PREFACE.

The author, in sending forth to the world a parody on perhaps the most popular tragedy of the immortal Shakspeare, is aware that he subjects himself to something in shape of apology, for (as it may in some measure be termed) an attempt at ridicule! and he flatters himself his exertions in this point need not be very elaborate, as that task is already in part performed, when he refers the reader to Mr. Poole's parody on Hamlet, which is undoubtedly by far the most masterly production of the poet; for in the opinion of the author of Richard Travestie, Shakspeare's tragedy of King Richard the Third is far inferior to Hamlet, Macbeth, Othello, &c.;—but be it understood that he would say in the closet! and not upon the stage, where it is the most successful of his writings. It exhibits passions which excite an interest of the highest magnitude with the audience, and gives full scope for the actor to display those passions, which perhaps are more numerous, and advance in more rapid succession than in any other

character; consequently they arouse a still greater interest at every change, in the breast of the spectator as well as the actor.

The author of this parody does not only uphold Hamlet Travestie as an apology! no, he flatters himself that the present writers of dramatic productions avail themselves of advancing excuses for him in almost every piece that is now produced at even our Theatres Royal.

When writing becomes a man's sole dependance for support, and he attaches himself to the drama, and when the managers of the theatres have by dint of perseverence, prevailed on and quite absorbed the faculties of the public into a degrading infatuation, by totally eclipsing good sense with diabolical vagueness of style, which not only glaringly exhibits a total disregard to all propriety, but to speak in the language of Homer—
“Jove bears the thunder in his red right hand,
“And while he sits—the other gods must stand!
“Let him speak that, which all true sense defies,
“A peal of laughter rolls along the skies!”

Thus with our gods who croud the playhouse round,
Submissive stoop to lick the very ground!
While Roscius triumphs with unbounded sway,
Laughs in his sleeve—for which the gods all pay! When, as before observed, a man depends solely upon his writings, and things have come to such a crisis, he must though perhaps involuntary forego all in point of equity, and endeavour to compose as great nonsense as possible, before he can satisfy the cravings of nature, which ardently murmur, and make us blush for our own.

It may perhaps be unnecessary to apprize the reader of the great success that Mr. Poole's Hamlet met with in the closet; and of its total failure on the stage; the author with this criterion has compressed Richard the Third into two acts, which still embrace the leading features of the play; it being his opinion that Hamlet Travestie owes its failure to its length, and there is a possibility of making people laugh till they cry! for which he has no ambition.

Persons Represented.
King Henry VI [King Henry the Sixth], [Ghost of King Henry]. in Quod and the Dumps, gets killed by Glo'ster, gives up the Ghost for a Ghost's Post, is Whitewashed in Limbo, and comes out. taking the Benefit of the Act, in the last Act of the Piece. Prince of Wales, a Billy Goat without a Beard. Duke of York, a Dunghill Cock. Richard, Duke of Glo'ster, a little, crooked, fierce-looking Man, with a hoarse Voice, carrotty Whiskers, and long Spurs; fond of Cutting and Maiming; a second Sixteen-string Jack, with Nine Lives like a Cat; a bit of a Miller—always draws a crowded House at his Benefit; but in his last Engagement, receives a Muzzler from Richmond, (the Black) which does him up Brown. Duke of Buckingham, his Ear-wig and Bottle Holder. Duke of Norfolk, training in Glo'ster's Train. Richmond, a well-known Player at All-Fives. Lord Stanley, his Father-in-law, very Plump and Fat, with Two Faces under One Hat Catesby [Sir William Catesby], a notorious Villain, employed by the Duke of Glo'ster to do dirty work. Ratcliff [Sir Richard Ratcliff], a light-fingered, light-footed Swoddy. Blunt [Sir James Blount], a sharp Blade, down to a keen hit, if handled roughly. Oxford [Earl of Oxford], an Oxfordshire Bull. Lieutenant of the Tower [Sir Robert Brahenbury], a soft-hearted Screwsman. Lord Mayor [Lord Mayor of London], not the Night Mare, but a horse-looking Jockey. Tirrel [Sir James Tyrrel], a Costermonger, lodging with Mrs. Levy, Dealer in MARINE STORES, who keeps a Fencing Ken in Rag Fair. Forest, a Costermonger, lodging with Mrs. Levy, Dealer in MARINE STORES, who keeps a Fencing Ken in Rag Fair. Dighton, a Costermonger, lodging with Mrs. Levy, Dealer in MARINE STORES, who keeps a Fencing Ken in Rag Fair. Queen [Margaret], a disconsolate Widow. Lady Anne, a Widow bewitched, soft, yielding, and pliable, fond of Glo'ster Cheese and a drap of Blue Ruin. Duchess of York, a second Mother Shipton. [Tressel], [Guard], [Chorus], [Ghost of Queen Anne], [Ghost of Prince Edward], [Mob], [Ghost of Richard]

TRAVESTIE.

KING RICHARD III.

Next section