Rutland House, by Declamations and Music, after the Manner of the Ancients." The success was complete. This literary curiosity, interesting as being the first representation on our present stage, is highly ingenious, and affords a favourable specimen of Davenant's skill and mental resources. It was a bold experiment. He had to amuse his auditory, yet not let them think they were amused—to give them a play, and yet cozen them into a belief that it was not a play they were witnessing, but something totally different. It began with a flourish of music, for which Davenant had procured the assistance of some able composers. Then came a somewhat long prologue, in which the poet gives a sketch of what the audience were to expect, and the curtains were closed again. Then "A consort of instrumental music adapted to the sullen disposition of Diogenes, being heard awhile, the curtains are suddenly opened, and in two gilded rostras appear sitting Diogenes the Cynic and Aristophanes the Poet, in habits agreeable to their country and professions: who declaim against and for public entertainment by moral representations;" and Diogenes accordingly addresses the Athenians in a long speech, in which are elaborately set forth the folly and evil of all public amusements. Then "a consort of music befitting the pleasant disposition of Aristophanes being heard," that personage comes forward, and makes a long speech on the other side of the question, in which, of course, he has the best of the argument. This done, "the curtains are suddenly closed, and the company entertained by instrumental and vocal music." This was the serious section of the entertainment—the tragedy before the farce—which was wound up by a song, containing a brief summing-up of the views of each antagonist.
The second part was something similar, though in a lighter strain. "The song being ended, a consort of
