It will be observed that the foundation of the piece depends upon a
contest for superiority between Venus and Fortune, and that the first
act (for the drama is regularly divided into acts, though the scenes are
not distinguished) is a species of induction to the rest. It is the more
remarkable, because it contains some early specimens of dramatic
blank-verse, although it may be questioned whether the piece was ever
exhibited at a public theatre.
We discover no trace of it in "Henslowe's Diary,"[6] nor in any other
authority, printed or manuscript, relating to plays exhibited before
public audiences in the reign of Elizabeth; but it is nevertheless clear
that it was "played before the Queen's most excellent Majesty" (as the
title-page states) by the retainers of the Earl of Derby, a company of
actors at that date engaged in public performances; and it was then,
and afterwards, usual for the Master of the Revels to select dramas for
performance at court, that were favourites with persons who were in the
habit of frequenting the houses generally employed, or purposely
erected, for dramatic representations. If "The rare Triumphs of Love and
Fortune" were ever acted at a public theatre, the several shows in the
first act, of Troilus and Cressida, of Alexander, of Dido, of Pompey and
Caesar, and of Hero and Leander, would of course have been attractive.
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