*p;?dl@ordg The Island Princess; or, The Generous Portuguese. [The performers are listed in Add. MSS. 15, 318, and in a printed version, <i>The Four Seasons; or, Love in every Age</i> (1699). These two sources are essentially similar, but as they occasionally supplement each other, the following is a composite of the two sources:% Prologue-Mr Powell; The Epilogue-Penkethman, Mrs Rogers; Prologue to <i>The Four Seasons</i>-Mr Leveridge; Armusia-Powell; Ruidias-Mills; Piniero-Thomas; King of Tidero-Evans; Governor or Tyrant-Johnson; King of Bokam-Bullock; Prince of Syana-Mrs Kent; Quisara-Mrs Rogers; Panura-Mrs Wilkins; [Act II:% A Masque [The Music by $Daniel Purcel=. The Words fitted to the Notes by the Author%-Leveridge, Freeman, Pate, Miss Campion, Magnus's Boy, Miss Lindsey; [Act III:% A Song [set by Daniel Purcell%-; [Act IV:% A Dialogue between a Clown and his Wife [set by $Leveridge=%-Pate, Leveridge; An Incantation [set by Mr D. Purcell%-Bowen, Freeman, Pate; The Enthusiastick Song [Set by Mr Leveridge%-Mr Leveridge; [Act V:% <i>The Four Seasons</i> [Set by $Mr Jeremy Clarke=%-Leveridge, Freeman, Miss Campion, Magnus's Boy, Miss Lindsey, Pate, Crossfield. *c;?dl@ordg <i>Rich's Company</i>. The date of the first production is not known, but <i>A Comparison between the Two Stages</i> (1702) (pp. 21-23) implies that this work preceded <i>Rinaldo and Armida</i> (performed at <i>lif</i> probably in November 1698). <i>The Island Princess</i> was not published until 1699 (the Masque being advertised in the <i>Post Boy</i>, 7-9 Feb. 1698@9, and the Opera in the <i>Flying Post</i>, 7-9 March 1698@9). <i>A Comparison between the Two Stages</i> (1702), pp. 21-22: <i>Sullen</i>: The old House have a Bawble offer'd 'em, made out of $Fletcher='s <i>Island Princess</i>, sometime after alter'd by $Mr Tate=, and now erected into an Opera by $Motteux=: The Actors labour at this like so many Galley Slaves at an Oar, they call in the Fiddle, the Voice, the Painter, and the Carpenter to help 'em; and what neither the Poet nor the Player cou'd do, the Mechanick must do for him:...but as I was saying-the Opera now possesses the Stage, and after a hard struggle, at length it prevail'd, and something more than Charges came in every Night: The Quality, who are always Lovers of good Musick, flock hither, and by almost a total revolt from the other House, give this new Life, and set it in some eminency above the New; this was a sad mortification to the old Stagers in <i>Lincolns-Inn-fields</i>. For a poem, <i>The Confederates; or the first Happy Day of the Island Princess</i>, see <i>Poem on Affairs of State</i>, 1703, II, 248-50.