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Any one who has had the patience to read the Plays of Henry Glapthorne cannot fail to be amused by the bland persistence with which certain passages are reproduced in one play after another. Glapthorne's stock of fancies was not very extensive, but he puts himself to considerable pains to make the most of them.
Whereas, had it contained The Pardoner and the Frere, Sir Clyomon and Clamydes, A Knacke to knowe a Knave, Banke's Bay Horse in a Trance, or the works of those eminent dramatists, Nabbes, May, Glapthorne, or Chettle, then would the collection have been worthy of distinguished notice.
One of the best-known episodes, again, that of Argalus and Parthenia, was versified by Quarles in 1632, and, adorned with a series of cuts, went through a large number of editions before the end of the century, besides being dramatized by Glapthorne.
This passage is repeated in The Ladies Privilege, at the end of Act I. "Curst" is an epithet applied to shrewish women and vicious beasts. This is the prettiest passage, I think, to be found in Glapthorne. MS. me. "Oh me" is crossed out, and "once" written above. The passage is bracketed in the MS., and was probably meant to be omitted. MS. Its.
Even in the year 1640, when there was political agitation enough in England, but the Long Parliament had not yet met, there was still so much leisure for the purer forms of literature in English society that London publishers were bringing out such things as Masques and other remains of Ben Jonson, the Works of Thomas Carew, various Plays by Shirley, Glapthorne, Habington, Heywood, Killigrew, and Brome, an edition of Herrick's Poems, and Thomas May's Supplement to Lucan.
Yet Glapthorne was a man of some parts. He had little enough dramatic power, but he writes occasionally with tenderness and feeling. In his poetical garden rank weeds choke up the flower-beds; but still, if we have patience to pursue the quest, we may pick here and there a musk-rose or a violet that retains its fragrance.
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