University of Virginia Library

PREFACE.

COLLEY CIBBER'S famous Autobiography has always been recognized as one of the most delightful books of its class; but, to students of theatrical history, the charm of its author's ingenuous frankness has been unable altogether to overweigh the inaccuracy and vagueness of his treatment of matters of fact. To remove this cause of complaint is the principal object of the present edition. But correcting errors is only one of an editor's duties, and by no means the most difficult. More exacting, and almost equally important, are the illustration of the circumstances surrounding the author, the elucidation of his references to current events, and the comparison of his statements and theories with those of judicious contemporaries. In all these particulars I have interpreted my duty in the widest sense, and have aimed at giving, as far as in me lies, an exhaustive commentary on the `' Apology."

I am fortunate in being able to claim that my work contains much information which has never before been made public. A careful investigation

of the MSS. in the British Museum, and of the Records of the Lord Chamberlain's Office (to which my access was greatly facilitated by the kindness of Mr. Edward F. S. Pigott, the Licenser of Plays), has enabled me to give the exact dates of many transactions which were previously uncertain, and to give references to documents of great importance in stage history, whose very existence was before unknown. How important my new matter is, may be estimated by comparing the facts given in my notes regarding the intricate transactions of the years 1707 to 1721, with any previous history of the same period. Among other sources of information, I may mention the Cibber Collections in the Forster Library at South Kensington, to which my attention was drawn by the kindness of the courteous keeper, Mr. R. F. Sketchley; and I have also, of course, devoted much time to contemporary newspapers.

In order to illustrate the "Apology," two tracts of the utmost rarity, the " Historia Histrionica" and Anthony Aston's " Brief Supplement" to Cibber's Lives of the Actors, are reprinted in this edition. The " Historia Histrionica " was written, all authorities agree, by James Wright, Barrister-at-Law, whose "History and Antiquities of the County of Rutland" is quoted by Cibber in his first chapter (vol. i. p. 8). The historical value of this pamphlet is very great, because it contains the only formal account in existence of the generation of actors who preceded Betterton, and because it gives many curious

and interesting particulars regarding the theatres and plays, as well as the actors, before and during the Civil Wars. As Cibber begins his account of the stage (see chap. iv.) at the Restoration, there is a peculiar propriety in prefacing it by Wright's work; a fact which has already been recognized, for the publisher of the third edition (1750) of the "Apology" appended to it " A Dialogue on Old Plays and Old Players," which is simply a reprint of the "Historia Histrionica" under another title, and without the curious preface.

Following the "Historia Histrionica" will be found a copy of the Patent granted to Sir William Davenant, one of the most important documents in English stage history. A similar grant was made to Thomas Killigrew, as is noted on page 87 of this volume.

These documents form a natural introduction to Cibber's History of the Stage and of his own career, which commences, as has been said, at the Restoration, and ends, somewhat abruptly, with his retirement from the regular exercise of his profession in 1733. To complete the record of Cibber's life, I have added a Supplementary Chapter to the 'Apology," in which I have also noted briefly the chief incidents of theatrical history up to the time of his death. In this, too, I have told with some degree of minuteness the story of his famous quarrel with Pope; and to this chapter I have appended a list of Cibber's dramatic productions, and a Bibliography of works by, or relating to him.

Anthony Aston's "Brief Supplement to Colley Cibber, Esq; his Lives of the late famous Actors and Actresses," of which a reprint is given with this edition, is almost, if not quite, the rarest of theatrical books. Isaac Reed, says Genest," wrote his name in his copy of Aston's little book, with the date of 1796 — he says — 'this Pamphlet contains several circumstances concerning the Performers of the last century, which are no where else to be found — it seems never to have been published' — he adds — 'Easter Monday, 1795 — though I have now possessed this pamphlet 26 years, it is remarkable that I never have seen another copy of it.'" Of Aston himself, little is known. According to his own account he came on the stage about 1700, and we know that he was a noted stroller; but as to when he was born, or when he died, there is no information. He is supposed, and probably with justice, to be the " trusty Anthony, who has so often adorned both the theatres in England and Ireland," mentioned in Estcourt's advertisement of his opening of the Bumper Tavern, in the "Spectator" of 28th and 29th December, 1711; and he was no doubt a well-known character among actors and theatre-goers. He would thus be well qualified for his undertaking as biographer of the actors of his time; and, indeed, his work bears every mark of being the production of a writer thoroughly well acquainted with his subject. This valuable pamphlet has been, until now practically a sealed book to theatrical students.

The three works which make up this edition — Cibber's " Apology," Wright's " Historia Histrionica," and Aston's " Brief Supplement" — are reprinted verbatim et literatim; the only alterations made being the correction of obvious errors. Among obvious errors I include the avalanche of commas with which Cibber's printers overwhelmed his text. A more grotesque misuse of punctuation I do not know, and I have struck out a large number of these points, not only because they were unmeaning, but also because, to a modern reader, they were irritating in the highest degree. The rest of the punctuation I have not interfered with, and with the single exception of these commas the present edition reproduces not only the matter of the works reprinted, but the very manner in which they originally appeared, the use of italics and capitals having especially been carefully observed.

The "Apology" of Cibber has gone through six editions. I have reprinted the text of the second, because it was certainly revised by the author, and many corrections made. But I have carefully compared my text with that of the first edition, and, wherever the correction is more than merely verbal, I have indicated the fact in a note (e.g. vol. i. p. 72). The only edition which has been annotated is that published in 1822, under the editorship of Edmund Bellchambers. Whether the Notes were written by the Editor or by Jacob Henry Burn, who annotated Dickens's "Grimaldi," is a point which I have raised

in my "Bibliographical Account of English Theatrical Literature" (p. 373). I have been unable to obtain any authentic information on the subject, so give Burn's claim for what it is worth. The statement as to the latter's authorship was made in his own handwriting on the back of the title-page of a copy of the book, sold by a well-known bookseller some years ago. It was in the following terms —

Whether Burn or Bellchambers be the author, the notes, I find, are by no means faultlessly accurate. I have made little use of them, except that the Biographies, which are by far the most valuable of the annotations, are reprinted at the end of my second volume. Even in these, it will be seen, I have corrected many blunders. Some of the memoirs I have condensed slightly; and, as the Biographies of Booth, Dogget, and Wilks were in all essential points merely a repetition of Cibber's narrative, I have not reprinted them. In all cases where I have made any use of Bellchambers's edition, or have had

a reference suggested to me by it, I have carefully acknowledged my indebtedness.

Among the works of contemporary writers which I have quoted, either in illustration, in criticism, or in contradiction of Cibber, it will be noticed that I make large drafts upon the anonymous pamphlet entitled "The Laureat: or, the right side of Colley Cibber, Esq;" (I 740). I have done this because it furnishes the keenest criticism upon Cibber's statements, and gives, in an undeniably clever style, the views of Cibber's enemies upon himself and his works. I am unable even to guess who was the author of this work, but he must have been a man well acquainted with theatrical matters.

Another pamphlet from which I quote, "The Egotist: or, Colley upon Cibber" (1743), is interesting as being, I think without doubt, the work of Cibber himself, although not acknowledged by him.

Many of the works which I quote in my notes have gone through only one edition, and my quotations from these are easily traced; but, for the convenience of those who may wish to follow up any of my references to books which have been more than once issued, I may mention that in the case of Davies's "Dramatic Miscellanies" I have referred throughout to the edition of I785; that Dr. Birkbeck Hill's magnificent edition of Boswell's "Life of Johnson" is that which I have quoted; and that the references to Nichols's reprint of Steele's " Theatre," the 'Anti-Theatre," &c., are to the scarce and valuable

edition in 2 vols. 12mo, 1791. My quotations from the "Tatler" have been made from a set of the original folio numbers, which I am fortunate enough to possess; and I have made my extracts from the "Roscius Anglicanus" from Mr. Joseph Knight's beautiful facsimile edition. The index, which will be found at the end of the second volume, has been the object of my special attention, and I have spared no pains to make it clear and exhaustive.