Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy (Huntington Library) of the play bears the date of acquisition 3 June [1690, apparently], and the play was advertised in the London Gazette, No 2566, 12-16 June 1690. See Fredson Bowers, A Bibliographical History of the Fletcher-Betterton Play, The Prophetess, 1690, The Library, 5th Series, XVI (1961), 169-75. It seems likely that the opera was first given early in June 1690. An edition of The Vocal and Instrumental Musick of The Prophetess appeared in 1691. See Works of Henry Purcell, Purcell Society, IX. Downes (Roscius Anglicanus, p. 42): The Prophetess, or Dioclesian an Opera, Wrote by Mr Betterton; being set out with Coastly Scenes, Machines and Cloaths: The Vocal and Instrumental Musick, done by Mr Purcel; and Dances by Mr Priest; it gratify'd the Expectation of Court and City; and got the Author great Reputation. [See also R. E. Moore, Henry Purcell and the Restoration Theater (Cambridge, Mass., 1961), Chapter V; and E. W. White, Early Theatrical Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44.] The Muses' Mercury (January 1707, pp. 4-5): This prologue was forbidden to be spoken the second Night of the Representation of the Prophetess. Mrs Shadwell was the occasion of its being taken notice of by the Ministry in the last Reign: He happen'd to be at the House on the first Night, and taking the beginning of the Prologue to have a double meaning, and that Meaning to reflect on the Revolution, he told a Gentleman, He would immediately Put a stop to it. When that Gentleman ask'd, Why he wou'd do the Author such a Disservice? He said, Because while Mr Dryden was Poet Laureat, he wou'd never let any Play of his be Acted. Mr Shadwell informed the Secretary of State of it, and representing it in its worst Colours, the Prologue was never Spoken afterwards, and is not printed in Mr Dryden's Works, or his Miscellanies. Cibber, Apology (ed. Lowe, II, 13-14): A Prologue (by Dryden) to the Prophetess was forbid by the Lord Dorset after the first War in Ireland. It must be confess'd that this Prologue had some familiar, metaphorical Sneers at the Revolution itself; and as the Poetry of it was good, the Offence of it was less pardonable

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)

Event Comment: Rich's Company. The date of the first production is not certain, but tradition states that Dryden died on the third day (1 May 1700); if this report is correct, the first performance occurred on 29 April 1700. In A Collection of New Songs...Compos'd by Mr Daniel Purcel, Perform'd in the Revis'd Comedy call'd the Pilgrim (1700) is a song, Chronos, Chronos, mend thy pace, with Janus sung by Freeman, Momus by Pate, Diana by Mrs Erwin. Gottfried Finger apparently composed the passage sung by Venus, Calms appear when storms are past. William Egerton, Faithful Memoirs of...Mrs Anne Oldfield (1731): The Pilgrim was indeed reviv'd for the Benefit of Mr Dryden, Ann. 1700, but he dying on third Night of its Representation, his Son attended the Run of it, and the Advantages accrued to his Family. Cibber, Apology, I, 269-70: This Epilogue, and the Prologue the same Play [The Pilgrim], written by Dryden, I spoke myself, which not being usually done by the same Person, I have a mind, while I think of it, to let you know on what Occasion they both fell to my Share....Sir John Vanbrugh, who had given some light touches of his Pen to the Pilgrim to assist the Benefit Day of Dryden, had the Disposal of the Parts, and I being then as an Actor in some Favour with him, he read the Play first with me alone, and was pleased to offer me my Choice of what I might like best for myself in it. But as the chief Characters were not (according to my Taste) the most shining, it was no great Self-denial in me that I desir'd he would first take care of those who were more difficult to be pleased; I therefore only chose for myself two short incidental Parts, that of the stuttering Cook and the mad Englishman....Sir John, upon my being contented with so little a Share in the Entertainment, gave me the Epilogue to make up my Mess; which being written so much above the Strain of common Authors, I confess I was not a little pleased with. And Dryden, upon his hearing me repeat it to him, made a farther Compliment of trusting me with the Prologue. Cibber, Apology, I, 305-6: In theYear 1699, Mrs Oldfield was first taken into the House, where she remain'd about a Twelve-month almost a Mute and unheeded, 'till Sir John Vanbrugh, who first recommended her, gave her the Part of Alinda in the Pilgrim revis'd. This gentle Character happily became that want of Confidence which is inseparable from young Beginners, who, without it, seldom arrive to any Excellence: Notwithstanding, I own I was then so far deceiv'd in my Opinion of her, that I thought she had little more than her Person that appear'd necessary to the forming a good Actress; for she set out with so extraordinary a Diffidence, that it kept her too despondingly down to a formal, plain (not to say) flat manner of speaking. Nor could the silver Tone of her Voice 'till after some time incline my Ear to any Hope in he favour. A Comparison Between the Two Stages (1702), p. 27: [After Drury Lane and Lincoln's Inn Fields had revived Shakespeare and Johnson] Nay then, says the whole party at D. Lane, faith we'll e'en put the Pilgrim upon him--ay faith, so we will, says Dryden, and if youll let my Son have the Profits of the Third Night, I'll give you a Secular Mask: Done, says the House, and so the Bargain was struck

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.

Event Comment: Mainpiece: Not acted these 3 years. The Music by Purcel and Dr Arne, with the additional Airs and Chorusses by the late [Thomas] Linley Jun. [Gazetteer, 9 Nov., notes that the music for the Chorus of Spirits was composed by Purcell, for Ariel's song by Dr Arne, for the storm scene by Linley Jun.] Receipts: #162 11s. (126/10/0; 35/19/6; 0/1/6)