PREFACE TO THE ENCHANTED ISLAND.

The writing of Prefaces to Plays, was, probably, invented by some very ambitious Poet, who never thought he had done enough: Perhaps by some Ape of the French Eloquence, which uses to make a business of a Letter of Gallantry, an examen of a Farce; and, in short, a great pomp and ostentation of words on every trifle. This is certainly the Talent of that Nation, and ought not to be invaded by any other. They do that out of gaiety, which would be an imposition upon us.

We may satisfie our selves with surmounting them in the Scene, and safely leave them those trappings of writing, and flourishes of the Pen, with which they adorn the borders of their Plays, and which are indeed no more than good Landskips to a very indifferent Picture. I must proceed no farther in this Argument, lest I run my self beyond my excuse for writing this. Give me leave therefore to tell you, Reader, that I do it not to set a value on any thing I have written in this Play, but out of gratitude to the memory of Sir William Davenant, who did

me the honour to joyn me with him in the alteration of it.

It was originally Shakespear's: a Poet for whom he had particularly a high veneration, and whom he first taught me to admire. The Play it self had formerly been acted with success in the Black-Friers: and our excellent Fletcher had so great a value for it, that he thought fit to make use of the same Design, not much varied, a second time. Those who have seen his Sea-Voyage, may easily discern, that it was a Copy of Shakespear's Tempest: the Storm, the Desart Island, and the Woman who had never seen a Man, are all sufficient Testimonies of it. But Fletcher was not the onely Poet who made use of Shakespear's Plot: Sir John Suckling, a profess'd admirer of our Authour, has follow'd his footsteps in his Goblins; his Regmella being an open imitation of Shakespear's Miranda; and his Spirits, though counterfeit, yet are copied from Ariel. But Sir William Davenant, as he was a man of quick and pierceing imagination, soon found that somewhat might be added to the Design of Shakespear, of which neither Fletcher nor Suckling had ever thought: and therefore to put the last hand to it, he design'd the Counter-part to Shakespear's Plot, namely, that of a Man who had never seen a Woman; that, by this means, those two Characters of Innocence and Love might the more illustrate and commend each other. This excellent contrivance he was pleas'd to communicate to me, and to desire my assistance in it. I confess, that from the very first moment it so pleas'd me, that I never writ any thing with more delight. I must likewise do him that justice to acknowledge,

that my writing received daily his amendments, and that is the reason why it is not so faulty, as the rest which I have done, without the help or correction of so judicious a Friend. The Comical parts of the Saylers were also of his invention, and for the most part his writing, as you will easily discover by the Style. In the time I writ with him, I had the opportunity to observe somewhat more nearly of him than I had formerly done, when I had onely a bare acquaintance with him: I found him then of so quick a fancy, that nothing was propos'd to him, on which he could not suddenly produce a thought extreamly pleasant and surprising: and those first thoughts of his, contrary to the old Latine Proverb, were not always the least happy. And as his fancy was quick, so likewise were the products of it remote and new. He borrowed not of any other; and his imaginations were such as could not easily enter into any other man. His Corrections were sober and judicious: and he corrected his own writings much more severely than those of another man, bestowing twice the time and labour in polishing, which he us'd in invention. It had perhaps been easie enough for me to have arrogated more to my self then was my due, in the writing of this Play, and to have pass'd by his name with silence in the Publication of it, with the same ingratitude which others have us'd to him, whose Writings he hath not onely corrected, as he hath done this, but has had a greater inspection over them, and sometimes added whole Scenes together, which may as easily be distinguish'd from the rest, as true Gold from counterfeit by the weight. But besides

the unworthiness of the Action, which deterr'd me from it, (there being nothing so base as to rob the dead of his reputation) I am satisfi'd I could never have receiv'd so much honour, in being thought the Authour of any Poem, how excellent soever, as I shall from the joyning my imperfections with the merit and name of Shakespear and Sir William Davenant.

Decemb. 1.
1669.

Prologue to the Tempest, or the Enchanted Island.
As when a Tree's cut down, the secret Root
Lives under ground, and thence new branches shoot;
So, from old Shakespear's honour'd dust, this day
Springs up and buds a new reviving Play.
Shakespear, who (taught by none) did first impart
To Fletcher Wit, to labouring Johnson Art.
He, Monarch-like, gave those his Subjects Law,
And is that Nature which they paint and draw.
Fletcher reach'd that which on his heights did grow,
Whilst Johnson crept and gather'd all below.
This did his Love, and this his Mirth digest:
One imitates him most, the other best.
If they have since out-writ all other Men,
'Tis with the drops which fell from Shakespear's Pen.
The Storm which vanish'd on the neighb'ring shore,
Was taught by Shakespear's Tempest first to roar.
That Innocence and Beauty which did smile
In Fletcher, grew on this Enchanted Isle.
But Shakespear's Magick could not copy'd be,
Within that Circle none durst walk but he.
I must confess 'twas bold nor would you now
That liberty to vulgar Wits allow,
Which works by Magick supernatural things:
But Shakespear's pow'r is Sacred as a King's.
Those Legends from old Priesthood were receiv'd,
And he then writ, as People then believ'd.
But, if for Shakespear we your grace implore,
We for our Theatre shall want it more:
Who by our dearth of Youths are forc'dt' employ
One of our Women to present a Boy.
And that's a transformation, you will say,
Exceeding all the Magick in the Play.
Let none expect in the last Act to find,
Her Sex transform'd from Man to Woman-kind.
What e'r she was before the Play began,
All you shall see of her is perfect Man.
Or if your fancy will be farther led
To find her Woman, it must be abed.

Dramatis Personæ. Alonzo [Alonso] Duke of Savoy, and Usurper of the Dukedom of Mantua. Ferdinand his Son. Prospero right Duke of Millain. Antonio his Brother, Usurper of the Dukedom. Gonzalo, a Nobleman of Savoy Hippolito, one that never saw Woman, right Heir of the Dukedom of Mantua. Stephano Master of the Ship. Mustacho his Mate. Trincalo [Trinculo] Boatswain. Ventoso a Marriner. Several Marriners [Mariners]. A Cabbin-Boy [Boy]. Miranda (Daughter to Prospero) that never saw Man. Dorinda (Daughter to Prospero) that never saw Man. Ariel an aiery Spirit, attendant on Prospero. Several Spirits, Guards to Prospero Caliban Monster of the Isle. Sycorax his Sister. Monster of the Isle. [Devil 1], [Devil 2], [Devil 3], [Pride], [Fraud], [Rapine], [Murder], [Devil], [Amphitrite], [Neptune], [Oceanus], [Tritons], [Nereides], [Chorus], [Milcha]

THE Enchanted Island. The Front of the Stage is open'd, and the Band of 24 Violins, with the Harpsicals and Theorbo's which accompany the Voices, are plac'd between the Pit and the Stage. While the Overture is playing, the Curtain rises, and discovers a new Frontispiece, joyn'd to the great Pylasters, on each side of the Stage. This Frontispiece is a noble Arch, supported by large wreathed Columns of the Corinthian Order; the wreathings of the Columns are beautifi'd with Roses wound round them, and several Cupids flying about them. On the Cornice, just over the Capitals, sits on either side a Figure, with a Trumpet in one band, and a Palm in the other, representing Fame. A little farther on the same Cornice, on each side of a Compass-pediment, lie a Lion and a Unicorn, the Supporters of the Royal Arms of England. In the middle of the Arch are several Angels, holding the Kings Arms, as if they were placing them in the midst of that Compass-pediment. Behind this is the Scene, which represents a thick Cloudy Sky, a very Rocky Coast, and a Tempestuous Sea in perpetual Agitation. This Tempest (suppos'd to be rais'd by Magick) has many dreadful Objects in it, as several Spirits in horrid shapes flying down amongst the Sailers, then rising and crossing in the Air. And when the Ship is sinking, the whole House is darken'd, and a shower of Fire falls upon 'em. This is accompanied with Lightning, and several Claps of Thunder, to the end of the Storm.

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