No dismal4 stall escapes his eye;
He turns o'er tomes of low degrees;
There soiled romanticists may lie,
Or Restoration comedies.
That speaks straight to my heart; for of all my weaknesses the weakest is that weakness of mine for Restoration plays. From 1660 down to 1710 nothing in dramatic form comes amiss, and I have great schemes, like the boards on which people play the game of solitaire, in which space is left for every drama needed to make this portion of my library complete. It is scarcely literature, I confess; it is a sport, a long game which I shall probably be still playing at, with three mouldy old tragedies and one opera yet needed to complete my set, when the Reaper5 comes to carry me where there is no amassing6 nor collecting. It would hardly be credited how much pleasure I have drained out of these dramas since I began to collect them judiciously7 in my still callow youth. I admit only first editions; but that is not so rigorous as it sounds, since at least half of the poor old things never went into a second.
As long as it is Congreve and Dryden and Otway, of course it is literature, and of a very high order; even Shadwell and Mrs. Behn and Southerne are literature; Settle and Ravenscroft may pass as legitimate8 literary curiosity. But there are depths below this where there is no excuse but sheer collectaneomania. Plays by people who never got into any schedule of English letters that ever was planned, dramatic nonentities9, stage innocents massacred in their cradles, if only they were published in quarto I find room for them. I am not quite so pleased to get these anonymities, I must confess, as I am to get a clean, tall editio princeps of The Orphan10 or of Love for Love. But I neither reject nor despise them; each of them counts one; each serves to fill a place on my solitaire board, each hurries on that dreadful possible time coming when my collection shall be complete, and I shall have nothing to do but break my collecting rod and bury it fathoms11 deep.
A volume has just come in which happens to have nothing in it but those forgotten plays, whose very names are unknown to the historians of literature. First comes The Roman Empress, by William Joyner, printed in 1671. Joyner was an Oxford12 man, a fellow of Magdalen College. The little that has been recorded about him makes one wish to know more. He became persuaded of the truth of the Catholic faith, and made a voluntary resignation of his Oxford fellowship. He had to do something, and so he wrote this tragedy, which he dedicated13 to Sir Charles Sedley, the poet, and got acted at the Theatre Royal. The cast contains two good actors' names, Mohun and Kynaston, and it seems that it enjoyed a considerable success. But doubtless the stage was too rough a field for the gentle Oxford scholar. He retired14 into a sequestered15 country village, where he lingered on till 1706, when he was nearly ninety. But Joyner was none of the worst of poets. Here is a fragment of The Royal Empress, which is by no means despicably versed16:
O thou bright, glorious morning,
Thou Oriental spring-time of the day,
Who with thy mixed vermilion colours paintest
The sky, these hills and plains! thou dost return
In thy accustom'd manner, but with thee
Shall ne'er return my wonted happiness.
Through his Roman tragedy there runs a pensive17 vein18 of sadness, as though the poet were thinking less of his Aurelia and his Valentius than of the lost common-room and the arcades19 of Magdalen to be no more revisited.
Our next play is a worse one, but much more pretentious20. It is the Usurper21, of 1668, the first of four dramas published by the Hon. Edward Howard, one of Dryden's aristocratic brothers-in-law. Edward Howard is memorable22 for a couplet constantly quoted from his epic23 poem of The British Princes:
A vest as admired Vortiger had on, Which from a naked Pict his grandsire won.
Poor Howard has received the laughter of generations for representing Vortiger's grandsire as thus having stripped one who was bare already. But this is the wickedness of some ancient wag, perhaps of Dryden himself, who loved to laugh at his brother-in-law. At all events, the first (and, I suppose, only) edition of The British Princes is before me at this moment, and the second of these lines certainly runs:
Which from this island's foes25 his grandsire won.
Thus do the critics, leaping one after another, like so many sheep, follow the same wrong track, in this case for a couple of centuries. The Usurper is a tragedy, in which a Parasite26, "a most perfidious27 villain," plays a mysterious part. He is led off to be hanged at last, much to the reader's satisfaction, who murmurs28, in the words of R.L. Stevenson, "There's an end of that."
But though the Usurper is dull, we reach a lower depth and muddier lees of wit in the Carnival29, a comedy by Major Thomas Porter, of 1664. It is odd, however, that the very worst production, if it be more than two hundred years old, is sure to contain some little thing interesting to a modern student. The Carnival has one such peculiarity30. Whenever any of the characters is left alone on the stage, he begins to soliloquise in the stanza31 of Gray's Churchyard Elegy32. This is a very quaint33 innovation, and one which possibly occurred to brave Major Porter in one of the marches and counter-marches of the Civil War.
But the man who perseveres34 is always rewarded, and the fourth play in our volume really repays us for pushing on so far. Here is a piece of wild and ghostly poetry that is well worth digging out of the Duke of Newcastle's Humorous Lovers:
At curfew-time, and at the dead of night,
I will appear, thy conscious soul to fright,
Make signs, and beckon35 thee my ghost to follow
To sadder groves36, and churchyards, where we'll hollo
To darker caves and solitary37 woods,
To fatal whirlpools and consuming floods;
I'll tempt38 thee to pass by the unlucky ewe,
Blasted with cursèd droppings of mildew39;
Under an oak, that ne'er bore leaf, my moans
Shall there be told thee by the mandrake's groans40;
The winds shall sighing tell thy cruelty,
And how thy want of love did murder me;
And when the cock shall crow, and day grow near,
Then in a flash of fire I'll disappear.
But I cannot persuade myself that his Grace of Newcastle wrote those lines himself. Published in 1677, they were as much of a portent41 as a man in trunk hose and a slashed42 doublet. The Duke had died a month or two before the play was published; he had grown to be, in extreme old age, the most venerable figure of the Restoration, and it is possible that the Humorous Lovers may have been a relic43 of his Jacobean youth. He might very well have written it, so old was he, in Shakespeare's lifetime. But the Duke of Newcastle was never a very skilful44 poet, and it is known that he paid James Shirley to help him with his plays. I feel convinced that if all men had their own, the invocation I have just quoted would fly back into the works of Shirley, and so, no doubt, would the following quaintest45 bit of conceited46 fancy. It is part of a fantastical feast which Boldman promises to the Widow of his heart:
The twinkling stars shall to our wish
Make a grand salad in a dish;
Snow for our sugar shall not fail,
Fine candied ice, comfits of hail;
For oranges, gilt47 clouds will squeeze;
The Milky48 Way we'll turn to cheese;
Sunbeams we'll catch, shall stand in place
Of hotter ginger49, nutmegs, mace50;
Sun-setting clouds for roses sweet,
And violet skies strewed51 for our feet;
The spheres shall for our music play,
While spirits dance the time away.
This is extravagant52 enough, but surely very picturesque53. I seem to see the supper-room of some Elizabethan castle after an elaborate royal masque. The Duchess, who has been dancing, richly attired54 in sky-coloured silk, with gilt wings on her shoulders, is attended to the refreshments55 by the florid Duke, personating the river Thamesis, with a robe of cloth of silver around him. It seems the sort of thing a poet so habited might be expected to say between a galliard and a coranto.
At first sight we seem to have reached a really good rhetorical play when we arrive at Bancroft's tragedy of Sertorius, published in 1679, and so it would be if Dryden and Lee had never written. But its seeming excellence56 is greatly lessened57 when we recollect58 that All for Love and Mithridates, two great poems which are almost good plays, appeared in 1678, and inspired our poor imitative Bancroft. Sertorius is written in smooth and well-sustained blank verse, which is, however, nowhere quite good enough to be quoted. I suspect that John Bancroft was a very interesting man. He was a surgeon, and his practice lay particularly In the theatrical59 and literary world. He acquired, it is said, from his patients "a passion for the Muses," and an inclination60 to follow in the steps of those whom he cured or killed. The dramatist Ravenscroft wrote an epilogue to Sertorius, in which he says that—
Our Poet to learnèd critics does submit,
But scorns those little vermin of the pit,
Who noise and nonsense vent24 instead of wit,
and no doubt Bancroft had aims more professional than those of the professional playwrights61 themselves. He wrote three plays, and lived until 1696. One fancies the discreet62 and fervent63 poet-surgeon, laden64 with his secrets and his confidences. Why did he not write memoirs65, and tell us what it was that drove Nat Lee mad, and how Otway really died, and what Dryden's habits were? Why did he not purvey66 magnificent indiscretions whispered under the great periwig of Wycherley, or repeat that splendid story about Etheredge and my Lord Mulgrave? Alas67! we would have given a wilderness68 of Sertoriuses for such a series of memoirs.
The volume of plays is not exhausted69. Here is Weston's Amazon Queen, of 1667, written in pompous70 rhymed heroics; here is The Fortune Hunters, a comedy of 1689, the only play of that brave fellow, James Carlile, who, being brought up an actor, preferred "to be rather than to personate a hero," and died in gallant71 fight for William of Orange, at the battle of Aughrim; here is Mr. Anthony, a comedy written by the Right Honourable72 the Earl of Orrery, and printed in 1690, a piece never republished among the Earl's works, and therefore of some special interest. But I am sure my reader is exhausted, even if the volume is not, and I spare him any further examination of these obscure dramas, lest he should say, as Peter Pindar did of Dr. Johnson, that I
Set wheels on wheels in motion—such a clatter73!
To force up one poor nipperkin of water;
Bid ocean labour with tremendous roar
To heave a cockle-shell upon the shore.
I will close, therefore, with one suggestion to the special student of comparative literature—namely, that it is sometimes in the minor74 writings of an age, where the bias75 of personal genius is not strongly felt, that the general phenomena76 of the time are most clearly observed. The Amazon Queen is in rhymed verse, because in 1667 this was the fashionable form for dramatic poetry; Sertorius is in regular and somewhat restrained blank verse, because in 1679 the fashion had once more chopped round. What in Dryden or Otway might be the force of originality77 may be safely taken as the drift of the age in these imitative and floating nonentities.
点击收听单词发音
1 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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2 baggy | |
adj.膨胀如袋的,宽松下垂的 | |
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3 bibliophile | |
n.爱书者;藏书家 | |
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4 dismal | |
adj.阴沉的,凄凉的,令人忧郁的,差劲的 | |
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5 reaper | |
n.收割者,收割机 | |
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6 amassing | |
v.积累,积聚( amass的现在分词 ) | |
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7 judiciously | |
adv.明断地,明智而审慎地 | |
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8 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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9 nonentities | |
n.无足轻重的人( nonentity的名词复数 );蝼蚁 | |
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10 orphan | |
n.孤儿;adj.无父母的 | |
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11 fathoms | |
英寻( fathom的名词复数 ) | |
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12 Oxford | |
n.牛津(英国城市) | |
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13 dedicated | |
adj.一心一意的;献身的;热诚的 | |
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14 retired | |
adj.隐退的,退休的,退役的 | |
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15 sequestered | |
adj.扣押的;隐退的;幽静的;偏僻的v.使隔绝,使隔离( sequester的过去式和过去分词 );扣押 | |
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16 versed | |
adj. 精通,熟练 | |
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17 pensive | |
a.沉思的,哀思的,忧沉的 | |
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18 vein | |
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络 | |
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19 arcades | |
n.商场( arcade的名词复数 );拱形走道(两旁有商店或娱乐设施);连拱廊;拱形建筑物 | |
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20 pretentious | |
adj.自命不凡的,自负的,炫耀的 | |
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21 usurper | |
n. 篡夺者, 僭取者 | |
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22 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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23 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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24 vent | |
n.通风口,排放口;开衩;vt.表达,发泄 | |
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25 foes | |
敌人,仇敌( foe的名词复数 ) | |
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26 parasite | |
n.寄生虫;寄生菌;食客 | |
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27 perfidious | |
adj.不忠的,背信弃义的 | |
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28 murmurs | |
n.低沉、连续而不清的声音( murmur的名词复数 );低语声;怨言;嘀咕 | |
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29 carnival | |
n.嘉年华会,狂欢,狂欢节,巡回表演 | |
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30 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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31 stanza | |
n.(诗)节,段 | |
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32 elegy | |
n.哀歌,挽歌 | |
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33 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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34 perseveres | |
v.坚忍,坚持( persevere的第三人称单数 ) | |
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35 beckon | |
v.(以点头或打手势)向...示意,召唤 | |
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36 groves | |
树丛,小树林( grove的名词复数 ) | |
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37 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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38 tempt | |
vt.引诱,勾引,吸引,引起…的兴趣 | |
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39 mildew | |
n.发霉;v.(使)发霉 | |
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40 groans | |
n.呻吟,叹息( groan的名词复数 );呻吟般的声音v.呻吟( groan的第三人称单数 );发牢骚;抱怨;受苦 | |
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41 portent | |
n.预兆;恶兆;怪事 | |
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42 slashed | |
v.挥砍( slash的过去式和过去分词 );鞭打;割破;削减 | |
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43 relic | |
n.神圣的遗物,遗迹,纪念物 | |
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44 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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45 quaintest | |
adj.古色古香的( quaint的最高级 );少见的,古怪的 | |
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46 conceited | |
adj.自负的,骄傲自满的 | |
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47 gilt | |
adj.镀金的;n.金边证券 | |
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48 milky | |
adj.牛奶的,多奶的;乳白色的 | |
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49 ginger | |
n.姜,精力,淡赤黄色;adj.淡赤黄色的;vt.使活泼,使有生气 | |
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50 mace | |
n.狼牙棒,豆蔻干皮 | |
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51 strewed | |
v.撒在…上( strew的过去式和过去分词 );散落于;点缀;撒满 | |
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52 extravagant | |
adj.奢侈的;过分的;(言行等)放肆的 | |
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53 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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54 attired | |
adj.穿着整齐的v.使穿上衣服,使穿上盛装( attire的过去式和过去分词 ) | |
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55 refreshments | |
n.点心,便餐;(会议后的)简单茶点招 待 | |
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56 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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57 lessened | |
减少的,减弱的 | |
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58 recollect | |
v.回忆,想起,记起,忆起,记得 | |
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59 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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60 inclination | |
n.倾斜;点头;弯腰;斜坡;倾度;倾向;爱好 | |
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61 playwrights | |
n.剧作家( playwright的名词复数 ) | |
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62 discreet | |
adj.(言行)谨慎的;慎重的;有判断力的 | |
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63 fervent | |
adj.热的,热烈的,热情的 | |
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64 laden | |
adj.装满了的;充满了的;负了重担的;苦恼的 | |
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65 memoirs | |
n.回忆录;回忆录传( mem,自oir的名词复数) | |
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66 purvey | |
v.(大量)供给,供应 | |
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67 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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68 wilderness | |
n.杳无人烟的一片陆地、水等,荒漠 | |
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69 exhausted | |
adj.极其疲惫的,精疲力尽的 | |
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70 pompous | |
adj.傲慢的,自大的;夸大的;豪华的 | |
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71 gallant | |
adj.英勇的,豪侠的;(向女人)献殷勤的 | |
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72 honourable | |
adj.可敬的;荣誉的,光荣的 | |
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73 clatter | |
v./n.(使)发出连续而清脆的撞击声 | |
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74 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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75 bias | |
n.偏见,偏心,偏袒;vt.使有偏见 | |
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76 phenomena | |
n.现象 | |
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77 originality | |
n.创造力,独创性;新颖 | |
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