The second and third characteristics of our book are the ADDITIONS, which, as we have stated, are of two kinds. In the first place, we may enumerate the dramas new to Dodsley's collection, though previously edited in a variety of forms:
Interlude of the Four Elements _Anon_. Disobedient Child _Ingelend_. Trial of Treasure _Anon_. Youth _Anon_. Lusty Juventus _Wever_. Hickscorner, An Interlude _Anon_. Everyman, An Interlude _Anon_. Pardoner and Friar, An Interlude _Heywood_. Jack Juggler | _Anon_. Thersites | Interludes _Anon_. Ralph Roister Doister _Udall_. Cambyses _Preston_. Conflict of Conscience _Woodes_. Three Ladies of London _Wilmot_. Three Lords and Three Ladies of London _Wilmot_. Rare Triumphs of Love and Fortune _Anon_. Knack to Know a Knave _Anon_. Jeronimo (Part the First) _Anon_. Two Angry Women of Abingdon _Porter_. Spanish Tragedy _Kyd_. Solyman and Perseda _Anon_. How a Man may choose a Good Wife from a Bad _Anon_. Englishmen for my Money _Haughton_. Second Maiden's Tragedy _Anon_. Wily Beguiled _Anon_. Return from Parnassus _Anon_. New Wonder _Rowley_. Rebellion _Rawlins_. Lust's Dominion _Anon_.
"The Lost Lady," by Sir William Berkley or Barkley; "The Marriage Night," by Lord Falkland; "The Shepherd's Holiday," by Joseph Butter; "Andromana," by J.S., and "All Mistaken, or the Mad Couple," which were given by Dodsley in 1744, but were omitted in the second and third impressions, have been restored to their places.
The remaining feature, recommending the undertaking to indulgent notice, is perhaps the most important and interesting. Subjoined is a list of the dramatic compositions which have never hitherto appeared in any series of Old English Plays, and of which the originals are of the utmost rarity:--
1. The Tragi-Comedy of Calisto and Melibaea, 1520. 2. Nice Wanton, An Interlude, 1560. 3. An Interlude, called Like Will to Like, by Ulpian Fulwell, 1568. 4. The History of Jacob and Esau, 1568. 5. The Marriage of Wit and Science, 1570.
A strictly chronological arrangement has been adopted. Such a plan appeared to be the most desirable and the most obvious, as it facilitates our appreciation of the gradual and progressive development of dramatic composition. If it may be thought to labour under any disadvantage, it is perhaps that it has the effect of throwing into a single consecutive series, without discrimination, pieces which are mere interludes, and others which are characterised by higher qualities, and aspire to belong to the regular drama. But the evil will be found not to be of a very serious kind, and it will disappear after the earlier volumes of the collection.