ning April 21, 1851. The scene is laid in London in 1851 and the plot is one of intrigue with an accompaniment of social satire. It was never printed and exists to-day in manuscript. It is not one of Boker's strong plays.
The Widow's Marriage, written in 1852, was accepted by Marshall, the manager of the Walnut Street Theatre, but as he was unable to find a proper actress to take the leading part of "Lady Goldstraw," the play was not acted. It is a comedy, in blank verse, laid in England at the time of George II, the plot being concerned with a trick played upon a vain old widow by which she is cured of her foolishness.
Leonor de Guzman, his next play, was a tragedy based on Spanish history, of the time of Alphonso XII of Castile, whose mistress, Leonor, is the heroine. The hatred of Queen Maria for her rival and her revenge are the main motives of the play, which is a powerful one. It was first played at the Walnut Street Theatre on Monday, October 3, 1853, Avith Julia Dean as "Leonor." It was successful both in Philadelphia and New York, where it was put on at the Broadway Theatre, April 24, 1854.
Francesca da Bimini was played for the first time at the Broadway Theatre, New York, September 26, 1855, continuing till October 5th. E. L. Davenport acted "Lanciotto," Mme. Ponisi, "Francesca," and M. Lanergan, "Paolo," It was well received, but its great vogue came later when it was revived by Lawrence Barrett at Haverly's Theatre, Philadelphia, September 14, 1882, Mr. Barrett playing "Lanciotto," Mr. Otis Skinner, "Paolo," and Miss Marie Wainwright, "Francesca." Mr. Barrett played this part for several years. On August 22, 1901, Mr. Otis Skinner revived the play at the Grand Opera House, Chicago, Mr. Skinner playing "Lanciotto," Mr. Aubrey Boucicault playing "Paolo," and Miss Marcia Van Dresser, "Francesca." It was played throughout the winter during the season of 1901-02.
Of all American plays written before the Civil War Francesca da Rimini shows the most vitality. This has been due partly to the lofty conception of Lanciotto's character, the sympathetic interpretation of the medieval woman in Francesca, and the noble expression in a blank verse that has rarely been excelled in English. But in addition to these literary qualities, the strength of Francesca da Rimini lies in its qualities as an acting play. It has never been put on the stage as it is printed. The printed version represents Boker's best judgment of the form in which it should be read, but in 1853 an acting version was prepared by Boker, and in 1882 another version was made by Mr. Barrett. In preparing the present text, the printed version, checked by the original autograph manuscript, has been taken as the basis. In indicating how the play was actually performed, the acting version of 1853 has been taken as the standard. When in this version lines have been omitted, these have been indicated by brackets of this character <> and insertions are shown by square brackets.
