direct you to the Page where you may find it in the Firſt Part.

Thus much as to the Method and Alterations of this Catalogue: Now as to the Remarks, which are of three ſorts; the firſt of uſe, and the other two conducing to Pleaſure at leaſt, if not to Profit likewiſe.

The Firſt is to prevent my Readers being impos'd on by crafty Book­ſellers, whoſe cuſtom it is as frequently to vent old Plays with new Titles, as it has been the uſe of the Theatres to dupe the Town, by act­ing old Plays under new Names, as if newly writ, and never acted before; as, The Counterfeit Bridegroom, an old Play of Middle­ton's; The Debauchee, another of Brome's; The Match in Newgate, another of Marſton's; with many more, too tedious to repeat. By theſe Remarks the Reader will find The Fond Lady, to be only the Amorous Old Woman, with a new Title, The Eu­nuch, to be The Fatal Contract, a Play printed above thirty years ago; with many the like.

The Second is an Eſſay towards a more large Account of the Ba­ſis on which each Play is built, whether it be founded on any Story or Paſſage either in Hiſtory, Chronicle, Romance, or Novel. By this means the curious Reader may be able to form a Judgment of the Poets ability in working up a Dramma, by comparing his Play with the Original Story. I have not been ſo large and full in this as I intend hereafter, not having by me ſeveral Chronicles and Novels, which might have been ſubſervient to my Deſign, as the Chronicles of particular Countries, and the Novels of Cynthio Geraldi, Loredano, Bandello, Sanſorino Belleforreſte, &c. For this reaſon, in the Notes on ſeveral Plays which I have taken notice of, I have been forc'd to refer to the Chronicles of a Country in general, not have had time or opportunity to make an exact ſearch what Hiſtorian the Author has chiefly follow'd, or what Author has moſt largely treated on that particular Action which is the ſubject of the Dramma. So in Novels I have been forc'd through Neceſſity to quote ſome which have been printed ſince the Plays were written to which they are referred: becauſe I knew that they were extracted and collected from the Originals, whence the Plot was taken, though I had them not by me: of which I could produce many inſtances, were it material.

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 Criticks; and Scaliger obſerves, not only that 'tis the priviledge of Epick Poets,Poetices. Lib. 1. c. 2. but alſo of Tragedians. Quis neſcit omnibus E­picis Poetis Hiſtoriam eſſe pro argumento? quam illi aut ad­umbratam, aut illuſtratam certe alia facie quam oſtendunt ex Hiſtoria conficiunt, Poema. Nam quid alius Homerus? Quid Tragicis ipſis faciemus. Sic multa Lucano ficta. Patriae Imago quae ſeſe offerat Caeſari:Pref. to Gondibert, p. 2. excitam ab Interis animam, atquealia talia. 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, Aeſchylus, 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, Aelian, 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,Poet. c. 23. 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,Poet. l. 3. cap. 15. ſtil'd the King of Poets by Scaliger, and to the opi­nion of Propertius exceeding Homer himſelf, as appears by the fol­lowing Lines ſo well known amongst all learned men.

Cedite Romani Scriptores, cedite Graii,
Neſcio, quid majus naſcitur Aeneade.

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 Homor and Piſander, in his Aeneads: beſides what he has borrow'd from Parthenius Nicaeus, his Tutor in the Greek Tongue, and from Q. Ennius an ancient Latin Poet; as you may read more at large in Macrobius. Saturnalia, l. 5. c. 11. l. 6. c. 1.If we conſider Ovid, the Flower of the Roman Wit, we ſhall find him imitating at leaſt, if not borrowing from, the forementioned Parthonius: his Metamor­phoſis,Vol. 2. O­rat. 3. that Divine Poem, (as Ant. Muretus 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 Euntichus.

Qui bono vertendo, & eas diſcribendo ma••
Ex Graecis bonis, Latinas fecit non bonas.

This behaviour Pliny commends in theſe words:Epiſt. ad Tit. Ve­ſpar. Eſt enim beni­gnum & plenum ingenium Pudoris, fateri perquos profeceris: and after having blam'd the Plagiaries of his time, he commends Cicero for making mention of Plato, Crantor, and Pariaetius, 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. Reflect. 26. part 2.Terence 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 quàm 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,Epiſt. to Mock A­ſtrologer. 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,Tragedies of the laſt Age, p. 143 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,Ep. to the Spaniſh Fryer. and overwhelming us with Gib­beriſh, only that he may gain the opportunity of making the cleanlier conveyance of his Trick. 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 be 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,Kind Kee­per. Every one muſt have their Own. 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;

or. Sat. 10. l. 1.
Neque ego illi detrahere auſim,
Haerentem Capiti multâ cum Laude Coronam.

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,Mr. Bohun's Tranſlat. 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.

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:Ep. ad T.V. Obnoxii profecto animi, & infelicis ingenii eſt, deprehendere infurto malle, quam mutuum reddere cum preſertim ſors fiat ex ufu­.

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, from the common Herd of Tranſlators;Mr. Shad­well. 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,Reflect. 26. part. 2. 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:〈…〉〈 in non-Latin alphabet 〉Sect. 11.〈…〉〈 in non-Latin alphabet 〉. Sed omnium hujus Poetae ſtudioſiſſimus imitator fuit Plato, ab illis Homericis Laticibus ad ſe ſeductos vivos quam­plurimos 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 Country-men, 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, Athe­naeus, 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 Tears be advanced to the ſame Perfection that it was in former­ly, at Rome and Athens.



BY reaſon of my great diſtance from the Preſs, ſeveral conſiderable 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 Hymenaei. p. 16 for Antiqua­rary read Antiquary. p. 17. Heyre for 8o read 4o. p. 25. for Loyal Brother read Revengers Tragedy.

In the Notes.

PAge 7. and ſo throughout, for in vitam read in vitâ, and in vitas read in vitis. p. 9. Note (c) for Procopis read Procopii. p. 10. N. (n) 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. (*) inſtead of what is Printed, read, Theſe three Plays are Tranſlated from Seneca, and Printed with the rest, Lond. 1581. p. 13. N. (b) for Book the Ninth, Satyr the first Part, read, Book the First, Satyr 9. p. 17. N. (d) for du Bec, read du Bec. p. 18. N. () for Fourteen, read Thirteen, and for Three, read Five. p. 19. N. (l) belongs to Cambyſes. p. 20. N. (h) for Mons read Monſieur. p. 21. N. (k) for Maenectrini, read Mae­nechmi. p. 22. N. (i) for 1581, read 1653. ibid. to Triumph of Beauty, add (k) with this Note, Printed with his Poems, Lond. 1646. p. 25. N. (b) for Publiſh'd, read Reprinted. ibid. N. (d) for Muſaee Erotoprgnion, read Muſaei Erotopagnion. p. 24. N. (ſ) for K. read Prince. p. 25. N. (n) to Obſervationum, add Medicarum Volumen. p. 27. N. (d) for Poem, read Play. ibid. N. (g) belongs to French Conjurer, and N. (h) to Witty Combat. p. 28. N. (h) belongs to Thornby-Abby: N. (i) to Marriage Broker, and the last Line to Menechmus. p. 31. N. (r) belongs to Rivals.


A Catalogue of Plays. WITH THEIR Known or Suppoſed AUTHORS, &c.

Will. Alexander, Lord Sterline.
  • (c)Theſe of the Lord Sterline are all Bound with his Works (in Folio) called, Re­creations with the Muſes. Printed at London, 1637.
    • (a)Plot from Juſtin's Hiſt. Lib. 14.
      (a)Alexandrian Trag. Tr. Fol.
    • (b)Plot from Herodotus, Lib. 1. Plutarch in Solon's Life.
      (b)Croeſus T. Fol.
    • (d)Plot from Juſtin's Hiſt. Lib. 11.
      (d)Darius T. Fol.
    • (e)Plot from Suetonius and Plutarch.
      (e)Julius Caeſar T. Fol.
Robert Armin.
  • Maids of Moorclack H.
Barnaby Barnes.
  • (f)Plot from Guiciardine's Hiſt. of Italy.
    (f)Devil's Charter. T. 4o.
Samuel Brandon.
  • (g)Plot from Plutarch's Lives.
    (g)Virtuous Octavia T. C. 8o.
Henry Burkhead.
  • Colas Fury, or Lyrindas Miſery. T. 4o
Robert Baron.
  • (h)Theſe two of R. Baron are mentioned in former Catalogues, but are part of a Romance writ by him, and called the Cy­prian Academy. Printed at London, 1647.
    • Gripus & Hegio P. 8o
    • Deorum Dona M. 8o
  • (i)Plot from Herbert's Travels, Fol.
    (i)Mirza T. 8o
Anthony Brewer.
  • Country Girle Com. 4o
  • (k)From an old Engliſh Chronicle, Fol.
    (k)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.
  • 2
  • Vide Fletcher.
Richard Bernard.
  • Terences Comedies, viz.
    • Andraea. 4o.
    • Adelphi. 4o.
    • Evnuchus. 4o.
    • Heautontimorumenos. 4o.
    • Hecyra. 4o.
    • Phormio. 4o.
Lodow. Barrey.
  • Ram-Alley, or Merry Tricks. C. 4o
Richard Brome.
  • (a)Theſe five of Richard Brome, are Printed in one Volume, Octavo, London, 1635.
    • Court Beggar C. 8o.
    • City Wit C. 8o.
    • Damoyſelle C. 8o.
    • Mad couple well matcht. 8o.
    • Novella C. 8o.
  • (b)Theſe five of Brome, are Printed in another Volume in Octavo, London, 1659.
    • Covent Garden weeded. C. 8o
    • Engliſh Moor C. 8o
    • Love-ſick Court C. 8o
    • New Exchange C. 8o
    • Queen and Concubine C. 8o
  • Antipodes C. 4o
  • *Reprinted, Lond. 1686.
    *Jovial Crew C. 4o
  • (c)Lately Reprinted.
    (c)Northern Laſs C. 4o
  • Queens Exchange C. 4o
  • Sparagus Garden C. 4o
Alexander Brome.
  • Cunning Lover C. 4o
Fulk, Lord Brook.
  • (d)Theſe two of the Lord Brook's are Printed with his Poetical Works in Folio. London, 1633.
    (d)Alaham T. Fo.
  • (e)Plot from the Turkiſh Chronicle.
    (e)Muſtapha T. Fo.
Abraham Baily.
  • Spightful Siſter C. 4o
Mrs. Frances Boothby.
  • Marcelia T. C. 4o
John Bancroft.
  • Sertorius T. 4o
Mrs. Aſtraea Behn.
  • Amorous Prince T. C. 4o
  • (f)This is a Play of Chriſtopher Marlo's, call'd Luſts Dominion, Printed in Octa­vo, London, 1661.
    (f)Abdellazar, or the Moors. Revenge T. 4o
  • (g)Part of the City Heireſs, from a Play of Middleton's, call'd, A Mad World my Maſters, Quarto; and part from a­nother of Maſſenger's, called, The Guar­dian, Octavo.
    (g)City Heireſs C. 4o
  • 3
    (a)Plot from Don Feniſe, Octavo.
    (a)Dutch Lover C. 4o
  • (b)Stollen from Harlequin, Emperur dans le Monde de la Lune.
    (b)Emperour of the Moon F. 4o
  • Forc'd Marriage T. C. 4o
  • Falſe Count C. 4o
  • Feign'd Courtezans C. 4o
  • Lucky Chance C. 4o
  • (c)Taken from Tho. Killegrew's Don Thomaſo, or The Wanderer, Folio.
    (c)Rover, two Parts C. 4o
  • (d)A Play of John Tateham's, called, The Rump, altered, Quarto.
    (d)Roundheads C. 4o
  • (e)Part of this Play taken from Richard Brome's Damoyſelle, Octa. and Le malade imaginaire.
    (e)Sir Patient Fancy C. 4o
  • (f)A great part of this Play borrowed from a Play, called, The Miſeries of forc'd Marriage, Written by George Wilkins, Quarto.
    (f)Town-Fopp, or Sir Ti­mothy Tawdry C. 4o
  • (g)Plot from Alcamenes and Menalippa, in Cleopatra, Folio.
    (g)Young King T. C. 4o
Capt. William Bedloe.
  • Excommunicated Prince. T.C. Fo.
John Banks.
  • (*)Plot from the old Story ſo called.
    (*)Deſtruction of Troy T. 4o
  • (h)Plot from Caſſandra, Folio.
    (h)Rival Kings T. 4o
  • (i)Plot from E. of Eſſex and Q. E. a Nov.
    (i)Unhappy Favourite-Eſſex T. 4o
  • (k)Plot from Cauſin's Holy Court, Folio.
    (k)Mary; Queen of Scotland T. 4o
  • (l)Plot Q. Eliz. Novel, firſt Part 8o.
    (l)Virtue Betray'd-An. Bullen. T. 4o
George Chapman.
  • All Fools C. 4o
  • (*)Plot from Chron. de Rebus Germanicis.
    (*)Alphonſus, Emperor of Germany T. 4o
  • Blind Beggar of Alexandria C. 4o
  • (†)Plot from the French Chron. Hen. 3.
    • Buſſy D' Amboys T. 4o
    • His Revenge T. 4o
  • (m)Plot from the French Chronicles.
    • Byron's Conſpiracy T. 4o
    • His Tragedy T. 4o
  • (n)Plot from Lucan's Pharſalia, Suetoni­us, in the Life of Julius Caeſar.
    (n)Caeſar and Pompey T. 4o
  • Gentleman Uſher C. 4o
  • Humorous Days Mirth C. 4o
  • May Day C. 4o
  • Monſieur D' Olive C. 4o
  • Maſque of the Middle Temple. M. 4o
  • Revenge for Honour T. 4o
  • Temple M. 4o
  • Two Wiſe Men, and all the reſt Fools C. 4o
  • (o)Plot from Petronius Arbyter.
    (o)Widows Tears C. 4o
  • (p)Written by Chapman, Johnſon, and Marſton.
    (p)Eaſtward Hoe C. 4o
Robert Cox.
  • (‖)Plot from Ovid's Metamorph.
    (‖)Actaeon and Diana I. 4o
John Cook.
  • Green's Tu Quoque C. 4o
Edward Cook.
  • 4
  • (a)Plot from Caſſandra, Fol.
    (a)Loves Triumph T. C. 4o
Thomas Carew, and Inigo Jones.
  • (b)Printed with Carew's Poems. Lon­don, 1670.
    (b)Coelum Britannicum M. 8o
Lady Eliz. Carew.
  • (c)Plot from Joſephus, Folio.
    (c)Mariam T. 4o
Robert Chamberlain.
  • Swaggering Damoyſelle C. 4o
William Chamberlain.
  • Loves Victory C. 4o
(d)The first of Carlell's Plays, (viz.) in two Parts, Bound in one Volume, Twelves. The three next Printed in another Volume, Octavo. London, 1657. And the next in Octavo. Printed 1659.
(d)Lodowick Carlell.
  • Arviragus and Philicia, two Parts T. C. 12o
  • Fool would be a Favourite T.C. 8o
  • Deſerving Favourite T. C. 8o
  • (*)Plot from Knolls's Turkiſh Hiſtory, in the Reign of Mahomet the First.
    (*)Oſmond the Great Turk. T. 8o
  • Paſſionate Lovers, two Parts. T.C. 8o
  • (e)From Corneille.
    (e)Heraclius Emperour of the Eaſt T. 4o
Abraham Cowley.
  • (f)This Play is the Guardian, Corrected and Enlarged.
    (f)Cutter of Coleman ſtreet C. 4o
  • Guardian C. 4o
  • (g)Bound with his Second Volume, Folio, London, 1681.
    (g)Loves Riddle P. Fol.
(h)All Printed with his Poems, Lon. 1651.
(h)William Carthwright.
  • Lady Errant T. C. 8o
  • Ordinary C. 8o
  • Royal Slave T. C. 8o
  • (i)Occaſion in Plutarch's Life of Cymon, and Part from Boccaces Novels, the Ninth Day, Novel the First.
    (i)Siege T. C. 8o
(k)All Printed with his Poems. Lon. 1669.
(k)Sir Aſton Cockain.
  • Obſtinate Lady C. 8o
  • (†)Plot from his Elegies.
    (†)Ovid T. 8o
  • (l)Plot from Trapolen creduto Principe.
    (l)Trappolin ſuppos'd a Prince. T.C. 8o
Richard Carpenter.
  • Pragmatical Jeſuit C. 4o
Charles Cotton.
  • (m)From Corneille.
    (m)Horrace T. 4o
John Corey.
  • 5
  • (a)Part of this Play is borrowed from Sir William Dower's Noble Ingratitude.
    (a)Generous Enemies C. 4o
John Crown.
  • (b)Tranſlated from the French.
    (b)Andromache T. 4o
  • Ambitious States-man T. 4o
  • City Politiques C. 4o
  • (c)Part from Molliere's Le Sicilien.
    (c)Country Wit C. 4o
  • (d)Plot from Guiciardine's Hiſt. and the French Chron. in the Reign of Charles 8.
    (d)Charles the Eighth T. 4o
  • (e)The Foundation from Ovidil Metam. Lib. 2.
    (e)Caliſto M. 4o
  • (f)Plot from Joſephus's Hiſt. Book 6. 7.
    (f)Deſtruct. of Jeruſal. 2 pts. T. 4o
  • (†)From Engliſh Chronicles, and part of the Language, from Shakeſpear.
    • Henry the ſixth T. 4o
    • The ſecond Part, or the Miſeries of Civil War T. 4o
  • Juliana, Princeſs of Poland. T.C. 4o
  • (g)Plot, and part of the Play from a Spaniſh Play, called No Puedeſer.
    (g)Sir Courtly Nice C. 4o
  • (h)Plot from Poetical Hiſtory.
    (h)Thieſtes T. 4o
John Day.
  • Blind Beggar of Bednal Green. C. 4o
  • Humour out of Breath C.
  • (i)Plot from Sir Phil. Sidney's Arcadia.
    (i)Iſle of Gulls C. 4o
  • Law Tricks C. 4o
  • Parliament of Bees M. 4o
  • (k)Writ by him, Rowly, and Wilkins.
    (k)Travels of three Engliſh Brothers H. 4o
Robert Dawbourn.
  • Chriſtian turn'd Turk T. 4o
  • Poor Mans Comfort C. 4o
(l)All Printed in one Volume, London, 1623.
(l)Samuel Daniel.
  • (m)Plot from Appian of Alexandria.
    (m)Cleopatra T. 4o
  • Hymens Triumph P. 4o
  • (n)Plot from Plutarch's Life of Alexan­der, and Quintus Curtius, Book the 6th.
    (n)Philotas T. 4o
  • Queens Arcadia P. 4o
  • Viſion of the twelve Goddeſſes. M. 4o
Robert Davenport.
  • (o)Plot from Don Quixot's Novel, of the Curious Impertinent, and Boccaces No­vels, Day the 7th, Novel 7th.
    (o)City Night-Cap C. 4o
  • (p)Engliſh Chronicle.
    (p)John and Matilda T. 4o
Thomas Decker.
  • Fortunatus C. 4o
  • Honeſt Whore, two Parts C. 4o
  • If this be'nt a good Play, the Devil's in't C. 4o
  • Match me in London C. 4o
  • (q)Writ by him and Webſter.
    • Northward Hoe C. 4o
    • Weſtward Hoe H. 4o
    • Wyat's Hiſtory H. 4o
  • 6Untruſſing of the Humorous Poet C. 4o
  • Whore of Babylon C. 4o
  • Wonder of a Kingdom C. 4o
  • (*)Writ by him, Rowly, and Ford.
    (*)Witch of Edmonton T. 4o
All, except the last, Printed with his Works, in Folio. Lond. 1673.
The last writ by him, and Inigo Jones, the late King's Surveyor.
(1)Sir Will. D'Avenant.
  • (a)Plot from Heylin's Coſmographie, Book the First. Chronicle of Italy.
    (a)Albovine T. Fol.
  • Cruel Brother T. Fol.
  • Diſtreſſes C. Fol.
  • Fair Favourite T. C. Fol.
  • Juſt Italian T. C. Fol.
  • Love and Honour T. C. Fol.
  • (b)From Meaſure for Meaſure, and Much adoe about Nothing.
    (b)Law againſt Lovers T. C. Fol.
  • (c)From Mollieres's Joddelet〈◊〉le Mai­tre valet.
    (c)Man's the Maſter C. Fol.
  • Platonick Lovers C. Fol.
  • Part from Mollieres Sganarelle.
    Play-Houſe to be Lett C. Fol.
  • Siege T. C. Fol.
  • Siege of Rhodes, two Parts. T.C. Fo.
  • Temple of Love M. Fol.
  • Triumph of the Prince D'Amour M. Fol.
  • Unfortunate Lovers T. Fol.
  • (d)Not his, but Carew's, and Printed with his Poems, Octavo.
    (d)Coelum Britannicum. M. Fol.
  • News from Plymouth C. Fol.
  • Britannia Triumphans M. 4o
Dr. Charles D'Avenant.
  • Circe O. 4o
Tho. Denham.
  • (e)

    Plot from Herbert's Travels, Life of Abbas.

    Printed with his Poems. London, 1670.

    (e)Sophy T. 8o
John Dancer.
  • (f)Tranſlated from the Italian of Taſſo, and Printed with Dancer's Poems, Lon­don, 1660.
    (f)Aminta P. 8o
  • (g)Tranſlated from Monſieur Quinault.
    (g)Agrippa King of Alba. T.C. 4o
  • (h)Tranſlated from Corneille.
    (h)Nicomede T.C. 4o
John Dryden.
  • (i)Sanderſon's Hiſt. of K. James p. 577.
    (i)Amboyna T. 4o
  • (k)Plot of the ſerious Part, from the An­nals of Love: In the Story of Conſtance the Fair Nun. The Part of Aureleo, from Scarron's Comical Romance: In the Story of Deſtiny and Madam Star.
    (k)Aſſignation C. 4o
  • (l)Plot from Tavernier's Voyages into In­dia, Volume the First, Part the Second, Book the Second.
    (l) Auringzebe T.C. 4o
  • (m)Plutarch's Life of Marcus Antonius, and other Roman Hiſtorians.
    (m)All for Love T. 4o
  • Albion and Albanius O. Fol.
  • 7
    (a)Plot, Almanzor and Almahide, from Cleopatra in the Story of Artaban: and Almahide the Romance. Ozmyn and Benzaida, from Oſman and Alibech, in Ibrahim. Abdalla, Abdelmelech, Lyn­daraxa, from Prince Ariantes, Agathir­ſes, and Elibeſis, in the First Book of the Ninth Part of Cyrus.
    (a)Conqueſt of Granada, two Parts T.C. 4o
  • *Part from Corneilles De Pit Amoreuſe, part from Le-feinte Aſtrologue, and part from the Illuſtrious Baſſa, a Ro­mance.
    *Evenings Love, or Mock-Aſtrologer C. 4o
  • (b)Plot, Heylin's Coſmography, Book the Fourth. Hen. Bonzonus rerum ab Hi­ſpanis in India Occidentali geſtarum, Lib. 3. Octavo.
    (b)Indian Emperour T.C. 4o
  • Kind Keeper, or Mr. Lymber­ham C. 4o
  • (c)Plot, from Cleobuline, Queen of Co­rinth, in the Second Book of the Seventh Part of Cyrus: and the Character of Ce­ladon and Florimel, from Piſiſtrate and Cerinthe in Cyrus, Part Ninth, Book Third; and from the French Marqueſs in Ibrahim, Part Second, Book the First.
    (c)Maiden Queen T.C. 4o
  • (d)Plot of the ſerious Part, and the Cha­racters from Seſoſtris and Timareta in Cyrus, Part the Sixth, Book the Second: and Palamedes from the Prince of Sala­mis, in the Story of Timantes and Par­thenia, Part Sixth, Book First, of Cy­rus; and from Nagaret, in the Annals of Love, Octavo.
    (d)Marriage Al-a-mode C. 4o
  • (f)Founded on Plautus's Amphytruo.
    (f)Miſtaken Husband C. 4o
  • Rival Ladies T. C. 4o
  • Part from Molliere's L' Etourdy.
    Sir Martin Mar-all C. 4o
  • (g)Plot from Milton's Paradiſe loſt. O­ctavo.
    (g)State of Innocence C. 4o
  • (h)Plot of the Comical Part from the Pil­grim, a Novel, Twelves.
    (h)Spaniſh Fryar T.C. 4o
  • (i)Originally Shakeſpear's.
    (i)Tempeſt C. 4o
  • (‖)Plot from Jul. Capitolinus in vitam Maximini.
    (‖)Tyrannick Love, or Royal Martyr T. 4o
  • (k)Part Shakeſpear.
    (k)Troylus and Creſſida T. 4o
  • Wild Gallant C. 4o
  • (†)Joyn'd in theſe two last with Nath. Lee.
    • (l)From D'Avila's Hiſtory of France.
      (l)Duke of Guiſe T. 4o
    • (m)From Sophocles, and the Poetical Hiſtories.
      (m)Oedipus T. 4o
John Dover.
  • Roman Generals T. C. 4o
Thomas Durfey.
  • (n)Plot from Don Feniſe, Octavo.
    (n)Banditti C. 4o
  • (o)Borrow'd from Fletcher's Sea-Voyage.
    (o)Common-wealth of Women T.C. 4o
  • Fool turn'd Critick C. 4o
  • Fond Husband C. 4o
  • (p)The Foundation Shakeſpear's.
    (p)Injured Princeſs T. C. 4o
  • 8
    (a)Part from the Antiquary. Quarto.
    (a)Madam Fickle C. 4o
  • Siege of Memphis T. 4o
  • (b)Plot from Francion's Romance, Fol.
    (b)Squire Old Sapp C. 4o
  • Royalliſt C. 4o
  • (c)Part of it from the Fine Companion, Quarto. And Ploe from the Double-Cuckold, a Novel, Octavo.
    (c)Sir Barnaby Whigg C. 4o
  • (d)From Monſieur Thomas.
    (d)Trick for Trick C. 4o
  • Virtuous Wife C. 4o
Tho. Duffet.
  • Mock-Tempeſt F. 4o
  • Spaniſh Rogue C. 4o
Sir George Etheridge.
  • Love in a Tub C. 4o
  • Man of Mode, or Sir Fopling Flutter C. 4o
  • She wou'd if ſhe cou'd C. 4o
Edward Eccleſton.
  • (e)Foundation on Sacred Writ.
    (e)Noah's Flood O. 4o
*All Beaumont and Fletcher's Plays Printed together in one Volume, Folio, London, 1679.
*John Fletcher, and Francis Beaumont.
  • Beggars Buſh C. Fol.
  • (f)Plot from Tacitus's Annals, Book 14.
    (f)Bonduca T. Fol.
  • (g)Plot from Harodiani Hiſtoriae.
    (g)Bloody Brother, or Rollo D. of Normandy. T. Fol.
  • Cuſtom of the Country T. C. Fol.
  • (h)Altered by the Duke of Buckingham, and Printed in Quarto. Lond. 1682. The Plot from Lady Cornelia, in Exem­plary Novels, Folio.
    (h)Chances C. Fol.
  • Captain C. Fol.
  • Coxcomb C. Fol.
  • Cupid's Revenge C. Fol.
  • Coronation T. C. Fol.
  • Double Marriage T. C. Fol.
  • Elder Brother C. Fol.
  • Falſe One T. Fol.
  • Four Plays in One T. C. Fol.
  • Faithful Shepherdeſs P. Fol.
  • Fair Maid of the Inn C. Fol.
  • Honeſt Man's Fortune C. Fol.
  • Humerous Lieutenant T. C. Fol.
  • (*)Lately Reprinted with Alterations, by Nat. Tate. Lond. 1687.
    (*)Iſland Princeſs T. C. Fol.
  • King and no King T. C. Fol.
  • Knight of the Burning Peſtle. C. Fol.
  • Knight of Malta T. C. Fol.
  • (i)Plot from Guſman's Don Lewis de Caſtro, and Don Roderigo de Montalvo.
    (i)Little French Lawyer C. Fol.
  • Loyal Subject T. C. Fol.
  • Laws of Candy C. Fol.
  • (k)Plot, Lyſander and Caliſta.
    (k)Lovers Progreſs T. C. Fol.
  • Loves Cure C. Fol.
  • (l)Part of it from Johnſon's New Inn, Octavo, and the Plot from Exemplary Novels, Two Damſels.
    (l)Loves Pilgrimage C. Fol.
  • Mad Lover C. Fol.
  • (m)Serious Plot from Gerardo, p. 350. 8o.
    (m)Maid in the Mill C. Fol.
  • Maſque of Grays-Inn Gent. M. Fol.
  • Monſieur Thomas C. Fol.
  • 9Maids Tragedy T. Fol.
  • Noble Gentleman C. Fol.
  • Nice Valour T. C. Fol.
  • Night Walker C. Fol.
  • Propheteſs T. C. Fol.
  • Pilgrim T. C. Fol.
  • Philaſter T. C. Fol.
  • Queen of Corinth T.C. Fol.
  • Rule a Wife, and have a Wife C. Fol.
  • (a)From Gerardo's Leandro. p. 214. 8o.
    (a)Spaniſh Curate C. Fol.
  • Sea Voyage T. C. Fol.
  • Scornful Lady C. Fol.
  • (b)Plot from the French Chronicles, in the Reign of Clotaire the Second. Imper­fect in the Folio Edition, but right in the Quarto.
    (b)Thierry and Theodoret T. Fol. & 4o
  • Two Noble Kinſmen T. C. Fol.
  • (c)Plot, Procopis Caeſarienſis Hiſtoriae: Altered by the Lord Rocheſter. Printed Quarto, 1686.
    (c)Valentinian T. Fol. & 4o
  • Womans Prize C. Fol.
  • Women pleas'd C. Fol.
  • Wife for a Month C. Fol.
  • Wit at ſeveral Weapons C. Fol.
  • Wild-gooſe Chaſe C. Fol.
  • Woman Hater C. Fol.
  • Wit without Money C. Fol.
Nathaniel Field.
  • Amends for Ladies C. 4o
  • Womans a Weather-cock C. 4o
John Ford. v. Decker.
  • Broken Heart T. 4o
  • Fancies C. 4o
  • Lovers Melancholy T. 4o
  • Loves Sacrifice T. 4o
  • Ladies Tryal T. 4o
  • (d)Plot from Gainsford's Hiſtory, 4o.
    (d)Perkin Warbeck H. 4o
  • Pity ſhe's a Whore T. 4o
  • (e)Ford and Decker.
    (e)Suns Darling C. 4o
Thomas Ford.
  • (f)Printed with his Works, Octavo. Lon­don, 1661.
    (f)Loves Labyrinth T. C. 4o
Abraham Fraunce.
  • Counteſs of Pembroke's Ivy Church, 2 Parts P. 4o
Richard Flecknoe.
  • (g)Borrowed from Molliere's Preceeuſes Redicules. Octavo.
    (g)Damoyſelles a-la-mode C. 8o
  • Erminia T. C. 8o
  • (h)Theſe two almost the ſame.
    • Loves Kingdom T. C. 8o
    • Loves Dominion P. 8o
  • Marriage of Oceanus and Britannia M.
Ʋlpian Fulwell.
  • Like will to like, quoth the Devil to the Collier C. 4o
J. Fountain.
  • Reward of Virtue C. 4o
Sir Ralph Freeman.
  • 10
  • Imperiale T. 4o
Lord Viſcount Faulkland.
  • Marriage Night T. 4o
Sir Richard Fanſhaw.
  • (a)Tranſlated from Guarini's Italian, and Printed with his Poems, London, 8o.
    (a)Paſtor Fido P. 8o
Sir Francis Fane, Jun.
  • (b)Plot from the Inviſible Miſtreſs, in Scarron's Novels, 8o.
    (b)Love in the Dark T. C. 4o
  • Sacrifice T. 4o
Henry Glapthorn.
  • Albertus Wallenſtine T. 4o
  • (c)Plot from Sir Philip Sidney's Arca­dia, Folio.
    (c)Argalus and Parthenia P. 4o
  • Hollander C. 4o
  • Ladies Priviledge C. 4o
  • Wit in a Conſtable C. 4o
Tho. Goff.
  • Careleſs Shepherdeſs. P. 4o
  • (d)Plot from the Turkiſh Hiſtory.
    (d)Selimus T. 4o
  • *Printed in one Volume.
    • (e)Plot from the ſame.
      (e)Courageous Turk. T. 4o
    • (f)From Euripides.
      (f)Oreſtes. T. 4o
    • (g)Plot from the Turkiſh Hiſtory.
      (g)Raging Turk. T. 4o
Robert Green.
  • (h)Plot from the Engliſh Chronicle.
    (h)Fryer Bacon C. 4o
  • (i)Plot, Story of Jonas in the Holy Scri­pture.
    (i)Looking-glaſs for London H. 4o
George Gerbyer.
  • Falſe Favourite diſgrac'd T. C. 8o
George Gaſcoign.
  • Glaſs of Government T. C. 4o
  • (k)From Euripides.
    (k)Jocaſta T. 4o
  • (l)From Arioſto.
    (l)Suppoſes C. 4o
  • Pleaſure at Kenelworth-Ca­ſtle. M.
Francis Gouldſmith.
  • (m)From Hugo Grotius's Sophompaneas, Latin.
    (m)Joſeph T. C. 8o
Robert Gomerſall.
  • (n)Printed with his Poems, Lond. 1633.
    (n)Sforza Duke of Millain T. 8o
Alexander Green.
  • Politician Cheated C. 4o
John Heywood.
  • 11
  • Four P P. I. 4o
  • Play of Love I. 4o
  • Play of the Weather I. 4o
  • Play between John the Huſ­band, and Tib his Wife. I. 4o
  • Play between the Pardoner, Fryar, Gurate, and Neigh­bour Pratt. I. 4o
  • Play of Gentileneſs and Nobi­lity, 2 Parts. I. 4o
*Plot from Guiciardine's Hiſtory of Italy, Folio, and from Poetical Hiſtory.
*Jaſper Heywood.
  • Hercules Furiens T. 4o
  • Thyeſtes T. 4o
  • Troas T. 4o
Tho. Heywood, vide Ford.
  • Theſe are uſually Bound together.
    • Plot from Poetical Hiſtory.
      • Golden Age H. 4o
      • Silver Age H. 4o
      • Brazen Age C. 4o
    • (a)Plot from Virgil's Aeneids, Second Book, and Homer's Iliads.
      (a)Iron Age, 2 Parts H. 4o
  • Challenge for Beauty C. 4o
  • (b)Plot from Engliſh Chronicle, and Clark's Martyrology.
    (b)Dutcheſs of Suffolk H. 4o
  • Engliſh Traveller C. 4o
  • Edward the Fourth, 2 Parts H. 4o
  • (c)Plot from Engliſh Chronicle.
    (c)Elizabeth's Troubles, 2 Pts. H. 4o
  • (d)Plot, Engliſh Lovers, 8o.
    (d)Fair Maid of the Weſt, Two Parts. C. 4o
  • Four London-Prentices H. 4o
  • Fair Maid of the Exchange C. 4o
  • (e)By him and Rowley.
    (e)Fortune by Land and Sea. H. 4o
  • (f)By him and Brome.
    (f)Lancaſhire Witches C. 4o
  • (g)Plot from Apuleius's Golden Aſs, 4o.
    (g)Loves Miſtreſs M. 4o
  • Maidenhead well loſt C. 4o
  • (h)Plot from Titus Livius.
    (h)Rape of Lucrece T. 4o
  • Plot, Stow and Speed's Chronicle.
    • Robert Earl of Hun­tingdon's Downfall. H. 4o
    • His Death T. 4o
  • Woman kill'd with Kindneſs C. 4o
  • Wiſe Woman of Hogsden C. 4o
William Habington.
  • Queen of Arragon Folio.
Charles Hool.
  • (i)Caſtrated Latin, Engliſh.
    (i)Terrences Comedies C. 8o
Peter Hauſted.
  • Rival Friends C. 4o
Barton Holiday.
  • Marriage of the Arts C. 4o
William Hemings.
  • 12
  • (a)Plot, French Chronicles.
    (a)Fatal Contract T. 4o
  • (b)Plot from Joſephus's Hiſtory of the Jews, Book Sixth and Seventh.
    (b)Jews Tragedy T. 4o
Richard Head.
  • Hic & ubique C. 4o
*The four first of Sir Robert Howard's Plays, are uſually Bound together.
*Sir Robert Howard.
  • Indian Queen T. Fol.
  • Committee C. Fol.
  • Surpriſal T. C. Fol.
  • Veſtal Virgins T. C. Fol.
  • (c)Printed with his Poems in 8o.
    (c)Blind Lady C. 8o
  • Duke of Lerma T. 4o
James Howard.
  • All Miſtaken, or the Mad Couple. C. 4o
  • Engliſh Monſieur C. 4o
Edward Howard.
  • Man of Newmarket C. 4o
  • Six Days Adventure C. 4o
  • Uſurper T. 4o
  • Womans Conqueſt T. C. 4o
James Howel.
  • (d)Tranſlated from the French.
    (d)Peleus and Thetis M. 4o
(†)All Ben. Johnſon's except the four last, are Printed with other Poems in two Volumes, Folio, London, 1640.
(†)Benj. Johnſon.
  • Alchymiſt C. Fol.
  • Bartholemew-Fair. C. Fol.
  • Chriſtmas's Maſque M. Fol.
  • Cloridia M. Fol.
  • Cynthia's Revels C. Fol.
  • Challenge at Tilt M. Fol.
  • (e)Plot from Saluſt's Hiſtory.
    (e)Cataline's Conſpiracy T. Fol.
  • Devil's an Aſs C. Fol.
  • Every Man in his Humour C. Fo.
  • Every Man out of his Hu­mour. C. Fo.
  • (f)From ſeveral Authours quoted in the Margin throughout.
    (f)Entertainment at K. James's Coronation. E. Fol.
  • Entertainments of the Q. and Prince, at Althrop. E. Fol.
  • Entertainments of the King of England, and the King of Denmark, at Theo­balds. F. Fol.
  • Entertainment of K. James, and Q. Ann, at Theobalds. F. Fol.
  • Entertainment of the King and Queen, on May Day, at Sir Wil. Cornwallis's Houſe, at High-gate. E. Fol.
  • Fortunate Iſles M. Fol.
  • Fox C. Fol.
  • Golden Age reſtored M. Fol.
  • Honour of Wales M. Fol.
  • 13
    *All marked with this * are in the first Volume, and Quotations are Cited by the Authour in the Margin throughout.
    *Hymenes M. Fol.
  • Iriſh Maſque M. Fol.
  • King's Entertainment at Welbeck. M. Fol.
  • Loves Triumph M. Fol.
  • Love's Welcome M. Fol.
  • Love Reſtored M. Fol.
  • Magnetick Lady C. Fol.
  • Maſque of Auguurs M. Fol.
  • Maſque at the Lord Hayes's Houſe. M. Fol.
  • Maſque at the Lord Had­dington's Marriage. M. Fol.
  • Maſque of Owls M. Fol.
  • *All marked with this * are in the first Volume, and Quotations are Cited by the Authour in the Margin throughout.
    *Maſque of Queens M. Fol.
  • Mercury Vindicated M. Fol.
  • Metamorphoſed Gipſies M. Fol.
  • (a)An Imperfect Piece just begun.
    (a)Mortimer's Fall T. Fol.
  • News from the New World in the Moon. M. Fol.
  • Neptune's Triumph M. Fol.
  • *All marked with this * are in the first Volume, and Quotations are Cited by the Authour in the Margin throughout.
    *Oberon the Fairy-Queen M. Fol.
  • Pleaſure reconciled to Virtue M. Fol.
  • Pan's Anniverſary M. Fol.
  • (b)From Ovid's Elegies; and from Hor­race's Satyrs, Book the Ninth, Satyr the first Part.
    (b)Poetaſter C. Fol.
  • *All marked with this * are in the first Volume, and Quotations are Cited by the Authour in the Margin throughout.
    *Queen's Maſque of Black­neſs. M. Fol.
  • *All marked with this * are in the first Volume, and Quotations are Cited by the Authour in the Margin throughout.
    * Her Maſque of Beauty M. Fol.
  • Speeches at Pr. H. Barriers M. Fol.
  • Staple of News C. Fol.
  • (c)Borrowed part of it from Ovid de Ar­te Amandi, and Juvenal's Sixth Satyr.
    (c)Silent Woman C. Fol.
  • (d)This Play left Imperfect.
    (d)Sad Shepherd T. Fol.
  • (e)Plot, Tacitus, Suetonius, Seneca, &c. There is an Edition of this Play, 4o, Print­ed Lond. 1605, by the Authour's own Or­ders, with all the Quotations from whence he borrowed any thing of his Play.
    (e)Sejanus T. Fol.
  • Tale of a Tub C. Fol.
  • Time Vindicated M. Fol.
  • Viſion of Delight M. Fol.
  • Caſe is altered C. 4o
  • New-Inn C. 4o
  • (f)Joyn'd in this with Chapman.
    (f)Eaſtward Hoe C. 4o
  • (g)Joyn'd in this with Fletcher and Mid­dleton.
    (g)Widow C. 4o
John Jones.
  • Adraſta C. 4o
Tho. Ingeland.
  • Diſobedient Child I. 4o
Tho. Jordain.
  • Fancies Feſtivals M. 4o
  • Mony's an Aſs C. 4o
  • Walks of Iſlington and Hogſ­den C. 4o
William Joyner.
  • (h)Plot, Zoſimi Hiſtoriae.
    (h)Roman Empreſs T. 4o
Tho. Jevorn.
  • 14
  • Devil of a Wife F. 4o
Tho. Kyd.
  • (a)Tranſlated from the French of Robert Garnier.
    (a)Cornelia T. 4o
Tho. Kirk.
  • (b)Plot, Hiſtory of the Seven Champions of Chriſtendom.
    (b)Seven Champions of Chriſtendom. H. 4o
Ralph Knevet.
  • Rhodon & Iris P. 4o
*All Printed in one Volume Folio, Oxon. 1666.
*Sir William Killegrew.
  • Ormaſdes T.C. Fol.
  • Pandora T. C. Fol.
  • Selindra T. C. Fol.
  • Siege of Urbin T.C. Fol.
Henry Killegrew.
  • (c)Theſe two in a manner the ſame.
    • Conſpiracy T. 4o
    • Pallantus and Eudora T. Fol.
Theſe all Printed in one Volume, Folio, London, 1664.
Tho. Killegrew.
  • Bellamira her Dream, 2 Parts. T. Fol.
  • Claracilla T.C. Fol.
  • Cicilia and Clorinda, 2 Parts. T.C. Fol.
  • Parſons Wedding C. Fol.
  • Priſoners T.C. Fol.
  • Princeſs T.C. Fol.
  • Pilgrim T. Fol.
  • Thomaſo, or the Wander­er, 2 Parts. C. Fol.
The first Six Printed together in Octavo London, 1632.
John Lilly.
  • (d)Plot, Pliny's Natural Hiſtory, Lib. 35. Cap. 10.
    (d)Alexander and Campaſpe C. 8o
  • (e)Plot, Lucian's Dialogue between Ve­nus and the Moon.
    (e)Endimion C. 8o
  • Galathaea C. 8o
  • (f)Plot, Ovid's Metamorph. Lib. 11.
    (f)Mydas C. 8o
  • Mother Bomby C. 8o
  • (g)Plot, Ovidii Epiſtolae.
    (g)Sapho and Phaon C. 8o
  • Loves Metamorphoſis C. 4o
  • Maids Metamorphoſis C. 4o
  • Woman in the Moon C. 4o
*The three firſt of Sir Wil. Lower's Plays, Printed together in 12o London, 1661.
*Sir William Lower.
  • Amorous Phantaſm P. 12o
  • 15Enchanted Lovers P. 12o
  • (a)From the French.
    (a)Noble Ingratitude T.C. 12o
  • (b)From Corneille.
    (b)Horatius T. 4o
  • (c)From Corneille's Polyeucte.
    (c)Martyr T. 4o
Tho. Lupon.
  • All for Mony T. 4o
Tho. Lodge.
  • (d)Plot from Plutarch in Vitas C. Marii & Syllae.
    (d)Marius and Scylla T. 4o
  • (e)By him and Green.
    (e)Looking-glaſs for London H. 4o
John Lacey.
  • (f)Plot and Language from Molliere's Le Medicine Malyre luy.
    (f)Dumb Lady C. 4o
  • Old Troop C. 4o
  • Sir Hercules Buffoon C. 4o
Nat. Lee, v. Dryden.
  • (g)Plot from Matchiavel.
    (g)Caeſar Borgia T. 4o
  • (h)Plot, Euſebius de vitâ Conſtantini.
    (h)Conſtantine the Great T. 4o
  • (i)Plot from Cleopatra.
    (i)Gloriana T. 4o
  • (k)Plot, Clelia, and Livy's Hiſtory.
    (k)Lucius Junius Brutus T. 4o
  • (l)Plot, Hiſtorical Dictionary, Appian, Alexand. Romanae, Hiſtoriae.
    (l)Mithridates T. 4o
  • (m)Plot from Suetonius, in Vitam Ne­ronis.
    (m)Nero T. 4o
  • (n)Plot, Quintus Curtius.
    (n)Rival Queens T. 4o
  • (o)Plot, Sir Walter Rawleigh's Hiſto­ry of the World, Book 5th, Chap. 3d. Sect. 18th.
    (o)Sophonisba T. 4o
  • (p)Plot from Pharamond, Book 3d. Part 3d. Page 282, and Euſebii Hiſtor. Ec­cleſiaſtica.
    (p)Theodoſius T. 4o
J. Leanard.
  • (q)Taken from a Play called The Coun­try Girl. C. 4o.
    (q)Country Innocence C. 4o
  • (r)Part from More Diſſemblers beſides Women. C. 4o.
    (r)Rambling Juſtice C. 4o
Tho. Middleton, v. Fletcher.
  • Any thing for a quiet Life C. 4o
  • Blurt Mr Conſtable C. 4o
  • Chaſt Maid in Cheapſide C. 4o
  • Family of Love C. 4o
  • Game at Cheſs C. 4o
  • Inner-Temple Maſque M. 4o
  • Mad World my Maſters C. 4o
  • (ſ)Plot frrom Ranulph. Ceſtrenſis Poly­chronicon.
    (ſ)Mayor of Quinborough C. 4o
  • Michaelmas-Term C. 4o
  • Phoenix C. 4o
  • Roaring Girl C. 4o
  • Trick to catch the old one C. 4o
  • Triumphs of Love and An­tiquity. M. 4o
  • 16World toſs'd at Tennis M. 4o
  • Your Five Gallants C. 4o
  • Theſe three in one Volume, 8o, Lon. 1657.
    • More Diſſemblers be­ſides Women C. 8o
    • Plot from Hippolito and Iſabella, a No­vel, 8o.
      Women beware Women T. 8o
    • No
      • Wit
      • Help
      like a Womans C. 8o
  • *Theſe four were Writ by Middleton and Rowley.
    • (a)Plot from God's Revenge againſt Mur­ther, in Alſemero and Beatrice Joanna, Folio.
      (a)Changeling T. 4o
    • (b)Plot from Complaiſant Companion, 8o, Page 280.
      (b)Fair Quarrel T. C. 4o
    • Old Law C. 4o
    • (c)Plot, Cervantes's Exemplary No­vels, Folio. Force of Blood.
      (c)Spaniſh Gipſies C. 4o
Philip Maſſenger.
  • Bondman C. 4o
  • City Madam C. 4o
  • Duke of Millain T. 4o
  • (d)Plot, Euſebii Hiſt.
    (d)Emperour of the Eaſt T. C. 4o
  • Fatal Dowry T. 4o
  • Great Duke of Florence C. 4o
  • Maid of Honour C. 4o
  • New way to Pay old Debts C. 4o
  • (e)Plot from Fortunate, Deceiv'd, and Unfortunate Lovers, 8o: Novel the 4th of the Deceived Lovers.
    (e)Picture C. 4o
  • Roman Actor T. 4o
  • Renegado C. 4o
  • Unnatural Combat T. 4o
  • (f)Plot, Euſebii Hiſt. Lib. 8. Cap. 17.
    (f)Virgin Martyr T. 4o
  • (h)Theſe three are Printed in one Volume, 8o. Lond. 1655.
    • Baſhful Lady C. 8o
    • (g)Plot from the Cimmerian Matron, 8o.
      (g)Guardian C. 8o
    • Very Woman T. 8o
*All except the two last are in one Volume, 8o. Lond. 1633.
*John Marſton.
  • Antonio & Mellida, 2 Parts T. 8o
  • (i)Plot from Palace of Pleaſure, the last Novel.
    (i)Dutch Courtezan C. 8o
  • Fawn C. 8o
  • (k)Plot from Sir Walter Raleigh's Hi­ſtory, and Livy's Hiſtory.
    (k)Sophonisba T. 8o
  • What you will C. 8o
  • (l)Plot from Montius's Hiſtory of Naples, in The Life of Joan Queen of Naples.
    (l)Inſatiate Counteſs T. 4o
  • Male-Content T.C. 4o
Shakerly Marmion.
  • Antiquarary C. 4o
  • Fine Companion C. 4o
  • Holland's Leaguer C. 4o
Chriſtopher Marloe.
  • (m)Plot, Camerarii Opera Subſc. Cent. 1. Cap. 70.
    (m)Dr. Fauſtus T. 4o
  • 17
    (a)Writ by him and Naſh, Plot, Virgil's Aeneids, Book 4.
    (a)Dido Q. of Carthage T. 4o
  • (b)Plot, Engliſh Chronicles.
    (b)Edward the 2d T. 4o
  • Jew of Malta T.C. 4o
  • Luſts Dominion T. 8o
  • (c)Plot, French Chronicles.
    (c)Maſſacree at Paris T. 8o
  • (d)Plot, Jean du Bee L' Hiſtoire de Tamerlane, 8o, and his Life in Engliſh, 8o.
    (d)Tamberlain the Great, two Parts T. 8o
Thomas May.
  • Theſe two Printed together, 8o, London, 1639.
    • (e)Plot, Taciti Annales, Lib. 12.
      (e)Agrippina T. 8o
    • (f)Plot, Plutarchus in vitam, M. Antonii.
      (f)Cleopatra T. 8o
  • (g)Plot from Sophocles.
    (g)Antigone T. 8o
  • Heyre T.C. 8o
  • Old Couple T. 4o
Tho. Meriton.
  • Love and War T. 4o
  • Wandring Lover T. C. 4o
Lewis Machin.
  • Dumb Knight C. 4o
Coſmo Manuch.
  • Juſt General T. 4o
  • Loyal Lovers T. C. 4o
Gervaſe Markham.
  • (h)Writ by him and Sampſon. Plot from Joſephus's Hiſtory, Book 17.
    (h)Herod and Antipater T. 4o
J. Milton.
  • Sampſon Agoneſtes T. 8o
John Maſon.
  • Mulcaſſes the Turk T. 4o
Walter Montague.
  • Shepherds Paradice P. 8o
Robert Mead.
  • Combat of Love and Friend­ſhip C. 4o
Jaſper Main.
  • Theſe two Printed together, and may be had either in 4o or 8o.
    • Amorous War C. 4o & 8o
    • City Match C. 4o & 8o
Mathew Medbourn.
  • (i)Tranſlated from Molliere.
    (i)Tartuff C. 4o
L. Maidwel.
  • Loving Enemies C. 4o
Thomas Nabbs.
  • 18
  • Bride C. 4o
  • Covent-Garden C. 4o
  • Entertainment on the Prince's Birth-Day F. 4o
  • (a)Plot from Corn. Nepos in vitam An­nibalis.
    (a)Hannibal and Scipio T. 4o
  • Microcoſmus M. 4o
  • Springs Glory M. 4o
  • Tottenham Court C. 4o
  • Unfortunate Mother T. 4o
Tho. Naſh, v. Marloe.
  • Summers laſt Will and Teſta­ment C. 4o
Tho Norton, and Sackvile.
  • (b)Plot from Old Brittiſh Chronicles.
    (b)Ferex & Porex, or Gorboduc T. 4o
Thomas Nuce.
  • (c)Tranſlated from Seneca's Tragedies.
    (c)Octavia T. 4o
Tho. Newton.
  • (d)Tranſlated from the ſame.
    (d)Thebais T. 4o
Alex. Nevile.
  • (e)Tranſlated from the ſame.
    (e)Oedipus T. 4o
Robert Nevile.
  • Poor Schollar C. 4o
Duke of Newcaſtle.
  • Humerous Lovers C. 4o
  • Triumphant Widow C. 4o
The first Fourteen of her Plays, are Print­ed together in one Volume, Folio. The o­ther Three are in another Volume, with o­ther Scenes, Printed London 1668.
Dutcheſs of Newcaſtle.
  • Apocryphal Ladies C. Fol.
  • Bell in Campo, 2 Parts C. Fol.
  • Female Academy C. Fol.
  • Loves Adventures, 2 Parts C. Fol.
  • Lady Contemplation, 2 Parts C. Fol.
  • Matrimonial Trouble, 2 Parts C. Fol.
  • Natures 3 Daughters, 2 Pts. C. Fol.
  • Publick Woing C. Fol.
  • Religions C. Fol.
  • Several Wits C. Fol.
  • Unnatural Tragedy T. Fol.
  • Wits Cabal, 2 Parts C. Fol.
  • Youth's Glory, and Death's Banquet C. Fol.
  • Blazing World C. Fol.
  • Bridals C. Fol.
  • Covent of Pleaſure C. Fol.
  • Preſence C. Fol.
  • Sociable Companions C. Fol.
Earl of Orrery.
  • 19
  • (a)Plot, Engliſh Chronicle in K. Edward the Third.
    (a)Black Prince H. Fol.
  • Tryphon T. Fol.
  • (b)Plot, Turkiſh Chronicles.
    (b)Muſtapha T. Fol.
  • (c)Plot, Engliſh Chronicles.
    (c)Henry the Fifth H. Fol.
Tho. Otway.
  • Athieſt, or the Second Part of the Soldiers Fortune C. 4o
  • (d)Plot from Plutarch, and Corn. Nepos both in the Life of Alcibiades.
    (d)Alcibiades T. 4o
  • Plot from Ravenſcroft's Scaramouch.
    Cheats of Seapin F. 4o
  • (e)Stollen part from Shakeſpear's Romeo & Juliet, Plot from Plutarch, in his Life of C. Marius, and Lucan's Pharſalia, Book 2d.
    (e)Caius Marius T. 4o
  • (f)Plot from the Novel ſo called, 12o.
    (f)Don Carlos T. 4o
  • Friendſhip in Faſhion C. 4o
  • (g)Plot, Engliſh Adventures, a Novel, 8o.
    (g)Orphan T. 4o
  • Soldiers Fortune C. 4o
  • (h)From Monſieur Racine.
    (h)Titus and Berenice T. 4o
  • Venice preſerv'd T. 4o
George Peele.
  • (i)Plot from Holy Scripture.
    (i)David and Bethſhabe T. C. 4o
  • (k)From Engliſh Chronicles.
    (k)Edward the Firſt H. 4o
Henry Porter.
  • Two angry Women of A­bingdon C. 4o
Tho. Porter.
  • Carnival C. 4o
  • Villain T. 4o
Lady Pembrock.
  • Antonius T. 4o
Tho. Preſton.
  • Cambyſes King of Perſia T. C. 4o
Edward Preſtwick.
  • Hectors C. 4o
  • (l)Plot Juſtin. Hiſt. Lib. 1. Cap. 9.
    (l)Hippolitus T. 8o
Mrs. Katherine Phillips.
  • (m)Plot from Livy, Tranſlated from Corneille.
    (m)Horrace T. Fol.
  • (n)Plot from Lucan's Pharſalia, Tranſla­ted from Corneille.
    (n)Pompey T. Fol.
Samuel Pordage.
  • (o)Plot from Joſeph. Hiſt. and Cleopa­tra a Romance, in the Story of Tyridates.
    (o)Herod and Meriamne T. 4o
  • (p)Plot from Caſſandra, a Romance, Fol.
    (p)Siege of Babylon T. 4o
  • 20
  • Love in its Extaſie P. 4o
John Palſgrave.
  • Acolaſtus C. 4o
Francis Quarles.
  • Virgin Widow C. 4o
William Rowley, v. Webſter, Middleton, Day, and Shakeſpear.
  • (a)Lipſii Monita, Lib. 1. Cap. 5.
    (a)All's loſt by Luſt T. 4o
  • Match at Midnight T. 4o
  • (b)Plot, Hiſtory of the Gentle Craft.
    (b)Shoemakers a Gentleman C. 4o
  • Wonder a Woman never vex'd C. 4o
  • Spaniſh Gipſies C. 4o
Samuel Rowley.
  • (c)Plot from Engliſh Chron. Hen. 8th. &c.
    (c)When you ſee me you know me C. 4o
Joſeph Rutter.
  • (d)Tranſlated from Corneille.
    (d)Cid, 2 Parts T. C. 8o
  • Shepherds Holyday
Nath. Richards.
  • (e)Plot, Suetonius, in Claudio and Ta­citus, Lib. 11.
    (e)Meſſalina T. 8o
Tho. Rawlins.
  • Rebellion T. 4o
Tho. Randolph.
  • Theſe Four Printed with his Poems, 8o.
    • Ariſtippus T. 8o
    • Aminta T. C. 8o
    • Jealous Lover T. C. 8o
    • Muſes Looking-glaſs P. 8o
  • (f)Tranſlated from Ariſtophanes's Plutus.
    (f)Hey for Honeſty, down with Knavery C. 4o
William Rider.
  • Twins C. 4o
Edward Revett.
  • Town Shifts C. 4o
Edward Ravenſcroft.
  • (g)Borrowed part from De Molliere's Monſieur de Pourceaugnac, 8o.
    (g)Careleſs Lovers C. 4o
  • (h)Tranſlated from Molliere's Le Bour­geois Gentlehome, & Mons de Pource­augnac.
    (h)Citizen turn'd Gentle­man C. 4o
  • 21
    (a)Tranſlated from La Divinereſſe.
    (a)Dame Dobſon C. 4o
  • (b)Tranſlated from the Latin Ignoramus.
    (b)Engliſh Lawyer C. 4o
  • (c)Plot from Engliſh Chronicles.
    (c)King Edgar and Alfreda T. 4o
  • (d)Plot, part from Scarron's Novels, 8o, Novel first, The Fruitleſs Precaution, part from Les-Contes Du-Sieur D' Ouvil­le, 8o, 2de. pte. page 121. And part from Boccace's Novels, Day 7th, Novel 6 and 7 of the 7th Day.
    (d)London Cuckolds C. 4o
  • (e)Part from Molliere's le Bourgeois Gentlehomme, & la Mariage Forcee, 8o.
    (e)Scaramouch, &c. F. 4o
  • (f)Plot from Deceptio viſus: or, Seeing and Believing are two Things, a Ro­mance in 8o.
    (f)Wrangling Lovers C. 4o
Tho. Rymer.
  • (g)Plot, Engliſh Chronicles.
    (g)Edgar T 4o
*All except the last, are Printed in one Volume, Fol. Lond. 1685.
*William Shakeſpear.
  • (h)Plot from Boccace's Novels, 3d. Day, 9th Novel. Juliet of Narbona.
    (h)All's well that ends well C. Fol.
  • (i)Plot from Plutarch, in Vitam Antonii.
    (i)Anthony and Cleopatra T. Fol.
  • As you like it C. Fol.
  • (k)The Ground from Plautus's Ampitruo, and Maenectrini.
    (k)Comedy of Errours C. Fol.
  • (l)Plot, Plutarchus in vitam Coriolan: and from Livy's Hiſtory.
    (l)Coriolanus T. Fol.
  • (m)Plot from Engliſh Chronicle.
    (m)Cromwell's Hiſtory H. Fol.
  • (n)Plot from Boccace's Novels, 2d. Day, Ninth Novel.
    (n)Cymbeline T. Fol.
  • Gentleman of Verona C. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Henry the 4th, 2 Parts H. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Henry the 5th H. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Henry the 6th 3 Parts H. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Henry the 8th H. Fol.
  • Hamlet Prince of Denmark T. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    John K. of England, 2 Pts. H. Fol.
  • (o)Plot, Livy's Hiſtory.
    (o)Julius Caeſar T. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Lears Tragedy T. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Locrine's Tragedy C. Fol.
  • London Prodigal C. Fol.
  • Love's Labour loſt C. Fol.
  • Merry Wives of Windſor C. Fol.
  • Meaſure for Meaſure C. Fol.
  • Merchant of Venice T. C. Fol.
  • (p)Plot from Scotch Chronicles, and Heylin's Coſmography.
    (p)Mackbeth T. Fol.
  • Midſummers Nights-Dream C. Fol.
  • Much ado about nothing C. Fol.
  • (q)Plot from Engliſh Chronicle.
    (q)Old-Caſtle, Lord Cob­ham's Life and Death T. Fol.
  • (r)Plot from Cynthio's Novels.
    (r)Othello Moor of Venice T. Fol.
  • Pericles Prince of Tyre H. Fol.
  • Puritan Widow C. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Richard the Second H. Fol.
  • All ſo mark'd had their Plots from En­gliſh Chronicles.
    Richard the Third H. Fol.
  • (ſ)Plot from Cynthio's Novels.
    (ſ)Romeo & Juliett T. Fol.
  • 22Taming of the Shrew C. Fol.
  • Tempeſt C. Fol.
  • Titus Andronicus T. Fol.
  • (a)Plot from Lucian's Dialogue.
    (a)Timon of Athens T. Fol.
  • Troylus and Creſſida T. Fol.
  • Twelfth Night C. Fol.
  • (b)Plot from Doraſtus and Fawnia, 4o.
    (b)Winter's Tale C. Fol.
  • Yorkſhire Tragedy T. Fol.
  • Birth of Merlin P. 4o
J. Studley, v. Jaſpar Heywood.
  • All Tranſlated from Seneca's Tragedies.
    • Agamemnon T. 4o
    • Hippolitus T. 4o
    • Hercules Oetus T. 4o
    • Medea T. 4o
James Shirley.
  • (c)Plot from Sir Philip Sidney's Arca­dia, Folio.
    (c)Arcadia P. 4o
  • Bird in a Cage C. 4o
  • Ball C. 4o
  • Changes, or Love in a Maze C. 4o
  • (d)Plot from the French Chronicles.
    (d)Chabott, Admiral of France T. 4o
  • Conſtant Maid, or Love will find out the way C. 4o
  • Cupid and Death M. 4o
  • Contention for Honour and Riches M. 4o
  • Duke's Miſtreſs T. C. 4o
  • Example T. 4o
  • (e)Plot from The Unlucky Citizen, 8o.
    (e)Gameſter C. 4o
  • (f)Plot, Part from Gayton's Notes on Don Quixot, Book 4th, Chap. 6th.
    (f)Gentleman of Venice T.C. 4o
  • Grateful Servant C. 4o
  • Hyde-Park C. 4o
  • Humerous Courtier C. 4o
  • Loves Cruelty T. 4o
  • Lady of Pleaſure C. 4o
  • (g)Plot from Reynolds's God's Revenge againſt Murther, Folio, Book 2d. Hiſt. 7th.
    (g)Maids Revenge T. 4o
  • Opportunity C. 4o
  • Politician C. 4o
  • Patrick for Ireland H. 4o
  • Royal Maſter C. 4o
  • School of Complements C. 4o
  • Traytor T. 4o
  • Triumph of Peace M. 4o
  • Wedding C. 4o
  • Witty Fair One C. 4o
  • Young Admiral C. 4o
  • Theſe Printed together in Octavo, Lon. 1658.
    • Honoria and Mammon C. 8o
    • (h)Plot from Ovid's Metamorphoſis, Book 13th.
      (h)Contention of Ajax and Ulyſſes, for A­chilles's Armour M. 8o
  • (i)Theſe are Printed together in 8o, Lond. 1581.
    • Brothers C. 8o
    • Siſters C. 8o
    • Doubtful Heir T. C. 8o
    • Impoſture T. C. 8o
    • Cardinal T. C. 8o
    • Court Secret T. C. 8o
    • Triumph of Beauty M. 8o
Henry Shirley.
  • 23
  • Martyr'd Soldier T. 4o
Edward Sherbourn.
  • Tranſlated from Seneca's Tragedy.
    • Medea T. 8o
    • Troades T. 8o
  • Committee-man Curryed C.
George Sandys.
  • (a)Tranſlated from Hugo Grotius.
    (a)Chriſt's Paſſion T. 8o
J. Swallow.
  • Cynthia's Revenge T. 4o
Edward Sharpham.
  • Fleir C. 4o
William Sampſon, v. Markham.
  • Vow Breaker T. 4o
Tho. Stanley.
  • (b)Tranſlated from Ariſtophanes, Print­ed with his Hiſtory of Philoſophy, new­ly Publiſh'd, Folio.
    (b)Clouds Fol.
William Smyth.
  • Hector of Germany H. 4o
William Strode.
  • Floating Iſland C. 4o
Gilbert Swinhoe.
  • (c)Plot from Bandello's Novels, Turkiſh Chronicles, Life of Mahomet the Firſt.
    (c)Fair Irene T. 4o
*All Printed with his Poems, 8o Lond. 1648.
*Sir John Suckling.
  • Aglaura T. C. 8o
  • Brenoralt T. 8o
  • Goblins T. 8o
  • Sad one T. 8o
Lewis Sharp.
  • Noble Stranger C. 4o
John Smyth.
  • Cytherea C. 4o
Sir Robert Stapleton.
  • (d)From Ovid's Epiſtles, and Muſes E­rotopegnion Gr. Lat.
    (d)Hero and Leander T. 4o
  • Slighted Maid C. 4o
Tho. St. Serf.
  • 24
  • Tarugoes Wiles C. 4o
Tho. Shadwel.
  • Epſom Wells C. 4o
  • Humoriſts C. 4o
  • Lancaſhire Witches C. 4o
  • (a)Plot from Molliere's L'Athee Fou­droye.
    (a)Libertine C. 4o
  • (b)Plot from Molliere's L'Avaree.
    (b)Miſer C. 4o
  • (c)Plot, Apuleii Aureus Aſrinus.
    (c)Pſiche O. 4o
  • (d)From Reward of Virtue, 4o.
    (d)Royal Shepherdeſs C. 4o
  • (e)Plot from Molliere's Les Facheaux.
    (e)Sullen Lovers C. 4o
  • (f)Part from Shakſpear.
    (f)Timon of Athens T. 4o
  • True Widow C. 4o
  • Virtuoſo C. 4o
  • Woman Captain C. 4o
Elkanah Settle.
  • (g)Plot, Juſtin's Hiſt. Lib. 1. Cap. 9. Amianus Marcellinus, Lib. 23.
    (g)Cambyſes K. of Perſia T. 4o
  • (h)Plot, Heylin's Coſmography, Book 3d. and Conqueſt of China, By Senior Palafax, Engliſhed, 8o.
    (h)Conqueſt of China T. 4o
  • Empreſs of Morocco T. 4o
  • (i)Plot, Achilles Tatius's Clitophon and Leucippe, 8o Book 5th.
    (i)Fatal Love T. 4o
  • (k)Plot from Platina, &c. Life and Death of Pope Joan, 8o.
    (k)Female Prelate T. 4o
  • Heir of Morocco T. 4o
  • (l)Plot from The Illuſtrious Baſſa, Fol.
    (l)Ibrahim T. 4o
  • (m)From Fatal Contract, 4o.
    (m)Love and Revenge T. C. 4o
  • (n)From Fanſhaw's Tranſlation of Gua­rini.
    (n)Paſtor Fido P. 4o
Sir Charles Sidley.
  • (o)Plot, Plutarch's Life of M. Antho­ny.
    (o)Anthony and Cleopatra T. 4o
  • (p)The Ground from Terence's Eunu­chus.
    (p)Bellamira C. 4o
  • Mulberry-Garden C. 4o
Tho. Shipman.
  • (q)From the French Chronicles.
    (q)Henry the 3d. of France T. 4o
Charles Saunders.
  • (r)Plot, Aſteria and Tamerlain, a No­vel, 8o.
    (r)Tamerlane the Great T. 4o
Tho. Southern.
  • Diſappointment C. 4o
  • (ſ)Plot, Tachmas K. of Perſia, a No­vel, 8o.
    (ſ)Loyal Brother T. C. 4o
Cyril Turneur.
  • 25
  • Athieſts Tragedy T. 4o
  • Loyal Brother T. C. 4o
John Tateham.
  • Diſtracted State T. 4o
  • (a)Plot from Engliſh Chronicles.
    (a)Rump C. 4o
  • Scotts Vagaries C. 4o
  • (b)Printed with his Poems, London, 1651.
    (b)Love Crowns the end C. 8o
Nich. Trott.
  • Arthur T.
Robert Taylor.
  • Hog has loſt his Pearl
Tho. Thompſon.
  • Engliſh Rogue C. 4o
  • (c)Part of the Language from the City Madam; and Plot from a Book ſo called in Proſe, 4o.
    (c)Mother Shipton's Life and Death C. 4o
Nat. Tate.
  • (d)Plot, Virgil's Aeneiads, Book 4th.
    (d)Brutus of Alba T. 4o
  • (e)From Eaſtward Hoe.
    (e)Cuckolds Haven C. 4o
  • (f)From Trapolin ſuppos'd a Prince, 8o.
    (f)Duke and no Duke F. 4o
  • (g)Part from Shakſpear's Coriolanus.
    (g)Ingratitude of a Common-wealth T.C. 4o
  • (h)Reviv'd from Shakſpear.
    (h)Iſland Princeſs T.C. 4o
  • Loyal General T. 4o
  • (i)Reviv'd from Shakſpear.
    (i)Lear and his 3 Daughters T. 4o
  • (k)Reviv'd from Shakſpear.
    (k)Richard the Second H. 4o
S. Tuke.
  • Adventures of 5 Hours C. 4o
Richard Tuke.
  • Divine Comedian C. 4o
John Tutchin.
  • (l)Printed with his Poems, Lond. 1686.
    (l)Unfortunate Shepherd P. 8o
John Webſter, v. Decker.
  • (m)Plot, Livy's Hiſtory.
    (m)Appius and Virginia T. 4o
  • (n)Part of the Plot in Schenchii Rario­rum Obſervationum.
    (n)Devil's Law-Caſe T. C. 4o
  • Dutcheſs of Malſey T. 4o
  • White Devil T. 4o
  • By Webſter and Rowley.
    • Thracian Wonder H. 4o
    • Cure for a Cuckold C. 4o
Lewis Wager.
  • 26
  • Mary Magdalen's Repentance I. 4o
William Wayer.
  • The longer thou liv'ſt the more Fool thou art C.
George Wapul.
  • Tyde tarryeth for no man C.
Nat. Woods.
  • Conflict of Conſcience P.
R. Weaver.
  • Luſty Juventus I.
Robert Wilſon.
  • Coblers Prophecie C. 4o
John Wilſon.
  • (a)Plot from Heylin's Coſmography in the Deſcription of Greece.
    (a)Andronicus Comenius T. 4o
  • Cheats C. 4o
  • Projectors C. 4o
J. Weſton.
  • Plot from Strabo, Lib. 11. Quintus Curtius, Lib. 6.
    Amazon Queen T. C. 4o
Robert Wilmot.
  • (b)Plot from Boccace's Novels, 1st. No­vel, 4th Day.
    (b)Tancred and Griſmond T. 4o
George Wilkins, v. Day.
  • Miſeries of inforc'd Marriage T.C. 4o
John Wright.
  • (c)Both in one Volume, 8o, Lond. 1674. the former from Seneca.
    • Thyeſtes T. 8o
    • Thyeſtes F. 8o
Leonard Willan.
  • (d)Plot from a Romance ſo called.
    (d)Aſtraea P. 8o
Edmund Waller.
  • (e)From Corneille.
    (e)Pompey T. 4o
William Wycherly.
  • Country Wife C. 4o
  • Gentleman Dancing Maſter C. 4o
  • Love in a Wood C. 4o
  • Plain Dealer C. 4o
  • Conſpiracy T. 4o
Robert Yarrington.
  • Two Tragedies in One T. 4o

Suppoſed AUTHOURS.

R. A.
  • (a)Plot from Brittiſh Chronicles.
    (a)Valiant Welchman T.C. 4o
H. B.
  • (b)Written by Henry Burnell.
    (b)Landagartha C. 4o
H. H. B.
  • (c)Tranſlated from Ariſtophanes.
    (c)Plutus C. 8o
*Suppoſed to be Peter Bellon.
*P. B.
  • Mock-Duelleſt C. 4o
J. C.
  • Merry Milkmaids C. 4o
R. C.
  • Alphonſus K. of Arragon C. 4o
  • (d)Tranſlated from the Latin Poem ſo called.
    (d)Ignoramus C. 4o
J. D.
  • Hell's higher Court of Juſtice I. 4o
  • Mall C. 4o
T. D.
  • Bloody Banquet T. 4o
  • (e)Aſcrib'd to Tho. Durſey.
    (e)Fool turn'd Critick C. 4o
  • (f)Said to be Writ by Tho. Duffet.
    (f)Pſiche Debauch'd F. 4o
S. H.
  • Sicily and Naples T. 4o
B. J.
  • Guy of Warwick T.
Suppoſed to be Mathew Medbourn.
E. M.
  • St. Cecily, or the Converted Twins T. 4o
T. P.
  • (g)Plot, part of it from Guſman's Fol. in the Story of Dorido and Cloridia.
    (g)Witty Combat T.C. 4o
  • (h)Plot from the German Princeſs, a No­vel, 8o.
    (h)French Conjurer C. 4o
Monſieur P. P.
  • (i)Put into Muſick, by Monſieur Grabutt.
    (i)Ariadne O. 4o
S. P.
  • 28
  • (a)Suppoſed to be Writ by Samuel Por­dage, being Printed with his Poems, 8o Lond. 1660.
    (a)Troades T. 8o
T. R.
  • (b)Tranſlated from Corneille.
    (b)Extravagant Shepherd P. 8o
W. R.
  • Three Lords and Ladies of Lond. C.
Mr. S. Maſter of Arts.
  • Gammer Gurton's Needle C. 4o
J. S.
  • Maſquerade Du Cel M.
  • (c)Tranſlated from the Italian of C. Gui­dubaldo di Bonarelli.
    (c)Phillis of Syros P. 8o
  • (d)Plot from Sir Philip Sidney's Arcadia, in the Story of Plangus, p. 155.
    (d)Andromana T. 4o
S. S.
  • Honeſt Lawyer C. 4o
J. T.
  • (e)In a Book call'd The Ternory of Plays, 8o Lond. 1662. Plot from Mat­chiavil's Marriage of Belphegor, a No­vel, Folio: The ſame is Printed with Quevedo's Novels, 8o.
    (e)Grim the Collier of Croyden C. 8o
  • (f)Tranſlated from Seneca.
    (f)Troas T. 4o
C. W.
  • (g)From Sophocles by Chriſtoph. Waſe.
    (g)Electra T. 8o
E. W.
  • Apollo Shroving C. 8o
L. W.
  • Orgula, or the Fatal Errour T. 4o
M. W. Maſter of Arts.
  • (h)In the Ternary of Plays, and Plot from Engliſh Chronicles, in the Reign of Sebert, King of the Weſt-Saxons.
    (h)Marriage Broker C. 8o
T. W.
  • (i)In the ſame Ternary of Plays, and Tranſlated from Plautus.
    (i)Thornby-Abby H. 8o
W. W.
  • Menechmus C. 4o


  • Abraham's Sacrifice
  • (a)Plot from the Tragical Hiſtory of the City of Antwerp, 4o.
    (a)Alarm for London H. 4o
  • Albion I.
  • Albion's Triumph M. 4o
  • Albumazar C. 4o
  • (b)Tranſlated from Taſſo, Italian.
    (b)Aminta P. 4o
  • Amorous Gallant C. 4o
  • Amorous old Woman C. 4o
  • (e)Plot from Engliſh Chronicles.
    (e)Arden of Feverſham T. 4o
  • Arraignment of Paris P.
  • (d)Plot from Heylin's Coſmography, in the Hiſtory of Spain. De Rebus Luſitan: By Andr. Schottum, Folio.
    (d)Battle of Alcazar T. 4o
  • Band-Ruff and Cuff I.
  • Baſtard T. 4o
  • Caeſar's Revenge T.
  • (e)Plot from Engliſh Chronicles.
    (e)Charles the Firſt T. 4o
  • Combat of Gaps M.
  • Commons Conditions C.
  • Conſtant Nymph P. 4o
  • Coſtly Whore C. 4o
  • (f)Plot from the Second Part of Shak­ſpear's Henry 6th, Folio.
    (f)Contention between York and Lancaſter, 2 Parts
  • Counterfeits C. 4o
  • (g)From No Wit like a Womans, By Middleton.
    (g)Counterfeit Bridegroom C. 4o
  • (h)Bound with the Varieties, 8o.
    (h)Country Captain C. 8o
  • Cromwell's Conſpiracy T. C.
  • Cruel Debtor
  • Cupid's Whirligig C. 4o
  • Cyrus King of Perſia T.
  • Damon and Pythias H.
  • (i)From Brome's Mad Couple well Matcht.
    (i)Debauchee C. 4o
  • Deſtruction of Jeruſalem
  • Dick Scorner
  • (k)Plot from Holy Scripture, Jeroboam, &c.
    (k)Divine Maſque M. 4o
  • Doctor Dodipol C. 4o
  • (l)Plot from Engliſh Chronicles.
    (l)Edward the Third H. 4o
  • (m)Aſcrib'd to the Lord Digby.
    (m)Elvira T. C. 4o
    (c)Plot from Baker, and other Engliſh Chronicles.
  • 30
    (a)Said to be Writ by Tho. Duffet.
    (a)Empreſs of Morocco F. 4o
  • (b)Aſcrib'd to J. Carell.
    (b)Engliſh Princeſs T. 4o
  • Enough's as good as a Feaſt C.
  • Every Woman in her Humour C. 4o
  • (c)From Guarini's Il Paſtor Fido.
    (c)Faithful Shepherd P. 4o
  • Fair Em C. 4o
  • Fair Maid of Briſtol H. 4o
  • Factious Citizen C. 4o
  • Fatal Jealouſie T. 4o
  • Fidele and Fortunatus
  • (d)Tranſlated from the French of Mon­ſieur Corneille, Junior.
    (d)Feign'd Aſtrologer C. 8o
  • Free-Will
  • (e)Aſcrib'd to Rhodes.
    (e)Flora's Vagaries C. 4o
  • (f)The ſame with the Amorous old Wo­man, only a different Title.
    (f)Fond Lady
  • Fulgius and Lucrelle
  • Gentile-Craft C. 4o
  • Ghoſt C. 4o
  • (g)Plot from Engliſh Chronicles.
    (g)Henry the Fifth, with the Battle of Agencourt H. 4o
  • (h)Aſcrib'd to Edm. Preſtwith.
    (h)Hectors C. 4o
  • Hiſtriomaſtix C. 4o
  • Hoffman T. 4o
  • How to chuſe a good Wife from a bad one C. 4o
  • Jacob and Eſau C.
  • Jack Drum's Entertainment C. 4o
  • Jack Juggler
  • Plots from Engliſh Chronicles.
    Jack Straw's Life and Death H. 4o
  • James the Fourth H.
  • Jeronimo, 2 Parts T. 4o
  • Impatient Poverty
  • Aſcrib'd to Sir William Killegrew, and Tranſlated from the Latin.
    Imperial Tragedy T. Fol.
  • Interlude of Youth I. 4o
  • John the Evangeliſt
  • Joſeph's Afflictions
  • Jovial Crew I. 4o
  • Plots from Engliſh Chronicles.
    King Edgar and Alfreda H. 4o
  • King and Queen's Entertain­ment at Richmond M. 4o
  • Knave in Grain C. 4o
  • Knack how to know an honeſt Man
  • Plots from Engliſh Chronicles.
    Knack how to know a Knave. C. 4o
  • Knavery in all Trades C. 4o
  • Knight of the Golden Shield H. 4o
  • Lady Alimony C. 4o
  • Laws of Nature C.
  • Levellers levell'd I.
  • Liberality and Prodigality C.
  • Lingua C. 4o
  • London Canticleers F. 4o
  • Look about you C. 4o
  • 31Loſt Lady T. C. Fol.
  • Love A-la-mode C. Fol.
  • Loves Loadſtone C. 4o
  • Lumenalia M. 4o
  • (a)From Corneille's Le Menteur.
    (a)Lyer C. 4o
  • Manhood and Wiſdom
  • (b)Plot from Plutarch. in vitam Cicero­nis.
    (b)Marcus Tullius Cicero T. 4o
  • Marriage of Wit and Science I.
  • Maſque of Flowers M. 4o
  • (c)Aſcrib'd to J. Milton.
    (c)Maſque at Ludlow Caſtle M. 4o
  • (d)Plot from Giraffi's Hiſtory of Naples, Engliſh'd by James Howel.
    (d)Maſſianello T. 8o
  • Mercurius Britannicus C. 4o
  • Merry Devil of Edmonton C. 4o
  • (e)Said to be Writ by Mr. Pane.
    (e)Morning Ramble C. 4o
  • Mucedorus C. 4o
  • (f)Three Drolls ſtollen from ſeveral Plays.
    (f)Muſe of Newmarket F. 4o
  • (g)Plot from Suetonius.
    (g)Nero's Life and Death T. 4o
  • New Cuſtom I. 4o
  • New-market Fair F. 4o
  • New Trick to cheat the Devil C. 4o
  • Nice Wanton C.
  • No-Body and Some-Body H. 4o
  • Oldwives Tale
  • (h)Play from Arioſto's Poem ſo call'd, Fol. Engliſhed by Sir J. Harrington.
    (h)Orlando Furioſo H. 4o
  • (i)Plot from Boccace's Novels, Day 10, Novel 10. Folio.
    (i)Patient Griſsle C.
  • Pedler's Prophecie C.
  • Philotus Scotch C. 4o
  • Pinder of Wakefield C. 4o
  • (k)Plot from Suetonius, in Vitam Nero­nis.
    (k)Piſo's Conſpiracy T. 4o
  • Presbyterian Laſh T.C.
  • (l)Plot from Hyne's Pranks, 8o.
    (l)Prince of Priggs C. 4o
  • Promiſes of God manifeſted
  • Promus and Caſſandra, 2 Parts
  • Queen T.C. 4o
  • (m)Aſcrib'd to J. Lenard. Part from Middleton's More Diſſemblers beſides Women, 8o.
    (m)Rambling Juſtice C. 4
  • (n)From the Fine Companion, and o­ther Plays.
    (n)Rampant Alderman F. 4o
  • (o)Aſcrib'd to Mrs. Behn, but Borrowed all from Marſton's Dutch Courtezan.
    (o)Revenge C. 4o
  • (p)Said to be Writ by the late Duke of Buckingham.
    (p)Rehearſal F. 4o
  • (q)By Mr. Arrowſmith.
    (q)Reformation C. 4o
  • Religious Rebel T.C. 4o
  • (r)Aſcrib'd to Sir William D'Avenant.
    (r)Return from Parnaſſus C. 4o
  • 32Rivals T.C. 4o
  • Robin Conſcience
  • Robin Hood's Paſtoral May-games
  • Rob. Hood and his Crew of Soldiers
  • Royal Maſque at Hampton-Court M. 4o
  • (a)Plot from Livius, Lib 1: Ovidii Me­tamorph. Lib. 14.
    (a)Romulus and Herſilia T. 4o
  • Salmacida Spolia M. 4o
  • (b)Plot from Heylin's Coſmography, Book 2d. in the Deſcription of Greece, and Con­ſtantinopolis à Mahammada, 2da. ex­pugnata, Fol.
    (b)Siege of Conſtantinople T. 4o
  • Sicillides a Piſcatory Drama P. 4o
  • Sir Gyles Gooſecap C. 4o
  • (c)Aſcrib'd to John Carrel, from Corne­ille's L'Eſcote des Femmes, 8o.
    (c)Sir Solomon C. 4o
  • Solimon and Perſeda T. 4o
  • Sophiſter C. 4o
  • (d)A Collection of Drolls taken from Plays, Printed in 8o Lond. 1673.
    (d)Sport upon Sport. Drolls
  • Spaniſh Baud T. C. 4o
  • Step-mother T. C. 4o
  • (e)Plot from Heliodorus Emiſſenus Ae­thiopicorum, Lib. 10. The ſame is in Engliſh, 8o 1687.
    (e)Strange Diſcovery T. C. 4o
  • Suſanna's Tears
  • Swetnam the Woman-hater Arraigned C. 4o
  • Tempe Reſtored M. 4o
  • Therſytes I.
  • (f)Part from Molliere's Le Cocu Imagi­narie. C. 8o.
    (f)Tom Eſſence C. 4o
  • Tom Tyler and his Wife I. 4o
  • Traytor to himſelf I. 4o
  • (g)Plot from Liv. Lib. 5. Caeſaris Coment. Lib. 4 & 5. Galfridus ap Ar­thur Monumetenſis. De Geſtis Regum Brittanniae, Lib. 4.
    (g)True Trojans H. 4o
  • Tryal of Chivalry
  • Tryal of Treaſure
  • (h)That and Tom Eſſence aſcrib'd to Mr. Rawlins.
    (h)Tunbride-Wells C. 4o
  • Tyrannical Government
  • Valiant Scot T. 4o
  • (i)Bound with the Country Captain, 8o.
    (i)Varieties C. 8o
  • (k)Plot from Heylin's Coſmogrophy, in the Deſcription of Greece.
    (k)Unfortunate Uſurper T. 4o
  • Ungrateful Favourite T. 4o
  • Warning for Fair Women T. 4o
  • Wealth and Health
  • Weakeſt goes to the Wall C. 4o
  • Wily beguil'd C. 4o
  • Wine Beer Ale and Tobaco I. 4o
  • (l)Part of it taken from Chamberlain's Love's Victory.
    (l)Wits led by the Noſe C. 4o
  • Wit of a Woman C. 4o
  • Woman turn'd Bully C. 4o
  • Woman will have her Will C. 4o

The Alphabetical INDEX of PLAYS, Referring to their AƲTHOƲRS, &c.

  • Abdelazar Page 2
  • Abraham's Sacrifice Page 29
  • Acolaſtus Page 20
  • Actaeon and Diana Page 3
  • Adelphi Page 2
  • Adraſta Page 13
  • Adventures of 5 Hours Page 25
  • Agamemnon Page 22
  • Aglavra Page 23
  • Agrippa King of Alba Page 6
  • Agrippina Page 17
  • All for Love Page 6
  • All miſtaken Page 12
  • All Fools Page 3
  • All for Mony Page 15
  • All's loſt by Luſt Page 20
  • All's well that ends well Page 21
  • Alaham Page 2
  • Alarum for London Page 29
  • Albion ib.
  • Albion's Triumph ib.
  • Albion and Albanius Page 6
  • Albertus Wallenſtine Page 10
  • Albovine Page 6
  • Albumazar Page 29
  • Alcibiades Page 19
  • Alchimiſt Page 12
  • Alexander and Campaſpe Page 14
  • Alexandrian Tragedy Page 1
  • Alphonſus K. of Arragon Page 27
  • Alphonſus Emp. of Germ. Page 30
  • Amazon Queen Page 26
  • Ambitious Stateſman Page 4
  • Amboyna Page 5
  • Amends for Ladies Page 9
  • Amorous Gallant Page 29
  • Amorous old Woman Page 29
  • Amorous War Page 17
  • Amorous Prince Page 2
  • Amorous Fantaſm Page 15
  • Amynta Page 6. 20. 29.
  • Andraea Page 2
  • Andromache Page 5
  • Andromana Page 28
  • Andronicus Commenius Page 26
  • Anthony and Cleopatra, Page 21. 24.
  • Antigone Page 17
  • Antipodes Page 2
  • Antiquary Page 16
  • Antonio and Mellida Page 16
  • Antonius Page 19
  • Any thing for a quiet Life Page 15
  • Appius and Virginia Page 25
  • Apocryphal Ladies Page 18
  • Apollo Shroving Page 28
  • Arcadia Page 22
  • Arden of Feverſham Page 29
  • Argalus and Parthenia Page 10
  • Ariadne Page 27
  • Ariſtippus Page 20
  • Arraignment of Paris Page 29
  • Arthur Page 25
  • Arviragus and Philitia, two Parts Page 4
  • As you like it Page 21
  • Aſſignation Page 6
  • Aſtrea Page 26
  • Athieſts Tragedy Page 25
  • Auringzebe Page 6
  • Ball Page 22
  • Band-Ruff and Cuff Page 29
  • Banditti Page 7
  • Bartholomew-Fair Page 12
  • Baſhful Lover
  • Baſhful Lady Page 16
  • Baſtard Page 29
  • Battle of Alcazar Page 29
  • Beggars Buſh Page 8
  • Bell in Campo Page 18
  • Bellamira, her Dream Page 14
  • Bellamira, the Miſtreſs Page 24
  • Bird in a Cage Page 22
  • Birth of Merlin Page 22
  • Black Prince Page 19
  • Blazing World Page 18
  • Blind Beggar of Alexandria Page 3
  • of Bednal Green Page 5
  • Blind Lady Page 12
  • Blurt Mr. Conſtable Page 15
  • Bloody Brother, vide Rollo Page 8
  • Bloody Banquet Page 27
  • Bondman Page 16
  • Bonduca Page 8
  • Brazen Age Page 11
  • Brenoralt Page 23
  • Bridals Page 18
  • Bride Page 18
  • Britannia Triumphans Page 6
  • Broken Heart Page 9
  • Brothers Page 22
  • Brutus of Alba Page 25
  • Buſſy D' Amboys's Revenge Page 3
  • His Tragedy ib.
  • Byron's Conſpiracy ib.
  • His Tragedy ib.
  • Caliſto Page 5
  • Caius Marius's Hiſtory and Fall Page 19
  • Cambyſes K. of Perſia Page 19. 24.
  • Captain Page 8
  • Cardinal Page 22
  • Careleſs Lovers Page 20
  • Careleſs Shepherdeſs Page 10
  • Carnival Page 19
  • Caſe is altered Page 13
  • Cataline's Conſpiracy Page 12
  • Caeſar Borgia Page 15
  • Caeſar and Pompey Page 3
  • Caeſar's Revenge Page 29
  • Chabot Admiral of France Page 22
  • Challenge at Tilt Page 12
  • Challenge for Beauty Page 11
  • Champions of Chriſtendom Page 14
  • Chances Page 8
  • Changes Page 22
  • Changling Page 16
  • Charles the Firſt Page 29
  • Charles the 8th of France Page 5
  • Chaſt Maid in Cheapſide Page 15
  • Cheats Page 26
  • Cheats of Scapin Page 19
  • Chriſtmas Maſque Page 12
  • Chriſt's Paſſion Page 23
  • Chriſtian turn'd Turk Page 5
  • Cicilia and Clorinda Page 14
  • Cid Page 20
  • Circe Page 5
  • City Heireſs Page 2
  • Citizen turn'd Gentleman Page 20
  • City Madam Page 16
  • City Match Page 17
  • City Night-Cap Page 5
  • City Politiques Page 5
  • City Wit Page 2
  • Claricilla Page 14
  • Cleopatra Page 5. 17
  • Cloridia Page 12
  • Clouds Page 23
  • Cobler's Prophecy Page 26
  • Caelum Britannicum Page 4. 6
  • Colas Fury Page 1
  • Combat of Caps Page 29
  • Combat of Love and Friend­ſhip Page 17
  • Comedy of Errours Page 21
  • Commonwealth of Women Page 7
  • Committe-man Curried Page 23
  • Commons Conditions Page 29
  • Conflict of Conſcience Page 26
  • Conqueſt of China Page 24
  • of Granada Page 7
  • Conſpiracy Page 14. 26
  • Conſtant Maid Page 22
  • Conſtant Nymph Page 29
  • Conſtantine the Great Page 15
  • Contention of Ajax and U­liſſes Page 22
  • Contention for Honour and Riches Page 22
  • Contention between York and Lancaſter Page 29
  • Coriolanus Page 21
  • Cornelia Page 14
  • Coronation Page 8
  • Coſtly Whore Page 29
  • Covent-Garden Page 18
  • Covent-Garden Weeded Page 2
  • Covent of Pleaſure Page 18
  • Counterfeits Page 29
  • Counterfeit Bridegroom Page 29
  • Counteſs of Pembrook's I­vy-Church Page 9
  • Country Captain Page 29
  • Country Innocence Page 15
  • Country Girl Page 5
  • Country Wife Page 26
  • Country Wit Page 5
  • Couragious Turk Page 10
  • Court Beggar Page 2
  • Court Secret Page 22
  • Coxcomb Page 8
  • Cruel Brother Page 6
  • Cuſtome of the Country Page 8
  • Cromwell's Hiſtory Page 21
  • Cunning Lover Page 2
  • Cuckolds Haven Page 25
  • Cupid and Death Page