"'Dost thou think, because thou art virtuous, there shall be no more cakes and ale ... nor ginger hot i' the mouth?' Or knowest not that while man, casting the dice with Fate and Mistress Grundy, imagineth a new luck, there shall be new comedy? Why, then, reprint these old?"

In part, because the comedies of a nation are for literature as well as for the footlights, and literature, in most cases, begins after the footlights are out. In part, because old comedies make good reading, not only for lovers of fiction and the stage, but for the student of society and the historian. Until rival forms of literary art began to usurp their function, comedies were—in England, not to speak of other and older lands—the recognized and cherished exponent of the successive phases of contemporary life. For us they still are living sketches of the social manners, morals, vanities, and ideals of generations of our ancestors; history "unbeknownst" as written by contemporaries. Unfortunately, many of these old comedies are inaccessible to the public; and, therefore, we venture to hope that the general reader may find such a collection as the present acceptable, whether he care to enter upon a historical and technical study of the subject or not.

To the student of literary history, however, this series will, we trust, justify its existence for quite another reason. For the aim of this volume and those which will follow is to indicate the development of a literary type by a selection of its representative specimens, arranged in the order of their production and accompanied by critical and historical studies. So little has been scientifically determined concerning evolution or permutation in literature that the more specific the field of inquiry, the more trustworthy are the results attained,—hence the limitation of this research not merely to a genus like the drama, but to one of its species. What is here presented to the public differs from histories of the drama in that it is more restricted in scope and that it substantiates the narrative of a literary growth by reproducing the data necessary to an induction; it differs from editions of individual plays and dramatists, on the other hand, because it attempts to concatenate its texts by a running commentary upon the characteristics of the species under consideration as they successively appear. It is an illustrated, if not certified, history of English comedy.

The plays, in this series called representative, have been chosen primarily for their importance in the history of comedy, generally also for their literary quality, and, when possible, for their practical, dramatic, or histrionic value. Of the studies accompanying them, some are special, such as those dealing with the several authors and plays; some general, the monographs upon groups or movements, and the sketch introductory to the volume. The essay prefatory to a play includes, when possible, an outline of the dramatist's life, a concise history of his contribution to comedy, with reference, when appropriate, to his productions in other fields, an estimate of his output in its relation to the national, social, literary, and technical development of the type in question, and to such foreign movements and influences as may be cognate, and, finally, an exposition and criticism of the play presented. By the insertion in proper chronological position of occasional monographs, it is intended to represent minor dramatists or groups of the same school, period, or movement,—sometimes, indeed, an author of exceptional importance,—in such a way that the historical continuity of the species may be as evident in its minor manifestations as in the better known. The general introductions to these volumes will usually attempt to discuss matters of historical interest not covered by the editors of special portions of the work. It has been necessary, therefore, to open the series, in this book, with an historical view of the beginnings of comedy in England. While the various contributors to the enterprise have exercised their individual preferences in matters of literary treatment, judgment, and style, the general editor has attempted to secure the requisite degree of uniformity by requesting each to conform so far as his taste and historical conscience might permit to a common but elastic outline of method previously prepared. If the attempt has succeeded, there has been gained something of continuity and scientific value for the series. The presence, at the same time, of an occasional personal element in the several articles of the history will enhance its value for our dear friend, the good old-fashioned reader, who sets no store by literary science, but judges books by his liking, and likes to read such judgments of them.

The texts of the comedies presented are, to the best ability of their respective editors, faithful reprints of the best originals; where possible, those published during the authors' lives. Spelling and language have been preserved as they were; but for the convenience of readers, the punctuation and the style of capitals and letters, such as i, j, u, v, s, have been, unless otherwise specified, conformed to the modern custom.

The general editor regrets that it has not been feasible to preface the series with some of the still earlier experiments in comedy, but he indulges the hope that such a volume may later be added, and, also, that it may soon be possible to publish in its proper proportions the materials which have been condensed into the Historical View here submitted. He takes this opportunity to express his appreciation of the courtesy of the scholars who have engaged with him in this undertaking, and especially to thank Mr. Pollard of the British Museum, and Mr. E. W. B. Nicholson of the Bodleian Library, Professor Gummere, Professor Dowden, and the Master of Peterhouse for assistance, encouragement, and counsel which have contributed to make this labour a delight. Other volumes of this series are well under way, and will follow with all reasonable celerity.

CHARLES MILLS GAYLEY.

University of California,
February 3, 1903.