Sir W. Davenant, Dryden, Porter, Mrs. Behn, Lee, Cowley, Hon. James Howard, Shadwell, Sir S. Tuke, Sir R. Stapylton, Lord Broghill (Earl of Orrery), Flecknoe, Sir George Etherege, Sir R. Howard, Lacy (actor), Betterton (actor), Earl of Bristol, Duke of Buckingham, Dr. Rhodes, Sir Edward Howard, Settle, Caryll (Earl of Caryll, of James II.'s creation), Henry Lucius Carey (Viscount Falkland), Duke of Newcastle, Shirley, Sir Charles Sedley, Mrs. Boothby, Medbourne (actor), Corye, Revet, Crowne, Ravenscroft, Wycherley, Arrowsmith, Neville Payne, Sir W. Killigrew, Duffet, Sir F. Fane, Otway, Durfey, Rawlins, Leanard, Bankes, Pordage, Rymer, Shipman, Tate, Bancroft, Whitaker, Maidwell, Saunders (a boy-poet), and Southerne.
Here are already nearly threescore authors (some few of whom had commenced their career prior to the Restoration) who supplied the two theatres, between 1659 and 1682, in which latter year began that "Union," under which London had but one theatre till the year 1695.
Within the thirteen years of the Union, appeared as dramatic writers,
The Earl of Rochester;--Jevon, Mountfort, Harris, Powell, and Carlisle (actors); Wilson, Brady, Congreve, Wright, and Higden.
From the period of the dissolution of the Union to the end of the century occur the names of,
Colley Cibber (actor), Mrs. Trotter (Cockburn), Gould, Mrs. Pix, Mrs. Manley, Norton, Scott, Dogget (actor), Dryden, jun., Lord Lansdowne (Granville), Dilke, Sir John Vanbrugh, Gildon, Drake, Filmer, Motteux, Hopkins, Walker, W. Phillips, Farquhar, Boyer, Dennis, Burnaby, Oldmixon, Mrs. Centlivre (Carroll), Crauford, and Rowe.
In the above list there are above a hundred names of authors, none of whose productions can now be called stock-pieces; though of some four or five of these writers a play is occasionally performed, to try an actor's skill or tempt an indifferent audience.
Of the actors who became authors, Cibber alone was eminently successful, and of him I shall speak apart. The remainder were mere adapters. Of Betterton's eight plays, I find one tragedy borrowed from Webster; and of his comedies, one was taken from Marston; a second raised on Molière's "George Dandin"; a third was never printed; his "Henry the Fourth" was one of those unhallowed outrages on Shakspeare, of which the century in which it appeared was prolific; his "Bondman" was a poor reconstruction of Massinger's play, in which Betterton himself was marvellously great; and his "Prophetess" was a conversion of Beaumont and Fletcher's tragedy into an opera, by the efficient aid of Henry Purcell, who published the music in score, in 1691. There was noble music wedded to noble words, and for the recreation of those who could appreciate neither; there was a dance of quaint figures from whom, when about to sit down, the chairs slipped under them, took up the measure, and concluded by dancing it out.