which they were so severely satirized. However, it was revived and acted with considerable success in subsequent periods. In 1635, the 28th February, it was presented at court, and at the Cock-pit in Drury-lane. In the same year a second quarto appeared, with the following title: "The Knight of the Burning Pestle. Full of Mirth and Delight. Written by Francis Beaumont and John Fletcher, Gent. As it is now acted by her Majesties Servants at the Private House in Drury-lane, 1635. [Then the same motto from Horace as in the first quarto.] London: Printed by N. O. for J. S. 1635." In 1639 it was appropriated, with other plays, to the same theatre; and, after the Restoration, was revived with a new prologue, spoken by Mrs Ellen Gwyn. Since the time of Langbaine it does not appear to have revisited the theatres.

The object of this burlesque drama, which was written in eight days, as Burre informs us, appears to be twofold: first, to expose the fashion of romance reading, and the absurdities of the ancient heroic plays; and, secondly, to satirize the city. The play principally ridiculed in it is Heywood's Four Prentices of London, as first remarked by the historian of English Poetry, who, as well as a late reviewer, supposes that the latter is a mixture of the serious and burlesque, from which opinion I have ventured to dissent. It may be observed, moreover, that most of the plays enumerated in the Induction are by the same author, who at that time - had not dignified his fame by such plays as A Woman Killed with Kindness, a Challenge for Beauty, or The English Traveller."

1

4 A curious allusion, which proves the popularity of the comedy at the time, occurs in Richard Brome's Sparagus Garden, first acted in

1635:

"Rebecca. I long to see a play, and, above all plays, The Knight of the Burning What d'ye call't?

Monylacke. The Knight of the Burning Pestle.

Rebecca. Pestle is't? I thought of another thing, but I would fain see it. They say there's a grocer's boy kills a giant in it, and another little boy that does a citizen's wife the daintiliest-but I would fain see their best actor do me; I would so put him to't! They should find another thing of handling of me, I warrant 'em."

5 See Warton's note at the beginning of the fourth act, and the editor's observations on it.

6 Langbaine supposes the introduction of the citizen and his wife on the stage to be taken from Ben Jonson's Staple of News, which did not appear till twelve years after the publication of The Knight of the Burning Pestle, and in the very year of Fletcher's death.

7 Sympson conceived a most strange notion, that "the keenest part of the satire" was levelled at Spenser, and that the play was suppressed for nine years, as he supposed, by means of Spenser's friends!

The other object of the present drama, mentioned above, was but too common at the time, particularly in those plays which were acted at the private houses, such as Blackfriars and the Cock-pit, or Drury-lane, where The Knight of the Burning Pestle was brought out. The larger theatres, such as the Fortune, and the Red Bull, where Heywood's Four Prentices was performed, seem to have been principally frequented by the citizens, who would, however, naturally have an eye upon any abuse bestowed upon them at the court-theatres, and to this jealousy The Knight of the Burning Pestle probably fell a sacrifice at its first representation.

DEDICATION

OF THE FIRST EDITION, 1613.

To his many ways endeared Friend Master Robert Keysar.

SIR,

This unfortunate child, who, in eight days, (as lately I have learned,) was begot and born, soon after was, by his parents, (perhaps, because he was so unlike his brethren,) exposed to the wide world, who, for want of judgment, or not understanding the privy mark of irony about it, (which showed it was no offspring of any vulgar brain,) utterly rejected it: so that, for want of acceptance, it was even ready to give up the ghost, and was in danger to have been smothered in perpetual oblivion, if you (out of your direct antipathy to ingratitude) had not been moved both to relieve and cherish it: wherein I must needs commend both your judgment, understanding, and singular love to good wits; You afterwards sent it to me, yet, being an infant and somewhat ragged, I have fostered it privately in my bosom these two years, and now, to show my love, return it to you, clad in good lasting clothes, which scarce memory will wear out, and able to speak for itself; and withal, as it telleth me, desirous to try his fortune in the world, where, if yet it be welcome, father, foster-father, nurse, and child, all have their desired end. If it be slighted or traduced, it hopes his father will beget him a younger brother, who shall revenge his quarrel, and challenge the world either of fond and merely literal interpretation, or illiterate misprision. Perhaps it will be thought of the race of Don Quixote; we both may confidently swear it is his elder above a year; and, therefore, may (by virtue of his birthright) challenge the wall of him. I doubt not but they will meet in their adventures, and I hope the breaking of one staff will make them friends; and perhaps they will combine themselves, and travel through the world to seek their adventures. So I commend him to his good fortune, and myself to your love. Your assured friend,

W. B.

TO THE READERS OF THIS COMEDY.

[FROM THE SECOND EDITION, 1635.]

GENTLEMEN, the world is so nice in these our times, that for apparel there is no fashion; for music (which is a rare art, though now slighted) no instrument; for diet, none but the French kickshaws that are delicate; and for plays, no invention but that which now runneth an invective way, touching some particular persons, or else it is contemned before it is thoroughly understood. This is all that I have to say, that the author had no intent to wrong any one in this comedy; but, as a merry passage, here and there interlaced it with delight, which he hopes will please all, and be hurtful to none.

PROLOGUE,

FROM THE SECOND EDITION.

WHERE the bee can suck no honey, she leaves her sting behind; and where the bear cannot find origanum to heal his grief, he blasteth all the other leaves with his breath. We fear it is like to fare so with us; that, seeing you cannot draw from our labours sweet content, you leave behind you a sour mislike, and with open reproach blame our good meaning, because you cannot reap the wonted mirth. Our intent was at this time to move inward delight, not outward lightness; and to breed (if it might be) soft smiling, not loud laughing; knowing it, to the wise, to be a great pleasure to hear counsel mixed with wit, as to the foolish, to have sport mingled with rudeness. They were banished the theatre of Athens, and from Rome hissed, that brought parasites on the stage, with apish actions, or fools with uncivil habits, or courtezans with immodest words. We have endeavoured to be as far from unseemly speeches, to make your ears glow, as we hope you will be free from unkind reports, or mistaking the authors intention, who never aimed at any one particular in this play, to make our cheeks blush. And thus I leave it, and thee to thine own censure, to like or dislike. Vale."

1 And thus I leave it, &c.] These words seem more addressed to the reader than spectator, to whom this address rather would apply as an epilogue.-Ed. 1778.

This prologue is no other than a verbal transcript from the one prefixed to Lilly's Sappho and Phaon, the following passage being omitted: "The griffon never spreadeth her wings in the sun when she hath any sick feathers: Yet have we ventured to present our exercises before your judgments, when we know them full of weak matter, yielding rather ourselves to the courtesy which we have ever found, than to the preciseness which we ought to fear." As this prologue is not to be found in the first quarto, it was probably adopted from Lilly at the representation at court

in 1633.