The only perfect copy extant is in the library of Mr. Alfred H. Huth: a second copy, wanting ‘Certaine Diuine Poems,’ and the translation of a letter from the Duke d’Epernon to Henry III, king of France, which follow the poem, is at Britwell Court. ‘Some Account of Tofte’s Alba, 1598’ was printed by J.O. Halliwell-Phillipps in 1865, and the text itself was reprinted, with an introduction and notes, by Dr. Grosart in 1880.
The only other original poem by Tofte which has been preserved is ‘The Fruits of Jealousie: or, A Loue (but not louing) Letter,’ appended to his translation of Varchi’s ‘Blazon of Jealousie,’ 1615.
The earliest of Tofte’s translations from the Italian was ‘Two Tales Translated out of Ariosto. The one in dispraise of Men, the other in disgrace of Women,’ printed at London by Valentine Sims in 1597. The only copy known is at Britwell. The next in date was ‘Orland Inamorato. The three first Bookes of that famous noble Gentleman and learned Poet Mathew Maria Boiardo … Done into English Heroicall Verse by R. T. Gentleman,’ printed at London by Valentine Sims in 1598. Copies are in the British Museum and the Bodleian Library. In 1599 appeared, almost entirely in prose, ‘Of Mariage and Wiuing. An excellent, pleasant, and Philosophicall Controuersie, betweene the famous Tassi now liuing, the one Hercules the Philospher, the other Torquato the Poet. Done into English by R.T. Gentleman.’ In this work ‘The Declamation … against Marriage or wedding of a Wife’ is by Ercole Tasso, the ‘Defence’ by Torquato Tasso. Copies are in the British Museum and in the Huth and Britwell collections. Mothing more from Tofte’s pen appeared until 1608, in which year was published ‘Aristo’s Satyres, in seuen famous Discourses … In English by Garuis Markham.’ The ascription of the work to Gervase Marhkam appears to have been a fraud on the part of the publisher, Roger Jackson, for Tofte in an address to the reader contained in the ‘Blazon of Jealousie’ says, ‘I had thought for they better contentment to haue inserted (at the end of this Booke) the disasterous fall of three noble Romane Gentlemen, ouerthrowne thorow Iealousie in the Loues; but the same was, with Ariosto’s Satyres (translated by mee out of Italian into English Verse, and Notes vpon the same) Printed without my consent or knowledge, in another mans name.’ The claim was not disputed, and, moreover, the book was reissued by the same publisher in 1611, without any name of translator, as ‘Ariostos Seuen Planets Gouerning Italie.’ Copies of both issues are in the British Museum, the Bodleian Library, and at Britwell. ‘Honours Academie. Or the Famous Pastorall of the faire Shepheardesse, Julietta,’ translated from the French of Nicolas de Montreux, and printed in 1610, and Benedetto Varchi’s ‘Blazon of Jealousie,’ translated from the Italian, with ‘special’ notes, and printed in 1615, complete the list of Tofte’s works. Copies of the two last named are in the British Museum and at Britwell.
Tofte was known familiarly among his friends as ‘Robin Redbreast,’ and his works contain frequent allusions to the name. His versification, although facile, is very unequal, but his translations are not deficient in spirit or in fidelity. He died in the house of a Mrs. Goodall in Holborn, near Barnard’s Inn, London, in January 1620, and was buried on 24 Jan. in the church of St. Andrew, Holborn.
[Grosart’s Introduction to his reprint of Tofte’s Alba, 1880; John Payne Collier’s Bibliographical Catalogue, 1870, ii. 437.]
TOFTS, KATHERINE, afterwards Smith (1680?–1758?), vocalist, said to be connected with the family of Bishop Burnet, was born about 1680, and had her early training in England. She was announced to sing Italian and English songs at each of a series of Tuesday fortnightly subscription concerts, beginning on 30 Nov. 1703, and held at Drury Lane Theatre (except those of 21 Dec. and 1 Feb. 1704, which took place at the New Theatre, Little Lincoln's Inn Fields). A second series followed, but not until Francesca Margherita de l'Epine [q. v.] had appeared as a counter-attraction in a set of Saturday concerts at Drury Lane. At the second of these a disturbance was raised by Katherine Tofts's servant, who hissed and threw oranges at her mistress's rival. Tofts publicly repudiated her violent partisan (Daily Courant, 8 Feb. 1704); and the rivalry between the 'British Tofts' and the ' Tawny Tuscan ' was thenceforth more elegantly celebrated in contemporary verse, especially that of John Hughes [see art. Épine], in whose 'Ode to the Memory of the Duke of Devonshire' Tofts sang as Augusta and de l'Epine as Britannia. Both singers appeared on the stage of Drury Lane during the short reign of artificial English opera, de l'Epine at first taking a minor part or singing Italian arias between the acts or at the end. It was not until Tofts's retirement that de l'Epine became prima donna in the nondescript musical pieces which gave way in time to undisguised Italian opera.
