"Non satis est risu diducere rictum If we may trust the author's statement to Pope, this admirable comedy was written when Wycherley was twenty-one years of age, in the year 1661-2. It is impossible to fix with certainty the date of its first performance. The Duke's Company, then under the management of the widow of Sir William Davenant, opened its new theatre in Dorset Gardens, near Salisbury Court, on the 9th of November, 1671, with a performance of Dryden's Sir Martin Mar-all, and Wycherley's "Prologue to the City" points to the production of his play in the new theatre shortly after its opening. Genest states, on the authority of Downes, that "The Gentleman Dancing-Master was the third new play acted at this theatre, and that several of the old stock plays were acted between each of the new ones." Sir Martin Mar-all, having been three times performed, was succeeded by Etherege's Love in a Tub, which, after two representations, gave place to a new piece, Crowne's tragedy of Charles the Eighth. This was played six times in succession, and was followed, probably after an interval devoted to stock pieces, by a second novelty, an adaptation by Ravenscroft from MoliÈre, entitled The Citizen turn'd Gentleman, or Mamamouchi, which ran for nine days together. The Gentleman Dancing-Master was then acted, probably after another short interval, and must therefore have been produced either in December, 1671, or in January, 1672. Genest, in fact, places it first on his list of plays performed at the Dorset Gardens Theatre during the year 1672, although, in his list for the preceding year, immediately after The Citizen turn'd Gentleman, he mentions Lord Orrery's comedy of Mr. Anthony as "nearly certain" to have been brought out in the season of 1671-2. But this, again, was a new piece, making the third produced at Dorset Gardens, without including The Gentleman Dancing-Master, and must consequently have been brought forward later than Wycherley's play. Of The Gentleman Dancing-Master Genest observes that "it was not much liked, and was acted only six times." But it is by no means clear that the first performance at Dorset Gardens was the actual first performance of our comedy. The opening verses of the prologue, indeed, seem to imply a previous and unsuccessful performance, probably by the same company, at their old theatre in Portugal Street, Lincoln's Inn Fields. This, at least, as it seems to me, is the most obvious interpretation of the following lines: "Our author (like us) finding 'twould scarce do The presumption, therefore, is strongly in favour of 1671 as the year in which The Gentleman Dancing-Master was first brought upon the stage. It was published, without a dedication or the names of the actors, in 1673. The remarks about "packing to sea" in the epilogue, which, like the prologue, was written for the production, or rather, as we may suppose, the revival of the piece at the theatre in Dorset Gardens, refer, questionless, to the impending war with the Dutch, against whom the formal declaration of war was issued on the 17th of March, 1672. The incident upon which the plot turns is borrowed from Calderon's comedy, El Maestro de Danzar, but a brief review of the corresponding scenes in that drama will prove how trifling was Wycherley's obligation to the great Spanish poet. Leonor, the heroine of the piece, is enjoying a stolen interview with her lover, Don Enrique, in an apartment of her father's house in Valencia. Meanwhile, lest their voices should be overheard, Ines, Leonor's maid, stations herself without the chamber, singing and accompanying herself with the guitar. She presently enters, declaring that an instrument so out of tune will attract suspicion, and Don Enrique takes up the guitar for the purpose of tuning it. At this juncture the father, Don Diego, appears suddenly upon the scene. In reply to his questioning, Leonor explains that, dancing being little in fashion at the Court, she had formerly neglected that accomplishment; but that, finding herself, on that account, looked down upon in Valencia, where dancing was all the mode, she had engaged a master, who had but just taken up the guitar which her maid had brought him, when her father entered. This explanation proving satisfactory to In these few incidents, and in the name of Don Diego, which our author has employed as the adopted appellation of his Spain-loving Englishman, are to be found the only points of resemblance between the two plays. The merits of the one lie in a direction totally diverse from that in which the excellencies of the other are to be sought. Wycherley's play is fairly overflowing with wit and mirth, qualities in which the Spanish drama is somewhat deficient. On the other hand, the English play affords no counterpart to the high moral tone and exalted passion which are distinguishing characteristics of Calderon's comedy. The Gentleman Dancing-Master is constructed with greater simplicity and unity of action than Love in a Wood, and, although less powerfully written than The Country Wife, it is also far less exceptionable, and more uniformly pleasing. PROLOGUE TO THE CITYNEWLY AFTER THE REMOVAL OF THE DUKE'S COMPANY FROM LINCOLN'S-INN-FIELDS TO THEIR NEW THEATRE NEAR SALISBURY-COURT.Our author (like us) finding 'twould scarce do DRAMATIS PERSONÆMr. Gerrard, |