Several features of Joseph Harris’s tragicomedy The Mistakes: Or the False Report (1691) ought to be of interest to Restoration drama studies. Acted by the United Company in 1690, in its print incarnation it possesses a prologue by John Dryden; an epilogue by Nahum Tate; and a dedication to the painter Godfrey Kneller. Furthermore, set as it is in Naples, it offers an interesting point of reference for the representation of Naples in that rather better-known specimen of Restoration drama, Behn’s The Rover. And yet, with the exception of Dryden’s prologue, the play is almost entirely ignored by scholars and critics, so that this note is, I believe, the first piece of scholarly work ever devoted to it. Regrettably, its argument is that the play contains substantial plagiarism from an earlier source, but nonetheless, it is a start.

中文翻译：

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The窃中的窃（1691）

约瑟夫·哈里斯（Joseph Harris）悲喜剧《误区：或错误的报道》（1691）的几个特征应该引起恢复戏剧研究的兴趣。1690年由联合公司（United Company）代理，以其印刷版形式由约翰·德莱顿（John Dryden）作开场白；纳胡姆·泰特（Nahum Tate）的致词；并献给画家戈弗雷·纳勒（Godfrey Kneller）。此外，就像那不勒斯一样，它为那不勒斯在那本鲜为人知的复原戏剧标本贝恩的《流浪者》中的表现提供了一个有趣的参考点。。然而，除了德莱顿的序言外，该剧几乎被学者和评论家们完全忽略了，因此，我认为，这是迄今为止有关该作品的第一篇学术著作。令人遗憾的是，它的论点是该剧包含较早来源的大量窃，但尽管如此，它还是一个开始。