Abstract
R. F. Sharp's 1920 bibliography of Shakespeare burlesques, the first of its kind in English literary scholarship, is most notable for what it excludes: Thomas Duffet's The Mock-Tempest (1674) and his farcical version of Elkanah Settle's The Empress of Morocco (1673). Duffet's burlesque of The Empress of Morocco features an epilogue which parodies the elaborate production of the witches' scenes in Sir William Davenant's adaptation of Macbeth then being performed at the rival Dorset Garden Theatre. 1 Mocking scenic effects of "Painted Tiffany" which "blind and amuse the senses," Duffet's epilogue flatters itself as more theatrically honest than Davenant's tragedy because its own "thunder and lightning" were discovered "openly, by the most excellent way of Mustard-bowl and Salt-Peter." 2 In other words, reliance on traditional stagecraft made the Drury Lane travesty a more legitimate version of Shakespeare than the Dorset Garden Macbeth, which owed much of its success to intricate behind-the-scenes technology.
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