JALONE ascribed the production of The Knight of the Burning Pestle to the year 1611, as Burre, the Stationer, in his dedication prefixed to the first edition of the play published in 1613, says he had privately fostered it in his bosom these two years. That the play was a failure in the first instance is evident from Burre's remark that " the world for want of judgment or not understanding the privy mask of irony about it (which showed it was no offspring of any vulgar brain), utterly rejected it."

It is uncertain whether The Knight of the Burning Pestle was the joint composition of Beaumont and Fletcher, as in one part of Burre's dedication its "parents" are spoken of, while elsewhere allusion is made to its "father." The first edition appears to have been published anonymously, but when on the revival of the play in 1635, a new edition was called for, the names of Beaumont and Fletcher were given together on the title page.

Although Don Quixote (published in 1605, translated into English in 1612) no doubt furnished the leading idea of this comedy, its main purpose was evidently to ridicule the military ardour of the citizens of London as exhibited in Heywood's Four Prentices of London, Kyd's Spanish Tragedy, and other popular dramas. After the revival of the play by Her Majesty's servants at the Private House in Drury Lane, in 1635, it continued to be performed at intervals until the suppression of the theatres under the Commonwealth. On the Restoration it again took possession of the stage, and was acted at the King's House, when according to Langbaine a new prologue was spoken by Nell Gwynne.

GENTLEMEN;

HE 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.

HERE 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 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 From the Second Edition, 1635.

2 Idem.

LUCE, Daughter of VENTUREWELL.

MISTRESS MERRYTHOUGHT.

Woman, supposed a captive.

POMPIONA, Daughter of the King of Moldavia.

SCENE.-London and the neighbouring Country, excepting Act IV., Scene II., where it is in MOLDAVIA.

Several Gentlemen sitting on Stools upon the Stage. The Citizen, his Wife, and KALPH sitting below among the Audience.

Enter Speaker of the Prologue.

PEAKER OF PROL. "From all that's

near the court, from all that's great, Within the compass of the city-walls, We now have brought our scene

Citizen leaps on the Stage.

Cit. Hold your peace, goodman boy!

S. of Prol. What do you mean, sir?

Cit. That you have no good meaning: this seven years there hath been plays at this house, I have observed it, you have still girds at citizens; and now you call your play "The London Merchant." Down with your title,

boy! down with your title!

S. of Prol. Are you a member of the noble city?
Cit. I am.

1 The practice of accommodating gallants with seats on the stage is often alluded to in old plays.-Weber.