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James Boswell [1821], The plays and poems of William Shakspeare, with the corrections and illustrations of various commentators: comprehending A Life of the Poet, and an enlarged history of the stage, by the late Edmond Malone. With a new glossarial index (J. Deighton and Sons, Cambridge) [word count] [S10201]. To look up a word in a dictionary, select the word with your mouse and press 'd' on your keyboard.
The Tempest, or the Enchanted Island. A Comedy, acted in Dorset Garden. By Sir W. D'Avenant and Dryden, 4to. 1669. The Tempest, made into an Opera by Shadwell in 1673. See Downes's Roscius Anglicanus, p. 34. The Tempest, an Opera taken from Shakspeare. As it is performed at the Theatre Royal in Drury Lane. By Mr. Garrick. 8vo. 1756. An alteration by J. P. Kemble. Acted at Drury Lane. 8vo. 1790. The Two Gentlemen of Verona. A Comedy written by Shakspeare, with Alterations and Additions, as it is performed at the Theatre Royal in Drury Lane. By Mr. Victor. 8vo. 1763. The Humours of Bottom the Weaver, by Robert Cox. 4to. The Fairy Queen, an Opera, represented at the Queen's Theatre by their Majesties Servants. 4to. 1692. Pyramus and Thisbe, a comick Masque, written by Richard Leveridge, performed at Lincoln's Inn Fields. 8vo. 1716. Pyramus and Thisbe, a mock Opera, written by Shakspeare. Set to musick by Mr. Lampe. Performed at the Theatre Royal in Covent Garden. 8vo. 1745. The Fairies, an Opera, taken from a Midsummer-Night's Dream written by Shakspeare, as it is performed at the Theatre Royal in Drury Lane. By Mr. Garrick. 8vo. 17558 note. A Midsummer-Night's Dream, written by Shakspeare, with Alterations and Additions, and several new Songs. As it is performed at the Theatre Royal in Drury Lane. 8vo. 1763. A Fairy Tale, in two Acts, taken from Shakspeare. As it is performed at the Theatre Royal in Drury Lane. 8vo. 1763. The Comical Gallant, or the Amours of Sir John Falstaffe. A Comedy, as it is acted at the Theatre Royal in Drury Lane, by his Majesties Servants. By Mr. Dennis. 4to. 1702. In the preface to Love Betray'd, or the Agreeable Disappointment, a Comedy, by Charles Burnaby, 1703, that author appears to have taken part of the tale of this play, and about fifty lines from it. The Law against Lovers. By Sir W. Davenant. Fol. 1673.
The Universal Passion. A Comedy, as it is acted at the Theatre Royal in Drury Lane, by his Majesties Servants. By James Miller. 8vo. 17379 note. The Law against Lovers, by Sir W. D'Avenant. Fol. 1673. Measure for Measure, or Beauty the best Advocate. As it is acted at the Theatre in Lincoln's Inn Fields; written originally by Mr. Shakspeare, and now very much altered: with additions of several Entertainments of Musick. By Mr. Gildon. 4to. 1700. An alteration by J. P. Kemble, acted at Drury Lane, 8vo. 1789. The Students, a Comedy, altered from Shakspeare's Love's Labour's Lost, and adapted to the stage. 8vo. 1762. The Jew of Venice, a Comedy. As it is acted at the Theatre in Little Lincoln's Inn Fields, by his Majesty's Servants. By George Granville, Esq. (afterwards Lord Lansdowne.) 4to. 1701. Love in a Forest, a Comedy. As it is acted at the Theatre Royal in Drury Lane, by his Majesties Servants. By C. Johnson. 8vo. 1723. The Modern Receipt, or a Cure for Love. A Comedy, altered from Shakspeare. The Dedication is signed J. C. 12mo. 1739. All's Well that Ends Well, a Comedy. Altered by Mr. Pilon, and reduced to three Acts. Performed at the Haymarket Theatre, 1785. Not printed.
All's Well that Ends Well, a Comedy, altered by J. P. Kemble, acted at Drury Lane. 8vo. Sawny the Scott, or the Taming of the Shrew, a Comedy, as it is now acted at the Theatre Royal, and never before printed. By John Lacy. 4to. 1698. The Cobler of Preston, a Farce, as it is acted at the new Theatre in Lincoln's Inn Fields. By Christopher Bulluck. 12mo. 1716. The Cobler of Preston, as it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. By C. Johnson. 8vo. 1716. A Cure for a Scold, a Ballad Opera, by James Worsdale. Taken from the Taming of the Shrew. 8vo. [1735.] Katharine and Petruchio. By Mr. Garrick. 8vo. 1756. The Winter's Tale, a Play, altered from Shakspeare. By Charles Marsh. 8vo. 1756. Florizel and Perdita. By Mr. Garrick. 8vo. 1758. Sheepshearing, or Florizel and Perdita. By Macnamara Morgan, Dublin. 12mo. 1767. The Sheep-shearing, a dramatick Pastoral. In three Acts. Taken from Shakspeare. As it is performed at the Theatre Royal in the Haymarket. 8vo. 1777. An alteration by J. P. Kemble, acted at Drury Lane. 8vo. 1802. Macbeth, a Tragedy, with all the Alterations, Amendments, Additions, and new Songs; as it is now acted at the Duke's Theatre. By Sir William D'Avenant. 4to. 1674. The Historical Tragedy of Macbeth (written originally by Shakspeare) newly adapted to the stage, with Alterations, as performed at the Theatre in Edinburgh. 8vo. 1753. By Mr. Lee. Papal Tyranny in the Reign of King John, a Tragedy, as it is acted at the Theatre Royal in Covent Garden, by his Majesty's Servants. By Colley Cibber. 8vo. 1744. An alteration by J. P. Kemble, acted at Drury Lane. 8vo. 1801. The History of King Richard the Second. Acted at the Theatre Royal under the title of the Sicilian Usurper: with a prefatory Epistle in Vindication of the Author, occasioned by the prohibition of his Play on the Stage. By N. Tate. 4to. 1681. The Tragedy of King Richard II. altered from Shakspeare. By Lewis Theobald. 8vo. 1720. King Richard II. a Tragedy, altered from Shakspeare, and the Style imitated. By James Goodhall. Printed at Manchester. 8vo. 1772. King Henry IV. with the Humours of Sir John Falstaff, a Tragi-comedy, as it is acted at the Theatre in Little Lincoln's Inn Fields, by his Majesty's Servants. Revived with Alterations. By Mr. Betterton. 4to. 1700. The Sequel of Henry IV. with the Humours of Sir John Falstaff and Justice Shallow; as it is acted by his Majesty's Company of Comedians at the Theatre Royal in Drury Lane. Altered from Shakspeare by the late Mr. Betterton. 8vo. No date. King Henry V. or the Conquest of France, a Tragedy, altered by J. P. Kemble, acted at Drury Lane. 8vo.
Henry the Sixth, the First Part, with the Murder of Humphrey Duke of Glocester. As it was acted at the Duke's Theatre. By John Crowne. 4to. 1681. Henry the Sixth, the Second Part, or the Misery of Civil War. As it was acted at the Duke's Theatre. By John Crowne. 4to. 1681. Humfrey Duke of Gloucester, a Tragedy, as it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants, [A few speeches and lines only borrowed from Shakspeare.] By Ambrose Philips. 8vo. 1723. An Historical Tragedy of the Civil Wars in the Reign of King Henry VI. (being a sequel to the Tragedy of Humfrey Duke of Gloucester, and an Introduction to the Tragical History of King Richard III). Altered from Shakspeare in the year 1720. By Theo. Cibber. 8vo. No date. [1723.] The Roses; or King Henry the Sixth; an Historical Tragedy. Represented at Reading School, Oct. 15, 16, and 17, 1795. Compiled principally from Shakspeare. 8vo. Elmsly, &c. This compilation is said to have been the work of the Rev. Dr. Valpy. The Tragical History of King Richard III. Altered from Shakspeare. 4to. 1700. By Colley Cibber. Troilus and Cressida, or Truth found too late. A Tragedy, as it is acted at the Duke's Theatre. By John Dryden. 4to. 1679. The Ingratitude of a Commonwealth, or the Fall of Caius Martius Coriolanus. As it is acted at the Theatre Royal. By Nahum Tate. 4to. 1682. The Invader of his Country, or the Fatal Resentment. As it is acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. By John Dennis. 8vo. 1720. Coriolanus, or the Roman Matron, a Tragedy, taken from Shakspeare and Thomson. As it is acted at the Theatre Royal in Covent Garden: to which is added the Order of the Ovation. By Thomas Sheridan. 8vo. 1755. Coriolanus, a Tragedy, altered by J. P. Kemble, acted at Drury Lane. 8vo. 1801. The Tragedy of Julius Cæsar, with the Death of Brutus and Cassius: written originally by Shakspeare, and since altered by Sir William D'Avenant and John Dryden, Poets Laureat; as it is now acted by his Majesty's Company of Comedians at the Theatre Royal. To which is prefixed the Life of Julius Cæsar, abstracted from Plutarch and Suetonius. 12mo. 1719. The Tragedy of Julius Cæsar, altered, with a Prologue and Chorus. 4to. 1722. The Tragedy of Marcus Brutus, with the Prologue and the two last Chorusses. 4to. 1722. Both by John Sheffield, Duke of Buckingham. Antony and Cleopatra, an Historical Play written by William Shakspeare, fitted for the Stage by abridging only; and now acted at the Theatre Royal in Drury Lane, by his Majesty's Servants. By Edward Capell. 12mo. 1758. The History of King Lear, acted at the Duke's Theatre. Revived with Alterations. By Nahum Tate. 4to. 1681. The History of King Lear, as it is performed at the Theatre Royal in Covent Garden. By George Colman. 8vo. 1768. Hamlet, altered by Mr. Garrick. Acted at Drury Lane, 1771. Not printed.
The Injured Princess, or the Fatal Wager. As it was acted at the Theatre Royal, by his Majesty's Servants. By Tho. Durfey. 4to. 1682. Cymbeline, King of Great Britain, a Tragedy, written by Shakspeare, with some Alterations. By Charles Marsh. 8vo. 1755. Cymbeline, a Tragedy, altered from Shakspeare. As it is performed at the Theatre Royal in Covent Garden. By W. Hawkins. 8vo. 1759. Cymbeline, altered by Mr. Garrick. Acted at Drury Lane, 1761. 12mo. 1762. The History of Timon of Athens, the Man-hater. As it is acted at the Duke's Theatre; made into a Play, by Thomas Shadwell. 4to. 1678. Timon of Athens. As it is acted at the Theatre Royal on Richmond Green. Altered from Shakspeare and Shadwell. By James Love. 8vo. 1768. Timon of Athens, altered from Shakspeare, a tragedy, as it is acted at the Theatre Royal in Drury Lane. By Mr. Cumberland. 8vo. 1771. Timon of Athens, altered from Shakspeare and Shadwell, by Mr. Hull, was acted at Covent Garden, 1786. Not printed. Romeo and Juliet, altered into a Tragi-comedy, by James Howard, Esq. See Downes, p. 22. Caius Marius, by Tho. Otway. 4to. 1680. Romeo and Juliet, a Tragedy, revised and altered from Shakspeare. By Theo. Cibber. 8vo. No date. [1744.] Romeo and Juliet, altered by Mr. Garrick. 12mo. 1750. From the Preface to the Republication of Marsh's Cymbeline in 1762, it appears that he had likewise made an alteration of Romeo and Juliet. An alteration of this play under the title of Every Body Mistaken, was acted at Lincoln's Inn Fields, 1716, but was never printed. The Comedy of Errors, as it is acted at the Theatre Royal in Covent Garden, 1779. Altered by Mr. Hull. The Twins, or Which is Which, in three Acts, altered by Mr. Woods, was acted at Edinburgh, and printed in a collection of farces at Edinburgh, 1786, vol. iv. Titus Andronicus, or the Rape of Lavinia. Acted at the Theatre Royal. A Tragedy, altered from Mr. Shakspeare's Works. By Edward Ravenscroft. 4to. 1687. Marina, a Play of three Acts, by George Lillo. 8vo. 1738. One of the alterations of Shakspeare is of so singular a nature, that the reader may probably be pleased in having an account of it, as I believe [See p. 689.] it has never appeared in print, I mean Mr. Garrick's alteration of Hamlet in 1771. There cannot well be a greater proof of the prevalence of French criticism at a former period, than that an actor who professed himself desirous to “lose no drop of that immortal man,” could have thought that he was doing the publick a service in so grossly sophisticating one of his noblest plays. The copy which he made use of for his supposed corrections, was one which was printed in 4to. 1703, and probably exhibited Hamlet as it was acted by Betterton, and will furnish another instance of the liberties which were taken with Shakspeare at the beginning of the last century. The following is the Advertisement to the Reader: This play being too long to be conveniently acted, such places as might be least prejudicial to the plot or sense are left out upon the stage: but that we may no way wrong the incomparable author, are here inserted according to the original copy with this mark [“”].’ The reader would scarcely anticipate that the greater part of Hamlet's address to his father's ghost is marked for omission. It stands thus for representation. Horatio.Look, my Lord, where it comes. Hamlet. Angels and ministers of grace, defend us, &lblank; &lblank; what may this mean, That thou, dead corse, again in complete steel, &c. But to return to Mr. Garrick. I shall not fatigue the reader with minute alterations, or such arrangements as were merely designed for convenience in acting, but shall produce one instance of a supposed improvement in Hamlet's soliloquy at the end of Act IV. Sc. IV. His observations on his own character, which are the best clue to his conduct, &lblank; Now whether it be Bestial oblivion or some craven scruple, &c. are left out, and for the close of the speech, the following rant is substituted: Awake, my soul, awake! Wake nature, manhood, vengeance, rouse at once! My father's spirit calls! the hour is come! From this time forth, my thoughts be bloody all, I'll fly my keepers—Sweep to my revenge. It is generally known that he expunged the scene of the grave-diggers; but he did much more—he cut out the whole of the last Act. The voyage to England, the destruction of Rozencrantz and Guildernstern, the funeral of Ophelia, and the conspiracy against Hamlet by means of a fencing match, are all swept away. After the second scene of Ophelia's madness, Laertes utters that speech which Shakspeare has put into his mouth at her grave. “O treble woe,” &c. Hamlet enters, and the quarrel takes place as in the original, Act V. Sc. I. but somewhat shortened, and then follows the conclusion of the play. The king interferes with this speech: King.We will not bear this insult to our presence. Hamlet, I did command you hence to England; Affection hitherto has curb'd my power; But you have trampled on allegiance, And now shall feel my wrath.—Guards. Hamlet. First feel mine. [Stabs him. Here thou incestuous, murderous, damned Dane, There's for thy treachery, lust, and usurpation. [King falls and dies. Queen. Mercy! Mercy, Heaven! Save me from my son. [She runs out. Laertes. What, treason, ho! Thus then do I revenge My father, sister, and my king. [They fight: Hamlet is wounded by Laertes, and falls. Horatio. And I my prince, and friend. [Draws. Hamlet. Hold, good Horatio: 'tis the hand of Heaven Administers by him, this precious balm For all my wounds. [Enter Messenger.] Speak! speak! what of my mother? Messenger. Struck with the horror of the scene, she fled; But ere she reach'd her chamber-door, she fell; Entranc'd and motionless; unable to sustain the load Of agony and sorrow. Hamlet. O my Horatio, watch the wretched queen, If from this trance she wakes. O may she breath An hour of penitence, ere madness ends her. Exchange forgiveness with me, brave Laertes. O may thy father's death come not on me, Or mine on thee. Laertes. Heav'n make thee free of it. Hamlet. I die, I die, Horatio.—Come thou near, [To Laertes. Take this hand from me. Unite your virtues. [Joins Horatio's hand to Laertes.
[Finis.] Boswell.
James Boswell [1821], The plays and poems of William Shakspeare, with the corrections and illustrations of various commentators: comprehending A Life of the Poet, and an enlarged history of the stage, by the late Edmond Malone. With a new glossarial index (J. Deighton and Sons, Cambridge) [word count] [S10201]. |
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