Romeo and Juliet (1917) Yale/Appendix B
APPENDIX B
History of the Play
That Romeo and Juliet was already popular in 1596 is shown by the title-page of the first printed copy (Q1, 1597) which describes the play as 'often (with great applause) plaid publiquely, by the right Honourable the L. of Hunsdon his Seruants.' This company of actors was thus known only between July, 1596, and April, 1597. The evidence of rhyme and meter, and the numerous verbal quibbles support the belief that the play was written before 1596, probably at some time between 1593 and 1595. There is good reason to believe that it later underwent some slight revision. Allusions to the play in 1598 and 1599 indicate that its popularity continued; and the fact that it was four times reprinted in quarto (Q2, 1599; Q3, 1609; Q4, undated; Q5, 1637), as well as the evidence afforded by the title-pages of these editions, supports the belief that this tragedy held the stage until the closing of the theatres in 1642. It was revived on March 1, 1662, not long after the re-opening of the theatres. Shortly thereafter it was altered by James Howard, who provided a happy ending. His version and the original were then performed on alternate nights. Both were temporarily driven from the stage by a curious production of Thomas Otway's, The History and Fall of Caius Marius, first performed in 1680. Into this Roman tragedy Otway introduced large portions of Romeo and Juliet, with a result most unsatisfactory to modern taste. Otway's ending was based upon one of the old Italian stories of Romeo and Juliet in which Juliet awakens before Romeo dies and both lovers learn of Romeo's fatal mistake. When Theophilus Cibber brought Shakespeare's play back to the stage in 1744, he retained this feature of Otway's play and omitted the references to Rosaline. The version used by the famous actor, David Garrick, in 1750 was substantially that of Cibber. The additions to the death scene remained popular and were used in an American production as late as 1899, although Charlotte Cushman restored Shakespeare's conception in 1845. Many nineteenth century productions, such as that of Henry Irving, followed eighteenth century precedent in cutting most or all of the scene which follows Juliet's death. Thus, in one form or another, the play has continued to hold the English stage until the present day, several important productions having been made since 1900. It has been equally popular in America since its performance in 1754 by the first English company that visited this country.