The Works of John Dryden, Volume 6

Works of John Dryden, Vol. 6, The

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Title: The Works of John Dryden, Vol. 6 (of 18) Limberham; Oedipus; Troilus and Cressida; The Spanish Friar
Author: John Dryden
Editor: Walter Scott
Release Date: August 6, 2005 [EBook #16456]
Language: English
Character set encoding: ISO-8859-1
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THE
WORKS
OF
JOHN DRYDEN,
NOW FIRST COLLECTED
_IN EIGHTEEN VOLUMES._

ILLUSTRATED
WITH NOTES,
HISTORICAL, CRITICAL, AND EXPLANATORY;
AND
A LIFE OF THE AUTHOR,
BY
WALTER SCOTT, ESQ.

VOL. VI.
LONDON:
PRINTED FOR WILLIAM MILLER, ALBEMARLE STREET,
BY JAMES BALLANTYNE AND CO. EDINBURGH.
1808.
* * * * *
CONTENTS
OF
VOLUME SIXTH.
Limberham, or the Kind Keeper, a Comedy Epistle Dedicatory to Lord Vaughan
OEdipus, a Tragedy Preface
Troilus and Cressida, or Truth found too late, a Tragedy Epistle Dedicatory to the Earl of Sunderland Preface
The Spanish Friar, or the Double Discovery Epistle Dedicatory to Lord Haughton
* * * * *
LIMBERHAM;
OR,
THE KIND KEEPER.
A
COMEDY.
[Greek: K��n me phag��s epi rhizan, hom?s eti karpophor��s?. Anthologia Dentera.]
_Hic nuptarum insanit amoribus; hic meretricum: Omnes hi metuunt versus; odere poetas._ HORAT.

LIMBERHAM.
The extreme indelicacy of this play would, in the present times furnish ample and most just grounds for the unfavourable reception it met with from the public. But in the reign of Charles II. many plays were applauded, in which the painting is, at least, as coarse as that of Dryden. "Bellamira, or the Mistress," a gross translation by Sir Charles Sedley of Terence's "Eunuchus," had been often represented with the highest approbation. But the satire of Dryden was rather accounted too personal, than too loose. The character of Limberham has been supposed to represent Lauderdale, whose age and uncouth figure rendered ridiculous his ungainly affectation of fashionable vices. Mr Malone intimates a suspicion, that Shaftesbury was the person levelled at, whose lameness and infirmities made the satire equally poignant. In either supposition, a powerful and leading nobleman was offended, to whose party all seem to have drawn, whose loose conduct, in that loose age, exposed them to be duped like the hero of the play. It is a singular mark of the dissolute manners of those times, that an audience, to whom matrimonial infidelity was nightly held out, not only as the most venial of trespasses, but as a matter of triumphant applause, were unable to brook any ridicule, upon the mere transitory connection formed betwixt the keeper and his mistress. Dryden had spared neither kind of union; and accordingly his opponents exclaimed, "That he lampooned the court, to oblige his friends in the city, and ridiculed the city, to secure a promising lord at court; exposed the kind keepers of Covent Garden, to please the cuckolds of Cheapside; and drolled on the city Do-littles, to tickle the Covent-Garden Limberhams[1]." Even Langbaine, relentless as he is in criticism, seems to have considered the condemnation of Limberham as the vengeance of the faction ridiculed.
"In this play, (which I take to be the best comedy of his) he so much exposed the keeping part of the town, that the play was stopt when it had but thrice appeared on the stage; but the author took a becoming care, that the things that offended on the stage, were either altered or omitted in the press. One of our modern writers, in a short satire against keeping, concludes thus:
"Dryden, good man, thought keepers to reclaim, Writ a kind satire, call'd it Limberham. This all the herd of letchers straight alarms; From Charing-Cross to Bow was up in arms: They damn'd the play all at one fatal blow, And broke the glass, that did their picture show."
Mr Malone mentions his having seen a MS. copy of this play, found by Lord Bolingbroke among the sweepings of Pope's study, in which there occur several indecent passages, not to be found in the printed copy. These, doubtless, constituted the castrations, which, in obedience to the public voice, our author expunged from his play, after its condemnation. It is difficult to guess what could be the nature of the indecencies struck out, when we consider those which the poet deemed himself at liberty to retain.
The reader will probably easily excuse any remarks upon this comedy. It is not absolutely without humour, but is so disgustingly coarse, as entirely to destroy that merit. Langbaine, with his usual anxiety of research, traces back a few of the incidents to the novels of Cinthio Giraldi, and to those of some forgotten French authors.
Plays, even of this nature, being worth preservation, as containing genuine traces of the manners of the age